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+"SCHINDLER'S LIST" BY Steven Zaillian Final Draft IN BLACK AND WHITE: TRAIN WHEELS grinding against track, slowing. FOLDING TABLE LEGS scissoring open. The LEVER of a train door being pulled. NAMES on lists on clipboards held by clerks moving alongside the tracks. CLERKS (V.O.) ...Rossen... Lieberman... Wachsberg... BEWILDERED RURAL FACES coming down off the passenger train. FORMS being set out on the folding tables. HANDS straightening pens and pencils and ink pads and stamps. CLERKS (V.O.) ...When your name is called go over there... take this over to that table... TYPEWRITER KEYS rapping a name onto a list. A FACE. KEYS typing another name. Another FACE. CLERKS (V.O.) ...you’re in the wrong line, wait over there... you, come over here... A MAN is taken from one long line and led to the back of another. A HAND hammers a rubber stamp at a form. Tight on a FACE. KEYS type another NAME. Another FACE. Another NAME. CLERKS (V.O.) ...Biberman... Steinberg... Chilowitz... As a hand comes down stamping a GRAY STRIPE across a registration card, there is absolute silence... then MUSIC, the Hungarian love song, "Gloomy Sunday," distant... and the stripe bleeds into COLOR, into BRIGHT YELLOW INK. INT. HOTEL ROOM - CRACOW, POLAND - NIGHT The song plays from a radio on a rust-stained sink. The light in the room is dismal, the furniture cheap. The curtains are faded, the wallpaper peeling... but the clothes laid out across the single bed are beautiful. The hands of a man button the shirt, belt the slacks. He slips into the double-breasted jacket, knots the silk tie, folds a handkerchief and tucks it into the jacket pocket, all with great deliberation. A bureau. Some currency, cigarettes, liquor, passport. And an elaborate gold-on-black enamel Hakenkreuz (or swastika) which the gentleman pins to the lapel of his elegant dinner jacket. He steps back to consider his reflection in the mirror. He likes what he sees: Oskar Schindler -- salesman from Zwittau -- looking almost reputable in his one nice suit. Even in this awful room. INT. NIGHTCLUB - CRACOW, POLAND - NIGHT A spotlight slicing across a crowded smoke-choked club to a small stage where a cabaret performer sings. It’s September, 1939. General Sigmund List's armored divisions, driving north from the Sudetenland, have taken Cracow, and now, in this club, drinking, socializing, conducting business, is a strange clientele: SS officers and Polish cops, gangsters and girls and entrepreneurs, thrown together by the circumstance of war. Oskar Schindler, drinking alone, slowly scans the room, the faces, stripping away all that’s unimportant to him, settling only on details that are: the rank of this man, the higher rank of that one, money being slipped into a hand. WAITER SETS DOWN DRINKS in front of the SS officer who took the money. A lieutenant, he’s at a table with his girlfriend and a lower-ranking officer. WAITER From the gentleman. The waiter is gesturing to a table across the room where Schindler, seemingly unaware of the SS men, drinks with the best-looking woman in the place. LIEUTENANT Do I know him? His sergeant doesn’t. His girlfriend doesn't. LIEUTENANT Find out who he is. The sergeant makes his way over to Schindler's table. There's a handshake and introductions before -- and the lieutenant, watching, can't believe it -- his guy accepts the chair Schindler's dragging over. The lieutenant waits, but his man doesn't come back; he's forgotten already he went there for a reason. Finally, and it irritates the SS man, he has to get up and go over there. LIEUTENANT Stay here. His girlfriend watches him cross toward Schindler's table. Before he even arrives, Schindler is up and berating him for leaving his date way over there across the room, waving at the girl to come join them, motioning to waiter to slide some tables together. WAITERS ARRIVE WITH PLATES OF CAVIAR and another round of drinks. The lieutenant makes a halfhearted move for his wallet. LIEUTENANT Let me get this one. SCHINDLER No, put it away, put it away. Schindler's already got his money out. Even as he's paying, his eyes are working the room, settling on a table where a girl is declining the advances of two more high-ranking SS men. A TABLECLOTH BILLOWS as a waiter lays it down on another table that's been added to the others. Schindler seats the SS officers on either side of his own "date" -- SCHINDLER What are you drinking, gin? He motions to a waiter to refill the men's drinks, and, returning to the head of the table(s), sweeps the room again with his eyes. ROAR OF LAUGHTER erupts from Schindler's party in the corner. Nobody's having a better time than those people over there. His guests have swelled to ten or twelve -- SS men, Polish cops, girls -- and he moves among them like the great entertainer he is, making sure everybody's got enough to eat and drink. Here, closer, at this table across the room, an SS officer gestures to one of the SS men who an hour ago couldn't get the girl to sit at his table. The guy comes over. SS OFFICER 1 Who is that? SS OFFICER 2 (like everyone knows) That's Oskar Schindler. He's an old friend of... I don't know, somebody's. GIRL WITH A BIG CAMERA screws in a flashbulb. She lifts the unwieldy thing to her face and focuses. As the bulb flashes, the noise of the club suddenly drops out, and the moment is caught in BLACK and WHITE: Oskar Schindler, surrounded by his many new friends, smiling urbanely. EXT. SQUARE - CRACOW - DAY A photograph of a face on a work card, BLACK and WHITE. A typed name, black and white. A hand affixes a sticker to the card and it saturates with COLOR, DEEP BLUE. People in long lines, waiting. Others near idling trucks, waiting. Others against sides of buildings, waiting. Clerks with clipboards move through the crowds, calling out names. CLERKS Groder... Gemeinerowa... Libeskind... INT. APARTMENT BUILDING - CRACOW - DAY The party pin in his lapel catches the light in the hallway. SCHINDLER Stern? Behind Schindler, the door to another apartment closes softly. A radio, somewhere, is suddenly silenced. SCHINDLER Are you Itzhak Stern? At the door of this apartment, a man with the face and manner of a Talmudic scholar, finally nods in resignation, like his number has just come up. STERN I am. Schindler offers a hand. Confused, Stern tentatively reaches for it, and finds his own grasped firmly. INT. STERN'S APARTMENT - DAY Settled into an overstuffed chair in a simple apartment, Schindler pours a shot of cognac from a flask. SCHINDLER There's a company you did the books for on Lipowa Street, made what, pots and pans? Stern stares at the cognac Schindler's offering him. He doesn't know who this man is, or what he wants. STERN (pause) By law, I have to tell you, sir, I'm a Jew. Schindler looks puzzled, then shrugs, dismissing it. SCHINDLER All right, you've done it -- good company, you think? He keeps holding out the drink. Stern declines it with a slow shake of his head. STERN It did all right. Schindler nods, takes out a cigarette case. SCHINDLER I don't know anything about enamelware, do you? He offers Stern a cigarette. Stern declines again. STERN I was just the accountant. SCHINDLER Simple engineering, though, wouldn't you think? Change the machines around, whatever you do, you could make other things, couldn't you? Schindler lowers his voice as if there could possibly be someone else listening in somewhere. SCHINDLER Field kits, mess kits... He waits for a reaction, and misinterprets Stern's silence for a lack of understanding. SCHINDLER Army contracts. But Stern does understand. He understands too well. Schindler grins good-naturedly. SCHINDLER Once the war ends, forget it, but for now it's great, you could make a fortune. Don't you think? STERN (with an edge) I think most people right now have other priorities. Schindler tries for a moment to imagine what they could possibly be. He can't. SCHINDLER Like what? Stern smiles despite himself. The man's manner is so simple, so in contrast to his own and the complexities of being a Jew in occupied Cracow in 1939. He really doesn't know. Stern decides to end the conversation. STERN Get the contracts and I'm sure you'll do very well. In fact the worse things get the better you'll do. It was a "pleasure." SCHINDLER The contracts? That's the easy part. Finding the money to buy the company, that's hard. He laughs loudly, uproariously. But then, just as abruptly as the laugh erupted, he's dead serious, all kidding aside -- SCHINDLER You know anybody? Stern stares at him curiously, sitting there taking another sip of his cognac, placid as a large dog. SCHINDLER Jews, yeah. Investors. STERN (pause) Jews can no longer own businesses, sir, that's why this one's for sale. SCHINDLER Well, they wouldn't own it, I'd own it. I'd pay them back in product. They can trade it on the black market, do whatever they want, everybody's happy. He shrugs; it sounds more than fair to him. But not to Stern. STERN Pots and pans. SCHINDLER (nodding) Something they can hold in their hands. Stern studies him. This man is nothing more than a salesman with a salesman's pitch; just dressed better than most. STERN I don't know anybody who'd be interested in that. SCHINDLER (a slow knowing nod) They should be. Silence. EXT. CRACOW - NIGHT A mason trowels mortar onto a brick. As he taps it into a place and scrapes off the excess cement, the image DRAINS OF COLOR. Under lights, a crew of brick-layers is erecting a ten-foot wall where a street once ran unimpeded. EXT. STREET - CRACOW - DAY A young man emerges from an alley pocketing his Jewish armband. He crosses a street past German soldiers and trucks and climbs the steps of St. Mary's cathedral. INT. ST. MARY'S CATHEDRAL - DAY A dark and cavernous place. A priest performing Mass to scattered parishioners. Lots of empty pews. The young Polish Jew from the street, Poldek Pfefferberg, kneels, crosses himself, and slides in next to another young man, Goldberg, going over notes scribbled on a little pad inside a missal. Pfefferberg shows him a container of shoe polish he takes from his pocket. Whispered, bored -- GOLDBERG What's that? PFEFFERBERG You don't recognize it? Maybe that's because it's not what I asked for. GOLDBERG You asked for shoe polish. PFEFFERBERG My buyers sold it to a guy who sold it to the Army. But by the time it got there -- because of the cold -- it broke, the whole truckload. GOLDBERG (pause) So I'm responsible for the weather? PFEFFERBERG I asked for metal, you gave me glass. GOLDBERG This is not my problem. PFEFFERBERG Look it up. Goldberg doesn't bother; he pockets his little notepad and intones a response to the priest's prayer, all but ignoring Pfefferberg. PFEFFERBERG This is not your problem? Everybody wants to know who I got it from, and I'm going to tell them. Goldberg glances to Pfefferberg for the first time, and, greatly put upon, takes out his little notepad again and makes a notation in it. GOLDBERG Metal. He flips the pad closed, pockets it, crosses himself as he gets up, and leaves. INT. HOTEL - DAY Pfefferberg at the front desk of a sleepy hotel with another black market middleman, the desk clerk. Both are wearing their armbands. Pfefferberg underlines figures on a little notepad of his own -- PFEFFERBERG Let's say this is what you give me. These are fees I have to pay some guys. This is my commission. This is what I bring you back in Occupation currency. The clerk, satisfied with the figures, is about to hand over to Pfefferberg some outlawed Polish notes from an envelope when Schindler comes in from the street. The clerk puts the money away, gets Schindler his room key, waits for him to leave so he can finish his business with Pfefferberg... but Schindler doesn't leave; he just keeps looking over at Pfefferberg's shirt, at the cuffs, the collar. PFEFFERBERG That's a nice shirt. Pfefferberg nods, Yeah, thanks, and waits for Schindler to leave; but he doesn't. Nor does he appear to hear the short burst of muffled gunfire that erupts from somewhere up the street. SCHINDLER You don't know where I could find a shirt like that. Pfefferberg knows he should say 'no,' let that be the end of it. It's not wise doing business with a German who could have you arrested for no reason whatsoever. But there's something guileless about it. PFEFFERBERG Like this? SCHINDLER (nodding) There's nothing in the stores. The clerk tries to discourage Pfefferberg from pursuing this transaction with just a look. Pfefferberg ignores it. PFEFFERBERG You have any idea what a shirt like this costs? SCHINDLER Nice things cost money. The clerk tries to tell Pfefferberg again with a look that this isn't smart. PFEFFERBERG How many? SCHINDLER I don't know, ten or twelve. That's a good color. Dark blues, grays. Schindler takes out his money and begins peeling off bills, waiting for Pfefferberg to nod when it's enough. He's being overcharged, and he knows it, but Pfefferberg keeps pushing it, more. The look Schindler gives him lets him know that he's trying to hustle a hustler, but that, in this instance at least, he'll let it go. He hands over the money and Pfefferberg hands over his notepad. PFEFFERBERG Write down your measurements. As he writes down the information, Pfefferberg glances to the desk clerk and offers a shrug. As he writes -- SCHINDLER I'm going to need some other things. As things come up. EXT. GARDEN - SCHERNER'S RESIDENCE - CRACOW - DAY As Oberfuhrer Scherner and his daughter, in a wedding gown, dance to the music of a quartet on a bandstand, the reception guests drink and eat at tables set up on an expansive lawn. CZURDA The SS doesn't own the trains, somebody's got to pay. Whether it's a passenger car or a livestock car, it doesn't matter -- which, by the way, you have to see. You have to set aside an afternoon, go down to the station and see this. Other SS and Army officers share the table with Czurda. Schindler, too, nice blue shirt, jacket, only he doesn't seem to be paying attention; rather his attention and affections are directed to the blonde next to him, Ingrid. CZURDA So you got thousands of fares that have to be paid. Since it's the SS that's reserved the trains, logically they should pay. But this is a lot of money. (pause) The Jews. They're the ones riding the trains, they should pay. So you got Jews paying their own fares to ride on cattle cars to God knows where. They pay the SS full fare, the SS turns around, pays the railroad a reduced excursion fare, and pockets the difference. He shrugs, There you have it. Brilliant. He glances off, sees something odd across the yard. Two horses, saddled-up, being led into the garden by a stable boy. SCHINDLER (to Ingrid) Excuse me. Schindler gets up from the table. Scherner, his wife and daughter and son-in-law stare at the horses; they're beautiful. Schindler appears, takes the reins from the stable boy, hands one set to the bride and the other to the groom. SCHINDLER There's nothing more sacred than marriage. No happier an occasion than one's wedding day. I wish you all the best. Scherner hails a photographer. As the guy comes over with his camera, so does just about everybody else. Scherner insists Schindler pose with the astonished bride and groom. Big smiles. Flash. INT. STOREFRONT - CRACOW - DAY A neighborhood place. Bread, pastries, couple of tables. At one sits owner and a well-dressed man in his seventies, Max Redlicht. OWNER I go to the bank, I go in, they tell me my account's been placed in Trust. In Trust? What are they talking about, whose Trust? The Germans'. I look around. Now I see that everybody's arguing, they can't get to their money either. MAX REDLICHT This is true? OWNER I'll take you there. Max looks at the man not without sympathy. He's never heard of such a thing. It's really a bad deal. But then -- MAX REDLICHT Let me understand. The Nazis have taken your money. So because they've done this to you, you expect me to go unpaid. That's what you're saying. The owner of the place just stares at Redlicht. MAX REDLICHT That makes sense to you? The man doesn't answer. He watches Max get up and cross to the front door where he says something to two of his guys and leaves. The guys come in and start carting out anything of any value: cash register, a chair, a loaf of bread... EXT. CRACOW STREET - DAY Max strolls along the sidewalk, browsing in store windows. People inside and out nod hello, but they despise him, they fear him. Just as he's passing a synagogue, some men in long overcoats cross the street. Einsatzgruppen, they are an elite and wild bunch, one of six Special Chivalrous Duty squads assigned to Cracow. INT. STARAR BOZNICA SYNAGOGUE - SAME TIME - DAY The Sabbath prayers of a congregation of Orthodox Jews are interrupted by a commotion at the rear of the ancient temple. Several non-Orthodox Jews from the street, including Max Redlicht, are being herded inside by the Einsatz Boys. They're made to stand before the Ark in two lines: Orthodox and non. One of the Einsatzgruppen squad removes the parchment Torah scroll while another calmly addresses the assembly: EINSATZ NCO I want you to spit on it. I want you to walk past, spit on it, and stand over there. No one does anything for a moment. The liberals from the street seem to say with their eyes, Come on, we're all too sophisticated for this; the others, with the beards and sidelocks, silently check with their rabbi. One by one then they file past and spit on the scroll. The last two, the rabbi and Max Redlicht hesitate. They exchange a glance. The rabbi finally does it; the gangster doesn't. After a long tense silence. MAX REDLICHT I haven't been to temple must be fifty years. (to the rabbi) Nor have I been invited. The Einsatz NCO glances from Max to the rabbi and smiles to himself. This is unexpected, this rift. MAX REDLICHT (to the rabbi) You don't approve of the way I make my living? I'm a bad man, I do bad things? Max admits it with a shrug. MAX REDLICHT I've done some things... but I won't do this. Silence. The Einsatz NCO glances away to the others, amused. EINSATZ NCO What does this mean? Of all of you, there's only one who has the guts to say no? One? And he doesn't even believe? (no one, of course answer him) I come in here, I ask you to do something no one should ever ask. And you do it? (pause) What won't you do? Nobody answers. He turns to Max. EINSATZ NCO You, sir, I respect. He pulls out a revolver and shoots the old gangster in the head. He's dead before he hits the floor. EINSATZ NCO The rest of you... ...are beneath his contempt. He turns and walks away. The other Einsatz Boys pull rifles and revolvers from their coats and open fire. EXT. CRACOW - DAY In BLACK AND WHITE and absolute silence, a suitcase thrown from a second story window arcs slowly through the air. As it hits the pavement, spilling open -- SOUND ON -- and, returning to COLOR -- Thousands of families pushing barrows through the streets of Kazimierz, dragging mattresses over the bridge at Podgorze, carrying kettles and fur coats and children on a mass forced exodus into the ghetto. Crowds of Poles line the sidewalks like spectators on a parade route. Some wave. Some take it more soberly, as if sensing they may be next. POLISH GIRL Goodbye, Jews. EXT. GHETTO GATE - DAY The little folding tables have been dragged out and set up again, and at them sit the clerks. Goldberg, of all people, has somehow managed to elevate himself to a station of some authority. Armed with something more frightening than a gun -- a clipboard -- he abets the Gestapo in their task of deciding who passes through the ghetto gate and who detours to the train station. PFEFFERBERG What's this? Pfefferberg, with his wife Mila, at the head of a line that seems to stretch back forever, flicks at Goldberg's OD armband with disgust. GOLDBERG Ghetto Police. I'm a policeman now, can you believe it? PFEFFERBERG Yeah, I can. They consider each other for a long moment before Pfefferberg leads his wife past Goldberg and into the ghetto. INT. APARTMENT BUILDING, GHETTO - NIGHT Dismayed by each others' close proximity, Orthodox and liberal Jews wait to use the floor's single bathroom. INT. GHETTO APARTMENT - NIGHT From the next apartment comes the liturgical solo of a cantor. In this apartment, looking like they can't bear much more of it, sit some non-Orthodox businessmen, Stern and Schindler. SCHINDLER For each thousand you invest, you take from the loading dock five hundred kilos of product a month -- to begin in July and to continue for one year -- after which time, we're even. (he shrugs) That's it. He lets them think about it, pours a shot of cognac from his flask, offers it to Stern, who brought this group together and now sits at Schindler's side. The accountant declines. INVESTOR 1 Not good enough. SCHINDLER Not good enough? Look where you're living. Look where you've been put. "Not good enough." (he almost laughs at the squalor) A couple of months ago, you'd be right. Not anymore. INVESTOR 1 Money's still money. SCHINDLER No, it isn't, that's why we're here. Schindler lights a cigarette and waits for their answer. It doesn't come. Just a silence. Which irritates him. SCHINDLER Did I call this meeting? You told Mr. Stern you wanted to speak to me. I'm here. Now you want to negotiate? The offer's withdrawn. He caps his flask, pockets it, reaches for his top coat. INVESTOR 2 How do we know you'll do what you say? SCHINDLER Because I said I would. What do you want, a contract? To be filed where? (he slips into his coat) I said what I'll do, that's our contract. The investors study him. This is not a manageable German. Whether he's honest or not is impossible to say. Their glances to Stern don't help them; he doesn't know either. The silence in the room is filled by the muffled singing next door. One of the men eventually nods, He's in. Then another. And another. INT. FACTORY FLOOR - DAY A red power button is pushed, starting the motor of a huge metal press. The machine whirs, louder, louder. INT. UPSTAIRS OFFICE - SAME TIME - DAY Schindler, at a wall of a windows, is peering down at the lone technician making adjustments to the machine. STERN The standard SS rate for Jewish skilled labor is seven Marks a day, five for unskilled and women. This is what you pay the Economic Office, the laborers themselves receive nothing. Poles you pay wages. Generally, they get a little more. Are you listening? Schindler turns from the wall of glass to face his new accountant. SCHINDLER What was that about the SS, the rate, the... ? STERN The Jewish worker's salary, you pay it directly to the SS, not to the worker. He gets nothing. SCHINDLER But it's less. It's less than what I would pay a Pole. That's the point I'm trying to make. Poles cost more. Stern hesitates, then nods. The look on Schindler's face says, Well, what's to debate, the answer's clear to any fool. SCHINDLER Why should I hire Poles? INT. FACTORY FLOOR - DAY Another machine starting up, growling louder, louder -- EXT. PEACE SQUARE, THE GHETTO - DAY To a yellow identity card with a sepia photograph a German clerk attaches a blue sticker, the holy Blauschein, proof that the carrier is an essential worker. At other folding tables other clerks pass summary judgment on hundreds of ghetto dwellers standing in long lines. TEACHER I'm a teacher. The man tries to hand over documentation supporting the claim along with his Kennkarte to a German clerk. CLERK Not essential work, stand over there. Over there, other "non-essential people" are climbing onto trucks bound for unknown destinations. The teacher reluctantly relinquishes his place in line. EXT. PEACE SQUARE - LATER - DAY The teacher at the head of the line again, but this time with Stern at his side. TEACHER I'm a metal polisher. He hands over a piece of paper. The clerk takes a look, is satisfied with it, brushes glue on the back of a Blauschein and sticks it to the man's work card. CLERK Good. The world's gone mad. INT. FACTORY FLOOR - DAY Another machine starting up, a lathe. A technician points things out to the teacher and some others recruited by Stern. The motor grinds louder, louder. INT. APARTMENT - DAY Schindler wanders around a large empty apartment. There's lots of light, glass bricks, modern lines, windows looking out on a park. INT. THE APARTMENT - NIGHT The same place full of furniture and people. Lots of SS in uniform. Wine. Girls. Schindler, drinking with Oberfuhrer Scherner, keeps glancing across the room to a particularly good-looking Polish girl with another guy in uniform. SCHERNER I'd never ask you for money, you know that. I don't even like talking about it -- money, favors -- I find it very awkward, it makes me very uncomfortable -- SCHINDLER No, look. It's the others. They're the ones causing these delays. SCHERNER What others? SCHINDLER Whoever. They're the ones. They'd appreciate some kind of gesture from me. Scherner thinks he understands what Schindler's saying. Just in case he doesn't -- SCHINDLER I should send it to you, though, don't you think? You can forward it on? I'd be grateful. Scherner nods. Yes, they understand each other. SCHERNER That'd be fine. SCHINDLER Done. Let's not talk about it anymore, let's have a good time. INT. SS OFFICE - DAY Scherner at his desk initialing several Armaments contracts. The letters D.E.F. appear on all of them. EXT. FACTORY - DAY Men and pulleys hoist a big "F" up the side of the building. Down below, Schindler watches as the letter is set into place -- D.E.F. INT. FACTORY OFFICES - DAY The good-looking Polish girl from the party, Klonowska, is shown to her desk by Stern. It's right outside Schindler's office. This girl has never typed in her life. INT. FACTORY FLOOR - DAY Flames ignite with a whoosh in one of the huge furnaces. The needle on a gauge slowly climbs. EXT. CRACOW - DAY A garage door slides open revealing a gleaming black Mercedes. Schindler steps past Pfefferberg and, moving around the car, carefully touches its smooth lines. INT. FACTORY - DAY Another machine starts up. Another. Another. EXT. PEACE SQUARE - DAY Stern with a woman at the head of a line. The clerk affixes the all-important blue sticker to her work card. INT. FACTORY DAY - DAY Three hundred Jewish laborers, men and women, work at the long tables, at the presses, the latches, the furnaces, turning out field kitchenware and mess kits. Few glance up from their work at Schindler, the big gold party pin stuck into his lapel, as he moves through the place, his place, his factory, in full operation. He climbs the stairs to the offices where several secretaries process Armaments orders. He gestures to Stern, at a desk covered with ledgers, to join him in his office. INT. SCHINDLER'S OFFICE - CONTINUOUS - DAY The accountant follows Schindler into the office. SCHINDLER Sit down. Schindler goes to the wall of windows, his favorite place in the world, and looks down at all the activity below. He pours two drinks from a decanter and, turning back, holds one out to Stern. Stern, of course, declines. Schinder groans. SCHINDLER Oh, come on. He comes over and puts the drink in Stern's hand, moves behind his desk and sits. SCHINDLER My father was fond of saying you need three things in life. A good doctor, a forgiving priest and a clever accountant. The first two... He dismisses them with a shrug; he's never had much use for either. But the third -- he raises his glass to the accountant. Stern's glass stays in his lap. SCHINDLER (long sufferingly) Just pretend for Christ's sake. Stern slowly raises his glass. SCHINDLER Thank you. Schindler drinks; Stern doesn't. INT. SCHINDLER'S APARTMENT - MORNING Klonowska, wearing a man's silk robe, traipses past the remains of a party to the front door. Opening it reveals a nice looking, nicely dressed woman. KLONOWSKA Yes? A series of realizations is made by each of them, quickly, silently, ending up with Klonowska looking ill. SCHINDLER (O.S.) Who is it? INT. SCHINDLER'S APARTMENT - MORNING Schindler sets a cup of coffee down in front of his wife. Behind him, through a doorway, Klonowska can be seen hurriedly gathering her things. SCHINDLER She's so embarrassed -- look at her -- Emilie begrudges him a glance to the bedroom, catching the girl just as she looks up -- embarrassed. SCHINDLER You know what, you'd like her. EMILIE Oskar, please -- SCHINDLER What -- EMILIE I don't have to like her just because you do. It doesn't work that way. SCHINDLER You would, though. That's what I'm saying. His face is complete innocence. It's the first thing she fell in love with; and perhaps the thing that keeps her from killing him now. Klonowska emerges from the bedroom thoroughly self-conscious. KLONOWSKA Goodbye. It was a pleasure meeting you. She shakes Emilie's limp hand. Schindler sees her to the door, lets her out and returns to the table, smiling to himself. Emilie's glancing around at the place. EMILIE You've done well here. He nods; he's proud of it. He studies her. SCHINDLER You look great. EXT. SCHINDLER'S APARTMENT BUILDING - NIGHT They emerge from the building in formal clothes, both of them looking great. It's wet and slick; the doorman offers Emilie his arm. DOORMAN Careful of the pavement -- SCHINDLER -- Mrs. Schindler. The doorman shoots a glance to Schindler that asks, clearly, Really? Schindler opens the passenger door of the Mercedes for his wife, and the doorman helps her in. INT. RESTAURANT - NIGHT A nice place. "No Jews or Dogs Allowed." The maitre 'd welcomes the couple warmly, shakes Schindler's hand. Nodding to his date -- SCHINDLER Mrs. Schindler. The maitre 'd tries to bury his surprise. He's almost successful. INT. RESTAURANT - LATER - NIGHT No fewer than four waiters attend them -- refilling a glass, sliding pastries onto china, lighting Schindler's cigarette, raking crumbs from the table with little combs. EMILIE It's not a charade, all this? SCHINDLER A charade? How could it be a charade? She doesn't know, but she does know him. And all these signs of apparent success just don't fit his profile. Schindler lets her in on a discovery. SCHINDLER There's no way I could have known this before, but there was always something missing. In every business I tried, I see now it wasn't me that was failing, it was this thing, this missing thing. Even if I'd known what it was, there's nothing I could have done about it, because you can't create this sort of thing. And it makes all the difference in the world between success and failure. He waits for her to guess what the thing is. His looks says, It's so simple, how can you not know? EMILIE Luck. SCHINDLER War. INT. NIGHTCLUB - NIGHT "Gloomy Sunday" from a combo on a stage. Schindler and Emilie dancing. Pressed against her -- both have had a few -- he can feel her laugh to herself. SCHINDLER What? EMILIE I feel like an old-fashioned couple. It feels good. He smiles, even as his eyes roam the room and find and meet the eyes of a German girl dancing with another man. INT. SCHINDLER'S APARTMENT - LATER - NIGHT Schindler and Emilie lounging in bed, champagne bottle on the nightstand. Long silence before -- EMILIE Should I stay? SCHINDLER (pause) It's a beautiful city. That's not the answer she's looking for and he knows it. EMILIE Should I stay? SCHINDLER (pause) It's up to you. That's not it either. EMILIE No, it's up to you. Schindler stares out at the lights of the city. They look like jewels. EMILIE Promise me no doorman or maitre 'd will presume I am anyone other than Mrs. Schindler... and I'll stay. He promises her nothing. EXT. TRAIN STATION - DAY Emilie waves goodbye to him from a first-class compartment window. Down on the platform, he waves goodbye to her. as the train pulls away, he turns away, and the platform of the next track is revealed -- soldiers and clerks supervising the boarding of hundreds of people onto another train -- the image turning BLACK AND WHITE. CLERKS Your luggage will follow you. Make sure it's clearly labeled. Leave your luggage on the platform. EXT. D.E.F. LOADING DOCK - DAY As workers load crates of enamelware onto trucks -- back to COLOR -- Stern and Schindler and the dock foreman confer over an invoice. More to Stern -- FOREMAN Every other time it's been all right. This time when I weigh the truck, I see he's heavy, he's loaded too much. I point this out to him, I tell him to wait, he tells me he's got a new arrangement with Mr. Schindler -- (to Schindler) -- that you know all about it and it's okay with you. SCHINDLER It's "okay" with me? On the surface, Schindler remains calm; underneath, he's livid. Clearly it's not "okay" with him. STERN How heavy was he? FOREMAN Not that much, just too much for it to be a mistake -- 200 kilos. Stern and Schindler exchange a glance. Then -- SCHINDLER (pause) You're sure. The foreman nods. INT. GHETTO STOREFRONT - DAY Pfefferberg and Schindler bang in through the front door, startling a woman at a desk. WOMAN AT DESK Can I help you? They move past her without a word and into the back of the place, into a storeroom. They stride past long racks full of enamelware and other goods. A man glances up, sees them coming. He's one of Schindler's investors, the one who questioned the German's word. The man's teenage sons rush to their father's defense, but Pfefferberg grabs him and locks an arm tightly around his neck. Silence. Then, calmly -- SCHINDLER If you or anyone acting as an agent for you comes to my factory again, I'll have you arrested. INVESTOR It was a mistake. SCHINDLER It was a mistake? What was a mistake? How do you know what I'm talking about? INVESTOR All right, it wasn't a mistake, but it was one time. SCHINDLER We had a deal, you broke it. One phone call and your whole family is dead. He turns and walks away. Pfefferberg lets the guy go and follows. The investor's sons help their father up off the floor. Gasping, he yells. INVESTOR I gave you money. -- but Schindler and Pfefferberg are already gone, coming through the front office and out the front door -- EXT. STOREFRONT - CONTINUOUS - DAY -- to the street. Pfefferberg looks a little shaken from the experience. Schindler straightens his friend's clothes. SCHINDLER How you feeling, all right? PFEFFERBERG Yeah. SCHINDLER What's the matter, everything all right at home? (Pfefferberg nods) Mila's okay? PFEFFERBERG She's good. Well, then, Schindler can't imagine what could be wrong. He pats Pfefferberg on the shoulder and leads him away. SCHINDLER Good. INT. FACTORY FLOOR - DAY The long tables accommodate most of workers. The rest eat their lunch on the floor. Soup and bread. INT. SCHINDLER'S OFFICE - SAME TIME - DAY An elegant place setting for one. Meat, vegetables, glass of wine, all untouched. Schindler leafing through pages of a report Stern has prepared for him. SCHINDLER I could try to read this or I could eat my lunch while it's till hot. We're doing well? STERN Yes. SCHINDLER Better this month than last? STERN Yes. SCHINDLER Any reason to think next month will be worse? STERN The war could end. No chance of that. Satisfied, Schindler returns the report to his accountant and starts to eat. Stern knows he is excused, but looks like he wants to say something more; he just doesn't know how to say it. SCHINDLER (impatient) What? STERN (pause) There's a machinist outside who'd like to thank you personally for giving him a job. Schindler gives his accountant a long-suffering look. STERN He asks every day. It'll just take a minute. He's very grateful. Schindler's silence says, Is this really necessary? Stern pretends it's a tacit okay, goes to the door and pokes his head out. STERN Mr. Lowenstein? An old man with one arm appears in the doorway and Schindler glances to the ceiling, to heaven. As the man slowly makes his way into the room, Schindler sees the bruises on his face. And when he speaks, only half his mouth moves; the other half is paralyzed. LOWENSTEIN I want to thank you, sir, for giving me the opportunity to work. SCHINDLER You're welcome, I'm sure you're doing a great job. Schindler shakes the man's hand perfunctorily and tells Stern with a look, okay, that's enough, get him out of here. LOWENSTEIN The SS beat me up. They would have killed me, but I'm essential to the war effort, thanks to you. SCHINDLER That's great. LOWENSTEIN I work hard for you. I'll continue to work hard for you. SCHINDLER That's great, thanks. LOWENSTEIN God bless you, sir. SCHINDLER Yeah, okay. LOWENSTEIN You're a good man. Schindler is dying, and telling Stern with his eyes, Get this guy out of here. Stern takes the man's arm. STERN Okay, Mr. Lowenstein. LOWENSTEIN He saved my life. STERN Yes, he did. LOWENSTEIN God bless him. STERN Yes. They disappear out the door. Schindler sits down to his meal. And tries to eat it. EXT. FACTORY - DAY Stern and Schindler emerge from the rear of the factory. The Mercedes is waiting, the back door held open by a driver. Climbing in -- SCHINDLER Don't ever do that to me again. STERN Do what? Stern knows what he means. And Schindler knows he knows. SCHINDLER Close the door. The driver closes the door. EXT. GHETTO GATE - DAY Snow on the ground and more coming down. A hundred of Schindler's workers marching past the ghetto gate, as is the custom, under armed guard. Turning onto Zablocie Street, they're halted by an SS unit standing around some trucks. EXT. ZABLOCIE STREET - DAY Shovels scraping at snow. The marchers working to clear it from the street. A dialog between one of the guards and an SS officer is interrupted by a shot -- and the face of the one-armed machinist falls into the frame. INT. OFFICE, SS HEADQUARTERS - DAY Herman Toffel, an SS contact of Schindler's who he actually likes, sits behind his desk. TOFFEL It's got nothing to do with reality, Oskar, I know it and you know it, it's a matter of national priority to these guys. It's got a ritual significance to them, Jews shoveling snow. SCHINDLER I lost a day of production. I lost a worker. I expect to be compensated. TOFFEL File a grievance with the Economic Office, it's your right. SCHINDLER Would it do any good? TOFFEL No. Schindler knows it's not Toffel's fault, but the whole situation is maddening to him. He shakes his head in disgust. TOFFEL I think you're going to have to put up with a lot of snow shoveling yet. Schindler gets up, shakes Toffel's hand, turns to leave. TOFFEL A one-armed machinist, Oskar? SCHINDLER (right back) He was a metal press operator, quite skilled. Toffel nods, smiles. EXT. FIELD - DAY From a distance, Stern and Schindler slowly walk a wasteland that lies between the rear of DEF and two other factories -- a radiator works and a box plant. Stern's doing all the talking, in his usual quiet but persuasive manner. Every so often, Schindler, glancing from his own factory to the others, nods. INT. SCHINDLER'S OFFICE - DAY The party pins the two other German businessmen wear are nothing compared to the elaborate thing in Schindler's lapel. He sits at his desk sipping cognac, a large portrait of Hitler hanging prominently on the wall behind him. SCHINDLER Unlike your radiators -- and your boxes -- my products aren't for sale on the open market. This company has only one client, the German Army. And lately I've been having trouble fulfilling my obligations to my client. With your help, I hope the problem can be solved. The problem, simply, is space. Stern, who has been keeping a low profile, hands the gentlemen each a set of documents. SCHINDLER I'd like you to consider a proposal which I think you'll find equitable. I'd like you to think about it and get back to me as soon as -- KUHNPAST Excuse me -- do you really think this is appropriate? The man glances to Stern, and back to Schindler, his look saying, This is wrong, having a Jew present while we discuss business. If Schindler catches his meaning, he doesn't admit it. Kuhnpast almost sighs. KUHNPAST I can appreciate your problem. If I had any space I could lease you, I would. I don't. I'm sorry. HOHNE Me neither, sorry. SCHINDLER I don't want to lease your facilities, I want to buy them. I'm prepared to offer you fair market value. And to let you stay on, if you want, as supervisors. (pause) On salary. There's a long stunned silence. The Germans can't believe it. After the initial shock wears off, Kuhnpast has to laugh. KUHNPAST You've got to be kidding. Nobody is kidding. KUHNPAST (pause) Thanks for the drink. He sets it down, gets up. Hohne gets up. They return the documents to Stern and turn to leave. They aren't quite out the door when Schindler wonders out loud to Stern: SCHINDLER You try to be fair to people, they walk out the door; I've never understood that. What's next? STERN Christmas presents. SCHINDLER Ah, yes. The businessmen slow, but don't look back into the room. EXT. SCHERNER'S RESIDENCE - CRACOW - MORNING Pfefferberg wipes a smudge from the hood of an otherwise pristine BMW Cabriolet. As Scherner and his wife emerge from their house in robes, Scherner whispers to himself -- SCHERNER Oskar... EXT. KUHNPAST'S RADIATOR FACTORY - DAY Workers high on the side of the building toss down the letters of the radiator sign as others hoist up a big "D." Under armed guard, others unload a metal press machine from a truck. INT. RADIATOR FACTORY / DEF ANNEX - DAY Technicians make adjustments to presses already in place. Others test the new firing ovens. Kuhnpast is being forcibly removed from the premises. INT. GHETTO EMPLOYMENT OFFICE - DAY Crowded beyond belief, the place is like a post office gone mad. Stern, moving along one of the impossibly crowded lines, pauses to speak with an elderly couple. EXT. PEACE SQUARE - DAY A hand slaps a blue sticker on a work card. Slap, another. And another. And another. INT. D.E.F. FRONT OFFICE - DAY Christmas decorations. Klonowska at her desk, her eyes closed tight. SCHINDLER All right. She opens her eyes and smiles. Schindler is holding a poodle in his arms. She comes around to kiss him. He sets the dog on the desk. Stern, across the room, watches blank-faced. GESTAPO (O.S.) Oskar Schindler? Schindler, Stern and Klonowska turn to the voice. Two Gestapo men have entered unannounced. GESTAPO We have a warrant to take your company's business records with us. And another to take you. Schindler stares at them in disbelief. Stern quietly slips one of the ledgers on his desk into a drawer. SCHINDLER Am I permitted to have my secretary cancel my appointments for the day? He doesn't wait for their approval. He scribbles down some names -- Toffel, Czurda, Reeder, Scherner. Underlining Scherner, he glances to Klonowska. She understands. INT. OFFICE, SS HEADQUARTERS, CRACOW - DAY A humorless middle-level bureaucrat sits behind a desk and D.E.F.'s ledgers and cashbooks. GESTAPO CLERK You live very well. The man slowly shakes his head 'no' to Schindler's offer of a cigarette. Schindler tamps it against the crystal of his gold watch. GESTAPO CLERK This standard of living comes entirely from legitimate sources, I take it? Schindler lights the cigarette and drags on it, all but ignoring the man. GESTAPO CLERK As an SS supplier, you have a moral obligation to desist from blackmarket dealings. You're in business to support the war effort, not to fatten -- SCHINDLER (interrupting) You know? When my friends ask, I'd love to be able to tell them you treated me with the utmost courtesy and respect. The quiet matter-of-fact tone, more than the comment itself, throws the bureaucrat off his rhythm. His eyes narrow slightly. There's a long silence. INT. HALLWAY/ROOM - SS HEADQUARTERS - DAY The two who arrested him lead Schindler down a long hallway. They reach a door, have him step inside and close the door after him. INT. SS "CELL" - EVENING Schindler knocks on the inside of the door. A Waffen SS man opens it. The "prisoner" peels several bills from a thick wad. SCHINDLER Chances of getting a bottle of vodka pretty good? He hands the young guard five times the going price. WAFFEN GUARD Yes, sir. The guard turns to leave. SCHINDLER Wait a minute. He peels off several more bills and hands them over. SCHINDLER Pajamas. INT. SS "CELL" - MORNING Perched on the side of the bed in pajamas, Schindler works on a breakfast of herring and eggs, cheeses, rolls and coffee. Someone has also brought him a newspaper. There's an apologetic knock on the door before it opens. GUARD I'm sorry to disturb you, sir. Whenever you're ready, you're free to leave. INT. FOYER, SS HEADQUARTERS - MORNING Schindler, the Gestapo clerk and one of the arresting officers cross the foyer. GESTAPO CLERK I'd advise you not to get too comfortable. Sooner or later, law prevails. No matter who your friends are. Schindler ignores the man completely. Reaching the front doors, the clerk turns over the D.E.F. records to their owner and offers his hand. Schindler lets it hang there. SCHINDLER You expect me to walk home, or what? GESTAPO CLERK (tightly) Bring a car around for Mr. Schindler. EXT. D.E.F. FACTORY - DAY A Gestapo limousine pulls in through the gates of the factory, parks near the loading docks. The driver, the same SS officer, waits for Schindler to climb out, but he doesn't; he waits for the SS man to come around and open the door for him. SCHINDLER If you'd return the ledgers to my office I'd appreciate it. There are no less than forty able-bodied Jewish laborers working on the docks, any one of which would be better suited to the task. The Gestapo man calls to one of them. SCHINDLER Excuse me -- hey -- (the guy turns) They're working. The guy just stares. Finally he heads off with the ledgers. The poodle bounds out past him and over to Schindler. He gives the dog a pat on the head. EXT. SCHINDLER'S BUILDING - EVENING Elegantly dressed for a night out, Schindler and Klonowska emerge from the building. As they're escorted to the waiting car, Schindler hesitates. A nervous figure in the shadows of an alcove is gesturing to him, beckoning him. Schindler excuses himself. Klonowska watches as he joins the man in the alcove. Their whispered conversation is over quickly and the man hurries off. EXT. PROKOCIM DEPOT - CRACOW - LATER - NIGHT From the locomotive, looking back, the string of splattered livestock carriages stretches into darkness. There's a lot of activity on the platform. Guards mill. Handcards piled with luggage trundle by. People hand up children to others already in the cars and climb aboard after them. The clerks are out in full force with their lists and clipboards, reminding the travelers to label their suitcases. Climbing from his Mercedes, Schindler stares. He's heard of this, but actually seeing the juxtaposition -- human and cattle cars -- this is something else. Recovering, he tells Klonowska to stay in the car and, moving along the side of the train, calls Stern's name to the faces peering out from behind the slats and barbed wire. AN ENORMOUS LIST OF NAMES -- -- several pages-worth on a clipboard; a Gestapo clerk methodically leafing through them. SCHINDLER (O.S.) He's essential. Without him, everything comes to a grinding halt. If that happens -- CLERK Itzhak Stern? (Schindler nods) He's on the list. SCHINDLER He is. The clerk shows him the list, points out the name to him. SCHINDLER Well, let's find him. CLERK He's on the list. If he were an essential worker, he would not be on the list. He's on the list. You can't have him. SCHINDLER I'm talking to a clerk. Schindler pulls out a small notepad and drops his voice to a hard murmur, the growl of a reasonable man who isn't ready -- yet -- to bring out his heavy guns: SCHINDLER What's your name? CLERK Sir, the list is correct. SCHINDLER I didn't ask you about the list, I asked you your name. CLERK Klaus Tauber. As Schindler writes it down, the clerk has second thoughts and calls to a superior, an SS sergeant, who comes over. CLERK The gentleman thinks a mistake's been made. SCHINDLER My plant manager is somewhere on this train. If it leaves with him on it, it'll disrupt production and the Armaments Board will want to know why. The sergeant takes a good hard look at the clothes, at the pin, at the man wearing them. SERGEANT (to the clerk) Is he on the list? CLERK Yes, sir. SERGEANT (to Schindler) The list is correct, sir. There's nothing I can do. SCHINDLER May as well get your name while you're here. SERGEANT My name? My name is Kunder. Sergeant Kunder. What's yours? SCHINDLER Schindler. The sergeant takes out a pad. Now all three of them have lists. He jots down Schindler's name. Schindler jots down his and flips the pad closed. SCHINDLER Sergeant, Mr. Tauber, thank you very much. I think I can guarantee you you'll both be in Southern Russia before the end of the month. Good evening. He walks away, back toward his car. The clerk and sergeant smile. But slowly, slowly, the smiles sour at the possibility that this man calmly walking away from them could somehow arrange such a fate... ALL THREE OF THEM -- -- Schindler, the clerk and the sergeant -- stride along the side of the cars. Two of them are calling out loudly -- CLERK & SERGEANT Stern! Itzhak Stern! Soon it seems as if everybody except Schindler is yelling out the name. As they reach the last few cars, the accountant's face appears through the slats. SCHINDLER There he is. SERGEANT Open it. Guards yank at a lever, slide the gate open. Stern climbs down. The clerk draws a line through his name on the list and hands the clipboard to Schindler. CLERK Initial it, please. (Schindler initials the change) And this... As Schindler signs three or four forms, the guards slide the carriage gate closed. Those left inside seem grateful for the extra space. CLERK It makes no difference to us, you understand -- this one, that one. It's the inconvenience to the list. It's the paperwork. Schindler returns the clipboard. The sergeant motions to another who motions to the engineer. As the train pulls out, Stern tries to keep up with Schindler who's striding away. STERN I somehow left my work card at home. I tried to tell them it was a mistake, but they -- Schindler silences him with a look. He's livid. Stern glances down at the ground. STERN I'm sorry. It was stupid. (contrite) Thank you. Schindler turns away and heads for the car. Stern hurries after him. They pass an area where all the luggage, carefully tagged, has been left -- the image becoming BLACK and WHITE. EXT./INT. MECHANICS GARAGE - NIGHT Mechanics' hood-lamps throw down pools of light through which me wheel handcarts piled high with suitcases, briefcases, steamer trunks -- BLACK and WHITE. Moving along with one of the handcarts into a huge garage past racks of clothes, each item tagged, past musical instruments, furniture, paintings, against one wall -- children's toys, sorted by size. The cart stops. A valise is handed to someone who dumps and sorts the contents on a greasy table. The jewelry is taken to another area, to a pit, one of two deep lubrication bays filled with watches, bracelets, necklaces, candelabra, Passover platters, gold in one, silver the other, and tossed in. At workbenches, four Jewish jewelers under SS guard sift and sort and weigh and grade diamonds, pearls, pendants, brooches children's rings -- faltering only once, when a uniformed figure upends a box, spilling out gold teeth smeared with blood -- the image saturating with COLOR. EXT. COUNTRYSIDE - DAY Fractured gravestones like broken teeth jut from the earth of a neglected Jewish cemetery outside of town. Down the road that runs alongside it comes a German staff car. INT. STAFF CAR - MOVING - DAY In the backseat, Untersturmfuhrer Amon Goeth pulls on a flask of schnapps. His age and build are about that of Schindler's; his face open and pleasant. GOETH Make a nice driveway. The other SS officers in the car -- Knude, Haase and Hujar -- aren't sure what he means. He's peering out the window at the tombstones. EXT. GHETTO - DAY The staff car passes through the portals of the ghetto and down the trolley lines of Lwowska Street. INT. STAFF CAR - MOVING - DAY As the car slowly cruises through the ghetto, Knude, like a tour guide, briefs the new man, Goeth -- KNUDE This street divides the ghetto just about in half. On the right -- Ghetto A: civil employees, industry workers, so on. On the left, Ghetto B: surplus labor, the elderly mostly. Which is where you'll probably want to start. The look Goeth gives Knude tells him to refrain, if he would, from offering tactical opinions. KNUDE Of course that's entirely up to you. EXT. PLASZOW FORCED LABOR SITE - DAY Outside of town, a previously abandoned limestone quarry lies nestled between two hills. The stone and brick buildings look like they've been here forever; the wooden structures, those that are up, are built of freshly-cut lumber. There's a great deal of activity. New construction and renovation -- foundations being poured, rail tracks being laid, fences and watchtowers going up, heavy segments of huts -- wall panels, eaves sections -- being dragged uphill by teams of bescarved women like some ancient Egyptian industry. Goeth surveys the site from a knoll, clearly pleased with it. But then he's distracted by voices -- a man's, a woman's -- arguing down where some barracks are being erected. The woman breaks off the dialog with a disgusted wave of her hand and stalks back to a half-finished barracks. The man, one from the car, Hujar, sees Goeth, Knude and Haase coming down the hill and moves to meet them. HUJAR She says the foundation was poured wrong, she's got to take it down. I told her it's a barracks, not a fucking hotel, fucking Jew engineer. Goeth watches the woman moving around the shell of the building, pointing, directing, telling the workers to take it all down. He goes to take a closer look. She comes over. ENGINEER The entire foundation has to be dug up and re-poured. If it isn't, the thing will collapse before it's even completed. Goeth considers the foundation as if he knew about such things. He nods pensively. Then turns to Hujar. GOETH (calmly) Shoot her. It's hard to tell which is more stunned by the order, the woman or Hujar. Both stare at Goeth in disbelief. He gives her the reason along with a shrug -- GOETH You argued with my man. (to Hujar) Shoot her. Hujar unholsters his pistol but holds it limply at his side. The workers become aware of what's happening and still their hammers. HUJAR Sir... Goeth groans and takes the gun from him and puts it to the woman's head. Calmly to her -- GOETH I'm sure you're right. He fires. She crumples to the ground. He returns the gun to his stunned inferior and, gesturing down at the body, addresses the workers. GOETH That's somebody who knew what they were doing. That's somebody I needed. (pause) Take it down, re-pour it, rebuild it, like she said. He turns and walks away. EXT. STABLES - DAWN Stable boys lead two horses into the pre-dawn light. The animals' hoofs shatter tufts of weeds like fingers of glass; fog plumes from their nostrils. EXT. PARK, CRACOW - DAWN In addition to the exhaust from idling trucks and the curling smoke from the Sonderkommando units' cigarettes, there is excitement in the chilly pre-dawn air. EXT. GHETTO - DAWN An empty street. Rooftops against a lightening sky. A few of the windows in the buildings are lighted, glowing amber; the majority are still dark. EXT. STABLES - DAWN The stable boys hoist saddles onto the horses, cinch the straps. Leaning against the hood of the Mercedes, Schindler and Ingrid, in long hacking jackets, riding breeches and boots, share cognac from his flask. EXT. PARK, CRACOW - DAWN Untersturmfuhrer Goeth, soon to be Commandant Goeth, stands before the assembled troops with a flask of cognac in his hand. He looks out over them proudly; they're good boys, these, the best. He addresses them -- GOETH Today is history. The young will ask with wonder about this day. Today is history and you are a part of it. EXT. PEACE SQUARE, GHETTO - DAWN A fourteen year old kid hurries across to the square pulling on his O.D. armband. Several others of the Jewish Ghetto Police, Golberg among them, are already assembled there. The clerks, the list makers, scissor open their folding tables, set out their ink pads and stamps. GOETH (V.O.) When, elsewhere, they were footing the blame for the Black Death, Kazimierz the Great, so called, told the Jews they could come to Cracow. They came. EXT. STABLES - DAWN Ingrid climbs onto one of the horses, Schindler onto the other. As the animals gallop away with their riders toward a wood, the stable boys wave. GOETH (V.O.) They trundled their belongings into this city, they settled, they took hold, they prospered. EXT. PARK, CRACOW - DAWN The fresh young faces of the Sonderkommandos, listening to their commander. GOETH For six centuries, there has been a Jewish Cracow. EXT. WOODS - DAWN The horses panting hard. Their hoofs hammering at the ground, climbing a hill. Riding boots kicking at their flanks. EXT. PARK, CRACOW - DAWN The boots of Amon Goeth slowly pacing. He stops. Tight on his face, smiling pleasantly. GOETH By this weekend, those six centuries, they're a rumor. They never happened. Today is history. EXT. HILLTOP CLEARING - DAWN The galloping horses break through to a clearing high on a hill. The riders pull in the reins and the hoofs rip at the earth. Schindler smiles at the view, the beauty of it with the sun just coming up. From here, all of Cracow can be seen in striking relief, like a model of a town. He can see the Vistula, the river that separates the ghetto from Kazimierz; Wawel Castle, from where the National Socialist Party's Hans Frank rules the Government General of Poland; beyond it, the center of town. He begins to notice refinements: the walls that define the ghetto; Peace Square, the assembly of men and boys. He notices a line of trucks rolling east across the Kosciuscko Bridge, and another across the bridge at Podgorze, a third along Zablocie Street, all angling in on the ghetto like spokes to a hub. EXT. GHETTO - DAY The wheels of the last truck clear the portals at Lwowska Street and the Sonderkommandos jump down. INT. APARTMENT BUILDINGS - DAWN Families are routed from their apartments. An appeal to be allowed to pack is answered with a rifle butt; an unannounced move to a desk drawer is countered with a shot. EXT. STREETS, GHETTO - DAWN Spilling out of the buildings, they're herded into lines without regard to family consideration; some other unfathomable system is at work here. The wailing protests of a woman to join her husband's line are abruptly cut off by a short burst of gunfire. EXT. HILLTOP - DAWN From here, the action down below seems staged, unreal; the rifle bursts no louder than caps. Dismounting, Schindler moves closer to the edge of the hill, curious. His attention is drawn to a small distant figure, all in red, at the rear of one of the many columns. EXT. STREET - DAWN Small red shoes against a forest of gleaming black boots. A Waffen SS man occasionally corrects the little girl's drift, fraternally it seems, nudging her gently back in line with the barrel of his rifle. A volley of shots echoes from up the street. EXT. HILLTOP - DAWN Schindler watches as the girl slowly wanders away unnoticed by the SS. Against the grays of the buildings and street she's like a moving red target. EXT. STREET - DAWN A truck thundering down the street obscures her for a moment. Then she's moving past a pile of bodies, old people executed in the street. EXT. HILLTOP - DAWN Schindler watches: she's so conspicuous, yet she keeps moving -- past crowds, past dogs, past trucks -- as though she were invisible. EXT. STREET - DAWN Patients in white gowns, and doctors and nurses in white, are herded out the doors of a convalescent hospital. The small figure in red moves past them. Shots explode behind her. EXT. HILLTOP - DAWN Short bursts of light flash throughout the ghetto like stars. Schindler, fixated on the figure in red, loses sight of her as she turns a corner. INT. APARTMENT BUILDING - DAWN She climbs the stairs. The building is empty. She steps inside an apartment and moves through it. It's been ransacked. As she crawls under the bed, the scene DRAINS of COLOR. The gunfire outside sounds like firecrackers. EXT. HILLTOP - NIGHT NIGHT Silence. Schindler and Ingrid are gone. Below, the ghetto lies like a void within the city, its perimeter and interior clearly distinguishable by darkness. Outside it, the lights of the rest of Cracow glimmer. INT. D.E.F. FACTORY - NIGHT Tables and tools and enamelware scrap. The metal presses and lathes, still. The firing ovens, cold. The gauges at zero. Against the wall of windows overlooking the empty factory floor stands a figure, Schindler, in silhouette against the glass, black against white, not moving, just staring down. EXT. FOREST - PLASZOW - MORNING Bloody wheelbarrows, stark against the tree line of a forest above the completed forced labor camp, PLASZOW. EXT. PLASZOW FORCED LABOR CAMP - MORNING Names on lists. Names called out. Tight on faces. Goldberg at one of several folding tables. The gangsterturned -- ghetto-cop is now the Lord of Lists inside Plaszow. He and other listmakers call out names, accounting for those thousands who survived the liquidation of the ghetto and now stand before them in long straight rows. INT. GOETH'S BEDROOM, PLASZOW - MORNING Amon Goeth stirs, wakes, glances at the woman asleep beside him. Hungover, he drags himself slowly out of bed. EXT. GOETH'S BALCONY - MOMENTS LATER - MORNING Goeth steps out onto the balcony in his undershirt and shorts and peers out across the labor camp, his labor camp, his kingdom. Satisfied with it, even amazed, he's reminiscent of Schindler looking down on his kingdom, his factory, as he loves to do, from his wall of glass. Life is great. Goeth reaches for a rifle. EXT. PLASZOW SAME TIME - MORNING Workers loading quarry rock onto trolleys under Ukrainian guard and a low morning sun. Every so often, one glances with anticipation to the balcony of Goeth's "villa" -- which is in fact nothing more than a two-story stone house perched on a slight rise in the dry landscape. EXT. GOETH'S BALCONY - CONTINUED - MORNING The butt of the rifle against his shoulder, Goeth aims down at the quarry -- at this worker, at that one -- indiscriminately, inscrutably. He fires a shot and a distant figure falls. INT. GOETH'S BEDROOM - SAME TIME - MORNING The woman in bed groans at the echoing shot. She's used to it but she still hates it; it's such an awful way to be woken. MAJOLA (mutters) Amon... Christ... She buries her head under a pillow. Goeth reappears. He pads to his bathroom, goes inside and urinates. EXT. PLASZOW - DAY Schindler's Mercedes winds through the camp, past warehouses and workshops, trucks full of furs and furniture, work details, barracks, guard blocks. A man standing alone wears a sign around his neck -- "I am a potato thief." EXT. GOETH'S VILLA - PLASZOW - DAY The Mercedes pulls in next to some other nice cars parked on a driveway made of tombstones from the Jewish cemetery. EXT. PATIO, GOETH'S VILLA - DAY A patio table set with crystal, china, silver. Goeth and Hujar are there, in pressed SS uniforms, and two industrialists, Bosch and Madritsch. One chair is empty. HUJAR Your machinery will be moved and installed by the SS at no cost to you. You will pay no rent, no maintenance -- Hujar glances off, interrupted by Schindler's arrival. Although he's never been here, the industrialist comes in like he owns the place. All but Goeth rise. SCHINDLER No, no, come on, sit -- He works his way around the table, patting Bosch and Madritsch on the back -- he knows them -- shaking Hujar's hand, who he doesn't know. He reaches Goeth. SCHINDLER How you doing? Goeth takes a good long look at the handsomely dressed entrepreneur and allows him to shake his hand. GOETH We started without you. SCHINDLER Good. Schindler takes a seat, shakes a napkin onto his lap, nods to the servant holding out a bottle of champagne to him. SCHINDLER Please. Goeth watches him. The others watch Goeth. SCHINDLER I miss anything important? HUJAR I was explaining to Mr. Bosch and Mr. Madritsch some of the benefits of moving their factories into Plaszow. SCHINDLER Oh, good, yeah. Schindler clearly doesn't care, but nods as though he did. He drinks. Goeth just watches him with what seems to be growing amusement. He nods to Hujar to continue. HUJAR Since your labor is housed on-site, it's available to you at all times. You can work them all night if you want. Your factory policies, whatever they've been in the past, they'll continue to be, they'll be respected -- Schindler laughs out loud, cutting Hujar off. Hujar glances over to Goeth nonplussed. SCHINDLER I'm sorry. He's not sorry at all, and starts in on the plate of food that's set down in front of him. GOETH You know, they told me you were going to be trouble -- Czurda and Scherner. SCHINDLER You're kidding. Goeth slowly shakes his head no... then smiles. GOETH He looks great, though, doesn't he? I have to know -- where do you get a suit like that? what is that, silk? (Schindler nods) It's great. SCHINDLER I'd say I'd get you one but the guy who made it, he's probably dead, I don't know. He shrugs like, those are the breaks, too bad. Goeth just smiles. The others watch the two of them, unsure how they're supposed to react. INT. GOETH'S OFFICE - PLASZOW - LATER - DAY The others have gone. It's just Goeth and Schindler now. Goeth pours glasses of cognac. GOETH Something wonderful's happened, do you know what it is? Without planning it, we've reached that happy point in our careers where duty and financial opportunity meet. Schindler nods pensively, perhaps in agreement, perhaps at some other thought. There's a silence, broken finally by -- SCHINDLER I go to work the other day, there's nobody there. Nobody tells me about this, I have to find out, I have to go in, everybody's gone -- GOETH They're not gone, they're here. SCHINDLER They're mine! His voice echoes into silence. An acquiescent shrug from Goeth finally. And a nod; Schindler's right. SCHINDLER Every day that goes by, I'm losing money. Every worker that is shot, costs me money -- I have to get somebody else, I have to train them -- GOETH We're going to be making so much money, none of this is going to matter -- SCHINDLER (cutting him off) It's bad business. GOETH (shrugs) Some of the boys went crazy, what're you going to do? You're right, it's bad business, but it's over with, it's done. (pause) Occasionally, sure, okay, you got to make an example. But that's good business. Schindler pours himself another shot from the bottle, nurses it. He's in a foul mood. They study each other, trying to determine perhaps who's more powerful. Eventually -- GOETH Scherner told me something else about you. SCHINDLER Yeah, what's that? GOETH That you know the meaning of the word gratitude. That it's not some vague thing with you like with some guys. SCHINDLER True. Goeth tries to put the situation in perspective: GOETH You want to stay where you are. You got things going on the side, things are good, you don't want anybody telling you what to do -- I can understand all that. (pause) What you want is your own sub-camp. Schindler admits it by not disagreeing. Goeth thinks about it, nods to himself again, then frowns. GOETH Do you have any idea what's involved? The paperwork alone? Forget you got to build it all, getting the fucking permits, that's enough to drive you crazy. Then the engineers show up. They stand around and they argue about drainage -- I'm telling you, you'll want to shoot somebody, I've been through it, I know. SCHINDLER Well, you've been through it. You know. You could make things easier for me. Goeth mulls it over, his shrug saying "maybe, maybe not." A silence before -- SCHINDLER I'd be grateful. There's the word Goeth was waiting to hear. EXT. D.E.F. SUBCAMP SITE - DAY An SS surveyor, with even paces, measures a distance of the bare field adjacent to the factory. He sticks a little flag into the ground. EXT. D.E.F. SUBCAMP SITE - DAY A watchtower, half-erected, the little flag still in the ground. Laborers hammer at it while others roll out barbed wire fencing. A surveyor supervises the placement of a post and carefully measures its heights; it has to be nine feet, exactly. At a folding table in the middle of the field, Schindler signs checks made out to the Construction Office, Plaszow -- requisitioning more lumber, cement and hardware. EXT. CONSTRUCTION OFFICE, PLASZOW - DAY Plaszow prisoners load the requisitioned building supplies -- the lumber, cement and hardware -- onto trucks. EXT/INT. WAREHOUSE, CRACOW - DAY The trucks parked not at Schindler's sub-camp, but at the loading dock of Goeth's private warehouse in Cracow. Inside the building can be glimpsed all kinds of Plaszow goods: clothes, food, construction equipment, furniture. Checkbook laid out on the hood of his Mercedes, Schindler pays for the requested materials a second time -- this time with a check made out to Amon Goeth personally -- and hands it over to his bagman, Hujar. EXT. D.E.F. SUBCAMP FIELD - DAY Some SS architects groan over a set of blueprints. Schindler and an SS officer walk by. SS OFFICER You have the Poles beat the Czechs, you have the Czechs beat the Poles, that way everybody stays in line. SCHINDLER All I have is Jews. He shrugs, Too bad, what're you going to do? The SS guy has to think. Yeah, that's a problem. Two huge leashed dogs yank another SS man across their path. EXT. D.E.F. - DAY As five hundred Plaszow prisoners are marched back onto the grounds of D.E.F., any hope they may have had of a more lenient environment is quickly dashed. The place -- completed -- looks like a fortress: barbed-wire, towers, SS guards and dogs. INT. D.E.F. FACTORY - DAY Where once they glimpsed the not too threatening figure of Oskar Schindler strolling through the factory, the workers who dare glance up now find armed guards moving past. And further up, behind the wall of windows, Schindler moving around, entertaining SS officer. INT. GOETH'S VILLA - NIGHT The Rosner brothers in evening clothes, Leo on accordion, Henry on violin, playing a Strauss melody, trying to keep it muted, inoffensive. Few of the guests pay attention, which is fine with them. An SS officer chats with Schindler. LEO JOHN -- she's seventy years old, she's been there forever -- they bomb her house. Everything's gone. The furniture, everything. SCHINDLER (well aware the man is lying) Thank God she wasn't there. Schindler, with yet another girl on his arm, endures the officer's lies while sweeping the room with his eyes. LEO JOHN I was thinking maybe you could help her out. Some plates and mugs, some stew pots, I don't know. Say half a gross of everything? Schindler looks at him for the first time, knowingly. SCHINDLER She run an orphanage, your aunt? LEO JOHN She's old. What she can't use maybe she can sell. Schindler's girl excuses herself to get a drink. SCHINDLER You want it sent directly to her or through you? LEO JOHN Through me, I think. I'd like to enclose a card. Schindler nods, Done. Both watch his date across the room getting a drink. As usual, she's the best-looking on there. LEO JOHN Your wife must be a saint. Whatever tolerance Schindler's had up to this point with John leaves his face; the looks he gives him now is pure contempt. SCHINDLER She is. INT. GOETH'S VILLA - LATER - NIGHT Goeth's girl tonight, a Pole, eighteen, nineteen, places a hand on Schindler's sleeve. They're at the important end of the large table with Goeth, along with Czurda and Leo John and their girlfriends. GOETH'S GIRL You're not a soldier? SCHINDLER No, dear. CZURDA There's a picture. Private Schindler? Blanket around his shoulders over in Kharkov? Everyone laughs. GOETH Happened to what's his name -- up in Warsaw -- and he was bigger than you, Oskar. CZURDA Toebbens. GOETH Happened to Toebbens. Almost. Himmler goes up to Warsaw, tells the armament guys, "Get the fucking Jews out of Toebbens' factory and put Toebbens in the army," and -- "and sent him to the Front." I mean, the Front. Everybody laughs. GOETH It's true. Never happen in Cracow, though, we all love you too much. SCHINDLER I pay you too much. Another round of laughs, only this time it's forced. Everybody knows it's true, but you don't say it out loud, and Schindler knows better. Goeth gives him a look; they'll talk later. EXT. GOETH'S VILLA - LATER - NIGHT Goeth finds Schindler alone outside smoking a cigarette. Schindler acknowledges him, but that's about it. Finally -- SCHINDLER You held back Stern. You held back the one man most important to my business. GOETH He's important to my business. SCHINDLER What do you want for him, I'll give it to you. GOETH I want him. (turning back) Come on, let's go inside, let's have a good time. Goeth heads back inside. Schindler stays outside, finishing his cigarette. EXT. PLASZOW - LATER - NIGHT A folding table outside the prisoners' barracks. At it, playing cards, two night sentries. A figure appears out of the darkness. Schindler. He sets down on the table a fifth of vodka. EXT. BARRACKS - LATER - NIGHT Stern, summoned from his barracks, watches as Schindler digs through his coat pockets. Nearby, at the table, drinking now, the sentries. From the hill, the villa, the Rosners' music, faint, can be heard. SCHINDLER Here. He discreetly hands over to the accountant some cigars scavenged from the party. From another pocket, he retrieves and hands over some tins of food -- all valuable commodities. From another pocket, perhaps not so valuable, but then who knows, a gold lighter. Regarding this last item -- SCHINDLER This, I don't know, maybe you can trade it for something. STERN Thank you. Schindler shrugs, It's the least I can do. The two stand around a moment more before Schindler shrugs again, Sorry I can't do more. He reaches out, pats Stern on the shoulder, and, turning to leave. SCHINDLER I got to go, I'll see you. STERN Oskar -- Schindler comes back, but, out of embarrassment or -- maybe he wants to get back to the party -- waits with some impatience for Stern to tell whatever it is he wants to tell him. Lowering his voice -- STERN There's a guy. This thing happened. Goeth came into the metalworks -- CUT TO: INT. METALWORKS - PLASZOW - DAY Goeth moves through the crowded metalworks like a goodnatured foreman, nodding to this worker, wishing that one a good morning. He seems satisfied, even pleased, with the level of production. Goldberg is with him. They reach a particular bench, a particular worker, and Goeth smiles pleasantly. GOETH What are you making? Not daring to look up, all the worker sees of Goeth is the starched cuff of his shirt. LEVARTOV Hinges, sir. The rabbi-turned-metalworker gestures with his head to a pile of hinges on the floor. Goeth nods. And in a tone more like a friend than anything else -- GOETH I got some workers coming in tomorrow... Where the hell they from again? GOLDBERG Yugoslavia. GOETH Yugoslavia. I got to make room. He shrugs apologetically and pulls out a pocket watch. GOETH Make me a hinge. As Goeth times him, Rabbi Levartov works at making a hinge as though his life depended on it -- which it does -- cutting the pieces, wrenching them together, smoothing the edges, all the while keeping count on his head of the seconds ticking away. He finishes and lets it fall onto the others on the floor. Forty seconds. GOETH Another. Again the rabbi works feverishly -- cutting, crimping, sanding, hearing the seconds ticking in his head -- and finishing in thirty-five. Goeth nods, impressed. GOETH That's very good. What I don't understand, though, is -- you've been working since what, about six this morning? Yet such a small pile of hinges? He understands perfectly. So does Levartov; he has just crafted his own death in exactly 75 seconds. Goeth stands him against the workshop wall and adjusts his shoulders. He pulls out his pistol, puts it to the rabbi's head and pulls the trigger... click. GOETH (mumble) Christ -- Annoyed, Goeth extracts the bullet-magazine, slaps it back in and puts the barrel back to the man's head. He pulls the trigger again... and again there's a click. GOETH God damn it -- He slams the weapon across Levartov's face and the rabbi slumps dazed to the floor. Looking up into Goeth's face, he knows it's not over. As Goeth walks away -- CUT BACK TO: EXT. BARRACKS - CONTINUED - NIGHT Tight on Schindler, a pensive nod, then a shrug. SCHINDLER The guy can turn out a hinge in less than a minute? Why the long story? INT. D.E.F. - DAY Rabbi Levartov, brought over to D.E.F., works at a table with several others. As Schindler strolls by, the rabbi dares to speak -- LEVARTOV Thank you, sir. Schindler has to think a moment before he can figure out who the grateful man is. SCHINDLER Oh, yeah. You're welcome. EXT. PLASZOW - DAY A dead chicken dangling from Hujar's hand, evidence of some kind. Goeth slowly pacing before a work detail of twenty or so men standing still, silent, in a row. GOETH Nobody knows who stole the chicken. A man walks around with a chicken, nobody notices this. No one confesses. Goeth nods, All right, takes a rifle from a guard and shoots one of the workers at random. With this added incentive, he waits for someone to tell him who stole the chicken. No one does. GOETH Still nobody knows. He shrugs, Okay, points the rifle at another worker -- and a boy of fourteen, shuddering and weeping, steps out of line. GOETH There we go. Goeth goes over to the boy, and, like a distant relative to a small child, tries to get him to look at his face. GOETH It was you? You committed this crime? BOY No, sir. GOETH You know who, though. The boy nods, weeps, screams -- BOY Him! He's pointing at the dead man. And Goeth astonishes the entire assembly of workers and guards by believing the boy. He returns the rifle to the guard and walks away. Hujar stares after him, then knowingly at the boy. EXT. PLASZOW - DAY A truck being loaded with supplies. Schindler signs for it and, appearing as rushed as he always does, returns the clipboard to Stern. SCHINDLER Yeah, sure, bring him over. INT. D.E.F. - DAY Schindler comes down the stairs with Klonowska. As they're crossing through the factory -- BOY Thank you, sir. SCHINDLER (distracted) That's okay. INT. MECHANICS' GARAGE - PLASZOW - DAY A mechanic peering under the hood of Goeth's Adler. Leaning in he accidentally knocks a wrench off the radiator into the fan and there's an awful clatter before the engine dies. The mechanic glances up horrified. EXT. GOETH'S VILLA - DAY As servants hoist a heavy, elaborately tooled saddle from Schindler's trunk - a gift for Goeth -- Schindler sees Stern coming toward him and glances skyward long-sufferingly. INT. D.E.F. - DAY The mechanic, making adjustments to a metal press, glances up as Schindler moves past. MECHANIC Thank -- SCHINDLER Yeah, yeah, yeah. EXT. D.E.F. FACTORY - DAY Across the street stands a nervous young woman in a faded dress. She seems to be trying to summon the courage to cross over and onto the factory grounds. INT. D.E.F. FACTORY - DAY Just inside the factory, she waits as a guard telephones Schindler's office. She can see the wall of windows from where she's standing, and Schindler himself as he appears at it, phone to his ear. He glances down at her disapprovingly and the guard hangs up. GUARD He won't see you. INT. APARTMENT - CRACOW - DAY The woman alone in a dismal room pulling on nylon stockings. At a mirror, she applies make-up. She slips into a provocative dress. Puts on heels. A Parisian hat. And looks in the mirror. INT. D.E.F. - DAY Schindler waits for her on the landing of the stairs. He doesn't recognize her, but smiles to counter the unfortunately possibility she's some old girlfriend he's forgotten. Reaching him, she offers her hand. SCHINDLER Miss Krause. MISS KRAUSE How do you do? He can tell now she doesn't know him. He seems relieved. He leads her past Klonowska's desk and into his office. INT. SCHINDLER'S OFFICE - DAY He arranges a chair for her, goes to his liquor cabinet. SCHINDLER Pernod? Cognac? MISS KRAUSE No, thank you. He pours himself a drink, warms it in his hands, smiles, clearly take with her. SCHINDLER So. The grace with which she's carried herself up to this point seems to evaporate as she struggles to find the words she wants. MISS KRAUSE They say that no one dies here. They say your factory is a haven. They say you are good. Schindler's face changes like a wall going up, a mask of indifference like in the portrait of Adolf Hitler on the wall behind him. SCHINDLER Who says that? MISS KRAUSE Everyone. Schindler glances away from her. He seems weary suddenly, depressed. MISS KRAUSE My name is Regina Perlman, not Elsa Krause. I've been living in Cracow on false papers since the ghetto massacre. (pause) My parents are in Plaszow. They're old. They're killing old people in Plaszow now. They bury them up in the forest. I have no money. I borrowed these clothes. Will you bring them here? Schindler glances back at her, his face hard, cold, and studies her for a long, long moment before -- SCHINDLER I don't do that. You've been misled. I ask one thing: whether or not a worker has certain skills. That's what I ask and that's what I care about, get out of my office. She stares at him, frightened and bewildered. She feels tears welling up. SCHINDLER Cry and I'll have you arrested, I swear to God. She hurries out. INT. ADMINISTRATION BUILDING - PLASZOW - DAY Schindler barges into Stern's office. In a foul and aggressive mood, he dispenses with pleasantries in order to admonish the accountant -- SCHINDLER People die, it's a fact of life. Stern has hardly had time to look up from the work on his desk. SCHINDLER He wants to kill everybody? Great. What am I supposed to do, bring everybody over? Is that what you think? Yeah, send them over to Schindler, send them all. His place is a "haven," didn't you know? It's not a factory, it's not an enterprise of any kind, it's a haven for people with no skills whatsoever. Stern's look is all innocence, but Schindler knows better. SCHINDLER You think I don't know what you're doing? You're so quiet all the time? I know. STERN (with concern) Are you losing money? SCHINDLER No, I'm not losing money, that's not the point. STERN What other point is -- SCHINDLER (interrupts; yells) It's dangerous. It's dangerous, to me, personally. Silence. Schindler tries to settle down. Then -- SCHINDLER You have to understand, Goeth's under enormous pressure. You have to think of it in his situation. He's got this whole place to run, he's responsible for everything that goes on here, all these people -- he's got a lot of things to worry about. And he's got the war. Which brings out the worst in people. Never the good, always the bad. Always the bad. But in normal circumstances, he wouldn't be like this. He'd be all right. There'd be just the good aspects of him. Which is a wonderful crook. A guy who loves good food, good wine, the ladies, making money... STERN And killing. SCHINDLER I'll admit it's a weakness. I don't think he enjoys it. (pause) All right, he does enjoy it, so what? What do you expect me to do about it? STERN There's nothing you can do. I'm not asking you to do anything. You came into my office. But it isn't Stern who needs convincing; it's Schindler himself. It's doubtful he even realizes this, but it's clear to Stern. Schindler sighs either at the predicament itself, or at the fact that he's allowed Stern to place him right in the middle of it. He turns to leave, hesitates. He conducts a mental search for a name and eventually comes up with it: SCHINDLER Perlman, husband and wife. He unstraps his watch, hands it to Stern. SCHINDLER Give it to Goldberg, have him send them over. He leaves. EXT. BALCONY - GOETH'S VILLA - NIGHT Distant music, Brahms' lullaby, from the Rosner Brothers way down by the women's barracks calming the inhabitants. Up here on the balcony, Schindler and Goeth, the latter so drunk he can barely stand up, stare out over Goeth's dark kingdom. SCHINDLER They don't fear us because we have the power to kill, they fear us because we have the power to kill arbitrarily. A man commits a crime, he should know better. We have him killed, we feel pretty good about it. Or we kill him ourselves and we feel even better. That's not power, though, that's justice. That's different than power. Power is when we have every justification to kill -- and we don't. That's power. That's what the emperors had. A man stole something, he's brought in before the emperor, he throws himself down on the floor, he begs for mercy, he knows he's going to die... and the emperor pardons him. This worthless man. He lets him go. That's power. That's power. It seems almost as though this temptation toward restraint, this image Schindler has brush-stroked of the merciful emperor, holds some appeal to Goeth. Perhaps, as he stares out over his camp, he imagines himself in the role, wondering what the power Schindler describes might feel like. Eventually, he glances over drunkenly, and almost smiles. SCHINDLER Amon the Good. EXT. STABLES - PLASZOW - DAY A stable boy works to ready Goeth's horse before he arrives. He sticks a bridle into its mouth, throws a riding blanket onto its back, drags out the saddle Schindler bought Goeth. Before he can finish, though, Goeth is there. The boy tries to hide his panic; he knows others have been shot for less. STABLE BOY I'm sorry, sir, I'm almost done. GOETH Oh, that's all right. As Goeth waits, patiently it seems, whistling to himself, the stable boy tries to mask his confusion. EXT. PLASZOW - DAY Goeth gallops around his great domain holding himself high in the saddle. But everywhere he looks, it seems, he's confronted with stoop-shouldered sloth. He forces himself to smile benevolently. INT. GOETH'S VILLA - DAY Goeth comes into his bedroom sweating from his ride. A worker with a pail and cloth appears in the bathroom doorway. MORE TO THE FLOOR -- WORKER I have to report, sir, I've been unable to remove the stains from your bathtub. Goeth steps past him to take a look. The worker is almost shaking, he's so terrified of the violent reprisal he expects to receive. GOETH What are you using? WORKER Soap, sir. GOETH (incredulous) Soap? Not lye? The worker hasn't a defense for himself. Goeth's hand drifts down as if by instinct to the gun in his holster. He stares at the worker. He so wants to shoot him he can hardly stand it, right here, right in the bathroom, put some more stains on the porcelain. He takes a deep breath to calm himself. Then gestures grandly. GOETH Go ahead, go on, leave. I pardon you. The worker hurries out with his pail and cloth. Goeth just stands there for several moments -- trying to feel the power of emperors he's supposed to be feeling. But he doesn't feel it. All he feels is stupid. EXT. GOETH'S VILLA - MOMENTS LATER - DAY The worker hurries across the dying lawn outside the villa. He dares a glance back, and at that moment, a hand with a gun appears out the bathroom window and fires. EXT. BARRACKS, PLASZOW - NIGHT The sentries at their little table again, drinking Schindler's vodka. Nearby, Schindler and Stern outside Stern's barracks. The accountant's tone is hushed: STERN If he didn't steal so much, I could hide it. If he's steal with some discretion... CUT TO: STERN'S OFFICE, PLASZOW - DAY Goldberg delivers a stack of requisitions and invoices, and leaves without a word. Behind his desk, Stern takes a cursory look at them and shakes his head in dismay. INT. GOLDBERG'S OFFICE, PLASZOW - MINUTES LATER - DAY Stern comes in with the requisitions. Now it's Goldberg's turn to shake his head in dismay; he doesn't want to hear it -- STERN There are fifteen thousand people here -- GOLDBERG Goeth says there's twenty-five. STERN There are fifteen. He wants to say sixteen, seventeen, all right, maybe he can get away with it, but ten thousand over? It's stupid. GOLDBERG Stern, do me a favor, get out of here. You want to argue about it, go tell Goeth. LOADING DOCK, PLASZOW - DAY Stern watches truck being unloaded of bags of flour, rice and other supplies. Goeth nods to Hujar. Hujar calls a halt. The workers climb down, close up the trucks. And, still half full, the trucks rumble off. STERN (V.O.) The SS auditors keep coming around, looking over the books -- Goeth knows this -- EXT. CRACOW - DAY The trucks at the loading dock of Goeth's private warehouse. Polish workers, under Hujar's supervision, throwing down the "surplus" bags of flour and rice -- the supplies for the phantom 10,000 prisoners. STERN (V.O.) -- you'd think he'd have the common sense to see what's coming. No, he steals with complete impunity. CUT BACK TO: BARRACKS - CONTINUED - NIGHT They can see Goeth's villa up on the hill; figures moving around behind the windows. There's another party going on up there. Down here, as he nurses a drink from his flask, Schindler thinks about what Stern has told him, and eventually shrugs, Fine, fuck him. SCHINDLER So you'll be rid of him. But Stern slowly shakes his head 'no.' STERN If Plaszow is closed, they'll have to send us somewhere else. Where -- who knows? Gross-Rosen maybe. Maybe Auschwitz. There's the irony -- bad as it is, evil as Goeth is, it could get worse. Schindler understands. SCHINDLER I'll talk to him. STERN I think it's too late. SCHINDLER Well, I'll talk to somebody. I'll take care of it. He hands over to Stern some negotiable items and leaves. INT. NIGHTCLUB - CRACOW - NIGHT Schindler and Senior SS Officers Toffel and Scherner share a table in same smoke-filled nightclub they met in. SCHINDLER What's he done that's so bad -- take money? That's a crime? Come on, what are we here for, to fight a war? We're here to make money, all of us. TOFFEL There's taking money and there's taking money, you know that. He's taking money. SCHERNER The place produces nothing. I shouldn't say that -- nothing it produces reaches the Army. That's not all right. SCHINDLER So I'll talk to him about it. SCHERNER He's a friend of yours, you want to help him out. Tell me this, though -- has he ever once shown you his appreciation? I've yet to see it. Never a courtesy. Never a thank you note. He forgets my wife at Christmas time -- SCHINDLER He's got no style, we all know that. So, we should hang him for it? TOFFEL He's stealing from you, Oskar. SCHINDLER Of course he's stealing from me, we're in business together. What is this? I'm sitting here, suddenly everybody's talking like this is something bad. We take from each other, we take from the Army, everybody uses everybody, it works out, everybody's happy. SCHERNER Not like him. Schindler glances away to the floor show, nods to himself. Glancing back again, he considers the SS men with great sobriety. SCHINDLER Yeah, well, in some eyes it doesn't matter the amount we steal, it's that we do it. Each of us sitting at this table. His thinly veiled threat of exposure escapes neither SS man. The air seems thicker suddenly. SCHERNER He doesn't deserve your loyalty. More important, he's not worth you making threats against us. SCHINDLER Did I threaten anybody here? I stated a simple fact. The threat still stands, despite Schindler's assurance otherwise, and they all know it. So does Scherner's threat back to him, and they all know that, too. But Schindler just grins, and, glancing away -- SCHINDLER Come on, let's watch the girls. INT. D.E.F. FACTORY - DAY In addition to the mid-day soup and break, there are bowls of fruit on the long work tables. At one of them, several workers are debating which of them will go upstairs to thank Schindler. INT. UPSTAIRS OFFICES, D.E.F. - SAME TIME - DAY In honor of Schindler's birthday, Goeth has brought over Stern and the Rosners -- the musicians, at the moment, accompanying the best baritone in the Ukrainian garrison. Surrounded by his friends and lovers, Schindler cuts a cake. He receives congratulations from the many SS men present and the embraces, in turn, of Ingrid and Klonowska and Goeth. From Stern he gets a handshake. A Jewish girl from the shop floor is admitted and timidly approaches the drunken group around Schindler. The SS men consider her as a curiosity; Schindler, as he would any beautiful girl. The music breaks and out of the silence comes a small nervous voice: FACTORY GIRL ...On behalf of the workers... sir... I wish you a happy birthday... She hesitates. She's surrounded by SS uniforms and swastikas and holstered guns. Schindler smiles; this is a beautiful girl. SCHINDLER Thank you. He kisses her on the mouth. The smiles on the faces around them strain. Stern glances to heaven. Amon cocks his head like a confused dog. The kiss is broken, finally, and Schindler smiles again with impunity. SCHINDLER Thank them for me. The girl backs away nodding anxiously; all she wants now is out before someone -- her, Schindler, both of them -- gets shot. Henry Rosner nudges Leo and they begin another song. And the party tries to resume. EXT. APPELLPLATZ - PLASZOW - DAWN Were they not asleep in their barracks, the prisoners would no doubt shudder at the sight: the clerks are setting up their folding tables. Other figures move around the parade ground in the murky dawn light: these raising a banner, those wheeling filing cabinets across the Appellplatz, this one wiring a phonograph, that one saturating a pad with ink from a bottle. Goldberg, Lord of Lists, moves from table to table handing out carbons of lists and sharing morning pleasantries with the clerks. Some men in white appear like ghosts. A doctor's kid is opened, a stethoscope removed. Another cleans the lenses of his glasses. Someone sharpens a pencil. EXT. DEPOT - PLASZOW - DAWN A trainman waving a lantern guides an engineer who's slowly backing an empty cattle car along the tracks. It couples to another empty slatted car with a harsh clank. EXT. APPELLPLATZ - PLASZOW - DAY The needle of the phonograph is set down on a pocked 78. The first scratchy note of a Strauss waltz blare from the camp speakers. EXT. BALCONY - GOETH'S VILLA - DAY In his undershirt and shorts Goeth calmly smokes his first cigarette of the morning as he listens to the music wafting up from down below. Down there on the Appellplatz, the entire population of the camp has been concentrated, some fifteen thousand prisoners. EXT. APPELLPLATZ - PLASZOW - DAY Though the music and banners struggle to evoke a country fair, the presence of the doctors belie it. A sorting out process is going on here, the healthy from the unhealthy. A physician wipes at his brow with his handkerchief as several prisoners run back and forth, naked, before him. He makes his selections quickly: this one into this line, that one into that, and Goldberg moves them recording the names. Other groups of people run naked in front of other doctors and clerks. Notations are made and lines are formed. The sun beats down and the music lies. EXT. DEPOT - PLASZOW - DAY Some still pulling their clothes back on, the first wave of the "unfit" is marched onto the platform. A guard slides open the gate of a cattle car and this first unlucky group climbs aboard. EXT. APPELLPLATZ - PLASZOW - DAY Behind the camouflage of other women prisoners, Mila Pfefferberg rubs a beet against her cheeks in desperate hope of adding a little color to her skin. Amon Goeth, his shirtsleeves uncharacteristically rolled up, chats with one of the doctors as another group strips. Whether the topic is this Health Aktion or the unseasonable weather is unclear, but he nods approvingly. PFEFFERBERG (O.S.) Commandant, sir. Goeth glances up, finds Poldek among the group taking off their clothes. Pfefferberg appeals to him with a look that asks, Do I really have to go through this, and Goeth turns to a clerk. GOETH My mechanic. Pfefferberg is motioned away from the others; he's okay, he doesn't have to be put through this indignity. He calls out to the Commandant again -- PFEFFERBERG What about my wife? Goeth thinks about it a moment before he nods, Yeah, okay, sure. A clerk accompanies Pfefferberg and, making a notation on the way, finds Mila. EXT. DEPOT - PLASZOW - DAY The sun is higher, the cattle cars hotter. Prisoners' arms stretch out between the slats offering diamonds in exchange for a sip of water. EXT. PLASZOW - LATER - DAY The needle of the phonograph is set down on another record, a children's song, "Mammi, kauf mir ein Pferdchen" (Mommy, buy me a pony). Children are yanked from the arms of their parents. Wailing protests quickly escalate to brawls with the guards. Revolvers and rifles aim at the sun and fire. Music, shots, wails. INT. BARRACKS - SAME TIME - DAY Guards traipse through a deserted barracks peering up at the rafters, pulling planks from the floor, upending cots, looking for some children. EXT. BARRACKS - SAME TIME - DAY A small figure in red sprints across to another barracks, past it, to a crude wooden structure beyond it. INT. MEN'S LATRINES - SAME TIME - DAY An arm held out to either side, the small girl lowers herself into a pit into which men have defecated. She works her way slowly down, trying to find knee and toeholds on the foul walls, ignoring the flies invading her ears, her nostrils. Reaching the surface of the muck she lets her feet submerge, then her ankles, her shins, her knees, before finally touching harder ground. As she struggles to slow her breathing, her racing heart, she hears a hallucinatory murmur -- BOY'S VOICE This is our place. She sees eyes in the darkness; five other children are already there. EXT. DEPOT - PLASZOW - LATER - DAY Waves of heat rise from the roofs of the long string of cattle cars. Inside, those who "failed" the medical exams bake as they wait for the last cars to be filled. Schindler's Mercedes pulls up. He climbs out and stares transfixed. He notices Goeth then, standing with the other industrialists, Bosch and Madritsch, and strolls over to them. GOETH I tried to call you, I'm running a little late, this is taking longer than I thought. Have a drink. SCHINDLER What's going on? GOETH I got a shipment of Hungarians coming in, I got to make room for them. It's always something. He glances away at the train. The idling engine only partially covers the desperate pleas for water coming from inside the slatted cars. GOETH They're complaining now? They don't know what complaining is. He grins. Schindler watches as another car is loaded. It's like they're climbing into an oven. SCHINDLER What do you say we get your fire brigade out here and hose down the cars? Goeth stares at him blankly, then with a What-will-you-think- of-next? kind of look, then laughs uproariously and calls over to Hujar -- GOETH Bring the fire trucks! HUJAR What? Hujar heard him, he just doesn't get it. Finally he turns to another guy and tells him to do it. STREAM OF WATER CASCADE onto the scalding rooftops. The fire trucks are there, the hoses firing the cold water at the cars on the people inside who are roaring their gratitude. GOETH This is really cruel, Oskar, you're giving them hope. You shouldn't do that, that's cruel. And amusing, not just to Goeth, but to the other SS officers standing around as well. Oskar moves away to talk with one of the firemen. At full extension, apparently the hoses still only reach halfway down the long line of cars. He returns to Goeth. SCHINDLER I've got some 200-meter hoses back at D.E.F., we can reach the cars down at the end. Goeth finds this especially sidesplitting, and hollers -- GOETH Hujar! THE D.E.F. HOSES have arrived and are being coupled to Plaszow's. As the water drenches the cars further back, the people inside loudly voice their thanks, and the guards and officers outside grin at the spectacle. GUARD What does he think he's saving them from? The joke takes on new dimension when, from the back of the D.E.F. trucks, boxes of food are unloaded. Accompanied by the laughter of the SS, Schindler moves along the string of cars pushing sausages through the slats. GOETH Oh, my God. Goeth is almost hysterical. But slowly then, slowly, the amusement on his face fades. His friend moving along the cars bringing futile mercy to the doomed in front of countless SS men, laughing or not, is not just behaving recklessly here, it's as though he were possessed. The water rains down on the last car. EXT. D.E.F. - DAY A German staff car pulls in across the factory gate, blocking it. Two Gestapo men climb out. INT. D.E.F. FACTORY - DAY The girl who brought Schindler best wishes on his birthday glances up from her work to the Gestapo crossing through the factory. They climb the stairs to the upstairs offices and, moments later, appear behind Schindler's wall of glass. INT. SCHINDLER'S OFFICE - DAY Schindler leaning against his desk, drink in his hand, calmly tries to assess his humorless arresters. SCHINDLER I'm not saying you'll regret it, but you might. I want you to be aware of that. GESTAPO 1 We'll risk it. Schindler glances beyond them to a point outside his office, to Klonowska. She nods, she knows what to do, she'll make the phone calls, call in the favors. SCHINDLER All right, sure, it's a nice day, I'll go for a drive with you guys. He snuffs out his cigarette. INT. GESTAPO CAR - MOVING - DAY Settled comfortably in the backseat, Schindler glances idly out the window. As the car makes a turn, though, he looks back. Apparently he expected it to turn the other way. SCHINDLER Where are we going? The guys up front don't answer. Concern, for the first time, registers on Schindler's face. The car approaches a building block long with an ominous sameness to the windows. INT. MONTELUPICH PRISON - CRACOW - DAY Schindler is made to empty his pockets, his money, cigarettes, everything. Around him clerks speak in whispers, as if raised voices might set off head-splitting echoes along the narrow monotonous corridors. INT. MONTELUPICH PRISON - DAY He's led down a flight of stairs into a claustrophobic tunnel. He's taken past darkened cells. Past shadowy figures crouched in corners and on the floor. INT. CELL, MONTELUPICH PRISON - DAY A water bucket. A waste bucket. No windows. This is not a cell for dignitaries; this arrest is different. Schindler, incongruous with the dank surroundings in his double-breasted suit, slowly paces back and forth before his cellmate, a soldier who looks like he's been here forever, his greatcoat pulled up around his ears for warmth. SCHINDLER I violated the Race and Resettlement Act. Though I doubt they can point out the actual provision to me. (pause) I kissed a Jewish girl. Schindler forces a smile. His cellmate just stares. Now there's a crime; much more impressive, much more serious, than his own. INT. OFFICE - MONTELUPICH PRISON - DAY In a stiff-backed chair sits a very unlikely defender of racial improprieties -- Amon Goeth. To an impassive SS colonel behind a desk, Goeth tries to highlight extenuating circumstances: GOETH He likes women. He likes good-looking women. He sees a good-looking woman, he doesn't think. This guy has so many women. They love him. He's married, he's got all these women. All right, she was Jewish, he shouldn't have done it. But you didn't see this girl. I saw this girl. This girl was very good-looking. Goeth tries to read the guy behind the desk, but his face is like a wall. GOETH They cast a spell on you, you know, the Jews. You work closely with them like I do, you see this. They have this power, it's like a virus. Some of my men are infected with this virus. They should be pitied, not punished. They should receive treatment, because this is as real as typhus. I see this all the time. Goeth shifts in his chair; he knows he's not getting anywhere with this guy. He switches tacts: GOETH It's a matter of money? We can discuss that. That'd be all right with me. In the silence that follows, Goeth realizes he has made a serious error in judgment. This man sitting soberly before him is one of that rare breed -- the unbribable official. SS COLONEL You're offering me a bribe? GOETH A "bribe?" No, no, please come on... a gratuity. Suddenly the man stands up and salutes, which thoroughly confuses Goeth since Goeth is his inferior in rank. But he isn't saluting Goeth, he's saluting the officer who has just stepped into the room behind him. SCHERNER Sit down. The colonel sits back down. Scherner pulls up a chair next to Goeth. SCHERNER Hello, Amon. GOETH Sir. Scherner smiles and allows Goeth to shake his hand, but it's clear, even to Goeth himself, that he has fallen from grace. INT. GOETH'S VILLA - PLASZOW - NIGHT A tall, thin, gray Waffen SS officer has a request for the Rosner brothers. SS OFFICER I want to hear "Gloomy Sunday" again. He's drunk, morose; it seems unlikely he'll be on his feet much longer. Indeed, as Henry and Leo Rosner begin the son -- an excessively melancholy tale in which a young man commits suicide for love -- the field officer staggers over to a chair in the corner of the crowded room and slumps into it. SCHERNER We give you Jewish girls at five marks a day, Oskar, you should kiss us, not them. Goeth laughs too loud, drawing a weary glance from Scherner. Schindler smiles good-naturedly. He's out, a little worse for wear perhaps, a little more subdued than usual. Taking him away from the others, taking him into his confidence -- GOETH God forbid you ever get a real taste for Jewish skirt. There's no future in it. No future. They don't have a future. And that's not just good old- fashioned Jew-hating talk. It's policy now. THE THIN GRAY SS OFFICER is back in front of the musicians, swaying precariously, a drink in his hand -- SS OFFICER "Gloomy Sunday" again. Again they play the song. Again he staggers across the crowded room to his chair in the corner, paying no attention to the visiting Commandant from Treblinka or anybody else -- TREBLINKA GUY -- We can process at Treblinka, if everything is working? I don't know, maybe two thousand units a day. He shrugs like it's nothing, or with modesty, it's unclear. Goeth is dully impressed; Schindler, only politely so. TREBLINKA GUY Now Auschwitz. Now you're talking. What I got is nothing, it's like a... a machine. Auschwitz, though, now there's a death factory. There, they know how to do it. There, they know what they're doing. AGAIN THE GRAY OFFICER wavering before Henry and Leo. This time they don't wait for him to ask for it -- LEO ROSNER "Gloomy Sunday" As the man stumbles back to his chair, the Rosners not only play the song again, they play with it, and him, this one somber man in the corner staring at them almost gratefully, wrenching from the song all the sentimentality they can, as if they could actually drive him to kill himself. No one else in the room is aware of the exchange going on between them -- this man and this music -- which the brothers play as if it were an invocation. Eventually, though, someone does become aware, if not of the intention, at least of the repetition, and interrupts the spell -- GOETH Enough -- Jesus -- God -- The music falls apart. The brothers find Goeth in the crowd looking at them like, Come on, for Christ's sake play something else. Which they do -- defeated -- some innocuous Von Suppe. Goeth turns back to one of his guests. Glancing back, as they play, to the corner, the Rosners see the gloomy SS officer getting slowly up from his chair. He stands there for a moment, staring at nothing, then slowly makes his way out onto the balcony where he stands in the night air, absolutely still, in silhouette to the Rosners. And, ruining a perfectly good party, he takes out a gun and shoots himself in the head. EXT. D.E.F. - DAY From a distance, Schindler can be seen arguing with an SS officer who's trying to hand him papers, orders of some kind, which the irate industrialist refuses to accept. Here, closer, carrying blankets and bundles, Schindler's workers are marched under heavy guard out of the factory and its annexes and across the fortified yard. His people are being taken. Where, is unclear. Schindler abruptly breaks off the discussion with the SS man, climbs into his car and drives off. EXT. FOREST - PLASZOW - LATER - DAY A creek flowing gently through marshy ground under an umbrella of trees. Leo John and his five year old son, on their knees catching tadpoles, seem unaware of, or at least not distracted by, a ghastly endeavor going on beyond them: Bodies being exhumed out of the earth, out of the mass graves in the forest. The dead lay everywhere, victims of the ghetto massacre, victims of Plaszow. Arriving, Schindler sees Goeth standing up at the tree line. Approaching him, furious, he hesitates. He sees a wheelbarrow trundled by Pfefferberg, a corpse in it. He fears the body is Mila's, but then sees her trundling another barrow, another corpse in it. Goeth calls to Schindler -- GOETH Can you believe this? Goeth shakes his head, dismayed. Schindler joins him and stares at a pyre of bodies built by masked and gagging workers, layer upon layer. GOETH I'm trying to live my life, they come up with this? I got to find every body buried up here? And burn it? It's always something. He glances off. The pyre has reached the height of a man's shoulder. The workers move around it dousing it with gasoline. SCHINDLER You took my workers. GOETH (indignant) They're taking mine. When I said they didn't have a future I didn't mean tomorrow. (pause) Auschwitz. SCHINDLER When? GOETH I don't know. Soon. He sighs at the unfairness of it all, the dissolution of his kingdom. His glance finds his man, Leo John, over at the stream. GOETH This is good. I'm out of business and he's catching tadpoles with his son. Tight on the gleeful boy with a tadpole in his hand. Behind him, smoke from the pyre rises into the sky. INT. D.E.F. FACTORY - NIGHT Schindler, in silhouette against the wall of glass, stares down at his deserted factory, his silent machines, the dark empty spaces. INT. SCHINDLER'S APARTMENT - DAY Light pouring in through the windows. White sheets over the furniture like shrouds over the dead. Schindler's personal things are gone. EXT. POLAND/CZECHOSLOVAKIA BORDER - EVENING Schindler's Mercedes, the backseat piled high with suitcases. A border guard returns his passport to him. The barrier is lifted and he crosses into Czech countryside. INT. SQUARE, BRINNLITZ, CZECHOSLOVAKIA - MORNING A church in the main square of a sleepy hamlet. A priest and his parishioners, including Emilie Schindler, emerging from it, morning Mass over. Some guys outside a bar/café, hanging gout, drinking, notice the elegantly dressed gentleman outside the town's only hotel. They recognize him. They come over. SCHINDLER Hey, how you doing? BRINNLITZ GUY 1 Look at this. Schindler, the clothes, the car, the suitcases, the great difference between their respective stations in life. Somehow their old ne'er-do-well friend has managed to do quite well, and it amazes them. Across the square, Emilie has noticed him; and he, her. But neither makes a move toward the other. Finally she walks away; which Schindler interprets correctly to mean, Yes, check into the hotel. He tips the porter extravagantly and turns back to the guys from the bar. SCHINDLER Let me buy you a drink. INT. BAR - BRINNLITZ - NIGHT Except for the clothes of the working class clientele, the scene is reminiscent of the SS nightclub in Cracow: Schindler, the great entertainer, working his way around the tables making sure everybody's got enough to drink, making sure everybody's happy. A guy at a table with a girl gestures him over. BRINNLITZ GUY 2 Oskar - my friend Lena. SCHINDLER How do you do? (to them both) What can I get you, what're you drinking? BRINNLITZ GUY 2 Nothing's changed. Then again, something has changed, hasn't it? SCHINDLER Things worked out. I made some money over there, had some laughs, you know. It was good. BRINNLITZ GUY 2 Now you're back. SCHINDLER Now I'm back, and you know what I'm going to do now? I'm going to have a good time. So are you. He gestures to the bartender to refill his friend's and his date's drinks, pats the guy on the shoulder and wanders over to the next table. GIRL Who is he? The guy has to think; not because he doesn't know, but because his old friend Oskar is so many things it's hard to know which description to use. Finally -- BRINNLITZ GUY 2 He's a salesman. INT. HOTEL ROOM - BRINNLITZ - NIGHT A woman asleep in the bed. The girl from the bar. In his robe, at the window, Schindler calmly smokes as he stares out at the NIGHT EXT. BRINNLITZ - DAWN The town, off in the distance, nestled against the mountains. The sun, just coming up. Closer, here, ramshackle structures, a long abandoned factory of some kind. Schindler, in leather riding gear, climbs down off a Moto- Guzzi motorcycle. He slowly wanders around, peers in through broken windows, wanders around some more. Tight on his face, torn between conflicting choices, or realizing there's no choice, or only one choice, and hating it. SCHINDLER Goddamn it. EXT. BALCONY, GOETH'S VILLA - PLASZOW - DAY Schindler and Goeth on the balcony of the villa, drinking. GOETH You want these people. SCHINDLER These people, my people, I want my people. Goeth considers his friend, greatly puzzled. Below them lies the camp, still operating, at least for now, until the shipments can be arranged. GOETH What are you, Moses? What is this? Where's the money in this? What's the scam? SCHINDLER It's good business. GOETH Oh, this is "good business" in your opinion. You've got to move them, the equipment, everything to Czechoslovakia -- it doesn't make any sense. SCHINDLER Look -- GOETH You're not telling me something. SCHINDLER It's good for me -- I know them, I'm familiar with them. It's good for you -- you'll be compensated. It's good for the Army. You know what I'm going to make? SCHINDLER Artillery shells. Tank shells. They need that. Everybody's happy. GOETH Yeah, sure. Goeth finds this whole line of reasoning impossible to believe. He's sure Schindler's got something else going on here he's not telling him. GOETH You're probably scamming me somehow. If I'm making a hundred, you got to be making three. Schindler admits it with a shrug. GOETH If you admit to making three, then it's four, actually. But how? SCHINDLER I just told you. GOETH You did, but you didn't. Goeth studies him, searching for the real answer in his face. He can't find it. GOETH Yeah, all right, don't tell me, I'll go along with it, it's just irritating to me I can't figure it out. SCHINDLER All you have to do is tell me what it's worth to you. What's a person worth to you. Goeth thinks about it in the silence. Then a slow nod to himself. He's going to make some money out of this even if he can't figure it out. He smiles. GOETH What's one worth to you? That's the question. HARD CUT TO: THE KEYS OF A TYPEWRITER slapping a name onto a list -- 184 184 LEVARTOV -- the letters the size of buildings, the sound as loud as gunshots -- TIGHT ON THE FACE OF A MAN -- Rabbi Levartov -- the hinge- maker Goeth tried to kill with a faulty revolver -- THE KEYS HAMMER another name -- PERLMAN -- TIGHT ON TWO ELDERLY FACES -- a man, a woman -- the parents of "Elsa Krause." IN HIS SMALL CLUTTERED PLASZOW OFFICE -- Stern transcribes D.E.F.workers' names from a Reich Labor Office document to the list in his typewriter, Schindler's List. NAME -- A FACE -- NAME -- FACE -- NAME -- TIGHT ON SCHINDLER slowly pacing the six or seven steps Stern's cramped office allows, nursing a drink. SCHINDLER Poldek Pfefferberg... Mila Pfefferberg... THE KEYS typing ‘PFEFFE- PFEFFERBERG'S face, tight. MILA'S face, tight. CURRENCY, hard Reichmarks, in a small valise. As Goeth looks at it, he mumbles to himself -- GOETH A virus... MOVING DOWN THE LIST of names, forty, fifty. The sound of the keys. Stern pulls the sheet out of the machine, rolls in another, types a name. EQUIPMENT BEING LOADED onto trucks outside Madritsch's Plaszow factory. SCHINDLER You can do the same thing I'm doing. There's nothing stopping you. Madritsch is shaking his head ‘no' to Schindler's appeal to make his own list, to get his workers out. MADRITSCH I've done enough for the Jews. THE KEYS typing another name -- A FACE, a man, A FACE, a woman, A FACE, a child -- COGNAC SPILLING into a glass. The glass coming up to Schindler's mouth, hesitating there. SCHINDLER The investors. A NAME -- A FACE -- one of the original D.E.F. investors. ANOTHER NAME -- ANOTHER FACE -- another of the Jewish investors. SCHINDLER All of them. Szerwitz, his family. STERN GLANCES UP with a look that asks Schindler if he's sure about this one. He is. The keys type SZERWITZ -- TIGHT ON THE FACE of the investor who stole from Schindler, the one he threatened to have killed by the SS, and the faces of his sons -- THREE OR FOUR PAGES of names next to the typewriter. Stern, trying to count them, estimates -- STERN Four hundred, four fifty -- SCHINDLER More. THE TRUNK OF SCHINDLER'S MERCEDES yawning open. He takes a small valise from it and heads for Goeth's villa. THE KEYS typing ROSNER -- TIGHT ON Henry Rosner, the violinist. TIGHT ON his brother, Leo, the accordionist. SCHINDLER AND BOSCH, the other Plaszow industrialist. The same appeal Schindler made to Madritsch; the same answer, ‘no.' MOVING DOWN another page of names. STERN (O.S.) About six hundred -- SCHINDLER (O.S.) More. THE SOUND OF THE KEYS OVER the face of a boy, the "chicken thief." Over THE FACE OF A GIRL, the one who hid in the pit of excrement. Over the FACES we've never seen. STERN (O.S.) Eight hundred, give or take. SCHINDLER (angrily) Give or take what, Stern -- how many -- count them. STERN RUNS HIS FINGER down the pages of names, trying to count them more precisely. BLACKJACK, dealt by GOETH. They're betting diamonds, he and Schindler. A queen falls and Goeth groans his misfortune. THE FACE OF Goeth's maid. GOETH SWEEPS his hold card against the table, is thrown a four, sweeps it again and gets a jack. A NAME we don't recognize is typed. A FACE we don't recognize. INT. STERN'S OFFICE - PLASZOW - NIGHT Schindler leafing through the page of names, counting them, drinking, to the sound of the typewriter. Eventually, quietly to himself -- SCHINDLER That's it. Stern heard him and stops typing, glances over. SCHINDLER You can finish that page. Stern resumes where he left off, but then hesitates again. There's something he doesn't understand. STERN What did Goeth say? You just told him how many you needed? It doesn't sound right. And Schindler doesn't answer. He's avoided telling Stern the details of the deal struck with Goeth, and balks telling him now. Finally awkwardly -- SCHINDLER I'm buying them. I'm paying him. I give him money, he gives me the people. (pause) If you were still working for me I'd expect you to talk me out of it, it's costing me a fortune. Stern had no idea. And has no idea now what to say. Schindler shrugs like it's no big deal, but Stern knows it is. SCHINDLER Give him the list, he'll sign it, he'll get the people ready. I have to go back to Brinnlitz, to take care of things on that end, I'll see you there. Stern is really overcome by what this man is doing. What he can't figure out is why. Silence. And then -- SCHINDLER Finish the page. Stern turns back, does as he's told. Schindler drinks. Nothing but the sound of the typewriter keys. And then nothing at all. The page is done. The rest will die. INT. TOWN COUNCIL HALL - BRINNLITZ - NIGHT Schindler in front of a large assembly, party pin in his lapel, as usual, imposing SS guards on either side of him. SCHINDLER This is my home. He looks out over his audience, the citizens of Brinnlitz, local government officials, many of them appearing bewildered by him or the "situation" that has arisen. SCHINDLER I was born here, my wife was born here, my mother is buried here, this is my home. His estranged wife is there. So are the guys he was drinking with. SCHINDLER Do you really think I'd bring a thousand Jewish criminals into my home? Everyone seems to breathe sighs of relief as if they've been waiting for him to say this, to dispel the disturbing rumors they've heard. SCHINDLER These are skilled munitions workers -- they are essential to the war effort -- The noise begins, his audience's angry reaction. Raising pitch of his own voice -- SCHINDLER -- It is my duty to supervise them -- and it is your duty to allow me -- He barely gets it all out before the protests drown him out. The uproar reaches such a clamoring level there's no point in his continuing. GOETH'S VILLA - PLASZOW - DAY Goeth, at his writing desk, endures the bureaucratic tedium of signing memoranda, transport orders, requisitions. He comes to Schindler's list, initials each page and signs the last with no more interest than the others. He hands the whole stack of paperwork to Marcel Goldberg, Personnel Clerk, Executor of Lists, Gangster. INT. OFFICE, ADMINISTRATION BUILDING - PLASZOW - DAY Goldberg has the signature page of the list in a typewriter. He carefully aligns it and types his own name in a space allowed by the bottom margin. EXT. SCHINDLER'S BRINNLITZ FACTORY SITE - DAY At a folding table in the middle of the field, Schindler signs his name to Reich Main Office directives, Evacuation Board and Department of Economy form, Armaments contracts. Around him, the new camp is taking shape: Electric fences are going up, watchtowers, barracks; shipments of heavy equipment, huge Hilo machines, are being off-loaded from flatbed train cars; SS engineers stand around frowning at the lay of the land, some drainage problem no doubt. EXT. DEPOT - PLASZOW - DAY A train full of people destined for Auschwitz pulls away from the platform. As Goldberg gathers his paperwork, a prisoner approaches him. PRISONER Am I on the list? GOLDBERG What list is that? He knows what the prisoner means and the prisoner knows he knows. He means Schindler's List. GOLDBERG The good list? Well, that depends, doesn't it? The prisoner knows that, too, and discreetly turns over to Goldberg a couple of diamonds from the lining of his coat. INT. GOLDBERG'S OFFICE - PLASZOW - NIGHT Names on a notepad, the first few crossed out. Goldberg types the next name onto a page of The List, squeezing it into the upper margin, and crosses that one out on the pad. He rolls the page down, types another name, tires of the exacting task, tears the handwritten page of names from the notepad, crumples it and throws it away. EXT. BRINNLITZ - NIGHT Schindler, on his way back to his hotel after a night of drinking, is jumped by three guys, wrestled to the ground and brutally kicked. As the forms of his attackers move away, he catches a glimpse of one of them -- his "friend" who admired his car when he first arrived back in town. INT. MECHANICS GARAGE - PLASZOW - DAY Pfefferberg, his head under the hood of a German staff car, adjusting the carburetor. Goldberg comes in. GOLDBERG Hey, Poldek, how's it going? (Pfefferberg ignores him) You know about the list? You're on it. PFEFFERBERG Of course I'm on it. GOLDBERG You want to stay on it? What do you got for me? Pfefferberg glances up from his work and studies the blackmailing collaborator for a long moment. PFEFFERBERG What do I got for you? GOLDBERG Takes diamonds to stay on this list. Pfefferberg suddenly attacks him with the wrench in his hand, beating him across the shoulders and head with it. PFEFFERBERG I'll kill you, that's what I got for you. Goldberg goes down, tries to scramble away on his knees, the blows coming down hard on his back. GOLDBERG All right, all right, all right. He makes it outside the garage and runs. EXT. DEPOT - PLASZOW - DAY A cattle car is coupled to another, the pin dropped into place. On the platform, clerks at folding tables shuffle paper while others mill around with clipboards, calling out names. Thousands of prisoners on the platform, some climbing onto strings of slatted cars on opposing tracks. Some already in them, most standing in lines, changing lines, the end of one virtually indistinguishable from the beginning of another. Paperwork. Lists of names. Pens in hands checking them off. Some bound for Brinnlitz, the rest for Auschwitz, if they can be properly sorted from one another. A boy is allowed to remain in a line with his father; his mother is taken to another line composed of women and girls. This segregation is the only recognizable process going on; the others, if they exist, are apparent only to the clerks and guards, and maybe not even to them. It is chaos. EXT. COUNTRYSIDE - NIGHT A train snakes across the dark landscape. INT. CATTLE CAR - MOVING - NIGHT Stern, wedged into a corner of an impossibly crowded car. This train may be headed for Schindler's hometown, but it is no more comfortable than the others on their way to Auschwitz -- Birkenau. EXT. CROSSING - POLAND - DAY The train idles at a crossing in the middle of nowhere. Moving across the faces peering out from between the slats, it becomes apparent there are only male prisoners aboard. Below, on a dirt road, a lone Polish boy stands watching. Just before an empty train roars past from the other direction obscuring him, his hand comes up and across his neck making the gesture of a throat being slit. EXT. DEPOT - BRINNLITZ - DAY The train pulls into the small quiet Brinnlitz station. The doors are opened and the prisoners begin climbing down. At the far end of the platform, flanked by several SS guards, stands Schindler. To his customary elegant attire he has added a careless accouterment, a Tyrolean hat. EXT. BRINNLITZ - DAY Leading a procession of nine hundred male Jewish "criminals" through the center of town, Schindler ignores the angry taunts and denouncements and the occasional rock hurled by the good citizens of Brinnlitz lining the streets. INT. BRINNLITZ MUNITIONS FACTORY - DAY Under the towering Hilo machines, a meal of soup and bread awaits the workers. As they're sitting down to it, Schindler addresses them -- SCHINDLER You'll be interested to know I received a cable this morning from the Personnel Office, Plaszow. The women have left. They should be arriving here sometime tomorrow. He sees Stern among the workers, smiles almost imperceptibly, turns and walks away. EXT. RURAL POLAND - DAY A train backs slowly along the tracks toward an arched gatehouse. The women inside the cattle cars don't need a sign to tell them where they are, they've seen this place in nightmares. Pillars of dark smoke rise from the stacks into the sky. It's Auschwitz. EXT. AUSCHWITZ - DAY The stunned women climb down from the railcars onto an immense concourse bisecting the already infamous camp. As they're marched across the muddy yard by guards carrying truncheons, Mila Pfefferberg stares at the place. It' so big, like a city, only one in which the inhabitants reside strictly temporarily. To Mila, under her breath -- WOMAN Where are the clerks? So often terrified by the sight of a clerk with a clipboard, it is the absence of clerks which unsettles the woman now, as though there remains no further reason to record their names. Mila's eyes return to the constant smoke rising beyond the birch trees at the settlement's western end. INT. OFFICES - BRINNLITZ FACTORY - DAY Schindler comes out of his office and, passing Stern's desk, mumbles -- SCHINDLER They're in Auschwitz. Before Stern can react, Schindler is out the door. EXT. BRINNLITZ FACTORY - MOMENTS LATER - DAY As he strides across the factory courtyard toward his motorcycle, Schindler is intercepted by some Gestapo men who have just emerged from their car. GESTAPO Your friend Amon Goeth has been arrested. SCHINDLER (pause) I'm sorry to hear that. GESTAPO There are some things that are unclear. We need to talk. SCHINDLER I'd love to, it'll have to wait until I get back. I have to leave. The looks on their faces tell him he's not going anywhere. SCHINDLER All right, okay, let's talk. GESTAPO In Breslau. SCHINDLER Breslau? I can't go to Breslau. Not now. These guys are serious. EXT. AUSCHWITZ - DAY A young silver-haired doctor moves slowly along rows of Schindler's women, considering each with a pleasant smile even as he makes his selections, with tiny gestures, for the death chambers. He pauses in front of one. YOUNG DOCTOR How old are you, Mother? She could lie, and he'd have killed her for it. She could tell the truth, and he'd have her killed for that, too. WOMAN (pause) Sir, a mistake's been made. We're not supposed to be here, we work for Oskar Schindler. We're Schindler Jews. The doctor nods pensively, understandingly, it seems. Then -- YOUNG DOCTOR And who on earth is Oskar Schindler? He glances around hopelessly. One of the SS guards who accompanied the women from Plaszow speaks up -- PLASZOW GUARD He had a factory in Cracow. Enamelware. The doctor nods again as if the information were valuable, as if it meant something to him. It doesn't. YOUNG DOCTOR A potmaker? He smiles to himself and gets on with the "examination," this woman to this line, this other one to that. INT. CELL - SS PRISON, BRESLAU - DAY In a dank cell, in uniform, Amon Goeth waits. Schindler is on his way, hopefully. Maybe he's already here. Schindler will vouch for him. Schindler will straighten this out. INT. SS PRISON, BRESLAU - DAY In a large room, Schindler sits before a panel of twelve sober Bureau V investigators and a judge of the SS court. INVESTIGATOR Everything you say will be held in confidence. You are not under investigation. You are not under investigation. Mr. Goeth is. He is being held on charges of embezzlement and racketeering. You're here at his request to corroborate his denials. Our information onto his financial speculations comes from many sources. On his behalf there is only you. We know you are close friends. We know this is hard for you. But we must ask you -- SCHINDLER He stole our country blind. INT. BRINNLITZ FACTORY - DAY In Schindler's absence, the workers attempt to operate the unfamiliar machines, to figure out the unfamiliar process of manufacturing artillery shells. There's movement, there's noise, the machines are running, but little is being produced. Untersturmfuhrer Jose Liepold, the Commandant of Schindler's new subcamp, moves through the factory conducting an impromptu inspection. He points out to a guard a kid no more nine, sorting casings at a work table, and another boy, ten or eleven, carrying a box. EXT. BARRACKS - AUSCHWITZ - NIGHT Mila and another woman cross back toward their barracks carrying a large heavy pot of broth. Not more than a hundred meters away stand the birch trees and crematoria, the smoke pluming even now, at NIGHT out of the darkness appear "apparitions," skeletal figures which surround the two women, or rather the soup pot between them, dipping little metal cups into it, over and over. Too startled to speak, Mila can only stare. The apparitions clamor around the pot a moment more, than furtively slip back into the same darkness from which they came. Mila and the other woman exchange a glance. The pot is empty. MILA Where's Schindler now? INT. HOSS' HOUSE - AUSCHWITZ - NIGHT In his en, over cognac, Auschwitz Commandant Rudolf Hoss considers the documents Schindler has brought: the list, the travel papers, the Evacuation Board authorization. Hoss nods at them, then at Schindler. HOSS You're right, a clerical error has bee made. (pause) Let me offer you this in apology for the inconvenience. I have a shipment coming in tomorrow, I'll cut you three hundred from it. New ones. These are fresh. Schindler seems to think about the offer as he nurses his drink. It's "tempting." HOSS The train comes, we turn it around, it's yours. SCHINDLER I appreciate it. I want these. The ones on the list in Hoss' hand. Silence. Then: HOSS You shouldn't get stuck on names. Why, because you get to know them? Because you begin to see them as human beings? Schindler suddenly has the awful feeling that the women are already dead. Hoss misinterprets the look. HOSS That's right, it creates a lot of paperwork. EXT. CONCOURSE - AUSCHWITZ - DAY A large assembly of women. Guards calling out names from a list. As each woman steps out of line, a guard unceremoniously brushes a swathe of red paint across her clothes. New columns are formed. EXT. TRAIN YARD - AUSCHWITZ - DAY Schindler, standing at the end of the platform stone-faced, watches the women whose names he is "stuck on," whose clothes are slashed with red paint, climbing onto the cattle cars. As the cars fill, a train on another track arrives. The "fresh" ones Schindler turned down. As the gates are closed on the women's cars, the gates of the others are opened and the people spill out. A horrified cry suddenly breaks through the noise of the engines. One of Schindler's women, locked in, has seen her son among those coming down off the train on the opposing track. Another cry erupts, and another, another, as the women spot their children, confiscated from the Brinnlitz factory, brought here. Schindler becomes aware of what's happening and, passing over other children, tries to corral these particular boys, many of whom have noticed their mothers now and are echoing their tortured cries with their own. Schindler manages to gather them together, the fifteen or twenty boys, and, in the middle of the crowded platform, appears to a guard: SCHINDLER These are mine. They're on the list. These are my workers. They should be on the train. He points across to the women's train, then down to the boys. SCHINDLER They're skilled munition workers. They're essential. The guard glances from the frantic gentleman to the anxious brook around him. These are essential workers? GUARD They're boys. SCHINDLER Yes. Schindler is nodding his head, trying to think. The women are shrieking their sons' names. The guard, who heard it all, every excuse imaginable, is just turning away when Schindler thrusts his smallest finger at him. SCHINDLER Their fingers. They polish the insides of shell casings. How else do you expect me to polish the inside of a 45 millimeter shell casing? The guard stares at him dumbly. This he hasn't heard. EXT. BRINNLITZ CAMP - DAY Like a mirage in the distance they appear -- the women, the children, guards, Schindler, marching across a field toward the factory. At the perimeter of the camp, at the wire, the men watch the approaching procession. It appears to them that the women are covered in blood -- or -- could it be paint? They're walking, they're fine, some are even smiling. Liepold isn't smiling. Neither is Schindler; at least not on the outside. INT. BRINNLITZ FACTORY - DAY The machines are silent, the people are not. Women are in their husbands' arms, sons in their fathers'. There's food on the tables but it's largely ignored, the reunion taking precedence. INT. SS MESS HALL - SAME TIME - DAY Schindler stands before the assembled camp guards. They are seated at the long tables, their food getting cold, waiting for him to say whatever it is he has to say. SCHINDLER Under Department W provisions, it is unlawful to kill a worker without just cause. Under the Businesses Compensation Fund I am entitled to file damage claims for such deaths. If you shoot without thinking, you go to prison and I get paid, that's how it works. So there will be no summary executions here. There will be no interference of any kind with production. In hopes of ensuring that, guards will no longer be allowed on the factory floor without my authorization. His eyes meet Liepold's, hold his icy stare, then return to the guards, most of whom look like tired middle-aged reservists. SCHINDLER For your cooperation, you have my gratitude. As he steps away he gestures to some kitchen workers. They tear open cases of schnapps and begin setting the bottles out on the tables. INT. BRINNLITZ FACTORY - DAY Schindler strolls through his factory looking over the shoulders of the workers, nodding his approval. The place is in full operation, finally; the people, having figured out the complicated Hilos, turning out shells by the caseload. Schindler pauses at one of the machines. SCHINDLER How's it going? WORKER Good. It's taken a while to calibrate the machines, but it's going good now. SCHINDLER Good. Schindler nods. Then frowns. He leans down and taps at the crystal of one of the gauges. SCHINDLER This isn't right, is it? The worker kneels down, takes a look. It looks right to him. Reaching over, Schindler changes the calibration of the machine with a cavalier adjustment to a knob -- and all the gauge readings shift. SCHINDLER There. That looks right. He wanders off. The worker stares after him. He's just screwed up settings that took weeks to get right. Schindler comes up to another worker, Levartov, the hingemaker. He's at a machine buffing shells. SCHINDLER How's it going, Rabbi? LEVARTOV Good, sir. Schindler nods, watches him work, eventually glances away. SCHINDLER Sun's going down. Levartov, following Schindler's gaze, nods uncertainly. SCHINDLER It is Friday, isn't it? LEVARTOV Is it? SCHINDLER You should be preparing for the Sabbath, shouldn't you? What are you doing here? Levartov just stares. It's been years since he's been allowed, indeed inclined, to perform Sabbath rites. SCHINDLER I've got some wine in my office. Why don't we go over there, I'll give it to you. Come on, let's go. Schindler heads off. The rabbi keeps staring. Schindler gestures back to him, offering casually -- SCHINDLER Come on. Levartov looks around. Finally, he hangs up his goggles and follows after Schindler. INT. WORKERS BARRACKS - NIGHT Under the shadow of a watchtower, among the roof-high tiers of bunks strung with laundry, Levartov recites Kiddush over a cup of wine to workers gathered around him. INT. GUARDS BARRACKS - NIGHT On their bunks, the guards relax with schnapps, cards and magazines. One of them becomes distracted by a distant sound. Some of the others begin to hear it. GUARD What is that? Conversations cease. The barracks gradually becomes quiet, silent, all the guards straining to hear. It sounds like... singing. It sounds like Yiddish singing. EXT. BRINNLITZ CAMP - SAME TIME - NIGHT On a watchtower, a night sentry, unsure where it's coming from, listens to the distant singing. It seems like it's emanating from the surrounding hills, from the trees. INT. LIEPOLD'S QUARTERS - SAME TIME - NIGHT At his small desk, Liepold is typing a letter, denouncing Schindler most likely. The pounding keys bury all other sounds but when he pauses to reread what he's typed, he hears it, the singing, faint, far away. He goes to his window, peers out, listens for a moment more, then hears nothing. Only the night creatures. INT. APATMENT BUILDING - BRINNLITZ - NIGHT The door to an apartment opens from the inside revealing Emilie Schindler. She coolly considers the visitor on her doorstep, her estranged husband, looking great as usual, bottle of wine in his hand, smiling as if nothing is wrong between them, as if nothing is wrong in the entire world. INT. EMILIE'S APARTMENT - NIGHT The two of them at the kitchen table in a modest apartment, drinking, at least he is. He's trying to ask her something, but he's not sure how to put it, he wants to get it right. Finally the words just tumble out -- SCHINDLER I want you to come work for me. There, he's said it. But the bewildered look on Emilie's face wonders, That's what was hard for you to say? SCHINDLER You don't have to live with me, I wouldn't ask that. (pause) It's a nice place. You'd like it. It looks awful. You get used to that. She's the only woman he's even known who could make him nervous just sitting across a table from him, saying nothing. SCHINDLER All right -- (now he'll be honest) We can spend time together that way. We can see each other, see how it goes -- without the strain of -- whatever you want to call it when a man, a husband and a wife go out to dinner, go have a drink, go to a party, you know. This way we'll see each other at work, there we are, same place, we see how it goes... His voice trails off. A shrug adds, What do you think? She doesn't answer, but she does love him. He loves her, too. It really is a shame they're not right for each other and never will be. INT. OFFICES - BRINNLITZ FACTORY - DAY Stern glances up from his work; Schindler and Emilie have come in and are walking toward the accountant's desk. He gets up. SCHINDLER Itzhak Stern, Emilie Schindler. My wife. Like the doormen and waiters of Cracow, Stern too never imagined Schindler was married and has trouble hiding his astonishment now. He extends his hand to her. STERN How do you do? EMILIE How do you do? STERN Stern is my accountant and friend. It sounds strange to Stern hearing Schindler actually say it. He's never said it before. SCHINDLER Emilie's offered to work in the clinic. To... work there. He's not sure what she's going to do there, she's not a nurse or a doctor. STERN (to her) That's very generous of you. SCHINDLER Yes. Schindler nods, looks around, shrugs, offers his arm to his wife, perhaps to take her on a tour of the place. STERN It was a pleasure meeting you. EMILIE Pleasure meeting you. The Schindlers leave. Stern sits back down at his desk and smiles. He's never seen Schindler so uncomfortable. INT. MACHINE SHOP - BRINNLITZ FACTORY - DAY Schindler comes in carrying a radio. He sets it down on a bench where Pfefferberg's working on the frame of a machine motor with a blow torch. SCHINDLER Can you fix it? The radio. PFEFFERBERG What's wrong with it? SCHINDLER How should I know? It's broken. See what you can do. He leaves. Pfefferberg plugs it into an outlet and switches it on. It works perfectly. A waltz. INT. BARRACKS - BRINNLITZ CAMP - NIGHT In a male barracks, a group of workers including Pfefferberg huddle in a corner around the radio, straining to hear through heavy static a broadcast by the BBC, the Voice of London, a sketchy report of an Eastern offensive by Allied Russian forces. INT. CLINIC - BRINNLITZ CAMP - DAY As a camp doctor attends to sufferers of dysentery, Schindler and Emilie sort pairs of prescription glasses from a parcel, shipped from Cracow. Stern comes in. STERN We need to talk. SCHINDLER Stern. Schindler sifts through the glasses still in the box, comes up with a particular pair and holds them proudly. Not quite sure what he's seeing is real -- STERN They arrived. SCHINDLER They arrived, can you believe it? Stern allows himself a smile, a rare thing for him. Schindler carefully slips the new glasses onto the accountant's face. He looks around the clinic, Stern, eventually settling on Emilie, crystal clear, standing near a picture on the wall which, in other circumstances, he'd find less than reassuring: Jesus, his heart exposed and in flames. INT. CLINIC - LATER - DAY In a quiet corner of the clinic, Schindler concentrates on the disquieting news Stern has brought him: STERN We've received a complaint from the Armaments Board. A very angry complaint. The artillery shells, the tank shells, rocket casings -- apparently all of them -- have failed quality-control tests. Schindler nods soberly. Then dismisses the problem with a shrug. SCHINDLER Well, that's to be expected. They have to understand. These are start- up problems. This isn't pots and pans, this is a precise business. I'll write them a letter. STERN They're withholding payment. SCHINDLER Well, sure. So would I. So would you. I wouldn't worry about it. We'll get it right one of these days. But Stern is worried about it. STERN There's a rumor you've been going around miscalibrating the machines. (Schindler doesn't deny it) I don't think that's a good idea. SCHINDLER (pause) No? Stern slowly shakes his head 'no.' STERN They could close us down. Schindler eventually nods, in agreement it seems. SCHINDLER All right. Call around, find out where we can buy shells and buy them. We'll pass them off as ours. Stern's not sure he sees the logic. Whether the shells are manufactured here or elsewhere, they'll still eventually reach their intended destination, into the hearts and heads of Germany's enemies. STERN I know what you're saying, but I don't see the difference. SCHINDLER You don't? I do. I see a difference. STERN You'll lose money. That's one difference. SCHINDLER Fewer shells will be made. That's another difference. The main one. The only one Schindler cares about. Silence. Then: SCHINDLER Stern, if this factory ever produces a shell that can actually be fired... I'll be very unhappy. INT. BRINNLITZ FACTORY - DAY A nineteen year old boy with his hands in the air stands terrified before Commandant Liepold and the revolver he wields. Workers, trying to reduce the likelihood of getting hit by a stray bullet when Liepold fires on the boy -- which seems a certainty -- scramble out of the way. SCHINDLER (O.S.) Hey. Liepold swings the gun around at the voice, pointing it for a moment at Schindler, who is striding toward him, then aims the barrel back at the boy's head, and yells -- LIEPOLD Department W does not forbid my presence on the factory floor. That is a lie. He waves a document at Schindler, throws it at him. Schindler doesn't bother picking it up. Instead, pointing at the boy, he yells to Liepold -- SCHINDLER Shoot him. Shoot him! Liepold is so startled by the command, he doesn't shoot. He doesn't lower the gun, though, either. SCHINDLER Shoot him without a hearing. Come on. His finger is on the trigger, Liepold is torn, frustrated, hating the situation he has created. As the moments without a blast stretch out, both and Schindler begin to settle down. LIEPOLD He sabotaged the machine. Schindler glances to the boy. Then at the silent Hilo beside him. Part of it is blackened from an electrical fire. To the boy, concerned -- SCHINDLER The machine's broken? The boy, too terrified to speak, nods. LIEPOLD The prisoner is under the jurisdiction of Section D. I'll preside over the hearing. SCHINDLER But the machine. Liepold glances to him. He seems almost distraught by the destruction of the machine, Schindler. SCHINDLER The machine is under the authorization of the Armaments Inspectorate. I will preside over the hearing. Liepold isn't sure that's correct, but he has no documentation, at least not on him, to refute it. INT. FACTORY - NIGHT In the machine-tool section, a "judicial table" has been set up. At it sit Schindler, Liepold, two other SS officers, and an attractive German girl, a stenographer. The "saboteur," the boy, Janek, stands before the court. JANEK I'm unfamiliar with the Hilo machines. I don't know why I was assigned there. Commandant Liepold was watching me trying to figure it out. I switched it on and it blew up. I didn't do anything. All I did was turn it on. Gone tonight is Schindler's usual shop-floor familiarity. He studies the boy solemn-faced. SCHINDLER If you're not skilled at armaments work, you shouldn't be here. JANEK I'm a lathe operator. Schindler dismisses the defensive comment with a wave of his hand and gets up. He comes around and paces slowly before the boy. Eventually, Janek dares to speak again -- JANEK Sir? Schindler glances up at him distractedly. JANEK I did adjust the pressure controls. Schindler stops, looks to the panel, and back to the boy. SCHINDLER What? JANEK I know that much about them. Somebody had set the pressure controls wrong. I had to adjust -- Schindler slams the back of his hand so hard across Janek's face, the boy almost falls. He's stunned. So are the others at the table. They've never seen such violence from the Direktor. He roars -- SCHINDLER The stupidity of these people. I wish they were capable of sabotaging a machine. Schindler's hand comes up again and Janek recoils, expecting another blow. Schindler manages to hold it. SCHINDLER Get him out of my sight. A guard escorts the prisoner away. The panel members glance among themselves. Is that it? Schindler faces them and groans in dismay. INT. LIEPOLD'S QUARTERS - NIGHT Liepold at his desk, typing again. This time there is no doubt he is composing a letter denouncing Schindler. INT. HOUSE - BRINNLITZ - NIGHT Schindler and Emilie, her arm in his, stand around like unwanted guests at the party. They probably are. Him anyway. The other guests include local politicians who fought and failed to keep his camp out of Brinnlitz. Whenever his glance meets one of theirs, they smile tightly. SCHINDLER (to Emilie) Isn't this nice. It's not at all nice. He feels out of place, a feeling he's not accustomed to. Fortunately, a man in uniform, someone Schindler can relate to, approaches cheerfully, his hand outstretched. RASCH Oskar, good of you to come. SCHINDLER Are you kidding, I never miss a party. Police Chief Rasch, my wife Emilie. RASCH How do you do? EMILIE You have a lovely home. It is nice. Big. The man lives well. RASCH Thank you. SCHINDLER I need a drink. RASCH Oh, God, you don't have a drink? SCHINDLER (to Emilie) Wine? She nods. Schindler goes off in search of the bartender. Rasch watches after him. RASCH Your husband's a very generous man. EMILIE (wry) He's always been. INT. RASCH'S STUDY - LATER - NIGHT Rasch and Schindler sharing cognac in the privacy of the Police Chief's study. Beyond the closed doors, the party continues, the sounds filtering in. SCHINDLER I need guns. Rasch calmly nurses his drink, his eyes revealing nothing of what's going on behind them, except that the statement requires some elaboration. SCHINDLER One of these days the Russians are going to show up unannounced at my gate. I'd like the chance to defend myself. I'd like my wife to have that chance. My civilian engineers. My secretary. RASCH (pause; then, philosophically) We're losing the war, aren't we. SCHINDLER It kind of looks that way. RASCH (blithely) Pistols? SCHINDLER Pistols, rifles, carbines ... (long pause) I'd be grateful. Rasch smiles faintly. Yes, he's familiar, as are officials throughout much of Europe, with the gratitude of Oskar Schindler. INT. MACHINE SHOP - BRINNLITZ CAMP - NIGHT Poldek Pfefferberg holds up a pistol, feels its weight, points it. SCHINDLER (calmly) Careful. Pfefferberg smiles, lowers the gun, kneels beside an open crate of weapons: a couple of revolvers and rifles, an old carbine. INT. FACTORY - DAY From high above the factory, Stern can be seen among the machines talking with a worker. The man points up and returns to his work. Stern stares up, puzzled. He locates a ladder that connects the shop-floor to a series of overhead planks and, with trepidation, climbs. He reaches a shaky landing high above the machines, navigates the primitive catwalks with great care, comes to a large water tank near the workshop ceiling. SCHINDLER Stern. Above the rim of the tank, amid rising steam, Schindler's head appears. Then disappears. Stern climbs a set of rungs on the tank, reaches the top and finds inside, lolling in the steaming water, Schindler and the blonde stenographer from the trial. STERN Excuse me. Neither Schindler nor the blonde seems the least bit embarrassed. Only Stern. He tries hard to pretend the girl isn't there, but he just can't. STERN I'll talk to you later. SCHINDLER No, no, what, what is it? Schindler floats over closer to him, waits for him to report whatever it is he has come to report, leans closer. Finally, quietly -- STERN Do you have any money I don't know about? Hidden away someplace? Schindler thinks long and hard... SCHINDLER No. Silence except for the gently lapping water. Half-joking -- SCHINDLER Why, am I broke? Stern glances away, doesn't answer, just stares off. And a slight, slight smile, a gambler's philosophical smile upon being purged of his wealth, appears on Schindler's face. EXT. RURAL BRINNLITZ - DAY In the distance, a lone boxcar, stark against the winter landscape. There are patches of snow on the ground. A cold wind blows through bare trees. SCHINDLER (V.O.) Poldek. INT. MACHINE SHOP - BRINNLITZ CAMP - DAY Tight on Poldek Pfefferberg's eyes behind a welder's mask. He turns from his work to the voice, welding torch in his hand. EXT. RURAL BRINNLITZ - DAY The torch firing at ice as hard as metal, blue flame, white steam. Pfefferberg's eyes behind the mask again, concentrating. Around the abandoned boxcar, in the gruesome cold, stand Schindler, Emilie, a doctor, some workers and some SS guards, watching, waiting. Pfefferberg steps back. Sledge hammers pound at locks. Hands pull at levers. The doors begin to slide. Out of darkness, from inside the boxcar as the doors slide open, Schindler's face is revealed, tight. He stares for an interminable moment before walking slowly away. Inside the boxcar is a tangle of limbs, a pyramid of corpses, frozen white. From a distance, a tableau: the boxcar, the workers and guards and Emilie outside it, Schindler, off to himself several steps away, all of them still as statues. EXT. CATHOLIC CEMETERY - OUTSIDE BRINNLITZ - DAY Beyond a country church, among the stone markers of a small cemetery, walk Schindler and a priest. SCHINDLER It's been suggested I cremate them in my furnaces. As a Catholic I will not. As a human being I will not. The priest nods; he seems relatively empathic. He offers an alternative -- PRIEST There's an area beyond the church reserved for the burial of suicides. Maybe I can convince the parish council to allow them to be buried there. SCHINDLER These aren't suicides. The priest knows that. But he also knows that the provisions of Canon Law regarding who can and cannot be buried in consecrated ground are narrow. SCHINDLER These are victims of a great murder. INT. BRINNLITZ FACTORY - DAY In a corner of the factory, workers hammer at pine lumber. They are building coffins. EXT. BRINNLITZ FACTORY - DAY As workers harness horses to carts, others hoist the coffins into them. Schindler is there, watching. He glances up at one of the guard towers, expecting, perhaps, to be felled by a bullet. EXT. BRINNLITZ FACTORY - DAY Beyond the wire, Rabbi Levartov leads the horse-drawn carts. Around him walk a minyan -- a quorum of ten males necessary for the rite. A few guards lag behind. INT. BRINNLITZ FACTORY - SAME TIME - DAY Work continues, but it's apparent in their eyes they are only physically here; in spirit they are all walking alongside the carts, one great moral force. The roar of a machine suddenly, inexplicably, dies. Then another. And another. Schindler, standing at the main power panel, pulls the last of the switches, and the factory plunges into absolute silence. EXT. CATHOLIC CEMETERY - DAY Just beyond the perimeter of the Catholic cemetery, the minyan quickly and quietly recites Kaddish over the dead as their coffins are lowered into individual graves. Then, there is only a low breathing of wind. EXT. BRINNLITZ CAMP - ANOTHER DAY Amon Goeth, in civilian clothes, emerges from a car. His eyes, sallow from inadequate sleep, sweep across the fortified compound with envy. It's a nice place Oskar's got here. INT. OFFICE - BRINNLITZ FACTORY - SAME TIME - DAY Stern, at a window, stares down at Goeth beside his car. Softly, gravely -- STERN What's he doing here? Schindler appears beside Stern, glances down. He's lost weight, Goeth. The old suit he wears seems too big for him. Alone down there he seems disoriented. SCHINDLER Probably looking for a handout. INT. BRINNLITZ FACTORY - DAY Workers glance up at a horrible apparition from the pit of their foulest dreams -- Amon Goeth crossing through the factory. Schindler, his arm around the killer's shoulder as if he were a long lost brother, leads him across the shop-floor, proudly pointing out to him the huge thundering Hilo machines. INT. OFFICES, BRINNLITZ FACTORY - DAY Schindler takes an old suitcase from his office closet, sets it on his desk, snaps it open revealing clothes, Goeth's uniforms, his medals. The ex-Oberstrumfuhrer touches the fabric gently, then glances up gratefully to his friend. GOETH Thank you. INT. OUTER OFFICES - BRINNLITZ FACTORY - DAY Beyond the frosted glass of Schindler's office door, Stern can see the wavering forms of the two Nazi Party members sharing cognac and stories. INT. BRINNLITZ FACTORY - DAY Warmed by cognac and friendship, Goeth comes through the factory again carrying the suitcase, Schindler at his side, steering him to some degree. Goeth's hand comes up to his cheek as if to brush away a bothersome fly. But it isn't a fly. One of the workers has spit on him. He turns in disbelief. Silence as his hand drops to his side, to the holster he forgets isn't there. He glances around for SS guards... who aren't there. He looks to Schindler, thoroughly confused, and whispers -- GOETH Where are the guards? SCHINDLER The guards aren't allowed on the factory floor. They make my workers nervous. Goeth stares at him bewildered. Then again at the worker who spit. Then at other workers, the resolve in their eyes. They know he has no power here, and sense he has no power anywhere. His own eyes drift to a woman with yarn in her lap, knitting needles in her hands. Is this a dream? SCHINDLER I'll discipline him later. Schindler good-naturedly throws an arm around Goeth's shoulder and leads him away. The workers watch as the two Germans disappear out the factory doors. INT. GUARDS' BARRACKS - EVENING A guard slowly turns the dial of a radio, finding and losing in static several different voices in several languages, none of them lasting more than a moment. Depression hangs over the barracks. Most of the guards are straining to hear the news they've been fearing for some time now, some on their bunks just staring, one at a window peering out at the black face of a forest as if expecting, at any moment, to see Russian or American troops appear. INT. WORKER'S BARRACKS - SAME TIME - EVENING Another radio. Workers, like the guards, straining to hear. The dial finds, faint, mired in static, the idiosyncratic voice of Winston Churchill. INT. LIEPOLD'S QUARTERS - SAME TIME - EVENING Schindler on Liepold's doorstep. The two men considering each other across the threshold. Radio static filters out from Liepold's room. The word "Eisenhower" cuts through before the speaker's voice is buried again. SCHINDLER It's time the guards came into the factory. He turns and walks away. INT. BRINNLITZ FACTORY - NIGHT All twelve hundred workers and all the guards are gathered for the first time on the factory floor. Tension and uncertainty surround them. It's ominously quiet. Then -- SCHINDLER The unconditional surrender of Germany has just been announced. At midnight tonight the war is over. It is not his intention to elicit celebration. Indeed, his words, echoing and fading in the factory, echo the doubts they all feel. SCHINDLER Tomorrow, you'll begin the process of looking for survivors of your families. In many cases you won't find them. After six long years of murder, victims are being mourned throughout the world. Not by Untersturmfuhrer Liepold. He stands with his men, dying to lift his rifle and fire. SCHINDLER We've survived. Some of you have come up to me and thanked me. Thank yourselves. Thank your fearless Stern, and others among you, who, worrying about you, have faced death every moment. (glancing away) Thank you. He's looking at the guards, thanking them, which thoroughly confuses the workers. Just when they thought they knew where his sentiments lay, he's thanking guards. SCHINDLER You've shown extraordinary discipline. You've behaved humanely here. You should be proud. Or is he attempting to adjust reality, to destroy the SS as combatants, to alter the self-image of both the guards and the prisoners? Moving across the SS men's faces, they remain inscrutable. Schindler turns his attention back to the workers, and, not at all like a confession, but rather like simple statements of fact: SCHINDLER I'm a member of the Nazi party. I'm a munitions manufacturer. I'm a profiteer of slave labor, I'm a criminal. At midnight, you will be free and I will be hunted. (pause) I'll remain with you until five minutes after midnight After which time, and I hope you'll forgive me, I have to flee. That worries the workers. Whenever he leaves, something terrible always seems to happen. SCHINDLER In memory of the countless victims among your people, I ask us to observe three minutes of silence. In the quiet, in the silence, drifting slowly across the faces of the workers -- the elderly, the lame, teenagers, wives beside husbands, children beside their parents, families together -- it becomes clear, if it wasn't before, that both as a prison and a manufacturing enterprise, the Brinnlitz camp has been one long sustained confidence game. Schindler has never stood still so long in his life. He does now, though, framed by his giant Hilo machines, silent at the close of the noisiest of wars, his head bowed, mourning the many dead. When he finally does look up he sees that he is the last to do so. The faces, few of which he recognizes, are all looking at him. He turns to speak to the guards along the wall again. SCHINDLER I know you've received orders from our Commandant -- which he has received from his superiors -- to dispose of the population of this camp. Apprehension spreads across the factory like a wave. Pfefferberg tightens his grip on the pistol under his coat. His ragtag irregulars do the same, the rest of their ersatz "arsenal" concealed behind a machine. To the guards: SCHINDLER Now would be the time to do it. They're all here. This is your opportunity. The guards hold their weapons, as they have from the moment they arrived here tonight, at attention, waiting it seems, to be given the official order from their Commander, Liepold, who appears ready to give it. SCHINDLER Or... (he shrugs) ...you could leave. And return to your families as men instead of murderers. Long, long silence. Finally, one of the guards slowly lowers his rifle, breaks ranks and walks away. Then another. And another. And another. Another. When the last is gone, the workers consider Liepold. He appears more an oddity than a threat. He is more an oddity than a threat. And he knows it. He turns and leaves. EXT. BRINNLITZ CAMP - NIGHT A watchtower. Abandoned. The perimeter wire. No sentries. The guard barracks. Deserted. The SS is long gone. EXT. COURTYARD - BRINNLITZ CAMP - NIGHT Schindler and Emilie emerge from his quarters, each carrying a small suitcase. In the dark, some distance away from his Mercedes, stand all twelve hundred workers. As Schindler and his wife cross the courtyard to the car, Stern and Levartov approach. The rabbi hands him some papers. LEVARTOV We've written a letter trying to explain things. In case you're captured. Every worker has signed it. Schindler sees a list of signatures beginning below the typewritten text and continuing for several pages. He pockets it, this new list of names. SCHINDLER Thank you. Stern steps forward and places a ring in Schindler's hand. It's a gold band, like a wedding ring. Schindler notices an inscription inside it. STERN It's Hebrew. It says, 'Whoever saves one life, saves the world.' Schindler slips the ring onto a finger, admires it a moment, nods his thanks, then seems to withdraw. SCHINDLER (to himself) I could've got more out... Stern isn't sure he heard right. Schindler steps away from him, from his wife, from the car, from the workers. SCHINDLER (to himself) I could've got more... if I'd just... I don't know, if I'd just... I could've got more... STERN Oskar, there are twelve hundred people who are alive because of you. Look at them. He can't. SCHINDLER If I'd made more money... I threw away so much money, you have no idea. If I'd just... STERN There will be generations because of what you did. SCHINDLER I didn't do enough. STERN You did so much. Schindler starts to lose it, the tears coming. Stern, too. The look on Schindler's face as his eyes sweep across the faces of the workers is one of apology, begging them to forgive him for not doing more. SCHINDLER This car. Goeth would've bought this car. Why did I keep the car? Ten people, right there, ten more I could've got. (looking around) This pin -- He rips the elaborate Hakenkreus, the swastika, from his lapel and holds it out to Stern pathetically. SCHINDLER Two people. This is gold. Two more people. He would've given me two for it. At least one. He would've given me one. One more. One more person. A person, Stern. For this. One more. I could've gotten one more person I didn't. He completely breaks down, weeping convulsively, the emotion he's been holding in for years spilling out, the guilt consuming him. SCHINDLER They killed so many people... (Stern, weeping too, embraces him) They killed so many people... From above, from a watchtower, Stern can be seen down below, trying to comfort Schindler. Eventually, they separate, and Schindler and Emilie climb into the Mercedes. It slowly pulls out through the gates of the camp. And drives away. EXT. BRINNLITZ - NIGHT A panzer emerges from the treeline well beyond the wire of the camp and just sits there growling like a beast. Suddenly it fires a shell at nothing in particular, at the night -- an exhibition of random spite -- then turns around and rolls back into the forest. EXT. BRINNLITZ CAMP - SAME TIME - NIGHT From a watchtower, a couple of workers, having witnessed the tank's display of impotent might, can make little sense of it. Below, many of the workers mill around the yard, waiting to be liberated. No one seems to know what else to do. EXT. BRINNLITZ - DAY Some Czech partisans emerge from the forest. They come down the hill and casually approach the camp. Reaching the wire, they're met by Pfefferberg and some other workers, rifles slung over their shoulders. Through the fence -- PARTISAN It's all over. PFEFFERBERG We know. PARTISAN (pause) So what are you doing? You're free to go home. PFEFFERBERG When the Russians arrive. Until then we're staying here. The partisan shrugs, Suit yourself, and wanders back toward the trees with his friends. EXT. BRINNLITZ CAMP - NIGHT Five headlights appear out of the night, five motorcycles marked with the SS Death's-head insignia. They turn onto the road leading to the camp gate and park, the riders shutting off the engines. SS NCO Hello? Shapes materialize out of the darkness within the camp. Several armed and dangerous Jews. EXT. BRINNLITZ CAMP - LATER - NIGHT As the cyclists fill their tanks with gasoline borrowed from the camp, the workers keep their rifles pointed at them. The NCO in charge lines the gas cans neatly back up against the wire. NCO IN CHARGE Thank you very much. He climbs onto his motorcycle. The others climb onto theirs. And drive away. EXT. BRINNLITZ CAMP - DAWN A lone Russian officer on horseback, tattered coat, rope for reins, emerges from the forest. As he draws nearer, it becomes apparent to the workers assembling on the camp yard, that the horse is a mere pony, the Russian's feet in stirrups nearly touching the ground beneath the animal's skinny abdomen. He reaches the camp, climbs easily down from the horse and, in a loud voice, addresses the hundreds of workers standing at the fence: RUSSIAN You have been liberated by the Soviet Army. This is it? This one man? The workers wait for him to say more. He waits for them to move, to leave, to go home. Finally -- RUSSIAN What's wrong? A few of the workers come out from behind the fence to talk with him. WORKER Have you been in Poland? RUSSIAN I just came from Poland. WORKER Are there any Jews left? The Russian has to think. Eventually he shrugs, 'no,' not that he saw, and climbs back onto his pony to leave. WORKER Where should we go? RUSSIAN I don't know. Don't go east, that's for sure, they hate you there. (pause) I wouldn't go west either if I were you. He shrugs and gives his little horse a kick in the ribs. WORKER We could use some food. The Russian looks confused, glances off. The quiet hamlet of Brinnlitz sits there against the mountains not half a mile away. RUSSIAN Isn't that a town over there? Of course it is. But the idea that they could simply walk over there is completely foreign to them. The Russian rides away. EXT. BRINNLITZ - DAY All twelve hundred of them, a great moving crowd coming forward, crosses the land laying between the camp, behind them, and the town, in front of them. Tight on the FACE of one of the MEN. Tight on TYPEWRITER KEYS rapping his NAME. Tight on A PEN scratching out the words, "METAL POLISHER" on a form. Tight on the KEYS typing, "TEACHER." Tight on his FACE in the crowd. Tight on the face of a woman in the moving crowd. The keys typing her name. The pen scratching out "LATHE OPERATOR." The keys typing "PHYSICIAN." Tight on her face. Tight on a man's face. His name. Pen scratching out "ELECTRICIAN." Keys typing "MUSICIAN." His face. A woman's face. Name. Pen scratching out "MACHINIST." Keys typing "MERCHANT." Face. "CARPENTER." Face. "SECRETARY." Face. "DRAFTSMAN." Face. "PAINTER." Face. "JOURNALIST." Face. "NURSE." Face. "JUDGE." Face. Face. Face. Face. HARD CUT TO: EXT. FRANKFURT - DUSK (1955) A street of apartment buildings in a working class neighborhood of the city. INT. APARTMENT BUILDING - DUSK The door to a modest apartment opens revealing Oskar Schindler. The elegant clothes are gone but the familiar smile remains. SCHINDLER Hey, how you doing? It's Poldek Pfefferberg out in the hall. PFEFFERBERG Good. How's it going? SCHINDLER Things are great, things are great. Things don't look so great. Schindler isn't penniless, but he's not far from it, living alone in the one room behind him. PFEFFERBERG What are you doing? SCHINDLER I'm having a drink, come on in, we'll have a drink. PFEFFERBERG I mean where have you been? Nobody's seen you around for a while. SCHINDLER (puzzled) I've been here. I guess I haven't been out. PFEFFERBERG I thought maybe you'd like to come over, have some dinner, some of the people are coming over. SCHINDLER Yeah? Yeah, that'd be nice, let me get my coat. Pfefferberg waits out in the hall as Schindler disappears inside for a minute. The legend below appears: AMON GOETH WAS ARRESTED AGAIN, WHILE A PATIENT IN AN SANITARIUM AT BAD TOLZ. GIVING THE NATIONAL SOCIALIST SALUTE, HE WAS HANGED IN CRACOW FOR CRIMES AGAINST HUMANITY. Schindler reappears wearing a coat, steps out into the hall, forgets something, turns around and goes back in. OSKAR SCHINDLER FAILED AT SEVERAL BUSINESSES, AND MARRIAGE, AFTER THE WAR IN 1958, HE WAS DECLARED A RIGHTEOUS PERSON BY THE COUNCIL OF THE YAD VASHEM IN JERUSALEM, AND INVITED TO PLANT A TREE IN THE AVENUE OF THE RIGHTEOUS. IT GROWS THERE STILL. He comes back out with a nice bottle of wine in his hand, and, as he and Pfefferberg disappear down the stairs together -- SCHINDLER'S VOICE Mila's good? PFEFFERBERG'S VOICE She's good. SCHINDLER'S VOICE Kids are good? Let's stop at a store on the way so I can buy them something. PFEFFERBERG'S VOICE They don't need anything. They just want to see you. SCHINDLER'S VOICE Yeah, I know. I'd like to pick up something for them. It'll only take a minute. Their voices face. Against the empty hallway appears a faint trace of the image of the factory workers, through the wire, walking away from the Brinnlitz camp. And the legend: THERE ARE FEWER THAN FIVE THOUSAND JEWS LEFT ALIVE IN POLAND TODAY. THERE ARE MORE THAN SIX THOUSAND DESCENDANTS OF THE SCHINDLER JEWS. THE END
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+                           SCOTT PILGRIM VS. THE WORLD                                  Written by                        Edgar Wright & Michael Bacall                       Based On The Graphic Novels by                             Bryan Lee O'Malley                                                         May 13, 2010                                                                                                        1 EXT. TORONTO RESIDENTIAL STREET - DAY 1          Snowy suburbs of Toronto. From a nondescript house we hear:          KIM PINE (O.S.)          Scott Pilgrim is dating a high schooler?          2 INT. STEPHEN STILLS' KITCHEN - DAY 2          Four twenty-somethings lounge around a small kitchen table.          STEPHEN STILLS, 25, shaggy hair, Canadian Cowboy chic.                         STEPHEN STILLS          Really? Is she hot?          KIM PINE, 22, cute, bitter, sweatshirt with a zipper.                         KIM PINE          How old are you now, Scott? Like          twenty-eight?                         SCOTT          I'm not playing your little games.                         KIM PINE          So you've been out of high school          for like, 13 years and-          SCOTT (O.S.)          I'm twenty-two. Twenty-two!                         STEPHEN STILLS          And you're dating a high school          girl? Not bad, not bad.          YOUNG NEIL, 20, simple mind, layered T-shirts.                         YOUNG NEIL          Like, did you guys 'do it' yet?          SCOTT PILGRIM, 22, fresh faced and charmingly cocky with an          unruly yet adorable mop of hair.                         SCOTT          We have done many things. We ride          the bus. We have meaningful          conversations about how yearbook          club went and about her friends          and, um...you know...drama.                         STEPHEN STILLS          Yeah, okay, have you even kissed her?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 1A.                         2 CONTINUED: 2                         SCOTT          We almost held hands once, but then          she got embarrassed.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 2.                         2 CONTINUED: (2) 2                         KIM PINE          Well. Aren't you pleased as punch?                         STEPHEN STILLS          So, what's her name?                         SCOTT          (pleased as punch)          Knives Chau. She's Chinese.                         STEPHEN STILLS          (under his breath)          Chinese...          Young Neil pauses his Nintendo DS.                         YOUNG NEIL          Wicked! How'd you meet her?                         SCOTT          I believe I mentioned the bus?          Scott Pilgrim prepares to tell an amazing story:          3 INT. THE BUS - NIGHT 3          KNIVES CHAU, 17, cute and innocent with clothes to match,          sits next to her mother, MOTHER CHAU, 45, demanding.                         MOTHER CHAU          You are seventeen year old! Time to          get interested in boy!                         KNIVES CHAU          Mom!          Knives DROPS her bag, books scattering everywhere.                         MOTHER CHAU          You drop book.          Knives crouches down to pick up her books, grumbling.          SCOTT (O.S.)          Hey...          Knives looks up to see the cute and gallant SCOTT PILGRIM          holding her books. TEXT appears in an on-screen box:          "SCOTT PILGRIM, 22 YEARS OLD, RATING: AWESOME."          Stars appear in Knives's eyes. Scott grins heroically. Scott          winks at Knives. Scott winks at the camera.                                                                                                               INTEGRATED FINAL 2A.          4 INT. STEPHEN STILLS' KITCHEN - DAY 4          Back in the kitchen, everyone looks at Scott...                         KIM PINE          Is that seriously the end of the story?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 3.                         4 CONTINUED: 4                         SCOTT          Yes. It is.          Young Neil unpauses his Nintendo DS.                         STEPHEN STILLS          So when do we get to meet her?                         KIM PINE          Oh please. Let it be soon.          DINGY DONG! The doorbell rings. Scott smiles broadly.                         SCOTT          That's for me.          5 INT/EXT. STEPHEN STILLS' HOUSE - DAY 5          An eager Knives stands outside. Scott opens the door a crack.                         SCOTT          You promise to be good?                         KNIVES CHAU          Of course I'll be good!                         SCOTT          No, really. Please be good.                         KNIVES CHAU          Am I normally not?          Stephen Stills comes to the door and peers through.                         SCOTT          Oh, hey. Knives, this is Stephen          Stills. He's the talent.                         STEPHEN STILLS          Hey.          STILLS shuts the door on a confused Knives.                         STEPHEN STILLS          Is she gonna geek out on us?                         SCOTT          She'll just sit in the corner, man.                         STEPHEN STILLS          I mean, I want her to geek out on us.                         SCOTT          She'll geek. She geeks. She has the          capacity to geek.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 3A.                         5 CONTINUED: 5          Stephen Stills quickly opens the door and waves Knives in.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 4.                         5 CONTINUED: (2) 5                         STEPHEN STILLS          You're good.          6 INT. STEPHEN STILLS' HOUSE - DAY 6          Knives enters, looking around the rehearsal pad with awe:          Bare bulb, ratty rug, drums, guitar, bass, LAME BRAND amps.                         KNIVES CHAU          Wow.                         SCOTT          Knives, that's Kim. Lemme get your coat.          Scott throws Knives' coat on the floor. Knives waves.                         KNIVES CHAU          Hi, sorry, what was your name?          KIM PINE (O.S.)          Kim.                         KNIVES CHAU          You play the drums?          REVEAL Kim sitting behind the drumset, sticks in her hands.                         KIM PINE          ...yes.                         KNIVES CHAU          That is so awesome.                         SCOTT          Knives, that's Young Neil.                         KNIVES CHAU          Hi. What do you play?                         YOUNG NEIL          Uh, wow...Zelda...Tetris...that's          kind of a big question.          Knives stares blankly at Young Neil, who finally gets it.                         YOUNG NEIL          Oh. I'm not in the band. I just          live here.          Sex Bob-Omb has geared up. Amps hum to life.                         SCOTT          Let's start with Launchpad McQuack.                         STEPHEN STILLS          That's not the actual title of the-                         (CONTINUED)                                                                                                               INTEGRATED FINAL 5.                         6 CONTINUED: 6                         KIM PINE          WE ARE SEX BOB-OMB! 1-2-3-4!          Kim BASHES the kit and Sex Bob-Omb EXPLODE INTO ROCK! GUITAR          AND BASS LEADS LEAP INTO THE AIR, SPELLING OUT OUR TITLE...          SCOTT PILGRIM VS THE WORLD          TITLES continue over the song as the small rehearsal space          seems to GROW with the music. Stephen Stills barks          unintelligable lyrics.          Knives watches, jaw ajar. The song ends, feedback lingering.                         KNIVES CHAU          You guys...are so...amazing.          7 EXT. BUS STOP - EVENING 7          Scott bids adieu to a stunned Knives as she gets on a bus.                         KNIVES CHAU          I can't even...Sex Bob-Omb.          Amazing.          8 INT. STEPHEN STILLS' ROOM - EVENING 8          The band and Young Neil lounge around Stephen Stills' room.                         STEPHEN STILLS          She seems nice.                         SCOTT          Yeaaah.                         YOUNG NEIL          She seems awesome.                         SCOTT          Yeaaah.                         KIM PINE          Scott, if your life had a face I          would punch it.                         SCOTT          Yeaaah...wait, what?                         KIM PINE          I mean, are you really happy or are          you really evil?                         SCOTT          Like, do I have ulterior motives or          something? I'm offended, Kim.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 6.                         8 CONTINUED: 8                          STEPHEN STILLS           Wounded even?                          SCOTT          Hurt, Kim.                         KIM PINE          You? Hurt?          Scott takes a breath, turns to Young Neil.                         SCOTT          Neil, you were saying she seems awesome.                         YOUNG NEIL          Yeah, she seems awesome.                         SCOTT          Yeaaaah...          9 INT. WALLACE'S APARTMENT - EVENING 9          Scott hangs his coat up in a tiny, one room apartment. He          turns to WALLACE WELLS, dark hair, arched eyebrow, disloyal.          "WALLACE WELLS, ROOMMATE, 24 YEARS OLD, FUN FACT: HE IS GAY!"                         SCOTT          Before you hear some dirty lies          from someone else, yes, I'm dating          a 17 year old.          Wallace looks up from the NOW magazine he's reading.                         WALLACE          Is he cute?                         SCOTT          Ha, ha, ha, ha.                         WALLACE          Does this mean we have to stop          sleeping together?                         SCOTT          Do you see another bed in here?          TINY BOXES OF TEXT indicate the ownership of the items in the          one room flat: 95% belongs to Wallace, FUTON included.                         WALLACE          Yeah. You're totally my bitch forever.                         SCOTT          So. The whole seventeen year old          thing. Don't tell too many people.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 6A.                         9 CONTINUED: 9                         WALLACE          Hey, you know me.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 7.                         9 CONTINUED: (2) 9                         SCOTT          I mean. Don't tell my sister.                         WALLACE          You know me.          Wallace tosses the NOW magazine aside, starts texting.                         SCOTT          Who are you texting?          RINGY RING. The phone goes. Scott picks up.          STACEY (O.S.)          Seventeen years old? Scandal!          Intercut with STACEY PILGRIM, cute, peppy barista, gabbing on          her cellphone in THE SECOND CUP. A sign behind her reads 'úIf          you are using your cellphone, you will not be served'ù.          "STACEY PILGRIM, YOUNGER SISTER, 19, RATING: 'T' FOR TEEN."                         SCOTT          That's not true. Who told you?                         STACEY          Wallace. Duh.                         SCOTT          That gossipy bitch.          WALLACE (O.S.)          You know me.          Scott turns to see Wallace on a second cordless.                         SCOTT          Wallace!          Wallace clicks off. Scott sinks into an armchair.                         STACEY          Who is this mysterious child you date?                         SCOTT          Her name is Knives. Knives Chau.                         STACEY          A seventeen year old Chinese          schoolgirl? You're ridiculous.                         SCOTT          It's a Catholic school too.                         STACEY          With the uniform and everything?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 8.                         9 CONTINUED: (3) 9                         SCOTT          Yeah, the whole deal.                         STACEY          Oh my God, you haven't-                         SCOTT          No no no. We haven't even held          hands. I think she hugged me once.                         STACEY          Um, Scott. Why are you doing this?                         SCOTT          I don't know...it's just nice, you          know? It's just...simple.                         STACEY          It's been over a year since you got          dumped by she-who-will-not-be-named.          Scott glances down at the partially obscured NOW magazine,          looking into the HOT GIRL'S EYES on the back cover album ad.          STACEY (CONT'D)          So, are you legitimately moving on,          or is this just you being insane?          Scott looks at a strip of photobooth pictures: he smiles next          to a hot redhead in happier times.                         SCOTT          Can I get back to you on that?          A SCHOOL BELL clangs loudly...          10 EXT. CATHOLIC SCHOOL - DAY 10          Wallace and Scott stand outside a CATHOLIC HIGH SCHOOL.          Uniformed boys and girls pour out.                         WALLACE          I do not want to be here. At all.                         SCOTT          This school has boys too.                         WALLACE          I hate you. Even I would think twice          about dating a seventeen year old.                         SCOTT          Well, she's only allowed out when          the sun is up, so I wouldn't call          it dating, more like...                         (CONTINUED)                                                                                                               INTEGRATED FINAL 8A.                         10 CONTINUED: 10                          WALLACE           Playtime?                          SCOTT          That doesn't sound so good either.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 9.                         10 CONTINUED: (2) 10          KNIVES CHAU (O.S.)          Scott! Heyyyy!          Knives skips to Scott. Her shy friend TAMARA lingers behind.                         SCOTT          Hey Knives, this is my cool gay          roommate, Wallace Wells. He's gay.                         KNIVES CHAU          Oh, hi! Do you want to know who in          my class is gay?                         WALLACE          Yes. Does he wear glasses?                         SCOTT          Wallace, you go now! Begone!          Wallace pulls Knives close. Whispers.                         WALLACE          You're too good for him. Run.          11 INT. THE ARCADE - DAY 11          Scott and Knives play NINJA NINJA REVOLUTION (think a martial          arts version of DANCE DANCE REVOLUTION).          They punch and kick in unison, side by side.                         SCOTT          Did you know the original name of Pac-          man was Puck-man? You would think it's          because Pac-Man looks like a yellow          hockey puck, but actually it comes          from the Japanese phrase paku-paku          which means to flap ones mouth open          and closed. They changed it over here          because Puck-Man is too easy to          vandalize. You know, scratch out the P          and turn it into an F or whatever?          Knives flips over Scott's back in a COMBO move.                         KNIVES CHAU          Ohmigod, like...wow.                         SCOTT          Yeah. Wow.          The game ends. CONTINUE appears, counting down: 10...9...8...          Scott looks at Knives. She digs for quarters.                         KNIVES CHAU          Oh, I got it!                                                                                                               INTEGRATED FINAL 10.          12 EXT. "PIZZA PIZZA" - DAY 12          Scott and Knives leave a pizza joint, slices in hand.                         KNIVES CHAU          Tamara is into this Korean guy,          Bobby, but everyone thinks Bobby          has a crush on Mina.                         SCOTT          I thought Derek and Tamara had a          mutual like-each-other thing going,          what happened?          A13 INT. THE GOODWILL - DAY A13          Scott and Knives shop for T-shirts. Hangers click in time.                         KNIVES CHAU          I don't listen to much music. I          know a lot of kids who play piano          or whatever, but you guys ROCK.                         SCOTT          I knew I personally rocked, but I          never suspected that we rocked as a          unit. Thank you, Knives.          13 INT. SONIC BOOM (RECORD STORE) - DAY 13          Scott and Knives flip through records in perfect sync.                         KNIVES CHAU          I mean, you guys are gonna be HUGE.                         SCOTT          Well, we're already pretty big. But          it might be cool if cool people          wore our T-shirt.          Knives speaks to a female clerk, surly with tats and specs:          "JULIE, 22, STILLS' GIRLFRIEND, RATING: WHAT IS HER PROBLEM?"                         KNIVES CHAU          Excuse me, do you have anything by          'The Clash At Demonhead'?                         JULIE          Have you tried the section marked          'The Clash At Demonhead'?                         SCOTT          Thank you, Julie.                         JULIE          Are you coming to my party Friday          or will you be busy babysitting?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 10A.                         13 CONTINUED: 13                         SCOTT          Thank you, Julie.                         (TO KNIVES)          You don't want to listen to her.                         (MORE)                         (CONTINUED)                                                                                                               INTEGRATED FINAL 11.                         13 CONTINUED: (2) 13                         SCOTT (CONT'D)          And you definitely don't want to          listen to them.          Scott puts The Clash at Demonhead CD back in the rack.                         KNIVES CHAU          Oh, I heart them so much.                         SCOTT          I hearted them too until they signed          to a major label and the singer turned          into a total bitch and ruined my life.          But that's just me.                         KNIVES CHAU                         (OBLIVIOUS)          Envy Adams is sooo cool. Do you          read her blog?                         SCOTT          Sorry, you were saying about me?          14 EXT. SNOWY TORONTO STREET - DAY 14          Scott and Knives amble down a snow covered sidewalk.                         KNIVES CHAU          I mean, I've...I've never gone out          with someone so talented.                         SCOTT          You go out with a lot of guys?                         KNIVES CHAU          ...no.                         SCOTT          Yeah, so whatever, man!                         KNIVES CHAU          I've never even kissed a guy.          Knives blushes and looks at the ground. Scott hugs her.                         SCOTT          Me neither.          15 EXT. WALLACE'S APARTMENT - DAY 15          Scott and Knives walk up to the front of Wallace's apartment.                         KNIVES CHAU          So this is your secret lair? Can I          come in?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 12.                         15 CONTINUED: 15                         SCOTT          My secret lair is one of those 'no          girls allowed' deals.                         KNIVES CHAU          Oh, okay.                         SCOTT          But do you want to see the house          where I grew up?                         KNIVES CHAU          Sure.          They literally walk across the street to a small house.                         SCOTT          Here you go.                         KNIVES CHAU          Wow.                         SCOTT          Yeah. Wow.          Wind blows. The light snowfall turns into sand...          16 EXT. THE DREAM DESERT - HOTTEST DAY 16          ...Scott wanders alone through a barren land. He falls to his          knees next to a lonely cactus.                         SCOTT          Oh God...so...so alone.          A MYSTERIOUS GIRL rollerblades across the shifting sands. She          wears fishnets, an army jacket, skirt and goggles. Her pink          hair is funky but cool. She is hotter than the desert sun.                         MYSTERIOUS GIRL          You're not alone. You're just          having some idiotic dream.                         SCOTT          Does that mean we can make out?          But she's gone...          17 INT. WALLACE'S APARTMENT - ? 17          ...SCOTT WAKES UP, sitting up in the FUTON.                         SCOTT          Oh God...          Wallace wakes up to the left of Scott, rubbing his eyes.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 13.                         17 CONTINUED: 17                         WALLACE          What is it, Scott?                         SCOTT          I had this totally weird dream.                         OTHER VOICE          Oh God.                         WALLACE          What is it, Scott?          A scruffy, goateed guy wakes right between Scott and Wallace:          "OTHER SCOTT, 22, WALLACE'S BOYFRIEND? FUN FACT: GUY CURIOUS"                         OTHER SCOTT          Can we skip the dreamtime? Color me          not interested.                         SCOTT          But there was this girl...                         WALLACE          Girl?                         OTHER SCOTT          Was this an Envy related dream?                         WALLACE          We don't use the E-word in this house.                         SCOTT          No, it wasn't her. It was somebody new...                         OTHER SCOTT          Yay for that.          Other Scott goes back to sleep. Wallace rubs his eyes.                         WALLACE          Speaking of new, weren't you          supposed to take your fake high          school girlfriend to the library a          half-hour ago?                         SCOTT          What? It's like, six in the morning.          Scott opens the bathroom door. Sunlight ignites the room.                         SCOTT (CONT'D)          Arrrrgh!                                                                                                               INTEGRATED FINAL 13A.          18 INT. THE LIBRARY - DAY 18                         KNIVES CHAU          What's wrong?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 14.                         18 CONTINUED: 18          Scott is noticeably taller than all the teens in the library.          He carries a stack of books for Knives.                         SCOTT          Libraries remind me of grade school.                         KNIVES CHAU          That must seem like a reeeeally          long time ago.                         SCOTT          Uh. Let's talk about something else.          The hiss of ball bearings catches Scott's attention. He          freezes as he sees THE ROLLERBLADING GIRL FROM HIS DREAM          skating towards the desk in SEXALICIOUS SLOW MOTION.                         KNIVES CHAU          Do you know that girl?          The Rollerblading Girl delivers a package from AMAZON.CA to          the librarian. Scott's gaze follows the GIRL as she blades          out of the library. Pensive guitar underscores his thoughts.                         KNIVES CHAU          Scott?          Scott continues to stare at the girl. Time slows to a crawl.          STEPHEN STILLS (O.S.)          SCOTT!          19 INT. STEPHEN STILLS' HOUSE - EVENING 19          Scott stands in the rehearsal room, head still in the clouds.                         STEPHEN STILLS          You only played one note for that          entire song.                         SCOTT          It was...uh...my hand slipped.                         KIM PINE          Is your girlfriend distracting you?                         SCOTT          My girlfriend?          A meek Knives sits next to Young Neil on the couch.                         KNIVES CHAU          I'll... I'll be quieter.                         STEPHEN STILLS          Let's do that one again.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 15.                         19 CONTINUED: 19                         SCOTT          Sorry, what are we doing?          20 EXT. TORONTO RESIDENTIAL STREET - NIGHT 20                         STEPHEN STILLS          I told you like fifty times!          Scott, Kim Pine, Stephen Stills and Young Neil walk down an          icy Toronto street. Scott's head is still in the clouds.                         KIM PINE          We're going to this party, retard.                         SCOTT          Party?                         YOUNG NEIL          At Julie's.                         SCOTT          Ugh. I thought you guys split.                         STEPHEN STILLS          We did. But, you know, there may be          some label guys there, so...                         SCOTT          Aw, man. This is going to suck.                         KIM PINE          At least it will give us something          to complain about.                         SCOTT          Awww maaan...          21 INT. JULIE'S HOUSE - NIGHT 21          A bored Scott stands next to Young Neil in a very crowded          house party. Both have red plastic cups in hand.                         SCOTT          ...this sucks.                         YOUNG NEIL          Sucks.                         SCOTT          I'm going to go pee due to boredom.          Scott exits frame.                         YOUNG NEIL          I have to pee.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 15A.                         21 CONTINUED: 21          Neil sips his drink.          Scott passes by COMEAU, a bespectacled hipster geek:          'òCOMEAU, 25, FUN FACT: KNOWS EVERYONE (INCLUDING YOU)'                         SCOTT          Hey Comeau.                         COMEAU          Hey Scott. Some party huh? You          gettin' your drink on?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 16.                         21 CONTINUED: (2) 21                         SCOTT          This is Coke Zero. I don't drink.                         COMEAU          You don't drink? I remember you          getting ridiculously drunk off two          G&T's one time and-                         SCOTT                         (QUICKLY)          Comeau, you know everyone, right?                         COMEAU          Pretty much.                         SCOTT          Do you know this one girl with hair          like this?          Scott sketches an incomprehensible drawing of Ramona.                         COMEAU          Yeah man. Ramona Flowers. Someone          said she was coming tonight actually.                         SCOTT          WHAT?                         COMEAU          You got the hots for her? I hear          she's hardcore...          Scott has already left a Scott-shaped dust cloud...          22 INT. JULIE'S HOUSE - MOMENTS LATER 22          Scott scans the party. His eyes go WIDE. He CRUSHES his          plastic cup. There she is...playing the wall...RAMONA! Aloof.          Enigmatic. Hot. Scott sidles up and stands next to her.                         SCOTT          Hey, what's up?                         RAMONA          Nothing.                         SCOTT          Hey, you know Pacman?                         RAMONA          I know of him.          Scott begins to babble.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 17.                         22 CONTINUED: 22                         SCOTT          Well you know Pac-Man was          originally Puckman but not because          Pac-Man looks like a hockey puck          and paku-paku-paku means flapping          your mouth and they changed it          because if you scratch out the "P"          and turn it into an "F'ù? You know?          Like...                         RAMONA          Yeah that's amazing.                         SCOTT          Um...am I dreaming?          Ramona looks at Scott blankly. He slowly skulks away.                         SCOTT (CONT'D)          I'll leave you alone forever now.          "THEN HE STALKED HER FOR THE REST OF THE PARTY..."          Series of quick shots as Scott follows Ramona. He ducks          around corners, spies from behind a much bigger dude. Ramona          leaves the party. Scott grabs a startled Young Neil.                         SCOTT          DUDE!                         YOUNG NEIL          WHA?                         SCOTT          SHE'S TOTALLY REAL!                         YOUNG NEIL          WHO!?                         STEPHEN STILLS          RAMONA FLOWERS!                         YOUNG NEIL          WHUH?          JUMP CUT. Scott RUNS towards Comeau.                         SCOTT          DUDE. What do you know about Ramona          Flowers?!                         COMEAU          All I know is she's American.                         SCOTT                         (EXOTICALLY)          American...                         (CONTINUED)                                                                                                               INTEGRATED FINAL 17A.                         22 CONTINUED: (2) 22                         COMEAU          But you should talk to Sandra and                         MONIQUE-          "SANDRA AND MONIQUE, 24, TWO GIRLS COMEAU KNOWS"                         SCOTT          LADYDUDES! What do you know about          Ramona Flowers?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 18.                         22 CONTINUED: (3) 22                         MONIQUE          I think she has a boyfriend.                         SANDRA          Some guy back in New York.                         MONIQUE          Doesn't she have the most          ridiculous name?                         SANDRA          I know. It's so 'úRamona Quimby,          Aged 8'ù and yet...Flowers.          The girls laugh. Scott does not.                         SCOTT          Yeah. What else?          JUMP CUT through a FLURRY OF FACES as Scott asks everyone                         ABOUT RAMONA:                         PARTYGOER #1          I heard she kicks all kind of ass.                         PARTYGOER #2          She's on another level.                         PARTYGOER #3          She's got men dying at her feet.                         PARTYGOER #4          She's got some battle scars.                         PARTYGOER #5          Not to be entered into lightly          We end on the surly JULIE (the rude clerk) who steps in front          of Scott, arms crossed. Stephen Stills is with her.                         JULIE          What about Ramona Flowers?                         SCOTT          You know her? Tell me. Now.                         JULIE          She just moved here. Got a job with          Amazon. Comes into my work.                         SCOTT          Does she really?                         STEPHEN STILLS          Didn't you say she just broke up          with someone, Jools?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 18A.                         22 CONTINUED: (4) 22                         SCOTT          Did she reeally?                         STEPHEN STILLS          That they had a huge fight or whatever?                         SCOTT          Did they reeeally?                         JULIE          ...yes. But I didn't want Scott to          know that, Stephen.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 19.                         22 CONTINUED: (5) 22                         SCOTT          Yeah, I don't know what it is about          that girl, she just-                         JULIE          Scott, I forbid you from hitting on          Ramona. Even if you haven't had a          real girlfriend in over a year-                         STEPHEN STILLS          Hey whoa, whoa. Scott's mourning          period is officially over. He's          totally dating a high schooler.                         JULIE          Dating a high schooler is the          mourning period.                         STEPHEN STILLS          She's got a point.                         SCOTT          I thought you guys broke up.                         JULIE          I don't want you scaring off the          coolest girl at my party Scott. We          all know you're a total lady killer          wannabe jerky jerk.                         SCOTT          That's garbage! Completely untrue.                         JULIE          That time with Lisa-                         SCOTT          Misunderstanding.                         JULIE          That time with Hollie-                         SCOTT          Not what it looked like!                         JULIE          That time you dumped Kim for-                         SCOTT          Hey, me and Kim are all good now.          SCOTT looks to KIM. We hear the sound of arctic winds.                         JULIE          Whatever, Ramona is out of your          league, let's leave it at that.                         (MORE)                         (CONTINUED)                                                                                                               INTEGRATED FINAL 20.                         22 CONTINUED: (6) 22                         JULIE (CONT'D)          And anyway, I'm not even sure she          really did have a big breakup. She          keeps mentioning some guy named          Gideon.                         SCOTT                         (NOT LISTENING)          Yeah, I don't know what it is about          that girl, she just-                         JULIE          Forget it Scott!!!          23 INT. WALLACE'S APARTMENT - NIGHT 23          Scott lies on the futon, WIDE awake. Wallace storms in.                         WALLACE          Guess who's druuunk?                         SCOTT          I guess Wallace.                         WALLACE          You guess right.          Wallace flops onto the futon, landing next to Scott.                         SCOTT          So, that girl. From my dream.                         WALLACE          Girl. Okay...                         SCOTT          I saw her at the library...                         WALLACE          Library...can I pretend we're          talking about a guy?                         SCOTT          So then I'm at this party, and hey!          There she is.                         WALLACE          There he is.                         SCOTT          I think she's...                         WALLACE          You think he's...                         SCOTT          I think she's the girl of my dreams.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 21.                         23 CONTINUED: 23                         WALLACE          Mmm. Then you should break up with          your fake high school girlfriend.                         SCOTT          I've never been so sure about          something.                         WALLACE          Then you should break up with your          fake high school girlfriend.                         SCOTT          What's that?                         WALLACE          Break...up...fake...high          school...girlfriend...                         SCOTT          I'm not getting it, friend.          Wallace drifts off. RINGY RING! Scott answers. INTERCUT with          STACEY sitting on a bus on her cellphone.                         STACEY          You're thinking of juggling two chicks!?                         SCOTT          Not even!                         STACEY          Well, you should break up with your          fake high school girlfriend.                         SCOTT          Wait. Who told you?                         STACEY          Duh. Wallace.                         SCOTT          He's not even conscious!                         STACEY          Whatever. You of all people should know          how sucky it is to get cheated on.                         SCOTT          Don't you have a job to do?                         STACEY          You're right. I should send out a          mass text about this. Bye.          Scott looks to Wallace, who is out cold, cellphone in hand.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 22.                         23 CONTINUED: (2) 23                         SCOTT          Wallace, how do you do that?          HARD CUT to MORNING LIGHT filling the room!          SCOTT (O.S.)          WALLACE!          Wallace sits bolt upright. Scott sits at Wallace's computer.                         SCOTT (CONT'D)          Amazon.ca. What's the website for that?                         WALLACE          ...Amazon.ca.                         SCOTT          Awesome! I have to order something          reeeally cool.                         COMPUTER          "You've got mail!"                         SCOTT          Dude! This thing claims I have mail!                         WALLACE          It's amazing what they can do with          computers these days.                         SCOTT          Dude! Now I'm reading it!                         WALLACE          I'm so happy for you.                         SCOTT          "Dear Mr. Pilgrim, It has come to          my attention that we will be          fighting soon. My name is Matthew          Patel, and I'm" blah blah 'úfair          warning'ù blah blah...hmm. This          is...this is...THIS IS...!!!                         WALLACE          WHAT?!                         SCOTT          This is boring. Delete!          'úCLICK.'ù Scott walks to the front door. Moments pass.                         WALLACE          Scott. Are you waiting for the          package you just ordered?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 22A.                         23 CONTINUED: (3) 23                          SCOTT           Maybe.                          WALLACE          It's the weekend. It won't ship          until Monday at the earliest.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 23.                         23 CONTINUED: (4) 23          DINGY DONG. Scott JUMPS to his feet.                         SCOTT          You were saying?          Scott opens the door. It's KNIVES CHAU!                         SCOTT          Heyyy...                         KNIVES CHAU          Attack hug!          Knives smothers Scott.                         SCOTT          Attack hug. That's cute.          He plasters on his best fake smile.                         KNIVES CHAU          Remember you were supposed to meet          me at the bus stop a half-hour ago?                         SCOTT          How could I possibly forget?          24 INT. SONIC BOOM - DAY 24          Scott and Knives flip through the record bins, out of sync.                         KNIVES CHAU          Yearbook club is getting SO boring.          I cannot believe the music they put          on while we work.                         SCOTT          That's sucky.          25 INT. THE GOODWILL - DAY 25          Knives buys a hip and trendy jacket. Scott sits on a couch          next to the DO NOT SIT sign, still distracted.                         KNIVES CHAU          Hannah broke up with Alan and now          she's all into Derek...                         SCOTT          Uh huh.          26 EXT. PIZZA PIZZA - DAY 26          Scott and Knives walk out of a pizza joint. Knives chows down          on a slice. Scott doesn't eat, his thoughts elsewhere.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 23A.                         26 CONTINUED: 26                         KNIVES CHAU          ...but Tamara claims she has dibs          on Derek.                         SCOTT          I tell ya'.                                                                                                               INTEGRATED FINAL 24.          27 INT. THE ARCADE - DAY 27          Scott and Knives play NINJA NINJA REVOLUTION, side by side.          Scott plays halfheartedly, his timing off.                         KNIVES CHAU          Combo!          Knives goes to flip over Scott, but he messes up. THE MIRROR          IMAGE of Scott's videogame avatar appears on screen.                         KNIVES CHAU          Uh oh, NegaNinja.          NEGANINJA - squares up against Scott's avatar.                         SCOTT          I can never get past that guy.          Scott has his little videogame head cut off. The 'úCONTINUE?'ù          countdown comes up...10...9...8...                         KNIVES CHAU          Do you want to keep going?          Scott takes a long look at Knives.                         SCOTT          Um, I think...I think...          Scott takes a deep breath. This is never easy. 3...2...1...          28 INT. STEPHEN STILLS' HOUSE - EVENING 28                         STEPHEN STILLS          Game on, everybody. Game. On.          An excited Stills addresses Sex Bob-Omb. Scott tunes his          bass, alone by the window, staring out.                         STEPHEN STILLS          I got us a show.          KNIVES CHAU (O.S.)          OH MY GOSH WHEN?!          Knives BURSTS into frame. Scott winces.                         STEPHEN STILLS          Wednesday, The Rockit. And even          better? It's the T.I.B.B.                         KNIVES CHAU          The Toronto International Battle of          The Bands?!                         (CONTINUED)                                                                                                               INTEGRATED FINAL 25.                         28 CONTINUED: 28                         STEPHEN STILLS          S'right. This guy at work was like          "Steve, do you know anyone in a          band?" and I was like 'úI'm in a          band'ù and he was like 'úYou're in a          band?'ù and I was like 'úYeah I'm          totally in a band'ù-                         KIM PINE          Great story, man.                         KNIVES CHAU          Is there a prize or something?!                         STEPHEN STILLS          Only a record deal with G-man Graves!                         SCOTT          What? Who?                         KNIVES CHAU          You don't know?                         STEPHEN STILLS          Indie Producer of the millennium?!                         SCOTT          Oh.                         YOUNG NEIL          Whoa.          Stills gestures to Knives' home-made Sex Bob-Omb T-shirt.                         STEPHEN STILLS          If we win...it won't just be Knives          wearing a Sex Bob-Omb shirt. It'll          be the cool kids too.          Knives can barely contain herself. She grabs Scott.                         KNIVES CHAU          I will do everything I can to get          out of study group and come.                         SCOTT          Sure. Great.          We follow Scott as he walks in a daze to the bathroom.          KNIVES CHAU (O.S.)          Oh my gosh, who are you battling?          STEPHEN STILLS (O.S.)          Crash and the Boys.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 25A.                         28 CONTINUED: (2) 28          YOUNG NEIL (O.S.)          That one band with Crash? And          those Boys?                         KIM PINE          Yeah that's the one.                         YOUNG NEIL          I hate them!          KNIVES CHAU (O.S.)          Oh my gosh, I hate them too!          STEPHEN STILLS (O.S.)          Yeah, they suck.                                                                                                               INTEGRATED FINAL 26.          29 INT. STEPHEN STILLS' HOUSE, BATHROOM - EVENING 29          Scott pees in a state of dreamy reverie. The PEE BAR above          his head slowly reduces. He stares at himself in the mirror.          Scott exits the bathroom, entering...          30 INT. DREAM HIGH SCHOOL - ? 30          ...a long, empty HIGH SCHOOL HALLWAY. Scott's footsteps echo          as he moves towards a classroom door with a STAR on it...          RAMONA FLOWERS bursts through the door, skating past Scott          and down the hall, PACKAGE from AMAZON clutched in her hand.          Scott runs after her, around a corner, down a row of LOCKERS          leading to...the outside of WALLACE'S APARTMENT???          31 INT. WALLACE'S APARTMENT - MORNING 31          Scott LEAPS out of the futon and RUNS towards the front door,          THROWING IT OPEN and startling Ramona Flowers just as she          presses the doorbell. DINGY DONG...                         SCOTT          Hi, um, I was thinking about asking          you out, but then I realized how          stupid that would be.                         (BEAT)          Do you want to go out sometime?                         RAMONA          Um, no, that's okay. You just have          to sign for this alright?                         SCOTT          I just woke up, and you were in my          dream. I dreamt you were delivering          me this package. Is that weird?                         RAMONA          It's not weird at all.                         SCOTT          It's not?                         RAMONA          No, it's just like, you've got this          really convenient subspace highway          running through your head that I          like to use. It's like three miles          in fifteen seconds.                         SCOTT          Right...                         (CONTINUED)                                                                                                               INTEGRATED FINAL 27.                         31 CONTINUED: 31                         RAMONA          Oh yeah. I forgot you guys don't          have that in Canada.                         SCOTT          You don't remember me do you? I met          you at the party the other day.                         RAMONA          Were you the Pac-Man guy?                         SCOTT          No. Not even. That was some total          ass. I was the other guy. You're          Ramona Flowers right?                         RAMONA          That's me.                         SCOTT          So, you're like American?                         RAMONA          Why, am I coming off as rude?                         SCOTT          Not at all. Noooooo...          Scott stands in awe of Ramona. She gives him a pen.                         RAMONA          You know...you need to sign for          this. Whatever this is?                         SCOTT          It's something really cool. You'd          be impressed.                         RAMONA          You still have to sign.                         SCOTT          But if I sign for it, you'll leave.                         RAMONA          Yeah. That's how it works.                         SCOTT          Okay well, can we just maybe just          hang out sometime? Get to know each          other? You're the new kid on the          block, right? I've lived here          forever. I mean...there are reasons          for you to hang out with me?                         RAMONA          You're all over the place.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 28.                         31 CONTINUED: (2) 31                         SCOTT          You are like...my dream girl.                         RAMONA          I need to find a new route.                         SCOTT          Either that or you need to start          hanging out with me.                         RAMONA          You want me to hang out with you?                         SCOTT          Um...you know...if that's cool.                         RAMONA          If I say yes, will you sign for          your damn package?          Scott finally signs on the dotted line. And throws the          package straight in the trash.                         SCOTT          Done. So, yeah. Eight o'clock?          32 OMITTED [INTEGRATED INTO SC 34] 32                         33 OMITTED 33          34 EXT. PARK - NIGHT 34          Scott finds Ramona waiting at the top of some stairs in the          park. The Toronto skyline gleams in the night behind them.                         SCOTT          Why are you just standing there?                         RAMONA          Dude, I'm totally waiting on you.                         SCOTT          Sorry, I just assumed you were too          cool to be on time.                         RAMONA          Well. You assumed wrong.                         SCOTT          So what do you want to do? We could          get a slice at Pizza Pizza or flip          through some records at Sonic Boom.          Oh, or there's this awesome game          called Ninja Ninja Revolution at-                         (CONTINUED)                                                                                                               INTEGRATED FINAL 29.                         34 CONTINUED: 34                         RAMONA          I'm not into simulated violence.                         SCOTT          I'm cool with whatever you want to do.                         RAMONA          This is good.          Scott and Ramona trudge through the snow in the empty park.                         SCOTT          This is good. So how'd you end up in          Toronto?                         RAMONA          Just needed to escape I guess.                         SCOTT          Oh yeah?                         RAMONA          I got this job here. And Gideon had          always said Toronto was one of the          great cities so...                         SCOTT          Is Gideon...is he your boyfriend?                         RAMONA          He's...a friend.                         SCOTT          Was he your boyfriend?                         RAMONA          Do you mind if we don't get into          that right now?                         SCOTT          It's so not interesting to me.          They sit on some swings in the park.                         RAMONA          So what about you? What do you do?                         SCOTT          I'm between jobs.                         RAMONA          Between what and what?                         SCOTT          My last job is a long story filled          with sighs.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 30.                         34 CONTINUED: (2) 34                         RAMONA          I know plenty of those.                         SCOTT          Is that why you left New York?                         RAMONA          Pretty much. It was time to head          somewhere a little more chilled.                         SCOTT          Well, it's certainly chilled here.                         RAMONA          Yeah.          Uh. Chilled as in cold.                         RAMONA          Yeah.                         SCOTT          I'm totally obsessed with you.                         RAMONA          I didn't mean to get you obsessed.                         SCOTT          I just haven't been obsessed with a          girl for a long time. It's weird.                         RAMONA          That's probably because you sleep          with a guy.                         SCOTT          Um...                         RAMONA          I was guessing from your apartment,          but you totally do!                         (CONTINUED)                                                                                                               INTEGRATED FINAL 31.                         34 CONTINUED: (3) 34                         SCOTT          It's... we're just poor! We can't          afford two beds! We're not gay!          Actually... no... Wallace is pretty          gay.                         RAMONA          Dude, relax. I believe you. You're          too desperate to be gay.                         SCOTT          I feel so stupid.                         RAMONA          Aw... you're probably not that          stupid.          Laughing, Ramona hops off her swing.                         SCOTT (CONT'D)          I'm... mostly stupid.                         RAMONA          Well, you're definitely stupid if          you want to go out with me.                         SCOTT          Exactly, yeah.          The snowfall gets heavier.                         RAMONA          This is ridiculous. Isn't it like April?                         SCOTT          Yeah. I can barely see you. This whole          thing is an unmitigated disaster.                         RAMONA          I think 'act of God' is a pretty          decent excuse for a lousy date.                         SCOTT          So this is a 'date', eh?                         RAMONA          Did I say 'date'? Slip of the tongue.                         SCOTT          Tongue...          The snow gets heavier still. Ramona walks away.                         RAMONA          Anyway, night's not over yet. I think          there's a thingy up here somewhere.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 31A.                         34 CONTINUED: (4) 34                          SCOTT           A thingy?                          RAMONA           A door.                          SCOTT          A door? I... I... I can't see you.          I'm blind. Help me.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 32.                         34 CONTINUED: (5) 34          A door with a STAR on it appears out of the whiteness. Ramona          opens the door. Scott and Ramona fall into blackness...          35 INT. RAMONA'S APARTMENT - NIGHT 35          Scott shivers at the kitchen table of Ramona's cozy, girl          friendly apartment. He watches as she slips out of her coat.                         RAMONA          What kind of tea do you want?                         SCOTT          There's more than one kind?                         RAMONA          We have blueberry, raspberry,          ginseng, sleepytime, green tea, green          tea with lemon, green tea with lemon          and honey, liver disaster, ginger          with honey, ginger without honey,          vanilla almond, white truffle,          blueberry chamomile, vanilla walnut,          constant comment and earl grey.                         SCOTT          Did you make some of those up?                         RAMONA          I think I'll have sleepytime.                         SCOTT          That sounds good to me.                         RAMONA          Let me get you a blanket.                         SCOTT          That would actually be awesome.          Ramona exits. After a moment alone, Scott ventures upstairs.          He wanders towards a half open door. Pushing it open, he          finds Ramona in her bedroom in her bra and skirt.                         RAMONA          Dude! I'm changing.          Scott covers his eyes and our screen goes BLACK.          SCOTT (O.S.)          AAAH! Sorry, I'm just...cold!          RAMONA (O.S.)          Here, does this help?          SCOTT (O.S.)          That's...very warm. What is that?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 33.                         35 CONTINUED: 35          Scott opens his eyes to see Ramona hugging him.                         SCOTT (CONT'D)          Ohh...kay.          They look into each others eyes...camera circles Scott and          Ramona as they begin an awesome make out session. Scott          imagines himself soundtracking the kiss with a slinky bassline.          Ramona breaks off, smiling. Scott is in heaven.                         SCOTT (CONT'D)          Were you..were you just going to          bring the blanket from your bed?                         RAMONA          I guess...                         SCOTT          Maybe...maybe we should both get          under it...since we're so cold.                         RAMONA          Well...what about our tea?                         SCOTT          I can...not have tea.          The slinky bassline continues as Ramona takes her skirt off,          revealing black panties to complement black bra. Scott takes          his shirt off. They tumble onto the bed and make out. Then-                         RAMONA          I changed my mind.                         SCOTT          Changed it to what? From what?                         RAMONA          I don't want to have sex with you,          Pilgrim. Not right now.                         SCOTT          Ohh...kay.                         RAMONA          It's not like I'm gonna send you          home in a snowstorm or anything.          You can sleep in my bed. And I          reserve the right to change my mind          about the sex later.          Ramona curls up next to Scott.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 34.                         35 CONTINUED: (2) 35                         SCOTT          This is cool, just this. It's been          like a really long time, and this          is...I think I needed this.          Whatever this is. So, thanks.                         RAMONA          You're welcome.          They exchange a smile. Then without warning we jump cut to -          36 INT. RAMONA'S ROOM - MORNING 36          DAYLIGHT! Scott awakens. Ramona is gone. An arrow points to          the empty spot in the bed next to him.          'úNO RAMONA'ù          Another arrow point out that-          'úSHE'S IN THE SHOWER'ù          Ramona steps out of the bathroom in a towel. Scott relaxes.                         RAMONA          I have to work.                         SCOTT          Work?                         RAMONA          You have to leave.          37 EXT. RAMONA'S APARTMENT - MORNING 37          Ramona skates towards the front gate, Scott walking next to          her. WAIST DEEP SNOW covers the roads and sidewalks.                         SCOTT          Hey, can this not be a one night          stand? For one thing, I didn't even          get any...that was a joke.                         RAMONA          What did you have in mind?                         SCOTT          Umm...oh, come to the first round          of this battle of the bands thing.                         RAMONA                         (TOTALLY UNIMPRESSED)          You have a band?                         SCOTT          Yeah, we're terrible. Please come.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 34A.                         37 CONTINUED: 37                          RAMONA           Sure.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 35.                         37 CONTINUED: (2) 37          Ramona shrugs and ROLLERBLADES through the snow...(somehow)                         SCOTT          Wait! Can I get your number?          SSSSHHHOOP! Ramona skids to a stop, right back next to Scott.          She hands him a note. 'òRAMONA FLOWERS, 212 664-7665, xxxxxxx'ò                         SCOTT          Wow, girl number.          Scott looks back up. Ramona is already skating far, far away.                         RAMONA          See you at the show, Scott Pilgrim.                         SCOTT          Oh, hey! It's tonight...At The-          38 INT. THE ROCKIT - NIGHT 38          'úTHE ROCKIT, FUN FACT: THIS PLACE IS A TOILET'ù.          Ramona wades through a grungy venue under the stare of young          hipsters, reaching Scott at the bar. He stands with Wallace          and Stacey. She holds hands with a guy wearing glasses.                         SCOTT          You totally came!                         RAMONA          Yes. I did totally come.          Scott is so amazed at her presence, his social skills vanish.                         STACEY          Excuse my brother. He's chronically          enfeebled. I'm Stacey.                         RAMONA          Hey.                         STACEY          And this is Wallace, his room-mate.                         WALLACE          Hey.                         STACEY          And this is my boyfriend Jimmy.                         WALLACE          (staring at Jimmy)          Heyyy.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 36.                         38 CONTINUED: 38                         STACEY          And this is Knives, Scott's-          Scott goes white. He didn't even see Knives come in.                         SCOTT          HEYYYYYYYY!                         KNIVES CHAU          Hey.          Knives pecks Scott on the cheek. He pushes her away. Knives          looks kinda sexy, wearing makeup and new clothes.                         KNIVES CHAU          Do you like?                         SCOTT          I...uh...          LEONE STAREDOWNS all around. Stacey stares at Scott. Knives          and Ramona stare at each other. Wallace stares at Jimmy.          SCOTT (CONT'D)          Have. To. Go.          Scott scurries off. We hear feedback from a mic onstage.          PROMOTER (O.S)          This next band are from Brampton          and they are Crash And The Boys.          39 INT. THE ROCKIT, BACKSTAGE - CONTINUOUS 39          Scott runs backstage to see Stills obsessively flipping          through a chart with hand drawn stats of their rival band.                         STEPHEN STILLS          This is a nightmare. Is this a          nightmare? Wake up, wake up, wake up.                         KIM          Once we're on stage you'll be fine.                         STILLS          We were just on stage. For sound          check. The sound guy hated us.                         SCOTT          It's just nerves! Pre-show jitters.          People love us. Right?          Scott sounds less than convincing. He looks up at Ramona and          Knives sitting with Wallace, Jimmy and Stacey in the BALCONY.                                                                                                               INTEGRATED FINAL 37.          40 INT. THE ROCKIT, STAGE - CONTINUOUS 40          Crash and The Boys tune up. A drunk Wallace turns to Jimmy.                         WALLACE          Jimmy. Do they rock or suck?                         JIMMY          They...haven't started playing yet.                         WALLACE          That was a test, Jimmy. You passed.                         CRASH          Good evening. I am Crash, and these          are the Boys.                         WALLACE          IS THAT GIRL A BOY, TOO?                         CRASH          Yes.          TRASHA, 8 year old girl drummer, gives Wallace the finger.          A41 INT. THE ROCKIT, BACKSTAGE - CONTINUOUS A41          Sex Bob-omb peer at the band from offstage. Kim glowers.                         KIM PINE          They have a girl drummer?          B41 INT. THE ROCKIT, STAGE - CONTINUOUS B41                         CRASH          This is called "I am so sad. I am          so very very sad." And it goes a          little something like this.          Crash and the Boys play a whole song in .04 seconds.                         CRASH          Thank you.          Wallace yells from the balcony.                         WALLACE          IT'S NOT A RACE, GUYS!                         CRASH          This song is for the guy who keeps          yelling from the balcony, and it's          called "We Hate You, Please Die."                         WALLACE          Sweet! I love this one!                         (CONTINUED)                                                                                                               INTEGRATED FINAL 37A.          B41 CONTINUED: B41          Crash continues his rampage of musical hate.                                                                                                               INTEGRATED FINAL 38.          41 INT. THE ROCKIT, BACKSTAGE - CONTINUOUS 41                         STEPHEN STILLS          These guys are good. Are these guys          good?          Kim Pine scowls harder than ever.                         STEPHEN STILLS          These guys are good.          42 INT. THE ROCKIT, STAGE - CONTINUOUS 42                         CRASH          This is called "Last Song Kills          Audience". It'll be our last song          tonight and your last song EVER...          Sound explodes from the stage. The audience are stunned.          43 INT. THE ROCKIT, BACKSTAGE - CONTINUOUS 43          Stills paces backstage as the others watch the band.                         STEPHEN STILLS          How are we supposed to follow this?          We're not going to win, we're not          gonna sign with G-Man and we'll          never play opening night at the          Chaos Theatre.                         (FREAKING OUT)          GODDAMN IT SCOTT, WILL YOU STOP          JUST STANDING THERE, YOU'RE          FREAKING ME OUT!          44 INT. THE ROCKIT, BALCONY - CONTINUOUS 44          As Crash And The Boys climax, Stacey turns to Ramona.                         STACEY          So, how do you know Scott?                         RAMONA          He's...um. He's a friend.                         STACEY          Hard for me to keep track          sometimes. He has so many friends.          Ramona arches an eyebrow. Stacey turns to Knives and Tamara.                         STACEY          So Knives, how did you meet Scott?                                                                                                               INTEGRATED FINAL 39.          45 INT. THE ROCKIT, BACKSTAGE - CONTINUOUS 45          Scott looks up into the balcony, sees Stacey talking to          Knives. He turns around and slaps Stephen Stills in the face.                         SCOTT          We gotta play now and loud!          46 INT. THE ROCKIT, BALCONY - CONTINUOUS 46          Stacey and Ramona listen intently to Knives' story.                         KNIVES CHAU          Well, I was on the bus with my Mom-          Knives freezes, staring at the stage.                         RAMONA          Is that seriously the end of the story?                         KNIVES CHAU          OH MY GOSH, they're on!          47 INT. THE ROCKIT, STAGE - CONTINUOUS 47          ONSTAGE: A DISHEVELED PROMOTER walks to the mic.                         PROMOTER          This next band is from Toronto          and...yeah. So give it up for          Sex...Bob-Omb?          SEX BOB-OMB walk on. Wallace and Knives give the only cheers.                         STEPHEN STILLS          Scott...you ready?          Scott nods vigorously.                         STEPHEN STILLS          Kim...you rea-                         KIM PINE          WE ARE SEX BOB-OMB. ONE, TWO...          ANGLE on Knives. She faints in the excitement.          KIM PINE (CONT'D)          THREE, FOUR!          Sex Bob-omb rock out, barely into the first verse when a          chunk of ceiling CRASHES down and a SPINDLY INDIAN HIPSTER          KID DIVES HEAD FIRST through the hole, finger pointed at          Scott as he sails towards the stage!                         (CONTINUED)                                                                                                               INTEGRATED FINAL 40.                         47 CONTINUED: 47          MATTHEW PATEL lands onstage and glares at Scott through a          lopsided fringe. He wears an evil grin and a jacket that          borders on flamboyant. He drags on a cigarette (blacked out).                         MATTHEW PATEL          Mr. Pilgrim. It is I, Matthew          Patel. Consider our fight...begun!                         SCOTT          What did I do?          Matthew Patel leaps in the air and sails toward Scott.                         SCOTT          What do I do?!                         WALLACE          FIGHT!          Scott throws his bass to Young Neil and BLOCKS Patel with his          left arm, then PUNCHES him across the floor with his right.          Patel LANDS like a cat, FLIPS his fringe and GLARES at Scott.                         MATTHEW PATEL          Alright. Alright.                         WALLACE          Watch out! It's that one guy!                         SCOTT          Thank you, Wallace!          Patel RUNS at Scott. Scott SPIN KICKS Patel in the chin and          sends him flying into the air. They land in THE PIT, knocking          hipsters down and squaring off in the resulting circle.                         MATTHEW PATEL          You're quite the opponent, Pilgrim.                         SCOTT          Who the hell are you anyway?          The LIGHTING GUY spotlights the fighters.                         MATTHEW PATEL          My name is Matthew Patel and I'm          Ramona's first evil ex-boyfriend!                         SCOTT          You're what?                         MATTHEW PATEL          Ramona's first evil ex-boyfriend!          All eyes WHIP up to Ramona...                         (CONTINUED)                                                                                                               INTEGRATED FINAL 40A.                         47 CONTINUED: (2) 47                         RAMONA          Anyone need another drink?          Patel attacks Scott with spin kicks. Scott blocks. Patel          punches. Scott blocks, then holds his hand up for a time-out.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 41.                         47 CONTINUED: (3) 47                         SCOTT          We're fighting because of Ramona?                         MATTHEW PATEL          Didn't you get my e-mail explaining          the situation?                         SCOTT          I skimmed it.                         MATTHEW PATEL          You will pay for your insolence!          Patel attacks, landing kicks and punches. Scott evades and          counter-attacks. Patel evades, then lands more punches. Scott          jump-spins away from danger. They pause, breathing heavy.                         WALLACE          What's up with his outfit?                         OTHER HECKLER          Yeah! Is he a pirate?          Scott looks at Patel's outfit.                         SCOTT          Are you a pirate?                         MATTHEW PATEL          Pirates are in this year!          Patel attacks again. They exchange furious blows, until Patel          puts Scott in a choke hold. Scott looks up to Ramona.                         SCOTT          You really went out with this guy?                         RAMONA          Yeah, in the seventh grade.          The Lighting Guy SWINGS the spotlight to Ramona in the          balcony. We see a sketchy childlike ANIMATED FLASHBACK.                         RAMONA (CONT'D)          It was football season and for some          reason, all the little jocks wanted          me. Matthew was the only non-white,          non-jock boy in school, probably in          the entire state, so we joined          forces and took 'em all out. We          were one hell of a team. Nothing          could beat Matthew's mystical          powers. Nothing but pre-teen          capriciousness. We only kissed          once. After a week and a half, I          told him to hit the showers.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 41A.                         47 CONTINUED: (4) 47          The spotlight swings back onto Scott and Patel.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 42.                         47 CONTINUED: (5) 47                         SCOTT          Dude, wait...mystical powers?          Patel levitates into the air and points at Ramona.                         MATTHEW PATEL          You'll pay for this, Flowers!          Patel SNAPS his fingers and launches into a BOLLYWOOD SONG!          MATTHEW PATEL (CONT'D)          If you want to fight me, you're not          the brightest. You won't know          what's hit you in the slightest.          Patel levitates into the air. Four hot girls in skirts with          fangs and bat-wings appear in the air around him.          MATTHEW PATEL (CONT'D)          Me and my fireballs and my Demon          Hipster Chicks, I'm talking the          talk because I know I'm slick.          Patel and the Demon Hipster Chicks shoot FIREBALLS at Scott.          He flips back onto the stage, narrowly dodging the attack.          MATTHEW PATEL (CONT'D)          Fireball Girls! Take this sucker          down.          The Demon Hipster Chicks unleash more fireballs. Scott          dodges. The house drum kit is trashed behind him.          MATTHEW PATEL (CONT'D)          Let us show him what we're all          about.          Scott hits the ground, dodging a third wave of fireballs.          They explode Crash and the Boys in the wings.                         SCOTT          That doesn't even rhyme.          Scott rolls across the stage, GRABS one of Kim's CYMBALS and          throws it Captain America style. It hits Patel square in the          eyes. POOF, the Demon Hipster Chicks vanish.                         MATTHEW PATEL          This is impossible, how can it be?!          Scott leaps into the air. Patel opens his eyes just in time          to see Scott Pilgrim's FIST racing towards his face.                         SCOTT          Open your eyes. Maybe you'll see.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 42A.                         47 CONTINUED: (6) 47          K.O! Scott punches Patel. He explodes into COINS. They          clatter to the stage floor. Scott lands and picks them up.                         SCOTT          Sweet. Coins.          48 INT. THE ROCKIT, BALCONY - CONTINUOUS 48          Ramona makes her way out fast. Passes Stacey.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 43.                         48 CONTINUED: 48                         RAMONA          Well, it was great meeting you.          Tell your gay friends I said bye.                         STACEY          Gay friends?          Stacey turns to see Wallace and Jimmy making out.                         STACEY          WALLACE?! Not again!          Ramona passes Knives, who is being resuscitated by Tamara.          49 INT. THE ROCKIT, STAGE - CONTINUOUS 49          Scott picks up the coins onstage and counts them.                         SCOTT          Aw man. $2.40? That's not even          enough for the bus home.                         RAMONA          I'll lend you the 30 cents.          Ramona yanks Scott away. The Promotor ambles back onstage.                         PROMOTER          Yeah...so like, Sex Bob-Omb wins.          50 INT. THE ROCKIT, BALCONY - CONTINUOUS 50          Knives is now wide awake, clapping wildly from the balcony.          Her eyes scan the venue for Scott...but he is long gone.          51 INT. THE BUS - NIGHT 51                         SCOTT          Sooooooo...          A bemused Scott and mortified Ramona sit on the bus home.                         SCOTT          What was all that all about?                         RAMONA          Uh, I guess...          Ramona takes a breath. Looks deep into Scott's eyes.          RAMONA (CONT'D)          If we're going to date, you may          have to defeat my seven evil ex's.                         SCOTT          You have seven evil ex-boyfriends?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 44.                         51 CONTINUED: 51                         RAMONA          Seven ex's, yes.                         SCOTT          So I have to fight-                         RAMONA          Defeat.                         SCOTT          -defeat your seven evil ex's if          we're going to continue to date.                         RAMONA          Pretty much.                         SCOTT          So, what you're saying is...                         (BEAT)          We are dating?                         RAMONA          Uh, I guess.                         SCOTT          Cool. Do you want to make out?                         RAMONA          Uh...          Scott kisses Ramona. The studio audience 'awwww's.                         52 OMITTED 52          53 INT. WALLACE'S APARTMENT - MORNING 53          A bleary Wallace fries bacon. Scott bursts through the front          door, a spring in his step. The studio audience applauds.                         WALLACE          Someone's happy.                         SCOTT          Well, someone got to second base          last night. And someone has a          second date tonight.                         WALLACE          Someone's lucky then.                         SCOTT          You know when I say 'òsomeone', I mean          me, right? I got to second base last          night...maybe first and a half.          Wallace shoots a look at the idiotically upbeat Scott.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 45.                         53 CONTINUED: 53          SCOTT (CONT'D)          Oh, hey, I'm inviting Ramona over for          dinner, so you can't be here tonight.          I don't want you gaying up the place.                         WALLACE          Okay, Scott. But in return I have          to issue an ultimatum.                         SCOTT          One of your famous ultimatums?                         WALLACE          It may live in infamy...You have to          break up with Knives. Today. Okay?          Scott huffs and helps himself to some of Wallace's bacon.                         SCOTT          But...but...it's HARD.                         WALLACE          If you don't do it, I'm going to          tell Ramona about Knives. I swear          to God, Scott.                         SCOTT          But you...you're...          At this point a sleepy JIMMY wanders out of the bathroom and          helps himself to coffee.                         JIMMY          Morning.          Scott points bacon at Wallace accusingly.          SCOTT (CONT'D)          DOUBLE STANDARD!                         WALLACE          I didn't make up the gay rulebook.          If you have a problem with it, take          it up with Liberace's Ghost.                         SCOTT          You're a monster.                         WALLACE          Now put the bacon down and go do          your dirt while I watch the Lucas          Lee marathon on TBS Superstation.                         SCOTT          Who's Lucas Lee?          Wallace points to a hunky actor on the cover of NOW magazine.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 45A.                         53 CONTINUED: (2) 53                         WALLACE          He was this pretty good skater and          now he's this pretty good actor.                         (MORE)                         (CONTINUED)                                                                                                               INTEGRATED FINAL 46.                         53 CONTINUED: (3) 53                         WALLACE (CONT'D)          He's filming a Winifred Hailey          movie in Toronto right now.                         SCOTT          They make movies in Toronto?                         WALLACE          Yes. I am stalking him later.                         SCOTT          So, this Lucas Lee-                         WALLACE          Lucas Lee is not important to you          right now! Get out.                         SCOTT          You suck. Surprising no one.          Scott grumbles off. Wallace turns the television way up. We          see Lucas Lee on a payphone in some crummy thriller.          LUCAS LEE (ON TV)          Listen close and listen hard,          bucko. The next click is me hanging          up. The one after that...is me          pulling the trigger.          54 EXT. PAYPHONE ON BUSY STREET - DAY 54          A shivering and annoyed Scott dials the payphone.                         SCOTT          Oh, hey, Knives. Um, do you want          to, like, talk or whatever?          KNIVES CHAU (O.S.)          Are you wearing a tan jacket? Like          a spring jacket? And a hoodie?                         SCOTT          Ummm...          Scott checks what he's wearing. SPOOKY MUSIC underscores.          KNIVES CHAU (O.S.)          And a dorky hat?!                         SCOTT          It's not dorky! Why are you psychic?          A beaming Knives knocks on the payphone glass.                         SCOTT (CONT'D)          Oh. Uh...okay. Hi.                                                                                                               INTEGRATED FINAL 47.          55 INT. SONIC BOOM - DAY 55          The SPOOKY MUSIC continues on in the record store.          Scott is on edge as Knives geeks over a standee for THE CLASH          AT DEMONHEAD: it features sultry blonde singer ENVY ADAMS          posing and the rest of the band shrouded in shadow and mist.                         KNIVES CHAU          I can't believe they're coming to          town. Will you take me to the show?                         SCOTT          Yeah, listen-          The SPOOKY MUSIC gets louder, pounding inside Scott's head.                         KNIVES CHAU          Oh, hey, I wanted to invite you          over for dinner.                         SCOTT          Like, Chinese food?                         KNIVES CHAU          Yeah.                         SCOTT          Hmm. It's not my favorite.                         KNIVES CHAU          Yeah. Well, to meet my parents.          It's my birthday dinner.                         SCOTT          Uh...I think that's a really bad          idea. Like, really, just so bad.                         KNIVES CHAU          No, it's okay. Why?                         SCOTT          Well I mean, I'm too old for you!                         KNIVES CHAU          No you're not! My Dad is nine years          older than my Mom...                         SCOTT          And...and...are you even allowed to          date outside your race or whatever?                         KNIVES CHAU          I don't care. I'm in...LOVE!                         (CONTINUED)                                                                                                               INTEGRATED FINAL 47A.                         55 CONTINUED: 55          Knives is so smitten, the word actually appears onscreen.          Scott brushes it away. The SPOOKY MUSIC comes to a stop.                         SCOTT          Um, listen...I was thinking we          should break up or whatever.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 48.                         55 CONTINUED: (2) 55                         KNIVES CHAU          Really?                         SCOTT          Yeah...um...it's not going to work out.                         KNIVES CHAU          Oh...          Scott walks out, leaving Knives in the aisle.          56 INT. THE BUS / RECORD STORE - DAY 56          Scott sits on the bus alone, thinking about Knives.          CROSSCUT with Knives still in the record store, in shock.          ON THE BUS: Scott sighs, thinks of something happier...          CROSSCUT with Ramona: rollerblading, her funky pink hair.          ON THE BUS: Scott smiles, a little happier.          57 INT/EXT. STEPHEN STILLS' BASEMENT - EVENING 57          Sex Bob-Omb tune up. Kim spins a drumstick in her fingers.                         KIM PINE          Where's Knives? Not coming tonight?                         SCOTT          Oh. No. We broke up.          Young Neil PAUSES his DS. Kim and Stills share a look.                         SCOTT (CONT'D)          OH! Check it out, I learned the          bass line from Final Fantasy 2.          Scott plays the insanely simple video game tune.                         KIM PINE          Scott, you are the salt of the earth.                         SCOTT          Aw, thanks.                         KIM PINE          Wait. I meant scum of the earth.                         SCOTT          Aw, thanks.                         YOUNG NEIL          You...you broke up with Knives?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 49.                         57 CONTINUED: 57                         SCOTT          Yeah, but don't worry, maybe you'll          meet my new new girlfriend soon.                         YOUNG NEIL          Newnew.          Kim mimes shooting herself. Stills unplugs Scott's amp.                         STEPHEN STILLS          Okay! From here on out, no          GIRLFRIENDS or GIRLFRIEND talk at          practice, whether they're old, new          or new-new. We were lucky to          survive that last round. This is          sudden death now. Okay?                         SCOTT          Okay!          DINGY DONG...                         SCOTT (CONT'D)          That's for me.          Scott opens the door to see Ramona, now sporting BLUE HAIR.          SCOTT (CONT'D)          Hey...you're here?                         RAMONA          Yes. Like you said. Is it not cool?          Scott ushers her in, weirded out by this hair development.                         SCOTT          You know your hair?                         RAMONA          I know of it.                         SCOTT          It's all blue.                         RAMONA          Yeah. I just dyed it. Are you going          to introduce me?                         SCOTT          Oh yeah, this is Stephen Stills,          Young Neil, that's... Kim.                         RAMONA          Hey everyone.          Everyone mumbles back. Scott still stares at Ramona's hair.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 49A.                         57 CONTINUED: (2) 57                         SCOTT          Is it weird not being pink anymore?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 50.                         57 CONTINUED: (3) 57                         RAMONA          I change my hair every week and a          half, dude. Get used to it.          (to Sex Bob-Omb)          So...uh...how do you guys all know          each other?                         YOUNG NEIL          High school, I guess?                         STEPHEN STILLS          What Neil said.                         YOUNG NEIL          I'm Neil.                         KIM PINE          Believe it or not, I actually dated          Scott in high school.                         RAMONA          Got any embarassing stories?                         KIM PINE          Yeah. He's an idiot.          Scott fake laughs. Starts ushering Ramona out again.                         SCOTT          Okay. Cool. See you guys tomorrow.                         STEPHEN STILLS          Uh, what about rehearsal?                         SCOTT          Neil knows my parts.                         YOUNG NEIL                         (TO STILLS)          I'm Neil.          58 INT. WALLACE'S APARTMENT - NIGHT 58          Ramona lounges, reading a magazine. A tense Scott hurries          around the kitchen area, preparing food as Wallace looks on.                         WALLACE          Are you doing okay there?                         SCOTT          Yeah, good. Good.          Ramona goes to the bathroom. Scott drops the act.                         SCOTT          She changed her hair.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 50A.                         58 CONTINUED: 58                         WALLACE          So? It looks nice blue.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 51.                         58 CONTINUED: (2) 58                         SCOTT          I know, but she changed it without          even making a big deal about it.          She's spontaneous. Impulsive.          Fickle. Oh my god, what do I do?                         WALLACE          I can't believe you were worried          about me gaying up the place.          Ramona returns. Wallace pulls on a jacket.                         RAMONA          How's dinner coming along?                         SCOTT          Yeah, good. Good.                         WALLACE          I'll leave you lovebirds to it. I'm          heading up to Casa Loma to stalk my          hetero crush.          Scott stops Wallace at the door, with a panicked whisper.                         SCOTT          Don't go.                         WALLACE          Will you man the hell up? You could          get to 2nd and a half base.                         SCOTT          You think so?                         WALLACE          Well, if you strike out in the next          hour, come find me at the Castle.                         SCOTT          'úIf I strike out'ù?                         WALLACE          Okay, 'úwhen'ù. See you in sixty.          '15 MINUTES LATER'          Ramona and Scott eat on the floor, picnic style. Scott has          cooked garlic bread (and only garlic bread) for dinner.                         RAMONA          This is actually really good garlic bread.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 52.                         58 CONTINUED: (3) 58                         SCOTT          Garlic bread is my favorite food. I          could honestly eat it for every          meal. Or just all the time without          even stopping.                         RAMONA          You'd get fat.                         SCOTT          No. Why would I get fat?                         RAMONA          Bread makes you fat.                         SCOTT          Bread makes you FAT??          '15 MINUTES LATER'          A nervy Scott serenades Ramona on his bass guitar.                         SCOTT          So I wrote a song about you.                         RAMONA          Oh yeah?                         SCOTT          Yeah, it goes like this: Ra-mona,          Ra-mona, Ra-ra-ra, Mona, Ra-mona,          Ra-mona, Ra-ra-ra, Mona, Ooooh.                         RAMONA          I can't wait to hear it when it's          finished.                         SCOTT          Finished?          '15 MINUTES LATER'          Scott makes out with Ramona on the futon. Scott smiles as she          runs her hands through his hair.                         RAMONA          Your hair's pretty shaggy.                         SCOTT          OH GOD! I NEED A HAIRCUT DON'T I?!?          Scott sits up like a shot. Ramona is taken aback.                         RAMONA          What?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 53.                         58 CONTINUED: (4) 58                         SCOTT          Ha. No, sorry. It's just that I          got... I got a bad haircut right          before me and my big ex broke up. But          it's so long ago, I can barely          remember it...          A deep voiced NARRATOR chimes in. Earl Jones deep.                         NARRATOR          Scott is acutely aware that his last          salon haircut took place exactly 431          days ago, three hours before his big          breakup. He blames this largely on the          haircut and has been cutting his own          hair ever since.                         RAMONA          Sounds like a bad time.                         SCOTT          Not really.                         NARRATOR          It was.                         SCOTT          It was a mutual thing.                         NARRATOR          It wasn't.                         SCOTT          I mean, she told me it was mutual.                         NARRATOR          She dumped him. It was brutal.                         RAMONA          What was her name?                         SCOTT          She was Nat when I knew her. But          she stopped liking that name.          Then...she stopped liking me...                         RAMONA          Your hair is cute. I like it long.                         SCOTT          But it'd be cuter short! Wouldn't it?!          Scott disappears and just as quickly reappears, now wearing          his dorky SNOW HAT, hair tucked tightly beneath the flaps.                         RAMONA          What? Why are you wearing that?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 54.                         58 CONTINUED: (5) 58                         SCOTT          I thought we could go for a walk.          59 EXT. ENDLESS STAIRWAY - NIGHT 59          '15 MINUTES LATER'          Scott and Ramona climb a STAIRWAY, long handrail between them.                         RAMONA          Tell me we didn't come out here          just so you could cover your hair          with that hat.                         SCOTT          Nooo. I just love me some walking.          Putting one leg in front of the other.                         RAMONA          You seem a little...heightened.                         SCOTT          Yeah. I don't know. I just, when I'm          with you I feel like I'm on drugs. Not          that I do drugs, unless you do, in          which case I do drugs all the time,          every drug, but...you make me feel...I          don't know. Things seem a little          brighter around you or something.          Ramona and Scott finally reach the top of the stairs and          NIGHT TURNS TO DAY, as if crossing a magical line.                         RAMONA          What is this place?                         SCOTT          A totally awesome castle. They're          shooting this movie up here.          Ramona looks up at the looming CASA LOMA, a castle surrounded          by big, bright movie set lights.                         RAMONA          Who's in it?                         SCOTT          Winifred Hailey and some actor guy.                         RAMONA          Oh, who?                         SCOTT          I forget. Let's find out.                                                                                                               INTEGRATED FINAL 55.          60 EXT. CASA LOMA - CONTINUOUS 60          A crew readies a shot of WINIFRED HAILEY held hostage by some          GOON. A STAND IN takes the place of the leading man. Scott          and Ramona approach some SPECTATORS, including Wallace.                         RAMONA          Did you find the guy you're stalking?                         WALLACE          I think I'm about to right now.          FIRST A.D.          Mr. Lee is travelling!                         RAMONA          Mr. Lee?                         WALLACE          Lucas Lee.                         RAMONA          Ooh.                         SCOTT          Ooh?          The UNIVERSAL STUDIOS FANFARE announces LUCAS LEE as he exits          his trailer, smoking a cigarette (blacked out). He skates          towards the set, doing kickflips. The spectators go 'úoooh'ù.                         WALLACE          I want to have his adopted babies.                         RAMONA          Oh, man. We gotta go.                         SCOTT          What? Why?                         RAMONA          I used to date that clown.                         WALLACE          Slut.                         RAMONA          Wallace. I am not a slut.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 56.                         60 CONTINUED: 60                         WALLACE          I can think of no higher accolade.          Lucas steps to his mark and puffs up into action hero mode.                         LUCAS LEE          Action.          Lucas Lee points his board at the GOON.                         SCOTT          Oh...my...God...                         LUCAS LEE          Hey. The only thing keeping me and          her apart is the two minutes it's          gonna take to kick your ass.                         SCOTT          ...you dated a FAMOUS guy?!                         RAMONA          In 9th grade. We had drama. Actually,          it might have been math. I just          remember there being lots of drama.                         LUCAS LEE          HEY!!!          Lucas Lee points at Scott, who remains oblivious.                         RAMONA          He just followed me around. He was          a little snot nosed brat.                         SCOTT          He had snot? In his nose? But he's          famous!                         LUCAS LEE          HEY!!!                         RAMONA          It's not a big deal. I only dated          him for a week and a half-                         LUCAS LEE          I'm talking to you Scott Pilgrim!          Lucas Lee stomps towards Scott, who gasps.                         SCOTT          He's famous and he talked to me!                         (CONTINUED)                                                                                                               INTEGRATED FINAL 56A.                         60 CONTINUED: (2) 60                         LUCAS LEE          The only thing keeping me and her          apart is the two minutes it's gonna          take to kick your ass!                         SCOTT          Can I get-          POW! Lucas Lee punches Scott, flooring him. Scott comes back          up with a pen and paper, wobbly.                         SCOTT          Can I get your autograph?          POW! Lucas Lee PUNCHES Scott again. He nods to Ramona.                         LUCAS LEE          Sup. How's life? He seems nice.          Lucas Lee THROWS Scott up into a castle turret, crumbling it.          Scotts CRASHES down through scaffolding onto the set. Lucas          holds up his hands for a quick continuity photo, then stomps          over to pick up a dazed Scott from the ground.                         WALLACE          Scott. Evil ex. Fight.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 57.                         60 CONTINUED: (3) 60                         LUCAS LEE          Think you stand a chance against an          A-lister, bro?          Lucas Lee PUNCHES Scott again. He slides across the wet-down          ground. A SET NURSE sprays Lucas' knuckles with antiseptic.                         LUCAS LEE          Some competish you are.          Lucas Lee wanders off. Scott staggers to his feet, punchy.                         SCOTT          Hey... hey... hey! I'm not done-          Scott spins Lucas around, only to find an identical STAND IN!          LUCAS LEE (O.S.)          Looks like you're seeing double.          Scott turns to see the real Lucas, smirking on the sidelines.          POW! The identical Stand In punches Scott to the ground.                         LUCAS LEE          He's good, right? Sometimes I let          him do wide shots if I feel like          getting blazed back in my winnie.          Scott stands to fight the double. Suddenly, COUNTLESS          STUNTMEN fan out behind the STAND IN, all identically          dressed, all carrying skateboards and ready to rumble.                         LUCAS LEE          I'm nothing without my stunt team.          The Stuntmen ATTACK Scott Pilgrim with a howl. Scott PUNCHES          through a couple of the boards, Tae Kwon Doe style.                         WALLACE          Ask them how it feels to always get          his sloppy seconds!                         SCOTT          How does it feel to-          KROW! Scott takes a skateboard to the face, followed by a          barrage of crippling skateboard blows to his knees and ribs.                         LUCAS LEE          I'm gonna get coffee. You homies          want anything?          We follow the smirking Lucas to the coffee station. We hear          the noise of punching and kicking slowly subside to nothing.          SCOTT (O.S.)          Mr. Lee?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 58.                         60 CONTINUED: (4) 60          Lucas turns, shocked to see Scott, in front of a PAINTED 2-D          SKYLINE BACKDROP, surrounded by many unconscious stuntmen.                         SCOTT          You're needed back on set.          Scott CHARGES Lucas Lee and leaps into a FLYING KICK. Lucas          GRABS his foot and hurls him through the backdrop. RRRIP!          Scott lands in a CRUMP, framed through the torn skyline.          Lucas stomps over to him, preparing for the deathblow.                         LUCAS LEE          Prepare... prepare to feel the wrath          of the League of Evil Exes!                         SCOTT          The League of Evil Axes?                         LUCAS LEE          You really don't know about the          "The League"?                         SCOTT          Ummm...                         LUCAS LEE          Seven evil exes? Coming to kill          you? Controlling the future of          Ramona's love life?                         SCOTT          ...no.                         LUCAS LEE          Oh, well then don't worry about it.                         SCOTT          Really?                         LUCAS LEE          Yeah, bro. Let's get a beer.          Lucas offers a hand. Scott goes to shake it. POW! Lucas gets          him square in the mouth. Scott smiles through his aching jaw.                         SCOTT          You are a pretty good actor.                         LUCAS LEE          I'm going for the Oscar this year.                         SCOTT          But are you a pretty good skater?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 59.                         60 CONTINUED: (5) 60                         LUCAS LEE          I'm more than pretty good, ese.          I have my own skate company.          Lucas pulls down his shirt, revealing a skate company tattoo.                         SCOTT          So you can sell them, but can you          do a thingy on that rail?          Scott points to the LONG HANDRAIL on the stairs.                         LUCAS LEE          It's called a grind, bro.                         SCOTT          So can you do a grind thingy now?                         LUCAS LEE          Are you serious? There's like 200          steps and the rails are garbage.                         SCOTT          Hey, if it's too hardcore...                         LUCAS LEE          You really think you can goad me          into doing a trick like that?                         SCOTT          There's girls watching.                         LUCAS LEE          Somebody get me my board.          Wallace taps Lucas' shoulder and hands him his skateboard.                         WALLACE          Hi. Big fan.                         LUCAS LEE          Why wouldn't you be?          CLACK! Lucas GOES FOR IT, a perfect ollie onto the rail.          Scott and Wallace watch as Lucas disappears from sight,          sparking down the ENDLESS RAIL...HSSSSSSSSSSSSSS...          Cut back to Scott & Wallace, impressed at Lucas.                         SCOTT          Wow.          HSSSSSSSSS...          Cut back to Scott & Wallace, very impressed at Lucas.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 59A.                         60 CONTINUED: (6) 60                          SCOTT           Wow.          HSSSSSSSSS...          Cut back to Scott & Wallace. Scott's about to say 'òwow' when-          BOOOOOOOOM! A fireball appears from the bottom of the stairs.                         WALLACE          Wow, he totally bailed.                         SCOTT          Yes!          Fist bump. Scott smacks his forehead.                         SCOTT          I didn't get his autograph.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 60.                         60 CONTINUED: (7) 60          FIRST A.D.          Uh...that's a wrap everybody.                         SCOTT          Where's Ramona? Is she still here?                         WALLACE          No, she totally bailed.                         SCOTT          What's the deal? Seriously.          61 INT. WALLACE'S APARTMENT - DAY 61          Scott slumps on the couch, phone pressed to his ear. Wallace          cooks bacon in the kitchen (no pants). We hear the OUTGOING          MESSAGE: This is an automated voice messaging system. RAMONA          is not available, please record your message after the beep.                         SCOTT          Hey. It's me, Scott again. Call me          back. Scott Pilgrim.                         (HANGS UP)          What's the deal? Seriously.          Scott ambles over to the fridge and rests his head on it.                         WALLACE          Yeah, you said that last night.                         SCOTT          You know what really sucks though?                         WALLACE          What?                         SCOTT          Everything!                         WALLACE          Come on guy, you can't say you          didn't see this coming. It was          right under your nose.          Wallace points to the NOTE Ramona scribbled which is pinned          literally under Scott's nose on the refrigerator:          RAMONA FLOWERS, 212 664-7665, xxxxxxx                         WALLACE          What did you think these were?                         SCOTT          Kisses? Seven little kisses?                         WALLACE          Seven deadly X's.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 61.                         61 CONTINUED: 61          Wallace cocks an eyebrow. Scott slides to the floor.                         SCOTT          Why does everything have to be so          complicated?          Wallace crouches down to join Scott on the floor.                         WALLACE          If you want something bad, you have          to fight for it. Step up your game.          Break out the L-word.                         SCOTT          Lesbian?                         WALLACE          The other L-word.                         SCOTT          Lesbians?                         WALLACE          Okay, it's 'úlove'ù. I wasn't trying          to trick you or anything. Look, if          she's really the girl of your          dreams, then you have to let her          know. You have to overcome any and          all obstacles that lie in your          path. You have the spirit of a          warrior, Scott. You can do it! Be          with her! It's your destiny!                         (BEAT)          Plus, I need you to move out.          Scott's face falls, completely shocked at this bombshell.                         SCOTT          What? Why? Are you moving in with          Other Scott or Jimmy or someone?                         WALLACE          Or someone. Either way, I'm kind of          banking on her calling you back so          I won't have to evict you and feel          all guilty and shit.          RINGY RING. Scott and Wallace look at the phone.                         WALLACE          I have a feeling that's for you, guy.          Scott picks up. A SEXY, NON-RAMONA VOICE REPLIES...          VOICE (O.S.)          Hey Scott.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 62.                         61 CONTINUED: (2) 61                          SCOTT           ...Envy?                          WALLACE           Oh, shit.           ENVY (O.S.)          It's been a long time.                         SCOTT          Yeah.          ENVY (O.S.)          A year I think?                         SCOTT          Approximately.          ENVY (O.S.)          How are you?                         SCOTT          I'm not doing so good right now.          ENVY (O.S.)          That's too bad. Still breaking hearts?                         SCOTT          What? No, stop. I've been-it's been          different. You have no idea.          ENVY (O.S.)          Probably not. Do you have a          girlfriend? Should I be jealous?                         SCOTT          Yes, you should. I have this          totally awesome girlfriend who          calls me all the time. And she's          America. Uh. She's American.          ENVY (O.S.)          What's her name?                         SCOTT          I'm not telling you that. Ramona.          ENVY (O.S.)          Oh.                         SCOTT          What? Do you know her?          ENVY (O.S.)          Uh. No.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 63.                         61 CONTINUED: (3) 61                         SCOTT          It sounded like you did.          ENVY (O.S.)          I gotta go. Nice chatting with you.                         SCOTT                         WAIT-          CLICK...Scott slumps to the floor. Wallace appears over him.                         WALLACE          Okay. Everything does suck.          Scott grunts. RINGY RING. Wallace grins and grabs the phone.                         WALLACE          Or does it?          Scott sits bolt upright, expectant.                         WALLACE          Oh, hey Knives.          Scott lays back down. FUCK.                         WALLACE          What's that? You're outside?          Scott sits bolt upright again. FUCK! Wallace opens the door a          crack. Knives shivers outside, pale and broken looking.                         KNIVES CHAU          Is Scott here?                         WALLACE          You know what?          Behind Wallace, we see Scott LEAP through a window head          first. GLASS SMASHES.          WALLACE (CONT'D)          He just left.          Knives sighs. Scott sprints away in the background.          A62 EXT. STREET - DAY A62          Scott walks fast down the street, freaked out and paranoid.          He sees five 'òX's looming above him on a pedestrian crossing          and quickly diverts into an...          62 EXT. ALLEY - DAY 62          Scott rips the 'òX-Men' patch off his jacket, when-                         (CONTINUED)                                                                                                               INTEGRATED FINAL 63A.                         62 CONTINUED: 62          WHZZZ - SOMETHING buzzes past Scott. He looks around.                         SCOTT          Dude.          WHOOSH - another blast of air whizzes by.                         SCOTT          Please.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 64.                         62 CONTINUED: (2) 62          SHFFF - SOMETHING sweeps him off his feet. He's pissed now.                         SCOTT          I'm really not in the mood.          SHWAA - SOMETHING slices the air in front of Scott.                         SCOTT          Okay, enough!          Scott punches the air in front of him. Hits SOMETHING. A          DIMINUTIVE DIRTY BLONDE dressed in a punk rock kung fu get up          lands on the ground with a thump. She spins to face Scott.                         MYSTERY ATTACKER          You punched me in the boob. Prepare          to die, obviously.                         SCOTT          Listen, I've had it today. Can we          not do this right now?                         ALT #1:                         MYSTERY ATTACKER                         (DIXIELAND ACCENT)          Love to postpone, darlin', but I          just cashed my last raincheck.                         SCOTT          What's that from?                         MYSTERY ATTACKER                         (OWN VOICE)          My brain!                         SCOTT          Well whatever this is about, can it          wait till I'm in the right frame of          mind?                         ALT #2:                         MYSTERY ATTACKER          Nuh uh. This is one nightmare you          can't wake up from.                         SCOTT          Wait, am I asleep right now?                         MYSTERY ATTACKER          No.                         SCOTT          So, technically this is not a          nightmare.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 64A.                         62 CONTINUED: (3) 62                          MYSTERY ATTACKER           Right.                         SCOTT          So how can I not wake up? If I'm          not actually asleep.                         MYSTERY ATTACKER          Don't question me!          Scott shakes his head, baffled.                         SCOTT          Well, I'm really, really not up for          this. Whatever it is.                         MYSTERY ATTACKER          Okay little chicken, then I'll see          you later. But you won't see me.          Because I'll be deadly serious next          time.                         SCOTT          What?                         MYSTERY ATTACKER          Nevermind!          PAF - the Mystery Attacker vanishes. Scott looks to the sky.                         SCOTT          Oh man. Someone help me.          63 EXT. BLOOR STREET - DAY 63          Scott is in his usual payphone, dialing Stacey frantically.                         SCOTT          It's Scott.          STACEY (O.S.)          What did he do this time?                         SCOTT          No, it's Scott. It's actually me.          STACEY (O.S.)          What did you do this time?                         SCOTT          I didn't do anything. It's everyone          else that's crazy.                         (MORE)                         (CONTINUED)                                                                                                               INTEGRATED FINAL 65.                         63 CONTINUED: 63                         SCOTT (CONT'D)          Look I need to talk to you, I'm          having a meltdown or whatever. Are          you still working?          STACEY (O.S.)          I'm literally about to leave.                         SCOTT          Cool, I'm coming in.          Scott hangs up the phone and walks two steps into-          64 INT. THE SECOND CUP - CONTINUOUS 64          Scott approaches the counter. Stacey has her back turned.                         SCOTT          Think I'll make it a decaf today.          Stacey turns around, revealing herself to be JULIE!                         JULIE          SCOTT PILGRIM!                         SCOTT          AH! What did you do with my sister?          Stacey taps on the window outside, mouthing that she has to          go. Scott turns back to Julie, not happy.                         JULIE          What can I fucking get you?                         SCOTT          Is there anywhere you don't work?                         JULIE          They're called 'jobs', something a          fuckball like you wouldn't know          anything about. And by the way, I          can't believe you fucking asked          Ramona out after I specifically          told you not to fucking do that!          (Note to concerned reader: Everytime Julie says "FUCK", a          black bar comes out of her mouth and the sound is bleeped.)                         SCOTT          How do you do that with your mouth?                         JULIE          Neverfuckingmind how I do it! What          do you have to say for yourself?                         SCOTT          Uh. Can I get a caramel macchiato?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 66.                         64 CONTINUED: 64                         JULIE          Maybe it's high fucking time you          took a look in a mirror before you          wreak havoc on another girl.                         SCOTT          Me? Wreak havoc?          Julie points at THE CLASH AT DEMONHEAD poster behind the          counter with concert dates at the bottom.                         JULIE          Fucking speaking of fucking which,          I hear the girl that kicked your          heart in the ass is walking the          streets of Toronto again.                         SCOTT          So I can pick up my coffee over          here?          Scott retreats away from Julie and bumps right into...          RAMONA. They share an awkward moment. She looks at the floor.                         RAMONA          Sorry that got a little crazy last          night.                         SCOTT          Yeah. You kind of disappeared.                         RAMONA          Yeah, I do that. Listen, I know          it's hard to be around me          sometimes. I'll understand if you          don't want to hang anymore.                         SCOTT          No. No, I want to hang. The whole          evil ex-boyfriend thing. No biggie.                         RAMONA          Exes.                         SCOTT          I mean, I know it's early days, but          I don't think anything can really          get in the way of how I SHIT!          Scott hides behind Ramona as a lithe figure emerges from the          steamed-milk mists of the coffee shop...the singer from THE          CLASH AT DEMONHEAD has seemingly stepped out of the poster.          "ENVY ADAMS, 23, FUN FACT: KICKED SCOTT'S HEART IN THE ASS."          The icy, platinum blonde fashionista walks towards Scott.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 67.                         64 CONTINUED: (2) 64                          SCOTT (CONT'D)           It's my ex.                          RAMONA          The big one?          Scott nods. LEONE STAREDOWN between Envy and Ramona.                         RAMONA          I'm gonna...excuse me.          Ramona goes to order coffee, leaving Envy to fix on Scott.                         ENVY          Your hair is getting shaggy.          REVERSE: Scott is instantly wearing his DORKY HAT.                         SCOTT          Yeah?                         ENVY          So. That's Ramona?                         SCOTT          Yeah.                         ENVY          Okay, I'm jealous.                         SCOTT          YOU'RE jealous?                         ENVY          I'm allowed.                         SCOTT          You left me! For that cocky pretty boy!                         ENVY          You've never even seen him.                         SCOTT          Yeah. I know. You left me for a guy          I've never even seen.                         ENVY          Maybe you'll see him soon. We're          playing Lee's Palace. You guys          should like, so totally come.                         SCOTT          That's so not going to happen.                         ENVY          Great. You're so on the list.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 68.                         64 CONTINUED: (3) 64          Envy disappears into the cappucino mists. Ramona returns.                         JULIE          Caramel Fuckiato for fuck Pilgrim!                         SCOTT                         (TO RAMONA)          It's pronounced 'úScott'ù.          65 EXT. TORONTO RESIDENTIAL STREET - DAY 65          Scott and Ramona walk side by side, sipping their coffees.                         RAMONA          So...that was Nat?                         SCOTT          No, that was Envy.                         RAMONA          So...what did you guys talk about?                         SCOTT          She's totally jealous of you.                         RAMONA          Envy's jealous? How about that?                         SCOTT          Yeah. How. About. That.                         RAMONA          What happened with the two of you?                         SCOTT          Do you mind if we don't get into          that right now?                         (BEAT)          She wanted to move to Montreal          because she missed her best friend.          This guy Todd.                         RAMONA          And two weeks later, you heard they          were sleeping together I guess?                         SCOTT          Basically.                         RAMONA          I dated a Todd once. That didn't          end well either.                         SCOTT          I can see how it sucks. Having the          past come back to haunt you.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 68A.                         65 CONTINUED: 65                         RAMONA          Is it wrong that I try not to think          about it?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 69.                         65 CONTINUED: (2) 65                         SCOTT          What do you want to think about?                         RAMONA          How warm my place is right now.          Ramona stops and kisses him.          66 INT. WALLACE'S APARTMENT - NIGHT 66          Scott lies between Wallace and Other Scott on the futon.                         OTHER SCOTT          And you didn't bang her? Are you gay?                         SCOTT          I couldn't stop thinking about my          stupid ex-girlfriend.          A bleary Jimmy sits up between them all.                         JIMMY          Is that the Uma Thurman movie?                         WALLACE          Scott. Just because Envy's back in          town doesn't make it not over.                         SCOTT          Double negative. Tricky.                         OTHER SCOTT          It's over. Move on.                         WALLACE          Word.                         JIMMY          Mm.          Scott stands (no pants). Music swells.                         SCOTT          Right. I'm not gonna let her toy          with me. From this moment on, I          will think of Envy Adams no more!          67 INT. STEPHEN STILLS' HOUSE - DAY 67                         STEPHEN STILLS          I have distressing news.          A deadly serious Stephen Stills addresses Kim, Scott and          Young Neil. Ramona lounges on the couch...                         (CONTINUED)                                                                                                               INTEGRATED FINAL 69A.                         67 CONTINUED: 67                         KIM PINE          Is the news that we suck? Because I          really don't think I can take it.                         STEPHEN STILLS          No. The Clash At Demonhead are          doing a secret show tomorrow night.          And Envy asked us to open for them.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 70.                         67 CONTINUED: (2) 67                         SCOTT          I hate you.                         STEPHEN STILLS          A gig is a gig is a gig. Is a gig.          Maybe you can put your history          aside until we get through this          thing. You know, for the band? For          the band. For the band?                         SCOTT          Can't we do our own secret shows?                         KIM PINE          All our shows are secret shows.                         STEPHEN STILLS          We're doing it. G-man might be          there! We play the next round of          the battle Saturday. We need to get          some buzz going. We need          groundswell. We need stalkers.          Stills paces past the window to reveal...KNIVES CHAU OUTSIDE.          CRASH ZOOM on her tearful face, pressed against the window.          TOTALLY CRUSHED to see Scott cuddling with Ramona.                         SCOTT          What would you do? If your ex was          in a band and they wanted you to          open for them?                         RAMONA          If my ex was in the band?                         SCOTT          Yeah.                         RAMONA          It might be a little awkward. But          maybe it's the grown up thing to do.                         SCOTT          Yeah, we're all adults right?          68 INT. DRUG SMART - EVENING 68          KNIVES frantically rifles through racks of hair dye and rants          furiously into her cellphone.                         KNIVES CHAU          He's dating a fat-ass hipster chick!          I hate his stupid guts! I'm gonna          disembowel him!                                                                                                               INTEGRATED FINAL 71.          68A INT. KNIVES' BEDROOM - EVENING 68A          Knives stands on her bed and continues ranting at Tamara.                         KNIVES CHAU          He only likes her cause she's old!          She's probably like 25! She's just          some fat-ass white girl, you know?                         TAMARA          I think you mentioned she was fa-          68B INT. KNIVES' BATHROOM - EVENING 68B          Tamara helps Knives color her hair under the bathtub spigot.                         KNIVES CHAU          She's got a head start! I didn't          even know there WAS good music          until like two months ago! Okay,          this really burns.                         TAMARA          We should rinse-                         KNIVES CHAU          I mean, he knew I was cool but he          thought I was too young, so he          tried to find someone cool but old.                         TAMARA          She's cool? I thought she was fat-                         KNIVES CHAU          Well she THINKS she's cool. This is          all her fault.                         TAMARA          Why?          Tamara turns the faucet on and rinses Knives hair.                         KNIVES CHAU          It MUST be her fault. Obviously          it's just a twist of fate or          whatever, isn't it? Star crossed          lovers! Born too late!          Knives looks in the mirror: HER HAIR IS EXACTLY LIKE RAMONA.          KNIVES CHAU (CONT'D)          Oh God...I look so...so good.          Knives throws a long scarf on, looking sexy, eyes narrowing.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 72.          68B CONTINUED: 68B          KNIVES CHAU (CONT'D)          Scott Pilgrim destroyed my heart.          But I know how to get him back.          PUSH into Knives, as she plots. Tamara pops into frame.                         TAMARA          How?          We see a TEXT MESSAGE typing onscreen:          'úYUNG NEIL ITZ KNIVES. OMFG UR SO HOTT'ù          69 EXT. LEE'S PALACE - NIGHT 69          A huge line of TOO COOL YOUTHS snakes outside a rock venue. A          sign reads 'òTHE CLASH AT DEMONHEAD - Sold out'.          We hear loud music blasting through the open doors.          70 INT. LEE'S PALACE - CONTINUOUS 70          The LOUD MUSIC stops abruptly. Sex Bob-Omb bow onstage.                         STEPHEN STILLS          Thank you. We were Sex Bob-Omb.          Wallace and Other Scott clap and cheer, drunk. The other          snobbish kids in the audience shrug and disperse.                         STEPHEN STILLS          We got some merch out the back, so-          (to Scott and Kim)          Okay. Bar. Now.          71 INT. LEE'S PALACE - LATER 71          A disillusioned Sex Bob-Omb hang with Ramona at the bar.                         STEPHEN STILLS          Level with me. Did we suck?                         RAMONA          I don't know. Did you?                         STEPHEN STILLS          She has to go. She knows we suck.          Ramona excuses herself.                                                                                                               INTEGRATED FINAL 73.          72 INT. LEE'S PALACE, LADIES BATHROOM - MOMENTS LATER 72          Ramona does her eyeliner. She looks in the mirror to see two          images of herself staring back. Or is it...          "KNIVES CHAU, 17, SINGLE WHITE ASIAN" with identical hair,          clothes and makeup, standing next to Ramona, looking hot.                         KNIVES CHAU          Hey Ramona.                         RAMONA          Hey.          Ramona exits, confused. Knives follows.                         RAMONA          What the hell?          73 INT. LEE'S PALACE - MOMENTS LATER 73          Ramona and Knives exit the bathroom together. Scott breaks          into a cold sweat. Knives shoots Scott a sultry look.                         KNIVES CHAU          Hey Scott.          Knives heads into Young Neil's arms at the other end of the          bar. Scott struggles with something resembling jealousy.                         SCOTT          What the hell?                         KIM PINE          Look who Knives is hanging with.                         RAMONA          Who is that girl again?                         STEPHEN STILLS          Scottdatedher.                         SCOTT          Briefly. Briefly.                         KIM PINE          I bet Young Neil will date her even          briefly-er.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 74.                         73 CONTINUED: 73                         RAMONA          How old is she?          A 'úWHEEL OF FORTUNE'ù spins INSIDE SCOTT'S HEAD, with          selections such as 'úIt was nothing'ù and 'úShe was nobody.'ù The          wheel sticks between 'úI gotta pee.'ù and 'úWho, her?'ù                         SCOTT          I gotta pee on her.          (turns beet red)          I mean, I gotta pee. Pee time.                         (SING SONGY)          Peee time.          74 INT. LEE'S PALACE, MENS BATHROOM - MOMENTS LATER 74          Scott washes his hands and looks up to see TWO SCOTTS staring          back, one with fringed hair and a wicked glare!          Scott whips around. He's alone. SPOOKY MUSIC begins...          75 INT. LEE'S PALACE - MOMENTS LATER 75          A freaked out Scott returns to the group. The lights dim and          the stage fills with twisting blue tendrils of smoke.          THE CLASH AT DEMONHEAD materialize, ENVY in a long black          coat. Knives screams her teen brains out.          The BASS PLAYER steps into the light, no longer shrouded in          dry ice, he cuts a handsome, striking ROCK GOD figure.                         SCOTT          That guy on bass? That's Todd.                         RAMONA          I know.                         ENVY          Oh yeah...                         SCOTT          You know?                         ENVY          Oh yeah...          Todd flips his fringe from his eyes. Stares at Scott.          "TODD INGRAM, 25, EVIL-EX #3, FUN FACT: 9TH DEGREE VEGAN"                         SCOTT          Oh no.          Envy lets her coat slip off, revealing a stunning figure.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 74A.                         75 CONTINUED: 75                         ENVY          OH YYYEEEEAAAAAAAAAAHHH!!!          76 INT. LEE'S PALACE - LATER 76          Sex Bob-Omb, Knives and Ramona hang near the BACKSTAGE doors.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 75.                         76 CONTINUED: 76                         KNIVES CHAU          Oh my God. Just oh my God.                         YOUNG NEIL          Man, you have to see them live.          They're so much better live. Oh.                         SCOTT          I think I'm going to throw up.          Julie opens the backstage door and huffs.                         JULIE          I can't believe I'm even saying          this, but Envy Adams would like all          of you to come backstage.                         SCOTT          All of us?                         JULIE          Did I fucking stutter?          The group shuffles backstage. Scott hangs his head like a          condemned man.                         KNIVES CHAU          How do you know Envy???                         YOUNG NEIL          Scottdatedher.           Knives makes a face that looks like this: >:O !!!!          77 INT. LEE'S PALACE, RATTY BACKSTAGE AREA - NIGHT 77          SEX BOB-OMB lounge on a couch on one side of the room. Envy,          Todd and Julie lounge on a couch across from them.          Knives in shock as she thinks a thousand thoughts. Envy burns          a hole through Scott. Everyone else feels...'úAWKWARD'ù.                         TODD INGRAM          Hey Ramona.                         RAMONA          Hey Todd.                         TODD INGRAM          Been a while.                         RAMONA          Mmm hmm.                         TODD INGRAM          Mmm hmm.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 76.                         77 CONTINUED: 77                         RAMONA          (whispers to Scott)          I think we should get out of here.                         JULIE          How was the tour? You played with          The Pixies? You're a superstar now!                         ENVY          It's-yeah, it's not something I can          really put into words.                         KNIVES CHAU          Um...Envy? I read your blog.          Todd and Julie glare at Knives.                         ENVY          So...Scott and Ramona eh?                         RAMONA          What of it?                         ENVY          You guys are a cute couple, you          know? You suit each other.                         STEPHEN STILLS          So what's your ulterior motive          Envy, in general?                         JULIE          She doesn't need ulterior motives,          Stephen. She's got a write-up in          Spin!                         KNIVES CHAU          You're my role model Envy.                         ENVY          Just saying, cute couple. I like your          outfit Ramona. Affordable?                         JULIE          I was going to say, Envy. Did you          get those jeans in New York, they're-                         ENVY          I'm talking to Ramona right now.                         JULIE          Ramona lived in New York.                         ENVY          I was just there. We played the          Chaos Theatre for Gideon. You know          him, right?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 76A.                         77 CONTINUED: (2) 77          Scott looks at Ramona. She is about to answer when...Knives          stands up, POINTS at Envy and SCREAMS-                         KNIVES CHAU          I'VE KISSED THE LIPS THAT KISSED YOU!                         (CONTINUED)                                                                                                               INTEGRATED FINAL 77.                         77 CONTINUED: (3) 77          Envy nods at Todd. He PUNCHES KNIVES SQUARE IN THE JAW! OMFG!          Scott jumps to his feet, FACING OFF against Todd Ingram.                         SCOTT          Knives!?          Young Neil rushes to Knives' aid. Scott boils. Todd smirks.                         TODD INGRAM          That's right. I'm not afraid to hit          a girl. I'm a rock star.                         YOUNG NEIL          You punched the highlights out of          her hair!          ANGLE on Knives. Her hair is black and plain as before.                         YOUNG NEIL          He punched the highlights. Out. Of.          Her. Hair.                         ENVY          You're incorrigible.                         TODD INGRAM          I don't know the meaning of the word.          Young Neil escorts Knives out. Todd sits back down like          nothing happened. Scott's face is a bright shade of rage.                         JULIE          So, are you guys doing anything fun          while you're in town?                         TODD INGRAM          Fun? In Toronto?                         SCOTT          That is IT, you cocky cock! YOU'LL PAY          FOR YOUR CRIMES AGAINST HUMANITY!          Scott LEAPS across the table and SWINGS a punch at Todd.          Todd THRUSTS a hand out and telekinetically FREEZES SCOTT IN          THE AIR. Scott hovers, grasping his neck, choking. Todd's          hair magically forms into a FAUXHAWK.                         SCOTT          KK...my neck...yy...your hair...                         ENVY          Didn't you know? Todd's Vegan.                         TODD INGRAM          It's not a big deal.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 78.                         77 CONTINUED: (4) 77          Todd telekinetically HURLS Scott through the club's wall!          Ramona and Sex Bob-Omb peer through the newly made hole in          the wall, to see Scott sprawled on some trash bags. He tries          to keep cool, despite being in a lot of pain.                         SCOTT          No kidding...anyone can be...vegan.                         TODD INGRAM          Ovo-lacto vegetarian maybe.                         SCOTT          Ovo what?                         TODD INGRAM          I partake not in the meat nor          breastmilk or ovum of any creature          that has a face.                         ENVY          Short answer: Being vegan just          makes you better than most people.                         TODD INGRAM          Bingo.          Todd lifts up Scott telekinetically and throws him miles into          the air. Scott sails out of shot and into space.                         STEPHEN STILLS          Hey man, question. I always          wondered, how does not eating dairy          products give you psychic powers?                         TODD INGRAM          You know how you only use ten          percent of your brain? Well, it's          because the other 90% is filled up          with curds and whey.                         KIM PINE          Did you learn that at Vegan Academy?                         TODD INGRAM          Go ahead and get snippy baby, if          you knew the science, maybe I'd          listen to a word you're saying.          Scott returns to earth with a THUMP. He moans in pain. While          the others bicker, Ramona helps Scott to his feet.                         SCOTT          If I peed my pants, would you pretend          I just got wet from the rain?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 78A.                         77 CONTINUED: (5) 77                         RAMONA          It's not raining.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 79.                         77 CONTINUED: (6) 77                         SCOTT          Oh. How about you give me the Cliff          Notes on how and why you ended up          dating this a-hole?                         RAMONA          Is that really important right now?                         SCOTT          If there's a key element in his          backstory that can help me out in a          critical moment of not dying? Yes.          A brief, scrappy ANIMATED FLASHBACK of Young Todd and Ramona.          RAMONA (V.O.)          I was only dating Lucas until the          minute Todd walked by. I guess          that's not very nice, but I used to          be kind of...like that.          Young Ramona shoves Young Lucas down a hill and starts making          out with Young Todd.          RAMONA (V.O.)          We hated everyone. We wrecked          stuff. Nobody cared.          Young Ramona and Young Todd wreck stuff. Nobody cares.          RAMONA (V.O.)          He punched a hole in the moon for          me. It was pretty crazy.          Young Todd punches a hole in the moon. It's pretty crazy.          RAMONA (V.O.)          A week and a half later, he told me          his Dad was sending him to the          Vegan Academy, so I dumped him.          Does that help you at all?          The FLASHBACK ends. Scott can only fixate on one aspect.                         SCOTT          Have you dumped everyone you've          ever been with? You've never been          the dumpee?          Ramona shrugs.                         RAMONA          Look, I've dabbled with being a          bitch. It's part of the reason I          moved here. I was really hoping to          put it all behind me.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 80.                         77 CONTINUED: (7) 77          Todd appears behind Ramona - ready for another round.                         TODD INGRAM          We have unfinished business, I and he!          Scott stands up - sort of ready for another round.                         SCOTT          He and me.                         TODD INGRAM          Don't you talk to me about grammar!                         SCOTT          I...dislike you. Capiche?          Understand?                         TODD INGRAM          Tell it to the cleaning lady on Monday.                         SCOTT          What?                         TODD INGRAM          Because you'll be dust by Monday.                         SCOTT          Um...                         TODD INGRAM          Because I'll be pulverizing you in          two seconds. And the cleaning          lady...cleans up...dust. She dusts.                         SCOTT          Sorry, so what's on Monday?                         TODD INGRAM          Cos it's Friday now and she has          weekends off, so...Monday. Right?                         ENVY          Basically, you can't win this fight          and you'll have to give up on this          girl, 'òcos Todd is going to kill          you.                         SCOTT          You used to be so...nice!          Scott CHARGES at Todd, who PSYCH-THROWS him back into the          club. We hear a distant CRUMP. Stills calls through the hole.                         STEPHEN STILLS          Uh, we're going to Pizza Pizza for          a slice, call us when you're done.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 80A.                         77 CONTINUED: (8) 77                          ENVY           Oh, he'll be done real soon.                          (CONTINUED)                                                                                                               INTEGRATED FINAL 81.                         77 CONTINUED: (9) 77          Sex Bob-Omb skulks away. Envy grins at Ramona, wicked.                         ENVY          Sorry, baby. Crummy way to end          things, I know.          Suddenly, the bass-line from FINAL FANTASY 2 rumbles through          the walls. Todd calls to a roadie.                         TODD INGRAM          Get me my bass. The good one.          78 INT. LEE'S PALACE - CONTINUOUS 78          SCOTT stands in an elephant's graveyard of plastic cups and          bottles, picking the hell out of his bass, amp pegged to 10.          TODD INGRAM levitates, floating towards Scott with his bass.                         TODD INGRAM          You're going down. Vegan Style!          Todd lands in front of Scott. BASS OFF! PICKS STRIKE STRING!          Todd easily out-basses Scott, shredding him into oblivion.          The enormous reverb LAUNCHES club debris towards Scott.                         SCOTT          The reverb is hurting my soul!!!          Scott slides across the floor and slams right into the wall.          Todd LEVITATES, fauxhawk rising. He hovers next to him.                         TODD INGRAM          That's right, Pilgrim. I actually          know how to play bass.          Todd DETUNES his bass and delivers a death note that BLOWS          Scott right through the stage wall.          79 INT. LEE'S PALACE, RATTY BACKSTAGE AREA- CONTINUOUS 79          Scott crashes into a backstage food table. Todd floats toward          him, savoring the kill. Envy appears beside him with a smirk.                         TODD INGRAM          I can read your thoughts. Your bass          hand is badly injured. You're through.          Scott turns around on his knees, cringing, holding a cup of          MILKY LOOKING COFFEE in either hand as a peace offering.                         SCOTT          What say we drink to my memory?          Fair trade blend with soymilk?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 81A.                         79 CONTINUED: 79                         ENVY          I'm sorry, but that's pathetic.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 82.                         79 CONTINUED: (2) 79                         TODD INGRAM          Dude. I can see in your mind's eye          that you poured Half & Half into one          of these coffees in an attempt to          make me break vegan edge. I'll take          the one with soy. Thanks, tool.          Todd floats to the ground, takes one of the cups and drinks.                         SCOTT          Actually, I poured soy in this cup,          but thought real hard about pouring it          in that one. You know, in my mind's          eye or whatever.                         TODD INGRAM          What are you talking about?                         SCOTT          You just drank Half & Half.          TWO TRENDY POLICE TYPES BUST IN THROUGH THE WALL, making two          more holes and pointing their fingers like deadly weapons.          VEGAN POLICE OFFICERS          Freeze! Vegan Police!          VEGAN POLICE OFFICER #1          Todd Ingram, you're under arrest          for veganity violation code number          827, imbibement of Half & Half!                         TODD INGRAM          That's bullroar!          VEGAN POLICE OFFICER #1          No vegan diet, no vegan powers.                         TODD INGRAM          But this is a first offense! Don't          I get three strikes?          Vegan Police Officer #2 flips open his CODE VIOLATION book.          VEGAN POLICE OFFICER #2          At 12:27 a.m. on February 1st, you          knowingly ingested Gelato.                         TODD INGRAM          Gelato isn't vegan?          VEGAN POLICE OFFICER #1          Milk and eggs, bitch.          VEGAN POLICE OFFICER #2          On April 4th, 7:30 p.m., you partook          a plate of Chicken Parmesan.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 83.                         79 CONTINUED: (3) 79          Envy gasps, disgusted.                         TODD INGRAM          Chicken isn't vegan?          VEGAN POLICE OFFICER #1          The deveganizing ray! Hit him.          The Vegan Police BLAST Todd with arcs of power from their          finger guns. Todd's fauxhawk deflates into a bowl cut.                         TODD INGRAM          NOOOOOOOOOOOOOOOOOOOOOOO!!!          Scott rises into a stance to deliver his killer line...                         SCOTT          You once were a vegone, but now you          will be gone!                         TODD INGRAM          Vegone?          Scott HEADBUTTS TODD, exploding him! POOM! Scott dusts          himself off as COINS rain down. Envy stares, jaw ajar.                         SCOTT          Uh, sorry I guess.                         ENVY          Sorry? You just headbutted my          boyfriend so hard he burst.                         SCOTT          You kicked my heart in the ass. So          I guess we're even. Natalie.                         ENVY          No one calls me that anymore.                         SCOTT          Maybe they should. Now let's get          out of here.          A battle worn Scott limps through the hole in the wall.          Ramona follows, shooting Envy a look on the way out.                         RAMONA          Crummy way to end things, I know.          Envy blinks, in shock. Julie pops into shot.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 84.                         79 CONTINUED: (4) 79                         JULIE          For the record, I am so pissed off          for you right now.                         ENVY          Shut the fuck up, Julie.          80 INT. PIZZA PIZZA - NIGHT 80          Sex Bob-Omb, Wallace and Other Scott munch pizza slices.          Ramona and Scott, on the fringes. It's an odd mood.                         WALLACE          Envy Adams. I hate that bitch so          much I kind of love her.                         OTHER SCOTT          Yeah. That Todd guy was cool too.          And hot. I liked him.          Scott sighs and holds a cold Coke Zero on his forehead.                         RAMONA          Are you okay?                         SCOTT          Uh huh.                         RAMONA          You sure about that?                         SCOTT          Do I look like I'm not okay?          Scott does not look okay. Stills coughs.                         STEPHEN STILLS          We're still going to the after show          right?                         KIM PINE          I'm not sure it's gonna be much of          a party, I think a third of the          band just went 'úpoom'ù.                         STEPHEN STILLS          Cool bands never go to their own          after parties. It's just the          desperate people trying to rub          elbows with label guys.                         KIM PINE          Then why would we...oh.                         STEPHEN STILLS          Neil, you down?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 85.                         80 CONTINUED: 80          Neil is at the counter with a catatonic Knives. He shrugs.          STEPHEN STILLS (CONT'D)          Scott? You're in right?                         RAMONA          Do you want to go?                         SCOTT          I kind of almost died back there, so...                         RAMONA          I'm not saying I want to go.                         SCOTT          Hey, we can totally go.                         RAMONA          I'll do whatever you want to do.                         SCOTT          So let's go.          Scott takes another bite. Other Scott whispers to Wallace.                         OTHER SCOTT          Are Scott and Ramona fighting?                         WALLACE          Not to my knowledge.                         OTHER SCOTT          Oh.                         WALLACE          I mean, not with fists.                         OTHER SCOTT          Oh.                         WALLACE          Yet.                         OTHER SCOTT          Ooh.          81 EXT. AFTER PARTY - NIGHT 81          The whole gang trudge to the after party. Scott limps a bit,          lagging behind. Ramona falls back with him.                         RAMONA          We really don't have to go to this          thing. It'll probably be a bad          scene all around and we've already          had a full night.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 85A.                         81 CONTINUED: 81                         SCOTT          No, I'm fine, I'm fine. It's just-                         RAMONA          It's just...?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 86.                         81 CONTINUED: (2) 81                         SCOTT          Well, not that fighting harder and          harder battles for your love is          getting old or anything...but have          you ever dated someone who wasn't a          total ass?                         RAMONA          So far you're not a total ass.                         SCOTT          But I'm part ass?                         RAMONA          If it makes you feel better, you're          the nicest guy I've dated.                         SCOTT          Wait...is that good?                         RAMONA          It's what I need right now.                         SCOTT          But not...later?                         RAMONA          Scott, I don't have all the          answers. I'd just like to live in          the moment if I can.                         SCOTT          Yeah, I'd just like to live.          Scott and Ramona enter a big, fartsy, artsy WAREHOUSE.          82 INT. AFTER PARTY - CONTINUOUS 82                         RAMONA          Okay, I know Todd was bad news. But          are you saying Envy wasn't? We all          have baggage.                         SCOTT          My baggage doesn't try and kill me          every five minutes. What did you do          to your ex-boyfriends to make them          so insane?                         RAMONA          Exes.                         SCOTT                         WHATEVER-                         (CONTINUED)                                                                                                               INTEGRATED FINAL 87.                         82 CONTINUED: 82                         RAMONA          No break up is painless. Someone          always gets hurt. What about you          and that girl Knives?                         SCOTT          Knives?                         RAMONA          Who broke up with who?                         SCOTT          I believe...I broke up with her.                         RAMONA          And was she cool with that?                         SCOTT          Knives is with Young Neil now,          she's totally cool with it.          They pass Knives and Young Neil. She seemingly has no          interest in her date and simply stares at Scott lovingly.                         RAMONA          You sure about that?                         SCOTT          Yeah. She's very mature for her          age. It was a very healthy break          up. We're all peaches and gravy.          We hear an offscreen distant 'ònooooo' from Knives.                         RAMONA          And what about you and Kim?          They pass Kim. She's also staring at Scott. Not lovingly.                         SCOTT          Me and Kim? I can barely remember.          Why, is it important?                         RAMONA          Hey, you want to know everything          about my past, dude.                         SCOTT          It was just...yeah. I don't know.          It was high school. She had          freckles. It was cool, I guess.                         RAMONA          That's it?                         SCOTT          Yeah, it kind of ended. We changed.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 88.                         82 CONTINUED: (2) 82          Scott and Ramona have reached the bar at the party.                         RAMONA          That's really the whole story?                         SCOTT          OKAY! I had to fight a dude to get          with her! I fought a crazy eighty          foot tall purple suited dude! And I          had to fight 96 guys to get to him,          too! He was flying and shooting          lightning bolts from his eyes! He          was totally awesome and I kicked          him so far he saw the curvature of          the earth! Does that make you feel          any better?                         RAMONA          Well now you are being a total ass.          Welcome to the club.          In the back glass of the bar, Scott sees his reflection:          fringed hair, wicked glare. He catches himself.                         SCOTT          Sorry. I'm not usually like this.                         RAMONA          Hey, don't worry. I don't know what          I'm like anymore.                         SCOTT          I guess this whole ex-boyfriends thing          is really messing with my head.                         RAMONA          Exes.                         SCOTT          Why do you keep saying-          PAF! A foot appears out of nowhere and KICKS Scott in the          head, sending him flying across the dance floor.          Scott looks up at his opponent, the MYSTERY ATTACKER!          SCOTT (CONT'D)          Girl from earlier?                         RAMONA          Roxy?          Scott gets up. The three square off in a triangle.                         SCOTT          You know this girl?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 89.                         82 CONTINUED: (3) 82                         ROXY          Oh boy, does she know me.                         SCOTT          What...is...she...talking about?                         ROXY          He really doesn't know?                         SCOTT          (ping!)          You and her?!          'úROXY RICHTER, 23, 4TH EVIL EX : SAPPHIC AGGRESSIVE.'ù                         RAMONA          It was just a phase.                         ROXY          Just a phase?                         SCOTT          You had a sexy phase?                         RAMONA          I didn't think it would count! It          meant nothing.                         ROXY          It meant nothing???                         RAMONA          I was just a little bi-curious.                         ROXY          Well honey, I'm a little bi-furious!          Roxy throws a SCORPION KICK at Scott's face. Ramona CATCHES          her foot mid-air. Roxy flips out of the hold.                         RAMONA          Do that again and I will end you.                         ROXY          Back off hasbian. If Gideon can't          have you, no one can. The League          hath spoken.          The girls square off, clearing the busy dance floor.                         RAMONA          Then Gideon best get his pretentious          ass up here, 'òcos I'm about to kick          yours out of the Great White North.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 90.                         82 CONTINUED: (4) 82                         ROXY          You unbelievable bitch.          RAMONA pulls a LARGE HAMMER from her purse.                         RAMONA          Believe it.          An embarrassed Scott watches with the rest of the crowd.                         SCOTT          Wallace?                         WALLACE          Uh huh?                         SCOTT          This is happening right?                         WALLACE          Uh huh.                         SCOTT          I mean, this is live?                         WALLACE          Oh yeah. KICK HER IN THE BALLS,          RAMONA!          With blinding speed, Roxy slips her belt off and WHIPS A          RAZOR SHARP FLYING GUILLOTINE BELT BUCKLE at Ramona! Ramona          CARTWHEELS as the buckle sails between her legs and SMASHES          into a DISCO BALL. Mirrored shards fly everywhere.          PAF! Roxy vanishes as Ramona SWINGS the hammer at her. It          smashes a speaker. Sound on one side of the room cuts out.          Ramona turns around just in time to see Roxy's deadly belt          SAILING towards her. She BLOCKS with the hammer. The belt          wraps around it. Roxy HURLS the hammer out the window.                         ROXY          I'm sending you back to Gideon in a          thousand pieces, you slag.          Ramona springs off of various pieces of furniture, LEAPING          towards Roxy and PUNCHING HER IN THE FACE. Roxy REELS and          SLAMS into the wall, leaving a dent in it.                         RAMONA          I'd rather be dead than go back.          He's a creep, you're a bitch and          you all deserve each other.                         ROXY          Give it a rest, Ramona. This is a          League game.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 90A.                         82 CONTINUED: (5) 82                          RAMONA           Meaning?          Roxy points an accusing finger at the mortified Scott.                         ROXY          Meaning your precious Scott must          defeat me with his own fists. Or          possibly feet.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 91.                         82 CONTINUED: (6) 82                         SCOTT          I'm not sure I can hit a girl.          They're soft.                         RAMONA          You don't have a choice.          Ramona positions Scott into a fighting stance as Roxy CHARGES          with deadly intent. Ramona puppeteers Scott into a furious          volley of PUNCHES on Roxy. She staggers, winces.                         ROXY          Fight your own battles, lazy ass!          PAF! Roxy disappears then REAPPEARS between Scott and Ramona,          kicking them apart with the splits. Roxy then KICKS Scott          into the ceiling. He lands HARD on the floor.          ROXY (CONT'D)          Every Pilgrim reaches the end of his          journey. Some sooner than others.          Roxy lifts her leg over her head, preparing to drop her boot          of DEATH on Scott's head. She grins at Ramona.          ROXY (CONT'D)          Your B.F's about to get F'd in the B!                         RAMONA          Her weak point's the back of her knees!                         SCOTT          What? How does that work?                         RAMONA          Whenever we were making out, I-                         SCOTT          Okay.          As Roxy's leg descends, Scott reaches up with one finger and          lightly TICKLES the back of Roxy's knee.          GRAPHIC: 'úTICKLE TICKLE!'ù                         ROXY          Oh...          Roxy falls, still in the splits, throbbing with orgasmic          meltdown. Scott watches as Roxy giggles between spasms.          ROXY (CONT'D)          You'll...never...be able to do this          to herrrrrrrrrrr!          Roxy screams in ecstasy before EXPLODING into COINS. A spent          Scott is left standing in the middle of the room.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 91A.                         82 CONTINUED: (7) 82          The party starts up again, a wave of gossip spreading around          the room. People text furiously and point fingers at Scott.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 92.                         82 CONTINUED: (8) 82           Scott flushes red and retreats back to the bar. Ramona           follows tentatively. The gossip echoes around them.                          RAMONA           Sooooo...                          SCOTT          Two gin and tonics please.                         RAMONA          I thought you didn't drink.                         SCOTT          Only on special occasions. Why? Did          you want one?          Scott swigs down his drink. Ramona tries to lighten things.                         RAMONA          I guess we really don't know that          much about each other do we?          Scott seems immediately drunk.                         SCOTT          Maybe you could just give me a list          of all your exes so at least I know          who's going to beat my ass into the          ground next.                         RAMONA          Oh, like a handy little laminate or          something? Let me see if I can find one.          (looks through bag)          Maybe we could exchange our information.          Scott has already downed his second drink.                         SCOTT          Just out of sheer curiosity and          concern for my mortal well-being,          is there anyone at this party you          haven't slept with?          EVERY GUY AND GIRL AT THE PARTY          HEY!          Ramona stops. Looks hurt. She touches her hair.                         RAMONA          I really think we should split.                         SCOTT          As in 'òget out of here'? Or as in          'òsplit split'?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 92A.                         82 CONTINUED: (9) 82                         RAMONA          I'd hope you could figure that out.          Or did you miss the part where I          saved your ass?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 93.                         82 CONTINUED: (10) 82                         SCOTT          How could I not? I feel like we just          washed our sexy laundry in public.                         RAMONA          Dirty laundry. You're drunk.                         SCOTT          (holds up 2 fingers)          I've had like one drink.                         RAMONA          Well I'm sorry I cared. I don't          enjoy all this Scott. In fact I'm          sick of it. I thought you might be          more understanding.                         SCOTT                         I JUST-                         RAMONA          You're just another evil ex-          boyfriend waiting to happen.          Ramona walks off and loudly announces.          RAMONA (CONT'D)          And yes, there is someone at this          party I haven't slept with. You.          Ramona leaves. Another crescendo of gossip echoes around the          room. Scott's friends gather round in a pity party.          But then - Ramona returns, handing Scott a LAMINATED LIST.          RAMONA (CONT'D)          P.S. Here's your stupid list.          Ramona exits proper. Scott looks at the list. It reads-          'úPATEL, LEE, INGRAM, RICHTER, KATAYANAGI TWINS, GIDEON...'ù                         SCOTT          Who the hell are the Katayanagi Twins?                         STEPHEN STILLS          You don't know?          83 INT. STEPHEN STILLS' HOUSE - NIGHT 83          Stills flips to hand drawn sketches of THE KATAYANAGIS,          identical Asian twins dressed like pretentious New Wave fops.                         STEPHEN STILLS          They're the next band in the battle          and they are badass.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 94.                         83 CONTINUED: 83          We reveal a grim, terse Scott playing a doomy bassline. The          rehearsal room feels empty without Knives or Ramona.                         KIM PINE          Ramona dated twins?                         SCOTT          Apparently.                         YOUNG NEIL          At the same time?                         SCOTT          You know what? I don't know and I          don't want to know.                         STEPHEN STILLS          Good. You know how I feel about          girls cockblocking the rock.                         SCOTT          Good. I play better in a bad mood.                         STEPHEN STILLS          If it's gonna be an issue though,          Young Neil can fill in for you.                         SCOTT          It's not an issue. You know bands,          I know battles. We got it covered.                         STEPHEN STILLS          Well, we'd understand if you didn't          want to take part.                         SCOTT          Not only do I want to take part. I          want to take them apart.                         STEPHEN STILLS          Okay. I'm getting tingles.                         YOUNG NEIL          Whoa...          84 EXT. THE NINTH CIRCLE - NIGHT 84          Sex Bob-Omb and Young Neil load their gear at the venue.                         STEPHEN STILLS          Okay. We're doomed.                         YOUNG NEIL          Oh...                         (CONTINUED)                                                                                                               INTEGRATED FINAL 94A.                         84 CONTINUED: 84          Flyers cover the outside walls of another rock venue;          'úT.I.B.B! SEX BOB-OMB!! THE KATAYANAGI TWINS!!! AMP VERSUS          AMP!!!! TWO BANDS ENTER!!!!!! ONE BAND LEAVES!!!!!!!!!!!'ù                         KIM PINE          That flyer needs more exclamation marks.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 95.                         84 CONTINUED: (2) 84                         STEPHEN STILLS          Oh, we are going to get killed.                         YOUNG NEIL          Come on. You're onstage in five.                         SCOTT          Aren't the Katamaris or whatever on          first?                         YOUNG NEIL          I think you're both on first?                         STEPHEN STILLS          Wait...amp versus amp? We're going          on stage at the same time?                         SCOTT          That's impossible-          85 INT. THE NINTH CIRCLE, STAGE - NIGHT 85          'úACTUALLY, NO'ù          Two stages sit on either side of the auditorium. On one: a          MONOLITHIC WALL OF ELK AMPLIFIERS. On the other, SEX BOB-OMB,          with their dinky LAME BRAND amps behind them.                         SCOTT          Okay. My bad.                         KIM PINE          Your bad is saying my bad.          Sex Bob-Omb stare up at the Katayanagi amps, sweating behind          their instruments. Stills looks into the audience positioned          between the bands: a legion of identical INDIE TEENS.                         STEPHEN STILLS          We shouldn't even be here. We          shouldn't even be here.          Stills tries to run. Scott grabs him and pulls him back.                         SCOTT          Come on man! I put aside my          problems for the music. If I can do          that, we can do anything.                         KIM PINE          Did you speak to Ramona then?                         SCOTT          What? No. I haven't seen her since          the other night.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 95A.                         85 CONTINUED: 85                         KIM PINE          Oh. She's totally here.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 96.                         85 CONTINUED: (2) 85          Kim points to RAMONA in the crowd. She is totally there. Her          hair is now the BRIGHTEST GREEN, and she stands next to a          nondescript MYSTERY GEEK in blazer and black rimmed glasses.          They are chatting. She looks happy. Scott turns bleak again.                         KIM PINE          Scott? Not that I care...but you should          talk to her before she's gone...                         SCOTT                         THANKS KI-                         KIM PINE          And I really don't care.          Scott nods at Kim's advice. He looks back to the crowd to          find the MYSTERY GEEK staring right at him. Then-          Disorienting LIGHTS and LASERS flash on the opposite stage.          A wall of FEEDBACK builds...THE KATAYANAGI TWINS appear,          sliding onstage behind their respective keyboard stands.          KYLE KATAYANAGI, 23, is very serious and Japanese. KEN          KATAYANAGI, 23, is serious and very Japanese.          Scott, Stephen Stills and Kim share a nervous look.                         STEPHEN STILLS          Okay gang. Can we do this? I mean,          we can do this. Right?                         KIM PINE          Right.                         STEPHEN STILLS          Scott?          Scott is distracted again by the Mystery Geek staring at him.                         KIM PINE          Scott!          Kyle Katayanagi hits a SINGLE NOTE on the keyboard, blasting          an enormous wave of sound at Sex Bob-Omb. It's so loud that          it shakes the foundations and rips the lighting rig from the          ceiling, leaving a huge hole in the roof. The crowd cheers.          AUDIENCE DUDE (O.S.)          They brought the house down.          Now an open air venue, SNOW falls onto the stage. An earth          shaking BASS NOTE blows the dust off Sex Bob-Omb...          Scott and Stills get into battle position. Scott screams!                         (CONTINUED)                                                                                                               INTEGRATED FINAL 97.                         85 CONTINUED: (3) 85                         SCOTT          WE ARE SEX BOB-OMB! WE ARE HERE TO          MAKE YOU THINK ABOUT DEATH AND GET          SAD AND STUFF! 1-2-3-4!          Sex Bob-Omb ROCK OUT, their sound blowing a mass of snow          towards the Katayanagis. For once, they sound awesome.          Kyle looks at Ken. They share a nod. Ken turns their amps up          to the Japanese character for 'ú11'ù. Their waveforms transform          the swirling snow into a TWO HEADED WHITE DRAGON!          Katayanagi SLAM their Moogs. Heavy weirdness EXPLODES from          the amps! The Dragon blows a BLAST of snowy fire that BLOWS          SEX BOB-OMB OFF THE STAGE. The crowd ERUPTS into cheers.          Scott, Kim and Stills lie in a heap under their instruments.                         STEPHEN STILLS          Let's break up now and get it over          with. We screwed the pooch in front          of Gideon Graves. We're done.                         SCOTT          Gideon...is here? Where?          Stills points to the 'úMystery Geek'ù, who smirks and whispers          in Ramona's ear. This is GIDEON GRAVES, 37, ASSHOLE.                         SCOTT          That's Gideon?          Scott's eyes reflect Ramona's hair and turn GREEN. He          struggles to his feet. The crowd slowly stops clapping as          Scott pulls Stills to his feet, then helps Kim up.                         SCOTT          Alright. Let's do this!          Kim, inspired by Scott's new hardcore attitude, comes in          heavy on the kick drum. BOOM-BOOM-BOOM-BOOM!          Heads nod in time as Sex Bob-Omb ROCK OUT! Their waveforms          transform a mass of snow into a GREEN EYED YETI!          The Katayanagis fight back with their future sounds and their          Sonic Dragon stalks towards Sex Bob-Omb, slinking on perfect          beat with the Katayanagis' spooky music.          The Yeti and the Dragons CLASH at center stage, fighting in          time to the music!          Scott and Stills bring their pick hands down like fierce          PUNCHES. The Yeti brings it's fists down on The Dragon. Sex          Bob-Omb HAMMER DOWN THE FINAL NOTE:                         (CONTINUED)                                                                                                               INTEGRATED FINAL 98.                         85 CONTINUED: (4) 85          The Yeti picks up The Dragon and THROWS it at the Katayanagi          Twins, EXPLODING them and their amps into COINS.          'ú+999 ROCKING'ù                         KIM PINE          That...was epic.          The crowd goes bazooky. A DISEMBODIED SCOTT HEAD appears,          hovering next to Scott.          Scott looks for Ramona in the crowd, but she and Gideon are          gone. Scott hands his bass to Young Neil.                         STEPHEN STILLS          Scott. What are you doing?                         SCOTT          Getting a life.          Scott swipes the SCOTT HEAD and jumps into the still-          applauding crowd. He can't find Ramona, but comes upon KNIVES          standing alone in her homemade Sex Bob-Omb T-shirt.                         KNIVES CHAU          I just came to see the show. I'm          not even stalking you.          Knives's unusally composed demeanor gives Scott pause.                         SCOTT          You seem... different.          Knives shrugs, different.                         KNIVES CHAU          I feel like I know stuff now.          Scott and Knives lock eyes. Scott suddenly spots a flash of          GREEN HAIR exiting the building.                         SCOTT          Ramona...          Scott follows. Knives watches him go, eyes narrowing.          86 EXT. THE NINTH CIRCLE - NIGHT 86          Scott chases Ramona down the street outside the venue.                         SCOTT          Ramona. I have something I need to          tell you.                         RAMONA          Yeah, I have something to-                         (CONTINUED)                                                                                                               INTEGRATED FINAL 98A.                         86 CONTINUED: 86                         SCOTT                         (RUSHED)          Great. Listen, I know you just play          mysterious and aloof to avoid          getting hurt. I know you have          reasons for not wanting to talk          about your past. And I want you to          know, I don't care about any of          that stuff. Why? Because I'm in          lesbians with you.                         RAMONA          What?                         SCOTT          I really, really mean it.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 99.                         86 CONTINUED: (2) 86                          RAMONA           Oh. Okay.                          SCOTT          What did you want to tell me?                         RAMONA          That we have to break up.                         SCOTT          What?                         RAMONA          Yeah...it's not going to work out.                         SCOTT          Oh okay...          A sleek black 'ò61 Lincoln Continental pulls up behind.                         RAMONA          It's Gideon. I just...I can't help          myself around him.          VOICE (O.S.)          That's the bad news.          GIDEON GRAVES appears behind Scott with Stills and Kim in          tow. The Lincoln parks. A driver opens the passenger door.                         GIDEON GRAVES          The good news, Scottie, is I'm          officially loving the Sex Bombs.                         SCOTT          Bob-omb.                         GIDEON GRAVES          Three piece rock outfit with a semi-          attractive female drummer? Music to          my earholes.          Scott glowers. Ramona looks at the floor. Stills is ga-ga.          TEXT: An arrow points to Stills' crotch, captioned 'úPEE'ù.                         GIDEON GRAVES          You know, I'm not even going to wait          to see how you guys do in the final.          I'm signing you right now for a three          album deal.          Gideon produces a CONTRACT and clicks a pen.                         GIDEON GRAVES          See? I'm not such a bad guy after          all.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 99A.                         86 CONTINUED: (3) 86          Scott GRABS the contract and throws it onto the sidewalk.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 100.                         86 CONTINUED: (4) 86                         SCOTT          You think we're gonna sell our          souls to you? Well then guess-          We hear SCRIBBLING. Stills has picked up the contract and is          furiously signing it using Scott's back. Kim shrugs and signs          it too, before trying to hand it back to Scott.                         SCOTT          Nuh-uh. I can't be part of the band          with this douche-in-charge.                         GIDEON GRAVES          Scottie, buddy, can I just say,          keep your emotions in check. Don't          let what's past screw up your          future.          Scott watches Ramona get into the Continental. She rolls the          mirrored window up so Scott stares at his own reflection.                         STEPHEN STILLS          The people need to hear us, Scott.                         SCOTT          Then you're going to need to find          someone else to play bass.          A cough. A meek Young Neil slides into view, bass in hand.                         GIDEON          Looks like we're all set.          Young Neil signs the contract. There are hand shakes all          round. Gideon turns to Scott and pats him on the shoulder.                         GIDEON          Oh and Scott, we should really be          thanking each other. I mean, if it          wasn't for me, you would have never          been with Ramona, but if it wasn't          for you, she wouldn't be back with          me. So I guess it all shakes out.          Gideon walks around to the driver side of the Lincoln.                         GIDEON          And hey, the whole League of Evil          Exes thing? I was in a dark place          when I put that together. Forgiven?          Gideon disappears into the Lincoln and drives off and Sex          Bob-Omb drift away. Scott stands alone. He slaps his head-                         SCOTT          I said 'òlesbians'!                                                                                                               INTEGRATED FINAL 100A.          87 INT. THE BUS / GIDEON'S LINCOLN - NIGHT 87          Scott sits on the bus alone, thinking about Ramona...          Ramona sits expressionless in the back of Gideon's car...          Scott tries desperately to think positive...          A smiling Gideon sidles closer to Ramona...                         (CONTINUED)                                                                                                               INTEGRATED FINAL 101.                         87 CONTINUED: 87          Scott walks forlornly down an empty street and bumps his head          on a telephone pole. 'úTHONK'ù.          'úOH GOD WHY'ù          A88 EXT. THE PARK - NIGHT / DAY / NIGHT A88          Scott sits on the swings, staring straight ahead.          Night turns to day. Day turns to night.          Scott remains in the exact same position.          STACEY (O.S.)          Was she really the one?          Scott looks over to see STACEY on the swing next to him.                         SCOTT          The wha?                         STACEY          I mean, did you really see a future          with this girl?                         SCOTT          Like...with jetpacks?          Stacey stands to go, gives Scott a hug.                         STACEY          Time heals all wounds, little          brother. Maybe next time let's not          date the girl with eleven evil ex-          boyfriends.                         SCOTT          Seven.                         STACEY          Oh. Well that's not so bad.          Stacey heads off. Scott looks at the camera.          88 INT. WALLACE'S APARTMENT - NIGHT 88          Scott enters. Flicks the light on. Gets a shock.                         SCOTT          Aaah!          WALLACE (O.S.)          TURN OFF THE LIGHT!          Scott flicks the light off. Over PITCH BLACK...                         (CONTINUED)                                                                                                               INTEGRATED FINAL 102.                         88 CONTINUED: 88          WALLACE (O.S)          Presumably you just saw someone's          junk, and I apologize for that.          VOICE (O.S.)          Sorry.          SCOTT (O.S.)          Was that Other Scott or Jimmy or          someone?           WALLACE (O.S.)           Or someone.           VOICE (O.S.)           It's Chris.           WALLACE (O.S.)           It's Chris.          89 INT. WALLACE'S APARTMENT - LATER 89          Scott sits in the chair, wrapped in a blanket. SOME GUY lies          in Scott's usual futon spot (wearing Wallace's monogrammed          robe). Wallace hands Scott cocoa.                         WALLACE          Scott, you know I love you. But I          need my own bed tonight. For sex.                         SCOTT          Right.                         WALLACE          I may need it the rest of the week too.                         SCOTT          Right.          And the year.                         SCOTT          I get it.                         WALLACE          Maybe you can move in with Ramona.          Scott stares deep into his cocoa and shakes his head.                         SCOTT          She's with Gideon.                         WALLACE          Ah. That sucks. But you know, it's          probably just because he's better          than you.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 102A.                         89 CONTINUED: 89           Scott nods.                          WALLACE          He'll certainly have better hair.          Scott nods.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 103.                         89 CONTINUED: (2) 89                         WALLACE          Either way, I think this fight is over.          Scott nods.                         WALLACE          You can sleep on the floor until          you get somewhere else to stay. I          got you muffs and blinkers in case          this might happen.          Wallace produces earmuffs and a sleep mask.                         SCOTT          Thanks.          RINGY RING. Scott stares at the phone. Some guy picks up.                         SOME GUY          It's for Scott.                         SCOTT                         (TAKES PHONE)          Hello?          GIDEON GRAVES (O.S.)          Hey, pal. Just wanted to say I feel          terrible about earlier. I don't          want any hard feelings, so I          figured why not be the bigger man          and give you a call.                         SCOTT          Is Ramona with you?          90 INT. GIDEON'S LAIR - CONTINUOUS 90          Gideon appears to sit on some kind of throne. He calls off.                         GIDEON GRAVES          I don't know. Are you with me?          RAMONA (O.S.)          Yeah.          SCOTT (O.S.)          AAAAAAAAAAAAAAAAAAAAAAAAHHH!!!                         GIDEON GRAVES          Geez buddy, it's gonna be alright.          91 INT. WALLACE'S APARTMENT - CONTINUOUS 91                         SCOTT          No, I just spilled cocoa on my crotch.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 104.                         91 CONTINUED: 91          GIDEON GRAVES (O.S)          Sure you did. Well as you know, I'm          opening a new Chaos Theatre in          Toronto and The Sex Bobs are          playing our grand opening tonight,          and it would feel really weird for          all of us if you weren't there.          They just did a sound check and the          acoustics in here are amazing.                         SCOTT                         (GRIM)          Yeah. Maybe I'll see you there.          GIDEON GRAVES (O.S.)          I hope so, amigo. I don't want          anymore bad blood between ex's.          What do you say?                         SCOTT          Mm.                         GIDEON GRAVES          Okay laters.          Click.          WALLACE (O.S.)          What a perfect asshole.          Scott turns, alarmed. REVEAL Wallace on the other cordless.                         WALLACE          Forget what I said earlier. Finish him.          92 EXT. STREETS OF TORONTO - NIGHT 92          Snow blows around a steely eyed Scott as he stomps towards a          group of desolate WAREHOUSES near the water. A lone HIPSTER          KID smokes a cigarette, leaning against a warehouse wall.                         HIPSTER KID          Password?          Scott shrugs.                         SCOTT          Whatever.                         HIPSTER KID          Cool.          The Hipster Kid waves Scott in.                                                                                                               INTEGRATED FINAL 104A.          93 INT. WAREHOUSE - NIGHT 93          The warehouse is empty. Scott follows the sound of music to a          GATED ELEVATOR. Two Hipster Kids guard the elevator.                         HIPSTER KID          Second password?          Scott gives the slightest shrug.                         HIPSTER KID          Cool.          Scott steps into the elevator. So far so good.                                                                                                               INTEGRATED FINAL 105.          94 INT. CHAOS THEATRE - CONTINUOUS 94          Scott exits the elevator and steps into GIDEON'S UNDERGROUND          LAIR OF COOL SHIT...the CHAOS THEATRE.          All HIPSTER KIDS have gathered in one spot of ultimate          snobbery. They are legion, wearing identical outfits; Chuck          Taylors, skinny jeans. COMEAU holds court among them.                         COMEAU          Yeah, their first album is so much          better than their first album.          Scott pushes through the idiot hordes. SEX BOB-OMB are          playing onstage, now using SWEET BRAND amps, YOUNG NEIL on          bass. Stills sees Scott walking by as they finish a song.                         STEPHEN STILLS          Scott!          Scott pauses, looking up at his former bandmates.          STEPHEN STILLS (CONT'D)          Let it go. Don't give him the          satisfaction.                         SCOTT          What if I want the satisfaction?                         STEPHEN STILLS          Well, then you're doomed.          GIDEON GRAVES (O.S.)          Scott Pilgrim!          Scott turns to see GIDEON sitting on a throne of cool atop a          BLACK VELVET VIP PYRAMID. Ramona kneels at his side.                         GIDEON GRAVES          Hey buddy, welcome to the Chaos          Theatre. Somebody get this man a          drink! Coke Zero right?          A COCKTAIL WAITRESS with a fringe appears with a Coke Zero.          Scott takes the beverage and THROWS THE CUP TO THE FLOOR!                         SCOTT          I'm not here to drink.                         GIDEON GRAVES          I got no beef with you.                         SCOTT          What if I have a beef...with you?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 106.                         94 CONTINUED: 94                         GIDEON GRAVES          Are you still mad about that whole          thing with the Guild?                         SCOTT          You mean 'úThe League'ù?                         GIDEON          Guild, League, whatever. It's          ancient history.          Gideon puts his arm around Ramona.                         SCOTT          I'll show you how ancient of          history it is.          Scott gets into a fighting stance. Gideon loses his cool.                         GIDEON GRAVES          No use crying over spilt Coke,          buddy. The lady made her choice and          we're all gonna have to move on.                         SCOTT          Well I ain't moving...buddy.                         GIDEON GRAVES          You want to fight me for her?                         SCOTT          Was that not clear?          (to Sex Bob-Omb)          Was that not clear?          Sex Bob-Omb shake their heads. Gideon stands up, flexes.                         GIDEON GRAVES          Now why on earth do you want to do that?                         SCOTT          Because, I'm in love with her.          Ramona and Scott lock eyes. A new power comes over Scott. He          reaches for the HEART DESIGN printed on his ratty vintage T-          shirt and pulls a FLAMING BLUE SWORD from his own chest.          NARRATOR (V.O.)          Scott earned the power of love...          Ramona looks away from Scott. Gideon smiles.                         GIDEON GRAVES          I think this deserves a song.          Kimberly?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 107.                         94 CONTINUED: (2) 94          Kim scratches her head with her middle finger before          grudgingly launching into a number.                         KIM PINE          We are Sex Bob-Omb, we are here to          make money, and sell out and stuff.          Kim clicks out a fast tempo. Sex Bob-Omb begin to ROCK OUT.          A HORDE OF HIPSTER INDIE KIDS ATTACK SCOTT PILGRIM, ON BEAT.          Scott swings at them with his FLAMING BLUE SWORD. He slashes          at them to the beat, exploding each attacker into COINS.          Scott then RUNS up the side of the pyramid towards Gideon.                         GIDEON GRAVES          Ramona. My cane.          Ramona hands Gideon a cane with G-MAN engraved on the handle.          He unsheathes a SWORD that could not have fit in there.          Scott and Gideon LEAP towards each other...Gideon descends          like a vulture and SMASHES the sword out of Scott's hands.          Scott hits the ground HARD, rolling to a stop.                         SCOTT          Your club sucks, by the way.          Gideon approaches, to administer a final blow.                         GIDEON          If my cathedral of cutting edge          taste holds no interest for your          tragically Canadian sensibilities,          then I shall grant you a swift exit          from the premises. And fast          entrance into HELLLLLLL.          Gideon raises his sword. Then from above...          KNIVES CHAU (O.S.)          SCOOOOOOOOOTT!!!          KNIVES CHAU sails into frame and KICKS the sword out of          Gideon's hands. She lands awkwardly, tripping and falling          down the side of the pyramid. Gideon chuckles.                         GIDEON GRAVES          That is priceless.          Scott looks to Knives, both concerned and amazed. She quickly          recovers and POINTS a furious finger.          'úKNIVES CHAU, 18 YEARS OLD, FUN FACT: SCOTTAHOLIC'ù                         (CONTINUED)                                                                                                               INTEGRATED FINAL 108.                         94 CONTINUED: (3) 94                         KNIVES CHAU          You'll pay for what you did to him!                         GIDEON GRAVES          Listen, Kung Pao Chicken, your old          old boyfriend brought this all on          himself. He was warned plenty of          times. But did he listen? Did he f-                         KNIVES CHAU          I'm not talking to you. I'm talking          to HER!          Angle on a confused RAMONA standing behind Gideon.                         RAMONA          What?                         KNIVES CHAU          YOU BROKE THE HEART THAT BROKE          MINE! GET READY TO CHAU DOWN!          Knives leaps up the pyramid toward a shocked Ramona!                         RAMONA          You're kidding right?          Knives pulls out KNIVES and charges! Ramona fights          defensively, redirecting Knives' parries without harming her.                         GIDEON          You can't say I don't know how to          put on a show.          GIDEON lashes out at Scott. He can barely block Gideon's          tremendous blows, distracted by his duelling exes.                         RAMONA          What the hell is your deal?                         KNIVES CHAU          You stole him with your advanced          American slut technology.          DUAL DUEL! The fighters weave in and out of each other,          throwing blocks and punches, KUNG FU STYLE.                         RAMONA          I don't know what you're talking          about, I didn't steal anyone.          Scott lands a KICK to Gideon's chest, sending him flying off          the edge of the pyramid. He then BLOCKS a punch from Knives          to Ramona and spins her away, separating them.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 109.                         94 CONTINUED: (4) 94                         SCOTT          Can we please stop all this          fighting! Nobody stole anybody.          Knives, I dated you and then I          dated Ramona. Okay?                         (BEAT)          I mean...maybe I kind of forgot to          tell Knives right away, but...                         KNIVES CHAU          Then you cheated on me, Scott!                         (EYES NARROWING)          You cheated on both of us.          Knives and Ramona both look at Scott, neither amused.                         RAMONA          You cheated on me with Knives?                         SCOTT          No! I cheated on Knives. With you.                         RAMONA          Is there a difference?                         SCOTT          You weren't wronged?          Scott breaks into a flop sweat.                         SCOTT          Right?          Knives and Ramona stare at Scott.          GIDEON (O.S.)          Game over!          STAB! A sword pierces Scott's chest from behind.                         GIDEON GRAVES          Scottie. You can cheat on these          ladies all you want, but you          can't...cheat...death.          Scott slides off Gideon's sword and falls to the ground...          TEXT WITH ARROW POINTING TO SCOTT: 'úDEAD'ù          Everything goes white...SAND blows through frame...Scott's          eyes blink open. He looks up into a BLINDING BLUE SKY...          95 EXT. THE DREAM DESERT - DAY 95          Scott sits up next to a lone cactus, rubbing his temples.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 109A.                         95 CONTINUED: 95                          SCOTT           Ugh.          Ramona appears out of nowhere; fainter than before.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 110.                         95 CONTINUED: (2) 95                         RAMONA          I'm sorry. Dying probably sucks.                         SCOTT          You know what sucks? Getting killed          by THAT guy. Why him?                         RAMONA          It's complicated.                         SCOTT          Well, maybe now would be the time          to get into it. Seeing as I'm about          to die.                         RAMONA          Alright... the truth is, it was me          who was obsessed. I was crazy about          him. But he ignored me. I was more          alone when we were together than I          ever was on my own. That's why I          had to leave... and that's when he          started paying attention.                         SCOTT          So why go back?                         RAMONA          I can't help myself around him,          Scott. He just... has a way of          getting into my head.                         SCOTT          Well, that's legitimately          disappointing. I really will leave          you alone forever now...                         RAMONA          No. I mean, he literally has a way          of getting into my head.          Ramona lifts her hair up on the back of her head, revealing a          blinking CHIP implanted on her skull.                         SCOTT          That is evil.                         RAMONA          He's like that.          Ramona covers the chip, self-consciously touching her hair.                         SCOTT          So this kinda sucks for everybody, eh?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 111.                         95 CONTINUED: (3) 95                         RAMONA          I'm sorry it had to end this way.          We had a good run, I guess.                         SCOTT          You can't say I didn't try. I          really fought for you back there.                         RAMONA          Uh-huh.          The winds blow harder, Ramona seeming to fade away.                         RAMONA          But someone was fighting pretty          hard for you back there.          Scott's eyes go wide with epiphany,                         SCOTT          Knives?                         RAMONA          I wish I was ever as fanatically          devoted to anything as that girl is          to you.          Ramona slowly dissolve away in the sand.                         SCOTT          I feel like I learned something. Which          would be great if I wasn't dead.          Ramona is gone. Scott slumps to his knees.                         SCOTT          So...so alone.          DA-DING. The PILGRIM-HEAD appears and rotates around Scott.                         SCOTT          Ahhhhhh...          We FLASH BACK to Scott swiping the PILGRIM HEAD, then FAST          FORWARD through the breakup with Ramona and Sex Bob-Omb. We          hear Scott screaming throughout this magical restart.                         SCOTT          ...AAAAAAAAAAAAAAAAAA...          96 INT. WALLACE'S APARTMENT - NIGHT 96          We FAST FORWARD all the way to Wallace's apartment, as Scott          enters. He flicks the light on.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 112.                         96 CONTINUED: 96                         SCOTT          ...AAAAAAAAAHHH! I CAN'T BELIEVE I          HAD TO SEE THAT AGAIN!          SOME GUY (O.S.)          Again?          WALLACE (O.S.)          Turn off the light!          Scott flicks the light off. On PITCH BLACK...                         SCOTT          Wallace, when my journey began, I          was living in an ordinary world.          Ramona skated through my dreams and          it was like a call to adventure, a          call I considered refusing. But my          Mentor, that's you, told me if I          want something bad enough I have to          fight for it. So I did. There were          tests, allies, enemies. I          approached a deep cave and went          through a crazy ordeal, during          which I totally seized the sword.          Sadly, I died. Then I resurrected!          Now I realize what I should have          been fighting for all along. But          before I do that, I need to ask one          final favor of you.          WALLACE (O.S.)          Sure thing, guy.                         SCOTT          Could you put a robe on and hand me          the phone?          Wallace flicks on a bedside lamp, hands him the phone.                         SCOTT          Toronto. Chaos Theatre. Gideon          Graves.                         (BEAT)          Tell him Scott Pilgrim is calling.          GIDEON GRAVES (O.S.)          Scott. I was just about to-                         SCOTT          Hey, pal. I feel terrible about          everything. I don't want any hard          feelings, so I figure why not be          the bigger man and give you a call.          GIDEON GRAVES (O.S.)          Um...                         (CONTINUED)                                                                                                               INTEGRATED FINAL 112A.                         96 CONTINUED: (2) 96                         SCOTT          Sorry, what I meant to say is 'úI'm          coming over to kill you'ù.          Scott hangs up and heads for the door, hardcore.                         WALLACE          GO KICK THAT GUY'S ASS!          Wallace stands to high five Scott, exposing his junk.          WALLACE (CONT'D)          Ah, sorry.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 113.                         96 CONTINUED: (3) 96                         SCOTT          You seen one...          97 EXT. STREETS OF TORONTO - DAY 97          Scott Pilgrim RUNS towards the desolate WAREHOUSES. The same          HIPSTER KID smokes a cigarette against the wall.                         SCOTT          Your hair looks stupid.          The Hipster Kid EXPLODES into COINS.          98 INT. WAREHOUSE - DAY 98          Scott approaches the two Hipster Kids guarding the ELEVATOR.                         HIPSTER KID          'òSup?                         SCOTT          Whatever.          Scott SPLIT KICKS them in the faces, knocking them out.          99 INT. CHAOS THEATRE - CONTINUOUS 99          DING! Scott exits the elevator and steps into GIDEON'S          UNDERGROUND LAIR OF COOL SHIT: THE CHAOS THEATRE...AGAIN.                         COMEAU          Yeah, their first album is so-          Scott KNOCKS DOWN Comeau and looks to Sex Bob-Omb.                         STEPHEN STILLS          Scott! Let it go.                         SCOTT          Don't worry. I know what I'm doing.          Stephen, the new line-up rocks. You          guys sound better without me. Young          Neil? You have learned well. From          this point forward, you shall be          known as 'úNeil'ù. And Kim?          Kim looks at Scott, deadpan as ever.          SCOTT (CONT'D)          Sorry about...everything.          Kim shrugs.          SCOTT (CONT'D)          Sorry about me.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 113A.                         99 CONTINUED: 99          Kim SMILES at Scott for the first time ever.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 114.                         99 CONTINUED: (2) 99          GIDEON GRAVES (O.S.)          Scott Pilgrim!          Scott turns to GIDEON on his throne, Ramona at his side.          GIDEON GRAVES (CONT'D)          Hey buddy, welcome to the Chaos-                         SCOTT          Save it. You're pretentious, the club          sucks, I have beef, let's do it.          Scott goes straight into fight mode.                         GIDEON GRAVES          You want to fight me for her?          Ramona and Scott lock eyes. A strange new power overcomes          Scott, different than before.                         SCOTT          No...I want to fight you for me.          Scott reaches for the HEART DESIGN printed on his ratty T-          shirt and pulls a FLAMING RED SWORD from his own chest.          NARRATOR (V.O.)          Scott earned the power of self-respect.                         SCOTT          Kim?                         KIM PINE          WE ARE SEX BOB-OMB, AND WE ARE HERE TO          WATCH SCOTT PILGRIM KICK YOUR TEETH          IN!          Kim drives a hardcore beat. Sex Bob-Omb ROCK THE FUCK OUT.          HIPSTERS ATTACK SCOTT PILGRIM to the BEAT. Scott swings his          FLAMING RED SWORD, exploding each attacker into COINS.                         GIDEON GRAVES          Ramona. My cane.          Ramona hands Gideon his cane. He unsheathes his SWORD. Scott          and Gideon RUN towards each other, LEAPING in the air. They          pass in the air and Scott SLASHES. They land on opposite          sides of the platform, backs to each other.                         SCOTT          How's it going back there?                         GIDEON GRAVES          You dick.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 114A.                         99 CONTINUED: (3) 99          Gideon falls down. Dead, apparently. Scott calls out.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 115.                         99 CONTINUED: (4) 99                         SCOTT          Knives! I know you're in here!          Don't attack Ra-          Knives SAILS through the air and KICKS Ramona in the head          SUPER HARD. We hear a METALLIC KLONK.          They square off, Ramona staggered, Knives pulling KNIVES.                         KNIVES CHAU          Steal my boyfriend, taste my steel.          Scott jumps between them, hands held out.          SCOTT (CONT'D)          ENOUGH!          Knives tries to go around him. Scott GRABS her wrists. She          kicks him in the face.                         KNIVES CHAU          No, Scott! This fat ass hurt me and          I will have my revenge!                         SCOTT          No, Knives. I hurt you. I cheated          on you.          Knives steps back, stunned.                         KNIVES CHAU          You cheated on me Scott?                         SCOTT          I cheated on both of you. And I'm          sorry. I was a different guy back          then.          Knives' frown melts. Scott turns to Ramona.                         SCOTT (CONT'D)          And...you're not a fat ass. She didn't          mean that. So, are we all good?          Ramona rubs the back of her head. The CHIP no longer blinks.                         RAMONA          Never felt better.          GIDEON GRAVES (O.S.)          Are we all done with the hugging          and learning? I thought we had a          fight going here.          All turn to see GIDEON; bloodied, but still grinning, a          lopsided slash across his face accentuating his smirk.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 115A.                         99 CONTINUED: (5) 99                         SCOTT          Oh, you got a fight alright.          Scott steps into a fighting stance. Knives joins him.                         GIDEON          Ramona. Are you with me?          Ramona looks to Gideon, then joins Scott and Knives and          STRIKES A FIGHT POSE, the three of them ready to rumble.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 116.                         99 CONTINUED: (6) 99          GIDEON (CONT'D)          Wrong move, baby.          Scott ATTACKS with his sword. Gideon BLOCKS, disarms Scott          with one move, spins and BUTTS Scott in the face with the          hilt of the sword. Scott teeters on the edge of the pyramid.          Knives throws her knives. Gideon's lightning fast sword          deflects them, SHING SHING!          Gideon wheels towards Ramona, expecting her to move. She          looks doubtful, takes a hesitant step towards him. He grins.          GIDEON (CONT'D)          Yeah. You're still my girl.          Ramona steps up to Gideon and whispers in his ear.                         RAMONA          Let's both be girls.          Ramona knees Gideon in the balls.          Gideon SWINGS his sword at Ramona. Knives whips off her          scarf, uses it to wrap up Gideon's sword arm and disarms him.          Scott and Knives punch Gideon in the face in a volley of          FREEZE FRAMES.          Knives KICKS Gideon in the stomach and Scott follows with a          PUNCH IN THE NOSE, sending Gideon sliding across the floor.          Gideon gets back to his feet via backflip. He shakes off the          assault and grins.                         GIDEON          You made me swallow me gum. That's          going to be in my digestive tract          for seven years!          Gideon throws a series of Wushu moves that give him a POWER          UP - his glasses glow, his HEALTH BAR increases. He makes an          'úX'ù with his fingers and a draws a NEW POWER UP SWORD.          He cuts big arcs at Scott, Knives and Ramona. They barely          dodge him. Scott SPIES his sword and picks it up just in time          to BLOCK Gideon's attack. The swords create an 'úX'ù.          Ramona KICKS. Gideon BLOCKS, knocking her down.          Gideon swings at Scott. Scott ducks. Knives attacks and          scores a hit. Gideon hits her back, dropping her.          SCOTT ATTACKS. They fence. Gideon spins low. Scott leaps in          the air. Gideon spins again and swings upward. Scott blocks          with his sword and is sent UP into the air. Gideon jumps          after him. They CLASH in the air. Scott's sword SHATTERS.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 116A.                         99 CONTINUED: (7) 99          Scott lands hard. Gideon lands in front of him and raises his          sword for the kill. Ramona swings Gideon's VELVET ROPE,          cancelling out Gideon's digital sword.          Gideon SLAPS Ramona in the face and sends her painfully          tumbling down the pyramid. She lands painfully at the bottom.          Knives and Scott share a look. They Get up and circle Gideon.          COMBO ATTACK! FREEZE FRAME PUNCHES: Knives kicks and Scott          punches, sending Gideon back and forth like a pinball: KICK          PUNCH KICK PUNCH KICK! Gideon's face smashes with each          impact.          Ramona rises to see Scott and Knives kicking ass.          Scott slides Knives through Gideon's legs. From the floor,          she kicks him in the back of the head, then upends him like a          wheelbarrow and KICKS HIM IN THE FACE, sending him spinning.          Gideon lands HARD on his knees, defeated. One lens of his          glasses cracks. He looks up at the steely eyed Scott.          GIDEON (CONT'D)          Who do you think you are Pilgrim?          You think you're better than me?          I'll tell you what you are. A pain          in my ass. You know how long it          took to get all the evil exes'          contact information so I could form          this stupid league? Like two hours!          Gideon starts to pixellate quite badly. Not long now...          GIDEON (CONT'D)          You're not cool enough for Ramona.          You're zero. You're nothing. Me?          I'm what's hip. I'm what's          happening. I'm blowing up right          now.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 117.                         99 CONTINUED: (8) 99                         SCOTT          You're right. I'm not cool enough          for Ramona. And you got another          thing right. You are blowing up.          Right now.          Scott spins and BACK HEELS Gideon in the face.          Gideon's head EXPLODES, his glasses SAILING down the steps of          the pyramid. Then his body follows suit in an almighty-          POOOOOOOOOOOOM!!!          SHIMMERING COINS rain down. Scott and Knives kiss.                         YOUNG NEIL          Whoa...                         KIM PINE          There goes our deal.                         STEPHEN STILLS          We're still getting paid, right?          Kim points to the falling coins.                         KIM PINE          There goes our deal.                         YOUNG NEIL          Oh...          Stills jumps off stage and picks up coins.          The coin rain continues, silhouetting Scott and Knives in          their kung fu poses. They share a smile.          RAMONA (O.S.)          You two make a good combo.          Ramona, awake now, makes her way towards them.                         SCOTT          Yeah?                         RAMONA          Yeah.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 118.                         99 CONTINUED: (9) 99          The trio walk down the pyramid steps. Scott picks up Gideon's          fallen glasses.          The glasses GLIMMER. GIDEON'S VOICE echoes.          GIDEON'S VOICE (O.S.)          You can defeat me...but can you          defeat...yourself?          Scott peers into the glimmering lenses, spotting his EVIL          MIRROR IMAGE staring back at him. The glasses dissolve and          Scott whips around to face...                         KNIVES CHAU          Negascott!          NEGASCOTT walks towards Scott, Knives and Ramona. Fringed          hair. Dark clothes. Evil face.          Knives and Ramona flank Scott in a fighting stance.                         SCOTT          No. This is something I have to          face on my own.          The girls reluctantly exit stage left as Scott walks forward          to confront his dark side.          Scott and Negascott face off. Both take a step forward...          100-103 OMITTED 100-103          104 EXT. THE WAREHOUSE - EVENING 104          Knives and Ramona huddle in the snow outside Chaos Theatre.          They look expectantly at the entrance, worried for Scott.          Then...          Scott strolls out with Negascott. They chat amiably, shake          hands and part ways. Scott approaches Knives and Ramona.                         KNIVES CHAU          What happened?                         SCOTT          Aw, nothing. We just shot the shit.          He's a super-nice guy. We actually          have a lot in common.          Scott runs his fingers through his hair.                         KNIVES CHAU          Your hair.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 118A.                         104 CONTINUED: 104                          SCOTT           What?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 119.                         104 CONTINUED: (2) 104                         KNIVES CHAU          It's getting really shaggy.          Scott's HAT appears on his head! He looks totally freked.                         SCOTT          Yeah?                         KNIVES CHAU          I like it.          Knives removes the hat from Scott's head, literally taking          his guard down. Ramona sees this and smiles.                         SCOTT          You do?          Scott smiles, then realizes Ramona has gone. He turns to see          her, pulling her hood up and walking into the darkness.          Scott calls after her. Steps tentatively away from Knives.                         SCOTT          Hey... Where are you going?          Ramona, hoping to slip away, stops and turns back.                         RAMONA          I dunno. I should probably          disappear.                         SCOTT          After all that?                         RAMONA          It's hard, you know? I came here to          get away, but the past keeps          catching up. I'm tired of people          getting hurt because of me.          Ramona looks at Knives as she says this.                         SCOTT          I think I understand.          Snow begins to fall. Ramona straightens his parka tenderly.                         RAMONA          I should tahnk you, though.                         SCOTT          For what?                         RAMONA          For being the nicest guy I ever          dated.                         (CONTINUED)                                                                                                               INTEGRATED FINAL 119A.                         104 CONTINUED: (3) 104                         SCOTT          That's kind of sad.                         RAMONA                         (ALMOST LAUGHING)          It is kind of sad.          She takes his hand briefly, then lets it drop.                         RAMONA          Well... Bye and stuff.                         SCOTT          Yeah. And stuff.          She turns to walk off again. Scott watches, then hears-          KNIVES (O.S.)          Go get her.          Surprised, Scott turns back to see a smiling Knives.                         SCOTT          Wha?                         KNIVES          You earned it. You've been fighting          for her all along.                         SCOTT          But what about you?                         KNIVES          (totally sweet and sad)          I'll be fine. I'm too cool for you          anyway.          She grins and kisses his cheek.                         KNIVES          There's someone out there for me.          We hear a COUGH - Young Neil sidles into frame behind her.          Guitar still in hand.          We hear a 2ND COUGH - Nega Scott also sidles into frame.          Knives doesn't look back, but urges Scott to-                         KNIVES          Go talk to her. Before she's gone.          Ramona walks on into the night alone, but then-          SCOTT (O.S.)          Hey... mind if I tag along?                         (CONTINUED)                                                                                                               INTEGRATED FINAL 119B.                         104 CONTINUED: (4) 104          Ramona is flabbergasted to see a cheery Scott walk alongside.                         RAMONA          You want to come with me?                         SCOTT                         (HOPEFUL)          I thought maybe we could... try          again?          Ramona smiles. She holds out her hand like in the park scene          earlier. Scott takes it.          We see the door with the star on it, standing right in the          middle of the street, snow swirling around it.          Scott and Ramona walk towards the door, sunrise coming up          over Toronto, night magically turning to day, winter turning          to spring.          Over this magical transformation, we hear a lush rendition of          'òRamona' swelling and hear whispers of gossip over Toronto's          cell phone airwaves.          JULIE (V.O.)          Oh my God, can I blow your mind?          Scott Pilgrim totally threw down          with Gideon Graves at the grand          opening of Chaos Theater. Yeah, it          was apparently awesome.          STACEY (V.O.)          Oh my God, it was a HUGE fight. I          mean bananas. My little brother          kicked a guy's head off. Literally.          It was unbelievable. Someone          seriously should have been filming          it.          Scott and Ramona walk through the door. Tilt up to the          heavens and reveal the CONTINUE graphic in the stars.          CONTINUE? 10...9...8...7...6...5...4...3...2...1...
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+      Scream 2      Screenplay by         Kevin Williamson                                                          FADE IN:         EXT. MOVIE THEATRE - NIGHT      An old preserved movie theatre. The kind only found in   a small town. Very picturesque. The marquee in front   reads:      "SNEAK PREVIEW TONIGHT   'STAB'   Rated R"      A line has formed around the block, GUYS and GIRLS -   mostly college age.      CLOSE on a girl, MAUREEN, no more than 18. A friendly   face with innocent eyes. She stands in line with her   boyfriend PHIL, same age. A handsome counterpart.                          MAUREEN             I hate scary movies.                          PHIL             It'll be okay, baby, I'll hold your             hand.                          MAUREEN             If we hurry, we can still catch the             Sandra Bullock movie.                          PHIL             We got free tickets.      He pulls her close, snuggling with her.         EXT. BOX OFFICE      Maureen and Phil reach the box office, presenting their   tickets.      They pass through the front doors where an USHER stands   randomly handing out GHOST MASKS. A Hollywood variation   of a most familiar one. Phil takes one.                          MAUREEN             What's that?                          USHER             The studio sent them.         INT. THEATRE - A MINUTE LATER      The small theatre is nearly packed to capacity. Maureen   and Phil enter, moving down the aisle searching for two   seats. A YOUNG GIRL SCREAMS, whizzing by them as a   GHOST MASKED GUY chases after her. The crowd LAUGHS.   Everyone is having fun.      Maureen and Phil find aisle seats down towards the   screen just as the lights DIM. People FAKE SCREAM in   terror. A very lively crowd.         ON SCREEN      Credits roll as the movie begins. The studio logo   appears followed by...      "A ROBERT RODRIGUEZ FILM"         IN THE THEATRE      Maureen turns to find a GHOST MASK in her face. Phil   has slipped it on.                          MAUREEN             I don't think so.      Phil gets in her face, playing with her. She swats him.                          MAUREEN             Take it off.                          PHIL             But...                          MAUREEN             Now.      He obliges.         ON SCREEN      More credits.      "BASED ON THE BOOK "THE WOODSBORO MURDERS" BY GALE   WEATHERS"      Maureen looks behind her, toward the rest of the   audience. A sea of white ghost faces fill the theatre.   The publicity masks actually glow in the dark. A   chilling sight that leaves Maureen extremely spooked.         ON SCREEN      The movie begins. A house in the middle of nowhere.   Lights burn from within.      Inside the house, a YOUNG GIRL, Alicia Silverstonish is   taking a shower. The water cascades over her nubile   body. Suddenly, a FIGURE is glimpsed through the   curtain. It's all very PSYCHO.                          MAUREEN             Now why does she have to be naked?             How does that serve the plot?                          PHIL             Sssshhh.         ON SCREEN      The phone RINGS. The young girl pulls the shower   curtain aside to reveal a robe hung on a hook. She   grabs it, running from the bathroom, into the living   room, grabbing the phone.                          GIRL             Hello?      A menacing VOICE responds.                          VOICE             Hello?                          GIRL             Who is this?                          VOICE             You tell me.         IN THE THEATRE      Maureen is not having a good time. She's already   spooked.                          MAUREEN             I hate this shit.                          ON SCREEN             The phone rings again.                          VOICE             Why did you hang up on me?                          GIRL             Who is this?         IN THE THEATRE      Maureen shifts in her seat.                          MAUREEN             Why doesn't she just hang up and             call the police? Stupid..                          PHIL             Shush.                          MAUREEN             I'm gonna pee. You want anything?      He nods. Maureen stands and moves up the aisle.         INT. LOBBY - SECONDS LATER      Maureen emerges from the theatre and into the small   lobby. It is dark and shadowed. She moves down a long   hallway to a staircase. A "BATHROOM" sign with an arrow   points downstairs.      Maureen hits the stairs to...         INT. BASEMENT LOUNGE - SAME      A small lounge leads to two bathroom doors. Very low   lighting. Maureen descends the stairs, heading for   the...         INT. GIRL'S RESTROOM - SAME      A large bathroom. Five stalls line one wall. The door   CREAKS open. Maureen enters and shoots for a stall.         INSIDE THE STALL - MOMENTS LATER      Maureen finishes up, fastening her pants. Suddenly, the   bathroom door CREAKS open. Maureen listens. FOOTSTEPS   are heard. Loud and heavy.      Maureen eyes the crack in the stall door. Not much is   visible. Suddenly, a SHADOW sweeps by. The footsteps   stop.      Maureen finishes up quickly. She flushes, throws the   stall door open and rushes out to find...      THE BATHROOM EMPTY.      The stall doors are all closed. Maureen shoots for the   door. She rips the door open as a FIGURE rushes her...      A YOUNG GIRL followed by her FRIEND, both perky and   loud. They hurl past Maureen, LAUGHING and carrying on.                          GIRL #l             I got so scared my bladder rolled.                          GIRL #2             You chicken shit. It's just a             movie.                          GIRL # l             No, it really happened. It's a true             story.      Maureen is out the door. Now thoroughly spooked.         INT. BASEMENT LOBBY - SAME      Alone, Maureen moves for the stairs when a FIGURE   emerges from the shadows. A GHOST MASKED SHAPE   appearing behind her...      LUNGING FOR HER, grabbing her, spinning her around. She   SCREAMS MADLY as the Ghost starts LAUGHING. The mask   comes off. It's Phil.                          MAUREEN             You ass.                          PHIL             I'm sorry, I'm sorry but I had to.             It was too easy.                          MAUREEN             You are so not funny.      Phil takes her in his arms.                          PHIL             Come on, baby. Lighten up a little,             will ya?                          MAUREEN             I get scared really easy, okay.                          PHIL             You gotta go with it. Scary movies             are great foreplay.      He's sincere. He leans down and plants a kiss on her.   She caves, kissing him back. Sweet and sensual.                          MAUREEN             I just have a hard time with             insipid, sexist violence.                          PHIL                   (nibbling her neck)             We can still Sandra Bullock it.                          MAUREEN                   (nibbling back)             Sandra started without us. We can             stay. He kisses her again, then             breaks away.                          PHIL.             Yeah? Okay. I gotta whizz. Meet me             upstairs?                          MAUREEN             Want some popcorn?                          PHIL             Butter.      Maureen moves up the stairs out of sight. Phil turns,   reaching for the bathroom door just as a...      GHOST MASKED FIGURE appears in his path. Phil steps   back, surprised. Suddenly, a flash of silver shoots   forth as Phil is pierced with a long sharp knife. Quick   and silent. He bellies over just as the Ghost Shape   strikes again. Phil goes down without a scream.                                                  CUT TO:         INT. LOBBY - SECONDS LATER      Maureen is at the concession. A GIRL at the counter   hands her change and Maureen is off with soda and a tub   of popcorn.         INT. DARK THEATER - SECONDS LATER      SCREAMS and GASPS from the audience as the movie plays   on.         ON SCREEN      A patio chair comes flying through a glass door. The   young girl in the movie tears off running, SCREAMING,   flying through the room.         IN THE THEATER      The crowd is really with the movie. Some even talk to   the screen. "You dumb bitch. Get out of the house."   etc.      Maureen makes her way back to her aisle seat. She sits   down next to...         PHIL      Who sits with the mask on. The reflection from the   movie bouncing against it in the darkness.                          MAUREEN             Give it up.      She sits down, with the popcorn.                          MAUREEN             How many stabs did I miss?         ON SCREEN      The young girl slips out a side door, completely   terrified. In her hand, she holds a portable phone.         IN THE THEATER      Maureen offers Phil popcorn.                          MAUREEN             Why doesn't she run?      Phil turns to her, bringing his finger to his masked   lips, SSSHHING her.         ON SCREEN      The young girl runs by a window. She looks in. A GHOST   MASKED KILLER stares back. The Figure CRASHES through   the window attacking her. She fights him off, getting   away, running...         IN THE THEATER      Everyone in the theater is SCREAMING. Maureen tries her   best to detach herself from the movie. She eats her   popcorn.                          MAUREEN             This is so tired.      She turns her attention to Phil.                          MAUREEN             Hey, you... pasty face...      Phil ignores her. She reaches over in the darkness   putting her hand on his knee. She inches it up. The   Ghost-masked Phil just stares ahead.                          MAUREEN             Whatsa the matter? Can't I get your             ghost?         ON SCREEN      The young girl is running through the yard. The Ghost   Killer is right behind her, chasing her... she   SCREAMS...         IN THE THEATER      Maureen pretends to watch the movie while her hand   continues to move between Phil's legs. She stares   ahead, WINCING at what's about to happen to the girl on   screen.      She doesn't notice as Phil pulls a long sharp hunting   knife from inside his coat jacket. Maureen's hand moves   up Phil's jacket... something stops her. She feels   something on her fingers... something wet. She pulls   her hand back, the reflected movie illuminating bloody   fingers.      Maureen stares at her hand...         ON SCREEN      The Ghost advances on the young girl, grabbing her,   pulling her to him, raising high a long, hunting knife.   The young girl is helpless...         IN THE THEATER      Maureen looks at Phil, confused... as if seeing for the   first time... IT'S NOT PHIL. She pulls away when, the   Ghost-masked Figure grabs her with one hand, the other   one clutching the hunting knife.      Maureen sees it, her mouth billowing forth a LOUD   SCREAM that is matched by the entire audience as they   SCREAM at the screen.         ON SCREAM      The young girl is stabbed in the heart.         IN THE THEATER      Maureen is helpless. The knife comes fast and furious,   striking her in the stomach. She falls forward, into   the aisle as...         ON SCREEN      The young girl, clutching her bloody chest... drags   herself, crawling across wet grass... the killer behind   her... raising his knife again.         IN THE THEATER      Popcorn flies as Maureen falls forward, into the aisle,   clutching her bloody stomach. She's speechless, unable   to SCREAM. She holds her bloody hand out for all to   see, begging for help. She stumbles down the aisle.      Someone YELLS "Sit down." Maureen turns to several   PEOPLE who begin to react. She turns behind her to see   the Ghost Face coming at her again... knife raised.         ON SCREEN      The young girl is slashed again.         IN THE THEATER      The knife slices into Maureen again... then again. The   theatre audience is starting to take note as the Ghost   keeps slashing at her repeatedly with the knife. A   horrifying, sickening sight.      Maureen stumbles forward, her bloody body moving down   to the front of the theater. Suddenly, the entire   audience begins...         APPLAUD AND CHEER      Maureen, swaying from side to side, turns to the crowd   and emits a HORRENDOUS BLOOD CURDLING SCREAM as...         ON SCREEN      The young girl lets out an enormous EAR SCREECHING   SCREAM that mirrors Maureen's as the killer attacks one   last time, stabbing her, silencing her forever.         IN THE THEATER      The Ghost slashes out one last time, direct and fierce.   Maureen falls back against the movie screen... very   much dead. Her arms flail across the screen... smearing   blood over the wide screen image of the GHOST MASK.                                                  SMASH CUT                                               TO BLACK         TITLE CARD      "SCREAM 2"                                                  FADE IN:         INT. DORM ROOM - MORNING      A typical college dorm room. Industrial strength   furniture. There's two of everything.      A RINGING phone stirs a YOUNG GIRL in bed, asleep under   a mound of blankets and pillows. The girl starts to   rise as the phone is answered. A VOICE is heard. Brass   and sassy.                          VOICE (O.S.)             Hello... uh-huh... Who is this?             Well, we identify ourselves around             here. No, you can't. Uh-huh...             yeah, right...      The girl rolls out of bed, her hair falls away to   reveal her face - It's SIDNEY PRESCOTT. Two years older   has brought a maturity to this beautiful young woman.   Her face posses a survivor's edge. Stronger and more   determined, she appears to have weathered the storm.                          SIDNEY             I got it.      She stands and moves to...         HALLIE      Her roommate and friend. An attractive young black   woman. Twenty at most. Brazen. Fun. Full of life. She   hands the phone to Sidney.                          HALLIE             Knock yourself out.                          SIDNEY             Hello?                   (silence)             Hello?                          VOICE             Hello Sidney.      A VOICE spits out of the phone. Deep and haunting.   Sidney doesn't flinch.                          SIDNEY             Yes?                          VOICE             What's your favorite scary movie?                          SIDNEY             Who is this?                          VOICE             You tell me.      Sidney grabs a small device hooked to the phone. She   takes a look at its display.                          SIDNEY             Cory Gillis. 442-8730.      Silence.                          SIDNEY (CONT'D)             Hot flash, Cory - prank phone calls             are a criminal offense prosecuted             under penal code 653M...      CLICK! The phone goes dead.                          SIDNEY (CONT'D)             Enjoy the movie.      She hangs the phone up, turning to Hallie.                          HALLIE             Time to change numbers again?                          SIDNEY             Nah... I think it'll die off. It's             opening weekend. Let's see how it             goes.      Sidney grabs her robe and shower bucket as Hallie   channel surfs. Various morning news programs are on   their small TV. Snippets are heard.                          REPORTER                   (from TV)             "... The two victims, Maureen Evans             and Phil Stevens..."      The channel switches. A YOUNG MAN is being interviewed.   Attractive, sullen. Sad.                          YOUNG MAN                   (from TV)             Please, I just wanna be left alone.      His voice stops Sidney cold. She turns to the   television.                          HALLIE             He sure gives a lot of interviews             for someone who wants to be left             alone.      Hallie hits the remote. The man's image disappears as   the TV goes off. Hallie turns, all smiles.                          HALLIE             Get your ass in gear. You're late.             Don't forget we've got rush at the             Deltas tonight. Don't wear anything             you don't want trashed. Sid? Sid?      Sidney turns from the television. Momentarily lost.   Recovery is immediate.                          SIDNEY             I can't believe I let you talk me             into going Greek.      Sid moves to the door and throws it open. A GHOST   FIGURE LEAPS at her. She SCREAMS but then stops   herself.      It's just a costume hung from her doorframe. Preset, to   scare. Another prank. Sidney rips it down, turns to   Hallie, throwing the costume at her.                          SIDNEY             Pumps. Nice handbag. Whaddya think?      Sid is surprisingly cool. She exits out the door,   leaving Hallie staring at the Ghost Mask in her hands.                          CUT TO:                   EXT. DORMITORY - MORNING - LITTLE LATER      Sid steps outside of her dorm. The morning sun shines   down as Sid breathes in, taking in the day just as   FIFTY NEWS REPORTERS NOB HER.                          REPORTER #2             Sidney, did you know the victims?                          REPORTER #1             Do you feel responsible for the             murders?                          SIDNEY             What murders?      Microphones are shoved in her face as Sidney is seiged   upon by journalists and TV cameras. She starts to   panic.                          REPORTER #3             Do you think there will be more             murders?      Sidney is mortified. She pushes and shoves but there is   no escape. The questions come at her like lightning.   She sees a whole in the crowd and goes for it as a   REPORTER, a flashy woman - all hair and teeth, thick   sunglasses, moves in her way.                          FLASHY REPORTER             Did you kill them last night, Sid?             Has it gotten to you? Have you             finally snapped?      Sidney's eyes flare. Her fist starts to clench when...      BAM! Someone beats her to it. A fist flies out from the   crowd, connecting with the flashy woman's face. She   drops. Sid spins around to find...         GALE WEATHERS      Standing, tight-fisted. Their eyes meet. A quick   moment. Sidney is happy to see her.      The onslaught continues. Cameras flash, reporters   shove. Gale moves in front of Sid, holding the crowd at   bay. The reporters begin to throw questions at Gale.                          GALE                   (to Sid)             Quick, get outta here.                          SIDNEY             What's going on?                          GALE             Just go. l'll find you later.      Sid wastes no time. She takes off, running around the   side of the building. She stops, takes a breath, but   the reporters are on her tail. She looks up to see a...         SMALL CAMPUS SECURITY VEHICLE      Appear, moving towards her. It slows down.                          MAN'S VOICE                   (from the vehicle)             Hop on, Sid.      Sid goes for it as two hands reach out to help her. One   smooth move and Sidney is in the arms of...         DEWEY RILEY      She looks at him. Her face a book of questions.                          SIDNEY             What's going on, Dewey?      He smiles at her. A safe, warm smile. His face as cute   as ever.                          DEWEY             It'll be alright.                                                  CUT TO:         EXT. SECURITY CART - MINUTES LATER      The security cart trots along, passing STUDENTS coming   and going. Dressed smartly in a campus security outfit,   Dewey maneuvers the cart across the campus grounds.   Sidney rides beside him, horrified as she listens to   him.                          SIDNEY             Three hundred people watched?             Nobody did anything?                          DEWEY             They thought it was a publicity             stunt.                          SIDNEY             Oh my God. How could it happen?                          DEWEY             They don't know. It was carefully             planned. Earlier in the day the             victims received anonymous passes             to the movie.                          SIDNEY             It's a copycat killer I knew this             would happen. That fucking movie.      The cart comes to a stop in front of a building.                          DEWEY             As of now, they don't see any             relation. But they're checking it             out. The state, Special Task Force,             FBI - they're all here. They'll             find the guy.                          SIDNEY             Yeah, right.                          DEWEY             Look, Sid, why don't you take off?             Disappear for a few days. I'll come             with you.                          SIDNEY             No. I will not crawl under a rock.             This is a fucked-up world and             people kill people all the time.             I'll just get used to it.      Dewey steps down off the security cart and helps Sid   off.                          DEWEY             Nothing will happen to you. I             promise.      Sid's tough demeanor is cracking. She takes a deep   breath.                          DEWEY             That's why I'm here, right? We take             care of each other. C'mon, I'll             walk you to class.      He starts off, for the first time, a severe limp is   visible as his left leg drags behind him.                          SIDNEY             You go, it's all stairs, I can take             it from here.                          DEWEY             Don't worry...                          SIDNEY             Dewey, I'm completely equipped with             mace, alarm whistle, keyring,             knife, a degree in defensive             combat...                          DEWEY             Just in case...                          SIDNEY             No. This is nothing, Dewey. I'll be             okay. Go back to work and let me             get back to my quasi pseudo-happy             existence.      Sidney reaches up and gives her pseudo-brother a kiss,   then takes off for the building. Dewey watches until   she disappears inside, then limps back to his security   cart.                                                  CUT TO:         EXT. STUDENT UNION PARKING LOT - MINUTES LATER      A newsvan pulls up and parks next to a trough of other   newsvans and REPORTERS. Some are doing live remotes,   others ready themselves for the next onslaught.      Gale gets out of the newsvan, her cellular affixed to   her ear.                          GALE             I don't know... no one's talking.             What's the studio's position? Never             happen. They'd be stupid to pull             the movie. With all this free press             - they're gonna have huge numbers             this weekend. It'll break box             office records. Of course I have             bumps.      Gale's CAMERAMAN can be seen behind her, in the van   fussing with equipment.                          GALE (CONT'D)             I need two minutes at six o'clock.             I wanna do a piece on the slain             kids - no sympathy shit - let's             stick with the movie angle. I wanna             pull a clip from an old film...      Gale turns to her cameraman, snapping her fingers.                          GALE (CONT'D)             Hey, what was the name of that             movie?      The guy looks up at her. It's RANDY. Two years older   but still the charming jokester.                          RANDY             HE KNOWS YOU'RE ALONE. MGN/UA.             1980. Tom Hanks' first film.                          GALE (CONT'D)                   (into phone)             HE KNOWS YOU'RE ALONE. Yeah, find             it. Don't worry, I've got it             covered... I have a plan. Yeah,             I'll get it. Give it a rest - I             said I'll get it. Later.      She hangs up, turning to Randy.                          GALE (CONT'D)             Pressure's on. You ready for this?                          RANDY             I'm there, man. No worries. I got             ya covered. I'm so there. That's             why I'm here - because I'm there.      Randy holds up his camera - stoked.                                                  CUT TO:         INT. SCHOOL OF FILM - LATER      Sidney moves down a hallway. Not your typical school   building. Through open doorways, film equipment is   glimpsed. Editing bays and the like. She's in the Film   Department.      She comes upon an open door and peers in. A large room,   a class is in progress. She slips in quietly.         INT. CLASSROOM - SAME      Sidney takes a seat at the back of the room. A handful   of FILM STUDENTS sit around on torn couches heavy in   discussion. Sid goes unnoticed as she watches a   whirlwind debate. A SNOTTY GUY is pontificating a   point.                          SNOTTY GUY             Sequels are too handicapped. By             definition alone, they're inferior             films.      Hallie sits on a couch next to MICKEY, 20's, atheletic,   cool and rowdy. Arms enwrapped.                          MICKEY             Bullshit generalization. Many             sequels have surpassed their             original.                          SNOTTY GUY             Name one.                          MICKEY             ALIENS Far better than the             original.                          ANOTHER GUY             Subjective.                          SOME GIRL             Life's subjective. I much prefer             Ridley Scott.      The conversation overlaps, everyone arguing... making   their point about ALIENS VS. ALIEN.                          HALLIE             No way. ALIENS rocked. "Stay away             from her - you bitch."                          SNOTTY GUY             I'll give you that one. Name             another.                          MICKEY             T2.                          SOME GIRL             You've got a hard-on for Cameron.                          SNOTTY GUY             A bigger budget does not make a             better movie. TERMINATOR one is             historical.      Someone screams out, "You Sarah Connor?" as the   TEACHER, a young artsy type, speaks up.                          ARTSY TEACHER             How about THE GODFATHER PART II?      Ooooohhh. The whole room goes worship silent. All in   agreement.                          SNOTTY GUY             The almighty exception. Name             another.      A YOUNG MAN, handsome and smooth, jumps into the   conversation. His name is Derek.                          DEREK             EMPIRE STRIKES BACK. Smarter story.             Improved effects.      From the back of the room, Sidney watches him. Fixated.                          HALLIE             I liked JEDI. With the furry             things.      Everyone BOO'S. "Ewoks blow."                          MICKEY             Lucas and his Romper Room stage.                          HALLIE             I got. I got it. FRIDAY THE 13TH,             PART 20.                          SNOTTY GUY             Case in point. The entire horror             genre was destroyed by sequels.                          ARTSY TEACHER             Really? And why do you think that             is?                          SNOTTY GUY             Sequels suck. Hello. It becomes             about: money and no one's             interested in quality.                          DEREK             It's more than that. Horror films             are only as good as their villains.             How can Freddie and Jason possibly             be scary after they've been diluted             through five or six sequels.                          TEACHER             What's the solution? If you were             making a sequel today what would             you do differently?      The class stews on this. Derek turns, spotting Sidney   in the back of the room. She gives a half wave. He   starts for her, excusing himself.                          SNOTTY GUY             The point is - I made my point.             Sequels suck.         INT. CORRIDOR - SAME      Derek and Sidney move out into the hallway. Derek   throws his arms around her protectively.                          DEREK             How are you? You weren't in class.             I called as soon as I heard...                          SIDNEY             I skipped. Too many "That's her"             looks.                          DEREK             I'm sorry, baby. What can I do'?                          SIDNEY             Don't ask what you can do. No             coddling. Life rolls on status quo.      He looks at her with bedroom eyes.                          DEREK             I can do that. And I can also do             this.      He moves on her, wrapping her in his arms and kissing   her passionately. She breaks away, laughing.                          SIDNEY             No PDA.      But it's a failed objection. He kisses her again and   they're soon devouring each other like two people in   love. Right in the middle of the hallway.                                                  CUT TO:         EXT. STUDENT UNION - LATE AFTERNOON      The place is a circus. The front steps of the student   center have been roped off to form a platform. A podium   and mike have been placed center.      CROWDS have gathered for the press conference that is   being held by the university. Reporters and cameras   have been roped off to the side. On stage, DEAN FISHER,   a sharp looking woman in her forties is talking to   spectators.                          DEAN FISHER                   (reading from a                   prepared statement)             "... and we feel this unfortunate             isolated tragedy in no way reflects             upon our fine school and we should             trust that the authorities and FBI             are acting quickly to bring us             answers..."      Beside her stand uniformed COPS, the local SHERIFF, FBI   AGENTS. She continues on...         IN THE ROPED OFF NEWS SECTION      Gale walks through the crowd, listening to the Dean.                          FEMALE VOICE (O.S.)             Gale? Can I have a second?      Gale spins around to find DEBBIE SALT, the flashy   reporter who she decked earlier, standing in front of   her.                          GALE             Look, I'm sorry about the face.                          DEBBIE SALT             Job hazard. Debbie Salt, stringer -             NEWSWEEK. Answer a few questions?                          GALE             Fair enough.                          DEBBIE SALT             What are you doing here? I thought             you had retired from field             reporting?      The woman has immediately put Gale on the defensive.   TWO OTHER REPORTERS have taken notice. Suddenly,   CAMERAS are on Gale.                          GALE             Well, you know I'm dear to the             subject matter.                          DEBBIE SALT             And much richer as a result.                          GALE             Do I know you? You look familiar.                          DEBBIE SALT             I took your vulture seminar seminar             at Berkeley last year.                          GALE             Good for you.      And in seconds the vultures are upon her as Gale   Weathers is beseiged by REPORTERS. The questions spew   forth. "Why are you here?" "Is this the work of a   copycat killer?" "Have you talked to Sidney?" etc.                          GALE                   (ever smooth)             Guys, you're missing the show.      And with that Gale wanders off into the crowd.         ON STAGE      The LOCAL SHERIFF, a smart looking guy in his 50's is   fielding questions.                          SHERIFF             No, we have no evidence of a serial             killer. We think the killer acted             deliberately and not at random...         ON THE LAWN      Students and concerned faculty stand. Among them are   Sidney, Derek, Hallie and Mickey. Next to them stand   JOEL, 20's, black, sensible and friendly. A very   intelligent face.                          DEREK             But what are they doing? He's             talking but he's not saying             anything.                          JOEL             Sounds like they don't know             anything.                          HALLIE             Do you think they'll cancel Hell             Week?                          MICKEY             You're getting nailed - you're not             getting out of it.      From across the way, two gorgeous sorority type girls,   LOIS and MURPHY stand with their FRATERNITY JOCK   BOYFRIENDS. All looks and attitude. Their eyes are on   Sidney as they huddle in a conspiratory stance.                          JOEL             Have they questioned you yet, Sid?                          SIDNEY             This has nothing to do with me,             Joel. There's an estimated 270             serial killers currently active in             the US at any given time. I can't             control that. Who's hungry?                          HALLIE             I have rehearsal.                          MICKEY             I have to watch rehearsal.      Hallie kicks him. Joel moves to Sid.                          JOEL             I gotta hit the library. Anatomy.             Some of us have real majors. You             gonna be okay, Sid?                          SIDNEY             You're not allowed to ask that.                          JOEL             I'll stop by the Deltas tonight.                          SIDNEY             Thanks, Joel.      Joel smiles, heading out as the two sorority girls,   Lois and Murphy saunter over.                          LOIS             Hello, pledges. Enjoying             yourselves?      Instantly, Hallie stands at attention. Sidney joins   begrudgingly.                          HALLIE             Yes, sister Lois. Very much so.             Thank you for asking.                          MURPHY             Good. We need your help, pledges.             Are you familiar with the Deltas TP             fundraiser?      The pledges shake their heads. Suspicious. Lois   withdraws two rolls of toilet paper from her book bag   and passes them out.                          LOIS (CONT'D)             In our efforts to raise money for             our favorite cause...                          MURPHY             ... this week's TKE kegger...                          LOIS             Ne ask that you sell individual             squares of toilet paper for a mere             nickel a piece.                          MURPHY             We've set you each at a five dollar             quota.                          MICKEY             Come on, guys. Uncool.                          MURPHY             Am I getting fraternity             interference, Mickey?                          SIDNEY             It's okay. I can peddle toilet             paper.                          DEREK             Sid, you don't have to.      Sidney takes her toilet paper.                          SIDNEY             No special treatment. I can do             this. C'mon Hallie.      She throws him a comforting glance. She's okay with   this. She heads off with Hallie. Derek watches.                          DEREK             How do you put up with this Greek             shit?                          MICKEY             Hey, it's cool. Hallie's into it,             I'm into Hallie...                          ACROSS THE WAY             Gale moves through the crowd as the             press conference/rally continues.             She runs dead smack into...         DEWEY      Their eyes meet. A long moment. The silence between   them is revealing.                          GALE             Hello, Dwight.                          DEWEY             Miss Weathers.                          GALE             I've been trying to reach you but             you haven't returned...                          DEWEY             I'm on crowd patrol, Miss Weathers,             excuse me.      He tips his hat curtly, then starts off. She stops him.                          GALE             The name's Gale, remember'?      He turns on her. His eyes on fire.                          DEWEY             Yes, Miss Weathers, your name is             embedded clearly between my ears.                          GALE             I see you read the book.                          DEWEY             Yes, I do retain reading skills.             Shock.                          GALE             And an explanation is, of course,             out of the question.                          DEWEY             Page 32. "Deputy Dewey filled the             room with his dim-witted Barney             Fifish presence." I think you've             explained yourself.                          GALE             Oh Dewey, I'm sorry.                          DEWEY             No, what you are is a money hungry,             fame- seeking liar and - forgive me             for saying - mediocre writer who             has a cold storage shed where her             heart should be.      This stings Gale.                          GALE             You have every right to be upset.                          DEWEY             Page 41. "Deputy Dewey oozed with             inexperience."                          GALE             I never meant to imply...                          DEWEY             How do you know my dim-witted             inexperience isn't merely a subtle             form of manipulation used to lower             people's expectations thereby             enhancing my ability to effectively             maneuver within any given             situation?      Gale is at a loss.                          GALE             I'm sorry. I don't know what else             to say except I'm sorry.                          DEWEY             No, I'm the one who's sorry. I             misjudged you. Now if you'll excuse             me, I have some oozing to do.      Dewey turns and limps away, leaving Gale staring after   him. Her face smashed fiat.         ON STAGE      The sheriff continues fielding questions from   reporters.                          SHERIFF             No, there has been no evidence that             more than one killer is             responsible...         ACROSS THE WAY      Sidney and Hallie have split up. They move through the   crowd selling toilet paper. Several STUDENTS make their   purchase.      Sidney pockets her change, looks up to see Gale,   standing alone. She goes to her.                          SIDNEY             Hello, Gale.                          GALE             Sidney. Hello. How are you?                          SIDNEY             I'm okay. PEOPLE magazine won't             stop calling but other than that...                          GALE             I'm sorry.                          SIDNEY             Yeah, well... you are the             definition of mixed emotions. I             really should hate you... I see             your movie's getting good reviews.                          GALE             It seems to be causing a stir.             What's with the toilet paper?                          SIDNEY             It's hell week. I'm pledging the             Deltas.                          GALE             It's good to see you involved.                          SIDNEY             My morn was a Delta.      Beat. People have begun to notice the two of them   talking. Reporters and spectators have slowly circled   them. Gale looks around. She spots Randy, who appears   behind Sid, with his camera. Gale gives him the nod. He   throws the camera up, hits the light.      Sid spins around, surprised to see him.                          SIDNEY (CONT'D)             Randy? What are you doing here?      But then she sees someone else, standing off to the   side. A man she recognizes immediately. He looks at;   her, his face sullen, broken. Sidney loses her breath.                          SIDNEY (CONT'D)             Cotton...      He moves to her.                          COTTON             Hello, Sidney.      Gale motions to Randy. He maneuvers, getting the two of   them in frame. A long moment, Sidney just stares at   him. Completely off guard. She looks to Randy who aims   the camera directly at her... filming her.                          SIDNEY             What are you doing?      She turns back to Gale, staring holes through her,   realizing she's been set up. She looks back to Cotton.   She doesn't know what to say. She turns back to Gale.   Eyes aflame.                          SIDNEY (CONT'D)             You BITCH!      Sidney storms off, disappearing in the crowd. Cotton   turns to Gale. His face pained.                          COTTON             This was a mistake. I shouldn't be             here.      He takes off, pushing through the crowd. Randy stops   filming.                          RANDY             Can you say backfire?                          GALE             Did you get it?                          RANDY             Yeah, I got it.      Randy is clearly not happy about his part in this. It's   in his voice.                          GALE             You need to check your conscience             at the door. We're not here to be             loved.      Randy's face reveals otherwise.                          AT THE PODIUM             The sheriff continues.                          SHERIFF             No, we don't anticipate another             murder but we are taking every             precaution possible...                                                  CUT TO:         EXT. SORORITY ROW - NIGHT      A small street that dead-ends in a cul de sac. Large   old homes populate it. Greek signs adorn the place.   Welcome to Sorority Row.         INT. SORORITY HOUSE / LIVING ROOM - NIGHT      A huge living room. Divided sensibly in several   sections. Nicely done. Et is empty except for one girl   who lies on the couch watching television. This is   CICI, pretty with a lively energy about her. She   channel surfs while talking on the phone.                          CICI                   (on phone)             No, they broke up again. Bailey             won't stop drinking and Sarah can't             take it anymore.                          GIRL ON PHONE                   (from phone)             Thought he was doing AA.                          CICI             No, he quit - the whole God thing -             he has issues. The previews for             next week...      BEEP! BEEP! Call waiting bleeps through.                          CICI (CONT'D)             Hold up... someone's calling. (she             clicks over) Chi Omega House.                          MAN'S VOICE             Hello.      A MAN'S VOICE. Deep and alluring.                          CICI             Yes.                          MAN'S VOICE             Who is this?                          CICI             Cici. Who's this?                          MAN'S VOICE             Someone who wants to talk to you.                          CICI             Ted? Where are you? Are you             drinking? Hold on.      She clicks back over.                          CICI (CONT'D)             Teddy's on the other line. He             sounds drunk. I'll call you back.                          GIRL ON PHONE             That shit. He only calls you when             he's drunk. Don't go over there.                          CICI             I won't.                          GIRL ON PHONE             Don't. Think Bailey.                          CICI             Alright, alright... I'll call you             back.      She clicks back over.                          CICI (CONT'D)             Okay, Ted, you sound loaded. What's             up?                          MAN'S VOICE             Who's Ted?      Realizing, it's not Ted.                          CICI             Oh, I'm sorry. My bad. I thought             you were someone else.                          MAN'S VOICE             That's okay.                          CICI             Who do you want to speak with?             Nobody's here.                          MAN'S VOICE             Where is everybody?                          CICI             We're co-sponsoring the Acid Rain             mixer at the Sig Ep. house tonight.                          MAN'S VOICE             Why aren't you there?                          CICI             I'm designated driver. I have to be             here in case a sister calls and             needs a ride.                          MAN'S VOICE             That's too bad.                          CICI             "Drink with your brain." That's our             motto. Who are you calling for?                          MAN'S VOICE             What if I said you?                          CICI             What if I said goodbye?                          MAN'S VOICE             Why would you wanna do that?                          CICI             Why do you always answer a question             with a question?                          MAN'S VOICE             I'm inquisitive.                          CICI             I'm impatient. Look, do you wanna             leave a message for someone?      Silence. No response.                          CICI (CONT'D)             Hello? Hello? Where'd you go?      Silence again. And then...                          MAN'S VOICE             Do you wanna die tonight, Cici ?      Almost a whisper. Simple. Direct. His voice pierces   Cici. Her eyes widen. BEEP! Call waiting CLICKS   through.                          CICI             Just a second.                   (clicks over)             Yes?      Cici gets up and moves to...         INT. FOYER - SAME      Cici checks the front door, making sure it's locked.                          GIRL ON PHONE             Was it Teddy?                          CICI             No, some creep asshole trying to             scare me.                          GIRL ON PHONE             It's hell week. Chill. The movie             murders have brought out the             crazies. It's nothing.      BUMP! A noise from upstairs. Cici spins around to the   staircase.                          CICI             Shit.                          GIRL ON PHONE             What is it?                          CICI             I heard a noise.                          GIRL ON PHONE             Where?                          CICi             Upstairs.      BUMP! Something moves upstairs. It sounds almost like   footsteps.                          CICI             Shit. Cici moves to the staircase.             She peers up it.                          CICI (CONT'D)                   (calling out)             Hello? Hello?                          GIRL ON PHONE                   (Ö la Friday the 13th)             Kill, kill, kill, kill, hah, hah,             hah, hah...                          CICI             Stop it...                          GIRL ON PHONE             I can't believe you're alone in             that house.      Cici looks up the staircase again.                          CICI                   (soft whisper)             I don't think I'm alone.      Floorboards CREAK above her. Cici freaks.                          CICI             I'm outta here.      She flies to the door, unlocking it, throwing it open.   She moves out onto the...         EXT. FRONT PORCH - SAME      A wooden porch with a bulb glowing overhead. She stands   on the porch steps, looking back, through the open   door, into the house. The phone starts to CRACKLE.                          GIRL ON PHONE             You're breaking up. Where are you?                          CICI             Outside.                          GIRL ON PHONE             That's smart.      Cici looks up and down the street. A YOUNG GUY walks   along the sidewalk.                          CICI                   (calling out to him)             Hey, you? HELLO? HELL0?      The guy wears a headset, his head bobbing to the beat.   He doesn't see her. Cici looks up the street to a   sorority house down the block. Lights burn from within.   People come and go.                          CICI (CONT'D)             There's something going on at the             Delta Zeta's. I'm gonna walk down.      Cici moves further down the porch steps. The phone   begins to CRACK severely.                          GIRL ON PHONE                   (phone begins to go                   out)             Don't do that. Hang up... call...                   (static)                          CICI             What? I can't hear you...                          GIRL ON PHONE                   (major static)             Hang up... call...                          CICI             I'm losing you.                          GIRL ON PHONE             ... campus security... send             someone... check out... place...                          CICI             Okay, okay. I'll call now. I'll             call you back.      Cici hangs up the phone. She hits the "TALK" button.   Nothing but static. She tries again. She can't get a   dial tone. She looks back to the front door. She   hesitates quickly, debating, then she moves back up the   porch steps.      She tries the phone again. It still won't connect. She   moves back to the front porch. It connects. Major   static. She dials 511.                          VOICE                   (major static)             Campus Security.                          CICI             Hello, I'm calling from the Chi             Omega...                          VOICE                   (too much static)             I'm sorry. I can't hear you. Hello?      Cici eyes the open front door. She inches back to it.                          CICA (CONT'D)             Can you hear me now?                          VOICE             We... bad..connec... call back.      The phone goes dead.                          CICI             Shit.      Cici redials. The same static.                          VOICE             Hello?                          CICI             I'm calling...                          VOICE             I can't hear you.      Cici peers through the front door, into the house. It's   completely empty. Cici steps back inside the house. The   connection becomes much clearer.                          CICI             I'm calling from the Chi Omega             house. Someone is harassing me.             Hello?      There's no one on the line.                          CICI (CONT'D)             Shit!      SUDDENLY, A FIGURE APPEARS BEHIND HER. A HAND GRABS   HER.      Cici spins around, SCREAMING BLOODY MURDER.                          GIRL'S VOICE             Did the phone ring?      Standing before her is DAWNIE, a young girl, sweet, pre-   occupied.                          CICI             Jesus, you scared me. What are you             doing here?                          DAWNIE             I live here.                          CICI             I thought you were going to the             mixer?                          DAWNIE             I had to change. Did anyone call?                          CICI             Just some asshole trying to scare             me.      The front door remains wide open. The phone RINGS. Cici   stares at it in her hand. She doesn't answer it.                          DAWNIE             Are you okay?      Cici nods, answering the phone. ROCK MUSIC BLARES from   the receiver.                          CICI             Hello?                          DRUNK GIRL                   (from phone)             We need a ride. Taxi! Taxi!                          CICI             Where are you?                          DRUNK GIRL                   (from phone)             We're at Grogs and need a ride to             Acid Rain.                          DAWNIE             Who is it? Is it Tina?                          CICI             They're at Grogs.      Dawnie grabs the phone, moving into the living room.   She moves to a mirror and fusses with her hair.                          DAWNIE             Tina, it's Dawnie. I'm on my way.             Cici follows her back into the             living room.                          CICI             I'll go. I don't mind. Really.      Dawnie hangs up the phone, turning to Cici.                          DAWNIE             Take the next one. You should set             the alarm. There's a killer on the             loose.      Reflected through the mirror is the foyer. Neither see   as a SHROUDED FIGURE appears through the front door.   Dawnie turns back to the mirror just as the Figure   sweeps into the dark dining room and out of sight.      Dawnie starts back for the front door. The phone RINGS.      Dawnie grabs it.                          DAWNIE (CONT'D)             Hello?                          MAN'S VOICE             Is Cici there?                          DAWNIE             Who's calling?                          MAN'S VOICE             Ted?      Dawnie throws her the phone and races out the door.                          DAWNIE (CONT'D)             It's your ill-concieved boyfriend.             Seeya later. Set the alarm.      She SLAMS the door shut behind her. A second later we   hear it lock. Dawnie brings the phone up to her ear.                          CICI             Hello? Ted?                          MAN'S VOICE             No, it's me.      Cici nearly collapses. She's starting to lose it.                          CICI             WHAAAATT?                          MAN'S VOICE             Don't forget to set the alarm.      Cici hangs up, throwing the phone across the room. She   moves back to the foyer where an alarm panel is   positioned in the wail. She hits a coupla digits and a   BEEP is heard as she activates the alarm.      She checks the door, making sure it's locked, then she   turns and moves into the...         DARK DINING ROOM      Cici finds the light switch. CLICK! The room is   illuminated. Two long dining tables run the length of   the room. It's empty. Void of the Figure.         INT. KITCHEN - SAME      A large, dark kitchen. Cici moves to the frig and opens   it, She gives it the once over. The frig light reflects   against her face. She closes the refrigerator, not   seeing the Shadow that bounces across her back.      Cici moves to a sliding glass door that overlooks the   backyard. She checks the lock. Secure. Then, the phone   RINGS.      She turns to the phone that's attached to a nearby   wall. It RINGS AGAIN. She reaches for it, answering it.                          CICI             Hello?         SUDDENLY, TWO HANDS LUNGE OUT OF THE DARKNESS      One finds her neck, the other grabs her by the hair,   wrenching her head backwards and spinning her around,   shoving her, pushing her into the...         SLIDING GLASS DOOR      Glass explodes everywhere, shattering to bits as Cici's   body crashes through it, setting off the ALARM. A loud,   shrill RING resonants through the house as Cici's body   lands on the deck outside. Still. (NOTE: WES DOES   REALLY SCARY SHIT HERE.)                                                  CUT TO:         EXT. DELTA ZETA HOUSE - MINUTES LATER      Two doors down from Chi Omega. A big, old Gothic home   serves as the Delta Zeta sorority. MUSIC PLAYS from   inside. It sounds like a party.         EXT. DELTA ZETA LIVING ROOM - SANE      The room is filled with fifteen to twenty people.   SORORITY GIRLS and FRAT BOYS who SCREAM and CHEER as   they watch four girls who sit on their knees, hands   behind their back, in front of a coffee table devouring   plates of macaroni and cheese topped with whipped   cream.      Sidney, Hallie, and two other girls, TERI and LUCE tear   into the macaroni with all their might. Gobbling it up,   making a mess of themselves. Mickey is next to Hallie,   coaching her on. On Sid as she finishes her plate.      A whistle BLOWS.                          MURPHY (CONT'D)             Looks like we have a winner.      Sid sits up. Macaroni and whipped cream is all over her   face. She smiles the victor. Everyone APPLAUDS.                          MURPHY (CONT'D)             Sidney gets to skip the next round             of Bulimia bingo.      Hallie, a face full of grime, eyes Sid.                          HALLIE             You bitch.      They crack up. Someone passes her a towel. She stands   wiping her face, looking across the room as Derek   enters through the front door. She waves at, him. He   hurries over.                          SIDNEY             Where have you been'? You missed my             shining moment. I won the macaroni             sundae binge.                          DEREK             I'm sorry honey. I got behind.         ON HALLIE AND MICKEY      Mickey is cleaning off Hallie's face.                          MICKEY             I don't want you to choke or             anything but you're trailing. You             need to pick the pace up.      She swats him.         ON SID AND DEREK      Sid and Derek stand arm in arm watching the next round.                          SIDNEY                   (complete throw away)             Any news?                          DEREK             About what?                          SIDNEY             The forbidden subject.      He shakes his head.      Suddenly, a FRAT BOY pops into the room.                          FRAT BOY             Yo, guys, outside. Something's up             at the Chi Omega. Police are             everywhere.      People begin to stand, moving to the windows and front   door. Sidney looks to Derek.         EXT. DELTA ZETA HOUSE - SAME      Everyone comes flying out of the front door and into   the yard as POLICE CARS WHIP BY. SIRENS BLARING.         ANGLE ON STREET      Two doors down sits the Chi Omega house crawling with   police, ambulances, reporters...      "Yo - let's check it out." "C'mon." The entire crowd   takes off in droves down the street. All except for...         SIDNEY AND DEREK      They stand on the porch, watching as the street becomes   a circus.         CLOSE ON SIDNEY'S FACE      She knows.         INT. CHI OMEGA HOUSE - SAME      Captain Tyler, the Sheriff, police, FBI... the house is   crawling. Dewey sifts around on his own, checking   things out.         IN THE KITCHEN      Captain Tyler and the Sheriff stand at the shattered   glass door.                          SHERIFF             Lots of blood. But no body.                          CAPTAIN TYLER             Have you checked the...                          SHERIFF             Attic, garage, basement, nothing.                          CAPTAIN TYLER             Take the neighborhood.      The Sheriff turns to his men.                          SHERIFF             Alright men, listen up...      Dewey is all ears.         INT. DELTA ZETA HOUSE - SAME      Derek and Sid stand on the porch, his arms around her.   Her face is numb.                          SIDNEY             It's starting all over again.                          DEREK             Lemme take you home.                          SIDNEY             I'll get my jacket.      Sidney, indifferent, moves through the open front door,   back inside the house. Her face and mind detached from   what's going on. Derek remains on the porch, watching   the spectacle. Slowly, the door behind him closes.         INT. DELTA ZETA LIVING ROOM - SANE      Sid moves through the living room, she grabs her coat   when the phone RINGS. She looks at it suspiciously...   knowingly... she reaches for it.                          SIDNEY             Hello?                          MAN'S VOICE             Hello Sidney?      The VOICE. Low and haunting. Sidney closes her eyes.   When she opens them tears are immediate But still, she   refuses to crack.                          SIDNEY             Who are you?                          MAN'S VOICE             Soon, Sidney, soon.                          SIDNEY             What do you want?                          MAN'S VOICE             To see every ounce of blood drain             from your body.      The Voice has never sounded more evil... more   seductive. Sidney doesn't flinch. She holds steady.                          SIDNEY             Then come and get me.      And with that Sidney hangs up the phone, SLAMMING it   down. Silence. And then...                          MAN'S VOICE             My pleasure.      The Voice comes from inside the room... behind her.   Sidney spins around and finds herself staring at the...         GHOST MASKED FIGURE      But not the one from the movie theater. The one from   Sidney's nightmare long ago. It stands in the foyer   archway, staring at her.      A sustained moment. A stand off. Sidney doesn't move.   But then the killer withdraws his trademark. A long,   steel hunting knife... blood stained.         SIDNEY BOLTS      As the GHOST LEAPS at her. She SCREAMS, dodging him,         ON THE PORCH      Derek hears her SCREAM. He turns to the front door. He   finds it locked. He starts to BEAT on it.                          DEREK             Sid? Sid?         IN THE LIVING ROOM      Sid just dodges the Ghost, just missing the knife's   blade. She bolts through the living room, to the front   door. Derek beats on it from outside.         IN THE FOYER                          SIDNEY             Derek. He's in the house. Help...             me...      She struggles with the door, there are too many locks,   the Ghost is already upon her. She looks to the stairs,   thinks better of it... flies through the dining room.         INT. FRONT PORCH - SANE      Derek is going nuts trying to get into the house. He   moves along the porch to the windows, looking through.   He watches as the Ghost Figure chases her into the   kitchen. Derek looks about the porch. He rears his foot   back and kicks in the window.         INT. KITCHEN - SAME      Sid moves through the kitchen to the back door. She   struggles with the lock as the Ghost is right behind   her. She barely makes it out the back door...         EXT. BACK YARD - SAME      A large, fenced in yard. Lots of big oak trees. Sid   flies down the back porch and into the yard. She moves   across it, passed trees and shrubs. She spots a closed   fence door in the back of the yard. She looks behind   her to find...         NOTHING      She scans the yard, the Ghost Figure has completely   disappeared. She moves behind a big tree, hiding behind   it.      Sid stops, catches her breath, then peers from behind   the tree. The yard is completely empty. She goes for   the fence door, slowly moving around the tree.      BUMP! A noise in the darkness. She spins around, still   making her way around the tree, moving backwards,   walking right into a FIGURE. She SCREAMS, spinning   around, finding herself face to face with...         CICI'S BODY      Hanging, dangling, hung from the tree, her stomach a   ripped, bloody mess. Sidney SCREAMS IN UNFORGETTABLE   HORROR. She steps back, falling right into the arms   of...         DEWEY      She turns, SCREAMING.                          DEWEY             It's okay. It's okay. It's just me.      He takes her into his arms, comforting her, as she   holds on for dear life.         EXT. COLLEGE CAMPUS - MORNING      The early sun casts light upon an otherwise dark and   joyless morning as the blood stained campus slowly   comes to life.         EXT. CAMPUS SECURITY STATION - MORNING      The local campus security office has been converted   into a media event. News trucks, cameras and REPORTERS   stand guard outside while inside...         INT. CAMPUS SECURITY STATION - MORNING      The place is packed. No longer just a campus security   office. The place has been converted to the local   police station as well as FBI headquarters. UNIFORMS   and SUITS swarm the place.      In a back section of the room, Sheriff Hartley and   Captain Tyler are in a huge discussion with Dean   Fisher. Tempers are heated. Its been a sleepless night   for all.                          CAPTAIN TYLER             We don't know if it's random. We             haven't been able to connect the             victims.                          SHERIFF             The first two were stabbed without             thought. The sorority girl was             gutted with autopsy precision.                          DEAN FISHER             Christ! Just do something. I will             not have a repeat of Gainesville.             Not on my campus. .      Dewey listens to this exchange, slowly stepping   forward.                          DEWEY             Sidney Prescott, sir.      They both turn to him.                          DEWEY (CONT'D)             She's the connection.                          CAPTAIN TYLER             We know that, son.                          DEWEY             The killer was trying to get to             her. That sorority girl was a             distraction.                          CAPTAIN TYLER             We're aware of that.      Sheriff Hartley steps forward.                          DEWEY             The killer is obviously repeating             Woodsboro. I can fill you in on             what I know.      Dewey is not a welcome participant. Eyes roll. Captain   Tyler pulls Dewey aside.                          CAPTAIN TYLER             Look, son. I know you've lived             through this, but we got it under             control. Why don't you have some             coffee?      Just then, Gale Weathers appears being ushered in by   TWO UNIFORMS. Dean Fisher greets her with smiles The   FBI and local police fawn over her.                          SHERIFF             Thank you, Miss Weathers for coming             in.                          GALE             Of course, what can I do?      Captain Tyler gives Dewey a patronizing pat on the   back, sending him off.                          CAPTAIN TYLER             We were hoping you could help with             the killer's profile.      Dewey's face couldn't be more burned.         INT. CAMPUS SECURITY STATION - MORNING - MINUTES LATER      A chalk board in front of them. Three names are written   on it under the label "Victims" - "MAUREEN EVANS, PHIL   STEVENS, CICI TAYLOR"      Gale is at the chalk board                          GALE             Maureen Evans - Maureen Prescott.             Sidney Prescott's mother. The first             victim in the Woodsboro Murders.             Phil Stevens - Stephen Orth - the             first kid to be murdered. Ten to             one - Cici is not the third             victim's real name.                          SHERIFF             It's Cassandra.                          GALE             Nickname Cassie or - Casey. The             third victim in Woodsboro. She was             hung from a tree and gutted.      The room goes quiet. Dewey watches from the back of the   room. His eyes burning holes into Gale.                          CAPTAIN TYLER             Jesus...                          GALE             This is a complete copycat. Your             killer is even going in sequence.      Captain Tyler sits up.                          CAPTAIN TYLER             Who was the next victim in             Woodsboro?                          GALE             In the book or in the movie?                          DEAN FISHER             Let's try reality.                          GALE             Mr. Himbry - the principal was the             next victim. However, in the movie             version, Tatum Riley was killed             next. Dramatic license.                          SHERIFF             Jesus Christ. Captain Tyler flies             out of his seat and into action.                          CAPTAIN TYLER                   (to his men)             Find me every variation of Himbry             and what was the other name...                          DEWEY             Tatum Riley.      Dewey speaks up. His voice soft but heard. The entire   room stares at him, knowingly. Gale's eyes find his. He   looks away.                          CAPTAIN TYLER             Both on campus and the surrounding             community. I want names ASAP.                          DEAN FISHER             I'll get you full access.      The room breaks into a fury as they jump into action.   Gale stops Captain Tyler.                          GALE             What about Sidney? Is she safe?                          CAPTAIN TYLER             She's completely insulated. I've             got my top men on her.                                                  CUT TO:         INT. SIDNEY ' S DORM ROOM - MORNING      Sid, Derek, Hallie, Mickey, and Joel lounge among   pillows and blankets. The remains of a sleepover. Joel   parts the blinds.         ANGLE THROUGH WINDOW      Two plains clothed policemen are in view, milling about   outside - standing guard.                          JOEL             How many guys they have on you?                          MICKEY             I counted four.      Hallie reads from a notebook in her hand.                          HALLIE             Okay, you're sure about skipping             Calculas?                          SIDNEY             Please, I have the perfect excuse.                          HALLIE             What about rehearsal?                          SIDNEY             Gotta.                          HALLIE             I'll cover you through rehearsal.             Derek when do you get outta docu-             drama?                          DEREK             Two.                          HALLIE             So you'll relieve me at 2:30...                          DEREK             And watch her til 8:00 - I've got             to edit.                          JOEL             Perfect. I'll be outta Micro-bio             and we can grab a bite.                          SIDNEY             Guys, guys, I'm sorry but, no way.                          HALLIE             Shut up. Mickey, you and I can take             her late evening.                          MICKEY             Sig Ep's gotta band, tonight.                          HALLIE             Too bad.                          SIDNEY             This is exactly what I don't want.                          DEREK             I think it's out of your control.      Derek puts his arms around her, pulling her close.   Mickey and Hallie argue about this evening. Joel moves   out the door.                          JOEL             Sid, I'll seeya tonight.                          SIDNEY             But...      Derek kisses her sweetly.                          SIDNEY             My screwed up life shouldn't have             to bleed onto my friends.                          DEREK             Let us decide that.                          SIDNEY             What about your film? Isn't it due             next week? Have you even started             it?                          DEREK             It's under control.      He kisses her again.                                                  CUT TO:         INT. STUDENT UNION - LATER      A huge one-stop for students. Comprised of several open   floors, it looks like a mini-mall. A cafeteria, book   store, movie theatre, arcade, etc. fill the place.      Gale moves through the lobby area when she sees Debbie   Salt heading her off. She tries to bolt but she's not   fast enough.                          DEBBIE SALT             Hi, Gale, any leads?                          GALE             Tons and tons.                          DEBBIE SALT             Where is Sidney's father?                          GALE             Home - where he lives.                          DEBBIE SALT             And are the police sure about that?                          GALE             Why don't you ask them?                          DEBBIE SALT             Already did. He's the perfect             suspect, don't you think?                          GALE             No, I don't.                          DEBBIE SALT             Parents are always responsible. It             all starts in the home.                          GALE             Look, I know you kinda hold me up             as your career template and it             gives you some anal charge to             challenge me but you win. Okay? I'm             not interested in the scoop             anymore. Excuse me.      Gale charges off, moving to a nearby newsstand. The   tabloid papers exploit what's going on. Crazy headlines   about the murders dominate the newsrack.      Gale is clearly bothered by this. Just then, a phone   RINGS. She pulls it from her pocket.                          GALE (CONT'D)             Hello?                          MAN'S VOICE             Hello, Gale.      It's the Killer. His voice is unmistakable.                          GALE             Who is this?                          MAN'S VOICE             I'll give you one guess.      Gale knows immediately. She looks around for help. A   CAMPUS COP is across the lobby.                          GALE             Who are you?                          MAN'S VOICE             That's not the way we play the             game.                          GALE             I don't play games.                          MAN'S VOICE             What if your life depended on it?      Gale gets testy with him.                          GALE             What do you want?                          MAN'S VOICE             You're pretty when you're angry.      Gale stops cold. She looks around. The place is alive   with people. He could be anywhere.                          GALE             Where are you?                          MAN'S VOICE             I'm everywhere.      She continues moving to the Campus Cop.                          GALE             Oh - a God complex                          MAN'S VOICE             Stay away from the cop.      A deadly warning. Gale stops. She plays it cool. She   looks above her to the upper floor. STUDENTS hang over   a balcony.                          GALE             What do you want from me?                          MAN'S VOICE             It's what you want from me.      Silence.                          GALE             What do you mean?                          MAN'S VOICE             You are writing another book,             aren't you? That's why you're here.             The story's not over.                          GALE             You're getting obvious.                          MAN'S VOICE             No, Gale, I'm just getting started.             Seeya soon.                          GALE             No, wait...                          MAN'S VOICE             Watch your back.      CLICK. The phone goes dead. Gale spins around, doing   quick circle to make sure no one's around her. She   turns and heads off, right into...         DEWEY      They both GASP.                                                  CUT TO:         INT. CAMPUS THEATRE - DAY      A large tiered theatre. Seats five-hundred. Old but   preserved and updated. A rehearsal is in progress.   SEVERAL ACTORS stand stage center running lines as   stagehands work on the set around them.      Sidney is one of them. She moves around the stage, very   animated. More alive than ever. She dons a Russian   accent. Convincing. A promising actress.                          SIDNEY                   (in character)             "Pain, yah, such pain. Pain."      An awkward silence. Everyone looks at each other.   Finally, Lois, the bitchy sorority girl speaks up.                          LOIS             That's not the line. You jumped.                          SIDNEY             Shit. Did I?                          LOIS             About a page.                          DIRECTOR                   (off stage)             CUT! Let's take five.      The actors break up as Sidney, frustrated, walks across   a make shift bridge that takes her across the orchestra   pit and down the stairs into the house where Hallie   sits watching. Sid's bodyguards can be seen sitting   scattered about.                          HALLIE             That was good.                          SIDNEY             Yeah, right.      The DIRECTOR, mid-30's, intelligent, friendly.                          DIRECTOR             Sid, why don't you get outta here?             We'll pick this up tomorrow.      Sid nods in agreement. The Director smiles at her.                          DIRECTOR (CONT'D)             Work on the accent.      She grabs her things and heads off with Hallie when...                          VOICE             Sid?      Sid turns to find Randy moving through an aisle. He had   been watching rehearsal. Sid's face tenses.                          HALLIE             Who is that guy?                          SIDNEY             It's okay. Look, Hallie, I'll meet             you outside.                          HALLIE             No, girletta, I don't leave your             side.                          SIDNEY             I've got my entourage. Take a             break. Please.      Sid is definite. Hallie backs off, heading up the   aisle, against her better wishes.                          SIDNEY             What do you want?                          RANDY             I'm sorry, Sid, please. I never             should have gone along with Gale. I             know I'm stupid. I wish I had some             good reason to give you but I'm             just stupid. Please, Sid, don't be             mad at me.                          SIDNEY             Do you work for her now?                          RANDY             Well, yeah... she gave me a job.             Freelance. It got me outta             Woodsboro. I'm sorry about Cotton             and yesterday. It was a bad idea. I             knew it was a bad idea but it             seemed like a quasi harmless bad             idea. Ah, shit, Sid, I'm fucked up.      Sidney looks at him Long and hard, a smile slowly   appearing.                          SIDNEY             Me, too. Randy. Me too.      He nods, knowingly.                          SIDNEY (CONT'D)             Wanna get outta here?                                                  CUT TO:         INT. CAMPUS SECURITY STATION - AFTERNOON      Gale and Dewey are with Captain Tyler and Sheriff   Evans.                          CAPTAIN TYLER             If he calls again - find help.             Don't engage him in conversation.             I'm gonna put a man on you - to             cover you.                          DEWEY             I can do it, Captain.                          CAPTAIN TYLER             Thanks, Dewey, but I was thinking             I'd pull Jesse off...                          GALE             I'd prefer Dewey, Captain.      Tyler doesn't argue. He's too crazed. Dewey avoids   Gale's stare.                          DEWEY             How's the name search going?                          CAPTAIN TYLER             37 usages of Himbry located in the             registar's office. 9 Tatum's, 47             Riley's. And that's just on campus.             It's hopeless.                                                  CUT TO:         INT. CINEPLEX MOVIE THEATRE - LITTLE LATER      A movie is in progress. STAB.         ON SCREEN      A young girl, looking a lot like Tori Spelling, runs   down a school corridor. She runs smack into a young,   handsome boy. He could very well be Johnny Depp.                          TORI                   (in movie)             Oh, God, Billy, you scared me. What             are you doing here?                          JOHNNY                   (in movie)             They let me go, Sid, I didn't do             it. I'm innocent.         IN THE THEATRE      Sid and Randy sit in the small cineplex mall type   theatre. Behind them sit Sid's trusting police guards.   Sidney shifts in her seat.                          RANDY             You okay, Sid?                          SIDNEY             Yeah.         ON SCREEN      Tori Spelling and Johnny Depp continue their dramatic   discussion.                          JOHNNY             When my mom left my dad, I accepted             it. That's just the way the cookie             crumbles. Moms leave.                          TORI             Yeah, but your mom left town. She's             not dead. My mom's dead. Do you             hear me? She's dead. Dead. And             she's never coming back. Ever,             Ever.         IN THE THEATRE      Sidney grows increasingly uneasy.                                                  CUT TO:         INT. STUDENT CAFETERIA - LATER      Mickey, Joel, and Derek are crowded around a table in   the Student Union Cafeteria.                          DEREK             My documentary is due on Tuesday.                          MICKEY             What's your subject?                          DEREK             I WAS A SORORITY SLUT.                          JOEL             You should of done it on Sidney.             That would have been a cool.                          DEREK             She wouldn't let me.                          MICKEY             Not with Primetime Live and 20/20             coming at her. I'd save my shit             too.      Hallie comes waltzing up.                          DEREK             Where's Sid?                          HALLIE             Damned if I know. She ditched me.                          DEREK             You weren't supposed to leave her             alone.                          HALLIE             I didn't say she was alone. That             guy - from her home town showed up.             They went off together.      Hallie plops down, giving Mickey a big kiss.                          MICKEY             I've been waiting for you, baby.                          JOEL             Is that cool? Just to leave her             like that?                          HALLIE             She's got guards with her.                          DEREK             What guy?                          HALLIE             Randy somebody.                          JOEL             Randy Meeks. He was with Sid that             night in Woodsboro.                          MICKEY             Her old boyfriend?                          JOEL             No, she killed her boyfriend. Randy             was a friend.                          MICKEY             Watch out, Derek.                          HALLIE             He tried to kill her first.                          MICKEY             Is Sid in therapy?                          JOEL             She was for a while. Gave it up.                          DEREK             How do you know so much about her?                          JOEL             I read the book.                          MICKEY             I could use some therapy.                          DEREK             Should we be worried about this             guy? Isn't it kinda weird he just             showed up and now people are dying?                          HALLIE             He seemed harmless.                          DEREK             Aren't most serial killers             seemingly harmless?                          JOEL             And white.                          MICKEY             Easy black boy.                          JOEL             It's documented. Most serial             killers are attractive - slightly             off white males in their twenties.                          HALLIE             That's you, honey.      Hallie kisses Mickey again.                          MICKEY             I got a surprise for you.                          HALLIE             What?      Suddenly, he leaps up on the cafeteria table and begins   to sing at the top of his lungs.                          MICKEY             "If I should stay. I would only be             in your way. So I'll go. And yet, I             know, I'll think of you each step             of the way...                          HALLIE             Don't do this.                          MICKEY             "And IIIIIIIIIYEIIIII will always             love you OOOOOOWUOOOOOOOO will             always love you."      Everyone has taken notice. They begin to cheer and sing   with him.                          JOEL                   (to Derek)             Whitney?                          DEREK             I think he's doing Dolly.                          MICKEY             "And I hope life treats you kind             and I hope you have all you dreamed             of offffff. I wish you JOYYY."                          DEREK             Definitely Whitney.      Hallie can't help but be touched. He finishes up,   ending on a last, final note. As he does, he pulls a   necklace from around his neck. His Greek letters dangle   from it. He places them around her neck, kissing her.                          JOEL             Isn't that a big no-no?                          DEREK             I think so.      Hallie breaks away. She swats him.                          HALLIE             You're going to get it. You know             what happens.                          MICKEY             But I love you. And I want the             whole world to know it.      Hallie smiles, her eyes misty. Derek and Joel eye each   other.                                                  CUT TO:         INT. CINEPLEX MOVIE THEATRE - LITTLE LATER      Sid and Randy continue watching the movie. The guards   behind them are way engrossed.         ON SCREEN      It's the end of the movie. Tori Spelling is running for   her life from two killers - Johnny Depp and his   sidekick. She finds herself trapped in the kitchen.   Johnny Depp holds the knife up to Tori's face.                          TORI             Why did you kill my mother?                          JOHNNY             Because she was sleeping with my             dad. She's the reason my mom left.             She was a whore just like you.         IN THE THEATRE      These words sting Sid. Randy notices her flinching.         ON SCREEN                          TORI             My mom was no whore. Don't you say             that.                          JOHHNY             Whore! Whore! Whore! Whore!      Tori starts to cry.         IN THE THEATRE      Tears find their way down Sidney's cheeks.         ON SCREEN      Johnny Depp and his murderous sidekick start stabbing   each other.                          JOHNNY (CONT'D)             It's the perfect alibi, Sidney.                          SIDEKICK             Just like in the movies.         IN THE THEATRE      Sidney can't take it anymore. She gets up and races out   of the theatre.         INT. LOBBY - A SECOND LATER      Sid emerges from the theatre and into the lobby. She   moves into a curtained section where the water fountain   is. She looks up and sees Randy flying out of the   theatre. He exits outside looking for her. The cops are   right behind him.                          VOICE             Hello Sidney.      Sidney spins around. Cotton Weary stands before her.   shoulders slumped, his face pained.                          SIDNEY             Cotton.                          COTTON             Can we talk?                          SIDNEY             I don't think that's a good idea.                          COTTON             Look, yesterday wasn't my idea.             That was all Gale and dollar signs             and ratings.                          SIDNEY             What do you want from me, Cotton?                          COTTON             You could start with an apology.                          SIDNEY             I did that.                          COTTON             You wrote me a letter. Very             cordial. Very appropriate.                          SIDNEY             How? What could I say that would             make a difference? I took away a             year of your life - how do I             apologize for that?                          COTTON             I wish it was just a year. I lost             everything because of you. I have             nothing now. Look at me, this is             what I've become.      A long silence. Sidney is hanging on by threads.                          SIDNEY             Cotton, there isn't one day, one             hour, one minute when I'm not             reminded of what I've done. I have             not had one second of reprieve and             no therapy or religion or spiritual             plane can ever erase what I feel in             every vein of my being. And I wish             I had in me what you need to hear             but I don't think the words exist.      More silence.                          COTTON             I just thought if I saw you face to             face, maybe it would help.                          SIDNEY             Did it?                          COTTON             It helped me realize one thing.                          SIDNEY             What?                          COTTON             You're a self-obsessed little cunt             like your mother.      And with that, Cotton flips on a dime. His face turns   evil. Sidney races by him as he throws out his arm,   stopping her just as...         THE TWO POLICE GUARDS      Appear, grabbing him from behind. They throw him   against the wall, retaining him. Randy appears at Sid's   side.                          RANDY             You okay?      Sid nods as she watches the officers arrest him. They   do a body search, pulling from his coat a large   revolver. Cotton just smiles.                                                  CUT TO:         EXT. CAMPUS LIBRARY - LATER      Sid and Randy walk up the steps to the school library.   The ever helping guards behind them.                          SIDNEY             I don't know. I don't think Cotton             did it. It's too predictable.                          RANDY             If he's innocent he'll have an             alibi.                          SIDNEY             I guess Gale's going to be pissed             she missed her exclusive.                          RANDY             I'll relay it. You sure you don't             wanna go home?                          SIDNEY             I have this button I press. See? It             insulates me.      She mimes an air lock valve.                          RANDY             I gotta coupla of those buttons             myself.      There's something sad about this exchange. These two   people understand each other                          SIDNEY             Thanks for the movie, Randy.                          RANDY             Anytime. Sorry it sucked. It just             had that been there done that             feeling.      Sidney watches as Randy shoves off, disappearing across   campus. Sid turns to find Derek leaning against a pole.                          DEREK             I had the four o'clock shift. You             weren't there. You had us worried.             Is everything okay?                          SIDNEY             No, it's not.                          DEREK             I don't really know what happened             in Woodsboro, Sid. But I know you             don't trust me.                          SIDNEY             It's not you, Derek. I don't trust             myself. I tend to make big             selection errors when it comes to             men.                          DEREK             Then I'll make this easy for you. I             like you. I'm crazy about you, Sid.             But I'm gonna stay away. Until you             say otherwise.      A long moment. He looks at her, hoping she'll say   otherwise.                          SIDNEY             I'm sorry, Derek.      Derek nods. So that's how it's going to be. He turns   and wanders off, not looking back once.                                                  CUT TO:         EXT. NEWSVAN - CAMPUS - LATER      The newsvan is parked at a curb. It sits out of the way   overlooking the student commons area. A grassy area   where students sit and conjugate.      Gale walks back and forth with the cellular attached to   her ear. Dewey sits leans against the van, watching   her. He still has a crush but hides it as best he can.                          GALE                   (on phone)             The interview's not going to             happen. 1 changed my mind. I've             harassed the girl enough. It's in             poor taste and a bad idea.                          FROM THE PHONE             Your entire career is in poor             taste...                          GALE             Gotta go, call me when you have             something nice to say.      Gale hangs up, she looks to Dewey. Smiles.                          DEWEY             So what made you change your mind             about Sidney?                          GALE             Mood swing. I'm manic depressive.                          DEWEY             You're a hard one to figure out.                          GALE             It's that complex yet shallow             quality. It's deliberate.                          DEWEY             I think you're all an act.                          GALE             And deep down I'm a good person?             Make no mistake, Dewey, I'm a shit.                          DEWEY             I know that.                          GALE             Yeah?                          DEWEY             I also know that you're an aging TV             reporter slash writer who, despite             huge tabloid success, has some self             worth issues regarding your             personal life which directly             effects your professional life in a             non-positive manner. A coupla             failed relationships with - I'm             guessing balding, older men - have             turned you into this bitch with a             cell phone. But I bet sometimes,             late at night, when you're all             alone a sadness seeps to the             surface and in a moment of clarity             you know that all you really want             is to be touched and held and             fondled.      Gale stares at him, stunned. A moment as the tension   swirls about them.                          GALE             And where did you gain all of your             Gale Weather's insight?      Dewey approaches her. Gale has never been more taken   with him. They stand incredibly close.                          DEWEY             After my spinal cord was damaged I             was laid up for over a year. A lot             can happen when you're on your             back.      They're nearly touching now. Just then, Randy   approaches.                          RANDY             What'd I miss?      Gale backs away from Dewey, breathless. Her cellular   phone RINGS. She eyes Dewey, then hands it to Randy.                          GALE             I'm not here.      Randy takes the phone.                          RANDY             Hello?                          MAN'S VOICE             Gale?                          RANDY             She's not here right now.                          MAN'S VOICE             But she's standing right next to             you.      Shit! Randy motions to Gale and Dewey. It's him. He   points around campus, mouthing "He's watching." Gale   grabs Dewey.                          GALE             C'mon.                   (to Randy)             Keep him talking.      Gale and Dewey race off, across the grassy area where   STUDENTS come and go.         ON RANDY      He holds the phone, scared, not knowing what to say?                          RANDY             So... what's your favorite scary             movie? No response. Silence.                          MAN'S VOICE             They'll never find me.      Randy eyes Dewey and Gale, they move through Students,   searching.                          RANDY             What do you care? Let 'em have             their fun. So, what's up?                          MAN'S VOICE             What's your favorite scary movie?                          RANDY             SHOWGIRLS. Absolutely frightening.             What's yours? Wait, let me guess.             THE HOUSE ON SORORITY ROW? FINAL             EXAM. GRADUATION DAY? THE DORM THAT             DRIPPED BLOOD? SPLATTER UNIVERSITY?             Am I close?                          MAN'S VOICE             Closer than you think.         ON DEWEY AND GALE      They move through passing STUDENTS.                          GALE             He has to be nearby. He likes the             game.      Dewey is on the his walkie. "I need back-up." He has a   hard time keeping up with Gale. He hobbles along.         BACK ON RANDY      He goes on a tirade pacing back and forth.                          RANDY             So what's your deal? Can we talk             openly for a second? How does one             become a serial killer? Huh? Are             you psychopathic or merely             psychotic? And what is the             distinguishing feature'? Were you             slapped around as a child? Is it             hereditary? Did your Mom take test             drugs? You know, have you tried             getting laid? It's done wonders for             my homicidal tendencies.                          MAN'S VOICE             Do you want to die?                          RANDY             Gee, let me think. "Do you want             to... " Is that the best you can             do? Some tired hand me down rehash?             Hey, pal, no one's gonna write a             book about you. No movie rights.             Nothing. I've been through this             before and much better I might add.         ON GALE AND DEWEY      Gale spots a YOUNG MAN, sitting with some other KIDS.   He's talking on a cellular phone. She races to him and   rips it from his hands. He leaps up ready to pounce on   her.      Dewey appears.                          DEWEY             It's okay. C'mon, Gale.         BACK ON RANDY      Randy won't let up. He continues dissing.                          RANDY             And if you're such a brilliant             smart killer - why copycat? Why not             be original? Where's the             innovation? Let's pioneer some new             ground. Make a statement. Go down             in history. Now you'll always be             the Woodsboro copycat killer.             That's lame. It's like a bad             sequel. And why Woodsboro? What             about Manson, Bundy, Son of Sam?             Why imitate two high school loser-             ass dickheads - 1 knew the guys.             Stu was a wussy ass wet rag and             Billy - jesus - what a rat-looking             homo-repressed, mama's boy.      Suddenly the newsvan door RIPS OPEN, a GHOST MASKED   FIGURE lunges out grabbing Randy by the neck. The move   is quick and precise. A hard yank and Randy is wrenched   back into the newsvan. The door SLAMS shut.         ON DEWEY AND GALE      As they run back to the newsvan. SIRENS are heard in   the distant. Gale races up to find Randy nowhere.                          GALE             Randy? Randy? Where did he go?      Dewey circles the van as Gale moves to the sliding side   door. She tears it open as...      RANDY'S BODY FALLS OUT. Blood everywhere. His throat   slit.      Gale's SCREAM is heard all over campus.                                                  CUT TO:         EXT. CRIME SCENE - NEWSVAN - LATER      Yellow tape has been placed around the newsvan. People   have gathered as Randy's body is taken out on a   stretcher.      Captain Tyler and Sheriff Hartley share frustrated   faces.                          SHERIFF             He's broken his pattern.                          CAPTAIN TYLER             They've broken their pattern.                          SHERIFF             You're sure about this two person             thing?                          CAPTAIN TYLER             Broad daylight, a crowded movie             theatre. This is too much fun for             one person.      Different UNIFORMS whirl by.                          SHERIFF             I would say we are now officially             baffled.                          CAPTAIN TYLER             On national television.      Sheriff Hartley looks up as REPORTERS flock them,   surrounding them in questions.                                                  CUT TO:         INT. LIBRARY - RESEARCH COMPUTER ROOM - LATE AFTERNOON      A room of the library sectioned off exclusively for   computer use. It consists of thirty to forty cubicles   that house computer terminals. Every cubicle is full.   The place is packed.      Sid sits at a terminal busy at work. Her two police   guards wander up and down the cubicles keeping an eye   out.         CLOSE ON SIDNEY      Her face appears concentrated, focused. She scans the   computer screen in front of her.         ON THE MONITOR      Sid is typing feverishly. Suddenly, her screen starts   flashing and BEEPING, freezing her words.         ON SIDNEY      Confused, she tries to make it stop but it won't. She   leans back, turning to the GUY next to her. A handsome   young man.                          SIDNEY             Excuse me? Did your computer just             freeze?      The guy leans over and takes a look at Sid's monitor.                          GUY (CONT'D)             You have an instant message, that's             all. Just hit ALT M.                          SIDNEY             I'm not signed on.                          GUY             Someone here in the room. All the             terminals are connected.      The guy returns to his own computer. Sidney eyes the   screen suspiciously. She hits ALT + M. A message pops   up on the screen.      "YOU'RE GOING TO DIE TONIGHT."      Sidney freaks. A muffled CRY. She shoots up, looking   about the crowded room. He could be anywhere. The two   guards take notice, rushing over to her.                          SIDNEY             He's here. He's in the room right             now.      She points to the screen. The men instantly break up   and cover the room. They start pulling people from   their terminals to check their screens.      Sidney backs away from her screen, her terror growing.      Suddenly, it starts flashing and BEEPING again. She   looks around. She slowly moves toward it, drawn   uncontrollably. She hits ALT + M. Another message pops   up:      "THE POLICE CAN'T SAVE YOU."         CLOSE ON SIDNEY'S FACE      It's stone pale. She takes a deep breath and begins to   type.         ON THE MONITOR      The words "FUCK YOU" appear. Sid hits "SEND".         INT. CAMPUS SECURITY STATION - PRIVATE OFFICE - LITTLE   LATER      Captain Tyler and Sheriff Hartley are drilling a very   subdued and cool Cotton.                          COTTON             What better alibi could I have? I             was here in custody.                          CAPTAIN TYLER             Maybe you don't work alone.                          COTTON             Yeah, that's it.                          SHERIFF             Why did you attack Sidney Prescott?                          COTTON             There was no attack, we were             talking. Very heatedly. Miss             Prescott and I have a very             complicated past. That's no crime.                          CAPTAIN TYLER             And the gun?                          COTTON             I have a permit. It's registered. I             have a legal right to carry it.                          SHERIFF             Why do you need a gun?                          COTTON             Gentlemen, your growing hysteria is             not reason enough to hold me here.             I've been down this road before.             And unless you're going to charge             me with a crime I'd like to walk             outta here. I have an interview at             6:00.                                                  CUT TO:         INT. CAMPUS SECURITY STATION - OUTER OFFICE      Gale sits at a table. Dewey approaches. He places a   hand on her shoulder. They're both at a loss.                          GALE             Where's Sidney'?                          DEWEY             She's safe.      Silence.                          DEWEY (CONT'D)             How you doin?                          GALE             Not good. How you doin?                          DEWEY             Not good.      Just then, the Sheriff and Captain emerge from their   office. Cotton is escorted out behind them. Gale moves   to him.                          DEWEY             Can't we hold him?                          CAPTAIN TYLER             No, we got pressure from California             State. The man practically has             clemency. We can't run the risk of             falsely accusing him. He has to be             standing over the victim with knife             in hand before we make a move.                          DEWEY             What now?         ON COTTON      He stands at a counter, signing forms. Gale approaches.                          GALE             What's going on, Cotton?                          COTTON             You know the story, Gale. Man             falsely accused, sent to prison,             proved innocent, released back into             the real world and never trusted             again. Want the exclusive?                          GALE             Did you do it?      She looks him dead in the eyes.                          COTTON             Now, Gale, you were so instrumental             in my freedom. You're not having             character doubts now, are you?                          GALE             You have a right to be angry.                          COTTON             No, Gale, I don't have any rights.             You made sure of that.                          GALE             Cotton, I've done nothing but help             you.                          COTTON             You've done nothing but get rich             off of me. How many books have you             sold, Gale? You think I don't             understand points and royalties and             ancilliary rights?      Just then, the OFFICER behind the counter brings him   his gun in a plastic bag. Cotton takes it out and   checks it over. Gale is surprised to see the gun.                          GALE             Don't do anything stupid, Cotton.             You've come to far.                          COTTON             Gale, I don't know what I'm doing             from one moment to the next. I'm             just taking it as it comes.      Cotton pockets the gun and heads out. Gale rejoins   Dewey and the others.                          CAPTAIN TYLER             Night's coming. I think its time to             beef up security on the Prescott             girl.                          GALE             Where is she?                          SHERIFF             She was just escorted to her dorm             room.                          DEWEY             Is she safe there?                          CAPTAIN TYLER             We're going to bring her in. Hide             her out for a coupla days. And             we're issuing a campus lock-in this             evening. No one is allowed out             after dark.                          DEWEY             That doesn't work, sir.                          GALE             You're just isolating people.             You're giving the killer a blank             canvas.                                                  CUT TO:         EXT. CAMPUS - NIGHT      Day turns to night and college life comes to a deadly   stand still as everyone observes the imposed campus   restrictions.         EXT. SIGMA PHI EPISILON - NIGHT      The fraternity house sits dark and quiet. A YOUNG MAN   walks up the walk to the front door. He TAPS on it   three times and it quietly opens as he's ushered in.         INT SIGMA PHI HOUSE - NIGHT - SAME      The young man makes his way down a long hallway, down a   spiral staircase, through a thick basement door and   into...         A RAGING PARTY      Music peels paint as YOUNG COLLEGE STUDENTS rock to   deafening tunes. A row of kegs line one wall as a the   party gears up for a drunken night ahead.      Derek is seen with his video camera. He's filming Lois   and Murphy. They talk into the camera. Both tipsy   chatty.                          LOIS             It's all about sisterhood.             Everybody thinks its about partying             and blowjobs but...                          MURPHY             ... we only promote safe rubbered             sex.                          LOIS             ... it's really about family and             tradition...                          MURPHY             ... harmonica style is okay.                          LOIS             I just love being a sister.      Mickey approaches as Derek finishes up.                          DEREK             Thanks, ladies.      They take off to the kegs.                          MICKEY             Are they aware of your not so             positive portrayal of Greek life?                          DEREK             Not one bit.                          MICKEY             Where's Sid?                          DEREK             She dumped me.                          MICKEY             No way.                          DEREK             Yeah.                          MICKEY             You freakin?      Derek shrugs. He's clearly upset by it when from out of   nowhere, SEVERAL FRAT BOYS appear, picking Mickey up,   lifting him over their heads. Everyone starts CHEERING   and CLAPPING.                          FRATERNITY JOCK             He lavaliered. He's dead.      They carry him around the room, CHANTING. The frat boys   abduct Mickey, taking him up the stairs and out sight.   Others lookie loo's follow. Derek grabs his camera and   bolts.                                                  CUT TO:         INT. SIDNEY'S DORM ROOM - EVENING      Sidney is trying to focus on homework while Hallie   channel surfs. She finds a channel. On screen, Siskel a   Ebert are reviewing a movie.                          EBERT                   (from TV)             I enjoyed its clever execution...                          HALLIE             We're missing the Sig Ep party.                          SIDNEY             No, Hallie, not tonight. Parties             and mass murderers don't go             together. Trust me.                          HALLIE             No, no, I hadn't planned on going,             it's just Mickey will be pissed.      Hallie clearly wishes she were there.                          SISKEL                   (from TV)             It was just an excuse to kill             young, big breasted girls. I didn't             like it.      They're reviewing STAB. Hallie switches channels.   There's a KNOCK on the door. Sid answers - it's Dewey   and Gale. From the look on their faces...                          SIDNEY             Someone else has been killed.                                                  CUT TO:         EXT. DELTA ZETA HOUSE - BACK YARD- LITTLE LATER      SPLAT! Gobs of gooey food goes flying through the air   exploding perfectly all over...         MICKEY      Who stands buck naked, tied... chained to a tree in the   back yard. The yard is crowded with FRAT BOYS and   SORORITY GIRLS who delight in torching him. Mounds of   syrup, eggs, and other wet and slimy food is plunged   upon him.                          FRATERNITY JOCK             Who do you love?                          MICKEY             Hallie.                          FRATERNITY JOCK             Did you say "My TKE brothers"?                          MICKEY             No, I said Hallie.      More food and slime come barreling at him. A drunk Lois   and Murphy pull the police tape down from the previous   night's crime scene and begin to Mayflower him. The   crowd goes crazy.         INT. SIDNEY'S DORM ROOM - NIGHT      Hallie consoles Sidney. Dewey and Gale nearby. Sidney   is a stone rock. It's frightening to watch her hold it   together.                          SIDNEY             I'm fine. I wish people would stop             treating me like glass. I'm not             gonna break.                          HALLIE             It's okay to break, girl. You             shatter if you have to.                          SIDNEY             I'd really just like to be alone.                          DEWEY             The police are waiting outside.             They're going to take you somewhere             safe.                          SIDNEY             Dewey, there's no such place.                          DEWEY             Humor me, Sid.      Sidney starts packing an overnight bag.                          HALLIE             Can I come with her?                          SIDNEY             No, Hallie, I'm not gonna take you             down too. I'll be alright.                          GALE             Sid, I'll come with you.                          SIDNEY             But who would operate your camera?      A burn. It comes out of nowhere. Gale goes silent. A   KNOCK at the door. Dewey opens to find a Police guard   standing with Joel.                          SIDNEY (CONT'D)             He's cool, Remy.      Joel is ushered in. He says his hello's, moving to   Hallie. Gale and Dewey move out into the hall with the   guards. Sid continues to pack. Her face rigid.                          JOEL             They got Mickey. He's being toasted             at the Deltas.                          HALLIE             I knew it. Shit! I gotta get over             there.                          JOEL             We're under quarantine.      He points to Dewey who talks to Gale in the hallway.                          HALLIE             I'm the only one who can cut him             down.                          SIDNEY             It's not a good idea, Hallie.                          JOEL             I'll go with her.                          HALLIE             Be safe, girl.      She gives Sidney a hug before she can object, then she   and Joel race out into the hallway as Dewey sticks his   head in.                          DEWEY             Sid, you should get going.      He looks at Joel and Hallie.                          DEWEY (CONT'D)             Where are you two headed?                          JOEL                   (instant cover)             Hallie forgot her footage at the             film dept. I'm gonna walk her over             before it's gets too late                          DEWEY             You really...                          HALLIE             I gotta have it, Dewey.      Gale steps in.                          GALE             Hey, Dewey?                          HALLIE             Seeya, Dewey.      Hallie and Joel race outta there before any more   objections. Dewey turns to Gale.                          GALE             If you were truly a copycat,             wouldn't you want to emulate             everything about the killer that             you could?                          DEWEY             Meaning?                          GALE             He's already gotta be a part of             Sid's life. What do you know about             this Derek?                          DEWEY             Solid alibis. He was with Sidney             when she was attacked.                          GALE             Billy had alibis too.      Dewey turns to Sid who now stands ready in the doorway.                          DEWEY             Hey, I got stuff to do. But I'll             find you later, okay.                          SIDNEY             Whatever.      Sidney's exterior keeps hardening.                                                  CUT TO:         EXT. DELTA ZETA HOUSE - BACK YARD- LITTLE LATER      Mickey is still tied to the tree. He's so completely   covered in hardened gook it looks like he's wearing   clothes. The last of the crowd has left. They've gone   back to the party. He stands shivering in the cold.      He checks the chain that holds him secure. It's   composed of several bike locks and steel twine. He's   not going anywhere.      BUMP! He hears a noise. He looks to the nearby shrubs   and beyond. Nothing. Just a noise of the night.                          MICKEY                   (whispering)             Come on, Hallie, baby...                                                  CUT TO:         INT. DEREK'S DORM ROOM - LATER      A dark room. A slight disturbance at the door and it   comes popping open. Light from the hall floods the room   as Dewey and Gale slip in and close the door behind   them.                          GALE                   (checking door)             You broke the lock.                          DEWEY             You broke my heart.                          GALE             What are we looking for?                          DEWEY             A bloody knife. A ghost mask.             Something like that?                          GALE             Can we turn the light on?                          DEWEY             That's not the way it's done.      Dewey pulls out his flashlight and begins to search the   room. He sifts through drawers and a closet.                          DEWEY             And it's sexier in the dark.                          GALE             Dewey, you and I would never make             it.                          DEWEY             Maybe not. But think about the sex.             As frustrated as I am...                          GALE             ... and as lonely as I am...                          DEWEY             We'd break some furniture.      Gale LAUGHS at this. She reaches over and pats his   buttock.                          GALE             Tell you what. We get through this             one. And we'll take out a hotel             room. Over here with the light.      Dewey points the light to a framed picture. It's of   Joel and Derek - a buddy pose. She sifts through some   text books on the desk.                          DEWEY             They're roomates.                          GALE             And Joel's pre-med.                          DEWEY             The sorority girl was gutted with             autopsy precision.                          GALE             Shit! It's both of them. The first             murders were to throw us - using             the same names as Woodsboro. But             they've moved on - they're getting             closer to Sidney. They're not             looking for a Himbry or a Tatum to             kill. They're looking for the new             Tatum.                          DEWEY             Hallie?      A moment. Then in a splash, they're outta there.                                                  CUT TO:         EXT. RESIDENTIAL STREET - MINUTES LATER      A squad car makes it's way down the quiet campus   street.         INT. SQUAD CAR - SAME      Sidney sits in the backseat. The two police officers   ride in front.                          SIDNEY             Where are you taking me?                          POLICE GUARD #1             Actually, I don't know.                          POLICE GUARD #2             We're meeting another car that will             transport you the rest of the way.                          POLICE GUARD #1             Safety precautions.                          SIDNEY             I feel like Eddie Murphy.      The car comes to a halt in front of a stop light.                          POLICE GUARD #1             We feel like Kevin Costner.      Sidney smiles at this just as the car door rips open on   the passenger's side. Two hands reach in and yank   Police Guard #2 from the car. He starts to CRY OUT but   it's cut short.      Sid SCREAMS as the Police Guard behind the wheel   struggles with his seat belt. He looks up to see a   Ghost Masked Figure move around the side of the car   towards his door. He reaches for his gun but it's too   late. The Ghost has the door open.      A flash of silver and the Police Guard's throat is   slit.         IN THE BACK SEAT      Sidney SCREAMS and SCREAMS, BEATING on the door of the   car. It won't open. She's trapped like a caged animal.         IN THE FRONT SEAT      The Ghost pulls the Police Guard from the car, then   gets in, behind the driver's seat. The Ghost puts the   car in drive and takes off down the road.      Sidney looks behind her as the guard's dead bodies lay   sprawled in the middle of the road. She turns to the   door, BEATING and CLAWING at it. She leans back, manic,   and KICKS at the window with her feet. No use.         EXT. CAMPUS DRIVE - SAME      The car makes its way down the deserted street         IN THE BACKSEAT      Sidney is beyond frantic. She eyes the Ghost through   the gate. She turns and twists looking for an escape.   Through the window, she sees approaching headlights.   She SCREAMS through the closed window as a car passes   by.      Sidney takes notice as the car turns onto another   campus street. Big, stone school buildings line each   side of a thin, road.      She eyes the Ghost through the rearview window. The   white masks turns as hidden eyes bore through her. The   Ghost hits the gas, picking up speed.      Sidney looks to the book bag on the seat beside her.   She rips it open, rustling through it frantically. She   pulls books, pencils, paper... Sid grabs a long, yellow   No.2 pencil. She grips it hard, looking to the metal   grate just behind the driver's seat. The Ghost's neck   is right up against it.      Sid takes the pencil and positions it right behind the   Ghost's head, ready to attack.      Without pause, Sid RAMS the pencil through the grate,   into the Ghost's neck. It lodges there as the Ghost   falls forward in pain, losing control of the wheel for   a moment.      The car jumps the curb and SLAMS against a building.   The Ghost yanks the wheel, over correcting. He tries to   bring it back to the road but doesn't see the lamp post   that stands directly in the car's path.      The Squad car makes direct contact with the lamp post,   SLAMMING into it, bringing the car to a CRASHING HALT,   lodging it agaisnt the building's stone exterior.      Smoke rises from a bashed engine as it emits a fatal   rumbling.         INSIDE THE CAR      All is still. In the backseat, Sidney rises from the   floorboards. She looks up to see the Ghost Masked   figure slumped over the steering wheel. Out.      Sid quickly pulls herself together, looking about,   sizing up her options. She tugs on the door handle. It   won't budge. She looks to the passenger's side of the   car. It's flush against the building.      Then she notices the metal grate. The edge has been   pried apart in the crash. Sidney reaches for it,   pulling on it, bending it backwards...      CREAK!      Sid tries to stifle the noise it makes, all the while   eyeing the Ghost who remains unconscious. She creates   an opening large enough for her to crawl through. She   lifts herself up and pulls herself through to the...         FRONT SEAT      Sid falls down into the seat, her eyes never leaving   the Ghost. She lay crumpled up against the smashed   passenger's door, the only sound is her own TERRIFIED   BREATHING. She watches the Ghost Masked Figure. His   body doesn't move. She contemplates her next move.      The only way out is through the driver's door.      After what seems an eternity, she slowly reaches over   with her foot and nudges the Ghost. No movement.   Nothing.      She slides across the seat towards the Ghost, moving to   his side. She reaches with her hand and pushes on the   Ghost's shoulder. His body moves, slumping back against   the back of the seat. It clears space for her to pass   through.      She sits up on her feet, facing the Ghost. With her   leg, she reaches over him, straddling him. She leans   against the steering wheel, her arm quickly reaching   for the door knob.      HONK!      Her back brushes against the horn. Sid TENSES, her face   a little more than a foot from the Ghost Mask. He   doesn't move. He's completely out cold. Sid pushes the   car door open and starts to slide completely over the   Ghost when she stops.      She looks to the Ghost.         CLOSE ON HER FACE      As she fights with a decision. Then, with a fierce   determination, Sid reaches for the Ghost Mask. She   finds the edge and begins to peels the Mask away   when...         THE GHOST COMES TO LIFE      Lunging forward. Sidney SCREAMS, leaping, falling out   the car door.         OUTSIDE THE CAR      BAM!      Sid hits the pavement hard. She lifts herself up when   her entire body is YANKED VIOLENTLY BACKWARDS.      The Ghost has hold of her foot, pulling her back into   the car. Sidney KICKS and WRITHES breaking free. She   hops to her feet as the Ghost emerges from the car.   Sidney SLAMS the car door shut. It catches the Ghost,   knocking him backwards.      Sid tears off, down the street, running, burning up the   pavement.                                                  CUT TO:         EXT. FILM SCHOOL - MINUTES LATER      The film school sits in the still darkness.         INT. HALLWAY - SAME      Dewey and Gale move down a dark and shadowed hallway.   THUMP! They stop cold.                          GALE             Ssshh! What was that?                          DEWEY             Let's find out.      Dewey keeps moving.                          GALE             This is all too familiar.                          DEWEY             Over here.      Dewey has lead her to a door marked "LECTURE HALL".         INT. LECTURE HALL - SAME      The same room seen earlier. A large, rounded room with   three levels of seats that shoot straight up to the   ceiling. A podium stands center. Video monitors hang   from the ceiling in different places around the room.      Dewey and Gale enter. If not for the red EXIT SIGNS   that hang over the exit doors, the room would be   completely dark.      They move down the first level of chairs to the   lecturn.                          GALE             Maybe they never got here. He could             have taken her anywhere.                          DEWEY             C'mon. Let's go.      CLICK! STATIC! A noise from above takes their   attention. They looks up as a video monitor comes to   life. Images appear.         CLOSE ON MONITOR      Home-made video footage fills the screen. A movie   theatre, people standing in line. The home camera ZOOMS   in to a YOUNG COUPLE. Maureen and Phil come into view.         ON DEWEY AND GALE      Gale watches the screen as Dewey looks around the room,   searching for it's source.      CLICK! Another monitor comes to life. More home shot   video footage. This time of a big house. A closer look   reveals it to be the Chi Omega Sorority House. A young   girl stands on the front porch talking on a portable   phone. It's Cici.         ON GALE AND DEWEY                          GALE             Jesus Christ!                          DEWEY             He filmed his victims.      CLICK! ANOTHER MONITOR TURNS ON.      It's Randy standing outside the newsvan with the   cellular phone to his ear.      CLICK! Another monitor turns on. It's of a man and   woman back to the camera. The couple move in frame. It   becomes apparent quick. It's Gale and Dewey. As they   stand in the room - live. They're being taped.         CLOSE ON DEWEY AND GALE                          GALE             Shit!      Dewey spins around. He reaches for the gun he no longer   carries.                          DEWEY             Dammit!      He looks around the room, up to the two levels above   them. He spots a small light on the second level. He   squints his eyes and sees a FIGURE standing behind it.                          GALE             Let's go.                          DEWEY             No, wait here.      Dewey hands her his flashlight and takes off for the   stair rise that leads to the upper level.                          GALE             No, Dewey, let's call for backup.      But Dewey is gone, leaving Gale alone. She turns to the   monitor to see her face in fear-stricken CLOSEUP.         ON THE UPPER LEVEL      Dewey moves fast, limping his way to the level's edge.   He approaches the railing and makes his way around to   the shining light.      He reaches it, finding nothing but a camera and tripod.   It sits alone against the railing. Dewey surveys the   second level. Empty seats everywhere. Completely bare.      Dewey looks down to the main floor... to Gale who looks   up to him.                          GALE             Dewey?                          DEWEY             There's nothing. I'm coming down.      Dewey turns to leave, his eye catching a monitor that   hangs level with the railing. On the monitor, Gale is   in frame, looking up at Dewey, her face fear stained.   She takes a step forward, moving out of frame,   revealing         THE GHOST      Who stands right behind her. Dewey looks down to see   the Ghost standing directly behind Gale.                          DEWEY (CONT'D)             Watch out!         DOWN BELOW      Gale turns just in time to see the gleam of a killer's   knife as it darts out of the darkness. Gale catapults,   just dodging it. She moves like lightning up the aisle   of seats.         UP ABOVE      Dewey races for the stairs, going as fast as his   handicapped leg will allow.         DOWN BELOW      Gale tears out the exit door, the Killer right behind   her.         AT THE LECTURN      Dewey arrives, searching, looking for Gale.                          DEWEY (CONT'D)             Gale!      He eyes the exit door as it slowly closes. He moves for   it.         INT. CORRIDOR - SAME      Gale races down the hallway, eyeing the nearest door.   She tears it open, disappearing into...         INT. SOUND STAGE - SAME      Gale finds herself in the student studios. She stands   in a huge control booth that overlooks a dubbing stage.   Lots of glass walls and doors. It has a maze quality.      Gale moves out a side door and into a dubbing room.   Darkness everywhere Gale stops for a second, listening   as she main door CREAKS open. And then FOOTSTEPS are   heard, making their way towards her.      Gale proceeds deeper into the studio. She moves into a   sound proof room and closes the door. Not seeing the...         GHOST FIGURE      That stands behind her. She turns around and SCREAMS.   She starts out, but then realizes he's standing in the   control booth. She's protected by a clear, large,   plexiglass window that wraps around the room. The ghost   moves out the side door, heading her way. He disappears   out of view. Gale freaks. She races to the door, trying   to secure it. There's no lock.         AT THE MAIN DOOR      Dewey slips through quietly, trying his best to be   quick on his toes. Through the control booth window, he   immediately spots Gale.         INSIDE THE DUBBING ROOM      Gale looks for objects to block the door with. She   drags a shelf of sound equipment towards the door.         OUTSIDE THE DUBBING ROOM      Dewey moves to the window.                          DEWEY             Gale! Gale!      She doesn't hear him. The room is sound proof. He BEATS   against the glass. Still, she doesn't turn to him.         INSIDE THE DUBBING ROOM      Gale shoves everything she can find against the door,   not seeing or hearing Dewey as he POUNDS against the   sound proof barrier behind her.      She also doesn't see the Killer that appears behind   Dewey. He moves on him swift and focused.         INSIDE THE DUBBING STAGE      Gale can't take her eyes off the door. Her face is   terrified. If she'd only turn around, she would see   Dewey - his face terror stricken as a knife is hurled   into him repeatedely. With each thrust, blood is   splattered against the glass.         IN THE CONTROL BOOTH      Dewey SCREAMS for his life, caught completely off   guard. He falls forward onto the control panels.   Suddenly, microphone feedback tears through the studios   as Dewey's CRIES are heard throughout the stage.         IN THE DUBBING STAGE      Dewey's DEATH SCREAM rips through the room.      Gale turns to the window to see Dewey, his face smashed   against it, blood smeared across the glass. She moves   to the window, her face only inches from his. A moment   as their eyes meet. Dewey's life is near gone. His eyes   reveal it.      Gale BEATS against the glass window.                          GALE                   (through tears)             NOOOOOOO!      Dewey's body slides down, out of view. Gale is   mortified. She looks to the Killer who has already made   his way through the control booth. He's coming for her.   She races to the door, throws the things away.      She manages to pull the door open just enough to slide   through. And she's off and running.      Gale finds a door and plows through it, stopping only   long enough to lock it.      BAM! The Ghost RAMS it from the other side but it   holds. Gale surveys her surroundings. She's in a   storage room. She eyes another door. She moves through   it and out into...         THE HALLWAY      Gale shoots down it.                                                  CUT TO:         EXT. CAMPUS STREET - SECONDS LATER      Sidney races down the deserted street. Not a soul in   sight. She reaches a corner, moves off the road and   passes through a series of trees and shrubs, coming out   onto...         EXT. SORORITY ROW - SAME      The houses have long since gone to sleep. The Delta   Zeta House stares at Sidney. Lights burn from within.   Sid goes for it.         EXT. DELTA ZETA FRONT PORCH - SAME      Sid makes her way up the front porch. She POUNDS on the   front door, SCREAMING her lungs out.                          SIDNEY             SOMEBODYPLEASEOPENUPSOMEBODY!      Sid wastes no time, she moves along the wraparound   porch, beating at the windows. But nothing. Everybody   is off partying. Suddenly, Sid hears something. A   WHIMPERING. She turns to find Murphy and Lois, laying,   strewn across the end of the porch. Passed out.      Sid runs to them.                          SIDNEY (CONT'D)             Oh God, help me. We have to call             the police.      Sid kneels over Murphy, shaking her. Murphy's eyes open   and she GIGGLES. The girl is completely wasted. She has   no comprehension skills at all.                          SIDNEY (CONT'D)             Do you have keys? I need to get             inside.      Sid looks to Lois. She's in worse shape.                          SIDNEY (CONT'D)             Shit!      Sid contemplates, not knowing what to do. She leaves   them, moving down off the porch and around to the back   of the house. She gets to the back door, tries it. It's   locked too.      Sidney checks out the yard. Off to the side, she spots   a big tree with a...      BODY, lying next to it in a heap on the ground She   moves toward it.      As Sid approaches she sees clearly that it's Mickey. He   lay on his side, curled, knees to chest, his arm still   chained to the tree.                          SIDNEY (CONT'D)             Mickey? Mickey?      A look of dread creeps across her face. He lay there   very much dead.                          SIDNEY (CONT'D)             Oh God, no, Mickey...      She kneels over his body just as it stirs, lifting up,   rising. Mickey's face comes into view, coated in dried   funk, his eyes wide.                          MICKEY             Sid? Jesus, where's Hallie? I've             been here all night.                          SIDNEY             Listen to me. We've got to get             help. The Killer's here.                          MICKEY             What are you talking about?                          SIDNEY             He's after me.      Mickey pulls on his chained arm.                          MICKEY             Shit! You've got to cut me down,             Sid.      Sid inspects the chain. It's meant to hold.                          SIDNEY             I'll be right back.                          MICKEY             Where you going?      Sidney moves to the shed that's attached to the garage.   Leaning against the side are a row of garden tools. Sid   settles on a shovel.      Sid returns to Mickey who has risen to his feet. He's   pulling and twisting the bike chain that binds him.                          SIDNEY             Watch out.      Sid lifts the shovel up and brings it down directly on   the lock. It bends somewhat but stays in tact.                          MICKEY             Do it again.      CLANK! A noise behind them. They both spin around   peering into the night.                          MICKEY (CONT'D)             What was that?                          SIDNEY             Don't panic.      Sidney, determined, raises the shovel high and brings   it down with great force. It CRACKS the lock, loosening   it.      Mickey pulls on it. It won't quite give.                          SIDNEY (CONT'D)             Watch out.      Sid raises the shovel again, unfaltering. She doesn't   see the Ghost Masked Figure that slides down from the   tree branch behind her. The Figure moves quickly and   gracefully, coming to a stance directly behind Sid.      Mickey looks up, just in time.                          MICKEY             SIDNEYWATCHOUT!      Sid turns just as the Killer strikes. But Sid is ready.   Without thought, she swings the shovel at the Ghost,   catching his mid-section, sending him flying.      Mickey goes ballistic chained to the tree. He pulls,   twists, squirms... anything to free himself.      The Ghost rises, moving on Mickey. Sidney sees this.                          SIDNEY             Hey.      Sidney distracts the Ghost. She takes off, the Ghost   following her. She moves around the tree, sprinting   across the yard, running smack into...         THE GHOST MASKED KILLER      But Sidney spins around as two Ghosts appear on each   side of her. She stands THUNDERSTRUCK as the two   Killers descend on her. She dives between the two but   they counter, keeping her surrounded.      Sid watches as one of the Ghosts withdraws his knife.   She turns to the other. His knife is already poised.   They close in on her, ready to strike.      She looks for an escape. There's not one. BAM!      Suddenly, Mickey appears, barreling into one of the   Ghosts. They go sprawling across the grass.                          MICKEY             Run, Sid...      Sidney makes her break, she runs passed them, towards   the front of the yard.      Mickey leaps to his feat. The Killer right behind him.   He now finds himself in Sid's predicament. He doesn't   know where to run. The two Killer's close in on him.      Sidney gets to the corner of the house. She stops...   she doesn't want to leave Mickey. She turns back around   just in time to see...      Mickey sandwiched in between the two Ghosts. They're   knives strike at the same time. One through the   stomach, the other through the back. They withdraw   their knives. Mickey's body suspends, momentarily   hanging in the air. Then collapses to a heap on the   ground.      Both Ghosts turn to Sid at the same time. She takes off   running, along the side of the house, through a row of   shrub that take her to...         EXT. STREET - SAME      Sid is back on the campus street, running down the   middle of it.      She spots a car stopped at a red light half a block up.   KIDS are inside, rock music BLARES. Sid SCREAMS and   SCREAMS but they don't hear her. She runs, feet   pounding, toward them but the light turns green and the   car takes off. It's taillights fading in the night.      She turns finding herself alone in a parking lot. The   theatre sits in the distance. She spots someone   entering the theatre. It looks like Hallie.                          SIDNEY             Hallie?      But Hallie doesn't hear her. Sid races forward.                                                  CUT TO:         EXT. CAMPUS MINUTES LATER      Gale races down the empty campus street. She eyes an   emergency phone that's attached to a street lamp. She   goes for it.      Gale rips the phone from its cradle, presses the CALL   button.                          VOICE                   (from phone)             What is your emergency please?                          GALE             Someone's trying to kill me. I need             the police.                          VOICE             Are you in danger now?                          GALE             Yes, goddammit!                          VOICE             Where is your attacker?                          GALE             I don't know.                          VOICE             Stay under the safety light. Help             is on its way.                          GALE             The safety what? Fuck that!      Just then, Gale hears a NOISE. A door opening. She   looks up to see Sidney disappear through the side   theatre door.                          GALE             SIDNEY!      But Sidney has already disappeared inside. Gale yells   into the phone.                          GALE (CONT'D)             Fuckin' hurry.      Gale throws the phone down and tears off for Sidney.         INT. THEATRE SAME      The theatre is big and old. Plush chairs, balcony, huge   proscenium stage.      Sidney enters through a side house door. She pulls on   it, releasing the emeregency lock. She makes her way   down the aisle toward the orchestra section.                          SIDNEY             Hello?      The stage is dark and bare with the exceptions of the   furniture from the DEATHTRAP set. BUMP! A noise from   the stage wings.                          SIDNEY (CONT'D)             Hallie?      Sidney moves down front to the little bridge that   extends out over the orchestra pit. She crosses it and   moves to stage center, peering into the wings on either   side of her.      Complete darkness.      DRIP! DRIP!      Something drips down from above and onto Sidney. She   wipes it from her face when...      CLICK! A spot light turns on from the back of the   house, illuminating Sid center stage. She jumps at   this, unnerved. She looks to her hand, covered in   crimson. Then out to the house... the light is   blinding.      CLANK! A NOISE from above..ropes, pulleys moving. Sid   looks up as a set wall comes PLOWING down at her. She   leaps out of the way, falling to the floor.      The wall falls into place on the stage. It is the back   wall of the set that's dressed with framed pictures and   antique weapons and...         DEWEY      Who hangs from it, pinned up against the wall, very   much deadk, arms outstretched, crucified. His body a   bloody mess. Sidney stops, stunned. She stands frozen   in unspeakable horror. Her entire being ripped apart.   She breaks into tears. And then...      Sid backs up, moving, racing toward the wings when   another wall flies in, sealing the backstage area off,   trapping her. She looks in shock at...         HALLIE      Strung up, her body hanging lifeless. Sid SCREAMS,   turning, running to the other side of the stage when a   third wall comes flying in, creating the three walled   set of DEATHTRAP.      Attached to it, is the body of Joel. Dead. Blood   everywhere. And then, Sid hears...      CLAPPING!      A single pair of hands from somewhere in the house...   applauding. She turns around and spots a FIGURE moving   down the aisle. She can't make out who it is.      Sid bolts. She spots the set door up center, near   Dewey's body. She goes for it, ripping it open to   find...         COTTON WEARY STANDING IN THE DOORFRAME      Sid SCREAMS. But then sees his face, he looks scared.   And then, Cotton's body falls forward to the floor, his   arms and legs bound by electric tape.      Sid turns back to the front of the stage. The Figure is   now walking across the bridge, holding something... a   light attached to a video camera. She's being filmed.   Sid looks back to Cotton who looks up to her with   pleading eyes.                          COTTON             Quick, untie me.      Sid is paniced. She doesn't know what to do. She leans   down to untie him but stops.                          VOICE                   (from behind video                   camera)             You've seen this movie before,             haven't you?      Sidney looks to the voice. The camera is pulled away to   reveal...         DEREK      He smiles at her.                          DEREK             Smile for the camera.      Sidney remains silent.                          COTTON             Sid, c'mon.      Side backs away from Cotton. She doesn't trust either   one of them. Derek watches her, amused.                          DEREK             Go on, untie him.                          SIDNEY             No. This is a set up.                          DEREK             That's quick.                          COTTON             Please, Sidney, he's going to kill             us.      Derek begins filming again.                          DEREK             You must be dealing with some             serious trust issues right about             now.      Sidney says nothing. She egdes away, moving to the wall   where Hallie hangs.                          DEREK (CONT'D)             Sidney, you can't keep your back to             the audience like that. Could you             cheat a little forward for me?                          COTTON             Please, Sidney.                          DEREK             You're really stumped, aren't you?             You know there's two killers but             you don't know who they are. I'm a             given. The boyfriend. Way obvious.             But now you're torn. Everyone else             appears to be dead. Except for             Cotton. Hmmm? Hmmm?      Suddenly, Hallie comes to life behind Sid, reaching   out, grabbing her. Sid JUMPS. She spins around to find   Hallie breaking out in a torrent of GIGGLES. Very much   alive.                          HALLIE             Paaaaiiin... yah, such pain... The             story of your life, Sid.      Sidney stares in mortal shock as Hallie cuts herself   down from the wall with a big hunting knife.                          DEREK             Need some help, honey.                          HALLIE             I got it..      Sidney's eyes go back and forth between the two.                          DEREK             You should really see your face             right now, Sid. It's doing some             freaky shit.      Derek's right. Sid's face appears completely tortured.                          HALLIE             Yeah, you look quizzical yet             pensive.                          DEREK             Yeah, how can we help? Do you have             any questions regarding the sequel             of your life?      Sidney stares them down. She's been here before.                          SIDNEY             Why?                          DEREK             Good question. You took the bait.                          HALLIE             Ever see NATURAL BORN KILLERS?             Well, Derek and I have this whole             Mickey/Mallory-Woody             Harrelson/Juliette Lewis thing             going on.                          DEREK             I really don't like that             comparison, honey.                          HALLIE                   (to Sid)             He hates Oliver Stone.                          DEREK             I find his work overwrought.      Sid is waning.                          HALLIE             C'mon, Sid, don't fade on us. We've             been planning this baby for a year.             Humor us.      Sid turns to Cotton. She kneels down and begins to   untie him.                          DEREK             Nope. You had your chance.      Derek dummy lunges at her with the knife. Sid backs   off.                                                  CUT TO:         EXT. THEATRE SAME      Gale approaches the side theatre door. She pulls on it.   It's locked.                          GALE             Shit.      She moves down along the theatre to another door.                                                  CUT TO:         INT. THEATRE A MINUTE LATER      Hallie and Derek move around Sid, taking turns filming   her with the camera.                          DEREK             We met on the internet.                          HALLIE             He sent me the cutest e-mail.                          DEREK             I read her postings on the horror             movie chat boards and fell             hopelessly. Hook, line...                          HALLIE             We have our own website now. We             dedicated a whole page to you.                          DEREK             You'd me amazed at how many of us             there are out there. It's a whole             world, Sid. You're really popular             amongst the demented.                          HALLIE             You're the one who got away.                          DEREK             Until now.                          COTTON             You guys are fucked.                          HALLIE             Actually Cotton, and I think             critics would agree, it's the other             way around.                          DEREK             Poor Cotton, could life be a little             more cruel?                          SIDNEY             You're not going to get away with             this.                          HALLIE             Of course not. Who wants to? What's             the point if we don't get caught?             Where's the glamour in that?                          DEREK             The way I see it. We'll be             arrested. Go to prison. Cash in on             the home footage. Secure a book             deal. If all goes as planned, our             trial should coincide with the             release of STAB II.                          HALLIE             A verdict and premiere all on the             same day. I love it.                          DEREK             We're hoping for the death penalty.             I have this whole DEAD MAN WALKING             swan song exit planned.                          HALLIE             And now, drum roll please...                          DEREK             Hope you're ready, Sid. We got one             last surprise for you.      Cotton pull and twists on his bound wrists. Sid had   loosened them somewhat. He tries to finish undoing   them.                          HALLIE             A twist ending if you will.                          DEREK             Yeah, we really had our work cut             out for us. It really is the curse             of the sequel. The Billy/Stu             thing's been done.                          HALLIE             ... so we had to be different but             yet the same because if you venture             to far away from your orginal story             you completely alienate the             audience...                          DEREK             And we didn't want to do that, Sid.             We wanted to give you your money's             worth.                          HALLIE             So we found a compromise.                          DEREK             Or it found us.                          HALLIE             We have a surprise guest star             waiting in the wings.                          DEREK             Just for you, Sid.                          HALLIE             Wait a sec, Derek. We forgot to             flip.      Derek reaches in his pocket for a coin.                          DEREK             Oh yeah.                   (to Sid)             We figure the one of us that             actually kills you will get a             little more press. It's been an             ongoing discussion.                   (to Hallie)             Heads or tails?                          HALLIE             Tails.      He flips the coin.                          DEREK             Shit! You win.         IN THE AUDITORIUM      Gale emerges from the lobby. She found a way in. She   eyes the proceedings on stage. She sees Sidney standing   over Cotton. And then Hallie and Derek on either   side... knives in hand. She races down the aisle.                          GALE             Sidney!         ON STAGE      They all turn, spotting Gale. Sid moves forward, happy   to see her.                          SIDNEY             Gale!         IN THE AUDITORIUM      Gale moves down the aisle, not sure what's going on.         ON STAGE      Sidney moves down center. Derek cuts her off just as...         THE CURTAIN DROPS      Gale glimpsed the terror on Sidney's face just as the   curtain separates them.         ON STAGE      Derek grabs Sidney, holding her, the knife at her   throat.                          HALLIE             It's about time she showed up.         IN THE AUDITORIUM      Gale moves to the exit door and into the...         INT. STAIR WELL SAME      Gale eyes a door that's marked "STAGE DOOR". She opens   it and steps in coming face to face with a...         A LARGE AUTOMATIC REVOLVER      Gale's eyes move down the end of the gun to find...                          DEBBIE SALT             standing, lips pursed.                          DEBBIE SALT             Hello, Gale, we've been waiting for             you.      Gale's face is a mass of confusion.         INT. STAGE SAME      Derek releases Sidney, shoving her, she falls to her   knees, next to Cotton.         CLOSE ON COTTON'S HAND                          SIDNEY             Okay, look, you guys - I applaud             your methodical expertise but I             have a question. What's going to             happen after I die? I thought the             heroine is supposed to live.                          HALLIE             Not this time.      Hallie moves in on her.                          DEREK             Yeah, we're trying to send a             message to Hollywood. I'm really             getting tired of all the happy             endings. It's just not reality. In             the real world the good guys die,             the innocent are punished, and the             murderers inherit the earth.                          SIDNEY             But nobody wants to see that. It'll             never go. They'll rewrite you. You             don't want that.                          HALLIE             Oh, Sid, you're sounding desparate.             I guess fearing death makes one             anxious.                          SIDNEY             You fucking freaked out movie nut             psychos...                          VOICE                   (off camera)             Don't blame the movies, Sid. Movies             don't create pyschos.      Sid stops dead in her tracks as these words still her   very soul. The Voice comes from the wings. They all   turn as Gale Weathers appears. Behind her, with gun in   hand, is Debbie Salt. Derek grabs the camera. He   doesn't want to miss a second.                          DEBBIE SALT             Don't you know that by now? It's             about family. It all starts at             home. It starts with the father...             and the mother.      Sidney mouth drops, her face aghast, as she looks to   Debbie Salt. She recognizes her immediately.                          SIDNEY             Mrs. Loomis?      Gale stops cold.                          GALE             What?                          SIDNEY             Oh my God.      Gale turns to Debbie Salt.                          GALE             Jesus. It can't be.                          HALLIE             Told you we had a guest star.             Didn't see that coming, did you?                          DEREK             Everything's taken on a hyper-             reality, hasn't it?                          GALE             You're Billy's mother?                          DEBBIE SALT             I couldn't believe you didn't             recognize me. You even interviewed             me for your book.                          GALE             You're all in this together?                          DEREK             We had to have financing.                          HALLIE             Tuition's expensive.                          SIDNEY             Why Mrs. Loomis?                          DEBBIE SALT             Where should we start? Your mother             ruined my marriage by sleeping with             my husband. You ruined my family by             killing my son. Gale aired it to             the world. Should I go on... isn't             that enough?                          GALE             Jesus, you're just as whacked as             your son.                          DEBBIE SALT             Where do you think he got it?             Mental illness is heriditary. Who             do you think incouraged him to kill             your mother? He was a smart kid but             children need parental guidance.      Sidney is completely horror stricken. She stands in   total disbelief.                          DEREK             Yeah, she's been great, Sid. We             never would have been able to it             without her.      Debbie Salt/Mrs. Loomis looks to both Derek and Hallie,   smiling.                          DEBBIE SALT             And I couldn't have done it without             you two. Now who won the coin toss?      Hallie raises her hand.                          HALLIE             I did.      Debbie points the gun at her, quickly, simply... and   FIRES. Sid and Gale SCREAM as a bullet through the   forehead sends Hallie flying back against the flat   wall. Her body drops to the floor. Dead.      Derek drops the camera, completely taken back. He looks   to Debbie.                          DEREK             What are you...      Debbie turns the gun on him. FIRES AGAIN. Derek moves,   the bullet catches him in the stomach. He drops to his   knees. Debbie FIRES again. Derek takes another bullet.   This time dropping. Very dead. His body falls near   Cotton who has remained suspiciously quiet through this   ordeal. He eyes Derek's knife that now lay near his   wrists.         SIDNEY AND GALE      Turn to Debbie in complete horror.                          DEBBIE SALT             Nice kids but a little out there.                          GALE             What are you going to do?                          DEBBIE SALT             Finish what my son started.                          GALE             But you'll never get away with it.                          DEBBIE SALT             Enter Cotton Weary.      Cotton looks up.                          DEBBIE SALT (CONT'D)             Think about it. An innocent man             wrongly accused. Spends time in             prison where he justs sits with his             righteous anger, waiting, planning             his revenge. His life so             incomprehensively ruined he's             forced to take revenge on the             people responsible. It's perfect.                          COTTON             No... not again.                          DEBBIE SALT             Sorry, Cotton. I guess you were             just meant to be a killer.                          SIDNEY             You'll never get away with this.      Debbie moves to Cotton, shrugging.                          DEBBIE SALT             Who would you like to shoot first,             Cotton?      Just then, Cotton leans up, freed from his bindings.   With the knife in hand, he lunges for Debbie Salt. It   strikes her, lodging into her chest. She goes back.   Cotton doesn't stop, he stabs her again and again. She   goes down. Dead.                          GALE             Thank God.      Gale rushes to Cotton as he jumps to his feet. She   helps him with the last of his bindings. Sid looks   about at the body count on stage. It's mounting. She   takes a deep breath. Relieved.                          GALE (CONT'D)             God, Cotton, what a nightmare. I'm             so sorry.                          COTTON             Yeah...      Gale gives him a hug.         CLOSE ON COTTON'S FACE                          GALE             Thank you.      He hugs her back. She doesn't see as he rises the knife   behind her, bringing it down in one swift, maniacal   move. Gale's body jerks, a moment of shock and then she   goes limp as the knife lodges in her back.      Sidney turns just in time to see Cotton toss Gale's   body down into the orchestra pit. He turns, facing   Sidney. The bloody knife in hand.                          SIDNEY             NOOO!      Cotton moves to Derek's body where the video camera   lay, he pulls the tape from it.                          COTTON             It's perfect, Sidney. No one will             ever suspect me. I have proof. I'm             the victim.                          SIDNEY             Please, Cotton, don't do this.      He holds up the video cassette. Murder in his eye.                          COTTON             I get my revenge and make some fast             cash.                          SIDNEY             It's over, Cotton.                          COTTON             Not until you're dead.      Cotton lunges for her. Sid tears off, slipping through   the set door to...         BACKSTAGE      Sid runs to the rear of the stage. She moves in the   narrow space that exists between the scrim and the back   wail. She races down it.      She almost reaches the end when COTTON RIPS THROUGH THE   SCRIM!      Sidney ducks, bypassing him. She comes to the stage   door. It's locked. She turns, seeing the metal ladder   that's attached to the wall. It leads to the catwalk   above.      Sid goes for it. She climbs up the ladder with   lightning speed.      Cotton, up and running, is close behind.         INT. CATWALK SAME      The catwalk sits above the open fly space where flats   and a large chandelier are stored in the air.      Sid reaches the top and takes off running down to the   ending.      AND THAT'S AS FAR AS I'VE GOTTEN.      WHAT HAPPENS IS SID AND COTTON FIGHT TO THE FINISH, HE   CHASES HER THROUGH HANGING FLATS, THEN DOWN THE FLY   RAIL, BACK TO THE STAGE. SID GETS FINDS A KNIFE AND   STABS COTTON.      HE STABS HER BACK. THEY FIGHT, CONTINUING TO STAB EACH   OTHER UNTIL THEY BOTH DROP CENTER STAGE. THEY LAY NEXT   TO EACH OTHER, NEITHER ABLE TO MOVE. THEIR EYES SLOWLY   CLOSE.            THE END (FOR NOW)	
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+Scream 3 - early draftEHREN KRUGER2nd DRAFT - REVISEDMAY 2, 1999FADE IN:A big dramatic crescendo as we --								OPEN ON:EXT.  HOLLYWOOD FREEWAY - SUNSET - AERIALFriday night traffic as usual. Things appear to be backed up all the way to the valley. A cacophony of car horns rise up on the soundtrack as we slowly DISSOLVE INTO:INT.  FORD EXPLORER - NIGHTA new 99' Explorer sits in the midst of the gridlock. Behind the wheel is hot teen heartthrob and Hollywood everybody BEN DAMON. Ben is handsome, studly, in his early 20s. However, aside from being just another pretty face in the city of angels he's also a cocky, arrogant prick. Ben's in the middle of a heated argument on his cell with his Agent, Cathy.				 BEN				(into cell)			God dammit Cathy I have no time for this crap!			I'm supposed to be at the premiere of STAB 2 right			Now, arm and arm with my girlfriend cause she's got			a bit part in that over advertised piece of shit and			I'm just going to humor her. You mena to tell me that			in all your squandering the best you can do for me is			A bit role in STAB 3: RETURN TO WOODSBORO?! Come on!			It's just another cheap slasher flick! How dare you			offer me such a role! I've done Shakespeare! I've			worked with directors like DePalma and Scorcesse and			you offer me this crap?! It's insulting. I should 			fire you and go to ICM.				CATHY(O.S.)			   (off phone)			Ben, I will not sit around and listen to you bad 			mouth me! Without me you would've never gotten as			famous as you are today. The least you can do is			show me a little god damn respect.				BEN			   (into phone)			You want Respect, Cathy? Here's your respect.			FUCK YOU! You're fired.			   (Ben hangs up)			Unfucking believable.Ben socks the steering wheel out of frustration. The horn blares uncomfortably.				BEN			Stab 3: Return To Woodsboro. 			Pah. What's next, Friday The 13TH PART 15:			JASON DOES BROADWAY?Ben's phone rings. He answers it.					BEN			   (into phone)			What's up, B.D. with the B.D.				WOMAN'S VOICE			   (off phone)			Hardly as large as I'd like it to be.				BEN			Christine?				CHRISTINE(O.S.)			No, Jennifer Love Hewitt.			Of course it's me, silly.			And I feel like an ass standing			in this theater lobby all by myself.			Where are you babe, the movie starts			in twenty minutes.				BEN			Look, I'm stuck on the freeway. I think			there was some big accident. It could be			a little while so I don't want you to start			freaking if I don't get there at exactly,				(checks watch)			Eight thirty.				CHRISTINE(O.S.)			All I'm saying is I'm gonna be royally			p.o.'d if you don't catch my acting debut.				BEN			   (putting up faux-enthusiasm)			Oh I wouldn't miss it for the world.			I bet you did such a great job.				CHRISTINE(O.S.)			I did. Hon, although I got a total of			six minutes screen time, they're the			best six minutes of the movie.				 BEN			Heh heh I bet they are babe. I bet they are.			Look, my battery's dying . . .		But of course, we notice Ben's battery is fine, he's just trying to cut the conversation short.				CHRISTINE(O.S.)			Alright Hon, talk to you when the lights go down.Ben smiles.				BEN			 Sure thing.Ben hangs up. He reclines back in his seat. Camera slowly pans out the windshield revealing the huge traffic pile up awaiting him. He's not going anywhere.CLOSE ON GLOVE COMPARTMENT.Ben opens the glove compartment. Papers scatter out. Ben reaches for a card.CLOSE ON CARD -A small white business card:   1-900-WET-4-COCKBen smiles, begins to dial out when suddenly, RING RING! The cell comes to life in his hand.				BEN			  (startled)			Jesus.			  (answers call)			Hello?					VOICE			Hello.				BEN			Who is this?				VOICE			Who is this?	At this point we know who the caller is. It's the nightmarish 		deep voice we've all come to know and hate from the first two		films. It's never sounded so evil. So sexy.				BEN			Well what number are you trying to reach?				 VOICE			 I don't know.				 BEN			I think you got the wrong number, buddy.				 VOICE			Do I?				 BEN			  (peeved)			Uh-huh. Look bro, my battery is running out.			Really wish I could chat, but I can't so, later.				VOICE			Wait, wait. Don't hang up.				BEN			  (angrily)			Asshole, Can't talk.				VOICE			But your voice sounds so familiar.Ben smiles.				BEN			Does it now?				VOICEYou almost sound like that guy from THERE'S SOMETHING ABOUT CARRIE. Ben. Ben Damon.				 BEN			   (smiling profusely)			Well ya got me. That's me. I'm Ben Damon.				 VOICE			Really? You're such a talented actor.				BEN			  (loves the praise)			Thanks.			 VOICE			Now let's see you act your way out of this one.The voice seems to have changed tones. It now sounds a lot harsher, angrier if you will.				 BEN			What do you mean?				 VOICE			I mean, I'm standing right outside the LADIES 			ROOM door at the PLAZA THEATER. Your girlfriend 			Christine is in there.  She's all alone. 			Everyone's in the auditorium waiting for the film 			to start.			   (laughs coldly)			I've got my knife.*NOTE: At this point we intercut shots of the empty lobby and halls of the PLAZA THEATER. A POV shot standing outside the LADIES ROOM door.				 BEN			 (turning pale)			Listen you sick fuck, is this your idea of a joke?				 VOICE			More of a game really. 				 BEN			What kind of a game?				 VOICE			You seem to be familiar with the STAB movies.			Here's how we play. I ask you a question. 			You get it right, your girlfriend lives. 			You answer wrong, she dies.				 BEN			I swear to God if you lay a finger on her 			I'll fucking kill you!				 VOICE			Maybe so, but right now, we play the game. 			First question, Your girlfriend's counting on 			you, Name your girlfriend's character in STAB 2?Ben groans. He bangs his head against the steering wheel, if only  he'd have paid attention to Christine he might have known this.				 VOICE			Come on. Don't you know?						 BEN				  (hesitating)			It's CICI! Cici's the name of the character 			she plays in the movie!				 VOICE			Very good. Now we play ROUND 2. 				BEN			What?! But I did everything you said to do!				VOICE			That's right. And you beat ROUND 1. Now we're 			taking the game to a whole new level.  Meet me 			beneath the Hollywood sign in ten minutes. 			I'll have your girlfriend. We'll be waiting.				BEN			What?!				VOICE			Good bye Ben.	Click. The killer hangs up. Ben flips open the phone, dials 911. Ringing and then . . .				RECORDED MESSAGE			   (off phone)			Due to the high volume of calls this evening,			Dispatch is temporarily shut down. If this is			not a real emergency please call another dep-Ben hangs up, dials CHRISTINE's number. RINGING, then--				 VOICE			You're not playing by the rules Ben.			Don't you want her to live?				 BEN			I swear to God if you lay one hand on her!				 VOICE			No! You listen to me, if you're not where I want			you in fifteen minutes I'll hollow her out.			Do you understand? IN THE B.G. we hear CHRISTINE's horrific screaming.The killer hangs up. Ben looks ahead, traffic is picking up. He puts the SUV into gear, peels out the nearest opening, narrowly avoiding collision. His car screeches down the off ramp.								 CUT TO:EXT.  HOLLYWOOD HILLS - NIGHTBen comes screeching around the corner in his FORD EXPLORER.  Tires smoking. Sparks flying. The HOLLYWOOD sign stands like an impending pall in the awaiting b.g.								 CUT TO:EXT.  HOLLYWOOD SIGN - NIGHTThe SUV comes to a screeching halt alongside the hilly, narrow road. Ben jumps out of his car, cell phone in hand. He looks up at the towering sign standing ahead of him, contemplates. Does he really wanna go up there? He looks into his SUV, gets an idea.THE BACK ----is opened. Ben reaches in looking for a weapon. AN OLD BEACH CHAIR. Not gonna do the trick. A pair of old shoes. Nope. Then he finds it, a LOUISVILLE SLUGGER with "ACTORS AT BAT FOR BRAIN CANCER" written across it. 				BEN			   (to himself)			Thank God I decided to do some community service.Ben takes the bat, closes up the back of the SUV. He begins to walk towards the sign when suddenly --HIS CELL RINGS.Ben answers the call.				BEN			  (into phone)			Yeah.				VOICE			Very good. You follow directions well.			Now for the final part of the game.			Put down the bat and approach the sign,			slowly.Ben makes a disgusted face, tosses the bat into the bushes. He approaches the sign, keeping his eyes trained in all directions.				BEN			  (into phone)			Where are you?				VOICE			Closer than you think.				BEN			  (into phone)			Alright I'm here. What the fuck do you want			from me?				VOICE			To see your reaction.				BEN			Reaction to what?Ben passes under the huge, pallid "H" in the sign. What seems at first like a gentle raindrop, beads down Ben's forehead. He rolls back his head, his legs turning to jelly, his eyes widening in horror.				BEN			OHMYGOD! NO!			CHRISTINE --Has been gutted from neck to groin. She has been fastened to the cross-bar in the "H" with heavy rope. Her lifeless body sways ever so gently in the Southern California wind. Utterly horrified, Ben staggers into the shadows, not seeing --THE GHOST as he rises from the void, knife in hand.  In one quick, brutal stab, the knife is driven into Ben's spine. Ben screams as he's turned around, face to face with his attacker.				BEN			  (screaming)			BUT I'M THE KILLER IN STAB 3!						THE GHOST			You just lost the role Ben.			Consider this your parting gift.AND WITH that, the GHOST drives the bloodstained knife into Ben's heart, causing a vicious eruption of crimson.									CUT TO:	TITLE CARD.   "SCREAM 3"									OPEN ON:	EXT.  TOTAL ENTERTAINMENT SET - DAYGALE WEATHERS, the flashy thirty-something news anchor and author of the WOODSBORO MURDERS. She sits behind a desk on the really ditzy, loud set for TOTAL ENTERTAINMENT, an ET style program with a live studio audience.				 GALE			Good morning Hollywood. And today			officially starts the Summer movie			season. Opening the box office this			week is Jeff Bridges and Tim Robins			in Arlington Street,  Eugene Levy			and Jason Biggs in American Pastry,			and Tori Spelling and David Schwimmer			in STAB 2, based off my best selling			book the WINDSOR MURDERS. CAMERA pans across the audience. Many of them are dressed as the GHOST. A sea of white screaming faces. Very eerie and unsettling.				 GALE			Well I see a lot of the audience has dressed			to the occasion. Today we have director of the			upcoming STAB 3: RETURN TO WOODSBORO, Roman			Bridger. Why don't we give Mr. Bridger a nice			welcome to the set of Total Entertainment.	The crowd goes wild with applause and faux-knife slashes as ROMAN BRIDGER, ravishingly handsome, 29, tall and stocky, enters stage dressed in a flashy white suit. He sits down on a chair beside Gale's desk, places a STAB 3 coffee mug beside Gale's hand.				ROMAN			Good morning Gale. Pleasure to be here.				GALE			It's a pleasure to finally meet you, Roman.				ROMAN			   (addressing audience)			Well it's a honor to be here amongst so			many fans of the genre. And I must say			that any of you worried that Jerry Rapp,			or Tori or David not returning to complete			the STAB trilogy, have no fear, Roman is			here. Aided with my excellent cast of			newcomers I believe we're going to pull			off one of the best Stabs yet.				GALE			Roman, from your enthusiasm it certainly			seems that way.				(a beat)			Honestly though, 				(smiles) 			tell us, what's	your favorite scary movie?				ROMAN			  (a long pause)			Honestly, my life.A eclectic hush falls over the crowd. Roman appears somewhat sinister in this light. Gale gazes deeply into Roman's eyes.				GALE			Your life?				ROMAN			Well if you were in my shoes, dealing with 			those big Time Sunrise Studio producers like 			I do on a daily basis, you'd watch how quick 			your life goes from a Walt Disney picture to 			a Tobe Hooper flick.Roman smiles. The true costumed horror film buffs in the audience break into applause. Gale, somewhat distracted, other what not caring what this second rate director has to say, gazes at a costumed individual at the far corner of the set, watching from a half-open exit door. Now it could be just her imagination running away with her and her atmosphere but it almost appears as if the figure is pantomiming slitting his throat with a gleaming blade.A LOUD BUZZING O.S.  Gale is startled out of her skin. She looks up at a sign hanging over the stage. THE WORD "COMMERCIAL BREAK" is illuminated in flashing red light. Gale sighs, looks back to the exit. The GHOST is gone. She turns to Roman.				GALE			Would you excuse me for a moment?				ROMAN			  (smiling)			Sure.Gale bolts for --INT.  BACKSTAGE - TOTAL ENTERTAINMENT SET - DAYGale races around the corner of the set, smashing right into -DETECTIVE MARK KINCAID, L.A.P.D. Mid-thirties. Handsome with piercing eyes. He grabs Gale by her shoulders, shepherding her aside.				GALE				Jesus Christ you scared the shit out of me.					DETECTIVE KINCAID			I'm sorry Miss Weathers. Allow me to 			introduce myself, MARK KINCAID, L.A.P.D.			  (flashes badge)			Are you familiar with the actor Ben Damon, 			or the actress CHRISTINE PERKINS?				GALE			Well I interviewed Damon once for the show.			He was a real obnoxious fuck. Any way, the 			second one, Christine Perkins, she had a part 			in Stab 2, didn't she? She was playing CICI.				DETECTIVE KINCAID			Both of them were found brutally murdered this 			morning under the Hollywood sign. Autopsy 			reports having come back to me yet but the 			bodies looked like something out one of the Stab films.  				GALE			So is that why you're here? Is that why you're 			holding me from my show, to tell me about some 			brutal homicide I'm not even involved in?				DETECTIVE KINCAID			I wish that was all Miss Weathers, but 			there's more. The killer left a note.				GALE			A note?Detective Kincaid reaches into his back pocket, pulls up a newspaper clipping in a ziplock evidence bag. He holds the bag up For Gale to see.EXTREMELY CLOSE on the ARTICLE . . . "MAUREEN PRESCOTT, MOTHER AND WIFE, FOUND BRUTALLY RAPED AND MURDERED IN BEDROOM". A b/w photo of Sidney's mother Maureen stands hauntingly before the camera.				GALE(O.S.)			That's Sidney Prescott's mother.				DETECTIVE KINCAID(O.S.)			There's more.Kincaid flips the article over. Someone has scrawled in black marker across the back "SIDNEY".				DETECTIVE KINCAID			I've tried to get in touch with Sidney Prescott,			but she's keeping herself very well hidden.			You're my one and only hope in finding her.			Her life may be in grave danger.				GALE			I'd love to help, really I wouldn't mind being			sliced at again by a maniacal psychopath, but			I honestly don't know where Sidney is. After Windsor			she dropped off the face of the Earth. The only other			person that might know is, 			  (gale hesitates), 			not going to talk.				DETECTIVE KINCAID			And who would that be?							CUT TO:EXT.  SUNRISE STUDIOS BACK LOT - DAYA red BMW convertible speeds through the back lot. Behind the wheel is DEWEY RIELLY. Former Police Officer, turned Technical advisor on the red hot set of . . . STAB 3: RETURN TO WOODSBORO.All around the lot are promotional banners and posters for the film. Dewey parks his car outside a soundstage, exits.							CUT TO:INT.  STAB 3 SET - DAYA huge replication of Woodsboro in a building about the size of an airplane hanger.  In one corner we've got the Macher and Prescott homes. In another corner stands the infamous Becker house where the nightmare all began. In other regions are sights like the Town Square and Market, an exterior for the Woodsboro Police Station,  A TOP STORY news van, etc.DEWEY, Enters set, bumping into his movie alter-ego --TOM PRINZE, a Hollywood poster boy. Very cool. Not so debonair. A shoddy copy of Dewey at best. However, the conversation between the two is friendly, and they exchange greetings.				TOM			Hey Dew, did you hear?				DEWEY			No, what?				TOM			Somebody iced Ben Damon and his girlfriend.				DEWEY			That's Hollywood Tom. One day you're			making movies in the hills, the next day 			you're posing for the coroner downtown on a slab.Dewey's obviously gotten a lot colder since the last film. He walks past a clique of STAB 3'S MAIN CAST:There's:SARAH DARLING: 30, playing a 25 year old bimbo. Very hot. Very blonde. Ample cleavage.ANGELINA TYLER: 20. Extremely nadve looking. She won her part in STAB 3 playing Sidney through a phone in radio contest. She's timid, with short dark hair. Out of the entire cast, she is the closet to Sidney, they got.And also the loveableTYSON JACKSON: late 20's, African-American, all attitude.The three flip through pages of the STAB 3 script, conversing freely about the production.				 SARAH			Goddamnit I am getting so fed up with			these re-writes. It's like every five			minutes there's a new script. God, and			you just know this all because of STAB 2's			script winding up on the internet two months			after it wrapped shooting.				TYSON			And still the film is Number One at the box			office this weekend. Beat out American Pasty			and Arlington Street.				ANGELINA			I think Jeff Bridges is getting tired.				TYSON			Nah I think it's doing so damn well because			one of it's players got iced. I just hope			none of us end up dead.				ANGELINA			Oh that's right. Those poor poor people.			God Ben Damon was such a hottie.				TYSON				 (sighs)			And that CICI chick wasn't that bad either			but I'm really concerned about my safety 			now.				SARAH			What are you talking about?			The murders were a completely isolated			incident.				TYSON			(reading from script)			SCENE 32. INT. CANDY'S LIVING ROOM - NIGHT.			"What are you talking about Ricky, the			murders were a completely isolated incident".				SARAH			Would you give that script a rest?				It's like a friggen umbilical cord to you.				TYSON			I'm just saying, though. What if there's			someone out there stalking actors? Huh?			Then what?				ANGELINA			There's always someone out there stalking			actors. Look at that woman from the Commish.				TYSON			Melinda McGraw?				ANGELINA			No, the other one. The one who played his			wife. 				SARAH			I know who you're talking about. Rebecca			something.				ANGELINA			Yeah I think. Anyway, point is, she had a stalker.			Sonny Bono had a stalker. David Letterman had one			too. So did Heather Langenkamp, Brooke Sheilds,			Jody Foster, --				TYSON			Listen Miss ingÈnue, your cheering me up to much,			Give it a break.Tom walks into frame, sits down next to Angelina, subtly putting his arm around her. She shoves him away.				TOM			What? What'd I do? Relax your crack sweetheart			I didn't rip those two fucks up last night.			Jeez.			   (lights up a smoke)			So what are you doing tonight?Totally repulsed, Angelina gets up, races off set.				TOM			Talk about moody.Tom leans back seductively, his crotch in full view, staring at Sarah with bedroom eyes.				TOM			And how about you good looking?			Got any plans for later?				SARAH			Eww yeah, finding a guy to have sex			with that doesn't look like you.Sarah, following suit laid by Angelina, scampers off set. Tom looks up at Tyson, smoke blowing out his nostrils.				TYSON			Oh no. I ain't into that shit.Tyson races off set. Tom laughs, covers his face.							  CUT TO:DETECTIVE KINCAID AND GALE.They walk through the set. Gale's mesmerized. Kincaid is all business.				 GALE			DÈjr vu-do.The pair come to a halt on the driveway of what is supposed to be the Macher Residence. Everything from the smashed beer bottles in the garage, to the boat on the driveway is mimicked to a perfect t. Even a foam dummy Of TATUM RIELLY dangles from the doggy door, head squashed a bloody mess.GALE stares at the swaying dummy, haunted.				 VOICE(O.S.)			Well well, someone dies and Gale Weathers			comes running. What a shock.GALE looks up. DEWEY stands beside her.				DETECTIVE KINCAID			Mr. Rielly? My name is Mark Kincaid.			I'm with the L.A.P.D. Are you aware	of last night's			Events?				DEWEY			Yeah. A real tragedy.Dewey stares daggers through Gale. There is a real bitter coldness between the two.				GALE			Dewey, personal lives and pasts aside, 			this is about Sidney. We need to know where she is.				DEWEY			What so you can just exploit her again with another			book? Sid doesn't need you Gale.				GALE			  (to Kincaid)			Show him.				DETECTIVE KINCAID			Mr. Rielly, this was found alongside the bodies of 			Ben and his girlfriend.Kincaid hands Dewey the ziplocked clipping. Dewey examines it, his fear slowly growing.				DEWEY			I promised Sid I'd keep her in seclusion.			I promised her nobody would ever find her.			If you don't mind Detective, I'd like to			approach her with this on my own and see			what she'd like to do about it.Kincaid nods.				DETECTIVE KINCAID			That's fine Mr. Rielly, but if anyone else			should die, I'm going to have to get a warrant.				DEWEY			Understood.			  (a beat)			If you'll excuse me Detective.			  (coldly)			Gale.Dewey walks off camera. Kincaid puts his hand on Gale's shoulder.				DETECTIVE KINCAID			I'm going to have a little chat with the			producers. Don't wander off. I may need you.Gale nods as Kincaid disappears into the backdrop of the set. A Shrill voice O.S.				WOMAN(O.S.)			GALE WEATHERS! Oh my God!Jennifer Jolie, an ambitious young starlet, playing GALE in the latest Stab, rushes towards her, with arms wide open. She's decked out in the flashy neon green ensemble Gale wore in the first film and even sports a fake shiner on her right eye. Gale is obviously pissed. She knows this actress and doesn't really want to be in her company very long.				Gale			Shit.				Jennifer			Listen, I know we've never met, and 			I don't mind you never returning my calls, 			but I have to tell you that after two films 			I feel like I am in your mind.				Gale			Well, that would explain my constant headaches.  				Jennifer			  (defensively)			You know I'm sorry that things didn't work out 			on '60 Minutes II', but 'Total Entertainment' 			that's a pretty good fall back.				Gale			Thank you.  I'm sorry that things didn't work out 			with Brad Pitt, but being single, that's a pretty 			good fall back.				Jennifer			Gives me more time for my work.  			After all, Gale Weathers, you're such a complex 			character.				Gale			And to be played by an actress with such 			depth and range.  Dewey steps back into the picture, cell phone in hand.				Dewey			No answer at Sid's. Where'd 			the Detective go?					JENNIFER			   (excitedly)			DEWEY!	Gale stares at the couple, just processing things in her head.				Jennifer 			  (fondles Dewey's butt)			Gale, I think you'll really appreciate 			my character work in this one, someone's 			helped me understand the real you.				Gale			Someone?				Jennifer			The ruthless ambition, your private 			self-loathing, and that lost and lonely 			little girl inside.				Gale			Lost and lonely what?				Jennifer			You heard me. 			  (takes Dewey's cellular) 			Thanks Dewey.  I'll return it.				Gale			Lost and lonely what?				Dewey			Little girl inside.				Gale			I thought you were supposed to be in 			Woodsboro!				Dewey			Well, I'm surprised you thought about me 			at all.  Listen I gotta get back to 			trying to get hold of Sid.			Besides, she's more important than you ever were.				Gale			Wait! Dewey we can work on this together!			As a team! Like in the past!				Dewey			No really Gale, that's a sweet offer, but this			time I'd like to catch the killer before 			the body count gets any higher.			  (a beat)			Toodles.Dewey walks away leaving Gale alone. Kincaid enters frame, 	talking to two producers. The elder, sixty-five year old BUDDY SHAYNE, a towering, hefty man with gray hair. The second, bigwig horror producer JOHN MILTON, a creepy fifty-something with penetrating eyes and a menacing demeanor. The two talk, ignoring Gale the entire time.  She's almost eavesdropping on their conversation.				MILTON			I can assure you that security on the set			will be at an all time high. Again, the			deaths are sheer tragedy.				DETECTIVE KINCAID			Well, I'd hate to see the production shut down.				(laughs)			I myself am a big STAB fan.				BUDDY			Really?				(smiles)			Have you ever thought about acting?			You've got just the right face.				DETECTIVE KINCAID			I am kind of dedicated to my job.			Although I do enjoy taking acting 			classes on my weekends. I grew up			around these studios anyway. I know			my way around. My Uncle was a screenwriter			for PARAMOUNT.				MILTON			Really, what was his name?Before Kincaid can finish, Gale buts in.				GALE			Excuse me Detective, I think we have some			business to attend to.				MILTON			   (flabbergasted)			GALE WEATHERS?! What are you doing here?			No press on the set!			   (to security)			No press, no press on set!			Get that woman out of here.				SECURITY GAURD			  (approaching)			Yes, Mr. Milton.							DETECTIVE KINCAID			No, Mr. Milton, Miss Weathers is with me.Milton nods his head, flags down the guard. He walks away.				MILTON			Well then, I guess I'll be leaving then.				GALE			Oh come on! Why the hostility?				MILTON			Listen Lois Lane, I love your show and 			all but last month I happened to catch 			your little segment on me and how my wife 			left me because I'm a sex addict who 			enjoys screwing fifteen year old girls. 			It was a real eye opener my lawyers are 			still thinking about bringing to your 			superior's attentions.				GALE			  (shit-eating smile on her face)			They're the ones who approved it.Milton storms off camera, Buddy following close behind. Gale looks up at Kincaid.				GALE			Alright Kincaid, no where to?				DETECTIVE KINCAID			I go to the police station and do my job,			and you go back to being Gale Weathers.				GALE			Oh. I thought you wanted me to stick around.				DETECTIVE KINCAID			Look, Miss Weathers, if there's a problem, 			give me a call. Here's my card. I'm always there.Kincaid hands Gale his card, begins to walk out of the building.				GALE			Shit. Can I even get a ride home?								CUT TO:	INT.  SIDNEY'S BEDROOM - NIGHTSIDNEY PRESCOTT, the stoic, survivor. Now 24, she lies peacefully in bed, her black lab PETE curled up in a ball at her feet. A noise startles the animal awake. It sets off the bed barking hysterically at --THE BEDROOM WINDOWSIDNEY ----awakens. She squints her eyes to try and make out what her dog is going into conniptions over. Then she sees, and her face loses any trace of color.MAUREEN PRESCOTT'S GHOSTLY WRAITH is pressed up against the window. She's wearing a tattered, blood soaked night shift.  Her voice is muted but her lips are moving as if trying torelay a message to Sidney. Sid's hysterical crying. She slidesoff her bed, makes her way towards the window when suddenly --MAUREEN slides down the glass, as if being pulled by somethingbeneath the window sill. Something we don't see . . . yet.				SIDNEY				(crying)			   Mom!Left behind in her wake are five bloody streaks running downthe glass. The streaks begin to bleed, as if each wounds themselves. They bleed right through the glass. Sidneyreaches out to touch them when suddenly --THE GHOST springs up behind the window, shatters the glass panewith his fist. SIDNEY screams --AWAKENING IN BED FROM HER NIGHTMARE.Her dog's barking wildly.THE WINDOW is fine. SID crawls out of bed, disappearing out of the room.								  CUT TO:	INT. SID'S BATHROOM - NIGHTSid's washing up at the sink. She wipes the tears from her eyes.She shuts off the running water, looks up into the mirror. Her demeanor definitely shows the ware and tear of all that's happened to her in her past. CLOSE on SIDNEY'S WRISTS.  Two ugly scars run up Sid's wrists.Battle Scars of a war waged between her own personal demons if you wish. Former Suicide Attempts former engraved on time.								 CUT TO:	EXT.  SID'S HOUSE - NIGHTSid's house is deep within the Napa Valley. Secluded amongst verdant vineyards and orchards that are now covered by thedarkness of night. A full moon hangs ominously in the sky above.A light burns from within the two story farmhouse. A phone dialing out rises in pre-lap as we --  CUT TO:INT.  SID'S OFFICE - NIGHTSid sits in a cluttered office. On the wall hangs a poster forthe FALL OF TROY (her play from SCREAM 2) and a poster proclaiming WOMEN'S RIGHTS with CALIFORNIA WOMEN'S CRISIS center written beneath that.A THREE-RING BINDER with a cover boasting CALIFORNIA WOMEN'S CRISIS CENTER is thrown open.THE PHONE--SID PUTS ON A HEADSET, dials a number. RINGING.				SIDNEY			   (into headset)			This is Laura in Monterey reporting			in for work.				OPERATOR(O.S.)			Alright Laura I'll patch you right 			in to a call.				SIDNEY			Thanks.A click. A woman's voice comes on the other line. It sounds very familiar.				WOMAN(O.S.)			Hello?				SIDNEY			Yes, hi I'm Laura, I'm a trained counselor.			How can I help you.				WOMAN(O.S.)			Laura I think I just killed somebody.				SIDNEY			Are you sure?				WOMAN(O.S.)			Uh-huh I'm sure. I've killed someone!			OH MY GOD I'VE ACTUALLY KILLED SOMEONE!				SIDNEY			Well then the people you need to call are the police.				WOMAN(O.S.)			No I need to call you. Just you.				SIDNEY			I'm sorry, your voice.				WOMAN(O.S.)			Don't you want to know how you can help, Sidney?			  (a beat, Sid goes blank)			Are you listening to me, huh?				SIDNEY			Who the fuck is this?				WOMAN(O.S.)			It's mother, Sidney, now be a good 			girl and turn on the news. DO IT!Sid reaches for the remote control, flips on a small TV lying across the office.ON THE TV --A REPORTER stands with the HOLLYWOOD SIGN in the b.g.				REPORTER			The mutilated bodies were discovered late 			last night by the L.A.P.D, prominent actor 			Ben Damon was slated for a role in the 			upcoming STAB 3: RETURN TO WOODSBORO --Sidney shuts off the TV as a familiar voice cuts through the din:				VOICE			Do you think it's over Sidney?			Do you?				SIDNEY			W-what do you want?				VOICE			I want to finish what I started.			I want to finish the game.				SIDNEY			You sick fuck I'm tracing this call			as we speak! The police are gonna nail			your ass!				VOICE			   (laughs coldly)			Let them try. You'll never find me.			I've already gotten away with murder before.			For instance, Maureen Prescott.				SIDNEY			  (tears welling)			No. You didn't kill my mother. Billy Loomis			and Stu Macher did.				VOICE			Heh. So you think Sidney. So you think.			It's all been building up to this Sid.			Every STAB. Every SCREAM. Every ounce of			blood that's been spilled has all been			leading up to this moment. WELCOME TOTHE FINAL ACT.				SIDNEY			The final act? Well let's play asshole!				VOICE			No. We play in my court this time.			Come to Hollywood. STAB 3's going to cutting 			corners cast-wise.  And I've got my eyes set 			on a technical advisor named Dewey Rielly.The killer laughs coldly. Sidney wanes.				SIDNEY			  (crying)			If you lay a hand on him I'll fucking kill you!				VOICE			Great. A spirited one. I'll be seeing you			real soon Sidney. Real soon.Click. The killer hangs up. Sid's left trembling. She rips the headset out of the phone, reaches into her desk for a loaded.38 special.  She stands up, and peers out her office window.SIDNEY'S P.O.V. - THE DARK, OMINOUS NIGHT.									 CUT TO:EXT.  SUNRISE STUDIOS - NIGHTSarah Darling drives through the main gates in her porshe, rounds a corner.EXT.  STAB 3 PRODUCTION OFFICES - NIGHTSarah parks outside the production offices, gets out of her car.KILLER'S P.O.V - watching from the rooftop, Sarah approaching the dimly lit offices.									 CUT TO:INT.  STAB 3 PRODUCTION OFFICES - NIGHTSarah steps into the office. It's desolate. Silent. All over the place are promotional items (standees, posters, banners) for STABS 1-3. Sarah passes a big cardboard GHOST.				SARAH			STAB 3. Oh God I've gotta get myself 			a better agent.Sarah walks down a hallway.				SARAH			  (calling out)			Anybody home?Sarah passes Roman Bridger's office. It's half-open.				SARAH			Doubt that.			  (door slams shut O.S.)			Anyone here?Sarah continues further down the hall when suddenly --TYSON comes reeling out of a doorway, a huge knife jutting out his back, blood trickling down his mouth. Sarah lets out a bloodcurdling scream while Tyson breaks into hysterics.				TYSON			Stan! My man does great work.Stan, a bearded, middle aged make-up effects guy steps out behind Tyson, slaps him a high-five.				STAN			Thank you. Thank you very much.				SARAH			Fuck you very much!			Tyson go to hell!			What the hell are you doing here?			Where's Roman?				TYSON			Roman and everybody else went home for 			the night. I'm here for a make-up test.				SARAH			Make-up. You need it.			  (a beat)			Hey, Roman isn't here?				TYSON			No.				SARAH			Damn. He called my roommate and told her 			he had some important things he wanted to 			go over with me in his office tonight.				STAN			  (jokingly)			Yeah I bet.Stan pantomimes the "blow job" gesture. Tyson laughs, slaps him another high-five. Sarah makes a disgusted face as the two men leave the offices. Sarah sighs, ducks into Roman's office.INT.  ROMAN'S OFFICE - NIGHTRoman's office is a clutter of old movie memorabilia. Sarah plops down behind Roman's desk, admires his old TRANSFORMER toys and two brass MUSIC VIDEO AWARDS. Sarah examines the award.				SARAH			   (reading inscription)			For the honorary field of directing and 			cinematography in music videos.			How to the point. The phone rings scaring the shit out of Sarah. She drops the award, causing it to smash against the edge of the desk, snapping the head clean off. Sarah hesitates, answers the call, putting it on speaker phone.				SARAH			Oh shit.			  (into phone)			Hello? Director's office.				ROMAN			Sarah, it's Roman, I'm sorry I'm running 			late, I'm still on the 405, I'm about 10 			minutes away.  				SARAH			Oh it's no problem, I'm just... looking at 			your   music video awards.  Sarah tries fixing the award with some scotch tape.				ROMAN			All right, since I got you on the phone, 			let's talk about your character.				SARAH			What character?  I'm Candy, the chick who 			gets killed second.  I'm only in two scenes! 				ROMAN			You're not happy with your part.				SARAH			I'm not happy that I'm 35 playing a 21 year old. 			I'm not happy that I have to die naked!  And I'm 			not happy that my character is too stupid not to 			have a gun in the house after her boyfriend's been 			cut into McNuggets.				ROMAN			Um hmm...  umhmm great, so let's run the 			lines.				SARAH			Huh, fine.				ROMAN			Page 22, Candy's big moment.				SARAH			Page 22..  Ring ring.  Hello?				ROMAN			Hello.				SARAH			Who's this?				ROMAN			Who's this?				SARAH			This is Candy.  Hang on, let me get some 			clothes. See!  I don't' understand why I have 			to start the scene in the shower!  The whole 			shower things been done, 'Vertigo' hello!  And I 			mean, my boyfriend just died, why am I showering?				ROMAN			Why don't we just read the scene?  Candy, is 			that like candy cane or candy apple?				SARAH			Whatever.  Come on, who is this?  I think you have 			the wrong number.				ROMAN			But you know my favorite name? 				SARAH			I'm hanging up right now.				ROMAN			It's Sarah.				SARAH			Roman that's not the line.				ROMAN			It is in my script. 				SARAH			Has there been another goddamn rewrite?   			How  the fuck are we supposed to learn our 			lines when there's a new script every 15 minutes? 				ROMAN			It's not just a new script, it's a new movie.				SARAH			What?  What movie?				ROMAN			My movie.A pause, then a familiar dark natured noise enters our ears, the killer's sinister voice.				VOICE			It's called, Sarah gets sliced like a 			fucking pig.			Still in character, Sarah?Sarah tosses down the phone, bolts out of the office.INT.  HALLWAY - NIGHTSarah stops in her tracks. Through the smoked glass of the front door she sees a shape approaching. She screams, spins around, runs for the prop room. INT.  PROP ROOM - NIGHTSarah locks the door, backs up right into --AN ARMY OF GHOSTS!AT LEAST THIRTY GHOST COSTUMES dangle from hooks on costume racks. Sarah catches her breath, dives into one of the racks.  She pulls up her cell phone, starts to dial.INT.  STAB 3 - PRODUCTION OFFICES - NIGHTA SECURITY GUARD opens the front door, pokes his head into the offices.				SECURITY GUARD			Mr. Bridger?No answer. The guard nods, backs out of the offices, locking them with SARAH and the killer inside!  CUT TO:INT.  PROP ROOM - NIGHTSarah's waiting on eggs as a digitized pre-programmed commissarymenu for Sunrise Studios drags out.				SARAH			Shit.Sarah momentarily glances behind her, just noticing, a pair of black work boots stepping off the costume rack. Before Sarah has a chance to scream, the ghost jumps down and shoves the rack hard sending a screaming Sarah into the next room. She goes flying out, slamming into a metal table covered with prop weapons.THE GHOST --Stomps into the second prop room, knife raised. Sarah leaps up, starts to chuck the prop knives at her attacker, screaming furiously.THE PROP knives, hit the ghost, and bend as they bounce off his body and onto the floor. The killer shakes his head angrily, stalks towards his prey.				SARAH			  (screaming)			No! No! Noooo!The ghost drives his knife into Sarah's chest, once, twice, and delivers a final killing blow to her Adam's apple. She staggers forward. Her killer grabs her by her long buxom hair, and hucks her into a glass door.THE DOOR EXPLODES, SARAH'S BODY falling through, shards of glass tearing out her back.THE KILLER, stands in the shattered doorway, bloody knife in hand. An alarm resonates in the b.g. The killer wipes his knife clean, races off screen.A NICE PSYCHO-ESQUE close up of the dead Sarah's eye as Blood swirls into the pupil.   SHOCK CUT TO:EXT.  HIGHWAY 39 -  N. CALIFORNIA - NIGHTThe highway is desolate. It's late. Sidney speeds into frame in her HONDA CIVIC.  CUT TO:INT.  HONDA CIVIC - NIGHTSidney's tapping her thumbs nervously against the steering wheel as an eerie song filters off the radio. The only light comes from the unsettling neon green digital clock/radio read-out. Sidney increases speed.  CUT TO:EXT.  HIGHWAY 39 -  N. CALIFORNIA - NIGHTSid passes up a road sign indicating LOS ANGELES - 64 MILES  CUT TO:EXT.  SUNRISE STUDIOS BACK LOT - NIGHT - EST.The lot Is crawling with police vehicles.  CUT TO:INT.   STAB 3 PRODUCTION OFFICES - NIGHTKincaid and Gale stare at Sarah Darling's corpse as it's zippered up into a black rubber body bag and carried off by forensic technicians.				DETECTIVE KINCAID			That's STAB 3, Miss Weathers.			It looks like we're going to			be getting a warrant to speak			with Miss Prescott anyway.				GALE			Shit. Sarah Darling.			   (a beat)			I interviewed her too.			God, it's happening again isn't it			Detective?				DETECTIVE KINCAID			Yes well we have a suspect, so don't			get that worried.Gale's eyes light up. She grabs Kincaid's shoulders.				GALE			Who?				DETECTIVE KINCAID			I'm not at liberty to tell you that			Miss Weathers. You're no longer working			with the L.A.P.D. I don't even know why			you're standing in here right now. By			all means I should have you thrown out.				GALE			But you won't. You're a good man detective.			We think alike. I know you need my help.			And I know you know I need your help.				DETECTIVE KINCAID			In my fifteen years as a homicide detective			I've never met a single soul as pushy and			brazen as you are Miss Weathers.				GALE			Please, call me Gale.				DETECTIVE KINCAID			Deal, but I'm still Detective Kincaid,ok?Gale smiles. DETECTIVE TOM WALLACE, Kincaid's cohort and partner. He's in his late thirties. Family man. Wallaceenters frame with a folder in his hands.				DETECTIVE WALLACE			Mark, Bridger's in custody. We traced his			phone records. He's the last person to			speak to Sarah Darling before she died.			Or at least call her home.				GALE			Wait a minute, Roman's your suspect?				DETECTIVE WALLACE			Listen, Diane Sawyer, this here is classified 			information. Why don't you go investigate 			the bad meat at the A.P.			This is police work, not Pulitzer material.				GALE			Hey, fuck off.				DETECTIVE KINCAID			No, cool it Wallace. She's working with me.				DETECTIVE WALLACE			  (cocky)				Well then. Looks like I'll go dust for				finger prints with Barbara Walters.Wallace arrogantly walks off camera. Gale looks at Kincaid.				GALE			So, what now?CUT TO:INT.  INTEROGATION ROOM - POLICE STATION - NIGHTA frazzled Roman is seated at a long conference table while Wallace and Kincaid grill him with questions.				DETECTIVE KINCAID			Mr. Bridger, you didn't tell us you spoke			with Sarah Darling before she died.				ROMAN			That's because I didn't.				DETECTIVE WALLACE			The guard said she was there for a meeting with you.				ROMAN			What meeting?				DETECTIVE WALLACE			We talked to her roommate, too.  Says you called Sarah			and told her to come down to the studio.  Roommate 			answered the phone, says it was you.				ROMAN			Wait a minute!  I never called her! I never told 			her to go   anywhere!				DETECTIVE KINCAID			Roommate says she knows your voice, Mr. Bridger.  				ROMAN			Well, she wasn't speaking with me!  Look, I did 			not call   Sarah Darling!  				DETECTIVE KINCAID			Sarah Darling said you did.				ROMAN			Someone is trying to ruin my movie.  			Someone wants to kill   my movie!				DETECTIVE WALLACE			Hey, look at it this way, if anything this'll 			be something interesting to put on the 			director's commentary for when the film hits DVD.				ROMAN			  (dry laugh)			 Ha! Too late, studio's shutting down production.			 Called my film a risk! Do you believe this shit?			 They're actually shelving my film because there's 			been one ensie little murder. God, three people died 			during the filming of The Exorcist.				DETECTIVE KINCAID			Well I doubt they were stabbed to death and I 			strongly doubt the killer of them left messages 			on the scene for the police to find.Camera pans through a two-way mirror into . . .INT.  VIEWING ROOM - POLICE STATION - NIGHTGALE AND DEWEY stand, gazing through the two-way mirror. Roman can't see them. They watch nervously.				DEWEY			They found another note?				GALE			Uh-huh. Another News clipping. Another one  			about Sid's mom. Dewey, whether we like it  or 			not it looks like we're going to have to  go 			back into our past.				DEWEY			You mean OUR past as in Me and Sid.			This has nothing to do with you Gale.				GALE			This has everything to do with me Dewey.			I was the one who brought the nation's  			attention to this shit anyway. I'll be  			damned if I'm gonna sit around and pass  			on the buck again.				DEWEY			Do you really mean it this time Gale?				GALE			Yes. Look, let's get something straight  			Dewey, I got into this shit cause the police  			came looking for ME. Not cause I'm out to  			make the SUNRISE STUDIOS SLASHINGS.				DEWEY			Why would the police come to you?				GALE			Again, I am the author of the definitive book on 			the Woodsboro murders.!			  (a beat)			What about you?				DEWEY			What about me?				GALE			You said you'd never leave Woodsboro, 'The only 			place that's real!'  But now you're here.  			Not with me.  Dewey, I took care of you.  I waited 			until you were well.  I couldn't stay there, I mean, 			it's like dog years, one year in Woodsboro is 			like seven everywhere else.				DEWEY			So it's off to London for a week?  New York for a 			month? L.A Forever?				GALE			It was fucking '60 Minutes II'!  I couldn't say no!  I			could've been the next Diane Sawyer!				DEWEY			What's wrong with just being Gale Weathers?  			I liked her! 				GALE			It didn't work Dewey.  We tried,  we're different.				DEWEY			You used to say that was our strength.				GALE			Dewey, you're not just here because of  			that second rate K-Mart, straight-to-video 			version of me, are you? 				DEWEY			Brace yourself, Gale, all of this is actually not 			About you.				GALE			All of what Dewey?  You do know something, 			don't you?				DEWEY			Off the record.				GALE			Always.				DEWEY			Two months ago, the Woodsboro police got a call from a			woman who said she was with 'Stab 3'.  She wanted to 			see the file on Sid, for research.				GALE			And?				DEWEY			The boys said no.  She wouldn't give her name.  			A month later, the station gets broken into, 			the file room ransacked.				GALE			Someone stole Sid's file?				DEWEY			I already removed it.  I think someone on the 			film was trying to find Sid, and that's the only 			reason I came here. To make do a little 			private investigating of my own and make sure no 			one here was planning anything.				GALE			  (whips out cellular)			I'm sorry, this is too good!				DEWEY			What part of 'Off the record' don't you understand?				GALE			Right. Sorry.			  (a beat)			Do you think he did it?			  (RE: ROMAN)				DEWEY			  (his beeper goes off)			I've got my suspicions but still, 			nothing  you say can ever make me take 			my eyes off one person.				GALE			And who is that?But Dewey doesn't answer. Again, he's staring daggers through Gale.  Years and years of bottled up resentment is finally surfacing.				DEWEY			Jennifer needs me.				GALE			Jennifer?! Wait, where are you going off to?				DEWEY			I'm on duty.Dewey races out the room. Gale pauses, stares at the interrogation. Wallace has reduced Roman to tears. It's pathetic. Gale bolts after Dewey.CUT TO:EXT.  SAN FERNANDO VALLEY - NIGHTThe wind rushes past the camera. A huge panoramic view of L.A.  FULL MOON hangs in the sky. A coyote howls in the near distance.CUT TO:EXT.  JENNIFER'S HOUSE - NIGHTA nice low ranch tucked away in the valley. Dewey rolls up Jennifer's driveway in his truck. Gale follows behind in her VW JETTA.				DEWEY			  (noticing Gale)			Stop following me.				GALE			I happen to work for the police god dammit!				DEWEY			You're not a detective.				GALE			Neither are you, Magnum P.I.				DEWEY			Gale, your engine's still running.				GALE			Fuck!Dewey shakes his head in disgust, disappears into the house. Gale runs back to shut off her car. From out of the bushes lunges --TOM PRINZE, loaded off his ass, still holding a half-filled bottle of JOHNNY WALKER BLACK LABEL SCOTCH in his hand.				TOM			Gale Weathers. What a surprise.				GALE			Tom Prinze, tanked as usual.			That's a shocker.				TOM			Hey I really liked that piece you did on me			last month. The one where you said my car			accident was caused by me drinking and drugs,			and how I faked the tire blow-out just so my			insurance wouldn't sky rocket.				GALE			Heh, well, that's TV journalism for ya.			Stage the news to boost ratings.				TOM			Really, cause that stunt lost me the			lead role in Roman Polanski's latest			picture. Huh, what a coincide I was			picked up by Roman Bridger. Well,			not exactly the Roman I wanted. Get			my point? STAB 3 is bullshit. Fuck,			because of your big mouth I'm here,			drinking piss water SCOTCH with Second			rate fucking celebrities like Jennifer			Jollie and yourself!			  (a beat, subtle)			Hey, I just got an idea. Maybe I should			Have a look at your break line. That your			car over there?Gale pushes Tom's chest. Stopping him.				GALE			I think we should go inside. I have to have			a talk with the cast. ALL OF YOU.				TOM			  (laughs)			You mean what's left of us.			  (tosses empty bottle aside)			Yeah I'm running on empty anyways.			Gotta refuel.Tom and Gale walk into the house. Something stirs in the bushes. CUT TO:INT.  JENNIFER JOLLIE'S HOUSE - NIGHTGale and Tom enter. Jennifer is crying hysterically in Dewey's arms. She sees Gale, looks up with anger written all over her gaudy, over rouged face, her make-up running in a comical, almost homage to Mimi on the Drew Carey Show.				JENNIFER			You! How can I ever get any fame playing you!				GALE			Dewey, what the hell is she rambling about now? 			What's wrong Jen, see yourself on one of those 			USA NETWORK winners you did and realize how badly 			you suck at acting?				JENNIFER			God damn you Gale Weathers! 			Don't you see? The killer is choosing  his 			victims as they die in the script!			Ben Damon's character was the first one to get offed.			So was his girlfriend - but she wasn't cast yet so 			his real girlfriend was killed - then Sarah Darling's 			Candy, and now me!				GALE			Wait a second, whoa! Calm down!			Number one there were five different 			versions of the script given out.			Ben Damon was given a fake script because 			he was only being offered the role.			It only had fragments of real scenes from the 			actual script. And what, I die in STAB 3?Everyone is silent. Dewey nods his head. Gale rips the script from Jennifer's hands.				GALE			  (reading script)			AND I DIE NAKED?!  UGH!			This is complete bullshit.			Who wrote this piece of crap?				JENNIFER			I know right. It was kinda weak.			That's cause Will Kennison only wrote 			a rough treatment of it.			The script was written by some new guy. 			He wrote Arlington Street.				GALE			Still that was a much better movie,			I saw it at the premiere last week.			God, what the hell am I getting sidetracked 			with this shit for?! We've gotta get down to business.A teary-eyed Angelina Tyler rises up from the couch, approaches the group.				ANGELINA			  (crying)			What are you talking about?			Because of this shit I'll probably never 			act in a Hollywood film again.Tom throws his arm around Angelina, squeezes her tightly.				TOM			Hey good looking, if you play your cards right, 			I may be able to sit you down on my casting couch 			and try you out for a few films my  production 			company is working on.			  (a beat)			How do you feel about a DEEP THROAT remake?Angelina squeals in disgust, elbows Tom, racing out of the house.  Tom groans, follows after her.				TOM			I'll be right back.CUT TO:EXT.   JENNIFER'S HOUSE - NIGHTTom walks out into the darkness, looks around. Angelina's nowherein sight.				TOM			  (calling out)			Angelina! Hey! Where the hell are you?			I was only playing! Hey look, I can really			get you a bit part! Just come on out! Ok?			  (pauses)			Damn it. There goes my chances of getting			some head from her. Tom whips out a joint, pops it in his mouth. He lights it, walks around the side of the house. A noise catches his attention.   A low, muffled squealing.				TOM			Aaaangelina?Tom turns to a guest house. The door is half open, darkness  spilling out. Tom smirks, steps inside.   CUT TO: INT. GUEST HOUSE - NIGHT The entire small interior of the GUEST HOUSE / DEWEY'S LIVING QUARTER'S IS BLACKENED BY THE NIGHT. Tom cockily waltzes about, not noticing one of the black shadows peeling off the wall.IT'S THE GHOST!				TOM			Angelina? Tom stops in his tracks. He looks down. Lying in a pool of blood at his feet is ANGELINA TYLER! Tom screams, staggers backwards right into the arms of --  THE GHOST --				TOM			You fucker! The GHOST slashes open Tom's arm. Tom screams, backs up into the kitchen. The ghost grabs him by the throat, begins choking him mid-air. He slowly begins to lift him off his feet, angling the knife, readying to make the kill blow. Tom gags. He can't even scream, the killer's crushing his voice-box, causing a  trickle of blood down his lips.				TOM			  (gagging)			Fucker!THE GHOST brings the knife down, piercing Tom's heart, pinning him to the closet. Tom kicks around for a moment before finally going limp. The GHOST steps back, admiring his work.  CUT TO:INT.  JENNIFER'S HOUSE - NIGHTJennifer, Gale, and Dewey are pacing around nervously.				JENNIFER			Shit! Where the hell are Tom and Angelina?				GALE			 I don't know. Screw them. Look, what's important 			is that we stick together.			 No matter what. If anyone is next it's you or me Jen.				DEWEY			What about Sidney?				JENNIFER			What about her?Suddenly, a knock at the door. The three are startled. Dewey looks at the front door.				DEWEY			Ssh. Maybe it's Tom or Angelina.			I'll get it.				JENNIFER			What if it's the killer?				GALE			Oh use your brain drama queen!			Do the killers ever knock on the fucking door? 			Ever see Jason do that before burying an axe in 			some big titted blonde's head? Or maybe Michael or 			Chucky? Huh?Jennifer sticks her tongue out at Gale. Dewey reaches into a holster tucked away under his jacket, drawing up his 9mm.				DEWEY			Don't worry. I'm prepared for anything.				GALE			Amen boy scout, now answer the fucking door!Dewey nods his head, slowly makes his way towards the door. Gale and Jennifer huddle together, follow close behind.				JENNIFER			Do you smell something?				DEWEY			  (smirking)			It's Gale. She farts when she gets nervous.Gale makes an angry face, slaps Dewey upside the back of his headplay fully. Dewey steps up to the front door. IT'S NOT LOCKED.  He reaches for the knob, turns it when suddenly --THE POWER SIZZLES OUT!EVERYONE SCREAMS!				DEWEY			Alright don't panic! Just a fuse.Dewey throws open the door. ANGELINA'S CORPSE drops into the doorway. A SYMPHONY OF SCREAMS.				DEWEY			Hurry! Everyone out the back way! Now!Dewey, Gale, and Jennifer race for the French doors in the living room leading outside to the pool and backyard. A PHONE RINGS somewhere in the house.				GALE			Who's phone?				JENNIFER			Oh shit it's my cell!				DEWEY			Answer it!Jennifer answers her cellular.				JENNIFER			  (into phone)			Hello?				VOICE			Hello Jennifer. Wanna play a little game?				JENNIFER			It's him! It's the killer! Gale rips the phone out of Jennifer's hands.				GALE			  (into phone)			Listen you sick bastard, what the fuck			do you want?				JENNIFER			What's your favorite scary movie Gale?				GALE			I dunno but I can tell you that your's			will be the home video footage of me			sticking my foot up your ass! Now come			out and fight like a real man you pussy!				GHOST(O.S.)			I just might!THE GHOST comes running out of closet, knife swinging wildly. Jennifer screams, races for the patio door. The ghost lunges for Gale. Dewey draws up his gun, fires.BLAM! BLAM! BLAM! BLAM! BLAM! BLAM! The GHOST takes six slugsIn the chest.  He goes smashing through a coffee table, motionless. Dewey backs into Gale's arms, smoke rising fromthe muzzle of the gun.				JENNIFER			God damn it you two! Run! Hurry!			He's dead!				GALE			No! He's not dead! He's still breathing!			Look!				DEWEY			Gale he's dead. Come on. Let's get out			of here.Dewey turns Gale towards the patio door. A noise O.S. Dewey pauses, turns around --THE GHOST IS GONE.Dewey looks to the patio door.SO IS JENNIFER.				DEWEY			OH. OH GOD. GALE --				GALE			What?				DEWEY			  (screaming)			GALE BEHIND YOU!The ghost barrels out from under the couch, knife raised. Dewey winds back, kicks a chair out in the Ghost's path. The ghost trips, goes crashing through the chair, coming smashing down onto the floor, knife burying into the hardwood. Dewey and Gale run for the patio when suddenly --JENNIFER comes dodging out of the kitchen wielding a butcher knife.				JENNIFER			(screaming)			DIE MOTHER FUCKER!			DIE! DIE! DIE!Jennifer slips on something, goes backflipping to the ground. Gale grabs her. Helps her up.				GALE			Come on!THE GHOST comes to life, grabbing a lighter off an end table. He lights  a trail of gasoline, running from the floor to the kitchen (i.e. the smell Jennifer mentioned earlier and what she slipped on seconds ago). A HUGE flame trail lunges towards the two women. They scream.				DEWEY			OH SHIT! RUN!CUT TO:EXT.  BACKYARD - JENNIFER'S HOUSE - NIGHTJennifer, Gale, and Dewey take off out the patio doors when suddenly KA-BOOM! THE WINDOWS BLOW OUT! THE ROOF SPLINTERS.A HUGE CONFLAGRATION! The three dive into the swimming pool as debris rains down onto the Earth.THE GHOST --WATCHES FROM THE SHADOWS, FLAMES BOUNCING OFF HIS PALLID WHITE MASK.SIRENS ARE HEARD IN THE NEAR DISTANCE.AS THE GHOST RUNS OFF INTO THE NIGHT, HE DROPS ANOTHER NEWSPAPER CLIPPING ON THE GROUND. IT BLOWS IN THE WIND. CUT TO:THE NEWSPAPER CLIPPING - ECUIT'S FLIPPED OVER BY A PAIR OF HANDS.  SCRAWLED ON BACK IS:"I KILLED HER" WE ARE:INT.  DETECTIVE KINCAID'S OFFICE - DAYDETECTIVE KINCAID paces around his room. A battered and bruised Dewey and Gale sit beside his desk in Police Uniforms (since their old clothes has obviously been drenched).				DETECTIVE KINCAID			Whoever it is, now is taking credit 			for Maureen Prescott's murder. 				GALE			But we know who killed Maureen Prescott, 			Billy Loomis and Stu Macher.  I mean, they 			even told Sidney how they did it!  				DETECTIVE KINCAID			Yeah, but, if I'm not mistaken, you said in 			your book that Sidney got it wrong before.  			She accused Cotton Weary of murdering her mother, 			and he was sent away for it!  Maybe there is a 			third killer.  Sidney Might know something Kincaid's eyes appear as if questioning Dewey.				DEWEY			I told you, I don't know where Sidney is.  			And even if there was a third killer, 			Sidney doesn't know about it.				DETECTIVE KINCAID			That is for me to decide.  I need to talk to her Mr. Riley,			she is a key element in this case.  I have a press conference 			in an hour, and I need to explain why there are four dead 			celebrities.				GALE			Four? There are five.				DETECTIVE KINCAID			Ben Damon. Christine Perkins. Sarah Darling.			Tom Prinze. That's four, last time I learned 			how to count.				DEWEY			What about Angelina Tyler? She was there too.				DETECTIVE KINCAID			Police are still searching through the debris.			Could be days before we find her . . . that is,			if she's even there.Kincaid seems to be getting a morbid charge out of all of this. He smirks ever so nefariously at Dewey.				GALE			OK, look.  We all know that this has something to 			do with 'Stab 3'.  What we do not know is why the 			killer keeps leaving articles about Maureen Prescott.				DETECTIVE KINCAID			Actually, there was more this time.			This time, we found a picture too.				DEWEY/GALE			  (together)			What?Kincaid holds up a second ziplocked evidence bag. Within is a blurry 5x4 of MAUREEN PRESCOTT exiting a motel room with COTTON WEARY. Kincaid turns it over. Also, written on it's back is 'I KILLED HER'				DETECTIVE KINCAID			Before you jump to conclusions, the man in 			the picture, COTTON WEARY, is out of the country 			on business. His alibi checks out. Seems he's			got a TV show in Australia, 100% COTTON. It's			supposedly the biggest thing down under since			Yahoo Serious, but that's besides the point.				DEWEY			What does this have to do with Sid?				DETECTIVE KINCAID			Who knows more about Maureen Prescott than her			own daughter?				DEWEY			Well Sid's dad couldn't help you and he 			was married to Maureen.				DETECTIVE WALLACE			   (chiming in)			What's your problem?  Last night you were almost 			charcoal.  You gonna help us or what?				DETECTIVE KINCAID			Do you wanna have this conversation with a polygraph?				DEWEY			Is that a threat, Detective?				DETECTIVE KINCAID			When it's a threat, you'll know it.				DEWEY			  (a beat)			Is that a threat?				GALE			Boys, boys, why don't we compare our gun calibers 			later?  The issue is Maureen Prescott!				DETECTIVE KINCAID			Wrong, this issue is Sidney Prescott!  And either 			Mr. Riley is going to obstruct justice or is going 			to put me in touch with her.  So, where is she?CUT TO:INT. HALLWAY - POLICE STATION - DAYDewey is on his cell phone.				SIDNEY'S ANSWERING MACHINE(O.S.)			  (off phone)			Hi, you've reached the machine. Leave a message, 			talk as long as you'd like.				DEWEY			Sid it's me, this is the sixth time I've called.			  (Sid turns the corner, is ushered down the hall by a cop)			Please pick up, I wanna make sure you're Okay.			  (Dewey notices Sidney approaching him)			Sid!				SIDNEY			DEWEY!The two run into each other's arms, embrace tightly.				DEWEY			What are you doing here? I told you to			stay hidden! It's not safe for you up here.				SIDNEY			Well it's not safe for me up there either.			The killer found me Dewey. He called me			last night.				DEWEY			What?				SIDNEY			I figured I'd be safe If I was at least up			here with the people I care about.			   (a beat)			Now where's this Kincaid guy the news is			talking about? I found this place from a			FOX 5 TV NEWS REPORT. Heh.				DEWEY			Follow me.Dewey walks Sid into Kincaid's office.INT.  DETECTIVE KINCAID'S OFFICE - DAY				DEWEY			Detective Kincaid?				DETECTIVE KINCAID			What Rielly?				DEWEY			There's someone here who wants to help.				GALE			Oh my God! Sidney, you ran fast or what?  Hey.				SIDNEY 			Hi, Gale. I'm glad you're all right.For a change, instead of an exchange of fists, the two share a warm hug.				GALE			Thank you.				DEWEY			Sid, this is detective Kincaid.  				DETECTIVE KINCAID			Nice to finally meet you, Sidney. 				DEWEY			The killer called her.  				DETECTIVE KINCAID			What?  When?				GALE			What'd he say?				SIDNEY			Oh, you know, the usual small talk, 			"What's new, how ya been, how do you want 			to die?"  				DEWEY			Sidney, do you have any idea how he could've 			gotten your number?				DETECTIVE KINCAID			He could've monitored the calls on a scanner.  			Did you call her from the set?  				DEWEY			No.				GALE			Do you have her number stored in your memory?			  (Dewey thinks)			Phone memory!				DEWEY			Oh.  Yeah, I guess I do.				GALE			Has anyone else every used your phone?				DEWEY			Just Jennifer.  			   (To Kincaid_) 			And you.  				DETECTIVE KINCAID			Hey, I'm the cop here.  You're in my office, Riley.Sidney notices the clippings and the photograph of Maureen.				DETECTIVE KINCAID			The killer leaves a newspaper clipping at each			murder, Sidney. Recently he's also left a photo			of your mother. 				SIDNEY			Why didn't you tell me?  This is my mother, Dewey.  			Why didn't you say something?				DEWEY			I was afraid they were bait, something to, 			ya know,  trick you out of hiding.  				SIDNEY			Listen, Detective, I wanna see this studio			where all this shit's going down.				DETECTIVE KINCAID			Are you sure?				SIDNEY			Absolutely.CUT TO:EXT.  SUNRISE STUDIOS BACK LOT - DAYKincaid and Dewey's cars drive through the lot. They drive over towards a row of trailers, park.KINCAID disappears to do something else while GALE, DEWEY, and Sidney get out of Dewey's truck.				DEWEY			Alright Sid, over there is the STAB 3			Production offices. That's where Sarah			Darling was murdered last night.				SIDNEY			Mm, what a waste of Silicone.			  (a beat)			What does my mother have to do with this 			all Dewey? We're a long way from Woodsboro.A figure lunges out of nowhere, startling all three of them. It's a young, scrawny goth girl in  heavy make-up.This is KAREN COLCHECK, 22. She holds something in her hand, a video tape marked SCARY MOVIES 101.				SIDNEY			Oh my God Karen you scared the shit out of me!			What are you doing here?				GALE			Who's this.				DEWEY			Karen Colcheck. From Woodsboro.				SIDNEY			She was Randy's only girlfriend . . . ever.				KAREN			  (smiling)			That's me. First and Last. Sidney hugs Karen. So does Dewey.				SIDNEY			It's been a while? You still working 			at Bradley's?				KAREN			Nope. They opened up a Hollywood Video 			down the street. It pays better.			Anyway, I'm here because I heard on the			news about the murders and well, I found			this while rooting through Randy's things.Karen holds up the video. CUT TO:CLOSE-UP VIDEO MONITER.SCREEN FLICKERS TO LIFE REVEALING THE FACE OF --RANDY MEEKS, DEARLY DEPARTED VIDEO GEEK FROM SCREAM 1 and 2				RANDY			Told you I'd make a movie someday, huh? WE ARE:INT. TRAILER - STUDIO LOT - DAYSidney, Gale, Karen, and Dewey are gathered around the inside of the small, cramped trailer watching the tape. 				SIDNEY			 Oh MY god.				RANDY			Well, if you're watching this tape, it means 			as I feared, I did not survive these killings 			here at Windsor College.   Anyway, the reason 			I am here is to help you, so that my death 			will not be in vain.  That my life's work, will 			help save some other poor soul from getting mutilated.  			If this killer does come back, and he's for real, 			there are a few things that you gotta remember.  			Is this simply another sequel?  Well, if it is, same 			rules apply.  But, here's the critical thing.  If you 			find yourself dealing with an unexpected backstory, 			and a preponderance of exposition,  then the sequel 			rules do not apply.  Because you are not dealing 			with a sequel, you are dealing with the concluding 			chapter of a trilogy.				DEWEY			A trilogy?				RANDY			That's right.  It's a rarity in the horror field, 			but it does exist, and it's a force to be reckoned 			with, because true trilogies are all about going back 			to the beginning and discovering something that wasn't 			true from the get go.  'Godfather', 'Jedi', all revealed 			something that we thought was true, that wasn't true.   So 			if it is a trilogy you are dealing with, here are some 			super trilogy rules.   One, you got a killer who's gonna be 			super human.  Stabbing him won't work, shooting him 			won't work, basically in the third one, you gotta 			cryogenically freeze his head, decapitate him, or blow him 			up.   Number two; anyone including the main character can 			die.  This means you, Sid.  I'm sorry, it's the final 			chapter.  It can be fuckin  'Reservoir Dogs' by the 			time this thing is through.  Number three; the past 			will come back to bite you in the ass!  Whatever you 			think you know about the past, forget it.  The past is 			not at rest, any sins you think were committed in 			the past are about to break out and destroy you. NUMBER 			FOUR,Never, ever under any circumstances go running off 			by yourself, cause if Friday the 13th has taught us 			anything, it's that the next time we're gonna see you, 			you're gonna have a fence post jutting out from your 			back. So in closing, let me say good luck, God Speed, 			and for some of you, I'll see you soon, cause the rules 			say, some of you ain't gonna make it.  I didn't, not 			if you're watching this tape. CUT TO:EXT.  SUNRISE STUDIO BACK LOT - DAYSidney and Karen are hugging.				SIDNEY			Thanks Karen. You be careful.				KAREN			Don't worry Sid. I got tickets to see			Family Feud. I did have a somewhat ulterior			motive for driving all the way down here.Karen smiles. She hugs Sidney one more time, scampers away. 				GALE			I've got an idea, I'll hook up with you guys 			later.  				DEWEY			Do you want us to come with you?				GALE			I work better alone.  Why don't you do some snooping			around the set?Gale runs off.				SIDNEY			I can see nothing's changed.  				DEWEY			No.CUT TO:EXT.  SUNRISE STUDIO FILM ARCHIVES - DAYGale's banging on the door trying to gain access. Nobody home. Gale notices the card lock and the sign reading  'AUTHORIZED PERSONAL ONLY'. Gale smiles. Since when has this ever stopped her before. She reaches into her pocket book, pulling out a couple of credit cards, a video store card, etc. She tries them in the lock. NOTHING.A hand reaches down, grabs Gale from behind. She lets outa blood curdling scream. It's only JENNIFER.				JENNIFER			Geez.				GALE			What the hell are you doing?				JENNIFER			Being Gale Weathers.  What the hell are you doing?				GALE			I am Gale Weathers!				JENNIFER			Here's how I see it.  I've got no house, no movie, 			no gun, and I'm being stalked.  Because someone wants 			to kill me?  No, because someone wants to kill you.  			So now, starting now, I go where you go.  That way, 			if someone wants to kill me, I'll be with you, and 			since they really want to kill you, they won't 			kill me, they'll kill you.  Make sense? 				GALE			None.				JENNIFER			You know in the movies, I play you as being much smarter.				GALE			And as a sane person.  For you that must be quite a stretch.				JENNIFER			That's funny.				GALE			Ha. Maybe I should join SNL.				JENNIFER			Need to get in that building?				GALE			  (sarcastically)			No really?				JENNIFER			There a story in that building?				GALE			Possibly.				JENNIFER			  (flashing a Sunrise Studios Key Card)			Gale Weathers would find a way. 			  (she swipes and opens the door)Jennifer opens the door, steps in first. Gale follows, door closing ominously behind them with a loud CLACK.CUT TO:INT.  BASEMENT HALLWAY - ARCHIVES - DAYGale leads the way down the dark hall.				JENNIFER			Basements creep me out.				GALE			Really, you know you'd make a fascinating			interview. Lifestyles of the Rich and Psychotic.				JENNIFER			Look who's talking Moneybags. You got more			homes than I do.				GALE			  (smiling)			Oh I wish I got that one on tape.			It'd put a smile on my face everytime			I'm down.				JENNIFER			  (underbreath)			Bitch.The two turn the corner, stepping into -INT.  CLERICAL AREA - ARCHIVES - DAYBIANCA BERNADETTE, an aging, former actress in her late forties, early fifties, sits behind a desk doing paperwork.Sensing someone else's presence she stops what she is doing and looks up at Gale and Jennifer.				BIANCA			Can I help you?				GALE			I'm Gale Weathers, author of the Woodsboro 			and Windsor College murders, and anchorwoman 			for TOTAL ENTERTAINMENT. Maybe you've heard of me?Bianca shakes her head "no".				BIANCA			I don't watch TV and I hate books.			Whatta you need?				GALE			Does the name Maureen Prescott sound familiar to you?				BIANCA			Nope.				GALE			  (groans)			Well can you tell me if the woman in this 			picture looks familiar to you.Gale reaches into her pocket, slams down the picture of Sid's mom on Bianca's desk. Bianca looks up, totally unenthused.				BIANCA			Listen, I'm busy. Nobody has access to those 			files except studio execs. Can you please go away now?				GALE			Well if you won't work for me, will you work 			for the president?Gale slaps a twenty dollar bill on the desk. Bianca looks up, a bit insulted, slides the money back.				BIANCA			The president . . . of the studio.				JENNIFER			Twenty dollars? Who are you Nancy Drew?Jennifer turns to Bianca, slides off her ring. She slams the ring onto the desk. It's absolutely stunning.				JENNIFER			Go ahead. It's worth three grand easy.			  (to Gale)			My Gale Weather's will stop at nothing to get the story.How can Bianca resist. She smiles, takes the ring, slips it on her finger.				BIANCA			Follow me.Gale reaches for her Twenty. Bianca slaps her hand, takes it, folding it up, sliding it between her cleavage. CUT TO:INT. FILE ROOM - ARCHIVES - DAY				BIANCA			  (staring at picture, flipping through file cabinet)			I know every face in here, respect for the unknown			actor I suppose, myself included. If you're looking			for Maureen Prescott --				GALE			  (interrupting)			 It may be Maureen Reynolds --				BIANCA			Well you'll find neither.			Rina Reynolds, however,			You will.				JENNIFER			  (smiling)			Rina Reynolds. What a stage name.				BIANCA			You should talk, Judy Jurgenstein.Gale takes the folder from Bianca, opens it up. Inside are 8x10 headshots of MAUREEN PRESCOTT when she was younger. Behind the pictures is a Xeroxed listing of the films she's starred in.				 GALE			What are these movies? 'Amazombies',			'Space Psychos' 'Creatures from theSan Andreas Fault'?				BIANCA			Horror flicks. B-Movies from Milton's heyday.				GALE/JENNIFER			  (together)			What?				BIANCA			You know, JOHN MILTON, the horror producer?			Those were some of his early flicks. CUT TO:EXT. SOUNDSTAGE - SUNRISE STUDIOS - DAYSidney stands beside Dewey and Detective Wallace.				SIDNEY			Listen Dewey I have to go to the bathroom.				DEWEY			Do you want me to come with you Sid?			I mean, remember what Randy said?				SIDNEY			No I'll be ok. I've got my mace.			My knife.			  (smiles, raises up her fists)			These two lethal weapons.				DETECTIVE WALLACE			Sure you don't need a police escort?			That's what we're here for.				SIDNEY			No really, I'll be fine.Dewey and Wallace nod. Sid begins to walk towards the soundstage.				SIDNEY			I'll be right back. CUT TO:INT.  LADIES ROOM - SOUNDSTAGE BUILDING - DAYSidney stands at the sink washing her face. She shuts off the water reaches for a paper towel when suddenly, something catches her ear. Almost as if a man's whisperedher name 'Siiiiiddney'. Sid turns around, stares at the empty bathroom.				SIDNEY			H-hello? Anyone there?Silence. Sid reaches into her pocket book, draws out a Gravity Knife. She flips open the blade, crouches down on her knees, scanning the row of stalls for feet.What a relief . . . none. Sid smiles, dismisses what she thought she heard when she sees --THE RUMBLING AIR CONDITIONING UNIT.Sidney goes back to drying her face when suddenly --				MAN(O.S.)			  (whisper)			Sidney.This time it's apparent. There's somebody else in the bathroom. Sid begins to make her way towards the bathroom door when suddenly --WHAM! A STALL door flies open. THE GHOST charging out at full-force. Sid hits the deck, sliding across the floor, deflecting the blow from the knife as the killer buries it into the sink counter. Sid races for the door, killer hot on her trail. SUDDENLY --WHAM! The storage closet door flies open and a second GHOST comes charging out, knife gleaming. He dives for Sid. Sid takes up her knife, buries it in her attacker's shoulder. The GHOST goes reeling back into the closet. Sidney slams the door closed on him. She dives for the door knob when suddenly, the first ghost comes running back at her. She ducks as he swings his knife, burying it into the bathroom door. Sid bolts across the bathroom towards a tiny window in the far corner of the ceiling. Using the trash as a booster, she leaps up, slides open the window, and dives out, just as the deadly pair of attackers come back for more.CUT TO:EXT.  STUDIO LOT - DAYSidney comes charging around the corner of the soundstage building. She looks up, realizing she's just ran herself into a dead end.				SIDNEY			  (crying)			Shit.BAM! An exit door flies open. The GHOST comes charging out. Sidney screams, runs for a wooden fence. She begins to scale it, dropping over on the other side just as the killer pierces through it with his knife. Sid takes off running for WALLACE and DEWEY.WALLACE AND DEWEY,HEARING THE SCREAMS, spin around, drawing out their guns.  Wallace looks at Dewey.				DEWEY			  (re:gun)			Don't worry, I've got a permit for it.				SIDNEY			  (hysterical)			Jesus Christ Dewey help me!			They tried to kill me in the bathroom!			The killers!				DETECTIVE WALLACE			Wait a second? Killers? There's two			of them now? Aw shit!Wallace whips out his cellular, dials a number. Sidney falls into Dewey's arms, collapsing like a house of cards, crying hysterically.				DETECTIVE WALLACE			  (into phone)			Yeah this is Wallace. We got a problem   down 			here on the Sunrise Studios lot.			No not another one. At least not yet.			Yeah we've had an attack.			  (to Sid)			Do you need medical assistance?			  (Sid nods her head 'no')			No. Oh really. Alright, see you in a minute. Wallace closes up his phone.				DEWEY			What?				DETECTIVE WALLACE			Well I got some good news in a way.			Roman Bridger didn't make those calls			To Sarah Darling. Police let him go.			Here's the bad news: The cellular was			cloned, it's untraceable. We now have			no suspects.				GALE(O.S.)			Dew!Dewey and Sidney turn around to see an excited Jennifer   and Gale race into frame.				GALE			Sidney, what happened?				DEWEY			Nevermind, what'd you two find?				GALE			We did some researching in the archives.			Sid, something dawned on me when I wrote the			book on your mother's murder. For two years			of her life, 1969 up until 1971 she basically			disappeared off the face of the Earth.				SIDNEY			What are you talking about?				JENNIFER			We've found out where she went.				GALE			She was an actress Sidney. Minor			B-Movies. But now we have a new			suspect in this twisted fucking			web . . . John Milton.				DETECTIVE WALLACE			The head of the studio?				GALE			It makes sense doesn't it? It's his			big grandiose swan song from the genre.			What a better way to end than with a bloodbath?				JENNIFER			Sidney, what happened?				SIDNEY			I was attacked in the bathroom.				DEWEY			Wallace, shouldn't you be investigating			the bathroom?				DETECTIVE WALLACE			  (looks at building)			I'm waiting for back-up.			I don't carry bullets in my			gun unless I know I'm gonna use em. Dewey nods suspiciously.  Kincaid comes rushing into  frame.				DETECTIVE KINCAID			Jesus Christ Sidney, what happened?			I got a call on my cell from home.			They told me that someone was attacked.				DEWEY			And what made you think it was Sidney?				DETECTIVE KINCAID			  (glaring)			Sid, get in my car. You're coming   			back to the station with me where it's   			safe.				GALE			Dewey, Jennifer, I think we should pay     			John Milton a little visit.				DEWEY/JENNIFER			  (together)			Agreed.  CUT TO:INT.  JOHN MILTON'S OFFICE - DAYMilton's on the phone with Roman.				MILTON			  (into phone)			Roman I know you're upset. But there will			be other movies. I know. Ah, VARIETY called			you a Pariah? Well fuck them. I got a great			script on my desk. It's called TRAGIC			 MENAGE TRIOS and it was written by			John Sayles. I'm thinking you for Director.			What?			  (knock at the door)			Come in.			  (into phone) 			No, not to you Roman.			Look I'll talk to you later. Bye.Milton hangs up as Gale, Jennifer, and Dewey barge intohis office.				DEWEY			So you knew Sidney Prescott's mother.			MILTON			Just what the hell do you people think			you're doing, barging in here like this?			I've got important calls to make. I run			this studio.				GALE			Answer the question. You knew Sidney's mom?				MILTON			Who?				JENNIFER			Rina Reynolds.				MILTON			Do you know how many actors have worked			for me? Hundreds, thousands. 				GALE			Nobody said she was an actor.				JENNIFER			Good twist. 				MILTON 			What's your point?				DEWEY			No point, I'm just gonna give Detective Kincaid a call.				MILTON			I remember her!  She was a bit player in a couple 			of my movies. A nobody! So what does it matter?				JENNIFER			Oh, Come on!  You have made millions off the story 			of her murder.  You're obsessed with HER and 			you're obsessed with her DAUGHTER!  				GALE			Settle down Beavis.			  (to Milton)			Why don't you tell us the truth?				MILTON			What the hell are you guys getting at?  I make horror 			films, that's what I do.  The Studio came to me 			with 'Stab'.  They came to me, check it out.  				DEWEY			But you know who she was.				MILTON			When we did the first 'Stab" I realized I'd 			known Maureen Prescott before, I mean as Rina.  			I couldn't tell anyone.  Can you imagine the press?  				GALE			And now? I mean, murders on your set and 			still you say nothing?				MILTON			Get real, that would make me a suspect!				GALE			Just because you knew her?				MILTON			Yeah.				GALE			I don't think so!  Just what happened to 			Maureen when she was in Hollywood?				MILTON			Now you listen to me, Lois Lane, let it go.  			It's dead and buried. Daddy took ol' Yeller 			out behind the barn and shot him in the head a 			long time ago.				GALE			Well how would you like his rotten carcass dug			up and drug all over National TV? Why don't			you start talking.				MILTON			It was in the 70's, everything was different.  			I was well known for my parties, Rina knew what they were.  			It was for girls like her to meet men, men who could get 			them parts, if they made the right impression.  Nothing 			happened to her that she didn't invite, in one way or 			another, no matter what she said afterwards.				GALE			Are you saying she was-				MILTON			I'm saying things got out of hand.  Maybe they 			did take advantage of her!.  Maybe the sad truth 			is, this is not the city for innocence.  No charges 			were brought.  And the bottom line is, Rina Reynolds 			wouldn't play by the rules.  You wanna get ahead in 			Hollywood, you gotta play the game, or go home. CUT TO:INT.   DETECTIVE KINCAID'S OFFICE - DAYKincaid stands at his desk trying to put the pieces of this puzzle together. Sidney's seated beside him, staring at a stack of books on 'SCRIPT WRITING and SELLING YOUR WORK IN HOLLYWOOD'.				SIDNEY			What do you know about trilogies?  				DETECTIVE KINCAID			You mean like, movie trilogies?				SIDNEY			You seem to like movies, Detective.				DETECTIVE KINCAID			Call me Mark, would you?  Cause I'm gonna keep 			calling you Sidney.				SIDNEY			I'll call you Mark when you catch the killer, 			Detective.				DETECTIVE KINCAID			All I know about movie trilogies is in the third one, 			all bets are off.				SIDNEY			  (noticing a huge file on her)			Did you request this case?				DETECTIVE KINCAID			No, they tend to put me on the ones that deal 			with the business.  I grew up here, and I know my 			way around the studios.  				SIDNEY			Must be exciting, Beautiful place, beautiful people.				DETECTIVE KINCAID			To me Hollywood is about death.				SIDNEY			Excuse me?				DETECTIVE KINCAID			I'm a homicide detective, remember?  When you   			see what I see day in and day out, the violence that 			people do to each other, you get haunted.  			I think you know about that.  				SIDNEY			What do you mean?				DETECTIVE KINCAID			I know what it's like to see ghosts that don't  			Go away.  To be watching a scary movie in your head,  			whether you want to or not,  watching it alone. 				SIDNEY			Ghosts are tough,  you can't shoot ghosts.				DETECTIVE KINCAID			Can't arrest ghosts.  But the best way to stop 			being haunted is to be with people.  You're here, 			you're not hiding, you've done the right thing, 			Miss Prescott.				SIDNEY			Hmm.				DETECTIVE KINCAID			What did you know about your mother?				SIDNEY			I used to think I had the perfect mom, perfect 			family.  Till I found out I was wrong.  She had a 			secret life, and I tried to understand that, and 			soon as I thought I had, more secrets.  I don't' 			know who my mom was.			  (a beat)				Sometimes I feel like I'm just learning about my 			mother for the first time. You know, with TV and 			those movies and what not. God sometimes I feel 			like I'm just learning about myself for the first 			time. Like I'm watching my life instead of living in it.				DETECTIVE KINCAID			  (a long beat)			Here's the deal, I'm off to search the soundstage. 			That's good news.				SIDNEY			How is that good news?				DETECTIVE KINCAID			Because, that means that we're dealing with an ordinary, 			flesh and blood killer.  And I know how to handle 			guys like that.				SIDNEY			Oh yeah, how?  				DETECTIVE KINCAID			Catch him, or kill him. Kincaid readies himself to leave. He snags up his holstered gun, his car keys, jacket, etc.				SIDNEY			Hey Detective?  What's your favorite scary movie?Detective Kincaid pauses, he leans over Sidney's chair, his penetrating eyes glaring right into hers.				DETECTIVE KINCAID			  (sotto)			My life.Kincaid exits, door slamming shut behind him. A beat, then --				SIDNEY			Mine too.CUT TO: INT.  RECEPTION AREA - MILTON'S OFFICE - SUNSETMilton steps out of his office into his reception area.  Secretary's gone for the night. Milton starts out of the office, disappears. CLOSE ON A COAT CLOSET.The door creaks open. Gale, Jennifer, and Dewey emerge from the darkness. Jennifer is gagging.				JENNIFER			Oh God Gale, Dewey was right.			Stop getting so nervous and you			might stop causing me to gag!				DEWEY/GALE			  (together)			SHUT UP!Jennifer's quiet.				JENNIFER			I think Milton's the killer.			I think he just went out to kill another cast member.				 GALE			Milton's not a killer. He's a pervert.			 He probably went out to buy more KY JELLY for his jack			-off parties he has with his two best friends.				JENNIFER			 Rob Reiner and Quentin Tarentino?				GALE			  (smacks her forehead out of frustration)			Do you get any of my witty humor?			I mean, you did play me for three movies.			  (a beat)			His two hands, dingus.				DEWEY			Ssh ladies.Dewey leans into Milton's office door, slowly opens it. Darkness spills out. The three disappear inside it.CUT TO:INT.  HALLWAY - BUILDING - NIGHTMilton's walking down the hallway. It's dark. Desolate. CAMERA tracks along the paisley velvet carpet as a phone rings O.S.IT'S MILTON'S CELL. He answers it, pushes the elevator 'up' button anxiously.				MILTON			  (into phone)			John Milton.				VOICE			Wanna play a game?				MILTON			Who is this?				VOICE			You tell me. You bankrolled three  movies about me.				MILTON			 It's you. The saboteur whose been fucking up my movie!			  (a beat)			 I swear to God if you don't stop I'll find you and 			have you killed! I shut down production on that piece of 			shit STAB 3! We had a no talent director and the 			lousiest Sidney Prescott on the planet but that was 			besides the point! You still killed MY movie! A John 			Milton film! And if you ever try and cross me again you'll			be sorry. My next movie is gonna be a grandiose step up 			from this slasher shit! It's a film written and directed 			by John Sayles.Milton's going rapid fire.				VOICE			Oh poor John. There's not gonna be another film. 			Well, at least not for you.THE ELEVATOR DOOR OPENS with a ping. A flash of silver and in an instant, John's throat is slashed open, spilling blood. His corpse thuds to the ground. A pair of gloved hands drag him into the elevator. A moments pause and then--THE GHOST storms out, disappearing down the hall.THE ELEVATOR DOORS CLOSE ON MILTON'S CORPSE. CUT TO:INT.  MILTON'S OFFICE - NIGHTGale's trying to get a locked drawer on Milton's desk open. It won't budge. Dewey steps into frame, flashlight in hand. He shines the light down on the lock.				DEWEY			Hold on Gale, I'm a pro at this.Dewey leans in, bumping his head with Gale's.				GALE			Oh Dewey I'm sorry.The two look at each other and smile. Dewey laughs sweetly. Gale reaches up, rubs his head.				GALE			Here. Let me --JENNIFER, chimes in. Clearly annoyed.				JENNIFER			Excuse me Gale! What the hell   			do you think you're doing?Gale and Dewey can't help gazing into each other's eyes. In an instant it almost seems as if a long lost love has been sparked back to life.				DEWEY			  (shaking it off)			Let's get this drawer open.			If it's locked, there must be something  			inside he's trying to hide.Dewey takes the butt of the flashlight, brings it down  hard on the locked drawer. The lock's smashed off.				GALE			Shit. That's gonna leave a mark.Gale slides open the drawer, reaches in. She pulls up a manilla folder. Dewey shines the light on the folder as Gale opens it up and reads what's inside.				JENNIFER			What? What'd you find?Gale's eyes widen.				GALE			Paternity test results. Christ Dewey, you're never 			going to believe who Milton's kid is. 				DEWEY			Who is it?				JENNIFER			  (nervously)			Guys! I got a bad feeling.				DEWEY/GALE			  (angrily, together)			NOT NOW!				JENNIFER			Guys there's someone else in the fucking room!				DEWEY			Huh?Dewey and Gale look up and scream as --THE GHOST rushes out of the shadows. Jennifer bolts for the door. The GHOST jams his knife in her back. She lets out a blood curdling death scream, drops to the floor motionless. GALE and DEWEY share a terrified scream. The killer wipes his blade clean, lunges for them.				DEWEY			  (frantic)			Gale run!Dewey jumps in the killer's path. The killer winds back, cracks the base of the knife across Dewey's skull. Dewey drops to the floor unmoving.				GALE			  (screaming)			Dewey!CLANG! The Killer's blade glistens in the moonlight. He charges for Gale. Gale screams, races out of the office door, slamming it closed on the killer sending him flying onto his back.  CUT TO:INT.  HALLWAY - OFFICES - NIGHTGale races down the hallway, frantically trying every door she passes. All of them locked. She reaches the elevator, hits the "down" button.  The door opens with a ping. Gale unleashes a horrendous scream --MILTON ----has been strung up from the ceiling ventilation duct, gutted from knob to gullet. His entrails lie in steaming heaps at his feet. GALE staggers away from the elevator, speechless. She screams again.HER GHOSTLY ATTACKER is coming straight for her.GALE fakes out the killer, dives into the elevator. He runs ahead, briefly, giving Gale enough time to trip him sending him landing flat on his face. Gale races out of the elevator doubles back down the hallway towards a door marked "stairs". She bolts through the door.  CUT TO:INT.  STAIRWELL - OFFICES - NIGHTGale races down the stairs, nearly tripping and falling. She races out onto the ground floor. CUT TO:EXT.  SUNRISE STUDIO LOT - NIGHTGale races out of the office building. A car horn blares. She screams.KINCAID jams on his breaks, gets out his car. He draws up his gun.				DETECTIVE KINCAID			Jesus Gale what happened?				GALE			  (frantic)			He killed Milton! The killer's  inside there! Oh God!			  (realizing)			DEWEY! Dewey's in there too!			He needs medical help!			He's hurt!				DETECTIVE KINCAID			Alright, calm down. I'm going  			to radio in for backup right now.				VOICE(O.S.)			Not so fast. We're not finished.Kincaid spins around. Gale screams. The GHOST comes charging out of nowhere, slashes open Kincaid's throat, stabs him in the chest. Kincaid drops onto the hood of his car, dead.GALE pauses. She's screaming hysterically. The killer raises the knife menacingly.				VOICE			I wouldn't run if I were you Gale.			It's only gonna end up with you getting			Skewered like a fucking pig. I need you.				GALE			  (nervously)			Awfully late time to be doing an interview.				VOICE			I need you as bait. For Sidney.Gale closes her eyes, cries as the killer stalks towards her.  CUT TO:INT.  DETECTIVE KINCAID'S OFFICE - NIGHTSidney sits in Kincaid's office flipping through the folder marked 'SIDNEY PRESCOTT' It's loaded with newspaper articles and police reports and is basically a scrapbook of obsession. Sidney smirks. Kincaid has drawn little magic marker hearts around a picture of her. She's awakened from her daydream. The phone rings. Sid answers it.  				SIDNEY			  (into phone)			Hello?				SIDNEY'S VOICE(O.S.)			  (off phone)			Hello?				SIDNEY			Who is this?				PHONE SIDNEY(O.S.)			Who is this?				SIDNEY			Um wh-who's calling?				PHONE SIDNEY(O.S.)			Um wh-who's calling?				SIDNEY			Gale, Dewey, whoever, um, call me back, 			I can only hear myself.				VOICE			  { a click }  			I only her you too, Sidney. 				SIDNEY			Who is this?				VOICE			The question isn't who I am.  The question is, 			who's with me. 				GALE			  (screaming)			Sidney, stay away!Sid's face floods with fear. She rushes towards the office door when suddenly, the voice draws her back, angrily and cautioning.				VOICE			Don't do it!  If you do one thing to attract 			attention, one thing, I'll kill them both.   			Now, do you have somewhere we can be alone?				SIDNEY			Yes.				VOICE			Go there.Sidney stands up, goes into an inner office, Wallace's.				VOICE			Always hard being friends with you, Sidney.  			When you're friends with Sidney, you die!  			Well these friends don't have to, Sidney.  			It's up to you.  				SIDNEY			How do I know their voices are --				VOICE			Are real?  How do you know you're not hearing things?  			How do you know I'm not someone in your head?  			Somewhere, you know.  				DEWEY			  (frantic)			Don't come here Sidney!  We hear the killer haul back and hit Dewey hard.				GALE			Dewey! No!				VOICE			Or do you?  				SIDNEY			You're dead!				VOICE			I don't want them, I want you!  It's simple. 			You show yourself, they survive, you run, 			they die! 				GALE			Oh God!  Oh God!				VOICE			Don't you want to know Sidney? Don't you want to 			know who killed her?  Don't you want to know who 			killed your mother? 				COP(O.S.)			Have you seen Kincaid?				 COP 2(O.S.)			NO.  But Wallace is around.				SIDNEY			Where?				VOICE			She'd have been so happy, Sidney, to know we'd be together.				SIDNEY			WHERE?				VOICE			I'll call you, when you're on your way.  Click. The killer hangs up. Sidney breaks down crying.				SIDNEY			Fuck!Wallace's keys rest on his desk. Sid ponders, takes them. She stands up when something inside her makes her open Wallace's drawer and dig around. She pulls up a fully loaded handgun.That's the ticket. She closes the drawer, slinks out the side exit.  CUT TO:INT.  WALLACE'S CAR - NIGHTSid speeds through rain-slicked streets. Her cellular rings.				SIDNEY			  (into phone)			Yeah?				VOICE			You follow directions good.			Now let's wrap this production.			Go to the Sunrise Studios backlot.			I'll call you when you get there.Click. The killer hangs up.   CUT TO:EXT.  SUNRISE STUDIOS LOT - NIGHTSid parks Wallace's car alongside the studio gates. She gets out, stands on the hood of the car, begins to scale the wrought-iron fence.     CUT TO:EXT.  SOUNDSTAGE - STUDIO LOT - NIGHTSidney creeps through the darkened, abandon lot. Again, her cellular rings. Again, she answers it.				SIDNEY			  (into phone)			Alright, I'm here. Now what?				VOICE			You're doing real good. Can't			you figure it out? I wanna finish			this where it all began. Woodsboro.				SIDNEY			I thought you wanted me here?Click the killer hangs up. Sid pockets her phone. She looks up, and is startled out of fright.  Posted alongside the sound stageis a huge production poster for STAB 3 with a life-size GHOST wielding a big knife. Sid knows she's in the right place. The door leading inside is half-open. Sid taps the holstered gun, slowly steps into the darkness.  CUT TO:INT.  STAB 3 SETS - NIGHTSidney enters. She pauses. As a million things rush through her mind. To her this is like the ultimate return. Everything appears as she last remembers. Sid steps through the dark sets. Her phone rings. She answers it.				SIDNEY			  (into phone)			Alright I'm here, now show your  face so we can 			finish this.				VOICE			It's good to see you again Sidney.			I was growing real impatient.			Go ahead. Explore. I'll catch up with you later.The killer hangs up. Sid pockets the phone. She walks past the MACHER GARAGE set. Instead of a foam TATUM body dangling from the doggy door, it's KINCAID'S CORPSE! Sidney flinches, covers her eyes. She walks on.INT.  BECKER HOUSE - SET - NIGHTSid steps through the living room of the BECKER set. It mirrors the house perfectly. Everything from the shattered patio door to the burnt Jiffy Pop is there. Sid's phone rings. She answers it.				SIDNEY			Yeah?				DEWEY(O.S.)			  (off phone)			Help me Sid! The killer's got me!				 SIDNEY			Dewey?! OHMIGOD! Where are you?!				DEWEY(O.S.)			Sid I can see you!				SIDNEY			Where are you Dewey?				DEWEY(O.S.)			I'm out back. Tied up. Hurry Sid!			The killer's looking for you!			Quick untie me!Sid bolts through the shattered patio door out onto the backyard set. Seated before a heated in ground pool, tied to a patio chair, beaten and gagged, is DEWEY RIELLY. He's unconscious and almost appears at first glance like STEVEN ORTH from SCREAM. Sid's jaw drops. This can't be possible. She looks down at the phone.				DEWEY(O.S.)			Good work Sid. Sid screams, dropping the phone out of fright. She turns around coming face to face with --THE GHOST HE STANDS in the patio doorway. A monstrous version of the voice-changing box in hand. He raises up the box, clicks a button and speaks.				GHOST			  (Sid's voice)			You play a good game Sidney.			Now it's time to get down to business.				SIDNEY			Who are you?				GHOST			  (click-now he's Maureen's voice)			Your other half. The GHOST rushes Sid. She screams, takes off running. She bolts across the darkened set, running straight up the front porch of a mock-up of her own childhood home. She swings open the front door, slams it closed. INT.  PRESCOTT HOUSE - SET - NIGHTSid locks and bolts the front door. She backs away from it as the killer begins to pounce against it, struggling to get inside. Sid hears something upstairs. Like muffled cries. She races up to investigate.CUT TO:INT.  SIDNEY'S BEDROOM - SET - NIGHTSid enters the set of her bedroom, slowly drawing out the gun she stole from Kincaid's office.LYING on the bed, bound and gagged, is --GALE WEATHERS				SIDNEY			GALE!Sid races over, removes the gag from Gale's mouth.				GALE			Christ Sidney hurry up!			That fucking lunatic is coming!Sid fumbles with the bindings, manages to untie Gale. Gale sits up.				SIDNEY			Gale he's got Dewey!				GALE			I know! He killed Kincaid!				SIDNEY			I know!				GALE			Let's get out of here!				SIDNEY			   (screaming)			GALE WATCHOUT!KER-SMASH! The GHOST launches himself through the upstairs window. Gale and Sidney bolt for the bedroom door, killer hot on their tails. CUT TO:DEWEY --Dewey comes around. He lets his head loll for a moment before finally beginning to pull and tug on his bindings.EXTREMELY CLOSE on Dewey freeing one of his hands from the heavy duct tape. CUT TO:INT.  MAUREEN'S BEDROOM - PRESCOTT HOUSE SET - NIGHTGale and Sidney run into the master bedroom set, slamming the door shut and locking it. Sid looks around, her head already swimming from the chaos outside. However, what's inside utterly horrifies her. The walls, the furniture and the bed are splattered with blood. On the bed lies a corpse in a black rubber body bag (supposedly Maureen's body). The door buckles under the killer's blows. Gale and Sidney scream. They can't hold out much longer.				GALE			Jesus Christ Sidney get out of here!			He can't get us both!A knife splinters through the door, inches from Gale's face. She screams.				GALE			RUNNN!Sid backs away, hysterical. She raises up the gun, fires into the door.  BLAM! BLAM! BLAM! Gale ducks out of the way. Silence.The door ceases to move. AND THEN --THE BODY BAG UNZIPS and the second GHOST emerges, knife in hand. The girls utter horrified screams. Sid raises up the gun, goes to fire when suddenly --BAM!The bedroom door's kicked down and the other killer enters, grabbing Sid by her shoulders, batting the gun from her hands.Sid screams, punches her attacker in the chest. He winces.The second Ghost grabs Gale, holds the knife to her throat, stopping her in her tracks. Sid makes a beeline for the window, leaps through the glass.THE WINDOW SHATTERS.Sid comes flying out onto the patio awning. She rolls over onto the astro-turf grass, momentarily motionless. And then she comes to. Her eyes flickering open, blurrily staring up at --THE GHOST, leering out the shattered window frame.SID stands up, takes off running towards --THE MACHER HOUSE SET.   CUT TO:INT.  FOYER - MACHER HOUSE SET - NIGHTSid races into the foyer, slams the door closed behind her. Again, locking and bolting it. She looks around, everything is once again the same as it was in Woodsboro. This is where the climax of the original battle between good and evil wasfought. It's dÈjr vu all over again.  Footsteps O.S.				DEWEY(O.S.)			  (weakly)			Sidney?Sidney turns around --DEWEY staggers through the living room doorway, gun in hand.				SIDNEY			  (eyes lighting up)			Dewey!Sidney embraces Dewey.				DEWEY			Where's Gale?				SIDNEY			They've got her!				DEWEY			Sid I want you to stay here!			I'll be right back!			I'm not gonna let them get Gale!Dewey unlocks the front door, swings it open.STANDING across the set is THE GHOST, knife raised.				DEWEY			  (tightening grip on gun)			 Hold it right there you fucker!Dewey goes to fire. CLICK. CLICK. CLICK. Out of bullets.				DEWEY			  (nervously)			OH shit!THE GHOST winds back, launches the knife. It swirls through space before embedding into Dewey's arm, launching him back through the doorway. Sidney screams. Dewey's unconscious again. The GHOST races for the open door. Sid screams, kicks it closed. Locking and bolting it again. A crash O.S. Sid turns around --A BODY rolls down the staircase, covered in blood. It comes to a halt at Sidney's feet, an unmoving, rumpled figure.IT'S ANGELINA TYLER.She's been brutally stabbed.				SIDNEY			  (crying)			Oh God.BUT ANGELINA'S EYES OPEN. A SICK RICTUS SMILE FORMING on her lips.She pulls out a gun, aims it at Sidney's face.				ANGELINA			Time to sort things out.			Whatta you say?CUT TO:INT.  MACHER LIVING ROOM - SET - NIGHTAngelina walks Sidney into the living room at gunpoint. Gale's been handcuffed and tossed onto the couch.ON THE TV --HOME VIDEO FOOTAGE of MAUREEN PRESCOTT plays.				SIDNEY			It's you?! All of this is because of you?				ANGELINA			No. Not all of it. Sid, someone really  			wants to meet you.  Sid tries to run, Angelina trains the gun on her. Causing her to stop in her tracks.				ANGELINA			Uh-un Sid. You're not gonna run off.			Not now.				VOICE(O.S.)			You're not going anywhere Sidney.			It's time you came to terms with me, and with  			mother! Maybe you never knew her at all, Sid.			Maybe you can't get past the surface of things.The GHOST enters frame, ripping open his costume to reveal a KEVLAR bullet proof vest.				SIDNEY			Who the hell are you?				THE GHOST			The other half of you! I searched for a mother too, 			an actress named Rina Reynolds. I tried to find her 			my whole life. And four years ago I actually tracked 			her down, knocked on her door, thinking she'd welcome 			me back with open arms, but she had a new life and a 			new name, Maureen Prescott! You were the only 			child she claimed Sidney. She shut me out in the cold 			forever, her own son!THE GHOST rips off his mask. IT'S ROMAN. Sidney's deathly quiet.				ROMAN 			 Roman Bridger, director. And brother.			  (a beat)			She slammed the door in my face, Sid. Said I was 			Rina's child and Rina was dead. And it struck me, 			what a good idea! So I watched her, made a little 			home movie, a little family film. Seems Maureen, 			mom, really got around. I mean, Cotton Weary was one 			thing, everybody knew about that, but Billy's father, 			that was the key! Your boyfriend didn't like seeing 			his daddy in my movies. Didn't like it at all. And 			once I supplied the motive, all the kid needed was 			a few pointers. Have a partner to sell out in case 			you get caught, find someone to frame, it was like 			her was making a movie.				SIDNEY			All the nightmares. All the hell I went through 			was because of you, you spineless bastard!				ROMAN			I'm a director Sid, I direct. For example, 			Angelina over there,			  (Angelina smiles)			She's my partner. I can convince her to do 			anything.  We've been dating since I met her in 			Woodsboro.				SIDNEY			  (dryly)			Oh my God, Angie Crick? From English class?				ANGELINA			That's me Sid. I always idolized you. You			were always my hero. That's why I'm here Sidney. 			I wanted to make you proud.				ROMAN			And I kinda keep her around cause it's a bit of			a turn-on. You know, in the movies she's you Sid, so every			time I jump her bones, I'm doing YOU, technically.				SIDNEY			   (repulsed)			Listen, I have no time for this. I've heard this shit 			before! So lets get on with it!				ROMAN			Wait a second Sid. Don't you go jumping the gun.			You haven't seen the best part.			  (pulls out tape recorder)			With the aides of the computer revolution of y2kI've 			been able to steal your voice.			  (presses play)			Ain't it cool? Listen to what the police are gonna 			find next to your lifeless, mutilated body.				SIDNEY			   (off tape recorder)			I can't take it anymore. This Hollywood exploitation			of the nightmare I lived has to be stopped. I did this to 			make you all repent for your sins, and now			I'm pleased I've got my message across. Good-bye.Sid squirms.				ROMAN			   (clicking off tape recorder)			Awesome. What'd I tell ya? Heh. Did youknow that 			John Milton, was my daddy?			Yep, he's the one who fucked mommy dearest in the long run.			 His parties, his flings, exploited the Hollywood nobody!			That's whyI had to make him pay. Daddy dearest is dead.			Mommy's dead. Looks like I'm an orphan all alone			in this world. What a good reason to --			STAB MYSELF!Roman stabs himself in the arm. He screams, goes stagger back into Angelina's arms.				ROMAN			See Sidney, as amateur as Billy and Stu were,			they laid the groundwork for this! See Sidney,			they also set the stage for you! Introducing			to the world Sidney the victim! Sidney the			survivor! Sidney the star!Roman continues stabbing himself. In the shoulder. In the side.In the leg. Bleeding and hazed, he hands the gore drenched knife to Angelina.				ROMAN			See Sid, now comes the part where we get away			with it! The part where we win! Cause face it			Sidney, in this world, the bad guys win!				SIDNEY			Roman knock it off! Do you people even know why you			kill people? You kill people cause you choose to and			not because of any other fucking reason!				ANGELINA			  (screaming)			Roman make her stop! Make her stop baby she's			freaking me out!				ROMAN			   (screaming)			God damn it Sidney!Roman lunges at Sidney. Sid screams, takes off through the kitchen. Gale rolls herself off the couch. Angela runs over and kicks her in the ribs. 				GALE			  (coughing)			Hey bitch, don't ever use prop cuffs to restrain 			Gale Weathers.Gale pops off the handcuffs.				GALE			  (leaping up)			I know all the tricks!Gale barrels into Angelina, tackling her into the coffee table before she has a chance to move. Angelina struggles to raise her knife.MEANWHILE --ROMAN,--chases Sid into the foyer. She races past the spot where Dewey fell earlier. He's gone! Roman jumps at her. Sid disappears into another room.  THE CHASE continues.GALE AND ANGELINA,Continue the fight. Gale's slamming Angelina's head against the hardwood floor. Angelina swipes, slashing Gale along the side, deeply. Gale screams, begins to crawl away. She kicks Angelina in the face. Angelina drops the knife. Gale stands up, begins to back away.SIDNEY--Comes rounding into the foyer again. Roman's right behind her.SUDDENLY,WHAM! The laundry room door swings open and the GHOST emerges, KNIFE in hand. He buries the knife deep into Roman's chest, sending him flying backwards. Sidney screams. The ghost stops in his tracks, pulling off his mask --IT'S ONLY DEWEY. He can barely stand up. He's bleeding profusely from his wounds.Dewey and Sid embrace.				SIDNEY			Dewey my God I thought you were dead.				DEWEY			 Don't worry Sid I'd never leave you like that.SCREAMING O.S.  				SIDNEY			DEWEY! IT'S GALE!Sidney and Dewey race into --LIVING ROOM --Gale's got Angelina in a headlock, right beneath the TV UNIT.				 GALE			  (screaming)			THIS IS FOR THE STARDOM I NEVER HAD!			BITCH!Gale releases, leaps up, she pushes the TV set down onto Angelina's head. Angelina screams, her body trembling from the electric shocks and high voltage.SID and DEWEY stand in the doorway, breathless. Gale approaches them. She and Dewey embrace tightly.ANGELINA's twitching corpse goes limp.SIDNEY, spots a gun on the mantle. She grabs it, cocks it.--FOYER --THE THREE SURVIVORS STEP INTO THE FOYER.  Sid looks down at Roman's corpse.					DEWEY			Watch out Sid. Randy said the killer's always 			superhuman.				SIDNEY			He wasn't superhuman Dewey.			He wasn't superhuman at all.THEN A HORRIFYING SCREAM rips through the air.ANGELINA comes racing out of the living room, face a blackened, Kentucky-fried mess. Everyone screams, one epic last scream. Sid raises up the gun, fires, hitting Angelina dead center between the eyes, sending a splash of blood and brain matter onto the wall behind her.				GALE			WHOA! HOLY SHIT IS THIS GONNA MAKE A GOOD BOOK!Sid turns to Roman's lifeless body.POV LOOKING UP ON SID TURNING THE GUN DOWN ON US --				SIDNEY			  (pissed)			This shit is really getting repetitive,			you know?SID scrunches up her face in anger, pulls the trigger. BLAM! A CLEAN PERFECT SHOT TO ROMAN'S HEAD.Sid drops the gun, walks off set.   CUT TO:EXT.  SUNRISE STUDIOS - THE NEXT MORNINGThe police, fire, and ems are all on the scene of the crime.Dewey's wheeled out of the studio on a stretcher, loaded into an ambulance.INT.  AMBULANCE Gale's right beside him on a stretcher. She leans over, takes his hand.				DEWEY			Gale, I know this is a bad time and all but what 			if we try it out again.			The whole relationship thing.				GALE			  (smiles)			Sure, why not. You did Save my life,Mr. Rielly.Dewey smiles. The two kiss feverishly. CUT TO:WALLACE exiting his car. He surveys the damage. Sid passes him.				DETECTIVE WALLACE			Jesus Christ what happened?			I leave for two seconds to take my			kid to the doctor, I come back and it's			the fucking WILD BUNCH.				SIDNEY			It was just something that's been itching 			to be completed for the past four years.				DETECTIVE WALLACE			I guess so.				SIDNEY			Take care Detective. Give my regards			to the wife and kids.Wallace nods his thanks as Sidney walks off through the studio gates, the sun rising overhead, as calm and as casually as if nothing's happened. SLOWLY, we crane up to an aerial looking down upon HOLLYWOOD. ANOTHER DAY IS BEGINNING. AND THIS IS THE PERFECT END FOR A TRILOGY.CUT TO BLACKTHE END
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+                                                                                               SCREAM                           (SCARY MOVIE)                                                         by Kevin Williamson                                                               Rewrite                           July 31, 1995FADE INON A RINGING TELEPHONE.A hand reaches for it, bringing the receiver up to the face ofCASEY BECKER, a young girl, no more than sixteen.  A friendly facewith innocent eyes.                CASEY        Hello.                MAN'S VOICE            (from phone)        Hello.Silence.                CASEY        Yes.                MAN        Who is this?                CASEY        Who are you trying to reach?                MAN        What number is this?                CASEY        What number are you trying to reach?                MAN        I don't know.                CASEY        I think you have the wrong number.                MAN        Do I?                CASEY        It happens. Take it easy.CLICK! She hangs up the phone.  The CAMERA PULLS BACK to revealCasey in a living room, alone.  She moves from the living room tothe kitchen.  It's a nice house.  Affluent.The phone RINGS again.INT.  KITCHENCasey grabs the portable.                CASEY        Hello.                MAN        I'm sorry. I guess I dialed the wrong number.                CASEY        So why did you dial it again?                MAN        To apologize.                CASEY        You're forgiven. Bye now.                MAN        Wait, wait, don't hang up.Casey stands in front of a sliding glass door.  It's pitch blackoutside.                CASEY        What?                MAN        I want to talk to you for a second.                CASEY        They've got 900 numbers for that. Seeya.CLICK!  Casey hangs up.  A grin on her face.EXT.  CASEY'S HOUSE - NIGHT - ESTABLISHINGA big country home with a huge sprawling lawn full of big oaktrees.  It sits alone with no neighbors in sight.The phone RINGS again.INT.  KITCHENPopcorn sizzles in a pot on the stove.  Casey covers it with alid, reaching for the portable phone.                CASEY        Hello.                MAN        Why don't you want to talk to me?                CASEY        Who is this?                MAN        You tell me your name, I'll tell you mine.                CASEY            (shaking the popcorn)        I don't think so.                MAN        What's that noise?Casey smiles, playing along, innocently.                CASEY        Popcorn.                MAN        You're making popcorn?                CASEY        Uh-huh.                MAN        I only eat popcorn at the movies.                CASEY        I'm getting ready to watch a video.                MAN        Really? What?                CASEY        Just some scary movie.                MAN        Do you like scary movies?                CASEY        Uh-huh.                MAN        What's your favorite scary movie?He's flirting with her.  Casey moves away from the stove and takesa seat at the kitchen counter, directly in front of the glassdoor.                CASEY        I don't know.                MAN        You have to have a favorite.Casey thinks for second.                CASEY        Uh...HALLOWEEN. You know, the one with the        guy with the white mask who just sorta walks around        and stalks the baby sitters. What's yours?                MAN        Guess.                CASEY        Uh...NIGHTMARE ON ELM STREET.                MAN        Is that the one where the guy had knives        for fingers?                CASEY        Yeah...Freddy Krueger.                MAN        Freddy-that's right. I liked that movie.        It was scary.                CASEY        The first one was, but the rest sucked.                MAN        So, you gotta boyfriend?                CASEY            (giggling)        Why? You wanna ask me out?                MAN        Maybe. Do you have a boyfriend?                CASEY        No.                MAN        You never told me your name.Casey smiles, twirling her hair.                CASEY        Why do you want to know my name?                MAN        Because I want to know who I'm looking        at.Casey spins around like lightning facing the glass door.                CASEY        What did you say?                MAN        I want to now who I'm talking to.                CASEY        That's not what you said.                MAN        What do you think I said?Casey CLICKS on the outside light.  A flood light illuminates thebackyard.  Her eyes survey the grounds.  But it's empty.  No one'sthere.  She turns the light out.On the stove, the popcorn POPS.                CASEY        I have to go now.                MAN        Wait...I thought we were gonna go out.                CASEY        Nah, I don't think so...                MAN        Don't hang up on me.                CASEY        Gotta go.                MAN        Don't...CLICK!  Casey hangs up.  She checks the glass door making sureit's locked and then moves to the stove as...THE PHONE RINGS.She slides the popcorn from the stove, reaching for the phone.                CASEY        Yes?                MAN        I told you not to hang up on me.                CASEY        What do you want?                MAN        To talk.                CASEY        Dial someone else, okay?                MAN        You getting scared?                CASEY        No-bored.CLICK.  She hangs up.  The phone RINGS again.  She grabs it.                CASEY        Listen, asshole...                MAN            (deadly serious)        NO, YOU LISTEN, YOU LITTLE BITCH. IF YOU        HANG UP ON ME AGAIN I'LL GUT YOU LIKE        A FISH. UNDERSTAND?Total silence.  He has gotten her full attention.                CASEY        Is this some kind of a joke?                MAN        More of a game, really.Casey eyes the glass doors, then looks up the hallway to the frontdoors...moving to it.  It's unlocked.  She bolts it.                CASEY        I'm two seconds from calling the police.                MAN        They'd never make it in time.Casey moves her face flush against the door, her eye lookingthrough the peephole.ANGLE THROUGH PEEPHOLE.A distorted view of the front porch.  It is empty.  She relaxes abit, relieved.                CASEY        What do you want?                MAN            (pure evil)        TO SEE WHAT YOUR INSIDES LOOK LIKE.Casey's jaw drops as total fear storms her face.  She hangs up thephone, throwing it down on a side table when...THE DOORBELL CHIMES.Casey leaps out of her skin.  She turns to the door as it chimesagain.                CASEY            (calling out)        Who's there?Another CHIME.  She moves to it.                CASEY            (louder)        Who's there?No answer.  Fuck this.  It's time for the police.  She goes forthe portable phone. Just as she picks it up...IT RINGS.Casey almost drops it, losing her breath...She brings it to her ear with trembling hands, sayingnothing...listening, waiting...A long silence.  And then.                MAN        You should never say "Who's there?".        Don't you watch scary movies? It's a        death wish.Casey clutches the wall, nearly collapsing.  She tries herdamndest to hang tough.                CASEY        Look, enough is enough. You had your fun        now you better leave me alone or else.                MAN        Or else what?CLOSE ON her face, her mind thinking, calculating...                CASEY        My boyfriend will be here any second and        he'll be pissed when I tell him...                MAN        I thought you didn't have a boyfriend.Busted.  She holds steady.                CASEY        I lied. I do have a boyfriend and he'll        be here any second and your ass better        be gone.                MAN        Sure...                CASEY        I swear it. And he's big and plays        football and will beat the shit out        of you.                MAN        I'm getting scared.                CASEY        I'm telling you the truth.        I lied before...                MAN        I believe you...                CASEY        So you better leave.                MAN        His name wouldn't be Steve, would it?Silence.  Casey buckles at the knees, losing it.                CASEY        How do you know his name?                MAN        Go to the back door and turn on the porch        light--again.Casey, terrified, forces herself to move.. staggering to thekitchen...to the glass doors.  Her shaky hand finds the lightswitch...she hits it.  The back yard is lit.Sitting in a lawn chair in the middle of the backyard is a big,line backer of a guy, her boyfriend...STEVEtied and gagged.  He's been roughed up, but he's alive.CLOSE ON his eyes..wide in fear..staring at his girlfriend,pleading with her.                CASEY        Oh Goddddd...Casey SCREAMS.  Her hand moves to the lock on the door.                MAN        I wouldn't do that if I were you.Terror rides Casey's face.  She's petrified.                CASEY        Where are you?                MAN        Guess.Her eyes search the yard, combing bushes, trees.  He could beanywhere-anywhere.                CASEY            (begging)        Please don't hurt him.                MAN        That all depends on you.                CASEY        Why are you doing this?Tears find their way, streaming down Casey's face.                MAN        I wanna play a game.                CASEY        No...                MAN        Then he dies. Right now.                CASEY        NOOO!                MAN        Which is it?A long silence.  Casey touches the glass...staring at STEVE...thisbig jock of a guy is crying too.                CASEY        What kind of game?                MAN        Turn off the light.Her hand goes to the switch...Steve tugs and pulls at hisstraps...as if begging her...his face sweat and tears...CLICKHe disappears in the darkness.  Casey moves away from the glass,back toward the living room, unbelieving, horrified.                MAN        Here's how we play. I ask a question. If        you get it right-Steve lives.Three curtainless windows line one wall.  Casey crouches downbehind the couch, tipping a lamp cord from it's socket, darkeningthe room.  Her body quivers.                CASEY        Please don't do this...                MAN        Come on. It'll be fun.                CASEY        No...please.                MAN        It's an easy category. Movie trivia.                CASEY            (begging)        ..please...                MAN        I'll even give you a warm up question.                CASEY        Don't do this. I can't..                MAN        Name the killer in HALLOWEEN.                CASEY        No...                MAN        Come on. It's you favorite scary movie,        remember? He had a white mask, he        stalked the baby-sitters.Casey goes silent...a nervous wreck...she can barely speak muchless think.                CASEY        I don't know...                MAN        Come on, yes you do.                CASEY        Please..stop...Casey is SOBBING.                MAN        What's his name?                CASEY        I can't think.Casey has officially reached hysteria, petrified beyond allreality.                MAN        Steve's counting on you.Suddenly...through tears...Godsent...                CASEY            (a whisper)        Michael...Michael Myers.                MAN        YES!Casey SIGHS...relieved.                MAN        Now for the real question.                CASEY        NOOOO....                MAN        But you're doing so well.                CASEY        Please go away! Leave us alone!                MAN        Then answer the question. Same category.Casey is a blubbering, wet mass on the floor.                CASEY        ..please..no...                MAN        Name the killer in FRIDAY THE 13TH.A mad smile purses Casey's lips.  She knows this.  She leaps up,through tears, screaming...                CASEY        Jason! Jason!...JASON!A slight PAUSE.                MAN        I'm sorry. That's the wrong answer.                CASEY        No it's not. It was Jason.                MAN        Afraid not.                CASEY        It was Jason. I saw that godamned movie        twenty times. It was Jason.                MAN        Then you should know Jason's MOTHER        -Mrs.Vorhees was the original killer. Jason        didn't show up until the sequel.Casey is stupefied.                CASEY        You tricked me...                MAN        Lucky, for you there's a bonus round.        But poor Steve...I'm afraid...he's out.This implication sends Casey running to the kitchen...to the glassdoors.  She flips on the porch lights to see...STEVEeyes wide, sitting in the lawn chair...his belly gaping open...amass of blood and ripped flesh...his insides lay on the groundbetween his feet...steam rising.A SCREAM erupts from the bottom of her soul as Casey collapse onthe floor...nearly passing out.  CLOSE ON her face...pale andghostly white.  She SOBS.                MAN        Final question. Are you ready?She doesn't answer.  A long, maddening silence.  Casey reaches upand CLICKS off the light, making Steve go away...wishing,hoping...                CASEY        ..leave me alone..please...                MAN        Answer the question and I will.Casey is curled up on the floor like an infant, rocking slowlyback and forth.                MAN        What door am I at?                CASEY        What?                MAN        There are two doors to your house. A        front door and a back one. If you answer        correctly-you live.From where Casey sits she can see both front and back doors.  Shedeliberates...with her last bit of strength she tries tostrategize.  Eyeing both, the front door...the back door trying todecide between the two.                CASEY        Don't make me...I can't...I won't.                MAN        Your call.In the darkness, Casey crawls to the kitchen counter-she leans upand grabs a long, sharp knife.Casey looks around her...she looks down the hall to the frontdoor...then turns back to the kitchen glass door as it suddenly...SHATTERS TO BITS...as a lawn chair come flying through it.  Exploding glass sprayseverywhere.This incites Casey like fire.  She springs to her feet...boltingout of the kitchen as a SHADOW moves quickly through the shattereddoorframe.ANGLE ON CASEYSomewhere in the house, back flat against a window, listening toFEET ON CRACKING GLASS.  She turns and unlocks the latch, quietlysliding it up. She can hear him move through the foyer...to thefront door.Casey lifts herself up and puts her legs through the window.  Sheholds the knife in one hand, the phone in the other.Casey eases out the window, fumbling, dropping the knife back inthe house.  She starts to reach for it.  Fuck it, she takes off...EXT.  SIDE OF HOUSECasey it at the back corner of the house.                MAN        I can hear you. I know you're here.Casey eases along a narrow path between a tall fence and the sideof the house...going for the front yard.  She must pass the threecurtainless windows.  She gets to the first one and peeks in...The FIGURE has pulled open the foyer closet, searching for her.Casey creeps along, to the next window, she looks in...the FIGUREis completely on the other side of the room moving toward the hallthat leads to other parts of the house.She moves further along the house...squeezing by hedges...to thethird window...she peeks in to the FIGURE...STARING BACK AT HER...His face covered with a ghostly white mask, inches from her...hiseyes piercing through...soulless...Casey SCREAMS BLOODY MURDER asa hand...CRASHES through the glass window grabbing hold of her neck...shebeats at him trying to free herself...her nails dig into hisarm...she wrenches from side to side...finally breaking free asthe hands disappear inside the house...EXT.  CORNER OF HOUSECasey sails around the corner of the house, eyeing the front door.It remains closed.  Her eyes cover the sprawling country yard whensuddenly....HEADLIGHTS APPEARin the distance, coming down the road towards the house...sherecognizes them instantly.  Mom...Dad...she tears off across theyard toward them...moving like lightning...The car turns into the driveway...Casey SCREAMS, waving madly,rushing by a tree as...THE GHOST MASKED FIGURE APPEARSCasey stumbles back, catching her balance...the FIGURE moves onher, arm poised high...a flash of silver...and Casey is struck,across the chest.  She looks down to see her shirt blossomingred...a look of bewilderment as she drops to one knee.The knife rises again...Casey throws her hand forward...the bladecomes down...but it's blocked by the portable phone still in herhand.  She turns staggering to...EXT.  DRIVEWAYA MIDDLE-AGED COUPLE emerge from the parked car.  They move to thefront door completely unaware of what's happening to theirdaughter, only feet from them.EXT.  FRONT YARDCasey stumbles forward...her parents ten feet away...she opens hermouth to scream but no sound resonates...she is beyondwords...staggering, swaying...the FIGURE moving behind her.EXT.  FRONT DOORHer parents approach the door                FATHER        That fish smelled strong.                MOTHER        I told you to send it back.The father discovers the front door ajar.  A puzzled look.  Caseyis right behind them with one arm outstretched.  If they'd onlyturn around...They enter the house and close the door as....Casey collapses on the ground, clutching her bloody chest...theFIGURE upon her.INT.  FOYERThe father sees straight back into the kitchen...the shatteredpatio door.                FATHER        Jesus...                MOTHER        What is it? Where's Casey?                FATHER            (calling out)        Casey? Casey?In a split second they're both panic stricken.  The father beginssearching the house frantically.  The mother is hysterical.EXT.  FRONT YARDCLOSE ON Casey...she's dragged by her feet through damp soil...thelife going fast from her body...her hand still clutching thephone.INT.  FOYERBack in the house.                MOTHER        Where is she?                FATHER        Call the police.The mother moves  to the phone in the foyer, picks it up...Thereis no dial tone.  She jiggles the base.                FATHER            (searching)        Casey? Where are you honey? Call the        police, goddammit.                MOTHER        The phone's dead.The...the softest...faintest voice is heard...                CASEY            (from phone)        ..help me...                MOTHER        She's here, God, I can hear her.        Where's my baby?The husband returns to the foyer finding his wife clinging to thephone.                FATHER        Where is she?                MOTHER        I can hear her. Oh Mother of God,        I can hear her.The father upturns the living room.                FATHER        Casey! Casey!                MOTHER        Not my daughter...not my...The husband grabs hold of his wife.                FATHER        Get in the car and drive down to        the Mackenzie's.The other throws the front door open and rushes out...the fathermoves through the house when a SCREAM echoes out.  That of hiswife.  He tears off for the front door.EXT.  FRONT DOORThe father rushes out the door to find his wife, on her knees,bent over, retching.  His eyes move beyond to a tree in the frontyard...his stomach fails him...his dinner rises...as he bareswitness to the single, most horrifying sight he'll ever see.That of his only daughter as she hangs from a big oaktree...strung up...very much dead...her stomach ripped open.BLACKOUT!BEGIN MAIN TITLESFADE IN:INT.  BEDROOM - SAME NIGHTA teenage girl's room.  Neat and pinkish.  On the bed, amongst age-old stuffed animals lie opened school books. The CAMERA PANS to adesk against the wall where...SIDNEY PRESCOTTa young girl of 17, sits, her face glued to the computer monitorin front of her.  CLOSE ON her face.  Sharp and clever with deep,lonely eyes.  She's comfortable in a plain, flannel nightgown.Her hands are at work, typing feverishly, when suddenly...CRASH-BOOMA noise behind her.  She turns abruptly, eyeing an open windowacross the room. A SCRATCHING sound.  She stands and moves towardit.EXT.  WINDOWSidney sticks her head out the window.  The late night wind hitsher face as a SHADOW appears just to the left of her, a handreaches out, grabs her and suddenly a FIGURE is on top of her...INT.  BEDROOMSid SCREAMS...pulling away from the figure...breaking free,falling back onto the floor.                VOICE            (o.c.)        Hey...it's just me.Sid looks up to see...BILLY LOOMISA young, strapping boy of seventeen.  Handsome and alluring.  Astar quarterback/ class president type of guy.  He sports a smilethat could last for days.                SIDNEY        Billy? What the...                BILLY        I'm sorry. Don't hate me.                SIDNEY        What are you doing here?                BILLY        You sleep in THAT?Billy pulls himself through the window.                SIDNEY            (whispering)        My dad's in the other room.                BILLY        I'll only stay a sec.Suddenly...The bedroom door BURSTS open.  The doorknob catches on the opencloset door behind it jamming it, holding it in place.                VOICE            (from behind door)        What's going on in there?Billy quickly rolls out of sight behind the bed.  Sidney unjamsthe door to reveal...MR. PRESCOTT, late 40's, a severe presence.  A distracted man,nervous and pre-occupied.                MR. PRESCOTT        Are you okay?                SIDNEY        Can you knock?                MR. PRESCOTT        I heard screaming.                SIDNEY        No you didn't.                MR. PRESCOTT        No? Oh, well...I'm hitting the sack. My        flight leaves first thing in the morning.        Now the expo runs all weekend so I        won't be back til Sunday. There's cash        on the table and I'll be staying at the        Raleigh Hilton...                SIDNEY        ..out at the airport...                MR. PRESCOTT        ..so call if you need me.                SIDNEY        Got it.He gives the bedroom a quick once over.                MR. PRESCOTT        I coulda swore I heard screaming.Sidney distracts him, giving him a peck on the cheek.                SIDNEY        Have a good trip.                MR. PRESCOTT        Sleep tight, sweetie.He gives her a wink and pulls the door closed.  Billy reappears.                BILLY        Close call.                SIDNEY        What are you doing here?Billy takes a flying leap and lands on the bed.                BILLY        It just occurred to me that I've never        snuck through your bedroom window.                SIDNEY        Now that it's out of your system.                BILLY        And I was home, bored, watching        television, THE EXORCIST was on        and it got me thinking of you.                SIDNEY        Oh it did?                BILLY        Yeah, it was edited for TV. All the good        stuff was cut out and I started thinking        about us and how two years ago, we started        off kinda hot and heavy, a nice solid "R"        rating on our way to an NC17. And how        things have changed and, lately, we're just        sot of...edited for television.                SIDNEY        So you thought you could sneak in my        window and we would  have little bump-        bump.                BILLY        No, no. I wouldn't dream of breaking your        underwear rule. I just thought we might do        some on top of the clothes stuff.She snuggles up next to him, planting a kiss on his lips.Passionate and gentle.  He, however, reacts like a shark, movingon top of her, his hands everywhere as he presses intoher...Sidney breaks away.                SIDNEY        Time to go, stud bucket.Billy sits up.  His heart isn't racing...it's POUNDING.                BILLY        See what you do to me.Sweat has popped out all over his forehead, his breathing heavy.                SIDNEY        You know what my dad will do to you?                BILLY        I'm going...I'm going.He moves to the window.  She follows, motioning to his wound.                SIDNEY        I appreciate the romantic gesture.She gives him a kiss goodnight.  Sweet and simple.                BILLY            (whisper)        Hey..about the sex stuff. I'm not trying        to rush you. I was only half serious.She kisses him again as he eases through the window.                SIDNEY        Would you settle for a PG-13        relationship?                BILLY        What's that?She pulls her flannel gown open for a split second...flashing herleft breast.  His mouth drops open...surprise, shock.  Their eyesmeet.  They share a smile.                SIDNEY        Get outa here.INT.  SIDNEY'S BEDROOM - EARLY MORNINGCLOSE on Sidney snuggling her pillow, sleeping peacefully when...THE RADIO ALARM BLASTS from the night table loud enough to wakethe dead.  Sidney bolts up.                DISC JOCKEY            (from radio)        ..found brutally murdered...CLICK.  Sidney, quick with the reflexes, shuts it off instantly.A car trunk SLAMS shut outside.Sidney pulls herself out of bed and leans to the window just intime to see her Dad jumping in his car.  She half waves down athim but he doesn't see her.  He's as good as gone, pulling out ofthe driveway and disappearing down the road.A moment as Sidney stands at the window, staring out after him.EXT.  SCHOOL - MORNINGCLOSE ON A SIGN"BAYBORO HIGH SCHOOL.  HOME OF THE FIGHTING BULLDOGS"THE CAMERA PULLS BACK TO REVEAL a picture perfect small townschool.  Old and charming.  Students come and go, moving about.Nothing unusual, except for the...six police cars, four news vans, flashing cameras, and crowds andcrowds of lookie-loo's gathered just off campus.EXT.  SIDEWALKSidney approaches the school seeing the commotion.  Four differentREPORTERS stand in front of four different cameras giving fourdifferent news reports.She moves passed a policeman standing guard.  Her interest peaked,she stops at the first reporter who is...GALE WEATHERSThirties.  He smart face is overshadowed by a flashy smile and amassive mane of chemically enhanced hair.                GALE            (for the camera)        The small town of Bayboro, North Carolina        was devastated last night when two young        teenagers were found brutally butchered.        Authorities have yet to issue a statement        but our sources tell us that no arrest        has been made and the murderer could        strike again...ON SIDNEY.  Moved, disturbed.  From behind, a finger taps hershoulder.  She spins around to see...Tatum Riley, same age, feisty, carefree.                TATUM        Do you believe this shit?                SIDNEY        What happened?They break away from the crowd and head for school.                TATUM        Oh God! You don't know? Casey Becker        and Steve Forrest were killed last night.                SIDNEY        No way.                TATUM        And not just killed, Sid. We're talking        splatter movie killed-split open end to        end.                SIDNEY        Casey Becker? She sits next to me in        English.                TATUM        Not anymore. Her parents found her        hanging from a tree. Her insides on the        outside.                SIDNEY        Do they know who did it?                TATUM        Fucking clueless-they're interrogating        the entire school. Teachers, students,        staff, janitors...                SIDNEY        They think it's school-related?                TATUM        They don't know. Dewey said this is        the worst crime they've ever seen.        Even worse than...            (stopping herself)        Well it's bad. They're bringing in the        feds. This is big.Sidney looks back at Gale, her face deeply pained.INT.  CLASSROOM - LATERA frumpy old woman, MRS. TATE, faces her class.  Her hands claspedtogether.  A tragic look upon her face.                MRS. TATE        ..a terrible tragedy. An unbearable        loss. It's days like today we need        prayer in school...Sidney sits near the rear of the room.  The desk in front of hersits vacant.  Sidney can't take her eyes of it.The door opens and a student opens with a slip of paper.  He hands it to Mrs. Tate.                MRS. TATE        Sidney. It appears to be your turn.INT.  PRINCIPAL'S OFFICEThe room is at capacity...wall to wall with police, and the likes.Some sit, stand, lean...SHERIFF BURKE, a round man in his fifties, wipes the stress fromhis face.                SHERIFF BURKE        Who's up next?A young officer looks at the clipboard.  This is DEPUTY RILEY,better known as DEWEY.  He's a big guy, 20's, handsome in ascrubbed-clean boyish way.                DEWEY        Sidney Prescott.Sheriff Burke gestures to bring her in.  PRINCIPAL HIMBRY, 50's,an old codger of a man wearing a sour face speaks up.                MR. HIMBRY        Sidney Prescott. She was daughter of...                DEWEY        We all know Sidney, Mr. Himbry.                SHERIFF BURKE        How she doin'?                MR. HIMBRY        She's adjusted well. Maintains an "A"        average. You never know she...Himbry stops short, seeing Sidney in the doorway.  He rises andseats her.                SHERIFF BURKE        Hi Sidney.                SIDNEY        Sheriff Burke. Dewey.Dewey shakes his head seriously.                DEWEY        It's Deputy Riley today, Sid.                SHERIFF BURKE        How is everything?                SIDNEY        Good.                SHERIFF BURKE        And your Dad? How's he doing?                SIDNEY        We're fine. Thanks.                MR. HIMBRY        We'll be brief, Sidney. The police have a        few questions they'd like to ask you...Sidney eyes them all nervously.EXT.  SCHOOL COURTYARD - LATERStudents sit at outdoor tables eating lunch.  Crowded at one tableis the "gang".  This consists of Sidney, Billy and Tatum.Next to Tatum, sits her boyfriend STUART, with his arm drapedacross her back.  He's a Billy wannabe.  Almost the jock, almosthandsome, almost cool.  He tries way to hard.Across the table is the fifth wheel, RANDY.  A tall and gangly kidwith no such Billy-like aspirations.  A witty jokester whoelevates geek to coolness.                TATUM        Hunt? Why would they ask if you like        to hunt?                STU        I don't know, they just did.                RANDY        Because their bodies were gutted.Sidney flinches.                BILLY        Thanks Randy.                TATUM        They didn't ask me if I like to hunt.                STU        Because there's no way a girl could have        killed them.                TATUM        That is so sexist. The killer could        easily be female-BASIC INSTINCT.                RANDY        That was an ice pick-not exactly the        same.                STU        Yeah, Casey and Steve were completely        hollowed out. Takes a man to do        something like that.                TATUM        Or a man's mentality.                SIDNEY            (quiet, almost to herself)        How do you gut someone?All eyes turn to Sidney.  A serious silence.  And then:                STU        You take a knife and slit from the groin        to the sternum.Sidney shivers down to her soul.  The whole table rolls their eyesat Stu.                STU        What? She asked.                BILLY        It's called tact, you fuckrag.                STU        Sorry.                RANDY        Remember in JAWS when they caught the        wrong shark at first and Richard Dreyfuss        cut it open to look foe body parts and all        they found was a licence plate and all this        white milky goo.Stu leans over and socks Randy in the arm.                STU        You heard Billy-shut the fuck up.                SIDNEY        Hey, Stu? Didn't you use to date Casey?Stu's taken back, a little off guard.                STU        For about two seconds.                RANDY        Before she dumped him foe Steve.Tatum turns to Stu, surprised.                TATUM        I thought you dumped her for me.                STU        I did. He's full of shit.                RANDY        And are the police aware you dated the        victim?                STU            (offended)        What are you saying? That I killed        her or something?                RANDY        It would certainly improve your high        school Q.                TATUM        Stu was with me last night.                RANDY        Oooooh...before or after he sliced and        diced.                TATUM        Fuck you, nut case. Where were you last        night?                RANDY        Working, thank you.                TATUM        I thought Blockbuster fired you.                RANDY        Twice.                STU        I didn't kill anybody.                BILLY        No one's saying you did.                RANDY        Besides-            (perfect Stu mimic)        "Takes a man to do something like that."                STU        I'm gonna gut your ass in a second.                RANDY            (to Stu)        Did you really put her liver in the        mailbox? I hear they found her liver        in the mailbox.                TATUM            (eyeing Sidney)        Randy, you goon-fuck, I'm eating here.Stu nibbles at Tatum's neck.                STU        Yeah, Randy, she's getting mad. I think        you better liver alone.Stu cracks up at his own joke.  The others just MOAN.  Sidney isabout to crawl out of her skin, trying hard to ignore it all.EXT.  SIDNEY'S HOUSE - LATERA huge two story country home with a spacious lawn.A yellow school bus stops in front of the house and Sidney stepsoff.The house looks big and lonely as Sidney moves up the walk to thefront door.INT.  BEDROOM - LATERSidney is on the telephone.                SIDNEY            (into phone)        You sure I can stay over?  My dad won't        be back til Sunday.                TATUM            (through phone)        No prob. I'll pick you up after        practice.                SIDNEY        Tell your mom I said thanks.                TATUM        Yeah, yeah...are you okay?                SIDNEY        Uh-huh, it's just...you know, the police        and reporters...it brings it all back.                TATUM        I'll be there by seven. I promise                SIDNEY        Thanks, Tatum.                TATUM        Later.Sidney hangs up.  She takes a seat at her computer and boots itup.  She sits in front of it staring at the blue screen...her ownreflection staring back.INT.  LIVING ROOM - LATERSidney comes down the stairs, her arms carrying a change ofclothes, toothbrush, make-up...She opens the hall closet and pulls a small overnight bag from thetop shelf.  Moving into the living room she loads it up, ploppingdown on the sofa, hitting the TV remote.CLOSE ON THE SCREENA news reporter fades in.                REPORTER #1            (on TV)        The entire nation was shocked today by        the teen murders in North Carolina...Sidney switches channels.                REPORTER #2        The State Bureau of Investigation has        joined forces with local authorities to        help catch what the Governor has called        the most heinous...The channel switches again.  Gale weathers appears, standing infront of the school.  Her white teeth gleaming.                GALE        This is not the first time the small town        of Bayboro has endured such tragedy. Only        a year ago, Maureen Prescott, wife and        mother, was found raped and murdered...An old black and white snapshot fills the screen-a woman,beautiful and familiar.CLOSE ON SIDNEYeyes frozen, mesmerized by the image.  Suddenly she CLICKS the TVoff.  Her eyes go to the clock on the end table.  5:45 PM.  Hereyes then move to the framed photo next to it...the same black andwhite photo stares at her...a healthy, vibrant woman.  An olderversion of Sidney.Sidney curls up on the sofa closing her eyes tight...INT.  LIVING ROOM - LATERThe clock on the end table reads 7:15 PM.  Sidney is fast asleepon the couch.  The phone RINGS.  Sidney leaps up grabbing theportable phone.                TATUM            (from phone)        Practice ran late. I'm on my way.                SIDNEY            (eyes clock)        It's past seven.                TATUM        Don't worry. Casey and Steve didn't bite        it til way after ten.                SIDNEY        I'm not worried.                TATUM        Good, 'cause I wanna swing by BLOCKBUSTER        and get us a video. I was thinkin' Tom Cruise in        ALL THE RIGHT MOVES. You know, if you        pause it just right you can see his penis.                SIDNEY        Whatever. Just hurry.                TATUM        Bye.She hangs up the phone.  It immediately RINGS again.                SIDNEY            (into phone)        Tatum?                MAN'S VOICE            (from phone)        Hello, Sidney.IT'S HIM.  THE VOICE FROM BEFORE.                SIDNEY        Hi. Who is this?                MAN        You tell me.Sidney thinks, trying to place his voice.  It sounds a littledistorted.                SIDNEY        I have no idea.                MAN        Scary night, isn't it? With the murders        and all, it's like right out of a horror        movie or something.                SIDNEY        Aha, Randy, you gave yourself away. Are        you calling from work? Tatum's on her        way over.                MAN        Do you like scary movies, Sidney?                SIDNEY        I like that thing you're doing with your        voice, Randy. It's sexy.                MAN        What's your favorite scary movie?                SIDNEY        Don't start. You know I don't watch that        shit.                MAN        And why is that?                SIDNEY            (playing along)        Because they're all the same. It's        always some stupid killer stalking some        big breasted girl-who can't act-who        always runs up the stairs when she should        be going out the front door. They're        ridiculous.A brief silence.                MAN        Are you alone in the house?                SIDNEY        That is so unoriginal. You disappoint me,        Randy.                MAN        Maybe that's because I'm not Randy.                SIDNEY        So who are you?                MAN        The question is not who am I. The        question is where am I?                SIDNEY        So where are you?                MAN        Your front porch.This gives her pause.  She moves to the window and pulls aside thedrapes.                SIDNEY        Why would you call me from my        front porch?                MAN        That's the original part.ANGLE THROUGH WINDOW.  She can't quite see all of the porch.                SIDNEY        Oh yeah? Well I call your bluff.Sidney goes to the front door.  She unlocks the bolt, unsnags thechain, and pulls the door open...revealing the front porch...COMPLETELY EMPTY.She steps out onto it, phone still in hand.  A single light shinesoverhead illuminating the porch, but little beyond.  Darkness isall around.                SIDNEY        So where are you?                MAN        Right here.Sidney peers out into the darkness past thick shrubs that grow oneither side of the porch.                SIDNEY        Can you see me right now?                MAN        Uh-huh.                SIDNEY        What am I doing?She sticks her finger up her nose, pretending to pick.  Silence.No answer.                SIDNEY        Good try, Randy. Tell Tatum to hurry.        Bye now.                MAN        If you hang up, you'll die just like your        mother.Sidney stops dead in her tracks, speechless.                MAN            (deadly)        Do you want to die, Sidney? Your mother        didn't.His seriousness unnerves her.  Sid flies off the handle.                SIDNEY        FUCK YOU! YOU CRETIN!She hangs up on him.  Moves back inside the house.  Locks, chains,and bolts the door when...A FIGURE COMES LEAPING OUT OF THE HALL CLOSETrushing her, ramming into her side..the phone flies..the FIGURE ison top of her as she goes down...SCREAMING...She looks up to see the FIGURE, darkly dressed with a pale,distorted face, white and ghostly...a mask.Her instincts surface and she kicks up with her foot making thecontact with his leg...he topples over...coming right at her, hishand finding her neck.  Suddenly, along, silver blade appearsabove her.Sidney pulls, jerks, twists...finally she lifts her torso forwardknocking the FIGURE off her...sending him reeling into the livingroom.  Wasting no time, Sidney leaps to her feet.She moves to the front door, unlocks it...pulls it open...itcatches on the chain.  Shit!  She pushes it closed again lookingbehind her..the FIGURE has risen, knife in hand.Sidney pulls on the chain and then-inexplicably turns and...RUNS UP THE STAIRS.  The FIGURE right behind her.INT.  UPSTAIRS LANDINGThe FIGURE leaps at Sidney taking hold of her foot, she grabsmadly at the wall...her hands grasp a framed painting-a quietcountry home, subdued colors, done in oils-she rips it from thewall swinging it behind her...It catches the FIGURE head on, smashing against his skull, sendinghim backwards, tumbling down the stairs.  Sidney races to herbedroom...INT.  BEDROOMShe locks the door shut, the pulls her closet door open, placingthe edge right at the door knob just as...THE FIGURE POUNDS AGAINST THE BEDROOM DOOR...ramming it, it rips open, but the closet door catches it in acrazy vice-like hold.Sidney grabs the desk phone.  It's dead...off the hook downstairs.The figure rushes the door several times..the frame splinters..butwon't give.Sidney is at her computer, she punches at the keypad madly.CLOSE ON SCREEN AS WORDS APPEAR.        FAX MODEM        9-1-1 SENDThe knife slashes through the crack in the door wildly.ON SCREEN AGAIN        HELP KILLER        34 ELM STSidney presses SEND when it occurs to her-all is quiet.  TheFIGURE is gone.  A fearful silence.  She looks around...the onlysound her own rapid, terrified BREATHING.ON THE SCREEN        "Stay calm.  Police enroute."Suddenly a NOISE at the window...Sidney looks up to see...BILLYher boyfriend, staring at her, surprised.                SIDNEY        Oh Billy...Please...God...                BILLY        I heard screaming. The door was locked.        Are you okay...                SIDNEY        He's here. He's trying to kill me...Billy pulls himself through the window.  As he does, a small blackobject falls from his dark jeans.  It hits the floor as Sidneyeyes it...a sleek, compact cellular phone.Sidney stops in her tracks.  Their eyes meet...an eternity.  ASIREN is heard in the distance.  Sidney bolts...                BILLY        Hey...wait...what's goin..Billy reaches for her.  Sidney unblocks the bedroom door and tearsout of the room.INT.  LANDINGSidney nearly falls down the stairs...INT.  FOYERShe rips the chain off the door, pulls it open, coming face toface with a white, ghostly mask.A massive SCREAM erupts from her gut as...THE CAMERA PULLS BACKto find Dewey-Deputy Riley, holding it.  Red lights flash, sirensBLAST vas car after car surrounds the house.Sidney falls into the safety of Dewey's arms.EXT.  FRONT YARD - MINUTES LATERThe yard is a whirlwind of activity.  An ambulance, squad cars,cops everywhere...CLOSE ON BILLY'S FACEas it SMASHES against the hood of a police car.  His hands arebeing cuffed, his rights being read.                BILLY            (screaming)        I didn't do anything! Sid...where's Sid?        Ask her, she'll tell ya...Dewey holds a car door open as Sheriff Burke steps out.                DEWEY        We got him, Sheriff. Billy Loomis.                SHERIFF BURKE        Hank Loomis' kid? Aw..Jesus...                DEWEY        He's her boyfriend.They approach Billy as he's being placed in a squad car.                BILLY        Sheriff...I didn't do it...please, call        my Dad..please...The squad car disappears with Billy as another car comes to a stopin front of the house.  Tatum gets out, freaked beyond belief.Back to the Sheriff and Dewey as they storm across the yard.                DEWEY        I was first to respond.                SHERIFF BURKE        What were you doing out here?                DEWEY        Drive by patrol.                SHERIFF BURKE        How is she?                DEWEY        She's tough.                SHERIFF BURKE        Have to be. The shit she's gone through.Across the yard sits Sidney, in the back of an ambulance asPARAMEDICS check her out.Sheriff Burke and Riley approach.                SHERIFF BURKE        We're seeing a lot of you today.She tries to smile but fails.                DEWEY        You gonna be able to come down to the        station and talk to us a bit?                SIDNEY        ..yeah...TATUM appears, barreling past an OFFICER.                TATUM        What happened? Oh God...Tatum rushes to her, grabbing hold of her.                DEWEY            (to Tatum)        What are you doing here?                TATUM        Oh, God, Sid, I'm sorry I was late.                DEWEY        You can't be here, Tatum. This is an        official crime scene.                SIDNEY        It's okay. She was supposed to pick me        up.                TATUM        Her dad's out of town. She's staying        with us.                DEWEY        Does mom know?                TATUM        Yes, you doofus.Two news vans come driving up the street.                SHERIFF BURKE        The vultures are coming. Let's get you        out of here.EXT.  STREETA big, white news van comes to a stop in front of the house.  Theside door slides open and Gale Weathers hops out just in time tosee Sidney being escorted to a squad car.                GALE        I'll be damned.Jumping from the driver's seat is KENNY, Gale's cameraman andflunky.  An earnest young chap on the chubby side.                KENNY        What? What?                GALE        Jesus! The camera-hurry!But it's too late.  Sidney is as good as gone.  Gale sees Tatummoving quickly to her car.                GALE        Excuse me?Tatum looks up to see Gale Weathers rushing her.                GALE        Was that Sidney Prescott they took away?                TATUM        I don't know.Tatum hops in her car, ignoring her.                GALE        What happened to her?                TATUM        I'm not talking to you.Tatum's car peels out as Kenny comes running up with his camera.                KENNY        Where'd she go?Gale spins around, flashing her pearly whites.                GALE        Look, Kenny, I know you're about fifty        pounds overweight but when I say hurry        please interpret that as...MOVE YOUR        FAT TUB OF LARD ASS NOW!Gale moves back to the van leaving Kenny miffed.INT.  POLICE STATIONA small town station.  The bull pen is a little square room withfour desks and tonight--it's hopping.  Cops everywhere.INT.  SHERIFF'S OFFICESidney sits at a desk drinking a cup of water.  She wears theSheriff's jacket over her shoulders.  Dewey approaches.                SIDNEY        Did you reach my Dad?                DEWEY        You're sure it was the Hilton?                SIDNEY        At the airport.                DEWEY        He's not registered. Could he have gone        to another hotel?                SIDNEY        I don't know. I guess.                DEWEY        We'll find him, Sid. Don't worry.Sidney stares blankly, numb.INT.  SHERIFF'S OFFICEBilly sits opposite Sheriff Burke.  Next to Billy, sits hisfather, HANK LOOMIS, an older version of Billy.                SHERIFF BURKE        What are you doing with a cellular        telephone, son?                MR. LOOMIS        It's my phone. He was just playing        around with it.                SHERIFF BURKE        You got some ideas of playing around, boy.                BILLY        I didn't call anyone with it. I just        took it for fun.                MR. LOOMIS        Everybody's got one now. Why don't you        check the phone bill for chrissakes.        Call my carrier--AirFone Comp. They'll        have records of every number dialed.                SHERIFF BURKE        Thank you, Hank. We're on it. What were        you doing out at Sidney's tonight?                BILLY        I just wanted to see her, that's all.                SHERIFF BURKE        You rode your bike out there?                BILLY        Yes, sir.                SHERIFF BURKE        And last night? Sidney said you crawled        through her window last night too?                MR. LOOMIS            (surprised)        You were out last night?                BILLY        I watched TV for awhile but the I felt        like going for a bike ride.                SHERIFF BURKE        Did you ride past Casey Becker's house?                BILLY        No, I didn't. I didn't kill anyone,        Sheriff.                SHERIFF BURKE        We're gonna have to keep you, Billy. The        governor's got SBI, FBI, and god knows        who else on their way down here.Billy fights tears.                BILLY        This is crazy. I didn't do it.Sheriff Burke eyes him up and down, very carefully.INT.  POLICE BULL PEN - MINUTES LATERTatum has joined Sidney.  The sheriff's door opens and Billy isled out by a coupla UNIFORMS.  Burke and Dewey appear in the doorwatching Tatum comfort Sidney.OUT OF EAR SHOT                DEWEY        That ghost mask is sold at both Kroger's        and WalMart. Neither of which keep        purchase records.                SHERIFF BURKE        What about the cellular phone bill?                DEWEY        They're pulling Loomis' account. But        it'll be morning before we see something.        You think he did it?                SHERIFF BURKE        Twenty years ago I woulda said not a        chance. But these kids today...damn if I        know.                TATUM            (o.s.)        Hey...Dewey. Can we go now?                DEWEY        Hold up a sec...                SHERIFF BURKE        She staying with you?                DEWEY        We haven't located her Dad yet.                TATUM            (o.s.)        Goddammit, Dewey!Dewey turns to her, his face red.                DEWEY        What did Mama tell you? When I wear this        badge you treat me like a man of the law.                TATUM        I'm sorry, Deputy Dewey-boy but we're        ready to go.                SHERIFF BURKE        Use the back way. Avoid the circus.EXT.  POLICE STATION - SIDE DOORThe door opens and Sidney, Tatum, Dewey, and a coupla OFFICERSexit avoiding the horde of REPORTERS that can be seen around thecorner waiting anxiously at the front entrance.                DEWEY        I'll get the car. Wait here.Dewey takes off.  From the darkness of the alley, Gale Weathersappears with Kenny and his camera.  They've been waiting.                GALE        Hello Sidney.Sidney spins around to see Gale, standing, smiling at her.Sidney's body tightens and her face goes taut.                GALE        Some night. Are you alright?Their eyes meet in cold familiar stare.  Sidney says nothing.She's visibly shaking.                GALE        What happened?                TATUM        She's not answering any questions. Just        leave us alone, okay?                SIDNEY        It's okay, Tatum. She's just doing her        job. Right, GALE?                GALE        Yes, that's right.Dewey, in a squad car, turns into the alley and pulls up.  Theother news people have wisened up.  They begin to flock the alley.                SIDNEY        How's the book?                GALE        It'll be out later this year.Sidney tries to contain herself..squeezing a clenched fist.                SIDNEY        I'll look for it.                GALE        I'll send you a copy.In a blurred, unexpected instant, Sidney brings her fist forward,SMASHING it hard into Gale Weathers's face.  The impact sends Galereeling backwards, knocking into Kenny as they both tumble to thepavement.ON SIDNEY...breathing deep, a sense of satisfaction on her face.INT.  TATUM'S BEDROOM - LATERA spacious bedroom.  Typical.  Tatum and Sidney lay on the bed.They both wear night shirts.                TATUM        God, I loved it. "I'll send you a copy."        BAM! Bitch went down. "I'll send you a        copy." BAM! Sid--SuperBitch!Dewey appears in the doorway holding a bag of ice.                DEWEY        I thought you might want some ice for        that right hook.Sidney sits up, takes the ice, and puts it on her hand.                DEWEY        I'll be right next door. Try to get some        sleep.Dewey moves back out the door.                SIDNEY        Any word on my Dad?                DEWEY            (turning to her)        Not yet, but we're looking. If you need        anything...                TATUM        Yeah, yeah, yeah...Dewey smiles, pulling the door closed on his way out.  Sidney liesback down.                SIDNEY        Just another sleepover at the Riley's.                TATUM        Just like old times, ain't it?                SIDNEY        No, nothing's like it used to be.Sidney rolls over at her side, away from Tatum.A telephone RINGS somewhere in the house.                TATUM        Do you really think Billy did it?                SIDNEY        He was there, Tatum.                TATUM        I knew this guy was too perfect. He was        destined to have a flaw.A KNOCK at the door.  It opens and a friendly, graying woman popsin.  This is MAMA RILEY.  She wears a comforting smile.                MAMA RILEY        Telephone, dear.                TATUM        Who is it?                MAMA RILEY        It's for Sid                SIDNEY        My Dad?Mama Riley shakes her head sadly.                TATUM        Take a message.                SIDNEY        It's alright. I'll get it.Sidney takes off out the door.  Mama Riley motions to Tatum.                MAMA RILEY            (whispers)        How is she?Tatum shrugs.INT.  HALLWAYSidney grabs the phone at the end of the hall.                SIDNEY        Hello?                MAN            (from phone)        Hello Sidney.IT'S HIM.  The CAMERA does a Hitchcock as Sidney's entire bodygoes weak..his VOICE moving through her..invading her.  She CRIESOUT.                SIDNEY        NOOOOOO...Mama Riley turns in the doorway.  Tatum comes bolting out of thebedroom.                MAN            (from phone)        Poor Billy-boyfriend. An innocent guy        doesn't stand a chance with you.                SIDNEY        LEAVEMEALONE!                MAN        Looks like you fingered the wrong        guy...again.                SIDNEY        Who are you?                TATUM        Hang up, Sid.                MAN        Don't worry. You'll find out soon        enough. I promise.Mama Riley BEATS on a closed bedroom door.                MAMA RILEY        Dewey! Dewey!                MAN        This is gonna be fun, Sidney. Just like        old times.CLICK.Dewey flies out of his room wearing only his boxers...holding hisgun.                DEWEY        What? What?The phone goes dead.  Sidney stands frozen.EXT.  BAYBORO MAIN STREET - DAWN - ESTABLISHINGThe morning sun shines high over Bayboro Townsquare.  Cars come tolife, townsfolk stir as the picture postcard community awakensfrom a restless sleep.INT.  KITCHEN - MORNINGSidney and Tatum sit at the kitchen table, dressed and ready forschool as Mama Riley serves up breakfast.  A small television sitson the counter BLARING.Dewey, in uniform, stands near the door, talking on the phone.                MAMA RILEY        I think you girls really should stay home        today.                TATUM        Your objection is duly noted.                SIDNEY        I'd rather be around a lot of people,        Mama Riley.From the TV, Sidney hears her name, "SIDNEY PRESCOTT..."  All eyesgo to the television.                REPORTER            (on TV)        ..who escaped a vicious attack last night        was the daughter of Maureen Prescott who        was brutally killed last year when        convicted murderer Cotton Weary...INSERT of COTTON WEARY, in prison fatigues.  A once handsome man,now haggard and worn.                REPORTER            (cont'd)        ..broke into their home and savagely        raped and tortured the deceased. Cotton        Weary is currently awaiting appeal for        the death sentence handed down after the        young Sidney testified against him. She        was the key witness in the state's        prosecution...                SIDNEY        It's never gonna stop. Is it?Dewey is off the phone.                DEWEY        Billy was released. His cellular bill        was clean. He didn't make those calls.                SIDNEY        Somebody called me, Dewey. I'm not        making it up.                DEWEY        I know. We're checking every cellular        account in the county. Any calls made to        you or Casey Becker are being cross-        referenced. It's gonna take time but        we'll find him.                SIDNEY        And my Dad? Any word on him?Riley shakes his head "no".EXT.  SCHOOL STREET - LATEROnce again, REPORTERS line the street attacking students as theymake their way to school, asking questions, hungry for thatteenage insight.Dewey's patrol jeep cruises by.  Sidney watches from thepassenger's window.INT.  PATROL CARDewey pulls up in front of the school.  Tatum hops out while Sidlingers, suddenly unsure.  Dewey takes notice.                DEWEY        Hey, it's school. You'll be safe here.Sidney forces herself out of the jeep as a microphone is shoved inher face...                REPORTER        How does it feel to almost be brutally        murdered?Dewey leaps from the car, intercepting the reporter.                DEWEY        Leave the girl alone, will ya? She wants        to go to school.Sidney eyes the newsvan that's pulled up behind her.  The sidedoor slides open and Gale Weathers steps out.                TATUM        Come on, Sid.                SIDNEY        Just a sec...I need to talk to someone.She heads over to Gale.EXT.  NEWSVAN - STREETSidney, puts her head down, hiding her face...avoiding otherreporters as she makes her way to...Gale who sits in the open door, checking her face in a mirror.Makeup tries hard to hide Sid's handwork-a swollen black and blueright cheek.Gale spots Sidney immediately and leaps to her feet.                GALE        Stop right there.Sidney throws her hands up in surrender.                SIDNEY        I'm not here to fight.                GALE        Just stay back.                SIDNEY        I want to talk to you.                GALE            (calling into the van)        Kenny. Camera. Now.Kenny's head darts out from the van.                SIDNEY        Off the record. No cameras.                GALE        Forget it.Sidney contains herself.                SIDNEY        Please. You owe me.                GALE        I owe you shit.Gale moves inside the van.  But Sidney is relentless.                SIDNEY        You owe my mother.                GALE        Your mother's murder was last year's        hottest court case. Somebody was gonna        write a book about it.                SIDNEY        And it had to be you with all your lies        and bullshit theories.                GALE        What is your problem? You got what you        wanted. Cotton Weary is in jail.        They're gonna gas him. A book is not        gonna change that.                SIDNEY        Do you still think he's innocent?Gale's interest is peaked.  She eyes Sidney suspiciously.                GALE        He was convicted in a court of law. Your        testimony put him away. It doesn't        matter what I think.                SIDNEY        During the trial, you did all those        stories about me. You called me a liar.                GALE        I think you falsely identified him. Yes.                SIDNEY        Have you talked to Cotton?                GALE        Many times.                SIDNEY        Has his story changed?                GALE        Not one word. He admits to having sex        with your mother but that's all.                SIDNEY        He's lying. She wouldn't have touched        him. He raped her, then butchered her.        Her blood was all over his coat.                GALE        He was drunk that night. He left his        coat at your house, after your mother        seduced him...                SIDNEY        I saw him leaving wearing it.                GALE        But couldn't it have been someone else        you saw wearing that coat? The same        person who planted it in Cotton's car,        framing him? The same person who        really killed your mother?A long beat.  Sidney considers this for the millionth time.                SIDNEY        No, Cotton murdered my mother.But there's doubt in her voice.  Gale's face lights up.                GALE        You're not so sure anymore, are you?Sidney clams up.                SIDNEY        No, it was Cotton.Tatum comes waltzing up.                TATUM            (to GALE)        Nice welt.Gale ignores her, zeroing in on Sidney, half realizing.                GALE        The killer is still on the loose, isn't        he? These murders are related.                TATUM        Yo--let's rock.Sidney starts to fidget.                SIDNEY        I'm sorry I mangled your face.She take off with Tatum.  Gale calls after her.                GALE        Wait, Sidney, don't go...But Sidney and Tatum have already disappeared in the crowd ofstudents moving across campus.Gale looks to Kenny.                GALE        Jesus Christ! An innocent man on death        row. A killer still on the loose.        Kenny, tell me I'm dreaming.                KENNY        You want to go live?Gale's mind races with possibilities.                GALE        No, not so fast. We have nothing        concrete.                KENNY        When did that ever stop you? You can't        sit on this. This is huge.                GALE        If I'm gonna blow this up-I need hard        proof.                KENNY        But it's so much easier when we make it        up.                GALE        Not this time. I owe Cotton that much.        Hell, even I thought that man was guilty.EXT.  SCHOOL CAMPUS - SECONDS LATERTatum and Sidney make their way across campus.                TATUM        Just relax. You're at school now. No        one can get you here.                SIDNEY        But if it wasn't Billy it could be        anybody. He could be here at school        right now.They move up the walk as a FIGURE falls in step behind them,sporting a WHITE GHOST MASK.                TATUM        Serial killers are smart by definition.        They minimize their risk. They plan and        pre-calculate everything. Showing up        here would be the most lame-brain        move he could make.                SIDNEY        He promised me he'd be back.As easy as the figure appeared, it disappears-falling out of site,unseen by either of them.                TATUM        I wouldn't put too much stock in a        psycho's promise.They move up the front steps toward the main doors of the schoolas the GHOST MASKED FIGURE reappears...standing at the top of thesteps...Sidney sees it first, stopping dead in her tracks.She steps back, spinning around to find...A GHOST FACE behind her as well, both of them approaching, closingin on her.  Sidney starts to SCREAM when the two ghosts bust upLAUGHING, tearing off across campus.EXT.  STREETIn front of the school we catch up a REPORTER doing a live remote.He holds a mask in his hand.                REPORTER        This morning several students, in what        appears to be a prank, have been spotted        wearing masks. School officials have yet        to comment but this is the same type of        mask worn by the killer...INT. HALLWAY - MINUTES LATERJust before the bell.  The hallway is congested with studentsheading to class.  Tatum is at her locker with Sidney.                SIDNEY        This is a mistake. I shouldn't be here.                TATUM        I want you to meet me here right after        class, okay?Billy appears in the crowd, with Stu tagging behind.  Tatum spotshim first.                TATUM        Shit, what is he doing here?                SIDNEY        I bet he's pissed.                TATUM        Just ignore him. You had good reason to        think what you did.Billy and Stu approach.  Billy's face is solemn.                BILLY        Hi, Sid. Can we talk a sec?Sidney says nothing.  She can barely look at him.  Tatumintervenes.                TATUM        You know if I were accused of carving up        two people, I'd take the opportunity to        skip school.                STU        Hey, go easy, Tatum. He didn't do it.                BILLY        Talk to me, Sid.Suddenly, a SCREAM erupts.  All eyes go to a GHOST MASKED STUDENTrunning down the hall, screaming wildly, running amuck.                SIDNEY        Why are they doing this?                STU        Are you kidding? This is like Christmas.Billy punches Stu in the side.                STU        Owwww...                BILLY        You open your mouth and stupidity pours        out.                STU        Sorry.Sidney, clearly upset, takes off down the hall.  Billy races offafter her.                TATUM            (yelling)        Stay away from her, Billy.Tatum SLAMS her locker door shut as the bell RINGS.INT.  CORRIDOR - SECONDS LATERWith first period underway, the halls have cleared.  One or twostruggling students can be seen rushing to class.Sidney moves quickly down the hall, rounding a corner, runningsmack into...BILLYThey collide hard catching Sidney off guard, scaring the life outof her.  She falls backwards, but Billy catches her fall.                SIDNEY        Jesus, SHIT!                BILLY        Hey, hey, it's just me.Sidney pulls away from him quickly.  Billy feels the slight.                BILLY        What? You don't still think it's me?Sidney catches her breath.                SIDNEY        No...I don't...it's just...Oh God, Billy,        someone was there, someone tried to        kill me.                BILLY        The police say I scared him off. It        wasn't me, Sid.                SIDNEY        I know. He called again last night at        Tatum's house.                BILLY        See, it couldn't have been me. I was in        jail, remember?                SIDNEY        I'm so sorry...please understand.                BILLY        Understand what? That I got a girlfriend        who would rather accuse me of being a        psychopathic killer than touch me.                SIDNEY        You know that's not true.                BILLY        Then what is it? Is there somebody else?                SIDNEY        No...                BILLY        Is it the sex thing? Am I being too        pushy?                SIDNEY        No, it's me, Billy. I need time. I'm        still adjusting to my mom.                BILLY        It's been a year since she died.                SIDNEY            (correcting him)        Tomorrow. One year tomorrow.                BILLY        When are you gonna let that go, Sid?        When my mom left my dad--I just accepted        it. This is the way it is. She's not coming        back.                SIDNEY            (sharply)        Your parents split up. It's not the same        thing. Your mom left town, she's not in        a coffin somewhere.                BILLY        You have to move on, Sid.Sidney starts to walk away but turns back, angry.                SIDNEY        I'm glad to know you're coping so well        with life, Billy. But some of us aren't so        perfect. Some of us are just trying to        hold on.Sidney disappears through a door marked GIRL'S BATHROOM, leavingBilly alone in the hallway.  He SMACKS his forehead, pissed athimself.INT.  GIRL'S BATHROOMLarge and spacious.  Closed bathroom stalls line one wall facing arow of sinks and a huge mirror.  Sidney enters as TWO GIRLS tinkleand talk--each from their respective stalls.                GIRL #1        She was never attacked. I think she made        it all up.                GIRL #2        Why would she lie about it?                GIRL #1        For attention. The girl has some serious        issues.Sidney listens intently.A toilet FLUSHES.  Sidney quickly jumps in a stall, hiding, justas GIRL #1 appears from a stall.  She looks like that voice--asnotty little twit.                GIRL #1        What if she did it? What if Sidney        killed Casey and Steve?                GIRL #2        And why would she do that?                GIRL #1        Maybe she was hot for Steve and killed        them both in a jealous rage.Another toilet FLUSHES.                GIRL #2        Why would Sidney want to be with Steve?        She has her own bubble-butt boyfriend Billy.                GIRL #1        Maybe she's a slut just like her mom.INSIDE THE STALL Sidney listens.  Her face weakening.                GIRL #2        You're evil.                GIRL #1        Please, it's common knowledge. Her        mother was a trollop.GIRL #2 appears from her stall--another twit.  They both stand infront of the mirror adjusting two snotty faces.                GIRL #2        Cut some slack. She watched her mom get        butchered.                GIRL #1        And it fucked her up royally. Think        about it. It makes perfect sense. Her        mom's death leaves her distraught and        hostile at a cruel and inhumane world,        she's disillusioned, where's God, etc.        Completely suicidal. And one day she        snaps. She wants to kill herself but        realizes teen suicide is out this year.        And homicide is a much healthier        therapeutic expression.From the stall, Sidney listens, her heart pounding, jaw quivering.                GIRL #2        Where do you get this shit?                GIRL #1        Ricki Lake.The two girls exit.  Sidney moves out of the stall, catching herreflection in the mirror.                SIDNEY        Pathetic.Water DRIPS somewhere from a leaky pipe as wind WHISTLES in fromthe cracked transom above the bathroom door.  It sound almost likea whisper,   "Siddneey..."Sidney spins around.  What the...  She checks out the bathroom.The doors to the stalls are all closed.  She bends down and scansbeneath them, looking for feet.  No one.  Nothing.Sidney turns back to the mirror.  Suddenly...                MAN            (o.c. whisper)        Siddneey...Unmistakable this time.  The VOICE strikes Sidney like a nailthrough the eye.  It comes from one of the stalls.  She standsthunderstruck, eyeing the stalls thru the mirror.                SIDNEY        Is someone there?A long, morose silence.  And then:                MAN            (softly, simply)        It's me, Sidney.Sidney spins around.  Fuck no!  HE'S HERE.  Terror floods herface.  She eyes the exit door, then the row of stalls she mustpass to get to it.She checks under the stalls again.  Nothing...where the fuck ishe?  She takes a step forward when...TWO FEET step down from a toilet onto the floor in the last stall.Sidney's face draws tight as the stall door begins to CREAK open.She bolts forward, making a break for it...but slips on the wetfloor...her feet flying out from under...Sidney reaches out...grabs hold of a sink...saves herself fromfalling...she glimpses a GHOST MASK in the mirror coming for her.A hand grabs her shoulder as she SLAMS her body through the exitdoor...narrowly escaping.INT.  CORRIDOR - CONTINUOUSSidney flies out of the bathroom door SCREAMING...burning up thehallway, not looking back.  A TEACHER, hearing her SCREAM, peerout from an open doorway...as Sidney sprints by him, notstopping...running madly.INT.  PRINCIPAL'S OFFICE - CONTINUOUSCLOSE on a red-faced Principal Himbry as he reads someone the riotact.MR. HIMBRYI'm sickened. Your whole havoc-inducing,thieving, whoring generation disgusts me.The CAMERA SWINGS AROUND to reveal two GHOST MASKED STUDENTSstanding at attention.  Mr. Himbry rips the mask off of one of thestudent's heads.                MR. HIMBRY        Two students have been savagely murdered.        And this is how we express our compassion        and sensivity?He rips the mask off the other student.                MR. HIMBRY        We throw on a mask and dance around        campus just hoping someone else gets        butchered before we get bored again.        You're both expelled.The GHOSTS doth protest...                GHOST #1        Aw, come on, Mr. Himbry, it was just a        joke.                GHOST #2        Yeah, that's not fair.A deep rooted hostility has taken over Mr. Himbry's face.  Neitherstudent budges, scared to even breathe.                MR. HIMBRY        No, it's not fair. Fairness would be to        rip your insides out and hang you from        a tree so you can be exposed for the        desensitized, heartless little shits that        you are.Suddenly the door BURSTS open and Sidney appears, hysterical.                SIDNEY            (crying)        He's here...I saw him...he's here...Mr. Himbry rushes to her, arms outstretched.                MR. HIMBRY        Easy child.Sidney collapses in his arms.EXT.  SCHOOL STREET - MINUTES LATERDewey's patrol jeep is parked in front of the school.  He standsin the open driver's door talking on the radio.                SHERIFF BURKE            (from radio)        She's okay. Looks like some boys were        teasing her. Himbry's shutting down the        school though. I want you to take look        around.                DEWEY        Yes, sir, sheriff.Dewey shuts the jeep door and heads for campus when Gale Weathersappears, her fake face aglow.                GALE        Hi! Gale Weathers. Field Correspondent,        INSIDE STORY.                DEWEY        I know who you are, ma'am. How's the        eye?                GALE        Productive. So they're closing down the        school?                DEWEY        Well..uh...yes ma'am. For the time being.Dewey heads for the school building. Gale scurries along side himflirtatiously.                GALE        And why is that? Has something happened?                DEWEY        You're not supposed to be here, ma'am.                GALE        I know, I should be in New York covering        the Sharon Stone stalker but who knew?        Please, call me Gale. You look awfully        young to be a police officer.Dewey's eyes wander down to Gale's long legs, the way her hipsmove as she walks...he's clearly distracted.                DEWEY        I'm twenty-five years old, ma'am.                GALE        Twenty-five, huh? In a demographic study        I proved to be most popular amongst        males, 11-24. I just missed you. Of course,        you don't look a day over twelve, except        in the upper torso area. Does the force        require that you work out?Dewey looks away, blushing a bit.                DEWEY        No, ma'am. Because of my boyish good        looks, muscle mass has increased my        acceptance as a serious police officer.They approach the school's front entrance.  Suddenly, Mr. Himbry'sVOICE in amplified through intercoms across campus via the PAsystem.  They stop to listen.                MR. HIMBRY            (via PA)        "Your attention please. Due to the        recent events that have occurred and        until it comes to a resolve--effective        immediately--all classes are suspended        til further notice. The Bayboro Police        Dept. has also asked me to announce a        city wide curfew beginning at 6 o'clock        PM. I repeat..."Gale speaks over Mr. Himbry's voice.                GALE        Boy, you people sure do make fuss over        a serial killer.                DEWEY        Serial killer is not really accurate,        ma'am. The killer has yet to strike        twice.                GALE        Well, we can hope, can't we? We        certainly don't have any leads. A ghost        mask, a cellular phone--not much there.                DEWEY        We're tracking the cellular phone bill.                GALE        Really? You small town guys are good.        And have you located Sidney's father?                DEWEY        No, not yet.                GALE        He's not a suspect, is he?                DEWEY        We haven't ruled out that possibil...Dewey, realizing he's said too much, clams up.                DEWEY        If you'll excuse me, ma'am.                GALE        Am I keeping you? I'm sorry.                DEWEY        That's quite alright. If I may say so,        ma'am, you're much prettier in person.Dewey starts up the school's front steps as the bell RINGS.                GALE        So you do watch the show?He turns to her earnestly as STUDENTS come pouring out the frontdoors.                DEWEY        I just turned 25. I was 24 for a whole        year.                GALE        You are precious. Please, call me Gale.She smiles deliciously, gives him a wink, then struts off asDewey, like a nervous little school boy watches her go.INT.  SCHOOL CORRIDOR - SECONDS LATERSchool is clearing out.  The halls have begun to empty as Tatumescorts Sidney down the hallway.                TATUM        It was just some sick fuck having a        laugh.                SIDNEY        It was him, Tatum. I know it.Tatum wants to believe her but...                TATUM        You are not to be alone again. Is that        clear? If you pee--I pee.Stu appears.                STU        Is this not cool or what? Hey, Sid,        what happened?                TATUM        For once, Stu, drop it.                STU        Okay, but whatever you did--the entire        student body thanks you.Stu moves to Tatum and gives her a kiss.                STU        And to celebrate this impromptu fall        break, I propose we have a party.        Tonight, my house.                SIDNEY        Are you serious?                STU        My parents are out of town. It'll be        like my hurricane bash last year.        Nothing extreme. Just a few of us,        hangin'.Tatum warms to the idea.                TATUM        This could be good. What do you think,        Sid?                SIDNEY        I don't know...                TATUM        Come on. Pathos has it's perks.Sidney considers trying hard to be good spirited.                STU        Remember, there's safety in numbers.                SIDNEY            (giving in)        Yeah, okay...whatever.                STU        Cool. See you guys tonight. Bring food.Stu speeds off, sliding down the empty hallway.INT.  PRINCIPAL'S OFFICE - LATERMr. Himbry sits at his desk staring at the ghosts masks beforehim.  He picks one of them up, snickering.                MR. HIMBRY        Damn...He stands and moves to the closet next to his office door.  Hepulls it open to reveal a mirror hooked inside the door.  He triesthe mask on, pulling it over his face, looking in the mirrorwhen...A KNOCK AT THE DOOR stops him.  He rips the mask off his head,turns to his office door and opens it to reveal...AN EMPTY DOORWAY.  He pokes his head into the outer office areaand looks around.  But no one's there.                MR. HIMBRY        Yes? Hello?The place is empty.  A little suspicious he closes the door,catching his reflection in the closet mirror.  He looks at themask in his hands.  Jesus, even he's jumpy.  Two seconds later...ANOTHER KNOCK AT THE DOOR.  Himbry grabs the door quickly, thistime throwing it open.  Again no one's there.  He steps out intothe outer office determined to catch a prankster.INT.  OUTER OFFICE - CONTINUOUSCompletely empty.  Mr. Himbry moves through the outer office andinto the school corridor.  The overhead lights have been turnedoff and the corridor is now dark and deserted.  He looks up anddown the hall.  Only a JANITOR is seen in the distance pushing abroom.                MR. HIMBRY        Little shits.Mr. Himbry returns to his office.INT.  OFFICE - CONTINUOUSHimbry reenters his office, moving to his desk, when he spots thecloset door NOW CLOSED SHUT.This gives him a pause-he had left it open.  Hadn't he?  Suddenly,he can't remember.  He shifts uneasy, reaching for the door knob,pulling the door open to reveal...AN EMPTY CLOSET.  He stands still a moment, suddenly realizingsomeone could easily now be standing behind the open closet door.Nervously, he pushes it shut to reveal...NOTHING.  Himbry shakes away his jitters, realizing he's spookedhimself.  He continues to his desk, pushing his office door shutwhen...A GHOST MASKED FIGURE lunges from behind it...knife in hand.Quick and easy.  Three quick jabs to the stomach and Himbry goesdown.  The GHOST MASKED FIGURE towering above him.EXT.  TATUM'S HOUSE - AFTERNOON - LATERThe late afternoon sun is quickly disappearing.Tatum and Sidney rock on the front porch looking out into thesmall town neighborhood.  Dewey's patrol jeep is parked in thedriveway.Despite loud music, BLARING from an inside stereo, this is a quietmoment.                TATUM        Maybe Cotton Weary is telling the truth.        Maybe he was having an affair with your        mom.                SIDNEY        So you think my mom was a slut too?                TATUM        I didn't say that, Sid. But you know        there were rumors. Your dad was        always out of town on business.        Maybe your mom was a very unhappy        woman.                SIDNEY        If they were having an affair how come        that Cotton couldn't prove it in court?                TATUM        You can't prove a rumor. That's why it's        a rumor.                SIDNEY        Created by that little tabloid twit Gale        Weathers.                TATUM            (delicately)        It goes further back, Sid. There's been        talk about other men.                SIDNEY        And you believe it?                TATUM        Well...you can only hear that Richard        Gere-gerbil story so many times beforeyou have to start believing it.A long silence as Sidney agonizes over all of this.  She stands upand moves to the edge of the porch and stares out onto theneighborhood.                SIDNEY        If I was wrong Cotton, then he's still        out there.                TATUM        Don't go there, Sid. You're starting to        sound like some Wes Carpenter flick.        Don't freak yourself out--we've got a        long night ahead of us.                SIDNEY        You're right. I'm cracking up. Ignore        me.                TATUM        Come on, let's rock.Sid follows Tatum inside the house never seeing the GHOST MASKEDFIGURE that stands across the street, under a tree.  His presenceso subtle and unobtrusive you'd have to see this movie a secondtime to know he was there all along.EXT.  MAIN STREET - LATERStu is moving along main street when Billy comes barreling up nextto him.                BILLY        How'd you do?                STU        Piece of cake. She'll be there.                BILLY        Thanks, butt wart. You did good.                STU        So you gonna try and make up with Sid?                BILLY        Duh...that's quick.                STU        I was just asking. Why are you always at        me?                BILLY        Because I'm trying to build your self-        esteem. You're far too sensitive.                STU        Oh....Billy thumbs Stu's forehead.                BILLY        You ready to party hard tonight?                STU        You know it.They come to a building centrally located in the heart of MainStreet.  A huge, blue monstrosity that's bigger than the localbank and post office combined. The sign in front readsBLOCKBUSTER.INT.  BLOCKBUSTER - CONTINUOUSYou typical Blockbuster--huge and crowded.  Randy, in hisBlockbuster get up, is busy reshelving returns when Stu appears--knocking the videos out of his hand.                STU        Jesus, this place is packed.                RANDY            (picking up videos)        We had a run in the mass murder section.                STU        You coming tonight?                RANDY        Yeah, I'm off early--curfew you know.            (looking off)        Now that's poor taste.                STU        What?Randy refers to Billy who stands down the aisle talking to TWOGIRLS.  (The twits from the bathroom perhaps.)                RANDY        If you were the only suspect in a        senseless bloodbath would you be standing        in the horror section?                STU        It was all a misunderstanding. He didn't        do anything.                RANDY        You're such a little lap dog. He's got        killer printed all over his forehead.                STU        The why'd the police let him go?                RANDY        Because, obviously they don't watch        enough movies. This is standard horror        movie stuff. PROM NIGHT revisited.Randy moves down the aisle, reshelving videos.                STU        Why would he want to kill his own        girlfriend?                RANDY        There's always some stupid bullshit        reason to kill your girlfriend. That's        the beauty of it all. Simplicity.        Besides, if it's too complicated you lose        your target audience.                STU        So what's his reason?                RANDY        Maybe Sidney wouldn't have sex with him.                STU        She's saving herself for you.                RANDY        Could be. Now that Billy's tried to        mutilate her, you think Sid would go out        with me?                STU        I think her father did it. How come they        can't find his ass?                RANDY        Because he's probably dead. His body        will come popping out in the last reel        somewhere...eyes gauged. See, the police        are always off track with this shit, if they'd        watch PROM NIGHT they'd save time.        There's formula to it. A very simple one.        Everyone's always a suspect--the father,        the principal, the town derelict...                STU        Which is you...                RANDY        So while they're off investigating a dead        end, Billy, who's been written off as a        suspect, is busy planning his next        hunting expedition.                BILLY            (o.c.)        How do we know you're not the killer?Randy spins around to find Billy right behind him.  Busted.                RANDY        Uh...hi, Billy.                BILLY        Maybe your movie-freaked mind lost it's        reality button?Randy shrugs, laughing it off.                RANDY        You're absolutely right. I'm the first        to admit it. If this were a scary movie,        I'd be the prime suspect.                STU        And what would be your motive?                RANDY        It's 1995--motives are incidental.EXT.  MAIN STREET - LITTLE LATERDewey's patrol jeep makes it's way down mainstreet.  It's almostdark.  The street is close to deserted.INT.  PATROL JEEP - CONTINUOUSDewey's behind the wheel having a heated conversation with Tatumwhile Sid stares out the window.                DEWEY        A party? Mom's gonna kill you. Then me.                TATUM        Don't be so self-righteous. It's just a        little blow out--we'll be perfectly safe.Sid stares out the window. CLOSED SIGNS fill the storefronts, afew people rush to their car, in a hurry to beat curfew.                SIDNEY        God, look at this place, it's THE TOWN        THAT DREADED SUNDOWN.                DEWEY        Hey, I saw that movie. True story, 'bout        some killer in Texas.                TATUM        Hey, Sid. Just think if they make a        movie about you. Who's gonna play you?                SIDNEY        Oh, god...Dewey comes to a stop, parking the car in front of the policestation. He looks to Sid with a brotherly smile.                DEWEY        I see you as a young Meg Ryan myself.                SIDNEY        Thanks, Dewey. But with my luck they'd        cast Tori Spelling.EXT.  PATROL JEEP - CONTINUOUSThey pile out of the jeep.  Dewey heads for the station.                DEWEY        I'll just be a few minutes. Don't go        far.The girls take off for the local supermarket that sits across thestreet.                SIDNEY        Is Billy going to be there tonight?                TATUM        He better not be. I told Stu to keep his        mouth shut. I think we can live without        EVERYBODY'S ALL AMERICAN for        one night.They approach the grocery store.  Small and simple.  Sid and Tatumgrab a shopping cart from the bin and enter the store, pushing thecart through two sliding glass doors.A lone CHECKOUT LADY behind the counter, big and frumpy, looks upfrom counting money.                CHECK OUT LADY        You girls gonna have to hurry it up.        We're under curfew.                TATUM        Two minutes tops.They make a bee-line for the junk food section just as theautomated doors slide shut behind them and a...GHOST MASKED FIGURE appears, out of nowhere, standing justoutside, watching, quietly through the glass store windows.EXT.  POLICE STATION - SHERIFF'S OFFICESheriff Burke's face heats up as Deputy Riley marches in,hurriedly.                SHERIFF BURKE        Dewey! Where the hell you been, boy?                DEWEY        Keeping my eye on Sidney.                SHERIFF BURKE        Listen up, Dewey, because it's bad. Real        bad. Aircomp just faxed us. The calls        were listed to Neil Prescott--Sidney's        father. He made the calls with his cellular        phone. It's confirmed.                DEWEY        Couldn't his cellular number have been        cloned?                SHERIFF BURKE        There's more. Guess what tomorrow is?        The anniversary of his wife's death. It all        fits. He's our man.                DEWEY        Have you contacted the bureau?                SHERIFF BURKE        They believe he's out of state by now.        We'll keep roadblocks and curfew in        effect through the night. If he's not        picked up by morning--we'll do a house        to house.                DEWEY        You think he could still be in town?                SHERIFF BURKE        He'd have to be crazy. Where's Sidney?                DEWEY        She's with my sister. Should I bring her        in?                SHERIFF BURKE        Hold off for now. Just stay close to        her.                DEWEY        She'll be with her friends over at Stu        Maker's tonight.                SHERIFF BURKE        Watch her. Don't let on--just keep your        eyes out.                DEWEY        Yes, sir.INT.  SUPERMARKET - FEW MINUTES LATERSidney and Tatum push a basket through the junk food section.  Thestore is completely empty.  The girls gab freely.                SIDNEY        Billy's right. Whenever he touches me, I        just can't relax.                TATUM        You have a few intimacy issues as a        result of your mother's untimely death.        It's no big deal. You'll thaw out.                SIDNEY        But he's been so patient with me, Tatum.        You know, with all the sex stuff. How        many guys would put up with a girlfriend        who's sexually anorexic?                TATUM        Billy and his penis don't deserve you.Sidney grabs some chips and salsa from the shelf.  Down the aisle,through the storefront window the GHOST MASKED FIGURE still standswatching their every move.EXT.  SUPERMARKETSid pushes the cart out of the glass door with Tatum riding it.The GHOST MASKED FIGURE is nowhere to be found.                SIDNEY        What do you think about when you're        having sex?                TATUM        With Stu, there's little time to stop and        reflect. But sometimes before, to relax        and get in the mood, I think about Grant        Goodeve.Sid pushes the cart and Tatum across the street.                SIDNEY        Who?                TATUM        Grant Goodeve--the oldest brother on        EIGHT IS ENOUGH. Remember that show? He        was the one who lived off alone. He would come        around every now and then with his guitar and        sing "Eight is enough to fill our lives with love..."        He had all these brain dead sisters and that idiot        brother from CHARLES IN CHARGE. God, I        was in love with Grant, he was so hot. The show        came on every day after school right during my        puberty years. Grant Goodeve was very instrumental        in my maturing as a woman.                SIDNEY        How does that get you in the mood with        Stu?                TATUM        During foreplay, I sing the theme song to        myself. "Eight is enough to fill our lives        with love..." It's a real turn on.                SIDNEY        No way.                TATUM        Grant wrote the song himself. I'm        convinced the lyrics had a secret        meaning, "Eight is enough..."Sid pushes the cart up to Dewey's jeep.  Tatum hops off.                SIDNEY        What secret meaning? Like a Satanical        thing?                TATUM        Watch the show, Sid. His basket is        bigger than the one you're pushing.                SIDNEY        TATUM!                TATUM        Oh, Sidney. WHAT? A guy can talk tits        til he's dead but the minute you mention        an eight inch weenie. Watch out.Sidney stops just short of a laugh.  Tatum pulls the back jeepdoor, loading the groceries in.  Behind her, the GHOST MASKEDFIGURE appears, just out of their sight, behind the jeep's openback door.                TATUM        There's that sense of humor. I knew it        still existed. Ohh, Sid, let's have some        fun tonight.                SIDNEY        Deal.Sidney moves to the back door and closes it shut, when frombehind...DEWEY stands.  Sid jumps, startled.                DEWEY        You girls ready.                SIDNEY        Yeah.                DEWEY        Looks like I'm your personal bodyguard        tonight, Sid.                TATUM        No, Dewey. You'll ruin the whole night.                DEWEY        Sorry, police orders. I'll stay out of the        way, I promise.                TATUM        Shit.Tatum kicks the shopping cart out of the way, blindly.  It rollsdown the road by itself, gaining speed on a decline running smackinto the GHOST MASKED FIGURE who stops the cart cold with onehand.EXT.  COUNTRY ROAD - NIGHTDewey's jeep makes it's way down a long, winding road.  Headlightsilluminate the thick woods that line each side.  Following behindthem at a discreet distance is a huge white newsvan.Dewey comes to the end of the road.  It dead ends at...STU'S HOUSE which sits alone in a clearing, big and ominous withno neighbors in sight.  A huge old home just ripe for a night offun and...terror.From the looks of things the party has already started.  Music isBLARING. A few KIDS hang on the porch.INT.  LIVING ROOM - MINUTES LATERA big room with KIDS sprinkled throughout-smoking, drinking,cutting up.  A stereo BLASTS music while the TV airs around theclock killer coverage.Tatum and Sid enter with groceries.  Various FRIENDS greet them.                TATUM        Caterer's here.The girls carry bags through a hallway that opens up onto anenormous kitchen.  Stu and some GUYS are leaning over the sinkdrinking beer through a funnel.                TATUM        That's mature.                STU        Where you guys been? We had to start        without you.EXT.  STU'S HOUSE - ROADThe newsvan pulls up and parks unobtrusively on the side of theroad a few feet down from the front yard.INT.  NEWSVANKenny and Gale move around inside the van.  Kenny hovers over acontrol panel complete with video monitors.                KENNY        What's the plan?                GALE        Prep the compact, we'll hide it in a        window and tape all of tonight's        festivities.Kenny picks up a compact video camera the size of his fist.  Hechecks its battery pack.                KENNY        The control board's glitched. You know        we can't carry a live picture.                GALE        What's the delay?                KENNY        About thirty seconds.                GALE        As long as it records I don't give a        shit. We're not doing a remote.Gale slides open the side door and steps out into the darkness,not seeing the FIGURE that stands behind her.  A hand grabs hershoulder, Gale's heart stops as she spins around to find...Dewey, smiling, extremely pleased to see her.                DEWEY        Evening, ma'am.                GALE        Deputy...good evening.                DEWEY        What brings you out to these parts?                GALE        You never know when or where a story will        break.                DEWEY        Not much story here. Just a bunch of        kids cutting loose.                GALE        Then what are you doing here?                DEWEY        Keeping an eye on things. Checking the        place out.                GALE        Mind if I join you?Dewey considers for a whole two seconds.                DEWEY        Not at all.Gale leans in the van, grabs the camera from  Kenny's hand, andthrows it in her bag.  She gives Kenny a wink.INT.  KITCHENCLOSE ON a microwave.  Popcorn POPS inside.  CAMERA WIDENS TOREVEAL...Sid, Stu, and Tatum moving about the kitchen, preparing a junkfood feast.  Other TEENS pop in and out. Randy appears amongstthem.  He carries an armful of videos.                RANDY        I thought we'd make it a BLOCKBUSTER        night.He lets the videos splatter across the kitchen counter.  Stu andTatum dive in.                STU        I thought everything was checked out.                RANDY        I had 'em hid in the foreign section.Sidney peruses the videos.                SIDNEY        THE FOG, TERROR TRAIN, PROM NIGHT        --How come Jamie Lee Curtis is in all these        movies?                RANDY        She's the Scream Queen.                STU        With that set of lungs--she should be.                TATUM            (to Sid)        Tits--see.INT.  LIVING ROOM - FEW MINUTES LATERThe party is going strong.  Ten maybe fifteen people stand, sit,lean.  Some crowd around the floor in front of the television.Randy is taking a vote.                RANDY        How many EVIL DEAD'S?            (hands go up)        How many HELLRAISER'S?Hands go up.  BICKERING AD-LIB, etc.The doorbell RINGS.  Stu goes for it.                STU        I got it. Tatum get me a beer. They're        in the fridge in the garage.                TATUM        What am I? The beer wench?                STU            (o.c.)        Hey, guess who's here? It's that chick        from INSIDE STORY?They look up the hallway to see Dewey and Gale standing in thefoyer.                TATUM        Shit, Dewey!Everyone perks up, eyeing Gale.                TATUM        What is she doing here?                DEWEY        She's with me. I just wanted to check on        things.The GUYS in the room are drooling over Gale.  Including Stu.                TATUM        So you did--now leave...and take your        media muff with you.Tatum takes off for the kitchen.Gale has quickly become the focus of the party.  All eyes are onher.                SOME TEEN        I watch your show regularly.                STU        This must be big news to be on INSIDE        STORY.                GALE        Huge.                ANOTHER TEEN        Wanna interview us?                RANDY        We could be like two grief stricken        students and we'll say really nice things        about our good friends who were        slaughtered senselessly.                STU        I can cry on cue.Gale eyes the bookshelf above the television.                GALE        Maybe later?Suddenly, Gale starts to COUGH.                GALE        Can I trouble you for some water?                STU        How 'bout a beer? Randy--get the lady a        beer.                RANDY        You get it.Gale slips the camera from her bag--hits the ON switch and holdsit behind her...waiting for the right moment.BACK IN FOYER                SIDNEY        Have they found my father?                DEWEY        Afraid not.                SIDNEY        Should I be worried?                DEWEY        Not yet.INT.  KITCHENTatum is alone in the kitchen.  She empties popcorn into a bowl,then pulls open the refrigerator...looks quickly, thenremembers...She moves through the adjoining laundry room to the...INT.  GARAGEThe kitchen door opens and light floods the darkened garage.Tatum stands in the doorway searching for a light switch.She finds a button and hits it.  BRRRRMMM!  The electric garagedoor starts to rise.  Wrong switch.  She hits it again and itcloses.She finds another switch.  CLICK.  A small lightbulb overheadcomes on, barely lighting the large two car garage, leavingpockets of shadows along the wall.Tatum spots the refrigerator against a far wall and heads for it,not seeing the kitchen door, quietly, slowly, closing behind her,sealing her off from the rest of the house.Tatum stumbles to the refrigerator and throws it open.  Its lightcasts a glow across her face.CRASH-BOOM!Tatum jumps, spinning around just in time to see a cat escapethrough a large pet door that's built into the garage door.  Shesmiles at her jumpiness.Tatum loads up with as many beer as her hands will carry and headsback to the kitchen.At the kitchen door, she juggles the beer, reaching for the knob.It's locked.                TATUM        SHIT!She KICKS it with her foot several times.                TATUM        Hey, Shitheads!A moment.  No answer.                TATUM        OH, SHIT PISS!Tatum leans over and, with her elbow, hits the garage door button.BRRRMM!  It begins to rise.She moves towards the rising door, beer in hand.  Suddenly, CRR-BRRRM!  The garage door RESETS, reversing direction, moving down,closing.                TATUM        What the...Tatum spins around to see..A GHOST MASKED FIGURESilhouetted in the dark, next to the kitchen door, his hand on theswitch.  Tatum at once GASPS, taken back, but then relaxes.                TATUM        Is that you, Randy? Cute.The FIGURE stares at her, blankly.                TATUM        And what movie is this from? I SPIT ON        YOUR GARAGE.Tatum takes a step towards the FIGURE.                TATUM        Lose the mask. If Sidney sees it, she'll        flip.The FIGURE shakes his head slowly from side to side.                TATUM        Oh, you wanna play psycho killer?The FIGURE slowly nods.                TATUM        Can I be the helpless victim?The FIGURE slowly nods again.                TATUM        Okay, let's see. "No, please don't kill        me, Mr. Ghostface. I want to be in the        sequel."Tatum takes a step to move around the FIGURE, but he steps too,blocking her.                TATUM        Cut, Casper. That's a wrap.Tatum moves again, sidestepping the FIGURE, but he's faster andcuts her off.Tatum juggles the beer against her chest with one hand and withthe other pushes the FIGURE hard, knocking him aside.                TATUM        Randy--will you stop?But as the FIGURE intercepts, lunging forward, grabbing her wristhard, Tatum stumbles...beer cans hit the floor, spewing...                TATUM        You little shit.Tatum yanks hard, releasing his hold when a flash of silvercatches her eye.  She looks down, glimpsing a long sharp blade asit darts forward, cutting into her forearm...Tatum pulls back, horrified, as the moment turns deadly serious.The FIGURE advances on her--knife out, ready.  She staggersbackwards, holding her bloody arm, backing into the refrigerator,SCREAMING.                TATUM        Who are you?The FIGURE lashes out with the knife.  Tatum dodges it, leapingback against the fridge.  The FIGURE advances.  Instinctively, sherips the top freezer door open, BASHING the FIGURE in the face,sending him backwards, reeling.Tatum bolts to the...CLOSED GARAGE DOOR.  In a panic, she BEATSand PULLSon it, trying to make it lift.  She eyes the FIGURE...he'srecovering...She goes for the pet door, dropping to the floor, diving forit...she wedges her upper body through, her head, shoulders, torsojust as the...FIGURE pounces, grabbing hold of her feet.  Tatum goes crazySCREAMING and KICKING trying to get through.EXT.  GARAGE DOORTatum is half in/half out of the pet door.  She BEATS and JERKSwildly, unable to see the FIGURE on the other side...A true fighter, Tatum kicks hard, making direct contact with theFIGURE, knocking him away.She takes the moment to pull herself through further...but shestops...stuck.  She pulls and tugs but can't move.  She listensbut hears nothing.  Where did he go?  An agonizing silence.  Andthen...CRR-BRRRM!  The garage door is activated.  It begins to riseupward, takingTatum with it.  She SCREAMS MADLY.                TATUM        NOOOOOOOO.....Tatum's arms and legs fly about violently as she tries to freeherself from the door, but it moves too fast, carrying her up...She looks above to see where the door rolls back into garagerafters just as her neck hits the first beam, SNAPPING instantly.INT.  FOYER - MINUTES LATERIt's getting late and SOME KIDS leave through the front door,muttering, "parents and curfew", etc.  The door hangs open wide.Sid moves to close it when....BILLY appears in a classic fake scare.                SIDNEY        Billy? Jesus, you scared me.Stu appears.                STU            (with a wink)        Dude. What are you doing here?                BILLY        I was hoping Sid and I could talk.                SIDNEY        If Tatum sees you--she'll draw blood.                STU        You guys can go up to my parents room?        To talk and...whatever.                BILLY        Subtlety, Stu. Look it up.                SIDNEY        It's okay. We need to talk.Sid grabs his hand and leads him up the staircase.  Randy appearsfrom the kitchen just in time to see Sid and Billy disappearupstairs.                RANDY        What's Leatherface doing here?                STU        He came to make up.                RANDY        There goes my chance with Sid.                STU        Like you had one.INT.  NEWSVANKenny fidgets at the control board.  He hits a coupla buttons,bangs the side of the monitor and a picture emerges...the livingroom.  The camera is positioned just above the television...ON SCREENThe party is in full swing.  Several TEENS sit right in front ofthe television.  Because of the camera's position they appear tobe staring right into the lens.Suddenly, the van's side door slides open and Gale pops in.                KENNY        Got a picture. Perfect placement. We        can see everything.Gale is ecstatic.                GALE        Tell me, Kenny, has a cheesy tabloid        journalist ever won the Pulitzer?INT.  BEDROOMA large, master bedroom with glass doors that lead out onto abalcony.Sid and Billy stare at each other for a long moment.  Awkward.                SIDNEY        So...                BILLY        So...I'm sorry. I've been a selfish shit        and I'm sorry.                SIDNEY        No, Billy. I'm the one who's been        selfish and self-absorbed with all of my        post traumatic stress.                BILLY        You lost your mom...                SIDNEY        But you're right--enough is enough. I        can't wallow in the grief process forever        and I can't keep lying to myself about        who my mom was.Billy bows his head quietly, knowingly.                SIDNEY        I think in some weird analytical,        psychological bullshit way I'm scared        I'm gonna turn out just like her, you        know? Like the bad seed or something...                BILLY        Oh Sidney...                SIDNEY        Everytime I get close to you I see my        mom. I know it doesn't make sense.                BILLY        Sure it does. It's like Jodie Foster in        SILENCE OF THE LAMBS when she        kept having flashbacks of her dead father.                SIDNEY        But this is life. This isn't a movie.                BILLY        Sure it is, Sid. It's all a movie. Life's        one great big movie. Only you can't        pick your genre.Billy moves to her.  They embrace, tenderly.                SIDNEY        I wanna let go. I do...                BILLY        Ssshh...everything's gonna be okay. I        promise.Sidney takes the initiative, acting on impulse, kissing him longand hard.  She breaks away passionately, out of breath.                SIDNEY        Why can't I be a Meg Ryan movie?Billy nibbles her neck.                BILLY        Sshh..it's okay.                SIDNEY        Or even a good porno.                BILLY            (shocked)        What?She stares at him, her eyes sexually charged.                SIDNEY        You heard me.                BILLY            (incredulous)        Are you serious?                SIDNEY            (surprising herself)        Yeah...I think so.They smile at each other.INT.  LIVING ROOM - MINUTES LATERThe camera sits on the book shelf lodged between two knickknacks,completely inconspicuous. The CAMERA WIDENS to reveal severalTEENS watching the TV--the horror diehards.                TEEN #1        Look, here it comes. SPLAT!                TEEN #2        The blood's not the right color. Why do        they do that? It's too red.                RANDY        Here comes another...                TEEN #3        Predictable. Knew he was going to bite        it.                BORED TEEN        How can you watch this shit over and        over?                RANDY        Shhhhh.                STU        I wanna see Jamie Lee's breasts. When do        we see Jamie Lee's breasts?                RANDY        Not until TRADING PLACES in '83. Jamie        Lee was always the virgin in horror movies.        She didn't show her tits until she went legit.                BOY TEEN        No way.                RANDY        That's why she always lived. Only        virgins can outsmart the killer in the        big chase scene in the end. Don't you        know the rules?Stu finishes his beer.                STU        What rules?Randy hits the pause button on the remote and stands in front ofthe television, explaining.                RANDY        There are certain rules that one must        abide by in order to successfully survive        a horror movie. For instance: 1. You        can never have sex. The minute you get a        little nookie--you're as good as gone.        Sex always equals death. 2. Never drink        or do drugs. The sin factor. It's an        extension of number one. And 3. Never,        ever, ever, under any circumstances, say        "I'll be right back."                STU        Wanna another beer?                RANDY        Yeah.                STU        I'll be right back.Everybody "ooohhs".                RANDY        There he goes folks--a dead man. Wave        bye-bye.INT.  NEWSVAN - CONTINUOUSGale and Kenny watch the monitor.  The party is clearing out someA RAP at the van door.  Gale pulls it open to see Deputy Rileystanding, his face all smiles.                DEWEY        Sheriff just radioed me. I'm gonna check        out a possible lead. Thought you might        like to join me.                GALE        What kind of lead?                DEWEY        A car was spotted in the bushes a little        ways up the road.                GALE        I'd love to. If you're sure it's        alright?                DEWEY        Ma'am, I am the Deputy of this town.                GALE        Can I bring Kenny?                DEWEY            (too quickly)        NO! I mean...I should probably take just        you.Gale steps out of the van turning back to Kenny.                GALE        I'll be back.She slides the van door closed.EXT.  ROAD - CONTINUOUSGale heads for Dewey's patrol jeep.                DEWEY        Actually, I thought we could walk. It's        not far.Gale appears skeptical, but smiles anyway.  She's genuinelysmitten by this young guy.INT.  LIVING ROOM - CONTINUOUSSCARY MUSIC fills the room.  The party is reduced to the diehardsin front of the television.                RANDY            (pointing to TV)        Look, here comes the obligatory tit shot.                OTHER GUYS        Beautiful! Finally!INT.  BEDROOM - CONTINUOUSBilly and Sidney are going at it...passionately.  He has his headburied in her neck.                SIDNEY            (to herself)        "Eight is enough to fill our lives with        love..."It's working.  Sidney pushes Billy off her as she pulls her shirtover her head.  She fumbles with the clasp of her bra as the...CAMERA RUSHES IN on her breasts.  Just as Sid's bra straps slideof her shoulders...Billy moves in front of the CAMERA, pulling his jeans off,Blocking Sidney from view.INT.  LIVING ROOM - SECONDS LATERBack in the living room, the horror fest continues when the phoneRINGS.  Everyone ignores it.  It RINGS again.Finally, Randy grabs the receiver from the side table.                RANDY        Hello? Yeah....HOLY SHIT.Randy, freaked, drops the phone, finds the TV remote and pausesthe movie, the others protest"Hey, Put is back..." etc.                RANDY        Listen up. They found Principal Himbry        dead. He was gutted and hung from the        goal post on the football field.This stills the room.  Complete silence as the news sinks in.  ONdifferent faces...a moment of devastation..disbelief.  And then:                TEEN #1        So what are we waiting for?                TEEN #2        Let's get over there before they pry him        down.And in seconds the room is empty as everyone bolts for thedoor..HOOTIN' and HOLLERIN' ...leaving Randy, near drunk, alone inthe living room.  He returns to the movie.                RANDY        We were just getting to the good part.INT.  NEWSVAN - MINUTES LATERKenny is barely watching the monitor, he reached boredom some timeago.  He finds a bag of Cheetos and chows down when he hearsSCREAMING from outside.  He peers out the window to see the lastof the PARTY KIDS pile into two cars and race off down the road.He chews a Cheeto slowly, his interest piqued.INT.  BEDROOM - MINUTES LATERThe sex is over...and both Sid and Billy are dressingrespectively.  That post-sex awkwardness.Sid brushes out her hair as her eyes come to rest on the telephoneon the nightstand...it puzzles her as a stark reveleation crossesher face.  She turns to Billy who sits on the floor, putting onhis shoes.                SIDNEY        Who did you call?                BILLY        What?                SIDNEY        When you're arrested-you're allowed one        phone call? Who did you call?                BILLY        I called my dad.                SIDNEY        No, Sheriff Burke called your dad. I saw        him.                BILLY        Yeah...and when I called no one answered.                SIDNEY        Uh-huh.                BILLY        You don't still think it was me?                SIDNEY        No, but if it were you, that would have        been a very clever way to throw me off        track. Using your one phone call to call        me so I wouldn't think it was you.Billy stands up.                BILLY        What do I have to do to prove to you I'm        not a killer?He makes a move toward her when..from behind, in a split instant,from the open balcony doors comes...THE GHOST FIGURESidney sees the FIGURE immedietely, SCREAMING.  Billy tries tocalm her, oblivious to the advancing GHOST.                SIDNEY        BILLYWATCHOUT!!!!Billy barely turns as a long steely blade rises high in the air.It strikes down with force...hitting his chest as blood sprays theair.ON SIDNEY as red crimson splatters across her face...as the knifeis thrust in and out of Billy who tries hard to put up afight..but it's useless...he never had a chance.  His body fallsto the floor..lifeless.ANGLE ON GHOSTas he watches Billy's body come to a still before quietly, calmlyturning his attention to...SIDNEY who stands, numb...scared to death.  And only when theGHOST takes a step forward does Sidney break.  She takes off likea rocket...leaping over the bed and out the door.INT.  HALLWAY - CONTINUOUSSidney tears out the door and down the hall, coated in Billy'sblood.ANGLE ON THE GHOSTas he catches up with her, grabbing hold of her collar.  She pullsaway from him...her shirt ripping down the back.Her hands find a door knob and she goes for it, pulling the dooropen...moving quickly inside...locking it behind her.INT.  DARK SPACE - CONTINUOUSTotal darkness.  Sidney's hands scour the wall for a light switch.The doorknob turns...the lock holds..as the door is nearly SHAKENfrom it's hinges...and then...NOTHING.  All goes silent.  Only Sidney's rapid BREATHING fillsthe space around her.Sidney, trembling, shaking, reaches above her, feeling, until shefinds a string.  She pulls it...as a lightbulb SWITCHES onoverhead.She's in a small box of a room.  The door is on one side, a small,narrow staircase on the other.  She eyes the doorknob, then thestaircase...contemplating...but it's an easy decision.  There's nofucking way she's going up to the attic.She unlocks the door and pushes on it.  But it won't give...shepushes on it again.  It's locked from the other side.  Shit.  Sheturns to the staircase.EXT.  DARK ROAD - CONTINUOUSA long, deserted country road.  In the distance, a singleflashlight beams ahead, the only light in the black night.  Galeand Dewey can be heard.                GALE        So is Dewey your real name?                DEWEY        Dwight. Dewey was something I got stuck        with a long time ago.                GALE        I like it. It's... sexy.                DEWEY        Nah... it's just this town's way of not        taking me serious.                GALE        What about Gale Weathers? I sound like a        meteorologist...CLOSE ON Gale and Dewey, walking closely, side by side-flirtatiously.  Gale is surprisingly nervous.                GALE        People treat me like the Antichrist of        television journalism.                DEWEY        I don't think you're so bad.Gale smiles.                GALE        Are all the local boys as sweet as you?Dewey blushes.  He starts to say something when headlights appearbehind them.  They both spin as TWO CARS loaded with KIDS comeracing right at them.Dewey grabs Gale and pushes her off the road... just as the carsspeed by, oblivious to them.IN THE DITCHGale lands face up with Dewey right on top of her.  He steals aglance in her eyes before rolling off her.                DEWEY        You okay?Something takes Gale's attention.                GALE        What's that?Dewey looks to where gale points.  He finds the flashlight andaims it into the bush.  The tail end of a car is just visible.                DEWEY        Looks like a car.Dewey helps her up and they move to it.  He shines the flashlighton the plates but it's already obvious to the CAMERA.  This is thesame car we last saw Sidney's father driving away in.                DEWEY        Shit. It's Neil Prescott's car.                GALE        Sidney's father?                DEWEY        We gotta get back. Jesus. He's here.        What the fuck is he doing here?Dewey is panicked.  He grabs Gale and they race off down the road.INT.  LIVING ROOM - CONTINUOUSRandy continues to watch TV.  He is now sloppy drunk, completelyinvolved in the movie on the screen.SCARY MUSIC SWELLS, filling the room.                RANDY            (to TV)        No, Jamie. Look behind you! Watch out!        Behind you!And if he followed his own advice, he would see the GHOST MASKEDFIGURE that stands directly behind him...knife poised.INT.  NEWSVAN - CONTINUOUSKenny finishes off a soda and crushes the can in his hand.  Hetosses it to the floor when a movement from the monitor catcheshis eye.ON THE MONITOR is Randy, still on the couch, engrossed in themovie.  Directly behind him...the GHOST.  Kenny does a double-take.  No fucking way.  He watches as the GHOST stands still,unmoving, knife raised.                KENNY        JESUS...FUCK...The GHOST takes a silent step forward.                KENNY            (screaming at the monitor)        BEHIND YOU! LOOK BEHIND YOU!This kid needs help.  Kenny bolts out of his seat and goes for theside door.  He slides it open and sticks his head out as...A LONG, SHARP BLADEcomes at Kenny, fast and furious...slicing into his throat.  Kennyfalls forward...out the door as the GHOST MASKED FIGURE is uponhim.THE CAMERA PANS TO THE MONITORjust in time to see the GHOST MASKED FIGURE turn away from Randy,leaving him unharmed, moving instead, out the front door, on athirty second walk to the newsvan.INT.  ATTIC - CONTINUOUSThe attic is long and narrow...cluttered with furniture, boxes,and the likes...moonlight filters in through a small raised windowon the front wall of the house.Sidney moves through the attic...BUMPING into this, KNOCKING overthat...she passes a dusty mirror, jumping at her own reflection.She cringes at her image, drenched in Billy's blood.  She stareslong and hard...something about the blood, the redness of it.  Shemoves on, determined.She eyes the raised window above her...a way out...if she couldonly reach it...EXT.  FRONT YARDGale and Dewey come running up the drive, frantic.                DEWEY        I'll call for backup.                GALE        I'll get my camera.They split up.  The CAMERA FOLLOWS GALE as she rushes to thenewsvan, throwing open the door.                GALE        Kenny! Camera! Quick!The van is empty.                GALE        Kenny?A CAR HORN goes off.  Gale spins around.  It came from the patroljeep in the driveway.                GALE            (calling out)        Dewey?She moves across the yard to the jeep, the door hangs open...Deweyis nowhere to be found.                GALE        Dewey? Where are you?A look of pure dread comes over Gale.INT.  ATTIC - CONTINUOUSSidney has stacked object after object building a ladder to thewindow.  She climbs to the top, holding onto the window frame.She spots Gale almost immedietely.  She SCREAMS OUT, looking forthe window latch.  But there's not one.  It doesn't open.  Sidneystarts beating on it...trying to break it...EXT.  FRONT DOOR - CONTINUOUSGale, hanging tough, approaches the front door, unable to hearSidney's SCREAMS three floors up.  Gale reaches for the door justas she hears LOUD, HORRIBLE SHRIEKS from just inside.  She backsaway.INT.  LIVING ROOM - CONTINUOUSAN EAR-CURDLING JAMIE LEE CURTIS SCREAM BLASTS through the emptyliving room as the horror movie on TV comes to it's horrifyingclimax.Randy is now gone.EXT.  FRONT YARD - CONTINUOUSGale races across the yard putting distance between her and thehouse.  She moves back to the van...INT.  ATTIC - CONTINUOUSSidney has found an old tennis racket.  She swings a solidforehand at the window.THE WINDOW SPRAYS GLASSSidney moves quickly, lifting herself up over broken glass andpulling herself through the window frame.EXT.  SIDE OF THE HOUSESidney wastes no time.  She looks for Gale, SCREAMING, but Gale isgone.Sid lowers herself down the ledge, sliding down a sloped portionof the roof onto...THE MASTER'S BEDROOM BALCONY.Then she eases herself over the railing and lowers herself,letting herself hang as low as she can...then she lets go, free-falling the rest of the way...but in a split instant...THE GHOST APPEARSgrabbing her wrists in midair.Her body hangs, dangling against the side of the house.  The GHOSTbegins to lift her, pulling her back onto the balcony.Sidney jerks, pulls, twists...but the HANDS have her, hoisting herup...Sidney SCREAMS MADLY...yanking one last time, freeingherself.SHE DROPS TO THE GROUND, a good seven feet, landing on her back,hitting hard.  She grabs at a pained leg and brings herselfupright.INT.  NEWSVAN - CONTINUOUSGale is frantic.  She starts the engine up and hits the headlightswhen she discovers she can't see out of the windshield.Gale rubs at the glass.  Sure enough, something is on thewindshield outside, blocking her sight.  Gale hits the wipers asBLOOD SMEARS across the glass, it drips down from above.Gale SCREAMS as a HAND reaches in through the open window...shelooks up to see...RANDY, staring at her madly.                RANDY        What's going on?A sheer moment of fear as Gale hits the gas plummeting the carforward, into a ditch.  She hits the BRAKES.  Randy is thrownforward, away from the van.Gale reverses, backs up, hits the brakes again...just as Kenny'sface comes sliding down the outside of the windshield...eyes wide,face distorted, blood everywhere.Gale hits the gas, and yanks the wheel, sending Kenny's corpseflying off the top of the van.Gale spins the van around, onto the road, hits the gas madly,gaining speed just as...SIDNEY APPEARSin the middle of the road, drenched in blood, very much resemblinga young Sissy Spacek.Gale swerves to miss her, but she turns too sharp and the vanveers off the road at top speed...flipping over on its side,sliding off into the thick foliage.EXT.  ROAD - CONTINUOUSSidney races to where the van lay on it's side.  Sidney peersthrough the windshield...Gale's body lay limp and bloody.SIDNEY CRIES OUT, turning, limping to the driveway.  She sees thepatrol jeep with it's open door...she goes for it.INT.  JEEPSidney hops in, reaches for the ignition...NO KEYS!  Shit.  Justthen, Sidney's eyes go to the front porch.  She watches as thefront door opens and a FIGURE appears in the darkness,undetectable.Sidney throws the headlights...illuminating the front side of thehouse, revealing...DEWEY STANDING IN THE DOORWAY.                SIDNEY        DEWEY!Sidney opens the jeep door, moving to him, noticing his body,slumped, knees buckled...And then his body falls forward, slowly, deliberately, hitting theporch hard.  Standing behind him is...THE GHOSTSIDNEY SCREAMS FROM THE BOTTOM OF HER SOUL.                SIDNEY        NOOOOOOOO!!!!!Sid jumps back inside the jeep, closing the door, locking it.  Shereaches over and locks the passenger's door and then she...waits.And watches as the GHOST leans over Dewey's still body, fumblingwith something.  Then the FIGURE stands upright, in his hands heholds...THE KEYSThey jingle in the wind, the GHOST toying with her, enjoyingthis...Sidney, hysterical, locks eyes with the FIGURE as he moves to thedoor, Sidney leaps on it, holding the lock button down, making itimpossible to unlock.  Her face is pressed against theglass...inches from the MASKED FIGURE.She uses every ounce of strength when suddenly, the GHOSTDISAPPEARS, dropping down, below the window, out of her view.Sidney moves to the center of the jeep, trying hard to listen overher own RAPID BREATHING, every sound AMPLIFIED.Then she hears it, the soft JINGLING of keys near the passengersside door.  She pounces on the lock, holding it down.A shadow cuts the beam of the headlights, unseen by Sidney.  Thelock turns on the other side.  Sidney leaps over and holds itdown, securing it.  This is beyond nerve-racking.  Sidney iscertifiable.Her eyes spot the police radio for the first time.  She grabs themouthpiece and hits the switch.                SIDNEY        Help! Please! I'm at Stu Maker's house        on Turner Lane. Please, HE'S GONNA        KILL ME!EXT.  FRONT OF JEEPANGLE through front windshield.  Sidney RANTING into the policeband.  She doesn't see the...GHOST FIGURE open the tailgate door of the jeep and slowly crawlin behind her.The GHOST FIGURE reaches out and grabs hold of Sidney's neck.Sidney, with surprising strength, spins around and attacks theGHOST.She falls back against the dash, legs out, kicking wildly at him.Her hand reaches for the door, finds the lock, the door lever, shepulls...The door swings open...Sidney falls out of the door, hitting the ground.EXT.  FRONT YARD - CONTINUOUSSidney, on her stomach, squirms away from the jeep.  She bringsherself up to her hands and knees, looking behind her to seenothing...THE GHOST HAS DISAPPEARED.Sidney's eyes roam the yard but he's nowhere.  Completely gone.Vanished.  Sid crawls to the front porch where...DEWEY'S BODY LAYThinking quickly, precisely, she reaches to Dewey's holster andgrabs his gun when a VOICE ECHO'S behind her...                VOICE            (o.c.)        Sidney!She turns to see Randy racing to her, limping.  He appears stonecold sober.                RANDY        Jesus, Sid. We gotta get out of here.Sidney throws the gun forward.                SIDNEY        Stop. Right there.                RANDY        Don't shoot. It's me.                SIDNEY        Don't come any closer.                RANDY        Listen to me, Sid. I found Tatum. She's        dead, she's been killed...I think Stu did        it.He takes a step forward when another VOICE SPEAKS UP.                VOICE            (o.c.)        Don't believe him, Sid.Sidney spins around to see Stu moving up the walk.                STU        He's lying. He killed Tatum. And Billy.Stu moves closer to Sidney.                SIDNEY        Stay away.She aims the gun in his direction.                STU        His movie nut mind has snapped, Sid.        He's gone psycho.                RANDY        Don't listen to him. It's him. He's the        one.Sidney has lost it, she doesn't know who to trust.  She aims thegun at Stu..then Randy..then Stu...                STU        Come on, Sid. Give me the gun.                RANDY        No, Sid.They both move toward her.  There's no time.  She must act now.Finally...                SIDNEY        Fuck you both.And with that, Sidney steps back into the house and SLAMS thefront door shut.INT.  LIVING ROOM / FOYERSid locks and bolts the door.  From the other side she can hearRandy SCREAMING.                RANDY        NO, SID. OPEN UP. PLEASE...        HE'S GONE CRAZY.His fists POUND against the door.  Sidney, stumbling in thedarkness, rushes to the phone in the living room.  Just as shereaches for it...it RINGS.  It scares the life out of her.  SheSCREAMS, yanking it up.                SIDNEY        Please! God! Help me!                VOICE            (from the phone)        Having fun Sidney?Sidney falls apart, SCREAMING.                SIDNEY        NOOOOOOOOO!!!She throws the phone down, disconnecting the call.Sid moves back to the door.  RANDY'S SCREAMS ARE MADDENING.  Sheeyes the lock, deliberating.                SIDNEY            (at the door)        GOAWAYLEAVEMEALONE!CLUNK!  A NOISE UPSTAIRS.Sidney looks up the staircase, into the darkness, her face SHOCKEDto see...BILLYemerging from the shadows, stumbling down the stairs.  Very muchalive.                SIDNEY        Oh God. Billy!He's blood-soaked and dazed.  Sidney meets him in the landing,grabbing him, holding him...                SIDNEY        I thought you were...                BILLY        I'm alright. Gotta...get...help.Billy goes for the door.                SIDNEY        He's out there.Randy continues POUNDING ON THE DOOR, SCREAMING AT THE TOP OF HISLUNGS.                RANDY            (through door)        Please, you gotta let me in. He's        gonna kill me.Billy goes for the door.  Sidney blocks him.                SIDNEY        NO! Don't believe him.                BILLY        It's okay. Give me the gun.Sidney hands him the gun.  Billy turns and unlocks the door,opening it.  Randy rushes in, grabbing Billy, pleading...                RANDY        Help me...                BILLY            (calming him)        Shhhh. It's okay.                RANDY        Stu's flipped out. He's gone mad.Slowly, a small smile creeps across Billy's face.                BILLY        "We all go a little mad sometimes."Randy squints, confused, as Billy aims the gun at Randy and pullsthe trigger.  The BLAST throws Randy's body against the wallbefore sliding to a heap on the floor...still.                BILLY        Anthony Perkins--PSYCHOBILLY TURNS TO SIDNEY...Who stands only feet away, face aghast...Fuck, no...this can't be happening.  Billy's eyes are on her,unmoving.He sticks his tongue out and slowly licks the blood dried to hisface...tasting it.                BILLY        Corn syrup. Same stuff they used for        pig's blood in CARRIE.Sidney is dumbfounded.  Slowly, she takes a step back, moving intothe dark refines of the kitchen.Billy, lurches forward in a fake-out, baiting her.  She takesanother step back--petrified.CLOSE ON BILLY'S FACE.  It is no longer familiar to Sidney.  Thereis something inhuman now about his features.  His expression ispure evil.She takes another step back, shrinking into the dark kitchen.THE CAMERA TAKES A MOMENT TO ADJUST TO THE DARKNESS as the outlineof a FIGURE appears...STANDING RIGHT BEHIND SIDNEY.She continues to back up, moving right into the arms of...STUSidney spins around...her mouth open in speechless horror.                SIDNEY        Stu...please...help me...Stu stares back at her, eyes wide, lips curled in a subtle smileas he holds a small compact CELLULAR PHONE up to his face.                STU            (whispering into phone)        Surprise, Sidney.His VOICE sounds affected now...the VOICE of the killer.Sidney looks back to Billy, then to Stu, then to Billy again.  Itbecomes all too clear.She stands between them, her mind racing, calculating...SHE BOLTS INTO THE LIVING ROOMIf for no other reason than to put space between her andthem...they stand in the entryway, trapping her in.                BILLY        Where ya going? It's not over yet. We've        got one more surprise--Stu, I believe it's        your turn.                STU        Oh yeahStu disappears into the kitchen.                BILLY            (to Sidney)        What's wrong? You look like you've seen        a ghost.Sidney stands, trying hard to hold a calm resolve.A NOISE comes from the kitchen.  A low dragging sound.  Stureappears from the front hall...wrestling withsomething...someone...CLOSE ON STU...he has a body in tow, he thrusts it forward and itrolls into the living room.  Sidney looks down to find...HER FATHERbound and gagged.  His eyes wide in fear, very much alive.                SIDNEY        Daddy!She starts for him.                BILLY        Close enough.Stu places the cellular phone in Mr. Prescott's shirt pocket.                STU        Guess, I won't be needing this anymore.                SIDNEY        Why are you doing this?                STU        It's all part of the game.                BILLY        It's called GUESS HOW I'M GOING TO DIE!                SIDNEY        Fuck you.                BILLY        We already played that game. You lost,        remember?                STU        You have to play, Sid. Don't want to        disappoint your dad. He's been waiting        around all night.                BILLY        It's an easy game. We ask you a        question. If you get it wrong--you die.                STU        And if you get it right--you die.                SIDNEY        You're crazy--both of you.                STU        The official term is "psychotic".                SIDNEY        You'll never get away with this.                BILLY        Tell that to Cotton Weary. You wouldn't        believe how easy it was to frame him.                STU        Yeah, we just watched a few movies. Took        a few notes. It was fun.Billy and Stu relish their madness, proud of themselves.Sidney looks to her dad, sees the tears in his eyes.  She looksback to Billy, unflinching..a determined look on her face.                SIDNEY        Why did you kill my mother?                BILLY        Why? WHY? Did you hear that, Stu? I        think she wants a motive. Hmmm...I don't        really believe in motives, Sid. I mean, did        Norman Bates have a motive?Stu plays along, shaking his head.                STU        Nope.                BILLY        And did they really ever explain why        Hannibal Lecter liked to eat people?        Don't think so. You see, it's scarier        when there's no motive, Sid.                SIDNEY            (fighting tears)        I don't understand...                BILLY        We did your mom a favor, Sid. The woman        was a slut bag whore who flashed her shit        all over town like she was Sharon Stone or        something.                STU            (laughing)        ..so we put her out of her misery. I        mean, let's face it, your mom was no        Sharon Stone.Stu cracks up over this while Billy turns very serious.                BILLY        Is that motive enough for you? Or how        about this? Did you know your slut        mother was sleeping with my dad and she's        the reason my mom moved out and deserted        me.A sudden silence.  Sidney is rigid with shock, his words resonantwith truth.                SIDNEY        What?Even Stu is surprised with his seriousness.                BILLY        Think about it. On the off chance I get        caught-a motive like that could divide a        jury for years, don't you think?. You took        my mother, so I took yours. Big sympathy        factor. Maternal abandonment causes        serious deviant behavior. It certainly        fucked you up. It made you have sex with        a psychopath.                STU        That's right and now that you're no        longer a virgin. You gotta die--those        are the rules.Billy sits the gun down on the table near the foyer.  And thenmoves to Sidney with the butcher knife in hand.                BILLY        Pretend this is all just a scary movie,        Sid. How do you think it's going to end?Sidney doesn't respond.                STU            (excited)        This is the best part, Sid. Billy's got        it all figured out. Why do you think we        kept your father alive so long? Why did        we save you for last?                BILLY        You know what time it is, Sid? It's        after midnight. It's your mother's        anniversary. We killed her exactly one        year ago today.Billy turns to Stu with the knife.  They eye each other.                BILLY        Ready?                STU        Yeah...Billy pulls the knife back and brings it forward quickly, slicinginto Stu.  He stumbles to ho his knees, WINCING in pain.                STU        Jesus...Sidney SCREAMS...as blood gushes..real blood, a dark, deep red.Stu inspects the wound to his side...then he smiles...                STU        Good one. My turn.He takes the knife from Billy.                BILLY        Don't forget-stay to the side and don't        go too deep.Stu stabs at Billy's belly, puncturing him...Billy doubles over...                BILLY        Jesus...fuck, that hurt.                SIDNEY        Stop it!                BILLY            (squelching the pain)        Got the ending figured out yet? Time's        running out.                STU        Come on, Sid. Think about it. Your        father is the chief suspect. We cloned        his cellular. The evidence is there.Billy takes the knife and slashes at Stu's arm, two quickcuts...he doubles over...                BILLY        What if your father snapped? Your mom's        anniversary set him off and he went on a        murder spree, killing everyone...                STU            (in major pain)        Except for me and Billy...we were left        for dead...                BILLY        And then he killed you and then shoots        himself in the head. It's a perfect        ending.                STU        Everyone dies but us. We get to carry on        and plan the sequel. Let's face it, these        days--you gotta have a sequel.Stu takes the knife and cuts at Billy.                SIDNEY        You sick fucks--you've seen one too many        movies.Billy looks at her, bent over, crazed.                BILLY        Oh Sid, don't blame the movies...Movies        don't create psychos. Movies just make        psychos more creative.Stu staggers a bit.                STU        That's it, Billy. I can't take any more.        I'm feeling woozy.                BILLY        Get the gun. I'll untie Pops.Billy moves to Sidney's father.                STU        Where'd you put it?Stu is searching the foyer for the gun.                BILLY        It's on the table.                STU        No, it's not.Billy hobbles over.  The gun is gone.                BILLY        Where the fuck is it?                VOICE            (off camera)        Right here, asshole.Billy and Stu look up in unison to see...GALE WEATHERS-CORRESPONDENT FROM INSIDE STORYstanding in the front door way, gun in hand.  Her body tatteredand bloody.  Her hair a mess.                BILLY        I thought she was dead.                STU        She looked dead. Still does.Gale holds the gun firm, in total control.                GALE        I've got an ending for you. The reporter        left for dead in the newsvan comes to,        stumbles upon you two dipshits, finds the        gun, fumbles your plan, and saves the day.Sidney steps forward.                SIDNEY        I like that ending.Billy lunges at Gale, but she holds steady.  Billy and Stu eyeeach other.                BILLY        She can't get both of us.                STU        Odds are--she'll miss anyway.In a mad rush, they storm Gale, heading straight at her.  Shepulls the trigger, but nothing happens...the safety is on.Billy charges forward, grabbing hold of the front door, SLAMMINGIT SHUT.  It catches Gale in the face, knocking her backwards outthe door.  She goes down...out.                STU        Cool move.Billy steps out the front door and retrieves the gun from whereGale lays.  Then he turns back inside the house to find...SIDNEY GONE.                BILLY        Where'd she go?Stu looks around, staggering now, bleeding heavily...Sidney hascompletely disappeared.  Only her father, bound and gagged remainsin the living.                STU        I don't know Billy but I'm hurtin'.                BILLY        Where the fuck did she go?Suddenly, the phone RINGS.  Billy and Stu look at each other.Completely surprised.  Billy scrambles over to the phone.                BILLY            (picking up phone)        Hello?                SIDNEY            (from phone)        Are you alone in the house?Billy looks to Mr. Prescott.  The cellular phone is gone.                BILLY        You bitch--where the fuck are you?                SIDNEY        Not so fast.  We're gonna play a little        game. It's called GUESS WHO JUST        CALLED THE POLICE AND REPORTED        YOUR SORRY MOTHERFUCKING ASS?Billy looks around the living room.                BILLY        Find her.Billy is fuming now...slightly staggering...and starting to loseit.  He SCREAMS at Stu who has fallen to his knees.                BILLY        FIND HER YOU DIPSHIT!                STU        I can't...I'm bad off, Billy. You cut        to deep.Billy throws the phone at Stu.  He mouths to him, so Sid can'thear.  "Talk to her..."  Then Billy takes off for the kitchen.Stu takes the phone.                SIDNEY            (aware)        So Stu, what's your motive? Billy's got        one. The police are on their way. What        are you going to tell them?                STU        Peer pressure...I'm way to sensitive.Billy flies back in the room, grabbing the phone from Stu.  He'scompletely nuts now, staggering, bleeding, totally insane.                BILLY            (SCREAMING in phone)        I'm gonna rip you up bitch. Just like        your slut whore mother.                SIDNEY        Gotta find me first, you pansy-assed        Mama's boy.Billy starts ripping the room up, overturning furniture in a madfit of rage...when he notices the hall closet.  Touche!  He smilesdeliriously, heading for it, ripping it open as...A GHOST MASKED FIGURE strikes from within, with an umbrella, thesharp end hitting him in the chest as it fans out.  Billy stumblesback, stunned, as the GHOST comes at him again...the umbrellalodges in his chest, and he goes down.Sidney rips the GHOST MASK off her head.  She looks at Billy,disgusted, throwing the mask on Billy's now still body.  Amovement behind her sends her reeling around to find...RANDY slowly sitting up.  His body drenched in blood.  He'salive...barely.  He looks to Sidney...through pain...                RANDY        You know what I hate most about horror        movies? The final scene...it just goes on        and on...and it gets so stupid...Randy manages to stand when a FIGURE COMES LEAPING at him,completely unexpected...it's Stu...barreling into him...they fallback into the living room.  Sidney grabs the gun next to Billy andturns to the living room to find...Randy and Stu rolling across the floor in a dead lock, fighting,both seriously injured...Sid tries to find aim when a...HAND GRABS HOLD of Sidney's ankle, toppling her to thefloor...once again she finds Billy on top of her...IN THE LIVING ROOMRandy and Stu pound at each other, beating and clawing...ON SIDNEY as she fights viciously, attacking with everything she'sgot...Randy is desperately trying to pry away from Stu...he grabs holdof the television set and tries to pull himself off the floor outof Stu's clutch...His hands find the top of the TV...the VCR...he yanks on it,gripping it with his hands, bringing it around with force-CRASHINGthe VCR into Stu's head.  Stu drops.ON SIDNEY as she digs her hand into Billy's open chest wound.  HeCRIES OUT BLOODY MURDER.  Her other hand brings the gun up to hisface...but he head bunts it out the front door...suddenly a flashof silver appears above Sidney.Billy has grasped the butcher knife...he rises it high aboveSidney ready to strike...when a bullet RIPS THROUGH THE FOYERstriking Billy knocking him back into the living room.Sidney looks up to see...GALE WEATHERS, holding the gun in a death grip as smoke risesabove the gun's chamber.Sidney sits up as Gale moves to her, helping her.  Their eyesmeet.  A life truce.INT.  LIVING ROOM - CONTINUOUSBilly and Stu lay face up, head to head.  Sid and Gale move overthem, staring down.  Randy joins them.                RANDY        Sid, you found me out...I'm a virgin.        And pretty happy about it right now.Sidney nudges their bodies.  They both stir.                RANDY        Careful. This is the moment when you        think the killer's dead, but then he        springs back to life for one last scare.Sidney grabs the gun from Gale.                SIDNEY        Not this time.She positions her foot on Stu's chest and aims.                SIDNEY        This is for my Mom, asshole.She SHOOTS him in the forehead, a clean and perfect shot.  The sheaims the barrel at Billy who's eyes suddenly open, blinking up ather, blood bubbling from his lips.  He's not yet dead.  Their eyeslock.                SIDNEY        And this Billy stud-bucket is for having        an incredibly small weenie.She FIRES another perfect shot.  They're both goners.Sidney drops the smoking gun, standing silent over the bodies.  Aquiet moment when suddenly...A FIGURE LUNGES AT THEMBoth Sid and Gale and Randy SCREAM in epic, final scareproportions as Mr. Prescott leaps forward, still bound and gagged.Sid catches her breath, relaxing.                SIDNEY        Oh Daddy...She rushes to him, untying him...while Gale moves to the bookcaseand retrieves the hidden camera.                GALE        I wanna close-up.Randy appears by Sidney's side, helping her untie her father.                RANDY        This is probably an inappropriate        moment, but you think you'd want        to maybe go out with me sometime...        like on a date?Sidney looks at him, dumbfounded.                RANDY        Maybe catch a movie?A long moment as Sidney's face goes from disbelief to resignationto the slight trace of a smile.                SIDNEY        Only if it's a nice Meg Ryan movie.                RANDY        You got it.He smiles at her...watching as Sidney grabs hold of her father,holding him tight as Gale Weathers, with camera in hand, gets onehell of an ending to this SCARY MOVIE.                    THE END
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+SEVEN by Andrew Kevin Walker January 27,1992 The world is a fine place, and worth fighting for. - Ernest Hemingway For Whom the Bell Tolls 1940 EXT. COUNTRY CHURCH -- DAY The white cross on the church steeple stands against blue sky. The church bell rings, resonating. Mass has let out. Small church, small congregation. The dirt road in front is lined with pick-up trucks and parishioners on foot heading to outlying farms and homes. An old two-story house sits across the road. Lone. INT. OLD HOUSE -- DAY Sunlight comes through the soot on the windows, more brown than bright. SOMERSET, 45, in a suit and tie, stands in this empty second-story room. He looks around, at the ceiling, at the worn wooden floor, at the peeling wallpaper on the walls. Somerset walks to one wall where the current wallpaper is peeled away to reveal flowery wallpaper underneath. He runs his finger across one of the pale red roses that decorates the older paper. He pushes the grime away, brings the rose out more clearly. He pulls at the edge of the paper, carefully ripping off a roughly squared section with the rose at its center. He studies it in his hand. EXT. OLD HOUSE -- DAY Birds sing. Somerset stands, pondering the forested landscape. MAN'S VOICE (O.S.) Is something wrong? Somerset does not respond. The MAN, in an ill-fitting real estate jacket, is seated on the hood of a dirty Ford Thunderbird. He holds a check and a booklet of receipts. MAN (CONT) Is something the matter? SOMERSET No... no. There's nothing wrong. Somerset still seems distant. MAN (writes receipt) Not that it's any of my business... but, are you figuring on moving out here eventually? SOMERSET Soon. MAN I just never seen a man mortgaging an empty house before. SOMERSET Everything here still seems... seems so strange to me. All this. MAN I don't know. I'd say this place is about as normal as places get. The man walks over to hand over a receipt. Somerset accepts the receipt, folds it. Somerset smiles. SOMERSET That is exactly what I mean. Strange. Somerset looks back at the house. The man does not understand. INT. AMTRACK TRAIN -- DAY -- (CREDIT SEQUENCE BEGINS) Somerset is in a window seat, smoking a cigarette, looking out the speeding train. He is near the back of the car, away from the few other passengers. Outside, farms, small homes and lawns pass. The entire panorama is dappled by the rays of the soon setting sun. The light flickers across Somerset's placid face. INT. AMTRACK TRAIN -- LATER DAY The train is nearly full. Somerset has his suitcase on the aisle seat beside him. He has a hardcover book unopened on his lap. He still stares out the window, but his disposition has soured. The train is passing an ugly, swampy field. A car's burnt-out skeleton sits rusting in the bracken. A little further on, two dogs are fighting, circling, attacking, their coats matted with blood. Somerset turns his head to watch the dogs. Away in the field, another dog sprints to join the fight. INT. AMTRACK TRAIN -- EARLY EVENING Passing urban streets below. Slums. Smashed cars. People stand on the corners, under the bleak glow of street lamps. Somerset's suitcase is by the window. Somerset is now in the aisle seat, reading his book. INT. SOMERSET'S APARTMENT -- LATER NIGHT -- (END CREDITS) Curtains closed. The SOUNDS of the CITY are here as they will be everywhere in this story. A CAR ALARM SHRIEKS. Somerset's life is packed in many moving boxes, except for clothing in a closet and hundreds of books on shelves. Somerset, dressed only in his underwear, lays back on the bed. He reaches to the nightstand, to a wooden, pyramidical metronome. He frees the metronome's weighted swingarm so it moves back and forth. Swings to the left... TICK, swings to the right... TICK. Tick, tick, tick, measured and steady. Somerset situates on the bed, closes his eyes. The metronome's ticking competes with the sound of the car alarm. Somerset's face tightens as he concentrates on the metronome. His eyes close tighter. Tick, tick, tick... the swingarm moves evenly. Somerset's breathing deepens. The car ALARM seems QUIETER. Tick, tick, tick. Somerset continues his concentration. The METRONOME is the ONLY SOUND. Somerset's face relaxes slightly as he begins to fall asleep. Tick, tick, tick... EXT. CHINESE BODEGA/CITY STREETS -- NIGHT DAVID MILLS, 31, exits with a bagged 40oz bottle of beer. He is a lean, attractive man, constantly coiled, eyes always smoldering. FOLLOW as he walks quickly past iron-gated storefronts. He crosses the street under elevated subway tracks. A train roars overhead. Mills watches it as he walks on. Blue sparks spit off the third rail and illuminate Mills, throwing his shadow long down the deserted street. EXT. URBAN STREET OF ROW HOMES -- NIGHT This rotting neighborhood lives in the shadow of a single fat skyscraper. Mills walks, looks at the broken refrigerators and pieces of junk in the gutter. Ahead in the street, TWO YOUNG THUGS struggle with a crowbar to break into the trunk of a parked car. Mills draws near. One thug looks up, doesn't think Mills will be a problem, continues prying. Mills stops, calm. MILLS Is that your car, man? FIRST THUG What the fuck do you care? Mills pauses, switches his beer bottle to his other hand. MILLS Does that car belong to you? The thugs look at each other, gauging. They face Mills. FIRST THUG Yeah, it's my car, alright? Fuck off. MILLS You're telling me that's your car? The second thug starts the long way round the car. SECOND THUG Well, for some strange reason, I don't believe you. Mills gives a "isn't that silly" laugh, shifts his gaze -- Sees the first thug slide the crowbar so it's held as a weapon. FIRST THUG (steps forward) You can fucking suck my... Mills swiftly finishes that sentence by smashing his bottle against the first thug's head. The thug falls, swings blindly. The second thug moves from the side, brings out a knife. Mills averts, swings, pounds the side of his fist into the second thug's face -- CRACK. Broken nose. The second thug stumbles back, drops the knife, his nose squirting blood. Mills turns, enraged, breathing hard. The first thug is screaming, trying to stand. Mills takes one step, punts the first thug's head. The crowbar clatters away. Mills is in the process of kicking a man when he's down, when the second thug grabs him from behind, pulls him backwards. Mills clutches at the thug's arm, trying to avoid a choke-hold. They both struggle spastically. The thug's winning. Gurgling, gasping for air, Mills shifts his weight, drops to one knee and spins the thug, slamming him against the car. Mills breaks loose, grabs a handful of the second thug's hair and holds the man's head against the car's side window. Mills' free hand pounds the thug's face: once, twice -- third time's the charm as the window shatters. The thug goes out cold. Mills backs off, still incensed. He rubs his throat, looking at the two prone men. Slowly, he regains some composure. He takes a keychain from his pocket. He unlocks the door of the car, loads one of the thugs into the back seat. He walks to collect the other thug off the street. INT. SOMERSET'S APARTMENT, BEDROOM -- MORNING Somerset picks items off a moving box: keys, wallet, homicide badge. Finally, he opens the hardcover book from the train. From the pages, he takes the pale, wallpaper rose. INT. TENEMENT APARTMENT -- DAY A wall is stained by a starburst of blood. Somerset stands, melancholy, looking at a body on the floor under a sheet near a sawed-off shotgun. The apartment is gloomy. DETECTIVE TAYLOR, 52, looks through a notepad. TAYLOR Neighbors heard them screaming at each other. It was nothing new or unusual. But, then they heard the gun go off. Boom, boom... both barrels. SOMERSET Did his wife confess? Did she actually speak the words? TAYLOR When the patrolman got here she was trying to put his head back together. She was crying too hard to say anything. (shuts notebook) Crime of passion. SOMERSET Yes. Look at all the passion splattered up on the wall here. Taylor shifts his weight, impatient, annoyed. TAYLOR This is a done deal. All but the paperwork. Somerset looks at a coloring-book open on the coffee table. There are crayons beside it. Somerset picks the book up. He flips through: crudely colored pictures. SOMERSET Did their son see it happen? TAYLOR What kind of question is that? Huh? (pointing) He's dead. His wife killed him. There it is. That's all. Anything else has nothing to do with nothing. Somerset replaces the book, digs up a cigarette from his pocket. TAYLOR (CONT) You and your fucking questions, Somerset. I'm glad I'm getting rid of you today. You know that, you fuck? David Mills enters, dressed in a suit. He looks a bit lost. MILLS Uh... Lieutenant Somerset? Somerset lights his cigarette, looks to Mills. MILLS (CONT) I'm David Mills... your new partner. EXT. TENEMENT/CITY STREET -- DAY A body-bag is carried through the crowd around the tenement doors. Somerset follows. Mills follows Somerset. They walk towards the end of the filthy block. MILLS I'm a little thrown. I just finished orientation at central, and they dumped me off down here. SOMERSET I heard you brought in two small-timers last night. MILLS Yeah. Two real idiots. SOMERSET Since we are just starting out, I thought we could go to a bar. Sit and talk for awhile. That way we can... MILLS Excuse me, but I'd rather start sniffing for a case, if it's all the same to you. Seeing how we only have a week for this whole transition thing. (waits) I want to get into the shit a.s.a.p., know what I mean? Somerset walks, no reply. Mills searches to get a read on him. SOMERSET I meant to ask you something... when we spoke on the phone. I can't help wondering... (pause) Why are you here? MILLS (wary) I... I don't follow. SOMERSET All this effort you've gone through, to be transferred from Philadelphia to here. It's the first question that pops into my head. Mills formulates his response. MILLS I'm here for the same reasons as you, I guess. Or... at least the same reasons you used to have for being here... (cutting) ...before you decided to give up. Somerset stops and faces Mills. SOMERSET You think you know me? You just met me two minutes ago. MILLS Maybe I don't understand the question. SOMERSET It's very simple. You've come from the "City of Brotherly Love" to the "City of Brotherly Hate," detective. I've never seen it done that way. MILLS I don't know. Maybe I thought I could do more good here than there. (pause) You know, it'd be great by me if we didn't start right out kicking each other in the balls. But, you're calling the shots, lieutenant, so however you want it to go. SOMERSET Let me tell you how I want this to go. I want you to look, and I want you to listen. MILLS I wasn't standing around Philly guarding the fucking Liberty Bell. SOMERSET But, you've never worked homicide in this city. MILLS I realize that. SOMERSET Well, please do me the favor of remembering it. Mills just stares back at Somerset. Somerset walks. Mills rolls his eyes, looks to heaven like, "what'd I do to deserve this?" He follows Somerset. INSERT -- TITLE CARD MONDAY INT. SOMERSET'S APARTMENT, BEDROOM -- EARLY MORNING Somerset lies asleep on the bed. It is still dark outside. Relatively quiet. The PHONE beside the inactive metronome RINGS HARSHLY. Somerset awakens suddenly, rankled. INT. MILLS' APARTMENT, BEDROOM -- EARLY MORNING It is barely becoming light outside. Mills can't sleep. Alone in a double bed. He sits up, frustrated. Sits on the edge of the bed and looks around. The room is a shambles, filled with moving boxes. The light coming through the window glows upon a football trophy on one box. Large and noble, a golden player stands in frozen motion at the trophy's pinnacle. Mills looks at the trophy and a fond smile forms on his face. The CLINKING of DISHES and SILVERWARE is HEARD from another room. Mills looks at the closed bedroom door, troubled. INT. MILLS' APARTMENT, LIVING ROOM/KITCHENETTE -- EARLY MORNING Across a living room full of boxes, TRACY MILLS, 30, a beautiful woman, stands in her bathrobe. She's upset about something, takes dishes out of boxes, puts them on the kitchenette counter. She pulls a mug from a clump of newspaper and pours some tea from a pot on the stove. Blowing on the steaming tea, she leans back on the counter, looks over at the closed bedroom door. The tea is too hot to sip, and as Tracy is placing the mug on the counter behind her the PHONE RINGS. Startled, she releases the mug too close to the edge. It falls -- Crashes to the floor, shatters. INT. APARTMENT/CRIME SCENE, HALLWAY -- MORNING A dark hall. Somerset and Mills stand with OFFICER DAVIS, 28, a beefy, uniformed cop. Light from a camera's flash spills in from the nearby kitchen. Davis hands Somerset two flashlights. SOMERSET At what time did you confirm the death? DAVIS Like I said, we didn't touch anything, but we were on scene at like o-five- hundred, so he's had his face in a plate of spaghetti for about half an hour. MILLS Wait, wait, wait. You didn't check him? You didn't check vital signs? DAVIS Believe me, he's gone. Unless he's breathing spaghetti sauce now. MILLS No. The point is, when you're first man in, you check vital signs. DAVIS This guy's sitting in a pile of his own shit and piss. If he ain't dead he would have stood up by now. MILLS (getting angry) Listen, Godzilla... Somerset steps in, heads Mills off. SOMERSET Thank you, Officer Davis. We'll see you again after we've had a look. DAVIS Yes, sir. Davis leaves, eyeing Mills. Mills watches him. Somerset hands Mills a flashlight, takes out surgical gloves. SOMERSET I wonder what exactly was the point of the conversation you were about to get into? MILLS And, I wonder how many times Officer Davis there has found a supposedly dead man who didn't really die until Davis was back in the patrol car calling the morgue and eating a powdered donut. Somerset snaps one glove over his hand and checks the fit. SOMERSET Drop it. We have more important concerns just now, don't we? MILLS Fine... for now. INT. APARTMENT/CRIME SCENE, KITCHEN -- NIGHT The POLICE PHOTOGRAPHER packs up, hoists his camera and equipment bag. Somerset and Mills enter. Mills puts on his own pair of rubber gloves. The grubby kitchen is small; barely room for four people to move around in. The photographer exits: PHOTOGRAPHER Bon appetit. The only light is a murky green illumination from the ceiling. The light bathes an OBESE MAN who is slumped forward in a kitchen chair, face-down-dead in a plate of spaghetti. The sizable kitchen table's green tablecloth is covered with soiled paper plates. The plates hold bits of half-eaten sandwiches, potatoes, donuts and other junk-food remnants. Mills and Somerset turn on their flashlights. Mills points his at the green bulb above. Aluminum foil has been wrapped around the bulb to focus the light on the corpse. Somerset sweeps the room with his flashlight. He goes to the body and kneels beside it. There's a rope tied around the man's wide gut. Mills comes to stand beside Somerset. MILLS I guess that makes it homicide. Somerset crouches lower, uses a pen to lift one of the dead man's pants cuffs. Rope is tied around the purplish ankle. Mills examines the knots behind the chair's back. Shines his flashlight on the man's belly. MILLS (CONT) Still, he could have tied himself in. To make it look like murder. Somerset isn't listening, focused on the corpse. He studies the man's head and neck without touching. MILLS (CONT) I don't see any blood or bruises yet. No wounds. You see anything? SOMERSET (irritated) Not yet. Somerset stands, points his flashlight: the obese man's stiff hands are clutching utensils. A knife in the left hand, a fork sticking straight up in the right with a hunk of meat hanging skewered. Cockroaches swarm. Mills turns to the sink and stove. Each burner of the stove has a used pot or pan on it. There's food slopped everywhere. MILLS I saw a guy once... committed suicide, but he wanted to make sure his family could collect insurance money, right? Somerset walks to the room's only window. The window has been painted over with black paint. he touches the window with his pinkie finger. The paint is still wet. Mills goes to a trash can by the refrigerator. The trash can is full to the brim with empty food containers. MILLS (CONT) So, this guy took this big knife... and he held it behind him, put the tip of it in his back, and he ran backwards into the wall. Cause, he thought it was going to look like someone stabbed him in the back. Mills opens the refrigerator. It's nearly empty. MILLS (CONT) Except, he poked a big fucking hole in the dry wall when he did it. SOMERSET If you could... spare me the anecdotes for now. Leave the refrigerator open for the light. MILLS (sarcastic) Oh, forgive me. I thought we had this male-bonding thing going. My mistake. Somerset looks at the floor, deep in thought. His flashlight beam follows a trail of dripped sauces, soups and bits of food running from the stove to the table. SOMERSET What do you smell? Other than him, and all the food. MILLS (sniffs) I don't know... there's something. Somerset goes close to the table, then leans to peer under. SOMERSET A bucket. Somerset points the flashlight and Mills crouches, pulls up the tablecloth on his side of the table. Two large dead rats lay on the floor beside a metal bucket. Mills grimaces, slides under the table, careful to avoid the rats. He looks in the bucket. He leans back, baffled. MILLS It's vomit. He looks at Somerset under the table. MILLS (CONT) It's a bucket of vomit. SOMERSET Is there any blood in it? MILLS Can't tell by looking. Somerset stands, perplexed, stares at the dead man. There is a knock at the door. The detectives look to DOCTOR THOMAS O'NEILL, 52, the medical examiner. O'Neill is a frumpy man, seems a bit gone, looking at the green bulb. O'NEILL Mood lighting. Very sixties. He drops his bag on the floor, sorts through the contents. MILLS (to Somerset) You think he was poisoned? Mills goes to the trash can, pokes the garbage with a pencil. MILLS (CONT) And, those rats there somehow ate the poison off the floor? SOMERSET Guessing this early is useless. O'NEILL You girls have got the forensics guys out there chompin' at the bit. Don't know if we'll all fit in here though. Mills continues searching the garbage. MILLS There's room. Light's the problem. SOMERSET Well, three is certainly a crowd in here. And, with four, someone's bound to be stepping on evidence. (pause) Detective Mills, go help the officers question the neighbors. MILLS (not pleased) Thanks, but no thanks. I'll stay on this. Somerset watches O'Neill at the corpse. O'Neill points a thin flashlight with his mouth, his hands free for the examination. SOMERSET (not looking up) Send one forensic in on your way out. Mills is pissed. He lifts his flashlight to shine it on the side of Somerset's face. A moment passes. Somerset looks at Mills, light shining directly in Somerset's eyes. A longer moment. Mills switches the light off. He leaves. O'Neill unceremoniously places both hands on the dead man's head, lifts the swollen visage from the spaghetti. O'NEILL He is dead. INT. PRECINCT HOUSE, BASEMENT GYM -- DAY THWACK, THWACK... THWACK. Mills punches the heavy bag with hard, quick punches. Sweat drips off his face. He's in work- out clothing, a bundle of nerves wearing boxing gloves. The walls are covered in mirrors. Other cops watch Mills as they pass, checking out the new kid. Mills keeps punching, skillfully. He stops when he sees Somerset reflected in one of the mirrors. Somerset walks over, carrying a pizza box with paper piled on top. He sits on a near bench, takes out a cigarette. SOMERSET Pizza and paperwork, Detective Mills. MILLS We need to chat. INT. BASEMENT GYM, BOXING RING -- DAY Mills opens a door and enters with Somerset behind. They are alone. Chairs face an old, limp-roped boxing ring. Practice pads hang from pegs on a wall. Mills clasps a pair in his gloves, offers them to Somerset. SOMERSET No. MILLS You just hold them up. I do all the work. Somerset takes the pads reluctantly, puts them on. He still has the un-lit cigarette hanging from his mouth. Mills climbs into the ring. He holds the ropes open for Somerset, waits. Somerset doesn't want to do this, but he climbs up. MILLS (CONT) You've seen my files... seen the things I've done? SOMERSET Yes. Impressive work. Mills motions to Somerset and Somerset holds up the practice pads. Mills starts working them, lightly, warming up. THWACK... THWACK... MILLS So, what's your problem? I've done my time on door-to-doors, and walking a beat. SOMERSET I know it. That doesn't mean... MILLS I did all that shit a long time ago. THWACK... THWACK... Somerset's very stiff, uncomfortable. SOMERSET I made a decision, because I have to worry about the integrity of the scene. MILLS That's bullshit. SOMERSET When I'm on scene, I'm not going to worry whether you think you're getting enough time on the playing field. I'm there to do the work. Mills punches a little more aggressively. Somerset's backing, flinching, keeping the pads high. THWACK... THWACK... THWACK... MILLS The badge in my pocket says "detective," just like yours. I've been Homicide for four and a half years. SOMERSET You've worked Homicide for four years, or for five years... Don't count the half-years, unless you want to sound like a rookie. Mills unloads a mighty wallop and one practice pad recoils into Somerset's face, knocks Somerset on his ass. MILLS Oops. My hand slipped. Mills walks, climbs out of the ring. MILLS (CONT) You fucked me over today, and you know it. You know it. Somerset looks at the broken cigarette in his mouth. He contains his anger. He seems to realize Mills has a point. MILLS (CONT) Just don't jerk me off. That's all I ask. It's not much. Don't jerk me off. (pause) Please, do me the favor of remembering that. Mills exits. Somerset spits out the broken cigarette. INT. URBAN SCHOOL, OFFICE -- DAY Tracy looks out a window from behind steel bars. Below her, young children play in a playground. They're playing hop-scotch, throwing balls, chasing each other. The swing sets are broken. The handball wall is graffitied. WOMAN'S VOICE (O.S.) I'm sorry, Mrs. Mills. We don't have anything right now. Tracy looks away from the window to the haggard WOMAN. The school's office is ill-equipped, busy, disorganized. WOMAN (CONT) We'll try to give you a call if we need substitutes next month. TRACY Thank you. Tracy looks back at the playground: on the other side of a chain-link fence, a butcher in a bloody apron walks down the ramp of a freezer truck. he carries a big, whole, slaughtered pig on his shoulder. The pig's head flops as the butcher walks. Some children stop their games and run to watch the man and the pig corpse pass. INT. UNDERGROUND SUBWAY TRAIN -- DAY The train clatters through a tunnel, packed full, WHEELS SCREECHING. The lights go on and off. Passengers read tabloids, stare at their feet, study advertisements on the walls; anything to avoid making eye-contact with others. All races, creeds and colors; all ugly, forlorn human beings. Tracy stands fatigued, holding a handrail. A bag-lady, crusted with dirt, reeking, pushes her way through the crowd. A man presses against Tracy in an attempt to let the bag-lady pass. Tracy switches hands on the rail, turns sideways to make room. She looks down. On one seat, a man, quite normal looking, sits holding a porno magazine, THREE-WAY FUCK, in one hand. His other hand is in his pocket. He's obviously masturbating himself in his pants. No one else notices or seems to care. Tracy looks away, disgusted. She closes her eyes. The train's wheels SCREECH LOUDER as the train takes a curve. INT. INDOOR FRUIT STAND -- NIGHT The front and one side of the shop are entirely open to the busy sidewalk and street. A transparent plastic canopy frames the entrance. A STRANGE MAN, 20, stands at the edge of the canopy. He wears a stained sweatsuit outfit and hums a song, oblivious. Tracy and Mills look together over the piles of fruits and vegetables piled on wooden stands which form tight aisles. MILLS It was okay. I mean... it was certainly better than yesterday. I think Somerset and I came to a small understanding... Mills holds his thumb and forefinger about a quarter of an inch apart to illustrate. MILLS (CONT) ...about this big. TRACY He sounds interesting. MILLS He is that, if nothing else. Mills throws some oranges in the basket hanging from Tracy's arm. He goes to check out the carrots. Tracy looks up from heads of lettuce to the strange man at the entrance. The strange man hums on, rocking back and forth slowly, his eyes glassy. Customers come and go, paying him no mind. Mills notices Tracy's interest. He keeps comparing carrots. MILLS (CONT) We started a big homicide case today. I'll spare you the grisly details. The strange man suddenly stops humming and looks into the store with a crooked grin. STRANGE MAN Name that tune? Anybody name that tune? Name that tune... The man keeps repeating this, over and over, still ignored. TRACY It's... it's like they emptied all the insane asylums into the streets. She looks back to the heads of lettuce. TRACY (CONT) That's what it's like. Like they just gave up, and let everyone out. Mills nods, his back to Tracy. TRACY (CONT) There are a lot of frightening people in this city. MILLS There are a lot of frightening people in the world. Tracy looks again to the strange man. STRANGE MAN Name that tune? Anybody name that tune? TRACY It seems worse than Philadelphia, because everything is pushed right up against you. In your face. Mills edges past Tracy towards the front of the store, tries to be pleasant. MILLS Listen, honey. I don't want to fight tonight. Okay? Can we just go one night without fighting about something? He looks over apples, thinks that's the end of that. TRACY I'm not trying to start a fight. (pause) How am I trying to start a fight? MILLS We're here now. Okay. Are we supposed to pack it all in and go back? How are we going to do that? TRACY Do I have to act like I love this place? Is that what a "good wife" would do? MILLS (doleful) There's a lot of pressure on me... I... TRACY And, there's a lot of pressure on me. I'm here with you. MILLS I know. I know... Mills steps towards the open air entrance. He's watching something. The strange man is still heard offscreen. Tracy reaches to a high wooden shelf, trying to reach a bag of rice, her back to Mills. TRACY I'm not going to close my eyes and block everything out, David. I'm not going to act like you delivered us to some sort of paradise. I can't... She gets the rice and turns. Mills is not there. She sighs, angry, looks around. She walks towards the entrance and sees him -- TRACY'S P.O.V. -- THE STREET In front of the stand, Mills has run to the corner of the sidewalk to help a very old woman with a cane. The elderly woman smiles up at Mills, takes his arm as he helps her off the curb and across the street. He talks to her as they go. INT. INDOOR FRUIT STAND -- NIGHT Tracy's anger fades. She shakes her head, touched, amazed by the plain boy scoutishness of her husband. TRACY'S P.O.V. -- THE STREET Mills deposits the old woman on the other side. She thanks him, patting him on the cheek. Mills starts back towards the fruit stand, proud of himself. A car screeches to a halt, just missing him. The driver leans out the window, yelling at Mills. Mills kicks the side of the car. MILLS Fuck you. (as car leaves) Fuck you, you son of a bitch! I'm walking here. INT. INDOOR FRUIT STAND -- NIGHT Tracy rolls her eyes in amused disappointment. She sighs again. Mills passes the babbling strange man, comes up to Tracy. MILLS I'm sorry... I couldn't pass it up. I never had a chance to actually do that. But, we can start the argument right back up where we left off, right? Tracy looks at him, charmed, no longer willing to fight. MILLS (playing dumb) What? Tracy wraps an arm around Mills and kisses him. He holds her. STRANGE MAN That was the theme from tv's Mod Squad. I'm surprised nobody got that one. The strange man starts humming a new tune. An old man tries to get through the aisle where Mills and Tracy are kissing. OLD MAN (infuriated) Excuse me. Excuse me! INT. MILLS' APARTMENT, BEDROOM -- NIGHT A small transistor RADIO PLAYS on the bedside table. Mills and Tracy are in bed, making love under the sheets. They move rhythmically, kissing, sweating hard. Mills holds Tracy's hair in his hands, pulls her head back as she gasps and he thrusts his entire body against hers. Mills' hair is soaked. He is anything but mellow as a lover, quickening while Tracy twists underneath him. Tracy holds tight to the back of his neck with one hand. Finally, Mills pushes himself up on his arms, holding his head down against Tracy's chest. Holds for a long moment, till he is spent and lowers himself against her, into her arms. He rests a long time. She kisses his forehead, keeping her eyes closed. Finally, Mills rolls off her, gets behind her and wraps the both of them in the sheets. He folds himself against her, and they stay that way. TRACY Goodnight. MILLS Goodnight. After a long moment, Mills shifts back, sits up. Tracy looks over her shoulder at him as he takes a towel off a chair and stands. Mills wraps the towel around his waist. He leans over to give Tracy a last kiss. She watches him leave the room. She is about to say something, but does not. A light comes on in the other room, leaking through the door. INT. MILLS' APARTMENT, LIVING ROOM -- NIGHT Mills sits down at his desk. He starts looking through police paperwork. The RADIO in the other room goes OFF in mid song. INSERT -- TITLE CARD TUESDAY INT. AUTOPSY ROOM -- EARLY MORNING The room is cold, clean. Stainless steel. White tile. Many pathologists work at slabs. Mills and Somerset are with DOCTOR SANTIAGO, 35, who stands over the mostly dissected obese corpse. SANTIAGO If you take a look here, buddies... I can tell you, it was not a poison. If you can see... I have emptied all of everything out of the stomach. But, look at it, now that I took away the liver. Santiago reaches into the belly of the cavernous corpse. Mills moves closer beside Somerset, but not too close, trying to hide his disgust. We hear squashy sounds as Santiago works, but we don't see in. SANTIAGO (CONT) I move the lungs over. First, see how big this fat son-of-a-bitch stomach is. Now... here is the strange thing, on the stomach. Stretches. (pointing) And, here is it distended. Look at the size of that, because of the foods. MILLS I can see what you're pointing at... SANTIAGO On the stomach. The lines of distention. Somerset's looking in, not believing what he sees. SOMERSET Doctor, are you saying this man... ate till he burst? SANTIAGO Yes, well, he didn't actually burst. He was bleeding, inside of himself. And, there's a hemotoma on the outside... on the belly. Somerset walks around the slab, looking the body over. MILLS He died by eating? SANTIAGO Someone punched him, or kicked him. Somerset notices something on the partially shaved head. He leans close to look at five or six small bruises on the back of the dead man's head; circular bruises, some darker than others, all about the same diameter as a dime. SANTIAGO (CONT) Oh, and there is this here... something else you have to look at and see. Somerset stands straight, realizes something about the bruises. SANTIAGO (CONT) Most of his stomach contents are in the lab now... but, this. I found these in the fat man's stomach. Santiago looks amongst tools, buckets and jars of liquid. He picks up a glass jar and shows it to Mills. In the jar: many little bits of blue plastic. Like scrapings. MILLS Plastic? Mills gets Somerset's attention, hands him the jar. Somerset looks at it a long time. SANTIAGO Why these were in a fat man's stomach, I don't know. INT. APARTMENT/CRIME SCENE, HALLWAY -- MORNING Outside the door to the murder scene, Mills and Somerset cut through the RESTRICTED AREA/CRIME SCENE seal. SOMERSET Those bruises on the back of the victim's head were caused by the muzzle of a gun. MILLS So, the killer had him at gunpoint, and gave him a choice: eat, or get your head blown off. INT. APARTMENT/CRIME SCENE, KITCHEN -- MORNING Somerset and Mills enter. Somerset takes out the jar of plastic scrapings, turns on the now normal light. They begin to search. SOMERSET He was force-fed... till his body started rejecting the food. He literally couldn't eat another bite. MILLS So, the killer held a bucket under him. SOMERSET His throat was swollen from the effort. He was bleeding internally. He must have blacked out... and, if you're the killer, you're not going to want to wait around for him to die. Somerset examines the counter tops and wall. Mills gets down on his knees, examines the linoleum floor. MILLS You kick him, pop him like a fucking balloon. (touches floor) Somerset, look here. Somerset gets down, holds the jar against the linoleum. SOMERSET Same color and texture. They both crawl on hands and knees, study every inch of floor. MILLS If this is what that is... it doesn't make sense. It doesn't figure. SOMERSET Always look for one thing to focus on. There's always one singular thing, and it might be as small as a speck of dust, but find it and focus... till it's an exhausted possibility. MILLS How are pieces of the floor going to get in the guy's stomach? SOMERSET Exactly. Why would so many pieces be inside his stomach unless they were placed there intentionally? Somerset notices deep scratches in the linoleum, fingers the grooves. He takes a piece of plastic from the jar, holds it to the scratches, fiddles with it, fits it in. He looks up to see, these scratches are in front of the refrigerator. It looks like they were caused by the refrigerator having been pulled away from the wall and pushed back at some time. INT. APARTMENT/CRIME SCENE, KITCHEN -- LATER MORNING We are BEHIND THE REFRIGERATOR as it is rocked back and forth. It's pulled away from the wall. Somerset and Mills strain, pull a few more feet, then release. They lean to look -- The refrigerator had hidden a space on the wall where the dust has been cleared. In that space: a circle, smeared in grease, and a note taped in the center of the circle. Somerset's BEEPER starts BEEPING. Mills leans to read: MILLS "Dear Detectives. Long is the way, and hard, that out of hell leads up to the light." (looks at Somerset) This is not good. SOMERSET Milton. MILLS What? SOMERSET It's a quote from a book. Milton's Paradise Lost. Somerset takes out his beeper, looks at the LED window. He looks up at Mills, like they've received very bad news. INT. LUXURY APARTMENTS, HALLWAY -- MORNING A marble hallway. A DETECTIVE, 50, nervously chewing his nails, quickly leads Mills and Somerset past cops and forensics. DETECTIVE I said to myself, I'm not going to screw around with this. Nope. Fuck that. It's still pretty fresh meat. I called the medical examiner... he's coming. (stops at door) When I got to it, I knew. As soon as I laid eyes on it, I knew... The detective opens the door. FOLLOW Somerset and Mills -- INT. LUXURY APARTMENT/CRIME SCENE, LIVING ROOM -- MORNING Gross, deep yellow light comes through the only window with its blinds up. The light anoints a NUDE MAN displayed, dead. DETECTIVE (O.S.) ...this is your guy who did this. The nude dead man's legs are folded under him as if he were kneeling, and he's bent forward, chin on the floor. His eyes are open, his arms outstretched before him. Mills and Somerset walk to either side of the man. The detective closes the door, bites his thumbnail. The apartment is on a high floor, so it's quiet. Somerset sees the window has been covered with a sheet of yellow gel, stapled in place to produce the colored light. Mills examines the corpse. There's a chair one foot behind the nude man. It's an elegant leather chair, drenched in blood. There's a carving knife on the carpet in the middle of a huge stain of blood under the chair. Mills looks at pieces of cut rope on the floor behind the chair. The rope is knotted. Somerset crouches beside the body. There's a big piece of flesh missing from the man's left side, as if the love-handle had been lopped off. Hundreds of pennies lie scattered under and around the man. The man's hands are palms up, fingers wrapped around more pennies. Mills walks over to examine a scale on the floor between the corpse and the doorway. It's an old-fashioned counter-balance scale with two suspended dishes on a see-saw arm. In the high dish: the hunk of flesh missing from the man's side. In the low dish: a one pound counterweight. MILLS (to Somerset) A pound of flesh. Somerset stands and walks backwards to view the entire scene from near the door. He looks worried, vaguely frightened. He turns his head, looks to a far wall. Beside a big, abstract, constructivist painting, there's a note pinned up inside a triangular smear of blood. INT. PRECINCT HOUSE, CAPTAIN'S OFFICE -- EARLY EVENING An office full of pictures, books and mugsheets, yet it is meticulously well kept. The CAPTAIN, 50, sits at his tidy desk. He's dressed conservatively. Mills and Somerset sit before him. Somerset reads from a photocopy of the note they just found. SOMERSET (reading) "One pound of flesh, no more no less. No cartilage, no bone, but only flesh. This task done, and he would go free." The captain is a calm man, but whenever not speaking, without fail, he clenches his jaw repeatedly, causing the muscles in his neck and jaw to pulse. Somerset stands, paces. SOMERSET (CONT) This victim, Mr. Gold, was tied down nude, holding a carving knife. And he was given a long time... to decide. Where to make the first cut? There's a gun to your head... but, what part or parts of your body are expendable? Mills sits back in his chair, arms crossed, seems anxious, doesn't know why they're here. SOMERSET (CONT) Mr. Gold tried for the whole pound at once, his love handle. But, he went into shock. Bled to death. CAPTAIN What is the point, Somerset? SOMERSET Look at both killings together. This murderer is an artist. CAPTAIN An artist? SOMERSET He uses colors and symbols. He positions the bodies after death, so he's working with composition. It's been premeditated so meticulously... and this is just the beginning. CAPTAIN Wrong. For all we know, we might never hear from him again, and I don't want that kind of talk floating around. Somerset shakes his head "no." SOMERSET The rats and the pennies. The circle and the triangle on the wall. There's something about them... these murders mean something. CAPTAIN So? What? Somerset has no answer. The captain is irked, jaw clenching. CAPTAIN (CONT) (to Mills) You with him, or you just here to watch? MILLS This is his stuff, captain. I've been out in the cold most of the day. CAPTAIN (to Somerset) Always working overtime up in that big brain of yours, huh? Always cooking. SOMERSET I need you to know... I want us reassigned. We're declining this case. MILLS (sits up, angry) What?! CAPTAIN What the hell are you talking about? SOMERSET This cannot be my last duty here. It's going to go on and on. CAPTAIN You've left unfinished business before. SOMERSET Everything else was taken as close to a conclusion as humanly possible. MILLS Can I just say something? SOMERSET Also... I don't think this should be Mills' first case. MILLS This is not my first case, fuckhead! CAPTAIN I don't have anyone else to give this to, Somerset. And nobody's going to swap with you. MILLS Give it to me, then. There's nothing that says I have to fly with him. The captain considers this. MILLS (CONT) If Somerset wants out, fuck him. SOMERSET It would be too much for him, too soon. MILLS (to captain) Could we talk about this in private? The captain looks at Somerset, then at Mills. CAPTAIN That's not necessary. You're in. MILLS Thank you, sir. CAPTAIN Start picking up the pieces. I'll shuffle some paper and try to get you a new partner. Mills stands. Somerset will not look him in the eye. Mills leaves, slams the door. Somerset seems deflated. CAPTAIN (CONT) You win, Somerset. You're out. INSERT -- TITLE CARD WEDNESDAY EXT. CITY STREET -- MORNING A vendor lays out a pile of tabloid newspapers at his busy newsstand. The headline: SECOND BIZARRE MURDER!, in huge print. The vendor lays out another tabloid pile. Headline: "GIVE ME MY POUND OF FLESH," SAYS BLOODTHRISTY KILLER, in big, red letters. The vendor places a third pile beside the others: SICKENING MURDERS - EXCLUSIVE DETAILS INSIDE!!! INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- MORNING Old office. Moving boxes on the floor. The single window faces a billboard. Somerset works on a manual typewriter. He types hunt-and-peck, slowly. His paperwork is on the desk in two sloppy piles. A jarring SOUND is HEARD OFFSCREEN, like fingers on a blackboard. Somerset looks up, irritated. A WORKMAN is working at the open door, holding the source of the sound, a razor blade he's using to scrape the words DETECTIVE SOMERSET off the door's window. WORKMAN Sorry. Somerset turns back to typing. The captain steps in, looks at the workman, then drops more papers on Somerset's desk. As always, the neatly groomed captain clenches his jaw. He looks around. Two of boxes on the floor have DETECTIVE MILLS written across them. The captain picks one up, puts it on top of the other. He sits, watching Somerset, starts straightening the forms on the desk. CAPTAIN What are you going to do with yourself out there, Somerset? SOMERSET I'll get a job. Maybe on a farm. I'll fix up my house. CAPTAIN Can't you feel it yet? (pause) Can't you feel that feeling... that you won't be special anymore? SOMERSET (lying) I don't know what you mean. CAPTAIN You know. Somerset reclines, looks at the captain. SOMERSET Did you read in the paper today, about the man who took his dog for a walk? And how he was mugged? And, his wallet was taken, and his watch. Then, while he was still lying unconscious, his attacker stabbed him with a knife in both eyes. It happened last night. Not far from here. CAPTAIN I heard. SOMERSET I have no understanding of this place. CAPTAIN It's always been like this. Somerset saddles up to the typewriter. Hunt-and-peck. SOMERSET Yes. You're absolutely right. The captain lays the paperwork down in two neat stacks. CAPTAIN You were made for this work, Somerset. I can't believe you're going to trade it all in for a tool belt and a fishing rod. But, I guess I'm wrong. The captain leaves. Somerset looks up now that the captain's gone. He grabs the paper piles and ruffles them back to their disheveled state. He looks at the workman. The workman is looking at Somerset, has a rag in his hand to remove the last remnants of Somerset's name. SOMERSET (angrily) Put a little elbow grease into it! The workman is startled, continues his work. INT. LUXURY APARTMENT/CRIME SCENE, LIVING ROOM -- DAY The grandly furnished apartment where the second murder took place has been dusted for prints and searched. Two female forensics are at work. INT. LUXURY APARTMENT/CRIME SCENE, MASTER BEDROOM -- DAY Mills is seated in front of a long writing desk with many drawers. All the drawers are open. Mills looks through letters and stationary. Nothing of use. He tosses the pile back. He sits back, frustrated, yanks off one rubber glove, looks around the room. Books have been taken off their shelves, the bed has been stripped. The room has been given the once over. The victim's family photographs hang in expensive frames on one wall. There are at least thirty photos of various sizes: ancestors, sons and daughters, grandchildren and friends. An over-weight forensic, CHRIS, 35, leans in through the doorway. Mills looks up and Chris shakes his head glumly. MILLS He must have left us another puzzle to solve... somewhere. CHRIS We'll keep looking, but we're running out of possibilities. Chris leaves and Mills stands to stretch. Something catches Mills' eye. He walks over to the door, curious. At the base of the open door, there's a ball of paper wedged under to act as a doorjamb. Mills puts his glove back on, pulls the ball out. He uncrumples the paper as the door slowly swings shut. The page has a drawing on it, of the sun with waves of heat at its edges. There is a single eye in the center of the sun. An arrow is drawn in dried blood on the back of the closing door. Mills notices this and pushes the door closed. The blood arrow points to the side and up, seems to be pointing to the photo gallery wall. Mills goes to examine the photos. His eyes search each photo... one by one... till he sees it: MILLS Christ... A framed photo of a falsely pretty, middle-aged woman smiling and wearing pearls. Under the glass, on the photo itself, circles have been drawn in blood around the woman's eyes. EXT. CITY STREETS, DOWNTOWN -- NIGHT An assault on the senses. Crowded streets and sidewalks. On every corner, in every doorway, on every stairwell -- freaks, junkies, punks, leather boys and motorcycle girls. A few tourists wander in the mix, heedful of the dangers around them. Buildings border narrowly. Somerset walks against the stream. He carries a file. CAR HORNS HOWL. MUSIC BLASTS from the entrances of clubs. REGGAE from one club is soon OVERTAKEN by RAP from a second story window. TECHNO-POP blasts from the tattoo parlor. Somerset does not like this place, views it with disdain. He walks to avoid two men fighting on the ground. The men are pulling hair and pounding each other idiotically. Somerset takes a cigarette from a full pack, lights it as he crosses through the traffic jam in the street. A VAGRANT steps up with his hand out. VAGRANT Spare me a cigarette, money-grip? Spare me a cigarette? SOMERSET Sorry. Last one. He walks on. We BEGIN to HEAR JAZZ MUSIC. INT. JAZZ CLUB -- NIGHT A club at capacity. The JAZZ MUSIC CONTINUES like a slow, cool breeze from a JAZZ TRIO on a platform. The air is thick with smoke. Yuppies sit elbow to elbow with the last members of the beat generation. Everyone's drinking beer, smoking pot. Somerset crosses the club, looking for someone. He takes a tissue from his pocket, rips pieces off and jams the pieces in his ears. At the back of the club, a major-league bouncer stands in front of a closed door. Somerset shows his badge and the bouncer steps aside with reservation. INT. NARROW STAIRWELL -- NIGHT The walls are black. Somerset opens the door, enters, walks down the long flight of stairs. As Somerset descends, the JAZZ MUSIC FADES and is ENGULFED by the sound of SPEED METAL. DEAFENING. At the bottom, Somerset opens another door. He enters -- INT. UNDERGROUND ART GALLERY -- NIGHT A narrow room. SPEED METAL is even LOUDER. This is a private art party. The people are lizard-like, pale. Men and women priding themselves on their gauntness. Somerset passes canvases on the walls. Pointlessly abstract paintings. Splatters, smears and blobs of color. Party-people stand in front of these "works," engrossed. Somerset slides past, not interested in the art, jamming the tissue further in his ears. He spots his objective. WILLIAM McCRACKEN, 42, stands inside a circle of admirers. He is dressed like a pauper, his baggy clothing stained with many colors of paint. He wears dark sunglasses, bored by the bleached-blonde girl whispering in his ear. Somerset worms his way to stand in front of William. The party- goers turn their attention to this intrusion. William looks up, pushes the girl away. He takes off his sunglasses. His eyes are badly bloodshot and listless. He looks Somerset over... and then grins, glad to see him. INT. MILL'S APARTMENT, LIVING ROOM -- NIGHT Mills stands brooding over a photocopy of the picture of the woman with her eyes circled in blood. He looks overworked, drinks coffee. His desk is swamped with files. MAN'S VOICE (O.S.) I have voiced the same concerns to our law enforcement officials, and they assure me he is of the highest caliber. Mills looks to a t.v. on a table, picks up a remote, increases the volume. On the screen, MARTIN TALBOT, 47, source of the voice, stands before reporters. He's a powerful presence, with a gold tooth in the front of his mouth. A REPORTER (V.O.) (from t.v.) As District Attorney, don't you feel some responsibility? Detective David Mills lacks the experience... TALBOT (V.O.) (from t.v.) I've always said... I've always said, don't send a boy to do a man's job. Mills is hanging on every word. TALBOT (V.O.,CONT) But, David Mills has a sterling record with the Philadelphia force. I stand behind him one hundred percent. MILLS (relieved) You tell 'em boss. Detective David Mills is a wonderful human being... TALBOT (V.O.) However... however... let me say this... Mills looks back at the television. TALBOT (V.O.,CONT) If Detective Mills, at any point in this investigation... if he is not pulling his weight, I will be the first in line to pull his plug. Mills points the remote, turns the t.v. off as reporters crowd Talbot. Mills stares at the blank screen, dispirited. Across the room, Tracy stands in the doorway. Mills does not see her. He looks at the photocopy and sits at his desk. Tracy watches him, great concern in her sad eyes. INT. WILLIAM'S STUDIO/APARTMENT -- NIGHT Somerset walks through this vast artist's studio, a converted warehouse space filled with canvases. It's clear the works at the underground art gallery were William's. William climbs a ladder to a loft storage space. He moves cautiously, like he's not quite up to the task. WILLIAM I always figured that's the only reason you and I used to be friends. Because I was a friend of hers. William yanks a painting wrapped in dusty paper, climbs down. WILLIAM (CONT) Speaking of which... William hands the painting to Somerset, walks to a director's chair facing a paint-splashed canvas on an easel. He is a used- up man, bound in an apathy-induced haze. He sits, picks up a squeeze bottle of orange paint from a table of supplies. WILLIAM (CONT) I painted that about five years ago. I always told myself I'd give it to you next time I saw you. Somerset starts unwrapping the painting. William "paints," using the squeeze bottles and by flicking saturated brushes so that the paint flies against the canvas. Most times, he's not even looking at the canvas or colors he's using. He looks over his shoulder at Somerset. WILLIAM (CONT) Things are different these days, pal. You wouldn't believe it... Somerset looks at the unwrapped painting and is hit by a swell of memories. Horribly sad memories. It's a portrait in oils of a pretty, red-headed woman. William shoots red paint with one hand, concentrates on lighting a filterless cigarette with the other. WILLIAM (CONT) People buy my paintings now... they drive down in their BMWs and Rolls Royces. It's the new money generation. I guess they think they're touching the avant-garde... William looks at his creation, then calmly kicks the easel over. WILLIAM (CONT) There's another thousand dollar William McCracken expression of anarchy. William gets up, walks across the wet canvas, leaving footprints. He looks down at what he's done. WILLIAM (CONT) Make that two thousand. He laughs. Somerset holds up the delicately rendered portrait. SOMERSET How is she? Have you seen her recently? WILLIAM Huh... oh. No. She moved out of the city. Last winter. She married some businessman, or something like that. Somerset fights the anguish this causes, puts the painting down. SOMERSET Good for her. (pause) I'm leaving soon myself. I'm finally getting out. WILLIAM Yeah? What happened to the idealistic super-cop I used to know? SOMERSET He became a realist. William grunts, flicks his cigarette away, takes out a bag of pills. He palms a few, notices the judgment in Somerset's eyes. WILLIAM Oh... sorry. William turns his back to Somerset, pops the pills. Out of sight, out of mind. Somerset is disappointed, disgusted. SOMERSET (sarcastic) Not that I don't appreciate your recent artistic endeavors... but, what happened to the painter I used to know? William smiles like a dolt, laughs a little. WILLIAM I can't remember. INT. WILLIAM'S STUDIO/APARTMENT -- LATER NIGHT Color photos of the first and second murder sit on a drawing table. The top photos are like establishing shots, each taking in the entire display the murderer created. William examines with Somerset looking over his shoulder. WILLIAM Man... can I buy these from you? SOMERSET They're not for sale. Somerset lays out photos of the notes, triangle and circle: SOMERSET (CONT) What is it? What's the murderer trying to say? William narrows his eyes. Does not know. SOMERSET (CONT) What picture is he painting? WILLIAM (figuring) Wait a minute... William has an idea. He ambles over to a row of cabinets where oversized art books are stacked. He hunts through a pile, shoves some books aside. WILLIAM (CONT) I... I've seen things like that... SOMERSET Where? William keeps digging, finds one book, finds another. He opens one as he walks back to the drawing table. WILLIAM It's church stuff. Christianity. William lays a book down, finds a page. He opens it to Somerset. There is a circle to the side of the text. It says GLUTTONY under the circle. Somerset creases his brow, turns the page. William opens another book. WILLIAM (CONT) When it first started... Christian artwork was all from Bible stories. It was like... nobody had any imagination. It was all... standardized. William pages through and we catch glimpses of the bizarre, worlds of Hieronymus Bosch. Horrifying religious visions. WILLIAM (O.S.,CONT) But, later, everyone started painting to tell their own stories... to teach lessons. Guys like Bosch, Bregel the elder... Van Eycks. William shoves the open book to Somerset. Somerset looks: Seven paintings in a circular pattern showing characters giving in to sins. Wicked, grotesque people. Somerset turns the book to examine each painting right side up. SOMERSET (O.S.) The seven deadly sins. WILLIAM (O.S.) That's what these murders remind me of. Paintings like these. (points) Gluttony... greed... SOMERSET (O.S.) Envy, wrath, pride, lust and sloth. Seven deadly sins. WILLIAM Amen, brother. William goes to continue pulling other books. WILLIAM (CONT) I can find more examples. There's lots of paintings like those... painted over hundreds of years. (moves books) And you're right... that murderer is an artist. Somerset is chilled by all this, immersed in the Bosch book. SOMERSET And, it's two down... five to go. EXT. CITY STREET, PORNO DISTRICT -- NIGHT A bright, tawdry intersection. Neon swirls and circuit-bulbs on porno theatres provide the flash. Cars, taxies, and barkers urging sexual indulgence from doorways provide the noise. The streets and sidewalks are crowded with lonely humans, mostly men, looking around, sizing up promises made on porno placards: FUN WITH NUDES, BIG BOOBS, NAKED DESIRE, etc. The usual contingent of abnormal cretins wanders in the crowd, looking for someone to hurt. MOVE through the crowds. Meet JOHN, a balding, middle-aged man, wearing thick glasses. There is not a single thing strange or unusual about his appearance. FOLLOW him as he walks. He's nervous, looking at the porno palaces. His sweaty hand clutches a Bible tight against his chest. He doesn't feel comfortable being here. John walks to a corner, waits for the light so he may cross. A grotesque STREET PREACHER approaches waving his own Bible. People walk away from him, so he confronts John. PREACHER ...are you, Sir? Is Jesus Christ your Lord and Master? Do you believe in Him? John tries to ignore, traffic blocking his escape. PREACHER (CONT) (pleading) Don't ignore me. Listen to what I have to say. Christ can be your savior! JOHN (quiet anger) Leave me alone. PREACHER Think about God, sir. I can help you let Him into your life. Finally the light changes. John turns and spits in the preacher's face. The preacher recoils as John crosses quickly. John hurries between cars in the crosswalk. The preacher curses from the corner, his voice drowned out in traffic. EXT. ANOTHER CITY STREET, PORNO DISTRICT -- NIGHT People pass on the sidewalk. John is amongst them, but he stops, looking up at something offscreen. He's looking at a bright red storefront adorned with red neon: THE HOT HOUSE. Massage parlor. The Hot House's BARKER notices John's interest. BARKER Interesting isn't it, friend? You like that, you like girls, then come on in. John doesn't hear the barker. Steps up to study fading pictures of naked women massaging happy men. Nudity. BARKER (CONT) You'll see a lot more inside. You'll see a lot more than that. John's just looking, his face bathed in bright red light, the neon reflected in his thick glasses. INT. MILLS' APARTMENT BUILDING, HALLWAY -- NIGHT Somerset, holding more than an armful of art books and novels, pounds on the apartment door. Tracy opens it with the chain on. TRACY Can I help you? She takes a second to drink Somerset in. Somerset is surprised, having expected Mills. Tracy is so exquisite that he falters. SOMERSET Uh... I was looking for Mills. David, I mean. TRACY He's not here right now. Somerset tries not to drop any books while he digs up his badge. SOMERSET Mrs. Mills, my name is Somerset. If I could leave these books for him. TRACY (undoes chain) Please, come in. INT. MILLS' APARTMENT, LIVING ROOM/KITCHENETTE -- NIGHT Tracy leads Somerset into the disarray of the apartment. TRACY David went for a walk. To clear his head. Oh, you can put those here. SOMERSET Thank you. Tracy motions and Somerset puts the books on Mills' desk. He starts looking through one book, checking paperclipped pages. SOMERSET (CONT) Could you tell him... tell him this is his reading assignment. It's urgent. I've marked the most important pages. TRACY Would you like some coffee, or a drink. David should be back any minute. SOMERSET I do have to get going. Somerset sees a medal encased in glass on the desk amongst pens and pencils. He picks it up: it's a medal for valor from the Philadelphia Police Department. TRACY At least I got to meet you. David has told me a lot about you. SOMERSET Really? Good things, I hope. TRACY Oh, yes. He said you were very smart. SOMERSET Really? TRACY I think he's a bit intimidated by you. Somerset thinks about this, finds it hard to believe. He goes through his pocket, pulls out a notepad and some paper scraps. SOMERSET I'm going to leave him a list of specifics. It all relates to the case he's on. He lays the various scraps and receipts aside on the desk, sits to start writing on the notepad. Tracy goes to the kitchenette to get a chair. TRACY You two aren't working together anymore. Isn't that so? SOMERSET To be perfectly honest, Mrs. Mills... TRACY Tracy. SOMERSET Tracy. David and I weren't exactly what you could call fast friends. TRACY That's too bad. Tracy brings the chair over by the desk and sits. Somerset looks up from his writing. SOMERSET I doubt your husband shares that opinion. Tracy nods, leaning forward, semi-conspiratorially. TRACY You know, Somerset, David is very... determined. I'm sure you've seen, it's not likely he'll ever be compared to Gandhi. SOMERSET He's a good cop. He just... TRACY He sees policework as a crusade. That's what he wants it to be, and, that might sound naive, but he's made a conscious choice to be naive. (pause) Believe me, his heart's in the right place. Somerset pauses, enchanted by her. SOMERSET I hear you and he were high school sweethearts. TRACY Yeah. Pretty hokey, huh? But, what girl wouldn't want the captain of the football team as their lifelong mate? SOMERSET It's rare these days... that kind of commitment. TRACY I guess so. Tracy's smile falters a bit. Somerset notices this. He breaks from her spell, turns to continue writing. SOMERSET Well... this will only take a minute. TRACY Take your time. Somerset writes. Tracy looks over the stack of books: Titles on the spines: BOSCH, A HISTORY OF CHRISTIAN ART, BREGEL THE ELDER, etc. Hardcover novels: DANTE'S PURGATORY and THE CANTERBURY TALES. Tracy stands to look at the novels on top, then sees the pile of paper scraps from Somerset's pocket. She picks up the piece of wallpaper with the pale red rose at its center. TRACY (CONT) What is this? Somerset looks up. Sees her holding the paper rose. He takes it, slightly self-conscious, looks at it. SOMERSET My future. Tracy tilts her head, looking at Somerset. TRACY You have a strange way about you, Somerset... I mean in a good way... unusual. Somerset doesn't know what to say. He pockets the paper rose. TRACY (CONT) I apologize. I'll get out of your hair. Tracy stands, takes the chair back to the kitchenette. TRACY (CONT) It's just... it's nice to hear a man who talks like that. If David saw that paper, he'd say you're acting like a homosexual. That's how he is. SOMERSET (mock indignation) Well! I guess I won't be showing this to him then. TRACY I suppose not. Somerset continues writing. Tracy sits at the kitchenette table, watches him. INSERT -- TITLE CARD THURSDAY EXT. CITY MORGUE -- MORNING It's raining hard. Mills exits the morgue building with a few art books and a paper cup of coffee. He holds one art book over his head as he dashes through deep puddles in the street. INT. MILLS' CAR -- MORNING Mills gets in, puts his coffee on the dash and tosses the art books in a box. He closes the door. Alone with the sound of the rain. He wipes water off his face, looks at his tired eyes in the rearview mirror. He reaches in the box of books, takes out copies of The Canterbury Tales and Dante's Purgatory. He makes a face, opens Dante's Purgatory: ------------------------------------------------------------- | THE EARTHLY PARADISE | |-------------------------------------------------------- /\ | | / \ | | VII The Lustful /____\| | / | | VI The Gluttonous /_______| | 7 TERRACES OF / | | V The Avaricious / | | and Prodigal /__________| | PURGATION / | | / | | / | | IV The Slothful /______________| | / | | / | | / | | III The Wrathful /__________________| | / | | II The Envious /____________________| | / | | I The Proud /______________________| | / | | / | | / THE ISLAND | | / | | / OF PURGATORY | | / | |_______________________________/_____________________________| Mills turns to a bookmark, rests the book on the steering wheel. He reads. He bites his lip, leaning close to the words. He concentrates, mouths some of the words to himself. He finally closes the book, shaking his head, not understanding anything he's reading. He starts pounding the book against the steering wheel with all his might. MILLS Fucking Dante. Goddamn, poetry writing freak, mother-fuck... A figure outside the window knocks on the glass. Mills rolls it down. A COP in raincoat hands a wet paper bag through. MILLS (CONT) Good work, Officer. Good work. The cop leaves as Mills quickly rolls the window up and rips the bag open. Inside: Cliff Notes for Dante's Purgatory and The Canterbury Tales. MILLS (CONT) Thank God. INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY It still rains outside. Somerset enters, stops to notice DETECTIVE MILLS painted on the door where his name used to be. He walks, sees all his belongings have been moved from his desk and piled on a small temporary desk in the corner. Somerset sits at the temporary desk, starts organizing the files and papers. Mills enters carrying the box of books. SOMERSET How's it coming? MILLS Great. Mills puts the box on the large desk. They both settle in, attending to their work. Two men, about five feet apart, each trying not to acknowledge the other's presence. Mills takes out his Cliff Notes, looks to see Somerset is occupied, hides them in a desk drawer. Somerset finishes one form, flips it and looks up. There's a chalk board nailed to the wall. On the chalkboard: 1 gluttony(x) 5 wrath 2 greed(x) 6 pride 3 sloth 7 lust 4 envy The PHONE RINGS. Both men look at it. Phone RINGS again. SOMERSET It's your name on the door. Mills picks up. Somerset returns to his work. MILLS (into phone) Detective Mills here. (lowers voice) Honey, I asked you not to call unless... (listens) What... why? Okay... okay. Hold on. Mills is confused. He holds the phone out to Somerset. MILLS (CONT) It's my wife. Somerset looks quizzical. Mills shrugs. Somerset takes it. SOMERSET (into phone) Hello? (listens) Yes, well... I appreciate the thought, but... I... (listens) Well, I guess I'd be delighted to. Thank you... goodbye. Somerset gets up, hangs up, puzzled. Mills is waiting. MILLS Well? SOMERSET I'm invited to have a late supper with you and your wife. And I accept. MILLS How's that? SOMERSET (sits back down) Tonight. Mills looks at the phone, lost. INT. MILL'S APARTMENT, LIVING ROOM/KITCHENETTE -- NIGHT A record player on a moving box PLAYS QUIET MUSIC. There's a basketball game with NO VOLUME on the t.v. screen. Tracy, Mills and Somerset eat at the kitchen table. Mills has a beeper by his beer and occasionally fingers it absently. TRACY Why aren't you married, Somerset? MILLS Tracy. What the hell? Somerset adjusts his napkin on his lap, thinking. SOMERSET I was close. It just didn't happen. TRACY It surprises me you're not married. It really does. SOMERSET Any person who spends a significant amount of time with me finds me... disagreeable. Just ask your husband. MILLS No argument. Mills grins, but he means it. he sips beer. The conversation lapses into long silence. Somerset concentrates on his plate. Tracy looks at Mills, who eats while watching the basketball game. TRACY (to Somerset) How long have you lived here? SOMERSET Too long. Much too long. (drinks) What do you think of our fair city? TRACY You take the bad with the good, I suppose. It's... it's... MILLS It takes time to settle in. Tracy looks at Mills. Somerset can see it is a sore subject. SOMERSET (to Tracy) You'll get used to it pretty quickly. There are things in any big city that stand out at first. But... A LOW RUMBLING is HEARD as plates begin to rattle and clatter. TRACY Subway train. It's right below us/ The dishes clatter more. Coffee cups clink against their saucers. Tracy holds her cup to stop it, tries to act like it is nothing, but she is clearly bothered. TRACY (CONT) It'll go away in a minute. They wait. The t.v. picture goes fuzzy. The RUMBLING grows LOUDER, knocks something over in the sink. Mills continues eating. Somerset fiddles with his food. The record player skips, then plays on. The RUMBLING finally DIES DOWN, till everything is normal. MILLS (uncomfortable) This real estate guy... a real scum, brought us to see this place a few times. And, it was nice enough, and the price was right. I was thinking it was nothing, but I started to notice, he kept hurrying us along. I mean what could it be? Why would he only show it like five minutes at a time, before he'd hustle us out the door? Mills laughs, lamely. TRACY We found out the first night. Somerset tries to stay straight, but he can't help laughing. SOMERSET I'm sorry... it's a nice apartment. He pulls himself together, but only for a moment. He can't stop it, laughs harder, covering his mouth. Tracy and Mills laugh. MILLS (sighs) Oh, fuck. INT. MILLS' APARTMENT, LIVING ROOM/KITCHENETTE -- LATER NIGHT The record player spins a different album, DIFFERENT MUSIC. Tracy's clearing the last dishes into the sink. Mills and Somerset have beers. SOMERSET All television does is teach children that it's really cool to be stupid and eat candy bars all day. TRACY I don't think I've ever met anyone who didn't have a television. Tracy takes a pot of coffee to the table and pours. MILLS That's weird. It's un-American. Somerset shrugs. MILLS (CONT) What about sports? SOMERSET What about them? Tracy brings over a plate of cookies and puts it on the table. MILLS You go to movies at least. SOMERSET I read. Remember reading? What's the last book you read, Mills? MILLS T.V. Guide. Mills laughs. Burps. he turns to Tracy. MILLS (CONT) Excuse me. (to Somerset) I just have to say, I can't respect any man who's never seen Green Acres. Somerset gives a blank stare. Tracy walks away. MILLS (CONT) You've never seen The Odd Couple? The Flintstones? SOMERSET I vaguely recall Wilma, and someone named... Dino. Across the room, Tracy turns the t.v. and the record player off. She goes into the bedroom, shuts the door behind her without a word. Somerset and Mills turn to the closed door. They look at each other, then sit for a time. Somerset drinks coffee. Mills drums his fingers on his beeper. Big silence. INT. MILLS' APARTMENT BUILDING, STAIRWELL -- NIGHT Mills walks up the creaky stairs. He carries his briefcase, a six-pack and art books. Somerset follows, reading a case file. MILLS We think he acted like he was delivering a package. The doorman at Mr. Gold's building says he doesn't even look at anyone who goes in anymore. Mills opens a door to the roof -- EXT. MILLS' APARTMENT BUILDING, ROOFTOP -- NIGHT Mills and Somerset walk onto the roof. It is a spectacular view on all sides. Miles of city lights. Breathtaking. SOUNDS of the CITY reach them. SOMERSET No connection between the two victims? Mills shakes his head, unloads what he's holding onto a rusty table. He sits in one of two lawn chairs. Somerset sits across from him. SOMERSET (CONT) No witnesses of any kind? MILLS None. Which I can't understand. It's like this guy's invisible. SOMERSET In this city, minding your own business is a perfected science. Somerset takes a picture from the file, the drawing of the sun with an eye at its center. He opens a book, CHRISTIAN SYMBOLS, which is full of illustrations. He starts paging through. SOMERSET (CONT) At the precinct, Sunday nights, they offer a public crime prevention course. And, the very first thing they teach is that you should never scream "help" if you're in trouble. Scream "fire." Because people don't want to get caught up in anything. But, a fire... that's entertainment. They come running. Somerset holds the books up to Mills, points to a picture of the sun and eye, same as the drawing Mills found. SOMERSET (CONT) "The Sun in Splendor with the Eye." It refers to God the father, and to Saint Thomas Aquinas. MILLS Which saint is he? SOMERSET Aquinas wrote a summary of theology, Summa Theologica. And he wrote about the seven deadly sins. Mills takes the book and looks it over. SOMERSET (CONT) Now, what else have you got? MILLS Look, I appreciate being able to talk this out, but... it's my case. SOMERSET So... satisfying my curiosity. I'm still leaving town on Sunday. Mills is pondering, very tired. He unlatches his briefcase, takes a photocopy of the photo of the falsely pretty woman and hands it to Somerset. MILLS The eyes were circled. With Mr. Gold's blood. SOMERSET This is his wife? MILLS (nods) She was away on business. She got back the day he was killed. If this means she saw anything, I don't know what. We've questioned her about ten times. SOMERSET And, if it's a threat? MILLS We put her in a safe house. SOMERSET This is the one thing. MILLS I know. EXT. SLUM TENEMENTS -- NIGHT Two twenty-story tenement buildings stand practically underneath the span of a bridge. The streets are littered with garbage. Teenagers stand in cliques in front of a liquor store. Cars pass slowly, CAR STEREOS PUMPING out HIP HOP. Under the bridge, in shadow, a car is parked between two dumpsters. The trunk is open. AT THE BACK OF THE CAR The trunk is full of cardboard boxes which are in turn full of tall, orange candles. Hundreds of candles. JOHN leans in under the trunk's bulb, opens a leather pouch and checks the contents: A plastic bottle of prescription pills. A bottle of aspirin. A hypodermic needle filled with liquid. Lastly, many jars of baby food: STRAINED CARROTS, STRAINED SPINACH, CREAMED CORN, etc. INT. SLUM TENEMENT BUILDING, STAIRWELL -- NIGHT John climbs the stairs holding the leather case and a closed shoebox. He wears clip-on sunglasses, a hat pulled low, a thin overcoat on his plump body. INT. SLUM TENEMENT BUILDING, HALLWAY -- NIGHT John comes from the stairwell door, looks, walks up the hall. The walls are graffitied. The soiled floor is wet in spots. ARGUMENTS and LOUD CHILDREN are HEARD from behind closed doors. John comes to apartment 303. He's winded from the climb. He takes out keys, lets himself in. Closes the door. EXT. MILLS' APARTMENT BUILDING, ROOFTOP -- NIGHT Somerset stands at the edge, holding the photo of Mrs. Gold. He puffs on a cigarette, looks out at the city lights. SOMERSET It's like he's preaching. (pause) The sins were used in medieval sermons. There were seven cardinal virtues, and then seven deadly sins, as a learning tool. The sins distract man from true worship. True faith. Mills is seated at the table with art books open. A breeze fans the pages of the books. The flipping pages reveal views of heaven, hell, adoration, crucifixion and sin. MILLS Like in these paintings, and in Dante's Purgatory, right? But, in Purgatory, Dante and his buddy climb that big mountain... SOMERSET Seven Terraces of Purgation. MILLS Anyway... pride comes first, not gluttony. And in all the paintings, the sins are in a different order. I can't find a pattern. SOMERSET Because there's creativity in the mix. Consider these books as the murderer's inspiration. Or aspiration. Somerset drops his cigarette to the empty street, watching the glowing tip fall. He looks at the woman's circled eyes. SOMERSET (CONT) He sees himself contributing to the body of Christian work. MILLS He's punishing these people. SOMERSET For all of us to see and learn from. These murders are like forced attrition. MILLS What? Forced what? SOMERSET Attrition. When you regret your sins, but not because you love God. MILLS Because someone's holding a gun on you. Somerset thinks. He walks from the edge to Mills. SOMERSET When Mr. Gold's wife found the body, about how long was she in the apartment? MILLS She didn't find it. The door to the apartment was open and a neighbor... SOMERSET I thought you said she found the body. When she got back from a business trip. MILLS No. She got back after you and I had already been there. Somerset thinks, coming up with something. MILLS (CONT) What? Somerset holds up the photo of Mrs. Gold. SOMERSET Maybe she is supposed to see something... she just hasn't had a chance to see it yet. INT. SAFE HOUSE -- NIGHT The room is like a bland hotel room. Mills stands beside MRS GOLD. He shows her photos from the murder scene. Mrs. Gold is crying. Somerset stands across the room. MILLS Please, look for anything strange or out of place. Anything at all. MRS GOLD I... I don't understand. Why now? Mills helps her go through the photos. He is shaken himself, not wanting to put her through this. MILLS I need your help if we're going to get the guy who killed your husband. If there's anything in these pictures... Mrs. Gold sobs quietly, wipes her tears. MRS GOLD I don't see anything. MILLS Are you absolutely sure? MRS GOLD I can't do this now... please.ette to the empty street, watching the glowing tip fall. He looks at the woman's circled eyes. SOMERSET (CONT) He sees himself contributing to the body of Christian work. MILLS He's punishing these people. SOMERSET For all of us to see and learn from. These murders are like forced attrition. MILLS What? Forced what? SOMERSET Attrition. When you regret your sins, but not because you love God. MILLS Because someone's holding a gun on you. Somerset thinks. He walks from the edge to Mills. SOMERSET When Mr. Gold's wife found the body, about how long was she in the apartment? MILLS She didn't find it. The door to the apartment was open and a neighbor... SOMERSET I thought you said she found the body. When she got back from a business trip. MILLS No. She got back after you and I had already been there. Somerset thinks, coming up with something. MILLS (CONT) What? Somerset holds up the photo of Mrs. Gold. SOMERSET Maybe she is supposed to see something... she just hasn't had a chance to see it yet. INT. SAFE HOUSE -- NIGHT The room is like a bland hotel room. Mills stands beside MRS GOLD. He shows her photos from the murder scene. Mrs. Gold is crying. Somerset stands across the room. MILLS Please, look for anything strange or out of place. Anything at all. MRS GOLD I... I don't understand. Why now? Mills helps her go through the photos. He is shaken himself, not wanting to put her through this. MILLS I need your help if we're going to get the guy who killed your husband. If there's anything in these pictures... Mrs. Gold sobs quietly, wipes her tears. MRS GOLD I don't see anything. MILLS Are you absolutely sure? MRS GOLD I can't do this now... please. Mills looks at Somerset. Somerset holds other photos. MILLS We have to show her those. There might be something she's missing. Somerset looks at the photos in his hand, hesitant. These photos show Mr. Gold's corpse, not covered in any way. SOMERSET Have her look one last time. MRS GOLD Wait. Here... here's something... MILLS What is it? Mrs. Gold points at the constructivist painting on the wall in one photo. The painting is an abstraction of colored squares. MRS GOLD This painting... in the living room... MILLS What? MRS GOLD Why is it hanging upside-down? Mills jerks his head to look at Somerset. Big score. INT. LUXURY APARTMENT/CRIME SCENE, LIVING ROOM -- NIGHT This is where the greed murder took place. Somerset and Mills are taking the constructivist painting off the wall. Nothing on the wall behind the painting. Blank space. MILLS Nothing. SOMERSET This has got to be it. Somerset puts the painting down, resting it on its bottom edge. The frame is backed by a thick sheet of brown paper. He points to where the wire used to be screwed into the frame, and to where it has been re-screwed. SOMERSET (CONT) It has to be. He changed the wire to rehang it. Somerset tears along the edge of the brown paper to get to the space between it and the canvas. He tears out the entire sheet. Mills helps pull it away, but there's nothing there. Empty. Mills looks at both sides of the paper, then tosses it away. MILLS It's nothing. Somerset pays the painting down, face up. He pokes his finger on the painted surface. Mills watches as Somerset kneels, takes out a credit card and presses it's edge against the canvas, trying to peel up some of the paint. MILLS (CONT) Give it up. The killer didn't paint the fucking thing. Somerset pushes the painting away, stands, frustrated. MILLS (CONT) He fucked us. Somerset backs away from the wall, staring at the space where the painting hung. There is only a nail. He stares intently, then turns and walks out of the room. Mills holds his hands to his temples, furious. SOMERSET can be HEARD from the other room, going through drawers, dropping things. GLASS is HEARD BREAKING. Mills grabs a lamp and throws it on the floor. MILLS (CONT) Son of a bitch! Somerset comes back in, holding something. He steps over the lamp and goes to the blank wall space. MILLS (CONT) What? SOMERSET Bear with me. Mills watches. Somerset has a woman's make-up compact in hand. He opens it, uses the soft brush to begin applying the red rouge powder to the wall around the nail. MILLS (incredulous) Oh, yeah, sure. You got to be kidding. SOMERSET Shut up and wait! Somerset brushes with wider strokes. He blows, leans very close to the wall to study the powder. Leans closer still. Pause. SOMERSET (CONT) Call the print lab. Now. INT. MILLS' APARTMENT, BEDROOM -- NIGHT Tracy is asleep with lights on. She stirs, opens her eyes. INT. MILLS' APARTMENT -- NIGHT Tracy opens the door, enters. It's quiet. She sees Mills and Somerset are gone. She's all alone. Unhappy. EXT. MILLS' APARTMENT, FIRE ESCAPE -- NIGHT Through the window, we can see into the bedroom. Tracy comes back from the living room. She goes to her side of the bed, kneels. She reaches between the mattress and bedspring, takes out a paperback book she has hidden there. She comes to the window, opens it and climbs out onto the fire escape. She sits, dangles her feet through the metal bars. She opens the book and tries to read by the street light, resting her head against the railing. A WOMAN is HEARD SCREAMING distantly. Tracy looks down the empty street, unsettled. The woman is not heard again. Tracy lays back, looks at the sky, holding herself. We can now see the title of the book: PREPARING FOR PARENTHOOD. There is a picture of a baby on the cover. Tracy cries, quietly. INT. LUXURY APARTMENT/CRIME SCENE, LIVING ROOM -- NIGHT A MALE FORENSIC uses a magnifying glass to study a very clear fingerprint in black powder on the wall. FORENSIC Oh, boy... MILLS (O.S.) Talk to me. The forensic bites his lip, still studying. Mills and Somerset watch the forensic who works offscreen. MILLS (CONT) (to Somerset) Listen, honestly... have you ever seen anything like this? Been involved in anything remotely like this? SOMERSET No. I have not. FORENSIC (O.S.) Well, I can tell you this, detectives... The forensic steps down from a stool. Behind him, where the painting once was, there are fingerprints, clear and distinct. The prints have been left side by side, to form letters which form the words: HELP ME. FORENSIC (CONT) ...just by studying the underloop... these are not the victim's prints. INT. PRECINCT HOUSE, PRINT LAB -- NIGHT Dark. A TECHNICIAN sits before an old computer. The computer's green screen shows fingerprints being aligned, compared and then rejected; whir - click - whir - click - whir - click. Mills and Somerset watch, bathed in the green glow. SOMERSET It doesn't work for me. I can't believe he wants us to help him stop. MILLS Who the hell knows? There's plenty of schizoids out there doing dirty deeds they don't want to do. With tiny voices whispering nasty things in their ears. Somerset doesn't buy it. The technician adjusts a knob. TECHNICIAN I've seen this baby take three days to finish a cycle, so you guys can go cross your fingers somewhere else. INT. PRECINCT HOUSE, HALLWAY -- NIGHT Somerset and Mills come from the print lab. A janitor is mopping the hall. The computer is HEARD WHIRRING AND CLICKING onwards. Somerset sits with a groan on a couch outside the door. Mills flops beside him. SOMERSET You really meant what you said to Mrs. Gold. You really believe we'll get him, don't you? MILLS And you don't? SOMERSET I wish I still thought like you. I'm so far gone from that. MILLS So, tell me what you think we're doing. SOMERSET All we do is pick up the pieces. We take all the evidence... all the pictures, statements. Write everything down and note what time things happened. We take it all, make a nice, neat pile and file it away. Just in case it's ever needed in a courtroom. MILLS You're unbelievable. In my entire life, you're the oldest man I've ever met. SOMERSET I've seen even the most promising clues lead to dead ends. Hundreds of times. MILLS I've seen the same. I'm not the country hick-boy you seem to think I am. Somerset takes out a cigarette and lights it. SOMERSET In this city, if all the skeletons came out of all the closets... if every un- revenged corpse were to suddenly rise and walk again, there would be no more room for the living. Mills slumps back, crosses his arms, closes his eyes to sleep. MILLS Don't try to tell me you didn't get that rush tonight... that adrenalin. Like we were getting somewhere. (pause) And, don't try to tell me it was because you thought we found something that would play well in a courtroom. Somerset looks at Mills, puffs the cigarette. The computer is heard: whir - click - whir - click... INSERT -- TITLE CARD FRIDAY INT. PRECINCT HOUSE, HALLWAY -- EARLY MORNING Our detectives are fast asleep on the couch, leaning against each other. People pass and look at them strangely. CAPTAIN Wake up, Glimmer Twins. We have a winner. INT. PRECINCT HOUSE, READY ROOM -- EARLY MORNING A windowless classroom. The captain stands in front with a white screen at his side. The face of a black man, 25, ZERO, is projected on the screen from a slide projector. CAPTAIN His street name is Zero, as some of you know. His prints were found at the scene by Detectives Mills and Somerset. FIVE hardened POLICE OFFICERS, four men, one woman, sit in chairs facing the captain. They all wear bullet-proof vests with "POLICE" stencil-painted across them. Somerset and Mills sit in back, drinking coffee, still trying to wake up. CAPTAIN (CONT) Now, Zero has a long, long history of mental illness. Serious illness. He was all over your television sets two years ago after he raped and killed a seventy-three year old woman. He got off, as the saying goes, on a technicality. So we watched him on the streets, and he went out of circulation about a year ago. FEMALE COP If he disappeared, what do you want from us? CAPTAIN His last place of residence is still in his name. A search warrant is being pushed through the court as we speak. A red-headed cop, CALIFORNIA, 28, raises his meaty hand. CALIFORNIA So, have the housing cops walk up and ring the doorbell. Problem solved. The cops laugh. The captain clenches his jaw. CAPTAIN Listen, California. When you go in, if Zero isn't home, some of his buddies might be house-sitting. And besides using, Zero deals, so, you will be very uninvited guests. There is chatter among the cops. Somerset leans to Mills while the captain continues the briefing. SOMERSET Does not seem like our killer, does it? MILLS You tell me. I'm new in town. SOMERSET Zero does possess the requisite degree of insanity... but, he doesn't have the desire somehow. Our killer seems to have more purpose. More purpose than Zero could ever conceive of. MILLS We'll tag along. Somerset wants no part of that. SOMERSET Why would we? MILLS Satisfy our curiosity? INT. MILLS' CAR -- MORNING Mills drives, follows a police van. Somerset rides shotgun. Mills is pumped, ready. Somerset takes one Rolaids tablet off a fresh roll and chews it. MILLS You ever take one? Somerset pulls out his gun, checks the load. SOMERSET No. Never in twenty-four years. I took my gun out only five times with the actual intention of using it. I never fired it. Not once. MILLS I pulled it once, fired it once. I never took a bullet. SOMERSET And? Mills turns a corner, tires screeching. MILLS It was my first one of these. We were a secondary unit, in vice. I was pretty shaky going in. When we busted the door, looking for a junkie, the fucking guy opened fire. One cop was hit in the arm. He went flying... like in slow motion. (pause) I remember riding in the ambulance. His arm was like... a piece of meat. I thought, it's just his arm. But, he bled to death right there anyway. A pause. Somerset opens the window, feels the air on his face. SOMERSET How did the fire-fight end? MILLS Well, I was doing really good in Philly up till then. Lots of simple busts. I've always had this weird luck... but, this was wild. (pause) I got that fuck with one shot... right between the eyes. And the next week, the mayor's pinning a medal on me. Picture in the paper, the whole nine yards. SOMERSET How was it? MILLS I expected it to be bad, because I heard about other guys. You know... I took a human life. But, I slept like a baby that night. Somerset eats another antacid. SOMERSET I think Hemingway wrote somewhere... I can't remember where, but he wrote that, in order to live in a city, you have to have the ability to kill. I think he meant you truly must be able to do it, not just faking it, to survive. MILLS Sounds like he knew what he was talking about. INT. SLUM TENEMENT BUILDING, STAIRWELL -- MORNING Crack vials and hypodermic needles crunch under heavy boots. The five cops from the briefing, fully geared up, rifles and handguns held, move quickly up the stairs, single-file. Somerset and Mills follow, guns out. Somerset is sweating bullets. Mills is juiced. INT. SLUM TENEMENT BUILDING, HALLWAY -- MORNING The cops enter the dank hallway, the same hall we saw John in before. They move cautiously, stepping over a drunken, helpless man. A door opens and a woman peeks out. The female cop points her gun and the woman obeys, slamming the door. California leads, steps up to apartment 303. He has a search warrant scotch-taped to the front of his bullet-proof vest. CALIFORNIA (to black cop) This is it. Give it up. A black cop hoists a battering ram. The other cops get on both sides of the door. Mills moves front. Somerset hangs back. CALIFORNIA (CONT) Police!! Open the door! The black cop brings the ram forward with a splintering thud. The door flies open. The cops storm in. INT. SLUM APARTMENT, MAIN ROOM -- MORNING The cops charge down a short hall into this incredibly dusty room. A bed sits against a far wall. Mills and California move up to the bed. Someone lies under an indigo blanket. Three other cops move, training their weapons on the bed. CALIFORNIA Good morning, Sweetheart! A blond cop goes into another room. Mills kicks the bed. MILLS Get up now, motherfucker! Now! INT. SLUM APARTMENT, ADJOINING ROOM -- MORNING The blond cop enters, gun trained, looks around in confusion. The room's tables, chairs and floor are covered with hundreds of colorful, plastic air fresheners. INT. SLUM APARTMENT, MAIN ROOM -- MORNING Somerset moves in, looks around. He notices the area around the bed, the ceiling, walls and floor, has been painted indigo, while the rest of the room is its original white. On a wall, a white sheet is pinned up with a square drawn on it in excrement. MILLS I said get up, Sleepyhead! Mills pulls the indigo blanket off the bed, reveals the shriveled, sore-covered form of a black man who is blindfolded and tied to the bed with a thin wire wrapped time and time again around the bed. Tubes lead from the stained loincloth around the man's waist and snake under the bed. The victim is partially covered by what seem to be piles of black spaghetti. CALIFORNIA Oh, fuck me! Somerset pushes past the cops who recoil from the stench. MILLS Holy shit. SOMERSET Sloth... it's sloth. The black cop touches the black spaghetti. Holds a piece. BLACK COP What the hell... those are dead worms. CALIFORNIA (to Somerset) Check this out, dick. California points with his gun to the end of the black man's right arm. The hand is gone, severed at the wrist long ago. MILLS It's him. It's Zero. SOMERSET Someone call an ambulance. CALIFORNIA Someone call a hearse, more like. The female cop has gone to the wall where the sheet is pinned up. She pulls the sheet aside and finds: fifty-two polaroid pictures; all pictures of Zero tied to the bed, with a date written at the bottom of each. it is a visual history of Zero's physical decay. The blond cop enters from the other room. BLOND COP What the fuck is going on? MILLS Hey, California. Get your people out. Somerset takes out rubber gloves and puts them on. CALIFORNIA You heard him. Hit the hall, and don't touch anything. The other cops file out as Mills goes to examine the polaroids under the sheet. Somerset replaces the sheet over Zero's body. California stays by his side. CALIFORNIA (CONT) It looks like he's some kind of friggin' wax sculpture. Somerset places his finger along Zero's throat. MILLS Somerset, you... you better look here. Mills studies the polaroids. Somerset walks to join him. MILLS (CONT) All pictures of Zero tied to the bed. (crouches) The last one's dated three days ago. Somerset looks at the first photo. In it, Zero is bound and gagged, but he is fit, healthy. SOMERSET (awed) The first photo... it's dated one year ago. Almost to the day. California lifts Zero's blanket to peek under, examining with morbid curiosity. CALIFORNIA Mo-ther... Mills kneels and lifts the bottom of the sheet off the floor, finds an open shoebox. On the box: TO THE DETECTIVES. MILLS What's this? California leans close to Zero's gaunt, blindfolded face. CALIFORNIA You got what you deserved, Zero. Somerset leans down beside Mills. Mills looks through the shoebox. Inside are plastic, zip-lock bags. One bag contains small clumps of hair, one contains a yellow liquid... MILLS A urine sample... hair sample... fingernail clippings. He's laughing at us. California is still close to Zero's face when suddenly Zero's lips twist. Zero lets out a loud, guttural bark. California jerks back in fear, shouting, falling over a chair. Mills and Somerset reel, standing. They see California on the ground, scared out of his mind, pointing. CALIFORNIA He's alive! Mills and Somerset look towards the bed. Zero's lips move feebly as he lets out a sick, gurgling moan. CALIFORNIA He's still alive! EXT. SLUM TENEMENT BUILDING -- MORNING A crowd has gathered. Mills' car, the police van and two ambulances are parked on the sidewalk. INT. SLUM APARTMENT, HALLWAY -- MORNING The siege cops are in the hall, holding neighbors at bay. INT. SLUM APARTMENT, MAIN ROOM -- MORNING Three ambulance attendants are at the bed, working on Zero. One attendant uses wire-cutters to clip Zero's bonds. INT. SLUM TENEMENT BUILDING, STAIRWELL -- MORNING Mills and Somerset stand in the middle of one flight of stairs. They are both highly agitated. SOMERSET The way this has gone, I didn't think it was possible, but we may have underestimated this guy. The type of intestinal fortitude it must take... to keep a man bound for a full year. To sever his hand and use it to plant fingerprints. MILLS I want him bad. I don't just want to catch him anymore. I want to hurt him. SOMERSET Listen... we have to divorce ourselves from our emotions here. We have to keep focusing on the small details. MILLS I don't know about you, Somerset, but I feed off my emotions. SOMERSET He'll string us along all the way if we're not careful. Mills is looking at the floor, burning with anger. Somerset grabs him by the jacket. SOMERSET (CONT) Are you listening to me?! Mills pushes Somerset's hand off. MILLS I hear you. There is a sudden brilliant flash of light and the SOUND of a CAMERA ADVANCING. Mills and Somerset look -- Down the stairs, John is posing as a reporter. He has his camera and flash up, pointed at the detectives. JOHN Say cheese. He takes another picture, flashbulb flashing. Mills charges downwards, grabs John by his wrinkled clothing. MILLS What the fuck are you doing? John squirms, holds up a laminated PRESS identification pass. JOHN I have a right, Officer. I... Mills shoves him and John stumbles a few steps, then falls to the landing below with a thud. His glasses fly off. MILLS That doesn't mean anything. This is a closed crime scene now! Somerset steps down and pulls Mills back. John stands. JOHN You can't do this! You can't... MILLS Get the fuck out of here! John gets his glasses, scrambles downstairs, out of sight. JOHN (O.S.) The public has a right to know! Somerset yanks Mills harder, till Mills sits on the stairs. MILLS How do those cockroaches get here so quick? SOMERSET They pay cops for the inside scoop, and they pay well. You can hate them, but you better give them something, or they'll make it all up. MILLS (calming) I'm sorry... I just... SOMERSET Oh, it's alright. It's always impressive to see a man feeding off his emotions. INT. HOSPITAL ROOM -- DAY Mills stands with the blase DR. BEARDSLEY, who reviews a medical chart on a clipboard. Zero lies inside an oxygen tent with tubes running into him. The room is dark. BEARDSLEY A year of immobility seems about right, judging by the deterioration of the muscles and spinal cord. Blood tests show a whole smorgasbord of drugs in his system. Heroin... crack... even an antibiotic which was administered to keep the bed sores from infecting. Mills looks into the oxygen. MILLS He hasn't said anything, or tried to express himself in any way? BEARDSLEY Even if his brain were not mush, which it is... he chewed his own tongue off a long time ago. Mills winces, moves away from the bed. MILLS There's no way he'll survive? BEARDSLEY Detective, he'd die right now of shock if you were to shine a flashlight in his eyes. EXT. CITY STREET, CATHOLIC CHURCH -- AFTERNOON A tall church on a bustling street. Smoggy air has eaten at the stonework. The homeless are camped out on the stairs. INT. CATHOLIC CHURCH, PRIEST'S QUARTERS -- AFTERNOON The priest's accommodations are quite spacious and comfortable. The parish's wealth is evident. FATHER BLEEKER, 38, stands looking at several 8" by 10" glossies. He's dressed in his "civilian" clothing, wears his hair short and proper. These photos are making him heartsick. Bleeker hands them to Somerset who is seated by a fireplace. BLEEKER Put them away. I wish you hadn't brought them into the church. SOMERSET I needed for you to see them. Father Bleeker shakes his head, as if he were trying to forget the images. Somerset replaces the murder photos in a file. BLEEKER There were five principal phases in the development of early Christian art. From Hellenistic through the Renaissance... each period was affected by the decrees of religious leaders. SOMERSET If this killer belongs to a certain branch of the church... if he collects religious art from a certain period, I want to know. I have to narrow it down. Bleeker walks to an ornate, gold cabinet. He puts on a pair of cotton gloves. BLEEKER The influences on these... things he's done, couldn't have come before the Gothic period. What's in those pictures is presented far too asymmetrically. Bleeker crosses himself before using a key to open the cabinet. He takes out an ancient devotional book and a piece of cloth. BLEEKER (CONT) The colors will tell the tale. Bleeker takes the book to a table. Somerset follows. Bleeker lays the cloth under the book, opens the book, tenderly. BLEEKER (CONT) Each sin had a symbolic color. But the specific color designations changed throughout the ages. Somerset leans to examine Bleeker's illuminated manuscript: Two pages of prayer. The prose is elaborately formed, surrounded by colorful illustrations of the seven deadly sins. Bleeker's finger points to a rendering of a man seated on a rock, guzzling from a jug. It's been painted in orange. BLEEKER (O.S.,CONT) This is an example. Gluttony is the sin, and the color is orange. This particular manuscript is preserved from the 18th century. SOMERSET (O.S.) In the murders, gluttony is green. Greed is yellow. Sloth is indigo. Bleeker steps away and Somerset gets closer to the pages. BLEEKER So, if this murderer is as precise as you say, then you need to find out at what period in history was gluttony green... and so on. SOMERSET Where do I look? If the colors changed so often? BLEEKER (contemplates) There is one man... Father Stone. (pause) I haven't heard from him for quite some time. This was his passion. He spent his life studying the sins... and preaching against them. INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- AFTERNOON The chalkboard on the wall: 1 gluttony (x) 5 wrath 2 greed (x) 6 pride 3 sloth (x) 7 lust 4 envy Mills is behind his paperwork covered desk, listening to a uniformed OFFICER who looks over a report sheet. OFFICER Zero's landlord said an envelope of cash was in the office mailbox each month. He says, quote, "I never heard a single complaint from this guy and nobody ever complained about him. He's the best tenant I ever had." MILLS There's a landlord's dream tenant. A paralyzed man with no tongue. OFFICER Who pays his rent on time. MILLS Bring me everything as soon as it's transcribed. The officer leaves. Mills starts sorting through piles on his desk. He doesn't know where to begin. He sits back in his chair, looks at the collage-like collection of pictures pinned on the walls: photos and diagrams of the murder scenes, the drawing of the sun and eye, color pages and black and white copies of pages from art books. He stares, thinking. He stands, takes a photocopy off the wall. The killer's first note: Dear Detectives, Long is the way, and hard, that out of hell leads up to the light. MILLS (to himself) Milton. INT. CENTRAL LIBRARY -- AFTERNOON Big brass lamps hang from the high ceiling. Mahogany chairs and tables run down the center floor which is bordered by three levels of balconies. People wander like ants in an ant farm. Mills walks, taking it all in. He goes to the circulation desk. Impatient patrons wait in a long line. He watches the bored HEAD LIBRARIAN, female, 64, help an old man at the desk. She opens the old man's books, runs a laser pen over a bar code sticker, pushes a few buttons on a computer. INT. CENTRAL LIBRARY, TOP BALCONY -- LATER AFTERNOON Near the balcony railing, overlooking the main floor, Mills sits before a computer card catalog. He reads the computer screen, unsure. He sets down his pad and pencil, cracks his knuckles, begins typing on the keyboard. The computer gives off a quiet BEEP. Pleased, Mills reads the screen. Types. On the screen: TITLE / PARADISE LOST_ He hits return. Reads the screen as information on the book appears. He copies it on his pad, puts the pencil in his mouth. He types. On the screen: SUBJECT / JACK THE RIPPER_ Hits return. Again, he copies info from the screen. INT. INNER CITY CLOISTER -- AFTERNOON A monk opens a formidable gateway door, letting Father Bleeker and Somerset into a garden courtyard. Bleeker now wears his priestly garb and collar. The monastery's main building looms at the end of a pathway. The building is stately, ivy-covered. BLEEKER Father Stone had a church and congregation of his own. But, he... there were some problems. The church is deserted now. SOMERSET Problems? Bleeker continues walking. SOMERSET (CONT) Father? INT. INNER CITY CLOISTER, HALLWAY -- AFTERNOON The walls of the hallway are carved with images of saints. Bleeker whispers to Somerset beside a windowless door. BLEEKER There was a small orphanage attached to the church, overseen by Father Stone. This was almost thirty years ago. (hesitant) He was an excellent priest, devoted in every way. Many in his parish demanded his return. SOMERSET Tell me what happened. Bleeker sees a NUN down the hall, coming towards them. BLEEKER Allegations were made... Stone was accused of abusing the children in his care. But, those charges were never substantiated. SOMERSET What abuse? BLEEKER It was claimed... that the children were beaten. And, punished severely. The nun is too close for Bleeker to speak freely. INT. INNER CITY CLOISTER, STONE'S ROOM -- AFTERNOON The door is unlocked and opened by the nun. Somerset enters and Bleeker waits outside as the nun closes the door. It's dark. FATHER STONE, 73, is in a wheelchair. Feeble and frail, eyes sunken in their sockets. He looks up at Somerset. SOMERSET Father Stone. I'm a policeman. I'd like to ask you a few questions, if it's alright? The whites of Stone's eyes have yellowed. He seems to nod. Somerset sits on a stool, close. SOMERSET (CONT) I want to ask you about the seven deadly sins. STONE The sins. SOMERSET Yes, father. Stone reaches out a hand to touch Somerset's face. Stone's extremely long fingernails trail against Somerset's cheek and Somerset tries to hide his revulsion. STONE Are you one of mine? SOMERSET I don't... STONE Are you saved? Do you have God? SOMERSET I... I need to ask about the sins. Do you understand what I'm saying? Stone takes his hand away, seems to be getting angry. STONE Are you a sinner? Stone's weak arms wheel him away, towards a corner. STONE (CONT) There are sinners here. Even here. And, pain waits for them. Hell is hungry for them. Stone bites his lip, moaning, disoriented. STONE (CONT) They don't realize... they don't know. (pause) Fuck them all! Somerset is shocked by the strength and volume of Stone's jagged voice. The nun goes to place a comforting hand on Stone's shoulder. Stone is beginning to cry. NUN (to Somerset) They shouldn't have let you disturb him. This shouldn't have been allowed. STONE Where are the children? (much louder) Where are the children?! INT. CENTRAL LIBRARY, OUTSIDE LIBRARIAN'S OFFICE -- AFTERNOON From a mahogany hallway lined with book-carts, we look THROUGH a big WINDOW into the head librarian's office. The elderly head librarian is at a computer, chain-smoking, working the keyboard. Mills alternates talking on the telephone and reading things off his pad to the librarian. We cannot hear them, but it's clear Mills is excited as he walks back and forth, hovering over the librarian, looking at her computer screen, making suggestions, then walking to monitor a dot-matrix printer which spews a waterfall of computer paper onto the floor. Back and forth goes Mills, carrying the phone. He closes the pad, puts it in his pocket. The librarian finishes typing, sits back, done. Mills hangs up the phone, goes to put it on the librarian's desk, but the cord drags, knocks a pile of books off a table. The librarian is irritated, goes to pick up the books. Mills is apologizing. He goes to watch the printer. He tears the last sheet's perforated edge, gathers the huge pile of printed paper off the floor. Prize in hand, Mills is so grateful he bends to give the old woman a kiss on the cheek, but she pushes him away, now even more annoyed. Mills goes to leave, knocks over another pile of books. Before he can assist, the angry librarian points to the door. Mills obeys like a scolded child, exits. The librarian shakes her head in disgust. EXT. ABANDONED CHURCH/ORPHANAGE -- AFTERNOON A once exemplary church, now boarded up, neglected. Gothic in style, it stands with deserted brownstones and empty lots of rubble as neighbors. Smokestacks spew smoke distantly. Cars and trucks drive by on a nearby elevated highway, but down here on the street it's a ghost town. There's a building attached to the rear of the church. Somerset's car is parked beside it. INT. ABANDONED ORPHANAGE, CLASSROOM -- AFTERNOON The windows are covered over. Somerset and Father Bleeker move through. Somerset has a flashlight with a wide beam. The room is empty except for broken, cob-web covered school desks and a few file cabinets. There are cracked blackboards on the walls. Rats skitter away from the light. Somerset opens a file cabinet drawer. It's empty. He walks to a door, starts pulling at the rotting boards which seal it shut. BLEEKER What are you looking for? SOMERSET I'm just looking. INT. ABANDONED CHURCH -- AFTERNOON Somerset pushes the door. He and Bleeker enter from the classroom into the far back corner of the church. Big church. Shafts of colored light needle through the holes in the pieces of wood and cloth that cover the broken stained glass windows. Somerset walks down the center aisle between deteriorated pews. rats run. Pigeons flap about, dirt drifting off their wings. Somerset shines his flashlight forward to the rather barren altar. To the right, at the top of the altar stairs, there is a stone statue of a saint with his arms outstretched, welcoming. The life-size saint is covered in spider-webs. Tiny spiders crawl across his eyes, which look down on Somerset. BLEEKER Saint Jerome Emiliani. The patron saint of orphans. Somerset shines the flashlight against the back altar wall, revealing a wooden carving of Christ crucified. SOMERSET Is this still the Lord's house? BLEEKER Of course it is. SOMERSET And, even if Father Stone was guilty of everything... if he was hurting children here? It's still the Lord's house? Father Bleeker finds this talk insulting and offensive. BLEEKER You have no faith, Somerset? Have you given up on the church entirely? SOMERSET No. (pause) That's not what I've given up on. Somerset notices two ends of a thick rope suspended from the ceiling above the center of the altar. He looks up, following the rope with the flashlight, when he notices something else. His mouth drops. Bleeker looks, and is equally horrified. Above them, in the beam of light: seven large paintings on panels tilted forward at the curve of the ceiling above the altar. Seven ancient paintings; seven deadly sins. The beam of light moves to the panel to the immediate right: a painting of a man kneeling, grasping at gold coins all around him. The man is naked, as was the victim of the greed murder. The chief color in this panel is a vulgar yellow. The third in the series is sloth. The painting, in indigo, shows a man at rest in a pliant bed. The skeletal man's eyes are rolled up in their sockets. He is covered in slimy worms. EXT. ABANDONED CHURCH -- LATE AFTERNOON The streets are full of patrol cars. Cops and forensics enter and exit the church from various doorways. Saw-horses are loaded off a flat-bed truck as a police barricade is erected. INT. ABANDONED CHURCH -- LATE AFTERNOON Much activity, as forensics with flashlights go about their business, checking every nook and cranny of the church, looking for any sign that someone's been here recently. Small temporary floodlights are hoisted on tripods. Two photographers stand at the tops of tall ladders. Flash- photo after flash-photo is taken of the seven paneled tableau. Near the open church doors, Mills speaks with great animation, holding his ream of computer paper. Somerset looks at the altar and the tableau, preoccupied. MILLS Our guy's a bookworm, right? And, I know it's a long shot, but you have to give a picture id and current phone bill to get a library card. Hey... Mills snaps his fingers in Somerset's face, gets his attention. MILLS (CONT) I made two separate lists of books. One relating to the sins... Dante's Purgatory, Canterbury Tales... The Dictionary of Catholicism... all the religious stuff. The second list was books about torture methods, mass murderers... sadomasochism. Whatever our killer might study to do the things he's done. Whatever his other interests are. Somerset takes the computer list. SOMERSET So, what is this? MILLS Alright. Everything at the library goes into a computer. So, you can get in the system and cross-reference... Mills fumbles in his pocket, takes out his pad and reads. MILLS (CONT) Let's say you take, Dante's Purgatory, call number eight-five-one-D, and... The Biography of the Marquis de Sade, ninety-two S-A-D-E. Put those books in the system, and the computer can give you the name of anyone who's ever taken out both those books. And, it doesn't just give you their name and address, it gives you a complete history of their library reading habits. Mills slaps the list in Somerset's hand. MILLS (CONT) (psyched up) If somebody's out there reading Paradise Lost and studying The Life and Times of Charlie Manson, I want to talk to them. Somerset looks up from the list, warming to it. He starts looking around, searching for someone. EXT. ABANDONED CHURCH -- LATE AFTERNOON Somerset and Mills exit down the stairs. Somerset's still searching, holding the list. He spies a uniformed cop, DARIO. SOMERSET Dario! Come here. Dario runs up. Somerset puts his hand on his shoulder and makes him walk with him. Mills continues on to his car. SOMERSET (CONT) According to the Father, this orphanage wasn't around for more than five or six years in the late fifties. So, I want someone to go to the Department of Child Welfare or City Hall and dig up all the records on this place. Understand? DARIO I got it. SOMERSET Get a list of every child who attended this orphanage before it shut down. Get it on my desk within the hour. Somerset releases Dario, who runs to obey. Somerset goes to his own car. Mills is driving to leave, stops, revs the engine. Somerset hands the computer list through the window. SOMERSET (CONT) You thought of this all by yourself? This was your brainstorm? MILLS Yeah. Is that so hard for you to believe? SOMERSET It's a pleasant surprise. MILLS I'm not as stupid as I look. Mills peels away. Somerset heads to his own car. SOMERSET (to himself) I guess not. INT. SOMERSET'S OFFICE -- EARLY EVENING Seven large photos hang with the other materials on the wall: The seven tableau paintings. Gluttony, greed and sloth, followed by vanity. Vanity shows a woman standing in front of a mirror, staring at her image. The floor around her is scattered with flowers. The primary color is violet, and as in all the paintings, there is a quality of ugliness in the character. MILLS (O.S.) Ramirez. Manuel Ramirez. SOMERSET (O.S.) No... I don't see any Ramirez. The lust painting is next. It shows a man standing over a woman. The woman is nude, under a sheet, and the man's features are bizarre, lecherous. He wants that woman. There are apples on the floor and on the bed. The color is red. MILLS (O.S.) Elinski. Dennis Elinski. SOMERSET (O.S.) No. Envy is particularly gruesome. The Devil is seen hovering in the air, wearing a crown, his body orange and slick, wrapped in a cloak of flames. His arms held high, his right hand grips a sword, a bolt of lightning, arrows, wheat, thistles, etc. His left hand, holds a plain globe around which a serpent has wrapped itself. He looks down at several pitiful mortals in a pit of fire. The mortals reach for him, yearn for him, the skin on their bodies is stretched taut over their bones. MILLS (O.S.) Atwater? Paul Atwater. SOMERSET (O.S.) No. Wrath shows a man surrounded by vaporous, satanic demons. He stands in a puddle of blood, looking at his hands stained with and dripping blood. Other than the rich red, the color is blue. Mills is at his desk, a good portion of the print-out list draped to the floor. He rubs his eyes, sighing, gets back to it. Somerset, at the temporary desk, studies his orphan list. MILLS Okay, here we go. Listen to the books this guy's been taking out... (reading list) Basic Homicide Investigation. Forensic Toxicology... The Encyclopedia of Modern Serial Killers... (looks up, excited) Of Human Bondage. SOMERSET That's not what you think it is. Mills is disappointed, runs his finger further down the page. MILLS Holy shit. Somerset... (reading list) The Writings of Saint Thomas Aquinas. Mills points to the drawing of "the Sun in splendor with the eye" which hangs on the wall. MILLS (CONT) Aquinas. Right? SOMERSET That's right. Let me have it. Mills looks at the page... searching... MILLS Fuck... he used a false name. SOMERSET How do you know? MILLS His library card lists him as Jonathan Doe. John Doe. Mills sits back, angry. Something strikes Somerset as odd. Familiar. He starts leafing quickly through the orphanage list. MILLS (CONT) What? Somerset finds what he's looking for. SOMERSET Christ... it's like a sick joke. MILLS What are you talking about? SOMERSET There is one boy here. He was abandoned... no one knew who his parents were, so he was named at the orphanage... (looks at Mills) John Doe. It's his legal name. INT. JOHN DOE'S APARTMENT BUILDING, HALLWAY -- EARLY EVENING Somerset and Mills climb stairs, turn a corner into this hall. MILLS It's impossible odds that this is him. SOMERSET We're focusing. MILLS I know, I know. On one little thing. I'm not complaining. I'll follow anything we get and I'll take it any way we can get it. SOMERSET We'll look at him. Ask a few questions. Try to get a feeling whether we should keep tabs on him. They reach a door, apartment 3A. Somerset knocks. Mills takes out his gun and looks at Somerset to ask "what do you think?" Somerset nods that he should have the gun ready. Mills steps to the side of the door, knocks hard. Waits. MILLS (quietly) I'll do the talking, right? Let me practice here... um, excuse me Mr. Doe, but, are you by any chance a serial killer? Oh... oh, you are? Well, come with us then, if you don't mind. Mills smiles at his own wit. A STAIR is HEARD CREAKING offscreen. Mills turns to look towards the stairs. A MALE FIGURE stands at the top of the stairs, wearing a hat, standing in shadows. The man looks at them, lets out a scream of horror and reaches into his coat. MILLS (CONT) Somerset! GUNFIRE SOUNDS and a bullet slams into door 3A behind Mills. He and Somerset recoil in shock, going to the floor as another bullet explodes, blasting plaster off the wall. The man is HEARD RUNNING back down the stairs. MILLS (CONT) It's him! Jesus Christ, we can get this fucker! Mills jumps up. He moves towards the railing. Somerset sits up and takes out his own gun. The stairwell is silent. Mills peers over the railing into the stairwell's center, gun pointed. A HEAVY METALLIC CLICK is HEARD. Echoes. Mills leaps backwards as bullets begin raining up from below, accompanied by the SOUND of an UZI SUB-MACHINE GUN FIRING. Somerset lays flat as he and Mills crawl away from the railing, which is being shredded along with the floor around it. Bullets soar unceasingly. Mills and Somerset hold their hands over their ears. Pieces of wood and plaster fly everywhere. The uzi stops and the man can be HEARD RUNNING again. Mills gets up, covered in debris. He runs down into the smoky stairwell. Somerset rolls over, gets up more slowly. EXT. JOHN DOE'S APARTMENT BUILDING, REAR -- EARLY EVENING Mills rushes out into this weedy, overgrown courtyard. He sees a thin vagrant sleeping on the building's junk-pile, then looks all directions. His eyes are wild. His gun hand is shaking. The courtyard is surrounded by alleyways. The shooter could have gone anywhere and is nowhere in sight. Somerset comes out, face wet with sweat. Mills holsters his gun. MILLS Are you alright? Are you okay? SOMERSET Yeah. I think so. They look at each other for a long time. Both realizing they came very close to dying. EXT. JOHN DOE'S APARTMENT BUILDING, FRONT -- NIGHT Police cars on scene. Curious civilians have gathered. INT. JOHN DOE'S APARTMENT BUILDING, STAIRWELL -- NIGHT UP THE STAIRWELL, several forensics are collecting shell casings, putting them in bags. The casings are scattered all the way up the stairs. ONE FORENSIC walks up beside a COP. ONE FORENSIC I hear he's running around with an uzi in one hand and a book of poetry in the other. COP A real, modern-day renaissance man, huh? AT THE TOP OF THE STAIRS, two forensics, SARAH and BILLY, wait behind Mills and Somerset. Surgical gloves on all hands. Mills kicks at the door to apartment 3A with all his might. Again. INT. JOHN DOE'S APARTMENT, ROOMONE -- NIGHT BOOM -- door flies open. Mills enters with Somerset. Darkness. MILLS (to forensics) Give us first crack at it. Sarah and Billy wait in the hall. Somerset hits a switch on the wall and a lamp illuminates on a desk. The desk is in the center of the room, facing them. The walls, floor to ceiling, are covered with visual stimuli; pictures, paintings, newspaper articles, sketches, writings on napkins and notebook sheets, etc. Mostly religious images. The far wall is made of shelves full of books. Mills goes to the desk while Somerset goes to the books. Books: An Overview of Theology, Handbook of Firearms, A History of the World, Summa Theologica, U.S. Criminal Law Review, etc. Mills looks at the desktop. The surface is marked by dried oil colors. There are tubes of paint laying out, boxes of water colors and pastels. Mills looks at one corner of the desk. An orange candle has been allowed to burn down. The wax trail goes all the way down the edge of the desk to a puddle on the floor. Somerset walks, studying one wall of pin-ups. There are articles about the seven deadly sins, pages from art books, pencil drawings of Satan and Christ, and drawings of the seven paneled tableau paintings which inspired the murders. Somerset lifts several sheets to note the paper scraps are spaced so tightly and completely that they cover the window. At the desk, Mills opens the top middle drawer. It's empty except for The Holy Bible. he opens another drawer, which is filled with at least forty empty aspirin bottles. Somerset looks at a door which is papered over by all the newspaper articles and photographs about the seven deadly sin murders. He opens the door -- INT. JOHN DOE'S APARTMENT, ROOM TWO -- NIGHT Somerset enters. The ceiling light is on. There are bookshelves on each wall, filled with thousands of notebooks. Somerset takes one notebook down. It is a thick composition book with a marbled black and white cover. Inside, the pages are covered in small handwritten sentences and drawings. Somerset takes down another notebook and opens it. Same as the first; scribbled sentences and sketches. He walks to another wall, pulls another notebook. Same deal. SOMERSET Jesus Christ. INT. JOHN DOE'S APARTMENT, ROOM ONE -- NIGHT Mills opens a final drawer to find a rosary and a revolver. He looks around, nervous and excited, being in the murderer's lair. He goes to a closed door across the room, notices John Doe's bed in the corner. Sees Doe has a cross nailed to the ceiling directly above the bed's pillow. INT. JOHN DOE'S APARTMENT, BATHROOM -- NIGHT Mills enters the bathroom. It has been converted into a darkroom, lit by red bulbs, with strips of film hanging from the ceiling. WATER is HEARD DRIPPING. Mills opens the shower curtain. Prints hang drying, clipped to wires over the tub. INT. JOHN DOE'S APARTMENT, THE PAINTROOM -- NIGHT Somerset enters from the room of notebooks. This is John Doe's art studio. Windowless, with several easels holding paintings in various states of completion. The walls are covered with photos and finished canvases, except for one wall which is blank white. Somerset turns the lights off. There is a 16mm film projector on a table, facing the blank wall. Somerset turns the projector on. It clatters to life, running a piece of film. The film is spliced into a non-stop loop. Somerset watches the wall, light strobing across him. The projector shows an image of clouds drifting, with strange, superimposed angels in flowing robes floating jerkily. It's like an old, Hollywood version of heaven. The image switches abruptly to fire and tormented souls laboring around a pit of molten goo. Like Heaven, it's a scratched piece of film from Hollywood's early days. Somerset turns to examine one of the paintings on an easel. The painting has been skillfully rendered, in small, controlled brush strokes. It shows a modern city street, stylized, dark. The city is peopled by mutated humans and freakish beasts. Sinners in the streets, killing, raping, pillaging. Buildings are burning, blood is being spilled. It's dense with detail. Somerset walks to another painting which is covered by a drop cloth. He removes the cloth, uncovers a huge canvas. We do not see the painting, but when Somerset does his features turn grim. MILLS (O.S.) Somerset! Mills enters, tormented, weary. He stands in the projector's bright beam, holds an 8" by 10" print. MILLS (O.S.) Somerset, we had him. Goddamn it. He hands a press pass and the photo to Somerset. MILLS (CONT) The pass is a fake... we had him. Somerset looks at the photo, a picture of Mills and Somerset on the stairwell of the slum apartment building; the picture John took when he posed as a reporter. MILLS (CONT) We were that close to him. SOMERSET I know. Somerset motions to the huge canvas. Mills looks: The painting is frightening collage, thick with paint. The photo of Mills and Somerset has been incorporated in bits and pieces. Duplicate images: enlarged eyes, hands, faces. The faces have been ripped, scratched, mutilated. Grainy eyes with holes jabbed in them are mounted in paint beside chopped broken arms. Mills' head is on Somerset's body, and vice versa. It's like a sick, fragmented vision of a slaughter house floor. EXT. CITY STREETS -- NIGHT A block of burnt-out row homes and warehouses. Stray, wild dogs roam in a pack. A car turns down this street. It's John Doe's car, moving fast. Its headlights go out and it cruises, avoiding garbage cans in the street. FOLLOW the dark car. Ahead, a few blocks away, we can see the only lights in this neighborhood, the flashing reds, whites and blues of police activity. INT. JOHN DOE'S CAR -- NIGHT John Doe brings the car to a stop. He watches the police at work around the abandoned church. He gives no discernable reaction, puts the car in reverse. He looks behind as he drives back the way he came. INT. JOHN DOE'S APARTMENT, KITCHEN -- NIGHT The refrigerator door is open. A male forensic uses tongs to remove Zero's severed hand from behind soda cans and mayonnaise. INT. JOHN DOE'S APARTMENT, ROOM ONE -- NIGHT The forensic walks through with the hand in a clear plastic bag, past a FEMALE SKETCH ARTIST who puts the finishing touches on a fairly accurate drawing of the balding John Doe. SKETCH ARTIST This is the guy? Mills stands over the artist. Sarah, Billy and two deputy detectives are at work in the room, photographing, searching. MILLS Make sure it gets around. SKETCH ARTIST You got it. Tomorrow morning, this city's good citizens will be on the lookout for Elmer Fudd. SARAH (to Mills) We can't find anything to hang onto. No pay-stubs, no appointment books or calendars. Not even a book of phone numbers. And, you're not going to believe this... MILLS Keep looking. SARA It's just... we haven't found any fingerprints yet. Not one. MILLS You know, you're right. I don't believe it. Keep looking. INT. JOHN DOE'S APARTMENT, ROOM TWO -- NIGHT Somerset reads one of Doe's notebooks. Three cops are looking through other notebooks from the shelves. Mills enters. SOMERSET We need to put more men on this. MILLS I'm working on it, alright. What have we got. Somerset bristles slightly at Mills' abrupt demeanor. SOMERSET We've got about five thousand notebooks in this room. And, as near as I can tell, each notebook contains two hundred and fifty pages. MILLS Then, he must write about the murders. Somerset looks at the notebook, reads. SOMERSET "What sick, silly puppets we are, and what a gross stage we dance on. What fun we have, dancing around, not a care in the world. Not knowing that we are nothing. We are not what God intended." (turns pages) "On the subway today, a man came up to start a conversation. He was making small talk, this lonely man, talking about the weather and other things. I tried to be accommodating, but my head began to hurt from his banality. I almost didn't notice it had happened, but I threw up all over him. And I couldn't stop myself from laughing." (closes book) No dates indicated. They're placed on the shelves in no discernible order. He describes a scab on his arm for five pages, then writes about existential philosophy on the next. Mills walks. He looks into the adjoining paint room. SOMERSET (CONT) It's just his mind poured out on paper. Mills leans in the doorway, looking at Doe's strange artworks. MILLS You were right. He is preaching. The PHONE RINGS in the other room. INT. JOHN DOE'S APARTMENT, MAIN ROOM -- NIGHT All attention is focused on the phone on Doe's desk. A tape recorder is rigged to the receiver. Mills and Somerset enter. Mills walks over, pushes a button on the recorder, picks up. MILLS (into phone) Hello... hello? JOHN DOE (V.O.) (from recorder) I admire you, David. Imagine my surprise on finding you at my doorstep. I admire you more and more every day. MILLS (into phone) Okay, John. Let's... JOHN DOE (V.O.) (from recorder) No, no, no! You listen and don't talk. I suppose you found the painting and the photos. This is just as well. Now we all know we've all seen each other. (pause) I mean what I say. I do admire you. Long pause. Mills waits. JOHN DOE (V.O.,CONT) Oh, there is one other thing. Fourteen hundred thirty. West Eighty-sixth street. Apartment six-o-four. John Doe hangs up. INT. APARTMENT 604, BATHROOM -- NIGHT Somerset looks around this femininely decorated bathroom. In the sink, objects covered in blood: a pair of scissors, a hypodermic needle, first-aid tape and gauze bandages, a bottle of anesthetic for use with the needle, a straight razor. Somerset moves from the sink, looks in the bathtub. The tub and shower walls are splattered with blood. The tub has a few inches of water in it. The water is cloudy red and bits of gauze float in it. Somerset jiggles the drain's knob. Some bubbles pop up from the clogged drain. INT. APARTMENT 604 -- NIGHT Mills is in a dark mood. He and Dr. O'Neill stand by a WOMAN who hangs by a noose from the ceiling. The woman's head has been bandaged sloppily with white gauze and tape. Her eyes have been left uncovered. The gauze is stained red in small spots. The woman hangs low, so her feet are inches from the floor where piles of dried flowers and a cordless telephone lay. There's a chair knocked over behind her. O'Neill's going through his black bag. A violet, velvet curtain has been draped on the wall in the corner, behind a full length mirror. The mirror reflects the corpse. A seven-pointed star is smeared in lipstick on the mirror's surface, with the words I DID NOT KILL HER, SHE WAS GIVEN A CHOICE below. Somerset enters from the bathroom, looks at the murder display. MILLS Pride. Just like in the painting. Somerset nods. He walks to a dresser. The woman's purse sits open and Somerset extracts her driver's license. He looks at the photo. The woman in the picture is beautiful. SOMERSET You can see what he did. O'Neill steps up to the woman. He brandishes dull scissors. The captain enters with two uniform cops. He looks around, grim, clenching his jaw. MILLS Cut her up... dressed the wounds. He put the noose around her neck and stood her on the chair. SOMERSET She had the telephone. MILLS Call for help, and you'll live. But, you'll be mutilated. SOMERSET Or, kick out the chair, and spare yourself a lifetime of hideousness. O'Neill's cutting the bandages on the woman's face. He pulls them away in front. Mills looks, disgusted by the sight. Somerset sits in a chair, runs his fingers through his hair. O'NEILL He cut off her nose to spite her face. And he did it very recently. CAPTAIN Alright, boys, you're running on empty. Go home. Just make sure you sleep with the phone between your knees. INT. BOOKSTORE -- NIGHT The bookstore is a labyrinth. Tables and shelves, mountains and valleys of books. Books, new and used, hard and soft, in disorganized groups. CLASSICAL MUSIC PLAYS. A few customers search for titles. Somerset walks, downcast, winds out of one aisle into another. he has his jacket over his shoulder, runs his fingers along the books as he goes. He pulls one book, The Merchant of Venice, looks at it, replaces it. He looks down the aisle and is surprised to see Tracy. Tracy stands solemn, scanning book spines. Somerset approaches. SOMERSET Tracy? Tracy brightens a bit upon recognizing him. TRACY Somerset. How are you? SOMERSET I'm alright. I'm glad to see you found this place. I almost should have expected to run into you here, knowing that you teach English. Tracy looks up and around. TRACY It's so huge. It's amazing. SOMERSET This is why I moved into this neighborhood. TRACY Don't you love the smell of all the old books. It smells like... like... I guess just old books, but, I love it. Somerset notices Tracy noticing his gun. TRACY (CONT) Forgive me. No matter how often I see guns, I can't get used to them. SOMERSET Same here. Tracy laughs. She looks at her watch. TRACY If David's going to be back home soon, I should get back. She starts down the aisle and Somerset walks with her. TRACY (CONT) I hope you'll come to dinner another night. Before you leave. SOMERSET You can stay and browse a little longer, can't you? I mean... Tracy considers this as they enter an open area. SOMERSET (CONT) I... I hardly know anyone I can talk about books with anymore. I'd appreciate the company. Tracy stops. Somerset looks hopeful. Tracy is very tempted. INT. BOOKSTORE -- LATER NIGHT Shelves and empty aisles of books. CLASSICAL MUSIC still PLAYS. SOMERSET (O.S.) The irony is, that after a day of the type of work he did, he'd come home and read me these morbid crime stories. Le Fanu's Green Tea. Murders in the Rue Morgue. MOVE TO the aisle marked MYSTERY, where Somerset and Tracy are leaning against shelves. They both hold books they've selected. SOMERSET (CONT) My mother would give him hell... because I was young, and he was keeping me up till all hours, giving me nightmares. TRACY Sounds like a father who wanted his son to follow in his footsteps. SOMERSET One birthday, he gave me a hardcover book called The Century of the Detective, by Jurgen Thorwald. It traced the history of detection as a science and it sealed my fate. Because it was real, and that a drop of blood or a piece of hair could solve a crime... was incredible to me. A CLERK looks down the aisle, then walks on. CLERK (O.S.) We're closing up, Somerset. SOMERSET Okay, thanks. TRACY David's going to wonder where I am. SOMERSET I'll give you a ride. TRACY No. Please, don't bother. SOMERSET I have to insist. If your husband found out I let you ride the subway at this hour he'd tear my head off. They make their way out of the aisle. Somerset chuckles. SOMERSET (CONT) I mean, literally. EXT. CITY STREET -- NIGHT Somerset's car stops at the corner of Mills' street. INT. SOMERSET'S CAR -- NIGHT Somerset puts the car in park. Tracy sits for a long time, then turns to face Somerset. TRACY You've lived here for so long, Somerset. You know this city. I... Tracy can't quite figure how to put it. SOMERSET It's a hard place, Tracy. TRACY When David and I lived in Philadelphia, we could afford to live on the outskirts. But now... (pause) I hate it here. I feel scared, and I feel sick and... I hate it. Tracy wants to laugh, like it's silly, but can't pull it off. SOMERSET You have to put blinders on sometimes. Most times. But, keep in mind, Tracy, like tonight, there are small pockets of sanity. Some bars and bookstores. Museums. Several last vestiges of civilization. EXT. CITY STREET -- NIGHT In Somerset's car, Tracy and Somerset continue talking. On the other side of the street, closer to the middle of the block, John Doe's car is parallel parked at the curb. INT. JOHN DOE'S CAR -- NIGHT Behind the wheel, John Doe is slumped low, calmly watching Somerset and Tracy. He can see them clearly from here. INT. SOMERSET'S CAR -- NIGHT Tracy looks out through the windshield, fighting tears. TRACY I've visited so many of the schools, looking for work, you know. And, the conditions are... horrible. I can't believe how bad it is. (pause) Children shouldn't have to grow up here. SOMERSET You can always look into the private schools. You'll find something. Somerset gives her a handkerchief. She wipes her tears. SOMERSET (CONT) You're too hard on yourself, Tracy. She will not look at him, keeping herself under control. SOMERSET (CONT) It's okay to hate this city. It's natural. But, there is a bright side in all this. There is. You want to hear it? Tracy is able to muster a small smile. TRACY Oh, God, yes. Please. SOMERSET I can't think of another place that needs education more than this city. And you're a teacher. You can make a difference in a few people's lives. It's a very good thing. Tracy leans to give him a kiss on the cheek. TRACY Goodnight, Somerset. They remain close, looking into each other's eyes. SOMERSET Goodnight. Somerset reaches to touch Tracy's face. They kiss. They kiss a long time. Tracy wraps her arms around Somerset's neck. Somerset runs his fingers through Tracy's hair. They share their sorrow. Tracy's tears run down her face. Finally, they part, opening their eyes. They know this is wrong. Somerset's hands are shaking. He grips the wheel, feels helpless. SOMERSET (CONT) I'm sorry, Tracy. I'm sorry. Tracy's face is flushed. She is confused. TRACY I... I better go. Tracy gets out, neglects to close the door, not looking back. Somerset tries to come to his senses. He doesn't understand either, and his heart is aching. He adjusts the rearview mirror to watch Tracy go. INSERT -- THROUGH REARVIEW MIRROR -- SOMERSET'S P.O.V. Tracy walks down the block, straightening her hair. She runs. INT. SOMERSET'S CAR -- NIGHT Somerset looks away from the mirror. he holds his head in his hands for a moment. EXT. CITY STREET -- NIGHT Somerset leans to pull the door shut, puts the car in gear. He drives, turns the corner. INT. JOHN DOE'S CAR -- NIGHT John Doe watches Somerset's car leave. Doe turns his attention to Tracy, who hurries along the other side of the street. Tracy looks back, enters her apartment building, digs out her keys. She gets through the door and climbs stairs, disappearing. EXT. CITY STREET -- NIGHT Doe gets out of his car. He looks both ways down the street, walks towards Mills' and Tracy's building. INT. MILLS' APARTMENT, BEDROOM -- LATER NIGHT Mills and Tracy are asleep in their bed. Mills' eyes shift under their lids. Rapid eye movement. A SOUND is HEARD from the other room. Mills awakens. He lays still a moment, then gets up, slowly, reaches to take his gun off the bedside table. He grabs his pants from a chair, slides into them. INT. MILLS' APARTMENT, LIVING ROOM/KITCHENETTE -- NIGHT Mills opens the bedroom door and enters quietly, gun held up. He moves, crouching. In the dark, objects in the room and shadows from windows form complex, confusing patterns. Mills walks between moving boxes, attempting to remain silent. He aims the gun from point to point as he advances. He gets to a closet. Staying on one side, he opens the door and points his gun. He carefully separates the clothing hanging there. Nothing. No one. He turns to look over the room. It's the first time we see it in Mills' eyes -- real fear. The door to the apartment is wide open. INT. MILLS' APARTMENT BUILDING, HALLWAY -- NIGHT Mills moves from his apartment, gun out, into the dark hallway. The coast is clear. He stays low, moves down the hall. He stops, looks up. EXT. MILLS' APARTMENT BUILDING, ROOFTOP -- NIGHT Mills shoves the rooftop door open. It creaks as it swings. Mills moves out, backwards, looking to top the raised rooftop entrance, covering it with his gun. He moves around, sees nothing, walks to the edge of the roof and looks over. INT. MILLS' APARTMENT, BEDROOM -- NIGHT Mills returns to the bedroom, still holding his gun up. He looks at Tracy asleep in the bed. The room begins to RATTLE a little as a subway train is again passing underground. He walks to the window and checks the lock. He halts. He opens the window and reaches out. The rattling is a bit LOUDER. From the fire escape, he picks up a bundle of thorny thistles wrapped with a rubber band. Mills realizes, Doe was here. INT. SAFE HOUSE -- NIGHT The room is plain, like the room Mrs. Gold was kept in. The door opens and Tracy and Mills enter. They look sleepy, carrying suitcases. A uniformed cop closes the door for them. Mills goes to lay a suitcase on a table while Tracy looks around, depressed, distant. The lighting is bad. There are no decorations, no windows. A wide crack runs down one wall. Tracy sits down on the bed. Mills notices her discontent. MILLS It won't be for long, honey. I swear. This is just till this is over. TRACY I know. Mills goes to sit beside her. He puts his hand on her shoulder. MILLS I'm sorry. Tracy nods. She stands, goes to start turning down the covers. TRACY I know. It can't be helped. Mills feels useless, powerless. He goes to the suitcase and starts unpacking the contents. Tracy continues turning down the sheets. INSERT -- TITLE CARD SATURDAY INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- EARLY MORNING The chalkboard: 1 gluttony (x) 5 lust 2 greed (x) 6 envy 3 sloth (x) 7 wrath 4 pride (x) Somerset is seated, holding the photo of the lust painting from the tableau. Mills is behind his own desk. They both look like they haven't gotten much sleep. MILLS There's two people in that painting. So, maybe he's planning to kill two people this time. Maybe. Mills looks at Somerset, who doesn't seem to be listening. MILLS (CONT) What's wrong this morning? SOMERSET Nothing. Sorry. Somerset looks up, sips from a cup of coffee, looks at the photo. Mills swings his chair, looks out the window at the morning light on the billboard. MILLS Lust is next. Lust is sex. SOMERSET Apples on the floor. Original sin. MILLS Adam and Eve. Somerset puts the photo down, leans back, takes out a cigarette. MILLS (CONT) Sex, sex, sex. Fucking sex. SOMERSET Lust is everywhere. That's the hard part. I think lust is the most prevalent sin, even more than greed. Somerset looks at the burning tip of his cigarette. He gets up to stretch his legs. Mills picks up the lust photo, puts his feet up on the desk. MILLS Lust is red. Long pause. SOMERSET Bright red. MILLS Blood red. SOMERSET Red sky at night, sailor's delight. MILLS Red blooded. Red head. Dead. SOMERSET Red light district. Pause. Realization. Somerset and Mills look at each other. MILLS That would make sense. SOMERSET It would be fitting. MILLS You're damn right it would. Mills picks up the phone. EXT. CITY STREETS, PORNO DISTRICTS -- AFTERNOON Porno theaters and Adult Bookstores rule these busy sidewalks. Marquees offer SEXY STUFF, PUSSY FEST and movies like MIDNIGHT PLOWBOY and NATIONAL LAM-PORN'S CHRISTMAS INSERTION. Cops are walking through the pedestrian flow, handing out photocopies. There are many patrol cars on the street. Definitely a larger than usual police presence. Cops are questioning the proprietors of porn at the entrances of their shops and theaters. Cops are taping photocopies onto lamp posts. These photocopies are warnings, with the drawing of John Doe's face above a line of information and the words HAVE YOU SEEN THIS MAN? INT. WILD BILL'S LEATHER SHOPPE -- AFTERNOON Somerset's holding up the composite sketch of John Doe. WILD BILL (O.S.) Yeah, he was here. This morning. Mills and Somerset are across the sales counter from WILD BILL, 37. Wild Bill is shirtless, covered in tattoos. A thick scar runs down his forehead to his bent nose. Leather belts, whips and jackets hang from the walls. MILLS It was definitely him? You're positive? WILD BILL Yeah. John Doe. Easy name to remember. SOMERSET What was this job you did for him? Wild Bill pulls a box from behind the counter, digs in it. WILD BILL I got a picture of it. That's what he came for this morning. I figured he must be one of those art guys... like those guys who piss in a cup and drink it on stage. Performance art. Wild Bill gives a polaroid to Mills. We don't see the image. MILLS Oh, fuck... WILD BILL I think I undercharged him. I was up all night working to finish it. SOMERSET (looks at photo) You built this for him? You built this? WILD BILL I've built weirder shit than that. A BEEL CHIMES as a POLICEMAN enters the store. POLICEMAN Somerset... we have a situation. Mills and Somerset follow the policeman out. WILD BILL Hey, my picture! They're gone. Wild Bill scratches his scar. WILD BILL (CONT) Fucking pigs. EXT. THE HOT HOUSE MASSAGE PARLOR -- AFTERNOON It's a madhouse outside The Hot House. Police action in progress. Cops have formed a barrier, holding off a crowd and creating an aisle to the back of a jail-van. Cops and detectives escort various men, women and transvestites into the large vehicle. The crowd, consisting of the dregs of society, is angry. Some spit and throw trash at the cops. INT. THE HOT HOUSE, RECEPTION AREA -- AFTERNOON An ANGRY COP pounds his nightstick on a glass cage. Inside the cage sits an oily FAT MAN in front of a wall of sex toys. FAT MAN Just wait! COP Get out of the fucking booth! FAT MAN Just wait! I'll come out, just wait! INT. THE HOT HOUSE, CORRIDORS -- AFTERNOON All the lights and walls are red. Mills and Somerset follow a COP through the twisting corridors. ROCK MUSIC THROBS. They reach a door. COP I don't want to go in there again. INT. THE HOT HOUSE, RED ROOM -- AFTERNOON Mills and Somerset enter. ROCK MUSIC CONTINUES, LOUD. A strobe light flashes from the ceiling onto TWO AMBULANCE ATTENDANTS. The first attendant places a sheet over a bed, hiding the corpse of a WOMAN with long blonde hair. The second attendant tries to examine the pupils of a CRAZED MAN, 55, who sits naked on the floor, wrapped in a sheet. A COP holds the crazed man down. CRAZED MAN He... he... he made me do it! SECOND ATTENDANT I have to look at you. I have to look at you. An X is scratched into the red paint on the wall. Mills and Somerset move towards the covered body. There are apples on the bed and floor. The ROCK MUSIC from outside SUDDENLY STOPS. FIRST ATTENDANT You're not going to want to see this more than once. CRAZED MAN He had a gun! He... he made me do it! The sheet is lifted for the detectives. They grimace at what they see. We do not see. Somerset closes his eyes and walks to face a wall, shaken. The first attendant replaces the sheet. Mills steps back, takes out his handkerchief and sucks on it. CRAZED MAN (O.S.,CONT) He made me do it! INT. SANATORIUM, WHITE ROOM -- AFTERNOON A polaroid is on a white table. It is the photo Wild Bill gave to Mills and Somerset. It is a picture of a belt, made with extra leather straps so it can be worn securely around the groin. It is a strap-on phallus, but there is no plastic protuberance. Instead, there is a metal knife. It is a strap- on butcher's knife. Somerset is seated beside the white table in this white room. Mills stands behind him. The crazed man from the lust murder is in a chair across the room. The crazed man is crying. CRAZED MAN And... and... and he said... he asked if I was married. And, I could see he had a gun in his hand. SOMERSET Where was the girl? CRAZED MAN What? What? SOMERSET Where was the prostitute? CRAZED MAN She was... she was on the bed. She was just sitting on the bed. SOMERSET Who tied her down? You or him? CRAZED MAN He had a gun. He had a gun, and he made it happen. He made me do it! He made me put it on... that thing. Oh, God... he made me wear it. He had the gun in my mouth. The man slides off the chair and hides his face in his hands. CRAZED MAN (CONT) The gun was in my throat. Mills looks at the mirror in the room. Somerset stands, picks up the Polaroid as two men in white uniforms enter to collect the crazed man from off the floor. INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- EARLY EVENING Somerset and Mills are shell-shocked, seated at their desks. Somerset is looking out the window. Mills stares at the wall. Somerset looks to his temporary desk. He picks up a small pile of mail, sorts through it. An 8" by 10" manila envelope interests him. It reads DETECTIVE SOMERSET on the outside, handwritten in red marker. He opens it. He takes out a grainy photograph of he and Tracy kissing in his car. It's obviously been taken with a special night-lens. Somerset goes pale, suppressing a gasp. He holds the photo to hide it from Mills, looks to see Mills has not noticed. He feels panicky, crumples the photo and envelope in his hand. INT. PRECINCT HOUSE, MEN'S ROOM -- NIGHT Somerset enters, latches the door. He takes the crushed photo and envelope from his pocket. He quickly checks under the stalls to see he is alone. He opens a window, goes to the sink. He takes out his cigarette lighter, lights the envelope and photo, watches them catch. Once they're burning steady he throws them in the sink. He backs away, leans against the wall, watching, feeling sick. INT. SPORTS BAR -- NIGHT Somerset and Mills sit with a full pitcher of beer between them. The JUKEBOX plays QUIETLY for other customers. The walls of the bar are lined with trophies, ribbons and other victory symbols. SOMERSET There's not going to be a happy ending. It's not possible. MILLS If we get him, I'll be happy enough. SOMERSET No. Face it now. Stop thinking it's good guys against the bad guys in this city. Mills drinks deep, pours more. MILLS How can you say that? Especially after today? SOMERSET You tell me... when you walk into an apartment, and a man has beaten his wife to death, or, a wife murdered her husband in cold blood... and you have to wash the blood off their children. You put the killer in jail. Who won? MILLS If I thought like you, I'd have slit my wrists a long time ago. SOMERSET Where's the victory? MILLS You do your job. Follow the law and do the best you can. It's all there. SOMERSET If we caught John Doe tomorrow, and it turned out he was the devil... if it turned out he was literally Satan, then, that might live up to our expectations. No human being could do these horrible things, right?! But, this is not the devil. It's only a man. MILLS Why don't you shut the fuck up for a while?! Huh? You make these speeches... like you know everything there is to know. Somerset sits back, looking at Mills. MILLS (CONT) You think you're preparing me for the hard times ahead? You think you're toughening me up? Well, you're not! (pause) You're quitting, fine... but I'm staying to fight. SOMERSET Who are you fighting for? People don't want a champion. They just want to keep playing the lottery and eating hamburgers. MILLS What the fuck is wrong with you, huh? What burnt you out? SOMERSET There's no one thing, if that's what you mean. I just... I can't live anymore where stupidity is embraced and nurtured as if it were a virtue. MILLS You're so much better than everyone, right? No one's worthy of you. SOMERSET Wrong! I sympathize completely. Because if you can't win... then, if you don't ignore everything and everyone around you, you go insane. It's easier to smoke crack, and not worry that your wife and kids are starving to death. And, it's so much easier to bear a child till that child finally shuts up, because it takes so much work to love. And, if you bothered to think about the abuse, and the damage, you'd be sad. MILLS You're talking about people who are mentally ill. You're... SOMERSET (cuts in, furious) No, I am not! I'm talking about common, everyday life here. Where Ignorance isn't bliss, it's a matter of survival. MILLS Listen to yourself. You say, "the problem with people is they don't care, so I don't care about people." But, if you're not part of the solution... SOMERSET (cuts him off) People who are in arguments over their heads always use meaningless slogans. But, life doesn't conform to analogies. MILLS You're already here, and you've been here a long time. So, there's a part of you that knows, even if everything you say is true, none of it matters. SOMERSET That part of me is dead. Mills stands. MILLS Fuck you. You want me to agree with you. "Yeah, you're right, Somerset, this place is fucked. Let's go live in a fucking log cabin!" Well, I don't agree with you. You're quitting, and it makes me sick. Cause, you're the best I've ever seen. Mills digs out some money and throws it on the table. MILLS (CONT) Thanks for the beer. Mills leaves. Other patrons watch him go. Somerset takes out a cigarette. He goes to light it. The lighter will not light, and when it does, Somerset's hand is shaking. INT. SAFE HOUSE -- NIGHT Mills comes quietly into the bedroom. Tracy is asleep in the bed. Mills takes off his jacket, puts it down. He sits on a chair and unties one shoe, takes it off. He looks at Tracy, looks at her a long time. He puts the shoe on the floor and goes to get on the bed. He kisses Tracy's forehead, looks at her sleeping innocently. He is touched, saddened. He kisses her cheek, then wraps his arms under and around her. He holds tight, kisses her again. Tracy stirs. TRACY David? Mills his face against her, holding tighter still. MILLS I love you. Tracy holds his face in her hands, sees that he is crying. TRACY David? MILLS I love you. Mills clings to her. She wraps her arms around him as he cries quietly against her, and she kisses him, tries to comfort him. He sobs. EXT. CITY STREETS, INDUSTRIAL AREA -- NIGHT John Doe walks in this section of huge industrial complexes. Factories and foundries are lined side by side, seemingly for miles. We can HEAR TUGBOAT HORNS sounding low and deep. We're near the water. Doe seems to know where he's going. He passes stacks of industrial piping and steel drums piled to the sky. He walks through an industrial junk-yard filled with trashed bulldozers, trucks and discarded factory equipment. It's like a stroll through a bone-yard of dead dinosaurs. At the end of this field of metal, there is a tall, narrow alleyway formed by two warehouses. Doe enters, looking up at the single lit bulb on the wall above. He looks at the ground, picks up a rock and a beaten hubcap, walks under the bulb. He throws the hubcap with all his might. It soars, but misses the bulb, falls to the ground behind. Doe takes aim with the rock. He throws, grunting. The rock smashes the bulb, bringing darkness to the alley. Doe walks back to the mouth of the alley. He stops and turns to start from there. He walks, deliberately, looking down at his feet. FOLLOW as he walks. He stops, looks back to the way he came, then looks down at the ground in front of him again. He takes off his thick glasses. He holds the glasses in his hand. INT. SOMERSET'S APARTMENT, BEDROOM -- NIGHT Somerset is in bed. The metronome is sounding: tick, tick, tick... The SOUNDS of the CITY are LOUD. Somerset closes his eyes, concentrating on the metronome. Tick, tick, tick... A MAN and a WOMAN are HEARD SCREAMING at each other incoherently from outside. Somerset rolls over, restless. Tick, tick, tick... A THIRD VOICE is HEARD from outside. This man is screaming at the other two people to shut up. Somerset opens his eyes, sits up. He reaches over, grabs the metronome and throws it against the wall. INSERT -- TITLE CARD SUNDAY INT. SOMERSET'S APARTMENT, BEDROOM -- EARLY MORNING Somerset sits away from the bed. He's smoking a cigarette. The PHONE RINGS. Somerset gets up, not in the best of moods. SOMERSET (into phone) Hello. TRACY (V.O.) (from phone, upset) Hello, Somerset. It's Tracy. SOMERSET Is everything alright? TRACY (V.O.) Yes. Everything's fine. Could... could you meet me somewhere. To talk. SOMERSET (pause) I don't think that's a good idea. TRACY (V.O.) I need to talk to someone, Somerset. You're the only friend I have here. I don't know anyone else. INT. COFFEE CAFE -- MORNING Somerset and Tracy are seated in a booth by the window. The city's morning rush passes by outside. The cafe is noisy. Tracy is very upset. Somerset is very uneasy. SOMERSET David doesn't know about this? You haven't told him? Tracy shakes her head. Somerset sighs. Long silence. SOMERSET (CONT) I have to tell you, Tracy, I'm not the one to talk to about this. TRACY I just can't think straight. I don't know why I called you, except I can't stand to hold it as a secret anymore. I had to get it out... and I can't tell David yet. Not yet. Somerset takes out his cigarettes, but thinks better of it and puts them away. He watches Tracy stir her coffee. SOMERSET I... I had a relationship once, very much like a marriage. And, there was a baby. A long time ago. Things were good. And I got up one morning, and I went on a case... a murder, like any other. Except it was my first since hearing about the baby. And, I felt this fear and anxiety coming over me. I looked around and I thought, how can I raise a child here? So, that night, I told her I didn't want us to have children, And, over the next few weeks... I convinced her... Tears come to Somerset's eyes. SOMERSET (CONT) I mean, I wore her down... slowly. TRACY I want to have children. But... SOMERSET I can tell you, I know... I'm positive I made the right decision. I'm positive it was the right thing to do. But, there's never a day that goes by that I don't wish I had decided differently. Tracy reaches to hold Somerset's hand, but he withdraws it, wipes his tears away. SOMERSET (CONT) If you... if you decide not to have the baby... if that's what you decide, then never tell Mills you were pregnant. I mean that. Never tell. (pause) Your marriage would just wither, and die altogether. Tracy looks around the cafe, tears in her eyes. SOMERSET (CONT) But, if you decide to have the baby, then, at that very instant, when you're absolutely sure... tell him. Tell him that exact second. And, spoil that kid every chance you get. TRACY Somerset... Somerset stands. He forces a smile. SOMERSET That's all the wisdom I can share with you, Tracy. I barely know you. TRACY Will I see you again, before you leave? SOMERSET Probably not. But, it's probably better that way. Somerset steps away, leaves. Tracy watches him go. EXT. CITY STREET -- DAY Mills and Somerset walk towards the precinct house. They wade through cars to cross the street. SOMERSET I've decided... I want to stay on, till this is over. Till either it's done, or we can see it will never end. Mills remains impassive. MILLS Oh, you want to stay now? SOMERSET One of two things is going to happen. We're either going to get John Doe... or, he will finish his series of seven, and he'll never be found. MILLS You think if you stay you're doing me some big favor? SOMERSET I'm requesting you keep me on as your partner a few more days. You'd be doing me the favor. MILLS You knew I'd say yes. SOMERSET No. I wasn't sure at all. They enter the precinct house. Down the sidewalk, from a distance, comes John Doe. His brown workboots and clothing are splattered with blood. He walks towards the precinct house, hands in his pockets, like he's merely out for a walk on a Sunday afternoon. People on the sidewalk stop upon seeing him, avoiding him. INT. PRECINCT HOUSE, RECEIVING LOBBY/BOOKING -- DAY Mills and Somerset walk past booking cubicles and benches of handcuffed low-lifes. The place is swimming with activity. The two detectives head to a duty desk at the end of the room. SOMERSET As soon as this is over, I'll be gone. MILLS What a great big surprise that is. They pass through a gate and Somerset goes to the staircase leading to the second floor. Mills stops at the duty desk. Other cops are fighting for the DUTY SERGEANT'S attention. MILLS (CONT) Mills and Somerset are on the premises. SERGEANT Wonder-fucking-ful. Mills stops, looks. Somerset stops, looks back down the stairs. John Doe stands inside the precinct house doors. He holds out his arms as if to say "presto, here I am." Near silence comes to the room as all eyes go to the figure of John Doe. Mills is riveted, finding this impossible to comprehend. One UNIFORMED COP takes out his gun, points it at John Doe. UNIFORMED COP It's him! Several other cops drop what they're doing and draw weapons. Mills, still off-balance, walks back through the gate, takes his gun out and points it at Doe. MILLS Get down on the floor. Somerset comes back down the stairs. SOMERSET Be careful! Cops move slowly in on Doe from all sides. ANOTHER COP You heard him! Get on the floor! John Doe gets on his knees, hands up. Mills moves close, but not too. ONE COP comes from behind, nudges Doe with his foot. ONE COP Spread your legs and get your hands out in front of you. MILLS Get down! Face down! John Doe gets on his stomach, obeys. Mills comes right up to Doe, steps on his neck, puts his gun against Doe's head. MILLS (CONT) Don't move. Don't move a fucking inch. Cops frisk and handcuff Doe. Somerset comes beside Mills. SOMERSET I don't believe it. JOHN DOE Hello, Lieutenant Somerset. COP What the hell is this? The cop putting the handcuffs on Doe holds up Doe's hands. Doe winces. Every single one of Doe's fingers has a bandage wrapped around it. John Doe looks up, his face pressed against the floor, glasses askew, Mills' gun at his temple. JOHN DOE I want to speak with my lawyer. INT. PRECINCT HOUSE, OBSERVATION ROOM -- DAY Mills, Somerset and the captain stand in darkness. On the other side of a two-way mirror, John Doe is seated in a restraining chair in an interrogation room. His hands and legs are bound with leather straps to the chair's arm and legs. A strap hold tight around Doe's throat. This is not some superman/serial killer. He looks more like an eccentric college professor. His lawyer MARK SWARR, 43, sits at a table, taking notes. Mills holds a fingerprint card. The black ink prints are just useless blobs with traces of blood in them. CAPTAIN He cuts off the skin of his fingertips. That's why we can't find a single usable print in his apartment. For a long time, he's been cutting before the papillary lines can grow back. MILLS What about the trace on his bank account? The guns? CAPTAIN The orphanage is all we have. His bank account is only five years old and it started as cash. There's no credit history, no employment history. We even tried to trace his furniture. All we know for sure is he's wealthy, well educated and totally insane. We may never know how he got that way. Somerset stands looking in at Doe. SOMERSET Because he is John Doe, by choice. MILLS When do we get to question him? CAPTAIN You don't. This goes to court now. MILLS This doesn't make sense, captain. He wouldn't just turn himself in! CAPTAIN Well, there he sits. It's not supposed to make sense. MILLS He's not finished! CAPTAIN You're wound way too tight on this, Mills. MILLS Somerset... help me out here. Somerset looks at them. Says nothing. CAPTAIN It's over. The captain leaves. Mills is furious. MILLS Damn it, Somerset. You know Johnny's fucking with us. He's pissing in our faces again! SOMERSET Slow up. You and I are, probably for the first time ever, in total agreement. He wouldn't just stop. MILLS Well... what the fuck, man? SOMERSET John Doe's only two murders away from finishing his masterpiece, right? But, can you even conceive of what might happen next? I mean, can you tell me how he's going to go about it? MILLS (pause) No. SOMERSET I can tell you this; I recognize his lawyer. His name is Mark Swarr. He's the one who kept Zero out of prison. (pause) We'll wait for John Doe's plea. INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY Mills is at the desk with his feet up, stares at the chalkboard: 1 gluttony (x) 5 lust (x) 2 greed (x) 6 wrath 3 sloth (x) 7 envy 4 pride (x) Clock on the wall says 4:45. Somerset packs books into boxes, preparing for his eventual departure. The captain opens the door and steps into the office. He clears his throat, looking like there is something very wrong. INT. PRECINCT HOUSE, CAPTAIN'S OFFICE -- DAY Mills and Somerset stand together. The captain is behind his desk with the D.A., Martin Talbot, seated in front of him. Mark Swarr addresses them all, seems nervous, but in control. SWARR My client says there are two more bodies... two more dead, hidden away. He will take Detective Mills to these bodies, but only Detective Mills. Only at six o'clock, today. Swarr wipes his brow with a handkerchief. TALBOT Oh, Christ. MILLS Why me? SWARR He says he admires you. SOMERSET (to captain) This is all part of his game plan. SWARR Mr. Doe claims that if the detective does not accept this offer, the bodies will never be found. CAPTAIN Frankly, counselor, I'm inclined to let them rot. Mills walks up into Swarr's face. MILLS You like what you do for a living? CAPTAIN Back off, Mills. SWARR I'm required by law to serve my clients to the best of my ability, and to serve their interests. Mills eases off. Talbot is agitated, tapping a finger on the gold tooth in his mouth. He looks at Swarr. TALBOT We don't make deals like this. CAPTAIN We're going to have to pass. SWARR My client... he also wishes that I inform you, if you do not accept, he will plead insanity, across the board. TALBOT Let him try. I'd like to see him try! SWARR Come now, Martin. Even he knows, with the nature of these crimes, I could get him off with such a plea. Talbot stands, wringing his hands. Mills and Somerset are looking at each other, thinking it over. TALBOT I'm not letting this conviction slide. I can tell you that, right here and right now! SWARR He says, if you accept, under his specific conditions, he will sign a full confession and plead guilty... right here, and right now. Talbot looks at Swarr with hatred. MILLS I'll do it. SOMERSET Hold on... just a minute. Somerset turns to Talbot. SOMERSET (CONT) If he were to plead insanity... this conversation is admissible. The fact that he's blackmailing us with his plea... SWARR And, my client reminds you, two more people are dead. The press would have a field day if they found out the police didn't seem too concerned about finding them... giving them proper burial. MILLS I'll do it. I want to finish it. Somerset is thinking it through. He looks at Mills. SOMERSET (to captain) Well... let's get the fucking lawyer out of the room, and we can talk about how this whole thing's going to go down. INT. PRECINCT HOUSE, BATHROOM -- LATE AFTERNOON Mills' hand reaches to the sink to pick up a razor. He's shirtless, his chest covered in shaving cream. He starts shaving in front of a mirror. Somerset is behind him, smoking. SOMERSET If John Doe's head splits open, and a U.F.O. flies out, I want you to have expected it. MILLS I will. SOMERSET No emotion. Stay as cold as ice. MILLS I will. Somerset flicks ash in the sink. Mills finishes shaving. He steps away from the sink and wipes his chest off with a towel. MILLS (CONT) (very serious) Listen, Somerset... we've been through a lot together. And, I uh... SOMERSET What is it? MILLS I would like to make sweet love to you. Somerset walks away. Mills laughs. SOMERSET Please... As they leave. MILLS Give me a kiss on the lips. SOMERSET Give me a break. INT. PRECINCT HOUSE, READY ROOM -- LATE AFTERNOON Mills has his shirt off. A female technician, Josie, tapes a radio transmitter and microphone to his chest. Somerset sits nearby at one of the ready room desks. He wears a bullet-proof vest, is just finishing a check of his gun. He's putting the bullets back into it. Josie finishes prepping Mills. Mills presses the adhesive, making sure it will hold. He puts on a shirt and bullet-proof vest, fastens the velcro. Somerset stands, puts the gun in his hip holster. Mills picks up his own gun, checks it, holsters it. He watches Somerset take out a roll of antacids. Somerset pops a few. SOMERSET Ready? MILLS Extremely. They look at each other. Mills holds out his hand. They shake on it. INT. CITY STREET, IN FRONT OF PRECINCT HOUSE -- LATE AFTERNOON The street is full of shadows as the sun is falling low. On the steps of the precinct house, a throng of reporters shifts anxiously. A line of policemen holds them back. The precinct doors open. Martin Talbot arrives, escorted by cops. The press swarm lurches forward, flashbulbs explode. Talbot holds out his hands, quieting them, about to speak. EXT. CITY STREET, AT BACK OF PRECINCT HOUSE -- LATE AFTERNOON Mills' car pulls out of the fenced parking lot. John Doe is seated in the rear. The car speeds up on the street, turns onto an avenue, heading into a canyon formed by tall buildings. At the corner, a car is parked. Somerset is at the wheel. He pulls out, follows Mills' car. EXT. SKYSCRAPER ROOFTOP -- LATE AFTERNOON California is dressed in full battle gear. He looks through binoculars at the city below. The wind blows hard. He turns and runs to a sleek helicopter on the roof's heli-pad, climbs in the side door. The PILOT leans back from the cockpit to hand him a helmet. California dons it, starts strapping himself in so he can lean out the open door. CALIFORNIA Is this wind going to hurt us? The pilot cranks the helicopter's whining engine and the blades start to spin, churning the air. PILOT Just makes the ride a little more fun. California hefts a high-powered automatic rifle as the chopper lifts from the pad and takes off. INT. MILLS' CAR -- LATE AFTERNOON Mills drives, looking to the back seat through the rearview mirror. A steel mesh partition separates front from back. John Doe sits with his hands cuffed. He is dressed in gray pants and a gray shirt. His feet are cuffed to a metal fastener on the floor of the car. Rivulets of sweat pour down his face. He seems wired. MILLS What's your story, Johnny? Who are you, really? Doe pushes his glasses back up the bridge of his nose, looks at Mills' eyes in the rearview mirror. JOHN DOE It doesn't matter who I am. Who I am means absolutely nothing. INT. SOMERSET'S CAR -- LATE AFTERNOON Somerset adjusts the volume on a radio receiver mounted on the dash. He watches the road ahead, tailing Mills. MILLS (V.O.) (from receiver) What's your deal? You seem pretty fucking nervous. JOHN DOE (V.O.) (from receiver) I want this to go well. It's very important to me, obviously. INT. POLICE HELICOPTER -- LATE AFTERNOON The chopper hovers amongst skyscrapers. California and the pilot are listening, through their helmet headsets. MILLS (V.O.) (from headset) You want this to go well? What is this? JOHN DOE (V.O.) (from headset) Turn right on this street. Stay in the left lane. California leans out the chopper door, using his binoculars. EXT. CITY STREET -- LATE AFTERNOON Mills' car weaves through traffic. Somerset's car isn't far behind, goes through a red light, barely missing a truck. Other cars blow their horns. INT. SOMERSET'S CAR -- LATE AFTERNOON A cellular phone on the passenger side is BEEPING. Somerset pushes a button on the phone's panel. He puts on a headset/telephone, speaks into the mouthpiece. SOMERSET I'm here. CALIFORNIA (V.O.) (from headset) Downtown and moving west. Looks like you're going to be crossing water. SOMERSET If we're on the bridge, you keep your distance. You hear me? INT. POLICE HELICOPTER -- LATE AFTERNOON The helicopter hovers steady. California stows his binoculars. SOMERSET (V.O.) (from headset) Cross the river before us if necessary. CALIFORNIA You got it. California taps the pilot's helmet. EXT. CITY SKY -- LATE AFTERNOON The helicopter dips, flying like a bullet over the city skyline, heading towards the river and the setting sun. EXT. CITY STREETS -- LATE AFTERNOON FROM HIGH ABOVE, we see traffic on the highway at the polluted river's edge. Cards and trucks move like blood through veins. DOWN CLOSER, we can see Mills' car in the flow. The car turns into a lane of traffic on its way to the huge suspension bridge. Somerset's car is in close pursuit. UNDER THE BRIDGE, the police helicopter travels close to the water, moving parallel to the bridge, but low, so that it's out of the sightline of the vehicles above. INT. SOMERSET'S CAR -- LATE AFTERNOON Traffic is bumper to bumper. Somerset moves his headset mouthpiece to smoke a cigarette. He steers onto the bridge, under the massive girders. MILLS (V.O.) (from receiver) For us to go pick up two more dead bodies, and have that be the end of it... just seems too boring for you. INT. MILLS' CAR -- LATE AFTERNOON Beyond the crest of the bridge, the sunset is crimson. MILLS Wouldn't be sensational enough. JOHN DOE Wanting people to pay attention, you can't just tap them on the shoulder. John Doe strains to turn, looks out the back window. JOHN DOE (CONT) Sometimes you have to hit them in the head with a sledgehammer... and then you get their strict attention. MILLS What are you looking at, Johnny? JOHN DOE Looking back... at the city proper... Doe situates forward, holds his hands in front of his face, looking at his bandaged fingers. JOHN DOE (CONT) And yet, no pillar of salt. (smiles to himself) Lost on you, isn't it? You've never read the Bible, have you, David? MILLS I remember a lot of people reading it at me when I was a kid. I preferred the classic comic version myself. This is an affront to Doe, angers him. Mills sees it, likes it. MILLS (CONT) I used to have "Godspell" on an eight- track tape. Does that count? Doe leans forwards, fury building in him. JOHN DOE You make me sick. MILLS Sit back, freak. Mills slams his fist against the partition. Doe sits back. JOHN DOE (under his breath) Ignorant heathen. MILLS Right, right. I forgot. You think these murders were for God. Right? (pause) I'm asking you seriously. You really think what you did was God's good work? Doe looks out the window at other cars, refuses to answer. He's pressing the tips of his forefingers into his thumbs, causing blood to drip from under the bandages. JOHN DOE The Lord works in mysterious ways. EXT. CITY STREETS, INDUSTRIAL AREA -- NIGHT It's getting dark. We've been in this section of factories before, with John Doe. The police helicopter soars overhead. INT. POLICE HELICOPTER -- NIGHT California's looking down, wearing night-vision goggles. INSERT -- CALIFORNIA'S P.O.V. -- THROUGH GOGGLES The goggles allow California to see clearly into the maze formed by buildings, yards and worksheds below. No one in sight. CALIFORNIA (O.S.) Fuck, man... there's about a thousand places to be ambushed out here. INT. SOMERSET'S CAR -- NIGHT The headlights are off. Mills' car's red brake lights are far ahead on this industrial road. CALIFORNIA (V.O.) (from headset) I don't see anything... not yet. SOMERSET (in mouthpiece) A quick sweep is all we get. Clear out now. You're right in front of us. Somerset reaches to turn up the volume on his radio receiver. Mills is HEARD SINGING "Jesus Christ Superstar," loud. Somerset allows a very faint smile. INT. MILLS' CAR -- NIGHT Mills drives along, singing. MILLS Jesus Christ, Superstar... who in the world do you think you are? Jesus Christ, Superstar... Doe's in the back seat, trying to bear it, steaming. EXT. INDUSTRIAL SKIES -- NIGHT The chopper goes high, away, over the industrial area. It moves to the other side of the factories and settles in low over the river. INT. SOMERSET'S CAR -- NIGHT Mills' tune comes to a conclusion. Somerset slows the car as he sees Mills' brake lights go on ahead. JOHN DOE (V.O.) (from receiver) We can walk from here. SOMERSET (in mouthpiece) You stay out of this unless I call you in, California. Understand? CALIFORNIA (V.O.) (from headset) You're in charge. Somerset takes off the headset/phone, stops the car. EXT. INDUSTRIAL ROAD, AT SOMERSET'S CAR -- NIGHT Somerset gets out. He looks through binoculars. INSERT -- SOMERSET'S P.O.V. -- THROUGH BINOCULARS Mills' car has stopped under the lights of a junk-yard. Mills gets out. He walks to unlock the passenger door. MILLS (V.O.) (from receiver) Alright, Somerset. Going for a stroll. AT MILLS' CAR Mills opens the passenger door. Doe looks out. MILLS Lean on your side. Hands behind your head and lock your fingers together. Doe obliges. Mills moves to unchain Doe's feet, cautious. INSERT -- SOMERSET'S P.O.V. -- THROUGH BINOCULARS Mills lets Doe out. Doe does a deep knee bend to loosen his legs. Mills takes out his gun. MILLS (V.O.) (from receiver) Where are we going? Doe points with handcuffed hands, at a path through the junk- yard, towards warehouses. Mills motions with his gun. MILLS (V.O.,CONT) (from receiver) Lead the way. Doe starts walking. Mills follows, keeping the gun on Doe. We lose sight of them behind the junk-yard's massive pieces. AT SOMERSET'S CAR Somerset lowers his binoculars. He gets back in the car, leaves the lights off, drives slowly towards Mills' car. EXT. INDUSTRIAL AREA, JUNK-YARD -- NIGHT Mills follows Doe past rusting collections of machines. We took this walk with Doe before, through this metallic bone-yard. JOHN DOE It's right this way. Mills is on edge. His eyes search the towering, twisted junk. Sharp edges reach for the sky. Glass breaks under their feet. MILLS So far, so good. SOUNDS of BOATS on the river can be HEARD. Doe's heading for the alleyway created by two warehouses beyond the junk-yard. Doe nears the alleyway. It is pitch dark. Doe stops before entering, turns to Mills. JOHN DOE In here. Mills steps up, keeping his distance from Doe. He can't see a thing in the blackness ahead. MILLS You go first. Doe faces the alley. He starts walking. We MOVE with him as he goes. He's counting silently to himself, moving his lips. Mills walks behind Doe, keeping a sharp eye out in all directions. He's about ten feet behind Doe, keeping his gun trained on the back of Doe's skull. MILLS (CONT) Tell me where we're going. Doe continues walking, counting his steps, a bit quicker. INT. SOMERSET'S CAR -- NIGHT Somerset has pulled along Mills' car, at the junk-yard. MILLS (V.O.) (from receiver) Slow down, Johnny. Stop right there. (pause) I said stop! EXT. WAREHOUSE ALLEYWAY -- NIGHT Doe walks on. Mills is behind, walking to close the gap. We can HEAR the faint SOUND of RUSHING WATER. MILLS I'll blow your head off right now! Doe stops abruptly. He spins on his heels, facing Mills. Mills is getting closer, pumped, ready to pull the trigger. Doe reaches up with his hands, takes off his glasses. He holds them in one hand. The SOUND of the WATER is LOUDER. Mills is about six feet from Doe, and knows something's wrong. John Doe smiles. MILLS (CONT) What... Doe takes one step backwards and falls, straight down, disappears in the blink of an eye. MILLS (CONT) No! INT. SOMERSET'S CAR -- NIGHT Somerset looks towards the far off alleyway, horrified. MILLS (V.O.) (from receiver) Motherfucker! No! INT. WAREHOUSE ALLEYWAY -- NIGHT Mills stands facing the open manhole cover Doe disappeared into. A torrent of water rushes by underground. Mills fires a few futile shots into the water, out of his mind with rage. He pulls back the top of his bullet-proof vest, exposing the microphone. MILLS He's gone, Somerset! He's in the water! EXT. INDUSTRIAL ROAD, SOMERSET'S CAR -- NIGHT Somerset leaps out, takes out his gun. FOLLOW as he runs into the junk-yard as fast as he can. MILLS (V.O.) (from receiver) I'm going in! INT. POLICE HELICOPTER -- NIGHT The chopper's over the river. California listens intently. MILLS (V.O.) (from headset) I have to go in after him! STATIC CRACKLES LOUD in his headset, then it GOES DEAD. California grips his mouthpiece. CALIFORNIA Somerset, what's going on down there?! INT. UNDERGROUND WATERWAY -- NIGHT An underground pipe-way. Mills tries to swim, is mostly carried in the flow. He's battered against the sides of the pipe, holding his breath desperately. EXT. INDUSTRIAL JUNK-YARD -- NIGHT FOLLOW Somerset as he charges onwards through the junk-yard, stumbling over pieces of metal. He runs towards the alleyway. INT. UNDERGROUND WATERWORKS -- NIGHT WATER ROARS. A square pool of water churns. A moment, then Mills rises, gasping, choking. He's disoriented, furious, waving his gun, expecting Doe to be right on top of him. No one around. Mills looks. This is some sort of unmanned water switching station. the walls are covered in catwalks, drainage pipes and tunnels. Some tunnels and pipes spew water down into the central pool, others are sealed shut. Mills pulls himself from the central pool to a concrete spillway. He stands up, searching. Doe could be anywhere. MILLS Come on, Johnny! I'm right here! INT. UNDERGROUND WATERWORKS TUNNEL -- NIGHT There is a plastic bag with an automatic pistol and extra clip inside hanging from a protruding shut-off valve. John Doe's hands tear the bag open, taking the contents. EXT. WAREHOUSE ALLEYWAY -- NIGHT Somerset enters the alley, short of breath. He points his gun in front of him, fearful. Moving slowly. SOMERSET Mills! INT. POLICE HELICOPTER -- NIGHT California is enraged, looks towards the pilot. CALIFORNIA God damn it! Let's do something! PILOT Somerset said wait! CALIFORNIA Fuck that! Let's go! PILOT Where? CALIFORNIA I don't know! Just go! INT. UNDERGROUND WATERWORKS -- NIGHT Mills climbs onto a catwalk. He passes tunnels, looking down each, intense, ready to kill. A waterfall flows and over the other end of the catwalk. Mills stands, looking over the railing at the central pool and other tunnels. He points his gun and fires into a far tunnel. MILLS Come on! Let's do it! You and me! A figure appears in the center of the waterfall behind Mills. MILLS (CONT) I'm not going to let you win this! John Doe steps out of the waterfall, putting on his glasses. He seems calm, unloads his gun into Mills' back... BLAM, BLAM... Mills twists, blown forward by the bullets slamming into his bullet-proof vest. BLAM, BLAM, BLAM... he stumbles, trying to turn and fire back, but bullets strike him down and he falls to the floor of the catwalk, gun falling from his hand. CLICK. Doe's gun is empty. The gunshots echo. Mills lays there on his stomach, pounded, blacking out, the hot bullets in his vest smoking and sizzling from the water splashing them. Doe moves quickly, starts searching Mills' pockets. EXT. WAREHOUSE ALLEYWAY -- NIGHT Somerset comes upon the open manhole. Water rushes by. SOMERSET Christ. INT. UNDERGROUND WATERWORKS -- NIGHT The central pool bubbles, undulating. Somerset surfaces, inhaling, bringing his gun up. He looks. No one in sight. SOMERSET Mills! Pull out! His voice reverberates, barely heard against the roaring water. he swims to the edge, climbs out. He walks, looking... SOMERSET (CONT) (pleading) Pull out now! Somerset looks up, and freezes up on seeing -- -- Doe's handcuffs hang, swinging, on the rail of the catwalk above, with Mills' radio transmitter and wire tied to them. EXT. INDUSTRIAL JUNK-YARD -- NIGHT Somerset runs to his car, driven, gasping for breath, still soaking wet. He stops for one second, looks. Not too far away, the police helicopter flies low to the ground, turning in wide circles. Somerset climbs into the car, starts it up. He drives away, leaving his lights off. The engine protests loudly, forced to its limit. The car disappears in darkness. The police helicopter circles, useless. EXT. ABANDONED CHURCH/ORPHANAGE -- NIGHT The church stands elegant at night, when its decayed state is partially hidden. Small shafts of light escape from holes in the facade and just into the blackness. Somerset is out of his car. He strides towards the church, checks his gun as he goes. FOLLOW with him, getting closer to the church. He climbs the stairs. Somerset steps up and kicks the church doors open, met by a tremendous blast of light -- INT. ABANDONED CHURCH -- NIGHT Flickering orange light from hundreds of once tall orange candles, now burnt low. They greet Somerset, in the church's old candle racks, on the floor, on the altar and all through out the pews. Somerset's eyes try to adjust to the light. He holds his gun ready, walks down the long center aisle. JOHN DOE (O.S.) Hello, Somerset. Doe sounds far, his voice echoing from the front of the church. SOMERSET Where's David? JOHN DOE (O.S.) He's here. With me. SOMERSET Tell me what you want. Somerset can see through the heat warp. Doe stands facing him from the altar. JOHN DOE What do I want? The same you... I want an ending. Stay where you are. Put your gun on the floor and slide it all the way down here. Somerset obeys, bends, slides the gun down the aisle till it hits the bottom altar stair. He keeps walking, slowly. SOMERSET I want to see him. Show me Mills. On the altar, Doe is sweating hard, standing over Mills. Mills is slumped forward on the floor, unconscious. His bullet-proof vest has been removed. Mills' hands are tied tight together in front of him, tied to one end of the thick rope suspended from the ceiling. Doe holds the other end of the rope, has his gun tucked under his belt. JOHN DOE You're an intelligent man, Somerset. You understand what you're a part of, don't you? When this is finished, it will seem surreal, but it will be a whole, crystalline reality. And, no one will be able to deny it, no matter how hard they try. Doe's voice is thick with passion. Somerset is about halfway down the aisle, still moving. SOMERSET You're a murderer. That's all. The only way you've distinguished yourself is by your particular brutality. Doe walks across the altar. JOHN DOE You know that's not true. You know. SOMERSET You're killing innocent people, and I should admire you? You're doing it because it gives you pleasure. That's the only purpose... your sick pleasure. Doe picks up a container of gasoline, looks out at Somerset. JOHN DOE Stay where you are! Somerset stops. JOHN DOE (CONT) I won't deny my personal desires. I won't. Doe begins dousing Mills with gasoline, covering Mills' body and clothing. Mills stirs, coming to. He coughs, choking on the gas and fumes. JOHN DOE (CONT) But, I don't mourn the victims in this any more than I mourn the thousands who died in Sodom and Gomorrah. Somerset looks fearful. He starts approaching again. SOMERSET All you've done is cause more misery and pain! You've given people all the more reason to believe there is no God! Somerset eyes his gun at the bottom of the stairs. Doe sees Somerset moving, throws the gas can away, takes out his gun. Doe walks to the edge of the altar, all the time holding his end of the rope. JOHN DOE Stop! Somerset is twitching with anger, looking at the gun about fifteen feet in front of him. Mills manages to look up, weak, his eyes barely able to open because of the stinging gasoline. MILLS Somerset? Doe takes one step down off the altar. Somerset is still edging forward, hands out away from his body. SOMERSET Do you really think I'm just going to let this happen?! You think I'm going to let him die? JOHN DOE Yes. Doe fires his gun and the bullet slams into the front of Somerset's bullet-proof vest. Somerset flies back, knocking over a rack of candles on his way to the floor. Doe walks quickly back onto the altar. MILLS Motherfucker! Mills tries to grab at Doe as he passes, but Doe turns and kicks Mills in the ribs. Mills cringes in pain. Somerset lays in the aisle, on his stomach, gasping. He can't catch his breath, his twisted face pressed against the floor. JOHN DOE How can you speak of God, Somerset? When was the last time you spoke His name? Mills tries to rub the gas out of his eyes with his bound hands. His mind works feverishly. He looks around to see where he is, then he searches the floor. We can see, inside his open shirt, the bleeding, upside-down cross Doe has cut into his chest. Doe walks back to shout angrily down at Somerset. JOHN DOE (CONT) When did you last speak His name? Was it in prayer? Or, did you say the Lord's name after you stubbed your big toe? Or, did you use His name to curse another man? Somerset holds his chest, blinking, trying not to black out. Mills finds a piece of broken stained glass on the floor. He picks it up, palms it, still choking on gasoline. Doe walks over to the statue of Saint Jerome Emiliani, pulling the rope from above so it goes taut and Mills' arms raise above his head. Doe wraps the rope around Emiliani's arm. MILLS I'm going to kill you, Johnny. I'm going to see you dead. Doe begins twisting the loose end of the rope around the statue. JOHN DOE The irony, David, is that you policemen and I want the same things. But, you are so short sighted. In this city, where you can see a deadly sin on every street corner... and in every home, we want repentance. Mills clutches the glass piece and starts cutting the rope just above his hands. JOHN DOE (CONT) We want good over evil. We want values instilled in the children. We want a world where a man or woman can lead a decent life. (pause) Wisdom, understanding, counsel, fortitude, knowledge, piety, and fear of the Lord. Such simple concepts. Why are they non-existent? Somerset manages to life his head, struggles to his knees. SOMERSET (weakly) Let him go, God damn you. Doe checks to make sure the rope around Saint Emiliani is secure, tightening the knots. JOHN DOE There were two men once, who had wonderful gardens. Two gardens of flowers that went on as far as the eye could see. Beautiful gardens... the fragrance was inspiration in itself. Doe stands behind Emiliani, heaves against the statue. Mills watches, gritting his teeth, rubbing the glass against the rope, fingers bleeding. JOHN DOE (CONT) But, both gardens were beset by problems. Weeds started to take root, and there were infestations of insects and diseases. The gardens started to turn putrid. And, one man fought to save his garden, because he could never forget how it once was. Everyday he cut the weeds, and killed the insects. Fought the diseases. Doe finally topples the statue, down the altar stairs, and the other end of the rope pulls Mills upwards, screaming in pain. Mills is held, about eight feet in the air, legs dangling. JOHN DOE (CONT) That man never had a beautiful garden again. MILLS Fuck you! JOHN DOE The other man plowed his garden under. (pause) He plowed it under the soil. He started over. Somerset gets to his feet, steadying himself on a pew. Doe walks across the altar, picks up a long metal pole with a thick wick and candle snuffer on the end. He lights the wick from a near candle. The flame burns long and thin. He looks down at Somerset, takes out his gun. JOHN DOE (CONT) Stay there, Somerset. Or, I'll kill him right now. Doe holds the flaming pole up, near Mills. Somerset stops. He looks up at Mills. Mills is straining. He nods to Somerset, and Somerset sees Mills cutting at the rope. SOMERSET Alright... you don't have to do this, John. You've already made your point. JOHN DOE Do you think I chose this? Can you even begin to understand how painful my existence has been? It's like... like having every sense heightened beyond comprehension. Doe lowers the flame, standing below and beside Mills, with his attention focused on Somerset. JOHN DOE (CONT) So that the stench of the street coats your throat like bile. So, sugar is so sweet it... it makes your bones ache to the marrow. SOMERSET You're insane. That's why. JOHN DOE (seething) No! You're wrong! Mills continues cutting, bleeding, almost through the rope. He begins to swing his feet slightly, his body swaying. JOHN DOE (CONT) I was chosen. And I've wished a thousand times I could have been a normal man. Like David Mills, a common man... with a common life. But, wishing that is my sin. I can't have it and I shouldn't. Doe steps towards Mills. SOMERSET Don't do this! JOHN DOE I meant what I said. I admire David Mills. I envy David Mills. (pause) Envy is my sin. SOMERSET No! Just as Doe is to put the flame to Mills, the rope is finally cut through. Mills drops, swinging his legs forward, smashing Doe in the face, knocking Doe's glasses off. Mills hits the floor with a thud. Somerset runs forward. SOMERSET (CONT) David, get out! Doe has fallen back, dropping the metal pole. Mills scrambles to his feet and charges at Doe, shouting. Doe squints, screaming, raises his gun. Fires twice! The bullets catch Mills in mid-run, and carry him off his feet, backwards. Somerset grips his own gun, just as Mills' body falls, tumbles off the altar area and down the stairs in front of him. SOMERSET (CONT) No! Somerset lets out a scream of pain and rage that chokes in his throat. He falls to his knees and halts Mills' body. Somerset's shaking, unable to breathe, turning Mills over and cradling his head in his arms. Tears come to his eyes. SOMERSET (CONT) David... David? Please... On the altar, Doe throws his gun away. he starts feeling around him, unsteady, looking for his glasses. Mills' eyes are closed. He is still, bloody. He swallows. With one gasp, without a word, he is dead. Somerset looks up at Doe, vision blurred by rage and tears. Doe stands, putting on his glasses, faces Somerset. Somerset lays Mills' body down. Stands, walks up towards the altar, raises his gun. SOMERSET (CONT) You. Doe stands, quaking, teeth clenched, fists balled up. He waits for the bullets, falls to his knees. The gun trembles in Somerset's hand as Somerset brings the barrel to Doe's face. A millisecond's pause. Somerset changes the angle of fire. BLAM, he blows John Doe's arm to pieces in a splattering explosion. Doe screams, falling back, on the altar floor. VIEWED FROM FAR BACK IN THE CHURCH The entire church with its candles frames the torture: Somerset walks to where Doe flops horribly, bleeding. Somerset aims, shoots Doe in the leg. Doe screams, rolling, trying to crawl away, knocking over candle racks. Somerset follows. He shoots Doe's other leg. He shoots Doe in the other arm. Flames begin to rise and spread quickly amongst the pews. Doe continues to spasm, wrenching, hand slapping the bloody floor. BLAM, BLAM, BLAM. Somerset steps back from Doe, overturns a rack of candles on top of him. He steps away. Watching. Flames begin rising on Doe's clothing. CLOSE ON JOHN DOE'S FACE Doe's face, covered in blood, twisted in agony, helpless, flames rising. He continues screaming. His glasses crack from the heat. EXT. ABANDONED CHURCH/ORPHANAGE -- NIGHT Smoke billows from the windows. The fire is moving quickly, ravenous. It's just starting to light up the night. From the front door, Somerset walks weeping, carrying Mills' body in his arms. INT. ABANDONED CHURCH -- NIGHT The seven deadly sin tableau burns. Flames cause the paint to bubble and blacken. Gluttony, greed and sloth are already halfway gone. Flames eat at pride, lust. Wrath and envy are being consumed. Wrath goes last. A man with bloodied hands, in tones of blue. Flames devour it. EXT. CEMETERY -- DAY A field of blue. Cops in orderly rows. The funeral of David Mills. Many police officials and politicians stand in tribute. Somerset is here, in his dress blue uniform. He stares forward, still numb, beaten. Rifles are raised by a corps of riflemen. Blanks explode from the barrels. They reload in unison. Somerset looks towards the grace where Mills' casket lies under an American flag. Tracy is there. Tracy stands surrounded by strangers at the grave-site. Her head is lowered. She cries. Each blast of the rifle salute causes her to react with a start. EXT. CEMETERY -- LATER DAY The funeral is over. Somerset stands at the edge of the graveyard, looking at the distant city. Behind him, the mourners are still filing out to their cars. The captain approaches. He comes to stand beside Somerset, similarly solemn. CAPTAIN I don't know if I should do this. (pause) We found the motel room Doe must have been staying in after you found his apartment. Somerset hasn't acknowledged the captain, still looking away. CAPTAIN (CONT) Anyway... we found this in his belongings. The captain takes out a sealed envelope. Somerset takes it. On the envelope: DETECTIVE SOMERSET, handwritten, in red marker. EXT. MILLS' APARTMENT BUILDING -- DAY Tracy and Somerset stand near a moving truck in front of the apartment building. MOVERS carry Tracy's belongings to the truck. Mills' car is attached to be towed behind. SOMERSET I wish I could say something... (pause) Something to... I don't know... TRACY I'll be okay. Somerset nods. SOMERSET We'll keep in touch. I'll come visit. TRACY I'll write to you when we get there. SOMERSET Take care of yourself. (pause) Take care of the baby. Tracy nods. There's nothing left for them to say. They're both empty. It's time for them to give a gesture, a kiss, or a hug, to say goodbye, but neither makes the first move. MOVER That's all, Mrs. Mills. We got everything. Movers latch up the back of the truck while the driver climbs in and fires up the engine. SOMERSET Goodbye, Tracy. TRACY Goodbye, Somerset. Somerset walks away. Tracy walks away, gets in the passenger side of the moving truck. EXT. CITY STREET -- LATER DAY Sidewalks jammed with people, hurrying. Somerset walks in a fog, hands in his pockets. He stops at a corner, but does not cross. He stands there, looks up. At the city around him. The buildings towering over him. At the cars, buses and taxies racing in the streets, blowing their horns and spouting soot. Somerset reaches into his jacket pocket, takes out the envelope from John Doe. He studies it in his hand. SOMERSET (to himself) Oh... man... He opens it. He takes out a small note, handwritten. It reads: PLOW THEM UNDER. Somerset looks up again, mortified, fighting to keep control of his emotions. He looks around: At the miserable people, walking past him. At a man at the top of the subway station stairs, sitting in a cardboard box, holding out a cup, rattling the change inside. A father passes by, holding his young son's hand. Somerset turns to watch them as they pass. The gather reaches to pick the boy up and carry him. The boy holds tight. For some reason, this makes Somerset ache with sorrow. The father hugs his son to him, kisses him on the cheek. The boy returns the kiss, with great affection. Somerset watches them disappear in the mass of humanity. He looks back at the note in his hand. He tears the note up, into little pieces. INT. MOVING TRUCK -- DAY The truck moves along in steady traffic. Tracy sits beside the driver. She looks out at the city across the river. She reaches into her pocket, takes out a small manila envelope. She opens the envelope and slides two keys on a keychain out into her palm. She's looking at the keys when she notices something about the envelope. She reopens it, takes out a small folded piece of paper. She unfolds it: It is the piece of wallpaper with the pale rose at its center. She smiles very faintly. EXT. PRECINCT HOUSE -- EARLY EVENING Cars roll by in the street. Cops come and go. Somerset walks up the stairs into the precinct house. END 
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+                                    SEMI PRO                                  Written by                                Scot Armstrong                                                           June 2006                       FADE IN:          EXT. THE STAPLES CENTER - PRESENT DAY          We hear the faint sounds of a crowd cheering on Kobe Bryant.          The real Bob Costas does narration.          BOB COSTAS (V.0.)          Before the NBA was the NBA, there          was another basketball league in          America...          DOCUMENTARY FOOTAGE: This is real ABA footage. A series of          great plays are made by ABA stars.           BOB COSTAS (V.0.)          .From 1967 to 1976, there was the          American Basketball Association. A          maverick minor-league that would          change the game forever. The ABA          made the fast break FAST...          Invented the three point shot...          And introduced the world to          something called the Slam Dunk          Contest.          DOCUMENTARY FOOTAGE: Dr. J launches from the foul line and          dunks in the world's first dunk contest. David Thompson          finishes an Alley Oop.          BOB COSTAS (V.0.)          Singer Pat Boone owned the Oakland          Oaks. Wilt Chambelain coached the          Conquistadors. I myself was the          young voice of the St. Louis          Spirits.          DOCUMENTARY FOOTAGE: A young Bob Costas broadcasts from St.          Louis, looking pretty sweet in side burns and a tweed jacket.          BOB COSTAS (V.O.)          Players like Dr. J, Ice-man George          Gervin and Moses Malone were as          entertaining as they come. But          despite the league's flair,          convincing fans to show up for          games was often a struggle.          DOCUMENTARY FOOTAGE: The infamous TV interview where Freddy          Lewis wins a 'race horse.' Footage of 'Dime Beer Night.'          Footage of the Kentucky Colonials fielding a cheerleader as          one of their starting five.                                                  2.          BOB COSTAS (V.0. )          For owners, promotional ideas          became an art form all to          themselves.          DOCUMENTARY FOOTAGE: The Miami Ball Girls dance in bikinis          (In truth, some of the girls were still in high school).          BOB COSTAS (V.0.)          One night, the Nets went as far as          to give a free gerbil to it's first          fifty fans... There were plenty of          punches too, giving the National          Hockey League a run for it's money.          DOCUMENTARY FOOTAGE: A guy elbows Connie Hawkins, who turns          and punches the guy in the face.          BOB COSTAS (V.0.)          Yes, the ABA had a style all it's          own. The hair was big, the shorts          were short and the ball was red,          white and blue.          DOCUMENTARY FOOTAGE: Harry 'The fat Mexican guy' dances.           BOB COSTAS (V.0.)          In 1976, rumors of a merger spread          throughout the league. In the end,          only four teams would join the NBA          and survive.          QUICK CUTS: THE PACERS. THE NUGGETS. THE NETS. THE SPURS.          BOB COSTAS (V.0.)          Teams like the Kentucky Colonels          and the Virginia Squires would          disappear forever. But their spirit          still lives on to this day.          EXT. A BASKETBALL STADIUM - 1976          We hear a crowd going crazy.          BOB COSTAS (V.0.)          Here, we present the legend of the          ABA... Exactly as it happened.          Some FUNKY MUSIC plays.          BOB COSTAS (V_O_)          Except, this Flint Michigan team          never existed.                                                  3.          (BEAT)          And, well, everything in this movie          is completely fake.          INT. AMIGO STADIUM - DAY          TITLE CARD: ANAHEIM AMIGO STADIUM, 1976.          CLOSE ON: A logo of a basketball with a sombrero on it.          "LET'S GO AMIGOS!"          Welcome to the American Basketball Association. A fan chugs          his beer and throws some guacamole.          The crowd screams and curses at MONIX, mid 40'S -- talented,          but past his prime. (There are three leading characters in          this movie. This is the old rock. Think Nolte in 48 hours.          Cosner in Durham. Newman in Slap Shot).          LIVE ABA RADIO (V.0.)          The Amigos are up by one here.          They'll need to find a way to stop          Monix. He checks the clock,          waits... And now drives the lane...          MONIX suddenly takes a HUGE HIT, TOTALLY SLAMMED by a big          asshole, PETRELLI. He flies into the crowd -- everyone          erupts, screaming with glee.          LIVE ABA RADIO (V.0.)          Ooh, Monix gets taken out hard.          Some tough love from Patrelli.          LOU REDWOOD (V.0.)          WHAT!? Where's the foul on that?          That was all ball.          (covering mic, screaming)          Jesus Christ Leonard! Let them play          for once! This ain't fuckin'          Greenpeace!          LIVE ABA RADIO (V.0.)          Some might say that was a close          call, but these referees have done          a nice job tonight.          LOU REDWOOD (V.0.)          'Oh please. These refs SUCK.          Still stuck in the crowd. Monix struggles to get back on the          court. The crowd shoves him around, twisting his ankle,          slapping him. The crowd is nuts.                                                  4.          DRUNK LADY          Hey Monix, want a sip?          Monix is confused, until the woman throws the beer in his          face.          DRUNK LADY          (smart ass)          Oops.          She and her friends laugh. Monix says nothing. Instead, he          holds his aching back and limps up to the foul line, annoyed.          PATRELLI          (SMILING)          Sorry, Monix, I got pushed.          LIVE ABA RADIO (V.0.)          Well, it looks like the Amigos are          in trouble here. Monix is a ninety          percent shooter, if he can hit both          of these free throws, it's over.          Monix performs his ancient free throw ritual: Three dribbles          and a quick spin of the ball. But he MISSES.          DRUNK LADY          HA. NICE SHOT MONIX! YOU FUCKIN'          SUCK, MAN! YOU SUCK DONKEY DICK.          Again, Monix ignores the drunk lady.          LIVE ABA RADIO (V.0.)          They dodged a bullet there. But          Monix still has one last chance to          tie it up.          Monix focuses on his ritual again.          DRUNK LADY          WHAT ARE YOU WAITING FOR? SHOOT THE          BALL YOU PUSSY!          Monix aims at the basket, about to shoot, but then suddenly          WHIPS THE BALL HARD AT THE LADY, PEGGING HER IN THE FACE.          DRUNK LADY          AHH!          LIVE ABA RADIO (V.0.)          (re: nailing the girl)          And the second free throw sails          wide.                                                  5.          LOU REDWOOD (V.0.)          Yes! He just pegged a chick! That's          the greatest thing I've ever seen.          The lady runs on court and attacks Monix, her boyfriend jumps          in -- Monix hits her boyfriend with some quick hockey          punches. The benches clear, everyone is punching everybody.          LIVE ABA RADIO (V.0.)          (re: violent fist fight)          And we've got a little bit of          pushing and shoving under the          basket. What do you make of this,          Lou?          LOU REDWOOD (V.0.)          I'm goin' in.          Lou Redwood takes his headphones off, climbs over the          announcer's table and jumps into the fight.          LIVE ABA RADIO (V.0.)          Alright then.          (BEAT)          More on this Amigo victory, right          after this message from Colt 45.          INT. LOCKER ROOM - LATER          Monix is beat up pretty bad. He dabs his cut with toilet          paper.          SCHNACK (O.S. )          Want one?          SCHNACK, the owner, carries a six pack of Schlitz.          MONIX          I'll take two.          Schnack hands them over. Monix might speak, but he drinks          instead.          SCHNACK          So, Monix. The trade went through.          MONIX          Really?          (BEAT)          For who?                                                  6.          SCHNACK          You know, you're not exactly a          spring chicken anymore...          MONIX          Just tell me.          SCHNACK          That score board.          ANGLE ON: Pieces of an old scoreboard are crammed into the          back of the locker room.          SCHNACK          It's a Magnovox.          (BEAT)          Tell me: What the Hell did you want          to get traded back to Flint for, of          all places? Please tell me this          isn't about Lynn.          MONIX          You still owe me $400.          DISSOLVE TO:          EXT. FLINT MICHIGAN - NIGHT          A wide shot of the Flint Michigan skyline.          TITLE CARD: FLINT, MICHIGAN          ECU: AN OLD TV. A COMMERCIAL PLAYS:          Super-cool CLARENCE WITHERS, 20's African-American, walks          around a pet store. This guy is all flash. He spins a ball on          his finger, but he's more Bootsy Collins than Dr. J.          CLARENCE (V.0.)          (on TV)          Don't get all lonely on me people,          get yourself a dog or a cat or some-          - (studies a weird animal) Or a          couple of these, from PET GALAXY.          When I'm not dribbling between my          legs or sinking jump shots, I'm          buying animals. And if this isn't          thebeststore in Flint Michigan          (re:hisafro) I will shave this          off.Nojoke. Make a fast break          overtoPET GALAXY. And be sure to          tell'emSugar Dunkerton sent you.                                                  7.          With that, Clarence chest-passes the ball out of frame and          smiles.          INT. QUINCY'S BBQ - NIGHT           WE PULL BACK to see the TV is on inside a restaurant,          Quincy's BBQ.           REVEAL: Clarence. The guy from the TV is also a waiter in           this restaurant. He's taking an order from some customers.          CUSTOMER          Hey, wasn't that you just now,          there on the TV?          CLARENCE          Yeah, so?          CUSTOMER          What are you waiting on us for, if          you're a basketball star?          CLARENCE          Who the Hell areyou,the barbecue          police? Tell youwhat,I've got the          note pad, so I'llaskthe          questions: Do youwanta baked          potato with that?          CUSTOMER          The TV said your name was Sugar          Dunkerton. How come your name-tag          doesn't say that?          CLARENCE          'Cause I changed my name, that's          why.          CUSTOMER WOMAN          (reading his name tag)          Downtown Funky-Stuff Malone?          CLARENCE          You like it?          CUSTOMER WOMAN          I guess it's fine.          CLARENCE          It ain't fine.          (as in smooth)          It's fine...                                                  8          A large woman, QUINCY -- Clarence's Mom -- yells from the          kitchen.          QUINCY          HEY CLARENCE!          CLARENCE          DOWNTOWN!          MS. QUINCY          I NEVER NAMED NO SON OF MINE          DOWNTOWN!          CLARENCE          THEN I CAN'T HEAR A GOD DAMN THING.          MS. QUINCY          IT'S SEVEN FORTY-FIVE, YOU BETTER          GET YOUR ASS OUT OF HERE.          CLARENCE          Shit.          (to the customers)          It's been a pleasure serving you.          Clarence tosses his note pad on the table and his Mother          tosses him his duffle bag.          MS. QUINCY          And don't think I didn't see those          cotton briefs of yours in there.          CLARENCE          Stay outta my stuff!          MS. QUINCY          Don't you know our ancestors had to          pick that cotton? Get yourself some          silk underpants. Have some respect.          CLARENCE          Panties are silk. Briefs are          cotton. I'm out of here.          JACKIE MOON (O.S.)          Ladies and gentleman, please          rise...          EXT. FLINT FAIRGROUNDS COLISEUM - NIGHT          Welcome to Flint Michigan Fairgrounds Coliseum, basketball's          end of the world. This is more like a shitty airplane hanger          than a stadium.                                                  9.          JACKIE MOON (O.S. )          .For the National Anthem... Of          your Flint Michigan Tropics.          MUSIC CUE: SOME SERIOUS DISCO BOOGIE          INT. FLINT MICHIGAN FAIRGROUNDS COLISEUM - LOBBY - CONTINUOUS          WE PAN SOME STILL PHOTOS OF JACKIE MOON IN THE LOBBY.          PICTURE 1: The one-hit-wonder, Jackie moon is on an album          cover, shirtless, petting a white leopard.          JACKIE MOON (V.0.)          Baby, who wants to; love me sexy.          baby, are you ready to; lick me          sexy.          PICTURE 2: Jackie Moon in Reno, singing with Pat Boone. He          holds up his only hit single.          PICTURE 3: Jackie is getting married to LUCY MOON. She's the          hottest girl in the world.           JACKIE MOON (V.0.)           Take off your shoes and; suck me           sexy. Baby, we're naked and we're;          humping sexy--          PICTURE 4: Jackie hands over a giant check, PURCHASING THE          FLINT TROPICS.          EXT. FLINT MICHIGAN FAIRGROUNDS COLISEUM - NIGHT          Center court, we finally see JACKIE MOON. He sports a perm,          lamb chop sideburns and black frame glasses. He continues to          sing this song of his own creation...          JACKIE MOON          (SINGING)          Oh yeah, Baby, who wants to; love          me sexy. baby, are you ready to;          lick me sexy.          Jackie Moon is a sight to see. His one-hit-wonder is          ridiculous. But you have to admit it's catchy.          QUICK CUTS: THE RETARDED WORLD OF THE FLINT TROPICS:          THE CROWD: Under 100 people are in the stands, but they're          high energy. Lots of drinking and dancing.                                                  10.          JACKIE MOON (V.0. )          Take off your shoes and; suck me          sexy.          THE BALL GIRLS: They bounce around in shiny-funky hot pants --          dancing cool, but not in sync. When it comes to ball girls,          Flint delivers.          THE TROPICAL AISLE: A rowdy bunch is decked out in Hawaiian          shirts and packed in behind the visiter's bench, looking for          trouble.          THE SCOREBOARD: The Magnovox has been sold. The Tropics now          do it by hand.          JACKIE MOON (V.0.)          Baby, we're naked and we're;          humping sexy...          ANGLE ON DARREN AND JODY: Two kids in WHEEL CHAIRS are parked          next to the hardwood, eating nachos and drinking giant cokes.          OPPOSING PLAYER          (to kids in wheel chairs)          Hey there son, what's your name?          WHEELCHAIR DARREN          Fuck you, Mitchstien.          WHEELCHAIR JODY          Yeah. Throw any elbows tonight and          we'll pound your fuckin' head into          the floor.          MUSIC CUE: 'TOO HOT TO HANDLE' BY HEATWAVE.          With that, the lights go out, PITCH BLACK. A spot light drops          on Jackie Moon.          JACKIE MOON          SO TELL ME FLINT, ARE WE HOT          ENOUGH? WHO'S READY FOR SOME HOT,          LUSCIOUS, FLINT TROPICS ACTION?          The crowd cheers, but not all that loud. Jackie looks off          screen and nods off screen.          BOBBY DEE works some sound effects, dialing up a knob that          says CROWD NOISE. The speakers are blown, but they're loud.          JACKIE MOON          NOW, HERE'S THE STARTING LINE UP          FOR YOUR FLINT MICHIGAN TROPICS!                                                  11.          (BEAT)          At ball girl, measuring thirty          four, twenty two, thirty six, MELIN-          DAAAAAAA.          MELINDA shakes her perfect measurements in the spotlight,          then does a series of cartwheels.          JACKIE MOON          I'm living a dream, Flint and I          know you are too.          (Booming voice again)          AT GUARD, from Peoria Illinois, six          foot one -- this guy's single and          he can cook lasagna, I've seen him          do it -- TWIGGY -- MUNSONNNNNNN!          Bobby Dee hits the disco ball as TWIGGY trots out.          JACKIE MOON          FROM SOUTH BEND INDIANA, the man          with a heart of gold, his brother's          a retard, six foot one, he drives          down to visit all the time, at          forward, he reads to him, BEE BEE          ELLISSSSSSS!          BEE BEE ELLIS does a cartwheel into a round off.          JACKIE MOON          YOUR MAN IN THE MIDDLE. Seven foot          two, from the People's Republic of          Uzbechistan, he's tall, he's          sensitive -- loves candle light and          long walks on the beach -- VAKIDIS          ROSCOVENSKIIIIIIII!          (Vakidis remains seated)          Vakidis, that's you man, I called          your name. (no response) VAKIDIS!          C'mon dude, let's go, get it          together.          Players push the giant Vakidis out onto the court.          JACKIE MOON          Now this next guy, where do I          start? First of all, that wife of          his, she is... Wow.          (gesturing re: her chest)          CANONS, people. If you know what          I'm saying. I don't think she's          here tonight, but if she was you'd          see what I'm talking about.                                                  12.          He's a small forward, the luckiest          man in Flint: SCOOTSIE DOUBLE-          DAYYYYYYY!          Scootsie Double Day 'pops n' locks' his way onto the court.          JACKIE MOON          AND FINALLY: The man you've been          waiting for, six foot four, a          solid, meaty, two hundred fifteen          pounds, your pre-game announcer,          your owner, your coach, your pop          singing sensation, but most          importantly, your POWER FORWARD...          Yours truly... JACKIE M00000000N!!!          Jackie takes off his blazer, twirls it, then tosses it off          screen. It's game time.          At center court, PLAYER/OWNER/COACH JACKIE huddles them up.          JACKIE MOON          Alright you guys, let's huddle up!          (Vakidis is wandering)          Vakidis! Where's he walking to?          Kong, get Vakidis.          A very short Asian man, KONG, nods. The uniform hangs on his          tiny body.          KONG          You got it boss.          JACKIE MOON          (now huddled up)          Let's put on a good show tonight,          okay? Let's keep it in the air,          keep shooting, look for the          baseball pass, launch some early          threes to set the tone. Bee Bee,          try and do that no-look behind your          back thing, I love that, okay? Now          let's bring it in. One two three--          EVERYONE          (TOGETHER)          LET'S GET TROPICAL!          REVEAL: An orange cone sits over a puddle on the court.          As the Tropics break the huddle, Jackie talks to the          overweight FATHER PAT THE REF.                                                  13.          JACKIE MOON          (smart ass)          Hey, you lose weight, Father Pat?          FATHER PAT THE REF          Oh, fuck off. What's with the cone          tonight Jackie?          Jackie points up to a leak in the ceiling.          JACKIE MOON          For safety.          Just then, Vakidis jogs over, SLIPPING HORRIBLY in the          puddle, ripping his groin.          BOBBY DEE (V.0. )          (as P.A. Announcer)          Okay Tropics fans, it's time to          guess today's attendance... Is it          A) 9,254. B) 10,506.. or C) 91          TIP OFF: The Tropics gain possession.          LIVE ABA RADIO (V.0. )          Scootsie drops it in low to player-          owner-coach Jackie Moon. Known best          for his aggressive defense, leads          the team in rebounds. He's an          animal under the boards Lou.          LOU REDWOOD (V.0.)          You're Damn right. He may not be          black, but he can play basketball.          LIVE ABA RADIO (V.0.)          Now, look at this, Jackie waves the          rest of his team away, looking for          the isolation. These fans are in          for a real treat.          LOU REDWOOD (V.0.)          He looks to be setting up his 'Tear          Drop from Hades.'          LIVE ABA RADIO (V.0.)          Jackie is shooting thirty-nine          percent from the field, but the          crowd always loves to see him go          for it.          LOU REDWOOD (V.0.)          He's a true showman.                                                  14.          Jackie dribbles hard to the hoop, tossing up a high arcing          baby hook. AIRBALL.          LIVE ABA RADIO (V.0. )          Airball.          LOU REDWOOD (V.0. )          Yep, a Polish swish.          LIVE ABA RADIO (V.0.)          Scootsie Double-Day gets the          offensive rebound and Jackie calls          for it again, trying to establish          the low post early.          Jackie holds the ball, preparing for another 'Tear Drop from          Hades'... But now he suddenly gets distracted by something up          in the stands.          JACKIE MOON          (into the stands)          HEY! RAVI! WHAT THE HELL ARE YOU          DOING, MAN?          IN THE STANDS: A Pakistani vendor, RAVI, IS POURING CHEESE ON          SOME NACHOS.          RAVI          What?          JACKIE MOON          Enough with the cheese already.          More chips, less cheese, how many          times do I have to tell you?          WHISTLE! Jackie's been walking with the ball. FATHER PAT THE          REF wears a holy collar with pin strips over it.          FATHER PAT THE. REF          Traveling.          JACKIE MOON          Traveling!?... On who?          FATHER PAT THE REF          On you.          JACKIE MOON          That's bullshit, Father Pat!          Jackie, furious, SLAMS THE BALL down on the floor.                                                  15.          LIVE ABA RADIO (V.0. )          Jackie Moon. The most passionate          man in sports.          EXT. FLINT FAIRGROUNDS COLISEUM - MEANWHILE          Some hot girls in shorts hold up a sign that says 'ALL STAR          PARKING.' Ms. Quincy's BBQ delivery truck rips into the lot.          Clarence skids to a stop.          INT. FLINT MICHIGAN FAIRGROUNDS COLISEUM - CONTINUOUS          The crowd looks off camera and suddenly erupts.          CLARENCE enters out of the tunnel, he takes a bite of a          Hershey bar, then gestures to the crowd, giving the          international symbol for 'Let's get funky.'          BOBBY DEE (V.0.)          Ladies and gentleman, put your          hands together for Downtown Funky-          Stuff Malone!          Clarence tosses the half eaten candy bar, wipes his hands off          on his jersey and jogs right out onto the court during the          game, TAGGING HIS TEAMMATE OUT as if it were pick up.          LIVE ABA RADIO (V.0.)          Downtown, wastes no time entering          the game -- tagging out Vakidis          Roscovenski.          .CLAWS COACH          (to the ref)          C'mon Father Pat, he's got to check          into the game doesn't he?          The ref just shrugs. Downtown calls for the ball and gets it.          LIVE ABA RADIO (V.0.)          Downtown dribbles left, then right          a little shake and bake through the          legs -- double teamed now, he's got          Twiggy Munson open under the          basket. Downtown, still with the          ball, dribbles behind his back,          they triple him, he's got Munson          and Ellis wide open under the hoop,          but look at these moves!          The entire other team leaves their men and guards Clarence          five on one, but Clarence never passes. His four teammates          watch from under the basket.                                                  16.          Despite his selfish attitude, it's clear Clarence actually          has some serious talent.          LIVE ABA RADIO (V.0. )          Downtown has all five guys on him --          He sprints to the corner and forces          up a fade away three... YES! Wow.          You think this league's going          bankrupt? Well, think again.          LOU REDWOOD (V.0.)          People call him selfish. I call him          the greatest show in shorts.          INT. LOCKER ROOM - HALF TIME          CLOSE ON: An old-timey photo of a man with a handle-bar          moustache. It's been autographed by the inventor of          basketball: 'Go Tropics! -James Naismith'          The team enters the locker room happy, even though they're          losing badly at half time.          JACKIE MOON          Yes! Nice first half guys! That's          what I call Flint Tropic's          basketball!          (BEAT)          I've been telling you all season,          we're about to make a run. Flint          Michigan is destined for greatness.          (at the chalkboard)          Twiggy, enough with the bounce          passes, let's show some zip. Bee          Bee, try not to get fouled so much,          free throws take too long.          Scootsie, what did I tell you about          catching with two hands.? God gave          you one hand for a reason: To look          awesome.          Jackie points to the chalkboard. Where one of his catchy          slogans is spelled out.          JACKIE MOON          Let's stay focused on the four          'D'S'          (pointing to the board)          Dangerous, Dangerous, Dangerous,          Dunks. Remember: This isn't just a          basketball team. It's a lifestyle.                                                  17.          Everyone claps. Meanwhile, Clarence grabs a bunch of hair          products and goes to work. But he notices something.          CLARENCE          Yo, Jackie, is the washing machine          broken?          ANGLE ON: A few workers are taking out the washing machine.          JACKIE MOON          Listen up guys: I've got some good          news and I've got some bad news.          The good news is, we're getting rid          of that piece of shit washing          machine. The bad news is, everyone          does their laundry at home from now          on. Towels too.          Everyone complains. Boo etc. Jackie turns to BOBBY DEE a          'front office' guy.          JACKIE MOON          And Bobby Dee, I need you to clean          out your desk.          BOBBY DEE          No. I have kids.          JACKIE MOON          You're not fired. I sold your desk.          BOBBY DEE          Oh.          JACKIE MOON          (to the team)          And I'm going to shed a few          lockers, so everyone's getting a          locker buddy.          CLARENCE          Forget that. I need my own          locker... For the panty dropper.          Clarence reveals his 'panty dropper' a brown full-length          leather coat.          JACKIE MOON          Fine. Now, there's one last thing:          I've added some depth to the          roster. I think he could deliver          some firepower.                                                  18.          CLARENCE          Firepower? Who'd you hire?          JACKIE MOON          At guard, six one, the hometown          kid, from your very own Flint          Michigan -- He punches in bunches          Ed MONIXXXXXXXX!          We hear a TOILET FLUSH. Monix exits the bathroom stall          buttoning his pants.          MONIX          You're out of toilet paper.          Monix doesn't receive a warm welcome. It's more of a stare-          off.          JACKIE MOON          Okay, now, I know everyone in this          room has probably been punched in          the face by Monix at one time or          another.          (Scootsie fumes)          One of you may have even had your          collar bone broken, twice. But          that's in the past now and-          BOBBY DEE (O.S. )          Yo, Jackie, you're on in two.          JACKIE MOON          Thanks Bobby.          (almost to himself)          I love half time.          (abruptly to Monix)          Anyways, welcome aboard.          (LEAVING)          One last thing: If you see a possum          try and kill it.          With that, Jackie leaves. Monix faces his team in silence.          MONIX          So. Who wants to be my locker          buddy?          INT. FLINT MICHIGAN FAIRGROUNDS COLISEUM - MEANWHILE          It's half time show. Jackie has pulled a lucky contestant          from the audience.                                                  19.          DUKES, the contestant, is shirtless with jeans, with a star-          spangled bandana over a mullet. He plays with a ball a          little.          A giant five by ten check is propped up, with the words 'TEN          THOUSAND DOLLARS' written in glitter.          JACKIE MOON          Ladies and Gentleman, this man is          about to attempt the impossible.          The $10,000 full court shot. So,          tell me, what's your name?          DUKES          Dukes.          JACKIE MOON          Okay, Dukes. You feeling it?          DUKES          Yeah dude.          JACKIE MOON          What are you going to spend all of          your money on if you win? A shirt?          DUKES          Yeah man, a shirt. Ha! Whoooo!          JACKIE MOON          Okay people, Dukes is excited.          Let's get some clapping going as he          prepares himself for the          impossible.          (leading the clapping)          This is drama, folks! C'mon now,          let's hear it! The $10,000 shot          people, let's hear it!!!          For the first time, Dukes looks kind of serious. He sizes up          the distant hoop...          JACKIE MOON          (doing play by play)          He looks ready... And... Here he          goes!          An uncoordinated baseball pass... Sailing off into the          distance... And...          SWISH!          The crowd can't believe their eyes.                                                  20.          JACKIE'S FACE TURNS GHOST WHITE.          JACKIE MOON          Shit.          DUKES          YES!!! HOLY SHIT DUDE!!! I'M A          MIRACLE!!          Jackie is freaking out. Dukes has just won $10,000! Dukes          runs around court, shirtless, leaping in celebration.          JACKIE MOON          (to Father Pat the Ref)          Did he step on the line?          FATHER PAT THE REF          No, it was legal. He made it.          JACKIE MOON          Who the Hell has $10,000? I sure he          stepped on the line, you know what          I'm saying?          FATHER PAT THE REF          (getting the hint)          Listen to this crowd. You can't          screw a kid over like that. People          will kill you.          He's right. The crowd is too hyped for Jackie to explain that          he's broke.          JACKIE MOON          (accepting his fate)          Fuck me.          JACKIE HANDS DUKES THE GIANT CARDBOARD CHECK MADE OUT FOR          $10,000, IN GLITTER.          JACKIE MOON          (pretending to be happy)          CONGRATULATIONS DUKES! YOU JUST WON          A GIANT CHECK THAT SAYS TEN          THOUSAND DOLLARS!          (faking it to the crowd)          LOOK AT THE SIZE OF THIS THING!          LET'S HEAR IT FOR DUKES!                                                  21.          INT. LYNN'S HOUSE - MEANWHILE          A beautiful, down to earth woman, LYNN, 30's, is reading a          book. In the background, her boyfriend, KYLE, is listening to          the Tropics game on the RADIO.          LIVE ABA RADIO (V.0.)          Monix was an All-American at          Michigan State, but then went on to          a disappointing journeyman career          in the NBA. But he did manage to          sit on the bench with the world          champion Boston Celtics years ago          and won a ring.          LOU REDWOOD (V.0. )          (on radio)          I should hire his agent.          Kyle listens to this and yells to the other room.          KYLE          Hey honey, guess who got traded to          Flint?          LYNN          I don't know, who?          KYLE          Monix.          The word Monix stops her in her tracks.          LYNN          Monix?          KYLE          Yeah! He's already got an NBA ring,          but he's still playing... In Flint.          Can you believe it?          LYNN          No, I can't.          Lynn closes her book, fidgety...          KYLE          They say he asked to be traded. Who          the Hell leaves California to come          here? I love this guy.          MUSIC CUE: THE BROTHERS JOHNSON 'GET THE FUNK OUTTA MY FACE.'                                                  22.          EXT./INT. JACKIE'S MONTE CARLO - NIGHT          Jackie cruises the streets of Flint in a pimped out Monte          Carlo. He's got chrome rims and a gold grill. The interior is          wall to wall carpeting. He swigs a beer as he turns.          JACKIE MOON          (singing with car stereo)          Get the funk outta-of-my-face...          A SIGN SAYS: THE KREMLIN. Jackie rolls up and parks in a          reserved parking space. He rolls up the windows and locks the          doors by hand and exits.          REVEAL: JACKIE HAS GIANT ICE PACKS TAPED TO HIS KNEES,          Patrick Ewing style, right over his slacks.          A police officer drinks, in uniform, outside.          COP          What's up Jackie?          JACKIE MOON          Not much.          COP          (re: the big ice packs)          Your knees okay?          JACKIE MOON          Oh yeah. Just icing them down.          INT. THE KREMLIN - NIGHT          'The Kremlin' is rocking. The beer is served in cans only.          BALL GIRL MAGGIE (O.S.)          Hey Jackie!          JACKIE MOON          Well look at you! You look          beautiful. What's different?          BALL GIRL MAGGIE          I dyed my hair.          JACKIE MOON          No, that's not it... Did your tits          get bigger?          BALL GIRL MAGGIE          No.                                                  23.          JACKIE MOON          Don't lie to me. Those things got          bigger.          BALL GIRL MAGGIE          No, they're the same.          JACKIE MOON          Well, good job.          Jackie keeps walking, bumping into MS. QUINCY, Clarence's          mother.          MS. QUINCY          Yo Jackie. You know, that wife of          yours has been making out with that          Mark Spitz lookin' motherfucker all          night.          She gestures to a guy who's lip-locked with Jackie's wife.          LUCY MOON unbuttons her fur coat.          JACKIE MOON          Oh. It's okay, Lucy and I've got an          open relationship.          MS. QUINCY          I know that. But he's about to suck          on her Damn tits, right here in          front of all these people.          JACKIE MOON          She's hot right? What can I say,          we're freedom lovers.          (calling off to his wife)          Hey honey!          Lucy Moon ignores him, only making out harder.          JACKIE MOON          (to his wife)          Right on!          (to Quincy)          I'm not jealous. It's a sweet deal          for both of us.          MS. QUINCY          Have you ever slept with another          woman?          JACKIE MOON          I could. That's the beauty of it.          No ball and chain here.                                                  24.          I can just go for it. You know, if          I ever get invited to some cool          orgy, it's definitely not a problem          at all.          MS. QUINCY          Have you ever been to an orgy?          JACKIE MOON          Pshh. Are you kidding? When haven't          I been?          INT. THE KREMLIN - AT A TABLE - MEANWHILE          MONIX is hanging out with Bee Bee Ellis, Scootsie Double Day          and Twiggy Munson. They all do a shot together.          BEE BEE ELLIS          I heard Jackie is going to go to          some owner's meeting. What do you          think that's about?          MONIX          I don't know, but it can't be good.          TWIGGY MUNSON          Hey, let's see that championship          ring, Monix.          SCOOTSIE DOUBLE-DAY          Yeah, you promised we could see the          ice.          Monix takes the ring out. It hangs from his neck.          MONIX          Look at this piece. It says Celtics          right there in diamonds.          SCOOTSIE DOUBLE-DAY          Why don't you wear it on your          finger?          MONIX          I don't know, I just like to wear          it around my neck, that's all.          NOW CLARENCE chimes in without looking over...          CLARENCE          Not everyone sits around dreaming          of playing in the NBA, you know.                                                  25.          SCOOTSIE DOUBLE-DAY          Maybe not. But you do.          TWIGGY MUNSON          Yeah, that's all you ever talk          about.          MONIX          You're not jealous, are you          Clarence?          CLARENCE          No one calls me Clarence.          BEE BEE ELLIS          His name's Downtown.          MONIX          Okay Downtown. I'll make sure          Downtown is only referred to as          Downtown, okay Downtown?          CLARENCE          Don't think I don't know what          you're doing. You're doing that          thing where you pretend to mean          what you say, but you don't.          BEE BEE ELLIS          Sarcasm.          CLARENCE          Yeah. How'd you like that sarcasm          smacked off your face?          MONIX          Bring it, funky stuff.          BEE BEE ELLIS          That's sarcasm, man. He's doing it          again!          CLARENCE          (to Bee Bee)          I got this, alright?          Monix squares off with a smile that says 'hit me.' Clarence          takes off his leather full length and folds it nicely.          CLARENCE          (in Monix's face)          How'd you like a knuckle sandwich?                                                  26.          MONIX          Knuckle sandwich? Who says that?          CLARENCE          I do motherfucker. I'm gonna pound          you so hard, you're--          MONIX REARS HIS FIST BACK, about to release a strong Popeye          HOOK--          CLARENCE          WAIT!          CLARENCE IMMEDIATELY SWITCHES GEARS, PUTTING HIS HANDS UP          LIKE A SCARED LITTLE GIRL.          CLARENCE          (like a sissy)          --WAIT! OKAY? COOL COOL COOL. CHILL          OUT, MAN, ALRIGHT? WE'RE COOL--          BAM. MONIX PUNCHES CLARENCE IN THE STOMACH ANYWAY.          BEE BEE ELLIS          YESSS! I LIKE IT! IT'S OUR OWN          TEAM, BUT I LIKE IT.          One of the party people, a ball girl, GAYLE, interrupts.          GAYLE          Excuse me boys. You mind, if I          borrow your friend for a minute?          INT. DANCE FLOOR - MEANWHILE          Jackie is dancing to his own song, still wearing the ice          packs on his knees. The song ends and A DIFFERENT ONE STARTS.          JACKIE MOON          (looking to the DJ)          Hold on a second.          MELINDA          What's wrong?          JACKIE MOON          Where's the boogie?          Jackie fights his way through the crowd to the DJ booth.          JACKIE MOON          (to DJ, over music)          HEY! WHERE'S THE BOOGIE?                                                  27.          DJ          I ALREADY PLAYED YOUR SONG FOUR          TIMES.          JACKIE MOON          GET UP.          DJ          NO. YOU CAN'T KEEP DOING THIS,          JACKIE. I'M THE DJ.          JACKIE MOON          (taking over as DJ)          NOT ANY MORE. YOU'RE ON SNACK          PATROL.          SCREECH -- The music stops.          JACKIE MOON          (into the mic)          The year was 1973. A young musician          named Jackie Moon, finishes years          of musical training, only to find          he is a slave to the notes on the          page. He knows it's time to break          free. In a sudden fit of creative          mastery, he grabs a pen and a          napkin and writes a song that          breaks all the rules. Ladies and          gentleman... Let's get sweaty.          MUSIC CUE: Jackie's song. Everyone goes crazy.          JACKIE MOON (V.0.)          (studio version)          Baby, who wants to; love me sexy.          baby, are you ready to; lick me          sexy. Take off your shoes and; suck          me sexy. Baby, we're naked and          we're; humping sexy--          INT. DAIQUIRI ROOM - NIGHT          Gayle and Monix walk upstairs into the 'coolest' room ever.          Carpet on the ceiling, a plaid couch, a fish tank, a water          bed, mirrors, etc.          GAYLE          I'm glad they traded for you, I got          myself a cute one.          MONIX          So, this is the Daiquiri room?                                                  28.          LUCY MOON (O.S. )          That's right.          REVEAL: LUCY MOON, Jackie's wife, is on the couch. She's the          hottest girl in the world.          LUCY MOON          What do you think, Gayle? Does he          like it with my boots on, or does          he like my boots off?          GAYLE          He seems like a boots on kind of          guy.          LUCY MOON          Then it looks like I'm ready. As          soon as you slide these shorts off          of me.          MONIX          Aren't you Jackie's wife?          LUCY MOON          He knows about the Daiquiri room.          GAYLE          It's a new tradition we're          starting, when new players join.          MONIX          I see. Well, I'm going to have to          pass. I'm good, thanks.          LUCY MOON          Honey, you don't know what good is.          With that, Lucy flicks on the stereo--          MUSIC CUE: THE BAR KEYS 'TOO HOT TO STOP.'          MONIX          Listen um...          (i.e. what's your name?)          GAYLE          My name is 'no strings attached.'          LUCY MOON          You can call me Mrs. Moon.          Gayle and Lucy perform a funky/seductive dance, moving closer          and closer to Monix.                                                  29.          MONIX          I don't think this is going to          happen, Mrs. Moon.          LUCY MOON          It has to.          GAYLE          It's bad luck if you don't.          MONIX          Yeah, I'd hate to bring bad luck to          Flint Michigan.          Lucy has sprayed some WHIP CREAM on her nipples.          LUCY MOON          (whip cream)          Why don't you lick these clean for          me?          MONIX          I can't eat dairy.          Lucy decides that now is a good time to aggressively KISS          him. Monix pushes her away.          MONIX          Nice tits, Mrs. Moon. I gotta go.          Monix walks down the stairs.          LUCY MOON          (calling after him)          I see what this is: You want us to          send Eric and Marcus up here?          On the way out, Monix flicks her off.          INT. LYNN'S HOUSE - LATER THAT NIGHT          Lynn is asleep next to Kyle. She awakes to someone pounding          on the door.          EXT. LYNN'S FRONT YARD - NIGHT          Lynn has arrived at the screen door. Monix, wasted, doesn't          notice Lynn yet, he keeps pounding until she opens it.          LYNN          Why are you here?                                                  30.          MONIX          I got traded.          LYNN          I mean, why are you here?          MONIX          Can we talk?          KYLE (O.S.)          --Yo, Monix, you're wasted! Ha!          Kyle has come out to say hi.          MONIX          Yeah. Sorry man--          KYLE          What's up! That of jump shot of          yours ain't broke yet, is it?          MONIX          No. Ha.          KYLE          Great back door cut for the lay-up          in the third. That's how basketball          should be played.          MONIX          Kyle, can you give us a second? We          need to talk.          KYLE          No problem. Great game tonight man.          MONIX          Why does your boyfriend like me so          much?          LYNN          You're his favorite player.          MONIX          Look, there are still some things I          think we need to talk about.          LYNN          I've already said everything I'm          ever going to say to you.                                                  31.          MONIX          I see.          (BEAT)          Well, I guess I'll be leaving then.          Monix walks away... Then turns back.          MONIX          You're really not going to stop me?          LYNN          No.          Monix walks more, until Lynn speaks.          LYNN          You're going to end up walking with          a cane the rest of your life. You          have to quit.          MONIX          And do what?          LYNN          I don't know... Kill yourself, I          guess.          MONIX          Kill myself?          LYNN          You act like there's nothing else          in the world besides basketball. If          that's how you really feel, then go          ahead and get it over with. I'm          going to sleep.          MONIX          Thanks for the pep. talk.          LYNN          No problem.          MONIX          Lynn.          (she opens the door again)          Can I ask you for one favor?          LYNN          You want a favor?          MONIX          My knee.                                                  32.          LYNN          Oh, Jesus Christ Monix. It's 4 a.m.          Lynn stares at him in disbelief. Monix shrugs.          MONIX          No one here can drain it right.          LYNN          Fine.          Monix nods, then makes a move toward the door.          LYNN          No. You're not coming in. We'll do          it in the yard.          DISSOLVE TO:          INT. JACKIE'S MONTE CARLO - DAYS LATER          Jackie drives in his car, practicing for the meeting. tries          to build some confidence.          JACKIE MOON          (into the rear view, very          CIVILIZED)          Well, hello Commissioner -- Why          sure, I would love one of your          Puerto Rican cigars -- Oh, I know          I'm a legitimate owner, you don't          have to tell me that -- We're          merging with the NBA? Oh, that's          nice -- Ha Ha Ha! Good one,          Commish ...          EXT. INDIANAPOLIS - CONTINUOUS          A brick building on the outskirts of Indianapolis. A sign          says. WELCOME ABA OWNERS. Jackie pulls into the lot and          parks. He looks in the mirror one last time.          JACKIE MOON          Your Mom would be proud of you          today.          INT. CONFERENCE ROOM - CONTINUOUS          Not-quite-Rich guys surround a large oak table. JACKIE is by          far the youngest of the owners.                                                  33.          COMMISH          .I'm sure each of you have heard          the rumors. And I'm here to tell          you, the rumors are true. The ABA          will be merging with the NBA at the          end of this season.          JACKIE MOON          YES!!!          (to an old guy)          GIVE ME TEN, NORTON! YES!!          (fists to the ceiling)          EVERYONE CAN EAT SHIT! I AM THE          GREATEST MAN IN THE WORLD!          COMMISH          Our league is sold. And the NBA          agreed to all of our financial          demands!          Now Jackie turns inward, more quietly intense. This is,          without question, the greatest moment of his life.          JACKIE MOON          (to himself)          You're a real owner. You're in the          NBA.          COMMISH          Four of our teams will be absorbed          into the NBA family, the rest of          you will terminate operations.          JACKIE MOON          Exactly! You know it!          (now hearing)          I'm sorry, wait, what?          COMMISH          The Nuggets, The Nets, The Spurs          and the Pacers will play in the NBA          next year. The rest of us will          dissolve.          JACKIE MOON          Dissolve? Dissolve, like, how? How          do I dissolve into the NBA?          The winning owners look at each other, not sure how to handle          Jackie.          JACKIE MOON          What's happening?                                                  34.          COMMISH          I'm sorry Jackie. We all know how.          emotional you get. We waited until          the very last second to tell you.          Jackie pounds the table.          JACKIE MOON          No. NO! NO!!!          He kicks over his chair...          THE COMMISH          We know you're upset, Jackie. But          you'll be very well compensated.          LOSING OWNER #1          Everyone's agreed to a very large          sum.          JACKIE MOON          I don't want a sum! I want my team!          (to the losing owners)          C'mon you guys, you're not going to          just sit here and take the money,          are you?          They are.          JACKIE MOON          (to winning owners)          What do the Spurs have that we          don't?          THE COMMISH          A huge fan base. A brand new          stadium. A solid economic growth          package, including strong tax          incentives.          JACKIE MOON          Oh, c'mon, that's BULLSHIT!          COMMISH          The NBA is taking four teams,          Jackie, there's nothing I can do.          Jackie goes quiet, thinking... An epic idea hits him.          JACKIE MOON          The best four teams should go.                                                  35.          COMMISH          What?          JACKIE MOON          Forget the huge fan base, the          stadiums, the economic...          (a little lost)          Growing... package... inventions...          WINNING OWNER #1          (correcting him)          Economic growth pack--          JACKIE MOON          I KNOW WHAT I SAID!          (to the room)          The four teams with the best          records should merge.          LOSING OWNER #2          He's right.          LOSING OWNER #1          Yeah, that's the fairest way.          COMMISH          These four teams DO have the best          records. Flint's only won six games          all year!          JACKIE MOON          So far. The season isn't over.          LOSING OWNER #2          Yeah, maybe we should finish the          season first.          COMMISH          This plan sounds like a lot of fun,          but it's too late. The          commissioner, me, has already          decided.          LOSING OWNER #2          Actually, the terms of a merger can          only be approved by a league          mandate.          JACKIE MOON          YES. That's right. What he said.                                                  36.          LOSING OWNER #1          I move that we vote on the terms of          the merger.          EXT. FLINT MICHIGAN FAIRGROUNDS COLISEUM - NEXT DAY          The team sits around the parking lot, sitting on their duffle          bags, dejected. Jackie is having a team meeting.          JACKIE MOON          C'mon you guys, let's try to stay          psyched. This is a chance to become          a real NBA franchise!          CLARENCE          There's no way we can make it to          fourth place. It's mathematically          impossible.          JACKIE MOON          I ran the numbers. All we have to          do is win about eighty-two percent          of our remaining games.          CLARENCE          Eighty-two percent? Isn't that a          lot?          JACKIE MOON          Oh, c'mon! We just gotta start          hitting our threes.          (guys look around, unsure)          Listen, I know this seems like bad          news, but it doesn't have to be.          This is a big road trip for us.          We've just got to start playing          solid Flint basketball.          SCOOTSIE DOUBLE-DAY          I don't know. We suck, man.          JACKIE SLAPS SCOOTSIE.          JACKIE MOON          (re: The slap)          Sorry.          JACKIE SLAPS HIM AGAIN, HARDER.          JACKIE MOON          We do not suck, okay? We just have          to want it!                                                  37.          Pumped, Jackie walks around with his hands on his hips.          BEE BEE ELLIS          What do you think, Monix?          All eyes turn on the grumpy one.          MONIX          I think we suck.          JACKIE MOON          Well... See, now there's some team          unity! Now let's load up the jet.          REVEAL: A SHITTY SCHOOL BUS has the words 'THE JET!' Spray-          painted in graffiti letters with a palm tree next to it.          JACKIE MOON          (as they load up)          Now we've got a special treat. You          know I take care of my family.          Today, the Jet is catered. I had          Downtown's Mom pack us some hot          dish.          BEE BEE ELLIS          Ms. Quincy's hot dish? Sweet!          INT. BUS - CONTINUOUS          The guys load up. It's so packed it's ridiculous. Everyone          tries to stuff their gear somewhere and sit down.          Jackie carries a big pot of hot dish, accidentally burning          Scootsie's back.          SCOOTSIE DOUBLE-DAY          Ah, watch the hot dish, man.          JACKIE MOON          Sorry Scootsie.          TWIGGY MUNSON          Hey Jackie, there's some dude out          there, wants to talk to you.          POV: Out the window, we can see DUKES, the full court shot          winner, holding his GIANT CHECK and looking into the bus.          He's still shirtless, with a star-spangled headband.          EXT. FLINT FAIRGROUNDS COLISEUM - MOMENTS LATER          Jackie and Dukes are next to the bus, discussing the check.                                                  38.          DUKES          I tried Jackie. They won't take it.          They said it's 'symbolic.'          JACKIE MOON          What does symbolic mean?          DUKES          I don't know. But they said I need          a real check.          JACKIE MOON          I don't know what your bank is          talking about. That is a real          check. I signed it myself.          DUKES          It's written in glitter, dude.          Can't you just give me, like, a          regular sized one?          JACKIE MOON          I don't get it. People are usually          able to cash these. Maybe you          should try another bank.          (trying to wrap it up)          If you run into any more trouble,          let me know.          DUKES          Okay Jackie, thanks man.          JACKIE MOON          Any time, congratulations.          Jackie turns away from Dukes and exhales, walking back to the          bus.          MUSIC CUE: 'SHORT PEOPLE' BY RANDY NEWMAN.          EXT. THE HIGHWAY - DAY          We're flying down the highway.          INT. THE JET - DAY          Kong, the small Asian player, is driving, singing along with          Jackie to the radio...          JACKIE MOON & KONG          (singing Randy Newman)          SHORT PEOPLE GOT, NO REASON...                                                  39.          SHORT PEOPLE GOT, NO REASON...          SHORT PEOPLE GOT, NO REASON TO LIVE          Jackie reaches up into a special bin and takes out some beef          jerky, then yells out the window.          JACKIE          (out the window at a car)          YOU IN-THE-GREEN-CAR GOT, NO REASON          TO LIVE...          Pan back to see the whole team crammed into tiny seats.          Vakidis has his knees pointing straight toward the ceiling.          Twiggy Munson is reading '70's pornography. Clarence is          sewing a new name onto his jersey. The rest of the guys are          eating their hot dish.          MONIX          So, Clarence, what's in this 'hot          dish' anyway?          CLARENCE          My Mom cooked your ass a whole Damn          meal, why you gotta go asking          what's in it?          MONIX          It's a compliment. It's good.          CLARENCE          If it's good, then it's good. Why          do you gotta know what's in it?          What's in hot dish? Hot dish is in          hot dish, asshole.          BEE BEE and SCOOTSIE look over the seat, facing them.          BEE BEE ELLIS          Hey Monix, what were the Celtics          like?          MONIX          They were fast.          SCOOTSIE DOUBLE-DAY          Fast? No one's faster than me. I          should be on the Celtics.          MONIX          (pointing to his mind)          Fast up here.                                                  40.          BEE BEE ELLIS          You're supposed to be Mr.          Smartball. Why'd you get bounced?          MONIX          Well, you have to be able to jump          too.          SCOOTSIE DOUBLE-DAY          Hey, let us see that ring again.          MONIX          Not right now, okay Twiggy?          CLARENCE          Isn't it a little embarrassing          wearing that thing everyday?          MONIX          Embarrassing?          CLARENCE          You call yourself a Celtic? You sat          through every single playoff game.          You didn't see action once. And now          you walk around wearing the ice          like you're Bill Russel. Well you          ain't.          BEE BEE ELLIS          Oh, you're just jealous.          SCOOTSIE DOUBLE-DAY          Yeah, Monix played solid minutes,          for lots of teams. He's played in          the NBA, that's more than you can          say.          CLARENCE          Whatever. At least I never sat on          the bench and then called myself a          champion. You didn't do shit for          that Celtic team. If I was Dave          Cowens, I'd yank that ring right          off your neck.          That was a pretty heated exchange. Monix looks like he's got          something to say, but he doesn't. Clarence has the last word.          CLARENCE          He doesn't wear it on his finger          because he knows he didn't earn it.          He didn't even play.                                                  41.          Monix looks out the window.          EXT. ROAD GAME #1 - NIGHT          'The Jet' is parked outside the arena.          LIVE ABA RADIO (V.0.)          We're just a few minutes away from          game one of the Tropic's 6 game          road trip. With talk of an NBA          merger hitting the league, there's          a new electricity surrounding          tonight's game...          INT. VISITOR'S LOCKER ROOM - NIGHT          Jackie addresses his team before tip off.          JACKIE MOON          Alright. Now, a lot of people out          there are writing us off. A lot          people are saying things like          'Jackie Moon is an offensive          liability.' They're saying 'Flint's          turnovers led to sixty fast break          points per game.'          (Making this up)          They're saying 'Bee Bee's retarded          brother is so retarded that his          eyes look too big,. Like a French          Bulldog.          BEE BEE ELLIS          No one said that, man.          JACKIE MOON          (trying to motivate)          Yes they did. And we're going to          use it as motivation, okay? THIS IS          OUR TIME! WE'RE GOING TO SHOOT MORE          THAN WE'VE EVER SHOT BEFORE! NOW          BRING IT IN! READY? ONE TWO THREE-          EVERYONE          LET'S GET TROPICAL!          MONTAGE: FLINT PLAYS HARDER BUT THEY STILL SUCK.          GAME 1) JACKIE MOON sprints across the floor tries to get two          f eet planted in the lane. It's not even close, JACKIE HAS          TAKEN A GUY DOWN HARD. The ref whistles a blocking foul.                                                  42.          JACKIE MOON          OH, C'MON!? Where's the charge,          Father Pat?          FATHER PAT THE REF          Both feet weren't planted.          JACKIE MOON          OH, SUCK MY COCK. I WILL MURDER          YOUR FAMILY.          FATHER PAT THE REF          That's it, you're out.          JACKIE MOON          What!? What did I say?          Jackie takes a ball and drop kicks it, PUNTING IT high up          into the rafters.          BUZZER! FINAL SCORE: COLONELS 111 TROPICS 92.          GAME 2) MONIX drives the lane, fast and smart -- A no-look          pass hits Scootsie Double-Day in the shoulder.          SCOOTSIE DOUBLE-DAY          AH. MY COLLAR BONE!          BUZZER! FINAL SCORE: SQUIRES 90 TROPICS 70.          GAME 3) CLARENCE and BEE BEE jog back on Defense.          CLARENCE          I ain't guarding my guy anymore.          BEE BEE ELLIS          Why not?          CLARENCE          He's too'Damn sweaty, man.          (re: his wet uniform)          Look at me.          BEE BEE ELLIS          Gross. Well, I ain't guarding him.          Monix notices this discussion.          MONIX          Quit talking and play defense!          The sweaty guy backs in on Clarence, posting up top.                                                  44.          GAME 5) Jackie Moon plays great defense, rejecting a shot!          Monix grabs the ball and dribbles on a fast break. Clarence          trails, in perfect position...          CLARENCE          Right on! I'm open baby! Try a          behind-the-back!          Monix delivers a nice two handed bounce pass, but Clarence          isn't ready for anything fundamentally sound -- The ball hits          him in the nuts.          CLARENCE          Ah, shit.          BUZZER! FINAL SCORE: PIPERS 105 TROPICS 91.          EXT. HOTEL STRIP - NIGHT          Angle on a big hotel with fancy lights -- but then we pan to          reveal: A shitty motel. The 'Jet' is parked at the cheap          place.          INT. MOTEL ROOM - NIGHT          Two twin beds in a crap-box motel room. Monix has the phone          to his ear, but it just keeps ringing. He'd leave a message          for Lynn, but answering machines haven't been invented yet.          He hangs up, looks in the mirror, and now takes his          Championship ring necklace off.          He looks at the ring in his hand... And shoves it into his          duffle bag.          CLARENCE (O.S.)          I brought us some ice.          Monix is startled. Clarence, his roommate for the night,          enters.          MONIX          Ice? What for?          CLARENCE          I don't know, it's free.          Clarence takes some ice, pops it in his mouth and starts          crunching.          CLARENCE          Want some?                                                  45.          MONIX          No thanks.          Now BEE BEE enters, yet another player in the small room.          BEE BEE ELLIS          That Root Beer machine took my          fucking change, man. White people          are assholes.          Monix ignores this. Laying back, he focuses on the TV: THE          CELTICS are playing. Their trapping defense is a thing of          beauty.          Clarence walks over and flicks the channels, until he stops          at 'Love American Style.'          MONIX          You turned off the Celtics?          CLARENCE          I don't watch people play          basketball. They watch me.          With that, Clarence pulls out a JOINT and lights it.          MONIX          (re: the marijuana)          What the Hell is that?          CLARENCE          (as he inhales)          It's a fucking Egg-McMuffin.          Monix opens the window, clearing the pot smoke out of his          face.          JACKIE EXITS the bathroom, having just taken a shower. He's          wearing a very small robe. This is now the fourth player          who's sleeping in this tiny room.          MONIX          Why don't you shower in your room?          JACKIE MOON          My wife is using it. I'll be          crashing with you guys tonight.          (NOTICING)          Ice? Awesome.          (as he eats ice, re: TV)          Love American Style? Turn it up.                                                  46.          Jackie doesn't say a word about the pot. Instead he keeps his          eyes glued to the TV, then reaches for the joint and SMOKES          IT.          MONIX          Jackie, have you ever even slept          with your wife?          JACKIE MOON          (LYING)          What? Are you kidding? Try, like,          every weekend. She's so hot.          MONIX          Sounds like a great arrangement.          JACKIE MOON          You guys need to wake up. Quit          living like it's the 1950's, man.          Live it up.          (showing off)          Hey Clarence, let's have some of          that smoke, bro.          MONIX          I'm pretty sure we have a game          tomorrow.          JACKIE MOON          (as he inhales)          This stuff won't affect you. It's          premium.          Jackie finishes inhaling, then holds it out for Monix. He          stares at the joint, then around the room at his teammates.          MONIX          Well, if this is really going to be          my life, I might as well be stoned          like everyone else.          JACKIE MOON          Well said.          Monix takes the stupid joint. The instant Monix inhales he          COUGHS LIKE CRAZY.          MONIX          What the Hell is this?          CLARENCE          What do you mean?                                                  47.          MONIX          It's harsh.          CLARENCE          Take that back.          MONIX          Take what back?          JACKIE MOON          His Mom grows it.          CLARENCE          Yeah, in the yard.          MONIX          Your Mom grew this?          CLARENCE          It's sweet grass.          MONIX          Well, I'm finished, thanks.          CLARENCE          What's wrong, my Mom's weed ain't          good enough for you?          MONIX          I guess not.          JACKIE MOON          C'mon man, have some respect for          his Mom's weed.          CLARENCE          That's it, I ain't sleeping in the          same bed as this motherfucker.          INT. AMIGO STADIUM - ROAD TRIP GAME 6 - NEXT NIGHT          Television cameras are being set up. A camera man cleans the          lens.          Jackie studies the cameras, mesmerized by the idea of          television. He speaks with the Amigo's manager.          AMIGO MANAGER          You want all the fans to sit on one          side of the stadium?                                                  48.          JACKIE MOON          Yeah, just move all those people          over to this side.          (DEMONSTRATING)          See, the TV cameras are going to          face this way, right? Well, if we          fill the seats on that side, we'll          look sold out.          AMIGO MANAGER          Actually, that's not a bad idea.          MEANWHILE, ON THE COURT: Both teams are warming up. Clarence          now has a new name on his Jersey. There are so many words,          there is barely space for a number. It's a mess.          CLARENCE          (re: Jersey, new name)          Check it out. I sewed it on the          bus.          SCOOTSIE DOUBLE-DAY          (struggling to read it)          What's it say?          CLARENCE          Jumping Johnny Johnson.          The asshole, PETRELLI, wanders over near the Tropics side of          the court.          PETRELLI          Yo, Granny Yarn Barn, how's the          needle point going?          CLARENCE          Kiss my ass, Petrelli.          PETRELLI          (re: the Jersey name)          Hey man, I think you spelled 'Flint          sucks balls' wrong.          (BEAT)          This guy's the next Betsy Ross!          Aren't you Clarence?          The guys laugh. MONIX walks up, defending his teammate.          MONIX          No one calls him Clarence. His name          IS--          (BEAT)          What's your name?                                                  49.          CLARENCE          Jumping Johnny Johnson.          MONIX          His name's Jumping Johnny Johnson.          (nose to nose)          You got that?          Jackie hurries over.          JACKIE MOON          Alright, break it up.          (to his team)          Everyone huddle up!... VAKIDIS!          OVER HERE. Where is he walking to?          (BEAT)          Fuck it. Listen up, we're on          National TV tonight. And you all          know what that means: The league          needs a good clean game.          BEE BEE ELLIS          Oh, that's a bunch of dog shit.          JACKIE MOON          Hey! You guys want to merge or not?          Because the fastest way to screw          this up is to start punching people          in the face while the commissioner          is at home, watching the game with          his kids... Children are very          impressionable. Their minds are not          yet soiled by the cruel realities          of this world.          BEE BEE ELLIS          What?          JACKIE MOON          No punching.          Behind the huddle, FANS BEGIN WALKING RIGHT ACROSS THE COURT.          Both teams turn to watch this strange thing.          The Amigos manager leads the herd, Jackie helps out,          directing them across to the other side.          JACKIE MOON          THAT'S RIGHT, JUST MOVE RIGHT          ACROSS- IF YOU COULD JUST FILL IN          ALL OF THOSE EMPTY SEATS IN THAT          AREA, THAT'D BE GREAT.                                                  50.          INT. AMIGO'S STADIUM - LATER          The optical illusion has worked. The game does indeed look          crowded. The game is in full swing.          ANNOUNCER (V.0.)          This sold out crowd is loving this          one, the Amigos up by twenty-six          here in the second.          Monix drains a nice jumper, but out of nowhere, Petrelli, the          guy we hate, throws a hard shoulder, knocking Monix to the          floor.          MONIX          That's a moving pick Father Pat!          C'mon!          FATHER PAT THE REF          Play on.          Monix can't believe it. Petrelli taunts Monix.          PETRELLI          What's wrong Monix, cat got your          'nads?          Monix faces off.          JACKIE MOON          MONIX! NO!          (POINTING)          Not with the cameras.          (miming the commish')          He's watching.          Monix looks around and thinks...          MONIX          What about commercials?          JACKIE MOON          What?          MONIX          Commercials, what about          commercials?          Jackie thinks about this, then nods 'good idea.'          JACKIE MOON          I like it. Time out Ref!                                                  51.           ANNOUNCER (V.0. )           A time out on the floor, 5:20 left           before the half, the Amigos 45, the          Tropics 19, we'll be right back          after this message from Shasta.          The camera's on air' red light turns off.          CAMERA MAN          (rooting them on)          And... You're clear.          JACKIE MOON          SOMEBODY HIT SOMEBODY!          BAM! MONIX CLOCKS PETRELLI.          BAM! JACKIE MOON PUNCHES ANOTHER GUY.          PETRELLI TAKES THE HIT AND TACKLES MONIX.          BOTH BENCHES CLEAR. THE CROWD GOES NUTS.          INT. THE COMMISSIONER'S HOUSE - MEANWHILE          The commissioner relaxes at home with his two kids... A          Shasta commercial is on TV.           SHASTA COMMERCIAL (V.0.)          (on TV)          I want a pop... I want a --          Shasta...          INT. AMIGO STADIUM - CONTINUOUS          MAYHEM. JACKIE MOON IS YANKING A FAN'S HAIR.          A TALL GUY IS ABOUT TO POUND SHORT LITTLE KONG. BUT NOW KONG          JUMPS IN THE AIR AND DOES A SWEET ROUND-HOUSE JUDO KICK,          KNOCKING THE TALL GUY TO THE FLOOR.          KONG          Hi-Ya!          MEANWHILE: MONIX AND PETRELLI ARE TRADING HOCKEY PUNCHES...          CAMERA MAN          And we're back in -5-          (Monix punches Petrelli)          -4-          (Petrelli punches Monix)          -3-          (Monix punches Petrelli)                                                  52          -2-          (Monix ducks and punches)          (cuing the announcers)          AND WE'RE ON.          THE 'RED LIGHT' GLOWS.          ON A DIME: EVERYONE STOPS PUNCHING, STANDS UP STRAIGHT AND          SMILES.          ANNOUNCER (V.0.)          Welcome back to the ABA game of the          week...          Players hold their heads in pain. Others limp back to the          bench.          ANNOUNCER (V.0.)          .The camaraderie and spirit of          this league is on full display here          tonight...          Off camera, Monix delivers a secret punch to Patrelli's          spleen.          INT. LOCKER ROOM - HALF TIME          Jackie runs the half time talk, standing in front of the          chalk board.          JACKIE MOON          Okay, solid first half guys, but          we're going to have to make some          ADJ--          Monix interrupts Jackie, pissed. He addresses the team,          stepping in front of Jackie Moon.          MONIX          --This is bullshit guys. They're          kicking our ass in basketball and          they're kicking our ass during the          commercials, too. Does anybody here          understand the concept of the pick          and roll? Because they're going to          keep double teaming at the top of          the key until somebody rotates the          Damn ball...          JACKIE MOON          Yeah! C'mon guys! Rotate the ball.          Monix looks at this group and gets even madder.                                                  53.          MONIX          Does anyone in this room have any          pride? Don't you realize, this is          thelast four weeks of basketball          anyus are ever going to play?Is          thishow we're really going togo          out?You'd think we'd want toend          ourcareers battling, hustling          after every loose ball. Boxing out          under the boards. Setting picks for          our teammates. But we haven't done          shit out there.          Twiggy Munson and Scootsie Double-Day hang their heads.          MONIX          We're a bunch of selfish assholes --          And I've got news for you, we          aren't going to finish in fourth,          we're going to finish dead last.          Monix paces in front of the guys, a man possessed.          MONIX          One day, you're going to look back          on your life... And you're going to          look back on this time... And          you're going to realize...          Monix is staring right at Clarence. And Clarence is actually          listening...          MONIX          .You're going to realize you          never even played basketball.          A moment of silence after the intensity. Monix waddles to the          door.          MONIX          Now, you guys have fun out there in          the second half. If anyone needs          me, I'll be in the training room,          draining my knee.          Monix limps off, everyone's head is hanging low.          SCOOTSIE DOUBLE-DAY          He's right.                                                  54.          BEE BEE ELLIS          Of course he's right. But what the          Hell are we supposed to do about          it? We don't even have plays.          INT. JACKIE MOON'S OFFICE - DAYS LATER          We're back in Flint. Jackie is back in his office, speaking          on the phone.          JACKIE MOON          (into phone)          Dukes! I don't make the rules. If          they can't cash it, maybe you'll          have to go out of state.          (BEAT)          I would if I could, but if I give          you another check, that would be          two checks. That would be $20,000,          not ten. What are you trying to          pull here?          (the other line rings)          I've got to take this other call          Dukes. Bye!--          (hits a button, answering)          Flint Tropics hot line... Oh hey          Commish ...          INT. FLINT MICHIGAN TROPICS STADIUM - MOMENTS LATER          On the floor, instead of a basketball court, the stadium          holds an ice-rink. A 'Welcome to the Flint Ice Capades' sign          is being removed.          The entire basketball team is on their hands and knees          ASSEMBLING THE HARD WOOD. This is a lot of work. Clarence          hits his thumb with a hammer.          CLARENCE          Why do we have to put the court          together?          SCOOTSIE DOUBLE-DAY          I guess the Ice Capades sold out.          BEE BEE ELLIS          Yeah, kids love that stuff.          Although, I find the wild-life          masks realistic and frightening.          CLARENCE          Monix should be here helping us.                                                  55.          JACKIE MOON (O.S. )          Guys.          The guys look up to find Jackie. He does not look happy.          JACKIE MOON          The commissioner just called.          CLARENCE          What's wrong?          JACKIE MOON          I looks like we've got ourselves a          situation. We've got some new          'terms and conditions' for this          merger deal.          SCOOTSIE DOUBLE-DAY          What'd he say?          JACKIE MOON          Basically, we've got to average at          least 2,000 fans per home game for           the rest of the year.          TWIGGY MUNSON          2,000 people? Every home game?          JACKIE MOON          He said the NBA will only take a          franchise that has fans.          CLARENCE          Shit. Winning is going to be hard.          But getting 2,000 people to watch          is going to be impossible.          JACKIE MOON          Let's try and stay positive. My          Mother always believed Flint was a          town of destiny. And I believe          that. Now, I've already started          work on a huge idea to promote us.          CLARENCE          What kind of huge idea?          INT. THE KREMLIN - DAY          Jackie's place is empty. Monix is drinking alone, totally          blasted in the middle of the day. He hangs his head, barely          able to order.                                                  56.          MONIX          Two more Johnny Walkers. And          another pack of Kools.          BARTENDER          You could use some fresh air,          Monix. You want to take a nap in          the back of my truck?          MONIX          (ANGRY)          Just the drinks and the smokes,          alright?          (BEAT)          Do you have any idea where Lynn is          these days?          BARTENDER          She asked me to tell you to quit          going to her house.          MONIX          Well, tell her that's just fine          with me.          BARTENDER          Okay. Sorry man.          CLARENCE (O.S. )          Monix.          REVEAL: Clarence.          MONIX          Well, well, well, look who it is.          (to the bartender)          Brian, I'd like you to meet Jumping          Johnny Downtown Funky stuff Boner-          time finger-blast Fag-erton.          CLARENCE          (to the bartender)          Johnny for short.          (to Brian, re: Monix)          Two coffees.          MONIX          So, what brings you to the The          Kremlin?          CLARENCE          Listen, I know you and I haven't          always been the best of buddies.                                                  57.          But I've been thinking about what          you said the other night. This is          gonna be our last chance. If I'm          ever going to get into the NBA,          it's going to be with the Tropics.          MONIX          I hate to break it to you,          Clarence, but the Tropics will          never play in the NBA.          CLARENCE          So maybe we won't. But like you          said, I don't want to look back on          this with any regrets. I know what          you think of me. But I'm willing to          put our differences aside. I'm          telling you right now, I'll do          whatever it takes to win.          MONIX          You mean, like, pass?          CLARENCE          (with a smile)          I would consider passing, yes.          MONIX          Sorry kid. Even if I wanted to play          harder, this knee won't let me.          CLARENCE          I'm not just talking about you          playing point guard... I'm talking          about you teaching us...          Monix could not be less interested.          CLARENCE          Monix, you know more about          basketball than any man who's ever          set foot in Flint.          Monix drinks, not into it...          CLARENCE          All I'm saying is, instead of          getting so pissed off at us all the          time, why not just show us what the          Hell you're talking about? Coach us          a little. I mean, we can't get any          worse.                                                  58.          MONIX          And why should I give a shit about          the Tropics?          CLARENCE          I know you. You've got all that          basketball shit stored up in your          head. I know you're dying to pass          it down to somebody. Why not us?          MONIX          What about Jackie? He's the coach.          CLARENCE          Jackie's got his hands full, trying          to sell tickets. He's obsessed.          (looking up, re: TV)          HEY! IT'S OUR VIDEO! TURN THE SOUND          UP!          ECU: THE TROPIC'S VIDEO ON TELEVISION.          ON TV: The Tropics are performing a video not unlike 'The          Super Bowl shuffle.' Each member takes a turn rapping,          dancing around wooden palm trees with a smile.          ALL THE TROPICS (V.0.)          (rapping badly)          We are the Tropics hooping crew,          running and gunning and dunking on          you -- But we're not here to talk          no trash, we're just here to do the          Tropical Mash --          This is the worst video ever made. All the guys boogie around          until Clarence steps forward, taking focus...          CLARENCE (V.0.)          (rapping badly)          I'm Johnny Johnson and I got the          moves -- If you try and stop me,          I'll just get smooth --          KONG (V.0.)          (rapping badly)          My name is Kong and I ain't five          feet -- But I get more ass than a          toilet seat --          JACKIE MOON (V.O.)          This is my team, so get to know          them -- If you get near the lane          I'll yank your scrotum --                                                  59.          ALL THE TROPICS (V.0. )          -- We are the Tropics hooping crew,          running and gunning and dunking too          -- We're not here to talk no trash,          we're just here to do the Tropical          Mash --           The ball girls trot out and boogie with them.           BALL GIRLS (V.0.)           -- They're not here to talk no          trash -- they're just here to do          the Tropical Mash --          CUT BACK TO:          MONIX CAN'T BELIEVE HIS EYES. Either can the bartender. Monix          ignores Clarence.          MONIX          (to the bartender)          Two more Johnny Walkers.          CLARENCE          So that's the way it's going to be?          Monix doesn't answer, he just drinks. Clarence gets the hint          and walks out.          DISSOLVE TO:          INT. MONIX'S APARTMENT - NIGHT          Monix looks like shit, laying on the couch, as if he hasn't          moved for days. Apparently he's been drinking and smoking,          but not much else.          KNOCK KNOCK. Someone's at the door.          REVEAL: LYNN lets herself in.          Monix is so depressed, he is non-plused.          LYNN          Looking good Monix.          MONIX          Thanks. You too.          LYNN          Ms. Quincy told me the Tropics          asked you to coach them.                                                  60          INT. MONIX'S BATHROOM - LATER          ECU: A SHARP NEEDLE PIERCES FLESH.          Lynn is draining Monix's knee. It looks painful.          MONIX          I know what it takes to be a real          team, Lynn.          LYNN          (re: his knee)          Stay still.          (BEAT)          And that's the reason you won't          coach them?          MONIX          It doesn't matter. The truth is, I          hate basketball right now.          LYNN          Do you really hate basketball? Or          do you hate yourself?          MONIX          Why would I hate myself?          LYNN          Well, for one, you cheated on me.          MONIX          You hate me for that. Not me.          Lynn just stares at him.          MONIX          Okay, maybe I hate myself a little.          LYNN          You don't wear the ring around your          neck anymore.          (no response)          Where is it?          MONIX          I rode the bench through the          playoffs, Lynn.          LYNN          Monix, that was greatest moment of          your career. And you look back on          it like some kind of embarrassment.                                                  61.          MONIX          Riding the bench was the greatest          moment of my career?          LYNN          You did more than ride the bench,          Monix.          MONIX          What else did I do?          LYNN          Every practice, you took your team          to the limit. I know you did. I was          the one draining this stupid knee          of yours every night. The Celtics          were practicing against you, Monix.          And when you ran that scout team,          you were running Milwaukee's          offense better than their first          stringers ever could.          Lynn continues the business of disposing fluid into the          toilet and preparing another syringe.          LYNN          By game time, your team knew where          Milwaukee was going to be before          their own players did. The Celtics          made the right adjustments to win          that series. And those adjustments          came from you.          MONIX          So, I should be proud of running          the scout team?          LYNN          Dave Cowens put that ring in the          palm of your hand. And he told you          to wear it with pride, because you          were a champion. And he meant it          too.          MONIX          He was being a nice guy. The bench          is the bench.          LYNN          Your whole life, you've bitched          about people playing selfish. It          takes a team to win, right?                                                  62.          MONIX          That's right.          LYNN          But when you're on the team, your          effort doesn't count? Is that it?          (BEAT)          If you weren't on the Celtics that          year, would they have won it?          MONIX          Watch that needle.          LYNN          Answer me. Would they have won?          MONIX          I don't know.          LYNN          Yes you do. You know.          Monix looks away for a moment.          MONIX          Why are you doing this? What does          any of this matter, anyway?          LYNN          What's it matter? You're drinking          yourself to death!          (BEAT)          God, I wish I hated you as much as          you hate yourself!          Lynn throws the needle. Monix dodges it.          LYNN          I made sacrifices! How many years          did I support you? And finally,          after all of our blood and sweat          and bullshit together, you got          there, Monix! You made it, you won          an NBA championship ring. It wasn't          just about you, okay? And I'm sick          of you acting like you're some kind          of joke. You didn't blow it. You're          not a fraud. You're not a fake          champion. And all the time we spent          together, fighting for you to get          to that moment, was not a waste!          You're a champion, you asshole!          (BEAT)                                                  63.          But if you want to drink yourself          to death, go ahead. Fuck you.          With that, Lynn is gone. Monix stands alone in the bathroom,          then checks his knee.          DISSOLVE TO:          INT. FLINT FAIRGROUNDS COLLISEUM - NEXT DAY          It's practice. But this isn't basketball, it's DANCE          PRACTICE. The entire team performs a complicated 'intro-          dance.'          JACKIE MOON          (CHOREOGRAPHING)          1 and 2 and 3 and 4 and turn like           you mean it -- Bee Bee, Arch that          back. Yes. Now, the waterfall...          One by one, each dips down like a waterfall. And now a leg          kick.          JACKIE MOON          Nice leg kick Kong. Those flexible          hips are a coach's dream.          (BEAT)          Now big finish -- and freeze. And          then we start the game after that.          CLARENCE          Are we going to practice or what?          JACKIE MOON          This is practice, okay Clarence? We          need to get two thousand people in          here! Our intro dance has to blow          people's minds.          He begins pacing around, more passionate than ever...          JACKIE MOON          From now on, I want our afros          bigger... And shinier ... . I want          our shorts shorter... And          tighter... We're going to pull our          tube socks up higher than we ever          have before.          The team seems to be looking off screen.          JACKIE MOON          What's wrong?                                                  64.          REVEAL: Monix has been watching this whole thing. With Monix          on the court, everyone feels kind of stupid.          JACKIE MOON          Hey, you're back! Listen, you          should probably chalk your hands up          for this number.          CLARENCE          Jackie, I asked Monix to coach us.          JACKIE MOON          Coach?          Jackie is totally thrown by this. He looks around at the          team. Clearly, a decision has been made.          JACKIE MOON          What do you mean, coach?          (truly hurt)          What is this? What's going on?          (staring his team down)          It's a Mutiny.          CLARENCE          Jackie. Don't be like that.          JACKIE MOON          Hold on a second. Last time I          checked, we didn't live in Flint,          Russia. We live in Flint, America.          I'm coach until a new one is          elected.          CLARENCE          Don't make us elect Monix, man.          (Jackie Moon holds firm)          Alright, show of hands. Who wants          Monix to step in as player-coach?          Everyone feels bad, but they all raise their hands.          JACKIE MOON          Please God No.          TWIGGY MUNSON          Sorry Jackie.          JACKIE MOON          (starting to cry)          It's cool. I get it. I'm a big boy,          I can handle it.                                                  65.          Jackie cries harder.          CLARENCE          Don't take it so hard, Jackie.          You're a great owner. We all know          that.          JACKIE MOON          Woah. Hold on. Did you just say          'great owner?'          CLARENCE          Yeah. Everyone thinks so.          JACKIE MOON          Now, when you said great owner,          were you just saying that? Because          it's not cool to mess with me about          this.          CLARENCE          We mean it. For real. Monix is just          more of an X's and O's kind of guy,          that's all.          Jackie is emotional. It's a bittersweet moment. He takes off          his whistle, then walks over and hands Monix his whistle.          JACKIE MOON          (re: The whistle)          Here. You may need this.          Now he pulls out a bunch of crazy notes on loose paper          written in ball point pen. The pages look insane.          JACKIE MOON          (handing him papers)          And here are some ideas for plays          I've jotted down. Just thoughts.          MONIX          Thanks Jackie.          (to the team)          The way I see it, any team in this          league can put together a run. Most          of our opponents are all flash. If          we play unselfish, fundamental          basketball, we can win games.          JACKIE MOON          I like it. Unselfish, guys.                                                  66.          MONIX          Yes. Unselfish. Unselfish meaning          tough team defense, full and half          court traps, boxing your man out to          help the team rebound.          (BEAT)          Unselfish means sprinting up the          floor on every fast break NOT          because you can get a DUNK -- and          get your DICK SUCKED after the game          -- but because if you sprint up the          floor you might pull the defense          out of position and free a teammate          up for a high percentage shot.          JACKIE MOON          Wait, so, what's going on with the          blow jobs?          BEE BEE ELLIS          I vote we keep the blow jobs.          JACKIE MOON          (raising his hand)          All in favor?          Everyone raises their hands in favor of blow jobs.          CLARENCE          Would everyone let the man talk          please?          Clarence is serious. This shuts everyone up.          INT. FLINT FAIRGROUNDS COLISEUM - LATER          The starters have gotten into position, guarded by the scout          team, in blue jerseys.          MONIX          The most important work we do on          the court is away from the          basketball.          Monix FLIPS OPEN A SWITCH BLADE KNIFE AND STABS THE BALL,          deflating it. This gets everyone's attention.          MONIX          (re: deflated ball)          Until you start moving like a real          team, you practice without a ball.                                                  67.          He flings the deflated ball into the bleachers and snaps the          knife closed.          MONIX          Alright, Clarence, run the offense.          CLARENCE          I don't get it.          MONIX          Set a pick for somebody.          Clarence jogs over and stands next a scout team opponent.          MONIX          Okay, that's kind of a pick, I          guess. Try standing on the other          side of Scootsie's man, so you free          him up to cut into the lane.          Monix corrects Clarence, moving his body the way he wants him          to stand.          MONIX          Widen your stance. Plant your feet.          Hands back. Like this. Now Scootsie          GO. Set a pick for Jackie.          Scootsie cuts across the lane. The team slowly gets i          rotating faster.          MONIX          Now Jackie pick Bee Bee's man, and          rotate to the rim like this...          Everyone move to the open space.          And Clarence you swing back out up          top.          They've completed the play. Monix stands there, smiling. The          players look at each other, what's the big deal?          MONIX          You know what that was?          CLARENCE          What.          MONIX          A flash to the high side post with          an outside screen and a back door          cut. Let's do it again.                                                  Ei 8.          BEE BEE ELLIS          Hey, how come you don't have to run          with us? You're a player, just like          the rest of us.          MONIX          I'm saving my knee for the games.          Coach's decision. NOW RUN.          Clarence sets a screen for Scootsie and they perform the same          basic rotation.          MONIX          (as they run)          We're not just rotating, we're          clearing out, making space. A pass          and cut can change defensive match-          ups. Creating seams can give us          back door looks. Down screens can          make a team vulnerable to          penetration.          JACKIE MOON          Hold on. I'm lost.          BEE BEE ELLIS          No shit. What's up with all of          these fucked up words, man?          TWIGGY MUNSON          Yeah, what are we, building some          kind of basketball space. ship?          MONIX          You don't have to understand it          yet. Just run it again. You heard          me -- AGAIN.          EXT. FLINT FAIRGROUNDS COLISEUM - DAY - LATER          It's many hours later...          INT. FLINT FAIRGROUNDS COLISEUM - LATER          The team is still doing the exact same thing. Nothing in          their moves have changed at all. They're exhausted.          CLARENCE          We've been running this play for a          long time, man.                                                  69.          JACKIE MOON          Yeah, maybe we could try, like,          play number two.          MONIX          No. We're running this play. We're          running this play until we puke.          BEE BEE ELLIS          Basically, we have.          JACKIE MOON          Yeah, I'm pretty beat.          MONIX          'Until we puke' is not a figure of          speech. We are literally going to          puke.          JACKIE MOON          What does he mean by 'literally?'          CLARENCE          I think he's talking about vomit.          BEE BEE ELLIS          Not cool.          JACKIE MOON          Monix, can I talk to you for .a          second?          MONIX          No. No talking.          JACKIE MOON          Wait...          MONIX          GO!          Jackie hangs his head, but then accepts his fate. He runs.          MONIX          (as they run)          We need to get in shape fellas. And          we need to learn some fundamentals          quick. -- AGAIN!          They run it again, getting more and more winded.                                                  -17 0 .          MONIX          I want you to be brain dead.          Because someday you're going to be          too tired, or too nervous to think -          - AGAIN! And when you are, this is          the play I'm going to call. The          play that your lungs and legs will          have memorized. We will be able to          run this in our sleep.          Clarence tries to gag himself with his fingers.          MONIX          HEY! No sticking your fingers down          your throat, Clarence, I saw that.          You're going to puke. And it's          going to be all natural -- AGAIN!          DISSOLVE TO:          INT. LOCKER ROOM - LATER          We pan along a row of toilet stalls. Behind the doors, each          player is throwing up...          INT. FLINT FAIRGROUNDS COLISEUM - CONTINUOUS          JACKIE IS THE LAST PLAYER LEFT. He crawls across the gym          floor, dying. Monix screams down at his deflated body.          MONIX          MOVE MOVE MOVE! FOURTH QUARTER NOW!          FOURTH QUARTER!          JACKIE MOON          You're fired!          MONIX          Fuck you.          JACKIE MOON          Fuck you.          MONIX          Get up and run. You're going to          puke like everybody else.          JACKIE MOON          Monix, I need to talk to you.          MONIX          We'll. talk after you puke. GO!                                                  71.          Jackie can't get up, but he crawls, dying...          JACKIE MOON          I can't puke Monix!          MONIX          Yes you can. Go.          Jackie crawls harder along the hardwood.          JACKIE MOON          Monix! You don't understand. I've          never thrown up in my life.          MONIX          What are you talking about?          JACKIE MOON          I've never puked. Ever.          MONIX          That makes no sense. Everyone has          thrown up before.          JACKIE MOON          I haven't. I swear to God. I can          eat anything. I can drink anything.          I've been sick, but I've never          puked. I swear to God.          MONIX          That's bullshit. Keep moving,          you're going to puke.          JACKIE MOON          I don't puke. I can't do it! It's          the truth! I swear on my Mother's          grave.          At this point, Monix can't help but be intrigued.          MONIX          What about when you were a baby?          Babies throw up all the time.          JACKIE MOON          My Mom said I never did. I swear.          She said I was fascinating.          MONIX          No way.                                                  72.          JACKIE MOON          You can call my Dad! I've never          puked.          When Jackie looks up at Monix, it's clear he is not lying.          MONIX          Isn't that kind of dangerous?          JACKIE MOON          What do you mean?          MONIX          What happens if you swallow poison?          JACKIE MOON          I don't know. I ate bad sausage          before. But nothing happened.          MONIX          Stand up.          Jackie manages to stand up.          MONIX          Have you ever been punched in the          Jejunum?          JACKIE MOON          I don't know. What's a Jejunum?          MONIX          It's part of your small intestine.          JACKIE MOON          I don't know. I doubt--          BOOM.          MONIX'S POWERFUL FIST LIFTS JACKIE'S TORSO IN THE AIR.          ECU: Monix's knowing fist digs deep under Jackie's rib cage.          It's the hardest punch ever filmed.          ON JACKIE'S REACTION: He stands, beyond pain, empty of any          possible air. The blood leaves his face andhis eyesbecome          confused, watering strangely.          Part of Jackie's brain wants tospeak,buthe feelsunhuman--          his lips separate only slightly.          He wanders out of frame.                                                  73.          EXT. FLINT FAIRGROUNDS COLLESIUM - LATER - DAY          A SIDE DOOR BURSTS OPEN. JACKIE STUMBLES OUT INTO DAYLIGHT,          INTO THE GRASS. HE PAUSES, THEN SUDDENLY STARTS RUNNING, BUT          STOPS, CONFUSED, LIKE A WOUNDED GAZELLE...          JACKIE STAGGERS FURTHER, USING A TREE TO KEEP HIS BALANCE AS          HE STRUGGLES TO STAY CONSCIOUS.          JACKIE IS ABOUT TO SPEAK, BUT HIS BODY LURCHES. HE HOLDS HIS          RIB CAGE, SHOCKED. A SUDDEN FEELING OF FEAR SHOOTS THROUGH          HIS BONES.          JACKIE MOON          (to the sky)          Mom?          WITH THAT, JACKIE PROJECTILE VOMITS. THE DISCHARGE IS BEYOND          BELIEF. A LIFETIME'S WORTH OF TOXINS ARE LAUNCHED OVER A          SHRUB. JACKIE WAILS IN DESPAIR.          MONIX stands in the doorway, watching this.          MONIX          You okay?          Jackie is about to speak, but then takes stock of his          feelings. There is now an air of tranquility about him.          Reborn. He's almost Euphoric...          JACKIE MOON          I'm beautiful.          DISSOLVE TO:          INT. FLINT MICHIGAN FAIRGROUNDS COLISEUM - NIGHT          An intense game is underway. The Flint team works hard away          from the ball. As the Monix voice over continues, we watch          the team move just like in practice. Monix is playing too.          Note: The team also looks 'hot.' Clarence plays with an even          bigger afro. Jackie Moon sports a large perm, striped tube          socks and the whitest thighs you've ever seen.          MONIX (V.O.)          .On offense, we share the ball.          We look for the easy pass, not the          spectacular pass...          Jackie rolls off the pick and looks for it. For the first          time in this sequence, we see the ball. Clarence has a clear          passing lane -- He feeds Jackie for a lay up.                                                  74.          MONIX (V.O.)          . If a guy's more open than you          are, he gets the ball...          Instead of celebrating, Clarence hustles back on Defense. The          Tropics execute a half court trap. As we watch Monix play, we          continue to the voice over from practice...          MONIX (V.0.)          .On defense, we're going to learn          to play together. We're going to          use team traps to pressure people          into turnovers.          On the in bounds, Monix and Jackie Moon trap an opponent.          Monix slaps the ball free. He flips to Clarence who fakes; the          fast break dunk and dishes to Scootsie.          LIVE ABA RADIO (V.0.)          Can you believe that? Jumping          Johnny Johnson actually passed the          ball.          LOU REDWOOD (V.0.)          It was a great pass, too.          The other team calls time out.          LIVE ABA RADIO (V.O.)          And Jackie Moon has made several          great defensive plays down the          stretch. I tell you, Jackie's not          afraid to knock people around in          the lane. He's a monster.          LOU REDWOOD (V.0.)          Like a retard in a China shop.          A twenty-second time out on the floor, Monix huddles them up.          MONIX          (huddling up)          Listen up. I'll in-bound. Clarence,          protect the ball and penetrate if          you can. Kick it out to Scootsie or          me and everyone crash the boards          hard. Looking good, we're thirty          seconds away from taking this one          home. Let's bring it in.          JACKIE MOON          He's right guys. But remember, we          want to win, but not by too much.                                                  '75 .          TWIGGY MUNSON          We don't want to win by too much?          MONIX          What the Hell is he talking about?          CLARENCE          He's worried about the corn dogs.          MONIX          What?          CLARENCE          If we score a hundred points,          everyone gets a free corn dog.          There are signs everywhere.          JACKIE MOON          I'm sorry, Monix, but we don't even          have corn dogs.          MONIX          I don't give a shit. We're taking          it to them.          JACKIE MOON          We're up by seven, Monix. Can't we          just take it easy? We're talking          about a lot of corn dogs here.          BEE BEE ELLIS          There could be a riot.          MONIX          I don't give a shit about the corn          dogs, okay? We play hard every          second. We're running the offense.          Everyone got that?          Everyone nods. WHISTLE!          ANNOUNCER (V.0.)          The Tropics are just one bucket          away from the magic number. Listen          to this crowd. They know what's at          stake: A free corn dog.          Monix has the ball in his hands. He in bounds to Clarence.          Clarence penetrates and kicks it to Scootsie.          Scootsie has an open look. He sizes up a jumper...                                                  76.          FLYING IN LIKE THE WIND IS JACKIE MOON... JUMPING HIGHER THAN          HE EVER HAS BEFORE IN HIS LIFE...          REJECTED. SCOOTSIE'S SHOT IS BLOCKED.          LIVE ABA RADIO (V.0.)          Look at this, Jackie Moon has just          blocked his own teammate's shot.          I've never seen this before.          THE BALL BOUNCES UNDER THE BASKET TO VAKIDIS, WHO SEEMS TO          HAVE NO IDEA WHAT'S GOING ON.          JACKIE MOON          VAKIDIS! NO!!!          VAKIDIS TAKES THE BALL AND GOES FOR A DUNK --          LIVE ABA RADIO (V.0.)          Vakidis takes it up strong to the          basket...          BAM! JACKIE MOON TACKLES VAKIDIS INTO THE STANDS.          LIVE ABA RADIO (V.0.)          Ooh. He gets taken out hard by the          coach.           LOU REDWOOD (V.0.)          Nice!           The ball bounces into the air, rolls around the rim... And          DROPS IN.           LIVE ABA RADIO (V.0.)           And the basket is... GOOD!          BUZZER! FINAL SCORE. TROPICS 100 PRO STARS 91.          JACKIE MOON          Shit.          INT. DAIQUIRI ROOM - LATER          The daiquiri room is crowded with guys. JACKIE is having a          team meeting.          JACKIE MOON          I asked you up to the Daiquiri          room, because this is a private          matter.          (everyone looks around)          As you know, I threw up recently.                                                  77.          It was the first time in my life.          And, well, it's made me feel... I          guess you could say I've got a new          clarity in life.          (Everyone stares back)          Since vomiting on Wednesday, I've          been facing my demons. I'm not          going to be an imposter any more.          (BEAT)           And I want you to know, I just          mailed out 562 corn dog coupons.          (BEAT)          And I'd like to bring somebody          special in... DUKES!          Dukes walks in. He is still shirtless. Jackie hands him a          duffel bag.          JACKIE MOON          In this bag, is ten thousand          dollars.          DUKES          No way. Really?          JACKIE MOON          Actually, it's twenty three          hundred. But I'm going to pay you          the rest. The Tropics will not let          you down. From now on, I want my          conscience clear.          DUKES          Wow. Thanks Jackie.          JACKIE MOON          Can I confess something to          everyone? It's something I've never          told anybody.          CLARENCE          What is it?          JACKIE MOON          You know my song 'Love Me Sexy?'          SCOOTSIE DOUBLE-DAY          Everyone knows that song.          JACKIE MOON          I stole it.          TWIGGY MUNSON          No.                                                  7 8          JACKIE MOON          It's true.          (turns away, dramatic)          My Mom wrote it. Three weeks before          she died. And I stole it.          Even Monix is fascinated by this.          BEE BEE ELLIS          Wait, your Mom wrote that? Was she          a singer?          JACKIE MOON          No, she wrote it on a napkin. I          duped the whole world. I'm nothing          but a fraud.          (BEAT)          It's true, I'm a famous singer. And          I've landed the hottest wife in the          world. But, to be honest, we          usually only sleep together once a          year. On VJ day.          CLARENCE          Damn. VJ day? That's cold.          JACKIE MOON          (ignoring Kong)          And even on that day, I don't feel          like it's me who's sleeping with          her.          BEE BEE ELLIS          What does that mean?          JACKIE MOON          She married me because of my song,          but I didn't write it. So sometimes          I feel like it's not even me who's          with her.          (more emotional)          Deep down, I feel like it's really          my Mom who is making love to her.          When I hold Lucy's supple breasts          in my hands, they are my Mom's          hands. When I eat a pair of edible          panties off of her, they are my          Mom's teeth.          DUKES          That's pretty weird.                                                  79.          JACKIE MOON          I'm living in a prison, Dukes.          CLARENCE          Why don't you write a song          yourself? Then you wouldn't feel          like a fake any more.          JACKIE MOON          Oh please! I could never write          anything as brilliant as 'Love Me          Sexy!'          (standing tall)          Listen to me, Tropics. Today is a          new day. I am going to be the          greatest basketball owner you've          ever seen. And we're going to make          it to fourth place.          MUSIC CUE: HOT CHOCOLATE 'EVERY 1's A WINNER.'          MEGA-MONTAGE: THE TROPICAL FEVER SEQUENCE. (Note: The music          fades in and out throughout as needed).          -PRE GAME: The Tropics do their 'intro dance.' They perform          the waterfall down into.a cool pose. The crowd loves it.          -TROPIC HIGHLIGHTS: They run a fast break weave, Monix makes          the layup. Clarence penetrates and dishes to Jackie for a          pull up jumper.          -THE TROPICAL AISLE: Fat people in Hawaiian shirts go crazy.          A lady chucks her nachos at the other team.          -RESULTS: The scoreboard shows a Tropics win.          -ATTENDANCE: A clicker counts up to 182 fans.          -MORE INTRO EXCITEMENT: Jackie introduces his starting five.          JACKIE MOON          (into mic)          And at guard, six foot two.          Formerly known as Clarence Withers,          and Sugar Dunkerton, and Downtown          Funky Stuff Malone, and Jumping          Johnny Johnson -- He's launching          his new name tonight -- Put your          hands together for: COFFEE BLACK.          Clarence jogs out with Coffee Black sewn into his jersey...                                                  80.          -RESULTS: A newspaper shows the Tropics have moved out of          last place.          -ATTENDANCE: A clicker counts up to 406.          -JACKIE THE PROMOTER: He's giving away a mountain of          cupcakes. A lucky fan stands next to him.          JACKIE MOON          (into mic)          Eric has just won CUP CAKE          MO UN TAINNNNNNNNN!!! Can you imagine          how that feels? Who wants to see          Eric take a bite!?          -ATTENDANCE: A clicker counts up to 620.          -THE KREMLIN: The team parties like it's 1976. The ball girls          are looking pretty good.          -MONTAGE CONTINUES WITH TROPIC HIGHLIGHTS. As music cranks,          Clarence dribbles and pulls up for a little floater. On          defense, Jackie rejects a shot.          -WHEELCHAIR DARREN AND JODY: Jody wheels right out onto the          floor, an opponent flips over her and tumbles. Jody spills          out of her wheelchair, totally psyched.          OPPOSING PLAYER          My God, are you okay little girl?          WHEELCHAIR JODY          Eat my crippled ass.          -RESULTS: Three successive winning scores are flashed in a          row. A newspaper shows the Tropics moving up further in the          standings.          -CLARENCE'S MOM: Quincy is throwing. a party for the team at          their BBQ place. She dances happy.          -NEW PROMO PHOTOS: QUICK CUTS of the team's new glossy          calendar: Mr. January: Jackie wears only a tool belt.          February: Clarence lies on a lamb wool rug. March: Bee Bee          Ellis, by a waterfall, wears a cardigan. April: Monix,          annoyed, holds a rose in his teeth.          -ATTENDANCE: A clicker counts up to 711.          -MONIX THE MASTERMIND: In the meeting room, Monix and the          team study film. Monix draws up a defensive scheme on the          board. On the court, he gives Clarence an advanced lesson.                                                  81.          MONIX          Rotate further out from the key, so          when you get the ball you can face          the basket. You've actually got          some moves, so you can penetrate...          FLINT RALLIES AROUND THEIR TEAM: The guys in Hawaiin shirts          are out flyering.          TROPICAL AISLE GUY          Come see the Tropics tonight!          TROPICAL AISLE GUY #2          See the biggest half time stunt          ever.          -MONIX THE PLAYER: Despite his knees and back killing him,          Monix plays like a champion. He's still got some jump left          too. He knows this is his last run, there's nothing left to          save it for.          -TRAINING ROOM: Clarence drains Monix's knee.          -JACKIE THE PROMOTER: Jackie's wife, Lucy Moon, rides a          mechanical bull topless. The crowd goes nuts.          JACKIE MOON          Good job honey! Looking good.          -ATTENDANCE: A clicker counts up to 890.          -TROPIC HIGHLIGHTS: Scootsie Double Day Scores. Twiggy Munson          Scores. Bee Bee Ellis scores. Jackie Moon hits a ill advised          three pointer. Monix rejoices, he's actually having fun.          LIVE ABA RADIO (V.0.)          .Jackie Moon with a three. He's          the fourth player in double          figures. They're really sharing the          ball tonight.          -FLINT RALLIES AROUND THE TROPICS: People are buying Tropic's          jerseys.          -RESULTS: The standings show the Tropics all the way up to          sixth place.          -FLINT RALLIES AROUND THEIR TEAM: The ball girls are doing a          kick line, wearing cute cheerleader skirts. Clarence watches          from the bench.                                                  82.          CLARENCE          Hold up. Are these girls wearing          underwear?          JACKIE MOON          Which girls?          (turning around)          Oh. It doesn't look like it. Wow.          It's true, the ball girls are flashing the crowd with every          kick.          CLARENCE          (MESMERIZED)          Nice work, Jackie.          JACKIE MOON          I didn't do it. They did.          Melinda winks at Jackie, as her skirt flips up. The crowd is          going goes crazy.          -ATTENDANCE: The clicker raises to 906.          -MORE PRACTICE: Clarence slams a dunk and does a jig.          MONIX          Clarence, do me a favor, if you          dunk the ball, don't dance          afterwords. Act like you've been          there before.          JACKIE MOON          Actually, Monix, I need him to          dance. A lot. The fans need it.          (BEAT)          It's either that, or we play with a          monkey.          MONIX          Fine, you can dance a little bit.          JACKIE MOON          If you dunk it, go fuckin' ape          shit.          -GAME TIME. CLARENCE DUNKS THE BALL: He immediately launches          into a preposterous celebration: Back flip, 360 spin down to          the splits, back up, he and Jackie give each other ten and          then do an extended hand jive routine. Now Jackie blows          Clarence a kiss, which 'knocks him out flat.' Clarence then          poses, elbow on the floor, hand under his head, smiling.                                                  83.          JACKIE'S WIFE: LUCY MOON sleeps with LOU REDWOOD.          -JACKIE THE PROMOTER: Halftime, at center court, a ramp is          set up. Behind the ramp, all the ball girls lay head-to-toe.           BOBBY DEE (V.0.)           These beautiful girls reach a           combined total of 47 feet... And           here he comes...           Jackie comes ROLLER-SKATING at high speed. He hits the jump --          It's going to be close --          BAM! HE LANDS HARD, POUNDING DOWN ON TOP OF THE LAST GIRL.          SHE IS ABSOLUTELY FLATTENED BY THE IMPACT.          JACKIE HOLDS HIS LEFT SHOULDER IN PAIN, THEN STANDS AND LIFTS          HIS OTHER HAND, CLAIMING VICTORY.          THE GIRL ROLLS OVER TO HER BACK, TRYING TO STAY CONSCIOUS.          BOBBY DEE (V.0.)          How about that!          END OF MONTAGE.          DISSOLVE TO:          INT. FLINT FAIRGROUNDS COLISEUM - NIGHT          Jackie is on the bench, mid-game. Bobby Dee is taping his          shoulder.          JACKIE MOON          OW.          (Bobby Dee stops taping)          No, keep doing'it.          BOBBY DEE          You sure boss?          JACKIE MOON          Just keep taping it up. I'm fine.          Now the COMMISH (the league official) steps over.          COMMISH          Hey Jackie.          JACKIE MOON          Oh, hey Commish.          (a little worried)                                                  84.          I didn't know you were in town this          weekend.          COMMISH          Listen, my office has been getting          your numbers. You claim you've had          over two thousand people at every          home game this month.          JACKIE MOON          (dead pan)          That's correct.          The commissioner looks around, skeptical. As we scan the          stands, it's clear the crowd is still not big enough.          COMMISH          Well, we've counted only nine          hundred and eighty three here          tonight.          JACKIE MOON          What, you don't think people go to          the bathroom?          (Commish isn't buying it)          Saturdays can be a little slow. You          should have been here the other          night, it was SO PACKED.          COMMISH          Don't bullshit me, Jackie.          The commish waves over a little bald man in a suit. PEEKSKILL          carries a brief case and never talks.          COMMISH          From now on, Peekskill here will be          attending every Tropics home game.          You're going to have to get a real          crowd here if you want to qualify          for the merger.          INT. TELEVISION STUDIO - DAY          Jackie Moon is being interviewed on a local talk show.          INTERVIEWER          So, the Tropics will be at a size          disadvantage against the Americans.          How do you intend to match up with          their strong inside game?                                                  85.          JACKIE MOON          Tomorrow, at half time, I, Jackie          Moon, will wrestle a bear.          INTERVIEWER          Oh, well there's something. But,          defensively, as a team, do you          THINK--          JACKIE MOON          --That's tomorrow! One night only!          See Dewie the wrestling bear attack          me. He's killed people in public          before.          INTERVIEWER          Okay, well, that's some half time          show.          JACKIE MOON          I'M TELLING YOU, NOBODY CAN MISS          THIS! IF YOU'RE A CHILD, TAKE MONEY          OUT OF YOUR MOTHER'S PURSE AND WALK          TO FLINT MICHIGAN FAIRGROUNDS          COLISEUM! EIGHT O'CLOCK!          INTERVIEWER          Well, there you have it. Jackie          Moon, thanks for stopping by. From          channel 5, this is Mick Kenterman,          signing off. Good night.          JACKIE MOON          DEWIE IS INSANE. HE COULD RIP MY          HEAD OFF!          EXT. LYNN'S HOUSE - NIGHT          LYNN carries the garbage out. As she closes the lid, she          notices something.          REVEAL: Monix is standing in the yard.          LYNN          Well, if it isn't the toast of          Flint Michigan. Shouldn't you be          out signing autographs?          Monix doesn't speak... He stares into her eyes for a moment.          MONIX          Will you marry me?                                                  86.          LYNN          What?          MONIX          You heard me.          LYNN          Technically, we're still married          right now, Monix.          MONIX          You know what I mean.          LYNN          Do I?          MONIX          Do you love me?          LYNN          Probably.          MONIX          Then let's do it. For real this          time. I need you.          LYNN          Shit. I know you need me, Monix.          The question is, do I need you?          KYLE (O.S.)          WHAT'S UP MONIX!?          Kyle pokes his head out of the screen door. He wears a Flint          Jersey with Monix on the back.          KYLE          CHECK OUT THE JERSEY, MAN. I'M YOU.          HA!          MONIX          YEAH. HA!          (to Lynn)          And I suppose you need him?          LYNN          He's loyal.          MONIX          Dogs are loyal.                                                  87.          LYNN          He ain't stupid, if that's what          you're trying to say.          MONIX          HEY KYLE!          KYLE          YEAH?          MONIX          CAN YOU DO ME A FAVOR? CAN YOU GO          PICK ME UP A TUBE OF BEN GAY?          KYLE          NO PROBLEM, I'LL LEAVE RIGHT NOW.          Monix and Lynn meet eyes. Lynn tries not to smile, trying to          be mad. Kyle pulls on some jeans and gets into his truck.          LYNN          Don't fuck with him. It's just          rude.          MONIX          (while looking at Lynn)          DON'T GO TO THE PHARMACY, KYLE. I          NEED A BIG TUBE, THE KIND THEY SELL          OUT AT LUGER'S, ON ROUTE 59.          KYLE          I'M ALREADY GONE BRO.          LYNN          (eyeing Monix)          What do you think you're doing?           SMASH CUT TO:          INT. LYNN'S HOUSE - BEDROOM - NIGHT          Monix and Lynn are HAVING SEX.          Lynn is aggressive.          Years of pent up emotion are building to a climax...          INT. LYNN'S HOUSE - LIVING ROOM - CONTINUOUS          Meanwhile, KYLE RE-ENTERS THE HOUSE!                                                  88.          KYLE          (to the empty living room)          What's up. I forgot my stupid walle-          -Kyle stops in his tracks. He HEARS a sound he's never truly          heard before, Lynn having an orgasm. He slowly walks toward          the bedroom.          KYLE'S POV: Peeking around the corner, we spy Monix and Lynn          still going at it.          ON KYLE: His whole body goes numb, his face turns red... We          hold on his face until:          KYLE          Monix?          (BEAT)          Yes.          Still undetected, Kyle settles in to watch the show, still          wearing his Monix jersey.          Lynn finally looks over and spots Kyle. We can't be sure, but          his hand might be in his pants. Lynn can't believe her eyes.          LYNN          (having sex, whispering          off to Kyle)          Stop that.          KYLE          Stop what?          LYNN          (in pig Latin)          Ixne-on-the-erking off-je.          Monix finally notices his sex partner is having a          conversation. He turns to see Kyle.          MONIX          Woah. What the fuck?          KYLE          Monix, you of dog!          MONIX          What the Hell are you doing!?          KYLE          Hey, I'm the victim here. I'm          allowed to do as I please. This was          an honor.                                                  89.          LYNN          What?          Monix stands up, wrapping a sheet around him.          MONIX          I'm outta here.          KYLE          Oh, c'mon man. Don't be like that.          It's all cool.          MONIX          Believe me, this is not all cool.'          Monix grabs his shit and walks out of the bedroom.          MONIX          I'll call you.          KYLE          Okay.          LYNN          Not you, asshole. He was talking to          me.          EXT. FLINT FAIRGROUNDS COLISEUM - NEXT NIGHT          There's a real buzz in the air. People are pouring into the          stadium tonight. Clarence is right outside the locker room,          eating a Bit-o-Honey, watching with amazement.          OFFICER MILLER          Hey is that Coffee Black? I'm          officer Miller, State Correctional,          I'm a big fan, you can call me          Jimmy.          CLARENCE          Nice to meet you.          OFFICER MILLER          Jackie Moon ordered up a bus full          of prisoners. Any idea where we all          should sit?          INT. FLINT FAIRGROUNDS COLISEUM - CONTINUOUS          PAN: The PRISONERS are all packed into the stands. Next to          them is a huge group of ladies from an OLD FOLKS HOME... Next          to a bus load of SICK KIDS from the hospital.                                                  90.          ON PEEKSKILL trying to count. There's no use analyzing it,          the place is sold out and the fans are going nuts.          CENTER COURT: In a wrestling ring, Jackie is in a wrestling          singlet, wearing head gear, drinking from a squirt bottle.          PAN TO DEWIE THE BEAR, ready to go.          CLARENCE, DRESSED AS A REF, is standing in front of JACKIE,          messaging his shoulders.          CLARENCE THE REF          We sold out, man. You did good.          JACKIE MOON          I'm scared of bears, Clarence.          CLARENCE THE REF          What?          JACKIE MOON          I hate these things. I'm freaking          out right now.          CLARENCE THE REF          If you're scared of bears, why the          Hell are you wrestling one then?          JACKIE MOON          Look at this place. We're packed.          It was a good idea.          CLARENCE THE REF          Well, don't worry, you'll pin him          easy. It'll be fine.          JACKIE MOON          You don't understand. I don't like          bears. I'm feeling dizzy.          Jackie is seriously petrified. Clarence adjusts the collar of          his ref jersey and looks around, worried about his friend.          CLARENCE THE REF          Maybe we should call it off.          JACKIE MOON          NO. Look into my eyes.          (Clarence does)          You're the ref tonight. No matter          what happens in there, do not stop          the fight, okay?                                                  91          These people came to see a show.          I've got to make it through at          least one round.          CLARENCE THE REF          Okay, until you finish the first          round, I won't call it. Hey, how          bad can three minutes be, right?          BEAR HANDLER (O.S.)          Are you guys ready?          The bear handler is a large frizzy haired woman.          CLARENCE THE REF          I don't know, are we ready?          JACKIE MOON          Yeah, let's do it.          BEAR HANDLER          You guys want to give me a safe          word?          CLARENCE THE REF          What's a safe word?          BEAR HANDLER          It's a word for you to yell to the          Ref, so he can stop the match.          JACKIE MOON          I don't need a safe word.          BEAR HANDLER          Tell you what, if you get injured          or you really feel like you're in          danger, yell, um, I don't know...          Spumoni. Once I get a signal from          the ref, I'll come in.          CLARENCE THE REF          What's Spumoni?          JACKIE MOON          It's an Italian Gelato, sort of          like Almond flavored ice cream.          CLARENCE THE REF          Is it good?          JACKIE MOON          I don't know, I've never had it.                                                  92.          BEAR HANDLER          It's really good.          (Jackie and Clarence nod)          Okay, so Spumoni is the safe word          then?          JACKIE MOON          No, I don't need a safe word, okay?          Let's just do this. One round.          (nodding to the bell man)          DING DING DING! The bell has rung. The crowd goes crazy.          Clarence assumes his position as ref.          Jackie walks slowly toward the bear, frightened.          They bear scratches his belly, cute. Jackie immediately          quits.          JACKIE MOON          (re: The scratching)          Okay, fuck this.          CLARENCE THE REF          What? You can't quit already.          JACKIE MOON          SPUMONI. I'm out of here.          CLARENCE THE REF          You can't SPUMONI, all he did was          scratch his nuts.          JACKIE MOON          Well, too bad, I'm SPUMONI-ING.          PEOPLE START TO BOO. Jackie looks around at the angry crowd.          CLARENCE THE REF          You gotta give 'em a show. C'mon,          the bear seems pretty tired, look          at him.          It's true, the bear is pretty docile. The bear's indifference          gives Jackie a glimmer of confidence.          CLARENCE THE REF          Just test him out a little. Maybe          it won't be so bad.          Jackie nods, then hops around with his dukes in the air. Now          he does a shuffle for the crowd. After dancing a bit, the          bear is still motionless.                                                  93.          JACKIE MOON          (tapping the bear)          C'mon Dewie...          (off screen)          What's going on? Is he going to--          --THE BEAR MAULS JACKIE. LIKE LIGHTENING, JACKIE HAS ALREADY          BEEN TACKLED AND STRANGLED AGAINST THE ROPES.          JACKIE MOON          AAAHHHHHH!!!!!          CLARENCE THE REF          Damn.          BEAR HANDLER          Woah-ho. I've never seen that          before.          THE CROWD IS GOING BALLISTIC. NOW THE BEAR THROWS JACKIE          ACROSS THE RING LIKE A LIMP RAG DOLL.          JACKIE MOON          AAAHHH!!! SPUMONI!!!          CLARENCE THE REF          NO SPUMONI.          JACKIE MOON          FUCK YOU CLARENCE! SPUMONI!          THE BEAR IS GOING BALISTIC. JACKIE TRIES TO CRAWL AWAY, BUT          DEWIE JUMPS ON HIM, GRABS HIS HEAD AND TRIES TO RIP IT OFF OF          HIS SHOULDERS. THIS BEAR HAS LOST HIS MIND.          JACKIE MOON          (to the handler)          SPUMONI!          ANIMAL HANDLER          (to Clarence)          I THINK MY BEAR'S SPOOKED, REF. I          THINK YOU NEED TO CALL IT.          CLARENCE THE REF          NO. ONE ROUND. THIS IS WHAT HE          WANTS, TRUST ME.          GASPING FOR BREATH, JACKIE IS BEING SUFFOCATED BY A POWERFUL          BEAR HUG.                                                  94.          JACKIE MOON          PLEASE GOD, SOMEONE SPUMONI! I'M          BEGGING YOU, CLARENCE.          CLARENCE THE REF          LOOKING GOOD, BOSS.          JACKIE IS HANGING HALF WAY OUT OF THE RING. HE'S NOSE TO NOSE.:          WITH THE BEAR HANDLER.          JACKIE MOON          (screaming at the bear          HANDLER)          GELATO! ALMOND ICE CREAM!          (in Italian)          Asta zittu'sto parcnuso spumoni!          BEAR HANDLER          (to Clarence)          WE HAVE TO STOP IT!          CLARENCE THE REF          NO WAY! I'M THE REF!          BEAR HANDLER          (climbing in)          Screw this, I'm stopping it.          The bear handler tries to get into the ring with a stick and          loop. But CLARENCE TRIES TO PUSH THE BEAR HANDLER back out of          the ring.          DEWIE TURNS TO FIND HIS HANDLER IN DANGER.          LIKE LIGHTENING, THE BEAR MAULS CLARENCE.          CLARENCE THE REF          AAAHHHHH!!! I'M THE REF!!!          SPUMONI!!!          DING! The first round is over, but the bear does not return          to his corner.          CLARENCE THE REF          THE BELL RANG! SPUMONI!!!          MUSIC CUE: 'KING KONG' BY JIMMY CASTOR          MONTAGE: SOLD OUT FLINT ROLLS TOWARD FOURTH.          The Tropics play awesome.          A SIGN SAYS 'SOLD OUT!'                                                  95.           LIVE ABA RADIO (V.0.)           And it's another sell-out crowd for          the Flint Michigan Tropics.          BUZZER! FINAL SCORE: TROPICS 111 COLONELS 98.          AGAIN, THE SIGN SAYS: SOLD OUT!          BUZZER! FINAL SCORE: TROPICS 90 SQUIRES 81.           LIVE ABA RADIO (V.0.)          Taking it strong to the rim is          Coffee Black. Yes! This sold out          crowd is going nuts. You've been a          little quiet Lou, how are you          doing?          LOU REDWOOD (V.0.)          A Mexican stole my bike.          BUZZER! FINAL SCORE: TROPICS 92 AMERICANS 87.          ON THE SIGN: SOLD OUT!          BUZZER! FINAL SCORE: TROPICS 105 CONQUISTADORS 91.          The team celebrates the win.          LIVE ABA RADIO (V.0.)          And, believe it or not, the Flint          Tropics are in perfect position to          qualify for the NBA merger. If they          win their final game, they'll          clinch fourth place. But nothing is          ever easy against the first place          San Antonio Spurs.          As Jackie does a victory dance, the commissioner approaches.          COMMISH          Jackie.          JACKIE MOON          Oh, hey Commish. Good game huh? And          a packed house too.          COMMISH          I need to talk to you... And the          rest of your team. Alone.          INT. LOCKER ROOM - NIGHT          The whole team stands solemnly.                                                  96.          COMMISH          I'm sorry, but even if you beat the          Spurs on Friday, we just can't have          an NBA franchise in Flint.          MONIX          What are you saying?          COMMISH          It's just not good business. Flint          isn't a big enough media market,          okay? This stadium is small and,          frankly, it needs to be torn down          before someone gets hurt. I'm sorry          but nobody ever thought you guys          could ever get this far.          CLARENCE          Well tough shit. This team did make          it this far. Rules are rules.          COMMISH          Rules are rules... Until the          expansion committee makes new          rules. Then those rules are the          rules.          Everyone looks at each other. Jackie's brain has slipped into          a deep trance. He is no longer inside his body.          COMMISH          Don't take this personally, Jackie.          These other teams have strong          markets, new stadiums. It's just          not going to happen for you Flint          boys. I'm sorry.          The devastation of what is happening is palpable. Nothing has          ever hurt this bad before.          COMMISH          I know you're going to punch me,          Jackie. So let's just get it over          with.          The commissioner stands brave, eyes closed, chin out.          Jackie is too confused and devastated to hit anything. He          stumbles out of the room like a zombie. The team follows.          The commissioner opens his eyes. A long silent beat...                                                  97.          COMMISH          (to himself)          How did I get out of that one?          Suddenly KONG darts in and squeezes the commissioner's balls          with a kung fu grip.          COMMISH          Ah!          EXT. FLINT TROPICS COLISEUM - MOMENTS LATER - NIGHT          The team files out into the parking lot, totally devastated.          TWIGGY MUNSON          This can't be happening.          BEE BEE ELLIS          They can't just do this, can they?          SCOOTSIE DOUBLE-DAY          We can get a lawyer, dude. We can          fight this!... Can't we?... Monix?          Monix just looks to the ground, as in 'it's over.'          BEE BEE ELLIS          Jackie... Please... Say something.          Jackie opens his mouth... He tries to speak, but he can't.          BEE BEE ELLIS          Are you crying?          JACKIE MOON          I don't know.          (contorting his face)          I'm trying to.          (looking to the sky)          I wish I could just puke this away.          (to Monix)          Do it to my Jejunum, Monix. Help          me.          But Monix is leaving. He turns and walks off, alone down the          dark street... The others walk away too...          JACKIE MOON          Wait! Monix! Where is everyone          going?...                                                  98.          MUSIC CUE: 'IT'S TOO LATE' BY ISAAC HAYES.          MONTAGE: PLAYERS OF FLINT ARE DOWN AND OUT.          -CLARENCE walks alone along the river.          LIVE ABA RADIO (V.0.)          In an American Basketball          Association policy shift, it seems          the Flint Tropics will not be          playing for an NBA birth after          all...          -BEE BEE ELLIS stands in the middle of the Tropics court,          upset.          -JACKIE walks, sad, along the streets of Flint -- Now he          suddenly picks up a pipe and SMASHES THE WINDSHEILD of an          innocent truck. He turns and TACKLES A GARBAGE CAN.          LIVE ABA RADIO (V.0.)          Friday's match-up against the first-          place San Antonio Spurs will be the          Tropics final basketball game...          -SCOOTSIE DOUBLE DAY finishes spray-painting the words          'BULLSHIT' on a wall. REVEAL: He is in his own child's          nursery room. The baby starts crying.          -The TROPICAL AISLE guys are fat and shirtless, burning their          Hawaiian shirts outside the stadium.          LIVE ABA RADIO (V.0.)          And if that news wasn't bad enough          for the Tropics, we've just been          informed that Coffee Black, the          team's top scorer, has been traded          to the Spurs.          LOU REDWOOD (V.0.)          At least someone from Flint is on          his way to the NBA next year.          DISSOLVE TO:          INT. THE THE KREMLIN - CONTINUOUS          MONIX is back on his bar stool, drinking and smoking, it's          been a long night.          Now CLARENCE ENTERS the Kremlin... And makes the long walk          over to sit next to Monix.                                                  99.          CLARENCE          Thought I might find you here.          (long beat)          I got traded.          MONIX          Yeah, I heard.          CLARENCE          I guess the San Antonio Spurs are          picking up the players they want,          before we're eligible for the          expansion draft.          MONIX          Coffee Black, going to the NBA...          CLARENCE          They won't let me finish out with          the Tropics. So, we'll be playing          against each other in the last          game. That's pretty weird.          MONIX          It won't be weird. The game doesn't          count.          CLARENCE          Listen I'm sorry about--          MONIX          Don't be sorry.          CLARENCE          I mean, I just want to say that,          this year, you really--          MONIX          --DON'T. Alright? Just don't.          Clarence stares at him. Then eventually stands up to leave.          There are a million things he wants to say, but he says this:          CLARENCE          We worked so hard.          MONIX          Well, it was all for nothing.          CLARENCE          So, that's just it then?                                                  100.          MONIX          That's just it.          Clarence shakes his head and walks out.          EXT. FLINT MICHIGAN - MORNING          The morning sun shines down on the sad town of Flint.          Monix walks home in the street. He stops and TAKES A LEAK          right in the middle of the road. A car honks at him to get          out of the way, then skids to a stop.          Lynn pokes her head out of the car.          LYNN          What the fuck are you doing?          MONIX          Oh. Hey Lynn.          INT. LYNN'S HOUSE - LATER THAT DAY          Monix is on the couch, drunk. He gazes at the TV and swigs          his beer.          Now LYNN walks in.          LYNN          I thought the deal was, you were          going to sleep.          MONIX          Pshh. Relax.          LYNN          So, you're just going to sit here          in my house and drink for the          entire day?          MONIX          You got a problem with that?          LYNN          Yeah, I do. Maybe you could put          some pants on and go piss off          somebody else.          MONIX          Fine, maybe I will!          (STANDING)          Where are my pants?                                                  101.          LYNN          Tell me something, Monix-          MONIX          No.          LYNN          Whatwereyou trying to accomplish          thisyear?You never really gave a          shitaboutthat NBA merger, did          you?          Monix doesn't say anything.          LYNN          The merger, Monix, did you ever          care about it?          Monix still stays quiet.          LYNN          Tell me, if you didn't care about          the merger, what the Hell were you          playing for!?          MONIX          I wanted fourth place! Okay? That          was the whole fucking thing!          LYNN          Well, guess what! Fourth place is          still sitting there, waiting for          you to win it!          Monix doesn't look at her.          LYNN          Think about it.          EXT. FLINT MICHIGAN - DAY          A wide shot of an alley. We hear a familiar voice off screen.          JACKIE MOON (O.S.)          (singing bizarre)          Baby, who wants to- love me sexy!          baby, Ugh, are you ready to; lick          me sexy!!!? Yeah yeah!! HA!          INSIDE A DUMPSTER, REVEAL: Jackie lays in garbage and sings          up to the sky. It's official, he has lost his mind.                                                  102.          JACKIE MOON          (tweaking the lyrics)          I'm a big faker and I stole this;          Song-ly sexy. I'm the biggest          failure in the; world-ly sexy. I'm          going to kill my; self-y sexy.          BEE BEE ELLIS (O.S.)          Jackie?          Bee Bee Ellis hears Jackie voice and discovers him in laying          the garbage. Jackie ignores his teammate.          JACKIE MOON          I'm going to hang myself with an          extension; cord-y sexy.          BEE BEE ELLIS          Jackie! What the Hell are you doing          in a dumpster?          JACKIE MOON          (ignoring Bee Bee)          I am urinating in my pants right          now.          BEE BEE ELLIS          You gotta get it together, man.          Monix called a team meeting.          INT. THE KREMLIN - LATER DAY          The entire team has gathered. Monix addresses them.          MONIX          Listen up. We all know that          Clarence has been traded. And we          all know that this game doesn't          matter anymore, right?          BEE BEE ELLIS          Right.          MONIX          Well I've got news for you. This          game does matter. It matters          because this is the last real          basketball game any of us is ever          going to play. Ever.          The guys nod, solemn.                                                  103.          MONIX          Tomorrow night, I say we leave it          all out there on the floor. Because          there's nothing else for us to save          it for. Clarence or no Clarence.          NBA or no NBA. Merger or no merger.          We decided we are going to win          fourth place. And that's what we're          going to do.          Jackie is moved. The guys look at each other and nod.          MONIX          Over the past five weeks, we've          become a team. And that is no small          thing. Jackie, have you ever been          on a real team before?          JACKIE MOON          No sir.          MONIX          How does it feel?          JACKIE MOON          It feels pretty good.          MONIX          All your lives, you've dreamed of          playing in the NBA. Well, guess          what? Tomorrow night, you are.          You're playing an NBA team. And for          one night, the world is going to          know that you belong.          (BEAT)          Look, I tried to pretend like it          didn't matter to me if we made it          to fourth or not.          Monix turns inward, speaking with an emotion that is pure.          MONIX          But the truth is, I want this more          than anything I've ever wanted in          my whole fucked-up life.          (BEAT)          And I think you do too. I think you          can taste it. Because we earned          this. We made this happen. And          we're four quarters away from          making our dreams come true.                                                  104.          JACKIE MOON          LET'S DO THIS!          BEE BEE ELLIS          YEAH! LET'S GO!          MONIX          JACKIE, YOU'VE GOT ONE MORE GAME TO          PROMOTE!          (to the team)          LET ME HEAR IT! FOURTH PLACE!          EVERYONE          FOURTH PLACE!          Pumped, they jump around, ready to make their own history.          MONIX          FOURTH PLACE!          EVERYONE          FOURTH PLACE!          INT. TV STUDIO - NIGHT          A sports show host is interviewing Jackie.          JACKIE MOON          The Spurs may be the #1 team in the          league, but they're going to have          to prove it on Friday night.          TV ANNOUNCER          Since this game doesn't count,          Jackie. What exactly is your          motivation?          JACKIE MOON          (with a gleam in his eye)          We.'re going to win this game,          because we want it. It's as simple          as that. That alone should make          people want to show up and root for          us.          Jackie and the announcer look at each other for a long moment          of silence...          JACKIE MOON          Plus, this is the FLINT MICHIGAN          MEGA-BOWL!                                                  105.          TV ANNOUNCER          What?          JACKIE MOON          Save your ticket stubs, the mega-          bowl is an historic event.          TV ANNOUNCER          I'm not sure I understand.          JACKIE MOON          It's a Mega-Bowl. What's not to          understand?          TV ANNOUNCER          This game has no effect on--          JACKIE MOON          --The Mega Bowl trophy is twelve          feet high. AND IT IS GLORIOUS.          TV ANNOUNCER          I'm sorry, but this sounds like          something you just made up.          JACKIE MOON          Well, I didn't.          TV ANNOUNCER          Well, it doesn't make any sense.          They're just words.          JACKIE MOON          Oh please. You're just words.          (directly at camera)          COME SEE THE FLINT TROPICS RAISE          THE MEGA BOWL TROPHY HIGH ABOVE OUR          HEADS. WE'RE NOT JUST GOING TO          FINISH IN FOURTH, WE'RE GOING TO          TAKE HOME THE MEGA BOWL TROPHY.          TOMORROW NIGHT AT 8 O'CLOCK!          EXT. FLINT MICHIGAN - MORNING          The sun rises above the city. In the morning light, Flint          looks almost electric.          EXT. FLINT FAIRGROUNDS COLISEUM - FRIDAY NIGHT          The parking lot is rocking. The whole town is jazzed for the          big event.                                                  106.          LIVE ABA RADIO (V.0.)          if the commissioner is listening, I          recommend he stay out of the city          of Flint tonight. He's not too          popular in this town.          LOU REDWOOD (V.O.)          i will stab him in the stomach with          an eight inch hunting knife.          LIVE ABA RADIO (V.0.)          There were many wild protests in          Flint this week. But it seems like          the whole city is now focused on          beating the San Antonio Spurs. This          team seems to have captured every          heart in this town of underdogs.          People have poured in from around          the state to support this drive          toward their first mega-bowl          championship.          INT. SPURS LOCKER ROOM - NIGHT          Clarence is getting dressed in the visitor's locker room. He          holds up a Spurs Jersey and now pulls the strange colors over          his head.          LIVE ABA RADIO (V.O.)          The Flint Tropics will be playing          without their number one scorer,          Coffee Black tonight. The Spurs          have signed several new players          from around the ABA, locking them          in before they hit the free market          in next year's expansion draft. The          .big man, Pete Petrelli has been          sent over from the dismantled          Anaheim Amigos.          Now Petrelli enters frame. The guy we hate has been traded to          the Spurs too.          PETRELLI          We may be teammates, but I still          think you're a dick.          CLARENCE          Thanks Petrelli.                                                  107.          INT. FLINT FAIRGROUNDS COLISEUM - CONTINUOUS          WHEELCHAIR DARREN and JODY take their positions next to the          court. DUKES sits in the stands. QUINCY wears a new fur coat,          sitting center court. The TROPICAL AISLE cheers, rowdy. The          BALL GIRLS look almost nervous. You can feel the excitement.          And now entering, by herself, standing in the back, is LYNN.          She takes a deep breath.          INT. TROPICS LOCKER ROOM - CONTINUOUS          Monix addresses the team.          MONIX          You want to know what I love? This.          The eleven of us right here, right          now, waiting for the biggest game          of our lives to begin.          (BEAT)          I want you to remember something. I          want you to remember what this          feels like, to be here in this          locker room together, one last          time, shoulder to shoulder with          these men. Because we are not          ourselves tonight. We are one.          This is what I love.          (BEAT)          Let's play basketball.          INT. FLINT FAIRGROUNDS COLISEUM - LATER          The game is well under way. It's full tilt action.          It's immediately clear that the Tropics are being over          powered.          QUICK CUTS: PETRELLI knocks over Monix and scores.          -The Tropics offense is getting shut down.          -Jackie gets a rebound, but then dribbles off his ankle.          -The fans are disappointed. The guys in the Tropical Aisle          are all bummed out. Wheelchair Jody looks pissed.          LIVE ABA RADIO (V.0.)          Not a good first half for the          Tropics so far. They're already          down by ten.          ON CLARENCE: He sits on the Spurs bench.                                                  108.          SPURS COACH          Coffee Black, you're going in.          CLARENCE          I can't. I've got back spasms.          The coach stares him down, then picks another player.          LIVE ABA RADIO (V.0.)          This is easily the worst half of          basketball the Tropics have ever          played. And that's saying          something.          LOU REDWOOD (V.0.)          Yep. It's a shit fucking sandwich.          LIVE ABA RADIO (V.0.)          Let's watch the F-bomb, Lou. We're          live.          LOU REDWOOD (V.0.)          Oh, please, this is our last game.          I can say whatever I want. Watch          this: I hope Gerald Ford gets ass          raped.          LIVE TROPICS RADIO          Okay then. We've got just fifteen          seconds left in the first half...          Here's Monix with a no-look to          Jackie... He goes up strong--          SLO MO: PETRELLI FLIES IN AND ELBOWS JACKIE HARD IN THE HEAD.          SLO MO: JACKIE'S HEAD SNAPS BACK...          SLO MO: JACKIE FALLS TO THE HARDWOOD, UNCONSCIOUS, HE BOUNCES          OFF THE FLOOR.          LYNN          Oh my God.          Everyone in the stadium watches as Jackie lays out cold.          LIVE ABA RADIO (V.0.)          I've never seen anyone take a hit          quite like that before. This looks          serious.          CLARENCE looks worried from the Spurs bench.                                                  109.          CLARENCE          JACKIE!          SPURS COACH          Do not leave this bench, Coffee.          BEE BEE leans over Jackie, worried.          BEE BEE ELLIS          Jackie? You awake?          FATHER PAT THE REF          Bring in the stretcher!          BEE BEE ELLIS          We don't have one.          LOU REDWOOD (V.0.)          I don't want to speculate, but I'm          pretty sure he's dead.          MONIX gets in Petrelli's face.          MONIX          What are you trying to prove          Petrelli? You afraid to play          basketball?          PETRELLI          Hey, check the scoreboard.          Monix attacks Petrelli.          LIVE ABA RADIO (V.0.)          Now Monix is after Petrelli. This          is total chaos.          FATHER PAT THE REF          (to the clock man)          Let those fifteen seconds run out!          (to everyone)          It's half time! Everyone off the          court!          LIVE ABA RADIO (V.0.)          And at half time. It's the Spurs          60, the Tropics 29.          The guys carry Jackie off the court and into the locker room.          ON CLARENCE: He's had enough. He stands up and begins walking          across the court, to join the Tropics.                                                  110.          SPURS COACH          Where the Hell are you going?          CLARENCE          I'm going to my team.          SPURS COACH          This is your team. You are not          leaving this bench.          From the front row, the COMMISSIONER hears all of this and          stands up, surrounded by security guards.          COMMISH          You sit down! You're not playing          with those idiots ever again. If          you walk away from this bench now,          you're never coming back. I'll see          to it you never play in the NBA!          Ever! Do you understand what I'm          saying to you, Coffee?          CLARENCE          My name ain't Coffee. It's          Clarence.          With that, Clarence walks across the floor. The crowd erupts.          LIVE ABA RADIO (V.0.)          Look at this. Coffee Black is          walking over to the Tropics. This          crowd is going crazy!          Clarence takes off his Spurs jersey and throws it into the          crowd.          INT. FLINT FAIRGROUNDS COLISEUM - LOCKER ROOM - HALF TIME          Jackie is laid out on a bench. Scootsie pours a bucket of          water on him. It doesn't work. Everyone looks worried.          Clarence enters the locker room.          TWIGGY MUNSON          Clarence!          CLARENCE          Is he okay?          SCOOTSIE DOUBLE-DAY          I don't know.                                                  MONIX          What the Hell are you doing here?          CLARENCE          I'm with you guys.          MONIX          Are you out of your mind? You want          to lose your NBA contract? Get out          of here.          CLARENCE          No.          MONIX          You're going to give up the NBA for          this?          (he is)          Well, you're a fucking asshole.          (now to Jackie)          Jackie. Are you okay buddy?          Monix cracks a smelling salt and waves it over Jackie's face.          WE PUSH IN ON JACKIE...          DISSOLVE TO:          INT. DREAMLAND - DAY          We're in Heaven. Jackie floats next to his Mother, who wears          a white robe and holds a red, white and blue basketball. A          basketball hoop hovers behind their heads.          JACKIE'S DREAM MOM          (in a dream)          Now, I want you to go forward, and          tell the others what I have told          you here today. Do you understand          me, son?          JACKIE MOON          (in a dream)          Yes Mother. You are so kind.          (BEAT)          I'm sorry I stole your song.          JACKIE'S DREAM MOM          I forgave you for that a long time          ago. I'd say it's about time you          forgave yourself.                                                  112.          JACKIE MOON          I don't want to leave this place.          It's so fluffy. I miss you, Mom.          JACKIE'S DREAM MOM          I miss you too, Jackie. Now, you          gotta wake up. You're missing the          game.          JACKIE MOON          Oh. I am? That's bad isn't it?          (BEAT)          Can you make time go backwards?          JACKIE'S DREAM MOM          Not really. Now hurry up. And don't          forget what I said.          Jackie walks into the clouds, then turns back.          JACKIE MOON          Hey Mom, I threw up.          JACKIE'S DREAM MOM          I know you did, sweetie.          INT. TROPICS LOCKER ROOM - CONTINUOUS          Jackie wakes from his dream. Confused.          JACKIE'S POV: Bee Bee Ellis, Twiggy Munson, Scootsie Double-          Day and Kong Yi look down at camera.          BEE BEE ELLIS          He's awake.          INT. FLINT FAIRGROUNDS COLISEUM - MOMENTS LATER          We're back with Live ABA radio.          LIVE ABA RADIO (V.0.)          This just in. It sounds like Jackie          Moon is up and around the locker          room. That's good news for the          Tropics.          INT. TROPICS LOCKER ROOM - CONTINUOUS          Monix coaches the team. Jackie rubs his head, not listening.                                                  113.          MONIX          And I don't care how quick their          defense is, we need to move the          ball and--          JACKIE MOON          --Hold on you guys. I have          something to tell you.          MONIX          What is it?          Jackie seems very serious...          JACKIE MOON          I had a dream. I had a dream, I was          in heaven and my Mother spoke to          me... She was wearing a flowing          white gown... And she showed me a          whole new way to score a basket.          She spoke to me and said with this          gift, you will win fourth place.'          BEE BEE ELLIS          He's lost his mind.          TWIGGY MUNSON          We need to figure out what we're          going to do in the second half.          SCOOTSIE DOUBLE-DAY          Yeah, we don't have time for any          ghost baskets.          JACKIE MOON          YOU WILL NOT SPEAK OF MY MOTHER          THIS WAY! THIS SHOT IS MAGICAL!          DON'T YOU UNDERSTAND?          Jackie's eyes are intense and he's breathing way too hard.          This dream was real. Monix tries to pacify him.          MONIX          Alright Jackie, relax, okay?          JACKIE MOON          I WILL NOT RELAX! WE HAVE TO USE          THIS! IT'S A GIFT FROM THE          OTHERWORLD!          Monix and Clarence shoot each other a look. Clearly, Jackie          is not going to take no for an answer.                                                  114.          CLARENCE          Okay Jackie, so what's the play?          INT. FLINT FAIRGROUNDS COLLESIUM - NIGHT          The second half is underway. Clarence and Jackie are both          playing for the Tropics.          LIVE ABA RADIO (V.0.)          We're back in action here at the          Mega Bowl. Coffee Black is playing          for the Tropics... And Jackie Moon          makes the start... In fact, it          looks like he's trying to run the          offense here...          Jackie dribbles at the top of the key, doing a lot of          pointing along with multiple hand signals.          LIVE ABA RADIO (V.0.)          This is a new offense for the          Tropics. Jackie dribbles to the top          of the key... And...          Jackie makes eye contact with Clarence.          Clarence cuts to the basket and Jackie throws him a lob.          SLO MO: As Clarence leaps, we hear Jackie's voice over from          the locker room...          JACKIE (V.0.)          I had a dream. And in my dream, my          mother jumped... Her gown flowing          in the wind... And she caught a          pass in the air and dunked it,          without ever touching the ground...          SLO MO: Clarence catches it and slams it hard.          JACKIE MOON (V.0.)          .She lifted her veil and said 'I          call this the Alley Oop.'          Everyone stands there, astonished. The other team is frozen.          The fans are confused. The ref has no idea what to do.          JACKIE MOON (V.0.)          .And she said it would change the          game forever...          The other players are starting to appreciate what they've          just seen.                                                  115.          SPUR #1          Damn, bro.          LIVE ABA RADIO (V.0.)          Woah. I'm sorry, I don't know what          just happened.          SPUR #2          Doesn't he have to dribble first?          LOU REDWOOD (V.0.)          What the Hell is going on?          SCOOTSIE DOUBLE-DAY          Hey Jackie, isn't that against the          rules?          JACKIE MOON          No. My Mom said it was fine.          The whole arena is waiting for Father Pat the Ref to process          this information.          SPURS COACH          C'MON FATHER PAT! HE CAN'T DO THAT!          IT'S TRAVELING!          WHISTLE! Father Pat The ref waves his hands.          FATHER PAT THE REF          HOLD ON. STOP THE GAME.          LIVE ABA RADIO (V.0.)          The ref has stopped the Mega Bowl.          FATHER PAT THE REF          FOUL ON NUMBER TWENTY FIVE.          JACKIE MOON          FOUL? I DIDN'T TOUCH ANYBODY!          FATHER PAT THE REF          WELL, PEOPLE CAN'T JUST FLY IN THE          AIR LIKE THAT!          THIS CAUSES JACKIE TO LOSE HIS MIND.          JACKIE MOON          OH, PLEASE! DO YOU THINK MY MOM          WOULD CHEAT IN MY DREAMS?          FATHER PAT THE REF          WHAT?                                                  116.          JACKIE MOON          SHE'S AN ANGEL! HEAVEN WANTS US TO          WIN! I WILL BURN YOUR HOUSE DOWN!          The other players stop Jackie's attack. Monix steps over and          calmly states the facts.          MONIX          It's not a foul unless you touch          another player. And it can't be          traveling without first          establishing a pivot foot. It's two          points, Father Pat, two points.          Father Pat the Ref thinks about this...          FATHER PAT THE REF          I'M GOING TO ALLOW IT. TWO POINTS          FOR FLINT!          The crowd goes nuts. The other team protests. Jackie points          to the sky, right through the hole in the roof.          MUSIC CUE: THE JACKSON FIVE 'DANCING MACHINE'          QUICK CUTS: THE TROPICS ALLEY OOP THEIR WAY TO FOURTH PLACE.          -Clarence slams down another alley-oop. Wheelchair Darren and          Wheelchair Jody go crazy.          LIVE ABA RADIO (V.0.)          There it is again, Clarence          leaping, and forcing the ball in a          downward direction through the goal          net off of a high arching pass --          Hold on, I'm being told this is          called an Alley Oop. Yes, That's          easier to say.          -Another Alley Oop! Dukes, shirtless, pumps his fist.          LIVE ABA RADIO (V.0.)          Jackie lobs to Clarence again. YES!          Another Alley Oop! The Spurs don't          know what's hit them.          -Monix double teams and forces a turn over. In the back of          the stadium, LYNN can't help but scream.          LIVE ABA RADIO (V.0.)          Monix with a steal-- A long bounce          pass to Scootsie Double-Day for a          lay-up.                                                  117.          I'll tell you, Monix is playing on          one leg here in the second half.          -Monix cuts off a Bee Bee Ellis pick toward the basket..          LIVE ABA RADIO (V.0. )          Monix penetrates-- and-- Wow! He          flipped it up behind his back and          Clarence slammed it home with one          hand!          SCOREBOARD: SPURS 100, TROPICS 99 -- : 15 left.          INT. FLINT FAIRGROUNDS COLISEUM - FIFTEEN SECONDS LEFT          Monix's team breaks the huddle and takes the floor.          LIVE ABA RADIO (V.0.)          In all my years of radio, I've          never seen anything like this. The          Tropics have fought their way back          from a twenty nine point deficit.          With twelve seconds left to play,          they're down by one point. A basket          here could win it.          IT'S THE FINAL PLAY: The fans pray. Monix takes a deep          breath, then in bounds the ball--          SLO MO: Jackie dribbles, looks up and lofts a perfect pass to          Clarence...          SLO MO: Clarence flies up for the alley oop slam dunk...          SLO MO: At the last second, Petrelli flies into frame and          swats it away!          LIVE ABA RADIO (V.0.)          Petrelli with the rejection! It's          out of bounds -- The Tropics keep          the ball, with seven seconds on the          clock. I'll tell you Lou, the Spurs          were looking for that one.          IN THE HUDDLE: Monix is yelling above the noise.          MONIX          (in the huddle)          Okay, listen up: They've made          adjustments out there. We can't          just keep running the Alley Oop,          okay? They're keying on Clarence.          Everyone looks at each other, worried.                                                  118.          SCOOTSIE DOUBLE-DAY          We're not going to run the alley          oop?          BEE BEE ELLIS          What are we going to run?          MONIX          We're going to run The Puke.          BEE BEE ELLIS          The Puke?          MONIX          Don't tell me you've forgotten it.          Everyone smiles at each other. They haven't.          MONIX          We're going to pick away from the          ball. We're going to move to the          open space. I won't in bound the          ball until someone has a good look.          (beat).          The Puke.          CLARENCE          Amen.          JACKIE MOON          Bring it in! One two three--          EVERYONE          LET'S GET TROPICAL!          THE TROPICS RUN THE PUKE: A flash to the high side post with          an outside screen and a back door cut.          LIVE ABA RADIO (V.0.)          Monix, looking to inbound...          SLO MO: Clarence sets a pick for Scootsie- Everyone rotates.          Jackie picks and rolls to the basket, open...          Monix zips Jackie a no-look pass...          LIVE ABA RADIO (V.0.)          Jackie goes up strong...          BUT PETRELLI ELBOWS HIM IN THE HEAD AGAIN! WHISTLE!                                                  119.          LIVE ABA RADIO (V.0.)          No Good! But Petrelli fouls him!          JACKIE IS ABLE TO SHAKE OFF THE HEAD INJURY.          LIVE ABA RADIO (V.0.)          Jackie Moon will shoot two free          throws here, his team down by one,          with two seconds on the clock. One          will tie it. He needs both to win          it.          The ref hands Jackie the ball. The players take their places          along the lane. Jackie steps to the line. The whole arena is          on pins and needles.          JACKIE MOON          (to his team)          Don't worry you guys, I got this...          (to the ball girls)          I am awesome at free throws.          LIVE ABA RADIO (V.0.)          I'll tell you, I don't remember the          last time I've ever seen Jackie          attempt a free throw...          JACKIE MOON          (Louder now, to the fans)          IT'S OKAY EVERYBODY. SERIOUSLY.          FREE THROWS ARE, LIKE, MY BEST          THING.          Now Jackie sets up for the shot...          BUT, AS JACKIE PREPARES, HE SETS UP TO SHOOT GRANNY STYLE,          TOSSING UNDERHANDED FROM BETWEEN HIS KNEES.          MONIX          What the Hell are you doing?          JACKIE MOON          What, you've never seen me shoot          free throws before?          CLARENCE          He shoots them Granny style.          BEE BEE ELLIS          Always has.                                                  120.          MONIX          (to himself)          Shit.          Jackie's ritual is insane. He breathes, spins the ball, turns          around 360, deep knee bends, touches his left shoulder four          times, then SUDDENLY WINGS THE BALL HIGH IN THE AIR.          LIVE ABA RADIO (V.0.)          The first attempt is... GOOD!          IT SWISHES. THE CROWD GOES NUTS...          LIVE ABA RADIO (V.0.)          The game is tied. One more and the          Tropics win.          Jackie does the same ritual. But this time a bead of sweat          rolls over his forehead. He is nervous. But he tosses          anyway...          SLO MO: The Ball floats toward the basket. Flash bulbs pop.          SLO MO: The ball bounces off the rim, away from the basket.          SLO MO: Monix elbows his way into position for a rebound.          LIVE ABA RADIO (V.0.)          No Good -- Monix with the put back!          SLO MO: Monix catches the ball in the air and re-shoots a          fade-away jumper. Swish!          MUSIC CUE: 'HOME SWEET HOME' BY CAPTAIN FUNK.          LIVE ABA RADIO (V.0.)          FLINT WINS THE MEGA BOWL! FLINT          WINS THE MEGA BOWL! FLINT WINS THE          MEGA BOWL!          Victory. All the Tropics go crazy, screaming, they pile on          top of each other at center court.          The crowd is going nuts. Wheelchair Darren and Jody roll out          onto the court. Dukes jumps into the pile of players. Lynn          has tears in her eyes.          In the madness. LUCY MOON finds her husband, Jackie.          LUCY MOON          Jackie!                                                  121.          JACKIE MOON          Lucy?          LUCY MOON          Kiss me, you hero.          JACKIE MOON          My Mom says you're a bad lady. She          says your vagina is for sad people.          EXT. FLINT FAIRGROUNDS COLISEUM - CONTINUOUS          Tropics fans pour out onto the streets from the sports bars          and immediately start smashing shit. It's a total riot.          A group of Flint COPS see the riot, then FLIP THEIR OWN COP          CAR OVER.          INT. FLINT FAIRGROUNDS COLISEUM - CONTINUOUS          The team is still celebrating, going crazy at center court.          CLARENCE, MONIX AND JACKIE ARE ALL HUGGING EACH OTHER AMONGST          THE CHAOS.          JACKIE LIFTS A GIANT TWELVE FOOT GOLDEN TROPHY IN THE AIR.          CLARENCE          Wait, there really is a trophy?          JACKIE MOON          Hey, it's the Mega Bowl.          VICTORY. IN THIS MOMENT, ALL THREE OF THEM SEE THE BEAUTY IN          WHAT THEY'VE ACCOMPLISHED.          CLARENCE          We did it.          FREEZE FRAME ON JACKIE, MONIX AND CLARENCE LIFTING THE TROPHY          TOGETHER.          THE END          BEGIN END CREDITS.          As Credits roll, we hear a voice...          ANNOUNCER (O.S.)          With their first pick in the 1977          NBA draft, the New Jersey Nets          select...                                                  122.          INT. NBA DRAFT - SIX MONTHS LATER          The NBA draft is crowded with businessmen and fans.          DRAFT ANNOUNCER          .Shit, bitch, you be fine...          Clarence stands up, happy, and walks on stage.          He holds up a uniform with words: SHITBITCH U.B. PHYNE on it.          REVEAL: In the crowd, Monix claps, cheering Clarence on... He          is with wife, LYNN.          But now Monix stands up and walks on stage too. He puts a NEW          YORK NETS hat on.          DRAFT ANNOUNCER          Here to welcome him is rookie Nets          coach, Ed Monix.          Monix and Clarence shake hands for the cameras.          CLARENCE          Thanks for bringing me on board,          coach.          MONIX          All the good players were gone.          CLARENCE          Do we really have to live in New          Jersey?          MONIX          Just smile for the cameras,          Shitbitch.          INT. RECORDING STUDIO - DAY          Jackie is in a recording studio, playing the synthesizer.          plays some beats, then hits the keyboards.          TITLE: JACKIE MOON WENT ON TO WRITE AND RECORD HIS OWN          ORIGINAL SONG.          We recognize Jackie's song as the most familiar song in the          world. It's Gary Glitter's 'Rock N' Roll Part II' the most          famous sports-stadium standard in history.          JACKIE MOON          (singing Gary Glitter)          HEY!                                                  123.          (waiting for the beats)          HEY!          (waiting for the beats)          HEY!          TITLE: HIS SONG WOULD LATER BE STOLEN BY GARY GLITTER AND          PLAYED IN STADIUMS ACROSS THE GLOBE.          JACKIE MOON          (singing Gary Glitter)          HEY!          (waiting for the beats)          HEY!          (waiting for the beats)          HEY!          The song ends. The recording engineer pipes in.          RECORDING ENGINEER          Sounded pretty nice.          JACKIE MOON          Yeah, that was a great take. Play          that back for me, would you?          RECORDING ENGINEER          Listen, can you take that ring off          for a little while? I'm getting          some feedback from your microphone.          ECU: JACKIE WEARS A HUMONGOUS FLINT MICHIGAN TROPICS FOURTH          PLACE DIAMOND RING.          Jackie studies his ring with a smile.          JACKIE MOON          Sorry Robert, the ring stays on.          MUSIC CUE: 'SHAKE YOUR GROOVE THING' BY PEACHES & HERB.          END CREDITS CONTINUE.                                                   
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+                                 "SENSE AND SENSIBILITY"                                      Screenplay by                                      Emma Thompson                                  Based on the novel by                                       Jane Austen                               EXT. OPEN ROADS - NIGHT - TITLE SEQUENCE               A series of traveling shots. A well-dressed, pompous-looking                individual (JOHN DASHWOOD, 35) is making an urgent journey                on horseback. He looks anxious.               EXT. NORLAND PARK - ENGLAND - MARCH 1800 - NIGHT               Silence. Norland Park, a large country house built in the                early part of the eighteenth century, lies in the moonlit                parkland.               INT. NORLAND PARK - MR DASHWOOD'S BEDROOM - NIGHT               In the dim light shed by candles we see a bed in which a MAN                (MR DASHWOOD, 52) lies his skin waxy, his breathing laboured.                Around him two silhouettes move and murmur, their clothing                susurrating in the deathly hush. DOCTORS. A WOMAN (MRS                DASHWOOD, 50) sits by his side, holding his hand, her eyes                never leaving his face.                                     MR DASHWOOD                              (urgent)                         Is John not yet arrived?                                     MRS DASHWOOD                         We expect him at any moment, dearest.               MR DASHWOOD looks anguished.                                     MR DASHWOOD                         The girls--I have left so little.                                     MRS DASHWOOD                         Shh, hush, Henry.                                     MR DASHWOOD                         Elinor will try to look after you                          all, but make sure she finds a good                          husband. The men are such noodles                          hereabouts, little wonder none has                          pleased her.               They smile at each other. MRS DASHWOOD is just managing to                conceal her fear and grief                                     MRS DASHWOOD                         But Marianne is sure to find her                          storybook hero.                                     MR DASHWOOD                         A romantic poet with flashing eyes                          and empty pockets?                                     MRS DASHWOOD                         As long as she loves him, whoever he                          is.                                     MR DASHWOOD                         Margaret will go to sea and become a                          pirate so we need not concern                          ourselves with her.               MRS DASHWOOD tries to laugh but it emerges as a sob. An older                MANSERVANT (THOMAS) now enters, anxiety written on every                feature.                                     THOMAS                         Your son is arrived from London,                          sir.               MR DASHWOOD squeezes his wife's hand.                                     MR DASHWOOD                         Let me speak to John alone.               She nods quickly and he smiles at her with infinite                tenderness.                                     MR DASHWOOD                         Ah, my dear. How happy you have made                          me.               MRS DASHWOOD makes a superhuman effort and smiles back. She                allows THOMAS to help her out. She passes JOHN DASHWOOD as                he enters, presses his hand, but cannot speak. JOHN takes                her place by the bed.                                     JOHN                         Father...               MR DASHWOOD summons his last ounces of energy and starts to                whisper with desperate intensity.                                     MR DASHWOOD                         John you will find out soon enough                          from my will that the estate of                          Norland was left to me in such a way                          as prevents me from dividing it                          between my families.               JOHN blinks. He cannot quite take it in.                                     JOHN                         Calm yourself, Father. This is not                          good for you.               But MR DASHWOOD continues with even greater determination.                                     MR DASHWOOD                         Norland in its entirety is therefore                          yours by law and I am happy for you                          and Fanny.               JOHN looks torn between genuine distress and unexpected                delight.                                     MR DASHWOOD                         But your stepmother my wife and                          daughters are left with only five                          hundred pounds a year, barely enough                          to live on and nothing for the girls'                          dowries. You must help them.               JOHN's face is a picture of conflicting emotions. Behind                them is the ominous rustling of parchments.                                     JOHN                         Of course                                     MR DASHWOOD                         You must promise to do this.               A brief moment of sincerity overcomes JOHN's natural                hypocrisy.                                     JOHN                         I promise, Father, I promise.               MR DASHWOOD seems relieved. Suddenly his breathing changes.                JOHN looks alarmed. He rises and we hear him going to find                the DOCTOR.                                     JOHN                         Come! Come quickly!               But it is we who share the dying man's last words.                                     MR DASHWOOD                         Help them.               EXT. JOHN AND FANNY'S TOWN HOUSE - LONDON - DAY               Outside the house sits a very well-to-do carriage. Behind it                waits another open carriage upon which servants are laying                trunks and boxes.                                     FANNY (V.O.)                         'Help them?'               INT. JOHN AND FANNY'S TOWN HOUSE - DRESSING ROOM - DAY               JOHN is standing in mourning clothes and a traveling cape.                He is watching, and obviously waiting for, a pert WOMAN (FANNY                DASHWOOD) who is standing by a mirror looking at him keenly.                                     FANNY                         What do you mean, 'help them'?                                     JOHN                         Dearest, I mean to give them three                          thousand pounds.               FANNY goes very still. JOHN gets nervous.                                     JOHN                         The interest will provide them with                          a little extra income. Such a gift                          will certainly discharge my promise                          to my father.               FANNY slowly turns back to the mirror.                                     FANNY                         Oh, without question! More than                          amply...                                     JOHN                         One had rather, on such occasions,                          do too much than too little.               A pause as FANNY turns and looks at him again.                                     JOHN                         Of course, he did not stipulate a                          particular sum.               INT. LAUNDRY - NORLAND PARK - DAY               A red-eyed MAID (BETSY) plunges a beautiful muslin frock                into a vat of black dye.               INT. NORLAND PARK - MRS DASHWOOD'S BEDROOM - DAY               MRS DASHWOOD is rushing about, mourning ribbons flapping,                putting her knick-knacks into a small valise. The room is in                chaos. A young WOMAN (ELINOR DASHWOOD) looks on helplessly.                                     MRS DASHWOOD                         To be reduced to the condition of                          visitor in my own home! It is not to                          be borne, Elinor!                                     ELINOR                         Consider, Mamma! We have nowhere to                          go.                                     MRS DASHWOOD                         John and Fanny will descend from                          London at any moment, followed no                          doubt by cartloads of relatives ready                          to turn us out of our rooms one by                          one do you expect me to be here to                          welcome them? Vultures!               She suddenly collapses into a chair and bursts into tears.                                     ELINOR                         I shall start making inquiries for a                          new house at once. Until then we                          must try to bear their coming.               INT. JOHN AND FANNY'S CARRIAGE - DAY               JOHN and FANNY are on their way out of London.                                     JOHN                         Fifteen hundred then. What say you                          to fifteen hundred?                                     FANNY                         What brother on earth would do half                          so much for his real sisters--let                          alone half-blood?                                     JOHN                         They can hardly expect more.                                     FANNY                         There is no knowing what they expect.                          The question is, what can you afford?               INT. NORLAND PARK - DRAWING ROOM - DAY               A beautiful young WOMAN (MARIANNE DASHWOOD) is sitting at                the piano playing a particularly sad piece. ELINOR enters.                                     ELINOR                         Marianne, cannot you play something                          else? Mamma has been weeping since                          breakfast.               MARIANNE stops, turns the pages of her music book and starts                playing something equally lugubrious.                                     ELINOR                         I meant something less mournful,                          dearest.               EXT. ROADSIDE INN - DAY               JOHN and FANNY are waiting as the OSTLERS make the final                adjustments to their carriage. The LANDLORD hovers, waiting                for a tip.                                     JOHN                         A hundred pounds a year to their                          mother while she lives. Would that                          be more advisable? It is better than                          parting with the fifteen hundred all                          at once.               He displays some coins in his hand. FANNY removes one and                nods.                                     FANNY                         But if she should live longer than                          fifteen years we would be completely                          taken in. People always live forever                          when there is an annuity to be paid                          them.               JOHN gives the coins to the LANDLORD.               EXT. NORLAND PARK - MARGARET'S TREE-HOUSE - DAY               ELINOR comes to the foot of a large tree from which a small                staircase issues.                                     ELINOR                         Margaret, are you there? Please come                          down. John and Fanny will be here                          soon.               A pause. ELINOR is about to leave when a disembodied and                truculent young voice stops her.                                     MARGARET (V.O.)                         Why are they coming to live at                          Norland? They already have a house                          in London.                                     ELINOR                         Because houses go from father to                          son, dearest not from father to                          daughter. It is the law.               Silence. ELINOR tries another tack.                                     ELINOR                         If you come inside, we could play                          with your atlas.                                     MARGARET (V.O.)                         It's not my atlas any more. It's                          their atlas.               CLOSE on ELINOR as she ponders the truth of this statement.               INT. JOHN AND FANNY'S CARRIAGE - DAY               JOHN and FANNY joggle on.                                     JOHN                         Twenty pounds now and then will amply                          discharge my promise, you are quite                          right.                                     FANNY                         Indeed. Although to say the truth, I                          am convinced within myself that your                          father had no idea of your giving                          them money.                                     JOHN                         They will have five hundred a year                          amongst them as it is--                                     FANNY                         --and what on earth can four women                          want for more than that? Their                          housekeeping will be nothing at all                          they will have no carriage, no horses,                          hardly any servants and will keep no                          company. Only conceive how comfortable                          they will be!               INT. NORLAND PARK - SERVANTS' HALL - DAY               The large contingent of SERVANTS who staff Norland Park are                gathered in gloomy silence as ELINOR addresses them.                                     ELINOR                         As you know, we are looking for a                          new home. When we leave we shall be                          able to retain only Thomas and Betsy.               CAM holds on THOMAS and BETSY, a capable woman.                                     ELINOR                         We are very sorry to have to leave                          you all. But we are certain you will                          find the new Mrs Dashwood a fair and                          generous mistress.               EXT. NORLAND PARK. DRIVE - DAY               JOHN and FANNY's carriage approaches Norland.                                     FANNY (V.O.)                         They will be much more able to give                          you something.               INT. JOHN AND FANNY'S CARRIAGE - DAY               JOHN and FANNY are about to get out.                                     JOHN                         So we are agreed. No money but the                          occasional gift of game and fish in                          season will be very welcome.                                     FANNY                         Your father would be proud of you.               INT. NORLAND PARK - DINING ROOM - EARLY EVE               The entire family, with the exception of MARGARET, is present.                BETSY is serving food in an atmosphere of stiff silence.                Cutlery clinks. JOHN chews loudly. MARIANNE is rigid with                resentment. MRS DASHWOOD maintains a cool, removed dignity.                ELINOR tries to play hostess.                                     ELINOR                         How is Mrs Ferrars?                                     FANNY                         My mother is always in excellent                          health, thank you. My brother Robert                          is in town with her this season and                          quite the most popular bachelor in                          London! He has his own barouche.               In the brief silence which follows this, FANNY surreptitiously                checks the hallmark on her butterknife.                                     ELINOR                         You have two brothers, have you not?                                     FANNY                         Indeed, yes. Edward is the eldest                          Mamma quite depends upon him. He is                          traveling up from Plymouth shortly                          and will break his journey here.               MRS DASHWOOD looks at ELINOR pointedly. JOHN notices.                                     JOHN                              (to MRS DASHWOOD)                         If that is agreeable to you, of                          course.                                     MRS DASHWOOD                         My dear John this is your home now.               FANNY looks about, barely able to conceal her satisfaction.               INT. NORLAND PARK - ELINOR'S BEDROOM - DAY               ELINOR is sitting with a little pile of parcels. She puts a                shawl into some paper and ties it with ribbon as MARIANNE                thunders in, looking mutinous.                                     MARIANNE                         Fanny wishes to know where the key                          for the silver cabinet is kept.                                     ELINOR                         Betsy has it, I think. What does                          Fanny want with the silver?                                     MARIANNE                         I can only presume she wants to count                          it. What are you doing?                                     ELINOR                         Presents for the servants. Have you                          seen Margaret? I am worried about                          her. She has taken to hiding in the                          oddest places.                                     MARIANNE                         Fortunate girl. At least she can                          escape Fanny, which is more than any                          of us is able.                                     ELINOR                         You do your best. You have not said                          a word to her for a week.                                     MARIANNE                              (truculently)                         I have! I have said 'yes' and 'no'.               INT. NORLAND PARK - BREAKFAST ROOM - DAY               FANNY, MRS DASHWOOD, ELINOR and JOHN are at breakfast.                MARIANNE enters. ELINOR catches her eye and indicates FANNY                with a slight motion of her head. MARIANNE makes a face.                                     MARIANNE                              (very polite)                         Good morning, Fanny.               FANNY is rather startled.                                     FANNY                         Good morning, Marianne.               ELINOR is relieved.                                     MARIANNE                              (to Fanny)                         How did you find the silver? Is it                          all genuine?               ELINOR rushes in before MARIANNE gets any further.                                     ELINOR                         Pray, when may we expect the pleasure                          of your brother's company?                                     FANNY                         Edward is due tomorrow. And my dear                          Mrs Dashwood, in view of the fact                          that he will not be with us for long,                          I wondered if Miss Margaret would                          mind giving up her room to him the                          view is quite incomparable from her                          windows and I should so much like                          Edward to see Norland at its best.               MARIANNE slams her cup down and throws a furious look at                ELINOR.               INT. NORLAND PARK - MARGARET'S BEDROOM - DAY               ELINOR and MARIANNE are removing MARGARET's toys.                                     MARIANNE                         Intolerable woman!                                     ELINOR                         There is but one consolation if Edward                          is anything like Fanny, we shall be                          only too happy to leave.               EXT. NORLAND PARK - DRIVE - DAY               A very capable HORSEMAN (EDWARD FERRARS) canters up the gravel                drive.               CLOSE on his face as he gazes up at the elegant faÁade.               INT. NORLAND PARK - DRAWING ROOM - DAY               Everyone except MARGARET is present. EDWARD has just shaken                bands with ELINOR. He behaves with great respect to the                DASHWOODS and seems embarrassed by FANNY's pro prietorial                air.                                     FANNY                         But where is Miss Margaret? I declare,                          Mrs Dashwood, I am beginning to doubt                          of her existence! She must run                          positively wild!                                     MRS DASHWOOD                         Forgive us, Mr Ferrars. My youngest                          is not to be found this morning. She                          is a little shy of strangers at                          present.                                     EDWARD                         Naturally. I am also shy of strangers                          and I have nothing like her excuse.                                     MARIANNE                              (dangerous)                         How do you like your view, Mr Ferrars?               ELINOR glances at her warningly but EDWARD replies with                careful consideration.                                     EDWARD                         Very much. Your stables are very                          handsome and beautifully kept, Mrs                          Dashwood.                                     FANNY                         Stables! Edward--your windows overlook                          the lake.                                     EDWARD                         An oversight, Fanny, led me to the                          wrong room. I have rectified the                          situation and am happily settled in                          the guest quarters.               MARIANNE and ELINOR look at each other in surprise. FANNY                looks furious.               MRS DASHWOOD smiles warmly at EDWARD.               CLOSE on ELINOR. She is impressed.               INT. NORLAND PARK - STAIRCASE - DAY               FANNY is walking with EDWARD, who looks at the pictures with                interest.                                     FANNY                         They are all exceedingly spoilt, I                          find. Miss Margaret spends all her                          time up trees and under furniture                          and I have barely had a civil word                          from Marianne.                                     EDWARD                         My dear Fanny, they have just lost                          their father their lives will never                          be the same again.                                     FANNY                         That is no excuse.               INT. NORLAND PARK - LIBRARY - DAY               FANNY leads EDWARD in. She sniffs with distaste.                                     FANNY                         I have never liked the smell of books.                                     EDWARD                         Oh? No. The dust, perhaps.               As they speak, EDWARD notices a large atlas retreating                apparently all by itself across the floor. Someone is                obviously under the table, pulling it out of sight. He                registers it and immediately moves in such a way as to shield                it from FANNY. He turns back, searching for something to                divert her.                                     EDWARD                         I hear you have great plans for the                          walnut grove.                                     FANNY                         Oh yes! I shall have it pulled down                          to make room for a Grecian temple.               There is a stifled wail from under the table, which EDWARD                covers with a cough.                                     EDWARD                         How picturesque. Will you show me                          the site?               And he ushers FANNY out, flicking a quick glance over his                shoulder at the fugitive's foot.               INT. NORLAND PARK - VELVET ROOM - DAY               ELINOR, MRS DASHWOOD and MARIANNE are sitting round a table                with a pile of letters. ELINOR is handing one back to her                mother.                                     ELINOR                         Too expensive. We do not need four                          bedrooms, we can share.                                     MARIANNE                         This one, then?               ELINOR reads the letter quickly.                                     ELINOR                         Marianne, we have only five hundred                          pounds a year. I will send out more                          inquiries today.               There is a knock on the door. Hesitantly, EDWARD appears.                                     EDWARD                         Pardon my intrusion, but I believe I                          have found what you are looking for.               MARIANNE and MRS DASHWOOD are puzzled by his elliptical manner                but ELINOR immediately understands and rises, in smiling                relief.               INT. NORLAND PARK - ENTRANCE HALL OUTSIDE LIBRARY - DAY               EDWARD is standing outside keeping a discreet lookout. The                door is half open and he can hear ELINOR trying to coax                MARGARET out. FANNY walks by with a BUTLER to whom she is                giving instructions. EDWARD pretends to examine the mouldings                and she passes on unsuspecting.                                     ELINOR (V.O.)                         Won't you come out, dearest? We                          haven't seen you all day. Mamma is                          very concerned.               More silence. EDWARD thinks hard. He makes a decision.               INT. NORLAND PARK - LIBRARY - DAY               EDWARD walks in loudly.                                     EDWARD                         Oh, Miss Dashwood! Excuse me I was                          wondering do you by any chance have                          such a thing as a reliable atlas?               ELINOR looks up at him in astonishment.                                     ELINOR                         I believe so.                                     EDWARD                         Excellent. I wish to check the                          position of the Nile.               EDWARD appears to be utterly sincere.                                     EDWARD                         My sister says it is in South America.               From under the table we hear a snort. ELINOR looks at him in                realisation.                                     ELINOR                         Oh! No, no indeed. She is quite wrong.                          For I believe it is in--in Belgium.                                     EDWARD                         Belgium? Surely not. You must be                          thinking of the Volga.                                     MARGARET                              (from under the table)                         The Volga?                                     ELINOR                         Of course. The Volga, which, as you                          know, starts in...                                     EDWARD                         Vladivostok, and ends in...                                     ELINOR                         St Albans.                                     EDWARD                         Indeed. Where the coffee beans come                          from.               They are having such a good time that it is rather a pity                the game is stopped by the appearance from under the table                of MARGARET who reveals herself to be a disheveled girl of                eleven. She hauls the atlas up and plonks it in front of                EDWARD.                                     MARGARET                         The source of the Nile is in                          Abyssinia.                                     EDWARD                         Is it? Good heavens. How do you do.                          Edward Ferrars.                                     MARGARET                         Margaret Dashwood.               EDWARD shakes MARGARET's hand solemnly and looks over her                head at ELINOR. They smile at each other, a connection made.               INT. NORLAND PARK - DRAWING ROOM - ANOTHER DAY               JOHN is reading a newspaper. MRS DASHWOOD sits across from                FANNY, who thumbs through a fashion-plate magazine. ELINOR                is at a desk by the window writing a letter we see the words                'of course we should like to leave as soon as possible'.                Suddenly she hears a commotion outside. MARGARET runs past                the window brandishing a stick. EDWARD follows, and proceeds                to teach her the first principles of sword-fighting. They                feint and parry, EDWARD serious and without a hint of                condescension, MARGARET concentrating furiously. EDWARD                suddenly turns, as though feeling ELINOR's gaze. She smiles                but looks away quickly.               INT. NORLAND PARK - VELVET ROOM - ANOTHER DAY               EDWARD comes into the doorway and sees ELINOR who is listening                to MARIANNE playing a concerto. ELINOR stands in a graceful,                rather sad attitude, her back to us. Suddenly she senses                EDWARD behind her and turns. He is about to turn away,                embarrassed to have been caught admiring her, when he sees                she has been weeping. Hastily she tries to dry her eyes. He                comes forward and offers her a handkerchief, which she takes                with a grateful smile. We notice his monogram in the corner:                ECF.                                     ELINOR                              (apologetic)                         That was my father's favourite.               EDWARD nods kindly.                                     ELINOR                         Thank you so much for your help with                          Margaret, Mr Ferrars. She is a changed                          girl since your arrival.                                     EDWARD                         Not at all. I enjoy her company.                                     ELINOR                         Has she shown you her tree-house?                                     EDWARD                         Not yet. Would you do me the honour,                          Miss Dashwood? It is very fine out.                                     ELINOR                         With pleasure.               They start to walk out of shot, still talking.                                     ELINOR                         Margaret has always wanted to travel.                                     EDWARD                         I know. She is heading an expedition                          to China shortly. I am to go as her                          servant but only on the understanding                          that I will be very badly treated.                                     ELINOR                         What will your duties be?                                     EDWARD                         Sword-fighting, administering rum                          and swabbing.                                     ELINOR                         Ah.               CAM tilts up to find MRS DASHWOOD on the middle landing of                the staircase, smiling down at them. CAM tilts up yet further                to find FANNY on the landing above, watching EDWARD and ELINOR                with a face like a prune.               EXT. NORLAND PARK - GARDENS - DAY               EDWARD and ELINOR are still talking as they walk arm in arm                in the late afternoon sun.                                     EDWARD                         All I want--all I have ever wanted                          is the quiet of a private life but                          my mother is determined to see me                          distinguished.                                     ELINOR                         As?                                     EDWARD                         She hardly knows. Any fine figure                          will suit a great orator, a leading                          politician, even a barrister would                          serve, but only on the condition                          that I drive my own barouche and                          dine in the first circles.               His tone is light but there is an underlying bitterness to                it.                                     ELINOR                         And what do you wish for?                                     EDWARD                         I always preferred the church, but                          that is not smart enough for my mother                          she prefers the army, but that is a                          great deal too smart for me.                                     ELINOR                         Would you stay in London?                                     EDWARD                         I hate London. No peace. A country                          living is my ideal a small parish                          where I might do some good, keep                          chickens and give very short sermons.               EXT. FIELDS NEAR NORLAND - DAY               EDWARD and ELINOR are on horseback. The atmosphere is                intimate, the quality of the conversation rooted now in their                affections.                                     ELINOR                         You talk of feeling idle and useless                          imagine how that is compounded when                          one has no choice and no hope                          whatsoever of any occupation.               EDWARD nods and smiles at the irony of it.                                     EDWARD                         Our circumstances are therefore                          precisely the same.                                     ELINOR                         Except that you will inherit your                          fortune.               He looks at her slightly shocked but enjoying her boldness.                                     ELINOR                         We cannot even earn ours.                                     EDWARD                         Perhaps Margaret is right.                                     ELINOR                         Right?                                     EDWARD                         Piracy is our only option.               They ride on in silence for a moment.                                     EDWARD                         What is swabbing exactly?               INT. NORLAND PARK - DRAWING ROOM - EVE               Dinner is over. JOHN and FANNY are examining plans of the                Norland estate, looking for somewhere to build a hermitage.                EDWARD is reading out loud. ELINOR embroiders and listens.                MRS DASHWOOD and MARIANNE make up the rest of the audience,                the latter in a state of high impatience.                                     EDWARD                         No voice divine the storm allayed No                          light propitious shone, When snatched                          from all effectual aid, We perished                          each alone: But I beneath a rougher                          sea, And whelmed in deeper gulfs                          than he.               MARIANNE jumps up and goes to him.                                     MARIANNE                         No, Edward! Listen.               She takes the book from him and reads the stanza with                passionate brio.                                     MARIANNE                         Can you not feel his despair? Try                          again.               Rather mortified, EDWARD starts again, but not before                receiving a sympathetic look from ELINOR which seems to                comfort him a little.               INT. NORLAND PARK - MORNING ROOM - DAY               MRS DASHWOOD is ruminating sadly. MARIANNE rushes in holding                a letter.                                     MARIANNE                         Mamma, look. This has just arrived.                                     MRS DASHWOOD                              (reading from the                               letter)                         'I should be pleased to offer you a                          home at Barton Cottage as soon as                          ever you have need of it' why, it is                          from my cousin, Sir John Middleton!                                     MARIANNE                         Even Elinor must approve the rent.               MRS DASHWOOD looks at the letter again and thinks.                                     MRS DASHWOOD                         Has Elinor not yet seen this?                                     MARIANNE                         No I will fetch her.                                     MRS DASHWOOD                         Wait. No. Let us delay.                                     MARIANNE                         Why?                                     MRS DASHWOOD                         I think--I believe that Edward and                          Elinor have formed an attachment.               Marianne nods, a little reluctantly.                                     MRS DASHWOOD                         It would be cruel to take her away                          so soon and Devonshire is so far.               MRS DASHWOOD makes her decision. She takes the letter and                hides it in the pocket of her gown. MARIANNE looks on                frowningly.                                     MRS DASHWOOD                         Why so grave? Do you disapprove her                          choice?                                     MARIANNE                         By no means. Edward is very amiable.                                     MRS DASHWOOD                         Amiable but?                                     MARIANNE                         But there is something wanting. He                          is too sedate his reading last night.                                     MRS DASHWOOD                         Elinor has not your feelings, his                          reserve suits her.               MARIANNE thinks for a little.                                     MARIANNE                         Can he love her? Can the ardour of                          the soul really be satisfied with                          such polite, concealed affections?                          To love is to burn to be on fire,                          all made of passion, of adoration,                          of sacrifice! Like Juliet, or                          Guinevere or Heloise.                                     MRS DASHWOOD                         They made rather pathetic ends, dear.                                     MARIANNE                         Pathetic! To die for love? How can                          you say so? What could be more                          glorious?                                     MRS DASHWOOD                         I think that may be taking your                          romantic sensibilities a little far.                                     MARIANNE                         The more I know of the world, the                          more I am convinced that I shall                          never see a man whom I can truly                          love.                                     MRS DASHWOOD                         You require so much!                                     MARIANNE                         I do not! I require only what any                          young woman of taste should a man                          who sings well, dances admirably,                          rides bravely, reads with passion                          and whose tastes agree in every point                          with my own.               INT. NORLAND PARK - ELINOR'S BEDROOM - NIGHT               ELINOR is in bed, deep in thought. MARIANNE enters in her                nightclothes, carrying a book of poetry. She reads, teasingly.                                     MARIANNE                         Is love a fancy, or a feeling? No It                          is immortal as immaculate truth 'Tis                          not a blossom shed as soon as Youth                          Drops from the stem of life for it                          will grow In barren regions, where                          no waters flow Nor ray of promise                          cheats the pensive gloom--               She jumps onto the bed. ELINOR smiles somewhat suspiciously.                                     MARIANNE                         What a pity it is that Edward has no                          passion for reading.                                     ELINOR                         It was you who asked him to read and                          then you made him nervous.                                     MARIANNE                         Me?                                     ELINOR                         But your behaviour to him in all                          other respects is perfectly cordial                          so I must assume that you like him                          in spite of his deficiencies.                                     MARIANNE                              (trying hard)                         I think him everything that is amiable                          and worthy.                                     ELINOR                         Praise indeed!                                     MARIANNE                         But he shall have my unanswering                          devotion when you tell me he is to                          be my brother.               ELINOR is greatly taken aback and does not know how to reply.                Suddenly MARIANNE hugs her passionately.                                     MARIANNE                         How shall I do without you?                                     ELINOR                         Do without me?               MARIANNE pulls away, her eyes full of tears.                                     MARIANNE                         I am sure you will be very happy.                          But you must promise not to live too                          far away.                                     ELINOR                         Marianne, there is no question of                          that is, there is no under standing                          between...               ELINOR trails off. MARIANNE looks at her keenly.                                     MARIANNE                         Do you love him?               The bold clarity of this question discomforts ELINOR.                                     ELINOR                         I do not attempt to deny that I think                          very highly of him that I greatly                          esteem that I like him.                                     MARIANNE                         Esteem him! Like him! Use those                          insipid words again and I shall leave                          the room this instant!               This makes ELINOR laugh in spite of her discomfort.                                     ELINOR                         Very well. Forgive me. Believe my                          feelings to be stronger than I have                          declared but further than that you                          must not believe.               MARIANNE is flummoxed but she rallies swiftly and picks up                her book again.                                     MARIANNE                         'Is love a fancy or a feeling?' Or a                          Ferrars?                                     ELINOR                         Go to bed!               ELINOR blushes in good earnest. MARIANNE goes to the door.                                     MARIANNE                              (imitating Elinor)                         'I do not attempt to deny that I                          think highly of him greatly esteem                          him! Like him!'               And she is gone, leaving ELINOR both agitated and amused.               INT. NORLAND PARK - BREAKFAST ROOM - DAY               FANNY is standing by the window looking out. We see her POV                of ELINOR and EDWARD walking in the garden.               MRS DASHWOOD enters, pauses for a moment and then joins FANNY                at the window. FANNY pretends not to have been watching but                MRS DASHWOOD looks down at the lovers and then smiles sweetly                at her.                                     MRS DASHWOOD                         We are all so happy that you chose                          to invite Edward to Norland. He is a                          dear boy and we are all very fond of                          him.               FANNY does a bit of quick thinking.                                     FANNY                         We have great hopes for him. Much is                          expected of him by our mother with                          regard to his profession                                     MRS DASHWOOD                         Naturally.                                     FANNY                         And in marriage. She is determined                          that both he and Robert will marry                          well.                                     MRS DASHWOOD                         Of course. But I hope she desires                          them to marry for love, first and                          foremost? I have always felt that,                          contrary to common wisdom, true                          affection is by far the most valuable                          dowry.                                     FANNY                         Love is all very well, but                          unfortunately we cannot always rely                          on the heart to lead us in the most                          suitable directions.               FANNY lowers her voice confidingly.                                     FANNY                         You see, my dear Mrs Dashwood, Edward                          is entirely the kind of compassionate                          person upon whom penniless women can                          prey--and having entered into any                          kind of understanding, he would never                          go back on his word. He is quite                          simply incapable of doing so. But it                          would lead to his ruin. I worry for                          him so, Mrs Dashwood. My mother has                          always made it perfectly plain that                          she will withdraw all financial                          support from Edward, should he choose                          to plant his affections in less...                          exalted ground than he deserves.               It is impossible for MRS DASHWOOD not to get the point. She                is appalled and furious.                                     MRS DASHWOOD                         I understand you perfectly.               She sweeps off.               INT. NORLAND PARK - MRS DASHWOOD'S DRESSING ROOM - DAY               MRS DASHWOOD, breathless with rage, is searching through her                wardrobe for the gown which contains SIR JOHN's letter. Frocks                fly hither and thither. Finally MRS DASHWOOD plunges her                hand into the right pocket and withdraws the letter. She                looks at it, suddenly concerned and anxious.               INT. NORLAND PARK - DINING ROOM - EVE               The entire family is present. Everyone is watching MRS                DASHWOOD, who has just made her announcement.                                     EDWARD                         Devonshire!               He is devastated. FANNY is thrilled. MRS DASHWOOD looks at                him with compassion and then at ELINOR, who is trying to                keep calm.                                     MRS DASHWOOD                         My cousin Sir John Middleton has                          offered us a small house on his                          estate.                                     JOHN                         Sir John Middleton? What is his                          situation? He must be a man of                          property.                                     MRS DASHWOOD                         He is a widower. He lives with his                          mother-in-law at Barton Park and it                          is Barton Cottage that he offers us.                                     FANNY                         Oh, a cottage! How charming. A little                          cottage is always very snug.                                     EDWARD                         But you will not leave before the                          summer?                                     MRS DASHWOOD                         Oh, my dear Edward, we can no longer                          trespass upon your sister's good                          will. We must leave as soon as                          possible.                                     MARGARET                         You will come and stay with us,                          Edward!                                     EDWARD                         I should like that very much.                                     FANNY                         Edward has long been expected in                          town by our mother.               MRS DASHWOOD ignores FANNY.                                     MRS DASHWOOD                         Come as soon as you can, Edward.                          Remember that you are always welcome.               INT/EXT. NORLAND PARK - STABLES - DAY               ELINOR has come to say goodbye to her HORSE. She strokes the                soft face sadly. Then she senses someone and turns to find                EDWARD standing nearby.                                     EDWARD                         Cannot you take him with you?                                     ELINOR                         We cannot possibly afford him.                                     EDWARD                         Perhaps he could make himself useful                          in the kitchen?               ELINOR tries to smile. EDWARD looks at her for a long moment                and then comes closer.                                     EDWARD                         Miss Dashwood--Elinor. I must talk                          to you.               The use of her Christian name--and in such a loving tone--               stops ELINOR's breath altogether.                                     EDWARD                         There is something of great importance                          I need... to tell you--               He comes closer still. The HORSE breathes between them. ELINOR                is on fire with anticipation but EDWARD looks troubled and                has less the air of a suitor than he might.                                     EDWARD                         --about--about my education.                                     ELINOR                              (after a beat)                         Your education?                                     EDWARD                         Yes. It was less... successful than                          it might have been.               EDWARD laughs nervously. ELINOR is completely bewildered.                                     EDWARD                         It was conducted in Plymouth--oddly                          enough.                                     ELINOR                         Indeed?                                     EDWARD                         Yes. Do you know it?                                     ELINOR                         Plymouth?                                     EDWARD                         Yes.                                     ELINOR                         No.                                     EDWARD                         Oh--well--I spent four years there--                         at a school run by a--a Mr Pratt--                                     ELINOR                         Pratt?               ELINOR is beginning to feel like a parrot.                                     EDWARD                         Precisely--Mr Pratt--and there, I--                         that is to say, he has a--               As EDWARD flounders, a familiar voice cuts through this                unexpected foray into his academic past.                                     FANNY                         Edward! Edward!               They turn to find FANNY powering down upon them, waving a                letter. EDWARD steps back, glancing almost guiltily at ELINOR,                who is as confused as we are.                                     FANNY                         I have been all over for you! You                          are needed in London this instant!                                     EDWARD                         Fanny, I am leaving this afternoon                          as it is--                                     FANNY                         No, no, that will not do. Family                          affairs are in chaos owing to your                          absence. Mother is quite adamant                          that you should leave at once.               FANNY is determined. She obviously has no intention of leaving                him alone with ELINOR. EDWARD turns to ELINOR, frustration                in every muscle, his jaw set tight.                                     EDWARD                         Excuse me, Miss Dashwood.               FANNY drags EDWARD off, leaving ELINOR to gaze sadly after                them.               INT. THE LADIES' CARRIAGE - OPEN ROAD - RAIN - EVE               The DASHWOODS are on their way. The mood is very sombre.                                     MARGARET                         Edward promised he would bring the                          atlas to Barton for me.               MARIANNE looks at ELINOR, pleased.                                     MARIANNE                         Did he? Well, I will wager he will                          do so in less than a fortnight!               MRS DASHWOOD looks at ELINOR with satisfaction.               EXT. THE LADIES' CARRIAGE - OPEN ROAD - EVE               The carriage rolls on.                                     MARGARET (V.O.)                         Are we there yet?               EXT. ROAD TO AND FROM BARTON COTTAGE - DAY               In comparison to Norland, Barton Cottage has the air of a                damp shoebox. it sits low and bleak in the grey lonely                countryside.               From one side we can see the DASHWOODS' carriage drawing up                at the gate. From the other, a much grander vehicle, from                which loud whooping can be heard, is approaching.               EXT. BARTON COTTAGE - GARDEN PATH - DAY               As the exhausted DASHWOODS alight, they converge with a ruddy-                complexioned MAN in a redingote (SIR JOHN MIDDLETON) and a                rotund, equally roseate LADY (MRS JENNINGS) who have fallen                over each other in their haste to get out of their carriage.                                     MRS DASHWOOD                         Sir John!               SIR JOHN clasps her hands and starts to help her up the path,                followed by ELINOR, MARIANNE and MARGARET, who is clearly                fascinated by his bouncy companion.                                     SIR JOHN                         Dear ladies, dear ladies, upon my                          word, here you are, here you are,                          here you are!                                     MRS DASHWOOD                         Sir John, your extraordinary kindness--                                     SIR JOHN                         Oh, none of that, hush, please, none                          of that, but here is my dear mamma-                         in-law Mrs Jennings.                                     MRS JENNINGS                         Was the journey tolerable, you poor                          souls?                                     SIR JOHN                         Why did you not come up to the Park                          first and take your ease? We saw you                          pass--Like many people who live rather                          lonely lives together.               SIR JOHN and MRS JENNINGS talk incessantly, interrupt each                other all the time and never listen.                                     MRS JENNINGS                         --but I would not wait for you to                          come to us, I made John call for the                          carriage--                                     SIR JOHN                         She would not wait, you know.                                     MRS JENNINGS                         --as we get so little company.               They reach the front door and BETSY's smiling welcome. In                the confusion of milling people and THOMAS carrying the                lighter luggage, MARIANNE contrives to slip into the house                alone. We follow her but hear the conversation continuing in                V.O. MARIANNE looks about the parlour, where a dismal fire                is smoking. She starts up the stairs, expressionless.                                     MRS JENNINGS (V.O.)                         But I feel as if I know you already--                         delightful creatures!                                     SIR JOHN (V.O.)                         Delightful! And you know you are to                          dine at Barton Park every day.                                     MRS DASHWOOD (V.O.)                         Oh, but dear Sir John, we cannot--                                     SIR JOHN (V.O.)                         Oh, no no no no no no no, I shall                          not brook refusals. I am quite deaf                          to 'em, you know--                                     MRS JENNINGS (V.O.)                         --deaf--               MARIANNE enters a small bedroom. She sits on the bed. Then                she goes to the window and opens it. Voices float up.                                     SIR JOHN (V.O.)                         But I insist!                                     ELINOR (V.O.)                         Let us only settle in for a few days,                          Sir John, and thank you--                                     SIR JOHN (V.O.)                         Oh, no thankings, no, please, can't                          bear 'em, embarrassing, you know--               MARIANNE closes the window and crosses the corridor to another                bed room--similarly stark. She sighs and turns back down the                stairs.                                     SIR JOHN (V.O.)                         We will send game and fruit as a                          matter of course--                                     MRS JENNINGS (V.O.)                         --fruit and game--                                     SIR JOHN (V.O.)                         --and the carriage is at your beck                          and call--               MARIANNE joins the group, who are now in the parlour.                                     MRS JENNINGS                         --call--and here is Miss Marianne!                                     SIR JOHN                         Where did you disappear to?                                     MRS JENNINGS                         I declare you are the loveliest girl                          I ever set eyes on! Cannot you get                          them married, Mrs Dashwood? You must                          not leave it too long!                                     SIR JOHN                         But, alas, there are no smart young                          men hereabouts to woo them--                                     MRS JENNINGS                         --not a beau for miles!               The strain of exhibiting joy and gratitude is beginning to                tell on MRS DASHWOOD who is sagging visibly.                                     SIR JOHN                         Come, Mother, let us leave them in                          peace.                                     MRS JENNINGS                         But there is Colonel Brandon!               SIR JOHN is dragging her down the path.                                     SIR JOHN                         Excellent fellow! We served in the                          East India Regiment together.                                     MRS JENNINGS                         Just wait till he sees you! If we                          can persuade him out to meet you!                                     SIR JOHN                         Reclusive individual. But you are                          fatigued. I can see that you are                          fatigued.               Now he is pushing her into the carriage.                                     MRS JENNINGS                         Of course she is fatigued!                                     SIR JOHN                         Come along, Mother, we really must                          leave them to themselves.                                     MRS JENNINGS                         You must get your maidservant to                          make you up some camphor--it is the                          best tonic for the staggers!                                     SIR JOHN                         Send Thomas to us for the carriage                          when you are ready!               They take off, waving wildly. MARGARET goes down the path to                watch them and turns back to her slightly stunned family.                                     MARGARET                         I like them.                                     MRS DASHWOOD                              (weakly)                         What generosity.                                     ELINOR                         Indeed. I am surprised they did not                          offer us their clothing.               INT. BARTON COTTAGE - ELINOR AND MARIANNE'S BEDROOM - NIGHT               MARIANNE and ELINOR are getting undressed for bed. it's very                cold. They keep their underclothing on and get in, shivering                at the bony chill of the linen.               EXT. BARTON COTTAGE - KITCHEN GARDEN - DAY               BETSY is pinning out laundry.               EXT. BARTON COTTAGE - GARDEN - DAY               MARGARET tries to climb an impossible tree. Her petticoats                snag and tear.               INT. BARTON COTTAGE - ELINOR AND MARIANNE'S BEDROOM - DAY               MARIANNE looks out of the window at the wild countryside.                Uncon sciously, one hand plays up and down on the sill as                though it were a keyboard.               INT. BARTON COTTAGE - PARLOUR - DAY               ELINOR sits at a little desk counting money and making notes.                BETSY enters to clean out the fire. She notices the money.                                     BETSY                         Sugar is five shilling a pound these                          parts, Miss Dashwood.                                     ELINOR                              (lightly)                         No more sugar then.               INT. BARTON COTTAGE - PARLOUR - EVE               CLOSE on MRS DASHWOOD looking out of the window, thinking.                She remembers MRS JENNINGS's words:                                     MRS JENNINGS (V.O.)                         Not a beau for miles.               MRS DASHWOOD turns into the room to look at her brood. ELINOR                and MARIANNE are mending MARGARET's petticoats. CLOSE on the                mother's anxious expression--what is to become of them?               EXT. BARTON PARK - EVE               Establishing shot of SIR JOHN's house--a very comfortable-               looking country seat with fine grounds.                                     SIR JOHN (V.O.)                         Where can Brandon be, poor fellow? I                          hope he has not lamed his horse.               INT. BARTON PARK - DINING ROOM - EVE               CLOSE on an empty chair and place setting. Pull out to reveal                the DASHWOODS at their first dinner with SIR JOHN and MRS                JENNINGS.                                     MRS JENNINGS                         Colonel Brandon is the most eligible                          bachelor in the county--he is bound                          to do for one of you. Mind, he is a                          better age for Miss Dashwood--but I                          dare say she left her heart behind                          in Sussex, eh?               MARIANNE flashes an unmistakable glance of alarmed concern                at her sister, which MRS JENNINGS notices.                                     MRS JENNINGS                         Aha! I see you, Miss Marianne! I                          think I have unearthed a secret!                                     SIR JOHN                         Oho! Have you sniffed one out already,                          Mother? You are worse than my best                          pointer, Flossie!               They both laugh immoderately. ELINOR tries to stay calm.                                     MRS JENNINGS                         What sort of man is he, Miss Dashwood?                          Is he butcher, baker, candlestick-                         maker? I shall winkle it out of you                          somehow, you know!                                     SIR JOHN                         She's horribly good at winkling.                                     MRS JENNINGS                         You are in lonely country now, Miss                          Dashwood, none of us has any secrets                          here--                                     SIR JOHN                         --or if we do, we do not keep them                          for long!               ELINOR tries to smile. MARIANNE looks furious. MARGARET is                staring at MRS JENNINGS as if she were some particularly                thrilling form of wildlife.                                     MRS JENNINGS                         He is curate of the parish, I dare                          say!                                     SIR JOHN                         Or a handsome lieutenant!                                     MRS JENNINGS                         Give us a clue, Miss Dashwood--is he                          in uniform?               ELINOR starts to change the subject, but MARGARET interrupts                her.                                     MARGARET                         He has no profession!               SIR JOHN and MRS JENNINGS turn on her with screams of delight.                ELINOR, MARIANNE and MRS DASHWOOD look at each other                helplessly.                                     SIR JOHN                         No profession! A gentleman, then!                                     MARIANNE                              (with daggers)                         Margaret, you know perfectly well                          there is no such person.                                     MARGARET                         There is! There is! And his name                          begins with an F!               ELINOR looks hard at her plate.                                     MRS DASHWOOD                         Margaret!               MRS DASHWOOD is appalled at her youngest's relish for such a                vulgar game. SIR JOHN and MRS JENNINGS are cock-a-hoop.                                     SIR JOHN                         F indeed! A very promising letter.                          Let me--F, F, Fo, Fa... Upon my word,                          but I cannot think of a single name                          beginning with F--                                     MRS JENNINGS                         Forrest? Foster? Frost? Foggarty?               MARIANNE suddenly stands up. SIR JOHN and MRS JENNINGS are                so surprised they stop talking. Everyone stares at MARIANNE.                                     MARIANNE                              (controlled fury)                         Sir John, might I play your                          pianoforte?                                     SIR JOHN                         Of course, yes--my goodness. We do                          not stand on ceremony here, my dear.               For once, ELINOR is grateful for her sister's rudeness as                everyone rises and follows MARIANNE out.               EXT. BARTON PARK - FRONT STEPS - EVE               A soldierly MAN of about forty (COLONEL BRANDON) is                dismounting from his horse. From within we hear MARIANNE's                song begin. His head snaps up to the windows. An expression                of pained surprise comes into his melancholy, brooding eyes.               INT. BARTON PARK - MUSIC ROOM - EVE               Everyone watches MARIANNE as she plays and sings. Behind                them we see BRANDON entering. But he stays in the shadow of                the door and no one notices him. CLOSE on his face. He gazes                at MARIANNE with an unfathomable look of grief and longing.                He breathes in deeply. Suddenly, ELINOR feels his presence                and looks around at him. After a few moments, she turns back,                slightly puzzled. The song finishes. Everyone claps. The MAN                ventures out into the light and SIR JOHN springs from his                seat.                                     SIR JOHN                         Brandon! Where have you been? Come,                          come and meet our beautiful new                          neighbours!                                     MRS JENNINGS                         What a pity you are late, Colonel!                          You have missed the most delightful                          singing!               BRANDON bows to the company and smiles slightly.                                     COLONEL BRANDON                         A great pity, indeed.               ELINOR looks at him, even more puzzled.                                     SIR JOHN                         Mrs Dashwood, may I present my dear                          friend Colonel Brandon? We served                          together in the East Indies and I                          assure you there is no better fellow                          on earth--                                     MARGARET                         Have you really been to the East                          Indies, Colonel?                                     COLONEL BRANDON                         I have.                                     MARGARET                         What is it like?               MARGARET is quivering with fascination.                                     SIR JOHN                         Like? Hot.               But COLONEL BRANDON knows what MARGARET wants to hear.                                     COLONEL BRANDON                              (mysteriously)                         The air is full of spices.               MARGARET smiles with satisfaction.                                     SIR JOHN                         Come, Miss Dashwood--it is your turn                          to entertain us!                                     ELINOR                         Oh no, Sir John, I do not--                                     SIR JOHN                         --and I think we can all guess what                          key you will sing in!               SIR JOHN and MRS JENNINGS are bursting with their new joke.                                     SIR JOHN/MRS JENNINGS                         F major!               They fall about.               INT. SIR JOHN'S CARRIAGE - NIGHT               The DASHWOODS are returning home. A row is in progress.                                     MARIANNE                              (to Margaret)                         As for you, you have no right, no                          right at all, to parade your ignorant                          assumptions--                                     MARGARET                         They are not assumptions. You told                          me.               ELINOR stares at MARIANNE. MARIANNE colours and attacks                MARGARET again.                                     MARIANNE                         I told you nothing--                                     MARGARET                         They'll meet him when he comes,                          anyway.                                     MARIANNE                         That is not the point. You do not                          speak of such things before strangers--                                     MARGARET                         But everyone else was--                                     MARIANNE                         Mrs Jennings is not everyone.                                     MARGARET                         I like her! She talks about things.                          We never talk about things.                                     MRS DASHWOOD                         Hush, please, now that is enough,                          Margaret. If you cannot think of                          anything appropriate to say, you                          will please restrict your remarks to                          the weather.               A heated pause.                                     MARGARET                         I like Colonel Brandon too. He's                          been to places.               EXT. POND NEAR BARTON PARK - DAY               In the background, SIR JOHN, ELINOR and MRS JENNINGS pack                the remains of a picnic into a basket. MRS DASHWOOD and                MARGARET examine a foxhole. In the foreground, MARIANNE is                cutting bulrushes for basketwork. Her knife is blunt and she                saws impatiently.               COLONEL BRANDON materialises at her side and wordlessly offers                her his hunting knife. Oddly nervous, MARIANNE takes it. She                turns back to the rushes and cuts them with ease. The                COLONEL's gaze follows her movements as if held by a magnet.               INT. KEEPER'S LODGE - BARTON PARK - DAY               SIR JOHN and BRANDON are cleaning their guns in companionable                silence--a habit left over from army days. SIR JOHN eyes                BRANDON roguishly.                                     SIR JOHN                         You know what they're saying, of                          course...               No answer.                                     SIR JOHN                         The word is that you have developed                          a taste for--certain company.               BRANDON stays resolutely silent. SIR JOHN is emboldened.                                     SIR JOHN                         And why not, say I. A man like you--                         in his prime--she'd be a most                          fortunate young lady--               BRANDON cuts across him.                                     COLONEL BRANDON                         Marianne Dashwood would no more think                          of me than she would of you, John.                                     SIR JOHN                         Brandon, my boy, do not think of                          yourself so meanly--                                     COLONEL BRANDON                         And all the better for her.               SIR JOHN subsides. BRANDON is clearly as angry with himself                as he is with SIR JOHN.               EXT. POND NEAR BARTON PARK - ANOTHER DAY               BRANDON strides along in hunting gear, a gun slung under one                arm, his dog trotting behind him with a duck clamped between                its jaws. The bulrushes catch his eye and he slows, then                stops. He stands for a moment deep in thought. Then he takes                his hunting knife, cuts one and walks off contemplatively.               EXT. BARTON PARK - GARDENS - DAY               An outdoor luncheon is in progress. COLONEL BRANDON is talking                to MRS DASHWOOD. Occasionally he looks over towards MARIANNE,                who is playing bilboquet with SIR JOHN and MARGARET. MRS                JENNINGS nudges ELINOR hard and gestures to BRANDON.                                     MRS JENNINGS                              (stage whisper)                         Besotted! Excellent match, for he is                          rich and she is handsome.                                     ELINOR                         How long have you known the Colonel?                                     MRS JENNINGS                         Oh, Lord bless you, as long as ever                          I have been here, and I came fifteen                          years back. His estate at Delaford                          is but four miles hence and he and                          John are very thick. He has no wife                          or children of his own, for--               MRS JENNINGS lowers her voice to a stentorian whisper.                                     MRS JENNINGS                         --he has a tragic history. He loved                          a girl once--twenty years ago now--a                          ward to his family, but they were                          not permitted to marry...               ELINOR is intrigued.                                     ELINOR                         On what grounds?                                     MRS JENNINGS                         Money. Eliza was poor. When the father                          discovered their amour, she was flung                          out of the house and he packed off                          into the army. I believe he would                          have done himself a harm if not for                          John...                                     ELINOR                         What became of the lady?                                     MRS JENNINGS                         Oh, she was passed from man to man--                         disappeared from all good society.                          When Brandon got back from India he                          searched for heaven knows how long,                          only to find her dying in a poor                          house. You have seen how it has                          affected him. Once I thought my                          daughter Charlotte might have cheered                          him up, but she is much better off                          where she is.               ELINOR is silent with amazement at this unexpected history.                                     MRS JENNINGS                         Look at him now, though. So attentive.                          I shall try an experiment on him.                                     ELINOR                         Oh no, please, dear Mrs Jennings,                          leave the poor Colonel alone.                                     MRS JENNINGS                         No, no, it is just the thing--all                          suitors need a little help, my dear               MRS JENNINGS winks at ELINOR and rubs her hands as though                about to perform a magic trick.                                     MRS JENNINGS                              (trillingly)                         Colonel Brandon!               BRANDON looks up.                                     MRS JENNINGS                         We have not heard you play for us of                          late!                                     COLONEL BRANDON                         For the simple reason that you have                          a far superior musician here.               He indicates MARIANNE, who smiles absently.                                     MRS JENNINGS                         Perhaps you did not know, Miss                          Marianne, that our dear Brandon shares                          your passion for music and plays the                          piano forte very well.               MARIANNE looks at BRANDON in some surprise.                                     MRS JENNINGS                         Play us a duet!               BRANDON looks at MRS JENNINGS warningly but she ignores him.                                     MRS JENNINGS                         I'll trow you know quite as many                          melancholy tunes as Miss Marianne!               Her tone is so knowing that MARIANNE frowns uncomfortably.                                     MRS JENNINGS                         Come! Let us see you both side by                          side!               MARIANNE rises impatiently.                                     MARIANNE                         I do not know any duets. Forgive me,                          Colonel.               She moves away. MRS JENNINGS chuckles.               INT. BARTON COTTAGE - PARLOUR - LATE AFTERNOON               The DASHWOODS returning. MARIANNE is taking her bonnet off                so furiously that she simply gets the knot tighter and                tighter. Despite them selves, ELINOR and MRS DASHWOOD are                amused.                                     MARIANNE                         Oh! Are we never to have a moment's                          peace? The rent here may be low but                          I think we have it on very hard terms.                                     ELINOR                         Mrs Jennings is a wealthy woman with                          a married daughter--she has nothing                          to do but marry off everyone else's.               BETSY pokes her head out from the dining room.                                     BETSY                         There's a parcel arrived for you,                          Miss Dashwood!                                     MARGARET                         A parcel!               They all crowd into the dining room to find a large package                on the table, which MARGARET is permitted to open. In the                meantime ELINOR comes to the rescue with the bonnet and                MARIANNE stands shifting like a spirited mare as ELINOR                patiently unravels the knot.                                     MARIANNE                         It is too ridiculous! When is a man                          to be safe from such wit if age and                          infirmity do not protect him?                                     ELINOR                         Infirmity!                                     MRS DASHWOOD                         If Colonel Brandon is infirm, then I                          am at death's door.                                     ELINOR                         It is a miracle your life has extended                          this far...                                     MARIANNE                         Did you not hear him complain of a                          rheumatism in his shoulder?                                     ELINOR                         A slight ache' I believe was his                          phrase...               MARIANNE smiles and ELINOR laughs at her. Then MARGARET opens                the parcel to reveal--her atlas. The atmosphere alters                immediately as MRS DASHWOOD and MARIANNE look at ELINOR in                consternation.                                     MARGARET                         But Edward said he would bring it                          himself.               There is a letter on top of the atlas. CLOSE on the address                'To the Dashwoods'. MRS DASHWOOD picks it up, looks at ELINOR,                and opens                                     MRS DASHWOOD                         'Dear Mrs Dashwood, Miss Dashwood,                          Miss Marianne and Captain Margaret--                         it gives me great pleasure to restore                          this atlas to its rightful owner.                          Alas, business in London does not                          permit me to accompany it, although                          this is likely to hurt me far more                          than it hurts you. For the present                          my memories of your kindness must be                          enough to sustain me, and I remain                          your devoted servant always. E. C.                          Ferrars.'               A silence greets this brief epistle. ELINOR struggles to                contain her bitter disappointment.                                     MARGARET                         But why hasn't he come?                                     MRS DASHWOOD                         He says he is busy, dear.                                     MARGARET                         He said he'd come.               MARGARET is genuinely upset. ELINOR quietly hangs up                MARIANNE's bonnet.                                     MARGARET                         Why hasn't he come?               MRS DASHWOOD looks beseechingly at MARIANNE, who nods and                grasps MARGARET's hand.                                     MARIANNE                         I am taking you for a walk.                                     MARGARET                         No! I've been a walk.                                     MARIANNE                         You need another.                                     MARGARET                         It is going to rain.               MARIANNE shoves her bonnet back on and drags MARGARET out.                                     MARIANNE                         It is not going to rain.                                     MARGARET                         You always say that and then it always                          does.               We hear the front door slam behind them. There is a short                silence.                                     MRS DASHWOOD                         I fear Mrs Jennings is a bad                          influence.               She approaches ELINOR.                                     MRS DASHWOOD                         You must miss him, Elinor.               ELINOR looks very directly at her mother.                                     ELINOR                         We are not engaged, Mamma.                                     MRS DASHWOOD                         But he loves you, dearest, of that I                          am certain.               ELINOR looks down. She speaks slowly, choosing her words                with care.                                     ELINOR                         I am by no means assured of his regard                          for me.                                     MRS DASHWOOD                         Oh, Elinor!                                     ELINOR                         But even were he to feel such a...                          preference, I think we should be                          foolish to assume that there would                          not be many obstacles to his choosing                          a woman of no rank who cannot afford                          to buy sugar...                                     MRS DASHWOOD                         But Elinor--your heart must tell you--                                     ELINOR                         In such a situation, Mamma, it is                          perhaps better to use one's head.               She clears her throat, rises determinedly, picks up the                accounts book and opens it. MRS DASHWOOD is silenced.               EXT. FIELDS NEAR BARTON COTTAGE - DAY               MARIANNE walks very briskly, dragging an unwilling MARGARET                behind her.               EXT. DOWNS NEAR BARTON COTTAGE - DAY               It has started to rain. Mists are gathering around the two                figures walking against the wind.                                     MARIANNE                         Is there any felicity in the world                          superior to this?                                     MARGARET                         I told you it would rain.                                     MARIANNE                         Look! There is some blue sky! Let us                          chase it!                                     MARGARET                         I'm not supposed to run.               MARIANNE runs off down the hill into the heart of the mist.                MARGARET stumbles after her, grumbling. We follow MARIANNE                in her headlong descent and suddenly, dramatically, she trips                and sprawls to the ground, letting out a sharp cry of pain.                                     MARGARET                         Marianne!                                     MARIANNE                         Help me!               She tries to get up, but the pain in her ankle is too great.                She sinks back to the ground. MARGARET is very alarmed.                                     MARIANNE                         Margaret, run home and fetch help.               The mists have thickened. They can no longer see where they                are. Despite her rising fear, MARGARET squares her shoulders                bravely and tries to sense the direction.                                     MARGARET                         I think it is this way. I will run                          as fast as I can, Marianne.               She dashes off. As she goes into the mist we hear the thunder                of hooves.               CU Margaret's terrified expression. They seem to be coming                from all around. She wheels and turns and then--Crash! Through                the mist breaks a huge white horse. Astride sits an Adonis                in hunting gear. MARGARET squeals. The horse rears. Its rider                controls it and slides off. He rushes to MARIANNE's side.                                     THE STRANGER                         Are you hurt?                                     MARIANNE                              (transfixed)                         Only my ankle.                                     THE STRANGER                         May I have your permission to--               He indicates her leg. Decorous, perhaps faintly impish.                                     THE STRANGER                         --ascertain if there are any breaks?               MARIANNE nods speechlessly. With great delicacy, he feels                her ankle. MARGARET's eyes are out on chapel-hooks. MARIANNE                almost swoons with embarrassment and excitement mixed.                                     THE STRANGER                         It is not broken. Now, can you put                          your arm about my neck?               MARIANNE does not need any encouragement. He lifts her                effortlessly and calls to his horse: 'Bedivere!' It trots                obediently forward. The STRANGER smiles down at MARIANNE.                                     THE STRANGER                         Allow me to escort you home.               INT. BARTON COTTAGE - DINING ROOM - DAY               Rain is thudding against the window from which MRS DASHWOOD                turns, looking very worried.                                     MRS DASHWOOD                         Marianne was sure it would not rain.                                     ELINOR                         Which invariably means it will.               But we can see she is trying to conceal her anxiety from her                mother. There are noises in the hall.                                     MRS DASHWOOD                         At last!               MARGARET runs into the room dripping wet.                                     MARGARET                         She fell over! She fell down--and                          he's carrying her!               INT. BARTON COTTAGE - FRONT DOOR - DAY               MRS DASHWOOD and ELINOR rush to the front door. They see the                STRANGER carrying MARIANNE up the garden path, his scarlet                coat staining the monochrome rain.                                     MRS DASHWOOD                         Marianne!               The STRANGER reaches the door. This is no time for                introductions.                                     ELINOR                         In here, sir--this way. Margaret,                          open the door wider. Please, sir,                          lay her here. Marianne, are you in                          pain?               They move into the parlour.               INT. BARTON COTTAGE - PARLOUR - DAY               MARIANNE is carried in, surrounded by ELINOR, MRS DASHWOOD                and MARGARET.                                     THE STRANGER                         It is a twisted ankle.                                     MARIANNE                         Do not be alarmed, Mamma.               The STRANGER deposits MARIANNE on the sofa. They look straight                into each other's eyes. Electric.                                     THE STRANGER                         I can assure you it is not serious.                          I took the liberty of feeling the                          bone and it is perfectly sound.               ELINOR raises her eyebrows at MARIANNE, who blushes to her                roots.                                     MRS DASHWOOD                         Sir, I cannot even begin to thank                          you.                                     THE STRANGER                         Please do not think of it. I'm                          honoured of be of service.                                     MRS DASHWOOD                         Will you not be seated?                                     THE STRANGER                         Pray excuse me--I have no desire to                          leave a water mark! But permit me to                          call tomorrow afternoon and inquire                          after the patient?                                     MRS DASHWOOD                         We shall look forward to it!               He turns to MARIANNE and smiles. She smiles back gloriously.                He bows, and sweeps out of the room.                                     MARIANNE                              (hissing)                         His name! His name!               MRS DASHWOOD silences her with a gesture and follows him out                with all the solicitous charm she can command while MARGARET                pokes her head around the door to watch. ELINOR is removing                MARIANNE's boot and trying not to laugh at her.               EXT. BARTON COTTAGE - FRONT DOOR - DAY               MRS DASHWOOD calls out after him.                                     MRS DASHWOOD                         Please tell us to whom we are so                          much obliged?               The STRANGER mounts Bedivere and turns to her.                                     THE STRANGER                         John Willoughby of Allenham--your                          servant, ma'am!               And he gallops off into the mist--we almost expect Bedivere                to sprout wings. CLOSE on MRS DASHWOOD's excited expression.               INT. BARTON COTTAGE - PARLOUR - DAY               MRS DASHWOOD runs back into the parlour, jittering with                excitement and anxiety.                                     MARIANNE                         Mr John Willoughby of Allenham!                                     MRS DASHWOOD                         What an impressive gentleman!                                     MARIANNE                         He lifted me as if I weighed no more                          than a dried leaf!                                     ELINOR                         Is he human?               MARIANNE hits ELINOR. MRS DASHWOOD tends to her ankle.                                     MRS DASHWOOD                         Tell me if I hurt you.                                     ELINOR                              (regarding Marianne's                               ecstatic expression)                         She feels no pain, Mamma. Margaret,                          ask Betsy to make up a cold compress,                          please.                                     MARGARET                              (leaving reluctantly)                         Did you see him? He expressed himself                          well, did he not?                                     MRS DASHWOOD                         With great decorum and honour.                                     MARIANNE                         And spirit and wit and feeling.                                     ELINOR                         And economy--ten words at most.               From below stairs we can hear MARGARET wailing Wait for me!                                     MARIANNE                         And he is to come tomorrow!                                     ELINOR                         You must change, Marianne--you will                          catch a cold.                                     MARIANNE                         What care I for colds when there is                          such a man?                                     ELINOR                         You will care very much when your                          nose swells up.                                     MARIANNE                         You are right. Help me, Elinor.               MARGARET comes back with the bandages.                                     MARGARET                         What has happened?                                     ELINOR                         We have decided to give you to the                          Gypsies.               ELINOR and MARIANNE go upstairs. MARGARET whispers to MRS                DASHWOOD.                                     MARGARET                         Will they be married before Edward                          and Elinor, do you think, Mamma?                                     MRS DASHWOOD                         Margaret, you are worse than Mrs                          Jennings.               EXT. BARTON COTTAGE - MORNING               The rain has cleared. SIR JOHN's horse munches grass                contentedly by the side of the road.                                     SIR JOHN (V.O.)                         Mr Willoughby is well worth catching,                          Miss Dashwood--Miss Marianne must                          not expect to have all the men to                          herself!               INT. BARTON COTTAGE - PARLOUR - MORNING               The DASHWOODS are having a frustrating time winkling                information about WILLOUGHBY out of SIR JOHN, who is in turn                only anxious to protect BRANDON's interest. MARIANNE has her                bandaged foot up on the sofa and is fast losing patience.                                     MARIANNE                         But what do you know of Mr Willoughby,                          Sir John?                                     SIR JOHN                         Decent shot--and there is not a bolder                          rider in all England.                                     MARIANNE                         But what is he like?                                     SIR JOHN                         Like?                                     MARIANNE                         What are his tastes? His passions?                          His pursuits?                                     SIR JOHN                              (mystified)                         Well, he has the nicest little bitch                          of a pointer--was she out with him                          yesterday?               MARIANNE gives up. MRS DASHWOOD takes over.                                     MRS DASHWOOD                         Where is Allenham, Sir John?                                     SIR JOHN                         Nice little estate three miles east.                          He is to inherit it from an elderly                          relative--Lady Allen is her name.               Now they are getting somewhere. MARIANNE is about to ask                another question when they hear a horse galloping up. Everyone                is electrified. MARGARET runs to the window and turns back                in disappointment.                                     MARGARET                         It is Colonel Brandon. I shall go                          outside and keep watch.               MARGARET runs out of the room.                                     SIR JOHN                         You are all on the lookout for                          Willoughby, eh? Dear me, poor Brandon.                          You will none of you think of him                          now.               BRANDON is admitted by BETSY. He is carrying a large bunch                of hothouse flowers.                                     COLONEL BRANDON                         How is the invalid?               He hands MARIANNE the flowers with a smile.                                     MARIANNE                         Thank you so much, Colonel.               She rather absently hands the flowers to ELINOR, who goes                for a vase. SIR JOHN gestures at BRANDON with bluff                insensitivity.                                     SIR JOHN                         Miss Marianne, I cannot see why you                          should set your cap at Mr Willoughby                          when you have already made such a                          splendid conquest!                                     MARIANNE                         I have no intention of 'setting my                          cap' at anyone, Sir John!                                     COLONEL BRANDON                         Mr Willoughby--Lady Allen's nephew?               BRANDON's light tone betrays no emotion. ELINOR comes back                in with the flowers and puts them on the table next to                MARIANNE.                                     SIR JOHN                         Aye, he visits every year for he is                          to inherit Allenham--and he has a                          very pretty estate of his own, Miss                          Dashwood, Combe Magna in Somerset.                          If I were you, I would not give him                          up to my younger sister in spite of                          all this tumbling down hills.               Suddenly MARGARET runs in screaming 'Marianne's preserver!'                at the top of her voice. Everyone starts to move at once.                MARGARET is silenced. BRANDON looks at MARIANNE, whose                incandescent expression makes her feelings all too clear.                                     SIR JOHN                         Here is the man himself. Come, Brandon--                         we know when we are not wanted. Let                          us leave him to the ladies!                                     ELINOR                         Marianne! Sir John and the Colonel                          are leaving.               MARIANNE looks up, suddenly self-conscious.                                     MARIANNE                         Goodbye, Colonel. Thank you for the                          flowers.               ELINOR sees them out. We hear WILLOUGHBY's voice outside.                CLOSE on MARIANNE's radiant anticipation.               EXT. BARTON COTTAGE - FRONT DOOR - DAY               WILLOUGHBY is shaking hands with COLONEL BRANDON and SIR                JOHN.                                     WILLOUGHBY                         How do you do, Colonel?                                     SIR JOHN                         How does he do? How do you do, more                          like. Go on in, they're waiting for                          you!               BRANDON looks at WILLOUGHBY for a moment. He bows. WILLOUGHBY                bows. Then BRANDON and SIR JOHN exit.               INT. BARTON COTTAGE - PARLOUR - DAY               ELINOR leads in WILLOUGHBY. MRS DASHWOOD greets him with                outstretched arms.                                     MRS DASHWOOD                         Mr Willoughby! What a pleasure to                          see you again!                                     WILLOUGHBY                         The pleasure is all mine, I can                          asstire you. I trust Miss Marianne                          has not caught cold?                                     MARIANNE                         You have found out my name!                                     WILLOUGHBY                         Of course. The neighbourhood is                          crawling with my spies.               He suddenly produces a bunch of wild flowers from behind his                back and offers them to MARIANNE with a courtly, humorous                bow.                                     WILLOUGHBY                         And since you cannot venture out to                          nature, nature must be brought to                          you!                                     MARIANNE                         How beautiful. These are not from                          the hothouse.               WILLOUGHBY sees BRANDON's flowers.                                     WILLOUGHBY                         Ah! I see mine is not the first                          offering, nor the most elegant. I am                          afraid I obtained these from an                          obliging field.                                     MARIANNE                         But I have always preferred wild                          flowers!                                     WILLOUGHBY                         I suspected as much.               ELINOR takes the delicate flowers from WILLOUGHBY.                                     ELINOR                         I will put these in water.                                     MRS DASHWOOD                         Our gratitude, Mr Willoughby, is                          beyond expression--                                     WILLOUGHBY                         But it is I who am grateful. I have                          often passed this cottage and grieved                          for its lonely state--and then the                          first news I had from Lady Allen                          when I arrived was that it was taken.                          I felt a peculiar interest in the                          event which nothing can account for                          but my present delight in meeting                          you.               He is merry, spirited, voluble--a breath of fresh air. ELINOR                brings back WILLOUGHBY's flowers and places them next to                BRANDON's on the side table.                                     MRS DASHWOOD                         Pray sit down, Mr Willoughby.               She indicates a chair but WILLOUGHBY sees a book lying on                MARIANNE's footstool, picks it up and--to her great delight--               sits down on the stool at her feet.                                     WILLOUGHBY                         Who is reading Shakespeare's sonnets?               Everyone answers at once.                                     MARIANNE/ELINOR/MRS DASHWOOD                         I am. / We all are. / Marianne.                                     MRS DASHWOOD                         Marianne has been reading them out                          to us.                                     WILLOUGHBY                         Which are your favourites?               It is a general question but MARIANNE gaily commandeers it.                                     MARIANNE                         Without a doubt, mine is 116.                                     WILLOUGHBY                         Let me not to the marriage of true                          minds Admit impediments. Love is not                          love Which alters when it alteration                          finds, Or bends with the remover to                          remove--then how does it go?                                     MARIANNE                         '0, no! it is an ever-fixed mark.'               WILLOUGHBY joins in the line halfway through and continues.                ELINOR and MRS DASHWOOD exchange glances. Clearly, their                contribution to this conversation will be minimal.                                     WILLOUGHBY                         'That looks on storms'--or is it                          tempests? Let me find it.               WILLOUGHBY gets out a tiny leatherbound book.                                     WILLOUGHBY                         It is strange you should be reading                          them--for, look, I carry this with                          me always.               It is a miniature copy of the sonnets. MARIANNE is delighted,                and, mutually astonished at this piece of synchronicity,                they proceed to look up other favourites, chatting as though                they were already intimates.               MRS DASHWOOD smiles at ELINOR with satisfaction. ELINOR,                amused, picks up her sewing. MARGARET stares. WILLOUGHBY and                MARIANNE are oblivious to everything but each other.               EXT. BARTON COTTAGE - GARDEN PATH - DAY               WILLOUGHBY is leaving. He has a flower from MARIANNE's bunch                in his buttonhole and is on his horse, looking about as virile                as his horse. Everyone has come out to say goodbye, MARIANNE                supported by ELINOR and MRS DASHWOOD.                                     WILLOUGHBY                         Till tomorrow! And my pocket sonnets                          are yours, Miss Marianne! A talisman                          against further injury!                                     MARIANNE                         Goodbye! Thank you!               He gallops off. They all wave. MARGARET follows him down the                road for a while.                                     ELINOR                         Good work, Marianne! You have covered                          all forms of poetry; another meeting                          will ascertain his views on nature                          and romantic attachments and then                          you will have nothing left to talk                          about and the acquaintanceship will                          be over.                                     MARIANNE                         I suppose I have erred against                          decorum. I should have been dull and                          spiritless and talked only of the                          weather, or the state of the roads.                                     ELINOR                         No, but Mr Willoughby can be in no                          doubt of your enthusiasm for him.                                     MARIANNE                         Why should he doubt it? Why should I                          hide my regard?                                     ELINOR                         No particular reason, Marianne, only                          that we know so little of him--                                     MARIANNE                         But time alone does not determine                          intimacy. Seven years would be                          insufficient to make some people                          acquainted with each other and seven                          days are more than enough for others.                                     ELINOR                         Or seven hours in this case.                                     MARIANNE                         I feel I know Mr Willoughby well                          already. If I had weaker, more shallow                          feelings perhaps I could conceal                          them, as you do--               Then she realises what she's said.                                     MRS DASHWOOD                         Marianne, that is not fair--                                     MARIANNE                         I am sorry, Elinor, I did not mean                                     ELINOR                         I know. Do not trouble yourself,                          Marianne.               ELINOR turns back into the house.                                     MARIANNE                         I do not understand her, Mamma. Why                          does she never mention Edward? I                          have never even seen her cry about                          him, or about Norland.                                     MRS DASHWOOD                         Nor I. But Elinor is not like you or                          I, dear. She does not like to be                          swayed by her emotions.               INT. BARTON COTTAGE - ELINOR AND MARIANNE'S BEDROOM - DAY               CLOSE on Edward's handkerchief. We can see the monogram ECF                clearly.               CLOSE on ELINOR staring out of the window. Tears stand in                her eyes but she presses the handkerchief to them before                they fall.               INT. BARTON PARK - DRAWING ROOM - EVE               After dinner. Tea has been served. ELINOR, COLONEL BRANDON,                MRS DASHWOOD and MRS JENNINGS play at cards. In a far corner                of the room, MARIANNE is concentrating as she draws a                silhouette.               WILLOUGHBY's profile glows behind the screen in front of                her, She looks up and stops, gazing, bewitched, at his beauty.                The lips move--a whisper: Marianne. Then, louder: Haven't                you finished? He moves out from behind the screen, eyes full                of laughter. They look at each other.               INT. BARTON COTTAGE - PARLOUR - DAY               ELINOR and MRS DASHWOOD are at the accounts. WILLOUGHBY and                MARIANNE are on the other side of the room in the window                seat, whispering together. Clearly, he is already part of                the family.                                     MRS DASHWOOD                         Surely you are not going to deny us                          beef as well as sugar?                                     ELINOR                         There is nothing under tenpence a                          pound. We have to economise.                                     MRS DASHWOOD                         Do you want us to starve?                                     ELINOR                         No. Just not to eat beef.               MRS DASHWOOD is silenced but sighs crossly. ELINOR looks                over to the lovers and sees WILLOUGHBY in the act of cutting                off a lock of MARIANNE's hair, which he kisses and places in                his pocket-book. ELINOR is transfixed by this strangely erotic                moment. WILLOUGHBY senses her gaze and looks over. She snaps                her head back to her sums and is astonished to find that she                has written 'Edward' at the top of the sheet. Hastily she                rubs it out and writes 'Expenses'.               EXT. BARTON CHURCH. DAY.               MRS JENNINGS is talking to the elderly CURATE. Other                PARISHIONERS exit the church as WILLOUGHBY's curricle (the                eighteenth-century equivalent of a sports car) goes flying                by. MARIANNE sits by his side, the picture of happiness. MRS                JENNINGS nudges the CURATE and whispers. The PARISHIONERS                stare after them and comment to each other.               EXT. BARTON COTTAGE - GARDEN PATH - DAY               MARIANNE and ELINOR are coming down the path together.                MARIANNE is dressed to go out. The argument has evidently                started indoors and is being continued here.                                     MARIANNE                         If there was any true impropriety in                          my behaviour, I should be sensible                          of it, Elinor--                                     ELINOR                         But as it has already exposed you to                          some very impertinent remarks, do                          you not begin to doubt your own                          discretion?                                     MARIANNE                         If the impertinent remarks of such                          as Mrs Jennings are proof of                          impropriety, then we are all offending                          every moment of our lives--               The conversation is halted by the arrival of COLONEL BRANDON                on horseback.                                     COLONEL BRANDON                              (dismounting)                         Miss Dashwood! Miss Marianne!                                     ELINOR                         Good morning, Colonel!                                     COLONEL BRANDON                         I come to issue an invitation. A                          picnic on my estate at Delaford--if                          you would care to join us on Thursday                          next. Mrs Jennings's daughter and                          her husband are traveling up                          especially.                                     ELINOR                         Thank you, Colonel, we shall be                          delighted.               At that moment, WILLOUGHBY's curricle hoves into view and                MARIANNE's face lights up.                                     COLONEL BRANDON                              (to Marianne)                         I will of course be including Mr                          Willoughby in the party.               Even MARIANNE is a little embarrassed and recollects her                manners. She smiles kindly at BRANDON.                                     MARIANNE                         I should be delighted to join you,                          Colonel!               The COLONEL helps her into the curricle, exchanging nods                with WILLOUGHBY, who is regarding him with some suspicion.                                     WILLOUGHBY                         Good morning, Miss Dashwood; good                          morning, Colonel.                                     MARIANNE                         The Colonel has invited us to                          Delaford, Willoughby!                                     WILLOUGHBY                         Excellent. I understand you have a                          particularly fine pianoforte, Colonel.               The undercurrents of this conversation are decidedly tense.                                     COLONEL BRANDON                         A Broadwood Grand.                                     MARIANNE                         A Broadwood Grand! Then I shall really                          be able to play for you!                                     WILLOUGHBY                         We shall look forward to it!               MARIANNE smiles her perfect happiness at him and he whips up                the horses. They drive off, waving their farewells.               BRANDON looks after them for a silent moment, and then                collects himself and turns to ELINOR, who is less than                satisfied with their behaviour.                                     COLONEL BRANDON                         Your sister seems very happy.                                     ELINOR                         Yes. Marianne does not approve of                          hiding her emotions. In fact, her                          romantic prejudices have the                          unfortunate tendency to set propriety                          at naught.                                     COLONEL BRANDON                         She is wholly unspoilt.                                     ELINOR                         Rather too unspoilt, in my view. The                          sooner she becomes acquainted with                          the ways of the world, the better.               COLONEL BRANDON looks at her sharply and then speaks very                deliberately, as though controlling some powerful emotion.                                     COLONEL BRANDON                         I knew a lady like your sister--the                          same impulsive sweetness of temper--                         who was forced into, as you put it,                          a better acquaintance with the world.                          The result was only ruination and                          despair.               He stops, and briskly remounts his horse.                                     COLONEL BRANDON                         Do not desire it, Miss Dashwood.               EXT. BARTON PARK - DRIVE - DAY               People and carriages fill the drive, the sun shines and the                atmosphere is pleasantly expectant. SIR JOHN is organising                the provision of blankets and parasols and COLONEL BRANDON                is busy furnishing the DRIVERS with their routes. There are                three new faces a pretty, blowsy WOMAN (CHARLOTTE PALMER), a                stony-faced MAN (MR PALMER) and an exceedingly good-looking                GIRL (LUCY STEELE), who are standing with ELINOR, MARIANNE,                MARGARET, MRS JENNINGS and MRS DASHWOOD.               MARIANNE is standing slightly apart, looking out along the                road, impatient for WILLOUGHBY.                                     MRS JENNINGS                         Imagine my surprise, Mrs Dashwood,                          when Charlotte and her lord and master                          appeared with our cousin Lucy! The                          last person I expected to see! 'Where                          did you pop out from, Miss?' says I.                          I was never so surprised to see anyone                          in all my life!               LUCY STEELE smiles shyly and looks at the ground. MRS JENNINGS                continues sotto voce to MRS DASHWOOD.                                     MRS JENNINGS                         She probably came on purpose to share                          the fun, for there are no funds for                          such luxuries at home, poor thing.                                     LUCY                         I had not seen you for so long, dear                          Mrs Jennings, I could not resist the                          opportunity.                                     CHARLOTTE                         Oh, you sly thing! It was the Misses                          Dashwood she wanted to see, not                          Delaford, Mamma! I have heard nothing                          but 'Miss Dashwood this, Miss Dashwood                          that' for I don't know how long! And                          what do you think of them now you do                          see them, Lucy? My mother has talked                          of nothing else in her letters since                          you came to Barton, Mrs Dashwood. Mr                          Palmer--are they not the very                          creatures she describes?               MR PALMER regards his wife with a less than enchanted                expression.                                     MR PALMER                         Nothing like.                                     CHARLOTTE                              (laughing gaily)                         Why, Mr Palmer! Do you know you are                          quite rude today? He is to be an MP,                          you know, Mrs Dashwood, and it is                          very fatiguing for him for he is                          forced to make everybody like him--                         he says it is quite shocking--                                     MRS PALMER                         I never said anything so irrational.                          Don't palm all your abuses of the                          language upon me.                                     MRS JENNINGS                              (to Mrs Dashwood)                         Mr Palmer is so droll--he is always                          out of humour.               MR PALMER does indeed have the air of a man under siege.                WILLOUGH BY suddenly appears in his curricle. MARIANNE waves                to him with a radiant smile. MRS JENNINGS nudges CHARLOTTE                and points to MARIANNE.                                     MRS JENNINGS                         Here he is! Now you shall see,                          Charlotte.               WILLOUGHBY drives up as close to MARIANNE as possible, making                her laugh.                                     MRS JENNINGS                         How now, Mr Willoughby! You must                          greet my daughter Charlotte, and Mr                          Palmer--                                     WILLOUGHBY                         How do you do?                                     MRS JENNINGS                         And my little cousin, Miss Lucy                          Steele.                                     WILLOUGHBY                         Welcome to our party, Miss Steele!               LUCY bobs demurely. WILLOUGHBY inclines his head politely,                leaps from the curricle and hands MARIANNE in. MRS JENNINGS                coos and chuckles at them. CHARLOTTE nudges ELINOR.                                     CHARLOTTE                         I know Mr Willoughby extremely well--                         not that I ever spoke to him but I                          have seen him forever in town. Your                          sister is monstrous lucky to get                          him. Mamma says Colonel Brandon is                          in love with her as well, which is a                          very great compliment for he hardly                          ever falls in love with anyone.               ELINOR smiles politely. WILLOUGHBY moves the curricle out to                the front of the drive. CHARLOTTE points after them and laughs                with MRS JENNINGS. LUCY edges up beside ELINOR.                                     LUCY                         May I beg a seat beside you, Miss                          Dashwood? I have so longed to make                          your better acquaintance! I have                          heard nothing but the highest praise                          for you.               ELINOR is relieved to change the subject.                                     ELINOR                         I would be delighted. But Sir John                          and Mrs Jennings are too excessive                          in their compliments. I am sure to                          disappoint.                                     LUCY                         No, for it was from quite another                          source that I heard you praised and                          one not at all inclined to                          exaggeration.               LUCY speaks in a knowing, confidential undertone, as though                not wanting anyone else to hear. At that moment a HORSEMAN                thunders up the drive towards them. Everyone turns to face                the new arrival.                                     SIR JOHN                         What can this be?               It is a MESSENGER who has obviously had a long, hard ride.                He asks for COLONEL BRANDON and hands him a letter, which                BRANDON tears open. MRS JENNINGS is puce with suppressed                curiosity.                                     COLONEL BRANDON                         My horse! Quickly!                                     SIR JOHN                         What is the matter, Brandon?                                     COLONEL BRANDON                         I must away to London.                                     SIR JOHN                         No! Impossible!               Everyone gathers round BRANDON, who is, naturally, mortified.                A SERVANT brings up the COLONEL's horse.                                     COLONEL BRANDON                         Imperative.               There is a murmur of disappointment from the party. SIR JOHN                is embarrassed and protests again.                                     SIR JOHN                         But Brandon, we are all assembled.                          We cannot picnic at Delaford without                          our host! Go up to town tomorrow.                                     WILLOUGHBY                         Or wait till we return and start                          then--you would not be six hours                          later.                                     COLONEL BRANDON                         I cannot afford to lose one minute.               As he speaks, he is mounting his horse. His grave urgency                silences all protest and he gallops off, leaving everyone                stunned and, of course, deeply curious. Then they all start                to talk at once. LUCY is still next to ELINOR.                                     LUCY                         Oh, Miss Dashwood, I cannot bear it!                          Just when I was to have the                          opportunity of speaking with you.               EXT. MEADOW NEAR BARTON COTTAGE - DAY               Having been denied their trip, the DASHWOODS and WILLOUGHBY                have set out an impromptu picnic. WILLOUGHBY is wandering                restlessly about.               The weather is sublime.                                     WILLOUGHBY                         Frailty, thy name is Brandon!                                     MARIANNE                         There are some people who cannot                          bear a party of pleasure. I think he                          wrote the letter himself as a trick                          for getting out of it.                                     MRS DASHWOOD                              (indulgently)                         You are a very wicked pair, Colonel                          Brandon will be sadly missed.                                     WILLOUGHBY                         Why? When he is the kind of man that                          everyone speaks well of and no one                          wants to talk to.                                     MARIANNE                         Exactly!                                     ELINOR                         Nonsense.                                     MRS DASHWOOD                         Colonel Brandon is very highly                          esteemed at the Park.                                     WILLOUGHBY                         Which is enough censure in itself.                                     ELINOR                              (half laughing)                         Really, Willoughby!                                     WILLOUGHBY                              (imitating Mrs Jennings                               perfectly)                         Come, come, Mr Impudence--I know you                          and your wicked ways--oh!               He gives a little shriek and waddles about the garden doing                her walk. He comes up to ELINOR and puts his head on her                shoulder.                                     WILLOUGHBY                         Come, Miss Dashwood, reveal your                          beau, reveal him, I say! Let's have                          no secrets between friends! Let me                          winkle them out of you!               ELINOR hits him on the nose with her teaspoon and he waddles                off to MARIANNE.                                     WILLOUGHBY                              (as Mrs Jennings)                         I declare, Miss Marianne, if I do                          not have you married to the Colonel                          by teatime, I shall swallow my own                          bonnet.               MARIANNE laughs. WILLOUGHBY drops the parody suddenly.                                     WILLOUGHBY                         As if you could marry such a                          character.                                     ELINOR                         Why should you dislike him?               There is indeed an edge to WILLOUGHBY's raillery. He flicks                ELINOR an almost alarmed glance and then sweeps MARIANNE to                her feet and starts to dance around the garden with her.                                     WILLOUGHBY                         Because he has threatened me with                          rain when I wanted it fine, he has                          found fault with the balance of my                          curricle and I cannot persuade him                          to buy my brown mare. If it will be                          of any satisfaction to you, however,                          to be told I believe his character                          to be in all other respects                          irreproachable, I am ready to confess                          it. And in return for an                          acknowledgement that must give me                          some pain.                              (he is slowing down)                         You cannot deny me the privilege...                              (slower still)                         of disliking him...                              (and stopping)                         as much as I adore...               He and MARIANNE are standing looking at each other. The                expression on WILLOUGHBY's face is heart-stopping. MARGARET                has stopped eating and is staring with her mouth open.               ELINOR glances at MRS DASHWOOD but she is gazing up at them                with almost as many stars in her eyes as MARIANNE.               Suddenly WILLOUGHBY breaks the mood by swinging away from                MARIANNE and gesturing to the house.                                     WILLOUGHBY                         --this cottage!               The tension is broken. MARGARET starts to chew again.                                     MRS DASHWOOD                         I have great plans for improvements                          to it, you know, Mr Willoughby.                                     WILLOUGHBY                         Now that I will never consent to.                          Not a stone must be added to its                          walls. Were I rich enough, I would                          instantly pull down Combe Magna and                          build it up again in the exact image                          of that cottage!                                     ELINOR                         With dark, narrow stairs, a poky                          hall and a fire that smokes?                                     WILLOUGHBY                         Especially the fire that smokes!                          Then I might be as happy at Combe                          Magna as I have been at Barton.               He looks at MARIANNE, who has gone to sit at her mother's                feet.                                     WILLOUGHBY                         But this place has one claim on my                          affection which no other can possibly                          share.               MARIANNE is so irradiated with happiness that she looks like                an angel.                                     WILLOUGHBY                         Promise me you will never change it.                                     MRS DASHWOOD                         I do not have the heart.                                     ELINOR                         Or the money.               EXT. BARTON COTTAGE - GARDEN PATH AND GATE - DUSK               MARIANNE is seeing WILLOUGHBY off.                                     WILLOUGHBY                         Miss Marianne, will you--will you do                          me the honour of granting me an                          interview tomorrow--alone?                                     MARIANNE                         Willoughby, we are always alone!                                     WILLOUGHBY                         But there is something very particular                          I should like to ask you.               There is something about his formal tone that makes her feel                shy.                                     MARIANNE                         Of course. I shall ask Mamma if I                          may stay behind from church.                                     WILLOUGHBY                         Thank you. Until tomorrow then--Miss                          Marianne.               He mounts Bedivere and leaves. MARIANNE looks after him, her                eyes shining. He is coming to propose.               EXT. LONDON TENEMENTS - NIGHT               A district of extreme poverty, populated by the LOWLIFE of                LONDON: FOOTPADS, dogs, rats and SCAVENGERS of all kinds. In                the distance a tavern belches forth drunken REVELLERS who                sway and reel into the night.               A hooded HORSEMAN pulls up his exhausted steed at the entrance                to a slum. He dismounts and looks up at one of the windows.                The rags hanging there twitch as if someone is watching for                him. He strides inside.               INT. TENEMENT STAIRS - NIGHT               Stepping over a supine BEGGAR at the foot of the stairs, the                HORSEMAN flings back his hood--it is BRANDON, hollow-eyed                and dropping with weariness. We follow him up the stairs to                a door which is opened by an OLDER WOMAN.               INT. TENEMENT ROOM - NIGHT               He enters a bare room partitioned with filthy rags hung from                the ceiling and lit with stinking tallow lamps. At the window                stands the slight figure of a VERY YOUNG WOMAN. She turns.                BRANDON reacts with a tender smile which stiffens into an                expression of deep shock. We see her silhouette. She is                heavily pregnant. She bursts into tears and runs into his                arms.               INT. BARTON CHURCH - DAY               Amongst the small CONGREGATION listening to the sermon drone                on, we see the excited faces of ELINOR, MARGARET and MRS                DASHWOOD.                                     MARGARET                         Do you think he will kneel down when                          he asks her?                                     ELINOR                         Shhh!                                     MARGARET                              (with satisfaction)                         They always kneel down.               EXT. BARTON COTTAGE - GARDEN PATH - DAY               The DASHWOODS return from church to find THOMAS grooming                Bedivere at the garden gate. Their excitement mounts.               INT. BARTON COTTAGE - FRONT DOOR - DAY               They all enter the cottage, talking nonsense loudly in order                to signal their presence. MARGARET giggles. Suddenly, MARIANNE                bursts out of the parlour sobbing, and disappears into the                room opposite. ELINOR and MARGARET stand by the door in utter                consternation, while MRS DASH- WOOD goes to MARIANNE.                                     MRS DASHWOOD                         What is wrong, my dearest?               MARIANNE shakes her head and waves them away.               INT. BARTON COTTAGE - PARLOUR - DAY               ELINOR, MARGARET and MRS DASHWOOD enter to find WILLOUGHBY                standing in a frozen attitude by the fireplace.                                     MRS DASHWOOD                         Willoughby! What is the matter?                                     WILLOUGHBY                         I--forgive me, Mrs Dashwood. I am                          sent--that is to say, Lady Allen has                          exercised the privilege of riches                          upon a dependent cousin and is sending                          me to London.               He cannot look any of them in the eye.                                     MRS DASHWOOD                         When--this morning?                                     WILLOUGHBY                         Almost this moment.                                     MRS DASHWOOD                         How very disappointing! But your                          business will not detain you from us                          for long, I hope?                                     WILLOUGHBY                         You are very kind--but I have no                          idea of returning immediately to                          Devonshire. I am seldom invited to                          Allenham more than once a year.                                     MRS DASHWOOD                         For shame, Willoughby! Can you wait                          for an invitation from Barton Cottage?                                     WILLOUGHBY                         My engagements at present are of                          such a nature--that is--I dare not                          flatter myself--               The atmosphere is thick with tension. WILLOUGHBY flicks a                glance at the three WOMEN staring at him in mute astonishment.                                     WILLOUGHBY                         It is folly to linger in this manner.                          I will not torment myself further.               He rushes past them and out of the cottage. They follow him                to the door.               EXT. BARTON COTTAGE - FRONT DOOR - DAY               The DASHWOODS cluster round the door.                                     MARGARET                         Willoughby, come back!               She is silenced by ELINOR as WILLOUGHBY seizes Bedivere's                reins from THOMAS, mounts up and rides off at a furious pace.               INT. BARTON COTTAGE - PARLOUR - DAY               They all rush back into the parlour.                                     ELINOR                         Meg, dearest, please ask Betsy to                          make a cup of hot tea for Marianne.               MARGARET nods dumbly and goes. MRS DASHWOOD has her arms                around MARIANNE.                                     MRS DASHWOOD                         What is wrong, my love?                                     MARIANNE                         Nothing! Please do not ask me                          questions!               MARIANNE struggles free.                                     MARIANNE                         Please let me be!               She runs off upstairs and we hear her bedroom door slamming.                There is a moment of stunned silence.                                     ELINOR                         They must have quarreled.                                     MRS DASHWOOD                         That is unlikely. Perhaps this--Lady                          Allen--disapproves of his regard for                          Marianne and has invented an excuse                          to send him away?                                     ELINOR                         Then why did he not say as much? It                          is not like Willoughby to be                          secretive. Did he think Marianne was                          richer than she is?                                     MRS DASHWOOD                         How could he?               She gestures to the room and then looks at ELINOR with a                frown.                                     MRS DASHWOOD                         What is it you suspect him of?                                     ELINOR                         I can hardly tell you. But why was                          his manner so guilty?                                     MRS DASHWOOD                         What are you saying, Elinor? That he                          has been acting a part to your sister                          for all this time?               MRS DASHWOOD is getting defensive. ELINOR pauses to think.                                     ELINOR                         No, he loves her, I am sure.                                     MRS DASHWOOD                         Of course he loves her!                                     ELINOR                         But has he left her with any assurance                          of his return? Cannot you ask her if                          he has proposed?                                     MRS DASHWOOD                         Certainly not. I cannot force a                          confidence from Marianne and nor                          must you. We must trust her to confide                          in us in her own time.                                     ELINOR                              (shaking her head)                         There was something so underhand in                          the manner of his leaving.                                     MRS DASHWOOD                         You are resolved, then, to think the                          worst of him.                                     ELINOR                         Not resolved--                                     MRS DASHWOOD                              (cold)                         I prefer to give him the benefit of                          my good opinion. He deserves no less.                          From all of us.               She stalks out of the room and starts up the stairs. ELINOR                follows her.                                     ELINOR                         Mamma, I am very fond of Willoughby--               MRS DASHWOOD goes into her bedroom and shuts the door. ELINOR                is halfway up the stairs. She meets a wet-eyed MARGARET coming                down with a cup of tea.                                     MARGARET                         She would not let me in.               ELINOR takes the cup and MARGARET runs out into the garden                in tears.               The sound of sobbing also comes from MARIANNE's room, and                now from MRS DASHWOOD's as well. ELINOR sits down helplessly                on the stairs and drinks the tea.               EXT. BARTON COTTAGE - RAIN - DAY               The rain has settled in. The cottage looks cold and bleak.               INT. BARTON COTTAGE - UPSTAIRS CORRIDOR - DAY               BETSY carries another uneaten meal from MARIANNE's room. She                looks at the food and tuts in anxiety.               INT. BARTON COTTAGE - ELINOR AND MARIANNE'S BEDROOM - DAY               MARIANNE is sitting by the window looking out at the rain                through tear-swollen eyes. WILLOUGHBY's sonnets are on her                lap.                                     MARIANNE                         How like a winter hath my absence                          been from thee, the pleasure of the                          fleeting year! What freezings have I                          felt, what dark days seen! What old                          December's bareness everywhere!               EXT. BARTON PARK - RAIN - EVE               Smoke issues from every chimney in the place.               INT. BARTON PARK - DRAWING ROOM - EVE               Dinner is over. MARIANNE sits listlessly by the window. MR                PALMER is hiding behind a newspaper. SIR JOHN and MARGARET                are looking at a map and discussing routes through China.                LUCY, CHARLOTTE, MRS DASHWOOD and MRS JENNINGS are at cards.                ELINOR is reading.                                     CHARLOTTE                         Oh! If only this rain would stop!                                     MR PALMER                              (from behind the paper)                         If only you would stop.               MRS JENNINGS and CHARLOTTE laugh at him.                                     MRS JENNINGS                         'Twas you took her off my hands, Mr                          Palmer, and a very good bargain you                          made of it too, but now I have the                          whip hand over you for you cannot                          give her back!               The heavy silence behind the paper attests to the unhappy                truth of this statement.                                     MRS JENNINGS                         Miss Marianne, come and play a round                          with us! Looking out at the weather                          will not bring him back.                                     CHARLOTTE                              (sotto voce)                         She ate nothing at dinner.                                     MRS JENNINGS                         Mind, we are all a little forlorn                          these days. London has swallowed all                          our company.               CHARLOTTE and MRS JENNINGS start to gossip about the                disappearances of BRANDON and WILLOUGHBY. LUCY walks over                and sits by ELINOR, who politely puts aside the book.                                     LUCY                              (low)                         Dear Miss Dashwood, perhaps now we                          might have our--discussion.                                     ELINOR                         Our discussion?               LUCY looks around at MRS JENNINGS and lowers her voice still                further, so that ELINOR is obliged to move her chair nearer.                                     LUCY                         There is a particular question I                          have long wanted to ask you, but                          perhaps you will think me impertinent?                                     ELINOR                         I cannot imagine so.                                     LUCY                         But it is an odd question. Forgive                          me, I have no wish to trouble you--               She looks away coyly as if deciding whether to speak.                                     ELINOR                         My dear Miss Steele--                                     CHARLOTTE                              (interrupting)                         Miss Dashwood, if only Mr Willoughby                          had gone home to Combe Magna, we                          could have taken Miss Marianne to                          see him! For we live but half a mile                          away.                                     MR PALMER                         Five and a half.                                     CHARLOTTE                         No, I cannot believe it is that far,                          for you can see the place from the                          top of our hill. Is it really five                          and a half miles? No! I cannot believe                          it.                                     MR PALMER                         Try.                                     ELINOR                         You have my permission to ask any                          manner of question, if that is of                          any help.                                     LUCY                         Thank you. I wonder, are you at all                          acquainted with your sister-in-law's                          mother? Mrs Ferrars?               ELINOR sits back in deep surprise.                                     ELINOR                         With Fanny's mother? No, I have never                          met her.                                     LUCY                         I am sure you think me strange for                          inquiring--if I dared tell--                                     MRS JENNINGS                              (shouting over)                         If she tells you aught of the famous                          'Mr F', Lucy, you are to pass it on.               ELINOR tries to ignore MRS JENNINGS, who is keeping a curious                eye on them.                                     LUCY                         Will you take a turn with me, Miss                          Dashwood?               LUCY rises and takes ELINOR's arm. She guides her as far                away as possible from MRS JENNINGS and CHARLOTTE.                                     ELINOR                         I had no idea at all that you were                          connected with that family.                                     LUCY                         Oh! I am certainly nothing to Mrs                          Ferrars at present--but the time may                          come when we may be very intimately                          connected.                                     ELINOR                              (low)                         What do you mean? Do you have an                          understanding with Fanny's brother                          Robert?                                     LUCY                         The youngest? No, I never saw him in                          my life. No, with Edward.                                     ELINOR                         Edward?               ELINOR stops walking.                                     ELINOR                         Edward Ferrars?               LUCY nods.                                     LUCY                         Edward and I have been secretly                          engaged these five years.               ELINOR is frozen to the spot.                                     LUCY                         You may well be surprised. I should                          never have mentioned it, had I not                          known I could entirely trust you to                          keep our secret. Edward cannot mind                          me telling you for he looks on you                          quite as his own sister.               ELINOR walks on mechanically. Disbelief has set in.                                     ELINOR                         I am sorry, but we surely--we cannot                          mean the same Mr Ferrars?                                     LUCY                         The very same--he was four years                          under the tutelage of my uncle Mr                          Pratt, down in Plymouth. Has he never                          spoken of it?                                     ELINOR                              (awareness dawning)                         Mr Pratt! Yes, I believe he has.                                     LUCY                         I was very unwilling to enter into                          it without his mother's approval but                          we loved each other with too great a                          passion for prudence. Though you do                          nor know him so well as I, Miss                          Dashwood, you must have seen how                          capable he is of making a woman                          sincerely attached to him. I cannot                          pretend it has not been very hard on                          us both. We can hardly meet above                          twice a year.               She sniffs and produces a large handkerchief which she holds                to her eyes so that the monogram is clearly visible. ECF.               ELINOR, seeing the copy of the handkerchief she has held so                dear, moves quickly to a chair and sits down.                                     LUCY                         You seem out of sorts, Miss Dashwood--                         are you quite well?                                     ELINOR                         Perfectly well, thank you.                                     LUCY                         I have not offended you?                                     ELINOR                         On the contrary.               MRS JENNINGS has been watching. Now she rises, unable to                contain herself.                                     MRS JENNINGS                         I can stand it no longer, I must                          know what you are saying, Lucy! Miss                          Dashwood is quite engrossed!               MRS JENNINGS starts to bear down on them. LUCY whispers with                real urgency.                                     LUCY                         Oh, Miss Dashwood, if anyone finds                          out, it will ruin him--you must not                          tell a soul! Edward says you would                          not break your word to save your                          life! Promise me!               ECU on ELINOR's face.                                     ELINOR                         I give you my word.               MRS JENNINGS looms over them.                                     MRS JENNINGS                         Well, what can have fascinated you                          to such an extent, Miss Dashwood?                                     CHARLOTTE                         Tell us all!               ELINOR cannot speak but LUCY glides smoothly in.                                     LUCY                         We were talking of London, ma'am,                          and all its--diversions.                                     MRS JENNINGS                         Do you hear, Charlotte?               MRS JENNINGS claps her hands delightedly.                                     MRS JENNINGS                         While you were so busy whispering,                          Charlotte and I have concocted a                          plan!                                     CHARLOTTE                         It is the best plan in the world.                                     MRS JENNINGS                         I make for London shortly and I invite                          you, Lucy, and both the Misses                          Dashwood to join me!               ELINOR cannot hide her dismay. MARIANNE springs from her                seat.                                     MARIANNE                         London!                                     MARGARET                         Oh, can I go! Can I go?                                     MRS DASHWOOD                         You know perfectly well you are too                          young, dearest.                                     MRS JENNINGS                         I shall convey you all to my house                          in Berkeley Street and we shall taste                          all the delights of the season--what                          say you?                                     MARGARET                         Oh, please can I go? I'm twelve soon.                                     CHARLOTTE                         Mr Palmer, do you not long to have                          the Misses Dashwood come to London?                                     MR PALMER                         I came into Devonshire with no other                          view.               ELINOR exerts herself.                                     ELINOR                         Mrs Jennings, you are very kind, but                          we cannot possibly leave our mother...               LUCY's calculating eyes turn to MRS DASHWOOD with alacrity.                                     LUCY                         Indeed, the loss would be too great.               A chorus of objections goes up, particularly from MRS                DASHWOOD, who is both delighted and relieved to see MARIANNE                with a smile on her face.                                     MRS JENNINGS                         Your mother can spare you very well.                                     MRS DASHWOOD                         Of course I can!                                     CHARLOTTE                         Of course she can!                                     SIR JOHN                         And look at Miss Marianne--it would                          break her heart to deny her!                                     MRS JENNINGS                         I will brook no refusal, Miss                          Dashwood!               MARIANNE claps her hands, her eyes ablaze with joy. MRS                JENNINGS takes ELINOR's hand.                                     MRS JENNINGS                         Let you and me strike hands upon the                          bargain--and if I do not have the                          three of you married by Christmas,                          it will not be my fault!               INT. BARTON COTTAGE - ELINOR/MARIANNE'S BEDROOM - NIGHT               We are in ELINOR and MARIANNE's bedroom. ELINOR is in bed.                She is lying on her side with her back to MARIANNE. We are                CLOSE on her face. MARIANNE is running around excitedly,                pulling out ribbons, looking at dresses, etc.                                     MARIANNE                         I was never so grateful in all my                          life as I am to Mrs Jennings. What a                          kind woman she is! I like her more                          than I can say. Oh, Elinor! I shall                          see Willoughby. Think how surprised                          he will be! And you will see Edward!               ELINOR cannot reply.                                     MARIANNE                         Are you asleep?                                     ELINOR                         With you in the room?               MARIANNE laughs.                                     MARIANNE                         I do not believe you feel as calm as                          you look, not even you, Elinor. I                          will never sleep tonight! Oh, what                          were you and Miss Steele whispering                          about so long?               CLOSE on ELINOR's expression as she struggles with the                impossibility of unburdening herself to her sister without                breaking her promise to LUCY. After a pause--                                     ELINOR                         Nothing of significance.               MARIANNE looks at ELINOR curiously, then returns to her                packing.               EXT. BARTON COTTAGE - GARDEN GATE - DAY               MRS DASHWOOD and MARGARET are waving MRS JENNINGS's carriage                off. MARIANNE waves back with such exuberance that she                practically falls out.               INT. MRS JENNINGS'S CARRIAGE - ROAD TO LONDON - DAY               MRS JENNINGS is chattering about London to MARIANNE, who                listens with new-found tolerance. LUCY is whispering into                ELINOR's ear.                                     LUCY                         I have written to Edward, Miss                          Dashwood, and yet I do not know how                          much I may see of him. Secrecy is                          vital--he will never be able to call.                                     ELINOR                         I should imagine not.                                     LUCY                         It is so hard. I believe my only                          comfort has been the constancy of                          his affection.                                     ELINOR                         You are fortunate, over such a lengthy                          engagement, never to have had any                          doubts on that score.               LUCY looks at ELINOR sharply, but ELINOR is impassive.                                     LUCY                         Oh! I am of rather a jealous nature                          and if he had talked more of one                          young lady than any other... but he                          has never given a moment's alarm on                          that count.               We can see from ELINOR's expression that she understands                LUCY perfectly. The strain around her eyes is pronounced.                                     LUCY                         Imagine how glad he will be to learn                          that we are friends!               EXT. LONDON STREET - DAY               MRS JENNINGS's carriage trundles along.               EXT. MRS JENNINGS'S HOUSE - LONDON - DAY               Establishing shot of a handsome town house. MRS JENNINGS's                carriage comes into shot and stops in front of it.               INT. MRS JENNINGS'S HOUSE - HALL - DAY               They enter the grand hallway under the supercilious gaze of                a powdered FOOTMAN (MR PIGEON). ELINOR is haggard after two                days of close proximity with LUCY. MRS JENNINGS is all                officious bustle and MARIANNE is feverish with anticipation.                She whispers to MRS JENNINGS, who laughs heartily.                                     MRS JENNINGS                         To be sure, my dear, you must just                          hand it to Pigeon there. He will                          take care of it.               MARIANNE hands a letter to the sphinx-like FOOTMAN. We can                see a large W in the address. ELINOR looks at MARIANNE                inquiringly but MARIANNE moves away from her.                                     MRS JENNINGS                         Lord above, you do not waste any                          time, Miss Marianne!               MARIANNE glances self-consciously at ELINOR and follows MRS                JENNINGS upstairs. LUCY goes up to ELINOR and whispers.                                     LUCY                         A letter! So they are definitely                          engaged! Mrs Jennings says your sister                          will buy her wedding clothes here in                          town.                                     ELINOR                         Indeed Miss Steele, I know of no                          such plan.               But ELINOR does not know what else to say. She marches firmly                upstairs.               INT. MRS JENNINGS'S HOUSE - DRAWING ROOM - DAY               MARIANNE and ELINOR have changed from their traveling clothes                and are having a cup of tea. At least, ELINOR is. MARIANNE                is pacing up and down in front of the window.                                     ELINOR                         John and Fanny are in town. I think                          we shall be forced to see them.               There is a faint knocking from somewhere. MARIANNE jumps.                                     ELINOR                         I think it was for next door.               MARIANNE looks out of the window.                                     MARIANNE                         Yes, you are right.               She sits down with a rueful smile. Suddenly a much louder                rap is heard and they both jump. We hear a bustling                downstairs. MARIANNE can hardly breathe. She goes to the                drawing-room door, opens it, goes out, comes back in. We                hear a MAN's voice.                                     MARIANNE                         Oh, Elinor! It is Willoughby, indeed                          it is!               She turns and almost throws herself into the arms of COLONEL                BRANDON.                                     MARIANNE                         Oh! Excuse me, Colonel--               She leaves the room hastily. ELINOR is so ashamed of                MARIANNE's rudeness that she does not at first notice                BRANDON's mood of tense distress.                                     ELINOR                         Colonel Brandon, what a pleasure to                          see you! Have you been in London all                          this while?                                     COLONEL BRANDON                         I have. How is your dear mother?                                     ELINOR                         Very well, thank you.               Silence.                                     ELINOR                         Colonel, is there anything--               But BRANDON interrupts her.                                     COLONEL BRANDON                         Forgive me, Miss Dashwood, but I                          have heard reports through town...                          is it impossible to--but I could                          have no chance of succeeding--indeed                          I hardly know what to do. Tell me                          once and for all, is everything                          finally resolved between your sister                          and Mr Willoughby?               ELINOR is torn between discomfiture and compassion.                                     ELINOR                         Colonel, though neither one has                          informed me of their under standing,                          I have no doubt of their mutual                          affection.               BRANDON stands very still.                                     COLONEL BRANDON                         Thank you, Miss Dashwood. To your                          sister I wish all imaginable                          happiness. To Mr Willoughby, that                          he... may endeavour to deserve her.               His tone is heavy with some bitter meaning.                                     ELINOR                         What do you mean?               But he recollects himself.                                     COLONEL BRANDON                         Forgive me, I--forgive me.               He bows and leaves abruptly. ELINOR is deeply troubled.               EXT. GREENWICH ARCADE - LONDON - DAY               The PALMERS, MRS JENNINGS, JOHN, FANNY, LUCY, ELINOR and                MARIANNE are walking through the arcade. Additional wealth                has evidently encouraged FANNY sartorially and she sprouts                as much fruit and feathers as a market stall. LUCY is holding                ELINOR's arm in a pinionlike grip. MRS JENNINGS is gossiping                with CHARLOTTE.               MARIANNE's good looks are heightened by her feverish                expectation of seeing WILLOUGHBY at every step, and many                young men raise their hats to her and turn as she passes.                                     MARIANNE                         Where is dear Edward, John? We expect                          to see him daily.               FANNY stiffens. LUCY's sharp eyes dart hither and thither.                MRS JENNINGS senses gossip. ELINOR steels herself.                                     MRS JENNINGS                         And who is 'dear Edward'?                                     CHARLOTTE                         Who indeed?               FANNY smiles glacially.                                     FANNY                         My brother, Mrs Jennings--Edward                          Ferrars.               MRS JENNINGS looks at ELINOR in sly triumph.                                     MRS JENNINGS                         Indeed! Is that Ferrars with an F?               She and CHARLOTTE chuckle to each other. LUCY looks at ELINOR.               INT. MRS JENNINGS'S HOUSE - HALL - EVE               MRS JENNINGS, LUCY, ELINOR and MARIANNE return from their                outing. MARIANNE immediately assails PIGEON.                                     MARIANNE                         Are there any messages, Pigeon?                                     PIGEON                         No, ma'am.                                     MARIANNE                         No message at all? No cards?                                     PIGEON                              (affronted)                         None, ma am.               MARIANNE sighs with disappointment and starts up the stairs.                MRS JENNINGS looks archly at ELINOR.                                     MRS JENNINGS                         I note you do not inquire for your                          messages, Miss Dashwood!                                     ELINOR                         No, for I do not expect any, Mrs                          Jennings. I have very little                          acquaintance in town.               And she follows MARIANNE firmly upstairs. LUCY watches her                go, and MRS JENNINGS chuckles and turns to her.                                     MRS JENNINGS                         She is as sly as you, Lucy!               INT. MRS JENNINGS'S HOUSE - BEDROOM - NIGHT               ELINOR wakes up. The flickering of a candle has disturbed                her. She sits up in bed and sees MARIANNE sitting at the                desk in her nightgown, writing another letter.                                     ELINOR                         Marianne, is anything wrong?                                     MARIANNE                         Nothing at all. Go back to sleep.               INT. MRS JENNINGS'S HOUSE - MORNING ROOM - NIGHT               MARIANNE, in her nightclothes and dressing gown, paces                restlessly, her letter in her hands. A slight knock at the                door heralds a much-ruffled PIGEON, wig askew. MARIANNE hands                him the letter. He bows and goes, highly disgruntled.               INT. MRS JENNINGS'S HOUSE - HALL - MORNING               MRS JENNINGS is giving PIGEON his instructions for the day.                MARIANNE comes running downstairs. PIGEON regards her drily.                                     PIGEON                         No messages, ma am.               MARIANNE looks so dejected that MRS JENNINGS takes her hand.                                     MRS JENNINGS                         Do not fret, my dear. I am told that                          this good weather is keeping many                          sportsmen in the country at present,                          but the frost will drive them back                          to town very soon, depend upon it.               MARIANNE brightens.                                     MARIANNE                         Of course! I had not thought of--                         thank you, Mrs Jennings!               She runs back upstairs. MRS JENNINGS calls after her.                                     MRS JENNINGS                         And Miss Dashwood may set her heart                          at rest, for I overheard your sister-                         in-law say that she was to bring the                          elusive Mr F to the ball tonight!               EXT. GRAND CRESCENT LEADING TO BALLROOM ENTRANCE - NIGHT               So many carriages have entered the crescent to deliver the                GUESTS that gridlock has occurred and people are forced to                walk to the entrance. We see MRS JENNINGS, MARIANNE, ELINOR                and LUCY alighting from their carriage and picking their way                through the mud, their skirts raised above their ankles.                ELINOR nearly trips and is obliged to grab onto LUCY in order                not to slip into the dirt.               INT. GRAND BALLROOM - EVE               The great ballroom is crammed with GUESTS all determined to                enjoy themselves despite the considerable inconveniences                caused by noise, heat and overcrowding. MEN are sweating                profusely, WOMEN dab their brows, rack punch is being                swallowed by the gallon, flirting is conducted at fever pitch                and all conversation is inordinately loud. Only the DANCERS                have a modicum of space in which to perform their mincing                steps. MRS JENNINGS and her brood bump into the PALMERS.                                     CHARLOTTE                              (screeching)                         This is very merry!               MRS JENNINGS then spots FANNY, who is conducting a desultory                conversation with an overpowdered ACQUAINTANCE. She drags                ELINOR, MARIANNE and LUCY over to her.                                     MRS JENNINGS                         There you are! Goodness, how hot it                          is, Mrs Dashwood. You are not alone,                          I trust?                                     FANNY                         Indeed not. John is just gone to                          fetch my brother--he has been eating                          ices.               LUCY clutches at ELINOR's sleeve.                                     MRS JENNINGS                         Your brother! I declare, that is                          good news indeed. At long last!               And she beams her approval upon ELINOR.                                     LUCY                              (whispering)                         Miss Dashwood, I declare I shall                          faint clean away.               FANNY has seen JOHN threading his way towards them and waves                at him. There is someone behind him. LUCY preens. JOHN bows                to them.                                     JOHN                         Mrs Jennings, may I present my brother-                         in-law?               He turns to reveal a good-looking young MAN with a vacuous                smile.                                     JOHN                         Mr Robert Ferrars!                                     ROBERT                         My dear ladies--we meet at last!               There is a general bowing and shaking of hands. ELINOR is                relieved. LUCY drops a low curtsy.                                     MRS JENNINGS                         So you must be the younger brother?                          Is Mr Edward not here? Miss Dashwood                          here was counting on him!               ROBERT looks ELINOR up and down. He exchanges glances with                FANNY before he speaks.                                     ROBERT                         Oh! He is far too busy for such                          gatherings--and has no special                          acquaintance here to make his                          attendance worthwhile.               MRS JENNINGS looks at ELINOR in puzzlement.                                     MRS JENNINGS                         Well, I declare, I do not know what                          the young men are about these days--                         are they all in hiding?               ELINOR looks down, agonised with embarrassment.                                     MRS JENNINGS                         Come, Mr Robert, in the absence of                          your brother, you must dance with                          our lovely Miss Dashwood!                                     ROBERT                              (not best pleased)                         It would be my honour.               He turns to LUCY and bows.                                     ROBERT                         And perhaps Miss Steele might consider                          reserving the allemande?               LUCY curtsies again. ROBERT escorts a most unwilling ELINOR                onto the dance floor.                                     ROBERT                         You reside in Devonshire, I b'lieve,                          Miss Dashwood?                                     ELINOR                         We do.                                     ROBERT                         In a cottage?                                     ELINOR                         Yes.                                     ROBERT                         I am excessively fond of a cottage.                          If I had any money to spare, I should                          build one myself.               Luckily for ELINOR the set changes and she is obliged to                turn away from ROBERT. She wheels round to face her new                partner. It is WILLOUGHBY! They both stop dancing and stare                at each other aghast. A traffic jam starts and they are forced                to take hands and resume the steps.                                     WILLOUGHBY                              (stiff)                         How do you do, Miss Dashwood?               ELINOR does not know quite how to respond.                                     ELINOR                         I am well, thank you, Mr Willoughby.               She looks about for MARIANNE, instinctively wanting to keep                her away from WILLOUGHBY.                                     WILLOUGHBY                         How is your--family?                                     ELINOR                              (cold)                         We are all extremely well, Mr                          Willoughby--thank you for your kind                          inquiry.               WILLOUGHBY is shamed into silence. Then he sees MARIANNE. At                the same moment the music pauses. MARIANNE looks up. In the                brief moment of relative quiet, her great cry rings across                the room.                                     MARIANNE                         Willoughby!               Everyone turns to look as MARIANNE rushes towards him with                both arms outstretched, her face luminous with joy. As the                noise of the room builds again and PEOPLE change their                partners, we are aware that many are surreptitiously watching.                MARIANNE reaches him but WILLOUGHBY stands with his arms                frozen at his side. MARIANNE gives a little confused laugh.                                     MARIANNE                         Good God, Willoughby! Will you nor                          shake hands with me?               WILLOUGHBY looks extremely uncomfortable and glances towards                a group of very smart PEOPLE who are watching him closely.                Central to this group is a SOPHISTICATED WOMAN who frowns at                him proprietorially.               WILLOUGHBY shakes MARIANNE's hand briefly. Behind her, MRS                JENNINGS is giving an animated commentary to FANNY and JOHN,                while LUCY whispers in ROBERT's ear as they go past to join                the set.                                     WILLOUGHBY                              (strangled)                         How do you do, Miss Marianne?                                     MARIANNE                         Willoughby, what is the matter? Why                          have you not come to see me? Were                          you not in London? Have you nor                          received my letters?               WILLOUGHBY is sweating with tension.                                     WILLOUGHBY                         Yes, I had the pleasure of receiving                          the information which you were so                          good as to send me.                                     MARIANNE                              (piteously)                         For heaven's sake, Willoughby, tell                          me what is wrong!                                     WILLOUGHBY                         Thank you--I am most obliged. If you                          will excuse me, I must return to my                          party.               He bows, white to the teeth, and walks away to join the                SOPHISTICATED WOMAN.                                     MARIANNE                         Willoughby!               He is drawn away by his PARTY, some of whom look back at                MARIANNE with a mixture of curiosity and condescension.                MARIANNE almost sinks to her knees. ELINOR supports her.                                     ELINOR                         Marianne! Come away!                                     MARIANNE                         Go to him, Elinor--force him to come                          to me.               MRS JENNINGS has come up, full of concern.                                     ELINOR                         Dearest, do not betray what you feel                          to everyone present! This is not the                          place for explanations--                                     MRS JENNINGS                         Come along, dear.               They almost have to drag MARIANNE away. MRS JENNINGS turns                back to the DASHWOOD party. FANNY and JOHN have practically                imploded with embarrassment and are distancing themselves as                much as possible from the source. LUCY and ROBERT are dancing                nearby.                                     MRS JENNINGS                         Will you come, Lucy?                                     LUCY                         Oh, are we leaving so soon?                                     ROBERT                         If I might be so bold, Mrs Jennings,                          it would be our pleasure to escort                          your young charge home.                                     LUCY                         How very kind!                                     MRS JENNINGS                         That is very handsome--               She rushes off to follow MARIANNE and ELINOR. We stay for a                moment with LUCY and ROBERT who have left the set.                                     ROBERT                         She actually sent him messages during                          the night?               CAM rises to show the DASHWOODS exiting past the whispering,                sneering faces of the CROWD.               INT. MRS JENNINGS'S HOUSE - BEDROOM - NIGHT               MARIANNE sits scribbling a letter at the desk.                                     ELINOR                         Marianne, please tell me--                                     MARIANNE                         Do not ask me questions!                                     ELINOR                         You have no confidence in me.                                     MARIANNE                         This reproach from you! You, who                          confide in no one.                                     ELINOR                         I have nothing to tell.                                     MARIANNE                         Nor I. We have neither of us anything                          to tell. I because I conceal nothing                          and you because you communicate                          nothing.               INT. MRS JENNINGS'S HOUSE - BREAKFAST ROOM - DAY               A silent breakfast. MARIANNE is red-eyed from crying and                limp from lack of sleep. MRS JENNINGS is dressed to go out,                pulling on her gloves and bustling as usual. PIGEON enters                with a letter on a salver. He offers it to MARIANNE. She                seizes it and runs out of the room. MRS JENNINGS chuckles.                                     MRS JENNINGS                         There now! Lovers' quarrels are swift                          to heal! That letter will do the                          trick, mark my word.               She goes to the door.                                     MRS JENNINGS                         I must be off. I hope he won't keep                          her waiting much longer, Miss                          Dashwood. It hurts to see her looking                          so forlorn.               She leaves and ELINOR finds herself alone with LUCY, who                loses no time in sharing her new-found happiness.                                     LUCY                         What a welcome I had from Edward's                          family, Miss Dashwood--I am surprised                          you never told me what an agreeable                          woman your sister-in-law is! And Mr                          Robert--all so affable!                                     ELINOR                         It is perhaps fortunate that none of                          them knows of your engagement. Excuse                          me.               ELINOR rises and leaves.               INT. MRS JENNINGS'S HOUSE - BEDROOM - DAY               ELINOR finds MARIANNE sitting on the edge of the bed. She                does not acknowledge ELINOR but merely lifts the letter and                reads out, with deadly calm:                                     MARIANNE                         'My dear Madam--I am quite at a loss                          to discover in what point I could be                          so unfortunate as to offend you. My                          esteem for your family is very sincere                          but if I have given rise to a belief                          of more than I felt or meant to                          express, I shall reproach myself for                          not having been more guarded. My                          affections have long been engaged                          elsewhere and it is with great regret                          that I return your letters and the                          lock of hair which you so obligingly                          bestowed upon me. I am etc. John                          Willoughby.'                                     ELINOR                         Oh, Marianne.               MARIANNE gives a great howl of pain and flings herself across                the bed as though in physical agony.                                     ELINOR                         Marianne, oh, Marianne--it is better                          to know at once what his intentions                          are. Dearest, think of what you would                          have felt if your engagement had                          carried on for months and months                          before he chose to put an end to it.                                     MARIANNE                         We are not engaged.                                     ELINOR                         But you wrote to him! I thought then                          that he must have left you with some                          kind of understanding?                                     MARIANNE                         No--he is not so unworthy as you                          think him.                                     ELINOR                         Not so unworthy! Did he tell you                          that he loved you?                                     MARIANNE                         Yes. No--never absolutely. It was                          every day implied, but never declared.                          Sometimes I thought it had been, but                          it never was. He has broken no vow.                                     ELINOR                         He has broken faith with all of us,                          he made us all believe he loved you.                                     MARIANNE                         He did! He did--he loved me as I                          loved him.               MRS JENNINGS bursts through the door in her hat and coat,                panting.                                     MRS JENNINGS                         I had to come straight up--how are                          you, Miss Marianne?               MARIANNE begins to sob uncontrollably.                                     MRS JENNINGS                         Poor thing! She looks very bad. No                          wonder, Miss Dashwood, for it is but                          too true. I was told here in the                          street by Miss Morton, who is a great                          friend: he is to be married at the                          end of the month--to a Miss Grey                          with fifty thousand pounds. Well,                          said I, if 'tis true, then he is a                          good-for-nothing who has used my                          young friend abominably ill, and I                          wish with all my soul that his wife                          may plague his heart out!               She goes round the bed to comfort MARIANNE.                                     MRS JENNINGS                         But he is not the only young man                          worth having, my dear, and with your                          pretty face you will never want for                          admirers.               MARIANNE sobs even harder.                                     MRS JENNINGS                         Ah, me! She had better have her cry                          out and have done with it. I will go                          and look out something to tempt her--                         does she care for olives?                                     ELINOR                         I cannot tell you.               MRS JENNINGS leaves. MARIANNE seizes the letter again.                                     MARIANNE                         I cannot believe his nature capable                          of such cruelty!                                     ELINOR                         Marianne, there is no excuse for him--                         this is his hand--                                     MARIANNE                         But it cannot be his heart! Oh, Mamma!                          I want Mamma! Elinor, please take me                          home! Cannot we go tomorrow?                                     ELINOR                         There is no one to take us.                                     MARIANNE                         Cannot we hire a carriage?                                     ELINOR                         We have no money--and indeed we owe                          Mrs Jennings more courtesy.                                     MARIANNE                         All she wants is gossip and she only                          likes me because I supply it! Oh,                          God! I cannot endure to stay.                                     ELINOR                         I will find a way. I promise.               INT. COFFEE-HOUSE - COVENT GARDEN - DAY               FANNY, JOHN and ROBERT are drinking chocolate together.                                     ROBERT                         Apparently they never were engaged.                                     FANNY                         Miss Grey has fifty thousand pounds.                          Marianne is virtually penniless.                                     JOHN                         She cannot have expected him to go                          through with it. But I feel for                          Marianne--she will lose her bloom                          and end a spinster like Elinor. I                          think, my dear, we might consider                          having them to stay with us for a                          few days--we are, after all, family,                          and my father.               He trails off. FANNY exchanges an alarmed glance with ROBERT.                She thinks fast.                                     FANNY                         My love, I would ask them with all                          my heart, but I have already asked                          Miss Steele for a visit and we cannot                          deprive Mrs Jennings of all her                          company at once. We can invite your                          sisters some other year, you know,                          and Miss Steele will profit far more                          from your generosity--poor girl!                                     JOHN                         That is very thoughtful, Fanny. We                          shall ask Elinor and Marianne next                          year, then... Certainly!               EXT. JOHN AND FANNY'S TOWN HOUSE - LONDON STREET - DAY               MRS JENNINGS's carriage stands outside. A livened FOOTMAN                opens the door and LUCY steps out brandishing a new muff.               INT. MRS JENNINGS'S HOUSE - BEDROOM - DAY               MARIANNE sits alone on the bed. Around her lie her notes to                Willoughby, her lock of hair and the pocket sonnets. In her                hands is the creased and tear-stained letter from Willoughby                which she is examining over and over.               INT. MRS JENNINGS'S HOUSE - DRAWING ROOM - DAY               ELINOR is seated at a desk writing a letter. There is a sudden                rap at the front door. Footsteps are heard and as she turns,                the maid enters with COLONEL BRANDON. ELINOR rises to greet                him.                                     ELINOR                         Thank you for coming, Colonel.               He bows. ELINOR is on edge. BRANDON looks haggard with                concern.                                     COLONEL BRANDON                         How does your sister?                                     ELINOR                         I must get her home as quickly as                          possible. The Palmers can take us as                          far as Cleveland, which is but a day                          from Barton--                                     COLONEL BRANDON                         Then permit me to accompany you and                          take you straight on from Cleveland                          to Barton myself.               ELINOR takes his hands gratefully.                                     ELINOR                         I confess that is precisely what I                          had hoped for. Marianne suffers                          cruelly, and what pains me most is                          how hard she tries to justify Mr                          Willoughby. But you know her                          disposition.               After a moment BRANDON nods. He seems unable to remain still                or calm and finds it difficult to begin speaking.                                     COLONEL BRANDON                         Perhaps I--my regard for you all--                         Miss Dashwood, will you allow me to                          prove it by relating some                          circumstances which nothing but an                          earnest desire of being useful--                                     ELINOR                         You have something to tell me of Mr                          Willoughby.                                     COLONEL BRANDON                              (nods)                         When I quitted Barton last--but I                          must go further back. A short account                          of myself will be necessary. No                          doubt... no doubt Mrs Jennings has                          apprised you of certain events in my                          past--the sad outcome of my connection                          with a young woman named Eliza.               ELINOR nods.                                     COLONEL BRANDON                         What is not commonly known is that                          twenty years ago, Eliza bore an                          illegitimate child. The father,                          whoever he was, abandoned them.               This is strong stuff. ELINOR's concern deepens.                                     COLONEL BRANDON                         As she lay dying, she begged me to                          look after the child. Eliza died in                          my arms, broken, wasted away--ah!                          Miss Dashwood, such a subject--                         untouched for so many years--it is                          dangerous...               He paces about, barely able to conceal his distress.                                     COLONEL BRANDON                         I had failed Eliza in every other                          way--I could not refuse her now. I                          took the child--Beth is her name--                         and placed her with a family where I                          could be sure she would be well looked                          after. I saw her whenever I could. I                          saw that she was headstrong like her                          mother--and, God forgive me, I                          indulged her, I allowed her too much                          freedom. Almost a year ago, she                          disappeared.                                     ELINOR                         Disappeared!                                     COLONEL BRANDON                         I instigated a search but for eight                          months I was left to imagine the                          worst. At last, on the day of the                          Delaford picnic, I received the first                          news her. She was with child... and                          the blackguard who had--               BRANDON stops and looks straight at ELINOR.                                     ELINOR                         Good God. Do you mean--Willoughby?               BRANDON nods. ELINOR drops into a chair, utterly shocked.                                     COLONEL BRANDON                         Before I could return to confront                          him, Lady Allen learned of his                          behaviour and turned him from the                          house. He beat a hasty retreat to                          London--                                     ELINOR                         Yes! He left us that morning, without                          any explanation!                                     COLONEL BRANDON                         Lady Allen had annulled his legacy.                          He was left with next to nothing,                          and in danger of losing all that                          remained to his debtors--                                     ELINOR                         --and so abandoned Marianne for Miss                          Grey and her fifty thousand pounds.               BRANDON is silent. ELINOR is breathless.                                     ELINOR                         Have you seen Mr Willoughby since                          you learned...?                                     BRANDON                              (nodding)                         We met by appointment, he to defend,                          I to punish his conduct.               ELINOR stares at him, aghast.                                     BRANDON                         We returned unwounded, so the meeting                          never got abroad.               ELINOR nods and is silent for a moment.                                     ELINOR                         Is Beth still in town?                                     COLONEL BRANDON                         She has chosen to go into the country                          for her confinement. Such has been                          the unhappy resemblance between the                          fate of mother and daughter, and so                          imperfectly have I discharged my                          trust.               A pause.                                     COLONEL BRANDON                         I would not have burdened you, Miss                          Dashwood, had I not from my heart                          believed it might, in time, lessen                          your sister's regrets.               BRANDON moves to the door and then stops. He turns to her                and speaks with effort.                                     COLONEL BRANDON                         I have described Mr Willoughby as                          the worst of libertines--but I have                          since learned from Lady Allen that                          he did mean to propose that day.                          Therefore I cannot deny that his                          intentions towards Marianne were                          honourable, and I feel certain he                          would have married her, had it not                          been for--for the money.               She looks up at BRANDON. Silence.               INT. MRS JENNINGS'S HOUSE - BEDROOM - NIGHT               MARIANNE is sitting on the bed staring into space. ELINOR is                kneeling by her, holding her hands.                                     ELINOR                         Dearest, was I right to tell you?                                     MARIANNE                         Of course.                                     ELINOR                         Whatever his past actions, whatever                          his present course, at least you may                          be certain that he loved you.                                     MARIANNE                         But not enough. Not enough.               INT. MRS JENNINGS'S HOUSE - STUDY - DAY               ELINOR sits alone with her head in her hands. Suddenly MRS                JENNINGS hustles in looking pleased.                                     MRS JENNINGS                         Here is someone to cheer you up,                          Miss Dashwood!               She is followed in by LUCY. MRS JENNINGS leaves, busy as                ever. LUCY plants an expression of ghastly concern on her                face.                                     LUCY                         How is your dear sister, Miss                          Dashwood? Poor thing! I must say, I                          do not know what I should do if a                          man treated me with so little respect.                                     ELINOR                         I hope you are enjoying your stay                          with John and Fanny, Miss Steele?                                     LUCY                         I was never so happy in my entire                          life, Miss Dashwood! I do believe                          your sister-in-law has taken quite a                          fancy to me. I had to come and tell                          you--for you cannot imagine what has                          happened!                                     ELINOR                         No, I cannot.                                     LUCY                         Yesterday I was introduced to Edward's                          mother!                                     ELINOR                         Indeed?                                     LUCY                         And she was a vast deal more than                          civil. I have not yet seen Edward                          but now I feel sure to very soon--               The MAID comes back.                                     MAID                         There's a Mr Edward Ferrars to see                          you, Miss Dashwood.               There is a tiny frozen silence.                                     ELINOR                         Do ask him to come up.               ELINOR quite involuntarily sits down and then stands up again.                EDWARD is admitted, looking both anxious and eager. As LUCY                is sitting in the window seat, at first he sees only ELINOR.                                     EDWARD                         Miss Dashwood, how can I--               But ELINOR cuts him off.                                     ELINOR                         Mr Ferrars, what a pleasure to see                          you. You... know Miss Steele, of                          course.               EDWARD turns slowly and encounters LUCY's glassy smile. He                all but blanches. Then bows, and clears his throat.                                     EDWARD                         How do you do, Miss Steele.                                     LUCY                         I am well, thank you, Mr Ferrars.               EDWARD has no notion of what to do or say. He swallows.                                     ELINOR                         Do sit down, Mr Ferrars.               LUCY's eyes are sharp as broken glass. EDWARD remains on his                feet, looking helplessly from one woman to the other.                                     LUCY                         You must be surprised to find me                          here, Mr Ferrars! I expect you thought                          I was at your sister's house.               This is precisely what EDWARD had thought. He tries to smile                but his facial muscles won't work. ELINOR decides to fetch                help.                                     ELINOR                         Let me call Marianne, Mr Ferrars.                          She would be most disappointed to                          miss you.               ELINOR goes to the door, thankful to escape, but MARIANNE                prevents her by walking in at that moment. Despite her                anguish, she is very pleased to see EDWARD and embraces him                warmly.                                     MARIANNE                         Edward! I heard your voice! At last                          you have found us!               EDWARD is shocked by her appearance and momentarily forgets                his own confusion.                                     EDWARD                         Forgive me, Marianne, my visit is                          shamefully overdue. You are pale. I                          hope you have not been unwell?                                     MARIANNE                         Oh, don't think of me--Elinor is                          well, you see, that must be enough                          for both of us!               MARIANNE gestures to ELINOR encouragingly but EDWARD seems                unable to look at her.                                     EDWARD                         How do you like London, Marianne?                                     MARIANNE                         Not at all. The sight of you is all                          the pleasure it has afforded, is                          that not so, Elinor?               Again, MARIANNE endeavours to ignite the lovers. ELINOR tries                to silence MARIANNE with her eyes but to no avail. MARIANNE                puts their coolness down to the presence of LUCY, at whom                she glances with a none too friendly air.                                     MARIANNE                         Why have you taken so long to come                          and see us?                                     EDWARD                         I have been much engaged elsewhere.                                     MARIANNE                         Engaged elsewhere! But what was that                          when there were such friends to be                          met?                                     LUCY                         Perhaps, Miss Marianne, you think                          young men never honour their                          engagements, little or great.               ELINOR is appalled by this remark but MARIANNE does not notice                it and turns back to LUCY earnestly.                                     MARIANNE                         No, indeed--for Edward is the most                          fearful of giving pain and the most                          incapable of being selfish of anyone                          I ever saw.               EDWARD makes an uncomfortable noise.                                     MARIANNE                         Edward, will you not sit? Elinor,                          help me to persuade him.               Now EDWARD can stand it no longer.                                     EDWARD                         Forgive me but I must take my leave--                                     MARIANNE                         But you are only just arrived!               ELINOR rises, desperate for them both to go.                                     EDWARD                         You must excuse me, I have a                          commission to attend to for Fanny--               LUCY jumps in like a shot.                                     LUCY                         In that case perhaps you might escort                          me back to your sister's house, Mr                          Ferrars?               There is an extremely awkward pause.                                     EDWARD                         I would be honoured. Goodbye, Miss                          Dashwood, Miss Marianne.               He shakes hands with ELINOR and with MARIANNE, who is silent                with dismay. LUCY takes EDWARD's arm and looks up at him                proprietorially.               After a stiff bow and a muttered farewell from EDWARD, they                leave. MARIANNE looks at her sister in astonishment.                                     MARIANNE                         Why did you not urge him to stay?                                     ELINOR                         He must have had his reasons for                          going.                                     MARIANNE                         His reason was no doubt your coldness.                          If I were Edward I would assume you                          did not care for me at all.               EXT. JOHN AND FANNY'S TOWN HOUSE - BACK GARDEN - DAY               A tranquil afternoon...               INT. JOHN AND FANNY'S TOWN HOUSE - DRAWING ROOM - DAY               LUCY is sitting with FANNY, who is doing some pointless                basketwork. LUCY hands FANNY rushes.                                     LUCY                         Poor Miss Marianne looked very badly                          t'other day. When I think of her,                          deserted and abandoned, it frightens                          me to think I shall never marry.                                     FANNY                         Nonsense. You will marry far better                          than either of the Dashwood girls.                                     LUCY                         How can that possibly be?                                     FANNY                         You have ten times their sense and                          looks.                                     LUCY                         But I have no dowry.                                     FANNY                         There are qualities which will always                          make up for that, and you have them                          in abundance. It would not surprise                          me if you were to marry far and away                          beyond your expectations.                                     LUCY                         I wish it might be so. There is a                          young man--                                     FANNY                         Ah ha! I am glad to hear of it. Is                          he of good breeding and fortune?                                     LUCY                         Oh both--but his family would                          certainly oppose the match.                                     FANNY                         Tush! They will allow it as soon as                          they see you, my dear.                                     LUCY                         It is a very great secret. I have                          told no one in the world for fear of                          discovery.               FANNY looks up, curious to know more.                                     FANNY                         My dear, I am the soul of discretion.                                     LUCY                         If I dared tell...                                     FANNY                         I can assure you I am as silent as                          the grave.               LUCY leans forward to whisper in FANNY's ear.               EXT. JOHN AND FANNY'S TOWN HOUSE - DAY               We hold a long shot of the house for a moment of silence.                Then from inside comes an almost inhumanly loud shriek.                                     FANNY (V.O.)                         Viper in my bosom!               EXT. JOHN AND FANNY'S TOWN HOUSE - BACK GARDEN - DAY               FANNY is trying to drag LUCY out of the house. ROBERT and                JOHN are trying to reason with her. FANNY loses her grip and                falls backwards. LUCY flings herself into ROBERT's arms.                ROBERT falls over.               EXT. LONDON STREET - DAY               MRS JENNINGS is running as fast as her fat little legs will                carry her.               EXT. MRS JENNINGS'S HOUSE - BERKELEY STREET - DAY               MRS JENNINGS pants up the front steps.               INT. MRS JENNINGS'S HOUSE - BEDROOM - DAY               ELINOR and MARIANNE are packing. Their mood is gloomy and                uncommunicative. MRS JENNINGS explodes into the room fighting                for breath.                                     MRS JENNINGS                         Oh, my dears! What a commotion! Mr                          Edward Ferrars--the very one I used                          to joke you about, Miss Dashwood--                         has been engaged these five years to                          Lucy Steele!               MARIANNE lets out a gasp. She looks at ELINOR, who nods at                her in swift confirmation.                                     MRS JENNINGS                         Poor Mr Ferrars! His mother, who by                          all accounts is very proud, demanded                          that he break the engagement on pain                          of disinheritance. But he has refused                          to break his promise to Lucy. He has                          stood by her, good man, and is cut                          off without a penny! She has settled                          it all irrevocably upon Mr Robert.                          But I cannot stop, I must go to Lucy.                          Your sister-in-law scolded her like                          any fury--drove her to hysterics.               She leaves the room, still rabbiting on. There is a silence.                                     MARIANNE                         How long have you known?                                     ELINOR                         Since the evening Mrs Jennings offered                          to take us to London.                                     MARIANNE                         Why did you not tell me?                                     ELINOR                         Lucy told me in the strictest                          confidence.               MARIANNE looks at her in complete incredulity.                                     ELINOR                         I could not break my word.               Clearly, there is no arguing this point.                                     MARIANNE                         But Edward loves you.                                     ELINOR                         He made me no promises. He tried to                          tell me about Lucy.                                     MARIANNE                         He cannot marry her.                                     ELINOR                         Would you have him treat her even                          worse than Willoughby has treated                          you?                                     MARIANNE                         No--but nor would I have him marry                          where he does not love.               ELINOR tries hard to be controlled.                                     ELINOR                         Edward made his promise a long time                          ago, long before he met me. Though                          he may... harbour some regret, I                          believe he will be happy--in the                          knowledge that he did his duty and                          kept his word. After all--after all                          that is bewitching in the idea of                          one's happiness depending entirely                          on one person, it is not always                          possible. We must accept. Edward                          will marry Lucy--and you and I will                          go home.                                     MARIANNE                         Always resignation and acceptance!                          Always prudence and honour and duty!                          Elinor, where is your heart?               ELINOR finally explodes. She turns upon MARIANNE almost                savagely.                                     ELINOR                         What do you know of my heart? What                          do you know of anything but your own                          suffering? For weeks, Marianne, I                          have had this pressing on me without                          being at liberty to speak of it to a                          single creature. It was forced upon                          me by the very person whose prior                          claims ruined all my hopes. I have                          had to endure her exultation again                          and again while knowing myself to be                          divided from Edward forever. Believe                          me, Marianne, had I not been bound                          to silence I could have produced                          proof enough of a broken heart even                          for you.               Complete silence. Then MARIANNE speaks in a whisper.                                     MARIANNE                         Oh, Elinor!               MARIANNE bursts into sobs and flings her arms around ELINOR,                who, almost impatiently, tries to comfort her.               EXT. PALMER RESIDENCE - LONDON STREET - DAY               LUCY and MRS JENNINGS are on the doorstep. LUCY looks rather                lost and pathetic, with her little bundles, hastily packed.                The door opens and CHARLOTTE precedes the SERVANT, ushering                them in with shrill cries of sympathy.                                     COLONEL BRANDON (V.O.)                         I have heard that your friend Mr                          Ferrars has been entirely cast off                          by his family for persevering in his                          engagement to Miss Steele.               EXT. SQUARE IN FRONT OF MRS JENNINGS'S HOUSE - LONDON - DAY               ELINOR and BRANDON walk round the quiet square.                                     COLONEL BRANDON                         Have I been rightly informed? Is it                          so?               ELINOR is greatly taken aback by this unexpected query.                                     ELINOR                         It is indeed so. Are you acquainted                          with Mr Ferrars?                                     COLONEL BRANDON                         No, we have never met. But I know                          only too well the cruelty--the                          impolitic cruelty of dividing two                          young people long attached to one                          another. Mrs Ferrars does not know                          what she may drive her son to--               He pauses, frowning in remembrance. ELINOR waits in suspense.                                     COLONEL BRANDON                         I have a proposal to make that should                          enable him to marry Miss Steele                          immediately. Since the gentleman is                          so close a friend to your family,                          perhaps you will be good enough to                          mention it to him?               ELINOR is completely taken aback. She takes a moment to reply.                                     ELINOR                         Colonel, I am sure he would be only                          too delighted to hear it from your                          own lips.                                     COLONEL BRANDON                         I think not. His behaviour has proved                          him proud--in the best sense. I feel                          certain this is the right course.               INT. MRS JENNINGS'S HOUSE - STUDY - DAY               ELINOR is waiting. The MAID announces EDWARD and he walks in                momentarily. They are alone for the first time in months and                for a moment, neither speaks.                                     ELINOR                         Mr Ferrars.                                     EDWARD                         Miss Dashwood.               ELINOR indicates a seat for him but neither sits.                                     ELINOR                         Thank you for responding so promptly                          to my message.                                     EDWARD                         I was most grateful to receive it. I--                         Miss Dashwood, God knows what you                          must think of me...                                     ELINOR                         Mr Ferrars--               He interrupts her, desperate to explain.                                     EDWARD                         I have no right to speak, I know--               ELINOR has to stop him.                                     ELINOR                         Mr Ferrars, I have good news. I think                          you know of our friend Colonel                          Brandon?               EDWARD looks completely bewildered.                                     EDWARD                         Yes, I have heard his name.               ELINOR starts to speak rather faster than usual.                                     ELINOR                         Colonel Brandon desires me to say                          that, understanding you wish to join                          the clergy, he has great pleasure in                          offering you the parish on his estate                          at Delaford, now just vacant, in the                          hope that it may enable you--and                          Miss Steele--to marry.               EDWARD cannot at first take it in. ELINOR sits down.                                     EDWARD                         Colonel Brandon?                                     ELINOR                         Yes. He means it as testimony of his                          concern for--for the cruel situation                          in which you find yourselves.               Now EDWARD sits--in shock.                                     EDWARD                         Colonel Brandon give me a parish?                          Can it be possible?                                     ELINOR                         The unkindness of your family has                          made you astonished to find friendship                          elsewhere.               EDWARD looks at ELINOR, his eyes full of growing                comprehension.                                     EDWARD                         No. Not to find it in you. I cannot                          be ignorant that to you--to your                          goodness--I owe it all. I feel it. I                          would express it if I could, but, as                          you know, I am no orator.                                     ELINOR                         You are very much mistaken. I assure                          you that you owe it almost entirely                          to your own merit--I have had no                          hand in it.               But EDWARD clearly believes she has been instrumental in the                offer. He frowns slightly before speaking with rather an                effort.                                     EDWARD                         Colonel Brandon must be a man of                          great worth and respect ability.               ELINOR finds some relief in saying at least one thing that                she truly means.                                     ELINOR                         He is the kindest and best of men.               This makes EDWARD seem even more depressed. He sits silent                for a moment but then rouses himself to action.                                     EDWARD                         May I enquire why the Colonel did                          not tell me himself?                                     ELINOR                         I think he felt it would be better                          coming from... a friend.               EDWARD looks at ELINOR, his eyes full of sadness.                                     EDWARD                         Your friendship has been the most                          important of my life.                                     ELINOR                         You will always have it.                                     EDWARD                         Forgive me.                                     ELINOR                         Mr Ferrars, you honour your promises--                         that is more important than anything                          else. I wish you--both--very happy.               They rise. She curtsies. He bows.                                     EDWARD                         Goodbye, Miss Dashwood.               EDWARD leaves silently. ELINOR stands stock-still in the                middle of the room.               EXT. MRS JENNINGS'S HOUSE - DAY               The PALMERS' carriage stands outside the house. COLONEL                BRANDON helps MARIANNE in beside ELINOR before mounting his                horse to ride alongside. MRS JENNINGS waves goodbye from the                steps. The carriage moves off. MRS JENNINGS blows her nose,                looks up and down the street in search of gossip and goes                back indoors with a sigh.               INT. THE PALMERS' CARRIAGE - ON THE ROAD - DAY               MARIANNE is sitting back in her seat with her eyes closed.                She does not look well. MR PALMER is behind his newspaper.                                     CHARLOTTE                         What a stroke of luck for Lucy and                          Edward to find a parish so close to                          Barton! You will all be able to meet                          very often. That will cheer you up,                          Miss Marianne. I do declare I have                          never disliked a person so much as I                          do Mr Willoughby, for your sake.                          Insufferable man! To think we can                          see his insufferable house from the                          top of our hill!               CLOSE on MARIANNE's eyes slowly opening.                                     CHARLOTTE                         I shall ask Jackson to plant some                          very tall trees.                                     MR PALMER                              (from behind the paper)                         You will do nothing of the sort.               EXT. THE PALMERS' CARRIAGE - OPEN ROAD - DAY               The carriage bowls along, with BRANDON riding next to it.                                     CHARLOTTE (V.O.)                         I hear Miss Grey's bridal gown was                          everything of the finest--made in                          Paris, no less. I should have liked                          to see it, although I dare say it                          was a sorry affair, scalloped with                          ruffles--but what do the French know                          about fashion?               EXT. CLEVELAND - DRIVE - AFTERNOON               The carriage stands outside the PALMER residence, a                resplendent affair with a great deal of land. BRANDON is                helping MARIANNE and ELINOR out of the carriage.                                     CHARLOTTE (V.O.)                         I am resolved never to mention Mr                          Willoughby's name again, and                          furthermore I shall tell everyone I                          meet what a good-for nothing he is.                                     MR PALMER (V.O.)                         Be quiet.               ELINOR and MARIANNE stand on the steps as the PALMERS debauch                from the carriage amid a welter of SERVANTS.                                     ELINOR                              (sotto voce)                         I do not think she drew breath from                          the moment we left London. It is my                          fault--I should have found some other                          way of getting home.                                     MARIANNE                         There was no other way you said so                          yourself.                                     ELINOR                         We shall be home soon enough. Mamma                          will comfort you, dearest.                                     MARIANNE                         I am stiff from sitting so long.                          Will you tell Charlotte that I am                          going for a stroll? ELINOR glances                          at the sky in concern.                                     ELINOR                         I think it is going to rain.                                     MARIANNE                         No, no, it will not rain.               ELINOR cannot help but smile at this return of the old                MARIANNE.                                     ELINOR                         You always say that and then it always                          does.                                     MARIANNE                         I will keep to the garden, near the                          house.               MARIANNE walks off. ELINOR watches her go anxiously.               INT. CLEVELAND - DRAWING ROOM - DAY               MRS BUNTING, a rather baleful NANNY, looks on as MR PALMER                holds up a screaming BABY in a frilly bonnet for everyone's                inspection.                                     CHARLOTTE                         We are very proud of our little                          Thomas, Colonel--and his papa has                          such a way with him...               BRANDON flicks a glance at MR PALMER for whom holding a baby                comes as naturally as breathing underwater.               EXT. CLEVELAND - GARDEN - DAY               MARIANNE walks purposefully towards the garden wall, beyond                which lies a hill.               INT. CLEVELAND - DRAWING ROOM - DAY               ELINOR enters to find CHARLOTTE alone with the now hysterical                BABY THOMAS.                                     CHARLOTTE                         There you are, Miss Dashwood! Mr                          Palmer and the Colonel have locked                          themselves up in the billiard room.                          Come and meet little Thomas. Where                          is Miss Marianne?                                     ELINOR                         She is taking a little air in the                          garden.                                     CHARLOTTE                         Oh, very good. That is the great                          advantage of the countryside--all                          the fresh air and... and all the                          fresh air...               CHARLOTTE's conversational difficulties are drowned out by                her offspring.               EXT. CLEVELAND - GARDEN - DAY               MARIANNE comes to a gate in the wall and turns the handle.                It opens. She throws a glance back to the house and passes                through. There is a low rumble of thunder.               INT. CLEVELAND - DRAWING ROOM - DAY               BABY THOMAS is purple in the face but shows no signs of                quietening.               CHARLOTTE joggles him about inefficiently.                                     CHARLOTTE                              (yelling)                         He is the best child in the world--                         he never cries unless he wants to                          and then, Lord, there is no stopping                          him.               EXT. THE HILL - DAY               MARIANNE, calm and determined, walks towards the top of the                hill. The wind whips and plucks at her hair and skirts.               INT. CLEVELAND - DRAWING ROOM - DAY               ELINOR, traumatised by her new acquaintance with the shrieking                BABY THOMAS, goes to look out of the window. She frowns.               EXT. CLEVELAND - GARDEN - DAY               ELINOR's POV. MARIANNE is nowhere in sight. Storm clouds                have gathered on the bill.               INT. CLEVELAND - DRAWING ROOM - DAY               ELINOR turns from the window. BABY THOMAS stops crying for                two seconds.                                     ELINOR                         I cannot see Marianne.               There is a crack of thunder. BABY THOMAS starts again.               EXT. THE HILL - DAY               Rain has started to pour down. MARIANNE walks on regardless.               INT. CLEVELAND - DRAWING ROOM - DAY               CHARLOTTE shouts over BABY THOMAS to ELINOR.                                     CHARLOTTE                         She has probably taken shelter in                          one of the greenhouses!               EXT. THE HILL - DAY               MARIANNE has reached the top. Soaked to the skin, she stands                with the storm raging around her, staring at the spires of                Combe Magna, the place that would have been her home. Rain                streaks her face and the wind whips her hair about her.                Through frozen lips she whispers:                                     MARIANNE                         Love is not love Which alters when                          it alteration finds Or bends with                          the remover to remove: 0, no! it is                          an ever-fixed mark That looks on                          tempests and is never shaken...               EXT. CLEVELAND - GREENHOUSES - DAY               BRANDON is looking for MARIANNE. He enters a greenhouse.                                     COLONEL BRANDON                         Marianne!               EXT. THE HILL - DAY               MARIANNE stares at Combe Magna, a strange smile playing about                her lips. Then she calls to WILLOUGHBY as though he were                near. The effect is eerie, unworldly.                                     MARIANNE                         Willoughby... Willoughby...               INT. CLEVELAND - DRAWING ROOM - DAY               CHARLOTTE, MR PALMER and ELINOR are waiting anxiously. BABY                THOMAS has been removed. ELINOR is staring out of the window.                                     CHARLOTTE                         One thing is certain--she will be                          wet through when she returns.                                     MR PALMER                         Thank you for pointing that out, my                          dear. Do not worry, Miss Dashwood--                         Brandon will find her. I think we                          can all guess where she went.               EXT. THE HILL - DAY               BRANDON runs up the hillside as though the devil were at his                heels.               INT. CLEVELAND - DRAWING ROOM - DAY               CHARLOTTE is handing ELINOR a cup of tea. ELINOR turns back                to look out of the window. She freezes.               EXT. CLEVELAND - GARDEN - DAY               ELINOR's POV of BRANDON walking up to the house with MARIANNE                cradled in his arms. It is like seeing Willoughby's ghost.               INT. CLEVELAND - HALL - DAY               Everyone rushes out of the drawing room as the COLONEL enters                with MARIANNE. He is exhausted and soaked. MARIANNE is dumb                with cold and fatigue.                                     COLONEL BRANDON                         She is not hurt--but we must get her                          warm!               ELINOR and MR PALMER take MARIANNE from BRANDON and go                upstairs, with CHARLOTTE in pursuit.               EXT. CLEVELAND - NIGHT - RAIN               The great house sits in darkness. A sense of foreboding.               INT. CLEVELAND - UPSTAIRS CORRIDOR - NIGHT               ELINOR is in her nightgown, knocking at a door. MR PALMER                answers in his nightshirt, astonished to have been summoned                out of bed.                                     ELINOR                         I think Marianne may need a doctor.               INT. CLEVELAND - BREAKFAST ROOM - DAY               MR PALMER and CHARLOTTE are sitting at the breakfast table.                BRANDON is pacing. The rain has stopped.                                     CHARLOTTE                         You'll wear yourself out, Colonel!                          Do not worry! A day or two in bed                          will soon set her to rights!                                     MR PALMER                         You can rely upon Harris, Colonel. I                          have never found a better physician.               Enter ELINOR with DR HARRIS.                                     COLONEL BRANDON                              (urgent)                         What is your diagnosis?                                     DR HARRIS                         It is an infectious fever that has                          taken far more serious hold than I                          would have expected in one so young.                          I would recommend the hasty removal                          of your child, Mr Palmer--               CHARLOTTE runs out of the room screaming.                                     CHARLOTTE                         Mrs Bunting! Mrs Bunting!               EXT. CLEVELAND - FRONT STEPS - DAY               CHARLOTTE is getting into their carriage with MRS BUNTING                and BABY THOMAS. MR PALMER is on the steps with ELINOR. He                takes her hand and looks at her with real sympathy.                                     MR PALMER                         My dear Miss Dashwood, I am more                          sorry than I can say. If you would                          prefer me to stay I am at your                          service.               ELINOR is touched to find this warm heart beneath his frosty                exterior.                                     ELINOR                         Mr Palmer, that is very kind. But                          Colonel Brandon and Dr Harris will                          look after us. Thank you for                          everything you have done.               MR PALMER nods, presses her hand, and walks down the steps                to the carriage.               INT. CLEVELAND - DRAWING ROOM - DAY               BRANDON sits head in hands. His ghosts have come to haunt                him.               INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - DAY               MARIANNE is tossing and turning in the bed. DR HARRIS is                trying to take her pulse. He looks up at ELINOR, who is                watching anxiously.                                     DR HARRIS                         She is not doing as well as I would                          like.               INT. CLEVELAND - UPSTAIRS CORRIDOR - DAY               ELINOR exits the bedroom to find BRANDON outside. She jumps.                                     COLONEL BRANDON                         What can I do?                                     ELINOR                         Colonel, you have done so much                          already.                                     COLONEL BRANDON                         Give me an occupation, Miss Dashwood,                          or I shall run mad. He is dangerously                          quiet.                                     ELINOR                         She would be easier if her mother                          were here.                                     COLONEL BRANDON                         Of course. Barton is but eight hours                          away. If I make no stop, you may see                          us early tomorrow morning.               He takes ELINOR's hand and kisses it.                                     COLONEL BRANDON                         In your hands I know she will be                          safe.               EXT. CLEVELAND - DRIVE - EVE               BRANDON mounts his horse, turns to look at the house for a                moment, and then spurs it violently forward.               INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - EVE               ELINOR is by the window, having watched BRANDON's departure.                DR HARRIS is by MARIANNE's side. He turns to ELINOR.                                     DR HARRIS                         Double the number of drops and I                          will return as soon as I can.               EXT. CLEVELAND - NIGHT               The house stands in virtual darkness with only a dim light                issuing from one of the upper rooms.               EXT. OPEN ROAD - NIGHT               BRANDON riding fast, his cape billowing out behind him.               INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - NIGHT               MARIANNE's eyes glitter with the fever. ELINOR wipes her                brow. Suddenly she speaks.                                     MARIANNE                         Who is that?               She is looking at the end of the bed.                                     MARIANNE                         Look, look, Elinor.                                     ELINOR                         There is no one there, dearest.                                     MARIANNE                         It is Papa. Papa has come.               ELINOR looks fearfully towards the end of the bed. MARIANNE                tries to smile with her cracked lips.                                     MARIANNE                         Dearest Papa!               The dead are coming for the dying.                                                                  DISSOLVE:               INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - LATER               ELINOR, her eyes red from watching, wipes MARIANNE's temples.                DR HARRIS takes her pulse and looks at ELINOR anxiously. His                silence is worse than any utterance.                                                                  DISSOLVE:               INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - LATER               The room is very still. MARIANNE is pale as wax. DR HARRIS                puts on his coat. ELINOR looks at him fearfully.                                     DR HARRIS                         I must fetch more laudanum. I cannot                          pretend, Miss Dashwood, that your                          sister's condition is not very                          serious. You must prepare yourself.                          I will return very shortly.               He leaves the room.                                                                  DISSOLVE:               INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - LATER               MARIANNE lies in the grip of her fever. ELINOR sits watching                her. Slowly she rises and walks to the bed. When she speaks,                her tone is very practical.                                     ELINOR                         Marianne, Marianne, please try--               Suddenly, almost unconsciously, she starts to heave with dry                sobs, wrenched out of her, full of anguish and heartbreak                and all the more painful for being tearless.                                     ELINOR                         Marianne, please try--I cannot--I                          cannot do without you. Oh, please, I                          have tried to bear everything else--                         I will try--but please, dearest,                          beloved Marianne, do not leave me                          alone.               She falls to her knees by the bed, gulping for breath, taking                MARIANNE's hand and kissing it again and again.                                                                  DISSOLVE:               EXT. CLEVELAND - GARDENS - DAWN               A shimmer of light appears on the rim of the horizon.                Somewhere a lark breaks into clear untroubled song.               INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - MORNING               DR HARRIS sits slumped in a chair. MARIANNE lies motionless.                ELINOR rises with difficulty from the bedside and goes to                the window. She is white as paper. The lark sings. Then,                from behind, comes the faintest of whispers.                                     MARIANNE (V.O.)                         Elinor?               ELINOR turns with a cry. DR HARRIS springs from his seat and                examines MARIANNE. He then turns to ELINOR with a smile of                relief and nods. At that moment the sound of carriage wheels                is heard on the gravel.                                     ELINOR                         My mother!               EXT. CLEVELAND - FRONT STEPS - MORNING               BRANDON helps MRS DASHWOOD, who is weak with exhaustion and                distress, out of the carriage.               INT. CLEVELAND - STAIRCASE - MORNING               ELINOR hurls herself down the stairs. She reaches the door                just as BRANDON and MRS DASHWOOD enter and practically swoons                into her mother's arms.                                     ELINOR                         Mamma! She is out of danger!               INT. CLEVELAND - ELINOR AND MARIANNE'S BEDROOM - MORNING               CLOSE on MARIANNE's face as MRS DASHWOOD kisses her.                                     MRS DASHWOOD                         There, there, my love, my Marianne.               MARIANNE opens her eyes and smiles at her mother. MRS DASHWOOD                takes her gently into her arms. MARIANNE suddenly looks                anxious. She is too weak to move her head. She whispers with                urgent effort.                                     MARIANNE                         Where is Elinor?                                     ELINOR                         I am here, dearest, I am here.               MARIANNE looks at her with deep relief. Behind the DASHWOODS,                BRANDON stands at the door, unwilling to intrude on this                intimacy. He wipes his eyes and turns away. MARIANNE sees                and whispers to him.                                     MARIANNE                         Colonel Brandon.               BRANDON turns back, his eyes full of tears. MARIANNE looks                at him for a moment. Then, very quietly:                                     MARIANNE                         Thank you.               EXT. BARTON COTTAGE - GARDEN AND SURROUNDINGS - DAY               The cottage nestles in the first buds of spring. A piece of                rope hangs down from the branches of a tree in the garden.                It starts to wave about wildly and we see MARGARET emerging                and climbing down. She has built herself a new tree-house.                                     COLONEL BRANDON (V.O.)                         What though the sea with waves                          continuall Doe eate the earth, it is                          no more at all.               INT. BARTON COTTAGE - PARLOUR - DAY               MARIANNE is on the sofa by the window. She is pale,                convalescent and calm. Different somehow. She listens intently                as BRANDON reads her the poem.                                     COLONEL BRANDON                         Nor is the earth the lesse, or loseth                          aught. For whatsoever from one place                          doth fall, Is with the tide unto                          another brought...               We move back to find MRS DASHWOOD and ELINOR at the other                end of the room, sewing peacefully.                                     MRS. DASHWOOD                         He certainly is nor so dashing as                          Willoughby but he has a far more                          pleasing countenance. There was always                          a something, if you remember, in                          Willoughby's eyes at times which I                          did not like.               ELINOR listens patiently as her mother rewrites history. We                cut back to BRANDON as he finishes reading.                                     COLONEL BRANDON                         'For there is nothing lost, but may                          be found, if sought...               He looks up at MARIANNE. A soul-breathing glance. She smiles                as he closes the book.                                     MARIANNE                         Shall we continue tomorrow?                                     COLONEL BRANDON                         No--for I must away.                                     MARIANNE                         Away? Where?                                     COLONEL BRANDON                              (teasing)                         That I cannot tell you. It is a                          secret.               He rises to leave.                                     MARIANNE                              (impulsive)                         But you will not stay away long?               CLOSE on BRANDON's reaction.               EXT. FIELDS NEAR BARTON COTTAGE - DAY               ELINOR and MARIANNE are out on a walk. They go very slowly,                MARIANNE leaning on ELINOR's arm. Their mood is loving,                companion able.               EXT. DOWNS NEAR BARTON COTTAGE - DAY               ELINOR and MARIANNE walk on. Suddenly, MARIANNE stops.                                     MARIANNE                         There.               She indicates a spot on the ground but ELINOR can see nothing                and is momentarily alarmed. MARIANNE gazes at the ground and                breathes in deeply.                                     MARIANNE                         There I fell, and there I first saw                          Willoughby.                                     ELINOR                         Poor Willoughby. He will always regret                          you.                                     MARIANNE                         But does it follow that, had he chosen                          me, he would have been content?               ELINOR looks at MARIANNE, surprised.                                     MARIANNE                         He would have had a wife he loved                          but no money--and might soon have                          learned to rank the demands of his                          pocket-book far above the demands of                          his heart.               ELINOR regards MARIANNE admiringly. MARIANNE smiles sadly.                                     MARIANNE                         If his present regrets are half as                          painful as mine, he will suffer                          enough.                                     ELINOR                         Do you compare your conduct with                          his?                                     MARIANNE                         No. I compare it with what it ought                          to have been. I compare it with yours.                                     ELINOR                         Our situations were very different.                                     MARIANNE                         My illness has made me consider the                          past. I saw in my own behaviour                          nothing but imprudence--and worse. I                          was insolent and unjust to everyone--               ELINOR tries to stem the flow but MARIANNE continues.                                     MARIANNE                         --but you--you I wronged above all.                          Only I knew your heart and its sorrows                          but even then I was never a grain                          more compassionate. I brought my                          illness upon myself--I wanted to                          destroy myself. And had I succeeded,                          what misery should I have caused                          you?               ELINOR embraces her. They stand with their arms round one                another in silence for a moment. Then MARIANNE breaks away                and speaks with great good humour and energy.                                     MARIANNE                         I shall mend my ways! I shall no                          longer worry others nor torture                          myself. I am determined to enter on                          a course of serious study---Colonel                          Brandon has promised me the run of                          his library and I shall read at least                          six hours a day. By the end of the                          year I expect to have improved my                          learning a very great deal.               EXT. ROAD NEAR BARTON COTTAGE - DAY               THOMAS is sitting on the back of a local wagon, holding a                basket of food.               He jumps off near the cottage and waves a cheery farewell to                the DRIVER.               INT. BARTON COTTAGE - PARLOUR - DAY               CLOSE on the accounts book, covered in blots and crossed-out                sums. Pull up to reveal MARIANNE labouring over it. Her                sickness has left her slightly short-sighted and she uses a                pince-nez that makes her look like an owl.               ELINOR is sewing and MRS DASHWOOD is snoozing. MARGARET goes                up and looks over MARIANNE's shoulder. She frowns at the                spider's web of ink.                                     MARGARET                         You'll go blind if you're not careful.               BETSY brings in coals for the fire. MRS DASHWOOD rouses                herself.                                     MRS DASHWOOD                         Is Thomas back from Exeter, Betsy?                                     BETSY                         Yes, ma'am--he brung back two lovely                          fillets for you.               MRS DASHWOOD looks nervously at ELINOR like a child who has                been caught out.                                     MRS DASHWOOD                         Beef is far less expensive in Exeter,                          and anyway they are for Marianne.               ELINOR laughs and rolls her eyes to heaven. BETSY turns on                her way out to remark:                                     BETSY                         Sixpence a piece, Miss Dashwood. Oh,                          and he says Mr Ferrars is married,                          but I suppose you know that, ma'am.               There is a stunned silence. Everyone looks at ELINOR.                                     MRS DASHWOOD                         Fetch Thomas to us, Betsy.               BETSY leaves. They all sit very still. MARGARET is about to                talk to ELINOR about it but MARIANNE stops her. THOMAS enters.                                     THOMAS                         Beg pardon, Miss Dashwood, but they                          was the cheapest in the market--                                     MRS DASHWOOD                         It was a very good price, Thomas,                          well done. Would you be so kind as                          to build up the fire a little?                                     THOMAS                              (relieved)                         Yes, ma'am.               There is a pause.                                     MRS DASHWOOD                         Who told you that Mr Ferrars was                          married, Thomas?               THOMAS builds up the fire as he answers. He tells the story                with pleasure.                                     THOMAS                         I seen him myself, ma'am, and his                          lady too, Miss Lucy Steele as was--                         they were stopping in a chaise at                          the New London Inn. I happened to                          look up as I passed the chaise and I                          see it was Miss Steele. So I took                          off my hat and she inquired after                          you, ma'am, and all the young ladies,                          especially Miss Dashwood, and bid me                          I should give you her and Mr Ferrars's                          best compliments and service and how                          they'd be sure to send you a piece                          of the cake.                                     MRS DASHWOOD                         Was Mr Ferrars in the carriage with                          her?                                     THOMAS                         Yes, ma'am--I just seen him leaning                          back in it, but he did not look up.               ELINOR screws up her courage.                                     ELINOR                         Did--               But she cannot continue. MARIANNE glances at her                compassionately and takes over.                                     MARIANNE                         Did Mrs Ferrars seem well?                                     THOMAS                         Yes, Miss Marianne--she said how she                          was vastly contented and, since she                          was always a very affable young lady,                          I made free to wish her joy.                                     MRS DASHWOOD                         Thank you, Thomas.               He nods and leaves, confused by the silent atmosphere. ELINOR                sits for a moment, then gets up and walks out.               EXT. BARTON COTTAGE - GARDEN - EVE               ELINOR is standing by the gate, looking out. MRS DASHWOOD                comes down the path to join her. She links arms with ELINOR                and they stand in silence for a beat.                                     MRS DASHWOOD                         Your father once told me not to allow                          you to neglect yourself. Now I find                          that it is I who have neglected you                          most.                                     ELINOR                         No, Mamma.                                     MRS DASHWOOD                         Yes, I have. We all have. Marianne                          is right.                                     ELINOR                         I am very good at hiding.                                     MRS DASHWOOD                         Then we must observe you more closely.               A pause.                                     ELINOR                         Mamma?                                     MRS DASHWOOD                         Yes, my darling?                                     ELINOR                         There is a painful difference between                          the expectation of an unpleasant                          event and its final certainty.               MRS DASHWOOD squeezes ELINOR's arm tightly.               EXT. OPEN ROAD NEAR BARTON - DAY               A horse and cart are jogging along. The cart contains a large                object tied down and covered with canvas. The DRIVER whistles                tunelessly.               INT. BARTON COTTAGE - KITCHEN - DAY               MARGARET is standing on the kitchen table while ELINOR and                MARIANNE pin a piece of material around the bottom of her                skirt to lengthen it.               Suddenly there is a commotion upstairs.                                     MRS DASHWOOD (V.O.)                         Marianne! Marianne! Come and see                          what is coming!               Everyone runs out of the kitchen.               EXT. BARTON COTTAGE - GARDEN - DAY               THOMAS and the CARTER are carrying a small piano up the path.               INT. BARTON COTTAGE - PARLOUR - DAY               They carry the piano into the parlour and to the DASHWOODS'                joyful astonishment it fits perfectly. MRS DASHWOOD reads                out the letter that has accompanied it.                                     MRS DASHWOOD                         'At last I have found a small enough                          instrument to fir the parlour. I                          expect to follow it in a day or two,                          by which time I expect you to have                          learned the enclosed. Your devoted                          friend, Christopher Brandon.'               MRS DASHWOOD hands MARIANNE the letter and a broadsheet song.                                     MARGARET                         He must like you very much, Marianne.                                     MARIANNE                         It is not just for me! It is for all                          of us.               All the same, she looks conscious of the truth.               EXT. BARTON COTTAGE - GARDEN - DAY               MARGARET is up her tree. ELINOR is pulling weeds. MRS DASHWOOD                is sitting on a stool working on MARGARET's dress and                listening to the strains of the new song which MARIANNE is                singing in the cottage. All of a sudden, MRS DASHWOOD rises,                shielding her eyes with her hand. She walks down to the gate,                looking out.                                     MRS DASHWOOD                         Here is Colonel Brandon! Marianne!               The piano stops. MARIANNE comes out and they all gather at                the gate to watch for the rider.               EXT. OPEN COUNTRY - DAY               Their POV of a HORSEMAN in the distance.               EXT. BARTON COTTAGE - GARDEN GATE - DAY                                     ELINOR                         I do not think it is the Colonel.                                     MRS DASHWOOD                         It must be. He said he would arrive                          today. You must play him the new                          song, Marianne.               Suddenly there is a yell from MARGARET's tree.                                     MARGARET                         Edward!               MARGARET practically throws herself out of the tree onto the                grass.                                     MARGARET                         It is Edward!               The women look at each other in complete consternation.                                     MRS DASHWOOD                         Calm. We must be calm.               INT. BARTON COTTAGE - PARLOUR - DAY               Tense silence reigns. Everyone tries to busy themselves.                BETSY enters.                                     BETSY                         Mr Ferrars for you, ma'am.               EDWARD follows her in, looking white and agitated.                                     MRS DASHWOOD                              (rising)                         Edward! What a pleasure to see you.                                     EDWARD                         Mrs Dashwood. Miss Marianne. Margaret.                          Miss Dashwood. I hope I find you all                          well.               He bows formally to each of them, lingering on ELINOR, who                is looking firmly at her lap. He looks anxious.                                     MARIANNE                         Thank you, Edward, we are all very                          well.               There is a pause while they all search for an appropriate                remark. Finally MARGARET decides to have a go at polite                conversation.                                     MARGARET                         We have been enjoying very fine                          weather.               MARIANNE looks at her incredulously.                                     MARGARET                         Well, we have.                                     EDWARD                         I am glad of it. The... the roads                          were very dry.               MRS DASHWOOD decides to bite the bullet.                                     MRS DASHWOOD                              (giving him her hand)                         May I wish you great joy, Edward.               He takes her hand somewhat confusedly and accepts her offer                of a seat. There is an awful silence. MARIANNE tries to help.                                     MARIANNE                         I hope you have left Mrs Ferrars                          well?                                     EDWARD                         Tolerably, thank you.               There is another bone-crunching pause.                                     EDWARD                         I--But EDWARD cannot seem to find                          any words.                                     MRS DASHWOOD                         Is Mrs Ferrars at the new parish?               EDWARD looks extremely confused.                                     EDWARD                         No--my mother is in town.               He plucks up the courage to look at ELINOR again and is                evidently not much comforted by what he sees.                                     MRS DASHWOOD                         I meant to enquire after Mrs Edward                          Ferrars.               EDWARD colours. He hesitates.                                     EDWARD                         Then you have not heard--the news--I                          think you mean my brother--you mean                          Mrs Robert Ferrars.               They all stare at him in shock.                                     MRS DASHWOOD                         Mrs Robert Ferrars?               ELINOR has frozen. EDWARD rises and goes to the window.                                     EDWARD                         Yes. I received a letter from Miss                          Steele--or Mrs Ferrars, I should say--                         communicating the... the transfer of                          her affections to my brother Robert.                          They were much thrown together in                          London, I believe, and... and in                          view of the change in my                          circumstances, I felt it only fair                          that Miss Steele be released from                          our engagement. At any rate, they                          were married last week and are now                          in Plymouth.               ELINOR rises suddenly, EDWARD turns and they stand looking                at one another.                                     ELINOR                         Then you--are not married.                                     EDWARD                         No.               ELINOR bursts into tears. The shock of this emotional                explosion stuns everyone for a second and then MARIANNE makes                an executive decision. Wordlessly, she takes MARGARET's hand                and leads her and MRS DASHWOOD out of the room.               EXT. BARTON COTTAGE - GARDEN - DAY               The three DASHWOODS come into the garden, still holding hands.               INT. BARTON COTTAGE - PARLOUR - DAY               ELINOR cannot stop crying. EDWARD comes forward, very slowly.                                     EDWARD                         Elinor! I met Lucy when I was very                          young. Had I had an active profession,                          I should never have felt such an                          idle, foolish inclination. At Norland                          my behaviour was very wrong. But I                          convinced myself you felt only                          friendship for me and it was my heart                          alone that I was risking. I have                          come with no expectations. Only to                          profess, now that I am at liberty to                          do so, that my heart is and always                          will be yours.               ELINOR looks at him, her face streaked with tears of released                emotion, of pain and of happiness.               EXT. BARTON COTTAGE - GARDEN               MARIANNE and MRS DASHWOOD are stamping about in the garden                trying to keep warm. MARGARET has climbed into her tree-house.                The branches rustle.                                     MARGARET                         He's sitting next to her!                                     MRS DASHWOOD/MARIANNE                         Margaret, come down!/Is he?                                     MRS DASHWOOD                              (scolding)                         Margaret! Will you stop--                                     MARIANNE                         What's happening now?                                     MRS DASHWOOD                         Marianne!                                     MARGARET (V.O.)                         He's kneeling down!               MRS DASHWOOD can't help herself.                                     MRS DASHWOOD                         Oh! Is he? Oh!               She and MARIANNE look at each other joyfully.               EXT. DOWNS NEAR BARTON - DAY               The figures of EDWARD and ELINOR can be seen walking, in                deep conversation.               EXT. PATH NEAR BARTON COTTAGE - DUSK               Later. The lovers walk slowly, their heads almost touching,                their words low and intimate.                                     ELINOR                         Your mother, I suppose, will hardly                          be less angry with Robert for marrying                          Lucy.                                     EDWARD                         The more so since she settled the                          money upon him so irrevocably--                                     ELINOR                         --no doubt because she had run out                          of sons to disinherit.                                     EDWARD                         Her family fluctuates at an alarming                          rate. Then, in London, when you told                          me of the Colonel's offer, I became                          convinced that you wanted me to marry                          Lucy and that--well, that you and                          Colonel Brandon...                                     ELINOR                         Me and Colonel Brandon!                                     EDWARD                         I shall not forget attempting to                          thank him for making it possible for                          me to marry the woman I did not love                          while convinced he had designs upon                          the woman I did--do--love.               EDWARD stops walking. He looks at ELINOR and realises he can                stand it no longer.                                     EDWARD                         Would you--can you--excuse me--               He takes her face in his hands and kisses her.               EXT. PATH TO BARTON CHURCH - DAY               A group of VILLAGE CHILDREN run down the hillside towards                the church waving ribbons and dressed in their Sunday best.               EXT. BARTON VILLAGE CHURCH - DAY               A large wedding party is gathered outside the church. The                entire village is present--CHILDREN, FARMERS, LABOURERS,                SHOPKEEPERS, and all our PRINCIPALS. We see MRS JENNINGS in                a gigantic mauve bonnet, CHARLOTTE and MR PALMER, SIR JOHN,                MRS DASHWOOD, MARGARET, THOMAS, JOHN and FANNY, who is dressed                in a fantastically inappropriate concoction, and some MEN in                regimental uniform.               The path to the church is strewn with wild flowers and                everyone holds a bunch of their own. The church bells start                to peal, and a great cheer goes up as the door opens and                BETSY comes out holding the bridal cake aloft.               The bride and groom appear: MARIANNE, in white lawn, and                COLONEL BRANDON in full uniform. Behind them come EDWARD in                his parson's garb and, on his arm, ELINOR as matron of honour.               CLOSE on them as they watch the party moving away. MARIANNE                and BRANDON make their way forwards, everyone throws their                flowers over them, whooping and singing. An open carriage                decked with bridal wreaths comes to meet them, and BRANDON                lifts MARIANNE in. His melancholy air is all but gone and he                radiates joyful life and vigour. MARIANNE also looks extremely                happy - but there is a gravity to her joy that makes her                seem much older.               According to the custom of the time, BRANDON throws a large                handful of six pences into the crowd, and the VILLAGE CHILDREN                jump and dive for them.               The coins spin and bounce, catching the sun like jewels. One                hits FANNY in the eye. She reels and falls over backwards                into a gorse bush. CAM pulls back as the wedding procession                makes its glorious way from the church. We draw away into                the surrounding countryside.               Then we see, on the far edge of frame, very small, a MAN                sitting on a white horse, watching. It is WILLOUGHBY. As we                draw back further still, he slowly pulls the horse around                and moves off in the opposite direction.                                         THE END
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+                                    SERENITY                                       Written by                                  Joss Whedon                                                      April 18, 2004                    EXT. CLASSROOM - DAY          It's a group of twelve-year-olds, serious and well dressed.          They sit on their heels under a sparsely elegant tent, small          wooden desks with embedded screens in front of them. The          tent is on a lawn surrounded by lush foliage. People walk          about and vehicles glide quietly overhead. A utopian vista.          GIRL          Now that the war's over, our          soldiers get to come home, yes?          TEACHER          Some of them. Some will be          stationed on the rim planets as          Peace Enforcers.          BOY          I don't understand. Why were the          Independents even fighting us?          Why wouldn't they look to be more          civilized?          TEACHER          That's a good question. Does          anybody want to open on that?          GIRL          I hear they're cannibals.          ANOTHER BOY          That's only Reavers.          ANOTHER GIRL          Reavers aren't real.          ANOTHER BOY          Full well they are. They attack          settlers from space, they kill          them and wear their skins and rape          them for hours and hours --          TEACHER          (in Chinese)                    (CALMER)          It's true that there are...          dangers on the outer planets. So          let's follow up on Borodin's          question. With all the social and          medical advancements we can bring          to the Independents, why would          they fight so hard against us?          4                                                  3.          RIVER          We meddle.          TEACHER          River?           RIVER is a dark, intense little girl, writing with one hand          and "typing" with the other. (Typing consists of holding a          long wooden stylus and tapping either end down different          columns of chinese characters on her desktop screen.) She is          a good two years younger than the other kids.          RIVER          People don't like to be meddled          with. We tell them what to do,          what to think, don't run don't          walk we're in their homes and in          their heads and we haven't the          right. We're meddlesome.          TEACHER          (gently taking her          STYLUS)          River, we're not telling people          what to think. We're just trying          to show them how.          She violently PLUNGES the stylus into the girl's forehead          INT. LAB - NIGHT           And we FLASH CUT to the actual present: a 16 year old RIVER          sitting in a metal chair, needles stuck in her skull (one          right where the teacher had stuck her) being adjusted by a          technician. A second monitors her brain patterns.          The lab is cold, blue, steel. Insidiously clean.          2ND TECHNICIAN          She's dreaming.          FIRST TECHNICIAN          Nightmare?          2ND TECHNICIAN          Off the charts. Scary monsters.          DOCTOR MATHIAS          Let's amp it up. Delcium, eight-          drop.          DOCTOR MATHIAS is not instantly likable -- nor gradually, for          that matter. A cold man, and more than a little satisfied          with himself.                                                  4.          Behind him stands a GOVERNMENT INSPECTOR, observing. And          making him a little nervous.          The Inspector is in shadow, but his uniform indicates          -- no          substantial rank, as does the eagle-crested baton          longer than a ruler -- that he clutches in one gloved hand.          DOCTOR MATHIAS          (CONTINUING)          See, most of our best work is done          when they're asleep. We can          monitor and direct their          subconscious, implant          suggestions...          River starts convulsing, mewing in misery. The Inspector          starts forward, slowly.          DOCTOR MATHIAS          (CONTINUING)          It's a little startling to see,          but the results are spectacular.          Especially in this case. River          Tam is our star pupil.          The Inspector steps into the light. He is rigid, cold,          staring at the girl with no emotion at all. His name, as we          will very soon learn, is SIMON.          SIMON          I've heard that.          DOCTOR MATHIAS          She's a genius. Her mental          capacity is extraordinary, even          with the side-effects.          SIMON          Tell me about them.          DOCTOR MATHIAS          Well, obviously, she's unstable...          the neural stripping gives them          heightened cognitive reception,          but it also destabilizes their own          reality matrix. It manifests as          borderline schizophrenia... which          at this point is the price for          being truly psychic.          SIMON          (moves toward her)          What use do we have for a psychic          if she's insane?          J                                                  5.          DOCTOR MATHIAS          I don't have to tell you the          security potential of someone who          can read minds. And she has lucid          periods -- we hope to improve upon          the... I'm sorry, Sir, I have to          ask if there's some reason for          this inspection.          SIMON          (TURNING)          Am I making you nervous?          DOCTOR MATHIAS          Key members of Parliament have          personally observed this subject.          I was told their support for the          project was unanimous. The          demonstration of her power --          SIMON          (turns back to her)          How is she physically?          DOCTOR MATHIAS           Like nothing we've seen. All our          subjects are conditioned for          combat, but River... she's a          creature of extraordinary grace.          400          SIMON          Yes. She always did love to dance.          He drops to one knee, slamming his baton to the floor.          ANGLE: THE BATON          As the top pops off like a bouncing betty (the grenade),          flying up over Simon and River's heads and then bursting          forth in a flat circle of blue energy that bisects the room,          flowing through the staff's heads and knocking them out.          Simon rushes to River, gently removes the probes from her          head and swabs her, whispering:          SIMON          (CONTINUING)          River. Wake up. Please, it's          Simon. River. It's your brother.          Wake up...          She begins to stir as a noise moves him to the door, looking          out and removing his uniform to reveal an orderly's tunic          beneath.          IWO                                                  6.          River is suddenly next to him. He jumps a little.          RIVER          Simon.          A beat, as they face each other, Simon fighting emotion.          RIVER          (CONTINUING)          They know you've come.          INT. GUARD STATION - CONTINUING          As a guard looks at a monitor. He mostly resembles a secret          service man -- more bureaucrat than thug. A second man rolls          into frame on a chair behind him, also watching the screen.          INT. RESEARCH CENTER CORRIDOR - CONTINUING          Simon walks River through the corridor. They approach a pair          of double doors.          SIMON          We can't make it to the surface          from inside.          Simon turns suddenly as he hears footsteps, people heading at          them from the other side of the doors.          4wo SIMON          (CONTINUING)          Find a --          But River has, impossibly, scampered up over some lab          equipment to the dark top of the corridor, where she holds          herself in a perfect split, feet against the walls and          outstretched hand holding the sprinkler for support.          The doors burst open and two doctors pass by, hardly noticing          the lone orderly. Passing right under River.           EXT. VENTILATION SHAFT - MOMENTS LATER          It's small, 15 feet by 15 feet. Goes a long way up and a          long way down. One wide hinged window looks in on the hall          inside. Simon and River approach with quiet haste.          They slip through the window. Simon shuts it, wedges his          baton into the handle as the SECURITY AGENTS APPROACH. They          fire at the glass, but their lasers have no effect.          Wind whips River's hair about as she looks up to see a small          patch of daylight visible ten stories up. Sees the sky          blotted out by a small ship that hovers above them.          V0                                                  7.          ANGLE: THE SHIP is floating over the grass of rolling hills,          the city gleaming far beyond. This facility is well hidden.          A gurney-sized section of the ship's belly detaches and drops          down ten stories, cables spooling it out of the ship. It          comes to Simon and River and stops suddenly.          SIMON          Get on!          He is standing by the window -- and the Security Agent is          right behind him, PUNCHING the window with all his might.          Simon helps River onto the gurney, then jumps on himself as          the Security Agent cracks the glass. The two are whisked up          in the gurney, River on her knees, Simon standing beside her          holding one of the cables --           THE OPERATIVE (O.S.)          Stop.          The action freezes.           THE OPERATIVE (0.S.)           (CONTINUING)          Lovely. Lovely. Backtrack.          The action REVERSES, taking us back to the moment of Simon          and River on the gurney just before it rises.          f t o          THE OPERATIVE (O.S.)          (CONTINUING)          Stop.          There is a motionless beat, River frozen in that crouch, and          he steps through what we now see is a hologram of the event.          The Government's man. We'll just call him THE OPERATIVE.          He is thoughtful, a little removed. Wire-rimmed glasses, a          suit too nondescript to be a uniform, too neat to be casual          wear. He is in:          INT. INSTITUTE RECORDS ROOM - DAY          -- which is long and bare but for drawers of holographic          records, a set-up for watching recordings (where the image of          Simon and River floats), and a table with computer and chair.          The Operative crosses to the table, looks over some papers.          THE OPERATIVE          Biograph. Simon Tam.          CLOSE ON: THE OPERATIVE'S GLASSES          IWO                                                  8.          As Simon's history files down in print and pictures --          graduation, security photo from his medical internship --          over one lens of the Operative's glasses.          THE OPERATIVE          (CONTINUING)          Remarkable children.          Doctor Mathias storms in, two security men (not the ones from          the opening) and a nervous young female intern following.          Mathias looks greyer and more gaunt than when we saw him last.          DOCTOR MATHIAS          Excuse me! No one is allowed in          the records room without my          express permission.          THE OPERATIVE          (over this, quietly)          Enter the doctor.          (to Mathias)          Forgive me. I prefer to see the          event alone, without bias.          Mathias looks at the hologram -- realizes which one it is.          DOCTOR MATHIAS          I need to see your clearance.          THE OPERATIVE          You're right to insist. I know          you've had security issues here.          He places his hand on a screen as he says it. Mathias looks          at the readout, and drops the bluster.          DOCTOR MATHIAS          Apologies. An Operative of the          Parliament will of course have          full cooperation.          (looks at screen)          I'm not sure what... I see no          listing of rank, or name.          THE OPERATIVE          I have neither. Like this          facility, I don't exist. The          Parliament calls me in when...          when they wish they didn't have          to. Let's talk about the Tams.          DOCTOR MATHIAS          I assume you've scanned the status          logs...          VJ                                                  9.          THE OPERATIVE          River was your greatest success.          A prodigy -- A phenomenon. Until          her brother walked in eight months          ago and took her from you.          DOCTOR MATHIAS          It's not quite so simple.          THE OPERATIVE          I'm very aware of that.          DOCTOR MATHIAS          He came in with full creds. He          beat the ap-scan, the retinal...          There was no way I could --          THE OPERATIVE          No, no. Of course. The boy spent          his fortune developing the          contacts to infiltrate this place.          DOCTOR MATHIAS          Gave up a brilliant future in.          medicine as well, you've probably          read. Turned his back on his          whole life. Madness.          THE OPERATIVE          Madness, no. Something a good          deal more dangerous. Have you          looked at this scan carefully? At          his face?          Mathias looks uncertain.          THE OPERATIVE          (CONTINUING)          It's love, in point of fact. He          loved his sister and he knew she          was in pain. So he took her          somewhere safe.          DOCTOR MATHIAS          Why are you here?          THE OPERATIVE          I'm here because the situation is          even less simple than you think.          (eyeing him)          Do you know what your sin is,          Doctor?          J                                                  10.          DOCTOR MATHIAS          I. I would be very careful about          what you --          THE OPERATIVE          (SADLY)          It's pride.          He touches the computer screen and the hologramic image jumps          to the Doctor and Simon in the lab, Mathias repeating:          DOCTOR MATHIAS          Key members of Parliament have          personally observed this subject.          I was told their support --          THE OPERATIVE          (shutting it off)          Key members of Parliament. Key.          The minds behind every diplomatic,          military and covert operation in          the galaxy, and you put them in a          room with a psychic.          DOCTOR MATHIAS          She was... she read cards, nothing          more.          THE OPERATIVE          It's come to our attention that          River became much more unstable,          more... disturbed, after you          showed her off to Parliament. Did          she see something very terrible in          those cards?          DOCTOR MATHIAS          Whatever... secrets she might have          accidentally gleaned... it's          probable she doesn't even know she          knows them. That they're buried          beneath --          THE OPERATIVE          But they are in her. Her mind is          unquiet. It's the will of the          Parliament that I kill her. And          the brother. Because of your sin.          J                                                  11.          THE OPERATIVE          (continuing; moving          to his briefcase)          You know, in certain older          civilized cultures, when men          failed as entirely as you have,          they would throw themselves on          their swords.          DOCTOR MATHIAS          (fed up)          Well, unfortunately I forgot to          bring a sword to --          The air rings crisply as the Operative pulls out his sword.          THE OPERATIVE          The Parliament has no further          interest in psychics. They          represent a threat to the harmony          and stability of our Alliance.          DOCTOR MATHIAS          I would put that down right now if          I were you.          THE OPERATIVE          Would you be killed in your sleep,          like an ailing pet? Whatever your          failings, I believe you deserve          better than that.          The agents move. He slices the throat of the one behind him          with true grace, thrusting at the second as he's pulling out          his gun and pinning his hand. A moment, and the dying agent          reflexively squeezes the trigger, shooting his own arm.          The Operative pulls out the sword and the agent falls as          quietly as the first.          Mathias bolts but the Operative pins him to the wall. He          bunches his fingers and jabs the side of the Doctor's spine.          Mathias stiffens, suddenly, agonizingly immobile.          The Operative steps back, observes the Doctor's rigid grimace          for a moment. Almost ceremoniously, he drops to one knee and          holds the blade out to one side, hilt to the floor and point          tilted toward the doctor. The Doctor stares at it in horror          as his paralyzed body begins to tip over toward it.          The Operative turns toward the terrified intern at the door.          V0                                                  12.          THE OPERATIVE          (CONTINUING)          Young miss, I'll need all the logs-          on behavioral modification          triggers. We'll have to reach out          to River Tam, and help her to come          back to us. No matter how far out          Simon has taken her, we can --          He's almost startled when the Doctor's body drops into frame,          slowed suddenly by the sword. It squeaks down the blade, the          Doctor unable to cry out, as the Operative whispers to him:          THE OPERATIVE          (CONTINUING)          This is a good death. There's no          shame in this, in a man's death.          A man who's done fine works.          We're making a better world. All          of them, better worlds.          Mathias is dead. The Operative pulls the sword out as the          body rolls over. As he wipes the sword down:          THE OPERATIVE          (CONTINUING)          Young miss, I need you to get to          work now. I think I may have a          long way to travel.           40          She goes. He approaches River, very close, staring...          THE OPERATIVE          (CONTINUING)          Where are you hiding,,little girl?          The noise is sucked suddenly out of the room as we black out.          M0                                                  SERENITY          10                                                  13.          becomes the name painted on the side of a spaceship, with          the same in Chinese behind it.          EXT. SPACE, ORBITING THE MOON "LILAC" - DAY          We move away from the ship. The name is on the nose, under          the bridge. It sticks out from the body of the ship like a          craning neck. The body is bulbous, with propulsion engines          on either side and a giant glowing back. There are two small          shuttles tucked in over the 'wings' of the engines. It's not          the sleekest ship in the 'verse, to be sure.          As it hits atmo, the propulsion engines take over and she          starts to rock a bit, noise filling our ears. Camera comes          around the front, at the windows and into the bridge, to see          the Captain, MALCOLM 'MAL' REYNOLDS, standing and watching.          At that moment, a small piece of the nose breaks off and goes          flying past the window.          INT. BRIDGE - CONTINUING          [Note: the following sequence will take us through the ship          in one extended STEADICAM shot.]          The bridge is small: two pilot seats on either side, and a          tangle of wires and machinery all about.          Mal wears the knee-length brown coat and boots of an old          Independent. Gun at his hip. He's not unlike the ship --          he's seen a bit of the world and it left him, emotionally at          least, weathered. Right now, though, he's mostly startled.          MAL          What was that?          He's addressing the pilot, WASH. Flight gear and a hawaiian          shirt, toy dinosaurs populating his station -- no old          soldier, but just as startled.          WASH          Whoah! Did you see that --          The ship bucks --          MAL          Was that the primary buffer panel?          WASH          It did seem to resemble --          J                                                  14.          MAL          Did the Primary Buffer Panel just          fall off my gorramn ship for no          apparent reason?          Another buck --          WASH          Looks like.          MAL          I thought Kaylee checked our entry          couplings! I have a very clear          memory of it --          WASH          Yeah well if she doesn't give us          some extra flow from the engine          room to offset the burnthrough          this landing is gonna get pretty          interesting.          MAL          Define "Interesting".          WASH          (calm suggestion:)          "Oh god, oh god, we're all gonna          die?"          J          MAL          (hits the com)          This is the Captain. There's a          little problem with our entry          sequence; we may experience slight          turbulence and then explode.          (to Wash, exiting)          Can you shave the vector --          WASH          I'm doing it! It's not enough.          (hits com)          Kaylee!          MAL          Just get us on the ground!          WASH          That part'll happen, pretty          definitely.          J                                                  15.          INT. FOREDECK HALL - CONTINUING          The camera leads Mal down. On either side of the hall are          ladders leading down to crew's personal quarters.          The hulking mercenary JAYNE is coming up out of his bunk as          Mal passes. He carries a number of rifles and grenades.          JAYNE          we're gonna explode? I don't          wanna explode.          MAL          Jayne, how many weapons you plan          on bringing? You only got the two          arms...          JAYNE          I just get excitable as to choice,          like to have my options open.          MAL          I don't plan on any shooting          taking place during this job.          JAYNE          Well, what you plan and what takes          place ain't ever exactly been          similar.          MAL          No grenades.          (Jayne groans)          No grenades.          First Mate ZOE enters from the lower level. Her mode of          dress and military deference mark her as a war buddy of Mal's.          ZOE          Are we crashing again?          MAL          Talk to your husband. Is the mule          prepped?          ZOE          Good to go, sir. Just loading her          up.          (to Jayne)          Are those grenades?          JAYNE          Cap'n doesn't want 'em.          J                                                  16.          ZOE          We're robbing the place. We're          not occupying it.          All that plays in the background as we lead Mal into the:          INT. DINING ROOM - CONTINUING          It's the communal space of the ship, homey and messy. There          is food left lying on the table. Mal swipes a dumpling from          a plate, pops it in his mouth as another jolt rocks him and          sends most of the tableware clattering to the floor.          MAL          (calling out)          Kaylee!          He enters:          INT. AFT HALL/ENGINE ROOM - CONTINUING          MAL          (still calling)          Kaylee, what in the sphincter of          hell are you playing at?          The hall leads to the rust-brown chaos that is the engine          room. Working around the engine in a forest of wires, sparks          and smoke is the sweetly pretty mechanic, KAYLEE. She passes          Mal with a slightly impatient smile as he stands in the          doorway, raising his voice above the din.          MAL          (CONTINUING)          We got the Primary Buffer          KAYLEE          Everything's shiny, Cap'n. Not to          fret.          MAL          You told me --          (JOLT)          You told me the entry couplings          would hold for another week!          KAYLEE          (WORKING)          That was six months ago, cap'n.          MAL          My ship don't crash. If she          crashes, you crashed her.                                                  17.          Steam and electricity shoot at him, backing him up.          He turns to see Simon behind him. Simon is more seasoned          than before, but still contrasts the Captain entirely in          dress and manner. He is implacably proper. Also pissed.          MAL          (CONTINUING)          Doctor. Guess I need to get          innocked 'fore we hit planetside.          Simon nods, the ship jolting again.          MAL          (CONTINUING)          Bit of a rockety ride. Nothing to          worry about.          SIMON          I'm not worried.          MAL          Fear is nothing to be ashamed of,          Doc.          SIMON          This isn't fear. This is anger.          MAL          4 (LAUGHS)          Well, it's kinda hard to tell the          one from t'other, face like yours.          SIMON          I imagine if it were fear, my eyes          would be wider.          MAL          I'll look for that next time.          SIMON          You're not taking her.          MAL          (brushing past him)          No no, that's not a thing I'm          interested in talking over with --          SIMON          She's not going with you. That's          final.          4                                                  18.          MAL          (turning back)          I hear the words "that's final"          come out of your mouth ever again,          they truly will be.          (turning away again)          This is my boat. Y'all are guests          on it.          He heads down a side corridor that has steps leading down to:          INT. PASSENGER DORM - CONTINUING          Simon is right on his heels as we lead them down the stairs.          SIMON          Guests? I earn my passage,          Captain --          MAL          And it's time your little sister          learned from your fine example.          SIMON          I've earned my passage treating          bullet holes, knife wounds, laser          burns...          MAL          Some of our jobs are trickier than          others --          SIMON          And you want to put my sister in          the middle of that.          MAL          Didn't say 'want'. Said 'will'.          It's one job, Doc. She'll be fine.          The passenger dorm has a time-worn warmth that most of the          ship shares. Except, of course, for the sterile blue of:          INT. INFIRMARY - CONTINUING          Into which the two men step.          SIMON          She's a seventeen year old girl.          A mentally traumatized sevente--          J                                                  19.          MAL          She's a reader. Sees into the          truth of things; might see trouble          before it's coming. Which is of          use to me.          SIMON          And that's your guiding star,          isn't it? What's of use.          MAL          (LAUGHS)          Honestly, doctor, I think we may          really crash this time anyway.          Simon jabs the inoculation needle into Mal's arm.          SIMON          Do you understand what I've gone          through to keep River away from          the Alliance?          MAL          I do, and it's a fact me and mine          have been courteous enough to keep          to our own selves.          SIMON          Are you threatening to --          MAL          I got one purpose here: keep this          boat in the air. I take the jobs          I get -- which is less and less,          case you ain't been keeping track.          He starts away, Simon still keeping pace.          MAL          (CONTINUING)          Every year since the war the          Alliance pushes just a little          further out towards the rim.          Makes it a chore for naughty men          like us to slip about -- and          keeping you two on board means          working twice as hard to avoid the          law. Means turning down a score          of honest jobs.          J                                                  20.          INT. CARGO BAY - CONTINUING          They enter the biggest space on the ship. Giant doors sit at          the front, which will open upon landing to reveal a lowering          ramp. Catwalks surround the space, leading up at the front to          the foredeck hall. We've come all the way through Serenity.          MAL          So here is us, on the raggedy          edge. Don't push me and I won't          push you.           Simon starts up the stairs as Mal calls to him:          MAL          (CONTINUING)          Things get gritty I will keep her          from the fray, but she's coming.          Best you get her ready.          As Mal walks on, we tilt up to see the Mule, a four-man          hovercraft hanging from chains near the ceiling. Jayne and          Zoe are tossing duffle bags into it.          MAL          (CONTINUING)          Zoe, is Wash gonna straighten this          boat out before we get flattened?          ZOE          Like a downy feather, sir. Nobody          flies like my mister.          The camera picks up Simon's feet as they enter foreground on          the catwalk, and track with them to find:          SIMON          River...          She's lying on her side, looking straight at us. A loose          summer dress draped over her small frame.          RIVER          I know. We're going for a ride.          EXT. LILAC -- DESERT GULCH - DAY          Serenity settles gently down as the cargo bay door opens.          INT. CARGO BAY - CONTINUING          The chains are hoisted back up into the ceiling of the ship.          The mule floats just above the floor, Jayne piling in next to          River in the back:                                                  21.          SIMON          Now, River, you stay behind the          others. If there's fighting you          drop to the floor or run away.          It's okay to leave them to die.          River puts on a huge pair of goggles, looks at her brother.          RIVER          I'm the brains of the operation.          ZOE          We should hit town right during          Sunday worship. Won't be any          crowds.          MAL          If Fanty and Mingo are right about          the payroll, this could look to be          a sunny day for us.          SIMON          (APPROACHING)          Captain, I'll ask you one last          time...          MAL          Doctor, I'm taking your sister          under my protection here. If          anything happens to her, anything          at all, I swear to you I will get          very choked up. Honestly. There          could be tears.          He peels out, leaves Simon fuming. Kaylee sidles up to him...          KAYLEE          Don't mind the Captain none,          Simon. I know he'll look out for          her.          SIMON          It's amazing. I bring River all          the way out to the raggedy edge of          the 'verse so she can hide from          the Alliance by robbing banks.          KAYLEE          It's just a little Trading          Station. They'll be back 'fore          you can spit.          (as he stalks off)          Not that you spit...                                                  22.          Kaylee watches him go, a tad forlorn.          EXT. LILAC - DAY          We see the town sprawled before us, as the mule heads in.          The town embodies the lives of folk out here: adobe and wood          mix with metal and plastic -- whatever's on hand to build          with. Right now the streets are mainly empty.          EXT. TRADING STATION - CONTINUING          The mule pulls up, Zoe hitching it as they speak:          JAYNE          What are we hoping to find here          that equals the worth of a turd?          MAL          Alliance payroll. There's peace          enforcing squads stationed all          about this quadrant. Can't use          credits out here -- they got to          pay their boys in cashy money.          Which once a month rests here.          ZOE          Something about stealing from the          Alliance just warms a body like          whiskey in winter.          JAYNE          (cocks his gun)          Shiny. Let's be badguys.          Mal turns back to River.          MAL          You ready to go to work, darlin'?          RIVER          There's no pattern to the pebbles          here, they're completely random.          I tried to count them but you          drove too fast. Hummingbird.          MAL          (never mind)          Right. Great. Let's go.          INT. TRADING STATION - DAY          We are in a camera's eye view, right above the door.          J                                                  23.          The door slams open, Mal and Jayne stride in, Zoe following          and whipping her hogleg right at camera without looking.          Reverse to see the camera is also a small screen with          "Welcome to Lilac" on it for the millisecond before it's          blown to bits.          There's maybe fifteen people in the place: store workers,          farm-folk and a couple dirt-poor kids. It's a combination          post-office, general store, bank, and most other things.          MAL          Hands and knees and heads bowed          down! Everybody, now!          Two men who appear to be farm folk rush Mal and the others.          Mal draws on the elder one and he stops dead in his tracks.          Mal's gun is long, not unlike Civil War era issue, but very          much new in design.          The other tries to tackle Jayne, which is not necessarily a          great idea. Jayne clotheslines him so hard he spins right          upside-down -- and Jayne grabs him by the legs and CRACK! --          bounces his head right off the floor, knocking him out cold.          MAL          (CONTINUING)          Y'all wanna be looking very          intently at your own belly          buttons. I see a head start to          rise, violence is gonna ensue.          The guy who rushed Mal complies along with everyone else.          Jayne dumps his catch on the floor and rips open his dirty          shirt to reveal the purple of an Alliance uniform.          JAYNE          Looks like this is the place.          He looks up at Mal, who motions for Zoe to open the front          door. She does, and River steps in.          ANGLE: RIVER'S BARE FEET -- walking slowly among the hunched-          over customers as Mal addresses them.          MAL          You've probably guessed we mean to          be thieving here, but what we are          after is not yours. So let's have          no undue fussing.          As he is speaking, Jayne is scrambling to the back office,          finding the small vault locked.          1410                                                  24.          JAYNE          She's locked up.          River suddenly looks around, perturbed.          CLOSE ON: a young tough.          River looks up at Zoe, alarmed, and silently points to the          young man. He is slowly reaching for the weapon in his belt.          He finds Zoe's sawed-off nuzzling his cheek.          ZOE          You know what the definition of a          hero is? It's someone who gets          other people killed. You can look          it up later.          He drops his weapon, slides it across the floor.          Mal moves to the Trade Agent. Hauls him up, tosses him          toward the vault. Zoe and Jayne follow.          TRADE AGENT          This is just a crop moon, don't          think you'll find what you --          MAL          (in Chinese)          140           The old man punches in the code. What opens is a tiny wall          safe. Bundles of bills, some scattered coin. Unimpressive.          Jayne and Zoe are behind the captain, peering in.          ZOE          At last. We can retire and give          up this life of crime.          Mal reaches in, pulls a lever and the floor opens, a six foot          hole appearing, stairs leading to a corridor, all gleaming          metal and blue light. Zoe smiles. Jayne peers down as Mal          addresses the Trade Agent.          MAL          Is there a fed down there? Be          truthful.          TRADE AGENT          (NODDING)          Y'all are Browncoats, hey? Fought          for independence?          VJ                                                  25.          MAL          War's long done. We're all just          folk now.          (calls down)          Listen up! We are coming down to          empty that vault!          The voice of a young Alliance GUARD comes up from below.          GUARD (O.S.)          You have to give me your          authorization password!          Jayne impatiently fires a burst of machine-gun fire down into          the hole. A beat...           GUARD (O . S . )           (CONTINUING)          Okay...          Mal looks at Zoe and they head down into:          INT. VAULT - CONTINUING          Which is as modern as something off the Central Planets. A          short corridor leads to a real vault door, that the guard is          already opening. Behind that door, a few bags of the real          deal: neatly stacked cash, waiting to be robbed.          INT. TRADING STATION - CONTINUING          We move in on River as something crosses her face. Worry.          EXT. TOWN - DAY          A WOMAN carrying a bucket and her nine year old SON are          looking at the trading station a few buildings away.          SON          Repeater.          WOMAN          Did sound summat like gunblast...          Maybe you aught run tell Lawman...          She turns and right by her, in the shadows, is a man.          Mostly. He is hideously disfigured, a combination of self-          mutilation and the bubbling red of radiation poisoning. His          clothes are rags, his eyes pinpoints of glazed madness.          A blade blurs through frame...                                                  26.          INT. TRADING STATION - CONTINUING          River SCREAMS and flops onto her back, pinned by revelation.          Others look at her, concerned, as Jayne makes his way to her.          JAYNE          What the hell is up? You all          right? What's goin' on?          He holds her, as she whispers, wide-eyed...          RIVER          Reavers.          INT. VAULT - MOMENTS LATER          Zoe is hauling out the last of five bags as Mal talks to the          guard, holding his gun at him:          MAL          Leg's good, it'll bleed plenty and          we avoid any necessary organs...          GUARD          I was thinking more of a graze..          MAL          Well you don't want it to look          like you just gave up...          JAYNE (O.S.)          MAL!          MAL          (to himself)          Every heist, he's gotta start          yelling my name --          JAYNE          (barreling in)          Mal! Reavers! The girl's          pitchin' a fit. They're here or          they're comin' soon.          He is already loading up with bags as Mal thinks quickly.          MAL          (to Zoe and Jayne)          Get on the mule.          (to the guard,          pointing to the          VAULT)          Does that open from the inside?          J                                                  27.          GUARD          Whah -ah- yes...          MAL          You get everyone upstairs in there          and you seal it. Long as you got          air you don't open up, you          understand?          GUARD          I -- Buh I --          Mal is in his face, dark and huge:          MAL          GET THEM INSIDE THE VAULT.          EXT. TRADING STATION - DAY          The doors burst open, Jayne and Zoe coming out first, Mal          behind with River in hand. She is freaked, in her own space.          Jayne and Zoe throw the bags on --          MAL          Zoe take the wheel --          JAYNE          You see 'em? Anybody see 'em?          1J -- and jump on themselves, Mal scanning the area as he hands          River up to Jayne's care. As the craft powers up, slowly          moving, the young man Zoe kept from trying to pull his weapon          bursts out of the station, grabbing the back of the mule.          YOUNG MAN          Take me with you!          MAL          Get in the vault with the others --          YOUNG MAN          I can't stay here! Please!          MAL          It's too many. Drive, Zoe.          A Reaver craft ROARS over their heads. It's nearly the size          of Serenity. Torn apart, belching smoke -- a welded          conglomeration of ruined ships, painted for war. Predator,          pure. It disappears over the rooftops.          YOUNG MAN          PLEASE!                                                  28.          MAL          Drive!          Zoe's face is set with unhappy determination as she floors          it, shooting out and leaving the young man in the dust.          As they move from him, four Reavers jump out of the shadows          and grab the young man. Mal unhesitatingly draws his gun.          He nudges a lever with his thumb and a cartridge pops back.          Mal fires twice. The young man takes both bullets in the          chest, slumps down dead.          ANGLE: THE EDGE OF TOWN          As the mule shoots past the last building, we see a skiff          shoot out from behind the buildings of the adjacent street,          right abreast of our gang.          ANGLE: THE CENTER OF TOWN          We see the church as the first ship and an even larger one          come to hover over it, Reavers dropping down on cable lines          to swarm into it.          EXT. DESERT - CONTINUING          The mule and the skiff are booking through the rocky terrain.          The skiff swings closer, but Jayne peppers it with automatic          fire and it swings away. There is sporadic return fire.          JAYNE          How come they ain't blowing us out          of the air?          MAL          They wanna run us down. The up-          close kill.          River is squashed down on her back, being very small.          RIVER          They want us alive when they eat          us.          JAYNE          Boy, sure would be nice if we had          some grenades, don'tchya think?          Mal says nothing, keeps firing.          ZOE          Wash, baby can you hear me?          VO                                                  29.          INT. SERENITY: BRIDGE - CONTINUING          Wash is in a frenzy of switchflipping, prepping for take-off.          WASH          We're moments from air. You got          somebody behind you?          We intercut Wash and Zoe at this point:          EXT. DESERT - CONTINUING          ZOE          Reavers.          WASH          (BLANCHING)                    ZOE          We're not gonna reach you in time.          WASH          Just keep moving, honey. We're          coming to you.          EXT. SERENITY - CONTINUING          As she lifts off and starts heading toward the others.          EXT. DESERT - CONTINUING          Zoe gets the mule in front but a harpoon thwinngs through the          air from the skiff and S} NK! Goes through Jayne's leg.. The          harpoon grips the leg and pulls --          Jayne goes flying off the back of the Mule, Mal just grabbing          him as the harpoon line reels slowly tighter --          MAL          Grab on!          Jayne grabs the Mule, legs dangling, pulled out between the          two vessels as Mal slams a new cartridge into his pistol.          JAYNE          I won't get et! You shoot me if          they take me!          Mal steadies himself and takes aim, seemingly at Jayne --          JAYNE          (CONTINUING)          Well don't shoot me first!          J                                                  30.          Mal fires. Again. Steadies himself for one more...          The line holding the harpoon is split by Mal's third shot.          V0V          The mule surges forward as Jayne drags on the ground. Mal          hauls him in as River bounds into the front to make room.          JAYNE          (CONTINUING)          Rutting pigs! Where's --          And River is holding out his weapon before he can ask for it.          EXT. ANOTHER PART OF THE DESERT - CONTINUING          Serenity rushes across the desert floor, not much higher off          it than the smaller crafts.          WASH          (to Zoe)          Get some distance on 'em. You come          to the flats, I want you to swing          round. Gonna try a Barn Swallow.          INT. BRIDGE - CONTINUING           Wash hits the com.           WASH          J Simon! Open the loading dock!          INT. CARGO BAY - CONTINUING          Simon moves next to the huge sliding doors at the front, hits          a couple of buttons. The doors pull open, as the huge ramp          beyond them opens down, letting in a rush of wind and light.          EXT. DESERT - CONTINUING          The mule reaches the flats, away from the rocks.          WASH (O.S.)          (in Zoe's ear)          Okay, baby, we've talked this          through...          ZOE          Talkin' ain't doin'.          She throws the wheel and the mule comes hard about,          fishtailing slightly as it faces the oncoming skiff.          WASH (O.S.)          Don't slow down!                                                  31.          ANGLE: THE SKIFF          As it heads for the mule --          ANGLE: THE MULE          As it heads for the skiff -- and Serenity swoops down out of           the sky, bay doors open, and comes right up behind it -- The          Mule swallowed by the bigger ship --          INT. CARGO BAY - CONTINUING           And only its forward momentum keeps it from being squashed as           it flies backwards into the bay, narrowly missing Simon and           smashing back into the staircase, sparks and people flying --          EXT. DESERT - CONTINUING          Serenity tries to get altitude -- but slams right into the          oncoming skiff, tearing it apart --          INT. CARGO BAY - CONTINUING          A flaming portion of the top flies in, skids to the floor as          small fires erupt from the mule as well -- Simon pulls a          lever and jets of C02 shoot out of the floor.          Simon hits the button to start the outer ramp closing, then          runs to the mule. The C02 stops and he finds River sitting          in her seat, completely unharmed. Zoe is climbing painfully          out of the other seat, Mal and Jayne both having been thrown.          SIMON          River?          RIVER          I swallowed a bug.          Kaylee runs in to see how everyone is. She goes to Simon.          KAYLEE          Are you okay?          MAL          Is he okay?          A bloodied Reaver POPS into frame from under the skiff-top.           He lunges for Mal, baring sharpened teeth --           Mal spins and draws, fires into his belly as Jayne and Zoe           both fire at the same time. The freak takes too long to go           down, but down he goes. Dies sitting against the s i op.          4 Everybody takes a moment to look at each other.                                                  32.          WASH (O.S.)          We all here? What's going on?          Hello?          r./ ZOE          (moves to the com)          No casualties. Anybody following?          INT. BRIDGE - CONTINUING          WASH          Nice flying, baby, and that's a          negative. Clean getaway -- Out of          atmo in six minutes.          INT. CARGO BAY - CONTINUING          MAL          Set course for Beaumonde.          (to the others)          First thing, I want these bod --          Simon suddenly punches him in the face, causing Mal to          stumble back, and Simon to shake his hand in pain.          MAL          (CONTINUING)                    SIMON          You stupid, selfish, son of a          whore ---          MAL          I'm a hair's breadth from riddling          you with holes, Doctor --          SIMON          "One simple job! She'll be fine!"          MAL          She IS fine! Except for bein'          still crazy, she's the picture of          health!          ZOE          Wasn't for River, we'd probably be          left there. She felt 'em coming.          SIMON          Never again. You understand me?          J                                                  33.          MAL          Seems I remember a talk about you          giving orders on my boat.          SIMON          Well sleep easy 'cause we're off          your boat. Just as soon as River          gets her share of the "bounty".          KAYLEE          Well let's not do anything hasty...          MAL          No, shiny! I'm sick a' carrying          tourists anyhow. We'll be on          Beaumonde in ten hours time, you          can pick up your earnings and be          on your merry. Meantime you do          your job. Patch up my crew.          A beat.          RIVER          He didn't lie down. They never          lie down.          She is looking at the Reaver. Everyone does, for a moment.          INT. FOREDECK HALL - MOMENTS LATER          Mal and Zoe enter from below.          ZOE          No, I think things'll glide a deal          smoother for us without River and          Simon on board... but how long do          you think they'll last?          MAL          Doc made his call. They's as          babes in a basket when we took 'em          in; we sheltered 'em plenty. Man          has to cut loose, learn to stand          on his own.          ZOE          Like that man back in town?          They stop by Mal Is room.          MAL          I had to shoot him. What the          Reavers woulda done to him before          they killed him...          J                                                  34.          ZOE          I know. That was a piece a'          mercy. But before that, him          begging us to bring him along...          vo,          MAL          We couldn't take the weight.          Woulda slowed us down.          ZOE          You know that for certain          MAL          Mule won't run with five. I          shoulda dumped the girl? Or you?          Or Jayne?          (CONSIDERING)          Well, Jayne...          ZOE          Coulda tossed the payload.          MAL          And go to Fanty and Mingo with air          in our mitts, tell 'em "here's          your share"? They'd set the dogs          on us in the space of a twitch,          and there we are back in mortal          peril. We get a job, we gotta          vo make good.          Washenters from the bridge.          ZOE          Sir, I don't disagree on any          particular point, it's just... in          the time of war, we woulda never          left a man stranded.          MAL          Maybe that's why we lost.          She's not happy with the reply. Mal climbs down to his room          as Wash reaches Zoe, slides his arms around her.          INT. MAL'S ROOM - CONTINUING          Once alone, Mal lets his own disappointment show. He pulls          off his holster and drops it over a chair. Kicks the toilet          closed and sits on his bunk.          The place resembles a submarine cabin, with charts and          clutter, ancient maps on the walls.          J                                                  35.          Mal moves a bunch of papers off his bunk and a picture slides          out. Hits the floor and starts moving: it's a snapshot-movie          OF:          VW - DAY          INT. INARA'S SHUTTLE          We're close on a beautiful woman who looks at us with amused          exasperation. Behind her is an opulently dressed little          shuttle.          INARA          Kaylee, are you ever gonna put          that capture down?          KAYLEE (0.5.)          We gotta have records of          everything. A bona fide Companion          entertained clients on this very          ship! In this very bed!          The picture pans over to the bed -- which River is bending          over and sniffing curiously. Inara is packing things up.          KAYLEE (O.S.)          (CONTINUING)          For one sweet second, we was          almost classy.          INARA          4 You promised to help me pack.           KAYLEE (O.S.)          Honest, Inara, why do you have to          leave?          Inara shoots an uncertain look at the camera -- and the          picture freezes, goes back to the beginning.          During all this, Mal has picked it up. He looks at it a          moment, tosses it aside. Looks around at nothing much.          JAYNE (V.0.)          I do not get it. How's a guy get          so wrong?          INT. CARGO BAY - LATER          We see the doors in the floor slide open, a second set below.          Pan to see, for a moment, the dead Reaver's face.          Kaylee is opening the doors with a keypad on a cable. Jayne          drags the corpse closer to the doors as he continues:          R                                                  36.          JAYNE          Ain't logical. Cuttin' on his own          face, rapin' and murdering -- I          mean, I'll kill a man in a fair          fight... or if I think he's gonna          start a fair fight, or if he          bothers me, or if there's a woman,          or I'm gettin' paid -- mostly only          when I'm gettin' paid. But these          Reavers... last ten years they          just show up like the boageyman          from stories. Eating people          alive? Where does that get fun?          He dumps the body in, she starts the doors closing.          KAYLEE          Shepherd Book said they was men          that reached the edge of space.,          saw a vasty nothingness and just          went bibbledy over it.          JAYNE          Hell, I been to the edge. Just          looked like more space.          KAYLEE          I don't know. People get awful          lonely in the black. Like to get          addlepated ourselves, we stay on          this boat much longer. Captain'll          drive us all off, one by one.          JAYNE          You're just in a whinge cuz that          prissy doc is finally          disembarking. Me I says good          riddance. He never belonged here,          and his sister's no saner than one          of them Reavers.          KAYLEE          That ain't even so! River's a          dear heart and a boon to this          crew! You just don't like her          'cause she can read your mind and          everything you think is mean.          JAYNE          Well, there is that.          J                                                  37.          KAYLEE          Her and Simon could have a place          here. Now they're leaving us.          Just like Shepherd Book.          She looks up toward one of the shuttles.          KAYLEE          (CONTINUING)          Just like Inara...          INT. COMPANION TRAINING HOUSE - DAY          And here she is, moving back and down into frame, her eyes          half closed in passion. She settles on a cluster of brocaded          pillows, and we see another head lowering in for a kiss...          Come around to see it's another lovely young woman -- and          that there is a group of ten others watching intently, all in          saris, on their knees. Two handsome young men with shaved          heads in the back, also on their knees.          Inara stops before the kiss, smiling and coming back up. She          speaks to the girls (We hear only soft music) as she          repositions the one she's with, lowering again; showing her          the motion of surrender as if it were a dance step.          A WOMAN'S VOICE (V.0.)          They love you.          410          EXT. COMPANION TRAINING HOUSE - DUSK          Inara looks out at the mountains. The space she's in          resembles a Tibetan monastery, if slightly more opulent.          Widen to see she is with SHEYDRA, a somewhat older Companion,          the woman whose voice we heard. She hands Inara a drink.          SHEYDRA          The girls. They've learned more          from you these last months than          the rest of us could show them in          two years.          INARA          They're very sweet. But they're          not Companions.          SHEYDRA          (WRYLY)          You've no hope for them? Junk the          lot, start anew?          J                                                  38.          INARA          On Sihnon we started training at          twelve. Years of discipline and          preparation before the physical          act of pleasure was even          mentioned. Most of these girls --          SHEYDRA          They're all of good family, the          highest academic standards --          INARA          Control. Was the first lesson.          And the last and these worlds are          not like the Central Planets.          There is barbarism dressed up in          the most civil weeds. Men of the          highest rank who don't know the          difference between a Companion and          a common whore. It's unsafe.          SHEYDRA          All the more reason the girls look          to you. You came out here alone,          before the Alliance ever thought          to establish a House this remote.          You've seen so much. You're a          figure of great romance to them.          4d INARA          Great romance has nothing to do          with being a Companion, Sheydra.          You should know better.          SHEYDRA          I'm not the one who had a torrid          affair with a pirate.          Inara nearly spills her drink.          INARA          A who? With a what?          SHEYDRA          (SMILING)          It's the talk of the House. The          girls all trade stories in the          dorms at night.          INARA          I didn't... have a pirate...          J                                                  39.          SHEYDRA          In one of the stories you make          love in a burning temple. I think          that's my favorite.          INARA          (SITTING)          This is unbearable. Captain          Reynolds is no pirate; he's a          petty thief. And he never laid a          finger on me. All he ever did was          rent me a shuttle and be very          annoying.          (mutters in Chinese)                    SHEYDRA          A year on his shuttle and he never          laid a finger on you. No wonder          you left.          INARA          (BRIDLING)          I left because -- go away. We're          no longer friends. You're a          stranger to me now.          SHEYDRA          104 I do love to watch you boil.          Don't worry. The stories will          fade. And your Captain Reynolds          has probably gotten himself blown          up by this time.          INARA          (looking away again)          Yes. That would be just like him.          EXT. BEAUMONDE: ATOLL PLAZA - EVENING          Serenity touches down on the crowded atoll amidst a number of          other, equally disreputable ships. The place is filled with          every kind of immigrant culture and shop imaginable.          EXT./INT. SERENITY - EVENING           The ramp is open and everyone is filing out, ready to hit the           town. Kaylee is talking to Simon, who has River in hand.           KAYLEE           Don't talk to the barkers -- only           the captains.          (MORE)                                                  40.           KAYLEE (cont'd)           You look the captain in the eye,           know who you're dealing with.          40 SIMON          • I wish there was...          Since he doesn't know what to say, she rattles on:          KAYLEE          You shouldn't aughta be so clean.          It's a dead giveaway you don't          belong, you always gotta be tidy.          Don't pay anybody in advance. And          don't ride in anything with a          Capissen 38 engine, they fall          right out of the sky.          SIMON          Kaylee.          She turns and heads off. Simon starts in the other          direction, but River looks after her and the others.          SIMON          (CONTINUING)          River... do you want to stay with          them?          4 RIVER          It's not safe.          SIMON          No, I fear it's not safe anymore.          He's heading off and doesn't hear:          RIVER          For them.          INT. THE MAIDENHEAD - CONTINUING          We start on a CorVue screen, showing a news report. On the          screen is a shot of the town our gang robbed, now half of it          a smoking ruin.          NEWSPERSON (V.O.)          that it was a band of Reavers          remains unconfirmed. The only          survivors of the massacre          apparently locked themselves in          the Trade Station vault until --          40                                                  41.          During this we come around to see that the screen has a          blinking light behind it, come THROUGH the wiring of the back          to look out at the bar, with the word "recording" in the          corner. Every screen is a camera, even down here.          40          We pick up Mal and Kaylee heading down into the bar. Cutting          away from the camera's view, we can looks two stories          straight down as they go, to a close group of dark tables and          booths and a second screen playing in the corner.          MAL          It's not my fault the Doc's got no          stomach for Rim living --          KAYLEE          It is entirely and for all your          fault! If you'd given Simon a          moment, just a moment where he          didn't think you were gonna throw          them off or turn them in, he          might've --          MAL          What? Swept you into his cleanly          arms? Made tidy love to you?          They have reached the guncheck, where Jayne and Wash have          already checked their guns. It works like a lunch automat:          Mal sticks his gun in a drawer, pulls out a chit -- the          q0 drawer closes and rotates, revealing another empty one. A          large bouncer with a shockrod watches impassively.          KAYLEE          (as they continue          DOWN)          Don't you dare joke! You know how          much I pined on Simon. And him          fair sweet on me, I well believe,          but he's so worried about being          found out --          ZOE          Captain didn't make 'em fugitives.          KAYLEE          But he coulda made 'em family!          Steada driving them off. Steada          keeping Simon from seein' I was          there, when I carried such a torch          and we coulda -- goin' on a year          now I ain't had nothin' twixt my          nethers weren't run on batteries!          40                                                  42.          MAL          Oh god! I can't know that!          JAYNE          40 I could stand to hear a little          more...          KAYLEE          If you had a care for anybody's          heart you woulda --          MAL          (ENOUGH)          You knew he was gonna leave. We          never been but a way station to          those two. And how do you know          what he feels? He's got River to          worry on but he still coulda shown          you... if I truly wanted someone          bad enough, wouldn't be a thing in          the 'verse could stop me from          going to her.          KAYLEE          Tell that to Inara.          For a moment, Mal is too shocked to react. Kaylee storms out.          MINGO          4 Domestic troubles?          MINGO is young, tough -- somewhere between a gangster and a          fur-trader. Sounds lower-class British, or something like it.          FANTY          Domestic troubles?          FANTY moves out from behind Mingo to reveal that he is          Mingo's identical twin. Apart from slight differences in          dress, they are indistinguishable.          MINGO          'Cause we don't wanna interrupt.          FANTY          A man should keep his house in          order.          MAL          (greets them each)          Mingo. Fanty.          14                                                  43.          MINGO          (pointing at his          BROTHER)          He's Mingo.          ,do          MAL          He's Fanty. You're Mingo.          MINGO          Ghahh! How is it you always know?          MAL          Fanty's prettier.          (pulling out a chair)          Feel to do some business?          MINGO          (re: Mal Is gang)          Bit crowded, isn't it? As you          see, we come unencumbered by thugs.          MAL          Which means at least four of the          guys already in here are yours.          All's one. I'll just keep Jayne          with me.          ZOE           Sir, are you sure you don't --          4          MAL          Go. Go get yourselves a nice          romantic meal.          WASH          Those are my two favorite words!          (to Zoe)          Honey... "Meal..."          MAL          (to Zoe)          It's business. We're fine.          They leave and the four remaining men sit. Fanty tosses a          few coins to a saloon-girl, who does a little fan-dance...          ANGLE: THE CORVUE CAMERA'S POV of the men is conveniently          blocked by her little dance.          Mal's foot nudges a duffel bag of money to Mingo's foot.          MINGO          Quite a crew you've got.          4                                                  44.          MAL          Yeah, they're a fine bunch of          ruebens.          MINGO          How you keep them on that crap          boat is the subject of much musing          tween me and Fanty.          FANTY          We go on and on.          MAL          So I'm noticing. Is there a          problem I don't know of? You got          25% of a sweet take kissing your          foot, how come we're not          dispersing?          FANTY          Our end is forty, precious.          JAYNE          My muscular buttocks it's forty --          MINGO          It is as of now. Find anyone          around going cheaper.          J FANTY          Find anyone around going near a          sorry lot like you in the first          instance.          ANGLE: RIVER has entered, is looking about.          Jayne sees her, nudges Mal, who looks and turns back to          business. We stay on her as she wanders around the perimeter          of the bar, vaguely listening in on Mal's deal.          FANTY          (CONTINUING)          You're unlikable, Mal. You got no          respect for us above you, you got          enemies in every quadrant, and          your ship's older than the          starting point of time. You's          charity cases to such as us.                                                  45.          MAL          Well here's a foul thought. I          conjured you two were incompetent;          sent us out not knowing there were          V0 Reavers about. Now I'm thinking          you picked us out because you did.          MINGO          That were a sign of faith, boy.          And it doesn't affect our forty          per. Danger is, after all, your          business.          JAYNE          Reavers ain't business, double          dickless.          This is all background noise to River, who has moved to the          CV screen, on which is a commercial. It's animated, goofy,          cartoon animals and anime-style Asian girls all transforming          to insane fantasy figures as they sing about:          COMMERCIAL          FRUITY OATY BARS, POW! HEY! FRUITY          BARS, MAKE A MAN OF A MOUSE, MAKE          YOU BUST OUT YOUR BLOUSE, EAT THEM          NOW, BANG! PING! ZOW! -- TRY          FRUITY, OATY BARS.          We push in, the light from the CV on River's face, pushing to          EXTREME CLOSE UP, all noise but the jingle fading out,          finally that as well, just the hum in River's ears.          And she whispers:          RIVER          Miranda.          She turns and looks back at the crowd.          What happens next happens very fast.           She strides silently to the first table -- two men drinking          quietly -- and she slams her foot into one's face, then whips           it back into the other's, knocking them both unconscious as --           people are turning, just registering that this girl --          kicks the table into a card player even as she sweeps a          bottle off it behind her -- the bottle hits a man behind her          square in the face, a man she never even looked at -- people          are rising, fleeing or pushing forward --          V0                                                  46.          MAL          River...          JAYNE          V0 Whuhuh?          She's taking out a group of four, high kicks and perfect          precision -- Two men come from either side, one whipping out          a knife -- she does a perfect split, grabs his wrist above          her head, using his momentum to stab the other one --          Mal fights to get back to the gunrack. The bouncer reaches          her and she wrests his shockrod from him, uses it on him, on          Fanty and Mingo -- the fan-dancer is bolting and River hurls          the rod at her head, knocks her cold...          She's everywhere. On tables, chairs, under your legs, using          the room itself to take out every single person there. One          man hides behind a wall -- impossibly, she swings her leg          around the corner and nails his face.          Jayne grabs her from behind --          JAYNE          (CONTINUING)          Gorrammit, girl, it's me!          She grabs his crotch and squeezes -- his grip loosens and she          spins, facing him, and flat-heels his nose with her palm,          V0 twirling into a gut kick that doubles him over, dispatching           of another while she cracks Jayne's head with a small table --          Somebody pulls a gun and she snaps his elbow, causing him to          scream out even before he shoots himself in the gut --          Mal frantically wrests a gun from the vending locker as River          knocks the other guy's gun in the air, kicks someone else and          then catches it, whips it around just as Mal comes up with          his, they are pointed right at each other --          SIMON          Eta Kooram Nah Smech!          And River drops to the ground, fast asleep.          There is a beat. Mal looks around the bar. He and Simon,          who has run up to the entrance, are the only ones standing.          He looks down at River. She lies unconscious, helpless.          MAL          I think maybe we ought to leave.          10                                                  47.          EXT. SPACE - NIGHT           We see two sleek warships glide silently into frame, followed           by a third, bigger ship. This is the operative's vessel, and          10 it is everything Serenity is not: sleek, predatory, icy cool.          INT. THE OPERATIVE'S SHIP - BRIDGE - CONTINUING          The operative is looking at the Maidenhead security feed --          and River is staring right at him.          THE OPERATIVE          (CAPTIVATED)          Hello again. Yes, it's me. I'm          glad you've finally asked for me.          An Ensign is revealed looking at a separate monitor:          ENSIGN          We got a pos on a retinal -- man          carrying her out is Malcolm          Reynolds, captains a Firefly-class          transport ship, "Serenity". Bound          by law five times, smuggling,          tariff dodge... not convicted.          Nothing here that would --          THE OPERATIVE          The ship. The name of the ship.          10 (SOFTLY)          Crossref. Malcolm Reynolds.          Serenity.          He looks over at the Ensign with a small, strange smile on          his lips -- as his glasses are covered by text.          ENSIGN          Sir?          THE OPERATIVE          Serenity Valley. Bloodiest battle          of the entire war. The          Independents held the valley for          seven weeks, two of them after          their high command had          surrendered. 68% casualty rate.          ENSIGN          Of course, Sir, I just didn't --          THE OPERATIVE          There.          4                                                  48.          His glasses stop scrolling and Mal's military file opens, a          picture of Mal in one lens.          THE OPERATIVE          140 (CONTINUING)          If the feds ever bothered to          crossref justice files with war          records... Yes. Our Mr. Reynolds          was a sergeant, 57th Overlanders.          Volunteer. Fought at Serenity          till the very last. This man is          an issue. This man hates us.          ENSIGN          First Mate Zoe Washburn, formerly          Corporal Zoe Alleyne, also in the          57th. Career army, looks like.          THE OPERATIVE          She's followed him far... Give me          the crew, registered passengers --          Our Captain is a passionate man,          no room there for subtlety. He's          bound to have some very obvious...          CLOSE ON: THE LENS of his glasses. On it is a slowly moving          picture of INARA.          THE OPERATIVE          -40 (continuing)          .weakness...          INT. STORAGE LOCKER - NIGHT          River is still asleep, Mal finishing chaining her wrists.          She lies on her side, breathing evenly.          Mal stares at her a moment, then:          INT. DINING ROOM - CONTINUING          He exits to find the whole group waiting for him, sans Wash.          SIMON          May I see her?          MAL          She's still napping just now. And          I believe you've got some          storytelling to do.          4                                                  49.          WASH          (ENTERING)          We're out of atmo, plotted for          Haven. No one following as of yet.          KAYLEE          Haven? We're gonna see Shepherd          Book?          MAL          (NODDING)          We got to lay low. And I could          fair use some spiritual guidance          right about now.          (to Simon)          I am a lost lamb; what in hell          happened back there?          WASH          Start with the part where Jayne          gets knocked out by a ninety pound          girl. 'Cause I don't think that's          ever getting old.          ZOE          Do we know if anyone was killed?          MAL          It's likely. I know she meant to          Ad kill me 'fore the Doc put her to          sleep, which how exactly does that          work anyhow?          SIMON          Safeword.          (BEAT)          The people who helped me break          River out -- they had intel that          River and the other subjects were          being embedded with behavioral          conditioning. They taught me a          safeword, in case... something          happened.          KAYLEE          Not sure I get it.          SIMON          A phrase that's encoded in her          brain, that makes her fall asleep.          If I speak the words, "Eta --          4                                                  50.          JAYNE          (jumping back)          Well don't say it!          moo ZOE          It only works on her, Jayne.          JAYNE          Oh. Well, now I know that.          MAL          "In case something happened."          SIMON          What?          MAL          You feel to elaborate on what that          something might be? I mean they          taught you that fancy safeword,          they must've figured she was          gonna, what -- start          uncontrollably crocheting?          SIMON          They never said what --          MAL          And you never did ask.          Mal grabs him and throws him against the wall, in his face.          MAL          (CONTINUING)          Eight months. Eight months you          had her on my boat knowing full          well she might go monkeyshit at          the wrong word and you never said          a thing --          SIMON          I brought her out here so they          couldn't get to her, I don't even          know how they --          MAL          My ship. My crewi You had a          gorramn timebomb living with us!          INT. STORAGE LOCKER - CONTINUING          River's eyes open.          V0                                                  51.          INT. DINING ROOM - CONTINUING          MAL          What if she went off in the middle          woo of dinner, or in bunk with Kaylee,          did that give you a moment's pause?          Simon looks at Kaylee, the truth of Mal's words hitting him.          SIMON          I thought she was getting better.          JAYNE          And I thought they was gettin' off!          (off looks)          Didn't we have a intricate plan          how they was gonna be not here          anymore?          KAYLEE          We couldn't leave them now...          JAYNE          No, now that she's a... killer          woman we ought be bringin' 'em tea          and dumplings!          (to Mal)          In earnest, Mal: why'd you bring          her back on?          4          Mal looks at Jayne, at all of them. Doesn't have an answer.          SIMON          May I see her.          Mal steps aside. Simon enters the locker.          JAYNE          She goes woolly again, we're gonna          have to put a bullet to her.          INT. STORAGE LOCKER - CONTINUING          River mouths the next words right along with Mal:          INT. DINING ROOM - CONTINUING          MAL          It's crossed my mind.          WASH          Can I make a suggestion that          doesn't involve violence, or is          this the wrong crowd?          J                                                  52.          ZOE          Honey...          WASH          V0 Fanty and Mingo might be coming          hard down on us, or the laws... or          maybe nobody could be bunged about          a little social brawl. We need to          get our bearings. I think we need          to talk to Mr. Universe.          EXT. SPACE - NIGHT          The camera swoops in at a sparking ion cloud, then through          the cloud at a barren, metallic satellite moon. Then further          in to reveal a sprawling -- and completely empty --          communications complex. Giant satellite dishes everywhere.          INT. MR UNIVERSE'S HQ - CONTINUING          Inside, we find an unkempt young man. Also sleep-deprived,          over-caffeinated and kinda sweet. This is MR UNIVERSE. He          is alone but for his mannikin-like Love-bot, Lenore.          He's surrounded by screens, computers, feeds -- machinery          that looks both ultra-modern and long neglected. All the          screens play different images -- it's a mediaverse.          INT. BRIDGE - CONTINUING          A0          As he watches the security feed of River's fight his image          becomes a vidscreen. He's addressing Wash, Mal and Zoe.          We intercut between the two spaces:          MR UNIVERSE          Oh, this is good. This is...          (GIGGLES)          .she's beating up all the burly          men and I'm having a catharsis,          it's happening right now, you guys          always bring me the very best          violence. You think you're in a          hot place?          WASH          That's what we're looking to          learn. Is there any follow up, a          newswave...          4                                                  53.          MR UNIVERSE          There is no "news", there's the          truth of the signal, what I see,          and there's the puppet theatre the          V0 Parliament's jesters foist on the           somnambulant public. Monkey taught           to say the word "monkey" -- lead           story on 32 planets. But the slum           riots on Hera, not a --          MAL          What about this? Did this make          the... puppet theatre?          MR UNIVERSE          No sir. And no lawforce flags,          either -- I hadda go into the          security feed direct...          MAL          You can do that?          MR UNIVERSE          Can't stop the signal, Mal.          Everything goes somewhere and I go          everywhere. Security feeds are a           traipse to access -- and I wasn't           the first one in, this has prints           on it -- oh! Look at her go!          A0 Everyone is getting bruises and          contusions. Contoooosions.          ZOE          (to Mal, over that)          So somebody else has been fed          this. That doesn't like me too          well.          MR UNIVERSE          Zoe, you sultry minx, stop falling          in love with me. You're just          gonna embarrass yourself. I have          a commitment to my Lovebot, it was          a very beautiful ceremony, Lenore          wrote her own vows, I cried like          a baby, a hungry, angry baby.          (re: screen)          And she falls asleep. Which, she          would be sleepy.          J                                                  54.          MAL          Can you go back? See if anybody          spoke with her 'fore she acted up,          -40 made any kind of contact with          her...          Mr Universe works the screen. The image rewinds and stops on          River coming up to it, looking at it. She whispers the word,          "Miranda", and starts to move away.          MAL          (CONTINUING)          Miranda...? Go back further.          MR UNIVERSE          No..          He pulls another screen close, starts working that one.          Matching timecodes, he pulls up the commercial.          MAL          Um... please?          Mr Universe has a third screen showing the commercial as          (NON-MATRIXY)          well -- and it starts breaking down, bursts of          code showing through. As he does so:          MR UNIVERSE          Friends and potential lovers, I          4DO          have good news and I have the          other kind. Good is you're very          smart. Someone is talking to her.          WASH          The oaty bar?          MAL          Subliminal. It's a subliminal          message broadwaved to trigger her.          MR UNIVERSE          (NODDING)          I been seeing this code pop up all          over, last few weeks. And I          cannot crack it. It's Alliance          and it's high military, so here          then is the bad. Someone has gone          to enormous trouble to find your          little friend. And found her          they have.          Mal, Zoe and Wash look at each other.          40                                                  55.          MR UNIVERSE          (CONTINUING)          Do you all know what it is you're          carrying?          W          INT. STORAGE LOCKER - NIGHT          River stares at us, impassive, as the camera pulls away from          her to reveal Simon, who is cleaning blood off her face.          RIVER          They're afraid of me.          SIMON          I'm sorry...          RIVER          They should be. What I will show          them... Oh God...          She starts tearing up, breathing faster... Simon runs his          hands through her hair.          SIMON          It's okay, it's okay...          RIVER          (somewhere else)          Show me off like a dog, old men          covered in blood, it never touched          them but they're drowning in it...          so much loss... I don't know what          I'm saying. I never know what I'm          saying...          SIMON          You said something. When you were          triggered, do you remember? The          Captain saw you say something on          the feed...          RIVER          Miranda.          SIMON          Miranda.          RIVER          (laughs bitterly)          Ask her. She'll show you all.          40                                                  56.          SIMON          Show us what? Who is Miranda?          (BEAT)          Am I... talking to Miranda now?          Nw�          She shoots him a look.          RIVER          I'm not a multiple, dumbo.          SIMON          No. Right. But I think somehow          when they triggered you it brought          this up, this memory --          RIVER          It isn't mine. The memory. I          didn't bring it and I shouldn't          have to carry it, it isn't mine.          (URGENTLY:)          Don't make me sleep again.          SIMON          I won't.          RIVER          Put a bullet to me. Bullet in the          brain pan, squish.          SIMON          Don't say that. Not ever. We'll          get through this.          She reaches out and touches his face, affectionately.          RIVER          Things are going to get much much          worse.          SIMON          Well, the Captain hasn't tossed us          in the airlock, so I'd say we're --          RIVER          He has to see. More than          anyone... he has to see what he          doesn't want to.          SIMON          River. What will Miranda show us.          She thinks.          VD                                                  57.          RIVER          Death.          SIMON          Whose death?          And she starts laughing. Quietly at first, then louder, then          almost uncontrollably, screaming in his face:          RIVER          EVERYBODY'S!!!          SMASH CUT TO:          Black Silence.          INT. CAVE - DAY          It's pitch black here, til Serenity's lights throw a hard          relief on the rocky wall. She flies in after, slow and          steady, revealing herself to be in a huge mineshaft.          BOOK (O.S.)          Lord, I am walking your way.          ANGLE: THE RAMP lowers to reveal Shepherd BOOK, a working-          class preacher and former crew member. He smiles as they          come out to meet him:          NOO BOOK (O.S.)          (CONTINUING)          Let me in, for my feet are sore,          my clothes are ragged.          EXT. MINING CAMP - DAY          We see the camp: a few shacks and a working mine, as our          group come down to it, greeted by a few miners, including an          eight year old boy that rushes to Kaylee...          ANGLE ON: A CANNON mounted at the edge of town. The guy          manning it sees them arrive, also goes to greet them.          INT. COMMUNITY KITCHEN - NIGHT          We see the gang sitting and eating. Comfortable, even          laughing a bit. Jayne presents Book with a couple of cigars.          Kaylee hoists the boy on her lap.          BOOK (O.S. )          Look in my eyes, Lord, and my sins          will play out on them as on a          screen. Read them all.          4                                                  58.          EXT. MINING CAMP - NIGHT          Mal approaches Book on the edge of a rise overlooking the          town. Mal has a bowl and chopsticks. Book is finishing:          V0          BOOK          Forgive what you can, and send me          on my path. I will walk on, until          you bid me rest.          MAL          Hope that ain't for me, Shepherd.          BOOK          (lighting a cigar)          It's prayer for the dead.          MAL          Then I really hope it ain't for me.          BOOK          It's for the men River might have          killed in that bar.          MAL          Weren't River that did it, you          know that. Somebody decided her          brain was just another piece of          property to take, fenced it right          Vd up.          BOOK          You got a plan?          MAL          Hiding ain't a plan?          BOOK          It'll do you for a spell, and the          folks here'll be glad of the extra          coin...          MAL          .but they'll be coming.          Alliance is after this girl with          a powerful will. I look to hear          the tromp of their boots any          moment.          V0                                                  59.          BOOK          You won't.          (off Mal's look)          This isn't a palms-up military          MW run, Mal. No reports broadwaved,          no warrants... much as they want          her, they want her hid. That          means Closed File. Means an          Operative, which is trouble you've          not known.          MAL          I coulda left her there.          INT. STORAGE LOCKER - NIGHT           As he continues, we see an image of him watching over the           sleeping girl, his mind, racing.           MAL (O.S.)           I had an out -- hell, I had every          reason in the 'verse to leave her          lay and haul anchor.          EXT. MINING CAMP - CONTINUING          BOOK          Not your way, Mal.          V0 MAL          I have a way?          (THINKS)          Is that better than a plan?          BOOK          You can play the thug all you          want, but there's more to you than          you're ever like to 'fess.          MAL          You just think that 'cause my eyes          is all sorrowful and pretty.          BOOK          Only one thing is gonna walk you          through this, Mal. Belief.          MAL          Sermons make me sleepy, Shepherd.          I ain't looking for help from on          high. That's a long wait for a          train don't come.          1490                                                  60.          BOOK          When I talk about belief, why do          you always assume I'm talking          about God?          W (Mal has no response)          They'll come at you sideways.          As he continues, we see:          EXT. COMPANION TRAINING HOUSE - DAY          Inara stands waiting, her back to us, in front of the very          vista we first saw her before.          The operative comes slowly up the staircase, stands before          her.          BOOK W. (V.0.)          It's how they think: sideways.          It's how they move. Sidle up and          smile, hit you where you're weak.          EXT. MINING CAMP - CONTINUING          BOOK          Sorta man they're like to send          believes hard. Kills and never          asks why.          MAL          It's of interest to me how much          you seem to know about that world.          BOOK          I wasn't born a Shepherd, Mal.          MAL          Have to tell me about that some          time.          BOOK          (looking out)          No I don't.          He walks away, offering this:          BOOK          (CONTINUING)          Sideways.          Mal watches him go, thinking.           40                                                  61.          EXT. CLASSROOM - DAY          The Teacher from the very beginning is standing in front of          River, whose desktop screen depicts a single, dark planet.          TEACHER          River?          Eight-year-old River is working away, not paying attention.          TEACHER          (CONTINUING)          River, you look tired. I think          everybody's a little tired by now;          why don't we all lie down.          River looks up, scared. All the other children wordlessly          get up from their seats and lie on the floor next to them.          TEACHER          (CONTINUING)          A little peace and quiet will make          everything better.          She starts to lie down herself, right on the grass.          RIVER          No...          Vao TEACHER          River. Do as you're told. It's          going to be fine. Lie down.          RIVER          NO!          INT. STORAGE LOCKER - NIGHT          River starts awake.          INT. MAL'S ROOM - CONTINUING          Mal does too, shirtless on his bunk.          MAL          Whuh huh nuhwhat?          WASH (0.S.)          (for the third time)          Mal! You up? Got a wave. I'm a          bounce it down to you.          He pops up, turns to the screen as the white noise becomes:          1400                                                  62.          MAL          Inara.          REVERSE ON: Inara on Mal's screen. We see her from about          chest level up. She, presumably, sees the same.          INARA          ?          Mal. I uh, is this a bad time          MAL          Good as any.          INARA          Please tell me you're wearing          pants.          MAL          (slight grin)          Naked as the day I come cryin'.          How's your world?          INARA          Cold. It's autumn here.          MAL          Still at the Training House?          INARA          Right where you left me.          MAL          I remember it as nice enough.          picturesque.          INARA          It is that. What about you?          MAL          ONS          Still flying. So what occasi          the wave? Not that to see you          ain't... well you look very          INT. BRIDGE - CONTINUING          watching both Mal and Inara on two          Zoe and Wash are secretly at their formal shyness.          different screens, smiling          Jayne enters, wondering what's up...                                                  63.          INT. MAL'S ROOM - CONTINUING          INARA          Oh. Thank you, I... I guess we          have something of a problem here.          With the locals, I thought maybe...          MAL          You could use a gun hand?          INARA          I'm hoping not. But if you were          close at all, you -- the crew --          could take your ease here a          while... and there'd be payment...          MAL          Payment is never not a factor. I          could sound out the crew... This          pot like to boil over soon?          INARA          Soon. Not right away.          MAL          Well, it would be, I mean I would          like to... Kaylee's been missing           you something fierce --          INT. BRIDGE - CONTINUING          There is a general groan among the audience, which now          includes Kaylee as well...          KAYLEE          Oh they're so pathetic!          INT. MAL'S ROOM - CONTINUING          INARA          I miss her too. I even miss my          shuttle, occasionally.          MAL          Yeah, you left a... got some of          your stuff in a trunk, never did          get a chance to drop it off.          INARA          Oh.          MAL          I didn't look through the...          stuff... just sundries I expect.                                                  64          Inara smiles blandly, nods. An awkward beat.          MAL          (CONTINUING)          Well, it's kind of late where I'm          at. I'll send a wave as soon as          I can.          INARA          Thank you.          She disappears. Mal thinks a moment.          INT. BRIDGE - MOMENTS LATER          Mal comes up in, buttoning his shirt.          WASH          Inara. Nice to see her again.          ZOE          So, trap?          MAL          Trap.          ZOE          We goin' in?          moo MAL          It ain't but a few hours out...          WASH          Yeah, but, remember the part where          it's a trap?          MAL          If that's the case, then Inara's          already caught in it. She          wouldn't set us up willing. Might          be we got a shot at seeing who's          turning these wheels. We go in.          KAYLEE          How can you be sure Inara don't          just wanna see you? Sometimes          people have feelings -- I'm          referring here to people...          MAL          Y'all were watching, I take it.          Guilty glances.          4                                                  65           KAYLEE           Yes.           MAL          140 You see us fight?           KAYLEE           No.          MAL          Trap.          EXT. SERENITY - DAY          The ship moves gracefully over the mountains.          INT. BRIDGE - CONTINUING          WASH          We're about seventy miles from the          Training house. And nobody on          radar... if the Alliance is about,          they're laying low.          MAL          They're about. Find us a home.          I'll take the shuttle in closer.          Zoe, ship is yours.          4dO He starts out, turns back to Zoe.          MAL          (CONTINUING)          Remember: if anything happens to          me, or you don't hear from me          within the hour... you take this          ship and you come and rescue me.          ZOE          What? And risk my ship?          MAL          (EXITING)          I mean it. It's cold out there.          I don't wanna get left.          EXT. SERENITY - DAY           She is nestled in a gorge, overhanging rocks all but burying          her from view. The shuttle on the right lifts off from the          side of the ship and glides off, keeping low.          4                                                  66.          EXT. COMPANION TRAINING HOUSE - DAY           A line of young trainees files by in robes and red shawls          pulled over their heads -- one trainee a good deal larger          than the others.          INT. INARA'S ROOM - LATER          She is kneeling in front of a statue of Buddha, lighting a          few incense sticks.          The room is sparsely lush -- not as opulent as the shuttle          where she entertained men, but still beautifully furnished          and draped. A lace curtain hangs in front of the light,          casting its pattern in shadow over everything. Including the          rather large figure in a red shawl who kneels beside Inara.          MAL          Dear Buddha, please send me a          pony, and a plastic rocket, and --          I NAR.A          Mal! What are you doing here?          MAL          You invited me.          INARA          I never thought for a second you'd          be stupid enough to come!          MAL          Well that makes you kind of a          tease, doesn't it?          INARA          You knew my invitation wasn't on          the level --          MAL          Which led me to the conclusion          that you must be in some trouble.          INARA          I'm fine! I'm. giddy.          MAL          For a woman schooled in telling          men what they wanna hear, you          ain't much of a liar.          INARA          Mal, you cannot handle this man.          -40                                                  67.          THE OPERATIVE          (ENTERING)          I have to say, I'm impressed that          you would come for her yourself.          lw� And that you would make it this          far in that outfit.          MAL          (STANDING)          I can be very graceful when I need          to.          THE OPERATIVE          I've no doubt.          Mal sheds his shawl and robe. Inara kneels at the alter,          picks out another incense stick.          MAL          What are you doing?          INARA          I'm praying for you, Mal.          THE OPERATIVE          That's very thoughtful. But I          mean it when I say you're not in          any danger.          MAL          Speak your piece.          THE OPERATIVE          I think you're beginning to          understand how dangerous River Tam          is.          MAL          She is a mite unpredictable. Mood          swings, of a sort.          THE OPERATIVE          It's worse than you know.          MAL          It usually is.          THE OPERATIVE          That girl will rain destruction          down on you and your ship. She's          an albatross, Captain.          4                                                  68.          MAL          Way I remember it, albatross was          a ship's good luck... til some          idiot killed it.          (to Inara)          Yes, I've read a poem. Try not to          faint.          The Operative moves further into the room. Whenever he          moves, Mal counters.          THE OPERATIVE          I've seen your war record. I know          how you must feel about the          Alliance.          MAL          You really don't.          THE OPERATIVE          Fair to say. But I have to hope          you understand you can't beat us.          MAL          I got no need to beat you. I just          wanna go my way.          THE OPERATIVE          And you can do that, once you let          me take the girl back home. Give          me the opportunity to help you.          MAL          All I gotta do is let you take one          more thing away from me. I've had          a lot of things taken in my time.          And it may just be that this is          one too many.          THE OPERATIVE          This psychotic, potentially          murderous girl who can't have the          slightest awareness of your          protection. This is where you          "draw the line".          MAL          Well I'm a whimsical soul.          THE OPERATIVE          There's a number of lives that          hang in the balance here. Lives          under your care. Are they as          whimsical as yourself?                                                  69.          MAL          I got no notion that I'm being          heroical at all. Any more than I          think you're really just a          harmless bureaucrat come to help          me out. You move like a killer.          The Operative is stopped by this. Unhappily, he continues:          THE OPERATIVE          I have a warship in deep orbit,          Captain. We locked on to          Serenity's pulse beacon the moment          you hit atmo. I can speak a word          and send a missile to that exact          location inside of three minutes.          Mal pulls a small device, clipped wires sticking out all          around it, and tosses it to the Operative.          MAL          You do that, best make peace with          your dear and fluffy lord.          THE OPERATIVE          Pulse beacon.          MAL          Advice from an old tracker: you          J wanna find someone, use your eyes.          THE OPERATIVE          How long do you think you can          really run from us?          MAL          Oh, a jack-rabbit, me. 'Sides, I          never credited the Alliance with          an over-abundance of brains. And          if you're the best they got...          THE OPERATIVE          Captain Reynolds, I should tell          you so that you don't waste your          time: You can't make me angry.          INARA          Oh please. Spend an hour with him.          Mal smiles -- then glares at Inara, mouthing "Hey!"                                                  70.          THE OPERATIVE          I need her, Captain. River is...          my purpose and I will gather her          to me. The brother as well.          Whatever else happens is          incidental. In the greater scheme.          MAL          Why is it that the greater scheme          always makes everything not that          great?          THE OPERATIVE          I want to resolve this like          civilized men. I'm not          threatening you. I'm unarmed.          MAL          Great!          He draws and shoots the Operative in the chest. The          Operative goes down as Mal grabs Inara, moves for the-doorway.          The Operative is on him in a second, choke-hold from behind.          THE OPERATIVE          I am of course wearing full body          armor. I'm not a moron.          He tosses Mal hard against a wall, spinning and blocking a          blow from Inara -- she is clearly trained in martial arts,          but he flat-heels her to the ground within seconds.          Mal is going for his gun again, turning, and the Operative          kicks him in the face, sends him back, gun flying. Mal gets          to his feet and they square off. Mal breathing hard, nose          dripping blood. The Operative perfectly poised, waiting.          MAL          No back up? We're making an awful          ruckus...          THE OPERATIVE          They'll come when they're needed.          MAL          I'd start whistling.          THE OPERATIVE          Captain, what do you think is          going to happen here?          They come at each other. The Operative is the much better          trained -- he's fluid, his blows sparse and deadly.          40                                                  71.          Mal is more bluster and determination, and the operative's          precision is wearing Mal down.          Mal punches wild -- the Operative counters with a spin-kick          V0 to the head that sends Mal to the ground not far from Inara,          breathing hard. He tries to rise again, painfully, but Inara          places her hand on his arm.          The Operative goes to his briefcase by the door, pulls out          his sword. His face has taken on that remote kind of          fascination as he looks at it.          THE OPERATIVE          (CONTINUING)          Nothing here is what it seems.          INARA          I know.          THE OPERATIVE          He's not the plucky hero. The          Alliance isn't some evil empire.          This isn't the grand arena.          INARA          And that's not incense.          He turns to look: the incense stick burns away -- rather like          a fuse -- and FLASHES in an explosion of light and sound.          40          It's a flash-bomb: The Operative sails back as everything          goes smoky white and the sound dies to a tiny buzz.          The Operative tries to get his bearings -- and four armored          soldiers are in his face, asking him for orders... Mal and          Inara are gone. He motions for the men to follow them.          THE OPERATIVE          Just a flash bomb. Go! Go!          INT. COMPANION TRAINING HOUSE - CONTINUING          Inara leads Mal (who is reholstering his gun) down some steps          and along a corridor. The sound is still tinny and weird.          MAL          .I had him...          INARA          What?          MAL          (deafly loud)          I think that I was winning!          4                                                  72.          EXT. SIDE OF MOUNTAIN, BY MAL'S SHUTTLE - DAY          Mal and Inara move quickly down the mountain. They look to          see that Mal's shuttle has four Alliance guards waiting by          V0 it. Mal ducks back out of sight, pulls a fancy-looking          grenade out of his pocket. Pops the top and hurls it over at          the foursome.          CLOSE ON: THE GRENADE, as a series of bars of light go out          one by one, counting down --          ALLIANCE SOLDIER          Grenade!          Everybody dives for cover. The moment they do, Mal and Inara          race into the shuttle, Mal sweeping up the grenade just as          the last light goes out and nothing happens.          One soldier turns to look and Mal shoots him back down as the          door shuts on him and Inara.          INT. SHUTTLE - CONTINUING          Inara pushes into the pilot's seat.          INARA          Hang on to something.          MAL          4 You sure you remember how it --          He nearly falls over as:          EXT. MOUNTAIN RANGE - CONTINUING          The shuttle shoots straight up, spinning and heading out.          INT. SHUTTLE - CONTINUING          Inara stares straight ahead, relaxing her grip on the          controls. Mal is gone.          INARA          I told you to hang on.          MAL (O.S. )          (in great pain)          I'm fine...          EXT. SPACE - LATER          We are below Serenity as her bay doors are closing, six          little objects floating out of her belly like roe.          4                                                  73.          These objects are roughly the size of pony-kegs, and clearly          home-made, parts welded together almost haphazardly. They          all spark silently to life -- and shoot off in six different          directions, as Serenity herself fires up her Firefly effect          and burns away from us.          INT. COMPANION TRAINING HOUSE - DAY          The Operative sips tea and rubs his temple.          THE OPERATIVE          (into a com)          Forget the pulse beacon, there has          to be another way to track the          ship -- get a read on the nav sat.           It's a registered transport, you           must be able to locate --           ENSIGN (O.S.)          Sir?          THE OPERATIVE          Have you found a nav sat          trajectory?          ENSIGN (O.S.)          Sir... we've found seven.          The Operative looks more unhappy than angry.          THE OPERATIVE          (to himself)          Does he think this is a game?          EXT. CLASSROOM - DAY          The teacher and students sleep as River -- as we saw her in          the institute, older, with blood seeping from the needle-          holes in her head -- makes her way through them.          Slowly she walks to the floating lecture screen. On it is          the solar system, glowing lines connecting all the stars and          planets. She becomes wide-eyed, breathing hard as it pushes          in to one system, one planet...          She looks over to one side of the tent, and we see:          INT. LAB - CONTINUING          Her POV is of the lab. There stand some five older men in          formal dress. They stare at her, impassive.          We see flashes of corpses, lying in houses, in city          streets -- and a Reaver's screaming face --          .00                                                  74.          INT. STORAGE LOCKER - DAY          And River awakens. A moment to get her bearings, then her          eyes narrow with intent.          INARA (V.0.)          We have every reason to be afraid.          INT. PASSENGER DORM - CONTINUING          JAYNE          Why, 'cause this guy beat up Mal?          That ain't so hard --          MAL          He didn't beat me up --          INARA          Because he's a believer.          INT. THE OPERATIVE'S SHIP, A DARK CABIN          As Inara continues, we see: Fanty and Mingo, tied to chairs.          Light spills onto their bruised faces as the Operative enters.          INARA (V.0.)          He's intelligent, methodical and          devout in his belief that killing          River is the right thing to do.          INT. PASSENGER DORM - CONTINUING          INARA          I honestly think the only reason          we haven't been blown out of the          air is that he needs to see her.          SIMON          Needs to see her why?          INARA          I'm uncertain. I would say to be          sure of the kill, but... I just          know he'll kill us all to get to          her.          JAYNE          So no hope of a reward, huh?          ZOE          Did he mention a deal of any kind?          IWO                                                  75.          MAL          (looking at Simon)          Give the two of them up. Go my          way.          JAYNE          Which you was all ready to do not          a day ago. What went sour?          MAL          Cutting them loose ain't the same          as handing them over.          JAYNE          That so? 'Cause the corpse I'm          about to become is having trouble          telling the difference.          SIMON          (to Inara)          Did he say anything about a          "Miranda"?          INARA          What is that?          MAL          Don't know who or what, but it's          on River's mind. Conjure it might          be the reason he's after her.          INARA          You think maybe it poses some kind          of threat to the Alliance?          WASH          Do we care? Are we caring about          that?          JAYNE          You dumbass hogs, the only people          she's a threat to is us on this          boat!          INT. STORAGE LOCKER - CONTINUING          River is near the ceiling, keeping herself up in a split          again, feet against the walls. There is a wire mesh cover to          the light, and she has bent part of it out, is working it          inside the lock of her shackles.                                                  76.          INT. PASSENGER DORM - MOMENTS LATER          MAL          Look, we get back to Haven in a          'r/ few hours time --          JAYNE          Hiding under the Shepherd's          skirts, that's a manful scheme --          MAL          You wanna run this ship?          JAYNE          Yes!          MAL          (small beat)          Well you can't!          JAYNE          Do a damn sight better job'n you.          Getting us lashed over a couple of          strays...          (to Simon)          No offense, Doc, I think it's          noble as a grape the way you look          to River, but she ain't my sister          (to Mal)          and she ain't your crew. Oh, and          neither is she exactly helpless!          So where's it writ we gotta lay          down our lives for her, which is          what you've steered us toward.          MAL          I didn't start this.          JAYNE          No, the Alliance starts the war --          and then you volunteer. Battle of          Serenity, Mal: besides Zoe here,          how many --          (Mal turns away)          -- I'm talkin' at you -- how many          men in your platoon came out of          there alive?          Mal stares at him.          ZOE          (dead cold)          You wanna leave this room.                                                  77          JAYNE          You're damn right I do.          He stalks upstairs. There's a quiet moment.          INARA          This isn't the war, Mal.          Mal turns, eyeing her.          MAL          Are you telling me that because          you think I don't know --          INARA          You came to the training house          looking for a fight.          MAL          I came looking for you.          INARA          I just want to know who I'm          dealing with. I've seen too many          versions of you to be sure.          MAL          I start fighting a war I guarantee          you'll see something new.          TO          Mal walks out into the cargo bay, Inara following, over:          SIMON          We'll get off. River and I'll get          off at Haven and find some --          KAYLEE          Nobody's saying that.          WASH          Nobody besides Jayne is saying          that.          INT. CARGO BAY - CONTINUING          Inara tries to catch up to --          INARA          Mal.          10                                                  78.          MAL          (TURNING)          I got no answers for you, Inara.          I got no rudder. Wind blows          40 northerly, I go north. That's who          I am. Maybe that ain't a man to          lead but they have to follow so          you wanna tear me down do it          inside your own mind.          0          INARA          I'm not trying to tear you down --          D          MAL          But you fog things up. You always          have -- you spin me about. I wish          like hell you was elsewhere.          INARA          I was.          INT. DINING ROOM - CONTINUING          Jayne is looking at the storage locker door. A beat.          JAYNE                    He moves to the aft hall, shuts and locks the door. Goes          40 back to the locker and starts to unlock it, pulling his gun.          JAYNE          (CONTINUING)          No trouble now, little crazy          person... we're going for a nice          I          shuttle ride --          He opens the door and she is on him in an instant, whip blow          to the throat, the nose -- he fires wildly as she jumps on          him, wraps her arms around his neck and topples him back --          INT. AFT HALL - MOMENTS LATER          The crew enters, drawn by the shots. Mal is first -- can't          open the door. Looks in to see an unconscious Jayne...          MAL          The other way! Find her and-do          not engage!          Everyone piles out the other way. Simon remains, to look in          the window.          10                                                  79.          ANGLE: SIMON'S POV: There is Jayne, not moving -- and River          pops up right in front of us.          He starts, then waits as she opens the door.          NO          SIMON          It's gonna be oka --          She elbows his throat viciously. He drops to his knees,          shocked and gasping, as she spin-kicks him to the ground. He          doesn't move. She looks at him a moment, then takes off.          INT. CARGO BAY - MOMENTS LATER          Mal is throwing his shoulder against the bolted door to the          upstairs. He gives up, looking around.          ZOE          She's sealed off the bridge. I do          not like her there.          KAYLEE          Cap'n!          She tosses him a bolt remover. He starts pulling a bolt out          of a panel on the wall, tells Zoe:          MAL          Check the shuttles. She coulda          40 snuck in.          He pops the panel off and starts wriggling in among the wires.          INT. FOREDECK HALL/BRIDGE - LATER          A floor panel hinges open, Mal pulling himself up. He moves          quietly to the bridge, gun drawn.          He enters to find River frantically punching up coordinates          on a big Cortex screen she's pulled out by the copilot's          seat. She whips Jayne's gun at his face, never looking at          him. A moment, and Mal lowers his own gun.          MAL          The government's man, he says          you're a danger to us. Not worth          helping. Is he right? Are you          anything but a weapon? I've          staked my crew's life on the          a - person-,-- -          actual and whole, and if I'm wrong          you'd best shoot me now.          (she cocks the gun)          Or we could talk more...          40                                                  80.          RIVER          (pointing to screen)          Miranda.          WIt's a planet. Matches the one from her dream.          INT. BRIDGE - LATER          Everyone has gathered. Wash is piloting now, as they are in          atmosphere. River is by Simon. She moves restlessly, upset.          KAYLEE          How can it be there's a whole          planet called Miranda and none of          us knowed that?          MAL          Because there isn't one. It's a          blackrock. Uninhabitable.          Terraforming didn't hold, or          somesuch. Few settlers died.          RIVER          (to Simon)          I had to show them. I didn't know          if you were going to make me sleep.          SIMON          (hoarse whisper)          You could've asked...          10          KAYLEE          (re: planet)          Wait a tick, yeah! Some ten years          back, before the war. There was          call for workers to settle on          Miranda, my daddy talked about          going. I should've recalled...          WASH          But there's nothing about it on          the Cortex -- History,          Astronomy... it's not in there.          MAL          Half of writing history is hiding          the truth. There's something on          this rock the Alliance doesn't          want known.          INARA          That's right at the edge of the          Burnham Quadrant, right?          (MORE)          10                                                  81.           INARA (cont'd)           Furthest planet out.           (Mal nods)           It's not that far from here...          W          WASH          Whoah, no, no --          ZOE           (moving to the screen)          That's a bad notion --          WASH          Honey...          ZOE          I got it, baby.          WASH          Show them the bad...          She hits some commands on the screen, pulls back to reveal a          couple of other planets near Miranda.          ZOE          This is us, see? And here's          Miranda. All along here, this          dead space in between, that's          Reaver territory.          WASH          They just float out there, sending          out raiding parties --          ZOE          Maybe a hundred ships. And more          every year. You go through that          you're signing up to be a banquet.          WASH           I'm on board with the run and hide          scenario -- and we are just          about...          He looks at his monitors, looks ahead...          WASH          (CONTINUING)          WAIT          EXT. MINING CAMP - DAY          The ship swings around a mountain to come into view of the          camp.          I s                                                  82.          It is a world of fire.          Every building burns, some blown right apart. Bodies litter          the scene, not one of them moving. There's a grounded          Alliance ship not far from the cannon that shot it down.          INT. BRIDGE - CONTINUING          We see Mal's face as the sight hits him like a gut-punch.          EXT. MINING CAMP - MOMENTS LATER          The crew pours out even as the ramp lowers, going off in all          directions, calling out to people...          Kaylee heads for the burning church.          KAYLEE          Shepherd? Shepherd Book!          She stops, looking at the ground by the steeple. There is          the body on the ground, face down. The child she played with          at dinner. Kaylee stares, at first uncomprehending.          ANGLE: MAL, moving in the other direction, approaches the          cannon, Jayne behind him. He stops and sees:          Book, lying by the cannon, torn up badly from the waist down.          4 MAL          (to Jayne)          Get the Doc.          He moves to the Shepherd, grabs his searching hand.          MAL          (CONTINUING)          Shepherd... Don't move.          BOOK          Won't go far...          MAL          Shouldn't've been you. I'm so          sorry, it was... they should've          hit us. They should've hit me.          BOOK          That crossed my mind.          (ROUGHS)          I shot him down --          MAL          I seen.                                                  83.          BOOK          I killed the ship... that killed          us. Not... very Christian of me.          MAL          You did what's right.          BOOK          (not unkindly)          Coming from you, that means...          almost nothing... HNAAH! Ah, I'm          long gone...          MAL          Doc'll bring you round. I look to          be bored by many more sermons          'fore you slip -- don't move --          BOOK          Can't... order me around, boy.          I'm not one of your crew.          MAL          Yes you are.          Book coughs up blood, grabbing Mal. Urgent, almost angry.          BOOK          You... it's on you now... all this          death, this shit... you have to          find a course. This can't mean          nothing. River... you have to...          MAL          Come on, keep it up --          Book grabs Mal's face, talks as though replying to something:          BOOK          I don't care what you believe!          Just... believe it. Whatever you          have to...          His breathing becomes laboured. Hitched.          Stopped. His hand slips away, his blood leaving a distinct          print on Mal's face.          Jayne and Simon run up,Simon slowing down -- going to the          e he's-dead.----Zne -„a r.7-1, ;,,,r          them as Jayne looks around him, Mal still fixed on Book.          AD                                                  84.          JAYNE          How come they ain't waiting? They          know'd we was coming, how come          they only sent one?          MO          Zoe realizes the answer, turns to Wash.          ZOE          Get on the Cortex. Wave the          Sanchez brothers, Li Shen --          anyone whose ever sheltered us          after a heist. Tell them to get          out. Get out now.          SMASH CUT TO:          INT. BRIDGE - LATER          Silence.          Every Cortex screen is on, each looking at a different place.          Every one shows fire, destruction or the snow of an          interrupted signal.          Mal stands alone amidst the screens, saying nothing. After          a long moment, all of the screens hitch, the images replaced          by identical images of the Operative. He looks solemn.          THE OPERATIVE          V0 I'm sorry. But I cannot let you          hide and I cannot let you run.          Things become... extreme. And we          wish for another way.          MAL          Don't talk at me like a righteous          man. You are a killer of children.          THE OPERATIVE          When God wanted Pharaoh to release          His people from bondage -- you          know the story? He didn't ask.          He sent his plagues down upon          Egypt. That's me, Captain. The          path to peace is paved with          corpses. It's always been so.          MAL          So me and mine got to lie down and          R--BETTER-          world?                                                  85.          THE OPERATIVE          I'm not going to live there. How          could you think -- there's no          place for me there, any more than          40 there is for you. Malcolm, I'm a          monster. What I do is evil, I've          no illusions about it. But it          must be done.          MAL          Why? Do you know why?          THE OPERATIVE          It's not my place to ask.          MAL          You will never see River Tam. I'm          telling you this.          THE OPERATIVE          Maybe not. But you'll keep her          close now, and when I blow          Serenity out of the air, this will          be ended. You're so terribly out          of your depth, Captain. Your old          boat can't take the pressure.          MAL          She ain't buckled yet. And the          40 only reason you're talking such a          lot is you can't get a fix on us.          THE OPERATIVE          Yes, your scrambler's code is too          old for our seekers. You love          that, yes? The small triumph over          modernity. You really are the          noble savage.          MAL          Nobody -- ever -- calls me noble.          THE OPERATIVE          But that's what's going to kill          you, Malcolm. Nobility. It          confuses your text, which is          self-interest. And sin.          MAL          Only- many-I-know-who still --bel i-eved-          in sin just died by your hand.          THE OPERATIVE          What do you believe in?          40                                                  86.          MAL          Not a solitary thing.          THE OPERATIVE          If that were true, you'd be          nothing more than a Reaver.          Something changes in Mal's expression.          THE OPERATIVE          (CONTINUING)          But then, maybe you're not that          far from --          Mal flicks a switch and every screen goes dark.          EXT. MINING CAMP - MOMENTS LATER          Mal comes striding out, where the crew have been gathering          bodies, laying blankets over them.          MAL          Get these bodies together.          ZOE          We got time for gravedigging?          MAL          Zoe, you and Simon are gonna rope          V0 'em together. Five or six of 'em.          I want them laid out on the nose          of our ship.          SIMON          Are you insane?          KAYLEE          What do you mean, the bodies...          MAL          Kaylee, I need you to muck the          reactor core, just enough to leave          a trail and make it read like          we're flying without containment,          not enough to fry us.          KAYLEE          These people are our friends --          MAL          Kaylee, you got a day's work to do          and two hours to do it.          (MORE)          14                                                  87.          MAL (cont'd)          (turns from her)          Jayne, you and Wash hoist up that          cannon mount. Goes right on top.          MOO          Piece or two of the other ship,          stick it on. Any place you can          tear hull without inner breach, do          that too.          (looking around)          And we're gonna need paint. We're          gonna need red paint.          INARA          (getting it)                    ZOE          Sir. Do you really mean to turn          our home into an abomination so we          can make a suicidal attempt at          passing through Reaver space?          MAL          I mean to live. I mean for us to          live. The Alliance won't have          that, so we go where they won't          follow.          JAYNE          V0 God's balls, there's no way we're          going out there!          And everybody (save River) is talking at once:          SIMON          What's the point of living if you          sink to the level of a savage --          WASH                    INARA          Please, we should talk this over --          JAYNE          I ain't takin' orders from a man          has lost his brainstem --          , -Mal pule-s-his-          in his face, steps back, hand on his.          V0                                                  88.          MAL          This is how it works. Anybody          doesn't wanna fly with me anymore,          this is your port of harbour.          There's a lot of fine ways to die.          I'm not waiting for the Alliance          to choose mine.          He walks through the group, toward the smashed cockpit of the          Alliance fighter. Struggling to get out is the badly wounded          pilot. He sees Mal coming and raises his hands in surrender.          Mal shoots him in the head, turns back.          MAL          (CONTINUING)          I mean to confound those killers,          and take my shot at getting to          Miranda, maybe finding out what          all I'm dying for. That's my          theme now. So I hear a word out          of any of you that ain't helping          me out or taking your leave I will          fucking shoot you.          He grabs a body -- drops it at Zoe's feet as he heads toward          the ship.          MAL          (CONTINUING)          Get to work.          EXT. SPACE - NIGHT          CLOSE ON THE BODIES as they BURN, flames passing over them          and suddenly flickering out as dark falls. They are patches          of leathered flesh stretched over bone -- monsters, screaming          soundlessly in the nothing of space.          We arm past them to the windows of the bridge, looking in at          Mal, watching, with Zoe behind and Wash at the helm.          And we pull back out to see the whole of Serenity for the          first time: It is hardly recognizable. Charred corpses on          the nose, Cannon atop with a space-suited corpse draped          within, long scars, welded-on parts and war paint... the          trail of green light burns out with sporadic bursts of vapor.          It looks, for all the world, like a Reaver ship.          INT. CARGO BAY - CONTINUING          Mal comes down the stairs to the catwalk. He hesitates, then          steps into the shuttle.          �Mo                                                  89.          INT. SHUTTLE - CONTINUING          It's dark in here. Mal stands with his back to the door, no          light on his face, shaking. Not crying, but overcome.          LOW          INARA          Mal.          He looks up: she's in the corner looking through that trunk          of hers, hands on a long oilcloth wrapped around something.          MAL          Didn't see you.          I NARA          I figured that.          MAL          Anything of use in there?          INARA          Maybe.          She puts it down and crosses to the bed. He sits by her.          MAL          You don't have to stay in the          shuttle, you know. There's empty          rooms, if you wanna sleep awhile.          INARA          You think anyone's set to sleep?          Simon's portioning out overdoses          of morphine, just in case.          MAL          Cheerful fellow.          (looking around)          Did you really miss this place?          INARA          (rueful smile)          Sometimes... Not so much right now.          A beat. He doesn't look at her when he asks:          MAL          Why did you leave?          Site does lo9}E-at-- t -m-          INARA          Why didn't you ask me not to?                                                  90.          Dissatisfied, Mal rises.          MAL          I, uh, I'd better go check on the          VW crew. See how the inevitable          mutiny is coming along.          They both want to say more. They don't. He goes.          EXT. SPACE - NIGHT          Serenity flies, silent.          INT. FOREDECK HALL/BRIDGE - NIGHT          The group make their way toward the bridge. Those close          enough to get a view out the window are looking freaked --          those already on the bridge are stock still. Pressed up          against the glass of the window is River, just staring.          EXT. SPACE - CONTINUING          Reverse to see: an armada.          The black sky is filled with what must be ninety ships in a          vague cluster, as Serenity breaks frame headed toward them.          Most of them hang still in the air. Some move swimmingly          about. Some turn in gentle drifts, as though looking around.          Vd INT. BRIDGE - CONTINUING          They all wait, tensed up, as they approach the armada...          EXT. SPACE - CONTINUING          And arrive, moving slowly through the ranks of ships.          Serenity passes a large, bizarrely shaped ship. It turns, as          though watching her. But lets her pass.          Another minute, and Serenity is through the Armada, headed          for the small planet just beyond.          INT. THE OPERATIVE'S SHIP - BRIDGE - LATER          The Operative stares blankly at the Ensign.          THE OPERATIVE          Define "disappeared".          The Ensign just looks uncomfortable.          4                                                  91.          INT. SERENITY: BRIDGE - LATER          Kaylee, Simon and River have left the bridge. The clouds fog          the windows, so nothing below is visible.          ZOE          Every reading I'm getting says          normal. Oceans, land masses... no          tectonic instability or radiation.          WASH          Yeah, but no power, either.          MAL          Nothing at all?          WASH          Wait. Something. Might be a          beacon, but it's awful weak.          MAL          Find it.          EXT. SERENITY - DAY          As she touches down, filling the frame. After a moment Mal,          Zoe and Jayne emerge from the airlock in full suits, armed.          Zoe reads a handheld scanner...          V0 MAL          Gravity's Earthnorm.          ZOE          02 levels check, pressure... if          there's anything wrong the scanner          isn't reading it.          Mal pulls off his helmet. Breathes, looking around him.          MAL          Well something sure as hell ain't          right...          WIDER ANGLE: They're in a CITY. Gleaming metal, spread out          for miles in every direction. Portions decimated by fires          long since cold, others overgrown with weeds, but mostly          intact. But silent, as if trapped in amber.          JAYNE          --ai-n-lt the settlement-          10                                                  92.          ZOE          We flew over at least a dozen          cities just as big. Why didn't we          hear about this?          A0          MAL          Beacon's up ahead.          EXT. CITY - DAY          Out of their suits now, Mal, Zoe and Jayne take point as the          entire crew walks along the street, looking about them.          ZOE          Ho.          She moves rapidly, gun out, to:          ANGLE: A SKELETON          Face-down on the ground, clothes tattered. She examines it          as Mal approaches, waving the others back.          ZOE          (CONTINUING)          No entry wound, fractures...          MAL          Poison?          A0          JAYNE (O . S . )          Got another one!          ANGLE: JAYNE is by a downed hovercraft. Inside are three          skeletons: two grown-ups and a small child. Clothes in          better condition, and again no sign of violence.          JAYNE          They's all just sittin'. Didn't          crash...          ANGLE: RIVER is quietly becoming more and more upset.          CLOSE ON: KAYLEE walks in front of an office building,          staying away from the cars as she hears:          JAYNE (O.S.)          Couple more here...          0 0 orpse _of_aman is          pressed up against the glass wall right behind her. Mouth          open, skin dead blue, terribly skinny... a thing to haunt.          14                                                  93.          SIMON          (seeing it)          Kaylee... Come this way. Come           here. Don't --          But she looks --          KAYLEE          GAAAAaaoh God --          -- and steps back, horrified, as the others approach.          It's an office. About half the employees are there, in          chairs or on the ground, all in the same state as the first          fellow. We see ANGLES of the corpses as the gang evaluates...          JAYNE          How come they're preserved?          MAL          Place must've gone hermetic when          the power blew. Sealed 'em.          KAYLEE          (very upset)          What're they doing? What's          everybody doing?          SIMON          There's no discoloration, nobody's          doubled over or showing signs of          pain...          MAL          There's gasses that kill painless,          right?          INARA          But they didn't fall down. None          of them. They just lay down.          SIMON          More than anything, it looks like          starvation.          MAL          Anybody want to bet there's plenty          of food around?          INARA          They just lay down...          They notice River now, in the middle of the street, keening.          She drops to her knees, clutching her head.                                                  94.          As she speaks we see, as she sees, FLASHES: bodies. In          homes, in piles: an entire world, gently dead.          RIVER          , make them stop, they're          everywhere, every city every house          every room, they're all inside me,          I can hear them all and they're          saying nothing! GET UP! PLEASE,          GET THEM UP! , please God make me a          stone...          JAYNE          (UPSET)          She's starting to damage my calm.          ZOE          Jayne --          JAYNE          She's right! Everybody's dead!          This whole world is dead for no          reason!          WASH          Let's get to the beacon.          EXT. LANDING STRIP - DAY          It's small -- landing is easier in cities with flying          vehicles. At the end of a short runway, tipped and damaged,          is an Alliance Research Vessel. The gang makes its way          towards it.          INT. RESEARCH VESSEL - DAY          It's a mess, doors pried open, signs of violence but no          bodies. The gang walks through it, looking around.          River pulls away from Simon, suddenly determined. She          approaches a console, and a small cylindrical object. She          turns it slightly --          A hologram squawks to life amidst them all. First we see          images that resemble the flashes from River's mind: Corpses,          everywhere. We hear and then see DOCTOR CARON standing          exactly where she was when she recorded this message...          (As she speaks, we see angles of everyone watching, taking it          in.. River silently mouths every word.)          ,two                                                  95.          CARON          -- just a few of the images we've          recorded, and you can see it          isn't.. it isn't what we thought.          There's been no war here, and no          terraforming event. The          environment is stable. It's the          Pax, the G-32 Paxilon Hydroclorate          that we added to the air          processors. It's...          (tearing up)          .well it works... it was          supposed to calm the population,          weed out aggression. Make a          peaceful... it worked. The people          here stopped fighting. And then          they stopped everything else.          They stopped going to work,          stopped breeding... talking...          eating...          (trying for control)          There's thirty million people here          and they all just let themselves          die. They didn't even kill          themselves. They just... most          starved. When they stopped          working the power grids, there          were overloads, fires -- people          burned to death sitting in their          V0 chairs. Just sitting.          There is a loud bang somewhere behind her -- she starts,          gathers herself.          CARON          (CONTINUING)          I have to be quick. There was no          one working the receptors when we          landed, so we hit pretty hard. We          can't leave. We can't take any of          the local transports because...          The bang again.          CARON          (CONTINUING)          There are people... they're not          people... about a tenth of a          percent of the population had the          opposite reaction to the Pax.          Their aggressor response          increased... beyond madness.          They've become...          (MORE)          VJ                                                  96.          CARON (cont'd)          they've killed most of us... not          just killed, they've done...          things.          V0          WASH          (QUIETLY)          Reavers... they made them...          CARON          I won't live to report this, and          we haven't got power to... people          have to know...          (loses it here)          We meant it for the best... to          make people safer... to... God!          She whirls, grabs a gun and fires -- then aims the gun at her           own head - but a Reaver is on her, knocks the gun away and          bites her face --          She screams continuously as the Reaver tops her, biting at          her and tearing at her clothes, at her skin.          JAYNE          (QUIETLY)          Turn it off.          Wash does, nobody saying anything.          10          Mal walks outside.          EXT. RESEARCH VESSEL - CONTINUING          He takes a few unsteady steps away from the vessel. Inara          appears behind him, follows -- he holds a hand out behind          him, seemingly to make her stop, but then he grabs her          shoulder, holds her for support. She puts her hand over his.          MAL          I seen so much death... I been on          fields carpeted with bodies,          friends and enemies -- I seen men          and women blown to messes no          further from me than you.          INARA          Mal...          MAL          But every single one of those          people died on their feet.          Fighting.          (MORE)          V0                                                  97.          MAL (cont'd)          Or, hell, running away -- doing          summat to get through. This is...          40          INARA          Mal, I need your help with this.          I need you to help me, because I          can't --          He looks at her, folds her into his arms. Brings her face to          his, not kissing but touching, pressing into each other with          the urgency of pulsing, necessary life.          INT. RESEARCH VESSEL - CONTINUING          River falls to her knees, vomiting. Simon goes to her, puts          his hand on her back, lets her ride it out.          SIMON          River...          RIVER          I'm all right.          She looks at him, wet eyes full of clarity.          RIVER          (CONTINUING)          I'm all right.          V0          Wash pulls the recording cylinder out of the console.          INT. SERENITY - DINING ROOM - NIGHT          The cylinder is on the table. Mal stands at the head,          looking at his crew.          MAL          This report is maybe twelve years          old. Parliament buried it, and it          stayed buried til River dug it up.          This is what they feared she knew.          And they were right to fear,          'cause there's a universe of folk          that are gonna know it too.          (touches the cylinder)          They're gonna see it. Somebody          has to speak for these people.          He pauses. Everyone waits.          V0                                                  98.          MAL          (CONTINUING)          You all got on this boat for          different reasons, but you all          V0 come to the same place. So now          I'm asking more of you than I have          before. Maybe all. 'Cause as          sure as I know anything I know          this: They will try again. Maybe          on another world, maybe on this          very ground, swept clean. A year          from now, ten, they'll swing back          to the belief that they can make          people... better. And I do not          hold to that. So no more running.          I aim to misbehave.          There is a beat as he eyes them all.          JAYNE          My grandma always told me: if you          can't do something smart, do          something right.          By way of emphasis he loudly cocks his big-ass rifle. Mal          takes in the fact that Jayne has spoken for them all.          MAL          That the same grandma told you          4 there was an evil dwarf spirit          living in your well?          JAYNE          (NODDING)          She was a fun grandma.          SIMON          Do we have a plan?          MAL          Mr Universe. We haven't the          equipment to broadwave this code,          but he can put it on every screen          for thirty worlds. He's pretty          damn close, too.          RIVER          Based on our orbital trajectories,          he reached optimum proximity just          before our sunset. If we make a          direct run within the hour we're          only 67,332 miles out. At full          burn we'd reach him inside of          three- hours .          4                                                  99.          She doesn't notice the reactions to her sudden clarity --          she's still somewhat in her own world.          WASH          Still got the Reavers, and          probably the Alliance between us          and him.          ZOE          It's a fair bet the Alliance knows          about Mr Universe. They're gonna          see this coming.          MAL          No.          He takes a long moment, his jaw tightening imperceptibly.          MAL          (CONTINUING)          They're not gonna see this coming.           CLOSE ON: One of Serenity's jet engines, as it FIRES up.          EXT. CITY - AFTERNOON          Serenity is taking off, leaving the dead place behind.          INT. MR UNIVERSE'S HQ - CONTINUING          He's talking with Mal and Wash again, very animated.          MR UNIVERSE          It's no problem! Bring it on          bring it on bring it on! From          here to the eyes and ears of the          'verse, that's my motto, or it          might be if I start having a motto.          MAL (ON SCREEN)          We won't be long.          MR UNIVERSE          You're gonna get caught in the ion          cloud, it'll play merry hob with          your radar, but pretty pretty          lights and a few miles after          you'll be right in my orbit.          MAL (ON SCREEN)          You'll let us know if anyone else          comes at you?                                                  100.          DROP BACK WIDE to see: The Operative and ten soldiers are in          the room, visible to Mr Universe but not to the screen.          MR UNIVERSE          You'll be the first.          CLOSE ON: the Operative's sword, as he unsheathes it.          EXT. SPACE - NIGHT          We are amongst the Reaver armada. Serenity slices quietly          through the ships, as we come around and see Miranda receding          in the distance.          Serenity drifts through the armada -- and suddenly another          ship fires up, running next to her...          The two ships pace each other, another vessel coming about as          though staring at Serenity, who comes closer and closer to          frame, till we see the suited corpse draped on the cannon.          It suddenly moves: it's Mal.          He swings the cannon round and fires at the ship pacing them.          It BLOWS, fragmenting into burning bits that spiral into          other ships, causing two smaller ones to blow as well.          Mal swings around and fires at another ship.          EXT. SATELLITE - NIGHT          In close orbit waits the Alliance force, at least fifty          strong, and clearly with high tech firepower. We move in on          the Operative's ship, in the middle of the cluster.          INT. THE OPERATIVE'S SHIP - BRIDGE - CONTINUING          As the Operative waits with the others.          HELMSMAN          I'm reading activity in the cloud.          THE OPERATIVE          (into com)          Lock and fire on my command.          (to himself)          You should have let me see her.          We should have done this as men.          Not with fire...          HELMSMAN          Sir!          ,Wd                                                  101.          EXT. SPACE - CONTINUING          It's the Operative's POV: the swirling Ion cloud as Serenity          breaks through and heads at us, fully Reavered out.          INT. THE OPERATIVE'S SHIP - BRIDGE - CONTINUING          He looks confused, then smiles at the ruse. Hits the com:          THE OPERATIVE          Vessel in range, lock on...          (ADMIRINGLY)          Bastard's not even changing          course...          EXT. SPACE - CONTINUING           As Serenity get a bit closer, FIFTY REAVER SHIPS suddenly           burst from the cloud, also heading straight at us.          INT. THE OPERATIVE'S SHIP - BRIDGE - CONTINUING          The Operative -- and everyone around him - goes big-eyed.          THE OPERATIVE          That's not good...          HELMSMAN          (FREAKING)          Sir?          THE OPERATIVE          Target the Reavers!          (into com)          Target the Reavers! Target          everyone! Somebody FIRE!          EXT. SPACE - CONTINUING          Serenity suddenly lists hard to port -- until she's almost          upside down -- the Alliance ships FIRE, missing Serenity but           tagging a few Reaver ships, none of whom have slowed down --          INT. BRIDGE - CONTINUING          Mal is back on the bridge as we look out at the upside down          Alliance fleet, missiles just passing us --          MAL          We're too close for them to arm --          ZOE          This is gonna be very tight --          4                                                  102.          JAYNE          (ENTERING)          Hey look, we're upside down.          V0 Zoe and Mal shoot a look at Jayne.          WASH          (to himself)          I am a leaf on the wind, watch how          I soar.          EXT. SPACE - CONTINUING          Serenity slips right under the Operative's ship and ducks and          weaves between dozens more. The Reaver force hits the          Alliance head on -- and several ships do just that, smashing          into bigger ships kamikaze-style, everything exploding --          The fleet mobilizes, blasting Reaver ships, circling around,          and an air war begins, a frenzied, balletic ecstasy of          destruction that the camera hurtles through as ships and          parts of ships fly at and past it.          ANGLE: SERENITY          She nearly makes it all the way through the alliance fleet          before a barrelling chunk of debris -- which is twice their          size -- forces them to come hard about and remain in the fray.          J INT. BRIDGE - CONTINUING           Mal looks out at the chaos...           MAL           Chickens come home to roost...           They are suddenly JOLTED by a glancing blow from another           ship -- Wash struggles to control her --          MAL          (CONTINUING)          The hell --          WASH          (PANICKY)          It's okay! I am a leaf on the          wind!          MAL          (also panicky)          What does that mean?          4                                                  103.          EXT. SPACE - CONTINUING          Serenity makes her way past the carnage and heads down toward          the tiny satellite moon.          40          INT. THE OPERATIVE'S SHIP - CORRIDOR - CONTINUING          As the vessel shakes, clearly breached, The Operative moves          to a door marked: DART. He puts his thumb to a panel and the          door slides up to reveal a standing, almost formfitting one-          man cockpit.          EXT. THE OPERATIVE'S SHIP - CONTINUING          The Dart disengages and bullets down towards the surface. As          it moves from the Operative's ship, we see that a Reaver          vessel has smashed into the main viewshield, and the ship is          spinning, explosions popping silently all over it.          EXT. SERENITY - CONTINUING          She continues down, the metallic expanse of Mr Universe's          little moon complex sprawling below them. A moment after          Serenity blows through frame, so does a Reaver ship.          It fires an electronic pulse at Serenity and sparks fly.           INT. BRIDGE - CONTINUING          4 WASH           We're fried! I got no control!           INT. ENGINE ROOM - CONTINUING           Sparks -- and arcs of electricity -- are everywhere here.           Kaylee jumps back as she is electrocuted -- Simon runs in and           pulls her out, slams the door shut on the erupting fires.           INT. BRIDGE - CONTINUING           MAL           Where's the back up? Where's the           back up?           He and Wash are frantically flipping buttons -- the ship           whirs to a semblance of life - -           ZOE           Back up reads at 20%..           (to Wash)-          Can you get us down?          WASH          I'm gonna have to glide her in!          40                                                  104.          ZOE          Will that work?          WASH          140 Long as that landing strip is made          of fluffy pillows...          MAL          (on the com)          Everybody to the upper decks!          Strap yourselves to something!          EXT. LANDING STRIP - CONTINUING          We can see it, a long strip, which halfway along becomes a          kind of hanger. Serenity arcs at it uncomfortably fast.          INT. BRIDGE - CONTINUING          Wash is fighting the stick with extreme concentration as Zoe          pulls out a seat as well, straps in.          INT. AFT HALL - CONTINUING          Jayne, Simon and Inara pull harnesses not unlike "Batman the          Ride" seats from the ceiling, help the others in.          EXT./INT. LANDING STRIP/HANGER - CONTINUING          -40 And Serenity HITS the ground -- the landing gear folds and          snaps under the weight -- the ship keeps going, now inside          the hanger, heading towards the entrance to the facility,          slowing, fishtailing and coming about a full one eighty -- it          goes beyond the strip and crashes down into the pedestrian          area, so that the nose is sticking back out at the runway but          the body of the ship is hidden from it.          INT. BRIDGE - CONTINUING          There is a moment of quiet.          WASH          I am a leaf on the wind. Watch --          A massive harpoon CRASHES through the windshield and impales          him to his chair. It's as thick around as a telephone pole.          Wash has time to open his mouth in surprise before he is dead.          WASH!          She moves to him --          40                                                  105.          ZOE          (CONTINUING)          Wash baby baby no, come on, you          gotta move you gotta move baby          VW please --          Mal rips her away and to the floor as another projectile          slams through the window into the wall above them.          EXT. LANDING STRIP - CONTINUING          We see the ship that has fired the harpoons as Reavers start          out of it. A second Reaver vessel enters frame from above,          about to land next to it.          EXT. SERENITY - MOMENTS LATER          The cargo bay door opens -- just the little door housed          inside the ramp -- and Jayne comes out with his biggest gun.          He looks up, toward the edge of the runway, but no Reavers          have arrived yet.          JAYNE          Go!          The entire crew piles out, all heavily bedecked with weapons.          MAL          Head inside!          V0          INT. BLACK ROOM/INNER HALL - MOMENTS LATER          A small double-sized doorway leads to the "Black Room", which          is the entrance proper to the facility.          Mal hits a button and huge, thick, blast doors open from the          sides AND the top and bottom, creating the effect of a square          hole getting bigger. The hall itself is smaller than the          black room, but still has the arrows on the ceiling, that          point to an elevator some fifty feet away.          MAL          Come on. Jayne, rearguard.          Zoe slows, looking around her.          ZOE          Sir.          (he turns to her)          This is a good hold point_          MAL          We all stay together --          44                                                  106          ZOE          No. They have to come through          here; they'll bottleneck and we          can thin 'em out. We get pushed          ,oO          back there's the blast doors.          KAYLEE          I can rig 'em so they won't re-          open once they close.          MAL          Then shut 'em and hide til --          ZOE          We need to draw them til it's          done. This is the place. We'll          buy you the time.          JAYNE          (to the others)          Move those crates back there for          cover -- and make sure they ain't          filled with anything goes boom.          KAYLEE          Wait, Wash -- where's Wash?          Nobody (but River) realized he wasn't there. Zoe is dead calm.          ,No ZOE          He ain't comin'.          Everybody takes that in, Kaylee's eyes welling up.          JAYNE          Move the gorram crates! Come on!          We hear savage SCREAMS from the hanger -- they're          approaching. Mal moves to the door, Jayne beside him.          ANGLE: HIS POV          Reavers rush toward them.          He turns to Jayne.          MAL          Tell me you brought 'em this          time...          Jayne smiles grimly, tosses Mal a grenade as he pops his own          and fastballs it at the Reavers.          J                                                  107.          It explodes in their midst, smoke and man-parts flying about.          Mal rolls his a shorter distance, then slams the door shut.          ANGLE: THE GRENADE          40          Explodes, raining a bunch of equipment -- and part of a          catwalk -- right in front of the door.          In the black room, the door nearly buckles from the          explosion. Everyone takes positions behind the crates. Zoe          stands calmly, her back to the door, loading her sawed-off.          MAL          (continuing; moving          back to Zoe)          Zoe... are you here?          She looks up at him.          ZOE          Do the job, sir.          MAL          You hold. Hold till I'm back.          He takes off -- passes Inara, the two of them holding a look          for as long as they can. Then he's in the elevator and gone.          Jayne moves over to Zoe.          10          JAYNE          Captain's right. Can't be          thinking on revenge if we're gonna          get through this.          ZOE          You really think any of us are          gonna get through this?          He looks back at their army: A companion, a doctor, a          mechanic and a more-than-usually out of it River. A beat,          and he looks back at Zoe with forlorn hope:          JAYNE          I might...          INT. MR UNIVERSE'S HQ - MOMENTS LATER          The elevator stops and Mal makes his way to the island of          screens and machines in the center of the space.          The first thing he takes in is that every broadwave port has          been destroyed. The second:          1                                                  108.          ANGLE: MR UNIVERSE is lying dead, eyes open, half draped on          his equally still lovebot. A trail of blood shows he crawled          from his chair.          V0          Mal comes close. Nothing. He starts to move away again and          the lovebot turns her head, her eyes focusing with an audible          whir. She speaks with surprisingly realistic expressiveness,          and a warped, computery version of Mr Universe's voice.          LOVEBOT          Mal.          Mal stops.          LOVEBOT          (CONTINUING)          Guy killed me, Mal. He killed me          with a sword. How weird is that?          I got... a short span here... they          destroyed my equipment but I have          a back-up unit... bottom of the          complex, right over the generator.          Hard to get to. I know they          missed it. They can't stop the          signal, Mal. They can never stop          the signal.          (BEAT)          Okay this is painful. On many          levels. I'm not --          A0          She turns back, powering down. Recording over.          A beat, and Mal takes off.          INT. BLACK ROOM - CONTINUING          Inara is on her knees, unwrapping the oilcloth we saw in her          shuttle. River is in the corner, clutching her head.          RIVER          I can't shut them up...          SIMON          It's okay... -          RIVER          They're all made up of rage. I          can't...          A BANG as a body slams against the door.          SIMON          Just stay low. I'm right here.          4                                                  109.          Jayne moves past them to Zoe, takes position by her.          JAYNE          She picked a sweet bung of a time          to go helpless on us.          ZOE          (calls out)          Jayne and I take the first wave.          Nobody shoots less they get past          our fire.          Simon moves to Kaylee, who is shaky as hell. The bangs on          the door continue.          KAYLEE          Oh, I didn't plan on going out          like this. I think we did right,          but...          SIMON          I never planned... anything. I          just wanted to keep River safe.          Spent so much time on Serenity          trying to find us a home I never          realized I already had.          She looks at him with soft surprise.          140          SIMON          (CONTINUING)          My one true regret in all this is          never being with you.          KAYLEE          With me? You mean to say, as, sex?          SIMON          (SMILES)          I mean to say.          Kaylee snaps her cartridge home with way more precision than          we might expect from her, takes steady aim at the door.          KAYLEE          Hell with this. I'm gonna live.          Simon looks at her a moment, then turns his attention to the          door.          Inara come up into frame with the contents of the oilcloth:          a bow and arrow, which she pulls back with focused grace.          ANGLE: THE DOOR starts to come off its hinges.          4                                                  110.          INT. MR UNIVERSE'S HQ - CONTINUING          A panel is kicked in from the ceiling and the Operative drops          down, having clearly entered from a different location.          He looks around, carrying a laser-pistol. He moves past Mr          Universe and Lenore --          LOVEBOT          MAL          (The Operative turns)          Guy killed me, Mal.          INT. BASEMENT, OVER THE GENERATOR - CONTINUING          Mal has reached it and surveys the situation.          Before him is a railing, and he can look down on the          generator shaft. It's miles deep, with machines rotating and          grinding, and arcs of electricity ricochetting around it.          On the other side is a platform, with the broadwave console          sitting behind a clear plastic partition. Cables and chains          run along the ceiling, around a series of ladder rungs.          MAL          Hard to get to. That's a fact.          INT. BLACK ROOM - CONTINUING          lw�          The door is pried partially open -- enough for one Reaver to          squeeze through and charge.          Zoe stands up and shoots him in the head. He arcs back hard          as the second comes, Zoe shoots him, calmly walking toward          the door --          JAYNE          Zoe... Gorramnit...          But she is in a trance, and we see beneath the calm, to the          bubbling magma of rage that keeps her firing, single shots,          each one a kill, till five men down and she's out of ammo.          The sixth comes at her swinging a blade and she blocks, the          precision of military training still in her as she flips him,          wresting the blade free and swinging it down out of frame,          bringing it up bloody, swinging again as the door bursts open          and she's rushed from behind ---           But Jayne totes an automatic, sprays killing fire on the lot,          moving forward himself --          J                                                  JAYNE          (CONTINUING)          ZOE! Get yer ass back in the line!          vo� She looks up, almost confused -- and one of Jayne's targets          comes back off the ground and slices at her back with a          blade, she screams as he cuts deep -- and an arrow lodges in          his neck.          Inara pulls up a fresh arrow, shaking only slightly.          INT. BASEMENT, OVER THE GENERATOR - LATER          Mal is on the railing, reaching for the 'rungs' on the          ceiling just above him. He can almost get them -- one wrong          move and he pitches into the jaws of death...          A laser shot nails him in the lower back -- he arches, legs          sliding off the rail -- he falls and hits the rail with the          backs of his legs, flipping painfully onto his face as he          falls, mercifully, back onto the platform.          The Operative comes around some equipment for a closer shot          as Mal gets shakily up.          MAL          (in pain)          Shot me in the back. I haven't...          made you angry, have I?          I s          THE OPERATIVE          There's a lot of innocent people          in the air being killed right now.          MAL          You have no idea how true that is.          There's no wise-ass attitude in him now. They stand, facing          off at ten paces.          MAL          (CONTINUING)          I know the secret now. The truth          that burned up River Tam's brain          and set you after her. And the          rest of the 'verse is gonna know          it too. 'Cause they need to.          THE OPERATIVE          You really believe that?          MAL          I do.          4                                                  112.          THE OPERATIVE          You willing to die for that belief?          MAL          V0          I am.          The Operative raises his gun -- but Mal is the quickdraw          master, shoots the gun out of the Operative's hand and gets          two hits to the chest (armored) before he makes it to cover.          MAL          (CONTINUING)          Of course, that ain't exactly plan          A..          He drops out his cartridge and slams another in.          The Operative hides behind some machinery. Tries to peek out          at Mal -- and more shots send him scrambling back to cover.          Mal holsters his gun and jumps for the rung above him, starts          going hand over hand to the island, moving as fast as he can.          The Operative sees his moment, dives for his gun -- but it's          been ruined by Mal's shot. He looks over at Mal with death          in his eyes. He runs at the railing, vaults off it, and          grabs a chain -- it snaps and he swings, grabbing another.          He reaches Mal and double kicks him from behind -- Mal flies          4 off the rung but grabs a chain -- he tries to kick at the          Operative, but the guy is frikkin' Tarzan, he climbs up and          pulls a lever releasing one end of Mal's chain -- Mal goes          swinging, smacks into the wall six feet below the platform.          He scrambles up just as the Operative swings himself toward          the platform from above.          INT. BLACK ROOM/INNER CORRIDOR - CONTINUING          Jayne is still firing continuously as he drags Zoe back to          the barricades. Simon moves to help -- Kaylee firing now,          squinting with effort -- and pulls open the cut back of Zoe's          shirt, checks the wound.          SIMON          Spine's intact --          ZOE          Just gimme a bandage.          Simon pulls a spraycan from his bag, sprays the wound with a          foam that hardens instantly into an elastic covering.          40                                                  113.          There are a few gun shots (as well as nail-balls and blades)           from the Reavers. Jayne switches weapons, tossing another to          Zoe and opening fire --          A0          JAYNE          Oh, now you're likin' guns, huh?          Cheaters!          He takes a hit in the shoulder, grimaces and keeps firing.          River watches, the gun limp in her hand. Kaylee grabs it and          starts another round -- but she's peppered with dart-like          projectiles. She screams and drops the weapon, pulling the          projectiles from her -- Inara helps her up, pulls her back as          Zoe shouts:          ZOE          Everybody fall back! Fall back!          Everyone stumbles or is dragged into the inner corridor.          Inara hits the controls and the doors start to close, from          each side and above and below. Then, when the hole is maybe          four by four, they stop.          ZOE          (CONTINUING)          Jayne! Grenade!          JAYNE          Very last one...          He tosses it through the hole. Zoe doesn't even flinch from          the blast as she thinks.          ZOE          They're gonna get in --          KAYLEE          Can close it... from outside...          ZOE          No one's coming back from that...          She tries to stand, fails.          ZOE          (CONTINUING)          How much ammo do we have?          JAYNE          We got three full cartridges and          my swingin' cod. That's all.          Inara is by the elevator, pounding for it to come.---          40                                                  114.          INARA          Lift isn't moving...          ZOE          When they come, try to plug the          hole with 'em...          Kaylee cries out and Simon moves to her.          KAYLEE          I'm starting to lose some feeling          here... I think there's something          in them darts they throwed at me.          SIMON          Lie still. I'm gonna give you          something to counteract the --          He stands, looking around him. His bag is over by Zoe.          SIMON          (CONTINUING)          My bag.          and SHKOWW!, the bullet takes him in the belly -- everything          suddenly moving very slowly as he spins slightly, one foot          lifted, a confused expression on his face -- then speeding          right back up as he slams down on his back, gasping for air.          River's mouth opens in a scream she doesn't make.          Blood spreads from Simon's belly. Inara rushes to him, grabs          cloth and puts pressure on the wound, puts Simon's hand on it.          INARA          Keep pressure here...          SIMON          My bag. Need... adrenaline... and          a shot of calaphar for Kaylee...          I can't... River...?          She is by his side, takes his hand. She has a kind of          serenity to her, like she understands something now.          SIMON          (CONTINUING)          River... I'm sorry...          RIVER          No. No.          The lights go out. Everyone looks about them. Jayne fires          again, but all the sound has bled out save these two.          4                                                  115.          SIMON          I hate to... leave...          RIVER          You won't. You take care of me,          Simon. You've always taken care          of me.          She stands as the emergency lights come on, giving her face          an unearthly glow as she looks down at him.          RIVER          (CONTINUING)          My turn.          She's running so fast, nobody has time to react til she DIVES          through the hole in the doors, then Simon SCREAMS her name,          the scream following us back into the Black Room where River          lands in a perfect roll, comes up in a room full of Reavers.          Without a moment's hesitation she makes it to the panel, gets          the doors closing. She dodges a blade, but a blow to,the          back of the head shakes her. She weaves around a couple of          Reavers to get to the closing doors, but at the last second          her ankle is grabbed and pulled out from under her.          The last thing we see is her being dragged back as they swarm          over her.          ANGLE: THE BLAST DOORS, as they shut with a shuddering RLUNG.          INT. BASEMENT, OVER THE GENERATOR - CONTINUING          Mal gets up the chain to the platform. The Operative is on          Mal before he gets his footing, tackles him as Mal's gun goes          skittering over the edge into oblivion. There is a railing          here or Mal would go over as well -- but he comes back with          a couple of hammer blows, gets the Operative off him.          They square off, Mal stumbling back into a tool chest,          knocking over tools and computer parts.          The Operative reaches behind him and pulls his sword          gracefully from the holster under his jacket.          Mal produces his weapon: a tiny screwdriver.          He hurls a toolbox at the Operative and rushes him, gets          inside sword range and tries for the neck with the          screwdriver -- the Operative blocks it and works the sword          point against the edge of Mal's stomach. Starts pushing          slowly, despite Mal's resistance, and breaks skin.          MO                                                  116.          Mal looks at the Operative a moment -- and the sword slides          all the way through Mal's belly. Mal's eyes go wide.          THE OPERATIVE          You know what your sin is, Malcolm?          MAL          (shaky smile)          Aw hell, I'm a fan of all seven.          He headbutts the Operative viciously, then punches him so          hard he staggers back, losing his grip on the sword. The          Operative responds with a spin kick -- Mal holds up the          screwdriver and the Operative swings his foot right into it,          gasping as Mal pulls the screwdriver -- and leg it's stuck          in -- back as he rockets his fist into the Operative's chin.          The Operative goes down hard, dazed, as Mal grabs the sword          still in his belly.          MAL          (CONTINUING)          But right now...          He pulls the sword out, grimacing. Holds it over the          Operative. The smile gone.          MAL          (CONTINUING)          vao I'm gonna have to go with Wrath.          He stabs down at his foe's face -- but the Operative rolls          out of the way, kicks Mal from the ground and is up in a          second, grabbing Mal's sword hand -- the sword drops -- and          punching him repeatedly in his stomach wound.          INT. INNER HALL - CONTINUING          The gang is subdued -- because they are all of them injured          and Simon is slipping away. Jayne looks at Zoe.          JAYNE          You suppose he got through? Think          Mal got the word out?          ZOE          (almost convincingly)          He got through. I know he got          through.          VO                                                  117.          INT. BASEMENT, OVER THE GENERATOR - CONTINUING          Mal goes down hard, spitting up blood. He sees the sword,          moves -- but the Operative kicks him in the face. Picks him          lod up, Mal too tired to throw a decent punch.          THE OPERATIVE          I'm sorry.          The Operative spins him and DIGS his bunched fingers right          into the same nerve cluster that he paralyzed Doctor Mathias          with. Mal goes rigid, his face a rictus of pain.          The Operative goes near the railing and retrieves his sword.          Mal trembles, trying to move -- but nothing happens.          THE OPERATIVE          (CONTINUING)          You should know there's no shame          in this. You've done remarkable          things. But you're fighting a war          you've already lost.          He lunges -- and Mal twists gracefully out of the way,          grabbing the Operative's swordhand and pulling it forward --          while driving his elbow into the Operative's neck with          staggering force.          MAL          Iwo Well, I'm known for that.          The Operative drops the blade, mouth open, stumbling back,          unable to make a sound.          Mal spins him, grabbing both his arms and working his own          through them in a twisted full nelson -- then bringing his          arms up suddenly, the Operative's mouth going wider as we          hear his arms crack.          Mal drops him sitting against the railing, picks up his          sword, saying:          MAL          (CONTINUING)          Piece a shrapnel tore up that          nerve cluster my first tour. Had          it moved.          He squats down, looks the Operative in the face.          VO                                                  118.          MAL          (CONTINUING)          Sorry 'bout the throat. Expect          you'd wanna say your famous last          MW words now. Just one trouble.          He reaches over the railing, pulls the back of the          Operative's jacket through and shoves the sword through the          fabric, pinning the Operative in his sitting position.          MAL          (CONTINUING)          I ain't gonna kill you.          He moves to the console, starts prepping it.          MAL          (CONTINUING)          Hell, I'm gonna grant your          greatest wish.          He inserts the cylinder, turns it slightly. It hums to life.          MAL          (CONTINUING)          I'm gonna show you a world without          sin.          He hits "send all". The cylinder lights up and the broadcast          V0 begins. Here it is projected as a two-dimensional image on           the clear plastic partition, right in front of the Operative.           There are images first of the city -- of bodies, on the           street, in homes and offices... image after image, jus.t as           we saw on the research vessel -- and in River's mind.           CARON (V.0.)          These are some of the first sites          we scouted on Miranda. There is          no one living on this planet.          There is no one...          Mal hits the controls and a ramp extends towards the other          side. He begins to cross. Never even looks back.          On the Operative, trapped, watching in growing horror...          INT. BLACK ROOM - CONTINUING          CLOSE ON: A Reaver in EXTREME SLOW MOTION. Face full of          fury, he is swinging his blade in a frenzy of hate.          And a small hand smashes that face so hard that teeth fly --          the Reaver clearing frame to reveal:          4                                                  119.          River.          She is bloodied, but not killed. She's as she was in the          bar -- moving faster and more efficiently than anyone can,          ducking and weaving and gutting and kicking and there are          piles of Reavers already, she never breaks concentration as          she uses their own blades against them, throws them, does          everything in her power to stay one step ahead of -- or          above -- the mob.          She slams backwards into a wall opposite the blast doors --          and a grappling hook punches through it, just missing her.          INT. BASEMENT, OVER THE GENERATOR - CONTINUING          The Operative watches the end of the broadcast. We are on          his face through the clear plastic, so the images projected          on it blur right before him: the Reaver, Dr. Caron -- and her          screaming doesn't stop til something is shoved in her mouth.          INT. INNER HALL - CONTINUING          The gang is still trying to patch themselves together when          the elevator doors open. Mal staggers out, holding his          bleeding side.          ZOE          Sir?          140 MAL          It's done. Report?          Zoe looks at the badly wounded Simon, is about to give a          report -- and the doors start to open behind her.          Everyone turns to look, those who can feebly raising weapons,          as the square iris of the opening blast doors widens to          reveal River, standing alone. She is holding two Reaver          blades, is bloody but unbowed. And the only one alive.          We hold on her a moment, then the wall behind her is ripped          completely away.          Behind it, grappling hooks chained to a huge tractor pull the          wall away as through the smoke come some fifteen Alliance          soldiers, who line up, rifles trained on our gang...          SOLDIER          Drop your weapons! Drop 'em now!          ANOTHER SOLDIER          Do we engage? Do we engage?          4                                                  120.          Mal and the others tense up. River turns slowly to face the          soldiers, blades still gripped... A soldier levels his gun at          her, sweaty and frantic... others still shouting...          vp INT. BASEMENT, OVER THE GENERATOR - CONTINUING          The Operative sits in silence, the voices coming over his com:          SOLDIER (O.S.)          Targets are acquired! Do we have          a kill order? Do we have an order?          INT. BLACK ROOM - CONTINUING          CLOSE ON: THE SOLDIER'S FINGER, SQUEEZING THE TRIGGER...          BLACK OUT.          EXT. DESERT PLANET - SUNSET          We are close on a gravestone. It is rounded, looks more like          a bell than a headstone. It is topped by a jar built'into          the stone. The jar is weathered tin at top and bottom, but          glass in the middle. Inside the glass we can see one of          those slightly moving photos. It is of Mr Universe and his          lovebot, and the name Mr Universe is carved roughly in the          stone beneath.          The camera moves to the right and we see another such stone,          40 this one bearing the image and inscription: Shepherd Derrial          Book.          The third is Hoban Washburne. Wash.          The camera continues moving right, but the next stone houses          a small home-made rocket with pieces of paper taped to it          instead of a picture-jar. And fixing another slip of paper          to it is River.          She moves away from the stone as Mal does likewise. They're          flanked by the crew: Jayne, Inara (to whom Mal moves),          Simon, who stands holding River before him and hand in hand          with Kaylee. He has a crutch supporting his other side.          There is a moment, then they all move aside, saying nothing.          Between them walks Zoe, in a simple white funeral gown,          holding a burning taper.          She stands at the stones a moment, then holds the taper to          the rocket fuse. Stands back with the others.          The rocket shoots up into the darkening sky. They all watch          its sputtering tail a moment, then it it explodes in a series          of fireworks.          40                                                  121.          WIDE ON the group, as the fireworks go off over their heads.          We are close on another explosion when it becomes:          CLOSE ON: A BLOWTORCH spitting sparks. Widen to see:          EXT. REPAIR YARD/SERENITY - DAY          Zoe is harnessed to the nose of the ship, welding on a          replacement for the very window the harpoon that impaled Wash          came through.          INT. DUCT INSIDE SERENITY - DAY          We are close on River as she works inside a crawlspace just          above the engine room, replacing wires. Some of them run to          a computer screen that she checks and adjusts.          EXT. REPAIR YARD/TOP OF SERENITY - DAY          Mal and Jayne hold onto the cannon as a crane is lifting it          off the top of the ship.          Close on Mal as he watches it go...          WIDER ANGLE:           EXT. REPAIR YARD - CONTINUING          t f o And here we see the whole ship for the first time, harnessed          by the wings above the ground so she can be worked on all          over. The cannon is being hoisted away from her as a crew of          repairmen wheel new landing gear under her belly.          INT. ENGINE ROOM - DAY          Kaylee, deeply greasy, tweaks a part on the engine and          crosses to the back where Simon, shirtless and not entirely          ungreasy himself, is wrenching a bolt into place above his          head. A moment looking at him and she can't help herself -          she slides her arms around his chest...          EXT. SERENITY - DAY          On a scaffold, Inara repaints the name on the nose with          elegant precision.          INT. ENGINE ROOM - DAY          Kaylee and Simon are just making out like fiends, work          completely forgotten. With nothing resembling elegant          precision, they sink out of frame to the floor.          V0                                                  122.          A beat, and River's head appears from the crawlspace above,          looking down at them with detached curiosity.          EXT. REPAIR YARD/SERENITY - DAY          It's raining as Mal is hauling in the last of the repair          equipment. The camera moves around him, skirting the ground          of the junkyard, till it lands on a figure in foreground,          standing watching him from some twenty feet away.          Mal stops, doesn't turn. Hand near his gun.          MAL          If you're here to tell me we ain't          finished... then we will be real          quick.          The Operative stands just under the canopy of the nose of the          ship, framed by the rain behind.          THE OPERATIVE          Do you know what an uproar you've          caused? Protests, riots -- cries          for a recall of the entire          Parliament.          MAL          (TURNING)          We've seen the broadwaves.          THE OPERATIVE          You must be pleased.          MAL          'Verse wakes up a spell. Won't be          long 'fore she rolls right over          and falls back asleep. Taint my          worry.          THE OPERATIVE          I can't guarantee they won't come          after you. The Parliament. They          have a hundred men like me and          they are not forgiving.          MAL          That don't bode especially well          for you... giving the order to let          us go, patching up our hurt...          THE OPERATIVE          I told them the Tams were no          longer a threat -- damage done.          (MORE)          VO                                                  123.          THE OPERATIVE (cont'd)          They might listen, but... I think          they know I'm no longer their man.          W MAL          They take you down, I don't expect          to grieve overmuch. Like to kill          you myself, I see you again.          THE OPERATIVE          You won't. There is...          (small, grim smile)          .nothing left to see.          Mal looks at him a moment, then picks up his gear to head          inside. The Operative starts away into the rain, then stops          to look up at the nose of the ship.          ANGLE: the newly painted Serenity, standing tall in the rain.          THE OPERATIVE          (CONTINUING)          "Serenity". You lost everything          in that battle. Everything you          had, everything you were... how          did you go on?          Mal hits the button to close the inner doors, steps inside as          they slide together. Glances at the Operative, unimpressed.          VAO          MAL          You still standing there when the          engine starts, you never will          figure it out.          The Operative watches the door shut. A moment, and he goes.          INT. CARGO BAY - CONTINUING          Mal stows the gear as Zoe approaches.          MAL          (to himself)          What a whiner...          ZOE          Sir, we have a green light.          Inspection's pos and we're clear          for upthrust.          MAL          Think she'll hold together?          J                                                  124.          ZOE          She's tore up plenty. But she'll          fly true.          VW          A beat between them before:          MAL          Make sure everything's secure.          Could be bumpy.          ZOE          Always is.          She takes off and Mal heads up the stairs.          INT. FOREDECK HALL - CONTINUING          Mal comes in and runs into Inara. Jayne passes through as          they talk, heading down into his bunk. Pays them no mind.          Neither do Simon and Kaylee, in the dining room stowing          supplies.          MAL          We're taking her out. Should be          about a day's ride to get you back          to your girls.          INARA          Right.          VW          MAL          (moving past her)          You ready to get off this heap and          back to a civilized life?          INARA          I, uh...          (he stops)          I don't know.          He looks at her, a smile in his eyes.          MAL          Good answer.          He turns and heads into the bridge.          INT. BRIDGE - CONTINUING          Mal eases himself into his seat. Takes a moment to adjust          one of Wash's dashboard dinosaurs, then looks to his left.          4                                                  125.          MAL          You gonna ride shotgun, help me          fly?          V0 River is in the copilot's seat, looking intently at the          screens and buttons.          RIVER          That's the plan.          MAL          Think you can work out how to get          her in the --          She is flipping switches without even looking, as the ship          hums to life.          EXT. SERENITY - CONTINUING          Her engines fire up and tilt. She lifts gently off the          ground.          INT. BRIDGE - CONTINUING          Mal looks slightly, only slightly nonplussed.          MAL          Okay, clearly some aptitude for          the... but it ain't all buttons          A0 and charts, .          You know what the first rule of          flying is? Well, I suppose you          do, since you already know what          I'm about to say.          RIVER          I do. But I like to hear you say          it.          He looks out at the rain on his windows, at his screens,          taking her up as he says:          MAL          Love. You can learn all the math          in the 'verse, but you take a boat          in the air you don't love, she'll          shake you off just as sure as the          turning of worlds. Love keeps her          in the air when she oughta fall          down, tells you she's hurting          'fore she keens. Makes her a home.          River also looks out at the sky.                  126.          RIVER          Storm's getting worse.          MAL          We'll pass through it soon enough.          EXT. SERENITY - CONTINUING          As we shoot up with her through sheeting rain, towards the          top of the sky.          EXT. SPACE - MOMENTS LATER          We are looking down on the stormclouds as Serenity bursts out          of them, comes at us, flared by the sun behind the planet as          she passes us, her Firefly effect lighting up, about to shoot          off into the heavens --          There is a spark and a piece of paneling pops off, whips at          camera, blacking out the frame.          MAL (0. S . )          What was that?          THE END
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+SERIAL MOM by John Waters Second Draft: July 22, 19921. Film opens with prologue title: "This is a true story. The screenplay is based on court testimony, sworn declarations, and hundreds of interviews conducted by the film-makers". Fade out. Fade in to second prologue title: "Some of the innocent characters' names have been changed in the interests of a larger truth". Fade out. Fade in to final prologue title: "No one involved in the crimes received any form of financial compensation". Fade out.2. Establishing shot of upper-middle class suburban home. We hear on the soundtrack the daily morning chatter of a family rushing to get to work and school. Subtitle appears: "2815 Calverton Court. The Sutphin Family". Fade out. Second subtitle fades in: "Friday, September 18th, 1992. 7:08am". Fade out.3. Interior cheery, bright SUTPHIN kitchen. CREDITS BEGIN. MOM, BEVERLY, a trim, fortyish, pretty Betty Crocker of the 90's, grabs the toast as it pops up and butters it. She waves cheerfully out the kitchen window to the passing GARBAGEMEN on the back of a Baltimore County garbage truck and then turns to her husband and children and expertly begins to serve breakfast. DAD, EUGENE, the ultimate nice guy and a dentist by trade, divides the morning paper up between himself and son CHIP, a cute semi-hip kid who is still in high-school. Daughter, MISTY, a pretty and slightly overweight college student, frantically prices the junk she plans on selling at the flea market after classes while gulping down a light breakfast. MOM Who wants fruit salad? MISTY I do, please. MOM (Hesitating) That's not gum in your mouth, is it? MISTY (Removing it) It's sugarless. MOM (Gently) You know how I hate gum, Misty. All that chomping and cheesing... (Begins serving her) MISTY Sorry, Mom. Thanks. (To her brother, as she prices a record album) Hey, Chip, think I could get 50c for Vanilla Ice. CHIP I wouldn't give ya a nickle. MISTY (Dreamily) Carl can't believe how much I make at swap meets. MOM (Rolling her eyes good-naturedly) And who may I ask is Carl? MISTY Just a boy. He's picking me up this morning. CHIP Here we go again. MISTY He's really cute! MOM (Watching the cute little birds nibbling seed from the bird-feeder in kitchen window) Cute is not enough, Misty. You know that. CHIP She sure can pick 'em! MISTY (Exasperated) He goes to college with me! DAD Leave her alone, Chip. (To MOM) I think it's great she has a new beau, Beverly. MOM smiles kindly, picks up a box of cereal in each hand and turns to the family. MOM Cereal anybody? Title "SERIAL MOM" appears on the screen. DAD Just a little, please. Bad for the teeth. CHIP Always the dentist. MOM Chip, honey? CHIP Thanks, Mom. As MOM serves the cereal, she spots a lone fly as it lands on the butter dish. Without letting on to her family, she grabs a flyswatter and begins stalking the fly with a terrifying intensity, its buzzing enough to make MOM's head explode. DAD (Reading paper) Look at this! (Reading out loud in disgust) "Hillside Strangler gets his college degree in prison!" MOM (Preoccupied, stalking fly) That's nice. DAD Nice?! He should have been executed! MISTY He killed people, Mom. MOM (To herself) We all have bad nights. (Gets ready to swat, but fly buzzes off) CHIP (To MISTY) You'd probably date him! (Mimicking her) He's cu-uuute! Hey, Dad, did you ever see "Henry, Portrait of a Serial Killer?" DAD I certainly did not. MISTY You've been working in that video shop too long. DAD And all that gore better hadn't be interfering with your schoolwork. MOM stalks fly as it lands on CHIP's toast as the rest of the family remains oblivious to MOM's building anger. CHIP I do great in school, Dad. (Eats toast as fly buzzes off) A sickened and rage-filled MOM stalks the fly to DAD's orange juice glass where it secretes on the rim in closeup. DAD Well, your mother's going to PTA today. We'll see what your teacher has to say. (Takes a big gulp as fly buzzes away) CHIP (Giving a pleading look to MOM as the buzzing of the fly builds in intensity on the soundtrack) Aw, Mom! I hate Mr. Stubbins! MOM (Moving in for the kill, hissing the words in a rage) Don't say the word "hate", honey. "Hate" is a very serious word! MOM swats violently and we see fly splat in bloody closeup. ("Directed by John Waters" credit appears). Family is suddenly silent as they uneasily look up in surprise at MOM's ferocious attack. MOM quickly wipes up squashed fly and smiles back at her family. MOM There. All better. (Suddenly all innocence) Anybody for scrambled eggs? END OF CREDITS. A loud banging is heard on the back door. MOM jumps up guiltily. DAD (Getting up from table) Who on earth...? MOM opens door to two police detectives in plain clothes. DETECTIVE MOORE is younger and more rugged than the older more world-weary DETECTIVE BRADFORD. DET. MOORE Mrs. Sutphin? MOM (Nervously) Yes? DET. MOORE (Shows badge) I'm Detective Moore and this is Detective Bradford. Subtitle appears "7:26am" and then fades out. DAD (Taking over) I'm Dr. Eugene Sutphin. What's the trouble, officer? CHIP (Excitedly) Is there a killer loose? DET. MOORE No son, nothing that exciting. MOM This is my son, Chip...and my daughter, Misty. MISTY (Inappropriately making eyes at the younger cop) Hi! CHIP (Seeing MISTY flirting) Jeeezzz! MOM Det. Bradford, I'm sorry but we don't allow gum chewing in this house. (Hands him a paper napkin) DET. BRADFORD (Spitting his gum into paper napkin) Sorry, ma'am. (To MOM and DAD, taking out an envelope) We're investigating obscene phone calls and mail threats to a certain Mrs. Dottie Hinkle. MOM I know Dottie! DAD She lives right down the street. DET. BRADFORD Could you take a look at this... DET. MOORE ...And tell us of anybody who might be responsible? DET. BRADFORD (As he hands note to MOM and DAD) I should warn you...this note contains LANGUAGE. MOM and DAD open note. In cut-out letters from a magazine it reads: "I'LL GET YOU PUSSY FACE!" MOM (Recoiling) Oh God, really! (Hands it back to cop) This is the limit! CHIP Let me see! DAD Sorry, son. (In disgust) This is a matter for adults. MOM Officers, I've never said the P-word out loud, much less written it down! DAD No woman would! MOM (Seeing cute little bird land on window feeder) Look officers! Life doesn't have to be ugly. (In baby-talk) See the little birdie? Listen to his call. (Imitating bird call) Peter Pan! Peter Pan! Peter Pan! CHIP and MISTY roll their eyes in embarrassment as bird calls back to MOM. BIRD Peter Pan! Peter Pan! Peter Pan! DAD smiles proudly as detectives look at MOM in amazement.4. EXTERIOR SUTPHIN HOUSE. A convertible pulls into driveway driven by CHIP's best friend, SCOTTY BARNHILL, a handsome but sullen red-necky teen. Next to him is CHIP's girlfriend, BIRDIE STUART, a sexy tom-boy with lots of savvy. Subtitle appears: "7:41am" and then fades out.5. INTERIOR SUTPHIN KITCHEN. MOM Chip, your ride is here. DAD (Looking at his watch) Hey, I'm late for work. Bye, honey. (Kisses MOM goodbye)6. EXTERIOR SUTPHIN HOUSE. All exit. DET. MOORE Thanks for your time, everybody. MISTY (Sighing) Bye, Detective Moore. BIRDIE (Leaping out of convertible) Hi, Mr. and Mrs. Sutphin. DAD (To cops, getting into his car) That's Birdie. She's a horror nut just like my son. MOM (Fondly) Good morning, Birdie. This is Detectives Moore and Bradford. BIRDIE (Overdramatic, feigning horror) I didn't do it! I swear! Don't lock me up! I'll take a lie detector! (Kisses CHIP) (Good-naturedly to COPS) Hi ya, boys! MOM (Sarcastically to a sullen SCOTTY in car) Good morning Scotty! SCOTTY guiltily looks up from vintage Betty Page pin-up mag he's reading and toots horn defiantly in response as MOM grits her teeth. BIRDIE Hey Misty, look what I got! (Pulling it out of bag) A Pee Wee Herman Doll. Can you sell it for me at the flea market? MISTY (Impressed) Wow! Still in the box! I sure can! (Looks up and sees a Trans Am speeding towards the house) Oh God, here comes Carl! DAD pulls off in his car and almost collides with CARL as he aggressively manoeuvres his car up the driveway. CARL PADGETT, a handsome jock climbs out of his car. CARL (To MOM) You must be Mrs. Sutphin. I'm Carl Padgett. MOM Misty's date... CARL More of a friend really... MISTY looks hurt. MISTY (To CARL) See what Birdie gave me to sell at the flea market? CARL (Sneering at Pee-Wee) That guy's a weirdo. MOM'S smile freezes on her face as CHIP and BIRDIE hop in SCOTTY's convertible. MOM (Pointing to SCOTTY and calling out to COPS as they get into their car) Now there's something you should be interested in, detectives. A grown boy who doesn't wear his seat belts! SCOTTY gives MOM a hateful look and peels out.7. DISSOLVE TO SUBURBAN STREET. DET. MOORE and DET. BRADFORD sit in their unmarked police car, drinking coffee and filling out police reports. DET. BRADFORD (Once again chewing gum) Christ, that one was Beaver Cleaver's mother. (Imitating her) Peter Pan! Peter Pan! Peter Pan! DET. MOORE (Good-naturedly) Oh, leave her alone. Mrs. Sutphin's about as normal and nice a lady we're ever going to find.8. INTERIOR BEVERLY AND EUGENE SUTPHIN'S BEDROOM. MOM is sitting on bed, dialing phone with a determined expression on her face. Subtitle appears: "9:37am" and fades out. In split screen, DOTTIE HINKLE, the harrassed middle aged neighbor, looks at her ringing phone in her living room with suspicion and finally answers. DOTTIE (Angrily) Hello. MOM (Speaking in disguised voice) Is this the Cocksucker residence? DOTTIE (Rising to the bait every time) Goddamn you! STOP CALLING HERE! MOM Isn't this 4215 Pussy Way? DOTTIE (Furious) You bitch! MOM Let me check the zip - 212 Fuck you? DOTTIE The police are tracing your call right this minute. MOM Well, Dottie, how come they're not here then, Fuck-Face? DOTTIE (Red with rage) FUCK YOU! (Slams down phone) MOM giggles to herself like a little kid and immediately redials the phone.9. EXTERIOR SUTPHIN HOUSE. BACK DOOR. ROSEMARY ACKERMAN, MOM's frumpy, brittle, busy-body next door neighbor, is knocking on door, carrying a sewing basket. MRS. ACKERMAN (Calling out) Beverly? Beverly darling? You home? (She lets herself in) I know you are...10. INTERIOR MOM'S BEDROOM. MOM is laughing to herself listening to ringing phone while MRS. HINKLE, on split-screen, tries not to answer. Finally she lunges for it. DOTTIE (Answering) FUCK YOU TOO, YOU ROTTEN WHORE!! MOM (Disguising her voice in prim manner) I beg your pardon? DOTTIE (Horrified but suspicious) Who is this? MOM Mrs. Wilson from the telephone company. I understand you're having problems with obscene calls. DOTTIE (Mortified) Yes, I am...I'm sorry Mrs. Wilson.. It's driving me crazy...I've changed my number twice already... Please help me!11. INTERIOR SUTPHIN KITCHEN. ROSEMARY ACKERMAN walks through kitchen, wipes a finger on window ledge to check for dust and calls out Beverly's name.12. INTERIOR MOM'S BEDROOM. MOM doesn't hear MRS. ACKERMAN as she continues her phone conversation with MRS. HINKLE. MOM (Still the fake telephone company representative) What exactly does this sick individual say to you? DOTTIE I can't say it out loud. don't use bad language.13. INTERIOR MOM'S LIVING ROOM. MRS. ACKERMAN looks up at huge oil portrait of MOM in ornate frame hanging over couch and calls out Beverly's name. Hearing muffled voices behind MOM'S closed bedroom door at the top of the steps, MRS. ACKERMAN begins to creep up the steps.14. INTERIOR MOM'S BEDROOM. Split screen with MOM and DOTTIE HINKLE. MOM (Still impersonating) I know it's hard but we need the exact words. DOTTIE Alright, I'll try... (Primly) "Cocksucker". That's what she calls me. MOM (Laughs hideously, begins speaking in her scary voice) Listen to your dirty mouth, you fucking whore! DOTTIE (Ballistic) GODDAMN YOU!15. INTERIOR HALLWAY OUTSIDE MOM'S BEDROOM. MRS. ACKERMAN hears muffled shouts and reaches for door handle.16. INTERIOR BEDROOM. SPLIT SCREEN BETWEEN MOM AND DOTTIE. DOTTIE MOTHERFUCKER!! MOM COCKSUCKER! (Slams down phone) MRS. ACKERMAN barges right in bedroom, almost catching MOM who expertly snaps back to normal without missing a beat. MRS. ACKERMAN Beverly, are you alright? MOM Rosemary, honey. Good morning. I'm fine. (Taking the sewing basket) Thanks for remembering. MRS. ACKERMAN It's the least I could do. (Suspicious) I heard shouting. MOM opens sewing box to reveal a pair of gleaming sewing scissors. MOM (Slamming it shut) Just the damn cable TV company. You know how they are. Did you hear about Dottie Hinkle? MRS. ACKERMAN Yes, I did. It's terrifying! The police were at my house this morning. MOM Who on earth would want to harrass poor Dottie Hinkle?17. EXTERIOR DOTTIE HINKLE'S SUBURBAN HOUSE. DOTTIE HINKLE, still angry and occasionally cursing to herself, digs in her prize flower garden out front of her house behind ornamental wishing-well on front lawn. Subtitle appears: "2:15pm" and then fades out. Cut to MOM, driving happily by in her station wagon as she waves to DOTTIE. DOTTIE sees MOM, tries to look cheerful and waves back. Cut back to MOM who looks in her rear view mirror, sees she's not being followed and suddenly screeches car into a U-turn as MOM's "Psycho Theme" plays on soundtrack MOM's face turns to stone as ripple flashback effects dissolve to that fateful day in the mall when MOM pulled up to parallel park and DOTTIE HINKLE stole her place from behind. Ripple effects dissolve to the present as the wheels of MOM'S car skid to a stop. The car door opens and MOM's sensible shoes step out as "Mom Psycho Theme" builds. MOM closes car door quietly, watches DOTTIE HINKLE up the street undetected and then takes the scissors from her purse and hides them up her sleeve. As MOM sneaks up street towards DOTTIE, intercut are obsessional flashbacks of details of the traumatic parking place incident; MOM'S POV of DOTTIE pulling into space, DOTTIE'S maddening nonchalance as she snottily gets out of her car and trots right past MOM without the slightest apology, MOM'S sputtering face paralyzed with anger when she realizes there is nowhere else to park. Back in the present, MOM starts walking faster and faster as she sees DOTTIE begin to pack up her gardening tools to go back inside her house. Arriving just a second too late as DOTTIE closes the door behind her, MOM spots a can of gasoline near DOTTIE's lawnmower. Thinking fast, MOM dumps gas on DOTTIE's mail in the mailbox on porch, lights it on fire and runs from the flames, happily throwing a coin into DOTTIE's wishing well as an afterthought. MOM walks as fast as possible back to her car, gets in and pulls off. Smiling evily to herself, she drives by and sees DOTTIE HINKLE screaming in horror and trying to beat the fire out with a broom.18. EXTERIOR TOWSON SENIOR HIGH SCHOOL. Parking lot is filled and the few last parents are entering the building for PTA meeting. MOM speeds into lot and gets out of car. Subtitle appears: "3:O6pm" and fades out.19. INTERIOR CLASSROOM. MR. STUBBINS, Chip's teacher, is winding down a one-on-one meeting with another mother, who is in tears. MRS. TAPLOTTER But, Mr. Stubbins, my son studies every night! He's trying as hard as he can... MR. STUBBINS Some teenagers just aren't college material, Mrs, Taplotter. It's nothing to cry over. Now, there are other parents waiting. (Smugly) ...thank you for taking the time to come to PTA.20. INTERIOR SCHOOL HALLWAY. OUTSIDE MR. STUBBINS' CLASSROOM. Parents are seated in folding chairs waiting to be called in to conference. MOM comes rushing down corridor and other parents greet her. MRS. STERNER Hi, Beverly. MOM Hi, Betty. Oh, I love your outfit. MRS. STERNER Thanks. (Snobbily) It's a Liz Claiborne. MR. STERNER Mrs. Sutphin, where's that husband of yours? (Making a bad dental joke and pointing to his teeth) Feeling "down in the mouth"?! Hohohohohoho! MOM (Smiling through her teeth) You're soooo funny, Ralph... MR. STUBBINS leans his head out of classroom and looks at roll book as MRS. TAPLOTTER leaves, dabbing her tears with a handkerchief. MR. STUEBINS Mrs...Sutphin? MOM (Excited) Right here! MOM goes in classroom with him.21. INTERIOR CLASSROOM. MR. STUBBINS Mrs. Sutphin, I'm Paul Stubbins, Chip's math teacher. MOM (Shaking hands) Nice to meet you, Mr. Stubbins. (Handing him a tin) A little something I baked. MR. STUBBINS (Peeking inside) Oooohh! A fruit cake. Thank you, Mrs. Sutphin. Have a seat. MOM Bon Appetit! They sit on opposite sides of his desk. MR. STUBBINS Chip is off to a fine start this year. (Checking his roll book) Focused...conscientious... participates actively in classroom discussion. MOM (Proudly) He's a good boy. MR. STUBBINS (Suddenly serious) There is one big problem though. MOM'S smile freezes on her face ever so subtly MOM What is it, Mr. Stubbins? MR. STUBBINS (Spitting out the words) His unhealthy obsession with sick horror films. MOM (Relieved) He is assistant manager of a video shop... MR. STUBBINS (Cutting her off) That's no excuse for a morbid imagination. I caught him drawing this in class last week. (Unfolds lurid drawing of woman getting her tongue pulled out with the title, "Blood Feast") Is there a problem at home? MOM (Shocked) Certainly not! MR. STUBBINS Divorce? An alcoholic relative? (Knowingly) Tell me, did Chip torture animals when he was young? MOM (Furious) No, he did not! We are a loving supportive family, Mr. Stubbins. MR. STUBBINS Well, you're doing something wrong, Mrs. Sutphin. I'd recommend therapy for your son. (Rising from his chair) Thank you for taking the time to come to PTA.22. WIPE TO EXTERIOR HIGH SCHOOL PARKING LOT. MOM sits behind wheel of station wagon wearing a scary smile. Subtitle appears: "3:32pm" and fades out. MOM sees MR. STUBBINS exit school carrying her tin of fruit cake. "Mom's Psycho Theme" starts on soundtrack and she puts her car in gear. Closeup of wheels of MOM's car beginning to creep forward MOM waves innocently to other parents as she stalks MR. STUBBINS to his car in isolated faculty parking lot. A trashy teen girl, LU-ANN, sneaks a joint behind a bush unnoticed. Shot of MOM's face staring at MR. STUBBINS in vengeance. Over the shoulder shot of MR. STUBBINS walking directly in MOM's path. Closeup of MR. STUBBINS looking up and seeing MOM. He takes a stick of gum from his pocket, unwraps it, and pops it in his mouth. MOM's face turns to stone at the last straw of seeing MR. STUBBINS chewing gum. MOM's POV of MR. STUBBINS waving to her. Shot of accelerator being floored by MOM. Shot of MOM's car peeling out headed straight for MR. STUBBINS. MOM's POV of MR. STUBBINS' suddenly terrified expression. MR. STUBBINS' POV of MOM'S car speeding at him. MOM's car hits MR. STUBBINS and sends him flying up on car hood. Shot of fruit cake tin hitting ground and rolling. LU-ANN, the trashy teen girl screams in horror. MOM turns on windshield wipers to wipe away blood but they only smear the blood worse. MOM hits windshield wiper fluid button. MR. STUBBINS' POV SHOT OF MOM's insanely happy face through bloodied water. Suddenly MR. STUBBINS grabs on to side-view mirror and attempts to grab MOM through side window. LU-ANN watches in horrified amazement and throws down joint like it's a hot coal. MOM starts swerving car but MR. STUBBINS holds on for dear life, grabbing at MOM, pulling her hair. MOM struggles and bites his hand like a snapping turtle. Shot of sign "SLOW-SPEED BUMPS". MOM hits speed bump and MR. STUBBINS flies over roof and lands in a heap behind her. MOM screeches to a stop. MOM's POV, through rearview mirror of MR. STUBBINS, still alive, struggling to his knees. MOM smiles sweetly. Closeup of automatic gear shift being thrown into reverse. MOM's car backs up swerving in speed towards MR. STUBBINS. Low-level MR. STUBBINS' POV of rear of car coming at him. MOM'S POV of MR. STUBBINS' desperate struggle to get out of her path. Car runs directly over him - THUHP - and chewed up wad of gum flies out of MR. STUBBINS' mouth. MOM smiles to herself. LU-ANN, the only eye-witness, runs away in fear. MOM peels out and once in main parking lot resumes waving innocently to other parents as she flees. MOM swerves car into car wash.23. INTERIOR CHIP'S BEDROOM. On CHIP's large video screen plays the ridiculously dated but still appalling scene from "BLOOD FEAST" where the madman with the corny, madeup eyebrows rips a girl's tongue out of her mouth in hokey special effects. Subtitle reads "4:22pm" and fades out. CHIP and BIRDIE are hooting and hollering and eating popcorn as SCOTTY looks up from his vintage nudist-camp magazine to watch in real horror and nausea. BIRDIE It's a sheep's tongue! SCOTTY Man, I just ate. Turn it off. CHIP Rewind it! Let's see it again! SCOTTY No! That shit is sickening! Put on pussy! BIRDIE (Torturing SCOTTY) Look, Dick-Head! (Gore scene replays) SLOW-MOTION! SCOTTY starts to gag and tries to hide it, BIRDIE (Looking at screen) BLOOD FEAST! CHIP (Proudly) The "Citizen Kane" of gore movies. SCOTTY looks at gore on video, jumps up to run to bathroom, yanks open bedroom door and screams when he sees MOM standing there with a plate of chocolate chip cookies. MOM I don't know what it is about today, but I FEEL GREAT! SCOTTY (Gagging) Excuse me, Mrs. Sutphin. He runs past her to the bathroom. CHIP Hi, Mom. BIRDIE Hi, Mrs. Sutphin. MOM looks at TV monitor and sees madman taking out heart of girl. MOM smiles inappropriately. MOM (Giggles) You kids. Now Birdie, I want you to have a cookie and then run along home. CHIP But Mom, the video's not over. MOM No "but mom" for you, young man. Mr. Stubbins seems to think these silly movies are interfering with your studies. (Turns off video with remote) BIRDIE (Rolling her eyes) Oh, boy! (Getting ready to leave) CHIP Mom, Mr. Stubbins is a nimrod! SCOTTY comes back in room feeling better. SCOTTY Man, that one made me puke! MOM (Picking up SCOTTY's nudist camp magazine and handing it back to him like it's poison) You forgot something... SCOTTY (Looking around confused) Are we leaving? MOM Yes you are. SCOTTY guiltily takes back magazine as BIRDIE drags him out. BIRDIE Bye, Mrs, Sutphin. CHIP (Affectionately) Bye, bird-brain, See ya, Scotty. MOM Bye, Birdie. (Sitting down next to CHIP on his bed) Chip, honey...I know it's hard being a teenager but I understand.. I'm your mother and I love you. CHIP Oh Mom... MOM (Suddenly his buddy) Can we watch that scene again? You know, where he rips out her heart? (Giggling scarily) PLEEEASE? CHIP looks back at his MOM in sudden confusion.24. SUTPHIN KITCHEN. SPIN-WIPE to tomato sauce topped meatloaf being taken out of the oven by MOM. Subtitle appears "6:30pm" and fades out.25. SUTPHIN DINING ROOM. DAD, MISTY and CHIP sit around dining room table. MOM enters with the meatloaf and a smile. MOM (Jokingly) Ladies and gentlemen, the perfect meatloaf! CHIP Looks good, Mom! DAD Nothing like a home cooked meal, honey. MOM Misty, I made your favorite sesame broccoli... (Passes it to her) MISTY Yummy. Carl says if I lose ten pounds, he'll take me to the University of Maryland Fall Mixer. MOM (Appalled) Misty, if you want to lose weight go ahead, but do it for yourself, not for some boy you barely know. CHIP Carl's a jerk! DAD He certainly drives like a jerk. MISTY (Getting upset) Carl makes me happy and that threatens this family, doesn't it? DAD Doesn't threaten me, honey. I'm happy. MOM I'm happy too and we want you to be happy. CHIP (Mockingly) I'm so happy I could shit. MOM CHIP! You know how much I hate the brown word! Suddenly a scream from outside is heard.26. EXTERIOR SUTPHIN HOUSE. ROSEMARY ACKERMAN, the busy-body next door neighbor is running across lawn from her house to the Sutphins. MRS. ACKERMAN Beverly! Beverly!27. INTERIOR SUTPHIN DINING ROOM. Family is getting up from table in alarm. MOM That's Rosemary. Something's wrong! CHIP and MISTY look at one another and stick fingers down their throats at mention of MRS. ACKERMAN'S name. ROSEMARY ACKERMAN runs in from kitchen in hysterics. MRS. ACKERMAN Turn on the news! (To CHIP) A teacher at your school has been murdered! MISTY (Appalled) Murdered? CHIP Who? MRS. ACKERMAN A Mr. Stubber...or Stubbins. CHIP (Horrified) MR. STUBBINS? That's my math teacher!28. INTERIOR SUTPHIN LIVING ROOM. DAD runs in and turns on TV as family and MRS. ACKERMAN follow and watch under MOM's framed portrait on wail. DAD What channel? MRS. ACKERMAN It's on all of them! Phone rings. CHIP grabs the receiver. CHIP Hello. We see BIRDIE in split screen. BIRDIE (Excited) Did you hear? CHIP What happened? BIRDIE This is so cool! It's just like a horror movie. ANNOUNCER comes on TV. CHIP It's on! I'll call you back! (Hangs up) ANNOUNCER ..Police claim the driver of the hit and run vehicle ran down the teacher in cold blood and then backed up over his body to finish off the job. Mr. Paul Stubbins was thirty-eight years old... DAD (Mad) Whoever did it should get the death penalty! MOM yawns absentmindedly. ANNOUNCER ...So far only one eyewitness has surfaced. MOM looks up in sudden fear as LU-ANN, the trashy pot-smoking girl who witnessed murder appears on screen. LUANN It was a blue car...I know that much! CHIP That's Lu-Ann Hodges! MISTY She's a pothead! LUANN ...A blue station wagon... MRS. ACKERMAN That's like your car, Beverly, MOM (Glaring at MRS. ACKERMAN) I'm not that bad a driver. (Disapprovingly at TV screen) Look at her hair! (To CHIP) Turn it off, honey. CHIP (He does) (In shock) I can't believe Mr. Stubbins is dead. MISTY You said you hated him. CHIP Well...he was an asshole... but he didn't deserve to die!29. SUTPHIN MASTER BEDROOM. Wipe to MOM finishing a silent prayer kneeling next to bed as DAD reads a spy novel under the covers. Subtitle appears: "10:45pm" and fades out. DAD (Putting down his book as MOM climbs in) I can't stop thinking about that poor teacher. (Turning out light on his side of bed) Goodnight, honey. Don't read late, we've got a big day with the birds tomorrow. MOM (Picking up and leafing through "The Encyclopedia of Birds") I've identified every little birdie we're going to watch tomorrow on the Eastern Shore. We see that underneath the cover of the bird book, MOM is reading "Helter Skelter". She lightly caresses a picture of Manson and closes the book and turns out her light. DAD Goodnight, honey. MOM Don't I get a kiss? DAD (Moving closer) I just thought with all the sadness...you wouldn't want... MOM (Snuggling up) We have to concentrate on life, Eugene. DAD (Kissing her) It's fine with me, Beverly. (Kisses her again more passionately) You want to, honey? You think the kids are asleep? MOM We can be real quiet... DAD (Getting on top of her) I love that you're my wife. MOM (Getting turned on) You're not bad yourself, coo-coo bird... DAD (Gently making love to her) You bring me such peace... MOM Oohhhh, Eugene! DAD Shhhh.. MOM (Getting louder) Oooohhhh. DAD Don't wake the kids... MOM (Even louder) Ooohhhh!30. MISTY'S BEDROOM. We see MISTY, hair in curlers, pricing junk for flea market, stop and listen to sounds coming from parents' bedroom.31. SUTPHIN BEDROOM. MOM and DAD are having romantic monogomous sex. MOM Oooohhh! Yeah! Yeah! DAD (Really turned on) You're hot tonight, honey... but be quiet! Shhhh! The kids!32. CHIP'S BEDROOM. CHIP looks up from reading "Fangoria Magazine" and listens in horror to his mother's distant moaning.33. SUTPHIN BEDROOM. MOM is panting wildly, a suburban sex machine. DAD is amazed but hardly complaining. MOM Yeah! Oohhhh! Get it! DAD Ooh, honey, I'm ready! Now! Now! MOM (In orgasm, wildly thrashing) Oohhhhh! Yeah! Yeah!34. HALLWAY BETWEEN CHIP AND MISTY'S BEDROOMS. CHIP and MISTY open bedroom doors simultaneously, hear their parents climaxing and look at one another in complete horror. Fade to black.35. Slow fade in to EXTERIOR SUTPHIN HOUSE. Birds are heard greeting the sunrise with their happy chirping. Subtitle appears "Saturday, September l9th, 5:3Oam" and fade out.36. INTERIOR SUTPHIN BEDROOM. MOM, dressed for bird-watching day-trip, watches the cute little chickadees nibbling seed out of her birdfeeder on lawn through binoculars from bedroom window. DAD, half-awake, stirs in his bed. MOM (Tracking a particularly cute bird) There's Dede! He's my favorite chickadee! He's here every morning for breakfast. DAD (Groggy) Well, honey, chickadees breed in Alaska, you know. No wonder Dede's hungry. It's a long trip all the way to Baltimore. MOM continues tracking the bird in her binoculars until she freezes in horror at the sight of MRS. ACKERMAN running her mouth next door to DETECTIVES MOORE and BRADFORD and pointing to MOM's car. Suddenly the phone rings with jangling intensity. MOM jumps. DAD Hello... On split screen is obnoxious man from PTA, MR. STERNER, holding his jaw in pain. MR. STERNER Eugene, it's Ralph Sterner. Got a dental emergency here! (Moans in pain) I mean this goddamn tooth is killing me! DAD Well, Mr. Sterner, if you call my office, I'm sure we can see you Monday. MOM starts shaking her head "No" to DAD just in case. MR. STERNER MONDAY? MRS. STERNER, his wife, grabs the phone. MRS. STERNER Eugene, this is Betty Sterner, He'll die by Monday! The roots are infected! He might have a heart attack! DAD (Wearily) All right, Mrs. Sterner... Nine o'clock. MOM's face changes to purple rage as she turns to hide her anger from DAD. DAD (Hangs up) I'm sorry, honey. But the birds will still be there next week. MOM (Turning to face DAD, suddenly stoic) It's Ok, Eugene. I understand.. I'll go fix breakfast. (Exits calmly)37. INTERIOR HALLWAY OUTSIDE SUTPHIN'S BEDROOM. MOM's calm turns to immediate rage as she closes bedroom door and storms her way downstairs as "Mom's Psycho Theme" blares on soundtrack.38. CHIP'S BEDROOM CHIP is sound asleep. MOM enters in a fury. MOM (In his ear, loudly) CHIP!! CHIP (Jumping up in fear from sleep) God, Mom! (Looking at her scary face) What's the matter? MOM (Back to normal, sweetly) Time to get up, that's all. You'll be late for work. CHIP You scared me.39. INTERIOR SUTPHIN KITCHEN. MISTY is sobbing in fury as she sits forlornly with boxed up flea-market junk. MOM enters and is startled to see her. MOM Honey, what's the matter? MOM looks out back window in alarm to see DET. MOORE snooping through her box of recycled newspapers as DET. BRADFORD noses around her station wagon. MISTY I'm stoodup! I'll kill that bastard! MOM Don't say words unless you mean them, Misty. (Starts fixing breakfast) COPS bang loudly on door. MOM jumps. MISTY It's him! MOM No, honey, it's the police. (Opens back door) Hello, officers. Subtitle appears "7:10am" and then fades out. DET. BRADFORD Good morning, Mrs. Sutphin. MISTY (Subtly unbuttoning her blouse one button) Hi, Detective Moore. DET. MOORE (Embarrassed) Morning, Misty. (All business) Mrs. Sutphin, I presume you heard of the death of Mr. Stubbins. MOM A fine man. A good teacher... DET. BRADFORD (Reading from notes) Contrusions...fractures... rupture of numerous vital organs... MOM (In sympathy) What a mess. MOM sees SCOTTY pull up in driveway with BIRDIE in his convertible. MOM (Seeing MISTY's eyes light up at hearing a car) No, honey, it's just Scotty. (To COPS) Scotty, who doesn't wear his seatbelts! DAD and CHIP enter kitchen as BIRDIE and SCOTTY barge in back door. DAD Good morning, Detectives. BIRDIE (Dramatically) Nightmare on Calverton Court! SCOTTY The Maryland Teacher Massacre! DET. MOORE That's not funny, son. DET. BRADFORD Did you drive your car to the PTA meeting yesterday, Mrs. Sutphin? MOM (Buttering toast) Yes, I did. DAD (To cops, getting angry) Detectives, what is this about? DET. MOORE I know this sounds weird, Mr. Sutphin, but the Department of Motor Vehicle's computer shows only one blue station wagon registered to a parent of any of Mr. Stubbins' pupils. DAD Surely you don't think Beverly was involved! SCOTTY (Hamming it up, pointing to MOM) SHE DID IT! Aimed the car right at Mr. Stubbins and mowed him down! MOM (Quickly staring daggers at SCOTTY before patiently addressing COPS) From what I understand, the eye-witness is a drug user. MISTY I got somebody you could run over, Mother! DAD Misty, that's a terrible thing to say! (Putting his arm protectively around MOM) Detectives, it's time for you to leave. My wife knows nothing about this terrible ...accident. MOM (Correcting him) Murder, honey. SCOTTY (Picking up a "People" magazine with Ivana Trump on the cover) Now, here's a babe! COPS see magazine cover with the "P" in "People" cut out as in threatening note sent to Mrs. Ackerman. DET. MOORE (Suspiciously) Let's see that, young man. MISTY (Whispering to BIRDIE as she ogles him from behind) Nice buns! DET. BRADFORD "P" as in... MOM (Glaring at SCOTTY) ...People who don't mind their own business. DAD looks at MOM suddenly, for the first time showing slight suspicion. MOM (To DAD) It's Mrs. Ackerman's magazine, honey. (To COPS) Look at the subscription label if you don't believe me. (Proudly) I recycle my magazines.40. Wipe to EXTERIOR MRS. ACKERMAN'S HOUSE. MRS. ACKERMAN is dumping all her bottles and newspapers into the rest of her garbage without the slightest thought of recycling. Subtitle appears "10:06am" and fades out. Cut to GUS and SLOPPY, two Baltimore County sanitation workers as they pick up bags of neighbors' recycled trash and scowl in hatred at the environmentally incorrect MRS. ACKERMAN.41. INTERIOR SUTPHIN KITCHEN. MOM, now alone, is happily separating her cans and plastic trash into proper recycle bins as she rocks out singing along with the Barry Manilow record "Daybreak" that spins on her high-fi set. MOM (Singing and dancing in place as soulfully as possible for her) "It's Daybreak" If you want to believe It can be Daybreak!..." MOM looks out through her kitchen window and sees MRS. ACKERMAN dumping styrofoam packing chips in with the rest of her un-recycled garbage. Freezing in horror, MOM then lunges for MRS. ACKERMAN's gleaming sewing scissors in borrowed sewing basket and begins to run out door. Suddenly MOM sees the friendly GARBAGEMEN waving to her from truck. She quickly puts back the scissors, grabs her recyle bags, locates two "miniatures" of liquor hidden in kitchen cabinet and runs out back door.42. EXTERIOR SUTPHIN HOUSE. MRS. ACKERMAN goes back inside her house as MOM charges out to meet GARBAGEMEN with her recyclables. MOM Don't forget me, boys! (Holding up blue bags) All rinsed and ready to recycle! GUS Morning, Mrs. Sutphin. MOM Morning, Gus. Hello, Sloppy. (Sneakily handing them miniatures) Here you go. You work hard for the environment. A little drink never hurt anybody. SLOPPY Thanks, ma'am. (Takes a big swig) Damn! Good stuff. (Looking at MRS. ACKERMAN's garbage) Do you believe that goddamn litterbugger? MOM (Fingering a tin can) I've told her! It takes ninety to one hundred years for a tin can to decompose but she still won't recycle. GUS (Also taking a guzzle) Cost taxpayers millions of dollars last year but she don't care about the national budget! MOM (Deadly serious) I HATE Mrs. Ackerman. "Mom's Psycho Theme" begins building on soundtrack. GUS (Drinking, encouraging her) I hate her too. SLOPPY (Getting tipsy, joining the bull session) I HATE HER GUTS! (Egging MOM on, laughing) Somebody ought to kill her! GUS (Joking and drinking) Yeah, hack her up and recycle her! MOM (Not kidding, in a trance) For the sake of this planet, SOMEBODY JUST MIGHT! "Mom's Psycho Theme" climaxes on soundtrack.43. INTERIOR ROSEMARY ACKERMAN'S HOUSE. MRS. ACKERMAN is serving brunch to DOTTIE HINKLE as they drink beer together and watch "The Joan Rivers Show" on TV as JOAN interviews a fat woman in her 20's. JOAN (On TV) ...But your boyfriend was convicted of killing twelve people HAG I don't judge him. TV audience groans. JOAN How can you love a mass-murderer? HAG Easy! He's handsome. He's famous. AND WE GET CONJUGAL VISITS! JOAN (To camera) SERIAL HAGS! Woman Who Love Men Who Mutilate! We'll be right back after this! DOTTIE Turn it off. MRS. ACKERMAN does. MRS. ACKERMAN Violence is everywhere these days44. EXTERIOR MRS. ACKERMAN'S HOUSE. MOM runs up to window in a frenzy and freezes at the sight of DOTTIE HINKLE inside.45. INTERIOR MRS. ACKERMAN'S HOUSE. DOTTIE looks over and sees MOM in window and screams. MRS. ACKERMAN (Looking up) Oh, it's just Beverly. DOTTIE She scared me. MRS. ACKERMAN (Going to door) Come in, Beverly. Have some coffee MOM (Entering, back to normal, being so-o-o-o nice) Just a half-a-cup. (To DOTTIE) Hello, Dottie. I'm so sorry to hear of your troubles... DOTTIE It's not fair!! MOM (To MRS. ACKERMAN, noticing her flower arrangement) Are those pussy-willows? MRS. ACKERMAN (Fixing the coffee) Dried ones. Aren't they pretty? DOTTIE freezes in horror when she recognizes the P-word in MOM's voice. DOTTIE (Alarmed) What did you just say? MOM (Evily baiting DOTTIE under her breath) PUSSY-willows, Dottie! MOM purposely knocks MRS. ACKERMAN's Franklin Mint Faberge Egg off table and sends it crashing to the floor. MOM Dottie! Watch what you're doing! DOTTIE (Horrified to see MOM is blaming her) I didn't do it! ROSEMARY (Crying out, rushing to pick up pieces) My Franklin Mint Faberge Egg! MOM (Helping MRS. ACKERMAN) Dottie didn't mean to be a clumsy ox. She's sorry, Aren't you, Dottie? DOTTIE (Pleading) Rosemary, I didn't break your egg - she did! MRS. ACKERMAN You could at least apologize, Dottie. I collect Franklin Mint! MOM And we're going right to the flea market to get another one! Misty tells me there's a whole booth of Franklin Mint stuff. Dottie, you lock up. (Evily) I'll take care of poor Rosemary! DOTTIE (Stammering in fear to MRS. ACKERMAN) But...but...she...Rosemary, I heard her voice! It's her, I tell you, IT'S HER!46. INTERIOR DAD'S DENTAL EXAMINATION ROOM. DAD attempts to do dental work on RALPH STERNER, the "emergency" patient who lets out a blood curdling scream every time DAD gets the drill anywhere near his mouth. DAD Mr. Sterner, you've lost a tiny filling. I have to drill deeply enough to remove all the decay. MR. STERNER (Whimpering) Alright...go ahead...but be careful, it really hurts! (Opens mouth) DAD begins to drill again. MR. STERNER OWWWWW'! Goddamn you! You're hurting me on purpose!47. DENTAL WAITING ROOM. MRS. STERNER, reading an old issue of Newsweek, with Jeffrey Dahmer on the cover, jumps up and runs to her husband past the RECEPTIONIST.48. INTERIOR DAD'S EXAMINATION ROOM. MRS. STERNER (Running in) Are you ok, Ralph? DAD Mrs. Sterner, please stay in the waiting room! MR. STERNER Help me, Betty! He's worse than the dentist in "The Marathon Man"! RECEPTIONIST (Poking her head in) Sorry to interrupt, Dr. Sutphin, but there's two police detectives here to see you...49. INTERIOR DAD'S TINY OFFICE. DET. MOORE and DET. BRADFORD wait grim-faced in the office. Subtitle appears "10:35am" and fades out. DAD (Entering) What is it, officers? My patient is waiting. DET. MOORE Dr. Sutphing is your wife a big reader? DAD Bird books mostly... DET. BRADFORD Like these we found in her garbage? (Showing him the book) "Urge To Kill". "Mass Murder in Houston"? DAD I'm sure those are my son, Chip's books. DET. MOORE No, they're your wife's. We checked, She bought them down at "The Browse and Learn Bookshop" along with a few other titles... DET. BRADFORD (Reading from notes) "Helter Skelter", "Hunting Humans", Master Card reference number 7876. Dated June 5th. DAD (Seeing their suspicions of MOM are serious) THIS IS RIDICULOUS!! DET. BRADFORD Dr. Sutphin, is you wife mental?50. OUTDOOR FLEA MARKET. EDMONSON DRIVE-IN THEATER. Cut to MOM's face, seemingly in the middle of a frenzy as she jumps around like a crazy person. Camera pulls back and we see that she is swatting away a persistent bee as she sits with MISTY at her flea market table. Subtitle appears "11:20am" and then disappears. MOM Damn these yellow-jackets! I hate 'em! MISTY (Angrily) Always something isn't it? (To CUSTOMER) Can I help you? CUSTOMER Just looking. (Walks away) MISTY Thanks for not buying anything! MOM Misty, lighten up. It's not the customer's fault Carl stood you up! MOM looks over two rows and sees CARL walking through the flea market with a SEXPOT DATE. Her face turns to stone but she doesn't let on to MISTY. Cut to MRS. ACKERMAN shopping passionately at the nearby Franklin Mint booth. MRS. ACKERMAN (To VENDOR) Young man, this Faberge Egg is chipped. VENDOR Yes, ma'am, it is. MRS. ACKERMAN I'll give you fifty cents. VENDOR That's a Franklin Mint piece. Eight dollars. MRS. ACKERMAN Eight dollars?! Franklin Mint or not, it's damaged goods! (Puts it back) MRS. ACKERMAN bends over grumbling and sees a fire poker marked with a price tag of $6.O0. Sneakily she switches price tag of $3.00 from another item. MRS. ACKERMAN I'll take this instead. VENDOR Nice one, huh? Winter's coming. (Looking at price momentarily hesit'ating) Three dollars?...I guess that's what I marked it... MRS. ACKERMAN smirks and pays him. MRS. ACKERMAN comes back to MISTY's booth carrying fire poker. MOM (Seeing MRS. ACKERMAN1s purchase, but still watching CARL and SEXPOT DATE in distance) Did you find your Franklin Mint egg, Rosemary darling? MRS. ACKERMAN I saw one, but it was ridiculously overpriced! MOM (Seeing MRS. ACKERMAN's fire poker) You want me to keep that under the table for you? MRS. ACKERMAN If you wouldn't mind... (Gives it to her) It was on sale. Cut to CARL browsing at same Franklin Mint booth that MRS. ACKERMAN was shopping in earlier. SEXPOT DATE is drooling over chipped Faberge Egg and batting her eyes at CARL. SEXPOT DATE (In baby talk) Honey, pleeease? For my little knick-knack shelf? CARL (To VENDOR) Wrap it up for the little lady. Cut to MOM with the fire poker partially concealed under her coat as she stalks CARL and SEXPOT DATE to baseball memorabilia booth. MOM pretends to shop nearby as CARL buys Oriole penant for himself. MOM follows them to concession stand where CARL excuses himself for a quick trip to the men's room. SEXPOT DATE adjusts her cleavage as she waits, much to the embarrassment of YOUNG BOY walking by. Realizing the coast is clear, MOM darts into men's room following CARL.51. INTERIOR MEN'S ROOM. CARL is at urinal. Subtitle appears "11:57am" and fades out. MOM rushes in unnoticed and tries to enter first booth and finds it locked, She scurries to next booth and enters. A male PERVERT in locked booth is drawing dirty pictures on the wall. He looks down and sees MOM's shoes under the stall and starts moaning sexually as he writes "EAT ME" with a magic marker. Closeup of CARL's face as he pisses like a racehorse. PERVERT looks through peep-hole between booths and sees MOM and moans in silent orgasm. MOM pulls fire poker out from under her coat. PERVERT zips up in a panic and flees bathroom in fear. Suddenly MOM runs from her booth with fire poker drawn and skewers CARL in the back at the urinal. CARL screams in horror as MOM pulls out fire poker with his liver skewered on the end. CARL collapses to his knees, his head landing in urinal. MOM looks horrified at the liver and tries to shake it off poker, panicked that someone will come into men's room. Closing her eyes in revulsion, she pulls off liver with her fingertips and throws it on floor. Running from men's room, she slips in gore, catches her balance, looks back at CARL's head in urinal, hesitates and finally runs back to flush toilet before escaping undetected.52. MISTY'S FLEA MARKET TABLE. A hip young couple are buying a hideous amateur oil painting of Don Knotts from MISTY. BOY I can't believe it! Fuckin' Don Knotts! GIRL (Happily) It's beyond ugly! MISTY (Giving them back change) There you go... Cut to MOM approaching, looking happy and composed with fire poker concealed under her coat. MOM (Calling out) Misty, honey, look! (Holding up a set of cereal bowls) I made a killing!53. INTERIOR MEN'S ROOM. A MACHO MAN enters nibbling lamb off a shishkobab. He sees CARL's body and screams in the best Fay Ray tradition. Subtitle appears "l2:llpm" and then fades out.54. MISTY'S FLEA MARKET TABLE. MOM is showing MISTY her new cereal bowl as MRS. ACKERMAN returns. MRS. ACKERMAN (Upset) I went back to get my Faberge Egg and some idiot bought it! Sirens are heard in the distance. MOM (Caressing fire poker back under table, threateningly) It's just not your day, is it Rosemary? MISTY (Seeing cop cars and ambulance enter flea market as customers start running towards concession stand) Watch the booth! I'll be back! (Runs off to join the crowd) MRS. ACKERMAN (Spotting a small hunk of gore stuck to bottom of MOM's shoe) Beverly, honey, you've got some... (Wrinkles up her nose) ...do-do on your shoe. MOM Ewwww! (Wipes it off on grass) Thank you, Rosemary. MRS. ACKERMAN notices stain with odd unease.55. EXTERIOR CONCESSION STAND. COPS are holding back CARL'S sobbing and hysterical SEXPOT DATE as she clutches her Faberge Egg while PARAMEDICS remove CARL'S body from the mens room on a stretcher. DET. MOORE and BRADFORD are roughly frisking bathroom PERVERT. PERVERT There was a lady in the men's room! I swear! A pretty little lady in the stall right next to me! MISTY pushes her way through rubbernecking crowd until she finally sees CARL'S face right before the PARAMEDICS give the final zip to the body bag. She lets out a blood-curdling scream. DET. BRADFORD looks up into MISTY's horror filled face and turns in suspicion to DET. MOORE only to see his partner making eyes with SEXPOT DATE, who in between sobs, is flirting back with all her might.56. MISTY'S BOOTH. MRS. ACKERMAN is looking in revulsion at what appears to be dried blood on the end of her fire-poker stored under the flea market table as MOM happily sells Pee-Wee Herman doll to New York dealer. MOM That's one-hundred fifty-eight dollars. DEALER Will you take a New York check? MOM Certainly. MRS. ACKERMAN reaches down and touches the end of fire poker and almost faints when she sees red on her fingertips. MISTY hysterically returns to booth, crying and screaming. MISTY Mother! It's Carl! He's dead! MRS. ACKERMAN looks in sudden fear at MOM. MOM 0h, that's horrible, honey. (Suddenly cheerful) I sold the Pee-Wee Herman doll!! MISTY (Appalled) Mother! Did you hear me?! Someone murdered Carl in the mensroom! I saw his dead body! MOM (Quietly, sweetly) You got your wish. MISTY (Stunned) But... (Backs away) I didn't wish...I didn't want him DEAD! MRS. ACKERMAN gulps in horror.57. INTERIOR MOM'S BEDROOM. DAD is frantically searching through MOM's stuff and finds a scrapbook which is filled page after page with newspaper clippings about famous mass murderers. He gasps in horror and then looks between mattress and box-springs and finds a stack of letters and a few cassette tapes. He looks in shock at return address of first letter - "Richard Speck, Statesville Correctional Center, Joliet, Illinois 60434". He tears open envelope and out falls an 8xlO glossy photo of a naked Richard Speck with the inscription "To Beverly. Love, Richard Speck". Shaking his head in horror, DAD puts cassette in tape player and pushes play button. The voice on the tape booms out in bedroom, "Beverly, it's me, Ted Bundy. It's late at night six days before my execution and it's lonely here on death row...". DAD lunges for machine to push OFF button and accidentally turns on the radio. NEWS ANNOUNCER ...Updating the top story of the hour, the young man brutally murdered a short time ago in the mens room of the Edmonson Flea Market has been identified as 22 year old Carl Padgett of Towson... DAD slams down OFF button on radio and sobs in shock.58. INTERIOR "SUBURBAN CULT VIDEO SHOP". CHIP1 on duty as manager, along with BIRDIE and SCOTTY and a few other horror-nut customers watch on large video monitor Joan Crawford get off a train in William Castle's "Straight Jacket". The suspense builds as Joan on video spies through a window at her husband with another woman, picks up an ax and cuts off his head. Suddenly MISTY runs into video shop in hysterics. MISTY Chip! Our mother is Charles Manson! All the kids laugh uproarously as Joan screams on video "I'm not guilty" while struggling in a straight jacket. MISTY (Grabbing the remote and turning off the video) (To CHIP) I'm not kidding. Carl stood me up this morning and then he was murdered at the flea market.... CHIP MURDERED?!! MISTY Yes murdered! You said you hated your teacher yesterday and he was murdered too. I don't know...maybe Mom's nuts! CHIP It's a cool idea, Misty! Let's make a gore movie about Mom! Better yet, a TV series! BIRDIE Can I borrow your mother? My aunt is coming over to dinner tonight and she's always on my nerves. KID My step-father is an asshole! She could kill him! CHIP (Baiting MISTY) How about Mrs. Ackerman? We both hate her! (Playfully) Should she be the next victim? MISTY No! Stop it! It's not funny. Mom might do it! (Sobbing) Someone else might die. SCOTTY (Comforting her) I believe you, Misty. Your mother could kill - I've seen that look in her eyes! (Timidly) Is there a reward or anything?59. DISSOLVE TO INTERIOR SUTPHIN DINING ROOM. MOM comes through kitchen door and serves a fancy tuna casserole. MOM Dinner's served! Subtitle appears "6:01pm" and then fades out. MISTY looks at her mother in terror. DAD treats MOM with kid gloves. CHIP is completely oblivious to their concern. DAD Let's say grace and pray that we have the strength to understand the terrible tragedies of the last few days. MOM Amen to that. (Happily) It's been a crazy day, hasn't it?! MISTY pales, DAD looks at MOM in fear.60. MRS. ACKERMAN'S LIVING ROOM. DET. MOORE and several other COPS are taking down every word MRS. ACKERMAN says in notebooks and on tape recorders. MRS. ACKERMAN ...Dottie Hinkle was right - IT IS BEVERLY SUTPHIN! I tell you I saw blood right on the bottom of her shoes! Not exactly blood - it was GORE! Hanging right there like a runny nose!!61. INTERIOR DOTTIE HINKLE'S LIVING ROOM. DET. BRADFORD and several other POLICE OFFICERS are taking her statement and trying to calm her down, DOTTIE Nice as pie she was to me and then I hear her say it! DET. BRADFORD Say what, ma'am? DOTTIE "Are those..." (Giving up) I can't say the word out loud. DET. BRADFORD (Trying to comfort her) Could you tell a policewoman the exact words she used? DOTTIE (Being pitiful) Maybe... A huge galute of a POLICEWOMAN sits next to DOTTIE and pats her hand. POLICEWOMAN It's ok...nobody's gonna hurt you. (Whispering) Come on, let it out... DOTTIE (Yelling loudly, startling all the cops in the room) "PUSSY" she says to me! "PUSSY WILLOWS!"62. INTERIOR SUTPHIN DINING ROOM. The family is eating in uneasy silence. CHIP (Excited, happy) You know Mom, Scotty thinks you're the killer! MISTY chokes on her food, DAD laughs unconvincingly. MOM (Laughs) Does he? (Smiling to CHIP) For a boy who doesn't wear seat belts, Scotty's awfully nosy. (Getting up) Excuse me a second. (Exits into kitchen) The whole family sits in awkward silence.63. EXTERIOR SUTPHIN HOUSE. ROOKIE COP sits in cop car on surveillance duty watching the Sutphin house in eery silence.64. SUTPHIN DINING ROOM. Family is squirming in their seats in nervous silence. MISTY suddenly bolts from table and runs towards kitchen.65. SUTPHIN KITCHEN. MISTY runs in. No one is there. On blackboard, written in chalk is "WENT TO THE 7-il, MOM". MISTY She's gone! CHIP and DAD rush in. MISTY (Blurting it out) She's gonna kill Scotty! DAD (No longer pretending) BOTH OF YOU! GET IN THE CAR! CHIP (Horrified) DAD! YOU DON'T THINK SHE DID IT??! MISTY I DO! Mom's gone crazy! DAD (To CHIP) Your mother may have some problems, that's all, Chip. (To both) C'mon! Hurry!66. EXTERIOR SUTPHINS. MOM peels out in her station wagon like a bat out of hell. ROOKIE COP looks up in shock, clumsily throws the car in gear and takes off behind her. Subtitle appears "6:36pm" and then fades out.67. INTERIOR MOM'S STATION WAGON. MOM is driving like a lunatic, She sees the red light of pursuing police car in rear-view mirror and floors it as she hits play button of tape deck in car and begins singing along loudly and scarily to her favorite song, Barry Manilow's "Daybreak", MOM "...Ain't no time to grieve And it's Daybreak!!! Let it shine, shine, shine, All around the world!!"68. INTERIOR COP CAR. ROOKIE COP is sweating bullets speeding after MOM's car and grabs police radio. ROOKIE MAY DAY!! MAY DAY!!69. INTERIOR MOM'S CAR. MOM is "dancing" in place and gyrating to the beat as she belts out the finale of "Daybreak" and suddenly turns the steering wheel violently to the right.70. EXTERIOR MRS. HINKLE'S HOUSE. MOM's car veers across lawn and flattens Mrs. Hinkle's entire flower garden as she plows her way back to street. DET. BRADFORD comes running out of house and jumps out of way as ROOKIE COP's car skids around corner and smashes into Mrs. Ackerman's wishing well decoration in her front yard. DOTTIE HINKLE is held back by burly POLICEWOMAN on porch as she curses MOM in the distance. DOTTIE You rotten mother-fucker! You lousy cock-sucker!71. INTERIOR DAD'S CAR. DAD is at the wheel driving with MISTY in front and CHIP in the back. MISTY (To DAD) Turn right on Timonioum Road. Hurry, Dad! CHIP (Scared for the first time) If Mom's a psycho, Scotty will still be ok, won't he? DAD We hope so, son. And no matter what your mother is, we'll love her anyway.72. INTERIOR DETECTIVE MOORE'S CAR. DET. MOORE (Following the Sutphins, into police radio mike) Suspect's family is headed east on Calverton....73. INTERIOR MOM'S CAR. MOM turns off tape player and pulls to a stop on a quiet suburban street. She fixes her hair in rear view mirror, smiles, then takes out rubber dish-washing gloves and slips them on her hands.74. INTERIOR SCOTTY'S BEDROOM AT HIS PARENTS' HOUSE. SCOTTY lies in bed, surrounded by vintage sexploitation movie posters that decorate his walls ("Garden of Eden", "Mud-Honey", "There She Blows"), and watches on video the ridiculous 70's trash film "Double-Agent '73" starring Chesty Morgan. In the credit sequence he sees Miss Morgan "photographing" men with her humongous breasts that supposedly have cameras implanted inside. SCOTTY is getting turned on. He runs to lock bedroom door, closes curtain on window and then hops under a blanket to commit the sin of self-abuse.75. EXTERIOR SCOTTY'S PARENTS' HOUSE. DAD, MISTY and CHIP pull up, run to front door and pound on it. DETECTIVE MOORE pulls up at a safe distance behind them and watches from police car. Subtitle appears "7:01pm" and disappears.76. INTERIOR SCOTTY'S BEDROOM. SCOTTY is watching Chesty Morgan on video roll about in hideous hot pants and insane 1970's platform shoes as he concentrates on her gigantic breasts and touches himself off camera. He hears banging at door, curses whoever it is, and decides to ignore them.77. EXTERIOR SCOTTY'S PARENTS' HOUSE. DAD jiggles the door unsuccessfully until CHIP slithers through an open window and lets MISTY and DAD inside.78. INTERIOR DETECTIVE MOORE'S POLICE CAR. DET. BRADFORD. (Into police radio mike) Suspect's family is entering house. Send backup to 2l14 Sycamore Street. I've got a feeling old Mom's inside. I'm goin' in! Heroic music blares on soundtrack as he leaps from car and pulls gun. Subtitle appears "7:24pm" and then fades out.79. CUT to MOM staring evily through plate glass window from outside a suburban house. Reverse angle shows not Scotty, but the dental emergency couple, THE STERNERS, as they sit in their dining room eating a dinner of cornish game hens. MOM zeros in on the game hens and flashes back to "Dede" and the other cute birds in her bird-feeder at home. As the couple viciously slice apart the game hens and stuff the meat in their mouths, MOM breaks a small pane of glass in back door to gain entry. MRS. STERNER What was that? MR. STERNER I didn't hear anything. Got any dessert? MRS. STERNER Dr. Sutphin said no sweets for you. MR. STERNER What's he know? MRS. STERNER How to send a bill!! They both laugh uproarously at her bad joke.80. STERNER KITCHEN. MOM is listening in disgust, notices a limp plant, waters it thoughtfully and then jumps out of the way to hide as MRS. STERNER comes into kitchen to get a large chocolate pie.81. INTERIOR SCOTTY'S BEDROOM. SCOTTY has the whole bed vibrating noisily as he watches Chesty Morgan on video in hideous green plaid bell bottoms as she "photographs" evidence with her breasts.82. INTERIOR SCOTTY'S PARENTS' HOUSE. HALLWAY. DAD, MISTY and CHIP creep up the steps towards SCOTTY's bedroom.83. EXTERIOR SCOTTY'S PARENTS' HOUSE. DET. BRADFORD signals the newly arrived DET. MOORE and a small swat team in battle gear to follow him quietly to Scotty's front door.84. INTERIOR STERNER'S DINING ROOM. MR. STERNER cuts himself a second piece of chocolate pie and pigs it down.85. INTERIOR STERNER'S BEDROOM. MRS. STERNER (Yelling downstairs) Ralph, "Wheel of Fortune"'s on!! As MRS. STERNER continues to watch TV we see her get ready for bed. We see her change from her shoes to bedroom slippers from under the bed. We see her brush her hair from behind the mirror. We see her open her drawer and take out birth-control foam from inside the bureau. We see her go to closed curtains moving ominously in the breeze and close the window from the other side. MRS. STERNER (Calling out) Ralph, you're missing it! MRS. STERNER takes off her dress to reveal monstrous white all-in-one bra and girdle and moves to closet door. She opens closet door and hesitates. We see shoe in bottom of closet move slightly. Suddenly a mouse scurries out of shoe and runs across floor as MRS. STERNER screams,86. STERNER DINING ROOM. MR. STERNER (As chocolate oozes in his mouth) What is it, Betty?87. STERNER BEDROOM. MRS. STERNER (Still shaking) We have mice! I mean it, Ralph! I saw one! MRS. STERNER reaches for nightgown and pulls it off hanger to reveal MOM's insane face. Suddenly MOM stabs MRS. STERNER viciously in the stomach with MRS. ACKERMAN's scissors. MOM (Scarily) Always brush after every meal! MRS. STERNER opens her mouth in a silent scream as MOM pulls out the scissors and stabs her again and again as a large rat in the closet runs out and begins biting MRS. STERNER's ankle at the same time.88. STERNER DINING ROOM. MR. STERNER burps in front of empty plate and hears loud thud from upstairs. He gets up from table. MR. STERNER (Calling upstairs) Betty?89. STERNER BEDROOM. MRS. STERNER is dead on the floor with scissors sticking out of her as MOM attempts to clean up the blood with the household product, "SHOUT".90. HALLWAY STERNER HOUSE. MR. STERNER runs up stairs, suddenly alarmed. MR. STERNER Betty? Betty, answer me!91. STERNER BEDROOM MOM looks up from cleaning and smiles as MR. STERNER runs in, sees the grisly sight and screams in horror. MOM (Holding up bottle of "SHOUT" and doing mock TV-ad) "SHOUT IT OUT". MOM suddenly pulls scissors out of MRS. STERNER's stomach and expertly throws them like a knife at MR. STERNER's head. He ducks in the nick of time and the scissors stick in the wall. MR. STERNER turns and runs in fear as MOM gives chase, grabbing the scissors out of the wall.92. HALLWAY. STERNER HOUSE. MR. STERNER runs down the steps screaming as MOM runs after him. She throws the scissors at him again, but just misses him. Thinking fast, MR. STERNER grabs scissors from wall and throws them back at MOM. She ducks in the nick of time and her face goes purple with rage. MOM You'll pay for that, Ralph Sterner!! As MR. STERNER runs to back door, MOM charges back up the steps to bedroom.93. STERNER BEDROOM. MOM rushes in and watches MR. STERNER from above from bedroom window as he runs out of house.94. STERNER LAWN. MR. STERNER runs across lawn screaming. MR. STERNER Help! POLICE!!95. STERNER BEDROOM. MOM is rocking air conditioner in window back and forth until she gets it loose. Seeing him right below, MOM shoves it out window with all her might.96. STERNER LAWN. MR. STERNER looks up at air conditioner falling from above and screams the second before he is crushed like an insect.97. SCOTTY'S BEDROOM. SCOTTY is moaning in orgasm as he watches ludicrous Chesty Morgan "Secret Agent" breast footage on video screen.98. OUTSIDE SCOTTY'S BEDROOM DOOR. DAD, MISTY and CHIP look at one another in horror thinking SCOTTY's moans are cries of pain and they break down his door to save him.99. SCOTTY'S BEDROOM. SCOTTY stares in complete mortification as the Sutphin family catch him in the middle of an orgasm. When DETECTIVES MOORE and BRADFORD and their ridiculously overprepared SWAT TEAM flood the bedroom, screaming "FREEZE" and "HANDS OVER YOUR HEAD", SCOTTY fumes in anger as MISTY and CHIP giggle in relief and DAD turns red in embarrassment.100. Wipe to EXTERIOR SUTPHIN HOUSE. DAD's car pulls up and the relieved Sutphin family hops out and runs to house. Subtitle appears "9:02pm" and fades out. DAD Home Sweet Home! Everything's fine, kids! MISTY (Laughing) I can't believe I thought my own mother was a murderess! CHIP I'm disappointed she isn't! (In wonder) For a while there, it was like being in a movie!101. SUTPHIN DINING ROOM. MOM is seated happily at table. DAD, MISTY and CHIP enter. MOM (Beaming happily) Anybody for dessert? M-m-m-m-m, strawberries! Fade to black.102. Fade in to ST. TIMOTHY'S EPISCOPAL CHURCH. Sign out front announces the service: "11:00am. Holy Eucharist Service. Sermon: 'Capitol Punishment and You'". Families stream into church. Subtitle appears "10:37am, Sunday September 20th" and fades out.103. EXTERIOR SUTPHIN HOUSE. MOM, DAD, CHIP and MISTY walk out front door dressed in their Sunday finest. Suddenly their wholesome smiles freeze on their faces. Cop cars are everywhere watching MOM's every move. DETECTIVES MOORE and BRADFORD smile hatefully at MOM, pressuring her with their high-visibility surveillance. The family nervously gets in their car and DAD turns the ignition. Cop after cop after cop start up their engines. As DAD pulls out of the driveway in his car the cops file into a procession of intimidation behind him.104. INTERIOR DET. MOORE AND DET. BRADFORDS' CAR. DET. BRADFORD (Talking into police radio) ...Sutphin family proceeding west on Seminary Avenue. Beverly ain't goin' nowhere this time.105. INTERIOR SUTPHIN CAR. MISTY (Scared) Dad, I thought it was ok. Make them go away. This is embarrassing. DAD Just ignore the police. It's all a terrible mistake. He turns on radio to music. CHIP Think we'll get on "A CURRENT AFFAIR"?106. INTERIOR DET. MOORE AND BRADFORD'S CAR. DET. MOORE She's headed for church. DET. BRADFORD (To police dispatcher on radio) I say we nail her! DISPATCHER (On radio) Negative. D.A. says no bust until lab report is back matching suspect's fingerprints on true-crime book with those on scissors and fire poker. DET. BRADFORD (To DET. MOORE) She may be Beaver Cleaver's mother...but Jim Jones and the entire People's Temple just fucked her!107. INTERIOR SUTPHIN CAR. MISTY, CHIP and DAD listen in appalled silence to news report on radio as MOM seems unfazed. ANNOUNCER ...the senseless killing last night of Towson couple, Ralph and Betty Sterner, brings to a total of four murders police feel may have been committed by Baltimore's first serial killer... DAD looks at MOM in stunned disbelief. DAD Beverly! Not the Sterners! MOM (Calmly) It's a shame. But they should brush their teeth, honey. ANNOUNCER (On radio) This just came in. Police Lieutenant Ronald Habbler has publicly named a suspect in the serial killer case and it's a shocker! She, that's right, she has been identified as Beverly R. Sutphin of 2815 Calverton Court... MISTY Oh God! (In despair) Now I'll never get a boyfriend! DAD (Nervously) Beverly, I've been reading all about it...is it menopause? MOM Oh, honey! CHIP Tell me the truth, Mom! It's ok with me, really! Are you a serial killer? MOM Chip, the only cereal I know about is Rice Krispies. Sutphin car pulls to a stop at a red light next to car full of churchgoers. MOM turns to smile at them and all the churchgoers scream in horror at the sight of her face. DAD (Lovingly, painfully) Don't worry, Beverly. We're going to get you good psychiatric help.108. EXTERIOR ST. TIMOTHY'S EPISCOPAL CHURCH. MRS. ACKERMAN and MRS. HINKLE look up in amazement as they see the Sutphins pull into church parking lot followed by string of police cars. The Sutphins nervously get out of car and walk towards church as the good Christian families glare at them and gossip with a vengeance. DAD tries to be brave, MISTY hangs her head in mortification, CHIP is excited by all the attention and MOM smiles happily to appalled worshippers. GUS and SLOPPY, the two garbagemen, dressed in their shabby church clothes wave to MOM in secret admiration. BIRDIE's eyes light up at seeing CHIP but her suddenly forbidding parents hold her back when she tries to join him. She mouths "I love you" to him as CHIP looks back to her parents with hurt and confusion. As the SUTPHIN family reaches the church door, a reporter runs towards them with his cameras drawn. REPORTER (To MOM) So, Mrs. Sutphin! Tell me! Are you "Serial Mom"? MOM Who? DAD (Blocking his face from strobing flash) No comment! CHIP (To himself) "Serial Mom"? (He looks at his MOM who is perversely enjoying the attention) WOW! MISTY, who can't help but notice that the REPORTER is strikingly handsome, gives him an obviously flirtatious smile before DAD yanks her into church with the rest of them.109. INTERIOR ST. TIMOTHY'S CHURCH. FATHER STONE, a mild and kind looking Episcopal priest has just begun the service. FATHER STONE (On altar) Blessed be God, Father, Son and Holy Spirit... ALL And blessed be His kingdom, now and forever. Amen... The SUTPHINS take their place in a half filled pew next to appalled young MARRIED COUPLE as a still mortified SCOTTY glares in hatred and vengeance from a pew in the back of the church. BIRDIE's face is covered in tears as she sits with her parents helplessly. MISTY turns in her seat and searches the hostile crowd for the face of the cute REPORTER. When she spots him secretly snapping her photo, she subtly gives him a sexy pose.110. EXTERIOR CHURCH. DETECTIVES MOORE and BRADFORD wait with other COPS outside their cars as voice comes over police radio. CAPTAIN JOHNSON This is Captain Johnson from Homicide. Lab reports confirm Sutphin latent print of index finger on true-crime book matches those latent prints lifted from murder weapons. Bingo, boys! Bust the bitch! COPS smile in silent victory as they immediately spread out and approach the church.111. INTERIOR CHURCH. FATHER STONE is giving the sermon in a kindly tone. FATHER STONE ...Jesus said nothing to condemn capital punishment as he hung on the cross, did He?! MRS. ACKERMAN and MRS. HINKLE nod in pious agreement. FATHER STONE ...If ever there was a time to go on record against the death penalty, WASN'T IT THAT NIGHT?!... DAD gulps and lovingly takes MOM's hand as MISTY and CHIP look at one another appalled while MOM continues her defiant smile. FATHER STONE CAPITAL PUNISHMENT is already the LAW in the State of Maryland!... DETECTIVES MOORE and BRADFORD and all the COPS begin infiltrating the church, taking places in pews and then moving forward to other pews closer to MOM. SCOTTY beams at police presence and eagerly scoots over to let DET. BRADFORD and DET. MOORE sit with him on their way to nail MOM. GUS and SLOPPY, the garbagemen, scowl at the police and look with loyalty to poor MOM. FATHER STONE ...SO WHAT ARE WE WAITING FOR, FELLOW CHRISTIANS?! LET'S JUST DO IT!! ALL AMEN! FATHER STONE Now, let us pray and humbly confess our sins unto Almighty God. As CONGREGATION prays along with FATHER STONE, COPS flood the church and move towards MOM. CONGREGATION ...Most merciful God, we confess that we have sinned against thee... CHIP and MISTY ...by what we have done... BIRDIE & PARENTS ...and by what we have left undone... DAD ...we are truly sorry and we humbly repent... MOM (Praying piously, but beginning to sniffle a sneeze) ...so that we may delight in thy will... A BABY in the arms of a MOTHER in pew in front of MOM stares back at MOM. MOM ...And walk in the ways to the glory... (Starts to sneeze and catches herself) ...of Thy name... ALL Amen! MOM sneezes and a hunk of phlegm flies out and hits BABY square in face. BABY'S MOTHER screams in horror at seeing her BABY's face and the entire congregation1 thinking she's been attacked by MOM, dives to the floor in terror. COPS draw guns and leap over pews as complete pandemonium breaks out in church. Just as DET. MOORE and DET. BRADFORD are about to grab MOM, GUS and SLOPPY punch the COPS in the mouth and MOM runs off. DAD looks for MOM in a panic and realizes she has vanished. CHIP cringes in fear as hordes of COPS surround his family until he is relieved to see that MOM has escaped. MISTY gives "dramatic" poses of "fear" and "horror" as cute REPORTER snaps her picture excitedly. BIRDIE escapes her parents, runs to CHIP, embraces him and together they take off. FATHER STONE stares out from altar in shock as worshippers scream and trample each other trying to get out of church as police try to restore order. SCOTTY, trying to be macho, fights his way towards front of church and for a split-second sees CHIP, BIRDIE and MOM running out back door of sacristy in escape. SCOTTY THERE SHE IS!! MOM blows a quick kiss to GUS and SLOPPY who beam in happiness at helping her escape.112. EXTERIOR CHURCH PARKING LOT. CHIP and BIRDIE are "hot-wiring" SCOTTY's car as MOM lies hidden out of view on back seat of car.113. INTERIOR SCOTTY'S CAR. CHIP We'll show 'em, Mom, We'll go on "60 Minutes"! The car engine starts up. BIRDIE Alright (To MOM) You're bigger than Jason or Freddie now! (In wonderment) Only you're a real person! MOM (Innocently) Do you think I'll need a lawyer? CHIP (Putting on his seat belt) You need an AGENT! CHIP peels out.114. EXTERIOR CHURCH PARKING LOT. REPORTER has chased DAD and MISTY to their car, still taking pictures as COPS flood the area looking for MOM. DAD NO COMMENT! PLEASE! My wife is missing! I'm worried sick about her! (Gets in car) REPORTER Hey, Misty! Just a few more shots, Ok? I'm Hank Hawkins from the Baltimore Sun. MISTY (Flirting boldly and posing) Hi, Hank. DAD (Appalled, opening passenger door from inside) MISTY SUTPHIN, GET IN THIS CAR!!115. EXTERIOR "SUBURBAN CULT VIDEO" SHOP. CHIP and BIRDIE hurry MOM from car and run to door of shop as CHIP fumbles for his keys to open up.116. INTERIOR "SUBURBAN CULT VIDEO" SHOP. CHIP and BIRDIE hustle MOM into the shop and lead her to the "Gore" section and open a door covered with violent video display boxes to reveal a small closet. CHIP In here, Mom... MOM But, Chip... CUSTOMER begins banging on door. CHIP Get in, Mom! I have to open. MOM This is so silly. (Gets in) CHIP closes door behind her and then inserts cassette into VCR and pushes "Play" button. On video in shop we see "Leatherface" in "The Texas Chainsaw Massacre" jump out from behind a bush and hack up a male victim. BIRDIE lets in the first customer of the day, a middle aged battle-ax, MRS. JENSON. BIRDIE Good morning, Mrs. Jenson. MRS. JENSON (Scowling at video screen where "Leatherface" chases a girl to house where he "chainsaws" his way through door as the victim screams in terror) Haven't you had enough violence, Chip Sutphin? Turn that filth off! CHIP (Turning it off) Sorry, ma'am. MRS. JENSON Do you have the musical, "Annie"? CHIP (Rolling his eyes and getting the cassette) Sure do. Did you bring back "Ghost Dad"? MRS. JENSON (Rooting in her purse and handing CHIP the casette) There you go. I love Bill Cosby pictures. CHIP (Looking at cassette in frustration) Mrs. Jensen, I've told you. You have to rewind the tapes before returning them! MRS. JENSON (Belligerently) Why? CHIP Because it's the rules! MRS. JENSON (Defiantly) I don't feel like rewinding it! MOM's face turns to stone in closet. CHIP (Exasperated) You see the sign! It's a dollar fine for not rewinding and this time I'm gonna charge you! $2.99 plus one dollar is $3.99! MRS. JENSON (Slamming money down and grabbing video) Keep the change, you son of a psycho! MRS. JENSON stomps to door and slams it behind her as MOM's face twists in rage as she listens. BIRDIE What a bitch! CHIP It's the influence of all those family films. (Turning to closet) Right, Mom? (No answer) Hey, Mom??... (Still no answer) BIRDIE (Nervously) Mrs. Sutphin? CHIP Mother? (Opens door to reveal empty closet) BIRDIE 0h, shit! CHIP You don't think.... BIRDIE She wouldn't... BIRDIE runs to back of shop and sees opened door to street. CHIP (Panicked) What's Mrs. Jenson's address? BIRDIE runs to files and starts going through them. BIRDIE ...Jenner...Jenson, Emy Lou Jenson. 3511 Clark Avenue! CHIP That's right up the street! Come on! Just in case!117. EXTERIOR "SUBURBAN CULT VIDEO" SHOP. CHIP and BIRDIE exit in a panic and run up the street. Hidden behind his "borrowed" car across the street is SCOTTY who has been watching them all along. He takes off on foot after them.118. INTERIOR MRS. JENSON'S KITCHEN. A carving knife slices through leg-of-lamb on kitchen table. Camera pans up to MRS. JENSON's happy face as she fixes herself a leg-of-lamb sandwich and exits to living room.119. INTERIOR MRS. JENSON'S LIVING ROOM. MRS. JENSON kicks off her shoes, excitedly pops videocassette into her VCR and climbs into her recliner for a relaxing afternoon of video pleasures. She takes a big bite out of her sandwich, twangs the remote to start the video and smiles excitedly at hearing the overture to "Tomorrow" begin over the credit sequence to "Annie", her favorite musical. Subtitle appears "12:09pm" and fades out.120. INTERIOR MRS. JENSON'S KITCHEN. The door handle jiggles ominously.121. INTERIOR MRS. JENSON'S LIVING ROOM. A large DOG rises up next to MRS. JENSON. MRS. JENSON What is it, Sylvester, a bird? Shhhh. Mommy's watching "Annie".122. INTERIOR MRS'. JENSON'S KITCHEN. MOM looks over her shoulder to make sure no one is watching and then slowly lets herself in kitchen door. Her eyes immediately go to gleaming butcher knife on table.123. INTERIOR MRS. JENSON'S LIVING ROOM. The DOG growls. MRS. JENSON Quiet, Sylvester. Nobody's there. Shhh...Lick Mommy's feet. (Wiggles toes at DOG) Come on! Get 'em all wet! (Starts singing along with video) "The sun comes out Tomorrow..." DOG growls and heads toward kitchen.124. EXTERIOR MRS. JENSON'S HOUSE. CHIP and BIRDIE stand outside looking up at house in fear. CHIP (To BIRDIE) Come on! They sneak to side of house. Cut to SCOTTY watching them from a distance.125. INTERIOR JENSON KITCHEN. MOM is down on floor with mean DOG getting him to roll over and "beg" for her with gusto as "Annie" soundtrack blares from living room.126. INTERIOR JENSON LIVING ROOM. MRS. JENSON is bellowing out the lyrics to "Tomorrow" along with the soundtrack. MRS. JENSON "The sun comes out Tomorrow And you've got to Hang on to Tomorrow Come what may..."127. INTERIOR KITCHEN. MOM grabs butcher knife.128. EXTERIOR MRS. JENSON'S HOUSE. CHIP and BIRDIE are below window to her TV room. CHIP gives BIRDIE a leg-up so she can see inside. BIRDIE'S POV shot of MRS. JENSON singing along. MRS. JENSON "Tomorrow! Tomorrow! I love you Tomorrow You're only a day away!"129. GARAGE ROOF NEARBY. SCOTTY has climbed up and has a direct view over CHIP and BIRDIE into MRS. JENSON'S window.130. INTERIOR JENSON KITCHEN. Hand held camera follows MOM clutching knife out of the kitchen into living room as she sneaks up on a singing MRS. JENSON.131. GARAGE ROOF. SCOTTY looks horrified to see a figure sneaking up on MRS. JENSON through window.132. INTERIOR JENSON LIVING ROOM. MOM changes her mind, puts down knife and goes back into kitchen.133. GARAGE ROOF. SCOTTY sighs in relief.134. EXTERIOR JENSON HOUSE. BIRDIE gives CHIP a leg-up and he gets a glimpse of the singing MRS. JENSON building to the finale of "Tomorrow". MRS. JENSON "Tomorrow! Tomorrow! Tomorrow! I love you..."135. JENSON KITCHEN. MOM picks up entire leg-of-lamb by the bone as her eyes light up in homicidal glee. She leans down, kisses the DOG on the lips, and exits back to living room.136. INTERIOR JENSON LIVING ROOM. MRS. JENSON is practically leaping our of her recliner singing along with the finale to "Tomorrow" on the credits to "Annie" as MOM creeps up behind her with leg-of-lamb. MRS. JENSON "....Tomorrow! You're only a day... AWAAAAAY!!!" MOM bludgeons MRS. JENSON with the leg-of-lamb on the final note of the song. Blood splatters the happy scene on the TV screen. MRS. JENSON tries to struggle up from the floor but MOM hits her over the head again with leg-of-lamb and finishes her off. MOM zaps the off button and softly sings to herself in the sudden silence. MOM "Tomorrow!..Tomorrow!..Tomorrow! I love you... MOM bludgeons her one more time and then pushes the REWIND button in revenge.137. GARAGE ROOF. SCOTTY lets out a terror-filled scream.138. INTERIOR JENSON LIVING ROOM. MOM looks out window in search of scream and zooms right in on SCOTTY's horrified face.139. EXTERIOR JENSON HOUSE. CHIP and BIRDIE look at each other in panic after hearing SCOTTY scream and seeing him run away behind them.140. INTERIOR JENION LIVING ROOM. The DOG is devouring the leg-of-lamb on the floor. MOM grabs butcher knife, and takes off after SCOTTY.141. EXTERIOR JENSON HOUSE. CHIP is giving BIRDIE a frantic leg-up. BIRDIE POV shot of MRS. JENSON's battered corpse. The DOG lunges at BIRDIE in window. BIRDIE screams in horror and falls to the ground. BIRDIE I saw blood! And it's brown! Not red like in horror movies, but brown!! CHIP (Terrified) Is MOM...in there? BIRDIE No! (Obsessed) It wasn't like gore movies at all! (Bursting into tears) IT WAS REAL! CHIP grabs her arm and they run.142. EXTERIOR JENSON HOUSE - OTHER SIDE. MOM comes running out front, sees SCOTTY running in the other direction and charges after him like a bat out of hell.143. UP THE STREET. SCOTTY runs, looking over his shoulder, horrified to see MOM chasing him with a butcher knife.144. MRS. JENSON'S NEIGHBORHOOD. BIRDIE and CHIP run in fear across suburban back lawns. BIRDIE Oh God, I think I'm going to be sick... BIRDIE vomits into the hot coals of somebody's outside cooking grill as horrified HOUSEWIFE looks out her window at her, about to begin cookout and screams in revulsion. CHIP grabs BIRDIE and they run away.145. EXTERIOR "SUBURBAN CULT VIDEO" SHOP. SCOTTY's convertible awaits him as he races towards it with MOM gaining on him with every stride. SCOTTY lunges for door handle, fumbles with key and hops in just in time. MOM plunges butcher knife through convertible top as he puts key in ignition. MOM WEAR YOUR SEATBELT! IT'S THE LAW!!146. INTERIOR SCOTTY'S CAR. SCOTTY starts engine as he ducks the repeated knife jabs through his convertible top.147. SUBURBAN STREET. SCOTTY peels out, showering MOM with gravel. A van pulls to a stop. Inside are two BURGLARS; one white, the other black. They are surrounded by obvious loot: VCR's, cameras and silverware. MOM turns to them with knife. BURGLAR A What the fuck is that? BURGLAR B Betty Crocker gone psycho! MOM yanks open van door and points knife inside. MOM (Primly) Give me your fucking van before I kill you! BURGLAR A (Hopping out of driver's seat) Yes, ma'am. It's all yours. BURGLAR B (Hopping out as MOM hops in and pulls off) Drive carefully! (To fellow BURGLAR A) White people sure are something!148. INTERIOR SCOTTY'S CAR. SCOTTY is speeding along, relieved to get away. SCOTTY (To himself out loud) Dear God...I promise I'll never watch a sex film again... I promise, I promise....149. INTERIOR STOLEN VAN. MOM switches gears like Evil Knieval and skids around corner in hot pursuit.150. INTERIOR SCOTTY'S CAR. SCOTTY checks rearview mirror and sees a van speeding up behind him. SCOTTY Oh shit! (He floors it)151. SUBURBAN INTERSECTION. CHIP and BIRDIE are running down street. DAD and MISTY are driving in other direction looking for MOM. Seeing CHIP and BIRDIE, DAD screeches on the brakes and the kids run to car in relief and jump in. Suddenly SCOTTY roars by in his car with MOM in hot pursuit. She sees DAD and family and blows them a lunatic kiss. DAD Hold on, kids! DAD takes off after MOM in car. A COP sees the speeding caravan as it careens around a corner. COP All units! SERIAL MOM headed south on York Road. Proceed with caution! SHE'S ARMED AND FUCKIN' NUTS!!152. EXTERIOR "HAMMERJACKS". Huge Rock 'n' Roll Palace. Large signs announce "SUNDAY ROCK-A-THON. IN PERSON - 'CAMEL LIPS'" SCOTTY careens into parking lot in his convertible. Subtitle appears "2:47pm" and fades out.153. INTERIOR HAMMERJACKS. On stage, "CAMEL LIPS", an all-female grunge-punk-metal band, dressed in their trademark skin tight slacks that gave the group their name, perform their hit song "Gas Chamber". The monstrous but beautiful LEAD SINGER bellows and snarls the lyrics as the DRUMMER, a brain dead drug idiot, hits herself on head with drumstick in between beats as criminal looking biker-chick GUITARIST plays her instrument and mock-humps it with sexual abandon. The audience of on-the-edge kids goes bezerk, guzzling beer and slam dancing with frightening intensity154. EXTERIOR HAMMERJACKS. MOM speeds into parking lot. SCOTTY is looking over his shoulder in fear as he nears the entrance waiting in line with grunge-metal kids. DOORMAN (To SCOTTY) I.D.? SCOTTY (Panicked) Can I give it to you inside? DOORMAN Hey, buddy. NOBODY gets inside without I.D. SCOTTY fumbles for his wallet. MOM is hurrying across parking lot staring at SCOTTY with a vengeance. DAD and the kids speed into parking lot and jump out of car. DOORMAN (Looking at Scotty's I.D.) Birthdate? SCOTTY (Straining to remember information on his fake I.D.) Uh...December 14th, 1975. (Pleading) Please! DOORHAN Ok, go ahead, SCOTTY snatches back I.D. and rushes inside. As horde of cop cars with lights blinking and sirens blaring screech into parking lot, MOM pushes her way up in line and greets startled kids who recognize her. MOM Hi! I know your mom... KID A It's her! KID B Who? MOM Excuse me. (Pushing her way up in line) Age before beauty... KID C The murder lady! The one on TV! KID B Cool! Is she in a band? MOM (Butting ahead) Sorry...the police are after me... DOORMAN (Recognizing her) Hey, you're Serial Mom! MOM (Modestly) I guess I am. DOORMAN (Looks up and sees her family and COPS rushing towards her) Come on in lady. Quick! (Hands her a badge) Here, take this. A backstage VIP pass. (Proudly) Welcome to Hammerjacks, "Serial Mom"! MOM Thank you so much, you kind, kind creature.155. INTERIOR HAMMERJACKS. A parents' nightmare. Grunge-punk hell. "CAMEL LIPS" is undulating suggestively on stage screeching out the chorus of "Gas Chamber" as they mock gasp for breath, dodge beer bottles thrown from audience and punch out male groupies who rush the stage past brutish bouncers. SCOTTY pushes his way through slam dancing crowd as he is picked up and bodily tossed through the air by frenzied mob of "body-surfing" dancers. MOM is racing to catch up with SCOTTY. MOM Excuse me...coming through... (Snatches beer bottle out of boy's hand) Bill Flowers! You're underage! BILL (Laughing) Don't kill me, Serial Mom! MOM (Snatching joint out of hophead girl's lips) Just say NO! And COMB YOUR HAIR, young lady! GIRL (Stoned) Wow! It's her! (Proudly) AND SHE'S A HEAVY METAL MANIAC!!! DAD looks horrified as he politely maneuvers his way through crowd as CHIP, MISTY and BIRDIE take over and begin "slamming" their way through crowd opening up a crowd for DAD. The COPS flood the place. DET. MOORE sees MOM in the distance, grabs DET. BRADFORD and they begin to fight their way through crowd after her. "CAMEL LIPS" incites the crowd from the stage to fight back against the police. SCOTTY is running toward stage in terror, looking over his shoulder and seeing MOM gaining on him. DAD gets caught in a mob of slam dancers and is lifted off his feet and tossed through the air by the crowd. MISTY, CHIP and BIRDIE see DAD airborne and start slamming into the crowd to save him. MISTY and CHIP slam into big BIKER below DAD and DAD is knocked back to the ground safely. When BIRDIE sees a slam dancer with a trickle of blood running from his nose, she starts gagging at the sight of real blood. SCOTTY is at the edge of the stage. He sees MOM almost on top of him and leaps onto stage and runs for his life, dodging bouncers and beer bottles being thrown from audience. MOM looks furious that SCOTTY has escaped but then looks up at theatrical light rigging overhead and then back down at SCOTTY's face as "CAMEL LIPS" tries to hit him with their instruments. MOM looks over her shoulder and sees DET. MOORE and DET. BRADFORD advancing on her. Ducking behind a giant speaker, out of view of the crowd MOM pulls butcher knife from purse, cuts supporting rope and sends whole set of lights crashing down on SCOTTY's head. The crowd goes wild thinking it's more of "CAMEL LIPS" sickening theatrics. A gang of heavy-metal chicks slam into DET. MOORE and DET. BRADFORD and knock them to the ground. MOM's eyes light up in fury when she sees SCOTTY still alive, crawling out from under the lights, semi-conscious and bleeding. BIRDIE faints at the sight of more blood. Thinking fast, MOM swipes a hairspray can sticking out of a girl's purse and uses her VIP pass to go backstage as CAMEL LIPS reaches its deafening crescendo of musical mayhem. As SCOTTY crawls to side of stage, MOM jumps out from a piece of backstage scenery and aims hairspray can at him. MOM (Hissing) Buckle up, Scotty! MOM lights the spray from the hairspray can and ignites SCOTTY's clothes in lethal flames without anyone seeing her. SCOTTY runs across the stage ablaze as "CAMEL LIPS" plays the final deafening note of their song and the crowd gives a screaming ovation, all holding up lit lighters, thinking SCOTTY on fire is all part of the act. DET. MOORE and DET. BRADFORD look to the stage in horror. DAD gasps in fear. MISTY and CHIP stare speechless as SCOTTY falls to his knees and keels over. BIRDIE comes to and then faints again. The LEAD SINGER thinks it's a joke, pours a little Jack Daniels on the smouldering corpse and then jumps back in comic over-reaction when the flames light up again. MOM, now caught in the front row of laughing slam-dancing spectators, turns to her dumb-struck family, smiles and sticks fingers in her ears, mimicking that the music is much too loud. DET. MOORE and DET. BRADFORD slamdance MOM from both sides and knock her to the ground and handcuff her. DAD puts his arms around CHIP, MISTY and BIRDIE as they hang their heads in sorrow. "CAMEL LIPS" and the entire audience of grunge-punks boo and jeer the police as they drag MOM out as she smiles innocently in suburban lunacy. Slow fade to black.156. Slow fade from black to EXTERIOR TOWSON COURTHOUSE. WINTER. DAD, CHIP, BIRDIE, MISSY and her new boyfriend, the REPORTER get out of folksy lawyer, HERBIE HEBDEN'S car and follow him through crowd of hostile press- trial groupies, and MOM1s punk-grunge fans, feeling the full heat of MOM's serial killer infamy. DAD wears a "Say No to the Gas Chamber" button and BIRDIE has turned hippy, wearing tie-dye clothes covered in peace signs. CHIP, on the other hand, looks cooler, wears L.A. styled outfit and carries copy of Variety. MISTY is obviously very much in love and the REPORTER seems to feel the same way about her. Subtitle appears "Four months later, Monday, January 18th, 9:46am" and then fades out. PRESS A Mr. Sutphin! How does your wife feel? DAD (Grim-faced) Beverly is devastated by the charges against her.157. INTERIOR PRISON BUS. Female criminals are handcuffed and seated around MOM on their way to court as MOM leads them in a joyous and Disney-esoue rendition of "100 Bottles of Beer on the Wall". MOM sings out with insane happiness and glee.158. INTERIOR COURTHOUSE CORRIDOR OUTSIDE OF COURTROOM. A "COURT TV" reporter is interviewing trial groupies as they wait in line to go through metal detectors to attend MOM's trial. COURT TV ...And you, ma'am, how long have you been waiting to get in? LADY A (Beaming at the attention) Since 5:00am. But it's gonna be worth it! I know she's guilty! HUSBAND A (Leaning into the shot) We've been to famous trials all over the country! WIFE A (Getting into the act) ..Manson.. .Watergate... (To Lady A) Didn't I see you at Hinkley? LADY A (Proudly) I was there! My husband thought I was crazy but... (Seeing Sutphin family getting off elevator) LOOK! HERE THEY COME!! That awful family! The hostile crowd starts craning their necks and screaming in recognition as if rock stars are making their entrance. DAD is blinded by the press's flashbulbs as HERBIE HEBDEN tries to stop CHIP from signing autographs as BIRDIE hands out "Stop the Violence" handbills. REPORTER BOYFRIEND gives MISTY the signal and she starts crying for his exclusive news shots.159. INTERIOR COURTROOM. Packed with spectators, press and security officers. The middle-class jury of seven woman and five men take their place in the jury box as Sutphin family take their seats in front row behind HERBIE HEBDEN at his defense table. TIMOTHY NAZLEROD, the prosecutor, studies evidence photos of victim's bodies at the District Attorney's table on other side of the courtroom. He looks up in disgust as MOM makes her apple-pie entrance. Escorted by two stern-faced police matrons. Subtitle appears "10:00am" and fades out. MOM (Happily waving to DAD) Hi, honey! DAD smiles back pitifully. MOM (To CHIP, BIRDIE & MISTY) Kids, did you do your homework? They give her a weak smile and nod "Yes". JUDGE Quiet in the courtroom! Court is now in session! MOM (To JURY) Hello, jury people. My name's Beverly Sutphin. (To startled woman juror) I like your jacket! JUDGE (Losing patience) Mrs. Sutphin, I SAID QUIET! You are accused of mass murder! This is a court of law, not a coffee klatch! (Bangs gavel) Mr. Nazlerod, your opening statement. MR. NAZLEROD Thank you, your honor. (Approaches JURY) Ladies and Gentlemen of the Jury, my name is Timothy Nazlerod... (Smarmily) ...and I hope we can be friends! (JURY stares back impartially) ...I warn you, this is not a pretty case...Beverly Sutphin is a woman evil to the core... (JURY POV shot of innocent- looking MOM staring back at them) ...a rotten apple, if you will... (DAD gulps in sorrow) ...who beyond a reasonable doubt killed five innocent people!! SPECTATORS scowl hatefully at MOM. CHIP (Whispering to BIRDIE, making excuses) Well...they sort of deserved it... BIRDIE pales over the mere thought of violence. DAD (To CHIP) Shhhhh! He looks over and sees MISTY and REPORTER BOYFRIEND are holding hands and glares at them to stop. MR. NAZLEROD ...THAT'S RIGHT! SHE MURDERED THEM!...WITH A SPEEDING CAR... A FIRE POKER... MOM subtly motions to MALE JUROR that he has something in his nose. MR. NAZLEROD ...A PAIR OF SCISSORS... JUROR self-consciously feels around his nostrils in embarrassment. MR. NAZLEROD ...A TOPPLED AIR CONDITIONER! MOM signals to JUROR that the problem is still there. MR. NAZLEROD ...THE LETHAL FLAMES FROM AN AEROSOL CAN...EVEN A LEG OF LAMB!! JUROR blows his nose. MOM smiles happily to him that the problem is solved. MR. NAZLEROD ...Beverly Sutphin is not a woman!... MISTY and REPORTER are watching and move even closer together to snuggle. MR. NAZLEROD ...SHE IS A MONSTER!! MOM's smile turns to horror as JUROR #8 on end of second row crosses her legs and MOM zeros in on her hideous white summer shoes. Wipe to a disheveled HERBIE HEBDEN, the ultimate liberal defense attorney, as he paces back and forth before JURY wiping his brow. HERBIE HEBDEN ...Ladies and Gentlemen, I'm Herbie Hebden and you and I have a tough job ahead of us... MOM is still staring insanely at JUROR1s shoes. HERBIE HEBDEN ...I have known the Sutphin family for sixteen years... MOM is frantically scribbling a note to her attorney on a legal pad. HERBIE HEBDEN ...Dad, Eugene, is my dentist... DAD self-consciously smiles to JURORS. HERBIE HEBDEN ...Chip and Misty played with my own children... CHIP smiles to MOM's few heavymetal supporters as REPORTER BOYFRIEND puts his arm around MISTY. HERBIE HEBDEN ...but I've found out I don't know Beverly Sutphin at all! He is trying to ignore MOM as she passes him a note that says "Juror #8 is wearing white summer shoes!" HERBIE HEBDEN ...No one really knows Beverly Sutphin... MOM writes angrily "AFTER LABOR DAY!!" HERBIE HEBDEN ...You see... (He reads note to humor MOM) ...Beverly Sutphin is INSANE!! MOM (Suddenly defiant) I AM NOT! Courtroom spectators gasp as DAD's mouth falls open. HERBIE HEBDEN (Trying to make his point) Yes, she committed these terrible crimes... (Pleading) ...but that doesn't make her a bad person. MOM (Standing) Your honor, I have a motion. I would like to fire my attorney, and defend myself! Sutphin family looks at one another, shocked at MOM's change of plans. HERBIE HEBDEN Beverly Sutphin is not guilty, by reason of INSANITY! MOM Oh shut up, Herbie! (To JUDGE) I have the right to defend myself, your honor. I've read the lawbooks! "Ware vs. State, 1964", and "Schutte vs. State, 1962". JUDGE Mrs. Sutphin, a defendant who has herself for a lawyer has a fool for a client... (To attorneys) Approach the bench! MOM smiles at DAD who looks bewildered as CHIP, MISTY and REPORTER BOYFRIEND give MOM the thumbs-up sign as BIRDIE nervously flashes her the peace sign. JUDGE (As bench conference breaks up) Mrs. Sutphin, I have no legal choice but to allow you to take over as your own attorney. DAD looks worried and unsure. HERBIE HEBDEN (Sulking out of courtroom, to MOM) You'll get my bill, I mean it! A big one! JUDGE (To MOM) How do you plead? MOM (Proudly) NOT GUILTY, your honor! Courtroom and press buzz intently at MOM's new plea. MR. NAZLEROD (Furious) I call to the stand, Dottie Hinkle! A vindictive and hostile, DOTTIE HINKLE enters the courtroom and eagerly takes the stand. As she is sworn in, MOM watches her with an evil smile. MR. NAZLEROD Mrs. Hinkle, did you ever receive obscene telephone calls? DOTTIE (Staring right at MOM) I certainly did. MR. NAZLEROD Did you recognize the voice of the caller? DOTTIE Not at first, but then I heard the same inflection in a voice at a social gathering and I put two and two together. MR. NAZLEROD Who's voice was it, Dottie? DOTTIE (Pointing to MOM) It was her! Beverly Sutphin! Sittin' right there! (Dramatically to JURY) I'm lucky I'm not DEAD!! Wipe to MOM approaching DOTTIE HINKLE for cross-examination. MOM Mrs. Hinkle...do you drink? DOTTIE (Haughtily) No, I don't. MOM So you weren't drunk when you received those alleged obscene phonecalls? DOTTIE I certainly was not! MOM You mean to tell me the day I came over to Mrs. Ackerman's...the day you claim you recognized my voice...you weren't drinking? DOTTIE (Flustered) One beer with lunch is hardly "drinking". MISTY, CHIP and BIRDIE smile at MOM's legal skills. MOM So you do drink? DOTTIE Socially...I'll have a beer. MOM So you admit you just lied? MR. NAZLEROD Objection! Argumentative! DOTTIE (Rising to the bait) NO I DON'T, YOU BITCH! JUDGE Sustained. (To DOTTIE) Watch your mouth, Mrs. Hinkle. Press scribbles frantically, beginning to doubt witness's credibility. MOM quickly and sneakily mouths "FUCK YOU" to DOTTIE without the JUDGE or anyone else in the courtroom besides DOTTIE seeing. DOTTIE (Shocked, to JUDGE) Did you see her?! She just said "Fuck you" to me! MOM (Innocently, to JUDGE) Let the record show I'm just standing here. DOTTIE FUCK YOU TOO, YOU WHORE! JUDGE I'm warning you, Mrs. Hinkle. One more obscenity and I'll charge you with contempt of court. DAD watches, amazed at his wife's cunning. MOM (Dramatically) Mrs. Hinkle, are you insane? DOTTIE NO I'M NOT, YOU MOTHER-FUCKER! Police matrons lunge at DOTTIE as she leaps from witness box to attack MOM. JUDGE (Bangs gavel) Mrs. Hinkle, I find you guilty of contempt of court and sentence you to a thousand dollar fine and five days in jail! (To MATRONS) Lock 'er up! DOTTIE (To MOM, being dragged out) YOU COCK-SUCKER! YOU LOUSY PIG-FUCKER! MOM smiles at JURY and turns to wink at her amazed family as spectators watch, willing to give MOM, for the first time, the benefit of the doubt. Fade out.160. Fade in to COURTROOM HALLWAY. MORNING. CHIP is pacing up and down yelling into a mobile phone outside MOM's trial as long line of spectators wait to get in. Subtitle appears "Tuesday, January 19th, 10:05am" and then fades out. CHIP (On phone) ...Well, you tell "Geraldo" to go to hell! I don't care what Jeffrey MacDonald's people got - he's old news! We fly first class or we don't do the show! A YOUNG MAN angrily approaches CHIP. YOUNG MAN Are you Chip Sutphin? CHIP (Into phone) Hold on... (To YOUNG MAN) Yeah I am, but you'll have to speak to my agent... YOUNG MAN Your mom killed my brother! He punches CHIP in the mouth. CHIP (Getting up, rubbing his jaw) That's cool...hey look, you're Carl's brother, right? YOUNG MAN That's right. CHIP I'm sorry he's dead, but... have you signed off yet? YOUNG MAN (Suddenly all business) You mean for TV or print? CHIP TV, man! Farrah Fawcett's interested in playing my mother! YOUNG MAN (Impressed, eyes lighting up) Farrah Fawcett?! Who's gonna play my brother? Is Jason Priestly available?161. INTERIOR COURTHOUSE. LU-ANN HODGES, pot-head witness from PTA murder is on the stand testifying for the prosecution. MR. NAZLEROD Miss Hodges, could you describe the car...the one you saw run over Mr. Stubbins in cold blood? LU-ANN (Giggling) I seen that movie!...On cable! MOM stares in shock at JUROR #8 who has the nerve to give MOM a friendly smile back while wearing yet another hideous pair of white summer shoes. Trying to suppress her rage, MOM turns to spectator section and happily notices the faces of GUS and SLOPPY smiling back to her in support. MR. NAZLEROD (Annoyed at his witness) PLEASE, Miss Hodges! DAD looks up at the unconvincing witness from reading "The Case Against Capital Punishment". LU-ANN (Obviously stoned) 'Scuse me... (Giggles) ...Well, like I told you, it was blue. The car, not the driver... (Laughs like a lunatic) Just blue...you know...like blue!162. EXTERIOR COURTHOUSE. MISTY has set up a flea market table and with the help of her REPORTER BOYFRIEND, is doing a brisk business hawking "Serial Mom" T-shirts to trial spectators. MISTY Get your "Serial Mom" T-shirts while they last! $19.95 plus tax! Master Card or Visa! LADY D I'll take two. I wish they'd had something like this at the Kennedy kid trial!... MISTY (Processing the charge on portable printer) Thanks, ma'am. Signature here and home phone.163. INTERIOR COURTHOUSE. DET. BRADFORD is on the witness stand. MR. NAZLEROD ...And these books... (Holding up "Urge to Kill", "Mass Murder in Houston") ...these disgusting books that so lovingly describe the sadistic acts of serial killers...Where did you find these books? DET. BRADFORD (Looking at MOM hatefully) In Beverly Sutphin's trash can. MR. NAZLEROD (Smugly to MOM) You may cross-examine, Mrs. Sutphin. MOM takes over and smiles in conspiracy at GUS and SLOPPY who giggle in excitement about what is to come. MOM (To NAZLEROD) Thank you. (To DET. BRADFORD) Detective Bradford, if I was to look through your trash can, what reading material would I find? MR. NAZLEROD Objection! Immaterial! JUDGE You may answer. DET. BRADFORD .."Time"..."Newsweek". My wife gets "Ladies Home Journal"... MOM (Smiling) Well, this magazine was found in your trash just last night... (Holds up porno magazine) ...It's called "Chicks with Dicks". DET. BRADFORD (Turning bright red) GODDAMN YOU! THAT'S TRESPASSING! The entire courtroom bursts into laughter except for his partner, DET. MOORE, who looks at him in shock. GUS and SLOPPY laugh the loudest. MOM Don't judge people by what they read, Detective. (Smugly) Your witness, Mr. Nazierod. MOM winks to SLOPPY and GUS. DET BRADFORD (Sputtering, purple with rage) I'm a married man!! BAILIFFS forcefully remove him from the stand. DET. BRADFORD (Yelling to MOM) I hope you get the gas chamber! JUDGE The jury is instructed to ignore the outburst of the witness. MR. NAZLEROD (Furious at MOM's cross-examination) I call to the stand Rosemary Ackerman! Wipe to MRS. ACKERMAN on the stand holding the fire poker murder weapon tagged as evidence. MR. NAZLEROD ...and did you ever see the fire poker again after you left it with Mrs. Sutphin? MRS. ACKERMAN Yes! Thirty minutes later it was covered with blood and gore and Carl Padgett was dead! MR. NAZLEROD No further questions. MOM (Standing to cross-examine) Mrs. Ackerman, when you left me at the flea-market, where did you go? MRS. ACKERMAN ...Browsing. MOM Did Carl Padgett buy something you wanted? MRS. ACKERMAN I didn't want that Faberge egg - it was chipped! MOM Carl Padgett died for the Franklin Mint, didn't he?! MRS. ACKERMAN (Shocked at the suspicion being pointed at her) NO! I could never hurt anyone! Spectators buzz. MOM (Not letting up) That was your People magazine with the letters cut out, wasn't it? MRS. ACKERMAN Yes, but I lent it... MOM (Cutting her off) And those were your scissors found sticking out of Mrs. Sterner's stomach, weren't they? MRS. ACKERMAN (Stuttering, panicked) Yes...but...I didn't... MOM (Suddenly, dramatically) Mrs. Ackerman, do you recycle? MRS. ACKERMAN (Horrified at the sudden silence in court as everyone stares at her in hostility) No... (Weakly) I don't have room in my kitchen... GUS, SLOPPY and all the spectators let out a howl of disapproval. Even the JUDGE scowls at the witness in disgust.164. EXTERIOR COURTHOUSE. REPORTER BOYFRIEND is unpacking stack of the "instant" book he wrote "Serial Mom - The Real Story" and autographing them for a line of housewives. HOUSEWIFE A (To RALPH) Could you sign it: "To a future Serial Mom"? REPORTER (Signing) Sure. You think she did it? HOUSEWIFE B I have reasonable doubt. HOUSEWIFE C (Buying a book) I feel like killing a couple of people myself! All the HOUSEWIVES in line begin booing and jeering MRS. ACKERMAN as she runs in terror from courthouse with GUS and SLOPPY chasing after her.165. INTERIOR COURTHOUSE. DET. MOORE is on witness stand being examined by the prosecution. MR. NAZLEROD Detective Moore, did you then proceed to the stage area inside "Hammerjacks"? DET. MOORE Yes, I did. Scotty Barnhiil was on fire and he fell to his knees in flames. BIRDIE looks up from reading "Ghandi" biography and gags as prosecutor hands DET. MOORE a gory 8x10 glossy photo of victim. MR. NAZLEROD Would this be what you saw? DET. MOORE Yes, sir. A real barbecue. Suddenly a buzz starts in the courtroom and all heads turn to the back of the spectator section where the real life star, FARRAH FAWCETT* is entering with an entourage to "observe" Serial Mom. MOM acknowledges MS. FAWCETT with a dignified nod as DAD looks on in amazement. DET. MOORE, the JURY, even the JUDGE crane their necks to get a better look at FARRAH FAWCETT. MR. NAZLEROD (Ignoring FARRAH FAWCETT, trying to continue) Your honor! (Impatiently) May the photo be entered in as evidence and passed to the jury? JUDGE Huh?...oh yeah...YES. DET. MOORE (Star-struck) Jeeeeze! It really is Farrah Fawcett! JUDGE (Blurting out, unable to contain himself) I loved you in "The Burning Bed"! MR. NAZLEROD (Furious at JUDGE) No further questions! (Smugly looking at MOM) I call to the stand, Marvin Pickles. MOM looks back in sudden fear at the prospect of this mystery witness.166. INTERIOR COURTHOUSE MEN'S ROOM. MARVIN PICKLES, the pervert from the flea market bathroom has locked himself in a stall and is scrawling "I SNIFF JURIES' UNDERPANTS" on wall. A POLICE OFFICER enters men's room, frantically banging on bathroom doors. COP MR. PICKLES! MR. MARVIN PICKLES! MARVIN Be right out. COP The Judge is waiting for you!167. INTERIOR COURTROOM. MARVIN PICKLES hurriedly enters as all heads turn to follow him to the stand. CHIP, who has joined BIRDIE and his family looks at MOM and sees her worried expression. MR. NAZLEROD State your name, please. MARVIN Marvin A. Pickles. MR. NAZLEROD Were you in the men's room at the Edmonson Drive In Flea Market on Saturday, September 19th? MARVIN Yes, I was. FARRAH FAWCETT answers a ringing mobile phone in her purse. MR. NAZLEROD Did you see anybody in the booth next to you? MARVIN sinks down lower in witness chair so he can get a better view up MOM's skirt. MARVIN I...um... (Turned on) uh... MOM looks at him confused, still unaware of his letchery. MR. NAZLEROD (Getting testy) Mr. Pickle! Did you see anybody in the booth next to you? MARVIN I...1'm not sure... (Really turned on, starting to moan) ...I...oohhh...Excuse me... MR. NAZLEROD (Outraged) What do you mean, you're not sure?! MOM suddenly realizes MARVIN is looking up her skirt. In a brilliant legal maneuver she begins inching her skirt up a little higher under the table out of view of the rest of the courtroom, giving MARVIN a better view and hoping to change his damning testimony. MARVIN (Eyes popping out of head) There was nobody next to me: Housewife trial groupies start buzzing wildly in newfound support of MOM. MR. NAZLEROD (Losing it) Mr. Pickles, you testified before the Grand Jury that you looked down and "saw a pair of lady's shoes" in the stall next to you. MOM smiles like the perfect saint as she begins flapping her leqe back and forth under the table, flashing MARVIN her very prim nun-like undergarments out of view of the rest of the courtroom. MARVIN (Lost in his own perverted glory) Ohhhh! I just said what you told me to! DAD looks over at MISTY and REPORTER BOYFRIEND who have rejoined the family in court and is horrified to see them with their arms wrapped around each other, cuddling. MR. NAZLEROD PERJURY IS A SERIOUS OFFENCE, MR. PICKLES!! MOM is flapping her legs back and forth double time as MARVIN goes into his own private orgasm. MARVZN Ooohhhhhh! I made it all up! I never saw Beverly Sutphin in my life! MR. NAZLEROD (Absolutely furious) You'll pay for this, Marvin A. Pickles! (Returning to seat) I'm turning your file over to the vice-squad!! (Sitting down) The prosecution rests, your honor. MOM (Giving MARVIN her version of a sexy smile as he leaves stand) The prosecution has proven nothing, your honor. (To the JURY) The defense also rests! The spectators burst into spontaneous applause as DAD looks at the kids in fear at the upcoming verdict.168. Wipe to HALLWAY OUTSIDE OF COURTROOM. FARRAM FAWCETT is giving an impromptu press conference to the throng of adoring reporters. FARRAH FAWCETT ...I feel that Beverly Sutphin is an innocent woman, wrongly accused. A normal housewife trapped in a nightmare of circumstantial evidence...169. INTERIOR COURTROOM. TIMOTHY NAZLEROD is giving the prosecution's closing argument. MR. NAZLEROD (Pointing to MOM) ...That's her! Henrietta Lee Lucas! Joan Wayne Gacy! A new face in the deck of serial killer trading cards... Find her guilty of all five counts of first degree murder...!170. HALLWAY OUTSIDE OF COURTROOM. FARRAH FAWCETT is still pontificating for the press. FARRAH FAWCETT ...I only hope that I can portray "Serial Mom"'s life on the TV screen with the proper dignity that this feminist heroine deserves.171. INTERIOR COURTROOM. MOM (Addressing the jury with calm believability) Look at me! I'm a normal person just like you are! DAD wipes away a tear as CHIP looks at a preliminary design for mini-series showing FARRAH FAWCETT done up as MOM. MOM ...But I've been framed by the police... MISTY and REPORTER BOYFRIEND are now openly making out in courtroom. MOM ...and perjured against by the very people I thought were my friends... BIRDIE looks out of courtroom window and sees a bird eating a worm and shudders in horror as CHIP pats her hand affectionately. MOM ...All I ask is that you have the courage to find me innocent of these terribly untrue charges...172. HALLWAY OUTSIDE OF COURTROOM. FARRAH FAWCETT is "reenacting" MOM's closing argument for the enthralled press corp. FARRAH FAWCETT (Hammily) ...All I ask is that you find me innocent of these terribly untrue charges...173. INTERIOR COURTROOM. Dissolve to stern-faced JURORS filing back into jury box, not looking at MOM. Subtitle appears "Two days later. Thursday, January 21st. 3:20pm" and then fades out. JUDGE Ladies and Gentlemen of the Jury, have you reached a verdict? FOREMAN Yes we have, your honor... JUROR #8 gives MOM a smile. FOREMAN ...We find the defendant not guilty of all charges. Courtroom erupts in pandemonium, FARRAH FAWCETT cheering the loudest. MOM turns to family who sit stunned in seats. MOM I'm coming home!! DAD forces a weak smile as he turns white as a ghost. JUDGE (Bangs gavel in disgust) Court adjourned! DAD (Whispering to a shocked CHIP and MISTY) ...What should I do? CHIP (Suddenly nervous) Bring her home...I guess. BIRDIE (Mumbling to herself) No more violence...No more violence... REPORTER BOYFRIEND Think she'll like me? MISTY (Worried) Just be nice to her. And try ...just try not to get on her nerves. MOM rushes over to DAD, free at last and gives him a big hug as press, fans, even the jury cheer her victory.174. INTERIOR COURTROOM HALLWAY. The stunned Sutphin family exits as MOM raises fists like "Rocky" to cheers of her supporters. MOM (Graciously accepting flowers, signing autographs, posing for the press) I love you! Thanks for coming! (Slows a kiss to newsteam) Hi Los Angeles! (Looking into another camera) Hello Cleveland! (And another) And you too, New York! Down the hall, inside a bank of old fashioned wooden phone booths is JUROR #8, excitedly talking on pay phone. JUROR #8 (Proudly) We did it! We set her free! I knew she was innocent right from the beginning!... Without warning, MOM slams her way into phone booth, hangs up the call and grabs receiver out of JUROR #8's hand. MOM (Snarling scarily) You can't wear white shoes after Labor Day! JUROR #8 (Stammering in open-mouthed terror) No...please...that's not true anymore. MOM Oh yes it is! (In homicidal fury) Didn't your mother ever tell you?! MOM suddenly bludgeons JUROR #8 over the head with the telephone receiver. MOM Well, now you know! JUROR #8, stunned by the blow, struggles to stay conscious. JUROR #8 (Staggering in pain) But...fashion has changed... MOM (Enraged) No it hasn't! MOM imediately hits JUROR #8 over the head again with the telephone receiver. As JUROR #8's screams are drowned out by the passing PRESS MOB, MOM hits her again and again with the telephone receiver until JUROR #8 collapses to the ground, her white summer shoes turned red with her own blood. Cut back to Sutphin family, holding on to each other for dear life as the mob of supporters swell around them. DAD (Realizing MOM is missing in the confusion) Beverly? Beverly? MOM flies out of phone booth wearing a big smile, not missing a beat. MOM Right here, honey. PRESS Mrs. Sutphin, can we get a shot with you and Farrah Fawcett? MOM Certainly. FARRAH FAWCETT barges in and takes over. FARRAH Hello, Beverly. I'm Farrah Fawcett (Pulling MOM rudely) You stand here... (To PRESS) Ok, boys, a medium two shot... MOM (Trying to get on other side of FAWCETT) ...but please...if I could just... FARRAH (Rudely shoving MOM back in place) Stay there, Beverly. (Posing) Smile, Serial Mom! Flashbulbs explode. MOM (Hissing to FARRAH in the scariest, most threatening voice yet) THAT'S MY BAD SIDE, FARRAH FAWCETT!! A JUROR down the hall screams in horror as she opens phone booth door and a bloody white shoe pops out. FARRAH FAWCETT looks back at MOM in sudden fear. MOM glares back with the face of a madwoman. Freeze frame. Dissolve to epilogue title card: "Beverly Sutphin is a free woman." CREDIT ROLL. 
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+                           THE SESSIONS                     (formerly The Surrogate)                            Written by                            Ben Lewin                                             Based On A True Story    EXT.   BERKELEY, CALIFORNIA.   DAY1                                                                 1    SUBTITLE Berkeley, California -1981-    DISSOLVE TO ACTUAL TV NEWS FOOTAGE FROM 1981    A busy intersection near the UC Berkeley campus. A strange,    self-propelled motorized gurney whirrs into view and makes    its way over a pedestrian crosswalk. The passenger, MARK    O'BRIEN, in his early 30s, is visible only from the neck up.    The rest of him is covered by a blanket. He operates the    gurney with a mouth control and a set of mirrors positioned    around his head.                          NEWS REPORTER (V.O.)               Mark O'Brien has been going to UC               Berkeley since 1978. That's O'Brien               in the motorized gurney heading for               class last week.    The gurney continues along a leafy promenade on the campus.    Passers-by just go about their normal business.                         NEWS REPORTER (V.O.)               He had polio when he was 6 years               old. The disease left his body               crippled but his mind remained               sharp and alert, and since he               wanted to be a writer, Mark O'Brien               entered Cal to major in English and               learn his trade.    We hear a voice reciting a verse of poetry as we follow Mark    in his contraption.                          MARK (V.O.)               Graduation               Today I hear the crowd's applause               Receive congratulations from my               friends               Today I ask if I've found a place               among the rest               I hope you see a man upon this               stage               Who studied...read..wrote, and               passed the test               In cap and gown, diploma on my               chair    THE SCENE CHANGES to the interior of a large auditorium. A    graduation ceremony is in progress.  Suddenly, everyone in    the hall, GRADUATES, their FAMILIES, ACADEMICS and OTHERS,    rise to their feet as Mark, in his gurney, buzzes across the    stage, a mortar board hung on one of the handles.                 1A.          NEWS REPORTER (V.O.)And so, Mark O'Brien graduates fromCal, one of 250 English majors toreceive degrees today.                                            2.     The DEAN steps forward, congratulates Mark and places a     diploma on his blanket. The gurney makes its way across the     rest of the stage to thunderous applause.     THE SCENE CHANGES BACK to the campus exterior. The news     reporter talks to camera.                           NEWS REPORTER                If this report tells us anything,                it is that a disability is not                necessarily a handicap.     In the background, Mark's family and friends are gathered     round him in a jubilant mood.                           NEWS REPORTER (CONT'D)                Mark O'Brien teaches us that                courage and perseverance overcome                obstacles.                With Mark O'Brien at UC Berkeley,                Bill Hillman, Channel Five                Eyewitness News.     END OF NEWS FOOTAGE1A   EXT. SAN FRANCISCO. NIGHT                                    1A     Classic shot of the illuminated Golden Gate Bridge.     SUPER CAPTION: "A FEW YEARS LATER"     EXT.   STREET OUTSIDE MARK'S.    NIGHT2                                                                     2     It is about 4.00 a.m. All is quiet. We follow a mean-looking     alley cat to the front of a modest, ground-floor apartment.     It pauses, then slinks round the side, onto a ledge and in     through a partially-opened window.     INT.    MARK'S PLACE.    NIGHT3                                                                     3     The cat comes through the window, hops onto the floor and     quickly finds a nice little plate of food scraps that has     been set out specially. As it settles down to its meal, we     become aware of a heavy and regular sound, like a ship's     pump, coming from somewhere close-by.     In the center of the room is an object that looks like a prop     from a `50s sci-fi movie. A human head protrudes from one     end. The object is an iron lung, and its purpose is to keep     its occupant, Mark O'Brien, breathing. Every 4.5 seconds, the     pump mechanism creates a vacuum inside, forcing Mark's chest     to expand and suck in air. He is fast asleep.                                   2A.                     MARK (V.O.)          Breathing          Look you          This most excellent canopy, the          air,          Presses down upon me          At 15 pounds per square inch          A dense, heavy, blue-glowing ocean.          Teasing me with its nearness and          immensity.          And all I get is a thin stream of          it.          A finger's width of the rope that          ties me to life.Having now eaten its fill, the cat has a good scratch, thenwanders over to the iron lung.                                        3.    It hops up onto the small platform that supports Mark's head    and slides itself along his face, once this way, once the    other way, then jumps on top of the iron lung and walks its    length. Through the portholes, we just make out the shape of    Mark's bent, undersize body.  Suddenly, Mark's nose twitches.    He opens his eyes and grimaces.                           MARK              Shit!    His face continues to contort as he tries to cope with the    terrible itching.  He shakes his head violently, then stops    suddenly and closes his eyes. We hear his thoughts.                        MARK (V.O.) (CONT'D)              Okay, just focus. Now, scratch              with your mind, okay, your mind,              scratch with your mind...    After a couple more nose twitches, he settles down. It seems    to have worked. In his peripheral vision, Mark can see the    cat making itself comfortable in a corner chair, one of the    only other pieces of furniture in the room. The first hints    of dawn start to appear through the curtains. They    illuminate a large framed portrait of the Virgin Mary hanging    on the wall.   Mark acknowledges it.                        MARK (CONT'D)              Good morning.    Sunlight streams in, making the picture look truly sacred.    EXT.   MARK'S PLACE.    DAY4                                                                 4    JOAN, a solid but slovenly woman in her late 30s, walks up to    Mark's front door, takes a key from her purse and lets    herself in.    INT.   MARK'S PLACE.    DAY5                                                                 5    She comes in.                        JOAN              Good morning.    Mark does not immediately acknowledge her.                        MARK              You're late.    A LITTLE LATER    The center of the iron lung, basically a thin mattress, has    been slid out, and Joan is in the process of giving Mark a    bed bath. He is frail and helpless.                                        4.    There is a look of resentment in his eyes as this apparently    unfeeling woman exercises total control over him, at least    temporarily.                        MARK (V.O.)              Joan              I swear this was one crazy bitch              Who'd swing me about enough to              scare me,              But careful enough so she could              say:              "Now what was all the yelling              about? You polios are screamers.              Always were."              I didn't say a word, but typed my              skinny novel in my head,              And thought about revenge.    In the course of washing his private parts, Mark has an    involuntary erection. Joan gives him a shriveling look. He    feels belittled and humiliated.    A LITTLE LATER    Mark is on his side, his trousers are on and she is buttoning    up a bright red shirt. It is an awkward business. They do it    in silence, avoiding eye contact as much as possible.    EXT. STREET OUTSIDE MARK'S PLACE.     DAY6                                                                 6    Joan pushes Mark along in a gurney, similar, but slightly    different from the one in the news clip. There are no mirrors    and no motor, just an oxygen tank, a tube and a mouthpiece    just next to Mark's mouth. Most of him is covered with a    colorful blanket. The whole thing is a sports-coupe version    of his iron lung.                        JOAN              Would you mind if I asked you a              favor?                        MARK              You need help moving furniture?    She has no apparent sense of humor.                        JOAN              I need an advance on my pay, like              two weeks. That's not a big ask, is              it?    Mark looks rightfully shocked.                        MARK              What if you don't last another two              weeks?                                      4A.He gives her a look, and means it. We hear his thoughts.                     MARK (V.O.) (CONT'D)          Joan never failed to put me in a          crappy mood. It was also a drag          that I was no longer allowed to use          my other gurney, the self-propelled          one. It had caused a couple of          spectacular accidents.They turn a corner and approach a church.                                        5.                           MARK (V.O.) (CONT'D)                Basically, in spite of all the                mirrors, I couldn't see where I was                going.6A   EXT. CATHOLIC CHURCH.     DAY                            6A     Joan pushes Mark's gurney into the sanctuary.     INT.   CATHOLIC CHURCH.    DAY7                                                                 7     FATHER BRENDAN is giving a sermon. Mark listens with     satisfaction. There are not many others there.                           FATHER BRENDAN                The Apostle Luke tells us that when                Elizabeth spoke to Mary, the baby                in her womb leapt - "For lo, as                soon as the voice of thy salutation                sounded in mine ears, the babe                leaped in my womb for joy". So                Mary's fear and apprehension slowly                gave way to pride and purpose.                Elizabeth saw the greatness in                Mary. "Blessed art thou among                women". Elizabeth, pregnant herself                with St. John, felt the power of                this wondrous woman. It was                Elizabeth, and her absolute faith,                that gave Mary the courage she was                lacking, and she gave thanks                saying: "My soul doth magnify the                Lord, and my spirit hath rejoiced                in God my Saviour".                May the spirit of the Lord be                amongst you and remain with you                always.     Mass is over. PEOPLE come up to Mark and place a hand on his     head or chest and say, "God bless you." In the background we     can also hear Father Brendan.                          FATHER BRENDAN (V.O.) (CONT'D)                May the peace of the Lord be with                you.                          PARISHIONERS                And also with you.     A LITTLE LATER                                        5A.7A   INT. SIDE CHAPEL. DAY                                     7A     Mark waits alone in a tiny chapel off to the side of the     church. He turns his head, takes a suck on the mouthpiece of     his portable respirator, then looks around at the impressive     stained glass windows. The expression on Mark's face is that     of a true believer.                         MARK (V.O.)               I'm definitely a true believer. But               I believe in a God with a sense of               humor. A wicked sense of humor. One               who created me in His own image.     Father Brendan enters. There is an awkward short moment when     he realizes that there is no point in offering to shake     hands. For no good reason, he nods instead.                         FATHER BRENDAN               Hello. I'm Father Brendan. I don't               think we've met.                               6.                    MARK          No, we haven't. I'm Mark O'Brien. I          knew Father Seamus very well. I'm          sorry that he's not here any more.                     FATHER BRENDAN          As are many others. I'm going to do          my best to fill his shoes. I          understand you'd like me to hear          your confession.                    MARK          Yes, I would. By the way, I enjoyed          Mass. I liked your tone.Father Brendan is not sure how to take this.                       FATHER BRENDAN          Thank you.                     MARK          You don't believe absolute privacy          is an essential part of the          confessional, do you?                    FATHER BRENDAN          No, I do not. I believe sincerity          is the most essential part.                    MARK          I told my attendant to come back in          half an hour. Is that okay?                    FATHER BRENDAN          Yes, take your time. I'm in no          rush.                    MARK          Did Father Seamus say anything to          you about me?                       FATHER BRENDAN          No one said anything to me about          you.                    MARK          I can be a bit time consuming, but          I'm worth the trouble.Father Brendan breaks a smile for the first time.                       FATHER BRENDAN          I'm here for you Mark.                           7.                     MARK          Look, this is not exactly a          confession. I haven't yet done the          deed. I was hoping to sort of get a          quote in advance.Father Brendan sits down.                    FATHER BRENDAN          Tell me what's on your mind.                    MARK          The most immediate thing on my mind          would be my attendant, Joan. I'm          thinking of getting rid of her.          It's an evil thought, but I can't          help it.                    FATHER BRENDAN          Is she dishonest, or incompetent?                     MARK          No, neither of those. She looks at          me the wrong way. It's that you-          need-me-more-than-I-need-you look.          I'd like to show her she's wrong,          just for the evil satisfaction it          will give me. Is that a sin,          Father?                    FATHER BRENDAN          Well, it obviously troubles you.                    MARK          Yes, it troubles me a lot. Because          maybe it's really a power trip. Me          against her. Me against the world.                    FATHER BRENDAN          I really wouldn't worry too much          about that. The question is whether          you like having her around.                    MARK          I can't stand her.                    FATHER BRENDAN          Then get rid of her. If I were in a          position to choose, I'd get someone          nice. Even it was a power trip.                    MARK          Then I have your blessing to fire          her?                                            8.                            FATHER BRENDAN                  Unofficially, yes.                            MARK                  That's good enough for me.                            FATHER BRENDAN                  Please, if ever you feel I can be                  useful, do let me know. It was a                  pleasure talking with you.                               MARK                  Same here.     INT.      MARK'S PLACE.    DAY8                                                                     8     We see a pencil eraser on the end of a stick slowly tapping     the keys on an electric typewriter. At the other end of the     stick, which is about a foot long, is Mark, manipulating it     adeptly with his mouth. There is a white index card in the     typewriter on which he is typing a job notice. We see the     first word. "POET"     EXT.   BERKELEY COLLEGE.         DAY9                                                                     9     A community notice board. A young female hand reaches in and     takes an index card off the board. The card reads:     POET/JOURNALIST REQUIRES ASSISTANT WITH ADVANCED SENSE OF     HUMOR     We see Amanda's face as she smiles. She is in her early 20s.                            MARK (V.O.)                  Amanda would have been a pretty                  girl to touch, to hold, to kiss, to                  take to bed.10   OMITTED                                                      10     INT.      MARK'S PLACE.    DAY11                                                                11     Mark is in his iron lung. Amanda sits in a stiff chair a few     feet away, being interviewed. Rod is working in the kitchen.     Mark's poem continues.                                             9.                           MARK (V.O.)                 Her perfect, pale skin,                 Her Tudor court face                 Her strong, fleshy legs                 Drove me into ecstasies of despair.      Mark asks a question.                           MARK                 Do you have any experience?                              AMANDA                 No, none at all.                           MARK                 That sounds perfect.      Mark stares at her lovingly.      INT.    MARK'S PLACE.     DAY12                                                                 12      From Mark's POV, Amanda slides him out of the iron lung. It      is her first time, and it is an awkward business.                           AMANDA                 How long can you stay out?                           MARK                 Three or four hours. Depends                 whether I'm having fun.12A   INT. MARK'S PLACE.                                          12A                              DAY      It is some time later. Amanda is giving Mark a massage. With      enormous satisfaction, he feels her curvy parts moving around      him and sometimes pressing against him. He also gets a bird's      eye view of her breasts.                            MARK (V.O.)                 She'd count in French before                 lifting me, un, deux, trois,                 quatre! I'd scream                 Tugged by her athletic arms                 From the everlasting gravity.      EXT.   PARK.   DAY14                                                                 14      Mark, on a blanket, is on an outing with Amanda, Matt and      another COUPLE. They are playing Scrabble.                                   9A.                    MARK (V.O.)          She took me on a picnic once,          With her boyfriend and another          couple. Lust crackled in the air          between those twentyish people.Amanda is clearly paying more attention to Mark than to Matt.                    MARK (V.O.)          What did the boyfriend think?          That I was in his way?          I'm always in somebody's way, I          thought, the sun in my eyes.                                        10.     We sense Mark's deep satisfaction as he closes his eyes and     the sun warms his face.                          MARK (V.O.)                As she glided through crowds of                lives She couldn't leave me lying                there Dried out bubble gum stuck on                the underneath of existence.     INT.   BATHROOM.   NIGHT13                                                             13     Amanda and her boyfriend MATT, are sharing the tub.                          MATT                Do you touch him?                             AMANDA                I do everything. Any other                questions?                          MATT                You don't have to be so defensive.                I'm not about to get jealous.                             AMANDA                Why not? He's a much nicer person                than you are.     She gets out of the bath suddenly.     INT.    MARK'S PLACE.      DAY15                                                             15     Amanda is shaving Mark.                          MARK                What does your boyfriend think of                me?                             AMANDA                He's an asshole. It doesn't matter                what he thinks of you.                          MARK                I'm interested in the opinion of an                asshole.                             AMANDA                He thinks you're some kind of                Svengali, and that you're going to                hypnotise me into your cult.                          MARK                He's right.                                         11.                           AMANDA                 He says he can already see changes.      She finishes shaving him and cleans him up. His eyes feast on      every detail of her face.      Cut to somewhere at night, Amanda is giving Mark a pole      dancing demonstration, complete with disco beat and mirror-      ball lighting.                           MARK (V.O.)                 So with her gentle fearless heart                 She took me in.                 I thrived in her garden                 And wanted more.A16   EXT. STREET NEAR CLOTHING STORE. DAY                     A16      Amanda wheels Mark towards a clothing store.      INT.   CLOTHING STORE.    DAY16                                                                 16      Amanda is wheeling Mark in his gurney around the store,      stopping from time to time to take something down from the      shelf. She picks out a shirt.                           AMANDA                 This you must have.      As she leans over to show it to him, Mark doesn't seem to be      listening. He whispers to her.                           MARK                 I love you.      She says nothing and gives the faintest of smiles, then puts      the shirt back. They continue round the store in thoughtful      silence and avoid eye contact with each other. We sense from      the looks on their faces that this moment spells the end of a      beautiful friendship.17    OMITTED                                                      17      INT. SIDE CHAPEL.   DAY18                                                                 18      Mark and Father Brendan are huddled together in the little      chapel.                           FATHER BRENDAN                 Did she reciprocate your feelings?                           MARK                 She didn't seem to.              11A.          FATHER BRENDANSometimes people can be very shyabout their emotions.                                          12.                          MARK               Well, in case she didn't get it the               first time, I told her again that I               was in love with her, and wanted to               marry her, thinking it might swing               things.                            FATHER BRENDAN               Did it?                         MARK               Yes. She left.     They sit in silence for a while. Father Brendan seems to be     at something of a loss.                          FATHER BRENDAN               I wish I knew what to say. I mean,               welcome to the human race. Every               day someone breaks someone else's               heart. And as I said, I'm here for               you. I just wish I had something               more useful to offer. All I have               are these vague ideas about life               and death that priests are equipped               with. Have you ever thought of               discussing your feelings with a               therapist?                         MARK               Not as yet. Father, I think I need               a hug.     After a moment of surprise, Father Brendan rises to the     occasion. He seems to know how to move Mark gently and     efficiently. They hug.     EXT.   MARK'S PLACE.    DAY19                                                               19     Rod is in the front yard picking up the newspaper. He sees     VERA, Chinese, mid-20s, a sensible type, approaching Mark's     front door.                            ROD               Hi. Vera?                            VERA               Yes.     He offers his hand.                                           13.                         ROD               I'm Rod. I do four to twelve.     INT.   MARK'S PLACE.    DAY20                                                                20     Vera sits in the same spot where Amanda was interviewed, but     without the same aura, although she is far from ugly.                         MARK               Have you had any experience?                            VERA               Some.     She is reserved and unsmiling. Mark seems disinterested in     the whole process. The phone rings. They both look at it.                         MARK               Would you get that, please.     Vera picks up the phone and answers a little hesitantly.                            VERA               Hullo.     After a few moments, she turns to Mark.                         VERA (CONT'D)               It's Sandy, from Pacific News               Service.                         MARK               Could you press that button and put               it on the speakerphone.     She does as she is asked with perfect efficiency.                            MARK (CONT'D)               Hi, Sandy.                         SANDY (V.O.)               Hi, Mark, how you doing?                         MARK               I'm good. I have a new attendant.               She answered the phone. Her name's               Vera.                         SANDY (V.O.)               Welcome, Vera.                            VERA               Thank you.                                          14.                           SANDY (V.O.)                Mark, we've gotten sponsorships to                do a series on sex and the disabled                and we'd like you to do some                interviews in the Berkeley area.                Could you do that? Say in the next                week or so?     Mark is momentarily taken aback.                           MARK                Why now?                          SANDY (V.O.)                No particular reason. If you're                working on something else, then we                can talk about it later.                          MARK                No, now is fine.     EXT. CARMEN'S DRIVEWAY.      DAY21                                                                21     Vera wheels Mark towards his first interview. The more we see     Vera, the more we like her.                          MARK (V.O.)                There was no denying it.                A door had opened which I could not                close, and in invisible writing it                said: "Do not enter".     INT.   CARMEN'S PLACE.    DAY22                                                                22     We see the slowly rotating reels of a portable cassette     recorder. We hear a female voice.                          CARMEN (V.O.)                Some positions, like that one, are                pretty much impossible.     Carmen, early 30s, is a paraplegic in a wheelchair. She is     pretty and animated, and has full use of her hands.                          CARMEN                I don't know if you can quite                visualize it. It's called a                lateral, or sideways reverse cow-                girl.     It is obvious that Mark cannot visualize it. Although she     doesn't give much away, we sense that Vera can.             14A.          CARMEN (CONT'D)Don't worry about it then. It'sjust a question of depth ofpenetration.          (MORE)                                         15.                             CARMEN (CONT'D)                To some people it's really                important, like my partner, for                example. It's not such a big deal                for me. I get just as excited when                he licks my nipples, if and when he                bothers to do it.      Mark looks troubled.                          CARMEN (CONT'D)                I think the tape's about to run                out.      At that very moment, there is a click, and the tape runs out.      Vera flips the tape over, sets it running in record mode, and      takes her place again behind Mark's gurney.                          CARMEN (CONT'D)                Do you want to keep going?                          MARK                Uh, I think I've actually got                enough to work on. Thanks.                             CARMEN                Get back to me if you need anything                else. Oh, and let me give you                Greg's phone number. He's full of                stuff you wouldn't think was                possible.      INT.   MARK'S PLACE.     DAY23                                                                23      Rod vacuums the floor while Mark taps away on his typewriter.      Mark looks troubled.23A   EXT. GREG'S PLACE. DAY                                      23A      We hear voices.                          MARK (V.O.)                Okay, shall we start?                             GREG (V.O.)                Sure.      We hear the cassette recorder click on.23B   INT. GREG'S PLACE. DAY                                      23B      Greg is a handsome quadriplegic. Vera is there with Mark.                                          16.                          GREG                Oral sex is a matter of taste.     Mark doesn't get it. Vera, as usual, is impassive.                          GREG (CONT'D)                And one thing that really works in                my favor is that I smoke so much                weed that my taste buds are pretty                jaded. This gives me a great deal                of stamina in the tongue                department, and stamina is key in                cunnilingus.     INT.    MARK'S PLACE.    NIGHT24                                                               24     The alley cat creeps in through the open window. Mark watches     it approach from his iron lung.                          MARK                Who are these people? I feel like                an anthropologist interviewing a                tribe of headhunters.     The cat seems to understand.     EXT.   UNIVERSITY ADMIN BUILDING.    DAY25                                                               25     A lady with a crisp voice answers the phone.                          LADY (V.O.)                Good morning. UCSF.     On the other end of the line, Mark tries to control the     shakiness of his voice.                           MARK (V.O.)                Uh, may I please speak to someone                in the Center on Sexuality and                Disability, please.     A pause.                           LADY (V.O.)                I'm sorry sir, the Center on                Sexuality and Disability has been                shut down.     INT.    MARK'S PLACE.    DAY26                                                               26     Mark looks immensely relieved. He closes his eyes.                                          17.                                 MARK                  Thank God.                                 LADY (V.O.)                  Sir?                            MARK                  I'm sorry to have bothered you.                            LADY (V.O.)                  It's no bother...Sir, before you                  go, I can give you a phone number                  for one of the therapists who used                  to work there. Would you like that?     Mark hesitates. He winces under the strain of having to make     a decision.                            LADY (V.O.)                  Sir, are you there?27   OMITTED                                                     27     OMITTED28                                                               28     EXT.   BUILDING.      DAY29                                                               29     It is a typical, modern, multi-purpose office building.   We     hear the sounds of grunting, bumping and clanging.     INT.      LOBBY.    DAY30                                                               30     There is something of a commotion going on at one of the     elevators.  Vera, and a small, well-meaning CROWD, are trying     to get Mark and his gurney inside. It will not fit     horizontally.  As they angle it up, Mark begins to panic.                            MARK                  It won't fit. It's not going to                  fit. Let's go back.     A muscular LATINO guy reassures him.                            LATINO                  Hey, it's fine. We got you. This is                  going to work just fine.     Vera guides him.                            VERA                  The top has to go over to the left.                                   17A.                    MARK          I don't feel so good about this.          Let's forget it.The Latino guy takes no notice.   Vera is flushed and angry.                                        18.                          VERA                Look, do you want to see this woman                or not?                          MARK                No!     One more heave and the gurney goes in with a jolt.                          MARK (CONT'D)                Aah!                          VERA                Well, it's too late.     The elevator doors close.     INT.   LAURA'S OFFICE.   DAY31                                                             31     Laura, a well-dressed, attractive woman in her late 30s, sits     in a chair a few feet from Mark. His gurney takes up most of     the available space in the room.                          LAURA                Did you ever discuss sex with your                parents?                           MARK                No. That would have been                unthinkable.                          LAURA                Why?                          MARK                That's the way they saw the world.                It wasn't just that polite people                didn't think about sex. No-one did.                It was never discussed. As far as                they were concerned, there was                nothing down there.     Laura listens. She is pretty in a dark, angular way. A phone     on her desk rings.                          LAURA                Sorry about that.     She walks over to it, pushes a button, then comes back. She     has a noticeable limp.                          MARK                What's that from?                          LAURA                Cerebral palsy.                           19.                    MARK          You'd hardly notice.                     LAURA          People notice. It's not easy, the          whole thing, attracting a guy,          dating, sex, all very problematic.                    MARK          I find that hard to believe in your          case.                     LAURA          Well, you better believe it.                    MARK          So, what sort of chance do you give          me?                     LAURA          Of achieving your romantic fantasy?          Very small to minute.                     MARK          Look, there's no need to pull any          punches. You can be as direct as          you like with me.She smiles.                     LAURA          Mark, I'm just a humble sex          therapist. I try to help people          with sex problems that can be          addressed. Your problem, I          understand, is that you have never          had sex.                    MARK          That's correct.                     LAURA          Would I be correct in assuming          you're unable to masturbate?                     MARK          Correct.                     LAURA          Has anyone done it for you?                     MARK          No.                     LAURA          Have you ever asked anyone?                                 20.                          MARK                Not specifically. I asked someone                to marry me. She declined. Does                that come close to masturbation?                          LAURA                You know, being with the person you                love is not the only way of                expressing yourself sexually. There                are people called sex surrogates.                          MARK                Oh?                          LAURA                Psychotherapists and psychiatrists                are not allowed to have sex with                their clients, even if it seems                like a good idea. Sex surrogates                don't have that limitation.                          MARK                Would this be covered by my medical                benefits?                          LAURA                Unfortunately, no. You'd have to                pay the full fee, whatever that                was.                          MARK                So, basically, I would be paying                for sex.                          LAURA                Yes Mark, you would be paying for                sex. But the person you would be                paying is not a hooker. She is a                highly trained and sensitive                professional, who is not motivated                by money. Just as I'm not. In fact,                you can think of a surrogate as an                extension of me. Do I seem like a                hooker to you?      Mark thinks.31A   OMITTED                                          31A                                 21.31B   INT. LAURA'S OFFICE. DAY                         31B      Mark comes back to reality.                          MARK                What sort of cost would I be                looking at?                          LAURA                It depends how many sessions you                need.                           MARK                Say, one, just to try it and see if                I like it.                          LAURA                I'm sorry, it doesn't work that                way. It's a process. You have to be                patient with yourself. There can be                quite a lot of talking involved.                          MARK                I've set aside $500. Do you think                that would cover things?                          LAURA                Oh yes, that's ample. So, what do                you think?                                        22.     INT. CHURCH.   DAY32                                                                32     Rod wheels Mark into the church.     INT. SIDE CHAPEL.    DAY33                                                                33     Mark waits in the little side chapel. Father Brendan enters.                         FATHER BRENDAN               Hi, good to see you. How are               things?                         MARK               Things are sort of confusing at the               moment. I would appreciate your               advice, as a friend, if you know               what I mean.     Father Brendan sits down on the end of a pew next to Mark.                         FATHER BRENDAN               Sure, and I understand what you               mean.                         MARK               Do you remember at one point you               suggested I might see a therapist?                           FATHER BRENDAN               Yes.                          MARK               Well, one way or another, it's a               long story, I ended up seeing a               therapist, a particular sort of               therapist, a sex therapist.                           FATHER BRENDAN               Uh-huh.                          MARK               My penis speaks to me, Father               Brendan. Sometimes I ejaculate               during a bed bath in front of my               attendant.                           (MORE)                                   23.                    MARK (CONT'D)          All I feel is shame and          mortification, while other men,          apparently, get pleasure. I'm sorry          if I sound angry.                    FATHER BRENDAN          Don't worry about it. Go on.Mark pauses to take a few breaths on his oxygen mouthpiece,then goes on.                     MARK          This therapist suggested I could          work with a sexual specialist, have          sex with someone known as a sex          surrogate, who would be sensitive          to my special needs. I've been          giving it some thought.Father Brendan interrupts him.                    FATHER BRENDAN          Hold on. What do you mean "have          sex"?                    MARK          Well, I don't really know how to          describe...                    FATHER BRENDAN          Sorry, that wasn't what... I mean,          are we talking about sexual          intercourse?                    MARK          I think so.                    FATHER BRENDAN          Outside marriage?                    MARK          I did do my best on the question of          marriage.Father Brendan shakes his head with concern.                    FATHER BRENDAN          What is the difference between this          sexual specialist and a common          prostitute?                    MARK          I don't know, but I think there's a          difference.                 23A.          FATHER BRENDANHow do you know she's not somehooker gussied up as a socialworker, who's just going to robyou?          MARKI trust what my therapist saidabout her.          FATHER BRENDANHow old are you?          MARKThirty-eight.          FATHER BRENDANWhy exactly now?          MARKI never had any spare cash before.That's a major factor, and I'mprobably getting close to my use-bydate.          FATHER BRENDANAnd this is what you want my adviceabout? Fornication?          MARKYour advice as a friend.          FATHER BRENDANAnd do I have the casting vote, soto speak?          MARKLet's say I value your advice justas much as I do the therapist's.          FATHER BRENDANYou're serious, aren't you?          MARKI think sex is a serious matter.It's one of the most persistentthemes in the bible.          (MORE)                                        24.                         MARK (CONT'D)               So, is it possible for me to know a               woman, in the biblical sense, and               do I want to find out?                         FATHER BRENDAN               And you want my opinion?                         MARK               Please.     Father Brendan contemplates for a few moments. He looks up at     the statue of Jesus, then makes a decision.                         FATHER BRENDAN               I know in my heart that He'll give               you a free pass on this one. Go for               it.                         MARK               What?                         FATHER BRENDAN               I said, go for it.                         MARK               Really?                         FATHER BRENDAN               If you feel up to it. Do you feel               up to it?                         MARK               To tell the truth, I'm scared.                         FATHER BRENDAN               Then we should pray.     Father Brendan and Mark pray together.                          FATHER BRENDAN (CONT'D)               Sweet Jesus, Mark and I sit at your               feet and pray that You bless this               little journey, this one small step               for a man.34   OMITTED                                                   3435   OMITTED                                                   35                                  25.36    OMITTED                                            3637    OMITTED                                            3737A   OMITTED                                           37A      EXT.   STREET NEAR CARMEN'S.   DAY38                                                       38      ROD is wheeling Mark along in his gurney.                           MARK                 I really feel proud of myself,                 imposing on someone I hardly know,                 to fornicate in their home.                           ROD                 Get over it. It's perfectly normal.      They arrive at CARMEN'S PLACE.                                        26.     INT.   CARMEN'S PLACE.   DAY39                                                                39     Carmen, in her electric wheelchair, is the woman Mark had     earlier interviewed. She pushes a button on a remote control,     which opens concertina double-doors, which reveal an adjacent     bedroom.                          CARMEN                Tada!     The bed itself is set at a perfect height for someone in a     wheelchair or gurney. The room has been decked out with     flowers, candles and incense.                          MARK                Wow!     Carmen points to the bedside table.                          CARMEN                There are all sorts of useful                things in that drawer there, if you                guys feel like exploring.     Mark doesn't even begin to get it.                          MARK                No, I'll bring my own sheets,                towels and anything else we need.                          CARMEN                No, no. Everything will be                provided. I'm honored that you                asked me. It'll be great karma for                the house.     EXT.   STREET NEAR CARMEN'S.   DAY40                                                                40     Rod is wheeling Mark back home.                           MARK                Great karma for the house. My God,                the pressure, already. I can't                stand it.41   OMITTED                                                      4142   OMITTED                                                      42                                          27.43   OMITTED                                                     43     EXT. STREET.   DAY44                                                               44     We are outside an old-style wooden house with a Volvo wagon     parked in front. A phone rings.     INT.   CHERYL'S KITCHEN.    DAY45                                                               45     We hear the sound of sneakers on a wood floor. TONY, an     adolescent with a pony tail picks up the phone.                          TONY                Hey, this is Tony.     He listens, then looks away from the phone and shouts.                          TONY (CONT'D)                Cheryl!                          CHERYL (V.O.)                What is it?                          TONY                Phone!     He talks into the mouthpiece.                          TONY (CONT'D)                She's coming.     CHERYL arrives. She is in her mid-30s. She grabs the phone,     puts her hand over the mouthpiece and glares at Tony.                          CHERYL                I'm not your girlfriend. When                someone calls, particularly someone                you don't know, you can use the                word 'Mom'.                                           28.     Tony glares back. Cheryl takes off her right earring.                         CHERYL (CONT'D)               Hullo, this is Cheryl.                         LAURA (V.O.)               Hi, it's Laura.                         CHERYL               I haven't heard from you in a               while. How are you?                         LAURA (V.O.)               Pretty well. Look, I called to ask               how you would feel about working               with a severely disabled client.     Suddenly, Cheryl notices that Tony has opened the     refrigerator and is drinking straight out of the orange juice     bottle.                         CHERYL               Hold on a moment, please.     She covers the mouthpiece of the phone.                         CHERYL (CONT'D)               Hey, cut that out!     He takes no notice. She puts the phone down and moves towards     him. He closes the fridge door and runs.     INT.   MARK'S PLACE.    DAY46                                                                46     Mark is having a bed bath. His shoulders and neck are covered     with soap suds. Rod is washing his back. The phone rings.                         MARK               Would you get it please?                            ROD               Sure.     Rod eases Mark back onto the rubber mattress and goes to     answer the phone.                         ROD (CONT'D)               Hullo, Mark O'Brien's phone.     He switches it to speaker so Mark can hear.                         CHERYL (V.O.)               Hi, this is Cheryl Cohen-Greene.               May I speak to Mark?                                        29.     Rod holds the phone toward Mark like a question. Mark's face     looks drained of blood.                          ROD                Just one moment, please.     Rod switches the phone off speaker.                          ROD (CONT'D)                What am I doing here? Yes or no?                Make up your mind.     Mark hesitates, then nods weakly. Rod puts the phone back on     speaker.                          MARK                Hullo, this is Mark.                          CHERYL (V.O.)                Hi, Mark. I'm Cheryl. Laura called                to introduce you. I understand                you'd like to meet. Is that right?     Mark can hardly speak. He eventually forces the sound from     his throat.                           MARK                Uh, yes.                          CHERYL (V.O.)                I could see you on the seventeenth,                at eleven o'clock. Would that be                any good for you?                          MARK                Uh, yes, I think that would be fine                for me.                          CHERYL                Hey, where you from?                          MARK                Boston. You?                          CHERYL                Salem. Small world.                          MARK                Wouldn't want to paint it.     INT.   CHERYL'S KITCHEN.     DAY47                                                                47     Cheryl is on the phone, holding the receiver with one hand     while she puts away groceries with the other.                                       29A.                           CHERYL                We'll be talking for a while to                begin with. Then, if you agree, we                can also start doing some body                awareness exercises in your first                session.     INT.   MARK'S PLACE.   NIGHT48                                                               48     The iron lung pumps away. Mark is alone. He stares at the     picture of the Virgin Mary.                                        30.                           MARK                Holy Mother of God, what are "body                awareness exercises"?     EXT.    STREET OUTSIDE MARK'S PLACE.    DAY49                                                                49     Vera lets herself in.     INT.    MARK'S PLACE.    DAY50                                                                50     Vera holds up two shirts for Mark to see, a dark red and a     light blue.                             VERA                Which one?     Mark is lying on his side, shirtless. His face is even more     grim than when we last saw it.                          MARK                Doesn't matter.                          VERA                Will you stop acting as if you're                going to your own execution.                          MARK                I'm not acting.     EXT.   CARMEN'S DRIVEWAY.      DAY51                                                                51     Vera wheels Mark to his doom.                          VERA                Try and think of something else.                Baseball, for example. That's what                they usually tell boys to do.                          MARK                Who are "they"?     Vera rings the front doorbell. They wait.                          MARK (CONT'D)                She's forgotten.     Vera says nothing. She rings the bell again.                          MARK (CONT'D)                My God, she's forgotten, or she's                gotten the date wrong. Okay, we                might as well turn round and go                back. Come on, let's go.                                       30A.                         VERA               She hasn't forgotten.     From inside the house, we hear the faint buzz of an electric     wheelchair approaching. The door opens. Mark closes his eyes     in despair.52   OMITTED                                                   52                                          31.     INT.   CARMEN'S PLACE.       DAY53                                                               53     Vera eases Mark onto the bed, positioning him so that he can     see the doorway. As a finishing touch, she dabs a little     cologne behind his ears, then puts the mouthpiece of his     respirator within easy reach.     Carmen picks up her bag and wheels herself to the door.                              CARMEN                Okay, I'm going. I'll be back some                time after one. If I'm not here,                just let yourselves out.                              VERA                Bye.                              MARK                       (weakly)                Bye.                              CARMEN                Have fun.     She lets herself out.                          MARK                What's the time?                          VERA                Twelve after eleven.                           MARK                I think there's a strong                possibility she's had second                thoughts.                          VERA                Mark, please calm down.                          MARK                And if she does arrive, she would                be perfectly within her rights to                turn around and run.                                      32.The doorbell rings. They stare at the door. Vera finally goesover and opens it. Silhouetted against the light is Cherylwith a substantial bag. She could be the Avon lady. She has alight blouse, light skirt and her long hair is loose.                    CHERYL          Hi, I'm Cheryl. I'm sorry I'm late.                    VERA          No, that's fine. Come in. I'm Vera,          I'm one of Mark's helpers.Cheryl sees Mark. There is no noticeable reaction in herface, just a smile.                    CHERYL          Hi, Mark O'Brien.Mark clears his throat with a little difficulty.                    MARK          Hi, Cheryl Cohen Greene.Vera is already at the front door.                    VERA          I'll be back, say, in two hours?                    CHERYL          Yes, two hours, that would be          perfect.She closes the door behind her. Mark feels totally abandoned.                       CHERYL (CONT'D)          So...Mark blurts out.                    MARK          Your money's on the dresser.Cheryl walks over to the dresser. When her back is turned,Mark screws up his face in self-disgust. She finds anenvelope.                       CHERYL          Thank you.She puts it in her bag. Mark eyes her carefully.                    MARK          That was the wrong way to start          off.                                     33.                    CHERYL          Yes, it was. Shall we start again?                    MARK          Please, you start.She sits down on the bed and looks at him. It is a veryfrank stare. She is trying to take a lot in.                     CHERYL          Although the aim is for us to have          sex, I'm not a prostitute and you          don't need to pay me up front. I've          nothing against prostitutes, but          there's a difference. We can talk          about that later.                       MARK          I'm sorry.                    CHERYL          The other thing is, there is a          limit to the number of sessions we          can have together. Did Laura          mention that when you saw her?                    MARK          I'm sorry, I don't remember.                    CHERYL          The limit is six. But that gives us          plenty of opportunity to explore.          Now, I understand you are able to          have an erection.                    MARK          Yes, but not out of choice.                    CHERYL          Do you know how many men there are          on this planet who would give          anything for a natural erection?She looks around the room.                    CHERYL (CONT'D)          Is this your place?                    MARK          No, it's a friend's. The only          bedroom furniture I have at my          place is an iron lung. I've          sometimes thought about buying a          futon, in case the need arose.                    CHERYL          It's worth thinking about.                           34.                    MARK          I've got the space. It can be          expensive though, a nice futon. I          mean, how much do you think a good          one would cost?                    CHERYL          Mark, just take a deep breath, then          let go.                    MARK          Do I seem anxious?                    CHERYL          You do a little.Cheryl lies down beside him.                    CHERYL (CONT'D)          Laura told me you were a poet.          What's it like to be a poet?                    MARK          It's a way of living inside your          own head, which is where I spend          most of my time.                    CHERYL          But not today. By the way, I like          your shirt.He smiles, genuinely flattered.                       MARK          Thank you.                    CHERYL          So I need to ask you some basic          questions. Okay?                       MARK          Sure.                    CHERYL          What is the iron lung for?                       MARK          It keeps me breathing. I can spend          a few hours outside of it, with my          portable respirator, depending on          how I feel. But I work and sleep in          the iron lung.             34A.          CHERYLHow do you feel right now?                                   35.                    MARK          Out of my league.                    CHERYL          I meant your breathing.                    MARK          Oh...fine. In fact, better than          usual.                    CHERYL          That's great. Do you have any areas          of unusual sensitivity? Any parts          of your body you don't want me to          touch?                    MARK          I have normal sensitivity all over.          It's just that my muscles don't          work. You can touch me anywhere.                    CHERYL          Shall we get undressed then?Mark is taken by surprise by the suddenness of it. Hehesitates momentarily.                    MARK          Sure.Cheryl starts to unbutton his shirt. Mark's terror is visiblein his eyes and she can also feel his heart palpitating. Shestarts to slowly extract one of Mark's arms from his shirt-sleeve. Suddenly, he lets out a piercing scream.                    MARK (CONT'D)          Ow! Ow! Stop! It hurts!She recoils, shocked.                    CHERYL          What's wrong?                    MARK          Holy Mother of God!                    CHERYL          Tell me what's wrong.                    MARK          My fingers! They're caught!She discovers that his fingers have been snagged in thefabric of the shirt and his fingers are being bent backward.                                   36.                    CHERYL          Okay, okay, I've got it. Don't          worry.She carefully frees his fingers and eases the sleeve off.                    MARK          Be careful, please.                     CHERYL          Mark, I'm going to be really          careful with you. I don't want to          hurt or injure you in any way, but          it's really not sexy when you yell          at me. Okay?                    MARK          I won't yell at you any more.                    CHERYL          But you'll tell me calmly the          moment anything starts to hurt?                    MARK          Yes.                    CHERYL          Now, let's do the other arm.Little by little, she extracts the other arm. He grimaces hisway through it, but more in fear than in pain. She finallysets his shirt down on the end of the bed.                    CHERYL (CONT'D)          Nice shirt.                    MARK          You already said that.                    CHERYL          Did I? I guess I'm a little          anxious, too.She undoes the top of his pants.                    CHERYL (CONT'D)          Okay, I'm going to slide these          down. Hold your breath.She pulls. He screams, in fear more than pain.                    MARK          Shit, fuck! No, don't do that!                                       36A.     INT.   BATHROOM.   DAY54                                                             54     Cheryl sits down on the edge of the tub and takes a couple of     deep breaths.                                          37.     INT.   CARMEN'S PLACE.   DAY55                                                                55     Mark, his body now under the sheets, looks towards the     bathroom door. He can hear the sound of water running. He     looks at a wall clock and notes the passing of time.     INT.   BATHROOM. DAY56                                                                56     Cheryl turns off the tap. She has done a great job of pulling     herself together, and is wrapped in a kimono, which she has     brought herself.     INT.   CARMEN'S PLACE.   DAY57                                                                57     Cheryl emerges from the bathroom and starts to undress.                            CHERYL                Ready?                            MARK                No.     Cheryl continues undressing, Mark looks away.                            CHERYL                Okay, the difference between me and                a prostitute is that I don't want                your return business. I'm here to                help you communicate about your                sexual feelings, so you can share                them with a future partner.     She stands there for a few moments, but he keeps his eyes     averted. She turns back the sheets, gets into bed beside him     and he finally looks at her.                          MARK                Whenever I'm naked, everyone else                in the room is usually dressed. Now                that I'm in bed with another naked                person, I'm very confused.     She strokes his hair.                          CHERYL                So, why is it confusing?                          MARK                I'd always expected that God, or my                parents, would intervene to keep                this moment from happening.     She slides her hand down. She can feel his heart thumping.                                  37A.                     CHERYL          Mark, close your eyes and focus on          your sense of touch.He closes his eyes.                    CHERYL (CONT'D)          I'd like you to tell me how it          feels each time I touch a different          part of your body. If something          feels good, tell me. If something          feels ticklish or bothers you, let          me know. I don't want you to          tolerate anything. I'm going to          start with the top of your head...She strokes his hair.                    CHERYL (CONT'D)          You have soft hair. It's nice to          the touch. So you like it?                      MARK          I do.She moves her fingers round behind his ear, then the front ofhis ear.                      MARK (CONT'D)          That feels weird.                      CHERYL          Weird good? Or weird bad?                    MARK          Just weird.She moves her hand down his neck.                      MARK (CONT'D)          Good.His shoulder.                      CHERYL          Still good?                    MARK          Everything good so far, except the          ear.She moves her fingers along his side, very, very lightly. ForMark, so far, this is the best.             37B.           MARK (CONT'D)Are these the body awarenessexercises?                                        38.                          CHERYL                You're clever to have worked that                out.     Her hands massage their way down his torso. Mark's reactions     are a little like shock waves.                          MARK                People tell me I'm very perceptive.                          CHERYL                Would you like to see what I feel                like?     She carefully takes his hand and caresses the fingers around     one of her breasts, then puts his hand back.     Cheryl's hands move further down his body.                          CHERYL (CONT'D)                Are you wearing cologne?                          MARK                Yes.                           CHERYL                Mmm, my favorite brand. Okay, I'm                going to move my hand along your                stomach... and down to your pen...     The expression on Mark's face changes to one of shock, then     agony, then ecstasy.                          MARK                Oh, oh.58   OMITTED                                                   58     INT.   CARMEN'S PLACE.   DAY59                                                             59     The clock on the mantelpiece says 12:48. Cheryl is now fully     dressed. She snaps open her briefcase, takes out a diary with     a pen attached, then walks over to the bed, sits down beside     Mark and flips through the pages.                           CHERYL                Next week, Friday the twentieth,                same time?                          MARK                That's good for me.                                        39.                          CHERYL                Next time we'll start to work on                intercourse.     She gathers her things together and gets up.                           CHERYL (CONT'D)                Were you afraid at the thought of                seeing me?                          MARK                I was terrified.                          CHERYL                You can be proud of yourself. You                did great. We've made real                progress.                          MARK                Can I ask you something?                          CHERYL                Of course. What would you like to                ask?                          MARK                Anything, really. Tell me something                about yourself. Anything.                          CHERYL                Sure. I'm a very private person. I                have a private life, I do need you                to be aware of that, but that's                about it. This therapy is about                you.     There is a discreet knock at the front door and then a key     turns in the lock. A few moments later, Carmen and Vera come     in.                          MARK                Welcome back.                          CHERYL                Perfect timing.                          CARMEN                I hope you guys kept the noise                down.     EXT.   STREET NEAR CARMEN'S.   DAY60                                                             60     Vera wheels Mark back the way they came. She is very discreet     and they travel in silence for a while. Finally, curiosity     overcomes her.                 40.          VERAHow do you feel?          MARKCleansed and victorious.          VERADoesn't get any better than that.          MARKTell me about your first sexualexperience.          VERALet me think. It wasn't all thatpleasant. I mean, it was consensualand everything, and I really was inlove with the guy, but his dickseemed enormous to me, I didn'tthink it would fit. It was scary.But he was nice. I guess hecouldn't help it.          MARKWas he Chinese?          VERAAre you kidding? I only hung outwith white guys at high school.          MARKWhy is that?          VERAI don't know. To stick it to my mumand dad, I suppose.          MARKAre they happy now you've got aChinese boyfriend?          VERAThey're happy. I'm happy.          MARKWhat's his dick like?          VERAPerfect size.          MARKWhy do you call it a dick insteadof a penis?                                        41.                          VERA                Penis sounds like some vegetable                you don't want to eat. Dick sounds                like what it is.     They continue in silence for a little while.                          MARK                The thing is, it was all over so                damn quickly.                          VERA                Yes, tell me about it.     EXT.   CHERYL'S PLACE.   NIGHT61                                                               61     Cheryl's car is parked outside. The house is mostly dark.     INT.   CHERYL'S PLACE.   NIGHT62                                                               62     Cheryl is at a tiny desk, dictating into a recorder.                           CHERYL                First session. Mark is the oldest                of four children and raised                Catholic. He was extremely nervous.                He yelled a lot when I took off his                shirt, but I think more out of fear                than pain. He cannot masturbate.                Has only had the occasional kissing                experience. He is capable of                achieving an erection easily, but                the unusual curvature of his body                could be a serious obstacle to                intercourse.     She puts the recorder away in a file drawer and locks the     drawer with a key, which she keeps with her.     INT. CHERYL'S BEDROOM.    NIGHT63                                                               63     Cheryl gets into bed beside her husband JOSH, who is     apparently asleep.                           CHERYL                This gentleman I just started                working with. He spends most of his                life trapped in a big metal box.     Her husband Josh turns over and mumbles something completely     incomprehensible. She nudges him.                          CHERYL (CONT'D)                Did you hear what I said?                                         42.                         JOSH               Yes, I heard what you said. You're               a saint.     He kisses her.                         CHERYL               Don't forget to put the trash out               in the morning.     She turns around and goes to sleep.     INT. SIDE CHAPEL.   DAY64                                                              64     Mark is in the little side chapel with Father Brendan.                         MARK               I don't know what I had envisaged               it would be like, the first time I               mean. But that wasn't the image I               had. I thought there would be more               to it. Not that it was unpleasant.               After all, I was in bed with a               naked woman. She complimented me on               my shirt and my hair. She held my               penis. I haven't even seen my penis               for over thirty years. Anyway,               onward. Am I sharing too much?                         FATHER BRENDAN               No, I'm used to it.     INT.   MARK'S PLACE.      NIGHT65                                                              65     Mark is in his iron lung. With his mouth stick, he turns the     page of one of those anatomical instruction books on sex.     There are the typical graphic cross-section diagrams of     penises entering vaginas. Ravel's "Bolero" plays quietly in     the background as he reads to himself.                          MARK               "Sometimes the head of the penis               may be too large to penetrate the               vaginal opening smoothly, in which               case the application of lubricant               is recommended to avoid               possible..." Oh, my God!     EXT. STREET OUTSIDE MARK'S PLACE. DAY66                                                              66     This time Rod is wheeling Mark. He seems only slightly less     anxious than the first time, but still noticeably anxious.                         ROD               What's on the menu today?                                        43.                          MARK                We're attempting intercourse.                          ROD                Uh-huh. That's a big one.                          MARK                What do you think of it?                Intercourse.                          ROD                Overrated, but necessary. There's                plenty of other ways of achieving                the same result, but somehow you                don't feel you've actually done it                till you've gone all the way in.     This does not help Mark's state of mind.67   OMITTED                                                      67     INT.   CARMEN'S PLACE.   DAY68                                                                68     Cheryl takes off her clothes.                          CHERYL                I want you to look at me this time.                Go on, lift your eyes, look at me.     He lifts his eyes. She pauses.                          CHERYL (CONT'D)                Do you like watching me undress?                          MARK                I do.     As she moves towards the bed, almost naked, the last thing     she takes off is her bra.                          CHERYL                From now on...     She pulls back the bed covers and gets into bed with Mark.                          CHERYL (CONT'D)                You're going to start to understand                the signals from your body...     Their bodies touch. He looks blissful.                          CHERYL (CONT'D)                ...and learn how to control...     Then suddenly...                                  43A.                    MARK          Oh God! Oh God!Mark's expression of bliss turns to one of anger andfrustration.                                        44.                          MARK (CONT'D)                Damn! Shit!     INT. SIDE CHAPEL.   DAY69                                                                69     Mark is in the side chapel with Father Brendan.                          MARK                I did it again. This time, I                ejaculated on her thigh.     Father Brendan winces.                           MARK (CONT'D)                I felt cursed, that the whole                enterprise was cursed. It seemed                like a totally just punishment. God                wasn't actually denying my                sexuality. He was merely pointing                out to me how useless it was.                           FATHER BRENDAN                It's amazing to me how often God is                brought into the sex act. I                understand that even amongst non-                believers, the most common                expression of sexual ecstasy is                "Oh, God!"70   OMITTED                                                      7071   OMITTED                                                      71     INT.   CARMEN'S PLACE.    DAY72                                                                72     Cheryl returns from the bathroom and slides back into bed.                           CHERYL                Okay, I don't want to hear any more                about God cursing you. I want the                credit. It was my overpowering                beauty that did it. It took you by                surprise. Now, where were we?                          MARK                What do you mean, where were we?                          CHERYL                I'm going to touch you... I'm                touching you... and when we both                feel you're aroused, then I'm going                to guide you into my vagina.                          MARK                Is there anything I need to do?                                        45.                          CHERYL                Close your eyes, feel your body,                that's all you need to do.     Mark closes his eyes. In his mind's eye, he sees the saintly     figures in the beautiful stained glass windows of the church     with the afternoon sun blazing through. An equally saintly,     but naked Amanda floats towards him, her arms beckoning.     When he opens his eyes, Cheryl is straddling him, but in a     Leaning Tower of Pisa sort of way. It is a struggle for her,     but somehow she is managing to get Mark into a workable     position for intercourse. Suddenly, he panics.                          MARK                It won't fit. It's not going to                fit.                          CHERYL                No, Mark, it will fit just fine.                          MARK                No, it's dangerous. It's too big.                          CHERYL                It's not too big. Relax.                          MARK                It won't fit. It'll hurt. It's too                risky.                          CHERYL                Please, stop this. I promise you,                nothing bad will happen. Now, let's                try again while you're still hard.     She attempts to guide him in again. Mark grimaces, makes a     strange noise. We realize that he has just ejaculated again     involuntarily.                              MARK                Shit!     INT.   BATHROOM.   DAY73                                                             73     Cheryl steps out of the shower.     INT.   CARMEN'S PLACE.     DAY74                                                             74     Cheryl gets into bed.                          MARK                I'm really sorry.                                          46.                          CHERYL                Stop being sorry. And stop reading                those stupid sex manuals.     She snuggles up beside Mark.                           CHERYL (CONT'D)                We still have some time. We can                talk, which you seem to like, or                you can suck on my nipples, which                you also seem to like. Or, which                one would you like to do first?     Gradually, Mark is reassured.     EXT.   CHERYL'S PLACE.   NIGHT75                                                                75     Cheryl's Volvo is parked in its usual spot out front. There     is one light on in the house.     INT.   CHERYL'S PLACE.   NIGHT76                                                                76     Cheryl is at her desk, dictating her notes. She also has a     notepad with some jottings.                           CHERYL                Mark seemed to be at his most                relaxed when I sucked his penis. At                the moment he is fixated on penis-                vagina and his anxiety is focused                around that. The root of his                anxiety is his parents and his                religion. He believes he doesn't                deserve sex. He believes he is                responsible for his little sister's                death at the age of seven, because                his mother was too busy looking                after him.     INT.   LAURA'S OFFICE.   DAY77                                                                77     A copy of Cheryl's notes comes through on Laura's fax     machine. We hear her familiar limp as she comes over to     collect them. She reads the notes with interest.                          CHERYL (V.O.)                We discussed his fantasies. They                are mostly masochistic.                          (MORE)                                        47.                               CHERYL (V.O.) (CONT'D)                  Again,   the idea of being punished.                  He has   never seen female genitalia                  before   and seems quite frightened                  by the   idea.     INT.   SIDE CHAPEL.       DAY78                                                             78     Mark and Father Brendan are in the little chapel.                             MARK                  I'm sorry to lay all this on you,                  Father. My worry now is that it's                  never going to happen. I'm never                  going to have intercourse with                  Cheryl, or any other woman. Maybe                  intercourse would prove I was an                  adult. Maybe I don't want to cross                  that line. Maybe this was a bad                  idea.                            FATHER BRENDAN                  Do you want to know what I think?                               MARK                  Please.                            FATHER BRENDAN                  I'd forget the psychobabble. I grew                  up on a farm. It even takes the                  animals a few times to get it                  right. Can I suggest you try and                  enjoy it more? Don't worry about                  the technical stuff. You're a poet.                  Be romantic.     EXT. CLOTHING STORE.        DAY79                                                             79     Vera wheels Mark and his gurney to a rack in front of the     store. She takes shirts and models them for Mark. He settles     on a daring but beautiful silk shirt. A man in a pink unitard     rides by on a unicycle.80   OMITTED                                                   80     INT.      MARK'S PLACE.     DAY81                                                             81     Vera carefully does up the buttons on Mark's new silk shirt.     Mark looks thoughtful.                            VERA                  You nervous?                            MARK                  Only a little.                                           48.                          VERA                Would you like a shpritz?                          MARK                Yes, of course I would.     Vera gets a bottle of cologne and gives Mark a couple of     bursts behind the ears.                          MARK (CONT'D)                I have a good feeling about today,                a very good feeling.                          VERA                Great.                           MARK                I had a terrible feeling it was                never going to happen, but I think                today's the day.                          VERA                Can I make a suggestion?                          MARK                Please.                          VERA                Stop thinking about it.82   OMITTED                                                      82     EXT.   CARMEN'S DRIVEWAY.   DAY83                                                                83     Vera wheels Mark up to the front door.                          MARK                You couldn't have wished for nicer                weather.                          VERA                You're not listening, are you? I                said, stop thinking about it.                          MARK                Beautiful weather.     She steps up to ring the bell, then hesitates. There is     something of a hubbub coming from inside. Both she and Mark     can hear it clearly.                                           49.     INT.   CARMEN'S PLACE.    DAY84                                                                84     The doorbell rings, amidst a loud background chatter. We     reveal a ROOMFUL OF WOMEN, gathered for some intense group     activity of some kind. Carmen buzzes her way to the front     door in her wheelchair. She opens it. She has an expression     of horror.                            CARMEN                Oh, my God, I forgot! Oh, Mark, I'm                so sorry.     The entire roomful of women stare at Mark and Vera. In the     background we see Cheryl's car pull up.     EXT.   CARMEN'S PLACE.    DAY85                                                                85     Cheryl, Mark and Vera are by the car. Mark looks grim.                          VERA                She was very apologetic.     They are all shaking their heads. Cheryl has a thought.                          CHERYL                Look, it may not be exactly what we                had in mind, but I noticed there's                quite a nice motel just a couple of                blocks from here. Maybe it's worth                checking out.     INT.   MOTEL RECEPTION.    DAY86                                                                86     Mark and Cheryl wait outside while Vera goes in.                          VERA                Have you got anything on the ground                floor?     The MOTEL CLERK is also Chinese. He looks at the rack of     keys.                          CLERK                I've got a single.                            VERA                How much?                           CLERK                Thirty-five plus tax.                          VERA                My boss is the gentleman in the                gurney.                            (MORE)                                        50.                            VERA (CONT'D)                He's supposed to be having a                therapy session right now, but the                facility we normally use had a                scheduling mix-up. We only need the                room for two hours. Can you do it                for twenty cash?     EXT.   MOTEL.   DAY87                                                             87     The clerk leads them to the room and opens the door.                          CLERK                There's a soda machine around the                corner.                            MARK                Thanks.                          CLERK                And an ice machine, if you need it.                          MARK                I'm sure it'll come in handy.     INT.   MOTEL ROOM.    DAY88                                                             88     Cheryl, Vera and the gurney enter the room. The clerk watches     in the background. Cheryl and Vera lower Mark onto the bed.     Allowing for the gurney, there is not a lot of space left in     the room.                          VERA                Okay, I'll see you. I've got a book                to read. I'll just hang around the                reception if you need me.     Vera leaves. Mark looks around.                          MARK                Very atmospheric.                          CHERYL                Some people find motels exciting.                          MARK                Do you think I could be one of                those people?     She sits on the bed and starts to undo his shirt.                          CHERYL                Another nice shirt.                          MARK                As in racy and sophisticated?                                        51.                          CHERYL                You took the words right out of my                mouth.     INT.   MOTEL RECEPTION.    DAY89                                                             89     Vera is having coffee with the clerk.                          CLERK                What's wrong with your boss?                           VERA                Basically, he can only move his                head.                          CLERK                So what sort of therapy are they                doing?                          VERA                They're having sex.                          CLERK                You're bullshitting me.                          VERA                Okay, I'm bullshitting you.                          CLERK                No, tell me for real, what are they                actually doing?                          VERA                Well, today, after some appropriate                foreplay, they're going to try to                achieve full penetration.     The clerk stares at her.     INT.   MOTEL ROOM.   DAY90                                                             90     We see Cheryl from the breasts up. We hear violent coughing     from down below.                           MARK (V.O.)                I'm   choking     Cheryl moves away. We realize she has been perched astride     his face, more or less. The coughing continues. Mark looks a     bit panicked.                          MARK                The mouth-piece.                                   52.Cheryl locates the mouth-piece to his oxygen supply and putsit between his lips. After a few breaths he is relativelyrelaxed. She lies down beside him.                    CHERYL          I guess that one's off the menu          until further notice.Mark finally lets go of the mouth-piece. He looks melancholy.She does not fail to notice.                    CHERYL (CONT'D)          Come on, lighten up, will you.Mark smiles. He seems to be lost in some memory.                    MARK          Pony girl, Pony girl,          Won't you be my pony girl?He looks at Cheryl.                    MARK (CONT'D)          That was what my father used to          sing to my little sister, Karin.          That was before she died. She was          kind of a sad little girl. It          didn't do much good. I'm really          sorry that the last time I saw her,          I fought with her. I made her cry.Mark's eyes begin to look teary.                     MARK (CONT'D)          My parents could have left me in          the nursing home, you know. They          found out the average life          expectancy for polios in nursing          homes was 18 months. So they took          me home. They gave me a life.Cheryl props herself up on one elbow.                     CHERYL          Mark, I'm just going to go the          bathroom for a quick pee. When I          come back, we're going to achieve          full penetration. But before I go,          I want you to close your eyes.                    MARK          Is this a game?                    CHERYL          No, it's not a game. Just do as I          say. Close your eyes.                                        53.     He closes his eyes.                          CHERYL (CONT'D)                Picture yourself as a six year old                boy at the beach. Can you do that?                          MARK                Yes, very easily.     EXT.   BEACH.   DAY91                                                             91     The scene has a hazy, dreamlike reality. We see the six-year     old Mark, able-bodied and full of energy, running and playing     in the sand with his dog.     INT.   MOTEL ROOM.    DAY92                                                             92                          CHERYL                Describe some of your feelings.                          MARK                I feel very exhilarated, running                next to the Atlantic Ocean, feeling                the wind and the wet sand between                my toes.                          CHERYL                Do you really feel like him?                          MARK                Yes, I really feel like him.                          CHERYL                But can you really picture him?                          MARK                I don't understand what you mean. I                said I can feel like him. Of course                I can picture him.                          CHERYL                From the outside, I mean, as an                adult, as you are now, looking at                him with his crew cut and his                little face?                            MARK                Yes.                           CHERYL                And are you mad at him? Do you                blame him for getting polio? Was it                his fault?                                  53A.Cheryl gets up and goes to the bathroom. Mark is obviouslyaffected by her question.                                           54.     INT.   SIDE CHAPEL.    DAY93                                                                93     Mark has a faraway look.                          MARK                She either forgot to close the                bathroom door, or didn't bother to                close it.     Mark pauses as he hears some distant footsteps. Father     Brendan looks over his shoulder. They finally pass. Mark     continues.                           MARK (CONT'D)                I found the sound of her peeing                incredibly erotic, and the sound of                her tearing off toilet paper                incredibly intimate. By the time                she came back I had a terrific                boner.     INT.   MOTEL ROOM.    DAY94                                                                94     Cheryl gets herself into position on top of Mark.                           CHERYL                I'm going to rub the tip of your                cock around my vulva. When it's                ready, I'll guide you in. Breathe                slowly and think of something                delicious.     Mark thinks. Through his mind's eye, we see a succession of     images. Fingertips stroking a cat's fur. In the background,     the sound of tom-toms. A tribal initiation rite. Drums,     dancing, trances. Then Ravel's "Bolero". Clint Eastwood     saying "make my day". Suddenly, and with a big yell, Mark     comes.                            MARK                Aahh!     INT.   MOTEL RECEPTION.      DAY95                                                                95     Vera is still there, reading her book. The clerk looks at his     watch.                          CLERK                They've been in there a long time.                          VERA                Yes, some people can do that.     He does not get it.                                        55.                          CLERK                Do you want another coffee?                             VERA                No thanks.                          CLERK                Do you live with your parents?                             VERA                No.                          CLERK                You at Berkeley?                             VERA                Uh-huh.                          CLERK                Doing what?                          VERA                Architecture.                          CLERK                You have a boyfriend?                          VERA                Yes. Do you?     INT.   MOTEL ROOM.   DAY96                                                             96     Mark and Cheryl are lying together. He has his eyes closed.     There is something on her mind.                             CHERYL                You awake?                                     56.                    MARK          Uh-huh.                    CHERYL          To answer your earlier question, I          grew up in Salem, brought up          Catholic, like you, but the church          didn't appreciate my attitude          towards sex.                    MARK          You had an attitude towards sex?                    CHERYL          Yes, I liked it. They like to think          they threw me out, but I threw them          out. So for years I didn't believe          in anything, and now I'm converting          to Judaism.                    MARK          I guess it's good to have some kind          of insurance.                    CHERYL          I didn't think of that.                    MARK          Then why are you doing it?                     CHERYL          My husband asked me to do it before          his grandmother dies. The idea is,          if it makes her happy and him          happy, then it will do the same for          me. Our son is neutral on the          subject, but theoretically, if it          looks like it makes me happy, it'll          make him happy too. That's the way          my husband's family talks, and          thinks. The fact that I'm happy          already, doesn't seem to be          relevant.                    MARK          What's your son's name?                    CHERYL          Tony. He's 14 years-old and very          smart. You'd like him.Cheryl and Mark lie together in contented silence for awhile.                    MARK          Does he know what you do?                56A.          CHERYLHe knows I'm a sex therapist.There's a certificate on the wall.But he hasn't had sex yet. So...How much can he really know? He'snot a boy, he's not a man.          MARKHow much do you want him to know?          CHERYLWell, I want him to have some ideain his head. I hope it's a niceone.                           57.                    MARK          What does your husband do?                    CHERYL          He's a philosopher.                    MARK          Wow! You mean, like, at a          university?                    CHERYL          No, in his own mind. He runs the          house, plays guitar, thinks a lot.She notices the time.                    CHERYL (CONT'D)          It's kind of late.She gets up and starts to get dressed.                     CHERYL (CONT'D)          Hey, we did really good stuff          today. You were fantastic. You're a          fully fledged male homo sapiens          endowed with a handsome and          substantial penis which now has a          proven track record. You should be          pleased.                    MARK          Was I really inside you?                    CHERYL          You were really and truly inside          me.                    MARK          For how long?                    CHERYL          Five or six seconds.                    MARK          Is that all?                    CHERYL          That's a long time for some people.          You were pretty excited. I don't          know what you were thinking about.                    MARK          I'm sorry, I couldn't tell one          thing from another. It was all a          jumble of sensations.                                        58.                           CHERYL                Well, you definitely achieved                penetration. It was penis-vagina                all the way. And you definitely get                an A for orgasm.     She is ready to go. She comes over to Mark and kisses him on     the cheek.                          MARK                Did you come?                          CHERYL                No, Mark, I didn't.                          MARK                Can we try for that next time?     She hesitates for a moment.                          CHERYL                If that's what you want.                          MARK                Yes, that's what I want.                             CHERYL                Okay then.     INT.   LAURA'S OFFICE.    DAY97                                                             97     Laura is on the phone to Cheryl.                             LAURA                How's it going?     INT.   CHERYL'S PLACE.    DAY98                                                             98     Cheryl is at her desk.                           CHERYL                He reads too many books. He has it                in his head that after meeting                three times, we should be able to                have penetrative sex which results                in simultaneous orgasm. Boom! Just                like that.     INT.   LAURA'S OFFICE.    DAY99                                                             99                             LAURA                That's very funny.                                         59.      INT.   CHERYL'S PLACE.    DAY100                                                            100                           CHERYL                 I guess. Yes, it is.                           LAURA (V.O.)                 What do you think of him?      Cheryl thinks.      INT.   LAURA'S OFFICE.    DAY101                                                            101                              LAURA                 I said, what do you think of him?                           CHERYL (V.O.)                 I like him.      EXT. STREET OUTSIDE MARK'S PLACE. NIGHT102                                                            102      Father Brendan approaches and arrives at the front door. He      rings. Rod lets him in.      INT.    MARK'S PLACE.    NIGHT103                                                            103      Mark is in his iron lung. Father Brendan, wearing civilian      clothes, comes in with a 6 pack of beer.                           FATHER BRENDAN                 I was in the neighborhood. How are                 you?                              MARK                 Still exhausted.                            FATHER BRENDAN                 So, on reflection, are you...                 Fulfilled?                           MARK                 It was okay. I liked some of the                 other things just as much, or                 better, but I'm glad it's behind                 me.                           FATHER BRENDAN                 Well, so am I. Congratulations.                                         60.                           MARK                 When this is all over, I'm going to                 write an article about it. After                 all, sex sells. Seriously.                           FATHER BRENDAN                 So you're really doing this for the                 money.                           MARK                 Absolutely.                           FATHER BRENDAN                 Well, that makes me feel much                 better about the whole thing. Can I                 ask what she's like? Cheryl. You've                 never really said anything about                 her.                            MARK                 She's the most wonderful person on                 the planet. I'm glad we finally had                 intercourse, because now I realize                 that everything I do with her feels                 just great.      EXT.   CHERYL'S PLACE.    NIGHT104                                                            104      As usual, Cheryl's car is out front.105   OMITTED                                                  105      INT.   BEDROOM.   NIGHT106                                                            106      Cheryl crawls into bed beside Josh. She lies there with her      eyes wide open, unable to sleep, her mind full of thoughts.      Although she has not yet noticed, Josh is also awake.                           JOSH                 What's on your mind?                           CHERYL                 Oh, nothing.                           JOSH                 Don't believe you.                           CHERYL                 Okay, I've been thinking about the                 whole conversion thing.                                          61.                           JOSH                 Still don't believe you.                            CHERYL                 Then, whatever it is, I guess I'm                 not in the mood for talking.                           JOSH                 What sort of mood are you in?                           CHERYL                 Another sort of mood.      They get into the business.      INT.    MARK'S PLACE.    DAY107                                                             107      Mark is also awake, staring at nothing, his mind full of      thoughts. As a distraction, he eventually turns and looks at      the picture of the Virgin Mary.                           MARK                 So, what do you think?      INT.   CHERYL'S PLACE.    DAY108                                                             108      The phone rings. We hear footsteps approaching. Cheryl      answers it.                           CHERYL                 Hullo, this is Cheryl.      She smiles.                              CHERYL (CONT'D)                 Mark?      INT.    MARK'S PLACE.    DAY109                                                             109      Mark is in his iron lung.                           MARK                 Can we meet somewhere for a coffee?                 Somewhere nice. My treat.      INT.   CHERYL'S PLACE.    DAY110                                                             110                           CHERYL                 I don't normally meet with clients                 outside of working hours, you know                 that.                                 61A.      INT.    MARK'S PLACE.    DAY111                                                     111                           MARK                 How could you possibly describe                 anything to do with me as normal?      INT.   CHERYL'S PLACE.    DAY112                                                     112                           MARK (V.O.)                 We don't have to talk about                 business.                                          62.      Cheryl smiles.      EXT.   CAFE.   DAY113                                                             113      A WAITER approaches Cheryl and Mark with two beautifully made      cups of coffee. One of them has a straw accompanying it. He      sets them down. Mark looks up at the waiter.                           MARK                 Could you put my cup right on the                 edge of the table there, and stick                 the straw in my mouth, please?                            WAITER                 Sure.      The waiter does exactly as asked.                           WAITER (CONT'D)                 Is that okay?                            MARK                 Perfect.                           WAITER                 Sir, I'd wait a couple of minutes.                 That coffee is pretty hot.                            MARK                 Thanks.                           WAITER                 You're welcome.      The waiter leaves. Mark and Cheryl look at each other.                           CHERYL                 So, what shall we talk about?                           MARK                 We don't have to do much talking.      Cheryl smiles at him. She is looking gorgeous today.                           CHERYL                 Then why are we here?                           MARK                 I just want to be seen with you in                 public. I find that as sexy as                 anything we've done so far.      He sips on his coffee and soaks her in with his eyes.                 62A.              CHERYLI'm glad you enjoy looking, afterall.          MARKI want people to say "Who's the guywith the blonde? How did he get solucky?"          CHERYLOr so rich.           MARKOkay, if some old girlfriend fromschool you hadn't seen for yearsturned up suddenly, like right now,how would you introduce me? As yourboyfriend?          CHERYLNo, as my husband. Why not go allthe way.          MARKReally?          CHERYLDoes that shock you?          MARKYes.          CHERYLThen I guess it would shock her aswell.          MARKWho?          CHERYLMy old school friend that's goingto come along any moment.          MARKYou really can picture me ashusband material?          CHERYLAs long as we're pretending, sure.          MARKWould you write down your addressfor me, please?                    62B.113A   OMITTED                            113A                                         63.      EXT.   CHERYL'S PLACE.   DAY114                                                            114      Josh walks unhurriedly to the letter box at the front gate      and collects the mail. As he flips through the envelopes, he      stops at one which is addressed to Cheryl, sniffs it, then      opens it. It contains a sheet of paper on which is typed what      seems to be a poem. He reads it with interest, which develops      into mild shock.      INT.   CHERYL'S PLACE.   DAY115                                                            115      Cheryl and Josh are in the kitchen, arguing.                           JOSH                 You said yourself, it's not                 supposed to get personal.                           CHERYL                 That's another thing altogether.                 What I want to know is where do you                 get off opening my mail?                           JOSH                 It was scented. I assumed it was                 just junk mail.                           CHERYL                 Even less reason to open it. Where                 is it? Give it to me.                           JOSH                 You're not getting it.                           CHERYL                 This is absolutely none of your                 fucking business.                           JOSH                 You're still not getting it. I                 threw it out.                           CHERYL                 You didn't.                           JOSH                 I fucking did.      Tony arrives home from school. As he comes in, his parents      fall silent. He realizes he has walked in on an argument. He      looks at both of them.                                            64.                              TONY                 What's up?      A LITTLE LATER. The three of them are sitting round the      dining table eating dinner in total silence. The hostility      between Cheryl and Josh is palpable. When Josh finally does      speak, he addresses Tony.                           JOSH                 Would you please ask your mother to                 pass the salt?                           TONY                 Cheryl, would you please pass the                 salt?      Cheryl glares at Tony and goes on with her meal.      INT.   CHERYL'S PLACE.    NIGHT116                                                               116      Cheryl is at the dining table, with her recorder and file in      front of her, plus a late-night snack.                            CHERYL                 Mark appears to be indulging in                 typical transference behaviour.                 This is not unusual after first                 successful intercourse, but I think                 he is especially susceptible. He                 cannot help seeing me as the multi-                 functional, all-purpose woman,                 mother, sister, schoolmistress,                 whore, lover and best friend. At                 the same time, his anxiety about                 sexual performance has diminished.      INT.   BEDROOM.   NIGHT117                                                               117      Josh crawls into bed with Cheryl. She is still awake. He      snuggles up to her.                           JOSH                 I'm sorry. I really upset you                 before.                           CHERYL                 No, you didn't. I'm fine.                              JOSH                 You sure?                           CHERYL                 Yes, I promise.                              JOSH                 Really?                              64A.                       CHERYL             Yes, I've come around to your point             of view. You were right. You're             generally right about these things.                       JOSH             It was quite a nice poem. I mean,             nothing astounding, but heartfelt,             at least.                       CHERYL             Josh, I need to go to sleep.             Everything's good.                       JOSH             Okay. Good night.They kiss.                                            65.      INT.   CHERYL'S PLACE.   NIGHT118                                                               118      Cheryl rummages around in the kitchen garbage. She finds      nothing. She storms off to the laundry, flings open a      cupboard, pokes around and comes up with a flashlight.      EXT.   CHERYL'S BACK YARD.   NIGHT119                                                               119      Cheryl makes her way to the end of the yard. Holding the      flashlight between her teeth, she rummages around in the      outdoor trash bin. Finally, she finds what she is looking      for. An envelope. She takes the poem out of the envelope and      reads it.                           CHERYL                 Let me touch you with my words.                 For my hands lie limp as empty                 gloves.      She goes over to the back steps, sits down and continues      reading.      She puts it back in the envelope and walks back inside the      house. She is visibly affected.120   OMITTED                                                     120                                         66.121   OMITTED                                                     121      EXT.   STREET OUTSIDE MARK'S PLACE.   DAY122                                                               122      From behind, we see Vera wheeling Mark in his gurney. ANOTHER      FEMALE FIGURE creeps up beside Vera and whispers in her ear,      all unbeknownst to Mark. The other female figure takes over      from Vera, who trails along, a few feet behind. Mark remains      unaware. He has a new and different-looking shirt, even more      out there than the previous one?                           MARK                 Do you think she'll like the shirt?                           AMANDA                 I like it. Does that count?      Mark can barely believe it.                           MARK                 Amanda?      EXT.   PARK.   DAY123                                                               123      They are stopped at a park bench. Vera is hovering in the      background, out of earshot.                           MARK                 It's been a while.                           AMANDA                 I know. I'm sorry. I'm going to                 Germany. I wanted to say goodbye to                 you before I left.                           MARK                 Why are you going to Germany?                           AMANDA                 To study German.                                         67.                           MARK                 For how long?                             AMANDA                 One or two years maybe. But we                 should keep in touch.                           MARK                 But why go to Germany? It's the                 only place in the world where humor                 is actually forbidden.      She laughs, then smiles quietly, then touches him.                             AMANDA                 You could always make me laugh. I                 love you, Mark. I really do.      Mark's face is a picture of anguish and confusion.                             MARK                 Really?      INT. SIDE CHAPEL.     DAY124                                                               124                           MARK                 Yes, I love you, but not in that                 way. I love you, but I'm not in                 love with you. Blah, blah, blah.                 You know how it goes.      Mark lets out a deep, meaningful sigh. For a time, he and      Father Brendan maintain a respectful silence.      EXT.   PARK.   DAY125                                                               125                             AMANDA                 I think it's great what you're                 doing with this surrogate lady.      She leans over and kisses Mark on the lips.                           MARK                 It could have been you.                             AMANDA                 It could have been, but it wasn't.      INT.   SIDE CHAPEL.    DAY126                                                               126                           MARK                 I had this faint hope that she                 would show the merest hint of                 jealousy. It shows you how naÔve I                 am.                             (MORE)                                           68.                              MARK (CONT'D)                 The fact that I was no longer a                 virgin, that I was a `made man', so                 to speak, made no difference to her                 at all.      EXT.   MOTEL.    DAY127                                                              127      Cheryl's car is in the parking lot. We see her draw the      blinds.      INT.   MOTEL RECEPTION.    DAY128                                                              128      Clerk takes two beers from a mini-bar and hands one to Vera.                              VERA                 Thanks.                           CLERK                 You want to go out some time?                           VERA                 No, I don't think so.                           CLERK                 What, your boyfriend?                              VERA                 No.                           CLERK                 Your parents?                           VERA                 No, I'm busy, that's all. What's                 wrong with this, anyway? We're                 having a nice time, aren't we?                              CLERK                 It's okay.                           VERA                 Or do you have things to do? I can                 go for a walk if you're busy and                 come back later.                           CLERK                 No, no, stay. Is this going to be a                 regular thing?                              VERA                 What?                           CLERK                 The therapy.                                         69.                            VERA                 I don't know. I'm not the                 therapist.                           CLERK                 What sort of a therapist is she,                 really?                           VERA                 I told you the first time, she's a                 sex therapist.      The clerk looks at her closely. She appears to have a      completely straight face.                           VERA (CONT'D)                 Today they're working on                 simultaneous orgasm.                           CLERK                 What's that?      INT.   MOTEL ROOM.    DAY129                                                            129      Mark and Cheryl are in bed, their faces close.                           MARK                 Boy, am I glad to see you.                           CHERYL                 Don't you say that to all the                 girls?                           MARK                 Yes, but I always mean it.      They kiss. Then Cheryl's head slides down and disappears from      view.                            CHERYL (V.O.)                 Remember about the breathing.                 Concentrate on breathing out rather                 than in. Think of anything neutral.                 Sky, water, trees, ships, music,                 nothing too dramatic.      Mark closes his eyes.      INT.   SIDE CHAPEL.    DAY130                                                            130                           MARK                 The first time, I really didn't                 know what was going on. Technically                 it all happened, but nothing really                 happened in my head.                             (MORE)                                      70-71.                             MARK (CONT'D)                 This time it did, and my head has                 never experienced anything like it                 before. Of course, I ignored                 Cheryl's advice about having                 neutral thoughts.      INT. SOMEWHERE. NIGHT131                                                            131      Amanda is giving Mark a pole dancing demonstration, complete      with disco beat and mirror-ball lighting.132   OMITTED                                                  132      INT.   MOTEL ROOM.    DAY133                                                            133      Mark opens his eyes and looks up at Cheryl. She seems divine.      His excitement increases. We hear the change in his      breathing. Also in her breathing.      INT.   SIDE CHAPEL.    DAY134                                                            134      The expression of elation on Mark's face morphs dramatically      into something else.                           MARK                 Then afterwards, there was this                 moment, this glimpse of an awful                 sadness to come.      Father Brendan closes his eyes and nods knowingly.135   OMITTED                                                  135136   OMITTED                                                  136                                         72.      EXT.   CHERYL'S PLACE.   NIGHT137                                                            137      The Volvo is parked out front. The envelope is still on the      dash.                                            73.      INT.   CHERYL'S PLACE.      NIGHT138                                                               138      Cheryl is dictating.                            CHERYL                 Mark achieved an erection as soon                 as I started to suck on him. He did                 the controlled breathing, as I had                 suggested, and I was able to get on                 top and guide him in quite easily.      INT.   MOTEL ROOM.   DAY139                                                               139      We see Mark's face from Cheryl's POV. His eyes are still      closed.                           MARK                 Is it in? Is it really in?                           CHERYL                 Yes, it's really in.      We hear Mark's thoughts.                           MARK (V.0.)                 I couldn't believe it.      We hear the sound of typing.      INT.    MARK'S PLACE.      DAY140                                                               140      Mark is in his iron lung, typing. At the top of the page, we      can see the title of the piece:      "On Seeing a Sex Surrogate" Page 8.                           MARK (V.O.)                 I was finally there. Too soon, I                 came. But she kept holding me                 inside her. Then a look of pleasure                 brushed lightly over her face...      INT.   MOTEL ROOM.   DAY141                                                               141      We see Cheryl's face from Mark's POV. It is as beatific as we      have ever seen it.                            MARK (V.O.)                 ... as though an all-day itch were                 finally being scratched. Letting me                 go, she put her hands down on the                 bed by my shoulders and kissed my                 chest. This act of affection moved                 me deeply.                                         74.      Cheryl's actions follow Mark's description.      INT.   SIDE CHAPEL.    DAY142                                                            142      Mark is with Father Brendan.                           MARK                 I almost wept. No-one had ever                 kissed me there before. It was so                 unexpected and so natural.      INT.   MOTEL ROOM.    DAY143                                                            143      Cheryl's lips move away from Mark's chest. She kisses him on      the lips, light and lingering. As soon as there is enough      space between them, he whispers to her.                           MARK                 I love you.      She whispers back.                           CHERYL                 I love you, too.                           MARK                 Did you come?                             CHERYL                 Yes.      INT.   CHERYL'S PLACE.       NIGHT144                                                            144      Cheryl continues dictating.                           CHERYL                 Mark is breathing well and learning                 to pace himself. There is no real                 physical impediment to a variety of                 sexual activities, given the right                 sort of partner. His deeper                 emotional needs are outside the                 scope of my potential involvement.      Cheryl pauses, then goes on.                           CHERYL (CONT'D)                 As anticipated, this was the final                 session.      Tony appears. He seems to have some understanding of what is      going on. He and Cheryl hug.      INT.   MOTEL ROOM.    DAY145                                                            145      They are still in the same intimate position.                 75.          MARKWhat happens when...          CHERYLWhat happens when what?          MARKWhen people become attached to eachother.          CHERYLWhat people?          MARKJust people. What's the chemistryof it all? When people areattracted to each other.          CHERYLAre you attracted to me?          MARKWe're just talking hypothetically.           CHERYLHypothetically, they write poems,they have sex.          MARKAnd what happens next?           CHERYLAfter poetry and sex? Nothing oreverything. The rest is bynegotiation, as it were.          MARKWhat do you mean?           CHERYLI mean, you can just leave it atlove and attraction, or you canmake things complicated. As mostpeople do.            MARKHave you?            CHERYLOh, yes.   76.                                         77.      INT.   MOTEL RECEPTION.   DAY146                                                            146      The clerk looks bored. Vera looks at the time. She seems a      little anxious.                           VERA                 Can I use that phone to call the                 room?                           CLERK                 Sure.                                         78.147   OMITTED                                                  147148   OMITTED                                                  148      INT.    MOTEL ROOM.   DAY149                                                            149      The phone rings, Cheryl picks it up.      LATER      Cheryl, already dressed, is getting Mark dressed. She does up      every button of his shirt lovingly.                            CHERYL                  What shall we do next time? Any                  requests?      Mark doesn't answer.                              CHERYL (CONT'D)                  Mark?                            MARK                  I'm thinking.      She finishes buttoning him up in silence. A strange feeling,      a kind of chill that Cheryl senses, pervades the atmosphere.                            MARK (CONT'D)                  We have two sessions left, is that                  correct?                            CHERYL                  That's right. Or...                              MARK                  Or, what?                            CHERYL                  Or, we could stop now.                            MARK                  You mean, make this the last                  session?                              CHERYL                  Yes.                           79.There is a pregnant pause.                    MARK          What do you think we should do?                     CHERYL          It's not we, it's you, Mark. It's          up to you.                    MARK          I want to know how you feel.                    CHERYL          That doesn't come in to it.                    MARK          Yes, it does. I don't just write          poems to anyone.                     CHERYL          Mark, what do you want me to say?          How much I was touched by that? How          special this has been to me? Is          that going to help you? No, it's          going to make things worse.                    MARK          You mean to say, come the sixth          session that will be it?                    CHERYL          Yes, that will be it. I explained          that the first time we met.Mark has a serious and painful moment.                    CHERYL (CONT'D)          I'm sorry. If it's any consolation,          it's also hard for me to think          about it.                    MARK          Then maybe we should pull the plug          now.                    CHERYL          I think maybe we should. It's only          going to get harder. I guess you          might as well save the money. Maybe          buy yourself a nice futon.A LITTLE LATER.                                            80.      Cheryl is getting dressed. Mark watches pensively. She pauses      and looks at him. He keeps a brave face. There is a knock on      the door.                           CHERYL (CONT'D)                 Just a moment.      She and Mark make eye contact for the last time. They manage      to smile at each other.                           MARK (V.O.)                 I desperately wanted to feel that                 because of Cheryl, my life had                 changed. But it hadn't.      Apart from her usual things, she is also carrying a long      mirror.                             CHERYL                 Bye, Mark                             MARK (V.O.)                 Bye.      As Cheryl goes out, Vera comes in.                           VERA                 Everything all right?                           CHERYL                 He did great. See you. I'm sorry,                 I have to run.                             VERA                 See you.      Vera walks in and closes the door behind her.      EXT.   MOTEL ROOM.    DAY150                                                               150      Cheryl goes to her car and opens the trunk. As she is putting      the mirror inside, the Chinese clerk, who is showing a COUPLE      to their room, gives her an odd look. Cheryl takes no notice,      gets in her car and starts the engine.      Just then, Vera runs up and taps on her window. The window      winds down. Vera hands Cheryl an envelope with money in it.      At first, Cheryl just looks at it, then realizes what it is.                           VERA                 You forgot this.      Cheryl smiles.                                         81.                           CHERYL                 I knew there was a reason I came                 here today.      Vera waves goodbye as she goes and Cheryl sits contemplating      the envelope in her lap. Then she tosses it onto the dash and      drives away.      EXT.   STREET OUTSIDE MARK'S PLACE.   DAY151                                                            151      Vera wheels Mark home. They travel in silence.      INT.   SIDE CHAPEL.    DAY152                                                            152      Father Brendan and Mark are together in the chapel.                           MARK                 I felt I'd just been through a                 ceremony that I didn't know the                 meaning of. I kept thinking, is                 that all there is? Just an empty                 hole at the end of it? A bigger                 hole than there was before?                           FATHER BRENDAN                 I'm sorry Mark, you can't always                 trust your feelings. You've                 achieved a great thing. It may take                 you a while to realize that.      Time passes.      INT.   MARK'S PLACE.    NIGHT153                                                            153      It is a moonlit night. On the opposite wall from the Virgin      Mary is a picture of Amanda and Mark. Mark lies in his iron      lung staring at it.                           MARK (V.O.)                 I wrote letters to Amanda in                 Germany.                 Five, six pages long                 A year passed,                 Heard nothing.                 Was it my fault?                 Of course it was.                 But the guilt isn't enough to patch                 over the rage.                 I pound the insides of my mind with                 words, such puny fists,                 And nobody hears.                                         82.      The poem ends and we hear instead a RADIO BROADCAST of a      Giants' game. Mark is engrossed. Suddenly the broadcast      stops. The digital read-out on the clock radio, which says      12:57, disappears. A street light, visible through the      window, goes out. The electric pump under Mark's iron lung      whirrs to a halt. We hear the sound of air escaping, then an      eerie silence. Even the cat is motionless.      For a few moments, Mark seems hypnotized. Then, he twists his      head and clamps onto his mouth stick. He manoeuvres it over      to the speaker button on the phone and manages to press it in      the semi-darkness. We hear a dial tone.      INT.   ROD'S BEDROOM.    NIGHT154                                                            154      There is an answering machine on a bedside table.                           ROD'S VOICE                 Hi, this is Rod. Leave a message,                 or not.                           MARK (V.O.)                 Rod, it's Mark. I need help. The                 power's gone out, including the                 pump on the iron lung. I'd say I've                 got about three hours before I                 start to turn blue. I hope you get                 this in time.      INT.    MARK'S PLACE.    NIGHT155                                                            155      Mark winces in frustration.                           MARK                 Okay... nine-one-one.      He swings the mouth stick over to the 9 button. As he presses      it, he loses his grip and the mouth stick falls to the floor.                              MARK (CONT'D)                 Shit!      At first, he seems panicky, but after a few moments he begins      to control his breathing and gradually psyches himself into a      strange calm.                           MARK (CONT'D)                 So this is how it ends.      Time passes. We see Mark from a high angle. More time passes.      We see Mark's face as he slips into unconsciousness.                                         83.      INT.   MIKVAH (JEWISH RITUAL BATH-HOUSE).    DAY156                                                            156      Cheryl enters the room wrapped in a white, terry cloth robe.      The room is dominated by a small, beautifully tiled immersion      pool with a hand rail and steps. The MIKVAH LADY gets up from      her chair and approaches her.                           MIKVAH LADY                 Is this your first time?                           CHERYL                 Yes, it is. I'm converting.      She takes off her robe and hands it to the Mikvah Lady, who      does not fail to notice Cheryl's body.                           MIKVAH LADY                 So, what do you do?      Cheryl closes her eyes and thinks for a moment.                           CHERYL                 I don't think you'd understand.                           MIKVAH LADY                 You can try me.                           CHERYL                 Okay. I'm a housewife.                           MIKVAH LADY                 Why shouldn't I understand?                           CHERYL                 I guess I was mistaken.      Cheryl steps towards the pool.                           MIKVAH LADY                 I see you're very comfortable with                 being naked.      She takes hold of the rail and puts her foot in the water.                           CHERYL                 That has never been one of my                 problems.                            MIKVAH LADY                 Sometimes new brides come with                 their mothers. Do I have to take                 this off? Can I please leave this                 on? They've never been naked                 before. No honey, it all has to                 come off.                                         84.                           CHERYL                 And it does?      Cheryl takes another step into the water.                           MIKVAH LADY                 And it does. They stand on the edge                 of that pool without anything to                 cling to but themselves. Nothing to                 hide behind. This is your body.                 This is the body that God crafted                 for you.      Cheryl immerses herself up to her chest.                           MIKVAH LADY (CONT'D)                 Immerse completely. Go completely                 under the water, without touching                 the walls or anything.      She immerses completely. We see her under the water. She      hears a voice in the distance, her own voice. At the same      time, there is a look of elation in her eyes.                           CHERYL (V.O.)                 Okay Mark, you can open your eyes                 now.      INT.   MOTEL ROOM.   DAY157                                                               157      Mark is on the bed alone. He opens his eyes.                           CHERYL (V.O.)                 This is your body.      A few feet in front of Mark, Cheryl is holding a full-length      mirror. The angle is such that he can see all of himself. He      is mesmerized by his own image. Flashes of light from the      mirror flicker over his face.                           MARK (V.O.)                 So this is the body that someone                 was able to love. Not quite as bad                 as I thought.      INT.   HOSPITAL CORRIDOR.   DAY158                                                               158      Overhead fluorescent lights flash by, as we observe the      ceiling from Mark's point of view. We also hear the sound of      rapidly rolling rubber wheels, and a voice.                           VOICE                 Mark, can you hear me? Open your                 eyes.                                         85.      INT.   HOSPITAL.   DAY159                                                            159      Mark is in a regular hospital bed, with a temporary plastic      cocoon over him in place of his iron lung. There is a      volunteer called SUSAN in the room with him.                           SUSAN                 They'll be letting you go today.                 Whoever looks after you will leave                 the portable respirator switched on                 at night, fully charged, so you'll                 have at least one back-up system.                           MARK                 How close was I?                               SUSAN                 To what?                           MARK                 You know, to that tunnel thing and                 the light, and the voice saying                 don't go near the light.                           SUSAN                 Is that what you remember?                           MARK                 No. I assume I passed out. Before                 that, I remember feeling sorry for                 myself.                           SUSAN                 Do you feel relieved now?                           MARK                 No. I mean, I'm relieved that Rod                 got to me in time, but I still feel                 sorry for myself.                           SUSAN                 I'm sure there's a cure for that.                 Would you like to talk to someone?                           MARK                 I feel comfortable talking to you.                            SUSAN                 I'm only a volunteer, not a                 therapist. I can refer you to                 someone if you like.      Mark breaks into a broad smile, then a chuckle.                                  86.                           MARK                 I'm sorry, I don't mean to be rude.                 I'm just smiling at the idea that a                 therapist could do anything useful                 for me right now. My priest                 couldn't.                           SUSAN                 Are you religious?                            MARK                 Yes. I would find it absolutely                 intolerable not to be able to blame                 someone for all this. Are you?                           SUSAN                 No, I don't go to any church and I                 don't think about God very much.                 But I believe there's a mysterious                 logic, or poetry to life. I guess                 that makes me a spiritual type.                           MARK                 Yes, that would count.                           SUSAN                 Would you like me to visit you?                           MARK                 Are you married?                               SUSAN                 No.                           MARK                 Do you have a steady boyfriend?                               SUSAN                 No.                            MARK                 Then please visit as often as you                 can.      EXT.   HOSPITAL.   DAY160                                                     160      She smiles. Mark is loaded into an ambulance.                           SUSAN                 Bye. Take care.                           MARK                 There's just one more thing I want                 to tell you.                                            87.      She gets into the ambulance and squats down next to him.                           MARK (CONT'D)                 I'm not a virgin.      She looks genuinely pleased to hear it.                           SUSAN                 So, are you in a relationship at                 the moment?                           MARK                 No, it was a passing thing.      The driver is ready to shut the doors.                           SUSAN                 Thanks for sharing that with me.      She gets out of the ambulance and waves.      INT.   AMBULANCE.     DAY161                                                               161      Mark is accompanied by an AMBULANCE OFFICER. We see clear      blue sky through the back windows. The sun shines in and      warms Mark's face. He closes his eyes in contentment.                           AMBULANCE OFFICER                 Nice day, isn't it?                                MARK                 The best.                           AMBULANCE OFFICER                 Good to be alive, huh?      EXT. HOSPITAL.      DAY162                                                               162      We see the disappearing figure of Susan from the point of      view of the departing ambulance.                           MARK (V.O.)                 I met Susan five years before I                 died. She was the love of my life.                 We had the same priorities,                 baseball pretty much came first,                 and we wrote each other mushy                 poems. I never expected it, nor did                 she, but that's often the way                 things turn out.      INT.   MARK'S PLACE.        DAY163                                                               163      Rod shows Father Brendan into Mark's room.                                      88.Father Brendan sits in a chair next to Mark's iron lung.                    FATHER BRENDAN          That was quite something. What do          you propose to do for an encore?                     MARK          Yep, I almost found out the big          secret. But here I am, back with          the living. If there is another          place, then I think they took one          look at me and decided to throw me          back.                    FATHER BRENDAN          And welcome back.                    MARK          And thank you for coming to visit.                    FATHER BRENDAN          I know it's been awhile since we          talked about this... About Cheryl.          At the time, you seemed to feel so          badly about her... or about it?                    MARK          I no longer feel like that.Father Brendan is rather taken by surprise.                    FATHER BRENDAN          Oh? That's good to hear. In the          end, you're glad that you did it?                    MARK          Yes, I am. In fact, at this point          in time, I feel very blessed.                     FATHER BRENDAN          Blessed?                     MARK          Yes, blessed. They put me on this          new anti-depressant and now I can          really see life from the cup half          full rather than cup half empty          point of view.Father Brendan looks truly amazed.                          89.                    MARK (CONT'D)          It takes about six weeks to kick          in, but when it does, you can          really tell the difference.                    FATHER BRENDAN          Hey, that's great.Mark grins.                    MARK          I'm pulling your leg, Father. I'm          not on drugs. I have a girlfriend.                    FATHER BRENDAN          You're kidding me. A real          girlfriend?                    MARK          A very real girlfriend. She adores          me. She'll do anything for me. And          I can get pretty kinky sometimes,          believe you me. Her name is Susan.                    FATHER BRENDAN          I'm flabbergasted. Is she pretty?                    MARK          She sure is.                    FATHER BRENDAN          Has she got a sister?                    MARK          As a matter of fact...                    FATHER BRENDAN          I'm kidding.                    MARK          No, you're not. Anyway, we're          starting a publishing company          together.Father Brendan smiles and shakes his head.                     FATHER BRENDAN          Here I was, all prepared to offer          comfort to the forlorn - that's          supposed to be my specialty - and          now I can just throw away that          little speech.                    MARK          No, no. Please make the little          speech. I'd love to hear it.                89A.          FATHER BRENDANOkay, but I'll try and keep itshort.          MARKDon't make it too short.          FATHER BRENDANOkay, fine. Here goes. The meaningof love. Love is a journey.                                          90.                              MARK                    I already like it.       There is a pause.                              FATHER BRENDAN                    That's it. That's all of I've got.                    I told you it's short. Love is a                    journey.       Mark laughs.163A   OMITTED                                                 163A       EXT. MARK'S PLACE.        NIGHT164                                                                164       Father Brendan lets himself out and walks back the way he       came. There is definitely a smile on his face.       INT.      MARK'S PLACE.     NIGHT165                                                                165       Mark also has a smile on his face as he lies awake.                               MARK (V.O.)                    Actually, I was on drugs, I was                    taking anti-depressants and they                    were helping a bit. At least I was                    able to see the cup-of-life                    metaphor as a useful tool. Of                    course, the two halves were never                    even. Not in my case, that's for                    sure. Look at all the years of                    unendurable crap I've had to put up                    with. That fills most of the cup.                    But in the little bit that's left,                    what do I have to show for myself?                    Journalism? Poetry? At the very                    least, three beautiful women who                    all loved me and will all show up                    at my funeral.       EXT.   CHERYL'S PLACE.       DAY166                                                                166       Josh saunters out to the mail box. He retrieves the mail,       sifts through it and pauses over a letter. He is tempted to       open it, but thinks better of it.       EXT.   CHERYL'S BACKYARD.          DAY167                                                                167       Cheryl is planting stuff in the back yard. Josh approaches       her with the letter.                              JOSH                    It's from a Susan Fernbach.                                          90A.      She takes it and opens it uncertainly, somehow anticipating      its contents.      EXT.   CHURCH.   DAY168                                                                 168      A full-blown Catholic funeral is happening. Meaningful hugs      are exchanged. Eyes are dabbed. We hear Mark's voice.                           MARK (V.O.)                 Three Reasons to Live                 The mundane:                 O God, it was boring, but I did it                 got it out of the way                 The transcendent:                 We had this agreement --                 God gave me life for a while                 I gave Him gratitude for a while                 and it worked out OK                 The curious:                 You know how every day is                 different?                 I just wanted to see                 what would happen next      INT.   CHURCH.   DAY169                                                                 169      Father Brendan delivers a eulogy. We see members of Mark's      FAMILY, all teary-eyed.                           FATHER BRENDAN (TO MARK)                 Mark, I know you're watching. I'm                 sorry, my friend, but we have to do                 this. Just bear with me, and I                 think you might like it.                             FATHER BRENDAN (TO THE CONGREGATION)                             (CONT'D)                 I've been branching out lately,                 reading Native American stories                 about the character of the                 trickster. Sometimes he shows up                 as a coyote, sometimes as a raven,                 but he always does the unexpected.                 The trickster breaks the rules.                 Mark O'Brien, whose life we're                 celebrating today, was very much                 the trickster -- anyone who knew                 him knew that.                           (MORE)                       90B.          FATHER BRENDAN (TO THE CONGREGATION)Besides his irreverent humor andalarming honesty, he always did theunexpected.In nearly every aspect of his life,Mark did the unexpected. His was adynamic voice in a paralyzed body,a full life lived long after heshould have been dead. Hegraduated from college, wrote andpublished articles and poems, and --against all odds, by his ownadmission -- entered into the fullyhuman experience of physical love.In this way, Mark lived from day today to day, from breath to breathto breath, for 49 years. He loved,and he was loved and in his quietvoice, he spoke loud truths.                                         91.      We see Rod, Vera and Laura the therapist in various rows.      Also Amanda, holding a toddler in her arms and sitting next      to a tall, boring-looking HUSBAND.                          FATHER BRENDAN (V.O.) (CONT'D)                Susan Fernbach will now read one of                Mark's favorite poems.                          SUSAN (V.O.)                This is called Love Poem for No One                in Particular.      We see SUSAN at the lectern, reading from a book.                           SUSAN                Let me touch you with my words.                For my hands lie limp as empty                gloves.                Let my words stroke your hair,                Slide down your back and tickle                your belly.                For my hands, light and free-flying                as bricks,                Ignore my wishes and stubbornly                refuse to carry out my quietest                desires.      We see Cheryl, as deeply touched by the words as she was the      first time.                          SUSAN (V.O.) (CONT'D)                Let my words enter your mind,                bearing torches.                Admit them willingly into your                being                So they may caress you gently                within.      INT.   MARK'S PLACE.    NIGHT170                                                            170      In the middle of the room, moonlit, is Mark's iron lung,      empty and majestic, with the cat sitting on top. As we move      around the eerie capsule, we hear the sound of the French Can-      Can slowly fade up. It continues over END CREDITS.
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+The Seventh Seal The night had brought little relief from the heat, and at dawn a hot gust ofwind blows across the colorless sea. The KNIGHT, Antonius Block, liesprostrate on some spruce branches spread over the fine sand. His eyes are wide-open and bloodshot from lack of sleep. Nearby his squire JONS is snoring loudly. He has fallen asleep where he collapsed, at the edge of the forest among the wind-gnarled fir trees. His open mouth gapes towards the dawn, and unearthly sounds come from his throat.At the sudden gust of wind, the horses stir, stretching their parched muzzles towards the sea. They are as thin and worn as their masters.The KNIGHT has risen and waded into the shallow water, where he rinses his sunburned face and blistered lips. JONS rolls over to face the forest and the darkness. He moans in his sleep and vigorously scratches the stubbled hair on his head. A scar stretches diagonally across his scalp, as white as lightning against the grime. The KNIGHT returns to the beach and falls on his knees. With his eyes closed and brow furrowed, he says his morning prayers. His hands are clenched together and his lips form the words silently. His face is sad and bitter. He opens his eyes and stares directly into the morning sun which wallows up from the misty sea like some bloated, dying fish. The sky is gray and immobile, a dome of lead. A cloud hangs mute and dark over the western horizon. High up, barely visible, a seagull floats on motionless wings. Its cry is weird and restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius Block turns around.Behind him stands a man in black. His face is very pale and he keeps his hands hidden in the wide folds of his cloak. 				KNIGHT 		Who are you? 				DEATH 		I am Death.				KNIGHT 		Have you come for me?				DEATH 		I have been walking by your side for a long 		time. 				KNIGHT 		That I know. 				DEATH 		Are you prepared?				KNIGHT		My body is frightened, but I am not. 				DEATH 		Well, there is no shame in that.The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place it around the KNIGHT'S shoulders. 				KNIGHT 		Wait a moment.				DEATH 		That's what they all say. I grant no reprieves. 				KNIGHT 		You play chess, don't you?A gleam of interest kindles in DEATH'S eyes. 				DEATH 		How did you know that?				KNIGHT 		I have seen it in paintings and heard it sung 		in ballads.				DEATH 		Yes, in fact I'm quite a good chess player. 				KNIGHT 		But you can't be better than I am.The KNIGHT rummages in the big black bag which he keeps beside him and takes out a small chessboard. He places it carefully on the ground and begins setting up the pieces.				DEATH 		Why do you want to play chess with me? 				KNIGHT 		I have my reasons. 				DEATH 		That is your privilege.				KNIGHT 		The condition is that I may live as long as I 		hold out against you. If I win, you will 		release me. Is it agreed? The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. DEATH points to one of the KNIGHT'S hands; it contains a black pawn. 				KNIGHT 		You drew black!				DEATH 		Very appropriate. Don't you think so?The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, Antonius Block opens with his king's pawn. DEATH moves, also using his king's pawn. The morning breeze has died down. The restless movement of the sea has ceased, the water is silent. The sun rises from the haze and its glow whitens. The sea gull floats under the dark cloud, frozen in space. The day is already scorchingly hot.The squire JONS is awakened by a kick in the rear. Opening his eyes, he grunts like a pig and yawns broadly. He scrambles to his feet, saddles his horse and picks up the heavy pack.The KNIGHT slowly rides away from the sea, into the forest near the beach and up towards the road. He pretends not to hear the morning prayers of his squire. JONS soon overtakes him.				JONS 			(sings)	 	Between a strumpet's legs to lie 		Is the life for which I sigh.He stops and looks at his master, but the KNIGHT hasn't heard JON'S song, or he pretends that he hasn't. To give further vent to his irritation, JONS sings even louder. 				JONS 			(sings)		Up above is God Almighty 		So very far away, 		But your brother the Devil 		You will meet on every level.JONS finally gets the KNIGHT'S attention. He stops singing. The KNIGHT, his horse, JONS'S own horse and JONS himself know all the songs by heart. The long, dusty journey from the Holy Land hasn't made them any cleaner. They ride across a mossy heath which stretches towards the horizon. Beyond it, the sea lies shimmering in the white glitter of the sun.				JONS 		In Fârjestad everyone was talking about evil 		omens and other horrible things. Two horses had 		eaten each other in the night, and, in the 		churchyard, graves had been opened and the 		remains of corpses scattered all over the 		place. Yesterday afternoon there were as many 		as four suns in the heavens. The KNIGHT doesn't answer. Close by, a scrawny dog is whining, crawling towards its master, who is sleeping in a sitting position in the blazing hot sun. A black cloud of flies clusters around his head and shoulders. The miserable-looking dog whines incessantly as it lies flat on its stomach, wagging its tail.JONS dismounts and approaches the sleeping man. JONS addresses him politely. When he doesn't receive an answer, he walks up to the man in order to shake him awake. He bends over the sleeping man's shoulder, but quickly pulls back his hand. The man falls backward on the heath, his face turned towards JONS. It is a corpse, staring at JONS with empty eye sockets and white teeth. JONS remounts and overtakes his master. He takes a drink from his waterskin and hands the bag to the knight. 				KNIGHT 		Well, did he show you the way? 				JONS 		Not exactly.				KNIGHT 		What did he say? 				JONS 		Nothing.				KNIGHT 		Was he a mute?				JONS 		No, sir, I wouldn't say that. As a matter of 		fact, he was quite eloquent. 				KNIGHT 		Oh?				JONS 		He was eloquent, all right. The trouble is that 		what he had to say was most depressing.			(sings)		One moment you're bright and lively, 		The next you're crawling with worms. 		Fate is a terrible villain 		And you, my friend, its poor victim. 				KNIGHT 		Must you sing? 				JONS 		No.The KNIGHT hands his squire a piece of bread, which keeps him quiet for a while. The sun burns down on them cruelly, and beads of perspiration trickle down their faces. There is a cloud of dust around the horses' hooves. They ride past an inlet and along verdant groves. In the shade of some large trees stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby and is answered by the KNIGHT'S horse. The two travelers do not stop to rest under the shade of the trees but continue riding until they disappear at the bend of the road. In his sleep, JOF the juggler hears the neighing of his horse and the answer from a distance. He tries to go on sleeping, but it is stifling inside the wagon. The rays of the sun filtering through the canvas cast streaks of light across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, snores loudly. JOF crawls out of the wagon. There is still a spot of shade under the big trees. He takes a drink of water, gargles, stretches and talks to his scrawny old horse. 				JOF 		Good morning. Have you had breakfast? I can't 		eat grass, worse luck. Can't you teach me how? 		We're a little hard up. People aren't very 		interested in juggling in this part of the 		country.He has picked up the juggling balls and slowly begins to toss them. Then he stands on his head and cackles like a hen. Suddenly he stops and sits down with a look of utter astonishment on his face. The wind causes the trees to sway slightly. The leaves stir and there is a soft murmur. The flowers and the grass bend gracefully, and somewhere a bird raises its voice in a long warble.JOF'S face breaks into a smile and his eyes fill with tears. With a dazed expression he sits flat on his behind while the grass rustles softly, and bees and butterflies hum around his head. The unseen bird continues to sing.Suddenly the breeze stops blowing, the bird stops singing, JOF'S smile fades, the flowers and grass wilt in the heat. The old horse is still walking around grazing and swishing its tail to ward off the flies. JOF comes to life. He rushes into the wagon and shakes MIA awake.				JOF 		Mia, wake up. Wake up! Mia, I've just seen 		something. I've got to tell you about it!				MIA 			(sits up, terrified)		What is it? What's happened? 				JOF 		Listen, I've had a vision. No, it wasn't a 		vision. It was real, absolutely real.				MIA 		Oh, so you've had a vision again!MIA's voice is filled with gentle irony. JOF shakes his head and grabs her by the shoulders. 				JOF 		But I did see her! 				MIA 		Whom did you see? 				JOF 		The Virgin Mary.MIA can't help being impressed by her husband's fervor. She lowers her voice.				MIA 		Did you really see her?				JOF 		She was so close to me that I could have 		touched her. She had a golden crown on her head 		and wore a blue gown with flowers of gold. She 		was barefoot and had small brown hands with 		which she was holding the Child and teaching 		Him to walk. And then she saw me watching her 		and she smiled at me. My eyes filled with tears 		and when I wiped them away, she had disappeared. 		And everything became so still in the sky and 		on the earth. Can you understand ... 				MIA 		What an imagination you have.				JOF 		You don't believe me! But it was real, I tell 		you, not the kind of reality you see every day, 		but a different kind. 				MIA		Perhaps it was the kind of reality you told us 		about when you saw the Devil painting our wagon 		wheels red, using his tail as a brush.				JOF 			(embarrassed)		Why must you keep bringing that up? 				MIA		And then you discovered that you had red paint 		under your nails.				JOF 		Well, perhaps that time I made it up. 			(eagerly)  		I did it just so that you would believe in my 		other visions. The real ones. The ones that I 		didn't make up. 				MIA 			(severely)		You have to keep your visions under control.		Otherwise people will think that you're a 		half-wit, which you're not. At least not yet -- 		as far as I know. But, come to think of it, I'm 		not so sure about that.				JOF 			(angry)		I didn't ask to have visions. I can't help it 		if voices speak to me, if the Holy Virgin 		appears before me and angels and devils like my 		company.				SKAT 			(sits up)		Haven't I told you once and for all that I need 		my morning's sleep! I have asked you politely, 		pleaded with you, but nothing works. So now I'm 		telling you to shut up!His eyes are popping with rage. He turns over and continues snoring where he left off. MIA and JOF decide that it would be wisest to leave the wagon. They sit down on a crate. MIA has MIKAEL on her knees. He is naked and squirms vigorously. JOF sits close to his wife. Slumped over, he still looks dazed and astonished. A dry, hot wind blows from the sea.				MIA 		If we would only get some rain. Everything is 		burned to cinders. We won't have anything to 		eat this winter. 				JOF 			(yawning)		We'll get by.He says this smilingly, with a casual air. He stretches and laughs contentedly.				MIA 		I want Mikael to have a better life than ours. 				JOF 		Mikael will grow up to be a great acrobat -- or 		a juggler who can do the one impossible trick. 				MIA 		What's that?				JOF 		To make one of the balls stand absolutely still		in the air. 				MIA 		But that's impossible.				JOF 		Impossible for us -- but not for him. 				MIA 		You're dreaming again.She yawns. The sun, has made her a bit drowsy and she lies down on the grass.JOF does likewise and puts one arm around his wife's shoulders.				JOF 		I've composed a song. I made it up during the 		night when I couldn't sleep. Do you want to 		hear it? 				MIA 		Sing it. I'm very curious. 				JOF 		I have to sit up first.He sits with his legs crossed, makes a dramatic gesture with his arms and sings in a loud voice. 				JOF 			(sings)		On a lily branch a dove is perched 		Against the summer sky, 		She sings a wondrous song of Christ 		And there's great joy on high.He interrupts his singing in order to be complimented by his wife.				JOF 		Mia! Are you asleep? 				MIA 		It's a lovely song. 				JOF 		I haven't finished yet. 				MIA 		I heard it, but I think I'll sleep a little 		longer. You can sing the rest to me afterwards. 				JOF 		All you do is sleep.JOF is a bit offended and glances over at his son, MIKAEL, but he is also sleeping soundly in the high grass. JONAS SKAT comes out from the wagon. He yawns; he is very tired and in a bad humor. In his hands he holds a crudely made death mask.				SKAT 		Is this supposed to be a mask for an actor? If 		the priests didn't pay us so well, I'd say no 		thank you. 				JOF 		Are you going to play Death? 				SKAT 		Just think, scaring decent folk out of their 		wits with this kind of nonsense.				JOF 		When are we supposed to do this play?				SKAT 		At the saints' feast in Elsinore. We're going 		to perform right on the church steps, believe 		it or not. 				JOF 		Wouldn't it be better to play something bawdy? 		People like it better, and, besides, it's more 		fun.				SKAT 		Idiot. There's a rumor going around that 		there's a terrible pestilence in the land, and 		now the priests are prophesying sudden death 		and all sorts of spiritual agonies. MIA is awake now and lies contentedly on her back, sucking on a blade of grass and looking smilingly at her husband. 				JOF 		And what part am I to play?				SKAT 		You're such a damn fool, so you're going to be 		the Soul of Man.				JOF 		That's a bad part, of course.				SKAT 		Who makes the decisions around here? Who is the		director of this company anyhow?SKAT, grinning, holds the mask in front of his face and recites dramatically.				SKAT 		Bear this in mind, you fool. Your life hangs by 		a thread. Your time is short. 			(in his usual voice) 		Are the women going to like me in this getup? 		Will I make a hit? No! I feel as if I were dead 		already.He stumbles into the wagon muttering furiously. JOF sits, leaning forward. MIA lies beside him on the grass. 				MIA 		Jof! 				JOF 		What is it? 				MIA 		Sit still. Don't move. 				JOF 		What do you mean? 				MIA 		Don't say anything. 				JOF 		I'm as silent as a grave. 				MIA 		Shh! I love you. Waves of heat envelop the gray stone church in a strange white mist. The KNIGHT dismounts and enters. After tying up the horses, JONS slowly follows him in. When he comes onto the church porch he stops in surprise. To the right of the entrance there is a large fresco on the wall, not quite finished. Perched on a crude scaffolding is a PAINTER wearing a red cap and paint-stained clothes. He has one brush in his mouth, while with another in his hand he outlines a small, terrified human face amidst a sea of other faces.				JONS 		What is this supposed to represent? 				PAINTER 		The Dance of Death. 				JONS 		And that one is Death? 				PAINTER 		Yes, he dances off with all of them. 				JONS 		Why do you paint such nonsense?				PAINTER 		I thought it would serve to remind people that 		they must die. 				JONS 		Well, it's not going to make them feel any 		happier. 				PAINTER 		Why should one always make people happy? It 		might not be a bad idea to scare them a little 		once in a while.				JONS 		Then they'll close their eyes and refuse to 		look at your painting. 				PAINTER 		Oh, they'll look. A skull is almost more 		interesting than a naked woman. 				JONS 		If you do scare them ... 				PAINTER 		They'll think. 				JONS 		And if they think ... 				PAINTER 		They'll become still more scared. 				JONS 		And then they'll run right into the arms of the 		priests. 				PAINTER 		That's not my business. 				JONS 		You're only painting your Dance of Death. 				PAINTER 		I'm only painting things as they are. Everyone 		else can do as he likes.				JONS 		Just think how some people will curse you. 				PAINTER 		Maybe. But then I'll paint something amusing 		for them to look at. I have to make a living 		-- at least until the plague takes me. 				JONS 		The plague. That sounds horrible.				PAINTER 		You should see the boils on a diseased man's 		throat. You should see how his body shrivels up 		so that his legs look like knotted strings -- 		like the man I've painted over there.The PAINTER points with his brush. JONS sees a small human form writhing in the grass, its eyes turned upwards in a frenzied look of horror and pain. 				JONS 		That looks terrible.				PAINTER 		It certainly does. He tries to rip out the 		boil, he bites his hands, tears his veins open 		with his fingernails and his screams can be 		heard everywhere. Does that scare you? 				JONS 		Scare? Me? You don't know me. What are the 		horrors you've painted over there?				PAINTER 		The remarkable thing is that the poor creatures		think the pestilence is the Lord's punishment. 		Mobs of people who call themselves Slaves of 		Sin are swarming over the country, flagellating 		themselves and others, all for the glory of God.				JONS 		Do they really whip themselves?				PAINTER 		Yes, it's a terrible sight. I crawl into a 		ditch and hide when they pass by.				JONS 		Do you have any brandy? I've been drinking 		water all day and it's made me as thirsty as a 		camel in the desert. 				PAINTER 		I think I frightened you after all.JONS sits down with the PAINTER, who produces a jug of brandy.The KNIGHT is kneeling before a small altar. It is dark and quiet around him.The air is cool and musty. Pictures of saints look down on him with stony eyes. Christ's face is turned upwards, His mouth open as if in a cry of anguish. On the ceiling beam there is a representation of a hideous devil spying on a miserable human being. The KNIGHT hears a sound from the confession booth and approaches it. The face of DEATH appears behind the grille for an instant, but the KNIGHT doesn't see him. 				KNIGHT 		I want to talk to you as openly as I can, but 		my heart is empty.DEATH doesn't answer. 				KNIGHT 		The emptiness is a mirror turned towards my 		own face. I see myself in it, and I am filled 		with fear and disgust. DEATH doesn't answer. 				KNIGHT 		Through my indifference to my fellow men, I 		have isolated myself from their company. Now I 		live in a world of phantoms. I am imprisoned in 		my dreams and fantasies. 				DEATH 		And yet you don't want to die. 				KNIGHT 		Yes, I do. 				DEATH 		What are you waiting for? 				KNIGHT 		I want knowledge. 				DEATH 		You want guarantees?				KNIGHT 		Call it whatever you like. Is it so cruelly 		inconceivable to grasp God with the senses? Why 		should He hide himself in a mist of half-spoken 		promises and unseen miracles? DEATH doesn't answer. 				KNIGHT 		How can we have faith in those who believe when 		we can't have faith in ourselves? What is going 		to happen to those of us who want to believe 		but aren't able to? And what is to become of 		those who neither want to nor are capable of 		believing?The KNIGHT stops and waits for a reply, but no one speaks or answers him. There is complete silence. 				KNIGHT 		Why can't I kill God within me? Why does He 		live on in this painful and humiliating way 		even though I curse Him and want to tear Him 		out of my heart? Why, in spite of everything, 		is He a baffling reality that I can't shake 		off? Do you hear me? 				DEATH 		Yes, I hear you.				KNIGHT 		I want knowledge, not faith, not suppositions, 		but knowledge. I want God to stretch out His 		hand towards me, reveal Himself and speak to 		me. 				DEATH 		But He remains silent. 				KNIGHT		I call out to Him in the dark but no one seems 		to be there. 				DEATH 		Perhaps no one is there. 				KNIGHT 		Then life is an outrageous horror. No one can 		live in the face of death, knowing that all is 		nothingness. 				DEATH 		Most people never reflect about either death or 		the futility of life.				KNIGHT 		But one day they will have to stand at that 		last moment of life and look towards the 		darkness. 				DEATH 		When that day comes ... 				KNIGHT 		In our fear, we make an image, and that image 		we call God. 				DEATH 		You are worrying ...				KNIGHT 		Death visited me this morning. We are playing 		chess together. This reprieve gives me the 		chance to arrange an urgent matter.				DEATH 		What matter is that? 				KNIGHT 		My life has been a futile pursuit, a wandering, 		a great deal of talk without meaning. I feel no 		bitterness or self-reproach because the lives 		of most people are very much like this. But I 		will use my reprieve for one meaningful deed. 				DEATH 		Is that why you are playing chess with Death? 				KNIGHT 		He is a clever opponent, but up to now I 		haven't lost a single man.				DEATH 		How will you outwit Death in your game? 				KNIGHT 		I use a combination of the bishop and the 		knight which he hasn't yet discovered. In the 		next move I'll shatter one of his flanks.				DEATH 		I'll remember that.DEATH shows his face at the grill of the confession booth for a moment but disappears instantly.				KNIGHT 		You've tricked and cheated me! But we'll meet 		again, and I'll find a way.				DEATH 			(invisible)		We'll meet at the inn, and there we'll continue 		playing.The KNIGHT raises his hand and looks at it in the sunlight which comes through the tiny window. 				KNIGHT 		This is my hand. I can move it, feel the blood 		pulsing through it. The sun is still high in 		the sky and I, Antonius Block, am playing 		chess with Death. He makes a fist of his hand and lifts it to his temple.Meanwhile, JONS and the PAINTER have got drunk and are talking animatedly together.				JONS 		Me and my master have been abroad and have just 		come home. Do you understand, you little 		pictor? 				PAINTER 		The Crusade.				JONS 			(drunk)		Precisely. For ten years we sat in the Holy 		Land and let snakes bite us, flies sting us, 		wild animals eat us, heathens butcher us, the 		wine poison us, the women give us lice, the 		lice devour us, the fevers rot us, all for the 		Glory of God. Our crusade was such madness that 		only a real idealist could have thought it up. 		But what you said about the plague was 		horrible. 				PAINTER 		It's worse than that.				JONS 		Ah, me. No matter which way you turn, you have 		your rump behind you. That's the truth.				PAINTER 		The rump behind you, the rump behind you 		there's a profound truth.JONS paints a small figure which is supposed to represent himself.				JONS 		This is squire Jàns. He grins at Death, mocks 		the Lord, laughs at himself and leers at the 		girls. His world is a Jànsworld, believable 		only to himself, ridiculous to all including 		himself, meaningless to Heaven and of no 		interest to Hell. The KNIGHT walks by, calls to his squire and goes out into the bright sunshine. JONS manages to set himself down from the scaffolding.Outside the church, four soldiers and a monk are in the process of putting a woman in the stocks. Her face is pale and child-like, her head has been shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet she doesn't appear to be fully conscious. JONS and the KNIGHT stop and watch in silence. The soldiers are working quickly and skillfully, but they seem frightened and dejected. The monk mumbles from a small book. One of the soldiers picks up a wooden bucket and with his hand begins to smear a bloody paste on the wall of the church and around the woman. JONS holds his nose.				JONS 		That soup of yours has a hell of a stink. What 		is it good for?				SOLDIER 		She has had carnal intercourse with the Evil 		One. He whispers this with a horrified face and continues to splash the sticky mess on the wall. 				JONS 		And now she's in the stocks.				SOLDIER 		She will be burned tomorrow morning at the 		parish boundary. But we have to keep the Devil 		away from the rest of us.				JONS 			(holding his nose)		And you do that with this stinking mess?				SOLDIER 		It's the best remedy: blood mixed with the bile 		of a big black dog. The Devil can't stand the 		smell. 				JONS 		Neither can I. JONS walks over towards the horses. The KNIGHT stands for a few, moments looking at the young girl. She is almost a child. Slowly she turns her eyes towards him. 				KNIGHT 		Have you seen the Devil?The MONK stops reading and raises his head. 				MONK 		You must not talk to her. 				KNIGHT 		Can that be so dangerous?				MONK 		I don't know, but she is believed to have 		caused the pestilence with which we are 		affected. 				KNIGHT 		I understand.He nods resignedly and walks away. The young woman starts to moan as though she were having a horrible nightmare. The sound of her cries follows the two riders for a considerable distance down the road. The sun stands high in the sky, like a red ball of fire. The waterskin is empty and JONS looks for a well where he can fill it.They approach a group of peasant cottages at the edge of the forest. JONS ties up the horses, slings the skin over his shoulder and walks along the path towards the nearest cottage. As always, his movements are light and almost soundless. The door to the cottage is open. He stops outside, but when no one appears he enters. It is very dark inside and his foot touches a soft object. He looks down. Beside the whitewashed fireplace, a woman is lying with her face to the ground.At the sound of approaching steps, JONS quickly hides behind the door. A man comes down a ladder from the loft. He is broad and thick-set. His eyes are black and his face is pale and puffy. His clothes are well cut but dirty and in rags. He carries a cloth sack. Looking around, he goes into the inner room, bends over the bed, tucks something into the bag, slinks along the walls, looking on the shelves, finds something else which he tucks in his bag.Slowly he re-enters the outer room, bends over the dead woman and carefully slips a ring from her finger. At that moment a young woman comes through the door. She stops and stares at the stranger.				RAVEL 		Why do you look so surprised? I steal from the 		dead. These days it's quite a lucrative 		enterprise. The GIRL makes a movement as if to run away. 				RAVEL 		You're thinking of running to the village and 		telling. That wouldn't serve any purpose. Each 		of us has to save his own skin. It's as simple 		as that. 				GIRL 		Don't touch me.				RAVAL 		Don't try to scream. There's no one around to 		hear you, neither God nor man.Slowly he closes the door behind the GIRL. The stuffy room is now in almost total darkness. But JONS becomes clearly visible.				JONS 		I recognize you, although it's a long time 		since we met. Your name is Raval, from the 		theological college at Roskilde. You are Dr. 		Mirabilis, Coelestis et Diabilis. RAVAL smiles uneasily and looks around. 				JONS 		Am I not right?The GIRL stands immobile.				JONS 		You were the one who, ten years ago, convinced 		my master of the necessity to join a better-		class crusade to the Holy Land.RAVAL looks around. 				JONS 		You look uncomfortable. Do you have a stomach-		ache? RAVAL smiles anxiously.				JONS 		When I see you, I suddenly understand the 		meaning of these ten years, which previously 		seemed to me such a waste. Our life was too 		good and we were too satisfied with ourselves. 		The Lord wanted to punish us for our 		complacency. That is why He sent you to spew 		out your holy venom and poison the knight.				RAVEL 		I acted in good faith.				JONS 		But now you know better, don't you? Because 		now you have turned into a thief. A more 		fitting and rewarding occupation for 		scoundrels. Isn't that so?With a quick movement he knocks the knife out of RAVAL'S hand, gives him a kick so that he falls on the floor and is about to finish him off. Suddenly the GIRL screams. JONS stops and makes a gesture of generosity with his hand. 				JONS 		By all means. I'm not bloodthirsty. He bends over RAVAL. 				RAVEL 		Don't beat me.				JONS 		I don't have the heart to touch you, Doctor. 		But remember this: the next time we meet, I'll 		brand your face the way one does with thieves. 			(he rises)		What I really came for is to get my waterskin 		filled.				GIRL 		We have a deep well with cool, fresh water. 		Come, I'll show you.They walk out of the house. RAVAL lies still for a few moments, then he rises slowly and looks around. When no one is in sight, he takes his bag and steals away. JONS quenches his thirst and fills his bag with water. The GIRL helps him.				JONS 		Jàns is my name. I am a pleasant and talkative 		young man who has never had anything but kind 		thoughts and has only done beautiful and noble 		deeds. I'm kindest of all to young women. With 		them, there is no limit to my kindness. He embraces her and tries to kiss her, but she holds herself back. Almost immediately he loses interest, hoists the waterbag on his shoulder and pats the GIRL on the cheek.				JONS 		Goodbye, my girl. I could very well have raped 		you, but between you and me, I'm tired of that 		kind of love. It runs a little dry in the end.He laughs kindly and walks away from her. When he has walked a short distance he turns; the GIRL is still there.				JONS 		Now that I think of it, I will need a 		housekeeper. Can you prepare good food? 			(the GIRL nods)		As far as I know, I'm still a married man, but		I have high hopes that my wife is dead by now.		That's why I need a housekeeper. 			(the GIRL doesn't 			answer but gets up)		The devil with it! Come along and don't stand 		there staring. I've saved your life, so you owe 		me a great deal.She begins walking towards him, her head bent. He doesn't wait for her but walks towards the KNIGHT, who patiently awaits his squire. The Embarrassment Inn lies in the eastern section of the province. The plague has not yet reached this area on its way along the coast.The actors have placed their wagon under a tree in the yard of the inn. Dressed in colorful costumes, they perform a farce.The spectators watch the performance, commenting on it noisily. There aremerchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands and milkmaids. A whole flock of children perch in the trees around the wagon. The KNIGHT and his squire have sat down in the shadow of a wall. They drink beer and doze in the midday heat. The GIRL from the deserted village sleeps at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay and lively dance. They perspire under the hot white sun. When they have finished SKAT comes forward and bows.				SKAT 		Noble ladies and gentlemen, I thank you for 		your interest. Please remain standing for a		little longer, or sit on the ground, because 		we are now going to perform a tragedia about 		an unfaithful wife, her jealous husband, and 		the handsome lover -- that's me.MIA and JOF have quickly changed costumes and again step out on the stage. They bow, to the public. 				SKAT 		Here is the husband. Here is the wife. If 		you'll shut up over there, you'll see something 		splendid. As I said, I play the lover and I 		haven't entered yet. That's why I'm going to 		hide behind the curtain for the time being. 			(he wipes the sweat 			from his forehead)		It's damned hot. I think we'll have a 		thunderstorm.He places his leg in front of JOF as if to trip him, raises MIA's skirt, makes a face as if he could see all the wonders of the world underneath it, and disappears behind the gaudily patched curtains.SKAT is very handsome, now that he can see himself in the reflection of a tin washbowl. His hair is tightly curled, his eyebrows are beautifully bushy, glittering earrings vie for equal attention with his teeth, and his cheeks are flushed rose red. He sits out in back on the tailboard of the wagon, dangling his legs and whistling to himself. In the meantime JOF and MIA play their tragedy; it is not, however, received with great acclaim. SKAT suddenly discovers that someone is watching him as he gazes contentedly into the tin bowl. A woman stands there, stately in both height and volume. SKAT frowns, toys with his small dagger and occasionally throws a roguish but fiery glance at the beautiful visitor. She suddenly discovers that one of her shoes doesn't quite fit. She leans down to fix it and in doing so allows her generous bosom to burst out of its prison -- no more than honor and chastity allow, but still enough so that the actor with his experienced eye immediately sees that there are ample rewards to be had here.Now she comes a little closer, kneels down and opens a bundle containing several dainty morsels and a skin filled with red wine. JONAS SKAT manages not to fall off the wagon in his excitement. Standing on the steps of the wagon, he supports himself against a nearby tree, crosses his legs and bows. The woman quietly bites into a chicken leg dripping with fat. At this moment the actor is stricken by a radiant glance full of lustful appetites.When he sees this look, SKAT makes an instantaneous decision, jumps down from the wagon and kneels in front of the blushing damsel.She becomes weak and faint from his nearness, looks at him with a glassy glance and breathes heavily. SKAT doesn't neglect to press kisses on her small, chubby hands. The sun shines brightly and small birds make noises in the bushes.Now she is forced to sit back; her legs seem unwilling to support her any longer. Bewildered, she singles out another chicken leg from the large sack of food and holds it up in front of SKAT with an appealing and triumphant expression, as if it were her maidenhood being offered as a prize.SKAT hesitates momentarily, but he is still the strategist. He lets the chicken leg fall to the grass, and murmurs in the woman's rosy ear.His words seem to please her. She puts her arms around the actor's neck and pulls him to her with such fierceness that both of them lose their balance and tumble down on the soft grass. The small birds take to their wings with frightened shrieks.JOF stands in the hot sun with a flickering lantern in his hand. MIA pretends to be asleep on a bench which has been pulled forward on the stage. 				JOF 		Night and moonlight now prevail 		Here sleeps my wife so frail ... 				VOICE FROM THE PUBLIC		Does she snore?				JOF 		May I point out that this is a tragedy, and in 		tragedies one doesn't snore.				VOICE FROM THE PUBLIC		I think she should snore anyhow. This opinion causes mirth in the audience. JOF becomes slightly confused and goes out of character, but MIA keeps her head and begins snoring. 				JOF 		Night and moonlight now prevail.		There snores -- I mean sleeps -- my wife so frail. 		Jealous I am, as never before, 		I hide myself behind this door. 		Faithful is she 		To her lover -- not me. 		He soon comes a-stealing 		To awaken her lusty feeling. 		I shall now kill him dead 		For cuckolding me in my bed. 		There he comes in the moonlight, 		His white legs shining bright. 		Quiet as a mouse, here I'll lie, 		Tell him not that he's about to die.JOF hides himself. MIA immediately ends her snoring and sits up, looking to the left. 				MIA 		Look, there he comes in the night 		My lover, my heart's delight.She becomes silent and looks wide-eyed in front of her. The mood in the yard in front of the inn has, up to now, been rather lighthearted despite the heat. Now a rapid change occurs. People who had been laughing and chattering fall silent. Their faces seem to pale under their sunbrowned skins, the children stop their games and stand with gaping mouths and frightened eyes. JOF steps out in front of the curtain. His painted face bears an expression of horror. MIA has risen with MIKAEL in her arms. Some of the women in the yard have fallen on their knees, others hide their faces, many begin to mutter half-forgotten prayers.All have turned their faces towards the white road. Now a shrill song is heard. It is frenzied, almost a scream. A crucified Christ sways above the hilltop.The cross-bearers soon come into sight. They are Dominican monks, their hoods pulled down over their faces. More and more of them follow, carrying litters with heavy coffins or clutching holy relics, their hands stretched out spasmodically. The dust wells up around their black hoods; the censers sway and emit a thick, ashen smoke which smells of rancid herbs.After the line of monks comes another procession. It is a column of men, boys, old men, women, girls, children. All of them have steel-edged scourges in their hands with which they whip themselves and each other, howling ecstatically. They twist in pain; their eyes bulge wildly; their lips are gnawed to shreds and dripping with foam. They have been seized by madness. They bite their own hands and arms, whip each other in violent, almost rhythmic outbursts. Throughout it all the shrill song howls from their bursting throats. Many sway and fall, lift themselves up again, support eachother and help each other to intensify the scourging.Now the procession pauses at the crossroads in front of the inn. The monks fall on their knees, hiding their faces with clenched hands, arms pressed tightly together. Their song never stops. The Christ figure on its timbered cross is raised above the heads of the crowd. It is not Christ triumphant, but the suffering Jesus with the sores, the blood, the hammered nails and the face in convulsive pain. The Son of God, nailed on the wood of the cross, suffering scorn and shame. The penitents have now sunk down in the dirt of the road. They collapse where they stood like slaughtered cattle. Their screams rise with the song of the monks, through misty clouds of incense, towards the white fire of the sun. A large square monk rises from his knees and reveals his face, which is red-brown from the sun. His eyes glitter; his voice is thick with impotent scorn.				MONK		God has sentenced us to punishment. We shall 		all perish in the black death. You, standing 		there like gaping cattle, you who sit there in 		your glutted complacency, do you know that this 		may be your last hour? Death stands right 		behind you. I can see how his crown gleams in 		the sun. His scythe flashes as he raises it 		above your heads. Which one of you shall he 		strike first? You there, who stand staring like 		a goat, will your mouth be twisted into the 		last unfinished gasp before nightfall? And you, 		woman, who bloom with life and self-		satisfaction, will you pale and become 		extinguished before the morning dawns? You back		there, with your swollen nose and stupid grin, 		do you have another year left to dirty the 		earth with your refuse? Do you know, you 		insensible fools, that you shall die today or 		tomorrow, or the next day, because all of you 		have been sentenced? Do you hear what I say? Do 		you hear the word? You have been sentenced, 		sentenced! The MONK falls silent, looking around with a bitter face and a cold, scornfulglance. Now, he clenches his hands, straddles the ground and turns his faceupwards. 				MONK		Lord have mercy on us in our humiliation! Don't 		turn your face from us in loathing and 		contempt, but be merciful to us for the sake of 		your son, Jesus Christ. He makes the sign of the cross over the crowd and then begins a new song in astrong voice. The monks rise and join in the song. As if driven by some superhuman force, the penitents begin to whip themselves again, still wailing and moaning.The procession continues. New members have joined the rear of the column; others who were unable to go on lie weeping in the dust of the road. JONS the squire drinks his beer.				JONS 		This damned ranting about doom. Is that food 		for the minds of modern people? Do they really 		expect us to take them seriously?The KNIGHT grins tiredly.				JONS 		Yes, now you grin at me, my lord. But allow me 		to point out that I've either read, heard or 		experienced most of the tales which we people 		tell each other. 				KNIGHT 			(yawns) 		Yes, yes. 				JONS 		Even the ghost stories about God the Father, 		the angels, Jesus Christ and the Holy Ghost --		all these I've accepted without too much 		emotion.He leans down over the GIRL as she crouches at his feet and pats her on the head. The KNIGHT drinks his beer silently.				JONS 			(contentedly)		My little stomach is my world, my head is my 		eternity, and my hands, two wonderful suns. My 		legs are time's damned pendulums, and my dirty 		feet are two splendid starting points for my 		philosophy. Everything is worth precisely as 		much as a belch, the only difference being that 		a belch is more satisfying.The beer mug is empty. Sighing, JONS gets to his feet. The GIRL follows him like a shadow.In the yard he meets a large man with a sooty face and a dark expression. He stops JONS with a roar. 				JONS 		What are you screaming about?				PLOG 		I am Plog, the smith, and you are the squire 		Jàns. 				JONS 		That's possible.				PLOG 		Have you seen my wife? 				JONS 		No, I haven't. But if I had seen her and she 		looked like you, I'd quickly forget that I'd 		seen her. 				PLOG		Well, in that case you haven't seen her. 				JONS 		Maybe she's run off. 				PLOG 		Do you know anything? 				JONS 		I know quite a lot, but not about your wife. Go 		to the inn. Maybe they can help you.The smith sighs sadly and goes inside.The inn is very small and full of people eating and drinking to forget their newly aroused fears of eternity. In the open fireplace a roasting pig turnson an iron spit. The sun shines outside the casement window, its sharp rayspiercing the darkness of the room, which is thick with fumes andperspiration. 				MERCHANT		Yes, it's true! The plague is spreading along 		the west coast. People are dying like flies. 		Usually business would be good at this time of 		year, but, damn it, I've still got my whole 		stock unsold.				WOMAN 		They speak of the judgment day. And all these 		omens are terrible. Worms, chopped-off hands 		and other monstrosities began pouring out of 		an old woman, and down in the village another 		woman gave birth to a calf's head. 				OLD MAN 		The day of judgment. Imagine.				FARMER		It hasn't rained here for a month. We'll surely 		lose our crops.				MERCHANT		And people are acting crazy, I'd say. They flee 		the country and carry the plague with them 		wherever they go. 				OLD MAN 		The day of judgment. Just think, just think! 				FARMER 		If it's as they say, I suppose a person should 		look after his house and try to enjoy life as 		long as he can. 				WOMAN 		But there have been other things too, such 		things that can't even be spoken of. 			(whispers)		Things that mustn't be named -- but the priests 		say that the woman carries it between her legs 		and that's why she must cleanse herself. 				OLD MAN 		Judgment day. And the Riders of the Apocalypse 		stand at the bend in the village road. I 		imagine they'll come on judgment night, at 		sundown.				WOMAN 		There are many who have purged themselves with	 	fire and died from it, but the priests say that 		it's better to die pure than to live for hell. 				MERCHANT 		This is the end, yes, it is. No one says it out		loud, but all of us know that it's the end. And 		people are going mad from fear.				FARMER		So you're afraid too. 				MERCHANT		Of course I'm afraid.				OLD MAN 		The judgment day becomes night, and the angels 		descend and the graves open. It will be 		terrible to see. They whisper in low tones and sit close to each other.PLOG, the smith, shoves his way into a place next to JOF, who is still dressed in his costume. Opposite him sits RAVAL, leaning slightly forward, his face perspiring heavily. RAVAL rolls an armlet out on the table. 				RAVAL 		Do you want this armlet? You can have it 		cheap. 				JOF 		I can't afford it. 				RAVAL 		It's real silver.				JOF 		It's nice. But it's surely too expensive for 		me. 				PLOG 		Excuse me, but has anyone here seen my wife? 				JOF 		Has she disappeared? 				PLOG 		They say she's run away. 				JOF 		Has she deserted you? 				PLOG 		With an actor.				JOF 		An actor! If she's got such bad taste, then I 		think you should let her go.				PLOG 		You're right. My first thought, of course, was 		to kill her.				JOF 		Oh. But to murder her, that's a terrible thing 		to do. 				PLOG 		I'm also going to kill the actor. 				JOF 		The actor?				PLOG 		Of course, the one she eloped with. 				JOF 		What has he done to deserve that? 				PLOG 		Are you stupid? 				JOF 		The actor! Now I understand. There are too many 		of them, so even if he hasn't done anything in 		particular you ought to kill him merely because 		he's an actor. 				PLOG 		You see, my wife has always been interested in 		the tricks of the theatre.				JOF 		And that turned out to be her misfortune. 				PLOG 		Her misfortune, but not mine, because a person 		who's born unfortunate can hardly suffer from 		any further misfortune. Isn't that true?Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill and evil. 				RAVAL 		Listen, you! You sit there and lie to the 		smith. 				JOF 		I! A liar! 				RAVAL 		You're an actor too and it's probably your 		partner who's run off with Plog's old lady. 				PLOG 		Are you an actor too?				JOF 		An actor! Me! I wouldn't quite call myself that! 				RAVAL 		We ought to kill you; it's only logical. 				JOF 			(laughs)		You're really funny.				RAVAL 		How strange -- you've turned pale. Have you 		anything on your conscience?				JOF 		You're funny. Don't you think he's funny? 			(to Plog)		Oh, you don't.				RAVAL 		Maybe we should mark you up a little with a 		knife, like they do petty scoundrels of your 		kind.PLOG bangs his hands down on the table so that the dishes jump. He gets up. 				PLOG 			(shouting)		What have you done with my wife? The room becomes silent. JOF looks around, but there is no exit, no way to escape. He puts his hands on the table. Suddenly a knife flashes through the air and sinks into the table top between his fingers.JOF snatches away his hands and raises his head. He looks half surprised, as if the truth had just become apparent to him. 				JOF 		Do you want to hurt me? Why? Have I provoked 		someone, or got in the way? I'll leave right 		now and never come back.JOF looks from one face to another, but no one seems ready to help him or come to his defense.  				RAVAL 		Get up so everyone can hear you. Talk louder. Trembling, JOF rises. He opens his mouth as if to say something, but not a word comes out. 				RAVAL 		Stand on your head so that we can see how good 		an actor you are.JOF gets up on the table and stands on his head. A hand pushes him forward sothat he collapses on the floor. PLOG rises, pulls him to his feet with one hand. 				PLOG 			(shouts) 		What have you done with my wife? PLOG beats him so furiously that JOF flies across the table. RAVAL leans overhim. 				RAVAL 		Don't lie there moaning. Get up and dance. 				JOF 		I don't want to. I can't.				RAVEL 		Show us how you imitate a bear. 				JOF 		I can't play a bear.				RAVAL 		Let's see if you can't after all.RAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on his cheeks and forehead, frightened half to death. He begins to jump and hop on top of the tables, swinging his arms and legs and making grotesque faces.Some laugh, but most of the people sit silently. JOF gasps as if his lungs were about to burst. He sinks to his knees, and someone pours beer over him. 				RAVEL 		Up again! Be a good bear.				JOF 		I haven't done any harm. I haven't got the 		strength to play a bear any more.At that moment the door opens and JONS enters. JOF sees his chance and stealsout. RAVAL intends to follow him, but suddenly stops. JONS and RAVAL look at each other. 				JONS 		Do you remember what I was going to do to you 		if we met again?RAVAL steps back without speaking. 				JONS 		I'm a man who keeps his word.JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers towards the wall. The hot day has become night. Singing and howling can be heard from the inn. In a hollow near the forest, the light still lingers. Hidden in the grass andthe shrubbery, nightingales sing and their voices echo through the stillness. The players' wagon stands in a small ravine, and not far away the horse grazes on the dry grass. MIA has sat down in front of the wagon with her son in her arms. They play together and laugh happily.Now, a soft gleam of light strokes the hilltops, a last reflection from the red clouds over the sea.Not far from the wagon, the KNIGHT sits crouched over his chess game. He lifts his head.The evening light moves across the heavy wagon wheels, across the woman and the child. The KNIGHT gets up.MIA sees him and smiles. She holds up her struggling son, as if to amuse the KNIGHT. 				KNIGHT 		What's his name? 				MIA 		Mikael.				KNIGHT 		How old is he? 				MIA 		Oh, he'll soon be two. 				KNIGHT 		He's big for his age.				MIA 		Do you think so? Yes, I guess he's rather big. She puts the child down on the ground and half rises to shake out her red skirt. When she sits down again, the KNIGHT steps closer.				KNIGHT 		You played some kind of show this afternoon. 				MIA 		Did you think it was bad?				KNIGHT 		You are more beautiful now without your face 		painted, and this gown is more becoming.				MIA 		You see, Jonas Skat has run off and left us, 		so we're in real trouble now.				KNIGHT 		Is that your husband?				MIA 			(laughs)		Jonas! The other man is my husband. His name is 		Jof. 				KNIGHT 		Oh, that one.				MIA 		And now there's only him and me. We'll have to 		start doing tricks again and that's more 		trouble than it's worth. 				KNIGHT 		Do you do tricks also?				MIA 		We certainly do. And Jof is a very skillful 		juggler.				KNIGHT 		Is Mikael going to be an acrobat? 				MIA 		Jof wants him to be. 				KNIGHT 		But you don't.				MIA 		I don't know.			(smiling)		Perhaps he'll become a knight. 				KNIGHT 		Let me assure you, that's no pleasure either. 				MIA 		No, you don't look so happy. 				KNIGHT 		No.				MIA 		Are you tired? 				KNIGHT 		Yes. 				MIA 		Why? 				KNIGHT 		I have dull company. 				MIA 		Do you mean your squire? 				KNIGHT 		No, not him.				MIA 		Who do you mean, then? 				KNIGHT 		Myself. 				MIA 		I understand. 				KNIGHT 		Do you, really? 				MIA 		Yes, I understand rather well. I have often 		wondered why people torture themselves as often 		as they can. Isn't that so?She nods energetically and the KNIGHT smiles seriously. Now the shrieks and the noise from the inn become louder. Black figures flicker across the grass mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her arms and receives him. He holds his hands in front of his face, moaning like a child, and his body sways. He kneels. MIA holds him close to her and sprinkles him with small, anxious questions: What have you done? How are you?What is it? Does it hurt? What can I do? Have they been cruel to you? She runs for a rag, which she dips in water, and carefully bathes her husband'sdirty, bloody face. Eventually a rather sorrowful visage emerges. Blood runs from a bruise on his forehead and his nose, and a tooth has been loosened, but otherwise JOF seems unhurt. 				JOF 		Ouch, it hurts.				MIA		Why did you have to go there? And of course you 		drank.MIA's anxiety has been replaced by a mild anger. She pats him a little harder than necessary. 				JOF 		Ouch! I didn't drink anything.				MIA		Then I suppose you were boasting about the 		angels and devils you consort with. People 		don't like someone who has too many ideas and 		fantasies.				JOF 		I swear to you that I didn't say a word about 		angels. 				MIA		You were, of course, busy singing and dancing. 		You can never stop being an actor. People also 		become angry at that, and you know it.JOF doesn't answer but searches for the armlet. He holds it up in front of MIA with an injured expression. 				JOF 		Look what I bought for you. 				MIA 		You couldn't afford it. 				JOF 			(angry)		But I got it anyhow.The armlet glitters faintly in the twilight. MIA now pulls it across her wrist. They look at it in silence, and their faces soften. They look at each other, touch each other's hands. JOF puts his head against MIA'S shoulder and sighs.				JOF 		Oh, how they beat me.				MIA 		Why didn't you beat them back?				JOF 		I only become frightened and angry. I never get 		a chance to hit back. I can get angry, you know 		that. I roared like a lion.				MIA		Were they frightened? 				JOF 		No, they just laughed.Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls his son on top of him. MIA gets down on her hands and knees and playfully sniffs at MIKAEL.				MIA 		Do you notice how good he smells?				JOF 		And he is so compact to hold. You're a sturdy 		one. A real acrobat's body.He lifts MIKAEL up and holds him by the legs. MIA looks up suddenly, remembering the knight's presence. 				MIA 		Yes, this is my husband, Jof. 				JOF 		Good evening. 				KNIGHT 		Good evening. JOF becomes a little embarrassed and rises. All three of them look at one another silently. 				KNIGHT 		I have just told your wife that you have a 		splendid son. He'll bring great joy to you. 				JOF 		Yes, he's fine.     They become silent again. 				JOF 		Have we nothing to offer the knight, Mia? 				KNIGHT 		Thank you, I don't want anything.				MIA 			(housewifely)		I picked a basket of wild strawberries this 		afternoon. And we have a drop of milk fresh 		from a cow ... 				JOF 		... that we were allowed to milk. So, if you 		would like to partake of this humble fare, it 		would be a great honor. 				MIA 		Please be seated and I'll bring the food. They sit down. MIA disappears with MIKAEL. 				KNIGHT 		Where are you going next? 				JOF 		Up to the saints' feast at Elsinore. 				KNIGHT 		I wouldn't advise you to go there. 				JOF 		Why not, if I may ask?				KNIGHT 		The plague has spread in that direction, 		following the coast line south. It's said that 		people are dying by the tens of thousands.				JOF 		Really! Well, sometimes life is a little hard. 				KNIGHT 		May I suggest ... 			(JOF looks at him, surprised) 		... that you follow me through the forest 		tonight and stay at my home if you like. Or go 		along the east coast. You'll probably be safer 		there.MIA has returned with a bowl of wild strawberries and the milk, places it between them and gives each of them a spoon.				JOF 		I wish you good appetite. 				KNIGHT 		I humbly thank you.				MIA 		These are wild strawberries from the forest. I 		have never seen such large ones. They grow up 		there on the hillside. Notice how they smell!She points with a spoon and smiles. The KNIGHT nods, as if he were pondering some profound thought. JOF eats heartily.				JOF 		Your suggestion is good, but I must think it 		over. 				MIA 		It might be wise to have company going through 		the forest. It's said to be full of trolls and 		ghosts and bandits. That's what I've heard.				JOF 			(staunchly)		Yes, I'd say that it's not a bad idea, but I 		have to think about it. Now that Skat has left, 		I am responsible for the troupe. After all, I 		have become director of the whole company.				MIA 			(mimics) 		After all, I have become director of the whole 		company.JONS comes walking slowly down the hill, closely followed by the GIRL. MIA points with her spoon. 				MIA 		Do you want some strawberries?				JOF 		This man saved my life. Sit down, my friend, 		and let us be together.				MIA 			(stretches herself) 		Oh, how nice this is. 				KNIGHT 		For a short while. 				MIA 		Nearly always. One day is like another. There 		is nothing strange about that. The summer, of 		course, is better than the winter, because in 		summer you don't have to be cold. But spring is 		best of all.				JOF 		I have written a poem about the spring. Perhaps 		you'd like to hear it. I'll run and get my lyre. He sprints towards the wagon.  				MIA 		Not now, Jof. Our guests may not be amused by 		your songs.				JONS 			(politely) 		By all means. I write little songs myself. For 		example, I know a very funny song about a 		wanton fish which I doubt that you've heard yet. The KNIGHT looks at him.				JONS 		You'll not get to hear it either. There are 		persons here who don't appreciate my art and I 		don't want to upset anyone. I'm a sensitive 		soul.JOF has come out with his lyre, sits on a small, gaudy box and plucks at the instrument, humming quietly, searching for his melody. JONS yawns and lies down. 				KNIGHT 		People are troubled by so much.				MIA 		It's always better when one is two. Have you no 		one of your own?				KNIGHT 		Yes, I think I had someone. 				MIA 		And what is she doing now? 				KNIGHT 		I don't know.				MIA 		You look so solemn. Was she your beloved? 				KNIGHT 		We were newly married and we played together. 		We laughed a great deal. I wrote songs to her 		eyes, to her nose, to her beautiful little 		ears. We went hunting together and at night we 		danced. The house was full of life ... 				MIA 		Do you want some more strawberries?				KNIGHT 			(shakes his head)		Faith is a torment, did you know that? It is 		like loving someone who is out there in the 		darkness but never appears, no matter how 		loudly you call. 				MIA 		I don't understand what you mean.				KNIGHT 		Everything I've said seems meaningless and 		unreal while I sit here with you and your 		husband. How unimportant it all becomes 		suddenly.He takes the bowl of milk in his hand and drinks deeply from it several times. Then he carefully puts it down and looks up, smiling.				MIA 		Now you don't look so solemn.				KNIGHT 		I shall remember this moment. The silence, the 		twilight, the bowls of strawberries and milk,		your faces in the evening light. Mikael 		sleeping, Jof with his lyre. I'll try to 		remember what we have talked about. I'll carry 		this memory between my hands as carefully as 		if it were a bowl filled to the brim with fresh 		milk. He turns his face away and looks out towards the sea and the colorless gray sky. 				KNIGHT 		And it will be an adequate sign -- it will be 		enough for me.He rises, nods to the others and walks down towards the forest. JOF continues to play on his lyre. MIA stretches out on the grass.The KNIGHT picks up his chess game and carries it towards the beach. It is quiet and deserted; the sea is still. 				DEATH 		I have been waiting for you.				KNIGHT 		Pardon me. I was detained for a few moments. 		Because I revealed my tactics to you, I'm in 		retreat. It's your move.				DEATH 		Why do you look so satisfied? 				KNIGHT 		That's my secret. 				DEATH 		Of course. Now I take your knight. 				KNIGHT 		You did the right thing. 				DEATH 		Have you tricked me? 				KNIGHT 		Of course. You fell right in the trap. Check! 				DEATH 		What are you laughing at?				KNIGHT 		Don't worry about my laughter; save your king 		instead.				DEATH 		You're rather arrogant. 				KNIGHT 		Our game amuses me.				DEATH 		It's your move. Hurry up. I'm a little pressed 		for time.				KNIGHT 		I understand that you've a lot to do, but you 		can't get out of our game. It takes time.DEATH is about to answer him but stops and leans over the board. The KNIGHT smiles.				DEATH 		Are you going to escort the juggler and his 		wife through the forest? Those whose names are 		Jof and Mia and who have a small son? 				KNIGHT 		Why do you ask? 				DEATH 		Oh, no reason at all. The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. Immediately after sundown, the little company gathers in the yard of the inn.There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their son, MIKAEL, is already asleep. JONAS SKAT is still missing. JONS goes into the inn to get provisions for the night journey and to have a last mug of beer. The inn is now empty and quiet except for a few farmhands and maidens who are eating their evening meal in a corner. At one of the small windows sits a lonely, hunched-over fellow, with a jug of brandy in his hands. His expression is very sad. Once in a while he is shaken by a gigantic sob. It is PLOG, the smith, who sits there and whimpers. 				JONS 		God in heaven, isn't this Plog, the smith? 				PLOG 		Good evening.				JONS 		Are you sitting here sniveling in loneliness? 				PLOG 		Yes, yes, look at the smith. He moans like a 		rabbit. 				JONS 		If I were in your boots, I'd be happy to get 		rid of a wife in such an easy way.JONS pats the smith on the back, quenches his thirst with beer, and sits down by his side. 				PLOG 		Are you married? 				JONS 		I! A hundred times and more. I can't keep count 		of all my wives any longer. But it's often that 		way when you're a traveling man.				PLOG 		I can assure you that one wife is worse than a 		hundred, or else I've had worse luck than any 		poor wretch in this miserable world, which 		isn't impossible.				JONS 		Yes, it's hell with women and hell without 		them. So, however you look at it, it's still 		best to kill them off while it's most amusing. 				PLOG 		Women's nagging, the shrieking of children and 		wet diapers, sharp nails and sharp words, blows 		and pokes, and the devil's aunt for a 		mother-in-law. And then, when one wants to 		sleep after a long day, there's a new song -- 		tears, whining and moans loud enough to wake 		the dead. JONS nods delightedly. He has drunk deeply and talks with an old woman's voice. 				JONS 		Why don't you kiss me good night?				PLOG 			(in the same way)		Why don't you sing a song for me? 				JONS 		Why don't you love me the way you did when we 		first met?				PLOG 		Why don't you look at my new slip? 				JONS 		You only turn your back and snore. 				PLOG 		Oh hell! 				JONS 		Oh hell. And now she's gone. Rejoice! 				PLOG 			(furious) 		I'll snip their noses with pliers, I'll bash in 		their chests with a small hammer, I'll tap 		their heads ever so lightly with a sledge.PLOG begins to cry loudly and his whole body sways in an enormous attack of sorrow. JONS looks at him with interest.				JONS		Look how he howls again. 				PLOG 		Maybe I love her.				JONS 		So, maybe you love her! Then, you poor 		misguided ham shank, I'll tell you that love is 		another word for lust, plus lust, plus lust 		and a damn lot of cheating, falseness, lies and 		all kinds of other fooling around. 				PLOG		Yes, but it hurts anyway.				JONS 		Of course. Love is the blackest of all plagues, 		and if one could die of it, there would be 		some pleasure in love. But you almost always 		get over it. 				PLOG		No, no, not me.				JONS 		Yes, you too. There are only a couple of poor 		wretches who die of love once in a while. Love 		is as contagious as a cold in the nose. It eats 		away at your strength, your independence, your 		morale, if you have any. If everything is 		imperfect in this imperfect world, love is most 		perfect in its perfect imperfection.				PLOG 		You're happy, you with your oily words, and, 		besides, you believe your own drivel.				JONS 		Believe! Who said that I believed it? But I 		love to give good advice. If you ask me for 		advice you'll get two pieces for the price of 		one, because after all I really am an educated 		man.JONS gets up from the table and strokes his face with his hands. PLOG becomes very unhappy and grabs his belt. 				PLOG 		Listen, Jàns. May I go with you through the 		forest? I'm so lonely and don't want to go home 		because everyone will laugh at me.				JONS 		Only if you don't whimper all the time, because 		in that case we'll all have to avoid you.PLOG gets up and embraces JONS. Slightly drunk, the two new friends walk towards the door. When they come out in the yard, JOF immediately catches sight of them, becomes angry and yells a warning to JONS. 				JOF 		Jàns! Watch out. That one wants to fight all 		the time. He's not quite sane.				JONS 		Yes, but now he's just sniveling.PLOG steps up to JOF, who blanches with fear. PLOG offers his hand.				PLOG 		I'm really sorry if I hurt you. But I have 		such a hell of a temper, you know. Shake hands.JOF gingerly proffers a frightened hand and gets it thoroughly shaken and squeezed. While JOF tries to straighten out his fingers, PLOG is seized by great good will and opens his arms.				PLOG 		Come in my arms, little brother.				JOF 		Thank you, thank you, perhaps later. But now 		we're really in a hurry.JOF climbs up on the wagon seat quickly and clucks at the horse. The small company is on its way towards the forest and the night.It is dark in the forest. First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting close to each other in the juggler's wagon. MIA holds her son in her arms. JONS follows them with his heavily laden horse. He has the smith in tow. The GIRL sits on top of the load on the horse's back, hunched over as if asleep.The footsteps, the horses' heavy tramp on the soft path, the human breathing -- yet it is quiet. Then the moon sails out of the clouds. The forest suddenly becomes alive with the night's unreality. The dazzling light pours through the thick foliage of the beech trees, a moving, quivering world of light and shadow.The wanderers stop. Their eyes are dark with anxiety and foreboding. Their faces are pale and unreal in the floating light. It is very quiet.				PLOG		Now the moon has come out of the clouds. 				JONS 		That's good. Now we can see the road better. 				MIA 		I don't like the moon tonight. 				JOF 		The trees stand so still. 				JONS 		That's because there's no wind. 				PLOG 		I guess he means that they stand very still. 				JOF 		It's completely quiet.				JONS 		If one could hear a fox at least. 				JOF 		Or an owl.				JONS 		Or a human voice besides one's own.				GIRL		They say it's dangerous to remain standing in 		moonlight.Suddenly, out of the silence and the dim light falling across the forest road, a ghostlike cart emerges. It is the WITCH being taken to the place where she will be burned. Next to her eight soldiers shuffle along tiredly, carrying their lances on their backs. The girl sits in the cart, bound with iron chains around her throat and arms. She stares fixedly into the moonlight. A black figure sits next to her, a monk with his hood pulled down over his head. 				JONS 		Where are you going? 				SOLDIER		To the place of execution.				JONS 		Yes, now I can see. It's the girl who has done 		it with the Black One. The witch?The SOLDIER nods sourly. Hesitantly, the travelers follow. The KNIGHT guides his horse over to the side of the cart. The WITCH seems to be half-conscious, but her eyes are wide open.				KNIGHT 		I see that they have hurt your hands.The WITCH'S pale, childish face turns towards the KNIGHT and she shakes her head. 				KNIGHT 		I have a potion that will stop your pain.She shakes her head again. 				JONS 		Why do you burn her at this time of night? 		People have so few diversions these days. 				SOLDIER 		Saints preserve us, be quiet! It's said that 		she brings the Devil with her wherever she 		goes. 				JONS 		You are eight brave men, then.				SOLDIER 		Well, we've been paid. And this is a volunteer 		job. The SOLDIER speaks in whispers while glancing anxiously at the WITCH.				KNIGHT 			(to the WITCH)		What's your name? 				TYAN		My name is Tyan, my lord. 				KNIGHT 		How old are you? 				TYAN		Fourteen, my lord.				KNIGHT 		And is it true that you have been in league 		with the Devil?TYAN nods quietly and looks away. Now they arrive at the parish border. At the foot of the nearby hills lies a crossroads. The pyre has already been stacked in the center of the forest clearing. The travelers remain there, hesitant and curious. The soldiers have tied up the cart horse and bring out two long wooden beams.They nail rungs across the beams so that it looks like a ladder. TYAN will be bound to this like an eelskin stretched out to dry.The sound of the hammering echoes through the forest. The KNIGHT has dismounted and walks closer to the cart. Again he tries to catch TYAN'S eyes, touches her very lightly as if to waken her. Slowly she turns her face towards him. 				KNIGHT 		They say that you have been in league with the 		Devil.				TYAN		Why do you ask?				KNIGHT 		Not out of curiosity, but for very personal 		reasons. I too want to meet him. 				TYAN 		Why?				KNIGHT 		I want to ask him about God. He, if anyone, 		must know.				TYAN 		You can see him anytime. 				KNIGHT 		How?				TYAN 		You must do as I tell you.The KNIGHT grips the wooden rail of the cart so tightly that his knuckles whiten. TYAN leans forward and joins her gaze with his. 				TYAN 		Look into my eyes.The KNIGHT meets her gaze. They stare at each other for a long time.				TYAN 		What do you see? Do you see him?				KNIGHT 		I see fear in your eyes, an empty, numb fear. 		But nothing else.He falls silent. The soldiers work at the stakes; their hammering echoes in the forest. 				TYAN 		No one, nothing, no one? 				KNIGHT 			(shakes his head)		No.				TYAN		Can't you see him behind your back? 				KNIGHT 			(looks around) 		No, there is no one there. 				TYAN 		But he is with me everywhere. I only have to 		stretch out my hand and I can feel his hand. He 		is with me now too. The fire won't hurt me. He 		will protect me from everything evil.				KNIGHT 		Has he told you this? 				TYAN 		I know it.				KNIGHT 		Has he said it?				TYAN 		I know it, I know it. You must see him 		somewhere, you must. The priests had no 		difficulty seeing him, nor did the soldiers. 		They are so afraid of him that they don't even 		dare touch me.The sounds of the hammers stops. The soldiers stand like black shadows rooted in the moss. They fumble with the chains and pull at the neck iron. TYAN moans weakly, as if she were far away.				KNIGHT 		Why have you crushed her hands? 				SOLDIER			(surly) 		We didn't do it. 				KNIGHT 		Who did? 				SOLDIER		Ask the monk.The soldiers pull the iron and the chains. TYAN'S shaven head sways, gleaming in the moonlight. Her blackened mouth opens as if to scream, but no sound emerges. They take her down from the cart and lead her towards the ladder and the stake. The KNIGHT turns to the MONK, who remains seated in the cart. 				KNIGHT 		What have you done with the child? DEATH turns around and looks at him. 				DEATH 		Don't you ever stop asking questions? 				KNIGHT 		No, I'll never stop.The soldiers chain TYAN to the rungs of the ladder. She submits resignedly, moans weakly like an animal and tries to ease her body into position. When they have fastened her, they walk over to light the pyre. The KNIGHT steps up and leans over her. 				JONS 		For a moment I thought of killing the soldiers, 		but it would do no good. She's nearly dead 		already. One of the soldiers approaches. Thick smoke wells down from the pyre and sweeps over the quiet shadows near the crossroads and the hill.				SOLDIER		I've told you to be careful. Don't go too close 		to her.The KNIGHT doesn't heed this warning. He cups his hand, fills it with water from the skin and gives it to TYAN. Then he gives her a potion.				KNIGHT 		Take this and it will stop the pain.Smoke billows down over them and they begin to cough. The soldiers step forward and raise the ladder against a nearby fir tree. TYAN hangs there motionlessly, her eyes wide open.The KNIGHT straightens up and stands immobile. JONS is behind him, his voice nearly choked with rage. 				JONS 		What does she see? Can you tell me? 				KNIGHT 			(shakes his head) 		She feels no more pain. 				JONS 		You don't answer my question. Who watches over 		that child? Is it the angels, or God, or the 		Devil, or only the emptiness? Emptiness, my 		lord!				KNIGHT 		This cannot be.				JONS 		Look at her eyes, my lord. Her poor brain has 		just made a discovery. Emptiness under the 		moon. 				KNIGHT 		No.				JONS 		We stand powerless, our arms hanging at our 		sides, because we see what she sees, and our 		terror and hers are the same. 			(an outburst) 		That poor little child. I can't stand it, I 		can't stand it ...His voice sticks in his throat and he suddenly walks away. The KNIGHT mountshis horse. The travelers depart from the crossroads. TYAN finally closes her eyes. The forest is now very dark. The road winds between the trees. The wagon squeaks and rattles over stones and roots. A bird suddenly shrieks. JOF lifts his head and wakes up. He has been asleep with his arms around MIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks.His silence makes him seem almost unreal. JONS and PLOG are slightly drunk and support each other. Suddenly PLOG has to sit down. He puts his hands over his face and howls piteously. 				PLOG 		Oh, now it came over me again! 				JONS 		Don't scream. What came over you?				PLOG 		My wife, damn it. She is so beautiful. She is 		so beautiful that she can't be described 		without the accompaniment of a lyre.				JONS 		Now it starts again.				PLOG 		Her smile is like brandy. Her eyes like 		blackberries ...PLOG searches for beautiful words. He gestures gropingly with his large hands.				JONS 			(sighs) 		Get up, you tear-drenched pig. We'll lose the 		others.				PLOG 		Yes, of course, of course. Her nose is like a 		little pink potato; her behind is like a juicy 		pear -- yes, the whole woman is like a 		strawberry patch. I can see her in front of me, 		with arms like wonderful cucumbers.				JONS 		Saints almighty, stop! You're a very bad poet, 		despite the fact that you're drunk. And your 		vegetable garden bores me.They walk across an open meadow. Here it is a little brighter and the moon shimmers behind a thin sky. Suddenly PLOG points a large finger towards the edge of the forest. 				PLOG 		Look there.				JONS 		Do you see something? 				PLOG 		There, over there! 				JONS 		I don't see anything.				PLOG 		Hang on to something, my friends. The hour is 		near! Who is that at the edge of the forest if 		not my own dearly beloved, with actor attached?The two lovers discover PLOG and it's too late. They cannot retreat. SKAT immediately takes to his heels. PLOG chases him, swinging his sledge and bellowing like a wild boar.For a few confusing moments the two rivals stumble among the stones and bushes in the gray gloom of the forest. The duel begins to look senseless, because both of them are equally frightened.The travelers silently observe this confused performance. LISA screams once in a while, more out of duty than out of impulse.				SKAT 			(panting) 		You miserable stubbleheaded bastard of seven 		scurvy bitches, if I were in your lousy rags I 		would be stricken with such eternal shame about 		my breath, my voice, my arms and legs -- in 		short, about my whole body -- that I would 		immediately rid nature of my own embarrassing 		self. 				PLOG 			(angry) 		Watch out, you perfumed slob, that I don't fart 		on you and immediately blow you down to the 		actor's own red-hot hell, where you can sit and 		recite monologues to each other until the dust 		comes out of the Devil's ears. Then LISA throws herself around her husband's neck. 				LISA 		Forgive me, dear little husband, I'll never do 		it again. I am so sorry and you can't imagine 		how terribly that man over there betrayed me. 				PLOG 		I'll kill him anyway.				LISA 		Yes, do that, just kill him. He isn't even a 		human being.				JONS 		Hell, he's an actor.				LISA 		He is only a false beard, false teeth, false 		smiles, rehearsed lines, and he's as empty as a 		jug. Just kill him. LISA sobs with excitement and sorrow. PLOG looks around, a little confused. SKAT uses this opportunity. He pulls out a dagger and places the point against his breast.				SKAT 		She's right. Just kill me. If you thought that 		I was going to apologize for being what I am, 		you are mistaken. 				LISA 		Look how sickening he is. How he makes a fool 		of himself, how he puts on an act. Dear Plog, 		kill him. 				SKAT 		My friends, you have only to push, and my 		unreality will soon be transformed into a new, 		solid reality. An absolutely tangible corpse.				LISA 		Do something then. Kill him.				PLOG 			(embarrassed) 		He has to fight me, otherwise I can't kill him.				SKAT 		Your life's thread now hangs by a very ragged 		shred. Idiot, your day is short.				PLOG 		You'll have to irritate me a little more to get 		me as angry as before.SKAT looks at the travelers with a pained expression and then lifts his eyes towards the night sky. 				SKAT 		I forgive all of you. Pray for me sometimes. SKAT sinks the dagger into his breast and slowly falls to the ground. The travelers stand confused. PLOG rushes forward and begins to pull at SKAT'S hands. 				PLOG 		Oh dear, dear, I didn't mean it that way! Look, 		there's no life left in him. I was beginning to 		like him, and in my opinion Lisa was much too 		spiteful. JOF leans over his colleague.				JOF 		He's dead, totally, enormously dead. In fact, 		I've never seen such a dead actor.				LISA 		Come on, let's go. This is nothing to mourn 		over. He has only himself to blame.				PLOG 		And I have to be married to her. 				JONS 		We must go on.SKAT lies in the grass and keeps the dagger pressed tightly to his breast. The travelers depart and soon they have disappeared into the dark forest on the other side of the meadow. When SKAT is sure that no one can see him, he sits up and lifts the dagger from his breast. It is a stage dagger with a blade that pushes into the handle. SKAT laughs to himself.				SKAT 		Now that was a good scene. I'm really a good 		actor. After all, why shouldn't I be a little 		pleased with myself? But where shall I go? I'll 		wait until it becomes light and then I'll find 		the easiest way out of the forest. I'll climb 		up a tree for the time being so that no bears, 		wolves or ghosts can get at me.He soon finds a likely tree and climbs up into its thick foliage. He sits down as comfortably as possible and reaches for his food pouch.				SKAT 			(yawns) 		Tomorrow I'll find Jof and Mia and then we'll 		go to the saints' feast in Elsinore. We'll make 		lots of money there. 			(yawns)		Now, I'll sing a little song to myself: 			(sings) 		I am a little bird 		Who sings whate'er he will, 		And when I am in danger 		I fling out a pissing trill 		As in the carnal thrill.			(speaks)		It's boring to be alone in the forest tonight. 			(sings) 		The terrible night doesn't frighten me ... He interrupts himself and listens. The sound of industrious sawing is heard through the silence.				SKAT 		Workmen in the forest. Oh, well! 			(sings)		The terrible night doesn't frighten me ... 			(speaks)		Hey, what the devil ... it's my tree they're 		cutting down.He peers through the foliage. Below him stands a dark figure diligently sawing away at the base of the tree. SKAT becomes frightened and angry. 				SKAT 		Hey, you! Do you hear me, you tricky bastard? 		What are you doing with my tree?The sawing continues without a pause. SKAT becomes more frightened.				SKAT 		Can't you at least answer me? Politeness costs 		so little. Who are you?DEATH straightens his back and squints up at him. SKAT cries out in terror.				DEATH 		I'm sawing down your tree because your time is		up.  				SKAT		It won't do. I haven't got time.				DEATH 		So you haven't got time. 				SKAT 		No, I have my performance. 				DEATH 		Then it's canceled because of death. 				SKAT 		My contract. 				DEATH 		Your contract is terminated. 				SKAT 		My children, my family. 				DEATH 		Shame on you, Skat! 				SKAT 		Yes, I'm ashamed.DEATH begins to saw again. The tree creaks. 				SKAT 		Isn't there any way to get off? Aren't there 		any special rules for actors?				DEATH 		No, not in this case. 				SKAT 		No loopholes, no exceptions? DEATH saws.				SKAT		Perhaps you'll take a bribe. DEATH saws. 				SKAT		Help!DEATH saws.				SKAT 		Help! Help!The tree falls. The forest becomes silent again. Night and then dawn.The travelers have come to a sort of clearing and have collapsed on the moss.They lie quietly and listen to their own breathing, their heartbeats, and the wind in the tree tops. Here the forest is wild and impenetrable. Huge boulders stick up out of the ground like the heads of black giants. A fallen tree lies like a mighty barrier between light and shadow.MIA, JOF and their child have sat down apart from the others. They look at the light of the moon, which is no longer full and dead but mysterious and unstable. The KNIGHT sits bent over his chess game. LISA cries quietly behind PLOG'S back. JONS lies on the ground and looks up at the heavens.				JONS 		Soon dawn will come, but the heat continues to 		hang over us like a smothering blanket.				LISA 		I'm so frightened.				PLOG 		We feel that something is going to happen to 		us, but we don't know what.				JONS 		Maybe it's the day of judgment. 				PLOG 		The day of judgment ...Now, something moves behind the fallen tree. There is a rustling sound and a moaning cry that seems to come from a wounded animal. Everyone listensintently, all faces turned towards the sound. A voice comes out of thedarkness. 				RAVAL 		Do you have some water?RAVAL'S perspiring face soon becomes visible. He disappears in the darkness, but his voice is heard again. 				RAVAL 		Can't you give me a little water? 			(pause) 		I have the plague.				JONS 		Don't come here. If you do I'll slit your 		throat. Keep to the other side of the tree. 				RAVEL 		I'm afraid of death.No one answers. There is complete silence. RAVAL gasps heavily for air. The dry leaves rustle with his movements. 				RAVEL 		I don't want to die! I don't want to! No one answers. RAVAL'S face appears suddenly at the base of the tree. His eyes bulge wildly and his mouth is ringed with foam.				RAVAL 		Can't you have pity on me? Help me! At least 		talk to me.No one answers. The trees sigh. RAVAL begins to cry. 				RAVAL 		I am going to die. I. I. I! What will happen to 		me! Can no one console me? Haven't you any 		compassion? Can't you see that I ...His words are choked off by a gurgling sound. He disappears in the darkness behind the fallen tree. It becomes quiet for a few moments.				RAVAL 			(whispers) 		Can't anyone ... only a little water. Suddenly the GIRL gets up with a quick movement, snatches JONS'S water bag and runs a few steps. JONS grabs her and holds her fast.				JONS 		It's no use. It's no use. I know that it's no 		use. It's meaningless. It's totally 		meaningless. I tell you that it's meaningless. 		Can't you hear that I'm consoling you? 				RAVEL 		Help me, help me!No one answers, no one moves. RAVAL'S sobs are dry and convulsive, like a frightened child's. His sudden scream is cut off in the middle. Then it becomes quiet. The GIRL sinks down and hides her face in her hands. JONS places his hand on her shoulder. 16The KNIGHT is no longer alone. DEATH has come to him and he raises his hand.				DEATH 		Shall we play our game to the end? 				KNIGHT 		Your move!DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at DEATH. 				DEATH 		Now I take your queen. 				KNIGHT 		I didn't notice that.The KNIGHT leans over the game. The moonlight moves over the chess pieces, which seem to have a life of their own.JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the KNIGHT and DEATH together. He becomes very frightened and awakens MIA. 				JOF 		Mia! 				MIA 		Yes, what is it? 				JOF 		I see something terrible. Something I almost 		can't talk about.				MIA 		What do you see?				JOF 		The knight is sitting over there playing chess. 				MIA 		Yes, I can see that too and I don't think it's 		so terrible. 				JOF 		But do you see who he's playing with? 				MIA 		He is alone. You mustn't frighten me this way. 				JOF 		No, no, he isn't alone. 				MIA 		Who is it, then? 				JOF 		Death. He is sitting there playing chess with 		Death himself.				MIA 		You mustn't say that. 				JOF 		We must try to escape. 				MIA 		One can't do that.				JOF 		We must try. They are so occupied with their 		game that if we move very quietly, they won't 		notice us. JOF gets up carefully and disappears into the darkness behind the trees. MIA remains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT and the chess game. She holds her son in her arms. Now JOF returns.				JOF 		I have harnessed the horse. The wagon is 		standing near the big tree. You go first and 		I'll follow you with the packs. See that Mikael 		doesn't wake up.MIA does what JOF has told her. At the same moment, the KNIGHT looks up fromhis game. 				DEATH 		It is your move, Antonius Block.The KNIGHT remains silent. He sees MIA go through the moonlight towards thewagon. JOF bends down to pick up the pack and follows at a distance. 				DEATH 		Have you lost interest in our game? The KNIGHT'S eyes become alarmed. DEATH looks at him intently.				KNIGHT		Lost interest? On the contrary.				DEATH 		You seem anxious. Are you hiding anything? 				KNIGHT 		Nothing escapes you -- or does it? 				DEATH 		Nothing escapes me. No one escapes from me. 				KNIGHT 		It's true that I'm worried.He pretends to be clumsy and knocks the chess pieces over with the hem of his coat. He looks up at DEATH. 				KNIGHT		I've forgotten how the pieces stood.				DEATH 			(laughs contentedly) 		But I have not forgotten. You can't get away 		that easily. DEATH leans over the board and rearranges the pieces. The KNIGHT looks past him towards the road. MIA has just climbed up on the wagon. JOF takes the horse by the bridle and leads it down the road. DEATH notices nothing; he is completely occupied with reconstructing the game.				DEATH 		Now I see something interesting. 				KNIGHT 		What do you see?				DEATH 		You are mated on the next move, Antonius Block. 				KNIGHT 		That's true.				DEATH 		Did you enjoy your reprieve? 				KNIGHT 		Yes, I did.				DEATH 		I'm happy to hear that. Now I'll be leaving you. 		When we meet again, you and your companions' 		time will be up.				KNIGHT 		And you will divulge your secrets. 				DEATH 		I have no secrets. 				KNIGHT 		So you know nothing. 				DEATH 		I have nothing to tell.The KNIGHT wants to answer, but DEATH is already gone.A murmur is heard in the tree tops. Dawn comes, a flickering light without life, making the forest seem threatening and evil. JOF drives over the twisting road. MIA sits beside him. 				MIA		What a strange light.				JOF 		I guess it's the thunderstorm which comes with 		dawn. 				MIA 		No, it's something else. Something terrible. Do 		you hear the roar in the forest? 				JOF 		It's probably rain.				MIA 		No, it isn't rain. He has seen us and he's 		following us. He has overtaken us; he's coming 		towards us. 				JOF 		Not yet, Mia. In any case, not yet. 				MIA 		I'm so afraid. I'm so afraid.The wagon rattles over roots and stones; it sways and creaks. Now the horse stops with his ears flat against his head. The forest sighs and stirs ponderously. 				JOF 		Get into the wagon, Mia. Crawl in quickly. 		We'll lie down, Mia, with Mikael between us.They crawl into the wagon and crouch around the sleeping child.				JOF 		It is the Angel of Death that's passing over 		us, Mia. It's the Angel of Death. The Angel of 		Death, and he's very big.				MIA 		Do you feel how cold it is? I'm freezing. I'm 		terribly cold.She shivers as if she had a fever. They pull the blankets over them and lie closely together. The wagon canvas flutters and beats in the wind. The roar outside is like a giant bellowing. The castle is silhouetted like a black boulder against the heavy dawn. Nowthe storm moves there, throwing itself powerfully against walls andabutments.  The sky darkens; it is almost like night.Antonius Block has brought his companions with him to the castle. But itseems deserted. They walk from room to room. There is only emptiness andquiet echoes. Outside, the rain is heard roaring noisily.Suddenly the KNIGHT stands face to face with his wife. They look at eachother quietly.				KARIN		I heard from people who came from the crusade 		that you were on your way home. I've been 		waiting for you here. All the others have fled 		from the plague. The KNIGHT is silent. He looks at her. 				KARIN 		Don't you recognize me any more? The KNIGHT nods, silent. 				KARIN 		You also have changed.She walks closer and looks searchingly into his face. The smile lingers in her eyes and she touches his hand lightly.				KARIN 		Now I can see that it's you. Somewhere in your 		eyes, somewhere in your face, but hidden and 		frightened, is that boy who went away so many 		years ago. 				KNIGHT 		It's over now and I'm a little tired. 				KARIN 		I see that you're tired. 				KNIGHT 		Over there stand my friends.				KARIN 		Ask them in. They will break the fast with us. They all sit down at the table in the room, which is lit by torches on the walls. Silently they eat the hard bread and the salt-darkened meat. KARIN sits at the head of the table and reads aloud from a thick book. 				KARIN 		"And when the Lamb broke the seventh seal, 		there was silence in heaven for about the space 		of half an hour. And I saw the seven angels 		which stood before God; and to them were given 		seven trumpets. And another ..." Three mighty knocks sound on the large portal. KARIN interrupts her reading and looks up from the book. JONS rises quickly and goes to open the door. 				KARIN 		"The first angel sounded, and there followed 		hail and fire mingled with blood, and they were 		cast upon the earth; and the third part of the 		trees was burnt up and all the green grass was 		burnt up."Now the rain becomes quiet. There is suddenly an immense, frightening silence in the large, murky room where the burning torches throw uneasy shadows over the ceiling and the walls. Everyone listens tensely to the stillness. 				KARIN 		"And the second angel sounded, and as it were a 		great mountain burning with fire was cast into 		the sea; and a third part of the sea became 		blood ..."Steps are heard on the stairs. JONS returns and sits down silently at his place but does not continue to eat. 				KNIGHT 		Was someone there? 				JONS 		No, my lord. I saw no one.KARIN lifts her head for a moment but once again leans over the large book.				KARIN 		"And the third angel sounded, and there fell a 		great star from heaven, burning as it were a 		torch, and it fell upon the third part of the 		rivers and upon the fountains of waters; and 		the name of the star is called Wormwood ..." They all lift their heads, and when they see who is coming towards themthrough the twilight of the large room, they rise from the table and stand close together. 				KNIGHT 		Good morning, noble lord.				KARIN 		I am Karin, the knight's wife, and welcome you 		courteously to my house.				PLOG 		I am a smith by profession and rather good at 		my trade, if I say so myself. My wife Lisa -- 		curtsy for the great lord, Lisa. She's a little 		difficult to handle once in a while and we had		a little spat, so to speak, but no worse than 		most people.The KNIGHT hides his face in his hands.				KNIGHT		From our darkness, we call out to Thee, Lord. 		Have mercy on us because we are small and 		frightened and ignorant. 				JONS 			(bitterly) 		In the darkness where You are supposed to be, 		where all of us probably are.... In the 		darkness You will find no one to listen to Your 		cries or be touched by Your sufferings. Wash 		Your tears and mirror Yourself in Your 		indifference.				KNIGHT 		God, You who are somewhere, who must be 		somewhere, have mercy upon us.				JONS 		I could have given you an herb to purge you of 		your worries about eternity. Now it seems to be 		too late. But in any case, feel the immense 		triumph of this last minute when you can still 		roll your eyes and move your toes. 				KARIN 		Quiet, quiet.				JONS 		I shall be silent, but under protest. 				GIRL 			(on her knees)		It is the end. JOF and MIA sit close together and listen to the rain tapping lightly on the wagon canvas, a sound which diminishes until finally there are only single drops. They crawl out of their hiding place. The wagon stands on a height above a slope, protected by an enormous tree. They look across ridges, forests, the wide plains, and the sea, which glistens in the sunlight breaking through the clouds. JOF stretches his arms and legs. MIA dries the wagon seat and sits down nextto her husband. MIKAEL crawls between JOF'S knees.A lone bird tests its voice after the storm. The trees and bushes drip. From the sea comes a strong and fragrant wind.JOF points to the dark, retreating sky where summer lightning glitters like silver needles over the horizon. 				JOF 		I see them, Mia! I see them! Over there against 		the dark, stormy sky. They are all there. The 		smith and Lisa and the knight and Raval and 		Jàns and Skat. And Death, the severe master, 		invites them to dance. He tells them to hold 		each other's hands and then they must tread the 		dance in a long row. And first goes the master 		with his scythe and hourglass, but Skat dangles 		at the end with his lyre. They dance away from 		the dawn and it's a solemn dance towards the 		dark lands, while the rain washes their faces 		and cleans the salt of the tears from their 		cheeks. He is silent. He lowers his hand. His son, MIKAEL, has listened to his words.Now, he crawls up to MIA and sits down in her lap. 				MIA 			(smiling) 		You with your visions and dreams. Screenplay by Ingmar Bergman  
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+                  SEX AND THE CITY: THE MOVIE                          Written by                     Michael Patrick King     FADE IN:A1   EXT. 5TH AVENUE -- NEW YORK CITY -- DAY -- SUMMER           A1     Glistening city buildings reflect onto the WINDOW of an     upscale clothing boutique. In the window -- a MANNEQUIN is     wearing -- the best of everything. A PRETTY TWENTY-SOMETHING     girl looks in at the display: dreaming of the day.                          CARRIE (V.O.)                Year after year, twenty-something                women come to New York City in                search of the two "L's": labels and                love.1    EXT. 5TH AVENUE/TIFFANY -- DAY -- SUMMER                    1     Four TWENTY-SOMETHING WOMEN walk away from us -- arms linked     LAUGHING -- They make their way down the busy street --     shopping bags and designer purses swinging.     The young women reveal:     CARRIE BRADSHAW (41) and fabulous -- walking towards us. She     watches them as they pass, a SMILE grows on her face.                          CARRIE (V.O.)                Twenty years ago... I was one of                them.     She walks along, her shopping bag -- swinging.2    INT. CARRIE'S APARTMENT/CLOSET -- NIGHT -- SUMMER           2     Carrie on step ladder, barefoot. Her finger moves along a     series of DESIGNER shoe boxes...                          CARRIE (V.O.)                Having gotten the knack for labels                early... I concentrated on my                search for love.3    EXT. CLUB -- NIGHT -- FALL                                  3     Summer night. Couples everywhere. Carrie walks along.                                              1A.                    CARRIE (V.O.)          Turns out, a "knock-off" is not as          easy to spot when comes to love...She passes a twenty-something girl and guy huddled very closetogether. Suddenly, the girl SLAPS HIM across the face.                    CARRIE (V.O.) (CONT'D)          Until it is.CARRIE reacts, and trots along.                                                     2.4    EXT. STREET -- DAY -- SPRING                                    4     CARRIE and preppy perfect CHARLOTTE walk along, talking.                         CARRIE (V.O.)               That is why you need help to spot               them...     JUMP CUT TO: Carrie, Charlotte and MIRANDA walk along     talking.                         CARRIE (CONT'D)               ... Lots of help.     JUMP CUT TO: Carrie, Charlotte, Miranda and SAMANTHA walk     along; LAUGHING -- their shopping bags and designer purses     swinging.5    EXT. CARRIE'S APARTMENT -- NIGHT -- WINTER                      5     The front of Carrie's building.   She is typing in her window.5A   INT. CARRIE'S BULIDING -- CONTINUOUS                        5A     Carrie at her desk - typing. CLOSE ON the computer screen --     Written on it: "Charlotte, Miranda and Samantha..."                         CARRIE (V.O.)               Year after year, my single               girlfriends were my salvation. And,               as it turns out...6    INT. CARRIE'S APARTMENT -- DAY -- SPRING                        6     CLOSE ON: A colorful CHICK LIT book cover: "A Single Life" by     Carrie Bradshaw.                         CARRIE (V.O.)               ... My meal ticket.     CARRIE -- standing on her bed placing it next to her TWO     other books: "Sex and The City" and "Menhattan"     A framed photo of four girls (circa 1999) is also on the     shelf.     She picks it up -- Touches it sweetly.                         CARRIE (V.O.) (CONT'D)               We still are those four single               girls...                                                      3.7    EXT. UPPER FIFTH -- DAY -- SUMMER                                7     CARRIE in a sexy, summer dress, spots someone -- waves --                         CARRIE (V.O.)               Even though, technically... we're               not.     She hurries across the street to meet that SOMEONE...8    INT. MIRANDA'S BROOKLYN HOUSE/BACKYARD -- DAY -- SUMMER          8     MIRANDA (41) and BRADY (5) are filling an inflatable pool     with water from a hose. As STEVE approaches with Popsicles,     they squirt him with the hose. He grabs them; laughing.                         CARRIE (V.O)               One of us is married...9    EXT. CENTRAL PARK CAROUSEL -- DAY -- SUMMER                      9     Charlotte (40) and HARRY and their beautiful Asian daughter     LILY (3) go around. Lily giggles, they kvell.                         CARRIE (V.O)               One of us... married, divorced and               re-married...10   EXT. BEACHOUSE -- DAY -- SUMMER                              10     The deck of fabulous Malibu beachouse. Samantha (49) sits     near the pool wearing a white bikini and huge white     sunglasses making deals on the phone as SMITH lays nearby in     a bathing suit -- reading a script.                         CARRIE (V.O)               One of us... relocated.11   EXT. UPPER FIFTH AVE -- SAME -- SUMMER                       11     Carrie walks over and into the arms of that SOMEONE -- it's     MR. BIG -- waiting for her in front of an apartment building.                         CARRIE (V.O.)               And... one of us stayed exactly               where she was.                                                     4.     They kiss. A good kiss.                          CARRIE (V.O.) (CONT'D)               In love.     A kiss worth waiting four years to see.     They turn and start into the classic apartment building. The     doorman tips his hat and opens the door.12   INT. FIFTH AVENUE BUILDING/LOBBY -- CONTINUOUS               12     Carrie and Big walk through the beautiful lobby and over to     the elevator... holding hands.                         BIG               I got a good feeling about this               one, kid.                         CARRIE               I've always loved this block.                         CARRIE (V.O.) (CONT'D)               Finding the perfect apartment in               New York City is like finding the               perfect partner. It can take years.     They push the elevator button. Doors open. They step on.                         BIG               How many does this make?                         CARRIE               This is thirty-three.                         BIG               Lucky thirty-three!     They laugh a little as the doors close on the elevator.13   INT. FIFTH AVE BUILDING - BAD APARTMENT/HALL -- MOMENTS LATER                                                               13     A door is opened up by CAROL (55) their real estate agent.                         CAROL               The worst. I just left you a               message.     Carrie and Big look in. The apartment is dark, claustrophobic     -- awful. A male BUILDING AGENT (40) stands here. The smiles     leave Carrie and Big's faces.                                                      5.                         CARRIE                   (to Big)               Thirty-four. Lucky thirty-four?     Big looks over at her. She shrugs.14   INT. FIFTH AVE BUILDING/HALLWAY -- MOMENTS LATER             14     The Building Agent holds the elevator doors open for Carrie,     Big and Carol as they get on.                         CARRIE               If anything else opens up let us               know. We're very interested in               this building.                         AGENT               I do have another apartment that's               not even on the market yet. Care to               take a look?                         CARRIE/BIG               Sure.                         AGENT               It's more than you were looking to               pay.                         CAROL               How much more?                         AGENT               More.     The Agent reaches over and presses the "PH" button on the     control panel. Carrie and Big react.15   INT. PENTHOUSE -- MOMENTS LATER -- SUMMER                    15     A gorgeous pre-war penthouse apartment. Empty except for the     beautiful light. Old-world New York City style. Elevator     doors open into the penthouse foyer. Carrie and Big step in.                         BIG               Oh, so this is where they keep the               light.                                                 6.                    CARRIE          Oh my God. I've died and gone to          real estate heaven. Look at this          place.She swirls around to Big -- very grand dame; with accent.                    CARRIE (CONT'D)          Hellooo, I live here.Carrie starts giggling. Big looks over to the agents.                    BIG          Must be the altitude.Big smiles. Carrie laughs as the Agent walks on.                    AGENT          And across the rooftop terrace ---                     CARRIE          What --   Nirvana?                    AGENT          Your wife has quite a sense of          humor.                    CAROL              (Cool/quick)          They're not married.                    CARRIE          No, he's my boyfriend.                      AGENT          This way.The agent and Carol start out across the terrace.   Big andCarrie follow lagging a little behind.                    BIG          Aren't I a little old to be          introduced as your boyfriend?                    CARRIE          Point taken. From now on... you'll          be my man friend.                    BIG          Sounds like a dog.                    CARRIE          Well, if the shoe fits.                                                    7.     She gives him a look. He swats her ass, gently as they go.16   INT. PENTHOUSE/BEDROOM -- MOMENTS LATER                      16     Carrie and Big lead the way into the bedroom. Big windows,     high ceilings. Beautiful light as well.                         AGENT               And this is the master bedroom.                         CARRIE               Hideous. Hate it. Hurts my eyes.     Big laughs, Carrie walks around taking it in.                         CARRIE (CONT'D)               How is this place even available?                         AGENT               Nasty divorce.                         CARRIE               If you live here what is there to               fight about?     Carrie opens the closet door. It is very small.                         CARRIE (CONT'D)               This is the master closet? No.                         AGENT               Yes. Small for a room this size. I               know.                         CARRIE               Hmmm. Hmmm. Now, I understand the               divorce.                         BIG               I can build you a better closet.     Carrie looks at him; aghast. He smiles.                         BIG (CONT'D)               Welcome home, baby.                         CARRIE               Can we afford this?                           BIG               I got it.                                                    8.     Carrie screams with joy and shock. He laughs, thrilled.17   EXT. NYC STREET/CHRISTIE'S AUCTION HOUSE -- DAY -- SUMMER 17     Carrie, Miranda and Charlotte walk down the street.                         CARRIE               "I got it." Just like that. "I got               it" -- like he was picking up the               check for coffee or something.                         CHARLOTTE               It sounds perfect.                         CARRIE               Except for the closet which Big               says he can redo -- also he says               the kitchen needs work but I don't               know about that `cause I keep               sweaters in my stove.     Carrie and Charlotte laugh.                         MIRANDA               So, he bought it -- and you're               going to live there with him?                         CARRIE               Yes, together. That's right.                         MIRANDA               But he'll own it. So. You are               keeping your own place, right?                         CARRIE               Oh, Miranda, please, I haven't               figured out all the details yet,               but I'm a smart girl and I'm sure               I'll figure out something I'm               comfortable with.                         MIRANDA               I just want to make sure you're               being smart here --                         CARRIE               And I love you for it -- but for               now can't you stop worrying for me               and just go ahead and feel what I               want you to feel. Jealous.     Miranda smiles. Carrie puts her arm around her.                                                    9.                         CARRIE (CONT'D)               Jealous of me living in this               gorgeous penthouse in Manhattan.                         MIRANDA               Fine. I'm jealous. You're in real               estate heaven and I'm in Brooklyn.                         CHARLOTTE               New York magazine said Brooklyn is               the new Manhattan.                         MIRANDA               Whoever wrote that - lives in               Brooklyn.                         CARRIE               There she is. Hey Hollywood!     Samantha is standing out in front of Christies. She waves to     them -- as she finishes a call.                         SAMANTHA                   (on phone)               Samantha Jones... Smith Jerrod's               manager -- I'm in New York `till               Monday.     She hangs up; as they reach her.                         CARRIE (CONT'D)               How was your flight?                         SAMANTHA               Fabulous. Let's go in -- I am so               excited!18   INT. CHRISTIE'S AUCTION HOUSE/LOBBY -- DAY -- MOMENTS LATER 8                                                               1     A lobby bustling with NEW YORK WOMEN. All types. Carrie,     Samantha, Charlotte and Miranda make their way through them.                         CARRIE (V.O.)               It was a rare occasion that brought               all types of women together. The               socialites, the trendies the               yuppies, the yentas.     The girls gently move past by an elderly YENTA, who reacts.                         YENTA               Why the pushing?                                                    9A.18A   INT. CHRISTIE'S AUCTION HOUSE -- LATER                    18A      Carrie and the girls enter a room filled with dramatically      lit jewelry cases that display amazing jewelry. On the walls      around the gallery are large photos of a BEAUTIFUL RAVEN      HAIRED WOMAN (45). She is captured in candid poses "out and      about" New York city at various social events wearing the      jewelry on display.                                              10.                    CARRIE (V.O.) (CONT'D)          Blair Elkenn was a waitress turned          model turned actress turned          billionaire's girlfriend who came          home one night to find herself          unceremoniously turned out on the          street.Samantha, Carrie and Charlotte page through the catalogues asthey walk. Miranda types on her Blackberry.                    CARRIE (V.O.) (CONT'D)          And now she was getting the          ultimate break-up revenge. An          embarrassing and very public          auction of all the jewelry he had          given her when they were happy.The girls stop. Floating in a case at their eye level is aunique, "two finger" FLOWER RING made out of diamonds.                    SAMANTHA          There it is. My baby.                    CARRIE/BIG          And she's a beauty.                    SAMANTHA          When I saw this in the catalogue I          said to Smith: This flower ring is          the essence of me. One of a kind,          filled with fire...                    CARRIE          And a little too much.                    SAMANTHA          Exactly. Come on. Let's go spend          some of my hard-earned Hollywood          money.They make their way to the auction room.                    MIRANDA          Hey -- what's coming up on Smith's          series? Is he going to sleep with          that new blonde neurosurgeon?                    SAMANTHA          He sleeps with every hot woman          doctor in that hospital.                                                   11.                         MIRANDA               Great. Can't wait.                         CHARLOTTE               Don't you ever get weirded out by               seeing Smith in bed with all those               other women?                         SAMANTHA               No, I think it's hot. Sometimes,               when I'm alone, I masturbate right               along with them.                         CARRIE               And people say the golden age of               television is over.                         SAMANTHA               Besides, it's fake sex. When               they're doing it -- no one's               actually turned on.                         MIRANDA               Kinda like Steve and I.     Miranda laughs. Everyone looks.                         MIRANDA (CONT'D)               I'm kidding.                   (Beat; then)               But come one-- it's been seven               years. He does that, I do this...               It's not like a new plot twist is               going to turn up.19   INT. CHRISTIE'S AUCTION HOUSE/AUCTION ROOM -- LATER        19     A DISTINGUISHED WOMAN AUCTIONEER is at a podium.                         AUCTIONEER               Next item. The flower ring.     Samantha sits up, ready. An electric buzz moves through the     crowd.                         CARRIE (V.O.)               If Schadenfreude is the word for               feeling pleasure at someone else               misfortune -- This was               "jewelryfreude."                                              12.                    AUCTIONEER          Let's start the bidding at ten          thousand.Samantha raises her number. The Auctioneer nods.                    AUCTIONEER (CONT'D)          Thank you madame. Do I hear          fifteen?A WOMAN IN A BUSINESS SUIT (40) on a phone, raises hernumber. Samantha looks over at her.                    SAMANTHA          Bitch.                    CARRIE          And the gloves are off.                    AUCTIONEER          Do I hear twenty?Samantha raises her number.                    AUCTIONEER (CONT'D)          Twenty. Do I hear twenty-five?The Woman raises her number.                    AUCTIONEER (CONT'D)          Twenty-five. Thirty?Samantha raises her number. Carrie's eyes widen.                    AUCTIONEER (CONT'D)          Thirty-five?The Woman is talking with someone on the phone.                    MIRANDA          She's bidding for someone on the          phone.                    CHARLOTTE          That's not fair.The Woman raises her hand. Charlotte gives her a look.                    AUCTIONEER          Thirty-five. Forty?                    SAMANTHA          I deserve this. I work hard.                                                     13.                         AUCTIONEER               Do I hear forty?     Samantha raises her hand.                         AUCTIONEER (CONT'D)               Do I hear forty fi--     The Woman quickly raises her hand. Auctioneer nods.                         AUCTIONEER (CONT'D)               Fifty?                         SAMANTHA               Sex with only one man for I don't               know how long.                         AUCTIONEER               Do I hear fifty thousand?                         SAMANTHA                   (Beat; loud)               Fifty fucking thousand!     A LAUGH ripples through the room. Samantha glares at the     rival woman, almost daring her. Carrie looks afraid.                         AUCTIONEER               Fifty-five?     The Woman raises her hand. Samantha reacts disappointed. The     Auctioneer looks at Samantha.                         AUCTIONEER (CONT'D)               Sixty? Sixty to our colorful               bidder?                         SAMANTHA                   (to Carrie)               I draw the line at fifty.     Samantha shakes her head no. Carrie rubs her arm.20   INT. CHRISTIE'S AUCTION HOUSE/LADIES ROOM -- LATER           20     Carrie, Samantha, Miranda and Charlotte are primping in front     of the mirror.                         CHARLOTTE               I thought this auction would be               more fun... but it's kinda sad.                                                    14.     A BABY VOICED WOMAN (45) next to Charlotte overhears.                           BABY VOICED WOMAN               Isn't it?     They look over at her.                         BABY VOICED WOMAN (CONT'D)               I thought it was just sad for me               `cause I know her. But it's really               sad, huh? And it's funny cause they               were so happy.                         SAMANTHA               ... Till they weren't                         BABY VOICED WOMAN               I know, right? We all told her to               get married -- but she didn't want               to push him. He'd been married               three other times. So, she let it               ride and then she came home one               night and he had locked her out.               She didn't even have anywhere to               live. After ten years. Such a               shame. She was a smart girl till               she fell in love.     Carrie catches Miranda's eye in the mirror, looks away.21   INT. BIG'S SUBLET/KITCHEN -- NIGHT -- SUMMER                21     Big takes a bright red lobster out of a pot of hot water with     tongs. He places it next to another cooked lobster. He walks     to the cooking island where Carrie sits; sipping wine.                          BIG               The creatures are ready. Just gonna               sit there?                         CARRIE               I'm not sitting, I'm thinking.                         BIG               Here. Husk and think.                                               15.He winks -- puts two ears of corn in front of her, thenstarts chopping tomatoes.                    CARRIE          I'm thinking I'm going to sell my          apartment and put the money towards          heaven on Fifth.                    BIG          Why? You love your place.                    CARRIE          I know but --                      BIG          But what?                    CARRIE          We're together ever night -- so I'm          basically paying a mortgage on a          glorified closet.                    BIG          You write there. It's your office.                    CARRIE          There's plenty of room at the new          place and -- besides.. I want to          make us -- a life there. I want it          to be ours.                    BIG          It is ours. I bought it for us.                    CARRIE          And that's so amazing --but you          bought it, so it's really your          place. And -- if anything were to          happen...                    BIG          What's going to happen?                    CARRIE          I have to be smart here. I mean,          we're not married and I'd have no          legal rights to... this home that I          built... with you.Silence. He thinks. Chops. She husks.                    BIG          Did you want to get married?                                              16.                    CARRIE          I didn't think it was an option.                     BIG          Well, Mr. Bradshaw, what if it was          an option?She hits him with a husk. He smiles.                    CARRIE          Well, people are always assuming we          are.                    BIG          And you know what happens when          people assume. They make an ass out          of who?                    CARRIE          You and me.He smiles. She smiles. Chop. Chop.                    BIG          What do you think, kid?                    CARRIE          Why -- Do you want to get married?                    BIG          Well, I wouldn't mind be married to          you. Would you mind being married          to me?                    CARRIE          No, if that's what you want. Is          that what you want?                    BIG          I want you. So. Okay.                    CARRIE          Okay. Really? We're getting          married.                     BIG          We're getting married.              (Beat)          Should we get you a diamond?                    CARRIE          No, please, don't get me a diamond.              (Beat; then)          Get me a really big closet.                                             16A.                    BIG          Deal.He puts out his hand. She takes it and they shake.                    BIG (CONT'D)          But... You gotta do better on that          corn. Look at all the stuff left on          there.She looks down at her corn, he's right. She nods.                                                    17.22   INT. MODERN RESTAURANT -- DAY -- SUMMER                      22     Crowded; serious lunch crowd. Carrie sits across from     Charlotte and Miranda. Miranda is in a work suit.                         CARRIE               So, the other night, Big and I were               talking about, you know, moving in               together and our future...     Charlotte's eyes are getting wider and wider.                         CARRIE (CONT'D)               ... And about what makes sense as               we move forward. And, well... we               decided to get married.     Charlottes SCREAMS at the top of her lungs. Carrie and     Miranda and the ENTIRE RESTAURANT REACT.                         MIRANDA               ... and I'm deaf.                         CARRIE               Everyone's looking     Charlotte looks around at the DISGRUNTLED FACES. She half-     stands and address the DINERS looking at her.                         CHARLOTTE               Sorry! I'm sorry... but my friend               here, just got engaged and she's               been going out with the man for ten               years.     The DINERS bursts into APPLAUSE. Carrie slumps in her chair,     pulls up her sweater collar, turns to Miranda.                         CARRIE               I am mortified.                         MIRANDA               There is literally a ringing in my               ear.23   INT. SAMANTHA JONES MANAGEMENT -- DAY                        23     A large PHOTO of Smith. Samantha walks past it and up a     sleek, modern office building stairway. Her cell rings.                                                   18.                         SAMANTHA               Samantha Jones--24   INT. FENDI -- LATER -- SUMMER                               24     Intercut with Carrie walking through the upscale boutique     talking on her pink Swarovski crystal-covered cell phone.                         CARRIE               Well... I made a little decision               that I hope you'll be happy about.                         SAMANTHA               Oh, honey... you finally got Botox.                         CARRIE               No. I did not get Botox                         SAMANTHA               I'm telling you, Carrie -- you'll               love it.                         CARRIE               I did not call to talk about Botox.                         SAMANTHA               I'm just saying.     Samantha reaches the top of the stairs. Blow-ups of Smith on     various magazine covers line the walls of the chic, small     office space.                         CARRIE               So... Last week, after the auction,               I started thinking about my               options.                         SAMANTHA               Right.                         CARRIE               Right, and... well, Big and I               decided to get married.                         SAMANTHA               Really?                         CARRIE               Yes.                         SAMANTHA               That's great.                                                   19.                         CARRIE               You sounded more excited about the               botox.                         SAMANTHA               Well, honey -- I am excited for you               but -- you know me... I don't               really believe in marriage....               Botox on the other hand -- That               works every time.     A RECEPTIONIST (23) hands her some messages.                         SAMANTHA (CONT'D)               Honey, I've got to go. The People               magazine person is on hold. Smith's               on the short list to be their               "Sexiest Man Alive." We can catch               up when I'm in town next week.     Samantha hangs up. Carrie looks at her phone: dismissed and     disappointed. She closes it and walks on.25   INT. FENDI -- A LITTLE LATER                               25     Carrie rounds a corner. Her phone rings.                            CARRIE               Hello?26   INT. SAMANTHA JONES MANAGEMENT -- CONTINUOUS               26     Intercut with Samantha standing in her office.                         SAMANTHA               I think I was in shock. I mean,               it's you getting married. This is               not some random person -- it's you.                            CARRIE               I hear ya.                         SAMANTHA               And I guess, I thought that after               that big mess with Aidan -- you'd               never want to get married.                            CARRIE               I know.                                           19A.                  SAMANTHA        So, I put you in my "we're never        getting married" file. Now, I've        got to take you out of that file.                  CARRIE        Sorry about the extra paper work.                  SAMANTHA        You'll get my bill.                  CARRIE        Samantha, it feels so different        this time. No clichÈ romantic        kneeling down on one knee. Just you        know, two grown-ups -- making a        decision about spending their lives        together.                                                   20.                         SAMANTHA               Well, I'm happy for you.                         CARRIE               And one more thing... I want you to               be maid of honor. How do you feel               about that?                         SAMANTHA               The same way you feel about Botox.               Painful and unnecessary.     Carrie laughs. Samantha shrugs.27   INT. CARRIE'S APARTMENT -- DAY -- SUMMER                   27     Carrie and Charlotte sit on her bed looking through a list of     names. ANTHONY sits at her makeup vanity. He has a large     notebook open in front of him.                         CHARLOTTE               74, 75, 76.... Seventy-six guests.                         ANTHONY               Seventy five sounds better. "A               small, wedding of seventy five               guests."     Carrie looks at the list.                         CARRIE (V.O.)               As a wedding gift, Charlotte had               given me Anthony Marantino --               friend and wedding planner.     Carrie crosses someone off. Charlotte reacts, shocked.                         CARRIE (CONT'D)               What? She was borderline anyway.                                              21.                    ANTHONY          Cut throat -- I love it. I hope          you're that decisive when it comes          to the location and the dress.                    CARRIE          Oh. I found the dress.                    CHARLOTTE          What?! When?                    CARRIE          The other day. I have it here.Carrie gets up and goes into the closet. Anthony hurries overand sits next to Charlotte.                    ANTHONY          This is going to be good!                    CHARLOTTE          I'm so excited!                    CARRIE (V.O.)          Here it is.Anthony and Charlotte grab hands in anticipation as Carriecomes out of her closet. She holds up a simple OFF-WHITEVINTAGE SUIT. Charlotte and Anthony deflate.                    CARRIE (CONT'D)          Well... that was the exact reaction          I was aiming for.                    CHARLOTTE          No, it's pretty but it's so --          simple.                    CARRIE          Simple and classic. When I saw it I          just thought: That is what I should          marry Big in.                    ANTHONY          Well, who's it by? The label?                    CARRIE          No one. I found it in a vintage          shop.                    ANTHONY          "The bride wore a dress by no one."                                                   22.     She turns and heads back into the closet.                         CARRIE                   (As she goes)               Don't worry, I'll style it up with               shoes.     Anthony turns to Charlotte and says in a low voice.                         ANTHONY               The invitation is fancier than the               dress.                         CARRIE (O.C.)               I heard that.28   INT. BROOKLYN RESTAURANT -- NIGHT -- SUMMER                  28     A "family style" Italian restaurant. Miranda, in business     clothes, sits with Steve, Brady and MAGDA. Brady's face is     covered in spaghetti sauce.                         CARRIE (V.O.)               And from Anthony Marantino to               spaghetti marinara.                         MIRANDA               Where is he with the check?                         STEVE               Geese, Miranda -- relax. Magda's               not even finished yet.                         MIRANDA               I still have a legal brief to work               on when I get home.                         BRADY               I have to go to the bathroom.                         MAGDA               I'll take him. Wash that beautiful               face too, yes?     Brady nods. Magda walks away with Brady. Miranda is packing     up Brady's action figures. Steve gives her a look.                         MIRANDA               What? I'm sorry. I'm exhausted.               Brady woke me up at five AM.                                                     23.                         STEVE               He woke me up too.     Silence. She sips her cappuccino. Foam covers her top lip. He     looks over at her and smiles.                         STEVE (CONT'D)               You got milk on your top lip.     She licks it off, not pleased.                           STEVE (CONT'D)               What now?                         MIRANDA               It's like you're always criticizing               me.                          STEVE               I am not.                    (Beat; then, cute)               You want to go through life with               foam on your lip and no one telling               you?     Silence. He reaches down and picks up her coffee cup and     sips... putting lots of foam on his lip. He looks over.                         STEVE (CONT'D)               Anything you want to tell me?     She shakes her head: No. He puts his face in front of hers.     She laughs. He licks his lip.29   INT. MIRANDA AND STEVE'S BEDROOM -- LATER                    29     Steve is in bed with Miranda, they are making love. She is     wearing a T-shirt.                         MIRANDA               Yeah. Yeah.                          STEVE               Wait --- wait -- Don't come               already...                         MIRANDA               Yeah. Yeah.                         STEVE               Wait, wait -- get on top.    Get on --                                                     24.                         MIRANDA               It's late... let's just get it over               with.     Steve looks at her. She can't believe what she's said.                         MIRANDA (CONT'D)               I mean -- We have to get up in four               and half hours.                         STEVE               We never have sex and you want to               get it over with?                         MIRANDA               Steve... We have sex.                         STEVE               When was the last time we had sex?     Miranda can't remember. He moves to his side of the bed.                         STEVE (CONT'D)                   (As he turns away)               There was snow on the ground.     He gets out of the bed and walks away. She watches him go.30   INT. COFFEE SHOP -- DAY -- SUMMER                            30     The girls are having breakfast. Lily sits at the table in a     booster seat coloring in a Cinderella coloring book. Carrie     is helping her. CLOSE ON: Cinderella's shoe. Carrie is     filling it in with a BLUE CRAYON.                         MIRANDA               How often do you guys have sex?                         CHARLOTTE               Miranda -- please.                         MIRANDA               What?     She indicates that Lily is sitting with Carrie. Carrie     continues to color, not looking up.                         CARRIE               It's okay, I know all about sex.                                           24A.                  SAMANTHA        If I knew the girl talk was going        to be on "lock down," I wouldn't        have flown two thousand miles.                                              25.                     CHARLOTTE          No, we can talk, let's just not use          that word.                    MIRANDA          She's three, she doesn't know what          it means. I'm forty- two and I          still don't know what it means.                    CHARLOTTE          I know, but she's repeating          everything.                    MIRANDA          Fine. How often do you guys...                    CARRIE          ... "Color"?                       CHARLOTTE          Thank-you.                    SAMANTHA          Well, I can't color enough. I would          color all day -- every day if I had          my way. I'd use every crayon in my          box.                    CARRIE          We get it. You love to color.              (To Miranda)          Why are you asking?                    MIRANDA          Steve and I were "coloring" last          night and just as I was about to --Miranda is searching for a word she can use.                    SAMANTHA          Come?              (beat; to Charlotte)          Sorry -- there is no crayon          equivalent.                    MIRANDA          He wanted to change positions and I          said... "Let's just get it over          with."The ladies react, three different shades of shocked.                                           25A.                  MIRANDA (CONT'D)        Well, he kept trying to make it        last longer.                  SAMANTHA        And this is bad?                                              26.                    MIRANDA          It is when you have a full-time          job.                    SAMANTHA          I have a full-time job.                    MIRANDA          Well, you don't also have a five          year old and play groups and PTA          and a mother-in-law in a rest home          with advancing Alzheimer's. I'm          telling you, at the end of the day          all I want to do is sleep. The most          exciting thing in bed now -- is the          bed.                    CARRIE          So... Sleep is the new sex?                    LILY          Sex.                    CHARLOTTE          See.                    CARRIE          -- I meant coloring.                    MIRANDA          We're just going through a no          coloring phase -- it comes and          goes, right?                    CHARLOTTE          Every couple is different. Harry          and I --Carrie and Samantha look over; interested.                    CHARLOTTE (CONT'D)          ... Make love two or three times a          week.                    MIRANDA          Great. Now I feel worse.                    SAMANTHA          Well, when was the last time for          you?                    MIRANDA          Six months ago.                                                    27.                          CARRIE                Oh my.      Miranda looks at her. She -- continues to color.                          MIRANDA                But that's a dry spell.                          SAMANTHA                I bet it is.                          CHARLOTTE                What about you and Big, Carrie?                    (Off her look)                Come on, I told.                          CARRIE                Never. But, I will tell you this.                When Big colors --                    (Beat; sexy)                He rarely stays inside the lines.      Samantha whoops. Carrie resumes coloring.                          MIRANDA                Well, this was very helpful.30A   INT. BEACHOUSE/BATHROOM -- SUNSET -- SUMMER               30A      A freshly-showered Samantha sits on a chaise lounge in a robe      -- talking on the phone.                          SAMANTHA                Send it to Smith Jerrod at the                office address.      Smith walks up to Samantha wearing only underwear. There is a      huge bulge in the front. Samantha takes the bulge in.                          SAMANTHA (CONT'D)                    (into phone)                I've got to go. Something just came                up.      She hangs up. He smiles, looks down at her.                          SMITH                I've got a gift for you.                          SAMANTHA                So far, I like it.                                             27A.He smiles as she reaches INTO his underwear basket andremoves a long black velvet jewelry case. She opens it. It'sthe petal ring from the auction.                    SAMANTHA (CONT'D)          How did -- Wait -- that was you on          the phone at the auction?                    SMITH          I knew how much you wanted it.                    SAMANTHA          But I was going to buy it for          myself.                     SMITH          I wanted to give it to you... for          our anniversary. We met five years          ago today.                    SAMANTHA              (beat; had no idea)          Right.He smiles, sits down on the bed.                    SMITH          Do you like it?                    SAMANTHA          To be clear -- This is a ring with          diamonds -- not a diamond ring,          right?              (Off his nod)          In that case... I love it.              (Re; underwear)          It's my second favorite thing I've          ever found in there.She kisses him, touched -- then reaches in his underwear.                    SAMANTHA (CONT'D)          Now, my gift's a little bit more...          oral.                    SMITH          Babe -- I've got to go to bed.                    SAMANTHA          Bed? It's seven-thirty.                                                     27B.                          SMITH                I have to be at the studio by six                A.M. and I need to get a workout                before that.                          SAMANTHA                This is how it starts. Next thing                you know... we're only having sex                three or four times a week.                          SMITH                Most people consider that normal.                          SAMANTHA                I am not most people.                          SMITH                No - you most certainly are not.      He smiles, leans in and gives her a hot -- hot kiss. The kiss      leads -- to reaching into underwear... as they start.30B   INT. BEACHOUSE/ BEDROOM -- NIGHT                            30B      Smith is laying in bed. Sound asleep. The clock on the bed      table reads: 9:01.30C   EXT. BEACHOUSE/JACUZZI -- CONTINUOUS                        30C      Night. Samantha sits in the jacuzzi wearing her ring --      sipping a glass of wine -- bored.                          CARRIE (V.O.)                One glass of Merlot and two orgasms                later.      Samantha hears MOANING. The sounds of someone having SEX in      the house right next door. She looks -- from the hot tub she      can see her neighbor DANTE -- hot, dark -- "sex on a stick"      in his living room making wild love to a RED HAIRED WOMAN.      They are naked. Samantha watches and sips -- not so bored.                          CARRIE (CONT'D)                And that is how Samantha learned                she had a new neighbor.31    INT. BIG'S SUBLET -- NIGHT -- SUMMER                         31      Carrie enters the apartment.   It is dark-ish. A candle or two      is lit.                                                    27C.                             CARRIE                    (soft)                John?      The terrace doors are open. The curtains blow, gently.   She      walks out onto it.31A   EXT. BIG'S SUBLET -- CONTINUOUS                            31A      As she steps out onto the terrace. Big comes up behind her.      He -- leans her against the door jamb and kisses her. It's      hot. He kisses her -- sliding down the front of her body.32    INT. BIG'S SUBLET/BEDROOM-- LATER -- SUMMER                  32      Big is in bed wearing "half glasses," reading The Wall Street      Journal. Carrie enters from the bathroom and hops into bed.      She grabs a LIBRARY BOOK from the night stand and looks over.                             CARRIE                Lean?      He nods and lifts up one of his arms. She slides over and      nestles in, leaning up against him. She opens her book. He      looks down at it.                          BIG                Are you the last person in New York                still taking out library books?                                                28.                    CARRIE          I love the smell.She smells the book, then holds it up to him. He smells.                    BIG          That's an old one.                    CARRIE          "The Love Letters of Great Men."          Volume one.                    BIG          Am I in there?                    CARRIE          No, but some of your classmates          are. Voltaire, Napoleon...Big smiles. She takes the glasses off his face and puts themon, looks at book.                    BIG          You need to get glasses.                    CARRIE          No, I don't -- you have them.              (then; off book)          Here's Napoleon...              (Reads)          "My dearest Josephine, I wake          consumed with thoughts of you --"                    BIG          Typical short guy. Gives it all          away up front.She punches him a little, continues to read.                    BIG (CONT'D)          Why are you reading this?                    CARRIE          Research for my new book.                    BIG          What's it about?                    CARRIE          Love. I use to write about finding          love-- now I want to write about          what happens after you've found it.                                           28A.                  BIG        Interesting. What happens?                  CARRIE        Stay tuned.                                              29.He smiles. She looks at the book again.                    CARRIE (CONT'D)          Listen... Here's Beethoven.                    BIG          Bring it, Ludwig.                    CARRIE              (Reading)          "My thoughts go out to you today my          immortal beloved. I can live only          wholly with you or not at all."                    BIG          Good stuff.                    CARRIE              (Reading)          "Be calm my life, my all. Only by          calm consideration of our existence          can we achieve our purpose to live          together. Oh continue to love me,          never misjudge the most faithful          heart of your beloved. Ever thine --          ever mine -- ever ours.Silence. The beautiful sentiment hangs in the air. She closesthe book and looks up at him.                    CARRIE (CONT'D)          Have you ever written me a love          letter?                    BIG          Does a love fax count?                    CARRIE          When have I ever gotten a love fax?                    BIG          I'm pretty sure my secretary sent          one at some point.Carrie looks at him, mock disappointed.                     BIG (CONT'D)          What can I say, baby? Not my          style.              (Beat)          Besides, these guys had to write--          they were separated from their          loves by wars and hundreds of          miles. I'm right here.                     (MORE)                                                     30.                              BIG (CONT'D)                     (Beat)               Hi.     She smiles. He kisses her on the forehead. Sincere.                         BIG (CONT'D)               You make me very happy.                         CARRIE               Yeah, yeah.... Put it in writing.     He laughs, she looks at her book, turns a page and reads.     After a beat, he puts down his paper.                          BIG               Alright. Here's a love letter from               me to you.     She looks up at him, excited. He speaks romantically.                         BIG (CONT'D)               Loving you. Is easy... `cause your               beautiful...     Big continues --   now SINGING the Minnie Ripperton classic.                         BIG (CONT'D)               EVERY DAY OF MY LIFE               IS FILLED WITH LOVING YOU. LA LA LA               LA LA LA LA OOOOOOOOOOOOOOO.     Carrie LAUGHS as he continues to massacre the high notes.33   EXT. NEW YORK PUBLIC LIBRARY -      DAY -- SUMMER            33     Carrie runs past the stone lions and up the grand stairs     holding three LIBRARY BOOKS in her hand.34   INT. NEW YORK PUBLIC LIBRARY/LOBBY -- LATER -- SUMMER        34     Carrie stands at the entrance while a FEMALE GUARD (60)     checks the contents of her purse. A FLORAL DELIVERY MAN comes     in carrying a GORGEOUS ARRANGEMENT OF WHITE FLOWERS. He calls     to the Guard.                         DELIVERY MAN               Which way's the wedding?     The Guard points, bored. Carrie looks, interested.                                                  30A.35   INT. NEW YORK PUBLIC LIBRARY/WEDDING SPACE -- MOMENTS LATER 5                                                               3     A beautiful space. The tables are being set up as MORE     FLOWERS arrive. Carrie tip-toes in and looks around. A SMILE     grows on her face.                                                   31.36   INT. RESTAURANT -- NIGHT -- SUMMER                         36     Carrie and Big sit at the bar -- having dinner.                         CARRIE               I've been thinking.                         BIG               Again?                         CARRIE               How about we get married at The New               York Public Library?                   (Gushy and silly)               Think how perfect. You and I and               our love story surrounded by all               the other lesser love stories.                         BIG               Do we have to make that big of a               deal?                         CARRIE               It's not that big a deal. It's               seventy-five people in a room               that's partitioned in half.                         BIG               It's just -- I've already had two               big weddings.     Carrie winces -- stung. After a beat, she goes on.                         CARRIE               Well, what did you have in mind?                         BIG               I don't know -- a judge, couple               friends and then we go for ham and               eggs after.     A bucket of cold water.                         CARRIE               Interesting.     Big looks over at her. She looks upset, hurt, sad. Silence.                         BIG               Would we have to whisper? In the               library?                                              32.Carrie looks over at him, softens a little.                    BIG (CONT'D)          "Do you, Carrie" -- Shhhh. "Take          this man" -- SHHHH!He raises his eyebrow. She laughs. ELAINE (40) Zaftig, Jewish-- spots Carrie.                    ELAINE          Carrie, hi!                    CARRIE          Elaine, hi. Do you know John?                    ELAINE          No, hi. Nice to meet you.                    CARRIE          Elaine writes a single gal column          for The New York Post.                    ELAINE          Please -- I'd rather you reveal my          weight.Carrie and Big laugh.                    ELAINE (CONT'D)V.O.)          So, what's new?                    CARRIE          Well. We're getting married.                    BIG          Yep -- At the New York Public          Library.Carrie looks at Big, touched. Elaine is delighted, TEARFUL.                    ELAINE          Oh, my God! This gives me such          hope.She hugs Carrie, then hugs Big. Then hugs Big again.                    ELAINE (CONT'D)          Thank-you. Thank-you for marrying          someone our age.                                                    33.37   INT. CHARLOTTE'S APARTMENT/DINING ROOM -- DAY -- SUMMER     37     Charlotte, Harry and Lily are having breakfast. A KING     CHARLES SPANIEL and TWO MUTTS sit on the floor looking up at     them. Charlotte pages through the New York Post -- She     notices something. CLOSE ON: NEWSPAPER; A small PHOTO: of     Carrie on "PAGE SIX" above a mention of the wedding.     Charlotte SCREAMS. Harry and Lily JUMP. She grabs the     cordless phone from the table.38   INT. BIG'S SUBLET -- MOMENTS LATER                          38     Intercut with Carrie on the phone as Big sips coffee.                         CHARLOTTE                   (reading paper)               "The ultimate single gal Carrie               Bradshaw will be married in Manolos               to New York financier John James               Preston come fall."                         CARRIE                   (to Big)               Our wedding's on Page Six.                         BIG                   (not pleased)               Who would put that in there?     Carrie shrugs, Charlotte continues reading.                         CHARLOTTE               "Proving to single gals everywhere               that there can be a happy ending               over forty."                         CARRIE               Oh, I know who.39   EXT. NYC STREET -- DAY -- LATER -- SUMMER                   39     Carrie is walking down the street with STANFORD.                         CARRIE (V.O.)               Later that day, I met my friend               Stanford for our weekly quick lunch               and gossip session... Also known               as "dish then dash."                                               33A.                    STANFORD          According to a certain trashy tome,          you are marrying John James          Preston.                    CARRIE          Rumor has it.                    STANFORD          Just one question: Does Big know?                    CARRIE              (laughs; then)          Where are we eating?                    STANFORD          Anywhere you like... and you know          the rule -- the person on Page Six          pays for lunch.Carrie laughs. TWO WOMEN spot her and scream.   She andStanford REACT as the women GUSH.                                                      34.40   INT. RESTAURANT -- LATER -- SUMMER                            40     Carrie and Stanford are mid-meal. Three GAY MALE friends (3O-     40) stand at their table and gush.                         CARRIE (V.O.)               It seemed everywhere I went...               people I knew were excited and               available to come to the wedding.     A WAITRESS (23) places a check on the table.    Stanford looks     at it, then leans in to waitress.                         STANFORD               You forgot to charge us for the               gaggle of gays.41   EXT. STREET -- LATER -- SUMMER                                41     Carrie and Stanford are walking by a nail salon as BITSY VON     MUFFLING, socialite, comes running out -- Mid-pedicure. She     is barefoot with foam pads stuck between her painted toes.                         BITSY               Carrie Bradshaw Preston! Carrie               Bradshaw Preston!     Carrie and Stanford stop -- turn around.    Bitsy gushes.                         BITSY (CONT'D)               Mazel tov! Saw you on Page Six!               September? October? When?                   (beat; realizes feet)               Look! Will you look! I got so               excited -- no shoes. I'm standing               barefoot on a New York sidewalk               probably getting trichinoses.     She hurries away, turning back to CALL as she goes.                         BITSY (CONT'D)               We're at the same address --               different floor. Just send it --               they'll get us the invite.     She waves, goes back inside.   Carrie looks stunned.                         CARRIE (V.O.)               The shocking thing was not the               plethora of empty autumn social               calenders but knowledge that               everyone does indeed read Page Six.                                                   34A.41A   INT. VOGUE OFFICES/RECEPTION AREA -- DAY -- SUMMER         41A      Carrie opens the glass door and walks into the Vogue offices.                          CARRIE (V.O.)                Even people you didn't expect, like                my Vogue editor, Enid.42    INT. VOGUE OFFICES/ENID'S OFFICE -- LATER                  42      Carrie is with ENID (60) her stunning, icy Vogue editor.                          ENID                We're putting together our annual                "Age" issue -- and we'd like you to                do forty.                          CARRIE                Great. Who am I interviewing?                          ENID                No. You. You are forty. I want you                to be featured in the magazine as                the forty year old -- and here's                the brilliant twist -- bride.                          CARRIE                Wait -- I would be in the magazine?                                              35.                    ENID          In bridal couture. It's a once in a          lifetime opportunity - so spare me          a week of faux soul-searching and          just say yes.                    CARRIE          Enid -- I'm so very flattered but--                     ENID          Carrie. Vogue designers, Vogue          photographers, Vogue airbrushing.              (Beat)          Nod your head: yes.Carrie smiles and nods.                    ENID (CONT'D)          Thank-you. It will be a sensation.          We're calling it: "The Last Single          Girl."                    CARRIE          Well, I'm hardly the last single          girl.                    ENID          No, but forty is the last age you          can see a woman photographed in a          wedding gown without the unintended          Diane Arbus subtext.                    CARRIE          I thought the issue was "great          style at every age."                    ENID          Style yes... bride no.                    CARRIE              (smiles; then)          Enid -- I have no idea -- were you          ever married?                    ENID          Briefly. In 1975. I wore Halston.          Creme. One shoulder Grecian with a          low-cut bodice to the waistline for          a dramatic flair. The fabric in the          sleeves formed oval draping on the          sides. Stunning. My future husband          and I saw it on a trip to Paris and          he fell in love with it.                    (MORE)                                           35A.                  ENID (CONT'D)        Insisted I be married in it. So I        was. We had quite a beautiful        party.                  CARRIE            (smiles; then delicately)        Why didn't the marriage work out?                  ENID        Did you not hear me say my husband        fell in love with my gown?            (beat; off Carrie's nod)        Has your fiancÈe expressed any        interest in what you'll be wearing?                  CARRIE        None at all.                  ENID        Then you may have a shot.                                                       36.43    INT. VOGUE PHOTO SHOOT SET -- DAY -- SUMMER                   43      Carrie stands on the set of a Vogue photo shoot wearing a      GORGEOUS VERA WANG GOWN. Hair, make-up: stunning. She is      surrounded by VOGUE STYLISTS and CREW. Carrie looks over to      Samantha, Stanford and Charlotte standing on the side-lines,      watching. They signal their approval. Carrie smiles...      tentative -- but excited.                           SAMANTHA                 She's looking quite at home for                 someone who didn't think she had                 the bride gene.                           CHARLOTTE                 Well, I guess with the right man...                           STANFORD                 ... And the right dress.      Charlotte and Samantha smile.                           STANFORD (CONT'D)                 When I get married, I'm wearing                 something like that. But bigger.      Samantha and Charlotte laugh. The PHOTOGRAPHER starts      working. FLASH! Carrie poses. FLASH!                           CARRIE (V.O.)                 Just your typical Wednesday.                 Breakfast with... Vera Wang.      FLASH!   Carrie in another GORGEOUS WEDDING wedding gown.                           CARRIE (V.O.) (CONT'D)                 Mid-morning coffee with....                 Carolina Herrera.      FLASH!   Carrie in another FAMOUS DESIGNER wedding gown.      Samantha holds up her iPhone and takes a photograph of      Carrie. Charlotte looks at it, smiles, then presses --      "send."43A   INT. MIRANDA'S OFFICE -- CONTINUOUS                          43A      Miranda is at her desk, working -- her phone -- "beeps." She      picks it up -- CLOSE ON: PHONE announcing a photo arrival.      She opens the photo - it's Carrie in the wedding dress.      Miranda smiles.                                                    36A.43B   INT. VOGUE PHOTO SHOOT SET -- CONTINUOUS                   43B      FLASH! Carrie in another FAMOUS DESIGNER wedding gown.                          CARRIE (V.O.) (CONT'D)                Appetizers with Oscar de la Renta.      FLASH: JUMP CUT TO: Carrie in another FAMOUS DESIGNER wedding      gown.                          CARRIE (V.O.) (CONT'D)                Lunch with Lanvin...      FLASH: JUMP CUT TO: Carrie in another FAMOUS DESIGNER wedding      gown.                          CARRIE (V.O.)                ... And Lacroix.      FLASH: JUMP CUT TO: Carrie in another FAMOUS DESIGNER wedding      gown.                          CARRIE (V.O.)                ... And Dior.      FLASH: Carrie in the final FAMOUS DESIGNER wedding gown. This      is the most sensational topper. She looks "beyond, beyond"      beautiful in it.                          CARRIE (CONT'D)                And for dessert -- Vivienne                Westwood.                                                        37.        Charlotte and Stanford are looking at Carrie, moved.                            CARRIE (CONT'D)                  A confection so special...        Samantha reaches up and wipes away a tear.                            CARRIE (CONT'D)                  ... It could wring a wedding tear                  from even the most unbelieving of                  women.44      INT. CARRIE'S APARTMENT -- DAY -- SUMMER                     44        Carrie opens the door to find a DELIVERY MAN standing there        with a very large dress box tied by a lush RIBBON.                            CARRIE (V.O.)                  And then the impossible happened.        JUMP CUT TO: Carrie pulling back the tissue paper to reveal:        her favorite wedding gown. Carrie picks up a hand-written        note on an engraved note card from VIVIENNE WESTWOOD. It        reads: "I saw the photos from the shoot. This dress belongs        to you. Cheers!"45      INT. CARRIE'S APARTMENT/CLOSET -- LATER -- SUMMER            45        Carrie peeks around the closet and looks in. The gown is        hanging next to the white suit, dwarfing it.                            CARRIE (V.O.)                  And just like that, Vivienne                  Westwood kicked my sweet little                  suit's ass.49   INT. PENTHOUSE/BEDROOM -- DAY -- LATE SUMMER               49     Big leads Carrie into their new bedroom by the hand. Her eyes     are closed and she has a DESIGNER shopping bag slung over her     one arm. He moves her around the construction debris,     stopping in front of the new closet's double doors.                         BIG               Okay. Open them.     Carrie opens her eyes.                         CARRIE               Double door. So far so good.                                                    40.     She opens the closet doors, revealing a beautiful oversized,     walk-in closet with shelves and more shelves and places for     shoes and more shoes.                         CARRIE (CONT'D)               Well. You did me proud, Mister.                          BIG               Like it?                         CARRIE               Like it? It's love at first sight.     He smiles, proud. She takes the DESIGNER shoe box out of her     shopping bag and hands it to him. She opens the lid, takes     out a pair of COLORFUL/FUN HEELS and places them on the     shelf. She turns back to him.                          CARRIE (CONT'D)               Now, I believe this is all really               happening.50   INT. CARRIE'S APARTMENT -- DAY -- LATE SUMMER               50     Miranda, Charlotte and Carrie are standing in Carrie's     apartment. Empty boxes are everywhere. Lily is coloring     quietly nearby.                         MIRANDA               I can't believe it sold so fast.                         CHARLOTTE               It's a sign.                         CARRIE               Yeah, a sign I priced it too low.     The door buzzes. Carrie pushes the intercom button.                          CARRIE (CONT'D)               That's the food -- money on the               table.                   (Beat)               I'll get started in the closet... I               should be done in seventeen years.     Carrie starts into the bathroom. Charlotte calls:                         CHARLOTTE               Pink Post-it -- take. Purple --               toss. Yellow: Storage.                                                     41.                         CARRIE (O.C)                   (Calling out)               You're good friends.     There is a knock on the door. Miranda opens it. Samantha     stands there with her carry-on luggage.                         CHARLOTTE               Samantha! Oh my God!     Carrie re-enters from the bathroom... stunned.                         CARRIE               What are you doing here?!                         SAMANTHA               I lot of shit went down in this               place. Attention must be payed!     She reaches into her bag and pulls out a bottle of champagne.     They all CHEER. She reaches in again and pulls out another     bottle. More cheering.51   INT. CARRIE'S APARTMENT/BEDROOM -- LATER                     51     Samantha is packing Carrie's collection of CD's, tapes and     albums. She puts on a "Best of the 80's" CD.     MUSIC START: Run DMC & Aerosmith: "WALK THIS WAY."     Carrie comes   out of her closet wearing an outfit that screams     "80's." Lily   looks up from her coloring. Miranda, Charlotte     and Samantha   sit on the bed drinking champagne. Carrie poses.     They hold up   hand-written signs: "Take" or "Toss."     JUMP CUT TO: Carrie comes out of the closet wearing another     "80's" outfit. The girls vote: "Take, Take, Toss." Carrie     nods.     JUMP CUT TO: Carrie comes out of the closet wearing a tight     pink top and a tutu. The girls LAUGH; then all hold up:     "Toss." Carrie reacts.     JUMP CUT TO: Carrie comes out wearing a late "90's" outfit.     The girls vote: "Take, Take, Take." Carrie is thrilled - she     keeps it.     JUMP CUT TO: Miranda wearing something from Carrie's closet.     JUMP CUT TO: Charlotte wearing something from Carrie's     closet.     JUMP CUT TO: Samantha wearing something from Carrie's closet.                                                  41A.     JUMP CUT TO: Carrie, Miranda, Charlotte and Samantha LAUGHING     -- at something. REVEAL: Lily standing in the closet, naked     except for her training underpants. Her arms are outstretched     and draped with Carrie's small purses and bags.52   INT. CARRIE'S APARTMENT -- NIGHT -- LATE SUMMER             52     The girls in the apartment are surrounded by many, boxes.                                                   42.                         CARRIE (V.O.)               It took four friends, three days to               put twenty years into twenty-eight               boxes.53   INT. CARRIE'S APARTMENT -- DAY -- LATE SUMMER                53     Carrie walks through her now, empty apartment. She takes one     last long look and leaves. END MUSIC.54   INT. REST HOME -- DAY -- LATE SUMMER                         54     Steve sits in a chair as Miranda hands a cup of tea to his     mother MARY. She looks up at Miranda, lost.                         MARY               Who are you again?                         MIRANDA               Oh, you know me -- I'm your               daughter-in-law.                   (beat; then)               I'm Miranda.                         MARY               That's right.     Miranda nods and smiles. Steve watches, touched.55   INT. MIRANDA AND STEVE'S HOUSE/KITCHEN -- NIGHT -- LT. SUMMER                                                               55     Miranda is putting away groceries. Steve is sitting at the     kitchen table.                         MIRANDA               While I run over to see your mother               tomorrow maybe you can take him to               the first birthday party alone.               Then -- I'll meet you at the twins'               party and you can leave and be at               the bar by six.     She looks over at him. He looks strange.                         MIRANDA (CONT'D)               What's the matter? Steve.     He starts crying.                         STEVE               -- I had sex with someone else.                                                   43.     Miranda can't believe her ears.                         STEVE (CONT'D)               -- And you are so amazing with Ma               and everything... everything you do               and I can't believe I would do that               to you.     Miranda just sits -- looking at him.                         STEVE (CONT'D)               You and I hadn't had sex in a               really long time and I --     Miranda shakes her head, turns and walks out of the kitchen.     He gets up and follows her.                         STEVE (CONT'D)               It didn't mean anything -- It was               just once... and it's been killing               me.     She stops and turns around. He stops.                         MIRANDA               It's killing you?!     She starts down the hall again. He's on her heels.                         STEVE (CONT'D)               It just happened... I wasn't               thinking.                         MIRANDA               Do not follow me.     She starts up the stairs. He stops at the bottom and watches     her go. Lost as to what to do next.56   INT. BIG SUBLET -- A LITTLE LATER -- LATE SUMMER           56     Carrie opens the door. Miranda stands there with Brady. She     looks like she is about to burst into tears. Big stands in     the hall behind Carrie. Unsure.                         CARRIE               Hi.                         MIRANDA               Surprise -- Here we are!                                                     44.                         CARRIE                   (To Brady)               Well, I'm so excited you are here               for a sleepover.                         MIRANDA               We are too. Aren't we B-boy?     Brady nods. Miranda gives Brady's hand to Carrie.                         MIRANDA (CONT'D)               Here. Mommy has to go to the               bathroom.     Miranda hurries away. Carrie looks after her, concerned.                         CARRIE               Brady, do you want to go have some               peanut butter?     He nods. Carrie give his hand to Big and hurries away. Big     looks at Brady. Brady looks up at him.                         BIG               Peanut butter it is.     They walk into the kitchen.57   INT. BIG SUBLET/POWDER ROOM -- A LITTLE LATER                57     Miranda is sitting on the toilet, seat down. Carrie at the     sink.                         MIRANDA               Apparently you don't have sex for               six months he runs out and has it               with some girl at his bar.                         CARRIE               Steve. I can't believe it. Steve.                         MIRANDA               Steve. When I think of everything               I've done for him. And this is how               he repays me. Man, if I didn't have               Brady, I would never go back there.     Miranda looks furious. Carrie nods, in shock.                                                     45.58   INT. MIRANDA AND STEVE'S BEDROOM -- NIGHT -- LATE SUMMER     58     Steve is in bed. Miranda comes in, dressed for bed.                            CARRIE (V.O.)                  The next night, for the sake of                  Brady, Miranda went against her                  instincts and went home.     He throws back the covers. She looks at him.                            STEVE                  Miranda, it's still me.                            MIRANDA                  Is it?     She stands there and looks at him. Shakes her head, exits.59   INT. MERCER HOTEL/LOBBY -- NIGHT -- LATE SUMMER              59     Miranda walks into the chic hotel lobby holding Brady's hand.     She pulls a piece of luggage behind her.                            CARRIE (V.O.)                  So Miranda left Brooklyn and came                  home... to Manhattan.60   INT. MERCER HOTEL LOBBY/RESTAURANT -- DAY -- LATE SUMMER     60     Brady sits   on a couch in the lobby playing with his action     figures. A   HOODED MOVIE ACTOR TYPE (25) sits slumped next him     texting on   a phone. Carrie, Miranda, Charlotte and Samantha     are having   brunch at a table nearby.                            MIRANDA                  Yes, it's sad, but I'm not going to                  make it any sadder by staying at a                  bad hotel while I look for a place.                  Pass the salt.     Charlotte passes the salt.                            MIRANDA (CONT'D)                  Plus, I have to be downtown and                  close to Brooklyn. We're going to                  keep things as normal for Brady as                  we can. I'll pick him up on my                  days... take him over on Steve's.                                                   46.                         CARRIE               I don't know if this question is               allowed -- but how is Steve               handling this?                          MIRANDA               Says he's devastated -- begs me to               forgive him.                   (beat)               Not going to happen. I can barely               even look at him.                         CHARLOTTE               Steve -- I can't believe it.                         CARRIE               That's what I said.                         SAMANTHA               Miranda, honey -- are you sure you               want to do this? It's just one               time. Anyone can have a slip.                         MIRANDA               Well, even if I could get my head               around that justification -- it's               the cheating part -- the behind my               back part... the violation of the               trust -- that's the thing that's               killing me.     Samantha nods, taking it in.                         MIRANDA (CONT'D)               Besides... women who stay with men               who cheat are women who are afraid               to be on their own. And that's not               me -- I can handle it. Always               could.     Brady walks over holding an action figure.                         BRADY               Mommy, I want to go home.     Miranda nods; keeping a brave face. Charlotte looks upset.61   INT. CHARLOTTE'S APARTMENT/BEDROOM -- NIGHT -- LATE SUMMER 61     Charlotte and Harry are making love, gently. She looks into     his eyes -- speaks softly.                                                    46A.                           CHARLOTTE                 Thank-you for being you.       He smiles, touched. She smiles -- he kisses her.                           CARRIE (V.O.)                 Charlotte made love to Harry five                 times that week.61aA   INT. SAMANTHA'S BEACH HOUSE -- NIGHT -- FALL             61aA       Smith and Samantha are sitting at the dining table. ANAKA,       (45) a Zen, low-key chef lays down plates in front of them.                           SAMANTHA                 It's a little quick to move out,                 don't you think?                           SMITH                 Her reaction is her reaction.                 Thanks Anaka.       Anaka nods and walks away.                           SAMANTHA                 He had sex once. Not even an                 affair.                           SMITH                 Maybe it's not the sex. Maybe,                 it's the cheating. For me... that                 would be the thing. That it                 happened behind my back.                           SAMANTHA                 That's what she said.       He nods. Samantha eats. Thinks.                           SMITH                 Look. I know we're not married but -                 - if you were going to have sex                 with someone else...       Long pause. He looks at her.                           SAMANTHA                 Are you waiting for me to get out                 my datebook?                                                   46B.                          SMITH                    (beat; then)                But... seriously, I'd rather know                first.      She gets up from the table and moves over to him.                          SAMANTHA                You want me to tell you if I'm                going to have sex? Fine. I'm about                to have sex.      She sits on the table directly in front of him and opens her      legs. Anaka enters -- sees her position, spins on his heels      and walks back out.                          SMITH                    (as he goes)                Thanks Anaka.61A   INT. REST HOME -- DAY -- SUMMER                           61A      Mary sits in a chair eating dinner from a tray. Miranda sits      on the edge of the bed near her.                          MIRANDA                I don't know if Steve's mentioned                anything to you yet -- about us.                Has he?      Mary shakes her head: No -- concerned. Miranda nods.                          MIRANDA (CONT'D)                Well -- we've had some marriage                problems -- it's not necessary to                go into the details but -- I just                wanted you to know that we won't be                coming to see you together anymore.                I'll be here Monday, Wednesday and                Sunday -- the other days will be                Steve.                          MARY                Who's Steve?                          CARRIE (V.O.)                Miranda was starting to see the                upside of Alzheimer's.                                                  46C.62   INT. BIG'S SUBLET/DEN -- NIGHT -- LATE SUMMER              62     The room is crowded with Carrie's boxes waiting to be moved.     Big is sitting at a computer reading his emails.                                              47.Close on screen: We see his email address is John@JJPny.com.He clicks open a file as Carrie enters.                    CARRIE          Wedding crunch time. We need to          really get serious here.                     BIG          Not now -- I just got an email from          the the contractor -- they pushed          our move-in date again -- and I          have to --                    CARRIE          Nope. Wedding before contractor.          Unless you're planning to invite          him -- which would make the guest          list two hundred and one.                    BIG          Two hundred? Jesus, Carrie -- it's          gone up again?                    CARRIE          Blame the New York Post and Vogue.          Two publications that have never          before been uttered in the same          sentence.                    BIG          You said: seventy-five people in a          partitioned-off room.                    CARRIE          It's the dress. How can I explain          this? It's like poker -- The dress          upped the ante.                    BIG          Change the dress.                    CARRIE          No, no, no -- you haven't seen this          dress. This dress may be the whole          reason to get married. Well, you          and the dress.She sits in his lap. He adjusts, uncomfortable.                    CARRIE(CONT'D)          How are you coming with your vows?          Just a reminder -- you are going to          be saying these in front of a lot          of people, so the pressure is on.                                                   48.                         BIG                   (He's had it)               Up, up. I have to finish this. Up.     He sort of "helps her" out of his lap.                         CARRIE               Hey...                         BIG               I don't have time for this.                         CARRIE               This is our wedding and you're not               taking it seriously.                         BIG               No, I'm not -- It's a circus! Two               hundred people -- Page Six -- This               is my third marriage -- how do you               think it makes me look?     Carrie looks at him, stunned by this new information.                          CARRIE               I didn't know that was even an               issue.                   (beat)               Why didn't you say anything sooner?                         BIG               You wanted all this.                         CARRIE               But -- don't you want --                         BIG               I want you, Carrie. That's what I               want. I would have just gone down               to city hall.     Tension. He starts out of the room, moving a wardrobe box out     of his way as he goes. She stands there. Upset.63   INT. BIG'S SUBLET/BATHROOM -- LATER                        63     Big is brushing his teeth. There's a knock. The door opens.     Carrie comes in, vulnerable.                         CARRIE               I think it's too late for city hall               now.                                                     49.                          BIG                Well, no. I wasn't suggesting -- I                was just saying.      He looks at her. She looks -- devastated.                          BIG (CONT'D)                See. That is the face I've been                trying to avoid. Come here.      She stands there. He goes to her, hugs her.                          CARRIE                You're a great man friend.      She buries her head in his chest; relieved. He exhales.64    INT. BUDDAKAN RESTAURANT -- NIGHT -- FALL                   64      Miranda, Charlotte, Harry, Samantha, Smith, Stanford,      Anthony, Bitsy and other GUESTS are gathered around a long      beautifully-set table. Carrie and Big ARRIVE at the top of      the stairs. Everyone looks up and applauds.64A   INT. BUDDAKAN RESTAUANT -- LATER                           64A      The desserts are being served. Samantha stands and prepares      to speak. Harry hits a glass with a spoon... people quiet      down.                          SAMANTHA                Now, I know it's tradition at the                rehearsal dinner for the maid of                honor to reveal embarrassing things                about the bride. But in our group --      She looks at Carrie, Charlotte and Miranda                          SAMANTHA (CONT'D)                ... We never kiss and tell.      Carrie, Miranda and Charlotte WHOOP. Laughter.                          SAMANTHA (CONT'D)                So, I'd like to make a toast to the                groom.      From somewhere down the table, KARL (50) a Preppy Businessman      CALLS OUT; joking.                          KARL                There's a word he's heard before!                                                   50.     The room LAUGHS. Big smiles; tight. Carrie leans in.                         CARRIE               Who is that again?                         BIG               Karl... a partner at the firm.                         CARRIE               Karl's kind of a jerk.                         KARL                   (Calling)               You know what they say -- three               times a charm!                         SAMANTHA                   (Calling to Karl)               Hey "dick wad"... I'm speaking.                            CARRIE               Whooo!                         SAMANTHA               Now. There were times when we had               our doubt about this gorgeous man.               But after careful observation over               the last hundred years, my doubts               are over.                   (Lifts glass high)               So... here's to the groom. A man               who finally got "Carrie-d" away.     Big is touched. Then Karl feels the need to add:                         KARL               Here's hopin', John!     Big smiles, he has no choice. He raises his glass.                            CARRIE                   (Soft)               Jackass.65   EXT. BUDDAKAN RESTAURANT -- LATER                           65     Samantha is out front with Big, Harry and Smith. They are     smoking cigars.                         BIG               Quite a toast, Samantha.                                                   51.                         SAMANTHA               Well, you're quite a guy.     They chuckle, then -- Samantha's smile fades.                         SAMANTHA (CONT'D)               Steve.     The men turn as Steve approaches. He has a look of real pain     and guilt and embarrassment on his face.                         STEVE               I don't want to bother you all --                         BIG               You're not bothering us.                         STEVE               But --- I need to talk to Miranda.               Samantha, could you -- ask her to               come out. I don't want to go in.               It's a party and all.     Samantha is trapped... trapped and touched.66   INT. BUDDAKAN RESTAUANT -- MOMENTS LATER                    66     Miranda comes out of the ladies room. Samantha spots her.                         MIRANDA               Hi. I haven't talked to you all               night.                         SAMANTHA               Steve's here.     The blood drains from Miranda's face. Samantha nods.67   EXT. BUDDAKAN RESTAURANT -- MOMENTS LATER                   67     Steve is standing with Smith, Big and Harry as Miranda comes     out of the restaurant -- Samantha looks out from inside.                         MIRANDA               Could you give us --     The guys go inside. Samantha gives Miranda a look and leads     them away. Miranda turns. She glares at Steve.                                                   52.                         STEVE               You didn't leave me any choice. You               won't return my calls -- You only               talk to me in front of the baby               when you know I can't say anything.                         MIRANDA               What could you possibly have to say               that could make it better?                         STEVE               Miranda, please... It was just that               one time. Please -- I love you --                         MIRANDA               You broke us! You broke us. What we               had is broken!     Three YOUNG SINGLE GIRLS (25) walk past them into the club.     They look back at the scene. Miranda looks down at the     ground. Steve is paralyzed. Miranda turns to leave -- looks     back at him with daggers and hurt.                         MIRANDA (CONT'D)               I changed who I was for you.     Miranda goes inside. Steve is a stone.68   INT. BUDDAKAN RESTAURANT -- LATER                           68     Miranda makes her way through the crowded bar. She looks very     rattled. Big spots her and follows, gently.                         BIG               Hey. Are you alright?                         MIRANDA               No, I'm not alright. You two are               crazy to get married. Marriage               ruins everything.     Miranda walks away, upset. He stands there; shaken.69   INT. BUDDAKAN RESTAURANT -- LATER                           69     Big is at the bar having a scotch. Carrie hurries over to     him. She leans in and puts her arm on his back.                         CARRIE               There you are. I thought you               skipped out on me.                                                     53.     She smiles, kisses him. He smiles, sips his scotch.                         CARRIE (CONT'D)               Well, the all-gal sleepover is               about to commence. You gonna miss               me?                         BIG               Don't go. Spend the night with me.                         CARRIE               Oh... One night won't kill you. And               tomorrow you get to have me for the               rest of your life.     He sips his scotch. She looks at him, sees a glimmer of     something. Something that scares her.                         CARRIE (CONT'D)               Is everything okay?     He looks over -- sees her face. Scared.                         BIG               I'm just tired -- I guess.     Carrie reaches up and fixes Big's hair.                          CARRIE               Go home and sleep.                   (beat)               Now, give me a kiss good night.               Make it good -- it's the last               single girl kiss.     He looks at her as if to say something, then kisses her.70   INT. CHARLOTTE'S APARTMENT/BEDROOM -- LATER -- FALL          70     Carrie sits on the bed surrounded by Charlotte, Samantha, and     Miranda all wearing matching robes. Laying on the floor near     the bed -- three open gift boxes and ribbons. Lily sits in     Carrie's lap playing with Carrie's cell phone -- in her PJ's.                         CARRIE (V.O.)               There we sat... like a scene out of               Louisa May Alcott's: "Not-so Little               Women."                         CHARLOTTE               I always knew she would marry Big.                                              54.                    SAMANTHA/MIRANDA          You did not!                    CHARLOTTE          Yes I did! After every break-up I          secretly thought: Nope. They belong          together.                    SAMANTHA          You thought that after the second          break-up?                    CHARLOTTE          Yep.                    MIRANDA          After the fifteenth?                    CARRIE          Ha ha -- hilarious -- we broke up a          lot.                    SAMANTHA          Yes, but... after the break-ups --          comes the hot make-up sex.Charlotte pokes Samantha; indicates Lily. Samantha rolls hereyes. Carrie's cell phone RINGS. Lily wants to answer it.                    CARRIE          You want to answer? Go ahead,          sweetie... Open it up...Lily opens it and holds it up to her face, silent.                    CARRIE (CONT'D)          Say something.                    LILY          Sex.They are all shocked; then: LAUGHTER, even Charlotte.                    CARRIE          Sweetie, that was your first bootie          call.                    SAMANTHA          Are you sure she's not my child?Carrie, still laughing, wipes a tear away as she takes thephone from Lily and answers it.                                                    55.                          CARRIE               Hello?71   INT. BIG'S SUBLET -- CONTINUOUS -- FALL                     71     Big is sitting at the desk, a piece of paper on it.                          BIG               It's me.                         CARRIE               Oh my God -- did you just hear               Lily?                         BIG               Hey -- I need to talk.     Carrie puts her hand to her ear, blocking the laughter.                         BIG (CONT'D)               I'm sitting here trying to write               these vows and...                   (beat; then)               Is this something we really want to               do?     Carrie gets out of bed; playing it "casual" to the girls.                         CARRIE               It's Big. I'm gonna take it in the--     She points to the study. Charlotte calls to the phone.                         CHARLOTTE                   (calling; silly)               Get some sleep, groomie!     Carrie goes into the study and closes the door.72   INT. CHARLOTTE'S APARTMENT/STUDY -- CONTINUOUS -- FALL      72     Carrie leans against the door, her face now concerned.                         CARRIE               What's the matter?                          BIG               It's just -- everything is great as               it is.                   (beat)               I don't want to screw it up.                                              56.                       CARRIE          You won't.                    BIG          I screwed it up twice before.Big is silent. Carrie is thinking, thinking, thinking.                    CARRIE          Here's the thing. This is me that          you're marrying tomorrow. Me.          Nobody else.                       BIG          Yeah.                    CARRIE          And I'm marrying you. It's me and          you. And you want to know the good          news there?                       BIG          Yeah.                    CARRIE          We've already both done everything          we can to screw it up.He smiles. She is very alert -- thinking, thinking.                    CARRIE (CONT'D)          Is that a smile I'm hearing?                       BIG          Yeah.                     CARRIE          Now, it sounds to me like you've          got a bit of writer's block on the          vow front.                       BIG          Yeah.                    CARRIE          And I find - you know - as a          professional writer- it's best to          just, you know, stop thinking about          it so much -- and go to bed. And in          the morning...                    BIG          You know what to do?                                                    57.                         CARRIE               Exactly. And if not -- Just write               this: "I will love you." Simple and               to-the-point. And I swear I won't               even try to take credit for it.     Silence. Deep silence.                         CARRIE (CONT'D)               You're going to bed now, right?                         BIG               Okay. Good night.                         CARRIE               I'll see you tomorrow. Hey. Me and               you.     He hangs up. She looks terrified.73   INT. CHARLOTTE'S APARTMENT/BEDROOM -- LATER                 73     Dark. Charlotte and Carrie are sharing the bed. Carrie is     wide awake. Here eyes focused across the room on her gorgeous     wedding gown: ready and waiting.74   INT. CHARLOTTE'S APARTMENT/HALLWAY -- NEXT DAY -- FALL      74     Miranda is standing in the hall putting on her earrings. The     bedroom door opens -- Carrie stands there in the wedding     gown. Carrie and Miranda catch eyes for a brief moment. There     are no words.     Lily steps around from behind Carrie. She is wearing a long     white dress and holding a LITTLE PURSE. She looks adorable.                         CARRIE               There you are! Almost lost you               under all that. Got your purse?     Charlotte takes Lily's hand as Anthony comes out of the     dining room and spots Carrie for the first time.                         ANTHONY               Now there's a bride! Flowers!75   INT. CHARLOTTE'S APARTMENT/DINING ROOM -- LATER             75     A flurry of activity -- attaching the veil on Carrie.     Stanford stands near Carrie ready to assist if needed.                                               57A.Harry stands in the pantry doorway watching -- eating atoasted bagel. Charlotte takes a bite -- carefully.                                                    58.                         CARRIE               Whose got a mirror?                         CHARLOTTE               Behind you.     Carrie turns to move to the mirror. She is JERKED BACK.                         CARRIE               Stanford, you're on my dress.                         ANTHONY               Get off the dress!                         MIRANDA               Is that a rip?                         CARRIE/ANTHONY               Where?!     Carrie's CELL PHONE RINGS. Anthony reaches over and picks it     up, distracted by the dress situation.                         ANTHONY                   (sharp; into phone)               What?76   INT. BIG'S SUBLET -- CONTINUOUS -- FALL                     76     Intercut with Big... pacing. He doesn't look rested.                         BIG               Can you put Carrie on, please?                         ANTHONY               Not now... dress emergency.     Anthony hangs up, tosses her phone onto the dining table.                         ANTHONY (CONT'D)               Damage? What's the damage?                         SAMANTHA               There's so much fabric I can't see.                         ANTHONY               Can't see anything behind this               friggin' table. Go, go -- everyone               out into the hall.     As the girls start out -- Anthony addresses Stanford.                                             58A.                    ANTHONY (CONT'D)          You're a queen -- you should know          how to step around a gown.                    STANFORD          Don't call me a queen.                    ANTHONY          Go -- Out in the hall, your          highness.Everyone except for Lily moves out into the hall.                                                     59.     Carrie's cell RINGS AGAIN. Lily picks it up, opens it and     holds it up to her face -- She says nothing.77   INT. BIG'S SUBLET -- CONTINUOUS -- FALL                      77     Big is standing there. He hears only Lily breathing.                         BIG               Hello?     Lily closes the cell phone. Big reacts, puzzled. She opens     her little purse, drops the phone in and walks out.78   EXT. CHARLOTTE'S APARTMENT -- LATER -- FALL                  78     Carries and company leave the building, JADED NEW YORKERS     passing by react with awe at the beautiful sight.     CHARLOTTE leads Lily over to HARRY who is waiting by the     Sedan. He makes a fuss over how cute she looks.79   EXT. BIG'S SUBLET -- CONTINUOUS -- FALL                      79     Big's driver RAOUL (55) is waiting out front next to his car,     smoking. Big leaves his building talking on his phone.                         CARRIE (V.O.)               It's Carrie... leave me a message.                         BIG               Why aren't you calling me back? I               really need to talk to you. Call me               back as soon as you get this.     He closes phone. Raoul opens the back door.80   INT. LIBRARY -- LATER -- FALL                                80     WEDDING GUESTS arrive. Bitsy comes up to Stanford. A DRIVER     follows her carrying a LARGE box from TIFFANY.                         STANFORD               Looks like someone had breakfast at               Tiffany.                         BITSY               Sweetheart, look at the size...               it's breakfast, lunch and dinner at               Tiffany.                         (MORE)                                             59A.                       BITSY (CONT'D)              (beat)          Gifts?Stanford chuckles as he points. She points to the DRIVER andthey walk away. Anthony comes over to Stanford.                    ANTHONY          We have a problem.                    STANFORD          I know, but for Carrie's sake I've          decided to ignore your attitude.                    ANTHONY          No, a real problem. They're not          here.                    STANFORD          They're probably stuck in traffic.                    ANTHONY          Both of them?                                                    60.     Stanford gives a look of concern. Anthony nods.81   EXT. LIBRARY -- LATER -- FALL                               81     Big's car is parked in front of the library. Raoul is leaning     against it looking at his watch.82   INT. BIG'S CAR - CONTINUOUS -- FALL                         82     Big is on the phone, smoking one of Raoul's cigarettes.                         CARRIE (V.O.)               This is Carrie, leave a message.                         BIG               I'm out front -- waiting. I can't               go in without you.     He takes a drag on the cigarette. Exhales.                         BIG (CONT'D)               Baby, this whole bride and groom               thing has really thrown me. I need               to know that it's still us. Just               like you said. Me and you.     Raoul KNOCKS on the window. Big looks out. The girls are in     the process of climbing out of the limo. Big closes the phone     and looks. Carrie gets out of the limo, her back to him.                         BIG (CONT'D)               Turn around baby, let me see you.     Just as he's about to see her face -- Charlotte pulls the     veil over it. Carrie is gone -- all Big can see is a bride.     He sinks back into his seat and away from the window as the     girls hurry up the library stairs.83   INT. LIBRARY/WEDDING AREA -- MOMENTS LATER -- FALL          83     Anthony and Stanford are waiting, as are Harry with Lily and     Magda with Brady, who is wearing a little tux with shorts and     knee socks holding a ring pillow.     A FLURRY OF HIGH HEELS CLICKING on a marble floor is heard as     Carrie and the girls arrive around a corner. Magda GASPS,     overjoyed when she sees Carrie in her dress.                         MIRANDA               Traffic was the worst --                                                     61.     Miranda kneels to hug Brady. Samantha fluffs Carrie.                         SAMANTHA               Ready. We're ready.     Samantha looks over. Anthony has a weird look on his face.                         STANFORD               He's not here yet.                            SAMANTHA               Who's not?                            ANTHONY               The groom.     Carrie lifts up her veil with ONE arm and looks out from     under it. She is on super high-alert.                         CARRIE               What's happening?                         SAMANTHA               Big's not here.                         CHARLOTTE               But we're twenty-five minutes late.                         CARRIE               Did anyone call him?                   (beat; nothing)               Give me a phone. Someone give me a               phone.     Samantha hands her the iPhone. Carrie looks at it.                         CARRIE (CONT'D)                   (tight/controlled)               I don't know how to work this.     Stanford hands her a phone. As she dials she catches a     WORRIED LOOK on Charlotte's face. Carrie turns away and holds     the phone to her ear, waits. Waits. Then --                         CARRIE (CONT'D)                   (into phone)               Are you okay?84   INT. BIG'S CAR -- CONTINUOUS -- FALL                         84     Big is sitting in the car as it MOVES down a side street.                                           61A.                  BIG        I've been calling you for an hour.        Why haven't you been answering your        phone?                                                    62.                          CARRIE                   (anxiety escaping)               I don't know where my phone is!                   (beat)               What is going on? Where are you?                         BIG                   (beat; then)               I was out front --but I just left.               I can't do this.                         CARRIE                   (in pain)               Oh my God --     Carrie drops the phone from her ear -- She's heard the words.     The words on some level she was expecting.                         CARRIE (CONT'D)               He's not coming. Oh my God.     The phone slips out of her hand and lands on the floor.     Charlotte, Miranda, and Samantha don't know what to do.                         SAMANTHA               What do you mean he's not coming?                         CARRIE               Get me out of here.                   (beat; a plea)               -- Get me out of here!                         SAMANTHA               Go, go. You take her. I'll stay               here and deal with this --     She gestures to the wedding area. Miranda and Charlotte take     Carrie's arms and quickly start moving her away. Horror on     all of their faces. Brady CALLS after them, his voice ECHOES     off the marble.                         BRADY               Where you going, Mommy?!     Samantha looks at Stanford and Anthony -- speechless.85   EXT. LIBRARY -- MOMENTS LATER -- FALL                       85     The LIMO DRIVER slams the limo door. Carrie is seen through     the window, sitting in back -- stunned. Miranda and Charlotte     are in the back next to her -- stunned.                                                   63.86   INT. BIG'S CAR -- CONTINUOUS -- FALL                         86     Big sits, pale, staring off as the car drives away.                         BIG                   (sudden realization)               What the fuck am I doing? What the               fuck am I doing?                   (to Raoul)               Turn around and go back.                         RAOUL               It's a one way street. I have to go               around the block.                         BIG               By the time we go around the block               she'll be gone. No one's behind us -               - Turn around!87   EXT. 41ST STREET -- CONTINUOUS -- FALL                       87     Big's car makes a QUICK three-point turn and starts back up     the one-way street as Carrie's limo turns onto it.88   INT. BIG'S CAR -- CONTINUOUS -- FALL                         88     Raoul sees the limo -- coming.                         RAOUL               I think this is them.                         BIG               Pull over. Pull over.     Big's car pulls over, as the limo approaches. Big powers down     his window -- as the limo passes, he sees Carrie in the     window --resting her head against the glass, listless.                         BIG (CONT'D)               Carrie!     Carrie looks up, and see's Big. He smiles an apologetically     smile. Her limo keeps on moving. Big watches it go. Until...89   EXT. 41ST STREET -- CONTINUOUS -- FALL                       89     The limo SCREECHES to a halt. The back door flies open and     Carrie almost leaps out. Big sees her, he looks relieved.                                              64.She hurries up the street to Big's car holding her bouquet.Big gets out of his car just as Carrie reaches him.                    BIG          I freaked out for a minute -- but --          I'm ready now --Carrie HITS him with her bouquet. It's a violent direct hiton his face. He recoils. She hits him again, hard... awounded sound escaping her throat.                    BIG (CONT'D)          Carrie!She hits him again. He ducks back into the car forprotection. She hits the bouquet on the roof of the car --the flowers start breaking apart and flying everywhere.                    CARRIE          I knew you would do this -- I knew          it!Miranda reaches Carrie and holds her back by her waist. Biggets back out of the car and starts over to her.                    BIG          I'm sorry -- I just --With all she has left, she throws the broken bouquet at him.                    CARRIE          You left! I am humiliated!Carrie starts crying. Charlotte has arrived. Carrie turns andfalls into her arms. Miranda and Charlotte lead her away. Bigstarts over to follow.                    BIG          Carrie, wait --Charlotte whips her head around and stares him down.                    CHARLOTTE          No!He stops in his tracks. A WAITRESS (20's) at the Brant ParkCafe nearby "over-pours" water into a CUSTOMER'S glass --riveted by the scene. Miranda and Charlotte move Carrie backinto the limo. A CAB comes down the street and HONKS at Bigstanding in the road; dazed.                                                  64A.90   INT. CHARLOTTE'S APARTMENT/STUDY -- LATER -- FALL           90     Carrie sits in a chair. She is holding a glass and has an     Hermes blanket wrapped around her.                                               65.Miranda sits nearby holding a bottle of vodka. Samanthapaces, working on her iPHONE.                    CARRIE          I thought I would still be in          extreme pain but I'm feeling          nothing.Carrie reaches over and holds out her glass.                    CARRIE (CONT'D)          I'd like a little more nothing.Miranda nods and pours some more vodka into it...                    CARRIE (V.O.) (CONT'D)          I had gone from Little Women to          Little Drunk Women.Charlotte enters and looks over at Carrie, soulfully.                    CARRIE (CONT'D)          Yes, I'm still jilted.                    SAMANTHA          What the hell got into him? He was          perfectly fine at the dinner.Miranda sips her vodka -- should she say anything?                    CARRIE          I knew it when he called last          night. I could tell.                    SAMANTHA          Why didn't you say anything?She shrugs and sips.                     CARRIE          Didn't want to believe it. Didn't          even want to say it out loud.              (beat)          And now I have nowhere to love --              (beat; then)          I meant live. I have nowhere to          live.                    CHARLOTTE          You'll stay here.                       CARRIE          Forever.                                             65A.She sips. Charlotte looks at her, concerned.                                              66.                    CHARLOTTE          Maybe you should eat something.She shakes her head. Charlotte looks at the others.                    CHARLOTTE (CONT'D)          Anyone hungry?They shake their heads; no.                    CARRIE          Well, if you change your minds, I          know where we can get one hundred          beef, seventy-five fish and twenty-          five vegetarian meals.She sips. Charlotte rubs her back. She sips.                    CARRIE (CONT'D)          And my clothes. All my clothes. I          can never go over there again. How          am I going to get my clothes?                    SAMANTHA          Oh, honey -- I can hire people to          do all that. Anything you need.                     CARRIE          A hit man?              (beat)          I have nothing to wear but a          wedding gown.                    CHARLOTTE          You have your honeymoon stuff here.                    CARRIE          There's the silver lining. A          honeymoon to a romantic Mexican          resort that's pre-paid on my credit          card because I wanted to surprise          the man who jilted me.                    SAMANTHA          I can get you out of that. Worse          comes to worse -- I'll say there          was a death or something.                    CARRIE          Wasn't there?She sips, looking sad.                                                   66A.90A   INT. CHARLOTTE'S APARTMENT/LILY'S ROOM -- LATER           90A      Charlotte leans down and tucks in the sleeping Lily. She      picks up a "Chinese baby doll" and nestles it under Lily's      arm, then turns and starts out.                                                     67.91   INT. CHARLOTTE'S APARTMENT/HALLWAY -- CONTINUOUS             91     Miranda is standing in the hall as Charlotte enters from     Lily's room.                         MIRANDA               I did something really bad -- I               think.     Charlotte looks at her.                         MIRANDA (CONT'D)               I said something to Big. At the               rehearsal dinner.                         CHARLOTTE               What do you mean?                         MIRANDA               It was right after Steve showed up.               I was upset... Big came up to me --               and I said something like: You're               crazy to get married.                   (off her look)               It just came out.     Charlotte nods trying to understand.                         MIRANDA (CONT'D)               Do you think it was totally the               reason?                         CHARLOTTE                   (cutting her a break)               No, no, no. Big has been weird               about marriage for years.                         MIRANDA               I keep thinking I should tell               Carrie.                         CHARLOTTE               No, no. This is a really bad time               to even mention it - no, no, no.               Find another time. Later.     Samantha comes down the hall. She is energized.                         SAMANTHA               Well, turns out, I couldn't get her               out of the honeymoon -- but I got               us in.                                                   68.                         MIRANDA               What?                         SAMANTHA               I just booked us three seats on the               flight. Mexico here we come.     Charlotte and Miranda react; completely thrown.                         MIRANDA               I can't go to Mexico. I have a job.     Samantha indicates Carrie -- sitting in the den staring off     to nowhere, deeply sad -- Devastated.92   EXT. MEXICAN RESORT/ROAD -- SUNSET                           92     A lush tropical road with a view of the sun setting on the     ocean. A large open air GOLF CART comes around the bend     holding the girls. Carrie's hair blows in the breeze, her     sunglasses firmly in place.93   EXT. MEXICAN RESORT/HOUSE -- A LITTLE LATER                  93     A gorgeous romantic private house surrounded by tropical     splendor. The cart arrives in front. The DOORS are open and     PAULO (38) the BUTLER stands there holding a tray with two     beautiful tropical drinks. He is surprised when he sees the     four women, but he covers, effortlessly.                         PAULO               Welcome to Mexico.                         SAMANTHA               Buenos dias.     Carrie gets out of the cart and goes into the house --     followed by Charlotte and Miranda. Samantha arrives and picks     up a drink off the tray.                         PAULO               I'm sorry. I am confused. I am               waiting for a Mr. And Mrs. Preston.                         SAMANTHA               Honey, you'll be waiting for a long               time.     She sips the drink, then looks at him, "familiar."                                                   69.                         SAMANTHA (CONT'D)               We'll talk.94   INT. MEXICAN RESORT HOUSE/MAIN ROOM -- CONTINUOUS          94     Charlotte and Miranda stand looking at the gorgeous, romantic     private Mexican bungalow. Samantha enters; looks.                          SAMANTHA               This... will kill her.                   (beat)               Where is she?                         CHARLOTTE               In the powder room.95   INT. MEXICAN RESORT HOUSE/POWDER ROOM -- CONTINUOUS        95     Carrie stands looking in the mirror. She takes off her     sunglasses. Her eyes are red, red, red. She splashes water on     her face and looks at herself in the beautiful Mexican     mirror.96   INT. MEXICAN RESORT HOUSE/MASTER BEDROOM -- MOMENTS LATER 96     Paulo leads Miranda, Charlotte, and Samantha into the     romantic bedroom suite. On the bed -- rose petals are     scattered in the shape of a large heart.                            MIRANDA               Oh My God!     Miranda and Charlotte quickly grab the bed cover and jerk it     up -- throwing all the rose petals off. Paulo watches.     Miranda addresses him in a very intense WHISPER.                         MIRANDA (CONT'D)               No more honeymoon stuff. This is               very important. Have I made myself               clear?97   INT. MEXICAN RESORT HOUSE -- CONTINUOUS                    97     Carrie exits the powder room, her sunglasses in her hand. She     stands in the entry way; alone. She looks out at the main     room; the beautiful view, the romance. Her eyes start to     water. A PORTER enters with the bags. Carrie hides her face,     acknowledging him with a nod.                                                     70.98    INT. MEXICAN RESORT HOUSE/MASTER BEDROOM -- CONTINUOUS       98      Carrie enters and moves directly to the bed, past Charlotte      where Miranda is sitting talking on her cell.                          MIRANDA                Magda -- I'll talk to you tomorrow      Miranda hangs up as Carrie crawls onto the bed and lays down.      The pink sunset light floods across her face.                          SAMANTHA                Well, it's a gorgeous sunset.                          CARRIE                Close the shutters.      Paulo moves over to the window and starts closing the      shutters. The sun is slowly shuttered out.                          CARRIE (CONT'D)                All of them.      Carrie closes her eyes. DARKNESS falls across her face.99    INT. MEXICAN RESORT HOUSE/MASTER BEDROOM -- MORNING          99      The room is dark except for the bright sunlight straining to      get in between the cracks of the closed shutters. Carrie is      asleep. Miranda sits on the bed. Carrie stirs, half waking...      Miranda smiles.                           MIRANDA                Morning.                          CARRIE                Did I dream it?      Miranda shakes her head, no. Carrie closes her eyes, falls      back asleep.100   INT. MEXICAN RESORT HOUSE/MASTER BEDROOM -- DUSK           100      Dark. Carrie is still asleep. Charlotte sits on the bed. She      gently shakes Carrie. Carrie opens her eyes.                          CHARLOTTE                Carrie, it's dinner time. You slept                the whole day.                                                    71.                             CARRIE                So?      Carrie closes her eyes. Charlotte exhales, concerned.101   INT. MEXICAN RESORT HOUSE/MASTER BEDROOM -- MORNING         101      A "tingling of glass" sound wakes Carrie. She opens her eyes      and looks. Samantha is just sitting on the bed with a      breakfast tray.                           SAMANTHA                Honey, you have to eat a little                breakfast.                             CARRIE                I'm tired.                          SAMANTHA                Eat something and you can go back                to sleep.      Samantha holds up a bowl of yogurt. Carrie adjusts on her      pillows a little. Samantha feeds Carrie a spoonful of yogurt.      Carrie looks at her. Samantha nods.102   EXT. MEXICAN RESORT HOUSE/PATIO -- LATER                    102      Samantha, Miranda and Charlotte are sitting having lunch.      Charlotte opens a pre-packaged "snack pack" chocolate      pudding. She peels the lid off, takes a spoon and starts      eating.                          SAMANTHA                With all this gorgeous fresh food                you're just going to eat that                pudding crap the entire trip?                          CHARLOTTE                It's the only thing in the pantry                that's totally safe.                    (holding up lid)                See. Made in Poughkeepsie. I don't                want to chance it.                          MIRANDA                It's a five-star resort.                          CHARLOTTE                It's Mexico.                                                    72.      The bedroom door opens. Carrie walks out. The sun hits her      eyes. She squints.                          CHARLOTTE (CONT'D)                Carrie!                          CARRIE                Is there coffee?103   EXT. MEXICAN RESORT HOUSE/PATIO -- LATER                  103      All four girls are laying in the sun in bathing suits reading      magazines. Miranda re-adjusts her body, stretching out on her      beach chair.                          MIRANDA                The sun feels nice.      Samantha looks over at her and notices something.                          SAMANTHA                Jesus, honey. Wax much?      Miranda looks up at Samantha. Samantha indicates her swimsuit      crotch area...which is badly in need of a wax. Miranda grabs      her towel and covers her crotch area.                          MIRANDA                -- What? I didn't know I was going                to be in a swimsuit.      Carrie and Charlotte look up from their magazines.                          CHARLOTTE                What are you talking about?                          MIRANDA                I forgot to get a wax.                          SAMANTHA                Since when -- 1998?      Carrie looks away, resumes reading.                          MIRANDA                I've had other things on my mind.                          SAMANTHA                I could be on death row and not                have that situation.                                              73.                    MIRANDA          Well, when you're married, Samantha          -- you have a different set of          priorities.                     SAMANTHA          Honey don't blame marriage --              (re: Charlotte)          This one's married -- and she's not          growing a national forest. How do          you even cross your legs?              (beat)          Let me make you a spa appointment --          Any thicker and you won't be able          to find it.Miranda gets up from the chair and looks at her, mad.                    MIRANDA          So what -- It's my fault?! I let          the sex go out of our marriage! I          deserve what I got. Thanks for          understanding.She walks away. Samantha calls after her.                    SAMANTHA          Honey, I'm sorry. That's not what --                      MIRANDA          I'm fine!Miranda goes inside. Carries throws her magazine down.                    CARRIE          Let's go down to the hotel for          dinner on the beach tonight.                      CHARLOTTE          Really?                    CARRIE          Yeah. I've got to do something to          pull me out of my Mexicoma.                    SAMANTHA          Oh, honey... you made a little          joke. Good for you.Samantha nods. Charlotte smiles; encouraged.                                                    74.104   EXT. MEXICAN RESORT/HOTEL RESTAURANT -- LATER             104      A romantic open-air restaurant on the beach. A MARIACHI BAND      is serenading HONEYMOON COUPLES. A MALE HOST leads the girls      across the small dance floor to their table. As they walk      Miranda notices a slow dancing TWENTY-SOMETHING HONEYMOON      COUPLE kissing -- very much in love.                          MIRANDA                    (to Carrie)                Don't look to your --                            CARRIE                Too late.      They arrive at their table and the host places down MENUS.      FELIX, (40) the waiter comes up to them.                          MAITRE' D                Buenos notches. My name is Felix,                I`ll be your server.                          SAMANTHA                    (to Felix)                Felix -- We'll start with quatro                margaritas.                          CHARLOTTE                No, I'm not drinking. Just bottled                water.                          CARRIE                    (to waiter)                I'll drink hers.                          FELIX                May I have your room numbers?                          CARRIE                We're staying in one of the private                houses. Number three.      He looks down onto a list he is holding, then up to Carrie.                          MAITRE' D                Very good, Mrs. Preston.      The waiter smiles and walks away.                          CARRIE                That was like taking a bullet.                                                    74A.       Miranda, Samantha, and Carrie look at the menu. Charlotte       reaches into her purse and pulls out a little pudding and       places it on the table. They all look at her.                           MIRANDA                 Charlotte had pudding in her Prada.       Samantha laughs. Miranda smiles. Carrie looks.                           CARRIE                 Will I ever laugh again?                     (beat; then)                 I'm serious.                           MIRANDA                 Yes.                           CARRIE                 When?                           MIRANDA                 When something is really, really                 funny.       The Mariachi band strolls by playing.                           CARRIE                 Thank god for that Mariachi band or                 I'd be able to hear my own                 thoughts.       Felix re-enters with the drinks.                           SAMANTHA                 Fabulous -- and keep them coming.104A   EXT. MEXICAN RESORT/HOTEL RESTAURANT -- LATER            104A       Food is on the table -- but Carrie, Miranda and Samantha are       mostly drinking. Charlotte is eating her pudding.                            CARRIE                 After everything I know... After                 twenty years of everything we've                 learned -- I threw it all away for                 the thrill of putting his name on                 the honeymoon suite.                     (beat)                 If I met me now -- I wouldn't know                 me.                                             74B.                     SAMANTHA          Well, as long as we're going down          this road.They look at her -- she sips her cocktail.                    SAMANTHA (CONT'D)          I can't believe my life revolves          around a man. On what planet did I          allow that to happen?                    CHARLOTTE          You love him.                    SAMANTHA          Does that mean saying his name          fifty times more a day than I say          my own? Does it mean worrying about          him and his needs before me and          mine? Is it all about the other          person? Is that love?                    MIRANDA          No, that's marriage.                    CARRIE          So, you're saying marriage is a bad          thing? Good to know right about          now.Samantha looks down at her gardenia ring.                    SAMANTHA          Even this ring. I wanted to buy          this for myself. That meant          something to me. To be able to do          that. Then, he buys it for me.                    CHARLOTTE          Because he knew how much you loved          it.                    SAMANTHA          Yes. But now, every time I look          down at it... I see him. Not me.                    CHARLOTTE          You could look at it and see a man          who loves you and wants you to be          happy.                    SAMANTHA          No, you could look at it and see          that. I'm Samantha.                                                    74C.       The Waiter walks over --                           SAMANTHA (CONT'D)                 We'll take another round.                            CHARLOTTE                 Another?                           SAMANTHA                 Relax -- we're on vacation.                            CARRIE                 Technically -- we're on my                 honeymoon.                            MIRANDA                 No-- I think we're on their                 honeymoon.       She points to the TWENTY-SOMETHING COUPLE at a nearby table--       who have progressed to graphic French kissing.                           MIRANDA (CONT'D)                     (call to them)                 It's all so hot -- three days in.104B   EXT. MEXICAN RESORT/HOTEL RESTAURANT -- LATER            104B       The GIRLS are pretty much the only ones left in the       restaurant. Empty drink glasses.                           CARRIE                 He couldn't get out of the car.                 After everything he'd already put                 me through -- he couldn't make the                 effort and get out of the car? I                 made the effort -- I put a bird on                 my head.                           MIRANDA                 Was that what that was?                            CARRIE                 Yes.                           MIRANDA                 I thought it was just feathers.                           CARRIE                 No. It was a bird.                           CHARLOTTE                 It was beautiful.                                             74D.                    CARRIE          He's a bad guy. Always was. Bad          guys do bad things.                    MIRANDA          And good guys do bad things. The          good guys screw you and the bad          guys screw you.                    SAMANTHA          And the rest of them don't know how          to screw you. Trust me-- I've done          the leg work.                    MIRANDA          And that was all Steve had --          didn't have money -- didn't have a          career. He was the good guy          bartender with a big dick.The all look over at her and react.                       SAMANTHA          How big?                    CHARLOTTE          I don't want to know this.                    SAMANTHA          Eat your pudding.                    MIRANDA          Nine. Like -- nine and change.                    CARRIE          That's nice. Kinda balances off the          one ball.                    SAMANTHA          You can't forgive a man with a dick          over nine inches?              (off Miranda's "no")          Well, honey, if you can't -- some          other woman will.Felix comes up to the table.                    FELIX          Ladies -- the bar is closing.                       CHARLOTTE          Thank God.                                                    74E.                           CARRIE                     (to Felix)                 Mrs. Preston will take the check.                           SAMANTHA                 And a bottle of tequila.       Charlotte's eyes widen. Felix nods.104C   EXT. MEXICAN RESORT/HOTEL RESTAURANT -- LATER            104C       The STAFF are stacking chairs -- The Mariachi band plays.       Carrie, Miranda and Samantha are on the beach wading into the       water. Charlotte is just off the dance floor -- holding their       shoes.                           CHARLOTTE                     (calling)                 Don't go all the way in -- there                 may be sharks!                                                 75-76.106   EXT. MEXICAN RESORT HOUSE/PATIO -- DAY                    106      Carrie, Miranda and Samantha are laying in the shade. Miranda      is working on her laptop. Carrie is cautiously studying her      cell phone. She reads the message "window".                          CARRIE                "Mail box full."                          SAMANTHA                No time like the present.                          CARRIE                Not ready to face it all yet.      Carrie puts down the phone. Charlotte walks out of the house      wearing a workout outfit.                                                      77.                          CHARLOTTE                I'm going for a run and then to the                gym for pilates. Anyone want to --      They all shake their heads: no. Charlotte trots away.                          MIRANDA                Good news. Just got an e mail from                your buyer's attorney -- they have                agreed to sell you back your old                apartment at that escalated price.                    (reading)                And "are willing to vacate by the                time you return -- pending an                additional financial offer."                          CARRIE                Well, apparently you can go home                again -- but it'll cost you.                          SAMANTHA                Now -- lets work on getting your                things there.      Samantha picks up her iPhone and starts working as Miranda      types an e mail response. Carrie watches them; touched.                          CARRIE                You two could rule the world.107   INT. RESORT/GYM CHANGING ROOM-- CONTINUOUS                  107      Charlotte is showering after her workout.                          CARRIE (V.O.)                After her workout Charlotte                couldn't help but think about how                truly blessed she was. This week                had made her feel more grateful                than ever for her happy marriage.      Charlotte closes her eyes, lets the water flow over her.                          CARRIE (V.O.) (CONT'D)                And while picturing her loved ones                at home in New York, she forgot                where she was...      Charlotte opens her mouth, shower water goes in.                          CARRIE (V.O.) (CONT'D)                And opened her mouth.                                                     78.      Charlotte suddenly realizes what she's done. She spits the      water out. A panicked look on her face.108   EXT. MEXICAN RESORT/PATH -- LATER                            108      Charlotte walks along, looking refreshed. There's a GURGLING      sound in her stomach. Her eyes WIDEN. She walks quickly.109   EXT. MEXICAN RESORT/PATH -- MOMENTS LATER                    109      Charlotte is moving oddly. Walking on the balls of her feet.      She passes a WORKER who is pruning the bushes.                          WORKER                Hello Miss.      Charlotte shakes her head; not now. He looks at her.110   EXT. MEXICAN RESORT HOUSE/PATIO -- MOMENTS LATER             110      Carrie and Samantha sit reading. Charlotte hurries across the      patio -- a CRAZED LOOK on her face.                          CARRIE                Sweetie -- what's --      She shakes her head: NO and moves quickly to a door.   She      tries the handle -- it's LOCKED. NO!                          SAMANTHA                That's locked -- Use the other--      Charlotte starts - but stops, cold. She has the look of a      trapped animal on her face. Then - BAM, BAM, BAM, BAM.      Charlotte's eyes WIDEN. They watch -- stunned.                          CARRIE (V.O.)                And just like that, Charlotte                Pookeepsed in her pants.      Miranda opens the door and stands there.    Takes in the scene.                           MIRANDA                Did you   --                          CHARLOTTE                Shut up, shut up, shut up.                                                    79.      Charlotte duck waddles across the patio to the open door.      Carrie, Samantha and Miranda look at each other. Carrie      BURSTS out laughing. She laughs till her eyes water.                          CARRIE (V.O.)                Miranda was right -- when something                was really, really funny -- I                laughed.111   EXT. MEXICAN CLIFFS -- LATER                                111      Carrie sits overlooking a magnificent view of the ocean. She      has her cell phone in her hand. She pushes a button and      listens to the first message.                          VOICEMAIL (V.O.)                First message. Received: Saturday,                September twentieth; twelve-thirty                P.M.                          BIG (V.O.)                Hey babe -- I need to talk to you                before you leave for the -- .      Carrie impulsively THROWS her phone off the cliff. It sails      through the air. The sun glistens off the pink crystals as it      falls to the ocean below.112   EXT. CARRIE'S BUILDING -- DAY -- FALL                       112      Raining. A MANHATTAN STORAGE TRUCK drives away from the front      of Carrie's building revealing... Carrie - standing in her      front doorway. She exhales, turns and walks back inside.113   INT. CARRIE'S APARTMENT -- MOMENTS LATER                    113      CARRIE swings open the front door -- her living room is      filled with boxes of her clothes, a few of her furniture      pieces -- many, beautifully wrapped wedding gifts -- and her      wedding gown.                          CARRIE (V.O.)                There was no better time I could                think of to hire and assistant.114   INT. STARBUCKS -- DAY -- FALL                               114      Carrie sits across from A SPOILED LABEL QUEEN (22) wearing      expensive clothes.                                                    80.                          SPOILED LABEL QUEEN                Ummm, no. I don't lift boxes. Yeah,                definitely - No.115   INT. STARBUCKS -- LATER -- FALL                             115      A LARGE PARTY GIRL (34) Low cut blouse; very relaxed.                           PARTY GIRL                I love your books. You're shit's                brilliant.                          CARRIE                Um, Cathy... You seem drunk.                           PARTY GIRL                Little bit. Never got to bed last                night.                    (beat)                But I type like a motherfucker.116   INT. STARBUCKS -- LATER -- FALL                             116      A mousey BUSINESS GUY (23) in a tweed suit and tie.                          BUSINESS GUY                I have a degree in finance from                Princeton and for the last two                years I have been assistant to a                V.P. at Merrill Lynch.                          CARRIE                    (polite/lost)                And why do you think you're right                for this job?      He glances at his feet. Carrie looks down. He is wearing high      heels.117   INT. STARBUCKS -- LATER -- FALL                             117      Louise (22) African-American -- she holds a LOUIS VUITTON      DENIM PURSE.                          CARRIE                So, you're from St. Louis?                          LOUISE                That's right. Louise from St.                Louis.                                              81.Carrie smiles, looks down at her resume.                     CARRIE          Have you ever been a personal          assistant?                    LOUISE          No, but I'm the oldest of six kids,          so I can pretty much handle          anything you got.                    CARRIE          Six kids? What was that like?                    LOUISE          Crowded. I had to move to New York          just to get some room. And where'd          I wind up? A one bedroom apartment          with three roommates.                    CARRIE              (laughs; then)          Aside from the space issue... why'd          you move to New York?                    LOUISE          To fall in love.Carrie is taken aback.                    LOUISE (CONT'D)          What? That's corny, right?                    CARRIE          No, it's just -- so -- honest. I          don't think I've ever heard anyone          say that in a long time.Louise looks at her, owns it. Carrie smiles, sold.                     CARRIE (CONT'D)          Well... Louise from St. Louis... I          have just one more question.              (beat)          How does an unemployed girl with          three roommates afford the          Patchwork Denim Bowley Louis          Vuitton bag?                    LOUISE          It's rented. "Bag, Borrow or          Steal." It's like Netflix for          purses.                                                     82.                          CARRIE                No! How can I not know about this?                          LOUISE                Girl, stick with me, I'll hook you                up.118   INT. CARRIE'S APARTMENT-- DAY -- FALL                       118      The room is now half-empty of the presents. Louise sits in      the middle of the clutter -- busy writing out note cards.                          CARRIE (V.O.)                And she did hook me up.119   INT. CARRIE'S APARTMENT -- DAY -- FALL                      119      The space is much more orderly. Louise is kneeling on the      floor taking books out of boxes and placing them on in piles      on the floor. Carrie enters -- amazed at the progress. Her      phone rings. Louise answers it instantly.                          LOUISE                Carrie Bradshaw... This is Louise.                    (listens; then repeats)                Anne From the New York Observer...      She looks over at Carrie, who shakes her head: No.                          LOUISE (CONT'D)                I'll let her know you called.      She hangs up and continues working. Carrie watches her.120   INT. CARRIE'S APARTMENT -- DAY -- FALL                      120      Louise directs two DELIVERY MEN who are carrying a NEW      MATTRESS into the bedroom. Carrie watches from her closet      surrounded by boxes.                           CARRIE (V.O.)                After only three days -- I began to                think of her as Saint Louise from                St. Louis.121   INT. MIRANDA'S OFFICE -- DAY                                121      Miranda is sitting at her desk, eating a take-out salad while      talking on the phone.                                             82A.                    MIRANDA              (into phone)          No, I can't be more patient. Your          agency has had three weeks to find          me an apartment.The office door opens -- A TWENTY-SOMETHING ASSISTANT entersand places some documents on the desk in front of her.Miranda signs as she chews and talks.                    MIRANDA (CONT'D)          No -- I told you... It has to be in          Manhattan. Because it does.                    (MORE)                                                     83.                          MIRANDA (CONT'D)                How hard could it be to find                something just on the other side of                the Brooklyn Bridge?      The assistant takes the documents and starts away.                          MIRANDA (CONT'D)                    (into phone pissed)                On second thought -- Forget it. I                could do a better job myself.      Miranda hangs up, exhales. Bites her salad. Determined.122   EXT. LOWER EAST SIDE -- LATER                              122      An ethically diverse neighborhood with ethnically diverse      PEOPLE. Miranda walks with Brady. A WIDE EYED Magda walks      next to her.                          MIRANDA                According to New York Magazine,                this is the new up-and-coming                neighborhood.      A CAUCASIAN YUPPIE DAD (32) with a BABY in a snugly comes out      of bodega. Miranda turns to Magda.                          MIRANDA (CONT'D)                See! Wherever he's going is where                we need to be.      Miranda, excited about the hunt --picks up the pace following      after the dad. Magda hurries as best as she can.123   EXT. LOWER EAST SIDE STREET -- LATER                       123      Miranda, Brady and Magda walk around a corner.                          MAGDA                I've been here before -- This was                all Ukrainian area.      Miranda spots a U-HAUL truck parked in front of a building.                          MIRANDA                Coming or going?                                                      84.      TWO NYU-TYPE KIDS come out of a building carrying boxes.                          MIRANDA (CONT'D)                Going. Oh boy. Lets go.      She starts down the street with a clip.124   EXT. LOWER EAST SIDE -- LATER                               124      Magda is standing out in front of the apartment building with      Brady. She looks -- A HOT LOOKING LATIN GUY (29) with tattoos      is sitting on the stoop with a pitbull.125   INT. LOWER EAST SIDE APARTMENT -- MOMENTS LATER             125      Miranda peeks into the empty apartment. Nice size, brick      wall, big windows with a view of a colorful jungle gym on a      play ground across the street. Her heart starts racing.126   EXT. LOWER EAST SIDE APARTMENT -- MOMENTS LATER             126      Miranda comes out of the building out of breath as the NYU      kids are going back in.                           MIRANDA                Hi. I'm interested in the                apartment.                          NYU KID                Get in line.                          MIRANDA                I understand but -- who would I                talk to about it?                             NYU KID                The super.      He points to a SIGN in LOBBY. The name: Lovro Klujcik and a      telephone number. Miranda writes it down.                          MIRANDA                Lovro... -- and I have no idea.                    (attempting to pronounce)                Ku...                          MAGDA                    (amazed)                Kljuic. Lovro Klujcik. I know him.                                                     85.                            MIRANDA                No way.                          MAGDA                We were couple -- long time ago.                          MIRANDA                    (can't believe her luck)                No way -- You dated?                          MAGDA                Haven't seen him since his wife                died.                          MIRANDA                He's single?      Magda shrugs as if to say: So what? Miranda smiles.127   INT. SPANISH HAIR SALON -- LATER -- FALL                   127      Spanish music plays. Two female HAIRDRESSERS work on two      Dominican WOMEN CUSTOMERS. Magda sits under a hair dryer --      her top lip white with cream bleach. Miranda is next to her,      dialing on her cell. Brady plays nearby with two Dominican      KIDS (5,6).128   EXT. APARTMENT BUILDING -- LATER -- FALL                   128      Miranda stands at a gate and pushes the buzzer marked      "Klujcik." A door under the stoop opens revealing LOVRO      KLUJCIK, a Croatian man about Magda's age.                          LOVRO                No, no... I told you on phone...                the apartment is --      He looks past Miranda and sees Magda -- standing there with      brown hair and wearing make-up. His face lights up when he      sees her.                            LOVRO (CONT'D)                Magda?    Is this you?      She smiles. Shy. He beams at her. He opens the gate, saying      something to her in his native tongue. Magda smiles.                          CARRIE (V.O.)                As much as Miranda wanted to pat                herself on the back for finding her                new apartment in just one                afternoon... in the end, she knew --                                                   85A.      Miranda watches, thrilled as they converse.                          CARRIE (V.O.) (CONT'D)                It was a Lovro connection.129   INT. BEACHOUSE/BEDROOM -- NIGHT                           129      SAMANTHA and SMITH have just finished making love. They are      face to face.                          SAMANTHA                That was really hot.                          SMITH                Hmmm. You were kind of distant.                                              86.                    SAMANTHA          Distant? You're still in me.He gently moves off her and reclines next to her.                    SMITH          You want to talk about it?                    SAMANTHA          When have I ever wanted to talk          about it?                    SMITH          Okay. I'll talk about it. Your best          friends get screwed over by their          guys -- how can you not get          distant?                    SAMANTHA          It's more than that -- lately, I          haven't been feeling a connection          to --                      SMITH          What? Me?                    SAMANTHA          No -- to -- it -- here. I have no          real connection to our life here.                    SMITH          What life here? Seriously -- all I          do is work -- and you run off to          New York every chance you get.                    SAMANTHA          Not every chance I get. Only for          the A-list things.              (beat; then)          And my managing you -- it's all too          much. I'm starting to resent it.          For the last two years it's been          all about you.                    SMITH          Well, for the first three years it          was all about you.                    SAMANTHA          I know. That was so much more fun.                                                   86A.                          SMITH                Maybe we need to make an effort to                reconnect -- spend more time                together -- away from the business.                Less me, less you -- More us.130   INT. BEACHOUSE -- DAY -- FALL                             130      Samantha is on the phone, looking out at the ocean.                                                    87.                          SAMANTHA                So, I won't be coming to New York                for a while. We're going to spend                some time reconnecting on the                weekends... do the "LA couple                thing."131   EXT. NYC STREETS -- CONTINUOUS   -- FALL                  131      Intercut with Carrie at a public pay phone.                          CARRIE                Yeah, hi, can you put on Samantha?                          SAMANTHA                Really. At first I was all: "You                can't tell me what I can do" -- but                then, I had to admit he had a                point.                          CARRIE                You people and your relationships.                          OPERATOR (V.O.)                Please deposit another eighty-five                cents.                          SAMANTHA                Honey, a pay phone? Where's your                cell?                          CARRIE                At the bottom of the ocean in                Mexico.                          SAMANTHA                Want me to hook you up with a new                one?                          CARRIE                No, not yet. No phone -- no calls,                no calls-- no questions, no                questions-- no explaining no                wedding.      Carrie puts coins into phone. She is wearing gloves.                          CARRIE (CONT'D)                Plus, It's an excuse to break out                the gloves.                                                    88.132   EXT. BEACH -- DAY -- FALL                                   132      Samantha and Smith run into the surf in their wetsuits with      surfboards.                          CARRIE (V.O.)                When Samantha Jones decides to do                something...133   EXT. BEACH -- LATER -- FALL                                 133      Samantha and Smith are starting to make love on the beach as      the waves crash on them.                          CARRIE (V.O.)                ... She does it all the way.      A BEACHCOMBER with a metal detector, watches nearby.134   INT. COOKING CLASS -- DAY -- FALL                           134      A cooking class with other COUPLES. A CHEF watches as      Samantha and Smith roll sushi.                          CARRIE (V.O.)                She and Smith did all the upscale                L.A. couple things. Sushi...135   INT. UPSCALE TANNING SALON -- DAY -- FALL                   135      Samantha and Smith stand next to each other wearing paper      underwear. Two technicians spray tan them.                          CARRIE (V.O.)                ... Spray tanning.136   EXT. HOLLYWOOD BENEFIT -- NIGHT -- FALL                     136      The Red carpet backdrop reads: HOLLYWOOD SAVES AFRICA      Smith and Samantha are being photographed. She is wearing a      full-on African-inspired over the top fashion statement.                          CARRIE (V.O.)                ... And saving Somalia... Samantha-                style.                                                    89.137   INT. CARRIE'S APARTMENT -- DAY -- FALL                    137      Carrie sips a lattÈ while sorting through a stack of papers.      Louise is working on Carrie's computer.                          LOUISE                Carrie Bradshaw's web page is a                mess.                          CARRIE                -- Interesting -- so is Carrie                Bradshaw.      Louise laughs. Carrie sips her latte.                          CARRIE (CONT'D)                Come on -- When are we going to get                to the really important things like                unpacking my closet?                          LOUISE                One thing at a time. Are you ever                going to answer these emails?                            CARRIE                Yes.                            LOUISE                When?                            CARRIE                Now?                          LOUISE                Okay -- I'll read -- you tell me                what to do.(beat) Vitaminsforless.                Delete. Right?                            CARRIE                So right.      Louise deletes it -- Looks at next e mail.                          LOUISE                Who's John@jjpny.com.?      Carries freezes -- Louise looks up.                          LOUISE (CONT'D)                Oh, shit -- that's him, right?      Carrie turns the lap-top around to face her and looks.                                                    90.      JOHN@JJPNY.COM: "I'M SORRY."      She clicks the email open; breathless. One sentence:      "I don't know what to say."      She swings the laptop back around to Louise.                          CARRIE                Delete.      Louise looks at her, unsure... then deletes.                          CARRIE (CONT'D)                And -- isn't there some cyberspace                place that you can send those so                that I never have to see an email                from him ever again?                    (off her nod)                Do that please.                          LOUISE                You sure you want to end all                communication with him?      Carrie nods. Louise nods.138   INT. CHARLOTTE'S APARTMENT/LILY'S ROOM -- DAY -- FALL       138      Carrie is reading Cinderella to Lily who sits in her lap.      They are on Lily's bed - surrounded by her dolls.                          CARRIE                    (reading)                "And Cinderella and Prince Charming                lived happily ever after."                    (beat; looks at her)                This is a fairy tall sweetheart.                Things don't always happen like                this in real life -- you should                know that now.                          LILY                Again!      Carrie flips back to the front. Lily is all smiles.                          CARRIE                And another one bites the dust.      Charlotte walks into the den with her coat on. She smiles.                                                    91.                          LILY                Mommie home!139   INT. CHARLOTTE'S APARTMENT/HALL -- A LITTLE LATER         139      Charlotte walks Carrie to the front door.                          CHARLOTTE                Thanks for watching her while I                went to the doctor.                          CARRIE                    (pulling on coat)                Sure. Everything okay?                          CHARLOTTE                I'm pregnant.      Carrie looks at her. Charlotte smiles.                           CARRIE                How?                          CHARLOTTE                My doctor said sometimes when women                stop trying -- it can happen. She                knows other couples that adopt and                then get pregnant.                           CARRIE                Sweetie.                          CHARLOTTE                Carrie -- I'm pregnant!      Happy, happy tears. Carrie hugs her.                          CARRIE (V.O.)                I guess, in certain houses, fairy                tales do come true.140   INT. DUANE READE DRUG STORE -- DAY -- FALL                140      Halloween costume aisle. Carrie and Miranda browse.                          CARRIE                I can't believe you're even                dressing up.                                               92.                    MIRANDA          All the parents at Brady's school          dress up -- it's fun! Fun thought          up by a group of non-working          mothers with nothing else to do all          day.Miranda stops, looks at the costumes hanging there.                    MIRANDA (CONT'D)          Witch and -- "sexy kitten". That's          it? The only two choices for women.          Witch and Sexy kitten.                    CARRIE          You said a mouthful there, sister.Miranda holds up a mask of a ghoul screaming in horror.                    MIRANDA          Maybe I should just wear this and a          business suit and go as myself.                    CARRIE              (re; mask)          Speaking of monsters -- I got an          email from Big.Miranda looks over at her.                     CARRIE (CONT'D)          "I don't know what to say."              (beat)          Ah... then don't send an email.                    MIRANDA          What were you expecting?No idea. Miranda grabs a witch hat. They start walking away.They round a corner, CHILD wearing a mask pops up.                    CHILD          Boo!Carrie smiles. The child walks away.                    CARRIE          Gonna take a little more than that          to scare me after what I have been          through.They start walking toward the check-out counter.                                                      93.                           CARRIE (CONT'D)                And in the subject box: two words:                I'm sorry.                          MIRANDA                Steve is all about "I'm sorry." I'm                sorry emails -- I'm sorry voice                mails -- I'm sorry flowers -- I'm                sorry cards. How about: don't do                anything to be: " I'm sorry" for.                          CARRIE                Maybe he's sorry.                          MIRANDA                Maybe Big is too.                           CARRIE                Point taken.                    (beat)                I still can't believe this happened                to me. I know it happened, but I                can't believe it happened. I lay                awake at night going over every                detail of the last week in my head.                          MIRANDA                Carrie -- There's a detail I've                been meaning to tell you about --      Carrie spots something; GRABS Miranda's arm with horror.                          CARRIE (V.O.)                And then I saw it...the only thing                scary enough to scare me after the                experience I'd been through.      On the rack in the front register -- Vogue!141   INT. DUANE READE DRUG STORE -- MOMENTS LATER -- FALL        141      Carrie and Miranda stand looking at an open Vogue:      "The Last Single Girl: Carrie Bradshaw Gets Married."                          MIRANDA                You look great, you look amazing.                So. That's the worst of it.      Carrie flips a page. She noticed something.                                                    94.                          CARRIE                Wait -- what's that say? In the box                at the end?                          MIRANDA                    (reading)                "Editor's note: The wedding of                Carrie Bradshaw and John James                Preston was cancelled as this issue                went to press. Carrie Bradshaw                is...      Miranda stops reading.   Carrie looks at her.                           CARRIE                Is what?      Miranda doesn't want to respond. Carrie pushes the magazine      further away so she can read it.                          CARRIE (CONT'D)                    (reads)                "Carrie Bradshaw is still single                and living in Manhattan."142   EXT. MANHATTAN STREETS -- LATER -- FALL                   142      A wind kicks up, autumn leaves blow. Carrie walks down the      street, the Vogue under her arm, angry.                          CARRIE (V.O.)                I didn't want to buy it - but I                figured it was one less Vogue in                New York.143   INT. CARRIE'S APARTMENT -- LATER -- FALL                  143      Carrie's door opens. Charlotte stands in the hall with Lily.                          CHARLOTTE                I saw it. The pictures are                gorgeous.                          CARRIE                Yes -- I'm a beautiful bride. Come                in.      They walk in, Carrie closes the door.                                             94A.                    CHARLOTTE          Look, the people who don't know --          will only see the beautiful          pictures. The people who do know          will only see what an asshole he          is.              (beat; to Lily)          Mommy said a bad word.                     CARRIE              (looks down to Lily)          Hi, honey.Lily holds up a little baby pumpkin to Carrie.                    CARRIE (CONT'D)          For me?Lily nods. Carrie has to lighten up. She kneels to Lily.                                                     95.                           CARRIE (CONT'D)                And what are you going to be for                Halloween?                          LILY                Cinderella.                          CHARLOTTE                Or -- we also brought Mulan.      Lily shakes her head: NO. Carrie smiles.                          CHARLOTTE (CONT'D)                Would you like to go trick or                treating with us?                             LILY                Yea!                          CHARLOTTE                Just in our building -- if you feel                up to it.                             LILY                Yea!                             CARRIE                       (How can I not?)                Yea!144   INT. CHARLOTTE'S APARTMENT/HALL -- NIGHT -- FALL           144      Carrie knocks on Charlotte's front door. It opens. Charlotte      stands there -- dressed as a cute cow. With udders on her      belly. Harry is Uncle Fester. Lily is Cinderella in a MASK.                          HARRY                No costume?                          CARRIE                Look closer. I'm the scariest thing                in New York. Jilted at Forty-one.                Boo.      Harry Laughs. So does Charlotte...even Carrie smiles.145   INT. CHARLOTTE'S BUILDING/HALL -- LATER -- FALL            145      They walk down the hall. Carrie is holding Lily's hand.                                                    96.                          CARRIE                You know you have to give me some                of your loot, right?      Lily nods Carrie smiles. Harry knocks on a door. It opens. A      PARK AVE WOMAN (40), stylish - stands there with treats.                          CHARLOTTE/HARRY/LILY                Trick or treat!      The woman smiles -- then suddenly, her smile fades.                          WOMAN                Oh, Carrie, I saw Vogue -- I'm so                sorry.      Carrie reacts, mortified.146   INT. CHARLOTTE'S BUILDING/HALL -- LATER -- FALL             146      Another door opens. A PREPPY WOMAN (36) is there.                          CHARLOTTE/HARRY/LILY                Trick or treat!      REVEAL: Carrie's face -- hidden behind the Cinderella mask.147   INT. HAIR SALON -- DAY -- FALL                              147      A STYLIST is blowing out a woman with dark chestnut brown      hair. Reveal the woman's face: It's Carrie --148   INT. STARBUCKS -- LATER THAT DAY -- FALL                    148      Raining outside. Louise walks in, looks around.                          CARRIE                Louise!      Double-take. Carrie is waving to her from a table.                          LOUISE                Oh my Lord. I did not even                recognize you.                          CARRIE                That's the point. My head is the                witness protection program.                                                    97.                          LOUISE                I'm really feeling that look on                you.      Louise reaches into her purse to get something --                          CARRIE                And I am feeling that Balenciaga on                you.                          LOUISE                Mine till Tuesday.      Louise pulls out a cell phone and holds it out to her.                          LOUISE (CONT'D)                Here -- time to re-join the world.                           CARRIE                Already?      Louise nods. Carrie takes the phone.                          LOUISE                Your new number... area code: 347 --                          CARRIE                Hold, Hold, Hold. 347? No, no. I'm                a 917 gal. Always have been.                          LOUISE                No longer available. Now, you're                347.                          CARRIE                Great. Now even I don't recognize                me.149   EXT. BEACHOUSE/DECK -- DAY -- FALL                        149      Samantha sits on her deck. Her phone rings.                          SAMANTHA                Samantha Jones.                          CARRIE (V.O.)                Carrie Bradshaw --150   EXT. NYC STREET -- CONTINUOUS -- FALL                     150      Intercut with Carrie walking along.                                                    98.                          CARRIE                -- Or I used to be.                          SAMANTHA                Talk to me.                          CARRIE                I'm a 347 area code. How tacky is                that?                          SAMANTHA                347 is the new New York.                          CARRIE                I want the old New York with the                old 917 and my old will to live.                          SAMANTHA                Old New York, new New York -- honey                -- at least it's New York.      She looks -- Dante is coming out of the surf in his wetsuit.                          SAMANTHA (CONT'D)                Another hard thing about being in                L.A? My "sex on a stick" next door                neighbor. I can't stop looking at                him.                           CARRIE                Looking?                          SAMANTHA                Just looking. After I saw Steve's                face at the rehearsal dinner, I                could never ---      Dante notices her on the deck. He gives her a sexy smile.      She doesn't acknowledge it -- turns away and walks inside.                          SAMANTHA (CONT'D)                But you should see this guy. Every                night sex with a different partner.                He's like --                    (searching then realizing)                --Me. Five years ago.                           CARRIE                Yes.   When I was a 212.151   EXT. RODEO DRIVE -- DAY -- FALL                           151      Samantha strolls along Rodeo Drive.                                             98A.                    CARRIE (V.O.)          And in an effort to stay out of her          house and out of trouble --          Samantha went shopping.She notices a sidewalk "dog rescue station." Cute puppiesfrolic and play in a wire pen.                                                       99.      In the back of the pen sits a tattered tiny DOG.   Alone.      Samantha can't help but look at it.                          CARRIE (V.O.) (CONT'D)                It certainly wasn't the cutest dog                in the pen - but their was                something about it --      The dog looks up at her -- Dark marks under its eyes. The      Rescue Woman (40) notices Samantha looking.                          RESCUE WOMAN                She needs a good a home.                Interested?      Samantha shakes her head; "no."                          CARRIE (V.O.)                And just as Samantha convinced                herself that the dog wasn't for                her.      The dog starts humping a stuffed animal.                          RESCUE WOMAN                She's been fixed, but she hasn't                lost the urge.152   INT. DOG GROOMER'S -- LATER -- FALL                          152      Samantha holds the dog while talking to two GROOMERS.                          SAMANTHA                And she needs a little eye work.                Anything you can do about these                stains?      The dog looks up at her. She looks down at it.                          SAMANTHA (CONT'D)                    (to dog)                Honey, I don't mince words.153   EXT. RODEO DRIVE -- LATER -- FALL                            153      Samantha and the dog walk out of Gucci in matching outfits...      looking fabulous. Three GUCCI SALESMEN follow them holding      large Gucci bags. They walk to her sleek Mercedes SUV --      parked at the curb.                                             99A.JUMP CUT TO: The back of the Mercedes SUV filled withshopping bags: Gucci, Prada, Dior -- the SUV hatch is closed,revealing Samantha's licence plate: I HEART NY. Samanthapulls away, the dog in her lap -- fur blowing.                                                    100.154   INT. CARRIE'S APARTMENT -- NIGHT                           154      Carrie and Louise are in the closet unloading clothes from      the boxes. Carrie opens a wardrobe box -- It's the WEDDING      GOWN. They both look at it - not knowing what to do.                          LOUISE                Do you want me to get rid of it?                          CARRIE                No, it's too beautiful. I'll just                bury it deep in the back -- like I                did my feelings.      Carries closes the box back up. Louise watches; then.                          LOUISE                Do you miss him?                          CARRIE                    (beat; then)                Every day. You know, it's weird --                I haven't cried very much at all.                Maybe you're only allotted a                certain amount of tears per man --                and I used mine up.      Carrie gently pushes the box away. Opens another.                          LOUISE                Yeah. I know how you feel `cause,                my college boyfriend broke up with                me last year. And I miss him all                the time.                          CARRIE (V.O.)                Suddenly, it dawned on me -- there                were two broken hearts in my-walk                in.                          CARRIE (CONT'D)                Louise -- we need a cocktail. Grab                your rental.      Carrie starts out. Louise grabs her purse and follows.155   INT. THE CARLYLE HOTEL/BAR -- A LITTLE LATER -- FALL       155      Carrie and Louise are having cocktails.                                              101.                    LOUISE          And it threw me so hard `cause, you          know, I thought Will -- that's his          name... was the love of my life.                    CARRIE          What happened?                    LOUISE          He said he loved me and all -- but          didn't think I was "the one".Carrie looks at her, nods.                    LOUISE (CONT'D)          And that hurt. But -- you know --          whatever. I'm not going to give up          on love.                      CARRIE          Good.                    LOUISE          Love is the thing, you know.She holds up her key chain. The word "Love" in gold.                    LOUISE (CONT'D)          See that. I'm bringing it to me all          day long.Louise gets a "text".  She reaches over and looks.     Shesmiles as she reads it. Carrie raises her eyebrow.                    CARRIE          Oh, I remember that smile.   Who's          the guy?                    LOUISE          Someone I just met. He wants me to          meet him for a drink.                      CARRIE          At 11:30?     That's a bootie call.                    LOUISE          No, it's not like that... he just          got off work -- he's a waiter.                    CARRIE          Louise, I may not get texts and I          may not send texts -- but trust me:          The sub-text of that text: Bootie.                                                   101A.       Louise nods, then starts texting him.                           LOUISE                 But it's not a bootie call if he                 meets me.... right?                           CARRIE                 All right, then. You kids enjoy.                 That's what your twenties are for.                 Your thirties are to learn the                 lessons.       Carrie stands up, throws some money on the bar.                           CARRIE (CONT'D)                 And your forties are to pay for                 drinks.156    INT. CHARLOTTE'S APARTMENT -- DAY -- FALL                 156       Charlotte sits on the couch, reading a magazine. The three       dogs near her. Harry enters.                           HARRY                 You going for your run?                             CHARLOTTE                 Um... no.                           HARRY                 You didn't go yesterday either.                             CHARLOTTE                 I know.                                                   102.                          HARRY                Why is that?                          CHARLOTTE                    (snapping)                I don't feel like running!                          HARRY                    (as he goes)                Okay. Welcome to the house of                hormones.157   INT. UPSCALE FURNITURE STORE -- DAY -- FALL               157      Carrie and Charlotte walk looking at furniture.                           CARRIE                It's all about the desk. If I find                the desk, the writing will come.                And it better `cause I'm using my                new book advance to pay the fancy                decorator.                          CHARLOTTE                I think it's so great that you are                re-doing your entire apartment.                          CARRIE                Out with the old --                    (looks at price tag)                -- In with the overpriced.      Charlotte smiles. Carrie links arms with her.                          CARRIE (CONT'D)                Hey, Harry called me and mentioned                you're not running.                          CHARLOTTE                Why'd he do that?                           CARRIE                `Cause he loves you... and he's                concerned.                          CHARLOTTE                There is nothing to be concerned                about.                          CARRIE                Did the doctor say it wasn't safe                or something?                                             103.                    CHARLOTTE          No, she said because I'm already a          runner -- it's fine.                    CARRIE          So, why are you not --                    CHARLOTTE          I'm afraid something bad will          happen. It's a miracle that I'm          even pregnant.                    CARRIE          But if the doctor said --                    CHARLOTTE          It's not rational, Carrie... it's          irrational. I know that.                      CARRIE          Okay.                     CHARLOTTE          I've got everything I ever wanted.          I'm so happy -- I'm terrified.              (beat)          No one gets everything they want.          Look at you. Look at Miranda.          You're such good people and look          what happened to you. Of course,          something bad is going to happen to          me.                    CARRIE          Sweetie, you shit your pants this          year. Maybe you're done.Charlotte laughs a little. Carrie moves her along.                      CARRIE (CONT'D)          You run   every day -- that's what          you do.   You can't stop being who          you are   -- just because you're          afraid.   Right?Charlotte nods, they walk on, linked together.                    CARRIE (CONT'D)          Now let's get down to business.          I've got to have my apartment done          in time for that baby shower.                                                    104.158    EXT. CENTRAL PARK/RESERVOIR -- DAY -- FALL                158       AUTUMN LEAVES fall as Charlotte walks onto the running track       with the three dogs on leashes. She starts to run --       tentative -- slowly. They trot along with her.158A   EXT. CENTRAL PARK/RESERVOIR -- DAY -- LATE FALL          158A       Charlotte runs faster - more confident. The dogs run along       with her -- they are wearing Burberry pet sweaters.                           CARRIE (V.O.)                 And as the last of the autumn                 leaves fell away -- so did                 Charlotte's fear.158B   EXT. CENTRAL PARK/RESERVOIR -- DAY -- WINTER             158B       SNOWFLAKES float down. Charlotte, dressed for winter runs in       form -- alone. A smile on her face.159    INT. CARRIE'S APARTMENT -- DAY -- WINTER                  159       Carrie sits at her card table "temp" desk. Louise is sorting       through a stack of mail.                           LOUISE                 You sure you don't want me to RSVP                 to some of these holiday parties?                            CARRIE                 Yep. I'm perfectly happy spending                 time home alone.                     (beat)                 And speaking of home -- you're                 going to miss your plane.       Louise takes a gift wrapped present out of her purse                           LOUISE                 Merry Christmas. It's just                 something silly.       Carrie opens it. A DVD of "MEET ME IN ST. LOUIS."                           CARRIE                 Oh... Louise from St. Louis.                           LOUISE                 You said you never saw it -- so.                                           104A.                   CARRIE         Now, I feel bad. If I had known we         were going to exchange gifts --                                                      105.        Carrie gets up and RUNS to her closet.                            CARRIE (O.C.) (CONT'D)                  I would have bought you one two                  weeks ago and hidden it in here.        She comes back out with a large circular BOX tied with satin        ribbons. It says: Louis Vuitton.                            LOUISE                  No! That is not what I think it is.                             CARRIE                  Open it.                            LOUISE                  Oh my Lord. Oh my --        She opens it and SCREAMS as she pulls out a gorgeous purse.                            CARRIE                  No more rent girl for you.        Louise throws it over her shoulder and walks "runway."                            LOUISE                  Look who's home from the big city!                            CARRIE (V.O.)                  It was the best money I'd ever                  spent.159A    INT. CARRIE'S APARTMENT -- NIGHT -- WINTER                159A        Carrie comes out of her kitchen, holding a Cup O'Soup. She is        wearing pajamas and socks.                            CARRIE (V.O.)                  New Year's Eve... and a Cup O'Soup.        She plops in a chair in front of the TV. She picks up the        "Meet Me in St. Louis" DVD and looks at it.159AA   INT. MIRANDA'S APARTMENTS -- CONTINUOUS -- WINTER        159AA        Steve is standing in the open doorway -- with his coat and        hat on. Miranda is kneeling -- putting a winter coat on        Brady. A Christmas tree glows behind them.                            MIRANDA                  And what are you gonna say at                  midnight?                                            105A.                    BRADY          Happy New Year.                    MIRANDA          That's right -- but you gotta say          it more excited than that --              (then; excited)          "Happy New Year!"                    BRADY          Happy New Year!                    MIRANDA          You say that and then... you kiss.She gives him a big kiss. He laughs. She stands.                    STEVE          You all ready to go, B-boy?                    MIRANDA          Did you pack the new Batman Santa          brought you?Brady shakes his head: NO.                    STEVE          Aw man -- Gotta have the new          Batman.                    MIRANDA          It's there near the tree.Brady leaves to get it. Steve looks over at Miranda.                    STEVE          You got plans with the girls?                    MIRANDA          We're all kinda staying in tonight.                    STEVE          Would you like to come and eat with          us? We can go somewhere over here          on your side.                    MIRANDA          No, thank you.                    STEVE          Miranda -- I never meant to hurt          you.                                                      105B.        She looks away. Brady comes up back to them with Batman.                            MIRANDA                  There he is. Batman.                            STEVE                  Put your hat on. It's snowing out.        Brady nods and takes Steve's hand.   Steve looks over at        Miranda.                            STEVE (CONT'D)                  Happy New Year.                            MIRANDA                  Happy New Year.                            BRADY                  Kiss.        Silence... then, Miranda bends down and gives Brady a big        sloppy kiss.                            MIRANDA                  See you tomorrow.        She stands up and closes the door. As it closes, Steve looks        at her. Finally; it is closed -- she leans against it.159AB   INT. CARRIE'S APARTMENT -- CONTINUOUS -- WINTER            159AB        Carrie sips soup watching a "deliriously in love" Judy        Garland sing "The Trolley Song."                            JUDY GARLAND                  ZING ZING ZING WENT MY HEARTSTRINGS                  THE MOMENT I MET HIM -- I FELL        Carrie, not in the mood, picks up the remote -- clicks. The        TV goes off. She looks around: Now what?159AC   INT. CARRIE'S APARTMENT -- LATER -- WINTER                 159AC        Carrie sits at her makeshift desk as snow falls outside her        window. She looks down at the computer; motionless. CLOSE ON        SCREEN: The only thing written on it is the word: "Love."        After a beat Carrie types three dots. She thinks, then        deletes two of the dots. Her phone rings. She answers it.                            CARRIE                  Hello?                                                     105C.159B   INT. BUDDAKAN/RED ROOM -- CONTINUOUS -- WINTER             159B       Stanford sits in a festive booth with festive FRIENDS.                           STANFORD                 Happy New Year -- We're having a                 fabulous time. The only thing                 missing is you. Come.                           CARRIE                 That's sweet but I can't, I'm                 writing.                           STANFORD                 Oh... Okay.                     (beat;then)                 You're not really writing are you?                           CARRIE                 No. You're not really having a                 fabulous time are you?                           STANFORD                 No. Rescue me. It's very forced                 festive.                           CARRIE                 Oh yes, that's just what every New                 Year's Eve party needs: a visit                 from the lost Bronte sister.                           STANFORD                 Well... Better a Bronte sister than                 a Hilton sister.                           CARRIE                     (laughs; then)                 Thanks but -- by ten PM I'll be in                 bed asleep and blissfully unaware                 of how fabulous this night is                 supposed to be.159C   INT. CARRIE'S APARTMENT -- LATER -- WINTER                 159C       Carrie is sound asleep. Her phone rings. She grabs it.                           CARRIE                 Hello.                                                   105D.159D   INT. MIRANDA'S APARTMENTS -- CONTINUOUS -- WINTER        159D       Intercut with Miranda -- sitting on her couch watching the       New Year's Eve coverage on television. Chinese take-out is on       the table in front of her.                            MIRANDA                 I thought one of the perks of                 having a family is you don't have                 to spend New Year's Eve alone with                 Chinese food.                     (beat)                 I'm alone with Chinese food.                           CARRIE                 I was sleeping.                           MIRANDA                 Oh, shit -- I'm sorry.                           CARRIE                 That's okay. Where's Brady?                           MIRANDA                 It's Steve's night.                           CARRIE                 Right.                           MIRANDA                 Go back to sleep -- don't wake up.                           CARRIE                 It's okay. Are you alright?                           MIRANDA                 I'm fine -- I was just getting a                 little choked-up watching the                 stupid New Year's Eve stuff on TV                 alone.                           CARRIE                 Want me to come over?                           MIRANDA                 I'm all the way downtown --                           CARRIE                 I can grab a cab --                           MIRANDA                 On New Year's Eve? No way. I'm                 fine... really.                           (MORE)                                                   105E.                           MIRANDA (CONT'D)                 I just wanted to talk a little. Go                 back to sleep. Good night.       Miranda hangs up. Carrie lays there -- holding the phone.       She looks over at her bedside table clock: 11:12. She thinks       then -- throws back the covers and gets out of bed. START       MUSIC.159E   EXT. CARRIE'S BULIDING -- NIGHT -- WINTER                159E       Snowing. Carrie hurries out of her front door -- a coat       thrown over her pajamas. She comes down the stairs to the       street looking for a cab. Nothing. No traffic. She starts       RUNNING up the block -- passing TWO FESTIVE COUPLES; walking.159F   INT. CHARLOTTE'S APARTMENT -- NIGHT -- WINTER            159F       Lily, in her PJ's, is marching around the den wearing a       "Happy New Year" party crown and blowing into a party favor       horn. Harry and Charlotte -- wearing New Year's Eve party       hats -- sit on the couch -- laughing. Charlotte and Harry       kiss. His hand moves sensuously down Charlotte's body and       rests on her pregnant belly.                                                     106.160-164 S-C-E-N-E-S--O-M-I-T-T-E-D                             160-164                                                      107.165    INT. BEACHOUSE/DEN -- CONTINUOUS -- WINTER                  165       Samantha and Smith recline on the couch. They are wearing       sexy black robes and having caviar and champagne. The Dog       sits nearby... a fire roars in the fireplace behind them.       Samantha and Smith kiss on the couch. The Dog humps a pillow       nearby.166    INT. RESTAURANT -- CONTINUOUS -- WINTER                     166       Magda and Lovro sit in a booth, they toast with sherry.166A   INT. BUDDAKAN RESTAUANT/RED ROOM --CONTINUOUS-- WINTER     166A       Anthony stands talking to FRIENDS. Someone taps him on the       shoulder. He looks over -- it's Stanford -- holding two       glasses of champagne. Stanford and Anthony look at each       other as everyone around them kisses. Stanford presents his       cheek. Anthony kisses it.166B   EXT. LOWER EAST SIDE STREET -- CONTINUOUS -- WINTER        166B       Snowing. Carrie runs up the stairs of the Lower East Side       subway stop. She looks around to get her bearings -- then       starts running again. She passes a GROUP OF TWENTY-SOMETHING       PEOPLE blowing party horns and LAUGHING.168    INT. ST. LOUIS APARTMENT -- CONTINUOUS -- WINTER            168       Louise is talking to a group of St. Louis FRIENDS. She looks       up as WILL (22) her handsome African-American ex-boyfriend       enters. Their eyes meet. Her heart stops. He smiles. She       smiles. He starts over to her. They stand talking -- she       smiles. He smiles.168A   INT. BABBO/BAR -- CONTINUOUS -- WINTER                     168A       A festive, crowded restaurant. Sitting at the bar, next to a       small Christmas tree... is Mr. Big, eating alone. Big looks       up from the bar -- watching couples kiss all around him.168B   INT. MIRANDA'S BROOKLYN HOUSE -- NIGHT -- WINTER           168B       Steve and Brady are in bed... asleep.                                                    107A.168C   EXT. LOWER EAST APARTMENT DAY -- NIGHT -- WINTER          168C       Miranda opens a fortune cookie -- and reads it. Tosses it       down. Picks up another -- cracks it open. Reads it. Tosses it       down. She looks like she might cry.168D   EXT. LOWER EAST SIDE APARTMENT BUILDING -- LATER -- WINTER 8D                                                               16       Carrie rounds the corner of Miranda's street and runs up to       her building.168E   INT. LOWER EAST SIDE APARTMENT -- MOMENTS LATER -- WINTER 68E                                                               1       Miranda opens the door -- Carrie is standing there -- out of       breath.                              CARRIE                    You're not alone.       Times Square is seen on the television in the background.                                 TELEVISION ANNOUNCER (V.O.)                    5-4-3-2-1.     Happy New Year!       Carrie and Miranda look at each other. They hug.168L   INT. LOWER EAST SIDE APARTMENT -- LATER -- WINTER         168L       Miranda and Carrie sit on the couch -- eating -- they are       LAUGHING.       END MUSIC.175    EXT. BRYANT PARK/FASHION TENT -- DAY -- WINTER              175       Snow on the ground -- COLD. CROWDS gathered in front of the       large fashion tent. Carrie, Miranda, Charlotte and Samantha       trudge through the snow to the stairs. Samantha is wearing       lots of fur. She SLIPS on some ice -- Carrie catches her.                               CARRIE                  Easy girl.                            SAMANTHA                  Thanks -- Three months driving in                  L.A. and I forgot how to use my                  fucking legs.                            CARRIE (V.O.)                  Every year the women of New York                  leave the past behind and look                  forward to the future... this is                  known as Fashion Week.       They make their way up the stairs to the tent entrance.176    INT. LOBBY TENT -- CONTINOUS -- WINTER                      176       The lobby is buzzing with PRESS and CROWDS OF FASHIONISTAS.       The GIRLS enter and make their way through the crowd.                            CARRIE                  This way. I hear the couture                  calling my name.                            SAMANTHA                  See this -- this is what I miss.                  Last night Smith and I cuddled in                  front of the TV with "take out"                  Mexican.                                                                           MIRANDA                                                        -- In your four billion dollar                                           beach house.                                                  The girls LAUGH.                            SAMANTHA                                                       Still -- I don't think I'm cut out                                       for the one-on-one relationship                  thing.                                            108A.                    CHARLOTTE          You've been doing it for five          years.                    SAMANTHA          No, see -- I've always had          girlfriends on the side.They smile. Miranda spots MAYOR MICHAEL BLOOMBERG across theroom.                    MIRANDA          There's Mayor Bloomberg.                                                 SAMANTHA                                             New Yorkers are so damn attractive -                           - Even the Mayor is hot.                                                 MIRANDA                                              I believe that was his last                                    campaign slogan.                                     The girls walk on.                                                                                                109.178   INT. FASHION TENT -- A LITTLE LATER -- WINTER               178      The room is filling up and buzzing with FASHIONISTAS as the      girls make their way. Samantha spots her name on four chairs      in the front row and leads the way.                          SAMANTHA                There we are.                          CHARLOTTE                We're in the front row?!                          SAMANTHA                I pulled some strings.                             CARRIE                Very nice.                          SAMANTHA                I should go thank them --      Samantha throws her coat on her chair back.                          CHARLOTTE                Decide where we want to go for                lunch -- I'll make the call.                    (beat; excited)                It's like old times.      Samantha hurries off, excited. Carrie, Miranda and Charlotte      settle into their seats.                          MIRANDA                So, this is how you all spent your                Saturdays while I was with Brady                and Steve at the Brooklyn Aquarium.                          CARRIE                Well... Not every Saturday.                          MIRANDA                Just so you know -- We always had                front row at the mammal show.                    (beat; then)                Steve does the funniest dolphin                impression. Actually, it's more --                Steve as a dolphin --      A smile escapes her -- they look at her. Her smile fades.                    CHARLOTTE          You really can't forgive him?                    MIRANDA          Are you suggesting something?                    CHARLOTTE          I like Steve. I've always liked          Steve -- He's apologized a hundred          times -- he's not seeing anyone          else. What's it going to take?                    MIRANDA          And are you also suggesting that          she forgive Big?                    CHARLOTTE          No. I could kill Big. Sometimes          when I'm running -- I imagine what          I'd say if I ever saw him again. I          have the perfect opening sentence.          Want to hear it?                     CARRIE              (duh?)          Ah.... yes.                    CHARLOTTE          I curse the day you were born.                    CARRIE          Impressive. Better work up a hand          gesture to go with it.Elaine comes up to Carrie, squats down in front of her.                    ELAINE          Thank god you're here. They have me          covering this Mercedes-Benz fashion          week and I'm desperate for a Carrie          Bradshaw-esque quote.                    CARRIE          Well, I'll do my best. We'll talk          after?                    ELAINE          Great. And -- ooh -- my back --She gets up -- sits in Samantha's empty chair next to Carrie.                           ELAINE (CONT'D)                     (very sincere)                 -- Can I just say that I'm so sorry                 about what happened with your                 wedding.       Carrie smiles -- what else can she do?                           ELAINE (CONT'D)                 I don't know how you survived it.                 I, personally, was so devastated I                 took myself off JDate -- but you                 survived and you're here and you                 look amazing and I just think                 that's so great. Everyone in my row                 does -- we can't stop talking about                 it. Okay -- Meet you in the lobby                 after.       Elaine smiles and leaves. Carrie sits -- stunned; numb. She       looks to the chairs across the runway -- FASHIONABLE WOMEN       are looking back at her -- one or two smile sympathetically.       She grabs her things and then turns to Charlotte.                           CARRIE                 I've gotta go.       Carrie slips silently away. Charlotte gets up and starts away       after her. Miranda looks --                           MIRANDA                 Should I --       Charlotte shakes her head: "not sure"... and continues       away...178A   INT. FASHION SHOW TENT/ENTRANCE AREA -- MOMENTS LATER      178A       Charlotte catches up with Carrie as she is about to exit.       Fashionistas stream by them on their way in.                           CHARLOTTE                 Carrie, wait.       Carrie stops -- turns around -- putting on her wrap.                           CARRIE                 This was a mistake -- it's too soon                 -- I'm not ready. I'll go get a                 coffee and you guys call me after --                 and I'll meet you for lunch.                           CHARLOTTE                 Are you sure? I know how much you                 were looking forward to this.                           CARRIE                 Yeah, I really was... until I                 became the poster child for wounded                 women everywhere.                           CHARLOTTE                 You're not.                           CARRIE                 Is this thing going to effect                 everything I do for the rest of my                 life?                           CHARLOTTE                 No -- but if you leave right now --                 it will effect the rest of your                 day.       Carrie looks at her -- takes this in.                            CHARLOTTE (CONT'D)                     (softly)                 It's Fashion Week. We're in the                 front row.                           CARRIE                 Where everyone can see me.                           CHARLOTTE                 Who cares about them -- You only                 came for the clothes.       Carrie smiles... a little.                           CHARLOTTE (CONT'D)                 I know it's hard but -- It's like                 you said: You can't stop being who                 you are.178B   INT. FASHION SHOW TENT -- MOMENTS LATER                  178B       Samantha and Miranda have just gathered their things and are       leaving their chairs as Charlotte and Carrie return.                           SAMANTHA                 We thought we were leaving.       Charlotte shakes her head: NO. Samantha and Miranda turn       around and start back to their seats as -- MUSIC STARTS...       LIGHTS CHANGE. The girls settle in just as a MODEL starts       down the RUNWAY in gorgeous clothes. Carrie, Miranda,       Charlotte and Samantha watch --       DISSOLVE TO: the girls watching another model; another       outfit. They point and discuss what they see -- loving it.       DISSOLVE TO: the girls watching another model; another       outfit. With each outfit Carrie seems to lighten and       brighten.       DISSOLVE TO: the girls watching another model; another       outfit. Carrie smiles as she watches -- now, truly enjoying       herself.                                                       DISSOLVE TO:178C   INT. LOBBY TENT -- MOMENTS LATER -- WINTER                 178C       Carrie is being interviewed by Elaine holding a TAPE       RECORDER. Miranda, Samantha and Charlotte watch nearby.                           CARRIE (V.O.)                 I didn't know if it was the fashion                 or the fact that the four of us                 were together again -- but for the                 first time in a long time -- I felt                 like myself.183   EXT. BRYANT PARK -- MOMENTS LATER -- WINTER               183      The girls leave the tent and start down the stairs.                          SAMANTHA                Let's get a cab -- I am starv --      SPLAT. Her fur coat is hit with SPLASH of red paint. They      REACT: SHOCKED. AN ACTIVIST WOMAN stands there holding a      paint cup. Next to her -- another ACTIVIST is holding a PUG      dog.                          ACTIVIST #1                Fur is murder!                           ACTIVIST #2                MUR-DER.   MUR-DER.                           SAMANTHA                    (beat)                God, I miss New York.184   EXT. NYC STREET -- DAY -- WINTER                          184      Carrie hurries across the street --                          CARRIE (V.O.)                And a couple of weeks later -- I                met St. Louise's St. Louis                boyfriend, Will.      She arrives at the front of a restaurant. Through the window,      she can see Louise sitting next to Will. Louise spots Carrie      and waves. Carrie waves back and starts in.                          CARRIE (V.O.) (CONT'D)                Over Christmas they realized how                much they loved each other. Just in                time for Valentine's day.185   INT. CARRIE'S BUILDING/FOYER -- LATER -- WINTER           185      Carrie turns the key in her mail box. A little pink envelope      sits there. She takes it out and opens it. It's a "kid's      style" Valentine card of Cinderella. She turns it over.      Lily's crayon mark mixes with Charlotte's handwriting: To      Aunt Carrie... Love, Lily.186   INT. CARRIE'S APARTMENT -- A LITTLE LATER -- WINTER       186      Carrie opens the door, holding the valentine. Her phone is      ringing. She answers it.                           CARRIE                Hello?187   INT. BEACHOUSE/KITCHEN -- LATER -- WINTER                 187      Intercut with Samantha in her kitchen attempting to make      sushi. Her hands covered in rice. The DOG, wearing a sweater      with a "heart" on it sits on the floor watching.                          SAMANTHA                I'm just calling to make sure you                aren't hanging from your shower                rod.                          CARRIE                You called an hour too early.                          SAMANTHA                So, what's the V-day plan?                          CARRIE                Miranda and I are going to dinner                and then a really violent slasher                movie.                           SAMANTHA                Perfect.                           CARRIE                And you?                          SAMANTHA                I am making Smith sushi. Pause for                reaction.                          CARRIE                Wow. Do you make sushi?                          SAMANTHA                We took a class a while back -- and                when he walks in the door at seven-                thirty, I am going to surprise him                by laying on the dining room table -                -- covered with homemade sushi.                          CARRIE                Boy, you do have time on your                hands.188   INT. CARRIE'S APARTMENT -- MOMENTS LATER -- WINTER        188      Carrie walks over to the book shelf and places the Cinderella      valentine on it. She looks down at the bottom shelf. The      Vogue magazine is looking up at her -- She picks it up.189   INT. VILLAGE RESTAURANT -- LATER -- WINTER                189      A small, village restaurant festively decorated for      Valentine's Day. Pink balloons float on the ceiling, their      red ribbon strings hang at eye level. Carrie and Miranda sit      at a table. At all the other tables -- Couples!                          MIRANDA                Is it me or is Valentine's Day this                year on steroids?                          CARRIE                I think it was like this last year                but we played for the other team.      A WAITRESS (23) approaches them with pink menus.                          WAITRESS                Good evening. Here's our special                Valentine night menu. All the                selections are romantic in theme                and designed to be split for two.                Are you having wine?                          CARRIE/MIRANDA                Yes.                          WAITRESS                A glass or a bot --                          CARRIE/MIRANDA                Bottle.                          WAITRESS                I'll be right back to take you and                your girlfriends order.      The waitress leaves. Miranda looks at Carrie.                          MIRANDA                I could do a lot worse.190   INT. VILLAGE RESTAURANT -- LATER -- WINTER                190      The wine bottle is now empty. Carrie and Miranda eat.                          MIRANDA                Why would you look at the Vogue                today of all days?                          CARRIE                `Cause -- I'm an emotional cutter.                    (Beat;then)                I deserve what I got. Running all                over New York believing that I'm                finally getting my happy ending.                "See everyone, love does conquer                all. Look at me in my one of a kind                wedding gown marrying the love of                my life."      Waitress stops at the table. She picks up the bottle.                          WAITRESS                Would you like another bot --                          CARRIE/MIRANDA                Yes.      She leaves.                          CARRIE                And Miranda... in that article -- I                did not say "we" once. It was all:                "I" want and "I" think.                          MIRANDA                It was from your point of view.                          CARRIE                My point of view... Exactly. The                whole wedding was my point of view.                I let the wedding get bigger than                Big. I am the reason he didn't get                out of that car.                                           116A.                   MIRANDA         You can't put this all on yourself.             (beat; then)         Okay. I said something I shouldn't         have said to Big at the rehearsal         dinner.                                             117.                    CARRIE          What do you mean?                    MIRANDA          I was really upset after Steve          showed up and I bumped into Big and          -- I said that you two were crazy          to get married.Carrie is stunned. The waitress arrives with the new bottleof wine.                    WAITRESS          Here we go. Your Shiraz.She is opening the bottle. Tension. She pops the cork --starts to pour.                    MIRANDA          Stop -- It's fine -- Thanks.The Waitress puts the bottle down and walks away.                    MIRANDA (CONT'D)          I'm sorry, I was upset-- Steve had--                    CARRIE          I have been going over this and          over this in my mind for five          months -- and -- for five months          you kept a secret like that?                    MIRANDA          I tried to tell you once but the          Vogue article came out --                    CARRIE          Once? You tried to tell me once?          You should have tried to tell me          every single day!                    MIRANDA          I know, I was looking for the right          time.                    CARRIE          There is no right time to tell me          you ruined my marriage!The Room is now at "attention."                                                   118.                          MIRANDA                It just happened -- I wasn't                thinking.      Carrie grabs her purse -- to leave.                          MIRANDA (CONT'D)                Carrie, please -- Don't go -- I --      Carrie stands up -- the festive balloon strings bob in front      of her face. She pushes them away.                           CARRIE                And I think what hurts the most is                that you kept a secret from me. I                have never ever kept a secret from                you. Ever!      She starts out. Stops, comes back -- through the ribbons.                           CARRIE (CONT'D)                No, I'm lying. For the last five                months I've been thinking that it's                a huge mistake that you left Steve.                    (beat)                There. How does it feel?      She turns and pushes balloons out of her way as she starts      out. A KISSING COUPLE (20's) is BLOCKING her way.                             CARRIE (CONT'D)                Excuse me!      They stop -- She squeezes by them. Miranda is devastated.191   INT. BEACHOUSE/DINING ROOM -- NIGHT -- CONTINUOUS -- WINTER 1                                                               19      Candles are lit. Samantha enters wearing a sexy sheer robe      and carrying a giant tray of homemade sushi. The phone rings.      The machine picks up. Smith leaves a message.                          SMITH (V.O.)                Babe -- we're way behind on set. I                still haven't been released. I'll                get there as soon as I can.      She SIGHS -- places the tray on the table. Looks at the wall      clock: Seven-thirty.                                                  118A.192   INT. BEACHOUSE/DINING ROOM -- LATER -- WINTER             192      Eight o'clock. Samantha is sitting in the robe near the      table. Not pleased.193   INT. BEACHOUSE/DINING ROOM -- LATER -- WINTER             193      Eight-thirty -- Samantha is pacing. She takes a piece of      sushi -- pops it in her mouth and chews -- pissed. A WOMAN      MOANING is heard. She walks over and glances out the window      into Dante's living room. Candles are everywhere -- he is      naked and GIVING HEAD to naked BLONDE WOMAN. She is writhing      in pleasure. Samantha watches -- even more pissed.                          CARRIE (V.O.)                It was the same Valentine night                Samantha had planned -- minus the                sushi.                                                    119.194   INT. BEACHOUSE/KITCHEN -- LATER                            194      Samantha now wearing sweat clothes, sits with her arms      crossed -- waiting. The door opens and Smith enters.                            SMITH                I'm home!      He see's Samantha sitting there. He smiles.                          SMITH (CONT'D) (CONT'D)                Man, that was a long day -- the                crew went into double overtime.                          SAMANTHA                You are three hours late.                          SMITH                Bummer. I know. Did you eat?                          SAMANTHA                Yes, I ate. I ate the sushi that I                hand made for you. The sushi that I                planned to lay all over my naked                body as a Valentines surprise for                you.                          SMITH                Why are you so upset? I called.                          SAMANTHA                I slaved away in a kitchen all day                to make this meal for you.                                                     120.                           SMITH                 You made some sushi -- it's not a                 big deal!                           SAMANTHA                 Not a big deal?       She stands up. She picks up some pieces of sushi.                           SAMANTHA (CONT'D)                 You see this -- This took me five                 fucking hours!       She throws sushi at him. He dodges them.                            SAMANTHA (CONT'D)                 I am not the type of woman who sits                 home all day waiting for a man!                     (beat)                 You love California so much --                 enjoy your hand-made California                 roll!       She throws more sushi and storms out. Smith looks at the       subzero fridge. A sushi piece slides down the front.195    S-C-E-N-E--O-M-I-T-T-E-D                                   195196    S-C-E-N-E--O-M-I-T-T-E-D                                   196196A   S-C-E-N-E--O-M-I-T-T-E-D                                   196A196B   INT. CARRIE'S APARTMENT -- DAY -- WINTER                   196B       A FLORAL ARRANGEMENT sits on the hall table next to the       answering machine. A card reading: "I'm sorry -- Miranda" is       nearby. The answering machine is recording an incoming call       from Miranda.                           MIRANDA (V.O)                 It's me. Pick up. Are you there?       Carrie is standing in the bathroom; looking out at the       answering machine, brushing her teeth.                           CARRIE (V.O.)                 Three days of "I'm sorry" calls and                 e-mails and flowers -- and I still                 wasn't ready. It was the longest                 we'd even gone without speaking.                                                   120A.196C   EXT. CARRIE'S APARTMENT -- DAY -- WINTER                  196C       Rain. Carrie walks up to her stoop. A CAB idling in front.       The cab window goes down. Miranda is sitting there.                              MIRANDA                 Carrie.       Carrie looks. Stops.                           MIRANDA (CONT'D)                 Hi. I need to talk to you.                           CARRIE                 How long have you been waiting                 here?       Miranda looks to the meter, then back to her.                            MIRANDA                 Seventeen dollars long.                     (beat)                 Please get in. It just turned to                 eighteen.       Carrie looks at her, hesitates, starts over to the cab.196D   INT. CAB -- A LITTLE LATER                                196D       Rain pours down the windows. Carrie and Miranda sit in       silence. A MIDDLE EASTERN DRIVER sits behind the wheel.       CLOSE ON: THE METER. It reads 22.00.                                             121.          This is weird not talking.                       CARRIE          I'm upset.                      MIRANDA          Carrie, I understand -- but it just          happened -- I never meant to hurt          you.               (beat)          You have to forgive me.Carrie looks over at her.                    CARRIE          You know --                                                     122.                           MIRANDA                 What?                           CARRIE                 No.                           MIRANDA                 Please. What were you going to say?                           CARRIE                 You badger me to forgive you in                 three days -- and you won't even                 consider forgiving Steve for                 something he did six months ago.                           MIRANDA                 It's not the same thing.                           CARRIE                 It's forgiveness.       Miranda thinks -- Carrie looks at her.                           CARRIE (CONT'D)                 And -- I know you're not the reason                 my marriage fell apart. I was just                 - desperate to have someone else to                 blame.       Miranda thinks. The METER clicks.197    S-C-E-N-E--O-M-I-T-T-E-D                                   197198    S-C-E-N-E--O-M-I-T-T-E-D                                   198199    S-C-E-N-E--O-M-I-T-T-E-D                                   199200    S-C-E-N-E--O-M-I-T-T-E-D                                   200200A   S-C-E-N-E--O-M-I-T-T-E-D                                  200A201    INT. THERAPIST'S OFFICE -- DAY -- WINTER                   201       Steve and Miranda are sitting in front of a THERAPIST.                           MIRANDA                 I don't know if I can trust that it                 won't happen again.                                           122A.                   THERAPIST         Steve - you're very quiet today.                   STEVE         Miranda, I know I made it hard for         you to trust me. But -- You made it         hard for me to trust you.                   MIRANDA         Me?!                                                   123.                           STEVE                 The way you treated me and cut me                 out of your life like that? I mean,                 yeah -- I broke a vow. But what                 about the other vows? Like                 promising to love someone for                 better or for worse? What about                 that?      Miranda looks down at her hands. Steve looks at the      therapist.                           STEVE (CONT'D)                 How do I know she won't punish me                 for the rest of my life?                            THERAPIST                 You don't. And she doesn't know for                 sure that you won't have another                 indiscretion.                     (beat)                 All you can know... is that you                 want to move forward and risk that                 you love for each other won't allow                 that to happen.      Silence.                           THERAPIST (CONT'D)                 And that's what we'll discover                 here.      Steve looks over at Miranda. Miranda looks at Steve.202   EXT. CENTRAL PARK -- DAY -- SPRING                        202      Forsythia bushes are in bloom. Carrie and Miranda walk. They      carry sandwiches.                           MIRANDA                 So, we're done with our last                 session and we're not allowed to                 talk for two weeks while we figure                 out if being together again is                 something we really want. And then -                 - we had to pick a place to meet --                 and if we both show up on that day -                 - the past no longer exists.                 Showing up is the promise we make                 to each other that we're willing to                 let it all go and move forward.                                           124.                  CARRIE        Can you do that?                  MIRANDA        I don't know. I have a lot of        thinking to do.                  CARRIE        Thinking -- or feeling?                  MIRANDA        What do you mean?                  CARRIE        Miranda -- you're a lawyer. You can        argue both sides of any case --        but, why we feel what we feel --        isn't logical. It's emotional.        Sorry, Harvard -- I'm afraid you're        going to have to make this decision        based on your emotions.                  MIRANDA        Well, then -- I'm screwed. I don't        know what I feel.                  CARRIE        You will. There will come a moment        when you'll know. And if it's: yes -        - all that brilliant logic will go        out the window... with the past.                  MIRANDA        And I thought picking the place to        meet was a challenge.                  CARRIE        Where is it?                  MIRANDA        The Brooklyn Bridge. Halfway        between both our places.                  CARRIE        Very logical. And yet poetic.                  MIRANDA        Poetic -- if we both show up.        Otherwise -- you're on a bridge --        rejected. Not a good plan.                                                      125.203    INT. CARRIE'S APARTMENT -- LATER -- SPRING                  203       Carrie walks in carrying a Starbucks cardboard caddy with two       coffee. Louise is sitting at her desk, working.                           LOUISE                 I have two pieces of good news.                           CARRIE                 And I have two coffees.                           LOUISE                 I just got a heads-up from your                 realtor. The apartment on Fifth                 finally sold.       Carrie sips coffee. Nods.                           LOUISE (CONT'D)                 You have sixty days before the new                 owner takes possession and you are                 out of there.                           CARRIE                 What's the other news?       Louise holds up her hand. There is a diamond ring on it.                           CARRIE (CONT'D)                 Oh my God --                           LOUISE                 I'm moving back to St. Louis -- we                 are getting married in the fall.       Louise beams. Carrie hugs her.204    EXT. BEACH -- DAY -- SPRING                                 204       Grey day. Samantha is sitting on the beach reading "The       Secret."                           CARRIE (V.O.)                 Meanwhile, back in Lost Angeles...       She rolls her eyes, and tosses it down in the sand.204A   EXT. BEACH -- A LITTLE LATER                               204A       Samantha walks on the beach. The dog is walking with her.                                            125A.                    CARRIE (V.O.)          ... Samantha had money, a career          and a man who loved her... Still,          she couldn't shake the feeling that          something was missing from her          life.The dog runs up onto the neighbor's deck.                                                     126.                          SAMANTHA                No! Come back here.205   EXT. NEIGHBORS'S DECK -- MOMENTS LATER -- SPRING            205      Samantha is on the neighbor's deck looking for the dog.                          SAMANTHA                Where are you, baby?      She rounds a corner -- and comes face to face with Dante --      showering in the outdoor shower. Water runs over his NAKED      and PERFECT BODY. He sees her and smiles a hot smile. She is      thrown -- overwhelmed.                          SAMANTHA (CONT'D)                Sorry -- I'm your neighbor and my                dog ran up on your dick--                    (catching herself)                --Deck!      There is a GROWL sound. She looks -- the dog is humping a      towel on the deck floor. She looks back at Dante.                          DANTE                Want to join me?      Speechless -- She shakes her head: No -- she scoops up the      dog and hurries away. He calls after her.                             DANTE (CONT'D)                I'm Dante.     Stop by -- anytime.      Samantha takes a peek back and continues on her way.206   EXT. BEACHOUSE/BEDROOM -- DAY -- SPRING                     206      Samantha is having lunch outside while on the phone.                          SAMANTHA                Smith is interested - but the dates                will have to work with the series.      Dante appears on the deck next store in a wet suit. He unzips      it while looking at Samantha. SAMANTHA dips a chip in      guacamole and eats it. He pulls his wet-suit down and smiles      at her. She dips another chip. He steps out of it and looks      at her -- almost torturing her. She looks the other way, dips      another chip in guacamole and eats it. Then another.                                                   127.207   INT. BEACHOUSE/KITCHEN -- DAY -- SPRING                     207      Samantha is in the kitchen on the phone. She picks up a slice      of messy pizza from a delivery box on the table.                           SAMANTHA                We agreed that no one else from the                show but Smith was going to be on                the cover.      She walks to the window and looks out. Dante is on his deck      putting on sun screen. He glistens. She chews.208   INT. BEACHOUSE/DECK -- NIGHT -- SPRING                      208      Samantha is in the jacuzzi -- she is looking up at Dante who      is on his deck smoking a joint. He indicates for her to come      over. She shakes her head: No. He walks away. She presses a      button on the control panel. The jacuzzi jets start. She re-      positions herself "on" them, then... She reaches over and      grabs a giant hot fudge sundae and... starts eating it.209   INT. LOWER EAST SIDE RESTAURANT -- DAY -- SPRING            209      Miranda sits in the window -- having a cappuccino, alone. On      the table a legal pad with a list of PROS and CONS.                          CARRIE (V.O.)                With her two weeks just about up,                Miranda's list of pros and cons                were equal.      She throws some money down on the table and takes a final sip      on her cappuccino. As she stands up, she catches sight of      herself in the mirrored wall. Cappuccino foam covers her top      lip. She remembers. She knows.210   EXT. BROOKLYN BRIDGE -- LATER THAT DAY                      210      Miranda stands on the bridge. Alone. She looks at her watch.                          CARRIE (V.O.)                It suddenly dawned on Miranda that                Steve's list might have had more                cons then pros.      Just as this reality hits -- the CROWD parts and Steve is      seen RUNNING up the bridge... towards her.                                                  127A.211   EXT. BROOKLYN BRIDGE -- MOMENTS LATER                       211      Miranda and Steve walk along the bridge towards Brooklyn.                                                     128.                          CARRIE (V.O.)                And Miranda never looked back...212   INT. STEVE AND MIRANDA'S HOUSE -- NIGHT -- SPRING           212      Steve and Miranda are making love -- it is passionate.                          CARRIE (V.O.)                Well, almost never.      Miranda turns her head back to look at Steve.                           MIRANDA                Kiss me.213   INT. CARRIE'S APARTMENT -- DAY -- SPRING                    213      Carrie's apartment is transformed. It is sleeker, polished,      more grown-up, with a warm, modern feel.                          CARRIE (V.O.)                And at home -- everything felt and                looked different -- and yet still                very much me.      Carrie -- BLONDE again -- walks out of the kitchen with      Lilacs in a large vase. The door bell buzzes.214   INT. CARRIE'S APARTMENT -- MOMENTS LATER -- SPRING          214      Carrie opens the door. Miranda stands there with a very      pregnant Charlotte.                          CARRIE                Sorry. This is a very exclusive                party.                          MIRANDA                We're on the list. Miranda Hobbes                plus one...and a half.215   INT. CARRIE'S APARTMENT -- LATER -- SPRING                  215      WOMEN FRIENDS chatting and having fun. The front door is open      and a coat rack is visible in the hall. A couple of WAITERS      (20's) move around. ANTHONY comes up to Carrie.                                             129.                    ANTHONY          A woman just put a glass down on          your new desk without a coaster. I          told her if she did it again I'd          break her arm.                      CARRIE          Thanks.He walks on. Miranda wanders up to Carrie.                    MIRANDA          Where's Samantha? Her plane landed          two hours ago.                    CARRIE          You know her, probably ran to the          hotel gym for a quick work-out.Samantha appears in the doorway wearing a summer coat -- thedog is in her purse.                    SAMANTHA          There's no place like home.                      CARRIE          Sweetie!They kiss -- She goes to Miranda; they kiss.                    MIRANDA          There's a rat in your purse.                    CARRIE          And that rat better be house          trained.A CATER WAITER walks over to her.                    CATER WAITER          Can I take your coat?Samantha nods and takes off her coat. Revealing: She has abelly. A very non-Samantha big fat gut.Carrie looks at it. Miranda looks at it. Carrie and Mirandaexchange looks. Charlotte comes running down the hall.                      CHARLOTTE          Samantha!Samantha raises her arms to greet her. Her blouse rides up,the gut peeks out. Charlotte reacts; shocked.                                                   130.                          CHARLOTTE (CONT'D)                You have a -- dog!                          SAMANTHA                Did you ever think you'd see the                day -- me with a pooch.      All three shake their heads: No.216   INT. CARRIE'S APARTMENT/BATHROOM -- LATER -- SPRING       216      Carrie, Miranda, and Charlotte are in the bathroom.                          MIRANDA                So, she has a belly. So what?                          CARRIE                No, a belly on anyone else is a "so                what?" A belly on Samantha is a:                "So what the hell is going on?"                          CHARLOTTE                She never mentioned it on the                phone?                          CARRIE                Never. And when has she ever not                talked about every detail regarding                her body?                          CHARLOTTE                Should we even bring it up?                          MIRANDA                What -- like a fat intervention?                "We love you -- have a salad?" No.                We should let her bring it up.      There is a knock... Samantha opens the door. She's eating a      piece of cake.                          SAMANTHA                Ladies, we can talk about my gut                later-- right now, I'm bored to                tears here.      She gives them a look. They smile, relieved.                                                   131.217   INT. CARRIE'S APARTMENT -- LATER -- SPRING                  217      Everyone has left. Samantha is sitting with Charlotte and      Miranda and Carrie. They are having coffee.                          SAMANTHA                I eat -- so I won't cheat.                          MIRANDA                What exactly are you eating?                          SAMANTHA                Everything except Dante's dick.                          CARRIE                Language, please -- this is a grown-                up apartment now.                          SAMANTHA                I guess I didn't realize how big I                was until I saw it on your faces.                          CARRIE                How -- and I say this with love --                How could you not realize it?                          SAMANTHA                I've been avoiding mirrors.                          CHARLOTTE                I'm proud of you for not cheating.                          SAMANTHA                I don't know if there's anything to                be proud of. I stuff my face to                stop myself from doing something                that feels natural to me.      Carrie reaches over and rubs Samantha's back.                          CARRIE                Why didn't you say something?                          SAMANTHA                I guess I didn't want to admit it.                And when you're in denial -- you                don't dial.                          CARRIE                Now, listen -- this isn't about the                weight. You'd be gorgeous at any                size. But are you happy?                                             132.                     SAMANTHA              (Silence; then)          Relationships aren't always about          being happy, right?              (beat)          How often do you feel happy in your          relationship?                    CARRIE              (to Charlotte)          I'm pretty sure that's to you.                       CHARLOTTE          Every day.                    SAMANTHA          You feel happy ever day?                    CHARLOTTE          Not all day -- everyday -- but          everyday.                    MIRANDA          When was the last time you felt          happy?                    SAMANTHA          Six months ago.They react.                    SAMANTHA (CONT'D)          What am I going to do?                    CARRIE          What does your gut tell you?                    SAMANTHA          I know but --              (beat; hard)          Smith stayed with me through chemo.          If he could stay with me through          that, I should be able to stay in          this relationship for him.                    CARRIE          Sweetie... You just compared your          relationship to chemo.Samantha looks at her, then Charlotte, then Miranda.                                                    133.                          CARRIE (V.O.) (CONT'D)                There we were...the three mirrors                Samantha couldn't avoid.                          CARRIE (CONT'D)                And Samantha?      Samantha looks. Carrie points. The dog is humping a pillow on      Carrie's furniture.                          CARRIE (CONT'D)                That pillow cost three hundred                dollars.218   INT. BEACHHOUSE -- DINING ROOM/SUNSET -- SPRING            218      Samantha is sitting -- waiting. Smith enters.                          SMITH                Hey -- You're home! I thought you                were staying the week.      He kisses her. She looks at him. Touches his face.                          SAMANTHA                We need to talk.                          SMITH                Awwww... man. I knew this was                coming.                           SAMANTHA                Yeah. This isn't working.                    (beat)                I've done my best. I've given it                five years and fifteen pounds.                          SMITH                What -- You don't love me any more?                          SAMANTHA                Yes, I love you - ah, fuck it --                I'm just gonna say the thing you're                not supposed to say -- I love you                but I love me more. And I've been                in a relationship with myself for                forty-nine years and that's the one                I need to work on.      She stands up and wraps her arms around him, whispers.                                                   134.                          SAMANTHA (CONT'D)                You'll find a wonderful woman who                loves being in a relationship.                          SMITH                What will you find?                          SAMANTHA                I don't know. But that's a risk I'm                willing to take.      She notices the gardenia ring on her finger. She starts to      take it off. Stops. Looks back up at him.                          SAMANTHA (CONT'D)                No. I'm keeping this. Every time I                look down at it I want to think of                you.      She kisses him on the lips. GENTLY. SOFTLY.219   INT. AIRPLANE/FIRST CLASS -- NIGHT -- SPRING              219      Samantha sits in first class. She is crying... while eating a      hot fudge sundae. A STEWARDESS leans down.                          STEWARDESS                We're landing in new York. I'm                gonna need to take that now.      Samantha nods, and finishes eating the hot fudge sundae as      fast as she can. Scraping, almost licking the bowl.                          CARRIE (V.O.)                As someone returned to my life...220   INT. CARRIE'S APARTMENT -- DAY -- SPRING                  220      Carrie stands at the door with Louise.                          CARRIE (V.O.)                ... Someone left.                          LOUISE                And I put all the unopened mail                from your P.O. Box in the manila                envelopes on the bottom shelf                there.      She points to the shelf in the new bookcase. Carrie looks.                                               135.                    LOUISE (CONT'D)          And please -- please do not make a          mess of CarrieBradshaw.com -- it's          my masterpiece.                    CARRIE          What am I gonna do without you?                    LOUISE          You'll find some other girl... but          she won't have my style.                    CARRIE          St. Louise, you brought me back to          life.Emotion floods Carrie; she chokes up. So does Louise --                    LOUISE          And you gave me Louise Vuitton.Carrie laughs -- they hug.                    LOUISE (CONT'D)          Serious. We need to stop cryin'.Louise breaks the hug and takes her "love" key chain out ofher purse -- hands it to Carrie.                       LOUISE (CONT'D)          Your keys.                    CARRIE          Wait -- don't forget your "love."                    LOUISE          No, I found my love. I'm leaving          that with you.Carrie smiles. Louise starts out the door, turns back.                    LOUISE (CONT'D)          See you at my wedding.                    CARRIE          I'll meet you in St. Louis.Louise gives one last look, and leaves. Carrie closes thedoor. Looks down at "love" in her hand.                                                   136.221   INT. CARRIE'S APARTMENT -- NIGHT -- SPRING                  221      Carrie is sitting at her desk... typing.                           CARRIE (V.O.)                Now, there were no more                distractions.                    (beat)                And as I moved on...222   EXT. MIRANDA'S APARTMENT BUILDING -- DAY -- SPRING          222      Samantha walks past Lovro and Magda sitting on chairs out      front, sipping ice tea, and up to Miranda's lower east side      apartment stoop with the dog on the leash.                          CARRIE (V.O.)                ... Samantha moved in.      The HOT TATTOOED LATIN GUY is still sitting on the stoop out      front with the ferocious looking pitbull. She starts up the      stairs. He checks her out. She turns.                          SAMANTHA                Hi, I'm your new neighbor.                             HOT NEIGHBOR                Diego.                             SAMANTHA                Samantha.      They smile. There is a connection. Samantha looks down. The      dog is humping the pitbull. Diego nods approval.223   EXT. UPPER EAST SIDE RESTAURANT -- DAY -- SPRING            223      A very, very pregnant Charlotte carrying shopping bags is      being seated at a banquette by the HOSTESS (26).                          HOSTESS                When are you due?                             CHARLOTTE                Next week.                          HOSTESS                You look gorgeous.                                                     137.                          CHARLOTTE                    (touched; embarrassed)                Oh, thank-you.      The Hostess walks away as Charlotte settles in and looks      around. Her eyes WIDEN. Big is sitting across the room at a      table -- alone. He hasn't seen her. Charlotte starts to panic      as the WAITRESS (20's) comes over.                          WAITRESS                Hi, can I --                          CHARLOTTE                No, I'm sorry -- I can't stay --                Help me -- pull out the table. I                can't --      Charlotte pulls herself up off the banquette. As she tries to      slide out, her belly and shopping bags knock things off the      table. Crash. DINERS looks. Big spots her -- their eyes meet.      She moves away as quickly as she can through the room. He      gets up and follows after her.224   EXT. UPPER EAST SIDE RESTAURANT -- DAY -- SPRING            224      Charlotte exits the restaurant -- visibly upset. Big is      quickly on her heels.                          BIG                Charlotte. Charlotte wait --      He catches up to her - and gently steps to her.                          BIG (CONT'D)                You're pregnant -- don't run.                          CHARLOTTE                I don't want to see you.      She starts crying and talking though the tears.                          CHARLOTTE (CONT'D)                I'm so mad at you. I was always on                your side and then you did that to                Carrie -- No, no -- I'm not going                to cry -- I'm not going to waste                tears on you --                    (strong; stomping foot)                I curse the day you were born!      Charlotte's eyes widen. She stops moving, entirely.                                                   138.                           CHARLOTTE (CONT'D)                I think my water just broke.                    (beat)                Oh my God -- Taxi!                          BIG                My car's right there. Get in my                car.                          CHARLOTTE                I don't want to get in your car --                I hate your car. Taxi!                          BIG                Charlotte -- we need to get you to                the hospital -- Please get in my                car. It's right here and ready.      Charlotte finally nods. Big hurries her to the car.225   INT. HOSPITAL CORRIDOR -- LATER                             225      Carrie hurries down a corridor -- looking for a room. She      spots it, knocks and enters.226   INT. HOSPITAL ROOM -- CONTINUOUS                            226      Carrie enters. Harry stands there. Beaming.                          CARRIE                Hi. Congratulations... A girl!                          HARRY                It's my lot in life to be                surrounded by beautiful women.      She kisses him and walks over to the bed where Charlotte is      holding ROSE, a beautiful baby with thick dark hair.                          CARRIE                Oh my God. She's gorgeous.                          CHARLOTTE                Say hello to Rose.      Carrie kisses Charlotte on the head.                          CARRIE                What a beautiful name.                                             139.                    CHARLOTTE          After Harry's "Bubbie."                    HARRY          Now, we got a Lily and a Rose.Carrie sits on the edge of the bed.                    CARRIE          Well, I have to say you two are          very cool customers -- just making          the "baby's here" call without all          the "I'm in labor" drama.                    HARRY          Oh -- there was plenty of drama.                    CHARLOTTE          My water broke in front of a          restaurant.                    CARRIE          Very dramatic.                    HARRY          Wait -- she's not done.                    CHARLOTTE          It broke while I was talking to          Big.                    CARRIE          What?                    HARRY          See. Drama.                    CHARLOTTE          I bumped into him and I got so          upset I started crying and then -          my water broke.                    HARRY          He brought her to the hospital.          Stayed until the baby was born.                    CHARLOTTE          I think he was hoping to see you.Silence. Carrie is having a hard time with this.                                                   140.                          CARRIE                Well -- today is not about him.                It's about beautiful baby Rose.                    (beat; forced up)                So -- we know she has Charlotte's                hair -- what else do we know?      Harry and Charlotte give each other a sad glance.227   INT. HOSPITAL CORRIDOR -- LATER                           227      Carrie walks out of Charlotte's room with Harry.                          CARRIE                She's a doll. Mazel tov!      She kisses Harry on the cheek and starts away.                          HARRY                He asked me to ask you to call him.      Carrie stops. Turns around. Looks at him.                          HARRY (CONT'D)                I know! It's none of my business.                But I felt bad for the poor schmuck                hanging around the hospital waiting                room hoping to see you. I swear                every time he heard someone in                heels coming down the hall -- his                heart stopped.                          CARRIE                Harry -- it's so much more                complicated than you can imagine.                          HARRY                I know it is -- and you have every                right to never call him -- but I'm                just a big pile of love today --and                I feel bad for the guy. He said                he's been writing you -- but you                never responded.                          CARRIE                    (beat; then)                He's never written me.                          HARRY                He said he wrote because he didn't                have your phone number.                                                   141.                          CARRIE                No. He's never written me. Ever.                          HARRY                Then, why would he say that he had?      Carrie looks at Harry. Lost. Confused.228   INT. CARRIE'S APARTMENT -- LATER -- SPRING                  228      Carrie enters her apartment. She glances over at her bookcase      -- Remembers.      JUMP CUT TO: Carrie opens the bookcase drawer and takes out a      Manila envelope marked: P.O. Box.      JUMP CUT TO: Carrie dumps the contents of the envelopes on      the desk.      JUMP CUT TO: Carrie quickly sorts through the mail -- looking      -- looking for something. A letter -- something. Nothing from      him. She leans back in her chair -- more confused. Her eyes      drift up to her computer. She wonders if --      JUMP CUT TO: Carrie is logging onto CarrieBradshaw.com. She      types in PASSWORD.      JUMP CUT TO: CarrieBradshaw.com's "welcome page." She clicks      on EMAIL.      JUMP CUT TO: Carrie scans through emails -- none are from      Big. Frustrated she logs off.229   INT. CARRIE'S APARTMENT -- LATER                            229      Carrie is still at her desk, lost in thought.                          CARRIE (VO)                Two hours, two manila envelopes and                countless emails later, I was just                about to give up on the Big riddle                when --      She looks back at her computer screen and notices:      "CB-assistant." Carrie sits up. Clicks on it.                          CARRIE (V.O.) (CONT'D)                I had told Louise to put Big in a                place where I would never have to                hear from him again.                                               142.She types in her password. Nothing. Picks up her phone. Dialsa number.                    CARRIE (CONT'D)          Hey, Louise -- it's me. What's the          password to get into your assistant          file? Call me.She hangs up and places the phone on a pile of mail -- whichcauses the mail to fall over onto the floor.                       CARRIE (CONT'D)          Shit.Carrie reaches down to pick-up the mail -- she notices the"LOVE" key chain has fallen as well. She picks it up andlooks at it, has a hunch.                       CARRIE (CONT'D)          Oh my God.JUMP CUT TO: Carrie types the password: "L-O-V-E." Yes! Thefile opens -- her eyes widen. There on the screen are many,many, many emails -- all from JJP@JJP.com.                    CARRIE (V.O.) (CONT'D)          As soon as I typed in "love" --          there he was.She clicks on the first e-mail. It opens:It's the love letter from Beethoven, retyped.                    CARRIE (V.O.) (CONT'D)          And because Big still didn't have          the words... he retyped a love          letter from Beethoven.JUMP CUT TO: New Email: A love letter from Lord Byron.                    CARRIE (V.O.) (CONT'D)          And Lord Byron.JUMP CUT TO: New Email: A love letter from James Joyce.                    CARRIE (V.O.) (CONT'D)          And James Joyce.JUMP CUT TO: New Email: A Love letter from Voltaire.                    CARRIE (V.O.) (CONT'D)          And Voltaire.                                                   143.      JUMP CUT TO: Carrie sits in the chair. Breathless.      Overwhelmed.                          CARRIE (V.O.) (CONT'D)                There they were. "The Love Letters                of Great Men - Volume One." Plus                one more... Written by John James                Preston.      New email -- It reads: "I know I screwed it up -- but I will      love you forever."      Carrie impulsively picks up the phone -- starts to dial.                          CARRIE (V.O.) (CONT'D)                I wanted to call him - but our                love... Carrie and Big: volumes                one, two, and three... stopped me.      She puts the phone down and is about to "delete" the e mail --      suddenly; the phone rings.                          CARRIE (CONT'D)                Hello.                          LOUISE (O.C.)                I didn't hear my phone.230   INT. BRIDAL SHOP -- CONTINUOUS -- SPRING                   230      Intercut with Louise, standing in a wedding gown. Her MOTHER      (45), GRANDMOTHER (65), and SISTERS (20 15, 8) sit watching.                          LOUISE                We are shopping for my wedding                gown.      ANGELA, her youngest sister calls out.                          ANGELA                That one makes you look weird.                          LOUISE                    (calls over)                Momma -- can you please -- This is                a work call.      The Mother motions for Angela to sit down. She does.                          CARRIE                No, it's okay I figured it out.                                                     144.                           LOUISE                Well, I was going to call you                anyway -- today is the final day on                the Fifth Avenue apartment. You                have till six before they change                the locks.                          CARRIE                I don't need to go over there.                          LOUISE                And do you NOT want those never-                worn shoes?                          CARRIE                Oh -- I completely forgot about --                          LOUISE                `Cause if you don't -- send them on                to me. I'll squeeze my feet into                them.                          CARRIE                It's already five o'clock.                          LOUISE                Hello? There are never been worn                four hundred dollar shoes!                           CARRIE                Five twenty-five.                     (beat; hears herself)                Bye.      Carrie drops the phone and jumps up.231   EXT. CARRIE'S APARTMENT -- MOMENTS LATER -- SPRING          231      Carrie runs down the stairs... she spots a passing CAB.                          CARRIE                Taxi!      It SCREECHES to a halt. She runs to the cab.232   INT. ELEVATOR -- MOMENTS LATER -- SPRING                    232      Carrie steps into the elevator. She presses "PH," steps back.      The doors close.                                                   145.233   INT. PENTHOUSE APARTMENT -- MOMENTS LATER -- SPRING         233      Key in the lock -- Carrie enters. She looks around.                          CARRIE (V.O.)                The light in our pre-war apartment                looked completely different post-                war.234   INT. PENTHOUSE APARTMENT/BEDROOM -- MOMENTS LATER   -- SPRING                                                                234      Carrie walks into the bedroom and over to the closet. She      pushes open the other double door... Revealing --      Mr. Big - standing there holding the Manolos in his hands. He      looks up -- surprised by her.                          BIG                I was going to get these to you. I                didn't want it to be a total loss.                          CARRIE (V.O.)                It wasn't logic -- it was love.      She walks into the closet and over to him. She throws her      arms around him. He drops the shoes. They kiss. It's      passionate. Very -- very passionate.235   INT. PENTHOUSE APARTMENT/WALK-IN CLOSET -- LATER -- SPRING 35                                                               2      Carrie and Big are nestled up next to each other on the      carpeted floor of the empty walk-in closet. His suit jacket      is off. Her shoes are off.                          CARRIE                Why did we ever decide to get                married?                          BIG                    (beat; then)                I guess we were afraid it meant                something if we didn't.      She looks at him and nods. It's true.                          BIG (CONT'D)                I'm sorry to have done that to you.      Silence. She touches his lips.                                               146.                     CARRIE          I'm sorry to have done that to          you...              (beat)          And you know the funny part?                    BIG          Is there a funny part?                    CARRIE          We were perfectly happy before we          decided to live happily ever after.                    BIG          Yep. The jokes on us.She nods... she looks around.                    CARRIE          Good closet.                     BIG          Thanks.                    CARRIE          Comfortable. Is this what you had          in mind when you installed the          carpet?                    BIG          I'd like to think I was that          smooth.                    CARRIE          We better get up before the new          owner bust in on us.They start to get up. Carrie rises first. He starts to getup, first -- sitting on his side...                    BIG          And the way we decided to get          married -- All business... No          romance. That's not the way you          propose to someone.He moves further up -- onto one knee -- where he stops.                     BIG (CONT'D)          This is.She looks down at him -- Is this happening? He holds out hishand. She places her hand in his.                                                   147.                          BIG (CONT'D)                Carrie Bradshaw -- love of my life -                - will you marry me?      It is everything Carrie Bradshaw had convinced herself would      never happen. Could never happen. And here it is.      She nods. Speechless. Overcome. He smiles.                          BIG (CONT'D)                See, this is why there's a diamond.                You need to do something to close                the deal.      She laughs. He notices her never-worn Manolo on the floor. He      picks it up. Holds it out to her. She lifts her foot and      places it in the shoe. Cinderella style.236   INT. COURTHOUSE/ROOM -- DAY -- SPRING                     236      Carrie stands with Big in front of a JUDGE. She is wearing      the simple white suit and her never-worn Manolos from the      closet.                          CARRIE (V.O.)                And in the end... Carrie Bradshaw                married John James Preston in a                label-less dress.      Big Smiles. She smiles. Both calm. Sure.                           JUDGE                By the power vested in me, by the                state of New York, I now pronounce                you husband and wife. You may kiss                the bride.      Big and Carrie kiss. Then, he whispers into her ear.                          BIG                Ever thine. Ever mine. Ever ours.237   INT. COURTHOUSE/LOBBY -- LATER                            237      Carrie and Big walk through the courthouse lobby toward the      front door holding hands.                          BIG                You okay that it was just us?                          CARRIE                Perfect. You and me -- like I said.                                                     148.                          BIG                Still. Would have been nice if you                had the girls here.      He holds the door open for her as they walk outside.238   EXT. COURTHOUSE -- CONTINUOUS -- SPRING                     238      Carrie and Big walk out of the courthouse into the sun.                          BIG                Which is why I called them.      Carrie looks. Miranda, Charlotte, and a MORE SLENDER Samantha      are standing there. They SCREAM and throw rice.                          MIRANDA/SAMANTHA                Congratulations!                             CHARLOTTE                Mazel tov!      As the rice hits... Carrie screams and Big laughs. A GUARD      hurries over to them. Carrie is spitting out rice.                          GUARD                Excuse me -- excuse me! You're not                allowed to throw rice anymore.                          SAMANTHA                Honey, get over it -- It's New                York!      She winks at the guard. He shrugs and walks away.239   INT. COFFEE SHOP -- LATER -- SPRING                         239      Big, Carrie, Miranda, Steve, Brady, Charlotte, Harry, Lily,      rose, Stanford, Samantha are casually gathered around a      couple of tables that have been pushed together. A WAITRESS      comes over balancing hot plates.                          WAITRESS                Who had the ham and eggs?      Big raises his arm. The waitress hands the plate down...      Carrie intercepts it and places it in front of Big.                                                      149.                           CARRIE (V.O.)                 It wasn't a fancy designer                 reception either. Just food and                 friends.       The Waitress hands out the other breakfasts. People LAUGH.       Samantha feeds bacon to the dog -- who is wearing a tiny       bridal veil on his head.239A   INT. BARNES AND NOBLE -- DAY -- SUMMER                     239A       Carrie's books are displayed on a BOOK KIOSK. Carrie stands       in front of it READING to a crowd from the galleys of her new       book. She is wearing READING GLASSES.                           CARRIE                 Maybe some labels are best left in                 the closet...240    EXT. VITRA -- NIGHT -- SUMMER                               240       Bustling. Carrie, Miranda, Charlotte and Samantha -- back to       her fighting weight -- walk down the busy street dressed for       a night on the town. They laugh as they go -- their designer       purses swinging.                           CARRIE (V.O.)                 ... Maybe when we put a label on                 people... bride, groom, husband,                 wife, fat, thin, married, single...                 we forget to look past the label                 and see the person.       They arrive at the club entrance. A line of PEOPLE wait to be       let inside. The DOORMAN (30's) spots Carrie, lifts the red       rope and lets the girls in -- closing it after them.241    INT. RESTAURANT -- LATER -- SUMMER                          241       The four girls sit at a table drinking "Cosmopolitans."                           CHARLOTTE                 Hmmm. This is delicious.                           MIRANDA                 Why did we ever stop drinking                 these?                           CARRIE                 Because everyone else started.                                            149A.                    SAMANTHA              (sips; then)          Well, that is an oldie but goodie.                    CARRIE          And speaking of an oldie but          goodie...A WAITER brings birthday cake to the table. The number: "50"stands proud and tall among the glowing candles. He places itdown in front of a proud Samantha.                                                     150.                          CARRIE (CONT'D)                Wait -- wait -- a toast.      The girls lift their glasses to Samantha.                          CARRIE (CONT'D)                To Samantha... fifty and fabulous!      Samantha smiles, touched -- then blows out her candles.                          CARRIE (CONT'D)                To us... and the next fifty!      Miranda, Charlotte and Samantha raise their glasses.                          ALL                To the next fifty.      They sip and look at one another.                          CARRIE (V.O.)                And there, in the same city where                they met as girls, four New York                women entered the next phase of                their lives... dressed head to toe                in love.      Samantha licks some icing. Charlotte cuts the cake. Miranda      helps. Carrie smiles and sips.                          CARRIE (V.O.) (CONT'D)                And that's the one label -- that                never goes out of style.242   EXT. VITRA -- CONTINUOUS                                    242      From outside we catch just a glimpse of Carrie and the girls      at their table inside the busy club. The CAMERA starts to      move away -- passing the line of PEOPLE waiting to get in.      At the front of the line four TWENTY-SOMETHING WOMEN stand      waiting for the red rope to be lifted. As the CAMERA moves      past them and UP -- the Doorman lifts the red rope and the      twenty-something women SQUEAL with excitement and      anticipation as they hurry inside. The CAMERA continues UP      and UP and over the busy and exciting city.                                                   FADE TO BLACK.
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+" s e x , l i e s , a n d v i d e o t a p e " 1 EXT. HIGHWAY -- DAY GRAHAM DALTON, twenty-nine, drives his '69 Cutlass while smoking a cigarette. One could describe his appearance as punk/arty, but neither would do him justice. He is a man of obvious intelligence, and his face is amiable. There is only one key on his keyring, and it is in the ignition. ANN (voice over) Garbage. I started thinking about what happens to all the garbage. I mean, where do we put all of it, we have to run out of places to put it eventually, don't we? This happened to me before when that barge with all the garbage was stranded and nobody would take it? Remember that? 2 INT. DOCTOR'S OFFICE -- DAY ANN BISHOP MILLANEY, twenty-six, sits opposite her therapist. She is an extremely attractive woman, dressed in a mature preppy style. There is a wedding ring on her left hand. DOCTOR Yes, I remember. What do you do when these moods overtake you? ANN Nothing. I mean, nothing. I try not to do anything that will produce garbage, so obviously we're talking about eating and basic stuff like that. Did you know that the average person produces three pounds of garbage a day? DOCTOR No, I didn't. ANN Don't you think that's a lot of garbage? I'd really like to know where it's all going to go. DOCTOR Do you have any idea what triggered this concern? ANN Well, this weekend John was taking out the garbage, and he kept spilling things out of the container, and I started imagining a container that grew garbage, like it just kept filling up and overflowing all by itself, and how could you stop that if it started happening? DOCTOR Ann, do you see a pattern here? ANN What do you mean? DOCTOR Well, last week we talked about your obsession with the families of airline fatalities, and now we're talking about your concern over the garbage problem. ANN Yeah, so? DOCTOR If you think about it, I think you'll see that the object of your obsession is invariably something negative that you couldn't possibly have any control over. ANN Well, do you think many people run around thinking about how happy they feel and how great things are? I mean, maybe they do, but I doubt those people are in therapy. Besides, being happy isn't all that great. My figure is always at its best when I'm depressed. The last time I was really happy I put on twenty-five pounds. I thought John was going to have a stroke. JOHN (voice over) It's true, I'm telling you. 3 INT. LAW OFFICE -- DAY JOHN MILLANEY, twenty-nine, sits at his desk talking on the telephone. He is dressed very well, sporting real suspenders with his striped pinpoint oxford shirt and cotton suit. He fingers the wedding ring on his left hand. JOHN As soon as you've got a ring on your finger, you start getting serious attention from the opposite gender. Seriously, I wish I had Super Bowl seats for every time I had some filly just come up and start talking to me without the slightest provocation. That never happened before I got married. Shit, if I'd known that, I'd have gone out and bought me a ring when I was eighteen and saved myself a lot of time and money. John looks at his watch. JOHN Shit, I gotta be someplace. (quickly) Look, racquetball Thursday? You're the coolest. John presses the intercom button while putting on his jacket. JOHN Uh, Janet, re-schedule Kirkland. Tell him to come in Friday at 1:30. DOCTOR (voice over, to Ann) Are you still keeping these thoughts from John? ANN (voice over) Yes. 4 INT. LAW OFFICE BATHROOM -- DAY John brushes his teeth and combs his hair very carefully. DOCTOR (voice over, to Ann) Are you afraid of his reaction? Of his finding you silly for thinking of such things? ANN (voice over) No. I don't know. I haven't told him about the garbage thing because I'm pissed off at him right now. He's letting some old college buddy stay at our house for a couple of days, and he didn't even ask me about it. I mean, I would've said yes, I just wish he would've asked. 5 INT. DOCTOR'S OFFICE-DAY DOCTOR What upsets you about that? ANN I guess I'm upset because I can't really justify being upset, I mean, it's his house, really, he pays the mortgage. DOCTOR But he asked you to quit your job, and you do have housework. ANN Yeah, I know. DOCTOR This unexpected visit notwithstanding, how are things with John? ANN (shrugs) Fine, I guess. Except right now I m going through this where I don't want him to touch me. 6 INT. CYNTHIA BISHOP'S APARTMENT -- DAY CYNTHIA BISHOP, Ann's SISTER, opens her door to reveal the freshly coifed John Millaney. They kiss passionately and begin to disrobe. Cynthia bears a slight resemblance to Ann, but is not as overtly attractive. She does, however, have a definite carnal appeal and air of confidence that Ann lacks. DOCTOR (voice over) When did you begin having this feeling? ANN (voice over) About a week ago. I don't know what brought it on, I just started feeling like I didn't want him to touch me. DOCTOR (voice over, to Ann) Prior to this feeling, were you comfortable having physical contact with him? ANN (voice over) Oh, yeah. (pause) But see, I've never really been into sex that much, I mean, I like it and everything, it just does't freak me out, I wouldn't miss it, you know? But anyway, lately we haven't been doing anything at all. Like I said, it's not that I miss it, but I m curious the way things kind of slacked off all of a sudden. John and Cynthia are now having sex. DOCTOR (voice over) Perhaps he senses your hesitance at being touched. ANN (voice over) But see, he stopped before I got that feeling, that's why it seems weird to me. I mean, I'm sure he wishes I would initiate things once in awhile, and I would except it never occurs to me, I'm always thinking about something else and then the few times that I have felt like starting something I was by myself. DOCTOR (voice over) Did you do anything? A pause. ANN (voice over) What do you mean? DOCTOR (voice over) Did you masturbate? 7 INT. DOCTOR'S OFFICE -- DAY ANN (taken aback) God, no. DOCTOR I take it you've never masturbated? ANN (slightly uncomfortable) Well, I kind of tried once. It just seemed stupid, I kept seeing myself lying there and it seemed stupid, and kind of, uh, I don't know, and then I was wondering if my dead grandfather could see me doing this, and it just seemed like a dumb thing to be doing when we don't know what to do with all that garbage, you know? DOCTOR So it was recently that you tried this. ANN (exhales, head down) Well, kind of recently, I guess. But not too recently. There is a pause. ANN I'm really not up to having a guest in the house. 8 INT. CYNTHIA BISHOP'S APARTMENT -- DAY John and Cynthia are lying in bed, bathed in sweat. JOHN I've got to get back to the office. CYNTHIA I only get one today? Gee, how exciting. John rolls over and begins to put his clothes on. JOHN I can't let my lunch hour go on too long. I've already skipped one meeting. CYNTHIA Don't give me this passive/aggressive bullshit. If you want to leave, leave. My life doesn't stop when you walk out the door, you know what I'm saying? John shakes his head. JOHN Why don't you just tell me how you really feel? John stands and begins putting on his clothes. JOHN I have a friend coming in from out of town, I'll probably be spending some time with him the next couple of days. CYNTHIA Meaning we'll have to cool it for awhile, right? JOHN Right. A silent shrug from Cynthia. John is almost completely dressed. JOHN I wish you'd quit that bartending job. CYNTHIA Why? JOHN I hate the thought of guys hitting on you all the time. CYNTHIA I can handle it. Besides, the money is good and some of the guys are cute. And you are in no position to be jealous. JOHN Who said I was jealous? CYNTHIA I did. John says nothing. CYNTHIA You know, I'd like to try your house sometime. The idea of doing it in my sister's bed gives me a perverse thrill. John thinks about that. CYNTHIA I wish I could tell everybody that Ann's a lousy lay. Beautiful, popular, Ann Bishop Millaney. JOHN Could be risky. CYNTHIA Well, maybe I could just start a rumor, then. JOHN No, I mean doing it at my house. CYNTHIA Afraid of getting caught? JOHN Maybe. CYNTHIA You should be. Can I meet this friend of yours? JOHN Cynthia, I don't think you want to, I mean, you should see the way he dresses. I really think he's in a bad way. CYNTHIA I'm intrigued. JOHN You're intrigued? CYNTHIA Sure. Maybe he's the man I'm looking for. Then I won't have to fuck worried husbands all the time. John looks at her for a moment before heading for the door. JOHN Bye. 9 EXT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Graham has parked in the Millaney's driveway. He opens the trunk, revealing a Sony 8mm Video rig and a single black duffle bag. He grabs the duffle bag and shuts the trunk. Graham knocks at the door. He is stubbing out a cigarette with his beaten tennis shoe when Ann answers the door. She is unable to hide her suprise at his appearance. GRAHAM Ann? ANN Yes? GRAHAM (extends his hand) Graham Dalton. Ann shakes his hand. GRAHAM Can I use your bathroom? Ann withdraws her hand. ANN Yes. Yes, come in, please. Graham moves inside. 10 INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann closes the door and motions Graham to the rear of the house. ANN Straight back, first door on the left. Graham heads for the bathroom. Ann heads for the phone. She dials John's office. VOICE ON PHONE Forman, Brent, and Millaney. ANN John Millaney, please. This is his wife. Graham exits the bathroom. Ann quickly hangs up the phone. ANN That was quick. GRAHAM False alarm. ANN Oh. Well, please sit down. Graham sits, his manner pleasantly animated. He gets his Gitanes from inside his scuffed black leather jacket and looks around for an ashtray. Ann swallows uncomfortably. ANN We...don't usually let people smoke in the house. We have a patio if you -- GRAHAM Oh, no problem. It can wait. A moment of silence. Graham looks at Ann directly. It is not a challenging stare, he's just trying to ascertain what kind of person she is. Ann, to her credit, somehow meets his gaze. Something subtle passes between them. ANN (looks at duffle bag) Do you have other things? GRAHAM Yes. (pause) Oh, you mean to bring in! No. Yes, I have some other things, no, I don't need to bring them in. This is all I need to stay here. ANN Oh. Graham smiles. He has an unusual face, a face that fluctuates between remarkably handsome and just plain strange. GRAHAM Have you ever been on television? ANN Televison? GRAHAM Yes. ANN No. Why? GRAHAM (shrugs) Curious. The central air-conditioning switches on. Ann smiles. ANN Graham is an unusual name. GRAHAM Yeah, I guess it is. My mother is a complete Anglophile, anything British makes her drool like a baby. She probably heard the name in some movie. She's a prisoner of public television now. ANN Oh, uh-huh. GRAHAM Are you uncomfortable with my appearance? ANN (downplaying) No, I think you look...fine. GRAHAM (smiles) Oh. Well, maybe I'm uncomfortable with my appearance. I feel a little out of place in these surroundings. ANN Well... GRAHAM I used to take great pleasure in that, being purposefully different, rubbing people's noses in it. Didn't you do that when you were younger? ANN (thinks) No, not really. GRAHAM Oh. Well, I did. I was in a band once, and the music was always secondary to just flat out offending as many people as possible. ANN You play an instrument? GRAHAM No, I was in charge of kind of standing at the microphone and reciting these really depressing lyrics in a monotone. The whole thing was really .... irrelevant. How do you like being married? ANN (caught slightly off guard) Oh, I like it. I like it very much. GRAHAM What about it do you like? I'm not being critical, I'd really like to know. ANN Well.....well, the cliché about the security of it, that's really true. We own a house, and I really like that, you know? And I like that John was just made junior partner, so he has a steady job and he's not some... Ann looks at Graham and stops. He smiles again. ANN ...free-lance. You know. GRAHAM Yes. So you feel security, stability. Like things are going to last awhile. ANN Oh, definitely. I mean, just this past year has gone by like phew! I hardly even knew it passed. GRAHAM Did you know that if you shut someone up in a room, and the only clock he has reference to runs two hours slow for every twenty-four, that his body will eventually adjust to that schedule? Simply because the mind honestly perceives that twenty-six hours are twenty-four, the body follows. And then there are sections of time. Your life can be broken down into the sections of time that formed your personality (if you have one). For instance, when I was twelve, I had an eleven minute conversation with my father that to this day defines our relationship. Now, I'm not saying that everything happened in that specific section of time, but the events of my childhood involving my father led up to, and then were crystallized in, that eleven minutes. Ann is fascinated, if a bit overwhelmed. ANN Oh, uh-huh. GRAHAM (smiles) Anyway, I think the mind is very flexible as far as time is concerned. ANN You mean like "time flies"? GRAHAM Exactly. I would say the fact that you feel the first year of your marriage has gone by quickly means lots of things. Or could mean lots of things. ANN How long has it been since you've seen John? GRAHAM Nine years. ANN Nine years? GRAHAM Yes. I was surprised that he accepted when I asked if I could stay here until I found a place. ANN Why? Didn't you know him well? GRAHAM I knew him very well. We were extremely close until I dropped out. A pause. ANN Why'd you drop out? GRAHAM Oh, lots of reasons, most of them boring. But, up until I dropped out, John and I were...very much alike. ANN That's hard to believe. The two of you seem so different. GRAHAM I would imagine that we are, now. I think I'm ready to use the bathroom, finally. Graham gets up and heads for the toilet. Ann watches him go, a bemused smile on her face. After she hears the door close, she can't resist the impulse to take a closer look at Graham's bag. IN THE BATHROOM, Graham pokes around, looking through the medicine cabinet and sniffing towels. JOHN (voice over) Call the cops. 11 INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT John, Ann and Graham are eating dinner. JOHN (to Graham) That's the first thing that ran through my mind when I saw you. I thought this is not the same man that rode the unicycle naked through the homecoming parade. ANN (to Graham) You did that? GRAHAM Everybody has a past. JOHN (smiles at Graham) What do you think the Greeks would make of that outfit you're wearing? GRAHAM A bonfire, probably. John takes a sip of Chivas. GRAHAM (to Ann) This food is excellent. ANN Thank you. JOHN Yeah, it's not bad. Usually Ann has some serious salt action going. I keep telling her, you can always add more if you want, but you can't take it out. GRAHAM (to Ann) You have family here also? ANN (nods, chewing) Mother, father, sister. GRAHAM Sister older or younger? ANN Younger. John takes a large swig of Chivas. GRAHAM Are you close? Graham sees Ann and John exchange looks. GRAHAM I'm sorry. Am I prying again? JOHN You were prying before? GRAHAM Yes, this afternoon. I was grilling Ann about your marriage this afternoon. JOHN (smiles) Really. How'd it go? GRAHAM She held up very well. Ann laughs. GRAHAM (to Ann) So I was asking about your sister. Ann's smile fades. John resumes eating. ANN Oh, we get along okay. She's just very...she's an extrovert. I think she's loud. She probably wouldn't agree. Definitely wouldn't agree. JOHN (to Graham) Are you going to see Elizabeth while you re here? An almost imperceptible reaction by Graham. GRAHAM I don't know. ANN (interested) Who's Elizabeth? JOHN Girl Graham dated. Still lives here, far as I know. Graham eats in silence. ANN Graham and I were talking about apartments and I told him to check the Garden District, there are some nice little places there, garage apartments and stuff. JOHN (to Graham) Stay away from the Garden District. Serious crime. I don't know what kind of place you're looking for, but there are a lot of studio-type apartments available elsewhere. GRAHAM I wish I didn't have to live someplace. JOHN (laughs) What do you mean? Graham thinks a moment, then puts his keyring with its single key onto the table. GRAHAM Well, see, right now I have this one key, and I really like that. Everything I own is in my car. If I get an apartment, that's two keys. If I get a job, maybe I have to open and close once in awhile, that's more keys. Or I buy some stuff and I m worried about getting ripped off, so I get some locks, and that's more keys. I just really like having the one key. It's clean, you know? Graham looks at the keyring before returning it to his pocket. JOHN Get rid of the car when you get your apartment, then you'll still have one key. GRAHAM I like having the car, the car is important. JOHN Especially if you want to leave someplace in a hurry. GRAHAM Or go someplace in a hurry. Ann takes her plate into the kitchen. JOHN (smiles at Graham) Do you pay taxes? Graham also stands, empty plate in hand. GRAHAM Do I pay taxes? Of course I pay taxes, only a liar doesn't pay taxes, I'm not a liar. A liar is the second lowest form of human being. ANN (from the kitchen) What's the first? GRAHAM Lawyers. John smiles, thinking. Graham follows Ann into the kitchen. John shouts after them. JOHN Hey, Ann, why don't you go with Graham to hunt for apartments? Show him how the city has changed. Ann looks at Graham. ANN Would you mind? GRAHAM No. ANN (shouts back to John) Okay, I will!! John, sitting at the table and now toying with his keyring, nods. 12 INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT Everyone but Ann is asleep. She gets up from her bed and sneaks quietly into the guest bedroom where Graham is staying. She walks cautiously up to his bed to watch him as he sleeps. Moonlight caresses his face as he breathes peacefully. Exhaling, he turns over slowly, his back to Ann. She picks up his jacket from beside the bed and feels the surface. She brings the jacket to her nose, inhaling his presence. She then sets the jacket down. 13 INT. CYNTHIA BISHOP'S APARTMENT -- DAY The phone rings. Cynthia answers. CYNTHIA Hello. JOHN Cynthia. John. Meet me at my house in exactly one hour. CYNTHIA You are scum. I'll be there. 14 INT. VACANT APARTMENT-DAY Graham and Ann walk around the room, their footfalls heavy on the hardwood floors. MR. MILLER, the landlord, stands nearby. He looks fairly interested in Ann. MR. MILLER Plenty of room for two people. GRAHAM It'll just be me. MR. MILLER Student? GRAHAM No. (pause) You said three-fifty? MR. MILLER Plus first and last month deposit. GRAHAM Will you lease month-to-month? MR. MILLER Not for three-fifty. GRAHAM How about for five hundred? Mr. Miller looks at Ann, then back at Graham. MR. MILLER That I can do. 15 INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Cynthia lets herself in. She looks around. CYNTHIA John? JOHN (offscreen) In here!! Cynthia walks to the bedroom, where John lies naked on the bed. She smiles, kicking off her shoes. CYNTHIA Ain't you a picture. Cynthia begins taking her clothes off. She places her diamond stud earring in her jacket pocket, and then drops the jacket on the floor. She moves onto the bed with John. ANN (voice over) Maybe you'll understand this, because you know John, but he confuses me sometimes. GRAHAM (voice over) How do you mean? 16 INT. CAFÉ - DAY Graham and Ann are having lunch. Ann looks to have had a lot of wine. Graham drinks club soda with a twist. ANN It's hard to explain. It's like... John treats everybody the same, you know? I mean, he acts just as excited about seeing somebody he hardly knows as he does when he sees me. And so I feel like, what's different about me, if I'm treated exactly the same as some acquaintance? If I don't like somebody, I don't act like I do. I guess that's why a lot of people think I'm a bitch. She takes a sip of wine. GRAHAM Yeah, I know. I mean, I'm not saying I know people think you're a bitch, I'm saying I know what you mean. And I don't even know that people think you're a bitch. Do they? ANN I feel like they do. GRAHAM Hmm. Well, maybe you are. Really, I wouldn't pay much attention. Ann smiles. GRAHAM I know that I just don't feel a connection with very many people, so I don't waste time with people I don't feel one with. ANN Right, right. I don't feel connected to many people, either. Other than John. Graham nods. ANN Can I tell you something personal? I feel like I can. It's something I couldn't tell John. Or wouldn't, anyway. GRAHAM It's up to you. But I warn you, if you tell me something personal, I might do the same. ANN Okay. I think...I think sex is overrated. I think people place way too much importance on it. And I think that stuff about women wanting it just as bad is crap. I m not saying women don't want it, I just don't think they want it for the reason men think they do. (smiles) I'm getting confused. Graham smiles. ANN Do you understand what I'm trying to say? GRAHAM I think so. I remember reading somewhere that men learn to love what they're attracted to, whereas women become more and more attracted to the person they love. ANN Yes! Yes! I think that's very true. Very. Graham watches Ann take a sip of wine. GRAHAM So what about kids? ANN Kids? What about them? GRAHAM Do you want them? ANN Yeah, actually, I do. But John doesn't. At least not right now. GRAHAM Why is that? ANN I don't know, he just said he wants to wait. I quit asking. Graham nods. ANN So what's your personal thing? Are you really going to tell me something personal? GRAHAM Do you want me to? ANN As long as it's not...gross, you know? Like some scar or something. It has to be like mine, like something about you. GRAHAM Agreed. Graham takes a sip of club soda. GRAHAM I'm impotent. Ann looks at him closely. ANN You're what? GRAHAM Impotent. ANN You are? GRAHAM Well, let me put it this way: I cannot achieve an erection while in the presence of another person. So, for all practical purposes, I am impotent. Ann takes a large sip of wine. Graham lights a cigarette. ANN Does it bother you? GRAHAM (exhales) Not usually. I mean, honestly, I haven't known many guys that could think straight with an erection, so I feel I'm way ahead of the game as far as being clear-headed goes. ANN Well...are you self-conscious about it? GRAHAM I am self-conscious, but not in the same way that you are. You have got to be the most attractive self-conscious person I've ever seen. ANN Why do you say I'm self-conscious? GRAHAM Well, I've been watching you. I've watched you eat, I've watched you speak, I've watched the way you move, and I see somebody who is extremely conscious of being looked at. I think you really believe that people are looking at you all the time. And you know what? ANN What? GRAHAM They are looking at you. Ann, you are truly breathtaking. I don't know if you understand how your appearance can affect people. Men want to possess you, women wish they looked like you. And those that don't or can't resent you. And the fact that you're a nice person just makes it worse. ANN (thinks) My therapist said that-- GRAHAM You're in therapy? ANN Aren't you? GRAHAM Hah! No, I'm not. Actually, I used to be, but the therapist I had was really ineffectual in helping me deal with my problems. Of course, I lied to him constantly, so I guess I can't hold him totally responsible... ANN So you don't believe in therapy? GRAHAM I believe in it for some people. I mean, for me it was silly, I was confused going in. So I just formed my own personal theory that you should never take advice from someone of the opposite sex that doesn't know you intimately. ANN Well, my therapist knows me intimately. GRAHAM (surprised) You had sex with you therapist? ANN Of course not. GRAHAM Oh, see, I meant someone you've had sex with. That's part of the theory. ANN Excuse me for asking, but how would you know? GRAHAM (smiles) Well, I wasn't always impotent. Ann takes another sip of wine and thinks for a moment. ANN Now, you said never take advice from someone that you don't know intimately, right? GRAHAM Basically, yes. 17 INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Cynthia is leaving the house. She gives John a big kiss. ANN (voice over) So since I've never had sex with you, by your own advice I shouldn't accept your advice. GRAHAM (voice over) That's correct. (pause) Bit of a dilemma, isn't it? Cynthia is not wearing her diamond stud earring. 18 INT. DOCTOR'S OFFICE -- DAY ANN Well, I don't know. The week started off okay, but then I was outside watering the plants, and I started feeling dizzy from the heat and that got me thinking about the Greenhouse Effect, so I went inside and turned on the air-conditioner full blast, and that made me feel a little better until I started thinking about radon leakage coming up through the floor, and-- DOCTOR Radon leakage? ANN Yes, it's this radioactive gas in the ground, and houses kind of act like magnets to pull it up, and--you've never heard of this? DOCTOR No, I haven't. ANN Well, the cumulative effect is not good, let me tell you. (pause) I knew I shouldn't have watered those plants. DOCTOR Did you confront John about the visitor? ANN What visitor? DOCTOR The friend of John's that was staying at your house. ANN Oh, Graham. No, I didn't talk to him about that. Actually, that turned out to be pretty interesting. I expected Graham to be this...well, like John, you know? I mean, he said they had gone to school together, so I was expecting lots of stories about getting drunk and secret handshakes and stuff. But he turned out to be this...this kind of character, I mean, he's kind of arty but okay, you know? DOCTOR Is he still at your house? ANN No, he left last week. DOCTOR Did you find him attractive? ANN What do you mean, like physically? DOCTOR Let me rephrase. Were you attracted to him? ANN (thinks) I guess, but not because of the way he looked or anything. He's just so different, somebody new to have a conversation with. I'm just tired of talking to other couples about whether or not they're going to buy the station wagon, you know? It's just boring. I don't know, he was just different. And he's really on about truth a lot, being honest, and I like that, I felt comfortable around him. (pause) After he left I had a dream that he signed a lease to rent our guest room. CYNTHIA (voice over) So where's he from? 19 INT. CYNTHIA BISHOP'S APARTMENT -- DAY Ann stands watching Cynthia get dressed for work. ANN I don't know. He went to school here, then he was in New York for awhile, then Philadelphia, and then just kind of travelling around. CYNTHIA Must be nice. So, what's he like, is he like John? ANN No, not at all. Actually, I don't think John likes him much anymore. He said he thought Graham had gotten strange. A pause. CYNTHIA Is he? Strange, I mean? ANN Not really. Maybe if I just saw him on the street I'd have said that, but after talking to him...he's just kind of...I don't know, unusual. CYNTHIA Uh-huh. So what's he look like? ANN Why? CYNTHIA I just want to know what he looks like, is all. ANN Why, so you can go after him? CYNTHIA Jesus, Ann, get a life. I just asked what he looked like. Ann says nothing. CYNTHIA Besides, even if I decided to fuck his brains out, what business is that of yours? ANN Do you have to say that? CYNTHIA What? ANN You know what. You say it just to irritate me. CYNTHIA I say it because it's descriptive. ANN Well, he doesn't strike me as the kind of person that would go in for that sort of thing, anyway. CYNTHIA Ann, you always underestimate me. ANN Well, I wonder why. CYNTHIA I think you're afraid to put the two of us in the same room together. I think you're afraid he'll be undeniably drawn to me. ANN Oh, for God's sake. Really, Cynthia, really, I don't think he's your type. CYNTHIA "My type"? What is this bullshit? How would you know what "my type" is? ANN I have a pretty good idea. CYNTHIA Ann, you don't have a clue. Look, I don't even know why we're discussing this, I'll just call him myself. ANN He doesn't have a phone. CYNTHIA Well, I'll call him when he does. ANN But he won't. CYNTHIA What are you talking about? ANN He's not getting a phone, he doesn't like talking on the phone. CYNTHIA Oh, please. Okay,' so give me the Zen master's address, I'll think of a reason to stop by. ANN Let me talk to him first. CYNTHIA Why? Just give me the address, you won't even have to be involved. ANN I don't feel right just giving you the address so that you can go over there and... CYNTHIA And what? ANN And...do whatever it is you do. Cynthia laughs loudly. Ann, not happy, watches her dig through the jewelry box. ANN Lose something? CYNTHIA That goddam diamond stud earring that cost me a fucking fortune. ANN Are you getting Mom something for her birthday? CYNTHIA I don't know, I'll get her a card or something. ANN A card? For her fiftieth birthday? CYNTHIA What's wrong with that? ANN Don't you think she deserves a little more than a card? I mean, the woman gave birth to you. It s her fiftieth birthday-- CYNTHIA Will you stop? Jesus. ANN I just thought it might-- CYNTHIA Okay, Ann, okay. How about this: you buy her something nice, and I'll pay for half. All right? ANN Fine. CYNTHIA Good. Now, if you'll pardon me, I have to go to work. 20 INT. DOCTOR'S OFFICE -- DAY ANN I was thinking maybe I shouldn't be in therapy anymore. DOCTOR What brought this on? ANN I've been thinking about it for awhile, and then I was talking to somebody who kind of put things in perspective for me. DOCTOR (smiles) I thought that's what I did. Who was it that you talked to? ANN That guy Graham I told you about. He said taking advice from someone you don't know intimately was...well, he said a lot of stuff. The Doctor exhales, thinking for a moment. DOCTOR Ann, in life one has to be aware of hidden agendas. (pause) Did it occur to you that Graham may have his own reasons for not wanting you to be in therapy? ANN What do you mean? I don't understand. DOCTOR It's possible that Graham has hidden motives for disliking therapy and/or therapists. Perhaps he has problems of his own that he is unwilling to deal with, and he would like to see other people, you for instance, wallow in their situation just as he does. Do you think that's possible? ANN I guess. DOCTOR You understand that you are free to leave therapy at any time? ANN Yes. DOCTOR That you are under no obligation to me? ANN Yes. DOCTOR Do you want to leave therapy? ANN Not really. DOCTOR Do you feel there is more progress to be made? ANN Yes. DOCTOR I'm glad you feel that way, because I feel that way, too. ANN But you don't have hidden motives for feeling that way, right? The Doctor laughs. Ann does not laugh with him. 21 INT. GRAHAM'S APARTMENT -- DAY On a television monitor we see images originating from an 8mm Video deck. Graham sits naked in a sheet-covered chair facing the screen. He watches the tape, which is footage of himself interviewing a girl about her sexual preferences. The photography on the tape is handheld, relentless. As the questions get more detailed, Graham becomes more aroused. There is a knock on Graham's door. He calmly shuts off the videotape player and stands, wrapping the sheet around himself. GRAHAM It's open. Graham walks into the bedroom to put on some clothes. Ann opens the door and walks into the apartment. ANN Hi! GRAHAM (off) Ann. Hello. ANN Are you in the middle of something? GRAHAM (off) Nothing I can't finish later. ANN (looks) I just wanted to see how the place looked furnished. GRAHAM (Off) Not much to see, I'm afraid. I'm sort of cultivating a minimalist vibe. ANN Somehow I imagined books. I thought you would have like a whole lot of books and be reading all the time. Graham enters. GRAHAM I do read a lot. But I check everything out of the library. Graham picks up an Anais Nin diary and opens it to show Ann the library sleeve inside. GRAHAM Cheaper that way. And cuts down on the clutter. Ann walks to the table where the video gear is set up. Graham watches her closely. She looks into a large box of 8mm videotapes. On the side of each tape is a label. The labels look like this: DONNA / 11 DEC 86 / 1:07:36 And so on. There are thirty or forty tapes, total. ANN What are these? GRAHAM Videotapes. ANN (smiles) I can see that. What are they? Graham exhales. GRAHAM It's a personal project I'm working on. ANN What kind of personal project? GRAHAM Oh, just a personal project like anyone else's personal project. Mine's just a little more personal. ANN Who's Donna? GRAHAM Donna? ANN Donna. On this tape it says "Donna". GRAHAM (thinking) Donna was a girl I knew in Florida. ANN You went out with her? GRAHAM Not really. Ann looks in the box again. ANN How come all these are girl's names? Graham thinks for a moment. GRAHAM Because I enjoy interviewing women more than men. ANN All of these are interviews? GRAHAM Yes. ANN Can we look at one? GRAHAM No. ANN Why not? GRAHAM Because I promised each subject that no one would look at the tape except me. Ann looks at Graham for a long moment, then back at the tapes. ANN What...what are these interviews about? GRAHAM The...interviews are about sex, Ann. ANN About sex? GRAHAM Yes. ANN What about sex? GRAHAM Everything about sex. ANN Like what? GRAHAM Like what they've done, what they do, what they don't do, what they want to do but are afraid to ask for, what they won't do even if asked. Anything I can think of. ANN You just ask them questions? GRAHAM Yes. ANN And they just answer them? GRAHAM Mostly. Sometimes they do things. ANN To you? GRAHAM No, not to me, for me, for the camera. ANN (stunned) I don't ...why...why do you do this? GRAHAM I'm sorry this came up. ANN This is just...so... GRAHAM Maybe you want to go. ANN Yes, I do. Ann nods and absently heads for the door. She gives Graham a puzzled look before leaving. 22 INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann is talking to Cynthia on the telephone. ANN (still shaken) I don't...he doesn't want you to come over. CYNTHIA What do you mean he doesn't want me to come over? Did you tell him about me? ANN No, I didn't. CYNTHIA Why not? ANN Because I never got around to it. CYNTHIA Well, why? ANN Because. Cynthia, look, John was right. Graham is strange. Very strange. You don't want to get involved with him. CYNTHIA What the hell happened over there? Did he make a pass at you? ANN No! CYNTHIA Then what's the story, what's this "strange" bullshit all of a sudden? Is he drowning puppies, or what? ANN No, it's nothing like that. CYNTHIA Well, what? Is he dangerous? ANN No, he's not dangerous. Not physically. CYNTHIA Well, what, then? ANN I don't want to talk about it. CYNTHIA Then why'd you call me? ANN I don't know. Ann hangs up. 23 INT. CYNTHIA BISHOP'S APARTMENT -- DAY Cynthia gets out of the shower. The phone rings. She wraps herself in a towel and lifts the receiver. CYNTHIA Hello. JOHN Cynthia. John. CYNTHIA Not today. I've got other plans. JOHN Oh. (pause) Well, when, then? CYNTHIA How about inviting me over to dinner? JOHN You know what I mean. CYNTHIA Yeah, I know what you mean. Cynthia hangs up the phone. 24 INT. GRAHAM'S APARTMENT -- DAY Graham sits smoking a cigarette. There is a knock at his door. GRAHAM It's open. Cynthia enters. Graham looks up at her. GRAHAM Who are you? CYNTHIA I'm Cynthia Bishop. GRAHAM Do I know you? CYNTHIA I'm Ann Millaney's sister. GRAHAM The extrovert. CYNTHIA (smiles) She must have been in a good mood when she said that. She usually calls me loud. GRAHAM She called you that, too. May I ask why you re here? CYNTHIA You want me to leave? GRAHAM I just want to know why you're here. CYNTHIA Well, like I said, Ann is my sister. Sisters talk. You can imagine the rest. GRAHAM No, I really can't. I find it healthy never to characterize people I don't know or conversations I haven't heard. I don't know what you and your sister discussed about me or anything else. Last time I saw Ann she left here very...confused, I would say. And upset. CYNTHIA She still is. GRAHAM And are you here to berate me for making her that way? CYNTHIA Nope. GRAHAM She didn't tell you why she was upset? CYNTHIA Nope. GRAHAM She didn't give you my address? CYNTHIA Nope. GRAHAM How did you find me? CYNTHIA I, uh, know a guy at the power company. GRAHAM I don't understand. Why did you want to come here? I mean, I can't imagine Ann painted a very flattering portrait of me. CYNTHIA Well, I don't really listen to her when it comes to men. I mean, look at John, for crissake. Oh, you went to school with him didn't you? You're probably friends or something. GRAHAM Nope. I think the man is a liar. CYNTHIA (smiles) I think you're right. So come on, I came all the way over here to find out what got Ann so spooked, tell me what happened. GRAHAM (smiles) Spooked. He motions to the box of videotapes. GRAHAM That box of tapes is what got Ann so "spooked". Cynthia goes over to the box and looks inside for a long moment, studying the labels. CYNTHIA Oh, okay. I think I get it. GRAHAM What do you get? CYNTHIA Well, they must be something sexual, because Ann gets freaked out by that shit. Are these tapes of you having sex with these girls or something? GRAHAM Not exactly. CYNTHIA Well, either you are or you aren't. Which is it? GRAHAM Why don't you let me tape you? CYNTHIA Doing what? GRAHAM Talking. CYNTHIA About what? GRAHAM Sex. Your sexual history, your sexual preferences. CYNTHIA What makes you think I'd discuss that with you? GRAHAM Nothing. CYNTHIA You just want to ask me questions? GRAHAM I just want to ask you questions. CYNTHIA And that's all? GRAHAM That's all. CYNTHIA (a crooked smile) Is this how you get off or something? Taping women talking about their sexual experiences? GRAHAM Yes. CYNTHIA Would anybody else see the tape? GRAHAM Absolutely not. They are for my private use only. CYNTHIA How do we start? GRAHAM I turn on the camera. You start talking. CYNTHIA And you ask questions, right? GRAHAM Yes. CYNTHIA How long will it take? GRAHAM That depends on you. One woman only used three minutes. Another filled up three two hour tapes. CYNTHIA Can I see some of the other tapes to get an idea of what-- GRAHAM No. CYNTHIA (thinks) Do I sit or stand? GRAHAM Whichever you prefer. CYNTHIA I'd rather sit. Are you ready? GRAHAM Just a moment. Graham grabs his 8mm Video camera, puts in a new tape, and turns it on. GRAHAM I am now recording. Tell me your name. CYNTHIA Cynthia Patrice Bishop. GRAHAM Describe for me your first sexual experience. CYNTHIA My first sexual experience or the first time I had intercourse? GRAHAM Your first sexual experience. CYNTHIA (thinks) I was...eight years old. Michael Green, who was also eight, asked if he could watch me take a pee. I said he could if I could watch him take one, too. He said okay, and then we went into the woods behind our house. I got this feeling he was chickening out because he kept saying, "Ladies first!" So I pulled down my underpants and urinated, and he ran away before I even finished. GRAHAM Was it ever a topic of conversation between the two of you afterward? CYNTHIA No. He kind of avoided me for the rest of the summer, and then his family moved away. To Cleveland, actually. GRAHAM How unfortunate. So when did you finally get to see a penis? CYNTHIA When I was fourteen. GRAHAM Live, or in a photograph or film of some sort? CYNTHIA Very much live. GRAHAM What did you think? Did it look like you expected? CYNTHIA Not really. I didn't picture it with veins or ridges or anything, I thought it would be smooth, like a test tube. GRAHAM Were you disappointed? CYNTHIA No. If anything, after I looked at it awhile, it got more interesting. It had character, you know? GRAHAM What about when you touched it? What did you expect it to feel like, and then what did it really feel like? CYNTHIA It was warmer than I thought it would be, and the skin was softer than it looked. It's weird. Thinking about it now, the organ itself seemed like a separate thing, a separate entity to me. I mean, after he pulled it out and I could look at it and touch it, I completely forgot that there was a guy attached to it. I remember literally being startled when the guy spoke to me. GRAHAM What did he say? CYNTHIA He said that my hand felt good. GRAHAM Then what happened? CYNTHIA Then I started moving my hand, and then he stopped talking. 25 INT. GRAHAM'S APARTMENT -- DAY Cynthia, adjusting her clothes, opens the door to leave. She looks very aroused. She and Graham do not speak or touch. 26 INT. LAW OFFICES -- DAY John Millaney picks up a telephone and presses a blinking button. JOHN John Millaney. CYNTHIA I want to see you. JOHN When? CYNTHIA Right now. JOHN Jesus, I don't know if I can get away. I've got a client waiting. I'd have to do some heavy duty juggling. CYNTHIA Then get those balls in the air and get your butt over here. She hangs up. John thinks a moment, then hits his intercom button. JOHN Janet, re-schedule Kirkland, see if he can come in Friday. Smooth things out, tell him an emergency came up. I'll slip out the back. 27 INT. GRAHAM'S APARTMENT -- DAY Graham watches Cynthia's tape, becoming excited. CYNTHIA (voice on tape) Would you like me to take my pants off? GRAHAM (voice on tape) If you wish. (pause) You're not wearing any underwear. CYNTHIA (voice on tape) Do you like the way I look? GRAHAM (voice on tape) Yes. CYNTHIA (voice On tape) Do you think I'm pretty? GRAHAM (voice on tape) Yes. CYNTHIA (voice on tape) Prettier than Ann? GRAHAM (voice on tape) Different. 28 INT. CYNTHIA BISHOP'S APARTMENT -- DAY Cynthia and John are having sex. CYNTHIA (to Graham, voice on tape) John doesn't have sex with Ann anymore. GRAHAM (voice On tape) Is that what he tells you? CYNTHIA (voice on tape) He doesn't have to tell me. Cynthia has an intense orgasm. She rolls off of John, sweating. JOHN Jesus Christ. You are on fire today. Cynthia smiles. CYNTHIA Yes. You can go now. DOCTOR (voice over) If you won't talk to me, I can't help you. A moment of silence. John is starting to put his clothes on. Cynthia lies in bed, her eyes closed, her face serene. ANN (voice over) I hate my sister. 29 INT. DOCTOR'S OFFICE -- DAY DOCTOR Why? ANN (rambling) Because all she thinks about are these guys she's after and I just hate her she's such a little slut I thought that in high school and I think that now. Why do people have to be so obsessed with sex all what's the big damn deal? I mean, it's okay and everything, but I don't understand when people let it control them, control their lives, why do they do that? 30 INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT Ann lies awake in bed beside John, who is sound asleep. DOCTOR (voice over) There are many things that can exert control over one's life, good and bad. Religion, greed, philanthropy, drugs. ANN (voice over) I know, but this...I just feel like everybody I know right now is obsessed with sex. Ann looks over at John. She slowly reaches under the covers and grasps his penis. Without waking, he rolls over and turns his back to her. She returns to looking at the ceiling. ANN (voice over) Except John, I guess. 31 INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann is talking to Cynthia on the phone. Ann looks very morose. CYNTHIA He just asked me questions. ANN What kinds of questions? CYNTHIA Questions about sex. ANN Well, like what did he ask, exactly? A pause. CYNTHIA Well, like, I don't want to tell you, exactly. ANN Oh, so you'll let a total stranger record your sexual life on tape, but you won't tell your own sister? CYNTHIA Apparently. ANN Did he ask you to take your clothes off? CYTNHIA Did he ask me to take my clothes off? No, he didn't. ANN Did you take your clothes off? CYNTHIA Yes, I did. ANN (floored) Cynthia! CYNTHIA What!? ANN Why did you do that? CYNTHIA Because I wanted to. ANN But why did you want to? CYNTHIA I wanted him to see me. ANN Cynthia, who knows where that tape may end up? He could be...bouncing it off some satellite or something. Some horny old men in South America or something could be watching it. CYNTHIA He wouldn't do that. ANN You don't know that for sure. CYNTHIA Well, it's too late now, isn't it? ANN Did he touch you? CYNTHIA No, but I did. ANN You touched him? CYTNHIA No, I touched me. ANN Wait a minute. Do you mean...don't tell me you...in front of him. CYNTHIA In front of him, Ann, yes. ANN (serious) You are in trouble. CYNTHIA (laughs) Listen to you!! You sound like Mom. What are you talking about? ANN (outraged) I can t believe you did that!! CYNTHIA Why? ANN I mean, I couldn't do that in front of John, even. CYNTHIA You couldn't do it, period. ANN You know what I mean, you don't even know him! CYNTHIA I feel like I do. ANN That doesn't mean you do. You can't possibly trust him, he's...perverted. CYNTHIA He's harmless. He just sits around and looks at these tapes. What's the big deal? ANN So he's got this catalogue of women touching themselves? That doesn't make you feel weird? CYNTHIA No. I don't think they all did what I did. ANN You are in serious trouble. CYNTHIA Ann, I don't understand why this freaks you out so much. You didn't do it, I did, and if it doesn't bother me, why should it bother you? ANN I don't want to discuss it. CYNTHIA Then why do you keep asking about it? 32 INT. LOUNGE -- DAY A sparse daytime crowd. Cynthia serves a beer to some DUDE. He puts the money down on the bar and looks at her. DUDE (as Marlon Brando) Are you an assassin? CYTNHIA Excuse me? DUDE (still Brando) You're an errand boy...sent by grocery clerks...to collect a bill. Ann enters the lounge, carrying a package. DUDE (to Cynthia) Brando, it's Brando, come on. CYNTHIA It's great. Pardon me. Cynthia moves down the bar to meet Ann. ANN I wish you'd get an answering machine. CYTNHIA There's a phone here. ANN It was busy. Ann opens the package, revealing a lovely sun dress. ANN Here it is. CYNTHIA What is it? ANN It's a sun dress. CYNTHIA It looks like a tablecloth. ANN It does not. CYTNHIA Well, why would she want a sun dress? She's got spots on her shoulders and varicose veins. ANN So will you, someday. CYNTHIA Yeah, and when I do, I won't be wearing sun dresses. The lounge phone rings. ANN I was just trying to-- CYNTHIA Hold on. Cynthia walks to the other end of the bar to answer the phone. The Dude watches her pass. Then he turns to Ann and gives her the once-over. He spots the present. DUDE Nice dress. Ann says nothing. DUDE Wanna hear my Walter Matthau? You'll love this. (as Matthau) "Feeelix, what are you, craaazee?" (back to normal) Pretty good, huh? Cynthia picks up the phone. CYNTHIA Hello. JOHN Cynthia. John. CYNTHIA Well, this is timely. Your wife is here, would you like to speak to her? JOHN She's there? What's she doing there? CYTNHIA She came by to show me a present that she and I are buying for your mother-in-law. JOHN Oh. When can I see you? CYNTHIA I don't know. I'm not sure I can duplicate the level of intensity I had the other day. JOHN Nothing wrong with trying. CYNTHIA I don't think my sister would agree. A pause. JOHN Do you want me to stop calling? CYNTHIA Look, I'll call you, okay? Cynthia hangs up and walks back to Ann. CYNTHIA So what's my share of the dress? ANN Thirty-two dollars. Cynthia pulls thirty-five bucks out of her jeans. She watches Ann put the money away. CYNTHIA Look, don't worry about the dress, I'm sure she'll love it. DUDE (to Ann and Cynthia) Hey!! How about Tom Brokaw? Nobody does Brokaw. (as Tom Brokaw) "In Iran today..." 33 SCENE DELETED 34 INT. GRAHAM'S APARTMENT -- DAY Graham sits reading a book. There is a knock at his door. GRAHAM It s open. Cynthia enters the room, looking very intent on something. GRAHAM Hello. CYNTHIA Hi. Graham sets his book down. He looks at her for a moment, then drags on his cigarette. CYNTHIA Look, I'm just going to come right out and tell you why I'm here, okay? GRAHAM Okay. CYNTHIA I'd like to make another tape. Graham thinks for a moment. GRAHAM No. CYNTHIA No? Not even one more? GRAHAM I never do more than one. I'm sorry. CYNTHIA I can't talk you into it? GRAHAM No. You'll have to get somebody else. CYNTHIA Now who the hell is going to do that for me? GRAHAM I'm sure a substantial number of men in this town would volunteer. CYNTHIA But I want you to do it, I want somebody who will ask the right questions and everything, somebody I can play to and feel safe because you can't do anything. GRAHAM Ouch. Okay, I deserved that. Cynthia, don't you understand? After the first time it's just not spontaneous. There's no edge anymore. Look at the tapes, there is only one date on each label. I have never taped anyone twice. CYNTHIA So make an exception. GRAHAM No. CYNTHIA How about if you record over the one we already made? You could have the same date and not use another tape. Who would know? GRAHAM I would. CYNTHIA Well, what the hell am I supposed to do? GRAHAM Cynthia, I don't know. CYNTHIA I can't believe you're doing this after I let you tape me. GRAHAM I'm sorry. I can't do it. CYNTHIA Goddamit, give me my tape, then. GRAHAM No. Cynthia heads for the tape box. Graham leaps up to stop her. CYNTHIA (digging through the box) It's my fucking tape, you asshole-- Graham grabs her wrists momentarily. GRAHAM (heated) No!! I told you what the parameters were and you agreed. It's my tape. I look at it, I touch it, nobody else. Cynthia and Graham look at each other for a long moment. GRAHAM Please go, I'd like you to go now. Cynthia looks at him. CYNTHIA Sure, okay. She leaves. 35 INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT John and Ann lie in bed. The lights are out. Ann is wide awake, while John is on the verge of sleep. He rolls over and puts his arm around her. She gets up and sits in a chair opposite the bed. ANN John? JOHN Mmmmm... ANN I called you Tuesday at 3:30 and they said you weren't in. Do you remember where you were? CUT TO: 36 INT. CYNTHIA BISHOP'S APARTMENT -- DAY John and Cynthia are in Cynthia's bed, kissing. On the floor, John's watch reads 3:11 pm. CUT BACK TO: 37 INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT JOHN Tuesday. I had a late lunch. ANN Did you see a message to call me when you got back in? CUT TO: 38 EXT. CYNTHIA BISHOP'S APARTMENT -- DAY John leaves Cynthia's house and drives straight home, greeting Ann as he steps through the front door. CUT BACK TO: 39 INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT JOHN Yes. I just got busy. ANN That's interesting, because I didn't leave a message. John is waking up a little. JOHN Then maybe I saw an old message. There are a lot of them on my desk, you know. ANN Who'd you have lunch with? JOHN I ate by myself. A pause. JOHN Something wrong? ANN Are you having an affair? JOHN Jesus Christ, where'd that come from? I have a late lunch by myself and now I'm fucking somebody? ANN Well, are you? JOHN No, I'm not. Frankly, I'm offended at the accusation. ANN If I'm right, I want to know. I don't want you to lie. I'd be very upset, but not as upset as if I'd found out you'd been lying. JOHN There's nothing to know, Ann. ANN I can't tell you how upset I would be if you were lying. JOHN Ann, you are completely paranoid. Not ten minutes ago I wanted to make love for the first time in weeks, and you act like I'm dipped in shit. You know, I think there are a lot of women that would be glad to have a young, straight male making a pretty good living beside them in bed with a hard on. ANN My sister, for one. Is that who it is? JOHN For God's sake, Ann, I am not fucking your sister. I don't find her that attractive, for one. ANN Is that supposed to comfort me? JOHN I was just saying, you know? I didn't get paranoid when you didn't want to make love. I could have easily assumed that you didn't want to because you were having an affair. ANN But I'm not. JOHN I'm not either!! ANN Why don't I believe you? JOHN Look, this conversation is utterly ridiculous. Maybe when you have some evidence, we should talk, but don't give me conjecture and intuition. ANN Always the lawyer. JOHN Goddam right. I mean, can you imagine: "Your honor, I'm positive this man is guilty. I can't place him at the scene or establish a motive, but I have this really strong feeling." ANN You've made your point. JOHN I'm sorry. It's just...I'm under a lot of pressure with this Kirkland thing, it's my first big case as junior partner, and I work all day, I come home, I look forward to seeing you, and...it hurts that you accuse me like that. A pause. Ann exhales. ANN I'm sorry, too. I...I get these ideas in my head, you know, and I have nothing to do all day but sit around and concoct these intricate scenarios. And then I want to believe it so I don't think I've wasted the whole day. Last week I was convinced you were having an affair with Cynthia, I don't know why. JOHN I don't, either. I mean, Cynthia, of all people. She's so... ANN Loud. JOHN Yeah. Jeez, give me some credit. ANN I didn't say it was rational, I just said I was convinced. JOHN Isn't therapy helping at all? ANN I don't know. Sometimes I feel stupid babbling about my little problems while children are starving in the world. JOHN Quitting your therapy won't feed the children of Ethiopia. ANN I know. A pause. ANN You never used to say "fucking". 40 SCENE DELETED 41 INT. CYNTHIA BISHOP'S APARTMENT -- DAY John sits on the edge of Cynthia's bed, slowly undressing. JOHN It's just so blatantly stupid, I have a hard time believing you did it. CYNTHIA What's so stupid about it? JOHN That you...you don't even know the guy. CYNTHIA Well, you know him, he's a friend of yours, do you think he can be trusted? JOHN Shit, after what you've told me, I don't know. I should've known, when he showed up dressed like some arty brat. CYNTHIA I like the way he dresses. JOHN What if this tape gets into the wrong hands? CYNTHIA "The wrong hands"? We're not talking about military secrets, John. They're just tapes that he makes so he can sit around and get off. JOHN Jesus Christ. And he doesn't have sex with any of them? They just talk? CYNTHIA Right. JOHN Jesus. I could almost understand it if he was screwing these people, almost. Why doesn't he just buy some magazines or porno movies or something? CYNTHIA Doesn't work. He has to know the people, he has to be able to interact with them. JOHN Interact, fine, but did you have to masturbate in front of him, for God's sake? I mean... A pause. CYNTHIA I felt like it, so what? Goddam, you and Ann make such a big deal out of it. JOHN You told Ann about this? CYNTHIA Of course. She is my sister. I tell her almost everything. JOHN I wish you hadn't done that. CYNTHIA Why not? JOHN It's just something I'd prefer she didn't know about. CYNTHIA She's a grown-up, she can handle it. JOHN I just...Ann is very... CYNTHIA Hung up. JOHN It just wasn't a smart thing to do. Did you sign any sort of paper, or did he have any contract with you saying he wouldn't broadcast these tapes? CYNTHIA No. JOHN You realize you have no recourse legally? This stuff could show up anywhere. CYNTHIA It won't. I trust him. JOHN (disbelieving) You trust him. CYNTHIA Yeah, I do. A helluva lot more than I trust you. JOHN What do you mean? CYNTHIA Exactly what I said. I'd trust him before I'd trust you. How much clearer can I be? JOHN It hurts that you would say that to me. CYNTHIA (laughs) Oh, please. Come on, John. You're fucking your wife's sister and you hardly been married a year. You're a liar. But at least I know you're a liar. It's the people that don't know, like Ann, that have to watch out. JOHN By definition you're lying to Ann, too. CYNTHIA That's right. But I never took a vow in front of God and everybody to be "faithful" to my sister. JOHN Look, are we going to do it or not? CYNTHIA Actually, no, I've changed my mind. I shouldn't have called. JOHN (ingratiating) Well, I'm here now. I'd like to do something... CYNTHIA How about straightening up the living room? John doesn't smile. CYNTHIA Come on, John. You should be happy, we've gone this far without Ann finding out, I'm making it real easy on you. Just walk out of here and I'll see you at your house for a family dinner sometime. JOHN Did he put you up to this? CYNTHIA Who? JOHN Graham. CYNTHIA No, he didn't put me up to this. Jesus, I don't need people to tell me what I should do. I've just been thinking about things, that's all. JOHN I can't believe I let him stay in my house. Right under my nose. That deviant fucker was right under my nose and I didn't see him. CYNTHIA If he had been under your prick you'd have spotted him for sure. JOHN (looks at her) God, you...you're mean. CYNTHIA I know. Will you please leave now? JOHN Maybe I don't want to leave. Maybe I want to talk. CYNTHIA John, we have nothing to talk about. JOHN I knew it, I knew it. Things are getting complicated. CYNTHIA No, John, things are getting real simple. 42 INT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann, dressed in some of John's work clothes (old cotton shirt, khaki pants) is cleaning the house. Not cleaning like a normal person, but like an obsessive/compulsive person. Scrubbing spots that are already clean, vacuuming the same area of rug over and over, etc. Suddenly, an object lodges itself in the snout of the vacuum cleaner, making a loud noise. Shutting the machine off, Ann turns it over and sees that Cynthia's diamond stud earring has gotten hooked in the take-up roller. Ann stares at Cynthia's earring for a long moment. CUT TO: Cynthia picking up her jacket from beside the bed after having sex with John. The earring slips out of the pocket and bounces under the edge of the bed. CUT BACK TO: Ann as she sets the earring onto the floor and begins to pound it with the bottom of a water glass, trying to smash it to pieces. She soon realizes the futility of trying to break a diamond. Ann looks down at herself. Suddenly realizing that she is dressed in John's clothing, she frantically rips the shirt and pants from her body as though the material were burning her skin. Popped buttons skid across the floor. Clothed only in her bra and underwear, Ann sits in the middle of the bedroom floor, arms around herself. 43 EXT. JOHN AND ANN MILLANEY'S HOUSE -- DAY Ann, now in jeans and t-shirt, stumbles to her car. Once inside, she jams the key into the ignition and rests her head against the steering wheel. 44 EXT. GRAHAM'S APARTMENT -- DAY Ann lifts her head from the steering wheel and looks up. She looks almost surprised to find that she has driven to Graham's. Slowly, she gets out of the car. 45 INT. GRAHAM'S APARTMENT -- DAY Graham sits reading. There is a weak knock at the door. Graham listens, not sure he heard anything. There is a second weak knock. GRAHAM It's open! Nothing happens. Graham gets up and opens the door himself. Ann stands against the wall of the hallway, her head down, her breathing deliberate. Concerned, Graham slowly begins to lead her inside. Impulsively, she hugs him tightly. Unaccustomed to physical contact, Graham's hands hang awkwardly at his side. Ann slowly pulls back from the embrace and sits down. Graham goes to the kitchen area and gets her a glass of water. He gives it to her and sits in the chair opposite. Ann holds the glass in her hand, staring at it. GRAHAM It's bottled, not tap. A weak smile from Ann. She drinks, swallowing with difficulty. ANN I'm not sure why I came here. I had kind of decided not to talk to you after...you know. GRAHAM I know. A pause. ANN That son of a bitch. Ann looks at Graham. ANN (sarcastic) John and Cynthia have been... "fucking". GRAHAM I know. ANN (stunned) You know? GRAHAM Yes. ANN How did you know? GRAHAM She said it on her tape. ANN (angry) Why didn't you tell me? GRAHAM Ann, when would I have told you? We were not speaking, if you recall. Ann says nothing. GRAHAM But even if we had been speaking, I wouldn't have told you. ANN Why not? GRAHAM It's not my place to tell you these things, Ann. You have to find out by yourself or from John directly. You have to trust me on this. Ann shakes her head. ANN My life is...shit. It's all shit. It's like somebody saying, "Okay, chairs are not chairs, they're actually swimming pools" I mean, nothing is what I thought it was. What happened to me? Have I been asleep? I vaguely remember the wedding, but a lot of it is just a blur...like I was watching from a distance. I can't believe him. Why didn't I trust my intuition? Graham says nothing. ANN And I'm vacuuming his goddam rug. His rug, that he paid to have put in his house. Nothing in that place belongs to me. I wanted to put some of my grandmother's furniture in it, but he wouldn't let me. So I m vacuuming his rug. That bastard. Ann looks at Graham. ANN I want to make a tape. A pause. GRAHAM Do you think that's such a good idea? ANN Don't you want to make one? GRAHAM Yes. But I sense the element of revenge here. ANN What difference does it make why I do it? GRAHAM I want you to be aware of what you're doing and why, because I know that this is not the sort of thing you would do in a normal frame of mind. ANN What would you know about a normal frame of mind? GRAHAM (impressed) That's a good question. ANN What do you have to do to get ready? GRAHAM Load a new tape, turn the camera on. ANN Then do it. Graham opens a new box of videotapes. ANN How do you pay for all this? I mean, rent, and tapes and this equipment. GRAHAM I have money. ANN What will you do when the money runs out? GRAHAM It won't. Are you ready? ANN Yes. Graham turns the camera on. GRAHAM Tell me your name. ANN Ann Bishop Millaney. CUT TO BLACK: THEN CUT TO: 46 EXT. GRAHAM'S APARTMENT -- DUSK Street lights are illuminated. Night is imminent. 47 INT. GRAHAM'S APARTMENT -- DUSK Graham stops the video recorder. The record meter is stopped at 46:02. Ann sits beside Graham on the couch. She looks into his eyes, stroking his hair. After a moment, she gets up to leave. 48 INT. JOHN AND ANN MILLANEY'S HOUSE -- NIGHT John is talking on the phone as Ann walks through the door. He mumbles an apology into the receiver and hangs up as Ann moves to the couch, her expression calm. JOHN (worried) Jesus Christ! What the hell happened? I came home and your car was gone, the door was open, I thought for sure you'd been abducted by some mad fucker, I was literally just calling the cops when you walked in. What happened? ANN I want out of this marriage. JOHN (genuinely shocked) What? ANN (looks at him) I want out of this marriage. JOHN Why? ANN We'll call it uncontested or whatever. I just want out. John moves to sit beside her on the couch. Ann does not look at him. JOHN (conciliatory) Ann, honey, please, tell me what's wrong. Don't just say you want out and leave me wondering. You can't just go without telling me why. Ann turns to look at him for a moment, then turns away. ANN Fuck you. I can do what I want. John's mouth literally hangs open in shock. He is dumbstruck. ANN I'll stay at my mother's. John gets up from the couch and begins pacing. JOHN Where did you go when you left here? ANN I drove around. Then I went to talk with Graham. John smacks his hand on his leg. JOHN Goddammit, goddammit!! That son of a bitch!! (thinking) Well, at least I know you didn't fuck him. ANN No, but I wanted to. I really wanted to, partially just to piss you off. John is seething. JOHN You're leaving me for him, aren't you? Well, that makes a sad sort of sense. He can't, and you won't. ANN I'm not going to discuss this with you anymore. You're making no sense. John walks over to Ann. JOHN Did you make one of those goddam tapes? Ann says nothing. JOHN Answer me, godammit!! Did you make one of those tapes? ANN Yes! John explodes, hitting the wall all around Ann. She cowers beneath the storm. John bolts from the house. ANN DON'T YOU TOUCH HIM!!! 49 INT. GRAHAM'S APARTMENT - NIGHT Graham stands in the middle of the room with a cigarette in his mouth, trying to teach himself to moonwalk. 50 EXT. GRAHAM'S APARTMENT -- NIGHT John screeches to a halt, parking haphazardly. He gets out of the car and runs to Graham's apartment. 51 INT. GRAHAM'S APARTMENT -- NIGHT John bursts through the door without bothering to knock. Graham looks up, startled. Before he can even react, John has him by the lapels. GRAHAM Hi, John. JOHN Where are the tapes, Graham? GRAHAM What tapes? JOHN You know which tapes! Where are they? GRAHAM John, as a lawyer, you should know that those tapes are private property. JOHN So is my wife, asshole!! GRAHAM She's not property, John, she's a person. Were you just going to keep right on lying to her? JOHN What the hell do you think? I love Ann. You think I'm going to tell her about Cynthia and hurt her feelings like that? GRAHAM God, you need help. JOHN I need help? Whose sitting by himself in a room choking his chauncey to a bunch of videotapes, Graham? Not me, buddy. You're the fucking nut. Now show me those tapes. GRAHAM No. JOHN I'm not kidding, Graham, you'd better do what I say. Give me those tapes. GRAHAM No. John punches Graham in the jaw, knocking him to the floor. Graham feels his mouth for blood as John picks him up by the shirt. JOHN Graham, I swear to Christ I'll kill your scrawny ass. Now give me those tapes. GRAHAM No. John roughly pushes Graham into one of the director's chairs, which topples over and throws Graham to the floor once again. John looks around. He sees the boxes of tapes and begins to go through the contents. Graham gets up and runs over to stop him. GRAHAM Get away from those!! They belong to me!! Graham and John struggle. John hits Graham in the stomach and pushes him to the floor. JOHN Give me your keys. GRAHAM My keys? John bends over and starts going through Graham's pockets. JOHN Your keys, asshole!! Your two fucking keys!! Give them to me!! GRAHAM I'm not going to give you my keys. John beats Graham until Graham can offer no resistance. He then drags Graham into the hallway and leaves him there. John then locks himself inside Graham's apartment. John walks over to the boxes of videotapes and begins to search through them spastically. He finds both Cynthia and Ann's tapes. After a brief deliberation, he decides to watch Ann's. He turns on the player and the monitor. After pulling a chair up to the screen, John presses the button marked "play". In the hallway, Graham drags himself to the door of his apartment. Putting his ear to the inlet, he strains to hear what is going on inside. John watches the monitor come to life. The image is Ann, sitting in a chair. GRAHAM (on tape) Tell me your name. ANN (on tape) Ann Bishop Millaney. GRAHAM (on tape) You are married, correct? JOHN Goddam right. ANN (on tape) Yes. GRAHAM (on tape) Who usually initiates sex? John's jaw tightens. JOHN Bastard... ANN (on tape) He does. GRAHAM (on tape) Do you talk to him? ANN (on tape) When we're making love? GRAHAM (on tape) Yes. ANN (on tape) Sometimes. Afterward. GRAHAM (on tape) Does he go down on you? JOHN (shouting at Graham) You son of a bitch!! ANN (on tape) Not very often. GRAHAM (on tape) I would. John is literally so mad he can't speak. He watches the screen in mute anger, his hands wrapped tightly around the arms of the chair. Graham still listens from the hallway. GRAHAM (on tape) Have you ever wanted to make love to someone other than your husband? JOHN Goddamit... Ann hesitates. JOHN (to Ann's image) Answer him, goddammit!! GRAHAM (on tape) You're hesitating. I think that means you have. JOHN (to Graham on tape) Shut up!!! ANN (on tape) You don't know what I'm thinking. GRAHAM (on tape) It's a simple question. Have you ever thought of having--making love with someone other than your husband? John leans forward. ANN (on tape) Is he going to see this? GRAHAM (on tape) Absolutely not. A sarcastic chuckle from John. In the hallway, Graham furrows his brow. ANN (on tape) I have thought about it, yes. JOHN (to Ann's image) You bitch. I knew it. GRAHAM (on tape) Did you have sex before you were married? ANN (on tape) Yes. GRAHAM (on tape) Did the person you made love with satisfy you more than your husband? JOHN (to Graham) God damn you!! ANN (on tape) Yes. John stands and throws his chair against the door. Graham, still listening at the door, is startled. GRAHAM (on tape) And you have thought about...making love to that person again since you ve been married? John watches the monitor, his eyes beginning to water. ANN (on tape) I don't see what difference it makes, I mean, I can think what I want. (pause) I don't know if I want to do this anymore, I'm afraid...I don't mind answering the questions so much, but if somebody were to see this... GRAHAM (on tape) At some level, I don't understand your nervousness. Have you decided to leave John? Ann thinks. John watches. ANN (on tape) Yes, I have. I will. GRAHAM (on tape) Then as far as this taping goes, you have nothing to worry about. ANN (on tape) I guess not. GRAHAM (on tape) Do you want me to stop? John, absorbed in the image, absently shakes his head. ANN (on tape) No. GRAHAM (on tape) Are there people other than your previous lover that you have fantasized about? A pause. ANN (on tape) Yes. Whenever...all right, look. Whenever I see a man that I think is attractive, I wonder what it would be like with him, I mean, I'm just curious, I don't act on it, but I hate that I think that!! I wish I could just forget about that stuff!! GRAHAM (on tape) Why? ANN (on tape) Because that's how Cynthia thinks!! All she does is think about that stuff, and I hate that, I don't want to be like her, I don't want to be like her!! GRAHAM (on tape) You're not like your sister. You couldn't be like her if you wanted to. ANN (on tape) I know. Deep down, I know that. It just bothers me, when I have feelings or impulses that she has. John picks up the chair he threw and sets it upright. He sits down and watches the screen impassively. Graham still listens from outside. GRAHAM (on tape) So you do fantasize? ANN (on tape) Yes. GRAHAM (on tape) About who? ANN (on tape) I fantasized about you. GRAHAM (on tape) About me? ANN (on tape) Yes. A pause. ANN (on tape) Have you fantasized about me? GRAHAM (on tape) I thought I made that clear before, when I said I would go down on you. ANN (on tape) I remember. You could do that, couldn't you? Go down on me? GRAHAM (on tape) Yes. ANN (on tape) If I asked you to, would you? Not on tape, I mean? GRAHAM (on tape) No. ANN (on tape) On tape? GRAHAM (on tape) No. ANN (on tape) Why not? GRAHAM (on tape) If I can't do it all, I don't want to do anything. And I can't do it all. ANN (on tape) Can't or won't? A pause. John is still watching the tape, his face betraying no emotion. Graham still listens from outside. CUT TO: The previous afternoon. We are no longer looking at Ann on the monitor, but watching her and Graham AS THEY MADE THE TAPE. For instance, we can now see Graham from Ann's point of view, or the two of them at the same time, etc. GRAHAM Can't. ANN You said you weren't always impotent. GRAHAM That's correct. ANN So you have had sex. GRAHAM Yes. ANN Who was the last person you had sex with? GRAHAM Her name was Elizabeth. ANN So what happened? Was it so bad that it turned you off? GRAHAM No, it was wonderful. That wasn't the problem. ANN What was the problem? GRAHAM The problem was me. I was...I was a pathological liar. Or am, I should say. Lying is like alcoholism, one is always "recovering". ANN So you lied to her? GRAHAM Yes. I did. Willfully and repeatedly. ANN How come? GRAHAM I loved her for how good she made me feel, and I hated her for how good she made me feel. And at that time, I tended to express my feelings non-verbally. I couldn't handle anyone having that much control over my emotions. ANN And now you can? GRAHAM Now I make sure that no one has the opportunity to test me. ANN Don't you get lonely? GRAHAM How could I, with all these nice people stopping by? The fact is that I've lived by myself for so long, I can't imagine living with another person. It's amazing what you can get used to if enough time goes by. And anyway, I'm asking the questions. Are you happy? ANN I don't know anymore. I thought I was, but obviously I was wrong. GRAHAM Did you confront John with the fact that you knew about him? ANN Not yet. I'm not sure I will. I just want out. GRAHAM If you do get out of your marriage, will you continue to be inhibited? ANN I don't know. It all gets back to that Cynthia thing. I don't like her...eagerness. There's nothing left to imagine, there's no... GRAHAM Subtlety? ANN Subtlety, yes. No subtlety. Plus, I've never really felt able to open up with anyone. I mean, that other person I told you about, I enjoyed making love with him a lot, but I still wasn't able to really let go. I always feel like I'm being watched and I shouldn't embarrass myself. GRAHAM And you feel the same way with John? ANN Kind of. I mean, John's like this kind of...craftsman. Like he's a carpenter, and he makes really good tables. But that's all he can make, and I don't need anymore tables. GRAHAM Interesting analogy. ANN I'm babbling. GRAHAM No, you're not. ANN (thinking) God, I m so mad at him!! GRAHAM You should be. He lied to you. So did Cynthia. ANN Yeah, I know, but somehow I expect that from her, I mean, she'll do it with almost anybody, I don't know, I shouldn't stick up for her I guess, but him. He lied so...deeply!! Ooo, I want to watch him die!! Ann sits quietly for a moment. Graham watches her silently. The camera continues to roll. ANN (looks up at Graham) You're really never going to make love again? GRAHAM I'm not planning on it. A pause. ANN If you were in love with me, would you? GRAHAM I'm not in love with you. ANN But if you were? GRAHAM I...I can't answer that precisely. ANN But I feel like maybe I could be really comfortable with you. GRAHAM That's very flattering. ANN So why won't you make love with me? Why wouldn't you, I mean? GRAHAM Ann. Are you asking me hypothetically, or are you asking me for real, right now? ANN I'm asking for real. I want you to turn that camera off and make love with me. Will you? A pause. GRAHAM I can't. ANN Why not? GRAHAM I've told you. ANN But I don't understand-- GRAHAM Ann, it could happen to me all over again, don't you see? I could start to-- ANN But how do you know for sure, you have to try to find a way to fig-- GRAHAM I couldn't face her if I had slept with somebody else. A pause. ANN Who? Elizabeth? GRAHAM (uncomfortable) Yes. ANN You mean you're still in contact with her? GRAHAM No. ANN But you're planning to be? GRAHAM I don't know. Possibly. ANN Wait a minute, wait a minute. What's going on here? Did you come back here just to see her again? GRAHAM Not entirely. ANN But that was part of it? GRAHAM Yes. ANN Like maybe a big part? GRAHAM Possibly. ANN Graham, I mean, what do you think her reaction is going to be if you contact her? GRAHAM I don't know. ANN Look at you, look at what's happened to you, look how you've changed! Don't you think she will have changed? GRAHAM I don't know. I really would rather not talk about it. ANN (has to laugh) Whoa!! I'm so glad we got that on tape!! You won't answer a question about Elizabeth, but I have to answer all these intimate questions about my sex life!! Graham, what do you think she's going to make of all these videotapes? Are you going to tell her about them? I can't imagine her being too understanding about that. But since you don't lie anymore, you'll have to say something. GRAHAM As I said, I haven't decided what to do, exactly. Perhaps I won't do anything. ANN Oh, you just moved here to think about it, right? Graham says nothing. Ann looks at him. ANN Oh, God, Graham, this is so...pathetic. You're not even what you pretend to be, you're a lie, you're a bigger lie than you ever were. Graham sets the camera down, though it continues to record. He is visibly upset. GRAHAM All right, you want to talk about lies, let's talk about lies, Ann. Let's talk about lying to yourself. You haven't been able to sleep with your husband because you're no longer in love with him, and maybe you never were. You haven't been honest with yourself in longer than you can remember. ANN (heated) Yeah, you're right. But I never claimed to know everything like you, and have all these little theories. I'm still learning, I know that. But I don't feel like I've wasted time. If I had to go through my marriage to get to where I am right now, fine. Ann moves in closer, burrowing, her eyes on fire. ANN But you. You have wasted nine years. I mean, that has to be some sort of weird record or something, nine years. How does that feel? Graham says nothing. Ann picks up the camera and points it at him. GRAHAM Don't do that. ANN Why not? GRAHAM Because. ANN "Because"? That's not good enough. I asked you a question, Graham. I asked you "how does it feel"? How does it feel, Mr. I Want To Go Down On You But I Can't? Do you know how many people you've sucked into your weird little world? Including me? Come on, how does it feel? GRAHAM I can't tell you like this. ANN I'm just going to keep asking until you answer. I'm sure there's plenty of tape. GRAHAM I don't find this "turning the tables" thing very interesting-- ANN I don't care. Graham reaches up for the camera. Ann knocks his hand away. ANN Not until I get some answers. Tell what you feel. Not what you think, I've heard plenty of that. What you feel. Graham is on the verge of completely falling apart. ANN Come on!! GRAHAM All right!! All right!! You want to know? You want to know how I feel? I feel ashamed. Is that what you wanted to hear? A pause. Graham regains his composure somewhat. ANN Why are you ashamed? GRAHAM Jesus Christ, Ann. Why is anybody anything? I think you have this idea that people are either all good or all bad, and you don't allow for any gray areas, and that's what most of us consist of. ANN You're not answering me. GRAHAM (heated) Well, what kind of answer are you looking for, Ann? What is it exactly that you want to know? ANN I want to know why you are the way you are! GRAHAM And I'm telling you it's not any one thing that I can point to and say "That's why!" It doesn't work that way with people who have problems, Ann, it's not that neat, it's not that tidy! It's not a series of little boxes that you can line up and count. Things just don't happen that way. ANN But why can't you just put it all behind you? Can't you just forget it? All that stuff you did? GRAHAM No, Ann, I can't. I can't forget it. It's not something I can fix. It's difficult. There s something in my mind...the way my brain works... [frustrated) God, Ann, when you're with another person, and you re...inside them, you're so vulnerable, you're revealing so much...there's no protection. And...somebody could say, or do something to you while you re in this...state of...nakedness. And they could hurt you without even knowing it. In a way that you couldn't even see. (looks at Ann) And you would withdraw. To make sure it didn't happen again. Ann looks at him for a long moment and then sets the camera down. She moves in front of Graham and kneels. ANN I want to touch you. Graham shakes his head. ANN I want to touch you. GRAHAM No. Ann reaches out, and Graham instinctively begins to move away. ANN Graham. Something in her voice makes him stop. Their eyes lock. Graham slowly moves back toward her. Ann's hand eases out to him, her eyes still burning into his. Graham closes his eyes, accepting Ann's touch. She caresses him. Slowly. Delicately. She touches his arms, his face, his hair. Closing her eyes, she takes his hand and puts it against her face. She begins to lie him back on the couch. When he offers light resistance, she gently persists. ANN Keep your eyes closed. Graham lies back, silently obeying. Ann touches his face. Gradually, her hand slips to his neck and she begins to unbutton his shirt. She watches his face, hoping that he will remain calm. He does. She rubs her hand on his chest. Once again she brings Graham's hand to her face. She moves his hand to her neck and throat, painting her skin with his fingers. Soon each hand is exploring the other. Fingers search for and find hidden areas. Ann stands. Their hands remain together, and Graham's eyes remain closed. Ann moves onto the couch with Graham. She gently lowers herself into a sitting position on his waist. She slowly moves both of her hands onto Graham's chest. They move forward and back, like a lazy tide. She looks at Graham. His face is tranquil. Ann quietly begins to move her face toward his. Soon she is hovering inches above him, her long hair touching his features. She lowers her lips to his forehead and kisses him. She waits for a negative reaction. Getting none, she moves lower and kisses his eyes. Still receiving no discouragement, she moves to his nose. A subtle movement from Graham. Ann waits for a moment. She then moves to his lips, her luxuriant tresses enveloping his face. She kisses him lightly. She kisses him again. Graham tilts his head back and she softly kisses his neck. Graham's hands make their way up Ann's back until they have reached her neck. He slowly pulls his face to hers. He kisses her. Graham is flooded with warmth and excitement. He caresses her, intoxicating himself with physical contact. The kisses become more meaningful, and the touching becomes more passionate. For a moment, Graham seems about to evaporate in a state of ecstasy, his eyes filled with relief and happiness. But his gaze happens to fall on the video camera, which continues to record. Graham seizes up and abruptly backs away from Ann's embrace. Reality slowly envelopes him. ANN Graham... GRAHAM I'm okay. It's okay. Ann reaches for his hand. He allows her to take it. GRAHAM (almost dazed) It's okay. Graham looks at Ann for a long moment. She sees the acceptance and gratitude in his eyes. She smiles lightly. Graham moves forward and shuts off the camera. CUT BACK TO: John watching the tape. There is video snow on the monitor now. The tape timer reads 46:02. John gets up slowly, ejects the tape from the player, and heads for the door. Graham, hearing the footsteps approach, backs away from the inlet. His eye is swollen, and he holds one of his hands in a curious position. John opens the door. He looks at Graham for a moment before reaching into his pocket for Graham's keys. He dangles them in his hand as he stands over Graham. JOHN I never told you this, because I thought it would crush you, but now I could give a shit. (pause) I fucked Elizabeth. Before you broke up. Before you were having trouble, even. So you can stop making her into a saint. She was good in bed and she could keep a secret. And that's about all I can say about her. John drops Graham's keys to the floor and leaves. Graham stands, fighting back tears, and walks into his apartment. He pulls Ann's tape from the videotape player. He reaches inside the cassette cartridge and pulls the videotape itself out, ruining it forever. He does the same to every other tape in both the boxes. Calmly. Deliberately. Methodically. He walks over to the camera/recorder, trailing a mound of videotape behind him. He breaks the lens off the camera body, and smashes the inner workings against the edge of the table. He then drops the damaged unit into the pile of destroyed tape, where it disappears. CUT TO BLACK: THEN CUT TO: 52 INT. LAW OFFICES -- DAY John Millaney talks to his colleague. JOHN Man, not having to answer to anybody... I feel like this huge weight has been lifted from my shoulders. I mean, come on, if I decide that I'd rather live alone, what's so bad about that? It's not like I've decided to live a life of crime, right? It's just how I feel, you can't help the way you feel, you just have to be honest about it. John dials a number on his telephone. VOICE ON PHONE IBM. JOHN (to phone) Brian Kirkland, please. VOICE ON PHONE May I ask who's calling? JOHN John Millaney. VOICE ON PHONE One moment. JOHN (to his colleague) Anyway, I've always said, the work is the thing. I can be happy without a marriage, but take away my work, that's different. And if Ann can't handle that, that's her problem, like we re all alone in this world, you know what I'm saying? I mean, fuck. (looks at phone) Jesus, what's takin' this guy? The intercom clicks to life. SECRETARY (on speaker) Mr. Millaney? JOHN Yeah. SECRETARY (on speaker) Mr. Forman would like to see you in his office. JOHN Okay, in a minute, I'm on with a client. SECRETARY (on speaker) He said immediately. JOHN All right, jesus. The intercom clicks off. VOICE ON PHONE Mr. Millaney? JOHN Yes? VOICE ON PHONE Mr. Kirkland has asked me to inform you that he has obtained legal representation elsewhere, and that if you have a message for him to leave it with me. John swallows. JOHN Thank you. I...there is no message. Thank you. John hangs up. He thinks for a moment, rubbing his forehead. The intercom clicks to life. SECRETARY (on speaker) Mr. Millaney, Mr. Forman is waiting. DUDE (voice over) Come on, I'm not asking too much, am I? Just one little question. 53 INT. LOUNGE -- DAY Cynthia is tending bar. The Dude from earlier is still there, puffing On a big cigar. DUDE Just tell me what time you get off. Work, I mean. What's the harm in that? Whaddaya say? Ann enters the lounge. Cynthia watches with apprehensive surprise as Ann approaches with a potted plant. CYNTHIA (to Dude) Excuse me. Cynthia moves to meet Ann at the end of the bar. Ann sets the plant down on the counter. Her manner is diffident, but not hostile. ANN I know it's your birthday, and I know you like plants. So I got you this. Cynthia is very moved, though she struggles valiantly to conceal her emotions. CYNTHIA Thank you. ANN Well. I can't stay. Ann begins to leave. CYNTHIA Can I call you? Ann turns back to face her. They look at each other for a moment. ANN Do you have my work number? CYNTHIA No. Ann writes the number down on a napkin. ANN I get real busy between two and four. CYNTHIA Okay. Ann looks at Cynthia again before leaving. ANN Bye. CYNTHIA Bye. Ann leaves. Cynthia continues to look at the door long after Ann has left. DUDE Nice plant. Cynthia turns to him. CYNTHIA Do me a favor. Don't come in here anymore. 54 SCENE DELETED 55 INT. GRAHAM'S APARTMENT -- DAY Graham sits reading. There is now some furniture in the apartment. Bookshelves, plants, etc. There are periodicals on the table where the video gear used to be. There are no cigarettes. There is a knock at Graham's door, which now has a deadbolt lock. GRAHAM Who is it? A knock again. Graham sets his book down and goes to the door. He unlocks the deadbolt and opens it. Ann stands in the hallway. Graham is obviously flushed with feeling at seeing her. She wordlessly moves into the room, her movements like a slow breeze, her expression calm. Graham watches her go by. She stops in the middle of the room, her back to him. Graham moves toward her slowly. Sensing him behind her, her breathing becomes deep. Graham slowly enfolds her in his arms, his face against her hair. She closes her eyes as their fingers entwine. CUT TO BLACK THE END 
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+                                     SEXUAL LIFE                                     Written by                                      Ken Kwapis                                                                      Draft: 08/03                                               FADE IN:               EXT. CITY SKYLINE - DAY               From an AERIAL VIEW we see the outline of a city.  Any city will                do.  Mirrored high rises.  Sprawling apartment complexes.  A                lot of people live here...whoever they are.                As we move closer we discover that this is not a real city at                all, but a scale model of one.                Everything is in miniature -- the buildings, parks, and freeways.                 GLIDING over this tabletop metropolis, we find that none of                the buildings have roofs, allowing us to peak inside.                                      VARIOUS CLOSE ANGLES               We FLOAT through miniature coffee shops, offices, and bedrooms,                where toy figures are arranged in tableau of everyday life                               A man dines alone.  A woman walks her dog.  Two kiss on the street.                 One waits for a bus.                Over this we HEAR Marianne Faithful's smoky-voiced cover of the                standard "When We're Alone"                Just picture a penthouse Way up in the sky, With hinges on chimney                For stars to go by, A sweet slice of heaven For just you and                I, When we're alone.                From all of society We'll stay aloof, And live in propriety There                on the roof, Two heavenly hermits We'll be in true, When we're                alone.                As the song ends we find a miniature girl who lies on a miniature                bed.                                      CUT TO:               INT. LORNA'S APARTMENT BEDROOM - DAY               A cramped one-room studio.  Asleep on a futon is a slender girl                of nineteen -- LORNA.  Her blood red toenails give the place                its only color. An alarm clock rings it's twelve noon.  Lorna                uses her foot to turn it off.                                      LORNA               Terri.  Why did you let me sleep so late?               Lorna looks over to an empty pull-out sofa, its only occupant                a skinny kitten.                LORNA (CONT'D) (cont'd)               Terri?               (to the cat)               She must already be at work, huh?               The cat meows -- very non-committal.                                     CUT TO:               INT. LORNA'S KITCHEN - DAY               Still in her T-shirt and panties, Lorna opens a can of cat food                as the kitten looks on.                                      LORNA               She probably forgot what day it is, right Arthur?  Some friend                she turned out to be.  Not like you.  You remember what day it                is, don't you?                (off the cat's blank stare)               I'm not giving you any food until you tell me.               Arthur the cat responds with a pitiful meow.  Lorna smiles and                sets down the food.                LORNA (CONT'D) (cont'd)               That's right.  I knew you'd remember.                                     CUT TO                                     OMITTED               EXT. STREET - DAY               Lorna, dressed casually, walks to the bus stop.  Reading the                crossword puzzle in the paper, she doesn't see the curb and trips,                spilling her purse.                  Embarrassed, she gathers her things, then takes a seat next to                a Latino Woman.  Lorna smiles and resumes work on the puzzle.                                 Stumped by a clue, she turns to the Woman.                                     LORNA               Hmm.  Simon and Garfunkel hit.  Eight letters.  Any thoughts?                               The Woman shrugs and looks off.               Suddenly, Lorna's phone rings.  She reaches into her purse but                it's not there.  Then, she spots it...in the street.  But the                moment she goes to get it, a truck roars past and smashes it                to smithereens.                LORNA (CONT'D) (cont'd)               Oh my god.               But as she scoops up the pieces in her hand a smile creeps across                her face.                LORNA (CONT'D) (cont'd)               No, this is right.  This is exactly right.                                     CUT TO               INT. COFFEE SHOP - DAY               A few notches up from a greasy spoon.  Lorna sits at the counter,                stirring her coffee.  A WAITRESS approaches.                                      LORNA               Excuse me, whatever happened to that sign, the one that used                to hang next to the pies?                The Waitress looks over her shoulder.                                     WAITRESS               What sign?                                     LORNA               The one that said, "Today is the first day of the rest of your                life."                                      WAITRESS               That thing?  We got rid of it.                                     LORNA               Oh.                                     WAITRESS               Have you decided?               Before Lorna can speak, we hear--                                     WOMAN               She'll have the steak and egg special.               Lorna turns as TERRI, her roommate, joins her at the counter.                 A little older than Lorna, Terri is cute but a little dangerous.                                                     TERRI               Look at her, she needs protein.  Lots of protein.                                     LORNA               (to the Waitress)               White toast.  Dry.               The Waitress leaves.                                     LORNA               Working early today, huh?                                     TERRI               No, I had something important to do...               Terri opens her bag and pulls out a small, gift-wrapped box.                                                     TERRI               ...Miss nineteen.                                     LORNA               I knew you'd remember.               Terri gives Lorna a kiss on the lips.                                     TERRI               Of course I remembered.  Go on, open it.                                     LORNA               No, no.  I wasn't born until ten minutes before midnight.  And                that's when I'll open it.                                      TERRI               You better like it.  I don't want to tell what I had to do to                pay for it.                                      LORNA               Ooh.  It must be good.                                     TERRI               So what's the plan, Stan?  Something special today?  Other than                splurging on toast.                                      LORNA               Yes.  There is something.                                     TERRI               Good.  Count me in.                                     LORNA               No.  Something big.  Something I've been thinking about for a                long time.                Terri sighs -- she knows exactly where this is going.                                     LORNA               I can't do this forever, Terri.  Look...               Lorna points to the corner of her eye.                                     LORNA               Crow's feet!  I'm nineteen!  Crow's feet!  I know I keep talking                about it, but this time I'm going to do it.  In fact, I did it.                 This is my last day.                                      TERRI               Okay...                                     LORNA               I called them.  I told them I was out.                                     TERRI               You did not.                                     LORNA               Uh-huh.  I have one more appointment.  Then, I'm...free.                                     TERRI               Give me your cell phone.  I'm calling them back right now.               Lorna smiles and pours the shattered remnants of her phone on                the counter.                                      LORNA               A bus ran over it.  Isn't that perfect?  It's a perfect sign.                               Terri pops a cigarette in her mouth as the Waitress delivers                the toast.                                      WAITRESS               (to Terri)               Can't do that here, Miss.                                     TERRI               I know, I know.  I'm not going to light the damn thing.               (beat)               Fuck me.                                     LORNA               Look, I'm good for next month's rent.               This takes Terri by surprise.                                     TERRI               What, you're leaving too?                                     LORNA               Maybe.  Get out of town for a while.  I really feel good about                this.                (beat)               I appreciate everything you've done for me this year, Terri.                                                     TERRI               I wish you'd talked to me first.                                     LORNA               I didn't because...I knew you'd try to talk me out of it.                                     TERRI               That's because I'm looking out for you.  It's because there is                so much opportunity here.                (beat)               And it's because I'm your friend.               Lorna fiddles with her toast.                                     LORNA               I know.               (beat)               Listen, I'm late.               Lorna leaves some change on the counter, picks up her gift and                gives Terri a hug.                                      LORNA               Thanks.                                     TERRI               Well...Happy Birthday.               As Lorna goes, the Waitress reappears.                                     WAITRESS               Your friend comin' back?                                     TERRI               Hard to say.                                     CUT TO               INT. TODD'S APARTMENT - DAY               Someone is flipping through a stack of wedding photos.  Festive                shots of various couples.  At the altar.  Cutting the cake.                 Posing with relatives.                                      CUT TO               We're in --               A living room, Lorna sits on the couch browsing the wedding photos.                 She has a quizzical look, as if the photos were of some incomprehensible                alien culture. The apartment is cluttered but not dirty.  The                decor suggests an occupant of modest means and bohemian taste.                               The occupant is TODD, who ENTERS counting a wad of money.  Late                twenties.  Unshaven.  By turns, cocky and nervous.                He sets the money in front of Lorna.                                     TODD               Seventy-five, right?  For the half-hour.                                     LORNA               Not including tip.               She smiles.  Todd paces uneasily.                                     TODD               And, typically, the size of the tip is...                                     LORNA               Depends on how generous you feel.                                     TODD               Of course.                                     LORNA               Is...this your first appointment?                                     TODD               No.  I've done this before.               Lorna thinks otherwise.  She pats the seat next to her.                                     LORNA               Come over here, you're making me nervous.               He plops down next to her.                                     LORNA               So, how much extra do you feel like spending?                                     TODD               I don't know.  Another fifty dollars?                                     LORNA               Uh-huh.               She thumbs through the wedding photos.                                     LORNA               So, this is what you do.  Weddings.                                     TODD               It pays the rent.                                     LORNA               These are good.  You're really a good photographer.                                     TODD               Well, somebody thinks so.  I get a lot of work.                                     LORNA               And you can only spend another fifty on me?               Todd walked right into that one.               LORNA (CONT'D) (cont'd)               Maybe you'll feel more generous once you get to know me.               Lorna smiles.  Her face has an open, unguarded beauty.                                     TODD               You have a great smile, do you know that?                                     LORNA               Yeah, I've heard.                                     TODD               And I like your name.  Lorna.  Like the cookie.                                     LORNA               Gee, I've never hear that one before.               She laughs at him.  But it's not unkind.               LORNA (CONT'D) (cont'd)               I have a friend who makes photos.  She's had some stuff in magazines.                 Really dirty stuff, though.  Worse than dirty.  Sick, really.                 You probably wouldn't like it.                                      TODD               Hey, I'm not afraid of sick images.  In fact, it's what I aspire                to do, create pictures that are edgy, that really assault you,                that reach out and slap you in the face.                Lorna considers this.                                     LORNA               Why?                                     TODD               Well...I don't know.  Shake people out of their...complacency.                 Your friend would understand.  What's her work like?                                      LORNA               She photographs people pissing on each other.                                     TODD               Uh-huh.                                     LORNA               Yeah...disgusting.                                     TODD               Maybe that's the point.                                     LORNA               But who would want to look at that?  I mean, bathrooms have doors                for a reason.                                      TODD               What do you like?                                     LORNA               I like things that make me happy.  Like this.               Lorna holds up a photo of a beautiful, smiling bride.                                     LORNA               I bet she's going to have a very happy life.               She lingers over the photo.                                     LORNA               I don't think I'm the marrying kind, though.                                     TODD               Me, neither.  Marriage, it's so...medieval.  Sometimes when I'm                doing a wedding I look at the bride and groom and think, "What                a couple of lemmings."                                      LORNA               I'm not sure people can be true, that's all.                                     TODD               Right.  That, too.               Lorna puts down the photos.                                     LORNA               Well...Now that we've gotten to know each better, maybe we should                get started.                                      CUT TO               INT. TODD'S BATHROOM - DAY               Alone, Lorna prepares.  She tears open a condom wrapper, stares                into the mirror and runs her lines.                                      LORNA               Oh, you really have a big cock...My, you really have a big cock...God,                what a big cock you have.                                      CUT TO               INT. TODD'S BEDROOM - DAY               Lorna and Todd are having sex.  She's on top, her movements slow                and hypnotic.  Occasionally, Lorna offers a moan, some are more                convincing than others.                NOTE: Throughout the scene, our ANGLES generally exclude Todd                from view.  We may HEAR him, but our focus is on --                                      LORNA               As she goes about her work, Lorna wears a vaguely puzzled expressions.                 In fact, puzzles are on her mind.                                      LORNA               Forty-two across...Simon & Garfunkel hit...eight letters...begins                with 'I'...I...I'm A Loser...Did they sing that?...Susie used                to play Mom's Simon & Garfunkel records all the time...I scratched                one once and she pulled my hair...I haven't spoken to her for                almost a year...Her little kid must be walking by now...Maybe                I should give Susie a call...Nah, fuck that!  She's perfectly                capable of calling me...I mean, I'm listed...I'm...I am a rock...that's                it!...I Am A Rock, that's the answer...I am a--                Suddenly, Lorna remembers the job at hand.                                     LORNA               (flatly)               God, you really have a big cock.               Like Pavlov's proverbial dog, Todd MOANS and the whole thing                is quickly over.                Lorna gives Todd a look -- it's an astonishing impersonation                of tenderness.                                      LORNA               Wow.  That was something.                                     TODD               Yeah...was it?                                     LORNA               Let me tell you...that was something.                                     TODD               Really.                                     LORNA               Cut the modesty.  You really know what you're doing.                                     CUT TO               INT. TODD'S KITCHEN - DAY               Lorna, dressed, is dialing the kitchen phone.  From the kitchen                window she can see a school playground across the way.  It's                recess.  Girls in uniforms perform a jump rope cadence.                                      LORNA               (into phone)               Hey, it's Lorna...I'm clocking out for the last time...No, I'm                not done for the day, I'm done...Wait, I don't think you heard                me...Well, just give it to one of the other girls.  Give it to                Terri...I don't care if he's an important client, I told you                I'm...Well, you'll just have to cancel it, won't you?...I don't                care what it pays, it's not my fuckin'--                She turns to find Todd in the doorway, listening.                                     LORNA               (into phone)               Hold on...               (to Todd)               What?                                     TODD               Nothing.  Are you alright?                                     LORNA               I'm fine.  The cab fare will be another twenty.                                     TODD               You never said anything about cab fare.                                     LORNA               Of course I did.  Are you calling me a liar?                                     TODD               No.  I swear, you didn't say a word about it.               Lorna slowly brings the phone to her ear.                                     LORNA               (into phone)               Alright.  Where is it?                                     CUT TO               INT. TODD'S CAR - MOVING - DAY               Todd is at the wheel of his vintage Buick.  Lorna sits on the                passenger side.  She looks off, distracted.  On the seat between                them is the gift from Terri, still unopened.                                      TODD               You haven't told me where we're going yet.                                     LORNA               Make a right at the light.               He does.                                     TODD               Can I ask you a question?               (without a beat)               No, forget it...it's stupid.                                     LORNA               Go on, ask.                                     TODD               Well, after we...after we did it, you didn't really mean what                you said, did you?  About me being so good.                Lorna looks at him like he's the biggest fool in the world.                 This is not lost on him.                                      TODD               (back-peddling)               I'm only asking because I'm fascinated by this whole scene you're                in.  So, don't worry about sparing my feelings or anything.                 I'm just curious.                                      LORNA               Pull over.                                     TODD               What?                                     LORNA               Pull over here.               He does.  Up the block is a high-rise, luxury hotel.  Limos and                cabs line the driveway.  Uniformed doormen guard the entrance.                                                     LORNA               You see that hotel?  In one of those rooms, there's a man waiting...he's                waiting for me.  I don't know what his name is or what he looks                like.  He may have bad skin.  He may be really ugly.  But no                matter how he looks, or how bad he smells, or whether he makes                weird wheezing sounds when he comes, I tell him the same thing...the                same thing I told you.                                      TODD               Right...Well, that's what I thought.  I mean, a guy would have                to be pretty lame to think that...                Todd knows better than to even finish.                                     LORNA               To think what?                                     TODD               Nothing.               Quite out of the blue, she leans over and kisses him on the cheek.                                                     LORNA               It's Todd, right.                                     TODD               Yeah.                                     LORNA               Well, Todd, you're alright.               (beat)               And that I don't say that to everyone.               She opens the door, starts out--                                     TODD               If I wanted to see you again--                                     LORNA               No. You can't.  You can't see me again.               (beat)               But thanks for asking.                                     OMITTED               INT. TODD'S CAR - DAY               Lorna closes the door and starts for the hotel.  Todd drives                past, watching her recede in the rear-view mirror.                The moment she disappears, Todd looks down and sees the gift                box from Terri -- Lorna left it on the seat.                Without missing a beat, Todd slams on the brakes, jumps out and                races back to where he left her.  Looking everywhere--                                      TODD               Lorna!  Lorna!               But Lorna is gone.                                     CUT TO                                     OMITTED                                     CUT TO               INT. PHOTOGRAPHY STUDIO - DAY               A business that specializes in sentimental portraits -- weddings,                graduations, anniversaries...even beloved pets.                A photo shoot in progress.  Todd and his colleague PHIL -- mid-30s,                are doing an engagement portrait.                  The couple -- very straight and suburban -- are just of out Todd                and Phil's earshot.                                      PHIL               (to the couple)               Beautiful, just beautiful.               (to Todd)               You used a rubber, I hope.                                     TODD               Of course.                                     PHIL               And how much did this afternoon delight set you back?                                     TODD               Oh.  About a buck and a quarter.               (to the couple)               We just need to reload.               As they do--                                     PHIL               Since when do you have a hundred and twenty-five dollars to throw                away?                                      TODD               I'm sure you spend just as much on porn rentals.                                     PHIL               There's no comparison.  Here, I'll do the math for you.               Phil pulls a calculator out of his camera bag.               PHIL (CONT'D) (cont'd)               (punching in numbers)               A video rents for $2.65.  That's a two-day rental.  That means                you can get off at least a couple times before it's due.  $125                divided by $2.65 equals approximately 47.  47 X 2 = 94.  I can                get off ninety-four times for the same amount you paid to get                off once.  Now tell me who gets the better deal.                                      TODD               You're right.  I can't argue with that.                                     PHIL               Anyway, I stopped watching porno.                                     TODD               You did?  Why?                                     PHIL               They kinda depress me.               (beat)               When I want to get off now, you know what I use?                                     TODD               What?               Phil taps his forehead.                                     PHIL               My imagination.               (to the couple)               Okay, folks.  It's magic time.                                     LATER.               The couple is gone.  Phil and Todd wrap some equipment.               Phil (cont'd)               What I don't understand is, aren't you getting enough action                from that Sarah?                                      TODD               What's Sarah got to do with it?                                     PHIL               You're seeing her, aren't you?                                     TODD               Sarah...that's a whole different situation.                                     PHIL               But you're doing it with her, right?                                     TODD               I like Sarah a lot.  And I don't want to blow it by pushing too                hard.                Phil stares.                                     PHIL               You mean, you haven't...                                     TODD               Technically?  No.                                     PHIL               She won't put out?                                     TODD               No, no, no.  You don't get it.  You can't equate the two.  What                I did with Lorna--                                      PHIL               Lorna?                                     TODD               That's her name.  Lorna.  I mean, that's the name she gave me.                 What I did with her...that was like going to some exotic place.                 For a visit.    Haven't you ever wondered what that kind of                person is like?  What that world is like?  I was just...doing                research.  The lower depths...                (beat)               You think I'm full of shit, don't you?                                     PHIL               I didn't say anything.                                     CUT TO:                                     OMITTED                                     CUT TO               EXT. MOVIE THEATER - NIGHT               A revival house in a college neighborhood.  The ticket seller                hangs a "Sold Out" sign in the box office window, just as Todd                and SARAH come running down the sidewalk.                                      SARAH               Shit!  Sold out!               Sarah, at twenty-five, is cute, brainy, articulate, and hopelessly                insecure.                They lean against the wall and catch their breath.                                     SARAH               I am so sorry.                                     TODD               That's alright.  I hear it's really overrated.  And long.                                     SARAH               I could just kill him!  This is not the first time he's done                this, either.                                      TODD               Done what?                                     SARAH               Cooked up some phony emergency, right as I'm getting on the elevator.                                                     TODD               He's your boss.  Being an asshole is part of the job description.                                                     SARAH               We're talking about the most self-centered man I have ever met.                 God forbid I should have a life, right?                (beat)               But I'm not going to let him do it.                                     TODD               Do what?                                     SARAH               Ruin my evening.  Our evening.               (without a beat)               You know, he also thinks he's God's gift to women.  I'm surprised                he hasn't been sued by now...Okay, okay.  Stop me.                He takes her by the shoulders.                                     TODD               Sarah.  Take a breath.                                     SARAH               Okay.  I'm taking a breath.               And she does.                                     TODD               Now, take another one.                                     SARAH               I like you.  Have I told you that?                                     TODD               Not today.                                     SARAH               You know what I want to do?  I want to go shopping.                                     TODD               Shopping?  For what?                                     SARAH               For a house.                                     TODD               (completely thrown)               Just what I was thinking.                                     CUT TO               INT. TODD'S CAR - MOVING - NIGHT               Todd drives Sarah through a neighborhood full of beautifully-maintained                old homes.  She is a kid in a candy store--                                      SARAH               Look at the detail on that one.  Wow.  Every one of these is                a gem.  Makes the stuff I work on look pretty shabby by comparison.                               She shifts to get a better look.  In doing so, her foot hits                an object on the floor.                                      SARAH               What's this?               She lifts up Lorna's birthday gift -- still unwrapped.Todd reacts                -- he forgot to get rid of it -- and Sarah reacts to Todd.                                                     SARAH               Obviously, not for me.                                     TODD               Something...somebody left in front the studio.  I just picked                it up.                Sarah nods -- she seems to buy it -- and promptly opens the box.                                                     TODD               What are you doing?                                     SARAH               Maybe we can find out whose it is.               Inside is a silver bracelet, and a hand-written note.                                     SARAH               (reading)               "Lorna.  Remember, I'm in your corner.  Love, Terri."  Pretty                cool bracelet.  You just found this.                                      TODD               Stupid of me...I should've left it.                                     SARAH               Lorna.  That's a name you don't hear very much.  Lorna.  Like                the cookie.                (off Todd's look)               What?  You've never had a Lorna Doone?                                     TODD               No.                                     SARAH               Terri and Lorna.  Sisters, maybe?  Lovers, more like it.  Or...witches.                 And this bracelet is some sort of talisman.                                      TODD               You have a perverse mind.               (beat)               ...which I like, by the way.                                     SARAH               Or...perhaps Terri killed Lorna, and this "gift" provides her                with an alibi.                                      TODD               Maybe you should put it back.                                     SARAH               What, aren't you a little curious?               Todd pulls over and stops.                                     TODD               Sarah...I don't know how to put this.  This is our fourth night                out, and I feel a lot of pressure...for this to work.                                      SARAH               I want it to work, too.               (off his look)               Oh.  Is this about sex?                                     TODD               Don't you think we're being a little...methodical about the whole                thing?  Maybe we should just...                                      SARAH               What?  Get it over with?                                     TODD               Not exactly.                                     SARAH               Don't you think it's better to be sure of each other first?                 To have a little bit of trust?                Sarah absently fingers the bracelet that's not hers.                                     TODD               You can trust me.                                     SARAH               I know, I know.               (beat)               But you're not sleeping with anyone else, right?                                     TODD               Of course not.                                     SARAH               It's not such a strange thing to ask.  Sometimes relationships...overlap.                 I just need to feel--                                      TODD               I told you.  I'm not.               Beat.                                     SARAH               You haven't asked me if I'm seeing anyone.                                     TODD               Is that bad?                                     SARAH               It's silly, I know, but it makes me feel like you couldn't imagine                anyone being interested in me.                                      TODD               What?  You should be flattered I don't ask.  I respect you enough                to assume you'd tell me if you're involved with someone.                Sarah considers this.                                     SARAH               Hmm.  Ask me, anyway.                                     TODD               Are you serious?               (off her look)               Alright.  Are you seeing anyone?                                     SARAH               Absolutely not.               Todd takes the bracelet, puts it on the dash, then leans to kiss                Sarah.                                      SARAH               I do want to make love tonight.                                     TODD               I'm just worried that all this talk is going to kill the spontaneity--                               She presses her finger to his lips--                                     SARAH               I think spontaneity is overrated.                                     CUT TO               INT. SARAH'S APARTMENT BEDROOM - NIGHT               Todd and Sarah are making out in her bedroom.  To expedite matters,                they're also trying to undress.  It's not very practical.  Todd                can't quite kick off his shoes.  Sarah can't quite get her blouse                unbuttoned.                Finally--                                     SARAH               Todd, the light.               He switches it off.  They sit side by side and undress down to                their underwear.   They look at each other.                                      SARAH               Wait.  Don't say anything.                                     TODD               Okay.               Beat.                                     SARAH               What were you going to say?                                     TODD               I wasn't going to say anything.                                     SARAH               Oh.                                     TODD               You look beautiful--                                     SARAH               No, don't say that.  Let's get under the covers.               They climb into bed and move into each other's arms.                                     SARAH               Let's go slowly.               They kiss, caress, shedding their inhibitions. Then--                                     SARAH               Oh.  Oww!                                     TODD               What happened?                                     SARAH               Dammit...my foot.  I've got one of those...what's the word?                                                     TODD               A bunion                                     SARAH               Not a bunion.  A spasm.                                     TODD               Oh, a foot spasm.  Here let me--               He throws back the covers and massages her foot.                                     SARAH               Oww!  No, stop!  It hurts!  I hate this!                                     TODD               What can we do?                                     SARAH               Nothing, it's fine, it's fine.  Lemme just walk it off.               She gets out of bed and hobbles into--               INT. SARAH'S HALLWAY - NIGHT               Dressed in bra and panties, Sarah hops up and down the hall,                desperate to relieve her pain.                Todd appears in the doorway and watches her mad little dance.                               His thoughts--                                     TODD               She has a better-looking body than I imagined...Breasts are definitely                bigger than I thought.  You can just never tell with breasts,                can you?...I don't know what to make of this foot problem...Maybe                she gets a spasm every time she has sex...I've heard of people                with problems like that...People who can't have sex without laughing,                or burping...Oh, God, what if she's one of them...                Sarah looks up from her hopping.                                     SARAH               I am so embarrassed.  Trust me, this doesn't happen all the time.                                                     TODD               The thought never crossed my mind.                                     CUT TO               INT. SARAH'S BEDROOM - NIGHT               Sarah and Todd, back under the covers, making love.  Todd is                on top, moving slowly.  Sarah bites her lip and closes her eyes.                               Todd looks at her and wonders --                                     TODD               She won't look at me.  Why won't she look at me?..I'll bet she's                preoccupied with her foot.  She's praying she won't get another                spasm, another foot freak-out...She's being awfully quiet, too...Why                is she so quiet?...Maybe she needs to concentrate...Some women                need to concentrate...I read that in a magazine at the grocery                store...That blonde check-out girl who works there is really                cute...I love the way she says, "Paper or plastic?"...                Todd lets out an excited gasp.  Sarah opens her eyes with alarm.                                                     SARAH               Todd!  Shhh...               Todd stops.  Everything stops.                                     TODD               What's the matter?                                     SARAH               These walls, they're paper-thin.  This building is so poorly                built.  Everyone can hear you.                Todd rolls off of her.                                     TODD               Is that why you're so quiet?                                     SARAH               Yes, the walls are...What are you saying?                                     TODD               It's hard for me to tell if you're enjoying this.                                     SARAH               Of course, I am.  I'm sorry if I'm not vocal enough for you.                                                     TODD               That's not what I...Sarah, I just want to make sure I'm doing                something right here.                                      SARAH               There's no right or wrong way to do this.                                     TODD               I know.  I just want to make sure I'm...you know, in the ballpark.                               Sarah stares at him.                                     SARAH               Todd, I don't expect you to do everything right the first time...Sorry,                that didn't come out the way I meant it...                They roll away from each other and stare at the ceiling.  We                hear a distant siren -- a fire engine, maybe.  Somewhere there's                a five-alarm fire blazing.  Not here.                                      TODD               You didn't like it.                                     SARAH               No, I didn't say that.  I was just...Let's be still for a while.                 Alright?                                      FADE OUT:                                     FADE IN:               INT. SARAH'S BEDROOM - LATER - NIGHT               Sarah and Todd haven't moved.  It's not clear how much time has                elapsed.                                      SARAH               Everyone expects fireworks the first time you do it.  But that's                just a myth.                                      TODD               A myth.  You're right.                                     SARAH               Let's not be too hard on ourselves.                                     TODD               I agree.                                     SARAH               Our expectations were a little high, that's all.               Todd nods his agreement.                                     TODD               And at the end of the day, sex is only one part of the picture.                                                     SARAH               True.  What do you mean?                                     TODD               I know this couple. They had nothing in common but good sex.                 They went at it like a pair of rabbits.  And guess how long                it lasted?  A month.  They were hot for each other...but there                was nothing else.                                      SARAH               Right.               (beat)               There's got to be something else.               And they stare at the ceiling.                                     FADE OUT:                                     FADE IN:               INT. SARAH'S BEDROOM - STILL LATER - NIGHT               They still haven't moved, but unbeknownst to Sarah, Todd has                fallen asleep.                She looks at him.  She caresses his face.  Then, her hand slides                down under the sheets.  She tries to arouse him, but after a                while she stops.  He's very much asleep.                Sarah lies back.  She slides her hand between her legs and begins                to touch herself.                Quietly.                                     FADE OUT:                                     FADE IN:               EXT. STREET - DAY               Early morning.  The air is cool and crisp as Sarah, wearing sweats                and a T-shirt, jogs through the neighborhood.                She turns down a side street, heading for--               EXT. SARAH'S GRANDPARENTS HOUSE - DAY               A nondescript house with a faded American flag hanging off the                front porch.  Sarah climbs the steps where an elderly man --                her GRANDFATHER, sits with the morning paper in his lap, unread.                               Sarah gives him a kiss.                                     SARAH               Morning, Pappy.  How's she doing today?                                     GRANDFATHER               Don't pay her any mind, Sarah.  The things she says, they get                stranger by the day.                Sarah pays him no mind and heads into the house.                                     CUT TO               EXT. BACK PORCH - DAY               Sarah and her GRANDMOTHER sit on the back porch, which offers                a splendid view of...other people's back porches.                Sarah's Grandmother has a sense of mischief that's quite at odds                with her deteriorating frame.                The two drink coffee.                                     GRANDMOTHER               They keep telling me I'm doing fine, that I'm even improving.                 Why do they have to lie?  At my age?  What are they trying to                protect me from?                                      SARAH               Maybe they know something you don't.                                     GRANDMOTHER               Like hell.               She pulls out a pack of American Spirit cigarettes and lights                one.  Sarah reacts.                                      SARAH               Nan.                                     GRANDMOTHER               What?  One in the morning with coffee.  One at night with cocktails.                 Where was I?                (beat)               Oh, yes.  My story is coming to an end, Sarah--                                     SARAH               Oh, please.                                     GRANDMOTHER               Your story, that's the one I want to hear.                                     SARAH               I wish I had a story to tell.                                     GRANDMOTHER               Hmm.  The last time there was talk of an admirer.                                     SARAH               All you want is dirt, Nan.  Admit it.                                     GRANDMOTHER               The world is made of dirt, Sarah.  So, please, dish.  No detail                is too small.                                      SARAH               I...I'm sleeping with two different men.                                     GRANDMOTHER               Hmm.  Continue.                                     SARAH               One of them is a good man.  He's good for me.                                     GRANDMOTHER               Like vitamins.                                     SARAH               Sort of.  The other one, he can be a complete ass.  A total jerk.                                                     GRANDMOTHER               In other words...he excites you.                                     SARAH               He does.  And I hate it.  I hate him.  And, on top of that, I                can't have him.                                      GRANDMOTHER               Can you see your Pappy?               Sarah looks back over her shoulder.  She catches a glimpse of                her Grandfather.  He's still on the front porch.                                      SARAH               He hasn't moved.                                     GRANDMOTHER               Good.  Keep an eye on him.                                     SARAH               Why?                                     GRANDMOTHER               Because I'm going to tell you something he shouldn't hear.  Something                no one knows.  Once, I had two lovers.  One was your grandfather.                 He had prospects, then.  He had a car and we drove everywhere                and people would look at us and say, "Now, there goes a couple."                 He never pushed me.  He told me he respected my virginity.                 And I liked that.                They hear a loud creak.                                     SARAH               Don't worry.  He's not moving.                                     GRANDMOTHER               The other man -- he was a boy, really -- he had no prospects.                 And he had no car.  And he had no respect...for anything.  He                certainly had no respect for my virginity.  And I liked that,                too.                She takes a long, luxurious drag.                                     GRANDMOTHER               But I had to make a choice.  I chose your grandfather.  The day                before the wedding, I went to let the other boy down.  Met him                by a river where we used to swim.  Well, one thing led to another,                and when I returned home that night, I'd left my virginity back                in the tall grass by that river.                Sarah sits on the edge of her chair.                                     GRANDMOTHER               But I did bring something back.  A bite mark.  That sonuvabitch                left on my neck, the size of a peach pit.                                      SARAH               Did Pappy see it?                                     GRANDMOTHER               He did and he didn't.  On the wedding night -- in this house                -- I managed to squeak by.  It was dark.  We were shy.  He took                me in his arms and said, "I'm glad you waited for me."  In other                words, I lost my virginity twice in the same week.                They both laugh.                                     SARAH               No small feat.                                     GRANDMOTHER               It's an accomplishment.  But the next morning, your Pappy saw                it.  He demanded an explanation.  And, Sarah, do you know how                I got out of that pickle?                                      SARAH               You lied.                                     GRANDMOTHER               Damn right.  I said, "What, you don't remember giving me this?"                He said, "No."  And I said, "Well, you were so fired up last                night, it's a wonder you can remember anything."                (beat)               And the beast was tamed.               Sarah considers the story.                                     SARAH               And you've never been tempted to...                                     GRANDMOTHER               What?  Come clean with your Pappy?  Why should I tell him?  He                had nothing to do with it.                                      SARAH               Right.                                     GRANDMOTHER               It's mine.  Not his.                                     SARAH               I wonder what became of that boy.                                     GRANDMOTHER               Never saw him again.  I don't regret a thing, if that's what                you're wondering.                                      SARAH               I was, in fact.                                     GRANDMOTHER               Look what I have.  I have you.               (beat)               And you know what else?  I have the tall grass by that river.                 And those clouds.  From where I was laying the clouds looked                really beautiful that day.                                      CUT TO               INT. THE MODEL CITY/OFFICE - DAY               The same model we saw at the start of our story.  We glide toward                a miniature suburban development.  Row upon row of houses, each                no different than the next.                Over this --                                     SARAH               I don't believe it.  You're actually asking my opinion.  You                really want to know what I think?                We TILT UP to reveal that we're in--               The well-appointed office of the well-heeled JOSH, an architect                in his early 40s.  Josh studies the model like a boy with a train                set.  Sarah stands beside him.                                      JOSH               To tell you the truth, no.  I just wanted to hear your voice.                 You've barely said "boo" to me all morning.                                      SARAH               (shrugs)               Boo.                                     JOSH               Alright, what do you think of it?                                     SARAH               You'd have to pay me to live in that neighborhood.               (off his look)               Hey, what do I know?  I'm just the assistant.                                     JOSH               What are they going to think?  That's all that matters.                                     SARAH               To paraphrase you, this is going to give them a major hard-on.                 Not the women, of course.                                      JOSH               You haven't met these women.               Sarah laughs, catches herself and stops.                                     CUT TO               INT. OFFICE CORRIDOR - DAY               Sarah and Josh move down a hall toward the elevators.  Josh is                in micro-management mode --                                      JOSH               The champagne order?                                     SARAH               Done.  Dom Perignon.  Fifteen cases.                                     JOSH               Invitations?                                     SARAH               A messenger is meeting us at the site with the proofs.                                     JOSH               Good.               He reaches behind her and pats her butt.                                     SARAH               Stop it.                                     JOSH               I can't.                                     SARAH               Have you never heard of the phrase "impulse control"?               They reach the elevators.                                     JOSH               I love it when you're full of contempt.               She just glares.                                     SARAH               People are starting to notice, Josh.  I work very hard to act                completely indifferent toward you.  The least you could do is                to keep your hands to yourself.                                      JOSH               I've got a better idea.                                     SARAH               What?                                     JOSH               Why don't I distribute a memo, informing everyone that you and                I are not sleeping together?                                      SARAH               Josh, just for the sake of variety, could you take me seriously                for a moment?                                      JOSH               Alright, alright.  I have another idea.                                     SARAH               Please, don't...                                     JOSH               Let's just end it.               Beat.                                     SARAH               Yes.  I think we should.               Josh didn't expect this.  The elevator arrives.  He steps aboard                and holds the door for her.                                      JOSH               Coming?                                     SARAH               I'm going to take the stairs.               Josh shrugs and lets the doors close.               A beat.  Sarah considers the stairs, then hits the down button                again.                                      CUT TO               EXT. OFFICE BUILDING - DAY               Sarah and Todd eat lunch on a bench in a busy promenade.  Deli                sandwiches in wax paper rest on their laps.                                      SARAH               I can't put my finger on it...I just don't feel it's happening                with us.                                      TODD               You don't want it work out, that's what you're saying.                                     SARAH               I do.  I mean, I did.  It's no one's fault.  It's chemistry.                               Beat.                                     TODD               You want your pickle?                                     SARAH               Do you want your pickle?!                                     TODD               You know what the problem is?  The first night we went out, we                should've just fucked.  Right away.  Without thinking.  Two dumb                bunnies.  Without any history,  any baggage.  A pair of blank                slates.  Fucking.  It could've been perfectly meaningless.  You                want chemistry?  The less you think, the better the chemistry.                 Less talk, more action.                                      SARAH               I'm sorry.  It's just not happening for me.                                     TODD               The least you can do is give me your goddam pickle.               They look away from each other.  Todd eats in silence.  The pickle                sits between them.                                      CUT TO               EXT. SUBURBAN DEVELOPMENT - DAY               Josh's model come to life.  A fallow stretch of land lined with                unfinished houses, some more skeletal than others.                At one site we find two parked cars.  A gold Lincoln Navigator                and an old BMW convertible.                                      CUT TO               INT. HOUSE - DAY               A house-in-progress.  The walls are in place, but little else.                 Stray two-by-fours, saw horses, electrical cable.  And...no                roof.                In an upstairs room -- what will soon be the master bedroom,                Josh confers with a construction supervisor.  Nearby, Sarah talks                on her cell phone.                                      SARAH               (into phone)               I don't care if it costs the same, if it's not Dom Perignon tell                them we don't want it, alright?...Good.  Anybody else call?                 Nobody, huh...Okay.                As she hangs up the construction supervisor exits.  Sarah and                Josh are alone.                                      SARAH               Guess I'll be heading back...                                     JOSH               Wait.               (beat)               About the other day...Are you having any second thoughts?                                     SARAH               (shrugs)               No.  None.                                     JOSH               You're angry I called it quits, aren't you?  You can admit it.                                                     SARAH               No.  In fact, I want to thank you.                                     JOSH               For what?                                     SARAH               For sparing me from the most unhealthy relationship I've ever                had in my life.  For that, I thank you.                Josh raises his hands in surrender.                                     JOSH               TouchÈ.                                     SARAH               Are you having seconds thoughts?                                     JOSH               No.  I say, let's make a clean break.  Let's just walk away from                it.                Sarah smiles.  She extends her hand.                                     JOSH               What are you doing?                                     SARAH               Let's seal the deal.  Shake.               It's a little awkward, but they do.                                     JOSH               Alright.  Now that we've put that behind us, there's one problem                left.                                      SARAH               What?                                     JOSH               Where do we put the bed?               Josh gestures to the empty room.  Sarah smiles -- it's a familiar                game.                                      SARAH               Oh, the bed.  Let's put it against this wall.  Away from the                morning sun.                                      JOSH               Wrong.  It's got to go here.  So you can see the hallway.               They head out.               As Josh and Sarah leave the house, they "decorate" several rooms.                               INT. ANOTHER BEDROOM -- DAY                                     SARAH               Not enough height for bunk beds.                                     JOSH               Why do you assume there will be two children?                                     SARAH               There has to be.  They need to keep each other company.               INT. THE KITCHEN -- DAY                                     SARAH               Definitely not enough space for two people to cook.                                     JOSH               I prefer to eat out.               INT. THE LIVING ROOM -- DAY               They size up the space, enjoying their play.  Sara walks around                imaginary furniture.                                      SARAH               Oh, no.  I wouldn't put the ottoman there.                                     JOSH               Where would you put it?                                     SARAH               It needs to go over...               She waves her hand, accidentally brushing against Josh's chest.                 She lets her hand linger...                                      SARAH               Hmmm.                                     JOSH               What?               ...and linger.  They both know what's happening.                                     SARAH               We have another problem.                                     JOSH               And that would be...?                                     SARAH               What do we do with the elephant in the room?                                     JOSH               You're very clever.               She rubs his chest.                                     SARAH               We shouldn't be rude to an elephant.               She lets her hand drop to his crotch.                                     SARAH               They can get very annoyed...if you ignore them.               She pulls Josh to her and kisses him.  Josh fairly attacks her,                his hands all over her body.                After a few lustful beats, he lifts her and she wraps her legs                around him.                                      SARAH               Josh.  The door.               It's an absurd request -- the room is completely exposed, but                Josh carries her to the front door and kicks it closed.                --as the door slams, obscuring our view.                                     ON JOSH AND SARAH               With Sarah's back against the door, Josh enters her.                                     CLOSE ON SARAH               She looks up.  With no roof above them, she has a brilliant view                of...the clouds.  They float past as she thinks--                SARAH (V.O.) (cont'd)               ...Let's not put a roof on this house today...let's leave the                walls unfinished...it's okay not to know where the sofa goes...The                colors?  We can choose them another day...I like it the way it                is... undone... undecided...a work in progress...                She moans -- there's nothing quiet about her at all.               Fade out.                                     FADE IN:               INT. THE LIVING ROOM - LATER - DAY               Josh and Sarah have finished.  He tucks in his shirt.  She puts                on a shoe.                                      JOSH               I have to tell you, that was the best "break-up" sex I've ever                had.                Sarah considers this.  Nods.                                     SARAH               It was, wasn't it?               (beat)               Closure is important.               jOSH               Now you can move on.  You can meet someone who...               sarah               What?  Someone who's not a prick like you.               Josh reacts -- slightly offended.               joSH               No.  Someone who's...free.               sarah               Oh.  Right.               (beat)               As if that would have made any difference in this...what is this                thing called again?  A relationship?                She's fishing -- she hates herself for it.               sarah (cont'd)               It wouldn't have made any difference, right?               jOSH               I'm surprised you have to ask.               sarah               I'm not asking.               He'll answer, anyway.               joSH               If my hands weren't tied...it might have made all the difference.                               Beat.               sarah               I said I wasn't asking.  And that's the worst answer you could've                given.                cUT TO               EXT. HOUSE - DAY               Josh and Sarah get into their respective cars -- her BMW, his                Navigator.                Josh looks at himself in the rear-view mirror.  He reacts--                               JoSH               What the hell is this?               Sarah looks over.               joSH (cont'd)               You bit me on the neck!  I've got a goddam hickey!               Sure enough, there is a bright red mark on his neck.               Sarah comes over.  She reacts with shock, embarrassment, then...laughter.                               joSH (cont'd)               What's so goddam funny?  You did this on purpose, didn't you?                               sarah               I did not.  I was just...I didn't mean to...I was caught up in                the moment.                And she laughs again.               jOSH               What the hell are we going to do about this?               sARAH               Josh, you are a big boy.  You can take care of this on your own.                               Josh glares at her, starts his engine, and leaves her in the                dust.                cUT TO:               INT. TODD'S APARTMENT - DAY               Todd is on the kitchen phone.  Lorna's bracelet sits on the counter.                                                     TODD               (into phone)               No, no, no.  You don't understand.  I don't want an appointment,                I just need to get in touch with her...She left a package here                by mistake, a gift...No, I'd rather give it to her myself...Lorna,                but I assume none of you use your real names...What?  But she                was working last week?...And you don't have a forwarding number?                 ...Look, it's really important that I get this back to her,                so--                The line goes dead.                                     TODD               Dammit.               He dials again.  Then, a knock at the door.  Todd reacts -- he's                not expecting anyone.                He opens the door and finds--                                     SARAH               Still dressed in the clothes she wore earlier.  She holds a small                paper bag.                                      TODD               Sarah...                                     SARAH               I brought you something.               She hands him the bag.  He looks inside.                                     TODD               Pickles.  Huh.               (beat)               What's in your hair?               She touches her hair.                                     SARAH               Oh.  Sawdust.  Lots of sawdust at the job site.               (beat)               Can I come in?               Todd puts the bag of pickles on the kitchen counter.  He sees                Lorna's bracelet...and slides it into a trash can.                                      CUT TO               INT. PHARMACY - NIGHT               Josh, still sporting his hickey, approaches the humorless teenage                GIRL behind the counter.                                      GIRL               Need some help?                                     JOSH               Yes, I have a problem.  I need some...something to cover up a...Hell,                just take a look.                Josh shows the Girl his hickey.                                     GIRL               Yeah.  You're fucked.                                     JOSH               I can do without the attitude, thank-you.                                     GIRL               Try concealer.  Aisle three.                                     JOSH               (impatient)               But what do I do with it?                                     GIRL               Just put it on.  And call your lawyer.               She smiles.                                     CUT TO               EXT. JOSH'S HOUSE - NIGHT               In the driveway of his fashionable home are two parked cars.                 Josh's Mercedes S430 and his wife's Lexus RX300.                In the Mercedes, Josh finishes applying the concealer to his                neck.  He checks himself in the mirror -- the hickey is completely                gone.                His hands, however, have concealer all over them.                                     CUT TO               INT. JOSH'S BATHROOM - NIGHT               Josh washes his hands in the master bathroom.  He double-checks                his neck in the mirror.  From the adjoining bedroom, we hear                -- but do not see -- his wife GWEN.                                      GWEN               Unbelievable.                                     JOSH               What?                                     GWEN               I'm reading a stupid article in a stupid magazine.                                     JOSH               If it's stupid, why read it?                                     GWEN               (ignores this)               The whole issue is devoted to famous couples who are breaking                up.  Listen to this...Remember the blonde doctor on that show                you hate?                                      JOSH               Yeah.  She's a bore.                                     GWEN               She's breaking up with her husband of twenty years.  Said a friend,                "Her show's in syndication, she's thin, she's rich and she wants                to play." Josh dries his hands.                                      JOSH               Some poor tree gave its life so we could know that.                                     GWEN               It's comforting, reading about these broken marriages.               Josh opens the door into the--               INT. JOSH'S BEDROOM - NIGHT               Gwen sits under the covers with her magazine.  In her late 30s,                she is a refined, patrician beauty.  As Josh undresses for bed--                                                     JOSH               Why?                                     GWEN               It's not enough for our marriage to succeed.  Everyone else's                must fail.                                      JOSH               Is this going to be one of those nights?                                     GWEN               What?                                     JOSH               One of those nights we talk.                                     GWEN               No.  There's no need to talk, because there's no problem.               He gets into bed next to her.                                     JOSH               I've been under a lot of stress.                                     GWEN               You don't have to apologize.  There's nothing wrong with the                slump we're going through.  In fact, it's a good thing.                                      JOSH               How's that?               He turns off the side light.  We can't see them -- the room is                completely dark.                                      GWEN               Too much passion can ruin a marriage.  Look at Eric and Sylvia.                 At the beginning, you couldn't pry them apart.  They were joined                at the genitals.  And, then...total burn-out.  A marriage cannot                sustain that kind of intensity.  It's good for people to grow                bored with each other.  That way, they can meet and fall in love                again.                She snuggles up to him, strokes his back.                                     GWEN               In case you hadn't noticed...I'm trying to seduce you.                                     JOSH               I can feel that.                                     GWEN               You're welcome to reciprocate.               Josh turns on the light and sits up.                                     JOSH               I can't.                                     GWEN               It's alright.                                     JOSH               To seduce...to be seduced, there needs to be an element of surprise.                 I know all your moves.  You know mine.  How can there be any                surprise?                Gwen sits up, throws back the sheet.                                     GWEN               Rub my feet.               He does.                                     GWEN               I think we should have an affair.                                     JOSH               What?                                     GWEN               With each other.                                     JOSH               That makes no sense.                                     GWEN               You pick me up at a bar...                                     JOSH               And, what?  Pretend I don't know you?                                     GWEN               (ignores him)               Or we could meet at a hotel.  I'll register under my maiden name.                 Just like THE GRADUATE.                                      JOSH               THE GRADUATE is about a married woman having an affair with a                college boy.                                      GWEN               When I met you, you were a college boy.                                     JOSH               Gwen, THE GRADUATE is a story about a very unhappy woman who                has an affair out of wedlock.  As I recall, it turns out rather                badly for her.                                      GWEN               Alright.  Bad example.               (rethe foot rub)               You can stop.                                     JOSH               Actors pretend.  That's what they do.  I'm not an actor.  And                I love you the way you are.                                      GWEN               I love you, too.               And he turns out the light again.                                     JOSH               Pretending to be strangers is not going to solve the problem.                               Beat.                                     GWEN               Who said there was a problem?                                     CUT TO               INT. OFFICE BUILDING - NIGHT               A cocktail party at Josh's firm.  Josh is the center of attention,                greeting investors, fielding compliments.  Gwen stands beside                him, drinking champagne -- Dom Perignon, after all.                                      JOSH'S POV               Through the crowd he spots Sarah, entering with her date -- Todd.                                                     GWEN               Your lovely assistant is here.               (reTodd)               You didn't tell me she had a new boyfriend.                                     JOSH               I don't ask her about her personal life.               Sarah and Todd arrive.                                     SARAH               Hey, you two.  Todd, this is my boss Josh, and his wife Gwen.                               Todd and Josh shake hands.                                     TODD               Sarah's told me a lot about you.               Josh is not sure how to take that.                                     GWEN               Sarah, you look great.  You've been keeping my boy on his best                behavior?                                      SARAH               It's a dirty job, but somebody's got to do it.                                     GWEN               I know he asks to go above and beyond the call of duty.                                     SARAH               He can be tough.                                     JOSH               But fair.                                     GWEN               Josh, I'm trying to thank Sarah for all the extra attention she                gives you.                                      SARAH               You're welcome.                                     GWEN               We should really have you over for dinner, Sarah.  It's been                too long.  You can bring...                                      TODD               Todd.                                     GWEN               Sorry.  I'm hopeless when it comes to names.                                     JOSH               Especially after two glasses of champagne.                                     GWEN               Hey, I'm still working on the first, thank you.               (to Todd)               So, are you two living together?                                     TODD               Living together?  No.               Sarah and Todd both laugh.                                     SARAH               We've only known each other a few weeks.               Josh reacts -- he knew nothing of this.                                     GWEN               You two seem to fit.  It only took me a few days to know with                Josh.  In fact, I knew after the first date.                                      SARAH               You knew what?                                     GWEN               That he was the one for me.                                     JOSH               (to Sarah)               She loves to embarrass me.                                     SARAH               (to Gwen)               Don't stop.  I want to hear about this first date.                                     GWEN               Well, it was the cheapest date I've ever been on.                                     JOSH               I was broke.                                     GWEN               Do you know the Chinese place on Third?  That little hole-in-the-wall?                                                     TODD               I know it.  Used to be a cool dive.  Now it's ultra-hip and overpriced.                               This news gives Gwen pause.                                     GWEN               Really?  I think our first dinner cost a grand total of ten dollars.                                                     JOSH               Gwen loves to dissect our first date.                                     GWEN               It was a momentous night.  Babe, we should really go back there.                               Josh gestures to the bar.                                     JOSH               Gwen, why don't you continue your stroll down memory lane while                I drink?  Todd, you up for it?                                      TODD               Sure.               They move away toward--               INT. OFFICE BUILDING - THE BAR - NIGHT               As Josh and Todd sidle up--.                                     JOSH               (to bartender)               Gin.  Straight up.  Olives.               (Todd)               What are you having?                                     TODD               I'm fine, thanks.                                     JOSH               So...Sarah's an attractive girl.                                     TODD               Very.                                     JOSH               You two serious?                                     TODD               (shrugs)               Hard to say.                                     JOSH               She wants to play the field, right?                                     TODD               No, that's not it.                                     JOSH               I see.  You want to fuck around.               Todd reacts.                                     JOSH               C'mon, we're guys.  I know the drill.               Todd considers his audience, then decides to open up--                                     TODD               We dated a few times, and to be honest, I was on the fence about                Sarah.  I liked her, but I didn't think we were in a good groove.                 Then, a couple weeks ago, her grandmother died.  Things changed.                                                     JOSH               I didn't know.               (beat)               She didn't say a thing about it.                                     TODD               It wasn't unexpected, but Sarah took it really hard.  So where                did that leave me?  I was ambivalent about things, right?  But                then my ambivalence had to take a back seat.  I had to be there                for her.  Completely.  And, ready or not, our relationship became...a                real relationship.                Josh simply listens.                                     TODD               You know, I wasn't ready to be that involved with anybody.  I                don't know...Death has a funny way of making you get outside                yourself.                Josh looks past Todd--                                     JOSH'S POV               Gwen is still chatting with Sarah.  Gwen makes eye contact with                Josh and sends him a warm smile.                                      CUT TO               INT. JOSH'S CAR - MOVING - NIGHT               Josh and Gwen drive home in silence.  Gwen notices something                out the window.                                      GWEN               You missed the on-ramp.                                     JOSH               I know.                                     GWEN               Why?                                     JOSH               Somewhere we need to go first.                                     CUT TO               EXT. CHINESE RESTAURANT - NIGHT               The Mercedes pulls up to the "Happiness Chinese Restaurant."                 Josh and Gwen get out and take in the sight--                                      GWEN               We don't have to do this tonight.                                     JOSH               Yes, we do.               She peers in the window.                                     GWEN               We can't go in here.  Everything's different.               He opens the door for her.                                     JOSH               That's okay.  We're different, too.                                     CUT TO               INT. CHINESE RESTAURANT - NIGHT               Upscale lighting.  Modern, non-Chinese decor.  Anything but a                hole-in-the-wall.                Josh and Gwen are in a booth--                                     GWEN               Sarah's a very interesting girl.  Did you know she's training                for the marathon?                                      JOSH               I don't want to talk about Sarah.                                     GWEN               What do you want to talk about, then?                                     JOSH               I want to talk about me...               A beat.                                     JOSH               ...and what a fool I've been.               Gwen is not prepared for this.                                     JOSH               I thought if we came here tonight we could...start again.                                     GWEN               (flustered)               But I thought you were over this place.  And, look...There's                nothing left.  Not one remnant of our first date...anywhere.                               Josh sees a plate of fortune cookies on the next table -- somebody                left without eating them.                                      JOSH               (brightens)               The fortune cookies haven't changed.               He brings over the plate.                                     GWEN               You're supposed to wait--                                     JOSH               I can't wait.  I have to know.               He opens the first.                                     JOSH               (reading)               "You are on the verge of success"...in bed.               Gwen laughs, opens one herself.                                     GWEN               (reading)               "You will have a change of plans"...in bed.               Josh reacts, opens a third.                                     JOSH               (reading)               "You are very creative"...in bed.                                     GWEN               Hmm.  That's what I've heard.                                     JOSH               The last cookie.  Go ahead.                                     GWEN               No.  You open it.               He slowly cracks in open.                                     JOSH               It's blank.               (checks both sides)               I got a blank.                                     GWEN               Blank...in bed.  That's disappointing.                                     JOSH               No, it's perfect.  Blank...no problems, no history, nothing...in                bed.                He takes her hand.                                     CUT TO               EXT. CHINESE RESTAURANT - NIGHT               Josh and Gwen approach their car.  It's late.  Behind them, the                restaurant is closing.                                      JOSH               By the way, I didn't get your name.                                     GWEN               What?               (off his smile)               Oh, my name.               She glances across the street.  A shop window sign reads, "Bail                Bonds."                                      GWEN               My name is Gail.  Gail Bonds.                                     JOSH               Well, Gail, I'm not usually this forward on a first date, may                I take you to my car and ravish you?                                      GWEN               Hmm.  On one condition.                                     JOSH               What's that?                                     GWEN               That you tell me your name.                                     JOSH               Oh, I thought everyone knew my name.  I'm Bill Gates.  Billionaire.                               She laughs.               INT. JOSH'S CAR -- NIGHT               They get into the back seat and begin to kiss.                                     GWEN               Is it true what they say, Bill, about billionaires?  That all                the wealth is just a way to compensate...for size?                                      JOSH               People are jealous.                                     GWEN               I can imagine.  It must be so lonely at the top.               He reaches between her knees.                                     GWEN               What are you doing?                                     JOSH               What do you think I'm doing?               (beat)               The fortune cookie said you're on the verge of success...in bed.                                                     GWEN               We're not in a bed.                                     JOSH               You shouldn't read fortune cookies too literally.               Josh swings Gwen onto his lap.  They go at each other like...a                couple of college kids.                                      CLOSE ON JOSH               As he makes love to his wife, he thinks--                                     JOSH               ...Can anyone see us?...Is anyone looking?...Why should it bother                you?  You're alone...with your wife...That's the way it's supposed                to be...You know every inch of her...every smell...every sigh...every                freckle...the shape of her ass...the mole under her nipple...the                whole history of her body...And, you know that if you really                concentrate, you can succeed...in imagining...she's someone you                don't know...                He puts his mind to it--                                     FADE OUT:                                     FADE IN:               INT. GWEN'S HOUSE - DAY               Gwen and her mother JOANNE are in the living room looking at                samples of fabric.  At sixty, Joanne is robust and shrewd.                                                     GWEN               Color.  That's the problem with this room, it needs color.  Think                of...the vibrant colors of Haiti.                                      JOANNE               Personally, Haiti does nothing for me.  When your father and                I were there -- this was before you were born, I almost died                from a piece of lettuce, and I wouldn't want anything to remind                me of that trip.                (beat)               Anyway, quit changing the subject.               Gwen puts down the swatches.                                     GWEN               Alright.  I didn't say anything.                                     JOANNE               Because you're not sure?                                     GWEN               No, I'm sure.  I'm sure he's sleeping with her.               (beat)               And I may have to kill him.                                     JOANNE               Hmm.                                     GWEN               What?  You think I should just forget about it?                                     JOANNE               Yes, I do.                                     GWEN               Mother, don't you think honesty is essential in a marriage?                                                     JOANNE               It depends.  It can be quite detrimental.               Gwen begins to pace in exasperation.                                     JOANNE               Alright.  Confront him.  You know where it will get you.  Your                whole marriage will unravel, and you'll have nothing.  All the                things you take for granted -- month-long vacations in St. Lucia                -- they'll disappear.  You'll be a divorced woman in her late                30s.  Lonely.                                      GWEN               Why did I invite you over?  You make me feel like shit.                                     JOANNE               That's my job.               The phone rings.                                     GWEN               The machine can get it.                                     JOANNE               I don't monitor calls.  It makes me feel like I'm hiding in my                own home.                BEEP.  From the answering machine--                                     VOICE               Gwen, this is David Warren.  Hopefully, a welcome voice from                your past.  My show's on hiatus and I'm in town for the weekend.                 I'd love to catch up.  Are you free for coffee...or something?                                                     JOANNE               Pick up the phone.               Gwen just stares at the machine.                                     VOICE               I have no idea what you're up to...I hope life is treating you                well.  I heard through a friend of a friend of a friend that                you're still married.  Congratulations.  If you want, give me                a call.  I'm crashing at my sister's.  The number is -- hold                on-- the number is 235-4511.  Hope to hear from you.                                      CLICK.                                     GWEN               Wow.                                     JOANNE               How long has it been?                                     GWEN               College.                                     JOANNE               Have you ever seen his show?  It's absolutely dreadful.  I never                miss it.                                      GWEN               If Josh isn't home, I'll watch it.                                     JOANNE               Hmm.  It's Kismet, then.                                     GWEN               What?                                     JOANNE               A brief liaison with an old flame.  The perfect way to deal with                your anger.                                      GWEN               You're insane.  You're an insane mother.                                     JOANNE               It'll be good for your self-esteem.                                     GWEN               Did it occur to you that maybe he just wants to have coffee?                               Joanne crosses to the answering machine.  Rewinds the tape.                 Hits play.                                      DAVID'S VOICE               ...on hiatus and I'm in town for the weekend.  Are you free for                coffee...or something?                She hits stop.                                     JOANNE               "Coffee...or something."  He's flirting, admit it.  Coffee...or                something.                                      GWEN               He's stammering.  He's nervous.  He's calling out of the blue!                               Joanne gathers her purse.                                     JOANNE               You're wrong.  I'm right, and I'm going.  But take a tip from                someone who's been there.  Opportunity is knocking, Gwen.  You                have a chance to level the playing field.                (beat)               You have a chance to do something good for your marriage.               Joanne exits.                                     CUT TO               INT. GWEN'S BATHROOM - DAY               Morning.  Gwen, fresh from the shower, studies her face in the                mirror as Josh -- unseen, in the bedroom -- dresses for work.                                                     JOSH               You're right.  We could use some more color in the living room.                               (beat)               Gwen?                                     GWEN               Yes?                                     JOSH               I said you're right.                                     GWEN               About what?                                     JOSH               About more color in the living room.                                     GWEN               Oh.  I'm glad you think so.               She leans closer to inspect a new wrinkle.                                     CUT TO               INT. HOTEL LOBBY - DAY               An upscale hotel.  Gwen, in a sheer blouse and a slim leather                skirt, fills out the registration card at the front desk.  The                DESK CLERK looks up from his computer.                                      DESK CLERK               And how many nights will you be staying with us?                                     GWEN               One.                                     DESK CLERK               We do have a two-night minimum.                                     GWEN               Then...two.               She hands him the card.                                     GWEN               I'd like to pay in cash.                                     DESK CLERK               That won't be a problem.  We just need a credit card imprint                for your incidentals...                Gwen reacts.  The Desk Clerk puts her at ease.                                     DESK CLERK               ...which we tear up when you check out.               Gwen smiles.                                     DESK CLERK               Will you be needing more than one key?                                     GWEN               Two, please.                                     CUT TO               INT. HOTEL RESTAURANT - DAY               Gwen and DAVID lunch in the hotel's elegant dining room.  David                is quite the draw, turning heads across the room.  And, it's                no wonder.  He has real magnetism.                                      DAVID WARREN               I'm still reeling.  It was the most humbling experience of my                life.  Getting raked over the coals by a bunch of sixteen-year                old drama students!  At my own alma mater!                                      GWEN               I'm surprised they weren't all over you.                                     DAVID WARREN               They were, with knives drawn.                                     GWEN               What did they say?                                     DAVID WARREN               Basically, why am I working on a piece of shit like MALIBU NIGHTS                when I should be doing Shakespeare or Chekhov?                (beat)               It was brutal.               A WAITER delivers a bottle of champagne to David.                                     WAITER               Compliments from the table in the corner.               The Waiter gestures.  David and Gwen turn.  In the corner three                middle-aged women are smiling.                David mouths a gracious "thank you" their way.                                     GWEN               See?  Those women are happy you're not doing Shakespeare.               Beat.                                     DAVID WARREN               Gwen.  You look great.  You haven't changed a bit.                                     GWEN               I don't think I'm MALIBU NIGHTS material.                                     DAVID WARREN               Those women!  Walking boob jobs.  They're appalling.                                     GWEN               You look like you enjoy kissing them.                                     DAVID WARREN               It's very simple.  I close my eyes and imagine I'm kissing someone                else.                                      GWEN               Hmm.  Someone else in particular?                                     DAVID WARREN               Yes.                                     GWEN               If she's as tan as you, I don't want to hear about it.               David reaches for his wallet.                                     DAVID WARREN               Here, take a look...               He hands her a photo.  In it, we see David standing with a distinguished                man in his mid-40s.  With them is a smiling boy, about eleven.                               Gwen is nonplussed.                                     DAVID WARREN               What's wrong with this picture, huh?               She smiles.                                     GWEN               Well...Let's start with the man, upper left.                                     DAVID WARREN               Andy.  My partner.  And the best thing that's ever happened to                me.                                      GWEN               Okay.  And the boy?                                     DAVID WARREN               Eric.  He's Andy's son from a marriage that -- needless to say                -- didn't work.  Andy came out when Eric was just five.  Great                kid.                                      GWEN               And when did you...?                                     DAVID WARREN               Come out?  About fifteen years ago.               (off Gwen's look)               Is this too much information?                                     GWEN               No.  But fifteen years ago...That was right after--                                     DAVID WARREN               You and me.                                     GWEN               Was I the last woman?               David nods.                                     GWEN               Was I that bad?               David laughs.                                     DAVID WARREN               No, you were fantastic.  I was completely confused.               Gwen quickly gulps down some champagne.                                     DAVID WARREN               What's the matter?                                     GWEN               Nothing.  I'm very happy for you.  And, I have to confess, I'm                relieved.                                      DAVID WARREN               Why?               Beat.                                     GWEN               Oh -- what the hell -- we're friends, right?                                     DAVID WARREN               I'm listening.                                     GWEN               I had this ridiculous idea that you wanted to get together to                have a...                                      DAVID WARREN               Oh.                                     GWEN               You know...for old time's sake.                                     DAVID WARREN               Uh-huh.                                     GWEN               And, frankly, I wasn't looking forward to turning you down.                 Which I would have, of course.  Had you...asked.  Which you're                not, because you're...you're...                                      DAVID WARREN               Married.                                     GWEN               Right.                                     DAVID WARREN               Happily.                                     GWEN               Right.               She slides her empty glass toward him.                                     GWEN               Would you pour me a little more, David?                                     CUT TO               INT. HOTEL LOBBY -DAY               Gwen leans against the front desk.  Tipsy.  The Desk Clerk approaches.                                                     DESK CLERK               Can I help you, ma'am?               Gwen looks lost.                                     DESK CLERK               Are you okay?                                     GWEN               I'd like to check out.                                     DESK CLERK               Was there a problem?                                     GWEN               Yes.  I was stood up...by the past.               Beat.                                     DESK CLERK               I'm sorry.  We won't charge you for the room.                                     GWEN               No, you don't understand.                                     DESK CLERK               Yes.  I do.               (beat)               More than you might think.               Gwen stares at him.                                     DESK CLERK               Shall I close out the account?                                     GWEN               No.  I need the room after all.               (beat)               Will you show me the way there?               The Desk Clerk looks at her with no apparent interest.                                     DESK CLERK               You're in luck.  I was just about to take my break.                                     CUT TO               INT. ELEVATOR - DAY               The Desk Clerk and Gwen ride in the elevator.  Silently.  There                is no discernible connection between them.                                      CUT TO               INT. HOTEL HALLWAY - DAY               The Desk Clerk leads Gwen to the room.  It couldn't look more                business-like.                                      CUT TO               INT. HOTEL ROOM - DAY               They enter.  He locks the door.  She surveys the room.                                     DESK CLERK               Something from the mini-bar?                                     GWEN               No.                                     DESK CLERK               How's the air conditioning?                                     GWEN               Fine.                                     DESK CLERK               Shall I pull down the covers?                                     GWEN               I suppose.                                     DESK CLERK               Do you want to know my name?                                     GWEN               No.               He takes her in his arms.                                     DESK CLERK               You're shaking.                                     GWEN               I'll be fine.               (beat)               This could get you in trouble.  You could lose your job, right?                                                     DESK CLERK               I don't care.                                     GWEN               You don't even know me.                                     DESK CLERK               You're right.                                     GWEN               We have nothing in common.               Beat.                                     DESK CLERK               That's where you're wrong.               He begins to unbutton her blouse.  Without touching.  Without                affection.  After a beat, she begins to unbutton his shirt.                                                     CUT TO               INT. HOTEL HALLWAY - DAY               A little later.  A maid vacuums the carpet as the Desk Clerk                emerges, followed by Gwen.  They cross to the elevator, as business-like                as before.                                      DESK CLERK               (to the Maid)               Buenas tardes, seÒora.                                     CUT TO               INT. ELEVATOR - CONTINUOUS               Gwen and the Desk Clerk board the elevator.  He presses "L" for                lobby.  She presses "P" for parking.                                      GWEN               Thank you for taking care of the room.                                     DESK CLERK               Your welcome.               And they ride in silence.               In Gwen's mind--                                     GWEN               ...And now the score is tied...Oh my God, what will I tell my                mother?  I did it with a desk clerk.  Hardly the affair to remember...Of                course, she will disapprove.  "Is English even his first language?                 This is your idea of a liaison?  Your idea of leveling the playing                field?  You don't even know the boy's name--"                 Gwen touches the Desk Clerk's arm.                                     GWEN               What's your name?                                     DESK CLERK               David.                                     GWEN               What?  You're kidding me.               Gwen laughs -- she can't help it.                                     DAVID               No.  What's so funny?                                     GWEN               Nothing, it's just--               She laughs even harder.  The elevator door opens.  David gets                out and looks at her oddly.                                      GWEN               Sorry, I just...I didn't think you'd be named David.               INT. HOTEL LOBBY - DAY               The door closes on Gwen, leaving David in the lobby.  A bit befuddled.                               INT. HOTEL FRONT DESK - DAY               David resumes his post.  DESK CLERK #2 works beside him.  He                leans to David--                                      DESK CLERK #2               There's a woman waiting to see you.  She's been here for half                an hour.                He points to a lobby chair, where we find ROSALIE -- 22, spunky,                mercurial.  In short...trouble.                She and David made eye contact.  She springs up and advances                toward him.                                      DAVID               Why are you here?                                     ROSALIE               You weren't going to return my calls.                                     DAVID               Don't you have more important things to do?  Picking flowers,                honeymoon reservations...                                      ROSALIE               Is there somewhere we can talk?               The desk phone rings.  David picks it up.                                     DAVID               (into phone)               Front desk, David speaking...No, sir.  Tap water is very drinkable                in this city...Of course, sir.  We'll send up some bottled water                right away.                He hangs up.                                     ROSALIE               Is there somewhere we can talk?                                     DAVID               What's wrong with here?                                     ROSALIE               Privately.                                     DAVID               But here, I won't be tempted to raise my voice or do something                rash.  That's the first lesson of hotel management.  Never lose                your cool, no matter how annoying the guest is.  Not that I plan                to go into hotel management.  I don't have ambitions in that                direction.  Or any direction, if I recall you correctly.                The desk phone rings again.  Exasperated, David grabs it.                                     DAVID               (into phone)               Front desk, David speaking...Yes, ma'am, the restaurant has a                smoking section...Well, I didn't make the policy...If it's any                consolation, the smokers are seated in a little corner of the                patio, and they feel very bad about themselves.                He hangs up.  And gives Rosalie a very deliberate look.                                     DAVID               Rosie, you'd better leave.  Before I get myself fired.               She starts to protest.  Thinks better of it, and exits.                                     CUT TO               INT. EMPLOYEE BREAK ROOM - DAY               David hangs his uniform shirt in his locker.  He gathers his                personal things.  A jacket, a knapsack, and...a violin case.                               The HOTEL MANAGER approaches.                                     HOTEL MANAGER               Yo, fiddler on the roof.               David reacts -- this is the last person he wants to deal with.                                                     HOTEL MANAGER               (regards the violin)               Wish I could play an instrument.  Chicks really dig that stuff.                 Tried the guitar in high school.  What can I say?  No discipline.                                                     DAVID               Discipline.  Always a struggle.                                     HOTEL MANAGER               I hear you.  For instance, it takes a certain discipline to know                that when you're working at the hotel, when you're on the clock...                               (shrugs)               ...you shouldn't fuck the guests.               David was not expecting this.               HOTEL MANAGER (cont'd)               You want to bring your girlfriend here on your day off?  That's                a different story.  I'll even give you the corporate rate on                a room.                (beat)               Just don't do it while you're on the clock.  You hear me?                                     DAVID               It won't happen again.                                     HOTEL MANAGER               Good.               David marches away.                                     CUT TO               INT. MUSIC CONSERVATORY - DAY               In a sun-lit practice room, a string quartet rehearses.  Four                men -- David included, perform an energetic movement from a Beethoven                quartet.                NOTE: Throughout the film, we've heard this string quartet as                underscore.  Now...we meet the soundtrack.                David plays with emotion and a physicality we haven't seen in                him -- truly, this is where he lives.                                      CUT TO               INT. CONSERVATORY HALLWAY - DAY               After the rehearsal.  Violin at his side, David trudges through                the exit.  Music emanates from every room.  He turns a corner,                runs smack into--                                      ROSALIE.               She's been waiting.                                     DAVID               Jesus!               She simply picks up where they left off--                                     ROSALIE               I want you to be there on Sunday.                                     DAVID               No.                                     ROSALIE               You told me we'd always be friends.                                     DAVID               I lied.                                     ROSALIE               You're an important part of my life, David.  There's so much                history between us.  I don't want to trash it simply because--                                                     DAVID               Because what?  Because you're getting married?               Beat.                                     DAVID               Rosie, I want you to be happy.  I do.  And someday, we'll be                friends.  Someday, we'll all go out to dinner.  The four of us.                                                     ROSALIE               The four of us?                                     DAVID               Sure.  Me, you, Jerry, and whatever pale imitation of you I can                dig up to be my date.                                      ROSALIE               Stop it.               But he's on a roll--                                     DAVID               And the check will come and Jerry will pick up the tab and I'll                protest, but not too much.  Then, you'll give me a kiss on the                cheek, and some dim memory will stir in me, but not for too long.                 And we'll say, "It was great to see you."  And it will be great                to see you...                (beat)               ...then.  But, until then....good-bye.               David exits, leaving Rosalie alone in the cacophonous hall.                                                     CUT TO               INT. APARTMENT - DAY               A clean, modern apartment that Rosalie shares with JERRY -- late                20s, upstanding, sturdy good looks.                Rosalie and Jerry sit in the living room, meeting with their                WEDDING PLANNER -- a highly efficient woman in her mid-50s.                                                     WEDDING PLANNER               We've  got a few more things to cover.  The photos.  There's                a courtyard behind the church.  It's a popular backdrop.  Our                photographer says the light is gorgeous.  We need twenty minutes                before the ceremony for singles.                (beat)               Oh.  Jerry, your father's press secretary insists on sending                someone from the papers.  I told him you want to keep this as                private as possible, but...What could I do?                                      JERRY               I know.  It is an election year.                                     WEDDING PLANNER               Exactly what he said.                                     ROSALIE               It's okay.                                     WEDDING PLANNER               Right.  The guest list.  We have a few more no-show's.               She consults a list.                                     WEDDING PLANNER               Mr. and Mrs. Bennett send their regrets.  Also, Ms. Rothman will                no be attending.                                      ROSALIE               Oh.  David Freeman.  He's not coming.               Jerry reacts.                                     JERRY               He's not?                                     ROSALIE               No.  He's not.                                     JERRY               After all that shit you put me through, now he's not even coming.                               The Wedding Planner smiles politely.                                     WEDDING PLANNER               So, if there are any last-minute--                                     JERRY               (ignores her)               I guess that means you've been talking with him.                                     ROSALIE               Yes, I talked to him.  And I...               (to Wedding Planner)               Would you excuse us for a minute?                                     WEDDING PLANNER               Take your time.               Rosalie gets up and leads Jerry into--               INT. APARTMENT KITCHEN -- DAY               Once they are out of earshot--                                     ROSALIE               I talked to David.  And...I uninvited him.                                     JERRY               What?                                     ROSALIE               I told him it wasn't right.  I told him he shouldn't be at our                wedding.                                      JERRY               When did you decide this?                                     ROSALIE               I don't know...I just realized I don't want our wedding to be                about where I've been.  I want it to be about where you and I                are going.                                      JERRY               What did he say?                                     ROSALIE               Jerry...                                     JERRY               I want to know.                                     ROSALIE               He was disappointed--                                     JERRY               Of course he was.  He's still in love with you.                                     ROSALIE               But he understands.  I drew the line, honey.                                     JERRY               Thank-you.                                     ROSALIE               I did it for us.               Rosalie gives him a kiss.                                     CUT TO               INT. DAVID'S APARTMENT - NIGHT               Amidst a clutter of unpaid bills, take-out cartons, and laundry,                David practices the violin.  He plays a Bach Partita -- not for                the easily intimidated.                The phone rings.  He lets it ring a while before picking up.                                                     DAVID               (into phone)               What do you want, Rose?                                     ROSALIE               Were you sleeping?                                     DAVID               Yes.  I was.                                     ROSALIE               Liar.  You're practicing.  I can hear you.               He moves to the window.                                     DAVID'S POV               Rosalie -- on her cell -- waves to him from the sidewalk, three                stories below.                                      ROSALIE               It's so sad.  Why do you always play sad songs?                                     DAVID               I don't write 'em, Rose.               (beat)               Is our conversation over now?                                     ROSALIE               Please let me in.                                     DAVID               No.               She laughs mischievously.                                     ROSALIE               You don't trust me?                                     DAVID               No.               (beat)               Stay there.  I'll be right...Wait a minute.  This is insane.                 I'm not coming down.  Go home, Rose.  I mean it.                                      ROSALIE               I'm going to wait here for one minute.  Sixty seconds.                                     DAVID               You do that.                                     ROSALIE               Then, I'm gone.  You won't see me again.               She hangs up.  He hangs up.                                     DAVID'S POV               Rosalie sits on the front steps.  Stubborn.                                     DAVID               (to himself)               Be my guest.  Sit there all night.               David turns from the window.  He accidentally knocks his metronome                to the floor, setting it off.  Click...click...click...                David shuts it off, goes to the door.               His hand on the knob--                                     DAVID               If I go down those stairs...it will only lead to one place...right                back here...the two of us...a short, brilliant moment...one more                to add to the gallery...then, empty-handed again, with nothing                to show for it but an emotional hangover...I'm not going to open                this door... Discipline... Like the man said, don't fuck the                guests...                                      CUT TO               EXT. DAVID'S APARTMENT - NIGHT               Rosalie is on the front steps.  She smiles as she hears the door                open -- it's David.                He joins her.                                     DAVID               I've got nothing to say to you.                                     ROSALIE               Fine.  I'll talk...               A beat.                                     ROSALIE               The reason I won't just leave you alone is not because I'm "confused."                 My feelings are perfectly clear.  I know you find it incomprehensible                that I can love Jerry and love you.  And that one love has nothing                to do with the other.  But it's true.                                      DAVID               Rose...                                     ROSALIE               What?                                     DAVID               This is bullshit.  I can't spell it out any more plainly.  It's                impossible!                                      ROSALIE               Why?                                     DAVID               Because I can't be this close to you...and not want to touch                you.                                      ROSALIE               That's it?                                     DAVID               That's...it.               And he does touch her.  He puts his hand on her leg.                                     DAVID               And if I can't do that, I don't want to be your friend.  Not                now.  Not ever.                                      ROSALIE               Don't be so mean.               David flashes an angry look.  Then, he pulls Rosalie close to                him.                                      DAVID               The bottom line is...If I'm with you, I have to touch you, to                kiss you.  That doesn't work for friends, does it?                She doesn't answer -- she lets him stroke her leg.                                     DAVID               When I'm not with you -- this is more than you need to know...If                I touch myself, I can only think about one person. You.  No one                else.  Just you.                (beat)               Friends...that's bullshit.                                     ROSALIE               What do we do?                                     DAVID               What do you mean "we"?  This is your problem.               (beat)               My only problem is how to get you out of my mind.  How to erase                you...Delete every bit of you...                (presses an imaginary key)               Into the ether...                                     ROSALIE               Stop...               She kisses him.  He engulfs her in his arms.                                     DAVID               You have to say good-bye.                                     ROSALIE               I don't know how...                                     CUT TO               INT. DAVID'S BEDROOM - NIGHT               David and Rosalie have sex on the single bed in his spartan room.                 She's on top of him -- they face each other.                The lovemaking is both fierce and tender -- longing and leaving,                rolled into one.                As Rosalie grows more aroused, she begins to cry.  Tears quietly                stream down her cheeks.                David reacts--                                     DAVID               Should we stop?               Rosalie is too choked up to answer -- she shakes her head "no."                 And they continue -- tears and sex.                                      CUT TO               INT. DAVID'S BEDROOM - LATER - NIGHT               David sits in bed alone, while Rosalie showers in the adjoining                bathroom.                                      ROSALIE               David, will you hand me my shampoo?  It's in my purse.               David opens Rosalie's purse and finds a travel-size bottle of                shampoo.                He just shakes his head.                                     CUT TO               INT. ROSALIE'S CAR - MOVING - NIGHT               Rosalie drives home.  Checks herself in the mirror -- her hair                is still damp.  She rolls down the window to "blow dry" it.                               She turns on the radio, finds a rock-and-roll station.  Noisy,                mindless, perfect.                In her mind--                                     ROSALIE               Hail Mary, full of Grace, blessed be the  fruit of thy womb Jesus...Holy                Mary, Mother of God, pray for us sinners, now and at the hour                of our death, Amen...Hail Mary, full of Grace, blessed be the                fruit of...                                      CUT TO               INT. ROSALIE'S APARTMENT - NIGHT               After midnight.  Rosalie slips inside the door.  No sign of Jerry.                 She removes her shoes and tiptoes into--                INT. ROSALIE'S BEDROOM - NIGHT               The television is on -- the sound is muted.  An infomercial is                playing.  Jerry is sleeping.                                      ON ROSALIE               She nudges him.  He doesn't stir.  Rosalie sits at the foot of                the bed.  She grabs the remote and "un-mutes" the sound.                INT. ROSALIE'S BEDROOM - ON TV - NIGHT               A physical fitness EXPERT is talking.                                     EXPERT               ...And the change is not just physical.  You'll be amazed how                quickly your whole outlook will--                INT. ROSALIE'S BEDROOM - NIGHT               She flicks off the TV.               Rosalie undresses and climbs into bed.  She starts to kiss Jerry.                 Slowly, he wakes.                                      JERRY               Hey...                                     ROSALIE               Hey...                                     JERRY               What time is it?                                     ROSALIE               Late.               He looks at the time.                                     JERRY               It is late.  What happened?                                     ROSALIE               Oh.  The girls.  Wedding talk.  We could've gone on all night.                               She rubs his chest.                                     ROSALIE               Jerry...                                     JERRY               What?                                     ROSALIE               We need to make love now.                                     JERRY               Okay...why now?                                     ROSALIE               I can't explain it.  We just need to make love now.               He nods.  He kisses her neck, her breasts.               Suddenly she stops him, taking his face in her hands.                                     JERRY               What's the matter?                                     ROSALIE               I just need to fix this moment in my mind.               A long beat.  She studies his face.                                     ROSALIE               I love you.  Totally.  Completely.  I don't want to spend another                minute of my life without you.                (off his reaction)               You don't have to say anything.               She climbs on top of him.                                     JERRY               You're forgetting something.                                     ROSALIE               No, I'm not.               He laughs uncomfortably.                                     JERRY               Don't you think...                                     ROSALIE               No, I don't.  Let's not use it tonight.               (beat)               I'm ready.               A beat.                                     JERRY               If you're ready, so am I.               She straddles him, rocking back and forth.  With grim determination.                                                     ROSALIE               Jerry?                                     JERRY               What?                                     ROSALIE               Talk to me...                                     FADE OUT:                                     FADE IN:                                     OMITTED               INT. PHOTOGRAPHY STUDIO - DAY               Jerry and Rosalie -- dressed informally -- pose for a publicity                photo.                The photographer is Todd.               Each click of his camera brings a blinding FLASH.               todd               Very good...you both look great...perfect shot for the paper.                               rOSALIE               (to Jerry, sotto voce)               I didn't mean to put pressure on you.               jeRRY               Babe, you're making too much out of this.               (beat)               It's not like I didn't enjoy making love.                                     FLASH!               rOSALIE               I know.               (beat)               But I also know you would've enjoyed it more if I hadn't...                               jeRRY               Raised the stakes?               roSALIE               I wasn't going to put it that way.               (beat)               But it's true.               jeRRY               Maybe it is.  But, please don't read too much into it.                                     FLASH...FLASH!               rOSALIE               I won't.  I promise.               cUT TO:               INT. CHURCH - NIGHT               High ceiling.  Stained glass windows.  Dark mahogany pews.               At the altar, Jerry and Rosalie confer with their PRIEST -- late                60s, doctrinaire.  They're rehearsing.                                      PRIEST               A lot of young couples prefer "husband and wife" to the traditional                "man and wife."  Personally, I don't feel the phrase "man and                wife" gives the woman a diminutive status.  But I leave the choice                in your hands.  Do you have a--                                      ROSALIE               Husband and wife.  Definitely.               Jerry simply nods.                                     PRIEST               Good.               (to Jerry)               After the blessing, I'll instruct you to kiss the bride.  Keep                it simple.  No slobbering.                                      ROSALIE               That could be tough.  For him.               The Priest feigns amusement.                                     PRIEST               Remember, this is God's house.  And there will be prominent people                here as well.  Not to mention the press.  So, let's keep things                on the up-and-up.                JerRY               Right.                                     CUT TO:               INT. TOBACCO SHOP - DAY               Jerry accompanies his FATHER -- late 50s, on a cigar-buying expedition.                 Tobacco enthusiasts relax in leather chairs.  Wafts of smoke                hang in the air -- expensive smoke.                Jerry's Father finds a brand he likes.                                     FATHER               Here we are.  Bahia Gold.  Two hundred a box.                                     JERRY               You don't have to do this, Dad.                                     FATHER               If I can't come to the bachelor party, I want to be there in                spirit.                (beat)               The boys will like these.  Classic.                                     JERRY               Thank-you.                                     FATHER               I remember my bachelor night.  Frankly, I wish I didn't.  Not                a night I'm particularly proud of...I'll leave it at that.                                                     JERRY               Why are you sharing this?                                     FATHER               Reminiscing.  That's all.                                     JERRY               Or warning me.                                     FATHER               Nonsense.  I know you.  You won't make an ass out of yourself.                               (beat)               Oh...A little something from your mother and me.               He reaches into his pocket, hands Jerry a key.                                     JERRY               What's this?                                     FATHER               It's a key.               (smiles)               There's a new housing development, just west of here.  I've been                giving the developer a lot of breaks, and...now he's giving me                one in return.  I'm almost embarrassed to say how little this                cost me.                                      JERRY               I can't accept this.                                     FATHER               Yes, you can.               (beat)               C'mon.  Make your old man happy.               Jerry says nothing.                                     FATHER               Uh-huh.  I get it.  This is Rosalie's domain.  She should have                a say in where you two settle down.  But don't worry, you won't                be forcing her hand.  Know why?  Because she's going to love                it.                Jerry just nods.                                     FATHER               Let's ring these babies up.                                     CUT TO               INT. TOWNHOUSE - NIGHT               Bachelor party in progress.  In the living room, a dozen guys                smoke Cuban-rolled cigars, drink shots of Tequila, and watch                a Stripper perform.                The least boisterous of the group is Jerry, who watches the action                with a drunken glow.                The party's host, Jerry's BEST FRIEND, enters and summons Jerry                into--                INT. TOWNHOUSE FOYER -- NIGHT               The Best Friend aims Jerry toward the stairs.                                     BEST FRIEND               Alright, my man.  You ready?                                     JERRY               Do I have a choice?                                     BEST FRIEND               No.                                     JERRY               Then, I'm ready.                                     BEST FRIEND               The guys pitched in for this...               He pats Jerry on the back.                                     BEST FRIEND               So go up there and get our money's worth.               Jerry starts up--                                     CUT TO               INT. TOWNHOUSE HALLWAY - NIGHT               Jerry approaches the bedroom door with a fateful air.  He touches                the door knob.                In his mind--                                     JERRY               Why am I stopping?...There's a hot girl waiting on the other                side of the door...Why worry?  Everyone cuts you slack for this                kind of thing...This is supposed to happen...It's a tradition,                a time-honored ritual...Losing your tooth, losing your virginity,                losing the championship...If I walk through this door, what am                I losing?  Nothing...My father was here, and his father was here,                and his father's father was here, hand on the door...What am                I waiting for...                He pushes it open.                                     CUT TO               INT. TOWNHOUSE BEDROOM - NIGHT               Jerry enters.  The room is dark, except for a shaft of moonlight                that silhouettes a girl on the bed.                Her foot dangles off the side, the toenails painted blood red.                 Jerry turns on a lamp to meet --                                      LORNA               Sitting on the bed in a tank-top and a short skirt.  As fetching                as ever.                                      LORNA               You must be the groom.               Jerry laughs.                                     LORNA               The guys were right.  You're a looker.                                     JERRY               Did they also tell you I don't usually do this kind of thing.                               She pulls off the tank-top, revealing a black brassiere.                                     LORNA               All the better.  I like challenges.               She crosses to face him.                                     LORNA               Getting married tomorrow, huh?                                     JERRY               Yes, I am.                                     LORNA               Love, honor, and obey.  That's the drill, isn't it?                                     JERRY               Yes.  Tomorrow, I take the vows.               Without much ceremony, she starts massaging his crotch.                                     LORNA               Tomorrow...So, technically, this doesn't count.                                     JERRY               How's that?                                     LORNA               You can't break a vow you haven't taken, can you?                                     JERRY               You sound like my lawyer.               Lorna kneels down before him.  She unzips his pants.                                     LORNA               I've done my share of lawyers.  They spend most of the hour negotiating                the tip.                (beat)               That's a joke.                                     JERRY               I got it.               She pulls down his pants, looks up at him.                                     LORNA               Something bothering you?                                     JERRY               I don't know if I should be doing this.               She starts to stroke him.                                     LORNA               Want my philosophy?  If we don't make mistakes now and then,                how are we ever going to learn from them?                                      JERRY               Now you sound like my priest.                                     LORNA               I've done a few of them, too.                                     JERRY               Priests?                                     LORNA               Lousy tippers.  They spend most of the hour feeling bad about                what they're doing.  But they do it anyway.  Then, they shortchange                you on the tip.  One of them absolved me once, before he left.                 That's something, I guess.                                      JERRY               Who are the best tippers?                                     LORNA               The guys who can least afford it.  Guys with families.                                     JERRY               And the worst?                                     LORNA               Hands-down.  Politicians.               Jerry reacts.                                     JERRY               Politicians?                                     LORNA               Sure.  Both parties.  I don't discriminate.  Besides, a penis                doesn't know from politics.  A penis is the most politically                incorrect part of the body.  It has a simple agenda.                (rehis erection)               He knows what he wants.               And she proceeds to give him a blow-job.  Jerry guides her with                his hands.  He tries to relax.  He tries...                But he can't.  He yanks her away from him.                                     JERRY               Stop it.  I can't do it.                                     LORNA               Don't worry about it.                                     JERRY               I can't...I'm sorry.               Lorna instinctively puts a little distance between herself and                Jerry.                                      LORNA               Hey, it's no sweat.  I get paid either way.                                     JERRY               No, you don't understand.  I can't fucking go through with it!                               (off Lorna's non-reaction)               I can't get married!               All at once, his face fills with rage.  Jerry swings his fist                into the wall, punching a hole in it.                                      JERRY               Jesus!               Adrenaline pumping, he doesn't even notice the blood on his hand.                                                     ON LORNA               She shakes her head --  she's completely nonplussed.                                     LORNA               That was smart.   Now, you're bleeding.  Here...               She takes him by the arm into--               INT. TOWNHOUSE BATHROOM -- NIGHT               She runs cold water over his hand -- it's really banged up.                 Then, she wraps a towel around it.                                      LORNA               Better?                                     JERRY               Yeah...                                     LORNA               Do you love her?                                     JERRY               I don't know.                                     LORNA               C'mon.  Let's sit down.               They return to--               INT. TOWNHOUSE BEDROOM -- NIGHT               Lorna and Jerry sit on the floor, their backs resting against                the bed.                Now the mood is intimate.                                     JERRY               She wants to have a baby.  That's the way it's supposed to be,                right?                                      LORNA               I wouldn't know.                                     JERRY               My parents approve of her.  Her parents approve of me.  Everybody                approves...                                      LORNA               What's wrong with a little approval?               Jerry gives her a hard look.                                     JERRY               That's my whole life.  My whole goddam carrot-and-stick-life.                 Ever since I can remember, I've been chasing after this person                or that person's approval.  Playing one role, then another.                 Then another!  The good student.  The good son.  The industrious                boy.  Good grades.  High ambitions.  Pats on the back.  Handshakes                from people who matter!  The good boyfriend, getting on his knees                and proposing to the good girlfriend.  The dutiful bachelor,                receiving the traditional blow-job from a...                Jerry stops himself.                                     LORNA               (lets him off the hook)               Professional.                                     JERRY               I've lost count of all the roles, there's so many of them.               (beat)               I have no idea who I'm playing now.                                     LORNA               Huh.               A beat.                                     LORNA               I don't see what the big deal is.  I play roles all the time.                                                     JERRY               And you want to do that your entire life?  You can't...you...                               (beat)               I don't even know your name.                                     LORNA               Lorna.  And I'll do whatever the hell I want.                                     JERRY               Well, I can't live somebody else's version of my life anymore.                 Do you understand?                                      LORNA               Sure.  I do.               She gets up and crosses to the window.  Lifts it up.                                     LORNA               Here's your chance.                                     JERRY               What?                                     LORNA               It's not too far a drop to the lawn.  You have gas in your car?                 Then, go.  It's the first day of the rest of your life...Go.                 I promise you, this opportunity will not come around twice.                               (beat)               Go.               Jerry stands.  He looks out the window--                                     HIS POV               The suburbs at night.  Cozy, warm-lit.                                     JERRY               I'm going to do it.               He smiles at Lorna.  Then, he climbs out the window.                                     LORNA'S POV               She watches him hit the ground, hobble across the lawn, and get                into his car.  And he's gone.                INT. TOWNHOUSE BEDROOM -- NIGHT                                     LORNA               See?  Easy.               She sits on the bed, takes in the room.  It seems ordinary and                strange, all at once.                Lorna spots the bloody towel -- Jerry left it on the floor.                 She folds it neatly, concealing the blood.                                      CUT TO                                     OMITTED               INT. COFFEE SHOP - NIGHT               Later.  The wee hours.  The only person at the counter is Lorna.                 She pours cream in her coffee, watches it swirl.  Clouds.                               Something else catches her eye.                                     LORNA'S POV               Behind the counter lies a crumpled newspaper.                                     LORNA               (to Waitress)               Mind if I have that?                                     WAITRESS               It's yesterday's.  Morning paper should be here any minute.                                                     LORNA               I just want the crossword puzzle.               The Waitress puts the paper in front of her.  It falls open to                the Metro section, where Lorna sees a photo of Jerry and Rosalie                -- the one Todd shot.                The accompanying headline"Deputy Mayor's Son to Wed Tomorrow."                                                     LORNA               Oh my...               The Waitress cranes her neck to see.                                     WAITRESS               There's a catch, alright.                                     CUT TO               INT. LORNA'S APARTMENT - DAY               Morning.  Terri -- still under the covers -- studies the torn                clipping from the paper.  Lorna brushes her teeth.                                      TERRI               Hello...It's the oldest condition known to man.  Cold feet.                                                     LORNA               You're wrong.  I'm telling you he's two states away by now.                               (beat)               He made a clean break.  I know it.               Terri shakes her head.                                     TERRI               If you're wrong, you're paying for drinks tonight.                                     CUT TO               EXT. STREET - DAY               Lorna and Terri walk briskly down the sidewalk.  They round a                corner to see--                EXT. CATHEDRAL -- DAY               A magnificent Catholic church. A white limousine -- decorated                with streamers -- sits in front, surrounded by expensive cars.                                                     TERRI               Well, what do you know...               Lorna can't believe it -- she almost feels betrayed.                                     TERRI               Told you we should've dressed up.                                     LORNA               C'mon...we're going inside.                                     TERRI               What for?  Wait...               But Lorna is bounding toward the cathedral.                                     CUT TO               INT. CATHEDRAL VESTIBULE - DAY               Lorna and Terri enter.  The vestibule looks empty.  Suddenly,                they are startled by a FLASH.                They turn to find a photographer checking a bulb -- it's Todd.                                                     TERRI               Lorna, we shouldn't be here.               Hearing her name Todd looks up.  Then, he gathers his gear and                starts inside.                But Lorna intercepts him.                                     LORNA               Excuse me, could you tell me who's getting married in...               (beat)               Hey, I know you.  The wedding guy.                                     TODD               I'm sorry. Have we met?                                     LORNA               Yeah.  You don't remember me?                                     TODD               You must be thinking of somebody else.               Lorna reacts.  Stops herself.                                     LORNA               Right.  I must be thinking of someone else.  Sorry.                                     TODD               Excuse me...               And he disappears into the church.                                     TERRI               What was that all about?                                     LORNA               Nothing.                                     TERRI               Nothing, my ass.                                     LORNA               Alright, alright.  I slipped.                                     TERRI               Slipped?  You broke the cardinal rule of the trade.               (pedantic)               Never acknowledge a client in public.                                     LORNA               What is this?  Hooking For Dummies?  C'mon...               Lorna grabs Terri by the wrist and slips into--               INT. CATHEDERAL -- DAY               They take a seat in the last pew.                                     LORNA'S POV               The front pews are packed, all eyes focussed on the wedding party                at the altar.  Jerry and Rosalie face the priest, who blesses                the ring.                                      PRIEST               The wedding ring is a powerful symbol.  It is a circle, with                no beginning and no end.  It is also the circle that encloses                your love for each other--                                      TERRI               I'll bet that dress is Vera Wang.                                     LORNA               Shhh...               Jerry and Rosalie turn to face each other.                                     PRIEST               Do you, Rosalie, take this man, to have and to hold, in sickness                and in health, till death do you part?                                      ROSALIE               I do.                                     PRIEST               And do you, Jerry, take this woman, to have and to hold, in sickness                and in health, till death do you part?                A beat.               Lorna studies Jerry's face for any sign, any hint of his real                feelings.                                      JERRY               I do.                                     PRIEST               Then, by the power invested in me by Christ, Our Lord, I now                pronounce you husband and wife.                (to Jerry)               You may kiss the bride.               They kiss.  Lorna leans forward.  She's moved, despite herself.                               Terri looks over.                                     TERRI               You're crying, I can't believe it.                                     LORNA               No, I'm not.               (beat)               Weddings make me cry.               The congregation applauds.  Jerry shakes hands with the best                man -- his Father.  He gives his son an approving pat on the                back.                Suddenly, a SECURITY GUARD appears in Lorna's face.                                     SECURITY GUARD               Ladies, this event is strictly for invited guests.                                     TERRI               We're with the groom's party.                                     SECURITY GUARD               Ma'am...Let's not do this.  You're not with the groom.               Terri points to Lorna.                                     TERRI               She had his cock in her mouth last night.  Doesn't that count?                               Lorna bursts out laughing.  Laughing through her tears.  The                Guard is not amused.                                      CUT TO               EXT. CATHEDERAL - DAY               Lorna and Terri race down the church steps, giggling like school                girls.                EXT. STREET - DAY               They turn a corner, lean against a wall.  Catching her breath,                Terri lights a cigarette.                                      LORNA               I don't know why he came back.               (beat)               It wasn't love.                                     TERRI               Guess you'll never know for sure.               They start down the sidewalk--                                     TERRI               Remember the guy I told you about -- the writer?                                     LORNA               Yeah.  He said he wanted to immortalize you.  What a line.                                     TERRI               He's been steady work.  Every Tuesday for the past month.  Well,                get this.  Yesterday, he called and asked me out.                                      LORNA               On a date?                                     TERRI               Yeah.  A date.                                     LORNA               A non-paying date.                                     TERRI               No money will be exchanged.  You want to hear the weird part?                 I said yes.                                      LORNA               You're right.  That is weird.                                     TERRI               You gotta keep an open mind, Lorna.               (beat)               You never know with people.               They wait at the crosswalk.  Lorna idly glances at the window                of a brownstone apartment.                                      WHAT LORNA SEES               A Man finishing a cigarette.  He catches Lorna looking his way.                 A Woman comes up behind the Man and casually embraces him.                 The Man gives Lorna a last look before pulling the curtains closed.                               The light has changed.  Terri starts walking.                                     TERRI               C'mon, what are you waiting for?                                     ON LORNA               She lingers at the curb for a moment, pondering her next move.                               FADE OUT:               THE END
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+                          SHAKESPEARE IN LOVE                      by Marc Norman & Tom Stoppard       INT. THE ROSE THEATRE. DAY.       SKY. Over which a title "LONDON--SUMMER 1593" appears.        Title card: In the glory days of the Elizabethan theatre        two playhouses were fighting it out for writers and        audiences. North of the city was the Curtain Theatre,        home to England's most famous actor, Richard Burbage.        Across the river was the competition, built by Philip        Henslowe, a business with a cash flow problem...       ...The Rose...       Gradually a building is revealed, The Rose Theatre, three-       tiered, open to the elements and empty. On the floor,        roughly printed, a poster--torn, soiled, out of date. It        says:       SEPT. 7TH & 8TH AT NOON       MR. EDWARD ALLEYN AND THE ADMIRAL'S MEN AT THE ROSE        THEATRE, BANKSIDE       THE LAMENTABLE TRAGEDIE OF THE MONEYLENDER REVENG'D       OVER THIS the screams of a man under torture. The screams        are coming from the curtained stage.                           VOICE (O.S.)                 You Mongrel! Why do you howl When it                  is I who am bitten?       INT. THE ROSE THEATRE. STAGE. DAY.       The theatre owner, PHILLIP HENSLOWE, is the man        screaming. HENSLOWE'S boots are on fire. He is pinioned        in a chair, with his feet stuck out over the hot colas of        a fire burning in a brazier. He is being held in that        position by LAMBERT, who is a thug employed by FENNYMAN,        who is the owner of the VOICE. The fourth man, FREES, is        FENNYMAN'S bookkeeper.                           FENNYMAN                 What am I, Mr. Lambert?                           LAMBERT                 Bitten, Mr. Fennyman.                           FENNYMAN                 How badly bitten, Mr. Frees?                           FREES                 Twelve pounds, one shilling and four                  pence, Mr. Fennyman, including                  interest.                           HENSLOWE                 Aaagh! I can pay you!                           FENNYMAN                 When?                           HENSLOWE                 Two weeks, three at the most, Aaaagh!                  For pity's sake.                           FENNYMAN                 Take his feet out. Where will you get                           FREES                     (the mathematical genius with                       a notebook)                 Sixteen pounds, five shillings and                  nine pence                           FENNYMAN                 including interest in three weeks?                           HENSLOWE                 I have a wonderful new play!                           FENNYMAN                 Put his feet in.                           HENSLOWE                 It's a comedy.                           FENNYMAN                 Cut his nose off.                           HENSLOWE                 A new comedy. By Will Shakespeare!                           FENNYMAN                 And his ears.                           HENSLOWE                 And a share. We will be partners, Mr.                  Fennyman!                           FENNYMAN                     (hesitating)                 Partners!                           HENSLOWE                 It's a crowd-tickler--mistaken                  identities, a shipwreck, a pirate                  king, a bit with a dog, and love                  triumphant.                           LAMBERT                 I think I've seen it. I didn't like                  it.                           HENSLOWE                 This time it is by Shakespeare.                           FENNYMAN                 What's the title?                           HENSLOWE                 Romeo and Ethel the Pirate's Daughter.                           FENNYMAN                 Good title.       FENNYMAN snaps his fingers at FREES and LAMBERT. LAMBERT        unties HENSLOWE, FREES starts writing a contract.                           FENNYMAN (CONT'D)                 A play takes time. Find actorsÖ                  rehearsalsÖlet's say open in three                  weeks. That's--what--five hundred                  groundlings at tuppence each, in                  addition four hundred groundlings                  tuppence each, in addition four                  hundred backsides at three pence--a                  penny extra for a cushion, call it two                  hundred cushions, say two performance                  for safety how much is that Mr. Frees?                           FREES                 Twenty pounds to the penny, Mr.                  Fennyman.                           FENNYMAN                 Correct!                           HENSLOWE                 But I have to pay the actors and the                  authors.                           FENNYMAN                 A share of the profits.                           HENSLOWE                 There's never any                           FENNYMAN                 Of course not!                           HENSLOWE                     (impressed)                 Mr. Fennyman, I think you may have hit                  on something.       FENNYMAN slaps a contract down on the table next to n ink-       pot and quill.                           FENNYMAN                 Sign here.       HENSLOWE takes the quill and signs.                           FENNYMAN (CONT'D)                 Romeo and Ethel The Pirate's                  DaughterÖAlmost finished?                           HENSLOWE                 Without doubt he is completing it at                  this very moment.       INT. WILL'S ROOM. DAY       A small cramped space in the eaves of a building. A        cluttered shelf containing various objects, wedged        between crumpled pieces of paper. Among those we have        time to observe: a skull, a mug that says A PRESENT FROM        STRATFORD-UPON-AVON.        At infrequent intervals further pieces of crumpled paper        are tossed towards the shelf. The man who is throwing        them, WILL SHAKESPEARE, is bent over a table, writing        studiously with a quill.        Now we see what he is writing: Will is practising his        signature, over and over again. "Will ShagsbeardÖW        ShakspurÖWilliam ShasperÖ" Each time he is dissatisfied,        and each time he crumples, and tosses it away.        Suddenly WILL becomes impatient. He jumps up and goes to        the loft area in the rafters, where he sleeps, and starts        to pull on his boots. At this point the door opens and        HENSLOWE walks in. He is out of breath and his feet hurt.                           HENSLOWE                 Will! Where is my play? Tell me you                  have it nearly done! Tell me you have                  it started.                     (desperately)                 You have begun?                           WILL                     (struggling with his boots)                 Doubt that the stars are fire, doubt                  that the sun doth move                           HENSLOWE                 No, no, we haven't the time. Talk                  prose. Where is my play?                           WILL                     (tapping his forehead and                       heading out the door)                 It is all locked safe in here                           HENSLOWE                 God be praised!                     (then doubt)                 Locked?                           WILL                 As soon as I have found my muse       EXT. STREET. OUTSIDE WILL'S HOUSE. DAY.       WILL lives in a crowded area of the city. Hawkers are        crying their wares, tract-sellers, delivery boys, and        merchants go about their business. HENSLOWE catches up        with WILL as he strides purposefully along.                           HENSLOWE                     (catching up)                 Who is she this time?!                           WILL                 She is always Aphrodite.                           HENSLOWE                 Aphrodite Baggot who does it behind                  the Dog and Trumpet?                           WILL                 Henslowe, you have no soul so how can                  you understand the emptiness that                  seeks a soulmate?                           HENSLOWE                 Well, I am a dead man and buggered to                  boot. My theatre is close by the                  plague these twelve weeks, my company                  is playing the inn-yards                 of England, while Burbage and the                  Chamberlain's Men are invited to court                  and receive ten pounds to play your                  piece, written for my theatre, by my                  writer, at my risk when you were green                  and grateful -                           WILL                 What piece? Richard Crookback?                           HENSLOWE                 No--it's comedy they want, Will!                  Comedy! Like Romeo and Ethel?                           WILL                 Who wrote that?                           HENSLOWE                 Nobody! You are writing it for me! I                  gave you three pounds a month since.                           WILL                 Half what you owed me. I am still due                  for One Gentleman of Verona.       EXT. ANOTHER STREET. DAY       HENSLOWE'S hardly paused in his appeal.                           HENSLOWE                 . . . Will! What is money to you and                  me? I, your patron, you my wordwright!                  When the plague lifts Burbage will                  have a new Christopher Marlowe for the                  Curtain and I have nothing for the                  Rose.       WILL stops.                           WILL                 Mr. Henslowe, will you lend me fifty                  pounds?                           HENSLOWE                     (staggered)                 Fifty pounds? What for?                           WILL                 Burbage offers me a partnership in the                  Chamberlain's Men. For fifty pounds my                  hired player days are over.                           HENSLOWE                 Cut out my heart! Throw my liver to                  the dogs!                           WILL                     (answering for him)                 No, then.       WILL turns down a side street.       EXT. MARKETPLACE. DAY.       HENSLOWE and WILL are crossing a crowded marketplace        where a Puritan preacher, MAKEPEACE, is haranguing anyone        who will listen.                           MAKEPEACE                 and the Lord shall smite them! Yea,                  harken to me. The theatres are                  handmaidens of the devil! Under the                  name of the Curtain, the players                 breed lewdness in your wives,                  rebellion in your servants, idleness                  in your apprentices and wickedness in                  your children! And the Rose smells                  thusly rank by any name! I say a                  plague on both their houses!       As he passes WILL gratefully makes a mental note.       EXT. DR. MOTH'S HOUSE. DAY.       WILL turns into a narrow street and walks toward a        doorway.                           HENSLOWE                 Where are you going?                           WILL                 To my weekly confession.       As HENSLOWE arrives the door closes in his face. A sign        identifies the place as the premises of Dr. MOTH,        apothecary, alchemist, astrologer, seer, interpreter of        dreams, and priest of psyche. HENSLOWE looks puzzled.       INT. DR. MOTH'S HOUSE. DAY       A stuffed alligator hangs from the ceiling, pills,        potions, amulets and charms, star charts and mystic        paraphernalia festoon the place. Testimonials and framed        degrees hang on the walls.        WILL lying on a couch, on his back. His eyes are closed        DR. MOTH sits by the couch, listening to WILL and        occasionally making a note on a pad he holds on his knee.        What we have here is nothing less than the false dawn of        analysis. The session is being timed by an hourglass.                           WILL                 Words, words, wordsÖonce, I had the                  giftÖI could make love out of words as                  a potter makes cups out of clay love                  that overthrows empires, love that                  binds two hearts together come                  hellfire and brimstonesÖfor sixpence a                  line, I could cause a riot in a                  nunneryÖbut now                           DR. MOTH                 And yet you tell me you lie with                  women?       WILL seems unwiling to respond. DR. MOTH refers to his        notes.                           DR. MOTH (CONT'D)                 Black Sue, Fat Phoebe, Rosaline,                  Burbage's seamstress; Aphrodite, who                  does it behind the Dog and                           WILL                     (interrupting)                 Aye, now and again, but what of it? I                  have lost my gift.                           DR. MOTH                 I am here to help you. Tell me in your                  own words.                           WILL                 I have lost my gift.                     (not finding this easy)                 It's as if my quill is broken. As if                  the organ of the imagination has dried                  up. As if the proud tower of my genius                  has collapsed.                           DR. MOTH                 Interesting.                           WILL                 Nothing comes.                           DR. MOTH                 Most interesting.                           WILL                 It is like trying to a pick a lock                  with a wet herring.                           DR. MOTH                     (shrewdly)                 Tell me, are you lately humbled in the                  act of love?       WILL turns towards him. How did he know that?                           DR. MOTH (CONT'D)                 How long has it been?                           WILL                 A goodly length in times past, but                  lately                           DR. MOTH                 No, no. You have a wife, children       The sand runs through the hourglass.                           LATER                 Not much sand left.                           WILL                 I was a lad of eighteen. Anne Hathaway                  was a woman, half as old again.                           DR. MOTH                 A woman of property?                           WILL                     (shrugs)                 She had a cottage. One day, she was                  three months gone with child, so                           DR. MOTH                 And your relations?                           WILL                 On my mother's side the Ardens                           DR. MOTH                 No, your marriage bed.                           WILL                 Four years and a hundred miles away in                  Stratford.                  A cold bed too, since the twins were                  born. Banishment was a blessing.                           DR. MOTH                 So now you are free to love                           WILL                 yet cannot love nor write it.       DR. MOTH reaches for a glass snake bracelet.                           DR. MOTH                 Here is a bangle found in Psyche's                  temple on Olympus cheap at four pence.                  Write your name on a paper and feed it                  in the snake.       WILL looks at the snake bangle in wonder.                           WILL                 Will it restore my gift?                           DR. MOTH                 The woman who wears the snake will                  dream of you, and your gift will                  return. Words will flow like a river.                  I will see you in a week.       He holds out his hand. WILL drops a sovereign into it,        and takes the bracelet.       EXT. DR. MOTH'S HOUSE. DAY.       WILL comes out. HENSLOWE is waiting, standing in a horse        trough to ease his feet. WILL walks straight past him,        and HENSLOWE follows.                           HENSLOWE                 Now where? Will?                           WILL                 To the Palace at Whitehall.       INT. WHITEHALL PALACE. BACKSTAGE. DAY.       WHITEHALL means nothing yet. We are behind closed        curtains on a stage busy with preparations for the        imminent performance of Two Gentlemen of Verona. This is        not a theatre but a banqueting hall, as we will see.        RICHARD BURBAGE is to play "PROTEUS." A BOY PLAYER will        play "SILVIA," and last minute improvements to his makeup        etc. are being applied by BURBAGE'S mistress ROSALINE.        "LAUNCE," one of the clowns, is the famous comedian WILL        KEMPE. "LAUNCE'S" dog, CRAB is in KEMPE'S charge and is        not helping much. There is no set. A helpful placard        reading VERONA--AN OPEN PLACE, is ready to hand. MUSICIANS        can be heard tuning their instruments. From the other        side of the curtain there is an expectant bubbub. KEMPE        leads the dog into the wings and rummages in a box of        proops. He finds a skull. He has one foot on the box, his        elbow on his knee, he looks at the skullÖin other words        he reminds us of Hamlet. We see this from the POV of        WILL, who is just entering through a door backstage.                           WILL                     (approaching)                 Prithee, Mr. Kempe, break a leg. You                  too, good Crab.                           KEMPE                 Crab is nervous. He has never played                  the Palace. When will you write me a                  tragedy, Will? I could do it.                           WILL                 No, they would laugh at Seneca if you                  played it.       WILL'S attention has been caught by ROSALINE, BURBAGE'S        mistress. ROSALINE is big breasted, dark-eyed, dark-       haired, sexual.                           BURBAGE                     (to ROSALINE)                 My sleeve wants for a button, Mistress                  Rosaline, where were my seamstress's                  eyes?       BURBAGE kisses her mouth and slaps her behind. He comes        over to greet WILL.                           BURBAGE (CONT'D)                 There is no dog in the first scene,                  Will Kempe, thank you. How goes it                  Will?                           WILL                 I am still owed money for this play,                  Burbage.                           BURBAGE                 Not from me. I only stole it. When are                  you coming over to the Chamberlain's                  Men?                           WILL                 When I have fifty pounds.       ROSALINE brings over the last elements of BURBAGE'S        costume and helps him into them.                           BURBAGE                 Are you writing?                           WILL                     (nods somewhat defensively)                 A comedy. All but done, a pirate                  comedy, wonderful.                           BURBAGE                 What is the chief part?                           WILL                 Romeo. Wit, swordsman, lover.                           BURBAGE                 The title?                           WILL                 Romeo                           BURBAGE                 I will play him. Bring it tomorrow.                           WILL                 It's for Henslowe. He paid me.                           BURBAGE                 How much?                           WILL                 Ten pounds.                           BURBAGE                 You're a liar.       BURBAGE digs under his costume for his purse, which is on        a waistband, over his corset.                           WILL                 I swear it. He wants Romeo for Ned and                  the Admiral's Men.                           BURBAGE                 Ned is wrong for it.       WILL turns to see HENSLOWE approaching.                           BURBAGE (CONT'D)                     (to WILL)                 Here is two sovereigns--I'll give you                  two more when you show me the pages.                           WILL                 Done.                           HENSLOWE                     (arriving)                 Burbage, I will see you hanged for a                  pickpocket.                           BURBAGE                 The Queen has commanded, she loves a                  comedy and the Master of the Revels                  favours us.                           HENSLOWE                 And what favour does Mr. Tilney                  receive from you?                           BURBAGE                 Ask him.       The Master of the Revels (TILNEY) comes through the        curtain officiously.                           TILNEY                 She comes!       He disappears back through the curtains. The hubbub falls        silent, rather dramatically, and all the busy PLAYERS        know what that means: they all crowd to the curtain and        find places to peep through.       INT. WHITEHALL PALACE. BANQUETING HALL. FRONT OF        HOUSE/STAGE. DAY.       THE POV OF THE PLAYERS.       The arrival of QUEEN ELIZABETH, aged sixty, coming to        take her place in the audience at front centre. The hill        is crowded with lords and ladies, bowing ELIZABETH to her        seat, which is raised high on a pedestal, affording the        QUEEN an uninterrupted view of the play, and the audience        an uninterrupted view of the QUEEN. Trumpets sound.        Close on a small piece of paper: a quill is writing "W.        Shakespeare." WILL rolls the paper up carefully and slips        it into the mouth of the snake bangle.        The curtain draws back and CONDELL as "VALENTINE" and        BURBAGE as "PROTEUS" begin the play.                           CONDELL AS VALENTINE                 "Cease to persuade, my loving Proteus;                  Home-keeping youth have ever homely                  witsÖ"       INT. WHITEHALL PALACE. BANQUETING HALL. THE        WINGS/BACKSTAGE. DAY.       With BURBAGES'S presence accounted for on stage, ROSALINE        curls an arm around WILL'S neck. They kiss hungrily.        After a moment, WILL pulls back.                           ROSALINE                 When will you write me a sonnet, Will?                           WILL                 I have lost my gift.                           ROSALINE                 You left it in my bed. Come to look                  for it again.                           WILL                 Are you to be my muse, ROSALINE?                           ROSALINE                 Burbage has my keeping but you have my                  heart.       WILL takes the snake bracelet and slips it onto her arm.        ROSALINE looks at it, then at WILL. Then they kiss again,        but WILL is distracted by the sound of coughing from the        auditorium.                           WILL                 You see? The consumptives plot against                  me. "Will Shakespeare has a play, let                  us go and cough through it."       INT. WHITEHALL PALACE. BANQUETING HALL. STAGE. DAY.       "VALENTINE" is on stage with "PROTEUS."       CONDELL AS VALENTINE       "To be in love, where scorn is bought with groans: Coy        looks with heart sore sighs; One fading moment's mirth        With twenty watchful, weary, tedious nightsÖ"       As the scene continues, WILL appears at the back of the        hall and finds himself next to HENSLOWE.                           WILL                 I feel a scene coming on.                           HENSLOWE                 Is it about a pirate's daughter?       INT. WHITEHALL PALACE. BACK OF THE BANQUETING HALL/STAGE.        DAY.       Laughter. It is later, and KEMPE is now on stage with his        dog. The audience is roaring.                           HENSLOWE                 You see? Comedy.       QUEEN ELIZABETH'S idiosyncratic laugh rises above the        others.                           QUEEN                 Well played, Master Crab, I commend                  you.       She throws a sweetheart on the stage and the dog wolfs it        down. Everyone applauds.                           HENSLOWE                 Love and a bit with a dog, that's what                  they like.       Now we meet VIOLA. VIOLA DE LESSEPS is twenty-five and        beautiful, and she is laughing with great natural        enjoyment. She sits slightly apart from her small family        group--her parents, SIR ROBERT DE LESSEPS and LADY        MARGARET DE LESSEPS. Part of the group but seated behind        as befits her lower status is VIOLA'S NURSE.        Elsewhere is LORD WESSEX, our villain. WESSEX is in his        forties, dark cruel, self-important. He has noticed        VIOLA. The nurse notices him.       INT. WHITEHALL PALACE. BANQUETING HALL. FRONT OF        HOUSE/STAGE. DAY.       LATER. "VALENTINE" is on stage alone. He is speaking the        speech rather more coarsely than the version we hear        later.                           CONDELL AS VALENTINE                 "What light is light if Silvia be not                  seen?                  What joy is joy, if Silvia be not by?                  Unless it be to think that she is by                  And feed upon the shadow of                  perfectionÖ"       Now we see that VIOLA knows the speech by heart, and is        silently mouthing it with the actor.                           HENSLOWE                 There's a lady knows your play by                  heart.       But when he turns to WILL he finds that WILL has gone.       INT. WILL'S ROOM. DAY.       WILL comes into his room, goes straight to his table in        the window, and arranges pen, ink, and paper. Now he has        his ritual: he spins round once in a circle, rubs his        hands together and spits on the floor. Then he sits down,        picks up his pen, and stares in front of him. PAUSE. Then        he begins to write.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       The NURSE is undressing her, though VIOLA tries        intermittently to push her away. She is still bright with        excitement.                           VIOLA                 Did you like Proteus or Valentine                  best? Proteus for speaking, Valentine                  for looks.                           NURSE                 I liked the dog, for laughs.                           VIOLA                 But Silvia I did not care for much.                  His fingers were red from fighting and                  he spoke like a schoolboy at lessons.                  Stage love will never be true love                  while the law of the land has our                  heroines played by pipsqueak boys in                  petticoats! Oh, when can we see                  another?                           NURSE                 When the Queen commands it.                           VIOLA                 But at the playhouse. Nurse?                           NURSE                 Be still.       Now the NURSE is cleaning VIOLA'S ears, one by one, of        course. She has an ear-cleaning implement for this. VIOLA        submits.                           NURSE (CONT'D)                 Playhouses are not for well-born                  ladies.                           VIOLA                 I am not so well-born.                           NURSE                 Well-monied is the same as well-born                  and well-married is more so. Lord                  Wessex was looking at you tonight.                           VIOLA                 All the men at court are without                  poetry. If they look at me they see my                  father's fortune. I will have poetry                  in my life. And adventure. And love.                  Love above all.                           NURSE                 Like Valentine and Silvia?                           VIOLA                 No . . . not the artful postures of                  love, but love that over- throws life.                  Unbiddable, ungovernable, like a riot                  in the heart, and nothing to be done,                  come ruin or rapture. Love like there                  has never been in a play.                     (beat)                 I will have love or I will end my days                  as a . . .                           NURSE                 As a nurse.                           VIOLA                     (kissing her)                 But I would be Valentine and Silvia                  too. Good Nurse, God save you and good                  night. I would stay asleep my whole                  life if I could dream myself into a                  company of players.       VIOLA goes over to the window.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       The NURSE thrusts a twig to her face.                           NURSE                 Clean your teeth while you dream,                  then.       Automatically, VIOLA takes the twig and begins brushing        her teeth, all the while looking downriver towards the        Rose. The NURSE attends her with a beaker of water, and a        bowl.                           NURSE (CONT'D)                 Now spit       VIOLA gazes longingly towards the RoseÖ And, there and        then, she makes a plan.       EXT. SQUARE IN FRONT OF THE ROSE THEATRE. DAY.       HENSLOWE is making his way from the theatre to the market        place when FENNYMAN and LAMBERT appear at either shoulder        and propel him back the way he came. FREES follows        behind.                           FENNYMAN                 This time we take your boots off!                           HENSLOWE                 What have I done, Mr. Fennyman?                           FENNYMAN                 The theatres are all closed by the                  plague!                           HENSLOWE                 Oh, that.                           FENNYMAN                 by order of the Master of the Revels!                           HENSLOWE                 Mr. Fennyman, let me explain about the                  theatre business.                     (they stop)                 The natural condition is one of                  insurmountable obstacles on the road                  to imminent disaster. Believe me, to                  be close by the plague is a bagatelle                  in the ups and downs of owning a                  theatre.                           FENNYMAN                 So what do we do?                           HENSLOWE                 Nothing. Strangely enough , it all                  turns out well.                           FENNYMAN                 How?                           HENSLOWE                 I don't know. It's a mystery.                           LAMBERT                     (dumbly)                 Should I kill him, Mr. Fennyman?       At this point din is heard in the background. a        messenger, ringing a bell, is running though the street.                           MESSENGER                 The theatres are reopened. By order of                  the Master of the Revels, the theatres                  are reopened       FENNYMAN is intrigued.                           FREES                 Mr. Fennyman! Mr. Tilney has opened                  the playhouses.                           FENNYMAN                 Yes I heard.       HENSLOWE plays his temporary advantage modestly,        shrugging himself free of LAMBERT'S grip.                           HENSLOWE                     (to LAMBERT)                 If you wouldn't mind       HENSLOWE continues on his way. FENNYMAN watches HENSLOWE,        curious.                           FENNYMAN                 Where is the play?                           HENSLOWE                 Oh, it's coming, it's coming.       INT. WILL'S ROOM. DAY.       It is. WILL is writing furiously. A burnt-down candle is        still alight, although it is day outside the window. He        has been writing all night. He has written about ten        pages. Pleased with himself and excited, he gathers them        up and leaves the room like a man with a mission.       EXT. WILL'S HOUSE. DAY.       Leaving the house, pages in hand, WILL nearly knocks down        HENSLOWE who has come to see him.                           HENSLOWE                 Will! The theatres are       Before he can finish, WILL brandishes the pages in his        hand.                           WILL                 Romeo and Rosaline. Scene One! God,                  I'm good!                           HENSLOWE                 Rosaline? You mean Ethel.       WILL has gone.       EXT. BURBAGE'S HOUSE. DAY.       BURBAGE lives in another part of the city. WILL bangs        through the door without ceremony.                           WILL                     (shouting)                 Richard!       INT. BURBAGE'S HOUSE. DAY.       WILL enters and calls out.                           WILL                 Burbage?       INT. BURBAGE'S BEDROOM. DAY.       WILL charges into the bedroom. ROSALINE is in bed. The        Master of the Revels is pulling up his breeches. WILL is        shattered.                           WILL                 Mr. Tilney       The unsuccessful snake bracelet glints at him from        ROSALINE'S arm.                           TILNEY                 Like you, I found him not at home!                           WILL                 So this is the favour you find in the                  Chamberlain's Men.                           ROSALINE                 Will!                           WILL                     (to ROSALINE)                 I would have made you immortal.                     (turning to go)                 Tell Burbage he has lost a new play by                  Will Shakespeare.                           TILNEY                 What does Burbage care of that? He is                  readying the Curtain for Kit Marlowe.                           WILL                 You have opened the playhouses?                           TILNEY                 I have, Master Shakespeare.                           WILL                 But the plague                           TILNEY                     (sighs)                 Yes, I know. But he was always hanging                  around the house.       A bell can be heard ringing outside.                           ROSALINE                     (to WILL, leaving)                 WillÖyou're the only one, Will!--in my                  heart.       EXT. STREET. OUTSIDE BURBAGE'S HOUSE. DAY.       WILL emerges looking distraught. A burning brazier stands        by the wall. WILL thrusts the pages into the coals. He        watches for a moment as the pages catch fire.       INT. TAVERN. DAY.       WILL walks in to find the place in an uproar of        celebration. A handsome young serving man (NOL) is        bumping through with a tray of tankards.                           NOL                     (excitedly)                 Mr. Henslowe!                           HENSLOWE                 Yes, I heard. The theatres are open.                  But where is my playwright?       HENSLOWE finds a seat, and takes a tankard off NOL'S        tray.                           HENSLOWE                 Chalk it up, Nol. I'm hungry, too.                           NOL                 The special today is a pig's foot                  marinated in juniper-berry vinegar,                  served with a buckwheat pancake which                  has been       They are interrupted by WILL who joins them. He looks        distracted.                           HENSLOWE                 Will! Have you finished?                           WILL                 Yes. Nearly.                     (he taps his forehead)                 It's all locked safe in here. We need                  Ralph for the Pirate King. Good                  morning, Master Nol. You will have a                  nice little part.       NOL shouts for you, takes off his apron and flings it        behind the bar. HENSLOWE jumps up and embraces WILL. The        entire staff and half the customers are now crowding        around, actors the lot of them. HENSLOWE bangs the table        to shut them all up.                           HENSLOWE                 Ned Alleyn and the Admiral's Men are                  out on tour. I need actors. Those here                  who are unknown will have a chance to                  be known.                           ACTOR                 What about the money, Mr. Henslowe?                           HENSLOWE                 It won't cost you a penny! Auditions                  in half-an-hour!       The din of excited chatter returns. He sweeps grandly to        the tavern doorÖwhere he meets RALPH BASHFORD, a big,        burly, middle-aged actor.                           HENSLOWE (CONT'D)                 Ralph Bashford! I'd have a part for                  you but, alas, I hear you are a                  drunkard's drunkard.                           RALPH                 Never when I'm working.       INT. TAVERN. DAY.       WILL has remained behind, aghast now at his predicament.        He goes to the bar.                           WILL                 Give me to drink mandragora.                           BARMAN                 Straight up, Will?                           VOICE                 Give my friend a beaker of your best                  brandy.       WILL turns towards a figure further down the bar. It's        CHRISTOPHER MARLOWE.                           WILL                 Kit                           MARLOWE                 How goes it, Will?                           WILL                 Wonderful, wonderful.                           MARLOWE                 Burbage says you have a play.                           WILL                 I have. And chinks to show for it.       His drink arrives. WILL places a sovereign on the bar.                           WILL (CONT'D)                 I insist--and a beaker for Mr. Marlowe.                  The BARMAN does the business.                           WILL (CONT'D)                 I hear you have a new play for the                  Curtain.                           MARLOWE                 Not new--my Doctor Faustus.                           WILL                 I love your early work. "Was this the                  face that launched a thousand ships                  and burnt the topless towers of                  Ilium?"                           MARLOWE                 I have a new one nearly done, and                  better. The Massacre at Paris.                           WILL                 Good title.                           MARLOWE                 And yours?                           WILL                 Romeo and Ethel the Pirate's Daughter.                     (beat, sighs despondently)                 Yes, I know.                           MARLOWE                 What is the story?                           WILL                 Well, there's a pirate                     (confesses)                 In truth, I have not written a word.                           MARLOWE                 Romeo isÖItalian. Always in and out of                  love.                           WILL                 Yes, that's good. Until he meets                           MARLOWE                 Ethel.                           WILL                 Do you think?                           MARLOWE                 The daughter of his enemy.                           WILL                     (thoughtfully)                 The daughter of his enemy.                           MARLOWE                 His best friend is killed in a duel by                  Ethel's brother or something. His name                  is Mercutio.                           WILL                 MercutioÖgood name.       NOL hurries back to WILL'S side.                           NOL                 Will--they're waiting for you!                           WILL                 I'm coming.       He drains his glass.                           WILL (CONT'D)                 Good luck with yours, Kit.                           MARLOWE                 I thought your play was for Burbage.                           WILL                 This is a different one.                           MARLOWE                     (trying to work it out)                 A different one you haven't written?       WILL makes a helpless gesture and hurries after NOL.       INT. THE ROSE THEATRE. GALLERY/STAGE/AUDITORIUM. DAY.       HENSLOWE and WILL are sitting in the gallery, listening        to a YOUNG ACTOR auditioning.                           YOUNG ACTOR                 " ÖWas this the face that launched a                  thousand ships, And burnt the topless                  towers of Ilium? Sweet Helen, make me                  immortal with a kiss!"                           HENSLOWE                 Thank you.       HENSLOWE and WILL look a bit deflated. The YOUNG ACTOR        leaves and is replaced by a SECOND ACTOR.                           SECOND ACTOR                 I would like to give you something                  from Faustus by Christopher Marlowe.                           HENSLOWE                 How refreshing.                           SECOND ACTOR                 "Was this the face that launched a                  thousand ships, And burnt the topless                  towers of Ilium?"       HENSLOWE and WILL let him continue a bit further, but        exchange despairing looks. A succession of would-be        actors offer their version of Marlowe's lines, each as        inappropriate as the other. Among them is a small URCHIN.                           URCHIN                 "Öthe topless towers of Ilium? Sweet                  Helen, make me immortal with a--?"                           HENSLOWE                     (bellows)                 Thank you!       The URCHIN leaves, glowering furiously, and is replaced        by a beanpole of a man (WASBASH). WABASH has a bad        stutter.                           WABASH                 "W-w-w-w-was th-th-this th-th-the f-f-                 f-faceÖ"                           HENSLOWE                     (unexpectedly)                 Very good, Mr. Wabash. Excellent.                  Report to the property master.       WILL looks at HENSLOWE in outrage.                           HENSLOWE (CONT'D)                     (apologetically)                 My tailor. Wants to be an actor. I                  have a few debts here and there. Well,                  that seems to be everybody. Did you                  see a Romeo?                           WILL                 I did not.                           HENSLOWE                 Well, I to my work, you to yours. When                  can I see pages?                           WILL                 Tomorrow       HENSLOWE leaves him.                           WILL (CONT'D)                     (a prayer)                 please God.       WILL sits brooding alone for a moment. Then he realizes        he is being addressed from the stage. ANOTHER ACTOR.                           ACTOR                 May I begin, sir?       WILL looks at the stage and sees a handsome young man,        with a hat shadowing his eyes.                           WILL                 Your name?                           VIOLA AS THOMAS                 Thomas Kent. I would like to do a                  speech by a writer who commands the                  heart of every player.       WILL can hardly manage a nod.                           VIOLA AS THOMAS (CONT'D)                 "What light is light, if Silvia be not                  seen, What joy is joy, if Silvia be                  not by? Unless it be to think that she                  is by And feed upon the shadow of                  perfection.       It does not take four lines of "VALENTINE'S" speech to        confirm for us, if confirmation be needed, that THOMAS is        VIOLA. For WILL, amazement at hearing his own words soon        gives away to something else. He is captivated. He has        found his "ROMEO".                           VIOLA AS THOMAS (CONT'D)                 " Öexcept I be by Silvia in the night,                  There is no music in the nightingale.                  Unless I look on Silvia in the day,                  There is no day for me to look upon."       WILL interrupts "him."                           WILL                 Take off your hat.                           VIOLA AS THOMAS                 My hat?                           WILL                 Where did you learn how to do that?                           VIOLA AS THOMAS                 I . . .                           WILL                 Wait there.                           VIOLA AS THOMAS                 Are you Mr. Shakespeare?                           WILL                 Let me see you. Take off your hat.       THOMAS begins to panic. WILL jumps down to ground level.        THOMAS runs offstage, to WILL'S bewilderment. WILL        hurries after him. We go with WILL as he crosses the        stage, then backstage, then into the       INT. THE ROSE THEATRE. RETIRING ROOM. DAY.       RETIRING ROOM which is crowded with actors and HENSLOWE'S        lieutenant, property manager, copier, and general        factotum who is a new character, PETER.                           ACTOR                 What are we playing?                           NOL                 Where are the pages?       WILL enters into the middle of this.                           WILL                     (shouts)                 Where's the boy?       NOBODY knows what he is talking about. WABASH, the        stutterer, grabs Will's hand and shakes it excitedly.                           WABASH                 B-b-b-b-break a l-l-l-leg!       The street door is swinging shut. WILL sees it. He fights        his way through the men to get to the door.       EXT. THE ROSE THEATRE. BANKSIDE. DAY.       WILL emerges from the theatre into a street throbbing        with nefarious life. Whores, cutpurses, hawkers, urchins,        tract-sellers, riffraff of all kinds in an area of stews        (lowdown pubs), brothels and slums. It is some time        before WILL spots THOMAS, way ahead of him in the crowded        street. The chase is taking them to the riverbank.       EXT. THE RIVER. DAY.       When WILL gets to the riverbank he sees that THOMAS is in        a smallish boat being rowed upriver and in midstream. The        river is quite busy, and among the boats there are a        number of waiting "taxis." WILL jumps into the nearest        one and shouts at the "Taxi Driver" BOATMAN.                           WILL                 Follow that boat!                           BOATMAN                 Right you are, governor!       WILL sits in the stern of the boat and the BOATMAN sits        facing him, rowing lustily.                           BOATMAN (CONT'D)                 I know your face. Are you an actor?                           WILL                     (oh God, here we go again)                 Yes.                           BOATMAN                 Yes, I've seen you in something. That                  one about a king.                           WILL                 Really?                           BOATMAN                 I had the Christopher Marlowe in my                  boat once.       EXT. THE RIVER. DAY.       LATER. The BOATMAN is puffing. WILL is looking ahead to        where THOMAS'S boat has reached a jetty on the farther        shore, a private jetty attached to a rich house on the        north bank. WILL sees THOMAS jump out of his boat and run        toward the house.                           WILL                 Do you know that house?                           BOATMAN                 Sir Robert De Lesseps.       EXT. DE LESSEPSES' HOUSE. DAY.       WILL runs towards the house.       INT. DE LESSEPSES'S HOUSE. DAY.       THOMAS rushes up the back stairs, removing his hat. Her        hair tumbles down about her shoulders, so we will call        her VIOLA again.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. DAY.       Her mother LADY DE LESSEPS, is talking to the NURSE.       LADY DE LESSEPS       Where is she? Our guests are upon us, Lord Wessex too,        bargaining for a bride. My husband will have it settled        tonight.       Behind her, the door opens revealing VIOLA as THOMAS to        the NURSES view, but only for a moment. The door closes        again as LADY DE LESSEPS turns.                           LADY DE LESSEPS (CONT'D)                 Tomorrow he drags me off to the                  country and it will be three weeks                  gone before we return from our                  estates.       A different door communicating to the next room, opens        and VIOLA comes in after a lightning dress change into a        robe. She curtseys to her mother.                           VIOLA                 God save you, mother.                     (to NURSE)                 Ho water, nurse.       The NURSE looks at her, round-eyed.       INT. DE LESSEPSES' HOUSE. KITCHEN. DAY.       From a cauldron on the stove, hot water is poured into        two pails, by the a KITCHEN BOY under the NURSE'S        command.                           SCULLERY MAID (O.S.)                 Thomas Kent, sir? No sir.                           WILL (O.S.)                 The actor                           NURSE                 Who asks for him?       WILL has come to the kitchen door with a letter.                           WILL                 William Shakespeare, actor, poet, and                  playwright of the Rose.       The NURSE sends the SCULLERY MAID back to work.                           NURSE                 Master Kent isÖmy nephew.                           WILL                     (giving her the letter)                 I will wait.                           NURSE                 Much god may it do you.       INT. DE LESSEPSES' HOUSE. VIOLA'S BATHROOM. EVENING.       VIOLA in her bath, reads WILL'S letter. The NURSE is        adding hot water to the tub.                           VIOLA                     (delighted)                 He sees himself in me! Romeo Montague,                  a young man of Verona.                           NURSE                     (unimpressed)                 Verona again.                           VIOLA                     (devouring the letter)                 A comedy of quarreling families                  reconciled in the discovery of Romeo                  to be the very same Capulet cousin                  stolen from the cradle and fostered to                  manhood by his Montague mother that                  was robbed of her own child by the                  Pirate King!       EXT. DE LESSEPSES' HOUSE. NIGHT.       WILL waits hopefully. The kitchen door opens and a        SERVANT flings a bucket of dirty water in the general        direction of the gutter. WILL hops nimbly aside and        escapes a soaking.                           SERVANT                 Be off!       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       The NURSE is helping VIOLA into her party dress.                           NURSE                 Your mother, and your father                           VIOLA                     (gaily)                 From tomorrow, away in the country for                  three weeks! Is Master Shakespeare not                  handsome?                           NURSE                 He looks well enough for a mountebank.                           VIOLA                 Oh, Nurse! He would give Thomas Kent                  the life of Viola De Lesseps's                  dreaming.                           NURSE                     (firmly)                 My lady, this play will end badly. I                  will tell.                           VIOLA                     (twice as firmly)                 You will not tell. As you love me and                  as I love you, you will bind my breast                  and buy me a boy's wig!       EXT. DE LESSEPSES' HOUSE. NIGHT.       WILL spots a gaggle of MUSICIANS approaching, carrying        instruments. WILL recognizes them.                           WILL                 Master Plum! What business here?                           MUSICIAN                 A five shilling business, Will. We                  play for the dancing.       The sound of hooves gives hardly any warning as a        GALLOPING HORSEMAN thunders through the MUSICIANS who        have to leap out of the way. It is WESSEX arriving at the        house, with his usual good manners. Will watches WESSEX        skid to a halt and enter the house.       INT. DE LESSEPSES' HOUSE. BANQUETING ROOM. NIGHT.       WILL has got in with the MUSICIANS. Competently enough he        strums along with them on the bandstand. Two dozen guests        are enough to crowd the space for dancing. WILL glances        around, looking for THOMAS KENT. He stops a passing        SERVANT, helping himself to a snack off the man's tray.                           SERVANT                 Musicians don't eat, Sir Robert's                  orders.                           WILL                 I seek Master Thomas Kent.       It means nothing to the SERVANT who moves on. ANGLE ON        WESSEX and SIR ROBERT.                           SIR ROBERT                 She is a beauty, my lord, as would                  take a king to church for a dowry of a                  nutmeg.                           WESSEX                 My plantations in Virginia are not                  mortgaged for a nutmeg. I have an                  ancient name that will bring you                  preferment when your grandson is a                  Wessex. Is she fertile?                           SIR ROBERT                 She will breed. If she do not, send                  her back.                           WESSEX                 Is she obedient?                           SIR ROBERT                 As any mule in Christendom. But if you                  are the man to rider her, their are                  rubies in the saddlebag.                           WESSEX                 I like her.       ANGLE on WILL--watching the dancing. Then he sees VIOLA in        the crowd. He turns to blood.        Love at first sight, no doubt about it. VIOLA has not        seen him. She is doing a daughter's duty among her        parents' friends. The guests form up to begin a changing-       partners dance (the very same one you get in every ROMEO        and JULIET).                           WILL                     (to Musician)                 By all the stars in heaven, who is                  she?                           MUSICIAN                 Viola de Lesseps. Dream on, Will.       WILL leaves the bandstand and is moving trancelike to        keep her in view between the dancers and onlookers. VIOLA        moves through patterns of the dance untilÖas night        follows day, she finds WILL opposite her. He has        insinuated himself into the dance. VIOLA gasps.                           VIOLA                 Master Shakespeare       WILL reacts, surprised by her reaction. The dance        separates them. VIOLA finds herself opposite WESSEX.                           WESSEX                 My lady Viola.                           VIOLA                 My lord.                           WESSEX                 I have spoken with your father.                           VIOLA                 So my lord? I speak with him every                  day.       WESSEX scowls. The dance separates them. VIOLA finds        herself opposite WILL again. WILL stares at her        entranced.                           VIOLA (CONT'D)                 Good sirÖ ?       WILL has lost his tongue.                           VIOLA (CONT'D)                 I heard you are a poet.       WILL nods in his trance and she smiles at him.                           VIOLA (CONT'D)                 But a poet of no words?       WILL tries to speak but the silver tongue won't work. He        is dumb with adoration. Suddenly WESSEX takes him affably        by the elbow and leads him into an alcove.                           WESSEX                     (smiling evilly)                 "Poet?"                           WILL                     (coming round form the                       anaesthetic and not noticing                       the danger)                 I was a poet till now, but I have seen                  beauty that puts my poems at one with                  the talking ravens at the Tower.       To his surprise he finds a lordly dagger at this throat.                           WILL (CONT'D)                     (startled)                 How do I offend, my lord?                           WESSEX                 By coveting my property. I cannot shed                  blood in her house but I will cut your                  throat anon. You have a name?                           WILL                     (gulps)                 Christopher Marlowe at your service.       WESSEX shoves him through the nearest door.       VIOLA'S eyes are searching the room for WILL. She finds        WESSEX smiling at her. She looks away.       EXT. DE LESSEPS' GARDEN/VIOLA'S BALCONY. NIGHT       There is a lighted window on the balcony. VIOLA, dressed        for bed, and the NURSE pass across the lighted space.        WILL is in the garden. He sees her. The light in the room        is extinguished. WILL sighs. Then VIOLA comes out onto        the balcony in the moonlight. WILL gasps. He watches her.        VIOLA sighs dreamily.                           VIOLA                 Romeo, Romeo . . . a young man of                  Verona. A comedy. By William                  Shakespeare.       WILL reckons that's a good enough cue. He comes out of        hiding, and approaches the balcony.                           WILL                     (whispers)                 My lady!                           VIOLA                     (gasps)                 Who is there?                           WILL                 Will Shakespeare!       The NURSE calls "Madam!" from inside the room.                           VIOLA                 Anon, good nurse. Anon.                     (to WILL)                 Master Shakespeare?!                           WILL                 The same, alas.                           VIOLA                 Oh but why "alas?"                           WILL                 A lowly player.                           VIOLA                 Alas indeed, for I thought you the                  highest poet of my esteem and a writer                  of plays that capture my heart.                           WILL                 Oh--I am him too!       The NURSE calls again.                           VIOLA                     (to NURSE)                 Anon, anon!                     (to WILL)                 I will come again.       She goes inside for a moment.                           WILL                     (to himself)                 Oh, I am fortune's fool, I will be                  punished for this!       VIOLA returns. WILL comes forward again.                           WILL (CONT'D)                 Oh my lady, my love!                           VIOLA                 If they find you here they will kill                  you.                           WILL                 You can bring them with a word.                           VIOLA                 Oh, not for the world!       The NURSE calls her again: "Madam!"                           VIOLA (CONT'D)                 Anon, nurse!       But she goes inside. WILL looks around and sees that        there is, as ever a convenient tree. He starts to climb        up toward the balcony. When his head is nearly level, a        soft figure comes once more onto the balcony. WILL pops        his head over the parapet and is face to face with the        NURSE. The NURSE gives a yell. WILL falls out of the        tree.       EXT. DE LEESEPSES' HOUSE. NIGHT.       Male voice shout to each other inside the house, candle        flames appear in different windows, the garden door is        flung open, revealing SIR ROBERT with candelabra in one        hand and sword in the other. By this time WILL is on top        of the garden wall and he drops safely out of sight. He        could have written it better.       INT. WILL'S ROOM. DAWN.       WILL is burning the midnight oil--literally and        metaphorically. His quill has already covered a dozen        sheets. He is inspired.       INT. THE ROSE THEATRE. STAGE/AUDITORIUM. DAY.       It is day one. THE COMPANY is on stage. PETER is passing        pages around a bunch of actors. JOHN, JAMES, and NOL are        looking through their pages.                           JOHN                 "Draw if you be men!                     (to JAMES)                 Gregory, remember thy washing blow."                           NOL                 "Part, fools, put up your swords."       WILL is going around pumping hands and slapping        shoulders, flushed with excitement. HENSLOWE is reading        his pages, worried. RALPH BASHFORD is next to him.                           HENSLOWE                 It starts well, and then it's all long-                 faced about some Rosaline. Where's the                  comedy, Will. Where's the dog?                     (to RALPH)                 Do you think it is funny?                           RALPH                 I was a Pirate King, now I'm a Nurse.                  That's funny       WILL pulls HENSLOWE aside.                           WILL                 We are at least six men short, and                  those we have will be overparted,                  ranters and stutterers who should be                  sent back to the stews. My Romeo has                  let me down. I see disaster.                           HENSLOWE                 We are at least four acts short, Will,                  if you are looking for disaster.       WILL as notices a young scruffy thirteen-year-old actor,        the URCHIN we met before.                           WILL                 Who are you, master?                           URCHIN                 I am Ethel, sir, the Pirate's                  daughter.                           WILL                     (furiously)                 I'll be damned if you are!       And he helps the URCHIN off with a kick. The URCHIN        glowers with resentment. HENSLOWE finds himself face to        face with FENNYMAN.                           FENNYMAN                 Is it going well?                           HENSLOWE                 Very well.                           FENNYMAN                 But nothing is happening.                           HENSLOWE                 Yes, but very well.                           WILL                     (shouts)                 Gentlemen! Thank you! You are welcome.                           FENNYMAN                 Who is that?                           HENSLOWE                 Nobody. The author.                           WILL                 We are about to embark on a great                  voyage.                           HENSLOWE                 It is customary to make a little                  speech on the first day. It does no                  harm and authors like it.                           WILL                 You want to know what parts you are to                  receive. All will be settled as we go       That's as far as he gets before there is a dramatic        interruption--the public entrance door is flung open and        SIX MEN make a loud entrance, headed by NED ALLEYN, the        actor, who is a handsome piratical figure with a big        voice and a big sword.                           ALLEYN                 Huzzah! The Admiral's Men are returned                  to the house!       He gets various reactions. HENSLOWE and WILL shout his        name joyfully, some of the actors are friends with the        new group and behave accordingly, others know they are        out of a job. FENNYMAN recovers, or tries to.                           FENNYMAN                 Who is this?       ALLEYN slaps him aside with his sword.                           ALLEYN                     (roars)                 Silence, you god! I am Hieronimo! I am                  Tamburlaine! I am Faustus! I am                  Barrabas, the Jew of Malta--of yes,                  Master Will, and I am Henry VI. What                  is the play, and what is my part?       FENNYMAN is impressed.                           FENNYMAN                 A moment, sir!                           ALLEYN                     (roars)                 Who are you?                           FENNYMAN                     (bleating)                 I am the money!                           ALLEYN                 Then you may remain so long as you                  remain silent. Pay attention and you                  will see how genius creates a legend.                           FENNYMAN                     (respectfully)                 Thank you, sir.                           WILL                 We are in desperate want of a                  Mercutio, Ned, a young nobleman of                  Verona                           ALLEYN                 And the title of this piece?                           WILL                 Mercutio                           HENSLOWE                 Is it?                           ALLEYN                 I will play him!       Half a dozen of the ADMIRAL'S MEN will be given roles in        our play and we meet them and identify them as WILL        enthusiastically shakes hands.                           WILL                 Mr. Pope! Mr. Phillips! Welcome,                  George Bryan! James Armitage!                     (and now greeting SAM GOSSE,                       the female star of the                       Admiral's Men)                 Sam! My pretty one! Are you ready to                  fall in love again?                           SAM                     (hoarsely)                 I am, Master Shakespeare.                           WILL                     (concerned)                 But your voice                     (he thrust a hand between                       SAM'S legs)                 Have they dropped?                           SAM                     (a girlie voice now)                 No, no, a touch of cold only. We                  suspect he is lying but WILL has                  turned away.                           WILL                 Master Henslowe, you have your actors.       He leaves, passing by the humbled FENNYMAN.                           FENNYMAN                 I saw his Tamburlaine, you know.                  Wonderful.                           WILL                 Yes, I saw it.                           FENNYMAN                 Of course, it was mighty writing.                  There is no one like Marlowe       WILL is used to it. He goes.       EXT. RIVERBANK. DAY.       WILL arrives in a hurry at the wharfside, and looks        vainly in the direction of the DE LESSEPSES' house: no        THOMAS.       EXT. THE ROSE THEATRE. STAGE DOOR. DAY.       WILL looks down the alley:--no THOMAS. He turns away. The        URCHIN, the short-lived Ethel, is sitting in the alley.                           WILL                 Better fortune, boy.                           URCHIN                     (shrugs)                 I was in a play. They cut my head off                  in Titus Andronicus. When I write                  plays, they will be like Titus.                           WILL                     (pleased)                 You admire it?       The URCHIN nods grimly.                           URCHIN                 I like it when they cut heads off. And                  the daughter mutilated with knives.                           WILL                 Oh. What is your name?                           URCHIN.                 John Webster. Here, kitty, kitty.       Because a stray cat is nearby. The cat show an interest.        The URCHIN passes a white mouse to the cat and watches        the result with sober interest.                           URCHIN (CONT'D)                 Plenty of blood. That is the only                  writing.       WILL backs away, unnerved by the boy.                           URCHIN (CONT'D)                 Wait, you'll see the cat bites his                  head off.                           WILL                 I have to get back.       INT. THE ROSE THEATRE. STAGE/AUDITORIUM. DAY.       On stage . . . the actors carry their parts.       NOL AS BENVOLIO       "See where he comes. So please you step aside; I'll know        his grievance or be much denied."                           MONTAGUE                 "I would thou wert so happy by thy                  stay To hear true shrift. Come, madam,                  let's away."       Onstage "MONTAGUE" and "LADY MONTAGUE" make their exit.        Offstage, WILL appears next to HENSLOWE.                           WILL                 Cut round him for now.                           HENSLOWE                     (not understanding)                 What? Who?                           WILL                 Romeo.                           HENSLOWE                 The one who came with your letter?                           WILL                 What?                           NOL AS BENVOLIO (O.S.)                 "Good morrow, cousin."                           VIOLA AS ROMEO (O.S.)                 "Is the day so young?"       The voice is THOMAS'S. WILL turns back to the stage and        sees him. Today THOMAS has a wig as well as his small        mustache.                           NOL AS BENVOLIO                 "But new struck nine."                           VIOLA AS ROMEO                 "Ay me, sad hours seem long. Was that                  my father that went hence so fast?"                           NOL AS BENVOLIO                 It was. What sadness lengthens Romeo's                  hours?"                           VIOLA AS ROMEO                 "Not having that which, having, makes                  them short."                           WILL                 Good                           NOL AS BENVOLIO                 "In love?"                           VIOLA AS ROMEO                 "Out."                           NOL AS BENVOLIO                 "Of love?"                           VIOLA AS ROMEO                 "Out of her favour where I am in                  love."                           WILL                     (interrupting)                 No, no, noÖDon't spend it all at once!       The rehearsal stops.                           VIOLA AS THOMAS                 Yes, sir.                           WILL                 Do you understand me?                           VIOLA AS THOMAS                 No, sir.                           WILL                 He is speaking about a baggage we                  never even meet! What will be left in                  your purse when he meets his Juliet?                           HENSLOWE                 Juliet? You mean Ethel.                           WILL                     (rounding on him)                 God's teeth, am I to suffer this                  constant stream of interruption?!                     (to THOMAS)                 What will you do in Act Two when he                  meets the love of his life?                           VIOLA AS THOMAS                     (timidly--looking through his                       few sheets of paper)                 I am very sorry, sir, I have not seen                  Act Two.                           WILL                 Of course you have not! I have not                  written it!       Alone in the auditorium, FENNYMAN looks and listens,        fascinated. So this is theatre!                           WILL (CONT'D)                 Go once more!       NED ALLEYN comes out of the wings, frowning over his        manuscript.                           ALLEYN                 WillÖWhere is Mercutio?                           WILL                     (tapping his forehead)                 Locked safe in here. I leave the scene                  in your safe keeping, Ned, I have a                  sonnet to write.       WILL moves back into the wings where HENSLOWE is looking        anxious.                           HENSLOWE                 A sonnet? You mean a play.       WILL moves on, ignoring him. As he goes, we see that        VIOLA is love-struck by him, a riot in the heart.       INT. DE LESSEPSES' HOUSE. STAIRCASE. DAY.       VIOLA still dressed as THOMAS, sonnet in hand, runs up        the stairs to her room. From the other end of the house        WESSEX can be heard ranting.       INT. DE LESSEPSES' HOUSE. HALL. NIGHT.       LORD WESSEX is being kept waiting. The NURSE is bearing        the brunt of his impatience.                           WESSEX                 Two hours at prayer!                           NURSE                 Lady Viola is pious, my lord.                           WESSEX                 Piety is for Sunday! And two hours at                  prayer is not piety, it is self-                 importance!                           NURSE                 It would be better that you return                  tomorrow, my lord.                           WESSEX                 It would be better that you tell her                  to get off her knees and show some                  civility to her six-day lord and                  master.       VIOLA opens the door. She has changed hurriedly--too        hurriedly: the effect of her glorious hair falling to her        bare shoulders is spoiled by her mustache. Fortunately,        the NURSE spots her before WESSEX does and by coming        forward to greet her, the NURSE manages to shield Viola        from view, communicate the problem, and announce WESSEX'S        presence, so that by the time the NURSE has passed by        VIOLA and let herself out of the room, the moustache has        disappeared.                           WESSEX (CONT'D)                 My lady VIOLA.                           VIOLA                 Lord Wessex. You have been waiting.                           WESSEX                 I am aware of it, but it is beauty's                  privilege.                           VIOLA                 You flatter, my lord.                           WESSEX                 No. I have spoken to the Queen.                     (pause)                 Her majesty's consent is requisite                  when a Wessex takes a wife, and once                  gained, her consent is her command.                           VIOLA                 Do you intend to marry, my lord?                           WESSEX                 Your father should keep you better                  informed. He has bought me for you. He                  returns from his estates to see us                  married two weeks from Saturday.                     (pause)                 You are allowed to show your pleasure.                           VIOLA                 I do not love you, my lord.                           WESSEX                 How your mind hops about! Your father                  was a shopkeeper, your children will                  bear arms, and I will recover my                  fortune. That is the only matter under                  discussion today. You will like                  Virginia.                           VIOLA                 Virginia?!                           WESSEX                 Why, yes! My fortune lies in my                  plantations. The tobacco weed. I need                  four thousand pounds to fit out a ship                  and put my investments to work--I fancy                  tobacco has a future. We will not stay                  there long, three or four years . . .                           VIOLA                 But why me?                           WESSEX                 It was your eyes. No, your lips.       He kisses her with more passion than ceremony. VIOLA        recoils, and slaps him.                           WESSEX (CONT'D)                 Will you defy your father and your                  Queen?                           VIOLA                 The Queen has consented?                           WESSEX                 She wants to inspect you. At                  Greenwich, come Sunday. Be submissive,                  modest, grateful and brief.                           VIOLA                     (forced to submit)                 I will do my duty, my lord.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       She is writing to WILL. His letter-poem is on her table.        We can read part of it. "Shall I compare thee to a        summer's dayÖ"       Now we see what VIOLA is writing.       INSERT: "Master Will, poet dearest to my heart, I beseech        you, banish me from yours--I am to marry Lord Wessex-- a        daughter's dutyÖ "       She sheds a romantic, unhappy tear.       INT. THE ROSE THEATRE. STAGE. DAY.       SAM is now "JULIET." The play has evidently reached Act I        Scene 5. We are witnessing the meeting of "ROMEO" and        "JULIET" in a simplified version of the changing-partners        dance we saw at VIOLA'S house. NED ALLEYN is in charge.                           ALLEYN                 Gentlemen upstage, ladies downstage!       The dance goes wrong. it is THOMAS'S fault.                           ALLEYN (CONT'D)                     (furious)                 Gentlemen upstage! Ladies downstage!                  Are you a lady, Mr. Kent?       THOMAS mutters a blushing apology. WILL arrives the        bystanders, clutching fresh pages. He gives these to        PETER. NED ALLEYN sees him and comes over to start an        argument.                           WILL                     (preempting)                 You did not like the speech?                           ALLEYN                 The speech is excellent.                     (he does the first line                       impressively)                 "Oh, then I see Queen Mab hath been                  with you!" Excellent and a good                  length. But then he disappears for the                  length of a bible.       WILL points significantly at the pages he has given        PETER.                           WILL                 There you have his duel, a skirmish of                  words and swords such as I never                  wrote, nor anyone. He dies with such                  passion and poetry as your ever heard:                  "a plague on both your houses!"       NED nods satisfied and turns back to work. Then he turns        back.                           ALLEYN                 He dies?       But the author has escaped.       INT. THE ROSE THEATRE. WRITER'S CORNER. DAY.       Up aloft, WILL has a Writer's Corner where he settle down        to work. We see his private superstition: he spins round        in a circle, rubs his hands together, and spits on the        floor. That done, he picks up his pen.       EXT. STREET. NIGHT.       WILL is charging down a narrow alley, and bumps into        BURBAGE who is emerging from the door of a tavern.                           BURBAGE                 Will!       WILL is in too much of a hurry to stop. BURBAGE calls        after him.                           BURBAGE (CONT'D)                 And where are my pages . . .       WILL hurries on.       EXT. RIVERBANK. DUSK.       VIOLA as THOMAS is being rowed across the river. From        behind, in the direction of Bankside, "he" hears        shouting.                           WILL                     (O.S. shouting)                 Did you give her my letter?       VIOLA as THOMAS turns to see WILL some way behind,        following in another boat. She takes a letter from her        coat and holds it aloft.                           VIOLA AS THOMAS                     (calling)                 And this for you.       EXT. THE RIVER. VIOLA'S BOAT. NIGHT.       WILL has climbed aboard VIOLA'S boat and is tearing open        the letter. What he reads causes him great pain. He        collapses into the stern seat next to VIOLA.                           WILL                 Oh, Thomas! She has cut my strings! I                  am unmanned, unmended, and unmade,                  like a puppet in a box.                           BOATMAN                 Writer, is he?       WILL turns on him savagely                           WILL                 Row your boat.       EXT. THE RIVER. VIOLA'S BOAT. NIGHT.       WILL turns back to VIOLA. They have their conversation        intimately, disregarding the lack of intimacy. The        BOATMAN is hardly an arm's length away, but they ignore        him.                           WILL                 She tells me to keep away. She is to                  marry Lord Wessex. What should I do?                           VIOLA AS THOMAS                 If you love her, you must do what she                  asks.                           WILL                 And break her heart and mine?                           VIOLA AS THOMAS                 It is only ours you can know.                           WILL                 She loves me, Thomas!                           VIOLA AS THOMAS                 Does she say so?                           WILL                 No. And yet she does where the ink has                  run with tears. Was she weeping when                  she gave you this?                           VIOLA AS THOMAS                 I Ö Her letter came to me by the                  nurse.                           WILL                 Your aunt?                           VIOLA AS THOMAS                     (catching up)                 Yes, my aunt. But perhaps she wept a                  little. Tell me how you love her,                  Will.                           WILL                 Like a sickness and its cure together.                           VIOLA AS THOMAS                 Yes, like rain and sun, like cold and                  heat.                     (collecting herself)                 Is your lady beautiful? Since I came                  to visit from the country, I have not                  seen her close. Tell me, is she                  beautiful?                           WILL                 Oh, if I could write the beauty of her                  eyes! I was born to look in them and                  know myself.       He is looking into VIOLA'S eyes. She holds his look, but        WILL belies his words.                           VIOLA AS THOMAS                 And her lips?                           WILL                 Oh, Thomas, her lips! The early                  morning rose would wither on the                  branch, if it could feel envy!                           VIOLA AS THOMAS                 And her voice? Like lark song?                           WILL                 Deeper. Softer. None of your                  twittering larks! I would banish                  nightingales from her garden before                  they interrupt her song.                           VIOLA AS THOMAS                 She sings too?                           WILL                 Constantly. Without doubt. And plays                  the lute, she has a natural ear. And                  her bosom--did I mention her bosom?                           VIOLA AS THOMAS                     (glinting)                 What of her bosom?                           WILL                 Oh Thomas, a pair of pippins! As round                  and rare as golden apples!                           VIOLA AS THOMAS                 I think the lady is wise to keep your                  love at a distance. For what lady                  could live up to it close to, when her                  eyes and lips and voice may be no more                  beautiful than mine? Besides, can a                  lady born to wealth and noble marriage                  love happily with a Bankside poet and                  player?                           WILL                     (fervently)                 Yes, by God! Love knows nothing of                  rank or riverbank! It will spark                  between a queen and the poor vagabond                  who plays the king, and their love                  should be minded by each, for love                  denied blights the soul we owe to God!                  So tell my lady, William Shakespeare                  waits for her in the garden!                           VIOLA AS THOMAS                 But what of Lord Wessex?                           WILL                 For one kiss, I would defy a thousand                  Wessexes!       The boat scrapes on the jetty of the DE LESSEPSES' house.        The bump throws THOMAS into WILL'S arms. He holds her        round the shoulders. His words have almost unmasked her.        The closeness does the rest. She kisses him on the mouth        and jumps out of the boat.                           VIOLA                 Oh, Will!       She throws a coin to the BOATMAN and runs towards the        house.                           BOATMAN                 Thank you, my lady!                           WILL                     (stunned)                 Lady?                           BOATMAN                 Viola De Lesseps. Known her since she                  was this high. Wouldn't deceive a                  child.       WILL gets out of the boat.                           BOATMAN (CONT'D)                     (reaching under his seat)                 Strangely enough, I'm a bit of a                  writer myself.       The BOATMAN produces his memoirs in manuscript.                           BOATMAN (CONT'D)                 It wouldn't take you long to read it,                  I expect you know all the booksellers                  . . .       But WILL has gone.       EXT. DE LESSEPSES' GARDEN. NIGHT.       WILL drops over the wall into the garden and without        hesitation starts climbing up to her balcony.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       WILL comes in through the window, just as VIOLA enters by        the door. They stare at each other across the room.                           WILL                 Can you love a fool?                           VIOLA                 Can you love a player?       They run together and fall into a passionate kiss.                           WILL                     (springs back)                 Wait! You are still a maid and perhaps                  as mistook in me as I was mistook in                  Thomas Kent.                           VIOLA                 Answer me only this: are you the                  author of the plays of William                  Shakespeare?                           WILL                 I am.                           VIOLA                 Then kiss me again for I am not                  mistook.       They run together and fall into a passionate kiss. VIOLA        fumbles with his clothing, he with hers.                           VIOLA (CONT'D)                 I do not know how to undress a man.                           WILL                 It is strange to me, too.       INT. DE LESSEPSES' HOUSE. OUTSIDE VIOLA'S BEDROOM. NIGHT.       The NURSE has come to listen. She puts her ear against        the door. Because she hears muffled voices, she looks        startled.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       WILL is half-naked. VIOLA is down to her petticoat, and        chemise. The petticoat comes away. WILL flings it aside.        He takes off her chemise. He is startled to find that she        is tightly bandaged round the bosom. WILL finds the loose        end and spins her naked.       INT. DE LESSEPSES' HOUSE. OUTSIDE VIOLA'S BEDROOM. NIGHT.       The NURSE, drags a chair--a rocker--outside the bedroom        door, and takes up her position. She sits down, keeping        guard. Pretty soon there comes the regular creak of        VIOLA'S bed. The NURSE fans herself furiously with her        little lacy fan. She crosses herself. A CHAMBERMAID comes        along the gallery outside the bedroom door. She is        dusting her way along. The CHAMBERMAID becomes aware of        the regular creaking. She pauses. The NURSE begins to        rock in her chair, keeping time with the creaking from        within. The CHAMBERMAID stares at the NURSE. The NURSE        stares at the CHAMBERMAID.                           NURSE                 Go to, go to.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT       WILL and VIOLA have finished making love, and lie in each        other's arms.                           VIOLA                 I would not have thought it. There is                  something better than a play.                           WILL                 There is.                           VIOLA                 Even your play.                           WILL                     (frowns)                 Oh                           VIOLA                 And that was only my first try.                           WILL                 Well perhaps better than my first.                     (he kisses her again)       EXT. DE LESSEPSES' HOUSE. DAWN.       Dawn is breaking. The sun lacing the severing clouds with        envious streaks.       INT. DE LESSEPSES' HOUSE. OUTSIDE VIOLA'S BEDROOM. DAWN       The NURSE has fallen asleep in her rocking chair.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. DAWN.       A rooster crows at some distance. VIOLA and WILL are in        bed. She stirs drowsily. VIOLA, coming awake, speaks his        name and he kisses her.                           VIOLA                 Will       Then he starts to get out of bed.                           VIOLA (CONT'D)                 You would not leave me?                           WILL                 I must. Look-- how pale the window.                           VIOLA                     (pulling him down)                 Moonlight!                           WILL                 No, the morning rooster woke me.                           VIOLA                 It was the owl--come to bed       She is winning. She kisses him and pulls the bedclothes        around them.                           WILL                     (giving in)                 Oh, let Henslowe wait.                           VIOLA                     (pausing, pushing him away)                 Mr. Henslowe?                           WILL                     (persisting)                 Let him be damned for his pages!                           VIOLA                 Oh--no, no!                           WILL                     (kissing her)                 There is time. It is still dark.                           VIOLA                 It is broad day!                     (the rooster crows again)                 The rooster tells us so!                           WILL                 It was the owl. Believe me, love, it                  was the owl.       He kisses her and starts to make love to her again. VIOLA        gives him a shove which pushes him onto the floor. She        sits up and pulls on her gown.                           VIOLA                 You would leave us players without a                  scene to read today?!       There's a knock at the door.       INT. DE LESSEPSES' HOUSE. CORRIDOR OUTSIDE VIOLA'S        BEDROOM/VIOLA'S BEDROOM. DAWN.       The NURSE is knocking. VIOLA comes to the door.                           NURSE                 My lady, the house is stirring, it is                  a new day.       VIOLA looks beautified by the hours that have passed.                           VIOLA                 It is a new world!       INT. THE ROSE THEATRE. STAGE/AUDITORIUM. DAY.       The cut is to the middle of a rehearsal. We are coming up        to the moment when "ROMEO" and "JULIET" kiss for the        first time (Act I Scene V) NED ALLEYN is in charge but        WILL is watching. His life has turned perfect.                           VIOLA AS ROMEO                 "ÖHave not saints lips, and holy                  palmers too?"                           SAM AS JULIET                 "Ay pilgrim, lips that they must use                  in prayer."                           VIOLA AS ROMEO                 "Oh then, dear saint, let lips do what                  hands to: They pray: grant thou, lest                  faith turn to despair."       WILL is in her eye-line. Her eyes flash an intimate        secret look to him.                           SAM AS JULIET                 "Saints do not move, though grant for                  prayer's sake."       And VIOLA misses her cue as a result.                           SAM                     (prompting her)                 It's you.                           ALLEYN                     (roars)                 Suffering cats!       VIOLA guiltily picks up her line.                           VIOLA AS ROMEO                 "Then move not, while my prayer's                  effect I take."       In character, VIOLA kisses SAM, demurely, but apparently        not demurely enough for WILL, who gives a twitch.                           VIOLA AS ROMEO(CONT'D)                 "Thus from my lips, by thine, my sin                  is purg'd."                           SAM AS JULIET                 "Then have my lips the sin that they                  have took."                           VIOLA AS ROMEO                 "Sin from my lips? Oh trespass sweetly                  urg'd. Give me my sin again."       VIOLA kisses SAM again. WILL gives a major twitch, which        in fact catapults his body onto the stage. Everybody        looks at him in surprise.                           WILL                 YesÖyesÖerÖnot quite rightÖit is more                  let me                     (as JULIET)                 "Then have my lips the sin that they                  have took."                           VIOLA AS ROMEO                 Sin from my lips? Oh trespass sweetly                  urg'd. Give me my sin again."       VIOLA kisses WILL. They lose themselves for a fraction of        a moment. As VIOLA withdraws her lips, WILL'S lips are        going for it again.                           VIOLA AS ROMEO (CONT'D)                 "You kiss by th' book."                           ALLEYN                     (to Will, sarcastically)                 Well! It was lucky you were here! Why                  do not I write the rest of your play                  while you                           WILL                     (apologising, retreating)                 Yes, yesÖcontinue. Now the Nurse.                  Where is Ralph?       RALPH has been ready and waiting.                           RALPH AS NURSE                 "Madam, your mother craves a word with                  you."                           VIOLA AS ROMEO                 "What is her mother?"                           RALPH AS NURSE                 "Marry bachelor, Her mother is the                  lady of the houseÖ"       WILL has retreated to       INT. THE ROSE THEATRE. BACKSTAGE. DAY.       He is behind the curtain now.                           RALPH AS NURSE (O.S.)                 "ÖAnd a good lady, and wise and                  virtuous. I nurse her daughter that                  you talk'd withalÖ"       During RALPH'S lines (which are continuous) WILL stands        in the shadow behind the curtain, alone, agitated.       INT. THE ROSE THEATRE. STAGE. DAY.       RALPH AS NURSE       "I tell you, he that can lay hold of her (he makes the        money sign) Shall have the chinks."                           VIOLA AS ROMEO                 "Is she a Capulet" Oh dear account. My                  life is my foe's debt."       NOL, AS "BENVOLIO," at a party, carrying a goblet, tipsy,        enters the scene.                           NOL AS BENVOLIO                     (to ROMEO)                 "Away, be gone, the sport is at best."       VIOLA, about to make her exit, has her hand holding the        curtain at the gap.       INT. THE ROSE THEATRE. BEHIND THE CURTAIN. DAY.       WILL is kissing her hand.       INT. THE ROSE THEATRE. STAGE. DAY.                           VIOLA AS ROMEO                 "Ay, so I fear; the more is my                  unrest."       INT. THE ROSE THEATRE. BEHIND THE CURTAIN. DAY.       VIOLA comes through the curtain. WILL and VIOLA kiss,        dangerously--they are in a narrow space, hidden from the        general backstage area.                           SAM AS JULIET (O.S.)                 "Come hither nurse. What is yond                  gentleman?"                           VIOLA                     (to Will)                 Oh let it be night!       INT. THE ROSE THEATRE. STAGE. DAY.                           RALPH AS NURSE                 "I know not."                           SAM AS JULIET                 "Go ask his name--If he be married, My                  grave is like to be my wedding bed."       INT. THE ROSE THEATRE. BEHIND THE CURTAIN. DAY.       "JULIET'S" line bits WILL between the eyes. WILL pulls        away.                           VIOLA                 Oh, do not go                           WILL                 I must. I must       INT. THE ROSE THEATRE. BACKSTAGE. DAY.       As WILL races up the ladder to his writer's corner, the        rehearsal can be heard continuing.                           RALPH AS NURSE (O.S.)                 "His name is Romeo, and a Montague,                  The only son of your great enemy."                           ALLEYN (O.S.)                     (roaring from the audience)                 Terrible!       INT. THE ROSE THEATRE. WRITER'S CORNER. DAY.       WILL arrives at the top of the building in his writer's        corner. He spins around once in a circle, rubs his hands        together and spits on the floor. His manuscript is all        over the table.        We take a peak at the lines he has already written.        INSERT MANUSCRIPT: "But soft, what light through yonder        window breaks? It is the east and Juliet is the sun."        VIOLA'S VOICE OVER speaks the line.                           VIOLA (VO)                 "But soft, what light through yonder                  window breaks? It is the east and                  Juliet is the sun!"       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. EVENING.                           VIOLA                     (reading)                 "Arise fair sun and kill the envious                  moon Who is already sick and pale with                  grief That thou her maid art far more                  fair than sheÖ"       VIOLA is in bed, reading the lines from the manuscript        page. WILL is in bed with her, reading with her.                           VIOLA (CONT'D)                 Oh, Will!                           WILL                 Yes, some of it is speakable.       She has to speak through WILL'S kisses, he is nibbling at        her neck and shoulders and she has to bat him away with        the pages.                           VIOLA                     (continuing reading)                 "It is my lady, O it is my love! O                  that she knew she were!"       INT. THE ROSE THEATRE. STAGE. DAY.       VIOLA continues the speech, edge-to-edge, now in        rehearsal, with SAM as "JULIET" sighing on the balcony        above her.                           VIOLA AS ROMEO                 "The brightness of her cheek would                  shame those stars As daylight doth a                  lamp. Her eyes in heaven Would through                  the airy region stream so bright That                  birds would sing and think it were not                  night. See how she leans her cheek                  upon her hand. O that I were a glove                  upon that hand, That I might touch                  that cheek.                           SAM AS JULIET                     (above)                 "Ay me."                           VIOLA AS ROMEO                 "She speaks.       Oh speak again bright angelÖ"       We have abandoned real time. The scene continues CROSS        CUT between the STAGE and VIOLA'S BED.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. EVENING.                           WILL                     (reading through VIOLA'S                       kisses)                 "Oh Romeo, Romeo, wherefore art thou                  Romeo? Deny thy father and refuse thy                  name."       INT. THE ROSE THEATRE. STAGE. DAY                           SAM AS JULIET                 "Or if thou wilt not, be but sworn my                  love And I'll no longer be a Capulet."                           VIOLA AS ROMEO                     (below)                 "Shall I hear more or shall I speak at                  this?"       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       WILL and VIOLA in bed.                           WILL                 "What man art thou that thus                  bescreen'd in night So stumblest on my                  counsel?"       INT. THE ROSE THEATRE. STAGE/AUDITORIUM. NIGHT.       It's become late and the rehearsal is continuing by        torchlight.                           VIOLA AS ROMEO                 "ÖBy a name I know not how to tell                  thee who I am: My name, dear saint, is                  hateful to myself Because it is an                  enemy to theeÖ"       We see that a group of the other actors have drifted "out        front," drawn by the scene. FENNYMAN is there entranced.        Clearly, this stuff is a cut above the normal.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT       WILL, undressed, strides around the room, feeding        "JULIET'S" lines to VIOLA in bed.                           WILL                 "The orchard walls are high and hard                  to climb, And the place death,                  considering who thou art, If any of my                  kinsmen find thee here. If they do see                  thee, they will murder thee."       INT. THE ROSE THEATRE. STAGE. NIGHT.                           VIOLA AS ROMEO                 "Alack, there lies more peril in thine                  eye, Than twenty of their swords! Look                  thou but sweet, And I am proof against                  their enmity."                           SAM AS JULIET                 I would not for the world!                           VIOLA AS ROMEO                 I have night's cloak to hide me from                  their eyes; And but thou love me, let                  them find me here.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       WILL and VIOLA are both out of bed, halfway though        dressing. Still rehearsing.                           WILL                 "Good night, good night. As sweet                  repose and rest Come to thy heart as                  that within my breast. O wilt thou                  leave me so unsatisfied?"                           VIOLA                 That's my line!                           WILL                 Oh, but it is mine too!       INT. THE ROSE THEATRE. STAGE. NIGHT.                           VIOLA AS ROMEO                 "O wilt thou leave me so unsatisfied?"                           SAM AS JULIET                 "What satisfaction can'st thou have                  tonight?"                           VIOLA AS ROMEO                 "The exchange of thy love's faithful                  vow for mine."       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       WILL and VIOLA are back on the bed, kissing and making        love.                           WILL                 "My bounty is as boundless as the sea,                  My love as deep:                           VIOLA AND WILL                     (continuing the speech with                       him)                 the more I give to thee The more I                  have, for both are infinite."       Outside the NURSE is knocking on the door and calling.       INT. THE ROSE THEATRE. STAGE. DAY.                           SAM AS JULIET                 "I hear some noise within. Dear love,                  adieu."       RALPH, the Nurse, call's "JULIET!" off stage.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT                           VIOLA                     (calling to the NURSE who is                       outside)                 Anon, good Nurse       INT. DE LESSEPSES' HOUSE. OUTSIDE VIOLA'S BEDROOM. NIGHT.       The NURSE listens at the door.       INT. THE ROSE THEATRE. STAGE. DAY.                           SAM AS JULIET                 "Anon, good Nurse--Sweet Montague be                  true."       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.                           WILL                 "Stay but a little, I will come                  again."       VIOLA slaps him playfully for his vulgarity, and then        kisses him.       INT. THE ROSE THEATRE. STAGE. DAY.                           SAM AS JULIET                 "Stay but a little, I will come                  again."       SAM leaves the balcony through the curtain.                           VIOLA AS ROMEO                 "Oh blessed blessed night."       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       It is night. They have just made love. Suddenly it is        very still.                           VIOLA                     (almost to herself)                 "I am feared,       Being in night, all this but a dream, Too flattering-       sweet to be substantial."       INT. THE ROSE THEATRE. BACKSTAGE. DAY.       Onstage, the scene continues. Backstage NED ALLEYN is        working his way upstairs. He passes by RALPH (the Nurse)        who has a couple of words "of," as it were, in "JULIET'S"        chamber.                           SAM AS JULIET (O.S.)                 "ÖAll my fortunes at thy foot I'll                  lay, And follow thee my lord                  throughout the world."                           RALPH AS NURSE                 "Madam!"                           SAM AS JULIET (O.S.)                 "I come, anon--But if thou meanest not                  well, I do beseech thee--"                           RALPH AS NURSE                 "Madam!"                           SAM AS JULIET (O.S.)                 By and by I come to cease thy strife                  and leave me to my grief. A thousand                  times good night!"       SAM exits (i.e. enters to us) through the curtain.                           SAM                     (to NED)                 I cannot move in this dress! and it                  makes me look like a pig! I have no                  neck in this pig dress!                     (and then hearing his cue                       from "ROMEO")                 Oh, she's off again! She says she's                  going and then she doesn't       INT. THE ROSE THEATRE. WRITER'S CORNER. DAY.       NED is arriving. WILL is busy writing. PETER is there,        holding the pages WILL has completed, and waiting for        WILL to finish his page. PETER is reading his pages. WILL        sees NED arrive. He gives his page to PETER.                           WILL                     (to PETER)                 How is it?                           PETER                     (shrugs)                 It's all right.       Typical!, says WILL'S face. Peter departs, leaving the        field to NED. WILL braces himself.                           WILL                 NedÖI knowÖI know                           ALLEYN                 It's good.                           WILL                 Oh                           ALLEYN                 The title won't do.                           WILL                 Ah                           ALLEYN                 Romeo and Juliet--just a suggestion.                           WILL                 Thank you, Ned.       The whole exchange is in ironic code, between old        soldiers. NED nods curtly and turns to descend.                           WILL (CONT'D)                 You are a gentleman.                           ALLEYN                 And you are a Warwickshire shit-house.       INT. THE ROSE THEATRE. STAGE/AUDITORIUM. DAY.       PETER is just handing the pages HENSLOWE in the        auditorium. HENSLOWE has acquired a performing dog. The        dog does somersaults tirelessly. As PETER hands over the        pages, he shakes his head.                           HENSLOWE                     (in disbelief)                 You mean, no dog of any kind?       FENNYMAN, the born-again theatre groupie shushes HENSLOWE        and looks daggers at him.                           PETER                     (to HENSLOWE)                 The Friar married them in secret, then                  Ned gets into a fight with one of the                  Capulets, Romeo tries to stop them, he                  gets in Ned's way, I mean in                  Mercutio's way, so Tybalt kills                  Mercutio and then Romeo kills Tybalt.                  Then the Prince banishes him from                  Verona.                           HENSLOWE                     (much relieved)                 That must be when he goes on the                  voyage and gets shipwrecked on the                  island of the Pirate King.       FENNYMAN can't hear it. He storms over. Kicks the dog,        roars at HENSLOWE .                           FENNYMAN                 Cease your prattling! Get out!                     (to the stage where the                       action has paused)                 A thousand apologies!                           SAM AS JULIET                 "Good night, good night. Parting is                  such sweet sorrow That I shall say                  good night till it be morrow."       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. MORNING.       A sunbeam wakes the lovers. Sunday morning. Church bells.        VIOLA wakes with a start. Something is bothering her, she        can't think what. WILL calms her.                           WILL                 SundayÖit is Sunday.       He brings her back down to the pillow.                           WILL (CONT'D)                 I found something in my sleep. The                  Friar who married them will take up                  their destinies.                           VIOLA                 Oh, but it will end well for love?                           WILL                 In heaven, perhaps. It is not a comedy                  I am writing now. A broad river                  divides my lovers--family, duty,                  fate--as unchangeable as nature.                           VIOLA                     (sobered)                 Yes, this is not life, Will. This is a                  stolen season.       Suddenly there is a great racket heard from downstairsÖa        man shouting.                           WESSEX (O.S.)                 Not ready? Where is she?                           NURSE (O.S.)                 Be patient, my lord, she is dressing.                           WESSEX (O.S.)                 Will you ask Her Majesty to be                  patient?!       VIOLA remembers. She jumps up and gives a cry.                           VIOLA                 Sunday! Greenwich!       INT. DE LESSEPSES' HOUSE. OUTSIDE VIOLA'S BEDROOM.        MORNING.       The NURSE is barring the stairs to WESSEX.                           WESSEX                 Now, pay attention, Nursy. The Queen,                  Gloriana Regina, God's Chosen Vessel,                  the Radiant One, who shines her light                  on us, is at Greenwich today, and                  prepared, during the evening's                  festivities, to bestow her gracious                  favour on my choice of wife--and if                  we're late for lunch, the old boot                  will not forgive. So you get you to my                  lady's chamber and produce her with or                  without her undergarments.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. MORNING.       VIOLA has her dress on and is putting on her shoes. WILL,        in his underwear is in mid-argument.                           WILL                 You cannot! Not for the Queen herself!                           VIOLA                 What will you have me do? Marry you                  instead?                           WILL                     (brought up short)                 To be the wife of a poor player?--can I                  wish that for Lady Viola, except in my                  dreams? And yet I would, if I were                  free to follow my desire in the harsh                  light of day.                           VIOLA                     (tartly)                 You follow your desire freely enough                  in the night. So, if that is all, to                  Greenwich I go.                           WILL                 Then I will go with you.                           VIOLA                 You cannot, Wessex will kill you                           WILL                 I know how to fight!                           VIOLA                     (now fixing her hair)                 Stage fighting!                     (turn to him)                 Oh, Will! As Thomas Kent my heart                  belongs to you but as Viola the river                  divides us, and I will marry Wessex a                  week from Saturday.       INT. DE LESSEPSES' HOUSE. OUTSIDE VIOLA'S BEDROOM        DOWNSTAIRS HALL. MORNING.       The ranting from WESSEX has continued                           WESSEX                     (ranting)                 By heaven, I will drag her down, by                  the Queen's command       And is cut off short as VIOLA'S door opens at the top of        the stairs.                           VIOLA                 Good morning, my lord!                           WESSEX                     (impressed by her appearance)                 Ah! My lady! The tide waits for no                  man, but I swear it would wait for                  you!       VIOLA comes down the stairs. Behind her WILL appears        gowned and bonneted. He has also assumed a country        accent.                           WILL                 Here we come at last, my lord!                           WESSEX                     (taken aback)                 Are you bringing your laundry woman?                           WILL                 Her chaperone. My lady's country                  cousin.                     (arriving with a curtsey)                 My, but you be a handsome gallant,                  just as she said! You may call me Miss                  Wilhelmina!                           WESSEX                 On a more fortuitous occasion, perhaps                           WILL                 Oh, my lord, you will not shake me                  off, she never needed me more, I sear                  by your breeches!       EXT. GREENWICH PALACE. NIGHT.       Fireworks explode in the evening sky over Greenwich, a        royal palace, crowded now with noble guests.       EXT. GREENWICH PALACE. TERRACE. NIGHT.       The way these royal routs work is that guest mill about,        chatting, bowing and generally behaving gallantly, while        QUEEN ELIZABETH creates a vortex around her as she passes        through the throng, occasionally honouring somebody with        a couple of words, until she arrives thankfully at the        best chairÖwhere she establishes a headquarters. Her        current LORD IN WAITING ferries the lucky few forward to        a brief audience with the QUEEN, each giving way to the        next. VIOLA and WESSEX are, respectively, dipping and        bowing as they are greeted by people who know themÖWill,        in close attendance, joins in gratuitously, bowing until        VIOLA nudges him and reminds him to curtsey instead. The        QUEEN'S LORD IN WAITING plucks WESSEX'S sleeve.                           WESSEX                     (to him)                 Now?                           LORD IN WAITING                 Now.                           WESSEX                     (to Viola)                 The Queen asks for you. Answer well.       The LORD IN WAITING ushers VIOLA through the crowd. WILL        starts to follow. WESSEX takes him by the arm.                           WESSEX (CONT'D)                 Is there a man?                           WILL                 A man, my lord?                           WESSEX                     (impatiently)                 There was a man, poet--a theatre poet,                  I heard--does he come to the house?                           WILL                 A theatre poet?                           WESSEX                 An insolent penny-a-page rogue,                  Marlowe, he said, Christopher                  Marlowe--has he been to the house?                           WILL                 Marlowe? Oh yes, he is the one, lovely                  waistcoat, shame about the poetry.                           WESSEX                     (venomously)                 That dog!       ANGLE on the QUEEN.       The LORD IN WAITING has presented VIOLA. VIOLA speaks        from a frozen curtsey.                           VIOLA                 Your Majesty.                           QUEEN                 Stand up straight, girl.       VIOLA straightens. The QUEEN examines her.                           QUEEN (CONT'D)                 I have seen you. You are the one who                  comes to all the plays--at Whitehall,                  at Richmond.                           VIOLA                     (agreeing)                 Your Majesty.                           QUEEN                 What do you love so much?                           VIOLA                 Your Majesty                           QUEEN                 Speak out! I know who I am. Do you                  love stories of kings and queens?                  Feats of arms? Or is it courtly love?                           VIOLA                 I love theatre. To have stories acted                  for me by a company of fellows is                  indeed                           QUEEN                     (interrupting)                 They are not acted for you, they are                  acted for me.       VIOLA remains silent, in apology.       ANGLE on WILL.       He is watching and listening. He has never seen the QUEEN        so close. He is fascinated.                           QUEEN (CONT'D)                 And--?                           VIOLA                 And I love poetry above all.                           QUEEN                 Above Lord Wessex?       She looks over VIOLA'S shoulder and VIOLA realises WESSEX        has moved up behind her. WESSEX bows.                           QUEEN (CONT'D)                     (to WESSEX)                 My Lord--when you cannot find your wife                  you had better look for her at the                  playhouse.       The COURTIERS titter at her pleasantry.                           QUEEN (CONT'D)                 But playwrights teach nothing about                  love, they make it pretty, they make                  it comical, or they make it lust. They                  cannot make it true.                           VIOLA                     (blurts)                 Oh, but they can!       She has forgotten herself. The COURTIERS gasp. The QUEEN        considers her. WESSEX looks furious. WILL is touched.                           VIOLA (CONT'D)                 I meanÖYour Majesty, they do not, they                  have not, but I believe there is one                  who can                           WESSEX                 Lady Viola isÖyoung in the world. Your                  Majesty is wise in it.                  Nature and truth are the very enemies                  of playacting. I'll wager my fortune.                           QUEEN                 I thought you were here because you                  had none.       Titters again. WESSEX could kill somebody.                           QUEEN (CONT'D)                     (by way of dismissing him)                 Well, no one will take your wager, it                  seems.                           WILL                 Fifty pounds!       Shock and horror. QUEEN ELIZABETH is the only person        amused.                           QUEEN                 Fifty pounds! A very worthy sum on a                  very worthy question. Can a play show                  us the very truth and nature of love?                  I bear witness to the wager, and will                  be the judge of it as occasion arises.                     (which wins a scatter of                       applause. She gathers her                       skirts and stands)                 I have not seen anything to settle it                  yet.                     (she moves away, everybody                       bowing and scraping)                 So--the fireworks will be soothing                  after the excitements of Lady Viola's                  audience.                     (and now she is next to                       WESSEX who is bowing low.                       Intimately to him)                 Have her then, but you are a lordly                  fool. She has been plucked since I saw                  her last, and not by you. It takes a                  woman to know it.       The QUEEN passes by, and as WESSEX comes vertical again,        we see his face a mask of furious realisation.                           WESSEX                     (to himself)                 Marlowe!       INT. BURBAGE'S HOUSE. ENTRANCE. DAY.       CHRISTOPHER MARLOWE shuts the door behind him. Above him,        the ceiling creaks to the rhythm of copulation. He has a        sheaf of manuscript pages in his hand. He goes to the        stairs.                           MARLOWE                 Burbage!       The creaking stops.                           BURBAGE'S VOICE                 Who's there?       INT. BURBAGE'S HOUSE. STAIRS. DAY.       MARLOWE ascends.                           MARLOWE                 Marlowe.                           BURBAGE'S VOICE                 Kit!       INT. BURBAGE'S HOUSE. BEDROOM. DAY.       MARLOWE enters, ignoring the situation on the bed where        ROSALINE is astride BURBAGE.                           MARLOWE                 You are playing my Faustus this                  afternoon. Don't spend yourself in                  sport.                           ROSALINE                     (working hard)                 This afternoon!--we'll still be here                  this afternoon.                           BURBAGE                 What do you want, Kit?                           MARLOWE                 My Massacre at Paris is complete.                           BURBAGE                 You have the last act?                           MARLOWE                 You have the money?                           BURBAGE                 Tomorrow.                           MARLOWE                     (leaving)                 Then tomorrow you will have the pages.                           BURBAGE                 Wait!                     (to ROSALINE)                 Will you desist!                           MARLOWE                 Twenty pounds on delivery                           BURBAGE                 What is money to me like us? Besides,                  if I need a play, I have another                  waiting, a comedy by Shakespeare.                           MARLOWE                 Romeo?--he gave it to Henslowe.                           BURBAGE                 Never!                           MARLOWE                 Well, I am to Deptford now, I leave my                  respects, Miss Rosaline.                           BURBAGE                 I gave Shakespeare two sovereigns for                  Romeo!                           MARLOWE                     (leaving)                 You did. But Ned Alleyn and the                  Admiral's Men have the playing of it                  as the Rose.                           BURBAGE                 Treachery!       BURBAGE rouses himself violently, throwing ROSALINE off        the bed. The glass bracelet is flung from her wrist. It        breaks on the floor, releasing a strip of paper. BURBAGE        picks it up. What he reads on it does not please him: it        is WILL'S signature.                           BURBAGE (CONT'D)                 Traitor and thief!       EXT. STREETS. DAY.       BURBAGE and a solid wedge of the CHAMBERLAIN'S MEND are        cleaving a path through the crowds. Their faces are grim.       INT. THE ROSE THEATRE. STAGE/AUDITORIUM/UNDER THE STAGE.        DAY.       We are in Act III Scene I. NED ALLEYN as "MERCUTIO" and        NOL as "BENVOLIO", and two "MONTAGUE" sidekicks are in        occupation of the stage, when the "CAPULETS" swagger in,        four of them headed by JAMES HEMMINGS as "TYBALT."                           NOL AS BENVOLIO                 "By my head, here comes the Capulets."                           ALLEYN AS MERCUTIO                 "By my heel, I care not."                           JAMES HEMMINGS AS TYBALT                 "Follow me close, for I will speak to                  them. (with bombast to "MERCUTIO")                  Gentlemen, good e'en: a word with one                  of you."       NED comes out of character.                           ALLEYN                 Are you going to do it like that? And                  before the humbled actor can reply NED                  continues.                           ALLEYN (AS MECUTIO)                 And but one word with one of us?                  Couple it with something, make it a                  word and a blow.       But suddenly six more men and a dog invade the stage,        ready to fight. BURBAGE and the CHAMBERLAIN'S MEN have        arrived to avenge BURBAGE'S honour with swords, clubs,        and a bucket (containing pig swill).                           BURBAGE                 Where is that thieving hack who can't                  keep his pen in his own ink pot!?       WILL has already leapt up onto the stage.                           WILL                 What is this rabble?!       BURBAGE aims a blow at WILL, who ducks and grabs a stave        from the nearest actor, and parries the blow.        He swings at BURBAGE, a CHAMBERLAIN'S MAN swings at WILL,        THOMAS cries out, someone else slashes the stage hangings        bringing down the drapes, and in a moment the ADMIRAL'S        MEN and the CHAMBERLAIN'S MEN, using their much rehearsed        skills, are brawling with weapons and fist, using        everything short of unbuttoned rapiers. CRAB, the dog, is        yapping and snapping at any legs he can reach. HENSLOWE,        a little slow to catch up on the situation, checks the        page in his hand. FENNYMAN, much slower to catch up,        watches enthralled.                           FENNYMAN                     (to HENSLOWE)                 Wonderful, wonderful! And a dog!       But now HENSLOWE has worked out that these actors don't        belong, nor does the scene. he enters the fray, but his        interest is protecting his property. Big burly RALPH is        using a couple of unlit torches as weapons; he breaks one        of them over an enemy's back and HENSLOWE turns on RALPH                           HENSLOWE                 Not with my props!       VIOLA is doing well enough, tripping up an enemy with a        well-judged stave, and then using it to deflect a blow        aimed at WILL                           VIOLA                 Will! What--?                           WILL                 A literary feud. Quite normal.       Then he is smashed over the head. He falls off the stage        taking VIOLA with him. Under the stage is a space (known        as Hell) and WILL shoves VIOLA into this space.                           WILL (CONT'D)                 Stay hid!       He gets back onto the stage, where the goings on are        worthy of the Four Musketeers and Robin Hood combined,        with SAM GOSSE, dressed as "JULIET," fighting with the        best of them. There is a stack of cushions, stored for        the expensive seats, and as the stack s knocked over, NED        ALLEYN and others grab cushions to use as shields. Soon        cushions are being ripped, and the air is full of flying        feathers. The trap door in the stage opens, VIOLA'S head        pops up. She looks around and, surrounded by milling legs        and floating feathers, a boot catches her sideways and        half knocks her wig off. In danger of having her cover        blown, she ducks down again, leaving the trap open just        nicely for Will to plummet down it.       INT. THE ROSE THEATRE. UNDER THE STAGE. DAY.                           WILL                 I dreamed last night of a shipwreck.                  You were cast ashore in a far country.       They embrace and kiss. In a moment they are in a world of        their own.       INT. THE ROSE THEATRE. UNDER THE STAGE. DAY.       The battle rages. FENNYMAN, alone now in the auditorium,        continues to watch entranced. It's the greatest show he's        ever seen. HENSLOWE is desperately trying to rescue odd        props that have been seconded to the fight. Someone picks        up a tree that is to be used in Romeo. HENSLOWE yells.                           HENSLOWE                 We need that for the balcony scene!       FENNYMAN notices this, and it rings a distant bell. He        looks around the realises that some of these faces are        unfamiliar. The tree comes crashing down on RALPH'S head.        FENNYMAN looks at HENSLOWE.                           HENSLOWE (CONT'D)                     (in despair)                 My poor Rose!       He collapses on to a broken bench. FENNYMAN comes over to        him, grabs the script pages from his pocket, and consults        them to confirm what he has now begun to suspect: that        this scene is not in them.                           FENNYMAN                     (horrified)                 My investment! LAMBERT!!!       LAMBERT has been sleeping peacefully through this, but        wakes to his master's call.                           FENNYMAN (CONT'D)                     (points at the fray)                 VENGEANCE!       HENSLOWE attempts to intervene.                           HENSLOWE                 I want no more trouble, Mr. Fennyman.                  As I explained to you, the theatre                  business                           FENNYMAN                 Henslowe, you pound of tripe, in my                  business I would be out of business if                  I had your courage, so don't tell me                  about business       And he delivers a telling blow to a passing CHAMBERLAIN'S        MAN, who wheels off the stage. LAMBERT meanwhile is        making short work of the rest of the opposition,        receiving help with the thorny business of identification        from SAM. Stray members of the CHAMBERLAIN'S MEN are        running from the theatre, as BURBAGE, fighting a heroic        last stand, is tipped backwards by FENNYMAN off the stage        and into a bucket of swill. A PAUSE. Then NED starts        applauding. The others, weary from fighting, start        applauding too, from all levels of the theatre. FENNYMAN        looks around, starting to beam, as a din of encores and        bravos engulf him. A star!       INT. BROTHEL. NIGHT.       The victorious army of actors bursts into the brothel,        FENNYMAN at their head. He owns the brothel. The place is        already crowded with WHORES and CUSTOMERS. It's a party.                           FENNYMAN                     (shouts)                 A famous victory! Kegs and legs. Open                  and on the house! Oh what happy hour!                     (and grabbing a RADDLED                       WHORE)                 Poxy Pol! You keep yourself to                  yourself I'll not have you infecting                  my investment!                           VIOLA AS THOMAS                     (looking around guardedly. To                       WILL)                 Is this a tavern?                           WILL                 It is also a tavern.       WILL sits her down in THE COMPANY and takes the chair        next to her A PRETTY WHORE immediately sits on WILL'S        knee and kisses him.                           PRETTY WHORE                 I remember you! The poet!       VIOLA furiously pulls the PRETTY WHORE off WILL'S lap.                           PRETTY WHORE (CONT'D)                 One at a time, one at a time!                           SECOND WHORE                     (to VIOLA)                 Oh, he's a pretty one! Tell me your                  story while I tickle your fancy!                           VIOLA AS THOMAS                 Oh!--it's--it's--oh, it's a house of ill-                 repute!                           WILL                 It is, Thomas, but of good reputation.                  Come, there is no harm in a drink.       Glasses are shoved into their hands. Everyone has a        glass. Except RALPH                           RALPH                     (declining the glass)                 Never when I'm working!       The PRETTY WHORE has turned her attention to SAM. SAM        looks uncomfortable                           PRETTY WHORE                 Never tried it? Never?                     (groping him)                 I think you are ready, Sam!       FENNYMAN shouts a toast.                           FENNYMAN                     (raising his glass)                 You are welcome to my best house!                  Here's to the Admiral's Men!       Everybody drinks. VIOLA drinks too. She decides too. She        decides to enjoy it. She bangs down her glass.                           VIOLA AS THOMAS                     (shouts)                 The Admiral's Men!       WILL toasts with her. He sees that she feels one of THE        COMPANY.       EXT. STREET. NIGHT.       A figure is running desperately through the streets. He        comes into the square and runs towards the Rose.       EXT. BROTHEL. NIGHT.       Half THE COMPANY are singing. NOL and a WHORE are        tumbling down the stairs together. He is without his        trousers. An awful lot of drink has gone down.                           SAM                     (to the PRETTIEST WHORE)                 IÖquite liked it.       VIOLA, bright eyed, is banging her glass on the table in        time to a song which is being drunkenly delivered by a        barbershop quartet of actors.       FENNYMAN reels into VIOLA.                           FENNYMAN                 Master Kent! You have not dipped your                  wick?                           VIOLA AS THOMAS                     (baffled)                 My wick?                           WILL                     (saving her)                 Mr. Fennyman, because you love the                  theatre you must have a part in my                  play. I am writing an Apothecary, a                  small but vital role.                           FENNYMAN                     (embracing WILL)                 By heaven, I thank you! I will be your                  Apothecary!       In his general enthusiasm, he embraces the next man, who        is RALPH, stone cold sober.                           FENNYMAN (CONT'D)                 I am to be in your play.                           WHORE                     (to RALPH)                 And what is this play about?                           RALPH                 Well, there's this Nurse       FENNYMAN, beside himself, shouts for silence, announcing                           FENNYMAN                 Mr. Shakespeare has given me the part                  of the Apothecary!                           HENSLOWE                 The Apothecary? Will, what is the                  story? Where is the shipwreck? How                  does the comedy end?                           WILL                 By God, I wish I knew.                           HENSLOWE                 By God, Will, if you do not, who does?                  Let us have pirates, clowns, and a                  happy ending, or we will send you back                  to Stratford to your wife!       That goes down every well with the entire COMPANYÖexcept        for VIOLA and WILL. He looks at her, helplessly, then        makes as if to say something. VIOLA ducks away from him        and blunders blindly out of the street door, in tears.        VIOLA passes PETER who is coming in from the street.        WILL, attempting to follow VIOLA, is grabbed round the        shoulders by PETERÖwho, we now see, is in a highly        emotional state. WILL tries to fight him off but PETER        has the strength of the news he brings.                           PETER                     (shouts)                 Will! Mr. Henslowe! Gentlemen all!       He brings the room to silence.                           PETER (CONT'D)                 A black day for us all! There is news                  come up river from Deptford. Marlowe                  is dead.       There are general gasps and cries for information.                           PETER (CONT'D)                 Stabbed! Stabbed to death in a tavern                  at Deptford!       No one is more affected than WILL. This second blow is        worse than the first. He stands horror-stricken.                           WILL                 OhÖwhat have I done?                           ALLEYN                     (standing up)                 He was the first man among us. A great                  light has gone out.       EXT. BROTHEL. NIGHT.       WILL comes staggering out into the street.                           WILL                 It was I who killed him! God forgive                  me, God forgive me!       He falls into a stagnant puddle, a deep gutter of water        and garbage. He gets up and staggers on.       EXT. CHURCH TOWER. NIGHT.       A church tower looms up in the night sky.       INT. CHURCH. NIGHT.       This is where WILL has come. The church is empty, but for        the demented, grieving figure of SHAKESPEARE, kneeling,        praying, weeping, banging his head, in his private        purgatory, dimly lit by tallow candles, gazed upon by        effigies of the dead and images of his Redeemer. He is        wet, bedraggled, weeds and leaves in his hair.       EXT. DE LESSEPSES' HOUSE. DAY.       A lovely sunny morning. The church bells are ringing.        VIOLA and the NURSE, mounted, approach. VIOLA rides        sidesaddle on a beautiful horse, and is followed, rather        like Quixote by Sancho, by the NURSE on a less impressive        animal.        Riding in the opposite direction, is WESSEX. And what a        happy day it is. He sings and hums to himself merrily.        Here is a man who has heard wonderful news. He sees VIOLA        and greets her merrily.                           WESSEX                 You look sad, my lady! Let me take you                  riding.                           VIOLA                 It is not my riding day, my lord.                           WESSEX                 Bless me, I thought it was a horse.                           VIOLA                 I am going to church.                           WESSEX                     (recomposing his features to                       solemnity)                 I understand of course. It is to be                  expected.                           VIOLA                 It is to be expected on a Sunday.                           WESSEX                 And on a day of mourning. I never met                  the fellow but once at your house.                           VIOLA                     (cannot take this in)                 Mourning? Who is dead, my lord?                           WESSEX                 Oh!--dear God, I did not think it would                  be me to tell you. A great loss to                  playwriting, and to dancing.       VIOLA almost faints. The NURSE steadies her.                           VIOLA                     (faintly)                 He is dead?                           WESSEX                     (cheerfully solemn)                 Killed last night, in a tavern! Come,                  then, we'll say a prayer for his soul       VIOLA gives a silent cry. The NURSE is speaking to her in        distress.                           NURSE                 My ladyÖmy ladyÖnow is the time to                  show your breeding.       INT. CHURCH. DAY.       The NURSE is holding VIOLA up as they enter the church.        VIOLA seems catatonic. The NURSE lowers her onto a seat        and sits down next to her.        As they sit, the CHOIR enters singing. WESSEX, who is        sitting in the next pew, looks about him with interest.        He hasn't been in a church for years. What he sees turns        him to jelly. He sees WILL SHAKESPEARE.       ANGLE on WILL.        WILL is a spectral, bedraggled figure, backlit by a great        shaft of light, he would look like a ghost at the best of        times, and this is the worst. Bleeding from where he has        banged his head, bedraggled and ravaged by the night, he        stands in a side chapel staring at WESSEX.        WESSEX gasps and sweats, and sees WILL raise a quivering        accusatory finger at him. WESSEX cracks. He starts to        mumble.                           WESSEX                 Oh, spare me, dear ghost, spare me for                  the love of Christ!       Now VIOLA sees WILL. She is still paralysed, and seems at        first unable to take him in. She watches with detachment        as WESSEX starts to back out of the church, finally        running in terror.                           WESSEX (CONT'D)                     (screaming)                 Spare me!       The CHOIR continues to sing, but the scream brings VIOLA        to her senses and she runs to a side door where WILL is        leaving.       EXT. CHURCH. DAY.       Outside, VIOLA sees WILL, staggering away from the        church. She calls his name.                           VIOLA                 Will!       He does not answer. She runs after him.                           VIOLA (CONT'D)                 Oh, my love, I thought you were dead!       She claps him to her. They told each other for a moment        then WILL pulls back.                           WILL                 It is worse. I have killed a man.       EXT. MEADOW. DAY.       VIOLA'S horse grazes. WILL lies on his back, still        sobered and full of guilt. VIOLA sits on the grass among        the buttercups and looks down at him.        VIOLA is plaiting a finger-ring from stems of grass. She        has not yet revealed her feelings.                           WILL                 Marlowe's touch was in my Titus                  Andronicus and my Henry VI was a house                  built on his foundations.                           VIOLA                 You never spoke so well of him.                           WILL                 He was not dead before. I would                  exchange all my plays to come for all                  of his that will never come.                           VIOLA                 You lie.       WILL turns to look at her.                           VIOLA (CONT'D)                 You lie in your meadow as you lied in                  my bed.                           WILL                 My love is no lie. I have a wife, yes,                  and I cannot marry the daughter of Sir                  Robert de Lesseps. It needed no wife                  come from Stratford to tell you that.                  And yet you let me come to your bed.                           VIOLA                 Calf love. I loved the writer, and                  gave up the prize for a sonnet.                           WILL                 I was the more deceived.                           VOILA                 Yes--you were deceived. For I never                  loved you till now.                           WILL                 Now?                           VIOLA                     (declaring herself)                 I love you, Will, beyond poetry.                           WILL                 Oh, my love                     (he kisses her)                 You ran from me before.                           VIOLA                 You were not dead before. When I                  thought you dead, I did not care about                  all the plays that will never come,                  only that I would never see your face.                  I saw our end, and it will come.                           WILL                 You cannot marry Wessex!                           VIOLA                 If not Wessex the Queen will know the                  cause and there will be no more Will                  Shakespeare.       They kiss again, passionately.                           WILL                 NoÖno.                           VIOLA                     (through his kisses)                 But I will go to Wessex as a widow                  from these vows, as solemn as they are                  unsanctified.       And as their desperate kisses turn into lovemaking we cut        to:       INT. THE ROSE THEATRE. STAGE/AUDITORIUM. DAY.                           WILL                     (he is mid speech)                 For killing Juliet's kinsman Tybalt,                  the one who killed Romeo's friend                  Mercutio, Romeo is banished       He is on the stage of the Rose. The entire COMPANY is        assembled, HENSLOWE and FENNYMAN included, holding pages        of manuscript, which they are sharing together, examining        the separated pages, passing pages to each other, etc.        WILL'S mood is intense and focused.                           WILL (CONT'D)                 but the Friar who married Romeo and                  Juliet                           ACTOR (EDWARD)                 Is that me. Will?                           WILL                 You, Edward. The Friar who married                  them gives Juliet a potion to drink.                  It is a secret potion. It makes her                  seeming dead. She is placed in the                  tomb of the Capulets. She will awake                  to life and love when Romeo comes to                  her side again.       THE COMPANY murmurs approval.                           WILL (CONT'D)                 I have not said all. By malign fate,                  the message goes astray which would                  tell Romeo of the Friar's plan. He                  hears only that Juliet is dead. And                  thus he goes to the Apothecary.                           FENNYMAN                 That's me.                           WILL                 And buys a deadly poison. He enters                  the tomb to say farewell to Juliet who                  lies there cold as death. He drinks                  the poison. He dies by her side. And                  then she wakes and sees him dead.       HENSLOWE is fascinated and appalled.                           WILL (CONT'D)                 And so Juliet takes his dagger and                  kills herself.       PAUSE.       WILL is staring at VIOLA                           HENSLOWE                 Well, that will have them rolling in                  the aisles.                           FENNYMAN                 Sad and wonderful! I have a blue                  velvet cap which will do well, I have                  seen apothecary with a cap just so.                           ALLEYN                     (to WILL)                 Yes--it will serve. But there's a scene                  missing between marriage and death.       WILL is still staring at VIOLA. Aware, suddenly, of the        others watching, she breaks his gaze and drops her head.        WILL looks at NED.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. EVENING.       WILL and VIOLA. VIOLA dressed as THOMAS. He has present        for her--a neatly written manuscript of his play, on        sheets folded to octavo size.                           WILL                 The play. All written out for you. I                  had the clerk at Bridewell do it, he                  has a good fist for lettering.       She wants to accept the present with joy, but something        in his mood restrains her.                           WILL (CONT'D)                 There's a new scene       He turns the pages and shows her.                           VIOLA                 Will you read it for me?                           WILL                     (he knows it)                 "Wilt thou be gone? It is not yet near                  day> It was the nightingale and not                  the lark That pierced the fearful                  hollow of thine ear. Nightly she sings                  on yon pomegranate tree. Believe me,                  love, it was the nightingale."                           VIOLA                     (reading)                 "It was the lark, the herald of the                  morn, No nightingale. Look, love, what                  envious streaks Do lace the severing                  clouds in yonder east. Night's candles                  are burnt out, and jocund day Stands                  tiptoe on the misty mountain tops. I                  must be gone and live, or stay and                  die."       The words of the scene become WILL'S and VIOLA'S, their        way of saying the farewells they cannot utter.                           WILL                 "Yon light is not daylight, I know it,                  I. It is some meteor that the sun                  exhales To be to thee this night a                  torchbearerÖ"       INT. THE ROSE THEATRE. BACKSTAGE. DAY.       But the scene is continuing with VIOLA dressed as        "THOMAS." Somewhere behind and up above the stage, in a        deserted corner among rigging, bits of scenery, etc.,        they speak the lines and we hardly know ourselves whether        it is rehearsal or lovemaking. But after a few moments it        is definitely lovemaking. Their clothes start coming        away, their words interrupted by kisses.                           WILL                 "Öthou need'st not to be gone."                           VIOLA                 "I have more care to stay than will to                  go. Come death, and welcome. Juliet                  wills it so. How is't my soul? Let's                  talk. It is not day."       By now, her loosened bosom-bandage has been pulled away        and WILL passionately embraces her nakedness.        And into this heaving composition comes a little white        mouse, unseen my them, climbing through a knot hole in        the planking behind VIOLA'S head.        An adjacent knot hole reveals a human eye and we do not        need to be told it is JOHN WEBSTER'S.        WEBSTER takes his eye away from the peephole, and frowns,        thinking it out.       EXT. ALLEWAY. DAY.       TILNEY puts a coin in WEBSTER'S hand.                           TILNEY                 You will go far, I fear.                           TILNEY (CONT'D)                 I hope we work together again. Tilney                  walks away.       EXT. THE ROSE THEATRE. DAY.       A man is pacing up and down, in a sort of agony. He is        muttering. He is glancing at a sheet of paper. He is        FENNYMAN rehearsing the important role of the Apothecary,        for which he has a special voice.                           FENNYMAN                 "Such mortal drugs I have but Mantua's                  law Is death to any he that utters                  them." Then him. Then me.       "Put this in any liquid thing you will AndÖ"--something       He has dried up. He curses--the terror and despair.                           FENNYMAN (CONT'D)                 "Such mortal drugs I haveÖ" What is                  it? What is it?       He is so wrapped up in all this that he simply does not        notice when WESSEX rides up to the main entrance        dismounts and walks inside.       INT. THE ROSE THEATRE. STAGE/AUDITORIUM. DAY.       Onstage, the rehearsal continues. WESSEX strides in.        Among the audience are HENSLOWE, a few actorsÖand JOHN        WEBSTERÖwho sees WESSEX and jumps up and goes to him.                           WEBSTER                 My lord!       WESSEX knocks him aside and continues.                           WESSEX                     (shouts)                 Shakespeare!       Everything stops.                           WESSEX (CONT'D)                 You upstart inky pup! Now I will show                  you your place, which is in hell!                           WILL                 You are on my ground.                           WESSEX                     (drawing his sword)                 By God, I'll fight the lot of you       WILL draws his sword.                           WILL                 I am more than enough.       VIOLA reacts. She almost gives herself away. But the        fight has started.        WESSEX slashes at WILL. WILL knows how to fight. He        parries and thrusts. WESSEX is surprised. The fight goes        fast and furious around the stage, until WILL thrusts        accurately at WESSEX'S chestÖand would have killed him        but for the button on his sword-point.        WESSEX grapples with him, and now it becomes a parody of        the Hamlet duel; WESSEX'S unbuttoned sword falls to the        ground, WILL puts his foot on it, tosses WESSEX his own        safe sword, picks up Wessex's sword and continues the        fight until he has WESSEX at his mercy.        WILL has fought with a passionate rage that has everybody        staring at him. Now the look in his eyes is merciless.                           WILL (CONT'D)                 Absent friends!                     (to the assembly)                 This is the murderer of Kit Marlowe!       NED ALLEYN comes forward looking worried and dubious.                           ALLEYN                 Will                           WESSEX                 I rejoiced at his death because I                  thought it was yours. That is all I                  know of Marlowe.                           ALLEYN                 It's true, Will--it was a tavern                  brawlÖMarlowe attacked, and got his                  own knife in the eye. A quarrel about                  the bill                           HENSLOWE                 The bill! Oh, vanity, vanity!                           ALLEYN                 Not the billing, the bill!       WILL steps back, and sinks to his knees. His relief could        not be greater.                           WILL                     (to the heavens)                 Oh God, I am free of it!       WESSEX gets to his feet. TILNEY enters the auditorium        from the public entrance.                           WESSEX                 Close it!                           TILNEY                 My Lord Wessex!                           WESSEX                     (foaming)                 Close it! Take it down stone by stone!                  I want it ploughed into the ground,                  and sown with quick lime!       WESSEX storms out past the bewildered TILNEY.                           HENSLOWE                 Mr. Tilney, what is this?                           TILNEY                 Sedition and indecency!                           HENSLOWE                 What?!                           WEBSTER                 Master of the Revels, sir, over here,                  sir.                           TILNEY                     (to WEBSTER)                 Where, boy?                           WEBSTER                     (points)                 I saw her bubbies!                           TILNEY                     (shocked and gratified)                 A woman on the stage? A woman?                           WEBSTER                 I swear it!       THE COMPANY of actors are dumbstruck. None more than        VIOLA.                           TILNEY                 So, Henslowe! I say this theatre is                  closed! On the authority of the powers                  invested in my by the court--I close                  this theatre!                           HENSLOWE                 Why so?                           TILNEY                     (triumphantly)                 For lewdness and unshamefacedness! For                  displaying a female on the public                  stage!       TILNEY is unstoppable. He jumps on the stageÖand seizes        SAM GOSSE. Before WEBSTER or anyone can intervene, TILNEY        pulls up his skirt, ignoring SAM'S rather gutteral yell        of protest and pulls down SAM'S drawers.        TILNEY'S face is a study. So is everybody else's. WEBSTER        rolls his eyes (oh, these stupid grown-ups!) and deftly        throws one of his mice onto "ROMEO'S" hair. VIOLA gives a        shrill scream, the startled mouse descends her neck via        VIOLA'S ear, and seeks an entry into her collar. By which        time VIOLA has gone berserk and torn off her wig. Her        hair is pinned up but there is no question her gender.        WILL is paralysed. VIOLA gives him a look of terrible        despair and apology.                           WEBSTER                     (pointing at SAM)                 Not him.                     (pointing at VIOLA)                 her.                           HENSLOWE                 He's a woman!       By now the scene is playing to a crowded theatre, or so        it seems.                           TILNEY                 That's who I meant! This theatre is                  closed! Notice will be posted!       SAM has picked himself up, and his drawers.                           HENSLOWE                     (to NED)                 Ned, I swear I knew nothing of this!                           VIOLA                     (hoping to protect WILL)                 Nobody knew!                           WEBSTER                     (pointing at WILL)                 He did! I saw him kissing her bubbies!       Everybody looks at WILL, who stares at VIOLA, helpless.                           TILNEY                 Closed! Closed, mark you, Henslowe!       TILNEY turns on his heel and leaves in triumph. THE        COMPANY is still polaxed.                           HENSLOWE                     (in despair)                 It is over.                           VIOLA                 I am so sorry, Mr. Henslowe. I wanted                  to be an actor.                     (she turns to WILL)                 I am sorry, Will.       WILL shakes his head. This cannot be the end. VIOLA walks        away, leaving by the public entrance. They all let her        go, watching her silently. As she passes WABASH                           WABASH                 Y-y-y-you w-w-w-were w-w-w-w-                 wonderful.                           VIOLA                 Thank you.       As she is leaving, WILL comes to life. He starts off        towards herÖbut his progress is halted by a sock to the        jaw from NED ALLEYN. WILL falls down in the dust.        FENNYMAN enters, still bent over his sheet of paper,        mumbling his precious lines. When he reaches the        groundlings yard, he finds to his surprise the whole        COMPANY is standing about in attitudes of despair or        worse. FENNYMAN looks around.                           FENNYMAN                 Everything all right?       EXT. THE ROSE THEATRE. EVENING.       The closure notice is nailed to the door.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. NIGHT.       VIOLA, in her nightdress, is reading by candlelight. She        is reading her private manuscript of Romeo and JulietÖand        rereading. Next to her is a tray of covered dishes. the        NURSE enters and looks at her sympathetically. She lifts        the tray. She realises it is heavy. She puts it down and        raises the covers and sees that VIOLA has eaten nothing.        She looks at VIOLA'S tears, but there is nothing to be        said.       INT. TAVERN. DAY.       They are all there--the ADMIRAL'S MEN, including WILL and        HENSLOWE, drowning their sorrows. Everyone is drunk.        FENNYMAN is also there, taking the disaster somewhat        selfishly.                           FENNYMAN                     (muttering)                 I would have been goodÖI would have                  been great.       He hands a flask to RALPH who is in a similar mood.                           RALPH                 So would I. We both would.       RALPH contemplates the flask, and, since he's not        working, takes a swig. A moment later, he keels over,        rigid as a pole. The street door crashes open. BURBAGE        enters. Behind him enter a solid wedge of the        CHAMBERLAIN'S MEN, sober-faced, several with black eyes        and bandages round their heads.                           FENNYMAN                     (shouts)                 Lambert!       LAMBERT, FENNYMAN'S henchman and killer, puts down his        tankard and comes forward, casually kicking chairs and        tables out of his way.                           FENNYMAN (CONT'D)                 Kill him!       LAMBERT reaches up to the wall over the bar and takes        down once of the ceremonial weapons hanging there--a        battle-axe.        But BURBAGE has flintlock pistol stuck into his sash.        BURBAGE draws and the pistol roars, shooting flame,        LAMBERT curses, drops the axe, nurses his wounded hand.        BURBAGE puts the pistol back into his sash. NED ALLEYN is        half-drunk at a table. He staggers to his feet. He faces        BURBAGE.                           ALLEYN                 Well, Burbage--you never did know when                  your scene was over.                           BURBAGE                 That can wait. The Master of the                  Revels despises us for vagrants,                  tinkers, and peddlers of bombast. But                  my father, James Burbage, had the                  first licence to make a company of                  players from Her Majesty, and he drew                  from poets the literature of the age.                  Their fame will be our fame. So let                  them all know, we are men of parts. We                  are a brotherhood, and we will be a                  profession. Will Shakespeare has a                  play. I have a theatre. The Curtain is                  yours.       EXT. THE CURTAIN THEATRE. DAY.       A strong wind is blowing through the trees. A BOY with a        paste-pot and a bundle of flyers, is having trouble        pasting a flyer on the wall of the building. A gust of        wind scatters the bundle and sends a couple of dozen        flyers flying into the sky. The BOY with the paste-pot        runs around, trying to recover those he can. We look at        the poster. It says                           BY PERMISSION OF                 MR. BURBAGE                 A                 HUGH FENNYMAN PRODUCTION                 OF                 MR. HENSLOWE'S PRESENTATION                 OF                 THE ADMIRAL'S MEN IN PERFORMANCE                 OF                 THE EXCELLENT AND LAMENTABLE TRAGEDY                 OF                 ROMEO AND JULIET                 with Mr. Fennyman as the Apothecary       WILL comes out of the theatre, and passes the poster. He        walks on without looking at it. A voice calls after him:                           HENSLOWE                 Will!       WILL does not turn to look at him.                           HENSLOWE (CONT'D)                 We'll be needing a Romeo       WILL carries on walking.       EXT. STREETS. DAY.       WILL is pushing through the crowds on his way to the        river.       INT. DE LESSEPSES' HOUSE. VIOLA'S BEDROOM. DAY.       The NURSE is helping VIOLA to dress--in a wedding dress.        The NURSE is in tears. VIOLA submits to the task        impassively.       EXT. THE RIVER. DAY.       WILL is climbing down the ladder to the waiting boats.       INT. DE LESSEPSES' HOUSE. HALL. DAY.       WESSEX, dressed to be a bridegroom is concluding his        negotiations with DE LESSEPS, while LADY DE LESSEPS        weeps. DE LESSEPS is signing papers. There is a money        chest, too.                           WESSEX                 My ship is moored at Bankside, bound                  for Virginia on the afternoon                  tide--please do not weep, Lady De                  Lesseps, you are gaining a colony.                           DE LESSEPS                 And you are gaining five thousand                  pounds, my lordÖby these drafts in my                  hand.                           WESSEX                 Would you oblige me with fifty or so                  in gold?--just to settle my accounts at                  the dockside?       DE LESSEPS sighs and unlocks his money chest. WESSEX        places his empty purse on the desk.                           WESSEX (CONT'D)                 Ah!--Look, she comes!       VIOLA has appeared at the top of the stairs with the        NURSE.                           VIOLA                 Good morning, my lord. I see you are                  open for business so let's to church.       EXT. DE LESSEPSES' HOUSE. DAY.       WILL is running across the grass towards the house. As he        crosses the bridge over the moat, a carriage bears down        on him, and he has to flatten himself against the wall of        the gatehouse as the carriage passes, taking WESSEX and        his bride to church. WILL'S face, as he watches the        carriage disappear. Distant bells begin to peal       EXT. CHURCH DOOR. DAY.       The bells announce the completion of the marriage--as        WESSEX and the new LADY WESSEX leave the church. VIOLA'S        veil is flying in the wind, and beneath it we can just        see VIOLA'S unhappy face. The DE LESSEPS FAMILY entourage        is applauding. WESSEX beams with satisfaction.        Suddenly the sky and the wind deliver a message--a flyer        from the Curtain slaps against WESSEX'S face. He claws at        it and tries to throw it away. The wind delivers it to        VIOLA'S bosom. She takes it up and reads it. And passes        it to the NURSE.        WESSEX descends the steps to where the curtained carriage        awaits the bride and groom. He gallantly holds the door        for VIOLA to enter. She climbs aboard. WESSEX makes to        follow her.                           NURSE                 My lord!       The NURSE grasps him in a moving embrace, to WESSEX'S        discomfort.                           NURSE (CONT'D)                 Be good to her, my lord!                           WESSEX                 I will.       He tries to disengage. She won't have it.                           NURSE                 God bless you!                           WESSEX                 Thank you. Let go, there's a good                  nurse.       After a couple of further attempts, WESSEX extricates        himself.                           WESSEX (CONT'D)                 The tide will not wait. Farewell!       WESSEX pulls aside the curtain and gets in.       INT. CARRIAGE. DAY.       It takes a moment for WESSEX to realise he is alone in        there. He looks around but VIOLA has fled.       EXT. THE CURTAIN THEATRE. DAY.       Hundreds of people are converging on the theatre. Among        them is the Puritan MAKEPEACE, vainly exhorting the        crowds to run away from sin                           MAKEPEACE                 Licentiousness is made a show, vice is                  made a show, vanity and pride likewise                  made a show! This is the very business                  of show       But MAKEPEACE is being carried inexorably through the        main doors of the theatre.       INT. THE CURTAIN THEATRE. BACKSTAGE. DAY.       The ADMIRAL'S MEN are all in costume, and are in a buzz        of nervous excitement. ALLEYN, dressed for "MERCUTIO," is        giving last minute instructions to PETER. JAMES and JOHN        HEMMINGS are arguing about the timing of their entrance.        FENNYMAN in his apothecary's cap is agonising over his        lines. WABASH is stuttering over his. Alone in his        dejection in the midst of all this, is WILL, dressed for                           "ROMEO."                 FENNYMAN approaches him, apothecary's                  cap in hand.                           FENNYMAN                 Is this all right?       WILL nods, miserable. SAM has found a private corner. He        is gargling into a basin. He looks worried and furtive.       INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.       The audience is gathering.       EXT. THE CURTAIN THEATRE. DAY.       Word has got around. Even rich people are coming. They        arrive by carriage and by palanquin.        Some of them are cloaked and hooded, slumming incognito.        A cannon booms from the Curtain. The flag of the        ADMIRAL'S MEN flutters above.       EXT. THE CURTAIN THEATRE. ENTRANCE. DAY.       LAMBERT and FREES are taking the entrance money.       INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.       The auditorium is now packed. Among them, sheepish, is        MAKEPEACE.       INT. THE CURTAIN THEATRE. BACKSTAGE. DAY.       Everything is ready. NED signals the musicians. Trumpets        and drums sound. The house falls silent.       INT. THE CURTAIN THEATRE. THE WINGS. DAY.       WABASH seems to be important at the beginning. We have        never been told what part he plays. He is still muttering        lines and stuttering them.                           WABASH                     (mutter)                 T-t-t-two h-h-households b-both alike                  in d-d-d-dignity.       WILL listens to him in agony. He finds HENSLOWE next to        him.                           WILL                     (to HENSLOWE)                 We are lost.                           HENSLOWE                 No, it will turn out well.                           WILL                 How will it?                           HENSLOWE                 I don't know, it's a mystery.       And off we go. HENSLOWE claps WABASH on the shoulder and        sends him through the curtain.       ANGLE on WABASH       INT. THE CURTAIN THEATRE. STAGE. DAY.       The audience waits expectantly. WABASH gathers himself.                           WABASH AS THE CHORUS                 T-t-t-t-two       INT. THE CURTAIN THEATRE. BACKSTAGE. DAY.       WILL shuts his eyes and prays.       INT. THE CURTAIN THEATRE. STAGE/AUDITORIUM. DAY.       WABASH launches himself into a perfect audacious delivery        like a star.                           WABASH AS THE CHORUS                 "ÖHousehold both alike in dignity (in                  fair Verona where we lay our scene)                  From ancient grudge break to new                  mutiny, Where civil blood makes civil                  hands unclean. From forth the fatal                  loins of these two foes A pair of star-                 cross'd lovers take their life, Whose                  misadventured piteous overthrows Doth                  with their death bury their parents'                  strifeÖ"       EXT. STREET. DAY.       VIOLA and the NURSE, hurrying toward the Curtain.       INT. THE CURTAIN THEATRE. BACKSTAGE. DAY.       HEMMINGS BROTHERS are ready to go on as "SAMPSON" and        "GROCERY," Act I Scene I. They shake hands. Beyond the        curtain, the audience applauds the Prologue as WABASH        comes through the curtain backstage.                           WILL                     (to WABASH)                 Wonderful!                           WABASH                 W-w-w-was it g-g-g-good?       The HEMMINGS BROTHERS enter the arena and the play        begins.       POV: from THE WINGS:                           JOHN HEMMINGS AS SAMPSON                 "Gregory, on my word we'll not carry                  coals."                           JAMES HEMMINGS AS GREGORY                 "No, for then we should be colliers."                  WILL looks as if he would rather be                  dead. SAM GOSSE approaches WILL,                  nervously.                           SAM                     (nervously--in a deep bass                       guttural hoarse voice)                 Master Shakespeare                           WILL                     (absently)                 Luck be with you, Sam.                     (as the awful truth gets                       through to him)                 SamÖ?                           SAM                     (in the same voice)                 It is not my fault, Master                  Shakespeare. I could do it yesterday.                           WILL                 Sam! Do me a speech, do me a line.                           SAM                     (the effect is horrible)                 "Parting is such sweet sorrowÖ"       HENSLOWE has been overhearing.                           HENSLOWE                 Another little problem.                           WILL                 What do we do now?                           HENSLOWE                 The show must Ö you know                           WILL                 Go on.                           HENSLOWE                 Juliet does not come on for twenty                  pages. It will be all right.                           WILL                 How will it?                           HENSLOWE                 I don't know. It's a mystery.       And he makes his way towards the front of the house.       EXT. STREET. DAY.       A furious WESSEX is hurrying along the road to the        theatre.       INT. THE CURTAIN THEATRE. AUDITORIUM/STAGE. DAY.       VIOLA and the NURSE are arriving, and looking for a seat        in the gallery. BURBAGE and his MEN are standing at the        back, behind the people seated in the gallery. The first        scene of the play is continuing                           ARMITAGE AS ABRAM                 "Do you bite your thumb at us, sir?"                           JOHN HEMMINGS AS SAMPSON                 "I do bite my thumb, sir."       BURBAGE finds HENSLOWE plucking agitatedly at his sleeve.                           HENSLOWE                 Can we talk?       They are standing behind the back row of the gallery        seats. The spectator in front of them is the NURSE. She        turns round and shushes HENSLOWE up.                           HENSLOWE (CONT'D)                     (whispering to BURBAGE)                 We have no Juliet!                           BURBAGE                     (forgetting to whisper)                 No Juliet?!                           VIOLA                     (turning)                 No Juliet?!                           HENSLOWE                 it will be all right, madam.                           VIOLA                 What happened to Sam?                           HENSLOWE                 Who are you?                           VIOLA                 Thomas Kent!       Their whispers are causing black looks and hushing noises        from the neighbours. HENSLOWE pulls VIOLA from her seat,        luckily an aisle seat.                           HENSLOWE                 Do you know it?                           VIOLA                     (showing the manuscript)                 Every word.       HENSLOWE and BURBAGE look at each other. CUT TO:       INT. THE CURTAIN THEATRE. STAGE. DAY.                           PHILIP AS LADY CAPULET                 "Nurse, where is my daughter? Call her                  forth to me."                           RALPH AS NURSE                 "Now by my maidenhead at twelve year                  old, I bade her come. What, lamb. What                  ladybird."       INT. THE CURTAIN THEATRE. THE WINGS/STAGE. DAY.       SAM who gathers himself, to make his entrance, quietly        and horribly practising "How now, who calls?"                           RALPH AS NURSE                     (on stage)                 "God forbid. Where's this girl?       The author and star, WILL SHAKESPEARE, has his back to        the stage, his hands over his ears. He is cowering in        dread anticipation.                           RALPH AS NURSE (CONT'D)                 "What, Juliet!"       As SAM is about to enter HENSLOWE'S hand yanks him by the        collar, and VIOLA overtakes him and steps on stage. Enter        "JULIET." VIOLA is not wearing the been hidden from us by        her cloak.                           VIOLA AS JULIET                 "How now, who calls?"                           RALPH AS NURSE                 "Your mother."                           VIOLA AS JULIET                 "Madam. I am here, what is your will?       INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.       There is a collective gasp. Nobody has ever seen a BOY        PLAYER like this.       INT. THE CURTAIN THEATRE. THE WINGS. DAY.       WILL takes his hands from his ears, and turns round in        amazement at the sound of VIOLA'S voice.       INT. THE CURTAIN THEATRE. AUDITORIUM/STAGE. DAY.       WESSEX has just arrived in the auditorium and jumps as if        he has been shot. He seems about to intervene, but        looking around at the rapt faces he realises he cannot.       INT. THE CURTAIN THEATRE. THE WINGS. DAY.       HENSLOWE and BURBAGE look at each other.                           BURBAGE                 We will all be put in the clink.                           HENSLOWE                     (shrugs)                 See you in jail.       INT. THE CURTAIN THEATRE. BACKSTAGE. DAY.       FENNYMAN, oblivious to the drama, is practising his lines        in a fever of nervousness.                           FENNYMAN                 "Such mortal drugs I have but Mantua's                  Law Is death to any he that utters                  them." Then him. Then me.       INT. THE CURTAIN THEATRE. STAGE. DAY.       Swordplay. An amazing performance that holds the audience        spellbound. "TYBALT" kills "MERCUTIO."                           ALLEYN AS MERCUTIO                     (to ROMEO)                 "I am hurt.                           WILL AS ROMEO                 Courage man. The hurt cannot be much.                           ALLEYN A MERCUTIO                 Ask for me tomorrow and you shall find                  me a grave man."       A roll of thunder. Over the heads of the audience, far        above the thatched roof of the theatre, clouds are        gathering in the sky. On stage "MERCUTIO" is in 'ROMEO'S"        arms, but the tone of the playing is unlike anything we        have seen before: without bombast, intense and real. And        the audience is quiet and attentive.                           ALLEYN AS MERCUTIO (CONT'D)                 "Ö--Why the devil came you between us?                  I was hurt under your arms."       EXT. THE CURTAIN THEATRE. DAY.       In the semirural view towards the City of London, there        can be discerned a gaggle of approaching MEN and three is        something orderly about them. As they come closer, we see        that they are a company of PIKE MEN, marching toward the        theatre, led by the Master of the Revels, TILNEY. Thunder        rolls.       INT. THE CURTAIN THEATRE. STAGE. DAY.       Figures are running across the stage, in the panic that        follows "TYBALT" death.                           ACTOR AS BENVOLIO                 "Romeo, away, be gone! The citizens                  are up and Tybalt slain. Stand not                  amazed. The prince will doom thee                  death If thou art taken. Hence, be                  gone away!"                           WILL AS ROMEO                 "I am fortune's fool!"                           ACTOR AS BENVOLIO                 "Why dost thou stay!"       INT. THE CURTAIN THEATRE. BACKSTAGE. DAY.       WILL has just 'killed' "TYBALT." He is still breathless        from fighting. he stands face to face with VIOLA.                           WILL                 I am fortune's fool.       They stare at each other, transfixed.                           WILL (CONT'D)                 You are married?       PAUSE. She cannot answer.                           WILL (CONT'D)                 If you be married, my gave is like to                  be my wedding bed. The implication of                  her silence fills the air. WILL does                  not move.       INT. THE CURTAIN THEATRE. STAGE. DAY.       We cannot tell whether this is the play or their life.        The audience, and the rest of the world, might as well        not exist. WILL turn from her and begins to descend from        the 'balcony.'                           VIOLA AS JULIET                 "Art thou gone so?       WILL stops.                           VIOLA AS JULIET (CONT'D)                 Love, lord, ay husband, friend, I must                  hear from thee every day in the hour,                  For in a minute there are many days.                  O, by this count I shall be much in                  years Ere I again behold my RomeoÖ"       WILL as "ROMEO" seems unable to speak. Then he says:                           WILL AS ROMEO                 "ÖFarewellÖ"       All other sounds drain away, and time seems to stop.                           VIOLA AS JULIET                 "O think'st thou we shall ever meet                  againÖ? Methinks I see thee, now thou                  art so low, As one dead in the bottom                  of a tomb. Either my eyesight fails,                  or thou lookest pale."                           WILL AS ROMEO                 "Trust me, love, in my eyes so do you.                  Dry sorrow drinks our blood. Adieu.                  Adieu"       INT. THE CURTAIN THEATRE. STAGE. DAY.       Now the FRIAR is giving "JULIET' his potion.                           EDWARD AS FRIAR                 "No warmth, no breath shall testify                  thou livest And in this borrow'd                  likeness of shrunk death Thou shall                  continue two and forty hours And then                  awake as from a pleasant sleepÖ"       INT. THE CURTAIN THEATRE. STAGE. DAY.       It's FENNYMAN'S moment. The "APOTHECARY" and "ROMEO."                           WILL AS ROMEO                 "Come hither, man. I see that thou art                  poor. Hold, there is forty ducats. Let                  me have A dram of poison--"                           FENNYMAN AS APOTHECARY                 "Such mortal drugs I have but Mantua's                  law is death to any he that utters                  them!"       FENNYMAN has cut in several lines early, but his        conviction is astonishing.                           FENNYMAN AS APOTHECARY                 "My poverty but not my will consents."                           WILL AS ROMEO                 "I pay thy poverty and not thy will."       EXT. STREET. NEAR THE CURTAIN THEATRE. DAY.       TILNEY, on the march. His hand grips a copy of the        Curtain flyer.       INT. THE CURTAIN THEATRE. STAGE. DAY.       "JULIET" lies "dead." She lies on top of her tomb, "lying        in stage," her best dress, her hair done, her hands in        prayer at her breast, her eyes closed. "ROMEO" has found        her like this.                           WILL AS ROMEO                 "Eyes, look your last! Arms, take your                  last embrace! and lips, Oh you The                  doors of breath, seal with a righteous                  kiss A dateless bargain to engrossing                  death! Come, bitter conduct; come,                  unsavory guide! Thou desparate pilot,                  now at once run on The dashing rocks                  thy seasick weary bark!"       As WILL embraces her, VIOLA'S eyes flicker open (shielded        by WILL from the audience) and the lovers look at each        other for a moment as WILL and VIOLA rather than as        "ROMEO" and "JULIET." Their eyes are wet with tears.       INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.       BURBAGE and ROSALINE are watching.       INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.       KEMPE is watching.       INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.       We see that in the audience are several of the WHORES we        recognise from the brothel. They are weeping openly.       INT. THE CURTAIN THEATRE. STAGE. DAY.       WILL is raising the fatal drug in a last toast.                           WILL AS ROMEO                 "Here's to my love (he drinks) O true                  Apothecary."       INT. THE CURTAIN THEATRE. THE WINGS. DAY.       FENNYMAN, moved but proud in the wings.                           FENNYMAN                     (whispers to himself)                 I was good. I was great.       INT. THE CURTAIN THEATRE. STAGE. DAY.                           WILL AS ROMEO                 "Thy drugs are quick. Thus with a kiss                  I die." (and he dies)       INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.       The NURSE is weeping too.       INT. THE CURTAIN THEATRE. STAGE. DAY.       "JULIET" wakes up with a start.                           VIOLA AS JULIET                 "ÖWhere is my lord?       I do remember well where I should be, And there I am.        Where is my Romeo?"       INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.                           NURSE                     (involuntarily)                 Dead!       INT. THE CURTAIN THEATRE. STAGE. DAY.                           VIOLA AS JULIET                 "What here? A cup clos'd in my true                  love's hand? Poison, I see, hath been                  his timeless end."       INT. THE CURTAIN THEATRE. STAGE. DAY.       "JULIET" takes "ROMEO'S" dagger.                           VIOLA AS JULIET                 "ÖO happy dagger       This is thy sheath. There rust, and let me die."       She stabs herself and dies. The "inner curtain" closes        over the tomb.       INT. THE CURTAIN THEATRE. STAGE/AUDITORIUM. DAY.       HIGH ANGLE on audience and stage. "THE PRINCE" played by        WABASH is having the last word.                           THE PRINCE                 "For never was a story of more woe                  Than this of Juliet and her Romeo."       The end. There is complete silence. The ACTORS are        worried. But then the audience goes mad with applause.       INT. THE CURTAIN THEATRE. THE INNER CURTAIN/STAGE. DAY.       The inner curtain opens, but WILL and VIOLA, are in a        play of their ownÖembracing and kissing passionately,        making their own farewell. HENSLOWE is too stunned and        moved to react at first. Then he looks at the audience        and the penny drops. It's a hit.       INT. THE CURTAIN THEATRE. AUDITORIUM/STAGE. DAY.       The audience roars. WILL, VIOLA, and THE COMPANY come        forward to meet the applause. TILNEY and his MEN burst        in. TILNEY jumps up onto the stage, where the ADMIRAL'S        MEN are taking their bows. TILNEY'S "COPS" ring the        stage, facing inwards.                           TILNEY                     (shouts triumphantly)                 I arrest you in the name of Queen                  Elizabeth!       The AUDIENCE goes quiet. BURBAGE jumps out of the        audience onto the stage.                           BURBAGE                 Arrest who, Mr. Tilney?                           TILNEY                 Everybody! The Admiral's Men, The                  Chamberlain's Men and everyone of you                  ne'er-do-wells who stands in contempt                  of the authority invested in me by her                  Majesty.                           BURBAGE                 Contempt? You closed the Rose--I have                  not opened it.       TILNEY is at a loss but only for a moment.                           TILNEY                     (he points a "j'accuse"                       finger at VIOLA)                 That woman is a woman!       The entire audience and the actors, recoil and gasp. The        NURSE crosses herself.                           ALLEYN                 What?! A woman?! You mean that goat?!       He points at VIOLA, brazening it out without much chance.                           TILNEY                 I'll see you all in the clink! In the                  same of her Majesty Queen Elizabeth       And an authoritative voice from the audience interrupts        him.                           VOICE                 Mr. TilneyÖ!       It is QUEEN ELIZABETH herself, descending now, her hood        and cloak thrown back. She is an awesome sight. A shaft        of sunlight hits her.                           QUEEN                 Have a care with my name, you will                  wear it out.       There is a general parting of the waves, soldiers and        actors, a general backing off and bowing as QUEEN        ELIZABETH takes the limelight.                           QUEEN (CONT'D)                 The Queen of England does not attend                  exhibitions of public lewdness so                  something is out of joint. Come here,                  Master Kent. Let me look at you.       VIOLA comes forward, and is about to curtsey when she        catches the QUEEN'S eye, an arresting eye, which arrests        the curtsey and turns it into a sweeping bow.                           QUEEN (CONT'D)                 Yes, the illusion is remarkable and                  your error, Mr. Tilney, easily                  forgiven, but I know something of a                  woman in a man's profession, yes, by                  God, I do know about that. That is                  enough from you, Maser Kent. If only                  Lord Wessex were here.                           VOICE                 He is, Ma'am.       The voice belongs to JOHN WEBSTER. He points firmly at a        figure in the audience, WESSEX, trying to look        inconspicuous.                           WESSEX                     (weakly)                 Your Majesty                           QUEEN                 There was a wager, I rememberÖas to                  whether a play can show the very truth                  and nature of love. I think you lost                  it today.                     (turning to WEBSTER)                 You are an eager boy. Did you like the                  play?                           WEBSTER                 I liked it when she stabbed herself,                  your Majesty.       The QUEEN fixes WILL with a beady eye.                           QUEEN                 Master Shakespeare. Next time to you                  come to Greenwich, Come as yourself                  and we will speak some more. WILL bows                  deeply. The QUEEN turns to leave. The                  waves part for her.       INT. THE CURTAIN THEATRE. MAIN ENTRANCE. DAY.       The QUEEN is bowed out through the doors.       EXT. THE CURTAIN THEATRE. DAY.       A gaggle of the QUEEN'S favoured courtiers wait by her        carriage. WESSEX is hurrying down the exterior staircase        as the QUEEN emerges from the theatre. During the        following a general egress from the Auditorium is taking        place, including some of the actors crowding to see her        off. WESSEX bows out of breath.                           WESSEX                 Your Majesty!                           QUEEN                 Why, Lord Wessex! Lost your wife so                  soon?                           WESSEX                 Indeed I am a bride short. How is this                  to end?       VIOLA has come out of the theatre, amongst some of the        other players. The QUEEN catches her eye.                           QUEEN                 As stories must when love's                  denied--with tears and a journey. Those                  whom God has joined in marriage, not                  even I can put asunder.                           QUEEN (CONT'D)                     (she turns to VIOLA)                 Lord Wessex, as I foretold, has lost                  his wife in the play- house--go make                  your farewell and send her out. It's                  time to settle accounts.                     (to WESSEX)                 How much was the wager?                           WESSEX                 Fifty shillings.                     (the QUEEN gives him a look)                 Pounds.                           QUEEN                 Give it to Master Kent. He will see it                  rightfully home. WESSEX gives his                  purse to VIOLA.                           QUEEN (CONT'D)                     (to VIOLA)                 And tell Shakespeare something more                  cheerful next time for Twelfth Night.       The QUEEN proceeds towards her carriage. There is an        enormous puddle between her and her carriage. The QUEEN        hesitates for a fraction and then marches through the        puddle as cloaks descend upon it.                           QUEEN (CONT'D)                 Too late, too late.       She splashes her way into her carriage, which departs.       INT. THE CURTAIN THEATRE. STAGE. DAY.                           WILL                     (heartbroken, testing her                       name)                 My Lady Wessex?       VIOLA nods, heartbroken too. For a long moment they        cannot say anything to each other. The she holds up        Wessex's purse.                           VIOLA                 A hired player no longer. Fifty                  pounds, Will, for the poet of true                  love.                           WILL                 I am done with theatre. The playhouse                  is for dreamers. Look where the dream                  has brought us.                           VIOLA                 It was we ourselves did that. And for                  my life to come I would not have it                  otherwise.                           WILL                 I have hurt you and I am sorry for it.                           VIOLA                 If my hurt is to be that you will                  write no more, then I shall be the                  sorrier.       WILL looks at her.                           VIOLA (CONT'D)                 The Queen commands a comedy, Will for                  Twelfth Night.                           WILL                     (harshly)                 A comedy! What will my hero be but the                  saddest wretch in the kingdom, sick                  with love?                           VIOLA                 An excellent beginning                     (a beat)                 Let him beÖa duke. And your heroine?                           WILL                     (bitterly)                 Sold in marriage and half way to                  America.                           VIOLA                     (adjusting)                 At sea, then--a voyage to a new                  world?Öshe lands upon a vast and empty                  shore. She is brought to the                  dukeÖOrsino.                           WILL                     (despite himself)                 OrsinoÖgood name                           VIOLA                 But fearful of her virtue, she comes                  to him dressed as a boy                           WILL                     (Catching it)                 and thus unable to declare her love       Pause. They look at each other. Suddenly the conversation        seems to be about them.                           VIOLA                 But all ends well.                           WILL                 How does it?                           VIOLA                 I don't know. It's a mystery       WILL half smiles. Then he's serious. They look deeply at        each otherÖand rush into each other's arm.                           WILL (CONT'D)                 You will never age for me, nor fade,                  nor die.                           VIOLA                 Nor you for me.                           WILL                 Good bye, my love, a thousand times                  good bye.                           VIOLA                 Write me well.       She kisses him with finality. Then turns and runs from        him. WILL watches as she goes.       INT. WILL'S ROOM. DAY.       A blank page. A hand is writing: TWELFTH NIGHT. We see        WILL sitting at his table.                           WILL (VO)                 My story starts at seaÖa perilous                  voyage to an unknown landÖa shipwreck       EXT. UNDERWATER. DAY.       Two figures plunge into the water                           WILL (VO)                 the wild waters roar and heaveÖthe                  brave vessel is dashed all to pieces,                  and all the helpless souls within her                  drowned       INT. WILL'S ROOM. DAY.       WILL at his table writing                           WILL (VO)                 all save one Ö a lady       EXT. UNDERWATER. DAY.       VIOLA in the water                           WILL (VO)                 whose soul is greater than the ocean Ö                  and her spirit stronger than the sea's                  embrace Ö not for her watery end, but                  a new life beginning on a stranger                  shore       EXT. BEACH. DAY.       VIOLA is walking up a vast and empty beach Ö.                           WILL (VO CONTINUED)                 It will be a love story Ö for she will                  be my heroine for all time       INT. WILL'S ROOM. DAY.       WILL looks up from the table.                           WILL (VO CONTINUED)                 and her name will be Ö Viola.       He looks down at the paper, and writes: "Viola" Then:        "What country friends is this?"       EXT. BEACH. DAY.       DISSOLVE slowly to VIOLA, walking away up the beach        towards her brave new world.                             THE END
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+                                      SHALLOW GRAVE                                       Written by                                       John Hodge                                                             FINAL DRAFT          INT. DAY                    A blurred image forms on a white screen. A horizontal strip of           face, eyes motionless and unblinking.                     DAVID          (VOICE-OVER)           Take trust, for instance, or friendship: these are the important           things in life, the things that matter, that help you on your           way. If you can't trust your friends, well, what then?                    EXT. DAWN                     A series of fast-cut static scenes of empty streets.                     DAVID          (VOICE-OVER)          This could have been any city: they're all the same.                    A rapid, swerving track along deserted streets and down narrow           lanes and passageways. Accompanied by soundtrack and credits.                    The track ends outside a solid, fashionable Edinburgh tenement.                    INT. STAIRWELL. DAY                    At the door of a flat on the third floor of the tenement. The           door is dark, heavy wood and on it is a plastic card embossed           with the names of three tenants. They are Alex Law, David           Stevens, and Juliet Miller.                    A man climbs the stairs and reaches the door. He is Cameron           Clarke, thin and in his late twenties with a blue anorak and           lank, greasy hair. He is carrying an awkwardly bulky plastic bag.           Cameron gives the doorbell an ineffectual ring and then stands           back, shifting nervously from foot to foot until the door is           answered.                    CAMERON          Hello, I've come about the room.                    Cameron enters and the door closes.                    INT. LIVING ROOM. DAY                    David, Alex, and Juliet sit in a line on the sofa directly           opposite Cameron, who shifts uneasily in his armchair. Alex           checks some items on a clipboard before speaking.                    ALEX          What's his name?                    DAVID          I don't know -- Campbell or something?                    JULIET          Cameron.                    ALEX          Cameron?                    JULIET          Yes.                    ALEX          (to Juliet)          Really?                    CAMERON          That's right.                    ALEX          (to Cameron)          What?                    Cameron is not sure what to say.                    ALEX          (CONTINUED)          Well, Cameron, are you comfortable?                    CAMERON          Yes, thanks.                    ALEX          Good. Well, you've seen the flat?                    CAMERON          Yes.                    ALEX          And you like it?                    CAMERON          Oh, yes, it's great.                    ALEX          Yes. It is, isn't it? We alllike it. And the room's nice too,           don't you think?                    CAMERON          Yes.                    ALEX          Spacious, quiet, bright, well appointed, all that sort of stuff,           all that crap.                    CAMERON          Well, yes.                    ALEX          So tell me, Cameron, what on earth -- just tell me, because I           want to know -- what on earth could make you think that we would           want to share a flat like this with someone like you?                    INT. STAIRWELL. DAY                    As Cameron plods slowly down the stairs, his shoes striking out           against the stone steps, Alex's criticisms continue.                    ALEX          (VOICE-OVER)                    I mean, my first impression, and they're rarely wrong, is that           you have none of the qualities that we would normally seek in a           prospective flatmate. I'm talking here about things like           presence, charisma, style and charm, and I don't think we're           being unreasonable. Take David here, for instance: a chartered           accountant he may be, but at least he tries hard. The point is, I           don't think you're even trying.                    Cameron has reached the bottom of the stairs. He opens the main           door.                    ALEX          (CONTINUED)          And, Cameron -- I mean this -- good luck!                    Cameron leaves and the main door closes behind him.                    ALEX          (CONTINUED)          Do you think he was upset?                    INT. STAIRWELL. DAY                    Inside the hall of the flat, David approaches the door toopen it.           Freeze-frame.                    ALEX          (VOICE-OVER)          David likes to keep spareshoelaces in sorted pairs in a box           marked, not just shoelaces', but spare shoelaces'.                    David opens the door to the Woman.                    WOMAN          I've come to see about the room.                    INT. STAIRWELL. DAY                    Outside the door of the flat a young Goth girl, aged about           twenty, rings the doorbell.                    INT. HALL. DAY                    Inside the hall of the flat Alex approaches the door to open it.           Freeze-frame.                    JULIET          (VOICE-OVER)          Alex is a vegetarian. Do you know why? Because he feels it           provides an interesting counterpoint to his otherwise callous           personality. It doesn't. He thinks he's the man for me. He isn't,           though there was a time when, well, there was a time when...                    Alex opens the door to the Goth.                    GOTH          I've come about the room.                    INT. STAIRWELL. DAY                    At the door of the flat a Man aged about thrity-five rings the           bell.                    INT. HALL. DAY                    Inside the hall of the flat Juliet approaches the door to open           it. Freeze-frame.                    DAVID          (VOICE-OVER)          Like one of those stupid posters -- you know, a gorilla cuddling           a hedgehog, caption love hurts --- that's what I think when I           think of Juliet.                    Juliet opens the door to the Man.                    MAN          I've come about the room.                    INT. LIVING ROOM. DAY                    In the living room each of the candidates is interviewed           individually with the same seating arrangements as before (i.e.           the trio on the sofa and the applicant on the chair). What we see           are briskly intercut excerpts from each of these interviews. We           do not get the responses to the questions, although we may see           some facial reaction.                    All of David's questions are to the Woman.                    All of Alex's questions are to the Goth.                    All of Juliet's questions are to the Man.                    DAVID          All right, just a few questions.                    ALEX          I'd like to ask you about your hobbies.                    JULIET          Why do you want a room here?                    DAVID          Do you smoke?                    ALEX          When you slaughter a goat and wrench its heart out with your bare           hands, do you then summon hellfire?                    JULIET          I mean, what are you actually doing here? What is the hidden           agenda?                    DAVID          Do a little freebasemaybe, from time to time?                    ALEX          Or maybe just phone out for a pizza?                    JULIET          Look, it's a fairly straightforward question. You're either           divorced or you're not.                    DAVID          OK, I'm going to play you just a few seconds of this tape -- I'd           like you to name the song, the lead singer and the three hit           singles subsequently recorded by him with another band.                    ALEX          When you get up in the morning, how do you decide what shade of           black to wear?                    JULIET          Now, let me get this straight. This affair that you're not           having, is it not with a man or not with a woman?                    DAVID          Turning very briefly to the subject of corporate finance -- no,           this is important. Leveraged buy-outs -- a good thing or a bad           thing?                    ALEX          With which of the following figures do you most closely identify:           Joan of Arc, Eva Braun or Marilyn Monroe?                    JULIET          It's just that you strike me as a man trapped in a crisis of           emotional direction, afflicted by a realization that the partner           of your dreams is, quite simply, just that.                    DAVID          Did you ever kill a man?                    ALEX          And when did anyone last say to you these exact words: You are           the sunshine of my life'?                    JULIET          OK, so A has left you, B is ambivalent, you're still seeing C but           D is the one you yearn for. What are we to make of this? If I           were you, I'd ditch the lot. There's a lot more letters in the           alphabet of love.                    DAVID          And what if I told you that I was the antichrist?                    INT. SQUASH COURT. EVENING                    In a sports centre Juliet sits outside a glass-walled squash           court. She is ready to play, but at present is watching Alex and           David, who are inside the court.                    INT. SQUASH COURT. EVENING                    Inside the squash court, Alex is about to serve.                    ALEX          Squash is often used as a metaphor to represent a struggle for           personal domination.                    DAVID          Serve.                    ALEX          I was trying to educate you.                    DAVID          Just serve.                    ALEX          In the same fashion as chess.                    DAVID          What?                    ALEX          Chess. Chess is often used as well.                    DAVID          Will you shut up and play.                    ALEX          You're a bad loser.                    DAVID          I haven't lost yet.                    Alex serves.                    INT. SQUASH COURT. EVENING                    The squash-court door opens and David walks out past Juliet as           Alex stands behind, jabbing his finger at him.                    ALEX          Defeat, defeat, defeat-- sporting,personal, financial,           professional, sexual, everything. Next.                    Juliet walks in and closes the door.                    INT. SQUASH COURT. EVENING                    Inside the squash court Alex is about to serve.                    ALEX          Did you know --                    JULIET          Just serve.                    Alex serves.                    INT. JULIET'S CAR (A MINI). NIGHT                    Alex sits in the back, drinking.                    Juliet is driving. David sits beside her.                    ALEX          I wasn't trying to win.                    There is no response from Juliet.                    ALEX          (CONTINUED)          I don't want to devalue your victory, but I just want you to           know: I wasn't trying to win.                    DAVID          Victory is the same as defeat. It's giving in to destructive           competitive urges.                    ALEX          You learn that in your psychotherapy group?                    DAVID          Discussion group, Alex, discussion.                    JULIET          I thought you stopped going.                    ALEX          Yeah, he had one too many of thise urges. You of all people           should know that.                    Alex leans close to Juliet. Juliet brakes abruptly and, as Alex           flies forward, elbows him in the chest.                    ALEX          (CONTINUED)          God, you two are sensitive. All I'm doing is implying some sort           of sordid, ugly, sexual liason. Why, I'd be proud of that sort of           thing.                    JULIET          Maybe you should go, Alex.You'll meet someone wonderful.                    ALEX          For my life? At a discussion group? I think not.                    JULIET          For the flat.                    ALEX          No. Be someone else like him. One is enough. And what happened to           that girl, that friend of yours, the one that came round. I liked           her. I really felt we had something. She could have moved in. We           had chemistry.                    JULIET          She hated you --                    ALEX          Well, she had problems --                    JULIET          -- more than anyone she has ever met. In her whole life.                    ALEX          -- I'd be the first topoint that out. In all kindness I would.           But, like they say, you know, she's got to want to change, hasn't           she?                    INT. STAIRWELL. DAY                    Outside the door of the flat Hugo rings the bell and waits.           Juliet opens the door. Hugo is in his early thirties, tall, dark           and bohemian in appearance.                    JULIET          You must be Hugo.                    HUGO          You must be Juliet.                    JULIET          Would you like to come in?                    HUGO          I'd be delighted.                    Hugo walks in and Juliet closes the door quite deliberately           behind him.                    INT. VACANT ROOM. DAY                    Hugo looks around, pleased at what he sees, while Juliet watches           him. He sits on the edge of the bed.                    HUGO          It's nice.                    JULIET          Would you like to see the rest?                    INT. LIVING ROOM. DAY                    Hugo is seated on the sofa, Juliet sits opposite on an armchair.                    JULIET          What do you do?                    HUGO          Well, I've been away for a bit, travelling, that sort of thing,           and now I'm trying to write a novel.                    JULIET          What's it about?                    HUGO          A priest who dies.                    JULIET          I see.                    HUGO          Yeah. Well, maybe I'll change it.                    JULIET          No.                    HUGO          Yes, I mean, who wants to read about another dead priest? It's           about some other guy, some guy who's not a priest, who doesn't           die. You see, it's better already.                    JULIET          Writing seems easy.                    HUGO          It's a breeze.                    The telephone begins to ring out in the hall. Juliet does not           move and at first says nothing. Hugo looks at her and towards the           door leading to the hall. After several rings, Juliet speaks.                     JULIET          Do you think you could answer that?                    HUGO          The telephone?           It continues to ring.                    JULIET          Yes, the telephone, but if it's for me, I'm not in.           HUGO          You're not in.                    JULIET          No.                    HUGO          All right.                    Hugo stands up. The ringing continues.                    INT. HALL. DAY                    Hugo lifts the phone. He turns to face Juliet and looks her in           the eye as he lies on her behalf.                    HUGO          Hello. Yes. Who's calling please? Well, I'm sorry, but she's not           in right now. I don't know. Would you like to leave a message?                    Hugo replaces the receiver.                    HUGO          (CONTINUED)          It was some guy called Brian.                    JULIET          Did he sound upset?                    HUGO          A little bit. Is that good or bad?                    JULIET          It's an improvement.                    The telephone begins to ring again.                    HUGO          Shall I answer it?                    JULIET          No, just leave it. He knows I must be at home. I'm working nights           this week.                    The telephone continues to ring.                    HUGO          Working nights?                    JULIET          I'm a doctor.                    HUGO          And he's a patient of yours?                    JULIET          No. But he needs treatment.                    HUGO          For what?                    JULIET          A certain weakness.                    HUGO          The human condition.                    JULIET          You know about it?                    HUGO          I write about it?                    JULIET          And that's not the same thing?                    HUGO          No, but like all novelists, I'm in search of the self.                    INT. KITCHEN. MORNING                    Juliet, dressed and fatigued, sits at the table sipping a coffee.           Alex is also seated at the table, but wearing an old dressing-          gown and munching at cornflakes while he reads a newspaper and           talks at the same time. An array of other papers is spread over           the table.                    ALEX          Has he tried down the back of the fridge? I mean, that's where I           normally find things.                    JULIET          He seemed like a nice guy, Alex.                    Juliet gets up and leaves the kitchen. The soundof a bath running           is heard.                    ALEX          I'm not saying he didn't seem like a nice guy. All I'm saying is,           it's a bit strange, and this search for the self, and what he's           on about, you know.                    Alex hears the mail falling through the door and stands up to           leave the kitchen and get it.                    JULIET          (calling from outside)          He didn't seem strange, Alex.He seemed, you know --                    INT. BATHROOM.MORNING.                    Juliet watches the bath fill.                    JULIET          ...interesting.                    INT. KITCHEN. MORNING                    Alex considers her reply.                    ALEX          Interesting. Interesting.                    INT. HALL. MORNING                    Alex is walking through the hall to the door,muttering           interesting' to himself. As he passes the phone starts to ring.           He stops and lifts it.                    ALEX          Hello. No, she's not in. No. No. No. No ideas.                    Alex replaces the reciever and walks on to the door.                    JULIET          (from the bathroom)          Who was it?                    ALEX          I don't know. He sounded Swedish. Do you know any Swedish men?           Maybe it was just the emotion.                    Alex picks up the mail and looks through it. As he does so,David           emerges from his room, dressed for work.                    ALEX          (CONTINUED)          What do you think?                    DAVID          About what?                    ALEX          About this guy, this Hugo person.                    DAVID          I don't have time.                    ALEX          I'm only asking what you think.                    DAVID          I don't have time to discuss it now. I don't care so long as he's           not a freak.                    David opens the door. Alex hands him an envelope.                    ALEX          This is for you. It's your mother's handwriting, so I didn't open           it. I don't like reading about your father's constipation.                    David snatches the letter and leaves, closing the door.                    Alex walks back across the hall, opening one of the letters and           reading it quickly.                    JULIET          (calling from the bathroom)          So we'll meet him, then?                    ALEX          What? Oh, yeah, sure, if you want. I tell you, every letter this           guy writes to you is the same: they all begin like pure love and           descend into open pornography. I dream of your thighs, the soft           touch of your white skin leading me in desire, while I, aroused           and inflamed --'                    Juliet's hand and arm appear around the bathroom door. She           attempts to grab the letter. Alex plays at holding the letter           just beyond her reach.                    ALEX          (CONTINUED)          Aroused and inflamed.                    JULIET          Alex.                    ALEX          He even signs them, in his own name, can you believe it? I'd sign           someone else's name. I'd sign his name. If I wrote them, that is.           Which I don't.                    INT. LIVING ROOM. EVENING                    Alex, David, Juliet and Hugo sit round a table towards the end of           a meal. Alcohol has been consumed. Bowls containing the last of           the food sit on the table, being picked at occassionally. Alex           dispenses wine mainly into his own glass, alternating with           Macallan malt whisky, of which he pours generous amounts.                    ALEX          Interesting.                    HUGO          I see.                    ALEX          Yeah, well, that's what she said. Interesting. That's why you're           here, you see.                    DAVID          Normally I don't meet people, unless I know them already.                    HUGO          I see.                    DAVID          People can be so cruel.                    ALEX          So, uh...                    HUGO          What?                    ALEX          What?                    HUGO          You were going to say something.                    ALEX          What was I trying to say? Oh, yes, I think, we think, or at least           I suppose we think -- am I right?                    JULIET          Just get on with it, Alex.                    DAVID          Keep it going, Alex. You're unstoppable now.                    ALEX          We think it's fine.                    Alex starts eating again. The others watch him expectantly. David           coughs.                    ALEX          (CONTINUED)          It's OK. There's no problem.                    HUGO          You mean I can have the room?                    ALEX          Well, that's what I said, isn't it?                    DAVID          He made it clear.                    ALEX          Why, thank you, David.                    JULIET          Yes, you can have the room.                    Alex pours yet more alcohol.                    ALEX          I'm not usually drunk.                    JULIET          Not usually this drunk.                    DAVID          Only on expenses.                    ALEX          It's true. A newspaper is paying for all this. A newspaper...                    With exaggerated scorn, Alex knocks over a glass of wine.                    JULIET          In a moment he's going to tell he could have been someone --                    ALEX          It was you, Juliet, it was you --                    JULIET          -- instead of what he is --                    ALEX          What I am.                    JULIET          -- which is --                    ALEX          -- which is a hack.                    JULIET          The man we know and love.                    ALEX          A miserable, burnt-out, empty shell of a --           Alex pauses, looks at his drink, then at Juliet.                    ALEX          (CONTINUED)          Know and love?                    JULIET          Yeah.                    ALEX          I think you're lying.                    JULIET          You're right.                    ALEX          You see, they don't really know me.                    JULIET          No, Alex, we don't really love you.                    Alex smiles at Juliet and drinks again.                    ALEX          Can you afford this place?                    HUGO          Yeah.                    Hugo reaches into his pocket and pulls out a thick bundle of           notes, which he places in front of Alex. Alex leans over and           sniffs the notes.                    DAVID          Can I ask you a question?                    HUGO          Certainly.                    DAVID          Have you ever killed a man?           HUGO          No.                    DAVID          Well, that's fair enough, then.                    Alex raises his head.                    ALEX          Certainly smells like the real thing.                    EXT. A STREET. NIGHT                    At a cash dispenser a man in his thrities is taking out some           money.                    A younger man, Andy, stands besdie him, looking around in a           mildly agitated fashion.                    As the money emerges, Andy assaults and robs the man. He starts           by smashinf the victim's face repeatedly against the cash           dispenser until the Perspex is smeared with blood. When he has           final finished and the man lies on the ground, Andy takes the           money and the card from the slots, then gets into a car which has           pulled up alongside, driven by Tim.                    INT. STAIRWELL. DAY                    Hugo climbs the stairs, carrying two suitcases. He stops at the           door of the flat and looks at a bunch of keys before selecting           one, which he inserts in the door.                    INT. HALL. DAY                    Inside the flat. The door opens and Hugolifts his cases in,           kicking the door closed behind him.                    INT. JULIET'S ROOM. DAY                    Juliet sleeps, undisturbed by the closing of the door.                    INT. HALL. DAY                    Hugo walks across the halland disappears into his room.                    INT. HUGO'S ROOM. DAY                    Hugo unpackshis bags. Included in his things are a few syringes           and needles. All these he puts into the drawer beside his bed. He           checks inside a second bag.                    INT. HALL. DAY                    Hugo dails a number on the telephone and awaits a reply.                    INT. JULIET'S ROOM. EVENING                    Juliet is woken by her alarm clock. The time is five p.m.                    INT. LIVING ROOM. NIGHT                    Alex sits watching television, constantly changing channels.           Juliet walks in, wearing a dressing gown. She watches Alex for a           few moments.                    JULIET          Have you seen Hugo?                    ALEX          No. Any idea which channel he's on?                    INT. HALL. MORNING                    The telephone is ringing. Alex lifts up the reciever. Again he is           wearing his dressing gown and is on his way to pick up the mail.                    ALEX          No, she's not in.           Without waiting for any more, he replaces the reciever and walks           to the door, where he picks up the mail. On his way back from the           door, David emerges, ready to go to work.                    ALEX          (CONTINUED)          Have you seen him?                    DAVID          Alex, I don't have the time --                    ALEX          Yes or no, yes or no, yes or --                    DAVID          No.                    David leaves, slamming the door.                    INT. KITCHEN. MORNING                    Alex returns to the kitchen, pausing only to knock at Hugo's           door, which elicits no response. In the kitchen Juliet sits           dressed for work, having just returned. He casually opens an           envelope and glances at both sides of the letter before handing           it to her.                    ALEX          David hasn't seen him either.                    JULIET          So I gathered.                    ALEX          Maybe he didn't like us.                    JULIET          David?                    ALEX          Hugo.                    JULIET          His car's still there.                    ALEX          He's got a car?                    JULIET          So what's wrong with that?                    ALEX          What sort of car?                    JULIET          Alex, how shouldI know? I'm just a girl.                    ALEX          I will ask you once more, what sort of car --                     JULIET          A blue one, OK. And it's still there.                    INT. HALL. NIGHT                    We see the door to Hugo's room, then Alex rapping sharply against           it. David and Juliet stand behind him.                    ALEX          Hugo. Hugo. Sorry about this, but can you open the door? It's us,           Hugo, your flatmates and companions. Your new-found friends. He's           not in. He's left and we'll probably never see him again.                    JULIET          Alex, the key is in the keyhole on the other side.                    ALEX          So?                    JULIET          Open it.                    ALEX          You want me to kick it open?                    JULIET          Yes.                    ALEX          Now?                    JULIET          Yes.                    ALEX          All right. No problem.                    After several ineffective kicks at the door, Alex turns to David.                    ALEX          (CONTINUED)          You want a go?                    INT. HUGO'S ROOM. NIGHT                    Inside Hugo's room we see the door as David, outside, throws           himself against it. At the third attempt the lock gives way and           the door bursts open.                    In the foreground at one side is the bed with a naked foot lying           still and exposed.                    When the door is open, David is first in, followed by the other           two. There is a period of silent shock as they contemplate Hugo's           naked corpse. Alex opens a window.                    DAVID          Is this what they always look like?                    JULIET          Yes.                    Juliet drapes a sheet over the body, covering it completely.                    ALEX          I wonder how he did it?                    JULIET          Did what?                    ALEX          I wonder how he killed himself. I presume that that's what           happened. What do you think?                    Quite casually, Alex begins to open drawers and cupboards,           emptying the contents on to the floor.                    JULIET          Alex.                    ALEX          What? What's wrong?                    JULIET          What are you doing?                    ALEX          I'm just looking.                    JULIET          Don't.                    ALEX          Don't look?                    JULIET          No.                    ALEX          Why not? What's wrong, Juliet? Aren't you curious? Don't you           wonder what he died from?                    JULIET          No.The guy's dead.What more do you need?                    ALEX          It's not every day I find a story in my own flat.                    JULIET          Thats not a story, Alex. It's a corpse.                    ALEX          Old newspaper proverb says dead human being is living story. Be           rational, please, and failing that be quiet.                    In a drawer in a bedside cabinet, Alex finds needles, syringes           and a small bag of powder. Without comment, he holds it up and           throws it on the bed.                    He reaches under the bed and pulls out a case, which he opens. It           is empty and he pushes it back under.                    DAVID          I've never seen a dead body before.                    JULIET          Alex, I think it's time for you to stop.                    Alex continues to search. Juliet walks out.                    INT. HALL. NIGHT                    Juliet stands alone.                    INT. HUGO'S ROOM. NIGHT                    Alex continues his brisk search through Hugo's posesseions while           David looks on, appalled but speechless.                    INT. HALL. NIGHT                    Juliet listens to the sounds from the bedroom, then picks up the           telephone. She dials 999 and waits for a reply. It rings and           rings.                    INT. HUGO'S ROOM. NIGHT                    Alex has found and opened a large Gladstone bag. Neither David           norwe can see into it.                    DAVID          I saw my grandmother, of course, but I don't suppose that counts.           I mean, she was alive at the time.                    ALEX          Can I show you something?                    INT. HALL. NIGHT                    Juliet awaits an answer.                    Alex approaches Juliet with the open bag. She turns around and           looks into it, then, seeing the contents, she replaces the           receiver. As she does so, the Operator's voice is audible for a           second.                    OPERATOR          Hello, emergency services.                    The telephone hits the cradle.                    INT. KITCHEN. NIGHT                    David, Alex and Juliet are seated in silence around the tabel.           The bag, stacked with money, lies open on the table.                    DAVID          No.                    ALEX          Think about it.                    DAVID          No.                    ALEX          Come on, David.                    DAVID          No.                    ALEX          Juliet?                    JULIET          No, Alex. It's, it's --                    ALEX          What?                    JULIET          Unfeasible.                    ALEX          Is that all?                    DAVID          You mean immoral.                    ALEX          I'm only asking you both to think about it.                    DAVID          It's asick idea, Alex. It's sick.                    ALEX          But don't tell me that you're not tempted by it. Don't tell me           that you're not interested. I know you well enough.                    DAVID          You think so?                    ALEX          (AMUSED)          All right, then, go ahead, telephone. Telephone the police. Try           again. No one's going to stand in your way. Go ahead. Tell them           there's a suitcase of money and you don't want it.                    INT. HALL. MORNING                    The flat is silent. Footsteps are heard outside the door and mail           falls through the letter box.                    INT. LIVING ROOM. DAY                    The living room, empty.                    INT. KITCHEN. DAY                    The kitchen, empty. The bag of money still sits on the table.                    INT. HUGO'S BEDROOM. DAY                    His corpse lies on the bed, covered as before, incompletely, by a           sheet, with parts of his body still showing (a foot, a hand, part           of his face or abdomen).                    INT. NEWSPAPER OFFICE. DAY                    The open-plan office of a busy newspaper. Alex sits at his desk.           He is talking on a telephone jammed against his shoulder and           while he does so he is casually acknowledging and waving at           colleagues.                    ALEX          Now, was there a pet in the house? Yes, a pet, like a dog or a           budgie or a gerbil. You see, what I need is PC Plod rescues Harry           the Hamster from House of Horror'. All right... well, that's a           pity, you see, no pets, no human angle.                    Alex hangs up.                    INT. HUGO'S ROOM. DAY                    Another view of the body: for example, from above.                    INT. HOSPITAL. DAY                    In the accident and emeregency department of a busy hospital,           Juliet sifts through a setof casenotes. Another Doctor approaches           her.                    DOCTOR          Hi, there.                    Juliet does not look up.                    JULIET          Hello.                    DOCTOR          What happened to that guy?                    JULIET          What guy?                    DOCTOR          That guy, the one that died.                    Juliet looks up.                    JULIET          What guy that died?                    DOCTOR          That one, last week.                    JULIET          Here?.                    DOCTOR          Yeah, here, I mean, where else?                    JULIET          Oh, him. Well, he died.                    DOCTOR          (SATISFIED)          That's what I thought.                    INT. HUGO'S ROOM. DAY                    The body, stillpresent, exposed and motionless. The curtain           flutters by the open window.                    INT. LUMSDEN'S OFFICE. DAY                    Lumsden, a middle-aged chartered accountant, isseated in a           largechair behind a desk. He is talking to David,who appears           distracted.                    LUMSDEN          What do we do here, David?                    DAVID          Sorry?                    LUMSDEN          Here.                    DAVID          Right here?                    LUMSDEN          In this firm.                    DAVID          Well, it's a wide range of, eh --                    LUMSDEN          Accounting, David, chartered accounting --                    DAVID          Exactly what I was --                    LUMSDEN          -- is often sneered at. Are you aware of that?                    DAVID          Not any real sneering as such, no.                    LUMSDEN          There's a whole wide world out there, and it all needs to be           accounted for, doesn't it?                    DAVID          Eh --                    LUMSDEN          But they sneer, don't they?                    DAVID          I'm not sure --                    LUMSDEN          Oh, it's unfashionable, I know, but, yes, we're methodical, yes,           we're dilligent, yes, we're serious, and where's the crime in           that, and why not shout it from the rooftops, yes, maybe           sometimes we are a little bit boring, but by God, we get the job           done.                    DAVID          Yes, sir.                    LUMSDEN          And that's why I think you fit in here.                    DAVID          I'm boring?                    LUMSDEN          You get the job done.                    DAVID          Oh, I see, I thought you meant --                    LUMSDEN          Which is why I'm trusting you with this account.                    Lumsden throws a heavy folder into David's lap.                    INT. HUGO'S ROOM. EVENING                    It is almost dark.Only the familiar contour is visible through           the gloom.                    INT. STAIRWELL. EVENING                    David ascends the stairs to the flat.                    INT. LIVING ROOM. EVENING                    Alex sits in an armchair facing out of the window. Juliet stands           facing into the room. David, the last home, appears in the           doorway.                    DAVID          He's still here.                    ALEX          He couldn't get his car started.                    DAVID          When are you going to let the police know?                    ALEX          You call them if you want.                    DAVID          (to Juliet)          And what about you?                    JULIET          Well, I'm getting used to having him around.                    INT. HUGO'S ROOM. DAY                    The corpse as before.                    INT. ACCOUNTANT'S OFFICE. DAY                    David sits at his desk, looking across the office.                    Crouched over a large array of other desks, young men and women           in suits are pouring over folders and columned books. No one is           speaking except in muted tones on the telephones.                    David watches them. He looks to his left and to his right: on           either side young men like him are toiling over accounts. He           turns and looks behind him, where another array of accountants           sit.                    He turns back to his desk and opens the file he was previously           given. He looks at the columns of records of profit, with a large           total at the bottom.                    When David looks up he sees Juliet seated beside his desk. She           smiles and directs his gaze, with her own, to the surrounding           scene.                    INT. HUGO'S ROOM. EVENING                    The body in silhouette.                    DAVID          (VOICE-OVER)          OK. Let's do it.                    INT. DIY STORE. DAY                    Inside a large, brightly lit DIY store with Muzak playing in the           background. We start with a tracking shot along an aisle stacked           with potentially vicious tools.                    ALEX          (VOICE-OVER)          All right, now listen. We have to dispose of the body in such a           way as to make it unidentifiable, so that even if it is found,           then it's never anything more than an unknown corpse. Burning,           dumping at sea, and straightforward burial are all flawed either           by fingerprints, or, more commonly, by dental records. This I           have learned. Now, what I suggest is that we bury him out in the           forest, but first of all we remove his hands and his feet, which           we incinerate. And his teeth, which we just remove. It's as           simple as that.                    As the tracking shot ends, we see David's head and shoulders as           he looks at something off picture. Suddenly a spring-loaded           screwdriver appears and is fired' so that the tip stops a few           millimeters from his face. David winces as we see that Alex is           holding it.                    ALEX          (CONTINUED)          I always wondered what these were for.                    Alex places the screwdriver down on the shelf and walks across           the aisle to pick up a saw and a hammer.                    ALEX          (CONTINUED)          Now this is what we need. And this.                     Alex hands the tools to David, who looks at them with disgust.           Alex walks on.                    ALEX          (CONTINUED)          Now what else?           DAVID          I don't know.                    ALEX          A spade, we need a spade -- I wish you would concentrate -- we           need a spade if we're going to dig a pit.                    DAVID          So who's going to do it?                    ALEX          Dig the pit, I don't know.                    DAVID          No, not that.                    ALEX          Then what? Who's going to do what?                    DAVID          You know what I'm talking about.                    ALEX          Do I? What? What? What are you talking about?                    DAVID          You know what. Who's going to do it.                    ALEX          We all are, David, we're all going to do it. Each of us, you, me           and Juliet, will do his or her bit. Is that fair enough?                    DAVID          I can't do it.                    ALEX          I don't hear this.                    DAVID          I won't be able to.                    ALEX          You're telling me you want out? Already? You're telling me you           don't want the money? Hugo is going off. He smells. The flat           smells. We can't wait any longer.                    DAVID          I'm just telling you I can't cut him up.                    Alex turns away in disgust.                    EXT. LANE. NIGHT                    Late at night, in a quiet lane at the back of the flat, a hired           Ford Transit is parked.                    INT. VAN. NIGHT                    Inside the dimly lit van, Alex and Juliet are laying down plastic           on the floor.                    JULIET          Who's going to do it?                    ALEX          I thought we all were.                    JULIET          I don't thinkI can.                    ALEX          But you're a doctor. You kill people every day.                    JULIET          I don't want to. It's different.                    ALEX          And now you tell me.                    INT. UNDER WATER/BATHROOM. NIGHT                    A Man's face is being held under water. Bubbles escape from his           mouth and his eys bulge.                    Tim hauls the Man's head out of the bath. His legs and arms are           bound with cord. Andy sits on a chair, watching.                    Tim ducks the Man's head under the water again.                    The Man's face as before.                    INT. HUGO'S ROOM. NIGHT                    We see Hugo's face just before Alex, David and Juliet wrap him in           a sheet and thick, black plastic. They wear masks over their           noses. The smell is making them uncomfortable and irritable.                    DAVID          There's something I want to ask.                    INT. BATHROOM. NIGHT                    The Man's head has just been lifted from the water.                    MAN          I don't know. I swear to God, I don't know.                    Tim ducks the Man's head back under the water.                    INT. HUGO'S ROOM. NIGHT                    ALEX          (angry through his mask)          Family? Family? Friends? Drugged-up wandering suicidal search of           the self fuck-ups don't have families, David.                    DAVID          I just thought we should discuss it.                    ALEX          Take his legs.                    INT. STAIRWELL. NIGHT                    In the stairwell of the flat, grunts of effort are heard as Alex,           David and Juliet struggle with the heavy corpse, carrying it down           the stairs wrapped in plastic sheeting. They come into view and           go down the stairs. They are all very tense and freeze with panic           after accidentally banging against another flat's door. They           swear at one another and continue theri descent.                    INT. BATHROOM. NIGHT                    Tim is ducking the Man again. He writhes and struggles but is           powerless to stop it.                    EXT. BEHIND THE FLAT. NIGHT                    The back yard and back door of the flats. The door opens and           Alex, David and Juliet emerge, carrying the corpse out towards           the van.                    INT. LANDING OUTSIDE THE BATHROOM. NIGHT                    From the landing we can see along the floor into the bathroom.           The Man's legs extend away from the bath. They are completely           still. Andy and Tim stand beside them, looking down.                    ANDY          You stupid bastard.                    INT. VAN. NIGHT                    Inside the back of the empty van. The door is opened and the body           is half slid and half thrown inside. The door is closed and in           the dark interior, the outline of the plastic lump is just           visible, thanks to a streetlight. One of the doors opens again           and David throws a bag of tools in. He then closes and locks the           door.                    INT. VAN. NIGHT                    In front of the van, David is climbing into the passenger side.           Juliet and Alex are already in, with the latter at the wheel.           Alex turns to the other two.                    ALEX          Why don't we just draw lots for it?                    The other two remain silent.                    ALEX          (CONTINUED)          Whoever draws the short straw does it all. That way, you either           do it or you don't. All or nothing.                    JULIET          OK.                    ALEX          David?                    DAVID          I don't know.                    ALEX          Look, if I draw the short straw, then I'll do it, but I'm not           going to do it just because you won't.                    Alex starts the engine of the van.                    EXT. FOREST. NIGHT                    Through the darkness we hear an engine, then the headlights of           the van come into view.                    It pulls off the track onto a patch of grass. The engine is           switched off but the light remains on. The trio descend from the           van.                    In fron of the van, Alex, illuminated by its lights, Alex, David           and Juliet stand together. Alex is showing them two long stems of           grass and one short one. He encloses them in his fist and holds           them out.                    ALEX          All right, then, here we are and this is it. Do you want to play           or not?                    Alex holds his hand out towards Juliet, who takes the tip of one           of the stems. It is one of the larger ones.                    Alex and Juliet turn to David. Alex holds out the stems. David           reaches out and takes one of the tips. It is the short straw.                    DAVID          I can't do it.                    EXT. FOREST. NIGHT                    Deeper in the forest, with the headlamps still casting a little           light throught the trees, we see David's head and shoulders. His           right arm is moving briskly back and forth accompanied by a           vicious sawing noise. The sawing stops as he evidently finished           with one extremity. He shuffles back and starts sawing at           another.                    Alex leans against the spade in a shallow pit that he has dug. He           observes David impassively. The sawing stops again.                    DAVID          Finished.                    ALEX          But not quite.                    DAVID          Is that going to be deep enough?                    Alex bends down to pick up the hammer, which he holds out towards           David.                    ALEX          Don't you worry about that.                    DAVID          Is this necessary?                    ALEX          Yes. Now come on, all or nothing.                    Most reluctantly, David takes the hammer and looks at Alex, who           gestures as if to say, "On you go.' With revulsion on his face,           he raises the hammer above his head.                    INT. DAVID'S ROOM. DAY                    David's face is visible against the plain white backdrop of his           pillow.                    He lies fully clothed on his bed, looking up at the ceiling.           There is a knock at the door, then Juliet walks in.                    JULIET          Are you all right?                    DAVID          (without looking at Juliet)          Oh, yes, I'm fine, thanks, just fine.                    JULIET          Would you like to talk about it?                    DAVID          No.                    INT. LIVING ROOM. DAY                    Alex sits with his feet up watching a noisy game show, while           eating a snack and drinking from a can of beer. Newspapers lie           scattered at his feet.                    INT. LOFT. DAY                    The loft above the flat in darkness, but the trapdoor is opened,           letting in a pool of light.                    INT. HALL. DAY                    David is pulling himself through the trapdoor up into the loft.           Beneath him is a stepladder. Juliet stands half-way up the           ladder, while Alex stands on the floor beside it. As David enters           the loft, Alex hands up the bag of money to Juliet, who passes it           on up to David.                    JULIET          Be careful.                    ALEX          Yeah, we don't want another stiff on our hands. Don't fall           through the ceiling. OK? Is he listening to me?                    JULIET          Stop nagging.                    ALEX          (to himself)          I don't know why we couldn't stuff it in a mattress or put it           under the floor like any normal human being. We could have hid it           in the fridge.                    INT. LOFT. DAY                    David moves on into the dark cavernous loft, edging his way           across beams and pipes. There are no skylights.                    He stops and leans against some structure (the water tank). He           strains to see in the darkness.                    Suddenly there is a loud sucking and flowing noise as water           empties from the water tank. David is startled and steps forward,           tripping. He reaches out as he falls, striking a light switch.           Briefly the loft is illuminated: David blinking as he lies across           some beams, the large cavernous area, the pipes, the water tank,           the bag of money lying between two rafters, and then the old           brass switches beginning to spark and the light goes out.                    David scrambles towards the trapdoor.                    INT. HUGO'S ROOM. DAY                    Now clean and empty, with no trace of recent habitation.                    INT. HOSPITAL. DAY                    In a basement corridor in the hospital, pipes run along the           ceiling. Above a fenced-off area is a sign saying For           Incineration Only -- No Aerosols'. On the floor of this area are           yellow plastic sacks. Juliet appears around a corner carrying one           of these. Quite casually the clumps it on the pile and continues           past.                    EXT. QUARRY. EVENING                    Alex pushes a blue car into a quary.                    INT. SUBURBAN LOCK-UP GARAGE. NIGHT                    In the garage there is a car, gardening equipment, several sacks           of fertilizer and a trunk-style deep freeze, on the lid of which           sit Andy and Tim. Tim takes out a cigarette and offers one to           Andy, who declines.                    They slide off the deep freeze and open it.                    Inside the freezer there is a man, naked and bound with cord.           They lift him up. He is very cold and weak.                    The Man begins to whisper inaudibly. Andy moves his head so that           he can hear the whisper. He listens, then nods approvingly.                    They push him down again and close the lid. Andy holds the lid           while Tim dumps the sacks of fertilizer on top.                    INT. CHARITY BALL. NIGHT                    Alex, David and Juliet are attending a charity ball. Everyone is           dressed very smartly, in ball gowns and black ties with the           addition of a significant number of kilts.                    Neither Alex nor David wears a kilt. The trio seem to know a           number of people there but do not seem especially keen to speak           to them.                    A middle-aged, podgy, mustachioed Master of Ceremonies is           standing on a platform in front of the band, making a speech to           the diners who are still sat at their tables.                    MC          Ladies and gentlemen, may I have your attention please. First of           all, may I thank you all for coming along tonight and supporting           our appeal to raise funds for the sick children's unit.                    There is a quick drum roll and applause breaks out. We move to           the table where Alex, David and Juliet are seated. Alex leans           across to Juliet.                    ALEX          You didn't tell me that this was for children. I hate children.           I'd raise money to have the little fuckers put down.                    Some other guests around the table cast critical glances at Alex.                    JULIET          Sshh.                    ALEX          I want my money back. Excuse me.                    Alex signals to the waiter by lifting his hand and snapping his           fingers, then indicates another bottle of champagne that already           ists in front of him.                    MC          For all too often there's a complacency: out of sight, out of           mind, let someone else bother about these things.                    Alex cheers once and starts to applaud on his own. Juliet nudges           him viciously.                    MC          (CONTINUED)          But just before the dancing, I'd like to say a special thank-you           to a few of the people who've worked so very hard to make this           occassion happen.                    The MC's drone continues in the background while conversation           continues back at the table.                    DAVID          Do you know many of these people?                    JULIET          Yes. They're my friends.                    ALEX          I see, so if they want to talk to you, we say you're not in.                    MC          And now, ladies and gentlemen, and those of you who are neither           or both --                    Drum roll.                    MC          (CONTINUED)          -- would you make your way to the floor for Strip the Willow.                    JULIET          Are we going to dance?                    ALEX          Well, it's physical contact, isn't it?                    INT. DANCE FLOOR. NIGHT                    The dance floor a few minutes later. It is packed and rather           chaotic. Sweaty, dishevelled dancers sling one another around,           with the thud of flesh against flesh. Toes are stood on and           jackets discarded.                    Juliet dances with Alex, who plunges in with the maximum of           violence, eventually tripping up and tumbling forcefully among           the other dancers.                    He starts to get up, then rests his head back against the floor.                    David has not been dancing. Instead he remains at their table and           at the bar, drinking steadily and watching the other two.                    INT. TABLE. NIGHT                    Back at the table, while most people are still on the dnace           floor, the trio sit drinking and Alex smokes a cigar.                    ALEX          That was good.                    DAVID          Can we talk about something?                    ALEX          Not now. I have an idea.                    Alex pours champagne on to a stack of glasses.                    DAVID          Listen, it's important. We need to talk about what we're going to           do --                    ALEX          Just stop worrying.                    Alex stands and raises his glass.                    ALEX          (CONTINUED)          Love and happiness for ever.                    JULIET          For ever and ever.                    Alex drinks, then puts his glass down. Juliet drinks but does not           drain her glass. David sits still.                    ALEX          What's the problem?                    DAVID          I want to talk now.                    ALEX          After you drink to love and happiness forever.                    DAVID          Now.                    ALEX          After.                    JULIET          David, I promise we will. Keep him happy.                    ALEX          It's not for me. It's for love and happiness forever.                    David reaches out to take his glass. Suddenly, Alex flings an arm           out to point, knocking over David's glass and completely losing           interest.                    ALEX          (CONTINUED)          Look over there. It's Cameron.                    JULIET          Who?                    ALEX          Cameron. You remember Cameron.                    JULIET          No, I don't.                    ALEX          What's he doing here?                    JULIET          That's not him.                    ALEX          Yes, it is. It's him. Cameron, Cameron, come on over.Yo!                    From some distance away, Cameron becomes aware of Alex and           cautiously makes his way across until he stands a few feet from           the table.                    CAMERON          What?                    ALEX          Nothing. We thought you were someone else.                    Alex falls forward, laughing, and the other two also laugh as           Cameron walks away, humiliated again.                    ALEX          (CONTINUED)          Good luck. I love that guy, but why does he have to follow us           around?                    DAVID          Anyway, what I was wanting to say was this --                    BRIAN          (UNSEEN)          The divine Juliet. Long time no see.                    Brian approaches and is standing behind their table.                    JULIET          Brian.                    BRIAN          Would you care to dance?                    DAVID          Hold on there. Who do you think you are?                    BRIAN          What?                    DAVID          Who do you think you are? You interrupted us.                    BRIAN          I'm Brian McKinley, and who are you?                    DAVID          Well, Brian McKinley, if you want to talk to my girlfriend, you           talk to me first. If you want to dance with her, then you apply           in writing three weeks in advance or you're gonna end up insode a           fucking bin-bag. You didn't apply, so you don't dance.                    Shocked and frightened, Brian backs away, then turns around to           complete his departure. Juliet restrains David with a touch as           they watch him go.                    JULIET          Do you think you could be a little more forceful next time?                    DAVID          I'm sorry.                    JULIET          It's alright. I think he got the message anyway.                    DAVID          That was stressful. I found that stressful.                    ALEX          Yeah, but you were good, you were really good. Fucking bin-bag',           I liked that. You were good. You explored your maleness to the           full there.                    DAVID          You think so?                    JULIET          Well, you certainly had a good look around.                    ALEX          You were magnificent.                    INT. TOILETS. NIGHT                    The gents' toilet. Brightly-lit and white-tiled. Alex walk in and           goes into a cubicle and closes the door. We hear him whistling           and laughing as he passes urine. He keeps muttering bin-bag' to           himself. Then he flushes the toilet and opens the door. As he           does so a look of surprise appears on his face as he sees someone           waiting for him.                    ALEX          Cameron! What a surprise.                    As Alex is speaking Cameron's fist flies forward, hitting him in           the face and sending him flying backwards. Cameron enters the           cubicle and closes the door behind him.                    INT. HALL. MORNING                    Mail falls through the letter box.                    INT. KITCHEN. MORNING.                    Alex does not stir.                    INT. HALL. MORNING                    David emerges from his room, ready for his work. He looks towards           the kitchen, then walks to the door and opens it.                    INT. KITCHEN. MORNING                    We hear the main door closing as David leaves. Alex jolts with           energy with every sound. The telephone begins to ring. Juliet           looks at Alex expectantly, but he does not move. Eventually she           gets up and answers it.                    JULIET          Hello. Hello.                    ALEX          Who was it?                    JULIET          Don't know. No one said anything.          ALEX          Rendered speechless with desire. I recall that feeling, from the           days when I had such a thing.                    JULIET          Are you all right?                    ALEX          No.                    JULIET          Then let's spend some money.                    INT. FLAT. DAY                    There follows a video depicting the results of Alex's and           Juliet's spending spree. It opens with Alex seated at the kitchen           table talking to the camera, absolutely deadpan.                    ALEX          Hello. It's been a struggle, but now the days of worry are over,           the light at the end of the tunnel has expanded into a golden           sunrise and at last, at long last, nothing will ever be the same           again.                    Alex leans out and the camera foloows him as he presses the play           button on a tape recorder. The music begins.                    Fast cuts follow, occasionally interrupted by out-of-focus shots           of the floor or ceiling as the camera swivels round and is           switched on and off.                    Alex wearing several different suits, outfits and silk pyjamas.                    Juliet wearing several different outfits.                    Both of them posing with small objets d'art.                    The expensive watch on Alex's wrist.                    Juliet's jewellery.                    Expensive toys.                    Juliet takes a picture of Alex with a Polaroid camera.                    Alex holds the camcorder out at arm's length in order to film           himself and turns to the camera and adjusts his tie.                    ALEX          (CONTINUED)          This is Alex Law reporting from the scene of his own life, and           you know, I'm so happy I could die.                    Darkness. TV. Turned off.                    INT. LIVING ROOM. DAY                    The music has stopped.                    David presses the eject button and lifts the video from the           player.                    Alex and Juliet are seated on the sofa, surrounded by their           acquisitions, and are evidently a little embarrassed. Juliet is           holding the Polaroid of Alex.                    DAVID          I think we ought to scrub this, don't you?                    David reinserts the tape and presses record.                    ALEX          Will you calm down.                    JULIET          Yeah, you're making us all nervous.                    David picks up the Polaroid of Alex and throws it down, then           picks up a vase.                    DAVID          How much did you pay?                    ALEX          I don't know.                    DAVID          How much did you pay?                    ALEX          I don't know.                    DAVID          How much?                    ALEX          I don't know.                    JULIET          Two hundred.                    DAVID          Two hundred pounds?                    JULIET          Two hundred pounds.                    DAVID          You paid two hundred pounds for this?                    JULIET          That's what it cost, David.                    DAVID          No, no, no. That's what you paid for it. Two hundred pounds is           what you paid for it. We don't know what it cost us yet, for you           two to have a good time, we don't know the cost of that yet.                    From out in the hall, the phone starts to ring. Nobody moves.                    INT. DAVID'S ROOM. NIGHT                    David lies awake in his bed.                    INT. A FLAT HALLWAY. NIGHT                    Hearing the noise, David sits up in bed, then gets out, reaching           for his clothes.                    INT. STAIRWELL. NIGHT                    David looks down the stairwell. Other neighbours, in nightclothes           or hurriedly dressed, are standing at the open door of the flat           below. David descends the the stairs and looks into the hall of           the other flat where the occupant, an Elderly Woman, lies           groaning on the floor.                    A hand on David's shoulder pushes him out of the way and two           uniformed policemen walk past, followed by an ambulance man           carrying a stretcher.                    DAVID          Did they take anything? Did they take anything?                    No one acknowledges his question or answers it.                    The ambulance men emerge carrying the woman, her face bruised and           cut. Everyone else begins to melt away.                    INT. STAIRWELL. NIGHT                    David stands alone on the darkened stairwell.                    INT. DAVID'S ROOM. NIGHT                    David lies awake in his bed.                    INT. DOOR OF THE FLAT. DAY                    Someone attempts to open the door but cannot because there are           two new security chains on the inside. The door is forced against           the chains with no success and Alex calls from the other side.                    ALEX          What is this? What is going on? David!                    David approaches the door.                    DAVID          I'll let you in.                    David closes the door and looks through a new spyhole to see Alex           grinning at him while he releases the chains and then opens the           door again. Alex walks in.                    ALEX          What is this?                    DAVID          Security.                    DAVID          From what? Jehovah's Witnesses?                    DAVID          There was a break-in.                    ALEX          Downstairs, I know. Pensioner's terror ordeal: page six.                    Alex hands David a rolled-up newspaper.                    DAVID          Doesn't it worry you?                    ALEX          No, it doesn't. I tried to let it worry me but it won't. I've           worked on that paper for three years. There is a pensioner's           terror ordeal on page six every day. Every day. Maybe when I'm a           pensioner it'll worry me.                    Alex notices some more tools and the stepladder leading up to the           trapdoor.                    ALEX          (CONTINUED)          What's all this for, more security?                    DAVID          I fitted a lock up there. On the inside.                    ALEX          Oh, that'll come in useful.                    INT. KITCHEN. NIGHT                    Alex is serving on plates from a large bowl of pasta.                    David and Juliet sit at the tabel.                    JULIET          Is this the same stuff you made last week?                    ALEX          No, no, it's different.                    JULIET          I hope it tastes better than the other stuff.                    ALEX          It tastes different.                    JULIET          I don't want it to taste different. I don't know why I bother. Is           that enough for you? Hey!                    DAVID          What? Yes, that's fine.                    ALEX          You're sure? There's lots more.                    DAVID          No, I'm sure, that'll be enough.                    ALEX          What's wrong?                    DAVID          Nothing.                    ALEX          You're not eating.                    DAVID          Not eating what?                    ALEX          Not eating like you used to, that's what.                    DAVID          If you give me the plate, I'll eat.                    Alex hands him the plate and he starts to eat. Alex watches him           chew a mouthful.                    ALEX          Now swallow.                    David does so.                    ALEX          (CONTINUED)          You know, you should spend some of that money instead of worrying           about it. That's my advice.                    JULIET          He's right. You'd feel much better about it.                    David has stopped eating.                    ALEX          Once it's spent you won't have to worry about it.                    JULIET          Be like a weight off your shoulders.                    ALEX          You know we're right.                    JULIET          Don't you?                    DAVID          I want to secure it.                    ALEX          Secure it? What do you mean -- you're gong to take it to a bank?           You're not going to take it to a bank? You're not going to take           it to a bank Or what, you want to bury it? Is that it?                    JULIET          I don't see the point in that.                    ALEX          Because that's no good. Remember, we did what we did, we took the           money. It was a material calculation. But what's the use if it's           underground, or in some funny bank in some funny place? If you           can't spend it, if you can't have it, what use is it? None. It's           nothing, all for nothing, if you do that. I didn't get into this           for nothing, so that I could have nothing --                    DAVID          Yeah, and you didn't saw his feet off.                    There is silence. David resumes eating.                    DAVID          (CONTINUED)          It tastes different.                    INT. HALL. NIGHT                    Alex stands at the sink doing some washing up. He hears footsteps           from the loft above. He stops what he is doing and walks slowly           out ot the hall.                    INT. LOFT. NIGHT                    In the darkness we can just make out David's eyes as he sits in           darkness.                    ALEX          (calling from below)          David, David, what are you doing up there?                    The torch goes on. David lifts the bag of money from between the           rafters. He puts it inside another thick yellow plastic bag,           which he ties tightly with string.                    David opens the water tank.                    Alex's voice can be heard throughout.                    ALEX          (continued; calling from below)          Will you come down now. It's not safe up there. Are you listening           to me. Security and insanity are not the same thing.                    INT. HALL. NIGHT                    ALEX          Shit.                    INT. KITCHEN. NIGHT                    Juliet sits drinking coffee, while Alex sands in the doorway           looking up towards the trapdoor.                    JULIET          Leave him alone.                    ALEX          He can't stay up there.                    JULIET          He'll come down. Leave him alone.                    ALEX          Yeah, he's got to go to work, hasn't he? You think he'll come           down for that?                    JULIET          No, but he's looking after the money, so what's the problem?                    ALEX          Looking after it -- he's probably fucking well eating it.                    INT. HOSPITAL. DAY                    Juliet looks through the door from a small office out into the           main waiting area in the casualty departmet. It is busy and there           are rooms of people nursing injuries waiting to be seen. More           file past the door while she watches with no enthusiasm.                    INT. HALL. DAY                    The trapdoor opens. David's head appears. He looks around and           listens carfeully.                    INT. LUMSDEN'S OFFICE. DAY                    Lumsden answers his telephone.                    INT. HALL. DAY                    David speaks on the telephone.                    DAVID          It's my mother, sir, she's very ill and I think I need to be with           her just now. I don't know. The doctors aren't sure. It could go           either way. Yes, sir, I'll certainly stay in touch.                    INT. BATHROOM. DAY                    David shaves carefully with a safety razor.                    INT. KITCHEN. DAY                    Bacon and eggs fry in a pan. David attends to them while drinking           from a large tumbler of orange juice.                    INT. HOSPITAL. DAY                    A Sister hands Juliet a casualty case sheet. Juliet reads it.                    JULIET          Painful groin? What does that mean?                    SISTER          I don't know. He wouldn't show me.                    Juliet draws back the curtain of a cubicle. Alex is sitting on a           trolly.           ALEX          Boy, am I glad to see you.                    JULIET          What are you doing here?                    ALEX          We have to talk.                    JULIET          Your painful groin?                    She turns and walks away. Alex chases after her.                    ALEX          Later. But first -- him.                    JULIET          David?                    ALEX          Exactly. Now I've been thinking --                    JULIET          Oh, good.                    ALEX          He won't do anything for me, but for you --                    JULIET          Forget it.                    ALEX          He isn't safe up there. If you really cared about him, you'd use           your influence to get him down, then he'd be safe.                    JULIET          And the money?                    ALEX          We could put it somewhere.                    JULIET          Where he can't get it?                    ALEX          Now you thought of that, not me.                    JULIET          Forget it -- he'll come down.                    Juliet walks away.                    INT. HALL. DAY                    The hall is empty and the flat is silent. We see the trapdoor.                    INT. LOFT. EVENING                    David sits in the darkness. A crack of light penetrates beside           the trapdoor.                    INT. KITCHEN. NIGHT                    Alex and Juliet sit at the table, eating in silence.                    The doorbell rings. Alex and Juliet look at one another.                    ALEX          Expecting anyone?                    JULIET          No.                    ALEX          Oh.                    Alex resumes eating.                    JULIET          Aren't you going to answer it?                    ALEX          Well, I'm not expecting anyone either.                    Juliet glares at him.                    INT. HALL. NIGHT                    Alex approaches the door and is about to open it. At the last           moment he checks himself and looks through the spyhole.                    INT. THROUGH THE SPYHOLE. NIGHT                    Tim and Andy stand outside the door.                    INT. HALL. NIGHT                    Alex, slightly puzzled, fixes the security chains before opening           the door. As soon as he opens it, the door is kicked wide open as           the security chains break off. Tim and Andy enter the flat.                    In a whirlwind of force they drag and shove Alex and Juliet into           the living room and bind them up with cord. There are no words           apart from slightly muffled cries.                    At the end of this Andy stands in front of Alex holding a           crowbar. Swiftly and without warning, he cracks it across Alex's           shins. Then Andy slowly puts one one end of the crowbar into           Alex's mouth. For a moment he does nothing, then just as slowly           again, he takes the crowbar out.                    ALEX          It's in the loft.                    INT. HALL. NIGHT                    The trapdoor is closed but the sound of it being unlocked can           just be heard (although not by anyone in the flat.                    INT. HALL. NIGHT                    Tim pulls the ladder across to the trapdoor.                    INT. LOFT. NIGHT                    It is completely dark in the loft, but as the trapdoor opens a           shaft of light strikes upwards and illuminates a small pool           around the opening.                    INT. LOFT. NIGHT                    Away from the trapdoor there appears to be a wall of uniform           darkness, but then we see a pair of eyes in the darkness. It is           David. He stands perfectly still.                    There is a hammer in his right hand.                    INT. LOFT. NIGHT                    Tim's head appears through the trapdoor. Cautiously he lifts           himself through and balances on the beams.                    INT. HALL. NIGHT                    The hall is empty, but we can see the open trapdoor. Suddenly           there is a single thud, as might be caused by a body landing           heavily on and across some beams in the loft.                    INT. LOFT. NIGHT                    David stands motionless in the dark, exactly as before.                    INT. LIVING ROOM. NIGHT                    Andy has heard the single thud. He strains to hear anything else           but does not. Slowly he backs away to the door of the living           room, keeping the crowbar trained on Alex as he does so. He looks           back and up towards the trapdoor.                    INT. LOFT. NIGHT                    Once again a small pool of light emanates from the open trapdoor.           Andy emerges into the front of this, crowbar in hand, peering           into the darkness. Carefully he stands up and moves out of the           light and steps across the beams. His foot strikes something and           he looks down. Tim's body lies spread-eagled beneath him. He           looks up. To one side of him is the brass light switch. Andy           lifts his arm, reaches towards it and switches it on. Sparks pour           out for a moment and then the light comes on for a fraction of a           second, long enough for Andy to see David's face is only           centimetres from his own.                    INT. HALL. NIGHT                    Alex and Juliet are bound together as before. There is a loud           thud from the ceiling, following by a few heavy steps. Then           Andy's body falls headfirst through the trapdoor, straight down           to the floor below, landing awkwardly and coming to rest with his           head hanging back, looking towards Alex and Juliet. Andy takes           one agonal breath and dies. Blood trickles from the side of his           mouth.                    Tim's body lands on Andy.                    David drops himself from the hatch to the floor.                    David takes a large knife from a wooden block.                    Back in the hall he kneels, holding the knife, beside Tim.           Noticing something at the top of tim's neck, he uses the knife to           lift away Tim's T-shirt. A tattoo covers Tim's neck. David looks           at it, then stands up.                    He walks through to the living room, where Alex and Juliet, still           bound, watch him approach. He looks at them for a moment, then           extends the knife and cuts the cord in one place.                    EXT. FOREST. NIGHT                    In a scene similar to the dismemberment of Hugo, we see David's           shoulders as he saws back and forth at something unseen. He stops           and reaches out for the hammer, picks it up and raises it above           his head.                    EXT. ROAD. DAWN                    The van is silhouetted against a rising sun.                    INT. BACK OF THE VAN. DAWN                    The tools and the yellow sack slide about in the back of the van.                    INT. VAN. DAWN                    David is driving. Alex and Juliet are huddled silently away from           him. David seems quite at ease.                    A thick bunch of keys dangles from the ignition. Juliet observes           them.                    INT. LOFT. DAY                    David sits still in the darkness.                    INT. NEWSPAPER OFFICE. DAY                    Alex sits at his desk fidgeting, about to write something but           unable to start. On the screen of his word processor is a page           mock-up with the headline CATS EAT PENSIONER'. As the telephone           on his desk rings, he is startled, then reaches out, slowly lifts           it fractionally and replaces it.                    INT. TRAVEL AGENT'S. DAY                    Hunched over a VDU, the Salesman is offering Juliet a range of           flights.                    SALESMAN          October 15th, direct flight, London Heathrow to Rio de Janeiro,           British Airways, you are looking at seven hundred and sixty-five           pounds. Seven six five.                    JULIET          That sounds fine.                    SALESMAN          Air Portugal, on the other hand, via Lisbon, same day, five           hundred and sixty-five. Five six five. It's up to you. Catering           important?                    JULIET          What?                    SALESMAN          Air France. Glasgow. Direct, but then you're looking at the wrong           end of nine hundred and twelve pounds. That's nine one two. It's           up to you.                    JULIET          Yes, the first one's fine. Heathrow direct.                    SALESMAN          It's up to you. Air Patagonia. New outfit: via Caracas and Bogot           . No catering. Four hundred and eleven pounds. Four one one. Good           value, but refueling at Bogot is variable.                    JULIET          The first one was fine.                    SALESMAN          Well, it's up to you. Seven six five. How will you be paying?                    INT. HALL. NIGHT                    The hall is empty but we can hear David's footsteps on the beams           above.                    INT. LIVING ROOM. NIGHT                    Alex sits watching The Wicker Man on televison. He can hear the           footsteps above. He turns the sound up on the television so that           he cannot hear them, but he keeps looking up at the ceiling, as           though he expects to hear them or see somwthing.                    Eventually he turns the sound back down and, after a moment's           silence, the footsteps start again, back and forth, then stop.                    Alex looks up.                    Without warning there is the sound of an electric drill.                    The blade of the drill appears through the ceiling and is then           withdrawn. Alex is shocked. Other drill holes appear.                    INT. VARIOUS CEILINGS. NIGHT                    Holes are drilled in the ceilings.                    INT. LOFT. NIGHT                    Rods of light penetrate up from the holes, interrupting but not           obliterating the darknes. David sits back, pleased with his work.                    INT. JULIET'S ROOM. NIGHT                    Juliet sits at her desk. Alex stands in the doorway. He is about           to speak. Juliet raises a finger to her lips. They both look at           the ceiling.                    EXT. GARDEN AT FRONT OF THE FLAT. NIGHT                    Establishing shot of Alex and Juliet in garden.                    INT. HALL. NIGHT                    The trapdoor is open.                    INT. ALEX'S ROOM. NIGHT                    David is searching through Alex's desk, looking through letters           and folders, then shoving them back into drawers.                    EXT. GARDEN AT THE FRONT OF THE FLAT. NIGHT                    ALEX          No, definitely not. And that's that. I refuse to discuss it           further.                    JULIET          It's the only way.                    ALEX          I refuse.                    JULIET          You're frightened.                    ALEX          No, I'm not frightened. A little terrified maybe. Did you see           what happened to the last two who tried that? They went up alive           and they came down dead -- the difference, I mean, alive dead           dead alive, that sort of thing. It wasn't difficult to spot. He           killed them both: he cut them up.                    INT. JULIET'S ROOM. NIGHT                    David is now searching through Juliet's desk. He picks up a large           brown envelope and looks into it. Beneath it is the airline           ticket envelope.                    The doorbell rings.                    INT. THROUGH THE SPYHOLE. NIGHT                    McCall and Mitchell stand outside the door.                    INT. HALL. NIGHT                    David opens the door. McCall smiles.                    MCCALL          Good evening. I'm Detective Inspector McCall and this is DC           Mitchell. I wonder if we could ask you some questions.                    DAVID          What about?                    MCCALL          It's about the burglary.                    DAVID          Burglary?                    MCCALL          Downstairs.                    DAVID          Of course.                    MCCALL          Can we come in?                    INT. LIVING ROOM. NIGHT                    David sits on the sofa while the two policemen sit on armchairs           several feet apart.                    DAVID          So I just heard her cries for help and all that, and when I went           downstairs there were already those other people there, so I just           stood around really, waiting -- you know how people do -- and           then when your colleagues arrived I came back upstairs. And           that's about all, I think. I didn't actually see anything useful,           I don't think.                    MCCALL          did you hear anything before he cries?                    DAVID          No, not that I recall, I was asleep.                    MCCALL          Have you seen anything or anyone suspicious around here in the           last few days?                    DAVID          No, nothing, sorry.                    MCCALL          Well, if you do, you'll let us know?                    DAVID          Of course.                    MCCALL          And the other three people on the flat, did they hear anything?                    DAVID          There are only two other people in the flat.                     McCall consults a notebook.                    MCCALL          Two?                    DAVID          Who said there were four?                    MCCALL          We understood there were four people living here. Not always, of           course, but now, four.                    DAVID          No, three. Who said there were four?                    MCCALL          How strange. And how unsatisfactory to have misleading           information. Only three people here. You're sure?                    DAVID          Yes, absolutely.                    MCCALL          Take a note of that, Mitchell. Only three, rather than four.           Write it down. You can use numbers or words, I have no           preference. Which are you using?                    MITCHELL          Both, sir.                    MCCALL          Excellent. DC Mitchell is a rising star, Mr. Stevens. Under my           tutelage he will undoubtedly make the grade.                    DAVID          I see.                    MCCALL          I doubt it. And these two other people, did they hear anything?                    DAVID          No, they were asleep. They didn't even wake up.                    MCCALL          Yes. Why do you think you woke and they didn't?                    DAVID          I don't know. Maybe I'm a light sleeper.                    Uncomfortably, David realizes that Mitchell has noted down even           this last, trivial remark in a painful longhand and has           underlined a short segment of it.                    INT. HALL. NIGHT                    In the hallway of the flat Mitchell stands at the open main door,           waiting to leave. McCall is kneeling at the door to Hugo's room,           tracing his finger down the broken lintel and lock. David looks           on.                    MCCALL          Loks like you had a break-in up here as well.                    DAVID          Someone lost the key.                    McCall gently pushes the door open and the light from the hall           illuminates Hugo's room.                    MCCALL          Is this where no one stays?                    DAVID          Yeah, that's right, that's it.                    David notices that Mitchell is writing this down.                    INT. GARDEN AT FRONT OF THE FLAT. NIGHT                    ALEX          You'll wait in the hall?                    JULIET          I'll wait there.                    ALEX          And if it sounds like I'm being killed, you'll phone the police,           you'll tell them everything?                    JULIET          Everything.                    ALEX          Everything. Except maybe that it was his idea and not mine in the           first place. OK? That's important to me. I need to die           misunderstood.                     JULIET          Alex.                    ALEX          What?                    JULIET          As smart as you are, you'll need a little help.                    She hands Alex a Yale key. Alex stares at it.                    INT. LOFT. NIGHT                    In the darkness, the sound of the lock being turned is heard.                    INT. HALL. NIGHT                    Alex tsands at the top of the ladder, holding the key in the           trapdoor lock.                    ALEX          All right, David, what I'm going to do is, I'm going to open this           lock and I'm going to come up, and what's important is that you           remain calm.                    There is one light on. Juliet stands at the bottom of the ladder.           Having opened the trapdoor, Alex stops and listens, but there is           no sound above his own breathing. Juliet throws up a torch, which           he catches. He switches it on. It shines, then goes out, and he           knocks it against the ladder, making it work again. Slowly he           pushes the trapdoor open.                    INT. LOFT. NIGHT                    The trapdoor opens. Below it, Alex crouches on the ladder,           expecting attack at any moment. He looks back down to Juliet, who           returns his gaze, then he slowly raises himself into the loft.                    He turns around quickly, darting the torchlight around into           corners and squinting in the darkness, but he sees nothing.                    The torch goes out. Cursing, he knocks it against a beam and it           shines again.                    Slowly he moves further from the trapdoor into the centre of the           loft, still turning around and worried about what might be behind           him.                    INT. HALL. NIGHT                    Juliet stands waiting, braced for sounds of conflict.                    INT. LOFT. NIGHT                    Alex is still looking but has relaxed a little, feeling les in           danger. In one corner he notices David's pile of left-possessions           and the mat on which he has been sleeping. He moves towards it.                    INT. HALL. NIGHT                    Juliet stands, still waiting.                    INT. LOFT. NIGHT                    Alex stands in David's corner. With another sweep of the torch he           can still see nothing. He calls to Juliet.                    ALEX          He isn't up here.                    INT. HALL. NIGHT                    A close-up of Juliet's face, just as David's hand slams across           her mouth, gripping her tightly while his other hand clamps on           the back of her head. David's mouth is right up against her ear           as he spits a warning into it.                    DAVID          Tell him to look for the money.                    Slowly, David relaxes his grip on Juliet.                    JULIET          Look for the money.                    INT. LOFT. NIGHT                    Alex, cheerful now, is looking in the rafters.                    ALEX          Don't worry, that's what I'm doing.                    INT. HALL. NIGHT                    David holds Juliet across her face again. She is terrified and           does not struggle.                    DAVID          Expecting anyone?                    JULIET          What?                    DAVID          Were you expecting anyone? Tonight?                    JULIET          No.                    DAVID          Visitors? Some friends maybe? Someone you talked to?                    JULIET          No one. I promise.                    DAVID          Who have you talked to?                    JULIET          No one.                    DAVID          If I think you're lying --                    INT. LOFT. NIGHT                    Alex stands gazing around the loft.                    ALEX          (from the loft)          Well, it's not up here.                    INT. HALL. NIGHT                    David pulls Juliet to one side.                    INT. LOFT. NIGHT                    Alex is about to descend when he notices the water tank. He walks           over and lifts the lid. His face breaks into a smile as he           realizes what it holds. He dips an arm into the tank, raises the           yellow bag, then quickly lowers it again. Alex steps back from           the water tank.                    INT. HALL. NIGHT                    Alex appears at the top of the ladder. Without looking, he slides           down as quickly as he can, calling out as he does so.                    ALEX          Juliet, I have --                    Alex reaches the base of the ladder. He turns around to find           himself facing the blade of the battery-operated drill, held by           David. Juliet stands off to one side.                    ALEX          (CONTINUED)          -- a problem.                    David holds the drill even closer until it is almost touching the           centre of Alex's forehead and presses the trigger' to turn the           blade slowly as he speaks.                    Alex does not move at all.                    DAVID          You looking for me?                    ALEX          Looking for you? Yes.                    DAVID          What for? What did you want? The money? Was that it?                    ALEX          We just wanted to speak to you.                    Alex's hands and sleeves are wet. A few drops of water fall from           his fingertips. Unnoticed by the other two, he slowly wipes his           hands on the back of his jeans.                    DAVID          Who else have you wanted to speak to? Maybe you thought they'd           already got me.                    The blade os the drill scrapes Alex's skin.                    ALEX          Who?                    DAVID          Your friends.                    ALEX          I don't know what you're talking about.                    JULIET          He doesn't know David.                    David holds the drill back slightly while he thinks. It could go           either way.                    DAVID          Well, maybe you don't --                    David lowers the drill and smiles.                    DAVID          (CONTINUED)          I'm talking about the police.                    INT. ALEX'S ROOM. DAY                    Alex has just woken up. He rubs his forehead. There is a nick in           it, where the drill has scratched. He rubs at it and examines the           drop of blood on the end of his finger.                    INT. DAVID'S POINT OF VIEW. ALEX'S ROOM. DAY                    Looking down from a hole in the ceiling, we see into Alex's room,           where he is getting dressed.                    INT. HALL. DAY                    Alex leaves his room and enters the hall.                    INT. LOFT. DAY                    Looking down from a hole in the ceiling, we see into Alex's room,           where he is getting dressed.                    INT. LOFT/HALL. DAY                    Looking down on Alex as he leaves the flat and closes the door.                    INT. LOFT. DAY                    David scurries back across the beams to look down through another           hole. He looks for several seconds.                    NOTE In the following sequence, Juliet's face is not seen until           her comment on it.           INT. JULIET'S ROOM. DAY                    Juliet lies on her bed. She throws the covers back.                    INT. LOFT. DAY                    David is still looking down through the hole.                    INT. JULIET'S ROOM. DAY                    Juliet moves about her room. She is wearing a large, baggy T-          shirt.                    INT. LOFT. DAY                    David still watching.                    INT. JULIET'S ROOM. DAY                    Juliet's legs are seen as the T-shirt lands on the floor beside           them.                    INT. LOFT. DAY                    David sits back suddenly, recoiling from the activity. He           scrambles back across to his mat, where he sits back down and           closes his eyes. Then he opens them and scrambles back to look           down again.                    INT. JULIET'S ROOM. DAY                    The room is empty.                    The sound of the flat door closing is heard.                    From David's point of view we see:                    INT. LOFT/HALL (EMPTY). DAY                    INT. LOFT/LIVING ROOM (EMPTY). DAY                    INT. LOFT/KITCHEN (EMPTY). DAY                    INT. HALL. DAY                    David's head appears beneath the trapdoor. He hangs from the           hatch and drops down to the floor.                    INT. BATHROOM. DAY                    David showers.                    INT. HALL. DAY                    David emerges from the bathroom and walks towards the kitchen. We           follow him in.                    INT. KITCHEN. DAY                    David takes orange juice out of the fridge and pours himself a           glass. He sits at the table and looks briefly into a corner that           we cannot see. The expression oh his face does not change and his           voice is impassive.                    DAVID          I thought you'd gone to work.                    JULIET          (UNSEEN)          With a face like this?                    INT. KITCHEN. DAY                    Juliet's face. There are bruises across it where she was gripped           by David.                    INT. MONITOR SCREEN/NEWSPAPER OFFICE. DAY                    In close-up we track along the following half-sentence: In the           event of my death I want the following facts to be known:' --                    The remainder of the screen is blank.                    Alex sits at his desk, deciding what to type next on the screen           seen before. A young Office Boy approaches his desk.                    OFFICE BOY          The editor wants to see you.                    INT. KITCHEN. MORNING                    David sits while Juliet talks. She is now seated behind him.                    JULIET          I remember how things used to be here, and I see how they are           now, and I don't know why it is. I don't know how we let you           become like this. We were your friends and we should have looked           after you.                    INT. EDITOR'S OFFICE. DAY                    Alex sits nervously while the Editor sits on the side of his           desk.                    EDITOR          Out in the woods. Three bodies. Decomposed. Mutilated. Beyond           recognition.                    ALEX          I don't know anything about it.                    EDITOR          Of course you don't know anything about it. If you knew anything           about it, I wouldn't have to send you over there to cover it.                    ALEX          Cover it?                    EDITOR          Well?                    ALEX          But there's no --                    EDITOR          Animals involved? I know, but you need a change. And besides,           we're short.                    ALEX          I don't know.                    EDITOR          Don't know what?                    ALEX          Well, I've got this story, it's really good, I'm working on, that           is good, I feel it could be big, it this, eh, and it's, you know,           it's incredible. Am I right, did you say beyond recognition'?                    INT. KITCHEN. DAY                    David and Juliet are seated as before.                    DAVID          I'm sorry.                    JULIET          I should hope so.                    david turns towards her. He reaches out and softly touches her           face.                    DAVID          Maybe we can still sort everything out.                    Juliet takes his hand.                    JULIET          We can try.                    They look at one another.                    EXT. FOREST. DAY                    Several police and unmarked vehicles, including one mobile           incident room', stand on a rough track. Another car arrives at           the end and is parkeed to one side. Alex steps out.                    From where he stands, Alex can see towards the site of the           burials. There are a few policemen, uniformed and plain-clothes,           and a small knot of journalists, kept at bay by plastic tape           draped from tree to tree. Mounds of earth mark the site of the           exhumations.                    Alex walks past the other journalists into the woods. He looks           back towards the sight, then turns to look in the opposite           direction. He finds himself at the edge of a golf course. From           the green to the graves is hardly any distance.                    To one side, Alex sees McCall and Mitchell, hunched in earnest           discussion. Mitchell looks up briefly and ctaches Alex's eye.                    BINT. KITCHEN/HALL. DAY                    The kitchen is empty. We track through the kitchen and out into           the hall, stopping at the door to Juliet's room.                    INT. JULIET'S ROOM. DAY                    David and Juliet are seated on the bed. Among the junk on her           bedside table is the Polaroid photograph of Alex, propped up           against a tumbler. Juliet reaches out and turns it away before           pulling David towards her.                    INT. MOBILE INCIDENT ROOM. DAY                    Several journalists sit close together on plastic chairs. Alex           sits at the back, near the half-open door. At the other end,           three police officers face them. They are a medium-ranking           Uniformed Officer, and to one side of him Mitchell and then           McCall, both of whom sit in silence.                    UNIFORMED OFFICER          All right, ladies and gentlemen, the releasable and print-worthy           facts of the day so far are as follows. Late yesterdat afternoon,           forestry workers came across one set of human remains lying in a           grave which appeared to have been recently dug. Further           excavation on our part has revealed two similar, deeper graves,           again containing human remains.                    Alex turns his head and looks out of the door towards the burial           site, now enclosed in a plastic tent. He continues to stare at           it.                    While Alex is looking, the sound of laughter and Uniformed           Officer's subsequent comments become muted and we hear the memory           of a sound in Alex's head: it is the noise of the saw going back           and forth across the victim's limbs.                    UNIFORMED OFFICER          (CONTINUED)          As and when the corpses are removed, we will endeavour to           ascertain the mode of death and duration of burial, as well as           identification, which will of course be passed on to you after           informing, where possible, the next of kin.                    Alex discreetly stands up and slips out of the van.                    EXT. FOREST. DAY                    Alex walks away from the incident room towards his car. He breaks           into a run for a few paces.                    The noise of the sawing continues.                    As he reaches his car, Alex fumbles in his pockets for his keys.           He is sweating and trembling. He drops his keys. As he bends down           to pick them up, his foot slips on the wet grass. He falls to his           knees, his forehead banging against the car door. He kneels for a           moment, gripping the keys, his head resting against the door.                    The noise of the sawing stops.                    From behind, the arm of a Police Constable reaches out and his           hand rests on Alex's shoulder.          THE END
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+                              SHAME                            Written by                    Steve McQueen & Abi Morgan    INT. BEDROOM. APARTMENT. DAWN.    BRANDON SULLIVAN [early 30's] lies staring up caught in a    disarray of sheets until-    The PEEP PEEP PEEP of an alarm clock, from deep within a    distant apartment.    The MUFFLED PAD of FOOTSTEPS crossing overhead-    BRANDON listens then gets up, pulls blinds and heads out    towards the bathroom-    The SOUND of his feet disappearing down a distant corridor.    The MURMUR of an answer phone as we hear BRANDON peeing, in a    far off bathroom.2   INT. PLATFORM. SUBWAY. DAWN.                                    2    BRANDON stands, looking down, watching until-    A SUDDEN breeze, the subway train oncoming-    BRANDON boards.    The doors GLIDE SHUT-    BRANDON just visible through the window of the train, walking    towards a distant seat.3   INT. TRAIN. SUBWAY. MORNING.                                    3    BRANDON   sits, eyes casually tracing over the faces in the    crowded   train. A HOMELESS MAN sits, further along the car,    haggard   and grey, and sleeping, the seat empty, either side    of him.   He looks more like a pile of clothes.    BRANDON turns back. The reflection of an PRETTY SUBWAY GIRL    caught in the glass opposite.4   INT. CORRIDOR. APARTMENT. DAWN.                                 4    BRANDON padding naked along a corridor. He flicks on an    answer machine in passing-                          FEMALE CALLER ON ANSWER MACHINE                Hey...It's me?...Pick Up.. Pick                Up...    He enters the bathroom.                                    2.5   INT. CORRIDOR. APARTMENT. DAWN.                               5    We hear BRANDON peeing in the bathroom.6   INT. CORRIDOR. APARTMENT. DAWN.                               6    The answer machine message drowned by the flushing of the    toilet, the shutting of the door and the shower being    switched on.7   INT. SUBWAY. MORNING.                                         7    A HOMELESS MAN head lolling, sat alone at the end of a busy    car.    BRANDON considers, catching the eye of-    A PRETTY SUBWAY GIRL seated opposite, the whisper of a smile,    grazing her lips.    BRANDON's eyes teasing over-    The fall of the PRETTY SUBWAY GIRL's hair-    The dip in her collarbone-    Her nail polish with French manicure-    BRANDON looks at her. She looks away.    BRANDON resumes staring. She looks back through the bodies    of commuters. We see their eyes looking at each other.    Their seduction continues through the collage of colors and    bodies.8   INT. OFFICE - BOARDROOM. DAY.                                 8    BRANDON, sits in a packed meeting room, a pitch just audible,    DAVID FISHER, [early/ late 40's] BRANDON's boss, a kind of    white noise, and yet-                        DAVID (O.S.)              I find you disgusting..I find you              inconsolable..I find you invasive..    The IT TECHNICIAN just visible wheeling a cart away, with    BRANDON's computer.                        DAVID (CONT'D)              That is what the cynics used to              say..Companies would refuse to look              to the future..They'd say `Can we              stop this virus"?    The scratch of a pencil against paper-                                    3.    BRANDON sits distracted, facing COLLEAGUE #1. MARIANNE    [mid/late 20's] seated further along the table, steals a look    at BRANDON.    A glass door opens-    The PRETTY ASSISTANT brings in coffee, sliding down a cup in    front of BRANDON.                        DAVID(O.S.) (CONT'D)              As if it was a negative              progression, a descent into hell,              moving with stealth amongst those              you need to affect, growing more              and more with a momentum that is              unstoppable.    BRANDON looks across the hall, distracted by the IT    TECHNICIAN who is replacing the computer in his office.                        DAVID (CONT'D)              Now, some inane kid snorting the              entire load of his mother's spice              cupboard and posts that on You              Tube. They would watch as it would              become the buzzword amongst high              school kids everywhere.              Eventually..their cynicism would              turn to awe.9   INT. FRONT DOOR. APARTMENT. NIGHT.                         9    BRANDON to the front door and opens it to reveal an    ATTRACTIVE WOMAN (ALEXA)                          BRANDON              Hi.                          ALEXA              Hi.                          BRANDON              Come in.    BRANDON steps aside to let the ATTRACTIVE WOMAN in. She walks    into the apartment as he closes the door.                          BRANDON (CONT'D)              Drink?                          ALEXA              No thank you.                                     4.     BRANDON picks up money from the table and give it to ALEXA.     She counts it and nods to BRANDON.                           ALEXA (CONT'D)               Perfect.     ALEXA puts the money in her bag.                           BRANDON               This Way.     BRANDON gestures to his room. ALEXA turns and walks away.     BRANDON follows.10   INT. BEDROOM. APARTMENT. NIGHT.                              10     A tidy bedroom-     BRANDON lies on the bed watching, waiting. ALEXA starts to     take her top off.                           BRANDON               Slowly.     ALEXA continues slowly, tosses it aside, and continues taking     off her bra and panties. Finally putting her earrings on the     bedside table. BRANDON reaches up to pull her onto the bed.11   INT. APARTMENT. MORNING.                                     11     The SOUND of BRANDON getting up-     The SOUND of blinds being raised-     CLOSE UP of a discarded earring on the carpet.     BRANDON padding naked along a corridor.     The SHARP TONE of the answer machine flicked on in passing-     Audible from the corridor-                         FEMALE CALLER ON ANSWER MACHINE               Hey, it's me..     We hear BRANDON turn on the shower.                         FEMALE CALLER ON ANSWER MACHINE                         (CONT'D)               Pick Up.. Pick Up...     BRANDON walks towards the kitchen and we hear him pour a     glass of water.                                     5.                            FEMALE CALLER ON ANSWER MACHINE                            (CONT'D)                 Brandon?     BRANDON crosses the hall and enters the toilet.                            FEMALE CALLER ON ANSWER MACHINE                            (CONT'D)                 Brandon?     BRANDON turns on the light, puts down his glass and urinates.                           FEMALE CALLER ON ANSWER MACHINE                           (CONT'D)                 (whispers) Brandon Where are you?-                 Brandon? Brandon? (louder)                 Brandon... Urghhh!     BRANDON finishes, flushes toilet, steps off screen                           FEMALE CALLER ON ANSWER MACHINE                           (CONT'D)                 This is me Calling you.. (SIGHS)                 Fuck!     DEAD TONE     The CALLER hangs up     BRANDON re-appears and closes the bathroom door12   INT. BATHROOM. APARTMENT. DAWN.                           12     BRANDON in the shower, a sense of movement, his hand, barely     visible, moving back and forth.     The fall of the shower-     BRANDON stands, letting the water wash over him.13   INT. SUBWAY. DAWN.                                        13     BRANDON sits, looking over at the PRETTY SUBWAY GIRL sitting     opposite-     The train moves on, after a while stopping at another     platform.     PEOPLE get on, PEOPLE get off.     BRANDON's eyes travel down over the PRETTY SUBWAY GIRL's legs     and up-     She opens them a little, the dip of her skirt, sinking deep     between her thighs-                                  6.     She looks up, senses BRANDON watching. She lets her fingers     fall in her lap.     BRANDON shifts a little in his seat to get a better look     through the crowd. Suddenly she stands and makes her way to     the train door. Hand reaching out and clenching a metal pole     for stability, revealing a wedding ring.     BRANDON's hand reaches for the pole too, touching her as he     stands behind her. There is a gentle unison contact.     BRANDON's breath, heavy on her neck. Both are frozen to the     spot, caught in a mutual moment.14   INT. SUBWAY. MORNING.                                        14     The train door bolts open and the PRETTY SUBWAY GIRL     disembarks. BRANDON is blocked by a MALE PASSENGER as he gets     out in quick pursuit of the PRETTY SUBWAY GIRL.     BRANDON is several paces behind now, pursues. She turns left     into a stairwell.     It's almost like fighting a downward river. People are     walking into his path as he struggles to keep pace with the     PRETTY SUBWAY GIRL.     The tail of her coat vanishes at the top of the stairs. A     moment later, BRANDON reaches the summit, to be greeted by a     wrought-iron gate.     He looks left at one staircase. People ascend.     He looks right at another staircase. Other passengers ascend.     People come in and out of the turnstiles on the right-hand     side. He has lost her. A sudden moment of disappointment     crosses his face.     He descends the staircase, dejected.15   INT. OFFICE. DAY.                                            15     BRANDON walks into his office and to his desk, stops in his     tracks, heart thumping-     A bare space where BRANDON's computer once was and next to it     a replacement computer. A pink fluffy gonk or the like stuck     to the screen.16   INT. CUBICLE. MEN'S TOILETS. OFFICE. DAY.                    16     BRANDON walks into a toilet cubicle, shuts and locks the     door. He cleans the seat with toilet paper, flushes, stands,     and starts to masturbate.                                     7.17   INT. OFFICE - DAVID'S OFFICE. DAY.                           17     A TAP on the door-     BRANDON enters DAVID's office, DAVID is lost in paperwork,     looking up from his desk.                         BRANDON               Do you know what's going on with my               computer?                         DAVID               They took it.                         BRANDON               Yeah, I know. Someone could have               told me.                         DAVID               Some kind of Virus.                          BRANDON               Cool.                         BRANDON (CONT'D)               I walk in and it's not there? And I               get some kind of replacement?                         DAVID               Some kind of virus. They're               stripping it all out.     BRANDON nods, swigs a Red Bull in his hands-                          BRANDON               Cool.     BRANDON exits.18   EXT. STREET. BRANDON'S APARTMENT BUILDING.                   18     BRANDON is walking with shopping bags. He slows by the     revolving doors, spots a mother with buggy about to come out     of the other door and hurries over to open the door for her.     WOMAN comes out nodding her thanks.19   INT. APARTMENT. NIGHT.                                       19     BRANDON looks through his vast record collection and     carefully puts a disk on the record player.                                      8.20   INT. KITCHEN. APARTMENT. NIGHT.                             20     The chink of beer bottles, banging up against one another as     BRANDON opens the fridge door-     BRANDON peers in, considering the left over take out resting     on the shelf. He takes it out, flipping open a bottle of beer     in a familiar move and banging the door shut with his back.     A flyer for an fancy take out flaps under a magnet on the     fridge door.21   INT. LIVING ROOM. APARTMENT. NIGHT.                         21     A comfortable apartment-     BRANDON spoons Chinese take out into his mouth, sliding down     in front a laptop resting on his desk.     Music continues to surround the apartment.     The bright serenade of his laptop opening, BRANDON resumes,     fingers absently tapping the keyboard-     A distant whir of a car alarm, far off.22   INT. LIVING ROOM. APARTMENT. NIGHT.                         22     BRANDON, in the dark, watching pornography on his laptop-     BRANDON's cell phone rings. He ignores it.     And then steady monotonous ring of a telephone close by,     BRANDON barely wavers as it clicks onto answer machine-     The HEAVY DEAD TONE of the answer machine as the caller's     message kicks in-                         FEMALE CALLER ON ANSWER MACHINE               OK......Me..again...I'm dying..I               have cancer...I have one week to               live..     BRANDON smiles-                         FEMALE CALLER ON ANSWER MACHINE                         (CONT'D)               It's the very worse kind of cancer.               Of the vulva-     BRANDON switches off the answer machine. Sighs, and returns     to his laptop.                            BRANDON               (sniggers)                                         9.                         WOMAN (O.S.)               (thru computer) (Moans)23   EXT. STREET. OUTSIDE APARTMENT. DAY.                       23     A beautiful day-     BRANDON's face now fresh, passing-     A CUTE NEIGHBOR heading into the building, lost in     conversation on her cellphone-                            CUTE NEIGHBOR                      (in greeting)               Hey.                               BRANDON                      (nods)               Hey.     BRANDON juggling cellphone, keys and satchel, heading off to     work, watching the sway of her ass.24   INT. OFFICE - BRANDON'S OFFICE. DAY.                       24     MARIANNE is on the phone in a busy office25   INT. HOTEL ROOM. BRANDON'S FANTASY.                        25     Profile of MARIANNE's bare back.26   INT. OFFICE - BRANDON'S OFFICE. DAY.                       26     BRANDON, seemingly in a trance, looking out across the     office, eyes fixed on MARIANNE in her glass cubicle, unaware     of BRANDON staring.     STEVEN's reflection in the window, we see him screw up a     piece of paper and throw it at BRANDON.     BRANDON shakes his head.                         BRANDON               You're such a dick                         STEVEN (O.S.)               What are you doing, man?     BRANDON once again looks up toward MARIANNE.                                     10.27   INT. OFFICE. DAY.                                           27     MARIANNE on the phone.     DAVID now appears in front of BRANDON. From afar, nods to     him, and greets a group of CLIENTS.                         DAVID               (WHISTLES) Alright, gentlemen, If               you'll just please make yourselves               at home.                            CLIENT               Thank you.28   INT. OFFICE - CONFERENCE ROOM. DAY.                         28     Just visible, in the conference room-     BRANDON inside with the CLIENTS and DAVID. A sense of     camaraderie. The meeting at an end. DAVID, slapping BRANDON     on the back, the sense of celebration.                         DAVID (O.S.)               It falls upon me, as your beloved               boss, to propose a toast. To               Success.29   INT. AFTER WORK BAR. NIGHT.                                 29     The thump of music-     BRANDON, DAVID and OTHERS wedged in a leather booth, several     shots and beer down, the table littered with beers. Cheers.     Male camaraderie.                         DAVID               I hope my wife appreciates it.     ALL chink glasses                         DAVID (CONT'D)               Get a new tie, please.                            COLLEAGUES               (snigger)                         DAVID               Oh my goodness. (SNIFFS) I love               women in suits. I love women in               suits.     ALL Look off-screen at the women.                                      11.                          DAVID (CONT'D)               We could talk business, I would               rearrange my life.. Wow, she's               beautiful.                            BRANDON               Grey suit?                         DAVID               I'm gonna go talk to her.                         BRANDON               You should go talk to her.                         DAVID               OK...OK..Count me down...                         BRANDON               Yeah you should     BRANDON fist bumps with DAVID                            BRANDON (CONT'D)               5,4,3,2,1.                            DAVID               Boom.                            STEVEN               Have fun.                         BRANDON               Twenty bucks says he fucks it up.     BRANDON starts to stand.30   INT. AFTER WORK BAR. NIGHT.                   30                         ELIZABETH               Ash is amazing                         LOREN               How's it humping an old man?                         ELIZABETH               Well, usually I do him on scotch.     DAVID walks up to the bar behind the women.                            RACHEL               Incoming                          DAVID               Hi, excuse me.                               12.                     (TO ELIZABETH)          Listen, I don't want to beat around          the bush. I think you're absolutely          gorgeous.                      ELIZABETH (OVER)          Hi.                    DAVID          My name's David.                      ELIZABETH          Hi David.DAVID shakes hands with ELIZABETH                      ELIZABETH (CONT'D)          Elizabeth                      DAVID          Elizabeth                    ELIZABETH (OVER)          Nice to meet you                    DAVID          It's a beautiful name. (TO LOREN)          Hi, I'm David. I don't mean to be          rude.DAVID shakes hands with LOREN and RACHEL                      LOREN          Loren.                    DAVID          Hi, how are you? (TO RACHEL) David.                      RACHEL          Rachel.                    DAVID          Nice to meet you, nice to meet you.          (TO ELIZABETH) Listen, can I buy          you a drink? (TO ALL) Can I buy you          all drinks?                    ELIZABETH          Sure, why not.                    DAVID          I would love that. That would be my          pleasure. What are you guys          drinking? What do you want?                    ELIZABETH          Well, we were thinking shots.                               13.                    DAVID          You were thinking shots?                       ELIZABETH          Sure.                    DAVID          We just did shots of tequila. Would          you guys like a shot of tequila?                    ELIZABETH          Bring it on.                    DAVID          Love it. Love it.                    DAVID (TO BAR TENDER) (CONT'D)          Excuse me, hey, bartender.          Bartender? Can we get four shots of          your finest tequila? Thank you very          much.                       ELIZABETH          Hmm.ELIZABETH sips her drink.                    DAVID          I can see you're very successful.          Yeah, I think part of the secret to          my success is, is attention to          detail and..                       LOREN          Oh.                       ELIZABETH          Detail?                       DAVID          Yeah.                    LOREN          Play the game.ELIZABETH closes her eyes                       DAVID          What game?ELIZABETH turns to DAVID                    ELIZABETH          Ok, er.. Blue or green?The SUITED WOMAN closes her eyes, the flutter of her lashesoddly fragile, in waiting until-                                14.                    DAVID          I like games, I like this game.          Blue..              (sudden change of tac)          Green. Green, it's green.They spring open to reveal brown eyes-DAVID hesitates, throws his arms up, resigned.                    DAVID (CONT'D)          That's Brown. That's.. I don't know          how you change the colour of your          eyes like that. How do you do that          so quickly?                      ELIZABETH (OVER)          Wow. Wow.                    DAVID          That's amazing. That's a real          talent.                    ELIZABETH          Yeah, detail man. Detail man.BRANDON slides down next to DAVID, back from the washroom.                    DAVID          Hey buddy, hey buddy. Hey.DAVID puts an arm around BRANDON.                    DAVID (CONT'D)          This guy, right here, fucking          nailed it today. (TO BRANDON) I          want you to know, you fucking          nailed it. You're the man. Your          pitch? (TO ELIZABETH) Amazing.          Amazing. (TO BRANDON) Listen, we're          playing a game here. (TO ELIZABETH)          Close your eyes again.                      ELIZABETH          OKELIZABETH closes her eyes.                    DAVID          Blue or green?                      BRANDON          Brown..The SUITED WOMAN flicks open her eyes, smiles.                                 15.                    DAVID          Fuck Off. (TO LOREN) Alright you.          Hey, Loren. Loren. Close your eyes.DAVID turns to BRANDON                       BRANDON          Blue.                       LOREN          Blue.                    DAVID          That's... you're just making that          up.                    ELIZABETH (OVER)          See. He's good.                    DAVID          He's just.. He's just picking          colors randomly.                    ELIZABETH          You can have his shot.ELIZABETH passes BRANDON a shot.                    DAVID          You know what? Excuse me. We need          another shot, please.                       LOREN          (LAUGHS)                       DAVID          (LAUGHS)                    ELIZABETH (TO BAR TENDER)          You can put these on me.                    DAVID          No, no, no. I told you that... I          had it.                       ELIZABETH (OVER) (TO BAR TENDER)          Thank you.                    ELIZABETH (TO DAVID) (CONT'D)          No, I have it.                    DAVID          Ill get the next round.                       ELIZABETH          Sure.                                 16.                    DAVID          You're a strong, independent woman.          I like that, I like that.                    ELIZABETH (OVER)          Thank you. CheersELIZABETH raises her glass.                    DAVID          Listen, cheers.The others all raise their glasses                       ALL          Cheers                    ELIZABETH          To nailing it, and-                    DAVID (OVER)          To nailing it.                    BRANDON (UNDER)          To nailing it.                    ELIZABETH          Success. Yes. Cheers.ALL down their shots                    DAVID          (reacts to the strong drink) Oh,          Fuck.                       BRANDON          (Chuckles)                    ELIZABETH          (reacts to the strong drink) Whoah.                    BRANDON          So what do you girls do for fun?                    ELIZABETH          Fun? Er, karate.DAVID mimics karate moves                    DAVID          (Mimics ninja sounds)                    DAVID (CONT'D)          You hear this song. I love this          song, I wrote this song...DAVID holds out his hand to ELIZABETH                                     17.                         DAVID (CONT'D)               And I would love it if you would               dance with me to this son that I               wrote for you.                          ELIZABETH               Erm..     DAVID takes ELIZABETH's hand.                          DAVID               Come on.     DAVID tugs her arm playfully                         DAVID (CONT'D)               Come on, come on, come on. Let's go               on the dance floor. One song.                          ELIZABETH               Oh..                         DAVID               Yeah. Come on. You're a fun girl.               It'll be fun. Come on.     DAVID pulls ELIZABETH onto the dance floor.                         DAVID (O.S.) (CONT'D)               I'll bring her back. Swear to God.                          ELIZABETH (UNDER)               Fine.     BRANDON turns to watch them on the dance floor.                         DAVID (O.S.)               Come one, come on, it's fun. It's               fun.31   INT. AFTER WORK BAR - DANCEFLOOR. NIGHT.                     31     The pulsing thump of music, the latest cutting edge sounds-     DAVID pulls ELIZABETH into dancing, at first playful and     funny.     DAVID is insistent, pulling her closer, drawing her into a     frenzied awkward dance. BRANDON looking on, the SUITED     WOMAN's eyes grazing his, lingering on BRANDON as DAVID     stumbles.                         DAVID               There you go. Mwah! You're               beautiful. Alright, alright,               spinning, spinning, spinning. Wooh!                                     18.     BRANDON watches the duo dancing                         LOREN               I'm grabbing her purse `cos she's               gonna get robbed and roofied.                           BRANDON               (Laughs)     RACHEL and LOREN walk off to the dance floor                           LOREN               Dance?                           BRANDON               No.                         LOREN               Are you sure?                           BRANDON               I'm sure.                           LOREN (O.S.)               OK.     ELIZABETH and DAVID are amongst the dancers on the floor.     DAVID is performing enthusiastically. ELIZABETH, slow,     glances at BRANDON.     We see BRANDON through the dancers, watching.32   EXT. AFTER WORK BAR. NIGHT.                                 32     DAVID struggling to push his arm through the twisted sleeve     of his jacket, pursuing ELIZABETH and her friends up the     street.                         DAVID               Ok, ok, ok, ok, ok, ok. Hold on,               hold on. No, listen. I just got to               talk to you one more time, one more               time. Listen..     BRANDON comes out of the club, doing up his coat. Looks away     at DAVID haranguing the trio.                         DAVID (CONT'D)               Your eyes, they're beautiful. You               know why I didn't get it right the               first time? Because it's, it's like               a collage. Let me see your hand,               let me see your hand..     DAVID smiles, gently coaxing her in the opposite direction-     BRANDON hails a cab. DAVID continues haranguing ELIZABETH                                     19.                         DAVID (CONT'D)               Look at those eyes, look at those               eyes. I know the color of your               eyes.                         BRANDON (OVER)               David, come on.                          DAVID               Come on, we can play that game.               That's so much fun when you play               that game.                           LOREN               Bye.     A cab pulls up.                         DAVID               It's okay. `cos I'm going this way.     BRANDON opens the cab door and waits with the taxi. DAVID     walks towards BRANDON.                         BRANDON               Hey man, he's going uptown.     DAVID concedes throwing his arms up, jacket half on. DAVID     paws BRANDON affectionately, straightens BRANDON's jacket,     gives him a kiss and stumbles into the cab.                         DAVID               (Laughs) Ok.                         BRANDON               I'll see you tomorrow     The cab pulls away.33   EXT. STREET. NEAR AFTER WORK BAR. NIGHT.                     33     A car glides close to the kerb-     BRANDON head down walking-                         ELIZABETH               Hey. Wanna ride?     BRANDON smiles-                           BRANDON               Sure.     BRANDON gets into the car.                                    20.34   EXT. FREEWAY. BRIDGE. NIGHT.                                 34     The incessant drone of cars, steady overhead-     Vast concrete supports edging the highway-     BRANDON presses ELIZABETH flat again the grit of the wall     Caught in the scissored half light, they move, with glorious     abandon-     The slice of passing headlights casting fractured light     across their writhing state until-     ELIZABETH gasps, her body shuddering, leaning into his as     they climax together, sweat beading skin.35   INT. BRANDON'S BUILDING CORRIDOR. OUTSIDE APARTMENT. NIGHT.                                                               35     BRANDON walking along the corridor-     He reaches for his keys, suddenly hesitating on-     The thump of music coming from his apartment-     BRANDON tentatively turns his key and pushes the door open-36   INT. LIVING ROOM. APARTMENT. NIGHT.                          36     BRANDON enters. He looks around, nothing-     The turn of vinyl on the record player-     I Feel Love by Donna Summer steadily rotating-     BRANDON makes his way back to the corridor and notices a     light on in the bathroom from the slit under the door.     He opens up an adjacent cupboard and fishes out a baseball     bat, and heads toward the bathroom.37   INT. CORRIDOR. APARTMENT. NIGHT.                             37     BRANDON steadily approaches the bathroom door, considers-     He shoves it open, hard, baseball bat at the ready-38   INT. BATHROOM. APARTMENT. NIGHT.                             38     BRANDON running, shrieking like a banshee, blinding waving     the baseball bat, slicing air-                                21.                    BRANDON              (roaring)          I'll fucking kill you!-SISSY SULLIVAN [mid/late 20's] leaps out of the bath, naked,screaming and dripping wet-                      SISSY          (screams)                    BRANDON          What the.. What the fuck?SISSY holds her hurt elbow                    SISSY          Fuck! Fuck! Ow! Fuck! -                    BRANDON (OVER)          Jesus Christ Sissy.BRANDON stands, shaking staring at his naked startled sister-                    SISSY          Brandon. Don't you fucking knock?                     BRANDON          What the fuck. Why would I knock? I          live here.                      SISSY          Oh fuck.                    BRANDON          How'd you get in?                    SISSY (OVER)          Ow! You gave me fucking keys.                      BRANDON          Fuck.BRANDON goes for a towel, shoving it towards her,embarrassed. SISSY dries her face.                    SISSY          (GROANS) You fucking scared me                    BRANDON          Don't I always say call me first if          you're coming into town?                    SISSY (OVER)          Oh my god, I called you SO many          times.SISSY sighs.                                     22.                          SISSY (CONT'D)                You have a fucking baseball bat?     SISSY laughs. BRANDON relaxes. She tousles her hair.                          SISSY (CONT'D)                (LAUGHS) (SIGHS) Mmmm.                What is this shit you put on your                hair? Honestly, it's awful.     BRANDON shakes his head, at a loss.                           BRANDON                Shampoo                          SISSY (OVER)                Is it for grooming dogs?     SISSY throws the towel and BRANDON                          SISSY (CONT'D)                Good to see you.     BRANDON throws the towel back at her.                          BRANDON                Lock the door next time.                           SISSY                Yeah.     BRANDON turns to leave the room                          BRANDON                Don't use all the towels                           SISSY                I won't.     BRANDON closes the door to the bathroom.39   INT. LIVING ROOM. APARTMENT. NIGHT.                       39     We follow BRANDON as he walks through to the living room to     the record player I Feel Love stuck in eternal groove. He     gently lifts the needle off the record. He uses the baseball     bat to pick up SISSY's scarf. He sniffs it.     Silence-     BRANDON stands considers-40   INT. BEDROOM. APARTMENT. NIGHT.                           40     Later -                                  23.     BRANDON is watching pornography on his laptop, hears SISSY on     the telephone. He listens.                         SISSY               ..I want you. I don't want anyone               else. There is no one else. I love               you. I'll do anything.     Pause                         SISSY (CONT'D)               I'll do anything. Please don't say               that. Please don't say that.     Pause                         SISSY (CONT'D)               I love you. I love you. I'll do               anything. I'll do anything.     BRANDON moves the laptop and starts to get up.41   INT. LIVING ROOM. APARTMENT. NIGHT.                       41                         SISSY               I don't have to go out. I don't               have to go out. I don't even               fucking want to go out. I can stay               with you. I don't care. I don't               care. I don't need anybody else. I               love you. I love you. I love you so               much (CRIES) I love you, please. I               love you. I love you.42   INT. BEDROOM. APARTMENT. NIGHT.                           42     BRANDON is listening at the door.                         SISSY               Please (CRIES) I feel sick. I feel               really sick-     BRANDON closes his eyes, resigned.43   INT. KITCHEN. APARTMENT. MORNING.                         43     BRANDON sliding whisked eggs into a pan of sizzling butter-     SISSY enters and sits on the kitchen counter, wearing a long-     sleeved white t-shirt and holding the earring left by the     Pretty Woman [prostitute]. Dangling it in front of BRANDON-                                24.                    SISSY          Morning. Nice earring. Hot date?Hiding his surprise, BRANDON gets some juice out of thefridge, passes it to SISSY.                      BRANDON          Juice?BRANDON gives SISSY a carton of juice. Still sitting on thecounter, SISSY grabs it with both hands, almost like achild's bottle and starts drinking.                      SISSY          Mmm.BRANDON, irritated, says abruptly-                    BRANDON          Will you use a glass?BRANDON steps away, takes a glass from a cupboard and shovesit towards her.                    SISSY          (MUMBLES) Sorry.SISSY pours the juice into the glass and drinks. BRANDONsteps back to the cooker, preparing food.                    SISSY (CONT'D)          (SIGHS) You're going grey. Do you          think I look fat?BRANDON doesn't react.                    SISSY (CONT'D)          Do you think I look fat?BRANDON nods in the direction of the table.                      BRANDON          Sit down.She leaps off the counter and makes her way to the table. Sheslaps BRANDON's behind. BRANDON's face is one of despair andirritation.                    SISSY          (GASPS) Fuck you!SISSY slams her glass on an O/S table and throws the earringaway.                    SISSY (CONT'D)          I'm doing a couple of gigs.                               25.BRANDON walks towards her with a pan of food.                    BRANDON          Yeah, sure.BRANDON serves the food.                    SISSY              (sudden/cutting in)          Can I stay?BRANDON hesitates-                    BRANDON          You want toast?                    SISSY          Just for a few days.BRANDON ignores her question and walks away to the kitchen.                    SISSY (CONT'D)          I'd stay with Mark but he's being a          fucking asshole.SISSY Stands and walks away, following BRANDON.                     BRANDON          Mark?SISSY wraps her arms around BRANDON from behind.                    BRANDON (CONT'D)          (EXHALES) Jesus, Sissy.BRANDON pushes her arms off, turns and walks to the fridgewith the juice.                    BRANDON (CONT'D)          What do you expect?                    SISSY          Pretty please?                    BRANDON          Look, you get the sofa and you get          your ass off it-SISSY leaps on his back smothering him with flat lippedkisses all over his head until-                    BRANDON (CONT'D)          Before I leave every morning.                    SISSY (OVER)          (GASPS) I will. I promise. I will          (KISS) Mwah!                                   26.                         BRANDON               OK.OK.OK.OK.     BRANDON pushes her down as she gives him a big kiss.                         SISSY (OVER)               (KISS) Mwah!     SISSY, happy, walks back to sit down at the table.                           SISSY (CONT'D)               (SIGHS)                         BRANDON               We leave in fifteen.                           SISSY               OK!     SISSY sprinkles salt on her breakfast. She smile, playful,     resumes eating-                         SISSY (CONT'D)               (Reacting to food) Mmm. Mmmm!               (SHOUTS) So good.!     The door slams. SISSY sighs and stares towards the front     door, a sadness hanging-44   INT. PLATFORM. SUBWAY. MORNING.                              44     SISSY stands, toes edging over the platform.   BRANDON pulls     her back.                         BRANDON               Stop fucking around.     SISSY stares at BRANDON. Instinctively, BRANDON feels her     gaze. He turns and looks. They hold each other's eyes for     more than a beat. BRANDON turns away. SISSY begins picking     pieces of fluff off BRANDON's shoulder. BRANDON, visually     irritated.     SISSY goes again.                           BRANDON (CONT'D)               Leave it.                         SISSY               You have fluff.                         BRANDON               I like it there.     A quick moment passes. BRANDON picks the fluff off his     shoulder and puts it on SISSY's shoulder - to her amusement.                               27.                      SISSY          (LAUGHS)                    BRANDON          How are you for money?                      SISSY          I'm good.                    BRANDON          Cause if you need some money.                    SISSY          Honestly, I even make money now and          everything.                    BRANDON          Yeah, sure.                    SISSY          Huge amounts.BRANDON nods at SISSY's hat.                    BRANDON          Are you collecting mad hats?Sissy smiles-                    SISSY          (LAUGHS) You should come and hear          me.                    BRANDON          Yeah. I will.                    SISSY          `Yeah I will', like, `yeah I will'          like last time? Please come.BRANDON takes off her hat.                    BRANDON          Where'd you get this, anyway.                    SISSY          It's vintage.                    BRANDON          Yeah, I can see that.                      SISSY          (LAUGHS)SISSY takes the hat and puts it on BRANDON.                      SISSY (CONT'D)          Wow.                                   28.                         BRANDON               (WHISPERS) Do you like?     BRANDON adjusts the hat.                         SISSY               Yeah.     SISSY gently bumps his shoulder with hers.                         SISSY (CONT'D)               Please come.                         BRANDON               Ok. I will.     SISSY stamps her feet excitedly.                         SISSY               Yaay!     SISSY leans her head on BRANDON's shoulder and he puts his     arm around her.45   INT. OFFICE. DAY.                                            45     BRANDON hurries into the office area, unbuckling his coat as     he does so. DAVID, phone pressed to his ear, mid way through     a conference call clocks him, throws some lewd gesture.     BRANDON smiles, throws up his hands, he's late. What can you     do...                         BRANDON               Sorry. Sorry.     BRANDON continues into his office.                         BRANDON (CONT'D)               Fuck, my computer.     BRANDON puts down his coffee, and takes off his scarf.                         STEVEN               Well, well, well.                         BRANDON               Morning, asshole.                         STEVEN               Look who's decided to grace us with               his presence.     BRANDON puts his scarf in the closet and takes off his coat.                         BRANDON               Yeah.                                      29.                         STEVEN               Don't tell me. No cabs.                         BRANDON               No, your wife wouldn't let me leave               this morning.     BRANDON hangs up his coat.                         STEVEN               Ah! Hey, that's not cool.                            BRANDON               (CHUCKLES)     BRANDON laughs as he sits down at his desk.                         STEVEN               You should be so lucky.                            BRANDON               Any calls?                         STEVEN               Yes. Like, fifty.     BRANDON sips his coffee.46   INT. OFFICE - COFFEE AREA. DAY.                             46     BRANDON stands, in the coffee area making himself a generic     filter coffee.     MARIANNE is seated in her glass office in the background at     her desk.     DAVID approaches, slapping BRANDON on the ass.                         DAVID               Hey! Heads up, buddy-?                         BRANDON               (OVER) woah!                         DAVID               So, how'd it go last night?     BRANDON pours coffee, glancing at DAVID behind him.                         BRANDON               Yeah. Got home. Went to bed. Good               night.     DAVID looks at him, shakes his head in a knowing fashion.                                  30.                         DAVID               A-ha. Right, right. Let's do it               again tonight. Some place classier               though.                         BRANDON               Well... My sister's playing               downtown somewhere.                         DAVID               She's playing?                         BRANDON               She's a musician. Well, she's a               singer.                          DAVID               Okay. Yeah, yeah. You know what,               that sounds er.. A lot of fun.                   (taps coffee mug/walking                    away)               And that'll ruin your enamel.     BRANDON watches DAVID walk into his office, shutting his door     behind him.47   INT. OFFICE - CORRIDOR OUTSIDE BATHROOM. DAY.             47     He turns right abruptly, pass the coffee area, and then right     again. A COLLEAGUE is coming out of a door. He holds it open     for BRANDON as he walks in. The door slowly closes, exposing     the MEN'S sign for the bathroom.48   INT. BOOM BOOM ROOM - COATCHECK. NIGHT.                   48     BRANDON and DAVID, not knowing what is to await them, walk     towards the doors of the beautiful setting of THE BOOM BOOM     ROOM.                          DAVID               That elevator music's like a bad               acid trip.                         HOSTESS (O.S.)               Good evening.                         BRANDON               Evening. Er.. Reservation.               Sullivan?                         HOSTESS               Great. I have you on the list. I'll               have you follow me.     BRANDON and DAVID take off their scarves and coats.                                      31.                            BRANDON               Thank you.     BRANDON and DAVID give their coats to FEMALE STAFF MEMBER.                         DAVID (TO COAT CHECK GIRL)               There you are.                         HOSTESS               Right this way, please.                         DAVID               Oh, wow, look at that ass. I could               follow that forever.     DAVID glances back at BRANDON                         DAVID (CONT'D)               Nice pick. (SNIGGERS) (WHISTLES)     DAVID and BRANDON walk on towards the bar.49   INT. BOOM BOOM ROOM. NIGHT.                                  49     BRANDON and DAVID enter a beautiful bar. A spectacular 180     degree view of Manhattan. The room has the most elegant     decor. It is to die for:     Metropolis meets Blade Runner, a glittering New York skyline     to the North of the room, the grey endless black of the     Hudson River to the South.     It surpasses DAVID's idea of classy.     The murmur of conversation-     The shake of cocktails mixed-                         DAVID               Oh. Oh, I forgot how beautiful this               city is.     BRANDON and DAVID follow the HOSTESS to take a seat at a far     table.                         DAVID (CONT'D)               Oh, thank you, thank you.     A stunning leggy COCKTAIL WAITRESS walks up to the table,     dressed in silky 1930's cigarette girl costume.                         COCKTAIL WAITRESS               Hi guys. How are you both doing               tonight? What can I get you?                                 32.                    DAVID (OVER)          Hi. Your.. Your accent. Are you..?          Are you from erm..?                       COCKTAIL WAITRESS          Brazil.                     DAVID              (looking around)          Rio. Hmmm?                       COCKTAIL WAITRESS          Sao Paulo.BRANDON looks down and chuckles to himself.                    DAVID          Oh! Oh, that is a beautiful city.          That's..                    COCKTAIL WAITRESS          (LAUGHS) You've been there?                    DAVID          Once or twice.                    BRANDON          Can we get two dry martinis with          olives.                       COCKTAIL WAITRESS          Hm-hm.                    DAVID          And a little bit later, why don't          you come by for a drink with us?          Hmm?                    COCKTAIL WAITRESS          I'll make sure I get those drinks.                       DAVID          Thank you.                       BRANDON          Thanks.The COCKTAIL WAITRESS smiles, moving on, she's heard it allbefore.DAVID smiles, clocks BRANDON's look.                    DAVID          She would be offended if I didn't          try.BRANDON shakes his head and looks down.                              33.                    BRANDON          Unbelievable.                    DAVID (OVER)          Ah. (LAUGHS)DAVID and BRANDON look around the roomDAVID and BRANDON are fortunate to be here. The clink ofglasses, the noise of laughter waft through the room.Across the room, a familiar face.Her wavering a little at first on seeing BRANDON across theroom. Their eyes lock.She smiles, with quiet surprise-BRANDON looks away, ignoring SISSY's gaze, not wanting tolook at her. SISSY plays on, inwardly crestfallen, herfingers working across the piano keys.DAVID leans back, eyes grazing over SISSY, a kind of whitenoise to SISSY's beautiful music-The seeping first bars of `New York New York' filteringthrough-                    SISSY              (singing)          Start spreading the news. I'm          leaving today. I want to be a part          of it. New York..New York.It's a familiar song but in SISSY's hands, every wordpunctures like an emotional fireburst-SISSY's voice is oddly haunting underscoring the bubble ofconversation,                    SISSY (CONT'D)              (singing)          I want to wake up in a city that          doesn't sleep. And find I'm king of          the hill, top of the heap.SISSY's eyes dart back to BRANDON, seemingly lost in hisconversation, but competing now with SISSY and her song-                    SISSY (CONT'D)              (singing)          My little town blues-Suddenly SISSY's fingers drop from the piano, her whole bodycurving into the microphone offering a blues vocal acoustic,slowly but quietly captivating-                              34.                    SISSY (CONT'D)          They're melting away. I gonna make          a brand new start of it.Even DAVID's listening now-                    SISSY (CONT'D)              (singing)          In old New York....SISSY's up moving now, she is completely lost in the song andthe room is coming with her-BRANDON concedes,looking back at SISSY, now holding the room.                    SISSY (CONT'D)              (singing)          If I can make it there-A kind of hushed still has descended-                    SISSY (CONT'D)              (singing)          I'll make it anywhere. It's up to          you..New york, New york. New York,          New York-SISSY comes closer, walking between the tables, flirting andlaughing and drawing the audience in until they are in thepalm of her hand.                    SISSY (CONT'D)              (singing)          I want to wake up in a city, that          never sleeps...And find I'm a          number one-SISSY grazes past BRANDON's table, eyes catching on BRANDON,singing for him now-                    SISSY (CONT'D)              (singing)          Top of the list, king          of the hill-BRANDON drinks, not looking at SISSY. She closes her eyes,tears stinging, reeling back into herself-                    SISSY (CONT'D)              (singing)          A number one...SISSY draws out the note, bringing the song momentarily to asilence-                               35.SISSY's misty eyes open as BRANDON at last looks at her, themoment oddly fragile between them, brutal and yet tender.Even DAVID sensing something until-                    SISSY (CONT'D)              (singing)          These little town blues-SISSY turns, makes her way back to the piano, enjoying it now-                    SISSY (CONT'D)              (singing)          Are melting away...Fingers touching the keys once more, masterfully picking upand improvising with the last few bars-                     SISSY (CONT'D)              (singing)          I'm gonna make a brand new start of          it - in old          New York..SISSY leans back. She is on fire now, singing with everyfibre of her heart and soul, like no other rendition heard.                    SISSY (CONT'D)              (singing)          And if I can make it there, I'm          gonna make it          anywhere It's up to you-SISSY holds BRANDON with a voice, a sudden flickering emotionthreatening to topple her, somehow in SISSY's hands this songis heartbreaking...                      SISSY (CONT'D)                (singing)          New   york New york                (quieter now)          New   York..New York..                (even quieter)          New   york New york                (almost to a whisper)          New   york New york.SISSY strikes one last note, lost deep within herself-HUSHED SILENCE-                    DAVID          Wow. Wow! Bravo!Sudden APPLAUSE, CHEERS, OVERWHELMING-DAVID turns to BRANDON                                    36.                         DAVID (CONT'D)               (LAUGHS) She's good! She's good!     BRANDON looks away, eyes filling with tears.     BRANDON puts down his drink, blotting his coaster with the     imprint of the deep red rim of his glass-     He's the only one not applauding.50   INT. BOOM BOOM ROOM. NIGHT.                                  50     SISSY is being congratulated by a HIP MEDIA TYPE and his     WIFE. The scene is one of congratulations, SISSY is admired.     SISSY confident approaches DAVID and BRANDON. She is bold and     self-aware.                            DAVID               Hi.                            SISSY               Hi.                            DAVID               I'm David.                            SISSY               Sissy.                         DAVI               It's a pleasure to meet you.                         SISSY               Nice to meet you.                         DAVID (OVER)               I think you were fantastic and you               look great in the dress, too.               Please sit down.                          SISSY               Thank you. (TO BRANDON) What did               you think?                         BRANDON               Yeah, it was... interesting.                         SISSY               (LAUGHS) What do you mean?                         BRANDON               Er.. No, it was, er.. It was good.               It was good.     DAVID finishes his martini.                             37.                    SISSY          It was good?                    DAVID          He was crying. He was crying. THere          were tears coming down his face. I          saw it. You made a grown-man cry.                     SISSY          Really?                     DAVID          Hm-hmm.                    BRANDON          I'm gonna get some more drinks.                    DAVID          That's a great idea. Why don't you          get a round for the table, buddy?                     SISSY (OVER)          Yeah.Brandon exits.                    DAVID          OK, I'm really sorry about that,          I.. He's had a rough day at work. I          think he's a bit emotional right          now.                     SISSY          Yeah.                     DAVID          Yeah.              (beat)          So you guys grew up in Jersey,          right?                     SISSY          Yeah.                    DAVID          Hmm. You still live there?                     SISSY          GOD, no.                    DAVID          That's good. That's good. Where do          you live now?                    SISSY          Kind of all over the place.                             38.                    DAVID          Yeah? What's the last city you've          been to?                     SISSY          LA.                    DAVID          Los Angeles?                     SISSY          Mm-Hmm.                    DAVID          Oh boy. You like it there?                    SISSY          I mean, I'm going back.                    DAVID          That must mean you love it then,          huh?                    SISSY          No! I can't even fucking drive.          It's a nightmare.BRANDON reappears.                    DAVID (OVER)          (LAUGHS) Whoa, wait a minute, wait          a minute. You can't drive?                     SISSY          No.                     DAVID          Why not?                    SISSY          I tried when I was a kid, and I was          horrible.                    DAVID          Wait, how old were you when you          quit driving.                     SISSY          Sixteen.                    DAVID          You were 16 years old?                     SISSY          Mmhmm.                               39.                    DAVID          So wait, wait, wait a minute. How          do you get along in Los Angeles?BRANDON sits behind them.                    SISSY          I take the bus.                    DAVID          No, no, no, no, no no. Look, look.DAVID takes SISSY's hand. BRANDON notices, lookinguncomfortable.                    DAVID (CONT'D)          A girl like you cannot be taking          the bus.One of Sissy's sleeves rolls down to her elbow, as shecasually puts her hand under her chin, charmingly tilting herhead - revealing a cross stitch of scars, the trail of selfharm laced up her arm. DAVID noticies.                    DAVID (CONT'D)          What.. Waht happened to your arm          here?                    SISSY          Oh, just.. When I was a kid I was          bored.SISSY takes her hand back.                    DAVID          Well, you must have been really          bored.                    SISSY          I was.                    DAVID          Alright, we've got a problem. your          sister cannot be taking the bus          anywhere. OK. I know a guy who owns          a car rental company. We're gonna          get you a car, we're going to drive          around in circles in a parking lot          and you are going to learn how to          drive.                    DAVID (CONT'D)          Not a stick, automatic. It's a          little easier.                    SISSY          I would love that.                              40.                    DAVID          You'd love that. That's good. You          know what? Better yet..                    DAVID (CONT'D)          We're going to get you a golf cart.          We're gonna get you a gold cart and          you will drive the golf cart          around.                    SISSY (OVER)          Wow, now we're talking. I          would..yeah.                    DAVID (OVER)          Yeah, yeah, yeah.                    SISSY          Everybody should drive golf carts.                    DAVID (OVER)          A golf cart right up Fifth Avenue,          huh? (LAUGHS)SISSY sips her drink.                    SISSY          (LAUGHS) Mmm.                    DAVID          You know, they should They should.          It would be a lot cleaner and          greener. It would be great for the          city. Brandon, what do you think?                    BRANDON          Sounds great.                    DAVID          Yeah?DAVID looks at BRANDON. BRANDON looks like he would rather beanywhere than where he is now.                     DAVID (CONT'D)               (laughs)          I love your, brother. What an          amazing man. How long are you here          for?                    SISSY          I don't know.                    DAVID          You don't know? Can I see you          again? Please?Sissy laughs.                                      41.                          DAVID (CONT'D)               Is that too forward? I just.. I               find you fascinating, I really do.               I think you're a fascinating               creature, I'd love to see you               again.                   (beat)               Listen, why don't we.. this is a               celebration, let's have champagne.                            SISSY               Yes!                         DAVID               Champagne for everybody. For the               whole table. Come on!                            SISSY (OVER)               Champagne!     BRANDON looks unenthusiastic                            BRANDON               Champagne.51   INT. CAB (CROWN VIC STYLE). NIGHT.                         51     BRANDON wedged in the back of the cab, with DAVID and SISSY     as they are lost eating one another's faces.     Looking uncomfortable, BRANDON frequently takes glimpses in     the rear view mirror.     DAVID and SISSY continue making out. It's almost animal.52   EXT. STREET. OUTSIDE APARTMENT. NIGHT.                     52     A dimly lit street-     A cab is pulling up. DAVID opens the door.                         DAVID               I've got it, I've got it. Get out,               get out, get out, get out.     DAVID is wearing SISSY's hat.                          DAVID (CONT'D)               Come here, come here, come here,               come here.     Finally SISSY steps out of the cab, DAVID lifts her over his     shoulder.                                     42.                           SISSY                 (YELPS) Oh, God! No! (LAUGHS)                            DAVID                 (STRAINS) Come on, come on with me,                 come on...                           SISSY                 Get off. Get off. Get off.                            DAVID (OVER)                 You wanted me to do that. How did                 that work?                           SISSY                 Get off me.     SISSY starts to enter thru the revolving door. DAVID follows                           DAVID                 Ah come on, come on, come on, come                 on, come on...     BRANDON is left alone to pay the driver.53   INT. BRANDON'S APARTMENT - CORRIDOR. NIGHT.               53     BRANDON waits in the lobby, pressing the button for the     elevator. An elevator arrives. He ignores it and sits down.54   INT. CORRIDOR/KITCHEN. APARTMENT. NIGHT.                  54     Darkness-     BRANDON enter his apartment door.     He hears giggling from his bedroom.                           SISSY (O.S.)                 (LAUGHS) Well, I am hot, I am hot.                           DAVID (O.S.)                 You are hot.                           SISSY/DAVID (O.S.)                 (LAUGHTER and chatter)     BRANDON walks to his kitchen.     HE hits the kitchen cabinet in frustration.     He walks into the living area and paces.     BRANDON considers, looking out through the window, he sits on     the ledge, wringing his hands.                                   43.                           SISSY (O.S.)               No!                           DAVID (O.S.)               (LAUGHS)                         SISSY (O.S.)               You're cursing me. I need to take               this off. I'm hot. I need to take               it off. I'm hot.                         DAVID (O.S.)               Nice sheets                         SISSY (O.S.)               Aren't they nice sheet? Bed, bath               and beyond. Stop..     MORE GIGGLING, hushed now, more breathless-                         DAVID (O.S.)               What if I kiss you right here...?               About here.     BRANDON takes off his shoes and starts to undress. We hear     SISSY and DAVID making love.                           SISSY (O.S.)               (MOANS)                           DAVID (O.S.)               Yeah?     BRANDON doesn't want to hear. BRANDON stands back against a     wall, as if transfixed, as if he cannot take any more. His     breathing is irregular. Something of the past has come to the     present. All of his distractions have now stopped, and he is     at once confronted with himself.     His face bears the pain of something long passed, but     visually present. This wound has not healed.     Jolting himself out of his trance, BRANDON hurriedly heads     out into the corridor-55   INT. CORRIDOR. APARTMENT. NIGHT.                             55     BRANDON pulls running gear from the hallway closet an exits,     leaving the RISING BREATH of DAVID and SISSY LOST IN FURTIVE     SEXUAL INTERCOURSE DRIFTING ALONG THE CORRIDOR, JUST AUDIBLE,     QUIETLY PROVOKING AS IT UNDERSCORES.56   EXT. STREET. OUTSIDE APARTMENT. NIGHT.                       56     A dimly lit street-                                  44.     BRANDON just visible in his apartment block steady on the     approach. He is dressed in running gear.     Pushing the glass doors open, BRANDON hesitates and presses a     button on the iPod Nano on his arm. He stretches, zips his     top, pulling his hood up.     BRANDON slips his earphones on, moving off.57   EXT. STREET. OUTSIDE APARTMENT. NIGHT.                      57     BRANDON running past illuminated windows and neon lights. The     city is alive. BRANDON stays focused, running, music pumping     in his head.58   INT. CORRIDOR. APARTMENT. NIGHT.                            58     Later     BRANDON enters his apartment checking for noises.     The sound of movement in the bathroom.     He pushes open his bedroom door. It's like a murder scene.     Pale blue sheets in disarray, the mattress nearly coming off     the bed, sheets soaked with sweat and the smell of sex.     A lone condom disregarded on the floor.     We see his bedside drawer ajar.     He walks into his bedroom and pushes the drawer shut.59   INT. BEDROOM. APARTMENT. NIGHT.                             59     Later -     BRANDON lies on his bed, with clean white sheets, sidelight     on.     SISSY enters. BRANDON opens his eyes, inwardly flinches.     SISSY gets into the bed, covering herself with the white     sheet. Snuggles up to BRANDON                         BRANDON               I have to be up and out by seven.     SISSY inhales through her teeth.                          SISSY                   (to herself)               It's cold.     Uncomfortable SILENCE-                                   45.                         BRANDON               Sissy, get out of my room?     SISSY doesn't move.                         BRANDON (CONT'D)               Sissy, get out of my room.     All this time, BRANDON has not looked at SISSY, staring up to     the blank ceiling. He SCREAMS at the top of his lungs-                         BRANDON (CONT'D)               GET THE FUCK OUT! GET OUT!     SISSY gets up, deliberate, as if rising from the dead, and     slowly walks around the bed.     SISSY SLAMS the bedroom door on her exit.60   INT. OFFICE. DAY.                                            60     Midday-     The office is in full flow-     BRANDON crosses it, clearly worse for wear.     A TECHNICIAN wheels a computer out of BRANDON's office.                         STEVEN                   (in passing)               Hey slacker, your computer's back.     BRANDON heads towards his desk, stopping on seeing-                         STEVEN (CONT'D)               Dave's looking for you.     STEVEN exits again.     BRANDON observes, his computer is back at his desk.61   INT. OFFICE - DAVID'S OFFICE. DAY.                           61     BRANDON puts his head around the-                         DAVID (O.S.)               (INTO PHONE) Yeah, yeah. It was               really great last night.                         SKYPE SON (OVER)               (THRU COMPUTER) Daddy, daddy.                         DAVID (O.S.)               (INTO PHONE) Ah, listen, I gotta               go. OK, thanks for calling.                             46.                    DAVID (O.S.) (CONT'D)          (INTO COMPUTER) Hey, buddy.                    DAVID (CONT'D)          Er, listen, we said an hour French          and then Isobel's gonna pick you up          because Mommy's picking up Nathan.          Alright? You can go after.                    SKYPE SON          Yeah, I know. But Mommy says I          can't                    DAVID (OVER)          OK, well. Let's go talk to Mommy          hmm..?                    SKYPE SON          Aw.. She's all the way downstairs.                    DAVID (OVER)          Well, go downstairs and tell her          that Daddy said it's okay for you          to go to Jason's                    SKYPE SON          Ohhh..                    DAVID          Hah? Come on. How about that? Do          it. YOu can do it. Get up.                    SKYPE SON          OK.                    DAVID          Yeah.                    SKYPE SON          Mommy? Mommy?DAVID's SON exits the computer screen. David looks up atBRANDON.                    DAVID          (LAUGHS) What's up, man?                    BRANDON          Well, Steven said you wanted to see          me?                    DAVID          Yeah. Er, Dude. Nine o'clock this          morning, where were you?                    BRANDON          Dentist. Root canal.                                47.                    DAVID          Oh, shit. Now, what did I tell you          about that? Who d'you see?                    BRANDON          Gary Sher... King's practice, West          57th street.                    DAVID          Good. Good. You're stinging that          company health care plan, I hope,          right?                      BRANDON          Sure.                    DAVID          That's what it's there for, man.          Alright brother.BRANDON turns to leave.                    DAVID (CONT'D)          Listen, one more thing.BRANDON turns back.                    DAVID (CONT'D)          Your hard drive is filthy, all          right. We got your computer back. I          mean, it is, it is, dirty. I'm          talking like hoes, sluts, anal,          double anal, penetration, inter          racial facial, man. Cream pie. I          don't even know what that is.                    DAVID (CONT'D)          Do you think it was your intern?DAVID finally looks up, holds BRANDON's gaze, with discreetchallenge until-                     BRANDON              (beat)          On my hard drive?DAVID nods, resumes working-                    DAVID          Yeah, someone's fucking with your          account, man.And we're blowing our          wad in cash, you know? It takes a          really really sick fuck to spend          all day on that shit.BRANDON nods, makes to go.                                       48.     From beyond-                         SKYPE SON               Daddy...Daddy...     BRANDON exits.                         DAVID               Yeah. Hey buddy, Er, what she say?                         SKYPE SON               She said I can go to Jason's for               half an hour but I have to be home               by five for dinner.                         DAVID               OK. That's great. See? Best of both               worlds. You got everything you               want.     BRANDON takes this opportunity to leave.                            SKYPE SON               Yep.                            DAVID               You happy?                            SKYPE SON               Yeah.                         DAVID               Yeah. You better be. Get out of               here.                         SKYPE SON               OK. Alright. See you                            DAVID               OK.     DAVID looks up, watches BRANDON heading back to his desk,     quietly considering.     A child's painting stuck to the wall behind DAVID.62   INT. COFFEE AREA - OFFICE. DAY.                             62     BRANDON, lost in familiar routine, pours sugar into his     coffee-                            MARIANNE               Hey-     BRANDON looks up, MARIANNE loiters-                                    49.                         BRANDON               Hey.                         MARIANNE               You like your sugar.                         BRANDON                   (nods/ smiles)               I do.     MARIANNE is still standing, waiting. They look at each other.     Eventually she turns and walks out.63   EXT. PIER. HUDSON RIVER. NIGHT.                              63     BRANDON stands at the end of a long pier, looking out toward     the Hudson River, the LAP of murky water, audible. He hovers     for a moment, and considers, then slowly makes his way back     to the main road.     The glittering lights of Jersey stretching wide beyond.64   EXT. NEAR STANDARD HOTEL. NIGHT.                             64     Above, the tall, endless glass of The Standard Hotel, scored     with a honeycomb of windows, randomly illuminated like tiny     still lives.     BRANDON comes to a corner, lights a cigarette and leans.     Above him, engraved in stone is "1949." He looks up toward     the tall building, which appears like a Stasi East Berlin     building. Stark and authoritative.     A KID slaps his palms against the glass of a fourth floor     window, a FILIPINO NANNY ushers him away.     A WOMAN, early 30s, phone to her ear, dressed in black jeans     and t-shirt, paces along the window. Catching sight of     BRANDON, she PULLS the curtain along the length of the glass.     A MAN stares blankly out, clearly fresh in on a flight and     jet lagged, enjoying the view two floors up.     A FEMALE CLEANER just visible lost in the monotony of     cleaning, makes large brush strokes with a large pink fluffy     duster.     And then BRANDON sees her-     A MIDDLE AGED WOMAN stands, naked her body pressed against     the floor to ceiling glass, high up, overlooking the Hudson     River. The steady back and forth of the MIDDLE AGED MAN     behind her gradually reveals both are lost in a stand up     fuck.                                    50.     BRANDON hesitates, quiet fascination flickering across his     face as for a brief flickering moment BRANDON's eyes lock     with the MIDDLE AGED WOMAN's dead gaze, standing high above-     A CAR HORN LOUD UNREMITTING-     BRANDON turns, his hypnotism broken. It's as if he comes back     to himself.65   EXT. STREET. NEAR RESTAURANT. NIGHT.                         65     A distant restaurant illuminating a dimly lit street-     MARIANNE waiting inside the bar, seated, with a drink,     clearly there for some time. Her eyes checking the room, with     quiet concern.     BRANDON stands watching from a distance-     BRANDON makes to cross, hovering on the edge of the gutter     until-66   INT. RESTAURANT. NIGHT.                                      66     BRANDON enters the restaurant.                         BRANDON               Hi.                         MARIANNE               Hello-                         BRANDON               Hello. (LAUGHS)                         BRANDON (CONT'D)               Did you find it okay?                         MARIANNE               Yes, I'm glad you made it.                         BRANDON               Oh, yeah. I'm late. Sorry.     BRANDON sits down at the table where MARIANNE is already     seated.                         MARIANNE               You look handsome.                         BRANDON               You look amazing.     A WAITER enters.                                  51.                       WAITER          Hi.WAITER places the wine list in front of BRANDON and hands outmenus.                       MARIANNE (UNDER)          Thank you.                       WAITER          OK.                       BRANDON          Thanks.                    WAITER          I have few specials on the menu, if          you'd like to hear them?MARIANNE smiles, eyes darting to BRANDON, playful. The WAITERoblivious, clearly on a roll.                       BRANDON          Sure.                    WAITER (O.S.)          Erm.. The soup of the day is tomato          with basil oil and Parmesan          crostini. The special is marinated          swordfish, tabbouleh and Moroccan          Chermoula. It's really good. Er,          we're also serving a DeBragga and          Spitler New York Strip with a side          order of fries and the salad is          snow pea and radish with a cider          vinaigrette. Can I start you off          with a sparkling water?BRANDON nods, (CLEARS THROAT)-                    BRANDON          Tap water's fine.                    WAITER          OK and the wine menu's right next          to you. Yep. There you go-BRANDON pulls out a wine menu hidden under his bread plate.                    BRANDON          You want some wine?                       MARIANNE          Sure.                    BRANDON          White? Red?                               52.                    MARIANNE          Red maybe..The WAITER hovers, points to a red on the menu-                    WAITER          The Pinot Noir is er..light..          Erm.If you like it like.. Light.The GLIDE of a napkin across BRANDON's lap, the WAITER aconstant presence, on the edge of irritating.                    BRANDON          Great.                    WAITER          OK. I'll be back.The WAITER smiles, at last moves off-They sit looking at their menus.BRANDON steals a moment, eyes tracing over-MARIANNE's fingers playing with the edge of her menu-The flutter of her lashes-Nipples ghosting her dress.An ring indent around her wedding finger, the shrink of skin.                    BRANDON          So (CLEARS THROAT) Where do you          live? (LAUGHS)                    MARIANNE          (LAUGHS) Brooklyn.                    BRANDON          Nice.                    MARIANNE          Born and raised. Where you from?                    MARIANNE (CONT'D)          Where you from?                    BRANDON          I was born in Ireland. We moved          here when I was a teen.The WAITER enters again, with water.                     MARIANNE          Do you get back much? (TO WAITER)          Thank you.                                 53.WAITER pours water for MARIANNE                    BRANDON          A couple of times.                    MARIANNE          A big family? You miss them?                    BRANDON          Er.. I have a sister.                    MARIANNE          I have two.                      BRANDON          Oh, yeah?                      MARIANNE          Yeah.                    BRANDON          Older, younger?                    MARIANNE          Older and younger. I'm in the          middle.BRANDON stares at MARIANNE                      MARIANNE (CONT'D)          What?                    BRANDON          Just wondering.                    MARIANNE          (LAUGHS) are you nervous?                    BRANDON          Why would I be nervous?MARIANNE smiles, holds his look.                    MARIANNE          You look a little nervous.                      BRANDON          Do I? No.                    MARIANNE          Well, what's a date?BRANDON shrugs-                    BRANDON          It's no big deal.                                 54.                    MARIANNE          It took me an hour to figure out          what to wear.                    BRANDON          You chose wisely.MARIANNE shrugs, smiles-BRANDON laughs-The WAITER returns-                     WAITER          I forgot to say the crab comes in          the shell.                      BRANDON          Great.The WAITER pauses, expectantly.                    BRANDON (CONT'D)          Oh. Yeah... I haven't even looked          at this.                    MARIANNE          Erm, I'll have the lamb.The WAITER scrawls it down on a pad, barely looking up.                      WAITER          The Lamb.                    BRANDON          I'll have the Lamb too. That sounds          great.                      MARIANNE          (LAUGHS)                    WAITER          Erm, No appetizer?                     BRANDON              (looking to MARIANNE)          You want-?MARIANNE shrugs, closes her menu.                      MARIANNE          I'm fine.                      BRANDON          No.                               55.                    WAITER          OK, and how would you like the          lamb?                    BRANDON          Medium.                    WAITER          We recommend it pretty pink.The WAITER waits-BRANDON looks at MARIANNE, they giggle.                    BRANDON          OK.                    MARIANNE          Hm-hm.                    WAITER          Pink it is.The WAITER takes the menus. MARIANNE stares at BRANDON.                    WAITER (CONT'D)          Thank you. Excuse me.The WAITER exits.                    BRANDON          So, you seeing anyone at the          moment?                    BRANDON (CONT'D)          No.                    MARIANNE          No. Really? Why? Why is that?                    BRANDON          I don't know. Just er, it's just          the way it is.                    MARIANNE          It's just the way it is. Yeah, I          erm... actually, I'm separated.                    BRANDON          Right.The dip of skin, soft under her chin, a finger grazing overit, nervously.                    MARIANNE          Yeah. Kind of a recent thing.                                 56.                    BRANDON          OK. You were married for long?                      MARIANNE          No.The WAITER returns.                    WAITER          Did we decide on the wine?BRANDON hesitates, on the edge but-                    BRANDON          Erm, well, yeah erm.. The Pinot..          Was it the Pinot Noir, you said?BRANDON scours the wine menu at a loss-BRANDON looks to MARIANNE, she shrugs-                    WAITER          Yeah, great..Great choice. OK.The WAITER nods, at last moves off-                    MARIANNE          I wasn't married long. Gave it a          shot. It didn't really work out.                      BRANDON          No.                      MARIANNE          Wow.                      BRANDON          What?                    MARIANNE          Well, you just seem, like..          (LAUGHS)                      BRANDON          What?                    MARIANNE          ...averse to the whole idea.                     BRANDON          Well, yeah. I mean, I just don't          understand why people would want to          get married. Especially nowadays, I          mean, it's.. You know.. I don't see          the point.                    MARIANNE          In relationships?                                57.                    BRANDON          It doesn't seem realistic.MARIANNE considers, lips grazing the rim of the glass.                    MARIANNE          Are you serious? I mean..                    BRANDON          Yeah, I am, really.                    MARIANNE          (LAUGHS) Well, then, you know, why          are we here, if we don't matter to          one another?                    BRANDON          Well..                    MARIANNE          Why are you here?                    BRANDON          The food's supposed to be really          great here. (LAUGHS)MARIANNE nods, doesn't look amused-                    BRANDON (CONT'D)          No, no, no, no. I'm not.. I'm not          saying it like that. I mean, I just          mean, you know.. One person for the          rest of your life? I mean, it's.. I          mean, you know, you come to          restaurants, you see couples          sitting together and they don't          even speak to one another. They          don't have anything to say, they          don't have anything.                    MARIANNE          They probably don't have to speak          because they're connected.                    BRANDON          Or they're just bored with one          another.                    MARIANNE          Every..The WAITER approaches, a bottle of wine in hand.                    WAITER (OVER)          Here we go.The WAITER uncorks the wine.                                        58.                            MARIANNE                  What's your longest relationship?                             BRANDON                  Erm..     He pours a little into BRANDON's glass.                             MARIANNE                  Exactly.     BRANDON gestures for the WAITER to pour.                            BRANDON                  Oh, that's.. you can pour.                             WAITER                  Sure.     WAITER fills BRANDON's glass.                            BRANDON                  Four months.     WAITER finishes pouring BRANDON's wine and starts filling     MARIANNE's.                            MARIANNE                  You have to commit. You have to                  actually give it a shot.                            BRANDON                  I did.. (LAUGHS).. For four months.                            WAITER (UNDER)                  I'll leave the bottle.     The WAITER slides the bottle down, moving off-                            MARIANNE                  For four months.67   EXT. STREET. OUTSIDE RESTAURANT. NIGHT.                      67     A dirty grey street, brightened by the glow of BRANDON and     MARIANNE seated inside the restaurant.68   EXT. STREET. NEAR RESTAURANT. NIGHT.                         68     LATER-     BRANDON and MARIANNE stand heady from the wine and a little     awkward in the freezing cold-     They walk-                                  59.BRANDON sneaks a side glance, MARIANNE smiles. It's freezing.They're breath and bodies steaming as they walk.                       MARIANNE          Thank you.                    BRANDON          Look, touch that.BRANDON bows, pointing to the back of his head.                       MARIANNE          Your head?MARIANNE turns to touch BRANDON's head. As she does so, heGROWLS at her, like a little dog.                       BRANDON          GRRRRRR.MARIANNE shrieks.They BOTH laugh.                    BRANDON (CONT'D)          (LAUGHS) Oh, no, no, no...                    MARIANNE          (LAUGHS) You're such a.. Weirdo.She pushes him playfully.                    BRANDON          No, seriously, seriously. Touch it.                       MARIANNE          OK.There's a massive knot on the back of his head.                    MARIANNE (CONT'D)          Oh, my God.                    BRANDON          Do you feel that?                    MARIANNE          Yeah, what is it?                    BRANDON          It's a remnant.                       MARIANNE          A remnant?                               60.                    BRANDON          Yeah, from the Neanderthals.          There's only a few of us left since          the homo sapiens took over.                    MARIANNE (OVER)          OK. Hmm.. That would explain the          forehead.                    BRANDON          What's that supposed to mean?                    MARIANNE          `What's that supposed to mean?'                    BRANDON          What do you mean?                    MARIANNE          (CHUCKLES) No, seriously, how did          you get it?                    BRANDON          (COUGHS) I used to play this game          with my cousin.                    MARIANNE          Hm-hmm.                    BRANDON          Where I would sit on his feet and          he'd fly me through the air. I hit          my head on the ceiling and I          blacked out.They both laugh. Marianne laughs hysterically. BRANDON laughsalong.                    BRANDON (CONT'D)          I was knocked out for 5-10 minutes.          I peed my pants.                    MARIANNE          (Reacts Sympathetically) Oh.                    BRANDON          If you had a choice to live in the          past or future and you could be          anything you wanted, what would you          be?                    MARIANNE          What would you be?                    BRANDON          I always wanted to be a musician in          the sixties.                               61.                    MARIANNE          That's cool A musician?                    BRANDON          Yeah.                    MARIANNE          Sixties is tough though. I saw          GIMME SHELTER recently, you know          the Rolling Stones documentary?                    BRANDON          Yeah.                    MARIANNE          It kind of seemed like hell.                    BRANDON          What?                    MARIANNE          (LAUGHS) Yeah, the sixties would be          the last place I'd want to be.                    BRANDON          No way!                    MARIANNE          Yes. Eugh, chaos!                    BRANDON          So where would you wanna, and what          would you wanna be?                    MARIANNE          Erm.. You know. Here, now.                    BRANDON          That's boring                    MARIANNE          Fuck you. (LAUGHS)Still walking along, BRANDON thinks for a moment. BRANDONturns and stares at MARIANNE, holding his gaze. MARIANNEblushes. There's a silence as they walk on. They get to asubway entrance.                    MARIANNE (CONT'D)          OK. Well, this is me.BRANDON nods, hovers by the subway, awkward and yet-                    BRANDON          This is you.They stand heady from the wine and a little awkward.                                      62.                           MARIANNE                 Thank you very much Brandon.                           BRANDON                 Thank you very much MARIANNE. We                 should do this again.     SILENCE     They loiter on the edge of something more.                           MARIANNE                 Right.     SILENCE     BRANDON hovers, momentarily fragile, the sting of     uncertainty. MARIANNE descends into the depths of the subway,     with a half wave.                           BRANDON                 So, is that a yes?                           MARIANNE (O.S.)                 Maybe, yeah.69   INT. CORRIDOR. APARTMENT. NIGHT.                             69     The CLICK of the door-     BRANDON enters. The sound of the record player, which had     finished hours ago, rotates empty on the turntable.     Pulling off his jacket-                           BRANDON                 Hello? Sissy?     SILENCE-     BRANDON puts the needle back in it's dock. HE hangs up his     jacket, takes his bag, heads towards the living room. He     spies all SISSY's crap spilling out across the floor-     He sighs.     Heads to the kitchen and gets a can out of the fridge.70   INT. CORRIDOR. APARTMENT. NIGHT.                             70     The lock of the front door rotates. Someone is entering the     apartment.     Darkness-     SISSY bursts through the door, in a hurry.                                   63.     After a moment the bathroom door opens, cutting a slit of     light into the darkness.     From the blackness we see BRANDON framed, masturbating in     front of the bathroom sink.     SISSY, shocked, stands with her hand still on the door     handle, transfixed by a naked BRANDON.     As BRANDON instinctively turns, SISSY runs from view.     SISSY slams the door shut.                           BRANDON (O.S.)               Oh! Fuck!                         SISSY               (SNIGGERS) Fuck!     BRANDON looks at himself in the mirror, full of shame and     bewilderment and deep embarrassment.     Slowly but surely these expressions turn into rage. He hits     the wall in frustration.                           SISSY (CONT'D)               Fuck!71   INT. LIVING ROOM CORRIDOR. APARTMENT. NIGHT.                71     BRANDON opens the bathroom door, with towel tied around his     waist, looking for SISSY.                         BRANDON               What? Are you fucking spying on me?                         SISSY               (LAUGHS) Lock the fucking door,               Brandon.                         BRANDON (OVER)               Are you fucking spying?                         SISSY               (Mimicking him) Uhh.. Are you               fucking spying?     BRANDON leans over SISSY, pushes her down onto the sofa.                         SISSY (CONT'D)               Fuck! (LAUGHS) Brandon..                         BRANDON (OVER)               What do you want? What do you want?     BRANDON climbs onto SISSY, straddling her.                                 64.                    SISSY          Oh, you wanna fight? You wanna          fight? You wanna fight? You wanna          fight?                    BRANDON (OVER)          Yeah? You want some of this? You          want some of this?BRANDON's towel falls down as he forcefully pins her down.                     SISSY (UNDER)          You wanna fight? You wanna fight?          You wanna.                    BRANDON (OVER)          What do you want from me? What do          you want from me?                       SISSY          Brandon!BRANDON shakes SISSY by the shoulders. She reacts, upset now.                    BRANDON          (SHOUTS) What do you want?                    SISSY (OVER)          (SHOUTS) Get off me!                    BRANDON          (SHOUTS) Why did you come here?          Why?                    SISSY (OVER)          Get off me! Get off me!                       BRANDON          Why?                       SISSY (OVER)          Get of me!                       BRANDON          Why?!                    SISSY          Ow! You're fucking hurting me.                    BRANDON (OVER)          Talk to me! You fucking bitch!                    SISSY (OVER)          Fucking get the fuck off, you          fucking weirdo.BRANDON stands and exits. SISSY shouting after him.                                  65.                         BRANDON (O.S.)               Fucking slut!72   INT. BATHROOM. APARTMENT. NIGHT.                          72     BRANDON locks the bathroom door.     He exhales, letting the moment slowly pass until-                          SISSY (O.C.)               Brandon-     BRANDON lowers himself onto the floow, desperately struggling     with his emotions-     He closes his eyes, eyelashes fragile and flickering until-     BRANDON opens them, reaches a hand out, almost mechanically,     turns up the shower, the room now swirling in steam, trying     to drown SISSY's voice out.                         SISSY (O.S.) (CONT'D)               Brandon, I'm sorry.     BRANDON closes his eyes, tears pricking-73   INT. LIVING ROOM. APARTMENT. NIGHT.                       73     SISSY walking back from kitchen, resigned-     BRANDON's laptop on and open on his desk.     SISSY approaches it, sinking down in front of the illuminated     laptop.     She absently taps the mouse, dragging open a series of held     windows, the shifting lights of the screen cast across her     face, revealing-     Slowly SISSY's face changes, a blurred smorgasbord of porn     sites, graphic and obscene, their colors reflecting across     her face and body. An escalating collage of graphic images,     obscene sexual messages and a provocative sexual conversation     hanging mid sentence addressed to a live sex chatroom. The     images haunting, brutal, from the weird to the     sadomasochistic. The open windows, an endless stacking of     obscene chatroom conversation, emails posted with graphic     sexual photos and live webcam images of every combination of     fucking disappearing into the screen in infinite form.     SISSY is taken aback and strangely intrigued-     Suddenly a voice from the screen, images briefly glimpsed, a     woman legs splayed-                                  66.                         FROM SCREEN               Hey, where's Brandon? Are you               Brandon's girlfriend? Do you want               to play?     SISSY looks closer, mildly appalled.                         FROM SCREEN (CONT'D)               Do you wanna play with my tits? I               know Brandon would really like it..               And I know exactly what Brandon               likes.     BRANDON picks up the laptop and heads towards his bedroom.     SISSY takes her coat and leaves the apartment.74   INT. BEDROOM. APARTMENT. NIGHT.                              74     LATER-     The thump of music-     BRANDON sitting on the edge of his bed, the pumping music     from a stereo in the apartment seemingly getting louder,     hands grasping his hair. Then suddenly he enters the whole     contents of his bedside drawer into a black garbage bag.     Then, BRANDON moving like a dervish through the apartment, a     black garbage bag in his hand, dumping pieces of paper, post     it notes and business cards with hastily written cellphone     numbers on the back.     BRANDON moves on, picking up anything he can find. An old     jacket, elbows worn. A handful of old t-shirts.     He moves off down the corridor with growing frenzy, grabbing     more crap along the way, one of SISSY's dirty thongs on the     floor. He picks it up, moving on.75   INT. KITCHEN. APARTMENT. NIGHT.                              75     An open fridge-     BRANDON tipping bowls of old food and long past it sell by     date mush into the bag.     Cans of Red Bull, crappy cereals, jam with mould on top, an     old joint, magazines all get dumped on route.     BRANDON heads out, picking up more detritus along the way,     old pens, an old cellphone, a pair of defunked headphones-     A pile of porn mags, in a cupboard, pulled out as he heads     down along the corridor.                                    67.76   INT. LIVING ROOM. APARTMENT. NIGHT.                          76     BRANDON strips the room, pulling out an old pair of sneakers     smelling and cracked from under a chair. He peers up, looks     around the room almost bare-     His laptop resting on his desk. BRANDON stops, considers,     initially resistant and then something finally compels him to     do it-     He picks up the laptop, yanking the plug hard from the wall.     Dumping it inside the garbage bag, he moves on picking up an     ipod, a gameboy, ipod nano, wires and cables and stuff.     Slapping a tangle of wires into the garbage, he drags the     heaving bag of crap out into the corridor.     The SLAM of the front door-77   EXT. STREET. OUTSIDE APARTMENT. NIGHT.                       77     BRANDON heading down the steps of his apartment, heaving the     swelled and dripping bag into a heaving garbage can parked on     the sidewalk. A pile of black garbage bags already piled up     along the street in waiting for collection.     Further down the street a YOUNG COUPLE holds hands, walks by     the arrangement of trash bags littering the sidewalk.     A SIREN goes past-     The DISTANT banter of a GANG OF KIDS.     BRANDON heads back up to his apartment, shutting the door     firmly.78   INT. BRANDON'S OFFICE. DAY.                                  78     BRANDON, now the voyeur, looks across the room, into     MARIANNE's office. He studies her, almost like prey. The     moment seems to last a lifetime. There is much want in     BRANDON's face, but from this distance seems unobtainable.     Suddenly, and without any warning, BRANDON walks into his     dream, entering MARIANNE's office, and pulls her behind a     partition, kissing her unapologetically and passionately.     She responds, startled, but happy to be taken. She     surrenders.     They pull away, looking at one another. She smiles,     laughing, his spirit infectious, drawing her on.                          BRANDON               Come on.     BRANDON leads MARIANNE away.                                     68.79   EXT. STANDARD HOTEL. DAY.                                  79     BRANDON and MARIANNE stepping out of a cab, BRANDON leading     MARIANNE, both giggling and tripping.                         MARIANNE               Where are you taking me? (LAUGHS)                         BRANDON               Come on. You'll see     MARIANNE stops. She smiles, quizzically, allowing herself to     be guided and yet-                         MARIANNE               No, where are we going? (LAUGHS)                          BRANDON               Come on.80   INT. BATHROOM. STANDARD HOTEL. DAY.                        80     BRANDON snorts two lines of coke in quick succession on top     of the white water tank in the toilet.     Exiting, we see MARIANNE looking out onto the Hudson from the     large hotel window.81   INT. BEDROOM. STANDARD HOTEL. DAY.                         81     BRANDON enters the bedroom, stopping to prepare a drink.     Watching MARIANNE at the window.                         BRANDON               You wanna drink?     He pours a drink from the mini bar.                         BRANDON (CONT'D)               What are you looking at?                         MARIANNE               The view is amazing.     BRANDON approaches nervously, standing next to her.                          BRANDON               Hey.     MARIANNE leans up and kisses BRANDON.                          MARIANNE               (LAUGHS)                                    69.     MARIANNE takes BRANDON's hand and leads him to the bed. We     see both of them slowly discovering each other through tender     touches.     MARIANNE caresses BRANDON's face and kisses both his eyes.     BRANDON attempts to do the same to MARIANNE, slowly but     surely. This ritual becomes more aroused, clothes start to     fall away, revealing for the first time both each other's     flesh.     BRANDON rolls up her skirt, laughs at her panites. MARIANNE     giggles.                         BRANDON               (LAUGHS) Are they vintage?                         MARIANNE               A little bit. (LAUGHS)     The ritual begins to get more passionate, as they feel for     each other's breasts and thighs.     At the height of this passionate encounter, BRANDON's     attention strangely, slowly starts to fade. It's as if the     intimacy that he has discovered starts to frighten him.     He recoils, unable to continue.     Both lie on their backs silently, in frustration, breathing     heavily. MARIANNE's face is one of puzzlement and hurt. She     looks at BRANDON for some kind of answer. He gets up.     MARIANNE, unsure what to do, sits up and pulls down her     skirt, adjusts her hair.82   INT. BEDROOM. STANDARD HOTEL. DAY.                           82     Late afternoon sunlight seeping across the room-     BRANDON sits at the edge of the bath looking out onto the     view.                         MARIANNE               Brandon? Erm...     MARIANNE looks at him, the moment fragile. She does up her     bra.                         MARIANNE (CONT'D)               You know, it's cool. It's OK.                         MARIANNE (CONT'D)               Should I go?                         BRANDON               Sure.                                     70.     Hurt, MARIANNE put on her top, picks up her bag and makes to     leave                          BRANDON (CONT'D)                I can walk you down.                             MARIANNE (O.S.)                That's OK.     SILENCE-     BRANDON looks back out over the grey of the Hudson River.     BRANDON's face is one of embarrassment and failure.     The CLICK of the door, MARIANNE gone.     The HUM of the traffic, audible through an ajar window.     BRANDON reaches his hand out, catching the breeze, peering     down, a man on the edge.83   INT. BEDROOM. STANDARD HOTEL. DAY.                           83     BRANDON banging the life out of HOTEL LOVER, doggy style,     tits pressed up against the glass of the window-     The DISTANT SCREECH of horns.84   EXT. STREET. BELOW STANDARD HOTEL. DAY.                      84     The trawl of cars-     The grey of the Hudson River-     BRANDON and the HOTEL LOVER just visible high above, caught     full frontal in the window-85   INT. BEDROOM. STANDARD HOTEL. DAY.                           85     BRANDON close to climax-     A cold sweat beading BRANDON's forehead as he comes, face     twisted before the slow seep of release.     BRANDON withdraws, laughs. The HOTEL LOVER laughs as well.     BRANDON turns, for a moment she is almost beautiful.     HOTEL LOVER smiles, already pulling on her underwear. BRANDON     watches her, pulling on a tiny thong. She looks up, stares at     him.     BRANDON looks away, fighting back the cold flutter of shame.                                   71.                         BRANDON               Can I get you a drink?     HOTEL LOVER hesitates, smile, shakes her head.                         HOTEL LOVER               No.     BRANDON nods. HOTEL LOVER fingers fastening a cheap nylon     bra.                         HOTEL LOVER (CONT'D)               Fuck.                         BRANDON               Need a hand?                         HOTEL LOVER               The hooks odd-                         HOTEL LOVER (CONT'D)               (SIGHS) There you go.86   INT. BEDROOM. STANDARD HOTEL. DAY.                          86     BRANDON sits on the bed, now alone, caught in the half light     of dusk-     The rise and fall of a distant lift.87   INT. LIVING ROOM. APARTMENT. NIGHT.                         87     BRANDON is sitting on the couch, watching a cartoon. SISSY     enters the apartment, on her cell phone. BRANDON ignores her                         SISSY (O.S.)               (into phone) David?.. Pick up. I               take it you're at your pottery               class.     SISSY hangs up.                         SISSY (O.S.) (CONT'D)               Have you eaten?                         BRANDON               No.                         SISSY (O.S.)               Are you hungry?                         BRANDON               No.     SISSY Sits down next to BRANDON on the couch.                              72.                    SISSY          Can you just give me a hug?BRANDON puts him arm around her. She snuggles up to him.                    BRANDON          He's not gonna screw you again.                      SISSY          (SIGHS).                    BRANDON          You left a message didn't you? You          can't help yourself. It's          disgusting.                    SISSY          Why are you so fucking angry?                    BRANDON          Why am I so fucking angry? That's          my boss! You sleep with him after          twenty minutes and now you're          calling him up? What's the matter          with you? You know he's got a          family, right? You know he's got a          family?                      SISSY          No.                    BRANDON          You didn't see the wedding ring on          his finger?                      SISSY          No.                    BRANDON          You're a liar.                      SISSY          I'm sorry                    BRANDON          You're always sorry.                      SISSY          At least-                    BRANDON (OVER)          That's all you ever fucking say!                    SISSY (OVER)          Well, least I say I'm sorry.                               73.                     BRANDON          Try doing something, actions count!          Not words.                    SISSY          I'm sorry. I'm sorry. I fucked up.          I'm not perfect. But I'm...trying.                    BRANDON          Some people fuck up all the time.Pause.BRANDON removes his arm from around SISSY.                    BRANDON (CONT'D)          Look, just forget it. This isn't          working out. Obviously. You need to          find somewhere else to live.                      SISSY          I don't have anywhere else to go.               (beat)          This isn't about him. I make you          angry all the time and I don't know          why.                    BRANDON          No. You trap me. You force me into          a corner and you trap me. "I've got          nowhere else to go." I mean, what          sort of fucking shit is that?                    SISSY          You're my brother.                    BRANDON          So what, I'm responsible for you?                    SISSY          Yes!                    BRANDON          No I'm not!                    SISSY          Yes you fucking are!                    BRANDON (OVER)          I didn't give birth to you! I          didn't bring you into this world.                    SISSY          You're my brother, I'm your          sisterm. We're family. We're meant          to look after each other.                             74.                    BRANDON          You're not looking after me.                    SISSY          I'm-                    BRANDON (OVER)          I'm looking after myself.                    SISSY (OVER)          I'm trying to help you!                    BRANDON          How are you helping me? Huh? How          are you helping me?BRANDON grips SISSY's face in his hand.                    BRANDON (CONT'D)          How are you helping me? Huh? Look          at me. How are you helping me? You          come in here, and you're a weight          on me. Do you understand me? You're          a burden. You're just fucking          dragging me down. You can't even          clean up after yourself. Stop          playing the victim.                     SISSY          I'm not playing the fucking victim.          If I left now, I'd never hear from          you again.SISSY pulls BRANDON's hand away.                    SISSY (CONT'D)          Don't you think that's sad? Don't          you think that's sad? You're my          brother.                    BRANDON          Why is it always so dramatic with          you? Everything is always the end          of the world.                    SISSY          It's not fucking dramatic. I'm          trying to talk to you!                    BRANDON          I don't want to talk. Try not          talking. Try just listening or          thinking for a change.                    SISSY          Yeah, `cos that's working great for          you. You're completely fine.                                     75.                          BRANDON               Well, I've got my own fucking               apartment.                         SISSY               Oh, whopee-fucking-shit. You have               your own apartment, that's amazing.               Your job and an apartment, I should               be in awe of you.                         BRANDON               Well, at least I'm responsible for               it. At least I don't depend on               people all the time. You know,               you're a dependency, you're a               parasite.                         SISSY               You don't have anybody. You don't               have anybody. You have me and your               fucking pervert boss.                         BRANDON               You slept with that fucking pervert               boss. So what does that make you?                         SISSY               DOn't talk to me about sex-life               Brandon. Not from you.                           BRANDON               Whatever.     BRANDON makes his way to the closet, taking his coat.                         BRANDON (CONT'D)               I'm going out.                         SISSY               Great. And then you'll just come               back and we'll just have this same               fucking conversation again.                         BRANDON               No, you'll move out.                         SISSY               And then I'll never hear from you               again?     BRANDON exits the apartment.88   INT.SUBWAY TRAIN. NIGHT                                    88     BRANDON's reflection in the window as the train travels.                                     76.     We see that BRANDON has a nasty cut on his cheek.89   INT. BAR. NIGHT.                                           89     Earlier that night-     BRANDON sits, drinks alone at the bar-     An OLDER GUY paws a GAUNT YOUNG WOMAN plying her with drinks,     knocking them back much to his delight.     BRANDON watches, catching the eye of a girl (CARLY) walking     towards the bar, her friends playing pool-                           CARLY               Hey-                           BRANDON               Hey.     CARLY smiles, as she leans against the bar, her breasts     spilling out of her T-shirt.                         BRANDON (CONT'D)                   (close to)               You want to get out of here?     CARLY giggles-                         BRANDON (CONT'D)               I could take you somewhere.     CARLY looks over at her MUSCULAR BOYFRIEND just visible     across the bar talking to a couple of GUYS.                         BRANDON (CONT'D)               What? Are you with someone? Does he               go down on you? I do..That's what I               like to do..     CARLY looks at him, sobering and yet-     BRANDON's hand discreetly reaches down, up and under the     girl's skirt, shocking her a little and yet-                         BRANDON (CONT'D)               I like the way it feels. I like the               way it's just me and it... I wanna               taste you. I like to slip my tongue               inside you-     CARLY leans in closer, her lips blotting the edge of a glass     overfilled with beer.                         BRANDON (CONT'D)               ...just as you come.                               77.CARLY hesitates, the moment hangs dangerous between them.BRANDON sucks his fingers.                    BRANDON (CONT'D)          Want me to make you come?                    BRANDON (CONT'D)          I can do that. Want me to do that?BRANDON strokes her chin-                       MUSCULAR BOYFRIEND          Hey-?From behind, CARLY's MUSCULAR BOYFRIEND approaches, quizzical-                    MUSCULAR BOYFRIEND (CONT'D)          What's up babe?CARLY nods, deflects-                    CARLY          I was just getting some drinks.                       MUSCULAR BOYFRIEND          Yeah, huh?                    BRANDON          I was just telling your pretty          girlfriend here, that I'd like to          fuck her in that tight pussy of          hers.                       MUSCULAR BOYFRIEND          (CHUCKLES)                    BRANDON          I mean bone her real hard til she's          clawing up my back.                    CARLY          He's kidding.CARLY gently bars her MUSCULAR BOYFRIEND, trying to diffuselead him away.                    BRANDON          After I fuck her hard up the ass, I          put my balls in her mouth while I          come on her face.                    MUSCULAR BOYFRIEND          (To CARLY) You won't let me fuck          you in the ass.                       CARLY          Christ.                                     78.                         MUSCULAR BOYFRIEND               You get to fuck her in the ass?                           BRANDON               You know.                         MUSCULAR BOYFRIEND               Tell me more man, because you.. I'm               fucking loving this.     BRANDON turns, smiles provocatively, knows what's coming     next.                           BRANDON               Smell it.     The MUSCULAR BOYFRIEND reacts as BRANDON shoves his fingers     under his nose.                         MUSCULAR BOYFRIEND               (SNIFFS) Yo!     The MUSCULAR BOYFRIEND shoves BRANDON.                         CARLY               Jesus, come on.                         MUSCULAR BOYFRIEND               You mother fucker.     BRANDON laughs, sips his drink-90   EXT. STREET. OUTSIDE BAR. NIGHT.                           90     BRANDON is rounding a corner, doing up his jacket. The     MUSCULAR BOYFRIEND runs out after him.                         MUSCULAR BOYFRIEND               Hey, Romeo.     He spins BRANDON around and punches him.     The slip and slide of BRANDON's shoes, his face smashed     against the sidewalk. The MUSCULAR BOYFRIEND comes in hard     again, kicking him, sharp in the ribs. BRANDON recoils yet     almost seems to want more as he struggles to stand. He spits     on BRANDON.91   EXT. STREET. NEAR BAR. NIGHT.                              91     BRANDON walking, aimless and bleeding-     The DRONE of taxi's streaking past-                                     79.     TWO WOMEN seated outside a bar, drinking and smoking, lost in     their laughing conversation oblivious-     BRANDON walks on-     A YOUNG MAN with a satchel roughly brushes past him-     The YOUNG MAN wavers on seeing BRANDON is crying, moving on-     BRANDON's face head down wanting to get away.     A rush of TEENAGERS and MIDDLE AGED COUPLES spilling out of a     cinema-     BRANDON walking, disorientated, jaywalking through the     traffic.     The SCREECH of horns-     BRANDON ignores them, he crosses streets, traffic, darting     off the sidewalk into the road, when human, dog or stroller     gets in his way until-92   EXT. STREET. NIGHT.                                         92     BRANDON walking past a blur of yellow Neon and glow of shop     signs-     Across the street, a snaking queue of MEN wait in line     outside a club.     He keeps walking, eyes scouring-     TEENAGERS loiter, in oversized clothes, sunk under caps and     hoods.93   EXT. STREET NEAR CLUB. NIGHT.                               93     A lively bar; a couple of HOT GIRLS entering-     BRANDON considers, goes to enter, barred by BOUNCERS, who     point him back along the cue-     He stands in line-     Across the street, a THICK SET GUY eyes him. He stands     smoking outside a heaving bar. BRANDON looks away-     A GANG OF GIRLS pass, The BOUNCERS let them in with ease.     BRANDON reaches for his iPhone, tries to cover his face with     his phone to get into the club-                         BOUNCER               Woah! Not tonight, buddy.                                    80.     BRANDON ties to get in again. The BOUNCER stops him a second     time.                         BOUNCER (CONT'D)               I said not tonight.     The THICK SET GUY over the street, flicks out his cigarette,     eyes grazing over BRANDON as he re-enters the heaving bar     opposite.     BRANDON considers, hands sunk deep in his pockets.     Through the glass a heaving bar. BRANDON considers, on the     edge until-     He suddenly crosses the street, narrowly avoiding a taxi     streaking past.94   INT. CLUB. NIGHT.                                            94     Fluorescent light skimming the thick black darkness like a     beam on a lighthouse-     A heaving dance floor of BUTCH BEARS, SKINNY BOYS, and TWIGS,     arms raised, dancing to the pulse of music.     The THICK SET GUY, walks away, waiting for BRANDON to follow.     BRANDON follows.95   INT. CLUB. LABYRINTH. NIGHT.                                 95     Passing through a low hung door, BRANDON moves along a dark     labyrinth of corridors, eyes grazing over-     Dimly lit crevices, MEN caught briefly in light, lost in     fellatio and stand up fucking-     BRANDON keeps walking, drawn towards a dark doorway-96   INT. BACKROOM. CLUB. NIGHT.                                  96     An endless darkness, punctured with groans from dark cubicles-     BRANDON hesitates, foot slipping on the moist floor.     Suddenly a hand reaches out, drawing him into the dark     cubicle-     The THICK SET GUY presses BRANDON up against the wall,     kissing him, tongue searching his mouth, rubbing along its     roof, hungry and urgent.     BRANDON pulls away, hands gently yet forcefully pushing the     THICK SET GUY down on his knees.                                  81.     BRANDON looks beyond-     A THIN BOY down on his knees sucking a cock through a hole     between walls.     BRANDON stands, legs splayed letting the THICK SET GUY take     him in his mouth. He is beautiful.     The palm of BRANDON's hand pressed against the side of the     cubicle. He stands, fucking the THICK SET GUY in the mouth-     The PULSE of music heaving, the club rocking, punctured by     groans and grunts of rough sex from deep within.     BRANDON throws his head back, gripping the cubicle wall.97   EXT. STREET OUTSIDE CLUB. NIGHT.                             97     The early hours-     BRANDON, heading away. He clocks his phone, several messages     from SISSY logged.     BRANDON listens to his voicemail-                         SISSY ON ANSWER MACHINE                   (from SISSY)               Brandon, it's Sissy.. I really need               to talk to you. Please.     BRANDON pockets his phone.98   EXT. AN APARTMENT. NIGHT.                                    98                         SISSY ON ANSWER MACHINE               Please will you pick up the fucking               phone?     BRANDON stops and knocks on an apartment door. A woman opens     and BRANDON steps in.99   INT. BEDROOM. LATER.                                         99     A threesome. BRANDON has sex with a BLONDE and BRUNETTE.     Throughout the images of the threesome, we hear more of     SISSY's Voicemail.                         SISSY ON ANSWER MACHING               We're not bad people... We just               come from a bad place.... Thanks               for letting me stay.     BRANDON, at climax, his animalistic grimace turns to pain and     anguish.                                   82.100   INT. SUBWAY. DAWN.                                          100      The grey snake of a subway coming up from under ground-      BRANDON stands on a platform. It's not the rush hour yet.      The RATTLE of the subway pulling in-      BRANDON boards the train.101   INT. TRAIN. SUBWAY. DAWN.                                   101      A virtually empty car-      BRANDON sits-      A COLUMBIAN WOMAN across the car, head lent against the      window, half asleep, clearly at the end of a long shift.      Above a poster of a sunny shiny family advertising LIFE      INSURANCE-      BRANDON's eyes graze over the poster-      He stands his reflection mirrored back at him, preparing for      his stop-      The train SCREECHES to a sudden halt-      Wheels SCREECHING along the track-      The COLUMBIAN WOMAN wakes-      A YOUNG STUDENT plugged headphone on, looks up from reading      her book.      BRANDON inwardly curses.      The train sits in the station. Doors not opening.      The silence at last punctured by the SHRILL hum of the      intercom-                          INTERCOM                Ladies and Gentlemen, at this time,                due to a police investigation, we                have to discharge this train.                Please follow the conductor to the                rear of the train.      The long low PING of the intercom fading out-      They wait. And wait in silence.      BRANDON leans his head against the glass, closes his eyes, a      hangover kicking in.                                      83.      The other few commuters in the carriage sit awkwardly,      wondering why the doors aren't opening in the station.      Details of the carriage appear.      Half-drunken cup of coffee.      An old New York POST.      Graffiti on all the car windows.      They wait.      Suddenly passengers from other carriages are making their way      through the carriage that BRANDON's in, with the CONDUCTOR      ushering the passengers to make their way down to the end.                             CONDUCTOR (O.S.)                   Watch your step between cars.      Passengers asking, "What's going on?"      BRANDON finally makes his way down with the other passengers      to the last carriage. As he steps out, he looks down to his      far left and sees a POLICE CAUTION LINE being unraveled, and      ENGINEERS and FIREMEN making their way to the far front of      the train.102   INT. SUBWAY. DAWN.                                          102      A LARGE BLACK WOMAN, face bowed, sits talking to a POLICE      OFFICER giving a statement-                             CONDUCTOR                   Watch your step.      Several ENGINEERS stand further down the platform surrounding      a TRAUMATISED DRIVER-                             CONDUCTOR                   Follow, me please. Follow me.      Two PLATFORM ATTENDANTS talk to POLICE OFFICERS.                             CONDUCTOR (CONT'D)                   Watch your step. This way. This                   way. Quickly                             FEMALE CONDUCTOR                   This way. Nothing to see. Move on.                             CONDUCTOR (O.S.) (OVER)                   Right this way, please.                             FEMALE CONDUCTOR                   Move on. This way.                                     84.      BRANDON makes his way past the wrought-iron gate with other      passengers, going up the stairwell.103   EXT. STREET. OUTSIDE SUBWAY. DAWN.                          103      BRANDON climbs the stairs, filing out of the subway, eyes      catching on-      A WOMAN's shoes, like Sissy's earlier at the Boom Boom Room,      discarded. BRANDON picks up his pace.      The intermittent WHIR of sirens-      BRANDON emerging from the subway, already reaching for his      cellphone-      Beyond the glow of an ambulance-      BRANDON keeps walking, heading off up the road quietly      distracted. He taps the keys pressing the cellphone to his      ear.      The PULSE of a distant phone ringing-      The answer machine kicks in-                          ANSWER MACHINE                This is Sissy..leave a message..                Don't if you're an asshole.      BRANDON flicks it off, slips it back in his pocket. BRANDON      picks up his pace.      He flicks out his phone again. Tries again-                          ANSWER MACHINE (CONT'D)                This is Sissy..leave a me-      BRANDON is running now, heart beating fast now, breath      quickening, a seeping panic threatening to unleash-                          BRANDON                Shit!      SUDDENLY he makes a dash for it, weaving through the sidewalk      at pace.104   INT. BRANDON'S BUILDING - LOBBY. DAWN.                      104      His finger repeatedly presses the elevator button as if by      doing so will make it arrive quicker.                                    85.105   INT. BRANDON'S BUILDING - ELEVATOR. DAWN.                   105      BRANDON enters into the elevator. The door shuts immediately      behind him.106   INT. BRANDON'S BUILDING - CORRIDOR. OUTSIDE APARTMENT. DAWN.                                                               106      Exiting, BRANDON heads along the faceless corridor, reaching      his front door.      He is already pulling out his keys and pushing them into the      door with growing dread-107   INT. CORRIDOR. APARTMENT. DAWN.                             107      The sound of running water from the bathroom. BRANDON stops      with relief, leaning his forehead against the bathroom door,      letting himself exhale-                          BRANDON                 Sissy-      SILENCE-      BRANDON hesitates, a seeping concern pricking his skin-108   INT. BATHROOM. APARTMENT. DAWN.                             108      BRANDON walks into the bathroom, freezing on seeing-      SISSY sunk on the floor wedged between the bathroom and the      toilet-      The pump of blood seeping from her wrists, already pooled      across the floor-      BRANDON reaches for SISSY gripping her wrists, deep slashes      scissoring the veins, the flap of skin, flaying-      BRANDON pushes the fat of his thumb on each slash, blood      seeping between his fingers-      BRANDON looks at her wrist, every time he moves his fingers,      he releases the pressure the blood flows.      BRANDON grips them tighter, a quiet determination to stop the      bleeding-      The skid of blood underfoot, BRANDON cradles her in his arms,      grappling with his phone, desperately calling 911.      BRANDON desperately holds her, cradled between his legs, his      fingers pressing her wrists, temporarily stemming the flow of      blood, the phone wedged between shoulder and chin.                                   86.      The slip of SISSY's wrist through BRANDON's fingers. He slams      down the phone, struggling to hold her in his grasp. She      slips again.109   INT. HOSPITAL. DAY.                                         109      BRANDON head bowed. Sitting by Sissy's bedside-      SISSY lies, sleeping, skin white, strapped to a drip. The      gentle rise and fall of her breath.      BRANDON's gaze falling on SISSY lying in the hospital bed,      her wrists bandaged.      BRANDON, eyes falling on the scars covering her arms. He      reaches out a hand, on the edge of touching them, letting his      fingers hover over them until finally-      A FINGER lightly outlines a snaking scar seeping up her arm.      She stirs a little but-      SISSY's eyes just opening, focusing on him until-                          SISSY                    (murmuring)                Shithead.      Relief overwhelming BRANDON, he laughs, exhales on the edge.      BRANDON turns to stroke SISSY's hair, rests his head next to      hers. She sleeps again.110   EXT. WATERFRONT. HUDSON RIVER. DUSK.                        110      BRANDON now walking along the side of the river, railings      seemingly speeding up his journey.      Beyond, the shadowy black figures of a broken jetty stretch      out toward the open river.111   EXT. DOCK. HUDSON RIVER. DUSK.                              111      The endless grey of the Hudson River, close now-      BRANDON walking along a concrete jetty-      A rusting building, oxidized and stained salt green, edging      along the jetty until-      BRANDON reaches the edge of the jetty, looking out-      The LAP of grey water beneath.                                     87.      BRANDON stands, a hangover kicking in-      And at once BRANDON is crying, the tears flowing slow at      first until they rush, like floodgates opening. He reaches      for breath, trying to stifle the howls emanating from his      body, inconsolable now, flooded with emotion-      BRANDON sinks squat to the ground, buckled in two, body      shuddering.      The LAP of the water steady now-      BRANDON sobs and sobs and sobs, a mess of snot and tears as      he looks out over the wide sweep of the Hudson River.      Far off the drone of the freeway, the early evening trawl of      traffic kicking in-      The froth of the tide back and forth, rising and breaking,      back and forth.112   INT. PLATFORM. SUBWAY. MORNING.                            112      BRANDON stands in his familiar spot on the platform, waiting      for the train that will take him to work. Wearing a vacant      face, the train pulls into the station. BRANDON boards.      He takes a seat automatically, as if pre-programmed. The      train leaves the platform.113   INT. TRAIN. SUBWAY. MORNING.                               113      Looking into no man's land, BRANDON feels the heat of      someone's gaze. As he instinctively looks up to respond, a      mixture of surprise, fear, excitement and doubt across his      face.      The PRETTY SUBWAY GIRL who we met at the beginning of our      story is staring down at BRANDON, this time in a more      engaging fashion. She looks because she wants to be looked      at.      Again, a dance begins. This time, she leads. Engaged, active,      decisive.      BRANDON's face is fractured into many conflicting emotions.      It's as if a magnet is drawing him in, but at the same time      he's trying to resist.      At this moment, the PRETTY SUBWAY GIRL stands up, eyeing      BRANDON as she makes her way to the door, blocking BRANDON as      the train pulls in to her stop.                                   88.114   INT. PLATFORM. SUBWAY. MORNING.                          114      The train pulls away from the station and disappears into the      tunnel. We do not know if BRANDON is still aboard or has      succumbed to his urges.115   THE END                                                  115
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+DARK SCREEN - NOVEMBER 4th, 1968 A darkness where even outlines are not discernible. There is a dim point of light coming from a dot on the HI-FI which is PLAYING the BEACH BOYS: "When we could say good night and still stay together... wouldn't it be niiiice?... we could be married, then we could be happy, wouldn't it be niiiiice?" Through it there has been the SOUND of BANGING, distinct and rhythmic. It GROWS LOUDER as the MUSIC ENDS. There are also WHIMPERING SOUNDS from a woman. FELICIA'S VOICE Oh, no. GEORGE'S VOICE ... what?... FELICIA'S VOICE That headboard. GEORGE'S VOICE Nobody can hear it. It BANGS a couple of more times. FELICIA'S VOICE I can. It makes me nervous. It continues to bang until Felicia screams, over the banging of the headboard. She follows the scream with a few yelps. Silence. Now the SOUND of the PHONE RINGING. FELICIA'S VOICE (CONT'D) (complimentary) Oh my God... Jesus... Jesus Christ... Jesus H. Christ. The PHONE CONTINUES TO RING. FELICIA'S VOICE (CONT'D) (a slightly different tone) You going to answer it? GEORGE'S VOICE (meaning no) Uh-uh. It CONTINUES TO RING. FELICIA'S VOICE (being for her very mischievous) Want me to? GEORGE'S VOICE Let it ring. And it does. It CONTINUES TO RING, killing all other considerations. FELICIA'S VOICE Boy, whoever she is, she doesn't give up. After a moment's fumbling, George finally picks it up. GEORGE'S VOICE Hello... (a little surprised) Ah, hi. The GIRL'S VOICE on the other end of the phone can be HEARD only FITFULLY, when George holds the receiver loosely by his ear. It is TINA. TINA'S VOICE What took you so long? GEORGE'S VOICE Wasn't sure it was you. TINA'S VOICE (muffled) GEORGE'S VOICE I... uh... I... uh... can't. TINA'S VOICE (laughter, sizing it up immediately) All right, who're you with? Jill? GEORGE'S VOICE No. TINA'S VOICE (lively but muffled) GEORGE'S VOICE No. TINA'S VOICE (she's heard Felicia) Awww -- GEORGE'S VOICE I'll call you back. TINA'S VOICE Come on by. GEORGE'S VOICE I'll call you back... TINA'S VOICE (raucous laughter, muffled) GEORGE'S VOICE (to Tina) Okay, okay... He hangs up. Felicia has fished for a cigarette, lit it and coughed. FELICIA'S VOICE You're rude. I mean, you're very rude. GEORGE'S VOICE Hey, I tried to get her off the phone. FELICIA'S VOICE You know what I'm talking about. GEORGE'S VOICE No, baby. Now look, that girl that called -- I have to talk to her, she'll do something. FELICIA'S VOICE Like what? GEORGE'S VOICE I don't know, kill herself. She's O.D.'d four times. This calms Felicia. A pause. FELICIA'S VOICE Well, is she your girlfriend? GEORGE'S VOICE No. FELICIA'S VOICE Are you in love with her? GEORGE'S VOICE Her? FELICIA'S VOICE Are you? GEORGE'S VOICE No. FELICIA'S VOICE Then it's not your problem. GEORGE'S VOICE It isn't? FELICIA'S VOICE No. You know too many sick ladies. GEORGE'S VOICE I guess so. FELICIA'S VOICE How do you expect to get anything done if you allow yourself to get sidetracked? Particularly in your business... you deal with women every day... GEORGE'S VOICE I guess so. FELICIA'S VOICE Don't worry, honey, I'll protect you. GEORGE'S VOICE Okay. FELICIA'S VOICE God, I adore you. She starts to kiss him, the SHEETS are RUSTLING. The PHONE RINGS. FELICIA'S VOICE (CONT'D) Shit. GEORGE'S VOICE Hello. JILL'S VOICE You're home. GEORGE'S VOICE Yeah. JILL'S VOICE I'm coming over. GEORGE'S VOICE I'll call you back. JILL'S VOICE (firm but frightened) No you won't. GEORGE'S VOICE What do you mean? JILL'S VOICE I told you I get 'scared up here, so if you're not coming right now... (muffled) I'm not kidding. GEORGE'S VOICE Okay. JILL'S VOICE (muffled) GEORGE'S VOICE Yeah, yeah -- 'bye. George flips on the light. FELICIA Whoever she is, she doesn't give up, does she? GEORGE No. Bare-assed, George swings out of bed, looking for something. FELICIA What're you looking for? GEORGE My keys. FELICIA I thought you said you weren't going anywhere. GEORGE I'm not. I mean I've gotta see this friend of mine for a few minutes. FELICIA You mean that girl, don't you? George finds his keys and has begun throwing on his clothes, a pair of crumpled levis, and a brightly-colored shirt. He leaves his shorts and socks on the floor. He's obviously in a hurry. GEORGE What girl, she's not a girl, she's just a friend of mine. Felicia gives him a long hard look as he dresses. FELICIA You son of a bitch. George sighs, shrugs, and heads toward the door. FELICIA (CONT'D) Wait, at least wait 'til I'm dressed. I'm going. She starts to get out of bed. FELICIA (CONT'D) Oh, Christ -- do you have any Kleenex? George is a little desperate now. He runs to the bathroom, tosses her the whole box. FELICIA (CONT'D) Thanks a lot. GEORGE (desperate) Listen, baby, don't leave, really. FELICIA Why not? GEORGE I'll be right back, it's just that this girl is a different girl... she has attacks. FELICIA What? GEORGE These attacks... it's got something to do with her... uh... pancreas. George is trying to remember the rest. GEORGE (CONT'D) She's got a... FELICIA (suddenly interested) Does she have a pancreatic ulcer? GEORGE (anxious to go now) Yeah, I think so. FELICIA That's very serious. Who's her doctor? GEORGE I don't know. FELICIA Gee, that's very serious... GEORGE I know. FELICIA Ruth Lesserman had a pancreatic ulcer. GEORGE She did? FELICIA It turned out to be cancer. GEORGE Wow. FELICIA So what are you doing going over there? You're not her doctor. GEORGE I've gotta give her some pills. Percodan, she ran out. Before Felicia can say anymore, George goes to the bathroom and grabs the first pill jar he can find, moves to Felicia and kisses her. GEORGE (CONT'D) And listen, I'll be right back and I want your ass in that bed when I get back. FELICIA (acquiescing) You're very rude... if you don't come back -- GEORGE I'll be back in a while. FELICIA I don't want to see you anymore. GEORGE I'll be right back, baby, really. EXT. SUNSET STRIP - NIGHT George on his bike threads through traffic on the Strip. OVER this, we HEAR A FEW BARS of THE MAMAS AND THE PAPAS "Monday, Monday." He pulls up to a signal beside a faded Eugene McCarthy billboard. Somebody HONKS. GIRL'S VOICE George! GEORGE Hey, baby, what's happening! GIRL (not bad) Nothing, my sister's back from Vegas. GEORGE That's too bad. GIRL I have to see you. GEORGE Hey, stop by the shop. He takes off. Winds through alleys and heads up the hill to Jill's. It's a shortcut whose precision should make it obvious he's traveled it a number of times. EXT. AT JILL'S - NIGHT George jumps off his bike and pounds on the door. JILL'S VOICE (soft) Who is it? GEORGE (furious) Who do you think it is? JILL opens the door. She's shaking. JILL There were some shots. GEORGE What're you talking about? JILL Gunshots, there were some gunshots. GEORGE (looking around) Where? JILL Here in the canyon. GEORGE Well, it's a big canyon. (seeing she's upset) Honey, I'm sorry but I've gotta get back... just for a minute. JILL Let me come, too. (pleading) Please don't leave me alone. GEORGE What's gonna happen? JILL (near tears) I don't know... every once in a while I just get the feeling something awful's going to happen. GEORGE Well, like what? JILL I don't know... just... somebody's going to get me. Jill starts to cry. She ambles into the carport in her nightgown. JILL (CONT'D) I've had these dumb dreams lately. GEORGE What? JILL They're dumb, somebody... I don't know... GEORGE (suspicious) Who? JILL I just... who what? GEORGE You said somebody... who? She's not answering. JILL I don't know. I can't remember. It was just in my dream. GEORGE No shit? Jill laughs. George comes over to her. GEORGE (CONT'D) Nobody's gonna get you. Now get inside. JILL (uncertain) George, I don't -- GEORGE You'll do what I tell you. Now get the fuck inside. She backs inside. He moves in after her. JILL George -- GEORGE (moving after her) Keep moving -- JILL Now, George -- GEORGE Nobody's gonna get you but me! He leaps after her and she screams, delighted. George chases her into the bedroom. Jill screams. He throws her on the bed and leaps on top of her, kissing her. She likes it. GEORGE (CONT'D) How are you, baby? JILL Fine. How are you? GEORGE Great, great, fantastic. Fantastic. Incredible. Incredible, really incredible. JILL What? GEORGE I'm gonna open the shop, baby, I'm gonna open the shop. I'm getting it together. JILL How? GEORGE (rising) Right now -- I'm at the epitome of my life. Right now I feel so good I'm afraid something's gonna happen. He gets off the bed. Jill is fascinated. GEORGE (CONT'D) When I was a little kid, I used to want to go to Europe but right now wherever I am I'm gonna be in Europe. JILL Honey, what happened? GEORGE I just came from a meeting... I can't talk about it now, baby. But in a few days -- see I'm disgusted with my life. JILL I thought you said you were at the epitome of your life. GEORGE I am, I am. But I've had it with chicks. They're like an occupational hazard. Six guys working for me... I'm gonna retire or settle down or something. JILL What about me? GEORGE (meaning it) You're different. JILL I am? GEORGE You're great. JILL I am? GEORGE Yeah. JILL Do you really mean that? GEORGE Hey, baby -- I'm gonna retire with you. He kisses her. They start rolling around on the bed. JILL Honey? GEORGE Yeah, baby. JILL Why am I great? George is a little annoyed. GEORGE Jesus, I don't know. You're great. Jill looks a little perplexed. JILL Will we live together? GEORGE We live together now. JILL But in the same house, you know, one house. GEORGE (just a slight hitch) -- Sure. She hugs him. INT. JILL'S BEDROOM - LATER George in bed, beginning to sleep. Hubert Humphrey expresses opinion at his chances tomorrow on TV. JILL Maybe you don't even like children. GEORGE Of course I like children. JILL You've never even been around one. GEORGE I'm around you and I like you, don't I? JILL (smiling despite herself) Yeah. GEORGE Okay... (sinking back down) Night, baby. JILL (after a moment) George? GEORGE What! JILL Not right now, I don't mean right now... but eventually... GEORGE (grumpy) Okay, baby. Okay... JILL Jackie says she wouldn't bring children into this world. That it's hypocritical and overpopulated. EXT. BANK OF AMERICA - DAY A FEW BARS OF THE BEATLES AND "SGT. PEPPER" OVER George on bike whipping into bank parking lot. INT. BANK OF AMERICA - DAY George sits talking, with MR. PETTIS, a bank vice president. He is perspiring a little. Somebody's breathing rather heavily. It's Mr. Pettis seated behind his desk now and opposite George. He's going over something. PETTIS (looking up now) Oh yes. Mrs. Shumann called about you. GEORGE (smiling) Right. PETTIS How is she? GEORGE Great. PETTIS Wonderful woman. GEORGE She is. PETTIS I went to school with her husband. GEORGE Great. PETTIS (pleasantly affirmative) So you want to go in business for yourself? GEORGE Right. PETTIS And you need money? GEORGE Right, that's right. PETTIS (smiling) You do know what money's like these days. GEORGE (no) Well, yeah... you know. Pettis grabs a sheet off his desk, one in plastic containing rates. PETTIS Jesus, look at this. Nine, nine and three quarters -- that's our prime rate. And I'll tell you something else: the big boys are going for it. GEORGE They are? PETTIS After all, Mr. Roundy, we're paying six percent. Six percent. FHA's at eight and a half -- no, we won't be going back to the old days. GEORGE I guess not... PETTIS It's got nothing to do with inflation. Rates, for example, rise independently of tight money if you look at interest curves carefully. Historically, that's always been true, though most people don't realize it. An uncomfortable pause. PETTIS (CONT'D) What sort of references do you have? GEORGE Well, I do Barbara Rush. PETTIS Pardon me? GEORGE (embarrassed now) Her hair, I do Barbara Rush. PETTIS I mean credit references, Mr. Roundy. EXT. MELROSE COFFEE HOUSE - DAY Jill Haynes and JACKIE SHAWN, in mini skirts and boots, are having coffee at one of the interior decorator hangouts outdoors off Melrose in West Hollywood. A CAR HONKS. A Cadillac pulls up to the curb. Its occupant HONKS again, obviously trying to attract their attention. Jill starts to look over. JACKIE I think you're crazy. Don't look over, it's Lenny Silverman. JILL Who is that? JACKIE (deadly) A real swinger. He's been trying to fuck me for about two hundred years. LEONARD is now calling Jackie's name. Jackie can't avoid it anymore. JACKIE (CONT'D) (pleasantly) Hi, Leonard. LEONARD Jackie, what're you doing? JACKIE (they're having coffee) Going for a pony ride at Kiddielands, want to come along? LEONARD I have to meet a client... who're you dating? Jackie looks off and spots a billboard. JACKIE Poster-Kleiser. LEONARD Oh yeah? JACKIE That's right. LEONARD I'll call you. JACKIE Fine. LEONARD See you later. JACKIE Anyway, you're crazy. JILL I am? I mean why? JACKIE Oh, honey, don't be totally naive. JILL I'm not. Maybe I am. JACKIE No, listen. He's a very good hairdresser. Jill looks at Jackie. JACKIE (CONT'D) Well, he is. JILL (annoyed) So what's your point? JACKIE Jill, I'm just trying to be helpful. JILL I know, I'm sorry. JACKIE I spent three years with him. I just couldn't take it not knowing who was gonna pay the rent... his unemployment or mine. George was adorable but it drove me crackers. Now at least I'm comfortable. Lester does what he says he'll do. Maybe you're happy living like a gypsy. Are you? JILL George is great but I know what you mean. JACKIE Face it, you can go around with cute guys and get hung up on their sexy bodies and things like that but sooner or later you've got to find somebody. Face it, time isn't on your side. JILL I guess not. INT. BANK OF AMERICA - DAY George and Mr. Pettis. GEORGE (giving it all he's got) I've got the customers... that's my point. I'm the one they want. If I had my own shop, they'd leave and come to me. I have a lot of customers. PETTIS Look, Mr. Roundy, why don't you make out a financial statement? It'll save us both some time. Miss Michaels here can show you... have it notarized and we'll see where we go from there. Miss Michaels, would you get me a couple of forms? Pettis rises, shakes George's hand and disappears. George is left with MISS MICHAELS, who has been more or less within earshot of the whole conversation. George is very upset. INT. OFFICE WAITING ROOM - DAY Jill thumbs through a Life magazine with Eldridge Cleaver on the cover, waiting for an interview in the outer office of the 9000 Building whose open window overlooks a smoggy chunk of the city. She's one of so many girls that at first she's not recognizable. All of them have composites which they carry in leather folders. They eye each other uneasily. INT. INTERVIEW OFFICE - DAY There is the PRODUCER, Barry, and the director, JOHNNY POPE. JILL Egypt? POPE That's right. JILL But why Egypt? POPE Well, that's where the pyramids are and we want real pyramids in the ad. Jill nods. PRODUCER You seem disappointed. JILL No... how long did you say? PRODUCER Three weeks. Jill nods. JILL Egypt? Pope, chagrined, shoots Jill a look. He's trying to get her the job. PRODUCER Look, is there somewhere else you'd rather go? Maybe we can change our location. JILL No, it's not that... PRODUCER Do you have children? JILL No. PRODUCER Are you married? JILL No. PRODUCER Do you have something against traveling? JILL (unable to interpret Pope's looks to her) No. POPE Well, do you have something against us? Jill laughs, a little embarrassed. JILL No! PRODUCER (to Pope, he's wasting time) John... POPE (ignoring him) Go ahead, Jill, you can say it. JILL Now I'm embarrassed to tell you. She is, too, and Pope can see it. PRODUCER We'll let you know tomorrow. JILL Please don't misunderstand... I'd really like to go. PRODUCER (a little sarcastic) Thanks for coming by. Jill is at the door. She turns back. To Pope. JILL Oh. thank you. POPE Sure. Jill leaves. POPE (CONT'D) (shaking his head) This town... At the shop on Brighton Way in Beverly Hills. A FEW BARS OF SIMON AND GARFUNKEL'S "SOUNDS OF SILENCE" covers George pulling up on his bike. The street is empty of traffic except there are scores and scores of parked cars, a few parking lot attendants, and some meter maids. George starts toward the shop. A pair of women in colored smocks and huge curlers burst out of the shop. They look like Medusas. They hurtle down the sidewalk as if they're running from something. Then they find their respective cars and begin pouring pennies into the meters. CLINK, BUZZ, CLINK, BUZZ. George looks glum. He's walking along the street. A GIRL stops him. She's driving by in a 3.4 Jag. GIRL Hi, George. GEORGE Hey, baby, what's happening? GIRL Nothing, I reconciled with Ron, you know, the guy I divorced last summer. GEORGE Great, great. I hope you make it. Somebody HONKS in back of her. GIRL Call me! GEORGE I don't have your number, stop by the shop. GIRL (waving goodbye) Okay! George looks after her, smiling. Then: GEORGE (disgusted) God damn it. He goes into the shop. A large gilt mirror on one wall of the shop. It covers most of the wall it leans against. An attractive young woman in her early thirties, everything matching, a real French garden, leans forward INTO SHOT and looks at herself in the mirror. She studies her image carefully. She moves closer to it. She seems uncertain at first. Then as she looks her conviction grows: TINA Great... great... great... great... great! She turns back to DENNIS LOLLY, her hairdresser. She takes his hand. TINA (CONT'D) Great, Dennis. With her other hand she touches her hair. TINA (CONT'D) Do you think there's enough height? I mean do you think there's enough height? Now she and Dennis look into the mirror at her together. Dennis toys with the calico scarf around his neck. Felicia, in far corner, waits defiantly. George spots her. TINA (CONT'D) George, do you think there's enough height? GEORGE (on way to Felicia) Yeah, sure. TINA Dennis doesn't think so. DENNIS Man, I didn't say a word. TINA Well, what do you think? Is there enough height? Both Dennis and Tina turn back to the mirror for further deliberation. FELICIA You're late, George. GEORGE (taking her to his cubicle) I gotta talk to you. FELICIA I don't want to talk about it... GEORGE But you don't know what happened. FELICIA I don't care. TINA George, do you think there's too much height? GEORGE (seating her) It's great. You don't know what happened, this girl she almost got-- FELICIA (a little hysterical) I don't care about that girl, I don't care if she's dead. GEORGE Calm down, baby. FELICIA (calming down) I'm perfectly calm, George, I'm simply saying you have no respect for me, that you're incapable of distinguishing between me and one of your average Hollywood... mummers... GEORGE -- What? FELICIA Nummers. GEORGE What? FELICIA -- Numbers, and I don't need to place myself in that kind of position. GLORIA tugs on George's arm. GEORGE What're you here for? GLORIA (as if giving away a secret) -- A wash and set. GEORGE No. GLORIA No? GEORGE You need a cut. GLORIA But Mr. Norman said -- GEORGE Said what! GLORIA (whispered) I just needed a wash and set, a wash and set, that's all. GEORGE Well, baby, I'm George and it needs to be cut. (to Felicia) But I don't want to place you in that position either. FELICIA -- I like myself far too much, far too much. GEORGE I don't want to place you in any position -- FELICIA -- to be put in that kind of position... GEORGE (to Gloria) I'll have Mary wash you. Mary! MARY (a schvar) Yeah! GEORGE Wash her. MARY (looking at Gloria) What with? GEORGE (nudging her) -- A brillo pad, I don't care, anything. Mary has gone over to the shampoo stand above which are several photographs of models and one of a handsome young black Marine in fatigues. George has gone to pick up a razor, changes it. MARY -- You takin' a lot of shit lately, George. GEORGE -- Oh yeah. MARY (mixing) But then again you ask for it -- you just like my Otis -- can't keep his hands outta ladies' hair either. George laughs. GEORGE -- White ladies? MARY (laughing, too) -- Oh my yes. FELICIA (burning with anger) George -- GEORGE (calling back) I'm coming, baby -- (to Mary) How's Otis doing, anyway? MARY That boy always does great. He's a corporal or a squad leader or something, just wrote me from some place called Kwang Due? GEORGE I don't know if you don't know -- FELICIA George! George winks at Mary, heads back. FELICIA (CONT'D) (going right on) I'm not used to that kind of treatment. GEORGE What kind of treatment? FELICIA (going right on) I've never been treated that way, and I'm not going to start now. GEORGE Jesus, I don't know, baby, I been cutting too much hair lately. I'm losing all my concepts... Jill has entered the shop. She approaches George. JILL George. GEORGE Hey, baby, what's happening? JILL They want me to go to Egypt for three weeks. GEORGE Great. Jill stands there now, not knowing what to say. GEORGE (CONT'D) Jill, say hello to Felicia. JILL Hello. FELICIA Hello. JILL George. GEORGE Yeah, baby... JILL How did it go at the bank? George looks away. GEORGE Great. JILL Could I talk to you for a second? GEORGE Hey, I'm, you know -- JILL Could I? George moves away from Felicia. GEORGE Yeah. JILL (with some feeling) I said I wasn't sure if I could go. GEORGE Go where? JILL (impatiently) Egypt! GEORGE Oh, great, listen, baby, I gotta get back, okay? JILL Okay, but how did it go at the bank? GEORGE Great... can we talk later? NORMAN (the shop's owner) George! GEORGE Yeah. NORMAN You're late, we're all backed up and you're supposed to go to Buffums. GEORGE Buffums? NORMAN Yes, Buffums. GEORGE I've got heads here, Norman. NORMAN You promised you'd do the show. GEORGE Oh fuck, Norman! NORMAN Don't use that tone of voice with me... never mind, I'll take Gordon. George turns back to Felicia as RICCI comes by. He's near tears. RICCI Do you know what that Lillian Bercovici just did? GEORGE (working on Felicia) No, man. RICCI -- Right after I sprayed her? GEORGE What? RICCI (losing control) She touched it! Then she played in it and got it all into something else. Now I don't know what it is! He's waiting for George for sympathy. Jill steps away gathering patience. RICCI (CONT'D) I can't even stand to talk to her on the phone. GEORGE (sympathetic) She's heavy. (to Felicia) See, Norman expects me to get in here, take care of all the customers and then do his show out in Norwalk. I gotta have my own shop, just out of self defense. FELICIA I can see that. GEORGE You're looking great, baby. FELICIA What're you doing later? GEORGE (half kidding) Whatever you say. FELICIA We have this political thing tonight. Could you comb me out at the house? George is torn. GEORGE I don't know. I'm beginning to feel guilty. FELICIA What about? GEORGE All I ever do is play. I should be doing something to get my own shop open. FELICIA Why don't you see Lester? GEORGE (a little alarmed) Your husband? FELICIA Yes. GEORGE (not sure what she's driving at) What about? FELICIA The shop. I think you're a good investment, and I don't mind telling him. GEORGE Hey, listen, baby, I'm a star. Jill returns. JILL George. GEORGE Hey, baby, say hello to Felicia. JILL I already said hello. GEORGE Okay. JILL George. GEORGE Yeah, baby. JILL When can I talk to you? GEORGE Baby, I'm in the middle of work. JILL I know but this is important. I have to make a decision. GEORGE About what? JILL Whether or not I'm going. GEORGE Going where? JILL Egypt. GEORGE Honey, have they offered you the job? JILL No, but I think they might. GEORGE (to Jill) Just a second, I'll be right with you... He turns back to Felicia. Jill moves away. FELICIA (interested) Is she all right? GEORGE I don't know. Just a minute... George moves over to Jill. GEORGE (CONT'D) What do you want? JILL Your advice! GEORGE They didn't offer you the job yet. JILL I want your feelings about it. GEORGE Right now? JILL Look, either we have a meaningful relationship or we don't, I've got to know. GEORGE (really harassed) Look, baby, can we talk about it later? Felicia is watching them. JILL When? GEORGE When I get off work. JILL When is that? GEORGE I'll call you. JILL When is that, George? GEORGE I'll call you. JILL (really upset) But I never know when you're working and when you're not working! GEORGE (half to himself) Neither do I, baby. JILL What? GEORGE Nothing, I'll call you, okay? JILL ... Okay... Back to Felicia. As Jill leaves. GEORGE -- Anyway. FELICIA I hope she's all right. GEORGE She's fine. You really think I'd be a good investment? FELICIA I wouldn't say so if I didn't. GEORGE No, I know. FELICIA And I certainly wouldn't tell Lester. GEORGE I know. FELICIA I mean it or I wouldn't say it. GEORGE That's great. You look great, baby, great. Dennis, look at Felicia's hair. Dennis stops. He's with the DESK GIRL. Both of them: DENNIS & DESK GIRL Great. EXT. SHOP - DAY Jill, in street, on verge of tears... moves to her car... gets in... sits for a long moment. EXT. OFFICE BUILDING - DAY George on bike pulls into office building. The MUSIC OVER is JEFFERSON AIRPLANE'S "WHITE RABBIT." INT. LESTER'S OFFICE - DAY In his inner office. LESTER'S on the telephone, staring out the window. LESTER Look, Kurt, I don't care where you have to go. I want Beluga Caviar there. Call Jurgenson's, call Chasen's... I don't care how much it costs... how much?... then spend it. Just make sure it's there. You've got all the money in the world to buy it. You understand? Just make sure it's there on the table tonight. (he hangs up) Jesus. (to George, to no one) You've got to do everything yourself. You know? Suddenly Lester gives George a steely look. It covers his hair, his clothes. George is acutely uncomfortable. LESTER (CONT'D) Felicia says you're a very good hairdresser. GEORGE Well, yeah. LESTER She says you're a fabulous hairdresser. GEORGE Thank you. LESTER I didn't say it, she did. How'd you happen to get in that line of work? George sort of knows what Lester's driving at. GEORGE Oh, well, I went to beauty school... you know you go to beauty school... and you get your operator's license... and you graduate... and you're a hairdresser. LESTER I see. Long pause. George hasn't told Lester what he wants to know. LESTER (CONT'D) It's an unusual trade. GEORGE Yes it is. An awkward pause. LESTER But the important thing is you're successful at it. GEORGE In a way. But... LESTER But what? GEORGE I'm better than the guy I work for. This seems to interest Lester. LESTER Well, George, I invest for a lot of people. I make a lot of money for them. More than they could do for themselves. GEORGE After a while that hurts... doesn't it? Lester smiles. He appreciates this. LESTER It's good you want to do something, George. GEORGE Thank you. LESTER But personal services are not the kind of thing I usually get into. GEORGE They're not? LESTER (suddenly direct, almost enthusiastic) No, they're a pain in the ass, there's no way of keeping track of anything. It's a cash business and you've got to watch your operators or they'll steal you blind, am I right or am I right? GEORGE You're right. LESTER Who needs that kind of aggravation? Who needs that kind of aggravation at my age? When I finish work I want to... The door bursts open. It's one of the SECRETARIES. SECRETARY Mr. Karpf... Jackie is right behind her. She bounces in, not seeing George. JACKIE I'm sorry but I need an extra garage key. In Lester's presence she seems distinctly younger than she did with Jill. She's startled when she sees George. LESTER What for? What do you need the key for? Jackie continues to stare at George. JACKIE The man from Sloan's is coming. I called you about it. LESTER How did you lose that key? Oh, George, this is uh Miss -- this is Jackie. JACKIE Oh, hi, I mean hello, we've met. LESTER (a little suspiciously) Is that right? JACKIE (almost immediately on the defensive) Well, yes, George is a wonderful hairdresser. LESTER Is that right? Awkward pause. JACKIE So how's Norman? GEORGE Great. Who's been doing your hair? Jackie glances at Lester. JACKIE I go to the blue'n gold barber shop in Westwood. The guy in the third chair's dynamite... nobody much. LESTER George is going to open a shop. JACKIE (really interested) No kidding? Your own shop? George starts to say yes. LESTER George, could you -- excuse us for a minute? GEORGE Sure. He leaves the office, shuts the door, leaving Jackie and Lester alone. Lester shuts the door. LESTER I called to tell you I was sending one over but the line was busy, you're always on the phone. JACKIE I am? LESTER Who were you talking to? JACKIE Who do you think I was talking to? LESTER My secretary saw you with that boy. JACKIE Steve? LESTER Whatever his name is, that actor. Jackie looks for a moment as if she's going to get very emotional. JACKIE Steve Slutes, and he's not a boy. (a touch bitter) Steve couldn't get arrested as an actor. He couldn't get arrested as a boy. LESTER Then you were talking to him. JACKIE I ran into him at the 76 station on little Santa Monica, what was I supposed to do, hide in the ladies room? Yes, I was talking to him. Lester's a little chagrined now but not much. JACKIE (CONT'D) (an outburst) I'm always on the phone because you never let me see anybody, I can't even bring my girlfriends over to the house because they might run into you. You're driving me up the wall, Lester. You're even jealous of the dogs. I mean I've gotta have somebody I can talk to. LESTER I'm not jealous of the dogs. Jackie looks at him in disgust. LESTER (CONT'D) (very positive) Now listen, Jackie, I'm not jealous of anybody, I just can't afford to get caught... off base. JACKIE So I can't talk to some broken down actor, what do you think, I'm going to tell him I'm screwing Lester Karpf! LESTER Of course not. JACKIE That's not very logical, Lester. INT. OFFICE - GEORGE AND SECRETARY picking up the tail end of this. SECRETARY He thinks the room is soundproofed. Don't tell him it's not. GEORGE How come? SECRETARY He'll have that awful construction crew back again, and they can never do anything right. INT. LESTER'S OFFICE LESTER (trying to think of why) It's very logical, it's the most logical thing in the world. You wouldn't feel this confined if we could go out with people and have dinner, and a little conversation and so forth... JACKIE Really? How about starting with tonight? By her tone, Jackie indicates she's been saying all of this for months. Lester repeating it like it's just occurred to him genuinely upsets her. She's near tears and she's not the kind of girl who cries easily. Lester's sensitive to it. LESTER Sweetheart, I know it's rough but at this point -- my business involves handling money for some very touchy people, politics and so on... Felicia's at a very difficult period in her life... any divorce and settlement and so forth, my finances would have to be looked into. Jackie knows what he's talking about. JACKIE (quietly) You and your touchy investors. LESTER (finally) Look... you do well for people, they don't ask you to stop. Nobody wants you to stop making money, doll, not even Uncle Sam. They all want their share. Jackie comes over to Lester. JACKIE You're lying about one thing, Lester. LESTER What's that? JACKIE You're still jealous. She's said it provocatively and like the younger girl she can be with him. Lester smiles. He's almost benign. LESTER God, you're a doll. He takes her in his arms and she responds. LESTER (CONT'D) (he means it) We'll work something out about tonight, I promise... INT. OFFICE - GEORGE AND SECRETARY The door opens. Jackie and Lester emerge, distinctly subdued. LESTER Angie, give Miss Shawn a garage key for the Bowmont House, would you? ANGIE Yes, Mr. Karpf. Angie opens her desk and goes through some files, pulls out a key, puts it in an envelope and hands it to Jackie -- she's lightning quick about it, super efficient. LESTER Well, let's go down together. C'mon, George, I'll walk you out. LESTER, JACKIE AND GEORGE IN HALLWAY BY ELEVATOR Jackie turns to stub out a cigarette in a standing ashtray. LESTER (CONT'D) (quietly) Felicia's really interested in the shop, isn't she? GEORGE Oh yeah. Jackie moves back. LESTER (normal tone now) Well, George, you may not think ten or fifteen grand means much to me, but I invest for myself and a lot of particular people. GEORGE Oh yeah? I mean I know. LESTER So I'm going to want a little more of your thinking on the subject. The elevator doors open. GEORGE When? LESTER When? The doors close on the three of them. INT. ELEVATOR going down. George is looking at Lester, waiting for an answer. LESTER (looks up slowly) How about tonight? Jackie looks to Lester. Lester winks at Jackie. GEORGE Tonight? LESTER Yeah, little election party I'm giving at the Bistro. It's a pain in the ass but -- I have to do it. We'll have a little time to talk there. The elevator stops on the third floor. A man in a suit and a middle-aged woman with a cane get in. They're strangers to each other. The elevator proceeds. LESTER (CONT'D) (quiet, almost solemn in their presence) -- maybe you could, on your way, you know, pick up Jackie here. GEORGE (slowly) Okay. They've reached the basement and are standing as Bill the maintenance man, races around the cars to get to Lester's Rolls. LESTER It's good you want to do something, George. George doesn't answer this time. LESTER (CONT'D) I wish my son knew what he wanted to do. GEORGE Oh yeah? LESTER -- Anything, I don't care what it is, just so it's something. GEORGE I know what you mean. Lester's car is backed up. The door opened for him. LESTER (thoughtfully) Maybe he ought to go to beauty school. Anyway, see you tonight, doll, okay? JACKIE Fine. Lester slips Bill a few dollars and takes off, leaving Jackie and George looking at each other. Jackie shakes her head. JACKIE (CONT'D) Jesus... GEORGE -- Yeah... your car down here? Jackie nods. They walk toward it. GEORGE (CONT'D) -- Listen, I'm supposed to take Jill to El Cholo tonight. She's really going to be pissed if I don't. JACKIE -- Maybe she'll come with us. If I tell her how important it is to me, I don't think she'll mind. Do you? GEORGE I don't know. Probably not. JACKIE Jill's really great, isn't she? GEORGE Great... so how's everything with you? They've reached Jackie's 230SL. JACKIE Great, more or less. She starts to get in. GEORGE How long you had this? JACKIE Oh, about six weeks now... Lester -- well, he's very sweet. GEORGE I'm sure. JACKIE He's a very private person, actually. GEORGE Yeah -- he doesn't happen to know that we went together, does he? Jackie has started to get in the car several times. This stops her again. JACKIE -- Well no. It never came up. GEORGE You going to tell him? JACKIE (smoothly) -- What for? Honey, I'll see you later. They kiss each other's cheeks, she gets in and takes off. EXT. SANTA MONICA BOULEVARD - JILL AND JACKIE - DAY tooling along the tracks in Jackie's 230SL. JACKIE Jill, you're a real sweetie pie. You really are. (she glances over at Jill) You're sure you don't mind? JILL Don't be silly. JACKIE You're really a love -- you sure? JILL -- No. No really. JACKIE Well, what is it, honey? JILL Nothing. JACKIE It must be something. JILL Well, it's George. JACKIE I thought you said things were great with George. JILL Well they are. But we have problems. You say things are great with Lester. Is he going to marry you? JACKIE We don't think marriage is important. JILL But you have problems? JACKIE -- Yeah, honey... JILL AND JACKIE JILL I don't know. One minute he's up in the air and makes love to me five times a day and tells me everything's going to be great and he's getting his own shop and then suddenly he disappears and he won't even talk to me. It's driving me crazy. Jackie pulls away from the signal a little jerkily. JACKIE Five times a day? JILL (sighs, then) -- I guess it's all got to do with this shop. JACKIE Really, Jill, aren't you exaggerating just a little? Five times a day? JILL (embarrassed) Well, you know what I mean. JACKIE After four years? No I don't... and I don't know too many girls who do. JILL I'm exaggerating. JACKIE How much? JILL (giggling a little) Jackie -- JACKIE What? JACKIE AND JILL JILL (taking a little breath) Well... it's not so much the number of times he does it, it's... he does it for a long time. JACKIE He does? JILL Well yes -- you know that about George. JACKIE It's been so long I don't how long? JILL Quite a while... an hour, an hour and a half -- sometimes forty-five minutes -- that's quite a while, isn't It? JACKIE I would say so, yes. JILL Honey? JACKIE What? JILL I think you're going to hit that car in front of us. Jackie slams on the brakes. INT. UNEMPLOYMENT LINE - JILL AND JACKIE - DAY standing there. JILL -- See, I just know that if I go to Egypt, well, things happen, I just don't know what'll happen to us, he just never seems to think ahead, does he? JACKIE -- When you say forty-five minutes or an hour, do you mean continuous time? Just continually, without stopping? JILL -- Well -- not going in and out, I don't mean just that. Why are you asking me? You went with George longer than I have. JACKIE -- I guess I just blocked it out, that's all. JILL C'mon. JACKIE Well, there was this one time -- JILL (a little devilish) -- Yesss? JACKIE -- I was in the kitchen doing the dishes and George was out in Long Beach doing a show... JILL (meaning yes) -- uhh-huhh... JACKIE -- Well it was very hot so I'd left the door open and the water was running so I didn't hear him come down the stairs... JILL ... Mmm-hmmm. Now Jackie has begun to lose her self-consciousness and is into the story. A little faint edge of nervousness or something like it begins to take over Jill. JACKIE -- He came up behind me and I was wiping a dish and he just... lifted up my skirt, and, you know, right there... JILL Didn't you have any panties on? JACKIE (remembering) -- He reached up and tore them. JILL What did you do? JACKIE Well... I just kept wiping that dish. Maybe it doesn't sound very sexy but it was. JILL (faintly perturbed) No, it sounds very sexy -- did you just stay by the sink all that time? JACKIE No, he picked me up and carried me out to the sundeck -- God, it was hot. The wood on the sundeck, everything. EXT. LESTER'S HOUSE - BEL AIR - AFTERNOON A gardener is riding a mower around the front lawn. There are three cars parked in and around the circular driveway. INT. BEDROOM - LESTER He slips into a cardigan sweater. His vanity is restricted entirely to how well pressed and clean everything is he wears. He goes out of the dressing room toward the kitchen, passing Lorna on the phone in the living room and Felicia at dining room table, hair in curlers, reading Cosmopolitan magazine. LESTER Do you think George is a fairy? FELICIA Who? LESTER That kid... the hairdresser. FELICIA Well, I don't know for sure... he's a hairdresser. Mona brings her coffee from kitchen. FELICIA (CONT'D) Thank you, Mona. Lester has swallowed some vitamins in the kitchen. Turns to her. LESTER Maybe he's just a kooky guy who likes doing something kooky like that. FELICIA Maybe... why do you ask? LESTER I'm thinking of investing with him. He worries me. FELICIA Why? LESTER Maybe he's too flighty and irresponsible. That's why I asked if he was a fairy. FELICIA I don't know. He's a hairdresser. LESTER (really asking) You suggested it, don't you think it's a good idea? FELICIA Yes, but... I thought... LESTER What? FELICIA That you were just indulging me. LESTER No, doll, I listen to you. And if a deal loses money that's not so bad either if it's handled right. He gives Felicia a peck and starts out. LESTER (CONT'D) He's a nice boy. I invited him tonight. I'm sorry he's a fairy. INT. SHOP - GEORGE AT WORK - DAY George is busy. He's working on ANJANETTE. ANJANETTE You're in a good mood today, George. GEORGE Yeah, baby. Things are great. Listen, there's Devra, whatta you want? ANJANETTE Chicken salad. GEORGE Chicken salad, Devra! DEVRA I don't have any change. GEORGE Get some at the desk. ANJANETTE Anyway, you remember Harold? GEORGE Yeah, baby, how's it going? The PHONE RINGS. Norman brings it to George. NORMAN George... Jackie Shawn. George seems really surprised to hear the voice on the other end. Anjanette looks around. GEORGE No, I'd like to but I've got too many heads here, can't you stop by the shop? (to shampoo girl) Two caps, Mary, yeah, two. (back to phone) Okay, but I have to be in Bel Air at four... He hangs up. It RINGS again. ANJANETTE Don't you think there's too much gold? GEORGE (to Anjanette) It's great. (into phone) You wanna speak to Mary? Hold on... ANJANETTE I don't know, I think... GEORGE (good natured, but firm) Look, would you argue with your doctor? ANJANETTE No. Ricci comes up to him ready to cry. GEORGE (to Ricci) Hey, what's happening? (calling) Mary! Telephone. (to Ricci) What's the matter? RICCI (furious) Wanda... GEORGE Oh yeah? RICCI You were supposed to handle that bitch, she's always asking for you, and she was furious you weren't here. GEORGE Yeah?... RICCI She's murdered her hair... you do something with her, I'm never going to touch her again. GEORGE I'm busy, man. RICCI If I have to touch her again, I'll throw up! GEORGE (exploding) Don't talk like a child. You're a pro, now get out there and cut! Ricci is stunned. He says under his breath, "I'll throw up" again and leaves. Mary, her back to George, sits holding the telephone to her ear. ANJANETTE I thought you were in a good mood. GEORGE I am... except I've gotta do somebody at their house. ANJANETTE Don't you like her? GEORGE No, it's a very groovy girl. ANJANETTE Then what's the problem? GEORGE (really worried) She's a very groovy girl. That's the problem. ANJANETTE What're you talking about, George? GEORGE Well, it's a small town. Sooner or later things catch up with you... don't they? Mary runs out of the shop, tipping over a magazine rack. GEORGE (CONT'D) Where's the caps, Mary? She's exiting front door in a hurry. GEORGE (CONT'D) Mary? What's goin' on, Mary? EXT. GEORGE ON HIS MOTORCYCLE - MOVING - DAY MUSIC, THE BYRDS, "TURN, TURN, TURN." He pulls up to a rustic house. He gets his little case off the bike and then hesitates. He walks to the door and rings the bell. Jackie answers the door. She seems distracted and, at the same time, a little wary. Much the same, in fact, as George. JACKIE Hi. C'mon in. Jackie's wearing a robe. They walk into the living room, the dogs yelping. JACKIE (CONT'D) Shut up, it's all right. (to George, automatically) Do you want a drink? GEORGE No, thanks. JACKIE Well, I do. She starts to mix herself a drink. She changes her mind, pours herself a shot of whiskey and hurls it back. She does it again. When she turns back to George he's looking at her noncommittally. JACKIE (CONT'D) Where do you want to do this? GEORGE Probably the bathroom. JACKIE Can't you do it out here? George looks around. GEORGE Well, it depends. If you just wanted a combout. I guess I could. Jackie turns to him, honestly uncertain. JACKIE Well, what do you think? George himself is tentative. GEORGE I don't know. Why don't you sit down. Jackie looks around a little at a loss and finally sits down on the glass-topped coffee table. JACKIE (meaning her position) Is this all right? George moves in. He draws the drapes back so light comes in from the backyard and the swimming pool can be seen. GEORGE Yeah. He takes her hair in his hands. The contact makes them both nervous. She looks away. George continues to run his hands through her hair. JACKIE (a little nervous) Well, what do you think? GEORGE I'd cut it... JACKIE You would? GEORGE Yeah, I think so... JACKIE (almost irritable) You don't seem very sure. GEORGE No, I'm sure. There is a moment where Jackie is trying to decide whether she'll let George actually cut her hair. JACKIE (then) Okay... but I want you to know one thing. (almost a threat) I've got to look great tonight, I mean I have to look great, okay? GEORGE Okay. INT. FELICIA'S BEDROOM AND DRESSING ROOM - DAY Felicia is throwing on a bandana and wraparound sunglasses. She seems in a hurry. She leaves the bathroom, moves quickly through the house to the kitchen. She passes Lorna's bedroom. LORNA is changing from her school clothes into a tennis dress. She watches her mother flash by. IN THE KITCHEN Felicia stops. She is holding a dangling pearl earring in her hand. FELICIA Mona, Mona! MONA comes out from the laundry room. Felicia has called a little too loud. FELICIA (CONT'D) (indicates earring) Have you seen the other one of these by any chance? I want to wear them tonight. (before Mona can answer) Oh... when George gets here, tell him to wait. I have to pick up a dress and I may have to have it fitted, but be sure... Lorna ambles into the kitchen, expressionless. FELICIA (CONT'D) ... to tell him to wait. MONA Yes, ma'am. But I have to go to the market... FELICIA Just be sure he doesn't leave. Felicia flashes out the door and into the carport, visible through the kitchen. She takes off. Lorna slowly slips a white swetlet onto her slender wrist. INT. JACKIE'S BEDROOM AND BATH - DAY which includes a sauna. Jackie's got on a terry-cloth robe. George has been wetting her hair in the basin. Her terry cloth robe is bulky and obviously in the way. JACKIE Jill's coming with us. GEORGE Great. JACKIE She's incredible... (after a moment) She loves you, George. GEORGE Yeah... I mean great. George begins to cut. Jackie winces a little. George notices it. JACKIE Getting my hair cut is always a little nerve-wracking. The cutting goes on. The bathroom is very close. George has begun to perspire a little as has Jackie. JACKIE (CONT'D) ... I don't get it done often. GEORGE Whew. JACKIE What's wrong? GEORGE It's hot in here. JACKIE (after a moment) It's the sauna, I keep the sauna on and it makes the whole bathroom hot. GEORGE Yeah... wow. George stops and takes off his shirt. He's wearing a purple T shirt underneath. He goes back to cutting. Jackie's getting more and more edgy, partly because of George's proximity and partly because of her concern over what he's doing. George on the other hand is now less tentative, more focused on the job at hand. JACKIE (finally) Not too much, don't cut too much. GEORGE Jackie, would you argue with your doctor. JACKIE The shrink? Many times. George stops and looks at her. Both are perspiring freely now. JACKIE (CONT'D) Bernstein... seemed to think I hated men. GEORGE Do you? You still see him? Jackie tries to look at her hair in the mirror. George gently pulls her back. JACKIE (with some feeling) No. GEORGE Why not? Jackie doesn't answer. GEORGE (CONT'D) Why not? JACKIE ... he tried to... uh... make it with me. GEORGE And? JACKIE And what? GEORGE Did you? Jackie looks up slowly. George is still cutting, not looking directly at her. JACKIE It was after you, baby. After you. GEORGE (breathes deeply) Boy, that sauna is really... can't you turn it down or something? JACKIE No... Lester likes it on all the time in case he wants to use it. INT. JILL'S BEDROOM - DAY Jill, alone, sits on bed. Gazes into bureau mirror, shaping her hair. The PHONE RINGS. JILL Hello... oh hi, Johnny. Oh really? Thank you... Are you serious?... Tonight I'm busy, I... Right now? Oh no, you really couldn't come up here. INT. JACKIE'S BEDROOM & BATH - DAY with Jackie's hair considerably shorter. George is sitting now as he works, his knee wedged between her legs, working very close. JACKIE Anyway, he offered me a silver cloud. At least he should give me a Ferrari and pay off my house and give me a nine carat ring or something... GEORGE (amused) Did Lester know about him? JACKIE There was nothing to know. Anyway... if I can't have love I have to at least have money. I have to have some pride I can do something. George has started to dry her hair. He stops. He picks up the scissors. Her hair is askew still so it's difficult to see what George has done. JACKIE (CONT'D) (staring at the scissors, a warning) George... GEORGE I just have to do one little thing. JACKIE If you screw me up for tonight, I'll kill you, I swear to God, I'll kill you. GEORGE I won't screw you up. EXT. SUNSET BOULEVARD - LESTER DRIVING - DAY his dark blue Rolls Royce. He's listening to the radio, keeps switching to pick up fresh news reports. He turns off Sunset and heads up Coldwater Canyon. INT. JACKIE'S BATH AND BEDROOM - JACKIE AND GEORGE - DAY JACKIE George... how about Felicia? GEORGE (expressionless) What? JACKIE Did you? GEORGE Did I what? JACKIE You know what I'm talking about. GEORGE Hey, I don't tell. JACKIE (teasing) Can I count on that? I just want to see Lester with me and that cunt in the same room tonight. GEORGE Yeah? JACKIE Well, did you or didn't you? George shuts the blower off. He picks up his comb for the final comb out. GEORGE Now, baby... if I told you about her... then you couldn't count on me not telling anymore... could you? JACKIE You did, didn't you? They're very close and Jackie's moving closer. She's intrigued, amused and at ease. George is trying to keep some distance. GEORGE Baby... JACKIE You did, I know you did. GEORGE One of my few virtues is discretion. JACKIE You just can't stand to miss one of them, can you? She's moving closer and closer, being deliberately provocative -- to seduce the information out of him. EXT. JACKIE'S STREET - DAY Lester pulls into it. He stops, reaches in the glove compartment and pulls out one of the little airline bottles of vodka. He pours it into a glass, drinks it. He notices George's bike in the driveway. Next to him on the seat is a prettily wrapped package. INT. JACKIE'S BEDROOM AND BATH - JACKIE AND GEORGE - DAY George sprays her. He turns her around in the chair to face the mirror so she can see herself for the first time. She should look really different, her hair significantly shorter, and modishly and beautifully cut to her face. Jackie's lips part. JACKIE (softly) George... GEORGE (staring at her) Yeah, baby... JACKIE You're a genius. Her hand automatically goes up to take his. He starts to pull it back. JACKIE (CONT'D) (grabbing it, thrilled) You're a genius, do you know that, you're a genius? She turns and throws her arms around George, kissing him. It's too much for George. He kisses her back. JACKIE (CONT'D) (trying to resist) Oh, no. George is obsessed. He wraps his arms around her and she responds, passionately. JACKIE (CONT'D) Oh, no. They are grappling, pushing and pulling with each other. George kicks away the stool by the mirror and tries to bend Jackie to the rug-covered bathroom floor. JACKIE (CONT'D) (genuine) No! Don't! Please! GEORGE (forcing her down) I don't want to... I swear... She throws her arms around him, kissing him and shoving him away. George is tearing at his trousers. They are on the floor now , rolling around, bouncing gently off the ceramic molding from the sunken tub. JACKIE It'll ruin everything. GEORGE I know... you don't know, I know. JACKIE Don't, don't, don't... They hit the sauna room door as they're rolling around and the door opens. Steam comes pouring over them, momentarily obscuring their struggles. George has trouble getting his pants down. At the last instant, Jackie gives them a helpful tug. JACKIE (CONT'D) (moans) Oh, no... Suddenly, the DOGS begin to BARK. There is the SOUND of the DOOR OPENING. Jackie sits up. JACKIE (CONT'D) It's Lester. She's frozen with fear. LESTER'S VOICE (muffled) Hey, doll... Jackie... honey... where are you? JACKIE Get up, get up, get up. George is already trying to pull on his trousers. Jackie is up and clutching her robe, unable to move. JACKIE (CONT'D) Oh God, oh God, oh God... do something, please God, do something. LESTER'S VOICE (nearer) Hey, baby, are you sleeping? GEORGE Sit down. JACKIE (frantic) What are you talking about? GEORGE (equally frantic, forcing her) Sit down! WITH LESTER He's moved into the bedroom, carrying the package obviously a gift for Jackie. He's been a little puzzled. His puzzlement is rapidly turning to suspicion. LESTER Jackie?... Jackie? Lester opens the door. He's hit with a blast of steam and the sight of George stripped to the waist, ostensibly working over Jackie who is loosely wrapped with a towel. George has a comb in one hand and now turns on the dryer, blowing it with a somewhat exaggerated gesture. JACKIE Shut the door, shut the door! LESTER Oh, I'm sorry. He shuts the door. Then he thinks better of it. He opens the door again and takes a step into the bathroom. George waves the comb at Lester a little impatiently. It's wet and sprinkles Lester. GEORGE Look, either come in or stay out! JACKIE Shut the door, Lester. What do you think this is, a picnic? LESTER (confused now) Sorry, honey, I... GEORGE That's okay, that's okay, just shut the door. Lester shuts the door, feeling a little chagrined, and relieved. He sits on the bed and puts the present beside him. In a moment George emerges. GEORGE (CONT'D) ... she's very upset... LESTER What about, tonight? GEORGE (seizing the opportunity) That, and... I'll be done in a minute. He goes back inside. IN THE BATHROOM GEORGE AND JACKIE just stare silently into mirror at each other. LESTER'S VOICE Jackie?... Hey, I brought you a little something, doll. AT THE DOOR - LESTER AND GEORGE George has his case of comb and scissors, etc., and is standing with Lester. He's anxious to go. LESTER You look like you've had quite a work-out. GEORGE It's nerve wracking sometimes... women can get you very upset. LESTER I know it, I know it. GEORGE ... this doing hair it's... LESTER I know it, son. But tonight's going to be even tougher. George just looks at him. Lester walks him to bike. LESTER (CONT'D) George, I know you have to deal with Felicia and you're caught in the middle, and if you can just bear with me tonight, well, I appreciate the way you've handled the situation. GEORGE Oh, hey... LESTER It's a difficult situation, and I want you to know I appreciate it. Tonight's going to be real tough for me -- GEORGE I don't know what to... LESTER Son, we'll do business, I can tell you that. George roars off on bike. JACKIE AND LESTER IN KITCHEN Jackie is cleaning up some dog food. Lester stands there for a minute. LESTER (CONT'D) I'd like a drink. JACKIE (looking up) Just a second, I've gotta clean this mess up or the dogs'll have it all over the house. LESTER You ought to get rid of those dogs. Jackie looks up and then controls herself. LESTER (CONT'D) They get hair all over the place. JACKIE They're Yorkies and they don't shed. Jackie goes into the living room and fixes Lester a drink. Lester follows. JACKIE (CONT'D) (giving him a drink) Here. LESTER Aren't you going to have one? JACKIE No. LESTER Why not? JACKIE Because I don't want one. Lester goes over to her to kiss her. LESTER C'mon, doll, it's five o'clock, have a drink. Jackie turns away and explodes. JACKIE I don't want one! First you tell me not to drink then you tell me to drink, which is it? I don't want a drink! Lester's now a little intimidated, but even more suspicious. LESTER I called to tell you I was on my way, but the line was busy, you're always on the phone. EXT. LESTER'S HOUSE IN BEL AIR - DAY George pulls into the circular driveway. COVERED by a few bars of The Mama's and The Papa's "California Dreamin." There's only one car. George gets off the bike and goes to the door. Nobody answers. He hears the SOUND of a BALL BANGING. He looks toward the tennis court. ON THE COURT - LORNA is banging away on the backboard. There's a basket of balls nearby. She hits with considerable skill and power until she misses the backboard and the ball lodges in the steel mesh surrounding the court. George is standing there. Lorna looks at him. LORNA You here to see my mother? GEORGE Yeah. LORNA She's out, but you're supposed to wait. LORNA WALKING TO GEORGE LORNA (CONT'D) Hungry? GEORGE A little. AT THE KITCHEN TABLE They're eating silently. Lorna has hauled all kinds of food out of the refrigerators. She watches George as he eats with some relish. She gets up and goes to the steel-doored refrigerators. LORNA (indicating refrigerators) This is the one thing I like about this house... want some lox? GEORGE No thanks. LORNA You're my mother's hairdresser? GEORGE (warily) I do her hair, yeah. LORNA Chopped liver? GEORGE No thanks. LORNA Are you gay?... baked apple?... they're cold but they're good. GEORGE No thanks. LORNA Did you hear me? GEORGE Yeah. LORNA Well, are you? Are you queer? GEORGE ... yeah. LORNA (laughing) C'mon, are you or aren't you? GEORGE (trying to avoid it) Gee, this is great. He slices a piece of cheesecake. Lorna sits down, in the chair nearest him now. LORNA C'mon, tell me. Don't be afraid. GEORGE Why do you wanna know so bad? LORNA See if you've been making it with my mother. GEORGE (looking at her for a minute, he changes his tone) What would my being a faggot have to do with that? Lorna shrugs. LORNA Nothing, I guess... have you ever made it with a guy? GEORGE Have you ever made it with a girl? LORNA I asked you first. GEORGE Yeah... I've made it with a girl... Lorna smiles. A pause. LORNA Well, are you? GEORGE Am I what? LORNA Making it with my mother? George wants to avoid this at all costs. He stares at Lorna intently. GEORGE I'd like to do your hair sometime. LORNA Why? GEORGE ... just, you could look very heavy... LORNA Don't make conversation with me. GEORGE What? LORNA You don't have to make conversation with me, I'm not my mother... do you have a thing about older women... that's sort of faggoty isn't it? George is weary and getting annoyed. GEORGE Yeah, it is. LORNA I never get my hair done. GEORGE No kidding. LORNA In fact, I don't think I've ever been to a beauty parlor in my whole life. GEORGE No shit. LORNA You think that's funny, don't you? GEORGE (laughing a little) Yeah. LORNA You live a phony cheap cop-out existence. GEORGE (determined to be light) Yeah... LORNA Beverly Hills hairdresser... what kind of a thing is that to do... you might as well be a faggot... think that's funny too? GEORGE No. LORNA Then what do you think? GEORGE That you're just like your mother. LORNA I am not like my mother! GEORGE You are. LORNA I am not! GEORGE You are. Lorna is furious. LORNA I am not! GEORGE (he starts to placate her) Look... (then defiantly) Do you wanna fuck me? LORNA (defiantly) Yeah. George stops eating. He's not prepared for this. GEORGE (uneasily) Right now? LORNA (a little more tentative now that the moment has arrived) Yeah. EXT. SOURCE RESTAURANT - JOHNNY POPE AND JILL - DAY A scraggly bearded WAITER with long stringy hair sets down two huge green salads before Jill and Johnny Pope. In so doing the Waiter drops a wooden menu he's been carrying. As he bends down to pick it up, he kneels beside Pope. Pope taps him on the shoulder. POPE (tapping him) Oh, scraves... WAITER Yes? The Waiter looks up, and moves. POPE Thank you. WAITER What for? POPE Taking your hair out of my salad. WAITER Oh, I'm sorry. Pope nods, Jill giggles. The Waiter goes off. Pope tosses out a few pieces of lettuce from the top of his salad. JILL Why don't you ask for another one? POPE Are you kidding? His hair's probably the most nutritious thing in here. See, you've reduced me to eating weeds. JILL ... my friend doesn't like it here either. POPE All right, forget this filth. Continue about your friend. JILL Well he's not exactly a friend. POPE Is he an enemy? JILL (laughing) Of course not... he's sort of a boyfriend. POPE -- sort of a boyfriend? JILL Sort of. POPE I see. You mean he just sort of fucks you. JILL Johnny! POPE My God, did I say that? I don't believe it. He looks under his chair to see if it was somebody else. POPE (CONT'D) I'm terribly sorry. JILL (amused) -- never mind. POPE What does he do? Is he an actor? JILL -- no. POPE Good for you. JILL He's a hairdresser. Pope drops his fork in the salad bowl. POPE -- oh, sure. A hairdresser. How... how do you a... meet a hairdresser? JILL Getting your hair done... (looks at him, abruptly) Would you like to go to a party? POPE Not with your hairdresser. EXT. LESTER'S HOUSE - FELICIA - DAY pulls into the driveway. She gets out of her car, spots George's bike. INT. THE KITCHEN She sees the food spread out. FELICIA moving through the house. She stops by Lorna's room. Lorna has a sliding door, which is closed. Felicia opens it. FELICIA Lorna? LORNA'S BEDROOM Lorna is sitting on her bed, in her tennis dress but with her tennis shoes off. She's straightening a string in her racket. She looks to her mother, expressionless. FELICIA (CONT'D) Have you seen George? LORNA He's in the bathroom. FELICIA Your bathroom? LORNA Yes. The toilet flushes. The sink runs, and George emerges. He's looking a little haggard. GEORGE Hi. FELICIA (coolly) Hello, George. They walk out to the lanai together and George picks up his case. There is considerable tension from Felicia as they walk into her bedroom. Felicia slides the bedroom door shut, an action which George unhappily notices. She turns to George. She looks very hostile. She's trembling. FELICIA (CONT'D) I've missed you. George is taken aback. He gropes for a moment. GEORGE I've... missed you too. Felicia comes to him. She comes to him and touches his arm. George suddenly flings his case across the room and pounds his fist into a high-backed chair, turning away from Felicia. She clearly misunderstands the action. FELICIA (touched) It's okay, honey... it's okay now. She moves to the door and quietly locks it. George winces. She comes back to him and kisses him gently. She kisses him again with more passion. George tries to respond. FELICIA (CONT'D) Comb my hair out later, honey. GEORGE No, that's okay, I'll do It now. FELICIA No, baby... I'm glad you're coming tonight. She gently tugs at him, leading him toward the bed. George is miserable. GEORGE (looking toward the door) But aren't you... FELICIA Right now, I just don't care. As they sink to the bed, Felicia switches on the HI-FI. The Tijuana Brass begin to play. GEORGE ON HIS BIKE - LATE AFTERNOON COVERED BY a few bars of Bob Dylan's "Like a Rolling Stone". Riding home. He turns down his street and pulls into his driveway. He gets off his bike and only as he starts up his walk does he see Jill. She's been quietly waiting on his front porch, hidden in the shadows of the overhang. She doesn't look happy. George stops cold. GEORGE (?) Jill says nothing. GEORGE (CONT'D) Where's your car? JILL A friend dropped me off. GEORGE Who? JILL Never mind. Where've you been? GEORGE A business meeting, I told you that. They go inside. The living room is messy. George looks around in disgust. JILL What business meeting? GEORGE Look at the way I live. JILL I've been trying to reach you all afternoon. You weren't in the shop. What is this thing tonight? GEORGE What do you mean, what is it? It's some political bullshit. JILL I have to have Jackie ask me? Don't you think you could call me and let me know? Look at my hair. GEORGE Wait a minute, God-damn-it. Do you think I want to go to some God damned party? I'm trying to get that God damned shop open. I'm trying to get a little bread together. That's all I'm doing. George's outburst has shocked Jill. George maniacally begins straightening the mess. GEORGE (CONT'D) I just wanna live like everybody else, that's all. I want clothes in the closet, and food in the refrigerator, and I don't want shit all over the house and running my ass all over town... I want my own house... I want an appointment book... I want to get up in the morning and go to bed at night... I want a normal life like everybody else, that's all. He collapses into a chair. She comes over to him and knee beside him. JILL I know, honey. GEORGE Maybe I should get a dog... no, it would just shit all over the house and I'd never clean it up. JILL (laughing a little, touching him) Oh, honey. If we had one place, we could have a nicer place and I could take care of it. We're almost never here. REAR VIEW MIRROR - NIGHT A signal red Porsche cabriolet pulls up into mirror. The top is down. Under the brightly lit streetlights Jill's blonde hair and features are VISIBLE. WITH GEORGE AND JACKIE in her Mercedes. George still looking through the rear view mirror. Jackie's a knockout. JACKIE (looking at George looking in mirror) -- you'll be the prettiest thing in the room -- light's green... GEORGE (he takes off) -- oh yeah... what do you know about this guy? JACKIE -- what guy? GEORGE (gesturing toward rear window) -- this guy with Jill. JACKIE He's a director. OUTSIDE OF BISTRO - GEORGE AND JOHNNY POPE - NIGHT pull up, Pope right behind George. Parking ATTENDANTS leap for the doors. A few photographers of the movie freak variety ask each other who these arrivals are. One assures several others that they're nobody. GEORGE (to Attendant) Do I need a ticket for this? ATTENDANT We'll remember you. POPE as they move to take his Porsche. POPE (CONT'D) (shaking his head) I'll park it. Pope drives his own car onto the lot. WITH JILL, GEORGE AND JACKIE waiting for Pope who is now ambling toward them. GEORGE (to Jill) What does he direct besides traffic? JILL Ha, ha. GEORGE Television or movies? JILL Commercials. JACKIE (quietly, to George) Feel better? Let's go. Pope has joined them. INT. BISTRO FOYER They clear it to see the long elegant bar, bathed in soft light, filled with elegant customers. George looks and sees someone. A fortyish WOMAN, attractive. GEORGE (to Jackie) Jesus Christ, there's Norma Stern. Look at her hair. JACKIE What about it? GEORGE Looks like somebody took a dump in it, that's the worst color job I've -- Norma comes over, hugs George. NORMA George -- GEORGE (pointing to her hair) Baby, you've been chippying on me -- NORMA Yes, isn't it awful -- GEORGE (smiling) -- yes. Jackie tugs him by the arm. JACKIE We're upstairs, George. Now come on. Behave yourself, and for Christ's sake, do me a favor. Don't let me drink too much. GEORGE (going upstairs) You don't do that anymore, do you? BISTRO STAIRS Jackie doesn't answer. They've reached the top of the stairs. They're hit by the full force of the upstairs gathering -- black tie, posters of Nixon, Agnew, Reagan, and Murphy, vaguely familiar faces crossing back and forth, clustering, watching early returns on television sets that are blaring from various points around the room. An ORCHESTRA PLAYS Meyer Davis Society Jazz. Jackie and George hesitate. Pope and Jill are behind them. Pope jostles George as he stops, abruptly. George looks around. Pope smiles. He's holding Jill's hand. George notices. Jill disengages her hand casually, as though it were necessary only for the walk up the stairs. Jackie nudges George, forcing him to move into the room with her as Lester comes toward them. He's stopped on his way over. WAITER Can I get you folks something? JILL A stinger, please. POPE A tomato juice. GEORGE I'll take a -- some white wine. WAITER And you, madam? JACKIE (searching the room) Oh I'll uhh -- just a coke. The Waiter moves on and they wait for their drinks. Lester finally makes to them. LESTER George, glad you could make it, son. Hi, doll. JACKIE Lester, this is my friend Jill and this is Johnny Pope. LESTER Glad to meet you, Jill, Mr. Pope. INT. BISTRO UPSTAIRS George turns to get his drink from the Waiter as do Jill and Pope. Lester takes Jackie's arm. LESTER Who are they? JACKIE (quickly) Jill Haynes, Jill Haynes, I've told you about Jill a hundred times, Lester, you never remember anything I say. LESTER Does she know about us? JACKIE Jesus, she's my best friend. LESTER Who's the guy, George's boyfriend? JACKIE I don't know. Why don't you ask him? LESTER C'mon, Jackie, I'm only trying -- George -- He draws George aside. LESTER (CONT'D) -- do me a favor, kind of keep your eye on Jackie, she's a little high strung tonight -- GEORGE -- yeah? LESTER See she doesn't drink too much. Jackie has heard this last. Lester turns to her. LESTER (CONT'D) See you later, doll. Jackie puts down her coke, picks up a glass of white wine from a passing tray and downs it in one gulp, putting it on another tray and picking up another glass of white wine. FELICIA with cleavage carefully prominent in a strapless gown, spots George. She excuses herself from the couple she has been talking with and goes straight to the powder room. INT. POWDER ROOM - FELICIA checks herself out in the mirror, glossing her lips with a pale tint of something or other. She gives a final anxious look, then hurries out, nearly bumping into a lady coming In. OUTSIDE she moves through the crowd up behind George, turning him around. FELICIA George, darling. She kisses him full on the lips, lingering on it. GEORGE (without batting an eye) Hey, baby, what's happening. Oh this is Jackie. Jackie, say hello to Felicia. It is only now that Felicia sees one of George's arms has been holding onto Jackie. JACKIE (also without batting an eye) Hello, Felicia. FELICIA (instantly suspicious of George) ... hello. Felicia looks from George to Jackie and back again. FELICIA (CONT'D) I'm so glad you could make it. I've been looking forward to seeing you. LESTER pours his drink on the cuff of a distinguished MAN sitting beneath him at a table as he sees George and Felicia and Jackie clustered together. WITH LESTER AND MAN MAN Lester, what the fuck do you think you're doing? LESTER Jesus, Nate, I'm sorry. Lester fumbles, tries to clean Nate off with a napkin. NATE Never mind, I'll do it myself. He dips the napkin into a glass of ice water and proceeds to clean off his cuff. Nate goes back to the TV monitor where Agnew is making some remarks or commentators are repeating his comment about being a household word. LESTER So far so good. NATE Aw there's nothing to worry about. LESTER You never know. FELICIA WITH GEORGE FELICIA Why didn't you come alone? Lester invited you. Did you have to bring her? GEORGE (looking toward Lester) Well she... FELICIA She what? GEORGE She's a friend of Jill's. FELICIA And who's Jill? She spots Jill. GEORGE Well, she's a friend of Johnny Pope's -- you know, the director. She looks at Pope who is saying something to Jill which is making her laugh. FELICIA Oh. GEORGE is threading his way through a crowd, holding two drinks, one of them a coca-cola. It's a little more raucous now, with election returns from the television sets creating a more festive mood. Now and then someone jumps up from a set and hugs someone so carrying drinks is a little dodgy. JACKIE, F.G. - LESTER, B.G., TALKING Jackie sits alone by the bar, an unlit cigarette in her mouth. A man offers her a match. She stares at the burning match as if it's obscene. She blows it out. JACKIE No thanks. The man looks a little shocked, moves on. GEORGE has his arm held. It's KENNETH, a red-haired decorator. KENNETH Excuse me, I know I know you, but I can't think where. GEORGE Look, I'd like to help but -- Felicia grabs George's other arm pulling him away from Kenneth. Kenneth looks a little shocked at the ferocity of Felicia's move. FELICIA There you are. She tugs him with her. GEORGE Wait a minute -- She takes him right into the ladies room, George still juggling the drinks. JOHNNY POPE watches Felicia and George disappear into the ladies room, looking over Jill's shoulder. Jill has not seen it. POPE This other couple that we're here with, do you know them very well? JILL Well... sure... POPE Then maybe you can tell me why George would be going into the ladies room. Jill looks around and stares at the door. JILL George? Was he alone? POPE I don't think so. JILL Well did he go in there with Jackie? Pope points over to Jackie sitting at the bar drinking now. JILL (CONT'D) That bastard. POPE George is a hairdresser, isn't he? Jill doesn't answer. INT. BATHROOM - FELICIA AND GEORGE GEORGE (desperate) Baby, you gotta let me out of here. Felicia kisses him. FELICIA Sweetheart, it's a bore out there... let's lock the door. GEORGE Holy Christ. You want to get us killed? FELICIA Don't be silly. I'll just tell Lester we were smoking a couple of joints. See? She pulls two joints out of her beaded bag. LESTER only a few seats from Jackie, Jackie staring daggers at him, Lester aware of it. He's talking to a pair of lacquered eminence grises. LESTER -- fellas, fellas, just listen, you both have tidelands, you both want Uncle Sam to come through with offshore drilling permits -- so do it together -- JACKIE has taken an olive from an olive tray and hit Lester on the back of the head. He's finished this little dissertation. He sees the source of the missile. He grows pale, frozen. Sixty-four year old bejeweled WOMAN in b.g. WOMAN So, little red riding hood says 'my what big teeth you have and the wolf says all the better to eat you with, my dear, and she says -- eat, eat, eat, doesn't anybody ever fuck any more?' Jackie has now picked up a carrot from a relish tray. George appears. GEORGE Don't do it. JACKIE That son of a bitch, everything he says is a phony piece of shit, what does he think, I'm some cigar butt he's got between his teeth -- GEORGE (almost picking her up) C'mon, cunt, you're going for a walk. He takes her into the next room and Lester watches the move with a mixture of relief and concern. INT. OTHER BAR Jackie is now near tears. JACKIE He just completely ignores me. He could have at least said something, introduced me or something. INT. SMALL BAR GEORGE Sweetheart, you're drunk. She leans on George. JACKIE Oh God, what do I want, George? Lester comes hurrying in, sweating, now. LESTER Hi, doll, what's wrong? JACKIE You know what's wrong. Felicia trips coming into the small bar. FELICIA Lester -- Lester straightens up like he's been shot. LESTER Oh, Felicia, there you are, you know George and uh -- uh -- He's genuinely forgotten her name. JACKIE Jackie Shawn. LESTER Yes, Jackie Shawn, my wi -- Felicia. FELICIA We've met. JACKIE Yes. GEORGE Well anyway... LESTER (to Felicia) Your hair looks -- well fabulous. FELICIA That's George. INT. SMALL BAR LESTER It's just -- fabulous. (to George, an attempt at levity) Think you could do anything for me? GEORGE (he takes it seriously) Well -- I could try. Do you wash your hair every day? LESTER Isn't that bad for it? GEORGE No it keeps the skin peeling. You've got to keep the follicles open. You lose hair and the skin grows over the follicle and that's how you lose it. George actually touches Lester's hair, professional interest growing. GEORGE (CONT'D) This really ought to be layered... LESTER Layered? GEORGE Well yeah, otherwise it just sort, you know, lies there -- layer so it kind of fluffs out -- He starts to fluff Lester's hair a little when Johnny Pope walks in with Jill to this. Pope stares at them. POPE I think they're waiting for somebody to start dinner. LESTER Have they sat down? POPE Everybody but us. FELICIA They're waiting for you, Lester. INT. BISTRO DINNER TABLE Dinner is pretty much finished, waiters have begun picking up plates. IZZY SOKOLOFF (to Jill) I guess it's almost impossible to get work in the business these days. Pope watches Sokoloff make his move. JILL Well, commercials. I read for a soap the other day. IZZY A soap? JILL A daytime soap opera. IZZY And? JILL I was too old. IZZY What was it, somebody's daughter? JILL Somebody's mother. JACKIE'S PLATE is untouched. She holds up her wine glass. JACKIE Waiter! George looks at her. JACKIE (CONT'D) One word out of you and I'll gargle with it. The waiter pours the wine. George looks to Jill, shrugs. Jill mouthes, 'try and stop her.' George mouthes back, 'are you kidding?' INT. BISTRO SID ROTH has been eyeing Jackie. SID ROTH Aren't you hungry, Miss Shawn? Jackie looks at Roth. Roth shoots his cuffs and smiles. JACKIE Not for rubber chicken, no. Sid Roth smiles. Jackie smiles back. SID ROTH (intime) Well maybe I can get you something. JACKIE That's very sweet of you, Mr. Roth. SID ROTH Sid. JACKIE Sid. You must be a very important executive. SID ROTH (almost a whisper) Well, whatever I am, I think I can get you whatever you'd like. JACKIE You do? SID ROTH Yes. JACKIE (same tone as Sid's) -- well, more than anything else -- (indicating George) -- I'd like to suck his cock. She points to George. George chokes on the last of a piece of chicken. Sid Roth is stunned. He doesn't know what to do. George is coughing badly. Jackie slaps his back. HEAD TABLE - FELICIA AND LESTER Felicia is listening to Lester. The Agnew and Nixon posters are directly behind them. LESTER (to East) -- Senator, you should've seen those little kids! About forty of 'em, all blind. We put out these mattresses on the front lawn and they came running out of the house, tripping and falling all over the place, having a hell of a good time. I mean they were blind of course. But it really gave you a feeling of accomplishment. I tell you I never had such a good time. Felicia during the above has looked up to see Jackie fawning over George. She can't believe her eyes. FELICIA Lester -- SENATOR -- let me understand this was exclusively a home for blind children -- FELICIA Lester -- LESTER -- yes, Senator -- just a minute, dear -- FELICIA Lester, don't you think that uhh -- Now Lester spots it. He's very confused. FELICIA (CONT'D) That girl's making an awful spectacle of herself. LESTER (angry himself) What do you expect me to do about it? FELICIA I just thought you'd like to know -- LESTER Why would I like to know if there's nothing I can do about it, goddammit -- OTHER VOICE Quiet! Cranston's on. They quiet down. JACKIE AND GEORGE Jackie's now moving around kissing George on the mouth. Jill is watching. Johnny Pope is fascinated. JILL -- Jackie really shouldn't drink -- POPE -- oh I don't know -- JACKIE (arm around George's shoulders tonguing his ear) -- Just get me out of here, baby. I can't stand it. It's killing me. GEORGE (indicating head table) -- we can't now. JACKIE -- why not? C'mon, take me out of here, somewhere I don't have to lie to anybody and I'll fuck your brains out, you little fiend, I adore you -- FELICIA is watching Jackie and George with ever greater intensity, her mouth growing more and more agape. JACKIE AND GEORGE JACKIE (CONT'D) (plaintive) -- don't you want to -- GEORGE Jackie, can we -- JACKIE (a little louder) Who's the greatest cocksucker in the world? C'mon -- George looks around sweating now. GEORGE (very quietly) -- you are. JACKIE Fuckin' A -- With that she slips right under the table. It's a surprisingly fluid move. FELICIA almost simultaneously rises, knocking her chair back. LESTER sees both moves and interrupts the Senator. LESTER (CONT'D) Senator, excuse me a moment -- He turns to Felicia and then looks over toward Jackie's empty chair and literally doesn't know which way to go first. He's a little like the bear in the penny arcade that is shot and keeps turning one way, then another. Finally he heads toward Jackie's vacant chair and George. GEORGE his chin to the tablecloth is fishing under it for Jackie. GEORGE (CONT'D) Now, Jackie -- JILL (trying for aplomb) -- she's a very compulsive girl. POPE I can see that. Lester rushes up. LESTER (a desperate smile) Hello, George. Your friend feeling a little under the weather? Jackie surfaces through the tablecloth. JACKIE (to Lester) -- you phony asshole -- LESTER (as if he didn't hear it) Oh, dear that's too bad. (with quiet desperation, to George) -- get her out of here, get her out of here. A cheer goes up as some late returns come in. Dirksen is talking about a new mandate for law and order and peace with honor. LESTER (CONT'D) (to Sid) What was that? SID ROTH Illinois. LESTER (doesn't know what he's saying) -- oh, good. INT. BISTRO Lester glances back toward Felicia who is watching him. GEORGE Jackie, c'mon -- George moves to Jill. GEORGE (CONT'D) I've got to get her out of here. JILL -- go ahead. GEORGE -- well aren't you -- JILL -- what? (indicating Pope) -- I'll see you later... GEORGE (not liking it too much) -- okay -- (pointed) -- I'll see you later. Your house. He moves away with Jackie. Lester turns back toward the main table. INT. 230SL - JACKIE AND GEORGE - NIGHT driving down Sunset Boulevard. There is a long moment of silence. The RADIO'S PLAYING the Eve of Destruction. George gives Jackie a couple of sidelong glances. JACKIE (finally) -- gee... GEORGE -- what? JACKIE (she sits up, lights a cigarette) I don't know what gets into me. GEORGE You were great. JACKIE No, I blew it, I blew it with Lester. GEORGE No you didn't. JACKIE You don't think so? I do. GEORGE You were great. JACKIE You always say that... I really care for Lester, don't I? George laughs. GEORGE That sounds like me. JACKIE I am you, you little bastard. She starts to scrunch over and kiss him, then stops. JACKIE(CONT'D) Where do you want to go? GEORGE Sammy's? JACKIE He still having parties? GEORGE He never stopped. INT. BISTRO - FELICIA IS SITTING WITH LESTER fuming. A woman, ROSALIND, is painstakingly and painfully introducing the Senator. ROSALIND ... and so... to have this man... here... among us... who has helped... as has everyone here to bring so many people together... of all races, creeds, and colors... FELICIA AND LESTER Rosalind droning on, b.g. She finally introduces Senator East. INT. BISTRO - FELICIA AND LESTER FELICIA Lester. LESTER Yes, sweetheart, shh. He pats her hand. She gives him a look that could kill. FELICIA -- I hope you like Miss Shawn -- LESTER -- what, who? Oh she's very nice, yes -- I mean normally --- FELICIA -- cause she's going to be very, very expensive. LESTER Can't we go into this later, sweetheart? ROSALIND'S VOICE Ladies and gentlemen, to Senator Joe East. Glasses are raised, a little dissonant hurrah. FELICIA We cannot go into this later. LESTER That's okay too. FELICIA You make me sick. Just be straight for once in your life. There are now O.S. calls for East to do his Indian chant. QUICK CUT TO: EAST SENATOR -- this tells of the ancient grandmother who, upon seeing the garden gate of her childhood, stops a moment and says, hello garden gate, hello garden gate, garden gate, hello. INT. BISTRO - LESTER AND FELICIA LESTER (finally exasperated) -- look, Felicia, this party involves more than you and me, you know. These people are concerned about more than each other, you know. FELICIA -- is that right? LESTER -- yes, we're all trying to do something to make this a better country to live in, believe it or not. THE SENATOR has begun his weird chant, beating out accompaniment on a cigar box and a pewter vase. FELICIA (glancing up) -- is that what this is all about? LESTER Yes and you don't have to be sarcastic about it, that's a beautiful thing he's doing -- some people do more than go to the beauty parlor and shop at Saks -- FELICIA Lester, you're a miserable man. You're not helping anybody. You're just twisting arms to raise money for a lot of silly son of a bitches that are out for themselves -- this is just business, don't kid yourself. And you know the worst thing about it, even if it does somebody some good somewhere which I can't possibly imagine, you'll never know the difference. You're just sweating and kidding yourself - and you're kidding yourself if you think your new business partner is going to keep his hands off that girl -- or that she'll keep her hands off him. LESTER (he turns like a shot) What are you talking about? INT. BISTRO - LESTER AND FELICIA FELICIA (she laughs) -- think what you have time to think, Lester. Lester grabs her. LESTER What are you talking about, Felicia? Suddenly there's a rumble in the room and East has stopped chanting. Several men have stepped to the center of the room. One of them in a slate suit raising both hands. DET. YOUNGER Excuse me, Senator. Ladies and gentlemen, we're going to have to evacuate this room as quietly and quickly as possible. There's nothing to worry about. We'd like you to exit through the door here on my left... down the steps into the street, please! There are whisperings and rumblings of 'a bomb' and rejoinders to the effect that it's a hoax. Nevertheless the exodus begins and grows to bedlam. Waiters who had been fawning over jeweled ladies are now unceremoniously pushing them down the stairs, even going over them to make the entrance. OUTSIDE the emergency doesn't keep autograph hounds from inhibiting the exit as they try to hold up celebrities in the crowd that flows onto the street. Jill and Johnny Pope are caught up in the swirl of the crowd. Pope temporarily loses Jill. He looks around. Jill taps him on the shoulder. JILL -- here I am. Now what? Pope turns. POPE Well -- as I see it we've got two choices. We can hang around here and wait for the bomb to go off, or we can go to my party. JILL Let's do that. Lester is with some security people, trying to find out what they're doing. B.G. are several police cars, a fire truck, and the fire truck ambulance. Lights are flashing. LESTER -- have they located it? Somebody shrugs. A CAR HONKS. Lester is pulled to the side. LESTER (CONT'D) (looking toward driver) -- oh, sorry. Then he sees it's Felicia. She gives him the finger, and lays rubber nearly sideswiping him. ONE OF THE SECURITY MEN What was that all about? Somebody else says 'who was that?' Lester shrugs. INT. SAMMY'S HOUSE - GEORGE AND JACKIE are dancing to a tape of 'Good Vibrations.' George's coat is off, his tie loose. They are near the entryway and sitting on a large staircase b.g. a young girl can be SEEN breast feeding her baby. George and Jackie are obviously enjoying themselves. The tape ends. George's silk shirt is clinging down the center of his back. He moves with Jackie, where she picks up a coke at the bar. A black in a caftan with a huge Afro offers Jackie a joint. She takes a drags, she and George move outside the living room. As they walk she hands the joint to George who hands the joint to a couple of girls lying on a low couch by the door -- all without really losing stride. OUTSIDE SAMMY'S - NIGHT There's a long rolling lawn. The lights are soft coming from the living room, the MUSIC more muted. Jackie, nevertheless, is breathing rather heavily from the dancing. George is looking at her intently, too intently for her not to notice. She appears not to notice. GEORGE What are you looking at? JACKIE The lawn -- it looks like it goes on forever, doesn't it? She turns back to George. GEORGE -- yeah. JACKIE -- look, you don't have to entertain me... GEORGE (a slight laugh) Am I entertaining you? JACKIE We're friends. GEORGE -- sure. JACKIE -- well, if you feel like playing, go play... Jackie looks past George into the living room. JACKIE (CONT'D) -- there's a lot of players in there -- The TWINS come up behind George, and Jackie, grabbing George. The move should be a little startling almost as if it were an attack. TWIN ONE George! TWIN TWO George! They grab George and spin him around, temporarily pushing Jackie OUT OF SHOT. GEORGE (pleasantly) Hey, what's happening. TWIN ONE We're going to the jacuzzi. TWIN TWO Right now. TWIN ONE (tugging) C'mon with us -- GEORGE In the jacuzzi? TWIN TWO Sure, why not? TWIN ONE Come on, George -- GEORGE No, later, maybe -- go ahead, I'll catch up with you -- (they head off) I've got -- He turns back to Jackie to finish what he was going to say, and she's not there. Only a wisp of her cigarette smoke hangs in the air, and then it disappears. George looks surprised and disappointed. INT. KITCHEN Several tall stringy types are eating out of the refrigerator, with a couple of dogs eagerly watching, others are eating hash cakes off the formica counter. RED DOG sits in a corner, sipping wine out of a measuring cup. He smiles and looks up to Jackie, who has her arm on his shoulder. Strobe lights from an adjacent room can be SEEN PERIODICALLY. RED DOG Where the fuck you been, Jackie? London? JACKIE -- no. RED DOG Real good to see you, man. INT. KITCHEN - JACKIE AND RED DOG JACKIE So what's been going on, Red Dog? RED DOG Hey, it's the same old shit, ain't it? No matter where you go, it's the same old shit. Nothing ever changes, nothing, man, nothing. (with sudden intensity) Hey -- you ever been to Cuuliacaan? George, a little hastily moves through the kitchen, spotting Jackie. He's nearly upended by a couple, tall man and woman at the refrigerator. They grab him and kiss him, and he shakes through them moving to Jackie. GEORGE -- where'd you go? JACKIE -- oh I thought you were -- GEORGE -- what? JACKIE Nothing. RED DOG Hey, man, what's happening? GEORGE Nothing. RED DOG That's right, man! And he laughs. George silently takes Jackie's hand and they move through the kitchen and out of doors toward the grounds in the rear of the house. EXT. BISTRO PARKING LOT - JOHNNY POPE The crowd has thinned out to a trickle, but Pope's red Porsche is hemmed in by the fire trucks and a couple of other cars. Pope is vainly trying to talk to firemen and policemen to move their trucks and they keep referring him to someone else. JILL AND LESTER Lester stands, swaying a little unsteadily in the lot. The Deputy secret service man seen twice earlier, comes on up to Lester. DEPUTY -- we can't find a thing, Mr. Karpf. LESTER (turns to him) Can't find what? DEPUTY No bomb. LESTER -- oh -- well that's good, isn't it? DEPUTY (he's serious) It's good if there's no bomb. If there is a bomb and we can't find it, that's not good. EXT. BISTRO PARKING LOT Lester thinks this over. LESTER No of course not. POPE (coming up to Jill) -- we're going to be here all night. JILL -- why? POPE -- these bastards have me hemmed in. LESTER (to Jill) -- what's the problem, honey? JILL -- his car. They have it blocked. LESTER Oh that's no problem. (to Deputy) -- take care of this boy's problem, will you, Gene? DEPUTY -- sure. Pope and Deputy go off together. LESTER -- listen, I wonder if you kids could give me a ride? I'm kind of stranded here. JILL Sure thing, Mr. Karpf. C'mon. They walk toward Pope's car. The trucks are being driven off. LESTER Everything okay, son? POPE Terrific. Now all I have to do is find my car keys. He heads back into the Bistro. Lester and Jill stand outside the Porsche. JILL -- I'll get in the back -- LESTER -- oh no, honey, I'll do that... JILL -- there's not much room -- LESTER That's fine -- Lester opens the car door and pulls back the seat. He has a hell of a time squirming into the back, but tries to be lighthearted about it. Jill gets into the front. INT. PORSCHE The door on the driver's side is still open and Lester's feet are poked out it. His head is pushing on the canvas top. LESTER See, nothin' to it. Jill turns and smiles, but it's a mistake since Lester's upper body is almost leaning on her as it is. Lester puts his hand behind Jill's head, forcing her to hold the position, almost nose to nose with Lester. LESTER (CONT'D) What did you say your name was, sweetheart? JILL Jill. LESTER (not moving his head) Jill. Jill can't really move her head back and Lester is obviously captivated by Jill's face. JILL (trying to be casual) -- yes, Jill. LESTER (still holding her) Gee... that's wonderful, Jill. JILL (very uncomfortable) Thank you. LESTER (fondling her head, moving her closer) -- just wonderful. POPE is heading back to his car. He stops when he sees Lester's feet hanging out the door. POPE (CONT'D) (another irritant) Oh, no shit. Pope gets into the car. POPE (CONT'D) Hi, what are we doing? Lester falls back and hits the isinglass rear window. Pope notices. JILL Oh, Johnny, Mr. Karpf needed a ride home and I said we'd take him. Do you mind? POPE (furious) Of course not. LESTER Call me Les. POPE Where to, Les? LESTER Oh, say, how would you kids like to stop off for a drink? Jill and Johnny Pope exchange glances. Jill shrugs to say, gee I'm sorry. Pope nods. POPE Well we'd love to, but we're going to another party. LESTER Well... that's wonderful -- I'll stop by there for a drink. Pope is furious. He starts the car, backs it up quickly, jostling Lester around as he goes. Lester chuckles. EXT. FREEFORM SWIMMING POOL - JACKIE AND GEORGE - NIGHT lie side by side on deck chairs at the end of the pool. The house and upper grounds are obscured by neat rows of hedges and all sorts of random shrubbery. Jackie and George watch the Twins splash and flounce around in the jacuzzi with a couple of androgenous men. The Twins stand up in the jacuzzi, arm in arm and half move, half throw themselves to another end of the jacuzzi. Jackie smiles. She stretches, yawns. JACKIE (lazily) -- very nice, very nice. GEORGE (yes) -- mmm -- A pause. She glances at George scarcely moving her head. JACKIE -- but you never were much of a tit man -- GEORGE Mmmm -- JACKIE -- ass and legs -- GEORGE Look who's talking. JACKIE Me? GEORGE -- yes, you -- JACKIE Well of course. Who loves a big fanny on a man? GEORGE Not me, pal. Jackie laughs. The Twins have gotten onto some sort of splashing contest with the boys. Water hits George and Jackie. They're hit again. They shrug, George rises, takes Jackie's hand. They walk on around the pool, beside and along a maze of hedgerows. EXT. SAMMY'S - THROUGH PORSCHE WINDOW as the slow moving car catches the rolling lawn seen earlier and the neat hedgerows which wind around the property. LESTER Whose place is this? INT. SAMMY'S FOYER by the open staircase. Pope is greeting Sammy. Introducing Jill. Sammy's a tall, Jesus figure with an Indian shirt that goes to the knees on his levi's. SAMMY Sure I know Jill. Lester is staring in some wonder at the girl who is still sitting on the staircase, nursing her baby. She looks up, smiles at Lester, who manages a nod back, doesn't take his eyes off the sight. POPE (noticing) -- the bar's in there, Les. LES (embarrassed) -- oh, fine. He strolls off toward the bar which is half visible through the open foyer. AT THE BAR where Jill and George were earlier. Lester's ordered a drink. The huge black in the Afro offers him a toke. Lester stares at it dumbly. LESTER (a little lamely, indicating drink) ... I'm... He takes his drink and half toasts the black. He stops and his eyes PAN the room. Lester is virtually the only person on his feet. Everyone else is either on the floor or on deep sofas, side by side, head to feet, barely talking, barely moving. In fact the most mobile thing in the room in smoke from the joints. INT. LIVING ROOM - LESTER Lester shakes his head as if to clear it. He takes a drink and almost on cue the ACID ROCK MUSIC HITS and the strobe lights go on. Lester is momentarily alarmed, as if it had something to do with his drink. He manages to stagger out of the strobe light effect, hangs onto a railing in the next room. INT. KITCHEN - JILL, RED DOG AND POPE Jill stands over Red Dog who hasn't moved an inch, his measuring cup of wine still half filled. JILL -- so what's new, Red Dog? RED DOG Nothing, man. Same old shit. It's the same old shit wherever you go, nothing ever changes. Pope looks up, sees Lester just outside the kitchen door. POPE Jill, scraves is a -- He points toward the kitchen door where Lester looks like he's about to enter. Pope takes Jill and they move out the back door in the direction of the rear grounds that Jackie and George had taken earlier. LESTER peers into the kitchen. It's filled mostly with unkempt beards. He decides against it, turns up a small staircase and continues up it until he finds himself in a den. Several people are seated on the floor, quietly smoking and watching television. They seem a shade better dressed than those in the kitchen. Lester squints at the set which is a little blurry and partially blocked, by someone sitting directly in front of it. He kneels by a fortyish man in a bush jacket smoking a pipe. LESTER (whispering) -- how's it going? INT. DEN MAN WITH PIPE (quietly) -- just fine. LESTER (squinting to see) -- is that Illinois? MAN WITH PIPE (taking a good look at Lester, then) No, that's Sally. Lester looks at the screen. Sally, handled by bare arms, is being placed on a foam rubber cushion. She laughs. LESTER (dumbly) -- Sally? MAN WITH PIPE (pointing with his pipe stem to a girl by Lester's ear, also watching the set) -- Sally. Lester looks at Sally. She looks at Lester, nods. Turns back to screen to watch herself. Lester turns from Sally to see a television camera and the foam rubber mattress, now abandoned. Lester shakes his head. OUTSIDE ON GROUNDS WITH JILL AND JOHNNY POPE They're walking through shrubbery and hedges that lead them to a pair of empty deck chairs by the jacuzzi end of the pool. One of the Twins is still in the jacuzzi. JILL -- so when are you going to Egypt? POPE You mean when are you going to Egypt? Jill laughs. She turns and shakes her finger at Pope. JILL Now I didn't mean that, you rat. POPE Two weeks from tomorrow. JILL You're going? POPE You're going. Jill stops cold. She turns to Pope. JILL You're kidding. POPE Those Arabs won't be when they start chasing you around the sand dunes. JILL (laughing) Johnny! (she hugs him) Why didn't you tell me before? POPE -- just before I ask you out? I can't do that. Let's get out of here before good old Les catches up with us again. There's a flash of light from the poolhouse window. Jill turns toward it, then back to Pope, still making up her mind. ANGLE SHIFTS SLIGHTLY to HOLD on light from window. INT. POOLHOUSE - GEORGE AND JACKIE George has pulled a pair of cokes out of the fridge. He's looking at Jackie, closes the refrigerator lamely. It opens again and he closes it again. JACKIE What's wrong? GEORGE -- do you want ice? Interior poolhouse lit now by lights from outside. JACKIE -- no. George pops the tops of the cans, hands one to Jackie. Neither one of them drink. They're staring steadily at each other, their eyes shining from reflections from the tennis court lights which someone has turned on. GEORGE (finally) -- we're kidding ourselves. JACKIE (staring right back) -- we are? GEORGE -- last night I dreamt I was fifty years old and Mary told me I was supposed to meet Jill at the shop. It seared me shitless. JACKIE Why? GEORGE I can't imagine being with Jill when she's fifty years old. I can't imagine not being with you. George moves to her. Jackie is waiting for him. They kiss. It is long and lingering and deliberate. George breaks away and goes to the poolhouse door. There's no lock, only an eye latch on the screen door. He latches it, tests it. It gives slightly. Nevertheless he shuts the door and heads back to Jackie who stands waiting. JACKIE -- but what about her? I don't want to hurt Jill. George takes the coke out of her hand. She lets him. LESTER walks back in the foyer, holding a drink, swaying. The strobe lights are going again in the living room. Suddenly he sees a girl, at least half nude, her huge painted lavender tits flashing at him through the strobe lights. The vision disturbs him greatly. He carefully steps down into the room in an effort to get near her. She seems to move. He moves after her through the lights down the length of the room, going as quickly as prudence allows. Finally when they reach the end of the living room she's disappeared. Then he looks out and sees her poised at the top of the steps a few yards away by the hedged path that leads down to the pool. He lunges toward the vision, and bounces off a sliding glass door. JILL AND JOHNNY POPE have made it through the entrance and Pope's Porsche is in sight. Jill suddenly stops and looks at Pope. POPE What's wrong? JILL We can't really leave that poor man here alone. POPE -- he'll never know the difference. Jill is clearly thinking about something else besides Lester. JILL -- still -- at least we should tell him we're going. C'mon. POPE (going along with it, protesting) I'm telling you he won't know the difference. BY THE POOL - LESTER now with a sizable bump on his head he moves with the care that only tightrope walkers and drunks can move: every step is a possible disaster. TWIN (from Jacuzzi) Hey. Lester looks down, sees one of the Twins. Her arm is outstretched, her breasts dripping water VISIBLE through the shrubbery spotlights. She's holding a joint. TWIN (CONT'D) -- it's getting soggy. Lester takes it. THE GUY WITH HER -- just put it on the bench over there and come on in. LESTER -- in there? THE GUY Sure. Lester takes the joint and with fierce concentration makes it over to the bench. He puts the joint down. Stares at it. He looks up and there's the other Twin standing beside him, nude, with her breasts visible through the towel loosely flung over her shoulders. TWIN (meaning joint) Could I have that? Lester silently hands it to her. Stares at the pool and the other Twin isn't there. He looks back and the one who had taken the joint is gone. He looks back to the pool and the other Twin surfaces with the force of Flipper, beside the Guy in the pool. Lester stares, then he sighs and pulls off his pants, almost falling down as he does. Carrying them, he walks over to the edge of the jacuzzi. LESTER Say -- THE GUY -- what is it now, man? LESTER Do you know where I can find a towel? THE GUY -- the poolhouse. Holding his trousers, his tux shirt hanging half down over his boxer shorts, Lester moves on over to the poolhouse. He tries the door. The latch creaks. He pulls at it again and the latch pops open. He starts to open the door, then hears the unmistakable sounds of a couple in the throes of intense love making. The girl is quite carried away. Lester hesitates. He listens as her sighs, interspersed with fetching little sobs begin to mount in intensity. He thinks better of it. He takes his hand off the door knob and quietly closes the screen door. He starts to walk away, then notices the window on the side. He can't resist. He moves to it. He can't see anything. He moves closer. The dim, dark but classical outline of a man mounted on a woman moving with ease but increasing intensity can be SEEN. Lester watches. The SOUNDS are not as loud from this angle, but gradually they can be HEARD as the woman's cries grow louder. Lester is glued to the window. JILL'S VOICE -- there you are. Les. Les -- Les -- Les, we're leaving. The ANGLE has BROADENED to SHOW Lester holding his pants, not taking his face away from the window. Jill and Johnny Pope stand beside him. LESTER Shhh -- (with genuine awe) -- now that's what I call fucking. Pope almost inadvertently tries to look in the window. As he does, a light begins to flood the room. It is the refrigerator door slowly opening, due in part to the rhythmic impact of the lovers transmitted through the sofa to an end table to another end table and to the refrigerator. It opens until the light shines on the upper body and face of George and Jackie. LESTER who has been smiling continues to smile until the enormity of the image hits him. His face freezes. It is harsh and determined. He turns slowly away from the window and walks past Jill without looking at her. JILL -- what -- She turns to the window and sees George and Jackie herself. JILL (CONT'D) (watching) Oh my God. Oh no, oh no. Oh no. She turns and picks up a wrought iron end table and hurls it through the window, shattering the glass everywhere. JILL (CONT'D) (screaming) You son of a bitch! You bastard! WITH GEORGE AND JACKIE George has leapt up. GEORGE Honey? Where've you been? We've been looking everywhere for you. Jackie doesn't move, only stares wide-eyed through the broken window at the screaming Jill. JACKIE (softly) Oh God. An ashtray is hurled into the room, smashing against the wall, and Jill can be SEEN now storming off with Pope. George, with one leg in his pants, rushes over to a far window, pulls it open. GEORGE Jill! Jill! Jill, goddammit! He's got the pants on backwards. He turns back to Jackie who has already slipped into her dress, is stuffing pantyhose into a purse. GEORGE (CONT'D) -- Jesus -- JACKIE -- well you better go after her. He bends down, turns his pants around, and is hopping into them. GEORGE -- shit... (he grabs his shirt) ... wait here, honey -- He runs out of the door, beside the pool, past the jacuzzi and into the maze of hedgerows. The Twins stand motionless side by side in the water. TWIN ONE George? (to Twin Two) Who was that? TWIN TWO Far out. George, searching wildly through hedgerows, is calling Jill. He can't find her. He finds himself next to a ten foot ivy covered wall. He can't reach the top. He moves along the wall... arrives at a wrought iron gate. It's locked. He peers through the gate calling frantically: GEROGE Jill, honey? Inches from his face on the other side of the gate, the bare teeth of a huge German Sheperd GROWL at him viciously. George chooses to go up the hedgerows toward the living room of the house. He trips and falls. INT. LIVING ROOM George running through the strobe-lit party to the foyer. He's bare-footed, but his pants are on. His frilly shirt is unbuttoned. INT. FOYER - GEORGE breathing heavily, spots Red Dog. GEORGE Hey, Red Dog. You seen Jill? RED DOG She just went out the door, man. George charges out the door in time to see the red Porsche's taillights blink bright at the end of the driveway before it purrs off into the night. George turns and runs back into the house and through the strobe-lighting living room. AT THE POOLHOUSE George heaving deep breaths now runs on into the poolhouse. The refrigerator door still hangs open. Window glass is scattered on the floor, and George steps on it, cutting his foot, hopping a little, pulling out a shard. Jackie's gone. GEORGE Jackie? He opens the poolhouse bathroom door. GEORGE (CONT'D) Jackie? He runs back out the door of the poolhouse. EXT. POOLHOUSE GEORGE Jackie? TWIN ONE She went up to the house, George. TWIN TWO You're a trip and a half, man. INT. THE HOUSE George runs through the living room again and the strobe lights. Again he reaches the foyer. Red Dog is still there. George is heaving deeply now. GEORGE Hey... you seen... Jackie... RED DOG (pointing) -- out the door, man. GEORGE charges out the door, this time seeing Jackie's 230SL pulling away, tires screeching. GEORGE (shouting) Jackie! He looks down defeated. His foot is bleeding on the pavement. EXT. HIGH ROAD - NIGHT George on his motorbike, COVERED by a few bars of Buffalo Springfield's 'For What It's Worth,' has thrown on a peacoat but kept on his velvet trousers. He's riding up what should now be a familiar road to Jill's. The lights from the city below flash in and out of view. JILL'S GARAGE - GEORGE pulls in. Her slot in the three car garage is empty, only the oil slick stares at him. There's the SOUND of a CAR coming down the road. He looks up expectantly. As it comes by the morning newspaper is tossed at his feet. George turns and fishes in the hanging planter by the door. He pulls out a key, blows the dirt off it and goes inside. INT. JILL'S - GEORGE - NIGHT GEORGE (swaying in) Jill... Jill... Jill. He looks in bedroom, then moves back to the phone and dials. It rings three times. OPERATOR'S VOICE Jackie Shawn. GEORGE -- yeah, this is -- OPERATOR'S VOICE -- yes, George. GEORGE I guess you haven't heard from her yet. OPERATOR'S VOICE Not yet. GEORGE Okay... thanks... He hangs up. Stares around the room. Jill's apartment is, as usual, good-little-girl tidy. (A contrast with Jackie's particularly kitchen.) George walks over to the window and look's at the city. He walks out onto the deck and sits in a deck chair. DISSOLVE TO: GRAY SCREEN There is the SOUND of a CAR IDLING. George opens his eyes. Above him is the carport and Jill's yellow Mustang has just pulled in. George rises. He walks into the living room as Jill comes down the steps to the kitchen, carrying the paper. The kitchen clock reads 4:44. George glances at it. Then back at Jill. She looks at him, frightened but not moving. Her hair is stringy and she's got no makeup on. There's a bruise on the inside of her upper arm and a small one on her neck, and one on her left thigh all of which George will note in the course of the scene. George looks her up and down. JILL I don't want to fight, George. GEORGE I don't want to fight either. Look... uh -- I love you. JILL Bullshit. GEORGE (moving to her, taking her arm) I do, Jill. At this point he notes the arm bruise. Jill stares back at him unflinching. George smiles. GEORGE (CONT'D) How come you took your own car? JILL (getting a cigarette) I didn't want him meeting me here. GEORGE Well that's something. JILL What is. GEORGE You didn't plan on fucking him tonight. Jill doesn't answer. She walks into the bedroom, kicks off her shoes, starts to take off her dress, then changes her mind and puts on a robe over it. GEORGE (CONT'D) You did fuck him, didn't you? JILL I'm very tired, George. Jill goes into the living room. George grabs her arm again. GEORGE Didn't you, baby? JILL Let go of me. George doesn't. JILL (CONT'D) Let go of me or I'll scream, I'll call the police. GEORGE Oh, Christ. He lets go of her. The PHONE RINGS. Jill answers it. Her tone alters appreciably. JILL Oh, hi... listen, can I call you back?... Yes... no, everything's fine, really... bye. She hangs up. GEORGE That was him. JILL Yes. GEORGE You told him I was here and he wanted to know if I was beating you up. Jill smiles thinly. JILL Yes. GEORGE Well, did you get a job out of it at least? JILL I'd like you to leave now. George doesn't move. Jill goes over and fishes into a tote bag by the wall. She returns with Felicia's missing earring. JILL (CONT'D) -- and take this with you. GEORGE Where did this come from? JILL Who knows, I'm sure you don't -- but if it'll help any, I found it in your bed. George nods. Jill's anger is growing and her hurt is beginning to surface now. Tears start welling in her eyes. JILL (CONT'D) (unsteadily) So who else was there besides Jackie? Huh?... huh? GEORGE Baby, don't do this. I do love you. JILL Obviously there were others, weren't there? George stares at Jill. Then: GEORGE Obviously. JILL How many? GEORGE What do you wanna know for? JILL I just want to know, that's all. GEORGE What difference does it make? JILL I just want to know while we were seeing each other... I just don't want girls looking at me and knowing and me not knowing... Jill is crying a little now and looks very vulnerable. George moves to her and tries to put his arms around her. GEORGE Baby, please don't... I love you. JILL (breaking away) I don't want to be a fool!... I want to look them in the eye and say, I know! GEORGE (she's backing up, he's trying to touch her) Baby, don't do this -- JILL (fighting for control) -- it'll help me if you'll tell me. GEORGE -- please, baby -- JILL -- no, it'll help me, really -- GEORGE How? JILL I'll know you've lied to me... all along. I'll know you're incapable of... love... that'll help me... not now, but eventually. It's been rising in him the last few exchanges. Now all George's restraints seem to leave him. He stops trying to touch her and stands his ground, exploding: GEORGE You dumb cunt, everybody fucks everybody, grow up, for Christ's sakes. You're an antique, you know that? Look around you -- all of 'em, all these chicks they're all fucking, they're getting their hair done so they can go and fuck, that's what it's all about. Come into the shop tomorrow and I'll show you -- I fucked her, and her, and her, and her, and her -- I fucked 'em all!... That's what I do, I fuck. That's why I went to beauty school, to fuck. I can't help that, they're there and I do their hair and sometimes I fuck 'em. I stick it in and I pull it out and that's a fuck, it's not a crime. George leans on a glass topped coffee table for support, not even bothering to look at Jill. Jill has been pulled together a little more by the speech. JILL ... well I'm glad you told me. GEORGE (his eyes closed) Jesus. His tone has indicated disbelief and disgust. JILL I am... I mean, you know, that's... She can't finish It. GEORGE What? What? What? What? What? JILL ... honest. At least you're honest with me. GEORGE Does it make you happy? Jill doesn't answer. JILL I wish you'd go now. GEORGE That's all you've got to say? JILL -- yes. GEORGE -- tell me something -- did you talk about me? JILL George... GEORGE Did you? JILL Please!... that's not like you. GEORGE Yeah, I know. Did you? JILL George, now cut this out. GEORGE Did you? JILL Stop it. GEORGE Did you? JILL Yes, yes, I did. GEORGE What did you say? JILL George, if you keep this up I'm going to scream. GEORGE What did you say? JILL George... GEORGE What did you say? JILL I said you were a loser! She starts to cry again. George smiles. GEORGE No, I'm not a loser, baby, I just sort of break even. George turns and walks up the stairs and out the door. EXT. GEORGE'S HOUSE George shuffles up the steps to his front porch and into the living room. INT. GEORGE'S LIVING ROOM George finds himself facing Lester and two other MEN who look like hoods. Lester sits in the chair George sat in the other night. Before him is a bottle of J & B, a paper bucket filled with melting ice. The other men rise when George walks into the room. Lester, glass in hand, stares silently at George. LESTER (to the other two) Wait outside, would you? The two Men walk toward George and pass him on either side, coming very close. Both of them are much bigger than George. They stare through George as they pass him. George continues to stand there. Lester, drinking, continues to stare. Lester glances idly around the living room. Then back to George. LESTER (CONT'D) You live like a pig. GEORGE Yeah. (Lester doesn't answer) How long have you been here? LESTER (looking it) All night. GEORGE Well... who are those guys? LESTER What do they look like?... GEORGE Look, Lester... are you unhappy with me about something? LESTER Yeah, I'm unhappy with you about something. GEORGE Well, what? LESTER Godammit, George... GEORGE Now wait a minute... LESTER Sit down. GEORGE But... LESTER I said sit down! One of the men opens the door and peers through the screen. MAN Everything all right? LESTER I'll call you, it's okay. George site down. Lester has risen to his feet, a little unsteadily. LESTER (CONT'D) Now, George, I want to hear it from you. Either you admit it, man to man, to my face or I'll have him pound it out of you, and he does a hell of a job, believe me. George nods. GEORGE I believe you... Lester waits, standing over George. LESTER I wanna hear about it. GEORGE Oh Jesus Christ. Lester slaps him. LESTER I wanna hear about it, George. GEORGE Hey, have 'em put me away, or whatever you're gonna do, okay?... I'm too tired to lie, I'm too tired to tell the truth... I'm too tired for anything. LESTER I wanna hear about it. GEORGE What can I say! LESTER I wanna know your thinking, I wanna know how someone like you thinks. Did you think you could get away with it, did you think you could put something over on me? Does a guy like you get his kicks sneaking around behind people's backs and taking advantage of them? Maybe that's your idea of being anti Establishment! GEORGE I'm not anti-Establishment. LESTER That's got nothing to do with it... You're so beyond my comprehension I can't even discuss it with you. GEORGE Then don't... just have 'em beat me up or whatever you're gonna do. LESTER No, not yet, not yet. You worry about it for a while, I've been worrying all night, now you can worry. A pause. Lester freshens his drink. LESTER (CONT'D) Was it me, did you have something against me? GEORGE What, do you think I planned it? LESTER Did they have something against me? GEORGE Didn't they tell you? LESTER I wanna hear it from you! GEORGE (agonized) ... how am I gonna tell you what they have against you? I mean Jesus fucking Christ, they're women, aren't they? Have you ever listened to women talk, man? Have you? Well I do, I do 'til it's fucking coming out of my ears. I'm on my feet all day, every fucking day, listening to women talk and you know what they talk about, don't you? Being fucked up by some guy. That's all that's on their minds. I'm sure you've done something they could get pissed off about, what's that got to do with it? All women are pissed off, man, all of 'em. They fucking hate us! Don't you know that? Lester has listened to this with some alteration of his intensity. LESTER ... yes, I follow your thinking on that. GEORGE We're always trying to fuck them... they know it and they like it and they don't like it... that's just how it is... look, it's got nothing to do with you, man. It just happened. Felicia's got nothing to do but shop and get her hair done and she knows she's getting older... her daughter hates her, what's she going to do, go to PTA meetings? LESTER Do you think Lorna hates her? I don't think she hates her. I mean she may resent her a little... GEORGE Oh, are you kidding, man? She hates her. LESTER Why, why do you think that is? GEORGE Oh, fuck, Lester, how should I know? LESTER Well, I don't know. A pause. Lester goes to pour himself another drink. LESTER (CONT'D) (to George) Want a drink? GEORGE No thanks. LESTER Have a drink. GEORGE Okay, thanks. Lester gets up and goes to the kitchen. LESTER You don't have a clean glass in the house. GEORGE I know. LESTER (talking to himself) I'll have to wash one out. He turns on the faucet in the kitchen. He brings the glass. LESTER (CONT'D) Jesus, what a way to live. I never lived like this, not even when I was your age, not even when I never had a dime. George takes the drink. Lester just shakes his head. LESTER (CONT'D) Hell of a way to treat a business partner, that's all I can say. GEORGE Who? LESTER Me! GEORGE Hey, you were never going to give me the money. LESTER (after a moment) I was gonna give you the money. Probably I was. Shit, I don't know, I don't know anything anymore. Lester sits and stares into his drink. LESTER (CONT'D) I tell you, you never know... you just never know... one minute you're here and the next... I mean a man at my age, how long have I got -- ten years? Five years? I wish I knew... what I was living for. George looks at him. LESTER (CONT'D) ... You can lose it all; you can lose it all no matter who you are... I don't know, what's the point of having it all. Look at me. I don't have a goddam thing... the market's terrible right now, went down ten points last week, goddam Lyndon Johnson! GEORGE Oh yeah... LESTER Yeah,, it goes up a little and then it goes down, maybe Nixon will do something. What's the difference, they're all a bunch of jerks. I wouldn't let 'em run my business, I can tell you that much. Not if I had any choice in the matter. (after a moment) I don't know what to do with you. I don't know, I don't know what's right or wrong anymore. GEORGE I don't either, Lester, I swear to you I don't. LESTER (suddenly) What about Jackie? GEORGE What about her? LESTER I mean, how did that happen? GEORGE Lester, it just happened. LESTER She's nothing but a whore. GEORGE No -- LESTER Just a whore, I go over there, have a few drinks and get my gun off. I'm through with her, she's nothing but a whore. GEORGE No, man, no. You can say everybody's a whore. She's okay. I mean Jackie'll fuck around but not that much. Somewhere she really likes you, Lester, and it's not just the bread. She's okay. Lester sits and thinks about that. LESTER You really think so? GEORGE Yes I do. LESTER I'm finished with her. Lester goes to the door. He turns as if he'd just thought of something. LESTER (CONT'D) Oh, by the way, I think you oughta know -- Lorna thinks she's got the clap. GEORGE What? LESTER Yeah, the clap. That's what she thinks. But who knows -- I don't know. George nods. Lester shakes his head. LESTER (CONT'D) I don't know anything anymore. He opens the door and goes out. The two hoods are standing there. They look to Lester. LESTER (CONT'D) (to hoods) Go easy on him, he's a nice boy. George looks shocked. Lester laughs, gives George a playful punch. LESTER (CONT'D) Just having a little fun, George... (to hoods) Go on home. (to George) I'll call you later about the shop. I'm beat. God, I'm beat. With that, Lester's off. EXT. SHOP - GEORGE - DAY pulls up. He goes into the shop. INT. SHOP - NORMAN AND DEVRA Norman is by the front desk. NORMAN You're late, George. GEORGE Devra, try Jackie Shawn will you? And if you don't reach her, keep trying. DEVRA (on desk) Mrs. Shumann and Mrs. Young are waiting. Mrs. Young is kind of p.o.'d. George nods. GEORGE Where's Mary? DEVRA She hasn't showed up yet. GEORGE (grumbling something under his breath, then:) Norman! (to Devra) Devra, I asked you to call Jackie. Call her. DEVRA (perturbed) All right. Norman from upstairs shouts down. NORMAN What! GEORGE Somebody's going to have to wash Mrs. Young. Mary's not here. NORMAN You do it. GEORGE (he's had about enough) Look, Norman, I'm not the shampoo girl. NORMAN You are today. George starts to say something but he's tired. He goes to his corner, slams his jacket down. MRS. SHUMANN Temper, temper, George. George fiddles around with the shampoos and rinses, knocks over one where the top was not on, and the shampoo spills all over the table top and starts to drip on the floor. GEORGE Oh, Jesus, that fucking goddam Mary- He starts to look for a rag and sees that Mary, wearing a cloth coat is coming into the shop. GEORGE (CONT'D) Mary! Get over here! Mary moves very slowly, George waits, hands on hips. It should almost be a little faggy, his petulance as if, inevitably some of the shop must rub off on him. GEORGE (CONT'D) Mary, where were you yesterday? Huh? Mary doesn't answer. GEORGE (CONT'D) You ran out on me and you left it like a goddamn pig pen. Mary's swaying. GEORGE (CONT'D) What's wrong, Mary, are you drunk? Look, I've had a rough night, one of the roughest I've ever had, now I'm not in the mood for any sulking bullshit, what's wrong? Are you sick? Are you drunk? Can you work? MARY Otis is dead. GEORGE -- Otis? She points to his picture on the wall. MARY My son Otis. He was killed in Vietnam. They done phoned me at the shop yesterday. It's suddenly very quiet. The SOUND of the SHAMPOO DRIPPING on the floor can be HEARD. GEORGE AND MARY GEORGE Oh, Mary. Mary starts to cry and like a little child buries her head on George's shoulder. MARY -- you shouldn't talk to me like that no matter what, George... you know better... GEORGE -- oh -- sweetheart... MARY -- you shouldn't do me like that... GEORGE (hugging her) -- please, please forgive me... MARY (crying) -- you know better... GEORGE (after a moment) -- why did you come in today? MARY -- left my bag, didn't have no money... GEORGE -- how did you get here? MARY -- took a bus. GEORGE -- c'mon, I'll get you home... EXT. STREET - GEORGE - DAY on his cycle drives up Bowmont into Jackie's driveway. Her car is there. George jumps off his bike, fairly races to the door. It's open and he barges in. He's met by Jackie's Yorkies who bark furiously, jumping up and down, nipping his pantlegs for attention. JACKIE'S VOICE -- just a minute, you're early -- Jackie comes walking out. She's carrying a large cooking spoon and wears an apron over a travelling outfit, a pantsuit. She's wearing more makeup than usual. She stops when she sees George. GEORGE -- good afternoon -- JACKIE -- you've got to leave. George is not prepared for this. GEORGE I've got to leave? JACKIE -- yes, honey, you've got to get out of here. GEORGE Why? JACKIE Lester's on his way. George stares at her then walks past her into the living room. Bags are packed, a coat thrown over them. The wire kennel carrying cages for the Yorkies are beside the bags. George looks into the kitchen where Jackie's been cooking some pasta. GEORGE Where are you going? JACKIE Please, we'll have to talk later -- GEORGE Look about last night -- JACKIE (exasperated but not unkind) Forget about last night, it's okay, we'll talk when I get back -- GEORGE It's not okay, I mean we've got to talk now. Where are you going? JACKIE Look -- either you leave or I leave because I don't want the two of us here when Lester arrives. I just don't -- The level of her nervousness has just risen about fifty decibels. There's the SOUND of a CAR outside. JACKIE (CONT'D) My God that's him -- George looks out the window. GEORGE -- It's Malone's. JACKIE That's it, then I'm leaving. With that she tosses the spoon onto an end table and rushes out the door. George starts after her. The DRY CLEANER comes to the door, stopping George. CLEANER Cleaners. George has to fumble with Jackie's cleaning and keep the dogs contained. He does, tosses the cleaning down and races outside to his bike. ON THE STREET he sees Jackie's car rounding the corner, going up the hill, winding around the curves. George guns his bike and takes off after her. AROUND WINDING CURVES - GEORGE almost sideswipes a car parked on a hairpin turn. Jackie's on the curve above him. AT THE NEXT CURVE - GEORGE catches up with her, pulls even to her. GEORGE Pull over, pull over! He threatens to run her into the curb. She stops the car sharply and jumps out. AT THE TOP OF THE DRIVE They've reached a cul de sac where there's a parched 'view lot' not built on. Yellow October weeds cover it and there's a huge television antenna in its center which sways slightly in an afternoon wind. Jackie has run onto the lot, then slows to a walk. She grabs one of the rusty stays of the swaying antennas, stares down below her. Her house can be seen from this angle, the Malone's truck just pulling away. George comes up to her. JACKIE (looking below her) You're going to kill me. GEORGE No -- JACKIE (turning to him, imploring) Well then what are you trying to do- GEORGE I want to marry you. I want to take care of you and I want your children, and I want you to be my girl. That's all I want. That's all I want out of my life, and it's a lot. She stares at him in disbelief. She actually clutches her stomach. GEORGE (CONT'D) Look, I don't know if I'll ever make it. I mean I'm a fuckup, but I'll take care of you, I'll make you happy, I swear to God I will. Jackie doesn't answer. She slowly sinks to the ground. George sinks beside her. Her eyes are wet. GEORGE (CONT'D) Jackie... Jackie?... answer me, for God's sake, answer me. JACKIE If you knew how many times I wanted to hear you say that... GEORGE So I'm saying it... JACKIE It's too late... GEORGE What's too late about it? Look, we're not dead, are we? That's the only thing that's too late. JACKIE Lester's left Felicia. He's taking me to Acapulco on the five o'clock flight. He's asked me to marry him. GEORGE So what? You don't love him, do you? Answer me. JACKIE What's that supposed to mean? GEORGE I don't know... Jackie? JACKIE What? George now is very near tears himself. What he says now he has to force out of himself, as if it's the biggest secret he holds. GEORGE I don't trust... anyone... but you... George lets his head fall on her shoulder. She's kneeling, supported by the television aerial, and George cries quietly on her shoulder. She has her arm around him. JACKIE Oh my baby... As she's holding George, and looking down the hill, Lester's silver Rolls pulls up. Lester gets out of the car, goes to the front door. JACKIE (CONT'D) God, there's Lester... GEORGE Don't go, Jackie... JACKIE I can't just let him stand by the door... GEORGE Don't leave me... JACKIE I've got to... I've got to tell him where I am. GEORGE What for? JACKIE I don't know -- I've got to. She gets up and hurries over to her car, starts it and goes back down the hill. George sits under the television aerial and watches her car go down the hill, periodically flashing INTO VIEW. Finally she pulls up while Lester is pacing back and forth. She hurries to him. He taxes her by the shoulders. They talk for a moment. The discussion looks like Jackie is giving Lester directions. She glances uneasily up toward George. George is watching them. He sees that Lester and Jackie have their backs to him, his arm around her shoulder, hers around his waist. They're going through the front door. THE END 
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+THE SHAWSHANK REDEMPTION by Frank Darabont Based upon the story Rita Hayworth and Shawshank Redemption by Stephen King1 INT -- CABIN -- NIGHT (1946) A dark, empty room. The door bursts open. A MAN and WOMAN enter, drunk and giggling, horny as hell. No sooner is the door shut than they're all over each other, ripping at clothes, pawing at flesh, mouths locked together. He gropes for a lamp, tries to turn it on, knocks it over instead. Hell with it. He's got more urgent things to do, like getting her blouse open and his hands on her breasts. She arches, moaning, fumbling with his fly. He slams her against the wall, ripping her skirt. We hear fabric tear. He enters her right then and there, roughly, up against the wall. She cries out, hitting her head against the wall but not caring, grinding against him, clawing his back, shivering with the sensations running through her. He carries her across the room with her legs wrapped around him. They fall onto the bed. CAMERA PULLS BACK, exiting through the window, traveling smoothly outside... 2 EXT -- CABIN -- NIGHT (1946) 2 ...to reveal the bungalow, remote in a wooded area, the lovers' cries spilling into the night... ...and we drift down a wooded path, the sounds of rutting passion growing fainter, mingling now with the night sounds of crickets and hoot owls... ...and we begin to hear FAINT MUSIC in the woods, tinny and incongruous, and still we keep PULLING BACK until... ...a car is revealed. A 1946 Plymouth. Parked in a clearing. 3 INT -- PLYMOUTH -- NIGHT (1946) 3 ANDY DUFRESNE, mid-20's, wire rim glasses, three-piece suit. Under normal circumstances a respectable, solid citizen; hardly dangerous, perhaps even meek. But these circumstances are far from normal. He is disheveled, unshaven, and very drunk. A cigarette smolders in his mouth. His eyes, flinty and hard, are riveted to the bungalow up the path. He can hear them fucking from here. He raises a bottle of bourbon and knocks it back. The radio plays softly, painfully romantic, taunting him: You stepped out of a dream... You are too wonderful... To be what you seem... He opens the glove compartment, pulls out an object wrapped in a rag. He lays it in his lap and unwraps it carefully -- -- revealing a .38 revolver. Oily, black, evil. He grabs a box of bullets. Spills them everywhere, all over the seats and floor. Clumsy. He picks bullets off his lap, loading them into the gun, one by one, methodical and grim. Six in the chamber. His gaze goes back to the bungalow. He shuts off the radio. Abrupt silence, except for the distant lovers' moans. He takes another shot of bourbon courage, then opens the door and steps from the car. 4 EXT -- PLYMOUTH -- NIGHT (1946) 4 His wingtip shoes crunch on gravel. Loose bullets scatter to the ground. The bourbon bottle drops and shatters. He starts up the path, unsteady on his feet. The closer he gets, the louder the lovemaking becomes. Louder and more frenzied. The lovers are reaching a climax, their sounds of passion degenerating into rhythmic gasps and grunts. WOMAN (O.S.) Oh god...oh god...oh god... Andy lurches to a stop, listening. The woman cries out in orgasm. The sound slams into Andy's brain like an icepick. He shuts his eyes tightly, wishing the sound would stop. It finally does, dying away like a siren until all that's left is the shallow gasping and panting of post-coitus. We hear languorous laughter, moans of satisfaction. WOMAN (O.S.) Oh god...that's sooo good...you're the best...the best I ever had... Andy just stands and listens, devastated. He doesn't look like much of a killer now; he's just a sad little man on a dirt path in the woods, tears streaming down his face, a loaded gun held loosely at his side. A pathetic figure, really. FADE TO BLACK: 1ST TITLE UP 5 INT -- COURTROOM -- DAY (1946) 5 THE JURY listens like a gallery of mannequins on display, pale-faced and stupefied. D.A. (O.S.) Mr. Dufresne, describe the confrontation you had with your wife the night she was murdered. ANDY DUFRESNE is on the witness stand, hands folded, suit and tie pressed, hair meticulously combed. He speaks in soft, measured tones: ANDY It was very bitter. She said she was glad I knew, that she hated all the sneaking around. She said she wanted a divorce in Reno. D.A. What was your response? ANDY I told her I would not grant one. D.A. (refers to his notes) I'll see you in Hell before I see you in Reno. Those were the words you used, Mr. Dufresne, according to the testimony of your neighbors. ANDY If they say so. I really don't remember. I was upset. FADE TO BLACK: 2ND TITLE UP D.A. What happened after you and your wife argued? ANDY She packed a bag and went to stay with Mr. Quentin. D.A. Glenn Quentin. The golf pro at the Falmouth Hills Country Club. The man you had recently discovered was her lover. (Andy nods) Did you follow her? ANDY I went to a few bars first. Later, I decided to drive to Mr. Quentin's home and confront them. They weren't there...so I parked my car in the turnout...and waited. D.A. With what intention? ANDY I'm not sure. I was confused. Drunk. I think mostly I wanted to scare them. D.A. You had a gun with you? ANDY Yes. I did. FADE TO BLACK: 3RD TITLE UP D.A. When they arrived, you went up to the house and murdered them? ANDY No. I was sobering up. I realized she wasn't worth it. I decided to let her have her quickie divorce. D.A. Quickie divorce indeed. A .38 caliber divorce, wrapped in a handtowel to muffle the shots, isn't that what you mean? And then you shot her lover! ANDY I did not. I got back in the car and drove home to sleep it off. Along the way, I stopped and threw my gun into the Royal River. I feel I've been very clear on this point. D.A. Yes, you have. Where I get hazy, though, is the part where the cleaning woman shows up the next morning and finds your wife and her lover in bed, riddled with .38 caliber bullets. Does that strike you as a fantastic coincidence, Mr. Dufresne, or is it just me? ANDY (softly) Yes. It does. D.A. I'm sorry, Mr. Dufresne, I don't think the jury heard that. ANDY Yes. It does. D.A. Does what? ANDY Strike me as a fantastic coincidence. D.A. On that, sir, we are in accord... FADE TO BLACK! 4TH TITLE UP D.A. You claim you threw your gun into the Royal River before the murders took place. That's rather convenient. ANDY It's the truth. D.A. You recall Lt. Mincher's testimony? He and his men dragged that river for three days and nary a gun was found. So no comparison can be made between your gun and the bullets taken from the bloodstained corpses of the victims. That's also rather convenient, isn't it, Mr. Dufresne? ANDY (faint, bitter smile) Since I am innocent of this crime, sir, I find it decidedly inconvenient the gun was never found. FADE TO BLACK: STH TITLE UP 6 INT -- COURTROOM -- DAY (1946) 6 The D.A. holds the jury spellbound with his closing summation: D.A. Ladies and gentlemen, you've heard all the evidence, you know all the facts. We have the accused at the scene of the crime. We have foot prints. Tire tracks. Bullets scattered on the ground which bear his fingerprints. A broken bourbon bottle, likewise with fingerprints. Most of all, we have a beautiful young woman and her lover lying dead in each other's arms. They had sinned. But was their crime so great as to merit a death sentence? He gestures to Andy sitting quietly with his ATTORNEY. D.A. I suspect Mr. Dufresne's answer to that would be yes. I further suspect he carried out that sentence on the night of September 21st, this year of our Lord, 1946, by pumping four bullets into his wife and another four into Glenn Quentin. And while you think about that, think about this... He picks up a revolver, spins the cylinder before their eyes like a carnival barker spinning a wheel of fortune. D.A. A revolver holds six bullets, not eight. I submit to you this was not a hot-blooded crime of passion! That could at least be understood, if not condoned. No, this was revenge of a much more brutal and cold-blooded nature. Consider! Four bullets per victim! Not six shots fired, but eight! That means he fired the gun empty...and then stopped to reload so he could shoot each of them again! An extra bullet per lover...right in the head. (a few JURORS shiver) I'm done talking. You people are all decent, God-fearing Christian folk. You know what to do. FADE TO BLACK: 6TH TITLE UP 7 INT -- JURY ROOM -- DAY (1946) 7 CAMERA TRACKS down a long table, moving from one JUROR to the next. These decent, God-fearing Christians are chowing down on a nice fried chicken dinner provided them by the county, smacking greasy lips and gnawing cobbettes of corn. VOICE (O.S.) Guilty. Guilty. Guilty. Guilty... We find the FOREMAN at the head of the table, sorting votes. FADE TO BLACK: 7TH TITLE UP 8 INT -- COURTROOM -- DAY (1946) 8 Andy stands before the dias. THE JUDGE peers down, framed by a carved frieze of blind Lady Justice on the wall. JUDGE You strike me as a particularly icy and remorseless man, Mr. Dufresne. It chills my blood just to look at you. By the power vested in me by the State of Maine, I hereby order you to serve two life sentences, back to back, one for each of your victims. So be it. He raps his gavel as we CRASH TO BLACK: LAST TITLE UP. 9 AN IRON-BARRED DOOR 9 slides open with an enormous CLANG. A stark room waits beyond. CAMERA PUSHES through. SEVEN HUMORLESS MEN sit side by side at a long table. An empty chair faces them. We are now in: INT -- SHAWSHANK HEARINGS ROOM -- DAY (1947) RED enters, removes his cap and waits by the chair. MAN #1 Sit. Red sits, tries not to slouch. The chair is uncomfortable. MAN #2 We see by your file you've served twenty years of a life sentence. MAN #3 You feel you've been rehabilitated? RED Yes, sir. Absolutely. I've learned my lesson. I can honestly say I'm a changed man. I'm no longer a danger to society. That's the God's honest truth. No doubt about it. The men just stare at him. One stifles a yawn. CLOSEUP -- PAROLE FORM A big rubber stamp slams down: "REJECTED" in red ink. 10 EXT -- EXERCISE YARD -- SHAWSHANK PRISON -- DUSK (1947) 10 High stone walls topped with snaky concertina wire, set off at intervals by looming guard towers. Over a hundred CONS are in the yard. Playing catch, shooting craps, jawing at each other, making deals. Exercise period. RED emerges into fading daylight, slouches low-key through the activity, worn cap on his head, exchanging hellos and doing minor business. He's an important man here. RED (V.O.) There's a con like me in every prison in America, I guess. I'm the guy who can get it for you. Cigarettes, a bag of reefer if you're partial, a bottle of brandy to celebrate your kid's high school graduation. Damn near anything, within reason. He slips somebody a pack of smokes, smooth sleight-of-hand. RED (V.O.) Yes sir, I'm a regular Sears & Roebuck. TWO SHORT SIREN BLASTS issue from the main tower, drawing everybody's attention to the loading dock. The outer gate swings open...revealing a gray prison bus outside. RED (V.O.) So when Andy Dufresne came to me in 1949 and asked me to smuggle Rita Hayworth into the prison for him, I told him no problem. And it wasn't. CON Fresh fish! Fresh fish today! Red is joined by HEYWOOD, SKEET, FLOYD, JIGGER, ERNIE, SNOOZE. Most cons crowd to the fence to gawk and jeer, but Red and his group mount the bleachers and settle in comfortably. 11 INT -- PRISON BUS -- DUSK (1947) 11 Andy sits in back, wearing steel collar and chains. RED (V.O.) Andy came to Shawshank Prison in early 1947 for murdering his wife and the fella she was bangin'. The bus lurches forward, RUMBLES through the gates. Andy gazes around, swallowed by prison walls. RED (V.O.) On the outside, he'd been vice- president of a large Portland bank. Good work for a man as young as he was, when you consider how conservative banks were back then. TOWER GUARD All clear! GUARDS approach the bus with carbines. The door jerks open. The new fish disembark, chained together single-file, blinking sourly at their surroundings. Andy stumbles against the MAN in front of him, almost drags him down. BYRON HADLEY, captain of the guard, slams his baton into Andy's back. Andy goes to his knees, gasping in pain. JEERS and SHOUTS from the spectators. HADLEY On your feet before I fuck you up so bad you never walk again. 13 ON THE BLEACHERS 13 RED There they are, boys. The Human Charm Bracelet. HEYWOOD Never seen such a sorry-lookin' heap of maggot shit in my life. JIGGER Comin' from you, Heywood, you being so pretty and all... FLOYD Takin' bets today, Red? RED (pulls notepad and pencil) Bear Catholic? Pope shit in the woods? Smokes or coin, bettor's choice. FLOYD Smokes. Put me down for two. RED High roller. Who's your horse? FLOYD That gangly sack of shit, third from the front. He'll be the first. HEYWOOD Bullshit. I'll take that action. ERNIE Me too. Other hands go up. Red jots the names. HEYWOOD You're out some smokes, son. Take my word. FLOYD You're so smart, you call it. HEYWOOD I say that chubby fat-ass...let's see...fifth from the front. Put me down for a quarter deck. RED That's five cigarettes on Fat-Ass. Any takers? More hands go up. Andy and the others are paraded along, forced by their chains to take tiny baby steps, flinching under the barrage of jeers and shouts. The old-timers are shaking the fence, trying to make the newcomers shit their pants. Some of the new fish shout back, but mostly they look terrified. Especially Andy. RED (V.O.) I must admit I didn't think much of Andy first time I laid eyes on him. He might'a been important on the outside, but in here he was just a little turd in prison grays. Looked like a stiff breeze could blow him over. That was my first impression of the man. SKEET What say, Red? RED Little fella on the end. Definitely. I stake half a pack. Any takers? SNOOZE Rich bet. RED C'mon, boys, who's gonna prove me wrong? (hands go up) Floyd, Skeet, Joe, Heywood. Four brave souls, ten smokes apiece. That's it, gentlemen, this window's closed. Red pockets his notepad. A VOICE comes over the P.A. speakers: VOICE (amplified) Return to your cellblocks for evening count. 14 INT -- ADMITTING AREA -- DUSK (1947) 14 The new fish are marched in. Guards unlock the shackles. The chains drop away, rattling to the stone floor. HADLEY Eyes front. WARDEN SAMUEL NORTON strolls forth, a colorless man in a gray suit and a church pin in his lapel. He looks like he could piss ice water. He appraises the newcomers with flinty eyes. NORTON This is Mr. Hadley, captain of the guard. I am Mr. Norton, the warden. You are sinners and scum, that's why they sent you to me. Rule number one: no blaspheming. I'll not have the Lord's name taken in vain in my prison. The other rules you'll figure out as you go along. Any questions? CON When do we eat? Cued by Norton's glance, Hadley steps up to the con and screams right in his face: HADLEY YOU EAT WHEN WE SAY YOU EAT! YOU PISS WHEN WE SAY YOU PISS! YOU SHIT WHEN WE SAY YOU SHIT! YOU SLEEP WHEN WE SAY YOU SLEEP! YOU MAGGOT- DICK MOTHERFUCKER! Hadley rams the tip of his club into the con's belly. The man falls to his knees, gasping and clutching himself. Hadley takes his place at Norton's side again. Softly: NORTON Any other questions? (there are none) I believe in two things. Discipline and the Bible. Here, you'll receive both. (holds up a Bible) Put your faith in the Lord. Your ass belongs to me. Welcome to Shawshank. HADLEY Off with them clothes! And I didn't say take all day doing it, did I? The men shed their clothes. Within seconds, all stand naked. HADLEY First man into the shower! Hadley shoves the FIRST CON into a steel cage open at the front. TWO GUARDS open up with a fire hose. The con is slammed against the back of the cage, sputtering and hollering. Seconds later, the water is cut and the con yanked out. HADLEY Delouse that piece of shit! Next man in! The con gets a huge scoop of white delousing powder thrown all over him. Gasping and coughing, blinking powder from his eyes, he gets shoved to a trustee's cage. The TRUSTEE slides a short stack of items through the slot -- prison clothes and a Bible. All the men are processed quickly -- a blast of water, powder, clothes and a Bible... 15 INT -- INFIRMARY -- NIGHT (1947) 15 A naked CON steps before a DOCTOR and gets a cursory exam. A penlight is shined in his eyes, ears, nose, and throat. DOCTOR Bend over. The con does. A GUARD with a penlight in his teeth spreads his cheeks, peers up his ass, and nods. Andy is next up. He gets the same treatment. 16 INT -- PRISON CHAPEL -- NIGHT (1947) 16 CAMERA TRACKS the naked newcomers shivering on hard wooden chairs, clothes on their laps, Bibles open. CHAPLAIN (O.S.) ...maketh me to lie down in green pastures. He leadeth me beside the still waters. He restoreth my soul... 17 INT -- CELLBLOCK FIVE -- NIGHT (1947) 17 Three tiers to a side, concrete and steel, gray and imposing. Andy and the others are marched in, still naked, carrying their clothes and Bibles. The CONS in their cells greet them with TAUNTS, JEERS, and LAUGHTER. One by one, the new men are shown to their cells and locked in with a CLANG OF STEEL. RED (V.O.) The first night's the toughest, no doubt about it. They march you in naked as the day you're born, fresh from a Bible reading, skin burning and half-blind from that delousing shit they throw on you... Red watches from his cell, arms slung over the crossbars, cigarette dangling from his fingers. RED (V.O.) ...and when they put you in that cell, when those bars slam home, that's when you know it's for real. Old life blown away in the blink of an eye...a long cold season in hell stretching out ahead...nothing left but all the time in the world to think about it. Red listens to the CLANGING below. He watches Andy and a few others being brought up to the 2nd tier. RED (V.O.) Most new fish come close to madness the first night. Somebody always breaks down crying. Happens every time. The only question is, who's it gonna be? Andy is led past and given a cell at the end of the tier. RED (V.O.) It's as good a thing to bet on as any, I guess. I had my money on Andy Dufresne... 18 INT -- ANDY'S CELL -- NIGHT (1947) 18 The bars slam home. Andy is alone in his cell, clutching his clothes. He gazes around at his new surroundings, taking it in. He slowly begins to dress himself... 19 EXT -- SHAWSHANK PRISON -- NIGHT (1947) 19 A malignant stone growth on the Maine landscape. The moon hangs low and baleful in a dead sky. The headlight of a PASSING TRAIN cuts through the night. 20 INT -- RED'S CELL -- NIGHT (1947) 20 Red lies on his bunk below us, tossing his baseball toward the ceiling and catching it again. He pauses, listening. FOOTSTEPS approach below, unhurried, echoing hollowly on stone. 21 INT -- CELLBLOCK FIVE -- NIGHT (1947) 21 LOW ANGLE. A CELLBLOCK GUARD strolls into frame. GUARD That's lights out! Good night, ladies. The lights bump off in sequence. The guard exits, footsteps echoing away. Darkness now. Silence. CAMERA CRANES UP the tiers toward Red's cell. RED (V.O.) I remember my first night. Seems a long time ago now. Red looms from the darkness, leans on the bars. Listens. Waits. From somewhere below comes faint, ghastly tittering. VOICES drift through the cellblock, taunting: VARIOUS VOICES (O.S.) Fishee fishee fisheeee...You're gonna like it here, new fish. A whooole lot...Make you wish your daddies never dicked your mommies...You takin' this down, new fish? Gonna be a quiz later. (somebody LAUGHS) Sshhh. Keep it down. The screws'll hear...Fishee fishee fisheeee... RED (V.O.) The boys always go fishin' with first-timers...and they don't quit till they reel someone in. The VOICES keep on, sly and creepy in the dark... 22 INT -- VARIOUS CELLS -- NIGHT (1947) 22 thru thru 25 2g ...while the new cons go quietly crazy in their cells. One man paces like a caged animal...another sits gnawing his cuticles bloody...a third is weeping silently...a fourth is dry-heaving into the toilet... 26 INT -- RED'S CELL -- NIGHT (1947) 26 Red waits at the bars. Smoking. Listening. He cranes his head, peers down toward Andy's cell. Nothing. Not a peep. HEYWOOD (O.S.) Fat-Ass...oh, Faaaat-Ass. Talk to me, boy. I know you're in there. I can hear you breathin'. Now don't you listen to these nitwits, hear? 27 INT -- FAT-ASS' CELL -- NIGHT (1947) 27 Fat-Ass is crying, trying not to hyperventilate. HEYWOOD (O.S.) This ain't such a bad place. I'll introduce you around, make you feel right at home. I know some big ol' bull queers who'd love to make your acquaintance...especially that big white mushy butt of yours... And that's it. Fat-Ass lets out a LOUD WAIL of despair: FAT-ASS OH GOD! I DON'T BELONG HERE! I WANNA GO HOME! 28 INT -- HEYWOOD'S CELL -- NIGHT (1947) 28 HEYWOOD AND IT'S FAT-ASS BY A NOSE.' 29 INT -- CELLBLOCK -- NIGHT (1947) 29 The place goes nuts. Fat-Ass throws himself screaming against the bars. The entire block starts CHANTING: VOICES Fresh fish...fresh fish...fresh fish...fresh fish... FAT-ASS I WANNA GO HOME! I WANT MY MOTHER.' VOICE (O.S.) I had your mother! She wasn't that great! The lights bump on. GUARDS pour in, led by Hadley himself. HADLEY What the Christ is this happy shit? VOICE (O.S.) He took the Lord's name in vain! I'm tellin' the warden! HADLEY (to the unseen wit) You'll be tellin' him with my baton up your ass! Hadley arrives at Fat-Ass' cell, bellowing through the bars: HADLEY What's your malfunction you fat fuckin' barrel of monkey-spunk? FAT-ASS PLEASE! THIS AIN'T RIGHT! I AIN'T SUPPOSED TO BE HERE! NOT ME! HADLEY I ain't gonna count to three! Not even to one! Now shut the fuck up 'fore I sing you a lullabye! Fat-Ass keeps blubbering and wailing. Total freak-out. Hadley draws his baton, gestures to his men. Open it. A GUARD unlocks the cell. Hadley pulls Fat-Ass out and starts beating him with the baton, brutally raining blows. Fat-Ass falls, tries to crawl. The place goes dead silent. All we hear now is the dull THWACK-THWACK-THWACK of the baton. Fat-ass passes out. Hadley gets in a few more licks and finally stops. HADLEY Get this tub of shit down to the infirmary. (peers around) If I hear so much as a mouse fart in here the rest of the night, by God and Sonny Jesus, you'll all visit the infirmary. Every last motherfucker here. The guards wrestle Fat-Ass onto a stretcher and carry him off. FOOTSTEPS echo away. Lights off. Darkness again. Silence. 30 INT -- RED'S CELL -- NIGHT (1947) 30 Red stares through the bars at the main floor below, eyes riveted to the small puddle of blood where Fat-Ass went down. RED (V.O.) His first night in the joint, Andy Dufresne cost me two packs of cigarettes. He never made a sound... 31 INT -- CELLBLOCK FIVE -- MORNING (1947) 31 LOUD BUZZER. The master locks are thrown -- KA-THUMP! The cons step from their cells, lining the tiers. The GUARDS holler their head-counts to the HEAD BULL, who jots on a clipboard. Red peers at Andy, checking him out. Andy stands in line, collar buttoned, hair combed. 32 INT -- MESS HALL -- MORNING (1947) 32 Andy goes through the breakfast line, gets a scoop of glop on his tray. WE PAN ANDY through the noise and confusion...and discover BOGS DIAMOND and ROOSTER MacBRIDE watching Andy go by. Bogs sizes Andy up with a salacious gleam in his eye, mutters something to Rooster. Rooster laughs. Andy finds a table occupied by Red and his regulars, chooses a spot at the end where nobody is sitting. Ignoring their stares, he picks up his spoon -- and pauses, seeing something in his food. He carefully fishes it out with his fingers. It's a squirming maggot. Andy grimaces, unsure what to do with it. BROOKS HATLEN is sitting closest to Andy. At age 65, he's a senior citizen, a long-standing resident. BROOKS You gonna eat that? ANDY Hadn't planned on it. BROOKS You mind? Andy passes the maggot to Brooks. Brooks examines it, rolling it between his fingertips like a man checking out a fine cigar. Andy is riveted with apprehension. BROOKS Mmm. Nice and ripe. Andy can't bear to watch. Brooks opens up his sweater and feeds the maggot to a baby crow nestled in an inside pocket. Andy breathes a sigh of relief. BROOKS Jake says thanks. Fell out of his nest over by the plate shop. I'm lookin' after him till he's old enough to fly. Andy nods, proceeds to eat. Carefully. Heywood approaches. JIGGER Oh, Christ, here he comes. HEYWOOD Mornin', boys. It's a fine mornin'. You know why it's fine? Heywood plops his tray down, sits. The men start pulling out cigarettes and handing them down. HEYWOOD That's right, send 'em all down. I wanna see 'em lined up in a row, pretty as a chorus line. An impressive pile forms. Heywood bends down and inhales deeply, smelling the aroma. Rapture. FLOYD Smell my ass... HEYWOOD Gee, Red. Terrible shame, your horse comin' in last and all. Hell, I sure do love that horse of mine. I believe I owe that boy a big sloppy kiss when I see him. RED Give him some'a your cigarettes instead, cheap bastard. HEYWOOD Say Tyrell, you pull infirmary duty this week? How's that winnin' horse of mine, anyway? TYRELL Dead. (the men fall silent) Hadley busted his head pretty good. Doc already went home for the night. Poor bastard lay there till this morning. By then... He shakes his head, turns back to his food. The silence mounts. Heywood glances around. Men resume eating. Softly: ANDY What was his name? HEYWOOD What? What'd you say? ANDY I was wondering if anyone knew his name. HEYWOOD What the fuck you care, new fish? (resumes eating) Doesn't matter what his fuckin' name was. He's dead. 33 INT -- PRISON LAUNDRY -- DAY (1947) 33 A DEAFENING NOISE of industrial washers and presses. Andy works the laundry line. A nightmarish job. He's new at it. BOB, the con foreman, elbows him aside and shows him how it's done. 34 INT -- SHOWERS -- DAY (1947) 34 Shower heads mounted in bare concrete. Andy showers with a dozen or more men. No modesty here. At least the water is good and hot, soothing his tortured muscles. Bogs looms from the billowing steam, smiling, checking Andy up and down. Rooster and PETE appear from the sides. The Sisters. BOGS You're some sweet punk. You been broke in yet? Andy tries to step past them. He gets shoved around, nothing serious, just some slap and tickle. Jackals sizing up prey. BOGS Hard to get. I like that. Andy breaks free, flushed and shaking. He hurries off, leaving the three Sisters laughing. 35 INT -- ANDY'S CELL -- NIGHT (1947) 35 Andy lies staring at the darkness, unable to sleep. 36 EXT -- EXERCISE YARD -- DAY (1947) 36 Exercise period. Red plays catch with Heywood and Jigger, lazily tossing a baseball around. Red notices Andy off to the side. Nods hello. Andy takes this as a cue to amble over. Heywood and Jigger pause, watching. ANDY (offers his hand) Hello. I'm Andy Dufresne. Red glances at the hand, ignores it. The game continues. RED The wife-killin' banker. ANDY How do you know that? RED I keep my ear to the ground. Why'd you do it? ANDY I didn't, since you ask. RED Hell, you'll fit right in, then. (off Andy's look) Everyone's innocent in here, don't you know that? Heywood! What are you in for, boy? HEYWOOD Didn't do it! Lawyer fucked me! Red gives Andy a look. See? ANDY What else have you heard? RED People say you're a cold fish. They say you think your shit smells sweeter than ordinary. That true? ANDY What do you think? RED Ain't made up my mind yet. Heywood nudges Jigger. Watch this. He winds up and throws the ball hard -- right at Andy's head. Andy sees it coming out of the corner of his eye, whirls and catches it. Beat. He sends the ball right back, zinging it into Heywood's hands. Heywood drops the ball and grimaces, wringing his stung hands. ANDY I understand you're a man who knows how to get things. RED I'm known to locate certain things from time to time. They seem to fall into my hands. Maybe it's 'cause I'm Irish. ANDY I wonder if you could get me a rock-hammer? RED What is it and why? ANDY You make your customers' motives a part of your business? RED If you wanted a toothbrush, I wouldn't ask questions. I'd just quote a price. A toothbrush, see, is a non-lethal sort of object. ANDY Fair enough. A rock-hammer is about eight or nine inches long. Looks like a miniature pickaxe, with a small sharp pick on one end, and a blunt hammerhead on the other. It's for rocks. RED Rocks. Andy squats, motions Red to join him. Andy grabs a handful of dirt and sifts it through his hands. He finds a pebble and rubs it clean. It has a nice milky glow. He tosses it to Red. RED Quartz? ANDY Quartz, sure. And look. Mica. Shale. Silted granite. There's some graded limestone, from when they cut this place out of the hill. RED So? ANDY I'm a rockhound. At least I was, in my old life. I'd like to be again, on a limited scale. RED Yeah, that or maybe plant your toy in somebody's skull? ANDY I have no enemies here. RED No? Just wait. Red flicks his gaze past Andy. Bogs is watching them. RED Word gets around. The Sisters have taken a real shine to you, yes they have. Especially Bogs. ANDY Tell me something. Would it help if I explained to them I'm not homosexual? RED Neither are they. You have to be human first. They don't qualify. (off Andy's look) Bull queers take by force, that's all they want or understand. I'd grow eyes in the back of my head if I were you. ANDY Thanks for the advice. RED That comes free. But you understand my concern. ANDY If there's trouble, I doubt a rock- hammer will do me any good. RED Then I guess you wanna escape. Tunnel under the wall maybe? (Andy laughs politely) I miss the joke. What's so funny? ANDY You'll know when you see the rock- hammer. RED What's this item usually go for? ANDY Seven dollars in any rock and gem shop. RED My standard mark-up's twenty percent, but we're talkin' about a special object. Risk goes up, price goes up. Call it ten bucks even. ANDY Ten it is. RED I'll see what I can do. (rises, slapping dust) But it's a waste of money. ANDY Oh? RED Folks who run this place love surprise inspections. They turn a blind eye to some things, but not a gadget like that. They'll find it, and you'll lose it. Mention my name, we'll never do business again. Not for a pair of shoelaces or a stick of gum. ANDY I understand. Thank you, Mr...? RED Red. The name's Red. ANDY Red. I'm Andy. Pleasure doing business with you. They shake. Andy strolls off. Red watches him go. RED (V.O.) I could see why some of the boys took him for snobby. He had a quiet way about him, a walk and a talk that just wasn't normal around here. He strolled. like a man in a park without a care or worry. Like he had on an invisible coat that would shield him from this place. (resumes playing catch) Yes, I think it would be fair to say I liked Andy from the start. 37 INT -- MESS HALL -- DAY (1947) 37 Red gets his breakfast and heads for a table. Andy falls in step, slips him a tightly-folded square of paper. 38 INT -- RED'S CELL -- NIGHT (1947) 38 Lying on his bunk, Red unfolds the square. A ten dollar bill. RED (V.O.) He was a man who adapted fast. 39 EXT -- LOADING DOCK -- DAY (1947) 39 Under watchful supervision, CONS are off-loading bags of dirty laundry from an "Eliot Nursing Home" truck. RED (V.O.) Years later, I found out he'd brought in quite a bit more than just ten dollars... A certain bag hits the ground. The TRUCK DRIVER shoots a look at a black con, LEONARD, then ambles over to a GUARD to shoot the shit. Leonard loads the bag onto a cart... 40 INT -- PRISON LAUNDRY -- DAY (1947) 40 Bags are being unloaded. We find Leonard working the line. RED (V.O.) When they check you into this hotel, one of the bellhops bends you over and looks up your works, just to make sure you're not carrying anything. But a truly determined man can get an object quite a ways up there. Leonard slips a small paper-wrapped package out of the laundry bag, hides it under his apron, and keeps sorting... 4l INT -- PRISON LAUNDRY EXCHANGE -- DAY (1947) 41 Red deposits his dirty bundle and moves down the line to where the clean sheets are being handed out. RED (V.O.) That's how Andy joined our happy little Shawshank family with more than five hundred dollars on his person. Determination. Leonard catches Red's eye, turns and grabs a specific stack of clean sheets. He hands it across to Red -- TIGHT ANGLE -- and more than clean laundry changes hands. Two packs of cigarettes slide out of Red's hand into Leonard's. 42 INT -- RED'S CELL -- DAY (1947) 42 Red slips the package out of his sheets, carefully checks to make sure nobody's coming, then rips it open. He pulls out the rock-hammer. It's just as Andy described. Red laughs softly. RED (V.O.) Andy was right. I finally got the joke. It would take a man about six hundred years to tunnel under the wall with one of these. 43 INT -- CELLBLOCK FIVE -- 2ND TIER -- NIGHT (1947) 43 Brooks Hatlen pushes a cart of books from cell to cell. The rolling library. He finds Red waiting for him. Red slips the rock-hammer, wrapped in a towel, through the bars and onto the cart. Next comes six cigarettes to pay for postage. RED Dufresne. Brooks nods, never missing a beat. He rolls his cart to Andy's cell, mutters through the bars: BROOKS Middle shelf, wrapped in a towel. Andy's hand snakes through the bars and makes the object disappear. The hand comes back and deposits a small slip of folded paper along with more cigarettes. Brooks turns his cart around and goes back. He pauses, sorting his books long enough for Red to snag the slip of paper. Brooks continues on, scooping the cigarettes off the cart and into his pocket. 44 INT -- RED'S CELL -- NIGHT (1947) 44 Red unfolds the slip of paper. Penciled neatly on it is a single word: "Thanks." 45 INT -- PRISON LAUNDRY -- DAY (1947) 45 We are assaulted by the deafening noise of the laundry line. Andy is doing his job, getting good at it. BOB DUFRESNE! WE'RE LOW ON HEXLITE! HEAD ON BACK AND FETCH US UP SOME! Andy nods. He leaves the line, weaving his way through the laundry room and into -- 46 INT -- BACK ROOMS/STOCK AREA -- DAY (1947) 46 -- a dark, tangled maze of rooms and corridors, boilers and furnaces, sump pumps, old washing machines, pallets of cleaning supplies and detergents, you name it. Andy hefts a cardboard drum of Hexlite off the stack, turns around -- -- and finds Bogs Diamond in the aisle. blocking his way. Rooster looms from the shadows to his right, Pete Verness on the left. A frozen beat. Andy slams the Hexlite to the floor, rips off the top, and scoops out a double handful. ANDY You get this in your eyes, it blinds you. BOGS Honey, hush. Andy backs up, holding them at bay, trying to maneuver through the maze. The Sisters keep coming, tense and guarded, eyes riveted and gauging his every move, trying to outflank him. Andy trips on some old gaint sugglies. That's all it takes. They're on him in an instant, kicking and stomping. Andy gets yanked to his feet. Bogs applies a chokehold from behind. They propel him across the room and slam him against an old four-pocket machine, bending him over it. Rooster jams a rag into Andy's mouth and secures it with a steel pipe, like a horse bit. Andy kicks and struggles, but Rooster and Pete have his arms firmly pinned. Bogs whispers in Andy's ear: BOGS That's it, fight. Better that way. Andy starts screaming, muffled by the rag. CAMERA PULLS BACK, SLOWLY WIDENING. The big Washex blocks our view. All we see is Andy's screaming face and the men holding him down... ...and CAMERA DRIFTS FROM THE ROOM, leaving the dark place and the dingy act behind...MOVING up empty corridors, past concrete walls and steel pipes... RED (V.O.) I wish I could tell you that Andy fought the good fight, and the Sisters let him be. I wish I could tell you that, but prison is no fairy-tale world. WE EMERGE into the prison laundry past a guard, WIDENING for a final view of the line. The giant steel "mangler" is slapping down in brutal rhythm. The sound is deafening. RED (V.O.) He never said who did it...but we all knew. PRISON MONTAGE: (1947 through 1949) 47 ANDY PLODS THROUGH HIS DAYS. WORKING. EATING. CHIPPING AND 47 shaping his rocks after lights-out... RED (V.O.) Things went on like that for a while. Prison life consists of routine, and then more routine. 48 ANDY WALKS THE YARD, FACE SWOLLEN AND BRUISED. 48 RED (V.O.) Every so often, Andy would show up with fresh bruises. 49 ANDY EATS BREAKFAST. A FEW TABLES OVER, BOGS BLOWS HIM A KISS. 49 RED (V.O.) The Sisters kept at him. Sometimes he was able to fight them off... sometimes not. 50 ANDY BACKS INTO A CORNER IN SOME DINGY PART OF THE PRISON, wildly swinging a rake at his tormentors. RED (V.O.) He always fought, that's what I remember. He fought because he knew if he didn't fight, it would make it that much easier not to fight the next time. The rake connects, snapping off over somebody's skull. They beat the hell out of him. RED (V.O.) Half the time it landed him in the infirmary... 51 INT -- SOLITARY CONFINEMENT ("THE HOLE") -- NIGHT (1949) 51 A stone closet. No bed, sink, or lights. Just a toilet with no seat. Andy sits on bare concrete, bruised face lit by a faint ray of light falling through the tiny slit in the steel door. RED (V.O.) ...the other half, it landed him in solitary. Warden Norton's "grain & drain" vacation. Bread, water, and all the privacy you could want. 52 INT -- PRISON LAUNDRY -- DAY (1949) 52 Andy is working the line. RED (V.O.) And that's how it went for Andy. That was his routine. I do believe those first two years were the worst for him. And I also believe if things had gone on that way, this place would have got the best of him. But then, in the spring of 1949, the powers-that-be decided that... 53 EXT -- PRISON YARD -- DAY (1949) 53 Warden Norton addresses the assembled cons via bullhorn: NORTON ...the roof of the license-plate factory needs resurfacing. I need a dozen volunteers for a week's work. We're gonna be taking names in this steel bucket here... Red glances around at his friends. Andy also catches his eye. RED (V.O.) It was outdoor detail, and May is one damn fine month to be workin' outdoors. 54 EXT -- PRISON YARD -- DAY (1949) 54 Cons shuffle past, dropping slips of paper into a bucket. RED (V.O.) More than a hundred men volunteered for the job. Red saunters to a guard named TIM YOUNGBLOOD, mutters discreetly in his ear. 55 EXT -- PRISON YARD -- DAY (1949) 55 Youngblood is pulling names and reading them off. Red exchanges grins with Andy and the others. RED (V.O.) Wouldn't you know it? Me and some fellas I know were among the names called. 56 INT -- PRISON CORRIDOR -- NIGHT (1949) 56 Red slips Youngblood six packs of cigarettes. RED (V.O.) Only cost us a pack of smokes per man. I made my usual twenty percent, of course. 57 EXT -- LICENSE PLATE FACTORY -- DAY (1949) 57 A tar-cooker bubbles and smokes. TWO CONS dip up a bucket of tar and tie a rope to the handle. The rope goes taught. CAMERA FOLLOWS the bucket of tar up the side of the building to -- 58 THE ROOF 58 -- where it is relayed to the work detail. the men are dipping big Padd brushes and spreading the tar. ANGLZ OVER to Byron Hadley bitching sourly to his fellow guards: HADLEY ...so this shithead lawyer calls long distance from Texas, and he says, Byron Hadley? I say, yeah. He says, sorry to inform you, but your brother just died. YOUNGBLOOD Damn, Byron. Sorry to hear that. HADLEY I ain't. He was an asshole. Run off years ago, family ain't heard of him since. Figured him for dead anyway. So this lawyer prick says, your brother died a rich man. Oil wells and shit, close to a million bucks. Jesus, it's frigging incredible how lucky some assholes can get. TROUT A million bucks? Jeez-Louise! You get any of that? HADLEY Thirty five thousand. That's what he left me. TROUT Dollars? Holy shit, that's great! Like winnin' a lottery... (off Hadley's shitty look) ...ain't it? HADLEY Dumbshit. What do you figger the government's gonna do to me? Take a big wet bite out of my ass, is what. TROUT Oh. Hadn't thought of that. HADLEY Maybe leave me enough to buy a new car with. Then what happens? You pay tax on the car. Repairs and maintenance. Goddamn kids pesterin' you to take 'em for a ride... MERT And drive it, if they're old enough. HADLEY That's right, wanting to drive it, wanting to learn on it, f'Chrissake! Then at the end of the year, if you figured the tax wrong, they make you pay out of your own pocket. Uncle Sam puts his hand in your shirt and squeezes your tit till it's purple. Always get the short end. That's a fact. (spits over the side) Some brother. Shit. The prisoners keep spreading tar, eyes on their work. HEYWOOD Poor Byron. What terrible fuckin' luck. Imagine inheriting thirty five thousand dollars. RED Crying shame. Some folks got it awful bad. Red glances over -- and is shocked to see Andy standing up, listening to the guards talk. RED Hey, you nuts? Keep your eyes on your pail! Andy tosses his Padd in the bucket and strolls toward Hadley. RED Andy! Come back! Shit! SNOOZE What's he doing? FLOYD Gettin' himself killed. RED God damn it... HEYWOOD Just keep spreadin' tar... The guards stiffen at Andy's approach. Youngblood's hand goes to his holster. The tower guards CLICK-CLACK their rifle bolts. Hadley turns, stupefied to find Andy there. ANDY Mr. Hadley. Do you trust your wife? HADLEY That's funny. You're gonna look funnier suckin' my dick with no fuckin' teeth. ANDY What I mean is, do you think she'd go behind your back? Try to hamstring you? HADLEY That's it! Step aside, Mert. This fucker's havin' hisself an accident. Hadley grabs Andy's collar and propels him violently toward the edge of the roof. The cons furiously keep spreading tar. HEYWOOD Oh God, he's gonna do it, he's gonna throw him off the roof... SNOOZE Oh shit, oh fuck, oh Jesus... ANDY Because if you do trust her, there's no reason in the world you can't keep every cent of that money. Hadley abruptly jerks Andy to a stop right at the edge. In fact, Andy's past the edge, beyond his balance, shoetips scraping the roof. The only thing between him and an ugly drop to the concrete is Hadley's grip on the front of his shirt. HADLEY You better start making sense. ANDY If you want to keep that money, all of it, just give it to your wife. See, the IRS allows you a one-time- only gift to your spouse. It's good up to sixty thousand dollars. HADLEY Naw, that ain't right! Tax free? ANDY Tax free. IRS can't touch one cent. The cons are pausing work, stunned by this business discussion. HADLEY You're the smart banker what shot his wife. Why should I believe a smart banker like you? So's I can wind up in here with you? ANDY It's perfectly legal. Go ask the IRS, they'll say the same thing. Actually, I feel silly telling you all this. I'm sure you would have investigated the matter yourself. HADLEY Fuckin'-A. I don't need no smart wife-killin' banker to show me where the bear shit in the buckwheat. ANDY Of course not. But you will need somebody to set up the tax-free gift, and that'll cost you. A lawyer, for example... HADLEY Ambulance-chaaing, highway-robbing cocksuckers! ANDY ...or come to think of it, I suppose I could set it up for you. That would save you some money. I'll write down the forms you need, you can pick them up, and I'll prepare them for your signature... nearly free of charge. (off Hadley's look) I'd only ask three beers apiece for my co-workers, if that seems fair. TROUT (guffawing) Co-workers! Get him! That's rich, ain't it? Co-workers... Hadley freezes him with a look. Andy presses on: ANDY I think a nan working outdoors feels more like a man if he can have a bottle of suds. That's only my opinion. The convicts stand gaping, all pretense of work gone. They look like they've been pole-axed. Hadley shoots them a look. HADLEY What are you jimmies starin' at? Back to work, goddamn it! 59 EXT -- LICENSE PLATE FACTORY -- DAY (1949) 59 As before, an object is hauled up the side of the building by rope -- only this time, it's a cooler of beer and ice. RED (V.O.) And that's how it came to pass, that on the second-to-last day of the job, the convict crew that tarred the plate factory roof in the spring of '49... 60 EXT -- ROOF -- SHORTLY LATER (1949) 60 The cons are taking the sun and drinking beer. RED (V.O.) ...wound up sitting in a row at ten o'clock in the morning, drinking icy cold Black Label beer courtesy of the hardest screw that ever walked a turn at Shawshank State Prison. HADLEY Drink up, boys. While it's cold. RED (V.O.) The colossal prick even managed to sound magnanimous. Red knocks back another sip, enjoying the bitter cold on his tongue and the warm sun on face. RED (V.O.) We sat and drank with the sun on our shoulders, and felt like free men. We could'a been tarring the roof of one of our own houses. We were the Lords of all Creation. He glances over to Andy squatting apart from the others. RED (V.O.) As for Andy, he spent that break hunkered in the shade, a strange little smile on his face, watching us drink his beer. HEYWOOD (approaches with a beer) Here's a cold one, Andy. ANDY No thanks. I gave up drinking. Heywood drifts back to others, giving them a look. RED (V.O.) You could argue he'd done it to curry favor with the guards. Or maybe make a few friends among us cons. Me, I think he did it just to feel normal again...if only for a short while. 61 EXT -- PRISON YARD -- THE BLEACHERS -- DAY (1949) 61 Andy and Red play checkers. Red makes his move. RED King me. ANDY Chess. Now there's a game of kings. Civilized...strategic... RED ...and totally fuckin' inexplicable. Hate that game. ANDY Maybe you'll let me teach you someday. I've been thinking of getting a board together. RED You come to the right place. I'm the man who can get things. ANDY We might do business on a board. But the pieces, I'd like to carve those myself. One side done in quartz... the opposing side in limestone. RED That'd take you years. ANDY Years I've got. What I don't have are the rocks. Pickings here in the exercise yard are pretty slim. RED How's that rock-hammer workin' out anyway? Scratch your name on your wall yet? ANDY (smiles) Not yet. I suppose I should. RED Andy? I guess we're gettin' to be friends, ain't we? ANDY I suppose we are. RED I ask a question? Why'd you do it? ANDY I'm innocent, remember? Just like everybody else here. Red takes this as a gentle rebuff, keeps playing. ANDY What are you in for, Red? RED Murder. Same as you. ANDY Innocent? RED The only guilty man in Shawshank. 62 INT -- ANDY'S CELL -- NIGHT (1949) 62 Andy lies in his bunk after lights out, polishing a fragment of quartz by the light of the moon. He pauses, glancing at all the names scratched in the wall. He rises, makes sure the coast is clear, and starts scratching his name into the cement with his rock-hammer, adding to the record. 63 RAY MILLAND 63 fills the screen in glorious (and scratchy) black & white, suffering a bad case of DT's... 64 INT -- PRISON AUDITORIUM -- NIGHT (1949) 64 ...while a CONVICT AUDIENCE hoots and catcalls, talking back to the screen. We find Red slouched in a folding chair, watching the movie. Andy enters, backlit by the flickering glare of the projector, and takes a seat next to him. RED Here's the good part. Bugs come out of the walls to get his ass. ANDY I know. I've seen it three times this month already. Ray Milland starts SCREAMING. The entire audience SCREAMS with him, high-pitched and hysterical. Andy fidgets. ANDY Can we talk business? RED Sure. What do you want? ANDY Rita Hayworth. Can you get her? RED No problem. Take a few weeks. ANDY Weeks? RED Don't have her stuffed down my pants this very moment, sorry to say. Relax. What are you so nervous about? She's just a woman. Andy nods, embarrassed. He gets up and hurries out. Red grins, turns back to the movie. 65 INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 65 Andy exits the theater and freezes in his tracks. Two dark figures loom in the corridor, blocking his path. Rooster and Pete. Andy turns back -- and runs right into Bogs. Instant bear hug. The Sisters are on him like a flash. They kick a door open and drag him into -- 66 THE PROJECTION BOOTH 66 -- where they confront the startled PROJECTIONIST, an old con blinking at them through thick bifocals. BOGS Take a walk. PROJECTIONIST I have to change reels. BOGS I said fuck off. Terrified, the old man darts past and out the door. Pete slams and locks it. Bogs shoves Andy to the center of the room. ANDY I know. I've seen it three times this month already. Ray Milland starts SCREAMING. The entire audience SCREAMS witt him, high-pitched and hysterical. Andy fidgets. ANDY Can we talk business? RED Sure. What do you want? ANDY Rita Hayworth. Can you get her? RED No problem. Take a few weeks. ANDY Weeks? RED Don't have her stuffed down my pants this very moment, sorry to say. Relax. What are you so nervous about? She's just a woman. Andy nods, embarrassed. He gets up and hurries out. Red grins, turns back to the movie. 65 INT -- AUDITORIUM CORRIDOR -- NIGHT (1949) 65 Andy exits the theater and freezes in his tracks. Two dark figures loom in the corridor, blocking his path. Rooster and Pete. Andy turns back -- and runs right into Bogs. Instant bear hug. The Sisters are on him like a flash. They kick a door open and drag him into -- 66 THE PROJECTION BOOTH 66 -- where they confront the startled PROJECTIONIST, an old con blinking at them through thick bifocals. BOGS Take a walk. PROJECTIONIST I have to change reels. BOGS I said fuck off. Terrified, the old man darts past and out the door. Pete slams and locks it. Bogs shoves Andy to the center of the room. BOGS Ain't you gonna scream? Andy sighs, cocks his head at the projector. ANDY They'd never hear me over that. Let's get this over with. Seemingly resigned, Andy turns around, leans on the rewind bench -- and curls his fingers around a full 1.000 foot reel of 35mm film. Rooster licks his lips, pushes past the others. ROOSTER Me first. ANDY Okay. Andy whips the reel of film around in a vicious arc, smashing it into Rooster's face and bouncing him off the wall. ROOSTER Fuck! Shit! He broke my nose! Andy fights like hell, but is soon overpowered and forced to his knees. Bogs steps to Andy, pulls out an awl with a vicious eight-inch spike, gives him a good long look at it. BOGS Now I'm gonna open my fly, and you're gonna swallow what I give you to swallow. And when you d mine, you gonna swallow Rooster's. You done broke his nose, so he ought to have somethin' to show for it. ANDY Anything you put in my mouth, you're going to lose. BOGS You don't understand. You do that, I'll put all eight inches of this steel ii your ear. ANDY Okay. But you should know that sudden serious brain injury causes the victim to bite down. Hard. (faint smile) In fact, I understand the bite-reflex is so strong the victim's jaws have to be pried open with a crowbar. The Sisters consider this carefully. The film runs out of the projector, flapping on the reel. The screen goes white. BOGS You little fuck. Andy gets a bootheel in the face. The Sisters start kicking and beating the living shit out of him with anything they can get their hands on. In the theater, the convicts are CHANTING AND CLAPPING for the movie to come back on. RED (V.O.) Bogs didn't put anything in Andy's mouth, and neither did his friends. What they did do is beat him within an inch of his life... 67 INT -- INFIRMARY -- DAY (1949) 67 Andy lies wrapped in bandages. RED (V.O.) Andy spent a month in traction. 68 INT -- SOLITARY CONFINEMENT -- DAY (1949) 68 RED (V.O.) Bogs spent a week in the hole. Bogs sits on bare concrete. The steel door slides open. GUARD Time's up, Bogs. 69 INT -- CELLBLOCK FIVE -- 3RD TIER -- DUSK (1949) 69 Bogs comes up the stairs, smoking a cigarette. Not many cons around; the place is virtually deserted. A VOICE echoes dimly over the P.A. system: VOICE (O.S.) Return to your cellblocks for evening count. Bogs enters his cell. Dark in here. He fumbles for the light cord, yanks it. The sudden light reveals Captain Hadley six inches from his face, waiting for him. Mert steps in behind Bogs. hemming him. Before Bogs can even open his mouth to say "what the fuck," Hadley rams the tip of his baton brutally into his solar plexus. Bogs doubles over, gagging his wind out. 70 GROUND FLOOR 70 Ernie comes slowly around the corner, rolling a steel mop cart loaded with supplies. 71 2ND TIER 71 Red is darning a sock in his open cell. He pauses, frowning, hearing strange THUMPING sounds. What the hell is that? 72 3RD TIER 72 It's Hadley and Mert methodically and brutally pulping Bogs with their batons, and kicking the shit out of him for good measure. He feebly tries to ward them off. 73 2ND TIER 73 Puzzled, Red steps from his cell, following the sound. It dawns on him that it's coming from above. He moves to the railing and leans out, craning around to look up -- 74 RED'S POV 74 -- just as Bogs flips over the railing and comes sailing directly toward us, eyes bugging out, SCREAMING as he falls. 75 RED (SLOW MOTION) 75 jumps back as Bogs plummets past, missing him by inches, arms swimming and trying to grab the railing (but missing that too), SCREAMING aaaaalll the way down -- 76 GROUND FLOOR 76 -- and impacting on Ernie's gassing mop cart in an enormous eruption of solvents and cleansers. The cart is squashed flat, shooting out from under Bogs and skidding across the cellblock floor like a tiddly wink, kicking up sparks for thirty yards. Ernie is left gaping in shock at Bogs and all the Bogs-related wreckage at his feet. 77 2ND TIER 77 Red is stunned. He very tentatively leans out and looks up. Above him, Hadley and Mert lean on the 3rd tier railing. Hadley tilts the cap back on his head, shakes his head. MERT Damn, Byron. Look'a that. HADLEY Poor fella must'a tripped. A tiny drop of blood drips off the toe of Hadley's shoe and splashes across Red's upturned cheek. He wipes it off, then looks down at Bogs. Cons and guards are racing to the scene. RED (V.O.) Two things never happened again after that. The Sisters never laid a finger on Andy again... 7B EXT -- PRISON YARD/LOADING DOCK -- DAY (1949) 78 Bogs, wheelchair-bound and wearing a neck brace, is loaded onto an ambulance for transport. Behind the fence stand Red and his friends, watching. RED (V.O.) ...and Bogs never walked again. They transferred him to a minimum security hospital upstate. To my knowledge, he lived out the rest of his days drinking his food through a straw. RED I'm thinkin' Andy could use a nice welcome back when he gets out of the infirmary. HEYWOOD Sounds good to us. Figure we owe him for the beer. RED Man likes to play chess. Let's get him some rocks. 79 EXT -- FIELD -- DAY (1949) 79 A HUNDRED CONS at work. Hoes rise and fall in long waves. GUARDS patrol on horseback. Heywood turns up a rocky chunk, quickly shoves it down his pants. He maneuvers to Red and the others, pulls out the chunk and shows it to them. FLOYD That ain't quartz. Nor limestone. HEYWOOD What are you, fuckin' geologist? SNOOZE He's right, it ain't. HEYWOOD What the hell is it then? RED Horse apple. HEYWOOD Bullshit. RED No, horse shit. Petrified. Cackling, the men go back to work. Heywood stares at the rock. He crumbles it in his hands. RED (V.O.) Despite a few hitches, the boys came through in fine style... 80 INT -- PRISON LAUNDRY -- BACK ROOM -- DAY (1949) 80 A huge detergent box is filled with rocks, hidden in the shadows behind a boiler furnace. RED (V.O.) ...and by the week Andy was due back, we had enough rocks saved up to keep him busy till Rapture. ANGLE SHIFTS to Red as he plops a bag of "laundry" on the floor. Leonard and Bob toss a few more down. Red starts pulling out contraband, giving them their commissions. RED (V.O.) Also got a big shipment in that week. Cigarettes, chewing gum, shoelaces, playing cards with naked ladies on 'em, you name it... (pulls a cardboard tube) ...and, of course, the most important item. 81 INT -- CELLBLOCK FIVE -- NIGHT (1949) 81 Andy, limping a bit, returns from the infirmary. Red watches from his cell as Andy is brought up and locked away. 82 INT -- ANDY'S CELL -- NIGHT (1949) 82 Andy finds the cardboard tube lying on his bunk. GUARD (O.S.) Lights out! The lights go off. Andy opens the tube and pulls out a large rolled poster. He lets it uncurl to the floor. A small scrap of paper flutters out, landing at his feet. The poster is the famous Rita Hayworth pin-up -- one hand behind her head, eyes half closed, sulky lips parted. Andy picks up the scrap of paper. It reads: "No charge. Welcome back." Alone in the dark, Andy smiles. 83 INT -- CELLBLOCK FIVE -- MORNING (1949) 83 The BUZZER SOUNDS, the cells SLAM OPEN. Cons step from their cells. Andy catches Red's eye, nods his thanks. As the men shuffle down to breakfast, Red glances into Andy's cell -- 84 RED'S POV -- DOLLYING PAST 84 -- and sees Rita in her new place of honor on Andy's wall. Sunlight casts a harsh barred shadow across her lovely face.85 INT -- CELLBLOCK FIVE -- NIGHT (1949) 85 Ernie is mopping the floor. He glances back and sees Warden Norton approach the cellblock with an entourage of a DOZEN GUARDS. Still mopping, Ernie mutters to the nearest cell: ERNIE Heads up. They're tossin' cells. Word travels fast from cell to cell. Cons scramble to tidy up and hide things. Norton enters, nods to his men. The guards pair off in all directions, making their choices at random. GUARD What kind'a contraband you hiding in there, boy? Cells are opened, occupants displaced, items scattered, mattresses overturned. Whatever contraband is found gets tossed out onto the cellblock floor. Mostly harmless stuff. A GUARD pulls a sharpened screwdriver out of a mattress, shoots a nasty look at the CON responsible. NORTON Solitary. A week. Make sure he takes his Bible. CON Too goddamn dark to read down there. NORTON Add another week for blasphemy. The man is taken away. Norton's gaze goes up. NORTON Let's try the second tier. 86 2ND TIER 86 Norton arrives, makes a thin show of picking a cell at random. He motions at Andy on his bunk, reading his Bible. The door is unlocked. Norton enters, trailed by his men. Andy rises. ANDY Good evening. Norton gives a curt nod. Hadley and Trout start tossing the cell in a thorough search. Norton keeps his eyes on Andy, looking for a wrong glance or nervous blink. He takes the Bible out of Andy's hand. NORTON I'm pleased to see you reading this. Any favorite passages? ANDY Watch ye therefore, for ye know not when the master of the house cometh. NORTON (smiles) Luke. Chapter 13, verse 35. I've always liked that one. (strolls the cell) But I prefer: "I am the light of the world. He that followeth me shall not walk in darkness, but shall have the light of life." ANDY John. Chapter 8, verse 12. NORTON I hear you're good with numbers. How nice. A man should have a skill. HADLEY You wanna explain this? Andy glances over. Hadley is holding up a rock blanket, a polishing cloth roughly the size of an oven mitt. ANDY It's called a rock blanket. It's for shaping and polishing rocks. Little hobby of mine. Hadley glances at the rocks lining the window sill, turns to Norton. HADLEY Looks pretty clean. Some contraband here, nothing to get in a twist over. Norton nods, strolls to the poster of Rita. NORTON I can't say I approve of this... (turns to Andy) ...but I suppose exceptions can always be made. Norton exits, the guards follow. The cell door is slammed and locked. Norton pauses, turns back. NORTON I almost forgot. He reaches through the bars and returns the Bible to Andy. NORTON I'd hate to deprive you of this. Salvation lies within. Norton and his men walk away. RED (V.O.) Tossin' cells was just an excuse. Truth is, Norton wanted to size Andy up. 87 INT -- PRISON LAUNDRY -- DAY (1949) 87 Andy is working the line. Hadley enters and confers briefly with Bob. Bob nods, crosses to Andy, taps him. Andy turns, removes an earplug. Bob shouts over the machine noise: BOB DUFRESNE! YOU'RE OFF THE LINE! 88 INT -- WARDEN NORTON'S OFFICE -- DAY (1949) 88 Andy is led in. Norton is at his desk doing paperwork. Andy's eyes go to a framed needle-point sampler on the wall behind him that reads: "HIS JUDGMENT COMETH AND THAT RIGHT SOON." NORTON My wife made that in church group. ANDY It's very pretty, sir. NORTON You like working in the laundry? ANDY No, sir. Not especially. NORTON Perhaps we can find something more befitting a man of your education. 89 INT -- MAIN BUILDING -- STORAGE ROOMS -- DAY (1949) 89 A series of bleak rooms stacked high with unused filing cabinets, desks, paint supplies, etc. Andy enters. He hears a FLUTTER OF WINGS. An adult crow lands on a filing cabinet and struts back and forth, checking him out. Andy smiles. ANDY Hey, Jake. Where's Brooks? Brooks Hatlen pokes his head out of the back room. BROOKS Andy! Thought I heard you out here! ANDY I've been reassigned to you. BROOKS I know, they told me. Ain't that a kick in the ass? Come on in, I'll give you the dime tour. 90 INT -- SHAWSHANK PRISON LIBRARY -- DAY (1949) 90 Brooks leads Andy into the bleakest back room of all. Rough plank shelves are lined with books. Brooks' private domain. BROOKS Here she is, the Shawshank Prison Library. Along this side, we got the National Geographics. That side, the Reader's Digest Condensed books. Bottom shelf there, some Louis L'Amours and Erle Stanley Gardners. Every night I pile the cart and make my rounds. I write down the names on this clipboard here. Well, that's it. Easy, peasy, Japanesey. Any questions? Andy pauses. Something about this doesn't make any sense. ANDY Brooks? How long have you been librarian? BROOKS Since 1912. Yuh, over 37 years. ANDY In all that time, have you ever had an assistant? BROOKS Never needed one. Not much to it, is there? ANDY So why now? Why me? BROOKS I dunno. Be nice to have some comp'ny down here for a change. HADLEY (O.S.) Dufresne! 91 ANDY STEPS BACK INTO THE OUTER ROOMS AND FINDS HADLEY WITH 91 another GUARD, a huge fellow named DEKINS. HADLEY That's him. That's the one. Hadley exits. Dekins approaches Andy ominously. Andy stands his ground, waiting for whatever comes next. Finally: DEKINS I'm Dekins. I been, uh, thinkin' 'bout maybe settin' up some kinda trust fund for my kids' educations. Andy covers his surprise. Glances at Brooks. Brooks smiles. ANDY I see. Well. Why don't we have a seat and talk it over? BROOKS Pull down one'a them desks there. Andy and Dekins grab a desk standing on end and tilt it to the floor. They find chairs and settle in. Brooks returns with a tablet of paper and a pen, slides them before Andy. ANDY What did you have in mind? A weekly draw on your pay? DEKINS Yuh. I figured just stick it in the bank, but Captain Hadley said check with you first. ANDY He was right. You don't want your money in a bank. DEKINS I don't? ANDY What's that gonna earn you? Two and a half, three percent a year? We can do a lot better than that. (wets his pen) So tell me, Mr. Dekins. Where do you want to send your kids? Harvard? Yale? 92 INT -- MESS HALL -- DAY (1949) 92 FLOYD He didn't say that! BROOKS God is my witness. And Dekins, he just blinks for a second, then laughs his ass off. Afterward, he actually shook Andy's hand. HEYWOOD My ass! BROOKS Shook his fuckin' hand. Just about shit myself. All Andy needed was a suit and tie, a jiggly little hula girl on his desk, he would'a been Mister Dufresne, if you please. RED Makin' yourself some friends, Andy. ANDY I wouldn't say "friends." I'm a convicted murderer who provides sound financial planning. That's a wonderful pet to have. RED Got you out of the laundry, didn't it? ANDY Maybe it can do more than that. (off their looks) How about expanding the library? Get some new books in there. HEYWOOD How you 'spect to do that, "Mr. Dufresne-if-you-please?" ANDY Ask the warden for funds. LAUGHTER all around. Andy blinks at them. BROOKS Son, I've had six wardens through here during my tenure, and I have learned one great immutable truth of the universe: ain't one of 'em been born whose asshole don't pucker up tight as a snare drum when you ask for funds. 93 INT -- MAIN BUILDING HALLWAY -- DAY (1949) 93 DOLLYING Norton and Andy up the hall: NORTON Not a dime. My budget's stretched thin as it is. ANDY I see. Perhaps I could write to the State Senate and request funds directly from them. NORTON Far as them Republican boys in Augusta are concerned, there's only three ways to spend the taxpayer's hard-earned when it come to prisons. More walls. More bars. More guards. ANDY Still, I'd like to try, with your permission. I'll send a letter a week. They can't ignore me forever. NORTON They sure can, but you write your letters if it makes you happy. I'll even mail 'em for you, how's that? 94 INT -- ANDY'S CELL -- NIGHT (1949) 94 Andy is on his bunk, writing a letter. RED (V.O.) So Andy started writing a letter a week, just like he said. 95 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1949) 95 Andy pops his head in. The GUARD shakes his head. RED (V.O.) And just like Norton said, Andy got no answers. But still he kept on. 96 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1950) 96 Andy is doing taxes. Mert Entwhistle is seated across from him. Other off-duty guards are waiting their turn. RED (V.O.) The following April, Andy did tax returns for half the guards at Shawshank. 97 INT -- PRISON LIBRARY -- ONE YEAR LATER (1951) 97 Tax time again. Even more guards are waiting. RED (V.O.) Year after that, he did them all... including the warden's. 98 EXT -- BASEBALL DIAMOND -- DAY (1952) 98 A BATTER in a "Noresby Marauders" baseball uniform WHACKS the ball high into left field and races for first. RED (V.O.) Year after that, they rescheduled the start of the intramural season to coincide with tax season... 99 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1952) 99 The Batter sits across from Andy. The line winds out the door. RED (V.O.) The guards on the opposing teams all remembered to bring their W-2's. ANDY Moresby Prison issued you that gun, but you actually had to pay for it? THE BATTER Damn right, and the holster too. ANDY See, that's all deductible. You get to write that off. RED (V.O.) Yes sir, Andy was a regular H&R Block. In fact, he got so busy at tax time, he was allowed a staff. ANGLE SHIFTS to reveal Red and Brooks doing filing chores. ANDY Say Red, could you hand me a stack of those 1040s? RED (V.O.) Got me out of the wood shop a month out of the year, and that was fine by me. 100 INT -- GUARD DESK/NORTON'S OUTER OFFICE -- DAY (1953) 100 Andy enters and drops a letter on the outgoing stack. RED (V.O.) And still he kept sending those letters... 101 INT -- ANDY'S CELL -- NIGHT (1953) 101 Dark. Andy's in his bunk, polishing a four-inch length of quartz. It's a beautifully-crafted chess piece in the shape of a horse's head, poise and nobility captured in gleaming stone. He puts the knight on a chess board by his bed, adding it to four pieces already there: a king, a queen, and two bishops. He turns to Rita. Moonlight casts bars across her face. 102 EXT -- EXERCISE YARD -- DAY (1954) 102 Floyd runs into the yard, scared and winded. He finds Andy and Red on the bleachers. FLOYD Red? Andy? It's Brooks. 103 INT -- PRISON LIBRARY/ANDY'S OFFICE -- DAY (1954) 103 Floyd rushes in with Andy and Red at his heels. They find Jigger and Snooze trying to calm Brooks, who has Heywood in a chokehold and a knife to his throat. Heywood is terrified. JIGGER C'mon, Brooksie, why don't you just calm the fuck down, okay? BROOKS Goddamn miserable puke-eatin' sons of whores! He kicks a table over. Tax files explode through the air. RED What the hell's going on? SNOOZE You tell me, man. One second he was fine, then out came the knife. I better get the guards. RED No. We'll handle this. Ain't that right, Brooks? Just settle down and we'll talk about it, okay? BROOKS Nothing left to talk about! It's all talked out! Nothing left now but to cut his fuckin' throat! RED Why? What's Heywood done to you? BROOKS That's what they want! It's the price I gotta pay! Andy steps forward, rivets Brooks with a gaze. Softly: ANDY Brooks, you're not going to hurt Heywood, we all know that. Even Heywood knows it, right Heywood? HEYWOOD (nods, terrified) Sure. I know that. Sure. ANDY Why? Ask anyone, they'll tell you. Brooks Hatlen is a reasonable man. RED (cuing nods all around) Yeah, that's right. That's what everybody says. ANDY You're not fooling anybody, so just put the damn knife down and stop scaring the shit out of people. BROOKS But it's the only way they'll let me stay. Brooks bursts into tears. The storm is over. Heywood staggers free, gasping for air. Andy takes the knife, passes it to Red. Brooks dissolves into Andy's arms with great heaving sobs. ANDY Take it easy. You'll be all right. HEYWOOD Him? What about me? Crazy old fool! Goddamn near slit my throat! RED You've had worse from shaving. What'd you do to set him off? HEYWOOD Nothin'! Just came in to say fare-thee-well. (off their looks) Ain't you heard? His parole came through! Red and Andy exchange a surprised look. Andy wants to understand. Red just motions to let it be for now. He puts his arm around Brooks, who sobs inconsolably. Softly: RED Ain't that bad, old hoss. Won't be long till you're squiring pretty young girls on your arm and telling 'em lies. 104 EXT -- PRISON YARD BLEACHERS -- DUSK (1954) 104 ANDY I just don't understand what happened in there, that's all. HEYWOOD Old man's crazy as a rat in a tin shithouse, is what. RED Heywood, enough. Ain't nothing wrong with Brooksie. He's just institutionalized, that's all. HEYWOOD Institutionalized, my ass. RED Man's been here fifty years. This place is all he knows. In here, he's an important man, an educated man. A librarian. Out there, he's nothing but a used-up old con with arthritis in both hands. Couldn't even get a library card if he applied. You see what I'm saying? FLOYD Red, I do believe you're talking out of your ass. RED Believe what you want. These walls are funny. First you hate 'em, then you get used to 'em. After long enough, you get so you depend on 'em. That's "institutionalized." JIGGER Shit. I could never get that way. ERNIE (softly) Say that when you been inside as long as Brooks has. RED Goddamn right. They send you here for life, and that's just what they take. Part that counts, anyway. 105 EXT -- SHAWSHANK PRISON -- DAWN (1954) 105 The sun rises over gray stone. 106 INT -- ANDY'S CELL -- DAWN (1954) 106 ANGLE ON RITA POSTER. Sexy as ever. The rising sun sends fingers of rosy light creeping across her face. 107 INT -- LIBRARY -- DAWN (1954) 107 Brooks stands on a chair, poised at the bars of a window, cradling Jake in his hands. BROOKS I can't take care of you no more. You go on now. You're free. He tosses Jake through the bars. The crow flaps away. 108 EXT -- SHAWSHANK PRISON -- MAIN GATE -- DAY (1954) 108 TWO SHORT SIREN BLASTS herald the opening of the gate. It swings hugely open, revealing Brooks standing in his cheap suit, carrying a cheap bag, wearing a cheap hat. Brooks walks out, tears streaming down his face. He looks back. Red, Andy, and others stand at the inner fence, seeing him off. The massive gate closes, wiping them from view. 109 INT -- BUS -- DAY (1954) 109 Brooks is riding the bus, clutching the seat before him, gripped by terror of speed and motion. BROOKS (V.O.) Dear Fellas. I can't believe how fast things move on the outside. 110 EXT -- STREET -- PORTLAND, MAINE -- DAY (1954) 110 Brooks looks like a kid trying to cross the street without his parents. People and traffic a blur. BROOKS (V.O.) I saw an automobile once when I was young. Now they're everywhere. 111 EXT -- BREWSTER HOTEL -- DAY (1954) 111 Brooks comes trudging up the sidewalk. He glances up as a prop-driven airliner streaks in low overhead. BROOKS (V.O.) The world went and got itself in a big damn hurry. He arrives at the Brewster. It ain't much to look at. 112 INT -- BREWSTER HOTEL -- DAY (1954) 112 A WOMAN leads Brooks up the stairs toward the top floor. He has trouble climbing so many stairs. WOMAN No music in your room after eight p.m. No guests after nine. No cooking except on the hotplate... BROOKS (V.O.) People even talk faster. And louder. 113 INT -- BROOKS' ROOM -- DAY (1954) 113 Brooks enters. The room is small, old, dingy. Heavy wooden beams cross the ceiling. An arched window affords a view of Congress Street. Traffic noise drifts in. Brooks sets his bag down. He doesn't quite know what to do. He just stands there, like a man waiting for a bus. BROOKS (V.O.) The parole board got me into this halfway house called the Brewster, and a job bagging groceries at the Foodway... 114 INT -- FOODWAY MARKET -- DAY (1954) 114 Loud. Jangling with PEOPLE and NOISE. Brooks is bagging groceries. Registers are humming, kids are shrieking. WOMAN Make sure he double-bags. Last time your man didn't double-bag and the bottom near came out. MANAGER You double-bag like the lady says, understand? BROOKS Yes sir, double-bag, surely will. BROOKS (V.O.) It's hard work. I try to keep up, but my hands hurt most of the time. I don't think the store manager likes me very much. 115 EXT -- PARK -- DAY (1954) 115 Brooks sits alone on a bench, feeding pigeons. BROOKS (V.O.) Sometimes after work I go to the park and feed the birds. I keep thinking Jake might show up and say hello, but he never does. I hope wherever he is, he's doing okay and making new friends. 116 INT -- BROOKS' ROOM -- NIGHT (1954) 116 Dark. Traffic outside. Brooks wakes up. Disoriented. Afraid. Somewhere in the night, a LOUD ARGUMENT is taking place. BROOKS (V.O.) I have trouble sleeping at night. The bed is too big. I have bad dreams, like I'm falling. I wake up scared. Sometimes it takes me a while to remember where I am. 117 INT -- FOODWAY -- DAY (1954) 117 BROOKS (V.O.) Maybe I should get me a gun and rob the Foodway, so they'd send me home. I could shoot the manager while I was at it, sort of like a bonus. 118 INT -- BROOKS' ROOM -- DAY (1954) 118 Brooks is packing his worldly possessions into the carry bag. Undershirts, socks, etc. BROOKS (V.O.) But I guess I'm too old for that sort of nonsense anymore. 119 INT -- BROOKS' ROOM -- SHORTLY LATER (1954) 119 Brooks is dressed in his suit. He finishes knotting his tie, puts his hat on his head. The letter lies on the desk, stampe3 and ready for mailing. His bag is by the door. BROOKS (V.O.) I don't like it here. I'm tired of being afraid all the time. I've decided not to stay. He takes one last look around. Only one thing left to do. He steps to a wooden chair in the center of the room, pulls out s pocketknife, and glances up at the ceiling beam. He steps up onto the chair. It wobbles queasily. Now facing the beam, he carves a message into the wood: "Brooks Hatlen was here." He smiles with a sort of inner peace. BROOKS (V.O.) I doubt they'll kick up any fuss. Not for an old crook like me. 120 TIGHT ON CHAIR 120 His weight shifts on the wobbly chair -- and it goes out from under him. His feet remain where they are, kicking feebly in mid-air. His hat falls to the floor. ANGLE WIDENS. Brooks has hanged himself. He swings gently, facing the open window. Traffic noise floats up from below. 121 EXT -- EXERCISE YARD -- SHAWSHANK -- DAY (1954) 121 Andy reads the letter to Red and the others: ANDY P.S. Tell Heywood I'm sorry I put a knife to his throat. No hard feelings. A long silence. Andy folds the letter, puts it away. Softly: RED He should'a died in here, goddamn it. 122 INT -- PRISON LIBRARY -- DAY (1954) 122 Andy is sorting books on the cart. He replaces a stack on the shelf -- and pauses, noticing a line of ants crawling up the wood. He glances up. The ants disappear over the top. He pulls a chair over and stands on it, peers cautiously over. ANDY Red! Red steps in with an armload of files. Andy gingerly reaches in, grabs a black feathered wing, and pulls out a dead crow. RED (softly) Is that Jake? 123 INT -- WOOD SHOP -- DAY (1954) 123 Red is making something at his bench, sanding and planing. RED (V.O.) It never would have occurred to us, if not for Andy. It was his idea. We all agreed it was the right thing to do... 124 EXT -- FIELDS -- DAY (1954) 124 Low hilly terrain all around. A HUNDRED CONS are at work in the fields. GUARDS patrol with carbines, keeping a sharp eye. We find Andy, Red, and the boys working with picks and shovels. They glance over to the pickup truck. Hadley's chewing the fat with Mert and Youngblood. A WHISTLE BLOWS. GUARD Water break! Five minutes! The work stops. Cons head for the pickup truck, where water is dispensed with dipper and pail. Red and the boys look to Andy. Andy nods. Now's the time. The group moves off through the confusion, using it as cover. They head up the slope of a nearby hill and quickly decide on a suitable spot. The guards haven't noticed. Jigger and Floyd start swinging picks into the soft earth, quickly ripping out a hole. Red reaches into his jacket and pulls out a beautiful wooden box, carefully stained and varnished. He shows it around to nods of approval. ANDY That's real pretty, Red. Nice work. HEYWOOD Shovel man in. Watch the dirt. 124 CONTINUED 124 Heywood jumps in and starts spading out the hole. 125 BY THE TRUCK 125 Youngblood glances up and sees the men on the slope. YOUNGBLOOD What the fuck. HADLEY (follows his gaze) HEY.' YOU MEN UP THERE.' GET YOUR ASSES OFF THAT SLOPE! (works his rifle bolt) YOU HAPPY ASSHOLES GONE DEAF? YOU GOT FIVE SECONDS 'FORE I SHOOT SOMEBODY! Suddenly, other cons start breaking away in groups, dozens of them heading toward the slope. The guards look around. HADLEY What am I, talkin' to myself? 126 ON THE SLOPE 126 Andy pulls a towel-wrapped bundle from his jacket and unfolds it. Jake. Andy lays him in the box, followed by Brook's letter. Red places the casket in the hole. A moment of silence. Andy gives Red with an encouraging nod. RED Lord. Brooks was a sinner. Jake was just a crow. Neither was much to look at. Both got institutionalized. See what you can do for 'em. Amen. Muttered "amens" all around. The boys shovel dirt onto the small grave and tamp it down. 127 INT -- SHAWSHANK CORRIDORS -- DAY (1955) 127 RAPID DOLLY with Hadley. He's striding, pissed-off, a man on e mission. He straight-arms a door and emerges onto -- 128 EXT -- SHAWSHANK PRISON WALL -- DAY (1955) 128 -- the wall overlooking the exercise yard. He leans on the railing, scans the yard, sees Andy chatting with Red. HADLEY Dufresne! What the fuck did you do? (Andy looks up) Your ass, warden's office, now! Andy shoots a worried look at Red, then heads off. 129 INT -- GUARD DESK/WARDEN'S OUTER OFFICE -- DAY (1955) 129 Dozens of parcel boxes litter the floor. WILEY, the duty guard, picks through them. Hadley enters, trailed by Andy. ANDY What is all this? HADLEY You tell me, fuck-stick! They're addressed to you, every damn one! Wiley thrusts an envelope at Andy. Andy just stares at it. WILEY Well, take it. Andy takes the envelope, pulls out a letter, reads: ANDY Dear Mr. Dufresne. In response to your repeated inquiries, the State Senate has allocated the enclosed funds for your library project... " (stunned, examines check) This is two hundred dollars. Wiley grins. Hadley glares at him. The grin vanishes. ANDY In addition, the Library District has generously responded with a charitable donation of used books and sundries. We trust this will fill your needs. We now consider the matter closed. Please stop sending us letters. Yours truly, the State Comptroller's Office. Andy gazes around at the boxes. The riches of the world lay at his feet. His eyes mist with emotion at the sight. HADLEY I want all this cleared out before the warden gets back, I shit you not. Hadley exits. Andy touches the boxes like a love-struck man touching a beautiful woman. Wiley grins. WILEY Good for you, Andy. ANDY Only took six years. (beat) From now on, I send two letters a week instead of one. WILEY (laughs, shakes his head) I believe you're crazy enough. You better get this stuff downstairs like the Captain said. I'm gonna go pinch a loaf. When I get back, this is all gone, right? Andy nods. Wiley disappears into the toilet, Jughead Comix in hand. Alone now, Andy starts going through the boxes like a starving man exploring packages of food. He doesn't know where to turn first. He gets giddy, ripping boxes open and pulling out books, touching them, smelling them. He rips open another box. This one contains an old phonograph player, industrial gray and green, the words "Portland Public School District" stenciled on the side. The box also contains stacks and stacks of used record albums. Andy reverently slips a stack from the box and starts flipping through them. Used Nat King Coles, Bing Crosbys, etc. He comes across a certain album -- Mozart's "Le Nozze de Figaro." He pulls it from the stack, gazing upon it as a man transfixed. It is a thing of beauty. It is the Grail. 130 INT -- BATHROOM -- DAY (1955) 130 Wiley sits in one of the stalls, Jughead comic on his knees. 131 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 131 Andy wrestles the phonograph player onto the guards' desk, sweeping things onto the floor in his haste. He plugs the machine in. A red light warms up. The platter starts spinning. He slides the Mozart album from its sleeve, lays it on the platter, and lowers the tone arm to his favorite cut. The needle HISSES in the groove...and the MUSIC begins, lilting and gorgeous. Andy sinks into Wiley's chair, overcome by its beauty. It is "Deutino: Che soave zeffiretto," a duet sung by Susanna and the Contessa. 132 INT -- BATHROOM -- DAY (1955) 132 Wiley pauses reading, puzzled. He thinks he hears music. WILEY Andy? You hear that? 133 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 133 Andy shoots a look at the bathroom...and smiles. Go for broke. He lunges to his feet and barricades the front door, then the bathroom. He returns to the desk and positions the P.A. microphone. He works up his courage, then flicks all the toggles to "on." A SQUEAL OF FEEDBACK echoes briefly... 134 INT/EXT -- VARIOUS P.A. SPEAKERS -- DAY (1955) 134 ...and the Mozart is suddenly broadcast all over the prison. 135 INT -- BATHROOM -- DAY (1955) 135 Wiley lunges to his feet, pants tangling around his ankles. 136 INT/EXT -- SHAWSHANK PRISON -- VARIOUS LOCATIONS -- DAY (1955) 136 Cons all over the prison stop whatever they're doing, freezing in mid-step to listen, gazing up at the speakers. 137 THE STAMPING MACHINES IN THE PLATE SHOP ARE SHUT DOWN... 137 138 THE LAUNDRY LINE GOES SILENT, GRINDING TO A HALT... 138139 THE WOOD SHOP MACHINES ARE TURNED OFF, BUZZING TO A STOP... 139140 THE MOTOR POOL...THE KITCHEN...THE LOADING DOCK...THE EXERCISE 140 thru yard...the numbing routine of prison life itself...all grinds thru143 TO A STUTTERING HALT. NOBODY MOVES, NOBODY SPEAKS. EVERYBODY 143 just stands in place, listening to the MUSIC, hypnotized. 144 INT -- GUARD STATION -- DAY (1955) 144 Andy is reclined in the chair, transported, arms fluidly conducting the music. Ecstasy and rapture. Shawshank no longer exists. It has been banished from the mind of men. 145 EXT -- EXERCISE YARD -- DAY (1955) 145 CAMERA TRACKS along groups of men, all riveted. RED (V.O.) I have no idea to this day what them two Italian ladies were singin' about. Truth is, I don't want to know. Some things are best left unsaid. I like to think they were singin' about something so beautiful it can't be expressed in words, and makes your heart ache because of it. CAMERA brings us to Red. RED (V.O.) I tell you, those voices soared. Higher and farther than anybody in a gray place dares to dream. It was like some beautiful bird flapped into our drab little cage and made these walls dissolve away...and for the briefest of moments -- every last man at Shawshank felt free. 146 INT -- PRISON CORRIDOR -- DAY (1955) 146 FAST DOLLY with Norton striding up the hallway with Hadley. RED (V.O.) It pissed the warden off something terrible. 147 INT -- GUARD STATION/OUTER OFFICE -- DAY (1955) 147 Norton and Hadley break the door in. Andy looks up with a sublime smile. We hear Wiley POUNDING on the bathroom door: WILEY (O.S.) LET ME OUUUUT! 148 INT -- SOLITARY WING -- DAY (1955) 148 LOW ANGLE SLOW PUSH IN on the massive, rust-streaked steel door. God, this is a terrible place to be. RED (V.O.) Andy got two weeks in the hole for that little stunt. 149 INT -- SOLITARY CONFINEMENT -- DAY (1955) 149 Andy doesn't seem to mind. His arms sweep to the music still playing in his head. We hear a FAINT ECHO of the soaring duet. 150 INT -- MESS HALL -- DAY (1955) 1 50 HEYWOOD Couldn't play somethin' good, huh? Hank Williams? ANDY They broke the door down before I could take requests. FLOYD Was it worth two weeks in the hole? ANDY Easiest time I ever did. HEYWOOD Shit. No such thing as easy time in the hole. A week seems like a year. ANDY I had Mr. Mozart to keep me company. Hardly felt the time at all. RED Oh, they let you tote that record player down there, huh? I could'a swore they confiscated that stuff. ANDY (taps his heart, his head) The music was here...and here. That's the one thing they can't confiscate, not ever. That's the beauty of it. Haven't you ever felt that way about music, Red? RED Played a mean harmonica as a younger man. Lost my taste for it. Didn't make much sense on the inside. ANDY Here's where it makes most sense. We need it so we don't forget. RED Forget? ANDY That there are things in this world not carved out of gray stone. That there's a small place inside of us they can never lock away, and that place is called hope. RED Hope is a dangerous thing. Drive a man insane. It's got no place here. Better get used to the idea. ANDY (softly) Like Brooks did? FADE TO BLACK 151 AN IRON-BARRED DOOR 151 slides open with an enormous CLANG. A stark room beyond. CAMERA PUSHES through. SEVEN HUMORLESS MEN sit at a long table. An empty chair faces them. We are again in: INT -- SHAWSHANK HEARINGS ROOM -- DAY (1957) Red enters, ten years older than when we first saw him at a parole hearing. He removes his cap and sits. MAN #l It says here you've served thirty years of a life sentence. MAN #2 You feel you've been rehabilitated? RED Yes sir, without a doubt. I can say I'm a changed man. No danger to society, that's the God's honest truth. Absolutely rehabilitated. CLOSEUP -- PAROLE FORM A big rubber stamp slams down: "REJECTED." 152 EXT -- PRISON YARD -- DUSK (1957) 152 Red emerges into fading daylight. Andy's waiting for him. RED Same old, same old. Thirty years. Jesus. When you say it like that... ANDY You wonder where it went. I wonder where ten years went. Red nods, solemn. They settle in on the bleachers. Andy pulls a small box from his sweater, hands it to Red. ANDY Anniversary gift. Open it. Red does. Inside the box, on a thin layer of cotton, is a shiny new harmonica, bright aluminum and circus-red. ANDY Had to go through one of your competitors. Hope you don't mind. Wanted it to be a surprise. RED It's very pretty, Andy. Thank you. ANDY You gonna play something? -- Red considers it, shakes his head. Softly: RED Not today. 153 INT -- CELLBLOCK FIVE/ANDY'S CELL -- NIGHT (1957) 153 Men line the tiers as the evening count is completed. The convicts step into their cells. The master switch is thrown and all the doors slam shut -- KA-THUMP! Andy finds a cardboard tube on his bunk. The note reads: "A new girl for your 10 year anniversary. From your pal. Red." 154 INT -- ANDY'S CELL -- LATER (1957) 154 Marilyn Monroe's face fills the screen. SLOW PULL BACK reveals the new poster: the famous shot from "The Seven Year Itch," on the subway grate with skirt billowing up. Andy sits gazing at her as lights-out commences... 155 INT -- RED'S CELL -- NIGHT (1957) 155 ...and we find Red gazing blankly as darkness takes the cellblock. Adding up the months, weeks, days... He regards the harmonica like a man confronted with a Martian artifact. He considers trying it out -- even holds it briefly to his lips, almost embarrassed -- but puts it back in its box untested. And there the harmonica will stay... FADE TO BLACK 156 WE HOLD IN BLACKNESS as THUMPING SOUNDS grow louder... 156 RED (V.O.) Andy was as good as his word. He kept writing to the State Senate. Two letters a week instead of one. ...and the BLACKNESS disintegrates as a wall tumbles before our eyes, revealing a WORK CREW with picks and sledgehammers, faces obscured outlaw-style with kerchiefs against the dust. Behind them are GUARDS overseeing the work. Andy yanks his kerchief down, grinning in exhilaration. Red and the others follow suit. They step through the hole in the wall, exploring what used to be a sealed-off storage room. RED (V.O.) In 1959, the folks up Augusta way finally clued in to the fact they couldn't buy him off with just a 200 dollar check. Appropriations Committee voted an annual payment of 500 dollars, just to shut him up. 157 INT -- PRISON LIBRARY -- DAY (1960) 157 TRACKING the construction. Walls have been knocked down. Men are painting, plastering, hammering. Lots of shelves going up. Red is head carpenter. We find him discussing plans with Andy. RED (V.O.) Those checks came once a year like clockwork. 158 INT -- PRISON LIBRARY -- DAY (1960) 158 Red and the boys are opening boxes, pulling out books. RED (V.O.) You'd be amazed how far Andy could stretch it. He made deals with book clubs, charity groups...he bought remaindered books by the pound... HEYWOOD Treasure Island. Robert Louis... ANDY (jotting) ...Stevenson. Next? RED I got here an auto repair manual, and a book on soap carving. ANDY Trade skills and hobbies, those go under educational. Stack right behind you. HEYWOOD The Count of Monte Crisco... FLOYD Cristo, you dumbshit. HEYWOOD ...by Alexandree Dumb-ass. ANDY Dumas. You boys'll like that one. It's about a prison break. Floyd tries to take the book. Heywood yanks it back. I saw it first. Red shoots Andy a look. RED Maybe that should go under educational too. 159 INT -- WOOD SHOP -- DAY (1961) 159 Red is making a sign, carefully routing letters into a long plank of wood. It turns out to be -- 160 INT -- PRISON LIBRARY -- DAY (1963) 160 -- the varnished wood sign over the archway: "Brooks Hatlen Memorial Library." TILT DOWN to reveal the library in all its completed glory: shelves lined with books, tables and chairs, even a few potted plants. Heywood is wearing headphones, listening to Hank Williams on the record player. RED (V.O.) By the year Kennedy was shot, Andy had transformed a broom closet smelling of turpentine into the best prison library in New England. 161 EXT -- SHAWSHANK PRISON -- DAY (1963) 161 FLASHBULBS POP as Norton addresses MEMBERS OF THE PRESS: RED (V.O.) That was also the year Warden Norton instituted his famous "Inside-Out" program. You may remember reading about it. It made all the papers and got his picture in LIFE magazine. NORTON ...a genuine, progressive advance in corrections and rehabilitation. Our inmates, properly supervised, will be put to work outside these walls performing all manner of public service. Cutting pulpwood, repairing bridges and causeways, digging storm drains... ANGLE TO Red and the boys listening from behind the fence. NORTON These men can learn the value of an honest day's labor while providing a valuable service to the community -- and at a bare minimum of expense to Mr. and Mrs. John Q. Taxpayer! HEYWOOD Sounds like road-gangin', you ask me. RED Nobody asked you. 162 EXT -- HIGHWAY CONSTRUCTION SITE -- DAY (1963) 162 A ROAD-GANG is grading a culvert with picks. There's dust and the smell of sweat in the air. GUARDS patrol with sniper rifles, A pushy WOMAN REPORTER in an ugly hat bustles up the grade, trailed by a PHOTOGRAPHER. WOMAN REPORTER You there! You men! We're gonna take your picture now! HEYWOOD Give us a break, lady. WOMAN REPORTER Don't you know who I am? I'm from LIFE magazine! I was told I'd get some co-operation out here! You want me to report you to your warden? Is that what you want? HEYWOOD (sighs) No, ma'am. WOMAN REPORTER That's more like it! Now I want you all in a row with big bright smiles on your faces! Grab hold of your tools and show 'em to me! She turns, motioning her photographer up the grade. Heywood glances around at the other men. HEYWOOD You heard the lady. Heywood unzips his pants, reaches inside. The others do likewise. The woman turns back and is greeted by the sight of a dozen men displaying their penises and smiling brightly. Her legs go wobbly and she sits heavily down on the dirt grade. HEYWOOD C'mon! We're showin' our tools and grinnin' like fools! Take the damn picture! 163 INT -- SOLITARY CONFINZMENT -- NIGHT (1963) 163 Heywood sits alone in the dark. He sighs. RED (V.O.) None of the inmates were invited to express their views... 164 EXT -- WOODED FIELDS -- DAY (1965) 164 A ROAD-GANG is pulling stumps, bogged down in mud. RED (V.O.) 'Course, Norton failed to mention to the press that "bare minimum of expense" is a fairly loose term. There are a hundred different ways to skim off the top. Men, materials, you name it. And, oh my Lord, how the money rolled in... Norton strolls into view with NED GRIMES at his heels. NED This keeps up, you're gonna put me out of business! With this pool of slave labor you got, you can underbid any contractor in town. NORTON Ned, we're providing a valuable community service. NED That's fine for the papers, but I got a family to feed. The State don't pay my salary. Sam, we go back a long way. I need this new highway contract. I don't get it, I go under. That's a fact. (hands him a box) Now you just have some'a this fine pie my missus baked specially for you, and you think about that. Norton opens the box. Alongside the pie is an envelope. He runs his thumb across the thick stack of cash it contains. IN THE BACKGROUND, a winch cable SNAPS and whips through the air, damn near severing a man's leg. He goes down, screaming in mud and blood, pinned by a fallen tree stump. Men rush over to help him. Norton barely takes notice. NORTON Ned, I wouldn't worry too much over this contract. Seems to me I've already got my boys committed elsewhere. You be sure and thank Maisie for this fine pie. 165 INT -- NORTON'S OFFICE -- NIGHT (1965) 165 ANGLE on Maisie's pie. Several pieces gone. RED (V.O.) And behind every shady deal, behind every dollar earned... TILT UP to Andy at the desk, munching thoughtfully as he totals up figures on an adding machine. RED (V.O.) ...there was Andy, keeping the books. Andy finishes preparing two bank deposits. Norton hovers near the desk, keeping a watchful eye. ANDY Two deposits, Casco Bank and New England First. Night drop, like always. Norton pockets the envelopes. Andy crosses to the wall safe and shoves the ledger and sundry files inside. Norton locks the safe, swings his wife's framed sampler back into place. He cocks his thumb at some laundry and two suits in the corner. NORTON Get my stuff down t'laundry. Two suits for dry-clean and a bag of whatnot. Tell 'em if they over- starch my shirts again, they're gonna hear about it from me. (adjusts his tie) How do I look? ANDY Very nice. NORTON Big charity to-do up Portland way. Governor's gonna be there. (indicates pie) Want the rest of that? Woman can't bake worth shit. 166 INT -- PRISON CORRIDOR -- NIGHT (1965) 166 Andy trudges down the corridor with Norton's laundry, the pie box under his arm. 167 INT -- LIBRARY -- DAY (1965) 167 TILT UP FROM PIE to find Red munching away as he helps Andy sort books on the shelves. RED Got his fingers in a lot of pies, from what I hear. ANDY What you hear isn't half of it. He's got scams you haven't dreamed of. Kickbacks on his kickbacks. There's a river of dirty money flowing through this place. RED Money like that can be a problem. Sooner or later you gotta explain where it came from. ANDY That's where I come in. I channel it, funnel it, filter it...stocks, securities, tax free municipals... I send that money out into the big world. And when it comes back... RED It's clean as a virgin's whistle? ANDY Cleaner. By the time Norton retires, I will have made him a millionaire. RED Jesus. They ever catch on, he's gonna wind up wearing a number himself. ANDY (smiles) I thought you had more faith in me than that. RED I'm sure you're good, but all that paper leaves a trail. Anybody gets too curious -- FBI, IRS, whatever -- that trail's gonna lead to somebody. ANDY Sure it will. But not to me, and certainly not to the warden. RED Who then? ANDY Peter Stevens. RED Who? ANDY The silent, silent partner. He's the guilty one, your Honor. The man with the bank accounts. That's where the filtering process starts. They trace it back, all they're gonna find is him. RED Yeah, okay, but who the hell is he? ANDY A phantom. An apparition. Second cousin to Harvey the Rabbit. (off Red's look) I conjured him out of thin air. He doesn't exist...except on paper. RED You can't just make a person up. ANDY Sure you can, if you know how the system works, and where the cracks are. It's amazing what you can accomplish by mail. Mr. Stevens has a birth certificate, social security card, driver's license. They ever track those accounts, they'll wind up chasing a figment of my imagination. RED Jesus. Did I say you were good? You're Rembrandt. ANDY It's funny. On the outside, I was an honest man. Straight as an arrow. I had to come to prison to be a crook. 168 EXT -- PRISON YARD -- DUSK (1965) RED Does it ever bother you? ANDY I don't run the scams, Red, I just process the profits. That's a fine line, maybe. But I've also built that library, and used it to help a dozen guys get their high school diplomas. Why do you think the warden lets me do all that? RED To keep you happy and doing the laundry. Money instead of sheets. ANDY I work cheap. That's the trade-off. TWO SIREN BLASTS draw their attention to the main gate. It swings open, revealing a prison bus waiting outside. 169 INT -- PRISON BUS -- DUSK (1965) 169 Among those on board is TOMMY WILLIAMS, a damn good-looking kid in his mid-20's. The bus RUMBLES through the gate. 170 EXT -- PRISON YARD -- DUSK (1965) 170 The new fish disembark, chained together single-file. The old- timers holler and shake the fence. A deafening gauntlet. 171 INT -- CELLBLOCK EIGHT -- NIGHT (1965) 171 Tommy and the others are marched in naked and shivering, covered with delousing powder, greeted by TAUNTS and JEERS. 172 INT -- TOMMY'S CELL -- NIGHT (1965) 172 The bars slam with a STEEL CLANG. Tommy and his new CELLMATE take in their new surroundings. TOMMY Well. Ain't this for shit? 173 INT -- PRISON CORRIDOR -- DAY (1965) 173 DOLLYING Tommy as he struts along, combing his ducktail, cigarette behind his ear. (We definitely need The Coasters or Del Vikings on the soundtrack here. Maybe Jerry Lee Lewis.) RED (V.O.) Tommy Williams came to Shawshank in 1965 on a two year stretch for B&E. Cops caught him sneakin' TV sets out the back door of a JC Penney. 174 INT -- WOOD SHOP -- DAY (1965) 174 A SHRIEKING BUZZSAW slices ten-foot lengths of wood. Red runs the machine while some other OLD-TIMERS feed the wood. RED (V.O.) Young punk, Mr. Rock n' Roll, cocky as hell... Tommy is hauling the cut wood off the conveyor and stacking it, It's a ball-busting job, but the kid's a blur. TOMMY (slapping his gloves) C'mon there, old boys! Movin' like molasses! Makin' me look bad! The old guys just grin and shake their heads. RED (V.O.) We liked him immediately. 175 INT -- MESS HALL -- DAY (1965) 175 Tommy regales the old boys with his exploits: TOMMY ...so I'm backin' out the door, right? Had the TV like this... (mimes his grip) Big ol' thing. Couldn't see shit. Suddenly, here's this voice: Freeze kid! Hands in the air! Well I just stand there holdin' on to that TV, so the voice says: "You hear what I said, boy?" And I say, Yes sir, I sure did! But if I drop this fuckin' thing, you got me on destruction of property too! The whole table falls about laughing. 176 INT -- LIBRARY -- DAY (1965) 176 Poker game in progress. Tommy, Andy, Red and the boys. HEYWOOD You did a stretch in Cashman too? TOMMY Yeah. That was an easy ride, let me tell you. Work programs, weekend furloughs. Not like here. SNOOZE Sounds like you done time all over New England. TOMNY Been in and out since I was 13. Name the place, chances are I been there. ANDY Perhaps it's time you considered a new profession. (the game stalls) What I mean is, you don't seem to be a very good thief. Maybe you should try something else. TOMMY What the hell you know about it, Capone? What are you in for? ANDY (wry glance to Red) Everyone's innocent in here. Don't you know that? The tension breaks. Everyone laughs. 177 INT -- VISITOR'S ROOM -- DAY (1965) 177 CAMERA TRAVELS the room. Chaotic. CONS are waiting their turn or talking to visitors through a thick plexi shield. RED (V.O.) As it turns out, Tommy had himself a young wife and new baby girl... Tommy's at the end of the row, phone to his ear. Other side of the glass is BETH, near tears, fussing with a BABY on her lap. BETH ...said we can stay with them, but Joey's gettin' out of the service next month, and they barely got enough room as it is. Plus they got Poppa workin' double shifts and the baby cries half the night. I just don't know where we're gonna go... PUSH IN on Tommy's face as he listens. RED (V.O.) Maybe it was the thought of them on the streets...or his child growing up not knowing her daddy... 178 INT -- LIBRARY -- DAY (1965) 178 Tommy enters, the strut gone from his step. A little scared. He finds Andy filing library cards. RED (V.O.) Whatever it was, something lit a fire under that boy's ass. TOMMY I'm thinkin' maybe I should try for high school equivalency. Hear you helped some fellas with that. ANDY I don't waste time on losers, Tommy. TOMNY (tight) I ain't no goddamn loser. ANDY That's a good start. If we do this, we do it all the way. One hundred percent. Nothing half-assed. Tommy thinks about it, nods. TOMMY Thing is, see... (leans in, mutters) ...I don't read all that good. ANDY (smiles) Well. You've come to the right place then. 179 INT -- LIBRARY -- DAY (1965) 179 We find Andy giving an impassioned reading: ANDY ...and the lamplight o'er him streaming throws his shadow on the floor...and my soul from out that shadow that lies floating on the floor, shall be lifted nevermore! " Andy slaps the book shut, immensely pleased with himself. TOMMY So this raven just sits there and won't go away? ANDY That's right. TOMMY (beat) Why don't that fella get hisself a 12-gauge and dust the fucker? 180 INT -- LIBRARY -- DAY (1965) 180 Tommy tries to read as Andy looks on: TOMMY The cat sh--The cat shh... (glances up) The cat shat on the welcome mat? Andy shakes his head. Not exactly. 181 INT -- LIBRARY -- DAY (1965) 181 Andy chalks the alphabet on a blackboard. RED (V.O.) So Andy took Tommy under his wing. Started walking him through his ABCs... 182 INT -- MESS HALL -- DAY (1965) 182 TRACK the table to Tommy and Andy. Discussing a book. RED (V.O.) Tommy took to it pretty well, too. Boy found brains he never knew he had. 183 EXT -- EXERCISE YARD BLEACHERS -- DAY (1965) 183 TOMNY The cat sh--shh--shimmied up the tree and crept st--stel--stealthily out on the limb... 184 INT -- WOOD SHOP -- DAY (1965) 184 Tommy intent on a paperback, mouthing the words. Behind him, wood is piling up on the conveyor belt. RED (V.O.) After a while, you couldn't pry those books out of hands. RED Ass in gear, son! You're putting us behind! Tommy shoves the book in his back pocket and hurries over.185 INT -- LIBRARY -- DAY (1965) 185 Tommy writes a sentence on the blackboard. Andy steps in, shows him how to reconstruct it. RED (V.O.) Before long, Andy started him on his course requirements. He really liked the kid, that was part of it. Gave him a thrill to help a youngster crawl off the shitheap. But that wasn't the only reason... 186 INT -- ANDY'S CELL -- NIGHT (1966) 186 TIGHT ANGLE on chessboard. Most of the pieces complete. PAN TO Andy lying in his bunk, carefully polishing... RED (V.O.) Prison time is slow time. Sometimes it feels like stop-time. So you do what you can to keep going... ...and we keep going past Andy in a SLOW PAN of the cell. Sink. Toilet. Books. Outside the window bars, we hear another TRAIN passing in the night... RED (V.O.) Some fellas collect stamps. Others build matchstick houses. Andy built a library. Now he needed a new project. Tommy was it. It was the same reason he spent years shaping and polishing those rocks. The same reason he hung his fantasy girlies on the wall... ...STILL PANNING, past a chair, a sweater on a hook...and finally to the place of honor on the wall... RED (V.O.) In prison, a man'll do most anything to keep his mind occupied. ...where the latest poster turns out to be Racquel Welch ins fur bikini. Gorgeous. "One Million Years, B. C. " SLOW PUSH IN, RED (V.O.) By 1966...right about the time Tommy was getting ready to take his exams...it was lovely Racquel. 187 INT -- LIBRARY -- DAY (1966) 187 Tommy's taking the big test. Andy's monitoring the time. Deep silence, save for Tommy's pencil-scribbling. A few old-timers are browsing the shelves, sneaking looks their way. Tommy tries to ignore them. Concentrate. Andy clears his throat. Time's up. Tommy puts his pencil down, ANDY Well? TOMMY Well. It's for shit. (gets up in disgust) Wasted a whole fuckin' year of my time with this bullshit! ANDY May not be as bad as you think. TOMMY It's worse! I didn't get a fuckin' thing right! Might as well be in Chinese! ANDY We'll see how the score comes out. TOMMY I'll tell you how the goddamn score comes out... Tommy grabs the test, wads it, slam-dunks it into the trash. TOMMY Two points! Right there! There's your goddamn score! (storms out) Goddamn cats crawlin' up trees, 5 times 5 is 25, fuck this place, fuck it! Tommy is gone. Red and others stare. Andy gets up, pulls the test from the trash, smoothes it out on the desk. 188 INT -- WOOD SHOP -- DAY (1966) 188 Rest break. Tommy and Red sipping Cokes. TOMMY I feel bad. I let him down. RED That's crap, son. He's proud of you. Proud as a hen. (off Tommy's look) We been friends a long time. I know him as good as anybody. TOMMY Smart fella, ain't he? RED Smart as they come. Used to be a banker on the outside. TOMMY What's he in for anyway? RED Murder. TOMMY The hell you say. RED You wouldn't think, lookin' at him. Caught his wife in bed with some golf pro. Greased 'em both. C'mon, boy, back to work... SMASH! Red turns back. Tommy's Coke has slipped from his hand and shattered on the floor. The kid's gone white as a sheet. TOMMY (bare whisper) Oh my God... 189 INT -- LIBRARY -- DAY (1966) 189 Tommy sits before Andy and Red: TOMMY 'Bout four years ago, I was in Thomaston on a 2 to 3 stretch. Stole a car. Dumbfuck thing to do. (beat) Few months left to go, I get a new cellmate in. Elmo Blatch. Big twitchy fucker. Crazy eyes. Kind of roomie you pray you don't get, know what I'm sayin'? 6 to 12 for armed burglary. Said he done hundreds of jobs. Hard to believe, high-strung as he was. Cut a loud fart, he'd go three feet in the air. Talked all the time, too, that's the other thing. Never shut up. Places he'd been, jobs he pulled, women he fucked. Even people he killed. People that gave him shit, that's how he put it. One night, like a joke, I say: "Yeah? Who'd you kill?" So he says... BLATCH ...I got me this job one time bussin' tables at a country club. So I could case all the big rich pricks that come in. I pick out this guy, go in one night and do his place. He wakes up and gives me shit. So I killed him. Him and the tasty bitch he was with. (starts laughing) That's the best part! She's fuckin' this prick, see, this golf pro, but she's married to some other guy! Some hotshot banker. He's the one they pinned it on! They got him down-Maine somewhere doin' time for the crime! Ain't that choice? He throws his head back and ROARS with laughter. 191 INT -- PRISON LIBRARY -- DAY (1966) 191 Silence. Tommy has finished his story. Red is stunned...but Andy looks like he's been smacked with a two by four. RED Andy? Andy says nothing. Walks stiffly away. Doesn't look back. 192 INT -- NORTON'S OFFICE -- DAY (1966) 192 NORTON Well. I have to say, that's the most amazing story I ever heard. What amazes me most is you were taken in by it. ANDY Sir? NORTON It's obvious this fellow Williams is impressed with you. He hears your tale of woe and quite naturally wants to cheer you up. He's young, not terribly bright. Not surprising he didn't know what a state he'd put you in. ANDY I think he's telling the truth. NORTON Let's say for a moment Blatch does exist. You think he'd just fall to his knees and cry, "Yes, I did it! I confess! By all means, please add a life term to my sentence!" ANDY It wouldn't matter. With Tommy's testimony, I can get a new trial. NORTON That's assuming Blatch is even still there. Chances are excellent he'd be released by now. Excellent. ANDY They'd have his last known address. Names of relatives... (Norton shakes his head) Well it's a chance. isn't it? How can you be so obtuse? NORTON What? What did you call me? ANDY Obtuse! Is it deliberate? The country club will have his old time cards! W-2s with his name on them! NORTON (rises) Dufresne, if you want to indulge this fantasy, that's your business. Don't make it mine. This meeting's over. ANDY Look, if it's the squeeze, don't worry. I'd never say what goes on in here. I'd be just as indictable as you for laundering the money! NORTON Don't you ever mention money to me again, you sorry son of a bitch! Not in this office, not anywhere! (slaps intercom) Get in here! Now! ANDY I was just trying to rest your mind at ease, that's all. NORTON (as GUARDS enter) Solitary! A month! Andy gets dragged away, kicking and screaming: ANDY What's the matter with you? It's my chance to get out, don't you see that? It's my life! Don't you understand it's my life? 193 EXT -- PRISON YARD -- DAY (1966) 193 Mail call. Men crowd around as names are called out. Red and the boys are parked on the bleachers. FLOYD A month in the hole. Longest damn stretch I ever heard of. TOMMY It's my fault. RED Like hell. You didn't pull the trigger, and you didn't convict him. HEYWOOD Red? You saying Andy's innocent? I mean for real innocent? (Red nods) Sweet Jesus. How long's he been in here? RED Since '47. Going on nineteen years. MAIL CALLER Thomas Williams! Tommy raises his hand. The envelope gets tossed to him. He stares at it. Red peers over his shoulder. RED Board of Education. TOMMY The son of a bitch mailed it. RED Looks that way. You gonna open it or stick your thumb up your butt? TOMMY Thumb up my butt sounds better. He gets hemmed in by the older men. Red snatches the letter. TOMMY C'mon, just throw it away. Will you please? Just throw it away? Red rips it open, scans the letter. Expressionless. RED Well, shit. 194 INT -- VISITOR'S ROOM -- DAY (1966) 194 Tommy makes his way through the chaos, finds Beth and the baby waiting behind the thick plexi shield. He sits, doesn't pick up the phone. Just stares at Beth. She doesn't know what to make of it. He presses a piece of paper against the glass. A high school diploma. Her face lights up, blinking back tears. 195 INT -- SOLITARY WING -- NIGHT (1966) 195 LOW ANGLE on steel door. Somewhere behind it, unseen, is Andy, A rat scurries along the wall. FOOTSTEPS approach slowly. 196 INT -- SOLITARY -- NIGHT (1966) 196 Andy listens in darkness. The FOOTSTEPS pause outside his door. The slot opens. An ELDERLY GUARD peers in. ELDERLY GUARD Kid passed. C-plus average. Thought you'd like to know. The slot closes. The FOOTSTEPS recede. Andy smiles. 197 INT -- PRISON CORRIDOR -- NIGHT (1966) 197 We find Tommy on evening work detail, mopping the floors with bucket and pail. Mert Entwhistle comes into view. MERT Warden wants to talk. 198 EXT -- PRISON -- NIGHT (1966) 198 A steel door rattles open. Mert leads Tommy outside to a gate, unlocks it. Tommy looks around. TOMMY Out here? MERT That's what the man said. Mert swings the gate open, sends Tommy through, turns and heads back inside. Tommy proceeds out across a loading-dock access for the shops and mills. Some vehicles parked. The place is deserted. He stops, sensing a presence. TOMMY Warden? Norton steps into the light. NORTON Tommy, we've got a situation here. I think you can appreciate that. TOMMY Yes sir, I sure can. NORTON I tell you, son, this really came along and knocked my wind out. It's got me up nights, that's the truth. Norton pulls a pack of cigarettes, offers Tommy a smoke. Tommy takes one. Norton lights both cigarettes, pockets his lighter. NORTON The right decision. Sometimes it's hard to figure out what that is. You understand? (Tommy nods) Think hard, Tommy. If I'm gonna move on this, there can't be the least little shred of doubt. I have to know if you what you told Dufresne was the truth. TOMMY Yes sir. Absolutely. NORTON Would you be willing to swear before a judge and jury...having placed your hand on the Good Book and taken an oath before Almighty God Himself? TOMMY Just gimme that chance. NORTON That's what I thought. Norton drops his cigarette. Crushes it out with the toe of his shoe. Glances up toward the plate shop roof as -- 199 HIGH ANGLE FROM PLATE SHOP ROOF (SNIPER POV) 199 -- a rifle scope pops up into frame, jumping Tommy's image into startling magnification, framed in the crosshairs. 200 THE SNIPER 200 rapid-fires a carbine -- BLAM!BLAM!BLAM!BLAM! -- his face lit up by the muzzle flashes. Captain Hadley. 201 TOMMY 201 gets chewed to pieces by the gunfire. He smacks the ground in a twitching, thrashing heap. Eyes wide and staring. Dead. Surprise still stamped on his face. Silence now. Norton turns, strolls into darkness. 202 INT -- SOLITARY WING -- DAY (1966) 202 GUARDS approach Andy's cell. The door is unlocked. Andy emerges slowly, blinking painfully at the light. 203 INT/EXT -- PRISON -- DAY (1966) 203 Andy is marched along. Convicts stop to stare. 204 INT -- NORTON'S OFFICE -- DAY (1966) 204 Andy is led in. The door is closed. Alone with Norton. Softly, NORTON Terrible thing. Man that young, less than a year to go, trying to escape. Broke Captain Hadley's heart to shoot him, truly it did. ANDY I'm done. It stops right now. Get H&R Block to declare your income. Norton lunges to his feet, eyes sparkling with rage. NORTON Nothing stops! NOTHING! (tight) Or you will do the hardest time there is. No more protection from the guards. I'll pull you out of that one-bunk Hilton and put you in (MORE) - NORTON (cont.) with the biggest bull queer I can find. You'll think you got fucked by a train! And the library? Gone! Sealed off brick by brick! We'll have us a little book-barbecue in the yard! They'll see the flames for miles! We'll dance around it like wild Indians! Do you understand me? Are you catching my drift? SLOW PUSH IN on Andy's face. Eyes hollow. His beaten expression says it all... 205 EXT -- PRISON YARD -- DAY (1966) 205 Red finds Andy sitting in the shadow of the high stone wall, poking listlessly through the dust for small pebbles. Red waits for some acknowledgment. Andy doesn't even look up. Red hunkers down and joins him. Nothing is said for the longest time. And then, softly: ANDY My wife used to say I'm a hard man to know. Like a closed book. Complained about it all the time. (pause) She was beautiful. I loved her. But I guess I couldn't show it enough. (softly) I killed her, Red. Andy finally glances to Red, seeking a reaction. Silence. ANDY I didn't pull the trigger. But I drove her away. That's why she died. Because of me, the way I am. RED That don't make you a murderer. Bad husband, maybe. Andy smiles faintly in spite of himself. Red gives his shoulder a squeeze. RED Feel bad about it if you want. But you didn't pull the trigger. ANDY No. I didn't. Someone else did, and I wound up here. Bad luck, I guess. RED Bad luck? Jesus. ANDY It floats around. Has to land on somebody. Say a storm comes through. Some folks sit in their living rooms and enjoy the rain. The house next door gets torn out of the ground and smashed flat. It was my turn, that's all. I was in the path of the tornado. (softly) I just had no idea the storm would go on as long as it has. (glances to him) Think you'll ever get out of here? RED Sure. When I got a long white beard and about three marbles left rolling around upstairs. ANDY Tell you where I'd go. Zihuatanejo. RED Zihuatanejo? ANDY Mexico. Little place right on the Pacific. You know what the Mexicans say about the Pacific? They say it has no memory. That's where I'd like to finish out my life, Red. A warm place with no memory. Open a little hotel right on the beach. Buy some worthless old boat and fix it up like new. Take my guests out charter fishing. (beat) You know, a place like that, I'd need a man who can get things. Red stares at Andy, laughs. RED Jesus, Andy. I couldn't hack it on the outside. Been in here too long. I'm an institutional man now. Like old Brooks Hatlen was. ANDY You underestimate yourself. - RED Bullshit. In here I'm the guy who can get it for you. Out there, all you need are Yellow Pages. I wouldn't know where to begin. (derisive snort) Pacific Ocean? Hell. Like to scare me to death, somethin' that big. ANDY Not me. I didn't shoot my wife and I didn't shoot her lover, and whatever mistakes I made I've paid for and then some. That hotel and that boat...I don't think it's too much to want. To look at the stars just after sunset. Touch the sand. Wade in the water. Feel free. RED Goddamn it, Andy, stop! Don't do that to yourself! Talking shitty pipedreams! Mexico's down there, and you're in here, and that's the way it is! ANDY You're right. It's down there, and I'm in here. I guess it comes down to a simple choice, really. Get busy living or get busy dying. Red snaps a look. What the hell does that mean? Andy rises and walks away. Red lunges to his feet. RED Andy? ANDY (turns back) Red, if you ever get out of here, do me a favor. There's this big hayfield up near Buxton. You know where Buxton is? RED (nods) Lots of hayfields there. ANDY One in particular. Got a long rock wall with a big oak at the north end. Like something out of a Robert Frost poem. It's where I asked my (MORE) ANDY (cont.) wife to marry me. We'd gone for a picnic. We made love under that tree. I asked and she said yes. (beat) Promise me, Red. If you ever get out, find that spot. In the base of that wall you'll find a rock that has no earthly business in a Maine hayfield. A piece of black volcanic glass. You'll find something buried under it I want you to have. RED What? What's buried there? ANDY You'll just have to pry up that rock and see. Andy turns and walks away. 206 INT -- MESS HALL -- DAY (1966) RED I tell you, the man was talkin' crazy. I'm worried, I truly am. SKEET We ought to keep an eye on him. JIGGER That's fine, during the day. But at night he's got that cell all to himself. HEYWOOD Oh Lord. Andy come down to the loading dock today. Asked me for a length of rope. Six foot long. SNOOZE Shit! You gave it to him? HEYWOOD Sure I did. I mean why wouldn't I? FLOYD Christ! Remember Brooks Hatlen? HEYWOOD How the hell was I s'pose to know? JIGGER Andy'd never do that. Never. They all look to Red. RED Every man's got a breaking point. 207 EXT -- PRISON YARD -- ANGLE ON P.A. -- DUSK (1966) 207 VOICE (over P.A.) Report to your cellblocks for evening count. BOOM DOWN to Red and the boys. Convicts drift past them. FLOYD Where the hell is he? HEYWOOD Probably still up in the warden's. TOWER GUARD (via bullhorn) YOU MEN! YOU HEAR THAT ANNOUNCEMENT OR ZUST TOO STUPID TO UNDERSTAND? SKEET Christ. What do we do? FLOYD Nothing we can do. Not tonight. HEYWOOD Let's pull him aside tomorrow, all of us. Have a word with him. Ain't that right, Red? RED (unconvinced) Yeah. Sure. That's right. 20B INT -- NORTON'S OFFICE -- NIGHT (1966) 208 Andy's working away. Norton pokes his head in. NORTON Lickety-split. I wanna get home. ANDY Just about done, sir. We follow Norton to his wife's sampler. He swings it aside, works the combination dial, opens the wall safe. Andy moves up, shoves in the black ledger and files. Norton shuts the safe. ANDY Three deposits tonight. Andy hands him the envelopes. Norton heads for the door. NORTON Get my stuff down t'laundry. And shine my shoes. I want 'em lookin' like mirrors. (pauses at door) Nice havin' you back, Andy. Place just wasn't the same without you. Norton exits. Andy turns to the laundry. He opens the shoebox. Nice pair of dress shoes inside. He sighs, glances down at the old ragged pair of work shoes on his own feet. 209 INT -- NORTON'S OFFICE -- NIGHT (1966) 209 Andy is diligently shining Norton's shoes. 210 INT -- PRISON CORRIDOR -- NIGHT (1966) 210 Andy trudges down the hallway, laundry slung over his shoulder, 211 INT -- CELLBLOCK FIVE -- NIGHT (1966) 211 Andy nods to the GUARD. The guard BUZZES him through. 212 INT -- RED'S CELL -- NIGHT (1966) 212 Red hears Andy coming, moves to the bars. He watches Andy come up to the second tier and pause before his cell. GUARD (O.S.) Open number twelve! Andy gazes directly at Red. A beat of eye contact. Red shakes his head. Don't do it. Andy smiles, eerily calm...and enters his cell. The door closes. KA-THUMP! We hold on Red's face. 213 INT -- ANDY'S CELL -- NIGHT (1966) 213 Andy is polishing a chess piece. VOICE (O.S.) Lights out! The lights bump off. He finishes polishing, holds up the piece to admire. A pawn. He sets it down with the others -- and we realize it's the final glance for the board. A full set. He gazes up at Racquel and smiles. Pulls a six foot length of rope from under his pillow. Lets it uncoil to the floor. 214 INT -- RED'S CELL -- NIGHT (1966) 214 Red sits in the dark, a bundle of nerves, trying to hold himself still. He feels like he might scream or shake to pieces. The seconds tick by, each an eternity. RED (V.O.) I have had some long nights in stir. Alone in the dark with nothing but your thoughts, time can draw out like a blade... A FLASH OF LIGHTNING outside his window sends harsh barred shadows jittering across the cell. A storm breaking. RED (V.O.) That was the longest night of my life... 215 INT -- CELLBLOCK FIVE -- MORNING (1966) 215 KA-THUMP! The master lock is thrown. The cons emerge from their cells and the headcount begins. Red looks back to see if Andy's in line. He's not. Suddenly the count stalls: GUARD Man missing on tier two! Cell 12! The head bull, HAIG, checks his list: HAIG Dufresne? Get your ass out here, boy! You're holding up the show! (no answer) Don't make me come down there now! I'll thump your skull for you! Still no answer. Glaring, Haig stalks down the tier, clipboard in hand. His men fall in behind. HAIG Dufresne, dammit, you're putting me behind! You better be sick or dead in there, I shit you not! They arrive at bars. Their faces go slack. Stunned. Softly: HAIG Oh my Holy God. 216 REVERSE ANGLE 216 reveals the cell is empty. Everything neat and tidy. Even the bunk is stowed. They wrench the door open and rush in, tossing the cell in a panic as if Andy might be lurking under the Kleenex or the toothpaste. CAMERA ROCKETS IN on Haig as he spins toward us, bellowing at the top of his lungs: HAIG WHAT THE FUCK! 217 INT -- NORTON'S OFFICE -- MORNING (1966) 217 Norton is kicking back with the morning paper. He notices ha dingy his shoes are. He glances at the shoebox on the desk. kicks his shoes off, opens the box -- and gulls out Andy's o grimy work shoes. He stares blankly. What the fuck indeed. An ALARM STARTS BLARING throughout the prison. He looks up. 218 EXT -- PRISON -- DAY (1966) 218 Norton and Hadley stride across the grounds, ALARM BLARING. NORTON I want every man on that cellblock questioned! Start with that friend of his! HADLEY who? 219 INT -- CELLBLOCK FIVE -- RED'S CELL -- DAY (1966) 219 Red watches as Norton storms up with an entourage of guards. NORTON Him. Red's eyes widen. Guards yank him from his cell. 220 INT -- ANDY'S CELL -- DAY (1966) 220 Norton steps to the center of the room, working himself up into a fine rage: NORTON What do you mean "he just wasn't here?" Don't say that to me, Haig! Don't say that to me again! HAIG But sir! He wasn't! He isn't! NORTON I can see that, Haig! You think I'm blind? Is that what you're saying? Am I blind, Haig? HAIG No sir! Norton grabs the clipboard and thrusts it at Hadley. NORTON What about you? You blind? Tell me what this is! HADLEY Last night's count. NORTON You see Dufresne's name? I sure do! Right there, see? "Dufresne." He was in his cell at lights out! Stands to reason he'd still be here this morning! I want him found! Not tomorrow, not after breakfast! Now! Haig scurries out, gathering men. Norton spins to Red. NORTON Well? RED Well what? NORTON I see you two all the time, you're thick as thieves, you are! He must'a said something! RED No sir, he didn't! Norton spreads his arms evangelist-style, spins slowly around. NORTON Lord! It's a miracle! Man up and vanished like a fart in the wind! Nothin' left but some damn rocks on the windowsill and that cupcake on the wall! Let's ask her! Maybe she knows! What say there, Fuzzy- Britches? Feel like talking? Guess not. Why should you be different? Red exchanges looks with the guards. Even they're nervous. Norton scoops a handful rocks off the sill. He hurls them at the wall one at a time, shattering them, punctuating his words: NORTON It's a conspiracy! (SMASH) That's what this is! (SMASH) It's one big damn conspiracy! (SMASH) And everyone's in on it! (SMASH) Including her! He sends the last rock whizzing right at Racquel. No smash. It takes a moment for this to sink in. All eyes go to her. The rock went through her. There's a small hole in the poster where her navel used to be. You could hear a pin drop. Norton reaches up, sinks his finger into the hole. He keeps pushing...and his entire hand disappears into the wall. 221 ANGLE FROM BEHIND POSTER 221 as Norton rips the poster from before our eyes. Stunned faces peer in. CAMERA PULLS SLOWLY BACK...to reveal the long crumbling tunnel in the wall. 222 INT -- ANDY'S CELL -- MINUTES LATER (1966) 222 RORY TREMONT, a guard barely out of his teens, tries not to look nervous as they lash a rope around his chest. He's getting instructions from six different people at once. RED (V.O.) They got this skinny kid named Rory Tremont to go in the hole. He wasn't much in the brains department, but he possessed the one most important qualification for the job... (they slap a flashlight in his hands) ...he was willing to go. 223 INT -- TUNNEL -- DAY (1966) 223 Rory squeezes down the tunnel on his belly. RED (V.O.) Probably thought he'd win a Bronze Star or something. 224 INT -- VERTICAL SHAFT -- DAY (1966) 224 Dark as midnight. Concrete walls rise on both sides. If you imagine them as two huge slices of bread, the meat of this particular sandwich is about three feet of airspace and a dark tangle of pipes between the cellblocks. Rory's appears, shining his flashlight down the shaft. Somewhere, a rat SQUEAKS. RED (V.O.) It was his third day on the job. RORY Warden? There's a space here between the walls 'bout three feet across! Smells pretty damn bad! NORTON (O.S.) I don't care what it smells like! HADLEY (O.S.) Go on, boy! We got a hold of you! Looking none too happy about it, Rory squeezes from the tunnel and dangles into the shaft. He gets lowered, shining his light, smothered by darkness. Not having a good time. RORY Hoo-whee! Smell's gettin' worse! NORTON (O.S.) Never mind, I said! Just keep going! RORY Smells pretty damn bad, Warden! In fact, it smells just like shit. His feet touch the ground -- or what he assumed was the ground. It's not. In fact, it's just what it smells like. He sinks in past his ankles. He slips and sits heavily in it. RORY Oh God, that's what it is, it's shit. oh my God it's shit. pull me out 'fore I blow my groceries, oh shit it's shit, oh my Gawwwwwwd! 225 INT -- ANDY'S CELL -- DAY (1966) 225 Red and others listen to violent barfing from below. RED (V.O.) And then came the unmistakable sound of Rory Tremont losing his last few meals. The whole cellblock heard it. I mean, it echoed. That's it for Red. He starts laughing. Laughing, hell, he's bellowing laughter, laughing so hard he has to hold himself, laughing so hard tears are pouring down his cheeks. The look of rage on Norton's face makes him laugh all the harder. 226 INT -- SOLITARY WING -- NIGHT (1966) 226 Abrupt silence. LOW ANGLE on steel door. RED (V.O.) I laughed myself right into solitary. Two week stretch. 227 INT -- SOLITARY -- NIGHT (1966) 227 RED It's shit, it's shit, oh my God it's shit... He starts laughing all over again, fit to split. RED (V.O.) Andy once talked about doing easy time in the hole. Now I knew what he meant. 228 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 228 Virgin landscape. Charming rural road. Suddenly, State Police cruisers rocket up the road with SIRENS AND LIGHTS. RED (V.O.) In 1966, Andy Dufresne escaped from Shawshank Prison. 229 EXT -- FIELD -- DAY (1966) 229 Shawshank is half a mile distant. WE TRACK ALONG a muddy creel as STATE TROOPERS and PRISON GUARDS scour the brush. A TROOPEE fishes a prison uniform out of the creek with a long stick. RED (V.O.) All they found of him was a muddy set of prison clothes, a bar of soap, and an old rock-hammer damn near worn down to the nub. TROOPER g2 pulls the rock-hammer from the weeds. SWISH PAN to a POLICE PHOTOGRAPHER. His FLASHBULB GLARE produces: 230 A BLACK AND WHITE STILL PHOTO 230 of the hapless cops posing with Andy's reeking uniform and the worn rock-hammer. PUSH IN on the hammer. RED (V.O.) I remember thinking it would take a man six hundred years to tunnel through the wall with it. Andy did it in less than twenty. 231 INT -- ANDY'S CELL -- NIGHT (1949) 231 Once again, we see Andy using the rock-hammer to scratch his name into the cement. Suddenly, a palm-sized chunk of cement pops free and hits the floor. He stares down at it. 232 INT -- ANDY'S CELL -- NIGHT (1949) 232 Andy lies in the dark, studying the chunk of concrete in his hands. Considering the possibilities. Wrestling with hope. RED (V.O.) Andy loved geology. I imagine it appealed to his meticulous nature. An ice age here, a million years of mountain-building there, plates of bedrock grinding against each other over a span of millennia... 233 INT -- ANDY'S CELL -- NIGHT (1949) 233 Andy stands peering at the small hole left by the fallen chunk. Carefully runs his fingertip over it. RED (V.O.) Geology is the study of pressure and time. That's all it takes, really. Pressure and time. 234 INT -- ANDY'S CELL -- NIGHT (1951) 234 Rita is now on the wall, hanging down over Andy's back. RED (V.O.) That and a big damn poster. TRACK IN to reveal Andy scraping patiently at the concrete. RED (V.O.) Like I said. In prison, a man'll do most anything to keep his mind occupied. He hears FOOTSTEPS approaching. He smoothes the poster down and dives into bed. A GUARD strolls by a moment later, shining his flashlight into the cell. 235 EXT -- PRISON YARD -- DAY (1953) 235 Andy strolls along, whistling softly, hands in both pockets. TILT DOWN to his pantleg. Concrete grit trickles out. RED (V.O.) It turns out Andy's favorite hobby was totin' his wall out into the exercise yard a handful at a time... 236 INT -- 2ND TIER -- NIGHT (1962) 236 A GUARD strolls the tier, shining his flashlight into the cells. He pauses at Andy's bars, playing the beam over the sleeping form huddled under the blankets. p37 REVERSE ANGLE (FROM INS1DE ANDY'S CELL) 237 We see what the guard doesn't: instead of Andy's head under the blanket, it's a wadded-up pillow. The flashlight plays across the cell, pinning Marilyn Monroe in a circle of light. 238 ANGLE FROM BEHIND POSTER 238 The light illuminates her face through the paper. WIDEN to reveal Andy lying in his tunnel, holding his breath. The light clicks off. The FOOTSTEPS move on. He gets back to work. RED (V.O.) While the rest of us slept, Andy spent years workin' the nightshift... 239 INT -- SHAFT -- NIGHT (1965) 239 BOOMING SLOWLY UP the shaft. Rats scurry the pipes. Suddenly, r piece of concrete the size of a quarter jumps free and plummets down the shaft as the rock-hammer pushes through. The pick withdraws, replaced by Andy's peering eye. 240 A SERIES OF DISSOLVES (1965 through 1966) 240 takes us through the widening of the hole. First as big as a tea cup. Then a saucer. Then a dinner plate. RED (V.O.) Probably took him most of a year just to get his head through. Andy finally gets his head through, scraping his ears. He's got a penlight clenched in his teeth. He peers down into the shaft. At the very bottom, maybe 20 feet down, a big ceramic pipe runs the length of the cellblock. Beneath its coat of grime and dust, the word "SEWER" is stenciled. 241 EXT -- LOADING DOCK ACCESS -- NIGHT (1966) 241 ANGLE LOOKING STRAIGHT DOWN. Below us, Tommy Williams lies facedown at Norton's feet. Blood is spreading, fanning out oa the pavement. Norton turns, strolls out of frame. RED (V.O.) I guess after Tommy was killed, Andy decided he'd been here just about long enough. Again we see: Andy working. Norton pokes his head in. NORTON Lickety-split. I wanna get home. ANDY Just about done, sir. Norton crosses to the wall safe and works the dial, his back turned. This time, though, we stay on Andy: He pulls up his sweater, yanks out a large black book and a stack of files, lays them on the desk. He then grabs the real ledger and files, jams them down his pants and smoothes his sweater down. He picks up the bogus stack, crosses to Norton, and shoves everything in. 243 INT -- HALLWAY -- NIGHT (1966) 243 Norton exits his office and strolls off whistling. PUSH IN on the open door. We see Andy at the guard's desk, pulling Norton's dress shoes from their box. RED (V.O.) Andy did like he was told. Buffed those shoes to a high mirror shine. 244 INT -- NORTON'S OFFICE -- MINUTES LATER (1966) 244 Andy sorts through Norton's three suits. He pauses, checking the gray pinstripe. Nice. 245 INT -- CELLBLOCK FIVE -- NIGHT (1966) 245 The guard BUZZES Andy through. Andy walks toward us. RED (V.O.) The guard simply didn't notice. Neither did I. I mean, seriously, how often do you really look at a man's shoes? TILT DOWN as he passes by. Yep, he's wearing Norton's shoes. 246 INT -- ANDY'S CELL -- NIGHT (1966) 246 The lights go out. Andy places the last chess piece. Gazes up at Racquel. Smiles. Pulls the rope from under his pillow. He stands and unbuttons his prison shirt, revealing Norton's gray pinstripe suit underneath. A FLASH OF LIGHTNING floods the cell, throwing wild shadows. 247 INT -- ANDY'S CELL -- NIGHT (1966) 247 The storm rages. Andy, naked, carefully slips Norton's folded suit into a large industrial Zip-Lock bag. Next to go in are the shoes, chess pieces (already in a smaller bag), black ledger en files. Last but not least, a bar of soap wrapped in a towel. 248 INT -- TUNNEL -- NIGHT (1966) 248 Andy, again wearing prison clothes, inches down the tunnel. 249 INT -- SHAFT -- NIGHT (1966) 249 Andy squeezes through the hole head-first, emerges to the waist, He reaches for the opposite wall, manages to snag a steel conduit with his fingers. Suddenly, a huge rat darts for his hand. Andy yanks away and almost plummets head-first down the shaft. He dangles wildly upside-down for a moment, arms windmilling, then gets his hands pressed firmly against the opposite wall. The rat scurries off, pissed. Andy snags the conduit again. He contorts out of the hole and dangles into the shaft. We now see the purpose for the rope: the plastic bag hangs from his ankle with about two feet of slack, He kicks his legs across the shaft, gets his feet braced. Wit3 his back against one wall and feet against the other, he starts down the shaft. Sliding dangerously. Using pipes for handholds. Flinching as rats dart this way and that, scurrying in the shadows. He drops the last few feet to the bottom. He approaches the ceramic sewer pipe and kneels before it. Pulls out the rock-hammer and says a quick silent prayer. Raises the rock-hammer high and swings it down with all his might. Once, twice -- third time lucky. An enormous eruption of sewage cascades into the air as if rocket-propelled, the Mount St. Helens of shit. Andy is instantly coated black. He turns away and heaves his guts out. The shit keeps coming. 250 INT -- SEWER PIPE -- NIGHT (1966) 250 Andy peers down through the hole, playing his penlight aroun5, The inside diameter is no more than two feet. Tight squeeze. Coated with crud. It seems to go on for miles. No turning back. He wriggles into the pipe and starts crawling, plastic bag dragging behind. RED (V.O.) Andy crawled to freedom through five hundred yards of shit-smelling foulness I can't even imagine. Or maybe I just don't want to. 251 EXT -- FIELD -- NIGHT (1966) 251 Rain is falling in solid sheets. Shawshank is half a mile distant. BOOM DOWN to reveal the creek...and PUSH IN toward the mouth of the sewer pipe that feeds into it. RED (V.O.) Five hundred yards. The length of five football fields. Just shy of half a mile. Fingers appear, thrusting through the heavy-gauge wire mesh covering the mouth of the pipe. Andy's face looms from the darkness, peering out at freedom. He wrenches the mesh loose, pushes himself out, and plunges head-first into the creek. He comes up sputtering for breath. The water is waist-deep. He wades upstream, ripping his clothes from his body. He gets his shirt off, spins it through the air over his head, flings the shirt away. He raises his arms to the sky, turning slowly, feeling the rain washing him clean. Exultant. Triumphant. A FLASH OF LIGHTNING arcs from horizon to horizon. 252 INT -- ANDY'S TUNNEL -- DAY (1966) 252 Once again, we see stunned faces as CAMERA PULLS BACK. RED (V.O.) The next morning, right about the time Racquel was spilling her little secret... 253 INT -- CASCO BANK OF PORTLAND -- MORNING (1966) 253 The door opens. Spit-shined shoes enter. DOLLY the shoes to the counter. RED (V.O.) ...a man nobody ever laid eyes on before strolled into the Casco Bank of Portland. Until that moment, he didn't exist -- except on paper. FEMALE TELLER (O.S.) May I help you? TILT UP to Andy. Smiling in Norton's gray pinstripe suit. ANDY My name is Peter Stevens. I've come to close out some accounts. 254 INT -- BANK -- SHORTLY LATER (1966) 254 The teller is cutting a cashier's check while the MANAGER carefully examines Mr. Stevens' various I.D.s. RED (V.O.) He had all the proper I.D. Driver's license, birth certificate, social security card. The signature was a spot-on match. MANAGER I must say I'm sorry to be losing your business. I hope you'll enjoy living abroad. ANDY Thank you. I'm sure I will. TELLER Here's your cashier's check, sir. Will there be anything else? ANDY Please. Would you add this to your outgoing mail? He hands her a package, stamped and addressed. Gives them a pleasant smile. Turns and strolls from the bank. RED (V.O.) Mr. Stevens visited nearly a dozen banks in the Portland area that morning. All told, he blew town with better than 370 thousand dollars of Warden Norton's money. Severance pay for nineteen years. 255 INT -- OFFICE -- DAY (1966) 255 A MAN in shirtsleeves is going through the mail on his desk. He finds Andy's package, rips it open. Pulls out the black ledger and files. Scans a cover letter. Holy shit. He dashes to his door and yanks it open, revealing the words on the glass: "PORTLAND DAILY BUGLE -- Editor In Chief." MAN Hal! Dave! Get your butts in here! 256 INT -- SHAWSHANK PRISON -- DAY (1966) 256 Norton walks slowly toward his office. Dazed. The morning paper in his hand. He goes wordlessly past the DUTY GUARD into his office. Shuts the door. Lays the paper on his desk. The headline reads: "CORRUPTION AND MURDER AT SHAWSHANK." Below that, the sub-headline: "D.A. Has Ledger. Indictments Expected." Norton looks up as SIRENS SWELL in the distance.257 EXT -- SHAWSHANK PRISON -- WIDE SHOT -- DAY (1966) 257 For the second time, State Police cruisers go rocketing up the road with SIRENS AND LIGHTS. 258 INT -- NORTON'S OFFICE -- DAY (1966) 258 Norton opens his safe and pulls out the "ledger" -- it's Andy's Bible. The title page is inscribed by hand: "Dear Warden. You were right. Salvation lay within." Norton flips to the center of the book -- and finds the pages hollowed out in the shape of a rock-hammer. 259 EXT -- PRISON -- DAY (1966) 259 Police cruisers everywhere. A media circus. REPORTERS jostle for position. A colorless DISTRICT ATTORNEY steps forward into CLOSEUP, flanked by a contingent of S.ATE TROOPERS. D.A. Byron Hadley? ANGLE SHIFTS to reveal Captain Hadley. Staring. Waiting. D.A. You have the right to remain silent. If you give up that right, anything you say will be used against you in court... TROOPERS move in, cuffing Hadley's hands behind his back. The D.A. drones on. FLASHBULBS POP. Hadley says nothing. His face scrunches up. He begins to cry. RED (V.O.) I wasn't there to see it, but I hear Byron Hadley was sobbing like a little girl when they took him away. Hadley sobs all the way to the car. The D.A. snaps a gaze up toward Norton's window, motions his men to follow. 260 INT -- NORTON'S OFFICE -- DAY (1966) 260 Norton is staring out the window as they approach the building. He goes to his desk, opens a drawer. Inside lies a revolver and a box of shells. RED (V.O.) Norton had no intention of goin' that quietly. 261 INT -- PRISON CORRIDORS -- DAY (1966) 261 The D.A. marches along amidst a phalanx of TROOPERS. 262 INT -- NORTON'S OFFICE -- DAY (1966) 262 Norton sits blankly at his desk, revolver before him. The doorknob rattles, a VOICE is heard: D.A. (O.S.) Samuel Norton? We have a warrant for your arrest! Open up! The POUNDING starts. Norton dumps the box of bullets out on thr desk. He starts sorting them to see which ones he likes. 263 OUTSIDE HIS OFFICE 263 Troopers hustle the hapless duty guard to Norton's door as he fumbles nervously with a huge key ring. DUTY GUARD I'm not sure which one it is... He starts trying keys in the lock. And as the keys go sliding in one after another... 264 INT -- NORTON'S OFFICE -- DAY (1966) 264 ...so do the bullets. Norton is riveted to the door. For every key, he loads another bullet. Methodical and grim. He gets the final bullet in just as the right key slams home. The door bursts open. Men muscle in. Somebody SHOUTS. Troopers dive in all directions as Norton raises the gun -- -- and jams it under his chin. his head snaps back as the wall goes red. His swivel chair does a slow half-turn and creaks to a final stop. Troopers rise slowly, gazing in horror. RED (V.O.) I like to think the last thing that went through his head...other than that bullet...was to wonder how the hell Andy Dufresne ever got the best of him. PUSH SLOWLY to the wall to reveal Mrs. Norton's framed sampler trickling blood and brains...and we get our final Bible lesson for today: "HIS JUDGMENT COMETH AND THAT RIGHT SOON." 265 EXT -- PRISON YARD -- DAY (1966) 265 Mail call. Red hears his name. They pass him a postcard. RED (V.O.) Not long after the warden deprived us of his company, I got a postcard in the mail. It was blank. But the postmark said, "McNary, Texas." 266 INT -- LIBRARY -- DAY (1966) 266 Red sits with an atlas, tracing his finger down the page. RED (V.O.) McNary. Right on the border. That's where Andy crossed. (shuts the book) When I picture him heading south in his own car with the top down, it makes me laugh all over again... 267 EXT -- MEXICO -- HIGHWAY -- DAY (1966) 267 A red convertible rips along with Andy at the wheel, cigar jutting from his grin, warm wind fluttering his tie. RED (V.O.) Andy Dufresne, who crawled through a river of shit and came out clean on the other side. Andy Dufresne, headed for the Pacific. 268 INT -- MESS HALL -- DAY (1966) 268 Heywood is regaling the table with some anecdote about Andy. RED (V.O.) Those of us who knew him best talk about him often. I swear, the stuff he pulled. It always makes us laugh. A wild burst of laughter. PUSH IN on Red. Feeling melancholy. RED (V.O.) Sometimes it makes me sad, though, Andy being gone. I have to remind myself that some birds aren't meant to be caged, that's all. Their feathers are just too bright... 269 EXT -- FIELDS -- LATE DAY (1966) 269 Convicts hoe the fields. Guards patrol on horseback. RED (V.O.) ...and when they fly away, the part of you that knows it was a sin to lock them up does rejoice...but still, the place you live is that much more drab and empty that they're gone. A DISTANT RUMBLE OF THUNDER. Red pauses, gazes off. Storm clouds coming in, backlit by the sun. A light drizzle begins. RED (V.O.) I guess I just miss my friend. 270 INT -- PRISON CELL -- NIGHT (1966) 270 Red is sleeping. He wakes with a start. RED (V.O.) But there are times I curse him for the dreams he left behind... He senses a presence, looks over his shoulder. There's a Rita Hayworth poster on his wall. He gets out of bed. Rita just keeps smiling, inscrutable. As Red watches, a brilliant round glow builds behind the poster, shining from the tunnel. The poster rips free, charred to ash in the blink of an eye as a shaft of holy white light stabs into the cell. Sunlight. Red staggers back against the glare. A whirlwind kicks up, whipping everything into the air. The hole in the wall is like a giant vacuum cleaner -- papers, book, toiletries, bedding -- if it ain't nailed down, it gets sucked down the hole toward the light. Red fights it, but the suction drags him closer and closer... 271 RED'S POV 271 ...and CAMERA rockets into the hole, getting sucked down an endless tunnel at impossible speed, the ROAR of air mixing with his drawn-out SCREAM, closer and closer to the light... ...and erupting out the other side into total silence and a beautiful white beach. The Pacific Ocean before us. Enormous. Mind-blowing. Beautiful beyond description. All we hear now are the gentle sound of waves. RED (V.O.) ...dreams where I am lost in a warm place with no memory. A lone figure stands at water's edge. CAMERA KEEPS MOVING, coming up behind him and TRACKING AROUND to reveal -- Red. RED (V.O.) An ocean so big it strikes me dumb. Waves so quiet they strike me deaf. Sunshine so bright it strikes me blind. It is a place that is blue beyond reason. Bluer than can possibly exist. Bluer than my mind can possibly grasp. 272 AERIAL SHOT 272 Nothing for a million miles but beach, sky, and water. Red is a tiny speck at water's edge. Just another grain of sand. RED (V.O.) I am terrified. There is no way home. 273 INT -- RED'S CELL -- NIGHT (1966) 273 Red wakes from the nightmare. He gets out of bed. Moves to the barred window of his cell. Peers up at the stars. RED (V.O.) Andy. I know you're in that place. Look at the stars for me just after sunset. Touch the sand...wade in the water...and feel free. FADE TO BLACK 274 AN IRON-BARRED DOOR 274 slides open with an enormous CLANG. A stark room beyond. CAMERA PUSHES through. SIX MEN AND ONE WOMAN sit at a long table. An empty chair faces them. We are again in: INT -- SHAWSHANK HEARINGS ROOM -- DAY (1967) Red enters, sits. 20 years older than when we first saw him. MAN #1 Your file says you've served forty years of a life sentence. You feel you've been rehabilitated? Red doesn't answer. Just stares off. Seconds tick by. The parole board exchanges glances. Somebody clears his throat. MAN #1 Shall I repeat the question? RED I heard you. Rehabilitated. Let's see now. You know, come to think of it, I have no idea what that means. MAN #2 Well, it means you're ready to rejoin society as a-- RED I know what you think it means. Me, I think it's a made-up word, a poli- tician's word. A word so young fellas like you can wear a suit and tie and have a job. What do you really want to know? Am I sorry for what I did? - ----- MAN g2 Well...are you? RED Not a day goes by I don't feel regret, and not because I'm in here or because you think I should. I look back on myself the way I was...stupid kid who did that terrible crime...wish I could talk sense to him. Tell him how things are. But I can't. That kid's long gone, this old man is all that's left, and I have to live with that. (beat) Rehabilitated? That's a bullshit word, so you just go on ahead and stamp that form there, sonny, and stop wasting my damn time. Truth is, I don't give a shit. The parole board just stares. Red sits drumming his fingers. CLOSEUP -- PAROLE FORM A big rubber stamp SLAMS down -- and lifts away to reveal the word "APPROVED" in red ink. 275 EXT -- SHAWSHANK PRISON -- DAY 275 TWO SHORT SIREN BLASTS herald the opening of the main gate. It swings hugely open, revealing Red standing in his cheap suit, carrying a cheap bag, wearing a cheap hat. He walks out, still looking stunned. 276 INT -- BUS -- DAY 276 Red rides the bus, clutching the seat before him, gripped by terror of speed and motion. 277 EXT -- BREWSTER HOTEL -- LATE AFTERNOON 277 Red arrives at the Brewster, three stories high and even less to look at than it used to be. 27B INT -- BREWSTER -- LATE DAY 278 A BLACK WOMAN leads Red up the stairs toward the top floor. 279 INT -- RED'S ROOM -- LATE DAY 279 Small, old, dingy. An arched window with a view of Congress Street. Traffic noise floats up. Red enters and pauses, staring up at the ceiling beam. Carved into the wood are the words: "Brooks Hatlen was here." 280 INT -- FOODWAY MARKET -- DAY 280 Loud. Jangling with PEOPLE and NOISE. We find Red bagging groceries. Registers are humming, kids are shrieking. Red calls to the STORE MANAGER: RED Sir? Restroom break sir? MANAGER (motions him over) You don't need to ask me every time you go take a piss. Just go. Understand? 28l INT -- EMPLOYEE RESTROOM -- DAY 281 Red steps to the urinal, stares at himself in the wall mirror. RED (V.O.) Thirty years I've been asking permission to piss. I can't squeeze a drop without say-so. A strange east Indian guitar-whine begins. The Beatles. George Harrison's "Within You Without You..." 282 EXT -- STREET -- DAY 282 ...which carries through as Red walks. People and traffic. He keeps looking at the women. An alien species. RED (V.O.) Women, too, that's the other thing. I forgot they were half the human race. There's women everywhere, every shape and size. I find myself semi-hard most of the time, cursing myself for a dirty old man. TWO YOUNG WOMEN stroll by in cut-offs and t-shirts. RED (V.O.) Not a brassiere to be seen, nipples poking out at the world. Jeezus, pleeze-us. Back in my day, a woman out in public like that would have been arrested and given a sanity hearing. 283 EXT -- PARK -- DUSK 283 Red finds the park filled with HIPPIES. Hanging out. Happening. Here's the source of the music: a radio. A HIPPIE GIRL gyrates to the Beatles, stoned, in her own world. RED (V.O.) They're calling this the Summer of Love. Summer of Loonies, you ask me. 284 INT -- PAROLE OFFICE -- DAY 284 Red sits across from his PAROLE OFFICER. The P.O. is filling out his report. P.O. You staying out of the bars, Red? RED Yes sir. That I am. P.O. How you doing otherwise? Adjusting okay? RED Things got different out here. P.O. Tell me about it. Young punks protesting the war. You imagine? Even my own kid. Oughtta bust his fuckin' skull. RED Guess the world moved on. 285 INT -- FOODWAY -- DAY 285 Bagging groceries. CHILDREN underfoot. One points a toy gun at Red, pumping the trigger. Red focuses on the gun, listening to it CLICKETY-CLACK. Sparky wheel grinding. The kids get swept off by MOM. Red starts bagging the next customer. SLOW PUSH IN on Red. Surrounded by MOTION and NOISE. Feeling like the eye of a hurricane. People everywhere, whipping around him like a gale. Strange. Loud. Dizzying. It gets distorted and weird, slow and thick, pressing in on him from all sides. The noise level intensifies. The hollering of children deepens and distends into LOW EERIE HOWLS. He's in the grip of a major anxiety attack. Tries to shake himself out of it. Can't. Fumbles the final items into the bag. Walks away. Trying not to panic. Trying not to run. He makes his way through the store. Blinking sweat. He bumps into a lady's cart, mumbles an apology, keeps going. Breaks into a trot. Down the aisle, cut to the left, through the door into the back rooms, faster and faster, running now, slamming through a door marked "Employees Only" into -- 286 INT -- EMPLOYEE RESTROOM -- DAY 286 -- where he slams the door and leans heavily against it, shutting everything out, breathing heavily. Alone now. He goes to the sink, splashes his face, tries to calm down. He can still hear them out there. They won't go away. He glances around the restroom. Small. Not small enough. He enters a stall. Locks the door. Puts the toilet lid down and sits on the john. Better. He can actually reach out and touch the walls now. They're close. Safe. Almost small enough. He draws his feet up so he can't be seen if somebody walks in. He'll just sit here for a while. Until he calms down. 287 EXT -- STREET -- DUSK 287 Red is walking home. RED (V.O.) There is a harsh truth to face. No way I'm gonna make it on the outside. He pauses at a pawnshop window. An array of handguns. RED (V.O.) All I do anymore is think of ways to break my parole. The SHOPKEEPER appears at the glass, locking the door and flipping the sign: CLOSED. 288 INT -- RED'S ROOM -- NIGHT 288 Red lies smoking in bed. Unable to sleep. RED (V.O.) Terrible thing, to live in fear. Brooks Hatlen knew it. Knew it all too well. All I want is to be back where things make sense. Where I won't have to be afraid all the time. He glances up at the ceiling beam. "Brooks Hatlen was here." RED (V.O.) Only one thing stops me. A promise I made to Andy. 289 EXT -- COUNTRY ROAD -- MORNING 289 A pickup truck rattles up the road trailing dust and pulls to a stop. Red hops off the back, waves his thanks. The truck drives on. Red starts walking. PAN TO a roadside sign: BUXTON. 290 EXT -- MAINE COUNTRYSIDE -- DAY 290 High white clouds in a blazing blue sky. The trees fiery with autumn color. Red walks the fields and back-roads, cheap compass in hand. Looking for a certain hayfield. 291 EXT -- COUNTRYSIDE -- DAY 291 Walking. Searching. The day turning late. Red finds himself staring at a distant field. There's a long rock wall, like something out o f a Robert Frost poem. Big oak tree. Red checks his compass. North end. He crosses a dirt road into the field. 292 EXT -- HAYFIELD -- DAY 292 Red walks the long rock wall, nearing the tree. A squirrel scolds him from a low branch, scurries up higher. Red studies the base of the wall. Nothing unusual here. Just a bunch of rocks set in stone. He sighs. Fool's errand. Turns to go. Something catches his eye. He walks back, squats, peering closer. Wets a fingertip and rubs a stone. A layer of dust comes off. Volcanic glass. Gleaming black. He tries to get the rock out, anticipation growing. It won't come; it's too smooth. He pulls a pocketknife and levers the rock free. It tumbles at his feet, leaving a ragged hole. Red leans down and solves the mystery at last, staring at the object buried under the rock. Stunned. It's an envelope wrapped in plastic. Written on it is a single word: "Red." Red pulls the envelope out and rises. He just stares at it for a while, almost afraid to open it. But open it he does. Inside is a smaller envelope and a letter. Red begins to read: ANDY (V.O.) Dear Red. If you're reading this, you've gotten out. And if you've come this far, maybe you're willing to come a little further. You remember the name of the town, don't you? I could use a good man to help me get my project on wheels. I'll keep an eye out for you and the chessboard ready. (beat) Remember, Red. Hope is a good thing, maybe the best of things, and no good thing ever dies. I will be hoping that this letter finds you, and finds you well. Your friend. Andy. By now, tears are spilling silently down Red's cheeks. He opens the other envelope and fans out a stack of new fifty- dollar bills. Twenty of them. A thousand dollars. 293 INT -- RED'S ROOM -- DAY (1967) 293 Red is dressed in his suit. He finishes knotting his tie, puts his hat on. His bag is by the door. He takes one last look around. Only one thing left to do. He pulls a wooden chair to the center of the room and gazes up at the ceiling beam. RED (V.O.) Get busy living or get busy dying. That is goddamn right. He steps up on the chair. It wobbles under his weight. 294 INT -- BREWSTER -- RED'S DOOR -- DAY (1967) 294 The door opens. Red exits with his bag and heads down the stairs, leaving the door open. CAMERA PUSHES through, BOOMING UP to the ceiling beam which reads: "Brooks Hatlen was here." A new message has been carved alongside the old: "So was Red." 295 INT -- GREYHOUND BUS STATION -- DAY (1967) 295 TRACKING SHOT reveals a long line of people at the counter. RED (V.O.) For the second time in my life, I am guilty of committing a crime. CAMERA brings us to Red, next in line, bag by his feet. RED (V.O.) Parole violation. I doubt they'll toss up any roadblocks for that. Not for an old crook like me. RED (steps up) McNary, Texas? 296 EXT -- TRAVELING SHOT -- DAY (1967) 296 A gorgeous New England landscape whizzes by, fields and trees a blur of motion. ANGLE SHIFTS to reveal a Greyhound Sceni- Cruiser barreling up the road, pulling abreast of us. CAMERA TRAVELS from window to window, passing faces. We finally come to Red gazing out at the passing landscape. RED (V.O.) I find I am so excited I can barely sit still or hold a thought in my head. I think it is the excitement only a free man can feel, a free man at the start of a long journey whose conclusion is uncertain... 297 THE BUS 297 ROARS past camera, dwindling to a mere speck on the horizon. RED (V.O.) I hope I can make it across the border. I hope to see my friend and shake his hand. I hope the Pacific is as blue as it has been in my dreams. (beat) I hope. 298 EXT -- BEACH -- WIDE PANORAMIC SHOT -- DAY (1967) 298 A distant boat lies on its side in the sand like an old wreck that's been left to rot in the sun. There's someone out there. 299 CLOSER ON BOAT 299 A MAN is meticulously stripping the old paint and varnish by hand, face hidden with goggles and kerchief mask. Red appears b.g., a distant figure walking out across the sand, wearing his cheap suit and carrying his cheap bag. The man on the boat pauses. Turns slowly around. Red arrives with a smile as wide as the horizon. The other man raises his goggles and pulls down his mask. Andy, of course. ANDY You look like a man who knows how to get things. RED I'm known to locate certain things from time to time. Red shrugs off his jacket and picks up a sander. Together, they start sanding the hull as we FADE OUT THE END
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+                                                             SHE'S OUT OF MY LEAGUE                                                                  Written by                                     Sean Anders & John Morris                                                            INT. CONFERENCE ROOM                    A dozen or so shadowy people are seated in the darkened room.          A slide projector dimly lights MR. FULLER, a crew-cutted          Robert Stack type in a suit, as he addresses the group. The          current slide is a still from a security video of a blurry          figure - it could be any of about a billion people.                                        FULLER                    ...So, let's keep a steely eye out                    for this bastard. (THEN) Before we                    dismiss, this is your monthly                    reminder of why we're here.                    Fuller advances to a slide of the American flag. Close on          one of the group - a heavyset bald man in his mid-thirties.          He politely pays close attention to the presentation.                                        FULLER (CONT'D)                    The American people want to travel.                    (Slide: Family in front of a fake                    dinosaur) They want to attend                    baseball contests (Slide: Fat guys                    spilling beers as they go for a                    foul ball) and popular music                    concerts. (Slide: John Tesh)                    Close on another face in the group. A doughy man with three-          day scruff and a trendily long haircut. He looks bored,          rolling his eyes at the speech.                                        FULLER (CONT'D)                    They want to be happy. (Slide: People                    line dancing) But, Security comes                    first. (Slide: Army soldier with a                    massive machine gun guards a play-                    ground) Without security there can be                    no happy. You are America's front                    line in the global war on terror.                    Let's hit the trenches and let's be                    careful out there. (Slide: TSA logo)                    The lights come up and as the group files out we get a better          look at their uniforms. The TSA agents move out into the...                    INT. AIRPORT - SECURITY CHECK POINT - DAY                    The agents take their places, manning the screening          equipment. We push in on the bald man as he takes up his          post next to the walk-through metal detector. This is KIRK          KETTNER. He is not a looker. His uniform only serves to          highlight his least attractive features but his eyes and          demeanor are pleasant and kind.                                                                             2.                                        The scruffy agent is STAINER. He stands at the x-ray          monitor. As the bags begin to move through, he does not pay          any attention, rather he hands Kirk a flyer.                                           STAINER                    Kirk, bro.     Tonight?                    INSERT: The flyer reads, "Wheel in the Sky - a Tribute to          Journey at Club Vertigo - Every Tuesday Night!" Stainer is          pictured wearing a massive afro in the band photo.                                        KIRK                    I don't know, Stainer.                                        STAINER                    Dude, you never come see us                    anymore. It's been like four                    months. Time to forget about                    Marnie and get back on the whores.                    Stainer does a sex dance that makes everyone uncomfortable.          Fuller shoots a stern look from his office.                                        KIRK                    It's not that. It's my Grandma.                    I'll probably be at the hospital                    for the next few nights.                                         STAINER                    Oh, shit. I spaced that.   How's                    she doing?                                        KIRK                    She's hanging in there but it                    doesn't look good.                                        STAINER                    Dude, I'm sorry. She's a great                    lady. That sucks.                    A Middle-Eastern man in a cowboy hat is next in line. Mr.          Fuller appears behind Kirk, taps his shoulder and subtly          motions to the Arab. Kirk smiles at the potential terrorist.                                        KIRK                    Hey there, Habib.                                        HABIB                        (perfect English with a                         southern accent)                    Howdy Kirk. Lemme guess; I been                    flagged for a random search.                                                                             3.                                                            KIRK                    Yeah, sorry. I'll get you out of                    here quick. You off to Boston again?                                        HABIB                    No, sir. Pediatric convention in                    Delaware.                    Kirk opens Habib's bag.                                        HABIB (CONT'D)                    Kirk, I know you're just doing your                    job but, for Pete's sake, ya'll                    know me.                                           KIRK                    I'm sorry.     It's just...                    Kirk gestures to his boss as he zips the bag back up.                                        KIRK (CONT'D)                    Okay, Habib, you're all set buddy.                    Have a good trip.                                        HABIB                    Thanks Kirk. See you next time.                    Fuller again appears behind Kirk.                                        HABIB (CONT'D)                        (to fuller - now in a                         thick Arab accent)                    Praise be to Allah.                                        FULLER                    You think that's funny!? You wanna                    sit in first class or you wanna sit                    on my gloved and jellied finger!?                    EXT. AIRPORT CURB - DAY                    Follow a pair of perfect female legs as the woman's heels          click along the sidewalk, suitcase rolling behind. Although          we can't see the woman riding on these legs, we can see          several men stare as she passes by on her way into...                    INT. AIRPORT TICKETING                    More stares from more men and even a few women as we follow          the legs to the check-in line. The legs glide to the front          and stop to wait for the next available ticket agent.                                                                               4.                                        From the slightly upward angle, we see two young male ticket          agents. (One on each side of the legs.) One is black and one          white; each are dealing with customers. They simultaneously          notice our woman. They suspiciously eye one another and the          race is on. Each agent begins typing furiously to expedite          their current customer in the hope of waiting on her next.                    Angle on the WHITE AGENT as he waits on a yuppie couple.                                        WHITE AGENT                        (RUSHED)                    Okay, how many bags are you                    checking? Any bags!?                                        YUPPIE MAN                    Is this one too big to carry on?                                          WHITE AGENT                    No.    Carry it on. Good call.                                        YUPPIE WOMAN                    Grant, you don't want to lug that                    thing all over the airport.                    The agent leans back and issues a bothered sigh. He looks to          his right to check the progress of the BLACK AGENT, who is          waiting on an old Asian woman.                                        BLACK AGENT                        (RUSHED)                    Did you pack your bags yourself?                    The Asian woman obviously did not understand a word of the          question but she smiles and nods along.                                          ASIAN WOMAN                    Yes.                                        BLACK AGENT                    Has anyone unknown to you asked you                    to carry anything onto your flight?                    More smiles and blank nods.                                          ASIAN WOMAN                    Yes.                                        BLACK AGENT                    I think you mean NO.                                        WHITE AGENT                    You can't do that!                                                                               5.                                                            BLACK AGENT                    She doesn't know what the hell I'm                    talking about!                                        YUPPIE MAN                    Where exactly is gate F5?                                        WHITE AGENT                    Just past F4. Have a day now                    folks. Let's hustle it up.                                           ASIAN WOMAN                    Sank you!                                           BLACK AGENT                    No sweat.     Keep it moving.                    The Asian woman is not going anywhere. The black agent leans          into her face and barks once like a dog. Her smile turns to          fear as she backs away, ending the race in a dead tie.                                           BOTH AGENTS                    Next!                    Reverse to show the woman they were competing for. She is a          classy, sophisticated, blonde around thirty. Drop dead          beautiful. She is startled by the sudden call from both men.          She laughs off her little scare and then randomly chooses the          black agent. He shoots a smug victory grin over to his co-          worker, who is being an overtly sore loser.                                        MOLLY                    Hi, I'm booked on flight 94 to                    Burbank. Molly McCall.                                        BLACK AGENT                        (trying way too hard)                    California. Fantastic. So do you                    travel quite a bit?                    The white agent moves to loiter around the black agent's          station, just to get a better look at MOLLY.                                        WHITE AGENT                    Hey Derek. You got the     numbers on                    the (making it up as he    goes) new,                    um, procedures for the,    um, airport                    thing... regarding the,    ah, planes?                    (to Molly) Whassup?                    INT. AIRPORT SECURITY CHECKPOINT - DAY                    Kirk is at his post.                                                                             6.                                        Stainer works the next x-ray belt, where a young rocker type          is running a guitar case through. Stainer stops the belt and          moves it back to get a better look.                                        STAINER                    Les Paul Classic re-issue?                                         ROCKER                        (SMUG)                    No, it's a sixty-five.   Mint.                                          STAINER                    Fuck you.    No way.                    The rocker boy looks at his watch as Stainer rolls the case          through and pops it open.                                        ROCKER                    Dude, I'm late for my flight.                                        STAINER                    Sorry, I have to search this case                    for, you know, explosives and such.                    This thing is sweet!                    Stainer takes the guitar out and starts riffing on it as the          bins and bags pile up before him.                    At Kirk's station, Molly (the blonde bombshell) is crossing          through. Every guy who can see her has been struck dumb but          Kirk banters with her like he would anyone else. No flirting          or stammering - just friendly and relaxed.                                          KIRK                    Morning.                                        MOLLY                    Oh, hello again.                                        KIRK                    Second trip in two days?                    Molly is putting her laptop back in her bag.                                        MOLLY                    Uggh. Yeah. It's just a short hop                    to L.A. but they've got me going                    back and forth three days in a row.                    This client is killing me.                                        KIRK                    Well hang in there kiddo and I                    guess I'll see you tomorrow.                                                                                7.                                                            MOLLY                    It's a date.                    Molly's long legs carry her toward the gates as every man          except Kirk watches. Fuller saunters up and nudges Kirk.                                        FULLER                    Did'ja see that? Boy would I ever                    like to...you know...put my penis                    in her vagina. (wink)                    Back at Stainer's station. As he puts the guitar back in its          case, he scratches it on the corner of the x-ray machine.          Stainer and rocker boy lock in shocked gazes.                                        ROCKER                    What the hell!?                    He grabs his guitar and inspects a wicked scratch.                                        STAINER                    Dude, I am so sorry.                                        ROCKER                    Sorry my ass! This thing is worth                    more than you make in a year, you                    clumsy motherfucker!                                        STAINER                    Yeah, I bet it was but...                    Stainer points to a white sign mounted in an acrylic stand.                                        STAINER (CONT'D)                    "TSA is not responsible for items                    lost or damaged in the security                    screening process..."                    Stainer flips the sign around to reveal a few more words hand-          written on the back. He reads them aloud.                                        STAINER (CONT'D)                    "...so fuck you."                    INT. HOSPITAL WAITING ROOM - NIGHT                    Kirk enters to find his MOTHER, an attractive old woman,          sitting with a short, plain woman about Kirk's age.                                         KIRK                    Hey Mom.   Hey Marnie.                                                                              8.                                                            MRS. KETTNER                    Oh, hi Sweetie.                    Across the room, Kirk's father is speaking to a man who looks          a bit like Kirk. The man is telling a funny story that          cracks up MR. KETTNER. The two pretend to box for a moment.                                        KIRK                    Who's that guy Dad's with?                    MARNIE (the plain woman) stands and takes Kirk aside.                                        MARNIE                    Kirk, you've been really great about                    your mom and I staying so close                    since we broke up but I know how                    much Grammy meant to you... Well, is                    it okay with you that I'm here?                                         KIRK                    Sure.   It's fine.   (it's not)                                        MARNIE                    Okay, good. Then can I introduce                    you to my new boyfriend?                    She leads Kirk over to the man who is speaking with his          father. They are laughing again.                                        MARNIE (CONT'D)                    Ron, this is Kirk.                                        RON                    Uh, oh - the ex. Awkward! (Ron                    and Mr. Kettner laugh) No! I'm                    just jack-assin' with you, pirate.                    Great to meet you. How you doing?                                        KIRK                    I've been better.                                        RON                    Right. Of course. I'm sorry about                    your grandmother. It's just so...                    Well, old people, you know, what                    are you gonna do?                                         KIRK                    Yeah.   Thanks.                    Kirk's brother ERIC and his fiance DEBBIE enter from the          hall. They are both in their late thirties and good-looking          for trailer trash. Debbie is about seven months pregnant.                                                                             9.                                                            ERIC                    Little brother.   Grammy wants to                    see you.                                         KIRK                    Okay.   Well, I better get in there.                    Eric and Debbie walk with Kirk down the hall.                                        ERIC                    Listen, I'm pretty sure she wants                    to discuss the will. She won't                    tell us dick, so we're kind of                    hoping you can grease the wheels.                                        KIRK                    Okay, but you know Grammy didn't                    have all that much. Once the                    hospital and... and the ah...                                        ERIC                    Yeah, yeah, the cremation and what                    not...                                        KIRK                    Well, it's not going to leave                    enough to get worked up over.                                        DEBBIE                    We've got a wedding to pay for,                    Kirk and...                                        ERIC                    Debbie, let me handle this. We've                    got a wedding to pay for, numbnuts,                    and you know Mom and Dad are going                    to Branson next month. Now you                    always been Grammy's favorite so                    we're counting on you to get in                    there and sort out what's what.                    INT. HOSPITAL - GRAMMY'S ROOM                    In a dimly lit hospital room, a very old woman lies in a bed.          She is hooked up to an I.V. and several monitors. Kirk comes          in and forces a smile. Grammy's voice is weak and shaky.                                         GRAMMY                    There you are Big Slick.   Did you                    bring 'em?                                        KIRK                    Grammy, you really shouldn't...                                                                               10.                                                            GRAMMY                    Just hand 'em over. I'm on death's                    door and you know it.                    Kirk sits and reluctantly hands her a pack of cigarettes.                                        GRAMMY (CONT'D)                    Oh, for Christ's sake. Filters?                    Grammy lights up a smoke and savors a long drag. Kirk tears          up at how slightly his grandmother clings to life.                                        KIRK                    I love you Grammy.                                        GRAMMY                    Don't start that shit now. You're                    looking at one lucky old broad who's                    done a lot - skydiving, rollerderby,                    colored fellas. I got no complaints.                    So when the check comes I don't want                    any blubbering or bullshit outta                    you. Just enjoy your life like I                    did mine and raise a glass to your                    old Grammy once in a while.                    Kirk hugs her and he cries a bit.                                        GRAMMY (CONT'D)                    You know how much I love you Kirk.                    INT. AIRPORT SECURITY CHECKPOINT - DAY                    Molly is coming through Kirk's lane again. Mr. Fuller steps          in and stops her before she crosses through.                                        FULLER                    Ma'am, could you please remove your                    jacket and shoes?                                          MOLLY                    Oh, sure.                    She does. Fuller is leering at her stellar body.   She's          about to go through when he stops her again.                                        FULLER                    Why don't we go ahead and strip off                    that belt too while we're at it.                    Molly takes an exasperated breath as she removes her belt.          She starts to move through but again Fuller stops her with a          raised palm. He then motions to her breasts and crotch.                                                                            11.                                                            FULLER (CONT'D)                    Any piercings you'd like me to know                    about?                                        KIRK                    Why don't you just come on through,                    ma'am, and we'll see if anything                    sets off the machine.                    Molly steps through. The machine does not go off. She          gathers her things and mouths a silent, "Thank You" to Kirk          as she walks on. Fuller glares at Kirk but before he can say          anything, RANDY, a young agent, calls out from the office.                                        RANDY                    Kirk buddy! Phone call!                    Kirk walks over to take the call.                                        FULLER                    You best hope the terrorists are                    taking personal calls on the job                    too, mister!                    Kirk takes the phone from Randy.                                        KIRK                    This is Kirk Kettner.                    Kirk's expression tells us that some sad news is coming in.                    INT. AIRPORT COFFEE SHOP - DAY                    Kirk sits at a table with a cup of coffee. He opens his          wallet and flips to a photo of a much younger Grammy and an          eight-year-old Kirk in a casino. Grammy is smoking a          cigarette and dealing blackjack while Kirk sits at the table.                    Kirk tears up and puts his face in his hands.                    Molly is passing.   She sees Kirk and stops.                                        MOLLY                    Oh Geeze. Please tell me I didn't                    get you in trouble back there.                                        KIRK                    No, no. It's not that.    I ah...I                    lost somebody today.                    Molly sits down and puts her hand on his hand.                                                                             12.                                                            MOLLY                    Oh my God. I'm so sorry. I                    know... I lost my grandmother a                    few months ago and I...                    Kirk tears up again and so does Molly.                                        MOLLY (CONT'D)                    Your grandmother too? And you were                    close? Oh, you poor thing.                    Kirk tries to keep it together.   Molly looks at the photo.                                        KIRK                    She used to be a blackjack dealer                    at the Horseshoe. When I was                    little, she taught me and my                    friends how to play poker. Turned                    us into a bunch of eight-year-old                    degenerate gamblers.                    They share a sad laugh.                                        KIRK (CONT'D)                    So, your grandmother too, huh?                    Molly removes a small clear-plastic booklet of photos from          her bag and shows a picture of her grandmother.                                        MOLLY                    My Grammy Keenan was ninety four                    but independent right to the end.                    She was always trying to cook for                    everyone. You couldn't stop her.                                        KIRK                    Oh, God, I know. Grammy used to                    change her own oil. Right up until                    a few months ago. She was... Do                    you change your own oil?                                        MOLLY                        (LAUGHS)                    No. I wouldn't know where to begin.                                        KIRK                    I know, me neither. She could                    barley walk and I'd come over and                    find her lying under her Cadillac                    all covered in grease.                    They share a laugh and Kirk is cheering up a bit.   An          announcement comes over the PA.                                                                             13.                                                            GATE AGENT                    ...final boarding call for United                    flight 94 to Burbank...                                        MOLLY                    Oh, geeze, that's me. I'm so sorry.                                         KIRK                    No, no.   Go catch your flight.                    Molly stands and offers her hand to Kirk.                                           MOLLY                    I'm Molly.                                        KIRK                    Kirk Kettner.                    Molly squeezes Kirk's hand, grabs her bags and trots off          toward her gate. A businessman near Kirk's table reaches          over and gives him a playful chuck on the shoulder.                                        BUSINESSMAN                    Dead Grandma. (a nod and a cheek                    click) Nice one.                    INT. AIRPORT GATE                    Molly arrives at the gate just in time to make her flight.                    INT. AIRPORT COFFEE SHOP                    Kirk gathers his things and notices that Molly left her          pictures on the table. He looks through them. In the last          pouch are some business cards that read, "Molly McCall -          Event Planner." Her cell number is on the card.                    INT. AIRPLANE 737                    Molly is sitting in a window seat. The flight is mostly          empty. The two other seats in her row are unoccupied until a          CREEPY BUSINESSMAN moves from the row behind her to the seat          next to Molly. He casually smiles as though there is nothing          odd about taking the center seat while the aisle seat (and          many full rows) are open. Molly looks at the vacant seats          and then at him as if to say, "You've got to be kidding."                                        CREEPY BUSINESSMAN                    How you doin'?                    Molly's phone rings and she fumbles to answer it.   A FEMALE          PASSENGER sitting two rows back looks annoyed.                                                                               14.                                        INTERCUT: AIRPLANE / AIRPORT COFFEE SHOP                                          MOLLY                    Hello?                                         KIRK                    Oh, hi.   Molly McCall?                                        MOLLY                    Who's calling please?                                        KIRK                    It's Kirk... From the coffee shop.                    You left your pictures with me. If                    you tell me which gate you're at, I                    can run them right down to you.                                        MOLLY                    Oh, no. I'm already on the plane                    and we're pushing back right now.                                        KIRK                    Okay, well I'll leave them at the                    lost and found and when you get...                                        MOLLY                    Oh geeze, some of those are my only                    prints. It would be such a huge                    favor if you could hold on to them                    for me. I'm coming back next week.                                          KIRK                    Oh, sure.    But how will I...                    The female passenger hails the flight attendant.                                        FEMALE PASSENGER                    She's talking on her phone.                    The creepy businessman gives the woman the finger and then          looks to Molly for approval. He doesn't get it.                                        MOLLY                    I have your number in my phone. As                    soon as I get back I'll call you                    and arrange to pick them up, okay?                    Thank you so much, Kirk.                    Molly turns off her phone and holds it up for the flight          attendant to see.                                         MOLLY (CONT'D)                    Thanks.   I'm really sorry.                                                                               15.                                                             CREEPY BUSINESSMAN                    You believe these pricks? So, what                    do you do?                                                                DISSOLVE TO:                    INT. VERTIGO CLUB - NIGHT                    Kirk comes in and stops at the bar to order a beer. Two men          are waving to him from a table near the stage. Kirk gets his          bottle and snakes through the crowd toward his friends.                    On stage, Stainer (in his afro wig) plays guitar as his band          finishes the last chorus of "Lovin', Touchin' Squeezin'."                                        STAINER                    Thank you! We're going to take a                    little breakski but we'll be back                    in a few minutes to do Frontiers.                    The band turns to put down their instruments and the house          music kicks in.                    Kirk arrives where his friends are standing at a high bar          table. DEVON looks like Howdy Doody at 33. JACK is good-          looking and dressed semi-hipster. Devon gives Kirk a hug.                                          DEVON                    Hey Kirk.    How you been holdin' up?                                        KIRK                    It's been a rough week but, you                    know, all of the services and                    family stuff keep you pretty                    busy... I really miss her, though.                    Jack hugs Kirk as well.                                        JACK                    She sounded like a hell of a lady.                                        STAINER (O.S.)                    Oh, fuck yeah! Kirk's Grandma was                    the shit.                    Stainer arrives, hugs Kirk and gives him a kiss on the head.                                        STAINER (CONT'D)                    She's with God now, buddy - and you                    just know she's bustin' his balls.                    Kirk laughs and Stainer raises his glass.                                                                                16.                                                               STAINER (CONT'D)                    To Stella!                    The guys all raise their glasses and take a drink.     This is          just what Grammy wanted and it's cheering Kirk up.                    Kirk's cell phone rings.      He has to talk loud over the music.                                        KIRK                    Hello?... Oh, Hi. I'm sorry I can                    barely hear you. I'm at a club                    and.... Club Vertigo? Oh, yeah -                    it's right down the street from                    there... Okay, sounds good.                    Kirk hangs up.                                        JACK                    What was that all about?                                        KIRK                    Nothing, just a passenger. She                    accidentally left something with                    me. She's going to stop in and                    pick it up I guess.                                        DEVON                    She's coming here?      She a cute gal?                                           KIRK                    Very.                                        STAINER                    Well alright dude! That's a leave-                    behind. She digs you!                                        KIRK                    No she doesn't.      Trust me.                                        STAINER                    She does a leave behind and then                    just happens to be in the                    neighborhood? She practically has                    her hands in your pants.                                        KIRK                    No, seriously - it's nothing.      She's                    way out of my league.                                        STAINER                    Dude, you said Marnie was out of                    your league and let's face it,                    Marnie's kinda nasty.                                                                               17.                                        Marnie is standing behind Stainer.     He doesn't miss a beat.                                        STAINER (CONT'D)                    ...Marnie...don't you think Marnie                    Tomkins is kind of nasty?                                        MARNIE                    I don't know who that is.                                        STAINER                    Oh, you don't know Marnie Tomkins?                    She's just this girl. I thought you                    knew her. Anyway, she's pretty nasty                    looking... but you're looking good.                                        MARNIE                    Kirk, I'm sorry about Grammy.                    The guys slink away to give Kirk and Marnie some privacy.                                        MARNIE (CONT'D)                    I realize she was never that crazy                    about me but I know how much you                    loved her and I hope you're okay.                                         KIRK                    Thanks.   Thanks, I'll be alright.                                        MARNIE                    Listen, are you going to Branson                    with your folks next month?                                         KIRK                    No.   It's not really my thing.                                        MARNIE                    What's wrong with Branson?     You too                    good for Branson now?                                         KIRK                    No.   Branson's...awesome.                                        MARNIE                    Well, your mom invited Ron and I                    along. We'd love to go but not if                    it's going to be weird for you.                    Kirk considers this.   It will be weird.                                        MARNIE (CONT'D)                    ...I mean the tickets are non-                    refundable but it's up to you.                                                                            18.                                        Stainer overhears this and groans out loud.                                        KIRK                    No. You should go. I'm sure                    you'll have a great time. Totally.                    Marnie hugs Kirk.   This makes him uncomfortable.                                        MARNIE                    Kirk, I'm sorry about what happened                    with us. You're going to make                    someone very happy someday, but you                    have to get over me first, okay?                    Is it a deal?                    Marnie hugs him again and then departs.                                        STAINER                    She's going to Branson with your                    fucking parents? And bringing her                    new fucking boyfriend!?                                       KIRK                    Yeah. He seems like a good guy,                    though.  He's an entrepreneur.                    Across the room they see Marnie return to Ron with a hug.                                        JACK                    Entrepreneur? Kirk, I know that                    guy. He owns a Pizza Hut.                                         KIRK                    So?   That's a business.                                        STAINER                    It's not even a real Pizza Hut.                    It's one of those strip-mall take-                    out ones. They don't even have                    chicken wings. The guy's a fuckin'                    douche bag.                                        KIRK                    He's got more going on than I do.                    That's all I'm saying.                                        STAINER                    Dude, you can do a hell of a lot                    better than her.                                        DEVON                    One door closes, another door opens.                                                                             19.                                                            STAINER                    Fuck you Devon, that doesn't even                    make any sense. But take this                    broad that's coming here tonight -                    I got a feeling about her. You're                    gonna get on that.                                        JACK                    Absolutely. Visualize it.                                        KIRK                    I appreciate what you guys are                    trying to do but, I'm telling you,                    I have zero chance with this one                    and I'm completely okay with that.                                        DEVON                    That's defeatist thinking.                                        KIRK                    No it isn't. It's just like saying                    I'll never go to the moon and I'm                    okay with that too.                                        STAINER                    You're saying you don't want to go                    to the moon? That's bullshit.                                        KIRK                    No. I'm saying that I never will                    go to the moon but I'm not going to                    get down about it because, you know                    - I never expected to.                                        STAINER                    You don't know. Technology and                    shit. You might go to the moon.                    Kirk waves to someone at the door.   The guys look up.                    The guys' POV: Molly is stepping toward them - dressed in a          beautiful gown. They laugh the way you might laugh at a          particularly brutal football tackle.                                        DEVON                    Holy Frijole.                                         JACK                    Oh shit.   Yeah, you're right.                                        STAINER                    Sorry, bro. You'll go to the moon                    before you'll hit that. No chance.                                                                               20.                                                            KIRK                    I told you.                    Molly arrives at their table.                                           MOLLY                    Hey!     There you are!                    Molly hugs Kirk.    From across the bar, Marnie takes notice.                                           KIRK                    Here I am.                                        MOLLY                    I'm sorry I'm so overdressed. I                    just came from a work thing. Are                    you doing okay with...everything?                                        KIRK                    Oh, you know... Hey, these are my                    best friends - Jack, Devon and                    Stainer.                    The guys' I.Q.s drop like stones as they shake her hand.                                           MOLLY                    Stainer?                                        STAINER                    Yeah, just a nickname.    Doesn't                    really mean nothin'.                                        KIRK                    Oh. Here's your pictures - all                    safe and sound.                    Kirk hands Molly the pictures.                                        MOLLY                    Thank you so much for taking care of                    them for me! I need to get some                    copies made. If I lost these...uugh.                                        KIRK                    No trouble at all.                                        MOLLY                    Hey, have you eaten yet?                                           KIRK                    Um...                                                                              21.                                                            MOLLY                    I was going to go grab a bite. Let                    me buy you dinner to pay you back.                                        KIRK                    You don't have to pay me back.                                        MOLLY                    I know. I want to. Come on! The                    place across the street has the                    best greasy burgers in town.                                        KIRK                    A burger does sound good. (then to                    the guys) I'm going to just ah...                    Molly waves goodbye and heads for the door. Kirk starts to          follow but Stainer pulls him back for a quick huddle.                                        STAINER                    Dude. It's cool that she's buying                    you dinner but do not get your                    hopes up about this one.                                        KIRK                    Don't worry. Believe me, I know.                    Kirk catches up with Molly.   Marnie watches them exit.                    A big guy has overheard this and leans over to Stainer.                                        BIG GUY                    Good advice there friend. Your boy                    ain't got a prayer with that chick.                                        STAINER                    You talking shit about my buddy!?                    'Cause I'm giving out free fuckin'                    ambulance rides!                    Big Guy assesses the crazy on Stainer's face and stands down.                                        STAINER (CONT'D)                    Yeah, I didn't think so!                    INT. BURGER JOINT - NIGHT                    Kirk and Molly sit across from one another in a booth.    The          WAITER arrives.                                        WAITER                    Start you off with something to                    drink ma'am?                                                                           22.                                                            MOLLY                    I'll have a Bass.                                        WAITER                    And for your... brother?                                           KIRK                    What?     Oh, I'm not her brother.                                        WAITER                    Oh, I'm sorry. I just figured...                                        KIRK                    You know what, a Bass sounds good.                    Make that two.                                          WAITER                    Great.    Sorry.                    The waiter exits.                                        KIRK                    So... You know what I do, what                    about you? Your card said event                    planner. How'd you get into that?                                        MOLLY                    Well, it wasn't the original plan.                    I went to law school. Ended up at                    a big firm but I hated it. Then,                    they asked me to plan the Christmas                    party. It was a big hit and a few                    months later I was done with law.                                           KIRK                    Wow.                                          MOLLY                    I know.    Pernicious career move,                    right?                                        KIRK                    Oh, I don't know what that word                    means. What was it?                    Close on Molly's smile. She finds Kirk's unabashed admission          very refreshing and endearing.                                           MOLLY                    I'm sorry.     Like, destructive or...                                                                              23.                                                            KIRK                    Oh, okay. No, I don't think that's                    so perni...gious?                                        MOLLY                    Pernicious.                                        KIRK                    Good - new word. No, not pernicious                    at all. Not if you enjoy the work.                                        MOLLY                    I really do. We do a lot of                    charity events and I get to work                    with some of the most amazing human                    beings on some really fun projects.                    Next month I'm doing a cancer                    benefit with Billy Joel.                                         KIRK                    Wow.   I love Billy Joel.                                        MOLLY                    The only downside is I have to do a                    lot of public speaking and I've                    always struggled with stage fright.                                        KIRK                    Oh man - That's my number one fear.                    I'm terrified of getting up in                    front of people. I'd rather get a                    Kentucky root canal.                    Molly laughs. An older GOOD-LOOKING MAN steps up to the          table and stands facing her with his back to Kirk.                                        GOOD-LOOKING MAN                    Excuse me, I was just sitting over                    at the bar and I was wondering; has                    anyone told you today that you are                    absolutely stunning?                                        MOLLY                    Are you seriously hitting on me                    right in front of my boyfriend?                    He turns to Kirk and both men start to laugh.                                        GOOD-LOOKING MAN                    This is your boyfriend?                                                                             24.                                                             KIRK                     Oh, yeah right! (Catches Molly's                     unspoken instructions.) But, yeah.                     I'm her boyfriend, I guess, so...                                          GOOD-LOOKING MAN                     Really?   Wow. Well... sorry.                                         KIRK                     Honest mistake.                    The man gives Kirk a wink and wanders back to the bar.                                         MOLLY                     Did you get a load of that hair-                     piece? What is it with men? I                     mean, look at you. You're bald and                     you're fine with it. A little                     dignity is all I'm saying. The                     toupees and plugs and the teen-                     dream sports cars... Oh geeze, I'm                     sorry. Do you drive a sports car?                                         KIRK                     I drive a 94 Taurus. It's got                     AM/FM but I wouldn't call it a                     sports car per se.                    Molly laughs and we hard cut through the following snippets          of conversation as they eat, chat and laugh.                                         KIRK (CONT'D)                     So here's this little old lady                     trying to go through security with                     six pounds of weed in her girdle!                    Cut.   The food is being served.                                         MOLLY                     Oh, my God! I love that book!                    Cut.   The waitress is picking up the empty plates.                                         KIRK                     So, a duck walks into a bar...                    Cut.   Molly is laughing while she's paying the bill.                                         MOLLY                     Well, I've got an early morning. I                     should go. Thanks for coming                     along. This was really fun. And                     thanks again for helping me out.                                                                                  25.                                                            KIRK                    No, thank you for dinner. I feel                    bad that you won't let me...                                        MOLLY                    Oh, stop it. Listen, I handle some                    of the charity events for the                    Coyotes and I've got some tickets                    for the hockey game tomorrow night.                    You interested?                    Kirk is a bit taken aback and confused.     Is she actually          asking him out on a real date?                                        KIRK                        (NERVOUSLY)                    Um, sure. Yeah, great. I mean,                    I'm free tomorrow night.                    She digs two tickets out of her purse and hands them over.                                       MOLLY                    Perfect. I hate to see them go to                    waste. There's two so maybe bring                    Stainer?                    Kirk's expression is as much relief as disappointment.                                           KIRK                    Oh, right.     Thanks!   Thank you.                    EXT. HOCKEY ARENA - NIGHT                    Kirk and Stainer are on their way through security. A huge          security guard runs a metal-detector wand over Stainer.                                        STAINER                    Whatcha runnin' there a PX-235?                                        GUARD                    I don't know sir.                                        STAINER                    The two hundred series are dog                    shit. You couldn't find a bazooka                    with that thing. You should look                    into the new eight fifties.                                        GUARD                    Can you keep it moving sir?                                                                            26.                                        INT. HOCKEY ARENA                    Kirk and Stainer arrive at the third row to find two open          seats right next to the penalty box. To Kirk's surprise, in          the next seat - Molly! Kirk elbows Stainer.                                        KIRK                    Hey, it's Molly.       She's here.                                           STAINER                           (PERPLEXED)                    Huh.                                        MOLLY                    Hey guys! You made it! Hooray!                    Thanks for coming.                                           KIRK                    Oh, yeah.     Wouldn't miss it.                                        STAINER                    Thanks for the sweet seats!                                        MOLLY                    Guys, this is my best friend in the                    whole world, Patty. This is Kirk                    and, um, Stainer, right?                    Patty is over 200 pounds with a pretty face and an edge that          comes from a lifetime of taking crap from morons.                                           PATTY                    Hey boys.     Nice to meet you.                                        MOLLY                    Patty's my assistant and my go-to                    gal. Whatever you need, she can                    make it happen on a moments notice.                                        PATTY                    You need a cock-shaped cake with a                    cotton-candy bush delivered by four                    o'clock? I'm your connection.                                        MOLLY                    Oh, and she likes to shock people                    so don't let her freak you out.                                        KIRK                    How 'bout that. So, we're going to                    grab some beers. Can we bring you                    ladies anything? Beer? Nachos?                    Patty, cotton candy?                                                                           27.                                        INT. HOCKEY ARENA CONCESSIONS AREA                    Stainer and Kirk stand in the beer line.                                        STAINER                    That's it. She's setting you up                    with the fat chick.                                        KIRK                    Ooohhh! Okay! Okay! That makes                    sense, right!? When Molly was here                    I was like, "what!?" But, okay!                    Well, Patty seems cool. She's funny.                                        STAINER                    Well, yeah, she has to be.                                        KIRK                    What does that mean?                                        STAINER                    Nothing. The fat chick seems                    great. You never know, bro, that                    fat chick could wind up being the                    love of your life.                    Kirk returns a look of annoyance.                                        STAINER (CONT'D)                    Patty, I'm saying. Patty could be                    the love of your life.                    INT. HOCKEY ARENA                    The game has started. Kirk, Stainer, Molly and Patty are          cheering. The puck smacks the glass before them and another          player skates up for it. As he mucks it from the edge, he          looks up and sees Molly. He's distracted just long enough to          get brutally checked face first into the glass. A penalty is          called on the player who hit him. That player skates into          the penalty box near Molly. The name on his jersey reads,          "REESE." He speaks with a thick Canadian accent.                                           REESE                    Hey Molly!     Yer lookin' good, eh!                                        MOLLY                    That was a bogus call, Bobby.    Your                    skates barely left the ice.                                         REESE                    I know.   What's that aboot, eh?                                                                            28.                                                            KIRK                        (nervously to Reese)                    Yeah, that ref is like a total                    blindo, man.                                           STAINER                    Blindo?                                        PATTY                    Kirk, Molly's sister is blind.                                        KIRK                    Oh, I'm sorry. I didn't mean...                                        MOLLY                        (not offended)                    Oh, I know. It's fine.                    INT. BROADCAST BOOTH                    The radio announcers are calling the game.                                        ANNOUNCER                    Forty Five seconds left on the                    Power Play and the Sharks are                    knocking at the door.                    INT. HOCKEY ARENA                                        REESE                    So, after the game, you wanna party?                                        MOLLY                    You know my policy on players,                    Bobby. And you might have noticed                    we've already got dates.                    The penalty ends and the ref opens the box but Reese is not          paying attention.                                        REESE                    Come on, Molly. Just give me a                    chance, eh.   I'm a great guy - ask                    any of these assholes.                    The crowd is booing Reese.                                        MOLLY                    Reese, you'd better...                                        REESE                    You can't seriously be blowing me                    off for these two hosers.                                                                            29.                                                            STAINER                    Hey! Fuck you Reese!    You suck                    this year anyway!                    Reese raises his squirt bottle over the glass and squirts          Stainer.                                          STAINER (CONT'D)                    You dick!                    Stainer is immediately on his feet, climbing the glass and          trying to pummel the huge player. Security is on him in a          flash and dragging him, kicking & swearing, out of the arena.                    Reese wakes up and skates out of the box but it's too late.          The Sharks score and the crowd revolts. A red-haired redneck          woman, sitting two rows back, calls out to Molly and company.                                        RED-HAIRED WOMAN                    You idiots just cost us a goal!    I                    hope you're happy!                                        PATTY                    You'd better check that tone, Reba!                    You do NOT want me comin' up there!                                        MOLLY                    Patty! Stop it! I'll go see what                    I can do about Stainer.                                        KIRK                    No, this is my fault, I'll take                    care of it.                                        MOLLY                    No, it's okay. I know the head of                    security. I'll be right back.                    Molly exits and Patty sits back down next to Kirk.                                        KIRK                    God, I'm really embarrassed.                                        PATTY                    That's okay, if Reese did that to                    me I'd have gone over the glass                    too. But I would have landed a few                    before they got me. Reese has been                    all over Molly ever since she                    dumped her boyfriend. I tell you,                    that girl has nothing but trouble                    when it comes to men.                                                             30.                                                  KIRK          What? How is that even possible?          She's so...                              PATTY          Tell me about it. I'm no lezbo but          sometimes she makes me want to          strap on - if know what I'm saying.                               KIRK          Yeah.   I think I do.                              PATTY          It's a curse, looking like that.          Who has the balls to hit on her?          Just the most arrogant A-holes like          Reese out there.                              KIRK          Yeah, I suppose.                              PATTY          Listen, Molly brought me along          tonight because, you know, she          thought I might be 'interested.'                               KIRK          Oh.   Oh yeah?                              PATTY          But, just for honesty's sake, I'm          not interested. No offense.                              KIRK          No! Hey! None taken. I don't          blame you. I know I'm no Brad          Pitt. That's cool.                              PATTY          What? You? No, I'm talking about          your pal, Stainer. I know he's your          friend but he seems like kind of a          dumbshit. (THEN) Wait. Why would          you think I was talking about you?                                 KIRK          I'm sorry.     I didn't mean to assume          anything.                              PATTY          Oh my God. You don't have a clue          do you? Molly's really into you.                                                                             31.                                                            KIRK                    Oh, yeah right!                    Kirk laughs hard until he realizes that Patty isn't laughing.          Patty's nod says, "I'm serious."                                        KIRK (CONT'D)                    But... why would...                                        PATTY                    A knockout like Molly be interested                    in a spud like you?                                        KIRK                    Well, yeah.                                        PATTY                    Got me. Again, no offense. But                    listen, Kirk, your dream girl just                    showed up. Try not to blow it.                    Close on Kirk's terrified expression.   The SOUND of a bowling          ball demolishing ten pins...                    INT. BOWLING ALLEY - NIGHT                    The place is crowded and classic rock is cranking. It's an          old alley with overhead-projection score sheets. Kirk,          Stainer and Devon sit and talk while Jack throws a strike.                                        DEVON                    Atta boy Jackers!                                        STAINER                    It doesn't add up, Kirk. If                    Molly's so into you, why bring her                    friend and give you two tickets?                                        KIRK                    She was hoping to set Patty up with                    you.                                           STAINER                    Oh, great.                                        KIRK                    It's okay, she wasn't interested.                                        STAINER                    So you're saying the hottest babe                    in the world wants you and the fat                    chick isn't into me. Will you                    listen to yourself? Fuck you.                              (MORE)                                                                            32.                                        STAINER (CONT'D)                    What did Molly have to say about                    all this?                                        KIRK                    I don't know, Stainer, somebody got                    thrown out of the game and I had to                    drive him home, remember?                                        DEVON                    Pretty impressive catch, Kirky.                                        STAINER                    There's no way. Don't get him all                    worked up. Her friend was fuckin'                    with him. Molly said herself that                    Patty loves to mess with people.                                        DEVON                    Kirk, you deserve a gal like her.                    And Stainer, why don't you try to                    be a little more supportive.                                        STAINER                    Why don't you try a little shut the                    fuck up, Devon. This week, we're                    not taking dating tips from the guy                    who met his wife in eighth grade.                                        JACK                    Are we still bowling?                    Stainer picks up a crappy, beat up ball from the ball return.                                        STAINER                    All I'm saying is - she's just too                    hot. No judgement on Kirky, the                    guy's just outgunned here.                                        KIRK                    I can't argue with him.                    Stainer goes to the line. The BOWLER (a pro-type with a          custom ball and glove) on the next lane is already standing          about to roll. Stainer starts to step up.                                        BOWLER                    Yo, house ball! I was up first.                                        STAINER                    Oh for fucks... What is it with you                    people?                                        BOWLER                    Just wait your turn.                                                                            33.                                                            STAINER                    All this noise and bullshit in this                    place and I'm such a distraction                    over here in your god damned                    peripheral vision!?                                        KIRK                    Okay Stains, take it easy.                    The bowler stands glaring back.                                         STAINER                    Well!?   Fuckin' roll then!                    The bowler takes another minute to set. Stainer lets out a          long sigh. The bowler steps to the line and Stainer rushes          into his own delivery. Both men throw gutters. The bowler          comes at Stainer but their friends separate them.                                        BOWLER                    You're lucky motherfucker!                                          STAINER                    Oh yeah!?    Bring it, Brunswick!                                          DEVON                    Stainer!    Cool your jets, buster.                    The bowler's friends drag him away. Stainer takes a deep          breath before he shifts right back into conversation mode.                                        STAINER                    Okay. Anyway... I love Kirky but                    let's face it, the guy's a three.                                        DEVON                    Stainer, that's just dirty pool.                    He's at least a four.                                        STAINER                    You're outta your fuckin' mind -                    four! You go ahead and pump                    rainbows up his ass. I'm just                    being honest.                    Stainer moves the score sheet and then writes a three on the          glass. It projects onto the overhead scoreboard.                                        KIRK                    I can live with three.                                                                       34.                                                            STAINER                    He's a nice guy and he's funny.                    Those are a half a point each.                    Stainer continues the equation on the projector.                                        STAINER (CONT'D)                    But he drives a shit box so we                    gotta deduct a point for that.                                        DEVON                    Kirk said she likes his Taurus.                                        STAINER                    That's so fucked, I won't even                    dignify it with a response. So                    we're back to three. Meanwhile,                    this Molly is a hard ten.                                        DEVON                    A hard ten?                                         STAINER                    Generally, if a broad is that hot                    you can deduct a few points for dumb                    or shallow but she went to law                    school and her sister's blind.                    That's a hard ten, friends, and that                    is rare. A seven point disparity -                    that's a chasm. The most you can                    jump is two points. I can't even                    get a ten.                                        JACK                    Oh, not even you, huh?                                        STAINER                    I'm a five, okay?                                          JACK                    Bullshit.    Then what am I?                                        STAINER                    You're a seven and a half.                                        JACK                    Fine, you're a five then.                                        STAINER                    Okay, so I get a two point bump for                    being in a band. That puts me at                    seven. On a good day, most I can                    bag is a niner.                                                                            35.                                                            KIRK                    What about your shitty car?                                        STAINER                    Artist exemption. I'm expected to                    have a shitty car.                                        JACK                    Is there an artist exemption for                    being a jag-off?                                        STAINER                    Fuckin' A there is.                                        KIRK                    Stainer's right. Patty was                    probably just messing around. It's                    not a big deal. Let's just bowl.                                        DEVON                    What about Rick Ocasek?   Billy                    Joel, Donald Trump...                                        STAINER                    Yeah, dumbass. Those are the wild-                    cards. Money and fame.                                        JACK                    So, if he were a millionaire?                                        STAINER                    A mil ain't what it once was,                    Jackie. Devon's practically a                    millionaire for Christ sake. A mil                    might get you an eight but to bring                    down a ten now days - two million                    minimum.                    Stainer finishes the equation by writing, "Kirk = Fucked."          Kirk's phone rings. He checks the ID and his eyes go wide.                                        KIRK                        (into the phone)                    Hey, Molly... Um, yeah, sure...                    No, that sounds good. Yeah, I know                    where that is. Um, okay, yeah...                    see you then.                    Kirk hangs up and gapes at his friends, who wait in suspense.                                        KIRK (CONT'D)                    Holy crap. (dazed pause) She just                    asked me out for tomorrow night!                                                                            36.                                        Kirk exchanges fives, fists, tips and hugs with Devon and          Jack. Stainer shakes his head, still not buying it.                    INT. BOWLING ALLEY MEN'S ROOM                    Kirk runs into the otherwise empty restroom. He stares into          the mirror and his smile fades into panic. He splashes water          on his face. He reaches for a paper towel but the dispenser          is empty.                                        KIRK                        (to himself)                    It's okay. Get it together. Guys                    do this all the time. You can do                    this. You can make it happen.                                        RANDOM MAN'S VOICE (O.S.)                        (from inside a stall)                    You better not be jerking off in                    the sink, man!                    EXT. AIRPORT PARKING LOT - DAY                    Kirk's Taurus pulls into a space. He climbs out and slams          the door. As it closes, he reaches but too late. He looks          through the window. The keys are hanging in the ignition.                    INT. AIRPORT SHUTTLE BUS                    WILLY, the Russian driver, is chipper and bubbly as he sings          along with "I'm Like a Bird" on the radio. Kirk is knocked          around by Willy's crazy driving. In the mirror, Willy          notices Kirk's dazed expression.                                        WILLY                        (thick accent)                    Kirk! You look like someone made a                    second number in your breakfast                    cereal. You are doing okay, yes?                                        KIRK                    You know what Willy. I honestly                    don't know how I'm doing.                                        WILLY                    He does not know!                                        KIRK                    I should be doing awesome but I                    don't know. Know what I mean?                                        WILLY                    Nope!                                                                               37.                                                            KIRK                    How are you?                                        WILLY                    Perfect! Willy is having another                    kick ass of a day.                    Willy takes a hard left and some suitcases fall on Kirk.                    INT. AIRPORT FOOD COURT - DAY                    Kirk is picking up a coffee. As he walks on, he takes a sip.          The lid comes off and hot coffee spills on his shirt.                                        STAINER (O.S.)                    Way to go, Big Slick.                    Stainer is now next to Kirk, who glares back at him as they          walk across the food court.                    A short, plain girl behind the Orange Julius counter gives          them an apprehensive wave.                                          STAINER (CONT'D)                    Oh, shit.    Let's go this way.                    Stainer returns an uncomfortable smile but then redirects          their path away from her. Kirk waves.                                        KIRK                    Who's that?                                        STAINER                    Nobody. Just some chick I boned                    once when I was drunk. You look                    like shit, bro.                                        KIRK                    Thanks. I had trouble sleeping                    last night. This Molly thing... I                    don't want to want this, you know?                    It just seems too good to be true.                    I just don't get it.                                        STAINER                    I know what you mean.   There has to                    be some explanation.                                        KIRK                    I can't think of one.   Not one that                    makes any sense.                                                                            38.                                                            STAINER                    Well, let's spitball it a little.                    You've got dick for money so she's                    no gold digger. Oohh! Did you                    ever see Double Indemnity?                                        KIRK                    Please don't say she wants me to                    kill someone.                                        STAINER                    Okay, then... maybe she's on a                    scavenger hunt. You know, like                    find a wagon wheel, a wiffle ball                    bat and a fat, bald TSA agent -                    that kind of thing.                    Kirk is no longer responding.                                        STAINER (CONT'D)                    Oh, shit, dude. Al Qaeda. Think                    about it. You're a TSA agent,                    she's a terrorist...                    Kirk walks away.                    EXT. OLD STRIP MALL - DAY                    Kirk, still in his TSA uniform, walks past a large laundromat          to a small storefront next door. The chipped and faded          lettering on the glass reads, "Maury Hammerstein, Attorney At          Law - Aggressive, Dynamic Representation Since 1942!" As          Kirk reaches for the door, he notices a small hand-written          sign, "I don't make change!" He goes inside.                    INT. LAW OFFICE                    Wood paneling, buzzing fluorescent lights and furniture the          Salvation Army would sell only as firewood.                    Eric and Debbie sit with Kirk's parents. There are two          elderly women and another middle aged man in the room as          well. Maury, who's about a hundred years old - cute and          meek, fusses with an ancient VCR while smoking a cigarette.                    Kirk sits down next to Eric. Kirk notices a free bank          calender on Maury's desk - dated 1991.                                        ERIC                    It's about time, numbnuts.                                        KIRK                    I came right from work.                                                                             39.                                                            MR. KETTNER                    Okay Maury - we're all here.                                        MAURY                    Oh! You bet! You betcha! Okay,                    hi there Kirk. Firstly, let me                    just say how awful sorry I am.                    Stella was one heck of a gal and a                    real dish. Anyhow, let me just...                    Maury gets the VCR going.   "Wheel of Fortune" comes up on the          screen.                                        MAURY (CONT'D)                    Oh mercy. I didn't tape over her                    with The Wheel did I?                    The picture goes to snow and then stutters into a shot of          Grammy sitting in her kitchen. She has just clicked the          video camera on with a remote control.                                          MAURY (CONT'D)                    Oh, good.    There she is.                                        GRAMMY                    Testing. One, two, three, four.                    Oh, this God damned thing!                    She gets up and fusses with the camera.                                        GRAMMY (CONT'D)                    Jap piece of shit! Is it on!?                    Cutaway to Kirk tearing up.   Grammy sits back down.                                        GRAMMY (CONT'D)                    Okay, my name is Stella Edith Dakin                    and if you're watching this, I'm                    dead as a doorknob and I ain't                    spent all my money yet. I got shit                    to do today so I'm going to get                    right to it. This is my last will                    and testament and if you miss                    anything the old Jew's got the                    paperwork. Okay, here's the                    deal...                    Everyone besides Kirk leans in, excited to hear what they          might get. A phone rings. Maury looks around but the          ringing is coming from the TV. Grammy answers the phone.                                                                               40.                                                            GRAMMY (CONT'D)                    Hello? I'm kind of busy right now                    Eric... Oh, for God's sake, boy!                    How can you be sure it's even                    yours? It could be practically                    anybody's!... No, I'm not paying                    for that!... Well, then I guess                    you're going to be a daddy.                    Congratulations, now I gotta go!                    She hangs up, puts on her glasses and lights up a smoke.                                        GRAMMY (CONT'D)                    Anyway! I love all of you, despite                    some of the shit you pulled, but I                    spent my life a gambler and I always                    put my money on the best bet. The                    odds of any of you fish doing                    anything worthwhile with my stack                    are slim to none. So old Grammy's                    going all in on Big Slick.                    Everyone looks at Kirk who is stunned.                                        GRAMMY (CONT'D)                    I'm proud of you, Kirk. Don't let                    your old Grammy down. Do something                    good with it.                    She blows a kiss, lifts the remote and aims it at the camera.                                        GRAMMY (CONT'D)                    Oh, for Christ sakes!                    She throws the remote at the lens.    The picture goes to snow.                                        ERIC                    So Kirk gets it all!?   That is                    bullshit!                                        KIRK                    Eric, it can't be much.                                        ERIC                    Well!?                    Maury digs into his desk and pulls out a mess of papers.    He          dons a pair of glasses that make his eyes look gigantic.                                        MAURY                    Let's see here... Looks like she                    had herself six G's in savings.                              (MORE)                                                                            41.                                        MAURY (CONT'D)                    Um, another three grand in bonds,                    give or take. Her life insurance                    will pay pert-near seventy grand.                    He adds this up on an old adding machine (the kind with the          hand crank) and writes $77,800 on a chalk board, which is          mounted on the wall behind him.                                        ERIC                    She left him eighty grand!?                                        MAURY                    Most of Stella's retirement home                    expenses were covered by her reverse                    mortgage. But, figure in thirty                    thousand still due to Arborwood                    Village. She racked up forty-seven                    thousand in medical bills. And my                    fee, of course, which now stands at                    two thousand and change - which is                    real reasonable, folks.                    He writes "Liabilities = $79,000    Total -$1,200."                                        ERIC                    So Kirk owes money!? HA! Shit,                    man! That is God damn hilarious!                    INT. FRENCH RESTAURANT - NIGHT                    The upscale restaurant is crowded. Kirk and Molly are eating          at a small table. Kirk is not relaxed like he had been the          last time they ate together. He is sweating and trying to          remain cool. The Maitre d is eyeing them suspiciously.                                        MOLLY                    But, you can't legally be held                    responsible for her debt. What                    kind of hack is this attorney?                                           KIRK                    It's okay.     I had it in savings.                    The waiter brings a drink to Molly.                                         WAITER                        (French accent)                    Madame. From ze gentleman in ze                    grey suit.                    From his table, a good looking man smiles and raises a drink          to Molly. She nods back - polite but annoyed.                                                                            42.                                                            KIRK                    Anyway... Grammy hated owing anyone                    money. I'm afraid she couldn't                    rest if she wasn't square with the                    house. It's the least I can do.                    She practically raised me.                                        MOLLY                    You're a good man, Kirk.                    Molly smiles and takes his hands. The maitre d is watching          and getting angry. The waiter returns with another drink.                                        WAITER                    From ze gentleman in ze purple tie.                    Another guy raises his glass to her from the bar. Molly is          getting irritated. Kirk is feeling smaller every minute.                                        MOLLY                    Listen, no more drinks.    Please.                                           WAITER                    Of course.     No more drinks, madame.                                           MOLLY                    I'm sorry.     This happens sometimes.                                        KIRK                    Yeah, I get that a lot too. I'm                    sure the next one will be for me.                    Molly laughs. The best looking man Kirk has ever seen walks          up to the table. He and Molly hug.                                        MOLLY                    Oh, my gosh! Talon! I didn't                    realize you were in town already.                                        TALON                    I just flew in this morning.                                        MOLLY                    Kirk, this is Talon.    This is my                    good friend, Kirk.                                        TALON                    Great to meet you, sir.                    Talon gives Kirk a winning handshake, complete with wink.                                                                            43.                                                            TALON (CONT'D)                    So, do we have you for our Disabled                    Angels Program again this year?                                        MOLLY                    Wouldn't miss it.                                        TALON                    That's fantastic. (to Kirk) Mol is                    always a big hit with the kids.                                         MOLLY                    Please. You're the one the kids go                    crazy for.                                        KIRK                    So you two work together?                                        MOLLY                    Only once a year. Talon is our                    charity liaison at the air show.                                          TALON                    And?                                        MOLLY                    And my ex-boyfriend.                    Kirk starts to choke. He grabs his water glass and takes a          swig but the ice collapses and the water pours all over him.                                         KIRK                    Oh, boy.   I guess I better...                    Kirk heads off to the bathroom, muttering to himself.                                          KIRK (CONT'D)                    Stupid.    Stupid. Stupid.                    INT. FRENCH RESTAURANT MEN'S ROOM                    Kirk is drying his shirt. A man is still zipping up as he          takes the next sink. Before washing, he offers a handshake.                                        MAX                    Excuse me. My name is Max Fleming.                    I'm a financial planner.                    Kirk takes the handshake reluctantly and then gets a business          card. Max then starts to wash up - so does Kirk.                                          KIRK                    Oh, Hi.                                                                               44.                                                            MAX                    Please forgive me but I'm curious.                    Who manages your portfolio?                                        KIRK                    My portfolio? I don't really...                    Max takes the last paper towel - forcing Kirk to drip dry.                                        MAX                    It's okay if you'd rather not say. I                    admit that selling my services in a                    men's room is a tad aggressive but                    isn't that what a man of your means                    requires in his financial planner?                                          KIRK                    My means.                                        MAX                    Judging by the company you're                    keeping, I'd say that you're making                    a handsome living. I can help you                    do even better.                    INT. FRENCH RESTAURANT RESTROOM HALL                    Kirk exits reading Max's card - somewhat bewildered. The          Maitre d stops Kirk and speaks in a French accent.                                        MAITRE D                    Excusez-moi Monsieur.   Might I have                    a word?                                          KIRK                    Oh, sure.    Is everything all right?                    The Maitre d looks around and then leans in and speaks          quietly - now without the French accent.                                        MAITRE D                    My kids eat here. My mother's here                    right now you son of a bitch.                                         KIRK                    Okay.   Did I...                                        MAITRE D                    Look, I can appreciate that this is                    not some common street-walker.                    You're obviously willing to pay for                    the best but we can't have this                    kind of thing at my place.                                                                            45.                                                            KIRK                    What? I'm not paying anyone.                    We're just on a date.                                        MAITRE D                    You are on a date with her? What                    am I an idiot? Now, I don't wish                    to embarrass you, sir, or make a                    scene. So, enjoy your dinner but,                    be warned, do not ever bring                    another professional into my place.                    (louder and back into the French                    accent) Tres bien Monsieur!                    INT. FRENCH RESTAURANT                    When Kirk rounds the corner, he sees that Molly and Talon are          still talking. Kirk hides behind a plant. Molly is beaming.          She stands to hug Talon and kiss his cheek before he exits          the restaurant. Kirk returns to the table.                                         KIRK                    Oh, no.   Did I miss Talon?                                        MOLLY                    He had to go but he asked me tell                    you how much he enjoyed meeting you.                                         KIRK                    Yeah. Super. He, uh, seems like a                    great guy.                                        MOLLY                    He is. He's wonderful. I know, I                    know - the blue eyes and the rock                    hard abs, right? But he's really                    so much more than that. A gallery                    in New York just opened an exhibit                    of his photography. He's a genius.                                        KIRK                        (to the waiter)                    Can we get the check?                                        WAITER                    Madame, your bill has been covered                    by ze woman in ze Raiders Jacket.                    A butch woman in the bar raises a glass in Molly's direction.                    INT. MOLLY'S CAR - NIGHT                    Molly and Kirk pull into a parking lot.                                                                               46.                                                            MOLLY                    Oh my gosh! This is your                    apartment? I used to live in this                    neighborhood back in college.                                        KIRK                    Yeah, I'm gonna move to a better                    place pretty soon.                                        MOLLY                    We used to come to parties over                    here sometimes. Oooohh. Can I                    come up and see your place?                    EXT. KIRK'S APARTMENT                    It's Friday night and several college parties are raging in          the complex. Kirk leads Molly up the stairs and down the          balcony hall toward his door. They pass a few college          students on the way; a couple making out, a guy vomiting in a          bush. Two apartment windows are covered with tapestries of          Bob Marley and a giant pot leaf.                    INT. KIRK'S APARTMENT                    Kirk and Molly enter.   The apartment is neat, clean and          fairly sparse.                                        KIRK                    It's not much, I know.                                        MOLLY                    No, I like it!                    Molly walks around and examines certain items. Kirk quietly          hides a framed picture of Marnie. Molly passes his computer          desk where she coos at a screensaver of baby polar bears.          Just as she passes it, she bumps the mouse and the computer          comes to life, revealing a "Hot Back-Door Asians" website.          Molly didn't see it and Kirk scrambles to turn off the          monitor. She turns to see what he's doing. He smiles. She          moves on to a rack of DVDs.                                        MOLLY (CONT'D)                    Wow, we have a lot of the same                    DVDs. Life of Brian, Cool Hand                    Luke, Family Guy... Beaches, Kirk?                                         KIRK                    What?   It's a good movie.                                        MOLLY                    I love that movie.                                                                           47.                                        She spots a crate full of vinyl records.                                        MOLLY (CONT'D)                    Wow, records. No Way! Look at all                    this Cheap Trick!                                        KIRK                    You like Cheap Trick?                                        MOLLY                    Are you kidding? Heaven Tonight is                    the first album I ever owned! A                    hand-me-down from my big sister.                    She was the coolest person in the                    whole world.                    She notices an upright piano in the corner.                                        MOLLY (CONT'D)                    You play the piano?                                        KIRK                    A little. My grandma taught me.                    It was kind of our thing. She was                    a great player. Ragtime, show                    tunes, that kind of thing. I'm                    really not very good.                    She plops down on the couch.                                        MOLLY                    Oh, I'll bet you're great.   Play                    something for me.                                        KIRK                    No, I can't really play in front of                    people.                                        MOLLY                    What, the stage fright thing?    Come                    on it's just me. Please?                                        KIRK                    No, I really can't. Trust me,                    you're not missing anything.                    Kirk decides to join her on the couch but then he balks into          a little dance of almost sitting. He finally commits to sit.                                        MOLLY                    So you've never played in front of                    anyone?                                                                           48.                                                            KIRK                    Nope. Almost did once. A talent                    show in high school. I just sat up                    there drenched in sweat. I really                    thought I could do it but then I                    made my big mistake.                                        MOLLY                    Let me guess. You looked at the                    audience.                                        KIRK                    Yep. All these eyes on me. I'm                    shaking, my head is spinning, I'm                    trying to remember if I even play                    the piano... and then, I puked.                                        MOLLY                    Right there on the stage?                                        KIRK                    INTO the piano actually.                                        MOLLY                    Shut up! You're lying!      Why would                    you do that?                                        KIRK                    It was a reflex. I was trying not                    to barf on the floor. Turns out                    it's a lot easier to clean puke off                    a stage than out of a baby grand.                                        MOLLY                    Yeah, that has to be a real bitch.                    Oh, I shouldn't be laughing. You                    poor thing.                    Molly brushes his hair back with her hand. Kirk is frozen          with fear. Molly leans in. Kirk also leans in but not too          far. Molly smiles, realizing that it's up to her to make          this official. She takes him by the collar, reels him in and          kisses him. They make out for a moment. Kirk is near panic          but he does his best to keep it together.                                        KIRK                    Sorry. I'm a little cotton-mouthed.                    I'm going to get a glass of water.                    How 'bout for you? Water? A nice                    glass of, you know...water?                                         MOLLY                    Yeah.   That sounds good.                                                                             49.                                        Kirk steps away from her and disappears into...                    INT. KIRK'S APARTMENT KITCHEN                    He pours a glass of water. He's about to return when he sees          his reflection in the window. The boner under his khakis is          not subtle. He looks down and starts to panic.                                        KIRK                    Um... You want anything to eat?                                           MOLLY (O.S.)                    No thanks.                    Kirk opens the fridge and thrusts his pelvis in. He takes a          few deep, calming breaths.   He closes the fridge - still at          full alert. Kirk searches the kitchen, his panic building.          He grabs a Time Magazine. He flips through frantically. He          turns to a bikini model in an ad, then a naked aboriginal          women, then bare breasts in a breast cancer article.                                        KIRK                    Oh come on!                    He is sweating like crazy.                                        MOLLY (O.S.)                    Can I give you a hand?                                         KIRK                    No.   I got it!                    Kirk finally flips to a picture of Barbara Bush.   He stares          at it hard. His boner begins to retreat.                    INT. KIRK'S APARTMENT                                        MOLLY                    Listen Kirk, I want you to know                    that I would really like to, you                    know, to be with you tonight.                                           KIRK (O.S.)                    Really?                    INT. KIRK'S APARTMENT KITCHEN                    The boner pops back up. Kirk silently mouths, "MOTHERFUCKER!"          at his mischievous little man.                                        MOLLY (O.S.)                    Well, sure. But... I just don't                    think I'm ready yet.                                                                           50.                                        Kirk's reply is rushed with enthusiastic relief.                                       KIRK                    Sure! Sure! Yeah! No problem!                    Great! That's...that's great!                    Ice!? You want some ice!?                                        MOLLY (O.S.)                    Sure.                    Kirk opens the freezer. He puts a few cubes in her water and          then grabs a fistful and shoves his hand in his pants.                    INT. KIRK'S APARTMENT                    Molly gets cozy on the couch and looks even sexier.                                        MOLLY                    I mean, don't get me wrong. I want                    to! Believe me - getting naked and                    crazy sounds fantastic right now.                                        KIRK (O.S.)                    Shit!                                        MOLLY                    Are you okay?                                        KIRK (O.S.)                    Yeah, fine.                    INT. KIRK'S APARTMENT KITCHEN                    Kirk runs the water while he digs under the sink. He finds          duct tape. He pulls some tape off the roll. It makes a loud          noise that causes Molly to pause and Kirk to tense up. Kirk          opens his pants and begins taping down the trouble-spot. He          coughs hard to cover each subsequent tug of the tape roll.                                        MOLLY (O.S.)                    I just think we should get to know                    each other first.   I'm no prude.                    I mean, I'm pretty generous in bed.                    Once I trust a person, I like to                    experiment and get pretty wild.                                        KIRK                    Oh, dear God.                                        MOLLY (O.S.)                    But, I just need to feel safe                    first.                                                                             51.                                        Kirk finishes taping up, zips his pants and checks his          profile in the reflection from the window.                    INT. KIRK'S APARTMENT                    Kirk returns with two glasses of water and no visible boner.                                         KIRK                    Hey.   I'm totally fine with that.                                        MOLLY                    You're the best.                    Kirk gives an "aw-shucks" head tilt.    Molly stands.                                        MOLLY (CONT'D)                    Okay, well, I'd better go then.                    They walk to the door. Molly leans in and they kiss a few          moments more. Kirk winces as the tape is getting a little          snug. She drops her keys and then goes down on one knee to          retrieve them. Suddenly she starts coughing. She puts her          fist over her mouth.                    Kirk's POV:   As her head and fist bob in front of his crotch.                    Kirk winces again. She hears the tape start to give way.          She looks up, slightly confused. Kirk looks around as though          he's looking for the source of the sound. Molly stands.                                        MOLLY (CONT'D)                    I had a really nice time.    I'll                    call you tomorrow.                                           KIRK                    Great!                    Kirk opens the door for Molly.                    EXT. KIRK'S APARTMENT                    As Molly exits, she gives him one last kiss. Two studly male          college students are playing foosball on their patio. They          stop when one points out the hottie who's kissing Kirk.          Molly trots off.                                           COLLEGE STUDENT #1                    Damn, man!     That chick is fine!                    Kirk returns a cool "whassup" nod to the guys.                                        COLLEGE STUDENT #2                    All right Mr. Kettner!                                                                             52.                                                            COLLEGE STUDENT #1                    You wanna play some foos!?                                        KIRK                    No thanks fellas.                    Kirk beams from the attention as he goes back inside.                    INT. KIRK'S APARTMENT                    He drifts over to his piano and sits down. The joy of what          has just happened is plastered on his face. He launches into          a furiously happy Jerry Lee Lewis style romp. Soon a          neighbor is pounding on the wall. Kirk stops playing.                                        KIRK                    Sorry, Mrs. Neusbaum!                    Kirk continues his celebration, dancing around the apartment.          He picks up the picture of Marnie and speaks to it.                                        KIRK (CONT'D)                    Ron seems like a swell guy. I love                    Pizza Hut. What? Who's this?                    Why, this is my girlfriend, Molly.                    Oh, don't be that way. Oh, there,                    there, now. Here's a tissue.                    He drops the picture and continues the dance.                    INT. KIRK'S APARTMENT BEDROOM - NIGHT                    Kirk lies in bed staring at the ceiling fan. The smile          continues as he drifts off to sleep. Time lapses as Kirk          sleeps and the sun comes up. Still smiling, his eyes open          like a shot and he reaches for his phone - "No Missed Calls."                    MONTAGE OVER MUSIC:                    1) Kirk gets up and goes into the bathroom.   He checks his          gut and hairline in the mirror.                    2) From under his bed, he pulls out a Total Gym still in the          box. It is dusty, unopened and has a ribbon still attached          along with a card that reads, "Happy Graduation - Love Mom          and Dad." He sits in the living room bewildered as he reads          the directions. The parts are spread out all over the floor.          He works out on the machine but it soon violently collapses          underneath him. He checks his phone. "No Missed Calls."                    3) He throws away unhealthy snacks and treats from the          cupboards.                                                                              53.                              He opens an untouched box of Healthy Bran and fills a bowl.          He watches cartoons as he heaps sugar on the healthy cereal          and then checks his phone. "No Missed Calls."                    3) He surfs the web. He reads info on the Hair Club For Men          site. He moves to Hot_or_Not.com. The first woman is very          pretty. He rates her a seven, the next is also pretty and          gets another seven, the next girl is very unattractive. Her          score is three. Kirk feels bad for her and rates her a ten.          He checks his phone. He moves on to "BackDoorAsians.com."                    4) Kirk watches a Connery James Bond movie on TV. The lower          third reads, "AMC's 24 Hours of Bond." No Missed Calls. The          sun is setting and Bond is now Roger Moore - No Missed Calls.          Kirk digs a box of Ding Dongs out of the trash and eats them          as he watches. It's dark outside and Kirk is in bed watching          Timothy Dalton - No Missed Calls. The morning light is          creeping in as Pierce Brosnan does the driving and Kirk is          still awake looking devastated - No Missed Calls.                    5) Kirk is at a convenience store buying milk. He is a mess -          tired, unshaven, wearing a frumpy sweatsuit. He passes the          magazine rack and something catches his eye. It's a gorgeous          picture of Molly on the cover of Phoenix Entrepreneur          Magazine. Kirk holds up the magazine and then catches his          own reflection in a mirror on a sunglasses rack.                    6) Kirk is walking home. Every street sign, billboard and T-          shirt he sees reads, "NO MISSED CALLS."                    MUSIC FADES OUT                    INT. KIRK'S APARTMENT BATHROOM - DAY                    He stands in the shower sulking. He hears the phone ring in          the next room. He jumps out, grabs a small towel and starts          to dry off as he runs into the bedroom. He reaches the          charger base but the phone is not there. He stands and          listens hard to the ringing. He runs into the living room.          Angle on the phone. It's hiding under a pillow on the couch.          In the background, Kirk rushes around the room flipping up          papers and magazines. The phone keeps ringing and Kirk's          panic increases until he finally spots the phone. Kirk dives          for it, losing his towel in the process.                                         KIRK                    Hello!?   Hello!?                                        STAINER (V.O.)                    Took you long enough. What were                    you doing, taking a growler?                    Kirk notices a woman on the landing outside behind him.   She          can see his ass through the window. He covers up.                                                                            54.                                                            KIRK                    Sorry, Mrs. Nuesbaum.                    EXT. DOWNTOWN SHOPPING DISTRICT - DAY                    Kirk and Stainer come out of a record store and walk past the          shops and restaurants. Kirk holds a stack of flyers for          Stainer's band. As they walk, Kirk hands flyers to Stainer          who posts them on walls and kiosks with a staple hammer.                                        STAINER                    Kirk, it's a simple rule of life.                    Look around. People are pretty                    evenly matched.                    Kirk and Stainer look at the couples that stand at the bus          stop, sit in the outdoor cafes and walk down the sidewalk.          Each couple is fairly closely matched - pretty with pretty,          ugly with ugly, heavy with heavy, fit with fit.                                        KIRK                    Yeah, but Stainer, she was the one                    who asked me out. So, why...                                        STAINER                    That first night, were you                    intimidated by her?                                        KIRK                    No, I didn't think I had a chance.                                       STAINER                    Exactly. So you were relaxed and                    funny. You were on.                    Stainer posts several "Wheel in the Sky" flyers on a kiosk.                                        KIRK                    So I gotta get back to that.                                        STAINER                    That's just it, Kirky. Now that                    she's opened the door, you can't                    get back to that.                                        KIRK                    So I'll have to fake it?                                        STAINER                    Forget it. You can't fake that                    far. A broad like her - she'll                    smell that horseshit a mile away.                                                                            55.                                        Kirk and Stainer enter a...                    EXT. CAFE FRONT PATIO                    ...and take a table on the crowded patio.                                        STAINER                    Can we get a couple of menus?                    (then to Kirk) You eating?                                        KIRK                    Maybe just a salad.                                        STAINER                    Dude, one salad ain't going make up                    for thirty years of chili dogs.                                        KIRK                    I know. But I got dinner with my                    folks later.                                        STAINER                    Fun. Be sure and stab your brother                    in the eye with a fork for me.                                        KIRK                    Sorry, Eric's not coming tonight.                    Kirk motions toward a mismatched couple (nerdy guy with          knockout girl) who pass Kirk and Stainer's table on their way          to the valet stand. Stainer rolls his eyes.                                        KIRK (CONT'D)                    You know what - this is ridiculous.                    I'm just going to call her.                                        STAINER                    Fuck you are! Put that thing away.                    You do not call her. Don't you get                    it? Talon is back in town.                                        KIRK                    No, she broke up with him.                                        STAINER                    So, you're telling me you were                    sitting there, a sweating,                    quivering stutter-bucket and when                    you came back from the can, Molly's                    hugging a guy who's so good looking                    you'd probably fuck him. What do                    you think she's doing this weekend?                                                                             56.                                                            KIRK                    So what am I supposed to do?                                        STAINER                    What can you do? She hasn't called                    - she's not going to.                                        KIRK                    You're probably right.                                        STAINER                    Just count yourself lucky. You got                    to kiss a goddess and you got out                    before she recalibrated your                    hardware. A chick like that can                    raise the bar too high and then                    once she dumps you, nobody else                    measures up.                                        KIRK                    No, you're right. You know what -                    it's good. It's better. I'm                    actually relieved. You should have                    seen this Talon guy. Man! All                    I've been thinking about is having                    to be naked in front of her. I                    don't need that kind of pressure.                    The valet pulls a red Ferrari up to the mismatched couple and          the nerdy guy opens the door for her. Stainer shakes his          head as if to say, "Was there even a doubt?"                    Kirk's phone is sitting on the table - it rings.   Kirk and          Stainer can see Molly's name on the caller ID.                                        STAINER                    Don't do it!                    The phone rings again. Kirk glances down at the phone.          Stainer keeps a stern eye on Kirk. RING! Close on Kirk's          eyes turning weak. RING! Close on Stainer's threatening          eyes. RING! Kirk gives up and looks away. Stainer's eyes          calm. Kirk snatches the phone but Stainer grabs Kirk's          wrist, pinning it to the table. RING!                                        KIRK                    Cut it out!                                           STAINER                    Let it go!                                                                              57.                                        RING! Kirk reaches for the phone with his other hand but          Stainer's free hand intercepts it and these arms flail around          like battling snakes. Kirk presses the button to answer the          call and, instead, moves his head down to the phone.                                        KIRK                    Hello!?... Oh, no problem! Yeah I                    was super busy yesterday anyway.                                        STAINER                    Would you look at yourself?                    Stainer lets go and Kirk sits up and backs away.                                        KIRK                    Well, I have dinner with my folks                    tonight... Oh, I wouldn't want to                    subject you to them... Okay. If                    you want to. I can pick you up...                    Kirk gives a confident smile and an "I told you she'd call"          nod. Stainer crosses his arms and shakes his head.                                        KIRK (CONT'D)                    Oh, sure. Well then let me call                    you back in a few minutes and I'll                    give you directions. Alrighty.                    Yeah. Buh-bye.                                        STAINER                    Well, I guess you just solved that.                    An hour with your family and she'll                    file for a restraining order.                                        KIRK                    No. Eric's not going to be there.                    It's going to be good. You might                    be wrong about Molly. She might...                    Stainer spots a round little boy posting a "Lost Puppy" flyer          over one of the ten he just posted on the kiosk.                                        STAINER                        (to the boy)                    Whoa! I don't think so Spanky!   A                    little lower!                    The boy instead posts it over a "Walk For a Cure" poster.                    EXT. KIRK'S PARENTS' HOME - EVENING                    Molly drives up and stops in front of a small home on a          quaint residential street.                                                                               58.                              She climbs out of her car, checking the address on a small          sheet of paper. She sees Kirk sitting on the front porch.                                        KIRK                    You found it!                                        MOLLY                    I had good directions!                    She steps up the front walk toward Kirk, who points to a          little yellow note taped to the front door.                                        KIRK                    I'm sorry. My folks aren't back                    yet. We're locked out.                                        MOLLY                    You don't have a key?                                        KIRK                    No. My dad's kind of obsessed with                    home-security. Like someone's                    going to break in and steal his                    Reader's Digest collection.                    A very old man wobbles out of the house next door with a          beagle on a leash. The man struggles a bit with the dog.                                        KIRK (CONT'D)                    Hi, Mr. Riley!                                        MR. RILEY                    Well, howdy Kirk!                                        KIRK                    Hey, what do say you take the night                    off and I'll take Noodle around the                    block for you? (to Molly) Are you                    up for a walk?                                        MOLLY                    That sounds great.                                        MR. RILEY                    Geeze Kirk, that's mighty nice.                    Kirk jogs over to take the leash.   Noodle jumps up on Kirk.          He and Molly pet the excited dog.                                        KIRK                        (baby talk)                    Yes! Always happy to see you,                    pretty girl! Yes you are a pretty                    girl! Yes you are!                                                                              59.                                        Molly takes note - animal lover - big points.                                        MR. RILEY                    You're a good boy, Kirk.                                        KIRK                    It's no trouble at all.                    Molly and Kirk start down the sidewalk with Noodle. An old          woman comes out of the next house with her dog on a leash.                                         OLD WOMAN                    Honey!?   Are you back in business!?                                        KIRK                        (To Molly)                    I had a little neighborhood dog-                    walking service when I was a kid .                    (to the woman) No problem, Mrs. D,                    we can take Norton along too!                    Several soft-faded cuts as Kirk and Molly move through the          neighborhood. Soon they have a third dog. Kirk points out          landmarks as they talk and laugh. Now they have a fourth          dog. Molly takes his arm.                    The evening light is a bit dimmer as they give Noodle back to          Mr. Riley. Kirk turns toward his parents' house. Now          there's a car parked in the driveway and a jacked-up, knobby-          tired pick-up parked out front. The truck has two bumper          stickers ("One Nation Under GOD!" and "No Fat Chicks!")          flanking a vanity license plate that reads, "ERIX-TOY."          Kirk's shoulders slump at the sight of it.                                        KIRK (CONT'D)                    Hey, you know what I'm thinking,                    let's go get Chinese.                                        MOLLY                    What are you talking about?   I want                    to meet your family.                    They start toward the door.   Molly's cell phone rings.                                        MOLLY (CONT'D)                    I'm so sorry. It's Patty. I've                    got to take this. Go ahead. I'll                    be right in.                    INT. KIRK'S PARENTS' HOME - EVENING                    Kirk comes through the front door to find his father in the          living room watching a hockey game.                                                                               60.                                                             KIRK                    Hey dad.                                        MR. KETTNER                        (without looking up)                    Kirk.                                        MRS. KETTNER (O.S.)                    Hi sweetie!                    Eric steps out of the kitchen with three beers.                                        ERIC                    Close the door, fucknut.                                        KIRK                    Hey Eric. I thought you were                    hanging drywall tonight.                                        ERIC                    Nah. Fuckin' Leroy fired me again.                    Like that dick never came to work                    with a little buzz on.                                        KIRK                    Okay, listen, I brought a date                    tonight. I really like her.                    Please don't embarrass me in front                    of her. I'll do anything you want.                                        ERIC                    I promise I won't mention her                    goiter.                    Eric and Dad crack up.                    A flushing sound and then Ron comes out of the bathroom.          He's buckling up. Kirk's shoulders drop again.                                        RON                    I did like you said Mr. K.                    Eric tosses Ron and Mr. Kettner each a beer.                                        KIRK                    Oh, hey Ron. So Marnie's here?                    Marnie appears in the door of the kitchen. She's holding a          corningware pot filled with mashed potatoes.                    Molly finishes her call. She's up the front steps and Kirk          lets her in. Eric, Ron and Mr. Kettner are stunned. Marnie          drops the pot and it smashes on the floor in front of her.                                                                               61.                              Mrs. Kettner and Debbie rush out to see what Marnie is gaping          at. Debbie (still pregnant) is immediately threatened by the          way Eric is looking at Molly.                                        KIRK (CONT'D)                    Everyone, this is Molly McCall.                    Kirk's never seen his family so impressed. He can't hide his          grin. Ron pops the cap off his beer and it overflows a bit.                    INT. KIRK'S PARENTS' KITCHEN - NIGHT                    Kirk, Molly, Mr. & Mrs. Kettner, Marnie, Ron and Debbie sit          around the kitchen table and feast on a meatloaf dinner.          Eric is at the fridge grabbing a beer. Marnie is angrily          watching Ron whose eyes are all over Molly.                                        ERIC                    You want another one Dad?                                        MR. KETTNER                    You read my mind.                                        MRS. KETTNER                    You two take it easy now. We have                    guests. (THEN) Eric honey, I'm                    sure if you apologize to Leroy,                    he'll take you back.                    Eric returns to the table with the beers.                                        ERIC                    Nah, fuck him. Anyways, Leroy ain't                    payin' shit ever since he trucked                    in all those spics from Fresno.                                        KIRK                    Geeze Eric!                    Ron looks offended and raises a palm to indicate that...                                        RON                    I got this, Kirk. Eric, before you                    go bad-mouthin' a whole group of                    people, you should know that my                    grandmother on my father's side is                    from Fresno.                                        ERIC                    Hey, I'm sorry. I didn't know.                    (THEN) So, Molly. What do you do?                                        MOLLY                    I'm an event planner.                                                                            62.                                                            ERIC                    You see? That's using your head.                    That's a business to get into.                                        MOLLY                    Well, thank you Eric.                                        ERIC                    Book a band, blow up a few balloons                    and people pay out the ass for it.                                        KIRK                    There's a little more to it than                    that, Eric. Molly handles some big                    events. She's even doing a benefit                    with Billy Joel next month.                                        MOLLY                        (PLAYFULLY)                    Actually, Eric's right.   Just a few                    balloons.                    Molly smiles to reassure Kirk that she can handle herself.                                        RON                    You know, Molly, I'm a business                    owner myself. A little restaurant.                                        MARNIE                    I wouldn't really call it a                    restaurant, Ron.                                        RON                    We serve food that people eat.   So -                    restaurant.                                        MARNIE                    It's a Pizza Hut with no tables.                    It's a take out place.                                        ERIC                    So, Molly, me and Debbie here are                    getting hitched. What do you get                    for a wedding job?                    Kirk raises his eyebrows into "please-behave-yourself" puppy          dog eyes. Eric shoots back an "oh whatever" sneer.                                        MOLLY                    Hmmm. Honestly, I don't really do a                    lot of weddings. I specialize more                    in fund-raisers, corporate events,                    that kind of thing.                              (MORE)                                                          63.                              MOLLY (CONT'D)          Right now I'm working on the annual          benefit for the Children's Cancer          Center.                              ERIC          But you've done weddings.                              MOLLY          I've done a few.                              ERIC          So, what do you get for one?                              KIRK          Dad, could you...                              DEBBIE          Don't get your panties in a wad,          Kirk. He's just making          conversation.                              MOLLY          Geeze, there are so many factors          that affect the cost of a wedding.                              ERIC          We're looking at about two hundred          people and we're gonna do this          whole Nascar theme.                              DEBBIE          I'm getting a kick-ass dress made          out of actual checkered flags and          Eric is going to be in an orange          tux with a big Home Depot logo on          the back and Tony Stewart's number          20 on the shoulders.                              MOLLY          Oh, how fun!                              ERIC          So what's the damage for          supervising something like that?                              KIRK          Eric, please.                              ERIC          I'm just talkin' ballpark. I'm          ain't gonna try and Jew her down.                                                                            64.                                                            MOLLY                    Okay. Before expenses, my base fee                    for a non-charity event is fifteen                    thousand. So, I'd ballpark that                    somewhere around twenty-five grand.                                        ERIC                        (STUNNED)                    Fuck a duck.                    For a moment everyone is chewing and there is a break in the          conversation. Kirk is getting wound up tighter and tighter.                                        ERIC (CONT'D)                    So you're making a comfortable                    living, you seem like you got your                    head together more or less and                    Christ, look at ya. What the hell                    you doing with numbnuts here?                                        MRS. KETTNER                    Eric!                                        ERIC                    Come on, Ma - we're all thinking it.                                        MRS. KETTNER                    Molly, I'm so sorry.                                        MOLLY                    No, it's fine. The truth is, Kirk                    and I are just getting to know one                    another but so far, I think he's                    decent, he's funny and... You                    know, when we first met, Kirk asked                    me in all sincerity if I knew how                    to do an oil change.                    Eric, Ron and Mr. Kettner each let out a quick burst of "yeah          right" laughter.                                       MOLLY (CONT'D)                    I know! And, you're right, I don't                    but... I just love that he asked.                    A moment passes as they all process this. The women at the          table all know exactly what Molly means. The men are simply          confused.                                        ERIC                    Funny? Kirk is funny?    Tell us a                    joke there Sinbad.                                                                               65.                                                            MRS. KETTNER                    (to Kirk) Well I hope you can hold                    onto this one pumpkin. (to Molly)                    When Marnie broke up with him he                    was devastated for months, the poor                    little guy.                    Marnie looks up, surprised and touched by the comment.   Kirk          is mortified.                                        ERIC                    No shit, when you dump him, he's                    liable to kill himself.                    Kirk rubs his own head to keep it from exploding. Molly calms          him with a hand on his back. This move isn't lost on Marnie.                    INT. KIRK'S PARENTS' BATHROOM - LATER                    Kirk splashes water on his face and then looks for a towel          but can't find one. He's forced to use his sleeve. He is a          wreck. He takes a deep breath and steps out into...                    INT. KIRK'S PARENTS' HOME ENTRY HALL                    ...to find Marnie at the front door putting her coat on.                                        KIRK                    Are you heading home?                                        MARNIE                    Got to get home and let Peanut out.                    (she wipes some lint off of Kirk's                    shirt sleeve.) Kirk, you look                    really good.                                         KIRK                    Thanks.   You do too.                    Marnie smiles a sad smile.                                         MARNIE                    Ron!   Let's go!                                        RON                    I'm coming! It was really                    fantastic to meet you Molly.   If                    you ever need a pizza...                    Ron gives Molly a hug that makes Marnie as uncomfortable as          it does Molly. He then passes Kirk as he crosses to the          front door, carrying a pile of foiled over paper plates.                                                                               66.                                                            RON (CONT'D)                    Cripes Kirk! Crack a window in                    there pirate! HAHAHA!                    Ron and Marnie exit.   Kirk walks back into...                    INT. KIRK'S PARENTS' KITCHEN                    Mrs. Kettner and Molly are cleaning up.                                        KIRK                    Molly, you don't have to do that.                                        MOLLY                    No, It's fine.                                        MRS. KETTNER                    You let us have some girl time.                    Take these downstairs to your dad.                    She hands Kirk a bag of Fritos and shoes him through the          basement door.                    INT. KIRK'S PARENTS' BASEMENT - NIGHT                    Kirk's father has built a tacky little basement bar decorated          with neon beer signs and Eric's old trophies and ribbons.          Mr. Kettner and Debbie sit at the bar and smoke as Eric          stands behind the bar and serves them cocktails. Kirk comes          down the basement stairs and joins them. The hockey game          wrap-up highlights are running on a TV mounted above the bar.                                        KIRK                    So, what was the final score?                                        ERIC                    You think you're hot shit now?    Is                    that it?                                        KIRK                    Look, Eric, you've had a lot to                    drink tonight and...                                        DEBBIE                    Don't tell him what to do. (to                    Eric) You're doing fine, baby.                                        ERIC                    You think you're better than me.                    Say it. Well take a look around,                    Big Slick. (re: trophies) Every                    one of these says Eric. First                    place! First Place! M.V.P.!                              (MORE)                                                                            67.                                        ERIC (CONT'D)                    Winner! Winner! You think you're                    the winner now? Well forget it,                    man! I don't buy this for a second.                                        KIRK                        (STANDING)                    Well, it's been fun.                                        MR. KETTNER                    Now don't be that way, boy. All                    your big brother is trying to say                    is that we're worried about you.                                        ERIC                    You show up here with that piece of                    ass!? Either you're fucking with                    us or she's fucking with you so                    which is it?                                        KIRK                    Look, I know she's a little out of                    my league but...                                        ERIC                    A little!? Are you shitting me?                    Alright, alright! I think we can                    all agree that Debbie here is one                    wicked hot box.                    Debbie smiles and squeezes Eric's hand. Mr. Kettner nods and          raises his glass.                                        KIRK                    She's um... very attractive.                                        ERIC                    Yeah, and this Molly makes her look                    like a pig.                    Debbie lets go of Eric's hand and storms upstairs.                                        ERIC (CONT'D)                    You see? This girl of yours is                    already startin' shit. (Calling                    after Debbie) Come on baby! Kirk                    didn't mean nothing by that!                                        KIRK                    Look, I don't know what's going on                    either but...                                        ERIC                    I'm goin' upstairs and gettin' to                    the bottom of this.                                                                               68.                                                                KIRK                    Eric!   No!                                        ERIC                    I think this gal is messing with my                    little brother and I'm not going to                    sit still for it.                                        KIRK                    Eric! Okay! I know! I'm sure                    she's just slumming or something                    and it's all going to be over any                    minute but, Jesus Christ! She'll                    come to her senses without any help                    from you! She's up there with...                    Kirk turns to point up the stairs. As he glances back, he          finds Molly standing on the steps listening and frowning down          at him. Before Kirk can get a word out, Molly storms out of          the house. Kirk runs upstairs but she's in her car before he          can get out the front door. Eric appears behind him.                                        ERIC                    Way to go numbnuts. You should                    have let me handle it.                    INT. AIRPORT SECURITY CHECKPOINT - DAY                    Kirk stands at work, searching Habib's bag and looking          grouchy. Fuller monitors Kirk, arms crossed. Habib lets out          a long irritated sigh.                                         KIRK                    I know.   I'm sorry, man.                    Kirk hands the bag back to Habib and sends him on his way.          Randy, another agent, hands Kirk a note.                    INSERT: The note reads, "Kirk, We need to talk.     I'm in the          food court. -M."                    Kirk sighs.   Stainer is now reading over Kirk's shoulder.                                        STAINER                    Well, I guess this is it. I'm                    surprised she even bothered.                    INT. AIRPORT FOOD COURT                    The food court is crowded.     Kirk looks around for Molly but          does not see her.                                                                            69.                                                            MARNIE (O.S.)                    Good, you got my note.                    Kirk turns to find Marnie sitting at a table working on a          Burrito Supreme.                                              KIRK                    Oh.     Yeah.     Hi.                                        MARNIE                    I'm sorry to bug you at work but                    this couldn't wait.                    Kirk sits down.                                        MARNIE (CONT'D)                    Kirk, I think I messed up. I see a                    change in you and I like it. So, I                    was thinking that we should                    maybe... get back together. Just                    to try it out, you know?                                          KIRK                    Wow.    I don't know, Marnie.                                        MARNIE                    Why not? Please don't say it's                    because of this Molly person.                                         KIRK                    No, I think I already screwed that                    up anyway.                                        MARNIE                    Good. I was really worried about                    you with her. She seems like kind                    of a bitch.                                          KIRK                    What?    She is not.                                        MARNIE                    Well, she acts like she's better                    than everyone with her hybrid car                    and her la-de-da charity work.                                        KIRK                    She doesn't do that at all, Marnie.                    You're just putting that on her.                                                                           70.                                                            MARNIE                    Okay, maybe so. See? This is what                    I mean. You never argued with me                    before. You're really growing.                                        KIRK                    What about Ron?                                        MARNIE                    If you want to get back together,                    of course, I'll break up with Ron.                                        KIRK                    You mean you're still with him?                                        MARNIE                    I'm not going to risk being all                    alone just because you don't know                    what's good for you. Come on,                    Kirk. Deep down, you know where                    you belong.                                        KIRK                    You're right, I think I do.   Say hi                    to Ron for me.                    Kirk stands and walks away.                    EXT. AIR SHOW ENTRANCE - DAY                    Kirk and Stainer are at the ticket gate. Kirk pays for his          ticket but Stainer stands staring at him.                                        KIRK                    What?                                        STAINER                    This wasn't my idea. I ain't                    dropping twenty bucks to go in                    there. God-damned planes are in                    the sky. I can see 'em just fine                    from the parking lot for free.                    Kirk begrudgingly buys Stainer a ticket.                    EXT. AIR SHOW                    Kirk and Stainer move through the crowd. Stainer now carries          a corn dog, a giant soda and an armload of Air Show          memorabilia, including an inflatable F/A-18 Hornet.                                                                            71.                                                            KIRK                    She's working one of the kids'                    charities. I'm guessing they might                    be down by the rides.                                        STAINER                    Whoa dude, check it out.   The Blue                    Angels!                    Five men in flight suits and aviator sunglasses strut through          the crowd in slow motion. They exude masculine confidence.                                        STAINER (CONT'D)                    Those are the coolest guys in the                    entire world. Think about it -                    George Clooney or Derek Jeter would                    trade places with those guys in a                    second. Can you imagine the sheer                    magnitude of puss those fuckers tag?                    I'm gonna get 'em to sign my Hornet!                    Stainer runs toward them. He joins some kids and beautiful          women who are already getting autographs.                    Kirk spots Molly working a charity booth. He crosses to her.          She turns to him with a this-better-be-good stance.                                        KIRK                    Molly.                                        MOLLY                    Kirk.                                        KIRK                    I just wanted to apologize for last                    night... for my family.                                        MOLLY                    Your family I can deal with.                                        KIRK                    And for me... For what I said.                                        MOLLY                    Do you really think I'm that                    shallow? You think I need to slum?                                        KIRK                    No. I don't know what to think.                    You just have to understand that                    this is a new area for me. Believe                    it or not, I don't have gobs of                    experience with beautiful women.                                                                               72.                                                            MOLLY                    Is that all I am to you?                                        KIRK                    No, but I don't have much                    experience with brilliant,                    successful, wonderful women either.                    This melts Molly a bit.                                        MOLLY                    Kirk, this can't work if you put me                    up on some kind of pedestal.                                        KIRK                    It's not that I... Okay, look...                    When I was a kid, we played a lot                    of baseball in my neighborhood.                    The worst part was picking teams                    because I was always picked last.                    Every time. Like they couldn't                    start a friggin' game without first                    establishing how much I sucked.                    So, now you come along and make me                    feel like the first pick. But...                    what if I can't hit?                    Molly softens and smiles.                                        MOLLY                    You already got to first base.                    Just keep your eye on the ball.                    Kirk nods and smiles back.   Molly steals a quick kiss.                                        MOLLY (CONT'D)                    Let me tie up a couple things and                    I'll show you around the grounds.                                        KIRK                    Sounds good.                    Molly goes into a tent to speak to Patty.    Kirk watches her          with a calm, relieved smile.                                        VOICE (O.S.)                    Boy, she sure is something, huh?                    Kirk turns toward the imposing Blue Angel pilot standing          behind him. The pilot removes his shades - it's Talon.                                                                            73.                                                            TALON                    It's Kirk right? (firm handshake)                    Excellent to see you again, sir.                                           KIRK                    Oh, Talon.     You're a Blue Angel?                                        TALON                    Yes sir, a Naval Aviator.                                        KIRK                    Perfect. Okay, I get it - Talon is                    what - your call-sign?                                        TALON                    No, it's my name.                                        KIRK                    Then what's your call-sign?                                        TALON                    Oh, I'd rather not say. It's                    embarrassing. Just something the                    guys gave me...                    Talon puts his arm around Kirk and walks him away from the          booth.                                        TALON (CONT'D)                    Anyway listen Kirk, is it fair to                    say that you and Mol are close?                                        KIRK                    Yeah, I guess.                                        TALON                    Well, I understand that fellas like                    yourself tend to have uniquely                    candid relationships with the women                    they befriend. Am I right?                                        KIRK                    Fellas like myself?                                        TALON                    Don't get me wrong. I have no                    problem with your lifestyle. What                    grown men do in the privacy of                    their homes is none of my concern.                                        KIRK                    Talon, I'm not...                                                                               74.                                                            TALON                    Hey, I'm in the Navy. I don't ask                    and I don't expect you to tell.                    Talon looks over his shoulder to confirm they are alone.                                        TALON (CONT'D)                    Now, I don't know what Molly's told                    you about me, but anything bad - I                    deserve. I hurt that girl. I hurt                    one of God's own angels and I've                    regretted it every minute since.                                         KIRK                    No.   She speaks very highly...                                        TALON                    God as my witness, I WILL make it                    right. I WILL get her back. Can I                    count on you to put in the good                    word for me, Poncho?                                        KIRK                    Um... Sure.                                        TALON                    You're the man. Come here.                    Talon embraces Kirk in a tight hug.                                        TALON (CONT'D)                    There you go. Feel the tolerance.                    Another Blue Angel calls over while signing Stainer's plane.                                       BLUE ANGEL #2                    Yo! Foot-Long! We scramble in                    ten.                                         TALON                    Roger!                    Talon finishes the long hug. He and the other Blue Angels          walk off in formation. Stainer rejoins Kirk.                                        KIRK                    That was Talon.                                        STAINER                    Who? The Blue Angel guy?    (cracking                    up) Duuuuude!                    Molly joins them.                                                                            75.                                        MONTAGE OVER LOUD CATCHY TUNE:                    1) Kirk and Molly walk arm in arm through the air show crowd.          Kirk's POV as every guy that passes checks her out. Close on          Kirk's proud expression. The Blue Angels take flight. Close          on the planes as they weave in and out of an intricate          formation. A wider shot reveals that their jet trails spell          out "MOLLY" inside a heart. Reverse to pan across Molly          (worried about Kirk's reaction), Kirk (trying not betray his          insecurity) and Stainer (trying to hold back his laughter.)                    2) Kirk and Molly in a crowded movie theatre. She squeezes          his hand and he smiles back at her. Molly turns back to the          screen and Kirk's smile quickly degrades into a dirty look.          The shot widens to reveal who Kirk is glaring at - another          man (also with a date) sits on Molly's opposite side and          stares down at her cleavage. The man looks up to meet Kirk's          gaze and smiles back. He offers Kirk a fist-tap behind          Molly's head. Annoyed, Kirk doesn't tap back. Molly is          oblivious to this exchange.                    3) As Molly walks down a city sidewalk at night, Kirk has          stopped to tie his shoe. When he trots after her to catch up,          he is tackled by two cops.                                           COP                       Nice try pervert!                    Molly spins around, horrified.                                           COP (CONT'D)                       It's okay ma'am. This fat tub of                       shit was following you but we got                       him.                    Molly angrily grabs Kirk by the arm and frees him from the          cop's grasp.                    4) Kirk, in his TSA uniform, addresses a group of patients at          the Children's Cancer Center. He demonstrates a metal          detector wand. Molly sits with the kids who look bored out          of their minds. Suddenly, the kids light up and Kirk feels          he's making an impression until he realizes that Talon has          come up behind him. Talon is dressed in his flight suit and          carrying an arm-load of toy jets. The kids excitedly jump up          and gather 'round Talon; some even hug him.                    FADE MUSIC                    INT. RESTAURANT - NIGHT                    Dressed up and wearing party hats, Kirk, Stainer, Devon, Jack          and about thirty others stand in a small, classy restaurant.                                                                                76.                              The place is decorated with balloons and streamers.   A huge          banner reads, "HAPPY BIRTHDAY KATIE!"                                        STAINER                    Seriously, what's with the banner?                    She's blind, right? Seems like                    they could have saved a few bucks                    there.                    Patty runs in.                                        PATTY                    Here they come! Everybody hide!                                        STAINER                    Is that really necessary?                                         KIRK                    Stainer!   Just hide.                    They hide. Molly leads her sister, KATIE, into the          restaurant. "Surprise!" Molly hugs Katie.                                        KIRK (CONT'D)                        (to Stainer)                    Still think she's Al Qaeda?                    Stainer brushes off the comment.   Molly waves Kirk over.                                        MOLLY                    Katie, I'd like you to meet Kirk.                                        KATIE                    It's so nice to meet you, I've                    heard great things.                                        KIRK                    Oh, thank you. Molly raves about                    her big sister non-stop.                                          KATIE                    May I?                    Katie reaches out to feel Kirk's face. She's a bit perplexed          by the result. Two blind teenaged boys approach.                                        BLIND TEEN                    Mrs. McCall?                                          KATIE                    Robert!    Is Jerry with you?                                        JERRY                    Yes, ma'am. Happy Birthday.                                                                              77.                                                            KATIE                    It's so nice you came. (to Molly)                    These are two of my star pupils,                    Robert and Jerry. Boys, this is my                    sister, Molly.                                        JERRY                    It's nice to meet you.                    They each feel Molly's face and then start elbowing one          another like a couple of horny construction workers.                    A cake is brought in as everyone sings an unrecognizable but          uncopyrighted birthday song. Katie blows out her candles.                                        MOLLY                    What's your wish, Katie?                                        KATIE                    I wish Kirk would play the piano                    for me.                    Kirk's face drops. Molly kisses her sister on the forehead          as she has obviously coached the response. Immediately Patty          is behind Kirk, pushing him. Kirk tries to politely decline          but now Katie has him by the hand and is leading him to the          piano bench. Everyone applauds and cheers for him to play.                                         KIRK                    Really.   I can barely play.                                        KATIE                    Come on, Kirk! For my birthday?                    Kirk is sweating. He reaches for the keys but he is now          white as a ghost. Molly watches in suspense, rethinking          what she's done. Kirk's hands shake. He moves them around,          hunting for a place to begin. The party-goers stare and the          room gets quiet. Kirk puts his hand over his mouth as though          he might vomit.                    Molly presses play on a CD player behind the bar. Suddenly,          a Cheap Trick song kicks in over the restaurant's sound          system. Katie jumps up to dance with her friends.                    Kirk gets up from the piano and tries to laugh it off.    Talon          appears behind him and puts a hand on his shoulder.                                        TALON                    It's okay Kirk. You'll rock us                    next time right chief?                                                                              78.                                                            KIRK                    Oh, hey Talon. Thanks.                                        TALON                    I'm glad you're here. I feel                    terrible about our little                    misunderstanding. I don't know                    what had me thinking you were a gay                    fella. Molly tells me you two have                    been seeing each other.                    Patty passes between them and gives Talon a dirty look.                                        TALON (CONT'D)                    She's got every right. I'd hate me                    too. (THEN) I want to congratulate                    you, Poncho. You're the better man.                    Now, I'll step aside and truly wish                    you the best of luck. I wouldn't                    wish losing that girl on my worst                    foe. But, make no mistake, you blow                    it and I'll be waiting in wings.                    Love and war, right chief?                    Talon gives Kirk a respectful military salute. Kirk holds          his forced confidence until Talon departs. Once alone,          Kirk's poise deflates and he plops down into a chair.                    The party goes on and Katie opens a small present.                                        MOLLY                    Oh, it's a DVD.                                        KATIE                    Who's this from?                    Nobody claims it but Jack and Devon look at Stainer.                                         STAINER                    What?   It's closed captioned.                    Patty and Kirk are sitting and talking at a table that is          away from the group. Across the room, Talon raises a glass          to them. Patty gives Talon the finger.                                        KIRK                    What did he do?                                        PATTY                    Listen, Molly would kill me if she                    knew I was telling you this but I'm                    trying to do you a favor.                                                                               79.                                                             KIRK                    Okay.                                        PATTY                    Molly has this physical...um issue.                    You know, kind of like a birth                    defect?                                        KIRK                    Oh, my God.                                        PATTY                    It's not a big deal but she's                    really self-conscious about it.                    Talon and some other guys she's                    dated have been weirded out and                    made her feel like a freak.                                        KIRK                    What is it?                                        PATTY                    It's better if she tells you but if                    you can't deal with it, just get                    lost now and don't put her through                    that heartbreak again.                                         KIRK                    No, no.   I wouldn't do that.                                        PATTY                    Good. 'Cause if you do, it'll be                    your last conscious act... (she                    stands) Cake?                    Patty heads off to get some cake. Kirk sits, considering          this information. He looks at Molly. She is wearing a small          black dress. She looks perfect in every way. Kirk crosses          the room and walks out to the...                    EXT. RESTAURANT FRONT SIDEWALK                    He throws his hands up in the air and does a happy dance          similar to the one he had done after their first kiss.                    Stainer, Devon and Jack are around the corner as Stainer and          Jack are smoking a bowl. Devon hears Kirk's celebration and          peers around the corner. He waves the others over. The guys          come around the front to join Kirk.                                         STAINER                    Dude?                                                                              80.                                                            KIRK                        (playfully chipper)                    My friends! Whassup Bitches!                                         DEVON                    What?   What's going on?                                        KIRK                    My troubles are over boys! It's                    all going to work out! Check it                    out - Molly has... Wait for it...                    Kirk pauses for dramatic effect and then puts his thumbs up.                                        KIRK (CONT'D)                    ...a birth defect!                                           DEVON                    Excuse me?                                        JACK                    That's terrible.                                         KIRK                    No.   That's awesome!   Don't you get                    it?                                           DEVON                    Ahhhh No.                                        STAINER                    Sure, I get it. She needs a good                    guy like Kirky 'cause the guys she                    dates can't handle it, right?                                        KIRK                    It sent Talon packing.                    Kirk and Stainer high five.    Jack and Devon look disturbed.                                        DEVON                    Well, what's wrong with her?                                        KIRK                    I don't know yet. Patty just said                    she had a physical issue.                                        DEVON                    Well that could be anything. Did                    she say it was a birth defect?                                                                           81.                                                            KIRK                    She said it was, "something like a                    birth defect."                                        JACK                    What if it's something really bad?                                        KIRK                    I hope it is. I hope it's                    something that would make most guys                    run screaming. It won't matter to                    me. I love her.                                        JACK                    That's cool that you love her but                    it's pretty fucked up to be rooting                    for a harsh deformity.                                        DEVON                    Oh, wow. What if this is Patty's way                    of telling you that Molly is a man?                                        STAINER                    Hey, if that chick has a dick, I'll                    suck it!                    INT. RESTAURANT - LATER                    Kirk and Molly are cleaning up after the party. Kirk is          relaxed and in a fantastic mood. Patty gets her coat and          hugs Molly before exiting. Molly sheepishly approaches Kirk.                                        MOLLY                    Kirk, I'm so sorry about the piano                    thing. It was stupid of me.                                        KIRK                    No. I know what you were trying to                    do. It's okay. I wish I could                    have played for her but...                                        MOLLY                    Well, anyway, thanks for all your                    help with Katie's party. I know it                    meant a lot to her.                    Molly kisses Kirk. Now he's calm and kisses her back          passionately. She smiles a naughty smile at him.                                         MOLLY (CONT'D)                    Tonight?                                                                             82.                                                             KIRK                    Tonight.                    They start cleaning up as fast as they can.   Kirk is beaming!                    INT. MOLLY'S CONDO - NIGHT                    MONTAGE OVER LOVE SONG:                    Kirk and Molly enter her modern, luxurious condo.   Kirk takes          her coat. They kiss.                    Kirk opens a bottle of wine.   He pours one glass to share.                    They sit on the couch talking. Kirk is on!    He is confident          and silly and Molly is eating it up.                    They are making out passionately on the couch.                    Molly stands and extends her hand to Kirk. Kirk stands and          his boner is impossible to miss. This time he looks down at          it as if to say, "How 'bout them apples!?" Molly laughs and          leads him into the bedroom.                    Kirk sits on the bed and Molly goes into the bathroom. He          lights a candle. He is now in a normal state of nervousness          but nothing like he had been before. He pulls out a stick of          gum. He chews it quickly and spits it out.                    Kirk lies down and then sits up and then repeats this.   He          decides to sit.                    Molly opens the door. She is wearing sexy ligerie and          slippers. She looks perfect. She crosses to the bed and          sits down next to Kirk. They kiss but Molly stops.                    MUSIC REDUCED TO BACKGROUND                                        MOLLY                    Kirk, before we do this, there's                    something I'm really insecure about                    and you're going to see it sooner                    or later so...                                        KIRK                    Hey, take a look at me.                    Molly smiles nervously. She stands in front of him, Crying          Game style. She removes her feet from her slippers and looks          down at them. Kirk looks down. Even her feet are fantastic.                                         KIRK (CONT'D)                    What?                                                                               83.                                                            MOLLY                    Don't rush me... Okay, look.                    She parts her toes.    They are webbed.   Kirk's face drops.                                           KIRK                    That's it?                    Kirk jumps up and paces around.                                        KIRK (CONT'D)                    That's it? That's the best you can                    do? This is your big flaw?                                        MOLLY                    If you can't handle it...                                        KIRK                    Jesus Christ! I can't! I thought                    you were going to show me some kind                    of hairy growth or a third nipple or                    something I could work with!                                        MOLLY                    What the hell is wrong with you!?                                        KIRK                    You know what's wrong with me!?                    I'll tell you! I'm fat! I'm bald!                    I'm ugly! I'm hairy! I'm                    uncoordinated! I'm uncreative! I'm                    not a college graduate! I've never                    been to Europe! I have a shitty                    job! I drive a shitty car! You                    want me to go on!? Because I can!                                           MOLLY                    No.                                        KIRK                    So, here I think that the perfect                    Molly McCall is finally going to                    show me a good reason why she's                    messing around with the likes of                    me! And this is all you got!? You                    can't wear friggin' flip-flops!?                                        MOLLY                    Kirk, I've given you plenty of good                    reasons.                                                                              84.                                                            KIRK                    Oh, yeah! I'm nice! I'm funny! I                    ask cute, stupid questions! Right!                    That doesn't get a three hooked up                    with a ten! Not in this world!                                        MOLLY                    A three what?   What are you                    talking about!?                                       KIRK                    Look! What the hell is going on                    here!? What are you up to!?                                        MOLLY                    What am I up to!?    Good God!                                        KIRK                    Please, tell me you're a terrorist!                    Tell me you're on a scavenger hunt!                    Just tell me something that makes                    sense because all you're doing is                    driving me nuts!                                        MOLLY                        (hurt and resigned)                    The only thing I'm going to tell                    you is that I'd like you to leave.                                        KIRK                    Fine! I'm going! Webbed feet!?                    Are you fucking kidding me!?                    Kirk grabs his coat and heads out the door.    Molly slumps          onto her bed and cries as the door slams.                    INT. AIRPORT SECURITY CHECKPOINT - DAY                    Kirk is at his post looking terribly sad. Stainer is working          at the same lane and is obviously feeling bad for his friend.                    Fuller taps Kirk on the shoulder to alert him that Habib is          coming through. Habib sees this and takes his bag straight          to the search table, where he opens it for Kirk. Kirk          doesn't look inside.                                        KIRK                    Go on, Habib. You're good.                                         HABIB                    Really!?   Great!                    Habib steps off to his gate.   Fuller gets in Kirk's face.                                                                           85.                                                            FULLER                    You think you're pretty smart don't                    you Kettner. Thin ice mister!                    Kirk stomps away from the checkpoint.                                        FULLER (CONT'D)                    Good! Don't come back, Kettner!                    America is safer without you!                    Stainer goes after Kirk.                    EXT. AIRPORT CURB                    Kirk walks out the doors. Stainer catches up to him and they          walk down the busy curb at a quick, angry pace.                                         STAINER                    Kirky! Hold up, man! What are you                    doing!? You can't let her screw up                    your life!                                        KIRK                    Get away from me Stainer!                                        STAINER                    Whoa! Don't take it out on me! We                    both knew this Molly thing wasn't                    going to work out! It ain't my                    fault!                                        KIRK                    You're right. It's not your fault.                    It's my fault for listening to all                    your... pernicious advice.                                        STAINER                    What the fuck you talkin' about?                                        KIRK                    All you did was fill my head with                    all this crap about threes and tens                    and how I'm not worthy.                                        STAINER                    Are you worthy of a chick like                    that?                                        KIRK                    Maybe! I don't know. But that's                    not the point! You're supposed to                    be my God damned best friend. You                    know what!?                              (MORE)                                                                              86.                                        KIRK (CONT'D)                    I think you were jealous and you                    set out to sabotage us from the                    start!                                        STAINER                    That is total bullshit!                                        KIRK                    Then why weren't you there for me?                    What if she actually liked me!?                    Maybe with a little help, I could                    have pulled it off!                    Kirk steps onto an...                    INT. AIRPORT SHUTTLE BUS                    Willy (the Russian) is behind the wheel and as happy as ever.          A few others are seated on the bus. Stainer follows Kirk on          board. They remain standing, holding onto poles.                                        WILLY                    It is Kirk and his crazy friend                    Stinker and they are most upset!                    Willy steps on it and drives like a maniac, knocking Kirk and          Stainer around as they argue.                                        STAINER                    Kirk, she was going to hurt you.                                        KIRK                    Look at me! I'm hurt now!                    Willy occasionally blurts out mindless echoes of their          argument, which Kirk and Stainer mostly ignore, like...                                        WILLY                    He's hurting now!                                        STAINER                    The longer this went on the worse it                    would have been. I guarantee it!                                        KIRK                    You don't know what you're talking                    about.                                        WILLY                    He does not know!                                        STAINER                    Yes, I do, Kirk! I know exactly                    what I'm talking about.                                                                             87.                                                            WILLY                    Perhaps he does know after all!                                        STAINER                    Remember last year when you hardly                    saw me for about two months? I met                    my own perfect ten. Tina Jordan.                    Smart, cool and hot like you                    wouldn't believe. Hotter than                    Molly even.                                        KIRK                    Yeah right. So how come I never                    heard a word about her until now?                                        WILLY                    Yes, how come no word of this Tina!?                                        STAINER                    I didn't tell anyone. I didn't                    want to jinx it. She was perfect.                    I was spilling over with...with                    fucking happy! You know?                                        WILLY                    Fucking happy!                                        STAINER                    Two months into it, she dumps me.                    And I knew it was coming. A girl                    like that. Sooner or later she was                    bound to get a better offer. But                    it kicked my ass, man. I was                    depressed for months.                                        KIRK                    That's what that was? You said you                    had that fatigue syndrome thing.                                        STAINER                    I didn't want everyone knowing what                    a pussy I was. Dude, it was a hurt                    I can't even put into words.                                        WILLY                    What a pussy.                                        STAINER                    I couldn't watch you go through                    that 'cause I love you, man.                    You're the brother I never had.                    Stainer leans over and hugs Kirk.   Kirk doesn't hug back.                                                                              88.                                                            KIRK                    You have a brother, Stainer.                                        STAINER                    Yeah, but he's a cheese-dick.                    Kirk's phone rings.    He answers, forcing Stainer to let go.                                           KIRK                    Hello?                    INT. LAW OFFICE                    Maury sits at his desk.                                        MAURY                    Kirk? Geeze, I'm glad I caught                    you. Listen son, I got something                    to tell you and don't get mad at me                    okay? 'Cause this thing ain't my                    fault. You might want to sit down                    for this.                    INT. AIRPORT SHUTTLE BUS                    Kirk slumps into a seat and listens, looking upset and          shocked. Stainer stares at Kirk, trying to get a sense of          what Kirk is being told.                                           STAINER                    What!?                    INT. MOLLY'S OFFICE - DAY                    Patty sits behind a reception desk in a small but stylish          lobby. A sign above her desk reads, "McCall Events." Kirk          walks in. Patty puts down her work and stares back at him.                                        KIRK                    Is Molly in?                                        PATTY                    You got some big red apples showing                    your face around here again.                                        KIRK                    I know. I'm sorry.     I just...   Is                    she here?                                           PATTY                    No.     Get lost.                    Stainer bursts in sweating and panting.                                                                                89.                                                            PATTY (CONT'D)                    Oh, for Christ sake! This one                    too!?                    Patty comes out from behind her desk.                                        PATTY (CONT'D)                    I'm warning you both - Molly has                    been through enough. You go near                    her and I will fuck you all the way                    up! Understand!?                    Stainer swaggers up into Patty's face.                                        STAINER                    Listen, bitch...                    WHACK!!! Patty throws an elbow and Stainer's head jacks          back. She is instantly on him, grabbing him in a headlock          and punching him in the face.                                         STAINER (CONT'D)                    Ahhh!!   Jesus Christ!!! Kirk!!                                        PATTY                    Who's your Mommy!?   Come on!   Who's                    your Mommy!?                                         STAINER                    You are!                                        PATTY                    That's right! Patty is, isn't she!                                        KIRK                    Patty! Cut it out! I just came to                    tell her that something happened!                    Something really major happened!                    Patty stops punching and looks up curiously.      Stainer remains          in the headlock - also curious.                                        STAINER                    What happened?                    Patty punches him again.                                        PATTY                    You shut your hole! (to Kirk) What                    happened?                                        KIRK                    First off, I'm sorry.   Okay?                                                                            90.                                        Patty rams Stainer's head into the door.                                        PATTY                    Every time you say you're sorry,                    dumbshit here gets his bell rung.                                        KIRK                    Okay, okay! Sorry!     I just...                    Patty slams him again.                                         STAINER                    Dude!   Stop apologizing!                                        KIRK                    Look! I know I was acting like an                    idiot. She's just so... Well, I                    was really having a hard time with                    everyone thinking I was Molly's                    brother or her co-worker or her gay                    friend or whatever. I mean, nobody                    believed that we were together.                                        PATTY                    It's too late for this shit, Kirk.                                        KIRK                    But I've got it worked out now.                    Patty and Stainer wait for it. Kirk decides how to phrase it.                                        KIRK (CONT'D)                    My Grandmother left me three                    million dollars.                                           STAINER                    Seriously?                    Patty drops Stainer on the floor.                                        PATTY                    I thought she was a blackjack                    dealer.                                        KIRK                    It turns out she bought stock in                    Caesars Palace back in the sixties.                    Nobody knew she still had it. I                    don't think she even knew.                                        PATTY                    Wow. So, what does this have to do                    with Molly?                                                                               91.                                                              KIRK                    See?    Now it makes sense - me with                    her.    I'm a millionaire now.                                        PATTY                    So, what, now you can afford her!?                                        STAINER                    No! No! I get it! It's not a                    whore thing! Now it works out in                    his own mind. Right!? He can                    relax and stop acting like a freak                    because now he's bringing something                    to the table! Right, Kirky!?                                        KIRK                    Right. Well, no. Now that you say                    it out loud... I don't know.                                        PATTY                    You know what, Kirk - I told Molly                    you were different but you're just                    as shallow and full of shit as the                    rest of them, aren't you?                                        KIRK                    Yeah, maybe I am.                    Kirk walks out.                                                              FADE TO BLACK.                    INT. AIRPORT SECURITY CHECKPOINT - DAY                    Stainer is at his post watching the luggage on the x-ray          monitor. Suddenly, he sees Kirk coming through followed by          Marnie, Mr. & Mrs. Kettner, Eric and Debbie (still pregnant).          They are all wearing bright yellow sweatshirts. Stainer runs          around the machine to hug Kirk, who looks a little numb.                                        STAINER                    Kirky! How you been, brother!?                    What are you doing here?                                        KIRK                    Me and Marnie and the family are                    going to Branson. You know.                                        STAINER                    So you're "Branson Bound."                    Stainer is referring to Kirk's shirt that reads, "BRANSON          BOUND" in big letters.                                                                             92.                                                            KIRK                        (EMBARRASSED)                    These were Marnie's idea. To make                    it easy for us to stick together.                    The others come through. Their shirts are decorated likewise.                                        MARNIE                    Come on, Kirk.                                        KIRK                    I gotta go.                    Stainer takes the boarding pass from Kirk's hand.                                        STAINER                    Relax, your flight doesn't leave                    for another forty five minutes.                                        KIRK                        (to Marnie)                    I'll meet you guys down at the                    gate, alright?                    Marnie isn't pleased but she's going along with it.   Eric          calls back as they all head to the gate.                                        ERIC                    Hey Stainer! Long time no see!                    Take care, bro!                                        STAINER                    Why is he so nice all of a sudden?                                        KIRK                    Probably because I'm getting three                    million dollars next week.                                        STAINER                    Shit, that's right. (THEN) So                    you're back with Marnie then, huh?                                        KIRK                    Yeah, I know, but it's for the                    best. I'm more secure with her.                    I'm actually happy to be done with                    all that Molly craziness.                    Ron comes through security and over to Kirk.                                                                                93.                                                            RON                    Hey Stainer. Hey Pirate, can you                    spot me a twenty. I want to get me                    one of them travel pillows.                    Kirk gives Ron a twenty and Ron steps away.    Stainer is          appalled. He calls after Ron.                                        STAINER                    How come I'm not a pirate!? (then                    to Kirk) Dude, do not tell me that                    he's going with you guys.                                        KIRK                    He already bought his ticket and my                    dad likes him. It's no big deal.                                        STAINER                    Look at me Big Slick.                    Kirk doesn't look into his eyes.                                        KIRK                    What?                                        STAINER                    Look at me.                    Kirk looks.                                        STAINER (CONT'D)                    Tell me things are good.                                        KIRK                    Don't be such a drama queen.                    Things are fine. I gotta go.                                         STAINER                    Alright, man. It was good to see                    you, Kirk.                    They exchange an awkward handshake. Kirk walks away.          Stainer stands alone, watching him go.                    Stainer tightens his jaw and runs his fingers through his          hair. Finally he kicks his head back and, with great          determination, he stomps off in the opposite direction.                    Follow Stainer past security, dodging passengers and carts.          He arrives at the...                                                                              94.                                        INT. AIRPORT FOOD COURT                    Stainer marches up to the Orange Julius. A short, doughy,          plain girl works the counter. (This is the same girl that          Stainer had claimed to have "boned" earlier.) She's wearing          an orange visor and rubber gloves. Several customers are          waiting but Stainer moves to stand in front of her.                    She looks up from her smoothie.    She has drink powder on her          face. She groans to see him.                                        TINA                    Elmer, I've got customers here.                                        STAINER                    Tina, I need to know right now why                    it didn't work out with us.                    She hands a smoothie to a customer.                                        TINA                    That's a large Julius.    Twelve                    fifty.                                        STAINER                    This is important. I was good to                    you. I was sensitive, right?                                        MALE CUSTOMER                    Hey, Desperado, you gonna order                    something or what?                    Stainer gets in the customer's face.                                        STAINER                    The fuck you just call me!?                                         TINA                    Oh, for Christ's!     Tammy!   Can you                    cover me!?                    INT. AIRPORT - SOUTHWEST GATE                    A large crowd of passengers are waiting to board.   The gate          agent, makes an announcement.                                        GATE AGENT                    Okay folks, we're going to start by                    boarding the A group. All A's are                    now welcome to board.                    Marnie butts into the line.                                                                           95.                                                            MARNIE                        (SNOTTY)                    Look, I've got seven people in my                    party so we're going to need to                    board right away.                                        GATE AGENT                    Are you folks in the A group?                                        MARNIE                    What difference does that make!?                                        GATE AGENT                    Well, because you seem like a                    little bit of a B. May I see your                    boarding pass?                                        MARNIE                    Fine. We're not in the A group but                    we're still getting on next.                    She hands him the pass - marked "C."                                        GATE AGENT                    Oh, it looks like you're a raging                    C. So, you're gonna want to take a                    seat until your group is called.                    She stomps away.                    INT. AIRPORT FOOD COURT - LATER                    Stainer and Tina sit at a table. He sits with his head down          like a sad little boy. She pities him.                                        TINA                    I really liked you Elmer, but all                    that stuff about me being a ten and                    how lucky you were and always                    checking up to see if I was going                    to dump you...                                        STAINER                    Well, you did dump me, so...                                        TINA                    What could I do? You were all up                    in my business all the time. I                    couldn't breathe.                                        STAINER                    It was my stupid job, wasn't it?                    You were embarrassed.                                                                            96.                                                            TINA                    I work at Orange Julius, Elmer! If                    you would have just chilled out and                    been yourself...                                        STAINER                    Okay, I can do that.                    She holds up her finger with an engagement ring on it.          Stainer drops his head onto the table. Tina rubs his hair          for a second and then walks away.                    INT. AIRPLANE - 737 - EVENING                    Kirk is somber as he finds his seat near the middle of the          plane. From two rows back, Eric reaches over some other          passengers to tap Kirk on the shoulder.                                        ERIC                    Tom fuckin' Wopat, bro!                    Eric hangs up a high five and Kirk leaves it hanging. Kirk          takes a seat on the aisle next to Marnie. He gives Marnie a          forced smile. She puts her head on his shoulder. Pan over to          the window seat where Ron sits watching them, wearing his new          travel pillow.                    Suddenly, there is a commotion at the front of the plane.                                        FLIGHT ATTENDANT                    What!? You don't have authority on                    board this aircraft!                    Stainer barges past the flight attendant, holding up his TSA          badge.                                        STAINER                    It's okay folks! TSA! This guy's                    drunk as fuck and he shit himself.                    We gotta get him off the plane.                    Stainer grabs Kirk by the shoulder, pulls him out of his seat          and about two rows down the aisle before Kirk overpowers him          and stops.                                         KIRK                    Stainer!   What are you nuts!?                                        STAINER                    You were right! I messed you up.                    We gotta fix this thing! Let's go.                                                                             97.                                                            KIRK                    Stainer! No! Believe it or not,                    this isn't about you! In fact it's                    none of your business!                                        STAINER                    Kirky! In junior high I peed my                    pants in class and Eric started                    calling me Stainer, remember?                                        KIRK                    Okay, yeah?                                        STAINER                    Pretty soon everyone else started                    calling me Stainer because they                    knew it would make me cry. Then                    you told me to own that name, to                    call myself Stainer so nobody could                    hurt me with it anymore.                                        KIRK                    What's your point?                                        STAINER                    My point is... um... Oh, shit. I                    was just in the crapper and I had                    this thing all worked out. Damn it.                    The pilot is now behind Stainer and towering over him.                                        PILOT                    Sir, I'm going to have to ask you                    to exit the aircraft immediately.                    Stainer turns into his face.                                        STAINER                    I'm going to have to ask you to                    fuck off immediately before I feed                    you your own fuckin' teeth!                    The pilot backs up and goes for help.                                        KIRK                    Jesus Stains! You're going to get                    arrested! And I won't be here to                    bail you out this time.                                        STAINER                    Ooohh! That was my point! You                    saved me! That time and a bunch of                    other times too.                              (MORE)                                                                             98.                                        STAINER (CONT'D)                    You gotta let me save you this                    time. It's my turn! Your grandma                    didn't leave you three million                    bucks so you could take these a-                    holes to Branson.                    Eric gets up and steps into Stainer's face. In mid-sentence          and without pausing Stainer zaps Eric with a stun gun. Eric          sails back into his seat as Stainer continues.                                        STAINER (CONT'D)                    These people hardly know you.                                        KIRK                    Stainer, I appreciate that you                    think you're helping me but I'm                    with Marnie now.                                        STAINER                    Kirk, Marnie's a fuckin' bitch.                    (to Marnie) All due respect.                                        MARNIE                    Hit him Kirk! Or else I will!                    Fuller and two other security people enter the plane.   The          pilot briefs them on what's happening.                                        STAINER                    Kirk! You said Marnie makes you feel                    secure but security is bullshit!                    Look at our jobs! It's all for show!                    For all we know, there's a bomb on                    this plane right now!                    The other passengers gasp and most of them look at Habib, who          sits a few seats behind Kirk.                                        HABIB                    What!?                    Fuller grabs Stainer by the collar.                                         STAINER                    You want to see what I think of                    security!?                    Stainer turns and punches Fuller in the face, knocking him          backwards onto the other agents.                                        KIRK                    Oh, Stainer, what did you do?                                                                              99.                                                              STAINER                      Kirk! When I added all this up for                      you I made one big mistake. You                      are a ten. YOU'RE A TEN, MAN!                    Kirk just stares back. Fuller and the agents grab Stainer          but he clutches a seat and stays put.                                          STAINER (CONT'D)                      You're not buying any of this                      bullshit are you?                                           KIRK                      No.                    Stainer loses his grip and the agents drag him off the plane.          Kirk sits down and Marnie comforts him.                    INT. AIRPORT - EVENING                    Over a bummed out song we see different areas of the airport.          People on moving sidewalks. People on escalators. Bags          moving around on a carousel. People in line. Flight Arrival          and Departure times. Food trays moving down a buffet. Bags          moving by on the x-ray monitor. People walking like cattle          to their gates. Through the crowd, we see a man running          against the traffic. It's Kirk!                    INT. HILTON BALLROOM - NIGHT                    Molly,   looking beautiful in a formal gown, moves through a          sea of   tables. Hundreds of formally dressed people are          seated   around the tables, eating dinner. Molly greets,          kisses   and shakes hands with several people as she goes.                    INT. AIRPORT SECURITY CHECKPOINT                    Kirk is huffing and puffing as he rounds the corner and          arrives at the checkpoint. He looks around frantically.                                           KIRK                      Randy!   Where's Stainer!?                    Randy points to a room marked, "Airport Security - Authorized          Personnel Only."                    INT. INTERROGATION ROOM                    Kirk bursts in to find Stainer bent over a metal table.          Fuller (with two black eyes) and another agent hold him down          as a homeland security agent stands behind Stainer, giving          him the full cavity search. Kirk doesn't miss a beat.                                                                            100.                                                             KIRK                     Stainer! I don't have a car here!                     I need your van!                                           STAINER                     Right on!    The keys are in my                     jacket!                    A jacket is hanging by the door. Kirk reaches in and grabs          the keys. He turns fast and exits. Fuller jacks Stainer's          head onto the table.                                         STAINER (CONT'D)                     Kirky wait!                    The door opens more slowly and Kirk regards his friend with          great reverence. Stainer strains to lift his head against          Fuller's strength.                                         STAINER (CONT'D)                     Listen, Kirk. (dramatic pause and                     music) It's three on the tree and                     the clutch sticks.                    SLAM!   Stainer's head is jacked back onto the table.                                         KIRK                     Thanks buddy!                    Kirk bolts.                    INT. HILTON - SMALL BANQUET ROOM                    This room is set up as a staging area for the cancer benefit.          Patty and several others are buzzing around preparing for the          next phase of the evening. Molly enters, holding a walkie          talkie up to her head and speaking into it.                                         MOLLY                     No, I need the staff ready to help                     with bids when the auction begins.                     - over.                                         VOICE ON WALKIE-TALKIE                     I don't think we can spare anyone -                     over.                    Patty grabs the walkie talkie.                                         PATTY                     Leslie! We're not here to feed                     these people, we're here to cure                     fucking cancer!                               (MORE)                                                                           101.                                        PATTY (CONT'D)                    Now I want every one of those                    motherfuckers back there taking                    bids in fifteen - out!                    Patty tosses the walkie-talkie back and then crosses to help          a group of young cancer patients, some in wheelchairs, to          unpack their sculptures and label them for the auction.                    A stressed-out woman in a BEEHIVE hairdo picks up a SMALL          BOY's sculpture. She hails Molly.                                        BEEHIVE                    Ms. McCall, we've got a big problem.                                        MOLLY                    What is it?                                        BEEHIVE                    This young man has made an ashtray.                                       MOLLY                    Okay. Well, what do you want from                    me? Kids make ashtrays.                                        BEEHIVE                    It's a cancer benefit. Don't you                    think this sends the wrong message?                                        SMALL BOY                    It's a really nice ashtray.                                        MOLLY                    They're not bidding on the artwork;                    they're bidding on the kids. It's                    fine.                    Beehive sighs hard and hands the ashtray back to the boy.                    Molly turns around and a look of surprise comes over her.                                        MOLLY (CONT'D)                    What are you doing here!?                    Reverse to show Talon holding a ridiculously large flower          arrangement.                                        TALON                    I came to say I'm sorry and to put                    in a request for a second chance.                                        VOICE ON WALKIE-TALKIE                    Ms. McCall, the auction is underway                    - over.                                                                           102.                                                            MOLLY                    I'm sorry. I have to get in there.                    Can we talk about this afterwards?                                        TALON                    I'm looking forward to it.                    INT. HILTON BALLROOM                    The emcee is taking bids on a little sculpture of an abstract          four-legged animal.                                        EMCEE                    Timothy Brigg's sculpture of a...                    fire truck? Sold to the woman in                    the green dress for four hundred                    fifty dollars. Congratulations                    ma'am and thanks so much.                    Molly picks up the small boy's ashtray and joins the emcee on          stage. She takes a deep breath before facing the crowd.                                        EMCEE (CONT'D)                    Our next item... Well, here she is                    folks, the woman who donates her                    time to make this amazing event                    possible, our own Molly McCall!                    Huge applause.                                        MOLLY                    Thank you. Thanks, Bob. I'm so                    sorry for my tardiness. The next                    item up for bids is from nine-year-                    old Walter Benegan. And this is                    a... little something that you can                    put your paper clips or do-dads                    in... Oh, who am I kidding, it's an                    ashtray. (audience laughs) Let's                    start the bidding at one hundred                    dollars.                                        MAN                    One hundred.                                        MOLLY                    One hundred. Thank you sir.                                        WOMAN                    Two hundred.                                        MOLLY                    Two hundred to the...                                                                           103.                                                               MAN 2                    Two Fifty.                                        WOMAN                    Two seventy five.                                        MOLLY                    Fantastic. Two-seventy-five.     Do I                    hear three hundred?                    No replies. The small boy hangs his head. He was hoping his          piece would fetch more. His mother pats him on the head.                                        MOLLY (CONT'D)                    Two Seventy Five going once.     Going                    twice.                                        KIRK (O.S.)                    Ten thousand dollars!                    The small boy looks up, elated. The spotlight searches the          room and lands on Kirk near the back. The audience applauds.                                        MOLLY                    Kirk? I hope you don't really                    think this is going to...                                        TALON                    Eleven thousand!                    Talon stands across the room, crossing his arms in defiance.                                           MOLLY                    What!?                    Eric bursts in through a door near Kirk.                                        KIRK                    Fifteen Thousand!                                        TALON                    Fifteen thousand five hundred!                                        MOLLY                    Both of you! This is ridiculous...                                        ERIC                    Go get him Kirk! It's chump change                    to you now.                                        KIRK                    Twenty Thousand!                                                                           104.                                        The crowd applauds.                                        MOLLY                    Is that a serious bid?                                        TALON                    Fifty thousand dollars!                    Bigger applause.                                         MOLLY                    Talon!   Please!                    Eric makes a fist to indicate that it's time for the killing          blow. Kirk nods back his agreement.                                        KIRK                    Three million dollars!                    Eric's eyes go wide. This is not what he had in mind. The          crowd erupts into laughter. Talon also laughs off the bid.                                        MOLLY                    Kirk, that's your entire                    inheritance.                    The crowd shifts from laughter into excited chatter.                                        MOLLY (CONT'D)                    Folks, calm down. I don't want to                    get anyone's hopes up. It's only                    fair that I clarify something to                    the bidder. Kirk, please                    understand that if you commit this                    money, we will all be eternally                    grateful and I think your                    grandmother will be very proud of                    you... But it doesn't change                    anything between you and me.                    This sets off a volley of whispers among the crowd and puts a          smile on Talon's face.                                        MOLLY (CONT'D)                    So, again, is this a serious bid?                    Kirk looks to Molly, then his brother - who is shaking his          head NO! He then scans the hopeful expressions on the faces          of the kids and their parents. Kirk takes a deep breath.                                        KIRK                    Three million dollars.                                                                            105.                                                            ERIC                    You stupid son of a bitch!                                        MOLLY                    Three million going once. Going                    twice. Sold to the man in the                    Branson Bound sweatshirt.                    The crowd cheers.                                        EMCEE                    Congratulations to little Walter                    whose ashtray has brought in more                    than any piece in our history.                    The young sculptor beams. The crowd cheers again. Kirk          gives a smile and a nod of resignation as he leaves the room.                    INT. HILTON BAR                    Kirk and Eric sit at the bar, each nursing a drink.   Eric is          fuming.                                        ERIC                    You are such a numbnut. I am                    telling you - absolute numbnuttery!                                           MALE VOICE (O.S.)                    Excuse me.     May I use that ashtray?                    Kirk turns to find that he is sitting next to BILLY JOEL, who          is smoking a cigar. Eric passes him the ashtray that Kirk          just bought.                                        ERIC                    Sure. Careful with it there,                    Captain Jack. It cost him three                    million bucks.                    Billy Joel, ashes in the ashtray.                                        BILLY JOEL                    Yeah, I saw that. Tough break in                    there, my friend. Still, that was                    a hell of a good thing you did for                    those kids.                                           KIRK                    Thanks.                                        BILLY JOEL                    Beautiful women huh? What are you                    gonna do?                                                                           106.                                                            KIRK                    I guess I'm going to go home.                                        BILLY JOEL                    It's none of my business but I do                    know a thing or two about hooking                    up with women who are out of your                    league. Can I tell you a little                    secret?                    Kirk and Eric look at one another in disbelief and then at          Joel.                                         KIRK                    Sure.                                        BILLY JOEL                    Look, it's not about money, fame or                    power...                                        ERIC                    Whoa! All due respect there, Big                    Shot. How would you know? You had                    all that shit when you bagged the                    big ones.                                        BILLY JOEL                    Yeah, but I had all that shit when                    I lost 'em too. It's not enough.                                        ERIC                    You believe this fuckin' guy?                                        KIRK                    Jesus Christ, Eric! I'm trying to                    get some advice from Billy Joel.                    Do you think you could manage to                    shut the fuck up for two minutes!?                                         ERIC                    Fine.   Geeze. What's up your ass?                                        BILLY JOEL                    Thank you. Look kid, it's not what                    you can give 'em or even what you                    can give up. It's what your made                    of.                    Joel places a cocktail in front of Kirk and then clinks his          own against it.                                                                            107.                                        INT. HILTON BALLROOM - LATER                                        ANNOUNCER                    Ladies and gentlemen, please                    welcome The Piano Man! The                    Entertainer! And our foundation's                    greatest champion! Mr. Billy Joel!                    The crowd cheers as the curtain rises.   The crowd's          excitement turns to confusion.                    From the back of the room, Molly notices the crowd's          reaction. She turns to see Kirk seated before the huge white          grand piano, his hands sweaty and shaking over the keys.                    Kirk looks at the crowd.   Hundreds of confused faces stare          back at him.                    Beehive rushes Patty in a panic.                                        BEEHIVE                    Aren't you going to do something                    about this!?                                        PATTY                    Lady, he just gave three million                    dollars. He can go up there and                    try to blow himself for all I care.                    Kirk wrings his hands as they shake harder.                    Billy Joel stands in the wings and gives Kirk a nod of, "You          can do it."                    Molly turns to walk away but notes ring out from the piano          and she stops.                    Kirk plays and sings "Just the Way You Are" - badly. His          voice and hands shake but he forges on. The audience is          confused, cringing and restless.                    Someone starts booing.   Kirk can't help but glance up to see          who it is - it's Eric.                    When Kirk reaches the instrumental break, he settles in a bit          - he can actually play.                    As the last note fades, Kirk leaps up, and runs out into          the...                                                                           108.                                        EXT. HILTON BACK ALLEY                    Kirk bursts out the door and vomits into a dumpster. He          falls backwards against the wall and slides down into a          sitting position.                                        MOLLY (O.S.)                    You realize that there's a good                    chance this won't work out.                    Molly steps out into the alley.                                        MOLLY (CONT'D)                    And you could get hurt.                                          KIRK                    I know.                                        MOLLY                    And you're going to have to be                    naked in front of me at some point.                                        KIRK                    I can work up to that.                    Kirk stands up.                                        KIRK (CONT'D)                    So, you and me are...                                        MOLLY                    Three million dollars for kids with                    cancer and you sing to me? I'm not                    made of wood you know.                    Molly hugs him. The first intro riff of a piano version of          "Pressure" kicks in and the crowd inside goes crazy.                                        MOLLY (CONT'D)                    But one condition.                                          KIRK                    Anything.                                         MOLLY                    You have to go brush your teeth                    right now.                    Talon walks out into the alley, still holding the flowers.                                        TALON                    So, Molly... Can we finish our                    conversation?                                                                             109.                                        Kirk takes Molly's hand and leads her past Talon.                                        KIRK                    Sorry Poncho, she's with me.                                                             DISSOLVE TO:                    EXT. WEDDING - DAY                    Close on a preacher.                                        PREACHER                    The vows you have just heard are a                    unique expression of the love                    between two souls.                    Close on Kirk - looking dapper but sweaty and nervous.                                        PREACHER (O.S.) (CONT'D)                    Two souls who have come together                    this day in holy matrimony.                    Close on Molly - looking more beautiful than ever.                                        PREACHER (CONT'D)                    And by the power vested in me by                    the great state of Nevada, I now                    pronounce you husband and wife.                    You may now...                    A wider shot reveals the NASCAR theme wedding of Eric and          Debbie. Kirk stands among the groomsmen. Each are dressed          in tuxes that represent the colors, numbers and sponsors of          certain drivers. Molly stands among the bridesmaids. Each          dressed in a checkered-flag gown. Ron and Marnie are also in          the wedding party.                    Debbie hands her mulatto baby to the preacher so that she and          Eric can share a disgusting wide open mouth kiss. Debbie          grabs Eric's ass while Eric gropes her breasts.                    Stainer and Wheel in the Sky kick into "Any Way You Want It"          from a bandstand nearby. Patty dances in front of Stainer -          he winks back at her.                    Devon cuts up a wedding cake that looks like a full-sized          racing wheel and tire.                    EXT. WEDDING - STREET                    The guests throw rice as Eric and Debbie run to a stretch          Nascar limo.                                                                           110.                              Eric picks up Debbie and loads her in through the window.   He          then runs around to the other side and jumps into that          window. The limo burns rubber as it peels away.                    Pan across the guests as they wave goodbye; Devon and his          squeaky clean family, Jack and a hot date, Mr. & Mrs.          Kettner, Marnie & Ron. Patty and Stainer - making out. Kirk          and Molly stand together arm in arm. Kirk holds a ceramic          urn, painted with the Las Vegas skyline.                    Push in on the urn until the skyline becomes real. Push in          toward the top of The Stratosphere Casino. Continue pushing          in until we are inside the observation deck. Push through          the gift shop where the TV is tuned to CNN. As we pass the          TV we hear.                                        CNN ANCHOR                    In a press conference held earlier                    today, NASA officials announced                    that affordable tourist travel to                    the surface of the moon will be a                    reality within the next ten to                    fifteen years.                    Push past the TV, out of the gift shop and to the other side          of the observation deck where we find Kirk and Molly. They          kiss before they open the urn and pour Grammy's ashes over          the side.                                                        THE END           
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+                         SHERLOCK HOLMES                             Written by                     Michael Robert Johnson,                 Anthony Peckham & Simon Kinberg         Sherlock Holmes and Watson characters created by                     Sir Arthur Conan Doyle                                                   September 29, 2008                                                     1.    FADE IN:1   EXT. STREETS OF LONDON - NIGHT                                1    Autumnal streets seen through the sooty glass of a STREET    LAMP. Shadows within shadows. Fog in the air. Full    moon.                             WATSON (V.O.)               The year was 1891. London was the               capital of the world -- the height               of modernity, with the hiss of               steam and smell of coal in the               air. It was also the great               cesspool into which all the               sinners and criminals of the               empire drained.    Gas hisses audibly, the street lamp ignites, and casts a    POOL OF LIGHT onto the street, silhouetting a MAN making    his way through the fog and dark shadows with a lantern.                             WATSON (V.O.)               I had come to London, ten years               prior, to find a life after the               Afghan war. I had hoped to start               a medical practice and settle into               a nice, steady existence. The               life I found was anything but nice               and steady.    We can see that the MAN wears a cape. The distinctive    silhouette of his deerstalker hat is unmistakable. A    FURIOUS CLATTER OF HOOVES APPROACHES in the distance.    The MAN tugs on a pipe and turns towards the growing    stampede.                             WATSON (V.O.)               And that had everything to do with               one man. My friend, my partner,               my burden...    The MAN exhales a plume of smoke calmly, giving us the    impression that he knows something that we don't.                             WATSON (V.O.)               ... Sherlock Holmes.    WHAM! The MAN in the deerstalker hat is KNOCKED FLAT by    A RUNNING MAN who has vaulted over a wall, sending him,    his pipe, and hat flying across the cobbles.                                                    (CONTINUED)                                                     2.1   CONTINUED:                                                       1    The RUNNING MAN leans down as if to assist, but instead    just picks up the smoker's broken umbrella and studies    it. The MAN in the deerstalker hat's eyes widen as he    recognizes his famous assailant.                            MAN              Sherlock Holmes?!    SHERLOCK HOLMES offers the handle of the umbrella to the    MAN, hauls him to his feet and hands back his broken    umbrella.                            HOLMES              My apologies. Send the bill to              John Watson, 221B Baker Street.    Sherlock Holmes sprints off down an alleyway.   The MAN    takes a step into the road to watch him go --    -- and is nearly flattened for good by the first of a    number of POLICE CARRIAGES, hurtling by on a serious    pursuit, Victorian-style.2                                                                    2    INT. CARRIAGE - CLOSEUP ON THE OFFICERS - NIGHT    inside. Big, uniformed guys assemble their weaponry -- a    19th century SWAT team. One man stands out as a leader,    older than the rest, INSPECTOR LESTRADE.    A man in plainclothes sits to one side of the officers:    DR. JOHN WATSON, physically as tough as anyone else in    the carriage, but with a more pensive air about him. A    thinking man of action.3   EXT. STREETS OF LONDON - NIGHT                                   3    Almost tipping over, the carriage turns onto the    Embankment and hurtles through the writhing fog along the    river.    As the carriage banks, we see Holmes cut across the    carriage path again, taking a line the horses cannot    follow.                                                           CUT TO:    ANOTHER ANGLE    Holmes bursts out of an alley, sprints round a corner and    runs across a courtyard to a side door.    WE PULL BACK to see the FACADE OF ST. PAUL'S CATHEDRAL.                                                    3.4   OMITTED                                                      45   INT. CATHEDRAL CRYPTS - ENTRANCE - NIGHT                     5    Holmes enters through the door and stands at the top of a    stairwell. He takes a moment to recover; he's fit, but    not as fit as he used to be.    Holmes descends the stairwell to a door and a spiral    staircase beyond it. He stops at the doorway and peers    round the corner.    A lantern glow ascends the spiral stairway towards    Holmes. Holmes withdraws into the shadows behind the    door. A BOWLER-HATTED MAN ascends the stairs, carrying    the lantern and a gun.    He peers behind the door and holds the lantern up to the    shadows, but does not see Holmes, who has pulled his    black jacket up to conceal his face. The man swings the    lantern away again. He peers about, confused.    We see Holmes' eyes from the shadows, as he lowers his    jacket and thinks through his plan of attack.                            HOLMES (V.O.)              Head cocked to the left, partial              deafness in right ear. First              point of attack.    PRE-VISUALIZATION IN VARI-SPEED    FOCUS ON the spot behind the man's right ear, just at the    top of the jaw -- the most vulnerable point. Holmes    launches a hammer blow, and we ramp from 24 fps to 400    fps (ULTRA SLOW MOTION) as he makes contact. The man's    head is thrown back as he spins round.                            HOLMES (V.O.)              Then throat, paralyze vocal              chords, stop screaming.    BACK TO 24 fps. The man's mouth opens to cry out. We    RAMP BACK UP TO 400 fps as his Adam's Apple is struck    with a precision karate chop, strangling his scream.                            HOLMES (V.O.)              Stink of alcohol, heavy drinker --              knuckles to liver.    BACK TO 24 fps, RAMPING TO 400 fps as a devastating    knuckle-punch to the liver doubles up the bowler-hatted    thug and crumples him to his knees.                                                   (CONTINUED)                                                     4.5   CONTINUED:                                                       5    SECOND-TIME ACTION - SUPER FAST REPEAT OF ABOVE    Holmes flashes out of the shadows, moving so fast that we    can barely see what he's doing.    THWACK! Hammer blow to ear.    CRACK! Karate chop to throat.    WHAP! Knuckle punch to liver.    BACK TO NORMAL MOTION as the man crumples to the ground,    Holmes takes his bowler hat from his head and flips it    onto his own in one super fast move.    Holmes drags the battered man into the shadows, lifts his    lantern and proceeds down the spiral staircase.    POV - BOTTOM OF THE SPIRAL STAIRCASE    Another bowler-hatted THUG approaches the bottom of the    staircase. He has seen the lantern light. He draws his    gun and approaches. Holmes places the lantern on the    post at the bottom of the bannister, ducks down into the    shadows.                            THUG              What's goin' on, John?    When he gets no answer, the THUG points his gun to where    we saw Holmes hide.    But Holmes appears from the shadows behind the THUG,    reaches around him, grabs his gun hand and pistol-whips    him twice with his own gun, dropping him.    Holmes extracts a cigar from the Thug's top pocket and    sniffs it appreciatively.                            HOLMES              Hhhmm, good cigar. Who do you              work for?    He jams the cigar in his own top pocket, picks up the    man's bowler and proceeds on, further down into the    crypts.6                                                                    6    OMITTED7   INT. CATHEDRAL CRYPTS - BALCONY - NIGHT                          7    TWO HARD MEN in bowler hats stand guard.                                                           CUT TO:                                                  (CONTINUED)                                                        5.7   CONTINUED:                                                          7    ANOTHER ANGLE    Holmes surveys the scene AT A DISTANCE, out of sight.    Eyes alive with intelligence, processing angles when --    A HEAVY HAND falls on his shoulder.    PULL BACK to    reveal --    (The following exchange in whispers.)                              HOLMES              Watson.    Perfect timing.                              WATSON              Nice hat.                              HOLMES              Just got it.    Where's Lestrade?                            WATSON              Getting his troops in formation.              Is that your blood or theirs?                              HOLMES              I don't know.    It's an old shirt.                            WATSON              You left this behind.    Watson hands him his pistol.    Holmes looks at it with    distaste, doesn't take it.                            HOLMES              Knew I'd forgotten something.              Thought I'd left the stove on.                              WATSON              You did.                              HOLMES              Right.    Shall we?    This is what they do.    This is what they like.                                                              CUT TO:    ANOTHER ANGLE    The two HARD MEN on guard turn fast and gather together    as they hear footsteps approaching.                              MAN #1              Des?                                                       (CONTINUED)                                                     5A.7   CONTINUED: (2)                                              7    He can see the hat, but not the man underneath.                            WATSON              Yeah, s'me.                                                  (CONTINUED)                                                     6.7    CONTINUED: (3)                                               7     Watson takes out the two men. He is more of a brawler,     using headbutts, knees, and elbows. Less artful, but no     less effective.8    OMITTED                                                      89    INT. CATHEDRAL CRYPTS - BALCONY - NIGHT                      9     Thugs dispatched, Holmes and Watson look down and see a     chilling sight.     A WOMAN IN WHITE LIES INSIDE A CRUDELY-PAINTED PENTACLE     (five-sided figure), lit with candles at each corner.     Her eyes roll back in her head, trance-like. A sword has     been placed at her feet.     A HOODED FIGURE KNEELS INSIDE A DOUBLE CIRCLE next to the     pentacle. This is LORD BLACKWOOD. We do not yet see his     face.     ANOTHER HOODED FIGURE stands on the edge of the ceremony,     shrouded in shadow. We do not see his face.     Suddenly, the woman rises up like a broken puppet, as if     pulled to her feet by invisible hands.     Some kind of ritual is about to climax.     Holmes and Watson head down, fast, not caring if they     make a noise or not. Their footsteps echo.9A                                                                9A     INT. CATHEDRAL CRYPTS     The second hooded figure moves back and melts into the     shadows.     Still kneeling, still hooded, Blackwood chants softly,     Latin incantation repeating and repeating.     ON THE WOMAN as her lips start to move in time with the     incantation. This is spooky, real, powerful stuff.     Holmes and Watson leap from the stairs to Blackwood's     level.     Blackwood simply ignores them.   The Latin incantation     never stops.     Holmes is closer to the girl, Watson closer to Blackwood.                             WATSON               The girl.                                                    (CONTINUED)                                                       7.9A   CONTINUED:                                                     9A     The girl bends with alarming and mechanical suddenness,     picks up the sword and turns it on herself, ready to     plunge the point into her heart.     Holmes lunges, grabs the woman's arm, disarms her and     pulls her out of the pentacle. She collapses.     Simultaneously and eerily the candles extinguish and a     rush of air departs the tunnel.     Blackwood throws back his hood. We finally see his face.     His eyes are intense, he is tapped into something dark     and cruel.     Holmes and Watson are shocked at his identity.                             WATSON               Lord Blackwood?!     Blackwood applauds softly, strangely.                             BLACKWOOD               Well done, Holmes. And Watson as               well.     Watson raises his gun, trains it on Blackwood.                             WATSON               Stay right there.     Blackwood raises his hands in front of him, almost     mockingly.                             BLACKWOOD               Tell me, doctor, as a medical man,               how did you like my work?                    (beat)               The fifth one was so scrawny, it               was over before I'd finished the               first incision.     That's more than Watson can take.   He moves in to pistol-     whip Blackwood --     -- is stopped suddenly by Holmes' hand grabbing his     collar.                             HOLMES               No.     Watson struggles forward against Holmes' grip.                             HOLMES               Look.                                                      (CONTINUED)                                                       8.9A   CONTINUED: (2)                                                9A     Holmes seems to be pointing at Blackwood.   Watson looks,     sees nothing.                               HOLMES               Look.     Watson looks, and sees it and his eyes flare wide.     INCHES FROM WATSON'S RIGHT EYE is the needle-pointed end     of a QUIVERING PIECE OF HIGH-TENSILE WIRE, almost     invisible --     -- the other end held between Blackwood's hands.    A     really nasty concealed weapon.     One more step and Watson gets impaled in the eye.                               BLACKWOOD               What a shame.    That would've been               fun.     We hear heavy boots on the balcony, as Lestrade and his     men finally appear.     POLICEMEN flood the area.                             HOLMES               Impeccable timing, Lestrade.                             LESTRADE                    (vis Blackwood)               Is that -- ?                               WATSON               It is.                             HOLMES                    (re: girl)               We've gone for the doctor...                    (re: Blackwood)               And one for the rope.                             LESTRADE               You should've waited for my help.                             HOLMES               If I had, you'd be cleaning up a               corpse and chasing a rumor.               Besides, the girl's parents hired               me, not the Yard.                    (a wry smile)               I can't imagine why they thought               you'd need any assistance.                                                     (CONTINUED)                                                        9.9A    CONTINUED: (3)                                              9A      Lestrade turns, frustrated. He watches his men yank      Blackwood out of his double circle, put chains on him,      while others carry the girl away on a stretcher. She's      still mouthing the incantation.      Lestrade eyes the double circle, the pentacle, shakes his      head, not understanding them.      Grudgingly, reluctantly, hating himself for needing to,      he turns to Holmes.                               LESTRADE                 What do you make of that?                               HOLMES                 Some kind of ceremony. Five girls                 killed beneath cathedrals at the                 height of the full moon.                      (indicating)                 The double circle's for his own                 protection.                               LESTRADE                 London will breathe a sigh of                 relief --                               WATSON                 -- at the excellent work of                 Scotland Yard. As usual.                               HOLMES                 Bravo, Lestrade. Have a cigar.      Holmes sticks the villain's cigar in Lestrade's pocket      and --      -- A POLICE PHOTOGRAPHER lifts his massive camera.      FLASH! An explosion of light and sparks as a 19th      century flashbulb pops. The SCENE is FROZEN bright for a      split-second and then it FADES.      CREDIT SEQUENCE BEGINS, MUSIC AND TITLES OVER --10                                                                 10      OMITTED10A   INT. LAB                                                    10A      Dim light from a burner heats fluid in a jar, a bench      strewn with scientific equipment. Gloved hands mix      chemicals in a tray, a piece of photo paper on top.                                                       10.10B   INT. NEWSPAPER LIBRARY                                       10B      Another pair of hands search urgently through a row of      alphabetized files, coming to rest on the letter "H." A      bunch of "H" clippings hit the desk. The top one reads:      STUDENT AND ARMY DOCTOR SOLVE LONDON MYSTERY! A photo of      Holmes and Watson in their 20s at a crime scene. Their      eyes are shut for the photo, unaccustomed to flashes.10C   INT. LAB                                                     10C      Chemicals are poured over the paper and spread across it.10D   INT. NEWSPAPER LIBRARY                                       10D      Hands flip through more papers, more headlines: STUDENT      AND DOCTOR BEAT COPS TO THE PUNCH AGAIN! ROOMMATES SOLVE      BRIXTON MURDERS! Another picture of Holmes and Watson.      This time, they look more confident, the article bigger.      Another headline: HOLMES AND WATSON OPEN FOR BUSINESS.      Holmes and Watson stand in front of 221 Baker Street.10E                                                                10E      INT. LAB      A negative is clipped over the paper.    A sudden flash of      light as it is exposed.10F   INT. NEWSPAPER LIBRARY                                       10F      Another headline: DOCTOR AND DETECTIVE FOIL JEWELRY      SCAM! A picture of Holmes and Watson, holding a goose by      its feet and smiling. The men are front page news now.      More headlines and photos come fast: LONDON DUO DO IT      AGAIN! A shot of Holmes and Watson, older, shaking hands      with a royal. HOLMES AND WATSON SOLVE SEVERED EAR      MYSTERY... CELEBRATED DETECTIVE PROVES GUILTY MAN      INNOCENT... More and more headlines, Holmes and Watson      getting older, solving crimes, and...      The files are moved to another desk where hands punch      text on a vintage typewriter: "CATACOMB KILLER IS      INDUSTRIAL TYCOON LORD BLACKWOOD..."10G   INT. LAB                                                     10G      A faint image is forming on the paper.                                                       11.10H   INT. NEWSPAPER LIBRARY                                        10H      A hand yanks the paper from the typewriter   and onto a      desk where a typesetter begins to assemble   the story in      blocks of lead type. Upside down and back    to front we      see the words "SHERLOCK HOLMES," one metal   letter at a      time.10J   INT. PRINTING PRESS                                           10J      A roller dripping with ink rolls over the story we have      seen assembled along with an engraving of the image. The      whole thing is fed into a printing press, a whirring mass      of wheels and gears. Papers are bundled and tied, then      distributed until one lands face-up outside the door of:      221 BAKER STREET, where we see the headline "CATACOMB      KILLER CAUGHT!" The photo of Holmes and Watson sits      above the fold, dominating the front page.      TITLE SEQUENCE ENDS.11                                                                   11      EXT. 221 BAKER ST. - AFTERNOON      Autumn has turned to winter.      SUPERIMPOSE:   THREE MONTHS LATER      FROM A RAVEN'S POV      We FOLLOW a lady, MRS. HUDSON, walking down the street      with the day's shopping. She picks up a paper with the      day's headline "BLACKWOOD HANGS TOMORROW: CLAIMS PACK      WITH THE DEVIL." She continues down the street until      arriving at 221 Baker Street. A raven lands on the entry      gate, she shoos it away, walks up the steps, and inside.12    INT. 221 BAKER ST. - WATSON'S APARTMENT                        12      Watson takes a blood pressure cuff off CAPTAIN PHILIPS,      an OLDER GENTLEMAN who sports an array of medals. The      room is a tribute to military and medical order -- all is      neat and tidy, everything in its place.                              WATSON                71 over 104... very good, Captain.                              CAPTAIN PHILIPS                Me nerves are the best they been                in years, thanks to you.                                                      (CONTINUED)                                                   11aA.12   CONTINUED:                                                 12     Watson is pleased by that.                             CAPTAIN PHILIPS               Tell me something -- your new               offices. There won't be so many               stairs, I hope?                             WATSON               No -- ground floor. And there'll               be a woman's touch, too.                             (MORE)                                                  (CONTINUED)                                                      11A.12   CONTINUED: (2)                                               12                             WATSON (CONT'D)               I think we can start to wean you               off the medicine --     BANG-BANG-BANG-BANG-BANG! A dozen GUNSHOTS O.S.    Captain     Philips hits the floor, terrified.     Watson suppresses extreme irritation, writes a     prescription on a piece of paper, then helps Captain     Philips to his feet.                             WATSON               Let's give it a little longer,               just to be safe.                    (beat)               I'll be right back.                                                   (CONTINUED)                                                     12.12   CONTINUED: (3)                                               12     He heads out, letting his aggravation show once his back     is turned to his patient.13   INT. 221 BAKER ST. - HALL                                    13     As Watson exits his apartment and moves down the hall,     MRS. HUDSON, his landlady, shoots up the stairs with the     paper. Her nerves are almost as bad as Captain Philips'.                             MRS. HUDSON                    (panting)               I won't go in there by myself, not               while he's in this state.                             WATSON               You're not going in at all.     Which is a relief to Mrs. Hudson.                             MRS. HUDSON               What will I do when you leave?               He'll burn the house down around               me. What will he do? Couldn't               you have a longer engagement?                             WATSON               He just needs a new case, that's               all.     Captain Philips emerges from Watson's apartment, heads     towards them.                             WATSON               I smell burning.     Mrs. Hudson's already-frayed nerves take a turn for the     worse. Watson takes the newspaper from her.                             WATSON               Why don't you take Captain Philips               and give him a nice cup of tea.                             MRS. HUDSON               Come on, Captain, let's go down.               It'll be quieter.                             WATSON                    (as they leave)               And perhaps some tea and bread up               here when you can.     Watson heads down the hallway to the last door. A     tendril of smoke wafts out from under it. Urgent.                                                    (CONTINUED)                                                      12A.13   CONTINUED:                                                    13     Nonetheless, Watson   stops, takes a deep breath, gathers     himself. Something    like this has happened before (is, in     fact, Holmes' usual   brand of chaos) the difference being,     now, that Watson is   sick to death of dealing with it.     Which doesn't mean he won't.     Newspaper in hand, Watson opens the door, pokes his head     in, cautiously. He sees --14   INT. 221 BAKER ST. - HOLMES' APARTMENTS                       14     Watson squeezes through the doorway to find that the                     obstruction is Holmes who is sitting in the dark on a                    chair, blocking the door, aiming a gun (with an odd                      contraption fastened on its barrel) at the wall.                         Unadulterated chaos. A series of FLAMING BULLET HOLES                    blasted into the wall in the (ragged) initials "V.R."                             WATSON                                                     May I join you in the armory?                                                          HOLMES                                                     Please... Watson, I've been                                              working on a device which will                                           suppress the sound of a gunshot.                               Watson heads towards the conservatory.                                                           HOLMES                                                     Please... Don't, don't, don't...                               Watson pulls open the curtains allowing the light to pour                in.                                                                                                 WATSON                                                  It needs work.     May I see?...                               Watson passes him heading to the other side of the room                  (possibly grabs the gun) picking up a pile of open                       letters from a table.                                                                            HOLMES                                                     Gently, gently, Watson...                                      Watson whips open more curtains and opens a window.                      Holmes crawls on his hands and knees over to a table                     where he finds his sunglasses and puts them on.                          Watson sits on a chair and begins to leaf though the                     letters.                                                                                                                                                                                          (CONTINUED)                                                      13.14   CONTINUED:                                                    14                             WATSON                                                     It's been three months since the                                         last case. About time you found                                          another one.                                                                           HOLMES                                                     I can't but agree. My mind rebels                                        at stagnation. Give me problems,                                         give me work. The sooner the                                             better.                                                                                  WATSON                                                   Paper?                                                         Watson hands Holmes the newspaper.                                                               WATSON                                                     Let's see, we have a letter here                                         from Mrs. Ramsey in Queen's Park --                                      her husband has gone missing.                                                          HOLMES                                                     He's in Belgium with the scullery                                        maid. Is it December?                                                                  WATSON                                                     Yes, Holmes. Lady Radford reports                                        a missing emerald bracelet.                                                            HOLMES                                                     Insurance swindle. Lord Radford                                          likes fast women and slow ponies.                                        I see you're the attending                                               physician at Blackwood's hanging.                                                      WATSON                                                     Yes, it's our last case together                                         and I wanted to see it through to                                        the end.                                                       Awkward pause.   Cough.                                                                          WATSON                                                     Mr. Lewis is seeking...                                        Mrs. Hudson enters carrying a tray of bread and tea.    She              is steeling herself for this interaction.                                                        HOLMES                                                          (to Watson)                                                         There is only one case that                                              intrigues me at present... the                                           curious case of Mrs. Hudson, the                                         absentee landlady.                                                                     (MORE)                                                     (CONTINUED)                                                      14.14   CONTINUED: (2)                                               14                             HOLMES (CONT'D)               I have been studying her comings                                        and goings and they appear most                                         sinister.                                                                             MRS. HUDSON                                               Tea, Mr. Holmes.                                              Mrs. Hudson crosses to Holmes and puts the tray before                  him.                                                                                            HOLMES                                                    Is it poisoned, nanny?                                                                MRS. HUDSON                                               There's enough of that in you                                           already.                                                      She goes to remove an old tray from behind him.                                                 HOLMES                                                    Don't touch that. Everything is                                         in its proper place, as per usual.                            She ignores him and removes the tray then crosses back                  towards the door noticing a bulldog lying unconscious                   under the table.                                                                                MRS. HUDSON                                               He's killed the dog... again.                                 Watson jumps up. His bulldog, GLADSTONE, lies on the                    floor in a drugged stupor.                                                                      WATSON                                                    What have you done to Gladstone                                         this time?                                                                            HOLMES                                                    I was simply testing a new                                              anesthetic. He doesn't mind.                                                           WATSON                                                   Holmes!   As your doctor...                                                           HOLMES                                                    He'll be right as a trivet in no                                        time.                                                         Watson's finally had enough.                                                                                           (CONTINUED)                                                    15.14   CONTINUED: (3)                                              14                             WATSON                                                   ... and your friend, you've been                                       in this room for two weeks. I                                          insist you get out of here.                                                          HOLMES               There's nothing of interest to me                                      out there, on earth, at all.                                                                                                                                WATSON               So, you have nothing to do?                                                                                                                                    HOLMES               Nothing.                                                                             WATSON               Then you're free this evening.                                                          HOLMES               Absolutely.                                WATSON                                                For dinner.                                                                             HOLMES                                                Wonderful.                                                                              WATSON                                                The Royale.                                                                             HOLMES                                                My favorite.                                                                            WATSON               Mary's coming.                                                                          HOLMES               Not available.                                                                       WATSON               You're meeting her, Holmes.                             HOLMES               Have you proposed yet?                                                               WATSON               I'm still looking for the right               ring.     A little smile from Holmes.                             HOLMES               Then it's not official.                                                   (CONTINUED)                                                    16.14   CONTINUED: (4)                                              14                             WATSON               It's happening, like it or not.               Half past eight. The Royale.                                 The dog wakes up and runs out.                                                                 WATSON               And wear a jacket.     Watson exits, leaving Holmes alone in his own chaos.     For the first time, we see a hint of fear in his eyes.                                                       CUT TO:15   INT. THE ROYALE - DINING ROOM                               15     Holmes sits in the center of a booth waiting for Watson     to arrive. He is quite uncomfortable in this setting.     WE SEE HIS OBSERVATIONS -- he picks up little pieces of     information from the other guests. He notices the     details on a pair of gentleman's cufflinks, the name on a     bottle of wine, a surreptitious argument between waiters.     It all becomes quite overbearing.     And then Watson and Mary arrive, talking, intent on each     other -- surprised when they realize Holmes is already     there.                              WATSON               Holmes!   You're early.                              HOLMES               Fashionably.                             WATSON               May I present Miss Mary Morstan.     Holmes looks at MARY MORSTAN -- looks again. She's     beautiful, 30s, and clearly a woman worth marrying.     Holmes stands. She extends her hand.                             HOLMES               My pleasure. For the life of me I               don't know why it's taken him so               long to get us properly               introduced.     Holmes gestures politely, they sit, Mary and Watson on     either side of him. There is a decanted bottle of wine     on the table.                             MARY               The pleasure's mine. It really is               a thrill to meet you, Mr. Holmes.                             (MORE)                                                   (CONTINUED)                                                   16A.15   CONTINUED:                                                 15                              MARY (CONT'D)                I've a whole stack of detective                novels at home. Poe, Wilkie                Collins...                              WATSON                     (proudly)                It's true.                                                  (CONTINUED)                                                     17.15   CONTINUED: (2)                                               15                             MARY               They can seem a bit far-fetched               sometimes, though. Making these               grand assumptions out of tiny               details.                             HOLMES                    (livening up)               Oh, no no. The little details are               by far the most important. Take               Watson...                              MARY               I intend to.     Watson likes that, Holmes less so -- a forced chuckle.                             HOLMES               ... see that walking-stick? A               rare African snakewood hiding a               blade of high-tensile steel. A               few were awarded to veterans of               the Afghan war, so I can assume               he's a decorated soldier. Strong,               brave, born to be a man of action.               And neat, like all military men.               Then I check his pockets... ah. A               stub from a boxing match. Now I               can infer he's a bit of a gambler.                    (a wink)               I'd keep an eye on that, by the               way.                             WATSON               Those days are behind me.                              HOLMES               Yes, right behind you.                     (leaning in to Mary)               He's cost us the rent more than               once.     Mary laughs.                              MARY               With all due respect, Mr. Holmes,               you know him. But what about a               perfect stranger? What can you               tell about me?     Holmes and Watson exchange a glance -- not a good idea.                             WATSON               I don't think that's necessary --                                                    (CONTINUED)                                                        17A.15   CONTINUED: (3)                                                  15                                HOLMES                  Yes, I doubt --                                MARY                  No, it'd be wonderful.   I insist.                                HOLMES                  You insist?                       (at Watson)                  She insisted.                       (instantly)                  You're a governess.                                MARY                  Well done.                                WATSON                  Yes, well done. So shall we --                                HOLMES                  Your student's a boy of 8.                                MARY                  Charlie's 7, actually.     Watson's getting nervous, reaches for the wine.     Holmes     stops him.                                HOLMES                  It's breathing.                       (back to Mary)                  Then he's tall for his age.     Mary nods.                                                       (CONTINUED)                                                     18.15   CONTINUED: (4)                                               15                             HOLMES               He flicked ink at you today.                             MARY               Is there ink on my face?     The WAITER appears.                             WATSON               There's nothing wrong with your               face.                             WAITER               The gentleman has already ordered               for himself.                    (to Watson)               What would madam care for this               evening?     Watson gives Holmes a hard look:   that's a bit much.                             WATSON               Give us a few minutes, please.     He shakes his head, pours wine for all.                             HOLMES               There are two drops on your ear...               India blue's nearly impossible to               wash off, anyway. A very               impetuous act by the boy, but               you're too experienced to react               rashly -- which is why the lady               you work for lent you that               necklace. It's from Asprey's,               flawless, not the gems of a               governess.                    (beat)               However, the jewels you're not               wearing tell us rather more.                                                    (CONTINUED)                                                     19.15   CONTINUED: (5)                                               15                             WATSON               Holmes.     Both Watson and Mary scorch Holmes with their eyes.     Holmes pauses... pauses, then:                             HOLMES               You were engaged.     Holmes' mind has gotten away from him.   He begins talking     faster, intensely focused, manic.                             HOLMES               The ring is gone. But the lighter               skin where it sat suggests you               spent some time abroad wearing it               proudly.     As Holmes talks, Watson gets up, moves to help Mary to     her feet. They're leaving.                             HOLMES               Or at least until someone informed               you of its true and rather modest               worth, at which point you broke               off the engagement and returned to               England for better prospects. A               doctor perhaps.     Mary throws Watson's wine in Holmes' face. The     restaurant goes silent. She turns to leave, turns back.                             MARY                    (low)               Right on all counts but one. I               didn't leave my fiance... he died.     Now she leaves --                                                    (CONTINUED)                                                       20.15     CONTINUED: (6)                                               15                               WATSON                 Well done, old man.       -- and Watson goes with her.       Holmes lets the wine drip down over him.                                 HOLMES                 She's lovely.       Holmes is left at an empty table with wine running down       his face.       Their orders arrive -- an array of plates piled high.       The waiter puts them down, Holmes very carefully unfolds       his napkin and places it into the top of his shirt,       spaghetti style, takes his knife and fork and begins to       cut the meat -- then pauses, looks around.       HOLMES' POV       Happy couples eating, laughing, talking. Suddenly,       Holmes hears no words. He just sees their mouths moving.       The sound of silverware clinking and scraping on fine       china rises to an ORCHESTRAL ROAR --       -- which becomes the ROAR of a BLOOD-THIRSTY MOB as a       fist smashes into a face with a MEATY THUD.15A-17 OMITTEDINT. PUNCH BOWL PUB - BARE-KNUCKLE BOXING FIGHT - 5A-17                                                              1       NIGHT       Holmes staggers back from the blow. He tastes his own       blood from a split lip. It interests him.       He is stripped to the waist, all sinew and gristle. His       opponent, McMURDO -- huge but flabby -- bangs his fists       together and moves in.       Bets rage back and forth through the pressing CROWD.       HOLMES' POV       The room and the fight are calm -- the sounds muffled and       indistinct -- a complete sensory reversal of his       experience in the restaurant. This is soothing to him,       the ring is the only place where his mind stops racing.                                                      (CONTINUED)                                                         21.15A-17 CONTINUED:                                               15A-17       He's able to feel, not just think.    He is utterly in the       moment.       Holmes' hawk-sharp gaze darts down from McMurdo's face to       his muscles as they flex, giving him just enough warning       to move his head so that a punch grazes him.       BACK TO SCENE       McMurdo throws a storm of punches, most of which Holmes       ducks or blocks. He throws nothing in return, sometimes       even drops his hands, just using his reflexes to protect       himself.       Once or twice, he reaches out and gently touches       McMurdo's face or throat, when the big man leaves an       obvious opening. But that's all. Holmes is completely       in control --       -- until he notices a face at ringside.       CLOSEUP ON A BEAUTIFUL WOMAN       Early thirties, a look of pure intrigue in her eyes and a       slight smile on her lips as she watches the detective.       Holmes' POV returns to normal when he sees her, the sound       floods back into the room.       McMurdo senses his opponent's lapse in concentration and       steps on Holmes' foot, tramping him and --       He knocks Holmes down with a thunderous right.       Holmes rolls over, stands, shakes his head to clear the       cobwebs. He looks for the woman. She's gone. He turns       back to McMurdo, smiles.                                HOLMES                 Well done.   Thank you.       Holmes begins walking away.                                McMURDO                 Oi!   We ain't done here.                               HOLMES                      (walking away)                 Not done. Finished. And as I                 said, thank you, it was most                 pleasurable.                                                        (CONTINUED)                                                         22.15A-17 CONTINUED: (2)                                             15A-17       Face twisted in disgust, McMurdo strides forward and       SPITS CONTEMPTUOUSLY at Holmes, catching him on the back       of the head. The crowd falls silent.       Holmes stops.     Feels the back of his head, smells his       hand.                                  HOLMES                   Hm.   Plymouth gin.       He turns.   Steps back into the ring.       The crowd applauds, working into a fever pitch, but from       Holmes' POV, all is calm. His eyes tick slowly, scanning       McMurdo, locking onto the big man's knee:       A little scar-tissue, nearly invisible.    As McMurdo       braces for combat --       Instantly Holmes unleashes a series of superfast moves,       incorporating exotic martial arts. The blinding       combination culminates with a spinning kick to the big       man's knee, which buckles altogether wrong.       McMurdo falls, over and out. Holmes is already turning       away before the giant hits the canvas.       He sees the crowd fall silent, they're not sure if they       like it, there really isn't any sport. He doesn't care.       Passing fellow fighters and flirty barmaids, Holmes       strides out of the bar, battered on the outside, soothed       inside. He grabs a bottle in his hand. Taking a huge       swig, he climbs the stairs towards the upstairs rooms.18A                                                                   18A       INT. PENTONVILLE PRISON - CORRIDOR - NIGHT       A candle shivers, casting jagged shadows. A row of stone       cells. The sound of prisoners SCREAMING in the dark. A       full-scale riot is on.       Five GUARDS charge down the corridor, banging on the       doors to quiet the prisoners.       The GUARD CAPTAIN approaches a young guard, CHARLIE, who       is frozen on the spot.                                 GUARD CAPTAIN                   Charlie, what the hell's going on                   down here?                                                        (CONTINUED)                                                        23.18A   CONTINUED:                                                  18A                              CHARLIE                It's Jack, he tried to stop                Blackwood from doing his spells.                And now he's in some kind of fit.      The Guard Captain continues around the corner. We see      another guard, JACK, lies convulsing on the floor.                              GUARD CAPTAIN                     (to the prisoners in                      the cell next to                      Blackwood)                You lot shut it!                     (to the guards)                Charlie, get, down here and get                him to the infirmary.      The guards pick Charlie up and carry him away.19                                                                   19      INT. PENTONVILLE PRISON - BLACKWOOD'S CELL - NIGHT      Blackwood sits dead center in the dark.   Eyes closed,      WHISPERING ungodly sounds.      On the walls the scrawls of a madman: wild symbols,      sketches of animals, a headless sphinx, an upside-down      cross. A hint of some method to his madness.                              GUARD CAPTAIN                All right, Blackwood, what's this                all about?                              BLACKWOOD                I've a request.                               GUARD CAPTAIN                You don't get nothin' `til you                stop this devil nonsense. That's                a holy book --      Blackwood closes his eyes again, resumes his soft murmur.                              GUARD CAPTAIN                     (louder)                -- and you will respect it!      Blackwood starts whispering FASTER.   LOUDER.                              GUARD CAPTAIN                Boy, you want me to muzzle you --      Suddenly, the Captain starts COUGHING. He's confused.      He coughs harder. Prisoners watch him stumble backwards.                                                       (CONTINUED)                                                       23A.19   CONTINUED:                                                     19     Blackwood keeps whispering.     The Captain falls to one     knee, keeps coughing.     Finally the Captain COUGHS SOMETHING UP, spits it out     onto the stone floor. He looks down, horrified:     It's a small CATHOLIC CROSS on a chain.     Prisoners start SHOUTING.   The RAVEN at Blackwood's     windowsill flutters away.   Other guards run up,     terrified.                                                      (CONTINUED)                                                     24.19   CONTINUED: (2)                                               19                             GUARD #2               Get him to the infirmary, now!     Guards pull the Captain away. The remaining guard picks     up the cross, stares at Blackwood, chilled. Blackwood's     eyes snap open.                             BLACKWOOD               I've a request.20   OMITTED                                                      2021   INT. PUNCH BOWL PUB - BARE-KNUCKLE BOXING RING - NIGHT       21     The fighting is over and the pub is closing. Only a few     people remain cleaning up, mopping the beer and blood.     Watson enters fast, looks around, and moves upstairs.22                                                                22     INT. PUNCH BOWL PUB - ATTIC     Watson walks down a dingy hallway towards a door. With a     look of resignation, he opens the door to see Holmes     sitting alone in the sterile, barely furnished room.     Holmes faces the corner, playing scales on his VIOLIN.     On the table next to him, an upside down BEER STEIN and     an assortment of prescription medicine bottles.     Watson approaches, sees Holmes has bloodshot eyes from     lack of sleep.     Watson picks one of the medicine bottles which is open.                             WATSON               You know this is for eye surgery?                             HOLMES               I find that it lifts my spirits.                             WATSON               It's a pathological amorbic               process, it increases tissue               change and weakness. And you know               what a black reaction comes on you               afterwards.     No answer. More scales. Watson approaches, sees Holmes     has bloodshot eyes from lack of sleep. The beer stein is     full of FLIES all buzzing about.                                                    (CONTINUED)                                                    24A.22   CONTINUED:                                                  22                             HOLMES               Look at this. If you play a               chromatic scale, they move               clockwise. As soon as you switch               to a pentatonic scale --     Holmes plays a different scale, the flies all stop     moving, stick to the glass.                             WATSON                    (faking interest)               Really? What about when you --               oops --     Watson picks up the glass, lets loose the flies. Holmes     looks up; Watson's already moving for the door, pissed.                                                   (CONTINUED)                                                       25.22   CONTINUED: (2)                                                 22                               WATSON                 Let's go. Lestrade wants you at                 Pentonville Prison.                               HOLMES                 That's your job, not mine.                               WATSON                 You're Blackwood's last request.                 Says he has information he'll give                 only to you.     But Watson's already out the door.23   EXT. LONDON - DAWN                                             23     Watson and Holmes ride in a cab, passing familiar     landmarks as the city comes to life. They sit in     silence, tension hanging between them. Finally Holmes     grabs Watson's bag, rummages around and pulls out a clean     white shirt.     Watson looks out the window, frustrated. He sees THE     HALF-CONSTRUCTED MASS OF TOWER BRIDGE. Near ground     level, workers take down a large BLACKWOOD STEEL sign.                               HOLMES                 Look at that structure. What has                 it been? Five years' work                 already? Are you aware that is                 the first combination of bascule                 and suspension bridge. Very                 innovative.     No reply.     As Holmes is taking off his jacket, he reaches into his     pocket and pulls out a wad of money.                                                      (CONTINUED)                                                      26.23   CONTINUED:                                                    23                              HOLMES                Oh, I have your cut from last                night, by the way. You weren't                there so I laid your customary                bet --     Silence.   Holmes takes off his shirt.                              HOLMES                You're right... I'll keep it with                your check book, locked safely                away in my drawer.     Silence.   Holmes pulls on the clean shirt.                              HOLMES                The opera house is featuring Don                Giovanni and I could easily                procure two tickets if you had                some cultural inclination this                evening.     Silence.                              HOLMES                You have the grand gift of                silence, Watson. It makes you                quite invaluable as a companion.     Watson punches him square in the face.                              WATSON                And your grand gift is the uncanny                ability to demoralize people. I                was aware she'd been engaged. She                told me.     Holmes rubs his jaw.                              HOLMES                So that's a `no' to the opera                then?     Watson's steaming.   Holmes puts on his vest.                              WATSON                That's my waistcoat.                              HOLMES                It's too small for you.                              WATSON                Well, it's my property and I want                it back.                                                     (CONTINUED)                                                   26aA.23   CONTINUED: (2)                                             23     Holmes hands him the waistcoat which he promptly tosses     out of the carriage window. Holmes frowns, looks out the     opposite window.                                                    26A.24   EXT. PENTONVILLE PRISON - EARLY MORNING                     24     Already a CROWD is gathering outside the jail, papers are     for sale, Blackwood's death is the headline. Religious     zealots and occultists swarm. Police keep them away from     the entrance. Holmes heads inside, Watson stops.                             WATSON               You go ahead. I've no business               with him while he's alive.25   OMITTED                                                     25                                                       27.26   INT. PENTONVILLE PRISON - CORRIDOR - DAWN                    26     A pale, nervous GUARD leads Holmes down the shadowy     corridor. All the cells are now EMPTY.                             HOLMES               Where are all the other prisoners?                             GUARD               We had to move `em, sir, otherwise               we were going to have a riot on               our hands. There's something               about him... it's like he can get               inside your head.     Holmes can see how spooked the Guard is.                             HOLMES               I'm sure I can find my own way               from here, if you have other               duties to attend to.                             GUARD               Much obliged, sir. Thank you,               thank you.     The Guard high-tails it out of there.27                                                                27     INT. PENTONVILLE PRISON - BLACKWOOD'S CELL - DAY     Holmes approaches Blackwood's cell, strolling     insouciantly. No way this creep's getting to him. In     the shadows he can barely make out Blackwood, who's     reading aloud to himself. Holmes listens, getting     closer.                             BLACKWOOD               QUOTE from Revelations tbd...     Blackwood pauses, turns, sees Holmes.     They share a smile -- two heavyweights sizing each other     up.                             HOLMES               Love what you've done with the               place.                             BLACKWOOD               Thank you for joining me.                                                    (CONTINUED)                                                     28.27   CONTINUED:                                                   27                             HOLMES               A small point of concern.                             BLACKWOOD               How can I help?                             HOLMES               I'd already followed the murders               with some interest and while my               heart went out to the families of               the victims, I couldn't but notice               a criminal mastery in the stroke               of your brush --                             BLACKWOOD               You're too kind.                             HOLMES               However, by comparison, your work               in the crypt was akin to a finger               painting.     Suddenly, Blackwood is right at the bars, close to     Holmes.                             BLACKWOOD               So now you're curious as to               whether there's a larger game               afoot, and that's why you're               really here.                             HOLMES               Actually, my friend will pronounce               you dead shortly and I thought I               might keep him company.                             BLACKWOOD               Allow me to enlighten you. Your               mistake is to imagine that               anything earthly has led to this               moment. Your error in judgement               is to assume I've been holding the               brush at all -- I am merely the               channel.     Despite the bars between them, the men are close     together. Holmes seems to be studying Blackwood's ear.                                                    (CONTINUED)                                                       29.27   CONTINUED: (2)                                               27                             HOLMES               My only wish is that I'd caught               you earlier. I might have spared               five lives.                             BLACKWOOD               Those lives were a necessity, a               sacrifice. Five otherwise               meaningless creatures called to               serve a greater purpose.                             HOLMES               I wonder if they'd let Watson and               I dissect your brain -- after               you're hanged, of course. I'd               wager there's some deformity that               would be scientifically               significant. Then you would serve               a greater purpose, too.                              BLACKWOOD               Mr. Holmes, you must widen your               gaze. I'm concerned you               underestimate the gravity of               coming events.                    (beat)               For you and I are bound on a               journey that will twist the very               fabric of nature.                    (beat)               I sense fragility beneath your               mask of logic, and it worries me.               Steel your mind, Holmes, I need               you.     Holmes steps back, shakes his head.                             HOLMES               I must say, you've come a long way               down from the House of Lords.                             BLACKWOOD               But I will rise again.                             HOLMES               Bon voyage, Blackwood.     As Holmes walks away, Blackwood calls after him.                             BLACKWOOD               Pay attention! Three more shall               die, and there is nothing you can               do to save them.                             (MORE)                                                    (CONTINUED)                                                     29A.27   CONTINUED: (3)                                               27                             BLACKWOOD (CONT'D)               You must accept that this is               beyond your control, or by the               time you realize it was you that               made it all possible it will be               the last sane thought in your               head.28   INT. PENTONVILLE PRISON - CORRIDOR - MORNING                 28     Holmes walks down the corridor, meets Lestrade and a     PRIEST. The place is bustling with cops and officials.                             LESTRADE               What did he want?                             HOLMES               Nothing.     Holmes looks at the priest.                             HOLMES               Don't think you're needed, Father.               Not for this one.29                                                                29     INT. PENTONVILLE PRISON - GALLOWS     The room where the execution takes place is packed to the     rafters with senior officials, members of the government     and cops. We get a good look at some of the faces.     Watson is there too. Blackwood walks up into the noose.                                                        CUT TO:     A SHOT OF GATHERED WITNESSES AND OFFICIALS                                                        CUT TO:     A SHOT OF THE EXECUTIONER                                                        CUT TO:                                                    (CONTINUED)                                                       30.29   CONTINUED:                                                     29     A SHOT OF BLACKWOOD     smiling malignly.    His final words:                              BLACKWOOD                Death is only the beginning.                                                          CUT TO:     A SHOT OF THE HOOD     going over Blackwood's head.                                                          CUT TO:     A SHOT OF THE NOOSE     slipping around Blackwood's neck.                                                          CUT TO:     A SHOT OF THE PERSPIRING PRIEST     clutching his Bible.                                                          CUT TO:     A SHOT OF THE TRAP DOOR     opening.   Legs fall through and yank tight.                                                          CUT TO:     A SHOT OF WATSON     checking Blackwood's pulse.     He pronounces Blackwood     dead. The show is over.30                                                                  30     INT. 221 BAKER STREET - DAY     Holmes is out cold, lying on his tiger skin rug.                          CRACK!   His eyes fly open.   CRACK!!                                                              IRENE (O.S.)                                                London's so bleak this time of                                            year.                                                                                                                                                                                     (CONTINUED)                                                     31.30   CONTINUED:                                                   30     REVEAL: Irene Adler sits on the stairs near Holmes' lab,                cracking walnuts. She stands and Holmes watches her                     every move as she crosses to him. She leans down,                       putting the walnuts in front of him and flashes him a                   smile.                                                                                          IRENE                                                     Not that I'm pining for New                                             Jersey.                                                       Irene gets up to cross the room. Only once her back is                  turned does Holmes lever himself upright, stunned by this               intrusion. As soon as she clears he quickly moves over                  to a concealed safe. He tests the door to make sure it's                still locked.                                                                                   IRENE                                                     I prefer to travel in the winter.                             As she passes a small table that has been outfitted with                tea, dried fruit, olives, etc...                                                                IRENE                                                     I brought a few souvenirs. Dates                                        from Jordan, tea from Ceylon and                                        olives from Cyclades. I thought                                         we'd have a little tea party to                                         cheer us up.                                                  Irene grabs a file from Holmes' desk.                                                           IRENE                                                     I came across this as I was                                             setting up.                                                   Irene opens the file, flips through newspaper clippings                 and police reports, her back to Holmes.                                                         IRENE                                                     Theft of Velasquez portrait from                                        the King of Spain... Missing naval                                      documents lead to resignation of                                        Bulgarian Prime Minister...                                             Scandalous affair ends engagement                                       of Hapsburg Prince to Romanov                                           Princess.                                                     Holmes stealthily turns down a photo of Irene, just                     before she turns back to face him.                                                                                     (CONTINUED)                                                     32.30   CONTINUED: (2)                                               30                              HOLMES                                                   Simply studying your methodology                                        for when the authorities ask me to                                      hunt you down.                                                                        IRENE                                                     I don't see my name anywhere.                                                         HOLMES                                                    But your signature is clear.                                  Holmes reaches for Irene and pulls on a chain around her                neck, revealing and enormous diamond.                                                           HOLMES                                                    Ah, the Maharajah's missing                                             diamond. Another souvenir?                                                            IRENE                                                     He has a palace full of them.                                           Let's not dwell on the past.                                  They move to sit at the table.                                                                  IRENE                                                     By the looks of things you're                                           between cases at the moment.                                                          HOLMES                                                    And you, husbands. No ring?                                                           IRENE                                                     He snored. I'm Irene Adler again                                        and I need your help to find                                            someone. There's nobody more                                            brilliant or who knows London                                           better than you. Plus, it's a                                           wonderful opportunity to see you                                        again.                                                        TRACK INTO Irene's hypnotically beautiful eyes. Holmes                  almost melts. Then, Irene reaches for something inside                  her jacket and Holmes grabs her hand.                                                           IRENE                                                     Why are you so suspicious?                                                            HOLMES                                                    Should I answer chronologically or                                      alphabetically?                                               Irene pulls out an ENVELOPE.                                                                                           (CONTINUED)                                                    33.30   CONTINUED: (3)                                              30                             IRENE                                                    This is all the information you                                        need.                                                        She hands him the envelope.                                                                    HOLMES                                                   Who are you working for?                                     Just for a brief moment, she can't hide the anxiety in                 her eyes.                                                                                      IRENE                                                    I'm my own man.                                                                                            (CONTINUED)                                                     33A.30   CONTINUED: (4)                                             30     She stands and pulls out a large bag of coins.                                                 HOLMES               Keep your money. I didn't say I'd               take the case.     She ignores him. Holmes examines the envelope. On it is               stamped the letterhead of the Grand Hotel. She pauses                 behind him as she exits.                                                                      IRENE               They gave me our old room.                                  As she walks out she puts her photo back upright.                31   INT. 221 BAKER ST. - STAIRS                                31     Irene descends the stairs just as Watson is coming in.     He lifts his hat, waits for her to pass --                              IRENE               Hello, John.     -- does a speechless double-take when he sees who it is.     Irene keeps moving.                                                    34.32   EXT. LONDON STREET                                             32     We PICK UP Irene crossing a street. She passes a DARK     ALLEYWAY. Pauses. Looks. She turns into the alley.     HOLD ON the alley for a long beat. Too dark to see much     in there.                                                          CUT TO:     IRENE     emerges from the alley holding a lovely bunch of roses.     She sniffs them appreciatively, walks on.                                                          CUT TO:     IRENE     approaches a waiting carriage, looks around her, gets in.                                                          CUT TO:33                                                                  33     INT. CARRIAGE     Irene sits, turns to address a man-shaped shadow filling     the opposite corner of the carriage. Before she can     speak, a gesture from the shadow stills her. This is     PROFESSOR MORIARTY.     Irene is made to wait as Moriarty finishes writing a     complex mathematical equation (in astronomy), folds the     paper to reveal that it is addressed to THE ROYAL     ASTRONOMICAL SOCIETY, cracks open the carriage window and     slides the folded paper partway out.     Someone waiting outside takes the paper, and their     footsteps clatter away.     Moriarty closes the window, and the carriage starts     moving. A full beat goes by before he turns to Irene,     finally prepared to engage with her.                             MORIARTY               I assume he'll do it?                             IRENE               Not for money, but for me.   I               wager he'll find our man within               twenty-four hours.                             MORIARTY               You wager?                                                   (CONTINUED)                                                      34aA.33   CONTINUED:                                                    33                                IRENE               I'm certain.                                MORIARTY               A better word.     I sincerely hope               it's accurate.                                IRENE               I --     Suddenly, the coach comes to a halt, they lurch forward.34   EXT. LONDON STREET                                            34     A rough-looking BEGGAR wearing an eye patch has fallen     under a wheel of the coach.                                BEGGAR               Ow, me leg!                                                     (CONTINUED)                                                     34A.34   CONTINUED:                                                   34                                COACH DRIVER               Get out of it!                             BEGGAR               You run me over, sir, yes you did!                             COACH DRIVER               You fell right into the carriage!     The Beggar is up, limping toward the window where     Moriarty and Irene sit. He has disgusting blackened     teeth.                             BEGGAR               A little charity would go a long               way, yes it would, sir.                                                    (CONTINUED)                                                       35.34   CONTINUED: (2)                                                 34     He reaches toward the window. Within a nanosecond,     Moriarty extends his hand into which a PISTOL appears,     delivered by a concealed mechanism (Travis Bickle style).     The gun rests on the Beggar's forehead. The cold eyes of     the man that holds the weapon bore into the skull of the     Beggar, who backs off in fear. The carriage moves on.35   INT. 221 BAKER ST. - HOLMES' APARTMENT                         35     Holmes is washing his face in a basin on the other side     of the room, completely transformed now, utterly alive.     Watson approaches, very concerned, almost enraged.                             WATSON               Look at you, I can't believe you                                          ran after her like a schoolboy                                            again. Leaping about, all                                                 aflutter. Are you a masochist?                                                          HOLMES               Allow me to explain.                                                                    WATSON               Don't you remember what she did to                                        you? She turned you inside out,                                           she made a proper idiot of you.                                           I'm sorry, you were going to                                              explain something...                                                                    HOLMES               Thank you, I --                                                                         WATSON               I know, instead of just being                                             tricked into being a witness at                                           her wedding like last time --                                                           HOLMES               I don't believe --                                                                      WATSON                                                      You dress up as clergyman and                                             actually perform the ceremony.                                            She'd love that.                                                                        HOLMES                                                      You've had your fun.                                            This is a hopeless cause -- Watson won't stop.                                                    WATSON               What's she after, anyway?                                                                                                                                (CONTINUED)                                                      36.35   CONTINUED:                                                    35                             HOLMES                                                     Now it's time to press on.                                                             HOLMES                                                     Now it's time to press on.                                     Holmes looks like he's had enough.                                                                 WATSON                                                   Go on.    I won't interrupt.                                                           HOLMES                                                     It doesn't matter --                                                                   WATSON                                                     What could she possibly need? An                                         alibi, a beard, a human canoe.                                           She can sit on your back and                                             paddle you up the Thames...                                    Holmes grabs the envelope back.                                                                  HOLMES                                                     Regrettably, we've had our last                                          case together. Those are my                                              dates.                                                                                 WATSON                                                     I've already read it. Luke                                               Reordon, four foot ten, red hair,                                        missing two front teeth.                                       Holmes picks up his violin.                                                                      WATSON                                                     Case solved! You're just not her                                         type, Holmes. She likes ginger                                           dwarfs.                                                                                  HOLMES                                                   Midget!                                                                                  WATSON                                                   So you agree?                                                                          HOLMES                                                     No, I don't agree. It's more than                                        a technicality. You're                                                   misrepresenting the dimensions of                                        foreshortened people.                                                                   WATSON                                                    I've upset you, I can tell.    I've                                      said too much.                                                                                                 (CONTINUED)                                                      36A.35     CONTINUED: (2)                                              35                                HOLMES                                                      No, I'm just saying, one has                                              disproportionate limbs the other                                          does not.                                                                                WATSON                                                     Alright.   What were you just                                             doing?                                                                                  HOLMES                                                      Will you allow me to explain.                                                           WATSON                                                      That's what I've been trying to                                           do.                                                            Holmes plucks his violin, the notes play over a FLASHBACK       of the previous scene, all from HOLMES' POINT OF VIEW.36     FLASHBACK - INT. 221 BAKER ST. - HOLMES' APARTMENT           36       We see Irene step out.                                IRENE                  Why don't I see myself out.       Once Irene leaves, he steps quickly to a window, and       looks out to see her walking down Baker Street, turning       down an alley. He bolts    into --36A    INT. 221 BAKER ST. - CORRIDOR                               36A       He sees Watson coming up the stairs. Before Watson can       speak, Holmes snatches his coat and runs down the other       end of the corridor. He JUMPS out the window to --37     EXT. 221 BAKER ST. - REAR YARD                               37       Holmes flies from the window and lands neatly on a tin       roof. The jump to the next level is a more taxing       prospect. Holmes weighs the distance and hurls himself       down with a determined look. He lands just right.37A-37D OMITTED                                               37A-37D                                                       37.38    EXT. COAL SHED                                                 38      Holmes jumps off the shed, heads for the street one block      over from Baker Street.38A   EXT. LONDON STREET                                            38A      He runs down the mews in great haste, stops at the same      alley that Irene disappeared into -- but at the other      side.                                                          CUT TO:      HOLMES' POV DOWN ALLEY      from concealment:    Irene walks towards a MAN HOLDING A      BUNCH OF ROSES.                                 MAN WITH ROSES                   Got some roses for you,                   sweetheart. Cut you a deal `cos                   you're so pretty.                                 IRENE                   Oh, how nice of you.      Even without the man -- who is scrofulous and sly -- no      woman in her right mind would go down this alley.38B                                                                 38B      INT. ALLEY      The man with the roses beckons Irene forward. Another      man steps in behind her, trapping her. He closes in to      grab her --      -- and WHAP!WHAP!WHAP! Gets three cosh-strikes across      the chin, dropping him immediately.      Still holding the roses, the man finds himself smacked up      against the bricks with Irene's hand over his mouth.      Quick as a snake, she slices upwards with a razor-sharp      knife, cutting his belt, then his clothes, all the way to      his collar. The move ends with Irene's finger over her      own mouth, signalling the mugger to be quiet. He obeys,      eyes bulging.      Irene frisks him expertly. She's mugging the mugger.      There is excitement in her eyes; this turns her on.                                                      (CONTINUED)                                                     37A.38B   CONTINUED:                                                  38B                              IRENE                Oh, look, a wallet. Doesn't look                like yours, does it? And --                naughty boy -- here's another                one. I'll return them, shall I?      She takes both wallets, takes the roses --                              IRENE                These are lovely, thank you.      -- and leaves, stepping daintily over the crumpled man on      the floor.      On second thoughts, she turns back, takes his wallet too,      then leaves.                                                           CUT TO:      ANGLE ON HOLMES                              HOLMES                Now, that's the Irene I know.      He hurries after Irene down the alley.38C                                                                  38C      EXT. LONDON STREET      Holmes exits the alley, catches a glimpse of Irene      through a STREET FAIR, which is being assembled.      Holmes picks up the pace.      He snatches a HAT from a one-eyed old BEGGAR with his      hand out. He drops a coin in his hand, then another coin      and snatches the beggar's eye patch too.      He runs past a coal cart, snags a lump of coal, rubs it      on his face and hands, then pops it in his mouth, chews      it to blacken his teeth.      He pauses to singe the sleeve of Watson's coat on a      fairground fire-breather's flames, runs on.39    EXT. LONDON STREET                                              39      Holmes emerges as the beggar we saw previously. Again he      stops the coach and again the gun comes out, but this      time we can see that Holmes gets a view of the man on the      other end of the weapon before the carriage pulls away.                                                      37B.40   INT. 221 BAKER ST. - HOLMES' APARTMENTS (PRESENT)             40     Holmes strums one more chord on his violin, thinking.     Irene's bag of money still sits on the table.                                                    HOLMES               This man intrigues me, Watson.                                           He's got Adler on edge.                                                                WATSON               Which is no mean feat.                                                                 HOLMES                                                     She's intimidated, scared...                                                           WATSON                                                     And yet she works for him. That's                                        bad money. It's nothing to do                                            with me, but leave this case.                                  Holmes motions to the bills.                             HOLMES               Well, I may not have a choice. A                                         man has to make a living. After                                          all, I'll be paying the rent                                             entirely on my own.                                                                    WATSON                                                     You know what, I've had just about                                       enough --                                                                              HOLMES                                                     Clarky!                                                                                VOICE (O.S.)               Mister Holmes, sir...?     He turns to see... CONSTABLE CLARK standing at the door.     Breathless, pale, scared.                             CONSTABLE CLARK               Inspector Lestrade asks that you               come with me, at once.                                                     (CONTINUED)                                                   38.40   CONTINUED:                                           40                             HOLMES                    (mumbles)               What's he done now, lost his way               to Scotland Yard? Watson, grab a               compass. You means us.                                                          WATSON               Us means you.                                                                 CONSTABLE CLARK               It's Lord Blackwood, sir. It                                    appears he's come back from the                                 dead.                             WATSON                                            Well that's clever seeing as how I                              pronounced him dead myself.                                                                                                                   CONSTABLE CLARK               A groundsman saw him walking                                    through the graves, just this               morning.                             WATSON               I'll leave this one in your                                     capable hands. I have tea with                                  Mary and her parents this evening.                    Watson walks into his office.                                                           HOLMES               It is not my reputation at stake                                here.                                                                         WATSON                                            Are you taking this seriously?                                                HOLMES                                            Like it or not, it's a matter of                                professional integrity. No girl                                 wants to marry a doctor who can't                               tell if a man's dead or not.                          They all move to the exit.                                                              HOLMES                                            Watson, you'd do well to hide your                              medical certificates in case                                    they're revoked.                                      Clarky laughs.                                                                                                    38aA.41   EXT. THE BLACKWOOD ESTATE - ESTABLISHING - DAY                 41     Judging by the estate, Blackwood comes from old money,     and lots of it. We FOLLOW the carriage hurrying Holmes     and Watson forward.42   EXT. THE BLACKWOOD BURIAL PLOT - DAY                           42     Generations of wealth buried in moss-covered marble     memorials. Not a place for a picnic, not even on a     bright sunny day -- and it's starting to rain.     A COP stops the carriage, opens the door. Holmes and     Watson exit, Watson carries a black leather FORENSICS     KIT.     They walk up the pathway towards the Blackwood Family     Crypt. Watson barely lifts his head, scanning the ground     while Holmes appears to have taken an interest in a clump     of trees in the distance.                             WATSON               Look at this mess. Nothing but               standard-issue police bootprints.               Any possible evidence there might               have been has been trampled.                                                      (CONTINUED)                                                     38A.42   CONTINUED:                                                   42                             HOLMES               Scotland Yard at their finest,               once again.     Police lamps light one large marble CRYPT. The cops are     in tight clusters, whispering to themselves, spooked.     They'd rather be anywhere but here.     As Holmes and Watson approach, they see the marble doors     of the crypt have been BLASTED OPEN FROM THE INSIDE.     Holmes and Watson share a quick glance -- this is     interesting.     Lestrade emerges from the crypt.   He is sweating, shaken.                                                    (CONTINUED)                                                      39.42   CONTINUED: (2)                                                42     Holmes offers Lestrade his handkerchief, Lestrade waves     it off.                             LESTRADE               Look at those slabs of marble --               they're half a ton each if they're               a pound -- smashed outward like               they were nothing.     On second thought, Lestrade does take Holmes'     handkerchief.                             LESTRADE               Explain it if you can, Holmes.     Holmes inspects the door, checking the hinges. He     notices the Blackwood CREST, and the image of a SPHINX.                             HOLMES               And the coffin?                             LESTRADE               We're digging it up now. The               witness is over there. You can               question him if you like -- but               you won't get much.     The old GROUNDSKEEPER, pale and terrified, stands out of     the rain under an ancient cypress tree.     Watson heads for him.   Holmes disappears in the opposite     direction.     As soon as their backs are turned, Lestrade marches over     to a nervous knot of cops, grabs a fistful of blue in     each hand, drags his boys in close. He doesn't want     Holmes or Watson to hear this.                             LESTRADE                    (low, angry)               If you lot don't stop behaving               like a bunch of superstitious milk               maids, you're on double-time!               You're an embarrassment! Also,               you're forbidden to talk about               this to anyone, not a word. Are               we bloody clear on that?     The cops nod, duly chastened.                                                         CUT TO:                                                     (CONTINUED)                                                        40.42   CONTINUED: (3)                                                  42     THE GROUNDSKEEPER     mumbles the Lord's Prayer under his breath. Watson     immediately goes into doctor mode checking his pulse,     looking in his eyes.     The Groundskeeper just keeps praying. Watson takes a     boiled sweet from his pocket, pops it in the man's mouth     and gently sits him down.     Holmes walks over holding a small branch from a tree.                                WATSON               He's in shock.     We should give him               a few moments.     Lestrade stomps up.                              LESTRADE               The witness stated that he saw               Lord Blackwood rise from the               grave.                     (at Watson,                      accusingly)               Well? You pronounced the man               dead.                             WATSON                    (stung)               He had no pulse.                             HOLMES               Inspector, do you know if this is               a spruce or a sycamore?     Lestrade shakes his head.    It hasn't been a good day for     him, or the Yard.     There's a clunk. They all turn to see the coffin has     been extracted from the crypt.     Four beefy, soil-stained cops emerge lugging the coffin.     They place it on the ground, step back, crossing     themselves, murmuring, plainly terrified. Holmes     chuckles.                                LESTRADE               OPEN IT!!                                                       (CONTINUED)                                                    41.42   CONTINUED: (4)                                              42     But no one moves. The cops pass a CROWBAR around as if     it were red-hot. Watson's had enough. He marches     forward --     -- snatches the crowbar away, jams it under the lid and     levers it off with a slow, eerie groan.     Holmes and Lestrade move forward, the cops move backward.     The coffin is filled with EARTH, overflowing. They brush     away a layer of dirt, to reveal... A DEAD BODY in the     coffin. The body is a much smaller man than Blackwood,     in everyday clothes, with red hair.                             LESTRADE               That's not Blackwood.                              HOLMES               Now that we have a firm grasp of               the obvious...     Watson opens his forensic kit, disturbed. Vials, silver     tools. He takes a CALIPER, begins examining the body.                             WATSON               Lividity is late stage. Diptera               deposits are approximately --                    (measuring)               -- three quarters of an inch,               putting the time of death at ten               to twelve hours ago.                             HOLMES               Inspector, may I see your pen?     Lestrade hands over a nice fountain pen, still stunned.     Holmes takes the pen and pries open the corpse's mouth,     revealing: two missing teeth in the man's jaw.                             WATSON               Missing two incisors in the upper               jaw...                    (a look at Holmes)               Adler's midget.     Holmes spots something glinting in the man's dirt-filled     pocket. He uses the pen to fish out: a POCKET WATCH.                             HOLMES               All yours, Inspector.     Holmes hands the pen back to Lestrade. Lestrade looks at     it with dismay, takes it in Holmes' handkerchief -- a     small measure of revenge.                                                   (CONTINUED)                                                       42.42     CONTINUED: (5)                                               42       Holmes and Watson begin walking away from the crypt.       Lestrade follows, anxious. Holmes shows him the dusty       pocket watch.                               HOLMES                 Scratches around the keyhole where                 the watch is wound. Most drunks                 are the same, and pawnbrokers                 scratch the ticket number and                 their initials inside the lid.                 This one has five, so the owner --                               GROUNDSKEEPER (O.S.)                 He was walking.       They all stop, suddenly. The old Groundskeeper stands in       front of them, ready to unburden himself.                               GROUNDSKEEPER                      (quivering voice)                 He was walking but his feet didn't                 touch the ground. And I'm not                 daft, I know what I saw and I know                 Lord Blackwood. He was as alive                 as you or me. It's not right.                 It's not natural.                      (turns, leaves)                 Our Father Who art in heaven...                 (etc.)       All three men watch the Groundskeeper go. A sudden gust       of wind moans eerily. They all want to get the hell out       of there.                               HOLMES                 Now the game is afoot, Watson.42A-50 OMITTE                                                  42A-5051     EXT. LONDON STREET - DAY                                     51       Holmes stands in the middle of the street contentedly       observing humanity. Watson ENTERS FRAME and hands Holmes       a bundle wrapped in newspaper.                               WATSON                 I fail to see how these fish and                 chips are different from the three                 other places we passed along the                 way.                                  HOLMES                 Trust me.                                                      (CONTINUED)                                                    42A.51   CONTINUED:                                                  51                             WATSON               Just eat.     Holmes complies hungrily and they start to stroll along.     Watson appears preoccupied.                             WATSON               You know, I've seen things in war               that I couldn't explain. I once               heard a man predict his death,               down to the number and placement               of the bullet holes that killed               him. You have to admit that a               supernatural explanation is at               least theoretically possible.                                                   (CONTINUED)                                                     43.51   CONTINUED: (2)                                               51                             HOLMES                    (mouth full, near                     indecipherable)               Never theorize before you have               data. Invariably, you end up               twisting facts to suit theories,               instead of theories to suit facts.               Adler's midget is the key to this.     Holmes pulls out a JEWELER'S LOUP, screws it into his     eye, and flips Reordon's watch open. He examines the     lid.                             HOLMES               Hmm... scratches around the               keyhole, what does that tell you?                             WATSON               The owner was most likely a drunk.               Each time he wound the watch his               hand would slip, hence the               scratches.                             HOLMES               Very good, Watson! You've               developed considerable powers of               your own.     Watson looks quite chuffed.                             HOLMES               Let's see now, there are several               sets of initials scored into the               lid.                             WATSON               Pawnbroker's marks.                               HOLMES               Excellent.     Watson looks extremely pleased with himself until they     turn a corner into a street where EVERY SECOND SHOP IS A     PAWN SHOP. His face falls.                             HOLMES               The most recent is M.H...     Watson shakes his head.                             WATSON               Maddison and Haig.                                                    (CONTINUED)                                                     43A.51   CONTINUED: (3)                                               51                             HOLMES               Oh my Lord, here we are. They               should give us an address.     WE SEE MADDISON & HAIG, PAWNBROKERS, RESPECTABLE,     DISCREET, ahead of them there on Bow Street.                             WATSON               There's one thing you've missed.               On the watch.                                HOLMES               I think not.                             WATSON               The time. Which leads me to               deduce that I'm already late for               my appointment with Mary. You               remember, the one I was leaving               for before you talked me into               coming to dig up dead bodies with               you.     A GYPSY PALM READER approaches Watson as he turns to     leave.                             PALM READER               Reckon your future, sir?                             HOLMES               Perhaps we do need a little help               from the beyond.                                WATSON               No, thank you.     She grabs his hand anyway.                             PALM READER               You need to hear what I have to               tell you.     Watson is so taken aback by the urgency and gravity of     her tone that he doesn't pull away.                             PALM READER               I see two men, brothers. Not in               blood but in bond. I see the               letters S and an L, no... wait, a               J.     Holmes and Watson look at each other.   She has their     attention.                                                    (CONTINUED)                                                     43B.51   CONTINUED: (4)                                               51                             PALM READER                    (wincing)               I see madness. A man driven out               of his mind by a malign force.     Watson looks at Holmes.                             PALM READER               I see a letter... the letter M...               another M... Mary? You will be               married... I see... I see...                    (horrified)               Patterned table clothes, china               figurines, lace doilies...     Watson snatches his hand away.                             WATSON               You think you are clever don't               you?     Holmes feigns innocence.                             PALM READER               She turns to fat...                                WATSON               Enough.     The Palm Reader looks at Holmes.                             HOLMES                    (to Watson)               Do you have any changes?     Watson shakes his head as he pays the woman.                             WATSON               This is a new low -- even for you.                                                    (CONTINUED)                                                     44.51   CONTINUED: (5)                                               51                              HOLMES               It's the most honest prediction               old Flora has made in years. And               you know it yourself, Watson.               That is precisely the reason you               can't find a suitable ring.               You're terrified of a life without               the thrill of the macabre, as well               you should be.     Holmes swallows the last of his cod and casts the     wrapping aside, pleased with himself.                             WATSON               Do you still have my cut from the               fight?     Holmes digs into a pocket, produces a wad of coins.                                HOLMES               Why, do you --     Watson snatches the money, storms into Madison and Haig.     Holmes is confused until he spots a sign in the window:     "Large selection of engagement rings for every wallet."     Holmes starts to look a bit nervous. As he follows     Watson, he is intercepted by the Palm Reader who grabs     his arm.                             PALM READER               I seen something in his hand.               Darkness and great pain. Mortal               peril. Warn your friend, he's not               safe.     Even Holmes is taken aback by this.52                                                                52     EXT. LONDON EAST END - MINUTES LATER     Holmes and Watson move down the street, the pawnshop     behind them. Now Watson is smiling, and Holmes is not.     Watson is beaming at: an ENGAGEMENT RING in a box.                                WATSON               Not bad, eh?     Holmes turns away, looks down at the TICKET he got from     the pawnshop: an ADDRESS.                             HOLMES               Reordon's lodgings should be right               around this bend. Here we are...                                                    (CONTINUED)                                                    44A.52   CONTINUED:                                                  52     He slows, looks up at a dark, dingy LODGING HOUSE.   Some     windows are boarded up.                             HOLMES               Looks promising. And possibly               dangerous. Oh, well, give my               regards to Mary.                                                   (CONTINUED)                                                       45.52   CONTINUED: (2)                                                 52     Holmes heads for lodging house.     Watson checks his watch.53   OMITTED                                                        5354   INT. LODGING HOUSE                                             54     Holmes winds his way up a twisting flight of creaky     stairs, finds a door with scratches on the keyhole.     Holmes takes out his knife and goes to work on the lock.     It is fiddly. It takes him a while. He kneels to get a     better angle with the knife.     CRACK! Watson's boot flashes past him as he KICKS the     door off its hinges. Off Holmes' pleased reaction, he     gestures them inside.                             WATSON               I can spare ten minutes.55                                                                  55     INT. REORDON'S ROOMS - DAY     The squalid doorway opens into a series of dark rooms.     Watson lights a lamp which reveals details of an interior     that stops them both in their tracks:     From floor to ceiling, every available inch is covered in     writing, biblical Latin and Hebrew. Scrawled-on paper     and pages are tacked to walls and carved into the     plaster, crucifixes punctuate the yards of text and     collage, strange pagan charms hang from the ceiling.                             HOLMES               He clearly felt something was               coming to get him.                                WATSON               Something did.     They move further inside where there is a hallway and a     basic bedroom. Holmes inspects it, moves through a door.                                                      (CONTINUED)                                                      46.55   CONTINUED:                                                    55                             HOLMES (O.S.)               Watson, come take a look at this --     Watson puts down what he was looking at, goes towards...56   INT. REORDON'S LAB                                            56     Instantly, Watson covers his nose with a handkerchief.                              WATSON                    (reeling)               Bloody hell...     The room is stacked with an alarming amount of scientific     and biological paraphernalia. Some of it gives off a     distinctly electrical hum. Ungodly fragments of limbs     and matter float in jars.                             HOLMES                    (inhaling deeply,                     loving it)               Ammonium sulfate.     In the center of the room, something ROTTING. An     experiment generating a massive stench, a seething cloud     of flies. Holmes and Watson step closer to see:     DEAD FROGS. Eyes opened impossibly wide, their bodies     frozen in strange contortions, as if mid-death-rattle.     Holmes moves around the room, sniffing like a morbid     perfumer. Watson does his best not to gag.                             HOLMES                    (mumbles)               Phosphorous... Formaldehyde...               Hemlock...                             WATSON               Appears he was attempting to               follow occult formula with               scientific practice.     Watson moves to the stove, sees a sheaf of BURNT PAPERS.     He digs through them, finds one piece not as burnt as the     rest. A CREST stamped on it, impossible to read.     Watson digs through his forensic bag, pulls out vials.                             WATSON               Has he any hydrochloric acid?                                                     (CONTINUED)                                                       47.56   CONTINUED:                                                      56     Holmes shuffles a few bottles, tosses one to Watson.     Watson catches it, starts pouring the acid, another     chemical on a clean sheet of paper.     Holmes senses something, moves into the next room.       He     stops at an open window, smells the CURTAINS:                              HOLMES                Irene was here.     Watson presses the chemical-soaked paper onto the burnt     paper.                              WATSON                Why would she hire you to find                him, if she planned to do the job                herself?                              HOLMES                Maybe it's not the man she's                after, but something else.                Something he was working on?                              WATSON                Ferrocyanide. Sucks the iron                right out of the ink. Long as                it's not too burnt...     Watson keeps rubbing the paper together, puts it by the     lantern. Slowly, faint words APPEAR on the blank page.     Ghostly chemistry. Watson sees the crest is Blackwood's.                              WATSON                He worked for Blackwood.     Holmes gets a whiff of something, raises an eyebrow.       He     starts walking back to the other room.                              HOLMES                There's one odor I can't put my                finger on. Sweet, almost like                perfume... or sugar....                     (stops, sniffs)                Barley sugar.57   OMITTED                                                         5758   INT. REORDON'S ROOM                                             58     BOOM!   The door WHIPS open.    TWO THUGS spill into the     room.                                                      (CONTINUED)                                                       48.58   CONTINUED:                                                     58     They are followed by DREDGER, a huge man, just shy of     seven feet tall and pushing 400 pounds, slightly     deformed, who follows them into the room. He sucks on a     twisty stick of barley sugar (Victorian hard candy).     They stop, surprised to see Holmes and Watson.    Holmes'     eyes widen at the giant.                             HOLMES               Hello, gentlemen.     Dredger is deadpan.                             DREDGER               Sherlock Holmes.                             HOLMES               Let me guess -- you're here to               extinguish any connection between               the man who lived here and the man               you work for? Curious you'd still               be running errands for a dead man.                             DREDGER                    (smiles)               You do like to talk.     The two thugs step toward Holmes and Watson.                             HOLMES               You take them, I'll handle Mr.               Sweet tooth.                             WATSON               Seems about fair.     Watson meets the men in the middle of the room, swinging     at them. As they dodge and swing back --     Holmes grabs a standing lamp, sliding it into his hand as     a weapon. He looks at Dredger, knows it won't make a     dent. He keeps moving, swinging the lamp toward a     CURTAIN. In the blink of an eye:     He WRAPS UP the curtain, ripping it down, bringing the     heavy STEEL ROD with it. He catches the rod, flipping it     so the curtain-rings rain to the floor.     He spins the rod expertly, SMASHING it into Dredger's     face. It stuns the giant for a beat, but quickly --     Dredger LUNGES forward, trapping the steel rod under his     arm. He grabs the rod and HURLS Holmes through the air,     sending him flying into --                                                      (CONTINUED)                                                     49.58    CONTINUED: (2)                                                58      INT. REORDON'S LAB      Holmes crash-lands on the table, scattering all the      bottles and tools. He blinks, trying to gather his      senses. He sees Dredger incoming, as --      Watson tussles with the thugs, a bar-room brawler.    Head      butting one, kicking the other in the groin.      The men whip out knives. Watson ducks and dodges, blades      flashing on either side of him. One of the blades slices      his shirt, ripping off his pocket, so --      The ENGAGEMENT RING falls to the floor. One of the thugs      accidentally KICKS it, sending it across the ground.      As Watson follows the ring with his eyes, the first man      HURLS his knife. Watson just barely ducks the blade,      which SMACKS into the second thug, who falls. Watson      fights the first thug, as he scrambles toward the ring.58A                                                                 58A      INT. REORDON'S LAB      Dredger bears down on Holmes. Holmes reaches out for      some kind of weapon, anything he can grab. He snatches a      SHORT SHAFT. A truly pathetic weapon.      Dredger lurches toward Holmes, who swings the metal shaft      desperately, and... the shaft SPARKS.      ZAP! A flash of light and crackle, and Dredger gets an      ELECTRIC SHOCK that sends him flying back twenty feet --58B   INT. REORDON'S ROOMS                                          58B      Watson finishes off his thug and plucks the engagement      ring off the floor, just as --      Dredger flies through the air, SLAMMING into Watson,      knocking him off his feet, and knocking the ring away.      Holmes looks at the lightning rod in his hand, stunned by      the efficacy of the weapon.      Dredger tries to recover, climbing off of Watson.    Holmes      cranks his weapon. The rod sparks and hums.      Dredger pulls himself up with the help of a water pipe on      the wall. Holmes thinks quickly, then touches the other      end of the pipe with the rod, and ZZZAPPPP!!      The electrical current RUNS ALONG THE PIPE, and KNOCKS      Dredger back twenty more feet.                                                    (CONTINUED)                                                          50.58B     CONTINUED:                                                  58B        Watson spots the ring rolling towards the window, starts        running for it, frantic as --        Dredger rises, a clear change in his demeanor. He looks        at the sparking rod and races for the window as well.        Watson chases the engagement ring, bends down... just as        he's about to grab it...        THUD!   Dredger's massive foot STOMPS DOWN ON THE RING.        Dredger gives Watson a cruel smile, then leaps out the        window, landing atop a heap of coal. Watson glares as --        Holmes blasts past him, leaps out the window.   Watson        picks up the ring, sees:        The stone was knocked out of the setting, lost in the        floorboards, the rest of the ring mangled. Watson        darkens, grips his ruined ring, and heads out --59-60                                                              59-60        OMITTED61      EXT. TOOLEY IRONWORKS - GATE                                   61        Dredger runs down the street, knocking people out of his        way. Holmes gives chase, darting around people, trailing        Dredger through the gates of a huge commercial        shipbuilders. Watson brings up the rear, as --61A     OMITTED                                                       61A62      INT. SLIPWAY - DAY                                             62        Dredger runs towards a SLIPWAY, which holds the        UNFINISHED HULL OF A LARGE SHIP. The vessel can't be far        from completion; it sits in a wheeled carriage designed        to see it smoothly into water.63      EXT. UN-LAUNCHED SHIP - FIRST SLIPWAY                          63        For now though, big wooden chocks hold it in place, the        whole thing is attached to a heavy chain that coils back        around the shed that they just ran through.        Holmes trails the hulking form of Dredger into this        network of struts. They weave through the shadows.        Holmes sees one of the cables shifting slightly.    He        takes an angle to cut off Dredger, and --                                                        (CONTINUED)                                                      51.63    CONTINUED:                                                  63      ZAP! Holmes steps into Dredger's path, hitting him with      the lightning-rod, knocking him back. ZAP!! Holmes      gives another jolt, but the shaft starts to LOSE POWER.      Dredger knows there isn't much juice left. He reaches      out, grabs the weapon and... smiles a terrifying smile.      A moment of reckoning between Holmes and Dredger:      The shaft slowly... sizzles... out. Dredger tosses the      rod. And now, Holmes backs away, as --      Dredger grabs a sledgehammer, and swings the hammer at      Holmes, smashing some of the wooden supports, tearing      others out of his way. The ship LURCHES forward.64    EXT. FABRICATION SHED - DAY                                  64      Watson runs round the end of the building and sees Holmes      scrambling under the half-built hull. Dredger in      pursuit.64A                                                               64A      EXT. UN-LAUNCHED SHIP - SLIPWAY      A police WHISTLE echoes through the air.   Dredger turns      for a moment, just long enough for --      Holmes to launch himself at Dredger. They tumble down      onto the massive runners on the floor of the slipway.      Holmes wrestles Dredger's head onto the runner and pins      him down. Dredger kicks out viciously, splintering      another chock. It's the last straw for the support      mechanism, the whole thing starts to creak.64B   EXT. FABRICATION SHED                                       64B      From his vantage point, Watson can see what's coming.                              WATSON                Holmes!65    EXT. SECOND SLIPWAY - CONTINUOUS ACTION                      65      Grappling frantically on the runners, both Holmes and      Dredger look up as the HUGE CHOCKS holding the ship      EXPLODE BACKWARDS --      -- the PROPELLERS on the stern of the ship start sliding      down towards them.                                                      52.66    EXT. SECOND SLIPWAY - CONTINUOUS ACTION                       66      Dredger looks up at the approach of the propellers --      -- Holmes charges into Dredger again, pulling him      backwards across the runners. Dredger pulls Holmes down      with him, Holmes' head hits the ground hard.      Holmes lies semi-conscious, eyes rolled back into his      head, as the leviathan roars down towards him.      The ground beneath him shakes, knocks his head against      the runner -- once, twice -- as he blinks back into      consciousness, he sees the great shadow sweeping over      him. He's doomed. And...      The stern lurches to a STOP INCHES from his face. He      opens one tentative eye, half expecting to find himself      in the after-life, and sees black metal an inch from his      nose. He realizes the ship has stopped, but he doesn't      know why. He tries to roll out of the way, as --66A                                                                66A      EXT. SECOND SLIPWAY - CONTINUOUS ACTION      We see the chain extended taut as a tight-rope behind the      half-launched ship.      The SHIP squeals and groans as its timber supports buckle      and crack with the weight of the tethered ship.      A beat where the whole business hangs in limbo and...      The timber finally gives way.   The ship is free again,      falling through the air --      Holmes rolls sideways as the propellers slice through the      air above his head -- the hull screams past him with a      sound like the side of the world being torn off --      -- and then the ship's away, parting the Thames with a      vast, frothy explosion of water.      Holmes watches the ship drift gracefully out into the      river -- from vortex to serenity in a matter of seconds.      A quiet beat.      Holmes collapses back, great gulps of air disappearing      into his lungs. He tries to pull himself to his feet,      but Dredger's bone-shaking punches have taken it out of      him and he sags back to the ground.      Watson arrives, helps him to his feet. They stagger back      to the slipway where Dredger was standing. And they      find:                                                     (CONTINUED)                                                       53.66A   CONTINUED:                                                  66A      Nothing.   No blood or trace.   The big man is gone.      The police whistles get louder, officers swarm the scene.      They see the wreckage, the ship adrift, and... Holmes and      Watson.      Watson looks at his watch and does a slow, deep burn.67    INT. LONDON JAIL - MORNING                                    67      The next morning. A giant holding cell where every shade      and aspect of Victorian villainy is corralled.      Holmes wakes up on a bench after a peaceful night's      sleep. Watson sits next to him, exhausted, bloodshot      eyes. He's reading his notebook, making the odd change      here and there.      Holmes looks up and sees Watson staring at him, shaking      his head.                               WATSON                 I haven't slept all night. I                 deserve this... I clearly deserve                 it. How could I ever be so                 deluded as to believe I could meet                 Mary's parents for tea once I let                 myself be talked into going with                 you. Now of course I'm in jail.      Holmes tries to wiggle his fingers which causes him      enough pain that he decides to bind them with Irene's      handkerchief.                               HOLMES                      (theatrically                       indignant)                 You're not implying that I am                 responsible for our current                 situation are you, Watson? We                 were set upon, man, it was self-                 defense.      Watson shakes the notebook in Holmes' face.                               WATSON                 I've used the time to review my                 notes on our exploits of the last                 seven months... and I've come to                 the conclusion that I must be                 suffering from to some profound                 psychological aberration.                                                      (CONTINUED)                                                     54.67   CONTINUED:                                                   67                             WATSON (CONT'D)               Why else would I continually allow               myself to be led into situations               where you're deliberately               withholding your intentions from               me?                             HOLMES               You've never complained about my               methods before.                             WATSON               I'm not complaining... I never               complain... I never complain about               your violin playing at three in               the morning, your mess, your lack               of hygiene, your stealing my               clothes, your setting our home on               fire!                             HOLMES               That was an accident...     Watson challenges him with a look.                             HOLMES               The first time WAS an accident...                             BIG MAN (O.S.)               Remember me, boys? Put me away               for robbery a few years back?     Holmes turns and comes face-to-face with a dangerous-     looking man who has a few conspicuous WARTS on his face.                             HOLMES               Ah, Mr. Brownlee. The fifteenth               most dangerous man in London.     Watson snaps at the man.                             WATSON               Who could forget that face? I               told you, a little nitrate of               silver and the warts will be gone               in two weeks. Now, if you'll               excuse us!     Brownlee takes a swing at Watson. Holmes checks him and     drops Brownlee without missing a beat.                                                    (CONTINUED)                                                     54A.67   CONTINUED: (2)                                               67                             WATSON                    (to Holmes)               Nor am I complaining about the               fact that you terrorize my               patients and perform outlandish               experiments on my dog.                             HOLMES               Gladstone's my dog as well.   It's               in the interest of science.                             WATSON               What I do take issue with is your               ruthless campaign to sabotage my               relationship with Mary.                             HOLMES               Watson, I completely understand               now. You're overtired and feeling               a bit sensitive.     Watson now turns away, completely irritated at Holmes'     lack of understanding.                             HOLMES               What you need is a rest. You and               I could go out to the countryside.               My brother Mycroft has a small               estate near Chichester. It has               marvelous grounds and a beautiful               folly. We could throw a lamb on               the spit.     Watson shakes his head in disbelief.                             WATSON               If I were going to the country, I               would be going with my future               wife --                             HOLMES               Certainly. We should have her               along. Let's get Gladstone out of               the house as well.                             WATSON               No, Holmes. Not you.   Me and her.               You're not --                             HOLMES               Invited? Now you're not making               any sense, Watson. Why would I               not be invited to my own brother's               country home?                                                    (CONTINUED)                                                     54B.67   CONTINUED: (3)                                               67                             WATSON               You're not human. You don't get               it, do you? You are this...                    (touches his own                     head)               ... without this.     He touches his own heart.   They hear a BILLYCLUB hit the     bars.                              PRISON GUARD               John Watson?   You made bail.     Watson steps up. Holmes looks confused.    He steps     forward. But the Guard shakes his head.                              PRISON GUARD               Just Watson.     As he slides open the bars, they see... MARY emerges from     behind the Guard. Watson stands for a beat between     Holmes and Mary. He must make a decision. And he does --     -- he leaves.     Holmes watches him walk out, then locks eyes with Mary.     She gives him a polite nod, turns, heads off with Watson.     The bars slide shut.     The mob surrounds Holmes.   He's never looked more alone.68                                                                68     INT. LONDON JAIL - CORRIDOR     Lestrade heads toward the holding room, flanked by prison     wardens.                                                    (CONTINUED)                                                     55.68   CONTINUED:                                                   68     As the door is opened, the thug blasts out backwards,     having just been battered through it by Holmes.                             HOLMES               Lestrade -- your usual impeccable               timing.                             LESTRADE               You know, in another life, you'd               have made an excellent criminal.                             HOLMES               And you, sir, an excellent               policeman.69   EXT. LONDON JAIL - DAY                                       69     Holmes and Lestrade march along. Lestrade holds out a     copy of the newspaper. The headline reads: "BLACKWOOD     LIVES AND THE DEVIL WALKS WITH HIM! MURDERER     RESURRECTED!"                             LESTRADE               Tell me you have answers.                             HOLMES               All in good time.                             LESTRADE               We don't have time. I've an               office full of policemen hanging               crosses over their desks. A               public that's working itself into               a frenzy...     Holmes sees a dark, strange carriage waiting, door open.                              HOLMES               Who's this?                             LESTRADE               Try to behave yourself. They just               paid a small fortune to bail you               out.70   OMITTED                                                      7071   INT. CARRIAGE                                                71     Holmes enters.   An ANONYMOUS MAN sits in the other seat.                                                    (CONTINUED)                                                       56.71   CONTINUED:                                                      71                              ANONYMOUS MAN                I'm afraid you'll have to put this                on.     He holds a black hood.   Holmes shrugs.                                                     CUT TO BLACK.     FADE IN:72   INT. TEMPLE OF FOUR ORDERS HEADQUARTERS                         72     The hood is pulled off. Holmes takes in the scene, eyes     flicking around the room.     He's in a grand office where a man in his late 60s, SIR     THOMAS, rises from a pile of papers.                              SIR THOMAS                Mr. Holmes, apologies for                summoning you like this. I'm sure                it's quite a mystery as to where                you are, and who I am.                              HOLMES                As to where I am -- I was,                admittedly, lost for a moment                between Charing Cross and Holborn.                But I was saved by the bread shop                on Saffron Hill, the only bakers                to use a certain French glaze on                their loaves. After that, the                carriage forked left, then right,                a bump over the Fleet conduit --                need I go on?     Somewhat stunned, Sir Thomas shakes his head.                              HOLMES                As to who you are -- that took                every ounce of my not-                inconsiderable experience and                skill... the letters on your desk                are addressed to Sir Thomas                Rotheram, Lord Chief Justice.                That would be your official title.                Who you realy are is another                matter entirely.     Sir Thomas is not in the mood for this -- but Holmes is     on a roll.                                                      (CONTINUED)                                                      56A.72   CONTINUED:                                                    72                             HOLMES               Judging by the sacred Ox on your               ring, you're also the secret head               of the Temple of the Four Orders --               in whose headquarters we now               stand, on the northwest corner of               St. James Square.                    (beat)               And as to the mystery -- the               mystery is why you bothered to               blindfold me in the first place.                             SIR THOMAS               Yes, well, it's standard               procedure, I suppose.     Holmes shakes his head; what a massive lack of judgement     on their part.                             STANDISH (O.S.)               I think we have the right man.     Holmes turns to see JOHN STANDISH and LORD COWARD     standing behind him. Standish is an American in his     sixties. Coward is a hard, ambitious man in his 30s.                                                     (CONTINUED)                                                     57.72   CONTINUED: (2)                                               72                             SIR THOMAS               Sherlock Holmes, Ambassador               Standish from America and Lord               Coward, the Home Secretary.     Holmes acknowledges them -- barely -- as they enter.    He     isn't impressed by rank.                             LORD COWARD               I suppose you already have some               notion as to the -- practices of               our Order?                              HOLMES               Yes.   They're almost interesting.                             SIR THOMAS               Be as skeptical as you like -- but               our secret systems have steered               the world towards the greater good               for centuries. The danger is that               they can also be exploited for               more nefarious purposes.                             LORD COWARD               What some call the dark arts, or               practical magic.     Holmes looks around the room, sees FLAGS on the walls     with ancient symbols, variations of the SPHINX.                             STANDISH               We know you're are a rationalist.               We don't ask you to share our               faith, only our fears.                             HOLMES               Fear is the more infectious               condition.                    (at Sir Thomas)               In this case, fear of your own               child.     That shocks them rigid.                             HOLMES               Blackwood is your son, yes? You               have the same colored irises -- a               rare dark green, with diamond-               shaped hazel flecks --                             (MORE)                                                    (CONTINUED)                                                       58.72   CONTINUED: (3)                                                 72                              HOLMES (CONT'D)                     (pointing at Sir                      Thomas' ear)               -- plus identical outer ears, or               pinna, which only pass down               through the direct bloodline,               which would make you either               brothers, or, more likely, father               and son.     Stunned, the men consult silently, come to some sort of     conclusion. They turn back to Holmes. Sir Thomas seems     especially shaken.                             SIR THOMAS               Very few people are privy to that               information, and we want to keep               it that way.     Sir Thomas opens a bureau, digs for something.                             SIR THOMAS               He was conceived during one of our               rituals. His mother wasn't my               wife, but she shared our beliefs.               She was a powerful practitioner.               Though not enough to survive               giving birth to him.     Holmes is appalled and shows it.                             SIR THOMAS               We were young. It was before we               fully understood the powers we               were dealing with.                             HOLMES               Evidently.                             SIR THOMAS               Death followed him wherever he               went, from his birth to arms he               made and sold. What family he had               tended to... not survive. No one               could prove anything of course,               but we all knew --     Sir Thomas hands Holmes a TINTYPE. A photograph from the     1860s. It's chilling: a death scene, a BODY covered by     a sheet. A man who's just fallen out a window. A TEN-     YEAR-OLD BOY -- young Lord Blackwood -- looks on.                             SIR THOMAS               The boy was a curse. I didn't               have the courage either to take               him in or to --                                                      (CONTINUED)                                                      59.72   CONTINUED: (4)                                             72                             STANDISH               All this is history. The present               and future are worse.                             SIR THOMAS               We've done our best to stop him               ourselves, but it's not enough.                             LORD COWARD               His power grows daily and               exponentially. His resurrection               is evidence of that. What he does               next will be far more dangerous --                             SIR THOMAS               -- he's going to raise a force               that will alter the very course of               our world. We need you to find               him and stop him before he does.                             LORD COWARD               We'll give you any assistance we               can. As Home Secretary, I have               considerable influence over the               police.                    (beat)               Name your price.     Holmes looks at Coward with scathing disdain.                             HOLMES               One of the great benefits of my               work is that I can pick and choose               my clients. I'll get him, but not               for you.     Holmes stalks out -- stops at the door, turns, fixes Sir     Thomas with a very bleak gaze.                             HOLMES               I have one last question, Sir               Thomas.                             SIR THOMAS               What is it?     Holmes holds up the tintype.                             HOLMES               If the rest of his family's dead,               why are you still alive?     Holmes tosses the tintype onto a table, leaves.73                                                              73     OMITTED                                                    60.74   EXT. THE GRAND HOTEL                                        74     Holmes comes out of a carriage, and scoots up the steps     of the massive hotel that's bustling with people.75   INT. IRENE'S HOTEL ROOM - DAY                               75     Irene enters wearing a stunning evening dress. She     pauses glancing briefly around the room before sitting at     a mirrored dressing table. There's a decanter on the     table next to her from which she pours herself a glass of     wine.     Then she begins removing an impressive assortment of     WEAPONS hidden on her person: she pulls a stiletto from     her garter, a Derringer from her waistband (which she     puts down next to the wine glass). She pulls long thin     needles from her hair, lets her hair down. As she     continues...     PULL BACK TO REVEAL Holmes watching her from a shadowy     corner. He looks on silently until:                             IRENE               If you're going to watch me take               my clothes off, Sherlock, the               least you can do is help me with               the buttons.     OR ALT:                             IRENE               To watch a lady undress without               her permission is a criminal               offense, Sherlock, and could get               you into a lot of trouble...     They both eye the Derringer on the table.                             IRENE               So why don't you come over here               and help me instead.     Holmes approaches her somewhat tentatively and reaches     for the top button on the back of her dress.                                IRENE               That's better.                             HOLMES               You can stop looking for Reardon.                             IRENE               I knew I could count on you.                                                   (CONTINUED)                                                       61.75   CONTINUED:                                                     75                             HOLMES               He was buried in Blackwood's tomb.     Irene is momentarily taken aback then recovers.                             IRENE               Wonderful. Case closed then.               Your services are no longer               required.     Unbuttoning done, Holmes steps out to confront Irene.                             HOLMES               I can't help wondering if your               employer will be as content with               these results? You were               uncharacteristically ill at ease               in his presence. Your hand was               trembling, your gaze was averted.               I couldn't see his face, but I               spotted chalk on his lapel. A               professor perhaps?     Irene gets up, walks behind a DRESSING SCREEN.                             IRENE                    (behind screen)               The eye patch was a nice touch.                             HOLMES               But I've never known a professor               to carry a gun, and on such a               clever contraption.                             IRENE (O.S.)               Let's not argue.                             HOLMES               We're not.     Irene steps out, now wearing an array of Victorian     undergarments. Unfairly gorgeous. The huge DIAMOND     still around her neck. She moves back to the dressing     table.     Holmes won't look at her, refusing to get turned on.                             HOLMES               Tell me who you're working for and               what he's after.                             IRENE               That's nobody's business but my               own.                                                      (CONTINUED)                                                      61A.75   CONTINUED: (2)                                                75                             HOLMES               I disagree.                             IRENE               You see, we are arguing.     Holmes gets closer and closer to Irene as he presses his     case vehemently.                             HOLMES               When a man you ask me to find ends               up dead in the coffin of the most               notorious murderer since Jack the               Ripper and that murderer manages               to return from the dead, not only               is it my business, it's the               business of Scotland Yard and the               highest levels of the British               government. They will certainly               consider your reticence to be an               obstruction of justice. Which in               relation to a crime of this               magnitude would certainly mean               prison time.                             IRENE               This wine is excellent.    You               should really try some.     Holmes notices her Derringer on the table next to the     wine bottle.                             HOLMES               So what's it to be?                             IRENE               Do we really have to decide now?     Irene reaches for the wine.                             HOLMES               You're in over your head this               time, Irene.     Irene snatches up her gun.    Holmes grabs her arm.     BANG! A BULLET tears into his shoe, missing his toe.     Holmes snatches away the smoking Derringer. Irene kisses     him, hard and angry at first, becoming something else.     Another of the weapons in her arsenal, and the one that     disarms Holmes.     The kiss leads them to the bed.                                                     (CONTINUED)                                                         62.75   CONTINUED: (3)                                                 75                                IRENE               That's better.     Irene pulls him down to it.     He doesn't resist.     CLICK!     Holmes' eyes flare with surprise.     CLICK!                                IRENE               Much better.     Irene has handcuffed him to the bed frame.                             IRENE               This is the only way it could ever               work between us, Sherlock -- one               in shackles, the other with the               key.     She gets off him.     While he struggles on the bed, Irene walks casually     across the room. She starts putting on MAN'S CLOTHING.     She's in charge now.                             IRENE               I've NEVER been in over my head.                             HOLMES               How can you live like this --               always a fugitive.     She approaches, now dressed as a man, straddles him.                             IRENE               But free. And on my own terms.               Just like you -- well, not you at               this exact moment --                                                      (CONTINUED)                                                      63.75    CONTINUED: (4)                                               75      She pulls at the front of his trousers, throws the      handcuff keys down there.                              IRENE                -- but generally speaking.      Holmes has no retort. Irene takes the scarf off his      neck, moves to the doorway.                              IRENE                If anyone asks, please let them                know that Mr. O'Neil didn't have                time to check out.                      (beat)                I hope you don't mind settling the                bill.      OR ALT:                              IRENE                What were you doing consorting                with a married business traveller                in his hotel room is something                you'll have to explain for                yourself.      She picks up TWO SUITCASES waiting for her at the door      (NEW PROP!) and, as she leaves:                              IRENE                Where's Watson when you need him?75A                                                                75A      OMITTED76    INT. SIR THOMAS' HOUSE - NIGHT                                76      Sir Thomas enters the hall from outside, he looks tired.      His butler, PERIGRINE, stands there waiting for him.                              PERIGRINE                Good evening, sir. Some figs and                honey with a nice glass of port?                I've prepared a tray.                              SIR THOMAS                No thank you, Perigrine, I'm going                to bed.                     (as he heads                      upstairs)                You won't let those figs go to                waste, will you?                                                     (CONTINUED)                                                       63A.76   CONTINUED:                                                     76                             PERIGRINE               Nor the port, sir.     Thomas smiles, goes up.   Perigrine heads for the kitchen,     licking his lips.77   INT. SIR THOMAS' BATHROOM                                      77     Sir Thomas sinks into his bath.   Relaxing.     The CAMERA SLOWLY TRACKS IN, drip, drip, drip.     The silence is broken all of a sudden when the tap is     magically turned on. Sir Thomas opens his eyes in panic,     as he hears an eerie WHISPER O.S., like the rushing of     wind.     Sir Thomas is overcome with panic, tries to sit up.     Can't. Not all the way.                                                      (CONTINUED)                                                      64.77    CONTINUED:                                                   77                              BLACKWOOD (O.S.)                Hello, Father...      Thomas blinks and sees that BLACKWOOD now sits in the      corner of the bathroom, lit in a sinister fashion.      Sir Thomas' eyes widen, the muscles stand out in his neck      as he fights paralysis. He slides back down, slowly.                              BLACKWOOD                You can't fight it. It comes from                a power greater than yours. You                can only surrender.      The water flows over Sir Thomas, as Blackwood steps      closer and takes the sacred RING from his rigid finger.                              BLACKWOOD                I've been imagining this moment                for a long time...      The water closes over his face. Sir Thomas stares up at      Blackwood, who watches him drown, slowly and surely.                              BLACKWOOD                ... I must admit, it's better than                I thought it would be.78                                                                  78      INT. THE GRAND HOTEL - CORRIDOR - DAY      Carrying an armful of laundry, a MAID slips a pass-key      into a lock and opens the door...      ... to be confronted by the snoring form of Holmes, still      handcuffed to the bed. Clothes in total disarray. Her      shriek wakes him. He looks down at himself and reacts      with shock, then grim recognition sets in.                              HOLMES                Don't take this the wrong way, but                might I borrow your hand?78A   INT. POLICE CARRIAGE                                         78A      Holmes sits beside a COP, and opposite CONSTABLE CLARK.                              HOLMES                Chambermaids were once such a                liberal breed. Besides, she                misinterpreted my intention                entirely.                              (MORE)                                                     (CONTINUED)                                                      65.78A   CONTINUED:                                                  78A                               HOLMES (CONT'D)                 This is why I find this modern                 religious fervor so troubling,                 there is no latitude for                 misunderstanding.      He looks out the carriage window and sees signs of a      spiritualist gathering.                              HOLMES                Faith runs riot over reason.                              CONSTABLE CLARK                Well, it's a good thing she was                offended or we'd never have found                you. The inspector's been over to                Baker Street himself this morning.      The coach stops.78B                                                                78B      EXT. SIR THOMAS' HOUSE - DAY      Holmes steps out of the coach, and is escorted inside by      Constable Clark.78C   INT. SIR THOMAS' BATHROOM                                    78C      Holmes is briefed by Constable Clark as they enter. As      Constable Clark continues in, Holmes swivels away --                              CONSTABLE CLARK                We've checked everything. No sign                of a break-in. The Butler didn't                hear anything. The body was in                the tub, eyes wide open --      -- so that Const. Clark ends up talking to thin air.                              CONSTABLE CLARK                     (realizing Holmes                      isn't there)                -- only his ring was missing.      He turns, puzzled, looking for Holmes, finds him right      back at the doorway, in full virtuoso detective mode.      Right now, right here is where Holmes is at his very best      -- this is, in fact, why he exists.      Holmes is satisfied by what he sees or finds, continues      into the bathroom, where a POLICE OFFICER stands over the      tub and Sir Thomas' body (covered with a blanket).      The tub has been drained. The kind of crime scene      violation that Holmes cannot get them to stop doing.                                                     (CONTINUED)                                                        65A.78C   CONTINUED:                                                78C                              HOLMES                Why did you drain the water?                              POLICE OFFICER                Out of common decency.                              HOLMES                     (incensed)                Crime is common, logic is rare.                The decent thing to do is catch                the killer, not provide comfort to                the corpse.      Neither the officer nor Clark have a response. Holmes      swivels, sees a JAR OF BATH SALTS on the table next to      the chair Blackwood sat in, leans over, scoops it up,      opens it, sniffs it.                                HOLMES                Hmm...      Holmes thrusts the open jar under the Officer's nose.                                HOLMES                What is that?                              POLICE OFFICER                     (smelling)                Uhhhh... jasmine?                              HOLMES                Superb. I suspect this comes from                a larger cannister. It'll either                be in the pantry, high up where                it's warm and dry, or in a linen                closet with a vent. And,                Constable, you could check the                ground under the rear windows for                any footprints not your own.      Both cops hesitate -- Holmes is not their boss.                              HOLMES                Data, data, data! I cannot make                bricks without clay!      The cops hurry away. Now Holmes can really get down to      work. This may mean he gets on his belly for a floor's-      eye-view, it may mean he looks down from a window sill.      Sometimes he hums or sings to himself.      Holmes is happy.      He glances around the room, sees the chair where      Blackwood was perched, sits in it himself.                                                     (CONTINUED)                                                     65B.78C   CONTINUED: (2)                                              78C      His eyes keep moving, noticing something on a wall. He      steps toward it, runs his hand along a layer of dust.      The dust has a line down it, as if the wall cracked open.      Holmes steps to the sink, grabs a handful of TALCUM      POWDER and tosses the powder against the wall, revealing:                                                    (CONTINUED)                                                       66.78C   CONTINUED: (3)                                              78C      FINGERPRINTS on one of the panels.      He pushes the panel, and the wall shifts, opening to      reveal a SECRET ROOM. Holmes enters --78D   OMITTED                                                       78D78E   INT. SIR THOMAS' SECRET ROOM                                  78E      Holmes finds a desk with a prayer table, and ancient      texts, spellbooks, one book open to a picture of      Alexander the Great at the Sphinx. He steps toward --      An ALTAR below the image of the Sphinx. On the altar,      four strange objects: a strand of human HAIR, a cow's      BONE, a large sharp FANG, and a FEATHER.      Holmes pockets the altar items and a couple pieces of      paper, just as --78F                                                                 78F      INT. SIR THOMAS' BATHROOM      -- Const. Clark and the Officer return, the Officer      proudly hugging a 5 LB. CANNISTER OF JASMINE BATH SALTS.      They are startled by the secret room --      -- they are even more startled by the sight of Holmes      kneeling at the altar and singing to himself.      As soon as they arrive, Holmes springs to his feet and      walks out. Maybe he continues singing between words.                                 HOLMES                      (vis   the secret room)                I have no    idea what to make of                that.                      (vis   the bath salts)                Excellent    work.79    OMITTED                                                        7980    INT. 221 BAKER ST. - HOLMES' APARTMENTS - DAY                  80      Holmes walks up the stairs and finds Watson's office door                  open. He is well into packing his things. The office is                    full of boxes, the walls and shelves are very sparse.                                                                                                                                                 (CONTINUED)                                                   66A.80   CONTINUED:                                                 80                             HOLMES                                                  Don't forget the wallpaper.                                                         WATSON                                                  There isn't any.                                                                    HOLMES                                                  Figure of speech.                                           Holmes steps into the room.                                                                   HOLMES                                                  Since this room is no longer in                                       use, do you mind if I employ it?                                                     WATSON                                                 Be my guest.                                                                        HOLMES                                                  Bring him in, boys.                                         Holmes steps aside. Two/three policemen enter carrying a              large, heavy bag and unceremoniously dump it on Watson's              desktop. They unzip the bag, revealing the dead body of               the thug from Reordon's lodging.                                                                                                                                                         (CONTINUED)                                                    67.80   CONTINUED: (2)                                              80                             WATSON                                                   Who was he?                                                                          HOLMES                                                   My new roommate. He's an                                               inspiring conversationalist.                                           (alt: He has more humor than                                           you.)                                                                                WATSON                                                   Really.                                                                              HOLMES                                                   No, he's your friend from                                              Reordon's. He didn't survive                                           Dredger landing on him. Poor                                           fellow. But there is some                                              consolation in the knowledge that                                      he can still be of service to his                                      fellow men.                                                  Watson keeps packing. Holmes analyzes the body,     starting, of all places, with the outer elbows and     forearms of his coat.     Holmes grabs various instruments and other items from                  Watson's newly-packed boxes. Frustrated, Watson snatches               them back as quickly as Holmes takes them out.                                                                       (CONTINUED)                                                     68.80   CONTINUED: (3)                                               80                             HOLMES               Elbows and arms stained with               blood, but older than his own               injuries. Plenty of it, layer on               layer...     Holmes scrapes at the layers of blood with his knife,     examines it.                             HOLMES               Though none of it human.     Watson slows down slightly. He keeps packing, trying to     resist the mystery, but it's not easy.                             HOLMES               A butcher perhaps...?   What else?     Holmes cuts a lock of the man's hair, ignites it, studies     the color of the flame carefully. Watson wrinkles his     nose at the smell.                             HOLMES               Hm -- predominantly yellow flame,               but with distinct green bursts.               Sulfurous. He spent lots of time               around industrial work and very               little around a wash basin.     Holmes uses a curved nail file to scrape dirt from under     the man's fingernails, rubs the evidence between his     fingers like a connoisseur.                             HOLMES               Coal... river silt...     Watson slows down further, struggling.                             HOLMES               That plus the river silt and               industrial slag on his trousers               puts him squarely in...     A hanging beat.   And Watson finally cracks, blurting out:                              WATSON               Nine Elms.                             HOLMES               Well done. Now, you didn't happen               to pack the Lord's Register of               members' interests, did you?     Watson pulls it out of a box.                                                    (CONTINUED)                                                    68A.80   CONTINUED: (4)                                              80                             HOLMES               See what Blackwood admits to               owning.     As Watson flips through it, Holmes plucks a few chords on     his violin, thinking. Watson finds the page.                             WATSON               It's endless, he's had a hand in               just about everything that's not               good for you.                                                   (CONTINUED)                                                         69.80      CONTINUED: (5)                                                80                                HOLMES                  Something brutal by the river...                                WATSON                  Woolwich Arsenal... Limehouse                  Chemical... Queenshithe                  Slaughterhouse, Nine Elms!                                HOLMES                  That's it, Watson! This should                                               lead us right to Blackwood.                                        Holmes leaps up and readies himself to leave.                                                                                                                                        WATSON                  Not us, you.                                                       This gives Holmes pause.                                                                             HOLMES                  Right. Well uh... best of luck                                               with everything, then.                                   WATSON                  Same to you.        A brief nod, then Holmes is gone.        A beat as Watson continues packing. He heaves a box up,        moves for his suitcase. After a moment, he notices...        Holmes' PISTOL.                                   WATSON                                                      Not again.                                                         He picks it up. As he contemplates the weapon, he        becomes more serious. Then angry. He mouths a curse to        himself, and sees their DOG giving him a disapproving        look.                                WATSON                  Yes, I know. Don't give me that                  look, Gladstone.        He pockets the gun, grabs his jacket and heads out.81-82                                                             81-82        OMITTED82A     EXT. COURTYARD - NIGHT                                        82A        A figure moves across the dark, Gothic courtyard. It is        AMBASSADOR STANDISH. As he cuts through the shadows...                                                        (CONTINUED)                                                       70.82A   CONTINUED:                                                  82A      A few DROPS OF RAIN trickle down. He looks up, surprised      by the rain. He raises his collar, and keeps moving.      He hits the door to a building. It is locked. He bangs      on the door, as the rain comes harder. The door finally      opens. As he enters, we see the rain stops behind him,      gone as fast as it came. A RAVEN flaps into the night.82B   INT. TEMPLE OF FOUR ORDERS HEADQUARTERS - NIGHT             82B      Standish comes up the stairs, wiping the raindrops off      his coat, trying to dry himself, as he enters --83    INT. TEMPLE OF FOUR ORDERS HEADQUARTERS - COUNCIL CHAMBER    83      A five-sided room. A few dozen venerable-looking      characters arrange themselves in seats. Lord Coward      stands next to a central throne. He stays standing as      they all sit -- all except STANDISH.                              STANDISH                What's the meaning of this?   Why                did you call us here?                              LORD COWARD                Sir Thomas is dead. Effective                immediately, I nominate Lord                Blackwood as head of the Order.                              STANDISH                Are you mad, Coward? Have you any                idea what he's capable of?                              BLACKWOOD (O.S.)                Of course he does. It's why he's                here.      Blackwood enters. He looks as if he's been to hell, and      come back more powerful than ever.      The crowd is stunned. Standish looks at Coward,      betrayed, turns to the others -- who are transfixed by      the sight of Blackwood suddenly kneeling before them.                              BLACKWOOD                I am humbled. I am honored.                     (beat)                My powers and my assets --                munitions, shipping, industry --                they were given to me for a                purpose.                              (MORE)                                                    (CONTINUED)                                                      71.83   CONTINUED:                                                    83                             BLACKWOOD (CONT'D)               A magnificent and simple purpose.               A different future... a future               ruled by us.     Blackwood stands, prowls.                             BLACKWOOD               You've made policy in secret for               centuries. Now, you'll make it               openly.     The men are beginning to like what they hear.                             BLACKWOOD               The first act is a necessary one,               for without death there can be no               rebirth...                    (beat)               ... at noon tomorrow, we will take               the first step towards a new               chapter in history.                    (beat)               England will know our power.               Then, the whole world will.               Across the Atlantic lies a colony               that was once ours, and will be               again. Their civil war weakened               them; their government is as               corrupt and ineffective as ours.               We'll take it from them.                    (beat)               With their resources and our               power, we'll remake the world,               we'll create the future.                    (beat)               Are you with me?                             STANDISH               No, sir, we are not!                    (turning to the                     others)               The powers he's playing with are               beyond any man's control.                              BLACKWOOD               They're limitless -- even death               holds no sway.                             STANDISH               Help me stop him before it's too               late.     Nobody moves.   Blackwood smiles -- he's won.                                                     (CONTINUED)                                                      71A.83    CONTINUED: (2)                                                 83      In desperation, Standish pulls a gun.   But as he aims it      at Blackwood -                              BLACKWOOD                I wouldn't do that.      -- he IGNITES, combusting with an impossible BLAST OF      BLINDING HOT FLAMES!      The men in the room reel backwards, shocked, terrified.      Flames consuming him, Standish flails, crashing through a      window out to --83A   EXT. LONDON STREET - NIGHT                                     83A      The fireball plummets through the sky, lighting city      blocks. People look up, gape, and --      WHOOMPF! Standish lands on the roof of a carriage.      Horses and carriages SCREECH to a stop.      The flames flicker blinding white, as his body contorts,      melting away. People scream, gasp, faint, cross      themselves, as they witness this unnatural act.83B                                                                  83B      INT. TEMPLE OF FOUR ORDERS HEADQUARTERS      Blackwood turns away from the window, surveys them.     They      are terrified, but they are with him.                                                     (CONTINUED)                                                     72.83B   CONTINUED:                                                83B      Blackwood turns to Coward, nods.      Coward produces a brimming silver chalice.                              BLACKWOOD                Come, drink your allegiance here.      The members line up to drink from a CHALICE. It doesn't      taste good, but it tastes like power. As they drink,      Blackwood leans close to Coward:                                                    (CONTINUED)                                                       73.83B   CONTINUED: (2)                                                83B                              BLACKWOOD                You control the police.   Use them.      Coward nods.84    EXT. QUEENSHITHE SLAUGHTERHOUSE - ESTABLISHING - NIGHT         84      An industrial area on a bend of the Thames. Work doesn't      stop when the sun goes down. Wharves stretch out into      the water. WE SEE a boat is being loaded. We PULL BACK      FROM the scene and look ACROSS the water.      Just above the thump of industry we can hear a      distinctive and irregular CHUGGING sound. Slowly a      decrepit and eccentric little steam launch chugs INTO      VIEW. Holmes is on the deck along with a much older man      in a sailor's hat -- CAPTAIN TANNER.                              HOLMES                Everything all right, Captain                Tanner?      Captain Tanner has few teeth and a large white beard.                              TANNER                Just a little leak, nothing to                worry about.      Watson is busy with a bucket clearing the boat of a very      serious leak. He's soaked, and furious.                              TANNER                Not a great one for the water, are                you, doctor? Army type, aren't                you? You wouldn't have lasted                long in the Navy.      Watson glares. Holmes scans the banks with a telescope.      He sees a jetty with a few shadows shifting on it. The      engine shudders off, the boat drifts. Tanner whispers:                              TANNER                That's as far as we can go.      Holmes starts clambering over the side.    Watson's pissed.                              WATSON                There must be fifty yards of mud                out there.      Holmes' head is just visible before he drops over the      prow. He whispers at Tanner.                                                      (CONTINUED)                                                     74.84   CONTINUED:                                                   84                             HOLMES               Pull in at Vauxhall. Send for the               police when you get there.     Tanner nods. A soft "splosh" as Holmes disappears.     Watson carefully leaves his valued possessions behind,     watch, etc. He lays down his wallet and looks at Tanner.                             WATSON               I know precisely how much money is               in there.                             TANNER                    (taking the piss)               I am sure you do, doctor.     Watson glares, goes over the side, with his walking     stick.85                                                                85     OMITTED86   EXT. QUEENSHITHE SLAUGHTERHOUSE                              86     Holmes and Watson emerge out of the shallows, covered in     mud. Holmes doesn't seem bothered. Watson does.     They look up and see a jetty that heads out into the     river. Two shadowy THUGS guard the dock, while more     THUGS are loading the boat with something.     Holmes and Watson scuttle forward, towards the entrance,     where two more THUGS patrol. Watson pulls out Holmes'     GUN.                             HOLMES               What are you doing with my gun?                             WATSON               Oh, please.                             HOLMES               It was an honest mistake --                             WATSON               There was nothing honest about it.     Holmes looks back at Watson, takes the gun, says nothing,     the closest he'll come to a confession. Watson steps     forward.                             WATSON               Come on, let's get this over with.                                                    (CONTINUED)                                                      75.86   CONTINUED:                                                    86     They look out at the thugs guarding the door. Holmes     whispers, trying to figure out the best strategy.                             HOLMES               The one on the left seems more               attentive, might prove easily               distracted. The big one's been               drinking -- whether for courage or               from habit... Watson?     Watson has already left. He simply walks up to the door     and whacks the larger man in the face with the gun --     before dispatching the other with a backhand pistol-whip.     Holmes follows, notices that both men have hip flasks.     He picks one up, takes a whiff, and pockets it as he     follows Watson. He slows, sensing something behind him.     He turns, looks at shadows. Nothing. And he enters --87                                                                 87     OMITTED88   INT. QUEENSHITHE SLAUGHTERHOUSE - TUNNEL                      88     Holmes walks towards Watson who stands in the doorway,     stopped in his tracks, spooked. Holmes catches up,     passing Watson into --89   INT. QUEENSHITHE SLAUGHTERHOUSE - ANTECHAMBER                 89     Shadows on shadows. Metal groans softly, like a     plaintive wail. The twisted blades of slaughterhouse     instruments glimmer in the darkness. A few RATS lay     dead. A truly creepy scene. Holmes and Watson move     through it.     As they go, Holmes notices rows of empty tables. He runs     his finger through a layer of dust, inspecting it.     Quiet:                             HOLMES               They cleared something out of               here, not minutes ago...     Holmes slows, picks up one of the dead rats. He inspects     it, sees something on its skin, some kind of dark spore.                              WATSON (O.S.)               Holmes.   You need to see this.     Holmes looks up, and sees Watson standing at a set of     doors.                                                     (CONTINUED)                                                      76.89   CONTINUED:                                                     89     Holmes pulls out a CIGAR-CUTTER, CLIPS off the rat's     TAIL, slipping it into his pocket, as he joins Watson,     stepping into --90   INT. QUEENSHITHE SLAUGHTERHOUSE - FACTORY FLOOR                90     A massive space with a maze of machinery full of deadly     gears and blades and saws, lifeless and silent for now.     An automated butchery on a grand scale. This is the     killing floor. Huge hooks hang from chain belts on an I-     beam, the ceiling, swaying softly, whispering in the     wind.     On the high walls, a huge number has been scrawled:     118.                               WATSON               One-eighteen.    It's a date, a               time?     Holmes shakes his head, his eyes narrow, ticking.                             HOLMES               It's chapter and verse.               Revelation 1:18. `I am He that               liveth, and was dead.'     Another voice completes the passage, echoing from above:                             BLACKWOOD (O.S.)               `And behold, I am alive               forevermore, and have the keys of               hell and of death. Amen.'     Holmes and Watson follow the voice to see: BLACKWOOD in     the rafters. Shadows hang heavy around him. Holmes and     Watson react: this is the first time they've seen him in     the flesh.                              BLACKWOOD                I cautioned you to accept that                this is beyond your control. Now                you see the truth for yourself.     The hooks in the ceiling are shivering softly, strangely.     Holmes tightens. Blackwood continues, his voice echoes,     as the hooks move through the air, gliding on a track.                             BLACKWOOD               I want you to bear witness. At               noon tomorrow, the world as you               know it ends.     Watson pulls his gun, draws a bead on Blackwood, pulls     the trigger. Click. Misfire.                                                   (CONTINUED)                                                       77.90    CONTINUED:                                                   90                              BLACKWOOD                And because I appreciate your                help, Holmes, I have a gift for                you.      Holmes starts climbing up towards Blackwood.                              BLACKWOOD                     (voice moving away)                She followed you. You led your                little lamb straight to slaughter.      Suddenly the whole machine starts up. Industrial-      strength loud, movement everywhere, empty hooks jerking      towards the processing line. Blades and gears and      grinders churn.      Watson's eyes go from Blackwood to --      A pig carcass as it comes swinging out of the killing      area, towards the SCORCHER (which scorches the carcasses      with live flame).      Then next carcass emerges --      -- not a carcass, Irene. She is alive, for now. She      hangs from two hooks on a track-line, her wrists shackled      above her, her mouth gagged.      Her eyes show terror until she sees them, then immense      relief for a moment, then determination.      Holmes looks up to see Blackwood's shadow retreating.      Decision time.90A                                                                90A      INT. QUEENSHITHE SLAUGHTERHOUSE - ASSEMBLY LINE      Holmes drops on to the machine and leaps from gear to      gear like stepping-stones. He heaves himself up to the      conveyor, where Irene is being pulled down the assembly      line towards the flames.      Watson sprints ahead, looking for a shut-off switch.      Holmes unties Irene's gag.                              HOLMES                It's your turn in shackles this                time.      Ahead of them, the pig carcass is scorched in an      overwhelming burst of flame. Holmes and Irene are next.                                                     (CONTINUED)                                                     78.90A   CONTINUED:                                                  90A                               IRENE                But this time no key,                unfortunately.      Holmes notes that Irene's hands are shackled to separate      hooks. It's going to take two actions to free her.      The flame machine gurgles ominously, gearing up for the      next blast.      Watson sees a LEVER (PLEASE NOTE, NEW PROP!) that looks      promising, turns to head for it -- then his eyes focus on      a big canvas splatter cloth.                              HOLMES                I've been meaning to ask you                something --                              IRENE                Well, I'm a captive audience.      Watson rips down the splatter cloth, sprints to Holmes      and Irene, tosses the cloth across the conveyor belt to      Holmes --      -- who wraps them up in the thick cloth just before the      flames hit them.      The heat is excruciating -- but the cloth protects them.      Watson watches anxiously as the scorched cloth drops      away, revealing that Holmes and Irene made it -- just.      Relieved, Watson heads for the lever until "Oh Shit!" he      looks ahead --      -- sees the scorched pig carcass being dragged into a      long, conveyor-belt-wide SCALDING TANK OF BOILING WATER.      Decision time for Watson -- help Holmes and Irene, or try      the lever? He goes for the lever, reaches it, pushes it      all the way over --      -- and the belt speeds up with a jerk.      Watson hauls back on the lever, gets the belt back to the      original speed, looks around for another possible off      switch.      Just as they reach the scalding tank, Holmes jumps off      the belt (still opposite side to Watson), grabs Irene's      legs and pulls her horizontal just before she's dragged      into the boiling water.                                                    (CONTINUED)                                                       79.90A   CONTINUED: (2)                                              90A      She's suspended just above the boiling water, with Holmes      moving sideways, keeping pace with her.                              IRENE                     (trying her best not                      to show the strain)                You had a question.      Holmes keeps hold of Irene's feet as he maneuvers past      various obstacles --                              HOLMES                     (same)                Ah. Yes. Do you still maintain                you're not in over your head?                              IRENE                     (panting)                In some countries steam is                considered excellent therapy for                the skin.      -- then is gouged in the back by a whirling fan belt,      jerks away, and Irene touches the water, SCREAMS.      Watson hears the scream, turns -- then sees something      again. It pisses him off. Fuck this machine.      When Holmes has Irene stable again:                              IRENE                     (weakly)                I have to say -- it's overrated.      Holmes has to admire her courage -- until he hears Watson      yelling at him.      Up ahead a huge pipe spews boiling water into the tank --      and impassable obstacle from Holmes' side of the conveyor      belt.      Watson points at the I-beam running above them.   Holmes      nods. Irene sees it, too.      Holmes helps her reach one foot, then other up to the I-      beam. She hooks her feet over it, and is suspended      upside down by her shackles and her feet --      -- and still heading for the pipe spewing boiling water.      Watson appears opposite Holmes, nods up at Irene.   She      swings off the I-beam, through the air --                                                    (CONTINUED)                                                      80.90A   CONTINUED: (3)                                              90A      -- and Watson catches her feet, pulls her horizontal,      facing the other way just in time to avoid the gush of      boiling water.      As Watson holds Irene, he spots a small, but significant-      looking SWITCH on the wall, painted red. (PLEASE NOTE,      NEW PROP!)      Watson helps Irene back onto the conveyor belt, leaves      her for Holmes to deal with, sprints for the switch.      Irene rides the belt upwards.   Holmes clambers the      equipment, following her.      Up ahead, the scorched, scalded pig carcass precedes      them.      Holmes darts through a trimming station, with CLEAVERS      HANGING FROM CHAINS, grabs one, jumps onto the belt,      catches up to Irene --      -- just as they both see the pig carcass CUT IN HALF      LENGTHWAYS BY A GIANT BANDSAW.      Holmes wastes no time, swings the meat cleaver at the      lock shackling Irene's left hand. Sparks fly as metal      kisses metal, but that's all. She's still shackled.      Then both of them see that Watson has reached the SWITCH.      Whew!      Watson looks at them with relief -- close one -- and      pulls the switch down with a really satisfying CLUNK!      A bank of lights goes out but the conveyor belt keeps      moving towards the giant band saw.      Shit a brick.                              IRENE                Sherlock?      Now, she's showing nerves. So is Sherlock. He braces      himself on the belt, swings the cleaver with all his      might --      -- smashes the shackle lock.      Irene swings sideways violently, still shackled by her      right hand.      The bandsaw whines viciously.      Irene swings aside, just misses it.                                                     (CONTINUED)                                                        80A.90A   CONTINUED: (4)                                             90A      Gets a free haircut.      Then Holmes is under her, lifting her high so that she      can free her right hand (a move not possible with both      shackles).      Irene unhooks herself, falls forward, taking Holmes with      her. They plummet downwards OUT OF FRAME.      Watson sprints towards where they fell, looks down --      -- sees them lying on a carpet of scorched, boiled, cut-      in-half pig carcasses. They're okay.      Watson shakes his head, turns, heads for the door,      looking for Blackwood.      Irene gives Holmes a sweet, grateful smile --                              IRENE                Thank you so much. I owe you.      -- pulls a knife, gets up, heads after Watson.    Holmes      grabs her, stops her.                              HOLMES                You owe me information.                     (angry)                No more games, Irene.      She hears Watson opening the door to the dock. She looks      at Holmes, their eyes locking. Finally, the truth:                              IRENE                Blackwood's manufactured large-                scale weapons for years. Lately                there've been rumors of something                new. More powerful than anything                else. And... magical. My job is                to find out if the rumors are                true.                              (MORE)                                                       (CONTINUED)                                                           81.90A   CONTINUED: (5)                                                 90A                              IRENE (CONT'D)                      (beat)                I would say they are.      And she's off, running toward the door. Holmes trails      her, processing. They blast through the doors to --91    EXT. NINE ELMS JETTY                                            91      Watson runs out of doors and towards the end of the dock.      He sees: Blackwood and the boat are disappearing into      the darkness.      Holmes and Irene run out of the doors following Watson.      Holmes slows, looking around the dock, seeing something      on the planks:      Steel drums are dripping.    A chemical.   Holmes recognizes      it.                                HOLMES                Watson!      Watson continues down the dock, tripping a wire connected      to the steel drums, he turns realizing he has set off a      trap and turns back to warn the others --                                WATSON                Holmes...      A metallic conductor SPARKS.    Time slows.   BOOM!      The drums of chemicals all EXPLODE! A blinding      conflagration engulfing Watson. For a moment, it lights      up all of London.                              HOLMES                WAATTTSSSSSONNN!!!!      Holmes is pushed back   by the explosion as the rest of the      barrels that line the   dock begin exploding arond them --      it looks as it Watson   hasn't survived. BOOM! Irene is      knocked to the ground   by the blasts and flying debris.      Holmes races towards her as more explosions, flames and      debris fly all around him in slow motion, occasionally      knocking him to the ground.      He reaches Irene, picks her up and grabs part of an      exploded barrel to shield the two as they run for cover --      BOOM! The barrel splinters as a final blast knocks them      down, but to safety.      As he opens his eyes --                                                       (CONTINUED)                                                    82.91   CONTINUED:                                                  91     We see Lestrade and his men swarming the scene, they spot     Watson, alive, but unconscious. Irene has disappeared.     Holmes sees this and heads toward his friend, but --     -- is intercepted by Constable Clark.                             CONSTABLE CLARK               There's an order for your arrest               all the way from the top, sir --               so you'll have to hit me now.                             HOLMES               From Lord Coward?                             CONSTABLE CLARK               Yes, sir, so make it look good.                             HOLMES               Thank you, Clarky.     Holmes cracks Constable Clark in the sweet spot, helps     him gently to his knees. Holmes turns away, makes his     escape fast.     Holmes turns back to look at the explosion.92                                                               92     INT. HOSPITAL - CORRIDOR     Two POLICEMEN half-heartedly guard the end of a corridor.     One reads the paper. The headline: "AMERICAN AMBASSADOR     STANDISH BURNED ALIVE!"     Mary returns past them, having unsuccessfully washed away     tear-stained makeup; there is a smear on her cheek. The     two coppers nod respectfully.     Mary arrives at the windowed door of a private room,     reaches for the handle, pauses.     THROUGH THE GLASS, she sees a white-coated DOCTOR,     studying Watson's chart.     Mary stays at the door, unsure whether to enter or not.93   INT. HOSPITAL ROOM                                          93     WE SEE a newspaper on the nightstand next to a hospital     bed, the headline reads: "AMERICAN AMBASSADOR STANDISH     BURNED ALIVE!"                                                   (CONTINUED)                                                    82A.93   CONTINUED:                                                  93     Watson is burned, cut, bruised, scraped, pock-marked with     shrapnel. He mumbles inaudibly, his eyes still closed.     He's delirious, sweating.                                                   (CONTINUED)                                                     83.93   CONTINUED: (2)                                               93     (NOTE: Mary's detective novels and magazines, coat,     handbag, etc. already in the room.)     The doctor injects Watson in the arm. The shot wakes     him. Watson tries to sit up, wincing with pain.                             WATSON               What are you administering?                            DOCTOR               Morphia. A sixth of a grain, for               the pain.     Watson looks at his wounded shoulder.                             DOCTOR               There are four pieces of shrapnel.               The surgeon should be along               shortly.     Watson tries to sit up again.     This reveals that Mary has entered the room, stands back     respectfully, letting the Doctor do his work.                             WATSON               Are they subcutaneous, or deeper?                             DOCTOR               They're near the carotid artery.                             WATSON               Get a mirror, I'll extract them               myself.                             DOCTOR               I can't authorize that, Doctor.               We must first manage the pain and               combat the infection.                             WATSON               I haven't time for that.   My               friend is in dire --                             DOCTOR               Your friend? What kind of friend               takes a retired soldier, who's               served his country and deserves a               peaceful, private life, and puts               him so directly in harm's --     Watson grabs the Doctor's arm angrily.                                                    (CONTINUED)                                                      83A.93   CONTINUED: (3)                                                93                             WATSON               The best and wisest man I've ever               known.                              DOCTOR               But evidently not wise enough to               value your life over his               misadventures.     ON MARY     As she takes a closer, sharper look at the Doctor.                             WATSON                    (succumbing to the                     morphine)               It was worth a wound, worth many               wounds...     Mary steps towards the Doctor, eyes flashing.                                MARY               Excuse me --                             DOCTOR                    (leaving)               I have other... patients.                                MARY               Do you really?     Doctor.     The Doctor turns just outside the door, to face her.     She's suddenly very angry.                             MARY               You have nothing more to say to               me?                             DOCTOR               Um... I'll check in on him again               shortly.                             MARY               Is that the best you can do? I'm               disappointed, but not surprised.     The Doctor has no words.                             MARY               If anything happens to him, both               our lives are lost. Do you               understand that? Can you? --                                                     (CONTINUED)                                                    83B.93   CONTINUED: (4)                                              93     The Doctor can't face her anger any longer, turns, leaves     fast.                             MARY               -- or are you so selfish that's               just not possible.                                      84.93A/93B OMITTED                              93A/93B                                                    84A.94   INT. HOSPITAL - CORRIDOR                                   94     The doctor strides down the corridor past the policemen.                                                       85.94A    EXT. LONDON - NIGHT                                          94A       ESTABLISHING SHOT of London, possibly the bustle of Fleet       Street during the morning rush hour. A train crosses on       an overhead railway.       We PUSH IN UNDER the railway arch until we can make out a       splash of white in the shadows -- the Doctor from the       hospital is slumped down against the wall.       We PUSH IN ALL THE WAY, so that we CAN SEE that the       Doctor is actually Holmes.       There is something grotesque about his face, he hasn't       completely removed his disguise. Parts of it hang down,       obscuring him --       -- but not obscuring the light of instability in his       eyes. They begin to overflow with tears. He brushes       them away then looks at his wet hand, horrified.94B-94E OMITTED                                                 94B-94E95     INT. PUNCH BOWL PUB - ATTIC                                   95       Holmes enters, disturbed, pained.   Emotions swirling.       He pulls out a newspaper with the story of Standish's       death, the pages and strange sacrificial offerings (bone,       hair, feather, fang) from Sir Thomas' house.       Gathering himself, Holmes stands in the middle of the       bare room and starts to lay out the clues he has on the       floor. The Ox bone directly in front of him (at 12       o'clock). The eagle feather to his right (at 3 o'clock).       The human hair behind him (at 6 o'clock) and the Lion's       fang to his left (at 9 o'clock).       Then with a piece of charcoal Holmes draws a circle       around each image and a circle directly in the center of       the four other circles. He then draws lines which join       the circles together in the shape of a cross.       In the center circle he draws a pentagram (using wax from       a burning candle?). Then he pours a ring of salt around       that circle.       He lights four candles (one at each point of the cross)       then stands in the center of the circle.       He pulls a pocket knife from his coat, opens the blade,       cuts his thumb and allows the drops of blood to drip onto       the ground just outside the circle.                                                      (CONTINUED)                                                      85A.95   CONTINUED:                                                    95     Then he begins to chant. The words are eerily     reminiscent of Blackwood's chanting.     Suddenly one of the drops of blood bursts into flame in     mid-air -- as it hits the ground, the circle around     Holmes ignites, followed by a larger circle beyond that.                             BLACKWOOD (O.S.)               And now it dawns on you, you begin               to recognize your part in his               play.     Holmes snaps around, Blackwood has appeared behind him     within the outer circle of flame.                             BLACKWOOD               You see the path he chose for you.     Holmes sways, fuzzy.   He struggles to focus on Blackwood.                                                     (CONTINUED)                                                      86.95   CONTINUED: (2)                                                 95                               BLACKWOOD                 Didn't you wonder why it was so                 easy to catch me? I told you I                 needed five lives for my                 resurrection. Why would I take a                 sixth under St. Paul's?     Holmes shakes his head, he can barely see straight.                               BLACKWOOD                 Unless I simply wanted to be                 caught by the great Sherlock                 Holmes...     Blackwood raises a sacrificial sword and swings at     Holmes' head.                               BLACKWOOD                 ... so I could die on the biggest                 stage of all. You made me what I                 am.     We see --     HOLMES' POV     as Blackwood swings the sacrificial sword at Holmes'     head. It looks as if Holmes has no time to react --     WHOOSH -- the sword WIPES the FRAME --96   OMITTED                                                        9697   INT. PUNCH BOWL PUB - ATTIC                                    97     We see a SERIES OF QUICK CUTS, has Blackwood killed     Holmes, or is he hallucinating, caught in the spell he     conjured?                                                          CUT TO:     A CLOSEUP OF HOLMES     His face covered with earth -- just as we saw Reordon in     his coffin. Holmes' eyes snap open, he breathes in air --     As he comes to life we see events of the recent past     flash through his mind.     BLACKWOOD'S TOMB.                                                     (CONTINUED)                                                       87.97   CONTINUED:                                                     97     THE STUFF IN REORDON'S ROOM.     THE DEAD RATS.                                                          CUT TO:     A CLOSEUP OF HOLMES     His face submerged in water inside a copper bath tub --     just as we saw Sir Thomas. Holmes' eyes snap open, he     breathes in air --     THE OPENING CONFRONTATION IN THE CATACOMBS.     THE OBJECTS IN SIR THOMAS' SECRET ROOM.     THE PATTERNS HOLMES HAS DRAWN ON THE FLOOR OF THE PUNCH     BOWL.                                                          CUT TO:     A CLOSEUP OF HOLMES     His face engulfed with flames -- just as we saw Standish.     STANDISH FALLING THROUGH THE AIR CRASHING INTO THE     CARRIAGE.     THE SPHINX.     THE RAVEN FLAPPING ITS WINGS.                                                          CUT TO:     HOLMES     Writing and sweating on the bed in the attic. Holmes     sees a hazy image of Irene. She leans over him smiling     sweetly then wraps her hands around his neck and starts     to strangle him.     IRENE SAYING "WHERE'S WATSON WHEN YOU NEED HIM?"     BLACKWOOD IN THE ROOM AGAIN WITHIN THE FLAME CIRCLE.     We SEE WATSON turning to warn Holmes before EXPLODING --     HOLMES!!!!                                                        FADE OUT.                                                     87A.     FADE IN:98   INT. PUNCH BOWL PUB - ATTIC                                  98     The sun is rising.   Holmes' eyes open and we see:     WATSON -- or some deathly version of his old friend -- is     sitting in the chair where Blackwood appeared.                              HOLMES                     (confused)                Watson...?     Watson leans closer, into the light. A ghost or a man?     He gestures towards the diagram on the floor.                              WATSON                Interesting artwork.   You look                bloody awful.     He writes something in his notebook. He is decidedly     alive, but with burn flashes, cuts and bruises. His arm     is in a sling. He's been through it.     In the b.g. Irene is at the fire heating some coffee.                              HOLMES                What about the shrapnel in your                arm?     Watson shows him a piece of shrapnel --                              WATSON                Took it out myself. Mary said I                had a lousy doctor.     -- then tosses it away.     They both smile.   United in agony.                              HOLMES                     (quietly, between                      them)                She brought you here?                              WATSON                Yes, oddly, it seems she might                understand the power of                partnership.     They both look back over to Irene who just finished     loading her gun. The coffee seems ready so she pours a     cup.                                                    (CONTINUED)                                                    88.98   CONTINUED:                                                  98                             HOLMES               The fair sex was always your               department, Watson.     Irene walks over and hands Holmes the cup.                             HOLMES               Thank you. You know, I dreamt               that you were strangling me.                             IRENE               I was... I had to get you to pass               out to settle down.     They smile at their unique, twisted understanding of one     another.                             HOLMES               What time is it?                             WATSON               It's half past nine.     Holmes takes a drink of coffee.                             HOLMES               Excellent brew, but I believe my               head requires something a bit               stronger to clear the --                             WATSON               I brought you this...                             HOLMES               Exactly.                                                   (CONTINUED)                                                         89.98   CONTINUED: (2)                                                   98     He hands Holmes his VIOLIN.     Holmes takes it.99   INT. PUNCH BOWL PUB                                              99     Watson and Irene sit at a table, the SCREECH of a fiddle     now comes from upstairs.     The fiddler's owner -- from the pub's band -- is busy     getting drunk with the money he has acquired.     Irene arrives with two pints, puts one down in front of     him, sits opposite him with the other.     Watson looks from Irene to the pint with open suspicion.     Could it be poisoned? He wouldn't put it past her. But     then he decides that's absurd. He takes a sip.                             IRENE               Oh, I poisoned that one.                             WATSON               With your own venom no doubt.                             IRENE               Better a snake than a lap dog.                             WATSON               There's a new field in the               treatment of abnormal               personalities -- it's called               psychology. It appears you're               what's considered a para-neurotic               deviant with anti-social               proclivities. Quite severe. And               untreatable.                             IRENE               No, doctor, I'm simply a woman.                    (beat)                             (MORE)                                                        (CONTINUED)                                                     89A.99    CONTINUED:                                                  99                               IRENE (CONT'D)                 Understand that, and you'll have a                 happy marriage.      ALTERNATE DIALOGUE:                              IRENE                     (alternate dialogue)                Not quite, doctor. Let me make it                simple for you, with a lot fewer                words -- I'm what's called a                woman.                     (beat)                Understand that, and you'll have a                happy marriage.100   INT. PUNCH BOWL PUB - ATTIC - ON HOLMES                     100      as he plays the violin, but not with a bow. He plucks      it, he strums it, he makes strange atonal sounds, as he      STARES AT THE RITUAL PATTERN he's laid out on the floor.      Flashes to various images of the sphinx that he's      observed over the course of the investigation.      He stands up and draws a sphinx in charcoal on the floor.      Then he moves to the ox bone -- a flash of Sir Thomas'      ring with the Ox crest. He draws an ox in charcoal.      Next to the ox bone Holmes writes -- Sir Thomas -- OX      ring.      Next, he moves to the feather -- a flash to an Eagle in      flight -- he quickly sketches an eagle. Then to an      American flag, then to Standish with his eagle-topped      cane. Next to the feather he writes America.      Then he moves to the hair. He draws a man's face. Flash      to Reordon's red hair. Next to it Holmes writes Man.      Then he moves to a Lion fang. He sketches out a lion --      he thinks -- BUT no flashes. Next to it he writes a big      question mark. Where? Who?      Holmes returns to his violin. Staring at the Lion fang      as if willing the flashes to come.101                                                               101      INT. PUNCH BOWL PUB      The music stops. Irene and Watson notice the silence.      They swap a glance. A beat. And Holmes emerges.                              HOLMES                I need a map of London.                                                       90.102   INT. PUNCH BOWL PUB - ATTIC                                   102      Holmes is excited, electric.                              HOLMES                Now that you're sitting                comfortably, I shall begin. My                initial approach was far too                narrow. When Blackwood invited me                to Pentonville prison, he                suggested I widen my gaze and, at                minimum, I have done just that.                In fact, I may well have                reconciled thousands of years of                theological disparity. But that's                for another time. Blackwood's                method is based on a ritualistic                mystical system that has been                employed by The Temple of the Four                Orders for centuries. To fully                understand this system, to get                inside it, I re-enacted the                ceremony we interrupted in the                crypt... with a few enhancements                of my own.                              WATSON                At minimum.      Watson and Irene shoot Holmes knowing looks.                              HOLMES                My journey took me somewhat                further down the rabbit hole than                I had intended.                              IRENE                Yes, your little white tail got                rather dirty.                              HOLMES                But I have emerged enlightened...                The fraternity who silently                control the Empire, share the                belief with the Kings, Pharoahs,                and Emperors of old that the                Sphinx was a door to another                dimension, a gateway to                immeasurable power --      He tosses Watson the pages from Sir Thomas.                              HOLMES                It is made up of four parts: The                Ox, the Lion, the Eagle, and Man --                                                      (CONTINUED)                                                      90A.102   CONTINUED:                                                 102      He points out the individual parts of the Sphinx,      covering other parts with his hand. We see the Ox body,      Lion paws, Eagle wings, Man's face.                              HOLMES                In Sir Thomas' secret chamber I                found the bone of an ox, the tooth                of a lion, the feather of an                eagle, the hair of a man. Map!      Watson throws the map down on the floor, really flying      now.                              HOLMES                Now, it is a widely held belief                that within the architecture of                the great cities are coded                references to this system.      He runs his finger over the map tracing the shape of a      cross...      Then he picks up the charcoal and (following the map)      draws a serpentine curve of the River Thames straight      through the middle of the cross that he drew on the      floor.                              HOLMES                Since he rose from the grave,                Blackwood has killed three men.                Each murder was committed at a                location that has a direct                connection with the Temple,                therefore the System.                     (beat)                Reordon, the ginger midget,                represents Man. We found his body                here...      He points to a spot on the map south of the Thames. It      corresponds to the point on the cross that Holmes drew      that has the hair (6 o'clock).                              HOLMES                Then Sir Thomas, Master of the                Temple, wore the ox ring... he                died here...      Again the spot Holmes points is directly north of the      river and corresponds to the point on the cross that has      the ox bone (12 o'clock).                                                     (CONTINUED)                                                      90B.102   CONTINUED: (2)                                              102                              HOLMES                Standish was Ambassador to                America, where the Eagle has been                the national emblem for over a                hundred years -- and not by                coincidence.      Holmes points to the map.                              HOLMES                The headquarters of Temple of the                Four Orders where he died is                here...      He points to corresponding points on the map and on the      cross.                              WATSON                Man, Ox, Eagle...      He connects the dots on the map.   They form three points      of a cross.                              WATSON                And last on the list:    the Lion.      Holmes scribbles on a piece of paper. Watson and Irene      step closer looking at the lion's fang and then the      map...                              HOLMES                Correspondingly, the map will tell                us the location of Blackwood's                final act. Right here.      Their eyes widen as they realize what they're seeing.                              WATSON                Parliament.                              IRENE                What is the meaning of this                circle?      Irene indicates the fifth circle Holmes has drawn -- the      point at which the other four come together. They look      to where it would correspond to on the map -- right in      the middle of the river.                              HOLMES                It is the fifth element -- the                ethereal. That which can't yet be                known.                                                     (CONTINUED)                                                       91.102    CONTINUED: (3)                                              102                               WATSON                 It's right in the middle of the                 River Thames.       BOOM! They hear doors slamming outside, boots echoing.       Irene looks out the window, sees POLICE OFFICERS flooding       the pub.                                 IRENE                 Police.       Holmes folds up his piece of paper, hands it to Watson.       He quickly moves to a hatch in the floor. Flings it       open.                                 HOLMES                 Ladies first.       Irene jumps down.   Watson is about to follow her down.                               HOLMES                 Follow these plans.       Watson goes down. It looks as though Holmes is about to       join them when Lestrade and his men burst into the room.       Holmes kicks the hatch closed and steps towards Lestrade.102A                                                               102A       INT. PUNCH BOWL PUB - HALL       Holmes races down the hall toward the back door, but the       door EXPLODES inward. Police fill the hall. Holmes       looks back, where more police block his path. He simply       raises his arms, and they drag him away.103    INT. POLICE CARRIAGE - MID-MORNING (LATER)                   103       Holmes sits battered, cuffed and bruised, though we can       see from his face that his spirits are unaffected by his       physical state. Tough-looking cops sit either side of       him, Lestrade sits opposite, shaking his head -- he can't       believe it's come to this. He looks at Holmes.104    EXT. HOUSES OF PARLIAMENT                                    104       PULL BACK FROM an image of a GOLDEN LION on a banner.       We're at the Houses of Parliament.                                                      (CONTINUED)                                                      92.104   CONTINUED:                                                  104      The carriage pulls up. Crowds are gathering outside,      hawkers and tourists, plenty of flags and enthusiasm.      Holmes sees the hands of BIG BEN, climbing toward noon.105   INT. HOUSES OF PARLIAMENT                                    105      The place is a hive of activity, preparing for pomp and      circumstance, at its ceremonial best.      All of which is in stark contrast to the battered figure      of Holmes, who is marched through a series of doors and      checkpoints along the corridors of power by an angry-      looking Lestrade. They come to a door. Lestrade knocks.106   INT. PARLIAMENT - LORD COWARD'S CHAMBERS                     106      The door is opened by Lord Coward, who's halfway through      putting on his official robes, and caught off guard by      the sight of Holmes cuffed (hands behind him) and flanked      by Lestrade and men.                                 LORD COWARD                Lestrade?                              LESTRADE                Begging your pardon, m'lord, I                know it's unorthodox, but Mr.                Holmes has been making serious                accusations about you and the                order, sir.      Lestrade pulls his lapel, revealing a temple of four      orders pin.                              HOLMES                Oh, that solves the great mystery                as to how you became inspector.      Lestrade punches Holmes.                              LORD COWARD                I have five minutes before my next                engagement, why don't you regale                me with your stories of                conspiracies. Thank you,                Lestrade, if you could wait                outside.      Lestrade leaves and shuts the door.                                                     (CONTINUED)                                                      93.106   CONTINUED:                                                  106                              HOLMES                I'm curious, Coward, did you                assist Blackwood in all the                murders or just the one I                prevented? Very distinctive those                hand-made shoes of yours, but the                price of quality is the unique                imprint they leave.      Coward walks towards his desk at one end of the room.      Holmes goes to warm himself by the fire at the other end.                               HOLMES                Nonetheless, I confess to being                completely out-matched. I could                deduce very little from my                investigation.      Coward turns away for a moment -- Holmes subtly kicks a      log from the fire, it starts to smolder and fill the room      with smoke.                              HOLMES                Fortunately, there is nothing more                stimulating than a case where                everything goes against you. How                many members of parliament do you                intend to murder at noon today?                     (beat)                Man, ox, eagle, lion -- the lion                is parliament, isn't it?      Lord Coward slows, looks at Holmes in some astonishment.                              LORD COWARD                Very clever. But it's not murder,                Mr. Holmes. It's mercy. We are                giving the weak masses a strong                shepherd. Don't you see it's for                their own good?      Smoke fills the room so that Holmes is concealed. Coward      pulls a gun from the desk and moves to the window. He      opens it to try and clear the smoke.                              HOLMES                No, but I don't care much what you                think. I simply wanted to know                the location of Blackwood's final                ceremony, and now you have given                it to me.                              LORD COWARD                I have told you nothing.                                                     (CONTINUED)                                                      94.106   CONTINUED: (2)                                            106      A pair of handcuffs, slide across the floor to Coward's      feet. He looks up and Holmes is nowhere to be found.      Coward quickly moves across the room to lock the door.                              HOLMES                But your clothes say infinitely                more than you ever hope. The mud                smeared on your boots from where                you've been walking...      CLOSEUP ON COWARD'S CLOTHES      That he's changed out of and discarded in the corner of      the room. We see a --      SERIES OF FLASHBACKS      Coward's heel walking through mud.                              HOLMES (V.O.)                A touch of red stock brick dust on                your knee, from where you've been                kneeling...      Coward's knee dropping to the ground.                              HOLMES (V.O.)                A small bandage on your thumb from                where you've been vowing...      Coward performing a ritual.                              HOLMES (V.O.)                A faint aroma of excrement, from                where you have been standing.      Coward, Blackwood, and the Temple members perform a      ritual around a pentagram in the SEWERS. The big      ceremonial sword is prominent.                              LORD COWARD (V.O.)                It's a shame you made an enemy out                of Blackwood, Holmes, you would                have made a valuable ally. The                powers at our disposal are far                greater than you can imagine.                              HOLMES (V.O.)                You and Blackwood laid the final                touches to your ceremony in the                sewers beneath parliament less                than an hour ago.                              (MORE)                                                     (CONTINUED)                                                       94A/94B.106   CONTINUED: (3)                                               106                              HOLMES (V.O.) (CONT'D)                Both Houses met today. The entire                government will be present.                               LORD COWARD                How terrible is wisdom, Holmes,                when it brings no profit to the                wise.                      (turning to Holmes)                We take power at noon.      REVEAL Holmes sitting in a chair behind Coward.                              HOLMES                Well there's no time to waste                then, is there?      Coward spins around and shoots at Holmes. He misses.      Holmes runs towards the open window as Coward fires      another shot.      With a single bound, Holmes leaps out of the window      Coward opened.      Coward runs to the window and sees Holmes DIVING toward      the river Thames, PLUMMETING down down down to --107                                                                107      EXT. THAMES - OUTSIDE PARLIAMENT      SPLASH! Holmes dives into the river handcuffed. He      disappears for a moment then surfaces, looks about in the      water. A moment of concern until we hear the familiar      "chug" of a struggling engine.                                                    (CONTINUED)                                                      95.107   CONTINUED:                                                   107      Holmes looks in the water and sees a rope trailing on the      surface. He grabs it with his hands. And... it pulls      him closer to the rickety boat of Captain Tanner.      Watson stands on the rear deck, pulling Holmes in on the      rope. Irene is also present.      When Holmes is level, Watson leans over and clips off his      cuffs using bolt cutters. Clearly the whole escape has      been planned. Holmes is pulled up into the boat.                              TANNER                     (to Watson)                I told you he'd be coming out the                top window, soldier boy. No way                he'd be coming over the terrace.      Watson hands over the change from the engagement ring.      Tanner takes it happily.                              WATSON                How was Lestrade?                              HOLMES                Performed his role perfectly.   A                little too perfectly, come to                think of it.      Watson has the PAPER that Holmes gave him in the attic.                              WATSON                Well, your instructions were                fairly precise... about everything                except the window.      Tanner smiles, still pleased with himself.                              IRENE                Where to, Sherlock?      Holmes points to a dark recess in the embankment.                              HOLMES                Port side, Captain Tanner, into                the sewers.      Tanner turns the boat.   Irene looks out, her eyes narrow.                              HOLMES                Watson, did you bring my clothes?      Watson hands over a pile of clothes and Holmes' PISTOL.      Holmes opens the drum, checks the load, grimaces, pockets      it. He's never going to like guns.                                                     (CONTINUED)                                                      96.107    CONTINUED: (2)                                              107       Then Holmes reaches inside a pocket of clothes he is       still wearing, and pulls out the hip FLASK that he took       from the men at the slaughterhouse. He takes a shot.                                IRENE                  Starting early, aren't we?       He offers the flask to her.                                HOLMES                  Trust me, have a drink.       She can see this is more than a social invitation, she       takes a hit, pulls a face. Holmes nods towards Watson,       Irene passes him the bottle. He drinks, grimaces, hands       it on to Tanner, who swallows it without flinching, wipes       his mouth, smiles. The boat is almost at the sewers.                                WATSON                  What are we doing in the sewers?                                HOLMES                  Patience, Doctor. I am about to                  show you...       As they head toward the sewers, Holmes glances up toward       Big Ben, the time moving toward noon.107A                                                               107A       EXT. HOUSES OF PARLIAMENT - DAY       Expensive carriages fill the courtyard. The entire       government is here. We see familiar faces from the       Temple of Four Orders, heading into this epic building.108-109 OMITTED                                              108-109110    INT. SEWERS - BOAT                                          110       Tanner's boat, unlit, floats at the opening to the       tunnel, on the edge of the darkness.                                TANNER                  Far as I can go.       Holmes and Watson leap off the boat into the mouth of the       sewer. Irene follows. (Watson has his SWORD STICK and a       GUN, Holmes has changed into the clothes Watson brought       for him.)       They move through the shadowy sewer tunnels, working       their way around corners and through junctions back under       the Houses of Parliament.                                                     (CONTINUED)                                                       97.110   CONTINUED:                                                 110      Holmes ducks around a corner, stops. Irene and Watson      flank him, standing in shadows. They look down a long      tunnel to:      The area where Coward and Blackwood were seen in the      flashback ceremony with the sword. But now:      Blackwood's THUGS patrol the area. In the center, the      pentagram remains. But there is something sitting in it,      a futuristic device:                              HOLMES                Behold, Blackwood's magic.      A black glass cylinder is housed in a metal cradle with      electrodes on either side. It sits below a shattered      ceiling, bricks dismantled, exposing a VENTILATION PIPE.      Holmes looks back at Watson and Irene. Quiet:                              HOLMES                A chemical weapon. The first of                its kind. Cyanide, to be precise.                              WATSON                You can tell that from here?                               HOLMES                No.   I can tell it from here.      He pulls something out of his pocket:    the RAT TAIL.                              HOLMES                I snipped this off a rather                recumbent rat at the                slaughterhouse. Note the blue                discoloration, the faint smell of                bitter almonds. Tell-tale signs                of cyanide.      He points at the device and the exposed shaft over it.                              HOLMES                That shaft leads directly to                Parliament. When activated, those                electrodes on either side will                send a charge converting the                cyanide powder into a gas.                              IRENE                All of the people inside that                building --                              WATSON                Will be dead at the strike of                noon.                                                      (CONTINUED)                                                        98.110    CONTINUED: (2)                                               110                               HOLMES                 As if by magic. There will be no                 one left to stop Blackwood and his                 followers from assuming control.       The CAMERA MOVES THROUGH the shattered ceiling, UP a       channel, DOWN a bend, all the way through a GRATE TO --110A   INT. PARLIAMENT - DAY                                        110A       Air blows UP through the grate. The chamber is now full       of Lords and senior Royals. As they start to take seats,       Lord Coward steps up, checks the crowd. He sees a shadow       up in the Lords' Gallery.111                                                                  111       OMITTED112    INT. SEWERS - DAY                                             112       Holmes checks his watch.                               HOLMES                 Seven minutes to twelve...       They nod. Shoulder-to-shoulder, they move down the       tunnel, faster and faster.       Irene trails them closely.       Watson slides his sword stick into a loop on his belt.       It's there when he needs it, out of the way otherwise.       They draw their guns.       They burst into the area, completely surprising the three       thugs.       Watson pistol-whips the nearest.    Holmes front-kicks the       next.       The third thug looks down the barrels of both their guns       before he has a chance to fight or flee.                                  HOLMES                 I wouldn't.       He doesn't. Irene comes in behind them and heads       straight for the device.                               WATSON                 I'll keep these under wraps.                                                       (CONTINUED)                                                      99.112   CONTINUED:                                                  112                              HOLMES                Take this.      Holmes hands Watson his gun. Gun in each hand, Watson      herds the three thugs away from the device.                              WATSON                Over there.      Sullen, but without much resistance, they move away (two      dragging the pistol-whipped one, who is out). Watson      turns so that he can watch the action at the device --      -- which puts his back to another tunnel.      Holmes joins Irene at the device. She grips her knife,      looking for a way to detach the CYLINDER from the CRADLE      (where electric coils and circuits pulse).                              IRENE                I've never seen anything like it.                              HOLMES                There's never been anything like                it. A totally wire-free weapon.                He must have some kind of remote                device sending a signal to the                receiver. Really quite --      She reaches out with her knife and... ZAP! Her blade      hits a coil, sparks flashing. Electrocuted, she drops      the knife, which falls into the cradle, surrounded by      humming, sparking coils.      Irene recoils, sees something past Holmes --      RACK PAST HOLMES TO WATSON --      Where DREDGER LOOMS OUT OF THE DARK BEHIND HIM, both      hands held high to grab the guns and smash Watson.      Before Irene can alert him, Watson's wrists are crushed      from behind. Dredger jerks Watson's arms sideways,      sending both guns spinning away --      -- Holmes's gun splashes into the sewer.      Dredger spins Watson around, head-butts him with a teeth-      rattling blow, flings Watson away like a discarded paper      cup.      Now unguarded, the two conscious thugs charge Holmes and      Irene.                                                     (CONTINUED)                                                     100.112   CONTINUED: (2)                                              112      Irene shoots one point blank with her Derringer, Holmes      crushes the other's larynx.                              HOLMES                     (to Irene)                Keep at it.      Holmes goes for Dredger.113   INT. PARLIAMENT - DAY                                       113      Lords and Royals sit in this august hall, waiting for the      session to begin. Coward looks up, and points, very      emphatically.                                 LORD COWARD                Look.      All eyes rise to see: BLACKWOOD, up in the Lords'      Gallery. The hall goes silent, staring at a ghost.      Blackwood is calm, commanding.      Voices rise; Blackwood's followers move to block the      doors as --      BONG! The first CHIME OF NOON from Big Ben.114                                                               114      INT. SEWERS - DAY      The chime echoes. Dredger charges towards the device and      Irene. Holmes flies into him feet-first, deflecting him      for a moment.      It is now clear that Dredger's sole purpose is to protect      the device.      Irene sits at the device, trying to figure out how to      defuse it.      BONG!      The second chime resounds. Dredger grabs Holmes, thrusts      him upwards against the sewer roof, simultaneously      strangling him and hammering him against the bricks hard      enough to dislodge some.      Holmes lashes out with his feet at Dredger -- who doesn't      even bother to block anything. Holmes' kicks lose steam      as he loses air.      BONG!                                                    (CONTINUED)                                                      101.114   CONTINUED:                                                 114                               IRENE                      (without looking up)                 Nine strokes left.      Dredger grins --      -- until he is earholed from behind by two bricks, swung      with full force by Watson.      Dredger drops Holmes, staggers back holding his bleeding      ears. Holmes heads back to Irene.      Watson draws the sword from his sword stick.   Deadly      enough, but not very big.                               WATSON                 You owe me for the ring.      Dredger backs off, as if scared of the sword -- but only      until he can reach up and pull Blackwood's ceremonial      sword down off a brick ledge. This is going to be more      uneven than usual.      BONG!      As Watson parries Dredger's massive slashes and thrusts      all around them, only just keeping Dredger at bay --      -- Holmes sees that the cylinder is welded onto the      cradle by two RODS. His eyes narrow, a plan forming.                               HOLMES                 Give me your gun. The bullets, I                 need the bullets.      BONG!   The clock is ticking down.      Irene pops open her Derringer, slides the bullets into      Holmes' hand. He chops open the bullet casings with his      knife, pouring the gunpowder into --      -- the bowl of his pipe.      BONG!      Watson ducks a whooshing cut, lunges with his little      sword, sticks it into the meat of Dredger's bicep.      Dredger grunts angrily, flexes his bicep, rips the sword      out of Watson's grasp with his muscle, then he pulls it      out, snaps the blade against the wall like a twig, and      moves in to cut Watson in two with the ceremonial sword      from head to toe.      Watson dives desperately, gets a haircut from the sword --                                                     (CONTINUED)                                                      102.114    CONTINUED: (2)                                               114       -- which shatters against the floor.       While Watson is down, Dredger punts him into the sewer       with a splash, then turns back to the device.       BONG!114A   OMITTED                                                      114A115    INT. HOUSE OF LORDS                                          115       Blackwood has lit four small red candles, placed them on       the balustrade in front of him. He calmly intones a       familiar chant. Lords are on their feet. Guards are       banging outside the doors, but the doors are locked.       Members of the Temple of Four Orders stand in front of       anyone going to open them.116                                                                 116       INT. SEWER TUNNEL - DAY       Holmes rips the stem off his pipe, places the open end of       the bowl against the bolt holding the cylinders in place.       Shaped charge, Victorian-style.                               HOLMES                 We need a light, a match --       Irene's eyes narrow, seeing something in the cradle:   her       KNIFE. She rolls up a sleeve.                                 IRENE                 Got it...       Which is when a blood-maddened Dredger thunders into them       both, arms wide, driving Holmes and Irene away from the       device --       -- hammering them into the wall with a mighty thud. Then       he braces his massive feet, angles his huge legs and       pushes, squeezes them against the wall like a human vice.       That's the extent of Dredger's plan, and it will work for       long enough because --       BONG!                                IRENE                      (breath crushing out                        of her)                 Three.                                                     (CONTINUED)                                                        103.116    CONTINUED:                                                  116       ON THE DEVICE AS IT GOES ACTIVE       The batteries begin to fizz madly, cams turn, gears       ratchet past each other. Bad news.                               WATSON (O.S.)                 Hey!       Dredger turns his head so that he can see Watson, on his       belly, crawled from the sewer -- where he found HOLMES'       GUN.       BAM! BAM! BAM! BAM! Four white phosphorous tracers       strobe through the sewer, stitch a line down Dredger's       back (aimed so as not to hit Holmes or Irene on the       through-and-through) --       -- and continue to burn inside Dredger. He lurches away,       eyes bulging, mouth wide with a silent scream.       BONG!                               IRENE                 Two!       Holmes and Irene stagger for the device.       Fizzling, boiling inside, the dying giant falls like a       tree.       Watson is face-down on the stones, still.   The gun falls       out of his limp hand.       Irene swipes her hand down into the cradle, just barely       avoiding the sparks and coils, snatching her blade,       and...       ZAP! A spark hits the blade, and she angles the blade,       redirecting the spark toward --       Holmes' pipe, which BLOWS WITH A VICIOUS CRACK!   The       shaped charge shears the steel rods.       Holmes and Irene reach for the cylinders.       BONG!116A                                                               116A       OMITTED117    INT. HOUSE OF LORDS - DAY                                    117       Blackwood stands on balcony looking down at the assembled                  Lords.                                                                                                                    (CONTINUED)                                                      104.117    CONTINUED:                                                   117                               BLACKWOOD                 You seem surprised. Did you                                                 really take me for a man who could                                          be dispatched like a truculent                                              servant? I see before me a                                                  conspiracy of arrogant old men                                              puffed up by the illusion of their                                          own vainglory. In your hands this                                           once great parliament has become                                            nothing more than a drunken satyr,                                          stumbling about the world's stage                                           seeking nothing more than to                                                satiate your own lust and                                                   gluttony; your britches stained by                                          the incontinence of your                                                    hypocrisy. I will not sit idly by                                           and watch you violate the                                                   innocence of the public trust as                                            you drag this great Empire into                                             the quagmire that your pride has                                            dug and filled with the excrement                                           of your corruption. I am here to                                            change all this.                                                  He raises his hand and traces a circle in the air.   A                      circle of flame erupts on the opposite wall.                                                        BLACKWOOD                                                     I am the fourth horseman.                                         He raises his hand and traces a triangle in the air.     A                  triangle of flame erupts on the opposite wall.                                                      BLACKWOOD                                                     I am the pale rider.                                              He raises his hand and traces a second triangle in the                      air. The second triangle of flame erupts on the opposite                    wall to complete the pentagram within the circle.                                                   BLACKWOOD                                                     And my name to you is death.                               117A                                                                117A       INT. SEWER TUNNELS - DAY       ZZZZP! The electrical charge zaps through the device,       electrodes sizzle, sending blinding sparks through the       cradle.       Holmes and Irene RIP the cylinder out of the way just       as... the sparks collide in a blinding flash and...                                                        104A.117B   EXT. BIG BEN - DAY                                        117B       BONG!   The clock strikes twelve.117C   INT. PARLIAMENT                                           117C       The men wait for something mythic, magical.    And...       Nothing happens. Nothing at all. They look around.       Everyone is still standing. Coward looks confused,       scared. Other Temple members eye him.       Blackwood hits the remote again. But again, nothing       happens. WE SEE something new in his eyes: fear. He       ducks away fast, disappearing into the gallery.117D                                                             117D       OMITTED118    INT. SEWER JUNCTION - DAY                                     118       Holmes and Irene look each other in the eye.   For the       first time, neither knows what to say.                                IRENE                  That was something new for us.                                   HOLMES                  Yes... it was.       She looks past Holmes.                                   IRENE                  Watson --                                                       (CONTINUED)                                                         105.118    CONTINUED:                                                   118       Holmes whips around -- sees Watson, seemingly dead. He       goes to him, drops to his knees next to Watson, feels for       a pulse.       With his face still pressed to the stones:                               WATSON                 I'm pretty sure I heard the last                 chime.       Holmes looks down at his friend, relieved.                               HOLMES                 Yes, we made it. Just.       Watson rolls over, sits up.     He's done, had enough.                               HOLMES                 Come on, you've got to admit,                 you're going to miss this.                               WATSON                 Which part? The stench of the                 sewers or the broken bones?                      (beat)                 My ankle's done.       Watson looks around.                                  WATSON                 Where's Irene?       Holmes turns, looks. The cylinders are gone, and so is       Irene. His face darkens. He misread her yet again.                               WATSON                 Holmes, I'm sorry...       Holmes sees Irene's lithe shadow moving fast into a maze       of tunnels. He motions to the disabled device.                               HOLMES                 Make sure Lestrade keeps it                 intact.       Watson nods.   He watches Holmes sprint into the darkness,       face grim.118A                                                                118A       INT. HOUSES OF PARLIAMENT - DAY       Blackwood flashes downward through the ornate official       understory of the Houses, heads for a staircase       spiralling even further down.                                                        106.118B   INT. SEWER TUNNELS - DAY                                   118B       Irene hears Holmes' angry footsteps behind her, turns,       sees a flash of movement through the labyrinth of tunnels       and columns. She picks up speed.                                                          CUT TO:       ANGLE FROM THE SIDE       Blackwood enters the maze of tunnels, hears, then sees       Irene sprint across the maze, about 500 yards away.       Then Holmes.       Blackwood follows them.    Sees something on the ground       ahead -- pauses.       It's WATSON'S SWORD STICK, flung there from the previous       action with Dredger.       Blackwood scoops it up.118C                                                              118C       INT. SINGLE SEWER TUNNEL - DAY       Panting, Irene runs along a tunnel that steps lower --       -- and pinches tighter. A large-diameter water pipe       angles down the tunnel wall, forcing Irene to turn       sideways to continue.       The sound of Holmes' footsteps drives her forward.       And then the tunnel ends. The water pipe breaks off       jaggedly in mid-air, next to Irene's head.       The continuation of the pipe passes through solid brick       at the end of the tunnel -- a dark, claustrophobic       gamble. Irene hesitates for a moment, then slithers into       the pipe, into the unknown.118D   INT. PIPE - DAY                                            118D       The pipe angles down, damp, horrible. For a long moment       it is pitch black, pinched down. Irene's quick, anxious       breath the only point of reference.       This is as tight, subterranean, dark and nightmarishly       claustrophobic as it gets.       Then, almost imperceptibly, light.       We can make out Irene's determined profile. Light       increases, and so does Irene's rate of movement.                                                          107.118E   INT. CELLAR - DAY                                           118E       The pipe emerges from the brick wall in what looks to be       the cellar of a building. Stonework fairly new.       Dim daylight from an unseen opening shows a fixed ladder       heading upwards. Irene accelerates for it.118F   INT. PIPE - DAY                                             118F       Holmes grimaces, enters the pipe, shimmies TOWARDS us.       An even tighter fit for him.118G   INT. CELLAR - ON THE LADDER - DAY                           118G       Irene -- climbing with one hand, cylinders in the other --       reaches an iron grate, has to use all her strength to       shoulder it aside. As fit and athletic as she is, this       is a grind.118H                                                               118H       INT. HOLLOW BUILDING - DAY       Irene emerges at the base of a dark, hollow building full       of construction equipment, and sees, yes --       -- more stairs, upward.   The only ready way out.       Gritting her teeth, chest heaving, Irene charges the       stairs --118I   INT. CELLAR - DAY                                           118I       -- just as Holmes pops out of the pipe, vaults onto the       fixed ladder and swarms up it. Anger lends him energy.118J   INT. HOLLOW BUILDING - DAY                                  118J       IN A SERIES OF TIME JUMPS MARKED BY INCREASING       EXHAUSTION:       Irene finally makes it to a floor in the building that is       flooded with sky-bright daylight.       She surges for light -- a brick-framed window -- and --                                                    SMASH CUT TO:                                                         108.118K   EXT. TOWER BRIDGE - HELICOPTER SHOT - REVERSE ANGLE -         118K       DAY       OF IRENE at the top of TOWER BRIDGE. She's climbed up       the inside of the Tower. She's 250 feet above the       Thames.       We've gone straight from maximum claustrophobia to       maximum knee-buckling exposure.       PULL BACK and SWEEP INTO a massive, NEAR 360-DEGREE       HELICOPTER SHOT that starts with Irene at the       (unfinished) window --       -- then shows the skeletal bridge spanned tenuously with       scaffolding --       -- then the glory of London, the center of the world,       laid out for us in breathtaking, spectacular beauty --       -- and returns to Irene as, recovered somewhat -- she       darts onto the walkway scaffolding that crosses above the       Thames.119-119G OMITTED                                                 119-119G119H   EXT. TOWER BRIDGE - WALKWAY - DAY                             119H       Irene works her way through the construction debris on       the bridge. She makes it to the end, no further to go.                                                 SHERLOCK                                                       Woman!                                                           Sherlock appears behind her, winded.                                                                   SHERLOCK                                                       It's bad manners to leave without                                            at least saying `goodbye.'                                       Irene turns.                                                                                           IRENE                                                          Goodbye!                                                         He start to move towards her.     She whips out her gun.                                               IRENE                                                          You of all people know I will pull                                           this trigger.                                                    They circle around each other.                                                                                                (CONTINUED)                                                          109.119H   CONTINUED:                                                 119H                               IRENE                                                       I'd tell you I'm sorry, that I                                            wish things could be different but                                        you wouldn't believe me anyway.                                                         HOLMES                                                      Why hurry off, give it a try.                                   He moves in again.   She shoots him in the arm.                           And in that split second --                                               Blackwood drops down from behind Irene, HITS her with                     WATSON'S SWORD STICK. She drops, stunned. As she falls,                   Blackwood plucks the cylinder out of her hand, and kicks                  her gun away. Her gun goes flying off the side of the                     bridge. But Irene doesn't pause:                                          She swings her legs through the air, trying to take out                   Blackwood's knees. But he swipes her legs away, and                       KICKS DOWN and --                                                         IRENE FALLS OFF THE BRIDGE.                                                                       BLACKWOOD                                                   You're better off without her,                                            Holmes!                                                         High above:   a RAVEN lands.                                                                                                (CONTINUED)                                                       110.119H   CONTINUED: (2)                                             119H       EXT. TOWER BRIDGE - WALKWAY - DAY                                                                                 A look between them and then it's on. Holmes grabs a       short section of wooden batten out of the railing.       Flimsy, no match for the sword --       -- which is immediately apparent as Blackwood comes in,       slashes, chops six inches off the batten.                               BLACKWOOD                                                   I planned to kill a handful of                                            senile old men to make this empire                                        strong... but now because of you                                          thousands are going to die.                                     Holmes is on the defensive throughout, but, as before,       his target is the cylinder first, Blackwood second, self       defense third.                               BLACKWOOD                                                   All I have to do is break this                                            cylinder. The wind will do the                                            rest. And you'll be the first.                                  The two men continue their swordfight: Holmes grabs some                  rope hanging from the scaffolding above and swings off                    the bridge. Blackwood steps to the edge with his sword                    out, awaiting Holmes. Holmes swings towards the blade                     and then pushes off the bridge once again to avoid it.                    Holmes swings back onto the bridge a few feet away from                   Blackwood. He lands, whips off his scarf and twirls it                    around Blackwood's arm, binding them together. They                       continue to spar, now bound.                                              Blackwood snarls, mounts a frenzied attack, which Holmes                  simply tries to survive. The two men finally part, with                   Holmes cast off towards the end of the bridge.                            Blackwood smiles. He grabs Holmes' gun (which Blackwood                   knocked from Irene's hand earlier).                                       Blackwood fires at Holmes. Holmes quickly ducks. The                      bullet misses him, but hits a bucket twirling above his                   head. A black liquid (tar) begins to pour out in a                        circle around him.                                                        Holmes turns, as if to flee (not that there's anywhere to       go) -- his eyes lock on to something. He looks back to                    Blackwood.                                                                -- Holmes kicks a huge scaffolding plank, which falls --       -- whipping a coil of rope across the floor, hooking       Blackwood around his ankle.                                                      (CONTINUED)                                                        110A.119H   CONTINUED: (3)                                            119H       Blackwood is DRAGGED down the walkway by the weight of       the falling plank, pulled toward the edge.       Holmes grabs the cylinders as Blackwood passes.                          Blackwood digs his fingers into a gap, screeching to a       painful halt. His fingers are white from strain. Holmes       remains cool.                               HOLMES                                                     There was never any magic.   Only                                        conjuring tricks.                                              Above Holmes:   the raven starts PECKING at a rope.                                              HOLMES                 The simplest involved paying                                             people off, like the prison                                              guard...                                                                                                                                Holmes looks over the edge of the walkway. He sees the       plank swinging dangerously in the storm. Blackwood       strains desperately to hold on. As Holmes steps closer       we INTERCUT with relevant FLASHBACKS.                               HOLMES                      (guard choking/                                                           payoff)                                                            Who pretended to be possessed                                            outside your cell. Your                                                  reputation and your jailers' fear                                        did the rest.                                                                 (burial ground/                                                           licking rocks)                                                     Others required more elaborate                                           preparation, like the sandstone                                          slab that covered your tomb. You                                         had it broken before your burial                                         then put back together using a                                           mild adhesive. An ancient                                                Egyptian recipe I believe -- a                                           mixture of egg and honey.                                                Designed to be washed away by the                                        rain or eaten by animals.                                                     (bath/Reordon                       flashback)                 Arranging for your father to drown                                       in his own bathtub required more                                         modern science. Very clever of                                           Reordon to find a paralytic that                                         was activated by the combination                                         of copper and water and was                                              therefore undetectable once the                                          bath water was drained.                                                                (MORE)                                                      (CONTINUED)                                                       110B.119H   CONTINUED: (4)                                           119H                                HOLMES (CONT'D)                 That might have been quite                                              challenging had he not also tested                                      it on some unfortunate amphibians.                                            (Standish in rain/                                                       pulling the trigger/                                                    wharf explosion)                                                 The death of Standish was a real                                        mystery, until you used the same                                        compound to blow up the wharf. An                                       odorless, tasteless, flammable                                          liquid -- yet it burned with an                                         unusual pinkish hue. Did Standish                                       mistake it for rain as he entered                                       your Temple? All it took was a                                          spark. A simple rigged bullet in                                        his gun. Ingenious.                                                           (Parliament/flask/                                                       ceremony, dev ice)                                               Like all great performers you                                           saved your piece de resistance for                                      the end. Had it worked, your                                            followers in Parliament would have                                      watched unharmed as their                                               colleagues were dying around them.                                      They didn't know that you had                                           given them the antidote -- at one                                       of your ceremonies I suspect.                                           Instead, they would have believed                                       it was magic and that you                                               harnessed the ultimate power.                                 END FLASHBACKS.                                                      (CONTINUED)                                                       111.119H   CONTINUED: (5)                                            119H       Blackwood struggles to hold on, he loses his grip for a       second and is dragged back toward the precipice. Wind       whips harder.       Holmes doesn't notice: The Raven's rope SNAPS, starting       a slow, subtle DOMINO EFFECT IN B.G.: a bucket drops,       hits a row of standing timbers. The timbers start to       topple.       (NOTE: Each time one object strikes another, we hear a       faint musical note moving up the same pentatonic scale       that Holmes played earlier for his flies.)                               HOLMES                 You hated your father and the                                            other members of the Temple of the                                       Four Orders for what they did to                                         you. How satisfying it must have                                         been to use their own system                                             against them.                                                  IN B.G.: We see the slow, inexorable dominoes continue       to fall. The last timber falls over the edge, lands on a       rope. The rope yanks down a crane, the crane swings,       strikes another crane...                               BLACKWOOD                 Cut me loose, Holmes!       Blackwood's eyes are full of fear. Holmes thoughtfully       looks out at the angry storm, the atmosphere electric and       dangerous. Holmes gives the slightest hint of a smile.                               HOLMES                 You better hope that it's nothing                                        more than superstition as you                                            performed all the rituals                 perfectly.                                                     Holmes looks around at the gathering storm.                                                                                Blackwood can hold on no longer. He screams as he       releases his grip and is torn down the walkway at       breakneck speed.       Quick as a snake, Holmes grabs a workman's ax placed on       the side and hurls it at his feet, cutting the rope.       Blackwood's imminent death is brought suddenly to a halt.       The storm grows in ferocity. Holmes bends down,       Blackwood is on his knees, cowed.                                                      (CONTINUED)                                                           112.119H   CONTINUED: (6)                                              119H                                HOLMES                  First, the world will see you for                                          what you are. Then you will                                                hang... properly this time.                                     Blackwood looks up. CRACK! The crane dislodges a METAL                     GIRDER, which misses Holmes by inches as it crashes       through the floorboards --       Blackwood smirks.                                                                                   BLACKWOOD                                                    We'll see about that shall we.                                             It's a long journey from here to                                           the rope.                                                       CREAK.   Holmes looks up.    Blackwood looks up.                                                    HOLMES                                                       We'll see about that shall we.                                  BANG! The top of the crane crashes down. The wooden                        infrastructure supporting Blackwood falls away.                            Sending Blackwood falling into a lattice of HANGING       CHAINS below. Blackwood screams as the chains begin to                     snap off one by one. He falls farther... and farther...       and finally --       SNAP! The last chain CATCHES, TIGHTENS around       Blackwood's neck, killing him instantly.       Blackwood dangles on the rusty chain, hanged like a       common man after all, with Tower Bridge as his gibbet.       Holmes just stands there, stunned. He looks out to see:       the RAVEN flying away, a silhouette against the stormy       sky. The bird flaps its wings, disappearing into a       cloud.       His brow furrows. Perhaps there really are some things                     that cannot be explained.                                                                                  Holmes looks over the side of the bridge, sees:       IRENE is awkwardly splayed on the lower level. She                         appears to be dead, possibly a small trickle of blood is                   coming out of her mouth. Holmes moves down to her. He                      takes her hand.                                                                                        HOLMES                                                    Oh, Irene...                                                    His fingers move to take her pulse.                                                                                           (CONTINUED)                                                       112A.119H   CONTINUED: (7)                                             119H       Her eyes pop open.                                                        Irene makes a quick move: she tries to CUFF him.   But                    this time, Holmes is ready for it:                                        He reverses the move, cuffing her instead.   He takes a                   seat next to her.                                                         They sit there for a beat, an odd lovers' moment looking                  out over the Thames.                                                                              IRENE                                                       It looks like rain.                                                                     HOLMES                                                      We've still got a moment.                                       A bit of a smile and break.                                                                       IRENE                                                       You were right, he is a professor.                                        Moriarty. Key's in the watch                                              pocket.                                                                                                        (CONTINUED)                                                        113.119H   CONTINUED: (8)                                               119H       Holmes reaches over to grab the key. Their faces close,                      near a kiss. Holmes drops the keys down the top of her                       shirt (just as she dropped them down his pants). He       snatches the DIAMOND from around her neck, turns and                         walks away. She smiles, calls out:                                IRENE                  You'll miss me, Sherlock.                                                                    HOLMES                                                       Sadly, yes.                                                       Holmes walks away, pauses to pick up Watson's sword                          stick, keeps walking.       At the end of the top of the stairs.    Holmes hands the                     Cylinder to one of the policemen.                                     120-122 OMITTED                                                   120-122122A   EXT. TOWER BRIDGE - DUSK                                     122A       Rain falls softly.                                LESTRADE                  It'll be a hell of a trick if                  Blackwood comes back from this                  one.                                HOLMES                  Thank you, Lestrade.                                LESTRADE                  Now you're going to be even more                  arrogant and insufferable than                  ever.       Then Lestrade cracks a smile.                                LESTRADE                  You're welcome, detective.                       (beat)                  Is the woman up there?                                HOLMES                  She won't be by the time your boys                  get there.       Holmes keeps moving into the night. The storm curls       around him, the rain falling hard. And he sees...                                                       (CONTINUED)                                                     113A.122A   CONTINUED:                                                122A       A shadow is waiting for him. We recognize the figure of       WATSON. Holmes can't help but smile. He joins Watson,       no words spoken.       Holmes holds out Watson's sword stick. Watson takes it.       The two of them stand looking out down the Thames.                                                          114.123    EXT. 221 BAKER ST. - DAYS LATER                                 123       MOVING DAY. Mary and Watson walk towards 221B. A DRIVER       loads Watson's boxes into a CARRIAGE that waits in front       of the apartment.                                 WATSON                 One moment.       Watson takes a quick look in one of the boxes.                               WATSON                 Please make sure this one is put                 on the desk in the front room.                               MARY                 What's in all those notebooks?                               WATSON                 Nothing really... Just a few                 scribbles... cases we've worked on                 over the years.                               MARY                 All your adventures... I'd love to                 read them sometime.       Watson laughs then pauses for a moment to consider this       idea before they enter.123A                                                               123A              INT. 221 BAKER ST. - STAIRCASE       As Watson and Mary climb the stairs, it becomes clear                         that Mary now wears IRENE'S DIAMOND on her finger.       Holmes had it made into an engagement ring.                               WATSON                 I still can't believe he's given                 us that ring.                               MARY                 Do you think he's finally come to                 terms with you leaving?                                 WATSON                 Of course.    No question about it --123B   INT. 221 BAKER ST.                                          123B       Watson opens the door of Holmes' apartment revealing a       horrific scene: Holmes is hanging from a rope, his back                       to them. He looks dead.                                                                                                                                                                                       (CONTINUED)                                                       114A.123B   CONTINUED:                                               123B                               WATSON                 Don't panic, dear.                                            Watson and Mary step in but do nothing to help Holmes.                                          WATSON                                                    Suicide is not in his repetoire,                                        he's far too fond of himself.                                 Watson pokes him.   Turns him around.                                                           HOLMES                                                    Good afternoon. I was trying to                                         deduce the manner in which                                              Blackwood survived his execution.                                       Clearing your good name, as it                                          were. But it had a surprisingly                                         soporific effect and I was carried                                      off in the arms of Morpheus, like                                       a caterpillar in a cocoon.                                                            WATSON                                                    Get on with it, Holmes.                                                               HOLMES                                                    Cleverly concealed in the                                               hangman's knot was a hook -- I                                          believe my legs have fallen                                             asleep. I should probably come                                          down.                                                                                 MARY                                                      Shouldn't you help him, John?                                                         WATSON                                                    I hate to stop when he's on a                                           roll. Do carry on, Holmes.                                    Watson and Mary walk by.                                                                        HOLMES                                                    The executioner attached it to a                                        harness, thus allowing the weight                                       to be distributed around the waist                                      and the neck to remain intact. My                                       lord, I can't feel my cheeks.                                           Might we continue this at ground                                        level?                                                                                WATSON                                                    How did you manage it, Holmes?                                                                                                                                                       (CONTINUED)                                                       115.123B   CONTINUED: (2)                                            123B                               HOLMES                 I managed it with braces, belts                                          and a coat hook. Please, Watson,                                         my tongue is going next. I'll be                                         of no use to you at all.                                                               WATSON                 Worse things could happen.                                                               MARY                                                     John.                                                          Watson draws his sword.                                                                          WATSON                                                     But none of this explains the lack                                       of a pulse.                                                    He finally uses his sword stick and slices Holmes down.                  Holmes tumbles to the ground.                                                                    HOLMES                                                     There is a toxin refined from the                                        nectar of the rhododendron                                               ponticum. It is quite infamous in                                        the region of Turkey bordering the                                       Black Sea for its ability to                                             induce an apparently mortal                                              paralysis. Enough to mislead a                                           medical mind even as tenacious and                                       well-trained as your own. It is                                          known locally as --                                                                    MARY                                                       What's wrong with Gladstone?                                                           HOLMES                                                     -- mad honey disease.                                          CLOSEUP OF WATSON'S DOG                                                  Stiff as a board.                                                                                HOLMES                                                     He is demonstrating the very                                             effect I've just described. He                                           doesn't mind.                                                                          WATSON                                                     His heart should be ticking in no                 time.                                                                                                                               (CONTINUED)                                                       116.123B   CONTINUED: (3)                                            123B       Watson feels for a pulse in his dog's neck -- he shakes       his head. They are interrupted by a knock on the door.       Constable Clark enters.                               CONSTABLE CLARK                 Mr. Holmes... Inspector Lestrade                 asks that you come with me, right                 away.                               HOLMES                 What is it this time, Clarky?                               CONSTABLE CLARK                 It's one of our sergeants, sir.                                          He went missing in the sewers, the                 day you stopped Lord Blackwood...                 Well, a maintenance man found his                 body this morning. We believe the                                        sergeant was our first man on the                                        scene. Shot in the head.                                                               HOLMES                                                     Were there powder burns on his                                           eyebrows?                                                      Clarky nods.                                                                                     CONSTABLE CLARK                                            Yes.                                                                                   WATSON                                                     Point blank range.                                                                     HOLMES                                                     With small caliber bullet.                                                             CONSTABLE CLARK                                            Indeed.                                                                                HOLMES                                                     Moriarty.                                                      Holmes and Watson look at each other -- complete change                  of demeanor -- mind racing, looking concerned.                           The dog has regained its vital signs.                                                            MARY                                                       There's a brave boy... There,                                            there, everything's going to be                                          all right.                                                                             WATSON                                                     Where is Blackwood's device now?                                                                              (CONTINUED)                                                        116A.123B   CONTINUED: (4)                                              123B                                CONSTABLE CLARK                                              The secret service has it, sir.                                            They've taken over the case.                                    CLOSEUP ON HOLMES AND WATSON                                               Piecing it together:                                                                                HOLMES                                                       I'd wager there's a piece missing.                              Constable Clarke nods.   Holmes pulls his coat on.                                                  WATSON                                                       So you're saying Moriarty was                                              after a part of the machine and                                            not the poison.                                                 Watson nods.                                                                                        HOLMES                                                       The wire-free invention was the                                            game all along. Imagine being                                              able to control any device simply                                          by sending a command via radio                                             waves.                                                                                   WATSON                                                       Adler was just a diversion.                                     Mary looks at Watson who is clearly trying to curb his                     enthusiasm and interest.                                                   A KNOCK.   The Driver pokes his head in.                                                            DRIVER                                                            (to Watson)                                                           I've loaded the last of your                                               boxes, sir.                                                     Watson nods, the Driver exits.    Watson turns to Holmes.                                           WATSON                                                       Well...                                                                                  HOLMES                                                       I'll leave with you.   Clarky, case                                        reopened.                                                124                                                                 124       OMITTED                                                      116B.125   FLASHBACK - INT. SEWER JUNCTION                             125      We FOLLOW POLICEMEN heading into the sewer tunnel.      They spread out to seal the crime scene, where Holmes had      dismantled Blackwood's device.                              CONSTABLE CLARK (V.O.)                We believe Sergeant Smith was the                first officer there.      SERGEANT SMITH sees a POLICEMAN leaning over the device.                              SERGEANT                Oi, what you doing?      The policeman looks up, and a GUN slides into his hand by      means of the same device we saw in the carriage scene      with Irene. We don't see his face.                              CONSTABLE CLARK (V.O.)                Shot in the head.      BANG!                                                         117.126   INT. 221 BAKER ST. (PRESENT)                                    126                              HOLMES                Were there powder burns on his                eyebrows?      Clarky nods.                              CONSTABLE CLARK                He was shot at point-blank range.      Holmes and Watson look at each other -- complete change      of demeanor -- mind racing, looking concerned.      The dog has regained its vital signs.                              WATSON                There's a brave boy... There,                there, everything's going to be                all right.                              HOLMES                Where is Blackwood's device now?                              CONSTABLE CLARK                The secret service has it, sir.                They've taken over the case.      CLOSEUP ON HOLMES AND WATSON      Piecing it together:                              WATSON                I'd wager there's a piece missing.                              HOLMES                Wager, Watson... I thought those                days were behind you. Excellent                deduction, however.                                                            CUT TO:      FLASHBACK - THE POLICEMAN      removes a small receiver-like object from Blackwood's      device.      BACK TO PRESENT      Constable Clark nods.   Holmes pulls his coat on.                                                     (CONTINUED)                                                       117A.126   CONTINUED:                                                  126                               WATSON                 Moriarty was after the machine not                 the poison.      Holmes nods.                               HOLMES                 Blackwood's wire-free invention                 was the game all along. It is                 undoubtedly the more dangerous and                 the more valuable of the two...                      (wistful)                 Irene was just a diversion.      Mary looks at Watson who is clearly trying to curb his      enthusiasm and interest.      A KNOCK.   The MAN from the stairs pokes his head in.                               MAN                      (to Watson)                 I've loaded the last of your                 boxes, sir.      Watson nods, the Driver exits.    Watson turns to Holmes.                               WATSON                 Well...                               HOLMES                 I'll walk out with you...                                                       118.127   EXT. 221 BAKER ST. - DAY                                      127      Mary and Gladstone wait for Watson in the carriage.      Holmes and Watson stand in the doorway.    A stiff beat.      Holmes extends an awkward hand.                              HOLMES                An honor working with you, Doctor.      Watson shakes Holmes' hand, puts a hand on his arm.      A      warm look, an understanding between the two men.                              WATSON                Take care of yourself, Holmes.      Watson moves to the open door of the carriage but Mary      stops him.                              MARY                Try not to be too late for dinner                with my parents and... be careful.      She waves to Holmes as the carriage pulls away.   Watson      looks relieved and excited.                              HOLMES                Magnificent woman, Watson.                Magnificent!      They climb into Constable Clarke's black mariah which      pulls away down Baker St. We PULL BACK FROM the carriage      WIDE and UP like our opening on Baker Street -- perhaps      the POV of the raven.                                                        FADE OUT.                                 THE END
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+                                SHIFTY                              Written by                              Eran Creevy1   INT. COACH / MOTORWAY. MORNING    A large empty coach, all dull beige seats and wood veneer,    makes its way along a stretch of motorway.2   INT. COACH / MOTORWAY. MORNING    At the back of the coach we see a lone passenger. His eyes    closed, head drooped. Suddenly he raises a hand and rubs the    bridge of his nose. It's no use, Chris, 25, can't sleep. He    pulls up a set of head phones, puts them on, and presses play    on his MP3.3   INT. COACH. MORNING    Long shot from the front of the coach, the driver's gruff    face to the left, empty seats filtering away from camera,    Chris' head peaking above a back seat. We hear the music    from his MP3 begin to play. It's Noel McKoy's "Brighter Day",    a northern soul track that's reminiscent of Motown and    comparable to the vocal sound of Marvin Gaye.    The track will play over the following opening scenes, the    credits fading subtly in and out in white text.4   EXT. STREET. MORNING    We follow from behind as a hooded character walks with intent    through Dudlowe: a sprawling new town built in the fifties to    house the east end after the Second World War.                                                      CUT TO:    We reveal Shifty, 25, Pakistani, as he makes his way through    those morning streets. He blows on his hands to warm them up.                            SHIFTY    Suddenly he ducks down and nips through an opening in a    fence, making a short cut.5   INT. TREVOR HOUSE / BATHROOM. MORNING    Bird's eye view on Trevor Perry, average looking, thickset,    pallid skin, lying beneath the surface of the bath water,    holding his nose.    SIDE ANGLE ON BATH: TREVOR RISES, NOT GASPING FOR AIR, JUST    CALM, UNNATURAL ALMOST. SNOT RUNS FROM HIS NOSTRILS.                                                            2.6    INT. COACH. MORNING.     Chris stares out of the window. The music still playing on     his MP3. The coach makes a sharp left turn, the camera just     catching a glimpse of the sign: DUDLOWE NEW TOWN.7    INT. GLEN'S COUNCIL FLAT. MORNING     Glen, a severe almost cruel face, empty's about a kilo of     cocaine onto a clean glass table.8    INT. TREVOR'S HOUSE / KITCHEN. MORNING     Jasmine, 25, pretty with out make up, dressed in a white     dressing gown, prepares breakfast.9    EXT. DUDLOWE STREET. MORNING     Shifty makes his way across a patch of waste land, jumping     over a fence at the end.10   INT. TREVOR'S HOUSE / KITCHEN. MORNING     Suddenly Jasmine lurches toward the sink and vomits.11   INT. TREVOR'S HOUSE / BEDROOM. EARLY MORNING     In an agreeably decorated bedroom Trevor dresses for work. He     climbs into his thick checked shirt and jeans, no real     enthusiasm - life seems to hold no motivation.12   INT. COACH. MORNING     Chris watches out the window as the coach passes the same     strip of waste land Shifty just walked across.13   GLEN'S COUNCIL FLAT. MORNING     Glen splits the cocaine into two piles.14   INT. TREVOR'S HOUSE / BEDROOM. MORNING     Trevor sits on the edge of the bed, staring at the floor. His     mind is racing, thinking about the morning ahead of him.                                                           3.15   INT. TREVOR'S HOUSE / KITCHEN. MORNING     Jasmine washes away the sick with a jug of water.16   EXT. DUDLOWE STREET. MORNING     The coach pulls away to reveal Chris, his bag slung over his     shoulder.     A BEAT.     He turns and walks off.17   TREVOR'S HOUSE / BATHROOM. MORNING     Trevor looks at him self in the bathroom mirror, he rubs his     face, he seems a little more with it.18   INT. GLEN'S COUNCIL FLAT. MORNING     Glen opens a tub of Glucose and empties a measure into one     half of the cocaine. He mixes it carefully.19   EXT. REZ'S HOUSE / BACK GARDEN. MORNING     Shifty opens a back gate and walks towards a house.20   EXT. DUDLOWE STREET. DAY     Chris makes his way through the streets, bag slung over his     shoulder. He looks around at the old place. Soaking it in.21   INT. GLEN'S COUNCIL FLAT. MORNING     Glen takes a spoon of cocaine from the unmixed half and mixes     it with citric acid. He sucks it up into a syringe.22   EXT. REZ'S HOUSE . MORNING     Shifty quietly opens the back door to the house.23   INT. GLEN'S COUNCIL FLAT / BEDROOM. MORNING     Glen carries the syringe to Loretta, pretty , but with bad     facial burns on the side of her face. He injects the cocaine     mix into her arm. She lays back on the bed, taking on the     rush.                                                           4.24   EXT. DUDLOWE STREET. MORNING     Chris walks along a residential road, in his hand a piece of     paper with a scribbled address. He finds the right house. He     stands there for a moment then hits stop on his MP3. Our     soulful soundtrack comes to an end. He pulls down his head     phones, walks to the door and knocks gently.25   INT. REZ'S HOUSE / KITCHEN. MORNING     Shifty stands at the table sorting through letters. He hears     the knock and walks to open it. He takes off his jacket, puts     it on a hanger and opens the front door to reveal Chris.                         SHIFTY               Fucking hell, man...     Shifty can't help but smile.                         SHIFTY (CONT'D)               You're early!                         CHRIS               Shifty.     A smile creeps across Chris' face.                         SHIFTY               Yes, rude boy.                         CHRIS               You alright geezer.                         SHIFTY               I'm sweet... come in, man, come in.     Shifty and Chris embrace.                         CHRIS               Good to see you, mate.                         SHIFTY               Good to see you too, geezer.26   INT. REZ'S HOUSE / BATHROOM. MORNING     CLOSE ON: WATER GUSHES FROM A TAP.     Chris stands splashing his face from the sink. His bag     perched on the cistern. He looks at himself in the mirror.                                                           5.27   INT. REZ'S HOUSE / SHIFTY'S BEDROOM. EARLY MORNING     Chris walks into Shifty's bedroom. He puts down his bag and     pulls on a fresh tee shirt. He looks around at the room. New     DVD player, LCD on the wall, a new game console, DVD's, CD's,     lots of pristine trainers placed perfectly side by side,     books about business, books about film, a perfectly stacked     pile of mobile phone bills with the word "PAID" scribed     across them. A picture of Mohammed Ali next to a picture of     Allah. He approaches the window and looks out at the morning     sun resting over a dull, featureless Dudlowe New-Town. He     stands, staring.28   INT. REZ'S HOUSE / KITCHEN. MORNING     Chris walks into the kitchen to see Shifty getting breakfast     ready. Shifty turns to face him.                         SHIFTY               You alright son?                         CHRIS               Yeah I just needed to splash my               face, freshen up a bit.                         SHIFTY               Have you slept?                         CHRIS               Did I fuck.                         SHIFTY               Mate, neither have I... I just got               back from some girls yard.                         CHRIS               You got a bird?                         SHIFTY               No, no... just some fucking booty               call.                         CHRIS               What, Break Glass Arse?                         SHIFTY               In case of emergency's, man... you               know it.     They both laugh. Shifty lays sausages into a pan.                          CHRIS               She fit?                          SHIFTY               What!                                                      6.                       CHRIS          She fit?                    SHIFTY          Yeah, she's alright you know....          She's got fucking massive Gary's.Chris laughs.                    CHRIS          You always loved your titties,          bruv.                    SHIFTY          You know that!Shifty lays sausages into a sizzling pan.                    SHIFTY (CONT'D)          Mate, do you mind halal?                    CHRIS          No, no, that's sweet mate,          whatever.A BEAT.                    SHIFTY          Were you on just one bus?                    CHRIS          Yeah... no sorry, two. I had to          change at Luton.                       SHIFTY          LUTON!                       CHRIS          Yeah, man.                    SHIFTY          Fucking random.Shifty covers the sausages with a lid. We hear someone movingabout upstairs. Shifty quickly walks over to the freezer,opens the door, reaches into the back and pulls out a largebag of sweet corn.                    SHIFTY (CONT'D)          I've got a few things to do today          geezer, you can stay here if you          want, just chill out.He rummages about, and gradually, one by one, pulls outtightly, cellophane-wrapped bags of coke and crack. He placesthem in the pockets of his hooded top. Chris watches Shiftyclosely, but doesn't say anything.                                                           7.                         SHIFTY (CONT'D)               Or you can come with me?                           CHRIS               Whatever.     A BEAT.                         CHRIS (CONT'D)                   (whispers)               Does your brother know you keep               those there?     Shifty shakes his head.                         CHRIS (CONT'D)                   (Whispering)               You not worried?                         SHIFTY               Mate, he doesn't eat vegetables.     Shifty walks past Chris and taps reassuringly him on the arm.     WE STAY ON CHRIS' FACE, AS HE TAKES IT IN.                         SHIFTY (O.S.) (CONT'D)               Apart from in a pot noodle.29   INT. TREVOR'S HOUSE / STAIRWELL / KITCHEN. MORNING     We follow Trevor from behind as he descends the stairs and     walks into a large, smartly decked kitchen, an eight-year-old     boy, Freddie, circles the kitchen-table smashing a Darth     Vader into passing stools. Katie a three year old baby girl     eats breakfast and Jasmine beats eggs in a bowl whilst     talking on the phone.                           JASMINE                     (on phone)               ... she's living like a drifter babe,               I'm telling you, she's split... sort               of... with Stefan... I know she did...               but she stays at Mike's in the               week, and then she's back at               Stefan's at the weekend... with the               kids (to baby) Katie, darling, stop               banging your bowl...     Trevor considers the bowl of cereal and fruit juice laid out     for him. His stomach churns. Cold sweat smothers his brow.                                                            8.                           JASMINE (CONT'D)                     (on phone)               ...Neither knows about the other, and               then she expects me (she drops to a               whisper) to fucking cover for her               (normal volume) Stefan's my mate               for Christ's sake, I'm not getting               caught up in that whole mess (to               boy) Freddie, sit down and finish               your breakfast!     This is too much for Trevor. He turns and walks away from the     table.                           JASMINE (CONT'D)                     (on phone)               ... and she has a go at me for taking               on too much                     (she laughs - then without                      looking up)               Babe, I'm cooking you some eggs...     SLAM - the front door crashes shut - he's gone - his     breakfast untouched.                             JASMINE (CONT'D)               Oh... what... nothing, Trevor's just               walked out without touching his               breakfast... I don't know, I thought               so anyway...30   EXT. DRIVEWAY. MORNING     Silence. Trevor soaks it in - deep breaths - panic subsiding.     He approaches his work van. "T. PALMER - BUILDER'S MERCHANT"     inscribed on the side. He gets in - suddenly his mobile rings     - he answers.                         JASMINE               What's the matter?     Off screen Katie continues to bash her bowl on the tray.                         TREVOR               Nothing, I'm fine.                         JASMINE               Why didn't you say good-bye?                         TREVOR               You were gassing away to Nicola...                          JASMINE               And why didn't you touch your               breakfast?                                                           9.                         TREVOR               I'm not hungry.     Off Screen Freddie yells.                         JASMINE               What's the matter with you?                           TREVOR               I'm fine.     She runs the tap, water gushes on to the discarded eggs.                         JASMINE               Where's the grey suitcase?                         TREVOR               What? I can't hear you babe.                         JASMINE               I want to start getting stuff ready               for next week - where's the grey               suitcase?                         TREVOR               I'll find it when I get home.                         JASMINE               It's all right babe I'll get it.                         TREVOR               Jasmine, I'll get it when I get               home.                         JASMINE               Babe it's fine, I'll get it down.                         TREVOR                   (Stern)               I'LL FIND THE FUCKING THING WHEN I               GET HOME.     CLICK!     He breathes in hard, takes a moment to calm down and then     starts the engine.31   INT. TREVOR'S HOUSE / FRONT ROOM. MORNING     Jasmine drops the phone by her side, shocked at Trevor's     temperament, and watches through the front room window as he     drives away.                                                          10.32   INT. SHIFTY'S HOUSE / KITCHEN. MORNING     Shifty's laying out the breakfast. At that moment, Rez,     Shifty's brother, walks in. Mid 30's, portly. He sees Chris.                          REZ                   (PAKISTANI - SUBTITLED)               Motherfucker, the return of the               white man.     Chris stands and goes to embrace Rez, but Rez walks past and     grabs a glass of orange juice from the side.                         CHRIS               How you doing Rez, good to see you,               man?                          REZ               I wondered why I could hear voices.               I thought he'd brought home a rent               boy again.                         SHIFTY               Shut up you prick.                         REZ                   (To Chris)               You look like a rent boy.                         CHRIS               What are you talking about?     Points at Chris.                          REZ               That top cost more than my               education.                          CHRIS               My pants cost more than your               education.                         REZ                   (sings)               Cold blooded.     Shifty lays down three plates of breakfast. Rez fakes a heart     attack.                         SHIFTY                   (PAKISTANI)               Soak it in fat boy.                         CHRIS               I take it this doesn't happen               often.                                                          11.                         REZ               You know what, I'm emotional,               where's my camera, bring me my               camera. Quick, man, quick.                         SHIFTY               Yeah, fucking laugh it up.                         REZ                   (PAKISTANI)               Don't worry I will.     Shifty sits down and they begin their food.33   EXT. TREVOR'S VAN. MORNING     Trevor sits at the wheel, parked in a residential street. He     dials a number on his mobile but gets the following message                         (V.O.)               This number is currently               unavailable please try agai...     He puts down the phone, and sits there, waiting, agitated.34   INT. REZ'S HOUSE / KITCHEN.   MORNING.     All three of them eat in silence. Chris' eyes dart     occasionally to Rez who pays no attention to anything but the     food. There is an uncomfortable air in the room.35   INT. TREVORS'S VAN. MORNING     Trevor does a line of cocaine of the tip of his car key. We     see that he doesn't have a huge amount left in his wrap.36   INT. REZ'S HOUSE/KITCHEN. MORNING     Shifty's putting away breakfast, Chris and Rez sit at the     table. Rez stabs away with a tooth pick measuring up Chris,     who reads a magazine.                         REZ                   (to Chris)               Do you think I've put on weight?     Chris looks up.                         CHRIS               What?                         REZ               Do you think I've put on weight?                                               12.A BEAT.                    CHRIS          I dunno. Not really.He's lying.                    REZ              (to Shifty)          I told you I haven't put on that          much weight.Shifty lets out a sarcastic laugh.                    REZ (CONT'D)          How long since you've been back?Shifty sits back down and answers for Chris.                    SHIFTY          Four years.                    REZ          Is that the last time I saw you,          fucking hell?                    CHRIS          Yeah. Was it? Yeah, four years ago          I think.A BEAT.                    REZ          Where you living?                    CHRIS          Manchester.                    REZ          What you doing?                    CHRIS          What, work wise? I'm in          recruitment.                    REZ          Good money?Chris abandons his magazine.                    CHRIS          I do alright, yeah.                      REZ          How much?                                                    13.                     CHRIS               (laughs)           Enough.                     REZ           You need to get this Gadha (donkey)           some work, four A-levels and no           job.                     SHIFTY           I pay you fucking rent don't I?Silence.                     REZ           Girlfriend?                     CHRIS           No, not yet.                        REZ           Gay?                        CHRIS           No... you?                     REZ           I'm asking the questions padre... for           your information... no, I'm not...           but Shifty is.                        SHIFTY           Jokes.A BEAT.                     SHIFTY (CONT'D)               (to Chris)           What have you got, rent or           mortgage?                     CHRIS           Fucking hell, tag team... Mortgage.                     REZ           That's nice.                     SHIFTY           Yeah, mature, man.A BEAT.                     REZ           Why do you leave without saying           goodbye to my brother?Chris is stumped. Shifty looks down at the floor.                                                     14.                    SHIFTY          Rez, man...                    REZ          I'm only joking...A BEAT.                    REZ (CONT'D)          But really, why?                    SHIFTY          Leave him alone.                    REZ          I need info, man. I'm like a          sponge, do you know what I mean,          I'm like a flannel... How come          your back, what's the deal?                    SHIFTY          I invited him to a party.                    REZ          Who's party?                      CHRIS          Rachel's.                    REZ          Rachel who?                    SHIFTY          Rachel Price.                      REZ          Who?                    SHIFTY          Mate, Rachel and Serena.Rez pauses, thinking. Chris clocks him with an almost icystare.                      REZ          Oh right.Chris looks back down at his magazine. Rez knows he hit a rawnerve. An uncomfortable silence. Shifty tries to break theice by talking about a more trivial topic.                    SHIFTY              (to Rez)          You remember Rachel, you fucking          lunged her at Jazzbo Browns?                                                          15.                           REZ               WHAT... that's BULLSHIT.                         CHRIS               Yeah, yeah, you went in for the               kill and she lent away like she was               doing the fucking limbo.     Chris is back in the conversation.                         SHIFTY               Her ponytail swept the floor.     Shifty and Chris touch fists.                           REZ               You boys need to get your facts               straight... she fucking lunged me.                         CHRIS               You couldn't even remember who she               was five minutes ago.     Shifty and Chris crack up laughing.                         SHIFTY                   (to Chris)               I wouldn't mind if he did it               discreetly, but he lunged her from               about three feet.     Shifty mimics Rez's historic lunge, Rez starts to laugh at     the memory of it, covering his face with his hands.37   INT. TREVOR'S VAN. MORNING     Trevor tries the mobile again but gets the same message. He     throws his phone onto the passenger seat and exits the car.38   INT. REZ'S HOUSE / KITCHEN MORNING.     They still sit around the table.                         SHIFTY                   (to Rez)               You can come along if you want.                         REZ                   (sarcastically)               Yeah, I feel like it now, don't               I... fucking hell...     Suddenly the door bell goes.                                                           16.                         REZ (CONT'D)                   (to Shifty)               Get that, it's probably your viagra               delivery.                           SHIFTY               Fuck off.39   INT. REZ'S HOUSE / FRONT DOOR. MORNING     Shifty opens the door.                         SHIFTY                   (suspicious)               Trevor.                         TREVOR               Alright mate.     Shifty steps out and pulls the door to behind him.40   INT. REZ'S HOUSE / KITCHEN. MORNING     Rez stares at Chris who's still reading a magazine.                         REZ               So come on, why are you back...               really?     Chris looks up at him. He's not ready for this question.                         CHRIS               Because of the, erm, because of the               party...                         REZ               There's been hundreds of parties               mate, what's so special about this               one?                         CHRIS               I dunno, I just wanted to see               Shifty didn't I.     Rez just stares at him. Chris looks back at the magazine,     trying to pretend he's reading.41   EXT. REZ'S HOUSE. MORNING                         TREVOR               I was trying to bell you geezer,               your phones off.                                                          17.                         SHIFTY               Yeah I know, mate?     A BEAT.                         SHIFTY (CONT'D)               Trevor, what do you want?     Trevor doesn't say anything, just nods his head, as if Shifty     should know what he's talking about. Shifty closes his eyes     taking stock.                         SHIFTY (CONT'D)               Mate, you haven't... you haven't               paid me for last week yet?     Trevor looks a little uncomfortable.                         TREVOR               Do me a favour, I've probably put               your fucking kids through college,               do you know what I mean?                         SHIFTY               Mate, keep your voice down.     A BEAT.     Shifty considers.                         SHIFTY (CONT'D)               Meet me at the top of the road by               the telephone box.                         TREVOR               Mate you're a fucking diamond.42   INT. REZ'S HOUSE / KITCHEN. MORNING     Still watching Chris, Rez speaks.                         REZ               For some reason... I dunno why...               he still thinks of you as his best               mate.     He get's up to leave.                         REZ (CONT'D)               Why don't you try acting like one.     WE'RE TIGHT ON CHRIS. HE'S TAKEN ABACK BY REZ'S COMMENT.                                                          18.43   INT/EXT. REZ'S HOUSE / HALLWAY. MORNING     Trevor goes to walk away.                            SHIFTY               Trevor...                         TREVOR               Yes mate...                         SHIFTY               Don't ever fucking come to my house               again.                         TREVOR               Yeah, no worries, I'm sorry, man.     Shifty walks in, shutting the door. Rez walks past him to go     upstairs.                         REZ               Who was that?                         SHIFTY               Nothing, geezer wanted to talk to               me about a job.                            REZ               What job.                            SHIFTY               Labouring.     Rez ascends the stairs.                         REZ               What did you say?                         SHIFTY               I'd think about it.     Shifty goes to walk off.44   INT. REZ'S HOUSE / UPSTAIRS HALLWAY. MORNING.     Rez, reaching the top of the stairs, calls down.                            REZ               Shafiq.                            SHIFTY (O.S.)               What!                         REZ               Don't forget.                                                          19.                         SHIFTY (O.S.)               What?                         REZ               Mum and dads.                         SHIFTY (O.S.)                   (PAKISTANI)               Do me a favour.                         REZ                   (PAKISTANI)               Just do it.45   INT. REZ'S HOUSE / HALLWAY. MORNING.     Shifty looks agitated.                         SHIFTY                   (PAKISTANI)               I'm going to this fucking party.                          REZ (O.S.)                   (PAKISTANI)               What time.                         SHIFTY                   (PAKISTANI)               Nine.                         REZ (O.S.)                   (PAKISTANI)               You can be there at seven.                         SHIFTY                   (PAKISTANI)               For fucks sake.46   INT. REZ'S HOUSE / UPSTAIRS HALLWAY. MORNING.                         REZ                   (PAKISTANI)               JUST FUCKING BE THERE.47   INT. REZ'S HOUSE / DOWNSTAIRS HALLWAY. MORNING.     Shifty stands there, seething, and walks away.48   INT. TREVOR'S VAN. MORNING     Trevor, sits in his van, by the telephone box waiting..                                                          20.49   INT. REZ'S HOUSE / HALLWAY. MORNING     Shifty and Chris stand in the hallway putting on their     jackets. They go to leave when Shifty stops and considers     something.                         SHIFTY               Actually, let's go out the back               way, it'll be quicker.     They head for the garden.50   INT. TREVOR'S VAN. MORNING     Trevor sits. Waiting. He taps his finger on the steering     wheel. Agitated. Every second an eternity.51   EXT. BACK PASSAGE. MORNING     Shifty and Chris walk for a moment in silence.                         CHRIS               We gonna see your mum and dad               later?                         SHIFTY               No.                         CHRIS               I just heard... erm... I wasn't               being nosey, I just heard Rez...     Chris doesn't want to push the subject any further. There's     silence as they walk.                           SHIFTY               ...Do you know they've ignored me for               about a year...                         CHRIS               I didn't know?                           SHIFTY               ...my mum puts the phone down when               she hears my voice...     A BEAT.                          SHIFTY (CONT'D)               My dad crosses the road if he sees               me in the street, then they fucking               summon me for a fucking job               interview.     Silence, the two carry on walking.                                                          21.                            CHRIS               For what?                         SHIFTY               They just want me to meet some up-               his-arse-paki who'll look at me               like some lost fucking cause!     A BEAT.                         CHRIS               You gonna go?                            SHIFTY               Am I fuck.52   INT. TREVOR'S VAN. DAY     Trevor drives slowly past the house to see Rez putting out     the rubbish. Rez turns around and stares at Trevor. Trevor     looks away and drives off.53   INT. TREVOR'S HOUSE / UP STAIRS BATHROOM. DAY     Jasmine sits on the toilet, she opens a pregnancy test and     urinates onto it.54                                                                   *     INT. TREVORS' HOUSE. BATHROOM (PART 1) / FREDDIE'S BEDROOM.                                                                     *     DAY (PART 2)     Freddie is on his games console. He's at the controls of a     racing game. It's on really loud.                                                       CUT TO:     Holding up the pregnancy test Jasmine see's it turn to a plus     sign. She's pregnant again.                                                       CUT TO:     Tight on the screen as Freddie's computerised car screeches     around a corner.                                                       CUT TO:     Jasmine stares forward, her face fretful.                                                       CUT TO:     Freddie's car smashes loudly against a barrier.                                                       CUT TO:                                                          22.     Sitting, staring, suddenly Jasmine notices something on the     tiled surface. She rubs her finger over it to reveal the     residue of a white powder.                                                       CUT TO:     The game is loud. Echoing through the house.                                                       CUT TO:     She dabs finger with tongue, her face sours. She was almost     hoping she was wrong.                                                       CUT TO:     Freddie laughs as his car smashes into another opponent.                                                       CUT TO:     Jasmine's eyes are alive with rage; the TV bellows out -     suddenly she stands, pulls up her kickers and steams towards     Freddie's room.                         JASMINE                   (screaming)               TURN THAT FUCKING TV DOWN BEFORE I               THROW IT OUT OF THE FUCKING WINDOW!     Freddie little face is totally bewildered.55   EXT. RESIDENTIAL STREET. DAY     Shifty and Chris approach a clapped out, red four-door VW     Golf circa 1986. As they loom closer Glen exits the car from     the back.                         GLEN               What you saying you fucking rag-               head, you alright bad boy?                         SHIFTY               Dowdy!                         GLEN               You been on the roids mate you're               looking bigger?     Shifty's almost exasperated with Glen already.                         SHIFTY               No, I haven't, no.                         GLEN               You getting ready for a fucking               uprising.                                                     23.                    SHIFTY          Yeah, just a small one.Shifty and Glen knock fists.                    GLEN          We better be careful, seems like          there's a Tally-barn in town.                    SHIFTY          Give it a fucking rest geezer.                    GLEN          You know I'm only fucking about you                                                           *          prick.Glen looks over at Chris. He takes him in.                    GLEN (CONT'D)          How you doing mate, you alright?                    CHRIS              (warily)          Alright.Glen grabs Shifty and pulls him to one side. His face isclose to Shifty's ear, his insipid breath hot.                    GLEN          Who the fuck is that?                    SHIFTY          Chill out, he's an old mate of          mine.                    GLEN          Don't just bring any fucking Muppet          to the party, at least let me know          first, do you know what I mean,          give me a fucking heads up.A BEAT.                    SHIFTY              (calm)          Yeah.A BEAT.                    SHIFTY (CONT'D)              (collected)          Alright mate.A BEAT.                                                     24.                    GLEN          Anyway, I've got, erm, I've got a          message for you.A BEAT.                       SHIFTY          What?                    GLEN          Magnus wants you to call him          tonight?                    SHIFTY          What? Magnus never wants me to call          him.Glen shrugs.A BEAT.                    GLEN          I dunno, mate...Shifty watches Glen.                    SHIFTY          Where's the gear?                    GLEN          Lenny's got it.                                                               *As Shifty walks to the car he discreetly backhands a roll of                                                               *money to Glen. Seated in the driver's seat sits Lenny, afrail man, eyes sunken, hair thinning. His denim jacketgiving him the only dignity from looking like a walkingcorpse. Seated next to him is Loretta. She's pulling out acrack pipe itching to take a hit. Shifty leans through thewindow and in one swift move takes a package from Lenny,slipping it into his jacket, and drops a pile of cash intohis lap.                    SHIFTY          Alright Lenny?                    LENNY          Alright mate.                    SHIFTY          You alright Loretta.                    LORETTA          Alright Shifty.                                                           25.56   INT. REZ'S HOUSE / FRONT ROOM. DAY     Rez lays down a prayer mat. He kneels down and begins to     pray.57   EXT. RESIDENTIAL STREET. DAY     Glen stands smoking, staring at Chris.   Suddenly Glen speaks.                         GLEN               I fucking... I swear I know you               from somewhere?     A BEAT.     Chris can feel Glen's eyes on him.                            CHRIS               I dunno...                         GLEN               I do, I know you from somewhere.     Chris stays silent.                         GLEN (CONT'D)               D'you used to knock out pills?                         CHRIS                   (dismissive)               Yeah, now and again.     Glen carries on staring at him.                         GLEN               Yeah, yeah, I know where I fucking               know you from... you used to go out               with Serena Ellis?                         CHRIS               Yeah, a few years ago?                         GLEN               You'd fucking hope so, she's dead               you cunt.     Glen laughs at his own joke. Chris looks furious. Shifty     walks back over.                            SHIFTY               Come!                         GLEN               Right you done?                   (Shifty nods)               Good.                         (MORE)                                                          26.                         GLEN (CONT'D)                   (he takes a final drag on                    his fag)               Don't go blowing up any fucking               tube trains.     Glen walks back to the car. Chris throws Shifty a look and     storms off, Shifty follows after him.58   INT. LENNY'S CAR. DAY     Viewing the action from the dashboard we see Glen enter the     rear door. Loretta, puffing away on a crack pipe, passes it     to Lenny.                         GLEN               What are we waiting for?                         LENNY               Give me a fucking break I'm rushing               my tits off...     Lenny attempts to start the car.                         LENNY (CONT'D)               Where's the keys babe?                         LORETTA               Let's just go Lenny. I'm freaking               out.     Lenny, having found the keys, starts the car simultaneously     tooting the horn and igniting the window wipers. They drive     off, frog-hopping the VW down the road.                         GLEN               Yeah, it's a good job we're not               making a fucking scene.59   EXT. ROW OF GARAGES. DAY     Chris and Shifty turn a corner into a row of garages. Chris     stands there for a moment his fists clenched.                         SHIFTY               Mate, are you alright?                         CHRIS               Yeah, I'm fine.                         SHIFTY               What's the matter, what did he say?                                                          27.                         CHRIS               Geezer don't worry about,               just...don't worry about it, it's               cool, I'm alright.60   EXT/INT. BUILDING SITE. DAY     Trevor makes his way across muddy terrain to a porta-cabin     and let's himself in. We follow him into see Bob Moran,     portly, sitting at a desk, another gentleman, in a suit and     hard-hat stands before the desk. Bob spots Trevor.                         BOB               No, no, no, no, no, no, no...                         TREVOR               Bob!     Bob comes around from his side of the desk.                         BOB               No, Trevor, no.                         TREVOR               Bob just hear me out.                         BOB               Get out of my office.                         TREVOR               Bob please I've paid out on all the               materials, I've lost money.                         BOB               You should have thought about that               before you started bringing drugs               onto my site.                         TREVOR               You owe me money.                         BOB               I owe you fuck all.                         TREVOR               YOU OWE ME MY FUCKING MONEY.                         BOB               Tell it to the police, and I'll               tell `em why you got kicked off the               fucking job.                         TREVOR               Bob, please.                                                          28.                         BOB               Fuck off, Trevor.     Bob turns and walks out the porta-cabin. Trevor follows.                          TREVOR               Bob.     Bob ignores him.                         TREVOR (CONT'D)               Bob I need this money.     Bob stays quiet, approaches a workman and starts talking to     him. Trevor stands behind them.                          TREVOR (CONT'D)               Bob!     Bob turns to him, and puts out his hand.                         BOB               Thank's for coming today Trevor,               we'll definitely be in touch.     Bob's hand hangs there. Trevor looks at him, to the hand. Bob     turns away and carries on talking. Trevor stands for a moment     then turns and walks away. Trevor's face is awash with     emotion, it looks like he wants to cry but he holds it     together.61   EXT. HILL TOP. DAY     Shifty and Chris sit atop of a hill looking out across a     skate park - The camera observing them from behind. Shifty     hands Chris a rolled spliff. Shifty doesn't say anything,     doesn't want to push Chris.     A BEAT.                         CHRIS               Was that Loretta Martin in that               motor?                          SHIFTY               Yeah.                         CHRIS               I used to fancy her big time when               we were kids.                         SHIFTY               Yeah, I remember.     A BEAT.                                                          29.                         CHRIS               She fucking... she loves a wrong'un               though don't she?                         SHIFTY               Loves a wrong'un.     A BEAT.                         CHRIS               What happened to her face?     A BEAT.                         SHIFTY               Apparently... Glen... I think...               injected her with some fucking               cocktail... I dunno... smack, I               think... he passed out first... she               passed out... but apparently she               was lying up against a radiator...               the fucking thing came on full               whack. She was so out of it, she               didn't even know it was on....     A BEAT.                         SHIFTY (CONT'D)               ...the paramedics had to peel her               off.                         CHRIS               Jesus Christ!     Chris looks back out over the estate. Shifty's phone starts     ringing. He looks at the screen it reads Trevor P MOB. He     hits reject.62   INT. TREVOR'S VAN. DAY     Trevor gets the answering machine. He smashes out at his     dashboard.63   INT. REZ'S HOUSE / KITCHEN. DAY     Rez carries a bundle of dirty clothes to the washing machine     and clumsily throws them in. He pulls out the powder tray but     it comes out completely from the machine.                         REZ               FUCK!     He tries to wedge it back in but it doesn't want to go. Rez     gets down on his knees and tries again, to no avail. He looks     in the gap, and sees something.                                                          30.     He sticks his fingers in and starts rooting around. He has     something; slowly Rez pulls out a large, see-through,     watertight bag brimming with wraps of cocaine and crack. Rez     sits back against the machine just staring at it.64   EXT. HILL TOP. DAY     Shifty and Chris just sit. Suddenly Chris notices something.                         CHRIS               What's that?                          SHIFTY               What?     Chris points.                         CHRIS               That fucking thing.65   EXT. PARK. DAY     Shifty and Chris approach an extreme sports park ride that     helps build upper strength. At either end of a raised beam     are two handles.                         CHRIS               What does it fucking do?     Chris grabs the handles and starts moving with it.                         CHRIS (CONT'D)               Mate, grab the other end.     Shifty grabs the handles and starts running parallel to     Chris, suddenly they both lift off the ground.                         CHRIS (CONT'D)               FUCKING HELL!                         SHIFTY               SHIIIIIIIIT!     They're both cracking up laughing, loving it.66   INT. TREVOR'S HOUSE / KITCHEN / BATHROOM. DAY     On Jasmine's kitchen floor, just outside the connecting     bathroom, are stacked a variety of toiletry goods. The sounds     of scrubbing and movement echo out. Jasmine, her dressing     gown grubby and soaked, cleanses, scrubs, and cleans the     emptied bathroom like a woman possessed. She's purging her     haven, washing away the sin that has tainted her sanctum.                                                          31.     WE CUT TO A LONG SHOT, OVER FREDDIE'S SHOULDER TO SEE HIM     WATCHING HER.67   EXT. VALERIE'S BLOCK COUNCIL FLATS. DAY.     A fairly respectable but featureless tenement block looms.68   INT. VALERIE'S BLOCK COUNCIL FLATS/CORRIDOR. DAY     Shifty and Chris stand before a racing green door upon which     a small ceramic emblem of a cat nestles under the number     eight. Shifty knocks on the door. Silence. He stares at the     emblem of the cat.                         SHIFTY               Fucking cat lovers.     A BEAT.                         CHRIS               I can't stand people who feed their               cat's... fucking red snapper... or               goose liver, because they say the               fucking things fussy...     A BEAT.                         CHRIS (CONT'D)               ...it's a fucking cat.                         SHIFTY               Wait until you see this...                         CHRIS                                                                    *               Starve the fucking thing for a week               and it'll eat a condom, do you know               what I mean...     Shifty laughs. Then they stand for a second waiting. Shifty     knocks again.                            SHIFTY               C'mon Val.     A BEAT.                         SHIFTY (CONT'D)               Sorry about this geez.                         CHRIS               Mate, it's cool.                         SHIFTY               I didn't wanna drag you around all               day.                                                          32.     A BEAT.     Shifty bends down and looks through the letterbox. He sees a     shadow approaching. He stands back up. The latch snaps,     echoing down the clinical looking hallway.69                                                                  *     INT. VALERIE'S FLAT / HALLWAY. DAY     We follow Shifty through a corridor deprived of light and     colour. Valerie, who leads the way, is considerably smaller.     We open into the front room and Valerie's revealed for the     first time. At 5'5" with long arms book-ended by bony hands     and a sculptured face, she smacks of an ageing Goth and is     clearly an old hippie, her brain starched by LSD. Sleeping     cats inhabit the surroundings like stationed guards.     A BEAT.     Valerie looks towards Chris.                         SHIFTY               Valerie, this is Chris, he's erm,               he's an old friend of mine, we grew               up together. He's cool. We go way               back. So it's cool, you know.                         CHRIS               How you doing?     He offers a hand that she takes politely.                           VALERIE               Yeah. Hi.     A moment of uncomfortable silence.                         SHIFTY               I called yesterday but you were               out.                           VALERIE               When?                         SHIFTY               I dunno, It was probably about two               in the afternoon.                         VALERIE               I was in all day.     A BEAT.                         SHIFTY               You must have been asleep.                                                          33.                         VALERIE               No, no I was awake, I didn't sleep.     A BEAT.                         SHIFTY               I dunno then.                         VALERIE               Did you say two o'clock.                         SHIFTY               Yeah.                         VALERIE               Are you sure it wasn't two thirty.     A BEAT.                         SHIFTY               It may have been.                         VALERIE               I was out on the balcony at two               thirty.     A BEAT.                         VALERIE (CONT'D)               But I was in here at two.     A BEAT.                         VALERIE (CONT'D)               I'll make us some tea.                         SHIFTY               Yeah, that'll be sweet.70                                                                   *     INT. VALERIE'S FRONT ROOM. DAY     Chris looks about at the bits and bobs that litter her front     room. Sleeping felines. Chintzy ornaments of cats. He picks     up a framed photo of her daughter, Loretta, in better days,     fresh faced, before the scars, ready to take on the world. He     looks slightly shocked to see this.                                                       CUT TO:     Chris sits in a sunken armchair, and looks around the room.     He looks closely at a sleeping cat near his chair. He moves     his foot and touches it but it slides along the floor, not     moving just solid, as if frozen. It dawns on Chris that all     the cats in the room are stuffed.                                                          34.     Chris sits back in the chair, suddenly from next door, the     deep hum of a drum and bass track starts thumping through the     wall. It's so heavy it makes the shelves of chintzy cat     ornaments rattle.71                                                                   *     INT. VALERIE'S KITCHEN. DAY     Valerie prepares the tea whilst Shifty leans against the     counter top.                         SHIFTY               How you been, alright.                         VALERIE               Yeah, I'm alright babe, you               alright?                         SHIFTY               Yeah, I'm alright.                         VALERIE               Good, good.     Silence as Valerie prepares the tea.                         SHIFTY               She visited you yet?                         VALERIE               No... not for a long time,               Shifty... not seen her for a long               time really, darling.     Shifty walks over to Valerie and starts helping her make the     tea. He seems to know where stuff is in this kitchen. He     places a hand on her arm.                         SHIFTY               She'll come back one day.     They carry on making the tea.72                                                                   *     INT. VALERIE'S FRONT ROOM. DAY     The drum and bass track continues to thud through the wall. A     fresh pot of tea stands next to an empty can of soft drink.     Shifty pulls out two rocks of crack and places them before     Val. Chris watches with intent. He almost can't believe what     he's seeing. She opens the cellophane and places down a small     yellowy lump. Then carefully she fashions the can into a     smoking utensil. At that moment, one of her cat ornaments     falls from the shelf because of the vibrating bass. Valerie     walks over, picks up the china tabby, and places it carefully     back on the side. She sits back down, clearly distressed by     the music.                                                           35.      We're tight on the can as Valerie lifts the paraphernalia to      her mouth and takes a hit, a small grimace etched across her      lips. She gestures with her hand offering Chris some.                          CHRIS                No, no, I'm fine......thanks                though.      CLOSE ON SHIFTY.                          SHIFTY                Look Val we're gonna have to do                one...      THE CAMERA PANS TO VAL- SHE LOOKS ANAESTHETIZED - BACK TO      SHIFTY...      Shifty nods at Chris for them both to leave. The thudding      bass echoes out as they exit the flat. Chris looks slightly      unsettled by what he's seen.73                                                                    *      EXT. OUTSIDE VALERIE'S FLAT. DAY      Shifty shuts the door to Valerie's behind him. They go to      walk off when suddenly Shifty stops dead in his tracks. He      pauses for a while, and then shouts to Chris who has carried      on walking.                          SHIFTY                Geezer, give me a minute.      Chris turns to see Shifty pulling up the sleeve on his      jacket. Shifty reaches through the letterbox and manages to      unhook the latch. The door swings slowly open, the drum 'n'      bass booming out.73A                                                                   *      INT. OTIS' FLAT / FRONTROOM. DAY      Shifty enters. The CAMERA follows. We're introduced to a dark      hallway, clothes, magazines and CD's litter the floor. Shifty      peers into one of the bedrooms leading off from the hallway -      a mattress with no sheets. Shifty carries on down the      hallway. Reaching a door, he slowly pushes it open, to reveal      a grotty front room. On the TV a violent movie scene plays      out, the sound turned down. A wiry looking 18 year old,      Otis, sits on the sofa rolling a spliff, absorbed by the      films images. A chavvy-looking bird sits to his left. Shifty,      cool as a cucumber, rolls into the front room, straight up to      the stereo, and turns it off. The young kid sits there, just      staring, a spliff held in his two hands, totally flummoxed.      Shifty stares him out.                                                          36.                                                                *                         SHIFTY               Alright mate?                          OTIS               Alright.     Shifty looks about at the room.                         SHIFTY               What's your name?                          OTIS               Otis.     A BEAT.                         SHIFTY               Where do you get your weed from?                         OTIS               It aint... it aint mine, my erm, my               mate left it, he left it here... I               could phone him if you want, he'll               sort you out...                         SHIFTY               Where d'you get your fucking weed               from rude boy?     A BEAT.                         OTIS               I get it from this geezer... Glen               Dowdy innit.     Shifty smiles.                         SHIFTY               No, you don't.74   EXT. VALERIE'S BLOCK COUNCIL FLATS / CORRIDOR. DAY     Chris stands waiting, he looks uncomfortable.75   INT. OTIS' FLAT / FRONTROOM. DAY                         OTIS               No his names Glen, I'm sure it is               man, his names Glen innit?                         OTIS' GIRLFRIEND               Yeah, I think so.                                                          37.                         SHIFTY               From now on you get your weed from               me...     A BEAT.                         SHIFTY (CONT'D)               At half the price.     Otis looks at his girlfriend, and back to Shifty, utterly     confused.76   EXT. VALERIE'S BLOCK COUNCIL FLATS. DAY     Chris watches a young mum below, she can't be more than 16,     pregnant, and with another baby in a pram. He looks saddened     by the girl. He turns and walks into the flat.77   INT. OTIS' FLAT / FRONTROOM. DAY                         SHIFTY               I'm gonna sell you your weed half               price, and your gonna keep this               noise down.     A BEAT.                         SHIFTY (CONT'D)               Yeah?     A BEAT.                         SHIFTY (CONT'D)                   (with threat)               YEAH?     At that moment Otis and his girlfriend look up to see Chris     standing in the doorway. His presence adds menace to the     situation.                         OTIS               Yeah, alright, yeah.                         SHIFTY               Because if I hear one word of               complaint from next door, just one               single complaint, I'll come back               here and I'll take your TV, I'll               take your stereo, and I'll shove em               up your birds arse.     He lets the words sink in. The girl looks a little shocked.                         SHIFTY (CONT'D)               Do you understand me?                                                            38.     Otis nods.                            SHIFTY (CONT'D)                  DO YOU UNDERSTAND ME?                             OTIS                  Yeah, yeah, it's cool, I'm sorry,                  man, I didn't know I had it on                  loud, I would have turned it down,                  I'm sorry.     Silence. Shifty stares Otis out. Otis looks away. Shifty     picks up a biro from the floor and writes a number on Otis'     wall.                            SHIFTY                  Call me if you need any more weed.     He walks into the hallway, past Chris.                            CHRIS                      (almost disdain)                  You don't miss a fucking trick.                            SHIFTY                  You know it.78   INT. VALERIE'S BLOCK COUNCIL FLATS / STAIRWELL. DAY     Shifty and Chris make their way down the winding stairs of     the tenement block, Shifty's phone vibrates.     CLOSE ON: THE SCREEN OF THE PHONE READS: TREVOR P MOB.     Shifty hits the reject button. Chris follows behind.     A BEAT.                            CHRIS                  That was all a bit fucking surreal.                            SHIFTY                  What d'you mean?                            CHRIS                  I can't believe you just sold crack                  to Miss Marple and struck a deal                  with Blazing Squad.     Shifty laughs as they carry on descending.                            CHRIS (CONT'D)                  How old is she?                                                39.                       SHIFTY          About 70.A BEAT.                    SHIFTY (CONT'D)          She's been doing drugs longer than          we've been alive.A BEAT.                    CHRIS          Yeah, d'you reckon.A BEAT.                    CHRIS (CONT'D)          When did you start knocking out?                    SHIFTY          Knocking out what?                    CHRIS              (lowers his voice)          Crack.                    SHIFTY          I dunno, about...three, three and a          half years ago.A BEAT.                    SHIFTY (CONT'D)          Why when d'you stop knocking out          pills.                    CHRIS          When do you think?A BEAT.                    CHRIS (CONT'D)          Do you get involved?                       SHIFTY          No.A BEAT.                       SHIFTY (CONT'D)          Have you?                       CHRIS          Fuck that.They still descend the stairs.                                                          40.                         SHIFTY               Do you wanna try it?     Chris looks at him, unsure if he's joking.                         CHRIS               Only if I get a fucking discount.                          SHIFTY                    (Asian accent)               I have to charge you wholesale, you               know. I got family in Pakistan,               they need ticket for plane travel,               man.     They both laugh.79   INT. TREVOR'S HOUSE / KITCHEN. DAY     Jasmine is at the kitchen table with Freddie and Katie who     are doing potato painting. Jasmine is dialing her mobile. She     presses it to her ear.80   INT. TREVOR'S VAN. DAY     Trevor is parked up in his van, just staring out. We see his     phone vibrating on the dash board. He answers.                            TREVOR               Jasmine...81   INT. TREVOR'S HOUSE / TREVOR'S VAN. KITCHEN. DAY     Her tone is cold distant.                         JASMINE               Where's the credit card?                            TREVOR               What for?                         JASMINE               I want to book a hire car.                         TREVOR               We don't need one.                         JASMINE               How are we gonna get about with two               kids.                         TREVOR               We'll get taxis.                                                          41.                         JASMINE               It'll be cheaper to get a hire car.                         TREVOR               Jasmine, we're not getting a hire               car.                         JASMINE               Don't ruin this for me, Trevor.                         TREVOR               What do you mean?                         JASMINE               Don't ruin this holiday for me.     Trevor goes quiet.                         JASMINE (CONT'D)               Are you still there?                          TREVOR               Yeah.                         JASMINE               Where are you?                         TREVOR               Where do you think. I'm on site.                         JASMINE               It doesn't sound like it...     A BEAT.                         TREVOR               Babe, look I've got to go,                         JASMINE               Well what should I do about the               car?                         TREVOR               Babe, I've gotta go, Bob's calling               me... we'll talk about it later...               I'll call you...     CLICK! He puts down the phone.82   INT. TREVOR'S HOUSE / KITCHEN. DAY     Jasmine sits there for a moment, slightly distracted, then     carries on painting with the kids, her mind elsewhere.                                                          42.83   EXT. COUNCIL ESTATE. DAY     Shifty and Chris walk in silence. Chris looks about at the     buildings, his eyes searching across the domain that he once     knew so well.                         CHRIS               Did you tell Rachel?                            SHIFTY               What?                            CHRIS               About me.     A BEAT.                         SHIFTY               No, I didn't.     A BEAT.                         SHIFTY (CONT'D)               I thought it'd be a surprise.     Chris looks a little uncomfortable.                         SHIFTY (CONT'D)               Mate, it's gonna be fine.                         CHRIS               Who else is gonna be there?                         SHIFTY               I dunno, lot of her new mates, I               don't know many of them.     A BEAT.                         CHRIS               So what's the plan, are you gonna               go and see your mum and dad first?     Shifty looks at him.                            SHIFTY               No.     A BEAT.                         CHRIS               You should go man, see what they've               got to say?                         SHIFTY               I thought you worked in               recruitment.                                                     43.                    CHRIS          What?                    SHIFTY          When do you become a fucking family          liaison?                    CHRIS          What are you talking about you          nutter, I was just saying?A BEAT.                    SHIFTY          I'll be stuck in some fucking          warehouse... looking after twenty          Bengalis... knocking out dodgy          Fruit of the Looms.... I know          exactly who they want me to meet,          man.                    CHRIS          It might not be, mate, it might be          some sweet little earner... in the          city somewhere, do you know what I          mean.                    SHIFTY          I've got a sweet little earner.                    CHRIS          Yeah, but you won't be sweating          bullets everytime the door bell          goes.A BEAT.                    CHRIS (CONT'D)          You're not knocking out weed          anymore, man.... This aint          college... you're in deep bruv...          that shit'll put you down for life.                    SHIFTY          Only if you get caught, mate.Suddenly from around the corner we see someone come sprintingpast. .                    SHIFTY (CONT'D)          Malik?Malik, small, Turkish, stops dead in his tracks and spinsround, he carries a large black holdall.                                                44.                      MALIK              (OUT OF BREATH)          Fucking hell Shifty... you alright          bruv... I didn't even notice you.                    SHIFTY          What's going on?                    MALIK          Long story, geezer (Looks at Chris)          you alright mate?                    CHRIS          How you doing?                    SHIFTY          Malik, this is an old mate of mine,          Chris.                    MALIK          Someone's gotta be.Chris laughs.                    SHIFTY          Where are you going, man why you          running?                    MALIK          Fucking hell, do you remember I was          telling you about Craig?                    SHIFTY          No.                    MALIK          Yeah you fucking do, Craig Whittle,          the guy who's seeing Desmond          Dodge's sister.                    SHIFTY          What, Craig, small Craig.                     MALIK          Yeah, yeah. D'you remember I told          you he had that job at the          pinnacles, the, erm, storage          warehouse.                    SHIFTY          Yeah, go on.He doesn't.                                                          45.                         MALIK               Anyway, Craig tells me every               Friday, on the fucking dot, a               delivery gets made, all this top               fucking electrical gear...     Shifty offers him a cigarette.                         MALIK (CONT'D)               Cheers mate... yeah every Friday               [lights his fag] they make this               fucking drop off, but because the               lorry can't reverse into the               courtyard, something to do with the               angle of the gates or something, I               dunno mate, you'll have to ask               Craig, they fucking, cos they can't               get in, they leave all these crates               sitting on the fucking road...                         SHIFTY               What... are you on your way there               now?                         MALIK               What... no, no, no, I drummed the               place ten minutes ago blood. This               fucking... forklift went inside               yeah, with this first load, so I,               fucking, I nipped in, started               whacking in the gear, only turns               out they've got another forklift...                         CHRIS               Hold up, hold up...Why are you               running?                         MALIK               Cunt caught me right in the middle               a loading up.     CLOSE ON: SHIFTY AND CHRIS' FACES DROP.                         MALIK (O.S.) (CONT'D)               Are you sure you don't want               anything, I'll do you a proper               deal, sort you right out?     At that precise moment a plain clothes police car comes     heading toward them. The siren blares out. Chris and Shifty,     caught between a rock and a hard place, turn and sprint.84   EXT. BACK STREETS. DAY     Chris runs, suddenly Shifty overtakes. Chris is fast but     Shifty's like a whippet.                                                          46.                            SHIFTY               Follow me.     Shifty swerves down a side lane, Chris follows.85   EXT. ALLEYWAY. DAY     Malik's legging it down an alleyway, he throws the bag over a     wall and goes over after it, he vaults, landing knee deep in     a shitty garden pond.                            MALIK               Fuck.86   EXT. SIDE STREET. DAY     Shifty and Chris sprint, the police close behind.                         SHIFTY               This is bollocks.     Shifty vaults a brick wall, Chris follows. The drop on the     other side is far deeper than expected, they hit the floor     hard. Suddenly they see something that grabs their attention.87   EXT. CYCLE TRACK. DAY     Shifty and Chris come swerving around the corner on the     crappest kids' bikes you've ever seen. Shifty's knees are     near his chin, and Chris' bike is pink with a fairy flag     whipping off the back.     THE CAMERA RIDES PARALLEL WITH THEM AS THEY HURTLE ALONG THE     CYCLE TRACK.     It's not perfect but it's better than running. Shifty starts     cracking up laughing. Chris' face looks a little more     serious, however. He doesn't find this all quite as funny as     Shifty.88                                                                   *     EXT. GROSVENOR ROAD CUT THRU. DAY.     Shifty sits in an underpass. Random graffiti tarnishes the     walls behind them, their bikes lent against the wall. Chris     is stood up, leaning on his knees, breathing hard.                         CHRIS               Mate, I'm telling you, this is no               way to live.     Chris sits down next to Shifty.                                                          47.                         CHRIS (CONT'D)               I'm serious, mate, you need to get               away from this shit, come and live               with me for a bit.     Shifty looks at Chris, and reaches into his pocket pulling     out a pack of fags.                         CHRIS (CONT'D)               I'm serious, mate... Why not?     Shifty doesn't say anything.                         CHRIS (CONT'D)               You'd love Manchester, man, it's               full of fitness.     Shifty stays quiet, and smokes. They sit their for a moment.                         SHIFTY               I can't just fuck off.                         CHRIS               Yeah, you can.     Shifty looks at Chris.                         SHIFTY               Yeah, but I wouldn't mate... I               don't want to... I'm perfectly               fucking happy where I am...89                                                                   *     INT. GLEN'S COUNCIL FLAT. DAY     Glen sits perched on the end of the bed, his top off. Loretta     lays on her side, behind him.                         GLEN               Magnus, Magnus...     He gets up and walks about.                         GLEN (CONT'D)               ... is that better?...it's Glen...               you alright... can you hear me?...               yeah I'm good mate, I'm good... No,               you...no mate... no I, erm, I put               the word about...you know...what we               were chatting about... and I, erm,               I think I've got a pretty good idea               what's going on... well, erm...               I've heard this off a few people...               a lot of `em have said the same               thing... it's, erm, it's Shifty               innit... Shifty... yeah, yeah               definitely...                         (MORE)                                                          48.                         GLEN (CONT'D)               I mean I could have told you that               in the first place, mate...who else               is it gonna be... Cos I tell you               one thing, I aint fucking cutting               up the gear, Lenny aint fucking               cutting it up is he, look at the                                                                     *               state him... I mean mate, they're               all on the make... he's a fucking               Paki ain't he... he'd sell his               sister for a set of rims, do you               know what I mean... Yeah I did, I               had a word with him... told him               what I'd heard... yeah. Little               prick told me to go fuck myself,               said he'll call you himself... the               geezers getting out of control               Magnus, something needs to be               done...alright mate...alright, I'll               speak to you later...cheers               mate...CLICK!     He stands there for moment, thinking. He walks over to     Loretta and pulls back the sheets. He leans over and starts     kissing her all over, she tries to ignore him, but he's     licking her ear, grinding his crotch into her arse.                         LORETTA               Glen, I'm not in the mood.     He doesn't listen, and pulls down her knickers.90                                                                   *     EXT. GROSVENOR ROAD CUT THRU. DAY     There's a silence between the two of them. Shifty looks as if     he's mulling something over in his head.                         SHIFTY               If Manchester's so full of gal, how               come you haven't got a bird yet?                         CHRIS               I've been on nuff dates. Some of               them fucking lovely.     A BEAT.                         CHRIS (CONT'D)               I just haven't been able to get my               head around it since Serena.     A BEAT.                         SHIFTY               Mate, that was four years ago.                                                          49.91   INT. TREVOR'S VAN. DAY     Trevor's makes his way through the lifeless avenues of     Dudlowe, a repetitive New-York house tune plays out - Trevor     does a line of coke off the tip of a credit card.92                                                                  *     EXT. GROSVENOR ROAD CUT THRU. DAY     In the distance we can hear the faint resonance of traffic     and far-away cries from a children's playground....                         CHRIS               Did you go to the funeral?     Shifty soaks in the question.                         SHIFTY               Yeah of course I did.                         CHRIS               Did anyone say anything?                         SHIFTY               About what?                         CHRIS               I dunno, about me?     A BEAT.                            SHIFTY               Yeah.     A BEAT.                         SHIFTY (CONT'D)               People were saying a lot of shit               about both of us.                            CHRIS               Like what?                         SHIFTY               Just... fucking...just rumors,               mate, bullshit.                         CHRIS               Did you get drilled by the old               bill?                         SHIFTY               Everyone did.                         CHRIS               What did people say when I left?                                                 50.                    SHIFTY          I don't know mate. Whatever they          were saying about you they were          saying about me.There's an uncomfortable silence between them.                    CHRIS          I'm gonna get fucking lick-shot          tonight.                    SHIFTY          You fucking know that... back to          mine... bit of munch... couple of          Uri Geller's...                    CHRIS          You getting changed?                    SHIFTY          Yeah, of course I am                    CHRIS          Let's get a bottle of whisky.                       SHIFTY          Fuck that.                       CHRIS          Why?                    SHIFTY          You always kick off.                    CHRIS          No I don't.                    SHIFTY          Mate, last time you drank a bottle          of whisky you pissed on my leg.                       CHRIS          Bollocks!Chris is laughing.                       SHIFTY          In a club.                       CHRIS          What!A BEAT.                    SHIFTY          In front of the bouncer.                                                          51.                         CHRIS               Oh yeah, I remember.     Chris cracks up.                         SHIFTY               I gotta do one last drop off and we               can chill out.93   INT. TREVOR'S VAN. DAY     We see Trevor walk back to the van, in his hand he has a can     of beer. Getting in, he settles down and begins to unwrap his     gram of coke on the passenger seat. He places down the can to     take a hit when suddenly he knocks it, spilling beer all over     the cocaine.                         TREVOR               No, no, no, no, oh fuck, oh fucking               hell.     He's at it. His fingers dabbing at the clammy remnants,     fingering it into his gums and teeth.                         TREVOR (CONT'D)               Fuck...fuck...94   EXT. TREVOR'S VAN. DAY     Trevor gets out, he's furious and kicks the side of the van.                         TREVOR               FUCK...95   EXT. STREET. DAY     We see Shifty and Chris approach a house, Shifty leads the     way through the gate.96   EXT. TREVOR"S VAN. DAY     Trevor's driving, full of desperation. He phones another     number.                                                          52.                           TREVOR                   (ON PHONE)               Ken, it's Trevor... yeah I'm alright               mate... yeah, no, not for about a               week... Look I can't get hold of               Shifty... I know, I know he's a               nightmare... you haven't got any               various have ya... what you're dry as               well... I know... I know but I can't               get hold of him... alright mate... look               if you see him yeah, get him to               call me straight away...97   INT. BLAIR'S HOUSE / FRONT ROOM. DAY     We're at Blair Wyards, 35. His room is full of twelve inch     vinyl and cool framed posters. They all sit around on low     comfy chairs. Blair smokes on a stacked spliff.                         SHIFTY               How many do you want?                         BLAIR               Just two... fuck it, it's Friday,               make it three... Yeah, make it               three.                         SHIFTY               How about four!                         BLAIR               Do me a favour, Jesus Christ.98   EXT. STREET. DAY     Malik walks, head down, carrying the bag of stolen gear.99   INT. BLAIR'S HOUSE / FRONT ROOM. DAY     Shifty's phone goes off on vibrate. He looks at the screen:     TREVOR P MOB. He ignores it, rifles through his cellophane     bag and pulls out three grams of coke.                         SHIFTY               What's work saying?                         BLAIR               Fuck all really.                         SHIFTY                   (to Chris)               Blair works at St. Marks.                                                           53.                          CHRIS                I used to go there, what do you do?                          SHIFTY                He's head caretaker.                            CHRIS                Oh right.      Blair laughs.                            CHRIS (CONT'D)                What?                          BLAIR                I'm not, I'm head of English.      Chris' laugh is met by silence.                          CHRIS                What really?      Blair nods.                            BLAIR                Yeah.                            CHRIS                Mental.100   EXT. STREET. DAY      Trevor's van pulls up behind Malik tooting his horn - Malik      almost defecates his jeans - Trevor winds down the window.                          MALIK                    (exasperated)                Fucking hell Trevor, my hearts                beating like a techno track.                          TREVOR                You seen Shifty?                          MALIK                    (wary)                Earlier, yeah, why?                            TREVOR                When?                          MALIK                    (suspicious)                This morning, why what's the                matter, what's going on?                                                      54.                          TREVOR                Get in and show me where to find                him, you know where he hangs out.                          MALIK                I, erm, I'm on my way to, erm, my                bird's Trev...                          TREVOR                Don't worry about it, we'll only be                about ten minutes.                          MALIK                I don't think Shifty's gonna want                to see me at the moment though                Trev.      Trevor steps out.                          TREVOR                Get in the FUCKING car Malik.101   INT. BLAIR WYARD'S HOUSE / FRONT ROOM. DAY                          BLAIR                How's business?                          SHIFTY                Yeah it's good, mate, thriving.                          BLAIR                I was reading the other day that                it's a good time to be in the drugs                trade... government's raging war on                terror... no one gives a fuck about                drugs anymore...      A BEAT.                          SHIFTY                Yeah but I'm a Muslim drug                dealer...                          CHRIS                So he's fucked either way.      Blair and Chris laugh.                          SHIFTY                Ha Dee fucking Ha... wankers.      Shifty sits back in his chair, thinking.                                                           55.102   INT. TREVOR'S VAN. DAY      They're driving. Trevor almost fanatical, eyes searching -      Malik in the back of the car, looking anxious, offering      directions.103   INT. TREVOR'S VAN. DAY      Trevor scours the streets, Malik in the back. The house tune      thumping out.104   INT. BLAIR'S HOUSE / FRONT ROOM. DAY      Blair sniffs up a line of coke and offers some to Shifty and      Chris who decline. The mellow tunes plays out. Chris passes      the spliff to Blair who takes a deep drag. Shifty sits back      and looks at the clock on the wall. It reads 18:45. He thinks      for a moment. He looks at the lines of coke lined up on      Blair's table. He looks back at the clock. 18:46. Chris is      watching Shifty.                          CHRIS                I tell you what?                          SHIFTY                What?                          CHRIS                I could fucking smash one of your                mum's curry's.      Shifty looks at Chris straight in the eyes.                          CHRIS (CONT'D)                Do you think she would have made                food?                          SHIFTY                Always.      A BEAT.                          CHRIS                We could still make it, man.      Shifty looks at Chris.      A BEAT.                                                           56.105   INT. SHIFTY'S PARENTS HOUSE. DAY      Rez stands in the hallway of his parents house, we can see      Shifty's parents in the kitchen chatting to an elderly      gentleman in a suit. Rez looks at his phone, it reads: Shafiq      Mobile. He looks at it for a while. Then answers.                          SHIFTY (O.S.)                Rez, it's Shifty                            REZ                Yeah.                          SHIFTY (O.S.)                Where are you?                          REZ                Mum and dads.106   EXT. STREET. DAY      Shifty and Chris walk.                          SHIFTY                You alright mate... you sound a bit                down?                            REZ (O.S.)                I'm fine.                          SHIFTY                                                                      *                Is that still job thing still on?                          REZ (O.S.)                Of course it is. Why wouldn't it                be.                          SHIFTY                Alright mate, I was just asking.                          REZ                Just get here.107   INT. SHIFTY'S PARENTS HOUSE / HALLWAY. DAY      Rez puts down the phone. He stands there for a while,      thinking, then walks into the kitchen to join his parents and      their guest.108   INT. TREVOR'S VAN. DAY      Silence as Trevor and Malik drive. Suddenly Trevor notices      Shifty and Chris walking down a grass verge, making their way      beneath the underpass.                                                              57.      He brings the van to a halt at the side of the street. He      exits the van, leaving Malik sitting in the back passenger      seat slightly non-plussed.109   EXT. UNDERPASS. DAY      Shifty and Chris walk through the tunnel, from the far end we      see the shadow of a heavyset man approaching. Shifty and      Chris walk unfazed. Shifty recognises the guy.                          SHIFTY                    (under his breath)                Oh shit!      Trevor, appearing from the gloom, walks directly towards      Shifty.                          TREVOR                Where you been geezer, I've been                trying to get hold of you.      He stops about a foot away from Shifty. Too close for      comfort. Shifty takes a step back.                          SHIFTY                I've been busy, mate. You alright?      Trevor assesses Chris.                          TREVOR                I need to get hold of some gear.                          SHIFTY                There's nothing left Trev, that's                why I haven't answered?      Trevor's face drops.                          TREVOR                    (Turning nasty)                Don't fucking bullshit me Shifty.                          SHIFTY                Mate, call me in an hour and I`ll                sort you out.                          TREVOR                You won't answer your phone mate,                you've been blanking me all day.                          SHIFTY                Mate, I'm in a rush, I'll call you                later.                                                     58.                    TREVOR          Fuck off, I know you're carrying,          don't try and mug me off.                    SHIFTY          Take it easy rude boy. Just chill          out.                    TREVOR          I am fucking chilled out, I just          don't like being mugged off, do you          know what I mean?Trevor's in Shifty's face.                    SHIFTY          I've had a long fucking day,          Trevor, just leave me alone.                    TREVOR          Don't tell me what to fucking do                                                               *          you Paki.He pushes Shifty hard. Chris steps up.                    CHRIS          Mate, leave it out!Trevor's on Shifty and has him pinned up against the wall,his hefty hand gripped around his neck, Suddenly he brings aStanley knife up to his temple.                    TREVOR          Empty your pockets! EMPTY YOUR          FUCKING POCKETS.                    CHRIS          Mate what are you doing?                    SHIFTY          Just leave it, Chris. Trevor, think          about what you're doing, man.                    TREVOR          JUST EMPTY YOUR FUCKING POCKETS.Trevor edges the knife harder into Shifty's neck. SlowlyShifty surrenders the large bag of coke and a cellophane bagof crack with about two grand in cash.                    TREVOR (CONT'D)          Why do you lie to me you prick, why          do you tell me you weren't fucking          carrying.                    SHIFTY          Trevor, you need to calm down.                                                           59.      Trevor's eyes are bulging, face crimson with rage, his knife      nestling at the tip of Shifty's Adams apple.                          TREVOR                Empty your fucking other                                                                      *                pockets!... NOW....NOW!      Shifty does what Trevor says.                          TREVOR (CONT'D)                And the inside pockets you prick...                NOW!      At that moment, Trevor lowers his knife, Shifty takes heed                                                                      *      and grabs him, swinging him around and pushinhg his palm into                                                                      *      Trevor's face. They fall into a messy clinch, but their now                                                                      *      facing the opposite way. Chris and Shifty turn and sprint as                                                                      *      fast as possible. Trevor falls to his knees scrambling for                                                                      *      the drugs.                                                        CUT TO:110   INT. TREVOR'S HOUSE / FRONTROOM. DAY      Jasmine is in the front room ironing. In front of her she has      two suit cases laid out perfectly. She keeps and eye on the      kids who are still painting. She presses one of Trevor's      shirts perfectly.111                                                                   *      EXT. OLD SPORTS CENTRE. DAY                                                                      *      Shifty and Chris come to rest behind a gathering of bushes.      Their lungs on fire as they grab for air. Shifty looks down      at his top and realises he's bleeding.                           SHIFTY                Oh shit.                          CHRIS                Mate, are you alright?      Chris reaches to help him, but Shifty swats away his hand.                          SHIFTY                Get off me, man.                          CHRIS                Mate, I'm only trying to help.                          SHIFTY                It's a bit fucking late now.                          CHRIS                Mate, the geezer had a fucking                knife at your throat.                                                60.                    SHIFTY          Yeah exactly mate. Help might have          been fucking nice, do you know what          I mean?                    CHRIS          What was I supposed to do?                    SHIFTY          You're supposed to fucking help me,          man, fucking do something.                    CHRIS          Mate, I'm sorry, I'm just not used          to being fucking mugged in tunnels.          It's not part of my daily routine?                    SHIFTY          I'm surprised you didn't do a          fucking runner?                    CHRIS          What are you talking about?                    SHIFTY          I'm surprised you didn't fucking...          run off and leave me to sort out          the mess.                    CHRIS          Fuck you, Shifty. Fuck you, man.                    SHIFTY          Why, why, cos I'm speaking the          truth. Talking about the past,          talking about Serena. Oh no you          can't talk about that, you mustn't          talk about Serena.A BEAT.                    SHIFTY (CONT'D)          Let's fucking talk about it. Let's          talk about how you left two weeks          after she died without saying          goodbye to me, everyone fucking          asking me what's going on, every          one saying shit about you, bad          mouthing you, let me tell you about          the fights I had sticking up for          you, the broken nose I got when          some meathead slagged you off,          let's fucking talk about that,          mate.                    CHRIS          I left because of one fucking          reason... this shit hole...                    (MORE)                                                            61.                          CHRIS (CONT'D)                this fucking cess pit that you love                so much... where has this place got                you, man, where has it fucking got                you, smartest kid in the class,                four fucking a levels and you're                getting chased by the police,                getting mugged, selling crack                cocaine to OAP's. Nice life.                          SHIFTY                I'll tell you where it's fucking                got me mate. It's got me earning                four thousand a week...How much do                you earn in your little cubicle up                in Manchester...go on how much do                you fucking earn... you probably                don't even earn two grand a fucking                                                                    *                month you prick...                          CHRIS                You don't know what the fuck I've                been through.                          SHIFTY                How would I you prick I haven't                seen you for four years.                            CHRIS                Fuck you!                          SHIFTY                No FUCK YOU!      Shifty turns and steams off leaving Chris seething.112                                                                 *      INT. TREVOR'S VAN. DAY      Trevor gets back in the van, wiping the blood from his nose      with the sleeve of his shirt and breathing heavily. He's      counting the money, looking in the bag of drugs - PAY DIRT.      He's a bundle of nervous energy.                          VOICE                    (off screen)                Who d'you fucking rob - Cuba?      Trevor spins round in his seat.                          TREVOR                JESUS MALIK... what are you doing?                          MALIK                I thought you wanted me to wait.      Trevor starts to laugh; it's a nervous display, almost      relief.                                                           62.                          MALIK (CONT'D)                Sort me out with some out that (he                nods to the coke).      A BEAT.                          TREVOR                What's it worth?      Malik considers, puts his hand in the bag and pulls out a      camcorder he nicked earlier with a bunch of tapes.113                                                                  *      INT. SHIFTY'S PARENTS HOUSE. DUSK      In a respectable dining room sit Shifty's parents and Mr.      Ahmed. Their silence is awkward as they sit waiting for      Shifty. Shifty's mum pours Mr. Ahmed some tea.114                                                                  *      INT. TREVOR'S VAN. DUSK      Trevor takes out a wrap, places a huge pile on the end of a      credit card and tries to snort the lot in one go. His broken      nose proves difficult, blocked by clotted blood, so he eats      the remainder.115                                                                  *      INT. SHIFTY'S PARENT HOUSE / KITCHEN. NIGHT      Rez sits on a stool drinking a cup of tea, he tries to ring      Shifty but gets no answer. Rez's face shows frustration.116                                                                  *      EXT/INT. REZ'S HOUSE. NIGHT      Shifty walks down the path and opens the front door, calling      out.                            SHIFTY                REZ...      The house is empty.117                                                                  *      INT. REZ'S HOUSE / SHIFTY'S BEDROOM. NIGHT      Shifty's on the phone.                              SHIFTY                ... Why... that's not true... Magnus...                Magnus it wasn't... come on, man... I                know but... I know... what the fuck was                I supposed to do... you know I don't...                Magnus, chill out, man... Yeah...                yeah... I'm... fucking... WHAT! I'm                                                                     *                not in on anything with Glen...                              (MORE)                                                            63.                            SHIFTY (CONT'D)                                                                      *                whatever your problem is with him                that's nothing to do with me... Why                you even use that prick... I...                what...when... I do know who it                was... yeah, Trevor Palmer... you don't                know him... yeah... you don't know him...                but I... yeah... I will, I will, look                man, I didn't kno... I will... CLICK!                FUUUCK!!!      Shifty's punching his bedroom door yelling out.                          SHIFTY (CONT'D)                FUCK! FUCK! FUCK! FUCK!118                                                                   *      INT. SHIFTY'S PARENTS HOUSE. NIGHT      Shifty's mum shuts the door as Mr. Ahmed leaves. She turns      back into the hallway and suddenly begins to cry. Shifty's      dad walks in and holds her tight, Rez holds back, not knowing      what to do.119   EXT. LONDON STREET. NIGHT      Five heavy looking bastards walk out of a house and towards a      serious looking black range rover. One of them opens the boot      and they throw in baseball bats, a crowbar, masking tape.120   EXT. HOUSE PARTY. NIGHT      Chris sits on a wall the other side of the road, a carrier      bag full of beer. He sits, drinking, just staring at the      house, the music pumping from within. He watches as people      arrive. He looks about. He's anxious, upset, he doesn't want      to do this on his own.121   INT. TREVOR'S FRONT ROOM. NIGHT      Trevor unlocks the door and walks into the house, his nose      swollen, face sullen, guilty. We follow as he walks toward      the front room where we see suit cases placed over the floor      as Jasmine busies herself packing. She doesn't look at      Trevor, she's too angry with him.                          TREVOR                What are you doing babe?                          JAMES                What does it look like.                          TREVOR                We've got another three days yet?                                                     64.                     JASMINE           I've got two kids to pack for...Silence.                     JASMINE (CONT'D)           ...three including you...                     TREVOR           Where are they?                     JASMINE           Where do you think they are,           they're in bed?                     TREVOR           What's wrong with you?                      JASMINE           Nothing.Jasmine walks past him, still not looking him, and into thekitchen where she takes wet washing from the machine.                     TREVOR           Babe, what's the matter?She walks back past him to the front room.                     JASMINE           When did you start using again?                      TREVOR           What?                     JASMINE           When did you start using cocaine           again?                     TREVOR           What are you talking about?                     JASMINE           I'm not going through this again           Trevor, don't fucking lie to me.                     TREVOR           What are you going on about?                     JASMINE           Is that why the card failed.                      TREVOR           What?                                                           65.                          JASMINE                I tried to book a car and the card                failed?                          TREVOR                I told you not book it.      She turns to look at him.                           JASMINE                I swore to you Trevor, I said to                                                                      *                you...what the fuck happened to                                                                      *                your face.122   INT. RANGE ROVER / MOTORWAY. NIGHT      The five heavies sit in the car, heavy music playing out, the      motorway lights flashing past.123   INT. TREVOR'S FRONT ROOM. NIGHT                          TREVOR                                                                      *                Babe people walk into scaffolding                                                                      *                all the time.                          JASMINE                                                                      *                No Trevor only you walk into                                                                      *                scaffolding... cos coked off you're                just off you're fucking tits.                          TREVOR                I'm not off my tits babe.                          JASMINE                What did I say to you Trevor, I                said as god is my witness, I'll                walk out of that door with my kids                and never look back...                           TREVOR                Jasmine.                          JASMINE                What did I say?                           TREVOR                Babe.                          JASMINE                What did I fucking say.      Trevor drops his head.                                                            66.                           JASMINE (CONT'D)                 You promised me you'd stopped, You                 swore on your baby daughter's life                 that you were clean, Trevor. You                 swore on our nine-month old baby                 daughter's life that you wouldn't                 touch that... that shit anymore.       Trevors starts crying.                           JASMINE (CONT'D)                 No, don't you cry, don't you dare                 fucking cry, because to me that's                 even more repulsive. I want you to                 be a man for Christ's sake. I want                 you to be a fucking man about this,                 Trevor, for once in your life take                 control of the FUCKING situation.       She's at him, screaming, hitting. He just stands there limp,       absorbing her blows.                           JASMINE (CONT'D)                 WE'RE YOUR FAMILY, YOU SHOULD BE                 FUCKING LOOKING AFTER US YOU WEAK                 USELESS PRICK.       Jasmine walks away from him. Trevor's just left there,       pathetic, alone.124                                                                   *       INT. REZ'S HOUSE. BATHROOM. NIGHT       We jump cut as Shifty cleans his cut, puts on a fresh tee                                                                      *       shirt, freshens his face in the sink.124A                                                                  *       INT. REZ'S HOUSE KITCHEN / NIGHT                                                                      *       Shifty is then down in the kitchen, at the washing machine.       He pulls out the powder tray, nothing there, he's digging       about inside, he gets a torch, he's trying to peer in,       frantic.                           REZ (OS)                 Where the FUCK have you been?       Shifty's head darts. They stare at each other for a moment.                           SHIFTY                 Rez, I'm sorry, man.                           REZ                 Where the fuck have you been... why                 didn't you phone mum and dad?       Rez walks into the kitchen.                                                      67.                     SHIFTY           I ran out of juice.                     REZ           Why didn't you use a pay phone?Shifty doesn't answer. Rez looks at the open tray on thewashing machine. Shifty look him in the eye.                     SHIFTY           I need it Rez, where is it?                     REZ                                                               *           Where is it? Where the fuck is it.           You bring drugs into my fucking           house... the house that I pray           in...He pushes Shifty hard in the chest.                     SHIFTY           Rez, Rez, man.                     REZ           I looked after you Shifty, I took           you under my roof, let you live in           my house, and this, this is how you           repay me...Rez pushes Shifty again hard. Shifty grabs Rez but Rezpunches him around the face, they fall to the floor in amessy clinch, Rez pulling at shifty's face, hitting him.                     SHIFTY           Rez, Rez, Rez...Shifty   manages to wrangle himself free. Rez is up and athim.                     REZ           Get out of my fucking house, get           out...                                                               *                     SHIFTY           Rez, Rez, I need that bag...                      REZ           Get out.                     SHIFTY           Rez, if you don't give it to me I'm           a dead man.Rez storms off upstairs. Shifty stands just rubbing his facewith his hands muttering under his breath.                                                            68.                           SHIFTY (CONT'D)                 Fuck, fuck, fuck, fuck, fuck,                 fuck...                                                                       *       He can hear Rez rustling about upstairs. Shifty starts                                                                       *       ascending the stairs.124B                                                                   *       INT. REZ'S HOUSE. BATHROOM. NIGHT                                                                       *       Shifty's enters the bathroom to see Rez emptying the drugs       into the toilet.                                                                       *                             SHIFTY                 REZ, NO!                             REZ                 Fuck you.                             SHIFTY                 REZ!       Rez flushes the chain. Shifty pushes Rez aside and reaches       into the toilet but it's too late.                           SHIFTY (CONT'D)                 What the fuck have you done, what                 the FUCK have you done?                           REZ                 Get the FUCK out.                             SHIFTY                 Rez.                           REZ                 Get the FUCK out of my house.       Rez is pushing Shifty again. Shifty backs away down the       steps.125    INT. RANGE ROVER / MOTORWAY. NIGHT       The motorway lights flicker through the glass, illuminating       the guys faces. One of them rotates a knife in his hand.126    EXT. REZ'S HOUSE. NIGHT       Shifty exits his brothers house. He stands there for a moment       breathing hard, thinking, then heads off with conviction.                                                           69.127   INT. TREVOR'S FRONT ROOM. NIGHT      Jasmine, still in a bit of a state, her eyes reddened from      tears, sits sorting stuff out in the front room. She picks up      the carrier bag that Trevor brought home with him and looks      inside, she pulls out the camera and tapes.128   EXT. TREVOR'S GARDEN. NIGHT      Trevor sits at the garden table smoking a fag. Jasmine walks      outside.                          JASMINE                What's this?      Trevor looks up.                          TREVOR                I brought it for you.      He walks past her back into the house and kisses her cheek      she flinches slightly, She stands there for a second soaking      it in.129   EXT. HOUSE PARTY. NIGHT      Chris sits on the wall, he downs his beer, straightens      himself up, and walks towards the house. A voice calls out.                          SHIFTY (O.S.)                CHRIS!      Chris turns to see Shifty approaching. They stand there for a      moment. Neither one saying anything.                          CHRIS                You alright?                          SHIFTY                Yeah, I'm alright. You alright.      Chris looks down.                          SHIFTY (CONT'D)                Look man, I'm not gonna do this                party...      Chris nods.                          SHIFTY (CONT'D)                I've got too much shit to deal                with.      A BEAT.                                                           70.                          SHIFTY (CONT'D)                You don't have to come with me.                It's up to you?                          CHRIS                Yeah, cool, I'll probably just grab                my stuff from yours then.      Shifty nods with acceptance, but Chris smiles.                          CHRIS (CONT'D)                As if I'm not gonna come with you                nutter.      Shifty shakes is head.                          SHIFTY                Fucking hell, man. I thought you                were gonna leave me cold.                          CHRIS                I thought you were used to it.                          SHIFTY                There's only so much one man can                take.      They walk off. Chris throws Shifty a light punch.                          SHIFTY (CONT'D)                Now you start throwing punches.130   INT. TREVOR'S / BATHROOM. NIGHT      Quietly Trevor sniffs up a corner of coke. He carefully opens      the door to make sure Jasmine's not nearby. He exits and we      follow him into the front room where Jasmine sits with the      Camcorder. She aims it at Trevor and presses record. Jasmine      peers into the Lens.131                                                                   *      INT. COUNCIL ESTATE / HALLWAY. NIGHT      Shifty and Chris approach a rundown council flat. The door is      shabby, black bin liners decorate the floor. Shifty knocks.      They stand for a moment when suddenly the door creaks open to      reveal Loretta peaking through.                          SHIFTY                Loretta, is Glen there?      She watches them for a moment then shuts the door. Shifty      looks at Chris. They stand for a moment when Glen opens the      door.                                                           71.                             GLEN                Shifty.                          SHIFTY                Alright mate.                             GLEN                What?                           SHIFTY                I need to talk to you about                something.      Glen just looks at him.                          SHIFTY (CONT'D)                Can we do it inside.      Glen opens the door. They both walk into the flat. Glen stops      shifty and points for him to go into the bedroom.                          SHIFTY (CONT'D)                    (to chris)                Mate, I'll only be a minute.      Chris walks into the front room where he sees Lenny and      Loretta playing Connect 4.      He looks at Lenny.                          CHRIS                Alright mate.      Lenny looks slowly up.                             LENNY                Alright.      Chris perches himself on the edge of a dusty old armchair. He      looks at Loretta.                          CHRIS                You alright Loretta.      She smiles at him.                          LORETTA                You alright Chris.      He smiles nervously.132   INT. GLEN'S COUNCIL FLAT / BEDROOM. NIGHT                          GLEN                What's going on, what are you                fucking doing here?                                                 72.                    SHIFTY          Something happened today...          something, I dunno, something          serious... so I phoned Magnus...          talked to him about it... told him          what happened...                    GLEN          What Losing all his gear?A BEAT.                    SHIFTY          Who told you that?                    GLEN          Magnus did.                    SHIFTY          And what did he say?                    GLEN          That you've lost all his gear...          all of his money.Shifty pauses thinking.                    SHIFTY          Yeah well he went mental, saying          some other shit about me cutting it          up, mixing the coke, he was saying          all sorts of... bullshit...Glen stays quiet. Shifty waits for a reaction.                    SHIFTY (CONT'D)          Why would he be saying that...          who's been talking to him?A BEAT.                    GLEN          Dunno mate, you're guess is as good          as mine.Shifty pulls out his phone.                    SHIFTY          Perhaps you should phone him up          now, here, in front of me, tell him          it's all bollocks.Glen just looks at Shifty.                    GLEN          You can tell him yourself.                                                       73.      Shifty holds the phone to Glen's face.                          SHIFTY                Go on mate, call him up, tell him                that I don't cut up the coke.      Glen knocks down Shifty's arm.                          GLEN                I don't know what the fuck you do                Shifty?133   INT. GLEN'S COUNCIL FLAT / FRONTROOM. NIGHT      Chris watches Loretta and Glen play connect 4.134   INT. GLEN'S COUNCIL FLAT / BEDROOM. NIGHT                          GLEN                I know that you bowl around this                town like it's your fucking                manor... with your smooth fucking                Paki chat... giving it the large..                          SHIFTY                What are you talking about you                prick?                          GLEN                Mugging off Magnus, saying that                he's getting weak, losing all his                gear...                          SHIFTY                What the FUCK are you going about.                          GLEN                And then you come to my house and                you threaten me...      Shifty stays quiet.                          GLEN (CONT'D)                ...Shooting off your fucking mouth,                telling me what you're gonna do to                Magnus... telling me how you're                gonna take him down...      Shifty stares at Glen, seething.                                                           74.135   INT. GLEN'S COUNCIL FLAT / FRONTROOM. NIGHT      Lenny and Loretta, having ditched the connect 4, are chasing      the dragon from a piece of tin foil. Chris looks totally      uneasy, the situation is making him uncomfortable.136   INT. GLEN'S COUNCIL FLAT / BEDROOM. NIGHT                          SHIFTY                You've been chopping up the fucking                                                                     *                gear all along. Selling half of it                to the fucking Turks, cutting out                Magnus.      A BEAT. Glen looks a little shocked by Shifty's revelation.                          GLEN                Who told you that?                            SHIFTY                Fuck you.                          GLEN                Fuck you, you cunt. You're just                jealous cos you didn't think of it                first. You're not that fucking                smart.                          SHIFTY                I didn't think of it, cos I'm not                that fucking stupid.      There's a knock at the door. Shifty hesitates, then answers      it.                          CHRIS                Mate, can we go?                          SHIFTY                Don't worry about it, I'm fucking                leaving.      Shifty goes to walk out with Chris. Glen follows them into      the corridor.                          GLEN                It's about time you both fucked                off.                          SHIFTY                Fuck off Glen.                          GLEN                After what happened.      Shifty and Chris carry on walking out.                                                           75.                          GLEN (CONT'D)                No wonder you left mate.                            CHRIS                What?                          GLEN                Couldn't show your face after what                you did.                          CHRIS                What did I do exactly.                          GLEN                Get the fuck out of my house.                          CHRIS                What the fuck did I do?                          SHIFTY                Mate, just leave it the geezers a                wanker.                          CHRIS                WHAT DID I FUCKING DO?                          GLEN                Don't start shouting mate.                            CHRIS                FUCK YOU?                          GLEN                Or what... you gonna kill me like                you did Serena.      Suddenly, with out hesitation Chris grabs Glen by his tee      shirt and slams his forehead into Glens nose. It breaks in a      clean crack, blood spurting out. Glen doubles over, holding      his face. Chris smashes his fist into the back of Glens head,      Glen goes down on his knees. Chris is kicking him. Shifty      comes in and pulls him away, laying in a few boots himself.      Glen stands up.                          GLEN (CONT'D)                You broke my fucking nose. You're a                fucking dead man Shifty... you're                all ready a fucking dead, man,                                                                      *                you're fucked... fucked...137                                                                   *      INT/EXT RANGE ROVER. MOTORWAY. NIGHT      The black Ranger Rover soars along the motorway.                                                             76.138   EXT. FIELD. NIGHT      Shifty and Chris cross a field, trudging through the ankle      length grass. They reach a hedge. Shifty reaches into the      bushes and starts rummaging around. He pulls out a black bin      liner containing something heavy. He unwraps one bin liner to      reveal another which has been tied with elastic. He undoes      another black bin liner until finally he's left with just a      leather sports bag.139   INT. RANGE ROVER. NIGHT      Through the front windscreen we see a sign indicating a      turnoff for Dudlowe New town. The jeep veers, making the exit      just in time.140   EXT. DUDLOWE STREETS. NIGHT      Chris and Shifty make their way through the town. Shifty's      walking fast, dictating the pace.                          CHRIS                Where are we going?                           SHIFTY                To mine.      A BEAT.                          CHRIS                We should just go, man, get the                fuck out of this shithole, leave                now, go to Manchester, tonight, I'm                telling you.                          SHIFTY                Chris I can't. I'm not leaving...                I'm not leaving my brother.      Silence. They carry on walking, together, side by side.141   INT. SHIFTY'S HOUSE / FRONT ROOM NIGHT      Silhouetted by the night sky, Shifty and Chris sit on dining      chairs, before the front window, lights off, waiting.142   EXT. RANGE ROVER. NIGHT      The Range Rover creeps along the streets of Dudlowe.                                                           77.143   INT. SHIFTY'S HOUSE / FRONT ROOM. NIGHT                          CHRIS                Does everyone think it was me?                          SHIFTY                If they did you'd be in prison                mate?      A BEAT.                          SHIFTY (CONT'D)                Running off didn't help.      A BEAT.                          CHRIS                I can't even remember giving it to                her.                          SHIFTY                We were all pretty fucked Chris.      A BEAT.                          CHRIS                She told me she'd done pills                before.      A BEAT.                          SHIFTY                Chris if it wasn't you, she would                have got it from someone else mate.                          CHRIS                Yeah but she didn't did she.      Shifty leans forward and opens the leather sports bag. He      pulls out a .38 six shot revolver and a hand full of bullets.      He starts loading the gun. Chris stands up.                           CHRIS (CONT'D)                Jesus Christ man what the fuck are                you doing?      Shifty gestures for him to be quiet, and points upstairs to      his bother.                          CHRIS (CONT'D)                Fucking hell, man, this is                bullshit.                            SHIFTY                Sit down.      A BEAT.                                                           78.                          SHIFTY (CONT'D)                Chris sit down, man.      Chris sits down. Shifty reaches in the bag and hands him a      knuckle duster. Chris looks at it.                          CHRIS                Glad you're fucking sorted.144   EXT. STREET. NIGHT      The Range Rover pulls into a turning.145   INT. REZ'S HOUSE / FRONTROOM. NIGHT      They sit there, just waiting.                          CHRIS                Do you think they'll come.                          SHIFTY                Don't know.      A moment of silence.                          CHRIS                Wish I'd slept last night.      A BEAT.                          CHRIS (CONT'D)                I'm fucked.      Shifty nods. He's feeling the pain.                          CHRIS (CONT'D)                Got any coke?                             SHIFTY                I'm out.      Silence. Chris laughs.                          SHIFTY (CONT'D)                We've been chased by the police...      Chris' laughter increases.                          CHRIS                We got fucking mugged...      They're both starting to laugh.                                                           79.                          SHIFTY                And my brother flushed my gear down                the toilet...      They're both cracking up.                          SHIFTY (CONT'D)                Party was blinding though weren't                it?      They're both laughing, Shifty motions for them to quieten      down in case they wake Rez.                           CHRIS                Fuck the party. I never wanted to                go anyway.146   EXT. STREET. NIGHT      The Range Rover turns off it's lights. The guys just sit      there waiting.147   INT. SHIFTY'S HOUSE / FRONT ROOM. NIGHT      Chris is falling asleep, head drooping. Shifty's trying to      stay awake, one eye open, struggling, but he's too tired.      Both their heads are drooped, they're dead to the world.148   EXT. STREET. NIGHT      The Range Rover creeps along with its lights off.149   INT. SHIFTY'S HOUSE / FRONT ROOM. NIGHT      Shifty jolts as if he's heard something, going for the gun in      his jacket. He looks around... nothing there.150   EXT. STREET. NIGHT      The five heavies get out of the jeep. Pulling on balaclava's,      bats, knives, guns at the ready.151   INT. SHIFTY'S FRONT ROOM. NIGHT      Shifty and Chris are silhouetted against the night sky.152   EXT. STREET. NIGHT      The five heavies approach the house.                                                            80.153   INT. REZ'S HOUSE / FRONT ROOM. NIGHT      A shadow streaks across the front window but Shifty and Chris      are asleep.154   EXT. STREET. NIGHT      The five heavies assemble outside the door. One of them kicks      the front door with an almighty crash.155   INT. REZ'S HOUSE / FRONT ROOM.      Shifty awakes with a jolt to see broad day light streaming in      through the windows of the house.156   EXT. REZ'S HOUSE. MORNING      Shifty steps out the front door to look about. It's a nice      day. He looks up and down the street, nothing. He goes to      walk back in the house when suddenly his eye catches      something on the floor. He reaches down and picks up a large      jiffy envelope that's been left leaning against the bin      cupboard. Scribed across the front is: SHIFTY157   INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING      Shifty rips open the Jiffy envelope. He pulls out a      Camcorder, a Polaroid falls to the floor, face down. Shifty      looks at both. His face displays concern.                                                     JUMP CUT TO:158   INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING      Shifty's packing, fast. Loading stuff into a sports bag, tee      shirts, jeans, socks.                                                     JUMP CUT TO:159   INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING      Shifty pulls out a large bundle of money that he's been      saving.160   INT. REZ'S HOUSE / KITCHEN MORNING.      Shifty places an envelope on the table. REZ scribed across      the front.                                                            81.161   INT. REZ'S HOUSE / FRONT ROOM. MORNING      Shifty walks into see Chris sitting up on the sofa. He throws      Chris' bag at him. He looks at his bag. At Shifty's bag slung      over his shoulder.                                                   JUMP CUT TO:162   EXT. RIVER SIDE. MORNING.      Shifty stands at the river side. Chris beyond, watching.      Shifty reaches into his jacket and pulls out the .38      revolver. He throws it into the river.                          CHRIS                Give me your phone.                            SHIFTY                What?                          CHRIS                Give me your phone?      He takes Shifty's phone and chucks into the river.                                                   JUMP CUT TO:163   EXT. COACH STOP. M0RNING      Shifty and Chris sit in silence. The bus pulls up.164   INT. COACH. MORNING      The bus pulls away. Chris settles back, and offers Shifty one      of his head phones to share. Shifty takes it and sits back,      looking out the window. The track we heard at the beginning      of the film begins to play: Noel McKoy's "Brighter Day". It      plays softly over the following scenes.165   INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST      Shifty stands, staring at the camcorder in his hand, and the      Polaroid, face down on the floor.166   INT. GLEN'S COUNCIL FLAT / FRONT ROOM. MORNING - PRESENT      Loretta awakes from a drug inflicted sleep and sits up. She      looks around. No one.                                                              82.167   INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST      Shifty leans down to pick up the Polaroid.168   INT. GLEN'S COUNCIL FLAT / HALLWAY. MORNING - PRESENT      Loretta walks towards the bedroom, she reaches for the      handle.169   INT. GLEN'S COUNCIL FLAT / BEDROOM. NIGHT - PAST      We see the same scene from the night before. But from a lower      angle to see Shifty holding his mobile phone by his side.      CLOSE ON SCREEN: IT SHOWS AN OPEN LINE TO MAGNUS' MOBILE                          GLEN                Who told you that?                            SHIFTY                Fuck you.                          GLEN                Fuck you, you cunt. You're just                jealous cos you didn't think of it.                You're not that fucking smart.                          SHIFTY                I didn't think of it, cos I'm not                that fucking stupid.170   INT. RANGE ROVER. NIGHT - PAST      CLOSE ON: PHONE HELD TO A MANS EAR - MAGNUS WE PRESUME      LISTENING TO THE CONVERSATION.171   INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST      Shifty turns over the Polaroid.172   INT. GLEN'S COUNCIL FLAT. MORNING - PRESENT      Loretta opens the door to reveal Glen taped to a chair and      beaten to death.                                                            83.173   INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST      Shifty turns over the Polaroid to see a picture of Glen,      taped to the chair and beaten to death.174   INT. REZ'S HOUSE / SHIFTY'S BEDROOM. MORNING - PAST      Shifty opens the LCD on the Camcorder and presses play and      begins to watch.175   INT. TREVOR'S HOUSE / FRONT ROOM. NIGHT - PAST      CAMCORDER: Jasmine peers into the lens. She then turns the      camera and follows Trevor who plants himself on the other      settee, he looks uneasy.                          TREVOR                Babe, do me a favour.      There is a colossal banging sound.                          TREVOR (CONT'D)                What the fuc...      Trevor's up on his feet. The banging becomes a crash as      something gives way.                          JASMINE                TREVOR WHAT IS IT? PHONE THE                POLICE!      Three heavyset men in balaclava's charge into the front room.      Jasmine screams, dropping the camera on its side yet still      giving a viewpoint on events. Three men are on Trevor, he's      receiving a serious beating.      THE MUSIC ON THE SOUND TRACK BEGINS TO GET LOUDER.      A man grabs Jasmine by the hair and drags her to the middle      of the room, she attempts to fight back, feisty as ever. This      is bedlam. Suddenly someone rushes in from the left and lays      a vicious right hook to Trevor's head. He goes down like a      lead weight. Jasmine's crying, fear washing over her. A child      cries out from upstairs.                            VOICE (OS)                Tell that fucking slag to stop                crying... NOW!!      Two hooded men drag Jasmine off to another room. She's      fighting back clawing at them. Trevor's face is pressed      against the cold lino flooring. Someone has grabbed the      camera and angles it on Trevor's bloodied features. Congealed      blood envelopes his eyes and nose cavities.                                                              84.      A hand moves into shot and grabs hold of his face, squeezing      his cheeks so he looks sadly comic. Trevor's eyes flicker      open.                          VOICE (OS) (CONT'D)                Look into the lens...      Trevor fails to comply. The hand slaps him hard and grabs his      face again.                          VOICE (OS) (CONT'D)                Look into the FUCKING lens!!!      Trevor complies.                          VOICE (OS) (CONT'D)                Say you're sorry.      Trevor begins to weep - a painful sight.                          VOICE (OS) (CONT'D)                SAY YOU'RE FUCKING SORRY!!!      The voice echoes out.176   INT. REZ'S HOUSE / KITCHEN MORNING - PRESENT      Rez' opens the envelope on the side and pulls out a mass of      money left for him by Shifty.177   INT. GLEN'S COUNCIL FLAT. MORNING      Loretta puts on her jacket and walks out of the flat.178   INT. COACH. MORNING - PRESENT      Shifty sits looking out the window, Dudlowe passing him by as      he exits the town. He nestles back into his chair and closes      his eyes. He and Chris seated next to one another. Shoulder      to shoulder.      The music rises.      CUT TO BLACK.                                                            THE END
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+"THE SHINING." Post Production Script. A STANLEY KUBRICK FILM EXECUTIVE PRODUCER: JAN HARLAN PRODUCED AND DIRECTED BY: STANLEY KUBRICK July, 1980 "THE SHINING."EXT. COLORADO MOUNTAIN (U.S.A.) - DAY - L.S.Lake and Mountains. CAMERA TRACKS FORWARD past island inlake. DISSOLVE TO:EXT. ROAD - DAY - L.S.High Angle V.W. Car moving along road - CAMERA TILTS UP withit. CUT TO:EXT. COLORADO MOUNTAINS & ROAD - DAY - L.S.Mountains and Road - V.W. Car moves away along road - CAMERATRACKS after it. CUT TO:L.S. V.W. Car moving away along road - CAMERA TRACKS afterit and passes car - TRACKING FORWARD to Mountains in b.g. CUT TO:M.L.S. High Angle V.W. Car moves away along road - CAMERATILTS UP with it. Car goes into tunnel and comes out otherside. CAMERA TRACKS after car. CUT TO:L.S. V.W. Car moves along road. CAMERA TRACKS after it.Mountains in b.g. CUT TO:L.S. High Angle V.W. Car moving away along road. Mountainin b.g. CAMERA TRACKS after car. CUT TO:L.S. Mountain - CAMERA TRACKS IN on Hotel. CUT TO:Black Frames. THE INTERVIEW. CUT TO: 2.INT. OVERLOOK HOTEL/LOBBY - DAY - M.L.S.Jack walks L-R across Lobby. CAMERA TRACKS BACK & PANS withhim to RECEPTIONIST behind desk. JACK Hi, I've got an appointment with Mr. Ullman. My name is Jack Torrance. RECEPTIONIST His office is the first door on the left. JACK Thank you.JACK moves away R-L. CAMERA PANS with him and TRACKS INafter him through Secretary's office to open door of ULLMAN'soffice - revealing ULLMAN seated at desk with SECRETARYstanding beside him. JACK Mr. Ullman? ULLMAN Yes? JACK I'm Jack Torrance. ULLMAN Oh, well - come on in Jack.ULLMAN stands up and hands book to SECRETARY, walking roundside of desk. JACK moves into office. CAMERA TRACKS INafter him. He shakes hands with ULLMAN. ULLMAN Very nice to meet you. JACK Nice to meet you, Mr. Ullman.ULLMAN points to SECRETARY. ULLMAN This is my secretary, Susie. SECRETARY Hallo. JACK Susie, how do you do? 3. ULLMAN Have any trouble finding us? JACK Oh, no problem at all. I made the trip in three and a half hours. ULLMAN Well, that's very good time, very good. Please sit down a minute.ULLMAN points to chair cam.R. JACK sits cam.R.f.g. ULLMANwalks behind desk. ULLMAN JAck, just make yourself at home. Would you like some coffee? JACK Well, if you are going to have some, I wouldn't mind. Thanks. ULLMAN Susie. SECRETARY Sure. ULLMAN Oh, and would you ask Bill Watson to join us? SECRETARY Yes, I will.ULLMAN sits behind desk. SUSIE walks forward to R.f.g. DISSOLVE TO:EXT. APARTMENT BUILDING/BOULDER - DAY - L.S.Apartment Building - cars parked in front of it. Mountainin b.g. CAMERA TRACKS IN on Apartment Building. CUT TO:INT. JACK & WENDY'S APARTMENT IN BOULDER (USA) / LIVINGROOM - DAY - M.L.S.DANNY is sitting at table eating a sandwich. WENDY sittingcam.R reading book. DANNY Mom... 4. WENDY Yeah. DANNY Do you really want to go and live in that hotel for the winter? WENDY Sure, Danny, it will be lots of fun. DANNY Yeah, I guess so. Anyway, there's hardly anybody to play with around here. WENDY Yeah, I know. It always takes a little time to make new friends. CUT TO:M.S. DANNY eating sandwich. DANNY Yeah, I guess so. CUT TO:M.S. WENDY WENDY What about Tony? He's looking forward to the hotel, I bet. CUT TO:M.S. DANNY while eating sandwich wiggles forefinger of hisL.hand and speaks with different voice. TONY NO, I ain't Mrs. Torrance. CUT TO:M.S. WENDY WENDY Oh come on, Tony. Don't be silly. CUT TO:M.S. DANNY wiggles forefinger of L.hand and speaks withdifferent voice. 5. TONY I don't want to go there, Mrs. Torrance. CUT TO:M.S. WENDY WENDY Well, how come you don't want to go? CUT TO:M.S. DANNY wiggles forefinger of L.hand and speaks withdifferent voice. TONY I just don't. CUT TO:M.S. WENDY. WENDY Well, let's just wait and see. We're all gonna have a real good time. DISSOLVE TO:INT. OVERLOOK HOTEL/ULLMAN'S OFFICE - DAY - M.L.S.JACK over ULLMAN seated at desk. BILL WATSON enter office.JACK rises and shakes hands with him. ULLMAN Bill, I'd like you to meet Jack Torrance. WATSON How do you do? JACK Bill, how do you do? WATSON Pleased to meet you. JACK Pleasure to meet you. ULLMAN Grab a chair Bill, and join in. 6.WATSON & JACK sit down. ULLMAN Jack is going to take care of the Overlook for this winter. I would like you to take him around the place as soon as we are through. WATSON Fine. ULLMAN Jack is a schoolteacher. CUT TO:M.C.S. JACK. JACK Eh - formerly a school-teacher. WATSON (OFF) What line of work are you in now? JACK I'm a writer um... Teaching has been more or less a way of making ends meet. CUT TO:M.C.S. WATSON. WATSON Well this ought to be quite a change for you. CUT TO:M.C.S. JACK JACK Well, I'm looking for a change. ULLMAN (OFF) Our people in Denver recommended Jack very highly, and, for once, I agree with them. CUT TO:M.S. ULLMAN 7. ULLMAN Let's see, where were we? Yes. I was about to explain that eh... our season here runs from oh May 15th to October 30th and then we close down completely until the following May. CUT TO:M.C.S. JACK JACK Do you mind if I ask why you do that? It seems to me that the skiing up here would be fantastic. ULLMAN (OFF) Oh, it sure would be CUT TO:M.S. ULLMAN ULLMAN (CONT'D) but the problem is the enormous cost it would be to keep the road to the Sidewinder open. It's a... It's a 25 mile stretch of road - gets an average of 20 feet of snow during the winter, and there's just no way to make it economically feasible to keep it clear. When the place was built in 1907, there was very little interest in winter sports, and this site was chosen for its seclusion and scenic beauty. CUT TO:M.L.S. ULLMAN over WATSON & JACK. JACK Well, it's certainly got plenty of that.JACK laughs. ULLMAN That's right. And did they give you any idea in Denver about what the job entails? 8. JACK Only in a very general way. ULLMAN Well... CUT TO:M.S. ULLMAN ULLMAN (CONT'D) ...the winters can be fantastically cruel, and the basic idea is to...to cope with the very costly damage and depreciation which can occur. And this consists mainly of running the boiler, heating different parts of the hotel on a daily rotating basis, repairing damage as it occurs and doing repairs, so that the elements can't get a foothold. CUT TO:M.C.S. JACK JACK Well, that sounds fine to me.ULLMAN grunts off. CUT TO:M.S. ULLMAN ULLMAN Physically, it's not a very demanding job. The only thing that can get a bit trying up here during the winter is eh... the tremendous sense of isolation. CUT TO:M.C.S. JACK JACK Well, that just happens to be exactly what I'm looking for. I'm eh... I'm outlining a new writing project, and eh... (MORE) 9. JACK (CONT'D) five months of peace is just what I want. CUT TO:M.S. ULLMAN ULLMAN That's very good Jack, because eh... for some people eh solitude and isolation... CUT TO:M.C.S. JACK. ULLMAN (OFF) (CONT'D) can of itself be a problem. JACK Not for me. CUT TO:M.S. ULLMAN. ULLMAN How about your wife and son? How do you think they'll take to it? CUT TO:M.C.S. JACK. JACK They'll love it. ULLMAN (OFF) Great... CUT TO:M.S. ULLMAN ULLMAN Well, before I turn you over to Bill, there is one other thing I think we should talk about. I don't want to sound melodramatic, but it is something that's... (MORE) 10. ULLMAN (CONT'D) been known to give a few people second thoughts about the job. CUT TO:M.C.S. JACK JACK I'm intrigued. CUT TO:M.S. ULLMAN. ULLMAN I don't suppose they eh told you anything in Denver about the tragedy we had up here during the winter of 1970? CUT TO:M.C.S. JACK shakes his head. JACK I don't believe they did. CUT TO:M.S. BILL WATSON. ULLMAN (OFF) Well, my predecessor in this job CUT TO:M.S. ULLMAN. ULLMAN (CONT'D) hired a man named Charles Grady, as the winter caretaker. He came up here with his wife and two little girls of about eight or ten. And he had a good employment record, good references and from what I've been told, I mean, he seemed like a completely normal individual. But at some point during the winter, he must have suffered some kind of a complete mental breakdown. (MORE) 11. ULLMAN (CONT'D) He ran amok and eh... killed his family with an axe, CUT TO:M.C.S. JACK ULLMAN (OFF) (CONT'D) stacked them neatly in one of the rooms in the West Wing, and then he um... then he put eh both barrels of his shotgun in his mouth. CUT TO:M.S. ULLMAN sitting behind desk. ULLMAN (CONT'D) The police eh... they thought that it was what the old-timers used to call cabin-fever, a kind of claustrophobic reaction which can occur when people are CUT TO:M.C.S. JACK ULLMAN (OFF) (CONT'D) shut in together over long periods of time. JACK Well, that is eh quite a story. CUT TO:M.S. ULLMAN laughs. ULLMAN Yes, it is. Oh, it's still hard for me to believe that it actually happened here, but it did and eh... I think you can appreciate why I wanted to tell you about it. CUT TO:M.C.S. JACK. 12. JACK Ah, I certainly can, and eh... I also understand why your people in Denver left it for you to tell me.JACK laughs. CUT TO:U.S. ULLMAN laughing. ULLMAN Well, obviously some people can be CUT TO:M.C.S. JACK. ULLMAN (OFF) (CONT'D) put off by the idea of staying alone in a place where something like that actually happened. JACK Well, you can rest assured Mr. Ullman, that's not going to happen with me, and eg as far as my wife is concerned, I am sure she'll be absolutely fascinated when I tell her about it. She's a confirmed ghost story and horror film addict. DISSOLVE TO:INT. BOULDER APARTMENT/BATHROOM - DAY - M.S.Shooting through open door - DANNY standing on stool at basin. DANNY Tony, do you think Daddy will get the job? TONY (OFF) Yeah, he did. He's gonna phone Wendy up in a few minutes to tell her. CUT TO:INT. BOULDER KITCHEN/LIVING ROOM - DAY - M.S.WENDY back to camera washing dishes at sink. PHONE RINGSOFF. She dries her hand and puts carton in fridge. Thenmoves L-R into Living Room - CAMERA PANS with her. 13.She picks up telephone receiver. WENDY (into phone) Hello. CUT TO:INT. HOTEL - LOBBY - DAY - M.L.S.JACK leaning on counter at reception desk, speaking intophone. JACK (into phone) Hi, babe. WENDY (over phone) Hi, hon. How's it going? JACK (into phone) Great. Look, I'm at the hotel and I still have an awful lot to go through. I don't think I can get home before nine or ten. CUT TO:INT. BOULDER APARTMENT/LIVING ROOM - DAY - M.S.WENDY sitting on back of chair phone to ear. WENDY (into phone) Sounds like you got the job? CUT TO:INT. HOTEL - LOBBY - DAY - M.L.S.JACK leaning on reception desk with phone to ear. JACK (into phone) Right it's a beautiful place. You and Danny are gonna love it.INT. BOULDER APARTMENT/BATHROOM - DAY - M.S.DANNY standing on stool by basin. He is reflected in mirror.CAMERA TRACKS IN on his reflection in mirror. 14. DANNY Tony, why don't you want to go to the hotel?DANNY wiggles forefinger. TONY (OFF) I don't know. DANNY You do too know, now come on tell me.DANNY wiggles forefinger. TONY (OFF) I don't want to. DANNY Please...DANNY wiggles forefinger. TONY (OFF) No. DANNY Now Tony, tell me. CUT TO:INT. HOTEL - LOBBY - M.L.S.Shooting towards doors of lifts. Blood gushes in fromL.side of lift and in from corridors L. and R. of liftdoors - surging towards camera. CUT TO:INT. HOTEL/CORRIDOR - M.S.Two Little GRADY girls holding hands. CUT TO:INT. HOTEL/LOBBY - M.L.S.Blood gushing in from corridors L-R of lift doors andsurging towards camera. CUT TO: 15.INT. BOULDER APARTMENT - M.C.S.DANNY screaming. CUT TO:INT. HOTEL/LOBBY - M.L.S.Blood gushing in from corridors L-R of lift doors andsurging forward. The blood gushes up into camera lenscausing black out. DOCTOR (OFF) Now hold your eyes still so that I can see. CUT TO:INT. BOULDER APARTMENT/DANNY'S BEDROOM - DAY - M.S.DOCTOR bending over DANNY lying on top of his bed. She isexamining his eyes. WENDY standing at foot of bed. DOCTOR That's good, now the other one. Good boy.DOCTOR straightens up. She puts instrument away in case andcloses it. Then she sits on bed beside DANNY. DOCTOR Now Danny, when you were brushing your teeth, do you remember if you smelled anything funny, or saw any bright flashing lights, or anything at all strange? CUT TO:M.C.S. DANNY. DANNY No. DOCTOR (OFF) Do you remember when you were brushing your teeth? DANNY Yes. CUT TO: 16.M.S. DOCTOR sitting on bed beside DANNY. WENDY standing atfoot of bed. DOCTOR What's the next thing you remember after you were brushing your teeth? CUT TO:M.C.S. DANNY. DANNY Mommy saying, 'Wake up, wake up, wake up Danny, wake up.' CUT TO:M.S. DOCTOR sitting on bed beside DANNY. WENDY standing atfoot of bed. DOCTOR Now Danny, can you remember what you were doing just before you started brushing your teeth? CUT TO:M.C.S. DANNY DANNY Talking to Tony. CUT TO:M.C.S. DOCTOR DOCTOR Is Tony one of your animals? CUT TO:M.C.S. DANNY DANNY No. It's the little boy that lives in my mouth. CUT TO:M.C.S. WENDY WENDY Tony is his imaginary friend. 17. DOCTOR (OFF) Oh, CUT TO:M.C.S. DOCTOR DOCTOR (CONT'D) if you were to open your mouth now, could I see Tony? CUT TO:M.C.S. DANNY DANNY No. CUT TO:M.C.S. DOCTOR DOCTOR Why not? CUT TO:M.C.S. DANNY DANNY Because he hides. CUT TO:M.C.S. DOCTOR DOCTOR Where does he go? CUT TO:M.C.S. DANNY DANNY To my stomach. CUT TO:M.C.S. DOCTOR DOCTOR Does Tony ever tell you to do things?M.C.S. DANNY 18. DANNY I don't want to talk about Tony anymore. CUT TO:M.S. DOCTOR sitting on bed beside DANNY. She pats his legand stands up. WENDY at foot of bed. DOCTOR Okay. That's fine. All right Danny.DOCTOR puts case and stethoscope in her shoulder bag. DOCTOR Now I'm going to ask you to do me a favor, and stay quietly in bed for the rest of the day. Okay? DANNY Do I have to? DOCTOR Yes, I'd like you to. WENDY We're just going to go into one of the other rooms for a few minutes and talk - then I'll come back and check on you, okay? DANNY Okay. DOCTOR Goodbye.WENDY & DOCTOR move R-L to open door. DOCTOR goes into thecorridor. CUT TO:INT. CORRIDOR/LIVING ROOM - DAY - M.S.DOCTOR standing in corridor. WENDY moves out of DANNY'sroom and closes the door. She turns to DOCTOR. WENDY Shall we go into the living room? DOCTOR Yes. 19.DOCTOR & WENDY walk forward along the corridor - CAMERATRACKS BACK before them and PANS R-L with them to LivingRoom. WENDY points to sofa. WENDY Please... DOCTOR Thank you.DOCTOR moves to sofa and sits down - WENDY sits in chaircam.R. DOCTOR Mrs. Torrance, I don't think you have anything to worry about. I'm quite sure there is nothing physically wrong with Danny. CUT TO:M.C.S. WENDY. WENDY Oh, yeah. Oh, yeah, he seems absolutely fine now, but you should have seen him. CUT TO:M.S. DOCTOR over WENDY. DOCTOR leans back on sofa. DOCTOR Oh I know. Kids can scare you to death, but believe me these episodes are not at all uncommon, and they look much worse than they are. CUT TO:M.S. WENDY over DOCTOR. WENDY But eh what was the matter with him? DOCTOR Mrs. Torrance, most of the time these episodes with kids are never explained. They are brought on by emotional factors, and they rarely occur again. CUT TO: 20.M.S. DOCTOR. DOCTOR They're more akin to auto-hypnosis, a kind of self induced trance. If it re-occurs which I doubt CUT TO:M.S. WENDY takes cigarette out of packet. DOCTOR (OFF) (CONT'D) you can always think about having some tests done.WENDY holds cigarette packet out towards DOCTOR. DOCTOR (OFF) No thank you.She puts packet down on table. WENDY Oh, I'm...I'm sure you're right.She lights cigarette from lighter. CUT TO:M.S. DOCTOR. DOCTOR Have you been in Boulder long, Mrs. Torrance? CUT TO:M.C.S. WENDY. WENDY Only about three months. Eh we're from Vermont. My husband was teaching school there. CUT TO:M.S. DOCTOR DOCTOR Did the appearance of Danny's imaginary friend...? CUT TO: 21.M.S. WENDY over DOCTOR. WENDY Tony. DOCTOR Did Tony's first appearance happen to coincide with your arrival here? CUT TO:M.C.S. WENDY WENDY No, um let's see I guess Danny started talkin to Tony about the time we put him into nursery school. CUT TO:M.S. DOCTOR over WENDY. DOCTOR Did he adjust well to school? CUT TO:M.C.S. WENDY - she shakes her head. WENDY No. He didn't like it too much at first, and then he had an injury, so we kept him out for a while, and, yeah, I...I guess that's about the time when I first noticed that he was talking to Tony. CUT TO:M.S. DOCTOR over WENDY. DOCTOR What sort of injury did he have? CUT TO:M.C.S. WENDY WENDY Ah he dislocated his shoulder.WENDY inhales. 22. DOCTOR (OFF) How did he manage to do that? WENDY Well it's just one of those things. You know... purely an accident, um. My husband had oh... been drinking, and he came home about three hours late, so he wasn't exactly in the greatest mood that night. And well Danny had scattered some of his school papers all over the room... and my husband grabbed his arm, you know, and pulled him away from them. It's...it's just the sort of thing you do a hundred times with a child - you know, in a park or on the streets - but on this particular occasion my husband just... used too much strength and he injured Danny's arm. CUT TO:M.S. DOCTOR WENDY (OFF) (CONT'D) Anyway, something good did come out of it all because he said: CUT TO:M.C.S. WENDY WENDY (CONT'D) "Wendy, I'm never gonna touch another drop and if I do you can leave me", and he didn't and he hasn't had any alcohol in eh five months. CUT TO:BLACK FRAMES.Superimposed Title over:CLOSING DAY. CUT TO: 23.EXT. COLORADO MOUNTAINS - DAY - L.S.High Angle Trees on side of Mountain - CAMERA TRACKS FORWARDover them to Jack's car moving away along road. CUT TO:INT. JACK'S CAR - DAY - M.S.WENDY sitting beside JACK as he drives along Mountain Road.DANNY, between them, is leaning on backs of their seats.WENDY yawns. WENDY Boy, we must be really high up. The air feels so different. JACK Uh...huh. DANNY Dad? JACK Yes? DANNY I'm hungry. JACK Well you should have eaten your breakfast. WENDY We'll get something as soon as we get to the hotel, okay? DANNY Okay, Mom. WENDY Hey, wasn't it around here that the Donner party got snowbound? JACK I think that was farther west in the Sierras. DANNY What was the Donner party? 24. JACK There were a party of settlers in the covered wagon times. They got snowbound one winter in the mountains. They had to resort to cannabilism in order to stay alive. DANNY You mean they ate each other up? JACK They had to, in order to survive. WENDY Jack... DANNY Don't worry, Mom. I know all about cannabilism, I saw it on T.V. JACK See, it's okay. He saw it all on the television. DISSOLVE TO:EXT. COLORADO MOUNTAINS - DAY - L.S.High Angle JACK's car moving away along road on side ofmountain - CAMERA TRACKS after it. CUT TO:EXT. OVERLOOK HOTEL - DAY - L.S.Cars parked in front of Hotel. CUT TO:INT. OVERLOOK HOTEL/LOBBY - M.L.S.Man cleaning floor. CAMERA TRACKS L-R. WATSON & ULLMANwalk forward from b.g. ULLMAN What time does the plane leave? WATSON Eight thirty. ULLMAN Well, that still gives up plenty of time to go over everything first. 25.Two Girls carrying luggage enter cam.R and walk away to b.g. GIRLS Goodbye Mr. Ullman. ULLMAN Goodbye.ULLMAN & WATSON walk L-R to JACK sitting in chair. ULLMAN Good morning Jack. I hope you haven't been waiting too long. JACK No problem. In fact we had time to grab a bite to eat.JACK stands up. ULLMAN Good. Glad you made it before they shut down the kitchen. Is your family having a look around? JACK No, my son's discovered the games room. ULLMAN Oh... Has your luggage been brought in?JACK points to luggage. JACK Right there. ULLMAN Oh fine. Well in view of all the ground that we to cover today, I suggest we go and have a quick look at your apartment and then get started straight away.ULLMAN turns to WATSON. ULLMAN Bill, would you have the Torrances' things brought in their apartment. WATSON Fine. 26.WATSON walks out cam.L. JACK I'd better collect my family first. ULLMAN Oh...ULLMAN laughs and they move out cam.L. DISSOLVE TO:INT. HOTEL/COLORADO LOUNGE - DAY - M.L.S.ULLMAN, followed by WENDY, JACK & WATSON, moves out of liftcam.R. They walk R-L across Lounge. CAMERA TRACKS with them. ULLMAN This is our Colorado Lounge. WENDY Oh, it's beautiful. (to Jack) My God, this place is fantastic, isn't it hon? JACK Sure is. WENDY God, I've never seen anything like this before. Are all of these Indian designs authentic? ULLMAN Yes, I believe they are based mainly on Navajo and Apache motifs. WENDY Oh well they're really gorgeous. As a matter of fact this is probably the most gorgeous hotel I've ever seen.ULLMAN laughs. ULLMAN Oh this old place has had an illustrious past. In its heyday it was one of the stopping places for the jet set,They reach corner and turn, walking towards camera. 27. ULLMAN (CONT'D) even before anybody knew what a jet set was. We've had four presidents who stayed here, lots of movie stars. WENDY Royalty? ULLMAN All the best people. CUT TO:INT. HOTEL GAMES ROOM - DAY - M.C.S.DANNY throwing darts - CAMERA TRACKS BACK & PANS L-R withhim as he walks to the dartboard. He climbs up on chair andpulls two darts out. He looks cam.L. CAMERA ZOOMS IN on him. CUT TO:M.S. Two GRADY girls, holding hands, standing near open door. CUT TO:M.C.S. DANNY. CUT TO:M.S. Two GRADY girls, holding hands. They look at oneanother, then turn and exit out through open doorway. CUT TO:M.C.S. DANNY. CUT TO:INT. HOTEL/CARETAKER'S APARTMENT CORRIDOR - DAY - M.S.ULLMAN leads WENDY & JACK forward along corridor toCaretaker's Apartment. ULLMAN This is the staff wing of the hotel. None of the other bedrooms are heated during the winter. WENDY Oh!Two Girls carrying bags enter from cam.L. 28. GIRLS Goodbye Mr. Ullman. ULLMAN Goodbye girls.ULLMAN waves to Girls and moves cam.R into JACK's apartment.WENDY & JACK follow him. ULLMAN And here are your quarters. CUT TO:INT. HOTEL/JACK'S APARTMENT - DAY - M.S.ULLMAN, followed by WENDY and JACK, move up steps. ULLMANpoints to open door cam.R. ULLMAN Living Room, bedroom, bathroom, and a small bedroom for your son.JACK leans forward and looks in small bedroom cam.L. Heturns and looks cam.R. at ULLMAN. JACK Perfect for a child. WENDY Yeah. ULLMAN Yes.They move into apartment. JACK & WENDY move away throughliving room into bedroom - CAMERA TRACKS FORWARD after them. ULLMAN (OFF) Well the place is very nicely self- contained, easy to keep.JACK feels bed. JACK Cosy.JACK & WENDY move away and enter bathroom - CAMERA TRACKSafter them. 29. ULLMAN (OFF) Yes, very cosy for a family, and if you feel like spreading out you have the rest of the hotel to move around in. JACK Well, it's very... homely. WENDY Yeah. DISSOLVE TO:EXT. HOTEL/THE MAZE - DAY - L.S.ULLMAN leading WENDY, JACK & WATSON R-L along outside ofMaze. CAMERA TRACKS & PANS with them. ULLMAN This is our famous hedge maze. It's quite an attraction around here. The walls are thirteen feet high and the hedges are about as old as the hotel itself. It's a lot of fun,They walk from end of Maze towards Hotel in b.g. ULLMAN (CONT'D) but I wouldn't go in there unless I had an hour to spare to find my way out.Laughter. WENDY When was the Overlook built? CUT TO:M.L.S. ULLMAN leads WENDY, JACK & WATSON L-R along front ofHotel - CAMERA TRACKS with them. ULLMAN Ah... construction started in 1907. It was finished in 1909. The site is supposed to be located on an Indian burial ground, and I believe they actually had to repel a few Indian attacks as they were building it.ULLMAN points to red Snowcat at entrance of garage. 30. ULLMAN That's our Snowcat. Can you both drive a car? JACK & WENDY (together) Yes.They walk towards SNOWCAT. ULLMAN That's fine because basically the Snowcat operates very much like a car and it won't take you long to get the hang of it. DISSOLVE TO:INT. HOTEL BALLROOM/CORRIDOR - DAY - M.S.ULLMAN, JACK, WATSON & WENDY walk forward along corridor -CAMERA TRACKS BACK before them. ULLMAN As a matter of fact we eh... brought a decorator in from Chicago just last year to refurbish this part of the hotel. WENDY Oh well he sure did a beautiful job. Pink and gold are my favorite colors.ULLMAN leads WENDY, JACK & WATSON L-R into Gold Ballroom -CAMERA TRACKS with them. Men in b.g. cleaning Ballroom. ULLMAN Oh...well this is our gold ballroom. WENDY Oh, I'll say.ULLMAN leads them L-R across Ballroom to closed bar. ULLMAN We can accommodate up to three hundred people here very comfortably. WENDY Boy, I bet you we could really have a good party in this room, huh hon? 31. ULLMAN I'm afraid you're not going to do too well here unless you've brought your own supplies. We always remove all the booze from the premises when we shut down:He points to shuttered bar. ULLMAN that reduces the insurance that we normally have to carry.DICK HALLORAN walks forward from b.g. JACK We don't drink.ULLMAN laughs. ULLMAN Well then, you're in luck.ULLMAN waves to HALLORAN/ ULLMAN Oh Dick, come on over and say hello to Mr. and Mrs. Torrance. HALLORAN Sure. ULLMAN This is Dick Halloran, our Head Chef.JACK shakes hands with DICK. JACK Mr. Halloran, I'm Jack, and this is my wife, Winifred. HALLORAN Glad to meet you, Jack.HALLORAN shakes hands with WENDY. HALLORAN Glad to meet you, Winifred. WENDY Nice to meet you. 32. ULLMAN The Torrances are going to take care of the Overlook for us this winter. HALLORAN Oh, that's just great. How do you folks like our hotel so far? WENDY Oh it's just wonderful.WENDY waves out cam.L. WENDY Hi Danny! CUT TO:INT. HOTEL - BALLROOM - DAY - M.S.SUSIE holding DANNY's hand. They walk L-R across Ballroom.CAMERA TRACKS with them to JACK, HALLORAN, WATSON, WENDY &ULLMAN. SUSIE I found him outside looking for you. JACK (OFF) Danny, did you get tired (IN SHOT) of bombing the universe? DANNY Yeah. WENDY Danny, come on over here.DANNY walks L-R from SUSIE to WENDY. WENDY looks at SUSIE. WENDY Thanks. ULLMAN Thank you, Susie.SUSIE exits cam.L. ULLMAN turns to HALLORAN. 33. ULLMAN Dick, if you're ready to do it now, I think it would be a good idea if you could show Mrs. Torrance the kitchen, while I continue on with Jack. HALLORAN It will be a pleasure. Right this way Mrs. Torrance. WENDY Great. See you later, hon.HALLORAN walks away to b.g. WENDY & DANNY follow him. JACK Bye darling.ULLMAN, JACK & WATSON move out cam.L. DISSOLVE TO:INT. HOTEL - KITCHEN - DAY - M.S.WENDY holding DANNY's hand walks forward into kitchen withHALLORAN. CAMERA TRACKS BACK before them. HALLORAN Mrs. Torrance, your husband introduced you as Winifred. Now are you a Winnie or a Freddie? WENDY I'm a Wendy. HALLORAN Oh Wendy. That's nice. That's the prettiest. WENDY God. This is the kitchen, huh? HALLORAN Yeah, this is it. How do you like it, Danny? Is it big enough for you? DANNY Yeah, it's the biggest place I've ever seen.HALLORAN laughs. 34. WENDY Yeah. This whole place is such an enormous maze, I feel I'll have to leave a trail of breadcrumbs every time I come in.HALLORAN laughs. HALLORAN Don't let it get you down Mrs. Torrance - it's big but it still ain't nothing but a kitchen... a lot of the stuff you'll never have to touch. WENDY I wouldn't know what to do with it if I did. HALLORAN Well one thing for sure, you don't have to worry about food because you folks could eat up here a whole year and never have the same menu twice.HALLORAN points to cam.L and leans to cam.L taking hold ofdoor handle. HALLORAN Now right here is our walk-in freezer. CUT TO:INT. HOTEL - FREEZER - DAY - M.S.HALLORAN opens door and steps into freezer. WENDY & DANNYstand in doorway. HALLORAN points to various items. HALLORAN Now this is where we keep all of out meat. You got fifteen rib roasts - thirty ten pound bags of hamburgers. You got twelve- turkeys, two dozen pork roasts and twenty legs of lamb. (to Danny) Do you like lamb, Doc? DANNY No. 35. HALLORAN You don't? Well what's your favorite food then? DANNY French Fries and Ketchup.HALLORAN laughs. HALLORAN Well I think we can manage that too, Doc. Come along now. Watch your step.HALLORAN points to step by door. CUT TO:INT. HOTEL - KITCHEN - DAY - M.S.DANNY & WENDY, followed by HALLORAN, come out of Freezer. WENDY Mr. Halloran,HALLORAN closes the door and turns to WENDY. WENDY (CONT'D) how did you know we called him 'Doc'?HALLORAN, DANNY & WENDY walk forward - CAMERA TRACKS BACKwith them. HALLORAN Beg pardon? WENDY Doc. You called Danny 'Doc' twice just now. HALLORAN I did? WENDY Yeah. We call him Doc sometimes, you know, like in the Bugs Bunny cartoons. But how did you know that? HALLORAN Well I guess I probably heard you call him that. 36. WENDY Well, it's possible, but I honestly don't remember calling him that since we've been with you.They all stop walking. HALLORAN Well anyway, he looks like a Doc, doesn't he?HALLORAN bends down to DANNY. HALLORAN (clicks his tongue) Me ah - what's up, Doc?HALLORAN laughs and turns away to door cam.L. He opens door. HALLORAN Now this is the storeroom. CUT TO:INT. HOTEL - STOREROOM - DAY - M.S.HALLORAN moves forward into Storeroom, followed by DANNY &WENDY. Groceries stacked on shelves. HALLORAN In here, Mrs. Torrance, is where we keep all the dried goods and the canned goods. We got canned fruits and vegetables; canned fish and meats; hot and cold cereals.HALLORAN & WENDY move L-R - CAMERA TRACKS with them pastshelf in f.g. HALLORAN Post Toasties, Cornflakes, Sugar Puffs, Rice Krispies, Oatmeal, Wheatina and Cream of Wheat. CUT TO:M.S. DANNY standing by cardboard boxes. CAMERA TRACKS IN onhim. HALLORAN (OFF) We got a dozen jugs of black molasses, we got sixty boxes of dried milk, thirty twelve pound bags of sugar. CUT TO: 37.M.S. HALLORAN talks inaudibly to WENDY, back to camera.CAMERA TRACKS IN on HALLORAN. HALLORAN (thought transfer) How'd you like some ice cream, Doc? CUT TO:M.C.S. DANNY. HALLORAN (OFF) sociables, finger rolls and seven kinds of what-have-you. CUT TO:M.S. HALLORAN & WENDY move R-L to DANNY by open door.CAMERA TRACKS with them. HALLORAN Now we got dried peaches, dried apricots, dried raisins and dried prunes. CUT TO:INT. HOTEL KITCHEN - DAY - M.S.HALLORAN, followed by WENDY & DANNY move out of Storeroomcam.R.f.g. HALLORAN You know, Mrs. Torrance, you gotta keep regular, if you want to be happy.HALLORAN laughs as he closes Storeroom door. JACK, ULLMAN &WATSON walk forward from b.g. ULLMAN Hi. WENDY Hi. ULLMAN How're you getting on? HALLORAN & WENDY Just fine. 38. ULLMAN Dick, can we borrow Mrs. Torrance for a few minutes? We're on our way through to the basement - I promise we won't keep her very long. HALLORAN No problem, Mr. Ullman. I was just getting to the ice cream.HALLORAN leans down to DANNY. HALLORAN Do you like ice cream, Doc? DANNY Yeah.HALLORAN laughs. HALLORAN I thought you did.HALLORAN straightens up and looks at JACK. HALLORAN You folks don't mind if I give Danny some ice cream, while we're waiting for you? JACK Not at all. WENDY No, we don't mind. HALLORAN Good. WENDY Sound good to you, Danny? DANNY Yeah. WENDY Okay. You behave yourself.HALLORAN takes hold of DANNY's hand as ULLMAN, JACK, WENDY &WATSON move away to b.g. HALLORAN Now what kind of ice cream do you like Doc? 39. DANNY Chocolate. HALLORAN Chocolate it shall be. Come on son.HALLORAN & DANNY move out cam.L. DISSOLVE TO:INT. HOTEL - GREEN CORRIDOR - DAY - M.S.ULLMAN, JACK & WENDY - followed by WATSON - move forward.CAMERA TRACKS BACK before them. WENDY It's amazing how much activity is going on today. ULLMAN Yes, well the guests and some of the staff left yesterday, but the last day is always very hectic - everybody wants to be on their way as early as possible.They turn corner and walk away along corridor. ULLMAN By five o'clock tonight, you'll never know anybody was ever here. WENDY Just like a ghost ship, huh? ULLMAN Yes. DISSOLVE TO:INT. HOTEL - KITCHEN - DAY - M.C.S.HALLORAN looking down cam.R. HALLORAN Do you know how I knew your name was Doc? CUT TO:M.C.S. DANNY over HALLORAN - DANNY looking at HALLORAN. CUT TO: 40.M.C.S. HALLORAN HALLORAN You know what I'm talking about, don't you? CUT TO:M.C.S. DANNY over HALLORAN. DANNY looking at HALLORAN. CUT TO:M.C.S. HALLORAN HALLORAN I can remember when I was a little boy, my grandmother and I could hold conversations entirely without ever opening our mouths. She called it shining, CUT TO:M.C.S. DANNY HALLORAN (OFF)(CONT'D) and for a long time I thought it was just the two of us that had the shine to us. CUT TO:M.C.S. HALLORAN. HALLORAN Just like you probably thought you was the only one. But there are other folks, though mostly they don't know it, or don't believe it. CUT TO:M.C.S. DANNY CUT TO:M.C.S. HALLORAN HALLORAN How long have you been able to do it? CUT TO:M.S. HALLORAN & DANNY sitting at table. 41. HALLORAN Why don't you want to talk about it? CUT TO:M.C.S. DANNY DANNY I'm not supposed to. CUT TO:M.C.S. HALLORAN HALLORAN Who says you ain't supposed to? CUT TO:M.C.S. DANNY DANNY Tony. CUT TO:M.C.S. HALLORAN HALLORAN Who's Tony? CUT TO:M.C.S. DANNY DANNY Tony's the little boy who lives in my mouth. CUT TO:M.C.S. HALLORAN HALLORAN Is Tony the one that tells you things? CUT TO:M.C.S. DANNY 42. DANNY Yes. CUT TO:M.C.S. HALLORAN HALLORAN How does he tell you things? CUT TO:M.S. HALLORAN & DANNY sitting at table. DANNY It's like I go to sleep, and he shows me things but when I wake up, I can't remember everything. CUT TO:M.C.S. HALLORAN HALLORAN Does your Mum and Dad know about Tony? CUT TO:M.C.S. DANNY. DANNY Yes. CUT TO:M.C.S. HALLORAN HALLORAN Do they know he tell you things? CUT TO:M.C.S. HALLORAN HALLORAN Has Tony ever told you anything about this place? About the Overlook Hotel? CUT TO:M.C.S. DANNY over HALLORAN 43. DANNY I don't know. CUT TO:M.C.S. HALLORAN. HALLORAN Now think real hard, Doc. Think. CUT TO:M.C.S. DANNY over HALLORAN. DANNY Maybe he showed me something. CUT TO:M.C.S. HALLORAN. HALLORAN Try to think what it was. CUT TO:M.C.S. DANNY over HALLORAN. DANNY Mr. Halloran, are you scared of this place? CUT TO:M.S. Shooting across table onto HALLORAN & DANNY. HALLORAN No, I'm scared of nothing here. It's just that you know some places are like people, some shine and some don't. I guess you could say the Overlook Hotel here has something about it that's like shining. DANNY Is there something bad here? CUT TO:M.C.S. HALLORAN. 44. HALLORAN Well, you know Doc, when something happens it can leave a trace of itself behind... say like is someone burns toast. CUT TO:M.C.S. DANNY HALLORAN (OFF) Well, maybe things that happened... leave other kinds of traces behind. CUT TO:M.C.S. HALLORAN HALLORAN Not things that anyone can notice, but things that people who shine can see. Just like they can see things that haven't happened yet. Well, sometimes they can see things that happened a long time ago... I think a lot of things happened right here in this particular hotel - over the years, and not all of them was good. CUT TO:M.C.S. DANNY DANNY What about Room 237? CUT TO:M.C.S. HALLORAN HALLORAN Room 237? CUT TO:M.C.S. DANNY DANNY You're scared of Room 237, ain'tcha? CUT TO:M.C.S. HALLORAN 45. HALLORAN No I ain't. CUT TO:M.C.S. DANNY DANNY Mr. Halloran, what is in Room 237? CUT TO:M.C.S. HALLORAN HALLORAN Nothing. There ain't nothing in Room 237, but you ain't got no business going in there anyway, so stay out! You understand, stay out! CUT TO:M.C.S. DANNY. CUT TO:BLACK FRAMES.Superimposition over:A MONTH LATER CUT TO:EXT. OVERLOOK HOTEL - DAY - M.L.S.Hotel. Mountain in b.g. CUT TO:INT. OVERLOOK HOTEL - LOBBY - DAY - M.S.WENDY pushing trolley forward along corridor. CAMERA TRACKSBACK with her. She turns to cam.L and enters Lobby. CAMERATRACKS R-L with her across lobby. CUT TO:INT. HOTEL - KITCHEN & LOUNGE - DAY - M.S.DANNY sitting on tricycle. He pedals out of Kitchen intoLounge, across it and back into Kitchen. 46.CAMERA TRACKS FORWARD after him. CUT TO:INT. HOTEL - CORRIDOR TO TORRANCE'S APARTMENT - DAY - M.S.WENDY enters cam.L pushing trolley. She pushes it forwardalong corridor. CAMERA PANS L-R with her to door of theirApartment. CUT TO:INT. HOTEL - TORRANCE'S APARTMENT - DAY - M.C.S.JACK asleep in bed, reflected in mirror. CAMERA TRACKS BACK.WENDY enters cam.R carrying tray. She walks forward.CAMERA TRACKS BACK with her. She puts tray down on table. WENDY Good Morning, hon. Your breakfast is ready. JACK What time is it? WENDY It's about eleven thirty.CAMERA TRACKS FORWARD to JACK & WENDY reflected in mirror. JACK Eleven thirty - Jesus! WENDY I guess we've been staying up too late. JACK I know it.JACK sticks his tongue out. WENDY picks up plate and glassof orange juice. WENDY I made 'em just the way you like 'em, sunny side up. JACK Hmm, nice.WENDY walks forward to JACK and puts plate down cam.L. Shehands him glass of orange juice and he drinks it. 47. WENDY It's really pretty outside. How about taking me for a walk after you've finished your breakfast? JACK Oh I suppose I oughta try to do some writing first.He puts empty glass down cam.L and picks up plate of eggsand bacon. WENDY Any ideas yet? JACK Lots of ideas. No good ones.WENDY sits down cam.R. WENDY Well, something'll come. It's just a matter of settling back into the habit of writing every day. JACK Yeah... that's all it is.JACK starts to eat bacon. WENDY It's really nice up here, isn't it? JACK I love it. I really do. I've never been this happy, or comfortable anywhere. CUT TO:M.C.S. WENDY WENDY Yeah. It's amazing how fast you get used to such a big place. I tell you, when we first came up here, I thought it was kinda scarey.WENDY laughs. CUT TO:M.C.S. JACK over WENDY. 48. JACK I fell in love with it right away. When I came up here from my interview, it was as though I had been here before. We...we all have moments of deja vu, but this was ridiculous. It was almost as though I knew what was going to be around every corner. Ooohhhhh...WENDY laughs. DISSOLVE TO:INT. HOTEL - LOUNGE - DAY - M.S.Typewriter with sheet of paper in it. CAMERA TRACKS BACKand TILTS UP onto JACK throwing ball against wall. CUT TO:M.S. JACK back to camera throwing ball against wall. DISSOLVE TO:EXT. HOTEL - MAZE - DAY - M.L.S.WENDY running after DANNY from Hotel to Maze - CAMERA PANSL-R & TRACKS with them to entrance to Maze. WENDY The loser has to keep American clean, how's that? DANNY All right. WENDY And you're gonna lose. And I'm gonna get you - you betta run fast! Look out - I'm coming in close. All right?DANNY & WENDY run into Maze. CAMERA TRACKS L-R onto plan ofMaze on board. DANNY (OFF) You'll have to keep America clean. CUT TO: 49.INT. MAZE - DAY - M.S.DANNY & WENDY walking forward in Maze - CAMERA TRACKS BACKbefore them. WENDY Okay Danny, you win. Let's take the rest of this walking, huh? DANNY Okay...oh! WENDY Give me your hand. Oh, isn't it beautiful. DANNY Yeah. CUT TO:M.S. WENDY & DANNY backs to camera walking away throughMaze - CAMERA TRACKS FORWARD after them. WENDY Here's a dead end.WENDY & DANNY turn at dead end and walk away along Maze.CAMERA TRACKS after them. DISSOLVE TO:INT. HOTEL - LOBBY - DAY - M.L.S.JACK back to camera bounces ball on floor and catches it.Then he throws it away to b.g. He walks away to model ofMaze on table by window. CAMERA TRACKS FORWARD after him.He stops by model and leans on table. CUT TO:M.S. Shooting over model of Maze on table to JACK lookingdown at it. CUT TO:M.C.S. JACK looking down. CUT TO:EXT. MAZE - DAY - L.S.High Angle shooting down on Maze. WENDY & DANNY movethrough it. CAMERA TRACKS DOWN on Maze. 50. WENDY Oh what a Maze. Isn't it beautiful. DANNY Yeah. CUT TO:M.S. DANNY & WENDY walk forward through Maze - CAMERA TRACKSBACK before them. WENDY It's so pretty. DANNY Yeah. WENDY I didn't think it was going to be this big, did you? DANNY No. CUT TO:BLACK FRAMES.Superimposition over:TUESDAY. CUT TO:EXT. HOTEL - DUSK - M.L.S.Hotel. Mountain in b.g. DISSOLVE TO:INT. HOTEL - KITCHEN - DUSK - M.C.S.WENDY's hands taking lid of can. CAMERA TRACKS BACK totable with portable T.V. Set on it. The set is switched on. WOMAN ANNOUNCER (OFF) Rutherford was serving a life sentence for his conviction in the 1968 shooting and the search continues in the mountains near Uray today for that missing Aspen woman,WENDY carries tin to bowl on table. 51. WOMAN ANNOUNCER (CONT'D) twenty-four year old Susan Robertson has been missing ten days. She disappeared while on a hunting trip with her husband. They have good weather right now, but they may have to call off the search if the predicted snowstorm moves in tomorrow.Picture on T.V. Set changes to MAN & WOMAN. WOMAN ANNOUNCER But it's so beautiful here in Denver today, it's hard to believe a snowstorm could be that close. MAN ANNOUNCER I know. I want to go outside and lie in the sun. Yet to our north, to our west, it is snowing and cold, and it's movingSOUND OF CLICKS. MAN ANNOUNCER (CONT'D) right here towards Colorado, right now as we talk. It's incredible. WOMAN ANNOUNCER I know. CUT TO:INT. OVERLOOK HOTEL - CORRIDORS - M.S.DANNY back to camera on tricycle pedals away alongcorridors - CAMERA TRACKS after him. He looks at door cam.Land slows down, stopping. CUT TO:M.S. DANNY in f.g. Number 237 on door in b.g. CUT TO:M.C.S. DANNY looking at number. CUT TO:M.S. DANNY in f.g. Number 237 on door in b.g. CUT TO: 52.M.L.S. Corridor. DANNY in f.g. gets off tricycle, and movesR-L to door of room 237. He looks up at number - thenreaches out to door handle and turns it. Door doesn't open.He looks up at number. CUT TO:M.S. Two GRADY Girls holding hands. CUT TO:M.S. DANNY looking up at number on door. He moves L-R tohis tricycle. CAMERA PANS with him. He sits on tricycleand pedals fast away along corridor. CUT TO:INT. HOTEL - LOUNGE - NIGHT - M.L.S.Lounge. JACK sitting back to camera typing at table.CAMERA TRACKS FORWARD onto him. CUT TO:M.C.S. JACK typing. CUT TO:M.L.S. JACK back to camera typing at table in f.g. WENDYenters cam.R.b.g. and walks forward to JACK. WENDY Hi, hon. How's it going?WENDY stops cam.R of him. JACK pulls page from typewriter. JACK Fine.WENDY kisses him. WENDY Get a lot written today? CUT TO:M.S. JACK looking up cam.L at WENDY. JACK Yes. CUT TO:M.C.S. WENDY 53. WENDY Hey, the weather forecast said it's going to snow tonight. CUT TO:M.S. JACK looking up cam.L at WENDY. JACK What do you want me to do about it? CUT TO:M.C.S. WENDY WENDY Ah, come on hon. Don't be so grouchy. CUT TO:M.S. JACK looking up cam.L at WENDY. JACK I'm not being grouchy. I just want to finish my work. CUT TO:M.C.S. WENDY WENDY Okay. I understand. I'll come back later on with a couple of sandwiches for you and... maybe you'll let me read something then. CUT TO:M.C.S. JACK. JACK Wendy, (clears throat) let me explain something to you. Whenever you come in here and interrupt me, you're breaking my concentration.JACK hits his forehead with his hand. JACK (CONT'D) you're distracting me, 54.He picks up sheet of paper and tears it up. Then he throwsthe pieces down. JACK (CONT'D) and it will then take me time to get back to where I was, understand? CUT TO:M.C.S. WENDY. WENDY Yes. CUT TO:M.C.S. JACK JACK Fine. Now we're going to make a new rule. Whenever I am in here and you hear me typing,JACK taps typewriter keys. JACK (CONT'D) or whether you don't hear me typing, whatever the fuck you hear me doing in here, when I am in here that means that I am working - that means don't come in. Now do you think you can handle that? CUT TO:M.C.S. WENDY WENDY Yes. CUT TO:M.C.S. JACK JACK Fine. Why don't you start right now and get the fuck out of here, hmm? CUT TO:M.C.S. WENDY. 55. WENDY Okay. CUT TO:M.L.S. WENDY standing cam.R of JACK back to camera sittingat table. She turns and walks away to b.g. CAMERA TRACKSBACK. CUT TO:M.S. JACK starts to type. CUT TO:Black Frames.Superimposition over:THURSDAY. CUT TO:EXT. HOTEL - DAY - M.L.S.WENDY running R-L being chased by DANNY carrying snowballs.AD LIB SHOUTS & LAUGHTER. CAMERA TRACKS R-L with them pastHotel in b.g. WENDY I know you've got some. CUT TO:INT. HOTEL - LOUNGE - DAY - M.S.JACK at window watching WENDY & DANNY playing in the snow.CAMERA TRACKS IN to M.C.S. CUT TO:BLACK FRAMES.Superimposition over:SATURDAY CUT TO:EXT. HOTEL - DAY - M.L.S.HOTEL in b.g. Trees and snow in f.g. CUT TO: 56.INT. HOTEL - LOUNGE - DAY - M.L.S.High Angle JACK sitting at table in b.g. typing. CUT TO:INT. HOTEL - LOBBY & OFFICE - DAY - M.S.WENDY standing at switchboard with headset on her L.ear andputting plugs into switchboard. WENDY Oh no!WENDY puts socket into various plugs. WENDY I knew it!WENDY puts headset and plug down and turns away fromswitchboard. She walks R-L to door. CUT TO:M.L.S. WENDY walks out of switchboard - round counter andmoves forward R-L across Lobby. CAMERA TRACKS BACK beforeher. She moves R-L into Office. CAMERA PANS with her. Shestops at radio set and switches it on. She pulls microphonetowards her. WENDY (into mike) This is KDK 12 calling KDK 1. CUT TO:INT. RANGER'S OFFICE - M.L.S.RANGER seated at radio cam.L. MAN standing at filingcabinet cam.R. GIRL seated at desk cam.R. WENDY (OFF) (over radio) KDK 12 to KDK 1. RANGER (into mike) This is KDK 1. We're receiving you. Over. CUT TO: 57.INT. HOTEL - OFFICE - DAY - M.S.WENDY picks up microphone. WENDY (into mike) Hi. This is Wendy Torrance at the Overlook Hotel. CUT TO:INT. RANGER'S OFFICE - DAY - M.S.RANGER seated at radio speaking into mike. RANGER (into mike) Hi. How are you folks getting on up there? Over. CUT TO:INT. HOTEL - OFFICE - DAY - M.S.WENDY, holding mike, seated on cabinet with foot up on desk. WENDY (into mike) Oh we're just fine, but our telephones don't seem to be doing too well. Are the lines down by any chance? Over. CUT TO:INT. RANGER'S OFFICE - DAY - M.S.RANGER seated at radio, speaking into mike. RANGER (into mike) Yes. Quite a few of them are down, due to the storm. Over. WENDY (over radio) Any chance of them being repaired soon? Over. RANGER (into mike) Well, I wouldn't like to say. Most winters they stay that way until spring. Over. CUT TO: 58.INT. HOTEL - OFFICE - DAY - M.S.WENDY, holding mike, seated on cabinet with foot up on desk. WENDY (into mike) Boy, this storm is really something, isn't it? Over. CUT TO:INT. RANGER'S OFFICE - DAY - M.S.RANGER sitting at radio - speaking into mike. RANGER (into mike) Oh yes. It's one of the worst we've had for years. Is there anything else we can do for you, Mrs. Torrance? Over. CUT TO:INT. HOTEL - OFFICE - DAY - M.S.WENDY holding mike seated on cabinet with foot up on desk. WENDY (into mike) I suppose not. Over. CUT TO:INT. RANGER'S OFFICE - DAY - M.S.RANGER seated at radio - speaking into mike. RANGER (into mike) Well, if you folks have any problems up there just give us a call, and Mrs. Torrance. CUT TO:INT. HOTEL - OFFICE - DAY - M.S.WENDY holding mike - seated on cabinet with one foot up ondesk. 59. RANGER (over radio) I think it might be a good idea if you leave your radio on all the time now. Over. WENDY (into mike) Okay. We'll do that. It was real nice talking to you. Bye. Over and Out.WENDY puts down mike. CUT TO:INT. HOTEL - GREEN CORRIDOR - M.L.S.DANNY pedals away along corridor on his tricycle. CAMERATRACKS after him. He exits cam.R at the end of corridor.CAMERA TRACKS FORWARD along empty corridor. CUT TO:INT. HOTEL - CORRIDOR - M.S.DANNY pedals away along corridor. CAMERA TRACKS after him.He turns corner and stops as he sees the two GRADY Girls atthe end. CUT TO:M.C.S. DANNY. CUT TO:M.L.S. DANNY back to camera in f.g. The two GRADY Girls atend of corridor. GRADY GIRLS Hullo, Danny. CUT TO:M.C.S. DANNY GRADY GIRLS (OFF) Come and play with us. CUT TO:M.L.S. DANNY back to camera in f.g. The two GRADY Girls atend of corridor. 60. GRADY GIRLS Come and play with us, Danny. CUT TO:M.S. The two GRADY Girls laying on floor covered withbloodstains. Bloodstained axe on floor in f.g. Wallscovered with bloodstains. CUT TO:M.L.S. Two GRADY Girls, holding hands and standing at end ofcorridor. GRADY GIRLS For ever... CUT TO:M.S. The two GRADY Girls lying on floor, covered withbloodstains. Bloodstained axe on floor in f.g. Wallcovered with bloodstains. CUT TO:M.C.S. DANNY reacts. CUT TO:M.S. Two GRADY Girls holding hands and standing at end ofcorridor. GRADY GIRLS ... and ever... CUT TO:M.S. The two GRADY Girls lying on floor covered withbloodstains. Bloodstained axe on floor in f.g. Wallcovered with bloodstains. CUT TO:M.S. Two GRADY Girls holding hands standing at end ofcorridor. GRADY GIRLS ...and ever. CUT TO:M.S. Two GRADY Girls lying on floor covered with bloodstains.Bloodstained axe on floor in f.g. 61.Wall covered with bloodstains. CUT TO:M.C.S. DANNY reacts. He puts hands over his eyes. Then heopens his fingers and looks through them. CUT TO:M.S. DANNY's P.O.V. Empty corridor. CUT TO:M.C.S. DANNY looking through his open fingers. He lowershis hands from his face. CUT TO:M.L.S. DANNY back to camera in f.g. in empty corridor. CUT TO:M.C.S. DANNY. DANNY Tony, I'm scared.He raises up his R.hand and wiggles his forefinger as hespeaks. TONY Remember what Mr. Halloran said. It's just like pictures in a book, Danny. It isn't real. CUT TO:BLACK FRAMES.Superimposition over:MONDAY. CUT TO:INT. OVERLOOK HOTEL - LOBBY - DAY - M.S.Play on Television set, CAMERA TRACKS BACK from set toreveal WENDY, seated on sofa cam.L, watching set, DANNYseated on floor watching set also cam.R. DOROTHY (on T.V.) Please let me give you some money. 62. HERMIE (on T.V.) Oh I wouldn't think of it. DOROTHY (on T.V.) Well how can I repay you? HERMIE (on T.V.) It's okay, really. DOROTHY (on T.V.) Well I'm going to have some coffee. Would you like some? HERMIE (on T.V.) Sure. DOROTHY (on T.V.) Great. Sit down. Oh these marvellous doughnuts, help yourself. Coffee will be ready in a few minutes.Play on Television continues inaudibly in b.g. DANNY Mom? WENDY Yes? DANNY Can I go to my room and get my fire-engine? WENDY Not right now, Daddy's asleep. DANNY I won't make any noise. WENDY Come on, Doc. He only went to bed a few hours ago. Can't you wait till later? DANNY I won't make a sound, I promise. I'll tip-toe. 63. WENDY Well all right. But really don't make a sound. DANNY I won't, Mom.DANNY stands up and runs out cam.L. WENDY Make sure you come right back, 'cause I'm going to make lunch soon. Okay? DANNY (OFF) Okay, Mom. DISSOLVE TO:INT. HOTEL - JACK'S APARTMENT - DAY - M.C.S.Door opens and DANNY appears. He enters room - CAMERATRACKS BACK with him as he walks forward up steps. He looksto cam.R. CAMERA PANS L-R to JACK sitting on edge of bed.JACK looks towards camera. CUT TO:M.L.S. JACK seated on bed cam.R.f.g. DANNY standing at opendoor in b.g. DANNY Can I go to my room and get my fire-engine? JACK Come here for a minute, first.JACK holds out his hand to DANNY, who walks forward. CUT TO:M.S. JACK sitting on bed. DANNY enters cam.L.f.g. and stopscam.R of JACK. JACK sits DANNY on his knee and puts hisarms round him, kissing him. JACK How's it going, Doc? DANNY Okay. CUT TO: 64.M.S. JACK over DANNY seated on his knee. JACK Are you having a good time? DANNY Yes, Dad. JACK Good. I want you to have a good time. DANNY I am, Dad. Dad? JACK Yes. DANNY Do you feel bad?JACK shakes his head. JACK No. I'm just a little tired. DANNY Then why don't you go to sleep? JACK I can't. I have too much to do. DANNY Dad? JACK Yes? DANNY Do you like this hotel?JACK smiles and looks at DANNY. JACK Yes I do. I love it. Don't you? DANNY I guess so. JACK Good. I want you to like it here. I wish we could stay here for ever, and ever... ever. 65. DANNY Dad? JACK What? DANNY You wouldn't ever hurt Mummy and me, would you? JACK What do you mean? CUT TO:M.S. DANNY over JACK. JACK Did your mother ever say that to you - that I would hurt you? DANNY No, Dad. JACK Are you sure? DANNY Yes, Dad. CUT TO:M.S. JACK over DANNY. JACK I love you, Danny. I love you more than anything else in the whole world, and I'd never do anything to hurt you, never... You know that, don't you, huh? DANNY Yes, Dad. JACK Good. CUT TO:BLACK FRAMESSuperimposition over: 66.WEDNESDAY CUT TO:EXT. HOTEL - L.S.Shooting across snow to Hotel in b.g. Three lit windows. CUT TO:INT. HOTEL - CORRIDOR TO ROOM 237 - M.C.S.High Angle - DANNY playing on floor with toy cars and trucks.CAMERA TRACKS UP & BACK - yellow ball rolls in from f.g. andstops by one of DANNY's trucks. DANNY looks up. CUT TO:M.L.S. DANNY, back to camera, in f.g. looking away alongempty corridor. CUT TO:M.S. DANNY kneeling on the floor by his toys. He stands up. DANNY Mom? CUT TO:M.L.S. DANNY, back to camera, in f.g. Empty corridor in b.g. CUT TO:M.S. DANNY walks forward along corridor - CAMERA TRACKS BACKwith him. DANNY Mom? CUT TO:M.L.S. Empty corridor. CAMERA TRACKS FORWARD to open doorof Room 237. DANNY (OFF) Mom, are you in there?CAMERA TRACKS FORWARD into room. DISSOLVE TO: 67.INT. HOTEL - BOILER ROOM - M.S.WENDY, holding clipboard. She looks at dials on boiler -then moves R-L to second boiler. CAMERA PANS with her. Shelooks at dials - then moves R-L to switchboard and pressestwo switches. She reacts as she hears JACK off groaning inhis sleep. She puts down clipboard and moves L-R. CAMERAPANS with her. She starts to run away to entrance. CUT TO:INT. HOTEL - LOUNGE - M.S.JACK leaning forward in chair with head resting on table.He groans and cries out as he sleeps. CAMERA TRACKS IN onthem. CUT TO:INT. HOTEL - CORRIDOR TO LOUNGE - M.S.WENDY running away along corridor - CAMERA TRACKS after her. WENDY Jack...WENDY turns corner to entrance to Lounge. WENDY Jack... Jack...WENDY runs forward into Lounge and goes to JACK asleep attable. CAMERA TRACKS FORWARD. WENDY Jack, honey, what's wrong?She puts her hands on his arm and back. JACK stirs andfalls off chair onto floor. CUT TO:M.S. JACK groans as he lies on floor. WENDY enters cam.Rand takes hold of his arm, assisting up onto his knees. Hegroans and gasps. WENDY What happened, honey? Hon? What's wrong? Jack!She smoothes his hair with her hand. 68. JACK I had... I had the most terrible nightmare I ever had. It's the most horrible dream I ever had. WENDY It's okay. It's okay, now. Really. CUT TO:M.S. JACK & WENDY JACK I dreamed that I... that I killed you and Danny. CUT TO:M.S. JACK over WENDY. JACK But I didn't just kill you, I cut you up into little pieces.He puts his hand up to his eyes. JACK Oh... CUT TO:M.S. JACK handed up to his eyes - and WENDY. JACK My God, I must be losing my mind!He lowers his hand. WENDY Every...everything is just going to be all right. Come on. Here let's get up off the floor.WENDY puts hand under his arm and he starts to rise. CUT TO:INT. OVERLOOK HOTEL - LOUNGE - M.L.S.DANNY back to camera in f.g. walks into Lounge. In b.g.WENDY helps JACK up into his chair. INAUDIBLE DIALOGUE.WENDY turns to DANNY and throws up her arm. CAMERA TRACKSFORWARD with DANNY. 69. WENDY Danny! Everything's okay... Just go play in your room for a while. Your Dad's just got a headache. Danny - mind what I say. Go play in your room!WENDY bends down to JACK. WENDY Hon, let me just go and get him out of here. I'll be right back.WENDY moves R-L behind table and moves forward to DANNY inf.g. WENDY Danny, why don't you mind me - huh? Danny.She crouches down before DANNY and turns him cam.L to faceher, and the window. He is sucking his thumb. She seesmark on his neck and tilts his head over sideways. WENDY Oh my God! Danny what happened to your neck? Danny...She pulls DANNY's thumb out of his mouth. WENDY (CONT'D) what happened to your neck, huh?She puts her arms round him. CUT TO:M.L.S. JACK, back to camera, leaning back in chair in f.g.WENDY kneeling with her arms round DANNY in b.g. CUT TO:M.C.S. JACK sitting in chair with his hand up to his head. CUT TO:M.L.S. JACK back to camera leaning back in chair in f.g.WENDY kneeling with her arms round DANNY in b.g. She standsup and lifts DANNY up in her arms. CUT TO:M.S. WENDY holding DANNY in her arms. 70. WENDY You did this to him, didn't you? CUT TO:M.C.S. JACK. WENDY (OFF) You son of a bitch! You did this to him,He shakes his head. WENDY (OFF)(CONT'D) didn't you?He shakes his head. CUT TO:M.S. WENDY with DANNY in her arms moves backwards. WENDY How could you? How could you?She turns and runs away to entrance in b.g. CUT TO:M.C.S. JACK. He lowers his hand. DISSOLVE TO:INT. HOTEL BALLROOM CORRIDOR - M.L.S.JACK enters cam.L in b.g. and walks forward. CAMERA TRACKSBACK before him. He mutters and flings his arms about. Hestops and looks at notice on trestle - "THE GOLD ROOM." JACKmoves L-R into entrance of Ballroom. He reaches out cam.Land switches on lights - then moves away to lit bar in b.g. CUT TO:INT. HOTEL - BALLROOM - M.L.S.JACK walks L-R across Ballroom - CAMERA TRACKS & PANS withhim to bar. CUT TO:M.L.S. JACK leans over counter and looks down. 71. JACK (to himself) God, I'd give anything for a drink?JACK sits down and puts his hands up to his face. JACK My goddam soul, just a glass of beer. CUT TO:M.S. JACK with his hands up to his face. He lowers hishands and looks - he lowers hands to bar and smiles. JACK Hi Lloyd.JACK looks cam.R then back at camera. JACK A little slow tonight, isn't it?JACK laughs. CUT TO:M.S. LLOYD standing behind bar. LLOYD Yes, it is, Mr. Torrance.LLOYD moves forward - CAMERA TRACKS BACK revealing JACKseated at bar. LLOYD What'll it be? CUT TO:M.C.S. JACK JACK Now I'm awfully glad you asked me that, Lloyd, because I just happen to have two twenties and two tens right here in my wallet. I was afraid they were going to be there until next April. So here's what: you slip me a bottle of Bourbon, a glass and some ice. You can do that, can't you, Lloyd? You're not to busy, are you? CUT TO: 72.M.S. LLOYD LLOYD No, sir. I'm not busy at all.LLOYD turns away to bottles of shelf. JACK (OFF) Good man.LLOYD turns with bottle and glass to counter. JACK (OFF) You set them up, and I'll knock them back, Lloyd, one by one. CUT TO:M.S. JACK sitting at bar. LLOYD puts bottle and glass downon bar. LLOYD puts ice in glass and fills it from bottle. JACK White man's burden, Lloyd my man. White man's burden.JACK looks at his wallet then at LLOYD. JACK Say, Lloyd, it seems I'm temporarily light.JACK laughs. JACK How's my credit in this joint anyway? CUT TO:M.C.S. LLOYD LLOYD Your credit's fine, Mr. Torrance. CUT TO:M.C.S. JACK JACK That's swell. I like you, Lloyd. I always liked you. You were always the best of them. (MORE) 73. JACK (CONT'D) Best goddamned bartender from Timbuctoo to Portland Maine - Portland Oregon for that matter. CUT TO:M.C.S. LLOYD LLOYD Thank you for saying so. CUT TO:M.C.S. JACK looks at his glass. JACK Here's to five miserable months on the wagon and all the irreparable harm that it's caused me.He drinks and lowers his glass - then looks at LLOYD. CUT TO:M.S. JACK sitting at bar. LLOYD behind bar. LLOYD How are things going, Mr. Torrance? JACK Things could be better, Lloyd. Things could be a whole lot better. LLOYD I hope it's nothing serious.JACK taps on bar and LLOYD fills up his glass. JACK No, nothing serious. CUT TO:M.C.S. JACK JACK Just a little problem with the... old sperm bank upstairs.JACK laughs. 74. JACK Nothing that I can't handle though, Lloyd. Thanks. CUT TO:M.C.S. LLOYD LLOYD Women! Can't live with 'em. Can't live without 'em! CUT TO:M.S. JACK over LLOYD. He points finger at LLOYD. JACK Words of wisdom, Lloyd. Words of wisdom.JACK drinks - then swirls drink round in glass, puttingglass down on counter. JACK I haven't laid a hand on him. Goddam it, I didn't. I wouldn't touch one hair of his goddam little head. I love the little son-of-a- bitch.JACK laughs. JACK I'd do anything for him. Any fucking thing for him. CUT TO:M.C.S. LLOYD JACK (OFF) That damn bitch. CUT TO:M.C.S. JACK JACK As long as I live she'll never let me forget what happened!He looks cam.L then cam.R -- throwing his hands out andsighing. 75. JACK I did hurt him once, okay? It was an accident, complete unintentional. It could have happened to anybody.He raps on counter with hand. JACK And it was three goddam years ago. The little fucker had thrown all my papers all over the floor. All I tried to do was to pull him up. A momentary loss of muscular coordination. I mean... A few extra foot pounds of energy, per second... per second.JACK gestures with his hands. WENDY (OFF) Jack... CUT TO:INT. HOTEL - BALLROOM CORRIDOR - M.L.S.WENDY, sobbing, runs forward along corridor. CAMERA TRACKSBACK with her and PANS L-R into Ballroom. She runs away toJACK sitting at bat in b.g. WENDY Oh Jack! (sobs) Thank God you're here. CUT TO:INT. HOTEL BALLROOM - M.S.JACK sitting back to camera at bar. WENDY enters cam.R. WENDY (OFF) Jack, (IN SHOT) Jack, there's someone else in the hotel with us. There's a crazy woman in one of the rooms. She tried to strangle Danny. CUT TO:M.C.S. JACK 76. JACK Are you out of your fucking mind? CUT TO:M.S. WENDY over JACK. WENDY No. It's the truth, really. I swear it. Danny told me. He went up into one of the bedrooms, the door was open, and he saw this crazy woman in the bath-tub. She tried to strangle him. CUT TO:M.C.S. JACK. JACK Which room was it? CUT TO:INT. MIAMI APARTMENT - M.C.S.Montage of shots on T.V. Set for program "NEWSWATCH." DISC JOCKEY (OFF) (on T.V.) From Channel 10 in Miami, this is Newswatch - with Glen Rinker and Bishop, and the award winning Newswatch team.CAMERA TRACKS BACK to reveal T.V. Set. HALLORAN's bare feetand legs on bed in f.g. Shot of GLEN RINKER on T.V. Setwith superimposed title:'10 GLEN RINKER WPLG MIAMI' GLEN RINKER (on T.V.) Good evening. I'm Glen Rinker Newswatch 10. While Miami continues to swelter in a record winter heatwave bringing temperatures to the mid and upper nineties, the Central and Rocky Mountain States are buried in snow. (MORE) 77. GLEN RINKER (CONT'D) In Colorado ten inches of snow has fallen in just a few hours tonight. Travel in the Rockies is almost impossible. CUT TO:M.C.S. HALLORAN - CAMERA TRACKS BACK to reveal him lying onbed, watching T.V. GLEN RINKER (OFF) (on T.V.) Airports are shut down stranding thousands of passengers. Highways are blocked by snowdrifts. Railroad tracks are frozen. Officials in Colorado tell Newswatch at least three people have been killed by exposure to freezing winds. The Governor of Colorado is expected tomorrow to declare a weather emergency. The National Guard might be called out to clear streets and roads. Weather forecasters predict more snow and heavy winds tonight and tomorrow, with temperatures dropping well below zero. CUT TO:M.S. HALLORAN's feet and legs on beg in f.g. GLEN RINKER onT.V. Set at foot of bed. GLEN RINKER (on T.V.) Back here in South Florida, we've got just the opposite problem; the heat and humidity are supposed to climb. CUT TO:M.S. HALLORAN lying on pillows. CAMERA TRACKS IN to C.S.his face, as he reacts. GLEN RINKER (OFF) (on T.V.) Local beaches should be jammed. Our weather expert Walter Cronice will have the local forecast later on. 78.COMMENTATOR continues inaudibly in b.g. CUT TO:INT. OVERLOOK HOTEL - CORRIDOR - M.S.Open door of Room 237. CUT TO:INT. HOTEL - DANNY'S BEDROOM - M.C.S.DANNY, his head shaking. CUT TO:INT. HOTEL - ROOM 237 - M.S.Mantlepiece and fireplace. CAMERA PANS R-L across room toopen door. Then TRACKS FORWARD through doorway to slightlyopen door of bathroom. CAMERA STOPS TRACKING. Door swingsopen to reveal YOUNG LADY seated in bath behind curtain. CUT TO:M.C.S. JACK CUT TO:M.S. YOUNG LADY seated in bath behind curtain. She drawscurtain aside with hand. CUT TO:M.C.S. JACK - he smiles. CUT TO:M.S. YOUNG LADY stands up in bath. CUT TO:M.C.S. JACK CUT TO:M.S. YOUNG LADY steps out of bath. CUT TO:M.C.S. JACK - he smiles. CUT TO: 79.M.S. YOUNG LADY walks forward from bath and stops in f.g. CUT TO:M.C.S. JACK - he moves forward. CUT TO:M.S. JACK moves forward to YOUNG LADY - she puts her armsround his neck. He puts his arms round her and they kiss. CUT TO:M.C.S. JACK over YOUNG LADY as they kiss. He opens his eyesand reacts. He pulls back from YOUNG LADY - CAMERA PANS L-Ronto mirror. JACK & WOMAN reflected in it. He sees thatshe is covered with scars. He takes his arms away fromher - she starts to laugh. CUT TO:INT. HOTEL - DANNY'S BEDROOM - M.C.S.DANNY - he is shaking his head. WOMAN LAUGHING OFF. CUT TO:INT. HOTEL - ROOM 237 - BATHROOM - M.S.ELDERLY WOMAN lying in water in bath. WOMAN LAUGHING OFF. CUT TO:M.S. JACK shaking his head as he backs out of bathroom. CUT TO:M.S. Naked ELDERLY WOMAN laughing as she walks forward withoutstretched arms. CUT TO:INT. HOTEL - DANNY'S BEDROOM - M.C.S.DANNY shaking his head. WOMAN LAUGHING OFF. CUT TO:INT. HOTEL - ROOM 237 - M.S.Naked ELDERLY WOMAN lying in water in bath. WOMAN LAUGHINGOFF. CUT TO: 80.M.S. JACK backs down steps into living room - WOMAN LAUGHINGOFF. CUT TO:M.S. Naked ELDERLY WOMAN laughing, as she walks forward withoutstretched arms. CUT TO:INT. HOTEL - DANNY'S BEDROOM - C.S.DANNY shaking his head. WOMAN LAUGHING OFF. CUT TO:INT. HOTEL - ROOM 237 - M.S.Naked ELDERLY WOMAN lying in water in bath. She starts tosit up. WOMAN LAUGHING OFF. CUT TO:INT. HOTEL - CORRIDOR - M.S.JACK backs out of Room 237 into corridor. He closes thedoor and locks it - then backs away along corridor. Heexits cam.L. WOMAN LAUGHING OFF. DISSOLVE TO:INT. MIAMI APARTMENT - NIGHT - M.S.HALLORAN telephone up to ear. He dials number, then picksup phone and walks R-L to window. He turns and walks backL-R. He puts phone down. OPERATOR (over phone) We are sorry your call cannot be completed as dialed. If you need assistance, please call the operator.He puts telephone down. CUT TO:INT. HOTEL - JACK'S APARTMENT - M.S.WENDY moves R-L in b.g. sobbing. KNOCK ON DOOR OFF. Shereacts and runs forward. WENDY Jack? 81. JACK (OFF) Yes, it's me.She moves R-L. CAMERA PANS with her down steps to frontdoor. CAMERA TRACKS FORWARD after her. WENDY Oh, thank God!WENDY takes chain off door and opens it. JACK entersapartment. WENDY Did you find anything? JACK No, nothing at all.JACK closes front door. JACK I didn't see one goddam thing.JACK & WENDY walks forward and move up steps to DANNY'sbedroom. CAMERA TRACKS BACK before them. WENDY You went into the room Danny said - to 237? JACK Yes, I did. WENDY And you didn't see anything at all? JACK Absolutely nothing. How is he?JACK moves R-L and looks into darkened bedroom. WENDY He's still asleep. JACK Good.JACK closes bedroom door and turns to WENDY. JACK I'm sure he'll be himself again in the morning. 82.They move L-R into Living Room. CAMERA PANS with them andTRACKS after them across room. WENDY Well, are you sure it was the right room? I mean, maybe Danny made a mistake?WENDY & JACK move into their bedroom. JACK He must have gone into that room - the door was open and the lights were on.WENDY sits on bed. WENDY Oh, I just don't understand.JACK sits down on bed beside her. CUT TO:M.C.S. WENDY sobbing. WENDY Well what about those bruises on his neck? CUT TO:M.C.S. JACK over WENDY. WENDY Somebody did that to him. JACK I think he did it to himself. CUT TO:M.C.S. WENDY shakes her head. WENDY No! No, that's not possible. CUT TO:M.C.S. JACK over WENDY. 83. JACK Wendy, once you rule out his version of what happened, there is no other explanation - is there? It wouldn't be that different from the episode that he had before we came up here, would it? CUT TO:INT. OVERLOOK HOTEL - DANNY'S BEDROOM - M.S.DANNY lying awake on his bed. CAMERA TRACKS IN on him. WENDY (OFF) Jack, whatever the explanation is, CUT TO:M.S. Low Angle Door with word "MURDER" written backwardsacross it. CUT TO:M.C.S. DANNY lying awake on his bed. CAMERA TRACKS IN on him. WENDY (OFF) I think we have to get Danny out of here. CUT TO:INT. JACK'S APARTMENT - BEDROOM - M.C.S.JACK over WENDY. JACK Get him out of here? WENDY Yes. JACK You mean just leave the hotel? WENDY Yes. CUT TO: 84.INT. DANNY'S BEDROOM - M.C.S.DANNY with his mouth wide open. CUT TO:INT. HOTEL - LOBBY - M.S.Blood gushing forward from lifts and surging up into cameralens. CUT TO:INT. HOTEL - JACK'S APARTMENT - M.C.S.JACK over WENDY. JACK It is so fucking typical of you to create a problem like this when I finally have a chance to accomplish something. When I'm really into my work. I could really write my own ticket if I went back to Boulder now, couldn't I? CUT TO:M.S. WENDY & JACK sitting on bed - JACK stands up and turnsto her. JACK Shovellings out driveways, work in a car wash - any of that appeal to you? WENDY Jack... JACK Wendy, I have let you fuck up my life so far, but I'm not going to let you fuck this up!He starts to move away. CUT TO:M.L.S. JACK walks forward from WENDY, sitting on bed. Hecrosses living room and CAMERA PANS R-L with him to stepsleading to front door. He walks away down steps, opensfront door and walks away along corridor. CUT TO: 85.M.S. WENDY sitting on bed, starts to cry. She leans forwardand buries her face in her hands. CUT TO:INT. HOTEL - KITCHEN - M.L.S.JACK moves forward in kitchen. He sweeps coffee pot offtable onto floor. CAMERA TRACKS BACK before him. He kickscoffee pots on floor, then sweeps rings off stove onto floor.He kicks rings as he leaves kitchen, moving into corridor.CAMERA TRACKS BACK before him. He stops and looks ahead. CUT TO:INT. HOTEL CORRIDOR LEADING TO BALLROOM - M.L.S.Empty corridor. Balloons and streamers strewn about.CAMERA TRACKS FORWARD. CUT TO:INT. MIAMI - HALLORAN'S APARTMENT - NIGHT - M.S.HALLORAN standing, phone up to ear. RANGER (over phone) Good evening. Forest Service. HALLORAN (into phone) Hallo. My name's Dick Halloran. I'm the Head Chef up at the Overlook Hotel. RANGER (over phone) Good evening, Mr. Halloran. What can I do for you? HALLORAN (into phone) Sir, I've been trying to make an urgent phone call up there,He picks up phone and walks R-L to window. CAMERA PANS withhim. HALLORAN (CONT'D) (into phone) but the operator said that the phone lines are down. CUT TO: 86.INT. RANGER'S OFFICE - M.S.RANGER sitting at radio with phone to ear. RANGER (into phone) Yes, I'm afraid a lot of lines around here are down, due to the storm. CUT TO:INT. MIAMI - HALLORAN'S APARTMENT - M.S.HALLORAN, phone to ear, at window. HALLORAN (into phone) Well, look sir, I hate to put you to any trouble, but there's a family up there all by themselves with a young kid, and with this storm and everything.HALLORAN moves L-R. CAMERA TRACKS with him. He puts phoneon table. HALLORAN (into phone) I'd sure appreciate it if you'd give them a call on your radio just to see if everything is okay. CUT TO:INT. RANGER'S OFFICE - M.S.RANGER sitting at radio, phone to ear. RANGER (into phone) I'd be glad to do that, sir. Oh why don't you call me back in about eh twenty minutes? HALLORAN (over phone) Thank you very much. I'll do that. RANGER (into phone) All right, sir. 87.RANGER puts phone down. CUT TO:INT. HOTEL CORRIDOR & BALLROOM - M.L.S.JACK walks forward along corridor to Ballroom. He turns L-Rinto Ballroom - CAMERA TRACKS with him revealing crowdedBallroom. MAITRE D standing at entrance. MAITRE D Good evening, Mr. Torrance. JACK Good evening.JACK moves L-R across crowded Ballroom - CAMERA TRACKS withhim to LLOYD serving behind bar. JACK sits at bar. LLOYDmoves to him. JACK Hi Lloyd. I've been away. Now I'm back. LLOYD Good evening Mr. Torrance.LLOYD puts dishes of olives and peanuts on bar before JACK. CUT TO:M.S. JACK over LLOYD. LLOYD It's good to see you. JACK It's good to be back, Lloyd. CUT TO:M.C.S. LLOYD LLOYD What'll it be, sir? CUT TO:M.S. JACK over LLOYD JACK Hair of the dog that big me. CUT TO: 88.M.C.S. LLOYD LLOYD Bourbon on the rocks. CUT TO:M.S. JACK over LLOYD JACK That'll do her.JACK takes handful of peanuts and empties them into hismouth. LLOYD puts ice into glass. CUT TO:M.C.S. LLOYD preparing drink. CUT TO:M.S. JACK over LLOYD. LLOYD pouring drink. JACK takes outhis wallet, takes out note and holds it out to LLOYD. LLOYDholds up his hand. LLOYD No charge to you, Mr. Torrance.JACK looks down at note and up to LLOYD. JACK No charge? CUT TO:M.C.S. LLOYD LLOYD Your money's no good here. CUT TO:M.S. JACK over LLOYD. JACK looks down at his note then upat LLOYD. CUT TO:M.C.S. LLOYD LLOYD Orders from the house. CUT TO: 89.M.S. JACK over LLOYD. JACK puts note back into his wallet. JACK Orders from the house.He puts wallet away. CUT TO:M.L.S. LLOYD LLOYD Drink up, Mr. Torrance. CUT TO:M.S. JACK over LLOYD. JACK tucking wallet into his hippocket. JACK I'm the kind of man likes to know who's buying their drinks, Lloyd. CUT TO:M.C.S. LLOYD LLOYD It's not a matter that concerns you, Mr. Torrance - at least not at this point. CUT TO:M.S. JACK over LLOYD. JACK smiles and picks up his drinks. JACK Anything you say, Lloyd. Anything you say.JACK turns away from bar. CUT TO:M.L.S. JACK moves away from bar. He dances forward tocenter of room - CAMERA TRACKS after him. WOMAN enterscam.R.f.g. and walks away. WAITER (GRADY), carrying tray ofdrinks, walks forward from b.g. He bumps into WOMAN. GRADY Oh!GRADY staggers forward, colliding with JACK and spillingdrinks down front of JACK's jacket. 90. GRADY Oh dear, oh dear. I'm so sorry, sir. Oh!He puts down tray and takes advocaat glass from JACK. GRADY Oh dear oh dear... I've made an awful mess of your jacket, sir.GRADY puts glass on tray. JACK Oh eh that's all right. I've got plenty of jackets.GRADY mops JACK's jacket with his serviette. GRADY I'm afraid it's advocaat sir. It tends to stain. JACK Advocaat is it? GRADY Yes sir. Look um... I think the best thing is to come along to the gentlemen's room, sir, and eh...GRADY bends down and picks up his tray. GRADY we'll get some water to it, sir.JACK & GRADY start to walk away to the Gentlemen's. CAMERATRACKS after them. JACK Looks as though you might have got a spot of it on yourself there, Jeevesy old boy.JACK pats GRADY on his back. GRADY That doesn't matter, sir. You're the important one. JACK Awfully nice of you to say. Of course I intend to change my jacket this evening before the fish and goose soiree. 91.JACK & GRADY enter Gentlemen's Toilet. GRADY Very wise, sir. Very wise.JACK exits cam.R behind door. JACK (OFF) Here, I'll just, eh... CUT TO:INT. MEN'S TOILET - M.L.S.Men's toilet. JACK moves in from cam.L.b.g. He holds dooropen. JACK hold this for you there, Jeevesy.GRADY enters cam.L. GRADY Thank you, sir. Thank you.GRADY walks forward and puts his tray down on basins cam.R.JACK walks forward. GRADY Now let's see if we can improve this with a little water, sir.GRADY soaks his serviette under tap. JACK puts glass downcam.L and turns to GRADY cam.R. JACK Right, I'll just set my bourbon and advocaat down right there.JACK laughs. GRADY starts to sponge JACK with serviette. GRADY Won't keep you a moment, sir. JACK Fine.GRADY sponges JACK. JACK What do they call you around here, Jeevesy? 92. GRADY Grady, sir. Delbert Grady. CUT TO:M.S. JACK over GRADY. GRADY sponging JACK's jacket. JACK Grady? GRADY Yes, sir. JACK Delbert Grady. GRADY That's right, sir.GRADY sponges JACK's trousers. JACK Eh, Mr. Grady...JACK clears his throat. JACK (CONT'D) haven't I seen you somewhere before? GRADY Why no, sir. I don't believe so.GRADY turns cam.L to basins to rinse serviette under tap.He turns back to JACK and sponges his jacket. GRADY Ah ha, it's coming off now, sir. JACK Eh... Mr. Grady... weren't you once the caretaker here? GRADY Why no, sir. I don't believe so.GRADY sponges JACK's trousers. JACK You er a married man, are you, Mr. Grady?GRADY sponges JACK's jacket sleeve. 93. GRADY Yes, sir. I have a wife and eh two daughters, sir. JACK And, er... where are they now? GRADY Oh, they're somewhere around. I'm not quite sure at the moment, sir.JACK takes serviette away from GRADY and wipes his hand withit. JACK Mr. Grady, you were the caretaker here. I recognize you. I saw your picture in the newspapers. You eh... chopped your wife and daughters up into little bits, and eh... and you blew your brains out.JACK throws serviette into basin cam.L. CUT TO:M.L.S. GRADY over JACK. GRADY That's strange, sir. I don't have any recollection of that at all. Mr. Grady, you were the caretaker here. CUT TO:M.S. JACK over GRADY. GRADY I'm sorry to differ with you, sir, but you are the caretaker. You have always been the caretaker, I should know, sir. I've always been here. CUT TO:M.C.S. JACK laughs. CUT TO:M.C.S. GRADY 94. GRADY Did you know, Mr. Torrance, that your son... is attempting to bring an outside party into this situation? Did you know that? CUT TO:M.C.S. JACK. He shakes his head. JACK No. CUT TO:M.C.S. GRADY GRADY He is, Mr. Torrance. CUT TO:M.C.S. JACK JACK Who? CUT TO:M.C.S. GRADY GRADY A nigger. CUT TO:M.C.S. JACK JACK A nigger! CUT TO:M.C.S. GRADY GRADY A nigger cook. CUT TO:INT. MEN'S LAVATORY - M.C.S.JACK 95. JACK How? CUT TO:M.C.S. GRADY GRADY Your son has a very great talent. I don't think you are aware how great it is, but he is attempting to use that very talent against your will. CUT TO:M.C.S. JACK JACK Well, he is a very willful boy.JACK smiles. CUT TO:M.C.S. GRADY. GRADY Indeed, he is, Mr. Torrance. A very willful boy. A rather naughty boy, if I may be so bold, sir. CUT TO:M.C.S. JACK. He looks about. JACK It's his mother.JACK looks about. JACK She eh... interferes. CUT TO:M.C.S. GRADY. GRADY Perhaps they need a good talking to, if you don't mind my saying so. Perhaps a bit more. CUT TO: 96.M.C.S. JACK. GRADY (OFF) My girls, sir, they didn't care for the Overlook at first. One of them actually stole a packet of matches CUT TO:M.C.S. GRADY GRADY (CONT'D) and tried to burn it down. But I corrected them, sir. And when my wife tried to prevent me from doing my duty I corrected her. CUT TO:M.C.S. JACK smiles. CUT TO:M.C.S. GRADY. CUT TO:INT. HOTEL - JACK'S APARTMENT - M.S.WENDY, crying and holding cigarette, walks R-L from LivingRoom into Bedroom. CAMERA PANS with her. WENDY (to herself) We have the Snowcat. If the weather breaks, we might just be able to get down the mountain in that.WENDY turns and walks L-R back into LIVING ROOM - CAMERATRACKS IN and PANS with her. WENDY (to herself) I could call the Forest Rangers first and then tell them that we're coming so that they could start searching for us, in case we didn't make it.WENDY turns and walks R-L into Bedroom - CAMERA PANS with her. 97. WENDY (to herself) If Jack won't come with us, we'll just have to tell him that we are going by ourselves. That's all there is to it. DANNY (OFF) Red Rum. Red Rum.WENDY reacts and turns to cam.R. She runs away to DANNY'sbedroom door in b.g. DANNY (OFF) Red Rum. Red Rum. CUT TO:INT. DANNY'S BEDROOM - M.S.WENDY opens door and stands in doorway. WENDY Danny? DANNY (OFF) Red Rum. Red Rum. Red Rum.WENDY moves R-L from door. CAMERA PANS with her and TRACKSBACK to reveal DANNY sitting up in bed. WENDY sits besidehim. DANNY Red Rum. WENDY Danny... what's the matter, hon? DANNY Red Rum. WENDY Are you having a bad dream? CUT TO:M.C.S. DANNY over WENDY WENDY Danny? Hon? 98. TONY Danny's not here, Mrs. Torrance. CUT TO:M.C.S. WENDY over DANNY WENDY Come on, hon, wake up. You just had a bad dream. Everything's okay. CUT TO:M.C.S. DANNY over WENDY. TONY Danny can't wake up, Mrs. Torrance. CUT TO:M.C.S. WENDY over DANNY. WENDY Danny, wake up! Come on, right now, CUT TO:M.C.S. DANNY over WENDY. WENDY Wake up. TONY Danny's gone away, Mrs. Torrance. CUT TO:M.C.S. WENDY over DANNY. WENDY Danny...She leans forward and puts her arm round him. She strokeshis hair. DISSOLVE TO:INT. HOTEL LOBBY - M.L.S.JACK walking L-R past reception desk. CAMERA TRACKS withhim to office. He goes in and switches on lights. 99. RANGER (over radio) This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. Are you receiving me? This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. Do you read me? CUT TO:INT. HOTEL - OFFICE - M.L.S.JACK walks from office into inner office. CAMERA TRACKSafter him. He stops by radio set. RANGER (over radio) This is KDK 1 calling KDK 12. KDK 1 calling KDK 12. Are you receiving me? CUT TO:M.S. JACK looking down at radio set. He tries to take thecover off. RANGER (over radio) KDK 1 calling KDK 12. KDK 1 calling KDK 12. Do you read me?JACK unscrews back of set and lifts cover off radio. Hedrops it on floor. RANGER (over radio) This is KDK 1 calling KDK 12. KDK 1 calling KDK 12.He reaches out to the set with his hand. CUT TO:M.C.S. JACK's hand touches component in set. He pulls it out. RANGER (over radio) Are you recei...He pulls two more components out of set. He rattles them inhis hand, then moves out cam.L. DISSOLVE TO: 100.INT. MIAMI - HALLORAN'S APARTMENT - NIGHT - M.S.HALLORAN, phone to ear, walks R-L towards window. CAMERAPANS with him. RANGER (over phone) Good evening. Forest Service. HALLORAN (into phone) Hallo, this is Dick Halloran again. I called a while ago about the folks at the Overlook Hotel. CUT TO:INT. RANGER'S OFFICE - NIGHT - M.S.RANGER sitting at radio, phone to ear. RANGER (into phone) Oh yeah. We tried to contract them several times by radio, but they didn't answer.MAN enters from cam.R.f.g. and walks away to b.g. RANGER (into phone) Now, maybe they've got their radio turned off or they're in a place where they can't hear it. If you like me to, I'd be glad to try them again later on. CUT TO:INT. MIAMI - HALLORAN'S APARTMENT - NIGHT - M.S.HALLORAN, phone to ear. HALLORAN (into phone) Oh, that's very nice of you. I'll call you back later. Bye.He walks L-R. CAMERA TRACKS & PANS with him. He puts phonedown on receiver, and puts his hand up to his head. CUT TO:BLACK FRAMES. 101.Superimposition:8 a.m. CUT TO:EXT. SKY - DAY - L.S.D.C.10 in flight. CUT TO:INT. D.C.10 - M.C.S.HALLORAN sitting in seat. CAMERA TRACKS BACK to revealother passengers in their seats. HALLORAN turns in his seatand looks cam.L. STEWARDESS enters from cam.L and stopsbeside HALLORAN. HALLORAN Pardon me, miss. What time will we get to Denver? STEWARDESS We're due to arrive at 8:20, sir. HALLORAN Thank you very much.STEWARDESS walks out cam.R. HALLORAN looks at his wristwatch. DISSOLVE TO:INT. HOTEL - LOUNGE - L.S.Shooting through entrance onto JACK seated, back to camera,typing at table in b.g. CAMERA TRACKS FORWARD onto JACK. DISSOLVE TO:EXT. AIRPORT - DAY - L.S.D.C.10 moves away along flare path, as it lands. DISSOLVE TO:EXT. DURKIN'S GARAGE - M.L.S.DURKIN at car by petrol pump. He moves away R-L to office. CUT TO: 102.INT. DURKIN'S GARAGE - M.S.MAN standing cam.L. MAN sitting reading magazine. DURKINenters. He stamps snow off his feet and moves L-R. CAMERAPANS with him behind counter. He picks up ringing phone. DURKIN (into phone) Durkin's garage. HALLORAN (over phone) Hello, can I speak to Larry? DURKIN (into phone) Speaking. CUT TO:INT. AIRPORT - M.S.HALLORAN at telephone booth, phone to ear. HALLORAN (into phone) Hello Larry. This is Dick, Dick Halloran. CUT TO:INT. DURKIN'S GARAGE - M.S.DURKIN, phone to ear, behind counter. DURKIN (into phone) Dick, how are you doing? How's the weather down there? CUT TO:INT. AIRPORT - M.S.HALLORAN, phone to ear. HALLORAN (into phone) I'm not in Florida, Larry. I'm calling from Stapleton Airport. CUT TO: 103.INT. DURKIN'S GARAGE - M.S.DURKIN, phone to ear, leaning on counter. DURKIN (into phone) What the hell are you doing down there? CUT TO:INT. AIRPORT - M.S.HALLORAN, phone to ear. HALLORAN (into phone) Well, I just got in from Miami, and I've got to get up to the Overlook today. What's the weather like up there? CUT TO:INT. DURKIN'S GARAGE - M.S.DURKIN, phone to ear. DURKIN (into phone) Well, the snow ploughs are keeping things moving in town, but the mountain roads are completely blocked. CUT TO:INT. AIRPORT - M.S.HALLORAN, phone to ear. HALLORAN (into phone) That means I'm going to need a snowcat to get up there, Larry. Can you fix me up with one? CUT TO:INT. DURKIN'S GARAGE - M.S.DURKIN, phone to ear. 104. DURKIN (into phone) What's the big deal about getting up there today, especially in this kind of weather? CUT TO:INT. AIRPORT - M.S.HALLORAN, phone to ear. HALLORAN (into phone) Larry, just between you and me, we've got a very serious problem with the people who are taking care of the place. They've turned out to be completely unreliable assholes. Ullman phoned me last night, and I'm supposed to go up there and find out if they have to be replaced. CUT TO:INT. DURKIN'S GARAGE - M.S.DURKIN, phone to ear, looks at his watch. DURKIN (into phone) How long is it going to take you to get up here? CUT TO:INT. AIRPORT - M.S.HALLORAN phone to ear. HALLORAN (into phone) Oh about five hours. I'm gonna rent a car here at the airport. CUT TO:INT. DURKIN'S GARAGE - M.S.DURKIN, phone to ear. 105. DURKIN (into phone) Okay, Dick - I'll take care of it. CUT TO:INT. AIRPORT - M.S.HALLORAN phone to ear. HALLORAN (into phone) Oh thanks a lot, Larry. I really appreciate that. CUT TO:INT. DURKIN'S GARAGE - M.S.DURKIN phone to ear. DURKIN (into phone) That's all right. Drive carefully.He puts phone down. DISSOLVE TO:EXT. ROAD - NIGHT - M.L.S.HALLORAN's car moving forward along snow covered road.CAMERA TRACKS BACK with it. VOICE OVER RADIO Well, good morning to you, Hal and Charlie on Radio 63, KHOW Denver DISSOLVE TO:INT. HALLORAN'S CAR - NIGHT - M.C.S.HALLORAN sitting behind wheel as he drives along road L-R. VOICE OVER RADIO (CONT'D) and, Charlie, we have what you call your bad day out there. What you call your heavy snow, snowing hard throughout the eh Denver metro area. Many of the mountain passes - Wolf Creek, and Red Mountain passes are already closed... DISSOLVE TO: 106.M.S. Shooting from behind HALLORAN through windscreen as hedrives along road, passing overturned truck cam.L. VOICE OVER RADIO (CONT'D) and the chain law is in effect right now at the Eisenhower Tunnel. I guess as we've just heard from the news forecast, Charlie, a few of the flights are still landing out at Stapleton International Airport, and, with these early storms like this, I guess the entire airport will probably be closed within the hour. Yeah, they're just not prepared. The storm will continue throughout the day, and the national weather service... has declared a stopmans and travelers advisory... for all areas outlying the Denver metro region - get the cows in the barn. There you go. Many businesses... CUT TO:INT. OVERLOOK HOTEL - JACK'S APARTMENT - M.S.DANNY & WENDY sitting at table watching T.V. Set cam.L.WENDY inhales cigarette and looks at her watch. She putscigarette out cam.R. WENDY Hon,WENDY strokes his hair, then takes hold of his chin andturns his face to her. WENDY (CONT'D) ...listen to me for a minute, will you, hon?She lowers her hand from his chin and strokes his hair. WENDY I'm just going to go and talk to Daddy for a few minutes and I'll be right back. I want you to just stay here and watch your cartoons, okay?She strokes his hair. WENDY Okay, hon? 107.DANNY holds up his forefinger and wiggles it. TONY Yes, Mrs. Torrance.WENDY kisses DANNY's head. WENDY All right. Now I'll be back in just about five minutes. I'm gonna lock the door behind me.She kisses his head and strokes his hair - then stands upand walks away to door. She stops and picks up a baseballbat from cam.R. She walks away through open doorway, andexits cam.R. DISSOLVE TO:INT. HOTEL LOUNGE - M.L.S.WENDY, carrying baseball bat, walks away into Lounge. Asshe goes, she turns and looks about her - CAMERA TRACKSafter her. WENDY Jack...?She looks about and then moves L-R past table, with histypewriter on it. She walks L-R behind pillar and appearsagain on the other side. CAMERA TRACKS with her. WENDY Jack...?WENDY stops and looks about. CUT TO:M.L.S. WENDY, holding bat, in f.g. She turns and walks awayto JACK's typewriter on table in b.g. CUT TO:M.S. Low Angle - JACK's typewriter in f.g. WENDY movesforward into shot. She looks down at sheet of paper intypewriter. CUT TO:M.C.S. Sheet of paper in typewriter with repetition of lineon it, reading: "ALL WORK AND NO PLAY MAKES JACK A DULL BOY." 108.Sheet of paper is turned up, showing repetition of line.Again sheet of paper is turned up showing repetition of line. CUT TO:M.S. Low Angle - WENDY looking down at sheet of paper intypewriter. She looks cam.R - then moves to cam.R. CUT TO:M.S. Sheets of paper, filling cardboard box. CAMERA TRACKSIN on top sheet, showing repetition of the line "ALL WORKAND NO PLAY MAKES JACK A DULL BOY." filling sheet. CUT TO:M.S. Low Angle WENDY looking down at box of paper in f.g.She holds up top sheet and looks at it - then puts it downin box. CUT TO:M.C.S. Sheets of paper filling box. WENDY's hand enterscam.L.f.g. She flicks through sheets of paper and sees theyare all filled with repetition of line: "ALL WORK AND NOPLAY MAKES JACK A DULL BOY." CUT TO:M.S. Low Angle - WENDY flicking through sheets of paper inbox. CUT TO:M.S. Pillar. CAMERA TRACKS R-L revealing WENDY, back tocamera, looking through sheets of paper in box on table inM.L.S. JACK enters cam.R.f.g. JACK How do you like it?WENDY SCREAMS and turns round to face JACK. WENDY Jack! JACK How do you like it?JACK moves away towards table. WENDY walks R-L along table. CUT TO:M.S. JACK moves forward. CAMERA TRACKS BACK before him. 109. JACK What are you doing down here?He stops by chair and puts his hand on back of it. CUT TO:M.S. WENDY holding bat. WENDY I just eh... wanted... CUT TO:M.S. JACK - hand on back of chair. WENDY (OFF) ...to talk to you.JACK moves R-L to table. CAMERA TRACKS BACK. JACK Okay. Let's talk.JACK flicks through sheets of paper in box - then lookstowards WENDY. JACK What do you want to talk about? CUT TO:M.S. WENDY holding bat. WENDY I... CUT TO:M.S. JACK WENDY (OFF) I can't really remember. JACK You can't remember.JACK moves forward L-R. CAMERA PANS with him. WENDY (OFF) No, I can't. CUT TO: 110.M.S. WENDY, holding bat, moves L-R. CAMERA PANS with her. CUT TO:INT. HOTEL - JACK'S APARTMENT - M.S.DANNY sitting at table. CAMERA TRACKS IN on him. JACK (OFF) Maybe it was about Danny. Maybe it was about him. CUT TO:INT. HOTEL - LOBBY - M.S.Blood clear from camera lens revealing furniture floatingabout on river of blood. JACK (OFF) I think we should discuss Danny. CUT TO:INT. HOTEL - CORRIDOR - M.S.Low Angle Door with word "MURDER" scrawled in reverse on door. CUT TO:INT. HOTEL - LOBBY - M.S.Furniture floating on river of blood towards camera. JACK (OFF) I think... we should discuss what should be done with him. CUT TO:INT. HOTEL - LOUNGE - M.S.JACK moves forward. JACK What should be done with him? CUT TO:M.S. WENDY holding bat gives nervous laugh. CUT TO: 111.M.S. JACK moves forward R-L - CAMERA PANS & TRACKS BACK withhim. WENDY (OFF) I don't know. JACK I don't think that's true. I think you have some very definite ideas about what should be done with Danny... and I'd like to know what they are. CUT TO:M.S. WENDY holding bat moves back R-L. CAMERA PANS with her.She weeps. WENDY Well I... I think maybe he should be taken to a doctor. CUT TO:M.S. JACK JACK You think maybe he should be taken to a doctor? CUT TO:M.S. WENDY WENDY Yes... CUT TO:M.S. JACK JACK When do you think maybe he should be taken to a doctor? CUT TO:M.S. WENDY holding bat. WENDY As soon as possible? CUT TO: 112.M.S. JACK JACK As soon as possible. WENDY (OFF) Jack... CUT TO:M.S. WENDY holding bat. WENDY ...please... CUT TO:M.S. JACK moves forward - CAMERA TRACKS BACK before him. JACK You believe his health might be at stake? CUT TO:M.S. WENDY holding bat moves back. WENDY Ye...yes. CUT TO:M.S. JACK moves forward. CAMERA TRACKS BACK before him. JACK And you are concerned about him? CUT TO:M.S. WENDY holding bat moves back. WENDY Yes. CUT TO:M.S. JACK points to himself as he moves forward. JACK And are you concerned about me? CUT TO:M.S. WENDY holding bat moves backwards. 113. WENDY Of course I am. JACK (OFF) Of course you are. CUT TO:M.S. JACK moves forward. CAMERA TRACKS BACK before him. Hepoints to himself and gestures. JACK Have you ever thought about my responsibilities? WENDY (OFF) Oh Jack, what are you talking about? JACK Have you ever had a single moment's thought about my responsibilities? Have you ever thought for a single solitary moment about my responsibilities to my employers? CUT TO:M.S. WENDY holding bat moves backwards. CUT TO:M.S. JACK moves forward - CAMERA TRACKS BACK before him. JACK Has it ever occurred to you that I have agreed to look after the Overlook Hotel until May the first? Does it matter to you at all that the owners have placed their complete confidence and trust in me, and that I have signed a letter of agreement, a contract, in which I have accepted that responsibility? CUT TO:M.S. WENDY holding bat moves backwards L-R to foot of stairs.CAMERA PANS with her. She moves onto first step. JACK (OFF) Do you have the slightest idea what a moral and ethical principal is? Do you? CUT TO: 114.M.S. JACK moves forward L-R. CAMERA PANS with him. JACK Has it ever occurred to you what would happen to my future, if I were to fail to live up to my responsibilities? CUT TO:M.S. WENDY holding bat backs up stairs. JACK (OFF) Has it ever occurred to you?JACK moves in cam.R.f.g. JACK Has it?WENDY swinging bat before her backs up stairs. JACK movesafter her. CAMERA TRACKS FORWARD after them. WENDY Stay away from me! JACK Why? WENDY I just want to go back to my room. JACK Why?WENDY sobs. WENDY Well... I'm very confused, and I just need a chance to think things over. CUT TO:M.S. High Angle JACK over WENDY. He moves forward up stairs.She backs away. CAMERA TRACKS BACK and UP before them. JACK You've had your whole fucking life to think things over - what's good a few minutes more going to do you now? 115. WENDY Jack... stay away from me... please.JACK reaches up to her. WENDY Don't hurt me! Don't hurt me! JACK I'm not going to hurt you.WENDY swings bat in front of her as she backs up stairs. WENDY Stay away from me, JACK Wendy! WENDY Stay away...! JACK Darling, light of my life, I'm not going to hurt you. You didn't let me finish my sentence. I said 'I'm not going to hurt you... I'm just going to bash your brains in!' I'm going to bash them right the fuck in.WENDY waves bat in front of her. JACK laughs. WENDY Stay away from me! CUT TO:M.S. Low Angle WENDY swinging bat in front of her, backs upstairs. JACK follows her - CAMERA TRACKS FORWARD after them. WENDY Stay away from me! JACK I'm not going to hurt you. WENDY Stay away from me! CUT TO:M.S. High Angle JACK over WENDY. She swings bat in front ofher, as she backs away and he follows her. 116. WENDY Stay away from me! Please... JACK Stop swinging the bat. WENDY Stay away from me. JACK Put the bat down, Wendy. WENDY Stop it! JACK Wendy give me the bat. WENDY Stay... stay away! JACK Give me the bat. CUT TO:M.S. Low Angle WENDY over JACK. CAMERA TRACKS FORWARD asthey come up stairs. WENDY Stay away from me. JACK Give me the bat. WENDY Jack, stay away from me! JACK Stop swinging the bat. WENDY Get down. CUT TO:M.S. High Angle JACK over WENDY. She swings bat in front ofher as they move up stairs. CAMERA TRACKS with them. JACK Give me the bat. WENDY Go away from me. 117. JACK Wendy... WENDY Go away. JACK Give me the bat. WENDY Go away. JACK Give me the bat.JACK reaches up with hand. WENDY hits his hand with bat.SHE SCREAMS. HE YELLS and grabs his wrist. CUT TO:M.S. Low Angle WENDY over JACK. JACK Goddamn!WENDY hits JACK on head with bat. CUT TO:M.S. High Angle JACK over WENDY - he throws up hand andleans back. CUT TO:M.L.S. Low Angle WENDY over JACK. He falls backwards downstairs. CAMERA PANS L-R with him as he somersaults downstairs, stopping face down on half landing. CUT TO:M.L.S. High Angle WENDY back to camera at top of stairs.JACK lying facedown on half landing. WENDY Oh...oh! DISSOLVE TO:INT. HOTEL - KITCHEN - M.C.S.JACK lying on his back on floor. He GROANS as he is draggedalong R-L. CAMERA TRACKS with him. CUT TO: 118.INT. OVERLOOK HOTEL - KITCHEN - M.S.WENDY, holding JACK's ankles, drags him backwards to foodstore door. She undoes bolt, then tries to open door. JACKGROANS. CUT TO:M.S. Low Angle WENDY tugging at handle. JACK GROANS OFF. CUT TO:M.C.S. WENDY tugging at handle. She looks down cam.R. CUT TO:M.C.S. JACK, lying on his back on the floor GROANING, startsto come to. His eyes open and he lifts his head up. CUT TO:M.C.S. WENDY, tugging at door handle. CUT TO:M.C.S. WENDY's hand on handle. She takes out pin on chainin handle and tugs handle open. CUT TO:M.S. WENDY swings door open. Then she takes hold of JACK'sankles. CUT TO:M.C.S. JACK. JACK Hey... what are you doing? CUT TO:M.S. WENDY pulling JACK by the legs into food store. JACK Ohhh... what are you doing? CUT TO:M.S. High Angle JACK on his back being dragged through doorinto food store. 119. JACK Hey, wait a minute... What are you doing?WENDY puts his feet down and moves away to door. JACK What are you doing? CUT TO:M.S. Low Angle WENDY's feet and legs move forward fromJACK - She exits cam.R.f.g. JACK rolls over onto his elbow.Door closes in f.g. CUT TO:M.S. JACK on floor in f.g. WENDY in b.g. closes the door.JACK gets onto his feet. He GROANS and grips his R. ankle,staggering against cardboard boxes. They fall down onto him. CUT TO:INT. HOTEL KITCHEN - M.S.WENDY puts pin in handle, and backs L-R away from door.CAMERA PANS with her. JACK (OFF) Hey, wait a minute!WENDY turns away and looks about. JACK (OFF) What are you doing?WENDY sees knife in rack on wall and lifts it out of rack.She turns to face food store door. JACK (OFF) Open the door.WENDY backs away to table. JACK (OFF) Goddamit! Let me out of here! Open the goddam door.WENDY, resting one hand on table, weeps as she sinks to herknees. CUT TO: 120.INT. HOTEL - FOOD STORE ROOM - M.C.S.Low Angle - JACK. JACK Wendy, listen. Let me out of here and I'll forget the whole goddam thing. It'll be just like nothing ever happened. CUT TO:INT. HOTEL - KITCHEN - M.S.WENDY kneeling by table. She is weeping and puts her handup to her head. CUT TO:INT. FOOD STORE ROOM - M.C.S.Low Angle JACK listens to her weeping. JACK Wendy, baby...He puts hand up to head. JACK I think you hurt my head real bad.He takes his hand away from his head. JACK I'm dizzy. I need a doctor. CUT TO:INT. KITCHEN - M.S.WENDY weeping as she kneels by table. JACK (OFF) Honey... don't leave me in here.WENDY stands up. CAMERA TILTS UP with her. WENDY I'm gonna go now -WENDY walks R-L. CAMERA PANS with her to food store roomdoor. 121. WENDY I'm going to try and get... get Danny down to the Sidewinder... in the Snowcat today.She weeps. WENDY I'll bring back a doctor. CUT TO:INT. FOOD STORE ROOM - M.C.S.JACK JACK Wendy... WENDY (OFF) I'm gonna go now. JACK Wendy... CUT TO:INT. KITCHEN - M.S.WENDY weeping turns to food store door. WENDY Yes? CUT TO:INT. FOOD STORE ROOM - M.C.S.JACK smiling. JACK You've got a big surprise coming to you.He laughs. JACK You're not going anywhere.He laughs. CUT TO: 122.INT. KITCHEN - M.S.WENDY by food store door. JACK (OFF) Go check out the Snowcat and the radio and see what I mean.He laughs off. JACK (OFF) Go check it out!He laughs off. WENDY exits cam.L. CUT TO:INT. FOOD STORE ROOM - M.C.S.JACK laughing. JACK Go check it out!He laughs. JACK Go check it out!He laughs. CUT TO:INT. HOTEL - CORRIDOR - M.L.S.WENDY carrying knife runs forward - CAMERA PANS L-R with heras she runs to door. She forces it open. CUT TO:EXT. HOTEL - M.L.S.WENDY forces door open against snow and walks out on snow.CAMERA PANS L-R with her to edge of porch. She runs away tob.g. CUT TO:M.L.S. WENDY runs L-R along front of hotel - CAMERA TRACKSwith her. CUT TO: 123.INT. HOTEL - GARAGE - M.S.Snowcat in garage. WENDY seen through open doorway. Sheruns forward and enters garage, carrying knife. She stopsat entrance. Then she moves L-R towards Snowcat, and picksup distributor cap. CAMERA TRACKS IN on her, reacting todamaged distributor cap. CUT TO:BLACK FRAMES.Superimposed over:4 p.m. CUT TO:EXT. HOTEL - L.S.Overlook Hotel in b.g. Snow and trees in f.g. CUT TO:INT. HOTEL - FOOD STORE ROOM - M.C.S.JACK asleep on sacks. CAMERA TRACKS BACK. KNOCK ON DOOROFF. JACK stirs and rubs his eyes. KNOCK ON DOOR OFF.Jack sits up. JACK Wendy?CAMERA TRACKS BACK as JACK feels his R. ankle. GRADY (OFF) It's Grady, Mr. Torrance. Delbert Grady. JACK Grady... oh.JACK puts his hand up on shelf. JACK Oh Grady... right. Grady... er...JACK stands up and moves R-L behind shelves towards door.CAMERA TRACKS with him. JACK Hullo Grady.JACK moves R-L to door and leans on it with his hand. 124. GRADY (OFF) Mr. Torrance, I see you can hardly have taken care of the... CUT TO:M.C.S. JACK by door. GRADY (OFF) business we discussed.He moves back R-L from door. JACK No need to rub it in, Mr. Grady. I'll deal with that situation as soon as I get out of here. GRADY (OFF) Will you indeed, Mr. Torrance.He puts his hand up to his head. GRADY (OFF) I wonder. I have my doubts.He lowers his hand from his head. GRADY (OFF) I and others have come to believe... that your heart is not in this, that you haven't the belly for it.JACK laughs. JACK Just give me one more chance to prove it, Mr. Grady. That's all I ask. GRADY (OFF) Your wife appears to be stronger than we imagined, Mr. Torrance. Somewhat more resourceful, she seems to have got the better of you. JACK For the moment, Mr. Grady. Only for the moment. 125. GRADY (OFF) I fear that you will have to deal with this matter in the harshest possible way, Mr. Torrance. I fear that is the only thing to do. JACK There's nothing I look forward to with the greater pleasure, Mr. Grady. GRADY (OFF) You give your word on that do you, Mr. Torrance?JACK nods his head. JACK I give you my word.SOUND OF BOLT BEING DRAWN & HANDLE BEING UNFASTENED OFF. CUT TO:EXT. ROAD - NIGHT - L.S.HALLORAN driving Snowcat forward along snow-covered roadbetween banks of trees. DISSOLVE TO:INT. HALLORAN'S SNOWCAT - M.C.S.HALLORAN driving Snowcat L-R along road. DISSOLVE TO:M.S. Shooting from behind HALLORAN sitting cam.L throughwindscreen, with wipers working, as he moves forward alongsnow-covered road. Trees on either side of road. CUT TO:INT. HOTEL - JACK'S APARTMENT - NIGHT - M.C.S.DANNY moves away R-L towards his MOTHER asleep in bed.CAMERA PANS with him. TONY'S VOICE Red Rum. Red Rum. Red Rum. Red Rum.DANNY stops beside WENDY asleep in bed. 126. TONY'S VOICE Red Rum.WENDY stirs in bed. DANNY reaches out with his hand forknife on table cam.R of bed. TONY'S VOICE Red Rum.DANNY holds up knife. TONY'S VOICE Red Rum. Red Rum.He feels blade. TONY'S VOICE Red Rum. Red Rum.He takes hand away from blade. TONY'S VOICE Red Rum.He turns away from bed and holding knife up walks L-R.CAMERA PANS with him. TONY'S VOICE Red Rum. Red Rum. Red Rum. Red Rum. Red Rum.He stops by dressing table. TONY'S VOICE Red Rum.He picks up lipstick from dressing table. TONY'S VOICE Red Rum. Red Rum.He turns away from dressing table. TONY'S VOICE Red Rum.DANNY walks R-L away to door - CAMERA PANS with him. TONY'S VOICE Red Rum. Red Rum. Red Rum. CUT TO: 127.INT. OVERLOOK HOTEL - JACK'S APARTMENT - NIGHT - M.S.DANNY holding knife and lipstick at door. WENDY asleep inbed in b.g. TONY'S VOICE Red Rum. Red Rum.He starts to write with lipstick the word "MURDER" INreverse on the door. TONY'S VOICE Red Rum. Red Rum. Red Rum. Red Rum. Red Rum. Red Rum.He finishes writing word and looks at word. TONY'S VOICE Red Rum. Red Rum.He turns and walks away to WENDY asleep in bed. TONY'S VOICE Red Rum. Red Rum. Red Rum.WENDY wakes and sits up with a SHRIEK. CUT TO:M.S. DANNY beside WENDY in bed. DANNY Red Rum. Red Rum. Red Rum.WENDY gets out of bed and takes knife away from him. WENDY Danny. Danny, stop it. Danny! DANNY Red Rum. Red Rum. Red Rum. Red Rum.WENDY puts her arms round DANNY and pulls him towards her.She looks over his shoulder. WENDY Eh...She reacts - CAMERA ZOOMS IN on her face. CUT TO: 128.M.S. WENDY's P.O.V. The word "MURDER" written by DANNY ondoor - reflected in mirror. CAMERA ZOOMS IN on word. SOUNDOF AXE STRIKING DOOR OFF. CUT TO:M.C.S. WENDY shrieks and looks cam.L. She puts her hand upto DANNY's head. CUT TO:INT. HOTEL - CORRIDOR - M.S.JACK swings axe at front door of his apartment. CUT TO:INT. JACK'S APARTMENT - M.S.WENDY holding DANNY in her arms gets up off bed. CUT TO:INT. HOTEL - CORRIDOR - M.S.JACK swings axe at front door of apartment. CUT TO:INT. JACK'S APARTMENT - M.S.WENDY, with DANNY in her arms, looks about, then moves todoor with "MURDER" in reverse written on it. She opens doorand goes into bathroom, with DANNY, closing door behind her. CUT TO:INT. BATHROOM - M.S.WENDY, with DANNY clinging to her, closes the door. Thenshe bolts and locks it. CUT TO:INT. HOTEL CORRIDOR - M.S.JACK swings axe at door and splinters a panel. CUT TO:INT. BATHROOM - M.S.WENDY & DANNY move R-L from door to window. She drops knifein basin as she passes it. CAMERA PANS with them. 129.WENDY unbolts window and raises the bottom part. CUT TO:EXT. HOTEL - M.S.WENDY tries to force bottom part of window higher up. CUT TO:INT. BATHROOM - M.C.S.DANNY clinging to WENDY looks over his shoulder as he hearsaxe splintering door OFF. CUT TO:INT. HOTEL CORRIDOR - M.S.JACK swings axe at splintered panel on door. CUT TO:EXT. HOTEL BATHROOM WINDOW - M.S.WENDY looking out of window. CUT TO:L.S. HOTEL. WENDY at bathroom window. She draws back intobathroom. CUT TO:INT. HOTEL CORRIDOR - M.S.JACK swings axe at splintered panel on door. CUT TO:INT. JACK'S APARTMENT - M.S.JACK pulls piece of wood away from splintered panel, andlooks through gap. CUT TO:M.C.S. JACK at gap in panel. JACK Wendy, I'm home. 130.He looks down. CAMERA TILTS DOWN - he removes a piece ofwood with hand and then reaches in and unlocks door. CUT TO:INT. BATHROOM - M.S.WENDY, back to camera, lifts DANNY up to open window. CUT TO:EXT. HOTEL - L.S.WENDY pushes DANNY out through open window onto snow. Shelets him go and he slides L-R down snow. He stands up atthe bottom, and looks up at WENDY at window. CUT TO:M.S. WENDY struggling to get out of open window. CUT TO:INT. JACK'S APARTMENT - M.S.JACK, carrying axe, moves up stairs from open front door.CAMERA TRACKS BACK with him. CUT TO:EXT. HOTEL - M.S.WENDY struggling to get out of bathroom window. She goesback into bathroom. CUT TO:M.S. DANNY looking up cam.L at bathroom window. CUT TO:INT. JACK'S APARTMENT - BEDROOM - M.S.JACK, carrying axe, walks away across Living Room intoBedroom. CAMERA TRACKS after him. JACK Come out, come out, wherever you are! CUT TO: 131.INT. BATHROOM - M.S.WENDY trying to force window up higher. She looks over hershoulder, then puts her head down to open window. CUT TO:EXT. HOTEL - M.S.WENDY tries to get out of open window. CUT TO:INT. BEDROOM - M.C.S.JACK enters cam.R. He stops at Bathroom door. HE RAPS ONDOOR. CUT TO:EXT. HOTEL - M.S.WENDY with head out of open Bathroom window. WENDY Danny, I can't get out! CUT TO:L.S. WENDY at Bathroom window cam.L. DANNY at foot of slopeof snow looking up cam.L. WENDY Run, run and hide. Run, quick!DANNY runs away L-R. CUT TO:INT. BEDROOM - M.C.S.JACK at Bathroom door. JACK Little pigs, little pigs, let me come in! CUT TO:INT. BATHROOM - M.S.WENDY by open window. She moves L-R to basin. CAMERA PANSwith her. She picks up knife and moves R-L to side of door. 132.CAMERA PANS with her. CUT TO:INT. BEDROOM - M.C.S.JACK at Bathroom door. JACK Not by the hair on your chiny, chin, chin. Then I'll huff, and I'll puff CUT TO:M.S. JACK holding axe back to camera at Bathroom door. JACK (CONT'D) and I'll blow your house in.He swings axe back. CUT TO:M.S. JACK swings axe twice at Bathroom door. WENDY SCREAMSOFF. CUT TO:INT. BATHROOM - M.S.WENDY standing at side of door. JACK's axe appear throughdoor. WENDY SCREAMS. JACK's axe repeatedly appears andsplinters door. WENDY screams. WENDY Jack. Please. Don't... Don't...Head of axe appears through splintered door. WENDY SCREAMS. WENDY Don't! Oh! PleaseHead of axe appears again through door. WENDY SCREAMS. WENDY Stop! CUT TO:M.C.S. Splintered door panel. WENDY (OFF) Jack! 133.JACK in b.g. swings axe at door and smashes away thesplintered wood. WENDY (OFF) Stop it! Stop it! CUT TO:INT. BEDROOM - M.S.JACK swings axe at splintered door. WENDY (OFF) Stop it!JACK moves L-R to gap in splintered door. WENDY SCREAMS OFF. CUT TO:INT. BATHROOM - M.C.S.JACK's face at gap in splintered door. JACK Here's Johnny! CUT TO:M.C.S. WENDY holding knife SCREAMS. CUT TO:M.C.S. JACK's smiling face at gap in splintered door. Hemoves backwards and reaches in through gap. CUT TO:M.C.S. JACK's hand in through gap in door to key on insideof door. CUT TO:M.S. WENDY strikes down with knife. CUT TO:M.C.S. JACK's hand on key. WENDY's knife slashes acrossback of his hand, and withdraws cam.R. JACK's hand moves togap in door. JACK YELLS OFF. CUT TO: 134.M.C.S. JACK's face at gap in door. HE IS YELLING. He looksdown and turns away from door. CUT TO:EXT. ROAD - NIGHT - M.S.Shooting from behind HALLORAN sitting back to camera L.f.g.through windscreen as he drives along snow-covered road. CUT TO:INT. BATHROOM - M.S.WENDY at side of door. She looks cam.R as she hearsHALLORAN's Snowcat approaching OFF. CUT TO:INT. BEDROOM - M.C.S.JACK at Bathroom door - he turns round as he hears HALLORAN'sSnowcat approaching OFF. He looks down cam.L. CUT TO:EXT. HOTEL - NIGHT - L.S.HALLORAN's Snowcat moves R-L along snow-covered road.CAMERA TRACKS with it revealing Overlook Hotel in b.g. CUT TO:INT. BEDROOM - M.C.S.JACK looking cam.R. He turns away to splintered door.SOUND OF SNOWCAT OFF. CUT TO:INT. BATHROOM - M.C.S.WENDY at side of door listening. CUT TO:EXT. HOTEL - L.S.HALLORAN's Snowcat moves R-L along front of Hotel. CAMERATRACKS with it. Snowcat stops. CUT TO: 135.INT. HOTEL CORRIDOR - KITCHEN - M.L.S.DANNY runs forward along corridor. CAMERA TRACKS BACKbefore him. He runs into kitchen - stops and moves L-R tooven. He kneels down beside it. CAMERA PANS with him.DANNY slides oven door open R-L and crawls into it. CUT TO:M.C.S. DANNY in oven slides door R-L. CUT TO:M.S. Oven door sliding L-R. CUT TO:M.S. JACK holding axe limps R-L through kitchen. CAMERATRACKS with him. CUT TO:INT. BATHROOM - M.S.WENDY sobbing at side of door - then she moves to door andslashes at it with knife. CUT TO:EXT. HOTEL - M.L.S.HALLORAN walking R-L. CAMERA TRACKS with him. He moves todoor left open by WENDY. He pulls it open wide and exitsinto Hotel. CUT TO:INT. HOTEL - LOBBY - M.S.JACK holding axe moves forward - CAMERA PANS R-L and TRACKSwith him. He moves away up stairs. HALLORAN (OFF) Hallo!JACK at top of stairs. HALLORAN (OFF) Anybody here?JACK moves away from stairs CAMERA TRACKS after him. JACKmoves R-L and looks down at Lobby. CAMERA TRACKS after him. 136. HALLORAN (OFF) Hallo! Anybody here? CUT TO:M.L.S. HALLORAN moves forward along corridor. CAMERA TRACKSFORWARD. HALLORAN Hallo!HALLORAN moves R-L to entrance to Lobby. HALLORAN Anybody here?HALLORAN moves away into Lobby. CAMERA TRACKS FORWARD afterhim. HALLORAN Hallo! Hallo! Anybody here?JACK, holding axe, YELLS as he steps from behind pillarcam.R and moves towards HALLORAN. CUT TO:M.S. JACK YELLING as he swings axe at HALLORAN. CUT TO:M.C.S. HALLORAN's chest - axe pierces raincoat and bloodoozes out. CUT TO:M.C.S. DANNY, with his mouth wide open. CUT TO:M.S. JACK over HALLORAN. JACK holding onto shaft of axe. CUT TO:M.C.S. HALLORAN, with his mouth wide open. CUT TO:M.C.S. DANNY, with his mouth wide open. CUT TO: 137.M.S. JACK over HALLORAN, holding onto shaft of axe. CUT TO:M.C.S. HALLORAN, with his mouth wide open, sinks down out ofshot. CUT TO:M.C.S. DANNY, with his mouth wide open. CUT TO:M.C.S. JACK rises up into shot. CUT TO:M.L.S. JACK holding axe standing beside body of HALLORAN onfloor. JACK limps forward. CAMERA TRACKS BACK before him. JACK Danny! Danny boy!He stops at corridor to kitchen. JACK Danny! CUT TO:M.L.S. JACK back to camera in R.f.g. DANNY climbs out ofoven in b.g. JACK moves forward. DANNY exits cam.R.f.g.JACK limps away. CAMERA TRACKS IN after him. JACK Danny! Danny! CUT TO:INT. HOTEL - STAIRS - M.S.High Angle WENDY runs up stairs L-R. She pauses on landing. WENDY Danny!CAMERA TRACKS BACK before WENDY as she goes up next flightof stairs. She stops at top of stairs and looks alonglanding. CUT TO:M.L.S. WENDY'S P.O.V. Shooting along landing into opendoorway of bedroom. 138.MAN, dressed in Dog's costume, kneeling at foot of bed. Heleans back and looks towards her. MAN, in evening dress,leans forward and looks at WENDY. CAMERA ZOOMS IN on them. CUT TO:M.S. WENDY, holding knife, at top of stairs backs away -then turns and runs away along corridor, exiting cam.L at end. CUT TO:INT. LOBBY - M.L.S.JACK, holding axe, limps forward and moves L-R throughentrance. He walks away to open door. CAMERA TRACKS afterhim. He stops in doorway. CUT TO:EXT. OVERLOOK HOTEL - NIGHT - M.L.S.Shooting from door. HALLORAN's Snowcat in b.g. CAMERA PANSL-R. CUT TO:INT. HOTEL - LOBBY - M.S.JACK, holding axe, at open doorway. He comes in and movesL-R to switch panel on wall. He opens cover and pressesswitches down. He leans towards open doorway and watcheslights going on outside. CUT TO:EXT. HOTEL - M.S.DANNY crouched behind track of HALLORAN's Snowcat. He peersround corner. CUT TO:EXT. HOTEL - M.S.JACK limps to open doorway and stops. JACK Danny! CUT TO: 139.EXT. HOTEL - M.S.DANNY by track of HALLORAN's Snowcat. He moves away L-R. CUT TO:M.L.S. JACK limps away from door. JACK Danny! CUT TO:M.S. DANNY runs L-R and exits cam.R. CUT TO:M.S. JACK limping L-R from Hotel. CAMERA TRACKS with him. JACK Danny! CUT TO:M.L.S. DANNY running away L-R across snow. CAMERA PANS withhim. He runs into Maze. CUT TO:M.S. JACK limping L-R. CAMERA TRACKS with him. Hotel in b.g. CUT TO:EXT. HOTEL - MAZE - M.S.DANNY running away through Maze. CAMERA TRACKS after him.He looks back over his shoulder. CUT TO:M.S. JACK in the Maze. He limps forward. CAMERA TRACKSBACK before him. JACK Danny! I'm coming. I'm coming Dan!He looks down. CUT TO:M.C.S. DANNY's footprints in snow. CAMERA TILTS UP & TRACKSFORWARD along DANNY's footprints. CUT TO: 140.M.C.S. DANNY's feet and legs running away through Maze.CAMERA TRACKS FORWARD. CUT TO:INT. HOTEL - M.L.S.WENDY, carrying knife, runs forward into kitchen. She lookstowards stairs in b.g. WENDY Danny!WENDY stumbles forward through coffee pots and rings onfloor. CAMERA TRACKS BACK before her. WENDY Oh!WENDY turns R-L. CAMERA TRACKS with her. She moves awayalong corridor. CAMERA TRACKS after her. She stops atcorner. CAMERA CONTINUES PAST her revealing HALLORAN lyingdead on floor of lobby. CUT TO:M.C.S. WENDY reacts. CUT TO:M.L.S. HALLORAN's body lying on floor. CAMERA ZOOMS IN on it. CUT TO:M.C.S. WENDY looks about. She moves away R-L. CAMERA PANSwith her. She SCREAMS and turns to cam.R. CAMERA WHIP PANSL-R onto M.L.S. INJURED GUEST. CUT TO:M.S. WENDY reacting - knife trembles in her hand. CUT TO:M.C.S. INJURED GUEST, with scar running down his head andface. He raises glass he is holding. INJURED GUEST Great party, isn't it? CUT TO: 141.M.S. WENDY SCREAMING turns and runs away. CUT TO:EXT. HOTEL - MAZE - M.L.S.DANNY running away through Maze. CAMERA TRACKS after him. JACK (OFF) Danny! Danny! I'm coming! CUT TO:M.S. JACK limps forward in Maze. CAMERA TRACKS BACK beforehim. JACK You can't get away. I'm right behind you. CUT TO:INT. HOTEL - CORRIDOR & LOUNGE - M.L.S.WENDY runs forward. WENDY Danny!WENDY runs forward and then moves R-L. CAMERA PANS withher - she stops cam.R.f.g. and SCREAMS. CUT TO:M.C.S. WENDY looking about. CUT TO:M.L.S. SKELETONS sitting in chairs. Bottle of champagne ontable in f.g. CUT TO:M.S. SKELETONS sitting at table with bottle and glasses on it. CUT TO:M.L.S. SKELETONS sitting in chairs round tables with bottleson them. CUT TO: 142.EXT. HOTEL - MAZE - M.L.S.JACK limps away through Maze. CAMERA TRACKS FORWARD afterhim. CUT TO:M.S. DANNY steps backwards in his footprints in snow. CUT TO:M.S. JACK limps forward laughing. JACK Danny! CUT TO:M.L.S. DANNY stepping backwards in his footprints in snow.He jumps L-R landing in snow, and crawls L-R - brushing histraces in the snow out with his hands. CUT TO:INT. HOTEL - CORRIDOR - M.L.S.WENDY holding knife runs forward. She slows down as shenears f.g. She moves R-L. CAMERA PANS with her to opendoor. She stops by doorway and looks along corridor towardslift doors in b.g. CUT TO:M.S. Lift doors. Blood gushes in cam.L and surges forwardalong floor. CUT TO:M.C.S. WENDY reacts. CUT TO:M.S. Lift doors. Blood gushes in cam.L and cam.R - surgingforward in wave towards camera. CUT TO:EXT. HOTEL - MAZE - M.S.DANNY sitting leaning against side of Maze. CAMERA TRACKSR-L revealing JACK, holding axe, cam.R.b.g. He limps R-Land moves away along Maze. CUT TO: 143.M.S. DANNY's footprints in the snow - CAMERA TRACKS FORWARDand stops when footprints end. CAMERA TILTS UP to snowwithout footprints. CUT TO:M.C.S. JACK - he looks about then back and forwards - andfinally cam.R. JACK Danny!He looks cam.L. CUT TO:M.C.S. DANNY crouched against side of Maze. JACK (OFF) Danny! CUT TO:M.S. JACK - he looks about then cam.L. JACK Danny! CUT TO:M.L.S. JACK limps L-R and exits cam.R. CUT TO:M.S. DANNY appears from behind mound of snow and movesforward R-L. CUT TO:M.L.S. DANNY's P.O.V. Empty Maze. CUT TO:M.S. DANNY moves away R-L from mound of snow. CAMERA PANSwith him. He runs away along Maze. CUT TO:M.S. Footprints in snow in Maze. CAMERA TRACKS FORWARDalong footprints. CUT TO: 144.M.L.S. JACK, back to camera, limping away along Maze.CAMERA TRACKS after him. CUT TO:M.S. JACK limps forward along Maze. CAMERA TRACKS BACKbefore him. CUT TO:M.S. CAMERA TRACKS FORWARD along Maze. CUT TO:M.S. DANNY runs forward along Maze. CAMERA TRACKS BACK. CUT TO:M.L.S. JACK moves to opening cam.R. CAMERA TRACKS FORWARD -he turns and moves R-L to opening cam.L. CAMERA PANS withhim. He stops and turns - then moves L-R. CAMERA PANS withhim and TRACKS after him as he limps along MAZE. CUT TO:EXT. HOTEL - M.L.S.WENDY sobbing and holding knife runs away to HALLORAN'sSnowcat in b.g. CAMERA TRACKS FORWARD after her. She stopsby Snowcat and looks about. CUT TO:EXT. HOTEL - MAZE - M.S.DANNY runs forward in Maze. CAMERA TRACKS BACK. DANNYlooks over his shoulder and falls down in snow at entrance. CUT TO:EXT. HOTEL - M.S.WENDY standing by HALLORAN's Snowcat. She throws down knife. WENDY Danny! Danny!She runs forward and out cam.R.f.g. CUT TO:M.L.S. DANNY lying on snow at entrance to Maze. He gets upand runs R-L. CAMERA PANS with him. 145. DANNY Mommy... WENDY (OFF) Danny, come here! DANNY Mommy... Mommy...! WENDY (OFF) Danny!DANNY runs R-L into WENDY's arms as she kneels on snow. DANNY Mommy! WENDY Oh!WENDY hugs and kisses DANNY. WENDY Oh Danny! CUT TO:EXT. HOTEL - MAZE - M.S.JACK holding axe limps forward - CAMERA TRACKS BACK. JACK Danny! Where...JACK GROANS. CUT TO:EXT. HOTEL - M.L.S.WENDY holding DANNY moves R-L to HALLORAN's Snowcat. CAMERAPANS with them. WENDY opens door of Snowcat and lifts DANNYup to cab. CUT TO:EXT. HOTEL - MAZE - M.L.S.JACK GROANING staggers away along Maze - CAMERA TRACKS afterhim. JACK Danny! 146.He stumbles and lies in snow. He struggles up to his feet. CUT TO:EXT. HOTEL - L.S.Snowcat with lights on moves R-L in front of Hotel, thenturns to cam.R. JACK SHOUTS INAUDIBLE OFF. CUT TO:EXT. HOTEL - MAZE - M.S.JACK staggers forward. CAMERA TRACKS BACK - INDISTINCTSHOUTS. He GROANS as he moves forward R-L. CUT TO:EXT. HOTEL - L.S.Snowcat drives away down road. JACK INAUDIBLE SHOUTS OFF. CUT TO:EXT. HOTEL - MAZE - M.S.JACK staggers forward along Maze. CAMERA TRACKS BACK -INDISTINCT MOANS & GROANS. CUT TO:M.L.S. JACK staggers away along Maze. CAMERA TRACKS afterhim. INDISTINCT MOANS. He slumps down cam.L against sideof Maze. CUT TO:EXT. HOTEL - MAZE - DAY - M.C.S.JACK sitting up to his chest in snow dead. Snow and icicleson his face. CUT TO:INT. HOTEL - GOLD BALLROOM - M.L.S.Entrance to Gold Ballroom - CAMERA TRACKS FORWARD throughentrance to photographs on wall. CAMERA TRACKS IN close onphotograph of Guests at Ball. DISSOLVE TO: 147.M.S. Photograph of Guests at Ball. DISSOLVE TO:M.C.S. Photograph of YOUNG MAN in dinner jacket. CAMERATILTS DOWN TO: OVERLOOK HOTEL JULY 4th BALL 1921 FADE OUT.BLACK FRAMES.
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+                     THE SHIPPING NEWS                    Ron Bass                    Third Draft Rewrite                    February 23, 1999                    Previous Drafts By:                    Laura Jones                    Beth HenleyINT. LAUNDROMAT, MOCKINGBURG, NEW YORK - NIGHTGlaring fluorescence, trash overflowing with cheap detergent boxes,empty Coke machine flashing all lights orange. Only two dryers arehumming. It's very late. Keep PANNING to......a wiry, gimlet-eyed WOMAN, furtively removing crumplednewspapers from a dryer. She flattens and folds them meticulously,her glance darting angrily everywhere. Top secret mission....a natty little black man. PARTRIDGE has spread a late supper ona neat cloth atop a dryer. Small cold fowl. Brie, baguette,olives. Bottle of red. An air of competence, of indomitableupbeatness. He ignores the spy-dressed-as-bag-lady as if she werenormal. More curious about......a hulking, rumpled figure scrutinizing Help Wanted ads as ifcramming for life's midterm exam. Thoughtful. Circles one,slowly. Set out on QUOYLE's dryer are one Snickers bar and fourempty snickers wrappers. His version of cold supper. He reachesfor the candy, but seeing it's the last one, he......rises. Goes to the candy machine. Drops in his 65 cents, hitsthe button. The Snickers starts to fall, but gets caught in themechanism at the last moment. Quoyle blinks dully. One moreretelling of the story of his life. He BANGS the machine half-heartedly. Nope. Shakes it with his shambling strength. Nada.POUNDS the coin return button. Hat trick. He empties his pocket.Studies the results. Not enough. And without so much as a sigh......he ambles back to his dryer. Starts to unwrap the lastSnickers. Partridge taking this all in. But Mata Hari of theNeat Newspapers goes to the candy machine, KICKS it violently. Outfall the Snickers and the 65 cents. She scoops up both, turns in asingle motion to......GLARE death at the enemy. Quoyle opens his mouth to comment.But. Doesn't. Resumes unwrapping his supper, as......his dryer STOPS. He pops it open. Stares in. Blinks.Suddenly YANKS a tangle of graying shirts out onto the grimy floorto reveal they have been......STAINED streaky BLUE by a cheap pen, quietly melting amid thepile. This slips beneath even Quoyle's expectation level. Thebig, soft face is pitifully, yes, even adorably, devastated.                             QUOYLE (a murmur)                Ruined.And to the bystander.     This seems a comment on more than shirts.                          PARTRIDGE (softly)                Nah. Rub the ink with hot salt and                talcum powder.Quoyle's head WHIPS around.     As if he thought he was alone.                          QUOYLE (V.O.)                If you're shocked when someone aims                kindness your way. That oughta tell                you somethin' about yourself.Watches the little guy's undemanding smile.                          QUOYLE (V.O., just staring)                Then again. If you're that kinda                guy. It don't.                          PARTRIDGE                And put a cuppa bleach in, next                time through.As Quoyle gazes at his benefactor, the woman sneaks up, SNATCHEShis Help Wanted ads. Races them over to her dryer. As the boyswatch, she shoves them in, starts the machine with Quoyle's coins,and glares fiercely back at us. A mother bear protecting her cubs.Partridge chuckles. Holds out his hand...                             PARTRIDGE                Partridge.Quoyle glances at the little man's cold fowl supper.                           QUOYLE                Uh.   No thanks.                          PARTRIDGE                It's my name.Oh.INT. MOCKINGBURG RECORD CITY ROOM - DAYShabby one-floor newspaper. Old equipment, listless personnel,stale you can smell from here. Only guy working is Partridge, whois laying out the front page, and glances up to see across thefloor......Quoyle enter in his best suit. It is also his worst suit.Partridge points to the only enclosed office, and gives his buddy ahearty thumbs-up. Quoyle nods, his smile a rictus, his eyes aglaze of panic. We see now that he is chewing, somehow. On theway into the office, he snags a doughnut from a paper plate by thecoffee. Enters...INT. ED PUNCH'S OFFICE - DAY...ED PUNCH, managing editor, looks up from a reverie with astartled expression. He wears really thick glasses which MAGNIFYhis eyes, giving him a frightening aspect.                             PUNCH                 Quoyle?     You're early.From the rear, we see Quoyle can barely squeeze himself into thechair.                           PUNCH                 I don't like that.All the change SPILLS out of Quoyle's pockets, and CLATTERS ontothe wood floor, ROLLING interminably, as Quoyle fidgets.                           PUNCH                 Partridge says you're not as                 dumb as you look.REVERSE ANGLE now to see Quoyle's face.        The neat moustache ofpowdered sugar.                           QUOYLE (V.O.)                 How could I be?And takes a healthy bite from what's left of the doughnut.                           PUNCH                 Anyway, that's why I'm takin' a chance                 on you. Partridge said he'd re-write                 whatever of your stuff. Stay late...Quoyle nods, dumbly.     Knows this.                           PUNCH                 We're a family paper. Upbeat                 stories with a community slant.                 Self-help stuff: Are You a Break-                 fast Alcoholic?...Guide to Getting                 Dumped...like that.Quoyle nods bigger. Like he gets it.         Punch shoves an antique taperecorder across the table.                           PUNCH                 City Planning Board meeting at two-                 thirty. Three hunnerd words max.                 Sink or swim.HOLD on Quoyle's eyes.      Recalling...FLASHBACK:   EXT. PUBLIC POOL - DAY...Quoyle as a fat kid in a baggy bathing suit, being savagelypummeled by his vicious OLDER BROTHER...                           QUOYLE (V.O.)                 I think my brother said that once.                              BROTHER                 LARDASS!     SNOTFACE!    FARTBAG!Being pulled off the sniveling Quoyle by a rough hairy man withdead eyes.                          QUOYLE (V.O.)                Maybe it was my father.Quoyle's FATHER hauls him off the deck, and in a single motion,FLINGS him INTO the pool!                          FATHER                Sink or swim, pig-butt.Watches the THRASHING with mild contempt.     Turns away before Quoylesimply SINKS beneath the surface.                          QUOYLE (V.O.)                I'm not a water person.INT. CITY ROOM - LATE NIGHTThe empty room a haven of dust motes floating in sickly fluor-escence. Quoyle sits across the desk, gazing with endearingfearfulness as Partridge turns page after page...                          PARTRIDGE                See, three hunnerd words would be,                like, one page. This is...oh,                fifteen, sixteen.                          QUOYLE                So we should cut it.Partridge does glance up on that.                          PARTRIDGE                Gonna have to.                          QUOYLE                Or you could tie me in a sack, throw                me in the river. Tell the police you                thought it was oddly-wrapped lard.                          PARTRIDGE                Might be quicker.Nobody smiles. Nobody has to. Quoyle pulls a big glass jar from apaper sack. Sets it on the desk.                          QUOYLE                Does your wife like special pickles?                They're fine with cold cuts.Partridge looks at the cornichons.     They look expensive.                          PARTRIDGE                Come by for supper, tomorrow.     We'll                   find out.DISSOLVE to...EXT. PARTRIDGE'S BACK YARD - DAYSausages on the BBQ, interesting colors and sizes. A huge handdelicately places cut-up pieces of quail on the grill. It isQuoyle, trusted, paying attention. MERCALIA, a slim black womanwith fiery eyes and an enticing smile, hands him a glass of whitewine, and......goes to slip her arm around Partridge. He watches Quoyle'sconcentration approvingly. Shares a smile with his sexy wife.       Andraps a knife on his glass. Announcement.Quoyle looks up with innocent eyes.         Which makes Partridgehesitate.                                PARTRIDGE                   We.     Got you this.Mercalia takes out the package. Wrapped in tissue, a neat ribbon.She hands it to Quoyle, and leans up to kiss his cheek. Quoylelooks down at it, dumbfounded. A silence.                             MERCALIA                   It's...an anniversary present.                   Anniversary of our friendship.Quoyle smiles.     Sweet and slightly confused.                             QUOYLE                   Seven and a half month anniversary?He starts to unwrap...                                PARTRIDGE                   Well.     Why wait?...a wristwatch.     A nice one.     He is overwhelmed, but stilluncomprehending.                              MERCALIA                   It's because we're happy.      About                   something.And steals a glance at her husband.                             QUOYLE (BIG grin)                   You're havin' a baby!That stops Partridge's face.        No more stalling...                             PARTRIDGE                   Mercalia and me are movin'.                   To California. Friday night.Quoyle so pole-axed he can't even lose the smile.    It just turnsstupid and transparent. His friend swallows.                          PARTRIDGE                You know she's been learnin' to                drive a rig. She got the Oakland                to New Orleans run. I'm gonna                make her smoked duck sandwiches for                the road. I can edit copy anywhere.Quoyle nodding slowly, smile still there. Yep. I guess y'can.Partridge sees that it's a death blow. Mercalia looks at her feet.                          PARTRIDGE                Love's all that counts.   It's the                engine of life.As if parting advice. As if Quoyle should file that away.      SoQuoyle nods some more. As if he will.                          PARTRIDGE                We'll just. Stay in touch.On this, Quoyle's smile deserts him. So Partridge reaches out hishand. Quoyle paralyzed, then takes it. CLOSE ON their handclasp,and DISSOLVE to...INT. DOUBLETREE MEETING ROOM - EVENING...a slender feminine hand.   Buried in Quoyle's.                          PETAL (O.S.)                Petal Bear, Mr. Quoyle.PAN up to see her. Tiny, twitchy, moist ringlets. A gray-eyedpredator. She looks around at the milling suits and their nametags. As if they were alternatives.                          PETAL                Do you hate this shit, or what?Quoyle transfixed by her slight form in its loose but clingywrapping. The smile that sees him again and flickers...                          PETAL                What do you think? You want to                marry me, don't you?Don't you? No answer. She laughs, as if at some off-colorresponse. Runs hot fingers up his arm, leaning to his face...                          PETAL                Buy me a drink somewhere, it's                seven-thirty. I think I'm going                to fuck you by ten. What do you                think of that?Quoyle.   Blinks.     She laughs again.   Bright, like whiskey music.                              PETAL                    You are quite. The raconteur.INT. QUOYLE'S TRAILER - LATE NIGHTPetal naked in near-darkness, moves with authority toward themassive lumpy creature nearly overflowing his bed. Draws thecovers back.Stares.                               PETAL                    Christ.   I won the lottery.Climbs on, the lithe move of a leopardess.         Feeding time.                              QUOYLE (V.O.)                    It was pretty much like that for                    a month.Petal RIDING in silhouette, with great, violent swoops.            CLOSE onhis face, his eyes. Lovelight.                              QUOYLE (V.O.)                    Somewhere in there. We got married.INT. BAR - NIGHTHorrible place. Smoke and bodies. Quoyle alone, carrying hissloshing beer, apologies unheard, toward...                              QUOYLE (V.O.)                    After that, I had to follow her to                    see her....the back of Petal, talking to a big guy in a shiny suit.                              QUOYLE (V.O.)                    Which I know was wrong of me.Closer.   Close enough to hear...                              PETAL                    What do you think? You want to                    marry me, don't you?HOLD on Quoyle's face. The lovelight has never left.          It shinesthrough the shock. As if in apology...                              QUOYLE (V.O.)                    She didn't know she was pregnant.DISSOLVE to...INT. PARLOR - DAYOne-year-old BUNNY is SCREAMING in a rickety crib festooned withmobiles and bright toys. HEAR Quoyle POUNDING in. He reaches tolift her......WAY UP, starts running around the faded little parlor makingcheerful airplane noises, as he DIVES and SWOOPS the shrieking kid,until he......stops. Sniffs. Oh. Gives her a kiss, which doesn't put a dentin the screaming, and flops her down on the diaper table. She isscreaming LOUDER. He is fumbling with the diaper, the Baby Wipes,getting a wad of ten or so at once. When......the phone rings. He runs off. Runs back, lifts Bunny, diaperdangling from the tape stuck to her skin, and SNATCHES up thephone, hoping with everything in him that it's...                          PETAL (O.S.)                 Hey. How do you make an Alabama                 Slammer?He takes a breath.     Can hear the noise of a rowdy spot.     Countryjuke box.                             QUOYLE                 Uh.    Where are y...                              PETAL (O.S.)                 Alabama.     Hence, the question.Bunny.   Has stopped screaming.                              QUOYLE                 Come home.     I'll make you one.                           PETAL (O.S.)                 That's a swell idea. Now go look on                 top of the fridge, where I keep the                 Mr. Boston. I'll wait.What should he do? He sets Bunny carefully on the floor. Shestarts screaming again, and he LIFTS her quick, cuddles her. LOPESoff, leaving the phone on the floor......RACES back in with the Mr. Boston, a bag of pork rinds, anda pacifier. Something for everyone. As he flips the pages, hemurmurs into the phone...                              QUOYLE                 You okay?     Except for being thirsty?She laughs, almost friendly.      He smiles.   Ever hopeful.                           PETAL (O.S.)                 I'm busy, I'll see y...                             QUOYLE (reads)                   Ounce Southern Comfort, ounce Sloe                   Gin. Ounce Triple Sec. Three ounces                   o.j....                               PETAL (O.S.)                   Got it.CLICK. The BUZZ of her disconnect. He glances down at Bunny,working the pacifier. Murmurs to the receiver...                               QUOYLE                   Me too.    I'll tell Bunny you miss her.Hang up the phone. Kiss a baby. Eat a pork rind. Slow. As hegazes down on Bunny, we PUSH INTO her face, and MATCH DISSOLVEto...INT. BUNNY'S ROOM - NIGHT, FIVE YEARS LATER...an ECU of Bunny, now six years old, asleep in the flickeringblue light of a nearly-mute TV. Apparently she was watchingSportscenter. PAN the darkened shoebox room. Toys everywhere, ina clutter. A pile of used Barbies, limbs jutting in alldirections, waiting for a mass grave. BACK to Bunny, to see......she sleeps in her father's lap. His chin resting on her head,an industrial-size bag of cookies handy. Somewhere, a door OPENS.....SLAMS HARD. Quoyle gently lays Bunny on her bed, and lurchesINTO the hall, to see Petal disappearing into her bedroom, and hehurries to stop the door before it slams in his face.When she turns, she is wasted, feral, and somehow as sexy as ever.Her laser glare. What the fuck do you want?                               QUOYLE                   There's.    Cold chicken.Really? She tears off her jacket, revealing that she has left hershirt somewhere and is down to her bra. She stalks toward him.Straight to the doorway. He flinches.                             PETAL                   Find yourself. A girlfriend.                   With what you got down there,                   you'll do fine.Quoyle swallows.     Shakes his head.                             PETAL                   Only thing can work, here.    Is                   divorce.No.   No.   Tears of shock pool in his eyes.                           QUOYLE (V.O.)                 I knew we had our problems. But                 I never thought I'd hear that word.She shivers with disgust. Walks around in a frustrated circle.Back to his face. Are you sure? What does a girl have to do? Andnow......the tears are on his face.     She flashes her hardest look.      Andyet......her slender fingers reach out.     Wipe his face, not as roughly asshe might have intended.                           PETAL                 Your funeral, pussy.And CLOSES the door, quietly, but firmly.      In his face.He stares at it. His lips part. But no sound comes.           Instead, hewalks the few steps to Bunny's room, to find her......wide awake.   Sitting on the edge of her bed.     No question, sheheard it all.So Quoyle smiles. He reaches to the top of her battered armoire.His eyes damp but dancing for his daughter. Pulls down......a box of chocolates. Their stash.       He sits on the floor.     Opensthe lid, like buried treasure.She comes to cuddle in his lap.     He feeds her one.   She feeds himone. They've done this before.      As they chew...                           QUOYLE (V.O.)                 I knew if I could take it. In the                 end. It would all work out.INT. CITY ROOM - MIDDAYEveryone trooping back from lunch, twos and threes. Quoyle last,alone, still stuffing down a snack cake as he heads for the coffeepot. There's one answering machine for everybody here, glowing ared number 2. Someone hits it, and everybody shuts up a beat, tosee if they got lucky.                           MALE VOICE (O.S.)                 Lila, it's Daniel. Ten-thirty.                 Bring the. You know.LILA doesn't even bother to blush.      A shrug is plenty.                           FATHER (O.S.)                 Quoyle, this is your father. Calling                 you. Dicky's machine is full. Your                 home one's broke. Well. It's time                 for your mother and I to go.Quoyle listening.      Go?                              FATHER (O.S.)                    Instructions about the undertaker.                    The cremation. On the dining room                    table.Oh.     Go.   Eyes are sneaking over now.   Lots of them.                              FATHER (O.S.)                    You'll have to make your own way.                    I did. Nobody gave me nuthin'.                    Other men woulda give up, turned to                    bums. I sweated, wheeled barrows of                    sand, went without so you and yer                    brother could have advantages. Not                    that you did much with your chances.Everybody just openly staring now.       Quoyle's snack cake and coffeefrozen in mid-air.                              FATHER (O.S.)                    Hasn't been much of a life. Tell                    Dicky and my sister Agnis Hamm.                    Her number's on the dining room ta...BEEP!                              MACHINE (O.S.)                    That was your final message.Quoyle nods. Sounded that way. Despite the hateful coarseness ofthis message, Quoyle is deeply moved. Lips pursed inward to stemtears. In the silence...                              FAT GUY (trying)                    Were they sick, or something?Quoyle stares into distance.       Somewhere, feet shuffle.                              QUOYLE                    Brain tumor and liver cancer.                            (afterthought)                    One apiece.                              FAT GAL (sad for him)                    That's rough.He nods, it is that. Wanders       on over to his desk. They're stillwatching, but he doesn't seem      to notice. Turns his ratty Rolodexwith solemn slowness. Not to       dishonor the moment. Finds thenumber, dials. Winces at the       harshness of the voice he hears.Then...                               QUOYLE                    Dicky.   It's Mom and Poppa.    They.He can't say any more.     Turns out, he doesn't need to.                          BROTHER (O.S., snorts)                Jeez, they did it? I never                thought he'd find the fucking guts.Quoyle licks his lips.     His eyes puddling now.                             QUOYLE                So.     For the funeral, I thou...                          BROTHER (O.S.)                You think I'd go pay that prick                respects? You got me confused                with you!Quoyle shakes his head once.     That confused he isn't.                             QUOYLE (quietly)                Well.     Mom'll be there, too.Silence.                          BROTHER (O.S.)                Hey, Barfbag. They leave us                anything, y'think?                          QUOYLE                Don't see how. Big mortgage.                Spent their savings on the doctors.                I hadda send some grocery mon...                          BROTHER (O.S.)                Well, see, that's why he did it.                I mean, think how it felt. Taking                from you.LONG ANGLE...they are watching him replace the receiver in itscradle. Think. Stumble slightly, as he makes his way toward...INT. PUNCH'S OFFICE - DAYPunch looks up, startled at Quoyle's entrance. His oversizedglasses seem to magnify his eyes more than ever.                          QUOYLE                Sorry, Ed. I gotta drive down to my                parents' place. I'll be back, Friday.A full beat.                          PUNCH                Take yer time. I gotta let you go.Quoyle's eyes sharpen.                           QUOYLE                 In what sense do you m...                           PUNCH                 As in canned.Oh.   Once again, life slips beneath even Quoyle's expectations.                            QUOYLE (a little dazed)                 Uh.   Would next week be better?                           PUNCH (sighs)                 I got the summer interns comin' next                 week. They're free and they're smart.                 Gotta do somethin' to fight this                 slump. But don't worry...Don't?                           PUNCH                 Yer not the only one.                           (beat)                 Eventually.A beat.                           QUOYLE                 Should I finish the sawmill piece?INT. QUOYLE'S HOUSE - DAYQuoyle enters carrying a spray of violets.     HEAR Springer turned uploud. He goes to the parlor to find......MRS. MOOSUP, the babysitter, smoking and swigging a Pepsi. Sheis mean-ugly with flesh hanging beneath her arms. She stares athim, the flowers.                           MRS. MOOSUP (dry)                 Mr. Quoyle. You shouldn't have.                           QUOYLE (taking her literally)                 They're for Petal, Mrs. Moosup.                 I got something to tell her.                           MRS. MOOSUP                 Well, that may take awhile.Uh-oh.                           MRS. MOOSUP                 She came in at one, packed like                 crazy. Said she was movin' to                 Florida with the guy in the red Geo.                 You know the one.He knows the one.                            MRS. MOOSUP                  She says you gotta pay my wages for                  the sittin'. Seven weeks, comes to                  $3080. 'Preciate a check right n...He is heading toward the hall.                            MRS. MOOSUP                  Don't bother. She took Bunny                  with her.That stops him.    Cold.     He turns...                            QUOYLE                  That's the last thing she'd ev...                            MRS. MOOSUP                  She was real clear about my check.                  It's no fun workin' if you don't                  get paid.He TEARS out, DOWN the hall, INTO Bunny's room......closet open. Empty. No more tangled pile of Barbies.                Hesurveys the wreckage of his life.                            QUOYLE (V.O.)                  At least she took her toys.       Wanted                  her to be happy.He staggers out of the room, down the hall...                            MRS. MOOSUP (O.S.)                  Mr. Quoyle? I ain't got all day, here!...into the kitchen.       Lifts the receiver.    Thinks.     Dials.                               QUOYLE (quietly)                  Yes.     I need to report a kidnapping.And straightens his spine.       Just a little.                           QUOYLE                  Quoyle. Q-U-O-Y-L-...no, Y, then                  L-E. Yeh, it's my kid.He's still holding the violets.         He notices this.     Sets them down,almost tenderly, in the sink.INT. QUOYLE'S HOUSE - LATE NIGHTQuoyle alone in absolute darkness. Bumping around the house.There's a large bag of something in one hand, maybe M & Ms. Buthe's not eating. Just murmuring to himself...                               QUOYLE                 Who knows?     Who knows?INT. QUOYLE'S PARENTS' HOME, BROOKLYN - DAYQuoyle moving in his parents' cluttered parlor like a manunderwater. A room as drab, as neglected, as Brooklyn throughthe window. He stands at a shelf now, staring at a row of framedphotos. Lifts one......a BOY of 15, bundled for winter, stands by a frozen pond.Stocky, sullen, something unpleasant in the narrow eyes. Nextto him, not touching, a GIRL, big for 12. Rawboned, husky. Flatgaze, like something's dead or hidden.Quoyle walks to the table. A cardboard box has been filled withmementos. A slip of paper: AGNIS HAMM, a telephone number. Thephone is RINGING now. Quoyle staring at the paper. Finally, liftsthe phone, breathes an absent greeting, and...                           MALE VOICE (O.S.)                 Is this Mr. Guy Quoyle?                           QUOYLE (weary)                 He's not here.                           MALE VOICE (O.S.)                 This is Lt. Amos Figg of the                 Mockingburg, New York Police. Could                 you have him call me when he ret...                           QUOYLE                 He's passed on. He's dead.                           (beat)                 You said Mockingb...                           FIGG (O.S.)                 We're a small town upstate. I'm                 actually trying to reach his son.                 He allegedly went down to his                 parents' place two days ago.Quoyle blinks.   Not in the mood.                           QUOYLE                 Are you a detective, Lieutenant?                              FIGG (O.S.)                 Yes sir.                           QUOYLE                 Well, as you've probably deduced, I                 am his son. Cause I'm at his                 place. As alleged.Silence.                              FIGG (O.S.)                  There's no need for that tone,                  sir. I'm calling with urgent news.And says no more.     We can feel Quoyle's heart beating from here.                            QUOYLE                  Which is...?                            FIGG (O.S., hesitant)                  You want the good news? Or                  the bad news.Ominous.   Would be an understatement.                               QUOYLE                  The good.     Please.                             FIGG (O.S.)                  Your daughter Bunny was sold by                  your wife to a child pornographer.                  For $9000.Quoyle's heart.     Has stopped.                            FIGG (O.S.)                  But she's fine. We got her. And                  the doc says she wasn't touched.                  Yet. If you catch my drift.INTERCUT...a dingy kitchen, scuzzier than we could even haveguessed. Bunny in her underpants sliding merrily on a floor madeslippery with dish detergent. PAN past the video camera on itstripod to the PORNOGRAPHER at the window, also in his underpants,screaming into a cordless phone. And...BACK to Quoyle.     His heart must have started again, because he isable to say...                               QUOYLE                  That's.     The good n...                               FIGG (O.S.)                  Well.     Compared.INTERCUT...a riverbank somewhere high above swiftly-flowing water.Police and bystanders gathered. A winch reaching its chain intothe depths.                            FIGG (O.S.)                  Your wife was in a red Geo which                  went through a guardrail over the                  Chesapeake Bay Bridge.Here comes part of the Geo.        Streaming water and mud.                            FIGG (O.S.)                  They were doin' 97 in a fog.      The                car was cut in half by the impact                with the rail. Her male companion's                body floated up downstream.BACK to the horrified husband.     Waiting in silence.                          QUOYLE                And Petal...?                          FIGG (O.S.)                May never find the body. But she                was mercifully killed on impact,                without a doubt. They found her                shoes under the dash and her...                trousers for some reas...                          QUOYLE                That don't mean for sure she w...                          FIGG (O.S.)                ...and her purse. With the nine                large.Oh. Tears finally force their way through the shock.      As herealizes...                          QUOYLE (a murmur)                Yeh. If she was alive. Don't                guess she'd a left that.INT. COUNTY SOCIAL SERVICES - DAYQuoyle moving his bulk FAST down a corridor, a uniformed COP almostskipping alongside to keep up, watching Quoyle like a hawk all theway to.......the threadbare common room. Kids playing, arguing, sleeping,staring at an antique TV. Quoyle goes THROUGH them all, copdoggedly in his wake, and sinks to his knees beside...                          BUNNY                I can't do this.Bunny on the ratty sofa, legs dangling, holding out a vintageGameboy. She wears clean clothes, freshly-washed hair, and acomfortable smile.                          QUOYLE (very soft)                Me neither.And kisses her, lightly, on the lips.                          QUOYLE (softer still)                Hi.She kisses him back, much harder, on the mouth.     The lopsided grinof a practicing imp.                              BUNNY                 Hi, too.     That for me?We hadn't seen them, hidden beside his leg.          A bunch of DAISIES.He gives them to her. Like her best beau.                           BUNNY                 Where's our candy?                           QUOYLE                 In the store. That way, you've                 got the whole selection.And then...                           QUOYLE                 Give us a minute.Bunny doesn't understand.                           QUOYLE                 I mean him.PULL BACK to the cop, staring down on them from point-blank range.He doesn't move. Quoyle looks up, with an easy smile that sayshe'd just as soon tear all the arms and legs off, and sweat theconsequences later. The cop backs well off. He can take a hint.                            BUNNY                 Petal went to Florida.       She'll be                 back soon.He looks in her eyes.      Shakes his head.    No.                           QUOYLE                 She had an accident.                              BUNNY                 So do you.He nods, I do.   Tenderly pulls a strand of her hair aside.                           QUOYLE                 There was a car crash, sweetie.                 And they found...you know, the                 body. Of her friend.                              BUNNY                 Nestor.That's right. His big hand has wrapped around one of hers.           Shedoesn't seem to mind. Their faces so close.                           QUOYLE                 Petal can't come back, she's dead.                 You know dead. Like the turtle.She drills his eyes.   Calm as a moose.                           BUNNY                 We found the turtle. And they                 found Nestor. Did you find Petal?He shakes his head.                           BUNNY                 You never do. But she always                 comes back.And leans her forehead.      To rest against his.                           BUNNY                 Don't worry.INT. QUOYLE'S HOUSE - NIGHTQuoyle stumbling toward the front door, drawing his robe aroundhim. Squinting through the peephole. OPENING the door, toreveal...                           AGNIS                 Nephew, I'm your Aunt.     Agnis Hamm.Tall and rawboned and 60. A rugged, maybe even handsome face, setwith ice-blue eyes. Calm, slightly scary eyes, that drift to hisrobe...                              AGNIS                 You sick?     It's nine o'clock.He is completely off-balance here.                           QUOYLE                 Uh. No, Bunny and I like to...                 uh, early to bed, earl...                           AGNIS                 Losin' your wife, your folks, and                 your job'd depress anybody. It's                 a wonder you don't sleep all day.Not that she seems to approve. Not at all. His eyes now drift tothe large, well-used SUITCASES dangling from her powerful hands.                           AGNIS                 Thought I'd stay a day or two.                 Give you some relief with th...And stops.   The mouth doesn't smile.     But the eyes crinkle slightlytoward......Bunny. Who has crept out in her jammies.         Hugging a sack ofPepperidge Farm cookies like it was a teddy.                          AGNIS (to Bunny)                You like blue dogs named Warren?The little girl nods.     As if she certainly does.                          AGNIS                I got one in the car.INT. PARLOR - LATERIn the far corner of the room, Bunny plays with WARREN, a sweet,ugly dog. Toothless and, undeniably, blue.                          QUOYLE (O.S.)                I never knew her, really.See him now, sipping his tea.     Wallowing in the detritus of hisemotions.                          QUOYLE                But she was driven by terrible                forces, no one could understand.                She was a locked door. Even to me.Agnis in the good chair. Teacup on her ample lap. Assessing aphoto on the end table, Petal's arctic eyes, rigidly seductivepose. The snapshot enshrined by a neighboring votive rose in itsjelly jar glass.                          AGNIS                So she wasn't just a bitch in                high heels?Quoyle's eyes cut instinctively toward his daughter, her innocenceprotected by distance and absorption with Warren's passivity.                          AGNIS                Don't stress. She mighta heard worse                from her momma. I'm only guessin'.                          QUOYLE                Some people probably thought Petal                was bad clear through.                             AGNIS                People.     Are a cynical lot.                          QUOYLE                I think she just couldn't get                enough love.Agnis' unblinking eyes.                           AGNIS                I think the evidence.     Is on                your side.The eyes study him.     Dissect him, even.                             AGNIS                   I'm headed north, Nephew, to                   where our family comes from, in                   Newfoundland. Thought I'd never                   go back. But the older y'get...Clucks her tongue.                             AGNIS                   There's a pull. Becomes an ache.                   As if where your people started                   held a purpose for you. Like                   you're a piece in a puzzle...Not a smile. But something.        A softening of timbre, a flickerbehind the eye.                             AGNIS                   ...lookin' for where y'fit.Lifts her cup.                               AGNIS                   You, too.Takes a sip.     His eyes have narrowed in a burlesque of suspicion.                             QUOYLE                   In what sense do you m...                             AGNIS                   You need to come, Nephew.Just like that.                             AGNIS                   Nothin' here but hurt. You got                   to start fresh, everythin's gone!Hmmn?                             AGNIS                   The trip'll clear your head.                   Be educational for the squirt.                   Teach ya the world's still spinnin'                   outside this toxic slice o'Hades.                   And who knows...?Tilts her head.     Who knows.                             AGNIS                   They must have a newspaper up                   there. Somebody's gotta write it.He just stares.     The blankest of the blank.                            AGNIS                  Tell the truth, I'd appreciate                  the company. You two are pretty                  much my family.His face softens.       Hadn't thought of it that way.      And seeingthis...                            AGNIS                  A pot o'coffee would hit the spot.                  Drop o'whiskey would fit nice in it.She waits.   He rises.      And when he does...                            AGNIS                  Which one's my brother?He blinks.   She looks at two URNS on the mantle.                               QUOYLE                  Uh.     There's Mom.   And that's Poppa.The name of the funeral home tastefully stenciled.           He clears histhroat...                            QUOYLE                  Those are temporary.                               AGNIS                  Coffee.     And maybe a sweet.Quoyle nods, glad to serve.       Heads off to the kitchen.      Agnis looksat Bunny and Warren.                            AGNIS                  She needs to go outside.                            BUNNY                  I know why.She runs out, the dog trotting after.        Alone now......Agnis pulls something from her large carpetbag purse.           It is anoversized ZIPLOC BAG. She stands. Crosses to......her brother's urn. She removes the lid. Turns the huge Ziplocupside down to COVER the urn. Then, in one deft movement......UPENDS the urn, a cascade of ash tumbling into the Ziploc.Seals it. Sets it to one side. Then, from her purse......another ziploc already filled with replacement ashes. She poursjust enough into the urn. That should do it. Stashes the restback in her purse. Turns now to lift......the Ziploc with her brother's remains.     Stares at it.   ThinkHamlet with Yorrick's skull.                             AGNIS                   What say, Guy? The dumpster?A beat.     Eyes flat and neutral.                             AGNIS                   Just a thought.EXT. PHANTOM HIGHWAY - MISTY NIGHTA world of fog and reflected high beams. Big rig pulls over, andPetal climbs up and in, her short red dress fluttering about herthighs.The truck is roaring heedlessly through dense cloud. The DRIVER isgross and bald, snot suspended from his nostrils. He lets go ofthe wheel to run his hairy hands UNDER Petal's dress, while throughthe shotgun window, we see......Quoyle FLYING along outside, like a superhero. Except he isshocked bug-eyed by the tableau. The disgusting driver buries hisface in Petal's hair, she throws her head back laughing, and thedriver becomes Quoyle's FATHER, Quoyle silently SHRIEKING outsidethe window, and SMASH cut to...EXT. DECK, PORT-AUX-BASQUES FERRY - DAY...Quoyle    blinking awake on the deck of a pitching ferry. Fogand cliff    and the raw Atlantic. And SOARING alongside, an amazingnumber of    MARITIME BIRDS...the gulls and terns seeming to stareQuoyle in    the eye as they glide past. Maybe they prompted hisdream.                             AGNIS (O.S.)                   They draft off our air currents,                   it's quite premeditated.She stands at the rail.     Smoking, despite the wind.                             AGNIS                   They actually know the ferry                   schedule. Show up on time                   better'n the Newfies.He smiles a seasick smile. Lurches from his bolted-down chair tojoin her. She nods back toward......Bunny through the glass window, snuggled with Warren, feedingthe dog french fries.                             AGNIS                   ...image of m'sister, Feeny.                   She's married to a falconer in                   Arabia, now. Has to wear a black                 thing over her face.                           QUOYLE                 Like the falcon.She stares in his eyes. Yes, like the falcon.       They are growing oneach other in a companionable way.                              AGNIS                 Nice.     To be with family.He smiles.   It is nice.                           AGNIS                 'Specially big shots. Who can                 land a job with one phone call.His smile changes color.      A quiet pride in the modest...                            QUOYLE                 Well, that was my friend Partridge.                 Made the call. And it's just an                 interview.When Quoyle looks back in at Bunny, he sees she is staring off atsomething with full attention. He follows her gaze to......a honey-haired MOTHER with her small BOY snuggled in her lap.She is feeding him an ice cream bar with evident tenderness. Andthough the child's face is blissfully vacant, she murmurs to himwith serious intent.INT. CAR, GREAT NORTHERN PENINSULA - DAYQuoyle driving a winding, rutted road, high above the coastline.Cracked cliffs in volcanic glazes. Long-abandoned settlementsjutting from raw granite. Icebergs on the horizon above therumpled, creased fabric of a brilliant blue sea. Beside him...                           AGNIS                 On the map, here. Quoyle Point.                 Named after us. You.It all seems at once awe-inspiring, frighteningly lonely.      Andhostile as hell.EXT. QUOYLE'S POINT - SUNSETThe car pulls up in a shroud of mist. Our family climbs out,stares into what seems the center of a dense cloud, until......the fog LIFTS. And like a ghost, a GREEN HOUSE appears.       Then,disappears. Then, APPEARS again. This time, to stay.                           AGNIS (bottomless pride)                 I was born here.                          BUNNY                The green makes me hurl.                    (Warren whimpers)                Her, too.The cloud lifts further, and we see the house stands alone on arocky point. The bay roils far below. Half the window panes aregone. Holes in the roof, paint flaking everywhere. Lonely andscary as any haunted house.                          AGNIS                Empty 44 years. And look at that                roofline, straight as a ruler.Quoyle looks at her.     Looks at the house.   Looks at her.                          QUOYLE                Take it easy. Floor mighta fallen                into the cellar.                          AGNIS (laughs)                Not likely. There is no cellar.                No foundation, neither.She takes Bunny's squirming hand and starts toward the house, as ifcrossing Jordan.                          AGNIS (calling back)                The whole thing's lashed with cable,                to iron rings set in the rock!He just stands there.     Sees the cables now, the rings.                             QUOYLE (calling out)                Uh.     Why would they do th...                          AGNIS (calling back)                Long story!Apparently a private one, too.     Keeps walking.INT. GREEN HOUSE - TWILIGHTInside the dank, corroding place. We can feel all 44 years ofabandonment. CRASH! The door FLIES open. Quoyle with his tireiron steps aside, and......Agnis drags Bunny inside. The wind shrieking low throughopenings like proper spirits. Even this bold child is frightened.So Agnis leans to murmur...                          AGNIS                Up those stairs, Aunt Pinkie slept.                So fat she couldn't get down to her                chamber pot. Wanna see if she's                still there?Asked as a serious question.     Bunny nods.   Let's.ANGLE...upstairs now. Agnis marching through like MacArthurreclaiming the Philippines. Room after rough-hewn spacious room,light spiking through a thousand roof holes in assorted shapes.                             AGNIS                   Well. Too late to drive that road                   back 'round the bay. We'll camp                   in here tonight. Be right as rain.Quoyle looks down to his daughter.     Who nods, as if that were aperfectly natural suggestion.                             BUNNY                   Which one's Petal's room?   I'll                   sleep there.INT. GREEN HOUSE - LATE NIGHTCLOSE on Bunny's sleeping face.     PUSH INTO her closed eyes, andFADE to......a WINDOW, unearthly tendrils of FOG drifting past in moonglowwisps. Suddenly, a FACE appears, an animal. White. Wolf, or morelikely, dog. It stares in at us, is fleetingly joined by agrizzled HUMAN ghost, eyes FLASHING crazy, and......gone in mist.     CUT to...REAR ANGLE of Quoyle and Bunny, each rolled over onto one side,asleep in their sleeping bags. His arm across her protectively.Hers across Warren, who sleeps curled to her chest. PAN up to......the window.     Only the shimmer of cloud-like mist.     SNAP to...REVERSE ANGLE...Bunny's eyes.     wide open.INT. ROOM - DAWNCLOSE on Quoyle, stirring at the end of sleep.        His eyes flutteropen. A beat. He is alone. sits......BOLT UPRIGHT.ANGLE...front hallway, Quoyle's bulk POUNDING toward us, boots inhis hand. The front door ajar. And at the threshold, in adecorous semi-circle, six naked Barbies. Legs spread wide forbalance. Each staring out the doorway, to where......Bunny sits on the cold ground. Making some craft project withgreat care. Quoyle can breathe again, she's safe. Ambles out,crouches beside her. Close.She keeps working. Almost eerie concentration. He sees now thatshe is weaving a loop of dandelion stems, connected by aluminum poptops. He leans down. Kisses her head.                          QUOYLE                Is that a belt or a crown?No answer. That concerns him. The intensity of her focus. Henotices now, the soda and beer cans with their tops popped. Linedup in a row. He lifts one, liquid sloshes out. They're full.                          QUOYLE                Sodas get flat withou...                          BUNNY                This is important.She won't look up.     He glances back to the doorway.                          QUOYLE                That why the Barbies are                watching?                          BUNNY                They're being nice and patient.                          QUOYLE                They must be chilly, tho.     Should                I get their clo...                          BUNNY                They look better this way.        They                have great bodies.He looks back. Well. Maybe so. Holds up one of the heavy bootshe's carrying. It has a thick blue shoelace. The other. Hasnone. Sticks that one in front of her face.She looks up to him.     Tugs on the shoelace, which she now wears asa necklace...                             BUNNY                I need it.     I look good in blue.                             QUOYLE (smiles)                Well.     I look good in shoes....sees now what she has tugged from inside her shirt.     Theshoelace necklace holds a dull metal KEY as a pendant.     He blinks.                          QUOYLE                I was lookin' for that all over                our old place. The landlady s...                             BUNNY                I need it.He takes that in.    The urgency of it.   She is staring in his eyes.So he grins...                          QUOYLE                You had quite the heavy morning.                Take the rest of the day off.She doesn't smile back. Returns to her work. He looks out by thecliff, to see Agnis staring across the bay, Warren sitting at herside. He pulls on his boots. Gets to his feet.                          QUOYLE                Be right back, and we'll start                talking breakf...                          BUNNY (not looking up)                Watch out for the dog.He looks across the ground toward old Warren.                          QUOYLE                Yeh, her farts are pretty scary.                             BUNNY                I mean.     The white one!Now their eyes meet.    Matter-of-fact...                          BUNNY                The White Dog with the big                teeth and the red eyes. The                Skinny Ghost owns him. They                came last night.He draws a breath...                          BUNNY                I didn't dream 'em, don't say                I did.He thinks this over.                          QUOYLE                I was gonna say.     I'll keep my                eyes peeled.And makes a funny gesture, like peeling his eyeballs. She goesback to work. His eyes linger. Then, he heads off toward thecliff. When he gets there...                          AGNIS (staring across the bay)                I'll get us a carpenter. Fix                the place up in no time. We'll                find a rooming house til th...                          QUOYLE                Be cheaper to build a new one.                On the Riviera, even.Now she looks at him.     Her flat, bottomless eyes.                          AGNIS                Only I weren't born.     On the                Riviera.O-kay. That's settled. He nods, humbly, dumbly.         She points offacross the water. An actual TOWN.                          AGNIS                Flour Sack Cove. What time's                your interview at that paper?                Ten o'clock?Ten o'clock.                           AGNIS                The drive's a bitch.     We'll buy                us a boat.He tries a smile.    Unavoidably lame.                             QUOYLE                I'm not.     A water person.                             AGNIS (dead straight)                A boat.     That's the ticket.His grin hardens. Just enough to say that on this issue, maybeeven she can't push him. He turns around. Starts back toward hisdaughter.                          QUOYLE                ...not a water person.INT. CAR - MORNINGQuoyle driving alone in his best suit. Which is also his worstsuit. Which is also the suit he wore to interview Ed Punch, yearsago. Hard rain. Potholes. Around a curve, to see ahead...REAR ANGLE of a tall WOMAN, holding the hand of a CHILD as theywalk in their slickers through the downpour. As he passes them,they TURN and.....the woman is Petal.     The child is Bunny.    They both stick theirtongues out at him.Past now. Looking in the rear-view. The woman is lovely andno longer Petal. The child is a BOY, with a slack face and warmsmile. Surprisingly, the same mother and son that Bunny watched onthe ferry.                          QUOYLE (V.O.)                Someone found a pretty wife.Still staring in the mirror.     The receding figures small againstthe rain.                          QUOYLE (V.O.)                Someone always does.EXT. THE GAMMY BIRD - DAYQuoyle pulls up to a ramshackle place, its sign: THE GAMMY BIRDover a painted quacking duck. As he climbs out, he hears SHOUTINGfrom inside. A door opens, and......a crab-Iike figure scuttles out, jumps in a Toyota truck, turnsthe key. Kills the engine. He looks out at Quoyle standing inwhat's left of the rain. Climbs back out. Rasps...                          CARD                As you can see, sometimes y'can't                get away. I'm Tert X. Card, the                bloody so-called managing editor,                copyeditor, rewrite man, mechanicals,                ad makeup department, mail and                distribution chief, and snow shoveler.More of a leering rictus than an actual smile. TERT CARD is aging,balding, potbellied over a once-rawboned frame. His face lookslike cottage cheese clawed with a fork. He scratches his ballswith a rough-hewn hand. He is never happy.                          CARD                And you are either a big advertiser                come to buy a four-page spread to                push your warehouse of left-footed                Japanese boots. Or. You. Are the                breathlessly-awaited Quoyle.                          QUOYLE                That'd be me. The second one.Card rakes his privates once more, and offers the same hand indubious greeting. Quoyle takes it.                          CARD                Have to do without the Ultimate                Cheese, y'will. Himself, Mr. Jack                Buggit, is up at the house having                charms said over his scrawny chest to                clear out that impressive accumulation                of phlegm he's been hawking all week.Claps a mirthless hand on Quoyle's back, leading him into...INT. GAMMY BIRD NEWSROOM - DAYA newsroom. Makes the Mockingburg Record look like the WashingtonPost. Only two employees at their vintage desks. Card points ashe bellows...                            CARD                  Now, there's Billy Pretty. He's                  something of a landmark and an                  old fish dog.BILLY PRETTY is wizened and wiry, pushing 70. A tiny, energeticcreature with well-weathered hide, watering crystal-blue eyes, anda slanted smile. He waves a bony hand.                            CARD                  Billy does the Home News page.                  Poems, baby photos, household                  tips, and a gossip column, under                  the byline of Junior Sugg, that                  is pretty much straight libel.Billy nods.    That pretty much covers it.                            CARD                  In short. He writes the only                  stuff anybody actually reads.Little salute from the Managing Editor.      If Card likes anybody, helikes Billy. And he doesn't.                            CARD                  Now this miserable ugly Brit, is                  B. Beaufield Nutbeem. Imagines                  he's the foreign news chief. Steals                  every story off that foul shortwave                  radio and rewrites it in Limey prose.                            NUTBEEM (smiling)                  Which bloody Card rewrites in a                  mystical tongue most charitably                  referenced as an unacquireable taste.NUTBEEM is 50 and gangly. Buttery hair swept behind ample ears.A thin moustache, a bounteous bowtie, a ratty pullover. He opens afile folder. Gives Quoyle a piercing, meaningful glance.                            NUTBEEM                  Mine: 'Burmese sawmill owners and                  the Rangoon Development Corporation                  met in Tokyo Tuesday to consider a                  joint approach to marketing tropical                  hardwoods.'Got it?   Turns the page.                            NUTBEEM                  Card's rewrite: 'Burnoosed sawbill                  awnings and the Ranger Devotional                  Competition met Wednesday near                  Tokyo to mark up local hairwood.'A stunned.    Silence.                           CARD                 It's shorter, and I got Tokyo right.                           NUTBEEM                 If misspelled.                           CARD                 Now what's funnier, Quoyle? My                 writing style, or the fantasy that                 any Newfie would read that                 moosepuckey in the first pIa...                           QUOYLE (to Nutbeem)                 How'd the meeting go? Did they                 agree on a joint marketing approach?The beginning.   Of a beautiful friendship.                           NUTBEEM (gentle smile)                 Still in progress, old bean.                 One can only hope.Card, who likes no one.   Doesn't like Quoyle, too.                           CARD                 There's your miserable desk, Quoyle.                 We've got no idea what yer s'posed                 to do. But Mr. Jack Buggit will                 drop by someday and enlighten us                 all. Til then...And he turns away. Through the swinging door.       SLAM.   Quiet.Except for Nutbeem's chuckle.EXT. GREEN HOUSE - DAYQuoyle pulls up beside the ancestral home. Agnis stands at theback of a rented truck, sorting through materials in the payload.Across a stretch of ground, Bunny is earnestly pretend-reading abook to Warren, who lies listlessly before her.Quoyle comes up behind Agnis.   He carries a newspaper and anexcited air.                           QUOYLE                 Listen to this. 'Well, we see                 the postman has landed in jail for                 45 days for throwing the mail in                 Killick-Claw Harbor. He said he                 had too much to deliver, and folks                 could just take a dip and help                 themselves.'He looks up, eager for her reaction. She is still sorting throughbolts of thick cloth, spools of heavy thread, odd mechanicaldevices.                           QUOYLE                 This is great stuff. 'A snowmobile                 mishap has taken the life of 78-year-                 old Rick Puff, who was on his way                 home from what the Widow Puff calls                 a 'screech-in and a carouse,' when his                 machine fell through the ice. A well-                 known accordion player, Mr. Puff had                 served four years in the 1970s for                 sexual assault on his daughters. Bet                 they aren't crying, either.' This                 Billy Pretty can really write!                           AGNIS (absently)                 ...passes as colorful.He looks into the truck.      Sees all the stuff.   She surveys hispuzzlement.                           AGNIS                 Nephew, we can't fix up the house                 proper on a journalist's wages.                 So I have un-retired.Oh.   Absorbs that.                              QUOYLE                 From what?                           AGNIS                 Upholstery. Been sought after for                 33 years, wherever I've lived.                 This should be the real test, huh?Quoyle nods. Could be that. The sudden sound of footsteps abovethem, makes him look up sharply, to see......a fit young MAN in a toolbelt climbing down a ladder from theroof. The muscles of a stud, the shy smile of a boy, he waves agreeting and HOPS down the last six feet to the ground.                            AGNIS                 This is Dennis Buggit, master                 carpenter.DENNIS offers a hand, and a smile that says he's expecting to likeyou. Makes the sentiment contagious.                           DENNIS                 Only til I get my lobster license.                 I'm a fisherman in my soul.A strong handshake.   On both sides.                           DENNIS                 It's a Newfie thing, the compulsion                 to fish. Y'hear yesterday's tragedy                   'bout the Newfie who went ice fishin'?Quoyle hasn't.                             DENNIS                   Brought home 200 pounds of ice. His                   wife fried it. They both drowned.Quoyle laughs good and honest.      Dennis likes that.                             AGNIS                   With me workin', we'll need day                   care for Bunny after school. Turns                   out Dennis and his wife send their                   little girl to this wonderful saintly                   woman. How's that for us livin' a                   charmed life?Quoyle nods, if a bit cautious.      Dennis squints out across the bay.                             DENNIS                   Agnis says yer buyin' a boat.                   Sooner's prob'ly better'n lat...                             QUOYLE (quiet smile)                   I'm not buyin'. No boat.Sounds pretty sure of that.      Punctures the amiable ambiance with ashard of silence.                             AGNIS                   Well, course we're buy...                             QUOYLE (to Dennis)                   Buggit, huh? Any kin to my boss on                   the Gammy Bird?The silence.     Just got thunderous.   A full beat.                              DENNIS (low)                   Oh, yeh.   He's m'dad.Even the eyes glance down.      What is that?   In the wake of it...                             AGNIS (cheerful)                   Gonna chat up yer daughter, or just                   ignore her as usual?Quoyle nods. Better do that. Dennis sends a shy smile, as ifapologizing for the awkwardness. Quoyle holds up a finger, beright back, and......heads on over to where Bunny is reading to Warren.                             BUNNY                   Warren threw up in your sleeping bag.                   She's got a stomach problem.Quoyle takes a breath to answer, but stops.     He's caught a whiff.                             QUOYLE (V.O.)                Headline.     Dog Fart Fells Freelance                Reporter.     Promising Career Nipped                in Bud.                          BUNNY                It's called cancer.Oh. Quoyle holds his face together, as Bunny strokes the limpWarren. Then, he crouches down......strokes Warren, too.     Good dog.INT. GAMMY BIRD - MORNINGQuoyle enters. Billy Pretty's on the phone, hand cupped over thereceiver, like it's top secret. Nutbeem's tuning his ancientshortwave with a butter knife through the hole where a knob oughtto be. And as Quoyle sets down his sack lunch and thermos, as hepeels off his parka, he's staring straight into the eyes of......Tert Card across the way. Wearing a wicked and mysterioussmile. As Quoyle's butt lowers toward his chair...                          BOOMING VOICE (O.S.)                ATTENTION QUOYLE!Ouoyle JUMPS a foot.   Looks from Card to Billy to Nutbeem.    What'sgoing on?                          BOOMING VOICE (O.S.)                IT'S AN I.Q. TEST, ME OLD SON, AND                YOU AIN'T EXCELLING!WHIPS around. Through the glass of the only private office, sits arumpled codger with a bullhorn. JACK BUGGIT, has his rubber bootsup on the desk, scale-spattered overalls over his compact, sinewybody. His hair is wisps and shocks, and his face is strewn withstubble split by a leprechaun's grin around a stained hand-rolledciggie.                          JACK (into bullhorn)                DOES PAYIN' YER SHAMEFUL WAGE ENTITLE                ME TO A PERSONAL AUDIENCE? OR WOULDJA                RATHER JUST STAND THERE AN' DROOL?                          NUTBEEM                Tell the truth.Jack WAVING him in, with great energetic loops. The grin morerowdy than his boy's. But the charm is there and more so. Quoylegoes...                             CARD (O.S.)                 Hold onto yer danglies, little                 sister....closes the door behind him. Jack's eyes are crinkly blue.   Theystudy Quoyle good. And right in his face...                           JACK (into bullhorn)                 I PREDICT! A COCKADOODLE-BRIGHT                 FUTURE IN JOURNALISM!                           QUOYLE                 Based on my I.Q. test, huh.   Where'd                 I rate?                           JACK (sets the bullhorn down)                 Advanced squirrel. This ties you                 with me, an' I own the place.Holds out a brown fisherman's hand.   Quoyle takes it.                           JACK                 Pleased t'meetcha, Billy says yer                 workin' out.A wink.                           JACK                 Tert Card says he's keepin' an eye                 on ya. Since he's a self-servin'                 liar, helluva ad salesman tho, it                 means he's jealous. And Nutbeem...Lifts the bullhorn...                           JACK (into bullhorn)                 NUTBEEM'S TEMPORARY ANYWAY! YOU HEAR                 THAT NUTBEEM!                           NUTBEEM (O.S., through glass)                 WITH PROFOUND RELIEF!Jack's grin grows a twinkle.   Soft spot for the Brit.                           JACK                 Nutbeem's obsessed with actual news.                 Makes up for it by manning the sexual                 abuse desk. Can't keep up with the                 volume there, we're runnin' three,                 four a week.Leans forward.   Like he's dishing the lowdown.                           JACK                 Card's in charge. Ya hear this and                 that 'bout his typos, but typos is                 part of Gammy Bird. Everyone gets                 a laugh, and gets to figger 'em out.                   Better'n a crossword.Stabs out his cigarette.     Pulls a new one from a damp little box.                              JACK                   An' Billy. Well, Billy's a writer                   and a fisherman. Me, I'm just a                   fisherman.Offers the box.     Quoyle shakes him off.                             JACK                   Fishin' and the sea is all I am.                   My pap the same. My boy.                             QUOYLE                   So he said. Waitin' for his license.Ah. Jack's smile doesn't actually fade.       But the eyes flicker, andQuoyle is sorry he opened his yap.                             JACK                   Naw, my boy's passed. Went to sea                   and there he rests. Bless his bones.His glance goes to a photo. Jack and a strapping blond son.Not Dennis, that's for sure. Somehow, we are suddenly down tobusiness...                             JACK                   Want two things from ya, Quoyle.                   First. You cover every local car                   wreck, take pictures. Front-page                   photo every week, whether we have a                   wreck or not, an' we always do. When                   we don't, we dip into Card's file,                   he's got some beauties.INTERCUT...half a red Geo being fished out of the water. Petal'slifeless torso hanging backwards out the door, arms gracefullyextended like a ballerina or Olympic diver. Over this...                             JACK (O.S.)                   Knack to this. If there's a dark                   patch on the ground, it reads blood,                   whether it's motor oil or Diet Coke.                   Gloves, hat, lyin' in the road...BACK to Jack.     Canny and keen.   He knows this stuff.                             JACK                   ...somethin' that humanizes, makes                   ya feel. That's what a wreck is.                   It's always saying, 'There but for                   the grace of God...'Do ya follow?     Quoyle follows.                            JACK                  Plus. We're starting a feature on                  the shipping news. What ships come                  in, what goes out. Whatever's of                  interest. Throwin' it to you, son.                  Chance to shine.A beat.                            QUOYLE                  Mr. Buggit. I'm not.     Well, a                  water person.Ah.   Jack takes this in.     The smile returns.                              JACK                  Chance.    To shine.If you catch my drift.      Quoyle shuts up.                            JACK                  One peculiarity. I'm no joke,                  son, and I don't tolerate jokes                  about Newfies. Or them that does.SMASH CUT to...INT. SKIPPER WILL'S DINER - NIGHTCLOSE on Dennis, holding a half-eaten squidburger in two hands.Oblivious to sawdust, smoke and stench, he is charmingly,engagingly, smashed.                            DENNIS                  So this Newfie comes to Toronto.                  Cabbie says, take ya to meet girls                  for a good time. Boy says, okay,                  but I only want a Newfie girl.His audience is Quoyle and Nutbeem. Each holds a squidburger ofhis own, tentacles dangling. Quoyle has his next one handy by hisbeer.                            DENNIS                  Right section of the party district,                  he finds a girl, they have sex,                  she says that's a hunnerd dollars.                  He says fine, tips her another                  hunnerd! She says, wow, can y'come                  back t'morrow?Quoyle takes a humongus BITE.      Tentacles now dripping from hisjaws. Rapt. Hypnotized.                            DENNIS                  Next two nights, same thing!                   Finally she says, I never met so                   sweet a guy, where ya from? He says,                   Misky Bay, Newfoundland. She says,                   really? Me, too!Quoyle hanging on the punch.                             DENNIS                   He says, I know. Yer ma asked me                   t'give ya six hunnerd dollars!Quoyle SNORTS his laughter, dislodging a tentacled morsel or two.Nutbeem has to look away, as Quoyle retrieves the chunks, stuffs'em back in his mouth.                             DENNIS                   Yer the model Newfie, Q, but fer                   th'boat. Why doncha buy Nutbeem's?Drunken, devilish smile.     Quoyle turns, innocent questioning eyes.You got a boat?                             NUTBEEM                   I built a Chinese junk. Sailed it                   up from Brazil. Missed Manhattan by                   a mile or so, got stranded here when                   I shipwrecked by Gaze Island.So casual and falsely modest, Quoyle's eyes are big.                             NUTBEEM                   Almost finished my repairs. Be                   leaving soon. As paleontologists                   define the term.Studies Quoyle's amazement.     Confides...                             NUTBEEM                   She's ugly. And the only thing                   I've ever loved.Dennis rises.   Belches.                             DENNIS                   Yer story tugs at me bladder.And off he lurches to correct the situation.       Once he's gone...                             QUOYLE                   Him and Jack. Tell it.Their eyes meet.     The Brit sighs.                             NUTBEEM                   Jack Buggit's psychic, start with                   that. He's got the gift. Specially                   about the sea.Thinking. Should he tell it?      Quoyle makes a rolling hand motion,hurry it up.                             NUTBEEM                   Older brother Jesson, everyone's                   favorite, even Dennis'. Goes to                   sea like his dad. One day, rest                   of the family's sitting by the radio,                   and Jack goes white...That's right.                             NUTBEEM                   Stands up. Says, Jesson's gone.                   Walks out of the house. Grief too                   big for walls to hold it.Sets down the burger.     Runs a finger down the frost on his beermug.                             NUTBEEM                   So Dennis is forbidden the sea.                   But being free, Newfie, and 21,                   he goes anyway.                             QUOYLE                   And that's enough t...?                             NUTBEEM                   Death storm. Monster wave cracks                   her steel hull amidships, one inch                   crack from starboard to port. Men                   go in the water. Dennis lost.                   After a week...A week.                             NUTBEEM                   They come to Jack, call off the                   search. He stands like a stone. Then                   turns, sharp, the way he does. Says                   only, 'He's alive. And I know where.'                             QUOYLE                   Man's a witch.                             NUTBEEM                   Went to sea, alone, in just a skiff.                   Finds him. Can you guess the odds?                   Finds him. Finds him. Both arms                   broke, 99% dead.Leans.    Close.                             NUTBEEM                   Boy comes to. Jack says if you ever                 step in a boat again, I'll drown ya                 m'self. And you know what the kid                 said...?Quoyle glances over.      Dennis wobbling his way back through thetables.                           QUOYLE                 Say it fast.                           NUTBEEM                 Says fishin' licenses are all spoken                 for, I'd appreciate you givin' me                 yours. Jack looked in his eyes.                 They never spoke ag...                           DENNIS                 What's bein' blabbed here?                           NUTBEEM (not missing a beat)                 Quoyle says you got a nice ass.                           DENNIS                 Quoyle's right.He raises his beer.                              DENNIS                 To my ass.                           QUOYLE                 I'll drink to that.And, by God.   They do.EXT. WAVEY'S YARD - AFTERNOONQuoyle and Bunny climb out of the wagon. A small house, its grassyyard strewn with a phantasmagoria of painted wood figures,galloping horses, dogs balanced on wheels, a row of chrome hubcapson sticks. A zoo of the mind. To one side, a table piled withcrafts, ignored by......fifteen LITTLE KIDS running in all directions, like bundled,unbridled banshees. Looks like fun. Two harried MOTHERS aretrying to cope with the chaos. And there, under a tree......the honey-haired WOMAN Quoyle had seen on the ferry. And inthe rain. She is on her knees, tying the shoes of her vacant-facedSON. He trips and sprawls, but he is laughing. The woman smilestenderly and tousles his brown-straw hair.Quoyle gets up his courage. Walks Bunny over to them.       As wearrive, the woman looks up...                              QUOYLE (really nervous)                 Hullo.     It's our first day, and I                  was wond...                            BUNNY                  What's wrong with him?Quoyle freezes.    She means, of course, the blankly-staring boy.                            QUOYLE                  Hey, how 'bout we ask what's wrong                  with you? There's nothing wr...                            WOMAN (to Bunny, softly)                  Sure, there is. This is Herry, and                  he has Down's Syndrome. It means                  he learns things very slowly.Oh.   HERRY smiles at Bunny.      Suddenly, wonderfully.                            BUNNY (to Herry)                  Know how to be a dog?She DROPS to all fours and starts YAPPING like a terrier. HerryLAUGHS with delight. Tumbles down to the grass and does hisimpression of a Chihuahua on speed.                            BUNNY (to the woman)                  He looks fast to me. Maybe he's                  cured.                               WOMAN                  Maybe.The kids waddle off in their canine personas. Alone with the womannow, Quoyle is near-catatonic. Come on, brain!                            QUOYLE                  Which one of those women is in                  charge here?The woman looks at him. Clear cornflower eyes. As comfortable insilence as he is agonized. Then, she squints out at the otherwomen, desperately running ragged after the kids.                            WOMAN                  Neither of 'em.      They're just moms.Oh.                            QUOYLE                  Well, my lord, whoever runs the                  place should be giving this a                  little more attention.She looks back at him, blankly.                               WOMAN                  You think.                            QUOYLE                  I mean, children need structure.                  No one's even guarding that craft                  table, they could be running around                  with scissors and get hurt.The woman's eyes bottomless, unreadable.       The silence excruciatingfor poor Quoyle. He clears his throat.                             QUOYLE                  Um.   I write for the newspa...But she stands.    The grace and quickness of a jungle cat.                           WOMAN                  Well. I'd better get to work, I                  see. Providing structure and all.Brushes off her skirt.       He is in the dawning panic of beginning torealize...                            WAVEY                  I'm Wavey Prowse, and this is                  my place. Pardon our antiquated                  emphasis on individuality and the                  freedom to have fun.Heads off with a loose-limbed stride.       Spins back around...                               WAVEY                  Oh, yeh.     Running with sharp                  objects?     We save for Tuesdays.Got it? He gawks like a stupid animal.        Nods, got it.   She'salready gone.EXT. BARGE DECK - DAYQuoyle and Billy Pretty stroll the teak deck of a massive,elegantly-outfitted BARGE. The wiry little fellow keeps hissmile to his eyes...                            BILLY                  Well, she don't wear a ring, cause                  she lost her husband at sea. Just                  after the boy was born.Oh.   Quoyle nods, blandly.      As if it is a matter of no real concern                            QUOYLE                  Well, I was just...                            BILLY                  ...sharpenin' those observation                  skills. First tool of a quality                  reporter.Keep walking.                           QUOYLE                 She has wonderful.     Posture.                           BILLY (has to smile)                 Yer know, I never notic...                           MELVILLE (O.S.)                 JESUS F. CHRIST! YOU BOYS WANT THIS                 STORY OR NOT?Look up ahead to the bow, where a rolling bar has been set up.BAYONET MELVILLE is mixing drinks. He has a florid face andstriking white hair. Dapper, arrogant, a guy with more money thanhe's worked for. As we approach...                           MELVILLE                 Ever seen anything like her?Quoyle looks to the sour-faced middle-aged lady, who glancesdisdainfully at us above her gimlet. SILVER MELVILLE used to bepretty and rich. She's still rich.                           QUOYLE (politely)                 No sir, your wife is very lovl...                            MELVILLE                 I mean.   The ship.Oh.   Billy keeps a straight face.     Silver ROLLS her eyes.                           MELVILLE                 It was built for Hitler. You've                 heard of Hitler? Up here in Canada?                           QUOYLE                 Oh, yessir. He was in all the                 papers. Way back.Silver snorts a laugh. Melville wonders if that was irony.Looking at Quoyle, he doubts that's possible.                           MELVILLE                 Finest botterjacht ever built in                 Holland. Flat-bottomed, she can                 go right up on shore in a storm.                 Incredibly heavy, forty tons of oak.                 Not unlike the barges of Henry VIII                 and Elizabeth I.                           BILLY (helpful)                 We heard a them, too.                           SILVER                 Tell them what happened.     In                  Hurricane Bob.He looks at his wife. Clear in a glance they hate each other'sguts. Go on, she nods. Tell it.                            MELVILLE                  Pounded twelve beach houses.                  Expensive ones. To rubble.                               SILVER                  WHAMM!Drunk and mean.    And smarter than he is.                            SILVER                  Now tell them. Who let our                  insurance lapse.Silence.                            SILVER                  Took six very expensive lawyers to                  weasel us out of it. An inch from                  bankruptcy.She winks.                            SILVER                  Moral of the story? When you marry                  a tour guide. Confine his authority                  to mixing the drinks. Same again,                  dear?And holds out her glass.       Billy looks out to sea.   Like he hasn'theard this.                            QUOYLE (cheerful)                  So. What brings you folks up                  from Long Island?A beat.    While husband and wife glare at each other.                            SILVER                  My dining salon needs refitting.                  And the best custom yacht upholsterer                  in the Northern Hemisphere just                  moved here. I was forced. To follow.She turns to Quoyle.       Who just gapes at her.   Open-mouthed.                               QUOYLE (softly)                  Oh.   My.    God.INT. GREEN HOUSE - DAYQuoyle enters, impressed by the progress of the renovation.Windows are in, walls patched, floor sanded, lights are working.Through the place into......the kitchen, which is in surprisingly usable shape. Agnis sitsalone at a butcher block table with a set of ledgers spread beforeher. A large mug of tea. A bottle of Bushmill's Irish.                             QUOYLE                   You are a woman of mystery, Aunt.                   Mystery and surprise.                             AGNIS (still working)                   Silver Melville says you was out                   there. Be nice in yer story, she's                   payin' for a piece of this house.Silence.                             QUOYLE                   You said upholstery.   Never said                   yacht uphol...                             AGNIS                   ...never said not. Ask better                   questions, you got a chance fer                   better answers. Got my shop set                   up in Killick-Claw, now.Looks up.    Sees he's dazzled by how she moves right along.                             AGNIS                   Two good workers. Mrs. Mavis                   Bangs is an old plow horse like                   m'self. But Dawn...She winks.                              AGNIS                   Dawn's young and on the sexy                   side. You oughta drop by and                   say hullo.He absorbs that.     How fast can he change the subject?                             QUOYLE                   Where's Bunny?Agnis looks at him.     Reaches for the Bushmill's.                             AGNIS                   Upstairs, in what will soon become                   her room. She'll be all right.                             QUOYLE                   What does that mean?She pours some whiskey into her tea cup.                            QUOYLE                  Little early in the day f...                            AGNIS                  Warren died today.    That's what that means.Drinks the whiskey.    Stares straight in his eyes.     Sees his sorrow.The honesty in...                            QUOYLE                  Poor old girl.Agnis deciding.    Whether to tell him...                            AGNIS                  I used to live with someone named                  Warren. Died of cancer, after                  nine years together. Dearest soul                  on this earth.Quoyle shocked. What can he say? His empathy so naked, so real,even Agnis has to soften her voice...                            AGNIS                  Went from the funeral, and bought                  that dog. Named her Warren. Just                  so I could say the name a hunnerd                  times a day. Women are foolish, huh?                            QUOYLE                  I never thought so.A good moment for them.    It holds a beat.                            AGNIS                  Bunny wants to bury the dog with                  me. But I told her I'd rather do                  it alone.Quoyle nods.   Rises slowly.   He'd better go to her.                            AGNIS                  Some advice about the child?Another sip.                            AGNIS                  Don't get down on her level, the way                  you do. She'll never respect you.INT. BUNNY'S ROOM - DAYBunny sits on the floor in dim light, wearing an enormous bluesweatshirt. Obviously dad's. Her naked Barbies sit in a semi-circle watching her braid a meticulous loop out of the paper andfoil from chewing gum wrappers. Quoyle enters, and sits closebeside her. Watches in silence, as she works.                            BUNNY (not looking up)                  Warren died today. She's not                  coming back.No tears.   Just a hollow sound in her voice.                            BUNNY                  That's the difference.He knows what she means.      Strokes her hair.                            QUOYLE                  Another necklace, huh?    Can                  I help?                            BUNNY                  You can watch.Okay.   He looks at the Barbies.                            QUOYLE                  Do I have to take my clothes off?She looks up at him.     Straight to his eyes.                            BUNNY                  You look better with 'em on.Goes back to work.     He watches her.                              QUOYLE                  You know.    You do look good                  in blue.EXT. ROAD - DAYQuoyle driving the wagon, Dennis at his side. Up ahead on theroad, two figures. Herry holds tight to his mom's hand. Quoylepulls over, and they stop. Wavey squints at him, against the sun.                            QUOYLE                  Give you folks a lift?That extra beat before she says...                            WAVEY                  We're enjoyin' the walk, thank you.Doesn't smile.    Doesn't look angry either.      Just comfortable.                            QUOYLE                  Well. My aunt can't bring Bunny to                  the daycare, she's got her shop now.                  But I worked it out with my boss. So                  I'll be bringin' her come next week.No reaction.                            QUOYLE                  If that's all right.                            WAVEY                  Love to have her. I'm sorry,                  Mr. Quoyle, about the other time.                  Women can be moody, you know. And                  temperamental.Now she smiles.    One-tenth power.     Still a dazzler.                            QUOYLE                  Only the best ones.Did she like that?    Hard to tell.     She looks around him...                            WAVEY                  Good afternoon, Dennis. Give our                  respects to Beety and Marty.He waves, will do. She takes Herry's hand, starts off down theroad. Quoyle sits and watches.                            DENNIS                  Excellent posture.Quoyle looks over.    His pal shrugs.                            DENNIS                  People talk.EXT. SHORELINE - SUNSETRear ANGLE of Agnis, walking over stones to the edge of the sea,carrying something in her arms. Walking to meet the sun, as itgives its last to the shimmering water. REVERSE ANGLE to see......she carries her old dog. On a clean sheet. Rests the burdengently down. The incoming tide laps over. The sheet billows init. She takes a step back.                            AGNIS                  You were a good girl, Warren, no                  trouble a'tall.Surf rolls out.    Swims back in.     Flows around her friend.EXT. GREEN HOUSE - DAYAn outhouse stands unobtrusively near the edge of the cliff. SeeAgnis alone, approaching. Something in her hand. As she reachesthe outhouse, we see it is......the ziploc bag. With her brother's ashes.        She gazes back atthe house now. Then, at the bag...                              AGNIS (cold, low)                   Hope ya like. What we done with                   the place.She opens the door, enters.       Stares down into the deep hole.Unzips the bag, and......TIPS the ashes DOWN INTO the hole. Watch them in SLO-MO,falling free. Hear the rustle of Agnis lifting her skirts, and...CLOSE ANGLE on Agnis' face.       Staring out at the sea through a smallcrack in the outhouse wall.       HEAR the splatter as she voidsherself.                             AGNIS (a murmur)                   Welcome home.INT. WAVEY'S PARLOR - DAYDaycare in progress. The comfy parlor has been given over to thekids. A wall of Polaroids of each child faces a map ofNewfoundland with drawings of moose, caribou, and lobster. LittleHerry sits alone in a doorway, watching with big eyes as......Quoyle, Bunny astride his back, RAMPAGES around the parlor onall fours, SNORTING like a crazed boar. The kids are squealing,delighted, making excited little runs at him, swatting him withthrow pillows and rolled-up sweaters. Thrill of the hunt.Wavey comes through the doorway, drying her hands, just behindwhere her boy sits. Quoyle doesn't see her, he's thrashing andbellowing, lost in the game. She watches, for a long beat. Thenleans down to Herry.                               WAVEY (a whisper)                   Go on.    Get the pig.Herry grins like the devil. Dashes off to PLOW INTO the prey,knocking them sprawling. Kids PILING on.Wavey's unseen smile.       The start of something?INT. WAVEY'S KITCHEN - LATERCLOSE on Quoyle.     He is happily washing a mountain of dishes andcups.                             QUOYLE                   So the Newfie drills another hole                   in the ice, aways off from the first                   one. Once again, the voice booms,                   NO FISH DOWN HERE!PULL BACK to see Wavey beside him.       She's drying what he washes.                               QUOYLE                 So he moves way down the ice.                 Drills another hole. Voice comes                 again, I SAID, NO FISH DOWN HERE!They don't look at each other.      Poker-faced, just alike, workingside by side.                           QUOYLE                 The Newfie looks around. Still                 nobody. Hollers, WHO ARE YA?                 THE VOICE O' GOD? Voice comes                 back, NO! THE ARENA MANAGER!He can't help but snort out a chuckle of his own.       Sneaks a lookover at her, and she......laughs out loud.    Healthy.   Sexy, even.   But from the delay, heguesses...                           QUOYLE                 Heard it before, huh?She looks over at him.     Her eyes dance a little.                           WAVEY                 Sometimes, passion in performance.                 Beats the element of surprise.And he is lost in those eyes.     Knows it's showing.     Glances away towhere......Bunny sits in a corner.     Reading to a rapt Herry.                           QUOYLE                 You guys hungry?                           BUNNY                 Shhh. I'm teaching Herry to read.                 Just like I did Warren.                           QUOYLE                 Is he learnin'?Bunny looks over at him.     He is so dumb.                           BUNNY                 First is the teaching part.     The                 learning comes later.Herry nods.   Later.   And out of the blue...                          BUNNY                 Wavey? Now are the berries ready                 to pick?Quoyle looks over to the woman. But instead of Wavey, he seesPETAL, staring at him with slow predatory heat.                             PETAL                   Want to pick my berries, do you.                   Should I climb right up on this sink?And then, once more she is...                             WAVEY                   Almost. Almost ready.       You know,                   it's all about timing.Quoyle.   Takes note.INT. GAMMY BIRD - DAYQuoyle alone in the office, pretending to peck away at a story.Actually, he's looking......through the window. Where Jack Buggit, Tert Card, Billy Prettyand Nutbeem are all circling around a small, roughly-made boat,attached to its rented trailer. They are talking to each other inlearned tones. A Talmudic chat. And......in they come.     First through the door...                             CARD                   That's yer boat.                             QUOYLE                   Said it was.                             CARD                   One question remains.     Why.                   Is that. Yer boat?Uh-oh. He looks from one face to another. Even Billy isirritated. Nutbeem gazes down, embarrassed for him.                              QUOYLE                   Well.   A boat's a boa...                             CARD                   It's a shit boat. Best thing,                   get rid of it some dark night.Quoyle can't believe this.      Hot shame burns.                             BILLY                   Go hire Alvin Yark to build ya a                   sweet little rodney. This thing's                   a wallowing cockeyed bastard that'll                   sink in a bathtub.And standing in the doorway, the scariest sight of all.    The boss.Just shaking his head.                              JACK (sadly)                 You don't have the sense God gave                 a doughnut, do ya?The word from Sinai on Quoyle's worth.       A pity.                           JACK                 I'm goin' fishin'.Out the door with a SLAMM!      Quoyle stares hopelessly after him.                           NUTBEEM                 Don't jump off a bridge over it.                 Anyone can make a brainless, asinine,                 devastatingly revealing blunder.                              QUOYLE (actually means this)                 Thanks.                           CARD                 What in th' furry pit of Newfie hell.                 Is this!?Holds up some sheets of paper.       Photos of the Melvilles'botterjacht. Reads...                           CARD                 Hitler's Barge...?                           QUOYLE                 That goes with the shipping news.                 Profile of a vessel in port.                           CARD                 What about the car accident?                           QUOYLE                 That's the one I didn't do. Mrs.                 Diddolate sprained her wrist. Period.Card still reading.                           CARD                 So you didn't do the one Jack told                 yer to do, and you did one he don't                 know yer did!Silence.                           QUOYLE                 Pretty mu...                              CARD                 This copy.     Is worse.   Than yer boat.He looks up.   Equal parts disgust and delight.                              CARD                 Jack even sniffs this, he cuts you                 up fer lobster bait. I've half a                 mind to run it.Quoyle straightens his spine.                            QUOYLE                 Run it.Strides off for the door.     Turns back...                           QUOYLE                 As for the part about you havin'                 half a mind? No comment.Out the door.   SLAMM harder than Jack's.EXT. GAMMY BIRD - DAYQuoyle stumbling toward his wagon with vacant eyes.                           QUOYLE (V.O.)                 Headline. Reporter Disembowels                 Self With Rusty Joke.EXT. GREEN HOUSE ROOF - DAYQuoyle in a carpenter's belt, climbing very carefully from a ladderonto the roof. His vertigo apparent as he keeps to his hands andknees, trying to fight the compulsion to look down. Gives in toit, peering from the corner of his eye down the cliff, the rocks,the sea so far below. Not a good 1dea.Comes to the shingles. Eases his way into a fearful crouch.   Okay.Starts hammering. And rehearsing.                           QUOYLE                 Jack, I completely understand, I                 would fire me, too.Nodding, in time to the hammer strokes.                           QUOYLE                 In a heartbeat.Hammers LOUDER, speaking in rhythm...                           QUOYLE                 You give me a chance, and what                 happens? I buy the wrong boat,                 I write the wrong story, I am the                 lowest form of alleged life. In                 fact, your comment...Stops.                            QUOYLE                ...was an insult to the doughnut.Hear now what the hammering had masked. Someone is reaching thetop of the ladder, climbing onto the roof.Bunny. Somehow she has managed to climb while carrying a sandwichon a plate. And an open bottle of soda. He stares at her,uncomprehending.                          BUNNY                Egg salad and Nehi grape.She sets them down.     Stands UP on the steep pitch.                             QUOYLE (shocked stupid)                Baby...                          BUNNY                They're mine but I'll share.As the plate and bottle slip neatly OFF the roof and, after anoticeable beat, shatter softly far below. Bunny's turn to beshocked. She's contemplating going after them.                          QUOYLE                DON'T MOVE!!Okay, that was a little loud. It has also scared the kid out ofher wits. Quoyle regrets this. Starts scooching awkwardly downthe slope, inches at a time...                          QUOYLE (too casual)                We're gonna play Wait For Daddy.                Can you play that?She's just staring over the side. Hypnotized by the sight.        He'sslipping toward her. Toward the edge.                          QUOYLE                And if you don't move.     Until I                get there. Then...Closer, reaching toward her back...                          QUOYLE                ...then you win!...GRABS her arm, she STARTLES, violently LURCHING, but he YANKSher to him. Holds her to his heart. Holds her. He is breathinglike a freight train.                             QUOYLE                That.     Was so easy.INT. GAMMY BIRD - MORNINGJack Buggit enters with energy.     Looks around.    Billy's typing,Nutbeem's reading. Quoyle is cleaning out his desk, pulling thingsoff his little shelf to pack away. Goofy photo of Bunny. Ceramicchild-made three-legged turtle. Tiny padded box with what looks tobe carefully-preserved empty eggshells.Jack heads toward him.                          CARD                Did ya see the Hitler's barge                piece, Jocko?                          JACK                I saw it. And heard from some                who'd done the same.                      (to Quoyle)                Good. Neatness.Quoyle turns. Pretty much all his possessions are in a bigcardboard box. Jack peers into it.                          JACK                Reorganize. Start over.      Good                thinking.But he's smiling.   Like he's got the point.                          QUOYLE                Thing about the barge piece? I                just thought it'd perk up th...                          JACK                Got six phone calls 'bout that                piece. Six. That'd be like half                a million calls in Toronto.Grasps Quoyle around the back of the neck.                          JACK                People liked it, old son. Crowd                went down to the dock t'see the                thing, but it'd already pulled out.Quoyle stares, slack-faced into the elfin eyes...                          JACK                Course you don't know anything                about boats, but that's entertaining,                too. So go ahead with it. That's                the kinda stuff I want, see?Just now, Card's jaw is scraping his boot tops.                          JACK                From now on, you write a column every                week. The Shipping News. Gonna order                you a computer and everything. And                y'know the beauty part...?Quoyle doesn't.                            JACK                  I don't have to tell Card all                  over again, cause he's already                  eavesdroppin'. So I'm free to                  take m'leave.                            QUOYLE                  Goin' fishin'?                            JACK                  Ah. You've an instinct for character                  and idiosyncrasy, old son.A wink.   He heads toward the door.    And never looking at him...                            JACK                  Zip yer fly, Card.Card looks down. He zips up, as the door slams. Billy Prettysends Quoyle a thumbs-up, without turning. Nutbeem clasps hishands above his head, like a winning prizefighter.Quoyle slides a sheet of paper into his typewriter.         Stares at it.                            QUOYLE (V.O.)                  Thirty-eight years. First time                  anybody said you done it right.INT. AGNIS' SHOP - DAYA woman looks up from her stitching. She is solidly built, pushing60, Emily Dickinson hair. A cheerful, calmly butch way about her.Trustworthy eyes.                            AGNIS                  Nephew, this is Mavis Bangs.     A real                  professional.Mavis holds out a hearty hand. Agnis is showing him the shop. Acutting table, two sewing stations. Billowing sailcloth hung overthe windows. Racks of leathers and fabrics.                            AGNIS                  And this is Dawn Budgel.   She's a                  vegetarian.Dawn, once described by Agnis as young and on the sexy side, isthat. Red lipstick and nails. Her eyes float up in a way thatsuggests reflexive sensuality. Agnis nods to her, and the girlreaches a slender pale hand...                            DAWN                  Agnis is always saying such...things                  about you. It's nice to fit a man.                  With the name.And as she releases his hand, her eyes flick to Agnis. Someconspiracy there. Quoyle follows his aunt back to the big cuttingtable.                            QUOYLE                  I just, uh, came to see if you'd                  heard abou..                            AGNIS                  Silver Melville?    Snuck off in the                  night, they did.    Not a penny paid                  for all we done.Shows him sheets of baby blue leather.                            AGNIS                  We'd installed the banquettes in                  her salon. Three of the chairs done                  and delivered, three to go...Points to them.    A neat row by the makeshift kitchenette.                              QUOYLE                  That's.    That's just terrible.But Agnis is thinking...                              AGNIS                  Strange.    Leavin' the chairs.And as he glances off, he sees Dawn across the way.      Her skirthiked up, as if she were adjusting a stocking.She isn't wearing any.EXT. HILLSIDE - DAYBillowy clouds frame a languid KITE, silver and sleek, darting thisway and that. Graceful, in command of the currents.                            WAVEY (O.S.)                  HERRY PROWSE! LOOK HOW WELL YOUR                  KITE IS DOING!See her now, seated atop a grassy slope. It is she who holds thestring, and her boy is way down at the bottom of the hill withBunny. Blue jumper billowing, the girl is teaching him how to makenecklaces from wildflowers and garbage bag twisty-ties. Herry andthe naked Barbies watch with great attention. The learning willcome later.                            WAVEY                  ARE YOU MAKING IT DANCE WITH                  YOUR THOUGHTS?On this he looks up.     Serious.                            WAVEY                  KEEP THINKING YOUR THOUGHTS!                  YOUR KITE IS DOING SO MUCH BETTER                  THAN MR. QUOYLE'S!PULL BACK slightly to reveal that Quoyle has been sitting rightbeside her all along. He holds the string of a big, glum kite thathangs motionless in space with barely a flutter. As she watchesthe kids, he stares at her, fixedly deciding whether to ask...                            QUOYLE (barely audible)                  Do you think Bunny's. Strange?Wavey looks over.     Sees that he's worried half to death.                            QUOYLE                  In New York. They said she had a...                  personality disorder.                            WAVEY (softly)                  And it was named Petal.Do you understand that?                            QUOYLE                  All these hallucin...                            WAVEY                  The White Dog. Sometimes with the                  Skinny Ghost. Kids do things like                  that, it's called imagination. Like                  the necklaces.The necklaces, yeh.     A thought that frightens him.                            QUOYLE                  You know how many she makes?She does.                            WAVEY                  It's a skill, she's proud of it. And                  she brings her dolls along. And she                  looks good in blue. And she wears a                  key for a good luck charm.Her kind smile.     No big deal.                            QUOYLE                  And she's saving her mother a room.                  Did she tell you that?Wavey's slow nod.                             QUOYLE                  She talks to her at night.        I can                  hear through the door.Very quiet now.    The wind.     The kites.                            QUOYLE                  You know how kids think.       You have                  all those books.                            WAVEY                  The ones I read to teach Herry.                  They don't make me an exp...                               QUOYLE (blurting)                  Just.     Is she okay?That was naked.    He swallows.                               QUOYLE                  I mean.     If you had to guess..Too serious a subject.       Too good a woman.     For an easy lie.                            WAVEY                  That child is the only friend my son                  ever had. So she's strange, you bet.She swallows, too.    Her eyes are damp.                            WAVEY                  I love that little girl. And I will                  see to it. That she's all right.Hold the look.                            WAVEY                  And I don't have to guess about it.EXT. WOODS - LATERQuoyle RUNNING, huffing, through a bog with every color of berriesimaginable. Around another bend in the path. Stops. Hands on hisknees.Listens.   Nothing.   Shit.                            QUOYLE                  IF YOU GUYS AREN'T CHASING ME, I'M                  GONNA BE COMPLETELY CHEESED OFF!More nothing. He trudges back the way he came.              Peeks around abend to see......Bunny is teaching Berry to pick gooseberries. This time, thelearning has started. They are being very careful.                               QUOYLE                   If you pick enough, we can sell 'em                   for a thousand dollars. And give it                   to Aunt Agnis to make up for those                   Staties who didn't pay h...                             BUNNY (means business)                   Then don't. Slow us. Down.Quoyle SLAPS his hands across his mouth.         Sorry!     He tiptoes off.Rounds a bend. Walking faster now...Around another bend. And stops.         Hold on his face.      REVERSE ANGLEto take his view of......Petal, kneeling in a flimsy sundress, picking berries.Barefoot, her skirt hiked up, stained with berry juice. And whenshe turns to him......she is still Petal. Her face is beautiful, and filled withtender desire. She looks at him the way he has always dreamed shewould. He goes to......kneel beside her.       Touch her waist.    And now she is......another woman. His hand is on Wavey's waist, and it comesslowly away. But her eyes are locked to his. Making her choice.                               WAVEY (very soft)                   Look.    I like you.Even in kindness, he can smell rejection.          He starts to back away,but she takes his hand. Holds it.                                WAVEY                   I want us.     To be friends, okay?He nods, dumbly.     Of course.     Okay.                             WAVEY                   And friends. Need.       To understand                   each other.                             QUOYLE (so sorry)                   I understand. Believe m...                             WAVEY                   My husband drowned.      Herry was...Hard for her.   He quiets.                             WAVEY                   He was two months old. And Herold                   took the boat out. Overnight. To                   fish for haddock.Do you understand?                           WAVEY                 Because I liked.     Haddock.Silence.                           WAVEY                 It's four years.She stares in his eyes.                           WAVEY                 And it's yesterday.No smile.                           WAVEY                 Now, did I blow it.     Or can you                 still be my friend?A beat. Quoyle nods, sure. I'll be your friend. But what shesees is a lifetime of being Quoyle washing past his eyes. It makesher murmur...                             WAVEY                 What?    What are you thinking?And from his heart...                           QUOYLE                 I'm thinking I'm sorry.     For                 everything.He stands up.   HEAR him stumble off.     HOLD on her.EXT. GREEN HILLSIDE - DAYA grassy place above an empty sea.      The rest of the world far away.Two figures climb the gentle hill.                           BILLY                 How're you doin' with the Tall                 and Quiet Woman?                           QUOYLE                 Cindy Crawford and me is doin' fine.                           BILLY                 I meant Wavey Prowse.Oh.                           BILLY                 My dad used to say there's four                 women in every man's life. The                 Stouthearted Woman...                             QUOYLE                 Oh, that'd be Agnis.                           BILLY                 ...the Maid in the Meadow...                           QUOYLE (has to think)                 Bunny I guess. Weavin' a daisy-chain                 necklace.                           BILLY                 ...the Tall and Quiet Woman...                          QUOYLE                 Well. She does have that posture                 goin'.                           BILLY                 ...and the Demon Lover.On this. Quoyle's smile fades. He looks away. They've reached afence where blunt pickets enclose crosses and wooden markers, manyfallen on the ground.                           BILLY (wistful)                 Me dad said that.Billy finds the right marker. Sets his satchel onto the grass.Kneels. His old fingers clear debris from painted words:W. PRETTY. 1897 - 1944. THROUGH THE GREAT STORMS OF LIFE, HEDID HIS BEST. GOD GRANT HIM ETERNAL REST.                           BILLY                 That's me poor father.     Thirteen                 I was when he died.He hears the thread of feeling in his simple words. And says nomore. Withdraws two cans of paint from his bag. One white, oneblack. Two brushes. Lays them out carefully, for this task issacred.                            BILLY                 Every time I wonder.     Is this the                 last coat?Pries the lid off the tin of black.     And when he sees Quoyle'seyes...                            BILLY                 Well, there's no one else to do                 it, y'see.                           QUOYLE (straight back)                 There is now.An easy smile.   Stating the obvious.                           QUOYLE                There's me.The old man's face just stops.     The eyes sharpen.   Into a question.                          QUOYLE                Well, you said. There's no                one else.As if that were enough.                         QUOYLE                Hey. If you wanna rest next to                him. I'll paint yours at the same                time. No extra trouble.Billy stares at him.     Stares at him.   Clears his throat, gruffly.                          BILLY                Then better get Alvin Yark.                T'build yer a real boat. So                yer'll be around.EXT. GREEN HOUSE - DAYQuoyle exits the house, pulling on his jacket, and......stops. Something laid across his threshold. A long piece ofTWINE has been placed there. KNOTS tied evenly along its length.He glances back up to the second floor, thinking Bunny. Looks atthe thing again. Neat work. Odd. Slips it in his pocket.EXT. CLIFFSIDE - DAYQuoyle now making his way down a steep primitive trail through lushvegetation. The green house is far above him. The shimmering baynow just below. This way down as treacherous as it is wondrous,and Quoyle SLIPS in the tangle and wet, half-slides through wildangelica stalks and patches of dogberry, suddenly......LOSING his balance, TUMBLING roughly down a stretch, rolling,grasping a spruce trunk. Pulling himself to his feet, he hears...RUSTLING. Looks up, just as......a WHITE DOG appears through the bushes. Red eyes. Lips curledback. A frozen second of mutual indecision, and Quoyle......SCREAMS and falls on his butt.     The dog......TAKES OFF, bounding down a path we hadn't noticed. Toward anupright SILHOUETTE. Who steps into sun just long enough tobecome......a MAN, grizzled and scrawny and quick.      Gone in a flash.   Like askinny ghost. And there, on his butt......Quoyle laughs softly.     How 'bout that?   Murmurs...                           QUOYLE                 Attaway, girl. You're smarter'n all                 of us.As he climbs to his feet, he sees the rocky beach just below.Squints, as if at something that doesn't belong. We see it now......a SUITCASE, washed up onto a tangle of rocks, just offshore.ANGLE...Quoyle wading into the water. Up to his knees, slips,sinks to his waist. Stays upright. Snatches the suitcase from itsperch. Brings it back to shore, holding it high. Already, he ismaking the face of someone smelling something he'd rather not.He sets it down. The face is worse.     His curiosity running theshow, he unhooks the latch......and stops. Because he's staring inside. Suddenly, he SCREAMSand FLAILS back, his leg STRIKING the case, and out tumbles ontothe wet ground......the head.   Of Bayonet Melville.INT. SKIPPER WILL'S DINER - NIGHTThree guys. Three beers. Five squidburgers (Quoyle likes hisbackups ready and waiting).                           CARD                 Y'know none a that impresses Jack                 Buggit. He's not one fer blatant                 ambition.Quoyle thinks better of his answer.    Chomps a bite instead.                           NUTBEEM                 Even if you don't recognize 'Human                 Head Packed in Satchel' as the most                 compelling piece ever to appear in...                            CARD (snorts)                 Even if....takes his hand from his greasy burger.    Scratches his crotchbelow the table.                           NUTBEEM                 A triple increase in ad revenue.                 Does get. The man's attention.And winks at the silent hero.                           CARD                 Weren't even double if yer figger                 it right.                        (to Quoyle)                 Point is. A real reporter woulda                 named the obvious suspect.                           QUOYLE                 More obvious. Than the wife?                           CARD                 Yer aunt, ya thick Statie lardface                 dumbass!Quoyle.   And Nutbeem.   Just look at each other.                           CARD                 She gets stiffed by the guy, after                 basin' her new shop on that revenue.                 And she ain't one ta fool with.                 Capable a anything, that woman!                           QUOYLE (angry now)                 Okay, where's the wife? Agnis kill                 her too?                           CARD                 Okay, where's this week's shipping                 news? Or you gonna rest on yer                 Crisco-coated laurels.Quoyle viciously BITES into his squidburger.                           CARD                 Uh-oh. The way he's chewin', he ain't                 a fat boy t'be trifled with!                              NUTBEEM (quietly)                 His piece.     Is about oil tankers.Card blinks.   Looks at Quoyle with, dare we say, new respect.                           CARD                 Hope fer ya yet. Now that's                 news, the McGonigle oil field.                 Petrodollars, a golden flood a jobs.                 That's th'future a this god-forsaken                 ice rock. Civilization!Scratches his crotch savagely.      To honor civilization.                            CARD                 That's why those with half a brain                 already put our money where our                 mouths is!Puts his squidburger.    Where his mouth is.    Nutbeem clarifies forQuoyle...                           NUTBEEM                 Two shares. Of Mobil.INT. WAVEY'S HOUSE - NIGHTANGLE...brightly lit kitchen. Bunny sits at the little table, alarge mixing bowl filled with popcorn before her, little Herry ather side. They are watching Freakazoid on a tiny TV. Bunnyshovels in a mouthful of popcorn. Then makes a sage, ifunintelligible, comment about the show to Herry. Still chewing,she takes another huge handful of popcorn......Herry opens his mouth like a baby bird. Bunny stuffs the snackin. It's a stare-and-chew, side by side. Just alike.ANGLE...cozy parlor. Quoyle sits in a Barca-lounger with a hugebowl of chips in his lap. He is watching hockey on a modest TV,the action is fierce. Stuffs his mouth full of chips, yet somehowmanages to say...                           QUOYLE                 ...so there they were, this goofy                 old codger and his dog, big as life.PULL BACK to see Wavey now. Curled on the sofa, under a lap robe.She is knitting something in a heavy oxblood-colored wool. Hewatches her work.                           WAVEY (softly)                 That'd be old Nolan. He's actually                 your uncle, last of the crazy Quoyles.                 I should have realized.Keeps her eyes on her work.                           WAVEY                 Sad, really. Lives like a hermit                 in a run-down shack. No one to                 look after h...                           QUOYLE                 Here I was worried about Bunny night                 and day, and there's absolutely                 nothing wrong with her.A silence.   Which makes him uneasy.                           QUOYLE                 Her only problem is her dad worries                 too mu...                           WAVEY (not looking up)                 You are a loving and wonderful father.                 You're not the problem.She meant to reassure him.    Instead...                           QUOYLE                 So what is th...                             WAVEY                   Nice to see you.Looks up with smoky eyes.                             WAVEY                   ...after all this time.Oh.                             QUOYLE                   Well. I've been workin' longer hours.                   So Dennis and Beety were kind enough                   to bring Bunny to the daycare. Fed                   her a lotta meals, too. They're real                   friends.Quoyle's smile tries to sell the innocence of his absence.                             WAVEY (very quiet)                   I thought you forgot. That I'm your                   friend, too.No smile from her. She wants him to know she was hurt.           He shakeshis head, serious now. No, I didn't forget.                             WAVEY                   You want another sandwich?    There's                   roast pork.He holds up what's left of his four-decker.          This is plenty.   Takesa huge bite to show how much he likes it.                               WAVEY                   You said.    You'd read me your                   article.He did, he nods.     But just now he's scared to. And so she smiles.Which traps him.     He pulls out a single sheet of paper. Clears histhroat.                             QUOYLE                   Nobody Hangs a Picture of an Oil                   Tanker. That's the header.She nods. Likes that. He gestures, go back to your knitting.             Soshe smiles, slyly. And commences to knit.                             QUOYLE (reads)                   There's a 1904 photo hung in the                   library. Eight schooners heading                   out to fishing grounds, sails spread                   it like white wings. Beautiful. Beyond                   compare.This means something to him.       Hear it in his voice.                            QUOYLE (reads)                  More common today is the low black                  profile of oil tankers. Like the                  ruptured Golden Goose, which last                  week bled 14,000 tons of crude onto                  seabirds, fish and boats at Cape                  Despond.He stops.    As if revisiting that little thought in his mind.                            QUOYLE (reads)                  There will be more and more tankers.                  They will grow old and corroded, and                  their tanks will split. They have                  already done to fishing. What their                  spill has done to fish.He sneaks a glance.       She has never looked up.                            QUOYLE (reads)                  Nobody hangs a picture of an oil                  tanker. On their wall.Silence.    A full one.                               QUOYLE                  Well.     Whatcha think?She reflects.                            WAVEY                  I think when Card sees it, he'll                  split a gut. I think he'll sit up                  nights thinking of cheap shots to pay                  you back. I think he'll never stop                  until you're fired.Quoyle keeps nodding at each point.          Yep.   Yep.                            WAVEY                  I think I haven't been so proud. Of                  a friend. Since I don't know when.Quoyle's heart explodes in his chest.          And shines in his eyes.There is a long silence.                            WAVEY (softly)                  Maybe another sandwich. There's                  roast pork.He swallows.    He just doesn't want to cry from happiness.                            QUOYLE                  Well, sure.INT. GAMMY BIRD - DAYCLOSE on Card. Who is RIPPING the single page in half. Thenagain. And again. And again. See Quoyle now, standing at thedesk like a statue. Billy and Nutbeem at their stations, watchingas Card......flutters the pieces down onto his desk.       Like falling snow.                            CARD                  Oh, I'll run it. Just easier                  t'copy edit. When yer can move                  th'pieces around.A hush.    A frozen tableau in this room.                             QUOYLE                  Run it.   Like I wrote it.                            CARD                  How does this suit yer, Quoyle?                  I'll do my job. You do yers, which                  means a four-vehicle pile-up south                  a Killick-Claw. And don't ferget                  the camera.He slides the battered camera across the desk. They glare at eachother a full beat. Card belches, softly. Quoyle takes the camera,heads for the door...                            CARD                  I fergot somethin'.Quoyle turns.    Card doesn't.                            CARD                  You pinko Greepeace sack a quivering                  pigfat.Thinks.                            CARD                  Did I leave out moosebutt-ugly?                      (nods to himself)                  You may go.HOLD on him.    Making a neat little pile of the torn pieces.                            QUOYLE (O.S.)                  Like I wrote it.SLAMM! Across the room, Nutbeem stands.        Takes his cigarettes.Passing Card's desk, on the way out...                            NUTBEEM                  Tough love. Impressive.SLAMM!    Card shoots Billy a challenging look.     You got something tosay?                           BILLY                 I hope you get him fired.Do you.                           BILLY                 So I can watch him beat yer to jelly.Just turns around.     Flicks ON his computer.   Back to work.EXT. GREEN HOUSE - TWILIGHTBunny jumping out of the wagon, running to the house.      As Quoylelocks his car...                           BUNNY (O.S.)                 Why'd you leave the house open?He looks up.   She is pushing the front door with one finger.     Itswings OPEN.                           BUNNY                 Can I keep the necklace?...and lifts a long piece of TWINE. There are KNOTS neatly tiedalong its length. Quoyle stares. Stares.                              QUOYLE (calm)                 Sweetie.     Come sit in the car.INT. FRONT HALLWAY - TWILIGHTQuoyle climbing the stairs in fading light. He carries a tireiron. Stops midway. Listens to the silence.                           QUOYLE                 IF ANYBODY'S THERE, YOU BETTER COME                 OUT NOW!Up, up, to the top.     Looking down the empty hall to see......knotted twine.     At every door.INT. GAMMY BIRD - EARLY MORNINGQuoyle enters, haggard and distracted. The place is lit, butempty. A toilet FLUSHES. From the loo, appears...                              CARD                 S'tell me.     Yer fancy it?Nodding toward something behind Quoyle. Turning, we see thathanging over Card's desk is an oversized framed photo of: QUIETEYE - WORLD'S LARGEST OIL TANKER. Quoyle stares blankly.                              QUOYLE                   Like I said.    Nobody hangs those.Card just goes to the fresh stack of newspapers on his desk.       Handsone toward Quoyle...                             CARD                   Yer column's front page stuff. Only                   now, it's more like a caption, is all.A photo of the same tanker.       That hangs on Card's wall.                             QUOYLE (reads)                   More than 3000 tankers proudly ride                   the world's seas. Even the biggest                   take advantage of Newfoundland's deep-                   water ports and refineries.                             CARD                   Spelled everthin' perfect.     So as not                   t'embarrass yer.                             QUOYLE (reading)                   Oil and Newfoundland go together like                   ham and eggs, and like ham and eggs                   they'll nourish us in the coming                   years.                             CARD                   Even put yer name on it.                             QUOYLE (finishes reading)                   Let's all hang a picture of an oil                   tanker. On our wall.Stares at the paper.     In his hand.                             CARD                   Man a yer principles. I unnerstan'                   resignation is th'only honorable                   course.Quoyle looks up.     Card flinches back.    But all that comes is...                             QUOYLE                   How can a man resign.    To nobody?Drops the paper on the floor.       Steps on it, on his way toward thedoor.                             CARD                   If yer off to see Jack Buggit,                   yer'll hafta swim some.Quoyle turns back.                             CARD                   Yer can whine an' beg t'him.     But I                 runs his paper, every inch of it,                 every dirty time-eatin' job which he                 would have t'do without me.A wink.                           CARD                 An' if yer think he's gonna choose                 you over fishin'...yer not as smart as                 even you look!The cackle of the guy holding the straight flush.                           CARD                 Me an' Jack. Has a sym-bi-otic                 relationship. Yer can look that up.Quoyle puts his hand on the door.                           QUOYLE                 I know the word, Card. It means                 you two deserve each other.Out the door.   It closes behind him.    Card alone, crosses his armsin glee...                           CARD                 I'LL TELL JACK YER SAID SO!HOLD on Card.   DISSOLVE TO...INT. GAMMY BIRD - DAYCLOSE on a box of assorted doughnuts. Two dozen. A hand reachesdown toward a raspberry swirl, thinks better of it, movesthoughtfully along the selection to pluck a maple glaze, and bringit to......Quoyle's mouth. The box rests beside the cardboard carton intowhich Quoyle is packing his things. Nutbeem sits on the edge ofthe desk, nibbling a cruller. Billy is bringing three mugs ofcoffee. Looks like a going-away party. Through the glass of theonly private office......Jack Buggit is talking. Card is not. Card stands now, stridesto the door, flings it OPEN. Nutbeem taps Quoyle's shoulder withhis pastry. They look to...                             CARD                 So.    This is what Jack and I think.He's looking straight in Quoyle's eyes.     Defiant as ever.                           CARD                 We wanna run Quoyle's oil spill                 piece b'cause controversy sells                 papers and papers sells ads.                            NUTBEEM                  Sounds reasonable to me.Lives to needle this guy.     Card keeps his laser gaze on Quoyle.                            CARD                  And we're gonna let Quoyle have                  his head on these columns, up to                  500 words. So he'll get his                  confidence up.                            NUTBEEM                  Well, let's not go overboard.    He's                  rather green doncha thi...                            CARD                  But we wanna expand his responsi-                  bilities to boat crashes. There's                  maybe four a week.                            NUTBEEM                  He'll need a raise. And need to be                  represented in the negotia...                             CARD                  And.   The oil tanker picture.   Stays!Nutbeem's eyes WIDEN. He mimes catching an arrow shot through hischest. Falls OFF the desk.                            CARD (to Quoyle)                  All that clear?Quoyle looks him in the eyes.     Starts putting his things back inhis desk.                            CARD                  One more thing...Hear the SLAMM!                            QUOYLE (never looks up)                  Jack's gone fishing?EXT. OMALOOR BAY - DAYThe sky threatens black. Quoyle picks his way across the rocks tohis ungainly, much-maligned boat, as it bobs against the weathereddock. He crouches, and as he begins to untie it, his gaze driftsout toward the nearby point, and......something catches his eye. A boulder in the shape of a greatdog. And as he stares, there is something below it. Something ina cove protected from intrusion by a jagged ring of menacingrocks......it is a MAN in a yellow suit. His head under the surface as iflooking for fish. Arms and legs spread out like a starfish, thebody slides in and out of a small cave. Tugged by the sea like atop on a string.Quoyle stares in frozen shock.                          QUOYLE (V.O.)                Headline. Reporter Becomes Magnet                For Dead Men.No way in past the pounding surf, the savage rocks.    So Quoyleturns sharply. Squints across the bay.                          QUOYLE (V.O.)                What was my panic? He was already                dead. Maybe I thought, in some dim                way...CLIMBS into his boat, TURNS the engine over.    KICKS it in overdrivetoward the town across the bay.                          QUOYLE (V.O.)                ...if it wasn't too late for him.                It wouldn't be for Petal.STREAKING out, toward the black sky.    Racing to open sea where thechop INCREASES drastically. Closer.     Closer...                          QUOYLE (V.O.)                Once I was past the shelter of the                lee shore, and into the real wind.                I realized my mistake....clear of the point's protection, the wind ROCKS the tiny craft,swells coming BROADSIDE. The boat RISES, then DROPS with cruelspeed. Quoyle tries to swing the boat around, the propeller RACES,the bow PITCHES violently, SLAMMING down, the stern SWAMPED, thehull filling, swerving broadside just as the oncoming sea HITS withall its force, and the little boat......rolls OVER, Quoyle suddenly FLYING under water, limbs flailingin all directions...                            QUOYLE (V.O.)                Headline.    Reporter Becomes Anchor                Man.INTERCUT...Quoyle's dad FLINGING him into the public pool, theyoungster SINKING like an anvil in a profusion of bubbles, andCUT...BACK to Quoyle, struggling madly somehow to the surface, THRASHINGtoward the overturned boat, GRASPING the stilled propeller shaft,which causes the bow to lift, the next wave turning the boatupright, FILLING it with water, and it SINKS forever, as Quoyle......TUMBLES once more beneath the surface, watching the boatDISAPPEAR into darkness below him.                          QUOYLE (V.O.)                Stupid. Stupid to drown with Bunny                so young. No life jacket, no floating                oar. No sense.Back to the surface, GASPING for air. And then, daintily rowing asmall boat, unaffected by the waves, her filmy dress rippling inlight breeze...                          PETAL                Look, it floats.     Just like you.Is the lilting smile cruel?   Or only the irony that conveysintimacy, even affection.                          PETAL                Maybe it's filled with fat.And VANISHES. In her place, bobs a red BOX. A plastic beercooler. He LUNGES for it, GRIPPING the handles, resting his cheston its top.The waves RISE, mountainous now, and he rises and falls with them.He has been swept a mile from the nearest shore.INTERCUT...a winch pulling part of the Geo, streaming mud, fromswiftly flowing water. Police and bystanders gathered.                          QUOYLE (V.O.)                And I wondered. Am I going where                she's gone?BACK to the bay. A barely-conscious Quoyle still clings somehow tothe plastic cooler. But hours have passed. Light is fading.                          QUOYLE (V.O.)                ...and will I see her?He turns. And there she is. Beaming at him from the bow of herlittle rowboat, a smile ambiguous in the growing dusk. It could belove. From behind her a light GLOWS, giving Petal the aspect of anangel.She drops a wink.   FADES away.    And the light becomes......the BEAM from a fishing boat. Quoyle squints his swollen eyes,as strong hands WRENCH him from his box. From the sea. A voicewarbles, distorted by wind and Quoyle's diminished consciousness...                          JACK                Jesus Cockadoodle Christ!     I knowed                somebody was out here.Quoyle's teeth are chattering so hard, his body shivering sopainfully, Buggit hauls him over the rail and lays him down on awriggling mound of fish.                           JACK                 Thank god fer yer figure, me old son.                 A thin man woulda froze.Quoyle burrows into the fish, like nestling in a down comforter.Jack covers him with a heavy tarp. Crouches down close...                            JACK                 Good.   Yer lost th'boat.INT. BEDROOM - LATE NIGHTDim light. Quoyle stirs beneath the billowing down coverlet.   Hiseyes flutter. Open. Where...?                           VOICE (O.S., very soft)                 It's all right. You're in heaven.His head SNAPS around. She's sitting just beside the bed in half-shadow. Her oxblood knitting across her lap.                             WAVEY                 Actually.    It's just my bed.Now he sees the cigarette.                           WAVEY                 Actually, it's not. I just wanted                 to see your eyes bug out like that.Now he sees the smile.                           QUOYLE                 You don't smoke.His voice was a croak. So he CLEARS his throat with a massive anddisgusting effort. It is gross and funny, and she smiles again.                           WAVEY                 Only when I'm worried.      I don't                 worry much.He rolls over, to see her better.      They are very close.                           QUOYLE                 You don't have to, I'm all right.                 I'm in heaven.                           WAVEY                 I'm not worried.    About you.Oh.   As he draws a breath to ask...                             WAVEY                   You're in the boys' room at Jack's                   house. Wonder how long since Dennis                   slept here.She glances to the nightstand. Beneath the dim lamp.       A picture ofJack and blond son Jesson. Guess what they're doing.                             WAVEY                   Mrs. Buggit called, knew Bunny was                   still with me. The kids are camped                   out in the parlor.A beat.                              QUOYLE                   Nice.   You sittin' up with me.A longer one.                             WAVEY                   S'okay. Someday you'll do somethin'                   nice for me.He nods.   He will.                             QUOYLE                   Who you worried ab...                             WAVEY                   You didn't find a second dead man.                   Just the rest of the first one.Ah.   He nods.   Well, that figures.                              QUOYLE                   I asked.   Who you worried about?On this, she stubs out her cigarette.      Takes another from the pack.                             WAVEY                   You said Bunny talks to Petal at                   night. You ever listen?He shakes his head.                             QUOYLE                   Not really. Wouldn't be right.                             WAVEY                   Well, I'm not that nice a person.STRIKES a match.                             WAVEY                   She plays Petal. Talks to the                   Barbies, like Petal talking to her.Brings her cigarette.   To the flame.                          WAVEY                She says she's sorry she left them.                It was just to see if they could be                good girls. And they were...And.                          WAVEY                ...and she loves them.His eyes at once rapt and suffering.     She watches that.                          WAVEY                The Barbies look better naked, Bunny                looks good in blue, guess who said                that?Draws on her smoke.                          WAVEY                So we talked. Just before Petal                left her with that...stranger? Bunny                had snapped her mom's bead necklace.                That's why she's making more.Do you understand?                          WAVEY                When she's made enough.     She'll                be forgiven.Tears are pooling in his eyes.   Hers, too.     She keeps going...                          WAVEY                She saves Petal a room at the house,                but she's also got the key to the old                place. In case her mom would rather                go there.A thin stream of air escapes from his lips.                          QUOYLE                And she talked about it.      Just like                that.                          WAVEY                Sure, I lied. I said nice things                about her mother.Bitter smile.                          WAVEY                See, there's only one problem.                Petal isn't gone.Quoyle thinking.     Madly.   What can he do?                             QUOYLE                   So we're patient. And we wait, and                   we're good to her.                             (beat)                   And. Maybe. Time.She stares back.     Unease to match his own.   Maybe time.INT. ALVIN YARK'S BOAT HOUSE - DAYA wiry wisp of an aged elf, ALVIN YARK is shaping the center beamof what will become a tidy boat. Its wooden skeleton across twosawhorses in his spacious workshop.                             ALVIN (sings softly to himself)                   Oh, the Gandy Goose, it ain't no use.                   It ain't no use, the Gandy Goose.Quoyle, Wavey and Dennis stand in a row. Watching the littleartisan shave wood as if his tools were his hands.                             ALVIN (keeps singing, as if alone)                   The Gandy Goose, she ain't no uuuuse...                   Cause all her nuts'n bolts is loose.Wavey can't help but smile.      She really likes the old duck.                             ALVIN (never turning)                   See, I'm already buildin' yers in me                   mind. The singin' helps that. But.                   Gotta take a walk in the woods, find a                   spruce with jest th' right curve fer                   yer stem.And says no more. Keeps working. They are like acolytes at thefeet of a guru who never bothers even to glance their way.                             QUOYLE                   Well, hurry up. Thirty, forty years                   I'll be rarin' to get back out on the                   water.Everyone smiles.     Except the guru.                             ALVIN                   Gotta build her solid. Who knows,                   mebbe Jack Buggit'll give his fishin'                   license to his boy. So next time,                   won't be nobody to pull yer out.                             DENNIS (real quiet)                   Jack Buggit's boy is drowned.Everyone looks.     Except the guru.                             ALVIN (cheery)                   Dennis. Y'hear the one about the                   Newfie who lived ferever?A beat.                             DENNIS                   No sir.                             ALVIN                   His kid never got a fishin' license.Now he turns.     A maritime Yoda, squinting to discern if his messageis received.                             ALVIN                   What we wait fer? She's like                   the main stem. Gives us our shape,                   doncha see.He runs his hand along the backbone of the boat he's building.                             ALVIN                   Death's one shape.     Fergiveness is                   another.Crinkly old eyes, laser bright.        Dennis isn't angry.       Justresolved.                             DENNIS                   Thing 'bout waitin' on fergiveness?                   Mixes up who's waitin' on who.No smile, no spin.     Just the truth.                             DENNIS                   Death is simpler.     An' a lot shorter                   wait.In the silence.     A door opens.                             MRS. YARK (O.S.)                   Mr. Quoyle...?A sprightly bird-like woman.        Wears apology and concern.                             MRS. YARK                   The school is callin'?     It's about                   yer daughter?INT. PRINCIPAL'S OFFICEThe PRINCIPAL is spare, dressed for England, her voiceauthoritarian by its pace, exaggerated diction, and lack of volume.                             PRINCIPAL                   ...not only pushed Mrs. Lumball.        Not                  only pushed her very hard...Seated in a semi-circle around the desk of power. Quoyle,stricken, respectful. Wavey, already pissed off at the principal.And Bunny,her hat and coat on, arms folded, face crimson and set.                            PRINCIPAL                  She knocked. Her down.Do you understand the severity of this, Mr.       Quoyle?                             PRINCIPAL                  And. Refuses to explain her act.      Or.                  Apologize.Is that right, young lady?                            PRINCIPAL                  Under the circumstances.     We have no                  choice but to suspend.Bunny looks down.    Glaring an evil spell of death at her ownkneecaps.                            WAVEY (quietly)                  I think Bunny and I. Should take                  a walk.And stands.                            QUOYLE                  Uh. Wavey? If it's all the same                  to you...EXT. PATH - DAYQuoyle and Bunny alone, hand-in-hand, walking slow where they oncepicked berries. Nobody's talking.                            BUNNY                  When you gonna ask?                            QUOYLE (calm)                  When you're in the mood.Apparently, that hasn't happened yet.      More walking.                            QUOYLE                  She musta done something.     Really bad.Said like he means it.    Which he does.     And Bunny, squinting up,sees that.INTERCUT...the crime. Playground filled with kids. Bunny andgirlfriends on the jungle gym. Bunny the best, a natural jock.MRS. LUMBULL large, sour, doughy, and betrayed by life, stands withher silver whistle in the midst of chaos. Her thoughts on a higherplane.                          BUNNY (O.S.)                She's the worst one of all!Little Herry Prowse comes to tug at the teacher's wool coat. He isholding his crotch and jumping up and down. This does not requirean advanced credential to interpret.                          BUNNY (O.S.)                Herry told her he had to pee. But                the way he talks. He could just                say 'eeee,' like that.Mrs. Lumbull looks down. From her face as she responds, she hasalready devoted, over time, more professional attention to thistroublemaker than should be asked of any dedicated educator.                          BUNNY (O.S.)                She told him that recess was almost                over, an' she wasn't gonna make a trip                special, an' he could hold it.Herry, seemingly, disagrees. Still holding his crotch, he jumps upand down with greater agitation. She grabs him, rather roughly, bythe arm. Marches him over to...                          BUNNY (O.S.)                She made him stand against the wall....and walks off, pointedly ignoring him from ten feet away. Hescreams, pumping his fists in frustration. Grabs himself,suddenly. Whether or not we can see the dampness spread, we cansee his humiliation all too clearly. As his tears come......a figure BOLTS into frame from behind Mrs. Lumbull. Hunchedover like a linebacker, full speed ahead, LAUNCHING herself intothe back of the large woman's knees. Her feet go UP, and the restof her goes......DOWN like the proverbial amount of bricks. Herry's tears stopfast. Watching the woman shriek, and keep shrieking. Makes himlaugh. CUT...BACK TO...the berry path.   They are sitting on a fallen log.                          QUOYLE                See, a good dad would say hitting                is always wrong. You coulda hurt                her bad. I guess you know that.                          BUNNY                She wasn't hurt for real.     Just                screamed like a baby.Quoyle pulls out a single Snickers bar.                             QUOYLE                   Wish I'd seen it.     It really sounds                   funny.                             BUNNY                   Petal'll think so, too.He looks at her.      Nods, probably will.    Peels the candy bar free ofits wrapper.                             QUOYLE                   Well, there won't be any trouble at                   school. I'II take care of that.                              BUNNY                   How?He breaks the candy bar in half.        Tho not quite equally.                             QUOYLE                   Because the best thing about people.                   Is they can forgive each other. I                   heard that this morning.                             BUNNY                   That teacher. Is gonna forgive me?He nods.   Oh, yeh.                             QUOYLE                   That. And she won't want the story                   printed in the paper.Oh.                              BUNNY                   Well.   I don't wanna forgive her.                             QUOYLE                   Me neither.He holds out the two pieces of candy. She takes them both.         thebigger one in his mouth. As he chews...                             BUNNY                   I had to do it. 'Cept for Wavey,                   I'm the only family Herry's got.She nibbles at her own piece.                             BUNNY                   Like the ghost.     Who's not a ghost.Hmmn?                             BUNNY                   The one who ties the knots?     You're                  the only family he's got.Right?   Her father doesn't react.       He's even stopped chewing.                              BUNNY                  You said.And slowly.    Quoyle nods.    I said.EXT. NOLAN'S SHED - DAYQuoyle picks his way down to the battered boat shed, hidden at thefoot of his cliff. He carries a big carton, which we see has madethe journey slow and awkward. Across the gravel now, to......the door. HEAR the fire crackling, see the smoke curling.Takes a breath. Knocks softly. Then LOUDER.                            QUOYLE                  UNCLE NOLAN? CAN I COME IN?No answer.    Juggle the box, lift the latch.      Enter...INT. NOLAN'S SHED - NIGHTThe old man and the dog huddled together at the fire. They lookover with red eyes. Just alike. Only one growls. Quoyle finds asmile, a soft voice...                             QUOYLE                  Uncle. My daughter Bunny and I.                  We got you some hot bread. And some                  meat. Some dried fish. Some squash                  and vegetables...a cake...some warm                  clothes...Nolan is listening. Sharp-eared, sharp-eyed. What trick is this?So Quoyle sets the carton down in the squalor. Takes out a loaf offresh bread. One step forward. Lay it down.Good faith offering.    And......Nolan scuttles to it. Like a wary crab. He tears off a chunkof bread. Nibbles. He likes it. And as he eats...                            QUOYLE (softly)                  You tied those knots, huh?                  At my house?...crouches down to the old man's size.        Almost close enough totouch.                            NOLAN                  Ain't yer house, it's th' Ouoyle                  house!He's found the meat.    Ripped off a chunk.                           QUOYLE                 See, I am Qu...                           NOLAN                 Old ones. Got run outta Omaloor Bay a                 hunnerd years ago. Dragged that house                 across th' ice. On spruce runners.Stuffs some into his face.      Like this, even better.                           NOLAN                 Hadda lash it to th' rock.     She'll                 tell yer.She.                           NOLAN                 Course she never come t'see me.                 That's obvious why.And as Quoyle draws a breath to ask...                           NOLAN                 Your Aunt Agnis Hamm, me son. That's                 cause she can't face me. I knows she                 killed 'im.A moment.   Of stone silence.                              QUOYLE                 Him.                           NOLAN                 That baby she was carryin'. What was                 she t'do? She wuz only 12. An' it                 was her own brother what done 'er.Quoyle's wide-eyed shock.                              QUOYLE (numb)                 Her own...INTERCUT...a tiny frozen pond. Long ago. A girl of 12, rawboned,husky, skating alone. We've seen her, in the photo at Quoyle'sdad's house. And as she skates, she looks up to see......a boy of 15, stocky, sullen. He was in the same photo. Onlynow, he steps onto the ice. Unbuttons his pants. Begins to slidetoward her on the soles of his fishing boots. She looks around.Snow banked on all sides of the pond. Nowhere to run on herskates.                           NOLAN (O.S.)                 Her brother, me son. She only                 had th' one.The girl, breathless, skating this way and that. The boy closingin, cutting off her angle. A deadly endgame. There are no words.And......he is ON her. Pulling her TUMBLING to the ice in SLO-MO.No sound but their hot breath, the grunt of the struggle, andCUT BACK to...                           NOLAN                 Course no one alive knows no more.                 So her an' me...                           (winks)                 Our. Little. Secret.INT.   AGNIS' NEW SHOP, KILLICK-CLAW - DAYAgnis and Mavis are showing Wavey their new shop. It is big andbright with more elaborate fittings, the amount of work piled upcarries the scent of success. Quoyle trails behind, as Agnis doteson Wavey like a prize new daughter-in-law. When she turns, shesees her nephew staring...                           AGNIS                 What? My hem crooked?      As if                 I was wearin' a hem.He was staring pretty intently.    Realizes that.                            QUOYLE                 Naw, I just come from seein' your                 cousin Nolan. Guess I was thinkin'                 about him.She holds his gaze with her own.    Is she wondering?                           DAWN                 Mr. Quoyle? What do you think of                 my dress?Everybody turns on that one. Mavis cuts her alter ego Agnis alook. Can you believe this slut?                           DAWN                 I wore it just for you.She actually looks pretty good in it.      Wavey noticing that.Watching Quoyle say...                            QUOYLE                 That was more consideration.       Than                 I deserve.Polite banter? Or outright flirting? Hard to tell if it's Waveyor Agnis who disapproves more. Dawn ignores them.                           DAWN                 Did your aunt tell you about all                 the money?Agnis just blinks.   Can scarcely believe she heard that.                           DAWN                 Agnis told us it came from Macau.                           AGNIS (quietly)                 Hush yoursel...                           DAWN                 ...from Silver Melville. And it                 was more than she expected. And we                 shipped the chairs off to her.                 Y' know, the three remaining?A really frozen beat.                          QUOYLE (casual, to Agnis)                 Uh. Why would she send you more                 tha...                           AGNIS (to Dawn)                 Do you have enough attention now,                 young lady?                           DAWN                 Yes, Ma'am, I think so.Mavis echoes Agnis' glare.                           QUOYLE (really casual)                 Macau, huh? So. That where y'sent                 th' chairs?Agnis turns.   Sizes him up.                           AGNIS                 It's flatterin' you showin' me how                 you've turned into such a competent                 reporter and all. But even if I                 remembered where I sent 'em. I                 couldn't tell ya.Puts her fingers to her lips.      Leans closer, to confide somethinghe is obviously unaware of...                           AGNIS                 Professional ethics.INT. WAVEY'S KITCHEN - LATE NIGHTCLOSE on Wavey, cooking flapjacks.      Talking to them.                              WAVEY                 Only you.     Could do this.And she's not pleased.                            WAVEY                  You fed him. You gave him clothes.                  You're the first human ever was kind                  to him...She scoops them expertly into a stack.                            WAVEY                  Accordingly. You're sick with guilt.Serves them to...                            WAVEY                  You sure you're not a complex guy?...Quoyle, who nods absently. About the one thing he is sure of.Just now, he's examining the prodigious status of her oxbloodknitting. Still attached to the needles, it looks too broad fora muffler.                            QUOYLE (decides)                  Horse blanket.                            WAVEY (ah!)                  That's what that is!A beat.   Another.                            QUOYLE                  So if y'called around.      Musta                  found somepla...                            WAVEY (quietly)                  One decent golden age home. It's                  in St. John's. You can maybe afford                  it, tho God knows why you should.She pushes the flapjacks closer to him, CLANKS down the fork, eat!She's exasperated. Thinks he's wasting his money.                            QUOYLE                  I can't put him there, til I go                  down to St. John's. See it's all                  right.                                WAVEY                  Great!      Let's not be rash!                            QUOYLE                  Come with me.And everything.      Sorta.    Stops.                            QUOYLE                  I mean, the kids could stay with                 Dennis and Beety.       Or Agnis, or...A meaningful beat.                            WAVEY                 Why.   Would I. Do that?She looks deep in his eyes. Hard to guess the answer she wants tohear. He clears his throat. Looks down.                           QUOYLE                 Well. Remember when you said.                 Someday, I'd do something nice                 for you?And when he looks to her, she is...                           PETAL (Wavey's voice)                 And this is it.A witheringly sexy smile.                           QUOYLE                 Hey. Overnight trip to St. John's.                 All expenses paid.Petal arches a delicate brow.                              PETAL (Wavey's voice)                 Overnight?He blinks.   And sees...                           WAVEY                 What's wrong with a weekend?With a playful smile.      Of her own.EXT. DOUBLE-DECKER BUS, ST. JOHN'S - DAYNot London, but it might as well be. Wavey and Quoyle atop a reddouble-decker bus, wind whipping their hair. She is watching thebig city flow past, drinking every inch of it. He's watching her.INT. DEPARTMENT STORE - DAYWavey carries an armload of little girl's tights and corduroypants, picking through a bin of barrettes. Quoyle appears with afistful of neckties. Holds them up hopefully to his chest one at atime, each more breathtakingly godawful than the last. Well? SheSHIVERS with disgust. Lifts from her shopping bag a nice conser-vative one she's already picked for him. He SHIVERS, just as shedid. They share the trace of a grin, just alike. He walks off....Wavey trying on furry hats in a full-length mirror, as Quoylekeeps feeding her an endless supply from a double armful. Shepouts and poses like a runway model, basically frowning that thehats aren't working. He's staring at her as if nothing else existsin the universe. She knows it....Wavey alone at a cash register. The checker is ringing up aselection of lacy bras and panties. Suddenly, Wavey looks up tosee Quoyle at the register one aisle over, staring fixedly at herpurchases. Seeing she's noticed him, he holds up a huge pair ofloud boxer shorts he's buying, and WAVES them at her. She laughsand waves her bras right back. Civilians watching think they'rein love.EXT./INT. ST. JOHN'S - DAY/NIGHT...Quoyle and Wavey stroll the grounds of Nolan's future retirementhome. It is twilight, and the modest place looks pleasant andwelcoming. Quoyle listens earnestly, as the director points thingsout. Wavey watching Quoyle, her gaze not so disapproving afterall....CLOSE on Quoyle with a bowling ball, poised, glaring our way.Here he comes. Stumbles. Lets go. REVERSE ANGLE to see the ballrolling, rolling real slow. Quoyle turns his back, strides awaywith confidence like he doesn't even have to watch, this is tooeasy. Wavey points, look. He turns in time to see two pins fall.Pumps his fist. YESSSS!INT. BAR - NIGHTIt's late. It's dim. It's as romantic as urban Newfoundland willever get. Our couple nursing beers at the corner table of apassably stylish bar. Piano playing show tunes, but soft. Hepulls from his pocket......a travel brochure.     Slightly drunk, completely merry, almostwicked smile.                             QUOYLE                   Now, listen to this for t'morrow.                   After I sign the papers at the home...She's already grinning.     Feels so comfortable.                             QUOYLE (reads)                   The answer to your annual outing!                   Rainbow trout fishing in four ponds.                   You pay for what you catch. Prizes                   in the ponds. If it drizzles or gets                   chilly, heated and lighted building                   available, right next to the ponds,                   with soft drinks, candy bars, ice                   cream and chips!His subtle smile.     A guy could get used to this irony stuff.                             WAVEY                   Or we could sleep in....innocent, natural.       At some primal level, his panic begins.                            WAVEY                  I just feel so guilty about all                  your expenses. Two separate rooms.                  Both so big.                            QUOYLE                  Hey, it's my treat.     You agreed.She nods.    She did.                           WAVEY                  Still. Seems like we could figure                  out. Something.Even Quoyle. Has the message. He looks down at his beer, as hethinks about what he should say. Turns the glass in his fingers.                            QUOYLE                  A friend told me once. Love is                  the only thing that counts.He nods.    Almost to himself.                            QUOYLE (a murmur)                  It's the engine of life.He looks up.    Her eyes are waiting.                            QUOYLE                  So when you told me how you think                  about your husband. I really                  understood, becau...                            WAVEY                  That's what I wanted us to talk                  abou...                            QUOYLE                  ...because real love.     Just comes                  once.And everything.    Stops.                            QUOYLE                  See, you know some of the stories                  about Petal. Some of the bad things.                  What you don't know...But she's looking in his eyes.       And so, she does.                            WAVEY (just above a whisper)                  ...is how much you love her.That's what it is.                               WAVEY                   Even tho.    She never loved you.A beat.                               QUOYLE                   Sorta.    Because of it.He sighs. The most miserable and the most honest he has ever been.All at once.                             QUOYLE                   See, love. Isn't about what's good                   for you. Isn't about what you wish                   it was. Isn't about what...would                   make you happy.His eyes are swimming.       Can she possibly hear this?                             QUOYLE                   Love. Is about want. What you                   really want. And you can't change                   that. Even if it's poison.Silence.   The piano plays something gay and stupid.                             QUOYLE                   So that's why it's great. To have a                   real friend. When you're. Lonely.The last word was a tough one.       It makes her nod. She stares inhis eyes for the longest time.       And when she speaks, he can scarelyhear her voice...                             WAVEY                   I know you have to stay tomorrow.                   To sign the papers. But.But.   One word.    And even a stupid guy.    Gets it all.                             WAVEY                   I should be heading back. Before                   Herry. Misses me. Too much.Wow. He nods, dumbly.        Watching his worst nightmare unfold beforehis eyes.                              WAVEY                   And I'm not feeling so well.                   What I get for mixing vodka and                   beer, huh.She gets to her feet.       She does seem a little unsteady.                             WAVEY                   So I'll grab a taxi. You stay and                   finish. Listen to the music. Is                   that all right?                              QUOYLE                   I cou...But he stops.     Because she's shaken her head once.      Don't.                             WAVEY                   And don't worry.     I'm still your friend.Her voice chokes a little on that.        She shakes her head, half-grinning at how foolish she feels.        She smiles at him now. Likeshe means it.And leaves.     Without another word.                             QUOYLE (V.O.)                   She did stay my friend. In her way.                   Even tho, for awhile, we didn't see                   each other a lot.He wants to cry. He wants to be sick. He doesn't know what hewants. Fumbles in his pocket for some wadded-up bills.                             QUOYLE (V.O.)                   Funny. How one little talk.      Can                   change everything.DISSOLVE SLOWLY TO...INT. SKIPPER WILL'S DINER - NIGHTThe boys, the beers, the squidburgers.        The usual.                             QUOYLE                   Tell me about it. Just get the                   aunt's house fixed perfect, and                   I gotta move.Move?                             QUOYLE                   Three hours to drive from the Point,                   with all the ice. Alvin won't have                   my boat ready til New Years. Agnis                   can stay over her shop. Bunny and I                   have to find a room in town.                             DENNIS                   Stay with us. My kid follows yours                   around, they'll bunk t'gether. And                   we gotta fluffy couch that's more'n                   you deserve.A good friend.     Quoyle is touched.                              QUOYLE                  Hopin' you'd offer, almost                  worth it just t'inconvenience ya.                  Unfortunately, I'm too fond a                  yer wife.                            NUTBEEM (casual)                  Take my trailer. Timing's perfect.The way he said that.     They both turn.     A shrug...                            NUTBEEM                  It's two years. My boat's ready.                  If I stay any longer, I'll begin                  to like it here.Wouldn't want that. Very silent at this table.            Against the din ofthe place. Is he serious?                            NUTBEEM (softly)                  I'm throwing myself a farewell                  party on Saturday. Departure                  to follow Sunday. Regrets, soon                  after, no doubt.And smiles.    Serious as a heart attack.      A long beat.                            QUOYLE (a murmur)                  Be careful.Careful?                            QUOYLE                  Last friend left me.      Turned into                  a truck driver.So much feeling behind his eyes.     Nutbeem can only say...                             NUTBEEM                  Well.   With that warning.And return the feeling.     With his own.EXT./INT. NUTBEEM'S TRAILER - TWILIGHTQuoyle GROANING under the weight of cases of beer and cheap rumpulled from the back of his wagon. Plenty more to go. Staggersinto......Nutbeem's   tiny, threadbare trailer. Every conceivable surfaceunder stacks   of plastic-wrapped party platters of cold cuts, cheeseand red-eyed   olives. Nutbeem is jamming beers into tubs of ice.Quoyle peers   into the teensy closet that is the only bathroom...                            QUOYLE                  What's the barrel for?SEE it now.    Half a sawed-off empty BARREL, with MOLASSES stenciledin orange, fills the shower stall.                           NUTBEEM                 I'm British. I bathe.Quoyle sends him a blank look.                           QUOYLE                 Perfect for th' chips.He gestures to thirty bags of potato chips, filling thekitchenette.                           NUTBEEM                 It's coated with two kinds of scum.                 Soap. And mine.                             QUOYLE                 Works.    We forgot to buy dip.INT. TRAILER - NIGHTVIEW out a window at the line of HEADLIGHTS still arriving. We areimmersed in the ungodly WHITE NOISE of an all-gentleman's Newfiesoiree, music pushed beyond the level of distortion, assortedgrunts, squeals, unintelligible words, things breaking. As westruggle to look around......every square inch is    crammed tight with semi-conscious drunks.Tert Card and some boys    circle the potato chip barrel, which hasbecome a handy urinal.     Near the door, Dennis holding forth, armtight around Quoyle who    listens, listens, chuckles. Then Quoylefights his way......OUT of the trailer, to cold night air where the party is MUCHwilder, given the elbow room. Quoyle steps OVER the supine form oBilly Pretty, who is singing to himself. Finds Jack Buggit with abeer in one hand a rum in the other. Wraps a drunken arm aroundJack's neck. Starts to talk in his ear. Jack looks suspicious. AFIGHT breaks out a few feet away. They don't notice. Closing in,to hear...                           QUOYLE (shouting against the din)                 SO THE NEXT DAY, THEY ALL SIT DOWN                 ON THE GIRDER. THE BRIT OPENS HIS                 LUNCH BOX. 'OH, NO! SCOTCH SALMON                 AGAIN! FAREWELL, BOYS!' AND HE                 JUMPS OFF THE GIRDER TO HIS DEATH.Jack nods.   Grins.    That's pretty funny.                           QUOYLE                 THE QUEBEC GUY OPENS HIS LUNCH BOX.                 'MON DIEU! MEAT PIE AGAIN! AU                 REVOIR CRUEL WORLD!' AND HE JUMPS.This.   Is even funnier.                           QUOYLE                 NOW THE STATIE IS ALL ALONE ON                 THE GIRDER. HE OPENS HIS BOX.                 'HOLY MOLEY! BOLOGNA SANDWICH                 AGAIN! I DON'T HAVE TO TAKE THIS!'                 AND LEAPS OFF.Funniest yet.   Jack is chuckling already.                           QUOYLE                 AT THE FUNERAL. THE BRIT' S WIFE                 SAYS, 'WHY DIDN'T HE TELL ME HE HATED                 SALMON?' FRENCHY'S WIFE SAYS, 'WHY                 DIDN'T HE COMPLAIN ABOUT THE MEAT                 PIE?' STATIE'S WIFE SAYS, 'I DON'T                 GET IT. HE ALWAYS MADE HIS OWN LUNCH!'Quoyle is chortling.   But Jack stares him dead in the eyes.                           JACK                 YOU'RE SURE. THE FELLER WAS A STATIE.                             QUOYLE                 OH, YAR.    FROM NEW HAMPSHIRE.At which point Jack BUSTS OUT laughing fit to wet his pants...                           JACK                 MADE HIS OWN LUNCH!POUNDING on poor Quoyle, who is also dissolved in hysterics.Nearby, the biggest and ugliest GUY at the party (no smalldistinction) leaps onto a tree stump brandishing an AXE.Even in this crowd, it commands a certain degree of attention.                           BIG UGLY GUY                 NOW WE ALL LOVES OLD FOOKIN' NUTBEEM,                 YAR???Cries of YAR! fill the woods. Nutbeem himself is HOISTED onshoulders, whooping and sloshing his grog.                           BIG UGLY GUY                 SO LESS KEEP 'IM 'ERE BYES! AXE                 'IS FOOKIN' BOAT! GOT YER CHAIN                 SAW, NEDDIE??An idea that wins IMMEDIATE MASS APPROVAL. Soused Nutbeem's eyesopen bug-wide, as he is borne in a tidal wave of mayhem toward thedocks. Whatever he is shrieking may well prove ineffective.And rather suddenly.   Quoyle is left alone.Among the conscious, that is.INT. WAVEY'S HOUSE - NIGHTKnitted wool, the color of oxblood, lies across a timeworn leatherottoman. In front of it, little Herry dances a shuffle-foot jig ofhis own design. The music seeps from a venerable accordian, playedearnestly by his serious mom, nodding and tapping her foot to thetime of his steps.There is a feeling of empowerment and release in Herry. His grinsplits his round face. His eyes say that his heart is dancing.PULL SLOWLY BACK...through the window, past the porch, across thefront yard. To a figure. By the fence. He stands motionless.Except his foot is tapping, very slightly, to the time of themusic.We can't tell how much Quoyle sees.    But his eyes say that hisheart is drowning.EXT. NUTBEEM'S TRAILER - MORNINGAs Quoyle shuffles up, we see Nutbeem's trailer has been turnedcompletely OVER onto its side. Walls are crushed and splintered.It's a train wreck.Sitting on the cinder blocks that once supported it, Nutbeem,and Dennis swig beers.                          NUTBEEM (cheery)                You're looking dishy, Q.                           QUOYLE                Feeling that and more.    What's the                situation?Nutbeem hands him a beer.                          NUTBEEM                One. You're moving in with Dennis, no                matter how fond you are of his wife.Quoyle looks sadly at the trailer.    Realizing it was his place thatgot trashed.                          NUTBEEM (laughs)                And the boat! Omigod!                          BILLY                I'm some disgusted.    With the human race.                          NUTBEEM                I'da never made it, anyway. Storms                would have blown me to bits. You                boys saved my life. Yes, you did.The boys look at each other.    Humiliated by his generosity.                            NUTBEEM                   I've gathered my savings, and am                   flying to Brazil. Where water is                   swimming pool green. And I grill                   yellowtail steaks with lime and                   garlic, watercress and Tobasco.                   Touch of curry. What?Quoyle is looking at him somewhat strangely.                             QUOYLE (light)                   I collect friends who cook.     Just                   can't keep 'em.Maybe too light not to be obvious.     Billy looks from Quoyle to thetrailer. And back.                             BILLY                   It's too bad.Which seems to cover everything.EXT. JACK BUGGIT'S SKIFF - DAYQuoyle alone with Jack in open water. Pulling on a slicker,gloves, picking up a knife. Jack is pronging cod onto the deck.                             JACK                   Hands might as well be movin' while                   we chat. Always hated th' sight a                   grown men around a table workin'                   nuthin' but their jaws.And so, together, they begin to clean a small mountain of cod.                             QUOYLE                   Editorial meetin', y'say.     'Bout                   what?                             JACK                   Well, Tert Card's gone, fer one                   thing.Doesn't look up.                             JACK                   Yar, I know, he never said g'bye.                   Well, don't get all weepy-eyed                   about it, old son. Try t'be a man.Quoyle will.                             JACK                   They called him from St. John's,                   he tells me. Wants him to help                   put out th' newsletter fer them                   oil rig suppliers.Yup.     Believe it.                             JACK                   He was sassy an' he was smug. Oh,                   there's a waitin' list, he assures                   me. They only skims th' cream.                             QUOYLE                   Well, don't get all weepy-eyed abou...                             JACK                   Truth t'tell. I was a wee help.                   B'hind the scenes, doncha know.Keeps working.                                JACK (quietly)                   Sometimes.     Enough is enough.No arguments arise.                             QUOYLE                   Well, Billy'll do a helluva job...                             JACK (nods)                   ...right where he is. Too old a                   fish t'swim faster'n be wants.                   Gotta find someone a little dumber                   t'take on a shit job like this!Uh-oh.     You don't mean...                             JACK                   Spot I'm in, Christmas and all.                   Might have to offer th'mess. To you.Quoyle swallows.       Arguably the proudest moment of his life.                                QUOYLE                   Course.     I'd need a raise.Jack looks at him for the first time.        A real twinkle behind...                             JACK                   Y'know. Yer do have the sense God                   gave a doughnut.                             QUOYLE (genuinely touched)                   I'II try to live up to that.Said with such sincerity, Jack can only nod.          Good.                             JACK                   Any other outrageous demands?                   Seein' as yer got me over a                   barrel. Here's your one chance.And before he can stop his mouth...                            QUOYLE                  Well, your son...The mirth dies in his host's eyes. Like a 60-watt bulb in abrownout. Quoyle swallows the rest.                            JACK                  You were sayin'...?Quoyle sucks it up.                            QUOYLE                  His whole life would be changed.                  If he could come upon. A fishing                  license.Jack's eyes.   Flat and cold as the cod he's gutting.                            JACK                  Well, there's only one a those                  issued per family. So how exactly                  would he do that?This is not.   Going well.   A dangerous silence.                            JACK                  Even doughnuts, y'know.   Can                  push their luck.INT. WAVEY'S PARLOR - DUSKThe day care contingent more organized today. Sort of. Bunnyleading a spirited round of red-light/green-light, as......Quoyle enters with a big cardboard box full of presents. As heshrugs off his coat, he looks at the Christmas tree, its winkinglights. The decorations that seem to be everywhere, many handmadeby these children. He watches Bunny call out 'Red Light!', only tohave Herry ignore it and tackle her anyway.Mixed emotions, to be sure. A feeling of family he can at leastvisit, yet will never be his own. The sad edge catches up withhim, so he strolls on into......the kitchen. Wavey baking, what else.      She smiles to see him.A friend's smile.                            WAVEY (Southern belle)                  Why, Mistuh Quoyle. You shouldn't                  have!He smiles back.    Takes her in for a telling beat, before...                             QUOYLE                  Uh.   I didn't. Most of these                 are for Herry.Even better.                           QUOYLE                 There's two. Are yours.They are on top. Personally wrapped in his slightly bulging,fine-motor-control-challenged, personal style. Be sets them on thecounter.                            QUOYLE                 You prob'ly want to wait for                 Christmas.Meaning, please don't. So she wipes her hands on her apron.    Letshim see her eyes dance just a flicker.                           WAVEY                 Oh, I'm much too excited.Delicately unwraps the first. Lifts out a PORCELAIN TEAPOT, finelypainted with an assortment of BERRIES. She holds it in her hands,at once admiring and wistful. Wondering if there's a message abouttheir moment together while berry-picking.                           QUOYLE                 It's from a museum catalogue.       But                 it's not real. It's a copy.                           WAVEY (still gazing at it)                 It is my favorite teapot.A simple pronouncement. She opens the second, flat and narrow. Itis a TURQUOISE BRACELET. Actually, kind of stunning. She blinks,taken back by the beauty and perhaps the expense.                           QUOYLE                 It's nice for your eyes.     I thought.She doesn't sayanything.   Lets it dangle from her fingers, catchthe light.                           QUOYLE                 It's for everyday. You don't have                 to save it for special.She looks to him. Her eyes are shining maybe more than she wants.Her voice perhaps softer than she even intends...                           WAVEY                 Oh, I'll save this, all right.Covers.   With only a slightly more than friendly smile.                           WAVEY                 And I'll think of you.     When I                put lot on.He can only nod. He'd like that.    She holds up one finger, wait asecond. And hurries off.So he waits. Looking at her kitchen. Feeling his feelings.         Sheis back, with two boxes. Sets them down. Nods, go ahead......one is heavy and square. He opens it to find a LEATHER-BOUNDCASE. He looks at her, smiles in his childlike way. Opens thecase, which reveals......two leather-bound VOLUMES. One a dictionary.      The other athesaurus. He is obviously moved.                          QUOYLE (a murmur)                You must have me mistaken. For                a writer.And when he looks up.                          WAVEY                I don't make mistakes.     About                that kind of thing.He stares at her long enough to make her nod toward the otherpackage. Big and flat, but not heavy at all. He lifts the lid,and pulls out......a huge comfy SWEATER.   In oxblood wool.    He is completelystunned to realize...                          WAVEY (so pleased)                Well, you can't be surprised. You've                seen me knitting it for months.                          QUOYLE                It was so big, I thought it was a                tea cozy for your car. But if it's                for me, it has to be bigger, huh?Put it on, put it on! So he slips it over his head. Big enoughand then some. This worries her. She plucks at it...                           WAVEY                Well.   You'll grow into it.                          QUOYLE                You kiddin'? After the holidays,                we'll have to stretch it.He's just beaming. Hugs himself to show how warm it is.      Thesilence is companionable. Then...                          QUOYLE                Not used to a woman.     Giving me                presents.She raises a brow.     Can scarcely believe that.                            QUOYLE                  One Christmas with Petal, I gave her                  eleven things. And I wrapped them.                  And watched her open them up.She holds her friendly smile.     But her eyes have changed.Slightly.                            QUOYLE                  She didn't have anything for me.                  Like every year. But this one                  time, she said, 'Wait a minute.'Wait a minute.                            QUOYLE                  She ran to the kitchen. I heard                  the fridge open. She came back.                  With her hands hidden behind her.                  Then, she held out...Even his voice.    Betrays the longing.                             QUOYLE                  Two brown eggs. She gave them                  to me from her own hands. They                  were cold.He smiles, self-conscious.                            QUOYLE                  Must sound really stupid.   But                  they meant a lot to me.Silence.   A soft...                             WAVEY                  Well.   It's the thought that counts.He nods.   He's glad she understands.                            QUOYLE                  I broke 'em, careful. Made her an                  omelette with 'em. And I saved the                  shells. In a little box.She can't help but show her surprise at that.                            QUOYLE                  Oh, yeh. They're on a shelf                  behind my desk. At the paper.He looks worried now.     Shouldn't have brought this up.   And seeingthis...                             WAVEY                   I know how it is. To hold onto                   something good. In the middle of                   all the bad.He nods.     But feels truly awkward now.     So...                             QUOYLE                   Well. I gotta collect Bunny.                   Beety's gonna have supper waiting.Right.     She nods.   She understands this, too.                                WAVEY                   Thank you.     Thank you, very much.Takes her teapot and her bracelet.        Holds them.     A gentle barrier.Her hands now too full for a hug.                              QUOYLE                   Well.   Merry Christmas!With a wonderful smile.                             WAVEY                   Merry Christmas.With one of her own.INT. SCHOOL AUDITORIUM - NIGHTQuoyle enters a packed auditorium, festooned for Christ's birthdaywith every trimming imaginable. Rough fishermen in black jacketsthey wear once a year, women in finery, schoolkids at their well-scrubbed best, antsy with anticipation. The BUZZ is audible,palpable. No Broadway opening could hope for this level ofeagerness.As Quoyle comes down the aisle, we see faces we know. Boys fromNutbeem's party. Billy Pretty with Jack and Mrs. Buggit. AlvinYark and his bird-like wife. The old-timer who sold Quoyle hisboat. Mavis Bangs with an empty seat next to her, must be savedfor Agnis. All the kids from daycare. Still, Quoyle searching forthe face he doesn't find. And finally......to the third row, where Dennis and Beety have saved him a seat.Beety gives him a peck on the cheek, and he smiles, settling in,nervous as hell, just as......the school principal, still dressed for England, walks to themike at center stage. Holds up her hands like the disciplinarianshe prides herself on being, and they quiet pretty fast.                             PRINCIPAL                   Your friends and neighbors, and                   most of all, your children. Have                worked hard to bring you the best                pageant ever.THUNDEROUS applause, whistling, stamping. She is frustrated for amoment. Then, waves cheerily against the din, shouting...                          PRINCIPAL                LET THE FESTIVITIES BEGIN!And RUNS off-stage, as we DISSOLVE THROUGH a SERIES OF ANGLES......the Big Ugly Guy who led the raid on poor Nutbeem's boat standsin a threadworn suit bulging with his bulk, singing DANNY BOY inthe sweetest tenor one could dream of. PAN an audience, rapt,motionless. Pavarotti never had more respect....Bunny and Marty walk timidly to the front of the stage. Martydressed in Christmas reds and greens. Bunny all in blue, whichdoes look good on her. Kids CALL OUT their names. The place fallsquiet. And the girls begin to sing a plaintive West African HYMNin small brave voices that sometimes harmonize. It is unexpectedand breathtakingly courageous. Two dads in the third row havetears flooding their eyes...                          DENNIS (gruff whisper)                Not bad, my kid, eh?                            QUOYLE (gruffer whisper)                I'll say.    She's as good as mine....Agnis Hamm walks out alone onto the stage, wearing a brownjersey, tweed skirt, yellow stockings and red slippers. She hasan odd look on her face, all serious and curious. The laughter andcalls die away to silence. Suddenly, one of her feet SCRATCHES atthe stage, her arms become WINGS, and with a CROONING and CACKLINGshe metamorphoses into a PEEVISH HEN protecting an egg. The housecomes DOWN with laughter and UNISON applause. Quoyle glances backat Mavis Bangs who puts her fingers between her teeth and WHISTLESin pure delight....Wavey Prowse walks onto the rear of the stage, in a long blacksmock, carrying her accordion. She turns to the wings, nods, andout comes little Herry clacking across the stage in tap shoes. Abeat of silence. Mom calls out: ONE, TWO, THREE, rolls into asavage hornpipe and Herry commences the JIG Quoyle once glimpsedthrough a window. Three hundred HEELS coming STOMPING down inperfect rhythm and lift Herry into a joyous bouncing, rattlingperformance that builds in intensity until the finish. He runsto the edge of the stage, bows DEEP from the waist, stands beamingin their applause. Then RACES offstage, his mom following withdignity, and we go with her into the wings...Once there, Wavey slips OUT of the smock, revealing to the dimnessof the wings, that she is wearing dancer's tights over drop-deadlegs. A close-fitting tunic covered with sequins and glass bugles,crystal diamonds, and dozens more glittering baubles that send ashimmer of prisms with her every breath. Herry hands her a tophat, a cane, and......she STALKS back onto the stage, her lithe body strutting andglinting. A hush of stupefaction falls, only to be washed awayby SHOUTS and WHISTLES, the kind of which have not been heardsince Gypsy Rose Lee startled her first roomful of rubes. Inthe bedlam......she TWIRLS the top hat on one finger, FLIPS it up in a doublesomersault, catching it square on her head. She leans on her caneAnd when at last they quiet...                           WAVEY                 We all know Billy Pretty's ways.                 Never save fifty cents, if you                 can save a dollar.She winks.   They laugh.   Billy laughing loudest.                           WAVEY                 Well, last Feb'ry, Billy wants                 t'get his grandfather clock repaired.                 Calls old Leander Mesher. Local                 call. No charge.Twirls the cane recklessly.    In the third row, a goggle-eyed Quoylecouldn't blink if he tried.                           WAVEY                 Well, says Leander, the big cost is                 pickup and delivery. Got t'charge                 fifty dollars, each way. Two strong                 boys. Gasoline. Air in the tires!That's right.                           WAVEY                 There's no cost for air in yer                 tires!, says Bill. Get wi' th'times,                 he's told. Tis called inflation!WAGGLES her eyebrows, Groucho-style.    They are busting their gutslaughing. Connoisseurs of wit.                           WAVEY                 Billy lives at the top of the hill,                 Leander at the bot tom, doncha know.                 So Billy gets a rope, HOISTS the                 grandfather UP on his back. And                 muttering the words fifty bucks...She puts her toe out, SLIPS wildly, windmilling her arms,pantomiming as she bends double under the phantom clock.                           WAVEY                 Mite slick. Four feet thick a ice.Tears are streaming from a hundred eyes and more.                           WAVEY                 Meanwhile, at the bottom, Auntie                 Fizzard, 91 years young, sets out                 in her non-slip galoshes and her                 cane with the rubber tip. Didn't                 yer, dearie?Bows to the old gal in the front row, who is scarlet-faced inhysterics, as all around her applaud. Wavey becomes her, inchingalong, casting fierce glances right and left to warn the world.                           WAVEY                 Meanwhile, at the top...She is Billy once more, beneath his burden, her long legs stutter-stepping to one side, then the other, slipping, skidding, thehowling all around her threatening to shatter walls, and...                           WAVEY                 ...OVER he goes, clock-side down,                 and PICKIN' UP SPEED!Miming the wild ride as they ROAR...                           WAVEY                 ...eight blocks, NINE, missing                 everything like a miracle, zeroing in on...She becomes Auntie Fizzard once more, shuffling, looking left,right, and suddenly up WILD-EYED!                           WAVEY                 CLIPS 'er inta the snow bank!Nods sadly.   Leaning on her cane.     When at last they quiet.                           WAVEY                 Just two galoshes stickin' outta                 the snow. She digs 'er way out.                 Brushes herself off. Looks at                 him sprawled like a turtle on his                 back, tied to his massive burden.                 She says...She says.                              WAVEY                 YOU THERE!     BILLY PRETTY!Levels a dead-eyed killer gaze.                           WAVEY                 WHY CAN'T YOU WEAR A WRISTWATCH                 LIKE EVER'BODY ELSE?The place comes DOWN like a house of cards. Bedlam surroundsQuoyle who sits still as a stone. Too dazzled to breathe.EXT. ROADSIDE DINER - EARLY MORNING.Lonely stretch of wooded road, middle of nowhere. Light snow juststarting to fall. A truck pulls up beneath a tree. Out climbs......Wavey. Looking grim, walking slow. Crosses the road to aweathered diner. The woman who only smokes when she's worried,pulls out a pack of Camels. Looks through the diner's frostedwindow......a lone customer sits nursing his coffee. He is 40, lean, veryattractive. Dark hard eyes, set into worries of their own. Waveylights up. Watches in silence until......the man looks up. Their eyes meet through the glass.      Hold.And on his faint smile...She turns her back.   Starts up the road.ANGLE...he is walking beside her now. Snow drifting lazy, hersmoke curling up. He watches her anger, how cold and quiet andclosed. Smiles at her profile...                           HEROLD                 I shoulda come last night.     Seen                 the show.She can't even believe he said that.     Never looking at him...                           WAVEY                 Woulda been a thrill for the                 Christians among' em. They                 think you're dead.Keep walking.   His smile is gentle.                           HEROLD                 Well, then we got good news                 for th...                           WAVEY                 So does your son.A beat.                           HEROLD                 Even better news for him.                           WAVEY (low)                 You think so.Breaking the words off.   He's watching her profile.                           HEROLD (very soft)                 I can't undo the hurt I've done.                 Unless you let me.Gauging the feeling behind the bitterness.                           HEROLD                 There's a million reasons to send                 me away. Good ones. And only two                 reasons not to.Is she even listening?     He lets the silence hang.                           HEROLD                 I love you. And you love me.She stops walking.     Flips her cigarette off into the snow.       Turnsnow...Looks into his face.     And sighs.EXT. SHORELINE - DAYRear ANGLE of Agnis, crouching in the lightly falling snow. At theedge of the sea. The spot where she once sent her dog to rest.HEAR footfalls crunching slowly across the rocks. A bulky figurecomes into frame. Crouches down beside her. Close. She stares atthe gray horizon.                           QUOYLE (softly)                 Mavis Bangs. Told me where                 you'd be.No answer.   But she hears him all right.                           QUOYLE                 We get so little mention in the                 wires. Thought you'd like to see.He hands the folded print-out to her.                           QUOYLE                 Head in the suitcase.       The mystery's                 solved.She looks briefly at his eyes.        Takes it.   Starts to read.                           QUOYLE                 Silver Melville was captured in                 Moored with a cruise steward. The                 boy was twenty, a looker, wearing                 Armani clothes. Driving a nice Lexus.Agnis keeps reading.                           QUOYLE                 Says she did it all for love.She nods at that.      Folds the paper neatly, as if conveying respect.Hands it back.                              AGNIS                    She'd call me, time to time.                    Husband was a pig. More women should                    do what she done. Her situation.He looks in her eyes.      And decides to say...                              QUOYLE                    Some women. Shoulda done it to                    their brother.The look holds.      She sees the compassion in his eyes.        Knows he'sso on her side.      She clears her throat.                              AGNIS (softly)                    Cousin Nolan. Hafta pay him                    a visit.They share a look.      He glances at the sea.        Beautiful spot.                              QUOYLE                    Mavis said you buried Warren here.                    Called it an anniversary.She stares deep and unblinking into his eyes.            She will tell him.                                 AGNIS                    Of a loss.     But not the dog.A held moment.                              AGNIS                    What makes us do that, nephew?                    Give ourselves away to someone.                    So we can't eat or think or                    breathe without 'em?                              QUOYLE (just above a whisper)                    I don't know. We just do.Silence.   And...                              AGNIS                    Wonderful, ain't it?And now she smiles.      Something we have rarely seen.                              AGNIS                    Irene Warren died. The mornin'                    after a Christmas. We get one                    true love in life, nephew. She                    was mine.He's not surprised.     And that, in turn, does not really surpriseher.                          AGNIS                Don't mean we can't give love                again. And get some back.                          QUOYLE                For some, it does.                          AGNIS (straight back)                Not for me.Strong with that.     Sure.                          AGNIS                And if that ruffles some small                town feathers...His smile in return.     Very real.                          QUOYLE                Y'know what the feathers around                here need th' most? A good ruffling,                I say.He sounds pretty sure himself.         Their look ho1ds.                          QUOYLE                Y'know what I need th' most?She doesn't.                          QUOYLE                A really big breakfast!She nods, one last time.      Sounds like a plan.INT. GAMMY BIRD - LATE NIGHTQuoyle alone with his cut-and-paste, making up the front pagelayout. Moonlight on fallen snow through the window. Late enough,quiet enough, to hear......the vehicle drive up, the engine turn off. The footfalls to thedoor, which swings open. The last person he'd expect to see.Especially with a bottle. Of Cuervo Gold.They stare at each other.      Only he smiles.                             QUOYLE                Hey.     Congratulations.She shoots him a quizzical look.         We see the edge right off, evenif he doesn't.                              QUOYLE                Last night.     On the stage?    You                were...Shakes his head with innocent admiration.       She puts the bottle onhis desk.                          WAVEY                It was easy. I just kept thinkin'.                How would Petal do it?He hears it now, right enough. The anger, the Cuervo. She stalkson over to the coffee counter, only a bit wobbly. Plucks up twostyrofoam cups.                          WAVEY                We're friends, right?     Friends                drink together.Back to his desk. Shrugs her coat off onto the floor. Pulloverand jeans, she looks terrific. Hikes her butt up onto the edge ofhis desk.                          WAVEY                I asked a quest...                          QUOYLE (quiet)                I'll drink with you. If you're                not done yet.Her soft throaty laugh. He hasn't seen her this way.        Can't decideif it's more scary or exciting.                          WAVEY                Not drunk enough yet to talk about                Petal. Which we always seem to do.Opens the bottle.   About four fingers are gone.                          WAVEY                Let's talk about me.     Which we don't.Pours herself another two.    Thinks before she says...                          WAVEY                Growin' up, all I wanted from this                place was out. Imagine. Give up                all this.Pours two fingers for him. Stretches her body to slide the cupacross the desk. The Cuervo sloshes.                          WAVEY                I ran off to Toronto, went to                school. Wanted to be a social                worker. For kids.She's looking at her cup now.     Not at him.                             WAVEY                   Came back one summer.     Fell for                   Herold Prowse. That.      Was that.Takes a swallow.     Closes her eyes.                             WAVEY                   Did you know I was a liar?Opens her eyes.     Straight into his.     Did you?                             WAVEY                   Herold liked other women.     But you                   know how that is.Sure you do.                             WAVEY (whispers)                   He didn't die. Not that he didn't                   deserve to.Quoyle blinks.     A perfect stunned ox gape.                             WAVEY                   See, I'm a good liar.Drains her cup.                             WAVEY                   He ran off to Seattle with some                   bitch. When his damaged son was                   two months old. And nobody knew.An ice-cold wink.                             WAVEY                   Like I said. It's four years ago.                   And it's yesterday.Pours herself another.     Savors the memory.                             WAVEY                   So I took his boat out. I sunk it.                   And told my little story. Grieving                   widow.Shrugs a drunken, careless shrug.                             WAVEY                   I was leaving, of course. Why                   humiliate myself on the wayout?Yes?                             WAVEY (softer)                   But a funny thing happened.        On                   my way out.Her eyes are deeper now.      And for a beat, the anger slips away.                             WAVEY                   All these funny, odd little folks?                   They put their hearts around me.                   So I wouldn't be alone. Having                   lost the man I loved.Silence.   A real one.                             WAVEY                   And since I knew, to my shame, that                   is exactly what I had lost. I let                   go of the will to leave. I did.I did.                             WAVEY                   Decided to let my child grow up.                   Around folks better than his mom.Stares in his eyes.                             WAVEY                   You're quite the talker.                             QUOYLE (quiet)                   I take pride in that.So she smiles.     But the bitterness is there in it.                             WAVEY                   Well, this morning.     The man I                   loved. Came back.And the world. Ceases to spin.         One man's world, at least.   Shewatches that. Assesses it.                             WAVEY                   Told me he knew.     I loved him still.Sips at her second drink.        Slides the rest of it down.                             WAVEY                   Okay. Now I'm drunk enough.         To                   talk about Petal.Her eyes ask.    Are you?                             WAVEY                   You're thinking we're kindred                   souls, you and me. In love with                   our nightmares.Shakes her head.     Uh-uh.                             WAVEY                   You don't love your Petal. You                   hate. Her cheating. Guts.Means those words as an opening blow.      Jacks or better.      Here comesthe hole card...                              WAVEY                   You have to think it's love.                   Because if it's not, you're dead                   inside. So you keep that flame a                   flickering. Cos it's all you'll                   ever have.Pure contempt.     And honesty.                              WAVEY                   You see.   You're a good liar, too.Lifts the cap.     Screws it back on the bottle.                             WAVEY                   Where's the damn eggshells?     That's                   all I came to see.And from his prison of shock and shame.      He points to a shelf.      Sheis OFF his desk, like a panther......SNATCHES the tiny padded box with its treasure.          RAISES it highto smash it, and......stops.    To see the panic.    In his eyes.It brings tears.     Pooling in hers.And she sets the treasure down, with the tenderness that decencyrequires.                             WAVEY                   Can you guess how I know about                   Petal?He cannot.                             WAVEY                   Because you and I.   Are kindred                   souls. After all.And that.    Is what she came to say.                             WAVEY                   So I told my husband. To fuck                   himself. And the ego he rode in on.She crosses the floor. Scoops up her coat.         Walks, just a littlewobbly, to the door. Sighs.                           WAVEY                 Thanks for the mirror.Nods.   Means that.                           WAVEY                 If I don't see you.   Happy New Year.And leaves. The door closes quietly.      Quoyle looks from it.   Tothe eggshells.And back.INT. DENNIS' HOUSE - LATERANGLE...Dennis and his wife BEETY bundled together asleep, as aferocious storm HOWLS around the house.ANGLE...Quoyle awake on the sofa in Dennis' parlor. Clutching hisblankets around him. Eyes jumping with every SHRIEK of themarauding wind. Mind racing with thoughts of Wavey. Andeggshells.ANGLE...Bunny asleep with Dennis' daughter MARTY. The room seemsto vibrate under the violence of the weather's assault. CLOSE onBunny now, and......her eyes OPEN. A strange intent in them. A knowledge. Sheslips from Marty's bed in her thin blue nightdress. Through thehouse in the dark, as the wind SCREAMS its warning. Into the par-lor where her father sleeps, as the wind suddenly INVADES, and......SUCKS her straight UP the chimney and out INTO the heart of thestorm. SAILING like a loosened kite out across the black water.Out and out, as gray light rises, to......Quoyle Point, where she is blown FLAT against a granite boulderjust in front of the Green House, which SHIVERS and pleads againstthe wind, its steel cables STRAINING, and suddenly from within thehouse, lights come ON......the WHITE DOG is in a window. No longer snarling and menacing,but whining pitifully, begging to be saved. And on the secondfloor......PETAL alone, wild-eyed with terror. She is dressed all in blue,and her daisy-chain necklace flies about her throat as she POUNDSagainst the glass, her eyes staring directly AT her daughter, whocan only scream soundlessly against the gale as the house......begins to come LOOSE, the first cable SNAPPING and WHIPPINGabout with the fierce destructiveness of unleashed power, then theNEXT, and ANOTHER, and with Petal still visible, HOWLING in horror,windows BURSTING everywhere else like flash bulbs, the house......slides FREE, along the rocks, toward the cliff, Bunny screechingas it goes OVER the edge, TUMBLES down toward the sea, and Bunny......sits BOLT UPRIGHT in bed, a single GASP as her dad is THERE,holding her tight. She is soaked with sweat. But her eyes are notwild. They are filled with the knowing.                            BUNNY (a whisper)                 Daddy.   The Green House is gone.He smooths her hair. The wind bellows in rage.       Little Martysomehow sleeps on, undisturbed, beside her.                           BUNNY (a whisper)                 I didn't dream it. Don't say I did.EXT. QUOYLE POINT - DAYThey climb from the station wagon into cold, clear sunlight.Stare in wonder at the naked rock. The snapped, spent, cables.Only shards of wood and glass leaving a hapless trail toward thecliff.Bunny RUNS toward the debris, and through it.     To a tangle ofbushes near the cliff.He walks to a broken cable. Crouches. His eyes running over thespace. Where his ancestor's home once stood. And then. Heturns...                           QUOYLE (calls out)                 What you got there?We see now. Bunny has unearthed a huge wooden crate from itshiding place. Too engrossed in counting its contents to respond.As he comes over...                           BUNNY (not looking up)                 Petal's things.She is counting her treasure trove of NECKLACES. More than anysound mind could imagine. Yet, in their infinite variety, somehowwonderful. A testimonial to the power of love.                           BUNNY                 I think they're all here.She looks up.   Sees him staring so fixedly at them.                           BUNNY (alerted)                 What's wrong?                           QUOYLE                 They're beautiful. I never saw                 'em. All together.Oh.   The kid doesn't smile.   She decides whether to ask him...                           BUNNY                 Will she be proud to wear 'em?He looks in her eyes.     His heart breaks behind his smile.                             QUOYLE                 Well.    Any woman would.EXT. JACK BUGGIT'S SKIFF - MORNINGSteel gray morning. The sea is more than a little rough, as Jacklays out his lobster traps. Two other boats, not too close by,appear and disappear in mist. He is checking the lines, knottinghefty weights onto the traps to take them down.                           JACK (sings to himself)                 Oh, th' Gandy Goose she ain't no uuuuse                    Cos all her nuts'n bolts is...Stops.   Halfway to lowering the next trap over the side.                           JACK (mutters)                 Sweet Jesus. I'm turnin' inta                 Alvin Cockadoodle Yark!As it nears the water line, Jack's cat SKIPPER TOM suddenly LEAPSdown ONTO the trap. Jack blinks.                           JACK                 What is this? Suicide attempt?Tries to let go of the trap and grab the cat in one motion, but thecat JUMPS BACK to the boat, Jack STUMBLING out of his way, STEPS inthe coiled line which WHIRRS as the trap goes......DOWN, the line STRANGLING Jack's leg and WHIPPING him flailingOVER the side in one startling heartbeat. Almost comic to watch.But then. It is very quiet.      Air bubbles appear at the surface.In a few seconds...The water is unbroken.     The boat bobs silently in the swells.INT. ALVIN YARK'S BOAT HOUSE - DAYQuoyle and Alvin inspect Quoyle's newly-finished boat. It is abeauty, to be sure, and the old builder watches Quoyle lovinglyrunning his hand across the smooth gunnel. Alvin doesn't smile.That's not his style.                           ALVIN                 Gotta paint the name. What'll it be?                 'The Tall And Quiet Woman'?Quoyle glances over.     The old boy's eyes are dancing.                           QUOYLE                 You knew Billy's dad?                           ALVIN                 Ever'body knows ever'body. But                 Billy's pap didn't invent the                 Four Women in a Man's Life.Quoyle nods.   Guess not.                           ALVIN                 Well. Which one is Bunny, I wonder?                 The Maid in the Meadow, mebbe.But Yoda is just staring at him.     And quietly...                           ALVIN                 Doncha know? They're all the same                 woman. That's the point.His pupil blinks.   Like a crystal bullet of clarity his brain.                           ALVIN                 The Maid in the Meadow, that's                 her innocence and play. The                 Stouthearted Woman, is when you                 need to lean on her.For some reason he could never name.     Tears are pooling in eyes.                           ALVIN                 The Tall and Quiet Woman? That's                 the silent partner who always walks                 'longside, so's yer never alone.Quoyle is nodding, now.     It all seems so right.                           ALVIN                 And the Demon Lover. That's just                 the frostin' on th' cake.A soft knocking at the door.                            ALVIN                 When y'find the woman who's all                 four? That's when y'got yer one                 true love.The bird-like woman enters.     The old man nods toward her.                           ALVIN                 ...like m'Gertie.But she isn't alone. A man enters behind her. It is DennisBuggit. And there are tears on his face. He brings a dreadfulsilence with him, because the face is an open grave.                          DENNIS                My dad went over the side this                mornin'. Tangled in th' sling-                stone line.A sob escapes from this strong man's throat.    He ignores it.    Noone knows what to say.                          DENNIS                If you could write a memorial t'                him. Fer t'morrow's Gammy Bird?                I'd be real grateful.EXT. JACK BUGGIT'S HOUSE - NIGHTThe road is jammed with parked cars and trucks and vans and wagonsFolks still streaming toward the brightly-lit house. Ever'bodyknows ever'body.INT. JACK'S HOUSE - NIGHTEvery room is filled with folks who wear their best. There iseating and chatter and even some pockets of laughter, as we movethrough the crowd. As if some have taken hold of a wake's well-meaning purpose. Others stand dazed, still wearing their pain andconfusion. There are children here, some hold a parent's hand,some giggle with each other. Snapshot of a community. Strugglingto cope.Quoyle and Bunny enter, holding hands, looking around.      As theycross the room......two figures step into their path. Two women holding hands,their bodies close together. Their feeling for each other open forall to see. One is Agnis. And the other. Isn't Mavis Bangs.                          DAWN                Happy New Year, Mr. Quoyle. I'm                sorry I missed you at the pageant.Slightly startled, Quoyle can't help but smile, despite the solemnoccasion. At the proud look on his aunt's face.                          DAWN                I was in the wings, a course.                Wasn't our girl somethin'?Our girl, a course, is Agnis.   Who nearly blushes at thecompliment.                          DAWN                I say, y'have t'love a woman. Who's                in touch with her inner chicken.Well, who could argue with that. Dawn leans up, kisses Quoyle onthe cheek. And with surprising softness...                              AGNIS                   Nephew.   You okay?                                BUNNY                   He's okay.     He's not sleeping in                   the box.Her great aunt looks at this child. Bends to plant an unexpectedkiss on the top of Bunny's head. The kid squirms, tugs her dadfirmly off, as he sends a parting wave.Into the parlor now. Quieter here, as the new arrivals thread pastJack Buggit in his open coffin, resting on black-draped sawhorses.Dennis and his mom stand by Jack, a hand and a word for each. Andmoving into the line...                             QUOYLE                   Remember what I told you.His words a murmur.     Hers are bolder...                             BUNNY                   If he's not sleeping.     Why do they                   call it a awake?He thinks.   As if it is a worthwhile question.                             QUOYLE                   We're the ones have to be awake.                   To how much we love him...Nods to himself.     Yes.                             QUOYLE                   And how we should be good to each                   other. While we have the chance.He looks down.     They are almost there.                                QUOYLE                   You think?She is thinking. Keeping the thoughts to herself. At the coffinnow, he lifts her up to see. Jack lies motionless, a wax figure ofhimself. Serene behind violet eyelids.                             BUNNY                   He looks like he's sleeping.Dennis looks over.     His stolid, grim face releases a smile for hisfriend.                             QUOYLE                   That's cos he's peaceful. No                   worries, anymore. No troubles.He sets her down.     Clasps Mrs. Buggit's hand.     And from hispocket...                          QUOYLE                I found this in Jack's drawer at                the paper. I don't know if it's                somethin' special...An enameled wreath with the initial R, backed by a long, sharp pinShe tears up again, just to see it.                          MRS. BUGGIT                Oh, it's his lodge pin.    We were                lookin' all over.She smiles bravely as she takes it.    Leans up to kiss his cheek.                          MRS. BUGGIT (a whisper)                Dennis showed me what y'wrote fer                th' paper. Did Jack proud.So they look at each other. Dennis clears his throat, looks away.And then, Quoyle is leading Bunny off.                          QUOYLE                You hungry? There's sandwi...                          BUNNY                Petal's peaceful, too.Just a statement of fact.    To no one in particular.   Dad squeezesher hand. Manages...                            QUOYLE                You bet.    You can count on tha...But she lets go. Scampers to a corner of the room.      To HerryProwse. And his mom.So Quoyle starts toward her, his heart in his throat. And whenWavey looks up. She is glad to see him. As he reaches her...She holds up her wrist. Dangling from it, her turquoise braceletShe wore her best for Jack. Quoyle stands very close. One lastthing from his pocket...                          QUOYLE                New Year's present.A small box. Wrapped as careful as he could.     She looks to hiseyes, really?                            QUOYLE                Oh, yeh.    It's a Quoyle tradition.Well, in that case. She takes it into her slender fingers. Undoesthe ribbon, the paper. Lifts the lid to see, resting in tissue......eggshells. Crushed almost to powder. Her heart comes straightto her eyes, even before the whispered...                              QUOYLE                   Thanks.   For the mirror.And across the room, Mrs. Buggit leans with trembling hands to fixthe Lodge pin to Jack's lapel. Shaking as she is, the handlurches, the big pin goes PLUNGING, and......a rattling COUGH. Rolls across this room. The world fallssilent. Jack's wife grabs her son's arm, and their eyes bug out,staring into the box.                             DENNIS                   DAD'S COME BACK!And LUNGES to help hs gurgling father free his shoulders from thecoffin's wedge. A sudden ROAR, there are SCREAMS, there is evenLAUGHTER and WHISTLING, complete chaos. And in the bedlam, a tugon Quoyle's coat...                              BUNNY                   See.   He woke up.EXT. OMALOOR BAY - DAYSunlit day of crystal perfection. The majesty of ice and toweringrock and shimmering water. A scale so majestic, any cynic would behard put to deny God's hand. And gliding into FRAME......a tiny skiff.     On its maiden run.   We CLOSE to see......painted on its side. THE FOUR WOMEN. One woman is rowing justnow, doing all the work. Her son sleeps in the bow. And in themiddle of the little boat......father and daughter. Are unpacking the picnic lunch.        There isa lot of food. This could take awhile.                             BUNNY                   That's a funny thing to say.   For                   the first thing he said.                             QUOYLE                   What? 'I'm keepin' m'damn lobster                   license'?Yeh.   That.                              QUOYLE                   Maybe he just said it. To make                   your Uncle Dennis laugh so hard.                   You think?She keeps unpacking.      Her face quiet and serious.   Her thoughts herown.                           QUOYLE (very softly)                 It's not fair, is it. That Jack                 woke up. And Petal didn't.And since he's said her thought aloud.      She tells him...                              BUNNY                 Well.     The world's not fair.     You                 said.She's not looking up.      But he knows she's listening.                           QUOYLE                 That's something the world is                 always teaching us. And sometimes,                 the learning comes later.That gets through.    Both adults can see it.                           QUOYLE (a murmur)                 You taught me that.Eyes resolutely down, she nods.      Remembers.                           QUOYLE                 You know. What we wait for?                 It's like the main stem of this                 boat. It gives us our shape.Her brow furrows.    Doesn't understand that.                           QUOYLE                 See, I know why you saved a place                 for Petal. All this time.On this.   She looks up.     Her dad is smiling from his eyes.                           QUOYLE                 Cos I'm the daddy. And you learn                 how to do. By watching me.And...                           QUOYLE                 You just watched.     Better than                 I knew.Still holding Bunny's eyes. He beckons to the woman rowing.C'mere, a second. So Wavey sets down her oars. Slides over.And Quoyle whispers to his daughter...                           QUOYLE                 Watch this.He leans his face. To Wavey's mouth. A kiss so tender, even achild can't turn away. The moment lingers. And when it ends...                           WAVEY                 I'm thanking your daddy.     For all                 my presents.                           BUNNY                 There was only two.Wavey looks at this girl.                           WAVEY                 More than two. Everything I need.                 Except...Except.   She gathers all the courage it takes to say...                           WAVEY                 Except a necklace.And waits. We can feel her heart pounding in her throat.       Bunnystares back with eyes no one could read. And then...                           BUNNY                 I got a box of 'em.   You could                 pick one.A hush over this bay.   A woman stunned and grateful.                           BUNNY                 Then you'd have everything you need.Well, that seems true. So, the woman nods.       Her eyes flutter down.In the silence, she unwraps a sandwich...                           WAVEY (a murmur)                 You want the cheese?                            BUNNY                 No.Okay, then. She hands that one to Quoyle.       And as she and Bunnylook for another, we PULL......UP and AWAY, an AERIAL ANGLE swirling above the shimmering bay.The boat so far below us. The people tiny specks. They could beanyone.Anyone at all.FADE TO BLACK.   ROLL END CREDITS.
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+                                        "SHIVERS"                                      Screenplay by                                     David Cronenberg                                      SHOOTING DRAFT                                           1975                               EXT. STARLINER TOWERS APARTMENT COMPLEX -- MORNING               Starliner Towers is seen in LS through the windshield of a                moving car. The car approaches the complex and stops near                the main doors of the West Tower.               Out of the car climb Kresimir and Benda Sviben, a gawky newly                wed young couple. Kresimir elaborately opens the door for                Benda, his new wife, and they walk with hands intertwined up                the steps of the West Tower.               INT. LOBBY -- MORNING               As the Svibens approach the main doors, the doorman leaps up                from his chair beside the intercom switchboard and opens the                door for them. The doorman, like most security guards, does                not look capable of handling a serious crisis. He is about                fifty, of average height but slightly built, wears thick                glasses and seems almost embarrassed by the revolver on his                hip.                                     DOORMAN                         Morning, folks. Can I help you?                                     KRESIMIR                         Yes, please. I... er, we... are                          looking for the rental agent here.                          We have an appointment.                                     DOORMAN                         OK, I'll just give him a little buzz                          and he'll come out and show you the                          way in.               The doorman presses a button on the intercom board. As he                turns back to the Svibens, he catches his holster on the                board.                                     DOORMAN                              (freeing holster)                         Darned thing.                                     BENDA                         Do you ever use that?                                     DOORMAN                         This? No, never even had it out of                          the holster. A rival company has                          'em, so we gotta have 'em. Just an                          advertising gimmick.               INT. ANNABELLE'S APARTMENT -- MORNING               Dr. Emil Hobbes, a huge, florid, bearded man, is strangling                Annabelle Horsefield. Despite the difference in their sizes --                Annabelle is tall and slender, about seventeen -- Hobbes is                not having an easy time of it. Hobbes is wearing overlarge                blue jeans and a red plaid shirt; Annabelle is in a private                girls' school outfit -- white blouse, dark blue tie, blue                knee socks, pleated gray skirt.               Annabelle fights back fiercely; Hobbes has tears in his eyes.                The struggle takes them all over her apartment, which,                although sparsely furnished, presents enough objects in their                way to cause a lot of crashing around. At one point Annabelle                breaks loose and Hobbes has to chase her.               Annabelle slips and Hobbes manages to pin her to the ground,                where he has the advantage of leverage. He strangles her                quickly and with tremendous, crazy energy. Blood oozes from                her mouth. Hobbes places his hand over her mouth as though                trying to prevent her from speaking, or to prevent something                from leaving her body.               He reaches over to his leather doctor's bag, which has spilled                some of its contents on to the floor, finds a surgical clamp,                and clamps Annabelle's lips together. He then picks up her                body, carries it over to the dining-room table and sweeps                the few cups and bottles on it off on to the floor. He then                places her body with great tenderness on the table and begins                to undress it.               INT. LOBBY -- MORNING               The doorman leaves the Svibens to open the door for the                Spergazzis, an elderly Italian couple who both use aluminum,                four-pronged canes to help them walk. The Svibens watch the                old couple as they enter and then glance at each other                significantly -- 'We'll be together when we're as old as                they are.'               Mr. Spergazzi tips his hat to the doorman, who opens the                inner door for him.               As the Spergazzis make their way shakily toward the elevators,                Mr. Merrick, the rental agent, appears from around a corner.                He is slick, mustachioed, and wears a wide paisley tie. He                extends his hand for a handshake even though he is still                fifty feet from the inner doors. The doorman keeps the door                open for him.                                     DOORMAN                         Here's Mr. Merrick. He'll take you                          on in.                                     MERRICK                              (ingratiatingly)                         Welcome to Starliner Towers. And you                          are...?                                     KRESIMIR                         Kresimir and Benda Sviben.                                     MERRICK                         Eh? Oh yes, of course. Mr. and Mrs.                          Sweden. Come right this way. Sorry                          to keep you waiting. Now, are we                          talking about one or two bedrooms? I                          assume we're not talking about                          bachelors, eh? Ha, ha. Now, I have                          several floor plans all laid out for                          you, and all you have to do is take                          your choice and we'll trot right on                          up there and take a look at 'em...               The three disappear around a corner.               The doorman pulls a Harlequin Nurse Romance out of his jacket                and sits down to continue reading it.               INT. ANNABELLE'S APARTMENT -- MORNING               Hobbes ties a green surgical mask over his mouth and nose,                snaps on rubber gloves.               He turns to Annabelle's corpse on the dining-room table,                legs hanging over the edge, now naked -- the private girls'                school clothes in a heap on the floor. Hobbes takes a scalpel                from the top of the radiator where he has laid out his                surgical instruments. He feels Annabelle's stomach until he                has found what he wants, then cuts her open with one smooth,                confident stroke of the scalpel.               He then quickly douses the inside of her abdomen with some                clear fluid in a squeeze bottle, lights a wooden match, and                drops it into her abdominal cavity. The corpse bursts into                flame.               Hobbes steps back to watch. Tears spring into his eyes. He                picks up another scalpel and perfunctorily sticks it into                his neck. Blood spurts into his mask and soaks through to                the other side. Hobbes sinks to his knees before the blazing                corpse and struggles to draw the scalpel through the tendons                of his neck.               INT. RENTAL OFFICE -- MORNING               Merrick and the Svibens sit across from each other at a long                table strewn with floor plans and maps. The river which                surrounds the complex can be seen through the glass walls of                the office. Merrick taps one plan with his finger and slides                it over to Benda.                                     MERRICK                         Now you take a look at that one,                          Brenda, and tell me if it doesn't                          suit you down to the ground. That                          one has the big view, the panoramic                          view...               INT. TUDOR'S APARTMENT -- MORNING               In his bathroom, Nicholas Tudor is cleaning his teeth with                microscopic attention to detail using an elaborate compressed-               water device called a water-pick. Tudor is thirty-nine, not                happy with his work as an insurance appraiser, and has                recently adopted a general air of terse, sullen desperation                as his primary mood.               His wife, Janine, calls to him from the kitchen, where she                is just putting the finishing touches on breakfast.                                     JANINE (V.O.)                         Breakfast is just about ready, Nick.               Tudor pointedly doesn't answer, but continues with the water-               pick until he is completely satisfied. He carefully packs                the machine away, then leaves the bathroom.               In the dining room, Janine is putting breakfast on the table.                Tudor sits down without a word and begins to eat. Janine                returns to the kitchen and comes back with a cup of coffee                in each hand. She puts one cup in front of Tudor, sits down,                starts to drink the other one. After a pause, she speaks.                                     JANINE                         Can I call you at the office?                                     TUDOR                         What do you want to call me at the                          office for?                                     JANINE                         I don't know. I just thought I might                          want to call you. I don't know.                                     TUDOR                         I won't be at the office except to                          sign in.                              (he eats heartily,                               not looking directly                               at Janine)                         I've got a lot of claims to check                          out. All over the place. Garages and                          more garages.                              (noticing Janine's                               silence, he finally                               looks up)                         I'll come home right after work.               Janine continues to toy with the food in her plate. She shrugs                once, as if to say, 'Big deal, so what?' Tudor ignores her                and finishes breakfast.               INT. A HALLWAY -- MORNING               Tudor leaves his apartment, closing the door behind him (we                see the number clearly).               He walks down the hallway on automatic pilot, obviously                preoccupied, turning the corner leading to the elevators                without perceiving what he is seeing.               At the elevators he hesitates for a moment, then presses the                UP button. When the door opens, he steps in.               INT. ELEVATOR -- MORNING               In the elevator are Merrick, the rental agent, and the                Svibens.                                     MERRICK                         We're going up.                                     TUDOR                         Oh. Well, I'll go along for the ride.                                     MERRICK                              (after a pause, to                               the Svibens,                               indicating the                               elevator)                         Wood-grain paneling, strong, silent,                          fireproof, fast, cushioned ride.                          Everything you could want in an                          elevator.               Nobody says another word until the doors spring open and                Merrick, after a wink at Tudor, hustles the Svibens out of                the elevator.               As the doors close, Merrick's voice floats back to Tudor.                                     MERRICK (V.O.)                         Notice how the entranceways to all                          the apartments are recessed and                          individually lit... Nope, it's down                          that way, Brenda. That's it...                          Recessed and individually lit...               Once the door has closed, Tudor presses the button for the                top floor. As the elevator ascends, he takes out his wallet                and removes a key from a zippered compartment.               INT. HALLWAY -- MORNING               Tudor fits the key into the lock of Annabelle's apartment.                He knocks gently and then opens the door. After a pause he                steps in and closes the door behind him, not wanting to be                seen by anyone who might know him.               INT. ANNABELLE'S APARTMENT -- MORNING               As soon as he is inside the apartment, Tudor knows that                something is seriously wrong. Smoke hangs in the air and the                smell of burned flesh attacks Tudor's nostrils. He is on his                way to the bedroom when he sees Hobbes's foot around the                corner of the dining room.               Tudor approaches the dining room with his hand over his nose                and mouth.               Annabelle's corpse is still smoking where it lies on the                dining-room table. Hobbes's body is twisted into the fetal                position at the foot of the table, one hand still clutching                the scalpel stuck in its neck, the floor beneath it bright                with blood.               Tudor winces as though stuck with a pin. Blinking rapidly,                he edges around the room until his angle of vision is such                that he can see the head of the corpse on the table. It is                definitely Annabelle, eyes still staring, surgical clip still                attached to her lips, purple bruises on her neck.               Tudor turns, his body contracting around the pit of his                stomach. After a moment he manages to straighten up and                stagger from the apartment, having at least enough presence                of mind to take his attachÈ case, which he left by the door,                and to close the door behind him.               INT. ANNABELLE'S APARTMENT -- AFTERNOON               Dr. Roger St. Luc, tall, thin, dark, not bad-looking, stands                over the table staring at the corpse of Annabelle. As he                watches, two ambulance men throw a sheet over her and begin                to lift her down on to a stretcher on the floor. The voice                of the superintendent of the building drifts over to him                from the other end of the apartment.                                     SUPER (V.O.)                         Like I said to the police officer,                          he paid the rent, Dr. Hobbes did.                          And he came around and chatted a lot                          with everyone here, the staff, I                          mean. Nice guy. Not a high and mighty                          type. But it was her name on the                          residency list and the buzzer board:                          Annabelle... what was it again?...                          Annabelle Horsefield. She never                          complained about anything, not to                          me, anyway.               The super, a small, unshaven, harassed little man with a lot                of energy, is talking to a large beefy detective who writes                everything down in a notebook.                                     DETECTIVE                              (pointing to                               Annabelle's corpse,                               which is just being                               carried out the door)                         And that was her. Annabelle Horse...                          field.                                     SUPER                         Far as I know, yeah, that was her.               The detective now turns to St. Luc, who is crouched on the                floor examining the chalk outline around where Hobbes's body                had lain.                                     DETECTIVE                         Is that the man who called you up                          here?                                     SUPER                         Yeah, that's Dr. St. Luc. He's the                          head of our little medical clinic                          here.                                     DETECTIVE                         Medical clinic?                                     SUPER                         Yeah. This is an island, you know?                          Takes too long to get into the city.                          We gotta have everything right here                          or somebody complains.                                     DETECTIVE                         Well, let's go talk to your doctor.               The detective walks over to St. Luc and the super follows.                St. Luc rises to meet him. He is wearing very informal summer                clothes, a bit rumpled.                                     DETECTIVE                         Dr. St. Luc? Detective-Sergeant                          Heller. I'd like to ask you a few                          questions.                                     ST. LUC                              (obviously a bit dazed                               by what he has been                               seeing)                         Sure.                                     DETECTIVE                         You're the one who found the bodies?                                     ST. LUC                         Yes.                                     DETECTIVE                         Did you touch anything? Move anything                          before we got here?                                     ST. LUC                         No, nothing.                                     DETECTIVE                         You knew these people?                                     ST. LUC                         I knew the man, Emil Hobbes, a doctor                          and a professor at university. I saw                          the girl around the building but I                          didn't know her. She never came to                          the clinic.                                     DETECTIVE                         So you just came up to visit this                          Hobbes and you found them like that?                                     ST. LUC                         Oh, no. I haven't seen Dr. Hobbes                          since I was in medical school. He                          taught me... he was my prof in urology                          and... I think he conducted a few                          seminars in psychopharmacology. That                          was it. I had no idea he'd ever set                          foot in Starliner Towers until today.                                     DETECTIVE                         I see. Then what brought you up here?               St. Luc begins to pace about as he talks.                                     ST. LUC                         It was very strange. He called me at                          six this morning. Hobbes called me.                          I thought I was dreaming. I haven't                          heard that voice for so long. He                          told me who it was, then he said                          something like, 'Meet me at apartment                          1208 at noon. I want you to go out                          for lunch with me. It's time you                          furthered your education.' Then he                          laughed and hung up. I went back to                          sleep. He called me again at eight                          to remind me to come.                                     DETECTIVE                         How did he sound this time? Was he                          nervous? Depressed?                                     ST. LUC                         He sounded fine.               The telephone rings. The super, who has been fiddling with a                window with a cracked pane of glass, grabs the phone                instinctively without looking at the detective, who probably                would have answered it himself.                                     SUPER                              (pause)                         Who? No, that's not me. You got the                          wrong guy. Just a sec.                              (looks up at St. Luc                               and holds out the                               phone to him)                         It's for you. Somebody wants to know                          how come you didn't show up for lunch.               The detective looks suspiciously at St. Luc, who simply looks                dazed.               INT. ROLLO LINSKY'S LABORATORY -- AFTERNOON               Next to a shallow porcelain tray full of immense and grotesque                marine worm specimens lies a large parcel wrapped in brown                paper. Rollo's plump fingers eagerly open the package to                reveal a large variety of delicatessen sandwiches and                accessories.               Rollo offers some to St. Luc while stuffing one in his own                mouth. There are Cokes and old coffees everywhere, plus                mustard, relish, and ketchup dispensers of all kinds. Rollo                and St. Luc sit around Rollo's desk, a very sleek metal                affair.               Rollo's lab itself is a combination of modern office and                biology room in a museum of natural history. Specimens of                all kinds, in bottles and cases, mounted on glass and wood,                floating in preservative baths, are everywhere. There are                also a few cages of living insects, moldy aquaria and lab                cultures in various stages of neglect.               There are also clippings from magazines and newspapers                sporting furious underlinings and circlings in red ink which                are stuck to walls, doors, bookshelves.               Despite the potential for chaos, however, there is an                underlying order which reflects Rollo's own real discipline,                which is not always immediately apparent. And the microscopes                and glass slides, the stainless-steel gynecological table                complete with stirrups, metal drug and instrument cabinet,                etc., are spotless and in good shape.               Rollo is rotund, soft-faced, and a manic-depressive. In his                manic phase he is a joker and an elbow-nudger, and his general                style, even when discussing medical matters in medical jargon,                is broad North-American Jewish. In his depressive phase, he                becomes a sullen kid who has an oddly sinister aspect to his                character.               Rollo detaches himself from his baby beef in order to comment                on the food that, not so secretly, he loves best of all.                                     ROLLO                         Not exactly the kind of lunch Hobbes                          would have laid on you, Rog, but                          it's all I got, and...                              (places hand on heart,                               leans over                               confidentially)                         ...all I got I share with you. Go                          ahead. Take all you want.                                     ST. LUC                         You touch my spleen, Rollo.                              (they giggle at an                               old medical-school                               reference)                         And here all the time I was thinking --                          if I ever bothered to think about                          the good old days -- well, at least                          there's Rollo. He's in VD and he's                          happy.                                     ROLLO                         I'm still a VD man under the skin,                          Rog. You know me. I'm a down-to-earth                          kinda guy, right?                                     ST. LUC                         Well, at least you still talk the                          same.                                     ROLLO                         So who changes?                                     ST. LUC                         But you gave up your private practice.                          Suddenly you're into pure research                          and you... you're what, a                          parasitologist?                                     ROLLO                         That was my father's idea... private                          practice. He wanted to set me up --                          I couldn't say no. But he's dead                          now. And me, I'm still a snoop, I                          gotta do research. Look at that                          beautiful stuff...                              (gestures everywhere)                         ...lookit it!               He jams a final piece of sandwich into his mouth and jumps                to his feet, smiling broadly.                                     ROLLO                              (with great enthusiasm,                               indicating the entire                               lab)                         This is the 'Satyr's Tongue'!               He pulls a book off a shelf with a bookmark in it. He opens                the book at the marked page and hands it to St. Luc. As St.                Luc looks at the picture of a satyr with his tongue hanging                out and reads the brief note on how medieval alchemists                thought the ground-up tongue of the satyr could cure any                disease, Rollo continues to talk.                                     ROLLO                         The note includes a warning against                          swallowing the tongue whole, but we                          don't see the rest of this caution.                          'Satyr's Tongue' was Hobbes's code                          name for our project. What we were                          trying to do was to find an                          alternative to organ transplants.               As Rollo speaks, he walks all over the place, picking up and                discarding various charts, specimens, bottled and diseased                human organs, etc.               As he moves around, we catch glimpses of Letrasetted signs                that Rollo has tacked up: 'Sex is the invention of a clever                venereal disease -- Hobbes'; 'Dr. Hobbes's prescription:                starve a fever, feed an obsession'; 'The road of excess leads                to knowledge'; plus several pictures of satyrs with their                tongues sticking out, being cut off by alchemists, etc.                                     ROLLO                         I know. You're bored already.                          Transplants are yesterday's kishkas,                          right?                                     ST. LUC                              (shaking his head in                               protest)                         Did I say anything?                                     ROLLO                              (excited, waving                               specimens of parasites                               and diseased organs                               around)                         Look. You got men, you got parasites                          that live in, on, and around men.                          Now. Why not breed a parasite that                          does something useful? Eh? Why not                          breed a parasite capable of taking                          over the function of any one of a                          bunch of human organs? Why not, for                          example, a parasite living in the                          human abdominal cavity that plugs                          into the circulatory system and                          filters the blood like a kidney? If                          it takes a little blood for itself,                          so what? Be generous! You can afford                          it.               He is now in full flight. He leans over St. Luc and begins                to demonstrate what he says by drawing things on St. Luc's                stomach with his fingers. St. Luc can't hide his amusement.                                     ROLLO                         You put the bug into the body of a                          man with a diseased kidney, the bug                          attacks the bad kidney, dissolves                          it, it's assimilated by the body,                          and now you got a perfectly good                          parasite where you used to have a                          rotten kidney. I know what you're                          gonna say. You're gonna say it's                          crazy.                                     ST. LUC                              (laughing)                         It's crazy.               Rollo throws himself back into his chair and grabs a pickle.                                     ROLLO                         Right. It's crazy. But here's the                          beauty part. Ready?                              (leans forward for                               emphasis)                         Who cares?                                     ST. LUC                         I don't get it.                                     ROLLO                         You know and I know that Hobbes was                          a lousy teacher, eh? Lousy. Dry,                          academic, afraid of women, lousy.                          But he was always a genius at one                          thing -- getting grants. Could he                          get grants for crazy projects?               St. Luc is about to say something, but Rollo answers his own                rhetorical question with a flip of the hand, effectively                silencing St. Luc.                                     ROLLO                         You know who pays the rent here? Eh?                          The Northern Hemisphere Organ                          Transplant Society. And that's for                          something that's supposed to put                          them outta business. And they're not                          the only ones. We got grant money                          coming out of our ears.               He leaps up again and pulls a sheaf of reprints from medical                journals like the Journal of Venereal Disease, etc. He shoves                them under St. Luc's nose, then grabs a jar with a                disintegrating octopus-like creature in it and a sandwich at                the same time. He smacks down the sandwich in front of St.                Luc by mistake, then retrieves it and substitutes the jar                with the specimen.               St. Luc sifts through the papers and glances at the specimen.               As St. Luc looks at the papers, Rollo breathes heavily down                his neck and points out things of interest.                                     ROLLO                         See? There? You take a little of                          this... that's a very rare venereal                          disease you get in the nomadic Crinua                          people, Northeast Asia and Japan.                              (points to a sexy                               picture of a Japanese                               lady in heat)                         Oo. That one's got it bad. They call                          it Batinh. That means 'kiss' or                          'caress.' When you get it it makes                          your lips itchy, ya wanta kiss                          everything. I even had it once. I                          always get everything at least once                          so I know what the patient's talking                          about.                              (he laughs but he's                               serious)                         And there... you take a little of                          that... that's beautiful, isn't it?                          That's Flexipes, the world's only                          cephalopod parasite.                              (indicating the jar)                         That's him right there. Not a very                          good specimen. Related to squids and                          octopuses. See? He lives in the guts                          of whales and big dolphins.                              (wiggles a finger at                               the specimen)                         Ya like 'em big 'n hot 'n wet, don't                          ya? Yeah.               He walks away from the desk. His manner is now more subdued                and reflective. It seems as though everything he says provokes                a dozen unspoken thoughts. His depressive phase is beginning.                                     ROLLO                         We don't do it all here, we send out                          to have tricky stuff done... the                          cell fusion, enucleation, chromosomal                          fission, all that fancy close work.               Rollo sighs heavily. St. Luc gently shoves all the papers                aside.                                     ST. LUC                         Rollo, how come Hobbes killed himself?               Rollo toys with the gynecological examination table, sliding                the stirrups in and out on their adjustment bars.                                     ROLLO                              (shrugging)                         Funny in the head. High suicide rate                          in the medical profession. Too much                          body, alla time bodies, bodies.               He now gets close to St. Luc, putting an arm around his                shoulder.                                     ROLLO                         Rog, I gotta talk serious to you.                          Really. Listen. Ya listening? OK. I                          want you to come into this with me.                          To tell the honest-to-God truth, I'm                          lonely.                              (begins to pace around                               again)                         All Hobbes ever did was run around                          getting money and phone me in the                          middle of the night. He wanted you                          in anyway. That's why we were gonna                          get together, the three of us. We                          would have enough to keep us going                          for at least five years, even with                          inflation.                                     ST. LUC                              (a bit uncomfortable                               being put on the                               spot)                         Rollo, you know me. Once a GP, always                          a GP.                                     ROLLO                              (almost angrily)                         You want to help sick people for the                          rest of your life? God forbid I should                          talk you out of it.                                     ST. LUC                         You oughta be careful yourself. Might                          end up cutting your throat.                                     ROLLO                         It was women did it to Hobbes.                          Couldn't handle them. That girl,                          that Annabelle -- talk about crazy                          projects.                                     ST. LUC                         Who was she?                                     ROLLO                              (reluctant to talk)                         Aw, he met her when he was lecturing                          at some private girls' school. They                          caught him examining her little tits                          for breast cancer in the faculty                          lounge. She was twelve. Don't ask.                          It was craziness, believe me.                              (indicating the                               gynecological table)                         They used to come here sometimes.                              (shakes his head)                         Don't ask.               He starts to run down like a spring-wound toy at the end of                its run. He glances at a picture of Annabelle stuck in a                corner, which St. Luc just notices for the first time.                                     ROLLO                         I'll never really understand how he                          could do what he did to her.               St. Luc looks at his watch and gets up out of his chair for                the first time.                                     ST. LUC                         Well, Rollo Linsky... I gotta go                          open up the store. It's been great                          to see you again.               He moves toward the door. Rollo trails after him, head down,                obviously dejected.                                     ROLLO                         Yeah, sure.               They shake hands. St. Luc has to open the door himself --                Rollo is really preoccupied. Finally he looks St. Luc in the                eye.                                     ROLLO                         But you'll think about what I said                          about working together, huh?                                     ST. LUC                         OK. I'll think about it.               Rollo manages a smile. St. Luc leaves, closing the door behind                him.               INT. TUDOR'S APARTMENT -- MORNING               In his bathroom, Nick Tudor cleans his teeth with the water-               pick as usual. The sounds of Janine bustling about with                breakfast filter into the bathroom. Tudor hums tunelessly.               Suddenly, he doubles over in a soundless spasm of pain. The                water-pick writhes in the sink, shooting water on to the                mirror and over the floor.               After a moment he straightens up and begins to press around                the area of his navel, obviously looking for lumps which it                seems -- from his expression -- he has already found and is                overly familiar with.               The water-pick continues to rattle around in the sink. Janine                pokes her head around the corner to investigate. Tudor tries                to cover up, grabs the water-pick, and begins to work on his                teeth again, hiding the occasional twinge that hits him.                                     JANINE                         You say something?                                     TUDOR                         Nope. Damned thing wriggled out of                          my hands. That's all.               Janine waits for Tudor to say something else. He ignores                her.                                     JANINE                              (after a pause)                         You sure you're OK, Nick?               Tudor continues to ignore her. Janine sighs in a very obvious                way and disappears. Tudor waits for a second, turns off the                water-pick, then checks out his stomach again.               INT. WOMEN'S SAUNA -- AFTERNOON               Janine sits in the middle of a bench, towel around her head                and middle. Next to her sits Betts, who is in her early                forties, attractive in a tough kind of way, and wears her                hair short for efficiency's sake. In her relationship with                Janine she plays the role of tough, worldly older sister.                She has the poise and confidence of a woman who has created                her own success and position in life, a marked contrast to                the neurotic vivacity of Janine, who is ten years her junior                and has never known independence.               They are both watched by the only other occupant of the sauna,                Benda Sviben, now a full-fledged resident of Starliner Towers.                She is huddled in a corner, very shy and looking particularly                thin, mousy, and ineffectual in the presence of the other                two full-bodied women.               Betts is in the middle of giving Janine advice about Tudor's                disease.                                     BETTS                         ...probably nothing at all. It's                          probably just a bunch of, I don't                          know, fatty cysts. You can have them                          removed in a doctor's office. Has                          Nick seen a doctor?                                     JANINE                         He hates doctors. Doctors and lawyers.                          He never goes to doctors.                                     BETTS                         Well, look. How's this? You go on                          down to the clinic and tell that                          nice Dr. St. Luc...                              (pauses to work it                               out)                         ...you tell him that Nick's ill,                          he's got these lumps, and he can't                          get out of bed. Tell him to come                          when you're sure Nick'll be home.                          And don't tell Nick anything. Let                          the two of them fight it out.                                     JANINE                              (not displeased with                               the idea)                         He'll be really mad.                                     BETTS                              (with a conspiratorial                               smile)                         So? You'll find out what's wrong and                          then you'll be able to relax a little                          bit. Let him be the uptight one for                          a change.               She stretches out full length on the bench, her toes bumping                Benda's thigh. Betts notices Benda for the first time.                                     BETTS                              (to Benda)                         Oops, sorry. Hi. Haven't seen you                          here before, have I?               Benda draws her towel around her, wide-eyed, completely                intimidated by Betts. She manages a nervous smile.               INT. TUDOR'S OFFICE -- AFTERNOON               Tudor's secretary, a lumpy and motherly lady named Mrs.                Wheatley -- she has a nameplate on her desk -- is shuffling                some papers when the telephone rings.               Her small cubicle of an office is appended to Tudor's only                slightly larger office in a huge downtown office building.                The door leading to Tudor's office is closed.                                     MRS. WHEATLEY                         Ashen & Gaunt, Insurance Appraisals.                          Mr. Tudor? One moment, please. I'll                          buzz him.               She places the caller on 'hold' and presses the inter-office                buzzer. She directs her attention for a moment to the papers                on her desk. When, after a pause, she notices that Tudor                hasn't answered the phone, she releases the caller from 'hold'                and picks up the receiver.                                     MRS. WHEATLEY                         I'm sorry to keep you waiting. I'll                          put you on 'hold' again and see if I                          can find Mr. Tudor.               Mrs. Wheatley pushes the 'hold' button and gets out of her                chair. She knocks gently on the door.                                     MRS. WHEATLEY                         Nicholas? There's a call for you.               Perplexed by Tudor's failure to respond, Mrs. Wheatley                gingerly opens the door.                                     MRS. WHEATLEY                         Nicholas? It's that man whose                          Lamborghini caught fire on St.                          Catherine Street and burned to the                          ground. He's very angry...               She catches a glimpse of Tudor rolling around on the floor                behind his desk, his swivel chair tipped over on to its side.                                     MRS. WHEATLEY                         Nicholas! What happened?               She rushes over to Tudor and helps him to his feet. Tudor is                breathing heavily and has to support himself by leaning on                the desk while Mrs. Wheatley straightens up the chair for                him.               Tudor collapses into the chair, mumbling and rolling his                head from side to side. Mrs. Wheatley pulls a Kleenex from                her sleeve and dabs away a small trickle of blood coming                from one corner of Tudor's mouth.                                     MRS. WHEATLEY                         We're going to get you to a hospital.                          That's what we're going to do.                                     TUDOR                              (beginning to come                               around)                         No, no. I'll be all right. I'm all                          right.               Mrs. Wheatley shows Tudor the spot of blood on her Kleenex.                                     MRS. WHEATLEY                         Do you see this? This is blood. It                          came from your insides. That means                          it's serious. Probably an ulcer. You                          executives are all the same.               Tudor shoves her hand away and sits straight at his desk,                still pretty wobbly.                                     MRS. WHEATLEY                              (smoothing the hair                               back from Tudor's                               forehead in a very                               motherly fashion)                         Now, Nicholas, it doesn't cost                          anything to be sure everything's all                          right. I think you should definitely                          go to the emergency ward and...                                     TUDOR                              (abruptly, swiveling                               away from Mrs.                               Wheatley's hand)                         Call me a cab, will you please, Mona?                          I'm going home for the day.                                     MRS. WHEATLEY                         Nicholas, I think...                                     TUDOR                         I don't care what you think. Please                          call me a cab. Now.               Mrs. Wheatley steps away from the desk, obviously hurt by                Tudor's brusqueness.                                     MRS. WHEATLEY                              (mollifyingly)                         All right, Nicholas. All right.               She leaves, closing the door behind her.               Tudor sighs, taking a deep breath. He is suddenly hit by                another twinge of pain. He clutches his stomach. Blood                trickles out of the corner of his mouth. After a pause, he                licks the blood off his lips with the tip of his tongue.               INT. CLINIC RECEPTION AT STARLINER TOWERS -- AFTERNOON               The Starliner Towers Medical Clinic is small but complete.                Dr. St. Luc and his nurse, Forsythe, are backed up by a                secretary-receptionist who sits behind a desk surrounded by                filing cabinets at the end of the hallway which serves as                reception area. There are chairs lined up against one wall,                flanked by coffee tables piled high with the traditional two-               year-old magazines.               Three or four people sit waiting to see St. Luc, among them                the aging but sprightly Mr. Parkins and Janine Tudor. Parkins,                who considers himself something of a ladies' man, is talking                to Janine when St. Luc appears and looks at the list of                patients who have signed in.                                     PARKINS                         ...and this Kriedler seems to think                          that mega-vitamin therapy may be the                          answer to the question of aging.                          That's not to suggest that the aging                          process is in any way reversible --                          I don't think for a minute that it                          is -- but it may be stoppable, and                          that's where mega-vitamins come in...               St. Luc gestures to Janine to follow him into his office.                Janine gets up, excusing herself to Mr. Parkins.                                     JANINE                         Excuse me, Brad. Gotta go.               She follows St. Luc into his office. He closes the door behind                her.               INT. TAXICAB -- AFTERNOON               The cab carrying Tudor pulls up at the main doors of the                Towers. Tudor, still a bit unsteady, signs a chit for the                driver and gets out of the car.               INT. LOBBY -- AFTERNOON               The doorman opens both doors for Tudor as he enters the                building.                                     DOORMAN                         Afternoon, Mr. Tudor.               INT. ST. LUC'S OFFICE -- AFTERNOON               Janine sits opposite St. Luc, who has a file open before him                on his desk.                                     ST. LUC                         Well, there's certainly nothing here                          in this check-up I did for your                          husband's company last year. Blood                          pressure a touch high, cholesterol                          count nice and low...                              (looking Janine in                               the eye)                         I just can't see cancer developing                          that fast, Janine, not the way you've                          described it. Could be swollen glands                          or something, I don't know.                                     JANINE                              (a bit relieved but                               still tense)                         You'll come up and take a look at                          him?                                     ST. LUC                              (standing up)                         If he can't make it down here...                          sure. That's what I'm here for. But                          it won't be until, oh...                              (checking his watch)                         ...9.30, say 10.00. OK? Not too late?               Janine smiles and shakes her head. Just gotta have time to                put the clinic to bed for the night and grab some supper.                                     JANINE                         That's great, Doctor. Thanks.               Janine gets up, opens the door to the reception area, and                leaves, closing the door behind her.               St. Luc keeps staring at Tudor's file, shifts something from                one side of the folder to the other. Something bothers him.               The door to one of the examination rooms opens and Forsythe                pops her head around the corner.                                     FORSYTHE                         Mrs. Ementhal's ready and waiting,                          Doctor.                                     ST. LUC                         Mm? OK. Be with you in a sec.               Forsythe disappears. St. Luc studies Tudor's file.               INT. TUDOR'S APARTMENT -- LATE AFTERNOON               Tudor enters his apartment and throws his jacket and attachÈ                case on to a chair. He loosens his tie and makes himself a                drink, then sits down on the sofa and switches on the TV                set.               After only a short moment of relative calm, Tudor suddenly                contracts into the fetal position, spilling his drink on to                the floor. He rolls on to the floor, eyes staring out of his                head, mouth opening and closing like that of a fish out of                water, tendons in his neck bulging with tension.               He soon manages to struggle to his feet, the primary spasm                of pain apparently over. He keeps both hands clamped over                his mouth as though in a vain attempt to forestall a bout of                vomiting and stumbles into the bathroom.               Once in the bathroom, Tudor throws himself over the side of                the bathtub, knees on the bath mat, head well down into the                tub itself.               He gags and vomits into the tub and collapses, exhausted, on                the floor, mouth bloody. In the tub, a trail of blood-streaked                slime leads into the drain.               INT. RECEPTION AREA -- LATE AFTERNOON               Forsythe comes out to the reception area from an examination                room, checks out the patient list, and beckons to Mr. Parkins.                                     FORSYTHE                         I'm ready for you now, Brad.               Parkins gets up and follows Forsythe into one of the                examination rooms.               INT. EXAMINATION ROOM -- LATE AFTERNOON               Once inside the examination room, Forsythe closes the door                and hands Parkins a hospital tunic.                                     FORSYTHE                         Now, you just take off all your                          clothes, put this on, and hop up on                          to the table over there, OK? Doctor'll                          be in to see you in a few minutes.                                     PARKINS                              (as Forsythe begins                               to leave)                         You don't have to go. I'm not shy.                                     FORSYTHE                         Don't be a tease, Brad. I'm still                          working, you know.               Forsythe leaves. Parkins chuckles to himself -- 'still life                in the old boy yet' kind of feeling -- and begins to undress.               INT. TUDOR'S LIVING ROOM -- NIGHT               Tudor staggers into the living room from the bathroom, wiping                his mouth with a facecloth. He sits down on a chair facing                the sliding glass door which leads to the apartment's balcony.               He breathes heavily, gasping for air. His expression is a                dazed one and he mumbles incoherently. After a moment's rest                he rises, opens the glass door, and steps out on to the                balcony.               EXT. TUDOR'S BALCONY -- NIGHT               Tudor hangs on to the railing of the narrow concrete balcony,                gulping down the air, scanning the lights of the tower                opposite.               Suddenly the muscles of his neck go tense again, his mouth                seems to gape open at the extreme limits imposed by muscle                and jawbone, his hands fly up to his mouth in an attempt to                keep down whatever is about to come up.               Hanging over the railing of the balcony like an ocean traveler                in a rough sea, Tudor finally gives up the struggle and hangs                on for dear life as he retches, gags, moans, and finally                vomits.               EXT. GROUNDS BELOW TUDOR'S BALCONY -- NIGHT               Two elderly women, Vi and Olive, are taking a leisurely                evening stroll at the base of Tudor's tower. They both hold                small transparent umbrellas over their heads and walk gingerly                along the path bordering the lawn.               Suddenly the liquid, fleshy thwack of the parasite vomited                by Tudor from high above hitting one of the umbrellas is                heard. A large splotch of blood spatters the first lady's                umbrella just off center, as though it has been hit by a                heavy, blood-soaked sponge. The force of the blow almost                twists the umbrella from the first lady's frail hand, and                she gives a little cry of surprise.               Her companion extends a hand to help the first lady keep her                balance, then gives a slightly more startled cry when she                sees the blood.               The first lady examines her umbrella as well, but does not                react with such surprise.                                     FIRST LADY                              (examining the bloodied                               umbrella)                         Aw. Poor birdie. They're always                          crashing into tall buildings. It's                          such a shame, such a shame. The                          windows fool them, you know.               The creature, the second parasite to emerge from Tudor's                body, lies in the grass, away from the bright cones of light                thrown by the tower's lawn lamps. We can barely make out its                bloody, twitching form.               Beyond the parasite is a basement window through which is                visible a large laundry room complete with washers and dryers.                The window has been propped open a couple of inches by a bar                of laundry soap.               The first lady makes a move to find the injured creature,                but her companion tightens her grip on the old lady's arm.                                     COMPANION                         Come along, Olive.                                     FIRST LADY                         Oh, Vi! Maybe the poor thing's just                          been hurt. Maybe we should look for                          him!                                     COMPANION                              (pulling Olive along)                         Don't be silly, dear. It's in heaven                          now, whatever it is. Won't help at                          all for you to get into a fuss and                          muddle over it. Now come along and                          let's finish up our little evening                          stroll and get you tucked up in bed                          in front of the color TV.               The two women walk off down the path, Vi's voice fading away                in the shadows.                                     COMPANION                         You know what a restless night you                          have if you don't get your two hours                          of color TV, dear, so let's bustle                          along and get our walk over with,                          shall we...?               INT. ST. LUC'S EXAMINATION ROOM -- NIGHT               St. Luc is examining Mr. Parkins. Parkins sits on the                examination table with the hospital tunic on.               St. Luc presses gently around Parkins' abdomen in the area                of the navel.                                     PARKINS                         Ow! Better take it easy. There's a                          lot of pressure in there!               St. Luc stops pressing and takes up his stethoscope. He begins                to percuss the old man's abdomen.                                     PARKINS                         Want me to breathe deeply?                                     ST. LUC                         Just breathe normally.               St. Luc finishes percussing, removes the stethoscope from                his ears, and stands back thoughtfully.                                     PARKINS                              (confidentially)                         Good shape for an old man, eh?                                     ST. LUC                              (after a pause)                         Mr. Parkins, what makes you think                          you caught these lumps of yours from                          a young lady?                                     PARKINS                         She had a couple just like them.                          Right here near her belly button.                          You could push 'em around. I thought                          they were kinda sexy, myself.                                     ST. LUC                         Didn't she ever have these lumps                          looked at by a doctor?                                     PARKINS                              (shrugs)                         Didn't seem worried about them.                                     ST. LUC                         Was this girl from Starliner Towers?                                     PARKINS                         Yep. She lived in 1208. But we usually                          went to my place. Bigger liquor                          cabinet, bigger bed.                              (chuckles, then gets                               serious)                         She was gone when I got back from my                          last Florida trip. Too bad. Had a                          beautiful tan.                              (smiles again)                         Must have gone home to mother.                                     ST. LUC                         Was her name Annabelle Horsefield?                                     PARKINS                         That's the one.               St. Luc sits down at the counter beneath the medicine cabinet                and begins to write in Parkins' file.                                     ST. LUC                         OK, you can get dressed now, Mr.                          Parkins.               The old man begins to put his shirt and tie back on.                                     ST. LUC                              (handing Parkins a                               slip of paper)                         I'm going to send you to the hospital                          to have a few X-rays taken. I want                          to find out exactly what you're hiding                          in there, OK? Give them this. The                          address is right there under                          Radiology.                                     PARKINS                         Gonna cut me open?                                     ST. LUC                         Well, let's wait for the X-rays.                                     PARKINS                         Used to know a doctor who said he                          got to know his patients better than                          their wives did.                              (chuckles)                         Cutting a man open sure does expose                          more of him than pulling down his                          pants, gotta admit that.               St. Luc smiles politely, his mind obviously elsewhere.               INT. LAUNDRY ROOM -- NIGHT               A bar of laundry soap props open the window of the laundry                room. The presence of the wounded parasite is indicated only                by the glistening slime trail which streaks the section of                wall immediately below the window.               The hand of an old woman, puckered and wrinkled from many                hours submerged in hot soapy water, reaches up, and yanks                the bar of soap out of the jaws of the window. The window                swing shut. The woman's hand slides the bolt home, locking                the window from the inside.               The old woman is short, dumpy, puffy-faced, in her late                sixties. Her hair is carelessly tied in a bun on top of her                head.               She sniffles, shakes her head, turns away from the window,                and walks across the room to the long bank of washers and                dryers. As she walks she has to thread her way among the                dozen or so shopping bags full of dirty laundry -- against                apartment regulations, she takes in outsiders' laundry --                which she has brought down the elevator with her.               She flips open the top of the first washer and begins to dig                clothes out of the nearest shopping bag.               From above and behind the washer, we watch her fill the                machine and reach into the front of her dress, which is black                and frayed. After feeling around for a few seconds, she pulls                out a plastic bag filled with white granulated detergent.                She dumps some of this into the washer, finds the appropriate                coins in the pocket of her dress, and starts the machine.               She watches it for a second to make sure it's working                properly, then puts the plastic bag back where she found it.                She picks up the bag she has almost emptied and shuffles in                her ragged slippers to the next washer. She stops in front                of it and puts down the bag.               The old woman notices a slimy streak near the open hole of                the washer. She grimaces, grabs a sock from the bag and cleans                off the top of the washer with it. She tosses the sock into                the washer and leans over the hole, trying to see inside.               The parasite which has been lurking in the washer suddenly                springs from the opening on to the old woman's face, suckering                on to her flesh with its stubby tentacles. She shrieks and                grabs at the creature with both hands, trying to pull it                off.               She stumbles back from the washer and begins to trip over                various shopping bags. Finally she goes down amidst her                laundry, thrashing and spilling clothes out everywhere.               INT. STARLINER TOWERS GROCERY STORE -- NIGHT               In the grocery store built into the base of one of the towers,                Janine flips through some magazines, finally buying a Vogue.               She stops to look at several shelves of various kinds of                food, picking up this and that, but somehow the thought of                cooking or even eating repulses her, and she leaves without                buying anything but the magazine.               INT. HALLWAY -- NIGHT               Janine walks along a hallway, stops at a door, knocks gently,                and then opens the door and walks in, obviously very familiar                with the occupant.               INT. BETTS' APARTMENT -- NIGHT               Janine enters Betts' apartment. Betts is sitting cross-legged                in leotards on the broadloom, a number of very large black-               and-white photographs spread out in front of her. As she                speaks to Janine, she arranges and rearranges them.               Other equipment and graphics of various kinds stuck on walls,                hidden in corners and lying on chairs and tables suggest                that Betts is in advertising and commercial graphics.               Janine stands halfway in the door.                                     JANINE                         Hi.                                     BETTS                         Hi. Want a drink?                                     JANINE                         No thanks. Just wanted to tell you                          that Dr. St. Luc is coming up to see                          Nick at ten or so.                                     BETTS                         Was he nice to you?               Janine nods.                                     BETTS                         Good. Well...                              (takes a sip from a                               glass on the floor                               next to her)                         I've ordered in some vrai cuisine                          franÁaise from Jean-Phillipe at the                          CÙte d'Azur restaurant. Escargots in                          garlic butter... the works. They                          have lovely strong delivery boys who                          fight their way through sleet and                          hail and the gloom of night just to                          bring me my coq au vin. And after                          Dr. St. Luc has told you that there's                          nothing wrong with Nick that a                          vacation won't cure, and if Nick                          falls asleep early again, you just                          come on back here for company and a                          late supper. You hear me?               Janine nods.                                     BETTS                         Now, I mean it. I always order enough                          for two and I'll just get fat and                          lonely if you don't show up.               Janine wiggles her fingers goodbye and leaves.               INT. HALLWAY -- NIGHT               Janine walks down the hallway to her apartment, her Vogue                rolled up under her arm. She opens the door to her apartment --                it's not locked -- and goes in.               A moment after she's gone and closed the door, two children                about ten years old appear around a corner, giggling and                jostling each other. They approach Tudor's apartment.                                     GIRL                         C'mon, let's smoke one of the                          cigarettes right now. Your father'll                          never miss it.                                     BOY                         I can't, dummy. He'll see that the                          pack's been opened. You're such a                          dumbhead.                                     GIRL                         OK, then. I'm gonna go back to the                          store and buy my own pack and smoke                          'em all myself.                                     BOY                         Buy 'em with what, dumbhead?                                     GIRL                              (flipping open a milk                               box)                         With some milk jugs I just happened                          to pick up on the way home.               The first box she tries is empty. She advances to the next                and the next, finally finding one that has a jug in it. She                takes it and advances to Tudor's box, jug swinging, companion                trailing after her in admiration. She stops at Tudor's milk                box and flicks the door open.               She looks inside, just about to reach for the jug that nestles                back in the shadows. Ugh! What's that?               The boy takes a look. Inside the box a third parasite can                just be seen clinging to a three-quart white plastic milk                jug. The jug is smeared with blood. The box's inside door is                ajar. The TV set can be heard from inside the apartment.                                     BOY                         I dunno. Guess the milk went bad.                              (shrugs)                         It's still worth money.               The girl hesitates for a second. Suddenly the parasite                twitches around to the front of the jug. The girl, startled,                slams the box door shut.                                     GIRL                         Jesus!                                     BOY                         Let's get outta here before somebody                          hears us!               The children run off down the hallway together. After a few                seconds, the box door is nudged open again from the inside.               INT. TUDOR'S APARTMENT -- NIGHT               Janine sits down in front of the TV set. After a moment or                two she gets up, turns the set off, and flops back down on                the sofa with her Vogue.               She doesn't notice a trail of bloody slime leading from the                bedroom to the inside door of the milk box.               In the bedroom, a hand reaches down and pulls back a bedsheet                to reveal a naked abdomen. It is Tudor's abdomen, and he                reaches out with trembling fingers to touch a lump the size                of a chicken egg stretching the skin to one side of his navel.               Tudor watches the lump in the muted light of his bedroom. He                gradually extends his hand toward the lump, which disappears                the instant it's touched.                                     TUDOR                              (delirious, voice                               strained, whispering)                         Come here, boy. Here, boy, here.               He taps and scratches the skin near his navel, as though                trying to lure a cat into attacking his fingers.               He is propped up in bed, sweating profusely, half-dressed.                He looks weak and drained, but still manages to smile with                maniacal intensity, his eyes wide and bright.                                     TUDOR                         Come on, fella. Thataboy. You and                          me, we're gonna be friends, aren't                          we?               We can now see that the sheets are twisted, the pillows half                off the bed. Tudor begins drumming on his abdomen.               Gradually, cautiously, the lump under Tudor's skin returns.                He tries to seize the lump with his fingers and it shrinks                back, almost disappearing into his abdominal cavity again.               Tudor seems disappointed.                                     TUDOR                         No, no, no. Don't run away, boy. I'm                          not going to hurt you. Not going to                          hurt you. We're going to be friends.                          Friends.               The lump returns again. Gently, Tudor begins stroking it.                The lump seems to respond by pulsing slightly, the rhythm                strangely masturbatory.                                     TUDOR                              (soothingly)                         Attaboy.                              (closing his eyes in                               bliss and smiling                               again)                         Attaboy.               In the living room, Janine suddenly realizes that if the TV                set was on, Nick must be home.               She gets to her feet and walks to the bedroom.               Inside the bedroom, we see the door open. Light floods the                room as Janine enters. Janine sees Tudor sprawled out on the                bed.                                     JANINE                         Nick? I didn't know you were home.                          What's wrong? What are you doing?                          You're almost falling out of bed.                          How are you feeling?               Tudor twists around to see who has spoken, eyes wide but now                unsmiling. With the same motion, he pulls the covers over                his abdomen to hide the lumps from Janine.               Janine stands at the bedroom door for an instant, then                approaches the bedside. She moves as though her hands were                tied at her sides, as though she is quite consciously holding                herself together.                                     JANINE                              (tenderly, but with                               caution, as though                               expecting a blow)                         Nick, does your stomach hurt? Can I                          see those bumps on your tummy, can                          I?               She reaches out to pull back the covers again, but he rolls                away from her.                                     TUDOR                         Go away. Leave me alone.               Janine straightens up. Her hands come up to her face and                tears well up in her eyes.                                     JANINE                              (frustrated)                         Oh, why won't you let me help you?               She turns and walks angrily out of the room, slamming the                door behind her.               Tudor rolls over slowly on to his back, eyes wide and shining,                smiling again.                                     TUDOR                              (murmuring)                         Attaboy, attaboy.               INT. EXAMINATION ROOM -- NIGHT               St. Luc is examining a very pretty young girl who sits on                the examination table in a hospital tunic.                                     ST. LUC                         OK, Dotty. Everything else seems to                          be fine. Now if it gives you any                          trouble at all, any sharp pain, any                          unusual discharge, you come and see                          me right away. They can be tricky                          sometimes.               Dotty nods. OK, you can get dressed. We're all through.               The girl starts to get dressed. St. Luc scribbles something                in her file and then takes it with him into the adjoining                office, closing the door behind him.               INT. ST. LUC'S OFFICE -- NIGHT               St. Luc sits at his desk and opens Parkins' file. Forsythe,                about twenty-three, earthy and humorous, comes in with an                armful of papers and records, which she throws in groups on                to St. Luc's desk.                                     FORSYTHE                              (distributing papers)                         OK, Roger. Here's the stuff you                          wanted. Files on Horsefield, Tudor,                          Swinburne, and Velakofsky. Papers                          published by Hobbes, Linsky, and                          Lefebvre in a couple of issues of                          the Bulletin of the Canadian Medical                          Association and also the Journal of                          the American Medical Association.                          And, as an added extra, a couple of                          odds and ends from the files I helped                          compile before your time here, Doctor.                          I thought they might interest you.                                     ST. LUC                         That's great, Forsythe, great. Thanks.                                     FORSYTHE                         Do I get a kiss?               St. Luc is absorbed in his papers and doesn't respond.                Forsythe prods his shoulder. He looks up at her.                                     FORSYTHE                         Kiss, kiss?                                     ST. LUC                         Uh, OK. Sure.               They kiss, St. Luc making sure that it doesn't get too heavy.                                     FORSYTHE                         Another kiss?                                     ST. LUC                         C'mon, Forsythe. Are there any more                          on the list?                                     FORSYTHE                         No. Dotty's the last.               The telephone rings. St. Luc picks it up.                                     ST. LUC                         Yes?                                     ROLLO (V.O.)                         That you, Rog?                                     ST. LUC                              (not recognizing the                               voice)                         Yes?                                     ROLLO (V.O.)                         It's me, Rollo Linsky. Remember me?                                     ST. LUC                         Rollo! How'sa boy? I was just thinking                          about you.               Realizing that the conversation is likely to be a long one,                Forsythe gets off the desk and walks over to a metal locker                in the corner, which she opens.               Inside are her street clothes. She begins to take off her                nurse's uniform in full view of St. Luc, not being obvious                about the distraction she's providing, but not taking pains                to hurry dressing or be modest either.               In the scene that follows we cut among three basic things:                Rollo in his lab, talking and eating; St. Luc in his office,                watching Forsythe get undressed and then dressed; and Hobbes's                notes and scribblings, which do not necessarily have to be                on the screen long enough to be completely read. Hobbes's                notes are there more to convince the viewer that they exist                and to provide flavor than to transfer information.                                     ST. LUC                         Been glancing at some of your                          publications on your work with Hobbes.               INT. ROLLO'S LAB -- NIGHT               In his lab, Rollo sits at the gynecological table abandoned                by Hobbes. Rollo is using it as an auxiliary desk.               On the table are several opened waxed-paper packages of beef                knishes and accessories. There are also several old cardboard                shoeboxes, some still tied with string, some opened and                overflowing with papers of all kinds: Hobbes's private notes.                                     ROLLO                              (eating a knish)                         Yeah, well, I'm flattered, but you                          won't find any real meat in them.                                     ST. LUC (V.O.)                         No? How come?                                     ROLLO                              (shuffling papers)                         Listen, Rog. I knew Hobbes was funny,                          you know? I told you that. But I                          didn't really know just how funny he                          was. See... when he kicked off, they                          sent all the personal secret stuff                          they found to his mother -- she's                          still alive but just barely -- and                          she sent everything she thought was                          medical to me here at the lab. I'm                          Hobbes's partner, right?                              (laughs sardonically)                         Anyway, I've been going through his                          papers, and what they add up to is                          this: Hobbes was shafting us all,                          me, the university, the foundations                          and the councils, the private labs,                          everybody. We never really knew what                          it was we were working on. Hobbes                          gave us each a few crumbs, but he                          was the only one who knew what the                          whole loaf would look like.               INT. ST. LUC'S OFFICE -- NIGHT               St. Luc watches as Forsythe rolls her stockings down. He                shuffles through Hobbes's publications.                                     ST. LUC                         OK, I bite. What does it look like?               INT. ROLLO'S LAB -- NIGHT                                     ROLLO                         It looks like -- and I quote -- 'a                          disease to save man from his mind.'                                     ST. LUC (V.O.)                         I don't get it.                                     ROLLO                         Lemme clarify for you.               Rollo pauses to wash down some knish with a can of Coca-Cola.               INT. ST. LUC'S OFFICE -- NIGHT               Forsythe catches St. Luc watching her dress and smiles. St.                Luc swivels back to his files.               INT. ROLLO'S LAB -- NIGHT               Rollo searches through Hobbes's notes to find the relevant                quotes. As he does so, he drops a few crumbs of knish on the                page and his plump fingers brush the crumbs away, smearing                some meat over the words.                                     ROLLO                         Hobbes thought that man is an animal                          that thinks too much, an animal that                          has lost touch with his instinct,                          his 'primal self'... in other words,                          too much brain and not enough guts.                          And what he came up with to help our                          guts along was a human parasite that                          is... lemme find it here... 'a                          combination of aphrodisiac and                          venereal disease, a modern version                          of the satyr's tongue.'               Rollo pauses and flips to a new note with the heading                ANNABELLE underlined in red: 'She is becoming a new creature                before my eyes. It is like living at the Dawn of Creation. I                am euphoric, I am in ecstasy.'                                     ROLLO                         But the important thing for you is                          this: Hobbes used Annabelle as a                          guinea pig. He implanted her with                          the thing. I figure that once the                          parasites took, Annabelle went                          berserk. I dunno what she did, but                          Hobbes wasn't ready for it. He had                          to kill her. And he wasn't trying to                          burn her, he was burning them, all                          of them.               INT. ST. LUC'S OFFICE -- NIGHT               St. Luc watches Forsythe, who is halfway through getting her                street clothes on. He toys with the Velakofsky file, which                contains abdominal X-rays showing dark, blurred masses inside                the abdominal cavity.                                     ST. LUC                         He didn't make it.                                     ROLLO (V.O.)                         Huh?                                     ST. LUC                         Maybe Hobbes didn't know it, but                          Annabelle was a pretty popular girl                          around Starliner Towers. I've got                          three men here, maybe four, who're                          hosting large, free-moving, apparently                          pathogenic, abdominal growths that                          nobody I've tried can identify. You                          were next on my list.               INT. ROLLO'S LAB -- NIGHT                                     ROLLO                         I'd kinda like to come over there                          and have a look at one of these guys.                                     ST. LUC (V.O.)                         I've got a date with one of them at                          ten. Can you make it?                                     ROLLO                         Yeah.                              (pause)                         Ah, I don't want to panic you or                          anything, but, I mean, the way Hobbes                          designed them, they're supposed to                          get out of hand real quick, so you                          don't have much time to think about                          what's happening to you. Once they                          decide to start pumping all those                          dynamite juices into the old blood                          stream... I dunno. But if you see                          some people doing kind of compulsive,                          maybe even bizarre sexual things...                                     ST. LUC (V.O.)                              (laughing: he doesn't                               take this aspect too                               seriously)                         Yeah? What do I do then?                                     ROLLO                         I dunno. Try tranquilizers. Once you                          can get at them, there's a lotta                          stuff you can use. I'll bring a                          bagful. It's just the standard                          tropical kit. But the trick is to                          get at them.               INT. ST. LUC'S OFFICE -- NIGHT               Forsythe has finished dressing and is waiting for St. Luc to                get off the phone.                                     ST. LUC                         OK. It's apartment 1009, South Tower,                          Starliner Towers. May as well go                          there directly.                                     ROLLO (V.O.)                         OK, Rog. See you at ten.               St. Luc hangs up.                                     FORSYTHE                         Roger? If you're going to be staying                          here anyway, why don't you come up                          to my place for a late supper?                                     ST. LUC                         Meeting Rollo at Tudor's. Might take                          a while.                                     FORSYTHE                              (innocently)                         Doesn't matter to me how late it is.                          I can keep it warm.               St. Luc pushes his papers aside for a moment and stretches                in his swivel chair.                                     FORSYTHE                         Anything wrong?                                     ST. LUC                         No. I don't think so.                                     FORSYTHE                         Well? Supper at my place?                                     ST. LUC                         OK. But late.                                     FORSYTHE                              (happy because she                               knows she can get                               him to stay overnight)                         Great! Go back to your files. Bye.               She leaves, closing the door behind her. St. Luc swivels                thoughtfully in his chair for a second or two, then turns                back to his files.               INT. RECEPTION AREA -- NIGHT               Forsythe walks through the darkened and deserted reception                area to the elevators. Through the main doors we see a                delivery van parked in the main driveway.               INT. MAIN DOORS -- NIGHT               A young man aged about twenty-five -- Kurt, the delivery                boy, dark, intense, bearded, his manner as stiff and formal                as the tuxedo that he wears -- rolls a restaurant serving                cart toward the main doors. He has obviously just come from                the van outside, which is emblazoned with the words                'Restaurant CÙte d'Azur'.               The doorman smiles and opens the door for Kurt, obviously                familiar with the restaurant. Kurt takes great care as he                lifts the cart slightly so that it clears the doormats. On                the cart's two levels is an elaborate array of silver serving                vessels and utensils.               INT. HALLWAY -- NIGHT               Elevator doors slide open and Kurt steps out, pushing his                cart. He walks down the hallway looking for Betts's apartment.                After he has passed a few doors he approaches one which is                slightly ajar.               As Kurt approaches, the door opens wider to reveal the old                woman from the laundry room. She is no longer wearing her                dumpy laundry clothes, however, but is dressed in a                translucent nightgown and wears a grotesque amount of make-               up. She is careful to keep half her face hidden behind the                door.               Kurt notices her but chooses to ignore her. He is just                approaching her when she calls to him.                                     OLD WOMAN                         I'm hungry!               Kurt keeps on moving. He is now just passing her door. The                old woman edges out from behind the door a bit more.                                     OLD WOMAN                         I'm hungry!               Kurt can't resist turning to look at her, although he keeps                moving. When he looks her in the eye, she eases out slightly                from behind the door to reveal that half her face has been                horribly burned by the laundry-room parasite, the eye melted                shut, the nostril drooping.               Kurt is so stunned that he slows. The old woman speaks softly.                                     OLD WOMAN                         Hungry for love. Hungry for love.               She suddenly reaches out and grabs Kurt by his tux with both                hands and, with tremendous energy, jerks him back into her                apartment and slams the door closed with a vicious kick.               Kurt's cart remains out in the hallway, the food steaming.               INT. BETTS' APARTMENT -- NIGHT               In her dining room, Betts mixes herself a drink and checks                her watch. She takes a sip, then goes into the bathroom and                bends over the bathtub, having balanced her drink on the                edge of the tub.               From inside the drain of the tub we see Betts place the plug                in the plughole.               Betts turns on the water, adjusting the proportion of hot to                cold until she gets it exactly the way she wants it, then                gets undressed.               She wraps a thick and colorful towel around her and goes out                to the living room with her drink in hand. In the living                room, she arranges her photos in a new order, props them up                against the sofa, changes them around again.               Back in the bathroom, Betts checks the temperature of the                water by swishing her hand around in it. The water drums                heavily on the floor of the tub. Betts puts her drink on the                edge of the tub and turns the water off.               She now drops her towel on to the bathmat and steps into the                tub. She reaches over the edge of the tub to straighten her                sandals on the bathmat, then picks up her drink and stretches                back. She takes a big slug of her drink. Her toes curl in                pleasure.               The drain plug begins to jerk and twitch, as though something                were trying to push it out from inside the drain.               Betts sinks down in the water until her hair, short as it                is, begins to float a bit.               The drain plug begins to jerk more and more violently until                it is pushed right out of its plug hole. The water begins to                run out of the drain, but only in a slight trickle -- the                drain pipe is blocked by a soft, spongy body.               Betts rolls her head back and forth across the back of the                tub, smiling, relaxed, enjoying the sensation.               One of the parasite's stubby tentacles slowly appears, probing                out of the drain hole. Then another appears, then another.               Betts puts down her drink on the tub's edge and reaches for                the soap and washcloth. Her eyes are half-closed and a smile                still flickers about her lips. The sound of water suddenly                rushing out of the drain in volume rouses Betts out of her                reverie.               She sits up and looks down toward the plug end of the tub.                The parasite is crawling toward her up the middle of the                tub, almost touching her legs, which are pressed together                against one side of the tub. The water is becoming pink with                the blood that diffuses through it.               Betts' mouth opens slowly and her eyes are wide. Her reactions                are obviously being confused by the drinks she has recently                had.               Under the water, now very shallow, the parasite's tentacles                touch Betts's thighs.               Betts tries to scream but can't. The parasite suckers its                way between Betts' thighs. She screams a silent scream in                the tub, her mouth wide open, her head rolling from side to                side. The only sounds are the thrashing of her legs in the                water and the gurgle of the drain.               With a spasm that shakes her whole body, Betts throws her                arms wide and knocks her glass off the edge of the tub and                on to the tiles of the bathroom floor. The glass shatters.                After a moment or two of further silent struggle, Betts arches                her back, then falls into a semi-conscious stupor, slumping                motionless in the tub.               INT. TUDOR'S APARTMENT -- NIGHT               Nicholas Tudor lies flat on his back in bed on top of the                covers. The physical state of his face, ghastly and                cadaverous, is in sharp contrast to his expression, which is                ecstatic, beatific, Madonna-like.               Tudor's hands rest on his abdomen in a posture often                associated with pregnant women. Between his hands, in the                area around the navel, three lumps shift beneath the skin,                changing positions and pulsing rhythmically.               As they move, Tudor makes little delirious crooning sounds,                a parody of a lullaby.               In the living room, Janine sits on the couch agitatedly                flipping through her Vogue, now wearing large, fashionable                glasses with thick, tinted prescription lenses. She can't                seem to get into doing anything until St. Luc comes.               She gets up and turns the TV on again, deliberately turning                up the volume to an uncomfortable level.               INT. HALLWAY -- NIGHT               An old man and his wife, the Spergazzis, are taking their                late-night constitutional through the halls of the South                Tower.               Their arms are linked and they both walk with the aid of                canes, the ultra-modern aluminum kind with four rubber-tipped                prongs at the end.                                     MR. SPERGAZZI                         Lovely, lovely evening. Very quiet,                          eh?               Mrs. Spergazzi nods and smiles, patting Mr. Spergazzi's hand.                They round a corner which leads them down the stretch of                hall which passes by Tudor's door.               As they approach Tudor's door they notice a plastic milk jug                lying in the hall just below the open milk-chute door.               Mrs. Spergazzi detaches herself from her husband and bends                down with difficulty to pick up the jug.                                     MRS. SPERGAZZI                         Eh, the children in this apartment,                          they're such little thieves. You                          have to put a lock on everything.               She puts the jug back in the milk chute. She notices the                blood smeared on it just a second before the parasite in the                chute fastens itself to her wrist with its suckers.               She stares at her wrist in astonishment. She is wearing the                parasite like some monstrous, spongy, oozing wristwatch. She                tries to shake the thing off. It can't be dislodged. She                turns in disbelief to her husband and then screams at the                top of her lungs.               Mr. Spergazzi lifts his cane and tries to strike the thing                with the cane's prongs. The force of his blow throws him off                balance and he falls, dragging his wife down with him.               Mrs. Spergazzi moans in pain and terror. Her husband manages                to get to his knees and begins to smash at the thing with                his cane. White burning fluid begins to squirt everywhere.                Mrs Spergazzi's forearm begins to smoke, bubble, and dissolve.                She becomes hysterical.               Mr. Spergazzi continues to smash away at the thing, now with                some success.               INT. FORSYTHE'S APARTMENT -- NIGHT               In the kitchen, a thick paperbound book called Guide to                Gourmet Cooking lies open and face down on the kitchen counter                next to the sink. There are a couple of pots and pans heating                on the stove.               Forsythe picks up the book, then opens one of the pots to                check something. She is obviously taking a lot of care with                St. Luc's late supper. She puts the lid back on the pot,                reads a bit more, then checks the time on an electric clock                on the counter.               She opens the oven door, then takes a bone-handled carving                fork from a carving set and begins to prod at a roast in a                ceramic roasting dish.               Someone knocks on the door. Forsythe leaves her oven and                goes to answer it, carving fork in hand.               She opens the door. Kresimir Sviben stands in the hallway,                eyes wide, insane smile on his face. He looks at Forsythe as                though she were a piece of steak.                                     FORSYTHE                         Yes?               Kresimir doesn't answer. He begins to drool, his mouth working                as though in anticipation of a meal. Forsythe gets a little                nervous.                                     FORSYTHE                         Can I... can I help you?               Kresimir approaches. He is visibly shaking.                                     KRESIMIR                              (speaking with                               difficulty)                         Yes... you can... help me.               Without warning, he lunges for Forsythe, who vainly tries to                slam the door in his face. Kresimir pushes his way past the                door and grabs Forsythe by the back of the head, trying to                kiss her and drooling.               Forsythe breaks away and runs toward the bathroom, intending                to lock herself in. Kresimir throws himself at her legs,                managing to grab one of her feet. She doesn't fall, but holds                on to a cabinet and tries to pull free.               Kresimir begins to climb up her body. Forsythe, terrified                and gasping for breath, plunges the long, curved prongs of                the carving fork into Kresimir's shoulder. He screams with                pain and loosens his grip on Forsythe long enough for her to                pull away, leaving her apron and part of her dress in                Kresimir's hands.               She runs for the door and is gone.               Kresimir, still on his knees, holds the apron and the piece                of dress to his face, breathing in Forsythe's fragrance. He                begins to shuffle toward the door on his knees, kissing the                clothes in his hands, mumbling and moaning.                                     KRESIMIR                         Oh, my darling, I worship, I worship                          at the shrine of your body, your                          body, your body, oh, your body...               INT. BETTS'S BATHROOM -- NIGHT               Betts lies slumped in her bathtub, her hair matted and damp,                her eyes open and staring. Her mouth begins to work in a                very sensual way, and she begins to drool slightly.               The tub is completely empty now except for the scum of blood                and soap. The smashed glass is scattered all over the floor                near the base of the tub.               Zombie-like, Betts rises from the tub and steps out on to                the floor, her feet missing the bathmat. The crunch and snap                of her bare feet on the broken glass are heightened abnormally                by the tiled echo chamber of the bathroom.               The steps Betts takes toward the medicine cabinet leave bloody                prints on the floor.               Betts takes out various bottles and plastic cases and tubes                from the medicine cabinet and begins to apply make-up to her                face with mechanical precision.               INT. ST. LUC'S OFFICE -- NIGHT               St. Luc is reading a section of one of Hobbes's medical papers                in preparation for examining Tudor later on. The section we                see says: '...thus the theoretical organism we are now                considering would exhibit what I choose to call "compressed                evolution." This in effect means that each generation of the                said organism would be better adapted to inhabit and to                control the behavior of its host...'               Suddenly Forsythe bursts in, out of breath, semi-hysterical,                tearful.               St. Luc rises from his chair and Forsythe throws herself on                him, sobbing.                                     ST. LUC                         Forsythe, Forsythe! What's wrong?                          What's happened?                                     FORSYTHE                         A man... I think I recognized him...                          a man who lives here. He just...                              (breaking down)                         ...he just attacked me for no reason                          at all. I just opened the door... I                          was making supper for you, and he                          grabbed me, he tried to kiss me...               St. Luc hugs Forsythe for a moment, then holds her away from                him so that he can get some information out of her.                                     ST. LUC                         Where is he now? Do you know?                                     FORSYTHE                         I think I... I think I killed him. I                          stabbed him with something and he                          fell.                                     ST. LUC                         Will you be OK now? I've got to go                          to your place to see if he's still                          there. I've got to see if it's... if                          it's what we both think it is.                                     FORSYTHE                         Oh, no! You're not leaving me here                          all alone. I'm going with you.               St. Luc hesitates for a second, then grabs his black leather                doctor's bag.                                     ST. LUC                         OK, c'mon.               They leave.               INT. ELEVATOR -- NIGHT               Inside a descending elevator, a middle-aged woman and her                teen-aged daughter flip through a magazine together. The                elevator sinks toward the ground floor of the South Tower,                then slows and stops. They both look up at the floor numbers.                It's not their floor.               The doors slide open. Nobody seems to be waiting. The mother                pushes the CLOSE DOOR button, a bit impatiently. A hand                holding a crÍpe oozing red jam and sugar reaches around into                the elevator.               The two women cringe, suddenly afraid. Kurt, the delivery                boy, steps around and into the elevator, smiling broadly,                eyes wide and glistening. He drools slightly. The doors slide                closed. Kurt offers one crÍpe to each woman.               INT. MAIN DOORS -- NIGHT               The doorman sits beside the intercom board reading another                Harlequin Nurse Romance when he happens to glance up and                notice the elevator flashers which indicate a stuck elevator.               He sighs, shakes his head -- always something going wrong --                stuffs the pocketbook into his jacket, and gets up, taking                out a huge ring of keys from his pocket as he does so.               He walks over to the metal control panel sunk into the wall                between the elevators and opens it with one of the keys on                the ring. Then, checking to make sure which elevator is the                stuck one, he plays with a switch which manually overrides                the floor selector and brings the elevator down.               The doorman watches as the numbers show that the elevator is                finally coming down. He stands by, waiting to see who or                what has caused the elevator to stay at one floor for so                long, jingling his keys, trying to look stern and                authoritarian.               The doors spring open. Kurt stands at the back of the                elevator, one arm around the young girl, who hugs him tightly.                The girl is finishing the last bit of one of the crÍpes,                sucking her fingers deliciously.               The mother sits slumped in the opposite corner, her coat                open, her dress torn, bruises on her face. She struggles to                her feet. Kurt and the girl are ignoring her.               The doorman is nonplussed. He hesitates, then makes a move                toward the elevator, intending to help the woman to her feet.                                     DOORMAN                         Here, here. What is this all about?                          What's the matter with you? What are                          you doing in there?               The woman suddenly lunges at the doorman and tries to pull                him down. Kurt detaches himself from the girl and joins her.                They giggle and drool all over the doorman as they pull him                down and pin him to the floor.               The daughter, still licking her fingers, slowly approaches                the doorman.                                     DOORMAN                         Hey, that's enough, enough of this                          nonsense! What is this?                              (Etc.)               The daughter kneels at the doorman's feet, then crawls over                him, her mouth working, drooling. She lowers her lips over                his, Kurt making it impossible for the doorman to move his                head out of the way.               INT. HALLWAY -- NIGHT               Forsythe and St. Luc are hurrying to Forsythe's apartment to                see if Kresimir is still there. As they round a corner, they                see the Spergazzis coming toward them, the old lady hobbling                and hysterical, the old man helping her walk as best he can,                trying to maintain some kind of calm.               When Spergazzi sees St. Luc, he lifts his four-pronged cane                and waves it around to get attention.                                     MR. SPERGAZZI                         Hey, Doctor, Doctor! Please. Help                          us!               St. Luc and Forsythe rush over and help to support the                slumping Mrs. Spergazzi.                                     ST. LUC                         What happened?                                     MR. SPERGAZZI                              (tipping his hat as                               he introduces himself                               even in the midst of                               chaos)                         Please pardon me. I am Niccolo                          Spergazzi. I am a resident here. I                          don't know... we were walking in the                          hallway and... Cabiria... my wife...                          she was attacked by this thing...                          here, on her arm.               Spergazzi shows St. Luc his wife's forearm, which has been                badly burned by the parasite's animal-tissue solvent. As                soon as St. Luc starts prodding her arm, Mrs. Spergazzi starts                to wail in Italian. Spergazzi tries to soothe her as St. Luc                examines her carefully.                                     MR. SPERGAZZI                         It's all right, cara mia. What's one                          more scar to an old lady, eh? You'll                          be OK.               The old lady wails even more.                                     ST. LUC                         Where is this thing that attacked                          your wife?                                     MR. SPERGAZZI                         I hit it. I hit it with my cane.                          Then I carry it on the cane and I                          throw it down to the incinerator,                          down to the garbage.               St. Luc hands his bag to Forsythe.                                     ST. LUC                              (to Spergazzi)                         This is Nurse Forsythe. She's a nurse,                          you understand me?               Spergazzi nods. St. Luc turns to Forsythe.                                     ST. LUC                         Go back to their apartment with them                          and treat her for second-degree burns.                          It'll have to do for now.                              (to Spergazzi)                         What's your number? The number of                          your apartment?                                     MR. SPERGAZZI                         We live in 703.                                     ST. LUC                              (to Forsythe)                         OK. I'll meet you back there. Don't                          leave until I get there. Lock the                          door and don't open it except for                          me. OK?                                     FORSYTHE                         But where are you going?                                     ST. LUC                              (walking away)                         Down to the incinerator.               INT. TUDOR'S APARTMENT -- NIGHT               Janine dozes fitfully on the couch, her glasses fallen on to                the carpet, her Vogue crumpled underneath her. Tudor's voice                calls to her from the bedroom. It has an eerie, wailing tone                to it.                                     TUDOR                         Janine. Janine. Come here. Come into                          the bedroom, Janine.               Tudor keeps calling until Janine wakes up with a start and                jumps to her feet, still half asleep. She rubs her eyes and                walks to the bedroom.               Janine opens the bedroom door. From her point of view we see                a dark, blurry figure sitting on the edge of the bed.                                     JANINE                         Nick? Are you up? I can't see a thing,                          I took my contacts out.               Tudor speaks from the bed without moving.                                     TUDOR                         Hello, darling. I feel wonderful.                          Come and sit beside me, beside me on                          the bed.               Janine hesitates for a second, then walks to the bed and                sits down. She can now see that Tudor, although pale and                sickly, is smiling ecstatically. He puts an arm around Janine,                who reacts stiffly.                                     TUDOR                         Do you want to make love? You're                          absolutely beautiful, those eyes,                          that expression. You're absolutely                          the most sexy thing alive. Do you                          want to make love?                                     JANINE                              (slightly repulsed)                         Nick, you're so strange...               Tudor begins to unbutton his shirt with one hand, his other                still gripping Janine tightly.                                     TUDOR                         You will make love to me, won't you,                          Janine? Won't you make love to me?                          You start it. Won't you? I think                          I've forgotten how to start.                                     JANINE                              (now in tears)                         Oh, Nick, Nick... I can't take this.                                     TUDOR                         Please, Janine. Please,                          pleasepleaseplease, Janine Janine                          JanineJanineJanine...               Janine hesitantly helps Tudor remove his shirt and begins to                caress him in a perfunctory way, tears in her eyes. Her                caresses make Tudor moan with pleasure.                                     TUDOR                         Love me. Oh, Janine, you're so                          beautiful. You're my wife. Mmm. You're                          my wife.               Janine's hand sweeps across Tudor's abdomen. She pulls her                hand away, startled, obviously having just felt a few of                Tudor's lumps.               She looks up at Tudor's face with a mixture of horror and                wonder in her eyes. Tudor is confused; he doesn't want the                caresses to stop.                                     TUDOR                              (pleading)                         You're my wife, Janine. Please make                          love to me.               INT. SPERGAZZI APARTMENT -- NIGHT               The Spergazzi apartment is very heavily decorated in the                Mediterranean European Catholic style, featuring lots of                plastic and plaster Madonnas, calendars with Christ exposing                his bleeding heart, etc.               Mrs. Spergazzi lies on an overstuffed couch with her wrist                held up for Forsythe to bandage after she coats it with a                healing gel. Mrs. Spergazzi wears a suffering-martyr                expression. Mr. Spergazzi leans over the back of the couch                patting his wife's other hand solicitously.               INT. INCINERATOR ROOM -- NIGHT               The steel door at the top of a concrete flight of stairs                swings open and St. Luc appears. He quickly negotiates the                steps and opens the steel door at the bottom which leads to                the incinerator room.               Once inside, St. Luc grabs the poker hanging from an iron                hook sunk into the wall of the incinerator, slides open the                bolt on the door and opens it.               He begins to probe around inside the incinerator oven but                can't really see very much. He looks around and notices the                superintendent's flashlight stuck up on top of a heating                pipe. St. Luc takes down the flashlight, switches it on, and                continues his search for the dead parasite.               INT. TUDOR'S APARTMENT -- NIGHT               Tudor lies on top of Janine on their bed. Over his shoulder,                Janine's face is visible, eyes wide open and full of tears.                She tries to push Tudor away, but he resists.                                     JANINE                              (frantically)                         No, no. Nick, please. Stop. Let's                          stop. I... I want to put my contacts                          in... I can't see anything...               Tudor pulls her back to him, and finally she is forced to                batter him away with her fists and slip off the edge of the                bed. Tudor glares after her.                                     TUDOR                              (in a mechanical whine)                         Make love to me, make love to me,                          love, love to me...                                     JANINE                              (trying to buy time)                         I want to be able to see us, Nick.                          I... I'm going to go into the bathroom                          now and put in my contacts, OK? Is                          that OK?                              (pleading with him to                               believe her)                         I want to be able to see us when we                          make love, OK?               Tudor's eyes are staring right out of his head and his mouth                is wide open. He gasps for breath. He stares at Janine for a                second, then buries his face in the blankets, twisting them                in his hands and moaning.               Janine bursts into tears and turns away from the bed, heading                for the bathroom.               In the bathroom, Janine starts to shake, on the verge of                hysteria. Distractedly, she goes through the motions of                putting her contact lenses in: opens the medicine-cabinet                door, takes out the lens container, takes out the bottles of                wetting and soaking solutions, opens the lens container.                Suddenly, Tudor wails terribly, like a hound, from the                bedroom.                                     TUDOR                              (heart-rending wail)                         Ooooooooooooooooo!               Janine turns to the door, turns back to the lenses, dumps                both lenses out into her hand, begins to squirt solution on                them. She has decided to try to ignore Tudor.                                     TUDOR                              (wailing)                         Janine, Janine, Janinnnnnneeee!               Janine can no longer pretend that she doesn't hear him.                Closing her hand around the two lenses, she runs out of the                bathroom.               Tudor lies outstretched on the bed in the darkness. His lips                move silently, spasmically, as though in sleep, twitching in                an abnormal, insect fashion. There is a swelling in his                throat, almost as though he has developed a goiter, which                swells and contracts rhythmically.               Janine appears in the doorway.                                     JANINE                              (a strangled half-                              whisper)                         I'm here, Nick. Janine is here.               After a pause, she walks into the room.               She climbs on to the bed and settles down. She puts her face                very close to Tudor's. For the moment, his face is                expressionless, but his neck is swollen just under the jaw.               Janine sighs deeply, trying not to panic. Her eyes narrow                suddenly -- she hasn't got her lenses in and her gaze is                myopic -- as she notices something odd.               There is a bit of black something, a thread, in the corner                of Tudor's mouth. Janine moves closer to it. The black thing,                like the tip of an insect's leg, twitches.               Janine reaches out to brush the thing off Tudor's lip. As                her fingers brush by, the leg twitches back inside Tudor's                mouth.               Janine jerks back in horror, her hands, balled into fists,                cover her own mouth as though to protect it from whatever                occupies Tudor's mouth.               Gradually the thread reappears. Tudor's lips part slightly                to allow the emergence of the dark, viscous tentacle to which                the thread -- a hook used to hang on inside the body -- is                attached. The tentacle of the blood parasite probes its way                from between Tudor's lips.               Janine is paralyzed with horror.               The tentacle is now touching Tudor's chin, his cheek, the                tip of his nose.               Janine's fists tighten even more. A glassy snap breaks the                silence. Janine lowers her hands dumbly and opens them. In                the right one, the one that held the contact lenses, are                incised two bloody circles where her fingers pressed the                lenses into her flesh until they snapped. The segmented lens                fragments glint in the tiny pools of blood.               She tries to control the hysteria welling up inside her. She                eases herself carefully over the side of the bed as the first                stubby tentacle is joined by another and another. She moves                a fraction of an inch at a time, almost hypnotized by the                movement of the tentacles.               The hooks of the tentacles are now set into Tudor's chin and                cheeks, and the tentacles draw taut as something attempts to                draw itself out of his body. His throat bulges, his cheeks                swell as the tentacles contract. His lips are gradually forced                apart as the quivering, moist shape emerges. His mouth is                opened to jaw-breaking width as the creature slowly exposes                itself to the dim light of the bedroom.               Janine's eyes are wide with terror. She utters a gurgling                cry and runs, stumbling, from the bedroom. She dashes through                the living room and reaches the door to the hallway,                whimpering in terror as she fumbles at the lock and the                doorknob, finally managing to swing the door open.               INT. HALLWAY -- NIGHT               Janine runs down a hallway that leads to Betts's apartment,                sobbing and stumbling. She gets to Betts's door and opens it                without hesitation.               INT. BETTS' APARTMENT -- NIGHT               Janine enters Betts' apartment. She looks around for Betts.                                     JANINE                         Betts? Betts? It's me.               She catches sight of Betts standing out on the balcony,                looking across at the North Tower's lights. Betts turns                slowly. She is wearing immaculate but very extreme make-up.                Janine is slightly taken aback -- it's not Betts' style.               Betts smiles and opens her arms to Janine.               INT. ROLLO'S LAB -- NIGHT               Rollo puts his jacket on, picks up his doctor's bag and a                manila envelope jammed solid with Hobbes's notes, and leaves                his lab, turning off the lights and locking the door behind                him.               EXT. STREET IN FRONT OF ROLLO'S LAB -- NIGHT               Rollo gets into his car, which is parked in a now empty                parking lot adjacent to the building in which his lab is                situated. His car is large and American and ostentatious, a                gold Cadillac Eldorado with options or equivalent.               The car pulls out of the lot and on to the street.               INT. HALLWAY -- NIGHT               The doorman, drooling and twitching, locks the exit doors at                the end of one hallway. In one hand he holds an enormous                pair of cable cutters.               INT. INCINERATOR ROOM -- NIGHT               St. Luc continues to poke around inside the incinerator with                the poker. Finally his flashlight beam reveals the tattered                corpse of Spergazzi's parasite.               Deftly manipulating the hook on the poker's tip, St. Luc                manages to pull the parasite out into the light. Garbage                comes rattling down the chute. When St. Luc flashes his light                into the oven, we see that the garbage consists of Betts'                French food, half-eaten, silver servers and all, the snails                being especially prominent. Insane giggles echo down the                chute, followed by the slam of the chute door somewhere                several floors above.               St. Luc holds the thing up to the naked light bulb above the                incinerator. The light seems to go right through the parasite,                illuminating the twisted vascular system, reproductive organs,                etc.               As St. Luc examines the creature, which is still impaled on                the hook of the poker, the door to the incinerator room opens                behind him. A large, hairy, muscular man enters the room and                approaches the oblivious St. Luc.               The man slips his arms up under St. Luc's arms and kisses                him passionately on the neck. As soon as St. Luc realizes                what's happening, he smashes the man in the chest with his                elbow and pulls free.               The man grabs St. Luc again, trying to kiss him on the mouth.                They struggle. St. Luc is thrown to the concrete floor. The                man tries to pin him down. St. Luc, on the verge of being                overpowered, smashes the man in the chest with the poker,                parasite still hooked into its tip.               The man stands up unsteadily. St. Luc cracks him on the ankle                with the poker and he comes crashing down. The parasite corpse                is flung across the room, where it smacks wetly into the                wall and slides to the floor.               St. Luc leaps to his feet and begins kicking the man in the                head. After a furious moment or two, he suddenly stops, drops                the poker, and stares at the body in horrified disbelief.               St. Luc slowly backs away from the man's body, which is very                still and quietly oozes blood on to the damp concrete floor.                He bumps into the edge of the door left open by the man. The                collision seems to startle him out of his daze somewhat, and                he turns, himself scratched and bleeding, and staggers up                the basement steps.               INT. SPERGAZZI'S APARTMENT -- NIGHT               Forsythe waits impatiently for St. Luc. Mr. Spergazzi is                watching a variety show on TV and Mrs. Spergazzi is making                ravioli in the kitchen, more or less recovered from her                encounter with the parasite.               Suddenly a piercing scream is heard from down the hall. Mr.                Spergazzi, hard of hearing, doesn't notice. The scream is                followed by bangs, crashes, and insane laughter and giggling.               Mrs. Spergazzi comes out of the kitchen. She has heard the                noises. She and Forsythe look at each other for a moment,                then Forsythe goes to the door and slides the chain lock                into place. She then goes to the telephone to call the police.                                     FORSYTHE                              (into receiver)                         Hello? Hello?               She dials a few times, and clicks the receiver button.                Nothing. The phone is dead. She puts the receiver back on                the hook. Mrs. Spergazzi knows that something is very wrong.                She wrings her hands and begins to wail in Italian.               INT. HALLWAY -- NIGHT               In the hallway outside the Spergazzi apartment, a group of                giggling, drooling residents stand around a door.               One of these residents is the superintendent, who is opening                the door with one of his set of master keys. The residents,                some of them women, giggle in anticipation. Once the door                has been opened, they all rush in, drooling and moaning.               From inside the apartment we hear several muffled voices, at                first angry and indignant, then pleading and terrified.                Screams and crashes follow.               INT. SPERGAZZI APARTMENT -- NIGHT               Mrs. Spergazzi is getting hysterical; Mr. Spergazzi is trying                to calm her down by getting her to sit in front of the TV                set with him. But each time he pushes her down, she pops up                and begins wailing and moaning again.               Forsythe paces back and forth, checks her watch, paces some                more. Finally, after a particularly noisy outburst by Mrs.                Spergazzi, Forsythe picks up the doctor's bag, unchains the                door, and leaves.               Spergazzi hears the door slam and looks up.                                     MR. SPERGAZZI                         Miss! Nurse! Come back! Cabiria, she                          needs something...!               He lapses back into Italian, trying vainly to calm his wife                down.               INT. BETTS' APARTMENT -- NIGHT               Betts and Janine are on the sofa, Janine with her head in                Betts's lap, Betts rocking Janine like a child.                                     JANINE                              (sobbing)                         Oh, Betts, Betts, everything is so                          hideous. Everything dies and rots                          and disappears. I'm going to die,                          and you're going to die, and Nick...               She breaks down.               Betts is drowsy-eyed and smiling. She strokes Janine's hair.                                     BETTS                         There, there, there. It all gets                          sorted out in the genes and                          chromosomes. It's not for us to think                          about at all. It's not our problem                          at all, 'Nine. We're just here to                          exist and to have a good time. Exist                          and have a good time.                              (pause)                         Do I feel good, 'Nine? Do I feel                          good to you?               Janine's eyes are red and she still sobs a bit as she speaks,                but she is obviously feeling a bit soothed.                                     JANINE                         Oh, you feel very good, Betts. You                          have such a cosy body. I'm jealous,                          I'm so skinny.                                     BETTS                              (casually, as though                               it were the most                               ordinary request in                               the world)                         Make love to me, 'Nine? I want you                          to make love to me. Please, please                          make love to me.               Janine twists around and looks up at Betts. There is something                in Betts' tone -- quite apart from what she is saying --                that disturbs her, something that reminds her of her husband.                                     JANINE                         Betts! You can't really be saying                          that! You just can't!               Betts smiles drowsily. She bends over Janine, turning her                head in her hands until they face each other. Betts lowers                her face toward Janine. Janine is wide-eyed, almost hypnotized                by Betts's strength, smile, and confidence.                                     BETTS                         Let's not talk any more, 'Nine, shall                          we? Let's kiss and make up. Let's                          kiss... kiss and make up, shall we?                          'Nine?               Janine resists only slightly as Betts places her lips on                Janine's. After a pause, Betts suddenly opens her mouth wide                and presses her lips savagely against Janine's.               She holds Janine's head firmly as they kiss. Janine struggles                for a moment, then opens her mouth as well.               Her eyes are closed in passion, then suddenly open wide in                terror as Betts's throat swells like a goiter as a parasite                rushes up her throat toward Janine's open mouth. The parasite                begins to force its way into Janine's mouth and down her                throat. Janine gags and tries to pull away, but too late.               INT. INCINERATOR ROOM -- NIGHT               Forsythe runs down the steps which lead to the incinerator                and pulls open the steel door at the bottom. She begins to                look around for St. Luc.                                     FORSYTHE                         Roger? Roger, are you here?               She suddenly stumbles across the body of the man St. Luc has                killed. She actually has to break her fall with her hands,                which slip in the man's blood. Horrified, she gets up and                backs away.               The sounds of people moaning and laughing are coming from                everywhere. Forsythe finds herself up against a large door.                She tugs on the handle and it opens.               INT. MAIN DOORS -- NIGHT               St. Luc has made his way to the main doors and stands talking                to the rental agent, Merrick, who is leaning against the                intercom board with the doorman's pocketbook romance in one                hand.               The agent looks perfectly normal, though he keeps wiping his                mouth unobtrusively with the back of his hand.                                     MERRICK                         ...haven't seen anything that looks                          like trouble at all. Just filling in                          for Walter... the doorman. But if                          you want me to call the police, I                          will.               St. Luc is cautious but he seems to believe Merrick. He                presses the button which buzzes the Spergazzi apartment.                Nobody answers. A middle-aged man walks in. Worried, St. Luc                buzzes again.                                     MAN                         Apartment 307? Visiting my sister.               Merrick smiles and opens the door for the man, who goes in                and takes the stairway up, preferring to walk.               The intercom squawks and Spergazzi answers the buzzer.                                     MR. SPERGAZZI                         Yes? Who is there?                                     ST. LUC                         It's Dr. St. Luc, Mr Spergazzi. Let                          me speak to the nurse, please.                                     MR. SPERGAZZI (V.O.)                         Oh, but the nurse, she went away. I                          think she must go to look for you.               St. Luc curses under his breath and makes a move toward the                door. Merrick smiles and pulls it open for him. St. Luc                disappears down the stairs leading to the incinerator.               As the stairway doors close, the elevators slide open and a                young couple come out heading for the main doors, dressed to                go out to a late party.               Before they reach the doors, Merrick slips through them and                meets the couple in the lobby. He smiles broadly as he                approaches them.                                     MERRICK                         Evening, Mr. Wolf, Miss Lewis. I                          wonder if I could talk to you for a                          second in my office?                                     MISS LEWIS                         Why don't you do something about all                          that noise? We like parties, but                          this is ridiculous.                                     MERRICK                         Well, there may be a connection.                          See, it's about your locker. 'Fraid                          somebody busted into it tonight.                                     MISS LEWIS AND MR WOLF                              (together)                         Oh, no! What a drag!                                     MERRICK                         'Fraid so. I've got a few of the                          things they threw around in my office                          and if you could identify it...               The couple turn, grumbling, and walk toward Merrick's office.                Merrick follows, wiping his mouth with the back of his hand.               INT. RENTAL OFFICE -- NIGHT               The young couple enter the rental office, Merrick following                close behind. Once they are all in, Merrick closes the door.                He rests against the door and drools copiously, then giggles.               The young couple turn to look at him. Suddenly, three more                residents, two women and a man, all of them half naked, jump                down on them from the tops of large filing cabinets. The                residents begin to kiss and paw the couple. Merrick wipes                his mouth with the back of his hand and then throws himself                on top of the writhing mass.               INT. GARAGE -- NIGHT               Finding herself in the underground garage, Forsythe decides                to get in her car and drive out. She finds her car -- a Datsun                or Toyota -- gets in, throws the doctor's bag in the back,                and drives up the ramp leading to the sliding garage doors.               The car rolls over the cable which normally activates the                doors, but nothing happens. Forsythe puts the car in reverse                and backs over the cable, but still nothing happens. She                sits with the car idling, trying to figure out what to do                next.               Suddenly the driver's door of her car is yanked open and the                doorman, slavering and drooling, throws himself at her.               The doorman forces her down across the front seats of the                car and begins to kiss her on the neck and rip her clothes                to shreds. He gradually forces himself between her legs.               INT. INCINERATOR ROOM -- NIGHT               St. Luc bounds down the incinerator room stairs looking for                Forsythe. He sees immediately that she is not there, but                also notices handprints in blood on the door leading to the                garage.               He opens the garage door. Forsythe's screams come echoing                through the garage.               INT. GARAGE -- NIGHT               St. Luc races through the garage, trying to find Forsythe.                He finally sees her car in the middle of the exit ramp and                runs over to it.               The doorman is still on top of Forsythe in the front seat of                the car. St. Luc pulls the doorman's gun out of its holster                and begins smashing away at the doorman with it.               The doorman pounds St. Luc in the temple with his fist and                lifts himself partially off Forsythe, half turning toward                St. Luc, who is staggered by the blow.               The doorman's face is covered with blood and drool. Repulsed                and terrified, St. Luc fires the gun into the doorman's upper                body three times, heedless of the possibility that he might                hit Forsythe. The doorman slumps over Forsythe.               St. Luc grips the gun and staggers over to the car. He pulls                the doorman off Forsythe, who is completely soaked with blood.                She has obviously had an externally rough time, but there is                nothing to suggest that she has been infected by the doorman.               St. Luc shoves her over into the passenger's seat, where she                slumps, dazed. He doesn't have to start the car -- it's never                been turned off. He slams the shift lever into reverse and                backs up, peeling rubber, to the base of the ramp. He puts                it into first and begins to accelerate, foot to the floor,                toward the garage door.               Another car full of residents suddenly careens in front of                the door and screeches to a halt, blocking St. Luc, who in                swerving to avoid them smashes his fender into a concrete                post. He picks up the gun from the console between the seats                and, opening the car door, empties the gun at the residents,                who are emerging from their car.               One of the residents falls back into the car, blocking the                other two.               St. Luc drags Forsythe out of the car, throws her over his                shoulder, and carries her down the ramp toward the door                leading to the incinerator.               INT. HALLWAYS -- NIGHT               St. Luc half drags, half carries Forsythe along hallways                whose doors are wide open. From the apartments issues the                entire catalogue of suggestive sexual sounds -- giggles,                moans, groans, cries, whispers, shrieks.               We catch glimpses of people of all kinds and ages locked                together on floors, chairs, etc. St. Luc finds an open exit                door and plunges through it, taking Forsythe with him.               INT. GYM -- NIGHT               The door to the gym opens and St. Luc looks in cautiously.                The gym is quite tiny and is deserted. St. Luc pulls Forsythe                in and closes the door. He lays Forsythe down on a gym mat                and then barricades the door with a box horse and a weight-               lifting table.               He kneels beside Forsythe, who seems to be only just regaining                consciousness. St. Luc strokes her face, pushes strands of                hair matted with blood out of her eyes.                                     ST. LUC                              (more to himself than                               Forsythe)                         Rollo'll be here soon. Rollo'll be                          here soon.               EXT. DRIVEWAY -- NIGHT               Rollo's car pulls up to the main doors and parks in a                blatantly illegal space. He flips up a card on the dash which                says 'M.D. ON CALL,' then gets out of the car.               He walks up the steps and through the main doors, which are                wide open. Nobody is in sight.               INT. HALLWAY -- NIGHT               Rollo walks along the hallway, bag in hand, envelope under                arm. He stops in front of Tudor's door, checks the number                against the number written in his notebook, then knocks on                the door.               Nobody answers. He knocks once more, then looks around                shiftily before turning the knob and walking right in.               INT. TUDOR'S APARTMENT -- NIGHT               Rollo enters and closes the door behind him, deliberately                slamming it. He walks into the center of the living room and                bellows.                                     ROLLO                         Hello, good evening, is anybody here?                          Dr. St. Luc? It's Dr. Linsky here to                          see you for consultation.               Still no answer. Rollo is puzzled. He snoops around the                apartment until he finds the bedroom with its door half                closed. He pushes gently on the door and opens it gradually.                                     ROLLO                         It's Dr. Linsky. Anybody home?               Rollo can now see the figure of Tudor lying in bed in the                dim light of the bedroom. Rollo enters the bedroom.                                     ROLLO                         Is that Mr. Nicholas Tudor? It's Dr.                          Linsky. I'm meeting Dr. St. Luc here.                          He must be a little bit late.               Tudor does not answer, does not move. He lies stiffly on the                bed on his back, mouth insanely agape, eyes shut, covers                half on the floor.                                     ROLLO                         Is anyone here? Nicholas Tudor? Is                          that you? Tudor? Mind if I have a                          look at you?               He stands at the edge of the bed, peering at Tudor, looking                for signs of consciousness. After a pause, he kneels on the                bed and slowly draws back the covers.                                     ROLLO                         Just a peek, OK? A little peek won't                          hurt.               Tudor's abdomen is gradually exposed as the covers are drawn                back. Crouched in the shadows is one of the freshly emerged                blood parasites, which sits poised for only a fraction of a                second before it springs at Rollo's face with great energy.               As the thing hits Rollo's face it locks on to his head by                entangling its stubby tentacles in his hair and attaching                its suckers to his cheeks and chin.               Rollo tries to stand, then staggers and falls. The thing                tries to force its way into Rollo's mouth, cutting his lips                in the process. They bleed furiously. When Rollo manages to                pull a sucker away, a piece of his flesh comes with it.               As he writhes on the carpeted floor, two more parasites appear                crawling toward him from under the bed, covered with dust                from the floor. They clamber on to him and fasten on to his                face, suckering on to his ears, his throat, forehead, eyelids.                One of them begins to ooze corrosive fluid on to his face.                Rollo screams in pain.               He manages to roll to his feet. He staggers out of the                darkness of the bedroom into the living room, one arm                extended, groping like a blind man, the three parasites still                locked on to his face. They try to pull his lips apart, but                he keeps his teeth firmly clenched to keep them from forcing                their way into the depths of his body.               He takes a few unbalanced steps toward the kitchen. With a                sudden spasm of pain, he hurls himself sideways into the                kitchen and almost falls again, grabbing at the last moment                on to the sink.               His hands touch a large pair of pliers, a screwdriver, and a                hammer on the counter by the sink, left there by Tudor weeks                ago. Rollo seizes the pliers and begins to pull the parasites                from his face with their steel jaws. The parasites, swollen                with Tudor's blood, burst and spurt as the pliers tear them                apart.               In the bedroom, Tudor's eyes snap open. His head rises from                the pillow.               He swings his legs over the side of the bed and, ashen and                gaunt, shakes his head slowly as though waking from a dream.                He begins to mumble.                                     TUDOR                         No, no, no, no. Mustn't, mustn't.                          You mustn't kill them, no, no, no.               Then, as though listening to himself and suddenly                understanding what he is saying, he rises to his feet shakily                and walks to the kitchen. He stops at the kitchen door.               Rollo has torn the parasites from his face and is pounding                away at them in the kitchen sink. The parasites wriggle and                curl in their own blood in the sink as he smashes away at                them with the pliers.               Tudor staggers toward Rollo.                                     TUDOR                         No, no. You mustn't kill them. That's                          my blood you're spilling! My blood!                          Let them come home, let them come                          home, home, home inside me. Don't                          kill them...!               He starts to paw Rollo, feebly trying to prevent him from                further mutilating the parasites. He reaches over St. Luc's                shoulder and grabs a large chunk of one of the parasites.                                     TUDOR                              (whining pitifully)                         At least save me one! For God's sake!                          At least save me one. One, one, one,                          one...               Rollo turns as Tudor begins to shove the piece of flesh back                down his throat.               As Rollo turns we see that bits of tentacles and suckers are                still attached to his cheeks, throat, forehead. His face is                melting and smoking in areas where it has been burned by the                corrosive fluid on one side. He stares in rage at Tudor.               With a scream, Rollo strikes Tudor with the pliers. Tudor                falls, hitting his head on various chairs and protruding                corners as he goes down, the chunk of parasite still in his                mouth as he finally comes to rest, twitching, on the floor.                Rollo drops the pliers on the floor.               He stares at Tudor in shock. His face is reflected in a copper                frying pan hanging over the stove. Noticing the reflection,                Rollo leans over to get close to his own horrible image. He                gingerly touches his face, inspecting the damage, shivering                and moaning.               Still shaking, he turns to leave.               Without warning, Tudor leaps up at Rollo with insane energy                and bowls him over, pliers in hand. Sitting on Rollo's chest,                Tudor smashes away at Rollo's face and head with the pliers,                the piece of dead parasite in his mouth dropping on to Rollo's                face as he drools.               INT. GYM -- NIGHT               Forsythe finally opens her eyes. She smiles at St. Luc, who                hovers anxiously over her as she lies on the gym mat.                                     ST. LUC                         Can you walk? I couldn't find anything                          wrong with you.               Forsythe nods and manages to sit up with St. Luc's help.                Once she seems able to stay propped up without St. Luc's                help, he gets up and begins to move the barricade away from                the door.                                     ST. LUC                         Rollo and the police should be here                          by now. It's just a question of                          avoiding infected residents until we                          find them.               St. Luc comes back to Forsythe and kneels beside her.                                     ST.LUC                         OK? Ready to go?               Forsythe puts her arm around St. Luc's neck as though wanting                support. Instead, she draws him down toward her and begins                to babble in a strange, casual, dreamy way.                                     FORSYTHE                         Sometimes I have a recurrent dream.                          Have I ever told you about it,                          darling? I guess you could call it a                          Freudian dream, because in this dream                          I find myself making love to Sigmund                          Freud. But I'm having trouble because                          he's old and dying, and he smells                          bad and I find him repulsive. And                          then he tells me that everything is                          erotic, everything is sexual, you                          know what I mean? He has a very thick                          accent, but I can understand him                          perfectly. He tells me that even old                          flesh is erotic flesh, that disease                          is the love of two alien kinds of                          creatures for each other, that dying                          is an act of eroticism, that even                          chemicals combine out of sexual frenzy                          and longing. That breathing is sexual,                          that talking is sexual, that just to                          physically exist is sexual... And I                          believe him, and we make love                          beautifully...               While she talks, Forsythe gradually slips her arms around                St. Luc's neck and brings her lips closer and closer to his.               St. Luc, mesmerized by the hypnotic drone of her words, is                about to kiss her. Suddenly her mouth snaps open wide with                mechanical precision, her head tilts back, her eyes flick                closed.               St. Luc stares at her in horror as her throat begins to swell.               In the depths of Forsythe's mouth two parasite tentacles                probe about, seeking a firm hold for their suckers so that                they can pull the parasite's body out of her narrow esophagus.               St. Luc hesitates only for an instant, then rips a strip                from her blouse, balls it up, and shoves it into her mouth.                Holding her while she struggles to remove it, he rips off a                second strip and ties it around her head to keep the gag in.                St. Luc rises, throws Forsythe over his shoulder and begins                to step toward the door of the gym.               Dangling over St. Luc's shoulder, Forsythe struggles, moans,                and howls as best she can. St. Luc manages to pin her hands                to her sides so that she can't pull the gag out.               Before St. Luc reaches the door, a handsome middle-aged woman                peeks in around the corner.                                     WOMAN                              (crooning in reply to                               Forsythe's howl)                         Hellooooo? Oooooo? Is there anyone                          here who's all alooooooooone?               St. Luc rushes at the woman, knocking her over. She rolls on                the floor, hugging herself and crooning.               Once out the door, St. Luc makes for the nearest exit.               INT. STAIRWELL -- NIGHT               As St. Luc begins to ascend the stairs, we can see tiny black                hooks tearing through Forsythe's gag. Blood begins to soak                through from the inside.               A group of residents suddenly appear at the next landing                above St. Luc and, noticing them, begin to walk down the                steps, moaning and crooning and making vaguely sexual gestures                toward the pair.               Blood is now pouring from Forsythe's mouth and tentacles are                groping for leverage at her cheeks and chin.               St. Luc decides to attempt to shoulder his way up the stairs,                certain that Rollo and the police must be at the main doors.               As he hits the residents on the stairs, they try to kiss                him, caress him, pull his clothes off. They finally manage                to drag Forsythe from his shoulders, almost unbalancing him                as they do so. St. Luc tries to prop her up on her feet, but                she's completely limp. St. Luc holds Forsythe against the                stairway wall as residents mill all about them. He looks at                her in sudden hopelessness.                                     ST. LUC                              (shouting)                         Forsythe! Forsythe!               The parasite is now half out of her mouth, hanging through                the slit it has torn in her gag.               St. Luc lets go of Forsythe and she sinks to the floor. The                residents are swarming all over them. St. Luc abandons                Forsythe and begins to fight his way up the stairs.               He runs higher and higher, up flight after flight of stairs,                until he is free of the slow-moving residents. He leans back                against a wall, panting.               Crooning and moaning echo up to him from below. He leans                over the railing and looks down.               In the stairwell several flights below, Forsythe lies                surrounded by milling residents, legs spread as though about                to give birth. A resident leans over and pulls the parasite                from her mouth, then swallows it whole with gusto. Other                residents touch her, stroke her, caress her, as though                offering her a strange kind of comfort.               St. Luc reels with disgust and disbelief. He turns and runs.               INT. SWIMMING POOL -- NIGHT               Between the two towers lies the swimming pool. St. Luc manages                to reach the door leading from the South Tower into the pool.                He hangs on to the door of the pool itself for a moment in                near exhaustion, then opens it and enters.               The pool is dim and tranquil. Two women are swimming in the                deep end as though nothing were at all abnormal.               St. Luc watches them for a moment, enjoying the apparent                normalcy of the scene. Then he staggers forward, calling out                to the swimmers.                                     ST. LUC                         Have you seen the police? I'm Dr.                          St. Luc. Have you seen the police?                          Have they come?               The swimmers both flick playfully beneath the water's surface.                St. Luc approaches the water's edge, waiting for them to                surface. The water ripples and bubbles near his feet. A                sinking feeling comes over him. He watches in horrible                fascination. He begins to shiver.               The ripples and bubbles spread and intensify. After a pause,                Janine surfaces, smiling radiantly. A few seconds later,                Betts surfaces near her, the very picture of benign, watery                calm. Betts gestures to St. Luc to join them in the pool.               St. Luc shakes his head slowly, backing away from the pool.               He turns to leave the room. As he turns, Mr. Spergazzi appears                out of the shadows behind him. Using his four-pronged aluminum                cane, he pushes St. Luc backwards into the pool, chuckling                playfully.               Spergazzi looks around for approval as St. Luc begins to                thrash about wildly.               Betts swims up beside St. Luc, grabs him, and holds him under.                                     BETTS                              (to Janine)                         A kiss!                              (laughter echoes in                               the pool room)                         Give him a kiss. Give him a kiss.                                     VARIOUS RESIDENTS                              (voices echoing in                               unison)                         A kiss, a kiss, a kiss!               Betts allows St. Luc to rise to the surface as a laughing                Janine splashes over to him and fastens her mouth to his.               As they kiss, Janine's hands hold St. Luc's head fiercely.                Betts assists her by pinning St. Luc's arms behind him.                Janine's throat ripples and swells, her cheeks billow as a                parasite swarms upwards from deep within her body. St. Luc's                cheeks now swell as the parasite enters his mouth. His eyes                jolt open in terror and he manages to pull away slightly,                revealing the tentacles joining her mouth to his like                grappling irons.               St. Luc twists out of Betts' grasp. He and Janine, still                locked together, sink beneath the surface.               Dozens of residents pour into the pool room and join Spergazzi                and the others at the poolside. Among these are faces already                familiar to us: Kurt, Kresimir and Benda, the old laundry-               room woman, etc.               The new spectators clap, laugh, croon, and moan as though                witnessing a wild group baptism. Some of them throw themselves                into the water, pulling others in with them.               Deep under the water's surface, St. Luc still struggles to                free himself from Janine. Residents now splash into the depths                all around them.               St. Luc's cheeks bulge wide and blood dribbles from his nose                and mouth. His throat swells monstrously. Janine releases                him just in time for us to see the end of a tentacle slip                back into his mouth. He exhales heavily as parasite enzymes                pump furiously through his body. The water boils with his                exhaled breath.               Janine and St. Luc drift apart, now completely calm, as                residents splash and swim, kick and embrace.               INT. STARLINER TOWERS UNDERGROUND GARAGE -- NIGHT               The vast and dimly lit garage is full of silent cars.                Somewhere an engine starts up, then another and another,                until the whole garage is full of fumes and the revving of                engines.               As we prowl amongst the cars we find many of the residents                we already know, now dressed to the teeth in their seductive                best.               Mr. Spergazzi and his wife stand and watch the spectacle,                canes in hand, with great dignity. With them stand others                who are too old or too young to go into the night looking                for new hosts for their parasites, content to remain                incubators for the time being.               The residents are full of bubbly anticipation in their cars.                Kresimir leans out of his car and shouts to no one in                particular.                                     KRESIMIR                              (shouting)                         Nobody should be alone! Nobody should                          be alone tonight!               The rest of the residents pick up the cry and chant together.                                     RESIDENTS                              (together)                         Nobody alone! Nobody alone!               The night watchman stands near the garage doors. Smiling                broadly, he stamps on the cable which activates the sliding                doors.               EXT. STARLINER TOWERS -- NIGHT               The garage doors slide open. One car surges up the ramp ahead                of all the others, stopping at the top.               The driver of this first car is St. Luc, sleek and exuberant,                a raised collar and a scarf hiding most of his scars. He                glances into his rear-view mirror.               In the rear-view mirror, St. Luc sees all the other cars                lining up behind him, lights blazing.               St. Luc smiles, then steps on the accelerator. His car shoots                out into the street.               As St. Luc's car turns on to the street, car after car follows                him. We rise higher and higher above the Starliner Towers                apartment complex until the cars are a small stream of lights                far below, bleeding into the main body of the neon-lit                metropolis.                                         THE END
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+                                SHREK THE THIRD                                   Written by            Peter Seaman, Jeffrey Price, Chris Miller & Aron Warner                                                         Final Screening Script                                                            INT. MEDIEVAL TIMES THEATER - NIGHT                                   A familiar beam of light shines down. The beam of light          descends onto a stage. Lightning flashes to reveal Prince          Charming riding his valiant steed Chauncey across the open          plains. The wind blows back his golden mane.                                                   PRINCE CHARMING           Onward Chauncey, to the highest           room of the tallest tower! Where           my princess awaits rescue from her           handsome Prince Charming.                                   Lightning cracks. Thunder booms. Charming straddles a          wooden hobby horse and gallops in place. A stage hand uses a          bellow to blow air into Prince Charming's face. Another          stage hand turns a crank that creates the moving background.          In the orchestra, a man uses coconuts to create the sound          effects of a galloping horse. Two more stage hands back          stage create the cheap sound effects of thunder and          lightning. A crudely constructed castle tower sits in front          of a cheaply painted backdrop.                                   The Fairytale Creatures are sitting at a table in the          audience.                                                   GINGERBREAD MAN           This is worse than Love Letters! I           hate dinner theatre.                                                   PINOCCHIO           Me too.                                   Pinocchio's nose grows as he is caught in the lie.                                   Prince Charming rides to the base of the tower.                                                   PRINCE CHARMING           Whoa there, Chauncey!                                   He dismounts and sets his hobby horse on the ground. He          strikes a dramatic pose.                                   A Princess leans from a tower window.                                                   ACTRESS           Hark! The brave Prince Charming           approach-ith.                                   Prince Charming puffs his chest out.           Shrek the Third - Final Screening Script 2.                                                                                                     PRINCE CHARMING           Fear not fair maiden! I shall slay           the monster that guards you and           take my place as rightful King.                                   An old couple at a table look confused.                                                   OLD LADY           (to old man)           What did she say?                                   Prince Charming glares as the bored audience largely ignores          him.                                   A man in a bad ogre costume comes onto the stage.                                                   OGRE           Grrrrrrr!                                   The crowd erupts into applause. The Fairytale Creatures          cheer.                                                   FAIRYTALE CREATURES                          (CHEERING)           Woooo hoooo!!!                                                   GINGERBREAD MAN           Yea! Shrek!                                   At first, Prince Charming is put off by the cheers for the          Shrek-like beast. He pulls his sword and confronts the          monster.                                                   PRINCE CHARMING           Prepare foul beast to enter into a           world of pain with which you are           not familiar!                                   He is cut off as a waiter enters with a birthday cake.                                                   WAITER                          (SINGING)           Happy Birthday to thee.                                                   PRINCE CHARMING           Do you mind?                                   Prince Charming hops out of the way when a chair lands on          stage. It slides past him and bumps into the tower facade.                                                   GINGERBREAD MAN           Do you mind? Bo-ring!           Shrek the Third - Final Screening Script 3.                                                                                     The audience laughs. Prince Charming glares at them and then          tries to recover. He points his sword at the monster again.          The tower facade starts to topple.                                                   PRINCE CHARMING                          (CLEARS THROAT)           Prepare foul beast-                                   Prince Charming looks over his shoulder and sees the facade          falling. He cringes.                                   The scenery slams against the stage, but Prince Charming is          unharmed, perfectly framed in the princesses' window. The          crowd laughs at the embarrassed Prince Charming. He shakes          his mangled sword at the audience.                                                   PRINCE CHARMING           (shaking his sword again)           Someday you'll be sorry.                                                   HECKLER           (O.S.)           We already are!                                   They laugh again. Prince Charming throws down his sword,          picks up his hobby horse and exits.                                                   OGRE           Grrrrrrr!                                   The song and the laughter follow Prince Charming backstage.                                                            INT. BACKSTAGE DRESSING ROOM - MOMENTS LATER                                   Prince Charming walks through a tunnel backstage that leads          to a door. The door has a star with his name written on it.          He opens it.                                                            EXT. MEDIEVAL TIMES RESTAURANT - CONTINUOUS                                   Prince Charming sits at his broken vanity and sobs. His make-          shift dressing room is in an alley way next to the theater.                                   Horses whinny as a carriage passes by. The castle of Far Far          Away can be seen on the hill in the background. Prince          Charming breaks down and cries.                                   He looks up and sees a picture of the Fairy Godmother taped          to the vanity. "Don't stop believing! Mommy's Little Angel"          is written on the picture.           Shrek the Third - Final Screening Script 4.                                                                                                     PRINCE CHARMING                          (HEAVY SOBS)           Oh mommy.                                   He weeps again and then looks back at the picture. A          determined change grows across his face.                                                   PRINCE CHARMING           Oh, you're right. I can't let this           happen. I can't.                                   Prince Charming looks at the castle on the hill. His          expression hardens. He stands and faces the castle. He          holds his chin up high.                                                   PRINCE CHARMING           I am the rightful King of Far Far           Away and I promise you this mother.           I will restore dignity to my           throne!                                   A big gust of wind blows a newspaper page across his face.          He peels it off and looks at the headline. His eyes tense          and narrow.                                    PRINCE CHARMING (CONT'D)           And this time, no one will stand in           my way!                                   In the newspaper is a picture of Shrek and Fiona waving to a          crowd.                                   Prince Charming crumples up the newspaper in his fists.                                                            EXT. CASTLE - MORNING                                   The camera booms down from the Far Far Away sign. The sun          rises and the birds sing.                                                            INT. SHREK AND FIONA'S BEDROOM - CONTINUOUS                                   The sun shines through the bedroom window as the camera pans          over to Shrek and Fiona waking up.                                                   SHREK           Good morning.                                                   FIONA           Good morning.                          (DREAMY)           Oh... morning breath...           Shrek the Third - Final Screening Script 5.                                                                                     Shrek breathes in and smiles.                                                   SHREK                          (DREAMY)           I know. Isn't it wonderful?                                   The bedroom doors fly open and Donkey and the Dronkeys rush          in. The Dronkeys head right for Shrek and Fiona. Shrek          cowers beneath the bedclothes.                                                   DONKEY                          (SINGING)           "Good morning! Good morning!"                                   Shrek sinks further into the blankets as the Dronkeys          exuberantly lick him. Fiona is amused.                                   Donkey starts to sing "Good Morning" from Singin' in the Rain          as he enters the room.                                                   DONKEY                          (SINGING)           "The sun is shining through! Good           morning! Good morning.           (coming closer and closer                          TO SHREK)           "To you!"                          (TO SHREK)           "And you!"                          (TO DRONKEY)           And you!                                   The Dronkeys fly out of the room, knocking down everything in          their path.                                                   DONKEY           Oh, they grow up so fast.                                   Shrek, greatly annoyed, lifts his hand and snuffs out a          little fire on the bed left behind by the Dronkeys.                                                   SHREK           Not fast enough.                                   Puss leaps onto the bed.                                                   PUSS           Okay. You have a very full day           filling in for the King and Queen.           There are several functions that           require your attendance, sir.           Shrek the Third - Final Screening Script 6.                                                                                                     SHREK           Great! Let's get started.                                   Shrek immediately pulls the covers up over his head and          starts to snore.                                                   DONKEY           C'mon, lazy bones, time to get           movin'!                                   Donkey yanks the sheets off of Fiona and Shrek. He is          surprised to see Shrek's bare legs.                                                   DONKEY           Aaahhh! You know you really need           to get yourself a pair of jammies.                                   Shrek sighs.                                                   CUT TO:                                                            INT. KNIGHTING CEREMONY - DAY                                   The camera pans down from a stained glass window. The song          "Royal Pain" by the Eels plays in the background as the          title: "Shrek The Third" is superimposed.                                   A large crowd has gathered to watch the knighting. Shrek          walks down the aisle of the church.                                   Shrek walks up to the knight who seems a bit nervous.                                   Shrek takes a sword from Puss, but he doesn't have any idea          what he is supposed to do with it. Shrek looks at Puss, who          indicates how to knight a person with his own sword. Shrek          starts to knight the knight.                                                   SHREK           I knight thee...                                   Shrek accidentally stabs the knight.                                                   SHREK           He-he. Ooh.                                   The crowd, Fiona, Puss and Donkey look on, shocked.                                                                            CUT TO:           Shrek the Third - Final Screening Script 7.                                                                                                              EXT. BOAT DOCKS - DAY                                   Shrek and Fiona officiate at a boat christening for the Royal          Navy.                                   Shrek is holding a bottle of champagne. He leans on the          boat, accidentally pushing it down the ramp. Shrek throws          the bottle at the boat and it punches an enormous hole in the          side of the hull. The boat quickly sinks.                                   Shrek turns to find the patrons of Far Far Away shaking their          heads as they leave.                                                   CUT TO:                                                            INT. DRESSING ROOM - DAY                                   Raul, the make-up specialist, tightens some aprons around          Shrek and Fiona. Donkey, Puss and Raul stand in front of          them.                                                   DONKEY           Well, since you're filling in for           one, you might as well look like a           real King. Can somebody come in           here and work on Shrek please?                                   Raul stares at Shrek. Shrek raises his eyebrow.                                                   RAUL                          (AHEM)           I will see what I can do.                                   He unrolls a satchel full of different gardening tools.                                   Suddenly Shrek's arms and legs are strapped into a chair.                                   A man stands with his back to the camera and pulls on a rip          cord as if he's holding a chain saw. VROOM! VROOM! He          turns around to reveal a circular sander and starts to grind          away at Shrek's gruesome toenails. Shrek cringes.                                   We see a close-up of Shrek's eye. A mascara brush comes into          frame and pulls at Shrek's eyelash.                                   Fiona gets her nose hairs plucked.                                                   FIONA           Ow!           Shrek the Third - Final Screening Script 8.                                                                                     Lipstick is applied to some lips. The camera pulls back to          reveal that the lips are Shrek's.                                   A hand tries to tighten a zipper on Shrek's back. It keeps          snagging on the skin until they finally rip it past and          tighten up the zipper all the way.                                   A small sock is placed onto Shrek's foot. With a shoe horn,          Shrek's foot is shoved into a small shoe. POP!                                   A collar is placed around Fiona's neck and her corset is          tightened.                                   A drill comes into frame and tightens the rivet on Shrek's          belt. A mole is placed on his cheek.                                                            INT. BACKSTAGE - LATER                                   REVEAL: Shrek and Fiona standing awkwardly in outrageous          Renaissance outfits.                                   Donkey gasps.                                                   DONKEY           Oh!                                   Puss rolls his eyes.                                                   PUSS           Yeah, wow.                                   Fiona is uncomfortable.                                                   FIONA           Uh, is this really necessary?                                                   RAUL                          (TO SHREK)           Ho, ho. Quite necessary, Fiona.                                                   SHREK           I'm Shrek, you twit.                                                   RAUL           Whatever.                                                   PUSS           Okay peoples! This isn't a           rehearsal. Let's see some hustle.                                                   DONKEY           Smiles everyone, smiles!           Shrek the Third - Final Screening Script 9.                                                                                     Off-screen, the Master of Ceremonies announces the couples          arriving at the party.                                   Fiona turns to Shrek and sees he is not in a good mood.                                                   SHREK           I don't know how much longer I can           keep this up Fiona.                                                   FIONA           I'm sorry Shrek, but can you please           just try to grin and bear it? It's           just until Dad gets better.                                   Shrek lets out another frustrated sigh.                                                   FIONA           Shrek?                                                   SHREK           Yeah.                                                   FIONA           You look handsome.                                                   SHREK           Ah. Come here, you.                                   She gives him a supportive smile. He relaxes and smiles          back.                                   Fiona puckers up her lips and Shrek leans in for a kiss, but          their bulky outfits prevent it.                                   Shrek and Fiona let out a huge breath of air.                                                   SHREK           Oh, my butt is itching up a storm           and I can't reach it in this monkey           suit!                                   Shrek tries to scratch his butt but to no avail.                                                   SHREK           Oh.                          (WHISTLE)           Hey you. Come here!                                   A man holding a ruby scepter walks over to Shrek.                                                   SHREK           What's your name?           Shrek the Third - Final Screening Script 10.                                                                                                     FIDDLESWORTH           Eh, Fiddlesworth, sir.                                                   SHREK           Hoo hoo hooo. Perfect.                                                            INT. BALLROOM - CONTINUOUS                                   The announcer introduces Shrek and Fiona.                                    MASTER OF CEREMONIES           Ladies and gentlemen, Princess           Fiona and Sir Shrek!                                   The audience claps. The curtain starts to open.          Fiddlesworth is scratching away at Shrek's butt.                                                   SHREK           You've done it. Oh, a little over           to the left, yeah. That's great.                                                   FIONA           Uh Shrek?                                   Fiddlesworth struggles to reach Shrek's itch. The crowd          looks on in horror. Fiona tries to get his attention.                                                   SHREK           Ahh! All right, you got it...Oh           yeah, you're on it. Oh that's it!           Oh that's good!                                                   FIONA           Shrek...                                                   SHREK           Oh yeah! Scratch that thing! You           got it. You're on it. That's           great!                                                   FIONA           SHREK!                                   Shrek and Fiddlesworth finally see the crowd. They both          freeze. Shrek laughs nervously.                                   Suddenly Shrek's belt buckle snaps off and hits Donkey in the          eye. He stumbles through the crowd screaming.                                                   DONKEY           Ow!! My eye! My eye!           Shrek the Third - Final Screening Script 11.                                                                                     As he is stumbling, he grabs hold of a lady in the crowd.                                                   WOMAN           What are you doing?                                   The woman pushes Donkey away. He falls, knocking over a          guard holding an axe on his way down. The guard drops the          axe. It flies past Puss, who is in the arms of a lady. The          axe knocks over a vase. The vase flies up on stage and Fiona          maneuvers to catch it. In flight, water spills out of the          vase which causes Fiona to fall over.                                   Shrek's tuxedo bib slaps him in the face. The clasp holding          Shrek's pants up breaks off. Shrek stands on stage with his          pants around his ankles. He shuffles towards Fiona.                                                   SHREK           Fiona!                                   He trips over his pants and hits a loose wooden plank on the          stage. The plank flings up and sends Fiddlesworth flying          through the air where his jacket slips over a banner pole,          trapping him.                                                   FIDDLESWORTH           Uhhh...                          (WIMPER)                                   Shrek has reached Fiona who is still lying on the floor.                                                   SHREK           Are you okay?                                                   FIONA           Yeah. I'm fine.                                   Fiona's eyes suddenly widen.                                   Fiddlesworth's jacket rips and he falls onto a waiter          carrying flaming skewers.                                                   FIDDLESWORTH           Ahhhh!                                   The skewers fly through the air. Donkey stands up in frame          with one eye half shut. The flaming skewers shoot by him and          land in the curtains, setting them on fire. He blows one of          the skewers out and takes a bite.                                                   DONKEY           Oh! Shrimp! My favorite.           Shrek the Third - Final Screening Script 12.                                                                                     The fire causes a Far Far Away shield to detach from a wooden          ceiling beam and fall onto the stage, breaking it in half.                                   The whole stage collapses in the middle. The buffet tables          slide toward Shrek and Fiona at the other end and collide.                                   CRASH! BANG!                                    CUT TO BLACK:                                                            INT. SHREK AND FIONA'S BEDROOM - NIGHT                                   The door to Fiona's room flies open.                                                   SHREK           That's it! We're leaving!                                   Shrek storms in pulling bits of buffet food off his face.                                                   FIONA           Honey, please calm down...                                   Shrek grabs the wig off of his head and throws it aside.                                                   SHREK           Calm down? Who do you think we're           kidding? I am an ogre! I'm not cut           out for this, Fiona and I never           will be.                                   Shrek wipes off his makeup with his shirt sleeve and flings          his shirt to the floor. He falls onto the bed next to          Donkey.                                                   DONKEY           I think that went pretty well.                                   Shrek startles.                                                   SHREK           Donkey!                                   Shrek picks him up and throws him out the door.                                                   DONKEY           Aww, come on now Shrek!                                   Shrek slams the door shut.                                   Shrek turns back towards the bed and sees Puss reclining on          his pillow.           Shrek the Third - Final Screening Script 13.                                                                                                     PUSS           Some people just don't understand           boundaries.                                   Shrek picks Puss up by the scruff of his neck and tosses him          outside the window. He shuts it. Puss sits sadly on the          ledge, giving Shrek his sad-eyes routine. Shrek draws the          blinds.                                   Shrek stomps over and falls back onto the bed. Fiona tries          to calm him down.                                                   FIONA           Just think... a couple more days,           and we'll be back home in our           vermin-filled shack, strewn with           fungus, filled with the rotting           stench of mud and neglect.                                   This thought calms him. Shrek takes in a long, deep breath          and exhales. He smiles.                                                   SHREK           Oh, you had me at "vermin-filled."                                                   FIONA           And, uh... maybe even the pitter-           patter of little feet on the           floor...?                                                   SHREK                          (LAUGHS)           That's right. The swamp rats will           be spawning.                                                   FIONA           Uh, no... you know, what I was           thinking of is a little bit bigger           than a swamp rat.                                                   SHREK           Donkey?                                                   FIONA           No, Shrek. Um... what if -                          THEORETICALLY -                                                   SHREK           Yeah?                                                   FIONA           They were little ogre feet?           Shrek the Third - Final Screening Script 14.                                                                                                     SHREK           Oh.                          (NERVOUS LAUGH)                                   Shocked, Shrek falls off the bed.                                   He slowly emerges from behind the bed.                                                   SHREK           Honey? Let's try and be rational           about this. Have you seen a baby           lately? They just eat and poop and           they cry and then they cry when           they poop and they poop when they           cry...Now, imagine an ogre baby.           They extra cry and they extra poop.                                                   FIONA           Shrek.                                   She grabs his hands and looks deeply into his eyes.                                                   FIONA           Don't you ever think about having a           family?                                   Shrek takes her hand.                                                   SHREK           Right now, you're my family.                                   There is a knock on the bedroom door. The door bursts open,          revealing a Royal Page.                                   Shrek springs up.                                                   SHREK           Well, somebody better be dying.                                                   CUT TO:                                                            INT. KING'S ROOM - MOMENTS LATER                                   The camera pushes through a corridor that leads to the King's          bedroom. The King is lying on his lily pad, coughing.                                                   KING HAROLD           I'm dying.                                   The King inhales and launches into a violent coughing fit.          Shrek looks a bit guilty about his last admission. The Queen          comes to the King's aid and he settles down.           Shrek the Third - Final Screening Script 15.                                                                                                     QUEEN           Harold.                                                   KING HAROLD           Don't forget to pay the gardener,           Lillian.                                   The Queen is used to these kind of non-sequiturs.                                                   QUEEN           Of course darling.                                   The King suppresses a few coughs. He turns to his daughter.                                                   KING HAROLD           Fiona...                                                   FIONA           Yes Daddy?                                                   KING HAROLD           I know I've made many mistakes with           you.                                                   FIONA           It's okay.                                                   KING HAROLD           But your love for Shrek has taught           me so much.                                   Fiona smiles. The King addresses Shrek.                                                   KING HAROLD           My dear boy, I am proud to call you           my son.                                                   SHREK           And I'm proud to call you my           Frog... King Dad in-law.                                   Shrek smiles.                                                   KING HAROLD           Now, there is a matter of business           to attend tooo...                                   The King starts wheezing and coughing. Eventually he stops.          They think he's dead. Puss solemnly removes his hat.                                                   PUSS           The Frog King is dead.           Shrek the Third - Final Screening Script 16.                                                                                     Fiona starts crying. The King suddenly wakes up, coughing.                                                   DONKEY                          (TO PUSS)           Put your hat back on, fool.                                                   KING HAROLD           Shrek, please come hither.                                   Fiona gives Shrek a look. Shrek walks over to the King.                                                   SHREK           Yeah, Dad?                                                   KING HAROLD           This Kingdom needs a new king. You           and Fiona are next in line for the           throne.                                                   SHREK           Ooo. Next in line. Now you see           Dad, that's why people love you.           Even on your deathbed you're still           making jokes.                                   The King stares at Shrek, stone-faced. Shrek leans in          closer.                                                   SHREK           Oh, come on Dad...an Ogre as King?           I don't think that's such a good           idea. There's got to be somebody           else. Anybody?                                                   KING HAROLD           Aside from you there is only one           remaining heir.                                   Shrek brightens.                                                   SHREK           Really!? Who is he, Dad?                                                   KING HAROLD           His name is... is... is...                                                   SHREK           What's his name? What's his name?                                                   KING HAROLD           ...is ...           Shrek the Third - Final Screening Script 17.                                                                                     Shrek leans in closer after each "is," waiting in          anticipation. The King starts to hyperventilate.                                                   FIONA           Daddy!                                   The King is dead. A fly comes out of his mouth and flies          away.                                   Puss starts to take his hat off. The fly buzzes into frame.          A tongue catches it. Puss puts his hat back on.                                                   KING HAROLD           (chewing the fly)           His name is Arthur.                                                   SHREK           Arthur?                                                   KING HAROLD                          (COUGH)           I know you'll do what's...                          (EXHALING)           riiiight...                                   He succumbs. The King really is dead now.                                                   QUEEN           Harold!?                                                   SHREK           Dad? Dad? Dad?                                   Donkey bows his head.                                                   DONKEY           Do your thing, man.                                   Puss takes his hat off.                                   Fiona starts to cry and hugs Shrek. The weight of the King's          request hits Shrek. He is in a state of shock.                                   We hold a moment on the Queen, Shrek, Fiona, Puss and Donkey          to let the King's passing sink in.                                                   DISSOLVE TO:           Shrek the Third - Final Screening Script 18.                                                                                                              EXT. RODEO DRIVE - CONTINUOUS                                   The streets of Far Far Away are empty. People are closing up          the shops on Rodeo Drive.                                                   DISSOLVE TO:                                                            EXT. CASTLE - CONTINUOUS                                   The knights of Far Far Away march toward the castle as the          flag is lowered to half-masked.                                                            EXT. POND - LATER                                   Close on a statue of the late King. Shrek, Fiona, the Queen,          and all the Fairy-tale Creatures and Princesses have gathered          for the funeral. The Queen sets an old shoe box ("Ye Olde          Footlocker") on top of a lily pad and sends it floating out          into the water.                                   An overhead shot shows the box floating through the lily          pads. The camera tilts up to reveal a frog choir, singing          "Live and Let Die." The Princesses, Donkey, Puss and the          Fairy-tale Creatures all bow their heads solemnly.                                   Shrek puts his arm around Fiona.                                   The funeral has ended and the crowd begins to disperse.          Shrek, Fiona and the Queen stand by the pond. The Queen          sadly gazes at the pond.                                                   DISSOLVE TO:                                                            EXT. A BLUFF OVERLOOKING THE CASTLE - CONTINUOUS                                   The camera pulls back to reveal a cloaked figure, on          horseback, overlooking the funeral. The figure removes his          hood to reveal Prince Charming. He gives a smug smile, and          rides off.                                                   CUT TO:                                                            EXT. POISONED APPLE BAR - NIGHT                                   Prince Charming rides up to the Poison Apple Bar.           Shrek the Third - Final Screening Script 19.                                                                                                              INT. POISONED APPLE BAR - CONTINUOUS                                   Smoke wafts through the screen. The camera pans down to the          top of a piano where an ashtray with a lit cigarette burns          and a brandy sifter is filled with coins. The camera pans          over to a Singing Witch who turns around to reveal a          microphone in her hand. The Singing Witch starts to sing          "I've Never Been To Me" by Nancy Wilson.                                   The bar is filled with various Fairy-tale Villains. Two          pirates sit forlornly with their mugs. The Puppet Master          takes a drink out of a beer mug. He is surrounded by a bunch          of empty beer mugs.                                   Prince Charming enters the bar.                                   A group is gathered around Cyclops riding a medieval          mechanical bull, hooting and hollering. The bull stops and          the Villains turn to look at Prince Charming.                                   Prince Charming hangs his cape on a tree branch. The camera          adjusts right to reveal the branch is actually one of the          Evil Trees, who flings the cape to the floor. Everyone takes          notice as Prince Charming walks through. Little Red Riding          Hood is sitting on a pile of books at a table. Evil Dwarves          glare in Prince Charming's direction. Prince Charming walks          by a pair of witches (one is the Evil Queen from Snow White)          playing pool. The Evil Queen scratches when she sees him and          the pool ball goes flying into the Headless Horseman's neck.          Prince Charming walks by the singing witch. He reaches the          bar, pulls out a handkerchief, places it over the bar stool,          and sits.                                   Prince Charming spots the bartender with her back to him. He          clears his throat.                                                   PRINCE CHARMING           What does a Prince have to do to           get a drink around here?                                   Mabel, the other ugly stepsister, rises up in front a poster          with a smiling beer wench.                                                   PRINCE CHARMING           Ah Mabel, why they call you an ugly           stepsister I'll never know.                                   He winks at her. She glares at him.                                                   PRINCE CHARMING           Where's Doris, taking the night           off?           Shrek the Third - Final Screening Script 20.                                                                                                     MABEL           She's not welcome here and neither           are you.                                   She spits into the mug and wipes it with a towel.                                                   MABEL (CONT'D)           What do you want, Charming?                                                   PRINCE CHARMING           Oh not much, just a chance at           redemption...                          (LAUGHS)           And a Fuzzy Navel.                                   Prince Charming stands up and turns to the bar patrons.                                                   PRINCE CHARMING           And Fuzzy Navels for all my           friends!                                   Captain Hook rips his hook across the piano keys. The          singing witch bares her teeth. The witches break their pool          cues. The Puppet Master breaks his beer mug.                                                   CAPTAIN HOOK           We're not your friends.                                   Prince Charming grows nervous.                                   The Villains all approach Prince Charming.                                   From behind the bar, Mabel grabs Prince Charming by his          shoulders and pins him on top of the bar.                                                   PRINCE CHARMING           Ahh!                                   Captain Hook places his hook against Prince Charming's neck.                                                   CAPTAIN HOOK           You don't belong here.                                                   PRINCE CHARMING           You're right; oh, I mean you're           absolutely right, but I mean, do           any of us?                                                   CYCLOPS           Do a number on his face!           Shrek the Third - Final Screening Script 21.                                                                                                     PRINCE CHARMING           No, no, wait, wait, wait! We are           more alike than you think.                                   Prince Charming turns to the Evil Queen.                                                   PRINCE CHARMING           Wicked Witch. The Seven Dwarves           saved Snow White and then what           happened?                                                   EVIL QUEEN           Oh, what's it to you?                                                   PRINCE CHARMING           They left you the un-fairest of           them all. And now here you are,           hustling pool to get your next           meal. How does that feel?                                                   EVIL QUEEN           Pretty unfair.                                   Prince Charming begins to work the crowd.                                                   PRINCE CHARMING           And you? Your star puppet abandons           the show to go and find his father.                                                   PUPPET MASTER           I hate that little wooden puppet.                                   Prince Charming turns to Captain Hook.                                                   PRINCE CHARMING           And Hook...                                   Prince Charming looks down at the hook.                                    PRINCE CHARMING (CONT'D)           ... Need I say more?                                   Captain Hook backs off, feeling insecure about his appendage.                                                   PRINCE CHARMING           And you! Frumpypigskin.                                                   RUMPLESTILTSKIN           Rumplestiltskin.                                                   PRINCE CHARMING           Where's that first-born you were           promised, hey?           Shrek the Third - Final Screening Script 22.                                                                                     Rumplestiltskin caresses a pacifier tattoo on his forearm.                                   Prince Charming gains more confidence as he confronts Mabel.                                                   PRINCE CHARMING           Mabel, remember how you couldn't           get your little fat foot into that           tiny glass slipper?                                   Mabel sighs.                                                   PRINCE CHARMING           Cinderella is in Far Far Away right           now, eating Bon Bons, cavorting           with every little last Fairy-tale           Creature that has ever done you           wrong.                                   Prince Charming now has everyone's attention.                                                   PRINCE CHARMING           Once upon a time, someone decided           that we were the losers. But there           are two sides to every story. And           our side has not been told.                                   The crowd listens, rapt.                                                   PRINCE CHARMING           So who will join me? Who wants to           come out on top for once? Who           wants their happily ever after?!                                   The crowd of villains cheer and starts getting rowdy. A bar          room brawl ensues. Prince Charming looks on, shocked. He          ducks out of the way of a flying liquor bottle. He smiles          nervously and lifts his fruity, Fuzzy Navel to drink.                                                   CUT TO:                                                            EXT. DOCKS - DUSK                                   The camera booms down from the lighthouse.                                                   BLIND MOUSE #1           This way gents.                                   The blind mice stumble and fall trying to get down the steps          to the dock. The Fairy-tale Creatures and Dragon have          gathered to wish Shrek, Puss and Donkey a bon voyage as they          set off to retrieve Arthur.           Shrek the Third - Final Screening Script 23.                                                                                     On the docks, two Dronkeys chase a seagull as the camera pans          over to Puss who breaks free of the embrace of a lady cat.                                                   PUSS           It's out of my hands senorita, the           winds of fate have blown on my           destiny. But I will never forget           you. You are the love of my life.                                   Off-screen, a cat meows and walks towards Puss.                                                   PUSS (CONT'D)           As are you...                                   Camera pulls out to reveal more and more cats approaching          Puss.                                                   PUSS (CONT'D)           And you.                                   Puss starts walking away as two of the cats begin to engage          in a cat fight. They are hissing at each other as Puss backs          away from them and into another.                                                   PUSS (CONT'D)           And, uh... hi. I don't know you,           but I'd like to. I gotta go.                                   Puss runs out of frame. Cut to Dragon, who is talking to          Donkey. Puss runs past them in the background. Dragon lets          out a soft wail.                                                   DONKEY           I know, I know... I don't want to           leave you either baby, but you know           how Shrek is. The dude's lost           without me.                                   She gives him an understanding smile.                                                   DONKEY           But don't worry. I'll send you           airmail kisses everyday!                                   He blows her a kiss and she catches it. He looks down at his          children, holding back tears.                                                   DONKEY           Alright, be strong babies! Be           strong. Now, Coco, Peanut, you           listen to Mama, alright? And           Bananas, no more roastin'           marshmallows on your sister's head.           Shrek the Third - Final Screening Script 24.                                                                                     Bananas lets out a fiery sneeze.                                                   DONKEY           Ah, that's my special boy. Oh,           come over here, all of you. Give           your Daddy a big hug!                                   The baby Dronkeys fly around their Daddy.                                   The Dronkey that Fiona is holding flies off to join Donkey          and the others.                                   Fiona nervously takes in a breath.                                                   FIONA           Shrek, maybe you should just stay           and be King.                                                   SHREK           Oh, c'mon, there's no way I could           ever run a kingdom. That's why your           cousin Arthur's the perfect choice.                                                   FIONA           It's not that. No. It's, you           see...                                                   SHREK (CONT'D)           And if he gives me any trouble,           I've always got persuasion and           reason.           (holds up his right fist)           Here's persuasion,           (holds up his left fist)           and here's reason.                                   Shrek chuckles. Fiona gives him a look. Shrek reassures her.                                                   SHREK           Fiona, soon it's just gonna be you           and me and our swamp.                                                   FIONA                          (HESITANT)           It's not going to be just you and           me.                                   The ship's fog horn sounds.                                                   SHIP CAPTAIN           All aboard!           Shrek the Third - Final Screening Script 25.                                                                                                     SHREK           It will be. I promise. I love           you.                                   He kisses her and joins Puss and Donkey on the boat.                                   He title proudly reads: H.R.M CRUSHING RESPONSIBILITY II                                   The boat sets sail. The Dronkeys spell out "We Love You          Daddy" with smoke in the sky.                                                   FAIRYTALE CREATURES           Awwwwwwwww!                                                   PIG #1           That's lovely.                                   Donkey waves to his kids, sobs.                                                   DONKEY           Bye bye babies!                                   Fiona runs after the boat.                                                   FIONA           Shrek!                                   Shrek leans against the rail, calling out to her.                                                   SHREK           Yeah?                                                   FIONA           Wait!                                                   SHREK           What is it?                                   She smiles and takes a deep breath.                                                   FIONA           I'm, I'm-                                   The Ship Captain blows a fog horn and cuts her off. Shrek          smiles back at her.                                                   SHREK                          (LAUGHS)           I love you too honey!                                                   FIONA           No... No, I said I'm pr-           Shrek the Third - Final Screening Script 26.                                                                                     The Ship Captain starts to blow again. Shrek grabs the horn          and throws it overboard.                                                   SHREK           You're what?!                                                   FIONA           I said I'm pregnant!                                   The Fairy-tale Creatures behind Fiona cheer.                                                   SHREK           (doesn't want to believe                          HIS EARS)           Uh... what was that?                                                   FIONA           You're going to be a father!                                                   SHREK                          (NERVOUS LAUGH)           That's great.                                                   FIONA           Really? I'm glad you think so! I           love you.                                   Shrek smiles back at Fiona.                                                   SHREK           Yeah...                          (NERVOUS LAUGH)           Me too... you...                                   Fiona smiles as the Queen places a hand on her shoulder.                                   Overjoyed at the news, Donkey pops up onto the railing.                                                   DONKEY           I'm gonna be an Uncle. I'm gonna           be an Uncle! I'm gonna be an           Uncle!                                                   PUSS           Oh, and you my friend are royally--                                   The fog horn blasts again as the boat disappears into the          fog.           Shrek the Third - Final Screening Script 27.                                                                                                              EXT. BOAT CABIN - NIGHT                                   The boat travels along in the open sea. Shrek is fast asleep          as the boat travels through an estuary and beaches itself.                                   Shrek wakes up. He opens the cabin door.                                                   SHREK           Ahhh. Home.                                   He smiles to himself. The boat has beached itself right          outside of Shrek's swamp house.                                   He leaps off the boat.                                                   SHREK           Woohoo!                                                            EXT. SWAMP HOUSE - CONTINUOUS                                   Shrek takes a deep breath of swamp air.                                                   SHREK           Ahh.                                   He skips and dances happily toward his house.                                    FIONA (O.S.)           Shrek!?                                                   SHREK           Ooo.                          (LAUGHS)                                                            INT. SWAMP HOUSE - CONTINUOUS                                   He sashays through the front door with his eyes closed,          presenting himself.                                                   SHREK           Fiona!                                   After a moment of silence, he opens his eyes, realizing that          Fiona is not there.                                                   SHREK           Fiona?                                   He looks around the room, puzzled. The door slams closed          behind him.           Shrek the Third - Final Screening Script 28.                                                            A baby carriage rolls slowly into frame behind him. He turns          slowly and sees the baby carriage covered with a blanket.          Shrek removes the blanket, revealing a baby ogre, smiling          innocently at him.                                                   SHREK           Huh? Oh no.                                   The baby burps.                                                   SHREK                          (AMUSED)           Better out than in, I always say.           Ha ha!                                                   OGRE BABY           Hiccup!                                   This time the baby's burp turns into projectile vomit aimed          directly at Shrek. Shrek puts his hand up to block the          vomit, but to no avail. The baby continues to vomit, but          eventually stops after completely soiling himself and Shrek.          The baby looks like it's about to cry. Shrek raises his          hands.                                                   SHREK           No, no, no, no, no, no. Ha, ha.           It's okay. It's gonna be alright.                                   Shrek picks the baby up, smiling at it cautiously. He holds          it awkwardly for a few seconds, then looks up and realizes          that his house is filled with babies.                                                   OGRE BABY           Da-Da!                                   Babies roll around his living room, tearing the fabric off          his chair. The chair reclines, catapulting one of the babies          onto Shrek's head. A standing lamp with a baby on top falls,          and Shrek dives to catch him. Another baby is pulling the          tablecloth, causing lethal knives to fly straight at him.          Shrek snatches the baby away just before he is impaled. One          of the babies strikes a match near the fireplace. Shrek runs          over, picks up the baby and blows out the match. He takes a          baby out of the cauldron.                                                   SHREK           Hey! Hey, hey, wait! Would ya?           No, no. Stop! Hey, hey, hey. No.                                   Shrek panics. A baby is knocking glass jars off the shelf.          Shrek catches him before he crawls off of it. Shrek runs          through the room picking up babies.           Shrek the Third - Final Screening Script 29.                                                                                                              INT. SHREK'S BEDROOM - CONTINUOUS                                   After he has collected as many babies as he can, Shrek slides          open the curtain to his bedroom.                                                   SHREK           Huh?                                   He sees a baby sitting in his bed, smiling up at him. The          baby shrugs.                                                   OGRE BABY           Bubabatoo?                                   Suddenly, Shrek hears a loud rumble. He turns around.          Babies start pouring out of the window and the fireplace.          First there is one, then two, then thirty more follow.          Hundreds of them start piling in.                                   Shrek makes a run for the doorway, but no matter how hard he          runs, the doorway keeps getting farther and farther away! He          keeps trying, hundreds of babies trailing behind.                                                            INT. GRADUATION STAGE - CONTINUOUS                                   Finally, Shrek reaches the door and opens it. He slams it          shut behind him and closes his eyes. Everything is quiet.          He opens his eyes and finds himself on stage in front of his          high school.                                   Shrek looks up to find a graduation cap on his head. The          audience is full of ogre babies laughing at him. The camera          pulls back to reveal Shrek standing at the podium, naked.                                                   CUT TO:                                                            EXT. BOAT DECK - DAWN, CONTINUOUS                                   Shrek's eyes pop open, he sits upright and tries to compose          himself.                                                   SHREK           Ahhhh! Oh, Donkey! Donkey, wake-           up!                                   Donkey and Puss turn around, but they both have baby-ogre          faces! Donkey makes a baby noise. As the camera zooms in,          Donkey's eyes glow red and his teeth become sharp and pointy.           Shrek the Third - Final Screening Script 30.                                                                                                     DONKEY           (with ogre baby head)           Da-da!                                   A fog horn blows. Shrek bolts upright again. Donkey and          Puss wake up.                                                   SHREK           Ahhhh!                                   He breaths heavily, trying to compose himself.                                                   DONKEY           Shrek. Shrek, are you okay?                                                   SHREK           Oh... I can't believe I'm going to           be a father.                                   Donkey and Puss look at each other. He gets up and walks to          the ship's railing.                                                   SHREK           How did this happen?                                                   PUSS           Allow me to explain. You see, when           a man has certain feelings for a           woman, a powerful urge sweeps over           him...                                                   SHREK           I know how it happened. I just           can't believe it.                                   Shrek walks away.                                   Donkey leans over to Puss.                                                   DONKEY           How does it happen?                                   Puss rolls his eyes at Donkey.                                                   CUT TO:                                   Donkey sees Shrek at the back of the boat staring out at the          distant horizon. He walks up next to his friend.                                                   DONKEY                          (SINGING)           And the cat's in the cradle and the           silver spoon,                          (MORE)           Shrek the Third - Final Screening Script 31.                          DONKEY (CONT'D)           Little boy blue and the man in the           moon.                                   Shrek rolls his eyes.                                                   DONKEY (CONT'D)           "When you coming home, son?" "I           don't know when,           But we'll get together then, Dad-"                                   Shrek cuts Donkey off.                                                   SHREK           Donkey, can you just cut to the           part where you're supposed to make           me feel better?                                   Shrek slumps against the rail. Puss hops up on the railing          and whispers into Shrek's other ear.                                                   PUSS           You know I love Fiona, Boss.           Right?                          (CONFIDENTIALLY)           But what I'm talking about here is           you, me, my cousin's boat, an ice-           cold pitcher of mojitos, and two           weeks of nothing but fishing.                                   Puss makes a "let's go fishing" gesture by casting an          imaginary rod into the ocean. Donkey is right there to          whisper in Shrek's other ear.                                                   DONKEY           Man, don't you listen to him.           Having a baby is not going to ruin           your life.                                                   SHREK           It's not my life I'm worried about           ruining. It's the kid's.                                   Donkey and Puss pause as Shrek rants.                                                   SHREK           I mean...when have you ever heard           the phrase "as sweet as an...ogre"           or "as nurturing as...an ogre" Or           how `bout..."you're gonna' love my           dad...he's a real ogre."           Shrek the Third - Final Screening Script 32.                                                                                                     DONKEY           Okay, okay I get it! Nobody said           it was going to be easy. But at           least you got us to help you out.                                                   SHREK           That's true.                                   He thinks for a moment.                                                   SHREK           I'm doomed.                                                   DONKEY           You'll be fine.                                                   SHIP CAPTAIN           You're finished.                                   Everyone turns to look at the Captain who clears his throat.                                                   SHIP CAPTAIN           Uh, with your journey.                                   He points to shore. A majestic castle stands proudly on a          nearby bluff.                                                   CUT TO:                                                            EXT. WORCESTERSHIRE ACADEMY - DAY                                   Shrek, Puss and Donkey stand at the entrance to the castle.                                   Donkey reads the sign hanging over the entrance.                                                   DONKEY           Wor-ces-ter-shireee. Now that           sounds fancy.                                                   SHREK           It's Worcestershire.                                                   DONKEY           Like the sauce!? Mmmm... It's           spicy!                                   The drawbridge to the castle lowers.                                                   DONKEY           Oohh! They must be expecting us.                                   They start over the drawbridge.           Shrek the Third - Final Screening Script 33.                                                                                     A horse whinnies behind them. Shrek, Donkey, and Puss jump          out of the way as a medieval school bus storms by. The kids          on the back of the bus scream when they see Shrek.                                                   DONKEY           What in the shista-shire kind of           place is this?                                   Shrek suddenly looks concerned.                                                   SHREK           Well, my stomach aches and my palms           just got sweaty. Must be a high           school.                                                   DONKEY           High school?!                                                            EXT. SCHOOL GROUNDS - CONTINUOUS                                   A group of cheerleaders practice.                                                   CHEERLEADERS           Ready?! Okay! Where for art thou           headed, to the top? Yeah we think           so, we think so! And dost thou           thinkest thine can be stopped? Nay           we thinks not! We thinks not!                                   Shrek rolls his eyes and continues on, terrifying students as          he walks through the courtyard.                                                   FEMALE STUDENT #1           Ahhhhh!                                   The kid runs away quickly into the student parking lot where          a bunch of different style horse-drawn carriages are parked.          A carriage passes in front of Shrek that reads: "Caution -          Student Driver."                                    DRIVERS ED INSTRUCTOR           All right Mr. Percival, just ease           up on the reigns-                                   The carriage jolts forward and crashes off-screen.                                   Two stoner kids emerge from a medieval-style "VW" carriage.                                                   VAN STUDENT           (cough, cough)           For lo bro, don't burn all my           frankincense and myrrh.           Shrek the Third - Final Screening Script 34.                                                                                                     DONKEY           I'm already starting to feel           nauseous from memories of wedgies           and swirlies!                                                   PUSS           But how did you receive the wedgies           when you are clearly not the wearer           of the underpants?                                                   DONKEY           Let's just say some things are           better left unsaid and leave it at           that.                                   He notices two female students discussing their love lives.                                                   GUINEVERRE           So then I was all like "I'd rather           get the black plague and lock           myself in an iron maiden than go           out with you."                                                   TIFFANY           Eh, totally.                                   Shrek approaches them.                                                   SHREK           Pardon me...                                   They flee in terror.                                                   GUINEVERRE           Eh! Totally ew-th!                                                   TIFFANY           Yeah, totally!                                   A pair of dorky kids play a medieval, role-playing board          game.                                                   GARY           Yes! I just altered my character           level to plus three superbability.                                                   SHREK           Hi, we're looking for someone named-                                                   GARY           Gee, who rolled a plus nine "dork"           spell and summoned the beast and           his quadrupeds.           Shrek the Third - Final Screening Script 35.                                                                                                     XAVIER           Ha! Ha!                          (SNORT)           Ah!                                   The students panics when his nose starts to bleed.                                                   SHREK           I know you're busy "not fitting in"           but can either of you tell me where           I can find Arthur?                                   While Xavier tries to control the bleeding, Gary points          towards the athletic field.                                                   GARY           He's over there.                                                   CUT TO:                                                            EXT. JOUSTING RANGE - CONTINUOUS                                   In the distance, Shrek spots A BOLD KNIGHT atop his steed.          He looks very impressive as he rears up ready to charge.                                   Shrek, Donkey and Puss arrive to see the beginning of the          charge. It's an exciting back and forth.                                   Hooves pound on sand.                                   The Knight's eyes steady.                                   The horse rears majestically.                                   The opponent's eyes widen in fear.                                   The lance hits, and the opponent flies through the air and          lands in front of Shrek, Puss and Donkey.                                   Shrek looks back at the victorious Knight. He removes his          helmet revealing a strong handsome face. The Knight enjoys          his victory.                                                   KNIGHT (LANCELOT)           Ha ha! There is no sweeter taste           on thy tongue than victory!                                                   JOCKS           Oy! Right! Ooo! Ooo! Ooo!                                   Shrek turns to Puss.           Shrek the Third - Final Screening Script 36.                                                                                                     SHREK           Strong, handsome, face of a leader.           Does Arthur look like a King or           what?                                   Shrek steps forward.                                                   TEENAGER (ARTIE)           Ow.                                   Shrek looks down, his foot planted square in the chest of          LANCELOT's opponent. Shrek steps back.                                                   SHREK           Oh. Sorry.                                   The kid doesn't budge, his arms and legs still sprawled out          where he hit the ground.                                                   TEENAGER (ARTIE)           Did you just say you were looking           for Arthur?                                   Shrek, Puss and Donkey turn back around.                                                   PUSS           That information is on a need to           know basis.                                                   DONKEY           It's top secret, hushity hush.                                                   CUT TO:                                                            EXT. JOUSTING RANGE - KNIGHTS AREA                                   The Knight commands his troops.                                                   KNIGHT (LANCELOT)           Now gentlemen let's away... to the           showers!                                                   JOCKS           Oy! Right! Ooo! Ooo!                                   Shrek approaches the Knight.                                   The Knight's horse rears up and he falls off. The horse          gallops off. The Knight looks up at Shrek in fear.           Shrek the Third - Final Screening Script 37.                                                                                                     SHREK (CONT'D)           Greetings your majesty. This is           your lucky day.                                                   KNIGHT (LANCELOT)           So what for like are you supposed           to be? Some kind of giant mutant           leprechaun or something?                                                   SHREK           Oh, ho, ho, ho. Giant mutant           leprechaun... You made a funny.                                   Shrek scoops up the Knight, tosses him over his shoulder,          ogre-style.                                                   KNIGHT (LANCELOT)           Unhand me, monster!                                                   SHREK           Stop squirming, Arthur.                                                   KNIGHT (LANCELOT)           I'm not Arthur!                                   Shrek stops and holds Lancelot above his head. Lancelot          tries to regain his dignity.                                                   LANCELOT           I am Lancelot.                                   Lancelot points across the school yard.                                                   LANCELOT           That dork over there is Arthur!                                   He points to the TEENAGE ARTHUR, skulking away across the          school yard.                                                   SHREK           Hey!                                   Artie turns his head briefly, but keeps on walking.                                   Shrek sighs and dumps Lancelot to the ground.                                                   LANCELOT           Aaah.                                   Shrek storms off towards the school. Puss and Donkey catch          up. One of the female students steps in front of Shrek.           Shrek the Third - Final Screening Script 38.                                                                                                     GUINEVERRE           Ahem! This is like totally           embarrassing, but my friend Tiffany           thinkest thou vex her so soothly...                                   The other girls giggle.                                                   GUINEVERRE           And she thought perchance thou           would wanna ask her to the           Homecoming Dance or something...                                                   SHREK           Uh, excuse me?                                                   GUINEVERRE           It's like whatever. She's just           totally into college guys and           mythical creatures and stuff.                                   She pops her gum.                                                   CUT TO:                                                            INT. HALLWAY - LATER                                   Shrek and Puss search the hallways, looking for Artie.                                                   SHREK           Oh Arthur! Come out, come out           wherever you are...                                   Off-screen we hear mumbling from inside a locker. Shrek and          Puss look as Donkey pushes the locker door open. He has been          stuffed inside. Off-screen we hear some students laughing.                                                   DONKEY           Yeah, you better run, you little           punk no good-niks, `cause the days           of "Little Donkey Dumpy Drawers"           are over!                                   An "I Suck-eth" sign has been taped Donkey's butt.                                   Shrek spots students entering the Gymnasium. They approach a          HALL MONITOR who stops them.                                                   HALL MONITOR                                    Hold it...                                   Two mascot costumed students walk up to the hall monitor.           Shrek the Third - Final Screening Script 39.                                                                                                     COSTUME STUDENT 1           We're here for the Mascot Contest.                                                   COSTUME STUDENT 2           Grrrrr!                                   The Hall Monitor waves them in. Shrek gets an idea.                                                   SHREK           (pleased with himself)           We're here for the Mascot Contest           too.                                   The Hall Monitor reaches out and starts painfully pinching          and pulling Shrek's skin. Shrek tries to hide the pain.                                                   HALL MONITOR                          (SUSPICIOUS)           This is a costume?                                                   SHREK                          (RECOVERING)           Aaaiyyyy... worked on it all night           long!                                   The Hall Monitor lets his face snap back into place. Shrek          struggles not to scream in agony. Hall Monitor is still          suspicious.                                                   HALL MONITOR           Looks pretty real to me.                                                   PUSS           If it were real could I do this?                                   Puss's claws snap out one at a time like jack-knives and then          Puss jabs all the claws deep into Shrek's butt.                                                   DONKEY           Or this?                                   Donkey kicks Shrek hard in the groin with his hind legs.          Shrek winces and sweats.                                                   SHREK                          (UNBELIEVABLY STRAINED)           He's right! If it were real that           would have been agonizingly           painful!                                                   DONKEY           Now watch this....           Shrek the Third - Final Screening Script 40.                                                                                                     SHREK                          (INTERRUPTING; THROUGH                          GRITTED TEETH)           That's quite enough boys.                                                            INT. GYMNASIUM - CONTINUOUS                                   Principal Pynchley presides over an assembly for the entire          student body. He speaks through a megaphone.                                                   PRINCIPAL PYNCHLEY           Thank you to Professor Primbottom           for his invigorating lecture on how           to just say "nay".                                   Two students are standing next to Pynchley. One is dressed          up like a dragon and the other as a griffin.                                                   PRINCIPAL PYNCHLEY           And now, without further ado, let's           give a warm Worcestershire-hoozah           to the winner of our "New Mascot"           contest... the--                                   Shrek bursts through the double-doors of the gym.                                    PRINCIPAL PYNCHLEY (CONT'D)           --ogre?                                   The students gasp as Shrek marches forward.                                                   SHREK           That's right. I'm the new mascot.           So let's really try and beat the           other guys... at whatever it is           they're doing.                                   The band plays Smashmouth's "Rock Star."                                                   PRINCIPAL PYNCHLEY           This is indeed all a bit           unorthodox.                                   Without breaking stride, Shrek grabs Principal Pynchley's          megaphone.                                                   SHREK           Now, where can I find Arthur           Pendragon?           Shrek the Third - Final Screening Script 41.                                                                                     The students all point... to the basketball hoop, where Artie          hangs helplessly. Shrek, Donkey and Puss turn and look up          and see the freshly wedgied student. The students laugh.                                   In the front row, Lancelot bumps fists with Bohort.                                                   LANCELOT           Classic.                                   Donkey turns to Lancelot.                                                   DONKEY           You should be ashamed of yourself.                                                   LANCELOT           I didn't do it. They did.                                   Lance points to the D&D nerds. They are beside themselves          with nasal laughter. Nosebleed boy starts bleeding again.                                   Shrek reaches up and pulls Artie down to eye level.                                                   ARTIE           Please don't eat me.                                                   STUDENTS                          (CHANTING)           Eat him! Eat him!                                   Even Principal Pynchley gets caught up in the excitement.                                                   PRINCIPAL PYNCHLEY           Eat him!          Shrek yanks on Artie and pulls him off the hoop.                                                   SHREK           I'm not here to eat him.                                                   STUDENTS           AWWW.                                                   SHREK           It's time to pack up your           toothbrush and jammies. You're the           new King of Far Far Away.                                                   ARTIE           What?                                   The students react with surprise and disbelief.           Shrek the Third - Final Screening Script 42.                                                                                                     LANCELOT           Artie a King? More like the Mayor           of Loserville.                                                   BOHORT           Nice one Lance!                                   They high five. The tuba player plays a Wha-wha-wha.                                                   LANCELOT           Burn.                                   Everyone laughs.                                                   ARTIE           Is this for real?                                                   SHREK           Absolutely. Now clean out your           locker, kid. You've got a kingdom           to run.                                                   ARTIE           So wait, I'm really the only heir?                                   Shrek pauses for just a moment, then...                                                   SHREK           The one and only.                                                   ARTIE           Give me just a second.                                   Artie turns back to the crowd and delivers a heartfelt          speech.                                                   ARTIE           My good people, I think there's a           lesson here for all of us. Maybe           the next time you're about to dunk           a kid's head in a chamber pot,           you'll stop and think, hey, maybe           this guy has feelings. Maybe I           should cut him some slack. Because           maybe, just maybe... this guy's           gonna turn out to be, uh...I           dunno...a King! And maybe his           first royal decree will be to           banish everyone who ever picked on           him -- that's right, I'm looking at           you, jousting team.                                   Artie points and Lancelot and his buddies look horrified.           Shrek the Third - Final Screening Script 43.                                                                                                     ARTIE           And Gwen... oh Gwen. I've always           loved you.                                                   GUINEVERRE           Ew.                                                   ARTIE           Well good friends, it breaks my           heart, but, enjoy your stay here in           prison while I rule the free world           baby!                                                   SHREK           Alright, let's not overdo it.                                                   ARTIE           I'm building my city people! On           Rock and Roll!                                                   SHREK           You just overdid it.                                   Shrek shoves the kid through the door.                                                   ARTIE           Ow!                                   Shrek, Donkey, and Puss exit the gymnasium.                                                   CUT TO:                                                            INT. LIBRARY - DAY                                   All the Princesses and Fairy-tale Creatures have gathered for          Fiona's baby shower. A group of birds gently place a          flowered wreath on Fiona's head. The Princesses all gaze at          her.                                                   PRINCESSES                          (GASP)           Oh!                                                   SNOW WHITE           Look at you!                                                   RAPUNZEL           Wow!                                                   SNOW WHITE           You look darling!           Shrek the Third - Final Screening Script 44.                                                                                                     SLEEPING BEAUTY           Just precious! Look at her!                                                   RAPUNZEL           So, have you had any cravings since           you've been pregnant?                                   Fiona stands at the buffet table, stuffing her face with          cakes, pies, and anything else she can get her hands on.                                                   FIONA                          (MOUTH FULL)           No, no, not at all.                                   She takes another bite.                                                   FIONA           Do you smell ham?                                                   SNOW WHITE                          (SINGING)           Oooh! It's present time!                                   The birds and forest creatures all flock to Snow White. They          chirp and hoot happily. Snow White looks annoyed.                                                   CINDERELLA           Oh, Fiona, won't you please open           mine first? It's the one in front.                                   Fiona reads the card.                                                   FIONA                          (READING)           "Congratulations on your new mess           maker..." Oh, `mess maker.'                          (LAUGHS)           "Hopefully this helps. Love,           Cinderella."                                   Fiona opens it and pulls out a plastic baggy and pooper-          scooper.                                                   PRINCESSES           Oooo! Aaaah!                                                   DORIS           Will you look at that!                                                   SLEEPING BEAUTY           What is it?           Shrek the Third - Final Screening Script 45.                                                                                                     CINDERELLA           It's for the poopies.                                                   SLEEPING BEAUTY           Eww. Wait, babies poop?                                                   RAPUNZEL           Everyone poops Beauty.                                   The Fairy-tale Creatures get excited.                                                   PIG #2           Fiona...                                                   PIG #1           Fiona! We all chipped in for a           little present too.                                                   PIGS           Yah!                                   Pinocchio spins around, revealing a "Baby-Bjorn" with          Gingerbread Man inside.                                    GINGERBREAD MAN/PINOCCHIO           Ta dah!                                                   PRINCESSES           Oooh.                                                   GINGERBREAD MAN           You know the baby's gonna love it           because I do!                                                   FIONA           Oh, you guys, that's so sweet.           Thank you.                                   Fiona turns to another present.                                                   FIONA           Who's this one from?                                                   SNOW WHITE           I got you the biggest one because I           love you the most.                                   The other girls scowl at her.                                                   FIONA           (reading the card)           "Have one on me, love Snow White"           Shrek the Third - Final Screening Script 46.                                                                                     Fiona pulls the string, opening the box to reveal a dwarf.                                                   FIONA                          (CONFUSED)           Umm... what is it?                                                   SNOW WHITE           Ha, haaa! He's a live-in baby-           sitter.                                                   NANNY DWARF           Where's the baby?                                                   FIONA           You're too kind, Snow, but I can't           accept this.                                                   SNOW WHITE           Think nothing of it. I've got six           more at home.                                                   FIONA           What does he do?                                                   CINDERELLA           The cleaning.                                                   SNOW WHITE           The feeding.                                                   NANNY DWARF           The burping.                                                   FIONA           So what are Shrek and I supposed to           do?                                                   RAPUNZEL           Well, now you'll have plenty of           time to work on your marriage.                                                   FIONA           Gee thanks Rapunzel, and what's           that supposed to mean?                                                   RAPUNZEL           Oh, come on now, Fiona. You know           what happens.                                   Cinderella prods beauty.           Shrek the Third - Final Screening Script 47.                                                                                                     SLEEPING BEAUTY                          (WAKING)           Huh? You're tired all the time...                                                   SNOW WHITE           You'll start letting yourself go...                                                   GINGERBREAD MAN           Stretch marks!                                                   RAPUNZEL           Say goodbye to romance.                                   Dragon puts her head through the window.                                                   DRAGON           Yort.                                                   FIONA           Um sorry... but how many of you           have kids?                                   Doris wedges herself in on the couch.                                                   DORIS           She's right. A baby is only gonna           strengthen the love that Shrek and           Fiona have. How did Shrek react           when you told him? Tell me!                                   Fiona smiles.                                                   FIONA           Well, when he first found           out...Shrek said-                                                   DRAGON           Roarrr!                                                   CUT TO:                                                            EXT. SKY ABOVE FAR FAR AWAY - DAY                                   The Fairy-tale Villains are heading into town on flying          broomsticks. The Evil Trees are hanging underneath some of          the large broomsticks. Prince Charming is riding side saddle          with one of the witches.                                    PRINCE CHARMING (CONT'D)                          (LAUGHING)           Onward my new friends.                          (MORE)           Shrek the Third - Final Screening Script 48.           PRINCE CHARMING (CONT'D)           To our happily ever afters! Ha ha           ha ha ha!                                   A bug flies into his mouth.                                                   PRINCE CHARMING           Gaa! Gulp! Ahhhh!                                   Prince Charming takes the bug out of his mouth.                                                   PRINCE CHARMING           Now, bombs away!                                   From the sky, Prince Charming, Cyclops and the Evil Witches          swoop down in "winged" formation on the broomsticks.                                   The Evil Trees are dropped like bombs. They pull their          branches (i.e. rip cord) to activate their plumage as          parachutes. Prince Charming and his army dive bomb towards          Rodeo Drive.                                                            EXT. RODEO DRIVE - CONTINUOUS                                   A POV shot of an Evil Witch flying over Rodeo Drive. People          are diving out of her way.                                   The Evil Trees land, surrounding the shoppers, who flee in          terror.                                                   EVIL TREES           Ha ha ha ha ha ha!                                   A shadow falls over the child, and he looks up to reveal          Captain Hook and the Headless Horseman on horseback.                                                   CAPTAIN HOOK           Well, well, well. If it isn't           Peter Pan.                                                   MOTHER           His name's not Peter!                                                   CAPTAIN HOOK           Shut it, Wendy!                                                   MOTHER           Ahhh!                                   Evil dwarves chase patrons from the "Ye Olde Booteria" shop.          They replace a few letters on a store window and turn it into          "Ye Olde HOOTERS."                                   The excited patrons race back in.           Shrek the Third - Final Screening Script 49.                                                                                     An Evil Knight scares the patrons of Farbucks away and then          takes a seat to drink the unfinished coffee.                                   Another Villain throws a cart through a store window.          Cyclops rips the stamps off some envelopes, puts the          envelopes back in the mailbox and laughs.                                                   CYCLOPS           Ha, ha, ha, ha!                                   The camera pans up to Prince Charming on the broomstick          flying down Rodeo Drive.                                                   PRINCE CHARMING           Enough pillaging! To the castle!                                   Prince Charming, on the broom, leads the Fairy-tale Villains          up to the castle.                                                   CUT TO:                                                            EXT. CASTLE - CONTINUOUS                                   The Evil Witches surround the castle. Dragon takes down one          of the witches flying by, but more Evil Witches circle her.                                   Fiona runs to the window.                                   The Evil Witches drop a metal net over Dragon. She          struggles.                                                   DRAGON           Roarrrr!                                                   CUT TO:                                                            INT. LIBRARY - CONTINUOUS                                   BANG! The Fairy-tale Creatures run to barricade the door.                                   The Three Pigs and Pinocchio push a dresser and other          furniture in front of the door.                                   The Fairy-tale Creatures are fortifying the room. They brace          themselves against the furniture.                                                   GINGERBREAD MAN                          (TO FIONA)           You go and take care of the baby!                                   The Princesses panic.           Shrek the Third - Final Screening Script 50.                                                                                                     SNOW WHITE           Everybody stay calm. We're all           going to die!                                   Doris slaps Snow White to calm her down.                                                   SNOW WHITE                          (WHIMPER)                                   Fiona rushes to the fireplace and pushes it to one side,          revealing an underground passageway.                                                   FIONA           Everyone in! Now.                                                                                     INT. OUTSIDE LIBRARY DOOR - CONTINUOUS                                   Prince Charming commands the Villains.                                                   PRINCE CHARMING           C'mon. Put some back into it           people!                                   The Villains use an Evil Tree as a battering ram. Cyclops          rides the tree like a mechanical bull.                                                   CYCLOPS           Yee-haw! Ow.                                                            INT. LIBRARY - CONTINUOUS                                   BOOM! The door is starting to give way.                                                   FIONA           We don't have time. Now go!                                                   QUEEN           Quickly ladies!                                   The Princesses go down the stairs.                                                   GINGERBREAD MAN           We'll hold them off as long as we           can!                                   BOOM! There is a loud explosion and the door blows open.          Prince Charming and the Fairy-tale Villains enter. He spots          the Fairy-tale Creatures having a tea party.           Shrek the Third - Final Screening Script 51.                                                                                                     PRINCE CHARMING           Where are Shrek and Fiona?                                                   GINGERBREAD MAN           Name doesn't ring a bell.                                                   PIG #1           Yah!                                                   PIG #2           No bell!                                   The Fairy-tale Creatures go back to drinking their tea.                                                   PRINCE CHARMING           I suggest you freaks cooperate with           the new King of Far Far Away.                                                   GINGERBREAD MAN           The only thing you're ever gonna be           King of is "King of the Stupids."                                   Prince Charming snaps his fingers.                                                   PRINCE CHARMING           Hook!                                                   CAPTAIN HOOK           Right!                                   Captain Hook approaches Gingerbread Man.                                                   CAPTAIN HOOK           Avast, ye cookie!                                   He raises his hook under Gingerbread Man's chin.                                                   CAPTAIN HOOK           Start talkin'!                                   Gingerbread Man tries to hold strong, but passes out.                                   A montage of Gingerbread Man's life flashes before his eyes.                                                            INT. BAKERY - DAY                                   A baker pulls some gingerbread cookies out of the oven. He          puts on the gum drop buttons and Gingerbread Man is born.                                                   MUFFIN MAN           Gingy!           Shrek the Third - Final Screening Script 52.                                                                                                     GINGERBREAD MAN           Papa!                                                            INT. GINGERBREAD CLASSROOM - DAY                                   Gingerbread Man is attending school.                                                   TEACHER           Settle down, now.                                   Gingerbread Man graduates.                                                            EXT. ROAD TRIP - DAY                                   Gingerbread Man is driving in his car with the top down.                                                            INT. MOVIE THEATER - NIGHT                                   Gingerbread Man is making out with his girlfriend at a movie.                                                            EXT. CHURCH - DAY                                   Gingerbread Man and his bride run down the aisle as man and          wife.                                                            INT. FARQUAAD'S CASTLE - DAY                                   Gingerbread Man is locked in a jail. Farquaad pulls off his          legs.                                                            INT. GYM - DAY                                   Gingerbread Man is running on a treadmill, doing his          rehabilitation.                                                            EXT. WHEAT FIELD - DAY                                   Gingerbread Man is running through a wheat field.                                    CUT BACK TO:                                                            INT. LIBRARY - CONTINUOUS                                   Gingerbread Man is still in a dream state singing.           Shrek the Third - Final Screening Script 53.                                                                                                     GINGERBREAD MAN                          (SINGING)           "On the Good Ship Lollypop,           It's a sweet trip,           To the candy shop,           Where the Bon Bons play,           On the sunny beach of Peppermint           Bay.."                                   Prince Charming becomes frustrated, he turns Pinocchio's head          towards him.                                                   PRINCE CHARMING           You! You can't lie. So tell me           puppet... Where is Shrek?!                                   Pinocchio thinks.                                                   PINOCCHIO                          (NERVOUS)           Well, I don't know where he's not.                                   Prince Charming gets in Pinocchio's face.                                                   PRINCE CHARMING           You're telling me you don't know           where Shrek is?                                   Pinocchio is still a little nervous.                                                   PINOCCHIO           It wouldn't be inaccurate to assume           that I couldn't exactly not say           that is or isn't almost partially           incorrect.                                   Pinocchio thinks he has the upper hand.                                                   PRINCE CHARMING           So you do know where he is!                                                   PINOCCHIO           On the contrary, I'm possibly more           or less, not definitely rejecting           the idea, that in no way, with any           amount of uncertainty that...                                                   PRINCE CHARMING           Stop it.                                                   PINOCCHIO (CONT'D)           ...I undeniably do or do not know           where he shouldn't probably be.           Shrek the Third - Final Screening Script 54.                                                                                     Captain Hook scratches his head, even the Three Little Pigs          are frustrated.                                                   PINOCCHIO           If that indeed wasn't where he           isn't. Even if he wasn't not where           I knew he was could mean that I           wouldn't completely not know where           he wasn't.                                   Gingerbread Man continues to sing his "Lollipop Song."                                                   PIG #1           Oh, enough! Shrek went off to           bring back the next heir! Oh!                                   The pig realizes his admission and immediately covers his          mouth. Pinocchio laughs nervously.                                                   PRINCE CHARMING           He's bringing back the next heir?                                                   PINOCCHIO           No!                                   Pinocchio's nose grows.                                                   PRINCE CHARMING           Hook! Get rid of this new "King."                                                   CAPTAIN HOOK           Right!                                                   PRINCE CHARMING           But bring Shrek to me. I have           something special in mind for him.                                                   PINOCCHIO           He'll never fall for your tricks!                                   Pinocchio's nose grows again.                                                   WOLF           Oh boy.                                                   CUT TO:                                                            EXT. BOAT DECK - DUSK                                   The boat cuts through the open sea. Artie smiles as he          watches Worcestershire shrinking away on the horizon.           Shrek the Third - Final Screening Script 55.                                                                                                     ARTIE           I can't believe it... me a King?           I...I mean I knew I came from           royalty and all, but I just figured           everyone forgot about me.                                   He looks out to sea, disbelieving.                                                   SHREK           Oh no, in fact, the King asked for           you personally.                                   Artie smiles.                                                   ARTIE           Really? Wow! Look, I know it's not           all gonna be fun and games.                                                   SHREK           It really is all fun and games,           actually. Sure, you have to knight           a few heroes, launch a ship or two.           By the way, make sure you hit the           boat just right with the bottle.                                                   ARTIE           Boat with the bottle? Any idiot           can hit a boat with a bottle.                                   Shrek chuckles sheepishly.                                                   SHREK           Well, I've heard it's harder than           it looks.                                                   ARTIE           Whoa!! This is gonna be huge.           Parties, princesses, castles...           princesses.                                                   DONKEY           It's gonna be great, Artie. You'll           be living in the lap of luxury.           They got the finest chefs around           waiting for you to place your           order.                                   Puss jumps up onto the railing next to Artie.                                                   PUSS           And fortunately you'll have the           royal food tasters.           Shrek the Third - Final Screening Script 56.                                                                                                     ARTIE                          (INTRIGUED))           Oh yeah? What do they do?                                                   PUSS           They taste the food before the King           eats, to make sure it's not           poisoned.                                                   ARTIE           Poisoned?                                   Shrek senses trouble and immediately steps in.                                                   SHREK           Or too salty!                                   Shrek turns to Puss and Donkey, trying to shut them up.                                                   DONKEY                          (TO ARTIE)           Don't worry about it. You'll be           safe and sound with the help of           your body guards.                                                   ARTIE           Body guards?                                                   PUSS           All of them, willing at a moment's           notice to lay down their own lives           out of devotion to you.                                                   ARTIE           Really?                                                   PUSS           Si, and the whole kingdom will look           to you for wisdom and guidance.                                   Behind Artie, Shrek mouths "shut-up" to Puss and Donkey.                                                   DONKEY           Just make sure they don't die of           famine.                                                   PUSS           Or plague.                                                   DONKEY           Oh, plague is bad.           Shrek the Third - Final Screening Script 57.                                                                                                     PUSS           The coughing, the groaning, the           festering sores.                                   Shrek interrupts with a mock laugh.                                                   SHREK           Oh! Festering sores! Hey, you are           one funny kitty cat.                                                   PUSS           What did I say?                                                   SHREK           We don't want Artie here getting           the wrong idea.                                   Shrek motions to Artie, but he's gone. They all look around.                                                   SHREK (CONT'D)           Uh, Artie?                                   The boat suddenly pitches to the right. Shrek braces          himself. Puss and Donkey tumble away.                                                   ALL           Whoa!                                   Artie swings the wheel around, sending the boat back in the          direction of his school. Shrek works his way into the cabin          and gains control of the wheel. The drunken Ship Captain          slides by.                                                   SHIP CAPTAIN           Whoa! Oh, there goes my hip.                                                   SHREK           Artie!                                   Shrek turns the wheel the other way.                                                   SHREK (CONT'D)           What are you doing?!                                   The boat veers again, heading back toward Far Far Away.          Artie falls to the ground and slides to the back of the boat.                                   A shuffle board stick slides next to Artie. He grabs it.                                                   ARTIE           What does it look like?!                                   He jams it in the boat's wheel. The boat lurches.           Shrek the Third - Final Screening Script 58.                                                                                     He swings the boat back in the other direction. Shrek rises          up and grabs the wheel and turns it.                                                   SHREK           This really isn't up to you!                                   Artie falls underneath the wheel. He stands up shoving the          wheel back the other way.                                                   ARTIE           But I don't know anything about           being King!                                                   SHREK           You'll learn on the job!                                   Donkey and Puss roll across the deck.                                                   DONKEY           Whoaaa!                                   Shrek grabs the wheel and swings it around. Artie yanks the          wheel. They wrestle for control.                                                   ARTIE           Sorry to disappoint you, but I'm           going back!                                                   SHREK           Back to what? Being a loser?!                                   As soon as the word leaves his lips, Shrek knows he's gone          too far. Stung, Artie lets go of the wheel, leaving Shrek to          yank hard on it. He pulls the steering column from the          decking.                                                   SHREK (CONT'D)           Now look what you did!                                                   ARTIE           Look what I did? Who's holding the           wheel chief?                                   Donkey climbs up onto the railing. He is seasick and is          about to puke when he sees jagged rocks ahead.                                                   DONKEY                          (SWALLOWING; THEN                          SHOUTING)           Shrek!                                   Shrek desperately sets the wheel back down and tries to steer          the ship clear of the rocks.           Shrek the Third - Final Screening Script 59.                                                                                     The camera pans past the boat. Off-screen we hear the boat          crash into the rocks.                                    SHIP CAPTAIN (O.S.)           Land ho!                                                            EXT. BEACH - DUSK                                   Shrek, holding Puss and Donkey, staggers onto a small beach.          He glares at Artie who pulls himself out of the surf. Shrek          drops Puss and Donkey.                                   Puss, tired of being wet, shakes himself vigorously. His fur          puffs up into a fro. He drops his head in shame.                                                   PUSS           How humiliating...                                                   SHREK           Oh, nice going, Your Highness.                                                   ARTIE           Oh, so now it's "Your highness?"           What happened to "loser?" Huh?                                                   SHREK           Hey, if you think this is getting           you out of anything, well it isn't.           We're heading back to Far Far Away           one way or another, and you're           gonna be a father!                                   Artie raises an eyebrow. Puss and Donkey stare at Shrek          uncomfortably.                                                   ARTIE           What?                                                   DONKEY           (clearing his throat)           A-hem. You just said father...                                                   SHREK           You're... I said king. You're           gonna be King!                                                   ARTIE                          (IMITATING SHREK)           "You're gonna be King!" Yeah           right.           Shrek the Third - Final Screening Script 60.                                                                                     Artie shakes his head and marches down the beach toward a          path into the woods.                                                   SHREK           Where do you think you're going?                                                   ARTIE           Far Far Away... from you!                                                   SHREK           You get back here young man and I           mean it!                                   Artie keeps climbing.                                                   PUSS           Uh boss, I don't think he's coming           back and maybe it's for the best.           He is not exactly king material.                                   Shrek looks towards Artie.                                                   DONKEY           When were you planning on telling           him that you were really supposed           to be King?                                                   SHREK           Oh c'mon, now why would I do that?           Besides, he'll be ten times better           at it than me.                                   Shrek starts off after Artie. Donkey jumps in front of Shrek.                                                   DONKEY           Hey, woah ho ho, Shrek. Then           you're gonna have to change your           tactics if you want to get anywhere           with this kid.                                   Beat.                                                   SHREK           You're right, Donkey.                                   Shrek picks up a piece of driftwood.                                                   SHREK           What about this?                                   Donkey shakes his head in disgust.           Shrek the Third - Final Screening Script 61.                                                                                                     DONKEY           Shrek!                                   Shrek tosses the log.                                                   SHREK           Oh c'mon. It's just a joke.                          (LAUGHS)           Still...                                   Shrek walks off, trying to catch up to Artie.                                                            EXT. FOREST - MOMENTS LATER                                   Artie marches up the mountain trail.                                   Shrek thinks for a moment and then tries a different tactic          with the kid. He catches up to Artie.                                                   SHREK           Listen Artie...                                   Artie looks back over his shoulder. He sees Shrek and just          keeps going.                                                   SHREK (CONT'D)           If you think this whole mad scene           ain't dope, I feel you dude. I           mean, I'm not trying to get up in           your grill or raise your roof or           whatever, but what I am screaming           is, yo, check out this kazing           thazing bazaby.                                   Puss and Donkey glance at each other. Artie notices a          cottage in the distance and heads toward it.                                                   SHREK           I mean, if it doesn't groove or           what I'm saying ain't straight           trippin', just say, oh no you           didn't, you know, you're gettin' on           my last nerve. And then I'll know           it's... then I'll know it's whack--                                   Passing a tree, Artie nonchalantly releases the branch,          striking Shrek square in the face and takes off running.           Shrek the Third - Final Screening Script 62.                                                                                                              EXT. MERLIN'S CAMP -- CONTINUOUS                                   A boiling soup pot sits over a fire in front of a small          shack. Artie charges though, pounding desperately on the          door.                                                   ARTIE           SOMEBODY HELP! I'VE BEEN KIDNAPPED           BY A MONSTER TRYING TO RELATE TO           ME!                                                   SHREK           Artie! Wait!                                                            Shrek, Puss, and Donkey run into the camp.                                                   ARTIE           C'mon! C'mon! Help! Help!           Hello?                                   Suddenly, a burst of light shoots through a candle box that          is hung on the door. A bright, colorful image of an old          wizard's head is projected out. Donkey is terrified.                                                   DONKEY           AHHHH!                                    WIZARD HEAD (MERLIN)           Greetings cosmic children of the           universe, and welcome to my           serenity circle!                                   Shrek watches.                                    WIZARD HEAD (MERLIN)           Please leave any bad vibes outside           the healing vortex. And now           prepare ...                                   With a "FZZZZT" and a "BLOOP", the image disappears.                                   The door opens and a tiny old man, Merlin, comes out.                                                   MERLIN           I knew I should of gotten that           warranty!                                   Merlin smashes the security device with his little fist and          is promptly zapped in the head.           Shrek the Third - Final Screening Script 63.                                                                                                     MERLIN           AHH! Ow, ow, ow, ow, ow.                                                   ARTIE           Mr. Merlin?                                                   SHREK           You know this guy?                                                   ARTIE           Yeah. He was the school's magic           teacher until he had his nervous           breakdown.                                                   MERLIN           Uh, technically I was merely a           victim of a level three fatigue,           and at the request of my therapist           and the school authorities, I have           retired to the tranquility of           nature to discover my divine           purpose.                                   Merlin smacks a fly that has landed on his head.                                   Shrek and Artie stare in astonishment.                                                                                                     MERLIN           Now, can I interest anyone in a           snack or beverage?                                                   SHREK           Uh, no.                                   Merlin offers up a baking dish full of rocks.                                                   MERLIN           Sure you don't wanna try my famous           rock au-gratin?                                   Merlin takes a bite and chews loudly. His gums are bleeding          from eating rocks.                                                   MERLIN           It's organic!                                   They both stare at him uncomfortably.          Shrek the Third - Final Screening Script 64.                                                                                                     SHREK           Oh, thanks, I just ate a boulder on           the way in. What we need are           directions back to Far Far Away.                                                   ARTIE           What's with the "we"? Who said I           was going with you?                                                   SHREK           Oh, I did. Cause there's a lot of           people counting on you so don't try           and weasel out of it.                                                   ARTIE           If it's such a great job, why don't           you do it?                                                   SHREK           Understand this kid, it's no more           Mr. Nice Guy from here on out!                                                   ARTIE           Oh, so that was your "Mr. Nice           Guy?"                                                   SHREK           I know, and I'm gonna miss him.                                                   ARTIE           You know what? Why don't you go           terrorize a village and leave me           alone?                                                   SHREK           Oh, is that some kind of crack           about ogres? You get your royal           highness to Far Far Away before I           kick it there.                          (TO MERLIN)           Now which way am I kicking?                                                   MERLIN           Oh, I could tell you. But since           you're in the midst of self-           destructive rage spiral it would be           karmic-ly irresponsible.                                                   SHREK           Self-destructive ra...                          (TO MERLIN)           Look, are you gonna help us or not?           Shrek the Third - Final Screening Script 65.                                                                                                     MERLIN           Most definitely, but only after you           take the journey to your soul.                                                   SHREK           Yeah, I don't think so.                                                   MERLIN           Look pal, it's either that or some           primal scream therapy.           Ahhhhhhhhhh!                                   Shrek grabs Merlin's mouth and closes it.                                                   SHREK           Alright, alright... journey to the           soul...                                                   CUT TO:                                                            EXT. MERLIN'S CAMP - LATER                                   A fire blazes.                                   Merlin throws a handful of dirt into the fire, it flares.                                                   MERLIN           Now all of you, look into the "Fire           of Truth" and tell me what you see!           Yah! Ha!           (Wild war cry)           Woo-looo-looo-looo!                                   He points at the smoke and it starts to form objects (i.e.          Rorschach inkblots).                                   Puss and Donkey, excited, sit by the fire.                                                   DONKEY           Ooo! Charades! Okay, I see a           dutch fudge torte with cinnamon           swirls.                                                   MERLIN           Okay. Monster, go for it.                                   Shrek glances at the fire. The stroller from his nightmare          begins to take shape in the smoke. He blows the image away.          He covers his fear and changes the subject.                                                   SHREK           I see a rainbow pony.           Shrek the Third - Final Screening Script 66.                                                                                                     MERLIN           Excellent work!                          (THEN)           Now! The boy!                                                   ARTIE           This is lame.                                   Merlin whacks Artie on the back of the head.                                                   ARTIE           Ow!                                                   MERLIN           You're lame! Now just go for it.                                   He tosses more dirt and flames burst up. Artie studies it.                                                   ARTIE           Okay. There's a baby bird and a           father bird sitting in a nest.                                   Merlin starts beating a drum. Artie's expression starts to          change as he stays focused.                                                   MERLIN           Yes! Stay with it! Stay with it!                                                   ARTIE           Wait, the dad just flew away. Why           did he leave the little bird all           alone?                                   Shrek starts to take this in as he watches. Artie gets more          worked up.                                                   ARTIE           It's trying to fly, but it doesn't           know how to. It.. it's gonna fall!                                   Suddenly, Artie catches what he said. As the smoke drifts          away, he looks and sees everyone else staring back at him,          stunned.                                                   MERLIN           Whew, proper head case you are,           aren't you? Really messed up.           Whoa.                                   Merlin goes back inside. They all stare at Artie.           Shrek the Third - Final Screening Script 67.                                                                                                     ARTIE           Yeah, yeah, okay. I get it. The           bird's me. My dad left. So what?                                                            Donkey gives Shrek a nudge to go over and talk to Artie.          Shrek hesitates and Donkey insists.                                                   SHREK                          (CLEARS THROAT)           Look Artie...um-                                   Just as he's about to get going, "That's What Friends Are          For" starts playing loudly from Merlin's security device          drowning out any conversation. They all turn toward the          shack where Merlin peeks out.                                                   MERLIN           (loud, over the music)           Just thought I might help set the           mood! Y'know for your big heart to           heart chat!                                   Everyone stares at him.                                   He sheepishly turns off the device and shuts the door. It's          quiet again.                                                   SHREK           I know what it's like to not feel           ready for something.                                   Artie looks at him.                                                   SHREK           Even ogres get scared...you know,           once in a while.                                                   ARTIE           I know you want me to be king, but           I can't. I'm not cut out for it and           I never will be, alright?                                   Shrek takes this in.                                                   ARTIE (CONT'D)           Even my own dad knew I wasn't worth           the trouble. He dumped me at that           school the first chance he got and           I never heard from him again.           Shrek the Third - Final Screening Script 68.                                                                                                     SHREK           My dad wasn't really the fatherly           type either.                                                   ARTIE           Well, I doubt he was worse than           mine.                                                   SHREK           Oh yeah? My father was an ogre.           He tried to eat me.                                   Artie looks at Shrek.                                                   SHREK           Now, I guess I should have seen it           coming. He used to give me a bath           in barbecue sauce and put me to bed           with an apple in my mouth.                                   Artie chuckles at this.                                                   ARTIE           Okay... I guess that's... pretty           bad.                                   Artie laughs and then pokes at the fire.                                                   SHREK           You know, it may be hard to believe           what with my obvious charm and good           looks, but people used to think           that I was a monster. And for a           long time, I believed them.                                   Artie looks up at Shrek.                                                   SHREK (CONT'D)           But after awhile, you learn to           ignore the names that people call           you and you just trust who you are.                                   Artie gently pokes at the embers with a stick for a moment.                                                   ARTIE           You know, you're okay, Shrek.                                   He tosses the stick into the fire.                                                   ARTIE           You just need to do a little less           yelling and use a little more soap.           Shrek the Third - Final Screening Script 69.                                                                                                     SHREK           Thanks Artie.                                                   ARTIE           The soap's because you stink.           Really bad.                                                   SHREK           Yeah. I got that.                                   The camera slowly booms up and away from the group as the          fire continues to burn.                                                   CUT TO:                                                            INT. SEWER CATACOMBS - CONTINUOUS                                   The Princesses, Fiona and the Queen are surrounded by          darkness as they tiptoe down the steps and into the catacombs          below the castle.                                   They round a corner and step onto a ledge with Fiona leading          the way, holding a torch.                                                   CINDERELLA           Oh this place is filthy. I feel           like a hobo.                                   Fiona tries to keep her frustration in check.                                                   SNOW WHITE           I'm sorry but this just isn't           working for me.                                   Sleeping Beauty, still being carried by Doris, wakes up.                                                   SLEEPING BEAUTY           Everything's always about you,           isn't it? It's not like your           attitude is helping, Snow.                                                   SNOW WHITE           Well maybe it just bothers you that           I was voted fairest in the land.                                                   RAPUNZEL           You mean in that rigged election?                                                   SNOW WHITE           Oh, give me a break.           (gesturing toward hair)                          (MORE)           Shrek the Third - Final Screening Script 70.           SNOW WHITE (cont'd)           "Rapunzel, Rapunzel, let down thy           golden extensions!"                                                   QUEEN           Ladies, let go of your petty           complaints and let's work together.                                   Snow White and Rapunzel share an indignant look.                                   Fiona travels deeper into the catacombs. The other          Princesses follow.                                                   SNOW WHITE           So I guess the plan is we just           wander aimlessly in this stink hole           until we rot.                                                   FIONA           No, we're gonna get inside and find           out what Charming's up to.                                                   DORIS           I know he's a jerk and everything,           but I gotta admit, that Charming           makes me hotter than July.                                                   SLEEPING BEAUTY           Ew!                                                   RAPUNZEL           Ugh.                                   Finally, Fiona spots what she was looking for.                                                   FIONA           That's it!                                   Fiona, the Queen and the Princesses run towards a long ladder          and climb up through a grate into the main castle courtyard.                                                            EXT. CASTLE GROUNDS - CONTINUOUS                                   They peer around a corner and see the construction of an          outdoor theater is underway. Two stagehands walk by carrying          a large dragon set piece. Evil dwarves are busy painting the          set. The finishing touches are put on the stage tower.                                   The Princesses hug the wall as a group of guards march by.                                   Rapunzel takes off in the other direction, and signals the          Princesses to follow her.           Shrek the Third - Final Screening Script 71.                                                                                                     RAPUNZEL           Come on, this way!                                                   FIONA           Rapunzel. Wait!                                   Fiona and the Princesses race after Rapunzel. They spot her          sprinting into the castle and follow her. They burst through          the doors and see Prince Charming holding Rapunzel by the          arm.                                                   FIONA           Charming, let go of her.                                   A large group of armed Far Far Away Guards surround them.                                   Prince Charming smiles at Fiona.                                                   PRINCE CHARMING           But why would I want to do that?                                                   RAPUNZEL           Grrrr!                                                   PRINCE CHARMING           Woof!                                   He looks back at Rapunzel lovingly, and the two share a long          kiss. Fiona and the other Princesses are shocked.                                                   FIONA           What?                                                   PRINCE CHARMING           Say hello ladies, to the new Queen           of Far Far Away.                                   Cinderella claps excitedly.                                                   CINDERELLA           Yaaaaaaaaay!                                   The Princesses stare her down.                                                   FIONA           Rapunzel, how could you?                                                   RAPUNZEL           Jealous much?                                   Prince Charming eyes up the Princesses.           Shrek the Third - Final Screening Script 72.                                                                                                     PRINCE CHARMING           Soon you'll be back where you           started... scrubbing floors or           locked away in towers; that is, if           I let you last the week.                                                   RAPUNZEL           But Pooky, you promised you           wouldn't hurt them!                                                   PRINCE CHARMING           Not here, "kitten whiskers." Daddy           will discuss it later. Now forgive           us, we have a show to put on.                                                   FIONA           Shrek will be back soon Charming,           and you'll be sorry.                                   He stops and flashes a sadistic smile.                                                   PRINCE CHARMING           Sorry? Don't you realize --once           Shrek sets foot in Far Far Away           he's doomed?                                   Prince Charming leads Rapunzel out. She looks back at them          apologetically. Everyone wears a look of defeat.                                   The guards march them off.                                   Fiona and the princesses are locked away in a prison cell.          Fiona looks through the bars of the cell, feeling helpless.                                                   CUT TO:                                                            EXT. WOODS OUTSIDE OF FAR FAR AWAY - DAY                                   Shrek startles awake. He sits up and scratches his head,          looking around. He realizes it's morning.                                   Behind him a peaceful bird lands on a tree branch. Suddenly,          the tree branch that was holding the bird flicks it off.                                   Shrek senses the movement behind him and turns around to find          everything is normal. He turns back around to wake up          everyone.                                   The trees start to advance toward Shrek.                                   The log Artie is sleeping on suddenly sits up, knocking          Artie, who is still asleep, to the ground.           Shrek the Third - Final Screening Script 73.                                                                                                     ARTIE           Ow!                                   The tree turns around to reveal an Evil Tree. Donkey finally          wakes up.                                                   DONKEY           Ahhh!                                   The Evil Trees continue to advance. A piano is heard. The          trees part and Hook is revealed to be playing the piano.                                   The music builds to a dramatic finale. Captain Hook turns          away from his keys and faces them.                                                   DONKEY           Look out! They've got a piano!                                                   CAPTAIN HOOK           Kill `em all. Except the fat one.                                   He stares hard at Shrek and aims his hooked prosthetic.                                                   CAPTAIN HOOK           King Charming has something special           in mind for you, ogre.                                   Shrek is perplexed.                                                   SHREK           "King Charming?"                                                   CAPTAIN HOOK           Attack!                                   Pirates charge forward, swinging in from the tree branches.                                                   PIRATES           AAAARGH!                                   One lands and gets his peg-leg stuck in the ground.                                   The pirates close in. Shrek grabs one and throws him to the          side.                                   One pirate raises his sword and prepares to swing at Artie.                                                   SHREK           Artie, Duck!                                   Shrek pushes Artie's head down and the sword narrowly misses          him. The pirate prepares to swing again and Shrek lifts          Artie above his head.           Shrek the Third - Final Screening Script 74.                                                            Still in the air, Artie uses both legs to kick the pirate to          the ground. Shrek and Artie share a satisfied look.                                   A pirate charges Donkey.                                                   DONKEY           Ahhh!                                   Puss draws his sword and begins fighting off the pirate,          protecting Donkey.                                                   CAPTAIN HOOK           Ha-ha! Argh!                                                   PIRATES           Argh! Argh!                                   The camera pans across the back of the piano to reveal Merlin          happily playing along with Captain Hook. He notices and          rudely elbows Merlin out of the way.                                   A pirate runs at Shrek, only to be tripped by Artie. The          pirate bounces off Shrek's belly.                                                   CAPTAIN HOOK           Ready the plank!                                   A wooden board is thrown on a stump, creating a makeshift          "plank." The pirates back Shrek onto the plank.                                   Several pirates with swords force Shrek onto the plank. He          is backed up to the edge of the plank and falls into a          waiting treasure chest below. Several pirates try to shut the          lid on him.                                   Puss, Donkey and Artie are trying to hold off the Villains.          Suddenly, two Evil Trees come into frame and scoop Puss,          Donkey and Artie up in a net.                                   The pirates aim the cannon at Puss, Donkey and Artie. Artie          starts to panic. Puss extracts his claws and tries to cut          through the netting.                                   The cannon fuse is lit.                                   Shrek bursts open the treasure chest and stands up with the          chest still stuck to his behind.                                                   DONKEY           Shrek!                                                   ARTIE           Help!           Shrek the Third - Final Screening Script 75.                                                                                     Shrek sees the lit fuse and quickly formulates a plan. He          grabs two pirates and shoves them into the treasure chest.          He tosses the chest onto the other end of the plank and          catapults himself over to the cannon. At the last second,          Shrek is able to aim the cannon in the opposite direction.          The cannon fires and hits Captain Hook's piano, blowing it          into pieces.                                   Realizing their defeat, the Evil Trees drop the netting that          holds Donkey, Puss and Artie. The Evil Trees and Pirates          take off running.                                   Captain Hook turns and sees his army running off. He shakes          his hook in the air.                                                   CAPTAIN HOOK           Ya cowards!                                                   SHREK           What has Charming done with Fiona?                                                   CAPTAIN HOOK           She's gonna get what's coming to           her.                                   He raises his hook threateningly but it gets caught on an          Evil Tree's branch and is dragged away with the rest of the          Villains.                                                   CAPTAIN HOOK           Ahhh.                          (YELLING BACK)           And there ain't nothing you can do           to stop him!                                   TIGHT ON SHREK, filled with worry. Nothing else matters to          him now.                                   Artie, Puss, and Donkey run over to Shrek.                                                   PUSS           We've got to save her!                                                   DONKEY           But she's so far far away!                                   Shrek thinks for a moment.                                                   SHREK           Get yourself back to           Worcestershire, kid.           Shrek the Third - Final Screening Script 76.                                                                                                     ARTIE           No, Shrek. Hold on a second. I've           got an idea.                                                            EXT. MERLIN'S CAMP - CONTINUOUS                                   Merlin is sitting cross-legged, deep in meditation. Artie          approaches him.                                                   MERLIN                          (CHANTING)           I'm a buzzing bee, buzz, buzz,           buzz...                                                   ARTIE           Mr. Merlin, they need a spell to           get them...I mean, us, back to Far           Far Away.                                   Merlin stops meditating and looks out of the corner of his          eye at Artie.                                                   MERLIN                          (GETTING UP)           Forget it. I don't have that kind           of magic in me anymore, kid. How           about a hug instead? Hmm? That's           the best kind of magic.                                   Artie tries a new approach.                                                   ARTIE           Mr. Merlin please. I know you can                          DO IT-                                                   MERLIN           I said, forget it!                                                   ARTIE                          BUT-                                   Merlin turns and starts to walk away muttering under his          breath.                                                   MERLIN (CONT'D)           Mumble, grumble, interrupt my           healing. Mumble, mumble.                                   Artie thinks for a moment, staring at Merlin. Artie starts          to sob. Merlin stops and turns around.           Shrek the Third - Final Screening Script 77.                                                                                                     MERLIN           Oh. What, what's with you?                                   Artie continues to cry.                                                   ARTIE           It's just so hard. You know? They           really need to get back `cause           their kingdom's in trouble `cause           there's a really bad man and it's           just so hard...                                   Merlin is visibly uncomfortable.                                                   MERLIN           C'mon, take it easy.                                   Artie's blubbering becomes frustrated and unpredictable.                                                   ARTIE           No! I don't think you understand!           There's a mean person doing mean           things to good people-                                                   SHREK           Oh, have a heart old man!                                   Artie grabs him, now desperate.                                                   ARTIE           And they really need your help to           get them back! So why won't you           help them?                                                   MERLIN           Oh.                                   Artie speaks one last, indecipherable line.                                   Merlin is stunned. He doesn't know what to do.                                                   MERLIN           Uh, Okay... I'll go and get my           things.                                   Merlin goes into his cave. Artie immediately recovers.          Shrek is impressed.                                                   ARTIE           Piece of cake.           Shrek the Third - Final Screening Script 78.                                                                                                     SHREK           Well, well, well. You want some           eggs with that ham?                                   Shrek smiles.                                   Merlin returns holding a spell book.                                                   MERLIN           Now, I am a little rusty, so there           could be some side effects.                                                   DONKEY           Side effects!?                                                   MERLIN           Don't worry, whatever it is, no           matter how excruciatingly painful           it may be, it'll wear off           eventually... I think.                                   Merlin cracks his knuckles. A bolt of lighting shoots out          his hands and blows up a rock next to Donkey.                                                   DONKEY           Ah!                                                   MERLIN           Oops.                                   Donkey and Puss shoot Shrek a pleading look.                                                   DONKEY           Are you sure this is a good idea?                                                   SHREK           Look, if Artie trusts him, that's           good enough for me. Even if his           robe doesn't quite cover his-                                                   MERLIN           Alacraticious expeditious, a zoomy           zoom zoom. Let's help our friends           get back, um... soon!                                   Magic rays shoot out of Merlin's fingers. Shrek, Puss,          Donkey and Artie disappear in a puff of smoke.                                                   MERLIN           Woah! It worked!                                                   CUT TO:           Shrek the Third - Final Screening Script 79.                                                                                                              EXT. SOMEWHERE IN THE WOODS - CONTINUOUS                                   They reappear and fall out of the sky and bounce through the          canopy of a large apple tree. They ping-pong through the          foliage and land in a heap at the base of the tree.                                                   DONKEY           (moan and groan)                                   Donkey adjusts himself, feeling hung over.                                                   DONKEY (CONT'D)           (in Puss' body)           Oh man, I haven't been on a trip           like that since college.                                                   SHREK           Donkey?                                                   DONKEY           (in Puss' body)           What? Is there something in my           teeth?                                   Donkey's eyes widen. He realizes his voice is coming out of          Puss' body.                                                   DONKEY           (in Puss' body)           Huh? What the?                          (GASP)           Oh no!                                   Donkey (in Puss' body) grabs Puss' hat. He looks down at          Puss' boots. His tail begins to twitch.                                                   DONKEY           (in Puss' body)           I've been abracadabra'd into a           fancy feasting second rate           sidekick.                                   Puss (in Donkey's body) falls from a tree next to Donkey (in          Puss' body).                                                   PUSS           (in Donkey's body)           At least you don't look like some           kind of bloated roadside piÒata.           You really should think about going           on a diet!           Shrek the Third - Final Screening Script 80.                                                                                                     DONKEY           (in Puss' body)           Yeah, and you should think about           getting yourself a pair of pants!           I feel all exposed and nasty.                                   Both Shrek and Artie stare at them. A strained smile pasted          to their faces. They burst out laughing.                                   Donkey joins Puss, both of them scowling.                                                   DONKEY           (in Puss' body)           Oh, so you two think this is funny?                                   Puss is fuming.                                   Shrek and Artie regain their composure.                                                   ARTIE                          (SNICKERS)           I'm really sorry guys.                                                   SHREK           Don't be! You got us back kid.                                   Shrek motions to Far Far Away, just a few miles ahead of          them. He turns back to Artie.                                   Artie smiles.                                   Donkey takes a few awkward steps in Puss' body.                                                   DONKEY           (in Puss' body)           Ow, ow, ow, ow, ow. How in the           Hans Christian Andersen am I           supposed to parade around in these           goofy boots?                                                   PUSS           Be very careful with those - HEE           HAW!                                   Puss is shocked by this. He tries to recover.                                                   PUSS           They were made in Madrid by the           finest- HEE HAW!           Shrek the Third - Final Screening Script 81.                                                                                                     DONKEY           (in Puss' body)           Oh, you'll learn to control that.                                    TIME CUT TO:                                                            EXT. ENTRANCE TO FAR FAR AWAY - AFTERNOON                                   Shrek, Puss (in Donkey's body), and Artie rush past a welcome          sign to the town that has been boarded over so it now reads          "Go Go Away."                                   Donkey (in Puss' body) struggles to walk. His tender new          feet hurt in their tiny boots.                                                   DONKEY           Seriously man, you need some           comfort inserts or arch supports or           something.           (noticing Rodeo Drive)           Woah!                                   Inside the kingdom, Rodeo Drive is trashed. There is graffiti          everywhere.                                   Suddenly a carriage driven by Evil Witches comes zooming down          Rodeo Drive.                                                   EVIL WITCHES           Woohoo!!                                   The carriage zips around a corner on two wheels. A drunken          Evil Dwarf is almost hit by the carriage while crossing the          street.                                   Shrek is shocked by what he sees.                                   A crash is heard off-screen.                                                   EVIL DWARF #1           Hey... watch it I'm walking here...           and I'm gonna keep going...                                   A large explosion is heard off-screen while Little Red Riding          Hood pick pockets the Evil Dwarf.                                   A carriage wheel on fire rolls by a marionette theatre with          Pinocchio dancing in it.                                                   SHREK           Pinocchio?           Shrek the Third - Final Screening Script 82.                                                                                                     PINOCCHIO           Shrek!                                   Shrek and the rest rush over as the curtain starts to go down          on Pinocchio. He presses his puppet hands against the glass.                                                   SHREK           Pinocchio!                                                   PINOCCHIO           Help me!                                                   SHREK           What's happened?                                                   PINOCCHIO           Charming and the Villains have           taken over everything! They           attacked us but Fiona and the           Princesses got away. And now she's-                          -                                   The time has run out. The cheesy music stops as the curtain          goes down.                                                   SHREK           She's what?! She's what!?                                   Shrek looks at the marionette theatre and sees how much it          costs per show.                                                   SHREK           (turns to Puss in Donkey's                          BODY)           Puss, loan me five bucks!                                                   DONKEY           C'mon Puss, you heard the man, help           a brother out.                                                   PUSS           (in Donkey's body)           Do you see any pockets on me?                                                   DONKEY           (in Puss' body)           Hold on a second.                                   Donkey (in Puss' body) removes his boot, he turns it over and          a bag of money falls onto the ground.           Shrek the Third - Final Screening Script 83.                                                                                                     DONKEY           (in Puss' body)           Aha!                                   Donkey (in Puss' body) tosses the money to Shrek.                                                   PUSS           (in Donkey's body)           I had no idea ...really ...I swear.                                   Shrek quickly dumps the change into the machine. The music          starts and the curtain goes up again and Pinocchio dances.                                                   SHREK           Quick, Pinocchio. Where is Fiona?                                                   PINOCCHIO           Charming's got her locked away some           place secret. You gotta find him!           He's probably getting ready for the                          SHOWWWW---                                   The curtain goes down again.                                                   SHREK           Wait, wait, wait! Pinocchio! What           show?                                   Pinocchio's hand comes out from under the curtain and points          to a poster on the wall. Puss reads the poster out loud.                                                   PUSS           (reading the poster)           It's A Happily Ever After, After           All!                                                   SHREK           Shrek's final performance.                                   The picture shows Charming, sword raised in the air, with his          foot pinning Shrek, tongue sticking out of his mouth, to the          ground.                                                   DONKEY           (in Puss' body)           Whoa, Shrek! You didn't tell us           you were in a play.                                                   SHREK           Well I guess I've been so busy I           forgot to mention it!           Shrek the Third - Final Screening Script 84.                                                                                      GUARD #1 (O.S.)           It's the ogre! Get him!                                   Shrek turns and sees a large group of Charming's royal          knights, armed and ready. They drive them back into the          alley. Puss (in Donkey's body) steps forward.                                                   PUSS           (in Donkey's body)           Don't worry, Jefe. I got this.                                   He whips his head towards the oncoming guards. His eyes are          large and sweet. His lips pout. The guards are momentarily          hypnotized by his cuteness, until they realize they're          staring at a donkey.                                   The guards recoil.                                                   GUARD #2           Ugh! Kill it!                                   Puss (in Donkey's body) immediately retreats.                                   Artie glances at the theater poster on the wall and steps          forward, confronting the guards.                                                   ARTIE           Look, don't you know who he thinks           he is? How dare you?                                   Shrek picks up on his plan.                                                   SHREK           Donkey, we're dealing with           amateurs.                                   The guards are confused. Artie tears the poster off the          wall. Shrek glances at Artie, who steps forward, yanking the          poster off the wall.                                                   ARTIE           He's a star people! Hello?! I'm so           sorry about this Mr. Shrek.                                                   SHREK           I'm gonna lose it!                                                   ARTIE           I assume you have everything ready           for tonight! You did get the list           for the dressing room?                                   Donkey marches in.           Shrek the Third - Final Screening Script 85.                                                                                                     DONKEY           (in Puss' body)           Yeah, the breakfast croissants           stuffed with seared sashimi tuna.           Oh, and please tell me you at least           have the saffron corn with the           jalapeno honey butter cause our           client cannot get into his proper           emotional state without his           jalapeno honey butter.                                                   SHREK           I just lost it!                                                   GUARD #1           Uh...Maybe they should talk to           Nancy in Human Resources.                                   Shrek pushes the guards aside and continues on towards the          castle.                                                   PUSS           (in Donkey's body)           Oh, we'll have much to say to           Nancy, I promise!                                   The guards look at each other nervously.                                                   CUT TO:                                                            INT. COURTYARD STAGE - DAY                                   A group of enchanted trees work on through their dance          number.                                   Two dwarfs on bungee chords helplessly swing back and forth          in the rear of the stage.                                   The camera lands on Prince Charming reading his lines next to          a Shrek stand in.                                                   PRINCE CHARMING           (reading his lines from a                          SCRIPT)           With this sword, I do- No.                                   He starts the line over.                                                   PRINCE CHARMING           With this sword, I do smote thee!           Shrek the Third - Final Screening Script 86.                                                                                     Without looking, Prince Charming stabs the stand in, who          falls to the ground.                                                   PRINCE CHARMING                          (TO HIMSELF) )           Is that the right word? "Smote?"           "Smooote." Is that even a word           actually? Maybe I should just           smite him.                                   Unseen stage hands drag the stand-in away.                                                   PRINCE CHARMING           Let's try this again. Now...                                                            Stagehands shove another stand in onto the stage beside          Prince Charming.                                                   PRINCE CHARMING           (playing the scene out                          QUIETLY)           Shrek attacks me, I pretend to be           afraid.           (he fake screams)           Ooh!!!                                   Prince Charming does a quick mime of being afraid and          chuckles.                                                   PRINCE CHARMING           I say...           (he riffles through pages)           "Finally the Kingdom will get the           happily ever after they deserve,           die Ogre", blah, blah, blah...                                   Without looking he stabs stand in #2. He falls to the ground.          Prince Charming is still frustrated.                                                   PRINCE CHARMING           Oh! It just doesn't feel real           enough yet!                                   He throws the sword to the ground and turns toward the          dancing villains who are staring at him.                                                   PRINCE CHARMING           Who told you to stop dancing?!                                                   CYCLOPS           Uh... Wink and turn, wink and turn.           Shrek the Third - Final Screening Script 87.                                                                                     He throws the script on the ground and notices the stand-in.                                                   PRINCE CHARMING           And what are you laying around for?           Get up! Honestly.                                   Prince Charming storms off.                                                   CUT TO:                                                            INT. CHARMING'S DRESSING ROOM -- MOMENTS LATER                                   Prince Charming storms into his colossal gold leafed dressing          room, its walls covered with posters of inspirational sayings          and portraits of Prince Charming in different acting roles.                                   Slamming the door, he plops down in his throne chair in front          of a dressing table and large 3-way mirror. A statuette of          his mother is on the vanity. He looks at it intently.                                                   PRINCE CHARMING           Our happily ever after is nearly           complete, mummy. And I assure you,           the people of this kingdom will pay           dearly for every second we've had           to wait.                                                                                     Charming adjusts the mirror, revealing a reflection of Shrek          standing in the doorway. Artie, Puss and Donkey stand along          side him.                                   Prince Charming quickly stands up and faces Shrek.                                                   SHREK           Break a leg. Or, on second           thought, let me break it for you.                                   He walks across the room as Prince Charming backs against his          dressing table.                                   Prince Charming fumbles behind his back and pushes a button          under the counter.                                                   PRINCE CHARMING           Thank goodness you're here. I was           beginning to think you might not           make it back in... time.                                   Shrek picks him up by the front of his shirt and scowls.           Shrek the Third - Final Screening Script 88.                                                                                                     SHREK           Where's Fiona?                                                   PRINCE CHARMING           Don't worry. She and the others           are safe. For now.                                   Shrek strengthens his grip.                                   Suddenly, a group of guards burst into the room and quickly          surround Shrek, Artie, Puss and Donkey.                                                   ARTIE           Ow.                                   Prince Charming smiles.                                   Shrek looks around and realizes he's beat. He drops Charming          with a thud.                                   Prince Charming brushes himself off as the guards surround          Shrek.                                   Prince Charming walks over to Artie. A smile grows across          his face.                                                   PRINCE CHARMING           Let me guess... Arthur?                                   Artie looks indignant. He raises himself up.                                                   ARTIE           It's Artie, actually.                                                   PRINCE CHARMING           This boy is supposed to be the new           King of Far Far Away?                                   Laughing, Prince Charming draws his sword and holds it up to          Artie's neck.                                                   PRINCE CHARMING           How pathetic! Now, stand still so I           won't make a mess.                                   Shrek steps in.                                                   SHREK           Charming, stop! I'm here now, you           got what you wanted. This isn't           about him.                                   Artie is confused.           Shrek the Third - Final Screening Script 89.                                                                                                     ARTIE           Then who's it about? I'm supposed           to be King, right?                                   Shrek hesitates and then gathers himself.                                                   SHREK           You weren't really next in line for           the throne, okay? I was.                                                   ARTIE           But you said the King asked for me           personally.                                                   SHREK           Not exactly.                                                   ARTIE           What's that supposed to mean?                                                            Shrek becomes defensive.                                                   SHREK           Look, I said whatever I had to say,           alright! I wasn't right for the           job, I just needed some fool to           replace me, and you fit the bill.           So just go!                                   Artie is stunned.                                                   ARTIE           You were playing me the whole time.                                   Shrek fights back tears as he punishes Artie more.                                                   SHREK           You catch on real fast kid... Maybe           you're not as big of a loser as I           thought.                                   Puss (in Donkey's body) is about to interject when Donkey (in          Puss' body) covers his mouth and signals him to stay quiet.                                                   ARTIE           You know, for a minute there, I           actually thought you -                                                   PRINCE CHARMING           What? That he cared about you? He's           an ogre. What did you expect?           Shrek the Third - Final Screening Script 90.                                                                                     Prince Charming signals the guards to release Artie. He          stares at Shrek one last time and heads out.                                   Shrek lowers his head in shame.                                                   PRINCE CHARMING           You really do have a way with           children, Shrek.                                   Prince Charming smiles and the guards lead Shrek off.                                                            INT. HALLWAY OUTSIDE CHARMING'S DRESSING ROOM:                                   Shrek is led by the guards down the hallway.                                                            EXT. CASTLE GATE:                                   The scene cross-dissolves to Artie's back as he walks away          from the castle. He gives one last look back, and angrily          storms away.                                                            INT. DUNGEON:                                   Shrek's ankles and wrists are shackled. Shrek pulls on his          chains. He sadly looks out the cell window.                                                            INT. PRISON:                                   The scene cross-disolves to another prison window. Fiona          comes to the window of her prison cell. She stares          sorrowfully at the castle in the distance.                                                            INT. FAR FAR AWAY PRISON CELL - DAY                                   All of the Princesses, the Queen and Fiona are locked up in          the same prison cell.                                   Cinderella is frantically scrubbing a spot on the floor to a          shine.                                   Fiona looks out the cell window towards the castle in the          distance. Behind her, Snow White paces around, complaining.                                                   SNOW WHITE           Had we just stayed put like I           suggested, we could be sipping tea           out of little heart-shaped cups...           Shrek the Third - Final Screening Script 91.                                                                                                     CINDERELLA           Yeah... yeah, heart shaped cups.                                                   SNOW WHITE           Eating crumpets smothered with           loganberries.                                                   CINDERELLA           Yeah... loganberries.                                                   SNOW WHITE           Shut up Cindy.                                                   CINDERELLA           Yeah, shut up.                                   Cinderella looks down at her reflection in the floor.                                                   CINDERELLA (REFLECTION)           No! You shut up!                                                   CINDERELLA           Just stay out of this!                                                   SNOW WHITE           Who cares who's running the kingdom           anyway?                                                   FIONA           I care.                                   Fiona steps forward and challenges them.                                                   QUEEN           And you should all care too.                                   Suddenly, the cell door flies open. Donkey and Puss (in each          other's bodies) are tossed in as the door is slammed behind          them.                                                   PUSS           (in Donkey's body)           Hey, hey, hey, hey.                                                   DONKEY           (in Puss' body)           Yeah, and I have your badge number,                          "TIN CAN-"                                   Puss, in Donkey's body, hisses and arches his back like a          cat.          Shrek the Third - Final Screening Script 92.                                                                                      FIONA (O.S.)           Donkey?!                                                   DONKEY           (in Puss' body)           Princess?!                                                   FIONA           Puss?!                                                   PUSS           (in Donkey's body)           Lo siento, Princessa, but I am           Puss, stuck here inside this           hideous body.                                                   DONKEY           (in Puss' body)           And I'm me!                                                   FIONA                          BUT YOU'RE-                                                   DONKEY           (in Puss' body)           I know, I know. Everything's a           little fruity in the loops right           now. But what happened is, we went           to high school, the boat crashed,           and we got "bippity-bopity-booped"           by the "Magic Man."                                                   DORIS           You poor sweet things.                                                   CINDERELLA           I don't get it.                                                   SNOW WHITE           The cat turned into a little horse           that smells like feet. What's to           get?                                                   SLEEPING BEAUTY                          (WAKING UP)           Huh? Who dat?                                                   FIONA           Where's Shrek?           Shrek the Third - Final Screening Script 93.                                                                                                     DONKEY           Charming's got him, Princess. And           he plans on killing Shrek tonight           in front of the whole kingdom.                                   Fiona's lets out a breath.                                                   FIONA           Alright everyone, we need to find a           way out, now.                                   The Princesses nod in agreement.                                                   SNOW WHITE           You're right.           (to the other Princesses)           Ladies, assume the position!                                   Sleeping Beauty falls asleep standing up. Snow White quickly          assumes her position by lying down and puckering her lips.          Cinderella dusts off a spot, sits down and crosses her legs.                                                   FIONA           What are you doing?                                                   SLEEPING BEAUTY           Waiting to be rescued.                                                   FIONA           You have got to be kidding me.                                                   SNOW WHITE           Well, what do you expect us to do?           We're just four...                          (NOTICES DORIS)           I mean, three, super hot           princesses, two circus freaks, a           pregnant ogre and an old lady.                                   The Queen smiles and then casually walks by the Princesses.                                                   QUEEN           Hmmm. Excuse me. Old lady coming           through.                                   She walks right up to the brick wall, takes a deep breath and          lets out a yell.                                                   QUEEN           Hiiiyyyiiiaaaah!                                   She head-butts a hole right through the brick wall. Fiona          and the Princesses are impressed.           Shrek the Third - Final Screening Script 94.                                                                                      PRINCESSES/PUSS/DONKEY           Whoa.                                                   FIONA           Mom!?                                                   QUEEN           Well, you didn't actually think you           got your fighting skills from your           father, did you?                                   Fiona beams at her mother and then turns to the Princesses.                                   Snow White points to another wall behind them.                                                   SNOW WHITE           Excuse me, I think there's still           one more.                                   The Queen turns and sees the another wall barring their way.                                                   QUEEN           Hmmmm.                                   The Queen hurries to the other wall.                                                   QUEEN           Hiiiiyah!                                   It crumbles, revealing the outside. The princesses wince.                                   Fiona approaches her mother.                                   The Queen turns around, this time a little woozy, singing          softly to herself.                                                   FIONA           Why don't you just lie down?                                   The Queen continues to sing to herself as she walks away.                                   Fiona turns to the others.                                                   FIONA           Okay girls, from here on out, we're           gonna take care of business           ourselves.                                   Snow thinks for a moment and then glances at the other          Princesses. They nod.                                   Snow looks determined. She rips off a sleeve, revealing a          Dopey tattoo.           Shrek the Third - Final Screening Script 95.                                                                                     Sleeping Beauty tears the bottom of her dress.                                   The Queen puts lipstick smudges under her eyes (a la a          football player).                                   Cinderella sharpens the heal of her glass slipper.                                   Doris burns her bra.                                   The Princesses place their hands over Fiona's. Puss and          Donkey's hands come in last.                                                   CUT TO:                                                            EXT. COURTYARD STAGE - CONTINUOUS                                   Captain Hook replaces his "hook" appendage with a "baton" and          taps it on the score in front of him.                                                   ANNOUNCER           Ladies and gentlemen. The Far Far           Away Theatre at the Charming           Pavilion is proud to present: "It's           a Happily Ever After, After All."                                   The camera pulls back from a playbill that reads: "It's a          Happily Ever After, After All - Starring Prince Charming as          himself."                                   Two intimidating Evil Knights are handing out the playbills          and are using spears to usher people into their seats.                                                   EVIL KNIGHT #1           Enjoy your evening of theatrical           reverie, citizen! Oy! No food or           beverages in the theatre! Hey!                                   The orchestra begins to warm up.                                                            EXT. STAGE                                   The camera follows Rumplestiltskin as he hurries from the          stage to backstage.                                                            INT. BENEATH THE STAGE - NIGHT                                   SHREK stands atop a wooden platform, like a beaten man.          Cyclops is binding his arms and legs with heavy chains          attached to the floor.           Shrek the Third - Final Screening Script 96.                                                                                     He pulls the chains tight.                                                   SHREK           Oww, easy.                                                   CYCLOPS           Sorry. I guess I was just showing           off for the little one.                                                   SHREK           Huh?                                                   CYCLOPS           It's "Bring your kids to work day."           C'mere beautiful.                                   Cyclops motions to the shadows.                                   CYCLOPS' DAUGHTER walks out from the shadows. She looks like          Cyclops with long hair and skirt.                                   Shrek recoils.                                                   SHREK           Well... she's got your eye.                                   Cyclops picks her up and embraces her.                                                   CYCLOPS           Who woulda thought a monster like           me deserves something as special as           you?                                   They touch foreheads affectionately.                                   Shrek looks at the two of them and then gets a determined          look on his face.                                                   CUT TO:                                                            EXT. CASTLE GARDENS                                   The camera booms down into some trees just outside of the          castle. Fiona and the Princesses appear behind a log. Two          Evil Trees guard the castle gate. Fiona uses a duck call to          signal Snow White. She skips down the path toward a side          entrance, where two Evil Trees are standing guard. Snow          White stops in front of them, singing our version of: "Animal          Friends/With A Smile."           Shrek the Third - Final Screening Script 97.                                                                                      SNOW WHITE (O.S.)                          (SINGING)           "Ahh ha ha ha ha haa."                                   The birds answer her in song.                                                   SNOW WHITE                          (SINGING)           "Ahh ha ha ha haa."                                   The birds answer again.                                                   SNOW WHITE                          (SINGING)           "Ha ha ha ha haaaa.           Little birdies take wing,           flitting down from the trees they           appear, and to chirp in my ear."                                   All the forest creatures flock to her.                                                   SNOW WHITE                          (SINGING)           "All because I sing.           Ahh ha ha ha ha haaa."                                   More forest creatures flock to Snow White.                                                   SNOW WHITE                          (SINGING)           "Ahh ha ha ha ha haaa."                                   The Evil Trees stare in amazement.                                                   SNOW WHITE                          (SINGING)           "Ha ha ha ha ha haaaaaaa!"                                   Suddenly Snow White's face changes. She transitions into Led          Zeppelin's "Immigrant Song."                                                   SNOW WHITE           Ahhaha!! Ahhaha!!!                                   All the animals turn and attack the trees. Fiona and the          Princesses charge forward.                                                   FIONA           Move it! Go! Go! Go!                                                   CUT TO:           Shrek the Third - Final Screening Script 98.                                                                                                              EXT. FAR FAR AWAY ZOO - CONTINUOUS                                   Donkey and Puss (in each other's bodies) run through front          gates of the Far Far Away Zoo.                                   The Dronkeys are held captive in the zoo. Donkey (in Puss'          body) busts open their cage.                                                   DONKEY           (in Puss' body)           My babies!                                   The Dronkeys fly over to Puss (in Donkey's body) and hug him.                                                   PUSS           (in Donkey's body)           Help! Ow!                                                   DONKEY           (in Puss' body)           Hey!                                                   CUT TO:                                                            EXT. CASTLE GARDENS - CONTINUOUS                                   The Princesses run toward the castle. Doris punches through          the lock to open the gates.                                   As they enter the castle grounds, a group of guards runs          towards them. Cinderella takes out a couple of them with her          boomerang crystal slipper. Sleeping Beauty falls to the          ground, asleep. The guards trip over her body.                                   Doris runs up to the foot of a canopy and takes a knee. The          Princesses use Doris as a step to leap onto the canopy and          over the castle wall.                                                   CUT TO:                                                            EXT. RODEO DRIVE - CONTINUOUS                                   Donkey and Puss (in each other's bodies) break Pinocchio out          of his marionette theatre.                                                   CUT TO:           Shrek the Third - Final Screening Script 99.                                                                                                              EXT. BAKERY - MOMENTS LATER                                   Gingerbread Man is locked inside a bakery display case.          Donkey and Puss arrive (in each other's bodies). Donkey (in          Puss' body) awkwardly tries to cut the glass open with his          claws. Puss (in Donkey's body) intervenes, quickly bashing a          hoof through the glass. They pull Gingerbread Man out of the          case.                                                   CUT TO:                                                            EXT. CASTLE ROOFTOP - CONTINUOUS                                   Fiona leads the Princesses and Queen, as they stealthily          creep along the rooftop.                                                   CUT TO:                                                            EXT. CASTLE ROOFTOP - CONTINUOUS                                   Fiona peers around a corner and sees two guards blocking          their path. She gets an idea.                                   The Guards turn around to find a leg sticking out. They          "ooh" and "aah" as they approach the leg. The camera pans up          to reveal Doris.                                                   DORIS           Hey. How's it going?                                   She kicks the guards to the ground, and they take off          running.                                                   CUT TO:                                                            EXT. FAR, FAR AWAY CASTLE- LATER                                   Donkey, Puss, (still in each other's bodies) and the rescued          Fairy Tale Creatures run toward the castle.                                   Donkey and Puss peek out from behind a bush.                                                   PUSS           (in Donkey's body)           "O" to the "K." The coast has           cleared.                                   Donkey turns to address the Fairy Tale Creatures behind him.           Shrek the Third - Final Screening Script 100.                                                                                                     DONKEY           (in Puss' body)           All right people, let's do this           thing! Go Team Dy-No-Mite!!                                                   PINOCCHIO           I thought we agreed we would go by           the name of "Team Super Cool."                                                   GINGERBREAD MAN           As I recall it was "Team Awesome."                                                   WOLF           I voted for "Team Alpha Wolf           Squadron."                                                   DONKEY           Alright! Alright! Alright! From           henceforth we are to be known as           "Team Alpha Super Awesome Cool           Dynomite Wolf Squadron."                                   The Three Pigs notice something.                                                   PIG #1           Ach to Lieber! There is some           strange little girl over there           staring at us!                                   Donkey, in Puss' body, turns to look. Artie is staring at          the strange crew.                                                   DONKEY           (in Puss' body)           Artie!                                   Artie turns and walks away. Puss, in Donkey's body, runs to          stop him.                                                   PUSS           (in Donkey's body)           Wait, wait, wait, wait wait. Hey!           Where is the fire, Senor?                                   Artie pushes Puss (in Donkey's body) out of the way.                                                   ARTIE           Oh please, don't act so innocent.           You both knew what was going on the           whole time and you kept it to           yourself.                                   Artie starts to storm away.           Shrek the Third - Final Screening Script 101.                                                                                                     DONKEY           (in Puss' body)           Artie, it's not like it seems.                                                   ARTIE           It's not? I think it seems pretty           clear. He was using me. That's           all there is to it.                                   Artie starts to walk off.                                                   DONKEY           (in Puss' body)           Using you? Man, you really don't           get it!                                                   PUSS           (in Donkey's body)           Shrek only said those things to           protect you!                                   This stops Artie in his tracks.                                                   DONKEY           (in Puss' body)           Charming was going to kill you           Artie. Shrek saved your life.                                   Artie realizes the truth and is suddenly concerned for his          friend.                                                   CUT TO:                                                            EXT. COURTYARD STAGE                                   The lights dim.                                   The curtain rises.                                                            INT. BACKSTAGE - CONTINUOUS                                   Rumplestiltskin orders for the spotlight.                                                   RUMPLESTILTSKIN           Cue the spot!                                                            EXT. COURTYARD STAGE - CONTINUOUS                                   A spotlight comes up on Rapunzel, singing in a tower while          the Fairy-tale Villains play their roles below.           Shrek the Third - Final Screening Script 102.                                                                                                     RAPUNZEL                          (SINGING)           "I wait alone up here.           I'm trapped another day.           Locked up here - please set me           free.           My new life I almost see,           A castle, you and me.           Yes, a castle you and me..."                                   Audience members look at each other in confusion; is this          crap for real?                                   Raul, the make-up artist, cries in the audience.                                   From the audience a knight holds up a candle.                                   Up in the rafters, Rumplestiltskin cues the Cherubs.                                                   RUMPLESTILTSKIN           Cherubs!                                   The Cherubs (Evil Dwarves) are lowered onto the stage by a          rope and pulley system.                                   A spotlight appears on stage. From underneath the stage a          clamshell rises and opens to reveal Prince Charming on          horseback.                                                   PRINCE CHARMING                          (SINGING)           "Tis I! Tis I!           Upon my regal steed!           Princess, my love,           at last you shall be freed!"                                   The Cherubs drop rose petals onto Prince Charming and the          clamshell. Prince Charming and his steed, Chauncey, jump out          of the clamshell.                                                   PRINCE CHARMING                          (SINGING)           "I'm strong and brave,           and dashing my way there!           With speed! With might!           With soft and bouncy hair!"                                   Prince Charming begins to make his way over to the tower.                                                   PRINCE CHARMING                          (SINGING)           "Through the blistering desert..."           Shrek the Third - Final Screening Script 103.                                                                                     Prince Charming chops the head off of the flying griffin          puppet.                                                   EVIL TREES                          (SINGING)           "Hot!"                                   Prince Charming dismounts, casually chops the head off of the          sea serpent and crosses the sea.                                                   PRINCE CHARMING                          (SINGING)           "Across the stormiest sea."                                                   EVIL DWARFS                          (SINGING)           "Wet!"                                   He makes his way to dry land. He weaves in and out of the          Evil Trees, who are playing the part of a forest.                                                   PRINCE CHARMING                          (SINGING)           "Facing creatures so vile!"                                                   FAIRY-TALE VILLAINS                          (SINGING)           "Foul!"                                   He casually cuts off the head of a wooden cut-out reindeer          and shoves a villain in a bear costume out of the way.                                                   PRINCE CHARMING                          (SINGING)           "So you can gaze upon me!"                                   Prince Charming has made his way up the stairs at the bottom          of Rapunzel's tower.                                                   RAPUNZEL                          (SINGING)           "I knew you'd come for me.           And now we finally meet."                                                   PRINCE CHARMING                          (SINGING)           "I knew you'd wait.           And from my plate of love you'd           eat."           Shrek the Third - Final Screening Script 104.                                                                                     There is a loud flash and a loud growling is piped through          the sound system and flares go off as a trap door opens in          the stage floor. Prince Charming hams it up for the          audience, putting his hand to his ear.                                                            INT. BACKSTAGE - CONTINUOUS                                   Rumplestiltskin cues Mabel.                                   Mabel is growling through a megaphone backstage.                                                   MABEL           Roar! Roar!                                   Three Evil Witches turn a lever and an Evil Dwarf blows some          steam with a billow.                                                            EXT. COURTYARD STAGE - CONTINUOUS                                   A large, imposing shadow grows onstage. The silhouette          fades, revealing a shackled Shrek on stage. He pulls at his          chains as he notes the audience and views the spectacle          before him.                                                            INT. AUDIENCE - CONTINUOUS                                   A crowd of fans, with "SHREK" written on their stomachs,          cheer. One of the fans is hit with an arrow. They promptly          sit down.                                                   PRINCE CHARMING                          (SINGING)           "Who is this terrible ugly fiend           who so rudely intervened?"                                   Pirates and Evil Knights dance in from the wings.                                                   FAIRY-TALE VILLAINS                          (SINGING)           "Will Charming fight? Or will he           flee?"                                                   RAPUNZEL                          (SINGING)           "Oh please, rescue me!"                                                   FAIRY-TALE VILLAINS                          (SINGING)           "From this monstrosity!"           Shrek the Third - Final Screening Script 105.                                                                                     Prince Charming takes a dramatic pause and sings in an ultra-          high voice of a castrato.                                                   PRINCE CHARMING                          (SINGING)           "Fear thee not Honey Lamb!           I will slice this thing up like a           HAM!"                                                   SHREK           Oh boy.                                   Prince Charming relishes the moment, pulling out his sword          and aiming it at Shrek's chest. Prince Charming's voice          climbs even higher.                                                   PRINCE CHARMING           You are about to enter           a world of pain with which you are                          NOT-                          (SINGING)           "FamiliaAAAAAAR!"                                   He holds the last, highest note. Shrek winces. Goblets, eye          glasses, a glass tiara and glass pearls all break in the          audience.                                   Prince Charming smiles. Shrek looks at him with contempt.                                                   SHREK           Well it can't be anymore painful           than the lousy performance you're           giving.                                   The audience laughs at Shrek's remark. Prince Charming is          thrown by their reaction.                                   From a trap door underneath the stage Rumplestiltskin tries          to help Prince Charming out by feeding him his next line.                                                   RUMPLESTILTSKIN           "Prepare foul beast."                                   He clears his throat and tries to get back into character.                                                   PRINCE CHARMING                          (SINGING)           "Prepare foul beast, your time is           done."                                                   SHREK           Oooh, if you don't mind could you           kill me, and then sing?           Shrek the Third - Final Screening Script 106.                                                                                     The audience laughs. Prince Charming gets in Shrek's face.                                                   PRINCE CHARMING           Be quiet!                                                   SHREK           Oh, come on, I'm just havin' fun           with ya. That's actually a very           nice leotard.                                                   PRINCE CHARMING           Thank you.                                                   SHREK           Do they come in men's sizes?                                   The audience laughs again.                                                   HOOK           He, he. Now that be funny.                                   The crowd laughs again. Shrek smiles, enjoying how he's          screwing up the show. Prince Charming is furious.                                                   PRINCE CHARMING           ENOUGH!                                   The crowd falls silent.                                   Prince Charming turns back to Shrek.                                                   PRINCE CHARMING           Now you'll finally know what it's           like to have everything you've           worked for, everything that's           precious to you taken away.                                   Prince Charming raises his sword.                                    PRINCE CHARMING (CONT'D)           Now you'll know how I felt.                                   Suddenly a fireball hits the blade, melting it.                                                   PRINCE CHARMING           Ahhhhh!                                   Another huge fireball spreads across the sky as Dragon flies          above the theater. The Dronkeys follow behind her.                                                   DRAGON           Roar!           Shrek the Third - Final Screening Script 107.                                                                                     The Three Pigs come running down the aisle.                                                   PIG #1           Sausage Roll!!                                   The Three Pigs leap onto the stage, going into a drop and          roll move to land in between Shrek and Prince Charming. They          strike a fighting pose.                                   Pinocchio comes flying in on his strings, landing with a          flurry of kung-fu hands.                                   The Wolf unzips the wolf costume, steps out and joins the          others.                                                   WOLF           Arg.                                   Gingerbread Man pops up in the tower window, grabs Rapunzel's          hair and swings down. Before he hits the ground, the end          catches and he bounces like a bungee jumper. Her hair falls          into a pile next to a very surprised Gingerbread Man.                                   Rapunzel screams. Her mousy brown hair crammed under a hair          net. She runs off crying.                                   Prince Charming looks around, almost surrounded.                                   Suddenly a shadow falls over the crowd and they gasp. Dragon          and the Dronkeys fly in and land on the stage.                                   Puss and Donkey leap off her back to the stage.                                                   DONKEY           (in Puss's body)           Pray for mercy from...                                                   PUSS           (in Donkey's body)           ...Puss!                                   He claps his hooves on the stage.                                                   DONKEY           (in Puss' body)           And Donkey!                                                            He carves a letter "D" on Pinocchio's bottom.                                                   PINOCCHIO           (re: his bottom)           Hey.           Shrek the Third - Final Screening Script 108.                                                                                     The Queen head-butts through one of the backdrops, with          Sleeping Beauty and Doris. Snow White flies in behind them          with the help of her woodland creatures ("Crouching Tiger,          Hidden Dragon" style). Cinderella runs on stage equipped with          a mop as her weapon. Together, the Princesses strike fierce          poses and stand next to Shrek.                                   The audience applauds.                                   Suddenly the front door of the "swamp house" set crashes to          the floor, revealing Fiona.                                                   FIONA           Hi honey! Sorry we're late. You           okay?                                                   SHREK           Much better, now that you're here.                                                   AUDIENCE           Awwwwwww!                                   The audience applauds. Shrek turns to Prince Charming          raising his shackled wrists.                                                   SHREK           So Charming, you wanna let me out           of these so we can settle this ogre           to man?                                   Prince Charming considers this for a second.                                                   PRINCE CHARMING           Oooh, that sounds fun. But I have           a better idea!                                   Prince Charming strikes an imperious pose and claps his          hands. Cyclops suddenly emerges from the trap door, knocking          Puss and Donkey down. He approaches them menacingly.                                   The witches fly in and threaten the princesses with their          brooms. The Evil Queen rises up behind the Queen and puts a          knife to her throat.                                   The Evil Dwarves grab The Three Pigs. Gingerbread Man is          suddenly surrounded by many Evil Knights. He poops out a gum-          ball.                                   Dragon starts to move forward only to find herself surrounded          by crossbows. A bunch of pirates grab Fiona and tie her up.                                                   SHREK           Fiona!           Shrek the Third - Final Screening Script 109.                                                                                                     FIONA           No! Let go of me!                                   Shrek struggles to free himself of the chains, but it's no          use.                                   Prince Charming's eyes narrow.                                                   PRINCE CHARMING           You will not ruin things this time           ogre.                          (TO VILLAINS)           Kill it!                                   Prince Charming signals to the villains to attack Shrek. As          the villains advance towards Shrek, a spotlight shines in          their eyes, stopping them in their tracks.                                                   ARTIE           Everybody stop!                                                   PRINCE CHARMING                          (EXASPERATED)           Oh, what is it now?                                                   SHREK           Artie?                                   Artie jumps from the spotlight.                                   Artie lands clumsily on a hanging cloud.                                   Artie leaps awkwardly from cloud to cloud. The audience          stares in awe.                                   After one last leap, he swings down on the Cherub's cable,          sending the little person up in the air.                                   Artie lands on the stage in between the Villains and Shrek.          He stands facing the Villains.                                                   ARTIE           Who really thinks we need to settle           things this way?                                   The Evil Knights think about it and raise their hands. The          other Villains follow suit.                                                   ARTIE           You're telling me you just want to           be Villains your whole lives?                                   This gives the Villains pause.           Shrek the Third - Final Screening Script 110.                                                                                                     CAPTAIN HOOK           But we are Villains. It's the only           thing we know.                                                   ARTIE           Didn't you ever wish you could be           something else?                                   The Villains aren't convinced.                                                   EVIL TREE #2           Well, it's easy for you to say.           You're not some evil enchanted           tree.                                                   PRINCE CHARMING           You morons! Don't listen to him!                          ATTACK THEM-                                   Another Evil Tree covers Prince Charming's mouth and then          motions to Artie.                                                   EVIL TREE #1           What Steve's trying to say here is           that it's hard to come by honest           work when the whole world's against           you.                                                   EVIL TREE #2           Right, thanks Ed.                                                   ARTIE           Okay, fair enough. You're right.           I'm not a talking tree. But, ya           know, a good friend of mine once           told me that just because people           treat you like a villain, or an           ogre...                                   Artie shares a look with Shrek.                                                   ARTIE           ... or just some loser...                                   The Fairy-tale Villains listen intently.                                                   ARTIE (CONT'D)           ...it doesn't mean you are one.                                   The Evil Tree tightens his grip as Prince Charming struggles          to break free.           Shrek the Third - Final Screening Script 111.                                                                                                     ARTIE (CONT'D)           The thing that matters most is what           you think of yourself.                                   Artie commands the stage.                                                   ARTIE (CONT'D)           If there's something you really           want, or there's someone you really           want to be, then the only person           standing in your way ...is you.                                   Artie points at Rumplestiltskin directly in front of him.          Rumplestiltskin is alarmed.                                                   RUMPLESTILTSKIN           Me?                                                   OTHER PIRATES           Get `im lads!                                                   ARTIE           No, no, no! What I mean is: each           of you is standing in your own way!                                                   VILLAINS           Oooooooh!                                   The Headless Horseman breaks through the crowd.                                                   HEADLESS HORSEMAN           I've always wanted to play the           flute.                                   The Fairy-tale Villains and Creatures look at each other.          The Evil Queen steps up.                                                   EVIL QUEEN           I`d like to open up a spa in           France.                                   The Villains nod in agreement.                                                   CAPTAIN HOOK           I grow daffodils!                                   Complete silence as everyone stares at Hook.                                                   CAPTAIN HOOK           And they're beautiful!                                   Captain Hook looks thoughtfully at his sword, then throws it          down.           Shrek the Third - Final Screening Script 112.                                                            The pirates throw theirs down, followed by the witches and          Evil Knights. The evil knight holding Pinocchio is thinking          about it when Pinocchio reaches over and takes the ax from          him. The weapons pile up in the middle of the stage. Everyone          else cheers and starts to mingle, introducing themselves and          shaking hands.                                   Gingerbread Man high fives with an Evil Knight. Fiona is          untied.                                   Mabel walks up to Doris and lightly punches her on the jaw.          Doris returns the sign of affection by punching Mabel in the          jaw, but a bit too hard, sending her falling to the ground.                                   Suddenly, Prince Charming kicks himself free of the Evil Tree          and charges them. He grabs a sword from the discard pile and          raises it up, his aim set at Artie.                                                   PRINCE CHARMING           Aaaahhhh!                                   Despite his fear, Artie faces Prince Charming bravely. As          Prince Charming charges, Shrek finds the strength to break          his chains. Just before Prince Charming strikes, a chain          whips into frame, wrapping around the sword. Shrek pulls          Prince Charming around in a circle, away from Artie. Furious,          he charges Shrek and stabs him with the sword. Charming lets          go and Shrek stumbles back with the weapon impaled in him,          and falls to the floor, groaning.                                   Prince Charming beams, and laughs. He turns to the audience.                                                   PRINCE CHARMING           A new era finally begins!                                   The audience cowers.                                   Shrek looks up smiling and nods at Fiona and Artie.                                                   PRINCE CHARMING           Now, all of you, bow before your           king!                                   Shrek casually rises up behind him and clears his throat.                                                   SHREK           Ah-hem.                                   Charming turns around. Shrek lifts his arm revealing that he          was never really stabbed.                                                   SHREK (CONT'D)           You need to work on your aim.           Shrek the Third - Final Screening Script 113.                                                                                     Charming is stunned.                                                   PRINCE CHARMING           This was supposed to be my happily           ever after.                                   Prince Charming is paralyzed. Shrek drops the sword and grabs          him by the shirt-front, lifting him off of his feet.                                   He winces, but is still defiant.                                                   SHREK           Well I guess you need to keep           looking...                                   Shrek looks at Fiona and at his friends and smiles.                                                   SHREK           ...cause I'm not giving up mine.                                   Shrek sets Prince Charming down and signals DRAGON. She          casually tips the tower over with her tail. A shadow falls          over Prince Charming. He turns and sees the tower falling          toward him, his body perfectly framed up in the princesses's          window.                                                   PRINCE CHARMING           Mommy?                                   It crashes down and he's trapped inside.                                   As the dust clears, the crown rolls across the stage. Artie          stops it with his foot and slowly picks it up.                                                   SHREK           It's yours if you want it, you           know, but this time it's your           choice.                                   Artie considers it.                                   He looks at Shrek, who is smiling proudly at him.                                   Artie turns to the audience and holds out the crown to them.          They cheer him.                                   Artie places the crown on his head. The crowd goes nuts. In          the audience, Raul sobs with joy.                                                   ALL           Ar-tie! Ar-tie! Ar-tie! Ar-tie!           Shrek the Third - Final Screening Script 114.                                                                                     Everybody cheers as the Fairy-tale Creatures and Villains put          Artie up on their shoulders and carry him off. Donkey and          Puss, still in each other's bodies, watch as Artie gets          carried away.                                   In a puff of smoke, Merlin suddenly appears. He looks around          confused, clutching his show ticket.                                                   MERLIN           Uh, excuse me, that's my seat.                                   Suddenly he is thrown back against the front of the stage as          Donkey and Puss confront him.                                                   PUSS           (in Donkey's body)           Okay, senor hocus-y pocus-y. The           time has come to rectify some           wrongs!                                                   DONKEY           (in Puss' body)           Although I have been enjoying these           "cat baths."                                                   PUSS           (in Donkey's body)           Please say you didn't.                                                   MERLIN           Uh... alright, alright...look..                                   Merlin rubs his hands together.                                                   MERLIN           You're gonna feel a little pinch,           and possibly some lower intestinal           discomfort, but this should do the           trick.                                   Merlin rolls up his sleeves, and prepares to make with the          magic. He lets loose with a bright burst of magic. It takes a          moment for Donkey and Puss to recover. They eye each other          cautiously.                                                   PUSS           Are you..?                                   Donkey lifts his hoof and inspects it carefully.                                                   DONKEY           I'm me again!           Shrek the Third - Final Screening Script 115.                                                                                     Puss checks out his own paws.                                                   PUSS           And I am not you!                                   Donkey and Puss give each other a big hug.                                                   DONKEY           Alright!                                   The two of them turn and walk away together.                                   Merlin is behind them, smoking fingers and all. Suddenly his          eyes grow wide.                                                   MERLIN           Oops. Ah, never mind.                                   We see that Donkey still has Puss' tail and Puss had          Donkey's. Merlin slips away.                                   Shrek and Fiona watch Artie in the distance.                                                   SHREK           What'd I tell ya? I think the           kid's going to be a great King.                                                   FIONA           Well, for what it's worth, you           would have too.                                   Shrek smiles, and touches Fiona's belly.                                                   SHREK           I have something much more           important in mind.                                   They kiss.                                   The camera pulls back to see everyone celebrating around          Shrek and Fiona as they kiss.                                                   DISSOLVE TO:                                                            EXT. SWAMP HOUSE - MORNING                                   A wide-shot of a sunny morning in the swamp.           Shrek the Third - Final Screening Script 116.                                                                                                              INT. SWAMP HOUSE - CONTINUOUS                                   Shrek grabs a "gourd" bottle and creates an ogre shake out of          slug juice, eye balls and worms. He walk over to join Fiona          by the fire.                                                   SHREK           Ah, finally.                                   Shrek gives Fiona the "gourd" bottle and she places a nipple          on it. Two ogre babies crawl up onto Fiona's lap.                                                   OGRE BABIES           Da da.                                   A third ogre baby appears at Shrek's feet. He bends down to          pick him up.                                   One big happy family of five. Shrek laughs and gives the          babies and Fiona a hug.                                   The front door opens up to reveal Puss and Donkey.                                                   DONKEY           Hey! I smell Shrek Jr.                                   The Dronkeys come swarming in behind Donkey. Dragon peers in          through the door.                                   Shrek with a safety pin in his mouth is doing his best at          changing diapers. He twists the diaper around and the baby          goes flying off screen and lands in a diaper that Fiona is          holding. She smiles at Shrek.                                   The swamp house is overrun with Dronkeys, ogre babies and          dirty diapers.                                   Puss sits next to an ogre baby that has a pacifier in his          mouth. He takes the pacifier out of his mouth, shoves it in          Puss' mouth and gives Puss a big hug. Another baby comes          crawling into frame and starts to tug on Puss' tail. A tug          of war ensues.                                   The ogre babies are bathing in a pot of water (a la a beat          from the Nightmare scene). One of the babies farts in the          water as Shrek comes in and scoops them up. Shrek laughs.                                                                                     Donkey is playing "peek-a-boo" with his ears. A baby ogre          laughs.           Shrek the Third - Final Screening Script 117.                                                                                                     DONKEY           Peek-a-boo. Peek-a-boo.                                   A baby ogre pulls ear wax from Shrek's ear. The baby uses          the wax to draw squiggly lines on a piece of paper.                                                   QUEEN           Bouncy, bouncy, bouncy boy.                                   The Queen is bouncing a baby ogre on her lap. The baby pukes          and the Queen smiles.                                   There is a knock at the door. Donkey is laying on the floor          holding a bottle with all four hooves, drinking the milk.                                   Shrek grabs the bottle out of Donkey's mouth.                                                   DONKEY           Hey.                                   Shrek opens the front door to reveal the Dwarf.                                                   NANNY DWARF           Where's the baby?                                   Shrek puts a bottle into the Dwarf's mouth and slams the          door.                                                   CUT TO:                                                            EXT. SWAMP HOUSE - DAY                                   Fiona slides one of the babies down a "slip `n slide" made          out of mud shot from geysers. Shrek slides down himself.          The babies scramble out of the way as Shrek slides by,          spraying mud everywhere.                                                   CUT TO:                                                            INT. SWAMP HOUSE - EVENING                                   Shrek and Fiona are diapering two of the babies in perfect          unison. They continue diapering, Fiona holds up the third          baby and Shrek holds up an unhappy, diapered Puss.                                   Shrek grabs a gourd bottle off of a shelf. He tosses it to          Fiona.           Shrek the Third - Final Screening Script 118.                                                                                     Fiona stands holding one baby over her shoulder. She catches          the gourd thrown to her, twirls it around (a la Tom Cruise in          Cocktail), lifts up her leg where another baby is perched on          her foot and puts the gourd in the baby's mouth.                                   Shrek is burping a baby over his shoulder. The baby burps.          Fiona has a baby over her shoulder and the baby burps. A          Dronkey sitting on a chair does a flame-belch and an ogre          baby crawling by farts which causes a flame thrower effect          into the fireplace.                                   Shrek and Fiona tuck all the babies into bed.                                                   SHREK           Well, what shall we do now?                                                   CUT TO:                                                            INT. SHREK AND FIONA'S BEDROOM - NIGHT                                   Shrek and Fiona are sound asleep, snoring.                                                   DISSOLVE TO:                                                            EXT. SWAMP HOUSE - CONTINUOUS                                   A baby starts to cry.                                                   SHREK                          (SIGHS)           I got it.                                   The camera trucks out.                                                  THE END                          
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+                                          SHREK                                       Written by                                William Steig & Ted Elliott                                     SHREK                         Once upon a time there was a lovely                          princess. But she had an enchantment                          upon her of a fearful sort which could                          only be broken by love's first kiss.                          She was locked away in a castle guarded                          by a terrible fire-breathing dragon.                          Many brave knights had attempted to                          free her from this dreadful prison,                          but non prevailed. She waited in the                          dragon's keep in the highest room of                          the tallest tower for her true love                          and true love's first kiss. (laughs)                          Like that's ever gonna happen. What                          a load of - (toilet flush)                Allstar - by Smashmouth begins to play. Shrek goes about his                day. While in a nearby town, the villagers get together to go                after the ogre.                NIGHT - NEAR SHREK'S HOME                                     MAN1                         Think it's in there?                                     MAN2                         All right. Let's get it!                                     MAN1                         Whoa. Hold on. Do you know what that                          thing can do to you?                                      MAN3                         Yeah, it'll grind your bones for it's                          bread.                Shrek sneaks up behind them and laughs.                                     SHREK                         Yes, well, actually, that would be a                          giant. Now, ogres, oh they're much worse.                          They'll make a suit from your freshly                          peeled skin.                                      MEN                         No!                                     SHREK                         They'll shave your liver. Squeeze the                          jelly from your eyes! Actually, it's                          quite good on toast.                                      MAN1                         Back! Back, beast! Back! I warn ya!                          (waves the torch at Shrek.)                Shrek calmly licks his fingers and extinguishes the torch. The                men shrink back away from him. Shrek roars very loudly and long                and his breath extinguishes all the remaining torches until the                men are in the dark.                                      SHREK                         This is the part where you run away.                          (The men scramble to get away. He laughs.)                          And stay out! (looks down and picks                          up a piece of paper. Reads.) "Wanted.                          Fairy tale creatures."(He sighs and                          throws the paper over his shoulder.)                                         THE NEXT DAY               There is a line of fairy tale creatures. The head of the guard                sits at a table paying people for bringing the fairy tale creatures                to him. There are cages all around. Some of the people in line                are Peter Pan, who is carrying Tinkerbell in a cage, Gipetto                who's carrying Pinocchio, and a farmer who is carrying the three                little pigs.                                      GUARD                         All right. This one's full. Take it                          away! Move it along. Come on! Get up!                                                               HEAD GUARD                         Next!                                     GUARD                         (taking the witch's broom) Give me that!                          Your flying days are over. (breaks the                          broom in half)                                      HEAD GUARD                         That's 20 pieces of silver for the witch.                          Next!                                      GUARD                         Get up! Come on!                                     HEAD GUARD                         Twenty pieces.                                     LITTLE BEAR                         (crying) This cage is too small.                                     DONKEY                         Please, don't turn me in. I'll never                          be stubborn again. I can change. Please!                          Give me another chance!                                      OLD WOMAN                         Oh, shut up. (jerks his rope)                                     DONKEY                         Oh!                                     HEAD GUARD                         Next! What have you got?                                     GIPETTO                         This little wooden puppet.                                     PINOCCHIO                         I'm not a puppet. I'm a real boy. (his                          nose grows)                                      HEAD GUARD                         Five shillings for the possessed toy.                          Take it away.                                      PINOCCHIO                         Father, please! Don't let them do this!                          Help me!                Gipetto takes the money and walks off. The old woman steps up                to the table.                                      HEAD GUARD                         Next! What have you got?                                     OLD WOMAN                         Well, I've got a talking donkey.                                     HEAD GUARD                         Right. Well, that's good for ten shillings,                          if you can prove it.                                      OLD WOMAN                         Oh, go ahead, little fella.               Donkey just looks up at her.                                     HEAD GUARD                         Well?                                     OLD WOMAN                         Oh, oh, he's just...he's just a little                          nervous. He's really quite a chatterbox.                          Talk, you boneheaded dolt...                                      HEAD GUARD                         That's it. I've heard enough. Guards!                                                               OLD WOMAN                         No, no, he talks! He does. (pretends                          to be Donkey) I can talk. I love to                          talk. I'm the talkingest damn thing                          you ever saw.                                      HEAD GUARD                         Get her out of my sight.                                     OLD WOMAN                         No, no! I swear! Oh! He can talk!               The guards grab the old woman and she struggles with them. One                of her legs flies out and kicks Tinkerbell out of Peter Pan's                hands, and her cage drops on Donkey's head. He gets sprinkled                with fairy dust and he's able to fly.                                      DONKEY                         Hey! I can fly!                                     PETER PAN                         He can fly!                                     3 LITTLE PIGS                         He can fly!                                     HEAD GUARD                         He can talk!                                     DONKEY                         Ha, ha! That's right, fool! Now I'm                          a flying, talking donkey. You might                          have seen a housefly, maybe even a superfly                          but I bet you ain't never seen a donkey                          fly. Ha, ha! (the pixie dust begins                          to wear off) Uh-oh. (he begins to sink                          to the ground.)                He hits the ground with a thud.                                     HEAD GUARD                         Seize him! (Donkey takes of running.)                          After him!                                      GUARDS                         He's getting away! Get him! This way!                          Turn!                Donkey keeps running and he eventually runs into Shrek. Literally.                Shrek turns around to see who bumped into him. Donkey looks scared                for a moment then he spots the guards coming up the path. He                quickly hides behind Shrek.                                      HEAD GUARD                         You there. Ogre!                                     SHREK                         Aye?                                     HEAD GUARD                         By the order of Lord Farquaad I am authorized                          to place you both under arrest and transport                          you to a designated resettlement facility.                                                               SHREK                         Oh, really? You and what army?               He looks behind the guard and the guard turns to look as well                and we see that the other men have run off. The guard tucks tail                and runs off. Shrek laughs and goes back about his business and                begins walking back to his cottage.                                      DONKEY                         Can I say something to you? Listen,                          you was really, really, really somethin'                          back here. Incredible!                                      SHREK                         Are you talkin' to...(he turns around                          and Donkey is gone) me? (he turns back                          around and Donkey is right in front                          of him.) Whoa!                                      DONKEY                         Yes. I was talkin' to you. Can I tell                          you that you that you was great back                          here? Those guards! They thought they                          was all of that. Then you showed up,                          and bam! They was trippin' over themselves                          like babes in the woods. That really                          made me feel good to see that.                                      SHREK                         Oh, that's great. Really.                                     DONKEY                         Man, it's good to be free.                                     SHREK                         Now, why don't you go celebrate your                          freedom with your own friends? Hmm?                                                               DONKEY                         But, uh, I don't have any friends. And                          I'm not goin' out there by myself. Hey,                          wait a minute! I got a great idea! I'll                          stick with you. You're mean, green,                          fightin' machine. Together we'll scare                          the spit out of anybody that crosses                          us.                Shrek turns and regards Donkey for a moment before roaring very                loudly.                                      DONKEY                         Oh, wow! That was really scary. If you                          don't mind me sayin', if that don't                          work, your breath certainly will get                          the job done, 'cause you definitely                          need some Tic Tacs or something, 'cause                          you breath stinks! You almost burned                          the hair outta my nose, just like the                          time...(Shrek covers his mouth but Donkey                          continues to talk, so Shrek removes                          his hand.) ...then I ate some rotten                          berries. I had strong gases leaking                          out of my butt that day.                                      SHREK                         Why are you following me?                                     DONKEY                         I'll tell you why. (singing) 'Cause                          I'm all alone, There's no one here beside                          me, My problems have all gone, There's                          no one to deride me, But you gotta have                          faith...                                      SHREK                         Stop singing! It's no wonder you don't                          have any friends.                                      DONKEY                         Wow. Only a true friend would be that                          cruelly honest.                                      SHREK                         Listen, little donkey. Take a look at                          me. What am I?                                      DONKEY                         (looks all the way up at Shrek) Uh ...really                          tall?                                      SHREK                         No! I'm an ogre! You know. "Grab your                          torch and pitchforks." Doesn't that                          bother you?                                      DONKEY                         Nope.                                     SHREK                         Really?                                     DONKEY                         Really, really.                                     SHREK                         Oh.                                     DONKEY                         Man, I like you. What's you name?                                     SHREK                         Uh, Shrek.                                     DONKEY                         Shrek? Well, you know what I like about                          you, Shrek? You got that kind of I-don't-care-what-nobody-thinks-of-me                          thing. I like that. I respect that,                          Shrek. You all right. (They come over                          a hill and you can see Shrek's cottage.)                          Whoa! Look at that. Who'd want to live                          in place like that?                                      SHREK                         That would be my home.                                     DONKEY                         Oh! And it is lovely! Just beautiful.                          You know you are quite a decorator.                          It's amazing what you've done with such                          a modest budget. I like that boulder.                          That is a nice boulder. I guess you                          don't entertain much, do you?                                      SHREK                         I like my privacy.                                     DONKEY                         You know, I do too. That's another thing                          we have in common. Like I hate it when                          you got somebody in your face. You've                          trying to give them a hint, and they                          won't leave. There's that awkward silence.                          (awkward silence) Can I stay with you?                                                               SHREK                         Uh, what?                                     DONKEY                         Can I stay with you, please?                                     SHREK                         (sarcastically) Of course!                                     DONKEY                         Really?                                     SHREK                         No.                                     DONKEY                         Please! I don't wanna go back there!                          You don't know what it's like to be                          considered a freak. (pause while he                          looks at Shrek) Well, maybe you do.                          But that's why we gotta stick together.                          You gotta let me stay! Please! Please!                                                               SHREK                         Okay! Okay! But one night only.                                     DONKEY                         Ah! Thank you! (he runs inside the cottage)                                                               SHREK                         What are you...? (Donkey hops up onto                          a chair.) No! No!                                      DONKEY                         This is gonna be fun! We can stay up                          late, swappin' manly stories, and in                          the mornin' I'm makin' waffles.                                      SHREK                         Oh!                                     DONKEY                         Where do, uh, I sleep?                                     SHREK                         (irritated) Outside!                                     DONKEY                         Oh, well, I guess that's cool. I mean,                          I don't know you, and you don't know                          me, so I guess outside is best, you                          know. Here I go. Good night. (Shrek                          slams the door.) (sigh) I mean, I do                          like the outdoors. I'm a donkey. I was                          born outside. I'll just be sitting by                          myself outside, I guess, you know. By                          myself, outside. I'm all alone...there's                          no one here beside me...                SHREK'S COTTAGE - NIGHT               Shrek is getting ready for dinner. He sits himself down and lights                a candle made out of earwax. He begins to eat when he hears a                noise. He stands up with a huff.                                      SHREK                         (to Donkey) I thought I told you to                          stay outside.                                      DONKEY                         (from the window) I am outside.               There is another noise and Shrek turns to find the person that                made the noise. He sees several shadows moving. He finally turns                and spots 3 blind mice on his table.                                      BLIND MOUSE1                         Well, gents, it's a far cry from the                          farm, but what choice do we have?                                                               BLIND MOUSE2                         It's not home, but it'll do just fine.                                                               GORDO                         (bouncing on a slug) What a lovely bed.                                                               SHREK                         Got ya. (Grabs a mouse, but it escapes                          and lands on his shoulder.)                                      GORDO                         I found some cheese. (bites Shrek's                          ear)                                      SHREK                         Ow!                                     GORDO                         Blah! Awful stuff.                                     BLIND MOUSE1                         Is that you, Gordo?                                     GORDO                         How did you know?                                     SHREK                         Enough! (he grabs the 3 mice) What are                          you doing in my house? (He gets bumped                          from behind and he drops the mice.)                          Hey! (he turns and sees the Seven Dwarves                          with Snow White on the table.) Oh, no,                          no, no. Dead broad off the table.                                                               DWARF                         Where are we supposed to put her? The                          bed's taken.                                      SHREK                         Huh?               Shrek marches over to the bedroom and throws back the curtain.                The Big Bad Wolf is sitting in the bed. The wolf just looks at                him.                                      BIG BAD WOLF                         What?               TIME LAPSE               Shrek now has the Big Bad Wolf by the collar and is dragging                him to the front door.                                      SHREK                         I live in a swamp. I put up signs. I'm                          a terrifying ogre! What do I have to                          do get a little privacy? (He opens the                          front door to throw the Wolf out and                          he sees that all the collected Fairy                          Tale Creatures are on his land.) Oh,                          no. No! No!                The 3 bears sit around the fire, the pied piper is playing his                pipe and the rats are all running to him, some elves are directing                flight traffic so that the fairies and witches can land...etc.                                                     SHREK                         What are you doing in my swamp? (this                          echoes and everyone falls silent.)                                         Gasps are heard all around. The 3 good fairies hide inside a                tent.                                      SHREK                         All right, get out of here. All of you,                          move it! Come on! Let's go! Hapaya!                          Hapaya! Hey! Quickly. Come on! (more                          dwarves run inside the house) No, no!                          No, no. Not there. Not there. (they                          shut the door on him) Oh! (turns to                          look at Donkey)                                      DONKEY                         Hey, don't look at me. I didn't invite                          them.                                      PINOCCHIO                         Oh, gosh, no one invited us.                                     SHREK                         What?                                     PINOCCHIO                         We were forced to come here.                                     SHREK                         (flabbergasted) By who?                                     LITTLE PIG                         Lord Farquaad. He huffed and he puffed                          and he...signed an eviction notice.                                                               SHREK                         (heavy sigh) All right. Who knows where                          this Farquaad guy is?                Everyone looks around at each other but no one answers.                                     DONKEY                         Oh, I do. I know where he is.                                     SHREK                         Does anyone else know where to find                          him? Anyone at all?                                      DONKEY                         Me! Me!                                     SHREK                         Anyone?                                     DONKEY                         Oh! Oh, pick me! Oh, I know! I know!                          Me, me!                                      SHREK                         (sigh) Okay, fine. Attention, all fairy                          tale things. Do not get comfortable.                          Your welcome is officially worn out.                          In fact, I'm gonna see this guy Farquaad                          right now and get you all off my land                          and back where you came from! (Pause.                          Then the crowd goes wild.) Oh! (to Donkey)                          You! You're comin' with me.                                      DONKEY                         All right, that's what I like to hear,                          man. Shrek and Donkey, two stalwart                          friends, off on a whirlwind big-city                          adventure. I love it!                                      DONKEY                         (singing) On the road again. Sing it                          with me, Shrek. I can't wait to get                          on the road again.                                      SHREK                         What did I say about singing?                                     DONKEY                         Can I whistle?                                     SHREK                         No.                                     DONKEY                         Can I hum it?                                     SHREK                         All right, hum it.               Donkey begins to hum 'On the Road Again'.               DULOC - KITCHEN               A masked man is torturing the Gingerbread Man. He's continually                dunking him in a glass of milk. Lord Farquaad walks in.                                      FARQUAAD                         That's enough. He's ready to talk.                                         The Gingerbread Man is pulled out of the milk and slammed down                onto a cookie sheet. Farquaad laughs as he walks over to the                table. However when he reaches the table we see that it goes                up to his eyes. He clears his throat and the table is lowered.                                                     FARQUAAD                         (he picks up the Gingerbread Man's legs                          and plays with them) Run, run, run,                          as fast as you can. You can't catch                          me. I'm the gingerbread man.                                      GINGERBREAD MAN                         You are a monster.                                     FARQUAAD                         I'm not the monster here. You are. You                          and the rest of that fairy tale trash,                          poisoning my perfect world. Now, tell                          me! Where are the others?                                      GINGERBREAD MAN                         Eat me! (He spits milk into Farquaad's                          eye.)                                      FARQUAAD                         I've tried to be fair to you creatures.                          Now my patience has reached its end!                          Tell me or I'll...(he makes as if to                          pull off the Gingerbread Man's buttons)                                                               GINGERBREAD MAN                         No, no, not the buttons. Not my gumdrop                          buttons.                                      FARQUAAD                         All right then. Who's hiding them?                                                               GINGERBREAD MAN                         Okay, I'll tell you. Do you know the                          muffin man?                                      FARQUAAD                         The muffin man?                                     GINGERBREAD MAN                         The muffin man.                                     FARQUAAD                         Yes, I know the muffin man, who lives                          on Drury Lane?                                      GINGERBREAD MAN                         Well, she's married to the muffin man.                                                               FARQUAAD                         The muffin man?                                     GINGERBREAD MAN                         The muffin man!                                     FARQUAAD                         She's married to the muffin man.               The door opens and the Head Guard walks in.                                     HEAD GUARD                         My lord! We found it.                                     FARQUAAD                         Then what are you waiting for? Bring                          it in.                More guards enter carrying something that is covered by a sheet.                They hang up whatever it is and remove the sheet. It is the Magic                Mirror.                                      GINGERBREAD MAN                         (in awe) Ohhhh...                                     FARQUAAD                         Magic mirror...                                     GINGERBREAD MAN                         Don't tell him anything! (Farquaad picks                          him up and dumps him into a trash can                          with a lid.) No!                                      FARQUAAD                         Evening. Mirror, mirror on the wall.                          Is this not the most perfect kingdom                          of them all?                                      MIRROR                         Well, technically you're not a king.                                                               FARQUAAD                         Uh, Thelonius. (Thelonius holds up a                          hand mirror and smashes it with his                          fist.) You were saying?                                      MIRROR                         What I mean is you're not a king yet.                          But you can become one. All you have                          to do is marry a princess.                                      FARQUAAD                         Go on.                                     MIRROR                         (chuckles nervously) So, just sit back                          and relax, my lord, because it's time                          for you to meet today's eligible bachelorettes.                          And here they are! Bachelorette number                          one is a mentally abused shut-in from                          a kingdom far, far away. She likes sushi                          and hot tubbing anytime. Her hobbies                          include cooking and cleaning for her                          two evil sisters. Please welcome Cinderella.                          (shows picture of Cinderella) Bachelorette                          number two is a cape-wearing girl from                          the land of fancy. Although she lives                          with seven other men, she's not easy.                          Just kiss her dead, frozen lips and                          find out what a live wire she is. Come                          on. Give it up for Snow White! (shows                          picture of Snow White) And last, but                          certainly not last, bachelorette number                          three is a fiery redhead from a dragon-guarded                          castle surrounded by hot boiling lava!                          But don't let that cool you off. She's                          a loaded pistol who likes pina colads                          and getting caught in the rain. Yours                          for the rescuing, Princess Fiona! (Shows                          picture of Princess Fiona) So will it                          be bachelorette number one, bachelorette                          number two or bachelorette number three?                                                               GUARDS                         Two! Two! Three! Three! Two! Two! Three!                                                               FARQUAAD                         Three? One? Three?                                     THELONIUS                         Three! (holds up 2 fingers) Pick number                          three, my lord!                                      FARQUAAD                         Okay, okay, uh, number three!                                     MIRROR                         Lord Farquaad, you've chosen Princess                          Fiona.                                      FARQUAAD                         Princess Fiona. She's perfect. All I                          have to do is just find someone who                          can go...                                      MIRROR                         But I probably should mention the little                          thing that happens at night.                                      FARQUAAD                         I'll do it.                                     MIRROR                         Yes, but after sunset...                                     FARQUAAD                         Silence! I will make this Princess Fiona                          my queen, and DuLoc will finally have                          the perfect king! Captain, assemble                          your finest men. We're going to have                          a tournament. (smiles evilly)                DuLoc Parking Lot - Lancelot Section               Shrek and Donkey come out of the field that is right by the parking                lot. The castle itself is about 40 stories high.                                      DONKEY                         But that's it. That's it right there.                          That's DuLoc. I told ya I'd find it.                                                               SHREK                         So, that must be Lord Farquaad's castle.                                                               DONKEY                         Uh-huh. That's the place.                                     SHREK                         Do you think maybe he's compensating                          for something? (He laughs, but then                          groans as Donkey doesn't get the joke.                          He continues walking through the parking                          lot.)                                      DONKEY                         Hey, wait. Wait up, Shrek.                                     MAN                         Hurry, darling. We're late. Hurry.                                                               SHREK                         Hey, you! (The attendant, who is wearing                          a giant head that looks like Lord Farquaad,                          screams and begins running through the                          rows of rope to get to the front gate                          to get away from Shrek.) Wait a second.                          Look, I'm not gonna eat you. I just                          - - I just - - (He sighs and then begins                          walking straight through the rows. The                          attendant runs into a wall and falls                          down. Shrek and Donkey look at him then                          continue on into DuLoc.)                DULOC               They look around but all is quiet.                                     SHREK                         It's quiet. Too quiet. Where is everybody?                                                               DONKEY                         Hey, look at this!               Donkey runs over and pulls a lever that is attached to a box                marked 'Information'. The music winds up and then the box doors                open up. There are little wooden people inside and they begin                to sing.                                      WOODEN PEOPLE                         Welcome to DuLoc such a perfect town                                         Here we have some rules               Let us lay them down               Don't make waves, stay in line               And we'll get along fine               DuLoc is perfect place               Please keep off of the grass               Shine your shoes, wipe your... face               DuLoc is, DuLoc is               DuLoc is perfect place.               Suddenly a camera takes Donkey and Shrek's picture.                                     DONKEY                         Wow! Let's do that again! (makes ready                          to run over and pull the lever again)                                                               SHREK                         (grabs Donkey's tail and holds him still)                          No. No. No, no, no! No.                They hear a trumpet fanfare and head over to the arena.                                     FARQUAAD                         Brave knights. You are the best and                          brightest in all the land. Today one                          of you shall prove himself...                As Shrek and Donkey walk down the tunnel to get into the arena                Donkey is humming the DuLoc theme song.                                      SHREK                         All right. You're going the right way                          for a smacked bottom.                                      DONKEY                         Sorry about that.                                     FARQUAAD                         That champion shall have the honor -                          - no, no - - the privilege to go forth                          and rescue the lovely Princess Fiona                          from the fiery keep of the dragon. If                          for any reason the winner is unsuccessful,                          the first runner-up will take his place                          and so on and so forth. Some of you                          may die, but it's a sacrifice I am willing                          to make. (cheers) Let the tournament                          begin! (He notices Shrek) Oh! What is                          that? It's hideous!                                      SHREK                         (turns to look at Donkey and then back                          at Farquaad) Ah, that's not very nice.                          It's just a donkey.                                      FARQUAAD                         Indeed. Knights, new plan! The one who                          kills the ogre will be named champion!                          Have it him!                                      MEN                         Get him!                                     SHREK                         Oh, hey! Now come on! Hang on now. (bumps                          into a table where there are mugs of                          beer)                                      CROWD                         Go ahead! Get him!                                     SHREK                         (holds up a mug of beer) Can't we just                          settle this over a pint?                                      CROWD                         Kill the beast!                                     SHREK                         No? All right then. (drinks the beer)                          Come on!                He takes the mug and smashes the spigot off the large barrel                of beer behind him. The beer comes rushing out drenching the                other men and wetting the ground. It's like mud now. Shrek slides                past the men and picks up a spear that one of the men dropped.                As Shrek begins to fight Donkey hops up onto one of the larger                beer barrels. It breaks free of it's ropes and begins to roll.                Donkey manages to squish two men into the mud. There is so much                fighting going on here I'm not going to go into detail. Suffice                to say that Shrek kicks butt.                                      DONKEY                         Hey, Shrek, tag me! Tag me!               Shrek comes over and bangs a man's head up against Donkeys. Shrek                gets up on the ropes and interacts with the crowd.                                      SHREK                         Yeah!               A man tries to sneak up behind Shrek, but Shrek turns in time                and sees him.                                      WOMAN                         The chair! Give him the chair!               Shrek smashes a chair over the guys back. Finally all the men                are down. Donkey kicks one of them in the helmet, and the ding                sounds the end of the match. The audience goes wild.                                      SHREK                         Oh, yeah! Ah! Ah! Thank you! Thank you                          very much! I'm here till Thursday. Try                          the veal! Ha, ha! (laughs)                The laughter stops as all of the guards turn their weapons on                Shrek.                                      HEAD GUARD                         Shall I give the order, sir?                                     FARQUAAD                         No, I have a better idea. People of                          DuLoc, I give you our champion!                                      SHREK                         What?                                     FARQUAAD                         Congratulations, ogre. You're won the                          honor of embarking on a great and noble                          quest.                                      SHREK                         Quest? I'm already in a quest, a quest                          to get my swamp back.                                      FARQUAAD                         Your swamp?                                     SHREK                         Yeah, my swamp! Where you dumped those                          fairy tale creatures!                                      FARQUAAD                         Indeed. All right, ogre. I'll make you                          a deal. Go on this quest for me, and                          I'll give you your swamp back.                                      SHREK                         Exactly the way it was?                                     FARQUAAD                         Down to the last slime-covered toadstool.                                                               SHREK                         And the squatters?                                     FARQUAAD                         As good as gone.                                     SHREK                         What kind of quest?               Time Lapse - Donkey and Shrek are now walking through the field                heading away from DuLoc. Shrek is munching on an onion.                                      DONKEY                         Let me get this straight. You're gonna                          go fight a dragon and rescue a princess                          just so Farquaad will give you back                          a swamp which you only don't have because                          he filled it full of freaks in the first                          place. Is that about right?                                      SHREK                         You know, maybe there's a good reason                          donkeys shouldn't talk.                                      DONKEY                         I don't get it. Why don't you just pull                          some of that ogre stuff on him? Throttle                          him, lay siege to his fortress, grinds                          his bones to make your bread, the whole                          ogre trip.                                      SHREK                         Oh, I know what. Maybe I could have                          decapitated an entire village and put                          their heads on a pike, gotten a knife,                          cut open their spleen and drink their                          fluids. Does that sound good to you?                                                               DONKEY                         Uh, no, not really, no.                                     SHREK                         For your information, there's a lot                          more to ogres than people think.                                      DONKEY                         Example?                                     SHREK                         Example? Okay, um, ogres are like onions.                          (he holds out his onion)                                      DONKEY                         (sniffs the onion) They stink?                                     SHREK                         Yes - - No!                                     DONKEY                         They make you cry?                                     SHREK                         No!                                     DONKEY                         You leave them in the sun, they get                          all brown, start sproutin' little white                          hairs.                                      SHREK                         No! Layers! Onions have layers. Ogres                          have layers! Onions have layers. You                          get it? We both have layers. (he heaves                          a sigh and then walks off)                                      DONKEY                         (trailing after Shrek) Oh, you both                          have layers. Oh. {Sniffs} You know,                          not everybody likes onions. Cake! Everybody                          loves cakes! Cakes have layers.                                      SHREK                         I don't care... what everyone likes.                          Ogres are not like cakes.                                      DONKEY                         You know what else everybody likes?                          Parfaits. Have you ever met a person,                          you say, "Let's get some parfait," they                          say, "Hell no, I don't like no parfait"?                          Parfaits are delicious.                                      SHREK                         No! You dense, irritating, miniature                          beast of burden! Ogres are like onions!                          And of story. Bye-bye. See ya later.                                                               DONKEY                         Parfaits may be the most delicious thing                          on the whole damn planet.                                      SHREK                         You know, I think I preferred your humming.                                                               DONKEY                         Do you have a tissue or something? I'm                          making a mess. Just the word parfait                          make me start slobbering.                They head off. There is a montage of their journey. Walking through                a field at sunset. Sleeping beneath a bright moon. Shrek trying                to put the campfire out the next day and having a bit of a problem,                so Donkey pees on the fire to put it out.                DRAGON'S KEEP               Shrek and Donkey are walking up to the keep that's supposed to                house Princess Fiona. It appears to look like a giant volcano.                                                     DONKEY                         (sniffs) Ohh! Shrek! Did you do that?                          You gotta warn somebody before you just                          crack one off. My mouth was open and                          everything.                                      SHREK                         Believe me, Donkey, if it was me, you'd                          be dead. (sniffs) It's brimstone. We                          must be getting close.                                      DONKEY                         Yeah, right, brimstone. Don't be talking                          about it's the brimstone. I know what                          I smell. It wasn't no brimstone. It                          didn't come off no stone neither.                                         They climb up the side of the volcano/keep and look down. There                is a small piece of rock right in the center and that is where                the castle is. It is surrounded by boiling lava. It looks very                foreboding.                                      SHREK                         Sure, it's big enough, but look at the                          location. (laughs...then the laugh turns                          into a groan)                                      DONKEY                         Uh, Shrek? Uh, remember when you said                          ogres have layers?                                      SHREK                         Oh, aye.                                     DONKEY                         Well, I have a bit of a confession to                          make. Donkeys don't have layers. We                          wear our fear right out there on our                          sleeves.                                      SHREK                         Wait a second. Donkeys don't have sleeves.                                                               DONKEY                         You know what I mean.                                     SHREK                         You can't tell me you're afraid of heights.                                                               DONKEY                         No, I'm just a little uncomfortable                          about being on a rickety bridge over                          a boiling like of lava!                                      SHREK                         Come on, Donkey. I'm right here beside                          ya, okay? For emotional support., we'll                          just tackle this thing together one                          little baby step at a time.                                      DONKEY                         Really?                                     SHREK                         Really, really.                                     DONKEY                         Okay, that makes me feel so much better.                                                               SHREK                         Just keep moving. And don't look down.                                                               DONKEY                         Okay, don't look down. Don't look down.                          Don't look down. Keep on moving. Don't                          look down. (he steps through a rotting                          board and ends up looking straight down                          into the lava) Shrek! I'm lookin' down!                          Oh, God, I can't do this! Just let me                          off, please!                                      SHREK                         But you're already halfway.                                     DONKEY                         But I know that half is safe!                                     SHREK                         Okay, fine. I don't have time for this.                          You go back.                                      DONKEY                         Shrek, no! Wait!                                     SHREK                         Just, Donkey - - Let's have a dance                          then, shall me? (bounces and sways the                          bridge)                                      DONKEY                         Don't do that!                                     SHREK                         Oh, I'm sorry. Do what? Oh, this? (bounces                          the bridge again)                                      DONKEY                         Yes, that!                                     SHREK                         Yes? Yes, do it. Okay. (continues to                          bounce and sway as he backs Donkey across                          the bridge)                                      DONKEY                         No, Shrek! No! Stop it!                                     SHREK                         You said do it! I'm doin' it.                                     DONKEY                         I'm gonna die. I'm gonna die. Shrek,                          I'm gonna die. (steps onto solid ground)                          Oh!                                      SHREK                         That'll do, Donkey. That'll do. (walks                          towards the castle)                                      DONKEY                         Cool. So where is this fire-breathing                          pain-in-the-neck anyway?                                      SHREK                         Inside, waiting for us to rescue her.                          (chuckles)                                      DONKEY                         I was talkin' about the dragon, Shrek.                                         INSIDE THE CASTLE                                     DONKEY                         You afraid?                                     SHREK                         No.                                     DONKEY                         But...                                     SHREK                         Shh.                                     DONKEY                         Oh, good. Me neither. (sees a skeleton                          and gasps) 'Cause there's nothin' wrong                          with bein' afraid. Fear's a sensible                          response to an unfamiliar situation.                          Unfamiliar dangerous situation, I might                          add. With a dragon that breathes fire                          and eats knights and breathes fire,                          it sure doesn't mean you're a coward                          if you're a little scared. I sure as                          heck ain't no coward. I know that.                                                               SHREK                         Donkey, two things, okay? Shut ... up.                          Now go over there and see if you can                          find any stairs.                                      DONKEY                         Stairs? I thought we was lookin' for                          the princess.                                      SHREK                         (putting on a helmet) The princess will                          be up the stairs in the highest room                          in the tallest tower.                                      DONKEY                         What makes you think she'll be there?                                                               SHREK                         I read it in a book once. (walks off)                                                               DONKEY                         Cool. You handle the dragon. I'll handle                          the stairs. I'll find those stairs.                          I'll whip their butt too. Those stairs                          won't know which way they're goin'.                          (walks off)                EMPTY ROOM               Donkey is still talking to himself as he looks around the room.                                                     DONKEY                         I'm gonna take drastic steps. Kick it                          to the curb. Don't mess with me. I'm                          the stair master. I've mastered the                          stairs. I wish I had a step right here.                          I'd step all over it.                ELSEWHERE               Shrek spots a light in the tallest tower window.                                     SHREK                         Well, at least we know where the princess                          is, but where's the...                                      DONKEY                         (os) Dragon!               Donkey gasps and takes off running as the dragon roars again.                Shrek manages to grab Donkey out of the way just as the dragon                breathes fire.                                      SHREK                         Donkey, look out! (he manages to get                          a hold of the dragons tail and holds                          on) Got ya!                The dragon gets irritated at this and flicks it's tail and Shrek                goes flying through the air and crashes through the roof of the                tallest tower. Fiona wakes up with a jerk and looks at him lying                on the floor.                                      DONKEY                         Oh! Aah! Aah!               Donkey get cornered as the Dragon knocks away all but a small                part of the bridge he's on.                                      DONKEY                         No. Oh, no, No! (the dragon roars) Oh,                          what large teeth you have. (the dragon                          growls) I mean white, sparkling teeth.                          I know you probably hear this all time                          from your food, but you must bleach,                          'cause that is one dazzling smile you                          got there. Do I detect a hint of minty                          freshness? And you know what else? You're                          - - You're a girl dragon! Oh, sure!                          I mean, of course you're a girl dragon.                          You're just reeking of feminine beauty.                          (the dragon begins fluttering her eyes                          at him) What's the matter with you?                          You got something in your eye? Ohh.                          Oh. Oh. Man, I'd really love to stay,                          but you know, I'm, uh...(the dragon                          blows a smoke ring in the shape of a                          heart right at him, and he coughs) I'm                          an asthmatic, and I don't know if it'd                          work out if you're gonna blow smoke                          rings. Shrek! (the dragon picks him                          up with her teeth and carries him off)                          No! Shrek! Shrek! Shrek!                FIONA'S ROOM               Shrek groans as he gets up off the floor. His back is to Fiona                so she straightens her dress and lays back down on the bed. She                then quickly reaches over and gets the bouquet of flowers off                the side table. She then lays back down and appears to be asleep.                Shrek turns and goes over to her. He looks down at Fiona for                a moment and she puckers her lips. Shrek takes her by the shoulders                and shakes her away.                                      FIONA                         Oh! Oh!                                     SHREK                         Wake up!                                     FIONA                         What?                                     SHREK                         Are you Princess Fiona?                                     FIONA                         I am, awaiting a knight so bold as to                          rescue me.                                      SHREK                         Oh, that's nice. Now let's go!                                     FIONA                         But wait, Sir Knight. This be-ith our                          first meeting. Should it not be a wonderful,                          romantic moment?                                      SHREK                         Yeah, sorry, lady. There's no time.                                                               FIONA                         Hey, wait. What are you doing? You should                          sweep me off my feet out yonder window                          and down a rope onto your valiant steed.                                                               SHREK                         You've had a lot of time to plan this,                          haven't you?                                      FIONA                         (smiles) Mm-hmm.               Shrek breaks the lock on her door and pulls her out and down                the hallway.                                      FIONA                         But we have to savor this moment! You                          could recite an epic poem for me. A                          ballad? A sonnet! A limerick? Or something!                                                               SHREK                         I don't think so.                                     FIONA                         Can I at least know the name of my champion?                                                               SHREK                         Uh, Shrek.                                     FIONA                         Sir Shrek. (clears throat and holds                          out a handkerchief) I pray that you                          take this favor as a token of my gratitude.                                                               SHREK                         Thanks!               Suddenly they hear the dragon roar.                                     FIONA                         (surprised)You didn't slay the dragon?                                                               SHREK                         It's on my to-do list. Now come on!                          (takes off running and drags Fiona behind                          him.)                                      FIONA                         But this isn't right! You were meant                          to charge in, sword drawn, banner flying.                          That's what all the other knights did.                                                               SHREK                         Yeah, right before they burst into flame.                                                               FIONA                         That's not the point. (Shrek suddenly                          stops and she runs into him.) Oh! (Shrek                          ignores her and heads for a wooden door                          off to the side.) Wait. Where are you                          going? The exit's over there.                                      SHREK                         Well, I have to save my ass.                                     FIONA                         What kind of knight are you?                                     SHREK                         One of a kind. (opens the door into                          the throne room)                                      DONKEY                         (os) Slow down. Slow down, baby, please.                          I believe it's healthy to get to know                          someone over a long period of time.                          Just call me old-fashioned. (laughs                          worriedly) (we see him up close and                          from a distance as Shrek sneaks into                          the room) I don't want to rush into                          a physical relationship. I'm not emotionally                          ready for a commitment of, uh, this                          - - Magnitude really is the word I'm                          looking for. Magnitude- - Hey, that                          is unwanted physical contact. Hey, what                          are you doing? Okay, okay. Let's just                          back up a little and take this one step                          at a time. We really should get to know                          each other first as friends or pen pals.                          I'm on the road a lot, but I just love                          receiving cards - - I'd really love                          to stay, but - - Don't do that! That's                          my tail! That's my personal tail. You're                          gonna tear it off. I don't give permission                          - - What are you gonna do with that?                          Hey, now. No way. No! No! No, no! No.                          No, no, no. No! Oh!                Shrek grabs a chain that's connected to the chandelier and swings                toward the dragon. He misses and he swings back again. He looks                up and spots that the chandelier is right above the dragons head.                He pulls on the chain and it releases and he falls down and bumps                Donkey out of the way right as the dragon is about to kiss him.                Instead the dragon kisses Shreks' butt. She opens her eyes and                roars. Shrek lets go of the chain and the chandelier falls onto                her head, but it's too big and it goes over her head and forms                a sort of collar for her. She roars again and Shrek and Donkey                take off running. Very 'Matrix' style. Shrek grabs Donkey and                then grabs Princess Fiona as he runs past her.                                      DONKEY                         Hi, Princess!                                     FIONA                         It talks!                                     SHREK                         Yeah, it's getting him to shut up that's                          the trick.                They all start screaming as the dragon gains on them. Shrek spots                a descending slide and jumps on. But unfortunately there is a                crack in the stone and it hits Shrek right in the groin. His                eyes cross and as he reaches the bottom of the slide he stumbles                off and walks lightly.                                      SHREK                         Oh!               Shrek gets them close to the exit and sets down Donkey and Fiona.                                                     SHREK                         Okay, you two, heard for the exit! I'll                          take care of the dragon.                Shrek grabs a sword and heads back toward the interior of the                castle. He throws the sword down in between several overlapping                chain links. The chain links are attached to the chandelier that                is still around the dragons neck.                                      SHREK                         (echoing) Run!               They all take off running for the exit with the dragon in hot                pursuit. They make it to the bridge and head across. The dragons                breathes fire and the bridge begins to burn. They all hang on                for dear life as the ropes holding the bridge up collapse. They                are swung to the other side. As they hang upside down they look                in horror as the dragon makes to fly over the boiling lava to                get them. But suddenly the chandelier with the chain jerk the                dragon back and she's unable to get to them. Our gang climbs                quickly to safety as the dragon looks angry and then gives a                sad whimper as she watches Donkey walk away.                                      FIONA                         (sliding down the 'volcano' hill) You                          did it! You rescued me! You're amazing.                          (behind her Donkey falls down the hill)                          You're - - You're wonderful. You're...                          (turns and sees Shrek fall down the                          hill and bump into Donkey) a little                          unorthodox I'll admit. But thy deed                          is great, and thy heart is pure. I am                          eternally in your debt. (Donkey clears                          his throat.) And where would a brave                          knight be without his noble steed?                                                               DONKEY                         I hope you heard that. She called me                          a noble steed. She think I'm a steed.                                                               FIONA                         The battle is won. You may remove your                          helmet, good Sir Knight.                                      SHREK                         Uh, no.                                     FIONA                         Why not?                                     SHREK                         I have helmet hair.                                     FIONA                         Please. I would'st look upon the face                          of my rescuer.                                      SHREK                         No, no, you wouldn't - - 'st.                                     FIONA                         But how will you kiss me?                                     SHREK                         What? (to Donkey) That wasn't in the                          job description.                                      DONKEY                         Maybe it's a perk.                                     FIONA                         No, it's destiny. Oh, you must know                          how it goes. A princess locked in a                          tower and beset by a dragon is rescued                          by a brave knight, and then they share                          true love's first kiss.                                      DONKEY                         Hmm? With Shrek? You think- - Wait.                          Wait. You think that Shrek is you true                          love?                                      FIONA                         Well, yes.               Both Donkey and Shrek burst out laughing.                                     DONKEY                         You think Shrek is your true love!                                                               FIONA                         What is so funny?                                     SHREK                         Let's just say I'm not your type, okay?Fiona:                          Of course, you are. You're my rescuer.                          Now - - Now remove your helmet.                                      SHREK                         Look. I really don't think this is a                          good idea.                                      FIONA                         Just take off the helmet.                                     SHREK                         I'm not going to.                                     FIONA                         Take it off.                                     SHREK                         No!                                     FIONA                         Now!                                     SHREK                         Okay! Easy. As you command. Your Highness.                          (takes off his helmet)                                      FIONA                         You- - You're a- - an ogre.                                     SHREK                         Oh, you were expecting Prince Charming.                                                               FIONA                         Well, yes, actually. Oh, no. This is                          all wrong. You're not supposed to be                          an ogre.                                      SHREK                         Princess, I was sent to rescue you by                          Lord Farquaad, okay? He is the one who                          wants to marry you.                                      FIONA                         Then why didn't he come rescue me?                                                               SHREK                         Good question. You should ask him that                          when we get there.                                      FIONA                         But I have to be rescued by my true                          love, not by some ogre and his- - his                          pet.                                      DONKEY                         Well, so much for noble steed.                                     SHREK                         You're not making my job any easier.                                                               FIONA                         I'm sorry, but your job is not my problem.                          You can tell Lord Farquaad that if he                          wants to rescue me properly, I'll be                          waiting for him right here.                                      SHREK                         Hey! I'm no one's messenger boy, all                          right? (ominous) I'm a delivery boy.                          (he swiftly picks her up and swings                          her over his shoulder like she was a                          sack of potatoes)                                      FIONA                         You wouldn't dare. Put me down!                                     SHREK                         Ya comin', Donkey?                                     DONKEY                         I'm right behind ya.                                     FIONA                         Put me down, or you will suffer the                          consequences! This is not dignified!                          Put me down!                WOODS               A little time has passed and Fiona has calmed down. She just                hangs there limply while Shrek carries her.                                      DONKEY                         Okay, so here's another question. Say                          there's a woman that digs you, right,                          but you don't really like her that way.                          How do you let her down real easy so                          her feelings aren't hurt, but you don't                          get burned to a crisp and eaten?                                      FIONA                         You just tell her she's not your true                          love. Everyone knows what happens when                          you find your...(Shrek drops her on                          the ground) Hey! The sooner we get to                          DuLoc the better.                                      DONKEY                         You're gonna love it there, Princess.                          It's beautiful!                                      FIONA                         And what of my groom-to-be? Lord Farquaad?                          What's he like?                                      SHREK                         Let me put it this way, Princess. Men                          of Farquaad's stature are in short supply.                          (he and Donkey laugh)                Shrek then proceeds to splash water onto his face to wash off                the dust and grime.                                      DONKEY                         I don't know. There are those who think                          little of him. (they laugh again) Fiona:                          Stop it. Stop it, both of you. You're                          just jealous you can never measure up                          to a great ruler like Lord Farquaad.                                                               SHREK                         Yeah, well, maybe you're right, Princess.                          But I'll let you do the "measuring"                          when you see him tomorrow.                                      FIONA                         (looks at the setting sun) Tomorrow?                          It'll take that long? Shouldn't we stop                          to make camp?                                      SHREK                         No, that'll take longer. We can keep                          going.                                      FIONA                         But there's robbers in the woods.                                     DONKEY                         Whoa! Time out, Shrek! Camp is starting                          to sound good.                                      SHREK                         Hey, come on. I'm scarier than anything                          we're going to see in this forest.                                                               FIONA                         I need to find somewhere to camp now!                                         Both Donkey and Shrek's ears lower as they shrink away from her.                               MOUNTAIN CLIFF               Shrek has found a cave that appears to be in good order. He shoves                a stone boulder out of the way to reveal the cave.                                      SHREK                         Hey! Over here.                                     DONKEY                         Shrek, we can do better than that. I                          don't think this is fit for a princess.                                                               FIONA                         No, no, it's perfect. It just needs                          a few homey touches.                                      SHREK                         Homey touches? Like what? (he hears                          a tearing noise and looks over at Fiona                          who has torn the bark off of a tree.)                                                               FIONA                         A door? Well, gentlemen, I bid thee                          good night. (goes into the cave and                          puts the bark door up behind her)                                                               DONKEY                         You want me to read you a bedtime story?                          I will.                                      FIONA                         (os) I said good night!               Shrek looks at Donkey for a second and then goes to move the                boulder back in front of the entrance to the cave with Fiona                still inside.                                      DONKEY                         Shrek, What are you doing?                                     SHREK                         (laughs) I just- - You know - - Oh,                          come on. I was just kidding.                LATER THAT NIGHT               Shrek and Donkey are sitting around a campfire. They are staring                up into the sky as Shrek points out certain star constellations                to Donkey.                                      SHREK                         And, uh, that one, that's Throwback,                          the only ogre to ever spit over three                          wheat fields.                                      DONKEY                         Right. Yeah. Hey, can you tell my future                          from these stars?                                      SHREK                         The stars don't tell the future, Donkey.                          They tell stories. Look, there's Bloodnut,                          the Flatulent. You can guess what he's                          famous for.                                      DONKEY                         I know you're making this up.                                     SHREK                         No, look. There he is, and there's the                          group of hunters running away from his                          stench.                                      DONKEY                         That ain't nothin' but a bunch of little                          dots.                                      SHREK                         You know, Donkey, sometimes things are                          more than they appear. Hmm? Forget it.                                                               DONKEY                         (heaves a big sigh) Hey, Shrek, what                          we gonna do when we get our swamp anyway?                                                               SHREK                         Our swamp?                                     DONKEY                         You know, when we're through rescuing                          the princess.                                      SHREK                         We? Donkey, there's no "we". There's                          no "our". There's just me and my swamp.                          The first thing I'm gonna do is build                          a ten-foot wall around my land.                                      DONKEY                         You cut me deep, Shrek. You cut me real                          deep just now. You know what I think?                          I think this whole wall thing is just                          a way to keep somebody out.                                      SHREK                         No, do ya think?                                     DONKEY                         Are you hidin' something?                                     SHREK                         Never mind, Donkey.                                     DONKEY                         Oh, this is another one of those onion                          things, isn't it?                                      SHREK                         No, this is one of those drop-it and                          leave-it alone things.                                      DONKEY                         Why don't you want to talk about it?                                                               SHREK                         Why do you want to talk about it?                                     DONKEY                         Why are you blocking?                                     SHREK                         I'm not blocking.                                     DONKEY                         Oh, yes, you are.                                     SHREK                         Donkey, I'm warning you.                                     DONKEY                         Who you trying to keep out?                                     SHREK                         Everyone! Okay?                                     DONKEY                         (pause) Oh, now we're gettin' somewhere.                          (grins)                At this point Fiona pulls the 'door' away from the entrance to                the cave and peaks out. Neither of the guys see her.                                      SHREK                         Oh! For the love of Pete! (gets up and                          walks over to the edge of the cliff                          and sits down)                                      DONKEY                         What's your problem? What you got against                          the whole world anyway?                                      SHREK                         Look, I'm not the one with the problem,                          okay? It's the world that seems to have                          a problem with me. People take one look                          at me and go. "Aah! Help! Run! A big,                          stupid, ugly ogre!" They judge me before                          they even know me. That's why I'm better                          off alone.                                      DONKEY                         You know what? When we met, I didn't                          think you was just a big, stupid, ugly                          ogre.                                      SHREK                         Yeah, I know.                                     DONKEY                         So, uh, are there any donkeys up there?                                                               SHREK                         Well, there's, um, Gabby, the Small                          and Annoying.                                      DONKEY                         Okay, okay, I see it now. The big shiny                          one, right there. That one there?                                         Fiona puts the door back.                                     SHREK                         That's the moon.                                     DONKEY                         Oh, okay.               DuLoc - Farquaad's Bedroom               The camera pans over a lot of wedding stuff. Soft music plays                in the background. Farquaad is in bed, watching as the Magic                Mirror shows him Princess Fiona.                                      FARQUAAD                         Again, show me again. Mirror, mirror,                          show her to me. Show me the princess.                                                               MIRROR                         Hmph.               The Mirror rewinds and begins to play again from the beginning.                                                     FARQUAAD                         Ah. Perfect.               Farquaad looks down at his bare chest and pulls the sheet up                to cover himself as though Fiona could see him as he gazes sheepishly                at her image in the mirror.                MORNING               Fiona walks out of the cave. She glances at Shrek and Donkey                who are still sleeping. She wanders off into the woods and comes                across a blue bird. She begins to sing. The bird sings along                with her. She hits higher and higher notes and the bird struggles                to keep up with her. Suddenly the pressure of the note is too                big and the bird explodes. Fiona looks a little sheepish, but                she eyes the eggs that the bird left behind. Time lapse, Fiona                is now cooking the eggs for breakfast. Shrek and Donkey are still                sleeping. Shrek wakes up and looks at Fiona. Donkey's talking                in his sleep.                                      DONKEY                         (quietly) Mmm, yeah, you know I like                          it like that. Come on, baby. I said                          I like it.                                      SHREK                         Donkey, wake up. (shakes him)                                     DONKEY                         Huh? What?                                     SHREK                         Wake up.                                     DONKEY                         What? (stretches and yawns)                                     FIONA                         Good morning. Hm, how do you like your                          eggs?                                      DONKEY                         Oh, good morning, Princess!               Fiona gets up and sets the eggs down in front of them.                                     SHREK                         What's all this about?                                     FIONA                         You know, we kind of got off to a bad                          start yesterday. I wanted to make it                          up to you. I mean, after all, you did                          rescue me.                                      SHREK                         Uh, thanks.               Donkey sniffs the eggs and licks his lips.                                     FIONA                         Well, eat up. We've got a big day ahead                          of us. (walks off)                LATER               They are once again on their way. They are walking through the                forest. Shrek belches.                                      DONKEY                         Shrek!                                     SHREK                         What? It's a compliment. Better out                          than in, I always say. (laughs)                                      DONKEY                         Well, it's no way to behave in front                          of a princess.                Fiona belches                                     FIONA                         Thanks.                                     DONKEY                         She's as nasty as you are.                                     SHREK                         (chuckles) You know, you're not exactly                          what I expected.                                      FIONA                         Well, maybe you shouldn't judge people                          before you get to know them.                She smiles and then continues walking, singing softly. Suddenly                from out of nowhere, a man swings down and swoops Fiona up into                a tree.                                      ROBIN HOOD                         La liberte! Hey!                                     SHREK                         Princess!                                     FIONA                         (to Robin Hood) What are you doing?                                                               ROBIN HOOD                         Be still, mon cherie, for I am you savior!                          And I am rescuing you from this green...(kisses                          up her arm while Fiona pulls back in                          disgust)...beast.                                      SHREK                         Hey! That's my princess! Go find you                          own!                                      ROBIN HOOD                         Please, monster! Can't you see I'm a                          little busy here?                                      FIONA                         (getting fed up) Look, pal, I don't                          know who you think you are!                                      ROBIN HOOD                         Oh! Of course! Oh, how rude. Please                          let me introduce myself. Oh, Merry Men.                          (laughs)                Suddenly an accordion begins to play and the Merry men pop out                from the bushes. They begin to sing Robin's theme song.                                      MERRY MEN                         Ta, dah, dah, dah, whoo.                                     ROBIN HOOD                         I steal from the rich and give to the                          needy.                                      MERRY MEN                         He takes a wee percentage,                                     ROBIN HOOD                         But I'm not greedy. I rescue pretty                          damsels, man, I'm good.                                      MERRY MEN                         What a guy, Monsieur Hood.                                     ROBIN HOOD                         Break it down. I like an honest fight                          and a saucy little maid...                                      MERRY MEN                         What he's basically saying is he likes                          to get...                                      ROBIN HOOD                         Paid. So...When an ogre in the bush                          grabs a lady by the tush. That's bad.                                                               MERRY MEN                         That's bad.                                     ROBIN HOOD                         When a beauty's with a beast it makes                          me awfully mad.                                      MERRY MEN                         He's mad, he's really, really mad.                                                               ROBIN HOOD                         I'll take my blade and ram it through                          your heart, keep your eyes on me, boys                          'cause I'm about to start...                There is a grunt as Fiona swings down from the tree limb and                knocks Robin Hood unconscious.                                      FIONA                         Man, that was annoying!               Shrek looks at her in admiration.                                     MERRY MAN                         Oh, you little- - (shoots an arrow at                          Fiona but she ducks out of the way)                                         The arrow flies toward Donkey who jumps into Shrek's arms to                get out of the way. The arrow proceeds to just bounce off a tree.                               Another fight sequence begins and Fiona gives a karate yell and                then proceeds to beat the crap out of the Merry Men. There is                a very interesting 'Matrix' moment here when Fiona pauses in                mid-air to fix her hair. Finally all of the Merry Men are down,                and Fiona begins walking away.                                      FIONA                         Uh, shall we?                                     SHREK                         Hold the phone. (drops Donkey and begins                          walking after Fiona) Oh! Whoa, whoa,                          whoa. Hold on now. Where did that come                          from?                                      FIONA                         What?                                     SHREK                         That! Back there. That was amazing!                          Where did you learn that?                                      FIONA                         Well...(laughs) when one lives alone,                          uh, one has to learn these things in                          case there's a...(gasps and points)                          there's an arrow in your butt!                                      SHREK                         What? (turns and looks) Oh, would you                          look at that? (he goes to pull it out                          but flinches because it's tender)                                                               FIONA                         Oh, no. This is all my fault. I'm so                          sorry.                                      DONKEY                         (walking up) Why? What's wrong?                                     FIONA                         Shrek's hurt.                                     DONKEY                         Shrek's hurt. Shrek's hurt? Oh, no,                          Shrek's gonna die.                                      SHREK                         Donkey, I'm okay.                                     DONKEY                         You can't do this to me, Shrek. I'm                          too young for you to die. Keep you legs                          elevated. Turn your head and cough.                          Does anyone know the Heimlich?                                      FIONA                         Donkey! Calm down. If you want to help                          Shrek, run into the woods and find me                          a blue flower with red thorns.                                      DONKEY                         Blue flower, red thorns. Okay, I'm on                          it. Blue flower, red thorns. Don't die                          Shrek. If you see a long tunnel, stay                          away from the light!                                      SHREK & FIONA                         Donkey!                                     DONKEY                         Oh, yeah. Right. Blue flower, red thorns.                          (runs off)                                      SHREK                         What are the flowers for?                                     FIONA                         (like it's obvious) For getting rid                          of Donkey.                                      SHREK                         Ah.                                     FIONA                         Now you hold still, and I'll yank this                          thing out. (gives the arrow a little                          pull)                                      SHREK                         (jumps away) Ow! Hey! Easy with the                          yankin'.                As they continue to talk Fiona keeps going after the arrow and                Shrek keeps dodging her hands.                                      FIONA                         I'm sorry, but it has to come out.                                                               SHREK                         No, it's tender.                                     FIONA                         Now, hold on.                                     SHREK                         What you're doing is the opposite of                          help.                                      FIONA                         Don't move.                                     SHREK                         Look, time out.                                     FIONA                         Would you...(grunts as Shrek puts his                          hand over her face to stop her from                          getting at the arrow) Okay. What do                          you propose we do?                ELSEWHERE               Donkey is still looking for the special flower.                                     DONKEY                         Blue flower, red thorns. Blue flower,                          red thorns. Blue flower, red thorns.                          This would be so much easier if I wasn't                          color-blind! Blue flower, red thorns.                                                               SHREK                         (os) Ow!                                     DONKEY                         Hold on, Shrek! I'm comin'! (rips a                          flower off a nearby bush that just happens                          to be a blue flower with red thorns)                                         THE FOREST PATH                                     SHREK                         Ow! Not good.                                     FIONA                         Okay. Okay. I can nearly see the head.                          (Shrek grunts as she pulls) It's just                          about...                                      SHREK                         Ow! Ohh! (he jerks and manages to fall                          over with Fiona on top of him)                                      DONKEY                         Ahem.                                     SHREK                         (throwing Fiona off of him) Nothing                          happend. We were just, uh - -                                      DONKEY                         Look, if you wanted to be alone, all                          you had to do was ask. Okay?                                      SHREK                         Oh, come on! That's the last thing on                          my mind. The princess here was just-                          - (Fiona pulls the arrow out) Ugh! (he                          turns to look at Fiona who holds up                          the arrow with a smile) Ow!                                      DONKEY                         Hey, what's that? (nervous chuckle)                          That's...is that blood?                Donkey faints. Shrek walks over and picks him up as they continue                on their way.                There is a montage of scenes as the group heads back to DuLoc.                Shrek crawling up to the top of a tree to make it fall over a                small brook so that Fiona won't get wet. Shrek then gets up as                Donkey is just about to cross the tree and the tree swings back                into it's upright position and Donkey flies off. Shrek swatting                and a bunch of flies and mosquitoes. Fiona grabs a nearby spiderweb                that's on a tree branch and runs through the field swinging it                around to catch the bugs. She then hands it to Shrek who begins                eating like it's a treat. As he walks off she licks her fingers.                Shrek catching a toad and blowing it up like a balloon and presenting                it to Fiona. Fiona catching a snake, blowing it up, fashioning                it into a balloon animal and presenting it to Shrek. The group                arriving at a windmill that is near DuLoc.                WINDMILL                                     SHREK                         There it is, Princess. Your future awaits                          you.                                      FIONA                         That's DuLoc?                                     DONKEY                         Yeah, I know. You know, Shrek thinks                          Lord Farquaad's compensating for something,                          which I think means he has a really...(Shrek                          steps on his hoof) Ow!                                      SHREK                         Um, I, uh- - I guess we better move                          on.                                      FIONA                         Sure. But, Shrek? I'm - - I'm worried                          about Donkey.                                      SHREK                         What?                                     FIONA                         I mean, look at him. He doesn't look                          so good.                                      DONKEY                         What are you talking about? I'm fine.                                                               FIONA                         (kneels to look him in the eyes) That's                          what they always say, and then next                          thing you know, you're on your back.                          (pause) Dead.                                      SHREK                         You know, she's right. You look awful.                          Do you want to sit down?                                      FIONA                         Uh, you know, I'll make you some tea.                                                               DONKEY                         I didn't want to say nothin', but I                          got this twinge in my neck, and when                          I turn my head like this, look, (turns                          his neck in a very sharp way until his                          head is completely sideways) Ow! See?                                                               SHREK                         Who's hungry? I'll find us some dinner.                                                               FIONA                         I'll get the firewood.                                     DONKEY                         Hey, where you goin'? Oh, man, I can't                          feel my toes! (looks down and yelps)                          I don't have any toes! I think I need                          a hug.                SUNSET               Shrek has built a fire and is cooking the rest of dinner while                Fiona eats.                                      FIONA                         Mmm. This is good. This is really good.                          What is this?                                      SHREK                         Uh, weed rat. Rotisserie style.                                     FIONA                         No kidding. Well, this is delicious.                                                               SHREK                         Well, they're also great in stews. Now,                          I don't mean to brag, but I make a mean                          weed rat stew. (chuckles)                Fiona looks at DuLoc and sighs.                                     FIONA                         I guess I'll be dining a little differently                          tomorrow night.                                      SHREK                         Maybe you can come visit me in the swamp                          sometime. I'll cook all kind of stuff                          for you. Swamp toad soup, fish eye tartare                          - - you name it.                                      FIONA                         (smiles) I'd like that.               They smiles at each other.                                     SHREK                         Um, Princess?                                     FIONA                         Yes, Shrek?                                     SHREK                         I, um, I was wondering...are you...(sighs)                          Are you gonna eat that?                                      DONKEY                         (chuckles) Man, isn't this romantic?                          Just look at that sunset.                                      FIONA                         (jumps up) Sunset? Oh, no! I mean, it's                          late. I-It's very late.                                      SHREK                         What?                                     DONKEY                         Wait a minute. I see what's goin' on                          here. You're afraid of the dark, aren't                          you?                                      FIONA                         Yes! Yes, that's it. I'm terrified.                          You know, I'd better go inside.                                      DONKEY                         Don't feel bad, Princess. I used to                          be afraid of the dark, too, until -                          - Hey, no, wait. I'm still afraid of                          the dark.                Shrek sighs                                     FIONA                         Good night.                                     SHREK                         Good night.               Fiona goes inside the windmill and closes the door. Donkey looks                at Shrek with a new eye.                                      DONKEY                         Ohh! Now I really see what's goin' on                          here.                                      SHREK                         Oh, what are you talkin' about?                                     DONKEY                         I don't even wanna hear it. Look, I'm                          an animal, and I got instincts. And                          I know you two were diggin' on each                          other. I could feel it.                                      SHREK                         You're crazy. I'm just bringing her                          back to Farquaad.                                      DONKEY                         Oh, come on, Shrek. Wake up and smell                          the pheromones. Just go on in and tell                          her how you feel.                                      SHREK                         I- - There's nothing to tell. Besides,                          even if I did tell her that, well, you                          know - - and I'm not sayin' I do 'cause                          I don't - - she's a princess, and I'm                          - -                                      DONKEY                         An ogre?                                     SHREK                         Yeah. An ogre.                                     DONKEY                         Hey, where you goin'?                                     SHREK                         To get... move firewood. (sighs)               Donkey looks over at the large pile of firewood there already                is.                TIME LAPSE               Donkey opens the door to the Windmill and walks in. Fiona is                nowhere to be seen.                                      DONKEY                         Princess? Princess Fiona? Princess,                          where are you? Princess?                Fiona looks at Donkey from the shadows, but we can't see her.                                                     DONKEY                         It's very spooky in here. I ain't playing                          no games.                Suddenly Fiona falls from the railing. She gets up only she doesn't                look like herself. She looks like an ogre and Donkey starts freaking                out.                                      DONKEY                         Aah!                                     FIONA                         Oh, no!                                     DONKEY                         No, help!                                     FIONA                         Shh!                                     DONKEY                         Shrek! Shrek! Shrek!                                     FIONA                         No, it's okay. It's okay.                                     DONKEY                         What did you do with the princess?                                                               FIONA                         Donkey, I'm the princess.                                     DONKEY                         Aah!                                     FIONA                         It's me, in this body.                                     DONKEY                         Oh, my God! You ate the princess. (to                          her stomach) Can you hear me?                                      FIONA                         Donkey!                                     DONKEY                         (still aimed at her stomach) Listen,                          keep breathing! I'll get you out of                          there!                                      FIONA                         No!                                     DONKEY                         Shrek! Shrek! Shrek!                                     FIONA                         Shh.                                     DONKEY                         Shrek!                                     FIONA                         This is me.               Donkey looks into her eyes as she pets his muzzle, and he quiets                down.                                      DONKEY                         Princess? What happened to you? You're,                          uh, uh, uh, different.                                      FIONA                         I'm ugly, okay?                                     DONKEY                         Well, yeah! Was it something you ate?                          'Cause I told Shrek those rats was a                          bad idea. You are what you eat, I said.                          Now - -                                      FIONA                         No. I - - I've been this way as long                          as I can remember.                                      DONKEY                         What do you mean? Look, I ain't never                          seen you like this before.                                      FIONA                         It only happens when sun goes down.                          "By night one way, by day another. This                          shall be the norm... until you find                          true love's first kiss... and then take                          love's true form."                                      DONKEY                         Ah, that's beautiful. I didn't know                          you wrote poetry.                                      FIONA                         It's a spell. (sigh) When I was a little                          girl, a witch cast a spell on me. Every                          night I become this. This horrible,                          ugly beast! I was placed in a tower                          to await the day my true love would                          rescue me. That's why I have to marry                          Lord Farquaad tomorrow before the sun                          sets and he sees me like this. (begins                          to cry)                                      DONKEY                         All right, all right. Calm down. Look,                          it's not that bad. You're not that ugly.                          Well, I ain't gonna lie. You are ugly.                          But you only look like this at night.                          Shrek's ugly 24-7.                                      FIONA                         But Donkey, I'm a princess, and this                          is not how a princess is meant to look.                                                               DONKEY                         Princess, how 'bout if you don't marry                          Farquaad?                                      FIONA                         I have to. Only my true love's kiss                          can break the spell.                                      DONKEY                         But, you know, um, you're kind of an                          orge, and Shrek - - well, you got a                          lot in common.                                      FIONA                         Shrek?               OUTSIDE               Shrek is walking towards the windmill with a sunflower in his                hand.                                      SHREK                         (to himself) Princess, I - - Uh, how's                          it going, first of all? Good? Um, good                          for me too. I'm okay. I saw this flower                          and thought of you because it's pretty                          and - - well, I don't really like it,                          but I thought you might like it 'cause                          you're pretty. But I like you anyway.                          I'd - - uh, uh...(sighs) I'm in trouble.                          Okay, here we go.                He walks up to the door and pauses outside when he hears Donkey                and Fiona talking.                                      FIONA                         (os) I can't just marry whoever I want.                          Take a good look at me, Donkey. I mean,                          really, who can ever love a beast so                          hideous and ugly? "Princess" and "ugly"                          don't go together. That's why I can't                          stay here with Shrek.                Shrek steps back in shock.                                     FIONA                         (os) My only chance to live happily                          ever after is to marry my true love.                                         Shrek heaves a deep sigh. He throws the flower down and walks                away.                INSIDE                                     FIONA                         Don't you see, Donkey? That's just how                          it has to be. It's the only way to break                          the spell.                                      DONKEY                         You at least gotta tell Shrek the truth.                                                               FIONA                         No! You can't breathe a word. No one                          must ever know.                                      DONKEY                         What's the point of being able to talk                          if you gotta keep secrets?                                      FIONA                         Promise you won't tell. Promise!                                     DONKEY                         All right, all right. I won't tell him.                          But you should. (goes outside) I just                          know before this is over, I'm gonna                          need a whole lot of serious therapy.                          Look at my eye twitchin'.                Fiona comes out the door and watches him walk away. She looks                down and spots the sunflower. She picks it up before going back                inside the windmill.                MORNING               Donkey is asleep. Shrek is nowhere to be seen. Fiona is still                awake. She is plucking petals from the sunflower.                                      FIONA                         I tell him, I tell him not. I tell him,                          I tell him not. I tell him. (she quickly                          runs to the door and goes outside) Shrek!                          Shrek, there's something I want...(she                          looks and sees the rising sun, and as                          the sun crests the sky she turns back                          into a human.)                Just as she looks back at the sun she sees Shrek stomping towards                her.                                      FIONA                         Shrek. Are you all right?                                     SHREK                         Perfect! Never been better.                                     FIONA                         I - - I don't - - There's something                          I have to tell you.                                      SHREK                         You don't have to tell me anything,                          Princess. I heard enough last night.                                                               FIONA                         You heard what I said?                                     SHREK                         Every word.                                     FIONA                         I thought you'd understand.                                     SHREK                         Oh, I understand. Like you said, "Who                          could love a hideous, ugly beast?"                                                               FIONA                         But I thought that wouldn't matter to                          you.                                      SHREK                         Yeah? Well, it does. (Fiona looks at                          him in shock. He looks past her and                          spots a group approaching.) Ah, right                          on time. Princess, I've brought you                          a little something.                Farquaad has arrived with a group of his men. He looks very regal                sitting up on his horse. You would never guess that he's only                like 3 feet tall. Donkey wakes up with a yawn as the soldiers                march by.                                      DONKEY                         What'd I miss? What'd I miss? (spots                          the soldiers) (muffled) Who said that?                          Couldn't have been the donkey.                                      FARQUAAD                         Princess Fiona.                                     SHREK                         As promised. Now hand it over.                                     FARQUAAD                         Very well, ogre. (holds out a piece                          of paper) The deed to your swamp, cleared                          out, as agreed. Take it and go before                          I change my mind. (Shrek takes the paper)                          Forgive me, Princess, for startling                          you, but you startled me, for I have                          never seen such a radiant beauty before.                          I'm Lord Farquaad.                                      FIONA                         Lord Farquaad? Oh, no, no. (Farquaad                          snaps his fingers) Forgive me, my lord,                          for I was just saying a short... (Watches                          as Farquaad is lifted off his horse                          and set down in front of her. He comes                          to her waist.) farewell.                                      FARQUAAD                         Oh, that is so sweet. You don't have                          to waste good manners on the ogre. It's                          not like it has feelings.                                      FIONA                         No, you're right. It doesn't.               Donkey watches this exchange with a curious look on his face.                                                     FARQUAAD                         Princess Fiona, beautiful, fair, flawless                          Fiona. I ask your hand in marriage.                          Will you be the perfect bride for the                          perfect groom?                                      FIONA                         Lord Farquaad, I accept. Nothing would                          make - -                                      FARQUAAD                         (interrupting) Excellent! I'll start                          the plans, for tomorrow we wed!                                      FIONA                         No! I mean, uh, why wait? Let's get                          married today before the sun sets.                                                               FARQUAAD                         Oh, anxious, are you? You're right.                          The sooner, the better. There's so much                          to do! There's the caterer, the cake,                          the band, the guest list. Captain, round                          up some guests! (a guard puts Fiona                          on the back of his horse)                                      FIONA                         Fare-thee-well, ogre.               Farquaad's whole party begins to head back to DuLoc. Donkey watches                them go.                                      DONKEY                         Shrek, what are you doing? You're letting                          her get away.                                      SHREK                         Yeah? So what?                                     DONKEY                         Shrek, there's something about her you                          don't know. Look, I talked to her last                          night, She's - -                                      SHREK                         I know you talked to her last night.                          You're great pals, aren't ya? Now, if                          you two are such good friends, why don't                          you follow her home?                                      DONKEY                         Shrek, I - - I wanna go with you.                                     SHREK                         I told you, didn't I? You're not coming                          home with me. I live alone! My swamp!                          Me! Nobody else! Understand? Nobody!                          Especially useless, pathetic, annoying,                          talking donkeys!                                      DONKEY                         But I thought - -                                     SHREK                         Yeah. You know what? You thought wrong!                          (stomps off)                                      DONKEY                         Shrek.               Montage of different scenes. Shrek arriving back home. Fiona                being fitted for the wedding dress. Donkey at a stream running                into the dragon. Shrek cleaning up his house. Fiona eating dinner                alone. Shrek eating dinner alone.                SHREK'S HOME               Shrek is eating dinner when he hears a sound outside. He goes                outside to investigate.                                      SHREK                         Donkey? (Donkey ignores him and continues                          with what he's doing.) What are you                          doing?                                      DONKEY                         I would think, of all people, you would                          recognize a wall when you see one.                                                               SHREK                         Well, yeah. But the wall's supposed                          to go around my swamp, not through it.                                                               DONKEY                         It is around your half. See that's your                          half, and this is my half.                                      SHREK                         Oh! Your half. Hmm.                                     DONKEY                         Yes, my half. I helped rescue the princess.                          I did half the work. I get half the                          booty. Now hand me that big old rock,                          the one that looks like your head.                                                               SHREK                         Back off!                                     DONKEY                         No, you back off.                                     SHREK                         This is my swamp!                                     DONKEY                         Our swamp.                                     SHREK                         (grabs the tree branch Donkey is working                          with) Let go, Donkey!                                      DONKEY                         You let go.                                     SHREK                         Stubborn jackass!                                     DONKEY                         Smelly ogre.                                     SHREK                         Fine! (drops the tree branch and walks                          away)                                      DONKEY                         Hey, hey, come back here. I'm not through                          with you yet.                                      SHREK                         Well, I'm through with you.                                     DONKEY                         Uh-uh. You know, with you it's always,                          "Me, me, me!" Well, guess what! Now                          it's my turn! So you just shut up and                          pay attention! You are mean to me. You                          insult me and you don't appreciate anything                          that I do! You're always pushing me                          around or pushing me away.                                      SHREK                         Oh, yeah? Well, if I treated you so                          bad, how come you came back?                                      DONKEY                         Because that's what friends do! They                          forgive each other!                                      SHREK                         Oh, yeah. You're right, Donkey. I forgive                          you... for stabbin' me in the back!                          (goes into the outhouse and slams the                          door)                                      DONKEY                         Ohh! You're so wrapped up in layers,                          onion boy, you're afraid of your own                          feelings.                                      SHREK                         (os) Go away!                                     DONKEY                         There you are , doing it again just                          like you did to Fiona. All she ever                          do was like you, maybe even love you.                                                               SHREK                         (os) Love me? She said I was ugly, a                          hideous creature. I heard the two of                          you talking.                                      DONKEY                         She wasn't talkin' about you. She was                          talkin' about, uh, somebody else.                                                               SHREK                         (opens the door and comes out) She wasn't                          talking about me? Well, then who was                          she talking about?                                      DONKEY                         Uh-uh, no way. I ain't saying anything.                          You don't wanna listen to me. Right?                          Right?                                      SHREK                         Donkey!                                     DONKEY                         No!                                     SHREK                         Okay, look. I'm sorry, all right? (sigh)                          I'm sorry. I guess I am just a big,                          stupid, ugly ogre. Can you forgive me?                                                               DONKEY                         Hey, that's what friends are for, right?                                                               SHREK                         Right. Friends?                                     DONKEY                         Friends.                                     SHREK                         So, um, what did Fiona say about me?                                                               DONKEY                         What are you asking me for? Why don't                          you just go ask her?                                      SHREK                         The wedding! We'll never make it in                          time.                                      DONKEY                         Ha-ha-ha! Never fear, for where, there's                          a will, there's a way and I have a way.                          (whistles)                Suddenly the dragon arrives overhead and flies low enough so                they can climb on.                                      SHREK                         Donkey?                                     DONKEY                         I guess it's just my animal magnetism.                                         They both laugh.                                     SHREK                         Aw, come here, you. (gives Donkey a                          noogie)                                      DONKEY                         All right, all right. Don't get all                          slobbery. No one likes a kiss ass. All                          right, hop on and hold on tight. I haven't                          had a chance to install the seat belts                          yet.                They climb aboard the dragon and she takes off for DuLoc.               DULOC - CHURCH               Fiona and Farquaad are getting married. The whole town is there.                The prompter card guy holds up a card that says 'Revered Silence'.                                                     PRIEST                         People of DuLoc, we gather here today                          to bear witness to the union....                                      FIONA                         (eyeing the setting sun) Um-                                     PRIEST                         ...of our new king...                                     FIONA                         Excuse me. Could we just skip ahead                          to the "I do's"?                                      FARQUAAD                         (chuckles and then motions to the priest                          to indulge Fiona) Go on.                COURTYARD               Some guards are milling around. Suddenly the dragon lands with                a boom. The guards all take off running.                                      DONKEY                         (to Dragon) Go ahead, HAVE SOME FUN.                          If we need you, I'll whistle. How about                          that? (she nods and goes after the guards)                          Shrek, wait, wait! Wait a minute! You                          wanna do this right, don't you?                                      SHREK                         (at the Church door) What are you talking                          about?                                      DONKEY                         There's a line you gotta wait for. The                          preacher's gonna say, "Speak now or                          forever hold your peace." That's when                          you say, "I object!"                                      SHREK                         I don't have time for this!                                     DONKEY                         Hey, wait. What are you doing? Listen                          to me! Look, you love this woman, don't                          you?                                      SHREK                         Yes.                                     DONKEY                         You wanna hold her?                                     SHREK                         Yes.                                     DONKEY                         Please her?                                     SHREK                         Yes!                                     DONKEY                         (singing James Brown style) Then you                          got to, got to try a little tenderness.                          (normal) The chicks love that romantic                          crap!                                      SHREK                         All right! Cut it out. When does this                          guy say the line?                                      DONKEY                         We gotta check it out.               INSIDE CHURCH               As the priest talks we see Donkey's shadow through one of the                windows Shrek tosses him up so he can see.                                      PRIEST                         And so, by the power vested in me...                                         Outside                                     SHREK                         What do you see?                                     DONKEY                         The whole town's in there.               Inside                                     PRIEST                         I now pronounce you husband and wife...                                         Outside                                     DONKEY                         They're at the altar.               Inside                                     PRIEST                         ...king and queen.               Outside                                     DONKEY                         Mother Fletcher! He already said it.                                                               SHREK                         Oh, for the love of Pete!               He runs inside without catching Donkey, who hits the ground hard.                               INSIDE CHURCH                                     SHREK                         (running toward the alter) I object!                                                               FIONA                         Shrek?               The whole congregation gasps as they see Shrek.                                     FARQUAAD                         Oh, now what does he want?                                     SHREK                         (to congregation as he reaches the front                          of the Church) Hi, everyone. Havin'                          a good time, are ya? I love DuLoc, first                          of all. Very clean.                                      FIONA                         What are you doing here?                                     SHREK                         Really, it's rude enough being alive                          when no one wants you, but showing up                          uninvited to a wedding...                                      SHREK                         Fiona! I need to talk to you.                                     FIONA                         Oh, now you wanna talk? It's a little                          late for that, so if you'll excuse me                          - -                                      SHREK                         But you can't marry him.                                     FIONA                         And why not?                                     SHREK                         Because- - Because he's just marring                          you so he can be king.                                      FARQUAAD                         Outrageous! Fiona, don't listen to him.                                                               SHREK                         He's not your true love.                                     FIONA                         And what do you know about true love?                                                               SHREK                         Well, I - - Uh - - I mean - -                                     FARQUAAD                         Oh, this is precious. The ogee has fallen                          in love with the princess! Oh, good                          Lord. (laughs)                The prompter card guy holds up a card that says 'Laugh'. The                whole congregation laughs.                                      FARQUAAD                         An ogre and a princess!                                     FIONA                         Shrek, is this true?                                     FARQUAAD                         Who cares? It's preposterous! Fiona,                          my love, we're but a kiss away from                          our "happily ever after." Now kiss me!                          (puckers his lips and leans toward her,                          but she pulls back.)                                      FIONA                         (looking at the setting sun) "By night                          one way, by day another." (to Shrek)                          I wanted to show you before.                She backs up and as the sun sets she changes into her ogre self.                She gives Shrek a sheepish smile.                                      SHREK                         Well, uh, that explains a lot. (Fiona                          smiles)                                      FARQUAAD                         Ugh! It's disgusting! Guards! Guards!                          I order you to get that out of my sight                          now! Get them! Get them both!                The guards run in and separate Fiona and Shrek. Shrek fights                them.                                      SHREK                         No, no!                                     FIONA                         Shrek!                                     FARQUAAD                         This hocus-pocus alters nothing. This                          marriage is binding, and that makes                          me king! See? See?                                      FIONA                         No, let go of me! Shrek!                                     SHREK                         No!                                     FARQUAAD                         Don't just stand there, you morons.                                                               SHREK                         Get out of my way! Fiona! Arrgh!                                     FARQUAAD                         I'll make you regret the day we met.                          I'll see you drawn and quartered! You'll                          beg for death to save you!                                      FIONA                         No, Shrek!                                     FARQUAAD                         (hold a dagger to Fiona's throat) And                          as for you, my wife...                                      SHREK                         Fiona!                                     FARQUAAD                         I'll have you locked back in that tower                          for the rest of your days! I'm king!                                         Shrek manages to get a hand free and he whistles.                                     FARQUAAD                         I will have order! I will have perfection!                          I will have - - (Donkey and the dragon                          show up and the dragon leans down and                          eats Farquaad) Aaaah! Aah!                                      DONKEY                         All right. Nobody move. I got a dragon                          here, and I'm not afraid to use it.                          (The dragon roars.) I'm a donkey on                          the edge!                The dragon belches and Farquaad's crown flies out of her mouth                and falls to the ground.                                      DONKEY                         Celebrity marriages. They never last,                          do they?                The congregation cheers.                                     DONKEY                         Go ahead, Shrek.                                     SHREK                         Uh, Fiona?                                     FIONA                         Yes, Shrek?                                     SHREK                         I - - I love you.                                     FIONA                         Really?                                     SHREK                         Really, really.                                     FIONA                         (smiles) I love you too.               Shrek and Fiona kiss. Thelonius takes one of the cards and writes                'Awwww' on the back and then shows it to the congregation.                                                     CONGREGATION                         Aawww!               Suddenly the magic of the spell pulls Fiona away. She's lifted                up into the air and she hovers there while the magic works around                her.                                      WHISPERS                         "Until you find true love's first kiss                          and then take love's true form. Take                          love's true form. Take love's true form."                                         Suddenly Fiona's eyes open wide. She's consumed by the spell                and then is slowly lowered to the ground.                                      SHREK                         (going over to her) Fiona? Fiona. Are                          you all right?                                      FIONA                         (standing up, she's still an ogre) Well,                          yes. But I don't understand. I'm supposed                          to be beautiful.                                      SHREK                         But you ARE beautiful.               They smile at each other.                                     DONKEY                         (chuckles) I was hoping this would be                          a happy ending.                Shrek and Fiona kiss...and the kiss fades into...               THE SWAMP               ...their wedding kiss. Shrek and Fiona are now married. 'I'm                a Believer' by Smashmouth is played in the background. Shrek                and Fiona break apart and run through the crowd to their awaiting                carriage. Which is made of a giant onion. Fiona tosses her bouquet                which both Cinderella and Snow White try to catch. But they end                up getting into a cat fight and so the dragon catches the bouquet                instead. The Gingerbread man has been mended somewhat and now                has one leg and walks with a candy cane cane. Shrek and Fiona                walk off as the rest of the guests party and Donkey takes over                singing the song.                                      GINGERBREAD MAN                         God bless us, every one.                                     DONKEY                         (as he's done singing and we fade to                          black) Oh, that's funny. Oh. Oh. I can't                          breathe. I can't breathe.                THE END
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+                                        "SIDEWAYS"                                      Screenplay by                               Alexander Payne & Jim Taylor                                  Based on the novel by                                       Rex Pickett                                       May 29, 2003                               UNDER THE STUDIO LOGO:               KNOCKING at a door and distant dog BARKING.               NOW UNDER BLACK, a CARD --                                         SATURDAY               The rapping, at first tentative and polite, grows insistent.                Then we hear someone get out of bed.                                     MILES (O.S.)                         ...the fuck...               A DOOR is opened, and the black gives way to BLINDING WHITE                LIGHT, the way one experiences the first glimpse of day amid,                say, a hangover.               A WORKER is there.                                     MILES (O.S.)                         Yeah?                                     WORKER                         Hi, Miles. Can you move your car,                          please?                                     MILES (O.S.)                         Why?                                     WORKER                         The painters got to put the truck                          in, and you didn't park too good.                                     MILES (O.S.)                              (a sigh, then --)                         Yeah, hold on.               He closes the door with a SLAM.               EXT. MILES'S APARTMENT COMPLEX - DAY               SUPERIMPOSE --                                  SAN DIEGO, CALIFORNIA               Wearing only underwear, a bathrobe and clogs, MILES RAYMOND                comes out of his unit and heads toward the street. He passes                some SIX MEXICANS waiting to work.               He climbs into his twelve-year-old CONVERTIBLE SAAB, parked                far from the curb and blocking part of the driveway. The car                starts fitfully.               As he pulls away, the guys begin backing up the truck.               EXT. STREET - DAY               Miles rounds the corner and finds a new parking spot.               INT. CAR - CONTINUOUS               He cuts the engine, exhales a long breath and brings his                hands to his head in a gesture of headache pain or just                anguish. He leans back in his seat, closes his eyes, and                soon NODS OFF.               INT. MILES'S APARTMENT - DAY               The door bursts open. Miles runs into the kitchen, looking                just past camera.                                     MILES                         Fuck!               WHIP PAN TO --               THE MICROWAVE CLOCK that reads 10:50.               ON THE PHONE --               Miles hurriedly throws clothes into a suitcase.                                     MILES                         Yeah, no, I know I said I'd be there                          by noon, but there's been all this                          work going on at my building, and                          it's like a total nightmare, and I                          had a bunch of stuff to deal with                          this morning. But I'm on my way. I'm                          out the door right this second. It's                          going to be great. Yeah. Bye.               INT. MILES'S BATHROOM - DAY               ON THE TOILET --               Miles has a BOOK propped open on his knees. He turns a page,                lost in his reading.               LATER --               Miles SHOWERS.               IN THE MIRROR --               Miles FLOSSES.               INT. COFFEE HOUSE - DAY               Miles finally makes it to the front of the line.                                     BARISTA                         Hey, Miles.                                     MILES                         Hey, Simon. Triple espresso, please.                                     BARISTA                         Rough night, huh?                              (ringing it up)                         For here?                                     MILES                         No, I'm running late. Make it to go.                          And give me a New York Times and...                              (scanning the display                               case)                         ...a spinach croissant.               EXT. 5 FREEWAY ENTRANCE RAMP - DAY               Miles's Saab chugs up the ramp and merges.               INSERT - NEW YORK TIMES CROSSWORD PUZZLE --               -- pressed against the STEERING WHEEL. The puzzle is about                1/3 finished.               EXT. 5 FREEWAY - DAY               As though from an adjacent car, we see Miles driving while                carefully filling in an answer.               INT./EXT. SAAB - DAY               THROUGH THE WINDSHIELD --               A SIGN reads:                                   RANCHO PALOS VERDES                                   PALOS VERDES ESTATES                                         1/4 MILE               PAN TO MILES as he signals to change lanes. The finished                puzzle lies on the passenger seat.               EXT. PALOS VERDES STREET - DAY               The houses on this block are blandly palatial as in so many                affluent Southern California suburbs.               Miles's car pull into the driveway behind an older BMW and                two LEXI. He gets out and trots toward the front door.               INT. ERGANIAN HOUSE - DAY               A GIANT PROJECTION TV --               In a large split-level living room displays a GOLF TOURNAMENT.               WIDE --               Watching from the ultra-comfortable furniture are MIKE                ERGANIAN, a tanned, silver-haired real estate caudillo; bride-               to-be CHRISTINE ERGANIAN, his oldest daughter; and JACK                LOPATE, wearing bowling shirt, shorts and flip-flops.               MRS. ERGANIAN, a warm and elegant housewife, shows Miles                into the room.                                     MRS. ERGANIAN                         Look what the cat dragged!                                     MILES                         Hi, everybody.               Mr. Erganian and Jack get to their feet and shake hands with                Miles. Jack remains affable, but we can discern his genuine                irritation.                                     JACK                         About time you got here, bud. Mr.                          Prompt.                                     MR. ERGANIAN                         We were thinking maybe you took the                          wrong way and went to Tijuana and                          they didn't let you back in.               The Erganians laugh. Miles works up a smile too.                                     MILES                         I had to bribe them.               More lame laughter.                                     CHRISTINE                         Hey, Miles.                                     MILES                              (leaning in to kiss                               Christine)                         Seriously though, the freeway was                          unbelievable today. Unbelievable.                          Bumper to bumper the whole way. People                          getting an early start on the weekend,                          I guess. Granted I got a late start,                          but still.               Although Mr. Erganian presses MUTE on the remote, he keeps                watching for an extended moment, as do Jack and Miles.                                     MRS. ERGANIAN                         Christine, why don't you ask Miles                          about the cake?                                     CHRISTINE                         Oh, good idea. Here, Miles, come to                          the kitchen with me.                                     JACK                         Don't bother him with that. We got                          to get going.                                     CHRISTINE                              (taking Miles's hand)                         It'll just take a second.               INT. ERGANIAN KITCHEN - DAY               Jack and the Erganians surround Miles as he eats from a plate                with two pieces of CAKE -- one white, one dark.                                     MRS. ERGANIAN                         Jack tells us you are publishing a                          book. Congratulations.                                     MR. ERGANIAN                         Yes, congratulations.               Miles shoots Jack a look. Mr. Erganian gets some ice cubes                from the refrigerator door.                                     MILES                         Yeah, well, it's not exactly finalized                          yet, but, um, there has been some                          interest and --                                     MRS. ERGANIAN                              (to Jack)                         Your friend is modest.                                     JACK                         Yeah, Miles, don't be so modest.                          Indulge them. Don't make me out to                          be a liar.                                     MR. ERGANIAN                         What subject is your book? Non-                         fiction?                                     MILES                         No, it's a novel. Fiction. Although                          there's a lot from my own life, so I                          guess technically some of it is non-                         fiction.                                     MR. ERGANIAN                         Good, I like non-fiction. There is                          so much to know about the world that                          I think reading a story someone just                          invented is kind of a waste of time.                                     CHRISTINE                         So which one do you like better?                                     MILES                         I like them both, but if pressed I'd                          have to say I prefer the dark.                                     JACK                              (to Christine)                         See?               INT. SAAB - CONTINUOUS               IN A REAR VIEW MIRROR --               The Erganians wave good-bye.               INSIDE THE CAR --               Miles accelerates as he and Jack wave back.                                     JACK                         Where the fuck were you, man? I was                          dying in there. We were supposed to                          be a hundred miles away by now.                                     MILES                         I can't help the traffic.                                     JACK                         Come on. You're fucking hungover.                                     MILES                         Okay, there was a tasting last night.                          But I wanted to get us some stuff                          for the ride up. Check out the box.               Jack turns around, and starts rooting around in a CARDBOARD                WINE BOX.                                     MILES                         Why did you tell them my book was                          being published?                                     JACK                         You said you had it all lined up.                                     MILES                         No, I didn't. What I said was that                          my agent had heard there was some                          interest at Conundrum...                                     JACK                         Yeah, Conundrum.                                     MILES                         ...and that one of the editors was                          passing it up to a senior editor.                          She was supposed to hear something                          this week, but now it's next week,                          and... It's always like this. It's                          always a fucking waiting game. I've                          been through it too many times                          already.                                     JACK                         I don't know. Senior editor? Sounds                          like you're in to me.                                     MILES                         It's a long shot, all right? And                          Conundrum is just a small specialty                          press anyway. I'm not getting my                          hopes up. I've stopped caring. That's                          it. I've stopped caring.               Jack sits back in his seat holding up a bottle of CHAMPAGNE                and TWO GLASSES.                                     JACK                         But I know it's going to happen this                          time. I can feel it. This is the                          one. I'm proud of you, man. You're                          the smartest guy I know.               Jack now begins to remove the foil from the champagne bottle.                                     MILES                         Don't open that now. It's warm.                                     JACK                         Come on, we're celebrating. I say we                          pop it.                                     MILES                         That's a 1992 Byron. It's really                          rare. Don't open it now. I've been                          saving it!               Jack untwists the wire. Instantly the cork pops off, and a                fountain of champagne erupts.                                     MILES                         For Christ's Sake, Jack! You just                          wasted like half of it!               Jack begins pouring two glasses.                                     JACK                         Shut up.                              (handing Miles a glass)                         Here's to a great week.                                     MILES                              (coming around)                         Yes. Absolutely. Despite your crass                          behavior, I'm really glad we're                          finally getting this time together.                                     JACK                         Yeah.                                     MILES                         You know how long I've been begging                          to take you on the wine tour. I was                          beginning to think it was never going                          to happen.               They clink and drink.                                     JACK                         Oh, that's tasty.                                     MILES                         100% Pinot Noir. Single vineyard.                          They don't even make it anymore.                                     JACK                         Pinot Noir? How come it's white?                          Doesn't noir mean dark?                                     MILES                         Jesus. Don't ask questions like that                          up in the wine country. They'll think                          you're a moron.                                     JACK                         Just tell me.                                     MILES                         Color in the red wines comes from                          the skins. This juice is free run,                          so there's no skin contact in the                          fermentation, ergo no color.                                     JACK                              (not really listening)                         Sure is tasty.               EXT. FREEWAY - DAY               The Saab heads north.               INT. SAAB - DAY               The boys continue to drink and drive.                                     MILES                         Did you read the latest draft, by                          the way?                                     JACK                         Oh, yeah. Yeah.                                     MILES                         And?                                     JACK                         I liked it a lot. A lot of                          improvements. It just seemed overall,                          I don't know, tighter, more...                          congealed or something.                                     MILES                         How about the new ending? Did you                          like that?                                     JACK                         Oh yeah. Much better.                                     MILES                         There is no new ending. Page 750 on                          is exactly the same.                                     JACK                         Well, then I guess it must have felt                          new because everything leading up to                          it was so different.               INT. GAS STATION #1 - DAY               Miles is pumping gas. Jack is stretching his legs nearby or                perhaps cleaning the windshield.               A CELLPHONE RINGS. Jack reaches into his pocket.                                     JACK                              (looking at the phone)                         It's Christine.                              (snapping it open)                         Hey you.                                     CHRISTINE (ON PHONE)                         You guys having fun?               Christine's voice is so loud that Jack has to hold the phone                away from his ear.                                     JACK                         Yeah. All twenty minutes so far have                          been a blast.                                     CHRISTINE (ON THE PHONE)                         Good. That's good.               A silence, then --                                     JACK                         So what's up?                                     CHRISTINE (ON THE PHONE)                         Just seeing how you're doing. And,                          um, Mom and I were starting to look                          over the seating charts again, and                          we're wondering if you wanted Tony                          Levin to sit next to the Feldmans,                          or should he be at one of the singles                          tables?               Jack looks at Miles in a mute appeal for sympathy.                                     CHRISTINE (ON THE PHONE)                         So what do you think? With the                          Feldmans?               Jack hasn't even really heard the question.                                     JACK                         Yeah. The Feldmans.               As the conversation continues, Miles replaces the GAS PUMP,                screws the GAS CAP back on, and together the guys get back                into the car. We DRIVE AWAY WITH THEM.                                     CHRISTINE (ON THE PHONE)                         Really? Because I don't know, I was                          thinking that --                                     JACK                         Well, then put him at the singles                          table.                                     CHRISTINE (ON THE PHONE)                         The problem with that is that then                          there's one extra --                                     JACK                         Then put him with the Feldmans.                          Whatever you and your Mom decide is                          fine with me.                                     CHRISTINE (ON THE PHONE)                         Don't dismiss me. I'm trying to                          include you in this decision. He's                          your friend.                                     JACK                         I didn't dismiss you. I told you                          what I thought, but it didn't seem                          to matter, so you decide. Besides,                          this is supposed to be my time with                          Miles. I hope you're not going to                          call every five minutes.                                     CHRISTINE (ON THE PHONE)                         I'm not going to call every five                          minutes, but this is important.                                     JACK                         Honey, I'm just saying you know I                          need a little space before the                          wedding. Isn't that the point of                          this? Isn't that what we talked about                          with Dr. Gertler?               A silence. Then --                                     CHRISTINE (ON THE PHONE)                         Why are you being so defensive?                                     JACK                         I don't know, Christine. Perhaps                          it's because I feel attacked.                                     CHRISTINE (ON THE PHONE)                         I ask you one simple question, and                          suddenly I'm attacking you.                                     JACK                         Listen. I'll call you when we get                          there, and we can talk about it then,                          okay?                                     CHRISTINE (ON THE PHONE)                         Bye.                                     JACK                         I love you.                                     CHRISTINE (ON THE PHONE)                         Bye.               Jack SLAMS his cellphone shut, momentarily blinded with rage.                                     MILES                         Tony Levin? Why did you fucking invite                          Tony Levin?               EXT. 405 FREEWAY - LATE AFTERNOON               The Saab heads north -- now passing through LOS ANGELES.               INT./EXT. SAAB - LATE AFTERNOON               Miles signals and begins to head for an EXIT.                                     JACK                         Whoa, why are we getting off?                                     MILES                         I've just got to make one quick stop.                          Won't take a second.                                       JACK                         What?                                     MILES                         I thought we could just say a quick                          hello to my mother.                                     JACK                         Your mother? Jesus, Miles, we were                          supposed to be up there hours ago.                                     MILES                         It's her birthday tomorrow. And I                          don't feel right driving by her house                          and not stopping in, okay? It'll                          just take a second. She's right off                          the freeway.               EXT. 101 FREEWAY - LATE AFTERNOON               The Saab takes an EXIT.                                     JACK (O.S.)                         How old's she going to be?                                     MILES (O.S.)                         Um... seventy... something.                                     JACK (O.S.)                         That's a good age.               OMIT.               OMIT.                EXT. CONDO COMMUNITY STREET - DUSK               The Saab rounds a corner and parks in front of a modest CONDO.               SUPERIMPOSE:                                    OXNARD, CALIFORNIA               EXT. MILES'S MOTHER'S CONDO - DUSK               Approaching the front door, Miles pulls a BOUQUET OF FLOWERS                out of a plastic grocery store bag. Jack carries a bottle of                CHAMPAGNE.               Miles pulls a BIRTHDAY CARD out of the bag too.                                     MILES                         Wait a second.               He pulls a PEN from his pocket and signs it. As he licks the                envelope, Jack rings the bell.               Moments later PHYLLIS comes to the door. She is a matronly                older woman in a nightgown and housecoat.                                     MILES AND JACK                         Surprise! Happy Birthday!               The boys offer up the flowers and champagne. Phyllis slurs                slightly as she speaks -- she's been doing some celebrating                of her own.                                     PHYLLIS                         My God. Miles. And Jack! What a                          surprise. I can't remember the last                          time you brought me flowers.               They hug.                                     JACK                         They're from both of us.                                     PHYLLIS                         A famous actor bringing me flowers                          on my birthday. Don't I feel special?                                     MILES                         A famous actor who's getting married                          next week.                                     PHYLLIS                         Oh, that's right. Isn't that nice? I                          hope that girls knows how lucky she                          is, marrying no less than Derek                          Summersby.               The boys follow her inside.               INT. MILES'S MOTHER'S CONDO - CONTINUOUS                                     JACK                         Jeez, Mrs. Raymond, that was eleven                          years ago.                                     PHYLLIS                         Well, you were wonderful on that                          show. I never understood why they                          had to give you that brain tumor so                          soon. Why that didn't make you the                          biggest movie star in the world is a                          sin. It's a sin.                                     JACK                         Yeah, well, you should be my agent.                                     PHYLLIS                         If I was, I would sing your praises                          up and down the street until they                          put me in the loony bin. Now Miles,                          why didn't you tell me you were coming                          and bringing this handsome man? Look                          how I'm dressed. I've got to run and                          put my face on.                                       JACK                         You look fabulous, Mrs. Raymond.                                     PHYLLIS                              (over her shoulder)                         Oh, stop it. Make yourselves                          comfortable.                              (now around the corner)                         You boys hungry?                                     MILES                         Yeah, I'm hungry.               Jack gives Miles a look.                                     MILES                              (low)                         Just a snack. Calm down.               Miles leads Jack into this small condo. The TV is on, and                it's MESSY. Amid the newspapers and junk mail and dishes, an                AB-ROLLER and an ancient SCHWINN EXER-CYCLE sit forgotten in                a corner.               INT. MILES'S MOTHER'S KITCHEN - NIGHT               Miles finishes twisting ice trays into a MOP BUCKET as it                fills with water in the sink. He puts the champagne in and                carries it into the --               INT. MILES'S MOTHER'S LIVING ROOM - CONTINUOUS               He takes a seat on the sofa next to Jack, who is watching                WHO WANTS TO BE A MILLIONAIRE?                                     MILES                         Let me show you something. The secret                          to opening champagne is that once                          the cork is released, you keep                          pressure on it so you don't --                                     JACK                              (concentrated on the                               TV)                         Just a second. Guy's going for $2500.               Miles finishes opening the bottle with an elegant silence.                                     PHYLLIS (O.S.)                         Ready for my close up!               The boys turn to see Phyllis now dolled up in thick make-up                and a PANTSUIT. Her eyebrows are painted and cock-eyed.                Overall she looks much worse than before.                                     PHYLLIS                         Oh, champagne! Miles, why don't you                          bring that out onto the lanai? I                          thought we could eat on the lanai.               EXT. MILES'S MOTHER'S LANAI - NIGHT               Miles and Jack are seated in webbed chairs around a circular                glass table. They are mid-meal.               Everyone is more than a little lubricated, especially the                birthday girl as she returns from the kitchen with another                plate of food.                                     JACK                         Mrs. Raymond, this is delicious.                          Absolutely delicious.                                     PHYLLIS                              (sitting)                         They're just leftovers.                                     JACK                         Is it chicken?                                     PHYLLIS                         I could have made something fancier                          if a certain someone had let me know                          that a certain someone was coming                          for a visit with a certain special                          friend. Could have made a pork roast.                                     MILES                         It was a surprise, Mom.                                     PHYLLIS                         And I could have already put clean                          sheets on the other bed and the fold-                         out. You are staying. Wendy, Ron and                          the twins are picking us up at 11:30                          to go to brunch at the Sheraton.                          They do a magnificent job there.                          Wendy is so excited you're coming.               Silence. Jack freezes, his fork halfway to his mouth.                                     MILES                         You talked to Wendy?                                     PHYLLIS                         Just now. She's thrilled. And the                          kids.                                     MILES                              (trying to be chipper)                         Yeah, well. You know, Jack's pretty                          eager to get up to... you know, but,                          uh, yeah. We'll see how it goes.                                     PHYLLIS                         Well, you boys do what you want. I                          just think it would be nice for us                          to be together as a family on my                          birthday.                                     MILES                         Uh-huh.                              (wiping his mouth)                         I'll be right back.               He gets up and heads into the house.               INT. MILES'S APARTMENT HALLWAY - NIGHT               Miles heads toward...               INT. MILES'S APARTMENT BEDROOM - NIGHT               ...and goes directly to her dresser, opening a drawer filled                with bras, panties and stockings.               He burrows through his mother's lingerie until locating a                CAN OF RAID. A can of Raid?               He twists open the bottom and pulls it apart, revealing it                to be a SECRET STASH for valuables disguised as a common                household product. Inside are stacks of ONE-HUNDRED DOLLAR                BILLS.                                     MILES                              (quickly peeling some                               off)                         ...six, seven, eight,...                              (one more for good                               luck)                         Nine.               His task complete, he closes the drawer, and as he stuffs                the bills in his pocket, his glance falls upon FRAMED PHOTOS                atop the dresser --               -- A proud NINE-YEAR-OLD MILES poses in front of his childhood                San Diego home, showing off a WAGON filled with freshly                harvested lettuce. On the wagon is a hand-lettered sign --               "10 cents a bunch."               -- A Sears portrait shows the RAYMOND FAMILY: a much younger                Phyllis, her husband, and their two children -- a 12-year-               old Miles and seven-year-old Wendy.               -- Miles at his wedding. He and his bride VICTORIA look young                and attractive, their faces radiant and hopeful.               INT. MILES'S APARTMENT BATHROOM - NIGHT               Miles enters, flushes the toilet and leaves.               EXT. MILES'S MOTHER'S LANAI - NIGHT               As Miles slides open the door and takes his seat again, Jack                is pouring Phyllis another glass.                                     PHYLLIS                         And what was that other one you did,                          the one where you're the jogger?                                     JACK                         Oh, that was for, uh, wait... That                          was for Spray and Wash.                                     PHYLLIS                         Spray and Wash. That's the one.                                     JACK                         Yeah, I remember the girl who was in                          it with me. She was something.                                     PHYLLIS                         I just remember you jogging. So when's                          the wedding?                                     MILES                              (irritated)                         This Saturday, Mom, remember? We                          told you.                                     JACK                         And Miles is my best man, Mrs.                          Raymond. My main man.                                     PHYLLIS                              (another drink of                               wine)                         Miles, when are you going to get                          married again?                                     MILES                         I just got divorced. Phyllis.                                     JACK                         Two years ago, buddy.                                     PHYLLIS                         You should get back together with                          Victoria. She was good for you.               Embarrassed for his friend, Jack just stares at his food.                                     PHYLLIS                         She was good for you.                              (turning to Jack)                         And so beautiful and intelligent.                          You knew her, right?                                     JACK                         Oh, yeah. Real well. Still do.                                     PHYLLIS                         I'm worried about you, Miles. Do you                          need some money?                                     MILES                         I'm fine.               Miles takes another drink of wine.                                                              CUT TO BLACK:               UNDER BLACK, a CARD --                                          SUNDAY                                     MILES (O.S.)                         Jack. Jack.               INT. MILES'S APARTMENT BEDROOM - DAY               Jack finally awakens with a start and finds Miles standing                above him, shaking him.               WIDE --               As Jack gets up, we see he has crashed on Phyllis's bed                adorned with all her decorative PILLOWS.               INT. MILES'S MOTHER'S LIVING ROOM - DAY               Still in her pantsuit and smeared makeup, Phyllis lies                sprawled and snoring on the sofa. On the TV, ostensibly never                turned off the night before, is an inane CARTOON.               As Miles opens the front door, he spots Jack heading toward                the TV to turn it off. Miles waves him off.                                     MILES                              (a loud whisper)                         She'll wake up.               As they leave and Miles closes the front door quietly behind                him, we PAN to the flowers still wrapped and forgotten on a                side table.               INT. ROADSIDE IHOP - DAY               TWO PLATES OF FOOD float in front of two breasts tucked inside                a zippered uniform.               WIDER --               Disheveled and unshaven, Jack and Miles are served breakfast                by a young, innocently sexy WAITRESS. Jack leers after her.                                     JACK                         Fuck, man. Too early in the morning                          for that, you know what I mean?                                     MILES                         She's a kid, Jack. I don't even look                          at that stuff anymore.                                     JACK                         That's your problem, Miles.                                     MILES                         As if she'd even be attracted to                          guys like us in the first place.                                     JACK                         Speak for yourself. I get chicks                          looking at me all the time. All ages.                                     MILES                         It's not worth it. You pay too big a                          price. It's never free.               They eat in silence a moment.                                     JACK                         You need to get laid.               Miles shrugs off the comment.                                     JACK                         It'd be the best thing for you. You                          know what? I'm going to get you laid                          this week. That's going to be my                          best man gift to you. I'm not going                          to give you a pen knife or a gift                          certificate or any of that other                          horseshit.                                     MILES                         I'd rather have a knife.                                     JACK                         No. No. You've been officially                          depressed for like two years now,                          and you were always a negative guy                          anyway, even in college. Now it's                          worse -- you're wasting away. Teaching                          English to fucking eighth-graders                          when they should be reading what you                          wrote. Your books.                                     MILES                         I'm working on it.               Miles concentrates on his eggs and hash browns                                     JACK                         You still seeing that shrink?                                     MILES                         I went on Monday. But I spent most                          of the time helping him with his                          computer.                                     JACK                         Well, I say fuck therapy and what's                          that stuff you take, Xanax?                                     MILES                         And Lexapro, yes.                                     JACK                         Well, I say fuck that. You need to                          get your joint worked on, that's                          what you need.                                     MILES                         Jack. This week is not about me.                          It's about you. I'm going to show                          you a good time. We're going to drink                          a lot of good wine, play some golf,                          eat some great food, enjoy the scenery                          and send you off in style.                                     JACK                         And get your bone smooched.               Jack spots the waitress coming out of the kitchen and motions                for more coffee. She nods and smiles, indicating she'll be                right over. Jack returns the smile and holds up a hand to                signal he'll wait. Jack turns back to see Miles watching                him.                                     JACK                         What?               EXT. CENTRAL COAST - DAY               In a series of shots, the Saab -- now with its TOP DOWN --               makes its way onto the 101 and travels past landmarks that                those familiar with the Santa Barbara area might recognize.               MUSIC accompanies this sequence that anchors us into the                rhythm of a road trip.               INT./EXT. SAAB - DAY               The car now descends the Santa Ynez Mountains and heads toward                Buellton. Miles and Jack must SHOUT to be heard in the open                car.                                     MILES                         You know what? Let's take the Santa                          Rosa turnoff and hit Sanford first.                                     JACK                         Whatever's closest, man. I need a                          glass.                                     MILES                         These guys make top-notch Pinot and                          Chardonnay. One of the best producers                          in Santa Barbara county.                              (looking out the window)                         Look how beautiful this view is.                          What a day!                                     JACK                         I thought you hated Chardonnay.                                     MILES                         I like all varietals. I just don't                          generally like the way they manipulate                          Chardonnay in California -- too much                          oak and secondary malolactic                          fermentation.               EXT. SANTA ROSA TURN-OFF - DAY               The Saab passes over the 101 and turns onto SANTA ROSA road.               INT./EXT. SAAB - DAY               The boys now pass vineyards of immaculate grapevines.                                     MILES                         Jesus, what a day! Isn't it gorgeous?                          And the ocean's just right over that                          ridge. See, the reason this region's                          great for Pinot is that the cold air                          off the Pacific flows in at night                          through these transverse valleys and                          cools down the berries. Pinot's a                          very thin-skinned grape and doesn't                          like heat or humidity.               Jack looks at Miles, admiring his friend's vast learning and                articulateness.               The Saab now pulls of the road and makes its way down a long                gravel DRIVEWAY.                                     JACK                         Hey, Miles. I really hope your novel                          sells.                                     MILES                         Thanks, Jack. So do I.                              (noticing)                         Here we are.               EXT. SANFORD TASTING ROOM - DAY               Miles brings the car to a stop in the parking lot. As they                get out and walk --                                     MILES                         So what'd you guys finally decide on                          for the menu?                                     JACK                         I told you. Filet and salmon.                                     MILES                         Yeah, but how are they making the                          salmon? Poached with a yogurt-dill                          sauce? Teriyaki? Curry?                                     JACK                         I don't know. Salmon. Don't you always                          have white wine with fish?                                     MILES                         Oh, Jesus. Look, at some point we                          have to find out because it's going                          to make a big difference.                                     JACK                              (taking out his phone)                         Let me call Christine.                                     MILES                         Doesn't have to be now. Let's go                          taste.                                     JACK                         I owe her a call anyway.               Miles must curb his eagerness to go inside the tasting room                as Jack SPEED DIALS.                                     JACK                         Hey, honey. So we're up here about                          to taste some whites, and we need to                          know how the caterers are going to                          make the salmon.               Jack listens, then grows suddenly impatient.                                     JACK                         No, I know, I didn't forget, but we                          wound up at Miles's mom's house, and                          it got really late, and it was hard                          to call, so I'm calling you now. I                          said I was sorry. Yes, I did.                              (to Miles)                         You heard me say I was sorry, right?               Miles just shrugs.                                     JACK                         Miles heard me say I was sorry.               As Jack gets more and more involved with the phone call, he                wanders off across the parking lot, progressively out of                earshot.                                     JACK                         Give me a break, will you? I just                          called to find out about the salmon --                          for our wedding -- to be more                          involved, like you said -- and all                          you want to do is get into it about                          last night and, okay, I'm sorry. I'm                          sorry I didn't call. You're totally                          right. I know, but I'm trying to                          make this the best wedding I can                          with the best wine we can find. Don't                          I get any credit for that? Okay.                          Look, I've got to go. I'm out here                          in the parking lot, and Miles is                          waiting for me...               And so it goes, Jack's voice rising and falling. Miles decides                to head inside.               INT. SANFORD TASTING ROOM - DAY               Miles is at the bar, TWO GLASSES in front of him. Jack walks                in and bellies up next to him.                                     JACK                              (proudly)                         Baked with a butter-lime glaze.                                     MILES                         Now we're talking.               CHRIS BURROUGHS, a POURER in a cowboy hat and ponytail, comes                over.                                     CHRIS                         This is the condemned man?                                     MILES                         Here he is. Jack, Chris. Chris, Jack.               Chris and Jack shake hands.                                     JACK                         How you doing?                                     CHRIS                         You guys want to start with the Vin                          Gris?                                     JACK                         Sounds good.               TWO GLASSES are filled with small amounts of PINOT NOIR VIN                GRIS.                                     JACK                         This is rose, right?                                     MILES                         Good, yeah, it is a rose. Only this                          one is rather atypically made from                          100% Pinot Noir.                                     JACK                         Pinot noir? Not again!                              (joking, to Chris)                         You know, not all Pinots are noir.               They laugh.               Miles swirls his glass in tight circles on the bar, then                lifts it to smell. Jack clumsily imitates Miles, perhaps                even spilling some wine in the process.                                     MILES                         Let me show you.               We see details of what Miles now describes.                                     MILES                         First take your glass and examine                          the wine against the light. You're                          looking at color and clarity.                                     JACK                         What color is it supposed to be?                                     MILES                         Depends on the varietal. Just get a                          sense of it. Thick? Thin? Watery?                          Syrupy? Inky? Amber, whatever...                                     JACK                         Huh.                                     MILES                         Now tip it. What you're doing here                          is checking for color density as it                          thins toward the rim. Tells you how                          old it is, among other things, usually                          more important with reds. This is a                          very young wine, so it's going to                          retain its color pretty solidly. Now                          stick your nose in it.               Jack waves the glass under his nose as if it were a perfume                bottle.                                     MILES                         Don't be shy. Get your nose in there.               Jack now buries his nose in the glass.                                     MILES                         What do you smell?                                     JACK                         I don't know. Wine? Fermented grapes?               Miles smells.                                     MILES                         There's not much there yet, but you                          can still find...                              (more sniffs)                         ...a little citrus... maybe some                          strawberry... passion fruit... and                          there's even a hint of like                          asparagus... or like a nutty Edam                          cheese.               Jack smells again and begins to brighten.                                     JACK                         Huh. Maybe a little strawberry. Yeah,                          strawberry. I'm not so sure about                          the cheese.                                     MILES                         Now set your glass down and get some                          air into it.               Miles expertly swirls the wine. Jack follows suit.                                     MILES                         Oxygenating it opens it up, unlocks                          the aroma and the flavors. Very                          important. Now we smell again.               They do so. Jack smiles.                                     MILES                         That's what you do with every one.                                     JACK                         When do we get to drink it?                                     MILES                         Now.               Jack gulps his wine down in one shot. Miles chews his before                swallowing.                                     JACK                         How would you rate this one?                                     MILES                         Usually they start you on the wines                          with learning disabilities, but this                          one's pretty damn good.                              (to Chris)                         This is the new one, right, Chris?                                     CHRIS                         Released it about two months ago.                                     MILES                         Nice job.                                     CHRIS                         We like it.                                     JACK                              (to Miles)                         You know, you could work in a wine                          store.                                     MILES                         Yeah, that would be a good move.               Now Miles notices something about Jack.                                     MILES                         Are you chewing gum?                                     JACK                         Want some?               EXT. SOLVANG, CALIFORNIA - DAY               The Saab passes through this Danish-themed tourist town.                SUPERIMPOSE --                                         SOLVANG               EXT. BUELLTON, CALIFORNIA - DAY               The Saab makes its way into this very average-looking Central                coast town right off the freeway.               SUPERIMPOSE --                                         BUELLTON               EXT. WINDMILL INN - DAY               The Saab pulls into the parking lot of this motel. And look --               there's the WINDMILL itself, its decorative blades motionless.                 INT. MOTEL ROOM - DAY               Miles and Jack enter the room and throw their suitcases onto                their respective beds.               LATER --               The sounds of a SHOWER and OFF-KEY SINGING come from the                bathroom while Miles sits impatiently on the bed. He pounds                on the wall.                                     MILES                         Hey Jack, hurry up!                                     JACK (O.S.)                         Just a minute!               Opening the bedside drawer, Miles finds a GIDEON'S BIBLE and                tosses it in the trash -- apparently his hotel routine.               EXT. HIGHWAY 246 - DUSK               Freshly showered and dressed for dinner, Miles and Jack amble                along the shoulder of this busy local two-lane highway. They                pass a mall and a car dealership.                                     JACK                         I thought you said it was close. Now                          I'm all pitted out.                                     MILES                         It's not even a mile.                                     JACK                         We should have driven.                                     MILES                         Not with the wine list these people                          have. We don't want to hold back.                                     JACK                         You think I'm making a mistake                          marrying Christine?                                     MILES                         Whoa.                                     JACK                         Come on, do you think I'm doing the                          right thing? Tell the truth. You've                          been through it.                                     MILES                         Well, you waited for good reason,                          and you proposed to Christine for                          some good reason. So I think it's                          great. It's time. You've got to have                          your eyes open, that's all. I mean,                          look at me. I thought Victoria and I                          were set for life.                                     JACK                         Christine's dad -- he's been talking                          about bringing me into his property                          business. Showing me the ropes. And                          that's something, considering how                          long it took him to get over I'm not                          Armenian. So I'm thinking about it.                          But I don't know, might get a little                          incestuous. But Mike does pretty                          well. A lot of high-end commercial                          stuff.                                     MILES                         So you're going to stop acting?                                     JACK                         No way. This would just provide some                          stability is what I'm saying. I can                          always squeeze in an audition or a                          commercial here and there, you know,                          keep myself in the game in case                          something big comes along.                                     MILES                         Uh-huh.                                     JACK                         We're not getting any younger, right?                          And my career, well, it's gotten                          pretty, you know, frustrating. Even                          with my new manager. Maybe it's time                          to settle down.                                     MILES                         If that's what feels right.                                     JACK                              (convincing himself)                         It does. Feels right.                                     MILES                         Then it's a good thing.                                     JACK                              (nodding, feeling                               better)                         Yeah. It's good. Feels good.               Miles leads them away from the road and across a parking                lot. The camera PANS to reveal --               THE HITCHING POST, a local institution.               INT. HITCHING POST BAR - DUSK               Miles and Jack belly up. GARY, the Samoan bartender, spots                Miles and extends a welcoming hand.                                     GARY                         Hey, Miles. Long time no see.                                     MILES                         Gary.                                     GARY                         When's that novel of yours coming                          out?  We  all want to read it.                                     MILES                         Soon, soon. Say, this is my buddy                          Jack. He's getting married next week.                                     GARY                              (shaking Jack's hand)                         My condolences.                                     MILES                         What are you pouring tonight?                                     GARY                         Lot of good stuff.                              (looking at a row of                               bottles)                         Got the new Bien Nacido. Want a taste?                                     MILES                         Absolutement.                              (to Jack)                         They have their own label that's                          just outstanding.               Gary pours Jack and Miles a generous sample and the two men                swirl, sniff and taste. Jack is beginning to get the hang of                things.                                     GARY                         What do you think?                                     MILES                         Tight as a nun's asshole but qood                          concentration. Nice fruit.                                     JACK                         Yeah. Tight.                                     MILES                              (to Gary)                         Pour us a couple.               Gary fills their glasses and corks the bottle. Jack raises                his glass to toast.                                     JACK                         Here's to my last week of freedom.                                     MILES                         It's going to be great. Here's to                          us.               They clink their glasses and take a drink. We linger on them                as Miles retreats inward and a restless Jack scans the room.               INT. HITCHING POST DINING ROOM - NIGHT               Jack and Miles review their menus. Jack looks up and spots a                PRETTY WAITRESS placing an order at the bar.                                     JACK                         Miles. Check it out.               Miles glances at the waitress and returns to his menu.                                     MILES                         Oh, yeah. That's Maya.                                     JACK                         You know her?                                     MILES                         Sure I know Maya.                                     JACK                         You know that chick?                                     MILES                         Jack, this is where I eat when I                          come up here. It's practically my                          office. And sometimes I have a drink                          with the employees. Maya's great.                          She's worked here about a year, maybe                          a year and a half.                                     JACK                         She is very hot.                                     MILES                         And very nice. And very married.                          Check out the rock.               Jack leans forward and squints.                                     JACK                         Doesn't mean shit. When Christine                          was a hostess at Sushi Roku, she                          wore a big engagement ring to keep                          guys from hitting on her. Think it                          worked? Fuck no. How do you think I                          met her?                                     MILES                         This gal's married to I think a                          Philosophy professor at UC Santa                          Barbara.                                     JACK                         So what's a professor's wife doing                          waitressing? Obviously that's over.                                     MILES                         You don't know anything about this                          woman. Calm down. Let's just eat,                          okay?                              (focusing on the menu)                         The duck is excellent and pairs nicely                          with the Highliner Pinot.               Just then Maya comes by carrying a tray of food on her way                to another table.                                     MAYA                         Hey, Miles. Good to see you.                                     MILES                         Maya, how are you?                                     MAYA                         I'm doing good, good. You look great.                          Did you lose some weight?                                     MILES                         Oh, no, actually. Busy night.                                     MAYA                         Oh yeah, Sunday night. You guys been                          out tasting today?                                     MILES                         You know it. This is my friend Jack.                          Jack, Maya.                                     JACK                              (big smile)                         Hiya.                                     MAYA                              (smiling back)                         Hi. Well, nice to see you guys here.                          Bye, Miles.               She goes.                                     JACK                         Jesus, she's jammin'. And she likes                          you. What else do you know about                          her?                                     MILES                         Well, she does know a lot about wine.                                     JACK                         Ooooooohh. Now we're getting                          somewhere.                                     MILES                         And she likes Pinot.                                     JACK                         Perfect.                                     MILES                         Jack, she's a fucking waitress in                          Buellton. How would that ever work?                                     JACK                         Why do you always focus on the                          negative? Didn't you see how friendly                          she was to you?                                     MILES                         She works for tips!                                     JACK                         You're blind, dude. Blind.               Miles focuses again on the menu.                                     MILES                         I also recommend the ostrich. Very                          lean. Locally raised.               INT. HITCHING POST BAR - NIGHT               TWO BURGUNDY GLASSES --               are refilled with the contents of yet another bottle of                Hitching Post Pinot Noir.               Jack and Miles are enjoying a post-prandial drink.               MILES               Looks like he's thinking about something. Then --                                     MILES                         I hate Tony Levin.               Jack swirls his wine and downs it in one gulp. Just then --               MAYA               Walks into the bar and takes a seat a few stools down. She                has changed into a black cashmere sweater and corduroys,                lovely but tired.                                     MAYA                              (to Gary)                         Highliner, please.                                     JACK                         That's on us.               Maya looks over and smiles as Gary pours her a glass from                their bottle.                                     MAYA                         Hey, guys.               Maya gets an American Spirit Yellow out of her purse and                lights it while Gary pours her a glass.                                     MILES                         You want to join us?                                     MAYA                              (polite)                         Sure.               In no hurry, she takes a long sip of her wine, gets up and                comes down the bar.                                     MAYA                         So how's that book of yours going,                          Miles? I think you were almost done                          with it last time we talked.                                     MILES                         I finished it.                                     MAYA                         Good for you.                                     JACK                         It's getting published. That's what                          we're up here celebrating.               Miles shoots Jack a look. Jack responds with a "don't-fuck-                it-up-brother" glower.                                     MAYA                         That's fantastic. Congratulations.               She offers her glass, and all clink.                                     MAYA                              (to Jack)                         Are you a writer too?                                     JACK                         No, I'm an actor.                                     MAYA                         Oh yeah? What kind of stuff?                                     JACK                         A lot of TV. I was a regular on a                          couple of series. And lately I've                          been doing a lot of commercials.                          National mostly.                                     MAYA                         Anything I'd know?                                     JACK                         Maybe. Recognize this?               Jack takes a deep breath, and out comes a perfect VOICE-OVER                VOICE.                                     JACK                         "Now with low, low 5.8% APR                          financing."               Maya's mouth drops open and curves into a big smile.                                     MAYA                         That's hilarious. You sound just                          like one of those guys.                                     JACK                         I am one of those guys.                                     MAYA                         You are not.                                     MILES                         He is.               Jack launches into another one of his sure-fire hits.                                     JACK                              (very fast)                         Consult your doctor before using                          this product. Side effects may include                          oily discharge, dizziness, hives,                          loss of appetite, difficulty breathing                          and low blood pressure. If you have                          diabetes or a history of kidney                          trouble... you're fucked!               This makes Maya laugh a big throaty laugh. Jack joins in.                Nervous about Jack's aggressive flirtatiousness, Miles musters                a tight courtesy smile.                                     MAYA                              (winding down)                         Oh. I needed that. Thank you.               They all take a drink of wine.                                     MAYA                         So what are you guys up to tonight?               Before Jack has a chance to speak --                                     MILES                         We're pretty wiped. Probably go back                          to the hotel and crash.               This makes Maya slightly embarrassed at her apparent                availability, but she recovers quickly, remains breezy.                                     MAYA                         Yeah, I know what you mean. It's a                          long drive up here. Where're you                          staying?                                     MILES                         The Windmill.                                     JACK                         Windmill.               Maya downs the rest of her wine, stamps out her smoke, and                picks up her jean jacket and purse.                                     MAYA                         Well, good to see you, Miles. Jack.                                     MILES                         See you.               As she leaves --                                     JACK                         We'll catch up with you later, okay?               But she's gone. Jack gives Miles a slow burn look.                                     JACK                         We'll probably go back to the hotel                          and crash?               EXT. HIGHWAY - NIGHT               The guys walk drunkenly along the shoulder as CARS WHIZ BY.                                     JACK                         The girl is looking to party, and                          you tell her we're going to go back                          to our motel room and crash? Jesus,                          Miles!                                     MILES                         Well, I'm tired. Aren't you tired?                                     JACK                         The chick digs you. She lit up like                          a pinball machine when she heard                          your novel was getting published.                                     MILES                         Now I've got another lie to live                          down. Thanks, Jack.                                     JACK                         I'm trying to get you some action,                          but you've got to help me out just a                          little bit.                                     MILES                         Didn't seem to me like that's what                          was going on. You were all over her.                                     JACK                         Somebody had to do the talking. And                          by the way, I was right. She's not                          married.                                     MILES                         How do you know?                                     JACK                         No rock. When she came to the bar,                          sans rock.               INT. MOTEL ROOM - NIGHT               The screen is absolutely BLACK.                                     JACK                         Single. Waitress. Getting off work.                          Looking for love. A little slap and                          tickle.                                     MILES                         Shut up.                                     JACK                         She probably went home, lit some                          candles, put on some relaxing music,                          took a nice hot bath, and laid down                          on her bed with her favorite vibrator.               Jack begins to make a soft BUZZING noise, growing gradually                louder and more rhythmic.                                     MILES                         Have you no shame?                                     JACK                         Oooh. Oh. Miles. Miles.                                     MILES                         Fuck you.               There's now a rustling noise and footsteps. Then a LIGHT is                flipped on in the BATHROOM.               Miles closes the door behind him, and the only light visible                is at the bottom of the bathroom door.               Miles PEES -- a series of semi-forced SHORT SQUIRTS. Then a                FLUSH as a door opens and the light goes off. Jack starts                BUZZING again.                                     MILES                         Shut the fuck up!               Jack stops and Miles climbs into bed. Silence. Then --                                     JACK                         You need to get your prostate checked.               UNDER BLACK --                                          MONDAY               EXT. BREAKFAST CAFE - DAY               Establishing.               INT. BREAKFAST CAFE - DAY               Miles and Jack are glancing at the menus. For some reason                Jack is humorless and grumpy.                                     MILES                         So what're we going to have? Pigs in                          a blanket? The "rancher's special                          breakfast"? Or maybe just some grease                          and fat with a side of lard?                                     JACK                              (not amused)                         So what's the plan today?                                     MILES                         We head north, begin the grape tour                          up there, make our way south so the                          more we drink the closer we get to                          the motel.               Jack sarcastically taps an index finger to his temple.                                     MILES                         What's your problem?               Jack exhales and looks away, as though he doesn't want to                get into it.                                     MILES                         What is it?               Jack sucks his teeth a moment searching for the right words.                Then the dam bursts.                                     JACK                         I am going to get my nut on this                          trip, Miles. And you are not going                          to fuck it up for me with all your                          depression and anxiety and neg-head                          downer shit.                                     MILES                         Ooooh, now the cards are on the table.                                     JACK                         Yes they are. And I'm serious. Do                          not fuck with me. I am going to get                          laid before I settle down on Saturday.                          Do you read me?                                     MILES                         Sure, big guy. Whatever you say.                          It's your party. I'm sorry I'm in                          the way and dragging you down. Maybe                          you'd have a better time on your                          own. You take the car. I'll catch                          the train back.                                     JACK                         No, see, I want both of us to get                          crazy. We should both be cutting                          loose. I mean, this is our last                          chance. This is our week! It should                          be something we share.               The older WAITRESS comes over.                                     WAITRESS                         Can I take your order?                                     JACK                         But I am warning you.                                     MILES                         Oatmeal, one poached egg, and rye                          toast. Dry.                                     WAITRESS                         Okay. And you?                                     JACK                              (glaring at Miles)                         Pigs in a blanket. With extra syrup.               EXT. LOVELY HIGHWAY - DAY               The Saab winds along this beautiful road that meanders through                large open vineyards.                                                               DISSOLVE TO:               INSERT --               A MAP and a MOVING LINE show the boys' route.                                                               DISSOLVE TO:               INSERT --               GRAPES growing on the vine.                                                               DISSOLVE TO:               EXT. VINEYARD - DAY               Framed by foreground grapevines, the Saab passes in the                distance.                                                               DISSOLVE TO:               INT. FOXEN WINERY - DAY               Miles has just downed a taste of red wine.                                     MILES                         How much skin and stem contact?                                     POURER                         About four weeks.                                     MILES                         Huh. That explains all the tannins.                          And how long in oak?                                     POURER                         About a year.                                     MILES                         French or American?                                     POURER                         Both.                                     MILES                         Good stuff.                                     JACK                         Yeah, oak. That's a good wood.               Just as the pourer turns away toward other TASTERS, Jack                GRABS the bottle and helps himself and Miles to another glass.                They slam back their drinks like tequila.                                                               DISSOLVE TO:               EXT. LOVELY AREA ON A HILL - DAY               Miles brings the Saab to a stop, and the guys get out. Before                them lies an incredible view of endless vineyards.                                     MILES                         Nice, huh?                                     JACK                         Beautiful.                                     MILES                         Victoria and I used to like this                          view.                              (lost in nostalgia)                         Once we had a picnic here and drank                          a '95 Opus One. With smoked salmon                          and artichokes, but we didn't care.                                     JACK                         Miles.                                     MILES                         She has the best palate of any woman                          I've ever known. She could even                          differentiate Italian wines.                                     JACK                         Miles, I gotta tell you something.                          Victoria's coming to the wedding.                                     MILES                         I know. You told me. I'm okay with                          it.                                     JACK                         Yeah, but that's not the whole story.                          She got remarried.                                     MILES                         She what?                              (long pause)                         When?                                     JACK                         About a month ago. Six weeks.                                     MILES                         To that guy? That guy with the                          restaurant...               Jack nods. Miles looks down at his shoes and draws a long                breath. Then he stiffly gets back in the open car and closes                the door.                                     JACK                         Miles... MILES...               Miles continues to stare straight ahead.                                     JACK                              (exploding)                         Jesus Christ, Miles. Get out!                                     MILES                         I want to go home now.                                     JACK                         You've been divorced for two years                          already. People move on. She has!                          It's like you enjoy self-pity. Makes                          you feel special or something.                                     MILES                         Is she bringing him to the wedding?                                     JACK                         What do you think?                                     MILES                         You drop this bombshell on me. Why                          didn't you tell me before?                                     JACK                         Because I knew you'd freak out and                          probably get so depressed you wouldn't                          even come on this trip. But then I                          figured here would be the best place                          to tell you. We're here to forget                          about all that shit. We're here to                          party!                                     MILES                              (undeterred)                         I'm going to be a fucking pariah.                          Everyone's just going to be holding                          their breath to see if I'm going to                          get drunk and make a scene. Plus                          Tony fucking Levin?                                     JACK                         No, no, no. It's cool. I talked to                          Victoria. She's cool. Everyone's                          cool.                                     MILES                              (horrified)                         You've all been talking about it?                          Behind my back? Talking about it?               Miles turns and locates an open BOTTLE of wine in the back                seat. He uncorks it and begins to swig.                                     JACK                         Hey, hey, hey. No, you don't!               Jack tries unsuccessfully to grab the bottle from Miles, but                Miles bolts out of the car.               A VERY WIDE SHOT --               Pursued by Jack, Miles dashes down the hill, all the while                taking huge swigs from the bottle.               OMIT.               EXT. LOVELY VINEYARD - CONTINUOUS               Miles slows to walk between rows of GRAPEVINES. He polishes                off the bottle and tosses it. A painting Jack catches up                with him in the adjacent grapevine corridor.               Miles's face crumbles as though he were about to cry. Then                he collapses to the ground and closes his eyes tight.               Jack looks around impatiently for a moment. Then he squats                down so he can see Miles underneath the vines.                                     JACK                         Miles?               Miles ignores Jack and focuses on the beautiful RIPE GRAPES                that surround him. They seem to distract him from his pain.                                     JACK                         You going to be okay?               Miles looks up and shakes his head a definitive NO. Jack                can't help but LAUGH.                                                               DISSOLVE TO:               EXT. KALYRA WINERY PARKING LOT - DAY               The sun hangs low as the Saab pulls into the parking lot,                Jack at the wheel.               INT. KALYRA TASTING ROOM - DAY               The pourer, a brunette in her early thirties, breaks away                from a BORING COUPLE down the bar. This is STEPHANIE.                                     STEPHANIE                         Hey, guys. How's it going?                                     JACK                         Excellent. My friend and I are up                          here doing the wine tour, and he                          tells me that you folks make one                          hell of a Syrah.                                     STEPHANIE                         That's what people say.                                     MILES                              (slurring slightly)                         You gotta excuse him. Yesterday he                          didn't know Pinot Noir from film                          noir.                                     JACK                         I'm a quick learner.               Stephanie laughs. She apparently likes big good-natured lunks                like Jack.                                     MILES                         I'm trying to teach my friend here                          some basics about wine over the next                          few days before he goes off and --               WHOOMP! Under the bar Jack stomps on Miles's foot. Miles                winces.               Stephanie slides TWO GLASSES in front of them.                                     JACK                         That's right -- I'm here to learn. I                          never had that much interest in wine                          before, but this trip has been very                          enlightening. Always like wine, of                          course, but I don't know. More of a                          beer man, really. Microbreweries.               She THUMPS the cork off a bottle of Chardonnay.                                     STEPHANIE                         Well, no better way to learn than                          tasting.               She pours almost flirtatious amounts.                                     JACK                         Now there's a girl who knows how to                          pour. What's your name?                                     STEPHANIE                         Stephanie.                                     JACK                         Nice.               Jack swirls the wine as though he were by now a sommelier.                They look, they smell, they taste.                                     STEPHANIE                         So what do you think?                                     MILES                         Quaffable but far from transcendent.                                     JACK                         I like it. Tastes great. Oaky.               Stephanie reaches for another bottle and pours. Jack's eyes                never leave her.                                     STEPHANIE                         Cabernet Franc.                              (as they taste)                         This is only the fifth year we've                          made this varietal. Very few wineries                          around here do a straight Cabernet                          Franc. It's from our vineyard up in                          Santa Maria. And it was a Silver                          Medal winner at Paso Robles last                          year.                                     MILES                         Well, I've come to never expect                          greatness from a Cab Franc, and this                          one's no exception. Sort of a flabby,                          overripe --                                     JACK                              (ignoring him)                         Tastes good to me. You live around                          here, Stephanie?                                     STEPHANIE                         In Santa Ynez.                              (low, to Miles)                         And I agree with you about Cab Franc.                                     JACK                         Oh yeah? We're just over in Buellton.                          Windmill Inn.                                     STEPHANIE                         Oh yeah.                                     JACK                         You know a gal named Maya? Works at                          the Hitching Post?                                     STEPHANIE                         Sure I know Maya. Real well.                                     JACK                         No shit. We just had a drink with                          her last night. Miles knows her.                                     MILES                         Could we move on to the Syrah, please?               As she turns to reach for the right bottle, Jack winks at                Miles. Miles shakes his head.                                     STEPHANIE                         This is our Estate Syrah...               She pours each of them a full HALF GLASS.                                     JACK                         You're a bad, bad girl, Stephanie.                                     STEPHANIE                         I know. I might need to be spanked.               She notices the boring couple, visibly annoyed that she has                been monopolized.                                     STEPHANIE                         Excuse me.               As she wanders down the bar, Jack turns to Miles, his mouth                wide open.                                     JACK                         A bad girl, Miles. She might need to                          be spanked.                                     MILES                         Do you know how often these pourers                          get hit on?               They glance down the bar at Stepanie. She smiles back.               EXT. KALYRA WINERY PARKING LOT - DAY               Miles is killing time by the car staring at his shoes. He                looks over and sees Jack waddling over from the tasting room                with TWO CASES OF WINE.                                     JACK                         Get the trunk.                                     MILES                         You have the keys.               Jack puts the cases down and glances back at the building.                                     JACK                         We're on.                                     MILES                         What?                                     JACK                         She called Maya, who's not working                          tonight, so we're all going out.                                     MILES                         With Maya?                                     JACK                         Been divorced for a year now, bud.               Jack puts the wine in the trunk, and they get in the car.                                     JACK                         Stephanie, holy shit. Chick had it                          all going on.                                     MILES                         Well, she is cute.                                     JACK                         Cute? She's a fucking hottie. And                          you almost tell her I'm getting                          married. What's the matter with you?                              (drumming on the                               steering wheel)                         Gotta love it. Gotta love it.               INT. MOTEL ROOM - DAY               THE TV --               GOLF on ESPN.               MILES AND JACK               sit transfixed, each on his own bed. The curtains are drawn.                Then out of nowhere --                                     JACK                              (mocking)                         You know how often these pourers get                          hit on?                              (getting up)                         I'm going for a swim. Get the blood                          flowing. Want to come?                                     MILES                         Nah. I want to watch this.               CLOSE ON THE TV --               A guy gets ready to putt. The announcer whispers what an                important moment this is. The guy misses.               FADE TO BLACK.               UNDER BLACK --               The sound of an AEROSOL CAN.                                     JACK                         Miles. Hey, Miles. Time to get up.               WE OPEN OUR EYES TO SEE --               Jack spraying his feet with some Dr. Scholl's product.               WIDE --               Miles pulls himself out of bed and slouches toward his                suitcase.                                     JACK                         Fucking chick in the Jacuzzi --                         goddamn, Miles, fucking going nuts                          up here. Whole place is wide open.                          Assylvania.               Jack does some actor's weird warm-up stretch.                                     MILES                         So what should I wear?                                     JACK                         I don't know. Casual but nice. They                          think you're a writer.               As Miles begins to dig through his suitcase, Jack flips open                his cellphone and speed-dials.                                     JACK                         Don't you have any other shoes?               Miles glances as his shoes sitting sadly on the floor.                                     JACK                              (into the phone)                         Hello? Oh hey, baby, just checking                          in. Not much. We're about to go out                          for dinner, probably be out pretty                          late, so I thought I'd say goodnight                          now. I know, I love you too. I miss                          you.               EXT. LOS OLIVOS - NIGHT               The boys get out of the car and walk along a timbered sidewalk                in this tourist town with wine tasting rooms and gourmet                restaurants.                                     JACK                         Please just try to be your normal                          humorous self, okay? Like who you                          were before the tailspin. Do you                          remember that guy? People love that                          guy. And don't forget -- your novel                          is coming out in the fall.                                     MILES                         Oh yeah? How exciting. What's it                          called?                                     JACK                         Do not sabotage me. If you want to                          be a lightweight, that's your call.                          But do not sabotage me.                                     MILES                         Aye-aye, captain.                                     JACK                         And if they want to drink Merlot,                          we're drinking Merlot.                                     MILES                              (dead serious)                         If anyone orders Merlot, I'm leaving.                          I am not drinking any fucking Merlot!                                     JACK                         Okay, okay. Relax, Miles, Jesus. No                          Merlot. Did you bring your Xanax?               Miles takes a SMALL BOTTLE from his pocket and rattles it.                                     JACK                         And don't drink too much. I don't                          want you going to the dark side or                          passing out. Do you hear me? No going                          to the dark side.                                     MILES                         Okay! Fuck!               Miles quickly POPS A XANAX. Jack gives him a final look in                the eye.                                     JACK                         We're going in.               INT. LOS OLIVOS CAFE - NIGHT               The boys enter this cozy if crowded restaurant and exchange                words with the HOSTESS. Then they notice --               MAYA AND STEPHANIE               at a booth waving at them. They look great.               MILES AND JACK               make their way to the table, Jack wearing a broad, confident                SMILE.               AT THE TABLE --               Jack plops down next to Stephanie, while Miles politely eases                in on Maya's side. Jack touches a hand to Stephanie's bare                neck and massages it meaningfully.                                     JACK                         How you doin' tonight, beautiful?                                     STEPHANIE                         Good. How're you?                                     JACK                         Great. You look great.                              (including Maya)                         You both do.                                     STEPHANIE                         Not so bad yourself.               Meanwhile Miles looks over at Maya and purses his lips in an                affable if uncomfortable smile. Then --                                     MILES                         What are you drinking?                                     MAYA                         A Fiddlehead Sauvignon Blanc.                                     MILES                         Oh yeah? How is it?                                     MAYA                              (sliding the glass)                         Try it.               As Miles swirls the wine and takes a sip, he begins to relax.                                     MILES                         Nice. Very nice.                                     MAYA                         Twelve months in oak.                                     MILES                         On a Sauvignon Blanc?                                     MAYA                         I know the winemaker. She comes in                          the restaurant all the time.                                     MILES                         This is good. Little hints of clove.                                     MAYA                         I know. I love that.               LATER --               A WAITER finishes listing off the specials.                                     WAITER                         ...medallions of pork with a dusting                          of black truffles served with a root                          vegetable foulon and wasabi-whipped                          potatoes. And finally a Copper River                          salmon grilled on an alder wood plank.                          And that comes with roasted new                          potatoes and steamed watercress.               The four diners exchange looks of delight.                                     WAITER                         And who gets the wine list?               Miles raises his hand and takes the leather-bound book.                                     MAYA                              (teasing)                         I guess Miles wants it.               Jack glares at Miles, who immediately gets the hint.                                     MILES                         Nope. You ladies choose.               Jack smiles and nods his approval. Jack takes the book out                of Miles's hands and offers it to the girls.                                     MAYA                         You choose, Stephanie.                                     STEPHANIE                              (opening it)                         So what does everyone feel like?                                     JACK                         Whatever you girls want. It's on us                          tonight. Sky's the limit.                                     MAYA                         No, we're paying for the wine.                                     JACK                         I don't think so. We're celebrating                          Miles's book deal.                                     MAYA                         Well, in that case...               Miles draws a long breath.                                     STEPHANIE                         What's everyone ordering? Then we                          can sort out the wine.                                     MILES                         Exactement!               Jack shoots Miles a look.                                     MAYA                         I'm having the salmon.                                     MILES                         That's what I'm having.                                     STEPHANIE                              (still scanning the                               wines)                         I'm thinking about the duck breast.                                     JACK                              (slapping his menu                               shut)                         Me too.                                     MAYA                         Well, that narrows things down.               Stephanie lowers the menu so that only her eyes peer over                the top. She looks at the others, and they look back at her.                                     STEPHANIE                         Sounds like... Pinot Noir to me.               Jack looks at Miles and raises one hand for a HIGH-FIVE.                                     JACK                         Pinot!               Miles reluctantly slaps Jack's hand. This causes the girls                to laugh. MUSIC STARTS -- they're OFF!               DINNER is improvised, but includes:               -- The arrival of the FIRST WINE.               -- The SALADS.               -- Maya takes a turn with the wine list. Miles pushes her                finger down into the prices with THREE DIGITS.               -- New stemware is provided with the arrival of the SECOND                WINE.               -- The four of them DRINK. Particularly Miles.               -- Stephanie and Jack get cozier and cozier.               -- The SALMON and DUCK arrive.               -- Miles is too shy to look into Maya's eyes. She's interested                and available -- it's too much for him.               -- As Miles gets DRUNKER, the camera angles become sloppier,                the cutting choppier.               -- Miles PONTIFICATES about some aspect of wine that Maya                and Stephanie find interesting. Left out in the cold, his                jaw tight, Jack wants to find a way in but can't.               -- Miles reaches over to refill his glass, but Jack's arm                shoots out to stop him -- "Slow down."               CLOSE ON MILES as a distant RUMBLE begins to sound, the rumble                of an oncoming ANXIETY ATTACK. By now he has drunk so much                that he spaces out, descending into --               INT. UNDERWORLD - DARK AND TIMELESS               Miles is boarding an OPEN BOAT atop this underground river,                the River Styx. Just beyond a ghoulish HUMAN CARGO the hooded                boatman CHARON wields a long staff. Miles is crossing over                to the dark side.               INT. LOS OLIVOS CAFE - BACK AGAIN               Miles returns to earth to find Jack and Stephanie now in                their own little world -- Jack explaining something to                Stephanie that she finds fascinating, just FASCINATING.               -- Miles converses with Maya, but it's clear from her bemused                expression that he's being charming if not entirely coherent.               -- ANOTHER WINE reaches the table -- a Comte Armand Pornrnard.               -- Miles looks over at Jack and Stephanie. They share a short                but sensual kiss.               MOMENTS LATER --               Miles is on his feet threading his way through the tables.                He is very unsteady, and we cut between first and third person                perspectives.               AT THE BATHROOMS --               He tries the MEN'S ROOM door but it's locked. He pulls the                XANAX out his pocket and pops one in his mouth, swallowing                it dry.               He notices a PAYPHONE nearby. Thinking better of it for a                moment, Miles makes a drunken bee-line for the receiver.               CLOSE ON THE KEYPAD --               as many numbers are dialed, and we HEAR the TONES, completely                out of sync, along with a sound melange of interior phone                RINGING and a PICKUP.               THE RECEIVER --               As Miles presses it desperately to his head.                                     VICTORIA (ON THE PHONE)                         Hello?                                     MILES                         Victoria.                                     VICTORIA (ON THE PHONE)                         Miles?               Miles feigns an implausible upbeat tone.                                     MILES                         Victoria! How the hell are you?                                     VICTORIA (ON THE PHONE)                         Fine. What's, uh, what's on your                          mind?                                     MILES                         Heard you got remarried!                          Congratulations. Didn't think you                          had the stomach for another go-round.                                     VICTORIA (ON THE PHONE)                         Oh, Miles. You're drunk.                                     MILES                         Just some local Pinot, you know,                          then a little Burgundy. That old                          Cotes de Beaune!               Miles laughs at his own non-existent joke.                                     VICTORIA (ON THE PHONE)                         Where are you?                                     MILES                         A little place in Los Olivos. New                          owners. Cozy ambiance. Excellent                          food too -- you should try it. Thought                          of you at the Hitching Post last                          night.               Silence.                                     MILES (CONT' D)                         Hello?                                     VICTORIA (ON THE PHONE)                         Miles, don't call me when you're                          drunk.                                     MILES                         I just wanted you to know I've decided                          not to go to the wedding, so in case                          you were dreading some uncomfortable,                          you know, run-in or something, well,                          worry no more. You won't see me there.                          My wedding gift to you and what's-                         his-name. What is his name?                                     VICTORIA (ON THE PHONE)                              (silence, then --)                         Ken.                                     MILES                         Ken.                                     VICTORIA (ON THE PHONE)                         Miles, I don't care if you come to                          the wedding or not.                                     MILES                         Well, I'm not coming, Barbie. So you                          guys have fun.                                     VICTORIA (ON THE PHONE)                         I'm going to hang up now, Miles.                                     MILES                              (rushing to keep her                               on)                         You see, Vicki, I just heard about                          this today, you getting married that                          is, and I was kind of taken aback.                          Kind of hard to believe.               Silence.                                     MILES                         I guess I just thought there was                          still some hope for us somewhere                          down the road and I just, I just --                                     VICTORIA (ON THE PHONE)                         Miles, maybe it is better if you                          don't come to the wedding.               Miles sucks something from between his two front teeth.                                     MILES                         Whatever you say, Vicki. You're the                          boss.               He HANGS UP as nonchalantly as if it had been a sales call                and heads back to the table.               EXT. DEEP CANYON - DAY               For a flash, Miles is walking an unstable, narrow ROPE BRIDGE                extending vertiginously across a great CHASM.               INT. LOS OLIVOS CAFE - BACK AGAIN               Miles reaches the table, tries to sit and SLIPS ONTO THE                FLOOR.               Although at first Jack blinks heavily in disgust, the girls                burst into hysterical LAUGHTER. Jack then laughs too, perhaps                OVER-LAUGHING.                                     JACK                         Easy, boy. Easy.               Maya helps him back into the booth.                                     MAYA                         Are you all right?                                     MILES                         Fine. Just slipped.                              (picking up his glass)                         This is my blood.               Miles drinks. Stephanie makes a head gesture to Maya, who                nods in return.                                     STEPHANIE                              (to the guys)                         Excuse us.                                     MAYA                         Sorry to make you get up again, Miles.                                     MILES                         That's okay.               Miles and Jack allow the girls to pass. Then --                                     JACK                         What the fuck, man? What is up?               Miles reaches for his wine glass, but Jack moves it away.                                     JACK                         Pull yourself together, man.                                     MILES                         I'm fine!               But in throwing open his arms for emphasis, he spills a WATER                GLASS. Jack rights it and throws a napkin on the tablecloth.                                     JACK                         Where were you?                                     MILES                         Bathroom.                                     JACK                         Did you drink and dial?               Miles's silence confirms his guilt and shame.                                     JACK                         Why do you always do this? Victoria's                          gone, man. Gone. Poof.               Miles looks down and squeezes his eyes tight while pushing                out an exhale through his nose.                                     JACK                         Stop it. You are blowing a great                          opportunity here, Miles. Fucking                          Maya, man. She's great. She's cool.                          She's funny. She knows wine. What is                          this morose come-down bullshit? These                          girls want to party. And what was                          that fucking ten-minute lecture on,                          what was it, Vouvrays? I mean, come                          on!                                     MILES                         Let's just say I'm uncomfortable                          with the whole scenario.                                     JACK                         Oh Jesus, Miles.               Miles belligerently reaches for his Comte Armand. Jack lets                it pass.                                     JACK                         And don't forget all the bad times                          you had with Victoria. How small she                          make you feel. That's why you had                          the affair in the first place.                                     MILES                         Shut up. Shut your face.                                     JACK                         Don't you see how Maya's looking at                          you? You got her on the hook. Reel                          her in! Come on, let's rachet this                          up a notch. You know how to to do                          it. Here.                              (passing a glass)                         Drink some agua.               Miles looks at the water, takes it and drains it.               The girls now return to the table. The guys slide over.                                     MILES                              (trying to appear                               sober)                         Should we get dessert?                                     STEPHANIE                         We were thinking. Why don't we go                          back to my place? I've got wine,                          some insane cheeses, music, whatever.               Jack raises both arms like a football referee.                                     JACK                         Excellent idea. Waiter!               INT. SAAB - NIGHT               THROUGH THE WINDSHIELD --               Trees and bushes lit by the headlights show us we're headed                into the woods.               INSIDE --               Jack drives. Miles blinks heavily as he tries to make a sense                of A HAND-DRAWN MAP.                                     JACK                              (grabbing the map)                         Let me see that.               EXT. STEPHANIE'S HOUSE - NIGHT               The Saab pulls into a gravel DRIVEWAY and comes to a stop                outside this wood-framed cottage.               Jack and Miles get out and head for the front door. On the                way, Jack reaches into his coat pocket and produces a string                of FOUR CONDOMS.                                     JACK                              (tearing)                         Here. One for you, three for me.               Miles wordlessly takes his. Just before they climb the porch                steps --                                     MILES                         You sure you want to do this?               Jack stops and looks at him for a moment with almost hostile                incredulity.               THE FRONT DOOR is open. Jack knocks twice on the SCREEN DOOR                before going in.               INT. STEPHANIE'S LIVING ROOM - CONTINUOUS               The boys enter this modest living room furnished with                weathered but charming old furniture. Scattered here and                there are CHILDREN'S TOYS. FINGER-PAINTINGS are taped to the                walls. CANDLES are lit, and MUSIC is playing.                                     JACK                         We're here!               Stephanie sails in.                                     STEPHANIE                         What happened to you guys?                                     JACK                         Couple of wrong turns.                              (pointing a thumb at                               Miles)                         Thanks to Magellan, here.               After a brief hug, Stephanie and Jack peck-kiss.                                     JACK                         Hi.                                     STEPHANIE                         Hi.                              (to Miles)                         Maya's in the kitchen.               Miles hesitates a moment before Jack elbows him toward --               EXT. STEPHANIE'S KITCHEN - CONTINUOUS               Miles wanders in to find Maya squatting in front of a little                temperature-controlled WINE STORAGE UNIT.                                     MILES                         Hi.                                     MAYA                         Hey.                                     MILES                         She got anything good?                                     MAYA                         Oh, yeah. Steph's way into Pinots                          and Syrahs.                              (calling out)                         Hey, Steph? You sure we can open                          anything? Anything we want?                                     STEPHANIE (V.O.)                         Anything but the Jayer Richebourg!                                     MILES                         She has a Richebourg? Mon dieu. I                          have completely underestimated                          Stephanie.                                     MAYA                         Who do you think you're dealing with                          here?               Maya slips out a bottle of ESCHEVAUX.                                     MAYA                         How about this?               Miles nods vigorously. Maya looks back and forth between                Miles and the wine, her eyes narrowed. Then she slides it                back in.                                     MAYA                         Nope. I don't think we know each                          other well enough.                              (picking out another                               bottle)                         I'd say this guy's more our speed.               They rise, and Miles glances at the ANDREW MURRAY SYRAH and,                raising his eyebrows, agrees. Maya begins opening it.                                     MAYA                         So what gems do you have in your                          collection?                                     MILES                         Not much of a collection really. I                          haven't had the wallet for that, so                          I sort of live bottle to bottle. But                          I've got a couple things I'm saving.                          I guess the star would be a 1961                          Cheval Blanc.                                     MAYA                         You've got a '61 Cheval Blanc that's                          just sitting there? Go get it.                              (pushing him, playfully                               stern)                         Right now. Hurry up...               Miles laughs, fights back a bit.                                     MAYA                         Seriously, the '61s are peaking,                          aren't they? At least that's what                          I've read.                                     MILES                         Yeah, I know.                                     MAYA                         It might be too late already. What                          are you waiting for?                                     MILES                         I don't know. Special occasion. With                          the right person. It was supposed to                          be for my tenth wedding anniversary.               Understanding, Maya considers her response.                                     MAYA                         The day you open a '61 Cheval Blanc,                          that's the special occasion.                                     MILES                         How long have you been into wine?                                     MAYA                         I started to get serious about seven                          years ago.                                     MILES                         What was the bottle that did it?                                     MAYA                         Eighty-eight Sassicaia.               Miles whistles and raises his eyebrows. Maya pours, and they                clink their glasses together before savoring the wine.                                     MILES                         Wow. We gotta give it a moment, but                          this is tasty. Really good. How about                          you?                                     MAYA                              (tastes again)                         I think they overdid it a bit. Too                          much alcohol. Overwhelms the fruit.                                     MILES                              (tasting again,                               impressed)                         Yeah, I'd say you're right on the                          money.               Then Miles absently scans the REFRIGERATOR DOOR and spots a                PHOTO of Stephanie holding a LITTLE GIRL.                                     MILES                         Is this Stephanie's kid? Sure is                          cute.                                     MAYA                         Yeah, Siena's a sweetie.                                     MILES                         Is she sleeping or...?                                     MAYA                         She's with her grandmother. She's                          with Steph's mom. She spends a lot                          of time over there. Steph's... well,                          she's Stephanie.                 Jack's voice-over voice from the other room...                                     JACK (O.S.)                         "And now for a low, low 4.8% APR..."               ...is followed by PEALS OF LAUGHTER.                                     MAYA                         You got kids?                                     MILES                         Who me? Nah, I'd just fuck them up.                          That was the one unpolluted part of                          my divorce -- no kids.                                     MAYA                         Yeah, same here.               Maya nods as she sips again, looking distant for a moment,                thinking about something else.                                     MAYA                         Let's go in there.               Maya takes the bottle, and they wander into --               INT. STEPHANIE'S LIVING ROOM - CONTINUOUS               Jack and Stephanie are gone. From a distant bedroom comes                more laughter.                                     MAYA                         Looks like our friends are hitting                          it off.               While Maya goes to turn down the STEREO, Miles sits on the                couch. Maya's shirt rides up as she crouches, giving Miles a                glimpse of the small of HER BACK.               She takes a seat opposite Miles on the couch. They look at                each other without speaking. Just what is the vibe here?                                     MAYA                         It's kind of weird sitting here with                          you in Stephanie's house. All those                          times you came into the restaurant.                          It's like you're a real person now.                          Almost.                                     MILES                         Yeah, I know. It's kind of weird.                          Out of context.                                     MAYA                         Yeah, weird. But great.                                     MILES                         Yeah. Definitely.               An awkward silence, broken by Maya.                                     MAYA                         So what's your novel about?                                     MILES                         Well, it's a little difficult to                          summarize. It begins as a first-person                          account of a guy taking care of his                          father after a stroke. Kind of based                          on personal experience, but only                          loosely.                                     MAYA                         What's the title?                                     MILES                         "The Day After Yesterday."                                     MAYA                         Oh. You mean... today?                                     MILES                         Um... yeah but it's more...                                     MAYA                         So is it kind of about death and                          mortality, or...?                                     MILES                         Mrnmm, yeah... but not really. It                          shifts around a lot. Like you also                          start to see everything from the                          point of view of the father. And                          some other stuff happens, some                          parallel narrative, and then it                          evolves -- or devolves -- into a                          kind of a Robbe-Grillet mystery --                          you know, with no real resolution.                                     MAYA                         Wow. Anyway, I think it's amazing                          you're getting it published. Really.                          I know how hard it is. Just to write                          it even.                                     MILES                              (squeezing it out)                         Yeah. Thanks.                                     MAYA                         Like me, I have this stupid paper                          due on Friday, and as usual I'm                          freaked out about it. Just like in                          high school. It never changes.                                     MILES                         A paper?                                     MAYA                         Yeah. I'm working on a masters in                          horticulture. Chipping away at it.                                     MILES                         Horticulture? Wow. I didn't know                          there was a college here.                                     MAYA                         I commute to San Luis Obispo twice a                          week.                                     MILES                         So... you want to work for a winery                          or something someday?                                     MAYA                         Well...                                     MILES                         I do have a copy of the manuscript                          in the car. It's not fully proofed,                          but if you're okay with a few typos...                                     MAYA                         Oh yeah. Who cares? I'm the queen of                          typos.                              (sipping the wine)                         Wow, this is really starting to open                          up. What do you think?                                     MILES                         My palate's kind of shot, but from                          what I can tell, I'd dub it pretty                          damn good.                                     MAYA                         Can I ask you a personal question?                                     MILES                              (bracing himself)                         Sure.                                     MAYA                         Why are you so into Pinot? It's like                          a thing with you.               Miles laughs at first, then smiles wistfully at the question.                He searches for the answer in his glass and begins slowly.                                     MILES                         I don't know. It's a hard grape to                          grow. As you know. It's thin-skinned,                          temperamental, ripens early. It's                          not a survivor like Cabernet that                          can grow anywhere and thrive even                          when neglected. Pinot needs constant                          care and attention and in fact can                          only grow in specific little tucked-                         away corners of the world. And only                          the most patient and nurturing growers                          can do it really, can tap into Pinot's                          most fragile, delicate qualities.                          Only when someone has taken the time                          to truly understand its potential                          can Pinot be coaxed into its fullest                          expression. And when that happens,                          its flavors are the most haunting                          and brilliant and subtle and thrilling                          and ancient on the planet.               Maya has found this answer revealing and moving.                                     MILES                         I mean, Cabernets can be powerful                          and exalting, but they seem prosaic                          to me for some reason. By comparison.                          How about you?                                     MAYA                         What about me?                                     MILES                         I don't know. Why are you into wine?                                     MAYA                         I suppose I got really into wine                          originally through my ex-husband. He                          had a big, kind of show-off cellar.                          But then I found out that I have a                          really sharp palate, and the more I                          drank, the more I liked what it made                          me think about.                                     MILES                         Yeah? Like what?                                     MAYA                         Like what a fraud he was.               Miles laughs.                                     MAYA                         No, but I do like to think about the                          life of wine, how it's a living thing.                          I like to think about what was going                          on the year the grapes were growing,                          how the sun was shining that summer                          or if it rained... what the weather                          was like. I think about all those                          people who tended and picked the                          grapes, and if it's an old wine, how                          many of them must be dead by now. I                          love how wine continues to evolve,                          how every time I open a bottle it's                          going to taste different than if I                          had opened it on any other day.                          Because a bottle of wine is actually                          alive -- it's constantly evolving                          and gaining complexity. That is,                          until it peaks -- like your '61 --                          and begins its steady, inevitable                          decline. And it tastes so fucking                          good.               Now it is Miles's turn to be swept away. Maya's face tells                us the moment is right, but Miles remains frozen. He needs                another sign, and Maya is bold enough to offer it: reaches                out and places one hand atop his.                                     MILES                              (pointing)                         Bathroom over there?                                     MAYA                         Yeah.               Miles gets up and walks out. Maya sighs and gets and American                Spirit out of her purse.               INT. STEPHANIE'S BATHROOM - NIGHT               The bathroom's a MESS -- the shower curtain is filthy, and                the chipped and water-stained tub is filled with CHILDREN'S                BATH TOYS.               Miles is bent over the sink splashing water on his face,                trying to sober up and gather his courage. He stands, and                without drying his face, presses his palms against his cheeks.                Then he takes a deep breath and drops his hands.                                     MILES                         You are such a loser. Come on!               INT. THE LIVING ROOM - NIGHT               Miles comes out of the bathroom and looks for Maya, but she's                not there.               Then he hears a noise from the kitchen, so he goes through                the door into --               INT. STEPHANIE'S KITCHEN - CONTINUOUS               Maya is at the sink, filling a glass with water.                                     MAYA                         I was just getting some water. You                          want some water?               Miles goes to stand by her and accepts a glass of water.                Just as she's about to fill a second glass, he stops her and                looks her in the eye, trying to recapture a moment that is                long gone.               He kisses her and she kisses back, but the whole thing feels                strained and awkward.               After a few seconds, Maya breaks away.                                     MAYA                         Nice.               But instead of resuming the kiss, she steps past him, heading                back into the living room.                                     MAYA (O.S.)                         I should probably get going.               Miles realizes he's blown it and silently berates himself.               INT. SAAB - NIGHT               Miles drives down the hill behind Maya's car, which leads                him through this very rural road.               EXT. WHERE THE ROAD MEETS THE HIGHWAY - NIGHT               Maya's car comes to a stop just ahead of the Saab. She puts                it in PARK and gets out.               AT THE SAAB --               Miles rolls down his window as Maya leans over.                                     MAYA                         You know how to get back to the                          Windmill, right?                                     MILES                         Got it.                                     MAYA                         I had a good time tonight, Miles. I                          really did.                                     MILES                         Good. So did I.                                     MAYA                         Okay. See you around.                                     MILES                         Um... did you still want to read my                          novel?                                     MAYA                         Oh, yeah. Sure. Of course.               Miles turns to the backseat, locates a large MANUSCRIPT BOX,                and hands it to Maya.                                     MAYA                         Wow. Great.               He turns around again, produces a SECOND BOX, and hands it                over as well.                                     MILES                         Hope you like it. Feel free to stop                          reading at any time. I'll take no                          offense.                                     MAYA                         Goodnight, Miles.               She gives him a friendly peck on the cheek.               After she gets back in her car, she heads in one direction                while Miles heads in the opposite.               OMIT.               UNDER BLACK --                                         TUESDAY               Jack's cellphone RINGS.               INT. MOTEL ROOM - MORNING               NOW EARLY MORNING --               Still fully clothed, Miles staggers across the room.               Fishing the phone out of Jack's windbreaker pocket, he looks                at the CALLER ID: "Erganian, Christine" and the number. He                briefly considers his options -- answer it? shut it off? --               before placing it atop Jack's suitcase.               The moment he lies back down on the bed, the MOTEL PHONE                RINGS. An old DIGITAL CLOCK next to it reads 7:l0.               As Miles closes his eyes and pulls the pillow over his aching                head, we again --               FADE TO BLACK.               LATER --               VROOM! Outside a roaring MOTORCYCLE comes to a stop. Then                over the sound of an IDLING ENGINE come familiar if indistinct                VOICES and LAUGHTER.               Miles opens his bleary eyes and listens.               FOOTSTEPS pound on the balcony outside, and Jack lets himself                in, flushed and exuberant.                                     JACK                         Fucking chick is unbelievable. Un-be-                         lieve-able!               He pounds on the wall, then goes into the bathroom and without                closing the door unzips his pants to PEE.                                     JACK                         Goddamn, Miles, she is nasty. Nasty                          nasty nasty.                                     MILES                         Well, I'm glad you got it out of                          your system. Congratulations. Mission                          accomplished.               A hungover Miles gets up and looks out the door Jack has                left open. Down in the parking lot he sees --               STEPHANIE               atop a mid-sized MOTORCYCLE, wearing a weathered fringed                suede jacket. She gives him a big friendly wave.               MILES               returns the wave and goes back inside.                                     MILES                         You didn't invite Stephanie to come                          with us, did you?               With a FLUSH Jack emerges from the bathroom and opens his                bag.                                     JACK                         Oh, hey, change of plans. Steph's                          off today, so she and I are going on                          a hike.                                     MILES                         We were supposed to play golf.                                     JACK                         You go. In fact, use my clubs. They're                          brand new -- gift from Christine's                          dad.                              (slapping some cash                               on the dresser)                         It's on me. Oh, say, by the way,                          Stephanie and me were thinking we'd                          all go to the Hitching Post tonight                          and sit at one of Maya's tables, and                          she'll bring us some great wines and                          then we can all --                                     MILES                              (sitting down)                         Count me out.                                     JACK                         Oooh, I see. Didn't go so good last                          night, huh? That's a shocker. You                          mean getting drunk and calling                          Victoria didn't put you in the mood?                          You dumb fuck. Your divorce pain's                          getting real old real fast, dude.               Miles looks down. Jack heads for the door.                                     JACK                         Later.                                     MILES                         Yeah, well, maybe you should check                          your messages first.               Jack stops, eyeing Miles suspiciously. Miles tosses Jack his                phone. Jack flips it open and scrolls down with his thumb.                He doesn't like what he sees.                                     JACK                         Oh, boy.                                     MILES                              (pointing at the room                               phone)                         She's been leaving messages here                          too.                                     JACK                         Yeah. Okay.               He SNAPS the phone shut and puts it back.                                     MILES                         You should call her.                                     JACK                         I will.                              (heading out the door)                         See ya!                                     MILES                         Right now.                                     JACK                         Okay! Jesus!               Jack picks up his phone, sits on the bed and looks defiantly                at Miles.                                     JACK                         I've got no problem calling her.               Now Jack closes his eyes and brings the heel of his hand to                his forehead as he begins to concoct the BIG LIE.                                     JACK                              (opening his phone)                         Wait outside, will you?               EXT. WINDMILL INN - DAY               Miles wanders out and looks down at Stephanie.                                     STEPHANIE                         That was fun last night.                                     MILES                         Yeah. Good food. You've got quite a                          wine collection. Very impressive.                                     STEPHANIE                         Thanks. Hey, I talked to Maya this                          morning. She said she had a good                          time too. You should call her.               Miles says nothing.                                     STEPHANIE                         Where's Jack?                                     MILES                         He had to make a phone call.               Stephanie cuts her bike's engine and climbs off, propping it                up on the kickstand.                                     STEPHANIE                         So what are you up to today, Miles?                                     MILES                         Just kickin' back, I guess. I don't                          know. Jack and I were supposed to go                          golfing.                                     STEPHANIE                         Huh.                                     MILES                         Yeah, I reserved the tee time about                          a month ago.                                     STEPHANIE                         Oops. Sorry.                                     MILES                         You golf?                                     STEPHANIE                         Me? No, I think it's kind of a stupid                          game. I mean, at least, I could never                          get into it. I tried it once.                                     MILES                         Huh. Jack loves golf. Crazy about                          it.               Just then Jack cracks open the motel room door.                                     JACK                              (hushed)                         Hey Miles. Miles.               Miles ducks back inside.               INT. MOTEL ROOM - CONTINUOUS                                     JACK                         Do you have that other condom?               Miles reaches into his wallet and hands over the little foil                square.                                     MILES                         What'd Christine say?                                     JACK                         Lucked out -- got voice mail.                          Everything's cool.               EXT. WINDMILL INN - CONTINUOUS               Jack bounds out of the room and down the stairs like a child                on Christmas morning.               Miles watches Jack climb on the bike behind Stephanie,                grasping her waist.               Stephanie and Jack PEEL OUT, leaving Miles alone on the                balcony.               CLOSE ON MILES --               As we begin to hear a SNIPPING sound which carries us to --               EXT. MOTEL ROOM BALCONY - DAY               Miles sits outside carefully trimming his toenails. SNIP,                SNIP, SNIP. MUSIC BEGINS for this mournful montage of                solitude.               INT. MOTEL LOBBY - DAY               Miles takes a styrofoam cup and helps himself to a cup of                complimentary COFFEE from a PUMP THERMOS.               Then he takes a look at the rack of pamphlets of local TOURIST                ATTRACTIONS -- a water park, a mystery cave, and of course                winery after winery.               EXT. WINDMILL INN JACUZZI - DAY               Amid turbulent water, Miles corrects his students' papers.                He is alone in the tub, but at the nearby pool STOCKY KIDS                play noisily with SUPER-SOAKERS.               OVER MILES'S SHOULDER --               The PAPER he's reading is marked up with circled spelling                errors, and one entire paragraph has been crossed out. Finding                a new error, Miles writes "NO!!!"               CAMERA PANS to reveal a STACK of papers already heavily marked                with corrections, some of them mottled with water stains.               INT. MOTEL ROOM - DAY               Miles FLOSSES, his lips pulled back into a grotesque moue.                Then he brushes with a SONIC-CARE TOOTHBRUSH.               LATER --               Miles checks his machine.                                     SYNTHESIZED VOICE (O.S.)                         No new messages.               He hangs up, disgusted.               EXT. CHINA PANDA RESTAURANT - DAY               A small Buellton eatery.               INT. CHINA PANDA - DAY               The only customer right now, Miles eats awkwardly with his                chopsticks.               EXT. DRIVING RANGE - DAY               Miles DRIVES ball after ball, unsuccessfully trying to release                his frustration.               EXT. BUCOLIC ROAD - DAY               The Saab roars past us, perhaps going a little too fast.               INT. SAAB - CONTINUOUS               Whistling absently as he drives, Miles leans over to turn                the radio on and fiddle around to find a good station. Then                all of a sudden --               WHUMP! The car has struck something with a hideous sound                followed immediately by the receding "ARF-ARF-ARF-ARF" of an                injured DOG in the Saab's wake. Miles applies the BRAKES.               EXT. BUCOLIC ROAD - DAY               Miles gets out of his car just in time to see --               A DOG               scampering into the nearby woods. Miles looks around -- has                anyone seen him? Is there a nearby residence? Finding nothing,                Miles momentarily weighs his options before finally GIVING                CHASE.               He follows the path of the dog into --               EXT. ROADSIDE WOODS - CONTINUOUS               Still hearing occasional distant barking, Miles finds his                way among the trees and bushes, looking in vain for the ill-               fated cur.               After a frenetic search, Miles reluctantly gives up and heads                back.               OMIT.               EXT. BUCOLIC ROAD - DAY               Miles has returned to where he hit the dog. Just then, Miles                notices TWO MEXICAN CHILDREN watching him from just down the                road. They disappear into the bushes.               Looking like a criminal, Miles trots back to the Saab climbs                behind the wheel and speeds away.               EXT. WINDMILL INN - DAY               The Saab pulls into the parking lot.               EXT./INT. MOTEL ROOM - DAY               Miles trudges up the stops to the room. He opens the door                and sees --               JACK               atop Stephanie, plowing her fertile fields. Despite the                interruption, their pace does not alter.                                     JACK                         Not now! Not now!               Miles quickly shuts the door.               INT. WINDMILL SPORTS BAR LOUNGE - DAY               Miles pours himself another glass of Pinot. Jack comes in                and spots his morose friend.                                     JACK                         Hey, there you are.                                     MILES                         Yep.                                     JACK                         What're you drinking?               Jack reaches over to check out the bottle's label. Miles                remains cool to Jack's amiability.                                     JACK                         Any good?               Miles shrugs.                                     JACK                              (to the bartender)                         Could I get a glass please?                              (to Miles)                         Stephanie took me out into the Pinot                          fields today. It was awesome. I think                          I finally got a handle on the whole                          process, from the soil to the vine                          to the -- what do you call it? --                          selection and harvest. And the whole,                          you know, big containers where they                          mix it. We even ate Pinot grapes                          right off the vine.                              (the new expert)                         Still a little sour but already                          showing potential for great structure.                          Stephanie really knows her shit,                          Miles.               Jack now has his glass and pours himself some wine.                                     MILES                         Where is Stephanie?                                     JACK                         Upstairs. Getting cleaned up.                                     MILES                         What the fuck are you doing?                                     JACK                         What?                                     MILES                         With this chick.               Jack just looks at him.                                     MILES                         Does she know about Saturday?                                     JACK                         Um... not exactly. But I've been                          honest. I haven't told her I'm                          available. And she knows this trip                          up here is only for a few days.                          Besides...               Jack stops short in a rare instance of self-censorship.                                     MILES                         Besides what?                                     JACK                         Well... I don't know, just... the                          wedding.                                     MILES                         What?                                     JACK                         Well, I've been doing some thinking.                                     MILES                         Oh, you've been thinking. And?                                     JACK                         I may have to put the wedding on                          hold is all.               Miles looks at him with incredulity.                                     JACK                         I fully realize that making a change                          like that might be tricky for certain                          people to accept at first, but life                          is short, Miles. I've got to be sure                          I'm doing the right thing before                          taking such a big step. And not just                          for my sake. I'm thinking about                          Christine's feelings too. I take                          marriage very seriously -- always                          have. That's why I've never done it                          before. The day I get married, it's                          going to be the real thing.               Miles just looks at his friend, waiting for more.                                     JACK                         Being with Stephanie has opened my                          eyes. She's not uptight or                          controlling. She's just cool. Things                          are so easy with her. Smells                          different. Tastes different. Fucks                          different. Fucks like an animal. I'm                          telling you, I went deep last night,                          Miles. Deep.                                     MILES                         Deep.               Miles draws a long sigh.                                     JACK                         Don't get all judgmental on me. This                          is my deal. It's my life, and it's                          my call.               They fall silent for a moment. Then --                                     JACK                         I was hoping to get some understanding                          from you. And I'm not getting it.                                     MILES                         Understanding of what?                                     JACK                         Like I might be in love with another                          woman.                                     MILES                         In love? Twenty-four hours with some                          wine-pourer chick and you think you're                          in love? And give up everything?                                     JACK                         Look who's talking. You've been there.                                     MILES                         Yes I have, and do I look like a                          happy man? Was all that drama with                          Brenda a happy thing for me to do?                          Huh? Was it? Is she a part of my                          life now?                                     JACK                         This is totally different. I'm talking                          about avoiding what you're talking                          about. That's the distinction. I                          have not made the commitment yet. I                          am not married. I have not said the                          words. In a few days, I might get                          married, and if I do, then I won't                          be doing stuff like this anymore.                          Otherwise, what's the whole point of                          getting married?                                     MILES                         And what about Stephanie? She's a                          woman -- with a kid. A single mom.                          What do you think she's looking for?                          Huh?                                     JACK                              (interrupting)                         Here's what I'm thinking. We move up                          here, you and me, buy a vineyard.                          You design your own wine; I'll handle                          the business side. Then you get                          inspired and write a new novel. As                          for me, if an audition comes along,                          hell, LA'S two hours away. Not even.                                     MILES                         You're crazy. You've gone crazy.                                     JACK                         What do you care anyway? You don't                          even like Christine.                                     MILES                         What? Of course I like Christine.                                     JACK                         You said she was shallow. Yeah, and                          a nouveau riche.                                     MILES                         That was three years ago after that                          first party!                                     JACK                         Look, Miles, all I know is I'm an                          actor. All I have is my instinct.                              (his hand on his chest)                         My intuition -- that's all I have.                          And you're asking me to go against                          it. And that's just wrong.               Just then Stephanie walks in. She cozies up to Jack, and he                kisses the top of her head.                                     STEPHANIE                         Hi, guys. We should probably get                          going.                                     MILES                         Where?               INT. BOWLING ALLEY - DUSK               CLOSE ON A VIDEO GAME MONITOR               as a crazy car races through the obstacle-ridden track, often                leaving the road, much like Jack's libido.               ZOOM OUT               to reveal six-year-old SIENA seated in Jack's lap as they                drive together. A delighted Siena laughs and giggles.               Miles sits nearby with Stephanie and her fifty-something,                two-pack-a-day MOTHER CARYL.                                     CARYL                         Stephanie's heard this a thousand                          times, but if I'd done what I wanted                          and I'd bought up in Santa Maria                          when I had the chance, I would have                          made a fortune when they put in that                          outlet center and that Home Depot.                              (a drag off her                               cigarette, then to                               Stephanie)                         Your father knew it too, but he was                          a fucking chickenshit. Always was.               Caryl looks over her shoulder, her gaze drawn to Jack and                Siena, so completely happy together.               Caryl exhales a puff of smoke as she watches. Stephanie is                equally enthralled. Miles takes it all in, trying his best                not to shake his head in disgust.               INT. BOWLING ALLEY PARKING LOT - DUSK               Caryl is behind the wheel of her OLDSMOBILE as Stephanie                gets Siena buckled up in the backseat. Jack pulls Miles aside.                                     JACK                         Listen, I'm going to make sure Steph                          and Siena get home safe, and then                          maybe we'll hook up with you later,                          okay?                                     MILES                              (dispirited)                         Sure, whatever. Maybe I'll catch a                          movie.               Stephanie kisses Miles's cheek before getting in the car                next to her mom.                                     STEPHANIE                         See you, Miles. You take care.                                     MILES                         Bye, Stephanie. Bye, Siena, Caryl.                                     SIENA AND CARYL                         Bye, Miles.               As he gets in the car --                                     JACK                         Call me on my cell if you go out.                                     MILES                         Yeah.               Miles watches them drive away, then heads toward his Saab.               INT. MINI-MART - DUSK               CLOSE ON THE COUNTER --               as Miles places a box of security ENVELOPES, a packet of                BEEF JERKY and some TROPICAL FRUIT SKITTLES.               WIDE --               Miles points over the CASHIER'S SHOULDER.                                     MILES                         And could I get a Barely Leqal?               As the cashier reaches for the magazine --                                     MILES                         NO, um, the new one.               INT. MOTEL ROOM BATHROOM - NIGHT               Miles is once again FLOSSING.               INT. MOTEL ROOM - NIGHT               POP! Miles opens a bottle of Pinot and pours himself a glass.                He carries it to bed, takes a nice big slug, lies down on                the bed and opens his magazine.               NOW SNEEZING ATOP THE BED -- ANGLE ON TOP OF HIM --               The Barely Legal face down on his chest, Miles awakens with                a start and looks at the clock-radio. He thinks a moment,                takes a deep breath, and bounds off the bed.               CLOSE ON A WATER-SAVER SHOWER HEAD --               as little needles of water come at us.               THROUGH THE BATHROOM DOOR --               Miles takes a nice hot SHOWER. But wait -- he has forgotten                to put the shower curtain inside the tub. A closer look                reveals a growing PUDDLE OF WATER on the floor.               EXT. THE HITCHING POST - NIGHT               Miles walks across the parking lot. He pauses before entering,                then forces himself to take the leap.               INT. THE HITCHING POST - NIGHT               Miles affects nonchalance as he searches briefly for Maya.                He continues on into the BAR.                                     GARY                         How's it hanging, Miles?                                     MILES                         You know me. I love it up here. How                          about you?                                     GARY                         Busy night for a Tuesday. We had a                          busload of retired folks in on a                          wine tour. Usually they're not too                          rowdy, but tonight there was something                          going on. Full moon or something.                          What can I get you?                                     MILES                         Highliner.                                     GARY                         Glass or bottle?                                     MILES                              (considers, then --)                         Bottle.                                     GARY                         You got it.                                     MILES                         Say, is Maya working?                                     GARY                         Maya? Haven't seen her. I think she's                          off tonight. Say, where's your buddy?               Miles just smiles.               WIDE --               Gary serves Miles, alone at the bar. Miles takes his first                drink.                                     MILES                         Oh, that's tasty.               EXT. HITCHING POST - NIGHT               It's closing time. The front door flies open, and Miles                staggers out sideways. Gary follows him out, concerned.                                     GARY                         You okay, Miles?                                     MILES                         I'm good.               Miles heads in the wrong direction at first, then realizes                his mistake and steers himself back toward the Windmill.               FADE OUT.               UNDER BLACK, A CARD --                                        WEDNESDAY               INT. MOTEL ROOM - DAY               The door bursts open, and Jack comes bounding in.                                     JACK                         Come on, dude. Let's go golfing! I                          got us in at Alisal.               Miles comes to, very hungover.                                     MILES                         That's a public course.                              (then --)                         No Stephanie?                                     JACK                         She's working. I need a break anyway.                          She's getting a little clingy.                              (magnanimous)                         This is our day!               EXT. GOLF COURSE - DAY               WHACK! Jack TEES OFF with a manly athletic swing and shades                his eyes to watch the ball's trajectory.                                     JACK                         Crap.               Miles, disheveled and sullen, approaches the teebox, sticks                a tee in the ground and sets his ball.                                     JACK                         Did you ever got ahold of Maya                          yesterday?                                     MILES                         Nope.                                     JACK                         She likes you, man. Stephanie'll                          tell you.                                     MILES                              (preparing to swing)                         Can you give me some room here?                                     JACK                              (stepping back)                         Oh yeah. Sure.               Miles lifts his club.                                     JACK                         You know, in life you gotta strike                          when the iron's hot.                                     MILES                         Thanks, Jack.               Miles refocuses and SWINGS just as Jack offers more helpful                advice.                                     JACK                         Don't whiff it.               WHACK! Despite the distraction, Miles manages to make a good,                long drive.                                     JACK                         Nice shot.                                     MILES                         You're an asshole.               NOW ON THE FAIRWAY --               Jack is pouring two Dixie cups of wine as Miles prepares to                take his next swing.                                     JACK                         What about your agent? Hear anything                          yet?                                     MILES                         Nope.                                     JACK                         What do you think's going on?                                     MILES                         Could be anything.                                     JACK                         Been checking your messages?                                     MILES                         Obsessively.                                     JACK                         Huh.                                     MILES                         They probably think my book is such                          a piece of shit that it's not even                          worthy of a response. I guess I'll                          just have to learn how to kiss off                          three years of my life.                                     JACK                         But you don't know yet, so your                          negativity's a bit premature, wouldn't                          you say?               Miles says nothing.                                     JACK                         Or fuck those New York publishers.                          Publish it yourself. I'll chip in.                          Just get it out there, get it                          reviewed, get it in libraries. Let                          the public decide.               Giving Jack a look that says Jack has no idea what he's                talking about, Miles takes a stance over the ball and focuses.                                     JACK                         Don't come over the top. Stay still.                                     MILES                         Shut up.                                     JACK                         Just trying to be helpful.                              (a moment later)                         It's all about stillness, Miles.                          Inner quiet.               Miles drops his club and turns to Jack.                                     MILES                         Shut up! Shut up! Shut up! What's                          the matter with you, man? SHUT UP!                                     JACK                         Why are you so hostile? I know you're                          frustrated with your life right now,                          but you can choose not to be so                          hostile.                              (holding out a cup of                               wine)                         Here.               Still fuming, Miles begrudgingly accepts the wine and has a                taste. He's immediately distracted from his woes.                                     MILES                         What is it?                                     JACK                         I don't know. Got it from Stephanie.               Miles downs the rest and is intrigued by the taste.                                     MILES                         Huh. Let me see the label.               Suddenly a golfball THUDS against the hard fairway directly                behind them.                                     JACK                              (whirling around)                         What the fuck?               Way back on the tee box, some 200 yards away, are a FOURSOME                of two couples. One of the MEN is waving his driver.                                     HUSBAND #1                              (shouting, barely                               audible)                         Hurry it up, will you?               Jack looks at Miles, the two incredulous.                                     MILES                         Fucker hit into us.                                     JACK                              (yelling)                         Hey, asshole! That's not cool!                                     MILES                         Throw me his ball.               Jack walks over, picks up the offending ball and tosses it                to Miles. Miles gets out his 3-wood and -- THWOCK! -- cuts                it back low and hard.                                     JACK                         Nice shot.               THE COUPLES               duck for cover as the ball whistles over their heads.               JACK AND MILES               laugh hard.               THE TWO HUSBANDS               climb in their CART and hasten down the fairway toward Jack                and Miles.               JACK               watches their approach, grinning.                                     JACK                         Oh, this is going to be fun.                              (jerking a driver                               from his bag)                         This is going to be fun.               Jack heads in their direction, brandishing the club like a                medieval knight with a mace.               As the husbands get a look at this sight, they turn their                cart around and speed back toward their wives.                                     JACK                         Hit into us again, motherfuckers,                          and I'll ass-rape all four of you!               EXT. GOLF COURSE CLUBHOUSE - DAY               Jack and Miles are turning in their cart and hoisting their                clubs over their shoulders.                                     JACK                         Just don't give up on Maya. Cool                          smart chicks like that --they like                          persistence.                                     MILES                         I don't want to talk about it.                                     JACK                         All I know is she's beautiful. Lots                          of soul. Perfect for you. I'm not                          going to feel good about this trip                          until you guys hook up. Don't you                          just want to feel that cozy little                          box grip down on your Johnson?               Nearby a GOLFER is with his YOUNG SON.                                     GOLFER                         Hey, you mind keeping it down, buddy?               EXT. GOLF COURSE PARKING LOT - DAY               Miles and Jack walk toward their car.                                     JACK                         Is it the money thing?                                     MILES                         Is what the money thing?                                     JACK                         With Maya.                                     MILES                         Well, yeah, that's part of it. Woman                          finds out how I live, that I'm not a                          published author, that I'm a liar                          essentially, then yeah, any interest                          is gonna evaporate real quick. If                          you don't have money at my age, you're                          not even in the game. You're just a                          pasture animal waiting for the                          abattoir.                                     JACK                         Is an abattoir like a... like a...                          what is that?                                     MILES                         Slaughterhouse.                                     JACK                         Abattoir. Huh. But you are going to                          get the good news this week about                          your book. I know you are. I can                          feel it.               Jack's CELLPHONE rings, and he checks the caller ID.                                     JACK                         It's Steph.                              (picking up)                         Hey, baby. Yeah. Oh yeah. Yesssss. I                          mean I would, but let me see. Hey,                          Miles... Oh fuck it, we're going.                          We'll be right there. Me too.               He snaps his phone shut and turns to Miles.                                     JACK                         We're on.                                     MILES                         What's happening?                                     JACK                         We're going to have some fun. Remember                          fun? We're going to have some of it.                          Okay?                                     MILES                         What exactly are we going to do?                                     JACK                         I said okay?                                     MILES                         You have to tell me --                                     JACK                         I SAID OKAY?               Miles finally smiles.                                     MILES                         Okay.               OMITTED                                                 BIG FUN MUSIC BEGINS OVER:               EXT. DOWNTOWN LOS OLIVOS - DAY               A HIGH WIDE SHOT --               The Saab pulls up where Stephanie and Maya await with bottles                of wine and a PICNIC BASKET. The girls climb into the back                seat, and the car speeds away.               INT./EXT. THE SAAB - DAY               They're going FAST, hair whipping around.                                     MAYA                         Hey, Miles, I heard you came by the                          restaurant last night looking for                          me.                                     MILES                         Oh, yeah. No. I mean yeah, I stopped                          by for a drink. Didn't see you.                                     MAYA                         I had class.                                     MILES                         Well, nice to see you now.                                     MAYA                         You too.               EXT. BEAUTIFUL ROAD - DAY               WHOOSH! That car's going a little too FAST!               INT./EXT. LA PURISIMA MISSION CHURCH               The two couples wander around this historic site.               EXT. IDYLLIC PICNIC SPOT - DAY INTO DUSK               The girls have led them to a beautiful spot.               IN A SERIES OF SHOTS --               we see the progress of their picnic. We don't hear them, but                there is a growing intimacy about their interaction. Even                Maya and Miles seem to be overcoming residual awkwardness                from the other night. Jack and Stephanie lean on each other                as they eat and sip wine.               Finally, the two couples are SILHOUETTED against the SUNSET.               EXT. WINERY #3 PARKING LOT - EVENING               The parking lot is crowded. The foursome join others headed                toward the main building.               INT. WINERY #3 - EVENING               A LECTURE by British wine sage LESLIE BROUGH is in progress.                He holds aloft a RIEDEL BURGUNDY GLASS containing one of the                few but growing number of local reds worthy of his attention.               IN THE AUDIENCE --               As our foursome listen attentively, Jack leans over to Miles.                                     JACK                         You ever actually read any of this                          guy's books?                                     MILES                         He wrote a great one on Burgundy,                          and I used to get his newsletter,                          but then there were doubts about                          whether he does all his own tasting.                          Plus a couple of times he declared                          certain years vintages of the century,                          and they turned out to be turkeys.                          Fucker never retracted.                                     JACK                         Huh.               Stephanie leans forward and signals to Maya with a YAWN or a                GAGGING FINGER IN MOUTH that they hightail it. Although Miles                protests at first, they stand and leave.               AT THE BACK OF THE ROOM --               Stephanie finds a DOOR which she tests to see whether it is                open. It is! She leads her pals furtively inside --               INT. WINEMAKING ROOM - CONTINUOUS               This is an enormous, dimly-lit chamber filled with stainless                steel FERMENTATION TANKS and stacks of OAK BARRELS.               As the two couples walk in the near-darkness, they are                entranced. Maya takes Miles's hand and leads him away.               LATER --               In the background, Stephanie and Jack lean against a tank,                kissing.               CAMERA DOLLIES to reveal Miles and Maya among the barrels in                the foreground. They are shy with each other, on the verge                of kissing but holding back.               THE MUSIC CONTINUES...               INT. STEPHANIE'S LIVING ROOM - NIGHT               THREE BOTTLES OF WINE sit empty on the coffee table.               WIDE --               The four friends sit on the floor around the coffee table.                They drink wine and pass a JOINT. Suddenly they explode in                LAUGHTER.               A sleepy Siena appears at the hallway door rubbing her eyes.                Stephanie gets up, but Jack stops her, gathers Siena in his                arms, and takes her back to bed.               EXT. STEPHANIE'S HOUSE - NIGHT               The Saab pulls away from the house.               INT. SAAB - NIGHT               Miles sits in his own passenger seat as Maya tries her hand                at the Saab.               EXT. MAYA'S APARTMENT BUILDING - NIGHT               Maya leads Miles up her back stairway. They're both a little                woozy from the hours of drinking.               AT THE DOOR --               Maya searches through her purse for her keys while Miles                hovers directly behind her, staring at her ear. Her ear?               Just as Maya puts the key in the lock, he impulsively leans                forward to kiss the nape of her neck. Maya's reaction is                immediate -- she turns to embrace Miles, giving him a long                KISS. Then she opens the door, pulls him inside and closes                the door in our face.               The camera PANS to the nearby ROOFTOPS.                                           MUSIC ENDS AND SLOW DISSOLVE TO:               THE SAME VIEW BY DAY, SUPERIMPOSED WITH --                                         THURSDAY               The CAMERA PANS back to Maya's door, tilting down to find a                blue-wrapped NEW YORK TIMES. The door opens, and Maya's hand                picks up the newspaper. The CAMERA FOLLOWS Maya inside to --                INT. MAYA'S APARTMENT - CONTINUOUS               It is a small, clean apartment furnished with simple taste.               Maya is dressed in a ROBE and holds a COFFEE MUG. She drops                the paper on the dining table and continues into --               THE BEDROOM --               where Miles lies on his stomach DEAD TO THE WORLD. His stubbly                face is squished against the mattress and he SNORES lightly.               Maya looks at him for a moment before shaking his foot.               EXT. FARMERS' MARKET - DAY               This is a weekly event in a big PARKING LOT -- organic                produce, candles and incense, honey and cider.               Maya and Miles are shopping. Miles carries the bags.               EXT. ORCHARD - DAY               Across from each other at a PICNIC TABLE, and surrounded by                the remnants of BREAKFAST, Miles and Maya read the NEWSPAPER.                Miles is doing the CROSSWORD PUZZLE.                                     MAYA                         You guys should stop by the restaurant                          for lunch today.                                     MILES                         Great. What's the latest we can get                          there?                                     MAYA                         About two-thirty.                                     MILES                         Okay.                                     MAYA                              (noticing)                         Did you hear about this Bordeaux                          tasting dinner down in Santa Barbara                          Saturday night? It's a little pricey,                          but if you wanted to go, I'd be into                          it. Why don't you stay through the                          weekend?               Miles has just figured out a difficult clue. As he writes it                down --                                     MILES                         No, we've got to get back Friday for                          the rehearsal dinner.                                     MAYA                         What rehearsal dinner?               Miles stops writing.                                     MAYA                         Who's getting married?               INT./EXT. PARKING AREA NEAR THE ORCHARD - DAY               Maya leads the way toward the Saab.                                     MAYA                         Were you ever going to say anything?                                     MILES                         Of course I was. I mean, just now I                          could have made up some story, but I                          didn't. I told you the truth.               Maya turns to confront Miles with a look of "Give me a break."                Miles reaches out to touch her.                                     MILES                         Maya.                                     MAYA                              (jerking away)                         Don't touch me. Just take me home.               INT. SAAB - DAY               Miles drives, glancing occasionally at Maya, who stares                straight ahead.                                     MILES                         I've told him. I've told him over                          and over, but he's out of control.                                     MAYA                         Do you know what he's been saying to                          her?                                     MILES                         He's an actor, so it can't be good.                                     MAYA                         Oh, just that he loves her. That                          she's the only woman who has ever                          really rocked his world. How he adores                          Siena. How he wants to move up here                          and get a place with the two of them                          and commute when he has to.                                     MILES                         I'm sure he believed every word.               A stony silence.                                     MILES                         Please believe me. I was even on the                          verge of telling you last night,                          but...                                     MAYA                         But you wanted to fuck me first.                                     MILES                         Oh, Maya. No.                                     MAYA                         Yeah.               EXT. MAYA'S APARTMENT BUILDING - DAY               Miles brings the car to a stop. Maya opens the door and begins                to get out.                                     MAYA                         You know, I just spent three years                          trying to extricate myself from a                          relationship that turned out to be                          full of deception. And I've been                          doing just fine.                                     MILES                         And I haven't been with anyone since                          my divorce. This has been a big deal                          for me, Maya -- hanging out with                          you, and last night. I really like                          you, Maya. And I'm not Jack. I'm                          just his... his freshman roommate                          from San Diego State.               Maya wants to let Miles's words reach her, but she can't                just yet.                                     MAYA                         Could I have my paper, please?               Unsure what she wants at first, Miles reaches into the back                seat for the New York Times. He hands it to her and watches                until she goes inside.               EXT. WINDMILL INN - DAY               Miles pulls up and parks.               INT. MOTEL ROOM - DAY               As Miles enters, a shirtless Jack drops the Barely Legal and                is immediately upon him, grabbing him in a big BEARHUG. The                TV is on, perhaps showing an E! True Hollywood Story.                                     JACK                         Yo! Yo! Here's my boy! Here's my                          boy! Who's your daddy, boy? Who is                          yo' daddy?                                     MILES                         Put me down, Jack.               Jack continues his paean to Miles's triumphant night.                                     MILES                         I said put me down. Jack!               Still gripping Miles in a bearhug, Jack flings the both of                them onto the bed. Now on top of Miles, Jack KISSES both                cheeks.                                     JACK                         I'm so proud of you! Let me love                          you!               Now they get up off the bed.                                     JACK                         So tell me everything. Details. I                          like details.                                     MILES                         No.                                     JACK                         What?                                     MILES                         It's private.                                     JACK                         You're kidding, right? Tell me what                          happened, you fucker, or I'll tie                          your dick in a knot.                                     MILES                         Let's leave it alone.               Jack looks at Miles, his face frozen with incomprehension.                                     JACK                         You didn't get any, did you?                              (off Miles's silence)                         You're a homo.                                     MILES                         Just stop, okay? Make something up,                          and that's what happened. Whatever                          you want. Write my confession, and                          I'll sign it. Just stop pushing me                          all the time! I can't take it! You're                          an infant! This is all a big party                          for you, but not for me! This is                          serious. And you -- Just... leave me                          alone, okay? You're fucking me up.                                     JACK                         Wow. Okay. Calm down. Sorry.               Miles begins to calm down. Jack grows concerned and                sensitively puts one arm around his friend.                                     JACK                         Did you have trouble performing?                          Yeah, that's...                                     MILES                         Shut up! Shut up, Jack!               The phone RINGS and both men look at it, silenced by the                ominous sound.                                     MILES                         Don't answer it.               But Jack is drawn to it as though enticed by a strange game                of Russian roulette.                                     MILES                         I'm telling you, don't.               Jack picks up the receiver and puts it to his ear.                                     JACK                         Hello? Oh, hey, honey. How you doing?                          Uh-huh. Uh-huh.                              (mouthing)                         Christine.               Miles lies on his bed and clamps both hands over his ears.                His face is dark with resentment.                                     JACK                         Listen, honey. Let me call you back.                          Miles and I are in the middle of                          something. No, it's nothing serious --                          Miles is just having one of his freak-                         outs. Yeah. Love you too. I'll call                          you right back.               Jack hangs up.                                     MILES                         This whole week has gone sour. It                          isn't turning out like it was supposed                          to.                              (deadly serious)                         I want to go home.                                     JACK                         Who's being selfish now? I'm the one                          getting married. I thought this week                          was supposed to be about me.                                     MILES                         We gotta slow down.                              (closing his eyes)                         I'm so tired. Let's just get out of                          here.                                     JACK                         I know what you need.               INT. SEARS - DAY               Jack watches Miles be fitted for SNEAKERS. A SALES ASSOCIATE                ties Miles's laces.                                     SALES ASSOCIATE                         There you go.               Miles gets up and walks in a circle.                                     MILES                         Do you like them?                                     JACK                         Yeah, they're great. Sporty. They're                          really sporty.                                     MILES                         Are they too sporty?               INT. MALL - DAY               The boys exit Sears, Miles wearing his new shoes and carrying                a PLASTIC BAG with a string handle.                                     JACK                         Feel better?               Miles shrugs.                                     JACK                              (noticing something)                         Oh here, wait a second. I want to                          run in here real quick.               He heads toward a TOYS STORE.                                     JACK                              (over his shoulder)                         I want to get something for Siena.               Mildly concerned, Miles watches Jack go into the store.               INT./EXT. SAAB - DAY               Miles is slumped in the passenger seat as Jack drives. They                pass a BIG COMMERCIAL WINERY. Jack slows down, preparing to                turn in.                                     JACK                         How about this one? We didn't hit                          this one.                                     MILES                         Yeah, it's Frass Canyon. It's a joke.                                     JACK                         You ever actually been in there,                          Miles?                                     MILES                         I don't have to.                                     JACK                              (turning the wheel)                         I say we check it out. You never                          know.               EXT. LARGE WINERY PARKING LOT - DAY               The Saab finds a place in the large parking lot. A TOUR BUS,                whose flank reads "Solvang Wine Tours," is in the process of                letting out WINE TOURISTS, many of them elderly.               INT. LARGE WINERY - DAY               The room boasts not only a large TASTING BAR but also display                after display of t-shirts, golf shirts, olive oils, chocolate                sauces and other gourmet tourist items emblazoned with the                winery's logo.               In the corner an ACOUSTIC GUITARIST with a small amp plays                soothing Windham Hill-ish music.               The tasting bar is packed three-deep with TASTERS attended                to by HARRIED POURERS.               Finally the POURER gets to their glasses. Miles chews a sip                and swallows, then downs the rest in a single gulp.                                     MILES                         Tastes like the back of a fucking LA                          schoolbus. Probably didn't de-stem,                          hoping for some semblance of                          concentration, crushed it up with                          leaves and mice, wound up with this                          rancid tar and turpentine mouthwash                          bullshit. Fucking Raid.                                     JACK                         I don't know. Tastes okay to me.                              (looking at the tasting                               sheet)                         Hey, they got a reserve pinot.                                     MILES                         Let me use your phone.                                     JACK                              (handing it over)                         What's up?                                     MILES                         I can't take it anymore. I've got to                          call Evelyn.               EXT. LARGE WINERY - DAY               Walking across the lawn outside, Miles holds the cellphone                to his ear.                                     ASSISTANT (ON THE PHONE)                         Evelyn Berman-Silverman's office.                                     MILES                         Hi, it's Miles.                                     ASSISTANT (ON THE PHONE)                         Oh, hi, Miles. Let me see if I can                          get her.                              (a moment later)                         You're in luck. I'll put you through.                                     EVELYN (ON THE PHONE)                         Miles.                                     MILES                         Hey, Evelyn, it's your favorite                          client.                                     EVELYN (ON THE PHONE)                         How's the trip?                                     MILES                         Good, good. Drinking some good wines                          and kicking back, you know. So what's                          happening? Still no word?                                     EVELYN (ON THE PHONE)                         Actually there is word. I spoke to                          Keith Kurtzman this morning.                                     MILES                         And?                                     EVELYN (ON THE PHONE)                         And... they're passing. Conundrum's                          passing. He said they really liked                          it. They really wanted to do it, but                          they just couldn't figure out how to                          market it. He said it was a tough                          call.                                     MILES                         Huh.                                     EVELYN (ON THE PHONE)                         I'm sorry, Miles.                              (off his silence)                         So I don't know where that leaves                          us. I'm not sure how much more mileage                          I can get out of continuing to submit                          it. I think it's one of those                          unfortunate cases in the business                          right now -- a fabulous book with no                          home. The whole industry's gotten                          gutless. It's not about the quality                          of the books. It's about the                          marketing.               Miles is at a loss for words. A distant RUMBLE begins to                sound, the familiar harbinger of an anxiety attack.               EXT. DEEP CANYON - INSERT               Once again we see the narrow ROPE BRIDGE extending                vertiginously across a great CHASM.               EXT. LARGE WINERY - BACK AGAIN                                     EVELYN (ON THE PHONE)                         Are you there? Miles?                                     MILES                         Yeah, I'm here.                                     EVELYN (ON THE PHONE)                         I'm sorry, Miles. We did all we could.                          You've been a real trooper.                              (loudly, to her                               assistant)                         Tell him I'll call back.                                     MILES                         So I guess that's it.                                     EVELYN (ON THE PHONE)                         You're a wonderful writer, Miles.                          Don't be discouraged.               MOMENTS LATER --               Miles STAGGERS toward the tasting room, unpocketing his Xanax                and downing a couple, as Evelyn's clichÈs of consolation                continue in his head.                                     EVELYN (ON THE PHONE)                         Just hang in there, and who knows?                          After you get something else                          published, we can revisit this one.                          And next time we can try a different                          title.               Once back at the tent, he leans against it in a vain attempt                to steady himself. The RUMBLE grows deafening.               INT. LARGE WINERY - DAY               Now inside, Miles grabs the first DIRTY WINE GLASS he finds                and shakes it out as he approaches the closest tasting                station. He pushes his way to front.               The pourer offers the usual one-ounce dollop. Miles jacks it                back, immediately extending his glass for more.                                     MILES                         Hit me again.               The same small amount is poured and downed. Once again Miles                holds out his glass.                                     MILES                         Pour me a full glass. I'll pay for                          it.                                     POURER                         This is a tasting, sir. Not a bar.               Miles slams a TWENTY-DOLLAR BILL on the table.                                     MILES                         Just give me a full goddamn pour.               The pourer turns away to serve another party. Miles looks                around indignantly, as though everyone should be sympathetic                to this injustice.               Now Miles boldly reaches over and pours himself a glass right                up to the brim and beyond.                                     POURER                         Sir, what are you doing?                                     MILES                         I told you I need a drink.                                     POURER                         Then buy a bottle and go outside.               The pourer grabs Miles by the wrist before he can drink.                                     POURER                         Put the glass down.               In the ensuing struggle, the wine spills, and everyone nearby                steps back.                                     POURER                         You're going to have to leave, sir.               The pourer signals to a SECURITY GUY at the door. Across the                room Jack notices the disturbance and heads over.               Miles hoists up the SPIT BUCKET, holds it aloft and starts                to GUZZLE it. Wine cascades down the sides of his face, onto                his shirt and even onto his shiny new shoes.               The Security Guy yanks the bucket away from Miles, and drags                him toward the EXIT. Jack catches up.                                     JACK                              (to the horrified                               onlookers)                         It's all right. His mother just died.               EXT. BEACH - DAY               Two PELICANS soar low over the water. One of the DIVES,                crashing into the water and disappearing from view.               Jack and Miles sit on the hood of the Saab, gazing at the                ocean, sharing a bottle of wine.                                     JACK                         Just write another one. You have                          lots of ideas, right?                                     MILES                         No, I'm finished. I'm not a writer.                          I'm a middle-school English teacher.                          I'm going to spend the rest of my                          life grading essays and reading the                          works of others. It's okay. I like                          books. The world doesn't give a shit                          what I have to say. I'm unnecessary.                              (a dark laugh)                         I'm so insignificant, I can't even                          kill myself.                                     JACK                         What's that supposed to mean?                                     MILES                         You know -- Hemingway, Sexton, Woolf,                          Plath, Delmore Schwartz. You can't                          kill yourself before you've even                          been published.                                     JACK                         What about that guy who wrote                          Confederacy of Dunces? He committed                          suicide before he got published, and                          look how famous he is.                                     MILES                         Thanks.                                     JACK                         Don't give up. You're going to make                          it.                                     MILES                         Half my life is over, and I have                          nothing to show for it. I'm a                          thumbprint on the window of a                          skyscraper. I'm a smudge of excrement                          on a tissue surging out to sea with                          a million tons of raw sewage.                                     JACK                         See? Right there. Just what you just                          said. That's beautiful. A thumbprint                          on a skyscraper. I couldn't write                          that.                                     MILES                         Neither could I. I think it's                          Bukowski.               Unable to respond, Jack looks up and down the beach.               EXT. BUCOLIC ROAD - DAY               ZOOM! There goes the Saab.               The CAMERA lingers behind and PANS to reveal THE DEAD DOG,                now covered with FLIES AND MAGGOTS.               EXT. WINDMILL INN - DAY               Jack and Miles pull into the parking lot.                                     JACK                              (lighting up)                         Oh, look. There's Steph!               He smiles broadly and honks his horn. Miles turns to see --               STEPHANIE               seated halfway up on the motel stairs, her HELMET in her                lap, watching patiently as --               THE SAAB               pulls to a stop in a parking space.               Miles masks his concern as he gets out of the car and reaches                in the backseat for his Sears bag.                                     JACK                              (calling out)                         Hey, baby.               Stephanie stands up and slowly descends the steps, as Jack                reaches into the trunk and pulls out a BIG CUDDLY LION DOLL.                                     JACK                         Look what I got for our favorite                          girl.               Stephanie walks toward Jack as he waddles toward her hugging                the lion. When they get close, Stephanie's face transforms                with rage.                                     STEPHANIE                         YOU MOTHERFUCKER!               She swings her helmet and HITS JACK FULL IN THE FACE.               Jack falls, blood spraying out of his nose. Stephanie stands                over him and continues to BEAT HIM with her helmet as he                rolls back and forth, protecting his head with the stuffed                lion.               Miles ineffectually attempts to stop her, dancing just out                of range.                                     MILES                         Stephanie! Stop!                                     STEPHANIE                         You fucking bastard! Lying piece of                          shit! You're getting married on                          Saturday? What was all that shit you                          said to me?                                     JACK                         I can explain.                                     STEPHANIE                         You said you loved me! You fuck! I                          hope you die!               With that she backs away. Glancing at her bloodied helmet,                she tosses it onto the pavement before getting on her bike.                                     STEPHANIE                         Fuckface!                              (to Miles)                         You too!               As she speeds away, Miles is left to comfort his wounded                friend. The lion lies nearby, staring blankly at the sky.               INT./EXT. SAAB - DAY               Seated in the passenger seat and in great agony, Jack presses                a BLOOD-SOAKED TOWEL against his face.                                     MILES                         Aren't you glad you didn't move up                          here and marry her?                                     JACK                         Don't need a lecture. You fucking                          told Maya, didn't you?                                     MILES                         No, I did not. Must have been Gary                          at the Hitching Post. I think we                          mentioned it to him the first night.                                     JACK                         You told him. I'm fucking hurting                          here.                                     MILES                         Keep it elevated.               INT. HOSPITAL ER WAITING ROOM - DAY               CLOSE ON A COSMOPOLITAN open to an article titled "24 Ways                To Please Your Man."               WIDER --               Miles reads, while nearby a YOUNG BOY dry-heaves into a                garbage can held by his FATHER. An OLD WOMAN parked in a                wheelchair faces the wall.               LATER --               Miles is at a PAYPHONE. As he speaks he tries to peel off                the metal LONG DISTANCE STICKER.                                     MAYA (ON THE PHONE)                         Hi. It's Maya. Please leave a message.                                     MILES                         It's Miles. Listen, I don't know if                          you even care, but I had to call and                          tell you again how much I enjoyed                          our time together and how sorry I am                          things turned out the way they did.                          I think you're great, Maya -- always                          have. From the first time you waited                          on me.                              (bracing himself)                         And while I'm at it, I guess you                          should know that my book is not                          getting published. I thought this                          one had a chance, but I was wrong.                          Again. Don't bother reading it --                          you've got better things to do. So                          you see I'm not much of a writer.                          I'm not anything really. The only                          real talent I seem to have is for                          disappointing people and now you                          know that firsthand. We're leaving                          in the morning, and I want you to                          know that I take with me wonderful                          memories of you. I'm sorry. I'm really                          sorry.               What else to say? He hangs up.               He returns to his seat. A moment later he extends his legs                to look at his new SHOES now STAINED WITH WINE.               LATER --               Jack emerges unsteadily from the bowels of the emergency                room, his face purple and swollen beneath the HUGE WHITE                BANDAGE that holds the NOSEGUARD in place. Miles walks with                him toward the exit.                                     MILES                         Well?                                     JACK                         I'm going to need an operation. Maybe                          a couple of them. They have to wait                          for it it to heal first. Then they                          break it again.                                     MILES                         Good thing you have a voice-over                          career.                                     JACK                         Gonna fuck that up too. I should sue                          her ass. Only reason I won't is to                          protect Christine.                                     MILES                         That's thoughtful.                                     JACK                              (disgusted)                         Yeah.               They walk by us and out the door.               EXT. STREET IN SOLVANG - DAY               Jack sits in the Saab's passenger side with the seat almost                fully reclined. When his agony allows him to open his eyes,                he glares at the DANISH THEMED STORES lining the street. An                ABELSKIVER MAKER plies his lofty trade in a nearby window.                He hears a strange CLOMPING NOISE and turns his head to see                a MAN IN WOODEN CLOGS walking noisily down the street, dressed                in a TRADITIONAL DANISH COSTUME and carrying a TUBA. Jack                takes a slug of wine.               Just then Miles gets back in the car.                                     JACK                         I hate this place.               Miles tears open a paper bag and removes a bottle of pills.                A closer angle reveals them as VICODIN.                                     MILES                         Take a couple of these, and you'll                          learn to love it.               Miles opens the bottle and hands Jack two PILLS.                                     MILES                         Two for you. And two for me.               Jack washes down the pills and passes the bottle to Miles,                who follows suit.               EXT. WINDMILL INN JACUZZI - EVENING               Jack and Miles sit across from each other. For the first                time we see LARGE PURPLE BRUISES on Jack's arms and chest.                                     JACK                         So how did Stephanie know it was                          Saturday? We didn't get into that                          with Gary.                                     MILES                         Huh. Let me think.                                     JACK                         You sure you didn't say anything to                          Maya?                                     MILES                         Sure I'm sure. And just what are you                          implying? I'm really pissed off at                          you about all this, if you want to                          know the truth. What's Maya going to                          think of me now just for associating                          with you? You're the one who's                          sabotaging me, not the other way                          around, pal. Not by a longshot.               Jack takes a long lie-detecting look at Miles.                                     JACK                         I don't know. Just seems fishy.               INT. MOTEL ROOM - NIGHT               The boys lie on their respective beds staring at the TV.                Jack gets up and lumbers slowly to the dresser MIRROR like a                large dog who has just been neutered.                                     JACK                         What's it look like to you?                                     MILES                         Looks like you were in a bad car                          accident.               Jack turns to Miles, nodding and thinking. Then he looks                back in the mirror.                                     JACK                         I'm hungry.               EXT. A.J. SPURS BARBECUE - NIGHT               Establishing. Thursday night is Cajun Wings Night.               INT. A.J. SPURS BARBECUE - NIGHT               Miles and Jack are finishing their SALADS in the rustic-                themed restaurant festooned with animal trophies.                                     JACK                         You know what I'm thinking?                                     MILES                         What's that?                                     JACK                         I'm thinking it's time to settle                          down. One woman. One house. You know.                          It's time.                                     MILES                         Uh-huh.               Jack nods his head with no self-awareness or acknowledgment                of the irony.               NOW TWO PLATES ARRIVE               mounded high with ribs, slaw, beans and butter-whipped mashed                potatoes.                                     JACK                         Mm. Mm.               Their cheery, saftig blonde WAITRESS removes several FOIL                PACKETS from her apron and places them on the table.                                     WAITRESS                         And here're your Handi-wipes.                                     JACK                         Oh, so that's what those are? For a                          second there I thought you guys were                          promoting safe sex.               The waitress OVER-LAUGHS and swipes a hand at her naughty                customer.                                     WAITRESS                         I'll be right back with more corn                          bread.               Jack watches her go and leans in close to Miles.                                     JACK                         I bet you that chick is two tons of                          fun. You know, the grateful type.                                     MILES                         I don't know. I wouldn't know.               Now she comes back toward the table carrying a BIG BASKET.                Beneath the hideous uniform, her nylons SH-SH-SH as she walks.                When she arrives, she replenishes their corn bread basket                using big TONGS. Jack watches attentively.                                     JACK                         Nice technique there...                              (checking her name                               tag)                         ...Cammi.                                     CAMMI                         It's all in the wrist.                              (a moment later)                         You know, you look really familiar.                          You from around here? Where'd you go                          to high school?                                     JACK                         No, we're from San Diego. Why?                                     CAMMI                         I don't know. You just seem really                          familiar to me. Never mind. Enjoy                          your meals.                                     JACK                         Hang on. Did you ever know a Derek                          Sommersby?                                     CAMMI                         Doctor Derek Sommersby? You mean                          from "One Life to Live"?               Miles looks away and sighs.                                     JACK                         You have to imagine him with a bandage                          and shorter hair.               As Cammi stares at Jack, her face transforms in astonishment.                                     CAMMI                         No. Way. No way!               Jack smiles and nods.                                     CAMMI                         Oh, my God!                                     MILES                         Could you tell me where the bathroom                          is?                                     CAMMI                              (her eyes barely                               leaving Jack)                         Uh, sure, it's right over there,                          right past the buffalo.               IN A WIDE SHOT --               Miles gets up and heads toward the bathroom as Jack's                flirtation with Cammi continues.               The camera PANS with Miles as he walks by us and goes through                the bathroom door, which closes behind him, filling the frame                with the word "MEN."               LATER --               A TOOTHPICK DISPENSER as a finger tips it forward to dispense                one.               WIDER --               Miles stands by the cash register and PICKS HIS TEETH as he                watches Jack finish speaking with Cammi and head his way.                                     JACK                         She gets off in an hour, so I think                          I'm just going to have a drink and                          then... make sure she gets home safe.                                     MILES                         You're joking, right?                              (seeing that he isn't)                         What are you doing? Un-fucking-                         believeable. Can we just go back to                          the hotel and hang out and get up                          early and play nine holes before we                          head home?               Jack rests one hand on Miles's shoulder and drops his head,                thinking how best to put it.                                     JACK                         Look, Miles. I know you're my friend                          and you care about me. And I know                          you disapprove. I respect that. But                          there are some things I have to do                          that you don't understand. You                          understand wine and literature and                          movies, but you don't understand my                          plight. And that's okay.               CLOSE ON MILES --               as the disappointment in his friend deepens by the moment.                                                             FADE TO BLACK:               UNDER BLACK, SUPERIMPOSED --                                          FRIDAY               Now comes the sound of hysterical KNOCKING.               INT. MOTEL ROOM - DAWN               Despite the knocking, Miles remains motionless in bed, his                expression serene.               Finally he awakens and drags himself toward the door, opening                it to find --               JACK               silhouetted against the first rosy fingers of dawn. He is                barefoot. In fact he is clad only in his UNDERWEAR. Hugging                himself, he PANTS and SHIVERS.                                     JACK                         Jesus fucking Christ, it's freezing.               He limps past Miles, yanks off the bed covers and wraps them                around himself.                                     JACK                         Vicodin. Where's the Vicodin? My                          nose.               Miles hands him the bottle, and Jack frantically pops a couple                of pills, chewing them like candy. He sits down and bends                over at the waist as though preparing for an airplane crash.                                     JACK                         Fucking chick's married.                                     MILES                         What?                                     JACK                         Her husband works a night shift or                          something, and he comes home, and                          I'm on the floor with my cock in his                          wife's ass.                                     MILES                         Jesus, Jack. Jesus. And you walked                          all the way back from Solvang?                                     JACK                         Ran. Twisted my ankle too.                                     MILES                         That's five clicks, Jackson.                                     JACK                         Fucking-a it's five clicks! At one                          point I had to cut through an ostrich                          farm. Fuckers are mean.               Miles has now awakened to take in the absurdity of the whole                scene, and he LAUGHS HARD. The blanketed bulge just sits                there. Finally it looks up and shows its pitiful visage.                                     JACK                         We gotta go back.                                     MILES                         What?                                     JACK                         I left my wallet. My credit cards,                          cash, fucking ID, everything. We                          gotta go back.                                     MILES                         Big deal. We'll call right now and                          cancel your cards.                                     JACK                         You don't understand. The wedding                          bands. The wedding bands are in my                          wallet.                                     MILES                         Okay, so they were in your wallet,                          and you left your wallet somewhere.                          Some bar. Christine'll understand.                                     JACK                         No. She ordered them special. Took                          her forever to find them. They've                          got this design on them with dolphins                          and our names engraved in Sanskrit.                          We've got to go back. Christine'll                          fucking crucify me.                                     MILES                         No way. No way.                                     JACK                              (a pitiful whine)                         Please, Miles, please.                                     MILES                         Forget it. Your wallet was stolen at                          a bar. Happens every day.               Jack stares straight ahead, breathing through his mouth as                he considers this. Then --                                     JACK                         No, we've got to get my wallet! Those                          rings are irreplaceable! We've got                          to get them, Miles! I fucked up! I                          know I fucked up, okay? I fucked up.                          You gotta help me. You gotta help                          me. Pleeeease!               Jack now descends to a level of wretchedness and desperation                that Miles has never seen before in Jack, or in anyone else                for that matter.                                     JACK                         Oh, God, please... Oh God. I know                          I'm bad. I know I did a bad thing.                          Help me, Miles. Just this one thing,                          this one last thing. I can't lose                          Christine. I can't. I'm nothing                          without her. Please, Miles, please...                          uuuuu... uuuuuu.... uuuuuuu......               No longer able to form words, Jack is reduced to emitting                low, primitive sounds. Snot flows from beneath his bandaged                nose.               INT./EXT. SAAB - MORNING               Miles drives in the early-morning light. Jack is now subdued,                quieted by his pain and exhaustion.                                     MILES                         She tell you she was married?                                     JACK                         Yeah.                                     MILES                         So what the fuck were you thinking?                                     JACK                         Wasn't supposed to be back till six.                          Fucker rolls in at five.                                     MILES                         Cutting it a little close, don't you                          think?                              (off Jack's silence)                         So how was she? Compared to Stephanie,                          say.                                     JACK                         Horny as shit. Flopping around like                          a landed trout.               EXT. LOW-RENT STREET - MORNING               The Saab creeps around a corner.               INT./EXT. SAAB - MORNING               Jack scans the street.                                     JACK                         Yeah, this is the block. Just keep                          going...                              (spotting an AMC Pacer)                         Yeah! This is it. There's her car.               Miles pulls over and cuts the engine.                                     MILES                         So what's the plan?                                     JACK                         The plan is... you go.                                     MILES                         Me?                                     JACK                         My ankle. Just go explain the                          situation.                                     MILES                              (sarcastic, clearing                               his throat)                         Uh, excuse me, sir, but my friend                          was the one balling your wife a couple                          hours ago, and he seems to have left                          his wallet behind, and we were                          wondering...                                     JACK                         Yeah, yeah. Like that. Just like                          that.               Miles gives Jack a withering look. Jack reaches for the DOOR                HANDLE.                                     JACK                         Fuck you. I'll get it myself.                                     MILES                              (grabbing Jack's shirt)                         Hold on.               EXT. CAMMI'S STREET - MORNING               Miles crosses the street and approaches --               EXT. CAMMI'S HOUSE - MORNING               Miles presses his ear against the front door. Nothing. Then                he notices --               A SLIDING GLASS DOOR a few feet away, just barely cracked                open.               MILES creeps over, sticks his hand into the open space and                pulls back the curtain to reveal --               A LIVING ROOM the is hideously MESSY. Draped over a deformed                beanbag chair are JACK'S LEVI'S.               Miles gathers his courage, carefully slides open the glass                door, and creeps inside.               INT. CAMMI'S HOUSE - CONTINUOUS               A furtive search of Jack's pockets reveals NOTHING. Then                Miles notices a HIGH-PITCHED SOUND wafting from an open door                down a short HALLWAY.               Miles feverishly begins foraging through the debris on the                floor. Again nothing. Meanwhile the noise from the bedroom                grows louder -- female MOANING in odd rhythmic unison with a                MAN'S VOICE.               IN THE HALLWAY --               Miles gets on ALL FOURS and starts crawling, weaving his way                through a trail of shoes and clothes.               Nearing the open door, the sounds grow more distinct --                                     MAN                         You don't think I fuck you, bitch?                          I'll fuck you.                                     CAMMI                         I'm a bad girl. I'm a bad girl.               Miles peers around the corner of the open door to see --               INT. CAMMI'S BEDROOM - CONTINUOUS               Cammi is TIED to the faux brass headboard. A BIG GUY slams                away at her. In the corner a soundless TV shows a PRESIDENTIAL                PRESS CONFERENCE.                                     MAN                         You picked him up and you fucked                          him, didn't you, bitch?                                     CAMMI                         I picked him up and I fucked him.                          I'm a bad girl.                                     MAN                         And you liked fucking him, didn't                          you, you fat little whore?                                     CAMMI                         I liked it when you caught me fucking                          him.               Whoa!               Miles manages to tear his eyes away from this nature                documentary and scan the room.               IRIS IN --               to the WALLET atop the dresser.               Miles's eyes dart back and forth between the couple and the                wallet. His HEART BEATING LOUDLY, he goes for it. He scrambles                to his feet, dashes across the room, seizes the wallet and                tears out. Behind him he hears --                                      MAN (O.S.)                         The fuck was that?                                     CAMMI (O.S.)                         The wallet! He took Derek's wallet!               EXT. CAMMI'S HOUSE - CONTINUOUS               Miles comes flying out of the sliding glass door, followed                swiftly by the man, who is of course STARK NAKED. And he's                fast for a man his size.                                     CAMMI (O.S.)                         Get him!               INT. SAAB - MORNING               Jack is reclined in the passenger seat FAST ASLEEP. On the                radio NPR'S CARL KASSEL reads the news.               THROUGH THE DRIVER'S WINDOW --               Miles comes sprinting towards us, mere steps ahead of Cammi's                naked husband. Finding the car door locked, Miles knocks                loudly on the glass, startling Jack awake.                                     MILES                         Open up! Jesus! Open the goddamn                          door!               Jack flips the electric locks just in time for Miles to get                in before --               WHUMP! The guy's BELLY hits the window. He pounds on the                roof before trying the door, now re-locked.                                     MAN                         You motherfuckers! I'll kill you!                          I'll kill you motherfuckers!               Miles starts the car and begins to drive away. The guy tries                to keep up but can't, running barefoot on asphalt. Jack turns                to look --               OUT THE BACK WINDOW --               The guy recedes in the distance.               JACK               removes the rings from the wallet.                                     JACK                         You did it! You fucking did it!               They LAUGH and SLAP HANDS.               CLOSE ON MILES --               For all his failures, this time he did something right.               INT. MOTEL ROOM - DAY               The shades are drawn. Jack is CRASHED OUT on the bed, snoring                loudly. Miles folds his shirts and trousers -- readying his                bags for departure.               At one moment he stops and watches his friend sleep.               A KNOCK at the door. Miles goes to answer it, but once his                hand is on the knob, he pauses. If we're perceptive, we will                know he's hoping against hope that it's Maya.               He opens it. It's just the MAID with her big CART.                                     MAID                         Housekeeping.               OMIT.               EXT. 101 FREEWAY - DAY               The Saab enters the freeway and heads south.               INT./EXT. SAAB - DAY               Miles drives while Jack stares out the window, WATCHING THE                LANDSCAPE CHANGE as they leave wine country.                                     MILES                         Hey, Jack. Jack.                                     JACK                         Hrnrnrn?                                     MILES                         That was quite a day yesterday.               Jack's eyes close, but his lips spread into a smile.                                     JACK                         Yep. Quite a day.                                     MILES                         Quite a week.               EXT. 101 FREEWAY - DAY               A driving shot.               EXT. FILLING STATION - DAY               Miles pumps the gas, while nearby Jack stretches his legs.                As Miles puts the nozzle back in place --                                     JACK                         Want me to drive?                                     MILES                         No, I'm okay.                                     JACK                         Hey, why don't you invite Maya to                          the wedding?                                     MILES                         Somehow I don't think inviting Maya                          to your wedding is the right move.                          In fact, after your bullshit, it's                          going to be hard for me to even go                          to the Hitching Post again.                                     JACK                         You're so negative.               Miles replaces the hose and screws on the gas cap.                                     JACK                         Come on, let me drive.                                     MILES                         I'm fine. You rest.                                     JACK                         I feel like driving.               INT. SAAB - DAY               As the car makes its way back toward the freeway, Jack looks                over at Miles and slows the car to a stop.                                     MILES                         What's wrong?                                     JACK                         Nothing. Buckle up, okay?               Miles obeys. Without hesitation, Jack accelerates and JUMPS                THE CURB, heading into --               EXT. VACANT LOT - CONTINUOUS               The Saab plows INTO A TREE.               INT. SAAB - CONTINUOUS                                     MILES                         What the fuck!                                     JACK                              (pointing at his face)                         You said it looked like a car                          accident.                                     MILES                         What the fuck!                                     JACK                         I'll pay for it.               EXT. VACANT LOT - DAY               They get out to inspect the damage. The hood is slightly                crumpled, and the front fender is bent.                                     MILES                         Look at this!                                     JACK                         I don't know. Doesn't look like                          anybody got hurt in this one.                                     MILES                         Oh, no. Oh, Christ. No, you don't.                                     JACK                         You need a new car anyway.               Miles looks at his friend, incredulous.                                     JACK                         I said I'd pay for it.               MOMENTS LATER --               The trunk is open, and the guys are unloading their cases of                wine. Miles notices that one box is DRIPPING.                                     MILES                         You broke some.                                     JACK                         Whatever. Sorry.                                     MILES                         No, not whatever. You fucking                          derelict.               MOMENTS LATER --               Miles looks on as Jack hoists a FOUNDATION BLOCK toward the                open driver's door of the Saab.                                     JACK                         You ready?               Miles waves his hand in a gesture of "Get it over with."               Grunting with effort, Jack leans inside the car and drops                the foundation block onto the GAS PEDAL.               Direct hit! Jack leaps backward and hits the dirt just in                time.               Miles and Jack watch the driverless Saab race toward the                tree, its speed increasing. But just before hitting it, the                car drifts to one side and SAILS RIGHT PAST.                                     MILES                         Oh, fuck!               The car zooms wildly across the vacant lot and, missing the                tree, continues on until CRASHING THROUGH A FENCE and finally                toppling headlong into a CEMENT TRENCH. Only the back of the                car remains visible.               The whole thing is finished in a matter of seconds. Still                frozen in place, Miles and Jack turn slowly to each other.                                     JACK                         It's okay. I've got Triple A.               EXT. 101 FREEWAY - DAY               From in front of the Saab, we see its now CRUMPLED HOOD and                FENDER, a couple of BUNGEE CORDS holding the whole thing                together.               EXT. PALOS VERDES STREET - DAY               The Saab approaches the end of the line.               EXT. ERGANIAN HOUSE --DAY               AT THE FRONT PORCH --               Miles has helped Jack carry his bags and the wine. He plops                the last case down.                                     MILES                         Well. That about does it.                                     JACK                         Why don't you come in?                                     MILES                         Uh-uh. You're on your own.                                     JACK                         So I'll see you at the rehearsal.                                     MILES                         Yeah.               They give each other a brief manly back-slappy hug.                                     JACK                         Love you, man.                                     MILES                         Back at you.               Miles heads toward the curb.                                     JACK                         Hey, don't pull away till they see                          the car.                                     MILES                              (over his shoulder)                         Yeah.                              (turning around)                         Hey, why wasn't I injured?                                     JACK                              (big smile)                         You were wearing your belt.               BACK AT HIS CAR --               Miles gets in and watches through the side window as Mrs.                Erganian opens the front door and welcomes Jack with shock                and dismay. Jack points back at --               MILES raising one hand in a feeble wave. The camera slowly                MOVES CLOSER as he continues to watch --               JACK --               weaving his story of woe. He's a great actor when he wants                to be. Mr. Erganian and a mortified Christine come to the                door too. Mr. Erganian takes a few steps toward the car to                get a better look.               VERY CLOSE ON MILES --               watching the drama play out. Then his eyes drop as he                momentarily loses himself in melancholy. This reverie is                interrupted by --               THE VOICE OF AN ARMENIAN PRIEST               Startled, Miles turns to look at --               A PRIEST               who is singing the BLESSING OF THE RINGS.               We are now in --               INT. ARMENIAN APOSTOLIC CHURCH - DAY               The church is packed.               CLOSE ON THE RINGS as the priest holds them aloft.               If those rings could talk... Jack shoots a quick look at                Miles, who looks right back. The priest continues his                blessing.               EXT. ARMENIAN CHURCH - DAY               AT THE TOP OF THE STAIRS --               The WEDDING FAMILIES greet the exiting guests in a RECEIVING                LINE. Smiling and exuberant, Jack seems utterly at home as                the new groom.               AT THE BOTTOM OF THE STEPS --               Miles watches the scene, not without melancholy. Then --                                     VICTORIA (O.S.)                         Hey, Miles.               Miles turns and looks up to see Victoria, standing one step                above him. Just behind her is her NEW HUSBAND. He exudes the                quiet confidence of a successful businessman who played                college football, takes expensive skiing and sailing                vacations, and hasn't read a novel since high school.                                     MILES                         Hi, Vicki.                              (taking her in)                         You look beautiful.                                     VICTORIA                         Thanks. Um, this is Ken Cortland, my                          husband.               From his spot hovering over Miles, Ken leans down and offers                his hand.                                     KEN                         How are you?                                     MILES                         Hi. How you doing? You're a lucky                          guy.                                     KEN                         Thanks.                              (to Victoria)                         I'll wait for you at the car.                              (to Miles)                         Nice to meet you, Miles.                                     MILES                         Ken.               Exit Ken.                                     MILES                         That was big of him.                                     VICTORIA                         Yeah, he's good that way. Very                          considerate.                                     MILES                         That's great.                                     VICTORIA                         So how're you doing?                                     MILES                         Since the last time we spoke? I don't                          know. Could be better. Could be worse.                                     VICTORIA                         So what's happening with your book?                                     MILES                         Universally rejected. Strike three.                                     VICTORIA                         Oh, Miles. That's awful. What are                          you going to do?                                     MILES                         Back to the drawing board, I guess.                          Or not. So... you're married.                          Congratulations. You look happy.                                     VICTORIA                         I am.                                     MILES                         Seems like everyone's getting married.                          A year ago it was all divorces. Now                          it's all weddings. Cyclical, I guess.                                     VICTORIA                         I guess.               Just then a BLACK LINCOLN NAVIGATOR pulls up alongside the                curb. The passenger side window is halfway down, and the                sounds of Adult Contemporary Jazz waft out. Victoria gives                Ken a little wave.                                     MILES                              (shifting gears)                         Well, let's go have some champagne,                          shall we? Toast all the newlyweds.                                     VICTORIA                         Not me. I'm not drinking.                                     MILES                         You quit drinking?                                     VICTORIA                         I'm pregnant.                                     MILES                              (hit in the solar                               plexus)                         Oh. Huh. Well...                              (rallying)                         Congratulations again, Vicki. That's                          wonderful news.                                     VICTORIA                              (going to the car)                         See you over there, Miles.                                     MILES                         Yeah.               As she gets in the car and cruises away, Miles glances back                at --               THE RECEIVING LINE               -- where Mike Erganian is introducing Jack to some dear old                FRIENDS. Mike throws a loving arm around his new son-in-law,                and Jack is drawn into Mike's bosom.               EXT. STREET - DAY               A HAND-PAINTED SIGN, attached to a STOP SIGH and decorated                with balloons, reads: "RECEPTION THIS WAY!" with an arrow                pointing RIGHT.               One by one, CARS are making a right turn. But when his turn                comes, Miles turns LEFT.               EXT. MILES'S APARTMENT COMPLEX - DAY               The Saab pull up outside. Miles leaves the car idling as he                sprints inside. Moments later he sprints back to his car,                this time carrying SOMETHING.               OMIT               INT. FAST FOOD PLACE - DAY               His bowtie undone, Miles sits at a booth eating. He washes                down a bite by draining the contents of a big wax-coated                soft drink cup.               He brings the cup to his lap and refills it from a BOTTLE OF                WINE hidden next to him. As he sets the bottle back down, we                glimpse the label: 1961 Cheval Blanc.               He takes another sip. As the camera MOVES CLOSER, all the                complex emotions inspired by the wine ripple across Miles's                face.                                     14-YEAR-OLD BOY (O.S.)                         "The marrow of his bone," I repeated                          aimlessly. This at least penetrated                          my mind. Phineas had died from the                          marrow of his bone flowing down his                          blood stream to his heart.               INT. MIDDLE SCHOOL CLASSROOM - DAY               The voice belongs to one of Miles's PUPILS reading aloud in                class. Other students follow along silently from their own                copies of A Separate Peace.               SUPERIMPOSED --                                     FIVE WEEKS LATER               Miles sits behind his desk at the front of the class.                                     14-YEAR-OLD BOY                         I did not cry then or ever about                          Finny. I did not cry even when I                          stood watching him being lowered                          into his family's straight-laced                          burial ground outside of Boston. I                          could not escape a feeling that this                          was my own funeral, and you do not                          cry in that case.               The students look up.                                     14-YEAR-OLD BOY                         Do you want me to keep reading the                          next chapter, Mr. Raymond?                                     MILES                              (as though coming to)                         Hrnrnrn? No, we'll pick up there on                          Monday.               INT. MILES'S APARTMENT - EVENING               Miles enters his tiny apartment. He loosens his tie and puts                down his satchel.               On his way to the kitchen, he presses a button on his                ANSWERING MACHINE. As it plays, he opens the REFRIGERATOR                and looks inside.                                     ANSWERING MACHINE                         One new message.                                     MAYA'S VOICE                         Hello, Miles. It's Maya.               Miles FREEZES, not wanting to miss a single syllable.                                     MAYA'S VOICE                         Thanks for your letter. I would have                          called you sooner, but I think I've                          needed some time to think about                          everything that happened and what                          you wrote to me. Another reason I                          didn't call sooner is that I wanted                          to finish your book, which I finally                          did last night.               Miles's heart pounds.                                     MAYA'S VOICE                         I think it's really lovely, Miles.                          You're so good with words. Who cares                          if it's not getting published? There                          are so many beautiful and painful                          things about it. Did you really go                          through all that? It must have been                          awfully hard. And the sister character --                         Jesus, what a wreck. But I have to                          say I was really confused by the                          ending. Did the father finally commit                          suicide, or what? It's driving me                          crazy. And the title.               INT./EXT. SAAB - DAY               THROUGH THE WINDSHIELD --               We see ourselves taking the BUELLTON EXIT.                                     MAYA'S VOICE                         Anyway, it's turned cold and rainy                          here lately. But I like winter. So                          listen, if you ever do decide to                          come up here again, you should let                          me know. I would say stop by the                          Hitching Post, but to tell you the                          truth I'm not sure how much longer                          I'm going to be working there. I'm                          going to graduate soon so I'll                          probably relocate. We'll see.               EXT. MAYA'S APARTMENT BUILDING - DAY               Miles climbs the wooden steps and approaches Maya's back                door.                                     MAYA'S VOICE                         Anyway, like I said, I really loved                          your novel. Don't give up, Miles.                          Keep writing. You're really good.                          Hope you're well. Bye.               Miles takes a breath. Finally he KNOCKS.               FADE OUT.                                         THE END
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+                                       "THE SIEGE"                                      Screenplay by                        Lawrence Wright, Menno Meyjes & Edward Zwick                                         Story by                                     Lawrence Wright                                           1998                                      SHOOTING DRAFT                               FADE IN:               EXT. TYRE, LEBANON - DAY               A coast road. Date palms. Burnt-out hulks that once were                Russian T-54 TANKS have long ago been left to rust in the                sun. A 4-door MERCEDES hurtles down the ancient road.                                     DEVEREAUX (V.O.)                         We're online for exactly two minutes.               A SATELLITE VIEW               Of the same scene. A grainy IMAGE of the car, and some                distance away, a moving cluster of animals. They are:               HERD OF SHEEP               As seen at ground level. Two SHEPHERDS goad them forward. In                the distance, the MERCEDES approaches.               FLASH CUT -- NEWS FOOTAGE (STOCK)               U.S. Army medics and rescue workers frantically sift through                the rubble of a collapsed barracks.                                     CNN REPORTS (V.O.)                         "...the single worst casualty in the                          history of American military --"               BACK TO -- THE COAST ROAD               The Mercedes barrels down the road, doing at least 80 mph.               THE SATELLITE VIEW               Shows that the car is fast approaching the point where the                herd of sheep are about to cross the road.               FLASH CUT -- NEWS FOOTAGE (STOCK)               Amidst the rubble, the dead are zipped into body bags.                                     CNN REPORTS (V.O.)                         "-- the truck, carrying high                          explosives is believed to have hit                          the barracks --               BACK TO -- THE COAST ROAD               The driver of the Mercedes hits his horn but doesn't slow                down. In addition to the driver and a bodyguard, an OLD MAN                WITH A HENNAED BEARD, a turban, and sunglasses sits in back.               THE SATELLITE VIEW               As the Mercedes closes with the sheep:                                     DEVEREAUX (V.O.)                         Slow down.               BACK TO -- THE COAST ROAD               As if on command, the Mercedes finally slows as the sheep                move lazily across the road.               FLASH CUT -- NEWS FOOTAGE (STOCK)               President Clinton addresses reporters in the White House.                                     PRESIDENT CLINTON                         "To any lengths, anywhere in the                          world, to bring these people to                          justice."               BACK TO -- THE COAST ROAD               Inside the Mercedes, they watch as the Shepherd urinates and                the sheep mill about in the middle of the road. The driver                rolls down his window to scream in Arabic at:               THE POOR SHEPHERD               Who hurries to button his fly. It is only as we look closer                that we see the silenced muzzle of:               COLT COMMANDO RIFLE               Protruding from the sleeve of his jhallabah. And then:               THE HERD OF SHEEP               Fill the frame, blocking our view of the Mercedes, and for a                moment, all we can HEAR is their gentle bleating. But as                they clear frame, we can see that:               THE MERCEDES               Has been turned into an abattoir, its windshield shattered                and bloody. The driver slumps over the steering wheel, the                bodyguard is half out of the window. And in the distance:               WITH A MAGICIAN'S ALACRITY               One Shepherd pulls a BLACK HOOD over the Sheik's head while                the other injects him with a HYPODERMIC. The first Shepherd                activates a SATCHEL CHARGE and swings it into the Mercedes                while the second straps the Sheik into a HARNESS... A BALLOON                self-inflates and hurtles aloft, pulling a cable attached to                the Sheik's harness.               AN MC-130 COMBAT TALON AIRCRAFT               Its "Whiskers" in the nose of the aircraft snag the cable                without slowing and roars off, the Sheik dangling unconscious                beneath -- just as the satchel charges EXPLODE the Mercedes.               THE SATELLITE VIEW               Records impassively for a moment, then breaks up into static.                                     DEVEREAUX                         Gotcha.               IN A SAFE HOUSE -- SOMETIME LATER               A pale, diminished Sheik sits at a steelcase table. A STEEL                COT and a STEEL TOILET. Closed-circuit cameras in the corner.               Opposite him: the man, whose voice we have only heard: GENERAL                WILLIAM DEVEREAUX -- and though he wears a civilian suit,                his bearing betrays his pedigree. His considerable charm and                habitual skepticism are as much a product of self-discipline                as his close-order drill.                                     DEVEREAUX                         Nobody knows you're here. Not your                          people. Not even my President. You'll                          die here alone and be buried unknown --                          barring some miracle.               The SHEIK speaks a few words in Arabic.                                     DEVEREAUX                         -- God? GOD?                              (looks at him)                         What you eat. Whether you eat. Sleep.                          Pain. Absence of pain. I decide. I                          make the day and the night. Even the                          way you got here -- a hand that                          reached down from the sky?                              (looks at him)                         God? I am your new God.                                                               DISSOLVE TO:               INT. MOSQUE - DAWN               A MUEZZIN climbs a spiral staircase, enters a turret-like                room, CLICKS ON a microphone and CHANTS the call to prayer.                                     MUEZZIN                         Allahuh Akbar...               HUNDREDS OF BELIEVERS prostrate themselves on prayer rugs.                At the door, hundreds of SHOES are lined up, work boots,                expensive loafers, a range of social classes represented.               ON THE STREET               Shopkeepers pause to kneel and pray. In Arab homes, parents                and children do the same. And as we PULL BACK from:               THE MINARET               Of the Mosque, we DISCOVER not an Arab city, but instead the                unmistakable skyline of:               DOWNTOWN MANHATTAN               The World Trade Ctr, Wall Street, The Federal building.               IN THE FBI SITUATION ROOM               Two AGENTS hurry through the bullpen. TINA OSU, 32, sharp,                and FRANK HADDAD, Lebanese with an insouciant grin.                                     TINA                         Brooklyn South issued a code blue                          less than two minutes ago. They think                          hostages are involved.                                     FRANK                         Black-and-whites on the scene?                                     TINA                         Setting up a perimeter now.                                     FRANK                         Residence or business?                                     TINA                         A bus.               Sequence omitted from original script.               THE 99 BUS -- SEEN FROM ABOVE               Surrounded by a phalanx of Black-and-Whites.               BACK TO -- THE SITUATION ROOM               They have been joined by Anthony Hubbard, the ASAC.                                     HUB                         SWAT?                                     FRANK                         On the way.                                     HUB                         Negotiator?                                     TINA                         Rolling.                                     HUB                         Bomb squad?               THE 99 BUS               The BOMB SQUAD approaches. We SEE terrified PASSENGERS inside.               BACK TO -- HUB AND FRANK, EXITING THE FEDERAL BUILDING                                     HUB                         How soon can we get there --?                                     FRANK                         In this traffic, maybe tomorrow.               BACK TO -- THE 99 BUS               As a police TECHIE inserts a dentist's mirror through a                drilled hole in the bus's door, the L.E.D. begins to BLINK                and the passengers SCREAM and dive for cover. An EXPLOSION.               BACK TO -- HUB AND FRANK, IN THE CAR               Frank is listening to a cell phone.                                     FRANK                         Oh, fuck. It just blew.               BACK TO -- THE 99 BUS               The doors hang off their hinges. As the PASSENGERS tumble                off, we SEE they are covered in BLUE PAINT.               BACK TO -- HUB AND FRANK, IN THE CAR                                     HUB                         -- What?!                                     FRANK                         -- That's what they're telling me.                                     HUB                         -- And nobody's hurt?               Frank nods. Hubs closes his eyes in gratitude.                                     HUB                         Thank God.                                                                    CUT TO:               THE JOINT FBI/NYPD TERRORISM TASK FORCE - FEDERAL BLDG               They're listening to a tape-recording, altered by a VO-CORDER:                                     TAPED VOICE                         -- our first and last warning.               As the MESSAGE continues, we PAN the faces: MIKE JOHANNSON,                squad supervisor, and DANNY SUSSMAN, representing NYPD.                                     TAPED VOICE                         We expect our demand to be met. There                          will be no negotiation. That is all.                                     TINA                         Demand for what? You hear any demand?                                     MIKE                         You sure this is all they got?                                     SUSSMAN                         That's it.                                     FRANK                         Maybe it's performance art.               Sussman shoots him a look. Clearly Haddad enjoys pushing his                buttons. Finally, Hub stands up.                                     HUB                         -- Okay. Blue paint. Voice-altering                          technology --                                     FRANK                         -- available from The Sharper Image                          catalogue.                                     SUSSMAN                         Last I looked they weren't offering                          exploding paint bombs.                                     HUB                         Still, the rhetoric sounds political.                          Militia?                                     TINA                         Not their style.                                     HUB                         Frank --?                                     FRANK                         Jihad isn't known for their sense of                          humor, and Hamas is raising so much                          money here, why queer their deal?                                     TINA                         Anyway, isn't Green the color of                          Islam, not blue?                                     FRANK                         -- And, excuse me, but why do we                          immediately assume they're Arabs?                                     HUB                         I want a composite of the suspects                          in circulation by the end of business                          today. Tina, you cross-check it                          against the mainframe. Mike, have                          you got the lab analysis on the paint?                                     MIKE                         Not yet...                                     HUB                         -- See if any was sold in quantity                          the last month. Danny --               Tina's phone buzzes. She picks it up as Hub keeps going:                                     HUB                         -- find out what stop these guys got                          on the bus, maybe there's a witness.                                     FRANK                         Hub... I think we're all eager to                          give up our weekends on this. It                          just occurs to me, has anybody even                          committed a crime here? I mean,                          assault with a deadly color?               Hub deals with Haddad's irreverence by ignoring it.                                     HUB                         Here's what I don't like. They know                          explosives. They know our response                          time. They put in a call and walk.               A young agent, FRED DARIUS, hands Hub a piece of paper:                                     FRED                         Excuse me, sir. I think you should                          see this. Came in on the Fax.               Only two words are written: "RELEASE HIM."                                     HUB                         Release him? Him who? Who are we                          holding?                                     TINA                         Marv Albert?                                     SUSSMAN                         McVeigh? Sheik what's-his-name from                          the Trade Center.                                     FRANK                         -- Omar Abdel Rahman... asshole.                                     FRED                         The Hamas guy got released in April.                                     FRANK                         Under protest.                                     HUB                              (looks at the fax)                         Why be coy about it?                                     SUSSMAN                         You think it's phony?                                     TINA                              (covering the phone)                         Hub, somebody's flashing a government                          badge over at the warehouse where                          they're working on the bus. Our tech                          guys want to know if we're cooperating                          with any other agencies on this thing.               Off Hub's look, we:                                                                    CUT TO:               AN OLD WAREHOUSE IN BROOKLYN - DUSK               Hub and Haddad join AGENT FLOYD ROSE, a tall Black man.                                     AGENT ROSE                         -- She's looking for wiring signatures                          on the device and asking for copies                          of any latent prints we've managed                          to lift.                                     HUB                         -- Agency?                                     AGENT ROSE                         Smells like it. Turns out she's also                          been talking to some of the                          passengers.               THEY OPEN THE DOOR               In the klieg lights -- THE BUS. Men in white coats dust every                inch and generally behave as if investigating a crashed UFO.                In their midst, a young WOMAN, midwestern pretty in a serious                suit. She looks up as Hub enters.                                     HUB                         Hi.                                     WOMAN                         Hi, there.                                     HUB                         Special Agent Anthony Hubbard. FBI.                                     WOMAN                         Oh, shit, I've been trying to liaise                          with you all day. My name is Elise                          Kraft, National Security Council.               She offers her hand. Hub doesn't take it yet.                                     HUB                         -- And you've been trying to "liaise"                          with me all day? Did you think of                          trying the phone book, Elise? We                          have fourteen lines, that's not                          counting the unlisted ones.                                     ELISE                              (still holds out hand)                         Hi, I'm Elise Kraft, National Security                          Council.               Finally, he takes her hand. And doesn't let go.                                     HUB                         And I'm Colin Powell. What exactly                          do you people want with my bus.               She tries to take her hand away, but he tightens his grip.                                     ELISE                         We're all on the same team here,                          Agent Hubbard.                                     HUB                         Who exactly is "we" on this particular                          team, Elise?                                     ELISE                         It's never the question that's                          indiscreet, only the answer.               He smiles. She smiles back. Convinced she's charmed him.                                     HUB                         Tell you what, you send me an official                          inter-agency request for cooperation                          on this and I'll give you copies of                          everything we come up with. Otherwise,                          get your ass on out of here before                          you contaminate my crime scene any                          more than you already have.                                     ELISE                         There's no reason to be nasty.                                     HUB                         You think this is nasty?                              (smiles)                         In case you haven't heard. The CIA                          has no charter to operate                          domestically. Which puts you in                          violation of federal law.                                     ELISE                         Not according to the Cooperation                          Agreement, Special Order 12333 -- I                          suggest you reread the paragraph on                          sharing information. I happen to be                          well within my authority.                                     HUB                         Special Order 12333 refers to domestic                          terrorism. You got something you                          want to "share" with me?                              (he waits... but no                               answer is forthcoming)                         Us being teammates and all?                                     ELISE                              (holds up a clipboard)                         Unfortunately, not yet. But as soon                          as I do, I'll --                                     HUB                         -- get back to me, yeah, I know.                              (takes the clipboard                               from her hands)                         Here's what I'm gonna do. I'm gonna                          have a couple my "teammates" here                          escort you back to wherever you came                          from. And then I'm gonna go back to                          the office and wait for that official                          cooperation request. Okay by you?                                     ELISE                         Swell.                                     HUB                         Nice meeting you, Elise. Is that                          Elise with an "E" or an "A"?                                     ELISE                         Nice meeting you, too, Special Agent                          Hubbard.               OUTSIDE THE WAREHOUSE               Hub watches as Elise is led away by two AGENTS. Agent Rose                stands nearby.                                     HUB                         Tail her.               NICE LIVING ROOM -- NIGHT               In Frank Haddad's home. The Haddad's are celebrating the day                FRANK JR. has finished reading the Holy Koran.                                     FRANK JR (O.S.)                              (in Arabic)                         "In the Name of Allah, the beneficent,                          the merciful. Say: I seek refuge in                          the Lord of Men, the King of Men."               Frank's TEACHER offers the final benediction. Those who are                Muslim cover their face with their palms.                                     TEACHER                              (in Arabic)                         "Make me know that which I have become                          ignorant of; and make me recite it                          in the hours of the night and the                          day; and make it an argument for me                          O Thou Sustainer of all the worlds!"                          Ameen!                                     ALL                         Ameen.               Later --               The guests mingle, eat pastries and drink sweet tea.                                     TINA                         ...Nice, wasn't it?                                     HUB                         Very.                                     TINA                              (after a moment)                         You ever gonna stop by, pick up your                          things?               Nearby, Mike and Danny observe them.                                     DANNY                         -- He doing her?                                     MIKE                         Some detective you are. They stopped.                                     FRED                         Really? I wonder if she likes white                          guys.                                     DANNY                         I wonder if she likes bald guys.               Hub, meanwhile, congratulates Frank's wife, NAJIBA.                                     HUB                         You must be so proud...                                     NAJIBA                         Small children, small worries. Big                          children --                                     FRANK                         -- big orthodontia bills. Someday,                          you'll understand.               And then Frank notices Hub's DRIVER standing in the doorway.                                     FRANK                         Where we going?                                     HUB                         You're staying with your family. I'm                          back in the morning.                                                                    CUT TO:               Sequence omitted from original script.               Sequence omitted from original script. (ALREADY SHOT)               INT. HUB'S OFFICE - EARLY MORNING               Hub is looking at surveillance photos of Elise. Frank enters.                                     FRANK                         You sleep here?                              (Hub smiles, but                               doesn't look up)                         Immigration called.               A SMALL GREEN ROOM -- AS SEEN THROUGH A TWO-WAY MIRROR               Hub and Frank watch a dark-skinned MAN being questioned by a                uniformed OFFICIAL. An INS Supervisor shows them a false-               bottomed suitcase stuffed with money.                                     INS OFFICIAL                         -- all in small bills. So we figure,                          smurf, right? Then I think,                          considering the gentleman's                          nationality, plus where he's been                          recently, we better call Frank.                                     FRANK                         -- who's trying to score points with                          his boss, bigtime.                                     HUB                         Has he broken any laws?                                     INS OFFICIAL                         No, sir. He's twenty bucks under the                          $10,000 limit.                                     FRANK                              (pulls out a $20 bill)                         Not anymore.               IN THE ROOM               The official hopes volume breaks the language barrier.                                     UNIFORMED OFFICIAL                         ...so, Kahlil, you're saying this is                          an INHERITANCE? Somebody DIED and                          you're bringing them the MONEY?               The dark-skinned man is trying to keep up:                                     KAHLIL                         No, no... dhouri.               BEHIND THE MIRROR                                     FRANK                         ...He means, "dowry."                                     HUB                         Check out his neck.               Small puckered SCARS. The INS guy looks confused.                                     FRANK                         The tabac.                              (mimics putting out a                               cigarette on his arm)                         Sssssss... The territories.                                     HUB                              (thinks a moment)                         Put him in play.                                                                    CUT TO:               THE VAN WYCK EXPRESSWAY               Hub and Frank in a rental CONTOUR, tail Khalil, in a cab:                                     HUB                              (on the phone)                         -- on the Van Wyck... No, not yet.                              (to Frank)                         -- What are we in?                                     FRANK                         A '97 Contour. On my Visa.                              (watches Khalil)                         Back home, the security services'd                          be up this guy's ass with a poker,                          but what do we do, we let him go.                                     HUB                              (still on the phone)                         ...Six teams on the ground, at                          least... well, pull 'em off the UN...                              (to Haddad)                         Stay back...                                     FRANK                         Not my first date, Hub.                              (the TAXI changes                               lanes)                         He's taking the BQE. Looks like it's                          Brooklyn.                                     HUB                              (still on the phone)                         I want husbands and wives, I want                          baby carriages, and no Brooks                          Brothers.                                     FRANK                         You're micro-managing.                                     HUB                              (still on the phone)                         -- And find me a judge I can work                          with. We want sound on this guy...                          damn'... I'm losing you...                              (raises his voice)                         And bring us a radio.                                     FRANK                         I get reimbursed for this, right?                                                                    CUT TO:               ATLANTIC AVENUE - BROOKLYN               The Third World. Teeming, roiling, Kinshasha meets Beirut                meets Tel Aviv meets Moscow. Hand-written shop signs in Arabic                and Hebrew, boom boxes throbbing out "Oum Khatoum," the latest                neo-Palestinian techno-rock.               KHALIL pays the taxi driver and starts off on foot. Hub's                CONTOUR pulls over a safe distance behind and waits. An AGENT                passes by and slips a WALKIE-TALKIE through the open window.               MAN CARRYING GROCERIES               Falls in behind Khalil, who ducks into a storefront, where                WE CAN SEE him buying a Coca Cola and a Baby Ruth bar.               IN THE CONTOUR                                     FRANK                              (notes the purchase)                         Twelve bucks in Gaza.                                     HUB                         America's the place to be if you're                          a terrorist.                              (on the walkie-talkie)                         Fred's hovering. Patsy, take over...               A WOMAN WITH A STROLLER replaces the man carrying groceries.                                     HUB                         ...Tell her to watch out for                          reflections.                                     FRANK                              (hands him the phone)                         I got the Judge.                                     HUB                              (on the phone)                         ...Good morning, Sir. How're things                          in the Second Circuit this morning...?                          ...I hear you... Listen, Judge, we're                          in a kind of situation here...               KHALIL is on the move again.                                     HUB                              (on the phone)                         Hold on, will ya, Judge?                              (into walkie-talkie)                         Is he talking to somebody, who's he                          talking to? Are we getting film?               FROM A GREAT DISTANCE               An AGENT with a TELEPHOTO snaps a picture of Khalil, who has                paused to chat with a PALESTINIAN of patrician good-looks.                                     HUB                              (covering the phone)                         -- Frank?                                     FRANK                         Don't know him. If we were allowed                          to get sound on them, we'd know him.               The walkie-talkie CRACKLES TO LIFE, confirming the photos.                                     HUB                              (covering the radio)                         ...What's that? No, Judge, not yet                          we're not... but we have reason to                          believe he may be involved with --                              (covers the phone                               again; keys the radio)                         Damnit Tommy!                              (to Frank)                         He's overacting! Tell him --                              (back to the phone)                         Sorry, Judge... No... I just --                                     FRANK                         He's making him. Shit. Fuck. He's --               Khalil has a sixth sense from a lifetime on the West Bank.                All of a sudden, he BREAKS INTO A RUN.                                     HUB                              (keys radio)                         Go, go, go!!! All units --               He slams the car into gear and PEELS OUT into traffic.               SIX SURVEILLANCE TEAMS               In various guises, break cover and SPRINT after Khalil, who                shifts into overdrive. Cars SCREECH to avoid flattening him.               Hub's CONTOUR pulls into traffic and finds his way blocked                by a narrow passage between double-parked cars. He goes for                it, SCRAPING his way between them.                                     FRANK                         Christ!                                     HUB                              (on the phone)                         Judge, I'm gonna have to call you                          back...               KHALIL SPRINTS               Into an open-air MARKET, KNOCKING DOWN veiled WOMEN with                bags of fruit and vegetables. He VAULTS over stalls.               The CONTOUR scrapes PARKED CARS as it swerves into an alley,                desperately trying to cut off Khalil's escape route.                                     FRANK                         Shit --! I didn't take the insurance.               A SOCCER BALL bounces into Hub's peripheral vision, followed                by TWO BOYS.               HUB SLAMS THE CONTOUR INTO THE WALL               To avoid killing the two boys. Hub gets out of the car and                continues the pursuit on foot. He's gaining on Khalil, when:               A VAN               Bears down on Khalil, its doors sliding open as TWO PAIRS OF                HANDS reach out and ANOTHER MAN appears out of nowhere and                BODYCHECKS Khalil into the van and jumps in after him.                                     HUB                         What the --?               The van BURNS RUBBER and DISAPPEARS into traffic.               MINUTES LATER --               An impromptu huddle in the alley. AGENTS gather in a circle                as RADIOS SQUELCH and HELICOPTERS circle above.                                     FRED                         They just found the van. Doesn't                          look like they're gonna find any                          prints.               The Agent who took the pictures pulls a color xerox-type                PHOTO from a digital printer in his car. Hub looks at the                picture of Khalil and the good-looking Palestinian.                                     HUB                         Run him down, bring him in.               Fred hands a cell phone to Hub.                                     FRED                         Floyd Rose.                                     HUB                         Go, Floyd.               As he listens, the first trace of a smile graces Hub's face.                                                                    CUT TO:               AN ORDINARY HOUSE               In an ordinary neighborhood. Hub sits in an UNMARKED CAR.                Agent Rose climbs into the front seat.                                     AGENT ROSE                         I've got two in the Plymouth, at                          least three inside, and see that guy                          walking his dog...? He did his                          business about an hour ago and they're                          still walking.               IN ANOTHER CAR --                                     DANNY                         I had a dog like that once.                                     FRANK                         It's not his dog, numbnuts. They're                          spies.                                     DANNY                         The dog works for the CIA?               Their radio CRACKLES to life. It's Hub.                                     HUB (V.O.)                              (over the radio)                         All units report in turn.               We HEAR "Unit 1 is good to go," "Unit 2, we're ready to rock."                                     HUB                         Let's roll.               THE MAN WALKING THE DOG               Is suddenly double-teamed by TWO AGENTS.                                     AGENT - MIKE                         Federal Agents. Hands behind your                          back --               A third AGENT throws his jacket over the dog.               TWO UNMARKED CARS               Fishtail across the quiet street, boxing in the Plymouth as                an AGENT from the sidewalk thrusts a 12-gauge Remington Pump                in through the driver's window.                                     AGENT - FRED                         -- Keep 'em where we can see 'em,                          thank you very much.               THE DOOR TO THE HOUSE               Is BLOWN-IN by a specially-designed SHOTGUN. Two MEN, eating                take-out are surprised by Frank and Tina, their guns drawn.                                     FRANK                         Hi, guys, I expect you know the drill.               Hub continues warily from one empty room to the next. A                stairway leads downstairs. As Hub starts cautiously down,                muted VOICES can be heard. Reaching the bottom, he sees:               KHALIL               Sitting in a chair. Behind him stands one of FREELANCERS                from the warehouse. And opposite him, in a barca-lounger:               ELISE KRAFT -- Somehow amidst the normalcy of the furnished                basement is a palpable feeling of menace.               As Hub shows himself, one of the Freelancers points a Glock                .9 at his head. Hub just stares him down.                                     ELISE                         Ralph, spare us.               The freelancer lowers the gun. Hub looks at Khalil, whose                face is badly bruised.                                     ELISE                         I never touched him.                                     HUB                         Really? I'm taking him into custody                          just the same.                                     ELISE                         What are you going to charge him                          with? Jaywalking?                              (Hub stares at her)                         I don't suppose we could just have a                          little chat with him here first?                                     HUB                         Not in this lifetime.                                     ELISE                         You know, Hub... may I call you Hub?                          If you guys hadn't blown the                          surveillance, we'd have been able to                          follow the money. What do you think,                          Khalil, you would have led us right                          to your friends, wouldn't you?               Khalil averts his eyes from any contact with her.                                     HUB                         What friends --? What have you got                          for me, Elise?... Enlighten me.                              (she stonewalls)                         Tell me now or tell me downtown.               Still nothing. Hub calls out to his agents.                                     HUB                         Get this guy out of here and book                          him.               As the other agents approach Khalil:                                     ELISE                         One phone call and he's mine again.                          You know the number. I have --                                     HUB                         You have "the right to remain silent,"                          you have "the right to an attorney.                          Anything you say can and will be                          held against you in a court of law --                         "                                     ELISE                              (overlapping him)                         Oh, come on... Do you have any idea                          what you're starting here, the kind                          of shitstorm you're about to --                                     HUB                              (overiding her)                         -- Kidnapping. Obstruction of Justice.                          Assault.               As he heads out of the room, he says to a waiting Agent.                                     HUB                         Cuff her.                                                                    CUT TO:               HUB'S UNMARKED CAR               Elise sits, handcuffed, alone in the back seat. Up front,                Frank is driving with Hub beside him.                                     FRANK                         So, Elise... You okay back there,                          you don't get carsick or anything?                          Those handcuffs too tight --?                                     ELISE                         Shouf mountains, right? Shiite or                          Sunni?                                     FRANK                         Wow. You're really good.                              (to Hub)                         She's really good.                                     HUB                         You ready to tell us what's going on                          here, Elise --? Was the paintbomb a                          warning?                                     ELISE                              (to Haddad)                         American University of Beirut? I was                          there from '79 to 82.                                     FRANK                              (a look to Hub)                         No shit?                                     ELISE                         My father taught Economics. Henry                          Kraft?                                     HUB                         Is there a terrorist cell operating                          in this city that we are unaware of?                                     ELISE                              (ignoring him; to                               Haddad)                         Such a tragedy. Growing up in that                          city was... paradise. Like an exotic                          Paris, wasn't it, Frank --?                                     HUB                         You ever been in Rikers, Elise? You                          know what happens in there?               Elise looks at him, utterly unfazed by the threat.                                     ELISE                         ...Yum.               Frank's BEEPER goes off. As they look at one another, we:                                                                    CUT TO:               ABOUT A MILLION COP CARS               Red lights flashing, have sealed off a Brooklyn Street. On                the rooftops SWAT teams are already deploying.               SHARPSHOOTERS politely insinuate themselves into the                surrounding family APARTMENTS and take up firing POSITIONS.               THE 87 BUS               Stands alone in the middle of the street. Through a Marksman's                SCOPE we SEE the terrified passengers forced to stand, catch                glimpses of the TERRORISTS, obscured by the hostages.               Hub confers with the NYPD officer-in-charge.                                     NYPD OFFICER                         -- definitely Arab-types, only this                          time they're still in there...                                     HUB                         Any communication at all?                                     NYPD OFFICER                         Nope. It's weird they're just in                          there.                                     HUB                         Get the frequency of the driver's                          radio and patch it through to this                          number. We need two lines. Frank,                          get a negotiator out here.                                     NYPD OFFICER #2                         Sir, they've got kids in there. We                          count six.               This rocks Hub for a moment but he covers it well.                                     HUB                         That gives us something to work with.               BACK AT THE CAR               Elise leans forward as Hub opens the driver's door.                                     ELISE                         What's happening out there...               Hub takes off his jacket, folds it carefully on the seat.                                     ELISE                         They've taken another bus, haven't                          they? Talk to me...                                     HUB                         Oh, now you want to talk. You want                          to be my friend, is that it?                                     ELISE                         Listen, these guys are the real deal.                                     HUB                         How do you know?               She just looks at him.                                     HUB                         Is there a terrorist cell operating                          in Brooklyn?                                     ELISE                              (a long moment)                         Yes.                                     HUB                         Was the blue paint a warning?                                     ELISE                         Yes. And I'm afraid this time they'll                          blow the bus.                                     HUB                         If they wanted to blow the bus then                          why haven't they blown the bus --?                                     ELISE                         I... don't know.               He starts away.                                     ELISE                         Agent Hubbard. Please. Maybe I can                          help.               A COMMAND POST               Has been hastily improvised behind a SWAT van.                                     FRANK                         The driver's name is Larry Kaiser.                          He says they've got explosives                          strapped to their chests, they got                          automatic weapons, and they're                          speaking Arabic.                                     HUB                         Where the hell's the negotiator?                                     FRANK                         Tunnel's got twenty minute delays                          and they're working on both bridges.                                     HUB                              (to the cop)                         What else did he say about the device?                          Did he describe it at all? Anything                          about a button, or a cord, or...               THE FIRST ENG TRUCK               Pulls up and raises its satellite dish.                                     ELISE                              (almost involuntary)                         Oh, God.               Frank turns to look at her. She is suddenly pale.                                     ELISE                              (as it dawns on her)                         ...They're not here to negotiate.                                     FRANK                         Meaning?                                     ELISE                         They were waiting for the cameras.               Hub is deep in conversation with the cops. Frank interrupts.                                     FRANK                         -- Hub...               Hub looks up. Frank nods for Elise to repeat what she said.                                     ELISE                         They're want the newsies here. They                          want everybody watching.               Hub and Frank look at each other. Can this be true?                                     ELISE                         You've got the shooters in place?                                     FRANK                         -- So?                                     ELISE                         Use 'em.                                     HUB                         What?                                     ELISE                         Kill 'em now.               They just look at her.                                     ELISE                         It's lose-lose any way you play it...                          Do you want to lose little or lose                          big?               The NYPD officer has been listening:                                     NYPD OFFICER                         I got the marksmen on the com --                          They're looking for a clean shot.               As the Policeman waits for a response on his radio, two more                NEWS VANS pull up. The MEDIA CIRCUS has come to town:                reporters breathlessly offer their live, on-the-scene reports.                Hub and Elise stare at one another.                                     NYPD OFFICER                         Shooter says they've got the                          passengers all standing in the aisles.                          He says, no go.               Hub can see the dread in Elise's eyes. As the seconds tick                away, TWO NEWS HELICOPTER jockey for position above.                                     HUB                              (to the cops)                         We have rules of engagement we're                          gonna follow here, folks, so put the                          safeties back on your weapons.                              (looks at Elise)                         Nobody's killing anybody until we                          see what's what.               He grabs the phone.                                     HUB                              (on the phone)                         Larry, this is Agent Hubbard of the                          FBI, I'll be negotiating our way out                          of this. Let me talk to one of them...                          I know... I know. You just hang in                          there, Larry... No, don't worry,                          I've got somebody here who can                          translate.               He looks over at Frank, who's listening on another cell.                                     HUB                              (on the phone)                         Sir, -- My name is Anthony Hubbard.                          I don't have any authority to make                          deals, or respond to demands. I just                          want to find out if you need anything                          in there? If any of the passengers                          are in need of medical attention?               He waits as Frank translates. Hub covers the mouthpiece.                                     HUB                         -- Frank?                                     FRANK                         I don't know if they understand.                                     HUB                              (on the phone)                         Sir, is there anything you want to                          say to me? That I can tell my people                          here?                                     FRANK                         The guy's just breathing into the                          phone, maybe they're not even Arabs.                                     HUB                              (on the phone)                         I get the feeling you don't want to                          talk, but will you listen --?                          ...Whatever grievance you have,                          whatever quarrel -- surely it doesn't                          involve these children --               Still no response.                                     HUB                              (on the phone)                         So I'm gonna ask you to... please...                          let... the... children go.               No response -- then suddenly, the bus doors HISS OPEN               And six bewildered, ashen-faced CHILDREN step out before the                doors HISS closed behind them. As Hub and a couple of the                cops hurry out from behind the barricades to help the children                cross the NO-MAN'S LAND to safety, a smattering of APPLAUSE                breaks out among the cops. Elise tries to hold back tears.                                     FRANK                         Okay, here we go...                                     HUB                              (on the phone)                         Thank you, sir. I appreciate that                          gesture, I really do. The best way                          to get what you want in these                          situations is to show yourself to be                          reasonable. As you've just done.                              (Haddad translates)                         Now we've got some more to talk                          about...               Elise watches as the news cameras zoom in.                                     HUB                              (on the phone)                         I am unarmed, as you can see. So I                          propose... You let the rest of the                          passengers go, and I take their                          place... That way, there's no pizza                          deliveries or bathroom breaks to                          worry about -- and all these --                              (indicates SWAT teams)                         -- people... will disappear.               Frank shakes his head, don't do this. Hub's look says                translate it. Frank does it. They all wait.                                     HUB                              (on the phone)                         I'm gonna take your silence to mean                          you're considering my offer --               Elise looks at Frank, she can't help but admire his bravery.                                     HUB                         How about we just start with a few                          of the elderly people you got on                          there. It's got to be hard for the                          older folks to be standing all this                          time.               Hub looks back at Frank. Still no response.               AND THEN THE BUS DOORS HISS OPEN AGAIN. A few elderly                PASSENGERS start down the steps.                                     HUB                              (on the phone)                         Thank you, sir. Now let's just let                          these --               THE EXPLOSION OF THE BUS               Hurls Hub backwards as:               ALL SOUND FADES OUT               To be replaced by a high-end, almost electronic WHITE NOISE.               SHRAPNEL               Imbeds itself into car doors, bus benches, doorways as every                WINDOW in a three-block radius is SHATTERED...               RED BLOOD               Replaces blue paint in a horrific shower.               HUB               Fights for consciousness.               AGENTS               Rush to his side to see if he is alright -- but WE CANNOT                HEAR them. Though their mouths move it is only the WHITE                NOISE that overwhelms us -- as we realize that Hub has been                momentarily DEAFENED by the blast.               When at last Hub manages to speak, his words are MUFFLED and                INDISTINCT -- as if the playback heads of a tape recorder                needed to be cleaned.                                     HUB                         I'm... alright. I'm --               Frank Haddad bends down close and we can lip-read him saying,                "Just hang in there, buddy. . ."                                     HUB                         -- okay... Just let me --               And then he leans over to VOMIT in the street.               THE SOUND OF SIRENS               Slowly bleeds in through the white noise -- mercifully for                us, and for Hub, who wipes his mouth and looks up, realizing                that his HEARING is coming back. He reaches for Frank's                outstretched hand and stands, albeit woozily.                                     HUB                         Is anybody --               But the look in Frank's eyes says it all.               THE DEVASTATION               Is numbing. IMAGES we associate with other countries. And                then he sees Elise. Her face is cut and bleeding, but as                their eyes meet, her look is one of absolute compassion.                                                               HARD CUT TO:               MORE THAN A HUNDRED AGENTS               Crowded into the now-overflowing BULLPEN. In absolute denial                of his physical condition, Hub paces like a caged animal.                                     HUB                         -- every trap, every hole. I want to                          rumble every mosque, every community                          center, every student organization                          that's ever said an unkind word. I                          want the heat turned up under all                          our assets, all our informers, every                          snitch gets twisted inside out. And                          put some money out on the street --                          Arab community hates these people as                          much as we do. They'll help.                              (turns to Mike)                         Have you got positive ID on --                                     MIKE                         Hub, we don't have positive ID on                          anybody.                                     HUB                         We need more hands. Fred --                                     FRED                         I'm on it.               He picks up a phone and begins requesting Agent transfers.                                     HUB                         I want to talk to Khalil.                                     TINA                         He's down the hall.               Now she picks up a phone and adds to the cacophony.                                     HUB                         -- Conferences with DC at 9:00, 12:00,                          4:00 and 9:00. Call your families,                          find a sleeping bag, nobody leaves                          this office until we have a strand                          to pull. Oklahoma City, people. The                          first twenty-four hours are the only                          twenty-four hours.. And I don't want                          to see anybody walking.               TEN MINUTES LATER - OUTSIDE A HOLDING CELL               Hub and Frank watch Khalil through a VIDEO MONITOR. The                bruises on Khalil's face have deepened.                                     HUB                         Doctor seen him?                                     TINA                         He's on his way up.                                     HUB                         Got a cigarette --?                                     TINA                         You don't smoke.               Hub pockets the pack of cigarettes and walks into:               THE CELL               Frank hangs back in the doorway. Hub pulls up a chair, turns                it backwards, and sits down very close to Khalil.                                     HUB                         Ten thousand dollars.               Frank translates. Khalil pretends not to understand.                                     HUB                         Khalil. I want to talk about the                          money.               Again Frank translates. And again, Khalil looks blank.                                     HUB                         Okay...               Hub reaches into his pocket and casually takes out the pack                of cigarettes. Khalil's eyes widen. Hub smiles at him. At                the SOUND of the match lighting, SWEAT begins to bead on                Khalil's forehead. Hub takes his time LIGHTING the cigarette --                drawing deep so the tip turns bright red. Khalil unconsciously                RECOILS in his chair.                                     HUB                              (to Frank, re: Khalil)                         Doesn't like second hand smoke.               Hub turns back to Khalil, casually gesturing with his                cigarette. Khalil almost jumps out of his skin.                                     HUB                         You ready to talk about money?               Frank hasn't even begun to translate before Khalil begins                SPEED-RAPPING in Arabic.                                     FRANK                              (translating)                         ...He says he loves America and only                          wanted to get away from the security                          services at home.               Tears stream down Khalil's face. He kneels at Hub's feet.                                     FRANK                              (still translating)                         ...He says he's sorry but he didn't                          know he was doing something bad. His                          cousin introduced him to a man who                          promised him two hundred dollars for                          his dowry if he'd bring the suitcase                          to an address in Brooklyn.                              (to Hub)                         He's a cut-out.               OUTSIDE THE ROOM -- LATER               Hub hands Tina back the pack of cigarettes.                                     HUB                         Nasty habit.                              (to Danny)                         3830 Flatbush Avenue.               FLASH CUT -- A SWAT TEAM               Bursts into an empty apartment. On the floor, a fax machine                continuously sending the message: "RELEASE HIM."               BACK TO -- HUB                                     HUB                         We want every rental agreement from                          every landlord in Brooklyn. Hotels,                          motels, flophouses...                              (to the other agents)                         It's cash, guys. They're the only                          ones in America using cash.               TWO HOURS LATER --               The room is dark. A TECHNICIAN operates an overhead PROJECTOR.                                     TECHNICIAN                         This is a spectograph of the semtex                          used in the bomb. Look at the benzene                          spike. This is the genuine article.                              (another slide)                         Now... this one's from the barracks                          in Dhahran. As you can see, the                          signature is identical.               TWO HOURS LATER --               A COMPUTER TECHIE (WHITNEY) is cross-referencing data. DIGITAL                PICTURES of suspected terrorists scroll past. A surveillance                PHOTO of Ahmed bin Talal. The ruined army barracks.                                     HUB                         -- ask it if they've ever hit buses?               The techie types in a few commands: IMAGES of destroyed BUSES                file past. Tel Aviv. Jerusalem. Beirut. None a match.                                     WHITNEY                         -- not according to the mainframe.               TWO HOURS LATER --               The BOMB SCENE now resembles an archeological dig. Floodlights                on stanchions. Forensic EXPERTS, on their hands and knees,                use BLACK LIGHT and brushes to search for latent prints.                Different color STRING divides the site into a grid.                                     HUB                         -- with a Q-tip. Bone shards, hair,                          fingernails --               Nearby, Danny and Mike observe Hub's intensity.                                     DANNY                         -- He's way over his head.                                     FRANK                         Shut the fuck up and go give somebody                          a parking ticket.               TWO HOURS LATER --               In THE LAB. A FINGERPRINT EXPERT sifts through a plastic bag                of fingertips and teeth. Scans each into a computer.                                     FINGERPRINT EXPERT                         Not yet.               Sequence omitted from original script.               TWO HOURS LATER --               Hub is STARING AT THE TV SETS which are all REPLAYING the                terrible incident, over and over again.                                     TV SOUND BITE                         "-- Today; Tel Aviv has come to                          Brooklyn. The question... is why."               Finally, he turns away so no one will see. His eyes are hot                with the emotion.                                     WHITNEY                         You okay?               The Fingerprint techie races in, sparing Hub a response.                                     FINGERPRINT EXPERT                         Got one!               TWO HOURS LATER --               Hub and Tina address twenty agents.                                     HUB                         Ladies and Gentlemen, meet the late                          Ali Waziri.               He projects a PHOTO of the dead Terrorist onto the wall.                                     HUB                         Tina talked to the Israelis and traced                          this sucker to a group operating out                          of Ramallah. That's the West Bank,                          not the West Side for those of you                          just joining us from Nebraska.               A few appreciative CHUCKLES. They're all exhausted. This is                the first good news in a bitch of a day.                                     TINA                         Okay, we've pulled his landing card                          and his I-94. So now we know he came                          in three days ago, out of Frankfurt --               She points to where: A TIME-LINE has been created out of                colored strips beneath a bank of silent TV monitors.                                     TINA                         What we need now is to fill in the                          time between his arrival and the                          incident. All known associations,                          and most of all, we need an address.               TWO HOURS LATER --               The TIME-LINE is progressing. PHONE TECHNICIANS add tie-lines,                dedicated fax lines, wats lines and scrambled lines. Cable                everywhere. Danny and Frank pore over Ali Waziri's I-94.                                     FRANK                         IAP66. What's IAP66?                                     DANNY                         Hold on, hold on, I'm looking it up --                                     FRANK                         -- Today, Danny...                                     DANNY                         Wait, wait -- Here we go. Student                          Visa, J-1.               Hub has been pacing, nearby.                                     HUB                         Where's the original --?                                     DANNY                         In his passport.                                     FRANK                         Which is... vaporized.                                     HUB                         Where's the copy?                                     FRANK                         At the point of issuance. Could be                          the American Consulate in Tel Aviv.                          The American Consulate in Amman,                          Cairo, Alexandria, Riyadh -- all an                          easy drive from the West Bank --               Hub suddenly had to fight off a wave of nausea and dizziness.                                     HUB                         What time is it --?                                     DANNY                         Three-fifteen. P.M.                              (off Hub's blank look)                         When's the last time you ate?               Fred Darius, the young agent, appears.                                     FRED                         Sir. They want you in the lab.               THROUGH A POWERFUL ELECTRON MICROSCOPE               Hub peers through the eyepiece at a MAGNIFIED STRAND of fiber.                                     FIBER EXPERT (V.O.)                         Pure, unadulterated, Egyptian cotton.                                     FRED                         You're saying they're Egyptian?                                     FIBER EXPERT                         No. No... I'm just saying -- See...                                     HUB                         -- It's what they use for funerals.                          The guy was wearing a shroud.               He looks at Frank. It's just as Elise said. The real deal.                                     HUB                         Let's see if she's ready to talk.               A HOLDING CELL               Elise sits quietly with the stillness of those who have been                there before. Hub enters.                                     HUB                         I thought one phone call and you                          were out of here.                                     ELISE                         I didn't make the call.                                     HUB                         Why not?               She just looks at him, entirely neutral.                                     ELISE                         Are you alright --?                                     HUB                         Just some tinnitus in my left ear --               They look across the professional chasm that divides them.                                     HUB                         I need to know what I don't know.                                     ELISE                         Life's too short.               But there's a hint of some thawing in her tone.                                     HUB                         You hungry?                                     ELISE                         We ordering in --?                                                                    CUT TO:               Sequence omitted from original script.               IN A DOWNTOWN DELI               Hub and Elise sit, eating corned beef sandwiches.                                     ELISE                         -- The funeral shroud is the final                          step in the ritual of self-                         purification. First a fast, then --                                     HUB                         -- the washing of the body, then the                          shroud. I saw it on Sixty Minutes.                          Tell me something I don't know.               She pauses, always gauging how much to reveal. And when.                                     ELISE                         ...Last March in Iraq, we identified                          the man we believe responsible for                          bombing the army barracks last year.                          In August, he went to Lebanon. Where                          he was... extracted.                                     HUB                         Extracted? Extracted by whom?                              (she just looks at                               him)                         I see.                                     ELISE                         His name is Sheik Ahmed bin Talal.                          He's Iraqi. And something of a                          religious leader.                                     HUB                         With something of a devoted following?                              (she nods)                         ...Okay, I can understand why we                          might not want to publicize the fact                          that our government's in the                          kidnapping business, but why not                          tell us?                                     ELISE                         He's still being... debriefed. They're                          not ready to go public with charges.                                     HUB                         What else you got on his followers.                                     ELISE                         Clearly, they're committed.                                     HUB                         Meaning?                                     ELISE                         In this game, the most committed                          wins.                                     HUB                         So they'll just keep coming until we                          release him.                                     ELISE                         Unless we match their commitment                          with our own.                                     HUB                         What about talking to this sheik?                                     ELISE                         You don't think they've got guys                          talking to the sheik? Except the                          sheik isn't talking.                                     HUB                         So who's giving the orders? How do                          they coordinate, pick their targets?                                     ELISE                         Believe me, we've put every resource                          we've got onto that very question.                              (puts down her fork)                         Otherwise... we wait.                                     HUB                         We wait.               She looks at him. For one brief moment the mask drops away.                                     ELISE                         If there's anybody on earth who knows                          how you feel, it's me. But you've                          got to let it go. Those people were                          dead the minute they got on the bus.               Frank Haddad appears, making his way toward their table.                                     FRANK                         Sorry, boss. Hello, Elise. Mmmm, is                          that pastrami?                              (tastes it; then with                               his mouth full)                         Oh, yeah, we made the guy in the                          picture.               Sequence omitted from original script.                                                                    CUT TO:               A CAFE               Where Students sit inside and SMOKE, then SMOKE some more.                                     FRANK (V.O.)                         My people. The last of the                          unambivalent smokers.                              (shakes his head)                         Monsters. The toughest motherfucker                          in Bed-Stuy is a muffin compared to                          some of these guys.               They watch as SAMIR gets his bill from the waiter.                                     FRANK                         His name's Samir Nazhde. Teaches                          Arab Studies at Brooklyn College. He                          sponsored Ail Waziri's student visa.                          And dig this -- his brother blew up                          a movie theatre in Tel Aviv.                                     ELISE                         You might consider leaving him alone.                                     HUB                         Why would I consider doing that --?               In the cafe, Samir counts cash to leave on the table.                                     ELISE                         Play him like a cop and haul him in                          now and get your arrest, or tag him                          and let him lead you to the really                          big fish.                                     FRANK                              (an arabic curse)                         You're fishing and he's getting visas                          for bombers.                                     ELISE                         You ever heard of catch and release?                                     FRANK                         Yes, and he's on the next plane for                          Tunis.               Hub looks at Elise. Samir is leaving -- it's now or never.                                     HUB                         Take him down.                                     FRANK                              (keys his radio)                         Go.               THREE AGENTS brace Samir politely but firmly, and lead him                to their car. Samir slides into the back seat next to Elise.                In the REARVIEW MIRROR, Hub watches as a look seems to pass                between them. Then again, it may not have happened.                                     FRANK                         Samir Nazhde, my name is Frank Haddad,                          I'm a Federal Agent. We have reason                          to believe you are an accessory to                          the bombing of Bus 87.                                     SAMIR                         Are you crazy --?                                     FRANK                         You are an associate of Ali Waziri.                                     SAMIR                         Who? I know no one by that name.               Elise is looking out the window, seemingly oblivious.                                     FRANK                         You got him a student visa.                                     SAMIR                         I sign these applications as a matter                          of course, hundreds of them. Everyone                          wants to come to the land of                          opportunity and Baywatch.               Elise tries to keep a smile off her face. Hub clocks this.                                     FRANK                         You spent two years in Israeli jails                          during the Intifada.                                     SAMIR                         The only ones who didn't were women                          like you.               Frank BACKHANDS him across the mouth. Samir says something                in Arabic to Frank, who responds in kind.                                     HUB                         Frank --                                     FRANK                         Sorry. Family matter.                              (to Samir)                         You're going downtown, my friend.                                     SAMIR                         You cannot hold me. I know my rights.                          I watch American television.                                     FRANK                         Defrauding the INS is a Federal                          Offense.                              (hands Samir to waiting                               agents)                         Reservation for one, please.                                                                    CUT TO:               CTF HEADQUARTERS - LATER               They enter the BULLPEN. It's well past midnight. People are                sacked-out in sleeping bags while others continue working.                                     ELISE                         Club Fed.               Frank leans over Danny Sussman, who has fallen asleep, face                down on his desk, and sings in a lovely brogue:                                     FRANK                              (singing)                         "Oh, Danny-boy, the perps, the perps,                          are call-ing...                              (as he awakens)                         We need a search warrant on Samir...                                     HUB                         Frank, c'mere a sec. I want to show                          you something.               He leads Frank into another CUBICLE. Perched on nearby desk,                Elise is dialing a phone, she stops to watch them:                                     HUB                              (quietly)                         Frank, you ever hit a prisoner again                          I'll have your badge.                                     FRANK                         -- Someday I will tell you what those                          people did to my village in '71.               Hub waits for him to calm down.                                     HUB                              (touches his arm)                         Okay. But right now, act as if I'm                          capable of saying something funny...                          Now, let's go see about that warrant.               As they walk back, Hub says to Danny:                                     HUB                         Find me a Judge who'll play ball                          this time. And set up a polygraph                          for Samir.                                     ELISE                         I still don't understand why we're                          tipping our hand with him --                                     FRANK                         What's there to tip?                                     HUB                         You're just trying to protect your                          asset.                              (to Elise, pointedly:)                         Aren't you, Elise --? He's your Joe,                          your asset. He's working for you,                          you're his case officer -- right?               How should she respond? How thin should she slice it?                                     ELISE                         ...Sometimes... in addition to being                          a nationality, being a Palestinian                          is also a... profession. A lucrative                          one.                                     HUB                         Meaning, he's your Joe.                                     ELISE                         Mine. Yours. The Israelis. The Saudis.                          At one time or another, everybody in                          the Middle East has slept with                          everybody else.                                     FRANK                         So you're saying... you sleep around?                                     ELISE                         Only professionally.                                     HUB                         So we share him.                                     ELISE                         No.                                     HUB                              (to Frank)                         -- Call INS, find out his status and                          start deportation proceedings.                                     ELISE                         I can't let you do that.                                     HUB                         Oh, you can't let me do that. What                          precisely is your involvement with                          these people.                                     ELISE                              (sighs, then:)                         Samir's been a very important...                          project of mine for some time... I'm                          the only one he'll deal with. He's                          very well-connected -- and extremely                          high-strung.                                     HUB                         ...Call the judge.                                     ELISE                              (looks at Frank)                         How easy is it to get inside, Frank?                          How good are your sources in the                          mosques? How many people you got in                          Hamas --?               Franks shakes his head, ruefully. She's right.                                     ELISE                         No surveillance. I've seen your deft                          touch.                                     HUB                         Daily reports. We tap his phone.                                     ELISE                         And I get to see the transcripts.                                     HUB                         Fair enough.                                     ELISE                         And I run him.                                     HUB                         We share him.                                     ELISE                         He can't know we're talking.                                     HUB                         Then don't tell him.                                     ELISE                         Done.                                     HUB                              (to Frank)                         Let him fly.                              (back to her)                         But we better start seeing product.               She nods. A deal. For now.                                     HUB                         Any more surprises for me?                                     ELISE                         Not tonight.                                     HUB                         Then I'm going home to get some                          things.                                     FRANK                         I'll have somebody drive you.                                     HUB                         I'll grab a cab.               And he's gone. Frank turns to Elise:                                     FRANK                         Elise. I'm really high strung, too.               She just smiles and walks away.               OUTSIDE THE FEDERAL BUILDING -- MOMENTS LATER               Not many people around. Hub stands on the corner. A TAXI                cruises up. On duty. Available. He slows long enough to see                that Hub is black and passes right by.               AT A RED LIGHT               The taxi driver stops just long enough for Hub to slam his                SHIELD on the windshield.               IN THE TAXI               Hub sits in back, hurtling into the night. The driver's ID                identifies him as ABDUL HASSAM. Hub shakes his head.               IN THE SHOWER               As the hot SPRAY hits him, he runs his hands through his                hair and feels the BITS OF SHATTERED GLASS. Dried blood runs                off in rivulets from his hands. Not his own. He leans against                the shower wall, closes his eyes.                                                                    CUT TO:               ELISE -- BRUTALLY SLAPPED ACROSS THE FACE               We are in her apartment. Samir looms over her.                                     SAMIR                         You let him HIT ME --!! You cannot                          care about me and let such things                          happen!                                     ELISE                         Next time don't be such a smart ass --                                     SAMIR                         Sometimes I hate you just because                          you are so American. It makes me                          want to hurt you. I think about                          fucking you and hurting you.               Elise can taste the blood in her mouth -- but it's the price                she's come to accept. In a heartbeat, it's all business.                                     ELISE                         -- You want to fuck me? Then work                          with me.                                     SAMIR                         Don't tell me what I have to do.                                     ELISE                         No? Do we really want to have this                          conversation again? Do we --?               Something quietly ominous in her tone. He lowers his eyes.                And like a sailboat, Elise changes tack. Strokes his arm.                                     ELISE                         I need you to help me. I need you to                          be strong. As you have always been                          strong. For both of us. -- Samir?                          Look at me...               BACK TO HUB -- WHO AWAKENS IN THE DARKNESS               He's fallen asleep in a chair. In his lap is a pile of visa                applications. His BEEPER goes off. He rouses himself.               BACK TO ELISE -- ROUGHLY TURNED OVER IN BED BY SAMIR               Sex without any shred of tenderness. As Samir kisses the                back of her neck, we SEE in her eyes the thousand-yard stare.               BACK TO HUB -- ON THE STREET               In the doorway of an apartment building, Frank hands Hub a                styrofoam cup of coffee. It's a ritual between them.               BACK TO ELISE -- LYING IN BED AS SAMIR SMOKES                                     SAMIR                         -- Some people just cannot live in                          the camps. For my brother, it was                          already like dying. The only thing                          he lives for is movies.               He sits up in bed, reaching for another cigarette.                                     SAMIR                         -- And then some sheik tells him                          that, to die for Allah is beautiful.                          If he does this thing, our parents                          will be taken care of, and he will                          live on in Paradise with seventy                          virgins. Seventy.                              (sighs)                         And my brother, he needs to believe                          it very much, so he straps ten sticks                          of dynamite to his chest and goes to                          the movies...                              (a rueful laugh)                         And I become a VIP. It is very                          confusing.                                     ELISE                         -- So who are you afraid of betraying?                          You know these people. They bomb,                          they maim. Do they represent the                          Palestine you want to build?                              (looks at him)                         They're using you.                                     SAMIR                         You are using me, too! Everybody                          uses the Palestinians! We are the                          whores of the Middle East!                              (looks at her)                         You make reports about our little                          talks --? What about fucking me?                                     ELISE                         I had to get special permission for                          that.               As he stands up, naked, and goes to the window, we SEE:               THE SAME IMAGE               Seen again, FROM MUCH FARTHER AWAY by Hub who stands on a                ROOFTOP across the way, watching through 10◊50 BINOCULARS.                Frank stands beside him.                                     FRANK                         Beats cable.               Sequence omitted from original script.               Sequence omitted from original script.               Sequence omitted from original script.               Sequence omitted from original script.               THE FEDERAL BUILDING -- NEXT MORNING               Hub heads for his office, his SECRETARY nods inside. Someone                is waiting. It's Devereaux, in a civilian suit.                                     DEVEREAUX                         Hi. I understand they call you Hub.                                     HUB                         I know who you are, General.                                     DEVEREAUX                              (offering his hand)                         Bill Devereaux.                                     HUB                         I served in the --                                     DEVEREAUX                         82nd Airborne, I know. Same time I                          was running the --                                     HUB                         -- 173rd. Put me through school.                                     DEVEREAUX                         God. Duty. Honor. Country. Where on                          Capitol Hill, Wall Street, or                          Hollywood would you find one man                          who's even paused over one of those                          words in the last ten years?               Hub is unsure why he's audience to such a command performance.                                     HUB                         What, uh, brings you here, General?...                          Can I get you some coffee?                                     DEVEREAUX                         You want me to get to the point. The                          President's concerned. He's worried                          that -- have you met him by any                          chance?                                     HUB                         No, sir, I haven't. I know -- reading                          the papers -- terrorism's a real                          concern for him. And your job is to --                                     DEVEREAUX                         -- With all the affection for the                          man I can tell you he doesn't know                          fuckall about terrorism, or the                          Mideast, that I don't put on his cue                          cards. What he's expert in is his                          own survival. You get my meaning?                                     HUB                         I didn't guess you came all this way                          for a cup of coffee.                                     DEVEREAUX                         Agent Hubbard -- you look like you                          think I'm here to take your baby                          away!                                     HUB                         With all respect for your expertise,                          sir. We're on track here.                                     DEVEREAUX                         Which is what I said to the President --                          the Army is not some big green police                          department. Stick with the man on                          the ground.                                     HUB                         I appreciate your support.                                     DEVEREAUX                         You're sure you're not chasing your                          own tail, though?               Hub considers for a moment, then:                                     HUB                         What do you know about Sheik Ahmed                          Bin Talal?                                     DEVEREAUX                         Old news.                                     HUB                         Maybe not. We've received two                          communications -- from the bombers                          to "Release Him."                                     DEVEREAUX                         We can't release him.                                     HUB                         I know our stated policy is not to                          negotiate with terrorists, but --                                     DEVEREAUX                         Hub, we can't release him because we                          don't have him. We never had him.                          And besides that, he's dead.                                     HUB                         The CIA says --                                     DEVEREAUX                         The CIA? The CIA couldn't predict                          the fall of the Berlin Wall until                          bricks were hitting them in the head.                              (resuming)                         The Libyans snatched the Sheik --                          some sectarian Muslim thing -- I'll                          explain it next time you have a free                          week. They killed him. Qaddafi put                          out disinformation that it was us...                          Who was your source on this?                                     HUB                         Elise Kraft.                                     DEVEREAUX                         ...A woman will never know the Middle                          East. You're talking about a culture                          that keeps its women slipcovered.                          Elise Kraft can't tell a Sheik from                          the prophylactic of the same name.                                     HUB                         I appreciate the heads up.               Devereaux rises, offers his hand. As they shake, Elise sticks                her head in the door without knocking.                                     ELISE                         Hub, we've got Judge Frankel in --                              (as Devereaux turns                               around)                         Oh. Hello, General.                                     DEVEREAUX                         Please, don't let me --                                     ELISE                              (to Hub)                         Sorry. That tip on the landlord looks                          solid. The judge will see us right                          away.                                     DEVEREAUX                         Sounds like I should get out of your                          way. We're there if you need us.                              (at the door; to Elise)                         Your father well, Elise?                                     ELISE                         As can be expected. How's Maggie?                                     DEVEREAUX                         Top of her game.                              (heads out)                         Well, go get 'em.               And he's gone. Elise turns to Hub.                                     ELISE                         Making new friends.                                     HUB                         How's your lip --?               She looks at Hub -- and now she knows that he knows. She                brazens it out:                                     ELISE                         So... you like to watch --?                                     HUB                         No. Just learning about commitment.                                     ELISE                         It's a full contact sport.                                                                    CUT TO:               JUDGE'S CHAMBERS -- DOWNTOWN               Judge Frankel, 60, puts down his sandwich and wipes his hands.                                     JUDGE FRANKEL                         -- You're telling me that just because                          some Brooklyn landlord tips you off                          that he's been paid in cash, you                          have the right to call in the cavalry --                         ! Hub, as far as I know, paying cash                          is not yet a crime in this country.                                     HUB                         You're not hearing me. This Khalil                          was carrying cash for --                                     JUDGE FRANKEL                         -- You've observed him giving cash                          to --                                     HUB                         ... No, but --                                     JUDGE FRANKEL                         -- But you have hard evidence linking                          this apartment to the people that                          blew up bus 87 --?               Elise sits quietly beside Frank, observing Hub's trials.                                     HUB                         I know we'll turn up trace elements                          of semtex, chemicals... something.                                     JUDGE FRANKEL                         And when you do, you'll get your                          warrant.                                     HUB                         What about as a feasibility study?                                     JUDGE FRANKEL                         Meaning?                                     HUB                         We enter first, take a look, then                          fill out the warrant.                                     JUDGE FRANKEL                         Tell me the difference between that                          and breaking-and-entering?                                     HUB                         We're the good guys.                                     JUDGE FRANKEL                         Not good enough.                                     HUB                         What is good enough, Judge? Another                          bus? A school, maybe. These things                          come in waves.                                     JUDGE FRANKEL                         Waves mean nothing to me; there's                          been a wave of violent crime committed                          by black people in this city for the                          past twenty years, but if you came                          to me with a plan to put all black                          people behind bars as a preventative                          measure I'd send you packing. There's                          a price to be paid for living in a                          free society --                                     HUB                         -- and not in cash I guarantee it.               Hub catches Elise's eye -- "we're out of here."               THE STAIRCASE OF A TENEMENT               Elise and Hub climb seemingly endless FLIGHTS OF STAIRS.                                     ELISE                         -- Not two Judges from now, not two                          HOURS from now, not two MINUTES from                          now. These guys could split any SECOND                          and you've lost your best shot at --                                     HUB                         Frank's working another warrant --                                     ELISE                         You don't understand, they're pros!                          From the age of twelve they've been                          dodging people like you, people better                          than you.                                     HUB                         You mean people like you?                                     ELISE                         -- no matter how sparkling your record                          is, no matter how terrified you are                          to fail --               Finally he stops, turns on her:                                     HUB                         It's... against... the... law.                                     ELISE                         -- Just because you went to night                          school, or filled out the back of a                          matchbook or whatever you did to get                          a law degree doesn't make you Sir                          Thomas More.                                     HUB                         Just because you talk the talk doesn't                          make you an expert. And just because                          you read my file doesn't make you an                          expert on me.                                     ELISE                         You're gonna lose them and they're                          gonna do another horrible --                                     HUB                         -- You think I want to lose them.                          Where do you get off talking that                          shit.                              (controls himself...)                         If I don't take 'em down properly                          they'll be on the street two hours                          from now. I could find dynamite,                          semtex, plutonium and a book of                          matches in there and unless I've got                          the right warrant it's all                          inadmissible                                     ELISE                         They've also got a warrant. A warrant                          from God. They're ready to die! And                          your quaint laws don't mean shit to                          these people.                                     HUB                         My quaint laws? Last I checked you                          were an American citizen. And these                          happen to be the only laws we got.                              (turns on her)                         Look, I'm just a cop, okay, and I'm                          real sorry the cold war's over, and                          you Masters of the Universe got                          nothing going on over there in                          Afghanistan or Iraq or wherever --                          but you're just not in the Middle                          East anymore...                                     ELISE                         Oh, really...?               They reach the top of the stairs where Frank is waiting. He                dangles a piece of paper -- the warrant -- and grins.               IN THE SAME SQUALID APARTMENT BUILDING -- LATER               Hub looks through the surveillance equipment focused on an                apartment across the street -- paper shades drawn. Wearing a                set of HEADPHONES, Elise listens intently to the Arabic                conversation.                                     ELISE                         They're discussing how hard it is to                          find a decent cup of coffee over                          here.                              (hands headset to                               Frank)                         I make out three voices. What do you                          have on the infrared?                                     FRANK                         Three sounds right. If we had                          microwave we'd know for sure. The                          CIA's got microwave, how come we                          don't have microwave.               Hub, meanwhile is question a Syrian Landlord.                                     LANDLORD                         -- three of them. All day long they                          watch tv. And eat pizza. Nothing but                          pizza, pizza, pizza...               Hub looks over at Frank. They've got a way in.                                                                    CUT TO:               Sequence omitted from original script.               Sequence omitted from original script.               DARK HALLWAY -- DAY               Mike Johannson, carrying two PIZZAS, knocks on a door.               IN THE SHADOWS BELOW               Hub, Frank, and a small army of AGENTS lock and load.               A YOUNG ARAB               Opens the door to the length of a chain and hands Mike a                twenty-dollar bill.                                     MIKE                         You want change, right --?                                     YOUNG ARAB                         No.                                     MIKE                         You gonna open the door, or what --?               The Arab motions, leave them on the ground.                                     MIKE                         Jesus, didn't ya hear crime's down                          seven-percent...               Muttering, he sets the pizza down and heads downstairs. After                a moment we HEAR the chain pulled and the door open.               IN THE APARTMENT               The Young Arab sets the pizza on an orange crate. Two other                YOUNG ARABS in the next room barely take their eyes off the                rerun of "Hunter." But as the young Arab opens the box:               A STUN GRENADE               Hidden within, EXPLODES with a blinding FLASH, knocking him                to the ground.               THE APARTMENT DOOR               Is blown in as armed AGENTS rush in, Hub leading the way.                                     FBI AGENTS                              (English and Arabic)                         FBI --! Lie down on the floor with                          your hands behind your back --!               THE TWO OTHER YOUNG ARABS, HOWEVER --               Have not been affected. Not only were they in the next room,                but also their eyes were averted from the FLASH.               THEY COME UP FIRING               But only get off half a clip each before they are CUT DOWN                by a fusillade of FBI return-fire.               ON THE GROUND               The Young Arab, momentarily disoriented, stumbles to his                feet, only to be confronted by six armed agents -- all aiming                at his chest.                                     FRANK                         Drop your weapon!               The terrorist puts his gun to his mouth and PULLS THE TRIGGER.               A STILLNESS               As the CORDITE drifts lazily toward the ceiling, Hub calls                out from behind the table:                                     HUB                         What about the others? See if we can                          get a pulse --               Other Agents scurry in to hover over the inert BODIES.                                     FRED                         Terminal.                                     MIKE                         Same here.                                     ELISE                              (softly)                         Gone.               Hub picks himself up in time to see Elise, kneeling beside                the body of the Young Arab, her hand on his boyish chest.                                     MIKE                         We got semtex, we got detcord, same                          stuff as the bus, the whole                          enchilada...               A few WHOOPS and high-fives as the adrenaline rush of the                firefight abates. Frank opens the remaining box.                                     FRANK                         Anybody like anchovies --?               Then from across the room, Hub kneels beside an ominous-               looking DEVICE. A claymore mine.                                     HUB                         Goddamn it. GODDAMN IT.                                     FRANK                         What --?                                     HUB                         It didn't fire. They had it rigged                          to the door and it didn't fire.               Frank stares at the lethal booby-trap. Hub shakes his head.                                     HUB                         We're too old to be lucky, Frank.                                                                    CUT TO:               A DOWNTOWN BAR -- LATER THAT NIGHT               Where Mike and Tina are dancing their asses off. Around them,                other AGENTS from the takedown laugh and drink.               AT A NEARBY TABLE               Hub and Elise sit, watch them cut loose.                                     ELISE                              (sips her drink)                         My first boyfriend was Palestinian.                          My father liked to say, they seduce                          you with their suffering.               A WAITRESS brings her another drink.                                     ELISE                         You ever been over there --?                              (he shakes his head,                               no)                         ...The courtesy with which they                          welcome you into their homes. And                          the people, these incredibly... warm                          people in this... austere land.                                     HUB                         But you work against them.                                     ELISE                         Only the crazies. I tend to be                          suspicious of all true believers.                              (looks at him)                         Present company included.                                     HUB                         So I'm a fanatic.                                     ELISE                         Let's just say you don't seem the                          ambivalent type.                                     HUB                         Is that right?                                     ELISE                         So why're are you a fed?                                     HUB                         That's what my nephew keeps asking                          me. "Why you with The Man, Unc?"                                     ELISE                         ...Well? What'd you tell him?                                     HUB                         You read my file. You tell me.                                     ELISE                         Let's see... Catholic school. Captain                          of this, president of that. Hard                          work, fair play, make a difference,                          change the system from within. Rah.                          Rah. Rah.                                     HUB                         That was in my file?                                     ELISE                         ...Tell me I'm wrong.               He studies her for a moment.                                     ELISE                         ...What --?                                     HUB                         You believe in anything, Elise --?                                     ELISE                         Like what, for instance?                                     HUB                         How about right and wrong?                                     ELISE                         It's easy to choose between right                          and wrong. What's hard is choosing                          the wrong that's more right. I just                          want to make it all... a little...                          better.                              (finishes her drink)                         Ignore me. I'm shitfaced.               Frank appears to lean over their table.                                     FRANK                         So am I --! Hey, Elise... tell us                          about being a spook? Ever meet Aldrich                          Ames? Weren't you at the Bay of Pigs?                                     ELISE                         You were in charge of Waco, right --                         ? Or was that Ruby Ridge?                                     FRANK                         The Shah of Iran, Noriega, I love                          the way you guys predicted the                          collapse of the Soviet Union.                                     ELISE                         Yeah, yeah, yeah... And J. Edgar                          Hoover wore a dress.               She laughs and stands up to dance:                                     ELISE                         What do you say, Hub...? Peace?               But as he grudgingly stands up, a BALLAD comes on. They stand                there awkwardly. Finally, he takes her into his arms.                                     ELISE                         This feels like high school.                                     HUB                         -- only my prom date wasn't packing                          a gun.                                     ELISE                         Mine's a 9 mm. How big is yours?                                     HUB                         Two inches. From the ground.                              (laughing, they dance                               closer)                         So what's the latest from Samir. I                          want a list of every visa he                          sponsored.                                     ELISE                         Not sure he'll do it.                                     HUB                         I once knew this undercover guy,                          started to care so much about his                          source --                                     ELISE                         -- Samir's a source. Period.                                     HUB                         Have you considered that he might                          also be in bed with the other side?                                     ELISE                         Samir in bed with them? That would                          too much to wish for.                                     HUB                         You're so confident.                                     ELISE                         Only in bed.               Tina watches them. She rolls her eyes at Frank. And then:               THE GROUND SHAKES               A low RUMBLE as the light FLICKERS and the chandelier sways.                                     FRANK                         Whoa... What do they put in these                          drinks --?                                     TINA                         They got earthquakes in Manhattan?               But Elise is not too drunk to make her way to the door. Hub                joins her. Already, in the distance, the WAILING OF SIRENS.               IN THE TOWN CAR -- SPEEDING UPTOWN ON MADISON AVE               Blue light FLASHING. Hub, Elise and Frank sit grimly silent.               TRAFFIC               Is snarled and gridlocked at 40th. Finally, they can take it                no longer and step out into a chorus of HONKING HORNS.               THEY BEGIN TO RUN               Past the frustrated drivers. Turning the corner at 41st where:               SMOKE BILLOWS               From the New Victory Theatre -- where a gala benefit is taking                place.               GIRL IN A PRADA GOWN               Walks toward CAMERA. She's stunning. From the jeweled                clutchbag to the tasteful necklace, everything is perfect,                except:               HER RIGHT ARM IS MISSING               And now we SEE:               THE BLACK-AND-WHITES               Haphazardly pulled-up over the steps and the FIRETRUCKS                already unspooling their hoses. Cops, Firemen, EMT's.                Everybody's SCREAMING. Hub and Elise race past.               MAN IN BLACK TIE               Sits, weeping quietly beneath the once proud stone lions.               THE FEW SURVIVORS               Their faces cut and bleeding, stumble around, disoriented.                As Hub and Elise continue toward a SOUND we have never heard                before in this country. A kind of keening.               A NYPD SERGEANT is the senior OFFICER on the scene. Hub shows                his shield to the man who appears a bit shell-shocked.                                     NYPD SERGEANT                         -- fucking bastards waited 'til                          intermission. Everybody standing                          around... Oh, Jesus...               GLASS crunching underfoot, they can only watch as horribly                disfigured BODIES are carried out. A NEWS REPORTER shoves a                microphone in Hub's face.                                     NEWS REPORTER                         Is it true the governor was attending                          tonight's benefit --?                                     HUB                         I don't know.                                     NEWS REPORTER                         Who it is I'm speaking to --?               Hub ignores the reporter. He sees that Elise is already                tearing off part of her skirt to bandage a SOCIETY MATRON.                He takes off his coat and goes to work beside her.                                                                    CUT TO:               A DARKENED AIRPLANE               Hub sits alone.                                     PILOT (O.S.)                         Folks, as you can probably tell, we                          have begun our descent into                          Washington's National airport.               THE HIGH-PITCHED WHISTLING SOUND IS HEARD AGAIN               Hub reaches up to his DAMAGED EARS. As anyone who's ever                flown with a sinus problem knows, the pain is excruciating.                                     STEWARDESS                         -- You alright?               But we can only LIP-READ her question. He's sweating now.                Over this, we HEAR:                                     ARMY GENERAL (V.O.)                         Either we answer this threat quickly                          and convincingly or next week there'll                          be a hundred more all over the world.               Sequence omitted from original script.               ON CAPITOL HILL -- LATER THAT DAY               As Hub climbs the steps toward the gleaming dome, the debate                continues within:                                     CONGRESSMAN MARSHALL (V.O.)                         Sounds great, General, except why                          can't we find out who's behind it --                         ?               IN THE ROTUNDA LIBRARY               A strategy session chaired by General Devereaux. Sleeves                rolled up, silver coffee service. Staff members abound.                                     FBI DIRECTOR                         These sects are organized so you                          need a kill to your credit to get                          inside. It makes undercover operations                          impossible. What that leaves us is...                          we're working on it.                                     SENATOR WRIGHT                         How about who's behind who's behind                          this?                                     CIA DIRECTOR                         Libya. Iraq. Iran. Possibly Syria.                                     CHIEF OF STAFF                         Ask a question. Get an atlas.                                     SENATOR WRIGHT                         All I know is that we must respond.                                     CHIEF OF STAFF                         Respond, sure. But how?                                     SENATOR WRIGHT                         Find out who it is and bomb the shit                          out of them.                                     CHIEF OF STAFF                         And if we can't find out --?               The question hangs in the air.                                     CONGRESSMAN MARSHALL                         Look it keeps escalating. First a                          bus, then the theatre. What's next?                                     SENATOR WRIGHT                         Anything but leadership.                                     DEVEREAUX                         With all respect, Senator, why don't                          we just stipulate that the President                          is a dumb son of a bitch so we can                          all get down to business.               An icebreaker. Everyone laughs.                                     CONGRESSMAN MARSHALL (V.O.)                         What about sending in the Guard?                                     ATTORNEY GENERAL (V.O.)                         The National Guard are trained for                          riot control not counter-terrorism.                                     SENATOR WRIGHT                         The Army then. I've seen the                          contingency plans.                                     ATTORNEY GENERAL                         It's settled legal doctrine, posse                          comitatus, that the Army not be turned                          against our own people.                                     SENATOR WRIGHT                         Even if that's what our own people                          are asking for, three to one?                                     SPEAKER OF THE HOUSE                         If the President is willing to declare                          a State of Emergency --                                     SENATOR WRIGHT                         President Lincoln declared martial                          law in 1862. He suspended --                                     ATTORNEY GENERAL                         -- which the Supreme Court later                          found un-constitutional. Ex parte                          Milligan.                                     CONGRESSMAN MARSHALL                         And I've got an election in November.                          Ex-United States Congressman.                                     CHIEF OF STAFF                         Guys, guys, the President lost a lot                          of friends last night --                                     CONGRESSMAN MARSHALL                         Not to mention six points in the                          polls.                                     CHIEF OF STAFF                         -- And his plane lands in two hours.                          We owe it to him to have a consensus.                                     SPEAKER OF THE HOUSE                         You don't fight a junkyard dog with                          ASPCA rules. What you do is take the                          leash off your own, bigger, meaner                          dog.                                     CHIEF OF STAFF                         ...General?                                     DEVEREAUX                         The Army is a broadsword not a                          scalpel. You do not want us in an                          American city.                                     CHIEF OF STAFF                         But hypothetically... how long would                          it take you to --                                     DEVEREAUX                         We only go if the President invokes                          the War Powers Act.                                     CHIEF OF STAFF                         I understand that, General. Let us                          imagine, though, for a moment, that                          the order has been given.               CLOSE on Devereaux. As he weighs his remarks, we FLASHCUT,                almost imperceptibly to:               AN ANONYMOUS ROOM               As WATER is poured over anonymous hands in a ritualized                manner. O.S. we HEAR the SOUND of chanting.               BACK TO -- THE SITUATION ROOM -- SAME TIME                                     DEVEREAUX                         ...Twelve hours after the President                          gives the word we can be on the                          ground. One light infantry division                          of ten thousand seven hundred men.                          Elements of the Rapid Deployment                          Force combined with Special Forces --                          Delta. APC's, tanks, helicopters.                          And of course, the ubiquitous M-16A1                          assault rifle, a humble weapon until                          you see a man carrying one outside                          your local bowling alley or Seven-                         Eleven. It will be noisy, it will be                          scary and it will not be mistaken                          for a VFW parade.               BACK TO -- THE ANONYMOUS ROOM               Where the same anonymous hands lift a cotton shroud. We watch                in SLOW-MOTION as it drifts down a shoulder.               BACK TO -- THE SITUATION ROOM                                     DEVEREAUX                         That means civilian casualties. At a                          minimum it's a drunk private joyriding                          in a Hummer who runs down an old                          lady in Greenpoint. At a maximum...                              (sighs)                         Make no mistake. We will hunt the                          enemy. We will find the enemy. And                          we will kill the enemy.               BACK TO -- THE ANONYMOUS HANDS               Turning the key in an ignition. An engine rumbles to life.               BACK TO -- THE SITUATION ROOM                                     DEVEREAUX                              (looks at them)                         And no card-carrying member of the                          ACLU is more deadset against it...                          than I am. Which is why I urge you...                          no, I implore you not to consider                          this option.               A long beat. The Chief of Staff sighs.                                     CHIEF OF STAFF                         I know what the President will say.                                     DEVEREAUX                         What's that?                                     CHIEF OF STAFF                         That's exactly why you're the only                          man for the job.               BACK TO -- A VAN               Emerges from a dark garage like a beast from a cave.               BACK TO -- THE SITUATION ROOM               The Army General speaks up.                                     ARMY GENERAL                         I remind you General Devereaux does                          not speak for official Army policy.                          A police function has become accepted                          as our role in Haiti, in Somalia --                                     HUB                         -- Could I interrupt?               Everyone looks over at Hub. Devereaux smiles.                                     DEVEREAUX                         That's Anthony Hubbard, FBI. He's                          the ASAC on the ground up there.                          They took out the first cell less                          than 36 hours after bus 87. I suggest                          we hear what he has to say --               He nods to Hub, who acknowledges the vote of confidence.                                     HUB                         There is something you probably                          haven't thought about doing?                                     CHIEF OF STAFF                         And that is --?                                     HUB                         Nothing. Don't over-react.                              (off their incredulity)                         With all respect, gentlemen, I'm                          just a cop. To you these people may                          be martyrs, but to me they're                          criminals. And a criminal is no more                          than somebody who thinks he's better                          than everyone else. And he's not                          better. He only has to be wrong once.                          And that's where we come in. We run                          down a tip from a landlord, or we                          pick up a latent print from a bus.                          Our phones are ringing off the hook                          with people from the Arab community                          wanting to help.               He measures his words carefully. Unaccustomed to these kind                of august circumstances.                                     HUB                         They love this country and they hate                          that these criminals are giving them                          a bad name. With their help and some                          old-fashioned shoe leather, we'll                          nail these guys.                                     DEVEREAUX                         -- Amen to that.                                     CHIEF OF STAFF                         Thank you, Agent Hubbard. I, too,                          think we should proceed cautiously.                              (looks around)                         Now we've got an Agency briefing                          prepared... Some of you may not know                          Sharon Bridger. Sharon was posted in                          Iraq as part of our covert operations                          during the Gulf War. -- Sharon...               CLOSE ON -- HUB as, from behind him, comes a familiar VOICE:                                     ELISE                         We all know the traditional model of                          a terrorist network. One cell                          controlling all others. Cut off the                          head and the body will wither.               Hub looks to the back of the room at Elise, who's no longer                Elise. She looks blithely at Hub as if nothing is amiss.                                     ELISE                         Unfortunately the old wisdom no longer                          applies. The new paradigm is like                          the myth of the Hydra. Each cell                          exists independent of the other. Cut                          off one head and another rises up in                          its place.               ANOTHER FLASH CUT -- THE VAN               Crossing the Brooklyn Bridge, keeping well below the speed                limit. In the distance, the glass towers of Manhattan.               BACK TO -- THE SITUATION ROOM                                     ELISE                         Bus 87 was the work of Cell #1. Its                          elimination only activated the work                          of Cell #2 -- the theatre gala.               FLASH CUT -- THE VAN               Turns up Wall Street. Frank Haddad and Danny exit THE FEDERAL                BUILDING. They pass Mike and Fred, heading back in. Something                about the van causes Frank to take notice.               BACK TO -- THE SITUATION ROOM                                     CHIEF OF STAFF                         And Cell #3? How do we find Cell #3?               Everyone looks to Sharon/Elise. Hub looks at her, too.               CLOSE ON -- SHARON/ELISE               The question hangs in the air. She's thinking about something.                What?               ANOTHER FLASH CUT -- THE VAN               JUMPS THE CURB and heads across the plaza on A COLLISION                COURSE with the glass lobby of the FEDERAL BUILDING. Frank                and Danny are rooted to the ground.               BACK TO -- THE SITUATION ROOM               Close on Sharon/Elise. As time elongates. She knows.                                     ELISE                         We don't know.               Sequence omitted from original script.                                                               DISSOLVE TO:               WHITE SCREEN (ALL SOUND OUT)               Puffy clouds in a blue sky. As we TILT DOWN into:               THE GUTTED RUIN               Of what was once the Federal Building. RESCUE WORKERS hunt                for SURVIVORS as others carry BODY BAGS toward waiting                AMBULANCES. Hub stands sentinel to the grisly process as                indeed he has stood there all night. Frank is beside him.                                     HUB                         -- Are they confirmed?                                     FRANK                         Fred, Whitney, we're waiting on who                          else...               A JEEP pulls up and Elise/Sharon gets out.                                     HUB                         Sharon.               Their silence speaks volumes. With Sharon is an OFFICER.                                     ELISE                         This is Colonel Hardwick. Army                          Intelligence.                                     HUB                              (shaking hands)                         Anthony Hubbard. Average intelligence.                              (clocking him)                         But 'til I hear otherwise this is                          still my show.                                     COL. HARDWICK                         I'm here as an advisor only. I intend                          to keep a low profile.                                     HUB                         I appreciate that, Colonel.                                     COL. HARDWICK                         I don't mean to be insensitive, but                          what, exactly, are your capabilities                          at this point? Your... infrastructure --                                     HUB                         You're standing on our infrastructure.                          Excuse me.               Hub walks back toward the rubble. Sharon watches him go.                                                                    CUT TO:               HUB'S APARTMENT -- THAT NIGHT               Sofas have been pushed against the wall. Hub's apartment now                serves as a temporary command post. Agents huddle together --                poring over the charred or soggy remnants of files.                                     FLOYD                         -- They managed to get a partial                          VIN# off the van. DMV says it was                          reported stolen the day before in --                                     HUB                         -- Brooklyn.                                     DANNY                         Fiber thinks they've come up with a                          piece of the shroud. Egyptian cotton.               Frank joins them.                                     FRANK                              (grim)                         We just got a confirmation on Mike.                          He was with Fred in the lobby.                                     HUB                         How many does that make it --?               A KNOCK on the door. They look at one another. One of the                agents answers it. Elise/Sharon. She walks over to them.                                     ELISE                         I'm... very sorry... about your                          friends.                                     HUB                              (giving her nothing)                         Frank. This is Sharon.                              (to her)                         -- I didn't catch the last name.                                     ELISE                         ...Bridger. How ya doin' Frank?                                     FRANK                         Been better.               She nods. Takes from her purse a folder, labeled in Hebrew.                                     ELISE                         The agency has come up with another                          list of probables.               She takes out photos. Neither Hub nor Frank react. She puts                them on the coffee table. No one reaches for them.                                     ELISE                         I think we should circulate them.                              (they stonewall her:)                         Hey, this stuff may be good.                                     HUB                         Why was there no warning from Samir?                                     ELISE                         Because he didn't know anything.                                     FRANK                         Says Samir.                                     ELISE                         Says me.                                     HUB                         Maybe I'll ask him.                                     ELISE                         Over my dead body.                                     HUB                         Over six hundred dead bodies.               They stare at one another. Both are tired and raw.                                     ELISE                         Look, he's one of the good guys.                          Okay?                                     HUB                         How the fuck can you be so sure?                                     ELISE                         Because he helped me recruit the                          network in Iraq. OKAY?               He just stares at her.                                     ELISE                         We were part of the operation to                          destabilize Saddam Hussein. Printing                          up fake dinars, arming the Kurds --                                     HUB                         -- and financing the Sheik.                                     ELISE                         He's Iraqi. He was going to be our                          Ayatollah Khomeini --                                     HUB                         -- And help bring down Saddam.                                     ELISE                         I ran the network. Samir was the go-                         between. He risked his life for us                          over there.                                     HUB                         So who are they? Give me names, Give                          me pictures. Not some history lesson.                                     ELISE                         I can't give you pictures because I                          don't know what they look like. We                          did everything at arm's length.                                     HUB                         So you got nothing.                                     ELISE                         I've got Samir.                                     HUB                         Has he had any contact with them?                                     ELISE                         Minimal.                                     HUB                         How does he do it?                                     ELISE                         He can't. They initiate.                                     HUB                         And otherwise...                                     ELISE                         He's waiting.                                     HUB                         He's waiting? What's he waiting for?                          More bodies? We got lots more                          buildings in midtown, maybe he's                          waiting to see how many they can                          blow up.                                     ELISE                         Look, I know how you must feel --                                     HUB                         YOU DON'T KNOW SHIT HOW I FEEL -- MY                          FRIENDS ARE DEAD. HUNDREDS OF PEOPLE                          ARE DEAD.                                     ELISE                         They'll make contact soon.                                     HUB                         How?... Why soon?               She looks at him, refusing to divulge anything more. Suddenly,                Hub grabs her arm and roughly shoves her into:               THE BATHROOM                                     HUB                              (viciously)                         What's the tradecraft, Sharon?                          Ironsites, visuals? I love all that                          spy shit.                              (still, she says                               nothing)                         I'm gonna haul your boy downtown,                          strap his ass to a polygraph and ask                          him all about you. Then I'm gonna                          send the transcripts to a friend of                          mine at the Times who just loves to                          write about the latest CIA link to                          some political horror show.                                     ELISE                         You burn him, you lose any chance                          you ever had.                                     HUB                         It's lose-lose from here on in, who                          said that?                                     ELISE                         I'm not fucking with you.                                     HUB                         How can you possibly remember who                          you're fucking?               She slaps him, hard. Without hesitation he slaps her back.                She claws at his face, but he grabs her wrist and bends her                arm behind her back.                                     ELISE                         I need... more time. Please. You're                          hurting me. Please...               Something in the violence of the moment is more than a little                charged.                                                                    CUT TO:               VARIOUS SHOTS -- THE SURVEILLANCE OF SHARON AND SAMIR               A dead drop by a hot dog stand. Out for her morning jog. A                series of FREEZE FRAMES as the motordrive CLICKS AND WHIRS.                                     FRANK (V.O.)                         That's good sound.                                     HUB (V.O.)                         Except they're not saying anything                          worth listening to.               Sequence omitted from original script.               IN A HAMMAM (BATH-HOUSE)               Samir chats with a couple of older men in the steaming waters.                MORE FREEZE FRAMES:                                     FRANK (V.O.)                         One's his uncle, he owns the place.                          The other's a doctor. They check out                          clean.                                     HUB (V.O.)                         He go there every day?                                     FRANK (V.O.)                         A clean body and a pure heart.               Sequence omitted from original script.               Sequence omitted from original script.               A TV LOGO: FOX NEWS SPECIAL REPORT: NEW YORK UNDER SIEGE                                     NEWSCASTER (V.O.)                         "Tonight we take a close look at the                          tragic sight of a city under siege."               HUB'S APARTMENT               Hub sits on his sofa, watching the special report. Spread                out before him, the surveillance PHOTOS of Sharon and Samir.               VIDEO CLIPS               A deserted Times Square. Police checking packages of shoppers                in front of a department store. Long lines of security at                bus stops.               EXT. DOWNTOWN - NEXT MORNING               Hub and Frank are walking downtown. At a stoptlight, A BUS                idles beside them, a POLICEMAN onboard.                                     RADIO DJ (V.O.)                         -- claiming responsibility for the                          bombing. In other news, a cab driver                          was beaten and his cab set on fire.                          The driver, Rashid Abu --               ANOTHER CAR. TALK RADIO:                                     TALK RADIO (O.S.)                         -- the Jews, man. When they say,                          jump, we say, how high. I say we --                                     FRANK                         -- If you're on the State Department                          Terrorist Watch list you cannot get                          into this country. But Ali Waziri                          was on the watch list, and he got                          in.                                     HUB                         Did you call the State Department?                                     FRANK                         They told me to call INS.                                     HUB                         -- And?                                     FRANK                         They told me to call State.                                     HUB                         Don't you just love government?               THE EXPLOSION               Is only the BUS backfiring. PEDESTRIANS who have thrown                themselves to the ground, screaming, now pick themselves up,                Laughing. Only Hub and Frank are not laughing.               NEWS ANCHOR DESK                                     NEWSCASTER                         "As many fled, there were others who                          stayed behind to pay the price...               VIDEO CLIPS               Jammed freeways; A LOOTED corner deli, its Arab owners,                bloodied: POLICE checking backpacks at an elementary school.                                     NEWSCASTER (V.O.)                         Today, as hundreds of law enforcement                          officials gathered in a Broadway                          theatre, outside people wanted                          answers.               VIDEO CLIPS               Angry people, scared people. Hub, being interviewed about                the coordinated efforts of law enforcement.                                     NEWSCASTER (V.O.)                         Already there is talk of a protest                          march by a coalition of --               INSIDE THE THEATRE (A VIDEO CLIP TURNS BACK TO FILM)               Hub and a few others sit on the stage. Two hundred law                enforcement officials fill the orchestra seats.                                     MAYORAL AA (V.O.)                         THE PEOPLE OF THIS CITY HAVE A RIGHT --                                     DANNY (V.O.)                         -- THE PURPOSE OF THIS MEETING --!                                     MAYORAL AA                         -- IS TO MAKE THIS CITY SAFE...! And                          your department --                                     DANNY                         My department WHAT, ASSHOLE...?               Sharon stands at the back, meets Hub's eye, and waves.                                     DISTRICT ATTORNEY                         Guys... GUYS...               EVERYBODY'S talking at once. In frustration, Hub covers a                microphone with his hand. The FEEDBACK silences the room.                                     HUB                         Sorry. From now on, we will raise                          our hands and wait to be called on --               An appreciative chuckle. Hub points to A MAN IN A SUIT.                                     INS OFFICIAL                         Howard Kaplan. INS. So we've pulled                          every ethnic visa in the city and                          traced them to source. Who wants em?                                     HUB                         Danny --?                                     DANNY                         We bring 'me in, have a talk.                                     UNIFORM COP (V.O.)                         What about translators --?                                     DISTRICT ATTORNEY (V.O.)                         How many people we talking about                          here?                                     INS OFFICIAL                         Sixteen hundred, maybe more.                                     DANNY                         Where the hell we gonna put sixteen                          hundred people?               Everyone again begins speaking at once. Hub takes control.                                     MAN IN SUIT                         What about a military presence at                          JFK and LaGuardia --?                                     HUB                         I don't think we're there yet. It's                          also not going to stop these people.                                     MAYORAL AA                         What about protecting the Arab                          population? There's a lot of anger --                                     ARAB SPOKESMAN (V.O.)                         I represent the American-Arab Anti-                         Discrimination Committee. Whatever                          injustices my people may be suffering                          at this difficult moment, we will                          continue to show our patriotism and                          our commitment to this country.                                     HUB                         Thank you, sir. And to everyone else                          for their patience today. These are                          extremely difficult times -- London,                          Paris, we're not the first city to                          have to deal with this.               He pauses a moment, searching for the words.                                     HUB                         In Tel Aviv, the day after they blew                          up the market, the market was full.                              (looks out at them)                         This is New York. We can take it.               And then two hundred BEEPERS all go off at once. Everyone                looks at one another. Dear God, what now...               A GRAINY BLACK & WHITE VIDEO IMAGE               Kids, huddled in a corner, crying. A dead mom. The legs of                what we imagine is the terrorist. We are in:               AN ELEMENTARY SCHOOL -- AN UPSTAIRS HALLWAY               Hub huddles with other agents behind a makeshift blast-               barricade of desks and tables. Sharon kneels beside them.                                     DANNY                         -- one of the moms was carrying a                          piece, wounds the guy as he's planting                          the device. He kills her and locks                          them all in.                              (points at video)                         Up there in the corner... by the                          clock.               The probe is a hot-head, "arthroscopic" video camera.                                     DANNY                         -- It's got a timer on it only we                          don't know how much time is left.               As Hub stares at the horrifying image, the WHITE-NOISE returns                and begins to GROW in his head.                                     HUB                         Closer on the timer.                                     TECHNICIAN                         I'm trying but the angle's wrong...               The NOISE in Hub's head continues to grow. And then suddenly                it is compounded by the SOUND of an APPROACHING CHOPPER --                as an NYPD SWAT HELICOPTER lowers itself into view.                                     FRANK                         What the fuck is the NYPD doing here?!                                     DANNY                         I don't know. Somebody must have --                                     FRANK                         -- WE'VE RUN DRILLS ON THIS                          JURISDICTION BULLSHIT SINCE --                                     DANNY                         I KNOW --! YOU THINK I --                                     HUB                         QUIT BICKERING AND FIX IT!               In the HELICOPTER -- a Marksman raises a sniper's rifle.               THE WHITE NOISE               Is screaming now in Hub's head. Unimaginable. Unbearable.                                     DANNY                              (on his radio)                         NYPD SWAT, this is the FBI. Get that                          bird the fuck out of there!               The SOUND of the CHOPPER and the WHITE NOISE drown him out.               ON THE VIDEO MONITOR               Children are SCREAMING without sound. Even the chopper is                drowned out by the WHITE NOISE.               IN THE CHOPPER               The MARKSMAN takes careful aim --               IN THE CLASSROOM               The TERRORIST grabs a child as a human shield. Hub closes                his eyes to the imminent nightmare, and then:               SUDDENLY, WITHOUT WARNING --               He takes off, barreling down the hall, toward the locked                door of the classroom.               THE DOOR SPLINTERS               He flies through it, firing, hitting the TERRORIST twice.               AN EXPLOSION               Much like the first one on Bus 99. Hub throws himself over                several SCREAMING CHILDREN. And for a moment we don't know                if they'll live or die, until:               BLUE PAINT covers them all. Agents pour in, followed by                Sharon. There, on the floor, holding as many weeping children                as he can:               HUB               Who, unable to keep up the facade for a single second more,                is also weeping now. Weeping for the victims of the bombings,                weeping for the children who've survived, weeping for himself.               And for a moment, everyone just... stands there, vaguely                embarrassed, and more than a little moved.               INT. HUB'S APARTMENT - THAT NIGHT               Hub sits in his boxers, toweling blue paint from his hair,                listening to the CNN report of the school attack. A KNOCK at                the door. He pulls on his pants. It's Sharon.                                     ELISE                         This just came in.               She hands Hub another fax: "Last Warning. Release Him." He                looks at it and hands it back to her without a word.                                     ELISE                         You alright?                                     HUB                         My neck's a little stiff, that's                          all.                                     ELISE                              (a long look)                         That's not what I meant.                                     HUB                         I know.               They stand awkwardly in the doorway for a moment.                                     HUB                         You want a drink?                                     ELISE                         Sure.               He walks over and opens a bottle of scotch.                                     ELISE                         That was a pretty crazy thing you                          did today.               He doesn't respond. Hands her the drink.                                     HUB                         Better days.               She takes a drink. Then another.                                     ELISE                         I wanted to -- I... just didn't feel                          like... being alone... tonight.                                     HUB                         Where's Samir?                                     ELISE                         I could call him. Maybe he'd join                          us.                                     HUB                         You'd like that.                                     ELISE                         I might. Or I could call Tina.                                     HUB                         555-6354.               They stare at each other.                                     ELISE                         Look, I thought Samir'd be an easy                          recruit. He wasn't. It was crazy but                          I did what I had to do.                              (looks at him)                         You know as well as I do, running an                          agent can be very... complicated.                                     HUB                         How about running an FBI agent?                                     ELISE                         You think I'm trying to run you?                                     HUB                              (looks at her)                         ...Why else are you here?                                     ELISE                              (staring right back)                         ...You know why I'm here.               It's a charged moment. They're two sad and lonely people.                                     ELISE                         Tell me to leave.                                     HUB                         Leave.                                     ELISE                         No.               When they embrace, their ferocity and desperation is something                more than comfort and less than love.               Sequence omitted from original script.                                                                    CUT TO:               THE CHIEF OF STAFF'S OFFICE -- NIGHT               The Chief of Staff is working late in a cardigan sweater.                Devereaux, in his impeccable suit, stands opposite him. Even                at ease he is smartly erect.                                     CHIEF OF STAFF                         The FBI received another fax.                                     DEVEREAUX                         Ahmed Bin Talal. They're still under                          the impression that we have him.                                     CHIEF OF STAFF                         Do we? Have him?                                     DEVEREAUX                         To refresh your memory, as I told                          you last time, it was the Libyans                          who --                                     CHIEF OF STAFF                         I remember perfectly well what you                          said last time.                              (looks at him)                         Do we?               Devereaux frosts him with a look.                                     DEVEREAUX                         Let me give you some free advice,                          son. Don't get between me and the                          President. You might break a nail.                                     CHIEF OF STAFF                         I am speaking for the President.               He and Devereaux look at each other. It is the moment of                plausible deniability.                                     DEVEREAUX                         As far as the President is                          concerned... No, we do not.               The Chief of Staff accepts the answer because it serves him,                for now. And because he has a more pressing agenda.                                     CHIEF OF STAFF                         General, do you know that after                          yesterday's attack, half the parents                          in this country kept their children                          out of school --?                              (Devereaux nods)                         ...They're attacking our way of life.                          It's got to stop. And the President                          cannot afford to be weak.                                     DEVEREAUX                              (reading the subtext)                         Are you saying the President is                          prepared to take the necessary                          steps...?                                     CHIEF OF STAFF                         I'm saying, the President is prepared                          to be... Presidential.                                                                    CUT TO:               HUB'S APARTMENT - DAWN               A ringing phone. Hub wakes up in a tangle of sheets. He looks                around and realizes he is alone. Did last night even happen?                                     HUB                              (on the phone)                         Hubbard... What --? ...Slow down,                          slow down --               He reaches for the remote control, turns on the TV.                                                                    CUT TO:               A GRINDING OF TREADS ON ASPHALT -- DAWN               as THE FIRST APC enters Brooklyn. Followed by another. And                another. And in a sound bite: General Devereaux, IN FATIGUES                FOR THE FIRST TIME, and looking like grim death.                                     DEVEREAUX                         Today, with the invocation of the                          War Powers Act by the President, I                          am declaring a state of martial law                          in this city.               THE BATTLE OF BROOKLYN HAS BEGUN               Road blocks set up at select intersections. Random stop-and-               frisk. Patrols of young soldiers in the streets. GANG KIDS,                same age, same color, eye them warily.                                     DEVEREAUX                         To the best of our knowledge, we are                          opposed by no more than twenty of                          the enemy. He is hiding among a                          population of roughly two million.               THE BROOKLYN BRIDGE               Is closed. SOLDIERS in full battle-dress stop cars, check                trunks, handbags, briefcases, and id's. THE LINE OF HONKING,                ANGRY MOTORISTS stretches as far as the eye can see.                                     DEVEREAUX                         Intelligence tells us he is most                          likely Arab-speaking, between the                          age of fourteen and thirty. Narrowing                          the target to fifteen thousand                          suspects.               A SWARTHY TEENAGER is pulled from A CAR by a SERGEANT and                led away to a CAMOUFLAGED TENT set up on the bridge.                                     DEVEREAUX                         We can further reduce that number                          down to those who have been in this                          country less than six months. Now                          you have twenty hiding among two                          thousand.               A CAR TRUNK is inspected. Two women waved through.                                     DEVEREAUX                         If you are one of these twenty young                          men, you can hide among a population                          of similar ethnic background.                          Unfortunately for you, you can only                          hide there. And that population, in                          the classic immigration pattern, is                          concentrated. Right here in Brooklyn.               Hub and Sharon stare at the Orwellian tableau.                                     DEVEREAUX                         We intend to seal off this borough.                          And then we intend to squeeze it.                          This is the land of opportunity,                          gentlemen. The opportunity to turn                          yourselves in. After sundown tonight                          any young man fitting the profile I                          described who has not cooperated                          will be arrested and detained.               Hub and Sharon show their ID's to an MP.                                     MP                         Would you follow me, please. The                          General is expecting you.               He leads him to A CAMOUFLAGED TENT on the service roadway.                                     DEVEREAUX                         There is historically nothing more                          corrosive to the morale of an army                          than policing its own citizens.               IN THE TENT               The swarthy teenager is being interrogated by COL. HARDWICK.                                     DEVEREAUX                         But the enemy would be sadly mistaken                          if they were to doubt our resolve.                          They are now face to face with the                          most fearsome killing machine in the                          history of man. And I intend to use                          it. And be back on base in time for                          the play-offs... That is all.               Devereaux sees Hub and strides over to him:                                     DEVEREAUX                         Hub. Good to see you again.                                     HUB                         I can't say the same, sir. Not in                          that uniform. I thought you were                          against this.                                     DEVEREAUX                         I am against it. It wasn't my call.                                     HUB                         "I'm only following orders" didn't                          work at Nuremberg. It may not be                          your policy but they're your tactics.                                     DEVEREAUX                         Your operation had its chance, Hub,                          and you couldn't get it done. You're                          down three touchdowns. Time to bring                          in the first string.                                     HUB                         Against our own team?               Devereaux suddenly goes ice cold.                                     DEVEREAUX                         Are you questioning my patriotism?                                     HUB                         I'm questioning your judgement, yes,                          sir.                                     DEVEREAUX                         Hub, I want you to take a moment and                          reflect on my life as a soldier. I                          have a dozen tropical diseases I'll                          never entirely get rid of. I set off                          metal detectors with the shrapnel in                          my ass. I have watched men die and I                          have killed. Now I am serving my                          President and quite possibly not the                          best interests of my country, but my                          profession doesn't afford me the                          luxury of that distinction. I won't                          question your patriotism but don't                          you ever again question my command.                                     HUB                         I'm not under your command, General.                                     DEVEREAUX                         Take a good look around, my friend,                          and tell me that's still true.                              (softening his tone)                         But we're not shutting you out. In                          fact, I can't do it without you,                          Hub. I need men like you. Men willing                          to put it on the line like you did                          in that schoolroom.                              (gestures to his                               uniform)                         These stars mean I have been putting                          it on the line for thirty years...                          and never made a mistake worth                          remembering. Don't tell me I made a                          mistake about you.               ON THE BRIDGE -- MOMENTS LATER               Hub and Sharon exit the command tent.                                     HUB                              (ironic)                         They're not shutting us out. They                          need men like me.                                     ELISE                         He'll fuck it up, the arrogant prick.                          You ever met anybody so in love with                          the sound of his own voice?                                     HUB                         We're putting Samir in play.                                     ELISE                         Now? With all this going on? He's                          freaked.                                     HUB                         Oh, right, he's high-strung. Only                          you can manage him. You and the CIA                          and the DIA and God-knows-who-else                          you're really working for --!                              (seething)                         Get back in there, Sharon, Elise,                          whatever the fuck your name is --                          They'll probably make you a Colonel...                          if you're not one already.               She gestures at the military leviathan.                                     ELISE                         All this... is no more in our interest                          than it is in yours, Hub.                                     HUB                         What, exactly, are your interests,                          Sharon? You protect Samir, you protect                          the agency. You're interested in                          protecting everything but your                          country.                                     ELISE                         You have no idea what I do for my                          country.                                     HUB                         No, and I don't want to know. With                          you or without you we're putting                          Samir in play. Now.               She looks at him for a long moment. Considering:                                     ELISE                         One more lamb to the slaughter.                                                                    CUT TO:               A HALF-OPENED DOOR OF AN APARTMENT               Samir looks and sees Hub, standing beside Sharon.                                     SAMIR                         Oh, my God. Oh, my God...               He tries to SLAM the door, but they force it open. He grabs               A FAT JOINT from an ashtray and hurries into the bathroom.                                     HUB                              (to Sharon)                         Does he understand the difference                          between the FBI and the DEA?                                     ELISE                         Samir... It's fine, he's cool.               OUTSIDE, the sound of gunfire. Samir reappears, wild-eyed.                                     SAMIR                         Listen to that --! Are you listening?                          They're killing Arabs out there!                                     HUB                         You can stop it all right now.                                     SAMIR                         What are you talking about --? The                          army is here. They're setting up                          interrogation centers right now.                          They're torturing people in cellars.                                     HUB                         Let's just calm down for a second...                                     SAMIR                         -- I've got to get out of here. You                          have to help me --               He goes over and peers out the drawn curtains.                                     HUB                              (gentling a horse)                         We'll take care of you... don't worry.                          You just have to calm down --                                     SAMIR                         Money... I must have more money...                                     HUB                         -- You got a student visa for Ali                          Waziri. Because... somebody asked                          you to -- Didn't they --?                                     SAMIR                         I... got it myself.               Sharon CRACKS him across the face.                                     ELISE                         Liar --!               Now it's Samir's turn to taste the blood in his mouth.                                     ELISE                         You... tell him... what he wants to                          know.                                     HUB                              (to Sharon)                         Hey, that's enough.                                     ELISE                         He knows. He fucking knows.                                     SAMIR                         She's crazy. They're ghosts. Jinn.                          They'd never trust someone like me.                                     ELISE                         Stop simpering.                                     SAMIR                         Please...                                     ELISE                         I've got a picture of the two of us,                          do you remember that picture, Samir?                              (the mask coming off:)                         I'm going to post that picture in                          every mosque in Brooklyn. And then                          I'm gonna send copies to some friends                          of mine on the West Bank. You've got                          family there, don't you --?               Hub jumps up, takes Sharon by the arm.                                     ELISE                         Let go of me --               He gives her the BUM'S RUSH out of the apartment, shuts the                door, then turns back to Samir, who sits, ashen-faced.                                     HUB                         Now... Nobody's going to burn you,                          nobody's going to call anybody --                              (sits beside him)                         -- Who asked you to get that visa?               Samir is trembling. Tears roll down his cheeks.                                     HUB                         Don't be afraid. I can protect you.                          There's nothing to be afraid of.                                     SAMIR                         I'm afraid of going to hell.               Hub just sits there. He knows he's got him. Finally:                                     SAMIR                         His name is Tariq Husseini. He runs                          an auto shop.                              (Hub waits for more --)                         ...on Commerce Street in Red Hook.                                     HUB                              (hands him a card)                         My beeper number. Anybody messes                          with you, I'm there in twenty minutes.               He gets up and walks into:               THE HALLWAY               Where Sharon waits. As they head for the stairs we HEAR:                                     ELISE (V.O.)                         You're good.                                     HUB (V.O.)                         You're not so bad yourself.               But we are HEARING IT along with:               COL. HARDWICK               In a nearby SURVEILLANCE VEHICLE -- where, through the newest                microwave technology (the kind the FBI don't yet have), he                has OVERHEARD the entire conversation.               ON A NOTEPAD               In his lap, the name, "Tariq Husseini."                                                                    CUT TO:               OUTSIDE SAMIR'S APARTMENT               They are in a housing project. Hub dials his cell phone.                                     ELISE                         You calling Devereaux.                                     HUB                         Didn't get his number. Darn.                              (on the phone)                         Floyd, Hub. We need to put something                          together in a big-ass hurry... Where's                          Frank --?... Give him a 911.               A YELLOW SCHOOL BUS pulls up beside them and armed soldiers                hop out. Sharon watches them as Hub continues:                                     HUB                              (on the phone)                         -- and find some kind of beat-up                          car... Well, beat it up yourself if                          you have to... 896 Commerce St...                          it's a garage in Red Hook... but                          remember --                              (looks at her)                         -- they're pros.               A PSY-OPS VAN passes by, broadcasting through a P.A.                                     VAN LOUDSPEAKER                         -- all persons without proper                          authorization must be off the street                          until seven a.m. Failure to comply                          will result in immediate arrest.               The announcement is then repeated in Arabic.               ROUNDING A CORNER               They come upon several more YELLOW SCHOOL BUSES. From within                the various apartments the SHRILL PROTESTS of mothers and                sisters as YOUNG MEN fitting the "terrorist profile" are                hustled into the BUSES.                                     HUB                         Jesus...                                     ELISE                         Tariq will go to ground.                                     HUB                         We can hit him in less than an hour.                                     ELISE                              (turns to leave)                         Hit him hard.                                     HUB                         Where are you going?                                     ELISE                         I've got to stash Samir someplace                          safe.                              (as she goes)                         Go with God.               Hub hurries on toward his car, passing TEENAGE GIRLS,                defiantly wearing Keffiyahs, who mill about, taunting soldiers                with obscenities in English and Arabic.               AN APC drives past, further inflaming their passions.               Suddenly, A volley ROCKS AND BOTTLES come hurtling out of                nowhere, smashing harmlessly against the armor. The teenagers                laugh.               And then, the sudden CONCUSSION of a small BLAST from UP THE                STREET. The teenagers SCREAM and scatter. Hub SPRINTS toward                A SMOKING CAR, pulling his weapon from his hip.               A SOLDIER IS ROLLING ON THE GROUND, SCREAMING beside a PARKED                CAR. His leg is shredded. ARMORED JEEPS come squealing around                a corner. M-16's are locked, loaded and leveled at Hub.                                     HUB                         FBI --! FBI --!               For a moment, it's touch-and-go as the the terrified RECRUITS,                just weeks out of basic training, decide whether to SHOOT.                On the ground, the injured soldier keeps SCREAMING.                                     HUB                         Now... I'm gonna... reach... into my                          jacket... and show you... my shield.                                     YOUNG SOLDIER                         Drop your weapon --!               Hub drops the gun and shows his credentials. The young soldier                approaches warily as MEDICS attend to the wounded man.                                     YOUNG SOLDIER                         Sorry, Sir. Somebody's booby-trapping                          cars... We're all a little spooked.               The RATTLE of small-arms fire is HEARD from up the street.                In the distance, a running FIGURE is chased by three SOLDIERS.               The transformation is complete: Brooklyn as Gaza.               REACHING HIS CAR               Hub climbs in. On a nearby pock-marked wall, a single word,                "Intifada."                                                                    CUT TO:               EXT. AN OLD WAREHOUSE -- LATER               Hub, who sits in a beat-up old car, a baseball cap worn                backwards on his head. He keys his radio.                                     HUB                         All Units, report in turn. If talking                          will reveal your position, just key                          your walkie...               AN OLD WAREHOUSE -- RED HOOK               Inside, an AUTO GARAGE. Hoists, compression cylinders,                archwelders. Outside, two WINOS share a bottle by the curb.                A BEAT-UP DODGE drives up. In it, two scruffy-looking Black                MEN. Upon close inspection we realize that one is Hub. The                other is Floyd.                                     HUB                              (to a mechanic)                         Yo...               The mechanic looks out from under a car. He's Hispanic.                                     MECHANIC                         Que Pasa?                                     HUB                         Tariq around?               The mechanic gestures to a partitioned-office in the back.                As Hub heads toward it, he checks out the other workers: a                teenager doing a compression check, another fixes a tire.               IN THE OFFICE               Tariq is on the phone talking in Arabic as Hub enters.                                     HUB                         Tariq?               Tariq holds up a finger, hold on. Hub sits opposite him.                                     TARIQ                         How can I help you.                                     HUB                         You're Tariq Husseini?                                     TARIQ                         He's out.                                     HUB                         Damn. Do you think you could give                          him a message?                                     TARIQ                         Of course.                                     HUB                         Tell him the FBI is after him.                                     TARIQ                         You're joking.                                     HUB                         Very... slowly... put your hands on                          top of the table.               Tariq notices that Hub's hands are out of sight beneath the                table. Hub draws back the slide of his the weapon with an                audible CLICK. Tariq mutters a CURSE in Arabic.                                     HUB                         That wouldn't be a racist epithet,                          now would it? Stand up.               As Tariq stands, Hub crosses behind him, kicks out his legs,                pats him down, and cuffs him.               MEANWHILE -- IN THE WAREHOUSE               The two winos have revealed themselves as shotgun-wielding                FBI agents and are now ROUSTING the garage workers.                                     HUB                         Where are the others?                                     TARIQ                         What others?               But before Hub can answer, an AMPLIFIED VOICE is heard.                                     PSY-OPS (V.O.)                         Tariq Husseini, this is the United                          States Army. You are surrounded.               Hub is as surprised as Tariq.                                     PSY-OPS                         You have thirty seconds to throw out                          any weapons and exit the premises                          with your hands on top of your head.               One of the agents with the shotgun calls out.                                     SHOTGUN AGENT                         -- Sir?                                     HUB                         Do as he says.               As Hub hustles Tariq to his feet, the other agents start to                hustle the workers out of door, when:               THE YOUNG MECHANIC               Reaches into his overalls.                                     SHOTGUN AGENT                         FREEZE--!               But when the Mechanic pulls his hand out from his overalls,                all he is holding is the pin to a GRENADE.               THE EXPLOSION               Kills both the FBI agents and their prisoners. Hub throws                Tariq to the ground.               FROM AN UPPER WINDOW               An AUTOMATIC WEAPON opens fire on the Army presence.               HIGH ABOVE -- IN A CHOPPER               Devereaux responds with a dispassionate intensity.                                     DEVEREAUX                         Code blue.               His order unleashes an overwhelming display of FIREPOWER.               INSIDE THE WAREHOUSE               Hub and Tariq crawl for cover as windows EXPLODE, walls are                SHREDDED, and incendiary TRACER rounds mix with solvents and                gasoline to start a conflagration. With the vaguely                hallucinatory quality of the S.L.A. shootout, WHITE NOISE                bleeds in and ALL SOUND FADES OUT:               AN M-60 TANK (SILENT)               Races in from around the corner, only to be hit by A ROCKET-               PROPELLED GRENADE fired through the second floor window.               INT. CHOPPER                                     DEVEREAUX                         Code Red.               TWO APACHE ATTACK HELICOPTERS (SILENT)               Appear from their hiding place behind a nearby building. As                they dive into their attack trajectory --               HUB (SILENT)               Crawls, dragging Tariq toward the doors as:               THE CHAIN GUN (SILENT)               Of the Attack helicopter fires 2,000 rounds a minute --                virtually UNZIPPING the warehouse -- softening it for THE                TWO HYDRA ROCKETS that reduce it instantly to a huge FIREBALL.               IN THE CHOPPER -- DEVEREAUX               Watches the awesome display of firepower with calm detachment.               INSIDE THE WAREHOUSE -- TWO SHADOWY FIGURES               Stagger, blinded, out of the inferno. Hub drags a half-               conscious Tariq, where they are pounced on by commandos.                                                               DISSOLVE TO:               THE STADIUM -- NIGHT               Pac's and Tanks ring the stadium. An anti-terrorist perimeter                has been established -- concrete obstacles, sandbags and                razor-wire. Musco-lights cast their pitiless glow.               OUTSIDE THE PERIMETER               A mob of frightened parents, girlfriends, and furious fathers.                A LAWYER for the ACLU confronts a young Lieutenant.                                     ACLU LAWYER                         -- just want to know if my client's                          name is on the list.                                     YOUNG LIEUTENANT                         Sir, the list will be updated every                          twelve hours and posted in the --               A gaggle of JOURNALISTS try to force their way in...                                     JOURNALISTS                         -- This pass GUARANTEES... You CAN'T --                          ...the first FUCKING AMENDMENT!                                     LIEUTENANT #2                         There will be a pool briefing for                          all accredited journalists at 0700                          hours.               Hub shows his ID. Is allowed to enter into:               THE DARK STADIUM TUNNEL               A MUFFLED CRY that might or might not have come from someone                in pain. His footsteps ECHO as he walks out to where:               2,000 DETAINEES               All young men between the ages of sixteen and thirty are                milling about. Squatting, smoking, pacing, some laughing,                most looking terrified. All spread across:               THE HALOGEN-LIT FOOTBALL FIELD               Armed GUARDS backlit in the upper tiers. Enlisted men passing                out blankets and soup. Nearby, Hub sees Tina, standing quite                still -- Finally, she is able to speak.                                     TINA                         1942, my father was put into the                          camps at Manzanar. Until the end of                          the war. Two years. Now he roots for                          the Dodgers and swears it could never                          happen again.               MOMENTS LATER -- ON THE FIELD               Hub asks for Devereaux, is directed across the field, through                an aisle in the wire cages. FRANK HADDAD looms out of the                shadows. He looks terrible, drawn. Furious.                                     FRANK                         They got Frankie. My kid's here                          someplace --                                     HUB                         Frank, slow down --                                     FRANK                              (fighting back tears                               of rage)                         He's only thirteen, for Chrissake --               Nearby, the "Allahuh Akbar," call, to evening PRAYER.                                     HUB                         I'll get him out.                                     FRANK                         They came into my house. My wife                          told them who I was --                              (swallows hard)                         How many times did I put it on the                          line, Hub --? How many times --                                     HUB                         Frank --                                     FRANK                         We're American citizens, twenty years.                          Ten years in the bureau -- They                          knocked her down... and took him.                          Out of my own house.                                     HUB                         It's wrong, Frank. What can I say to                          you, but it's... all... terribly...                          horribly... wrong.                              (takes his arm)                         Now, come with me.                                     FRANK                         NO! I've got to find him. Besides,                          this is where I belong.                              (takes out his wallet,                               hands over his badge)                         Here. I'm not their sand nigger                          anymore.               Hub watches as he he walks away. A MUEZZIN chants the call                to evening prayer. Frank drops to his knees and joins the                rest of the prisoners.               THE LOCKER ROOM               Has been transformed in a COMMAND POST.                                     DEVEREAUX                         -- And his name is Haddad?                                     HUB                         Frank... Haddad. Junior.                                     COL. HARDWICK                         His father's a Shiite. We're checking                          him out.                                     HUB                         Check this out, pal. His father's a                          federal agent for ten years.                                     COL. HARDWICK                         Don't get in my face, Hubbard. I                          might decide you're an Ethiopian.                                     HUB                         And you're just stupid enough to                          think that's an insult.                                     DEVEREAUX                         If a mistake's been made we'll fix                          it.                                     HUB                         There is no "if". I'm vouching for                          this kid. I want him out.                                     DEVEREAUX                         And I said we will look into it.                                     HUB                         You mean, like you're looking into                          me? Surveilling me? Breaking up my                          operations? If I'd known I was going                          to have to do your job for you I                          would never have left the army.                                     DEVEREAUX                         There's an FBI office in Anchorage,                          Agent Hubbard. Fuck with me and you'll                          be learning a hundred and fifty new                          words for snow.               The two men stare at each other.                                     HUB                         Tariq Husseini is my prisoner. I                          want to see him.                                     DEVEREAUX                         The prisoner is being interrogated.                                     HUB                         I want to see him.               Devereaux just looks at him as we CUT TO:               THE TILED SHOWER ROOM               Tariq is strapped, NAKED, into a folding metal chair. His                head lolls on his chest, his eyes are dulled. On a nearby                table, an empty syringe. Two MP'S stand guard.               Sharon is speaking softly to him in Arabic. Suddenly, Tarak                SPITS in her face. She wipes it off as if it is nothing.                                     DEVEREAUX                         How long have you been at it?                                     ELISE                         Not long enough, apparently.                                     DEVEREAUX                         How much longer, do you think, before                          he gives up the other cells --                                     HUB                         He can't give up the other cells if                          he doesn't know about them.                                     DEVEREAUX                         He knows.                                     HUB                              (gestures to Sharon)                         What about her briefing? The strategy                          session -- she said the cells don't                          know about each other, that they --               Devereaux ignores him. Turns to Sharon.                                     DEVEREAUX                         How long before he breaks?                                     ELISE                         At this rate. Too long. The theatre                          was hit nine hours after we took                          down the first cell.                                     DEVEREAUX                         So -- what other models do we have --                         ?               No one wants to be the first to step into uncharted terrain.                                     DEVEREAUX                         Shaking.               Nobody answers.                                     DEVEREAUX                         What about it, Sharon?                                     ELISE                         -- Won't work.                                     DEVEREAUX                         Works for the Israelis.                                     ELISE                         Only in conjunction with sleep                          deprivation. Needs at least thirty-                         six hours.               Hub stares at Sharon -- as the dark side of her professional                life is revealed.                                     DEVEREAUX                         We don't have thirty-six hours.               Another silence. They're teetering on the edge of the abyss.                                     DEVEREAUX                         Electric shock?                                     ELISE                         The neurotransmitters just shut down.                                     DEVEREAUX                         Water?                                     COL. HARDWICK                         Palestinian authority is producing                          good intel using water.               Hub finally can't take another second. Even in theory.                                     HUB                         Are you people insane --?                                     DEVEREAUX                         The time has come for one man to                          suffer in order to save the lives of                          hundreds                                     HUB                         How about two men? How about three?                          How about public executions, that                          might work.                                     DEVEREAUX                         You're welcome to wait outside.                                     HUB                         General... you've lost men, I've                          lost men... but what you're doing...                          It doesn't work in Belfast. It doesn't                          work in Gaza. And it won't work here.                              (it comes slowly at                               first, then in a                               rush:)                         -- What if... they don't want their                          leader back at all? You said yourself,                          we don't even have him. Maybe what                          they really want -- is that we herd                          our children into stadiums. Put                          soldiers into our streets. Radicalize                          people who want to think of themselves                          as Americans. Bend the law, shred                          the constitution.                              (searches for the                               kind of words that                               come so hard to him:)                         Because if we torture him -- and                          let's call it what it is... You...                          and I... then the country men like                          us have sworn to defend. And bled to                          defend. And died to defend... is                          gone.                              (a deep breath)                         And they've won.               Gen. Devereaux stares hard at Hub. And then:                                     DEVEREAUX                              (to Col. Hardwick)                         I think we have to soundproof the                          room before we begin.               Hub looks at Sharon, who looks away.                                     DEVEREAUX                         Escort him out.               The two MPs lead Hub out of the room.                                     DEVEREAUX                         Let's get this over with.               Sequence omitted from original script.                                                               TIME CUT TO:               OUTSIDE THE LOCKER ROOM -- HOURS LATER               Sharon emerges from the shower room. She is shattered. The                blood drained from her face. As if carrying with her all the                sin that was committed in the next room.               FROM INSIDE THE SHOWER ROOM               The sound of a GUNSHOT. The door opens and Devereaux emerges,                in the torment of a man of honor who is living a lie.                                     ELISE                         He knew nothing.               Devereaux turns and walks off down the corridor.               Sequence omitted from original script.                                                                    CUT TO:               THE LINCOLN MEMORIAL               Glorious, alabaster stone -- floodlit at night. A symbol of                all that is good and free and just. Hub drives a rental car,                staring out at the monuments.               IN GEORGETOWN               Hub pulls up to a lovely TOWNHOUSE. Parked on the street, an                UNMARKED CAR from the Secret Service.               THE CHIEF OF STAFF               Opens the door, wearing a Dartmouth lacrosse team t-shirt.                                     CHIEF OF STAFF                         C'mon in, we're still trying to get                          the last one down.               In the background, we HEAR a three-year-old crying.               IN THE LIVING ROOM - LATER               Tasteful antiques, rag rugs and kids' toys.                                     CHIEF OF STAFF                         ...The President wants this shit                          over with. There's only one way to                          do that.                              (looks at Hub)                         Let the Sheik go.                                     HUB                         So we do have the Sheik?                                     CHIEF OF STAFF                         You think our government operates as                          a single coherent entity? Devereaux                          just... pushed the agenda.                              (carefully)                         Of course the President was completely                          unaware of it.                                     HUB                              (return of serve)                         Of course.                                     CHIEF OF STAFF                         Now we can't just let him go. America                          has to stand tall in the world yadda                          yadda yadda. So what we do is...                              (the punch line)                         We let the American justice system                          do its work.               His wife appears, holding a squalling baby, looking defeated.                                     WIFE                         -- Honey...?                                     CHIEF OF STAFF                         I'll be right up, darling.               She grits her teeth and goes upstairs.                                     CHIEF OF STAFF                         You have kids? They're great.                          Sometimes you just want to... drug                          them.                                     HUB                         What do you mean, let the justice                          system do its work.                                     CHIEF OF STAFF                         We don't release him. A judge releases                          him. You're an FBI man. That's what                          judges are good at, right?                              (off Hub's look)                         It's not like we've gone after him                          in proper prosectorial fashion.                          Kidnaping him. Holding him in                          isolation. "Fruit of the poisoned                          tree" -- remember that one from law                          school? Oh, we'll have a big trial.                          Everybody'll get their rocks off...                          But the fact is --                              (the punch line)                         -- the sheik will walk.               He looks at Hub, shakes his head.                                     CHIEF OF STAFF                         ...And this whole episode becomes                          nothing more than the news cycle                          before the next news cycle.               He hands Hub an ACCORDION FILE.                                     CHIEF OF STAFF                         Documentary evidence of Devereaux's                          whole operation.                                     HUB                         Why me?                                     CHIEF OF STAFF                         Because you'll know what to do with                          it.               Hub looks at the file in his hands. Considering.                                     HUB                         And what about her?                                     CHIEF OF STAFF                         Who?                                     HUB                         You know who. How much is she                          complicit in all this?                                     CHIEF OF STAFF                         Ask her.               Hub looks up. Sharon emerges from the hallway.               Sequence omitted from original script.               ON THE STREETS OF GEORGETOWN -- LATER THAT NIGHT               Hub and Sharon sit in silence in Hub's rental car:                                     ELISE                         I ran an Iraqi network for two years.                          Samir recruited them from among the                          Sheik's followers. I trained them in                          the North. Then we played them back                          into Baghdad, two, three at a time,                          hiding them in the mosques...               Her voice softens just a bit as memory takes over.                                     ELISE                         It was gonna be beautiful.                              (looks away)                         -- And then there was a policy shift --               She thought telling the story would be easy, but there's an                enormous well of untapped feeling. She fights it back:                                     ELISE                         -- The new doctrine was: Iran will                          be too powerful if Iraq falls apart.                              (her voice trembles)                         And it's not like... we sold them                          out. Exactly. We just... stopped...                          helping them. And I wasn't allowed                          to tell them what was coming down. I                          was ordered not to tell them.                              (fighting back tears)                         -- And they got slaughtered.               She turns away.                                     ELISE                         You've got to understand -- these                          people... believe. Paradise. Bliss.                          To us they're just words. But to                          them... It's very beautiful, actually.                          And when you look at their lives,                          the heartbreak... And what do we do?                          We think, aha, we can take advantage                          of that.                              (losing it)                         So I quit. I came home. I just                          can't... do it... anymore.               She doesn't want to reveal herself this way. Doesn't want to                be vulnerable. Doesn't want to cling to him. For a moment He                puts his arms around her, but it's like holding a beautiful,                dangerous predator.                                     HUB                         -- But first, you helped them.               She senses the hardness in his tone. Looks up at him, and                through tears, puts her game face back on.                                     ELISE                         What do you mean --?                                     HUB                         They were being slaughtered. They                          needed to get out. But they were on                          the watch list. So you got them visas.                          You and Samir.                                     ELISE                         I promised we would take care of                          them. They were working... for us.                                     HUB                         Doing what, exactly?                                     ELISE                         I don't know what you mean.                                     HUB                         You said you trained them. Tradecraft.                          Subversion. That's what you said,                          right?                              (she nods)                         Only you left something out, didn't                          you... Didn't you, Sharon?                              (she can't bring                               herself to look at                               him)                         You taught them how to make bombs.               The tears are streaming down her face now. Finally, she nods.                                     HUB                         -- And now they're here, doing what                          you taught 'em.               The streetlight catches Sharon's face. Her eyes are haunted.                                     ELISE                         And I'm going to have to live with                          the hell of that for the rest of my                          life.                                                                    CUT TO:               THE BROOKLYN BRIDGE -- (TO ESTABLISH) -- NEXT MORNING                                     TALK RADIO (V.O.)                         -- the people of Brooklyn will not                          be held hostage! This afternoon,                          join community and religious leaders                          in a march to protest the mass arrests --               Sequence omitted from original script.                                                                    CUT TO:               Sequence omitted from original script.               BOROUGH HALL PARK -- LATER THAT DAY                                     MARCH ORGANIZER                              (handing out leaflets)                         March on city hall. Today. No fear.               Hub and Frank are standing outside Hub's car, each on opposite                sides, blocking any opportunity to suveil what is happening                within.               Sharon sits inside with Samir. She uses a SCALPEL to make                the slightest INCISION under Samir's arm. The RADIO plays.                                     SAMIR                         Ahhhhhh...                                     ELISE                         In case you decide to go on walkabout.               Into the incision she inserts a tiny plastic TRANSMITTER.                                     ELISE                         How did you make contact?                                     SAMIR                         He is Afghani. Ahhhh. He got word to                          my uncle at the bath-house. You never                          met him.                                     ELISE                         But you're sure he'll show up.                                     SAMIR                              (trembling)                         Sharon, they are all dead but the                          last cell and they are crazy with                          fear. Just tell me the message and I                          will pass it on.                                     ELISE                         I need to deliver it in person.                          Believe me, they'll want to hear                          what I have to say.               She turns off the radio.               OUTSIDE THE CAR               Hub and Frank glance inconspicuously around.                                     HUB                         You watch the game?               On a piece of paper he has scribbled, "Hit Hardwick. Safe                House. 11:00."                                     FRANK                              (nods yes, then:)                         Kannell was really on.               Hub then writes. "Bath-house. 12:00."                                     FRANK                              (nods again)                         Think they'll make the play-offs?               Hub looks at him. There's been little time for sentiment.                                     HUB                         How's your boy?                                     FRANK                         He's alright. Thanks for getting him                          out.               Sharon steps out of the car. In her hands is a device                resembling a PORTABLE OSCILLOSCOPE. A green dot appears.                                     ELISE                         That's Samir.                                     HUB                              (looks in at Samir)                         Green is about right.               He slips Sharon the scribbled notes. As she looks at them:                                     ELISE                         He's terrified. Then again, so am I.                                     HUB                         You sure he'll go through with it?                                     ELISE                         If he doesn't he knows I'll give him                          to Devereaux.                              (She mouths, "They                               out there?" Hub nods)                         How's it feel to be on the other end                          of it?                                     HUB                         I like watching better.                                     ELISE                         This is the endgame, you understand                          that? If this goes wrong --                                     HUB                         Nothing's going wrong.                                     ELISE                         We're the CIA, something always goes                          wrong.               The car door opens and Samir steps out, buttoning his shirt.                                     ELISE                         I don't suppose there's any way you                          would trust me to do this on my own?                              (off his look)                         I thought not. Well, in case it gets                          hairy, remember... the most committed                          wins.               Hub watches as she and Samir walk away.                                     FRANK                         I trust her about as far as I can                          throw her.                                     HUB                         That far?               SHARON AND SAMIR -- CONTINUOUS               They hurry through the park. Samir is extremely agitated,                eyes constantly darting from right to left.                                     SAMIR                         This is not the way to the bath-house.                          You said to get a key from my uncle                          so that we --                                     ELISE                         Shhhhhh... If you'd stop whining                          you'd feel the surveillance.               IN THE SURVEILLANCE VAN               Colonel Hardwick, earphones on, overhearing them:                                     ELISE (V.O.)                         Wait for the light to turn yellow                          and then cross against the traffic.               On Col. Hardwick's computer, a GRID MAP of Brooklyn.                                     COL. HARDWICK                         -- North on Ditmas Avenue.                                     CORPORAL                         Sound garden's ready.               A TRIANGULATED FIELD OF MICROPHONES               On a nearby rooftop, an Army spotter uses a parabolic with a                gunsight. Another mic is in a woman's shopping bag; another                is in a twenty year-old's boom box.                                     SAMIR (V.O.)                              (trembling)                         Sharon, please, I beg you. Do not                          make me do this. If they even dream                          we are being followed they will kill                          us.               The light turns RED, they race across a crowded street.               THROUGH AN ARAB NEIGHBORHOOD               Where women in chadors carry mesh bags with tonight's meal.               INTO A CLEAN APARTMENT               Nothing but a single bed with a dirty white sheet. Sharon                enters and turns on the TV... loud.                                     ELISE                         Sit.                              (takes out a pocket-                              knife)                         Raise your arm.                                     SAMIR                         What are you doing?               She cuts the stitches under his armpit and begins to dig out                the transponder.                                     ELISE                         They cannot even dream we are being                          followed, isn't that what you said?               Sharon very deliberately wipes her BLOODY HANDS on the WHITE                SHEETS.               On TV, we SEE the MARCHERS in front of Brooklyn Borough hall.                                     SPEAKER                         "-- that we will not be made afraid                          to walk free in this great city. I                          say, march across the bridge and                          into the stadium. Demand the release                          of --               Samir is staring at the TV.                                     SAMIR                         It is all so... tragic.                                     ELISE                              (with rising dread)                         ...They're going to hit the march.                                     SAMIR                         Arab and Jew, side by side. Black                          and White, Christian and Muslim --               IN THE SURVEILLANCE VAN               They appear as SPECTRAL images on Hardwick's microwave screen.                                     SAMIR (V.O.)                         -- so American. Can you imagine a                          better target?                                     COL. HARDWICK                              (into his handset)                         Get me Devereaux.                                                                    CUT TO:               BOROUGH HALL               THE CROWD is getting fired up as the SPEAKER exhorts them.                SOLDIERS watch uneasily, not certain how to respond as the                crowd begins to CHANT, "No Fear! No fear!"               Sequence omitted from original script.               THE APARTMENT               Sharon goes to a closet and takes out some old clothes. She                TURNS OFF THE TV. Then:                                     ELISE                         Here. Put this on. We don't want our                          friends sweating too much while they                          wait.               IN THE VAN               Hardwick speaks into a handset.                                     COL. HARDWICK                         They're getting ready to move. Units                          1 and 2, on my signal --               SUDDENLY -- THREE UNMARKED FBI CARS               Seem to materialize out of nowhere -- boxing them in.               IN THE VAN                                     COL. HARDWICK                         What the --               ON THE STREET               Undercover FEDERAL AGENTS roust Army CID agents. An FBI agent                with a deep drawl, spread-eagles one against a building:                                     SOUTHERN FBI AGENT                         Hi, there, I'm new in town. Can you                          direct me to Carnegie Hall, or should                          I just go fuck myself --               The NYPD under the command of Danny Sussman -- roll up the                rest of the sound garden -- examine the parabolic microphones.               AGENTS WIELDING SHOTGUNS               Blow off the rear door of the surveillance van. Frank enters                and looks around at all the high-tech, microwave technology.                                     FRANK                         Ah, microwave.               TWO WOMEN               In chadors, faces VEILED, descend a back staircase. Only as                their faces emerge from the shadows and are caught by a dim                bulb do we recognize Sharon and Samir.               Sharon unlocks a metal door to reveal THE HIDDEN COURTYARD                of a neighboring building. She and Samir hurry through a                back alley and out into an adjacent street.               BOROUGH HALL (WAS SHOT AS 194)               Where several APC's suddenly roar up and BLOCK off the square.                Devereaux stands nearby, watching as:                                     LIEUTENANT #2                              (though a bullhorn)                         This is an unlawful gathering. You                          must disperse. I repeat --               Soldiers in full RIOT GEAR emerge to form a battle line:                images of Selma, 1963; Chicago, 1968; Los Angeles, 1993.                                     PROTEST SPEAKER                         Join together! Join hands!               THE MARCHERS LINK ARMS               Arab clerics and Hassidic rabbis, Black civic leaders and                Hispanic gang members -- all continue to CHANT, "No fear!"                                     THE YOUNG SOLDIERS                         Nervously look at one another as the                          marchers begin to move.                                     LIEUTENANT #2                              (through a bullhorn)                         These soldiers carry live ammunition.                          This is your final warning.               "No Fear... No Fear..." Devereaux watches in dread as the                marchers close the gap on the battle-line of anxious soldiers                is this why he became a soldier?               A YOUNG GIRL unselfconsciously approaches a young soldier.                Looks into his eyes. Smiles. And walks past. Another marcher                walks right past a soldier, who does nothing to stop her.                Soon, they are all surging past the riot-line.               DEVEREAUX watches, as something is revealed to him, something                about America that, until this moment, he had forgotten.               IN THE SURVEILLANCE VAN               Frank is fiddling with the new technology like a kid at                Christmas. But something is wrong. Where once there were TWO                GHOSTLY IMAGES of Samir and Sharon in the apartment -- now                there is NOTHING.               ON HUB'S OSCILLOSCOPE               The RADIO-SIGNAL of Samir's transmitter still registers as                an unmoving, steadily blinking light. Hub is watching the                building. Frank steps out the van, his face pale.                                     FRANK                         We've got a problem.               HUB AND FRANK               Pound up the stairs of the building.               THE DOOR TO THE CLEAN APARTMENT               Bursts open. Hub comes in low and fast. Frank comes in hard                on his heels.               In the center of the otherwise empty room, the white sheet,                SMEARED IN BLOOD, is draped over a chair.                                     FRANK                         What the --               Hub stares in dread fascination.                                     HUB                         It's a shroud.               And he's out the door in a heartbeat.               Sequence omitted from original script.               BACK IN THE SURVEILLANCE VAN               Frank and Hub listen to a playback of Sharon's conversation                with Samir on the digital recorders.                                     ELISE                         "...sweating too much while they                          wait."               Frank looks up at Hub.                                     HUB                         First she turns off the tv, then she                          says it.                                     FRANK                         She knew we were listening.               It hits them both at the same time.                                     HUB                         The hammam.               Sequence omitted from original script.               EXT. THE SURVEILLANCE VAN               Hub and Frank hit the street at a dead run.               BENEATH THE BROOKLYN BRIDGE               Samir opens a padlocked door with a key. He and Sharon                disappear within.               A HAMMAM               An Arab bath-house. Rays of sunlight play off the steaming                waters. Their footsteps ECHO off the tiled mosaic walls.               Sequence omitted from original script.               IN THE BATHOUSE               Samir kneels to touch the steaming water.                                     ELISE                         How soon are they coming?                                     SAMIR                         They'll be here.               He starts taking off his clothes.                                     ELISE                         What are you doing --?               He finishes disrobing.               NAKED               He steps into the bath. With a sponge he washes his body.                                     SAMIR                         What message do you have for them,                          Sharon?                                     ELISE                         I'll tell them when they're here.               The DISTANT SOUND of the approaching MARCH echoes off the                tiled walls as Samir steps out of the purifying waters and                takes a towel from a hamper.                                     ELISE                         Nobody else is coming, is there?                                     SAMIR                         That's right.               From the hamper he takes a Sig-Sauer .9 automatic.                                     ELISE                         You're the last cell.                                     SAMIR                         There will never be a last cell.                              (racks the slide of                               the .9)                         You should listen to the young men                          in that stadium. It is just beginning.               Sharon watches, in dread fascination, as he takes a white                egyptian-cotton FUNERAL SHROUD and drops it over his head.               THE MARCHERS               Are streaming down the street.               Hub and Frank desperately fight their way through a wild,                almost "carnival" feel.               BACK TO -- THE BATHS               Reflected in the purifying waters, Samir is putting civilian                clothes on over the shroud -- still holding the .9 on Sharon.                                     ELISE                         How could I have missed the play --                                     SAMIR                              (a forgiving gesture)                         It was the money. You believe money                          is power. Belief is power.                                     ELISE                         -- Just tell me we didn't finance                          your operation...                                     SAMIR                              (a sad smile)                         The world is a wheel. So... what                          message do you have for me, Sharon?                                     ELISE                         They're going to release him.                                     SAMIR                         Praise God. When will he be free --?                                     ELISE                         A few months at most. First, they                          have to bring him to trial, but --               He turns away from her, opening the hamper.                                     SAMIR                              (not looking at her)                         -- No.                                     ELISE                         -- But... that's what you want, isn't                          it? Why you've done all this --               BELT OF SEMTEX EXPLOSIVES               Comes next. Velcro straps fasten the belt around his chest.                                     SAMIR                         No. It's not.               He comes to stand beside her.                                     SAMIR                         I want you to bleed... as we have                          bled.                                     ELISE                         Samir, the Koran preaches --                                     SAMIR                         Do not speak to me of the Koran,                          woman.                              (fighting his emotion)                         You take our leader. A holy man. You                          put him in prison for preaching the                          word of God. You must learn the                          consequences of trying to tell the                          world how to live.                                     ELISE                              (with rising terror)                         But it's over, your point's been                          made, why spill any more blood? Those                          poor people out there in the street,                          they're fucking marching for your                          cause...                                     SAMIR                         Yes.                              (fastens the last                               strap on his semtex                               harness)                         And they, too, will become its                          martyrs.               A VOICE from the top of the stairs:                                     HUB (V.O.)                         Let her go and you'll live.               Samir looks up, sees Hub aiming his .45. But Sharon is between                them, blocking his shot.               From outside, we HEAR the sound of the marchers' CHANTING,                "No Fear...! No Fear...!" Samir HEARS it, too.                                     SAMIR                         Move away from the door.                                     ELISE                         NO --!!!                                     HUB                         Let her go and you'll live --                                     ELISE                         DON'T --!!!!                                     SAMIR                              (screaming, panicked)                         GET AWAY FROM THE DOOR --!!!                                     HUB                         SAMIR --!                                     SAMIR                         YOU WANT TO DIE --!!               They're all SCREAMING at once. Still Samir keeps inching                toward the stairs. Hub blocks the way.                                     HUB                         No way you're going out there.               Samir jams the gun into Sharon's ribs.                                     SAMIR                         MOVE AWAY --!               Sharon's eyes meet Hubs'.                                     ELISE                         Shoot.                                     HUB                         Shut up.                                     ELISE                         Shoot.                                     HUB                         SHUT UP...               Samir is edging ever closer. Starting up the stairs. Sharon's                eyes plead with Hub, begging for a kind of unholy redemption.                                     ELISE                         SHOOT ME --!!!                                     HUB                         I... CAN'T --!                                     ELISE                         YOU HAVE TO.                              (weeping now)                         You... promised...               Hub's finger tightens on the trigger. But then slowly, almost                imperceptibly at first, he lowers his gun.                                     ELISE                              (sobbing)                         No --!!!                                     SAMIR                         It is God's will.               His left hand moves imperceptibly toward the RIPCORD of the                explosive device.                                     HUB                         If there is a God, he weeps at the                          crimes we commit in his name.               HIS FIRST SHOT               Rips through Sharon into Samir, blowing them both backwards.               HIS SECOND SHOT               Is to Samir's hand as it reaches for the ripcord.               THE THIRD SHOT               Is a killing headshot. Rolling him into the baths.               CLOUD OF BLOOD               Blooms in the cleansing water. The funeral shroud billows.               THE ECHO OF THE SHOTS               Still rings in the tiled room as Hub kneels beside Sharon.                                     HUB                              (on radio)                         Officer down. OFFICER DOWN --!                                     ELISE                         Is... he... dead?                                     HUB                         ...Shhhhhhh...                                     ELISE                              (whispers)                         ...no... regrets...               Hub cradles her head.                                     HUB                         You... knew.                                     ELISE                              (the saddest smile)                         I... wondered.               FRANK HADDAD               Appears at the top of the steps. Behind him, two PARAMEDICS                race down to kneel beside Sharon. Hub is pushed aside as                they begin triage -- but it doesn't look good as suddenly,                she begins to convulse.                                     HUB                         Sharon... SHARON --                                     ELISE                         ... Emma... My name... is Emma.               And then she begins to mumble, at first incoherently, and                then more clearly. We realize she's speaking Arabic.                                     HUB                         -- what are you? I don't...               And then Frank is standing above them. Tears in his eyes.                                     FRANK                              (translating)                         "I... seek refuge... king of kings..."               And Hub suddenly understands: she is preparing for her own                death. He holds her as she continues to pray in and out of                her two native tongues. Until, at last:                                     SHARON/EMMA                              (whispers)                         Allah Ahkbar. God is great --                                     FRANK                         Allah Ahkbar --                                     HUB                         Amen.               And she's gone.               OUTSIDE IN THE STREETS -- MOMENTS LATER               A block away, we can see the Marchers pass by. The chant of                "No Fear..." fades into the distance. But Hub has already                turned his back and is hurrying away.                                                                    CUT TO:               EXT. COURTHOUSE SQUARE -- MOMENTS LATER               Hub hurries toward the Courthouse.               MOMENTS LATER - IN THE COURTHOUSE               JUDGE FRANKEL opens the door. He is taken aback by the blood                on Hub's clothes.                                     HUB                         I want to talk about a free society.                                                                   BACK TO:               THE STADIUM COMMAND POST               Where Devereaux is watching coverage of the march.                                     TV SOUND BITE (V.O.)                         -- "a very moving moment in which                          the people of a city step forward to                          declare their courage and solidarity --               He looks up to see Hub. He's carrying the ACCORDION FILE                that the Chief of Staff gave him.                                     DEVEREAUX                         Agent Hubbard, do you want to tell                          me exactly what you mean detaining                          Colonel Hardwick and six of my CID                          staff. Because that strikes me as a                          very peculiar idea of interagency                          liaison.                                     HUB                         The last cell has been taken down.                          It was Samir. I took him out.                                     DEVEREAUX                         What makes you so sure he was the                          last cell?                                     HUB                         Sharon.                                     DEVEREAUX                         Sharon is not trustworthy.                                     HUB                         Sharon is dead. She gave her life.                              (takes a piece of                               paper from his pocket)                         This is a writ from the US District                          Court releasing all those being held                          here without habeus corpus.                                     DEVEREAUX                         My authority supersedes the civilian                          judiciary under the decree of martial                          law.                              (a rueful smile)                         Sorry.                                     HUB                         Your authority ends now. It's all                          over.                                     DEVEREAUX                         What's over.                                     HUB                              (looks at him)                         They're going to release him.                                     DEVEREAUX                         Release him?                                     HUB                         The Sheik.                              (holds up the Chief                               of Staff's' file)                         Clear violation of international                          law, Congressional oversight statutes,                          a couple of treaties, the Federal                          perjury statute, and my favorite,                          the Logan Act, for conducting your                          own personal foreign policy.                              (simply)                         I know the whole story, General.                                     DEVEREAUX                         You don't know shit. Poor suffering                          Sharon and her poor suffering people.                          It's called "going native" -- the                          most elementary error of an                          intelligence operative and she made                          it. She had all of you working for                          her and she was working for them                          without even knowing it. And now                          they're getting exactly what they                          want, which is the Sheik will be                          back in the mix. But ten times as                          strong, because now he's the big man                          who stood up to the Americans.                              (looks at Hub)                         I did what was necessary. I make no                          apologies. If you think you're going                          to be able to use that file against                          me, you know even less about politics                          than I imagined.                                     HUB                         General. I'm not in politics. You                          can have this back. I won't use it.               Hub hands him the file. Devereaux takes it.                                     DEVEREAUX                         Because you don't have the balls.                              (off Hub's look)                         Did you expect me to get all weepy                          with gratitude? You serve your                          country.                              (dismissively)                         Is there anything else?               Hub would love to just... clock him. Instead:                                     HUB                         I said I wasn't in politics. I'm                          not. I'm in law enforcement.               He takes his gun from its shoulder holster.                                     HUB                         William Devereaux, you are under                          arrest for the torture and murder of                          Tariq Husseini under color of                          authority, United States Code Title                          42, Chapter 21, Subchapter 1, Sections                          1983.                              (takes out his gun)                         Surrender your weapon.               Behind them, a COMMOTION as Frank and several agents force                their way into the room, followed by REPORTERS, who shout                questions as STROBES and VIDEOTAPE record the arrest.               OUTSIDE THE STADIUM               An NYPD car -- Devereaux within, pulls away, lights flashing.               HUNDREDS OF YOUNG ARAB BOYS               Emerge from tunnel and into the waiting arms of their mothers,                the tearful smiles of their wives and children. Hub and Frank                stand there, watching the reunions.                                     FRANK                              (after a moment)                         Did we win or did we lose --?               Hub has no answer. No one has the answer.                                                                  FADE OUT:                                         THE END
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+SIGNS by M. Night ShyamalanFADE IN:INT. WINDOW - MORNINGWe are looking out a second story window of a house. Thebackyard is large and green with a wooden jungle gym, wornfrom use. A single tree throws shade onto a barbecue and apicnic table.The backyard is lined by crops. Corn. Golden and brown. Six feet high.Everything is perfect. Like a postcard. And then we HEAR ACHILD SCREAM. IT'S FAR AWAY. WE DON'T KNOW WHERE IT'SCOMING FROM. CUT TO:INT. BEDROOM - MORNINGGRAHAM HESS wakes up from his sleep. He thought he heardsomething. He listens. HE HEARS THE HEATER. THEREFRIGERATOR DOWNSTAIRS HUMMING. THE OCCASIONAL BIRDSOUTSIDE CHIRPING.Graham climbs out of bed. He moves in his pajama pants andwhite Barron's minor league baseball T-shirt towards thebedroom door. CUT TO:INT. HALL LANDING - MORNINGGraham stands in the hall landing where three bedroom doorsmeet. He moves to the door that has children's drawingstaped to it. He puts his ear close. Listens. Beat.He relaxes. Graham leans down and picks up two balled upsweat socks and a child's sweater from the hallway floor. Heputs it in the hallway hamper before heading back into hisbedroom. CUT TO:INT. BATHROOM - MORNINGA bathroom door is open. WE HEAR THE SINK RUNNING. WE HEARTHE SOUNDS OF TEETH BEING BRUSHED.Outside the bathroom on the bedroom wall is the sun fadedoutline of where a large CATHOLIC CROSS used to hang. It'sghostly stained forever on the blank wall.A CHILD SCREAMS FROM FAR AWAY.The water from the sink stops. Graham steps into thedoorway. Toothbrush and foam in his mouth. He becomes verystill. CUT TO:INT. CHILDREN'S BEDROOM - MORNINGThe bedroom door bursts open. Graham steps into hischildren's room. There are children's books everywhere. Overflowing off shelves. Piled in corners.Graham's eyes move to the small messy beds. They're bothempty. CUT TO:INT. GARAGE BEDROOM - MORNINGWE HEAR THE VOICES OF TWO CHILDREN NOW. THEIR SCREAMS FLOATINTO A DARKENED BEDROOM OVER THE GARAGE.MERRILL HESS throws the bed sheets off himself as he swingsonto his feet in one quick motion. He is hyper-awake. Merrill is in his late twenties. He is well build. Hismuscles are tense as he stands in his red bikini briefs andlooks around bewildered. CUT TO:EXT. BACKYARD - MORNINGGraham bangs open the back screen door and runs into thebackyard. He spins as he looks around.Merrill, now with a T-shirt and jeans, rumbles down the sidestairs adjacent to the garage building.Merrill and Graham make eye contact as they approach eachother across the yard. MERRILL Where are they?Graham looks around -- panic growing in his eyes. CHILDREN (yelling in the distance) Daaaad!Graham and Merrill in unison turn in the direction of theYELLING. They look away from the house, across the yard andinto THE THICK WALL OF CROPS. CUT TO:EXT. CROPS - MORNINGThe tall stalks of corn smack Graham and Merrill's faces asthey run through the crops.A LITTLE GIRL appears in the crops thirty feet ahead of themlike an apparition. She is in her nightgown. She is four.They reach her fast. She stands unaware of them in a daze. Her hair is messed from sleep. GRAHAM Bo where's Morgan?BO stands peacefully lost in her thoughts. Beat. GRAHAM Bo?Bo finally looks at her father. Beat. She smiles softly. BO Are you in my dreams too?Beat. GRAHAM This isn't a -- BOY (O.S.) Dad!Graham looks in the direction of THE BOY'S VOICE. He'sclose. Graham picks up Bo and rushes through the crops.He finds MORGAN standing with his hands in the pockets of hispajama bottoms. DOGS ARE BARKING NEARBY. GRAHAM Morgan what's happening?Graham puts Bo on the ground and moves right in front ofMorgan. The ten-year old boy looks deep in thought.Graham takes hold of Morgan's chin and turns his face so he'slooking straight at him. GRAHAM Are... you... hurt?Beat. Morgan's eyes reveal he's come to some answer. MORGAN I think God did it.Beat. THE DOGS KEEP BARKING. GRAHAM Did what Morgan?Morgan takes hold of his father's unshaven chin and turns hisface. Graham is forced to look to his right. Beat. Grahamsees something.Graham Hess slowly rises to his feet. He starts movingforward towards something.He walks through a thin layer of crops and emerges in aclearing. Two German Shepherds are running back and forth. They are clearly agitated.Graham looks around at the THOUSANDS OF CORN STALKS LYINGFLAT ON THE GROUND. THEY LAY IN A GIGANTIC CIRCLE, A HUNDREDFEET WIDE.Graham Hess looks around in a daze as he walks out into thecenter. Merrill, Bo and Morgan follow him.The dogs keep running and barking as WE PULL BACK AND REVEALTHE FOUR MEMBERS OF THE HESS FAMILY STANDING IN THE MIDDLE OFTHIS PERFECT, GIGANTIC CIRCLE.WE KEEP PULLING BACK TO EXPOSE THIS EERIE DESIGN -- FIVEHUNDRED FEET WIDE -- SITTING IN THE MIDDLE OF AN ENDLESS,UNTOUCHED CORN FIELD.LEGEND: "BUCKS COUNTY PENNSYLVANIA... THIRTY MILES OUTSIDE PHILADELPHIA" CUT TO:EXT. BACKYARD - LUNCHTIMEGraham holds his hand over the barbecue to see if it's at theright temperature. The other hand holds a cordless phone tohis ear. GRAHAM (into phone) ... Lee actually the reason I'm calling is about Lionel.Graham stokes the coals with a LONG BARBECUE FORK. GRAHAM (into phone) Was he at home last night with you or was he out and about with the Wolfington brothers?Graham moves around from behind the barbecue and headstowards the house. GRAHAM (into phone) Well, there was a little mischief done to our crops last night.Beat. GRAHAM (into phone) I know he's a fine boy... No one's saying otherwise.Graham steps through the back screen door into hisKITCHEN.Graham holds the phone a little closer and talks in a HUSHEDVOICE. GRAHAM (into phone) Listen Lee, I don't even mind if it was him. You could just talk to him and that would be enough for me... See it was kind of strange finding the crops like that. The kids were... confused by it. It would take the strangeness away if we knew it was Lionel and the Wolfington brothers just messing around... (beat, listens) The movies... (beat) Are you sure? (beat) Okay, then... Thank you for your patience Lee.Graham turns off the phone. He turns to put it on thecounter and realizes his children are seated on the kitchenfloor with one of their two German Shepherds. There is aLARGE PUDDLE on the kitchen tiles. MORGAN Houdini peed. I think he's sick.Graham looks at the majestic dog. It's shivering. GRAHAM Take him outside. I'll call Dr. Reynolds.Morgan and Bo lead their dog out with worried expressions ontheir faces.Graham grabs a handful of paper towels and places it on thepuddle of urine. The DOORBELL rings with Graham still on hisknees on the kitchen floor. He leans back so he can see downthe hall.A balding police officer stands on the other side of thescreen door. GRAHAM That was quick Edgar. I only called you boys about two hours ago.OFFICER EDGAR PASKI nods that he knows. OFFICER PASKI Mrs. Kindleman twisted her ankle as she put it, "diving for her life" when a bunch of school kids rode down the sidewalk on skateboards. She went down to Thorton's store this morning and started spitting on the new skateboards. Spitting! By the time I got there, Mrs. Kindleman had sprayed the whole damn place... She must have had a cold or something. It was enough to turn a grown man's stomach.Beat. Graham stares at Officer Paski. OFFICER PASKI So what happened to your crops? CUT TO:EXT. BACKYARD JUNGLE GYM - LUNCHTIMEBo walks from the house with a large glass of water. Shemoves to Houdini, who sits in the shade by the picnic table.Morgan pokes the barbecue fork into two meat patties on thegrill. He places two pieces of cheese on the hamburgers,before walking over to Houdini.The two children sit down in the grass with the dog.Bo is about to pour the glass of water into the dog bowl. She stops. Takes a tiny sip of the water first.She holds the glass out to Morgan. BO I think it's contaminated. MORGAN You don't even know what that word means.He drinks. MORGAN It's not contaminated. It's just tap water. Pour it in his bowl. BO It tastes funny. MORGAN He licks his butt everyday. He's not going to mind.Bo shrugs and pours it into the bowl. Beat.Houdini just sits staring at them. He is not shivering. Hedoesn't drink. He is unnaturally still.Bo pushes the bowl closer.HOUDINI MOVES...BO'S HAND PULLS BACK...HOUDINI'S JAWS SNAP SHUT IN THE AIR WHERE HER HAND USED TOBE. HE WAS JUST A FRACTION OF A SECOND LATER...BEAT. The children turn white. MORGAN Houdini?HOUDINI BEGINS TO GROWL. Bo stands up. MORGAN Bo don't run.Houdini crouches down. MORGAN What's wrong boy?THE DOG'S GROWL BECOMES DEEP, MENACING. MORGAN Stop it Houdini!The German Shepherd trembles. His body tightens. He's aboutto leap. Beat. MORGAN (soft) Bo, run. CUT TO:EXT. CROPS - LUNCHTIMEOfficer Edgar Paski stands facing Graham fifty feet away. They are on opposite ends of the crop circle. Beat.The crops all around them sway as the wind blows. Beat. Officer Paski yells over the wind. OFFICER PASKI (yelling) It's the strangest thing Father. GRAHAM (yelling) Don't call me Father. OFFICER PASKI (yelling) What's that? GRAHAM (yelling) Don't call me Father. It's just Graham now. OFFICER PASKI (yelling) Sorry.They stands in awkward silence fifty feet away from eachother. Beat. GRAHAM (yelling) You said something was strange. What's strange? OFFICER PASKI (yelling) The footprints. GRAHAM (yelling) What about them? OFFICER PASKI (yelling) There are none. CUT TO:EXT. CORN CROPS - LUNCHTIMEOfficer Paski's knee touches the ground. He points to asingle stalk of corn laying flat on it's side. OFFICER PASKI (soft) Look at where it's bent over.Graham stands next to him and leans in. The joint where thestalk bends from the ground is a perfect "L". GRAHAM It's not broken. OFFICER PASKI What kind of machine can bend a stalk of corn over without cracking it?Graham looks around at the hundreds of thousands of cornstalks bent over each other in a perfect wave. GRAHAM (softy) Can't be by hand... It's too perfect.Beat. OFFICER PASKI Doesn't sound much like Lionel Prichard and the Wolfington brothers. They can't take a piss without wetting the front of their pants.Graham, nods in agreement. Officer Paski stands up. OFFICER PASKI Second thing this week I can't explain. GRAHAM What was the first thing? OFFICER PASKI Some animals around the county exhibiting uncharacteristic behavior. Sometimes violent behavior. Theo Henry had two of his fingers bit off by his cow. GRAHAM Sounds like a virus. OFFICER PASKI No Father, they're edgy. On alert. Like they act when they smell a predator around... Peeing on themselves and everything.We see a thought catch in Graham's eyes. He turns back andstares in the direction of the house. You can barely see theroof over the crops. Beat. GRAHAM (preoccupied) Edgar, please don't call me Father.The two men stand as the wind blows lightly around them. Officer Paski notices the still expression on Graham's face. OFFICER PASKI What's wrong?Beat. GRAHAM I don't hear my children. CUT TO:EXT. BACKYARD - LUNCHTIMEMorgan watches the thin line of smoke rising from the charredpatties on the grill next to the overturned picnic table.Morgan's attention moves as the crops part and his father andOfficer Paski enter the backyard. They stop cold when theylook in his direction. They begin a slow walk towards him.Morgan Hess is seated under the jungle gym with Houdini onhis lap. Morgan is petting Houdini's fur gently. Bo is ontop of the jungle gym curled up in a ball.As Graham and Officer Paski get closer, they see Morgan iscrying.Then they see the dog is laying on it side and has a BARBECUEFORK DEEP IN ITS NECK.Beat.They stare at Morgan as he slowly pulls an inhaler from hispocket and brings it to his mouth. He inhales the asthmaspray. Beat. He lowers the inhaler so he can speak. MORGAN (soft) He wanted to kill Bo.Beat. Graham stares at his ten-year old son. GRAHAM Did he hurt you?Beat. Morgan nods, "No." His tough exterior breaks as hisface starts to tremble. He starts crying. Graham picks himup in his arms. GRAHAM (whispers in his ear) I'm so sorry Morgan.Graham reaches up for Bo. She has dirt and tears on herface. Beat. She slowly climbs down. Graham carries bothhis children as they cry in his arms.He starts towards the house. Merrill walks out from the backholding a bowl of food. MERRILL I used a little Tabasco in the potato salad.Merrill sees Houdini lying under the jungle gym. BO Houdini's sick. GRAHAM Please tie up Isabelle to the back of the shed. Make sure the knot's tight.Merrill stands still with potato salad in his hands. Henods.The children watch over their father's shoulder as Merrillruns to their other German Shepherd sitting quietly near thehouse and leads her by her collar across the yard to theshed.Graham reaches the porch of his house and opens the screendoor.The last thing the children see as they enter the house, isthe image of Officer Paski pulling the barbecue fork out oftheir dead dog's neck. CUT TO:INT. BEDROOM - LATE EVENINGGraham lies in bed. He rests his cheek against the pillow ashe lies by himself. GRAHAM They're tough cookies, those two. They think Houdini's playing with you up there. (beat) At least it got them to sleep.Graham stares off. Beat. He smiles a little. GRAHAM Okay Miss Puzzle Master. I got one for you... What can make geometric shapes the size of a football field... and what would scare every animal in this county? (beat) Have you figured it out yet? (smiles) You probably have... (beat) Give me a hint Colleen... Is it bigger than a bread box? DISSOLVE TO:EXT. HOUSE - NIGHTThe large Hess farm house sits in the moonlight.A MILLION CRICKETS AND BUGS FILL THE NIGHT AIR WITH SOUND.THEY SUDDENLY STOP.AN UNNATURAL SILENCE FILLS THE YARD. CUT TO:INT. BEDROOM - NIGHTGraham opens his eyes slowly as he stirs from his sleep. Hisdaughter Bo stares at him from the edge of the bed. She isfive inches away from his face.Graham gets startled. GRAHAM What's the matter? BO I saw a monster. Can I have a glass of water?Beat. GRAHAM What's wrong with the water next to your bed? BO It tastes old.Graham slowly gets up from the bed. He takes his daughter'shand and starts out of the room. GRAHAM What's the rule about getting up in the middle of the night? BO Only for pee or poop. GRAHAM Right.Graham leads his four-year old daughter down the darkenedhall. CUT TO:INT. CHILDREN'S BEDROOM - NIGHTMorgan's body is half off his bed. Graham gently lifts himback onto the pillow and covers him up.There are two glasses of water on Bo's bedside table. Grahammoves to Bo's bed. He sits on the edge of it. She staresback at him as she holds her panda. GRAHAM (soft) What are you thinking about? BO (soft) Why do you talk to mom when you're by yourself?Beat. GRAHAM (soft) It makes me feel better. BO (soft) Does she ever answer back? GRAHAM (soft) No. BO (soft) She doesn't answer me either.Beat. They both sit quietly for a moment.Graham's eyes drift to the bedroom window. A LARGESILHOUETTED FIGURE STANDS ON THE ROOF IN THE DARKNESS ANDSTARES AT HIM.THE FIGURE MOVES. HIS SHADOW PASSES OVER THE CHILDREN'SBEDROOM AS HE JUMPS FROM THE ROOF.Graham stands. He looks to his daughter with startled eyes. BO (soft) Get under a blanket. They can't get you under the blankets. CUT TO:INT. FAMILY ROOM - NIGHTGREY SNOW FILLS THE SCREEN. Merrill sleeps in front of thefamily room television.A hand gently shakes him. Merrill wakes and looks up at hisbrother zipping up his overcoat. CUT TO:EXT. FRONT DOOR - NIGHTMerrill quickly puts on his boots at the front door. MERRILL Okay, this guy is trying to scare us. He's messed with our property, he's coming around the house. It's time for an ass whoopin'! GRAHAM This is not an intelligent way to approach this.Merrill opens the front door. It's pitch black outside. Merrill turn to Graham and gestures with his fingers. MERRILL (whispering) We both go outside and move around the house in opposite directions. We act crazy, insane with anger. Make him crap in his pants and force him around till we meet up on the other side.Merrill brings his fingers together at the end of a circle. GRAHAM (whispering) Explain, act crazy? MERRILL (whispering) Curse and stuff. GRAHAM (whispering) I'm not going to curse. MERRILL (whispering) You don't mean it. It's just for show. GRAHAM (whispering) It doesn't sound natural when I curse. MERRILL (whispering) Just make noises then. GRAHAM (whispering) Explain noises. MERRILL (whispering) Are you going to do this or what? GRAHAM (whispering) No I'm not. MERRILL (whispering) You want him coming in the house next time?Beat.They HEAR MOVEMENT OUTSIDE. Merrill and Graham look out intothe darkness. MERRILL (hushed tone) On the count of three. (beat) One... two... three.Merrill and Graham go out the front door in oppositedirections. CUT TO:EXT. MERRILL'S SIDE OF HOUSE - NIGHTMerrill is in a full sprint. He hugs the side of thebuilding as he runs. MERRILL We're gonna beat your ass bitch! CUT TO:EXT. GRAHAM'S SIDE OF HOUSE - NIGHTGraham runs through the darkness around the first corner ofthe house. He waves his arms. GRAHAM Ahhhh... I'm insane with anger.Graham spots a LARGE FIGURE darting around the corner aheadof him. GRAHAM I've lost my mind! It's time for an ass whoopin'! CUT TO:EXT. MERRILL'S SIDE OF HOUSE - NIGHTMerrill turns a corner full speed. THE LARGE FIGURE HAS COMETO A STOP IN THE SHADOWS AHEAD OF HIM. HE SEEMS TO BLENDINTO THE DARKNESS WHEN HE'S STILL. MERRILL I'm gonna tear your head off!Merrill charges. WE JUST MAKE OUT MOVEMENT IN THE DARKNESSAS THE FIGURE DISAPPEARS AROUND THE CORNER. CUT TO:EXT. SIDE OF HOUSE - NIGHTGraham and Merrill come screaming around two corners and cometo a stop facing each other. Beat.They look around, panting heavily. GRAHAM I cursed. MERRILL I heard.Graham's eyes drift above them. GRAHAM He's on the roof.They follow the roof around the corner. They find themselvesin the backyard.Their eyes catch movement away from the house. They justcatch A GLIMPSE OF THE LARGE FIGURE as he disappears into thecrops. The swing on the swing set is still moving from beinghit.They stare across the yard silently. ALL WE HEAR IS THEIRHEAVY BREATHING. MERRILL (V.O.) It was very dark. GRAHAM (V.O.) Yes it was. CUT TO:EXT. PORCH - DAYOfficer Edgar Paski stands on the porch with his note padopen. He faces Graham and Merrill. OFFICER PASKI You can't describe him at all? Don't you think that's find of odd? GRAHAM It does seem kind of odd doesn't it? OFFICER PASKI I don't know whether to look for a midget or a -- GRAHAM He definitely wasn't a midget. OFFICER PASKI Okay. (beat) So he was tall? GRAHAM (to Merrill) I would say so. MERRILL Probably. OFFICER PASKI Over six feet?Beat. MERRILL It was very dark. GRAHAM Yes, it was. OFFICER PASKI We've established that. (beat) Just tell me about his clothing then.Graham and Merrill stare at Edgar Paski. OFFICER PASKI Was he wearing a Scottish kilt or jeans?They keep staring. Edgar closes his pad. OFFICER PASKI Let me ask you two something. Don't be embarrassed by the answer. It is possible... Just possible now, you might have been chasing each other around? You said you went in opposite directions. GRAHAM Edgar, it sounds as strange to me saying it, as it is to you hearing it. But we couldn't see him. He stayed mostly in the shadows. All we could make out was movement. (beat) But I'll tell you something with absolute certainty. There was someone watching our house last night. He was looking in my children's windows and I want you to find him Edgar. (beat) I need you to take this seriously, just incase, it is something serious.The three men stand in the doorway. Edgar opens his pad. OFFICER PASKI I apologize.Morgan walks up to the front door. He holds up a babymonitor. MORGAN Can I use Bo's old baby monitor as a walkie-talkie? GRAHAM Yes. MORGAN It needs batteries. GRAHAM Edgar, come inside.The three men follow Morgan into the house. They passthrough the family room where Bo stands at the television.She is staring at the screen. ON THE SCREEN IS AERIALFOOTAGE FROM A HELICOPTER. THE FOOTAGE IS OF A LARGE FIELDWITH ENORMOUS CIRCLES AND DIAMONDS CARVED INTO ITS CROPS.Bo changes the channel. She finds a cartoon. She sits downon the sofa.Morgan and the men, can't see the screen, and move into theKITCHEN. OFFICER PASKI How certain are you, that this was a male? MERRILL I don't know any girls can run like that.Graham opens one of the cabinets and pulls down somebatteries. He hands them to Morgan. MORGAN These are D's; I need double A's. GRAHAM I have some upstairs.Graham starts out of the kitchen. OFFICER PASKI I don't know Merrill. I've seen some of those women on the Olympics. They could out run me easy.They all move into theFAMILY ROOM.Bo watches cartoons. THE CARTOON MUSIC AND CARTOON PRATFALLS FILLS THE ROOM. MERRILL This guy got on the roof in like a second. GRAHAM Bo, can you turn down the volume until Officer Paski leaves?Bo nods and moves to the television. The pack of men followGraham up theSTAIRS. MERRILL That roof is over ten feet high. GRAHAM He's telling you the truth, Edgar. Whoever it was, is very strong and can jump pretty high.They arrive on the landing and follow Graham into hisbedroom. He moves into hisBATHROOM.They all move in with him. OFFICER PASKI They got women's high jumping in the Olympics. They got these Scandinavian women who could jump clean over me.Graham takes the clock radio from the sink. Tries to openthe back. GRAHAM Shoot, it needs a screw driver. I have double A's in here.Graham waves the radio. The men and Morgan move out of thebathroom. GRAHAM I know you're making a point Edgar. I just don't know what it is.They moves down the STAIRS. OFFICER PASKI Yesterday afternoon, an out of town woman stopped by the diner and started yelling and cussing cause they didn't have her favorite cigarettes at the vending machine. Scared a couple of customers. No one's seen her since... My point is, we don't know anything about the person you saw. We should just keep all possibilities available.They move through the FAMILY ROOM.Bo's cartoon is replaced by a special report news icon. BO Dad, where's the remote?Bo starts looking around the couch.Graham stops before entering the kitchen. The group stopswith him. He looks at Bo searching the couch. He walks overto the television.There are three glasses of water on the TV set. He standsnext to the set. Doesn't see what's on the screen. GRAHAM Bo, you're too old to still be doing this. The rule is, you take a glass of water, you finish it. (beat) Now what's wrong with this one?Bo stops looking through the sofa cushions and looks to herfather. Looks at the glass. BO There's dust in it. GRAHAM This one? BO A hair. GRAHAM This one? BO Morgan took a sip. It has his amoebas in it.Beat. Bo turns back to her search. Graham tucks the clockradio under his arm and collects the three glasses. He headstowards the kitchen. MERRILL Excluding the possibility that a female Scandinavian Olympian was running around outside our house last night, what else is a possibility? OFFICER PASKI I'm not done asking questions and I don't appreciate the sarcasm.They follow Graham and Morgan through the swinging door intothe KITCHEN.Graham puts the glasses in the sink with a group of otherhalf-filled water glasses and opens the drawer to pull out ascrewdriver. He starts opening the clock radio. OFFICER PASKI Do you have anyone who might have a grudge or something against you? Maybe a church member, who might not have liked the fact, that you left the church?Graham looks at Edgar. GRAHAM I don't think so. OFFICER PASKI Do you owe anybody money? You can tell me off the record if you need too. GRAHAM No. MERRILL No.Morgan hands Graham the baby monitor and Graham startsreplacing the batteries. OFFICER PASKI Is anything missing? GRAHAM No.Graham hands Morgan the monitor. He turns it ON. THERE IS ASTATIC CRACKLE WITH SPIKES OF SOUND. MORGAN It's still making the noises. It's broken. GRAHAM It's old Morgan.Morgan heads out of the kitchen. MERRILL Listen, I was out of line with that whole female Scandinavian Olympian thing.Edgar nods. MERRILL It's just that, I'm pretty strong and pretty fast. And I was running as fast as I could. And this guy... (embarrassed smile) He was just toying with us.Beat. Merrill walks out of the kitchen. Graham watchesEdgar think it over. CUT TO:INT. FAMILY ROOM - DAYGraham moves to a windowsill where more glasses of water sit. He picks them up. Sees two more on the coffee table. Hegives up and puts the two glasses back on the windowsill. OFFICER PASKI Could everyone just take a seat on the couch. I have some preliminary thoughts.Morgan sits with his monitor next to Bo, who quietly watchesthe TV. Merrill and Graham squeeze in next to Morgan. OFFICER PASKI There are three possibilities here. We'll call them one, two and three. The level one scenario is that there is a sane individual, who for real reasons wants to do you harm. I really don't believe that's what we're looking at here. In my opinion, whoever this is, they don't want to do harm to you all. That's kind of clear. (beat) The level two scenario is, this is a mentally unstable person who's fixated on you and your family. This is a possibility, but a very slim one. (beat) I assure you I will treat all three possibilities carefully, but in all likely hood we are looking at what we'll call a level three scenario. He's a watcher. Someone who this is a game for. He's laying low. Doesn't want to be seen. But he wants to watch you. Study you folks.Officer Paski walks towards the windows. Graham, Merrill andMorgan follow him with their eyes. Officer Paski walks nextto the television.ON THE SCREEN WITH THE SOUND ALMOST MUTED, IS AN AERIAL SHOTFROM A HELICOPTER. A DIFFERENT ONE THAN BEFORE. THE FOOTAGEIS OF A VAST FIELD OF CROPS. THERE ARE TWO DIAMONDS FLANKINGTWO SIDE OF A TRIANGLE IN THE CENTER OF THE FIELD.Officer Paski turns to them.Graham, Merrill and Morgan stare at the screen. OFFICER PASKI Now I don't want you all to worry about this no more. You're making more of this than it is. (beat) You guys have had a tough couple of days with the vandalism to the crops and the death of your shepherd. (beat) Maybe you guys should do something fun? Let me worry about this person. Let me find out who it is and then -- What the hell are you people looking at?Edgar comes around to see the screen.WE ARE ON A TV SCREEN. THE CROPS SWAY IN THE BREEZE.A HANDFUL OF PEOPLE ARE WAVING FROM THE DIAMONDS ON THEFIELD. OFFICER PASKI I'll be damned. GRAHAM Turn up the volume Bo.Bo gets up. BO I can't find the remote.She presses the up arrows on the TV controls. TV ANCHOR -- images were shot yesterday afternoon by a thirty-four year old local camera man in Kerala, a southern city of India. It is the eighteenth reported crop circle found in that country in the last seventy-two hours.The television report cuts to Columbia University PROFESSOR. PROFESSOR (TV) Crop circles first emerged in the late seventies with the renewed interest in extraterrestrial life. They died out by the early eighties; dismissed as hoaxes. This new resurgence is wholly different. Elements of it are unexplainable. The speed and the quantity in which it has appeared implies the coordination of hundreds of individuals over many countries... (beat) There is only a limited amount of explanations. Either this is one of the most elaborate hoaxes ever created, or basically... (beat) It's for real.Morgan takes the asthma inhaler from his pocket and breathesin deeply. MORGAN (wonder) Extraterrestrials. OFFICER PASKI What in God's name is going on?Beat.THE ROOM GOES SILENT as everyone watches the images on thetelevision screen. CUT TO:EXT. HESS DRIVEWAY - DAYThe two men walk down the driveway to Edgar's patrol car. OFFICER PASKI Don't ask me what I think. Cause I can't think straight right now. I'm going back to the station. Have a cup of Marcia's coffee and try to think clear. After that I might make some calls. (beat) Hoaxes... People got way too much time on their hands.Edgar turns back to Graham. OFFICER PASKI But I'll tell you something, what I said in their, still goes. You and your family have been through a lot in the last two days... Not to mention what happened to you all seven months ago. GRAHAM Six months.Edgar stares at Graham. GRAHAM And three weeks. OFFICER PASKI It's left its mark still. The last thing these children need to do, is worry about some crazy things happening in the world. Take them into town. Get their minds -- your mind, on everyday things. It's good medicine. GRAHAM It's good advice... (beat) Say hi to Marcia for me. OFFICER PASKI You take care of yourself... (beat) Graham. CUT TO:EXT. STATION WAGON - AFTERNOONWE MOVE THROUGH BACK ROADS OF BUCKS COUNTY. RURALPENNSYLVANIA IN ITS MOST BEAUTIFUL. TREE LINED STREETS. WHITE PICKET FENCES. APPLE ORCHARDS.The Hess family rides in their station wagon. Graham drives. Merrill is shotgun. The children are in the back.Morgan leans forward and TURNS ON THE RADIO. RADIO VOICE ... signs intended to be seen from the sky --CLICK. Graham TURNS IT OFF. GRAHAM No radio either... Just for a while.Morgan nods and then plops back into the backseat. CUT TO:EXT. MAIN STREET - AFTERNOONDowntown Bucks County. A group of small stores along a quietstreet.The Hess station wagon pulls in front of a free parkingmeter.Graham steps out the driver's side and looks around. Merrillputs change in the meter.Morgan walks up to Graham with Bo. MORGAN Book money.Morgan holds out his hand. Graham gives his son a look as hereaches into his back pocket. GRAHAM Only one.Morgan takes the money Graham gives him, then takes Bo's handand walks down the sidewalk.Graham watches them turn into a store.Merrill steps onto the sidewalk. Hands in his pockets as hewalks away.Graham turns and calls after him. GRAHAM (calls out) Meet back in fifteen minutes.Merrill waves over his shoulder. He keeps walking.Graham starts across the street to the pharmacy. CUT TO:INT. NATHAN'S BOOKSTORE - AFTERNOONA mom and pop bookstore. Three isles wide. MR. AND MRS.NATHAN, a couple in their early seventies, sit behind theircounter and watch a black and white TV. The PICTURE ON THETELEVISION IS OF A WHEAT FIELD. THREE ENORMOUS TRIANGLESSURROUND A CIRCLE.Morgan steps up to the counter. MORGAN Extraterrestrials? MR. NATHAN That's what they keep alluding to. It's just a bunch of crock. They're trying to sell sodas, plain and simple. I've been watching these reports since morning. I've seen twelve soda commercials so far. Twelve! MORGAN Do you have book on extraterrestrials? MR. NATHAN Don't tell me you believe this horse manure?Morgan shrugs. Mrs. Nathan pushes her husband aside. MRS. NATHAN As a matter of fact, I think we have one. Came by mistake in a shipment. Decided to keep it for city people.Mrs. Nathan points over to the far corner. MRS. NATHAN Last row. Third book from the left honey. CUT TO:INT. PHARMACY - AFTERNOONGraham waits at a white counter. A gum chewing PHARMACIST inher early twenties, who looks like she's in her teens,glances through back shelves of medicines as she listens tothe radio. RADIO HOST (V.O.) Why is no one saying the obvious? This is just a rash case of copycats. Someone, somewhere, does the first one. It's on TV, it's on the internet. In less than an hour a couple hundred people get the same brilliant idea and here we are... on the verge of mass hysteria. PHARMACIST It was asthma medicine right Father? GRAHAM For Morgan Hess. And it's not Father anymore.The Pharmacist looks back at Graham and then reaches up andTURNS OFF THE RADIO. She quietly finds the prescription onthe shelf and moves to the counter across from Graham.She doesn't ring it up. She just stands there fiddling withthe bag holding Morgan's medicine. Beat. PHARMACIST Can I ask you a favor Father?Graham stares at the girl. Beat. He nods "yes." PHARMACIST Can I take confession with you?Beat. Graham leans forward on the counter and takes thegirl's hands in his. He talks very slowly. GRAHAM Tracey, I -- am -- not -- a -- reverend -- anymore. I haven't been for six months. You know this.Beat. When Tracey speaks her VOICE IS A BIT SHAKY. TRACEY All this stuff on TV... (beat) Joe Gills was in here talking about the end of the world... I'm just a little scared. (beat) Please. I need to take confession with you.Graham looks at the young girl's teary eyes. He exhalesslowly. CUT TO:INT. ARMY RECRUITING OFFICE - AFTERNOONMerrill stares up at a poster with a muscular guy in an Armyuniform standing at attention on a beach.We are in a narrow ARMY RECRUITING CENTER. Inside the smallstorefront space is a desk. A gentleman sporting a CREWCUTsits behind it.A young man, Merrill's age, sits at a side card table fillingout some forms. CREWCUT GUY I got it figured.Merrill realizes the crewcut guy is talking to him. MERRILL You do? CREWCUT GUY I've had two separate folks tell me they think there are strangers around these parts the last couple of nights. Can't tell what they look like, cause they're staying in the shadows -- covert like. No one's got hurt mind you... And that's the give away. MERRILL (doesn't see) I see. CREWCUT GUY It's called probing. It's a military procedure. You send a reconnaissance group, very small, to check out things. Not to engage, but to evaluate the situation. Evaluate the level of danger. Make sure things are all clear... MERRILL Clear for what?The crewcut guy savors the beat of silence. CREWCUT GUY ... For the rest of them.It takes a second, but Merrill smiles. The crewcut guysmiles back. Merrill points at a poster. MERRILL You have a pamphlet or something I can read?The crewcut guy reaches to a stack of brochures. Picks thetop brochure and hands it to Merrill.The crewcut guy begins to stare at Merrill closely. CREWCUT GUY Hey you didn't used to play baseball did you?Merrill looks up from the brochure. Beat. CREWCUT GUY Shit. I know you. You're Merrill Hess. I was there that day you hit that five hundred and eighty seven footer over the left field wall and set the record. That thing had a motor on it... It's still the record right?Merrill not, "yes." MERRILL (soft) I got the bat at home... On the wall. CREWCUT GUY You got two minor league home run records don't you?Beat. MERRILL Five. The five longest. CREWCUT GUY Boy, why aren't you in the pros making stacks of cash and getting handfuls of T and A? YOUNG MAN (O.S.) Cause he also has the minor league strike out record.Merrill turns to the young man, about his age, who sits atthe folding table. MERRILL Hello Lionel.LIONEL smirks. LIONEL He'd just swing as hard as he could every time. It didn't matter what the coach said, didn't matter who was on base, he'd whip that bat through the air as hard as he could... Looked like a lumber jack chopping down a tree. (beat) Merrill here, struck out more times than any two players.Beat. CREWCUT GUY You really hold the strike out record?Beat. Merrill tucks the pamphlet in his jacket. Looks likehe's not going to say anything. When he does, the words aresoft and worn; they've been said a hundred times. MERRILL Felt wrong not to swing.Beat. The crewcut guy shakes his head. Merrill turns andstarts walking.As he passes Lionel, Merrill makes a small, quick move inLionel's direction, like he might hit him. Lionel flinchesand covers his face.Merrill walks out the door of the army recruiting office. CUT TO:INT. PHARMACY - AFTERNOON PHARMACIST I cursed thirty-seven times last week... I said the f-word a couple times, but mostly "shits" and "bastards." (beat) Is "Douche bag" a curse?Graham glances at the girl as she sits sideways to him at thecounter. GRAHAM I suppose it's in its usage. PHARMACIST How about "John you're a douche bag for kissing Barbara?" GRAHAM That's a curse. PHARMACIST Then it's not thirty-seven. It's seventy-one.Graham's eyes widen. PHARMACIST I stole a bottle of Ruby red lip stick from K-mart... I punched my brother in the back three times...Graham looks around the empty store for help. CUT TO:INT. NATHAN'S BOOKSTORE - AFTERNOONBo sits at a tiny reading table and drinks a glass of water. There is another glass, half-full, on her table. Mrs. Nathanwatches as the little girl takes careful sips.Beat. Bo looks up with a grimace. BO It's contaminated.MRS. NATHAN YELLS TO MR. NATHAN AT THE FRONT OF THE STORE. MRS. NATHAN Carl, there's something wrong with our water!Morgan doesn't look up from the extraterrestrial book. MORGAN Your water is fine. Bo has a thing about her drinking water. She's had it her whole life. Like a tick people have. Except it's not a tick. MRS. NATHAN (fascinated) Is that right?Bo shrugs. She places the glass she sipped on the table withthe other glass.Mrs. Nathan stares at the four-year old. MR. NATHAN (O.S.) Thirteen!Everyone turns to the front of the store where Mr. Nathanpoints to the TV screen. A Coke Cola commercial is on.Beat. Mrs. Nathan turns back to find Morgan holding out theextraterrestrial book to her. MORGAN I'll take it. CUT TO:EXT. STATION WAGON - AFTERNOONMerrill, Morgan and Bo are waiting in the parked car. Beat.The driver's side opens and Graham sits in. MERRILL Pharmacy crowded? GRAHAM I don't want any one of you spending time with Tracey Abernathy alone. Is that understood?Beat. Everyone nods, "yes."Graham puts the key in the ignition and turns the car on. Merrill watches as Graham's hand goes to put the car inreverse -- and then stops.Graham is staring out the windshield. Merrill follows hisstare to a thin, thirty-year old man in a LEATHER JACKETcoming out of a store. Merrill's face changes expressiontoo. They both stare as the man passes in front of the car. MORGAN (soft) Is that him? MERRILL (soft) Yeah.Everyone in the car watches the man in the leather jacket ashe steps off the sidewalk towards the truck. It's here thathe notices the stares. He glances up to see the faceswatching him from the station wagon.The leather jacketed man keeps moving to his truck. He getsin, turns it on, and without looking over to the stationwagon, backs out of the parking lot.Beat. The Hess family sits quietly. BO Who is he?Nobody says anything for the longest time. MORGAN He's the man who killed mom.Graham puts the station wagon in reverse and backs out intothe street. CUT TO:EXT. HESS HOME - AFTERNOONTHE SKY IS GOLDEN RED. The crops sway hypnotically in agentle breeze.The Hess station wagon pulls into their driveway. It comesto a stop in front of the house. The engine goes off. Noone gets out. CUT TO:INT. STATION WAGON - AFTERNOONAll four sit quietly not getting out.A MUFFLED SPIKE OF NOISE IS HEARD FROM THE BACK SEAT.Graham and Merrill turn and see Morgan pull the baby monitorout of his jacket. He holds it in his lap.Beat. MORGAN What if Bo's baby monitor is picking up signals from the extraterrestrials?Beat. MERRILL All this crop stuff. They did it twenty-five years ago. It was a joke.THE MONITOR SPIKES WITH A SUDDEN CRACKLE. MORGAN PULLS ITAWAY FROM HIS EAR. GRAHAM It's just static Morgan. Turn it up and see.Morgan turns a knob on the side.THE VOLUME SUDDENLY JUMPS UP ON THE MONITOR. WE HEAR BEEPSIN THE STATIC. THE RED LIGHTS ON THE FRONT OF THE BABYMONITOR LIGHT UP WITH EACH BEEP. MORGAN It's a code. GRAHAM Let me see that please.Morgan hands Graham the monitor in the front seat. THE BEEPSCOME AND GO AS THEY GET COVERED BY THE STATIC. MERRILL It's noise. GRAHAM It's broken Morgan. It'll just keep doing this. (beat) Let's get out of the car okay? MORGAN We might lose the signal. GRAHAM We can't just sit in the car in our own driveway like this. MERRILL We'll look like mental patients.Beat. Nobody gets out of the station wagon. GRAHAM I'm getting out now. MORGAN Don't do it.Graham pulls the handle. His door opens. He waits beforegetting out. The other three station wagon doors open rightafter.OUTSIDE CARGraham stands and closes his driver side door.THE MONITOR CHANGES SOUNDS. THE BEEPING DISAPPEARS. THESTATIC BECOMES LOUDER, BECOMING A MOVING, SWIRLING SOUNDTEXTURE. MORGAN Nobody move!Everyone becomes frozen, standing next to the station wagon. Three of the doors are open.IN THE TEXTURE OF SOUND, JUST FOR A MOMENT, WE HEAR SOMETHINGTHAT SOUNDS LIKE... MORGAN Voices. Did you hear that?Everyone stares at the baby monitor in Graham's hand. MORGAN Not English though. You heard the voices right Uncle Merrill? BO I heard them Morgan.Graham doesn't move his arm. He keeps it out in the airwhere he had it as he closed his door. Graham looks toMerrill over the roof of the station wagon. GRAHAM It's probably picking up another baby monitor. MERRILL That's right.THE SWIRLING TEXTURE SOUND FLOATS THROUGH THE AIR ABOVE THESTATION WAGON. MERRILL Let me see it.Beat. Graham moves. He hands the monitor over the hood. Merrill reaches for it.THE SWIRLING, MOVING TEXTURE BECOMES LOUD AND FILLED WITHUNINTELLIGIBLE NOISES. MORGAN Stop!Graham and Merrill freeze -- both touching the monitor overthe roof of the station wagon.WE HEAR SOMETHING THAT SOUNDS LIKE A VOICE EMERGE AND THENQUICKLY FADE AWAY. MORGAN It doesn't sound like words.Merrill concentrates on THE SWIRLING MOVING TEXTURE COMINGFROM THE BABY MONITOR.Graham looks around at his rapt family. GRAHAM See this is why we're not watching those news reports. People get obsessed. (beat) I'm letting go now. BO No dad! MORGAN Don't do it! MERRILL You'll lose the signal!Graham looks at Merrill, who's now one of them. Beat.Morgan is the first one to move. MORGAN Don't let go.He moves from the back passenger door to the back bumperwhere he begins to climb onto the station wagon. GRAHAM Morgan? MORGAN It gets clearer, the higher you hold it.Morgan crawls on the roof and takes the monitor ever-sogently out of Graham and Merrill's outstretched hands. GRAHAM Morgan, be careful. MERRILL I got him.Merrill climbs up over the side and joins Morgan on the roof. Merrill keeps a hand on his nephew. Morgan raises themonitor above his head.THE RED LIGHTS ON THE BABY MONITOR ALL TURN ON.THE SWIRLING TEXTURE COMING FROM THE MONITOR BECOMESSOMETHING MORE MECHANICAL, LIKE THE HUM OF LARGE EQUIPMENT INTHE DISTANCE.THE VOICE LIKE SOUNDS ARE UNDER A CRACKLE BUT ARE CLEARER ANDLOUDER.Bo runs to the front bumper and climbs onto the hood. GRAHAM Hold on.Graham cuts her off by taking a seat on the hood. He takeshold of Bo. All four are on the car now.Morgan stands up on the roof of the station wagon. Merrillholds him by the waist.Bo tries to get up onto the roof by climbing over Graham andthe windshield. Graham boosts her up over his head with bothhands. GRAHAM Merrill you got her.Merrill reaches out his free hand. Bo reaches out to him. THE SOUND FROM THE MONITOR SUDDENLY CHANGES. MORGAN Stop!Everyone STOPS exactly where they are. Graham holds Bo overhis head. Bo reaches out to Merrill. Merrill sits on theroof with one arm out. Morgan stands with the baby monitorraised high in the air. The Hess family remains very stillon the hood of their station wagon as they listen.THE CRACKLING IS GONE. THE VOICE-LIKE SOUNDS ARE CLEAR ANDUPFRONT. THERE ARE TWO DISTINCT TONES IN THE MIX. MORGAN (soft) There's two of them talking.THE VOICE-LIKE SOUNDS ARE NOT WORDS BUT MORE LIKE GRUNTS ANDGURGLING LIKE SOMEONE DROWNING. THE SOUNDS ARE BEING CREATEDBY INHALES, NOT EXHALES. A SEQUENCE OF THESE SOUNDS IN ONETONE IS FOLLOWED BY SILENCE AND THEN THE SECOND TONE BEGINSANOTHER SEQUENCE LIKE A CONVERSATION.Graham struggles to hold Bo up. Bo struggles to keep herarms out. Merrill struggles not to turn his face to theincredible SOUNDS ABOVE HIS HEAD.THE TONES ESCALATE IN VOLUME.Morgan's eyes widen as THE SEQUENCE OF SOUNDS BECOMES SHORTERAND FASTER. THE TONES BECOME HARDER, ANGRIER. THE SILENCESALMOST GONE.THE VOICE-LIKE TONES REACH A LOUD FEVERISH PACE, ALMOSTVIOLENT AND THEN WE HEAR A CLICK AND THEY'RE GONE.Beat. Everyone looks up at the baby monitor. The red lightsare off. ONLY THE BLAND HUM OF NORMAL STATIC COMES FROM IT'SSPEAKER.Beat. MORGAN (soft) They hung up.Graham brings Bo down into his lap. Morgan takes a seat nextto Merrill on the roof. The Hess family sits like mentalpatients on the top of their station wagon. CUT TO:EXT. BACKYARD - EVENINGWE ARE AT THE EDGE OF THE CROPS LOOKING BACK AT THE HOUSE. The LIGHTS are on in the kitchen. We see Graham, Merrill andthe children doing dishes after dinner.The DOG IS BARKING FURIOUSLY.OUR VIEW TURNS TO LOOK AT THE BARN THROUGH THE CROPS. Isabelle, the remaining German Shepherd is tied to a postoutside the barn. The dog whips back and forth frantically. She keeps looking in our direction.WE HEAR A SCREEN DOOR OPEN. WE TURN TO LOOK BACK AT THEHOUSE. Graham steps out the back screen door with a bowl ofdog food and a bowl of water.We watch him as he walks towards the frantic dog. When hegets close, Graham slows. He approaches the dog carefully. He places the two bowls close but not too close. The dog hasno interest in them. She keeps barking and glaring in ourdirection.Graham watches her for a few moments, and THEN TURNS ANDLOOKS DIRECTLY AT US FROM ACROSS THE YARD.WE PULL BACK INTO THE DARKNESS OF THE CROPS. CUT TO:EXT. BARN - EVENINGGraham stands frozen looking across his yard. Isabelle, thedog turns in desperate circles behind him. Graham's eyesstay focused on the same point in the darkness. He talks tono one. GRAHAM You know something? Even entertaining the possibility of this for a minute has been exciting.Beat. Graham starts to move. GRAHAM I can see how people can get carried away with this type of thing.Graham reaches the barbecue area. There's a flashlight onthe picnic table. Graham TURNS THE FLASHLIGHT ON. A NARROWBEAM FALLS ON THE GRASS FIVE FEET AHEAD OF HIM.Graham starts toward the crops. GRAHAM It's a kind of faith. It's an intoxicating thing to believe in something you can't see.THE BEAM OF LIGHT FALLS ON THE WALL OF CORN CROPS LINING THEBACKYARD. Graham steps right up to them. He hesitates andthen steps into the field ofCORN CROPS.We can't see two feet in any direction. Six foot stalks ofcorn line Graham on all sides. THE FLASHLIGHT THROWS AWAVERING BEAM ON THE CROPS AHEAD OF HIM. GRAHAM You were always good at that...THE BEAM OF HIS FLASHLIGHT FINDS A NARROW PATH. Grahamstarts following it. His shoulders brush crops on eitherside. GRAHAM Believing in things you couldn't see. (beat) You would have been the first person on that station wagon wouldn't you? You and Morgan would have been wrestling for that baby monitor.SOMETHING MOVES UP AHEAD.Graham stops. HE SHINES HIS LIGHT DOWN THE PATH. Nothingbut crops disappearing into darkness. GRAHAM It'll be secretly kind of sad for everybody, when this turns out to be -- all just make believe.THERE'S MOVEMENT RIGHT NEXT TO HIM. Graham spins and aimsthe FLASHLIGHT AT THE CROPS TO HIS RIGHT. THE LIGHT ONLYPENETRATES A FEW FEET INTO THE CROPS. GRAHAM (yelling) You're wasting your time here! I'm not going to report this or anything you do to me crops, to the news or TV or anybody! You're not going to get famous!Beat. There is no response. GRAHAM CAN HEAR HIS OWNBREATHING... IT SOUNDS HEAVY, ECHOISH... LIKE THERE'S TWO OFHIM.Beat. Graham holds his breath. THE SOUND OF SOMEONE ELSEBREATHING CONTINUES BEHIND HIM.Graham turns and drops the FLASHLIGHT at the same time. THEBEAM OF LIGHT TURNS OFF WHEN THE FLASHLIGHT HITS THE GROUND.GRAHAM IS IN DARKNESS NOW. HE LOOKS IN THE DIRECTION OF THEBREATHING. BUT CAN'T SEE ANYTHING. HIS OWN BREATHING ISFAST AND LOUD NOW.Graham kneels down and gropes in the darkness. His handssearch over the ground in all directions. They finally touchthe flashlight. Graham quickly fumbles with it to find the"on" button. He does.A BEAM OF LIGHT SHOOTS ACROSS THE GROUND. SOMETHING POWDERYWHITE STANDS FIVE FEET AWAY.It instantly moves into the darkness. Graham tries to getup. He stumbles backwards into the crops. He's tangled incrops as he struggles to rise. He gets up and startsrunning.Leaves and stalks slap him from all directions. He panics. He doesn't know where he is. THERE IS SOMETHING COMINGBEHIND HIM.Graham makes a sudden right turn. He puts his hands in frontof him to protect his face and eyes. He's running as fast ashe can. HE HEARS STALKS OF CORN BREAKING BEHIND HIM.Another sudden turn, this time left. Graham emerges into hisBACKYARD.Graham keeps running across the yard. ISABELLE BARKSFRANTICALLY.When Graham reaches the porch stairs, he stops and turns.There is no one behind him. The wall of crops fifty feetaway sway in the gentle night breeze.Graham gains control of his breathing. He turns and walks tothe screen door, slowing his breathing down with each step. CUT TO:INT. KITCHEN - EVENINGGraham steps into the kitchen. His hair is messed. Hisshirt has a few leaves from corn stalks stuck to it. Helocks the back door.The children don't notice his presence. They're splashingeach other at the sink as they clean the dinner dishes.Graham looks through the kitchen doorway to the family room. He sees Merrill there.Merrill's hands are in his pockets as he stares at the WOODENBASEBALL BAT mounted above the fireplace. Merrill doesn'tnotice him either.Graham takes two steps to the kitchen table and slowly takesa seat. His breathing is a slow controlled pant. He runsone shaky hand through his hair as he gathers himself andthinks. His kind eyes stare down at the ground as he slowshis mind. Beat.Merrill is the first to notice him. He moves from where thebaseball bat is hung, into the kitchen. As he passes thechildren at the sink, he turns off the faucet.The children stop playing and look up to Merrill. Theyfollow his stare to the kitchen table.Beat. Graham looks up at them. GRAHAM (soft) Okay. (beat) Let's turn on the TV. CUT TO:INT. FAMILY ROOM - EVENINGTHE TV GOES ON WITH A CLICK. THE SCREEN BLOWS WHITE AND THENIMMEDIATELY DARKNESS. OUTLINES AND SHAPES EMERGE.THE SOUND POPS ON. TV REPORTER -- first appeared fifty two minutes ago.THE SCREEN FILLS WITH CRISP BLACKS. WE ARE WATCHING VIDEO OFA NIGHT SKY OVER A DENSE CITY. THE THOUSAND LIGHTS OF THECITY FILL THE BOTTOM OF THE SHAKING IMAGE.ANOTHER SET OF LIGHTS DOT THE SKY ABOVE THE CITY. THEY AREARRANGED IN TWO "V'S" SIDE BY SIDE.Bo puts her finger to the screen and counts the hoveringlights. BO Fourteen.Morgan, Merrill and Graham stand silently before thetelevision set. TV ANCHOR Mexico City officials as well as U.S. officials have confirmed that these are not air crafts from either government's airforce. The first sighting was made by an Air Mexico 747 en route from Mazatlan to New York as the unidentified crafts entered Mexico City air space. They were not detected by radar by either country.Beat. MERRILL The crazies were right.Beat. Everyone just watches the fourteen lights hovering onthe screen. MORGAN We have to tape this...Morgan reaches into the pile of video tapes under thetelevision stand. He grabs one.Bo snatches the video as Morgan tries to put it into the VCR. BO My ballet recital.Morgan stares at his sister. MORGAN (gravely serious) Listen Bo. This is very important. Everything people have written about in science books is going to change. The history of the world's future is on the TV right now. We need to record this so you can show your children this tape and say you were there... (beat) For your children Bo. BO My ballet recital. MORGAN Dad!Graham doesn't take his eyes off the screen. GRAHAM (preoccupied) Find another tape.Graham and Merrill sit down at the same time on the sofa. They both have the same dazed, slow movements.Morgan rummages through the pile of videos frantically. Hefinds one and reaches for the VCR. MORGAN Uncle Merrill, I'm using your tape.Morgan slams the tape marked "Bay Watch" into the VCR andpresses record. He's breathing heavy now. Wheezingactually.Morgan moves to the sofa and takes a seat in between hisfather and his uncle. Bo walks over and squeezes in also. The four of them stare at the television. TV ANCHOR ... You're seeing a live feed from our NBC affiliate down in Mexico City. The time there is 7:17pm. This image has not been adjusted or enhanced in any way. What you're seeing is real. (beat) Everything they wrote in science books is about to change.Beat. MORGAN (soft) Told you.Morgan brings his asthma spray to his mouth and inhales. DISSOLVE TO:INT. FAMILY ROOM - MIDNIGHTThe family room lights are off now. The TV is still on. TheSOUND IS MUTED. There are a couple glasses of Bo's water onthe television now.The fourteen lights are still hovering on the screen. Morganis asleep on Graham's lap. Bo is asleep on Merrill'sshoulder. MERRILL (whispers) Some people are probably thinking this is the end of the world.Graham turns his sleepy eyes away from the screen to Merrill. GRAHAM (whispers) That's true.Merrill looks his brother in the eyes. Beat. MERRILL (whispers) Do you think it's a possibility? GRAHAM (whispers) Yes. MERRILL (whispers) How can you say that? GRAHAM (whispers) That wasn't the answer you wanted? MERRILL (whispers) Can you at least pretend to be like you used to be? Give me some comfort?Beat. Graham thinks it over. GRAHAM (whispers) ... There are all different ways you can tell that there's someone really there watching out for us. You see signs. Sometimes they're little ones. You think of someone. The phone rings. They're on the phone... Sometimes they're big, like fourteen lights hovering over Mexico City. (beat) Sure, there are a lot of people watching this who think this could be a bad thing. But there are a lot of people watching this, who think it's a miracle. A sign of God's existence. It's all in how you look at things Merrill. (beat) What you have to decide is what kind of person you are? Are you the type who believes in miracles and looks for signs or are you the kind who believes, things just happen by chance?Beat. Merrill is deep in thought. MERRILL I was at this party once. I'm on a couch with Sara Mckinney. She was just sitting there, looking beautiful and staring at me. I go to lean in and kiss her and I realize I have gum in my mouth. I turn and take out the gum. Stuff it in my paper cup next to the sofa and turn around. Sara Mckinney throws up all over herself. (beat) I knew the second it happened. It was a miracle. I could have been kissing her when she threw up. That would have scarred me for life. I may never have recovered.Merrill looks at the TV screen. Beat. MERRILL I'm a miracle man. Those lights are a miracle.Graham smiles. GRAHAM (whispers) There you go.Beat. MERRILL (whispers) So which type are you?Beat. GRAHAM (whispers) Do you feel comforted? MERRILL (whispers) Yes. GRAHAM (whispers) What does it matter then?The two of them turn back to the silent screen of thetelevision. It's a long beat before Graham speaks. GRAHAM (whispers) Do you know what Colleen's last words were before they killed her?Beat. Merrill turns and stares quietly at his brother. GRAHAM (whispers) She said, "See", and then her eyes glazed a bit and she said... "Tell Merrill to swing away."Merrill's mouth opens a bit. Graham turns and chuckles athis expression. GRAHAM (whispers) Do you know why she said that?Merrill nods, "No." GRAHAM (whispers) Because the nerve endings in her brain were firing as she died, and some random memory of us at one of your baseball games popped into her head. (beat) There is no one watching out for us Merrill. We're all on our own.Graham turns back to the television. Beat.THE LIGHT OF THE TELEVISION FLICKERS ON THE FACES OF THE TWOBROTHERS AS THEY SIT WATCHING IN SILENCE. CUT TO:INT. FAMILY ROOM - DAYGraham's eyes open. DAYLIGHT FILLS the family room. He isalone on the couch. Alone in the room.He looks to the television. It's not there.Graham moves to his feet and look around the room. His eyesstop on an EXTENSION CORD that runs from a wall outlet in thefamily room, across the front hall, and under a closet door.Graham moves to the door. WE HEAR MUFFLED TELEVISION VOICES. Graham opens theCLOSET.Merrill looks up. He's seated on a kitchen chair with thetelevision on a roll-away stand crammed in with him. MERRILL For the kids protection. All they were doing was watching TV from five a.m. I felt like they were getting obsessed like you said. They should be playing furry, furry rabbit or tea party or something right? GRAHAM What's furry, furry rabbit? MERRILL (points) That's a game isn't it? (beat) Anyway... (points at the TV) There's been some interesting developments. GRAHAM What time is it? MERRILL Eleven a.m. They're gone.Beat. Graham looks at the TV screen. There's a daylightshot of Mexico City. The skies are empty above it. MERRILL But they're not really gone. We just can't see them. Early this morning a bird flew right at the area where the lights were hovering last night.Merrill puts a finger in the sky on the screen. MERRILL It stopped dead in the air and fell straight down.Merrill's finger trails to the bottom of the screen. MERRILL They caught it on tape and they've been playing it all morning. They found the bird. His head crushed in. When you see the footage it looks like the bird flew into a wall in the sky. (beat) They think they have some invisible shield thing going, like an optical illusion. GRAHAM The bird could have had a heart attack and crushed his head when he fell. MERRILL Already thought of. Two other birds did the same thing an hour later. Not as dramatic. They lived. But you could see they hit something.Graham looks at the empty sky on the screen with differenteyes. MERRILL They're still there hovering. In fact, some people think there's more of them now. All over the place. Over us even. (beat) And there's a theory about the crop circles now. They think it could be some kind of landmark, visual mapping system -- so they can navigate. Coordinate. Makes sense doesn't it? CUT TO:INT. MASTER BEDROOM - DAYWe are inside Graham's bedroom facing his bathroom door,which is closed. The same sun-faded outline of where a largecross used to hang, is stained on the wall next to the door.Graham opens the bathroom door and steps out with wet hair. He towels it dry as he moves to his bedroom window.WE LOOK OUT THE SAME WINDOW WE LOOKED OUT AT THE VERYBEGINNING.The backyard is large and green with a wooden jungle gym. Asingle tree throws shade onto a picnic table. The back ofthe yard is lined by corn crops. Golden and brown. Six feethigh.The crops go on well beyond our view. Graham stares at themquietly. Watching.Beat. THE SOUND OF WHISPERING DRAWS HIS ATTENTION FROM THEWINDOW.He listens closely. HIS CHILDREN ARE WHISPERING IN THE NEXTROOM. CUT TO:INT. CHILDREN'S BEDROOM - DAYGraham walks into the hall and looks in their room.Morgan and Bo are seated on the edge of their bed. They haveTIN FOIL wrapped around their heads like a helmet. Grahamstares at his children. MORGAN So the aliens can't read our minds. GRAHAM Oh. MORGAN They tell you everything in this book.Morgan holds up the book he bought from Nathan's bookstore.Graham enters the room. The children make space for him onthe bed. He takes a seat between them. Morgan puts the bookon his father's lap. MORGAN It says they're probably very small -- like my height -- because, as their brains developed, there was no use for physical development. It says they're probably vegetarians, because they would have realized the benefits of such a diet. GRAHAM Who wrote this book?Graham looks on the back cover for a picture. There's nonethere. MORGAN Scientists who have been persecuted for their beliefs. GRAHAM That means they're unemployed.Morgan closes the book. MORGAN Dad, are you going to be serious?Bo points at the book. BO Yeah, serious.Graham looks at his two children with foil on their heads. GRAHAM I don't know what got into me.Beat. Morgan puts the book on his father's lap. MORGAN There are pictures.Beat. Morgan opens the tome. MORGAN Dr. Bimboo, one of the authors of the book -- GRAHAM Bimboo? MORGAN Dad. GRAHAM I just asked his name. MERRILL You had a tone.Beat. Graham acknowledges with a nod that he did have atone. MORGAN He says there are two reasons why Extraterrestrials would visit us.Morgan turns the page. MORGAN To make contact in the spirit of exploration and furthering the knowledge of the universe.Graham looks at an illustration of a small, bulbous headedfigure shaking hands with a bearded human. MORGAN Or the other reason... They're hostile. They've used up the resources on their planet and are looking to harvest our planet next.Morgan turns the page. There is a picture of a house. Aspace ship is hovering over the home shooting laser beams atit. Beat. GRAHAM Looks a little like our house doesn't it?Morgan and Bo lean in closer to look at the picture. Beat. BO The same windows. MORGAN (soft) That's weird.The three of them study the picture of the house. It's onfire. Their eyes move to the front yard. There are threebodies lying dead on the front lawn. Two are children.THE PHONE RINGS.The children SCREAM and cling to their father. THEIR SCREAMSDIE DOWN. The PHONE RINGS again. Graham gets up. He closesthe book. GRAHAM That's enough from Dr. Bimboo for now. Everybody in this house needs to calm down and eat some fruit or something.Graham steps out into the hallway. He tucks the book underhis arm and picks up the phone. PHONE VOICE Father.THROUGH THE PHONE WE HEAR SUDDEN SCUFFLING, A CHAIR SQUEALAGAINST THE FLOOR and then the phone disconnects. GRAHAM Hello?NOTHING BUT DEAD AIR. Graham looks at the receiver and thenslowly hangs it up.Graham walks down the hall to a small window.The window looks down the driveway and out onto the road. Graham stares into the distance. About a half-mile away wesee the TIP OF A HOUSE. Graham gazes at it for a beat. CUT TO:INT. FRONT HALL - DAYGraham comes down the stairs with his overcoat on. He movesto the closet door and knocks on it before opening it.Merrill looks up from the television. GRAHAM I'm going out for a few minutes. No one leaves this house. No one.Merrill nods. MERRILL Where are you going? GRAHAM Ray Reddy's house.Graham starts down the hall. Merrill steps out of the closetfor the first time. He looks down the hall shocked. MERRILL Why?Graham unlocks the front door. GRAHAM I think he just called here. CUT TO:INT. CHILDREN'S BEDROOM - DAYBLUE SKY -- OUR VIEW MOVES OVER CLOUDS. WE ARE LOOKINGTHROUGH SOME KIND OF LENS. BO (O.S.) You don't think something bad will happen do you Morgan?Morgan pulls his eye away from the telescope that is set upon the window seat in his room. MORGAN Why, you got one of your feeling again?Bo nods, "Yes." MORGAN Is it bad?Bo nods, "Yes" slowly. MORGAN If it does, I won't let anything bad happen to you.Bo hugs Morgan tight. BO (soft) I don't want you to die. MORGAN Who said I was going to die?Bo keeps hugging Morgan. MORGAN Who said I was going to die?Beat. Morgan peels Bo's arms off of him. MORGAN Come on Bo. I need to keep a look out.Bo lets go. Morgan puts his eye to the eyepiece of thetelescope. CUT TO:EXT. REDDY HOUSE - DAYA mailbox reads "R. Reddy."There is a gray and white house at the end of the quartermile driveway. We saw the roof of this house from the Hesshallway window.Graham stands at the front door and RINGS THE DOORBELL AGAIN.Beat. Graham tries to look inside. Curtains block his view.Graham walks around the porch. Turns the corner of thehouse. He looks in a side window.THE VIEW THROUGH THE WINDOW IS OF A KITCHEN. THE KITCHENCHAIRS ARE ON THEIR SIDE. THE KITCHEN TABLE ITSELF, ISUPSIDE DOWN, LEANING AGAINST A CLOSED DOOR. THE ROOM ISTOTALLY WRECKED.Graham stands straight up. He looks around nervously. Hetakes two steps back towards the front of the house and thesafety of his station wagon before he notices the GREEN TRUCKparked to the side of the house.There is someone sitting in it. CUT TO:EXT. REDDY DRIVEWAY - DAYThe passenger side window of the truck is open. Graham stepsup to it and looks inside. The thin man with the leatherjacket, we saw in town, sits behind the wheel. He stares outthe windshield. He is covered in sweat. GRAHAM Hello Ray.RAY REDDY doesn't look over. Doesn't react. Keeps staring.Ray clutches the steering wheel tightly, turning his knucklesa yellow white.Graham glances to the backseat of the truck. There are twolarge bags over flowing with clothes.Graham's eyes gently move back to Ray and drift down to theTWO BLOOD STAINED AREA ON HIS SHIRT. Beat. GRAHAM What happened Ray?Beat. Ray doesn't look over when he speaks. RAY I wrote your number down to call you. It's been sitting next to the phone for six months. When I knew it was inside the house, I couldn't think of any other number to call. I panicked. (beat) Thank you for coming Father. GRAHAM (soft) You're welcome Ray.Tears start falling down Ray's face. RAY I worked so long that night. I ain't never fallen asleep driving before. And never since. Most of the ride home, there wasn't a car insight in either direction. If I'd fallen asleep then, I'd a ended up in a ditch with a head ache. It had to happen at that right moment. That certain ten-fifteen seconds when I passed her walking. It was like it was meant to be.Ray finally turns. His red face quivers as he talks. RAY I guess if this is the end of the world, I'm screwed right? People who kill Reverends' wives aren't exactly ushered to the front of the line in heaven.Ray starts the car. GRAHAM Where you going Ray? RAY To the lake. The way I see it, all the places marked in the crops and such -- none of them are really near water. I figure they don't like water. (beat) Can't be any worse than here.Beat. GRAHAM Ray, did you see one of them?Ray looks at Graham. RAY I'm truly sorry for what I've done to you and yours.The two men stare at each other for a beat. Ray looks away. He puts the car in drive. RAY And don't open my pantry Father. I locked one of them in there.Graham steps away as the truck moves forward and pulls downthe driveway. CUT TO:INT. CLOSET - DAYMerrill's head is leaned against a bunch of winter coats. His eyes are closed. TV ANCHOR ... The startling footage we're about to show you was photographed by a forty-two year old Romero Valadares.Merrill's eyes open. TV ANCHOR This video was taken yesterday afternoon at his son's seventh birthday, in the city of Passo Fundo, Brazil. It was sent to the local news bureau there and satellited to us a few minutes ago. All initial opinions are; this is genuine.THE TELEVISION ANCHOR APPEARS FLUSTERED. TV ANCHOR What you are about to see, may disturb you.Merrill sits up in his chair.THE PICTURE OF THE ANCHORMAN IS REPLACED BY A HANDHELD VIDEOIMAGE ON THE TV SCREEN. THE IMAGE IS OF A FAMILY ROOM WHEREA BUNCH OF CHILDREN IN DRESS CLOTHES CROWD AROUND A SLIDINGGLASS WINDOW.THE CHILDREN ARE SPEAKING PORTUGUESE EXCITEDLY. THEY LOOK ATTHE CAMERA AND POINT TO THE OUTSIDE THROUGH THE GLASS DOORS.THE HANDHELD IMAGE MOVES OVER THEIR SHOULDERS TO LOOK OUTTHROUGH THE GLASS INTO A CRAMPED BACKYARD. THERE IS ARECTANGULAR TABLE WITH PARTY DECORATIONS AND AN UNTOUCHEDBIRTHDAY CAKE ON IT. COLORFUL BALLOONS FLOAT AROUND THEBACKYARD. THERE IS NO ONE OUTSIDE.THE IMAGES PANS AROUND THE DENSE FOLIAGE THAT FORMS A WALLAROUND THE YARD. THE IMAGE ZOOMS AND SEARCHES IN THEDARKNESS OF THE BRANCHES.The chair in the closet CREAKS as Merrill leans forward alittle towards the television screen.WE HEAR A BURST OF PORTUGUESE. THE IMAGE PANS AWAY FROM THEGLASS DOORS BACK INTO THE HOME. WE LOOK DOWN A NARROW HALLTO THE KITCHEN. A BOY WITH A BIRTHDAY HAT IS SEATED ON THEKITCHEN COUNTER, POINTING FRANTICALLY OUT THE KITCHEN WINDOW. HE YELLS IN PORTUGUESE.THE CROWD OF CHILDREN AROUND THE GLASS DOORS START RUSHINGINTO THE KITCHEN. THEY ARE JOINED BY A FEW ADULTS. THEIMAGE FOLLOWS THEM IN.THE KITCHEN WINDOW IS BLOCKED BY HEADS WHEN WE FIRST ARRIVE. MERRILL Move children! Vamonos!THE IMAGE FINDS AN OPENING OVER THE SHOULDER OF THE BOY WITHTHE BIRTHDAY HAT AND ANOTHER CHILD.WE ARE NOW LOOKING OUT THE KITCHEN WINDOW. WE SEE A NARROWALLEY ONLY A FEW FEET WIDE CREATED BY A STONE WALL AND ASMALL GARAGE BUILDING. ON THE OTHER SIDE OF THE WALL ISDENSE FOLIAGE. THE WALL ENDS A FEW FEET AFTER THE GARAGEBUILDING.WE HEAR THE CHILD'S VOICE VERY CLOSE TO US SPEAKING INPORTUGUESE. THE CAMERA PANS JUST A LITTLE AS THE FACE OF THELITTLE BIRTHDAY BOY FILLS THE SCREEN. HE TALKS EXCITEDLYDIRECTLY AT US AND AT SOMEONE BEHIND THE IMAGE. BOY WITH HAT Esta atras da garagem! Esta atras de ai! Is behind!THE BOY GESTURES TO THE GARAGE BUILDING. THE IMAGE SETTLESBACK ON THE WINDOW. WE STARE AT THE NARROW ALLEY. THE IMAGEZOOMS A BIT. SEARCHES THE EDGE OF THE GARAGE BUILDING. THEIMAGE STARTS WIDENING OUT.AND THEN WE SEE IT.THE KITCHEN ERUPTS WITH CHILDREN'S SCREAMS AS A LARGE NON-HUMAN FIGURE MOVES FROM THE GARAGE BUILDING TO BEHIND THEWALL. IT'S OUT OF SIGHT IN LESS THAN A SECOND.Merrill is frozen like a statue. His mouth is open a little. The closet FILLS WITH THE PANDEMONIA OF THE KITCHEN ON THEVIDEO.THE VIDEO IMAGE ON THE NEWS, PAUSES. BEAT. WE SEE ITREWIND. WE SEE THE FIGURE ZIP BACK BEHIND THE GARAGE IN AFLICKER. THE VIDEO STOPS. PLAYS AGAIN.THE IMAGE ZOOMS A BIT. SEARCHES THE EDGE OF THE GARAGEBUILDING. STARTS TO WIDEN OUT. THE KITCHEN STARTS TO FILLWITH SCREAMS AS THE FIGURE APPEARS... THE IMAGE FREEZES.THE NEWS HAS PAUSED THE VIDEOTAPE ON THE EXACT MOMENT THENON-HUMAN FIGURE IS VISIBLE. IT'S HALFWAY ACROSS THE ALLEY.IT'S MOTION HAS BLURRED IT, BUT YOU CAN TELL ITS SHAPE NOW.Merrill Hess stares stunned at the IMAGE OF AN UPRIGHT ANIMALLIKE CREATURE. THE STRIATIONS ALL OVER ITS BODY LOOK LIKEBRANCHES. EXACTLY LIKE BRANCHES. THEY MATCH THE BUSHESWHERE IT WAS HIDING, PERFECTLY. CUT TO:INT. KITCHEN - DAYThe door swings open slowly. Graham steps into Ray Reddy'skitchen.Cabinets are open. Dishes are broken. Chairs are turnedover. The faucet is running full blast.Graham's eyes move across the room. The kitchen table isupside down and leaned up against the pantry door.THE SOUND OF A GLASS JAR BREAKING ON THE GROUND CAN BE HEARDINSIDE THE PANTRY.Graham takes a few conservative steps to the middle of thekitchen.He leans a little bit and listens. From behind the pantrydoor WE HEAR THE SOUND OF BREATHING. THERE ARE QUIETMOVEMENT SOUNDS. THE SOFT SOUND OF GLASS BEING CRUSHED ASIT'S BEING WALKED ON.Graham can almost see the bottom of the door around theleaning table. Graham stands up straight and thinks it over. Beat.Graham takes two small steps closer.When he leans, he can now see the entire bottom of the pantrydoor. THERE IS LIGHT LEAKING OUT FROM BENEATH IT. THERE ISSHADOW BEING THROWN FROM INSIDE THE PANTRY. THE SHADOW MOVESBACK AND FORTH UNDER THE DOOR. GRAHAM Hello.THE SHADOW STOPS MOVING.Beat. GRAHAM (loud) The police are here... I am with them... I am a police officer. (beat) I just want to talk to you.SILENCE. There is no movement from the pantry. Beat. GRAHAM (loud) We know all about the hoax. We already took some of your friends downtown in the paddy wagon. (mouths to himself) Paddy wagon?THE ONLY SOUND IN THE KITCHEN IS THE SOUND OF THE FAUCETRUNNING. Graham waits for a reply, but none comes. GRAHAM If you tell us your name and why you did it, we'll give you the same deal we gave the others. Don't throw away your life son.Beat.Graham bends down where he stands. He puts his head near thewood floor. He tries to look under the door. All he can seeare the bottoms of a couple shelves in the corner of thepantry. He's at too severe an angle.Graham sits up. He's only four feet away from the pantrydoor. He looks around not knowing what to do. His eyes fallon a bunch of kitchen knives that have spilled from a draweronto the floor.He takes a butcher knife from the group and moves closer tothe door. Beat. He reaches with the butcher knifeunderneath the slanted kitchen table. He uses the knife likea mirror to see under the door. Graham watches the SOFTREFLECTION IN THE FLAT STAINLESS STEEL SURFACE OF THE BLADE. WE CAN MAKE OUT BROKEN GLASS AND RIPPED OPEN PACKETS OF RICEAND CEREAL ON THE GROUND. THERE ARE POCKETS OF SHADOWS WECAN'T SEE INTO.Graham pulls the knife out. He sits there kneeling two feetfrom the door. Beat.He takes a deep breath and starts to lower his head under theslanted table.He stops halfway down. He loses his nerve and sits up. Herises to his feet as he places the butcher knife on thecounter. Graham starts walking across the kitchen. He getsto the door. Puts his hand on the doorknob.He stays like that for a long time. Beat.Graham lets go of the doorknob -- He turns and walks quicklyacross the kitchen -- He picks up the butcher knife -- Hekneels down next to the pantry -- He ducks his head under theslanted kitchen table -- He places his cheek to the floor,only inches from the bottom of the door, and looks into thepantry.There is broken glass and rice throughout the wooden floor ofthe pantry. Nothing else.Graham stares at his VIEW OF THE FLOOR. Something's wrong. Parts of it feel like a painting. THE PAINTING MOVES.TWO BLACK EYES OPEN -- SEEMINGLY SUSPENDED IN THE MIDDLE OFTHE ROOM. THEY ARE SIDEWAYS. THEY LOOK AT GRAHAM.GRAHAM YELLS. HE JOLTS UP. HIS HEAD HITS THE SLANTED TABLEHARD.FOUR LONG FINGERS AND CLAWS, THE EXACT COLOR OF THE WOODENFLOOR REACH OUT AND MISS HIS FACE BY A FRACTION OF AN INCH.GRAHAM REACTS. THE BUTCHER KNIFE COMES DOWN FAST AND HARD ONTHE PROTRUDING WOOD COLORED FINGERS. SLAM!WE HEAR AN UNBEARABLY HIGH-PITCHED INHALE SOUND FROM INSIDETHE PANTRY. CUT TO:EXT. STATION WAGON - DAYThe station wagon knocks over the "Ray Reddy" mailbox as itturns sharply onto the road.Graham picks up speed as he passes the wall of crops on hisright.THE STATION WAGON SUDDENLY BRAKES.Two black skid marks form on the road as the station wagoncomes to a fast stop.Beat. Graham gets out of the car. He walks a few feet aheadof the station wagon. He bends down in the middle of theroad.A BIRD lays limp on the asphalt. Its head is crushed.Graham gazes at the still pile of feathers. Beat.Graham turns and looks straight up at the BLUE, CLOUDLESS SKYabove him. GRAHAM (soft) Douche bag. CUT TO:INT. HESS FAMILY ROOM - DAYGraham enters his front hall. He closes the door and locksit behind him. He turns and looks into the family room.Morgan and Bo and Merrill are seated together on the sofa. All three are wearing foil helmets. Beat. MERRILL They're skin changes color. That's why we couldn't see him that night.Graham stares at his family huddled on the couch. Beat. Graham takes in the news as he moves to the stairs. He takesa seat on the second to last step.He sits obscured by the balusters. Beat. GRAHAM Tell me something Morgan. In that book of your, did they happen to detail what would happen if they were hostile? MORGAN Yes. They would invade us using only ground tactics. Hand to hand combat. They wouldn't use their technology or fight an airborne battle, because they would know we would eventually use nuclear weapons and the planet would be useless to them. MERRILL I'm sorry, what book is this? GRAHAM Did they say what our chances would be if they did invade? MORGAN They said one of two things could happen. One, they fight and are defeated and leave to return again with full forces hundreds or even thousands of years later. GRAHAM What's two? MORGAN They win.The words hang in the air. Graham sits quietly on the secondstep of the stairs. GRAHAM What do you think about the idea that they don't like places near water, and we might be safe from them near a lake or something? MORGAN Sounds made up.Beat. GRAHAM We can choose to believe it and pack up and leave. (beat) Or we can stay here. Board up this house. Hide inside our home and wait it out. Either way, at least we'll be together. (beat) All those in favor of the lake, raise your hand.No one raises their hand. GRAHAM All those in favor of home, raise your hand.All four put their hands in the air. Beat. They lower themand sit in silence. MERRILL How do we know boards will do anything?Beat. GRAHAM (soft) Because, they seem to have trouble with pantry doors. CUT TO:EXT. HESS HOUSE - AFTERNOONWE ARE WATCHING THE HOUSE FROM THE CROPS. We see Grahaminside the house, closing the window shutters in one roomafter another.WE SEE a stack of wooden boards on the porch.OUR VIEW MOVES to the barn where Isabelle is tied. She isnot pacing. She is not barking. She sits staring right atus. She is shivering.OUR VIEW MOVES to the garage building where we see Merrillcarry a huge pile of his clothes and things down the stairs. He's moving into the main house.Merrill walks across the yard. His eyes look aroundcarefully as he moves.Part of the pile in his arms falls to the grass as he crossesthe lawn. He stops walking and starts to gather up thefallen things. He picks up a couple shirts and two baseballsencased in glass cases.The glass encasing one of the souvenir baseballs, hascracked. He takes the ball out. Stares at it.We watch from the crops as Merrill puts down his pile ofclothes and things on the grass. He looks around and findswhat he's looking for. A rake.Merrill unscrews the fork on the rake from the wooden handle. With the wooden stick in one hand and the souvenir baseballin the other, he turns to face the crops.WE PULL BACK A LITTLE INTO THE CROPS. PART OF OUR VIEW ISOBSCURED BY STALKS, BUT WE STILL SEE MERRILL CLEARLY.Merrill looks around cautiously again, before getting into abatter's stance. His left leg digs into the grass in frontof him. His weight is mostly on his back leg. He looks outinto the distance high over the crops. He throws thebaseball up in the air...Merrill grabs the wooden handle. Merrill's shoulders movewith blinding speed. The wooden rake handle slices the air. And misses the ball.The ball drops at Merrill's feet.WE WATCH as Merrill picks up the ball and tries again. Thistime his shoulders move even faster. The wooden stickactually makes A RESONANT SOUND as it cuts the air.The ball drops at Merrill's feet.WE WATCH THROUGH THE CROPS as Merrill snatches the ball upand tries a third time. This time he YELLS as he swings. Herips the air with the wooden stick so fast it blurs to theeye.The baseball drops at his feet. Strike three.Merrill stands still in the yard. He's breathing a littleheavy as he stares down at the ball.He gently picks it up. He walks back to his pile of thingsand then suddenly turns. He throws the ball in the air as hedoes. His left leg goes out. His weight goes to his rightleg as he turns his shoulders with astonishing speed andpower...THE SOUND OF THE BASEBALL HITTING THE WOODEN HANDLE CRACKSACROSS THE WHOLE YARD.The ball rockets into the air. We watch it fly overhead...sail high over the crops... it becomes a tiny dot in the sky.After a long beat of silence it comes back to earth. Itlands in the street and bounces twenty feet into the air. Itcleared at least four or five hundred feet of crops. Maybemore.WE LOOK BACK to Merrill standing in the backyard. He dropsthe wooden stick to the grass and moves for his things. Hepiles them in his arms. When his arms are full, he startsfor the porch. WE WATCH FROM THE CROPS AS MERRILL GOESINSIDE THE HOUSE. CUT TO:INT. CLOSET - LATE AFTERNOONMorgan and Bo are seated on the kitchen chair in the closet. MORGAN Come quick!THE FLICKER OF THE TELEVISION FALLS ON THE CHILDREN'S FACES.WE HEAR MERRILL AND GRAHAM COMING DOWN THE HALLWAY BEFORE WESEE THEM.They appear almost at the same time in the doorway to thecloset. Graham and Merrill are holding hammers.All four stare at the television.ON THE SCREEN IS A STREET FILLED WITH PEOPLE RUNNING WITHSUITCASES AND BAGS. SOME PEOPLE ARE GETTING TRAMPLED. OTHERS ARE STANDING ON THE STREET CORNER AND YELLING. THEREIS PANIC IN THE AIR. TV ANCHOR Tel Aviv joins Nairobi, Lagos and Jerusalem as the latest to confirm the appearance of lights. There are lights in the skies over an estimated two hundred and seventy four cities. That total could be as high as four hundred within the hour.THE IMAGE ON THE TELEVISION SCREEN CHANGES TO A NIGHT TIMEVIEW OF THE TEL AVIV CITY LINE. THERE ARE FOURTEEN LIGHTS INTWO "V" FORMATIONS OVER THE CITY. GRAHAM They decided to show themselves.Beat. MORGAN They think these look like stages immediately proceeding an attack maneuver. MERRILL It's like War of the Worlds. MORGAN They think it might happen all at once.The words silence everyone. Beat.The image goes back to a quiet TV anchor. He takes a secondbefore starting up again. TV ANCHOR Hundreds of thousands have flocked to synagogues, churches and temples.The television shows hundreds of Israelis in a temple and inthe streets praying.Graham watches quietly as the masses pray side by side. TV ANCHOR Ground forces are being assembled in countries throughout the globe... GRAHAM I'm going to get back to the windows.Bo watches as Graham leaves the doorway of the closet. Sheturns back to the television.Beat. Merrill leans down between his niece and nephew. MERRILL (whispers) You guys okay?They don't answer. They watch the soldiers loading up ontotrucks on the television. MORGAN Some guy had a sign that said it was the end of the world. (beat) Nothing really bad is going to happen, is it Uncle Merrill? MERRILL Don't worry.Morgan glances at Bo and then back to his uncle. MORGAN You sure right?Beat. Merrill gazes at the two questioning faces. He looksback at the empty closet doorway where Graham stood. Heturns back to the children. MERRILL You know about signs Morgan? Not like the ones people write on. It's like if you poured a glass of milk and you dropped the glass by mistake and broke it before you could drink it. Then you looked at the milk carton and saw that the milk was spoiled. They're things that happen by chance or luck, but make you feel that someone's watching out for you.The children think it over. Beat. MORGAN I once had a bad dream and I couldn't wake up. I kicked at the table next to my bed and something fell on me and I woke up. It was a picture of mom. She was smiling. It made me feel safe... You mean like that?Beat. MERRILL Yeah, like that. (beat) I believe in signs Morgan. I think there's someone watching out for us. I got to believe he's going to make sure we're all right in the end. CUT TO:INT. HALLWAY - LATE AFTERNOONMerrill smiles as he steps out of the closet and closes thedoor half-way.He stands in the hall by himself. He takes a couple deepbreaths as everything hits him. CUT TO:INT. CLOSET - LATE AFTERNOONMorgan turns off the television.He and Bo sit quietly in the closet under the stairs. CUT TO:INT. FAMILY ROOM - LATE AFTERNOONGraham sits in a chair by the windows. He has a board on hislap. He has a hammer in his hands. Graham drowns in histhoughts as the skies darken behind him. CUT TO:INT. UPSTAIRS LANDING - EVENINGGraham, Bo and Morgan are seated in the upstairs hallway. There's a couple boards left leaning against the walls.Merrill comes out of the children's room with his tools. MERRILL Too many windows in the bedrooms. We don't have enough boards.Merrill stands and leans against the wall. GRAHAM We'll have to board up the bedroom doors. MORGAN Where are we going to sleep? GRAHAM The family room.Everyone sits quietly for a moment. MORGAN What about Isabelle? GRAHAM We'll keep her in the garage, after dinner.Beat. MERRILL I'll make sandwiches. BO I want spaghetti? MERRILL We should eat fast Bo. GRAHAM Spaghetti sounds great.Merrill glances at Graham. GRAHAM What do you want, Morgan?Beat. MORGAN Anything?Graham nods "yes." MORGAN French toast... and mashed potatoes. GRAHAM Now we're talking. (beat) How about you Merrill?Graham turns and looks at Merrill. They stare at each otherquietly. They have a conversation without words. Beat. MERRILL (soft) Chicken Teriyaki. GRAHAM Good choice... I'm going to have a cheeseburger with bacon. (smiles) Extra bacon. CUT TO:INT. KITCHEN - EVENINGThe windows in the kitchen are boarded up, as is the backdoor.The sink is piled with pots and pans. It seems like everyutensil and dish in the kitchen was used. CUT TO:INT. DINNING ROOM - EVENINGOne side of the dinning room is lined with windows that havebeen boarded up.The table is set. Mash potatoes, spaghetti, French toast,chicken teriyaki and bacon cheeseburgers are all displayedelegantly on serving dishes.The Hess family sits around the table. Beat. The scene issomber. No one is moving. GRAHAM What's the matter with everyone? Eat.No one says anything. No one eats.Beat. MORGAN I'm scared. BO Me too. GRAHAM I don't want to hear anymore talk like that. And I don't want to see anymore faces like the ones I'm looking at. (beat) We are going to enjoy this meal. Nothing can stop us from enjoying this meal! Enjoy!Bo sits next to her three glasses of water and begins to cry. GRAHAM Stop crying! MORGAN Don't yell at her!Morgan's face is hard, but tears start to fall anyway. Graham watches as both his children cry at the table. GRAHAM Fine, if you all don't want to eat, then I'm going to have some of everything.Graham takes big scoops of every dish and piles it on hisplate. He digs his fork into the pile and starts to shove itin his mouth. He swallows. GRAHAM This tastes so great.Bo, Morgan and Merrill watch in stunned silence as Grahamstuffs more in his mouth. He chews and chews and swallowshard. He digs his fork into the pile again.Graham starts crying as he eats. He keeps taking more bites. More tears fall.Morgan gets up from his seat. He goes to Graham's chair. Heleans against his dad's arm and cries with him. Graham'sfork stops moving. He watches as Bo moves from her seat tohis other side. She holds her dad's arm and cries.Beat. Graham pulls them both up onto the chair with him andhugs them tight. Merrill leans forward and comes to the pileon Graham's chair. Merrill buries his head in Graham'sshoulder. The Hess family huddles together at one end of thetable. Beat.THE BABY MONITOR EXPLODES WITH STATIC AND NOISE.Everyone slowly turns and looks over to Morgan's placesetting where the baby monitor sits on the table. THE REDLIGHTS ON THE FRONT ARE ALL LIT UP.Merrill sits up. Graham puts down the children from his lap. He gets up from his seat and moves around the table and outof the dinning room. He moves through the family room andinto the hall.Graham opens the closet door and looks in at the television. He turns it ON.Beat. THE EMERGENCY BROADCAST SYMBOL IS ON THE SCREEN. ALOW TONE EMITS FROM THE TV. Beat. Graham changes stations. THE SYMBOL AND TONE APPEAR ON EVERY CHANNEL. THE MONOTONESOUND FILLS THE CLOSET. Beat.Graham steps out into the hall. Merrill and the two childrenare standing there waiting. Graham looks at them. GRAHAM (soft) It's happening. CUT TO:INT. UPSTAIRS HALL - EVENINGMerrill pounds furiously with his hammer as he nails boardsto the children's bedroom door. The master bedroom door isopen with a board leaning next to it. Graham is inside hisbedroom CUT TO:INT. GRAHAM'S BEDROOM - EVENINGGraham walks to the window next to his bed. It's the sameone we've looked out twice before.Graham looks out onto his backyard. The FLOOD LIGHT FROM THEHOUSE THROWS LONG SHADOWS OVER THE YARD. There is a lightbreeze. Nothing seems wrong.Graham's eyes stay locked on the crops which go on and oninto darkness. He moves closer to the glass. Watches thetop of the corn stalks swaying slightly with the wind.SOMETHING MOVES IN THE DARKNESS.Graham's eyes moves to where the corn crops fade into blackforty feet away. Graham goes very still.LINES EMERGE IN THE CROPS; THE KIND OF LINES MADE BY SOMEONETRAMPLING THROUGH A FIELD. WE CAN'T SEE WHO'S MAKING THEM. ALL WE SEE ARE THE COUNTLESS LINES BEING FORMED. THE LINESMOVE FROM THE DARKNESS TOWARDS THE HOUSE. GRAHAM WATCHESTHEM CLOSE IN ON HIS BACKYARD. THIRTY FEET... TWENTY FEET...TEN...Graham backs away from the window towards the middle of hisbedroom. MERRILL Graham hurry.Graham turns to see Merrill standing with the last board inthe hall. Graham moves out into the hall and shuts thebedroom door behind him. CUT TO:INT. UPSTAIRS HALL - EVENINGMerrill immediately puts the wooden board up and startshammering nails into the frame. Graham picks up his hammerand quietly begins to hammer nails into the wood.Graham glances to his right as he works. Bo and Morgan arestanding together at the top of the stairs. Bo holdsMorgan's hand.Graham keeps hammering as he speaks. GRAHAM Did I ever tell you what everyone said when you were born, Bo?Bo nods "no" lightly. GRAHAM You came out of your momma and you didn't even cry. You just opened your eyes and looked around at everybody. Your eyes were so big and gorgeous, the ladies in the room gasped.Graham stops hammering. Merrill keeps going. GRAHAM They literally gasped. (Graham gasps like them) Then they go, "She's like an angel." They said, "We've never seen a baby so beautiful."Graham smiles to himself as he remembers the moment. Merrillfinishes hammering.Graham goes over and picks up Bo. GRAHAM (soft) And you know what else happened?Bo nods, "no." GRAHAM (soft) When they put you on the table to clean you up, you looked at me and smiled. They say babies that young can't smile... You smiled.Graham looks at his daughter quietly. He brushes the hairout of her face as Merrill moves to Morgan and picks him up.All four turn and look at the three boarded up bedroom doors. Beat. GRAHAM (soft) Let's go down now. CUT TO:INT. FRONT HALL - EVENINGGraham puts Bo down in the hallway. She stands close to him. Merrill puts down Morgan. The four of them stand quietly ina tight group.THEY HEAR FRANTIC BARKING IN THE DISTANCE. MORGAN We forgot about Isabelle.ISABELLE'S BARKING BECOMES DESPERATE AND ANGRY. THEY LISTENAS SHE BARKS NONSTOP FOR TEN SECONDS... AND THEN SUDDENLYSTOPS.THE LOW EMERGENCY TONE FROM THE CLOSET TV FILLS THE SILENCE.Beat. MERRILL (whispers) Should we turn off the lights? GRAHAM (soft) They already know we're here.THE FIRST SOUNDS OF MOVEMENT ARE HEARD OUTSIDE. CREAKS OFWOOD FROM THE FRONT PORCH CAN BE HEARD.THERE IS SOUNDS OF MOVEMENT FROM BEHIND THE LOCKED BACK DOOR.SOUNDS OF MOVEMENT AGAINST THE SIDE OF THE HOUSE. SOUNDSFROM ALL DIRECTIONS.THERE IS SCRATCHING NOISES AGAINST THE FRONT DOOR. METALNOISES AS THE HANDLE IS TRIED. MORGAN (almost inaudible) Dad --THE DOOR CREAKS AS PRESSURE IS PLACED AGAINST IT. GRAHAM Do you know what happened when you were born Morgan?Morgan looks at his father, unable to speak. GRAHAM You came out and your momma kept bleeding. The doctors rushed you out of the room before I could even see you.THERE ARE THUDS ABOVE THEM.All four look up. MERRILL They're on the roof. GRAHAM While they were trying to fix her up, all she kept asking about was you.THEY LISTEN AS THE THUDS INCREASE IN NUMBER.THE FIRST SOUND OF SHATTERING GLASS IS HEARD FROM UPSTAIRS.Merrill looks up the stairs at the boarded bedroom doors. MERRILL They're in the house.Graham takes Morgan's hand. GRAHAM I wanted your momma to see you first. She had dreamed about you her whole life. (beat) They waited till she felt better, then they brought you in. They placed you right in her arms. And she looked at you. And you looked at her. You just stared at each other for the longest time and then she said real soft, "Hello Morgan, I'm you momma, you look just like I dreamed."Graham smiles down at his son who smiles gently back.SCRATCHING NOISES BEGIN TO COME FROM UPSTAIRS.The group of four turns and watches the top of the stairs. The BEDROOM DOOR HANDLES ARE BEING RATTLED.Merrill's eyes moves quietly above the bedroom doors, to theceiling of the upstairs hallway. He stares at a rectangle inthe ceiling. A tiny rope hangs from the rectangle. Beat. MERRILL The attic door.Merrill sprints up the stairs.Morgan and Bo watch as Graham follows after Merrill. CUT TO:INT. UPSTAIRS HALL - EVENINGGraham and Merrill stare up at the ceiling. There ismovement right above them. Dust falls from a ceiling lightright next to them.The rope hanging from the attic trapdoor hangs between them. They watch as it begins to twitch and sway.The springs in the trap door begins to GROAN. The doorstarts to fall open.Merrill and Graham raise their arms above their head andreach up. The door opens a few inches. Merrill is taller. The door presses against his fingers first. It gives a fewmore inches before Merrill stops it.Graham's finger are barely touching it. Merrill's face turnsred with strain as something pushes down on the door. MERRILL This is a very temporary solution.Graham brings his arms down. He sees his children watchingfrom the bottom of the stairs. Graham looks around where heis. There is a very small table with photos against a wall. A laundry closet and three boarded up bedroom doors...nothing else. Graham turns to Merrill. GRAHAM How temporary?Merrill's face is a deep crimson. MERRILL Twenty-two seconds.Graham looks around again... the same things... the sametable... the same closet... Graham stops and stares at thecloset. It has a wooden folding door that opens and closedon a guide rail. The wooden folding door is very tall. Itstop is one foot from the ceiling.Graham goes to the closet and grabs the door. He startsrocking it hard. Pulling it out... It starts to come out ofits guide rail... Graham leans back with all his weight...The thin wooden door rips out of place. One end is stillattached at the hinge. Graham pulls it straight. It reachesinto the middle of the landing. It stands right next toMerrill. Right under the attic trapdoor. Its top is only afew inches lower than Merrill's reach. GRAHAM Let go.Merrill hesitates and then lowers the attic trapdoor. Itconnects with the top of the closet door and stops. Thetrapdoor is now open almost a foot... We can now see part ofthe bottom step of the wooden pull out stairs that lead tothe attic.Merrill and Graham step away as the closet folding door holdsthe weight of the attic door.After a moment, the spring on the attic trapdoor recoils asthe pressure is let up. The trapdoor closes. Beat.It opens with force, slamming the top of the standing closetdoor with a THUD.The attic trapdoor closes again. Opens again with force. THUD.The closet folding door begins to pull away from the hingeskeeping it upright.Graham moves down the stairs. Merrill follows him. CUT TO:INT. FRONT HALL - EVENINGTHE SCRATCHING NOISES FILL THE HOUSE.Morgan and Bo are frozen watching a set of long fingers reachunder the front door. THE COLOR OF THE FINGERS CHANGES -- TOTHE EXACT COLOR AND TEXTURE OF THE YELLOW CRACKED PAINT ONTHE DOOR.THUD. THE TRAPDOOR SLAMS THE TOP OF THE FOLDING DOORUPSTAIRS.Graham and Merrill arrive in the front hall. Graham takesMorgan and Bo by the hand and leads them quickly down thehall. Merrill backs away as he watches the top of thestairs.ANOTHER THUD ECHOES THROUGH THE HOUSE. CUT TO:INT. KITCHEN - EVENINGThe swinging door swings open and closed behind Merrill as heenters the kitchen.Graham has moved the chairs away from the kitchen table andwaits by it. Merrill goes over and the two of them push thetable against the swinging door.They take the kitchen chairs and pile a couple on top, andjam the rest underneath the table.Graham leans against the kitchen counter. Merrill stares atthe pile of furniture. MERRILL This is going to do nothing. GRAHAM We have to go in the basement.Graham points to a set of narrow stairs that lead to adarkened door at the bottom. MERRILL There's no way out of there.Beat. Graham looks at the faces of his frightened children. GRAHAM Did I ever tell you, I dislocated Uncle Merrill's arm?THUD. MERRILL Should we make a run for it out the back? GRAHAM They're right behind the door.Merrill looks at the boarded up back door. Graham turns toBo and Morgan who stand against the wall. GRAHAM He was only a year and half old. MERRILL (to Graham) What are you doing? GRAHAM He was trying to eat a second chocolate bar. Your grandma said, "No." He tried to take a bite, so I grabbed it.THUD WITH A CRACK OF WOOD FROM UPSTAIRS. Merrill turns andstares at the barricaded entrance to the kitchen. GRAHAM I must have pulled his arm at an awkward angle. His elbow popped right out of the socket.THE LAST THUD COMES WITH A SOUND OF WOOD SPLINTERING. THECLOSET FOLDING DOOR CRASHES TO THE GROUND IN THE UPSTAIRSHALL.WE HEAR CREAKS AS THE ATTIC TRAPDOOR OPENS. GRAHAM He didn't scream or anything. His arm just flopped to his side and he got real still. MERRILL They're coming.Graham moves towards the basement stairs. GRAHAM I held him in my lap in the back seat as we drove to the hospital. I couldn't stop crying... We need to go into the basement now.Graham gestures for the kids to come to the stairs. Morganand Bo move to their father slowly. GRAHAM You know what your Uncle Merrill did right after the doctor put his arm back in place? He jumped off the table and gave me a hug. He had already forgotten that I was the one who hurt him.Graham ushers the two children down the stairs. He waits forMerrill. Merrill turns from the kitchen door and walkstoward him. Merrill stops and looks down the stairs. MERRILL We won't be able to get out of there. GRAHAM I'm sorry I hurt your arm.Beat. Merrill's eyes fill with water. He doesn't look up athis older brother. MERRILL I know.Merrill walks down the stairs. Graham waits at the top. Hewatches the kitchen door with the table and chairs againstit. Beat.THERE IS MOVEMENT OUTSIDE IN THE HALL.The door starts to force its way open. THE TABLE AND CHAIRSBEGIN TO SCRAPE ACROSS THE KITCHEN FLOOR LIKE NAILS AGAINST ACHALK BOARD.WE HEAR VOICE-LIKE SOUNDS ENTER THE KITCHEN. SOUNDS MADEFROM INHALES, NOT EXHALES. CUT TO:INT. BASEMENT - EVENINGGraham comes down the last few steps and enters the basement. MORGAN We forgot our foil helmets!Graham closes the door behind him. It has no lock. GRAHAM We need something to wedge against the doorknob.The basement is lined with metal shelves. The shelves arecluttered with all sorts of canned goods, extension cords,cleaning supplies, decorations, outdoor tools. Merrillrummages through the shelves frantically. MORGAN They'll read our minds! GRAHAM You're scaring your sister. BO I'm already scared.Graham puts his ear to the door and listens. GRAHAM Merrill -- MERRILL I'm looking!Merrill moves to another set of shelves. He starts knockingthings to the ground. MORGAN (to himself) They'll know our secret thoughts.There is SCRATCHING AGAINST THE DOOR. The doorknob turns. Graham grabs it with both hands. The door begins to pushopen. GRAHAM Merrill! MERRILL Got it!Merrill reaches between two stacks of shelves and pulls out apick for digging in the ground. He holds it up in the air. It has a three-foot wooden handle.Merrill turns and rushes in Graham's direction.A single light bulb hangs from a wire in the ceiling. It isthe only light in the room. Merrill CLIPS THE LIGHT BULBwith the end of the wooden handle as he crosses the room.THE BULB SHATTERS.THE BASEMENT IS INSTANTLY BLACK. BO Dad!WE HEAR THE SOUNDS OF SUDDEN COMMOTION, VOICES. STRUGGLINGAT THE DOOR. STEPS ON BROKEN GLASS.CLICK. A BEAM OF A FLASHLIGHT COMES ON.IT ILLUMINATES MORGAN STANDING NEXT TO A RACK OF METALSHELVES. HE TURNS THE FLASHLIGHT IN HIS TINY HANDS.THE NARROW BEAM MOVES ACROSS THE DARKNESS. IT FINDS MERRILLAND GRAHAM LEANING UP AGAINST THE BASEMENT DOOR.MORGAN MOVES THE BEAM DOWN TO THE PICK, WHICH IS WEDGEDBETWEEN THE DOORKNOB AND THE GROUND. THE PICK WAVERS ALITTLE WITH EACH PUSH FROM THE OTHER SIDE, BUT HOLDS.THE SCRATCHING AND MOVEMENT OUTSIDE THE DOOR BEGINS TOLESSEN.Beat. Morgan slowly moves THE BEAM BACK UP TO HIS FATHER'SFACE. GRAHAM Where's Bo?THE BEAM SEARCHES IN THE DARKNESS. THROUGH THE BOXES,BETWEEN THE SHELVES... IT SETTLES ON A SMALL FOOT HIDINGBEHIND A COUPLE TWENTY-FIVE POUND BAGS OF DOG FOOD. BO'SHEAD SLOWLY APPEARS. SHE SQUINTS AS SHE LOOKS IN THE LIGHT. BO I'm okay.ANOTHER BEAM COMES ON. IT REVEALS MERRILL AT THE SHELVESWITH A SECOND FLASHLIGHT. HE LOOKS OVER THE CONTENTS OF THESHELVES NEAR HIM. BEAT.HIS BEAM OF LIGHT FALLS ON A RADIO.He turns the knob to "on." The radio lights up, but no soundemerges for it's speakers. Merrill turns the channel knoband checks all the stations. No sound. No signal. Helistens to the LIGHT HUM FROM THE SPEAKERS.Beat. MERRILL What's happening out there?Beat. GRAHAM (in the dark) I can't even imagine.THEY ALL LISTEN TO THE DEAD AIR HUM FROM THE RADIO SPEAKERS. MORGAN I hope they're doing better than we are. We don't even have helmets.THERE IS A LOUD BANG.BOTH FLASHLIGHT BEAMS CRISSCROSS OVER THE BASEMENT AND COMETO A STOP ON THE DOOR.ANOTHER BANG. THE DOOR VIBRATES. THE PICK WITH THE WOODENHANDLE HOLDS IN PLACE.BANG.GRAHAM STEPS INTO THE BEAM OF LIGHTS. He looks at the doorand then turns and faces the lights. GRAHAM They're just making noises. They're not trying to get in. (beat) Why are they doing that?Graham looks at Merrill's corner of the darkness. Morganmoves his BEAM ONTO MERRILL. MERRILL They want our attention on the door?BANG. A beat of silence. GRAHAM They're distracting us? MERRILL From what? MORGAN The book says they're probably very good problem solvers. MERRILL What book! MORGAN They'll find a way in.BANG. GRAHAM Morgan, give me your flashlight.Morgan puts the FLASHLIGHT ON THE GROUND AND ROLLS IT ACROSSTHE FLOOR. THE BEAM SPINS IN TINY CIRCLES SHOWING THE BROKENGLASS OF THE BULB IN THE MIDDLE OF THE FLOOR.THE FLASHLIGHT COMES TO A STOP IN GRAHAM'S PALM. He picks itup. GRAHAM Is there an air vent in here?Merrill moves next to Graham. ANOTHER BANG FROM THE DOOR.They aim their FLASHLIGHTS IN ONE CORNER OF THE ROOM. Thebrothers move in opposite directions.GRAHAM MOVES HIS BEAM UP AND DOWN CHECKING THE WALLS AND THECEILING AS HE MOVES.MERRILL MOVES BETWEEN SHELVES, ONE AT A TIME. HIS FLASHLIGHTPEERS BEHIND THE STACKS OF CANNED GOODS.A BANG ECHOES THROUGH THE BASEMENT DOOR.Merrill and Graham are at opposite ends of the room now. GRAHAM I can feel air. MERRILL Me too.THE TWO BEAMS OF LIGHT START MOVING TOWARDS EACH OTHER. GRAHAM It's getting stronger. MERRILL I'm close.BANG.THE BEAMS MOVE UP AND DOWN OVER THE FINAL WALL. GRAHAM ANDMERRILL MOVE CLOSER AND CLOSER... THE TWO BEAMS FINALLY COMETO A STOP IN THE SAME PLACE... THEY SHINE DOWN ON MORGAN.HE SITS ON THE GROUND AGAINST THE WALL. HE STARES UP AT THETWO LIGHTS. MORGAN What?IN THE BEAM OF LIGHTS YOU CAN SEE HIS HAIR MOVING GENTLY FROMA BREEZE.GRAHAM AND MERRILL TURN THEIR LIGHTS STRAIGHT INTO THE AIRVENT HE'S LEANING AGAINST.EYES ARE REVEALED IN THE DARKNESS OF THE VENT. A NARROW SETOF METALLIC COLORED FINGERS SHOOT OUT BETWEEN THE HOLES INTHE VENT GRILL AND GRAB MORGAN.MORGAN SCREAMS. THE FLASHLIGHTS DROP TO THE GROUND. THERE'SA DESPERATE SCRAMBLE. FEET MOVE THROUGH THE BEAMS OF LIGHT.WE CAN'T SEE WHAT'S HAPPENING. MERRILL (O.S.) Hold the vent!SOMEONE PICKS UP A FLASHLIGHT. WE SEE GLIMPSES OF STRAININGFACES. MORGAN SCREAMING. GRAHAM Pull him!THE FLASHLIGHT IS DROPPED AND PICKED UP AGAIN. WE SEE IT ISBO WHO IS HOLDING THE LIGHT.BO TURNS THE LIGHT AT THE VENT. MERRILL IS THE ONLY ONETHERE. HE PRESSES ONE OF THE TWENTY-FIVE POUND BAGS OF DOGFOOD AGAINST THE METAL GRILL. HE DRAGS THE SECOND BAG OVERWITH HIS FOOT AND SLAMS IT AGAINST THE FIRST BAG. HE QUICKLYMOVES OUT OF THE LIGHT.BO FOLLOWS HIM WITH THE BEAM. SHE FINDS HIM DRAGGING ANENORMOUS BAG OF FLOUR OVER TO THE VENT. HE HEAVES IT ON TOPOF THE PILE. HE LEAVES THE LIGHT AGAIN. RETURNS WITHANOTHER GIANT BAG OF FLOUR. GRUNTS AS HE THROWS IT ON TOP OFTHE REST.MERRILL FALLS TO THE GROUND EXHAUSTED. THE PILE OF DOG FOODAND FLOUR COMPLETELY OBSCURE THE VENT. A CAN OF SOUP ROLLSON THE GROUND NEAR MERRILL. HE SLOWLY PICKS IT UP AND PUTSAN ADDITIONAL EIGHT OUNCES ON THE PILE.Merrill slowly catches his breath. He reaches over to hisside and grabs the remaining flashlight. HE TRAINS THE BEAMAROUND THE ROOM TILL HE FINDS MORGAN.HE FINDS THE BOY IN GRAHAM'S LAP. MORGAN IS SEATED WITH HISBACK AGAINST GRAHAM'S CHEST. USING HIM AS A CHAIR. MORGAN'SFACE IS PALE. HE IS TAKING VERY LONG SLOW HEAVES. IT SOUNDSLIKE THE AIR IS GOING THROUGH A STRAW. HE'S SUFFOCATING.GRAHAM LOOKS UP INTO THE LIGHT. GRAHAM We don't have his medicine.Merrill looks at his nephew turning gray.Graham pulls Morgan closer to his body and talks into thechild's ear. GRAHAM Don't be scared Morgan. We'll slow it down together. Feel my chest. Feel it going in and out. Breathe like me. Breathe like me.Morgan's throat is closing -- his face is filled with strainand panic. BO He can't breathe.Bo moves to Merrill and curls up with him as they watch.Graham closes his eyes. Beat. He opens his eyes and talksinto Morgan's ear. GRAHAM Stay with me. Stay with me. I know it hurts. Be strong baby... It'll pass.Graham closes his eyes -- talks to the darkness. GRAHAM Don't do this to me again. Not again.Merrill stares at his brother's desperate face.Graham's eyes open as Morgan's tiny fingers press down onGraham's hand. The fingers squeeze with all the strengththey have.Graham looks to Merrill helplessly. Merrill's eyes fill upwith water.Graham's eyes close. GRAHAM I hate you. I hate you...Graham's eyes open as he leans in close to Morgan's ear. GRAHAM The fear is feeding it... Don't be afraid of what's happening... Believe it's going to pass... Believe it... Just wait... Don't be afraid... The air is coming... Believe... We don't have to be afraid... It's about to pass... Here it comes... Don't be afraid... Here comes the air...A THIN STREAM OF SOUND EMITS FROM MORGAN'S THROAT. LIKE THESOUND OF AIR LEAKING FROM A BALLOON. GRAHAM There we go... We don't have to be scared at all... We know it'll pass. We believe it... Don't be afraid Morgan.Morgan's fingers relax a little on Graham's hand.THE LEAKING BALLOON SOUND TURNS BACK INTO THE SOUND OF AIRTHROUGH A STRAW.Merrill watches as Graham's face stays pressed up against hisson. GRAHAM Feel my chest... Breathe with me. Together... The air is going in our lungs... Together... We're the same. We're the same.Merrill watches as Morgan's chest starts to move in sync withGraham's.THE SOUND OF THE STRAW FADES AS MORGAN'S BREATHING TURNS INTOLABORED BREATHS.Graham's eyes close. He starts crying. He speaks to no one. GRAHAM (soft) I hate you.Morgan's fingers relax on Graham's hand. Merrill watches asfather and son breathe together. Merrill and Bo hold eachother tight.THE FLASHLIGHT FLICKERS ON GRAHAM AND MORGAN'S EXHAUSTEDFACES. THEY BOTH STARE OUT INTO THE DARKNESS OF THEBASEMENT. TEARS DRYING ON THEIR CHEEKS. THEY'RE BOTH LOSTIN THEIR THOUGHTS.Beat. MERRILL I should save the flashlights.Beat. Graham nods without looking over.MERRILL PRESSES THE BUTTON ON HIS FLASHLIGHT. THE BEAM OFLIGHT ILLUMINATING GRAHAM AND MORGAN GOES OUT. THEYDISAPPEAR INTO SHADOWS.Merrill looks down to Bo, who has the second flashlight inher hand. THE BEAM POINTS UP AT THE BASEMENT CEILING ABOVEHER AND MERRILL.Merrill nods to her. She reaches down and presses thebutton.THE BASEMENT IS ENGULFED BY BLACK. DISSOLVE TO:INT. BASEMENT - MORNINGWE ARE STILL IN BLACK. A VOICE IS HEARD IN THE DARKNESS. IT'S MURKY AT FIRST, THEN BECOMES CLEARER. VOICE ... Jordan, Saudi Arabia and Bahrain have also confirmed.Graham opens his eyes from sleep. HE SQUINTS FROM THE LIGHTOF THE HANGING BULB IN THE BASEMENT.Merrill steps into his vision. MERRILL I found a pack of light bulbs.Merrill walks back to the radio on the metal shelf. THEVOICE WE HEARD IN THE DARKNESS COMES FROM THE TINY SPEAKER OFTHE RADIO. RADIO VOICE ... Parts of China and Northern Korea are among the few remaining to verify withdrawals. GRAHAM They're broadcasting... MERRILL It came on about two hours ago. Woke me up. (beat) We won Graham.Merrill waits for his brother to say something. Beat. MERRILL It went on all night. Everywhere. It was completely a ground battle. Mostly hand to hand. You can't see them unless you're up close. A lot of people died. Some from combat. But most from poison gas inhalation. They secrete it.Beat. GRAHAM How many died? MERRILL They think over a hundred thousand. They're just estimates. (beat) But we held strong. GRAHAM How do they know it's over? MERRILL A mass evacuation by them started about eight o'clock this morning. It's eleven now. (beat) They're leaving.Beat. MERRILL You didn't think we'd make it.Beat. GRAHAM No. MERRILL (low voice) Listen, there's things I can take and a couple things I can't and one of them I can't take, is when my older brother -- (voice cracks) -- who is everything I want to be, starts losing faith in things. I saw your eyes last night. (beat) I don't want to ever see your eyes like that again, okay? I'm serious.Merrill's face is hard. He looks shaken. Graham stares atthe conviction in his younger brother's expression. GRAHAM (soft) Okay.Beat.THERE'S A WHEEZING SOUND FROM THE CORNER OF THE ROOM. Grahamand Merrill turn to look at Morgan -- laying down onMerrill's folded sweater. Morgan's breathing is strained. He still looks grey. MERRILL He's been like that for awhile. We need to get him some medicine. GRAHAM Have they said anything about our area? MERRILL Philadelphia and its outlying counties are cleared, but who knows for sure?Graham looks at Morgan lying limp on the ground. Grahamturns to Merrill. GRAHAM (whispers) He's not strong enough to fight off another attack. MERRILL (whispers) I know. (beat) We need to be sure, before we open that door Graham.The two men stand under the single dangling light bulb. Graham quietly turns and looks at Morgan. He moves acrossthe room towards him.Merrill watches as Graham kneels down and reaches to Morgan'sside. Graham unclips the baby monitor from his son's belt.Graham walks back to Merrill. He holds it out between them. Beat.He turns it ON.A SLIGHT STATIC IS HEARD. GRAHAM TURNS THE VOLUME ALL THEWAY UP. THE STATIC GETS A LITTLE LOUDER, BUT DOESN'T CHANGE. THERE ARE NO NOISES, NO SPIKES, NO VOICES... JUST EMPTYELECTRICAL STATIC. Beat.Graham makes eye contact with Merrill. Beat. MERRILL That's good enough for me. GRAHAM Me too. CUT TO:INT. BASEMENT STAIRWELL - MORNINGDAYLIGHT FILTERS DOWN FROM THE KITCHEN AND PIERCES THESTAIRWELL TO THE BASEMENT.The basement door cracks open a few inches. Beat. Merrillopens it all the way.DUST FLOATS UP IN THE DAYLIGHT THAT SPILLS DOWN THE STAIRS.Merrill moves up the stairs by himself. He reaches the topand looks around. Turns back down to the faces at thebottom. Gives them the thumbs up.Graham leads Bo up the stairs. He carries a limp Morgan inhis arms. CUT TO:INT. KITCHEN - MORNINGTHE KITCHEN IS KIND OF BEAUTIFUL IN ITS DESTRUCTION. BEAMSOF DAYLIGHT CRISSCROSS THE ROOM FROM THE PUNCHED OUT HOLES INTHE WINDOWS AND BOARDS.THE BACK DOOR IS WIDE OPEN.WE HEAR SOUNDS FROM THE TV FILTERING IN FROM THE HALL.Graham and Bo and Morgan watch as Merrill walks over thetoppled chairs to get to the cabinets. GRAHAM Get the syringe as well. We might need to give him an epinephrine shot.Merrill nods as he begins to search the piles of things thathave fallen from the cabinets. CUT TO:INT. FAMILY ROOM - MORNINGSHAFTS OF SUNLIGHT STREAM IN FROM ONE SIDE OF THE FAMILY ROOMWHERE THE WINDOWS HAVE BEEN BROKEN IN.Graham gently lays Morgan on the sofa.WE HEAR CHEERING COME FROM THE TELEVISION, FILTER THROUGH THEFRONT HALL AND INTO THE FAMILY ROOM.Bo steps out of the closet and looks into the family room. BO People are dancing.She points at the closet.Morgan strains to look in her direction. Graham looks athim. GRAHAM You want to see it?Morgan nods, "yes" as he struggles to breathe. GRAHAM I'll bring the TV in here. CUT TO:INT. CLOSET - MORNINGTHE TELEVISION SHOWS A SHOT OF A STREET CORNER. THOUSANDS OFPEOPLE STAND IN THE STREETS. A REPORTER STANDS AMONGST THEMAND TALKS INTO A MICROPHONE. TV REPORTER Today there are no countries, and no races, and no differences -- we are all apart of the same --Graham unplugs the television. The screen goes black.Bo moves the coats aside as Graham wheels the television andthe television cart out into the hall. CUT TO:INT. FAMILY ROOM - MORNINGGraham pulls the television into the family room. Carefulnot to trip it on the carpet.THE GLASS OF THE TELEVISION IS LIKE A MIRROR.Graham moves the television into position. THE BLACK SCREENREFLECTS THE FAMILY ROOM BEHIND GRAHAM AS IT TURNS.THE REFLECTION OF A CREATURE SILHOUETTED PANS ACROSS THETELEVISION SCREEN.The TV stops moving. Graham stays frozen with his hands oneither side of the television cart. He's slightly bent over. His back is to the family room.Graham straightens and turns around slowly.Morgan is held by his waist three feet in the air. Morgan'sface turns to the color of ash as his throat closes up.For a moment it appears he's suspended in the air. Then wesee the outlines... and we see the eyes. The black eyes.There is a creature close to seven feet tall standing in themiddle of the family room. It's powdery skin has taken onthe shades, lines and colors of the family room so perfectly,it almost disappears.It blinks.Graham and Bo have turned to stone. Bo stands frozen in thefront hall.Merrill comes out of the doorway from the kitchen to thefamily room. He takes two steps into the room and comes to astop next to the fireplace. The inhaler and syringe in hishand fall to the ground. The creature is between Graham andMerrill in the middle of the family room.Morgan is dying. THE LAST SOUNDS OF AIR STOP IN HIS THROAT.The lines of the chairs and windowsill mimicked on thecreature's skin move as the creature moves its free hand.Graham's eyes shift to the hand. THREE OF THE CREATURESFINGERS ARE MISSING -- SLICED OFF BY A BUTCHER KNIFE.The creature's hand moves to Morgan's face. It tilts itsfingers and palm back. THE COLORS ON THE HAND ARE ALREADYCHANGING TO MATCH IT'S NEW POSITION IN THE ROOM.A small pore opens up on its wrist. A YELLOWISH GAS STARTSTO LEAK OUT OF THE OPENING.Graham looks up from the leaking poison gas to the face ofthe creature. It's large empty black eyes lock on Graham's.GRAHAM STARTS TO HEAR A HIGH PITCH RINGING SOUND -- IT BEGINSTO ENGULF ALL SOUND IN THE ROOM.GRAHAM STARES HELPLESSLY INTO THE LARGE BLACK EYES.WE MOVE INTO GRAHAM'S EYES... THEY WIDEN. WE SEE THE EMOTIONIN THEM. HIS MOUTH BARELY GETS THE WORDS OUT. GRAHAM (soft) He's reading my --THE HIGH PITCHED RINGING SOUND OVERWHELMS EVERYTHING. THEROOM GOES BRIGHT WHITE. DISSOLVE TO:EXT. STREET - NIGHTWE ARE BLINDED BY A BRIGHT LIGHT. THE LIGHT IS MOVING. WEREALIZE IT IS THE HEADLIGHTS OF A CAR THAT PULLS TO THE SIDEOF THE ROAD.The car door opens. Graham Hess steps out. His coat isopen. He is wearing a black shirt and black pants. Apriest's white collar sits under the lapel of the blackshirt. Graham looks around in a daze.We are on a country road. THERE ARE STROBING RED AND WHITELIGHTS FILLING THE NIGHT AIR. Four police cars are scatteredamongst the tow trucks and the ambulances.A large group of officers and workers hover around a greentruck that has swerved off the road into a grouping of trees.Officer Edgar Paski walks up to Graham. He whisperssomething into a walkie clipped to his shirt as heapproaches. Edgar looks badly shaken. Beat. The two menlook at each other. OFFICER PASKI What do you know?Graham stands motionless with his hands at his sides. Beat. GRAHAM There was an accident. Drunk driving. They weren't sure. OFFICER PASKI He wasn't drinking. Ray fell asleep at the wheel.Officer Paski gestures in the direction of one of theambulances. Ray Reddy sits to the side on the grass. Hisarms rest on his bent knees. GRAHAM Is he okay? OFFICER PASKI Yes... That's the first thing Colleen asked too.Graham smiles a little smile. GRAHAM She's talking... Which ambulance is she in?Beat. OFFICER PASKI She's not in an ambulance Father. GRAHAM Why not? OFFICER PASKI See Father, Ray's truck swerved off the road and ah... Hit Colleen and then a tree. She was pinned between the two. GRAHAM Pinned? What does that mean?Beat. OFFICER PASKI The truck... the truck has severed most of her lower half. GRAHAM What did you say?Beat. OFFICER PASKI She won't be saved. At this point she's alive, because the truck is holding her together. She doesn't feel much, and she's talking almost like normal. We didn't pull the truck out, cause we wanted you to come down here to be with her, as long as she's awake. That won't be very long. (beat) Father, you understand what I've told you?Beat. GRAHAM Edgar. (he starts crying) Is this the last time I'm going to talk to my wife?Beat. OFFICER PASKI Yes it is. CUT TO:EXT. STREET - NIGHTThe other officers turn and look as Graham walks by them. Hewalks on, unaware of the stares.He slows as he reaches the back bumper of the truck. Itsticks out onto the road a few feet. He comes around theside of the vehicle.COLLEEN HESS is beautiful in a delicate way. Her straightbrown hair falls down over her small face. She leans overthe front bumper of the truck onto the hood. Her head restson her arms like a child resting on a school desk. Her backis against a tree. The lower half of her is obscured by thetruck.She's able to raise her head and shoulders as Graham walks upto her. She is shivering slightly. COLLEEN (soft) Hi sweetie. GRAHAM Hi baby.Graham glances down. There are bundles of blood soakedblankets in the area below her. They peek out under thetwisted front of the truck. Graham looks up quickly. COLLEEN I was just taking a walk before dinner. GRAHAM You love walks.Beat. COLLEEN I guess it was meant to be.Beat. GRAHAM Does it hurt? COLLEEN I don't feel much. GRAHAM Good.Graham touches her cheek. She starts crying. Graham startscrying with her. COLLEEN (crying) ... Tell Morgan to play games -- it's okay to be silly. GRAHAM (crying) ... I will. COLLEEN (crying) ... Tell Bo to listen to her brother. He'll always take care of her. GRAHAM (crying) ... I will. COLLEEN (crying) ... Tell Graham -- GRAHAM (crying) I'm here. COLLEEN (crying) Tell him... See. Tell him to see.Colleen presses her cheek on top of Graham's hand. She restson it. Her eyes are distant. COLLEEN (soft) And tell Merrill to swing away. GRAHAM (soft) What? (beat) Colleen?... Colleen?WE ARE OVERCOME BY A BRIGHT WHITE. CUT TO:INT. FAMILY ROOM - MORNINGWE ARE IN THE FAMILY ROOM. THE HIGH PITCHED RINGING SOUNDSFADE AND ARE REPLACED BY THE BREATHING IN THE ROOM.THE BREATHING IS JOINED BY THE HISSING OF GAS AS IT'S BEINGRELEASED.THE CREATURE FORCES POISON GAS OUT INTO MORGAN'S UNCONSCIOUSFACE.THE ROOM IS ENGULFED WITH STREAMS OF SUNLIGHT FROM THE BROKENWINDOWS. THE LIGHT SEEMS TO CATCH CERTAIN THINGS IN THE ROOMAND MAKE THEM STAND OUT. THINGS ON SHELVES, THINGS ONTABLES, THINGS ON THE WALL.Graham stares at the baseball bat on the wall. Beat. GRAHAM (soft) Swing away, Merrill.Morgan's face is obscured by gas. GRAHAM (loud) Merrill.Merrill turns and looks to Graham. GRAHAM Swing away.Graham's eyes are not on Merrill. Merrill follows his eyeline to the baseball bat mounted above him.Beat. Merrill reaches up and takes the bat off its restingplace.The creature starts to move.Merrill's hands tighten around the handle as he walksforward. He stops. His weight shifts to his right leg.The creature begins to turn and becomes more visible as itslines and colors don't match in position in the room.Merrill's left leg goes out. His torso and shoulders turnwith staggering speed and strength. The bat slices throughthe air of the family room... Contact.The creature gets HAMMERED across the back with the baseballbat.Morgan is dropped. He falls to the carpet of the family roomin an unnatural crumpled pile. His arms and legs floplifelessly to the carpet.The creature turns to face Merrill. All the creature sees isthe BLUR OF WOOD as Merrill swings like a lumberjack. SLAM. The creature falls to the ground.Graham takes Bo by the hand and moves to Morgan. Grahampicks up his son's limp body in his arms.The creature moves to its feet.Merrill's hands choke up on the bat. Merrill's eyes are onfire.Graham leans down and picks up the full syringe of medicineon the ground.Merrill SCREAMS as he swings again. His powerful musclespull his shoulders whipping around. The bat connects withthe creature across its chest. The creature is thrown backinto the wall. Two glass of water fall off a shelf and CRASHONTO THE CREATURE'S SHOULDER. The water connects with it'sskin. The creature makes a HIGH PITCHED INHALE SOUND.Bo and Graham look up.THE CREATURE'S SHOULDER STOPS CHANGING COLORS AND WITHERSINTO A POWDERY WHITE.Merrill looks back across the room at Bo and Graham. Theystare at each other with sudden realization.Merrill looks around at Bo's half-filled water glasses placesall over the family room. CUT TO:INT. KITCHEN - MORNINGGraham carries Morgan through the kitchen and out the backdoor. Morgan's arms and legs swing limp as Graham walks.Morgan's head bobs back from its own weight as Graham stepsoutside. CUT TO:INT. FAMILY ROOM - MORNINGMerrill steps in. THE WOODEN BAT MAKES A SOUND AS IT CUTSTHROUGH THE AIR. SLAM! It connects with the creature. Thecreature falls back into the coffee table. Bo's glasses ofwater crack and SPLASH OVER the creature's TORSO. ANOTHERHIGH PITCHED INHALE SCREAM. His torso turns a powdery white. Parts of its body are still changing and matching itsenvironment. Parts are white.The creature stands again.Merrill looks for the next target in the room. Bo points tothe dinning table where the old chicken teriyaki, baconcheeseburger and spaghetti with meatballs sit untouched.Merrill sees the three glasses of water at Bo's seat. Henods. CUT TO:INT. FAMILY ROOM - MORNINGMERRILL YELLS WITH EVERYTHING IN HIS LUNGS. His wrists turn. His shoulders torque. THE WOODEN LOUISVILLE SLUGGER SLICESTHE AIR AND SHATTERS WHEN IT CONNECTS WITH THE UPPER CHEST OFTHE CREATURE. PIECES OF WOOD SPLINTER OVER THE FAMILY ROOM.THE CREATURE WAVERS AND THEN ALL SEVEN FEET OF IT TIPS OVER. IT FALLS BACK. IT CLIPS THE TV STAND AS IT FALLS. IT LANDSON THE GROUND WITH A THUD.THE CREATURE'S BLACK, EMPTY EYES LOOK UP IN TIME TO SEE BO'SGLASSES OF WATER RESTING ON THE TELEVISION, FALL... AND SPILLOVER THE EDGE -- RIGHT ONTO ITS FACE.THE CREATURE'S SCREAMS FILL THE FAMILY ROOM -- AND THENSUDDENLY STOP.IT BECOMES VERY STILL. EVERY INCH OF ITS BODY TURNS AWITHERED, POWDERY WHITE. BEAT.Bo watches quietly from the door. Merrill drops the handleof the bat in his hands. CUT TO:EXT. BACKYARD - MORNINGMerrill and Bo find Graham kneeling in the grass. Morganlays limp in his arms. They kneel down in the grass withhim.Merrill sees the empty syringe in Graham's hand. He looks toMorgan. The boy's head is tilted back. His tiny mouth hangsopen unnaturally. GRAHAM His lungs were closed. (beat) His lungs were closed. No poison got in... No poison got in.Merrill stares at Morgan. His body is utterly still. GRAHAM His lungs were closed.Merrill reaches for Morgan's still hand. GRAHAM Don't touch him. MERRILL (soft) Graham.Beat. Morgan lies lifeless. BO Daddy. GRAHAM Don't touch him.Bo is crying. MERRILL Graham. GRAHAM Don't.Beat. MORGAN'S VOICE Dad.HIS SON'S VOICE MAKES HIM STOP. Graham starts crying. Everybit of sadness trapped in his body is released. He looksdown through tears and tears at Morgan. MORGAN Did someone save me? GRAHAM Yeah baby. I think someone did. CUT TO:INT. WINDOW - MORNINGWe look out through the broken glass of the second storybedroom window. We see the worn jungle gym. We see thesingle tree throwing shade on the picnic table. We see thegolden brown corn lining the back of the yard.And we see the Hess family. Sitting together on the grass. Huddled together in the sunlight. FADE TO BLACK.
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+"THE SILENCE OF THE LAMBS" by Ted Tally Based on the novel by Thomas Harris FADE IN: INT. GRUBBY HOTEL CORRIDOR - DAY (DIMLY LIT) A woman's face BACKS INTO SHOT, her head resting against grimy wallpaper. She is tense, sweaty, wide-eyed with concentration. This is CLARICE STARLING, mid-20's, trim, very pretty. She wears Kevlar body armor over a navy windbreaker, khaki pants. Her thick hair is piled under a navy baseball cap. A revolver, clutched in her right hand, hovers by her ear. She raises a speedloader, in her left hand, locks it into her cylinder, twists and reloads. CLOSE ON A guest room door, with a small, wired pack attached to its knob. Suddenly, wish a sharp CRACK!, the knob explodes, and the door bursts open. WITH CLARICE - MOVING SHOT as she runs around a corner, through a cloud of smoke. She shoulders aside the shattered door and rushes inside, gun at the ready in both hands... CUT TO: INT. HOTEL ROOM - DAY CLARICE'S POV - MOVING - as she first sees, sitting on the edge of a bed - a FEMALE HOSTAGE. Black, late 20's, gagged, hands behind her back. Then, SWIVELLING... she sees a startled MALE SUSPECT, white, mid-20's, standing by a window with a rifle in his hands. He is turning towards her... Clarice drops into a combat crouch, gun extended, and shouts. CLARICE Freeze! FBI! CLARICE'S POV - SLOW MOTION all natural SOUND suspended - as the Suspect faces her with a strange, pleading expression. The rifle is rising in his hands, but oddly enough, it is held across his chest, not pointing. Then another puzzling detail registers... THE SUSPECT'S HANDS are taped to his gun, away from the trigger; he couldn't use it even if he tried. Suddenly we hear a metallic CLICK, which registers with unnatural amplification, as - Clarice reacts, drops to the floor, rolling sideways, and - THE "HOSTAGE" pulls a revolver out from behind her back, still in SLOW MOTION, raising it in her untied hands. She fires repeatedly, flames leaping from the muzzle; the SOUND is an echoing roar in these close quarters, but - Clarice has come up on one knee, beside an armchair, and is already firing back herself, two quick SHOTS, which send - THE "HOSTAGE" pitching over the bed, backwards, to shudder and lie still in a haze of gunsmoke. Clarice rushes to her, clamping one knee down on her gun hand, still keeping her covered in case of movement. HOLD for a few beats... then we hear the shrill blast of a WHISTLE from somewhere, off screen, as normal ACTION and SOUND are restored. BRIGHAM (O.S.) Okay, people, good exercise... Clarice relaxes, lowering her gun. The lights brighten. PULLING BACK we see that we're in some sort of auditorium, with the "hotel room" and its "corridor" built as a training set. JOHN BRIGHAM walks onto this set, thumbing a stopwatch. Mid-40's, ex- Marine. His T-shirt's lettering says "Firearms Instructor / FBI Academy." BRIGHAM Starling's reaction time was excellent. Let's break. Critique in five. A class of about forty young FBI trainees, of both sexes, begins to rise from their seats, mingling and chatting. Clarice nods amiably to the "Suspect", then gives her "Hostage" a hand up. It's ARDELIA MAPP, her roommate. Her broad, clever face breaks into a big smile, as they both remove ear plugs. Clarice's voice has just a soft trace of southern accent. ARDELIA Damn, Clarice, how'd you make me? CLARICE (indicating her gun) Never cock. Just squeeze. ARDELIA (grins) I love it when you talk dirty. As Brigham joins them, Clarice can't resist a star pupil's little smile of pride. He frowns good-naturedly. BRIGHAM What're you laughin' at, Junior G- Man? She got off four rounds to your two. He takes out a steel-coiled grip flexer, drops it onto her palm. BRIGHAM (continuing) One hundred reps, each hand, every day. Now tidy up, the Section Chief wants to see you. He nods a direction, then moves off. Clarice, with her smile finally fading, looks out into the auditorium. SPECIAL AGENT JACK CRAWFORD sits on the top step of the aisle, looking down at her. He is 53, strongly built. He rises impassively, exits through the back door. He carries a think manila envelope under one arm. Ardelia who is helping Clarice unbuckle her bullet-proof vest, follows her worried gaze. CLARICE What'd I do? ARDELIA Stay cool. Just remember to call him "God." CUT TO: EXT. FBI ACADEMY GROUNDS, QUANTICO, VIRGINIA - DAY Crawford is watching a group of trainees on the firing range, as Clarice joins him. He looks tired, haunted. Between master and student, we sense a subtle, muted tug of sexuality. CRAWFORD Starling, Clarice M., good morning. CLARICE Good morning, Mr. Crawford. CRAWFORD Your instructors tell me you're doing well. Top quarter of the class. CLARICE I hope so. They haven't posted anything. CRAWFORD A job's come up and I thought about you. Not really a job, more of - an interesting errand. Walk me to my car, Starling. They begin to cross the academy grounds. A group of trainees jogs by, in matching sweats, following a p.e. coach. CRAWFORD We're trying to interview all of the serial killers now in custody, for a psychobehavioral profile. Could be a big help in unsolved cases. Most of them have been happy to talk to us. They have a compulsion to boast, these people... Do you spook easily, Starling? CLARICE Not yet. CRAWFORD You see, the one we want most refuses to cooperate. I want you to go after him again today, in the asylum. CLARICE Who's the subject? CRAWFORD The psychiatrist - Dr. Hannibal Lecter. Clarice stops walking, goes very still. A beat. CLARICE The cannibal... Crawford doesn't respond, except to study her face. CLARICE Yes, well... Okay, right. I'm glad for the chance, sir, but - why me? CRAWFORD You're qualified and available. And frankly, I can't spare a real agent right now. He walks on again, at a faster clip. She hurried to keep up. CRAWFORD I don't expect him to talk to you, but I have to be able to say we tried... Lecter was a brilliant psychiatrist, and he knows all the dodges. (hands her the manila envelope) Dossier on him, copy of our questionnaire, special ID for you... If he won't talk, then I want straight reporting. How's he look, how's his cell look, what's he writing? The Director himself will see your report, over your own signature - if I decide it's good enough. I want that by 0800 Wednesday, and keep this to yourself. They're reached his car. His driver stamps on a cigarette, climbs in behind the wheel. BURROUGHS, his assistant, says something into a walkie-talkie, then opens the back door. But Crawford pulls her aside, a hand on her shoulder. His intensity is scary. CRAWFORD Now. I want your full attention, Starling. Are you listening to me? CLARICE Yes sir. CRAWFORD Be very careful with Hannibal Lecter. Dr. Chilton at the asylum will go over the physical procedures used with him. Do not deviate from them, for any reason. You tell him nothing personal, Starling. Believe me, you don't want Hannibal Lecter inside your head... Just do your job, but never forget what he is. CLARICE (a bit unnerved) And what is that, sir? CHILTON (V.O.) Oh, he's a monster. A pure psychopath... CUT TO: INT. CHILTON'S OFFICE - BALTIMORE STATE HOSPITAL FOR THE CRIMINALLY INSANE - DAY CLOSE ON an ID card held in a male hand. Clarice's photo, official-looking graphics. It calls her a "Federal Investigator." CHILTON (O.S.) It's so rare to capture one alive. From a research point of view, Dr. Lecter is our most prized asset... DR. FREDERICK CHILTON looks up from her card. A smarmy little peacock, behind a vast desk; he's conceived an instant, hopeless letch for Clarice. He smiles, stroking her card with his beloved gold pen. CHILTON You know, we get a lot of detectives here, but I must say, I can't ever remember one so attractive... NEW ANGLE - REVEALS CLARICE now wearing a more feminine skirt suit. Hair neatly coiled, elegant shoulder bag, briefcase. He has rudely left her standing. CHILTON Will you be in Baltimore overnight...? Because this can be quite a fun town, if you have the right guide. Clarice tries, unsuccessfully, to hide her distaste for him. CLARICE I'm sure it's a great town, Dr. Chilton, but my instructions are to talk to Lecter and report back this afternoon. CHILTON (pause, sourly) I see. (beat) Let's make this quick, then. I'm busy. CUT TO: INT. ASYLUM CORRIDOR - UPPER FLOOR - DAY Clarice flinches as a heavy steel gate CLANGS shut behind her, the bolt shooting home. Chilton walks ahead of her. CHILTON Lecter carved up nine people - that we're sure of - and cooked his favorite bits. We've tried to study him, of course - but he's much too sophisticated for the standard tests. And my, does he hate us! Thinks I'm his nemesis... Crawford's very clever, isn't he? Using you. CLARICE How do you mean, Dr. Chilton? CHILTON A pretty young woman, to turn him on? I don't believe Lecter's ever seen a woman in eight years. And oh, are you ever his "taste" - so to speak. CLARICE I graduated magna from UVA, Doctor. It's not a charm school. CHILTON Good. Then you should be able to remember the rules. CUT TO: INT. DIFFERENT CORRIDOR - LOWER FLOOR - DAY A darker, even grimmer area. Heavy grids over the lights. Distant SLAMMINGS and faint, hoarse SHOUTS. They walk briskly. CHILTON Do not reach through the bars, do not touch the bars. You pass him nothing but soft paper - no pens or pencils. No staples or paperclips in his paper. Use the sliding food carrier, no exceptions. Do not accept anything he attempts to hold out to you. Do you understand me? CLARICE I understand. CHILTON I'm going to show you why we insist on such precautions... On the afternoon of July 8, 1981, he complained of chest pains and was taken to the dispensary. His mouthpiece and restraints were removed for an EKG. When the nurse bent over him, he did this to her... He hands Clarice a small, dog-eared photo. Looking at it, she is stopped in her tracks. This pleases Chilton. CHILTON The doctors managed to re-set her jaw, more or less, and save one of her eyes. His pulse never got over eighty-five, even when he ate her tongue. (pauses, he smiles) I keep him in here. He turns, pushes a button. A steel door BUZZES slowly open, and BARNEY - a big, impassive orderly - awaits them in an anteroom. On its walls: restraints, mouthpieces, Mace, tranquilizer guns. CLARICE (quickly blocking him) Dr. Chilton - if Lecter feels you're his enemy - as you've said - then maybe I'll have more luck by myself. What do you think? CHILTON (annoyed) You might have suggested that in my office, and saved me the time. CLARICE But then I would've missed the pleasure of your company. She holds out the photo. A beat. He grabs it, jaw twitching. CHILTON When she's finished, bring her out. He turns on his heel, goes. Barney smiles reassuringly. BARNEY Hi, I'm Barney. He told you, don't get near the bars? CLARICE (shaking his hand) Clarice Starling. Yes, he did. BARNEY Okay. Past the others, it's the last cell. Stay to the middle. I put out a chair for you. Sensing her tension, he indicates a nearby security monitor. BARNEY I'm watching. You'll do fine. Clarice nods gratefully. She looks down the long corridor, takes a deep breath, walks into it. He watches her go. CUT TO: INT. DR. LECTER'S CORRIDOR - DAY MOVING SHOT - with Clarice, as her footsteps ECHO. High to her right, surveillance cameras. On her left, cells. Some are padded, with narrow observation slits, others are normal, barred... Shadowy occupants pacing, MUTTERING... Suddenly a dark figure in the next-to-last cell hurtles towards her, his face mashing grotesquely against his bars as he hisses. DARK FIGURE I c-can sssmell your cunt! Clarice flinches momentarily, but then walks on. DR. LECTER'S CELL is coming slowly INTO VIEW... Behind its barred front wall is a second barrier of stout nylon net... Sparse, bolted- down furniture, many softcover books and papers. On the walls, extraordinarily detailed, skillful drawings, mostly European cityscapes, in charcoal or crayon. Clarice stops, at a polite distance from his bars, clears her throat. CLARICE Dr. Lecter... My name is Clarice Starling. May I talk with you? Dr. Hannibal Lecter is lounging on his bunk, in white pajamas, reading an Italian Vogue. He turns, considers her... A face so long out of the sun, it seems almost leached - except for the glittering eyes, and the wet red mouth. He rises smoothly, crossing to stand before her; the gracious host. His voice is cultured, soft. DR. LECTER Good morning. CUTTING BETWEEN THEM as Clarice comes a measured distance closer. CLARICE Doctor, we have a hard problem in psychological profiling. I want to ask for your help with a questionnaire. DR. LECTER "We" being the Behavioral Science Unit, at Quantico. You're one of Jack Crawford's, I expect. CLARICE I am, yes. DR. LECTER May I see your credentials? Clarice is surprised, but fishes her ID card from her bag, holds it up for his inspection. He smiles, soothingly. DR. LECTER Closer, please... Clo-ser... She complies each time, trying to hide her fear. Dr. Lecter's nostrils lift, as he gently, like an animal, tests the air. Then he smiles, glancing at her card. DR. LECTER (continuing) That expires in one week. You're not real FBI, are you? CLARICE I'm - still in training at the Academy. DR. LECTER Jack Crawford sent a trainee to me? CLARICE We're talking about psychology, Doctor, not the Bureau. Can you decide for yourself whether or not I'm qualified? DR. LECTER Mmmmm... That's rather slippery of you, Officer Starling. Sit. Please. She sits in the folding metal desk-chair. He waits politely till she's settled, then sits down himself, faces her happily. DR. LECTER Now then. What did Miggs say to you? (she is puzzled) "Multiple Miggs," in the next cell. He hissed at you. What did he say? CLARICE He said - "I can smell your cunt." DR. LECTER I see. I myself cannot. You use Evyan skin cream, and sometimes you wear L'Air du Temps, but not today. You brought your best bag, though, didn't you? CLARICE (beat) Yes. DR. LECTER It's much better than your shoes. CLARICE Maybe they'll catch up. DR. LECTER I have no doubt of it. CLARICE (shifting uncomfortably) Did you do those drawings, Doctor? DR. LECTER Yes. That's the Duomo, seen from the Belvedere. Do you know Florence? CLARICE All that detail, just from memory...? DR. LECTER Memory, Officer Starling, is what I have instead of view. A pause, then Clarice takes the questionnaire from her case. CLARICE Dr. Lecter, if you'd please consider - DR. LECTER No, no, no. You were doing fine, you'd been courteous and receptive to courtesy, you'd established trust with the embarrassing truth about Miggs, and now this ham-handed segue into your questionnaire. It won't do. It's stupid and boring. CLARICE I'm only asking you to look at this, Doctor. Either you will or you won't. DR. LECTER Jack Crawford must be very busy indeed if he's recruiting help from the student body. Busy hunting that new one, Buffalo Bill... Such a naughty boy! Did Crawford send you to ask for my advice on him? CLARICE No, I came because we need - DR. LECTER How many women has he used, our Bill? CLARICE Five... so far. DR. LECTER All flayed...? CLARICE Partially, yes. But Doctor, that's an active case, I'm not involved. If - DR. LECTER Do you know why he's called Buffalo Bill? Tell me. The newspapers won't say. CLARICE I'll tell you if you'll look at this form. (he considers, then nods) It started as a bad joke in Kansas City Homicide. They said... this one likes to skin his humps. DR. LECTER Witless and misleading. Why do you think he takes their skins, Officer Starling? Thrill me with your wisdom. CLARICE It excites him. Most serial killers keep some sort of trophies. DR. LECTER I didn't. CLARICE No. You ate yours. A tense beat, then a smile from him, at this small boldness. DR. LECTER Send that through. She rolls him the questionnaire, in his sliding food tray. He rises, glances at it, turning a page or two disdainfully. DR. LECTER Oh, Officer Starling... do you think you can dissect me with this blunt little tool? CLARICE No. I only hoped that your knowledge - Suddenly he whips the tray back at her, with a metallic CLANG that makes her start. His voice remains a pleasant purr. DR. LECTER You're sooo ambitious, aren't you...? You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well- scrubbed, hustling rube with a little, taste... Good nutrition has given you some length of bone, but you're not more than one generation from poor white trash, are you Officer Starling...? That accent you're trying so desperately to shed - pure West Virginia. What was your father, dear? Was he a coal miner? Did he stink of the lamp...? And oh, how quickly the boys found you! All those tedious, sticky fumblings, in the back seats of cars, while you could only dream of getting out. Getting anywhere - yes? Getting all the way - to the F...B...I. His every word has struck her like a tiny, precise dart. But she squares her jaw and won't give ground. CLARICE You see a lot, Dr. Lecter. But are you strong enough to point that high- powered perception at yourself? How about it...? Look at yourself and write down the truth. (she slams the tray back at him) Or maybe you're afraid to. DR. LECTER You're a tough one, aren't you? CLARICE Reasonably so. Yes. DR. LECTER And you'd hate to think you were common. My, wouldn't that sting! Well you're far from common, Officer Starling. All you have is the fear of it. (beat) Now please excuse me. Good day. CLARICE And the questionnaire...? DR. LECTER A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti... Fly back to school, little Starling. He steps backwards, then returns to his cot, becoming as still and remote as a statue. Frustrated, Clarice hesitates, then finally shoulders her bag and goes, leaving the questionnaire in his tray. But after just a few steps, as she passes - MIGG'S CELL She sees that creature at his bars again, hissing at her. MIGGS I b-bit my wrist so I c-can diiiieeee! S-ee how it bleeeeeeeeds? The dark figure suddenly flings his palm towards her, and - CLARICE is spattered on the face and neck - not with blood, but with pale droplets of semen. She gives a little cry, touching her fingers to the wetness. Stunned, near tears, she forces herself to straighten up and walk on, fumbling for a tissue. From behind her, Dr. Lecter calls out, very agitated. DR. LECTER (O.S.) Officer Starling... Officer Starling! Clarice slows, stops. She shudders, but makes the very difficult choice to turn, walk back, stand again in front of - DR. LECTER Who's shivering with rage. For an instant his face opens, and we catch a glimpse into hell itself. Then he's composed again. DR. LECTER I would not have had that happen to you. Discourtesy is - unspeakably ugly to me. CLARICE Then please - do this test for me. DR. LECTER No. But I will make you happy... I'll give you a chance for what you love most, Clarice Starling. CLARICE What's that, Dr. Lecter? DR. LECTER Advancement, of course. (beat) Go to Split City. See Miss Mofet, an old patient of mine. M-O-F-E-T... Now go. Go. (a smile) I don't think Miggs could manage again so soon, even if he is crazy - do you? CUT TO: EXT. THE HOSPITAL - PARKING LOT - DAY The grim gothic pile of the asylum looms overhead as Clarice rushes out the front doors. She is badly shaken, almost stumbling, as she rubs at her face. She looks around for, and finally, with some relief, spots - HER CAR an old Pinto, parked nearby. This image begins to BLUR... CLOSE ON her face, fighting tears, as the CAMERA begins to WHIRL AROUND her, almost dizzily. She is seeing, in her mind's eye - IN FLASHBACK a screen door banging open, on a wooden porch, and a 10-year old girl - the young Clarice - rushing outside, down the front steps, and running joyfully across her front yard to - MOVING ANGLE - THE GIRL'S POV a car - late 60's vintage - parked in the dirt road. A MAN, Clarice's father, is just climbing out. He's tall, handsome, and has a marshal's badge pinned on his dark suit. He grins, seeing her, and spreads his arms wide as... THE YOUNG CLARICE rushes into them, and he sweeps her up in a hug, spinning her around, the CAMERA SPINNING with them, and capturing both their laughing faces, before we abruptly return to - THE ADULT CLARICE alone in the parking lot, sagging against her car. Her face is buried in her arms, she shoulders shaking. SOUND UPCUT - a steady, rapid series of GUNSHOTS, as we CUT TO: INT. FBI ACADEMY FIRING RANGE - DAY Clarice, in a combat stance, and wearing a sound-muffling headset, is squeezing off ROUND after ROUND at A MOVING TARGET The silhouette of a man, approaching along a track. Her shots, tightly grouped, are all finding the center chest. The target stops, quite close to her, still swaying. Clarice stares at it, deftly working her speedloader. Then she puts a final, emphatic shot right through THE FIGURE'S FOREHEAD. CUT TO: INT. FBI ACADEMY LIBRARY - NIGHT CLOSE ON a microfilm monitor - a grainy newsphoto of Dr. Lecter, scrawling past, with an accompanying story ("New Horrors in Cannibal Trial"), dated 1980. Clarice is punching keys on the terminal. Other trainees study at nearby tables. She pauses, jotting a note on her pad, as Ardelia comes by, carrying an armful of books. ARDELIA Phone call, Clarice. It's God. CLARICE Thanks, Ardelia. MOVING ANGLE as Clarice rises, grabbing her notebook, and follows Ardelia past high metal bookstacks. ARDELIA You missed Fourth Amendment law. Unlawful seizure, real juicy stuff. Where were you all afternoon? CLARICE Pleading with a crazy man, with come all over my face. Ardelia stares at her, figures it's a put-on, laughs. ARDELIA Damn. Wish I had time for a social life. Clarice grins, as Ardelia indicates a phone receiver resting on the check-out desk, then moves on. Clarice picks it up. CLARICE (on phone) Mr. Crawford? CUT TO: INT. CRAWFORD'S HOUSE - STUDY - NIGHT Crawford, in a cardigan, sits in a wing chair in the book- lined study of his suburban home. He turns the pages of Clarice's memo as they talk. His tone is sharp. CRAWFORD I've read your interim memo on Lecter. You sure you've left nothing out? INTERCUTTING CLARICE It's all there, sir, practically verbatim. CRAWFORD Every word, Starling? Every gesture? CLARICE (a bit heatedly) Right down to the kleenex I used. (he is silent) Sir, why? Is something wrong? CRAWFORD He mentioned a name, at the very end. "Mofet..." Any followup on her? CLARICE I spent all evening on the mainframe. Lecter altered or destroyed most of his patient histories, prior to capture. No record of anyone named Mofet. But "Split City" sounded like it might have have something to do with divorce. I tracked it down in the library's catalogue of national yellow pages. (glancing at her notes) It's a mini-storage facility outside Baltimore, where Lecter had his practice. She pauses, expecting some soft of approval for her cleverness. CRAWFORD Well? Why aren't you there right now? CLARICE Sir, that's a field job. It's outside the scope of my assignment. And I've got a test tomorrow on - CRAWFORD Do you recall my instructions to you, Starling? What were they? CLARICE To complete and file my report by 0800 Wednesday. But sir - CRAWFORD Then do that, Starling. Do just exactly that. CLARICE Sir, what is it? There's something you're not telling me. CRAWFORD (beat) Miggs has been murdered. CLARICE (startled, upset) Murdered...? How? CRAWFORD The orderly heard Lecter whispering to him, all afternoon, and Miggs crying. They found him at bed check. He'd swallowed his own tongue... Chilton is scared stiff the family will file a civil rights lawsuit, and he's trying to blame it on you. I told the little prick your conduct was flawless. (beat) Starling...? CLARICE I'm here, sir, I just - I don't know how to feel about it. CRAWFORD You don't have to feel any way about it. Lecter did it to amuse himself. Why not, what can they do? Take away his books for awhile, and no jello... (a bit softer) I know it got ugly today. But this is your report, Starling - take it as far as you can. On your own time, outside of class. Now carry on. ANGLE ON CLARICE as we hear the loud CLICK of Crawford hanging up. She stares at her receiver, stung by his abruptness. CLARICE Well God damn it! You old creep. Creepo son of a bitch. Let Miggs squirt you and see how you like it. She slams her receiver into its cradle. ANGLE ON CRAWFORD as he flips aside her memo, then rises, wearily. He leaves his study, flicking off the lamp, and pads away in his slippers. CUT TO: INT. CRAWFORD'S BEDROOM - NIGHT A private nurse, in white, stands marking a clipboard chart, as Crawford enters his tidy bedroom. CRAWFORD I'll take over, Patricia. You get some rest. The nurse nods, hands him the chart, and goes. He glances at it, then sets it aside. He crosses to - BELLA CRAWFORD who lies in an elevated hospital bed. Nearby are an oxygen tank and mask, floral arrangements. Her breathing is shallow, very labored. Crawford looks down at his comatose wife for a long moment, tenderly brushes a strand of her hair back into place, then bends over to kiss her forehead. SOUND UPCUT - THUNDER and RAIN... DISSOLVE TO: EXT. "SPLIT CITY MINI-STORAGE" - DUSK (RAINING) An orange neon sign, streaked with rain, identifies out location. It looms over a hurricane fence, topped with barbed wire. Inside, row on row of garage-sized, cinderblock sheds. MR. YOW (V.O.) Unit 31 was leased for ten years. Pre-paid in full... The contract is in the name of "Miss Hester Mofet." CUT TO: EXT. STORAGE UNIT NUMBER 31 - DUSK Clarice, kneeling before a closed, roll-up metal door, takes a FLASH photo of its sealed padlock. EVERETT YOW, a fat, 60ish Chinaman, holds an umbrella over them both. He looks unhappy. CLARICE So no one's been in here since - 1980? She opens the padlock, using a fat ring of tagged keys, then sets aside both keys and lock. MR. YOW Not to my knowledge. Privacy is a great concern to my customers. But, if you say this is an FBI matter... CLARICE I won't disturb anything, Mr. Yow, I promise. Be gone before you know it. Slinging her camera over a shoulder, she tugs at the handle, but the door won't budge. Another tug, harder - no good. Mr. Yow stoops to help, puffing hard, but it's firmly stuck. He sighs. MR. YOW We could return tomorrow, with my son. Or perhaps some workmen...? Clarice crosses to her Pinto, which faces the shed, reaches in to turn on her headlights. Mr. Yow blinks in the sudden brightness. Then she opens her truck, rummaging inside, and returns with a bumper jack, a flashlight, and a rubber floor mat. CLARICE Would you hold these, please? She gives him her flashlight and camera, drops the mat on the ground, then sets the bumper jack in place, under the center of the door. She pumps on the jack handle as the door SQUEALS slowly up, but it won't go higher than about 18 inches, despite all her exertions. She spreads out the rubber mat on the cement, takes the flashlight from Mr. Yow, then lies on the mat. CUT TO: INT. THE STORAGE SHED - DUSK (VERY DARK) Clarice, backlit, peers under the door. She reaches in, makes a sweep with her flashlight. We catch shadowy outlines - boxes, then the flattened tires of a car... SOUND of rain on the tin roof, and other noises, too - small RUSTLINGS. Mr. Yow's chubby face appears down beside Clarice's. MR. YOW It smells like mice... I think I hear them, too - don't you? Clarice turns onto her back, starts squirming under the door. MR. YOW You're going in there? CUT BACK TO: EXT. STORAGE UNIT NUMBER 31 - DUSK Clarice pulls her head back out again, reaching to take her camera from him. She hands him a card, trying to appear nonchalant. CLARICE Mr. Yow, if this door should fall down -ha ha! - or anything else - would you be kind enough to call this number? It's our Baltimore field office. They know you're here with me... Do you understand? MR. YOW Might I suggest tucking your pants into your socks? To prevent mouse intrusion. CLARICE (beat) Good idea. CUT BACK TO: INT. STORAGE SHED - DUSK (VERY DARK) Clarice squirms, on her back, through the narrow opening. As she squeezes all the way in, she snags one thigh on the metal edge of the door. She curses softly, shining her flashlight on her ripped khakis - there's a small streak of blood. MR. YOW (O.S.) Okay, Miss Starling? CLARICE Okay, Mr. Yow... She shines her light around. In its narrow beam, we see - CLARICE'S POV - UPWARD, SHIFTING spiderwebs, everywhere... high stacks of cardboard boxes... a few dusty pieces of furniture... the big car, oddly long and tall, covered with a tarp... Suddenly there's a scurrying of loud MUSICAL NOTES. Clarice turns, scared, her beam capturing... an old upright piano. MR. YOW (O.S.) You're playing a piano, Miss Starling? CLARICE That wasn't me. MR. YOW (O.S.) Oh. Clarice crawls a bit further. There's hardly room to stand, but she finally manages to wriggle upright, clawing away cobwebs, next to the car. Holding her light under one arm, she takes several FLASH photos of the shed's interior, ending with the car. Then, slinging her camera over the shoulder, she folds back the tarp, resting it on the roof. The resulting clouds of dust make her cough. THE CAR is an antique beauty, a 1931 Packard. It's very dusty, despite the tarp. Curtains close off the back passenger compartment, but there's a narrow gap in them. More mousy RUSTLINGS. CLARICE peers in through the gap, aiming her flashlight. HER POV - SHIFTING as the thin flashlight beam picks out: the broad back seat... as open album of lacy, old-fashioned Valentines... a crumpled lap rug, on the floor... and then a pair of women's shiny, high-heeled pumps... Above these, the hem of a fancy satin evening gown - and a pair of pale, stockinged legs. Clarice recoils, alarmed, then steadies herself. CLARICE Mr. Yow? Oh Mr. Yow...? It looks like somebody is sitting in this car. MR. YOW (O.S.) Oh my! Oh my... Maybe you better come out now, Miss Starling. CLARICE Not yet! - just wait for me. (under the breath) Maybe in about two seconds. She leans down with her camera, takes a FLASH through the gap, then tries the door handle. Locked. So is the front door. She looks around, aiming her light, and locates a tangle of coat-hangers, sticking out of a carton of bric-a-brac. She pulls out one of these, straightens it quickly, bends the tip into a hook. CLOSE ANGLE as she jams this tool inside the join at the top of the back passenger window, then fishes around till she can snag the inside door latch, pulling up. A satisfying CLICK. Clarice opens the door - it hits stacked boxes, and won't open far - then very cautiously leans inside, aiming her flashlight. HER POV - MOVING LIGHT BEAM revealing more of the evening gown... a pair of hands, in white, elbow-length gloves - one rests on the lap, the other atop a large, beaded, drawstring evening bag... thick strands of costume pearls over the breasts... and finally the white neck stub of a female mannequin. No face or head. CLARICE sighs with relief. She takes a couple more FLASHES, then very carefully lifts out the Valentine album, holding it by the corners, and setting it atop the car. Then she eases herself inside, onto the back seat, as the springs SQUEAK loudly. ONE GLOVED HAND slides off the lap, brushing Clarice's thigh. Clarice starts a bit, then pokes at the gloved arm, hard. She peels back a bit of glove, revealing the white, synthetic elbow. She smiles, shaking her head at her own jumpiness, as she reaches over the mannequin's lap to loosen the evening bag's drawstring. A SEVERED HUMAN HEAD stares back at her, as the beaded material slides away. Clarice lurches back, gasping loudly, and several long, heart- pounding moments pass before she can make herself look more closely. The head bobs gently in a pool of alcohol, in a laboratory specimen jar. It is a man's head, but grotesquely transformed, by the addition of heavy makeup, earrings, and a sodden wig, into a woman's face. Over the years the makeup has smeared badly, and the pupils have gone almost milky white. CLARICE staring at this terrible thing, is pleased to find herself quickly regaining control. She murmurs to herself. CLARICE Well, Toto, we're not in Kansas anymore. CUT TO: EXT. QUINN'S HOSPITAL - PARKING LOT - NIGHT (RAINING) A loud clap of THUNDER, as a flash of LIGHTNING illuminates the eerie towers and barred windows of the asylum. MOVING ANGLE on Clarice as she climbs from her car, runs through heavy rain towards the main entrance, where a guard admits her. CUT TO: INT. DR. LECTER'S CELL AND CORRIDOR - NIGHT (DIM LIGHT) On a noiseless TV screen, an evangelist rants, waving his arms. Behind him, a swaying choir in gaudy robes. CLARICE (O.S.) It's an anagram, isn't it, Doctor? PAN TO Clarice, with her wet hair plastered flat, sitting on the corridor floor to one side of this TV, which has been stationed so that Dr. Lecter cannot avoid seeing it. CLARICE Hester Mofet... "The rest of me." Miss The-Rest-of-Me... Meaning, you rented that place. HER POV he's lost in shadows; we can't see him. He doesn't respond. CUTTING BETWEEN THEM Clarice and the darkened call - as she tries again. CLARICE You put those - things in there. Paid for it in advance, ten years ago... Why, Dr. Lecter? The food carrier suddenly SWISHES out of the cell, making her jump up. In its tray is a clean, folded white towel. She hesitates, then crosses, takes this. CLARICE Thank you. She sits again, rubbing her wet hair. When he finally speaks, he's on the floor, too - a deeper, hunching darkness in the shadows, occasionally striped by the flickering TV light. DR. LECTER Your bleeding has stopped. CLARICE How did - (she stops herself) It's nothing. A scratch. DR. LECTER Why don't you ask me about Buffalo Bill? CLARICE (surprised, a beat) Why? Do you know something about him? DR. LECTER I might if I saw the case file. You could get that for me. CLARICE Why don't you tell me about "Miss Mofet?" You wanted me to find him. Or do I have to wait for the lab? DR. LECTER (sighs) His real name is Benjamin Raspail. A former patient of mine, whose romantic attachments ran to, shall we say, the exotic...? I didn't kill him, merely tucked him away. Very much as I found him, in that ridiculous car, in his own garage, after he's missed three appointments. You'd have him under "Missing Person" - which, in poor Raspail's case, could hardly be more true. CLARICE If you didn't kill him, then who did? DR. LECTER Who can say...? Best thing for him, really. His therapy was going nowhere. CLARICE Wouldn't it have been easier to just leave him for the police to find? DR. LECTER And have them clomping about in my life? Oh dear, no... At that time I still had certain private amusements of my own. (beat) How did you feel when you saw him, Clarice? May I call you Clarice? CLARICE Scared, at first. Then - exhilarated. DR. LECTER Ahhh... Why? CLARICE Because you weren't wasting my time. DR. LECTER Do you have something you use, when you need to get up your courage? Memories, tableaux... scenes from your early life? CLARICE I don't know. Next time I'll have to check. DR. LECTER Jack Crawford is helping your career, isn't he? Apparently he likes you. And you like him, too. CLARICE I never thought about it. DR. LECTER Your first lie to me, Clarice. How sad. Tell me - do you think Crawford wants you, sexually? True, he's much older, but - do you think he visualizes... scenarios, exchanges...? Fucking you? CLARICE That doesn't interest me, Doctor. And it's the sort of thing Miggs would ask. DR. LECTER Not anymore. (beat) Surely the odd confluence of events hasn't escaped you, Clarice. Crawford dangles you before me. Then I give you a bit of help. Do you think it's because I like to look at you, and imagine how good you would taste...? CLARICE I don't know. Is it? DR. LECTER Or doesn't this all begin to suggest to you a kind of... negotiation? There's something Crawford can give me, and I want to trade for it. I even wrote to him, offering my help. But he hates me, so he won't deal directly. Dr. Lecter slowly turns up the rheostat in his cell. As his lights rise, we see that the cell's been stripped bare. Gone are his books, drawings, mattress - even his toilet seat. She stands, too, startled. They face each other. DR. LECTER Punishment, you see. For Miggs. Just like that gospel program. When you leave, they'll turn the volume way up. Chilton does enjoy his petty torments. CLARICE Who killed Raspail, Doctor...? You know, don't you? DR. LECTER I've been in this room for eight years, Clarice. I know they will never, ever let me out while I'm alive. What I want is a view. I want a window where I can see a tree, or even water. I want to be in a federal institution, away from Chilton - and I want a view. I'll give good value for it. Crawford could do that for me, but he won't. You persuade him. CLARICE (almost a whisper) Who killed your patient? DR. LECTER Oh, a very naughty boy. Someone you and Jack Crawford are most anxious to meet. CLARICE Buffalo Bill...? (incredulous) Bill killed him, all those years ago...? That's impossible. But Dr. Lecter only smiles, enigmatically. DR. LECTER Who is he stalking right now, Clarice? I wonder, don't you? How many more young women will have to die, before you trade with me...? As Clarice stares at him, unsure how to respond - DISSOLVE TO: INT. CATHERINE MARTIN'S APARTMENT - MEMPHIS, TENNESSEE - NIGHT CATHERINE MARTIN takes a long toke from a bong pipe. She is 21, a tall, big-boned, rather fleshy girl with long brown fair. Her head is on the lap of her boyfriend, CODY; they're sprawled on a couch in the den of her well-furnished apartment. The TV in on, with low SOUND. CATHERINE This stuff's givin' me the munchies. Where's that bag of popcorn? CODY Shit. Left the groceries in the car. He starts to rise, but she pushes him back. CATHERINE 'S okay, I'll go. She rises, goes out the front door. CUT TO: EXT. PARKING LOT - THE APARTMENT COMPLEX - NIGHT Catherine straightens, with her bag of groceries, shutting her car's back door. She sees, a short distance away - A MAN standing at the open rear door of a brown panel truck. His right forearm is in a cast and sling; he is struggling, unsuccessfully, to hoist an armchair into the truck. Parked nearby, other cars, RVs, a boat on a trailer. A thin, breast- high fog fills the lot; arc lights make yellow pools. Catherine hesitates, then crosses towards the man. CATHERINE Help you with that? MAN Would you? Thanks. His voice is odd, strained, very soft. A fog lamp, set on end on the ground, distorts his features from below. We can't get a good glimpse of his face, but his body is plump, above average height; he's in his mid 30's. She sets down the bag, then together they easily lift the chair into the truck. MAN (O.S.) Let's slide it up, you mind? CUT TO: INT. THE PANEL TRUCK - NIGHT He climbs inside the truck, ducking under a small hand winch, and grabs the chair. She hesitates again, but climbs in after him; together they slide the chair forward, behind the seats. MAN Are you about a size 14? CATHERINE (surprised) What? Suddenly, in the shadowy dark, he clubs her over the back of her head with his cast. She moans, slumps unconscious, sliding off the armchair to lie on her stomach. He pulls off his cast and sling, tosses them aside, then hops out of the truck, grabs his lamp, climbs back inside, and pulls the door shut. He bends over her face with the lamp. We hear her shallow BREATHING. MAN Good. He peels back the collar of her blouse, reading the size tag. MAN Good. He carefully slits her blouse up the back, with a pair of bandage scissors, peeling apart the two halves. There's no bra strap. He strokes her bare skin delicately, very happily. MAN Gooood... CUT TO: EXT. THE PARKING LOT - NIGHT LOW ANGLE - CLOSE - on Catherine's grocery bag, as her blouse is tossed out beside it. SOUND of the truck's motor starting. The truck backs up, one rear wheel knocking over the bag, partly squashing it. Then is drives away, taillights shrinking, as a lone orange rolls slowly away from the bag... DISSOLVE TO: INT. FBI ACADEMY CLASSROOM - QUANTICO - DAY CLOSE ON a large video screen, where a BLURRY image gradually sharpens, resolving into two separate pieces of fabric. INSTRUCTOR (O.S.) Electron microscopy reveals fiber "signatures" that are nearly as distinct as fingerprints... Clarice sits at a long table, with other trainees. Ardelia is beside her. Other tables and students in the background. Each trainee has his own microscope. Clarice is tired, but straightens, hearing - INSTRUCTOR (O.S.) Both of these blouses were worn by victims of Buffalo Bill. They were found in two different states, and four months apart. He always slits them up the back, like a funeral suit... ON THE SCREEN successively CLOSER VIEWS of the cut fabric edges, until we are seeing individual threads, big as tree limbs. The cuts match. INSTRUCTOR (O.S.) The bunching you see - this compression - is characteristic of scissor cuts, rather than a single blade. And, as you see - Bill always uses the same pair... ANGLE ON THE DOOR as John Brigham, the gunnery instructor, sticks his head in. BRIGHAM Clarice Starling! Are you in here? CUT TO: INT. HALLWAY - CLASSROOM BUILDING - DAY Clarice and Brigham walk briskly down the hall, passing other trainees. He carries a small canvas bag. BRIGHAM Get your field gear, take stuff for overnight. You're goin' with Crawford. CLARICE Where? BRIGHAM Some fishermen in West Virginia found an unidentified girl's body. It's a Buffalo Bill-type situation. Been in the water about a week, and Jack needs somebody that can print a floater. Think you can handle it? CLARICE (thinking quickly) I'll need the big fingerprint kit... and the one-to-one Polaroid, the CU- 5, with film packs and batteries. CUT TO: INT. BRIGHAM'S JEEP CHEROKEE - DAY (DRIVING) Brigham steers as they pass hangars, parked planes, an airstrip. Clarice holds a big fingerprint kit and a weekend bag. BRIGHAM Jack's pretty tough on you, isn't he? Impatient... CLARICE Sometimes. BRIGHAM He's got a lot on his mind besides Buffalo Bill... His wife, Bella, is real sick. Comatose... I'm tellin' you about it now, 'cause he may never. Clarice absorbs this in silence as they stop near an ancient, rather dilapidated Beechcraft. Its door is open, the twin props and beacons already turning. Brigham turns to her, holding out his small canvas bag. BRIGHAM You're goin' in the field, so you gotta have full kit. Take this - it's my own... Clarice opens the bag, stares at the big blue gun nestled in its shoulder holster. She looks up at him, touched. BRIGHAM Wear it, don't ever leave it in your purse. Dry fire it whenever you get the chance. And do your exercises. CLARICE I will... I promise. BRIGHAM Listen, I hope you never need a thing I've taught you. But you've got something... Jack sees it, I do too. If you ever need to, you can shoot. She nods, climbs out. Then she looks back in at him. They're both moved by this rite of passage, but a little embarrassed. BRIGHAM Bless you, Starling... CUT TO: INT. BEECHCRAFT PLANE - DAY (FLYING) CLARICE'S POV - Out the plane's window, at the landscape far below. Wisps of cloud, a quilt of farms. Clarice turns from the window, looks at a think folder in her lap. The cover reads "Case File: / BUFFALO BILL." Clarice is moody, distracted. She hesitates, then opens the file, begins to scan. INSERTS - HER POV Police forms, some handwritten... Typed lab reports; we catch words, phrases: "Autopsy Protocols", "Histamine Analysis"... Grainy enlargements of bullet slugs, showing matched grooves... And then a stack of victim photos. The first one, taken from a good distance away, shows a nude female body, face down on a pebbly riverbank, surrounded by bits of litter. Clarice hesitates again, then flips this photo to look at the next. It makes her flinch, just slightly. Quickly she turns through several more photographs, trying hard to concentrate. CRAWFORD (O.S.) He keeps them alive for three days. NEW ANGLE shows Crawford standing over her, swaying with the plane's motion. Behind him, the open cockpit door, the pilot's back. Crawford sits, removing sunglasses. He rubs his eyes. CRAWFORD Why, we don't yet know... There's no evidence of rape or physical abuse prior to death. All the mutilation you see there is post-mortem. (a beat; he glances at her) I'm hot, are you hot? Bobby, it's too damned hot back here... The pilot adjusts a valve. Crawford turns to her again. CRAWFORD So. Three days. Then he shoots them, skins them - usually just the torsos - and dumps them. Each body in a different river, in a different state, downstream from an interstate highway. The water leaves us no fingerprints, fibers, DNA fluids - no trace evidence at all. That's Fredrica Bimmel, the first one... A COLOR PHOTO - IN CLARICE'S HANDS shows a pretty, plump-cheeked brunette, in her high school graduation cap and gown. She smiles at us with touching optimism. CRAWFORD (O.S.) A big girl, like all the rest. Went about 160... Her corpse was the only one he took the trouble to weight down, so actually, she was the third girl found. After her, he got lazy... NEW ANGLE as Clarice stares at the girl's face, moved. Crawford pulls a map from the file, spreads it out. It shows the central and eastern U.S., with widely-spaced, hand-drawn markings. CRAWFORD Blue square for Belvedere, Ohio, where the Bimmel girl was abducted. Blue triangle where her body was found - down here in Missouri. Same marks for the other four girls, in different colors. This new one, today... washed up here. (he marks with a Flair pen) Elk River, in West Virginia, about six miles below U.S. 79. Real boonies. CLARICE There's no correlation at all between where they're kidnapped and where they're found...? (he shakes his head) What if - what if you trace the heaviest-traffic routes backwards from the dump sites? Do they converge at all? CRAWFORD Good idea, but he thought of it, too. We've run simulations, using different vectors and the best dates we can assign. You put it all in the computer, and smoke comes out. No, this one is different. This one has seen us coming... CUT TO: INT. RENTAL CAR - DAY (DRIVING) Crawford steers, following a highway patrol car along a winding mountain road. Clarice has the file open on her lap. He glances at her, inscrutable behind his sunglasses. CRAWFORD Talk about him, Starling. Tell me what you see. CLARICE (choosing her words carefully) He's a white male... Serial killers tend to hunt within their own ethnic group. And he's not a drifter - he's got his own house, somewhere. Not an apartment. CRAWFORD Why? CLARICE What he does with them - takes privacy... Time, tools... He's in his 30's or 40's - he's got real physical strength, but combined with an older man's self-control. He's cautious, precise, never impulsive... This won't end in suicide, like they often do. CRAWFORD Why not? CLARICE He's got a real taste for it now. And he's getting better at his work. CRAWFORD (a beat; impressed) Maybe you've got a knack for this... I guess we're about to find out. CLARICE (quietly, evenly) Like I have a "knack" for Dr. Lecter? He studies her a few moments, measuring her anger. CRAWFORD Okay, Starling. Let's have it. CLARICE You haven't said a word today about that garage. Or what I found there. CRAWFORD What should I say? You did fine work. We'll wait on the lab. CLARICE You knew. You knew from the start that Lecter held the key to this... But you weren't up front with me. You sent me in to him naked. CRAWFORD (beat) Are you finished? CLARICE He starts this - buzzing in me, in my head. He makes me feel violated... You used me, Mr. Crawford. A shadow of regret passes over his face, but he answers sternly. CRAWFORD Number One. Maybe there's a connection, maybe not. Lying and breathing are the same thing to Lecter. Number Two. If I'd sent you in there with something to hide from him, he'd have known it, instantly. He'd never have trusted you. She starts to answer, then is silent. He is right. By now the two cars are entering a tidy little town - tree- lined streets, wooden houses, one-story shops, mountains in the background. They slow, turn. CRAWFORD Number Three, I didn't bring you along today just because you can do first-rate forensics. If Lecter is becoming part of this case, you've got the most current read on him. And Number Four - you don't have to like me, or the way I do things. But you do have to keep a cool head. Especially now... Because from here on out, you'll know everything I do. Are we straight on that? Clarice nods, silently; it's as close to an apology as she's likely to get. She stares out the windshield. JUST AHEAD OF THEM the highway patrol cruiser noses into a curb, next to other police cars, facing a big white frame house. Its sign reads "Potter Funeral Home." Two troopers climb from the car. Crawford parks too, then kills the engine. He turns to her, removing his sunglasses, gestures to the case file. CRAWFORD (softly) You think about him long enough, you get a feel for him... Then, if you're lucky, out of all the stuff you know, one little part of it tugs at you, tries to get your attention... You let me know when that happens, Starling. Live right behind your eyes, today. Don't try to impose any patterns on this guy. Just stay open and let him show you... One of the troopers, impassive in his sunglasses and hat, peers in through Crawford's window. Crawford nods to him, then turns back to Clarice. CRAWFORD School's out, Starling. CUT TO: EXT. SIDEWALK OF THE FUNERAL HOME - POTTER, WEST VA. - DAY SOUND of organ music, as Clarice, carrying her fingerprint kit, mounts some steps to the sidewalk. She stops, seeing - COUNTRY PEOPLE in their somber best, filing into the mortuary for a service. The music - "Shall We Gather At The River?" - is issuing from the open double doors. Several of the mourners glance over at her curiously. ANGLE ON CLARICE staring back at the mourners, hearing the music, as a sense memory is triggered in her... IN FLASHBACK - LOW ANGLE, MOVING as we approach, down the aisle of a country chapel, an open wooden coffin. Sad country faces turn, looking at us from the flanking pews. The b.g. organ hymn is "Shall We Gather...?" THE SAD, 10 YEAR-OLD CLARICE in her best dress, is reluctantly approaching the casket. Her hands are held by the plump hands of unseen matrons. CHILD'S POV on the looming coffin... closer and closer... until finally she can see, lying inside it... her dead father, arms folded, his marshal's badge still pinned to his lapel. CRAWFORD (V.O.) Starling...? NEW ANGLE (PRESENT DAY) as the grownup Clarice turns towards the impatient Crawford. Like her, he carries a large case. CRAWFORD We're around back. CUT TO: INT. FUNERAL HOME - BACK CORRIDOR - DAY A young deputy, several state troopers, and a SHERIFF are all waiting, as Crawford and Clarice enter. The dim, cluttered corridor doubles as storage space - there's a treadle sewing machine, a soft-drink machine, a tricycle. The MUSIC is closer. Crawford shakes hands with the sheriff. CRAWFORD Sheriff Perkins? Jack Crawford, FBI... This is Officer Starling. We appreciate your phoning us. SHERIFF (grim, unsociable) I didn't call you. That was somebody from the state attorney's office... 'For you do a thing else, I'm gon' find out if this girl's local. It could just be somethin' that outside elements has dumped on us. He casts a sidelong, unhappy glance at Clarice. CRAWFORD Well sir, that's where we can help. If - SHERIFF I don't even know you, Mister... Now we'll extend you ever courtesy, just soon as we can, but for right now - CRAWFORD Sheriff, this, ah - this type of sex crime has some aspects I'd rather discuss just between the two of us. Know what I mean? He indicates Clarice with his eyes. The sheriff hesitates, nods, then lets Crawford guide him into a small office, closing the door behind them. Muffled WORDS from there. CLARICE burning at this slight, is left alone with the troopers, who peek at her with shy curiosity. She pulls her blazer a bit tighter, self-conscious about her bulging shoulder holster. ANGLE ON THE OFFICE DOOR as, after a few more moments, the sheriff and Crawford emerge. The sheriff, still not very happy, addresses his deputy. SHERIFF Oscar, run fetch Dr. Akin from the chapel. And tell Lamar to come on when he's done playin' that music. CUT TO: INT. EMBALMING ROOM - DAY Crawford, in one corner of the room, has set up a Litton Policefax fingerprint transmitter. SOUND of many men's low voices, in background. He is on the phone, and has to speak loudly. CRAWFORD I need a six-way linkup! Chicago, Detroit, Cleveland, St. Louis, Atlanta, and Dallas... What?... Can you hear me...? He looks around, frustrated by the noisy circus atmosphere. CLARICE is pulling on a pair of surgical gloves. She raises her voice, turning up her natural accent by several notches. CLARICE Gentlemen. You officers and gentlemen! Listen here a minute, please. There's things I need to do for her... WIDER ANGLE as we see that the small room is very crowded with deputies and troopers. They gradually fall silent, looking at her. CLARICE (O.S.) Y'all brought her this far, and I know her folks would thank you if they could. Now please - go on out and let me take care of her... Go on, now. The men look at one another, a little bashfully, then begin to to file out, whispering among themselves. As they go, a bright green body bag is REVEALED, tightly zipped, lying on a porcelain embalming table. It is almost the only modern object in this Victorian room, with its glass-paned cabinets and faded wallpaper, decorated with cabbage roses. FAVORING CRAWFORD as he looks at Clarice with a new degree of respect. Men brush by him, till finally only two are left: DR. AKIN, a family g.p., and LAMAR, a lean, whiskey-reddened mortician. SOUND of the door closing. Lamar dabs around his nostrils with Vicks VapoRub. CRAWFORD (on phone) We're starting. Tell everybody to stand by for fingerprint transmission. CLARICE at a side counter, has turned back to her open fingerprint kit. She is lifting out a camera when she hears the ZIPPER of the body bag being slowly opened, behind her... One gloved hand flies to her mouth as she reacts, involuntarily, to the sudden smell. She blinks at her reflection in the cabinet glass, then steels herself to turn, look at the corpse. CLARICE (pause; softly) Bill... She steadies herself by raising her camera, takes a FLASH photo. LOW ANGLE - LOOKING UP, FROM BENEATH TABLE as Dr. Akin gently lifts aside one of the dead girl's arms. A piece of fishing line, with multiple hooks, is still snagged around it, dangling. Crawford leans in for a closer look. DR. AKIN Wrongful death... She'll have to go to the state pathologist at Claxton when you're done. (Crawford nods) I better - get on back for the rest of that service. Lamar'll help you. (shaken) Lord almighty... He leaves, and Clarice leans INTO SHOT, taking another photo. CRAWFORD What do you see, Starling? CLARICE Well, she's not local. Her ears are pierced three times each, and she's wearing green glitter nail polish. Looks like town to me... CLOSE ANGLE on the calf of one of the girl's legs, as Clarice trails the inside of her bare wrist along the skin. CLARICE (O.S.) She waxed her legs, I think... A big girl, just like the others - but she was careful about her appearance... UPWARD ANGLE AGAIN as Lamar joins them for a closer look. CLARICE Two of the fingernails are broken off, and there's - dirt or grit under the others. She tried to claw her way through something... I'll scrape out samples after I've printed her. She takes another FLASH, then quickly reloads film. LAMAR Them fishhooks are set too close together. No wonder the Franklin boys was scared to say they found her. CLARICE Think they were runnin' a trotline? Crawford and Lamar both look at her curiously. CLARICE (to Crawford) It's a Fish and Game violation. Like poaching. There's a big fine. LAMAR Right... Are you from around here? CLARICE They do it lots of places. CRAWFORD Get photos of her teeth. Then we'll fax her fingerprints to Washington, try to trace her through Missing Persons. SIDE ANGLE - CLOSE ON THE DEAD GIRL'S FACE staring blue eyes, short reddish hair. Clarice sets the Polaroid, with its special attachments, against the face, while Lamar gently retracts the lips. Each time the camera FLASHES, there's a bright glow inside the cheeks. NEW ANGLE - CHEST HIGH as Clarice examines a developing print. CLARICE She's got something in her throat. She hands the print to Crawford; he and Lamar look at it, as she searches in her kit. LAMAR When a body comes out of the water, alots of times there's like, leaves and things in the mouth. Clarice holds up a pair of forceps. She glances at Crawford, who nods. She bends over, partially OUT OF SHOT, and after a few moments reappears, holding up a small, brown cylindrical object. She turns this in the air, as they all stare. CRAWFORD What is it - some kind of seed pod? LAMAR Nawsir, that's a bug cocoon. But how come that to get way down in there? 'Less somebody shoved it in... Clarice and Crawford exchange a glance. CRAWFORD She'll be easier to print if we turn her over. Lamar, will you give me a hand? LAMAR Yessir, I will. Clarice takes a jar from her kit, carefully drops the cocoon inside. SOUND of the men's heavy efforts as they turn over the body, off screen. She seals the jar, staring into it at the cocoon. CRAWFORD (O.S.) Starling - what do you make of these? She turns to look. HER POV low on the corpse's back, over the shoulders, two neat, triangular patches of skin are missing. NEW ANGLE - TWO SHOT as Clarice looks at Crawford. CLARICE I don't know. I didn't see those on any of the other girls... CRAWFORD They weren't there. Get close-ups. Clarice raises her camera, leans in for another FLASH. CUT TO: EXT. BACK STEPS OF THE FUNERAL HOME - DAY Clarice sits outside, with her head on her knees, drained. She looks up wanly as Lamar appears, offers her a can of Coke. CLARICE Thanks, I'm not thirsty. LAMAR No, hold it under your chin, there, and on your temples. Cold'll make you feel better. It does me. She smiles, touched, and takes the can. When Lamar sees Crawford coming outside, he tactfully departs. Crawford sits beside her; there's a brief silence. She soothes herself with the can. CRAWFORD When I told that sheriff we shouldn't talk in front of a woman, that really burned you, didn't it? (she is silent) That was just smoke, Starling, I had to get rid of him. You did well in there. CLARICE It matters, Mr. Crawford... Other cops know who you are. They look at you to see how to act... It matters. CRAWFORD (beat) Point taken. She looks at him a moment, then offers the can. He opens it. CRAWFORD When we get back, I want you to run that bug by the Smithsonian, see if they can identify it. Maybe it's got some limited range, or it only breeds at certain times of year... You found it, Starling, you deserve the credit. CLARICE I'm wondering if he's done that before - placed a cocoon, or an insect. It would be easy to miss in an autopsy, especially with a floater... Can we check back on that? CRAWFORD (shakes his head) The other girls are in the ground. Exhumations are upsetting for the families. I'll do it if I have to, but - CLARICE Then have the lab check Raspail's head. (he looks at her) Dr. Lecter's patient - have them probe his soft-palette tissues... They'll find another cocoon. CRAWFORD You seem pretty sure of that. CLARICE Raspail was killed by the same man who's killing these girls. And Lecter knows him. Maybe even treated him... You think so, too, don't you? Or you'd never have sent me to that asylum. He looks at her for a moment, then sips again. CRAWFORD Before we caught him, Lecter had a big psychiatric practice in Baltimore. But he traveled all over the country - teaching, consulting... Christ, even testifying in murder trials. Who knows how many potential psychos he turned loose, just for the fun of it...? DISSOLVE TO: INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT) A shadowy male figure looks down at us, leaning over the edge of a deep hole. He holds a little white poodle in his arms, stroking it. This is MR. GUMB, aka "Buffalo Bill." MR. GUMB (softly) Rub the cream on your skin. Rub it in gooood... CATHERINE MARTIN looks up at him. She is standing on the cement bottom of the pit, or oubliette, about 15 feet below floor level. The pit is bare, except for a futon and a plastic toilet bucket, from which a thin string rises up to the basement. She's soaking wet, in an orange jumpsuit, and holds a squeeze bottle of skin lotion. She struggles to sound calm. CATHERINE Mister... my family will pay cash. Whatever ransom you're askin' for, they - REVERSE ANGLE - UP TOWARDS MR. GUMB MR. GUMB Rub it in! Or you'll get the hose again. The little dog squirms in his arms, BARKING excitedly. MR. GUMB Yes, it will, Precious, won't it? It will get the hose! SIDE ANGLE - AT PIT BOTTOM as Catherine kneels, turning slightly away from him. CATHERINE (under her breath) Oh God... oh God... She unzips her jumpsuit, part-way, then squeezes some of the lotion onto a palm. She reaches inside her suit, rubs it on. CATHERINE Mister, if you let me go, I won't press charges, I promise. You've only had me here a couple days, and - MR. GUMB (O.S.) No. Just one day... CATHERINE Is that all...? See - see, my mom is a real important woman... Well, I guess you already know that. She'll pay you, no questions asked. Whatever cause you represent - Iran, Palestine - she'll see that - A sudden blinding glare of light silences her. She looks up, shielding her eyes. HER POV a floodlamp is descending, attached to a small basket. MR. GUMB Put the bottle in the basket. No funny business, or you'll be sorry... NEW ANGLE - CATHERINE as the basket stops, and she steadies it. But as she slips the bottle in, she sees something, O.S., just at the fringe of the light. She hesitates, looks closer... then begins to scream, hysterically, again and again. Her outflung hand hits the lamp, and in its swaying glare, we see - high on the concrete walls, all around her - BLOODY FINGER TRACKS dried now, brownish - left by many pairs of frenzied hands... CUT TO: INT.CLARICE'S DORM ROOM - FBI ACADEMY - DAWN Clarice is at her desk, exercising her right hand with the grip flexer, while simultaneously studying a thick law book. Ardelia sticks her head in the door, excited. ARDELIA You better come see this. CUT TO: INT. RECREATION ROOM - FBI ACADEMY - DAWN CLOSE ON a TV screen, filled with a photo of Catherine Martin. TV ANCHOR (V.O.) ...was listed at first simply as a missing person, but is now believed to have been kidnapped by the serial killer known only as "Buffalo Bill." The photo disappears, replaced by the TV ANCHOR himself. TV ANCHOR Memphis Police sources indicate that the missing girl's blouse has been identified, sliced up the back, in what has become a kind of grim calling card. Young Catherine Martin, as we've said, is the only daughter of U.S. Senator Ruth Martin - CLARICE looks at Ardelia, surprised. Other trainees are drifting into the rec room, some whispering among themselves. Clarice stares back at the TV intently. TV ANCHOR (O.S.) ...the Republican junior senator from Tennessee. And while her kidnapping is not at this point considered to be politically motivated, nevertheless it has stirred the government - BACK ON THE TV ANCHOR TV ANCHOR ...to its highest levels, the president himself being said to be, and I quote, "intensely concerned." Just moments ago, Senator Martin made this dramatic personal plea... SENATOR MARTIN (TV FOOTAGE) fills the screen, in a halo of lens flare, as she speaks to a jostling crowd of reporters on the front steps of her Georgetown home. A tall woman, late 40's, with a strong, taut face. SEN. MARTIN I'm speaking now to the person who is holding my daughter. Her name is Catherine... You have the power to let Catherine go, unharmed. She's very gentle and kind - talk to her and you'll see. Her name is Catherine... Clarice is moved by what she sees. Other trainees are all around her. CLARICE (whispers) Boy, is that smart... ARDELIA Why does she keep repeating the name? CLARICE Somebody's coaching her... They're trying to make him see Catherine as a person - not just an object. ON THE TV AGAIN SEN. MARTIN You have a chance to show the whole world that you can be merciful, as well as strong. Please - I beg you - release my Catherine... NEW FOOTAGE as we see (NIGHT, TELEPHOTO) - a taped-off section of Catherine's parking lot. Technicians, with instruments, are kneeling by the crushed grocery bag. 2ND TV ANCHOR (V.O.) Meanwhile. in Memphis, the investigation continued throughout the night, as state and local authorities were joined at the kidnap scene by agents of the FBI... MOVING ANGLE (STILL TV FOOTAGE) as Jack Crawford is seen striding towards the front door of Catherine's apartment, followed by Burroughs and other agents. One of them moves quickly towards the CAMERA, waving it back. REC ROOM ANGLE - FAVORING ARDELIA as the other trainees send up a brief, ironic cheer. But Ardelia turns sympathetically towards the troubled Clarice. ARDELIA I don't know whether to say "I'm sorry," or "Congratulations." But girl? - you just went prime time. CUT TO: EXT. SMITHSONIAN - MUSEUM OF NATURAL HISTORY - DAY The massive Victorian building looms over Constitution Avenue. Clarice quickly mounts the steps, carrying a small plastic box. CRAWFORD I don't think he knew that she's a Senator's child. She's a big girl, Starling, like all the rest. We're going on the theory she was randomly targeted by size... CUT TO: INT. MUSEUM CORRIDOR - DAY Clarice, now accompanied by a museum guard, walks through an eerie landscape of dinosaur bones - crouching skeletons with blank eye sockets, gaping fangs. CRAWFORD (V.O.) By now, Bill's had her for 36 hours. That leaves us just 36 more, before he kills her... But maybe, just maybe, Starling, we caught a real break this time - thanks to you. (beat) We found another bug, in Raspail's head. CUT TO: INT. MUSEUM OFFICE - DAY CLOSE ON an live, enormous, rhinoceros beetle, as it weaves its clumsy way among the men on a chessboard, before finally stepping off the edge, onto a lettuce leaf. RODEN (V.O.) Time, Pilch! My move. PILCHER (V.O.) No fair! You lured him with produce. WIDER ANGLE shows two entomologists, both 30ish, hunched over the board. RODEN is a pudgy redhead; PILCHER is lean, quite handsome. RODEN Tough noogies! It's still my turn. CLARICE (O.S.) If the beetle moves one of your men, does that count? They look up, delighted to see Clarice in the doorway. Both men are hopelessly smitten by her. RODEN Of course it counts. How do you play? PILCHER (grins) Officer Starling. Welcome back. CUT TO: INT. ENTOMOLOGY CORRIDOR - DAY MOVING ANGLE as Clarice and the two men go briskly down a hall lined with mounted insects, in all shapes and sizes. Roden peers at Clarice's new cocoon, in its box. RODEN Where the hell did this one come from? It's practically mush. CLARICE You really don't want to know. PILCHER Your West Virginia specimen gave us quite a bit of trouble, but I finally managed to narrow his species through chaetaxy - studying the skin. RODEN I'm the one who found his perforating proboscis! Are you wearing a gun, right now? (Clarice nods) Ooh, cool! Can I see it? Can I? PILCHER Just ignore him. He's not a Ph.D. CUT TO: INT. LABORATORY - DAY VERY CLOSE (MAGNIFICATION) on the sliced cocoon, as Roden uses tweezers and a dental probe to ease out the sodden chrysalis. RODEN (O.S.) The whole trick is to remove the chrysalis without destroying it... The wings are just like wet tissue paper... THE TWO MEN are hunched over a formica table, peering through square magnifiers into stainless trays. Clarice watches curiously. Of their two specimens, Pilcher's moth is in much better condition - a big brown creature, its wings outspread on towel paper. PILCHER (without looking up) What do you do when you're not detecting, Officer Starling? CLARICE I try to be a student, Dr. Pilcher. PILCHER Ever get out for cheeseburgers and beer? The amusing house wine...? CLARICE (smiles) Not lately. But maybe someday. He looks up at her, shyly. A little moment passes between them, before Roden straightens, exultant. RODEN Positive match! CLARICE You're sure? RODEN (points with his dental probe) West Virginia... Baltimore. Officer Starling, meet Mister Acherontia Styx. He moves aside for Clarice to get a closer look at Pilcher's specimen. She leans forward, intently. HER POV (MAGNIFICATION) the wide, furry, brown back of the moth. And there, right between the wing bases - wonderful and terrible to see - is nature's perfect reproduction of a ghostly human skull. RODEN (O.S.) Better known to his friends as the Death's-head Moth... PILCHER (O.S.) The Latin name comes from two rivers in Hell. Your man - he drops these girls into rivers, every time. Didn't I read that? FAVORING CLARICE as she looks up at him, awed, excited, almost trembling. CLARICE And there's no way - no natural way - these could've wound up in the bodies? PILCHER (shakes his head) They live in Malaysia. In this country, they'd have to be specially raised, from imported eggs. CLARICE (pause, then softly) Dr. Lecter... As the two men stare at her, puzzled, we hear a SOUND UPCUT - the wail of police SIRENS - and... CUT TO: EXT. U.S. ROUTE 95 - DAY (AERIAL SHOT) An awesome armada of police vehicles swings through an intersection, while normal traffic is held back by highway patrol cruisers. The lead cars turn off, hit the entrance ramp to the freeway - SIRENS going, tires SQUEALING, red flashers... CLOSER ANGLE on a speeding surveillance van, with long antennas and a small satellite dish, near the head of the motorcade. CRAWFORD (V.O.) Maybe we can trace how he buys the bugs, starting with U.S. Customs... CUT TO: INT. THE SURVEILLANCE VAN - DAY (DRIVING) The van is crammed with an impressive array of hi-tech equipment, all CLICKING and HUMMING. Burroughs is talking quietly on a scrambler phone, while another agent works a computer. CRAWFORD (O.S.) Maybe we can locate some of Raspail's old lovers. Maybe, someday... CLARICE AND CRAWFORD sit in swivel seats at the rear, by a big window. Clarice can't resit an occasional peak at the trailing motorcade, awed and a bit thrilled to be the center of so much attention. CRAWFORD But for Catherine Martin, it all comes down to you and Lecter. You're the one he talks to. CLARICE He's already offered to help... What would happen if we just showed our cards - asked him for Bill? CRAWFORD He offered to help, Starling, not to snitch. That wouldn't give him enough chance to show off. Remember, Lecter looks mainly for fun. Never forget fun. CLARICE But if he knew we have so little time - CRAWFORD If we act too anxious, he'll make us wait. He'll let the Senator keep hoping, day after day, until Catherine finally washes up. That'd be the most fun of all. CLARICE I think he means it, this time. I think he'll deal. CRAWFORD What would it take? CLARICE Transfer to a new prison. With a view of trees, he said, or even water... Can we swing that? CRAWFORD (shakes his head) State to federal jurisdiction... We can do it - eventually - but we'll never get all the clearances in time. Can you convince him a deal's already in place? CLARICE You'll back me up with some paperwork? (he nods) Then I'll try. But wouldn't this have more weight coming from the Senator herself? CRAWFORD (hesitates) She doesn't know what we're up to. And we can't afford to let her find out. Clarice looks at him, surprised. CRAWFORD She's the mother, Starling. She can't possibly comprehend what Lecter is. She'd make the mistake of pleading with him. Begging him... He'd feast on her pain till the last second of that girl's life... CUT TO: INT. BALTIMORE STATE HOSP. FOR THE CRIMINALLY INSANE - DAY Chilton approaches, walking briskly down a corridor in the administration wing. He looks quite agitated. CRAWFORD (V.O.) We can't trust Frederick Chilton, either. He's greedy and ambitious. If he knew about Lecter's link to Bill, he's go straight to the newspapers... Chilton falls into step beside Clarice, who has her briefcase. He points his gold pen at her accusingly. CHILTON What you're doing, Miss Starling, is coming into my hospital to conduct an interview, and refusing to share information with me. For the third time! CLARICE Dr. Chilton, I told you - this is just routine follow-up on the Raspail case. CHILTON He's my patient! I have rights! (grabs her arm, stopping her) I'm not just some turnkey, Miss Starling. I shouldn't even be here this afternoon. I had a ticket to Holiday on Ice. She stares at him, with pity and distaste, till he lets go. CLARICE I'm acting on instruction, Dr. Chilton. (handing him a card) This is the U.S. Attorney's number. Now please - either discuss this with him, or let me do my job. She walks away, leaving him speechless with frustration and hostility. He clicks his pen, watching her go. CUT TO: INT. DR. LECTER'S CELL AND CORRIDOR - DAY Dr. Lecter sits at his table, languidly sketching with charcoal on butcher paper. He uses his own hand and forearm as a model. His other drawings, books, and bedding have been restored. DR. LECTER Wouldn't you say, Clarice, that for a United States Senator, you're an odd choice of messenger? Clarice, sitting again at the desk-chair, is taking papers from her briefcase. CLARICE I was your choice, Dr. Lecter. You chose to speak to me. Would you prefer someone else now? Or perhaps you don't think you can help us. DR. LECTER That is both impudent and untrue... Tell me, how did you feel when you viewed our Billy's latest effort? (beat; he smiles) Or should I say, his "next-to-latest"? CLARICE By the book, he's a sadist. DR. LECTER Life's too slippery for books, Clarice. Typhoid and swans came from the same God. (beat) Tell me, Miss West Virginia - was she a large girl? CLARICE Yes. DR. LECTER Big through the hips. Roomy. CLARICE They all were. DR. LECTER Mmm. And what else...? CLARICE She had an insect deliberately inserted in her throat. That hasn't been made public yet. We don't know what is means. DR. LECTER Was it a butterfly? CLARICE (pause; staring at him) A moth... How did you predict that? DR. LECTER I'm waiting for your offer, Clarice. Enchant me. Clarice looks down at her papers, taking a moment to collect her thoughts. She looks up at him again, evenly. CLARICE If you help us find Buffalo Bill in time to save Catherine Martin, the Senator promises you a transfer to the V.A. hospital at Oneida Park, New York, with a view of the woods nearby. Maximum security still applies, but you'd have reasonable access to books. He is silent. She rises, moves closer, carrying papers. CLARICE Best of all, though - one week a year you'd get to leave the hospital and go here. (points to a map) Plum Island. Every afternoon of that week you can walk on the beach or swim in the ocean for up to one hour. Under SWAT team surveillance, of course... His face remains neutral. She puts the papers in his food tray. CLARICE Copy of the Buffalo Bill case file, copy of Senator Martin's terms. Her offer is final and non-negotiable. If Catherine dies - (she slides his tray through) You get nothing. A measured beat, before he rises smoothly, crosses, and looks down at the papers, without touching them. DR. LECTER "Plum Island Animal Disease Research Center." Sounds charming. CLARICE That's just part of the island. It has a very nice beach. Terns nest there. DR. LECTER Terns... If I help you, Clarice, it will be "turns" with us, too. Quid pro quo. I tell you things, you tell me things. Not about this case, though - about yourself. Yes or no? (she is silent) Yes or no, Clarice. Catherine is waiting. Tick-tock, tick-tock... She looks at him. A beat. They are standing uncomfortably close. CLARICE Go, Doctor. DR. LECTER What's your worst memory of childhood? (she hesitates) Quicker than that. I'm not interested in your worst invention. CLARICE The death of my father. DR. LECTER Tell me. Don't lie, or I'll know. Clarice cannot bear the feverish excitement in his eyes. She looks past him, hesitating again. CLARICE He was a town marshal... one night he surprised two burglars, coming out the back of a drugstore... They shot him. DR. LECTER Killed outright? CLARICE No. He was strong, he lasted almost a month. My mother - died when I was very young, so my father had become - the whole world to me... After he left me, I had nobody. I was ten years old. DR. LECTER You're very frank, Clarice. I think - it would be quite something to know you in private life. CLARICE Quid pro quo, Doctor. DR. LECTER The significance of the moth is change. Caterpillar into cocoon into beauty... Billy wants to change, too, Clarice. But there's the problem of his size, you see. Even if he were a woman, he'd have to be a big one... CLARICE (puzzled) Dr. Lecter, there's no correlation in the literature between transsexualism and violence. Transsexuals are very passive. DR. LECTER Clever girl. You're so close to the way you're going to catch him - do you realize that? CLARICE No. Tell me why. DR. LECTER After your father's death, you were orphaned. What happened next? (Clarice drops her gaze) I don't imagine the answer's on those second-rate shoes, Clarice. CLARICE I went to live with my mother's cousin and her husband in Montana. They had a ranch. DR. LECTER A cattle ranch? CLARICE Horses - and sheep... DR. LECTER How long did you live there? CLARICE Two months. DR. LECTER Why so briefly? CLARICE I - ran away... DR. LECTER Why, Clarice? Did the rancher fuck you? CLARICE (angrily) No. DR. LECTER Did he try to? CLARICE No...! Quid pro quo, Doctor. DR. LECTER Billy's not a real transsexual, but he thinks he is. He tries to be. He's tried to be a lot of things, I expect. CLARICE You said - I was very close to the way we'd catch him. DR. LECTER There are three major centers for transsexual surgery: Johns Hopkins, the University of Minnesota, and Columbus Medical center. I wouldn't be surprised if Billy has applied for sex reassignment at one or all of them, and been rejected. CLARICE On what basis would they reject him? DR. LECTER The personality inventories would trip him up. Rorschach, Wechsler, House-Tree-Person... He wouldn't test like a real transsexual. CLARICE How would he test? Suddenly Dr. Lecter snarls, loudly, stretching. Clarice take a sharp step backwards before he smiles, turning his movement into an elaborate yawn. He gathers the papers from his tray. DR. LECTER That's enough, I think. Happy hunting. Oh, and Clarice - next time you will tell me why you ran away. Shall I summarize? CLARICE (shaken) Yes, Doctor. Please. CUT TO: INT. MR. GUMB'S CELLAR - DAY VERY CLOSE ON a cocoon, split along its back, as a living Death's-head Moth wriggles torturously free. Trembling and damp, the new creature clings to a sprig of nightshade. DR. LECTER (V.O.) You should try to obtain a list of males rejected from all three gender reassignment centers... PULLING BACK we see a big wire cage, holding several of the moths. They crawl over the humus floor or feed at honeycombs, wings pumping lazily. In the distant background, the incongruous SOUND of show music. DR. LECTER (V.O.) Check first the ones rejected for lying about criminal records... CONTINUOUS MOVING ANGLE at about knee level, as we leave the cage, and begin to TRAVEL through this eerie, dimly-lit warren of a cellar. As we go - occasionally TURNING corners, or skirting the dark openings of unexplored passages - various objects loom briefly INTO VIEW, overhead - a stainless-steel work table... a big sink... jars of chemicals... neat racks of gleaming knives... DR. LECTER (V.O.) Among those who tried to conceal their past, look for severe childhood disturbances, associated with violence... Possibly you'll find a childhood incarceration... Then go to their personality tests... We pass a row of female mannequins, some nude, some wearing colorful leather jackets, designer knockoffs, in various stages of completion... then a huge maroon armoire, in Chinese lacquer; its double doors are slightly ajar... The jaunty background. MUSIC is growing even louder: Fats Waller singing "Bye Bye Baby." And now we hear something else, too - the rapid CLICKING of a sewing machine... DR. LECTER (V.O.) Study their drawings, especially. Billy's house drawings will show no happy future... No baby carriage, out in the yard. No pets, no toys, no flowers, no sun... We TURN another corner, and there is Mr. Gumb himself. As we APPROACH, his wide back is to us; he's hunched over an old- fashioned sewing machine, humming cheerfully, and working a piece of material that we mercifully cannot see. A female wig rests near him on a head form. He wears a hairnet and a beautiful kimono, and pumps the treadle with his bare feet. DR. LECTER (V.O.) His females will be more crudely sketched than him males - but he'll compensate by adding exaggerated adornments... jewelry, big breasts... And his tree drawings - oh, his trees will be frightful... Next to Mr. Gumb is an antique phonograph - source of the MUSIC. His little dog, Precious, perches by his plump ankles. As we PASS Mr. Gumb, Precious scurries away from him, panting happily, and we FOLLOW the little dog down another corridor, the music starting to fade behind us... DR. LECTER (V.O.) Billy hates his own identity, he always has - and he thinks that makes him a transsexual. But his pathology is a thousand times more savage... He wants to be reborn, Clarice. He will be reborn... At the end of this final corridor, the cellar widens into a low-ceilinged chamber, with two additional doorways, and in the center of this is the gaping circle of the oubliette. Precious sniffs her way over to the edge - excited, tail wagging - than BARKS happily as we hear a hoarse, ghostly moan from below. CATHERINE (O.S.) Pleeeeeeeease.....! DISSOLVE TO: INT. DR. LECTER'S CORRIDOR - DAY MOVING ANGLE - CLOSE ON Dr. Lecter's slippered feet, which rest on the shelf of a rolling hand truck. RISING along his tilted form, we see that his ankles are linked by steel restraints... his legs, waist, upper torso, and arms are bound by heavy canvas webbing... beneath the webbing is a strait-jacket... and over his face is a hockey mask. CHILTON (V.O.) Bad news, Hannibal... WIDER ANGLE shows that Dr. Lecter, on the handtruck, is being pushed down his corridor by Barney, and back into his open cell. CHILTON (V.O.) Gourmet magazine has rejected your recipe for braised kidneys... CUT TO: INT. DR. LECTER'S CELL - DAY Chilton lounges on Dr. Lecter's cot, casually reading his large stack of private correspondence, and making notations with his gold pen on a little pad. Another orderly mops the floor. CHILTON Perhaps you should have been less specific about what kind. (to Barney) Stand him by the toilet. Then leave us. Barney props the hand truck into position, then both orderlies go. Chilton finishes another letter, sighs happily. CHILTON Such a lot of correspondence! I can hardly wait to analyze it in more detail... But first things first. Tossing letters onto the cot, he rises, crosses out into the corridor, and bends to remove a small tape recorder from underneath Clarice's desk. He waggles it triumphantly at Dr. Lecter. CHILTON I thought she might be looking for a civil rights violation in Migg's death, so I bugged you... Not a word to me in all these years, Hannibal. Then Crawford sends his bit of fluff over here, and you just turn to jelly. It's too pathetic. SIDE ANGLE - TWO SHOT as Chilton, back in the cell, leans tauntingly close to the front of Dr. Lecter's mask. CHILTON You still think you're going to walk on some beach, and see the birdies? I don't think so, Hannibal... I called Senator Ruth Martin, and she never heard of any deal with you. She never heard of Clarice Starling, either. They scammed you, Hannibal... CLOSE ON Dr. Lecter's glittering eyes, behind their slits. CHILTON When Crawford gets through milking you, he's giving you to Baltimore Homicide for the Raspail murder. And they're preparing some special surprises for you right now, in my electroshock room. DR. LECTER'S POV (FRAMED BY EYE-SLITS) first looking at Chilton's moving lips... then LOWERING to his soft, white, inviting throat... CHILTON The Starling bitch wants you to rot here, in this little box, till your teeth fall out and you're soiling diapers. You've seen the old ones, Hannibal. They weep when their stewed peaches get cold. That'll be you, too. Unless - you trade with me. FAVORING CHILTON as he sits chummily on the table. CHILTON There never was a deal with Senator Martin - but there is now. I've been on the phone for hours, Hannibal, on your behalf. Here's what you get: if you identify Buffalo Bill, and the girl is found in time, Senator Martin will have you transferred to Brushy Mountain State Prison, in Tennessee... CLOSE AGAIN ON DR. LECTER'S EYES as they shift restlessly, away from Chilton - then suddenly lock onto something. They widen with interest. CHILTON (O.S.) The Governor has already agreed. You get books, a view of the woods, and plenty of exercise time... DR. LECTER'S POV - EXTREME CLOSEUP On the cot, carelessly left there, lying half-hidden under the letters and the rumpled sheet... is Chilton's gold pen. CHILTON (O.S.) And best of all, you'd be out of Jack Crawford's reach, forever. The Senator will verify these terms on the phone, and guarantee them in writing... BACK ON DR. LECTER as he stares a moment longer at the pen, then shifts his eyes towards Chilton. We can almost hear his brain clicking. CHILTON (O.S.) In exchange, I get your full cooperation in publishing a professional account of this - my successful interviews with you. You publish nothing. And I get exclusive access to any material from Catherine Martin... So. Do you accept my demands? (pause) Answer me, Hannibal. A beat. Dr. Lecter is silent. Chilton sticks his face INTO SHOT, almost intimately close to the mask. He is agitated. CHILTON You'll answer me now, or by God, you'll answer to Baltimore Homicide. Who is Buffalo Bill? DR. LECTER (pause; then softly) I'll tell the Senator herself. But only in Tennessee... CUT TO: INT. JOHNS HOPKINS - GENDER IDENTITY CLINIC - DAY MOVING ANGLE - as the very impatient Crawford, clutching a folder, strides down a hall beside DR. DANIELSON - early 50's, severe, in a lab coat. Nurses, doctors, glance as they pass. DR. DANIELSON I'm not having a witch hunt here, Mr. Crawford! Our patients are decent, non-violent people with a real problem. CRAWFORD Dr. Danielson, the man we want was never your patient. It would be someone you refused because he tries to conceal a record of criminal violence. Please, Doctor - time is eating us up. Just show me the ones you've turned away. Danielson enters a cramped, stainless steel nurse's gallery, with Crawford following, and pours himself a cup of coffee. DR. DANIELSON (adamantly) Examination and interview materials are confidential. We've never violated an applicant's trust, and we never will. CRAWFORD You want to see a violation? This is a violation... He takes a black & white photo from his folder, slaps it down in front of Danielson. From our angle, we can't see it clearly. CRAWFORD Her name is Kimberly Jane Emberg, she was just ID'd. I met her on a slab in West Virginia. And sometime tomorrow, or tomorrow night, he's going to do the same thing to Catherine Martin. DR. DANIELSON That's a childish, bullying stunt, Mr. Crawford. I was a battlefield surgeon, so you can put away your picture. Burroughs sticks his head in, looking for Crawford. BURROUGHS Phone, Jack. Director Burke. CRAWFORD (snaps) In a minute! Burroughs hurriedly retreats. Crawford strains for patience. CRAWFORD Look... search your own records, if you prefer. You can do it a lot faster than us, anyway. If we find Buffalo Bill through your information, I'll suppress it. Nobody has to know this hospital cooperated. DR. DANIELSON I doubt very much that the FBI or any other government agency can keep a secret, Mr. Crawford. Truth will out... And then what? Will you give Johns Hopkins a new identity? Put a big pair of sunglasses on this building, and a funny nose? CRAWFORD Oh, that's clever, Dr. Danielson. Very humorous. You like the truth? Try this. (right in his face, enraged) He kidnaps young women and kills them and rips their skin off. We don't want him to do that anymore. If you don't help me, just as fast as you can, then the Justice Department is going to ask publicly for a court order, We'll ask twice a day, just in time for the morning and evening news. And each one of our press conferences will focus on Dr. Danielson, over at Johns Hopkins, and how we're still hoping for his cooperation. And every time there's any news on the case - when Catherine Martin floats, when the next one floats, and the next one - why, we'll just issue another press release about good ol' Dr. Danielson, over at Johns Hopkins - complete with all his humorous fucking remarks. DR. DANIELSON (pause; stiffly) It may be that - I could confer with my colleagues on this. And get back to you. CRAWFORD Would you, Doctor? That would be so kind. CUT TO: INT. THE SURVEILLANCE VAN - DAY Crawford is on the scrambler phone. Burroughs watches silently. CRAWFORD (on phone; stunned) Transferred...? CUT TO: INT. FBI BUILDING - OFFICE OF THE DIRECTOR - DAY HAYDEN BURKE, the FBI Director, swivels in his big chair. Lean, late 40's, very distinguished. His desk is flanked by flags. DIRECTOR BURKE (on phone) Already airborne for Memphis. Senator Martin's meeting him at the airport. (uneasily) Jack - did you make some sort of promise to Lecter, in the Senator's name? Listening to the answer, he looks uncomfortably across his desk at PAUL KRENDLER, the Deputy Attorney General - 40, very tanned, modish haircut. Krendler is irritable, impatient. DIRECTOR BURKE (on phone) We're going to have to talk about this, Jack. The Senator's mad as hell. Paul Krendler's over here from Justice, she's asking him to take charge in Memphis... I know that... But you're still in command of the task force, and Lecter's plane can still be ordered back. It's your call, Jack - but I want it now. CUT BACK TO: INT. THE SURVEILLANCE VAN - DAY Burroughs starts to make an objection, but Crawford stills him with a hand motion. He is taut, frustrated. Long pause. CRAWFORD (into phone) Let him land. CUT TO: INT.CLARICE'S DORM ROOM - DOORWAY - DAY Clarice opens her door, stares out at Crawford. She's just slipping on her blazer, over her shoulder holster. She's furious. CLARICE Chilton has killed her, hasn't he? That slimy little bastard! We were so close with Lecter - and now her last chance is gone. CRAWFORD Let's get some coffee and talk. CUT TO: EXT. FBI ACADEMY GROUNDS - QUANTICO - DAY MOVING ANGLE on Clarice and Crawford, as they walk along a sidewalk, sipping from paper cups. The surveillance van trails them slowly, radios CRACKLING. CLARICE Are you in trouble over this, Mr. Crawford? Can Senator Martin do something to you? CRAWFORD I'm 53, Starling. If I found Jimmy Hoffa on national TV, I'd still have to retire in two years. It's not a consideration. But you are... (beat) You've done enough. If I keep you out of school any longer, you'll be recycled. Cost you six months, at least. I can guarantee you readmission here, but that's about it. (he stops, looks at her) Now's your chance, Starling. Go back to class. Leave Bill to me. CLARICE If you didn't want me chasing him, you shouldn't have taken me to that funeral home. He looks at her steadily, then nods. They walk on. CLARICE Lecter is still the key, I know he is. Whatever he told me about Bill is just as good now as it was before. CRAWFORD Or just as worthless. But I want you in Memphis, close to him. Maybe when he gets tired of toying with Senator Martin, he'll talk to you again. There's a plane waiting for you now at the airstrip. She smiles at this acknowledgment; he never thought she's quit. CLARICE I lied to Lecter. I'll need some kind of peace offering... Can I get the drawings from his cell? CRAWFORD Good idea. Meantime, try to get a feel for Catherine Martin. Her apartment, her friends... how he might've stalked her. I'm going to the other two clinics, Minnesota and Ohio. (he crumples his cup, tosses it) Now's the hardest part, Starling. Use your anger, don't let it keep you from thinking. Just keep your eyes on Catherine. We've got less than 30 hours. CLARICE (hesitates) Mr. Crawford... can those cops down there handle Dr. Lecter? CRAWFORD (grimly) They'll use their best men. But they better be paying attention... CUT TO: INT. AIR NATIONAL GUARD HANGER - MEMPHIS, TENNESSEE - DAY CLOSE ON Dr. Lecter. Behind his mask, the alert, searching eyes. CRAWFORD (V.O.) He will... OFFICERS PEMBRY AND BOYLE two sturdy, well-armed, veteran prison guards - are checking Dr. Lecter's restraints with clever, careful fingers. BOYLE Welcome to Memphis, Dr. Lecter. I'm Officer Boyle, this is Officer Pembry. We aim to treat you just as nice as you treat us. Act like a gentlemen, you'll get three hots and a cot. PEMBRY But we ain't pussy-footin' with you, buddy ruff. You get cute, try to bite somebody? - we'll tie your asshole in a knot. You savvy? DR. LECTER Oh yes, Officer Pembry. I certainly do. The officers turn away, Boyle signing a clipboarded form. PEMBRY (under his breath) Shit, he's just an ol' broke-dick. Won't be no trouble as all if he don't flip out. BOYLE Dr. Chilton...? NEW ANGLE - WIDER as we see that we're in a vast, dusty hangar. Parked to one side: an EMS ambulance and four highway patrol cruisers; a dozen troopers stand quietly chatting and smoking over there. Prentiss is pacing impatiently, casting anxious glances towards the open hanger doorway. BOYLE If you'll please sign right here, sir, we'll have us a legal transfer. Chilton instinctively pats his shirt pocket for his gold pen; it's gone. He searches other pockets, with growing unhappiness. BOYLE Use mine. PEMBRY Here they come. TWO BLACK STRETCH LIMOUSINES glide smoothly into the hangar, stop. Secret Service agents pour out of the lead car, form a cordon. A driver opens the rear door of the second car, and Krendler steps out, followed by the Senator's assistant, with a briefcase, followed, as last, by the Senator herself. Barely glancing around, she strides towards Lecter. NEW ANGLE - DR. LECTER AND SEN. MARTIN as she stops, struck by the bizarre spectacle of his restraints. The others instinctively keep a distance, but Chilton, with theatrical relish, unstraps and removes Dr. Lecter's mask. CHILTON Senator Martin, meet Dr. Hannibal Lecter. They stare at one another for a long moment: the Senator tense, almost haggard, the madman with his unearthly poise. SEN. MARTIN Dr. Lecter, I've brought an affidavit guaranteeing your new rights... You'll want to read it before I sign. He assistant unsnaps his briefcase, reaches for the form. DR. LECTER I won't waste your time and Catherine's time bargaining for petty privileges. Clarice Starling and that awful Jack Crawford have wasted far too much already. I only pray they haven't doomed the poor girl... Let me help you now, and I'll trust you when it's all over. SEN. MARTIN You have my word. Paul? Krendler raises a pad, poised to take notes. DR. LECTER Buffalo Bill's real name is William Rubin. I met him just once. He was referred to me in April or May, 1980, by my patient Benjamin Raspail. They were lovers, but Raspail had become very frightened. Apparently Rubin had murdered a transient, and - done things with the skin. He thought if I could cure Billy, then Billy'd be safe from the police, and he's be safe from Billy... Obviously, he was wrong. KRENDLER We need his address, a physical descr- DR. LECTER Did you nurse Catherine? SEN. MARTIN (pause; startled) What...? DR. LECTER Did you breast-feed her? He flicks his tongue obscenely. KRENDLER You son-of-a - The Senator stills him with a hand. She is trembling. SEN. MARTIN Yes... I did. DR. LECTER Toughened your nipples, didn't it...? (a beat; then rapidly, bored) Six foot one, strongly built, about 190 pounds. Hair brown, eyes pale blue. He'd be about 35 now. He said he lived in Philadelphia, but may have lied. That's really all I can remember, Senator - but if I think of any more, I'll let you know. SEN. MARTIN (to the others) Let's go with it. They start towards the car, but he calls out, stopping her. DR. LECTER Senator Martin...! You can't trust Jack Crawford or Clarice Starling. It's such a game with these people. They're determined to get the arrest for themselves. The "collar," I think they say. SEN. MARTIN Thank you, Doctor. I'll keep it in mind. DR. LECTER Oh, and Senator...? Love you suit. DISSOLVE TO: INT. MR. GUMB'S BASEMENT - DAY (DIMLY LIT) CLOSE ON scraps of food - peas, chicken bones - lying on the cement floor of the pit, near the foil tray of a TV dinner. CATHERINE (O.S.) (muttering, feisty) Close enough to fuck is close enough to fight... CATHERINE is hunched over in concentration. The plastic toilet bucket is on her lap, and she has yanked down its cotton string. CATHERINE Get my legs round your neck, you goddamn creep, I'll send you home to Jesus... HER FINGERS are tying a chicken bone to the bucket's handle, where it meets the string. The other end of the string is tied to her wrist. SHE STANDS gathers the coiled string in one hand, and swings the bucket by its handle, calculating this distance up to the basement floor. CATHERINE Okay, Precious. Time for a treat... She hurls the bucket upwards. AT THE LIP OF THE OUBLIETTE the bucket sails out, bounces LOUDLY, then falls back inside. ANGLE ON THE DOG, PRECIOUS who is elsewhere in the basement, worrying a toy. She cocks an ear, making a low GROWL, then sets off to investigate. DOWN IN THE PIT Catherine swings the bucket again, trying another cast. THE BUCKET LANDS two feet beyond the pit's edge, rolls a bit, stops. PRECIOUS TROTS UP then pauses, staring curiously towards... VERY LOW ANGLE (DOG'S POV) the enticing chicken bone, six feet away. It twitches as Catherine tugs on the string, edging the bucket back towards the pit. Precious with her tail wagging, BARKS - greedy but suspicious. CATHERINE staring upwards, pulls again, even so gently, at the string. CATHERINE (softly) Preeeeecious...! C'mon, boy, nice yummy bone... c'mon, you little shit... PRECIOUS edges reluctantly closer... then suddenly rushes in, seizing the bone in her teeth. She tries to run away with it, but Catherine is pulling her towards the hole, working her like a hooked fish. Her toenails scrabble as she tries to stop. CATHERINE stares desperately, unable to see how she's doing. CATHERINE Hang on, boy... hang on... PRECIOUS still fights for the bone, GROWLING, as the bucket rocks precariously on the edge of the pit. A long, seesaw battle... until finally, when one of her forelegs slips momentarily into the hole, she panics and lets go. The bucket flops over the edge. CATHERINE crouches, covering her head as the bucket bounces off her. CATHERINE Nooooo...! THE LITTLE DOG furious, BARKS down at her, then trots away in disgust. CLOSE ON CATHERINE as she sinks to the cold cement. She slaps aside the foil tray, the scraps of food, sobbing in utter despair... DISSOLVE TO: INT. CATHERINE MARTIN'S APARTMENT - LIVING ROOM - DAY CLOSE ON a framed photo of Sen. Martin and Catherine, held in Clarice's cotton-gloved hands. Powdered fingerprints on the glass. Clarice glances up from the photo, smiles disarmingly at - A young STATE TROOPER sitting in Catherine's easy chair. He smiles back at her, then relaxes, returns to his newspaper. He also wears gloves. CUT TO: INT. KITCHEN Clarice closes the refrigerator door, glances around. A big REEL-TO-REEL TAPE RECORDER has been set up on the breakfast counter, attached to Catherine's phone. Two new red phones are hooked up as well. CUT TO: INT. BATHROOM Clarice slides open the medicine cabinet's mirror, looks inside. She reaches in, pokes carefully amongst the lotions. CUT TO: INT. ATTIC CRAWL-SPACE A ceiling hatch bangs open, sending up dust clouds. Clarice, lit from underneath, pokes her head through, looking around. CUT TO: INT. BEDROOM Flat on her back, Clarice wriggles out from under Catherine's bed. She sits up, brushing dust from her face and hair. CUT TO: INT. BEDROOM CLOSE ON an open, multi-tiered jewelry box, resting atop a bureau, as Clarice's fingers pick through costume jewelry. Clarice closes the box, and is just turning away when a figure suddenly looms INTO SHOT, giving her a bad start; she cries out softly. Senator Martin is revealed, staring at her suspiciously. SEN. MARTIN Who are you, please? I thought the police were through in here. CLARICE I'm Clarice Starling, Senator. FBI. SEN. MARTIN (softly, very angry) Clarice Starling... (calls out) Paul? Would you come in here, please...? Krendler enters from the hallway, looks at Clarice. SEN. MARTIN Miss Starling, you may know the Deputy Attorney General, Mr. Krendler. Paul, this is the trainee that Jack Crawford sent to Lecter... She lied to him, pretending to have my authority, and thus jeopardized this entire investigation. Now she has the further gall to invade my daughter's privacy, again without permission. If her little games have killed my baby... Overcome, she hurries from the room. Krendler shuts the door behind her, points sternly at Clarice. KRENDLER You're out of line, Starling, and you're off this case. Back to Quantico. CLARICE Sir, Mr. Crawford instructed me - KRENDLER Your instructions are what I'm giving you now. Jack Crawford answers to the Director, and the Director answers to me. My God, Crawford's losing it...! He shouldn't even be on this, with his wife sick as she is... How the hell did you get in here, anyway? He gave you - what? Some kind of special ID? Let's have it. CLARICE (stubbornly) I need the ID to fly with my gun. The gun belongs in Quantico. KRENDLER Gun. Jesus. Turn in the ID as soon as you get back. The gun, too. Be on the next plane, Starling, there's one in 90 minutes. Clarice, burning, starts for the door, then turns back. CLARICE Mr. Krendler... Dr. Lecter trusts me. Or at least, he used to. If I could just - KRENDLER Lecter has already named Buffalo Bill. Clarice reacts, surprised. Krendler takes a folded computer sheet from his pocket, shoves it at her. She takes it, reads. KRENDLER He gave us a perfectly good description, and we're on it now, so we won't be needing your little novelty act any longer - or his, either. He's under close guard at the courthouse, pending a prison transfer. The next plane, Officer. CLARICE Sir, doesn't this "William Rubin" strike you as - I don't know - kind of vague? Krendler moves in very close to her, pale with anger. KRENDLER Do you need a police escort, Starling? Or do you think you can find the airport by yourself? CLARICE Yes sir. I can find it by myself. CUT TO: EXT. SHELBY COUNTY COURTHOUSE - DAY The old courthouse is a massive Gothic stronghold, with an armada of police cruisers parked at the curb. Clarice climbs from her rented car, SLAMMING the door angrily. Holding a rolled-up pile of papers - Dr. Lecter's drawings - she starts determinedly up the steps. A nearby commotion makes her pause. Dr. Frederick Chilton in a sea of interviewers and mini-cams, is preening grandly. Clarice carefully avoiding his gaze, slips up the steps and inside. CUT TO: INT. COURTHOUSE - GROUND FLOOR - DAY SGT. TATE, a Memphis policeman, is studying Clarice's ID. He looks up at her from his command desk, a bit doubtfully. SGT. TATE Are you with Mr. Krendler's people? CLARICE I just left him. SGT. TATE Access to Lecter is strictly limited. We've been getting death threats. (hesitates again) Log in, and check your weapon. He picks up a phone, murmurs into it. As he does so, Clarice glances around this main ground floor lobby. HER POV The building looks like an armed fort. Cops with shotguns guard the front door, both ends of the hall, the foot of the stairs, the single elevator. More of them are coming and going. MURRAY (V.O.) Shoot, we haven't had this kinda security since the President came through town... CUT TO: INT. ELEVATOR - MOVING Clarice and OFFICER MURRAY, a young patrolman, ride up in an old-fashioned, CREAKING, metal-cage elevator. He is excited. MURRAY Every cop in Tennessee wants a look at this guy. 'Sit true what they're sayin' - he's some kinda vampire? CLARICE (beat) I don't have a name for what he is. CUT TO: INT. HISTORICAL SOCIETY ROOM - 5TH FLOOR Pembry, at a desk by the door, looks up from examining the unrolled pile of Dr. Lecter's drawings. PEMBRY You know the rules, ma'am? CLARICE Yes, Officer Pembry. I've questioned him before. He waves her on her way, but retains the drawings for now. MOVING ANGLE - WITH CLARICE as she crosses the big, spare, white octagonal room. A massive, temporary iron cage has been installed; Officer Boyle sits facing its barred door. He rises, nods, moving away to allow her privacy. INSIDE THE CAGE a cot and a small table, each bolted to the floor, and a flimsy paper screen, hiding a toilet. Dr. Lecter sits at the table, his back to her, studying the Buffalo Bill case file. He now wears a green prison jumpsuit. A small cassette player is chained to the steel table. DR. LECTER (without turning) Good afternoon, Clarice. She stops at a striped police barricade, before his bars. CLARICE I thought you might want your drawings back... Just until you get your view. DR. LECTER How very thoughtful... Or did Crawford send you here for one last wheedle - before you're both booted off the case? CLARICE Nobody sent me. I came on my own. He spins in his swivel chair, stops neatly. A coy smile. DR. LECTER People will say we're in love. (beat) Pity you tried to fool me, isn't it? Pity for poor Catherine. Tick-tock... He spins again in his chair, playfully. MOVING ANGLE - FAVORING CLARICE as she circles the cage, trying to keep his face in sight. CLARICE Dr. Lecter, you find out everything. You couldn't have talked with this "William Rubin", even once, and come out knowing so little about him... You made him up, didn't you? DR. LECTER Clarice... you're hardly in a position to accuse me of lying. CLARICE I think you were telling me the truth in Baltimore - or starting to. Tell me the rest now. DR. LECTER I've studied the case file, have you...? Everything you need to find him is right in these pages. Whatever his name is. CLARICE Then tell me how. DR. LECTER First principles, Clarice. Simplicity. Read Marcus Aurelius. Of each particular thing, ask: What is it, in itself, what is its nature...? What does he do, this man you seek? CLARICE He kills w- DR. LECTER (sharply, as he stops) No! That's incidental. CLOSE ANGLE - TWO SHOT as he rises, pained by her ignorance, and crosses to the bars. DR. LECTER What is the first and principal thing he does, what need does he serve by killing? CLARICE Anger, social resentment, sexual frus- DR. LECTER No, he covets. That's his nature. And how do we begin to covet, Clarice? Do we seek out things to covet? Make an effort to answer. CLARICE No. We just - DR. LECTER No. Precisely. We begin by coveting what we see every day. Don't you feel eyes moving over your body, Clarice? I hardly see how you couldn't. And don't your eyes move over the things you want? CLARICE All right, then tell me how - DR. LECTER No. It's your turn to tell me, Clarice. You don't have any more vacations to sell, on Anthrax Island. Why did you run away from that ranch? CLARICE Dr. Lecter, when there's time I'll - DR. LECTER We don't reckon time the same way, Clarice. This is all the time you'll ever have. CLARICE Later, listen, I'll - DR. LECTER I'll listen now. After your father's murder, you were orphaned. You were ten years old. You went to live with cousins, on a sheep and horse ranch in Montana. And - ? CLARICE And - one morning I just - ran away... She turns from him. He presses closer, gripping the bars. DR. LECTER Not "just," Clarice. What set you off? You started what time? CLARICE Early. Still dark. DR. LECTER Then something woke you. What? Did you dream...? What was it? IN FLASHBACK The 10-year old Clarice sits up abruptly in her bed, frightened. She is in a Montana ranch house; it almost dawn. Strange, fearful shadows on her ceiling and walls... a window, partly fogged by the cold; eerie brightness outside. CLARICE (V.O.) I heard a strange sound... DR. LECTER (V.O.) What was it? THE CHILD RISES crosses to the window in her nightgown, rubs the glass. CLARICE (V.O.) I didn't know. I went to look... HIGH ANGLES (2ND STORY) - THE CHILD'S POV Shadowy men, ranch hands, are moving in and out of a nearby barn, carrying mysterious bundles. The mens' breath is steaming... A refrigerated truck idles nearby, its engine adding more steam. A strange, almost surrealistic scene... CLARICE (V.O.) Screaming! Some kind of - screaming. Like a child's voice... THE LITTLE GIRL is terrified; she covers her ears. DR. LECTER (V.O.) What did you do? CLARICE (V.O.) Got dressed without turning on the light. I went downstairs... outside... THE LITTLE GIRL in her winter coat, slips noiselessly towards the open barn door. She ducks into the shadows to avoid a ranch hand, who passes her with a squirming bundle of some kind. He goes into the barn, and she edges after him reluctantly. CLARICE (V.O.) I crept up to the barn... I was so scared to look inside - but I had to... THE LITTLE GIRL'S POV as the open doorway LOOMS CLOSER... Bright lights inside, straw bales, the edges of stalls, then moving figures... DR. LECTER (V.O.) And what did you see, Clarice? A SQUIRMING LAMB is held down on a table by two ranch hands. CLARICE (V.O.) Lambs. The lambs were screaming... A third cowboy stretches out the lamb's neck, raises a bloody knife. Just as he's about to slice its throat - BACK TO THE ADULT CLARICE staring into the distance, shaken, still trembling from the child's shock. We see Dr. Lecter, over her shoulder, studying her intently. DR. LECTER They were slaughtering the spring lambs? CLARICE Yes...! They were screaming. DR. LECTER So you ran away... CLARICE No. First I tried to free them... I opened the gate of their pen - but they wouldn't run. They just stood there, confused. They wouldn't run... DR. LECTER But you could. You did. CLARICE I took one lamb. And I ran away, as fast as I could... IN FLASHBACK a vast Montana plain, and crossing this, a tiny figure - the little Clarice, holding a lamb in her arms. DR. LECTER (V.O.) Where were you going? CLARICE (V.O.) I don't know. I had no food or water. It was very cold. I thought - if I can even save just one... but he got so heavy. So heavy... The tiny figure stops, and after a few moments sinks to the ground, hunched over in dispair. CLARICE (V.O.) I didn't get more than a few miles before the sheriff's car found me. The rancher was so angry he sent me to live at the Lutheran orphanage in Bozeman. I never saw the ranch again... DR. LECTER (V.O.) But what became of your lamb? (no response) Clarice...? BACK TO SCENE as the adult Clarice turns, staring into his feverish eyes. She shakes her head, unwilling - or unable - to say more. DR. LECTER You still wake up sometimes, don't you? Wake up in the dark, with the lambs screaming? CLARICE Yes... DR. LECTER Do you think if you saved Catherine, you could make them stop...? Do you think, if Catherine lives, you won't wake up in the dark, ever again, to the screaming of the lambs? Do you...? CLARICE Yes! I don't know...! I don't know. DR. LECTER (a pause; then, oddly at peace) Thank you, Clarice. CLARICE (a whisper) Tell me his name, Dr. Lecter. DR. LECTER Dr. Chilton... I believe you know each other? NEW ANGLE as Clarice turns, startled, and the fuming Chilton seizes her elbow. Pembry and Boyle are beside him, looking grim. CHILTON Out. Let's go. PEMBRY Sorry, ma'a m - we've got orders to have you put on a place. Clarice struggles, pulling free of them for a moment. DR. LECTER Brave Clarice. Will you let me know if ever the lambs stop screaming? CLARICE (moving closer to the bars) Yes. I'll tell you. DR. LECTER Promise...? (she nods. He smiles) Then why not take your case file? I won't be needing it anymore. He holds out the file, arm extended between the bars. She hesitates, then reaches to take it. VERY CLOSE ANGLE - SLOW MOTION as the exchange is made, his index finger touches her hand, and lingers there, just for a moment. DR. LECTER'S EYES widen, crackling at this touch, like sparks in a cave. DR. LECTER Good-bye, Clarice. CLARICE hugging the case file to her chest, stares back at him as the men crowd in on her, pushing her away. HER POV - MOVING as Dr. Lecter, head cocked in a smile, slowly recedes... DISSOLVE TO: INT. GARMENT SWEATSHOP - DAY MOVING ANGLE - MR. GUMB'S POV as he pushes a rolling rack of completed leather garments, each wrapped in plastic, down as aisle. SOUND of many sewing machines, all clattering at once, as he passes row on row of work tables. The seamstresses, mostly black or Hispanic, glance up as he passes, then quickly avert their eyes, his presence disturbing them in some nameless way. A thin FOREMAN in a flowery shirt, sees him approaching. He rises from his desk and comes over cheerfully, as the rack rolls to a stop. FOREMAN Hello, dear! Punctual as always. And what have you brought us today? He seizes one of the dangling jackets, pulling up the plastic wrapper. He examines it, stroking the sleeve. FOREMAN Oh, marvelous... You know, I always say you're the Leonardo of leather. MR. GUMB (O.S.) (a harsh whisper) Oil. FOREMAN Pardon...? MR. GUMB (O.S.) You're leaving oil on the skin. The foreman quickly releases the jacket. FOREMAN Of course... You'll be wanting your - Mr. Gumb's hand reaches INTO SHOT, snatching an envelope from him. The foreman is watching him walk away, as a seamstress comes over to take the rack of garments. The foreman is vaguely troubled, but shakes it off. He strokes the jacket again, admiringly. FOREMAN (to seamstress) I wish we had a dozen like him... SOUND UPCUT - Glenn Gould playing Bach's Goldberg Variations... CUT TO: INT. MEMPHIS INTERNATIONAL AIRPORT - LOUNGE AREA - DUSK Clarice, in a line of other passengers, is moving slowly towards a departure ramp. Through a huge plate glass window, we can see her plane. She glances back over her shoulder at A pair of UNIFORMED COPS brawny and impassive, their arms folded, waiting to make sure she board the flight. Clarice sighs, turning wearily back towards the jetway. The BACH CONTINUES, as we... CUT TO: INT. SHELBY CO. COURTHOUSE - HISTORICAL SOCIETY ROOM - NIGHT CLOSE ON a steaming, rather elegant dinner tray, being carried by Pembry, as he approaches Dr. Lecter's cell. PEMBRY (shouts) Ready when you are, Doc! IN THE CELL the BACH is issuing from the cassette player. Beside it, on the table, the pile of Dr. Lecter's drawings. The top one is an accurate, sensitive portrait, from memory, of Clarice. Beyond the table, we see Lecter's shadowy form, seated behind the paper screen. He calls out from there. DR. LECTER (O.S.) Just another minute, please! Pembry grunts, sets the tray down. Boyle joins him, handing him a riot baton and a Mace cannister, which Pembry fastens to belt clips. Boyle is similarly armed, and carries a ring of keys. PEMBRY Sumbitch demanded lamb chops for dinner, extra rare. BOYLE (laughs) What you reckon he'll want for breakfast - some fuckin' thing from the zoo? INSIDE THE SCREEN Dr. Lecter sits fully clothed on the toilet - swaying slightly, eyes closed, lost in the music, tongue working in his cheek. Suddenly, like magic, a little shiny piece of metal protrudes from his lips. He plucks it out, opens his eyes. IN EXTREME CLOSEUP he is holding the pocket clip from Prentice's disassembled pen - a straight, thin strip of metal, with a circular collar at one end, a square edge at the other. DR. LECTER lines up his thumbnail just shy of the square edge, then braces it against the stainless steel toilet rim. He pushes down, hard, using both hands for leverage. After a moment he smiles, holding up the result, and twirling it before his eyes. IN EXTREME CLOSEUP the straight end of the clip now forms a tiny right angle, and the circular end anchors nicely between his fingers. OUTSIDE THE CELL Pembry and Boyle turn as the toilet FLUSHES, and Dr. Lecter reappears, looking jaunty. PEMBRY Okay, Doc, grab some floor. Same drill as lunchtime. Dr. Lecter sits on the floor, legs straight, then wriggles backwards. He stretches his arms behind him, hands and wrists through the bars, with two bars between them, and clasps his hands. DR. LECTER I'm ready when you are, Officer Pembry. Pembry comes around the cell to squat behind Dr. Lecter. He tugs his hands farther out, rather roughly, handcuffs his wrists. He shakes the cuffs, making sure of them, then nods to Boyle. NEW ANGLE - AT CELL DOOR as Boyle picks up the dinner tray, and Pembry crosses around. Pembry takes the keys from Boyle, unlocks the cell door, and pushes it inward. Boyle goes inside with the tray. DR. LECTER watches as Boyle approaches the table, above five feet from him. Boyle has to set his tray down on the floor to clear off some of the mess of drawings. The MUSIC plays on. VERY CLOSE ON ...Dr. Lecter's hands, outside the bars, as the makeshift key, held between the tips of his right index and middle fingers, searches for the keyhole of the cuffs. And finds it. NEW ANGLE - FAVORING BOYLE as he finishes clearing the drawings, then turns back towards Dr. Lecter, stooping to pick up the tray. BOYLE'S RIGHT HAND is just inches from the tray when Dr. Lecter's hand darts INTO SHOT, snapping a handcuff onto his wrist. BOYLE looks up, astonished, to find himself right in the grinning face of Dr. Lecter - who just as quickly rolls sideways, and snaps - THE OTHER CUFF around the bolted leg of the table. And suddenly all natural SOUND and MOTION are suspended, as the MUSIC soars much louder, each separate note of it now echoing distinctly, and we see... VARIOUS ANGLES - EACH BLURRING INTO STOP-ACTION Pembry starting into the cell, reaching for his riot baton... Dr. Lecter smashing against the cell door, driving it into Pembry, pinning him across the chest, against the door frame... Boyle, on one knee on the floor, digging desperately in his pants pocket for his handcuff key... Pembry's hand, mashed against his body by the door, as he strains frantically to reach the baton at his waist... Pembry's eyes, widening in horror as he stares at... Dr. Lecter's bared teeth, flashing towards him... Dr. Lecter gripping Pembry's face in his jaws, shaking it like a dog shakes a rat... Boyle finding his key, but in his terror dropping it... Dr. Lecter yanking the mace can and riot baton from the dazed Pembry's belt, spraying him in his bloody face, then clubbing him to his knees... Boyle, mouth open in a silent scream, finding his key again, unlocking the handcuff, but then, as he starts to rise, seeing... Dr. Lecter standing over him, with the riot baton raised high; he swings it viciously down, again and again and again... Then normal SOUND and MOTION are restored as we go to - CLOSE ANGLE ON the cassette player, and the portrait of Clarice, both now flecked with blood. In addition to the Bach, we now hear soft PANTING, close by, and whimpering SOBS in the background. ANGLE ON DR. LECTER eyes closed, lost in a favorite passage of the music. His bloody fingers drift airily with the notes, as his breathing slows to normal. He opens his eyes, sighs contentedly, looks down. HIS POV By the sprawled legs of Boyle lie various objects that spilled from his pants pocket - coins, a comb, a big pocketknife. DR. LECTER picks up the pocketknife, examines it happily. About a four- inch blade. He becomes aware of the WHIMPERING, off screen, turns. LOW ANGLE ON PEMBRY as he crawls, with torturous slowness, towards the command desk, and the phone. He is crying, but frantically determined. PEMBRY'S POV - PARTIALLY BLURRED, THEN CLEARING Above the desk, hanging from pegs, are his and Boyle's holstered revolvers... CUT TO: INT. COURTHOUSE - GROUND FLOOR LOBBY - NIGHT The bronze arrow above the elevator swings towards "5," then indicates a stop there, at the top floor. FAVORING SGT. TATE at his command desk, as he stares at the indicator. Another cop, JACOBS, sits on the desk's edge, flipping through a magazine; many more cops can be seen beyond them, idling in the lobby. SGT. TATE What is this shit...? Did somebody go up to five? (Jacobs shakes his head) Call Pembry, ask him what - A GUNSHOT, and then, moments later, TWO MORE quick ones, echo down the nearby stairwell. Sgt. Tate jumps to his feet, grabs a radio mike, as the other cops stir, confused and noisy. SGT. TATE (into mike) CP, shots fired on five! Repeat, shots fires on five! Outside posts look sharp, we've got a... Ho-ly shit. THE BRONZE ARROW has begun to descend. Down to 4, then past 4... BACK ON SGT. TATE as he reacts. The other cops, behind him, are now in a full uproar, shouting, pulling out guns. SGT. TATE (to the others) SHUT UP...! Guard mount, double up on your outside posts. Bobby, get the vests. Rainey, Howard, cover that fucking elevator if it comes all the way to - A COP (O.S.) It stopped! THE BRONZE ARROW has, indeed, frozen at 3. Sgt. Tate lifts the microphone again. SGT. TATE (into mike) Seal off a ten-block radius. Get me the SWAT team and an ambulance, double quick. We're going up. CUT TO: INT. STAIRWELL - NIGHT (DIMLY LIT) HIGH ANGLE on Sgt. Tate as he leads a five-man squad, all in bulletproof vests, up the stone stairs. They move fast but carefully, covering each other from landing to landing with drawn revolvers, shotguns. The distant Back MUSIC makes a ghostly echo in here... CUT TO: INT. THIRD FLOOR CORRIDOR - NIGHT (DIMLY LIT) A thin rectangle of light on the floor from the open elevator door. We can't see inside. The MUSIC sounds closer. SGT. TATE approaches very cautiously, gun aimed. The other cops, behind him, fan out silently to set up angles of fire, checking the various office doors - all locked - as they creep up. MOVING ANGLE - OVER TATE'S SHOULDER as he reaches the side of the elevator, hesitates, then spins to point his gun inside. It's empty. He backs away. SGT. TATE (shouts at ceiling) Pembry? Boyle...? CUT TO: INT. HISTORICAL SOCIETY ROOM - NIGHT (BRIGHTLY LIT) ANGLE on the door, from inside, its lettering reversed on the frosted glass. The Bach is VERY LOUD. After a moment the door is shouldered open, hard enough for the glass to shatter, Tate following his gun inside, moving low, then other cops appearing behind him in the doorframe. They all freeze, staring in utter horror. SGT. TATE Oh no... no... THEIR POV is a brief snapshot from hell. The two uniformed bodies, one sprawled on its back near the door, the other still in the cell, have been savaged by a knife. Blood and gore everywhere. The faces are unrecognizable. SGT. TATE struggles for control, as the other cops move grimly around him, into the room. He pulls his walkie-talkie from his belt. SGT. TATE (into mike) Command post... Two offi- (a beat; clears his throat) Two officers down. Prisoner is missing. Repeat, Lecter is missing... He's stripped the bed, might be making a rope, check all windows. Where the fuck is my ambulance? IN THE CELL a cop angrily punches OFF the music. Jacobs kneels with his fingers on Boyle's neck. JACOBS Boyle is dead, Sarge. His gun's gone... AT THE OTHER BODY a cop gently removes a revolver from the bloody fist. Murray, the young patrolman, brings his ear reluctantly close to the gory face. A bloody bubble appears there; the wreckage GROANS, very softly. MURRAY This one's alive! Tate crosses, kneels to see for himself. Murray looks green. SGT. TATE Take ahold of him where he can feel your hands, son. Talk to him. MURRAY What's his name, Sarge? SGT. TATE It's Pembry, now talk to him, God dammit. (into radio, looking around) Boyle's dead, Pembry's read bad. Lecter is missing and armed - he took Boyle's gun... The other cop, checking the cylinder of Pembry's gun, holds up one finger to Tate. SGT. TATE (into radio) Pembry got off one round - there's a chance Lecter was hit. We heard a total of three shots fired, so he's got four left... He's got a knife, too. CUT TO: EXT. STREET IN FRONT OF COURTHOUSE - NIGHT VARIOUS ANGLES on a floodlit scene of barely controlled pandemonium. Flashing red lights, men shouting commands, SIRENS in the distance. SWAT members, in full gear, leap from a black van... fan out... swarm up the steps... EMS orderlies unload a gurney from an ambulance... Cops kneel for cover behind cars, aiming guns and rifles up at the windows... CUT TO: INT. HISTORICAL SOCIETY ROOM - NIGHT A trio of EMS orderlies work fast over the body, already strapped on its gurney. They bandage a big plastic airway into place, over the butchered face, checking for a pulse at the neck. Young Murray crouches, sickened, gripping a bloody fist. MURRAY You're just fine, Pembry, lookin' good, buddy, you're gonna make it... One orderly massages the heart. Another is popping a plasma bag, ready to insert the needle, when the body starts convulsing. ORDERLY Downstairs - let's go! Quickly the gurney is elevated, wheeled out of the room, with cops rushing forward to open the doors, help push, SWAT men are running by in the hall, automatic rifles at the ready... CUT TO: INT. THE ELEVATOR - DESCENDING - NIGHT Sgt. Tate, riding down with Jacobs, has his radio out. SGT. TATE (into mike) Ten-four, Lieutenant. I'm on the elevator, bringing it down. Pembry and Boyle are both cleared, top three floors secured, main stairwell secured. He's somewhere on - A spot of blood falls on his cheek. He and Jacobs stare at each other. Another spot hits his shoulder. They look up. THEIR POV Blood is dripping slowly from the corner of the service hatch. Sgt. Tate motions for silence, as both men draw their guns. SGT. TATE (into mike) Uh, we're pretty sure he's somewhere on two, sir... That's all for now, over. CUT TO: INT. GROUND FLOOR LOBBY - NIGHT The elevator doors open, and Tate and Jacobs hurry out, stepping quickly to the side. Tate reaches back in and - CLOSE ANGLE Locks the elevator into position, with its doors open. OTHER COPS are rushing up to them, curious, as Tate frantically pushes them aside, gesturing for silence. SGT. TATE (whispers) He's on the roof of the elevator! CUT TO: INT. THIRD FLOOR CORRIDOR - NIGHT Two SWAT officers, PETERSON and KUBELL, turn a key, unlocking and opening this floor's elevator doorway. The shaft is dark. Lying prone, they inch up to the edge, Peterson extends a mirror, on a long pole, out into the shaft. IN THE MIRROR (DISTORTED BY THE ANGLE) Is a distant figure, in a green prison jumpsuit, lying on his stomach, atop the elevator. A shiny revolver is near one hand. PETERSON whispers into a radio, as Kubell carefully tips an assault rifle, with a flashlight taped to its barrel, over the edge. PETERSON I see him... There's a weapon by his hand. He's not moving... RADIO VOICE Can you get the drop? PETERSON We got the drop. RADIO VOICE One warning. Then take him out. Peterson nods to Kubell, who switches ON the flashlight, as Peterson shouts down the shaft. PETERSON Quinn!! put your hands on your head!! IN THE MIRROR the green figure shows no movement. ANGLE ON THE COPS AGAIN as Peterson mutters to Kubell. PETERSON Put one in his leg. VERY CLOSE ON The figure below, as Kubell's gunshot ROARS, echoing hugely in the shaft, and a slug rips through the jumpsuited leg. The figure doesn't stir. PETERSON staring down the shaft, raises his mike again. PETERSON No movement. RADIO VOICE Okay, Johnny, hold your fire... CUT TO: INT. GROUND FLOOR LOBBY - NIGHT A small army of cops is now covering the elevator doorway, from both sides. Tate crouches next to the SWAT COMMANDER. SWAT COMMANDER (into radio mike) We're coming into the car, we're opening the hatch. Watch his hands. Any fire will come from us. Affirm? PETERSON'S VOICE Got it. The SWAT commander hands his radio to another cop, then looks at Tate. A long, tense moment. Then he waves a signal. MOVING ANGLE as we follow a picked team of four SWAT cops, in full body armor, rushing into the elevator car. Two men move to the corners, aim assault rifles at the ceiling. A third man sets a stepladder in place, and the fourth man, armed with a big Colt, hurries up the ladder and unclips the hatch. CLOSE ON ...the service hatch, as the hinged cover drops open, and a body tumbles through, dangling head first, until it's caught at the waist. We see the back of the head. SGT. TATE shoulders through the SWAT cops for a closer look. He turns towards the SWAT commander, astonished. SGT. TATE That's Pembry! CUT TO: INT. EMS AMBULANCE - MOVING In the rear chamber, a young EMS ATTENDANT is braced against the vehicle's sway. Behind him, the stretchered form of his patient, and, through a curtained opening, the driver. SOUND of the siren. ATTENDANT (into radio mike) He's comatose, but his vital signs are good. Pressure's 130 over 90... Yeah, 90! Pulse 85... Behind him, in slightly BLURRED FOCUS, the bloody figure sits slowly upright... ATTENDANT His convulsions have stopped, but he's got so much loose skin on his face, it's hard to tell if - Suddenly he stops, becoming aware of a strange HISSING. He turns, puzzled... THE POCKETKNIFE BLADE in Lecter's fist, flashes high in the air... CUT TO: EXT. SIX-LANE FREEWAY - NIGHT (ARC LIGHTS) MOVING ANGLE on the EMS ambulance, as it races along normally, its SIREN blazing, the heavy flow of traffic parting to make way for it. Then suddenly it begins to weave erratically, changing lanes, before drifting dangerously to a full stop, almost side-ways. Cars swerve to avoid hitting it, HONKING angrily... CLOSER ANGLE on the stopped ambulance. After a long, still moment, the wind-shield wipes come on, incongruously, then stop. Then the SIREN is shut OFF, and the flashers. The ambulance starts rolling again - at first jerkingly, then with increasing speed. We follow it for several more moments, until is passes - and we LINGER on... BIG GREEN INTERSTATE SIGN ...that reads "Memphis International Airport / 2 miles." CLOSE ANGLE - THROUGH AMBULANCE WINDSHIELD Dr. Lecter's face is slowly REVEALED, as he wipes across it with a fistful of gauze, tossing it aside... DISSOLVE TO: EXT. MONTANA PLAIN - DUSK - (IN FLASHBACK) MOVING ANGLE, rushing with dizzy swiftness over the prairie, over waving grasses... a long passage... before we come at last to the girl Clarice, sitting with her lamb, hunched in despair. She rises, her face tear-stained, and turns from us. Holding the lamb, she starts back the way she came... CUT TO: EXT. COUNTRY DIRT ROAD - NIGHT - BRIGHT MOONLIGHT MOVING ANGLE, very rapid, down this road... coming at last to a stopped highway patrol car. Clarice, with her lamb, is standing in the car's headlights. She starts wearily towards the sheriff... CUT TO: EXT. RANCH BARNYARD - NEAR DAWN CRANE ANGLE - sweeping rapidly DOWN into the barnyard towards the arriving highway patrol car, as it stops... RUSHING to the little girl as she steps from the car, holding the lamb. The dark figure of the rancher ENTERS FRAME. As he roughly takes the lamb from her, we HOLD on a CLOSEUP of her face - stunned, blank. She EXITS FRAME... CUT TO: EXT. BARN - NIGHT MOVING ANGLE - CLARICE'S POV as she walks towards the open barn doorway... It looms CLOSER... The rancher is revealed, a shadowy figure, pinning the lamb on the killing table. His knife hand sweeps up high, then holds... He turns TO CAMERA, his face breaking into the light - and it is the face of Dr. Lecter. He smiles his terrible smile at the young Clarice... CUT TO: INT. FBI DORM - PAY PHONE IN HALLWAY - NIGHT MOVING ANGLE - coming in very CLOSE on the adult Clarice's face - shocked, devastated - as she stands alone by the dangling receiver... CUT TO: INT. SHOWER STALL - FBI DORM - NIGHT CLOSE ON a shower head, as water suddenly blasts out. Clarice moves INTO SHOT, as she scrubs her face and hair compulsively, almost desperately, unable to get clean... ARDELIA (V.O.) They found the ambulance... CUT TO: INT. CLARICE'S DORM ROOM - NIGHT Clarice is hunched on her cot, in a bathrobe, her hair wet. The Buffalo Bill case file, a thick bundle, rests by her feet. Ardelia hovers anxiously nearby. ARDELIA In the parking garage at Memphis airport. The crew was dead. He killed a tourist, too. Got his clothes, cash... By now he could be anywhere. Clarice looks up. Her eyes are red-rimmed with exhaustion, and something close to despair. She reads Ardelia's thought. CLARICE No. He won't come after me. ARDELIA Why not? CLARICE (bitterly) It would be rude. And he wouldn't get to ask any more questions... Ardelia sits beside her, touches her arm. ARDELIA Clarice - you did the best anybody could have for Catherine Martin. You stuck your neck out for her and you got your butt kicked for her and you tried. It's not your fault it ended this way. CLARICE The worst part - the thing that's making me crazy - is that Bill is right in front of me. Only I can't see him... (touching the case file) Lecter said, everything I need to catch him is right here, in these pages... ARDELIA Lecter said a lot of things. CLARICE (shakes her head) He's here, Ardelia. Ardelia stares back at her. SOUND UPCUT - the low throb of a washing machine... CUT TO: INT. LAUNDRY ROOM - ACADEMY DORM - NIGHT (VERY LATE) Clarice has spread out the case file across two washing machines. Ardelia, cross-legged on a dryer, studies another pile of forms. Nearby is their laundry basket, detergent box. ARDELIA (surprised) Hey, is this Lecter's handwriting? She holds up the map, with its location markings for the kidnapping and body dump sites. Clarice takes it, looks. INSERT - THE MAP with newly inked words in Dr. Lecter's precise, elegant hand. DR. LECTER (V.O.) Clarice, doesn't this random scattering of sites seem overdone to you? Doesn't it seem desperately random - like the elaborations of a bad liar? Ta... Hannibal Lecter. NEW ANGLE - TWO SHOT as Clarice looks up at Ardelia, puzzled but excited. CLARICE "Desperately random." What does he mean? ARDELIA Not random at all, maybe. Like there's some pattern here...? CLARICE But there is no pattern. There's no connection at all among these places, or the computers would've nailed it! They're even found in random order. ARDELIA Well, except for the one girl. CLARICE (beat) What girl? ARDELIA The one that was weighted down. Where is she...? Fred something. They search among the inserts. Clarice finds the graduation photo. CLARICE Fredrica Bimmel, from Belvedere, Ohio. The first girl taken, but the third body found... Why? ARDELIA 'Cause she didn't drift. He weighted her down. CLARICE But why? He didn't weight the others. Clarice moves, on fire, unable to keep still. CLARICE The first, what the hell did Lecter say about... "First principles," he said. Simplicity... What does this guy do, he "covets." How do we first start to covet? "We covet what we see -" She stops, turns. She grabs the photo of Fredrica from Ardelia, stares at it. She looks up, trembling. CLARICE "- every day." ARDELIA (softly) Hot damn, Clarice. CLARICE (V.O.) He knew her...! CUT TO: INT. FBI BUILDING - OFFICE OF THE DIRECTOR - DAY Clarice and Crawford are seated in front of Director Burke, who's at his desk. Another chair is empty, because Krendler is pacing. All four are nearing their boiling points. CLARICE Maybe he lives in this, this Belvedere, Ohio, too! Maybe he saw her every day, and killed her sort of spontaneously. Maybe he just meant to... give her a 7-Up and talk about the choir. But then - KRENDLER Starling - CLARICE But then he had to cover up, make her seem just like all the rest of them. That's what Lecter was hinting! KRENDLER The market in Lecter hints is way down, today, okay? I've got two good men dead in Memphis, and three civilians. I've got - CRAWFORD Who the hell's fault is - KRENDLER - a U.S. Senator who's half out of her head because her daughter's going to be murdered today! And all because of your mind games with fucking Lecter! CRAWFORD If you hadn't interfered, he'd still be in custody in Baltimore! BURKE Jack - KRENDLER You sent in a green recruit, with a phony goddamn offer - CRAWFORD You're just trying to cover your ass for letting him escape! BURKE THAT'S ENOUGH! All of you... A long silence, as they all struggle to regain composure. Crawford, who was at the point of striking Krendler, finally retakes his seat. Burke looks sadly at Crawford and Clarice. BURKE (very reluctantly) Starling, I'm afraid I have no choice. You're suspended from the Academy. (Crawford starts to interrupt) Not another word! (to Clarice) This is pending a reevaluation of your fitness for the service. I promise you'll get a fair hearing. (pause) Jack... you're ordered to take compassionate leave. You'll spend the rest of the day briefing the AG's office, then transfer command of the task force, effective by 1800 hours. (beat) I'm sorry, Jack... Go home. Take care of Bella. Clarice and Crawford stare back at him, drained. A long and very painful silence. Not even Krendler looks happy. CUT TO: EXT. SIDEWALK OUTSIDE FBI BUILDING - DAY Clarice and Crawford walk out slowly, stand there a moment, not knowing what to say, not wanting to face each other. CLARICE All his victims are women... His obsession is women, he lives to hunt women. But not one women is hunting him - except me. I can walk in a woman's room and know three times as much about her as a man would. (beat) I have to go to Belvedere. CRAWFORD You heard them. I don't have that authority anymore. CLARICE You do until six p.m. He stares at her sadly. He looks, for the first time, defeated, old beyond his years. CRAWFORD Ohio is cold ground. Picked over, ten months ago. Our people worked it, so did the locals. CLARICE But not from this angle. Not thinking he knew her. You've got to send me! CRAWFORD I'm Bureau for 28 years, Starling. I won't disobey orders, not even now. CLARICE But I just became a private citizen. I can go anywhere I want to. CRAWFORD With ID and a gun...? Impersonating a federal agent is a felony. CLARICE He's going to kill her, Mr. Crawford. This morning, or maybe at noon, but today, and Belvedere's our last chance. I'm flying there, right now, unless you stop me. You want my ID? Here - take it... He stares at her, a long moment. Catherine's life. Clarice's passion, and future. His loyalty to the Bureau. Call it. CRAWFORD (pulls out his wallet) There's about $300 here... And a hotline code number. They'll patch you through to me, wherever I am. She raises her hand to him. She wants to touch him face, or his neck, but can't. Finally she takes his money and card. CLARICE Thank you. He watches, frightened for both of them, as she backs away, smiles, then turns, racing towards the surveillance van. SOUND UPCUT - the scratchy recording of Fats Waller SINGING, as we... CUT TO: INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT) CLOSE ON the needle of the Victrola, on the spinning record, as Mr. Gumb's fingers lift away. MUSIC continues in background. MR. GUMB (O.S.) (calling out) Preeeeecious...! CLOSE ON the moth cage, as Mr. Gumb's fingers search through the humus, and find a plump new cocoon, lifting it out. The door of the cage is left open, and one or two of the adult moths flutter out. MR. GUMB (O.S.) Precious, come on Precious! Busy busy day today... CLOSE ON a clean towel, beside the sink. The cocoon is gently placed in readiness alongside four shiny skinning knives. MR. GUMB (O.S.) Momma's gonna be sooo beautiful! CLOSE ON a stainless steel Colt Python, with a six-inch barrel, as the cylinder is spun, and the hammer gets a practice cock. The metallic CLICK is deep and loud. A note of alarm has entered Mr. Gumb's voice. MR. GUMB (O.S.) You come here this minute, you little scamp! LOW ANGLE on Mr. Gumb, wearing the kimono, as he walks through his sewing workroom. His back is to us; he is looking anxiously under the furniture. He stops, straightens. Genuinely scared. MR. GUMB Precious...? LOW ANGLE - OVER THE PIT OPENING Towards Mr. Gumb, as he stops at one of the doorways of the oubliette chamber. He stares inside; his face in shadows. MR. GUMB Sweetheart...? From the distant bottom of the pit, we hear Catherine's voice. CATHERINE (O.S.) She'd down here you sack of shit. Mr. Gumb's fist flies to his mouth, and he sags against the doorframe. A little groan escaped him; the dog answers with a series of YIPS. UPWARD ANGLE, FROM THE PIT BOTTOM as Mr. Gumb's dark shape leans cautiously over the edge. MR. GUMB Precious, are you all right? REVERSE ANGLE ON CATHERINE crouched to one side, clutching the dog to her chest. Seeing Mr. Gumb, the dog squirms frantically, BARKING. CATHERINE Get me a telephone. Lower it down to me. Do it now, mister! I don't want to have to hurt this little dog. UPWARD ANGLE on Mr. Gumb, as, with a cry of fury, he whips the Colt from inside his kimono. The muzzle gleams as he takes aim. Catherine yanks the dog up, into his line of fire, screaming at him. CATHERINE You shoot motherfucker you better kill me quick or I'll break her fucking neck, I swear to God! MR. GUMB (O.S.) (wails) Nooooooo! Tucking the dog under one arm, she grabs its muzzle, twisting the head. The dog WHINES piteously. CATHERINE Back off, you son of a bitch! Back off! UPWARD ANGLE as Mr. Gumb cries out again - a terrible, inarticulate scream of rage and anguish. But then he slowly lowers his gun. REVERSE ANGLE On Catherine, as she maintains her grip. CATHERINE That's better... Now get me a live telephone. Get a long extension and lower is down here... And you better do it fast, too, 'cause I think her leg's broken. She's in pain, mister, she needs a vet. MR. GUMB stares down at her, a long beat, breathing heavily. MR. GUMB You think she's in pain? You don't know what pain is. But you're going to find out... And abruptly he vanishes. SOUND of his footsteps, rushing off. CATHERINE begins shaking, hands and arms twitching uncontrollably. She hugs the little dog tight to her chest, buries her face in its fur, sobbing... DISSOLVE TO: EXT. RESIDENTIAL STREET - BELVEDERE, OHIO - DAY HIGH ANGLE as a rented sedan pulls up to the curb, stops. After a moment Clarice climbs out, a bit stiffly. Double- checking this address, she glances up from a folded street map to - AN OLD, THREE-STORY WOODEN HOUSE in a row of similarly shabby homes, all backing onto a narrow river. A path of boards, laid over mud, leads back along this house towards the brown water. SOUND of hammering from there. CUT TO: EXT. BIMMEL HOUSE - BACK YARD - DAY An awesome huddle of pigeon coops sprawls by the brackish water. The birds' COOING mixes with the HAMMERING. A tall, gaunt man in a knit cap is obsessively pounding nails into a new coop. CLARICE approaches him, and the man lowers his hammer. He has red- rimmed eyes of watery blue. His face is deeply seamed. CLARICE Mr. Bimmel...? He stares back at her, warily. CUT TO: INT. BIMMEL HOUSE - STAIRCASE - DAY HIGH ANGLE - LOOKING DOWN as Mr. Bimmel leads Clarice up a steep flight of steps. The bannister is worn, sags a bit. MR. BIMMEL I don't know nothin' new to tell ya. The police been back here so many times already... Fredrica went into Columbus on the bus to see about a job. She left the interview OK. She never come home. Clarice pauses, at the landing, to look at a framed photo: the familiar graduation portrait. Others pictures show Fredrica as a young girl, toddler, infant - plump and hopeful at each age. MR. BIMMEL Her room's how she left it. Just shut the door when you're done. CUT TO: INT. FREDRICA'S BEDROOM - DAY CLARICE'S POV - MOVING SLOWLY as she takes in flowery chintz curtains... posters of Madonna and Blondie... a twin bed, with worn, stuffed animals on the pillow... a big sewing machine in the corner. CLARICE turns, absorbing nuances. There is loneliness here, an echo of desperation under this steeply pitches ceiling. A shrill MEOW, and she looks down... BIG TORTOISESHELL CAT is rubbing against her ankles. CLARICE picks up the cat, scratches behind his ears. She glances up. IN A FULL-LENGTH MIRROR she and the cat stares back at their own reflection... CUT TO: CLARICE sitting at the desk, turns the pages of a high school yearbook. The cat is curled on her lap... CUT TO: CLARICE kneeling by the old Decca record player, flips through LPs and singles. The cat has wandered off... CUT TO: CLARICE pulling a string to light up the closet. She is surprised and intrigued to see an extensive wardrobe, groaning from the rod. A shelf above the rod is stacked high with sewing supplies, in clear plexiboxes. She flips through the hanging clothes, pulls out one dress, on its hanger, for a closer look. THE DRESS is very big, to fit Fredrica, but beautifully cut. Some of the seams still look unfinished. She turns it around, sees a blue tissue dressmaker's pattern still pinned to the back. FAVORING THE SEWING MACHINE as Clarice turns, looks towards it. She hangs the dress on the closet door knob, crosses to sit at the machine. She takes off its dust cover. She runs one hand over the cool metal, as a taunting memory forms in her mind. DR. LECTER (V.O.) Billy wants to change, too, Clarice. But there's the problem of his size, you see... She turns, looks again at the unfinished dress. Suddenly she straightens, her attention riveted by something... CLARICE'S POV On the printed pattern, down at the lower back of the outlined dress, are two bold black triangles. We RUSH CLOSER to there shapes, before jumping back to - CLARICE who stares at them, starting to tremble. DR. LECTER (V.O.) Even if he were a woman, he'd have to be a big one... IN FLASHBACK those missing triangles of skin on the dead girl's back, in the funeral home in West Virginia... CLOSE ON CLARICE as she jumps to her feet, with a fierce joy. CLARICE Sewing darts. You bastard. CUT TO: INT. BIMMEL PARLOR - DOWNSTAIRS - DAY Clarice paces, in an exuberant rush, amidst the worn furniture. CLARICE (into phone) He's making himself a "woman suit," Mr. Crawford - out of real women! And he can sew, this guy, he's really skilled. A dressmaker, or a tailor - CRAWFORD (V.O.) Starling - CLARICE That's why they're all so big - because he needs a lot of skin! He keeps them alive to starve them awhile - to loosen their skin, so that - CRAWFORD (V.O.) Starling, we know who he is! And where he is. We're on our way now. CLARICE (pause; surprised) Where? CUT TO: INT. FBI TURBOJET - FLYING - DAY Crawford sits at a communications console, with Burroughs, in headphones, by his side. This forward section of the cabin is crammed with hi-tech equipment, all lit up and WHIRRING. Through a window we see clouds, part of the jet's wing. CRAWFORD (into speaker phone) Calumet City, edge of Chicago. I'll be on the ground in 45 minutes with the Hostage Rescue Team. I'm back in charge, Starling. He's mine. INTERCUTTING as Clarice reacts; her happiness for Crawford is tinged with disappointment at being so suddenly out of the hunt. CLARICE (on phone) Sir, that's great news. But how - CRAWFORD Johns Hopkins finally came up with a name for us. We fed him into Known Offenders, and he came up cherries. (takes a paper from Burroughs) Subject's name is "Jamie Gumb," AKA "John Grant." Lecter's description was accurate, he just lied about the name. INSIDE THE JET - MOVING ANGLE from the rear of the cabin forward, as we slowly PASS the twelve-man HRT. They're seated in full gear, hardshell armor, quietly checking and rechecking their bulging cases of weapons - silencer automatics, shotguns, stun grenades... CRAWFORD (O.S.) This Gumb's a real beauty. Slaughtered both his grandparents when he was twelve, and did nine years in juvenile psychiatric. Where, Starling, he took vocational rehab, and learned a useful trade... INTERCUTTING CLARICE Sewing... CRAWFORD Take a bow. Customs had some paper on his alias. They stopped a carton two years ago at LAX - live caterpillars from Surinam. The addressee was "John Grant." Calumet Power & Light's given us two possible residences under that alias. We're hitting one, Chicago SWAT's taking the other. CLARICE (eagerly) Chicago's only about 400 miles from here. I could be there in - CRAWFORD No, Starling, there isn't time. And you've still got crucial work to do in Ohio. We want him for murder, not kidnapping. I'm counting on you to link him to the Bimmel girl, before he's indicted. Clarice tries hard to swallow her disappointment. CLARICE Yes sir... I'll do my best. CRAWFORD (pause; gently) Starling - you've earned back your place in the Academy. We never would've found him without you, and nobody's ever going to forget that. Least of all me. CLARICE Yes sir. Thank you, sir... CRAWFORD switches off, feeling bad for her. On the console near him, the fax machine starts to CHATTER. He turns, looks. BURROUGHS (O.S.) Here he comes, Jack. CLOSE ON an emerging sheet, as Gumb's face is printed out. We see just his hair, then the top of his forehead, before we... CUT TO: EXT. BIMMEL BACK YARD - DAY Clarice walks slowly across the yard, absorbing all this news, before suddenly leaping into the air and pumping her fist in triumph, with a happy yelp. Then she sees - MR. BIMMEL staring at her in surprise. He sits by his coops, smoking. CLARICE somewhat embarrassed, crosses over to him. CLARICE Mr. Bimmel... did Fredrica ever mention a man named Jamie Gumb, from Calumet City? Or John Grant? (he shakes his head) Did she know any men that sew? MR. BIMMEL She sewed for everybody. Stores, ladies, whatever. I don't know about men. CLARICE Who was her best friend, Mr. Bimmel? Who'd she hang out with? CUT TO: EXT. AN ISOLATED RUNWAY - O'HARE AIRPORT - DAY The FBI turbojet is parked, its gangway down. Crawford, Burroughs, and the HRT squad, carrying their bags of weapons, CLATTER rapidly down the metal steps... STACY (V.O.) Freaked me out. Get your skin peeled off, is that a bummer...? CUT TO: INT. SAVING & LOAN - BELVEDERE - DAY STACY HUBKA - short, perky, early 20's - sits nervously at her desk, talking to Clarice, who jots in her notebook. In the background. beyond them, bank tellers, lines of waiting customers, MUZAK. STACY They said she was just rags, like somebody - CLARICE Stacy, did Fredrica ever mention a man named Jamie Gumb? Or John Grant? (Stacy shakes her head) Do you think she could've had a friend you didn't know about? STACY No way. She had a guy, I'da known, believe me. Sewing was her life, she was really great at it. Poor Freddie. CLARICE Did you ever work with her? STACY Oh sure, me'n Pam Malavesi used to help her do alterations for old Mrs. Lippman. Lots of people worked for her, she had the business from all these retail stores? But she was like, totally old, it was more'n she could handle. CLARICE Where does Mrs. Lippman live? I'd like to talk to her. STACY She died. She went to Florida to retire, like two years ago? She dies own there. Clarice reacts, disappointed at the ending of this trail. STACY (beat; shyly) Is that a pretty good job, FBI agent? CLARICE I think so. STACY You get to travel around and stuff? I mean, better places then this? CLARICE Sometimes you do. STACY Freddie was so happy for me when I got this job. This - toaster giveaways, and Barry Manilow on the speakers all day - she thought this was really hot shit. What did she know, big dummy... Suddenly she's fighting tears. Clarice reaches to hug her. CUT TO: EXT. RESIDENTIAL STREET - CALUMET CITY, ILLINOIS - DAY WIDE ANGLE on what appears to be, at first, a calm, ordinary neighborhood of working class two- and three-story houses. But the street is strangely quiet, deserted. After a few moments, we become aware of movement - armed, dark-clad figures creeping swiftly and in silence from shrubs to garage corners, from parked cars to porches, appearing and then disappearing... CUT TO: INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT) CLOSE ON Mr. Gumb, as he settles a big pair of infra-red night-vision goggles over his eyes. Moths flutter past his face. His mouth is set in a grim line... CUT TO: EXT. STREET IN CALUMET CITY - FRONT YARD - DAY An HRT cop, prone beneath a hedge, is joined by a 2nd HRT Cop, who throws himself to the grass beside him. They both take aim with their scoped rifles at - TELEPHOTO ANGLE (WITH RIFLE CROSSHAIRS) The front door of a big, nearby, split-level house... CUT TO: INT. MR. GUMB'S CELLAR - DAY (DIM LIGHT) CLOSE ON a fuse box, as Mr. Gumb reaches in, flips a switch. The lights go out. SOUND of a second switch, and the cellar is bathed in a green glow... CUT TO: EXT. STREET IN CALUMET CITY - NEIGHBOR'S HOUSE - DAY A little boy, riding his tricycle in his driveway, is suddenly startled to find himself staring into the grim face of - A MEMBER OF THE HRT crouched by his garage, armed to the teeth. As the little boy starts to cry, the cop pulls him into the shadows, covering his mouth. CUT TO: INT. MR. GUMB'S CELLAR - DAY (GREEN LIGHT) Mr. Gumb, in his kimono and goggles, creeps silently through his workrooms - knees bent, painted toes places ever so delicately, the Colt held aloft - as more moths flutter past him in the eerie light... CUT TO: EXT. STREET IN CALUMENT CITY - DAY A florist's van turns the corner, comes slowly down the street and stops at the curb in front of the split-level. The driver, in a gray deliveryman's uniform and cap, climbs out of the cab, walks briskly to the panel door, on the street side of the van, and slides it open. He leans in, comes out with a long, thin red-ribboned floral box, starts calmly towards the house... CUT TO: INT. MR. GUMB'S CELLAR - DAY (GREEN LIGHT) MR. GUMB'S POV - MOVING ANGLE on the top of the oubliette, a glowing green circle in the dark, as it draws closer and closer... and then Catherine comes INTO VIEW, at the bottom of the pit. She is crouched, exhausted, staring straight up at him - but she can't see him in this infra-red darkness. Precious is curled into her stomach, asleep. The futon is up to Catherine's waist, but there's a clear shot at her head and neck. MR. GUMB Looking down at her, smiles... CUT TO: EXT. STREET IN CALUMET CITY - SUSPECT'S HOUSE - DAY MOVING ANGLE on the "deliveryman," seen from behind, as he mounts three steps to the split-level's front porch. Tucked into the small of his back if a 9 mm. automatic. CRAWFORD AND BURROUGHS have slipped out of the van, and are crouched behind it now, with drawn guns, watching tensely as - THE "DELIVERYMAN" settles the floral box in the crook of his left arm, reaches out with his right hand towards the buzzer... CUT TO: INT. MR. GUMB'S CELLAR - DAY (GREEN LIGHT) Slowly, savoring the moment, Mr. Gumb aims the big Colt, which is already cocked, using both hands... He is just about to squeeze the trigger, when we hear his DOOR BUZZER, surprisingly loud and close by. He turns, startled, and sees - DUSTY BLACK METAL BOX the extension buzzer, mounted high on the wall, which is making the hideous, grating JANGLE. It finally stops, but not before waking Precious, who starts frantically BARKING, off screen, as - MR. GUMB raises his gun again, spinning back towards - HIS POV - THE PIT BOTTOM where Catherine, hearing but still not seeing him, quickly yanks the futon over both herself and the dog. Instantly the two of them become one squirming, indistinguishable mass. MR. GUMB bites his lip, his aim wavering, as he can't decide where to safely place his shot. The maddening BUZZER sounds again, even more insistently, and he cries out with frustration and fury. But as the BUZZER continues, he reluctantly uncocks his gun, looking up angrily towards his front door... CUT TO: INT. MR. GUMB'S FRONT DOOR - DAY The door opens, on a chain, and Clarice peers in, smiling. CLARICE Good afternoon... I wonder if you could help me. I'm looking for Mrs. Lippman's family? Mr. Gumb frowns out at Clarice. For the first time ever, we get a well-lit view of his bland, pale-eyed moon of a face. MR. GUMB They don't live here anymore. CUT TO: EXT. FRONT DOOR OF SUSPECT'S HOUSE - CALUMET CITY The "deliveryman" yanks a 12 lb. sledgehammer from the floral box, swings it with all his might against the door knob, blowing it through as - MOVING ANGLE Crawford and Burroughs race towards the door, guns up... CUT TO: EXT. MR. GUMB'S FRONT DOOR - DAY Mr. Gumb starts to close the door, only to have Clarice push back against it, politely but firmly. She holds up her ID. CLARICE Excuse me, but I really do need to talk to you. This was Mrs. Lippman's house. Did you know her? MR. GUMB (beat) Just briefly. What's the problem, Officer? CUT TO: INT. SUSPECT'S HOUSE - CALUMENT CITY - DAY A bedroom window disintegrates as a flash grenade is shot through it, EXPLODING on the floor. An instant later, a black- clad HRT cop dives through the shattered glass, rolls across the floor, comes up on one knee swiveling his sawed-off shotgun... CUT TO: EXT. MR. GUMB'S FRONT DOOR - DAY Clarice and Mr. Gumb, still eyeing each other through the door crack... CLARICE I'm investigating the death of Fredrica Bimmel. Who are you, please? MR. GUMB Jack Gordon. CLARICE Mr. Gordon, did you know Fredrica when she worked for Mrs. Lippman? MR. GUMB No. Wait... Was she a great, fat person? I may have seen her, I'm not sure... CUT TO: INT. SUSPECT'S HOUSE - CALUMET CITY - DAY MOVING ANGLE as Burroughs moves quickly down a hallway and enters the living room, where Crawford is standing, with his gun held down by his side, surrounded by several other cops. Burroughs shakes his head: Nothing here... CUT TO: INT. MR. GUMB'S FRONT HALLWAY - DAY Mr. Gumb glances briefly over his shoulder, towards his kitchen, then turns back to Clarice with a smile. MR. GUMB Mrs. Lippman had a son, maybe he could help you. I have his card somewhere. Do you mind stepping inside, while I looks for it? CLARICE Thanks. ANGLE FAVORING THE COLT PYTHON which rests on a counter, just inside the open kitchen doorway. THROUGH this doorway, we watch as Mr. Gumb, at the end of his front hall, slips the chain. Clarice enters, closing the door behind her. CUT TO: EXT. FRONT YARD OF SUSPECT'S HOUSE - CALUMET CITY - DAY MOVING ANGLE - towards the front door, as frustrated HRT cops file out of the empty house, rifles slung across their shoulders. WE PICK OUT CRAWFORD walking across the grass towards the van, when all at once he stops in his tracks, shaken by a sudden flash of intuition. CAMERA RUSHES VERY CLOSE on his stricken face... CRAWFORD Clarice. CUT TO: INT. MR. GUMB'S PARLOR - DAY Clarice, pulling her notebook from her shoulder bag, glances around the musty-looking room. MR. GUMB (O.S.) That horrible business, I shiver every time I think about it... Overstuffed furniture, porcelain figurines. One archway onto the front hall, another onto a dining alcove, and through there, the kitchen. Mr. Gumb is crossing to a rolling desk, raising the top. He bends over, begins poking through cubby holes. His tone is casual, neutral. MR. GUMB Are they close to catching somebody, do you think? CLARICE I think we may be, yes. Mr. Gumb stiffens, almost imperceptibly. His back is to her, as he continues opening drawers, rustling papers. CLARICE Mr. Gordon, did you take over this place after Mrs. Lippman died? MR. GUMB Yes. I bought the house from her, two years ago. CLARICE Did she leave any records here? Tax or business records? Maybe a list of employees? CLOSE ON MR. GUMB'S BACK as he continues his rummaging. MR. GUMB No, nothing at all. Has the FBI learned something? Because the police here don't seem to have the first clue... Out of the folds of his kimono crawls a Death's-head Moth. It creeps slowly to the center of his back, raising its wings. MR. GUMB Do you have his description yet, or some fingerprints...? CLARICE unaware, is still glancing around the room. For several agonizing moments, we think she won't see the moth - but then she turns, does see it, and her eyes freeze. A beat of pure fear. A tremendous struggle to keep her voice calm. CLARICE No... no, we don't. Very carefully, she drops her notebook back into her bag, lowers the bag to the floor. With her fingertips she brushes back the edge of her blazer, loosening its drape. MR. GUMB turns back towards her cheerfully, holding out a business card. MR. GUMB Ahhh. Here's that number. CLARICE keeps her distance. They are about ten feet apart. CLARICE Good, thank you. Mr. Gordon, do you have a phone I can use? MR. GUMB is about to reply when the moth suddenly flies up from behind him, flutters past his face. He turns, looking at it. He looks back at Clarice, his mouth still open. HER EYES are unmoving, locked on his. HIS EYES stare back at her, widen. And they know each other. MR. GUMB (softly) In the kitchen. I'll show you. CLARICE whips her gun out, gripping it in both shaking hands. CLARICE Freeze! MR. GUMB slowly tilts his head to one side, smiles at her. CLARICE tries to force more authority into her voice. CLARICE Okay... Okay, Mr. Gumb, you're under arrest. Down on the floor, hands and legs spread, move it. MR. GUMB turns, then all at once, in two quick steps, he is gone, disappearing into his dining alcove, then kitchen. CLARICE hesitates, just a split second, to shoot him in the back - and then it's too late. CLARICE Shit! CUT TO: INT. MR. GUMB'S KITCHEN - DAY Clarice hurries inside, moving low, swivelling her gun. HER POV - MOVING The kitchen is empty. To one side, a door still shuddering on its hinges... CLARICE rushes to this - pauses - then elbows the door aside, aiming her gun down - AN EMPTY STAIRWELL brightly lit, leading to the cellar. Two doors facing the bottom, both open. No sign of Mr. Gumb. CLARICE hates this, hates this, which door, it's a trap, what to do: she is very scared, but suddenly hears - The distant SCREAM of Catherine Martin, somewhere down there in that killing maze. CLARICE rushes through the doorway, and down the stairs. BEHIND HER, ON THE KITCHEN COUNTER there's an empty space; the Colt Python is gone. CUT TO: INT. MR. GUMB'S CELLAR - DAY MOVING ANGLE - WITH CLARICE - hurrying down the steps. More SCREAMS; they seem to be coming from the left door. Clarice goes that way, entering a brick-walled passage - pipes over- head, naked bulbs. The lighting, though dim, is incandescent; Mr. Gumb has switched off his infra-red system. Clarice comes to a T-shaped intersection, stops. Another SCREAM, again to her left, and the BARKING of a dog... CLARICE follows her gun around the corner, looking right. EMPTY PASSAGEWAY but doors opening off it - he could be lurking behind any of them. She looks left... sees an opening onto some kind of chamber. The noises are LOUDER, coming from there. CLARICE moves cautiously towards this chamber... CUT TO: INT. OUBLIETTE CHAMBER - DAY (DIMLY LIT) Clarice moves in, hugging the wall, gun swivelling... HER POV - MOVING the open top of the pit... beyond it, the other two doorways, opening onto this room - Jesus, he could come through either one of them, or come up behind her... She moves to the pit, looks down, very briefly, sees Catherine SCREAMING, hysterical, and a little white dog BARKING... CLARICE kneels, staring up from one door to another, she can't cover them all, she's totally exposed - and what's a dog doing there? CLARICE FBI, Catherine, you're safe. CATHERINE Safe, SHIT, he's got a gun! Getmeout. GET ME OUT! CLARICE You're all right! Where is he? CATHERINE Get me out! CLARICE I'll get you out! Just be quiet so I can hear. Shut that dog up. (still swivelling) Is there a ladder? Is there a rope? CATHERINE I don't know! Get me out!! CLARICE Catherine. Listen to me. I have to find a rope. I have to leave this room, just for a minute, but - CATHERINE NOOOOO! You fucking bitch don't you LEAVE ME down here, DON'T YOU - YOU CLARICE Shut UP! (then, louder) The other officers will be here any minute! you're perfectly safe now! Ignoring Catherine, whose shouts turn to sobs, she backs away, turns, picks one of the other doorways, moves into it quickly. CUT TO: INT. NEW PASSAGEWAY - DAY (DIMLY LIT) CLARICE'S POV - MOVING down this passageway, towards a new room... pausing at the doorway, straining to hear... no sound except Catherine's CRYING, not in the background, and Clarice's own RAPID BREATHING. Then she crouches - LOWER ANGLE - bursts forward, through the doorframe, sidestepping... CUT TO: INT. WORKROOM - DAY (DIMLY LIT) Clarice weaves back and forth, half-crouched, gun out, back to the wall. Her face glistens with sweat, as she takes in... HER POV - MOVING NERVOUSLY Mr. Gumb's sewing machine... his swivel chair... the old Victrola... Big moths are crashing into the light bulbs, overhead; they're everywhere. Suddenly, from just behind her, a CLICK and a HUM, and - CLARICE spins, almost shoots, before seeing - A SMALL REFRIGERATOR with its thermostat just switching ON. CLARICE gasps for breath, fighting for calm. She turns again, slashing her free hand at the moths, moving quickly on... CUT TO: INT. SKINNING ROOM - DAY (DIMLY LIT) Clarice moves past the mannequins, all of them naked now... then quickly past the huge Chinese armoire, ready to shoot into it. Its doors yawn open; it is empty except for several padded hangers... She moves on, past the big sink, with its DRIPPING faucet... the counter, with its gleaming knives... the rows of chemical jars. At the end of this room is A CLOSED DOOR Clarice starts to open it, then hesitates. Looking around, she seizes a wooden chair, wedges it under the door know, sealing off this section of the cellar. With her back thus defended, she turns, softly retracing her steps. CUT TO: INT. WORKROOM - DAY (DIMLY LIT) Passing again through the workroom, Clarice pauses, seeing a half-curtained door, to one side, that she had previously skirted. She crosses to the door, listens and hears no sound inside, takes a deep breath and reaches for the knob. She twists it, and, as it turns, shoves hard and follows her gun inside, all in one quick move... CUT TO: INT. BATHROOM - DAY (BRIGHTLY LIT) An old-fashioned bathroom: tiled floor, sink, toilet - and a big, free-standing tub. An opaque shower curtain, suspended from an oval ring, hides whatever might be inside. CLARICE centers her gun on the curtain, at chest height, and yanks it aside with her left hand. No one standing there. Something lower down catches her eye. She leans in, stares more closely, not understanding, at first, that she's seeing - FEMALE HAND AND WRIST sticking up from the tub, which is filled with hard red-purple plaster. The hand is dark and shriveled, with pink nail polish and a dainty wristwatch. As - CLARICE is reacting with horror to this sight, the lights go out, to be replaced, a split-second later, by the eerie green glow of Mr. Gumb's infra-red system. Clarice cries out, turns blindly, reaching for the door, can't find it, free hand clawing desperately into what is, for her, utter darkness. SOUND of Catherine KEENING again, in the far distance. Clarice stumbles, goes to her knees, rights herself, finally clutches the door frame... CUT TO: INT. MR. GUMB'S WORKROOM - DAY (GREEN LIGHT) Clarice emerges from the bathroom in a half-crouch, arms out, both hands on the gun, extended just below the level of her unseeing eyes. She stops, listens. In her raw-nerved darkness, every SOUND is unnaturally magnified - the HUM of the refrigerator... the TRICKLE of water... her own terrified BREATHING, and Catherine's faraway, echoing SOBS... Moths smack against her face and arms. She eases forward, then stops again, listens... She eases forward again, following her gun, and creeps directly in front of, and then past - MR. GUMB who has flattened himself against a wall, arms spread like a high priest, Colt in one hand. He wears his goggles and kimono, and under that - draping down over his naked arms, like some hideous mantle - his terrifying, half-completed suit of human skins. This is an exquisite moment for him - a ritual of supreme exaltation. He smiles at Clarice as, completely unaware, she moves beyond him, exposing her back. Very slowly and quietly he steps out behind her, taking his gun in both hands, aiming... CLOSE ON the Colt Python as - in SLOW MOTION - his thumbs cock the hammer, the SOUND registering as a LOUD METALLIC CLICK, and - CLARICE spins, still in SLOW MOTION, flame already leaping from her gun muzzle, as we see - THE TWO FIGURES almost at point-black range, guns ROARING hugely, one FLASH from Mr. Gumb, and one two three four FLASHES from Clarice, overlapping his, and then, as the ECHOES crash deafeningly - CLOSE ON CLARICE - LOW ANGLE - with NORMAL SPEED RESTORED, as the side of her face hits the floor, and she is gasping, stunned by the noise and flames; there is blood on her check, and an ugly powder burn, but she ignores them, twisting to yank her speedloader from her jacket pocket, locking it blindly onto her gun's cylinder, reloading, right in front of her face, then rolling onto her stomach, aiming her gun upward again, blinking her dazzled eyes, straining to locate him in the darkness... Where is he, where...? Then, as the ECHOES finally fade, she hears something else - a tortured, sucking, WHISTLE from perhaps eight feet away... MOVING ANGLE - WITH CLARICE as she crawls forward, on her elbows, following her gun, until it bumps against Mr. Gumb's shoulder. He is lying on his back, chest a bloody mess. She slides her muzzle against his head, hard, but he doesn't move; another shot isn't needed. He stares upwards, through his goggles, bloody lips working. He tries to speak, but cannot. One hand reaches slowly upwards, the fingers twitching, as if to seize something, overhead... Then a final, ghastly groan, his hand drops, he is dead. Clarice feels for a pulse at his neck, making sure. Then, and only then, does she permit herself to roll over, collapsing onto her back beside him. OVERHEAD ANGLE down at the two faces - intimately close together, like lovers on their pillow. Then, as we PULL SLOWLY AWAY, we see that her staring eyes, and his dead gaze, are both locked onto - A DEATH'S-HEAD MOTH - perched on an infra-red bulb, overhead, its wings pumping slowly. SOUND UPCUT - wailing SIRENS, many excited VOICES, as we... DISSOLVE TO: EXT. MR. GUMB'S HOUSE - DUSK The front porch of the tall Victorian house is bathed in a glare of TV lights, police and ambulance flashers. Cars and vans and even a firetruck choke the street; cops, reporters, EMS workers and curious civilians swarm around the ineffective barricades. The BUZZ of their voices goes even higher as CLARICE dazed, her face bandaged - comes out of the house, walking protectively beside Catherine, who is wheeled on a gurney. They are followed out by uniformed cops, then two firemen with an extension ladder. Catherine, blinking in confusion, is still clutching the little dog, and refuses to give her up even as she's trundled into an ambulance. Clarice sways with exhaustion; everyone seems to be shouting at her at once, pulling her sleeve. She tries to fight free of them, desperate for a familiar face. AN OHIO HIGHWAY PATROL CAR pulls up, stops, and Crawford climbs out of the back seat. He makes his way anxiously through the press of bodies, stopping when he sees Clarice. THEY LOOK AT ONE ANOTHER for a long moment, Crawford choked with pride for her, with sorrow for her ordeal, with love, but unable to find any words. And then he does. CRAWFORD Starling... your father sees you. And then all at once she is sobbing, her knees giving way, but he is there to catch her, he is hugging her fiercely. HOLD ON them for a long beat. DIRECTOR BURKE (V.O.) (over loudspeaker) Congratulations! You are now officers of the Federal Bureau of Investigation... DISSOLVE TO: EXT. GROUNDS OF THE FBI ACADEMY - WEEKS LATER - DAY The forty members of Clarice's class, resplendent in their best dark suits and dresses, rise, cheering themselves, then turn happily to wave to their audience, as APPLAUSE mounts. Beyond them, on a gaily tented platform, the Director stands behind his podium. CLARICE AND ARDELIA look at one another solemnly. Ardelia holds up both fists, in a power shake, and Clarice taps them with her own. She is radiantly beautiful in a navy dress and pearls, the thin scar on her cheek almost healed. Ardelia turns, waving towards the crowd, the Clarice's thoughts are elsewhere. She turns, searching among the dignitaries on the platform, till she locates CRAWFORD who smiles back at her with quiet pride, and offers a little salute. CLARICE grins - more happy than we've ever seen her - then turns to wave towards the crowd with the others. MOVING ANGLE over the admiring sea of spectators, several hundred of them, still rising from their folding chairs, APPLAUDING in celebration of these special young people, this perfect, sunlit day. SOUND UPCUT - rock music, laughter - as we... DISSOLVE TO: INT. ACADEMY DORM - REC ROOM - THAT NIGHT A LOUD party is underway - food, beer, dancing - as the new grads celebrate ferociously. Ardelia weaves her way through the crowded room, reaches Clarice, who is flanked by her special guests - Pilcher and Roden, the two ardent scientists. Ardelia has to shout at Clarice over the din. ARDELIA Agent Starling! Telephone! CLARICE (surprised) Agent Mapp! Thank you! She nods to Pilcher, leaves them. Roden, who is quite happily drunk, grabs the startled Ardelia around the waist. RODEN Hel-lo, gorgeous! Let's get down. Ardelia looks at Pilcher, confused. PILCHER Just ignore him. He's not a Ph.D. CUT TO: INT. DORM HALLWAY - NIGHT Clarice picks up the dangling pay phone, speaks happily. CLARICE Starling. DR. LECTER (V.O.) Well, Clarice, have the lambs stopped screaming...? She freezes, stunned by the familiar voice. Then she turns, waving frantically towards ARDELIA who is just inside the rec room door, at the end of the hall, lost in conversation with Pilcher and Roden. Ardelia glances at her briefly but misunderstands, waves cheerfully back. DR. LECTER (V.O.) Don't bother with a trace, I won't be on long enough. CLARICE turns back, gripping the phone more tightly. CLARICE Where are you, Dr. Lecter? CUT TO: EXT. A CLEAR NIGHT SKY Very beautiful, glittering with countless stars. DR. LECTER (O.S.) Where I have a view, Clarice... MOVING DOWN we see a rolling lawn, a curving bay. Boats ride at anchor, lights shimmering... DR. LECTER (O.S.) Orion is looking splendid tonight, and Arcturus, the Herdsman, with his flock... DR. LECTER smiles into his mobile phone. He is stretched out on a lounger, on a tiled patio, languidly paring an orange with a penknife. His appearance is quite altered - a beard, glasses, lighter hair. He's has some cosmetic surgery, as well. DR. LECTER (into phone) Your lambs are still for now, Clarice, but not forever... You'll have to earn it again and again, this blessed silence. Because it's the plight that drives you, and the plight will never end. CLARICE Dr. Lecter - DR. LECTER I have no plans to call on you, Clarice, the world being more interesting with you in it. Be sure you extend me the same courtesy. CLARICE (V.O.) You know I can't make that promise. DR. LECTER Goodbye, Clarice... (and then, softly) You looked - so very lovely today, in your blue suit. CUT TO: INT. DORM HALLWAY - NIGHT As Clarice reacts, the fill weight of his words sinking in. CLARICE Dr. Lecter... Dr. Lecter...! But only a DIAL TONE comes from the phone. She is still staring at her receiver, in shock, as we - CUT BACK TO: EXT. THE MOONLIT PATIO Dr. Lecter sighs, sets his phone down, then rises. Popping an orange section into his mouth, he turns towards the brightly lit house. Stepping delicately over the sprawled body of a uniformed security guard, he walks in through open french doors. CUT TO: INT. A BOOKLINED STUDY In a swivel chair, amidst the wreckage of his papers and books, is the writhing figure of Dr. Frederick Chilton. The extreme intricacy of his bindings recalls Dr. Lecter's own former restraints. His screams are muffled by the tape over his mouth; he stares at Dr. Lecter like a rabbit trapped in headlights. DR. LECTER Considers him for a genial moment, then raises the little pen-knife. His eyes are twinkling. DR. LECTER Well, Dr. Chilton. Shall we begin? FADE OUT THE END
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+FADE IN:EXT. THE FULL MOON, CLOSE NIGHTIt nearly fills the screen, swimming mysteriously in thewarm late summer air.SOUND: Crickets.THE CAMERA PANS SLOWLY DOWN TO:EXT. TRAIN TRACKS IN THE COUNTRY NIGHT - AND MOONLIGHTCREDITS BEGIN.A rail-rider comes chugging along the tracks. Aboard isARNIE WESTRUM, a big man in a strappy T-shirt and chinopants. He is drinking beer. ARNIE (sings) My beer is Rheingold the dry beer... Think of Rheingold whenever you buy beer...He drains the rest of his own bottle of Rheingold and tossesit to one side. Up ahead we see a switching point.ARNIE throws the rail-rider into neutral, opens the toolboxon the back, and brings out a big five-cell flashlight. Heshines it on the switch.He gets a crowbar from the toolbox, plus a big wrench, apair of pliers, a hammer, and a pair of work gloves. He alsogets another bottle of beer and sticks it into his backpocket.ARNIE jumps down and approaches the switch.CREDITS CONTINUE.EXT. ARNIE, AT THE SWITCHING POINT NIGHTHe drops his tools, pulls on his work gloves, and trains thelight on the switch for a moment. During this: ARNIE (sings) It's not bitter, not sweet, it's a real frosty treat, won't you try, won't you buy Rheingold beer...He tries the switch. No go. It's frozen. ARNIE Stuck tighter'n dogshit in a deep freeze!He takes the bottle of beer from his back pocket and fishesa churchkey from one of the front ones. He pops the cap anddrinks deeply. He burps. Then he screws the half-emptybottle of beer into the cinders so it won't fall over. Thenhe picks up his crowbar.CREDITS CONTINUE.EXT. THE RAIL-RIDER NIGHTThere's a SOUND of bushes shaking. Something comes out -something huge. It leaps limberly onto the rail-rider. It isa werewolf with greenish-yellow eyes. Tatters of clothesstill hang from it.What kind of monster, exactly? It is humanoid as well aswolfish... and when we learn who it is in its human form, weshould be able to spot the resemblance at once...and kickourselves for not knowing earlier.It crouches there, huge and bushy and fanged and deadly, onthe whole rail-rider.CREDITS CONCLUDE.EXT. ARNIE NIGHTHe's working the crowbar into the junction point just ashard as he can. Swearing at it under his breath. Suddenly,both the tracks and the switch move. ARNIE Hot damn! Now... a little oil...He turns back toward the rail-rider.EXT. ARNIE, ARRIVING AT THE RAIL-RIDER NIGHT ARNIE It's not bitter, not sweet... it's a big fuckin' treat...A NOISE - bushes rattling; cinders clinking and rattling.ARNIE looks around.EXT. THE RAILS AND THE SWITCHING POINT, ARNIE'S POV NIGHTNothing there. His bottle of beer stands by the litter ofhis tools.EXT. ARNIE, AT THE RAIL-RIDER NIGHTHe's rooting around in the toolbox, back to the switchingpoint.EXT. ARNIE'S BOTTLE OF BEER, CU NIGHTA hairy hand/paw closes around it - we see huge curved clawson that hand.EXT. THE WEREWOLF'S FACE, CU NIGHTGlaring green-yellow eyes; a savage, beastial face which isstill half human. That's all we see. The rest is in shadow.It opens its mouth and upends the bottle of beer. FoamyRheingold begins gurgling down the werewolf's throat.EXT. ARNIE AT THE RAIL-RIDER NIGHTHe comes up with an old-fashioned oilcan, the kind with thelong spout. He starts back to the switching point, wavingthe can. ARNIE (sings) My beer is Rheingold the dry beer... Think of Rheingold whenever you fry beer...He arrives, looks down... and stops singing. His eyes widen.EXT. THE CINDERS BY THE TRACK, ARNIE'S POV NIGHTWe can see the hole where ARNIE put his beer, but it is ofcourse empty. Beside it are two huge prints in the cinders,half wolf, half human.EXT. ARNIE NIGHTHe's beginning to be afraid. Beginning to look around to seewhat might be out here with him. Beginning to realize he isin extremely deep shit.SOUND: A SHATTERING, SNARLING ROAREXT. THE WEREWOLF NIGHTIt rises up on its hind legs, eyes glaring an ugly yellowgreen. Its snout wrinkles back, revealing those teeth.EXT. ARNIE NIGHTHe's craning back to look at the thing, his face a grue ofhorror. ARNIE Oh n-A huge clawed hand/paw comes sweeping down. ARNIE's head isgranted an immediate Reno-style divorce from the rest of hisbody.EXT. THE RAIL-RIDER NIGHTSOUND of the beast approaching. A hairy arm and taloned handreaches into the toolbox bolted to the back and rummages.The hand is dripping blood.It comes up with a bottle of Rheingold.The WEREWOLF begins to sing. It is a bizarre funny-horriblegrunting, the words hellishly recognizable. WEREWOLF (gutteral; subhuman) My beer is Rheingold the dry beer...No bottle opener for this thing; it brings the neck of thebottle down sharply on the edge of the toolbox. Beer foamsout.EXT. THE WEREWOLF'S FACE, IN DEEP SHADOW NIGHTHe/It rams the jagged neck of the bottle deep into its mouthand drinks. Foam drizzles down its pelt. It's grinning. WEREWOLF (snarling voice) Think of Rheingold whenever you buy beer...EXT. THE WEREWOLF, CU NIGHTThe bottle is empty. There are CRUNCHING SOUNDS as it beginsto eat the bottle.Blood begins to run out of its mouth; its face wrinkles inpain and fury. It spits out broken, bloody jags of glass.Looks up. It HOWLS.EXT. TARKER'S MILLS NIGHT - MOONLIGHTWe're looking at Main Street of a small country town - mightbe New England, might be mid-South. Might be 1984, might be1981. This is Tarker's Mills, and in places like this, timemoves more slowly. Cars - not too many - move back andforth. No one is in a hurry.We see the Methodist church (and the parsonage next door);Andy's Sporting Goods; Owen's Pub, with its Narragansettneon sign. We see a barber shop with a striped pole; we seethe Holy Family Catholic Church and the rectory next door.We see the Gem Theater, which is showing a revival of SophiaLoren in "Two Women."It's Our Town, U.S.A. JANE (voice-over) This place is Tarker's Mills, where I grew up... and this is how it was when I was fourteen - a place where people cared about each other as much as they cared about themselves. This is how my town looked as, all unknowing, it approached the rim of the nightmare. The killing had begun.SOUND: The HOWL of the WEREWOLF - distant, a bit dreamy.EXT./INT. TARKER'S MILLS MONTAGE NIGHTa.) VIRGIL CUTTS, owner of Virgil's Texaco, is filling up acar. We hear the HOWl... and VIRGIL looks up uneasily.b.) In the barber shop, BILLY McCLAREN, the barber, is justtaking the apron off the Methodist minister, REV. O'BANION.They both look around.c.) Folks are coming out of the Gem Theater. They pause atthe sound of that HOWL and look toward the edge of town.EXT. THE SETTING MOON, CU NIGHTAs JANE speaks, we see the moon sink below the horizon. JANE (v-o) The killing had begun, but at first no one knew it. Arnie Westrum was a chronic drunk, and what happened seemed like an accident.EXT. THE RAIL-RIDER AND ARNIE'S HEADLESS BODY NIGHTSlowly the view improves, grows lighter, as we TIME-LAPSE TODAWN.SOUND: A train is approaching. We hear its horn.CAMERA MOVES IN. Here is a shattered Rheingold bottle. Thereis a litter of ARNIE'S tools. And here, on the cheek ofARNIE'S severed head, a few ants are checking things out.SOUND: The train's horn, MUCH CLOSER. JANE (v-o) The county coroner concluded that Arnie passed out on the tracks. There wasn't enough evidence to conclude anything else.And suddenly the train comes smashing into the frame, hornblaring. The rail-rider goes flying. ARNIE'S body disappearsunderneath. We see something flopping and moving underthere. It could be a bundle of rags. Could be... but isn't. DISSOLVE TO:EXT. TARKER'S MILLS TOWN COMMON DAYThe common is more or less in the center of town, eithersurrounded by Main Street commerce or backed by it. THECAMERA MOVES SLOWLY IN on a big tent that's been erected onthe Common - looks like a revival meeting tent, almost, butthe banner draped over the entrance reads: SUPPORT THETARKER'S MILLS MEDCU DRIVE!Behind or to the side, on the grass, picnic tables have beenset out end-to-end. Women are putting salads and home-bakedbreads on these - just about the whole town is going to sitdown to a meal when the meeting's over. Further off, men aretending barbecues, roasting corn, etc. JOE HALLER (amplified voice) I'd like to give you Father Lester Lowe, of Holy Family Catholic Church!Enthusiastic applause greets this.INT. THE CROWD DAYMost of the town is here, seated on folding chairs. We'relooking particularly at three people - NAN COSLAW, herhusband BOB, and their fourteen-year-old daughter, JANE. Itis JANE - a slightly older JANE - who we have heardspeaking. She is now a bit bored with the meeting, which hasbeen going on for some time. As the APPLAUSE CONTINUES, sheleans toward her mother. JANE I'm going out for a while, 'kay? NAN All right. Stay close. And make sure your brother's all right.As JANE gets up, the applause starts to fade a bit.NOTE: JANE is wearing a silver crucifix, and will continueto wear it through the whole movie.INT. THE PODIUM DAYTo one side is a big black-and-white photograph on an easel.It shows a van which has been customized into an emergencymedical unit.Behind the podium are four chairs. REV. TOM O'BANION sits inone of them. ANDY FAIRTON sits in another, red-faced andbeaming. JOE HALLER, the town constable, is just returningto his; LESTER LOWE is just approaching the mike as theapplause dies. LOWE'S face shines with love and goodwill. LOWE For the last ten years...No amplification. He taps the mike.INT. JANEShe is making her way down the row to the aisle (the peopleshould be seated in folding chairs). She passes a GIRL ofabout her own age who has overheard NAN'S parting shot. GIRL (mocking) "Make sure your brother's all right." JANE (low) Marty's a booger.She reaches the aisle and starts out.INT. THE PODIUM, FEATURING FATHER LOWEHe taps the mike again.INT. THE CROWD, FEATURING BOB AND NAN COSLAW BOB (good-natured) Just pretend you're in your own church askin' for money, father! It'll work fine!Good-natured laughter greets this.INT. LOWE AT THE PODIUMA bit flustered, he taps the mike and is rewarded by a BRIEFSCREAM OF FEEDBACK. LOWE For the last ten years, I have had a dream. A dream of a time when modern medical care would come to this small community, which sometimes seems so far from Durham, with her lifesaving hospitals. I hope that this meeting, at which I see so many of my friends gathered, will be the start of making my dream come true.SOUND: Enthusiastic applause.EXT. A SNAKE IN THE GRASS, CUIt's a blacksnake... harmless, but big. It goes wrigglingthrough the grass toward a stream. In the b.g. - SOUND OFAPPLAUSE. MARTY (voice) Holy...! Brady, are you sure they're not poisonous? BRADY (voice) Little old blacksnake? Hell, no!Hands - the rather grimy hands of a boy bent on mischief -grab the blacksnake.EXT. MARTY AND BRADY, CUBRADY holds the snake up. Both boys gaze at it withrespectful wonder.NOTE: MARTY is wearing a silver St. Cristopher's medallion,and will through the whole movie. MARTY Lemme hold him!BRADY hands it over. As MARTY looks at the snake, BRADYsees:EXT. JANE, COMING OUT OF THE TENT DAY JANE (v-o) I was almost fifteen that summer. My brother Marty was eleven. Marty and his friend Brady Kincaid were the crosses I had to bear. Brady was actually the worse of the two, but I was rarely disposed to see that. Not when my younger brother was so constantly thrown in my face by my parents. LOWE (v-o from the tent) $32,000 is a lot of money. But when you think of the lives this unit might save, it seems very inexpensive indeed.Applause greets this.EXT. MARTY AND BRADYAgain we are fairly tight on the boys - we see them fromwaist or chest height. BRADY snatches back the snake. BRADY I got an idea. MARTY What?BRADY looks toward JANE. MARTY follows his gaze. His eyeswiden. MARTY You wouldn't.BRADY grins. MARTY assesses the grin. MARTY You would.INT. THE PODIUM, WITH LOWE LOWE An endeavor like this seems to me to be the very definition of community - all of us pulling together as one, farmers and merchants... Protestants and Catholics...EXT. JANEShe is walking slowly toward the picnic area, and is passingunder a tree. There's more applause from the tent. BRADY (teasing voice) Jane... Jane...She looks up. The blacksnake dangles down toward her, almosttouching her upturned face.JANE shrieks and bolts. She gets a little way, trips overher own feet and falls down hard. She's wearing what was anice jumper and nylons. Now the jumper is torn and the hoseshredded at the knees.EXT. THE TREE, WITH BRADYHe's lying over a limb with the snake in his hand, laughingwildly.EXT. JANEShe gets up, looks at her clothes, her bloody knees. She'snear tears.EXT. MARTY, AT ONE SIDE OF THE TREE, FAIRLY TIGHTThe shot's from the chest up. He looks sorry he was a partof this little stunt, as he ought to be. MARTY It was just a blacksnake, Jane-EXT. JANEShe looks around at him in a fury of embarrassment andsomething very close to hate. JANE Look at my knees! Look at my dress! I hate you!EXT. BRADY, UP IN THE TREE BRADY Did wittle Janie make wee-wee in her teddies?EXT. MARTY MARTY Stop it, Brady.EXT. BRADY, UP IN THE TREEHe throws the snake.EXT. JANEShe dodges the snake with a little scream. She's beginningto cry, but she flips BRADY the bird just the same.EXT. BRADY, IN THE TREE BRADY Ooooh, naughty!EXT. MARTYHe moves toward JANE - there is something queerly unnaturalin this movement, and in a moment we'll understand, but forthe time being we must be puzzled. MARTY Jane, I'm sorry. It was just a joke. We didn't mean-He's reached her. JANE is sobbing now, hysterical. JANE Oh, no! You never mean to! I hate you, you booger!She runs away.EXT. THE TREE, WITH BRADYHe swings down and comes over to MARTY. BRADY (with satisfaction) Really got her goat that time.EXT. MARTYHe's in a wheelchair, looking glumly after JANE. MARTY Oh, shut up, Brady. You're warped.EXT. NEAR THE BANDSTAND, FEATURING JANE DAYShe's walking slowly along, still crying a little. Now shesteps behind some bushes, looks around, hikes up the skirtof her jumper, and wriggles out of the wrecked panty hose. STELLA RANDOLPH (voice) Wait! Don't go!Startled, JANE looks around, instinctively yanking her dressdown. No one in sight. MAN (voice; rough) Just leave me alone!Now she looks toward:EXT. THE BANDSTAND, JANE'S POVA man who looks like he might be a traveling salesman whohas just stepped whole and breathing from a dirty joke aboutthe farmer's daughter comes striding down from thebandstand.STELLA RANDOLPH, a plump but sweetly pretty girl, comes tothe stairs but does not descend them. She is also crying -but these are real tears, folks. STELLA is a human NiagaraFalls. STELLA (calls) Please! You have to help me!EXT. THE GAY DECEIVER DECEIVER (keeps walking) It's your oven, but it ain't my bun you're baking in there. Sorry, babe.B.g. SOUNDS: More applause.EXT. JANEWe can hear STELLA sobbing as JANE walks slowly toward thebandstand with her panty hose still balled up in one hand.JANE looks suddenly aware that she's not the only one inthis sad world who has troubles. She reaches the foot of thestairs going up to the bandstand and tosses the hoseabsently in a litter can.JANE mounts the steps timidly. JANE Stella? Is that you?EXT. ON THE BANDSTANDSTELLA has retreated to one of the benches, where she isbawling into a handful of Kleenex. Pudgy and twenty-two, sheis both funny and terribly sad. She looks around at thesound of JANE's voice. STELLA (alarmed) Who - ? JANE (approaching closer) It's Jane, Stella. Jane Coslaw.STELLA sees it is, and turns away from her, still weeping.JANE stands, uncertain what to do next. After a moment sheapproaches closer and touches STELLA'S turned back timidly. JANE (tenderly) What's wrong? STELLA (weeping) He's going away. I know he is. JANE Who's going away?STELLA turns to her, weeping still and distracted. STELLA What am I going to tell my mother? If he won't marry me, what am I going to tell my mother? JANE (bewildered) Stella, I don't know what- STELLA Oh, leave me alone! Just leave me alone, you stupid thing!STELLA lumbers across the bandstand and down the steps. JANEstares after her, bewildered and perhaps even a littlefrightened.INT. THE PODIUM, WITH REV. O'BANION O'BANION Let us pray.INT. THE TOWN HALL GATHERINGMost of them bow their heads.INT. REV. O'BANION, AT THE PODIUM O'BANION May the Grace of God shine upon those gathered here... and lift them up... and grant success to the endeavor to which they have so openheartedly declared their support. Amen.INT. THE GATHERINGThey raise their heads. Some echo the "Amen." Others crossthemselves.EXT. THE PICNIC AREAPeople are coming out and getting ready to chow-down.EXT. THE COSLAW STATION WAGON DAYTraveling along a country road. Headed home.INT. THE STATION WAGON DAYBOB and NAN COSLAW are sitting up front. MARTY and JANE arein the backseat. JANE is as far from MARTY as she can get.She's still mad as hell. Band-Aids crisscross her knees.MARTY'S wheelchair is collapsed in the cargo area of thewagon.NAN turns around to look at the kids - and it's really JANEshe's mad at. NAN I want you two to bury the hatchet. You're being very silly, Jane. JANE (hot) Did you see my knees? MARTY Jane, I- NAN I think you're being mean as well as silly. Your brother has never had a scraped knee in his whole life.Well, here it is - the chief source of JANE'S animus againsther brother and the source of most of the tension in theCOSLAW family.MARTY winces and turns away a little, embarrassed - thisalways happens. He doesn't like it, but he doesn't know howto make his parents - his mother in particular - quit it. JANE You always take his side because he's a cripple! Well, it's not my fault that he's a cripple! MARTY Come on, Jane- it was Brady's idea. I couldn't stop him. JANE Brady's a booger and so are you! NAN Jane Coslaw! BOB (roars) Stop it or I'll throw the whole bunch of you out!In this traditional family unit, BOB is the Voice ofAuthority. They all heed, although the atmosphere remainsthundery.INT. THE STATION WAGON DAYTrain tracks run near the road.INT. THE STATION WAGON, ENSEMBLE DAY BOB (points) That's where poor old Arnie Westrum pitched his last drunk.He crosses himself and they all look toward:EXT. THE GS&WM RAILROAD TRACKS (STATION WAGON'S POV)INT. THE CAR DAY BOB They had to pick up what was left of him in a peach basket. JANE Oh, Daddy! Gross! MARTY Did he really get his head cut off, Dad? That's what Brady said. JANE If you don't stop it I'm going to vomit. I mean it. NAN (no sympathy) You're not going to vomit, Jane. And I think we've all had quite enough of this horror-movie talk.INT. MARTY, CLOSER DAYCraning back to look at the spot where ARNIE bit the dust.His face is thoughtful, solemn. DISSOLVE TO:EXT. THE COSLAW HOUSE NIGHTJANE is lying in bed, her face to the wall. Dim light fallson her unhappy face as the door is opened. MARTY (v-o) Janey?... Are you awake?JANE says nothing.INT. THE DOOR TO JANE'S BEDROOM, WITH MARTY NIGHTHe is in his "house wheelchair" - not the Silver Bullet (hewas in the Bullet during the Common scene, but we didn't geta very good look at it). He has some stuff on his lap. Abox, for sure. MARTY Can I come in?INT. JANEHer eyes are open but she says nothing. Just looks at thewall.INT. MARTYHe rolls across to her bed and puts something on her nighttable. SOUND of change and a rattle of paper. She rolls overand sees he's put about three bucks on the table. Plus a canof mixed nuts. JANE What's the money for? MARTY A new pair of panty hose. Is it enough? JANE I don't want your money. You're a booger. MARTY It was Brady's idea, Jane. Honest to God. Please take the money. I want to make up.She looks at him and sees he's sincere - honestly contrite.She softens. There's hope for these two kids yet, maybe. JANE I can get a pair of L'Eggs down at the pharmacy for a dollar forty-nine. Here.She pushes the rest back to him, then looks at the can. Shepicks it up, curious. MARTY That's for you, too. Uncle Al gave it to me- JANE (scorn) That drunk! MARTY -but I want you to have it.He gives her a warm, melting smile. When your little brotheris being good to you it's time to watch out - but JANE hasbeen lulled. She starts to open it, then looks questioninglyat him. MARTY Yeah, go ahead.She opens it. A long paper snake - the kind with a springinside it - leaps out. She shrieks. JANE You booger!MARTY backs up the wheelchair so he's out of her reach. MARTY (grinning) It really is for your birthday, though - try it on Brady. He'll wet his pants. JANE Go to hell!INT. MARTY, BY THE DOOR MARTY (smiling) I love you, Janey.INT. JANE, IN BEDShe tries to be angry with him... and cannot (this is aresponse, we'll find, that both MARTY and his UNCLE ALevoke). She smiles at him a little.INT. MARTYHe reverses his wheelchair, also smiling a little, andleaves.EXT. TARKER'S MILLS, UNDER THE MOON NIGHTWe're looking down at a brave little nestle of lights.SOUND: A HOWL.EXT. A HOUSE SOME DISTANCE OUT IN THE COUNTRYThere's one light on upstairs and another downstairs... alsodownstairs is the bluish flicker of TV light.An ivy trellis climbs one side of the house.SOUNDS: Canned laughter; TV dialogue.INT. THE LIVING ROOM OF THE RANDOLPH HOUSESTELLA'S MOTHER, asleep in front of the TV.INT. A PRETTY CHINA DISH, CUA whole bunch of capsules are dumped into it.THE CAMERA DRAWS BACK to show us STELLA, sitting by hervanity mirror. The rest of the room is reflected in themirror, including the window - we are upstairs.[NOTE: It would be nice to see that fat moon floating in thewindow!]There's a framed picture of STELLA's ex-boyfriend on thevanity beside the dish of pills. STELLA sets down the emptyprescription bottle the pills came from beside this picture.We can clearly read the word "Nembutol" on it. There is alsoa large glass of water on the vanity table.STELLA turns the picture facedown. She might be crying butprobably she's not. She takes about five of the pills,starts to lift them to her mouth-A HOWL outside... closer.STELLA looks around for a moment, then takes the pills withsome water. She pauses, looking at herself. STELLA Suicides go to hell. Especially if they're pregnant. And I don't even care.She takes another five pills. And another five.SOUNDS: Rattling foliage.EXT. THE IVY TRELLIS NIGHTClaw-hands are seizing it and climbing. SOUNDS of hoarse,guttural breathing.INT. STELLA AT THE VANITY TABLEShe takes another handful of pills... and the window behindher shatters inward. There is a bellowing roar as thewerewolf throws itself through.INT. THE LIVING ROOM, WITH MOTHERShe sits up, startled awake.From upstairs: ANOTHER SHATTERING ROAR... FOLLOWED BY ASCREAM.INT. STELLA'S ROOM, WITH STELLAShe runs... and a huge claw-hand rips through the back ofher nightgown.INT. THE LIVING ROOM, WITH MOTHER MOTHER Oh my dear God... Stella!She runs for the doorway and the hall. From upstairs comes aconfusion of SOUNDS: roars, breaking furniture, shatteringglass.INT. STELLA'S BED, CUOne of those deadly claw-hands sweeps down the bed, rippingthrough the sheets... the mattress... the spring itself.Hairy, muddy feet with protruding talons leap onto it.EXT. STELLA'S WINDOW, EXTREME UP-ANGLEThe werewolf leaps out - it's graceful, savage, animal.SOUND: A TRIUMPHANT HOWL.INT. THE UPSTAIRS HALL, WITH MOTHERShe's found an ancient pistol somewhere and is lugging itgamely along. MOTHER Stella!...Stella!She reaches the closed door of STELLA's room, vacillatesthere for a moment... and then pushes it open and goes in.A long beat of silence as we hold on the door.MOTHER SHRIEKS.INT. MOTHER'S FACE, ECUShe shrieks again.INT. STELLA'S ROOM, WIDEIt's a total shambles; blood is splattered everywhere; themirror is broken, the picture of DAN the gay deceiver isbroken; the bed is torn in two. There are big, muddywolfprints on the remnants of the bed.STELLA lies propped in the corner with Nembutols all aroundher. Suicide may have been what she planned, but it sureisn't what happened.MOTHER SHRIEKS.EXT. TARKER'S MILLS MONTAGE MORNINGa.) MR. PELTZER puts out his paper rack - just the"Press-Herald" this morning. He looks shocked and grim. Thescare headline: BRUTAL MURDER ROCKS WESTERN MAINE. We cansee STELLA'S photograph.b.) Through the window of Robertson's Luncheonette, we seethe proprietor, BOBBY ROBERTSON, talking earnestly with abunch of men. Among them: MILT STURMFULLER, ALFIE KNOPFLER,VIRGIL CUTTS, BILLY McCLAREN, and ELMER ZINNEMAN, a farmerwe'll meet later.c.) At Andy's Sporting Goods, ANDY FAIRTON is putting a bighand-lettered sign in the window. It reads: REMINGTONSHOTGUNS SINGLE ACTION DOUBLE ACTION PUMP PROTECT YOURSELFAND YOUR FAMILY!d.) At the Methodist parsonage, a '53 Dodge pulls slowly outand MOTHER RANDOLPH gets out, weeping. As she approaches theparsonage door, LESTER LOWE comes out and embraces her.EXT. A SMALL BRICK BUILDING ON MAIN STREETThe sign reads: TARKER'S MILLS TOWN OFFICE.INT. A HALLWAY, FEATURING A DOOR WITH A PEBBLED-GLASS PANELNeatly lettered on the panel: TARKER'S MILLS CONSTABULARY.And below this: JOSEPH HALLER. JOE HALLER (voice) Okay...yes...Oh, fuck off!INT. THE CONSTABLE'S OFFICE, WITH HALLER AND PETE SYLVESTERHALLER slams the phone down with an angry bang. He lookslike a guy who has been up all night. PETE, his pudgydeputy, looks like a high school athlete who has suddenlyfound himself batting in the World Series. PETE What'd they say, Joe? HALLER They said they'd be here by noon. PETE (nervous) Maybe it wasn't such a good idea telling that Smokey Bear from the Detective Division to fuck off, Joe. HALLER (morosely) I waited until he hung up. Jesus, what a mess. I wish I'd stayed in the army. Let's go on out there.He gets slowly up.EXT. TARKER'S MILLS CONSOLIDATED SCHOOL AFTERNOONIt's a comfortable red-brick building on a side street. Ivyclimbs up the sides. Two or three rows of bikes stand alongone side of the building.SOUND: The bell rings.A beat or two, then the doors bang wide and a billion kidsspill out. It's the end of the first day of school, and theyare excited. They range from Grade 1 to Grade 8. Most kidsbook it for home as fast as they can, getting on their bikesand riding or just running.Everyone has a pink report card.EXT. A BUNCH OF KIDS, WITH BRADY KINCAID AND TAMMYSTURMFULLERBRADY and TAMMY are riding bikes. Now there is the SOUND ofa gasoline engine, and MARTY catches up. He's got the SilverBullet's motor running for the first time in the movie.Later on it will sound extremely powerful, like a racingcar, but now it just sounds like a big lawnmower engine witha muffler on it. It's pretty cool, though - a brightmetallic silver with flame decals on the motor housing.Looks sort of like something Big Daddy Roth might havethought up. On the back is a license plate which says SILVERBULLET. BRADY Look out! Look out! It's Madman Marty and the Silver Bullet!TAMMY laughs. BRADY You glad to be back in jail, Marty? MARTY Sure - I like school. TAMMY You booger. MARTY That's what my sister says, too. Pretty soon I'm going to start checking the mirror to see if I'm turning green. BRADY I gotta split - see ya, Marty... Tammy.EXT. THE CORNER OF MAIN AND WALNUT, A WIDER SHOT AFTERNOONTAMMY and MARTY watch as BRADY zooms off toward home on hisbike.MARTY pushes in a hand clutch and moves a small lever. Hebumps down over the curb and they cross the street side byside, TAMMY on her bike, MARTY in his wheelchair.EXT. MARTY AND TAMMY FROM THE FAR CURB, REVERSEHe pops up over the curbing with a bounce. He shoves in thelittle hand clutch and revs the engine. Va-room! MARTY Not bad, huh? My Uncle Al took off the regular muffler and put on a Cherry Bomb. TAMMY What's that? MARTY Glasspack. He said he'd come over sometime this summer and we'd soup up the engine... but now I dunno. He's getting a divorce and he's in the doghouse with my mother. TAMMY For getting a divorce? MARTY Well... it is his third.EXT. A STREET ON THE OUTSKIRTS OF TOWN, WITH MARTY ANDTAMMYThe other kids are gone; they are alone. The sidewalk hasended and they roll slowly along the dirt verge of the road.They look toward:EXT. THE RANDOLPH HOUSE, MARTY AND TAMMY'S POVThe driveway is blocked off with a sawhorse bearing thestenciled words POLICE INVESTIGATION. The yard is filledwith cop cars - HALLER'S constable car, plus a number ofstate police vehicles. Uniformed men come and go.We can see a large black wreath on the door.EXT. MARTY AND TAMMY TAMMY Thanks for coming with me, Marty- I was scared to go past her house by myself. MARTY (matter-of-fact) Yeah... it is a little scary. TAMMY I mean, I saw her. All the time.TAMMY stops her bike. She's on the verge of tears. TAMMY I used to see her every day, and she never knew what was going to happen to her, and neither did I! I mean I know how stupid that sounds, but... MARTY Hey, take it easy. I know how you feel.He gets the Silver Bullet moving again, and she has to pedalalong to catch up.EXT. THE STURMFULLER DRIVEWAY, WITH MARTY AND TAMMYThey stop at the end. TAMMY There's something else scary. MARTY What? TAMMY (points) That.EXT. OLD GREENHOUSE, MARTY AND TAMMY'S POVIt stands a bit behind the house itself. A creepy place.Many of the glass panes are broken; some of these - not many- have been blocked with cardboard. The inside is a jungleof plants that have run to riot. In the f.g. is amucky-looking garden patch where nothing much is growing.EXT. MARTY AND TAMMYShe is quite deeply troubled. TAMMY I've been hearing noises in there. MARTY What kind of noises? TAMMY Rattling. Rustling. MARTY Rats... TAMMY And my dad says it's kids. But it's not rats and it's not kids. It's-EXT. THE STURMFULLER HOUSE, WITH MILTOh my suds and body, here is the Great American Alcoholicfor sure - the rural version. MILT is wearing a suit ofpee-stained thermal underwear. He's wearing a baseball capwith the word "Caterpillar" on the front and has a bottle ofbeer in one hand (I'm pretty sure that his beer is Rheingoldthe dry beer). With his other hand he is busily scratchinghis crotch. MILT Tammy, you get on in here and do some dishes!EXT. THE GREENHOUSESinister...spooky. TAMMY (voice) I've got to go.EXT. MARTY AND TAMMY MARTY I'd go out and take a look myself, but I think the Bullet'd get stuck in the garden. It looks sorta greasy.She smiles at him, bends over, and kisses him on the mouth.MARTY is stunned... but happy. TAMMY You would, wouldn't you? MARTY (Joe Cool) Sure. No sweat. TAMMY Well, it's probably nothing. I'm just spooked since... you know. MARTY Yeah... but if you hear any more noises, tell your father. Okay? TAMMY Okay. Have you got enough gas to get home, Marty? MARTY (Startled) Jeez!EXT. THE WHEELCHAIR "DASHBOARD," MARTY'S POVThere's a gas gauge here, and the needle is almost on "E."EXT. MARTY AND TAMMY MARTY I'm always doing this! I gotta go, Tammy. MILT (voice) TAMMY! TAMMY (calls) Coming Daddy! (To MARTY) Bye... thanks again for coming home with me.She waves and goes biking down the driveway as MARTY motorsback onto the street and turns toward town.EXT. TAMMYShe brings her bike to a stop by her father. MILT 'Bout time. Why you want to hang around that cripple? TAMMY I like him. MILT Goddamn cripples always end up on welfare. Ought to electrocute all of 'em. Balance the fucking budget.Having delivered this pearl of wisdom, MILT goes inside, nowscratching his ass. TAMMY pauses a moment and looks towardTHE CAMERA, her face troubled and scared.EXT. THE DESERTED GREENHOUSE, TAMMY'S VIEW DISSOLVES TO:EXT. MARTYHe's buzzing along toward downtown, which is still somedistance away - but at least he's made it back to thesidewalk again. MARTY (prayerfully) Come on, baby-He looks down at:EXT. THE WHEELCHAIR GAS GAUGE, MARTY'S POVNow the needle is lying all the way over on "E."EXT. VIRGIL'S TEXACO LATE AFTERNOONMARTY pulls in. The wheelchair motor starts to pop and lugand misfire. The chair makes it to the first pump on theisland closest to the street and then stalls as VIRGIL CUTTScomes over. VIRGIL Well, Marty! I see you lucked out again! MARTY Yep. Would you fill it up, please, Mr. Cutts? VIRGIL Want me to check the oil? MARTY Sure! VIRGIL Wipe the windshield an check the driver's bullshit level?MARTY laughs; VIRGIL starts carefully pumping gas into theSilver Bullet's small tank.EXT. THE COSLAW HOUSE NIGHTOverhead is the moon, three days past the full. UNCLE AL (voice) I'll see your Carlton Fiske and raise you a George Brett... a Dave Kingman... and a Rod Carew.INT. THE KITCHEN DOORWAY, WITH NAN COSLAW NIGHTShe's wiping her hands with a dishtowel and looks like shejust bit into a lemon.INT. THE DEN, WITH UNCLE AL AND MARTY NIGHTUNCLE AL is the family's sheep of a darker color. He'sthirty, good-looking, raffish. He's also drunk. He's gotboth whiskey and beer. An ashtray beside him overflows withbutts.He and MARTY are playing draw poker for MARTY'S baseballcards. Each has a pile in front of him.MARTY really loves UNCLE AL... his eyes just glow when helooks at him. MARTY Okay, okay. I call.He tosses in three baseball cards. UNCLE AL Wait a minute, wait a minute!He grabs one of MARTY'S cards, looks at it, and tosses itback. UNCLE AL Ralph Houk! You can't bet a manager! Stone the crows! MARTY Okay, okay. Dwight Evans. UNCLE AL Piss on him. Piss on all the Red Sox.He swallows whiskey and chases it with beer.INT. THE DEN, A WIDER ANGLENAN comes briskly over. She's seen and heard enough. Shefavors UNCLE AL with a glare and then looks protectively atMARTY. NAN Come on, Marty- bedtime.She starts to wheel him away. MARTY Mom-! UNCLE AL Let the boy finish the game, Nan.He means it, drunk or not. She reluctantly rolls MARTY backto the table. NAN Make it quick.UNCLE AL lays down his hand. UNCLE AL Three kings. MARTY (delighted) I got a straight to the queen! UNCLE AL Bullshit luck! NAN (outraged) That's enough! MARTY (as his mother wheels him away) Aww, Mom-!INT. THE STAIRWELL OF THE COSLAW HOMEMARTY is sitting in a stair chair that rises slowly to thesecond floor. He looks dejected and glum.SOUND of NAN hectoring her brother AL. I don't think we canmake out all of what's going on, but we've all known womenlike NAN and I think we can fill in the blanks. "Christianhousehold... you come here drunk and expect... can't evenbother to call ahead..." Etc., etc.A wheelchair stands on the second-floor landing. This one isno Silver Bullet, only the more humble sort that moves byarm power. When the stair chair clicks to a stop, MARTYhoists himself from it into the wheelchair and rolls downthe hall toward the bathroom.Below, NAN'S rant is still going on.INT. THE DEN, WITH NAN AND UNCLE AL NIGHTUNCLE AL is clearing up in a kind of drunken stupor- and Imean he is really drunk. He's smoking one cigarette; anotheris smoldering away in the heaping ashtray. He drops a pileof baseball cards on the floor and bonks his head on thetable bending down to pick them up. NAN I don't want you drinking around Marty. That's too much. If you can't stop it, you better stay away.AL straightens up. There is a sort of command force in thisman, and here he is partly able to rise above his abysmaldrunkenness so we can see it. UNCLE AL I come here because Marty needs a friend. NAN Yes... you've always been that to him. But if you can't leave your booze in whatever dump you call home, you better just stay away.She leaves the room, almost crying. UNCLE AL looks afterher, and then his attention is drawn to the smolderingashtray. He pours beer over the mess, putting out the firebut creating something that looks even worse. He beginsdrunkenly picking up again. UNCLE AL (to himself) Another wonderful time at Sister Nan's house! Heeyyy!INT. THE UPSTAIRS COSLAW BATHROOMMARTY, now in pj's, is brushing his teeth.JANE comes in- she's wearing a nightie. MARTY Mom was really mad at him this time, wasn't she? JANE What do you expect, when he comes in smelling like a brewery and looking like an unmade bed? MARTY Stop it!He lunges at her, but JANE steps back easily. MARTYoverbalances and falls out of the wheelchair. His toothbrushclatters across the tile. BOB COSLAW (sleepy voice) Hey! That you, Marty? JANE He's okay, Dad!She looks around swiftly, then bends down.INT. MARTY AND JANE, A MUCH CLOSER SHOTOne of MARTY'S cheeks is pressed against the floor. His eyesare shut. He's weeping. JANE (low) Marty, are you all right? MARTY Yes. Go away. JANE Let me help you up. NAN (voice) Marty?SOUND of her climbing the stairs.JANE throws a quick look back over her shoulder and thenhelps MARTY up in his chair. He helps by pulling on the sinkcounter. JANE has time to give MARTY one quick look- "Pleasedon't tell on me," it says.NAN comes in. NAN Jane, have you been teasing your brother again? MARTY She wasn't, Mom- I dropped my toothbrush and fell over when I tried to get it. Jane helped pick me up.He bats his eyes at her. MARTY (syrupy voice) Jane's wunnnderful.JANE picks up his toothbrush. JANE (hands it to him) Here. Brush them good, Marty. Some of that shit in your head might leak down into your mouth and poison you. NAN Jane Coslaw!But JANE stalks off. MARTY is grinning. It was a goodput-down.EXT. THE STURMFULLER HOUSE NIGHTWe can see the moon in the sky beyond the ruined greenhouse.THE CAMERA MOVES SLOWLY TOWARD the greenhouse. We begin topick up SOUNDS: RATTLING...RUSTLING...and low animal GRUNTS.INT. TAMMY'S BEDROOM NIGHTShe's deeply asleep.INT. THE LIVING ROOM NIGHT"Big-time Wrestling" on the TV. SOUND of a refrigerator doorclosing. MILT STURMFULLER comes into the living room fromthe kitchen. He's wearing his long johns with the designerpee stains and has a quart bottle of Rheingold the dry beerin each hand. He sits down, looking at the TV. MILT (drunk) Give him the airplane! Wring his neck!EXT. THE GREENHOUSE NIGHTMore noises. There is a beat of silence, and then something-one of those earthen plant pots, I think- falls over andSHATTERS.INT. THE LIVING ROOM, WITH MILTHe looks up briefly- he's heard something- but the crowd onthe TV is loud and the match is reaching its climax. MILT (all eyes again) Give him the sleeper, you fuckin bugwit!EXT. THE GREENHOUSE, CLOSERA LOW SNARL. Plants shake and shiver. Another crash, LOUDER.INT. MILT, IN THE LIVING ROOMLooks toward the window. He gets up, goes over, and looksout.EXT. THE GREENHOUSE, MEDIUM-LONG (MILT'S POV)SOUND of another crash. Plants move.INT. THE HALL, WITH MILTHe takes a shotgun from the wall, breaks it, and looksinside. MILT Let's see if you want to come back and break my pots all to shit after I put some rock salt in your asses!INT. THE STURMFULLER GREENHOUSE NIGHTThe door at the end SCREECHES OPEN and MILT, still holdingthe shotgun at port arms, comes cautiously in. This place isreally overgrown.MILT advances slowly into the jungle of plants, and thedirector will shoot it as he likes to build the suspense.I'm sure that plants brush his face, and a bug or two- maybeeven a big plump spider- will land on him.He hears a SCUTTERING SOUND and whirls. MILT (shouts) Who's there?INT. GREENHOUSE FLOOR, MILT'S POV NIGHTA mouse goes running across the warped boards (which havepulled apart from each other, showing deep cracks between).INT. MILT NIGHTHe relaxes and starts forward again. We keep expecting it tohappen, but it keeps not happening.Then, as MILT is starting back toward the door, two big,hairy arms come up through the floor- bursting through twoof those cracks and shoving the splintered boards upward-and grab MILT'S legs at the knees.SOUNDS: BESTIAL ROARS.MILT screams and triggers off the shotgun- unfortunately, itis pointing straight up. Glass showers down on him. He ispulled down into the shattered hole- now we can see him onlyfrom the knees up.INT. TAMMY STURMFULLER'S BEDROOMShe sits up in bed.SOUNDS of ROARS and MILT SCREAMING from the greenhouse.MRS. STURMFULLER, in a nightgown with her hair done up inrollers, comes into Tammy's room. MRS. STURMFULLER Tammy, where's your father?SOUND: Another SCREAM from the greenhouse.INT. THE GREENHOUSE, WITH MILTHe's now waist deep in the hole in the floor, surrounded bybroken, splintered boards.SOUNDS: RIPPING FLESH, CRUNCHING BONES. MILT SHRIEKS.He is abruptly jerked downward again. He is being eaten fromthe feet up. As he's jerked down, one of the leaning,splintered boards rams into his chest. MILT collapses overit like an old Roman collapsing on his sword.A hairy arm reaches up and grabs his neck. MILT is jerkedall the way into the hole, board and all.EXT. THE GREENHOUSE, FROM TAMMY'S BEDROOM WINDOWSOUNDS of SNARLS, GROWLS, GRUNTS.INT. TAMMY AND MRS. STURMFULLERThey are hugging each other, terrified, by the window.EXT. THE STURMFULLER PLACE, MEDIUM-LONG DAYThe police cars are now here. There's also a meat wagon. Aswe watch, a number of cops- JOE HALLER and PETE SYLVESTERare among them- approach the wagon. Many are carrying canvasbags.EXT. THE STURMFULLER YARD, FEATURING PETE SYLVESTERHe drops the blood stained bag he's carrying, runs to thebushes, and noisily blows his groceries.EXT. TARKER'S MILLS MONTAGE #3 DUSKa.) On Oak Street, MRS. THAYER is hurrying toward home,obviously spooked. She keeps looking behind herself andnearly flies up the steps to her house. Then there is theendless business of fumbling with her keys. Finally shelurches inside and slams the door.b.) On Main Street, at the Holy Family rectory, FATHERO'BANION is closing the shutters...and locking them.c.) On a residential street, a kid is playing with someplastic trucks outside of a picket fence. Except for him,the street is deserted. His mother comes out and hauls himin.d.) ANDY FAIRTON, in the sporting-goods store, checks anautomatic pistol and then holsters it on his hip. He has apugnacious, unpleasant look.e.) BILLY McCLAREN turns the sign on the door of his barbershop from OPEN to CLOSED, looks out warily at the street (tomake sure there are no psycho killers out there for trims, Iguess), then leaves and locks the door behind him. THECAMERA FOLLOWS him down a couple of store fronts to Owen's,where he also goes in.f.) The paper rack in front of Peltzer's Drug/ The"Press-Herald" headline is a sixteen-pointer: MANIAC CLAIMSSECOND VICTIM.EXT. MARTY AND BRADY KINCAID MAGIC HOURThey're flying kites on the common. Some distance in theb.g. is the bandstand. MARTY is of course flying his kite ashe sits in the Silver Bullet. The boys are having a blast.THE CAMERA SLOWLY MOVES AWAY from the boys, centers onOwen's Pub across the street, and ZOOMS IN.In the window is a poster. It reads: $10,000 REWARD FORINFORMATION LEADING TO THE CAPTURE OF THE MAN (OR ANIMAL)WHO KILLED STELLA RANDOLPH AND MILTON STURMFULLER. And, atthe bottom: TARKER'S MILLS CITIZENS' COMMITTEE.Along comes ANDY FAIRTON. He goes into the pub.INT. OWEN'S PUBAt a f.g. table: VIRGIL CUTTS, BOBBY ROBERTSON, ELMERZINNEMAN, and his brother PORTER ZINNEMAN. Behind them, atthe bar, we see PETE SYLVESTER having a beer with BILLYMcCLAREN. As we look around the bar, we will also see FATHERLESTER LOWE, sitting at an unobtrusive corner table, nursinga beer and listening closely to the conversation. ELMER (to VIRGIL) Don't tell me an animal can't rip a man up the way Milt Sturmfuller was ripped up! VIRGIL But the woman's bed was ripped right down the middle, Elmer- it's take a chainsaw to do something like that! PORTER Damn straight! ELMER Shut up, Porter. (To VIRGIL) What about the tracks?ANDY FAIRTON has joined the group. He sits down uninvited. VIRGIL That could be something to throw off the cops. And it ain't animals that try to confues the law; it's people do that. ANDY FAIRTON Law around here don't need much confusing.PETE looks around at this. Being the deputy constable andineffectual by nature, he's pretty sensitive. ANDY (deep disgust) Joe Haller couldn't find his own ass if someone rammed it full of radium and gave him a Geiger counter. PETE SYLVESTER (comes over) Could be I know a fella who's still PO'd over getting fined two hundred bucks for that little fender bender out on the Ridge Road last year. ANDY Could be I know a fat old fella who ought to take care of his mouth before someone comes along and turns it inside out. I pay Joe Haller's salary to keep the people in this town safe, and he ain't doing it.INT. BILLY McCLAREN, AT THE BARHe's looking toward the table where the Fairton group sits. BILLY (mildly) Last town report said you was in arrears your taxes, Andy. Guess you must have paid up, huh?INT. THE FAIRTON TABLE ANDY What are you, trying to be smart?OWEN KNOPFLER comes over. OWEN You guys turn down the thermostat or I'm gonna turn you all out. Now who's drinking? ANDY (sulks) Bring me a Schlitz.EXT. A TREE, WITH BRADY'S SMILE-KITE STUCK IN IT DUSKSOUND of panting.MARTY comes into the frame, pulling himself up by the arms.His arms are very strong, although his legs trail limplybehind him (like the tail of a kite). He sits on a branch,untangles the kite and the string, and looks down. MARTY (calls) Here it comes!EXT. THE FOOT OF THE TREE, WITH BRADY BRADY Drop it!As the kite flutters down, JANE comes biking up. JANE Marty Coslaw, you get down out of that tree!EXT. MARTY, IN THE TREEHe descends, then hangs from the lowest branch. MARTY Push the Bullet over, Jane, okay?EXT. MARTY AND JANE JANE (makes no immediate move to do so) Supper was an hour ago, Dumbo. MARTY (hanging) Oh, Jeez! I forgot! Is she mad? JANE They both are. At me, for not getting you sooner. I ought to let you fall.But she pushes the chair over and MARTY drops into it. Hepushes the starter and the Silver Bullet fires up.EXT. BRADY, FLYING HIS KITE ON THE COMMON DUSK MARTY (voice) Hey, Brady! You coming? BRADY (looking into the sky) In a while!BRADY could give a shit if MARTY'S in trouble. He just wavesvaguely. He's into the kite-flying experience, as the folksin Marin County might say.EXT. MARTY AND JANEHe's looking toward the common, frowning and uncertain. JANE Come on, Marty.She starts biking away. MARTY starts after her, pauses, andlooks at:EXT. BRADY, ON THE COMMON DUSKCAMERA PANS SLOWLY UP to the yellow smile-kite in thebluish-purple sky.INT. OWEN'S PUB LATE DUSKThe former patrons are still here, with the exceptions ofLOWE, BILLY McCLAREN, and BOBBY ROBERTSON. Many others haveappeared; this is Happy Hour. Among them we see MR.ASPINALL, the principal, and PELTZER, the druggist. Abarmaid, NORMA, circulates with drinks and beers.Speaking of beer, ANDY FAIRTON has gotten through a fairamount of Schlitz. It hasn't mellowed him, however; he'smore belligerent than ever. ANDY (holding forth) This whole investigation has been as efficient as a Polish fire drill! It- PETE (bravely) I've heard enough out of you, Andy. If you don't shut your mouth, I'm going to shut it for you.INT. THE DOOR OF OWEN'S PLACEIt opens and a man in a business suit- HERB KINCAID- comesin. He is carrying a briefcase and he looks worried.INT. THE GROUP AT THE FAIRTON TABLE ANDY (astounded) What did you say?INT. THE BAR, WITH OWEN KNOPFLER OWEN Jesus wept.He reaches under the bar and comes out with a baseball bat.Burned into the side of the bat, so it reads verticallytoward the handle, is the word "peacemaker." OWEN hurriesaround the bar with it.INT. THE FAIRTON GROUPPETE is standing in front of ANDY, fists balled up, fat facetrembling with determination. PETE You heard what I said, motormouth.ANDY gets up, infuriated. There's apparently going to be abrawl. Behind them, HERB KINCAID has approached the table.HERB hasn't even noticed what's going on; he's got problemsof his own.INT. HERB KINCAIDHe clears his throat. This is a mild, timid man- he doesn'tlike to speak in public, particularly not in a bar, but theimperatives of the situation demand it right now. HERB (quite loudly) Has anyone in here seen my son Brady?INT. THE PUB, A NEW ANGLEEveryone looks at HERB. Conversation stops. ANDY and PETEfreeze with their fists balled up, like little kids playingstatues tag. OWEN is caught a little distance from ANDY andPETE, with the "peacemaker" still in his hands.EXT. THE TOWN COMMON, LONGNow it is almost completely dark, and a large reddish summermoon is rising over the horizon.SOUND: A LONG, WAVERING WOLF HOWL... LOUD.INT. OWEN'S PUBAll conversation has stopped. All have turned toward thedoor and the windows; all hear the HOWL. Deep frightoverlies each face.NORMA drops her tray. Glasses and bottles shatter.INT. THE MAIN CORRIDOR OF THE TOWN HALLJOE HALLER comes out of the constable's office in a hurry,letting the door bang the wall. He's buckling on his gunbelt.EXT. THE BANDSTANDBRADY'S kite, torn in a couple of places, flutters on thesteps leading up to the bandstand. The yellow smile facegrins eerily in the darkness. It is streaked with blood.INT. OWEN'S PUB HERB Brady!He breaks for the door. ANDY FAIRTON grabs him. HERB Get out of my way!He pushes ANDY aside. HERB is out the door, chased by PETEand several of the others.EXT. THE BANDSTAND NIGHT JOE HALLER (low voice) Hail Mary, full of grace, the Lord is with thee. Blessed art thou among women...He comes out of the shadows, his drawn gun dangling by hisside. This man has had an extremely bad shock. The legs ofhis uniform pants are splashed with blood. He makes it downtwo steps and then sits heavily by the remains of BRADY'Ssmiling, bloody kite. He looks straight ahead. He looks atnothing. HALLER (low) ...and blessed is the fruit of Thy womb. Jesus. Holy Mary, Mother of God, pray for us sinners now...now...He looks at the kite, then looks away. He puts a hand overhis face and starts to cry.EXT. THE COMMON, LOOKING BACK TOWARD MAIN STREET NIGHTA number of men - not all that were in Owen's but quite afew of them - are running toward the bandstand. HERB KINCAIDis in the lead, screaming his son's name over and over.SOUND: A LONG HOWL, now at some distance.EXT. THE BANDSTAND, WITH HALLER AND KINCAIDAs HERB KINCAID approaches. HALLER Stay off the bandstand, Herb. HERB Is it my boy? Is it Brady? HALLER Don't go up- HERB (lunges past him) Brady! Brady!Disappears into the dark. HALLER looks down at his lap. HERB Br-(CUTS OFF)The other men arrive, PETE in the lead. HALLER doesn't lookup. PETE Joe, is it- HALLER (not looking up) Shhh. PETE Is it the Kicaid b- HALLER (not looking up) Shhh, I said.The men look uneasily at HALLER, at each other. ANDY FAIRTONshoves forward. ANDY What the fuck is going on h-SOUND: HERB SCREAMS. A pause. HERB screams again. The menflinch back. HALLER doesn't look up. Now, from the darknesson the bandstand, HERB begins to LAUGH. The men shrink backfurther, looking more uneasy than ever. HERB (voice; laughing) We'll bury his shoes.Now HALLER gets up and joins the other men. HERB (voice; laughing) That's what we'll have to do; we'll bury his shoes. Maybe in a couple of Roi-Tan cigar boxes.EXT. THE BANDSTAND, MEN'S POV NIGHTHERB KINCAID appears. He is laughing. He is smeared with hisson's blood. In each hand he holds one of his son's shoes. HERB We'll bury his shoes because his feet are still in them and they're the only part of him that makes sense anymore.HERB laughs harder. HERB It's gonna be the cheapest funeral this town ever saw!HERB SCREAMS LAUGHTER. THE CAMERA DOLLIES IN TO CLOSE ONBRADY'S KITE.EXT. THE MOON, CUSOUND: HERB SCREAMING. DISSOLVE TO:EXT. HOLY FAMILY CHURCH DAYSOUND: An organ is playing that sweet old hymn, "Bringing InThe Sheaves."There are lots of cars parked in front of the church, butthere's a space left just big enough for UNCLE AL'S MG.MARTY'S Silver Bullet is strapped to the back. JANE (v-o) My mother and father- my mother in particular- did not much care for Uncle Al...INT. HOLY FAMILY CHURCH DAYMARTY'S chair is at the back of the church. Most of themourners are crying. MRS. BOWIE is playing the organ.BRADY'S coffin is on a bier at the front - closed of course.There are lots of flowers. JANE (v-o continues) ...but when it came to such unpleasant duties as taking Marty to the funeral of his best friend...INT. UNCLE AL, MARTY, TAMMY, AND MRS. STURMFULLER IN A PEWAs we look at them, from left to right: UNCLE AL, MARTY,TAMMY, MRS. STURMFULLER.UNCLE AL unobtrusively takes a small silver flask from hiship pocket. Engraved on it in Old English letters is theword "rotgut." He spins the cap and takes a quick knock. Hepauses and glances at MARTY, who looks deeply stunned. JANE (v-o continues) ...they didn't at all mind drafting him. As to the sort of comfort Uncle Al may have been able to offer him...UNCLE AL hands the flask to MARTY. MARTY looks at himquestioningly for a moment, and then drinks. MARTY looks atTAMMY, who looks frankly terrible. Her mother is lookingaway. MARTY nudges her. She looks around at him. He offersher the flask. Her eyes widen. JANE (v-o continues) ...I now believe that was best kept between the two of them...After a brief moment's consideration, TAMMY takes the flaskand has a deep swallow. She hands the flask back to MARTY,who hands it quickly back to UNCLE AL as TAMMY coughs. Hermother looks at her... then at MARTY and UNCLE AL. UNCLE ALsmiles sympathetically, hiding the flask with one hand, asif to say, "Isn't it a terrible thing?" MRS. STURMFULLERlooks distractedly back toward the service. JANE (v-o concludes) ...or among the three of them.UNCLE AL pockets the flask just as the organ stops playing.INT. THE PODIUM, WITH FATHER LOWE LOWE Mr. and Mrs. Kincaid have asked that there be no mass said here this afternoon. There will be a requiem mass for Brady Kincaid this Sunday. They did ask me to say a word of comfort to you, if I could.He looks out at them.INT. THE CONGREGATIONThey look back at LOWE, hoping for some help inunderstanding this awful thing.INT. LOWE, ABOVE THE COFFIN LOWE If there is any word of comfort I can give you, it's just this: the face of the beast always becomes known; the time of the beast always passes.He is struggling with this, trying dreadfully hard. LOWE If there are times when we feel alone and afraid, only small creatures in the dark, then these are the times when we must turn to one another for our comfort and our hope. To our neighbors. To our community. To our love for each other. I alone cannot ease the pain for Herb and Naomi Kincaid, nor can I ease your pain, nor you ease mine. But if I believe anything it's this: we can comfort each other. We can heal each other. We can go on together.INT. THE CONGREGATION, WITH MARTY AND TAMMYThe kids are crying. MARTY puts an arm around TAMMY and sheputs her head on his shoulder.INT. FATHER LOWE LOWE The Bible tells us not to fear the terror that creepeth by night or that which flieth by noonday, and yet we do... we do. Because there is much we don't know, and we feel very small. But we must not be alone. We must not allow ourselves to be alone, for there is the wide gate to the hell of terror. Turn to each other. Join hands in your sorrow and try to remember that the face of the beast always becomes known. (Pause) The time of the beast always passes. (Pause) Let us pray.EXT. THE MOURNERS, WITH MARTYMARTY and TAMMY look at each other miserably. TAMMY beginsto cry- for her father as much as for BRADY, one wouldthink- and she and MARTY embrace.EXT. UNCLE AL, CUHe looks at the kids with deep sympathy and deep love.EXT. A COUNTRY ROAD AFTERNOONUNCLE AL'S sports car passes THE CAMERA. He's taking MARTYhome.INT. THE CAR, WITH MARTY AND UNCLE AL UNCLE AL You all right, Marty? MARTY Yeah. UNCLE AL There's a saying- so-and-so was better than a poke in the eye with a sharp stick. You ever hear that one? MARTY No. UNCLE AL Well, I'm not sure that was. Christ! They better get the guy. MARTY Uncle Al, what if it's not a guy? UNCLE AL Huh? MARTY What if it's some kind of monster? UNCLE AL (laughs) Jesus, Marty! Come off it!EXT. UNCLE AL'S CAR, ON MAIN STREETIt cruises past Owen's Pub. There are cars parked out front,but there are also lots of pickup trucks.INT. THE CAR, WITH MARTY AND UNCLE AL MARTY What's going on at Owen's, Uncle Al? UNCLE AL A bunch of men getting ready to pretend they're Clint Eastwood... Marty, didn't anybody ever tell you that the only monsters are in comic books and drive-in movies?EXT. THE COSLAW HOUSE LATE AFTERNOONUNCLE AL'S car turns in and parks.INT. THE CAR, WITH MARTY AND UNCLE AL MARTY Tammy said she'd been hearing noises in that greenhouse. Growling noises, like a big animal. Her father was killed that night.UNCLE AL looks at him doubtfully for a moment, as if almostbelieving. Then he shakes his head. UNCLE AL Marty, you have to get this idea out of your head. Psychotics are more active when the moon is full, and this guy is a psycho. He's going to turn out to be as human as you or me. (Pause) In a manner of speaking. Now let's get you inside.He opens his door and gets out.INT. MARTY, CLOSERHe would like to believe UNCLE AL... but he doesn't.INT. OWEN'S PUB LATE AFTERNOON ANDY FAIRTON Okay, you all know what group you're in and what area you'll be covering, right? PORTER ZINNEMAN Damn straight! ELMER ZINNEMAN Shut up, Porter.The men are all dressed in hunting clothes-red-and-black-checked shirts, orange caps, etc. They allhave guns. Among their number are a few women as well,looking tough and determined. We see almost everyone we'vemet up to this point. LOWE is there, looking deeplytroubled.ANDY FAIRTON is standing on the bar. These are hisvigilantes; he has organized them. ANDY radiates male machofootball-coach confidence. He's mesmerized the crowd: theyreally believe they are going to go out and Shoot One forthe Gipper. ANDY Groups one through four are in the woods north of the Sturmfuller place. Five and six west of Carson Creek.The door at the back opens; HALLER and PETE come in. JOEHALLER is in extremely bad shape. He hasn't come back muchfrom the murder of BRADY. I believe he is having some sortof spiritual crisis, and while it is not our purpose toexplore what it might be- this is, after all, a horror movieand not a John Cassavetes film- we can see that it hasseriously weakened his authority. ANDY (continuing) Moonrise at 8:52 p.m.Some nervous laughter greets this. Meanwhile, HALLER andPETE are working their way to the front, where they end upnext to a grim-faced HERB KINCAID. ANDY (continuing) If he comes out to stroll in the moonlight tonight, we're going to get the sorry sucker.INT. THE VIGILANTES, WITH ELMER AND PORTER PORTER (happily) Damn straight! ELMER Shut up, Porter.INT. ANDY FAIRTON ANDY Just remember, it's the psycho we want, not each other. So look before you-INT. THE CROWD, FEATURING HALLER HALLER I want all of you folks to go home!A disgruntled murmur meets this. HALLER moves forward a bit,and turns to face them. HALLER I can't remember deputizing a single one of you!INT. ANDY FAIRTON ANDY That's right, Joe- the only deputy you got is that fat shitbag beside you, and neither one of you has done a damn thing about solving this case.There is a mutter of agreement.INT. A SLIGHTLY WIDER SHOT, FEATURING ANDY AND HALLERANDY hops off the bar to face HALLER directly. In the b.g.we see HERB KINCAID (KINCAID, by the way, should be wearinga black armband- he's come directly from his son's funeral). HALLER (without much force) We'll catch him. ANDY You couldn't catch a cold.HALLER looks at him for a moment, then turns to look at thecrowd. They look rather like a lynch mob; on their faces wesee an uneasy mix of shame and eager determination. HALLERspeaks with a kind of haggard, fading desperation. HALLER The law has a name for what you men are planning. It's private justice, and private justice is about a step and a half away from lynch mobs and hang ropes. I'm no J. Edgar Hoover, but I am the law in Tarker's Mills, and I want you men to go home.They shuffle their feet uneasily; many look down. He isgetting to them. ANDY Don't let this guy scare you! What's he done since this thing started but hang his face out?It's not working. Many of the men look disgusted with bothANDY and themselves. ANDY (louder) He ain't got so much as a fingerprint! OWEN KNOPFLER Ah, shut up, Andy. ANDY Don't tell me to-HERB KINCAID steps forward. HERB Yes. Correct. Shut up.ANDY, surprised and bewildered, does. HERB turns and looksgrimly at JOE HALLER, who can barely meet his gaze. HERB (quietly) I just came from my boy's funeral. HALLER Herb...I know how upset- how grief-stricken you must be...but- HERB (quietly) He was torn apart.Utter silence in OWEN'S place now. The others are staring,rapt. HALLER Yes. Yes, but- HERB (still quiet) Upset, you say. Grief-stricken, you say. Constable, you don't know what those words mean. My son was torn to pieces. To pieces!HERB turns to the others in the pub. Tears stream down hisface. HERB My son was torn to pieces! (turning back to HALLER) You come in here and talk to these men about private justice. You dare to do that. Constable Haller, why don't you go out to Harmony Hill and dig up what's left of Brady and explain to him about private justice. Would you want to do that?HALLER makes no reply. He looks down at his feet. HERB No. I thought not. (to the others) You folks stay here if you want. I wouldn't ask anyone to do anything that runs counter to his conscience. As for me... I'm going out and hunt up a little private justice.ANDY FAIRTON has swelled up again. He grins poisonously atthe slumped HALLER. He pushes off after HERB KINCAID. Othermen start to follow.EXT. OWEN'S PUBMen are streaming out, getting into station wagons andpickup trucks. Engines roar into life. They begin backingout even as more men come out of the pub. We even hear somehigh-spirited yells; they are on their way and their bloodis up.INT. OWEN'S PUBLESTER LOWE, looking more distressed than ever, pushes hisway through the men toward the door, and THE CAMERA FOLLOWS.He grabs BILLY McCLAREN. LOWE Billy... Billy, this is a bad idea. Joe can... BILLY (not looking at LOWE) Joe's had his chance, Father. Leave me be.He pushes outside. LOWE looks around wildly; his face sayshe can't believe this is happening. He grabs PORTERZINNEMAN, then, as PORTER shoves by him, at a couple ofothers with mounting desperation.HALLER makes his way to LOWE through the thinning crowd anddraws him aside. HALLER Let them go. LOWE But- HALLER This is that spirit of community you were talking about. Grand, ain't it? Maybe they'll shoot a hitchhiker or something and Andy can mount the head and raffle it off. To benefit the Medcu van, of course.HALLER laughs. LOWE But can't we do anything?OWEN KNOPFLER hurries past them; he has a rifle over oneshoulder in a sling. In his left hand he carries thepeacemaker bat. HALLER Sure. We can pray to Christ that none of them get killed.EXT. OUTSIDE OWEN'SMore cars and trucks pull away. There's a big old Ford"woody" wagon still there, with ANDY FAIRTON standingimpatiently by the driver's side door. BILLY McCLAREN andBOBBY ROBERTSON are with him, and a big, solid-looking womannamed MAGGIE ANDREWS.OWEN comes out and crosses to the woody. ANDY Well, it's about frigging time! They'll have his hide tacked to somebody's barn door before we get out there!They pile into the car, ANDY behind the wheel. He throws itinto gear and backs out onto Main Street.EXT. MAIN STREET, A NEW ANGLEWe see a parade of cars and pickup trucks headed out oftown.EXT. FATHER LESTER LOWEHe's standing on the curb and watching them leave town inprocession, some honking their horns, others yellingcheerfully. The expression on his face is dark and brooding.EXT. THE FULL MOON, CU NIGHTEXT. ELMER AND PORTER ZINNEMAN NIGHTELMER is lying on his belly, stuck halfway under abarbed-wire fence. The seat of his pants is badly snagged.The brothers are on the verge of a wooded area. We can seeground mist creeping around the bottoms of the trees. ELMER Help me Porter, goddammit!PORTER grabs ELMER'S right arm and pulls. There's a RIPPINGSOUND. ELMER screams. ELMER Don't pull me! You want to rip the right cheek of my ass right off? PORTER Well, Elmer, there are folks that'd say you've been half-assed most of your- ELMER Are you going to unhook me or be a wise guy?PORTER begins to pick the barbed wire out of ELMER'S pants.EXT. IN THE WOODS, WITH REV. O'BANION AND VIRGIL CUTTSNIGHTO'BANION looks rather amusing in his hunting gear- like thatpriest from "The Exorcist" on safari.SOUND: A HOWL, FAIRLY LOUD VIRGIL Jesus, that was close. Uh, pardon me, Rev'runt. O'BANION Come on. Be careful.They move slowly ahead, O'BANION still a bit in the lead.THE CAMERA FOLLOWS as the reverend pushes into someknee-high brush.SOUND: A RUSTY METALLIC CLANG, followed by a FLESHY CHOMP.O'BANION begins to scream and struggle. VIRGIL Rev'runt! What is it? O'BANION (screaming) My foot! My foot!VIRGIL lunges to him and looks down.EXT. O'BANION'S FOOT, VIRGIL'S POVA medium-sized trap- something in which one might reasonablycatch a wild cat or a coydog, let us say- has its rustyteeth sunk deeply into the reverend's ankle.EXT. O'BANION AND VIRGIL O'BANION (SCREAMING) Get it off me! Get it off me! VIRGIL (flustered) Sure...okay...He kneels down.EXT. VIRGILHe muscles the trap open, a little at a time.EXT. O'BANIONRelaxing.SOUND: THE WOLF HOWLING CLOSE.EXT. VIRGILStartled and unnerved by the HOWL, the trap slips out of hishands and snaps shut on O'BANION'S mangled ankle again.EXT. REVEREND O'BANIONHe screams.EXT. THE MOON, CUIt slides behind a cloud.SOUND: THE WOLF HOWLING.EXT. ANDY FAIRTON'S GROUPANDY, BILLY McCLAREN, BOBBY ROBERTSON, OWEN KNOPFLER, andMAGGIE ANDREWS have been joined by two other men- MR.ASPINALL and EDGAR ROUNDS.They have drawn close together, listening as the HOWL FADES.We can tell by their uneasy faces that some of the joy hasgone out of the evening.They are standing on one side of a ravine. The bottom isfilled with a still ground mist. A few bushes poke out ofit. There are woods on the far side. ANDY (pointing across) It came from over there. BOBBY ROBERTSON As far as I could tell, it could have come from anywhere. ANDY We'll spread out in a skirmish line. If the bastard tries to go around us, we'll hear him. BOBBY I dunno- MAGGIE I think Bobby Robertson here's making lemonade in his pants. That lemonade got ice cubes in it, Bobby?ANDY FAIRTON and EDGAR ROUNDS laugh. ASPINALL and BILLYMcCLAREN smile a little. OWEN (quietly) Let off him, Maggie. I'm scared, too. BOBBY (stoutly) I ain't scared! Let's go! ANDY Okay. Spread out on me. Five feet apart.EXT. ANDY'S GROUP, FROM THE BOTTOM OF THE RAVINEReading from right to left: OWEN KNOPFLER (his gun is stillover his shoulder; it is the peacemaker baseball bat he isholding), BOBBY ROBERTSON, ASPINALL, ANDY FAIRTON, BILLYMcCLAREN, EDGAR ROUNDS and MAGGIE ANDREWS.They come slowly down toward THE CAMERA, alert and ready foranything- at least, they think so.EXT. ANDY'S GROUP, ANGLE SHOTThey reach the bottom of the ravine and begin to make theirway across it. The mist is waist to chest deep. They pushtoward the other side. Now they are about halfway.SOUND: A STEADY, LOW GROWLING, CLOSE.They all stop, scared. BILLY McCLAREN Where's it coming from? Other side? BOBBY No- it's behind us. I told you you couldn't trust- ASPINALL It isn't on either side. ANDY What are you-ASPINALL is looking around, his eyes widening with fear. ASPINALL It's under the fog. It's right in with us.The GROWLING STOPS. There's a beat of silence. Then:SOUND: SNARLING...AND A RIPPING CHOMP as dinner is served.SOUND: A SCREAM.EXT. EDGAR ROUNDS, CLOSEHe's the one screaming, and if he reminds us of O'BANION,that's okay, because ROUNDS has also been caught in a trap.He tries to run, stumbles, falls into the ground fog. Hegoes on screaming. We can see his back for a moment, andthen it disappears.SOUNDS OF CRUNCHING AND SCREAMING.ROUNDS SHRIEKS. His hand and arm come up like the hand of adrowning man. Then it's gone. ROUNDS is gone.EXT. THE SKIRMISH LINEThey stand there, chest deep in mist, a conspicuous hole inthe ranks where EDGAR was.EXT. BOBBY ROBERTSON, CU BOBBY (moaning) I can't move. Christ Jesus, I can't move!EXT. THE SKIRMISH LINE IN THE RAVINE, A NEW ANGLEThe GROWLING STARTS AGAIN. THE CAMERA PANS SLOWLY UP THELINE. The mist swirls, hiding whatever's beneath.EXT. ASPINALL, CU ASPINALL (low) I think we better start backing up, Andy. Real slow. Real-The LOW GROWL rises to a snarl. And from below the mist,snarling and bestial but understandable, mocking ASPINALL'Svoice: WEREWOLF (voice) "Real slow! Real slow! Real slow!"SOUND: CHOMP!ASPINALL SHRIEKS and tries to run. He falls into the mist.There is another CHOMP. When he flounders up, half his faceis gone. WEREWOLF (voice) "Real slow! Real slow!"A hairy arm rises from the mist and yanks ASPINALL down.EXT. ANDY'S GROUPThey panic and break for it- MAGGIE, BILLY, and ANDY for oneside, BOBBY and OWEN for the other.EXT. OWEN, WEREWOLF'S POVTHE CAMERA IS RUSHING THROUGH THE GROUND MIST- this is likebeing in an airplane that's skimming the top of a cloud. WEREWOLF (voice; laughing) "Real slow! Real slow! Real slow!"EXT. OWEN KNOPFLERHe's hit, as an unlucky swimmer might be hit by a shark. Hewhirls around, raising the peacemaker bat. OWEN Come on, then! You want to rock and roll with me?EXT. THE GROUND MIST, OWEN'S POVFor a moment there's nothing- and then the werewolf risesout of it, eyes glaring green, muzzle and pelt slimed withgore. WEREWOLF "REEEEEL SLOW!"EXT. MAGGIE AND ANDY MAGGIE (shrieking) Look at it! Holy God, Andy, look at that thing! ANDY (groaning with fear) I don't want to look at it.He runs, while MAGGIE stares, mesmerized, at:EXT. OWEN AND THE WEREWOLFThe WEREWOLF closes in on OWEN, who belts it a good one withthe peacemaker. The WEREWOLF swipes at him. OWEN ducks andslams it again. The WEREWOLF roars with anger. OWEN Come on, come on! You want to do the bop? I'll bop you, motherfucker! Come on!The WEREWOLF dives under the ground mist.Uncertain, OWEN begins to back up, holding the bat in hishands. OWEN is jerked down into the mist. He SCREAMS. Thepeacemaker rises out of the ground mist and comes down.Bonk! The WEREWOLF roars in pain. CHOMPING SOUND. OWENshrieks. OWEN (voice) Come on, you bastard!The peacemaker rises out of the mist again. The handsholding it are bloody. Blood runs down the bat. It descends.Bonk! The WEREWOLF roars again. There is a GURGLING SCREAMfrom OWEN... and then a curious SPLINTERING SOUND as theWEREWOLF sinks its fangs into the bat.EXT. THE RAVINETHE CAMERA MOVES ABOVE as the WEREWOLF moves below, escapingdown the draw.Pause. SOUND, IN THE B.G.- low but slowly getting louder: acongregation singing "Bringing In the Sheaves" to theaccompaniment of a pipe organ. WEREWOLF (sing-songy voice) Bringing in the sheaves... bringing in the sheaves... we shall come rejoicing... bringing in the sheaves...THE WEREWOLF FADES OUT; human voices singing the same hymnoverwhelm it and we DISSOLVE TO:INT. HOLY FAMILY CATHOLIC CHURCH, PULPIT POV MORNINGIt's an almost exact reprise of #167. Most of the mournersare crying; MRS. BOWIE playing the organ; MARTY'S chairparked at the back. We can see UNCLE AL, MARTY, TAMMY, andMRS. STURMFULLER, exactly as they were at BRADY KINCAID'Sfuneral; in fact, this seems to be an instant reply of thatevent. One difference: we can't see BRADY'S coffin. It'sbelow us. The hymn ends.INT. FATHER LOWE, IN THE PULPIT LOWE Mr. and Mrs. Kincaid have asked that there be no mass said here this afternoon. They did ask me to say a word of comfort to you if I could.INT. THE CONGREGATION, FEATURING HERB KINCAIDHe sits in the first pew. In his grief he looks dead. HERB There is no comfort, Father. Only private justice.INT. LOWE, AT THE PULPITHe's thrown off his stride. Beginning to sweat. He's like anactor trying to remember his lines. LOWE Uh, if there's any word of comfort I can give you, it's just this: the face of the beast always becomes known; the time-He looks down. His eyes widen in fear.INT. THE COFFINS, LOWE'S POVYes, that's coffins- plural. Where BRADY'S coffin wasformerly, there are now six coffins, smothered with flowers.INT. LOWE, IN THE PULPITHe is badly scared now; sweat is dripping off him. LOWE The time... the time of the beast always passes. There are answers... ways... ways to... to cope... if we turn to each other... HERB (bestial voice) Father-LOWE looks toward:INT. FIRST ROW PEW, WITH HERB KINCAID, LOWE'S POVHe's looking down at something in his hands. Now he looks upand we see his face has become bestial. His eyes are green.As we look at him, the transformation cotinues. He's turninginto a werewolf. HERB (snarling) It tore out his heart.And sure enough, HERB KINCAID holds BRADY'S dripping heartup in what were hands but which are now rapidly becomingpaws.INT. LESTER LOWE, AT THE PULPITHe staggers back, in terror. LOWE (shrieks) No!INT. THE CONGREGATION, LOWE'S POVMRS. BOWIE begins bringing in a few more sheaves on thechurch organ, and the congregation begins to sing. CONGREGATION Sowing in the morning/sowing seeds of kindness/sowing in the noontide/and the dewy eve...We pan their faces, stopping on JOE HALLER. Now something ishappening to JOE'S face. It is bulging, changing. He looksup from his hymnal and his eyes glare green. The pupils aresplit. He grins, showing big teeth.They are all changing. Among the things we see are:PETE SYLVESTER, who is a church deacon, rushing down theaisle, changing, snarling. He grabs ANDY FAIRTON and the twoof them grapple in the aisle.A YOUNG WOMAN with a baby in her arms turns back the blanketcovering the baby's face and we see it's a wolfling; alreadythe YOUNG WOMAN'S own hands are turning into claws.TAMMY STURMFULLER changing; PELTZER the druggist changing;the ZINNEMAN BROTHERS changing.At the organ, MRS. BOWIE is now a werewolf clad in tattersof a silk bombazine dress; she/it is still wearing a veiledhat on her head, and she is beating the shit out of theorgan keys with her clawed hands. She sounds like Jerry LeeLewis after swallowing about a dozen bennies. And now thetune changes from the remnants of "Bringing In The Sheaves."It changes into the Rheingold jingle. CONGREGATION (snarling chorus) My beer is Rheingold the dry beer... Think of Rheingold whenever you buy beer...INT. LOWEFATHER LOWE goes stumbling backward, dropping his hymnal.The man is in an extremity of terror. REV. LOWE No! No! No!INT. THE CONGREGATION, LOWE'S POVSome are tearing their hymnals apart and throwing them ateach other. One guy- BILLY McCLAREN, maybe- wings one ofthem through a stained-glass window. Some of the werewolves-for they are all werewolves now- fight or make love in theaisles. The rest sway back and forth, grinning ferociously,singing. CONGREGATION (snarling it out) It's not bitter, not sweet, it's a real frosty treat...INT. LOWEHe looks toward:INT. THE MRS. BOWIE WEREWOLF, AT THE ORGANShe grins ferociously up at him, playing the Rheingoldjingle on the pipe organ with her claws. Now blood begins tobubble up between the keys. MRS. STURMFULLER AND ALL Won't you try, won't you buy...INT. THE ENTIRE CONGREGATIONThe church is a wild shambles of lurching, fighting, singingwerewolves. It's like a New Year's Eve party in hell. CONGREGATION (big finish) ...Rheiinngold beer!Suddenly a clawed hand burts up through one of the coffins.And ANDY FAIRTON, who now looks as wolflike as any of them,bites the hand's claw off.INT. REV. LOWE, ON THE PODIUMHe's seen all he can stand. He whirls for the back, wherethere is a small door. He pulls it open... and a BRADYKINCAID werewolf, half torn apart but still somehow alive (azombie werewolf, if you can dig it- George Romero would likeit, I think) leaps out and seizes LOWE.BRADY buries his muzzle in LOWE'S NECK.INT. LESTER LOWE, ECUHe sits up into THE CAMERA and SCREAMS. Sweat is runningdown his face. He stares at us for a moment, his eyes buggyand crazed... and then he closes them. There is anexpression of huge relief on his face as he does so. LOWE (praying) Let it end, dear Lord. Let it end. Please let it end.EXT. MAIN STREET DAYAn old sedan cruises slowly down the street. ANNE and TAMMYSTURMFULLER are in the front seat. It's piled high withpossessions and is towing a jackleg trailer with more stuffin it.EXT. HALLER AND PETE HALLER (indifferently) Anne Sturmfuller and her little girl. PETE Yeah... but what are they doing? HALLER Putting on my Sherlock Holmes deerstalker cap, I deduce that they are leaving.EXT. THE STURMFULLER CAR, THE COPS' POV DAYThey are headed out of town all right, but the thing whichperhaps strikes us the most forcibly is how empty this placeis now. Main Street looks like a ghost town.EXT. JOE HALLER AND PETE SYLVESTER, ON THE SIDEWALK HALLER She's not the only one. Lot of people leaving town. And I guess if we want a beer, we'll have to drink it at home.He nods toward:EXT. OWEN'S PUB, LONG (PETE AND HALLER'S POV)A CLOSED sign hangs in the door; above it is a big blackwreath.EXT. HALLER AND PETE PETE Joe, what's wrong with you? I ain't never seen you like this. HALLER (thoughtful) I lost my guts. PETE (startled) Bullshit. HALLER It was the Kincaid boy. I looked at him... and I felt it happen. It was no big deal. No worse than pissing down your own leg. You ever do that? Maybe when you were real scared?PETE, distressed, does not respond. HALLER One minute I had me some guts- as much as the next man, anyhow- and then, poof. Gone.PETE'S looking at him in a kind of terror. PETE Joe... you are going to feel better than this. This... this feeling of yours... it's gonna pass... JOE Is it?He walks away, back toward the Municipal Building (the signout front reminds folks to SUPPORT THE MEDCU VAN!) whilePETE looks after him, very deeply troubled.EXT. A FAIRGROUND DAYIt's deserted. Rides stand still. The midway is deserted.THE CAMERA PANS slowly to a sign which reads TARKER'S MILLSFAIRGROUNDS GALA FAIR OCTOBER 1 FIREWORKS AT DUSK 10c ONEVERY DOLLAR GOES TO THE MEDCU VAN FUND!A cheerful enough sign, except for the strip of paper glueddiagonally across it: FIREWORKS CANCELED. MARTY (voice) It's not fair.INT. THE COSLAW FAMILY STATION WAGON DAYIt's parked across the road from the sign. JANE (voice) Look out, world! Marty the Great didn't get something he wanted!They are distributed just as they were when they arrived atthis same fairgrounds earlier. All of them have ice creamcones; they are coming home from a family outing. NAN COSLAW Stop it, Jane. JANE Well, I don't see why everybody just about breaks down and cries whenever he- BOB Stop it, your mother said.They've just paused for a quick look at the sign; now BOBpulls out onto the road again and heads toward home.INT. MARTY AND JANE IN THE BACKSEATJANE sticks her tongue out at him. MARTY looks away.EXT. ANGLE ON THE COSLAW GARAGE DAYUNCLE AL'S sports car is parked in the driveway. We hear theCLANG of a wrench on the cement inside.INT. THE GARAGE DAYUNCLE AL and MARTY are working on the engine of the SilverBullet. UNCLE AL has a six-pack of beer that he's workingthrough. He and MARTY sit on the floor. As they talk, UNCLEAL unscrews the last bolt holding the Bullet's carburetorand pulls it off. MARTY It isn't enough that the monster killed all those people- that he killed Brady. Now he's got them to cancel the fair. UNCLE AL And the fireworks. Hand me that box, Marty.MARTY hands him a medium-sized carton with the words "SpeedShop" printed on it. MARTY Yeah, okay, the fireworks. Jane thinks that's all I'm mad about, but it's not. Them doing that is just a... a... UNCLE AL It's just an outward symbol of everything that's inwardly wrong in this town. Not bad, huh? I read Sherwood Anderson in college. I can jive that shit all day. MARTY Well... I like it that you always know how to say things, Uncle Al. UNCLE AL I'll give you the telephone numbers of my ex-wives, dear boy- they'll be interested to hear that. MARTY Don't call me dear boy. UNCLE AL But you are, you know- you are my dear boy.He gives MARTY a kiss and smiles at him. MARTY smiles back. UNCLE AL Look at this.He pulls out a brand-new carburetor- it's a chrome-platedfour-barrel. UNCLE AL (gleeful) This is gonna turn your wheelchair into a fucking F-14, Marty-He looks around quickly, guiltily. UNCLE AL Your mom's not around, is she? MARTY She and dad are out back lighting the barbecue. Jane's walking around like she's King Shit of Turd Mountain. Like always. UNCLE AL Uh-huh. Only in her case I guess it would be Queen Shit of Turd Mountain. Hand me that adjustable.MARTY does. UNCLE AL slides the carb onto the gasket andstarts attaching bolts. UNCLE AL The guy killed your best friend, drove your girl out of town, and stole the second-best holiday in the year. Have I got it right? MARTY (glum) You got it right, Uncle Al. UNCLE AL Yeah, Winesburg, Ohio, was never like that... but I got something that just might cheer you up. MARTY What? UNCLE AL Wait, dear boy. Just wait. Hand me those pliars.EXT. UNCLE AL, AT THE SIDE OF THE COSLAW HOUSE DAYHe peeks into the backyard.EXT. THE BACK YARD, UNCLE AL'S POVBOB and NAN are fussing over the barbecue. JANE is hitting abadminton birdie.EXT. THE ROAD IN FRONT OF COSLAWS', WITH MARTYMARTY is sitting in the Silver Bullet.UNCLE AL comes hurrying back from his look-see. UNCLE AL All is cool, Marty-boy. Go for it.MARTY pushes the starter. The engine starts at once, but thetone is entirely different. Before, MARTY'S wheelchair was apoppety-popping pussycat. Now the engine rumbles like ahood's street rod idling at a traffic light.MARTY looks startled. UNCLE AL (grinning) Gun it.MARTY guns it. The engine roars. UNCLE AL Jesus! Not too much! MARTY (awed) Wow. UNCLE AL You got a pilot's license, Marty? MARTY Do I need one? UNCLE AL We're gonna find out. Take it down the road a ways and back. Be careful.MARTY puts the Bullet in gear and pulls away.EXT. MARTY, IN THE SILVER BULLETCAMERA TRACKS HIM up the road. He goes slowly at first, buthe lets it out a little after a while. He's really movingalong- thirty, maybe forty miles an hour. The wind blows thehair off his forehead. He begins to grin. He's enjoyingthis.EXT. UNCLE AL, WATCHINGHe drinks some beer. He's grinning, happy for MARTY.EXT. MARTY, IN THE SILVER BULLETHe slows down, turns, stops. He revs the engine. VROOM!VRROOM!EXT. THE SILVER BULLET'S MOTOR, CUA lot of changes back here. It looks almost like a motorcyleengine now. That chromed-silver carb predominates.SOUND: VAROOOOOOOM!EXT. MARTY, CUGrinning. Looking at:EXT. THE COSLAW HOUSE, MARTY'S POVIt's about a quarter of a mile away.EXT. MARTY, IN THE SILVER BULLETHe winds the engine up and pops the clutch. The SilverBullet doesn't so much accelerate as blast off. It tiltsback on its wheels. MARTY swivels into a position like thatof an astronaut on lift-off. The Silver Bullet looks like amotorcycle popping a wheelie. MARTY has a great big grin onhis face.EXT. THE SILVER BULLET, MEDIUM-LONGRoaring down the highway at fifty or better, blue smokejetting from the exhaust. MARTY is plastered back in theseat with the footrest pointing up at an angle. He'slaughing like a lunatic.EXT. UNCLE AL, PEEKING THROUGH HIS FINGERS UNCLE AL (to himself) The kid's dead meat. What have I done? (shouts) Put a rock in it, Marty!EXT. MARTY IN THE BULLETHe uses the hand brakes. SOUND of braking and squealingrubber.EXT. MARTY AND UNCLE ALThe Silver Bullet comes to a screeching, sluing stop nearUNCLE AL. Blue smoke drifts up from the wheels. MARTY gunsthe engine once and then lets it idle. UNCLE AL You gave me a heart attack, Marty. I'm dying. I hope you're happy, because you are looking at a dying man. MARTY It really goes fast. Thanks, Uncle Al. UNCLE AL It goes fast, all right- and if your mother finds out just how fast, Marty, I will have a new job. Singing soprano with the Vienna Boys' Choir. MARTY I don't get you. UNCLE AL I know you don't. But I want this to be our secret. You get that, don't you? MARTY Sure. UNCLE AL Good.EXT. THE NIGHT SKY, WITH THE MOONThe last bit of daylight is just filtering away.EXT. THE COSLAW BACKYARDThe barbecue is over. BOB and JANE are putting lawn chairson the back porch. MARTY, NAN, and UNCLE AL are all in thef.g. UNCLE AL I've got to go, Nan- I had a wonderful time.He kisses her cheek affectionately, and she smiles at him. NAN So have I, actually... I wish it could always be like this. UNCLE AL See me around to my car, Marty, and make sure I stay out of trouble at least that long. MARTY Okay.He and UNCLE AL go around to the driveway. NAN looks at themwith troubled love.EXT. THE COSLAW DRIVEWAY, WITH MARTY AND UNCLE AL UNCLE AL Now I said I had something for you, as I believe you will recall. MARTY Yeah! What is it?AL unlocks the trunk of his car and brings out a papershopping bag. He places the bag in MARTY'S lap. MARTY opensthe bag, but it's really too dark to see inside. He reachesin and brings out a handful of assorted fireworks- crackers,Roman candles, twizzers, smoke bombs, etc.An expression of sublime delight fills MARTY'S face as heinventories these goodies. UNCLE AL You're gonna have the Fourth of July in October, Marty. Just don't blow your head off. (Pause) And remember that it isn't just the fireworks. It's because no crazy shithead should be able to stop the good guys, if you can dig that. MARTY (respectfully) I can dig it- thank you, Uncle Al! Thank you! UNCLE AL Stay near the house, for Christ's sake- someone's killing people. I have to be out of my mind to be doing this, you know. MARTY Yeah, I know. It's great! UNCLE AL One of the reasons I love you, Marty, is that you're almost as crazy as I am. Please don't set off anything that goes bang tonight, okay? Just bright colors. Can you tell the difference? MARTY Yeah... sure. UNCLE AL Save this one for last.He brings out a short rocket with stubby vanes on the end. Afat fuse sticks out behind the head. MARTY What is it? UNCLE AL A tracer. You'll like it. MARTY Thanks a million, Uncle Al! UNCLE AL You're welcome a million, Marty. Stick 'em in the bushes for now.MARTY motors over to the side of the garage, where there's aline of bushes, and conceals the bag in them. UNCLE AL getsin his car and starts it up. MARTY comes back. UNCLE AL (grinning) Have a good time, dear boy! And watch out for the werewolves!He leaves. MARTY sits in his wheelchair, waving.EXT. THE REAR OF THE COSLAW HOUSE NIGHTThere's a downspout outside one of the upstairs windows. Nowthe window goes up and MARTY leans out. He grasps thedownspout and begins working his way down. This should notbe too hard for us to believe; we've already seen how strongMARTY'S arms are.His legs dangle limply, but he's doing just fine. When hereaches the bottom of the drainpipe, they simply crumpleunder him and he uses his arms to pull himself over to theback porch.MARTY hoists himself over the porch rail. Here, under atarp, is the Silver Bullet. MARTY pushes the tarp aside andgets in. He uses his hands on the wheels to get over theporch ramp and rolls silently down it. At the bottom helooks up at:EXT. AN UPSTAIRS WINDOW, MARTY'S POV NIGHTStill a light on up there.EXT. MARTY, IN THE BULLET MARTY (whispers) Shit!Thinks a bit, then starts to hand-roll the Bullet toward:EXT. THE PATH BETWEEN THE HOUSE AND THE GARAGEMARTY comes slowly up the path. We hear soft grunts ofexertion; he's still hand-turning the wheels for the sake ofsilence, and it's hard work. He stops at the line of bushesand gets the bag of fireworks. He puts it on his lap andstarts moving again.EXT. THE COSLAW DRIVEWAY, FROM THE ROADThe driveway has a slight downslant, and MARTY coasts easilyout to the road. He turns right and begins to roll slowlyalong the verge of the highway, still using his hands. Wecan see that the light is still on upstairs. MARTY turnsback once to verify this himself, then keeps on going. He'snot going to be deprived of his treat.EXT. MARTYHe decides he's far enough away to be safe. He pushes thestarter button. The engine cranks, coughs, and cranks somemore. MARTY frowns, and pulls out a wire- a rudimentarychoke, I suppose. He pushes the starter button again. Itcranks, but doesn't start.MARTY pushes in the wire, looking concerned now, and triesagain. This time, after the engine has cranked over a fewtimes, it starts. MARTY (softly) All right!He puts it in gear and starts off.EXT. THE ROAD, WITH MARTY, EXTREMELY LONGWhat we see is a tiny boy in a tiny wheelchair moving alonga dark, empty ribbon of road under a vast dome of stars.DISTANT SOUND: The Bullet's engine.EXT. A ROADSIDE TURNOUT NIGHTSOUND: Fast-rushing water.The turnout is packed dirt. There's a grove of trees withpicnic tables spotted among them at the back. The sign inthe extreme f.g. reads ROADSIDE REST AREA at the top; AUGERFALLS in the middle; TOWNSHIP OF TARKER'S MILLS at thebottom.SOUND: The Silver Bullet approaching.MARTY turns in and rolls to the back of the rest area. Hestops by one of the picnic tables and dumps the bag offireworks out onto the picnic table and takes his timeselecting the first- he's like a wine fancier with a wholecellar of rare bottles to choose from. At last he chooses atwizzer. He takes matches from the pocket of his pajama topand lights the fuse.When it starts to fizz, MARTY tosses it high into the air. MARTY (soft) Here's one for the good guys!EXT. THE TWIZZERIt flies in an arc over the drop.EXT. THE TWIZZER, FROM THE BOTTOM OF THE CUTTHE CAMERA TRACKS ITS FALL onto some rocks at the edge ofthe waterfall's catch pool.SOUND: Growling.EXT. THE CREEK, WITH THE WEREWOLFIt has been drinking from the creek. It looks more than halfhuman now- we would be able to recognize it for sure, butits face is in shadow.It turns from the creek and gets up on its hind legs.EXT. THE TWIZZER, ON THE ROCKSIt's guttering out. A hand-paw touches it and draws backquickly.SOUND: Hurt, angry growl.EXT. MARTY, IN THE REST AREAHe's getting ready to light one of the fountains. He pausesand looks toward the cut. He's heard something- but thewaterfall muffles it. He lights the fountain's fuse, sets iton the ground, and rolls the Bullet back a few feet.The fountain bursts into a shower of light. MARTY (delighted) All right!EXT. THE SLOPE OF THE CUT, MEDIUM LONGThe waterfall is in the b.g.The WEREWOLF is climbing the rocky slope.EXT. THE FOUNTAIN, CUIt goes out.EXT. MARTYHe rolls over to the picnic table and gets a Roman candle.He plants the stick in the ground and lights the fuse. TheRoman candle shoots into the sky.EXT. THE ROMAN CANDLEBursts into colored light.EXT. THE WEREWOLF, NEAR THE TOP OF THE CUT, MEDIUM LONGIt GROWLS... and shakes its fists at the fading light in thesky.EXT. MARTYHe's holding another fountain in one hand and his matches inthe other. He's looking toward the cut and the waterfall. MARTY Is someone there?EXT. THE WEREWOLF, NEAR THE TOP OF THE CUTIt freezes, GROWLING FAINTLY.EXT. MARTYWith a little shrug, he lights the fuse on the fountain andsets it on the ground, as before.EXT. THE BACK OF THE GROVE, AT THE TOP OF THE CUTClaw-hands settle over the top.EXT. THE FOUNTAIN, CUIt throws off fiery swirls of sparks, then begins to diedown.EXT. MARTYHe's checking out the stuff on the table for his next choicewhen he hears a clear SOUND: A SNAPPING, SPLINTERING BRANCH.EXT. THE GROVE, WITH THE WEREWOLFIt's run into a low-hanging branch. Instead of pushing itaside or ducking under it, it simply rips it off the tree.Although the branch is pretty big, the WEREWOLF does this aseasily as a hungry man might rip a drumstick off aThanksgiving turkey. It throws the branch aside andadvances, hunched over on two legs.EXT. MARTY MARTY (terrified) Who's there?EXT. THE GROVE AT THE BACK OF THE REST AREA, MARTY'S POVThe grove is a darkened shadowland.EXT. MARTYHe punches the Bullet's starter. The motor cranks andcranks. No go, though. MARTY pulls out the choke wire,alternating terrified stares at the grove of trees withterrified stares at his rudimentary dashboard.EXT. THE GROVE, MARTY'S POVHere it comes, out of the shadows, closing in.EXT. MARTYWorking that starter for all it's worth... but the motoronly cranks. Still no start.EXT. CLAWED, FURRY FEETEXT. MARTYHe gives up on the motor. He looks toward the picnic tablewhere the fireworks are. He grabs up the tracer. He gets thematches out of the breast pocket of his p.j.'s and promptlydrops them in his lap. He scrabbles for them.EXT. THE WEREWOLF, MARTY'S POVWe can't see its face in the dark, but it's closer... muchcloser.EXT. MARTYHe tries to hold the tracer and strike a match at the sametime.He can't; to do that he'd need at least one more hand. Heputs the tube of the tracer between his teeth and triesagain.EXT. THE MATCHBOOK AND MARTY'S HANDSHe strikes the match... too hard! It bends, the neck broken. MARTY (voice; moaning) Oh, please...EXT. WEREWOLF CLAWS, OPENING AND CLOSINGEXT. MARTYHe is in an extremity of terror.EXT. THE MATCHBOOK AND MARTY'S HANDS, CUHe pulls a fresh match from the book and strikes it. Itlights.EXT. THE WEREWOLFIt recoils- we still can't see its face except for a vagueshadow.(NOTE: I keep emphasizing the shadowed face, because this isnot a full-moon period. I've been going on the assumptionthat the guy kind of works his way up to full wolfiness,toothiness, hairiness, etc., starting with a partial changeat about the second quarter. It's a process like the tidecoming in. Thus, if we saw MARTY'S attacker clearly at thispoint, I think we would recognize him.)EXT. MARTY, IN THE SILVER BULLETHe takes the tracer from his mouth and applies the match tothe fuse. It splutters alight.EXT. MARTY AND THE WEREWOLF, A WIDER SHOTThe WEREWOLF is less than twenty feet away. The tracerflares alight and shoots out of MARTY'S hand, leaving apink-orange trail of smoke behind it. The missile flies atthe WEREWOLF's head.EXT. THE WEREWOLFThe tracer strikes it in the face, and we see a flash offire. The WEREWOLF screams and blunders away.EXT. MARTY, IN THE SILVER BULLETHe punches the starter again. The motor cranks.EXT. THE MOTOR OF THE SILVER BULLETThe motor coughs and fires; a big blue flame jumps from thefancy carb... and the engine starts to run.EXT. THE WEREWOLFIt's staggering away, ROARING and HOWLING. The tube of thetracer is sticking out of its face- from its left eye, infact- like an Indian's arrow. The WEREWOLF smashes branchesout of its way.EXT. MARTY IN THE SILVER BULLETHe wheels the Bullet around and heads for the road, gaspingand weeping with fear.EXT. THE WEREWOLF, IN THE GROVEIt's blundering through the trees. It pulls the tube fromits face with an ANIMAL SCREAM and drops it.EXT. THE TRACER, CUIt lies smoldering on the ground. The end is slick withblood.EXT. THE ROAD, WITH MARTYThe Bullet is really wheeling. MARTY is panting, out ofbreath, still deeply frightened.EXT. THE WOODS, WITH THE WEREWOLFWe see it blundering along, holding its face; blood bubblesthrough its fingers. WEREWOLF (snarling voice) Bastard Marty! Bastard Marty! Kill you! Reeeal slow!EXT. COSLAW DRIVEWAY, WITH MARTYHe powers up it, and along the path to the back. Perhaps hehas enough speed to cut the engine and coast.INT. MARTY'S BEDROOMHis bed is by the window. His hands appear on thewindowsill, and MARTY pulls himself in. He falls over ontohis bed and lies there, spent and exhausted and trembling.EXT. THE COSLAW HOUSE, VERY EARLY MORNINGSOUND: RINGING TELEPHONE (FILTER)INT. THE COSLAW LIVING ROOM, WITH MARTYHe's sitting in the "house" wheelchair in the living room,holding the phone tensely to his ear as the RINGING SOUNDgoes on.A CLICK as the phone is picked up. UNCLE AL (muzzy voice) 'Lo? Go away. MARTY It's a werewolf! I saw it! Last night-INT. UNCLE AL'S BEDROOMNot a really spiffy place- the decor is Early AmericanAlcoholic. There's a mostly unclad lady asleep on one sideof the bed. UNCLE AL is sitting on the other in hisskivvies, phone to his ear. There are a lot of bottles andheaped ashtrays around, and UNCLE AL has a big old hangover. UNCLE AL You dreamed it, Marty. MARTY (voice) No! I went out late last night- and- UNCLE AL There are no such things as werewolves. Please, dear boy, have some pity.He hangs up and falls back into bed. GIRL (muzzy voice) Whowuzzit? UNCLE AL Obscene phone caller. Go back to sleep.EXT. THE BACK PORCH, WITH MARTYHe's sitting on the Silver Bullet, just looking at the yard.JANE comes out. JANE Marty? You okay? You've just been sitting here all morning. MARTY Where's Mom? JANE Went shopping. Why? MARTY Jane, I have to talk to you. JANE (mistrustfully) About what?MARTY looks at her earnestly. MARTY I need you to help me. Uncle Al won't believe me, and if you won't help me, I... I...MARTY has to stop. He's almost crying. JANE (concerned) Marty, what is it?EXT. MAIN STREET, MEDIUM LONG, WITH JANEJANE is pushing a supermarket shopping cart with a lot ofbeer and soda bottles in it. On the side is a sign readingMEDCU BOTTLE AND CAN DRIVE- plus an outline drawing of theMedcu unit. JANE (voice-over) He told me something that was clearly unbelievable... and yet, somehow I believed most of it. And I understood one thing with total clarity: Marty himself believed it all.She turns into a yard and pulls her cart up the walk to thedoor. She mounts the steps and rings the bell.EXT. THE PORCH, WITH JANE, A CLOSER SHOTA sheer curtain at one side of the door is pulled aside anda fearful face- that of MRS. THAYER- looks out. Then we hearbolts being pulled and locks- at least three of them- beingunlocked. The lady is taking no chances. MRS. THAYER Jane? JANE (politely) I'm collecting returnable bottles and cans for the Medcu Drive, Missus Thayer- I just wondered if you had any.Her husband comes up the hall. MR. THAYER Who is it? MRS. THAYER Jane Coslaw.EXT. JANEWhat we see mostly are her eyes- bright, inquiring. JANE Hi, Mr. Thayer.INT. LON THAYER, ECUWhat we see mostly are his brown eyes. MR. THAYER Hello, Jane.EXT. THE PORCH, WITH JANE AND MRS. THAYER MRS. THAYER Bring your cart around to the back, Jane- we'll look in the garage. JANE Thank you.She starts down the steps and we DISSOLVE TO:EXT. JANE, ON MAIN STREET DAYAmazing how deserted Tarker's Mills looks. JANE is pushingher cart. Even more bottles in it now. JANE (voice-over) Uncle Al hadn't believed him, but Uncle Al was thirty-five that summer and I was fourteen... at fourteen you can still believe the unbelievable, although even then that ability is growing rusty, is preparing to squeal to a stop.She is passing the Holy Family rectory. LESTER LOWE is outfront, digging in his flower garden. He is shirtless, backto JANE and to us; his black shirt with the turned-aroundcollar hangs informally on a bush. JANE (calls) Hi, Father Lowe! LOWE (without turning) Top of the morning to you, Jane Coslaw! JANE I'm going to bring in a monster load of bottles in an hour or so! LOWE (still digging) That's great, Jane... I'll be waiting.EXT. JANE, FARTHER DOWN MAIN STREETShe stops at Robertson's Luncheonette, leaves her cartoutside, and goes in. THE CAMERA FLOATS TO THE WINDOW; wesee JANE explaining about the bottle campaign to BOBBY whilea few men seated at the counter listen.INT. JANE, ECUWide eyes, mostly.INT. BOBBY ROBERTSON, ECUMostly eyes.INT. ROBERTSON'S, FEATURING JANEAs she turns away, her eyes sweep the men at the counter.INT. THE MEN, JANE'S POVSome of them- PELTZER, VIRGIL CUTTS- are familiar. Othersare not. THE CAMERA PANS THEIR FACES CLOSELY, FEATURINGTHEIR EYES.EXT. OUTSIDE ROBERTSON'S, WITH JANEShe grabs the handle of the cart again and proceeds downMain Street. She goes into the barber shop. JANE (v-o) Marty had seen where the tracer had struck home, he said, and I went out that day doing more than just looking for returnable cans and bottles- I was looking for a man- or woman- with only one eye.INT. THE BARBER SHOP DAYAs JANE enters, BILLY McCLAREN is giving one man a trim.Another man is tipped back with his face wrapped in a towel.Two or three other townies are waiting on tonsorialbeautification, reading magazines. None, of course, has onlyone eye. JANE checks them all out carefully. BILLY I know what you're after, Jane, and you're out of luck. Little Toby Whittislaw was in yesterday, and I gave 'em all to him. JANE Oh... okay.But her eyes have fixed on the towel over the face of theman in the other barber chair. She walks over to him.INT. JANE AND THE TOWELED MAN, CLOSER ON JANE That you, Mr. Fairton? ANDY FAIRTON (muffled) No- it's Ronald McDonald. I came in for a shave and a burger.The men laugh. JANE smiles politely. And pulls the hot towelaway from his eyes. His two eyes. JANE (sweetly) Got any bottles, Mr. Fairton? ANDY No! JANE (just as sweet) Oh... okay.She puts the towel back and THE CAMERA FOLLOWS as shereturns to the door. JANE 'Bye, Mr. McClaren. BILLY (amused) 'Bye, Jane. ANDY (muffled) Jesus!JANE goes out.EXT. JANE, AT THE RECTORYShe pushes the shopping cart up to the gate, opens it, andgoes up the walk to the foot of LOWE'S porch steps. Sheleaves it there and climbs to the porch.EXT. JANE, ON THE PORCHThe screen door is shut, the inner wooden door open.INT. THE RECTORY HALLWAY, JANE'S POVDark and empty. SOUNDS in the kitchen. EATING SOUNDS, maybe-or maybe we can't tell.EXT. JANE, ON THE PORCHShe knocks on the screen door. JANE Father Lowe! I'm ready to turn in my bottles and cans!INT. THE KITCHENLOWE is standing by the refrigerator door. He's holding araw leg of lamb and tearing at it with his teeth. Lamb bloodsmears his face and runs down his arms. He is as human asyou or me (in a manner of speaking, as UNCLE AL would say),but when JANE speaks, his head snaps up and his eye flares-his one eye. The other is covered by a patch. JANE (voice) Father? LOWE Take your cart around to the garage and unload, Jane! Then bring me your tally sheet!EXT. JANE, ON THE PORCH JANE Okay!EXT. JANE, A WIDER SHOTShe goes down the steps and starts to push the cart aroundthe house.INT. THE KITCHEN, WITH LOWEHe crosses to the window over the kitchen sink, the bloodychunk of meat still in his hands, and looks out.EXT. JANE, LOWE'S POVShe pushes the cart along a path toward a combination garageand utility shed at the back.INT. THE KITCHEN, WITH LOWEStill watching JANE, he begins to gnaw ravenously at themeat again.EXT. JANE, AT THE SHED-GARAGEShe opens the door and slowly pushes her cart inside.INT. THE UTILITY SHED-GARAGE, WITH JANEThis is a creepy little place, now filled with bottles andcans that have been crammed in helter-skelter, every whichway. JANE obviously doesn't like it. She begins to unloadher cart rapidly, mumbling numbers to herself.SOUND: SQUEAKING.JANE looks down.INT. THE UTILITY SHED-GARAGE FLOOR, JANE'S POVA good-sized mouse comes out from between a pile of stackedbottles and runs across JANE'S shoe.INT. JANEShe utters a litle scream and shrinks back against the wall,bumping it quite hard. Hard enough to knock something off anoverhead shelf. It falls into the bottles, SHATTERINGseveral. JANE screams again- not terribly loud- and thenslowly bends toward the object and picks it up.JANE holds it, both puzzled and scared.EXT. THE BACK DOOR OF THE RECTORYJANE approaches it, holding a piece of paper in her hand-her tally sheet. She knocks. Waits. There is no answer. Sheknocks again. Waits. No answer. She tries the door. Itopens. JANE Father Lowe?No answer. After a moment of interior debate, JANE entersthe kitchen.INT. JANE, IN THE RECTORY KITCHENShe looks around. No one here. But there is a bloody spot onthe counter- LOWE must have set his grisly luncheon downhere for a moment. She walks slowly across the kitchen andinto the dark hall. JANE Father Lowe?... I've got my tally sheet...Farther into the hall. A hand drops onto her shoulder. LOWE (voice) Very good, Jane!She jumps, and so do we. She turns around and looks up at:INT. FATHER LOWE, ECUFeaturing his eyes- his eye, rather. The left is coveredwith a black eye-patch. LOWE (grins) Good, Jane. Very... very good.He holds his hand out, and JANE puts the tally sheet in itlike one in a dream. She can't take her eyes off that blackpatch, which tells her everything.INT. THE HALLWAY, WITH JANE AND LOWE LOWE (concerned) Jane! You're trembling! JANE I... I don't feel so well, I guess maybe I got too much sun. LOWE Would you like to come in the parlor and lie down for a bit? Or have a cold drink? I have some soda- JANE No! (softer) That is, I have to get home and help my mom with lunch. LOWE I'll give you a ride!JANE is retreating down the hall toward the front door. JANE No- she... she was going to meet me at the market. I'll be fine.INT. LOWE, CUHow much does he know? How much has he guessed? Hard to tellfrom his face, which now seems sinister, with its eye-patch. LOWE Give my best to your brother, Jane.INT. JANE, AT THE PORCH END OF THE HALLWAY JANE I will.She bolts.INT. LOWE, IN THE HALLWAYCAMERA HOLDS ON HIM, standing silent and enigmatic. LOWE (soft) Real slow.EXT. THE COSLAW BACKYARD, WITH MARTYHis eyes are wide. He's leaning forward in his wheelchair. MARTY (almost moaning) Oh, Jeez! What did you do then?EXT. JANE AND MARTYShe's changed into shorts and a blouse. JANE I ran faster than I ever ran in my life- what do you think, dummox? By the time I got back here, I really thought I was going to faint. (Pause) What are we going to do, Marty? If we tried to tell anybody- grown-ups, I mean- they'd laugh. What are we going to do? MARTY (thoughtfully) I think I know.INT. A SHEET OF RULED SCHOOL NOTEBOOK PAPER, CUA hand- MARTY'S- comes into the frame and prints: I KNOW WHOYOU ARE, AND I KNOW WHAT YOU ARE.INT. MARTY'S ROOM, WITH MARTYHe's sitting at his desk, a pool of light from the lampfocused on the sheet of paper before him. He thinks amoment, then begins to write again.INT. THE NOTEBOOK PAD, CUHe is adding: WHY DON'T YOU KILL YOURSELF?INT. MARTY, AT HIS DESKHe studies this for a second, and seems satisfied. He opensa drawer, brings out an envelope, and folds his letter intoit.EXT. JANE, ON MAIN STREETShe has the letter in her hand. She approaches the mailbox,opens the mailbox door, and then glances at the envelopeagain.EXT. THE ENVELOPE, JANE'S POVAddressed in pencil, it says: FATHER LESTER LOWE/HOLY FAMILYRECTORY; 149 MAIN STREET/TARKER'S MILLS, MAINE.EXT. JANE, AT THE MAILBOXShe drops the letter in with the air of a girl lighting thefuse on a packet of high explosives. She turns away towardhome.INT. THE RECTORY LIVING ROOM, WITH LESTER LOWEHe's standing at the window and looking out. The torn-openenvelope is on an end table beside him. He's holding thelined sheet of paper in his hand. An expression of bitterhate twists his features, and he slowly crumples the paperin his fist.EXT. JANE, AT THE MAIN STREET MAILBOXShe drops in another letter and walks away. JANE (v-o) I mailed another letter for Marty the next day... a third the day after that. Then, on Saturday...EXT. THE TARKER'S MILLS COMMON, LONGParked at the curb is UNCLE AL'S sports car. JANE (v-o) ...we told Uncle Al what we'd been up to. (Pause) His reaction was less than serene.EXT. UNCLE AL, JANE, AND MARTY, ON THE COMMON UNCLE AL Holy-jumped-up-baldheaded-Jesus-CHRIST! JANE Uncle Al- UNCLE AL (to JANE) From him I'd expect it. I sometimes think his common sense got paralyzed along with his legs. But you, Jane! You! Little Polly Practical! JANE (quiet) You don't understand. UNCLE AL (wildly) Oh, I understand plenty! I understand that my niece and nephew are sending the local Catholic priest little love notes suggesting that he gargle with a broken light bulb or eat a rat-poison omelet! MARTY It came for me! I shot it in the eye! Now he's wearing an eye-patch! UNCLE AL I called Peltzer on my way over here, Marty! Father Lowe came into the drugstore two days ago for a bottle of otic solution. That's a fancy way of saying eyewash. He's got a corneal inflammation. MARTY Was it a prescription? UNCLE AL What the hell does that matter? MARTY It wasn't- I'll bet you it wasn't. Because to get a prescription he'd have to see a doctor. UNCLE AL Marty, Marty, you should hear yourself! MARTY Well... was it a prescription? UNCLE AL I don't know. But I know you didn't see any werewolf the other night, Marty. You had a dream, that's all. An extremely realistic nightmare brought on by what's been happening in this town. MARTY What about the baseball bat Jane saw in his shed? You know who used to have a baseball bat like that? Mr. Knopfler! He was so proud of it he used to carry it in the Fourth of July parade! Jane said it looked like the Green Giant used it for a toothpick! UNCLE AL You want to know what I think? MARTY No- we just got you out here so we could admire your pretty face. UNCLE AL Watch it, dear boy. I think it was a hallucination. Probably a broomstick, or something. JANE (indignant) It was not! You want me to show you! Come on! I'm not afraid! I'll show you right now! UNCLE AL No thank you, Jane. I'm a little old for palying the Hardy Boys Meet the Catholic Werewolf.JANE stamps her foot, furious with UNCLE AL. MARTY Never mind, Jane. He'll have gotten rid of it by now anyway.EXT. OUTSIDE OF ROBERTSON'S LUNCHEONETTEThe Silver Bullet stands outside. The door opens and UNCLEAL, JANE, and MARTY come out. UNCLE AL is carrying MARTYpiggyback. MARTY has an ice cream cone. JANE is holding two.UNCLE AL squats, depositing MARTY in the Bullet. MARTYstarts the engine as JANE hands UNCLE AL his ice cream cone.The three of them start up the street and THE CAMERA TRACKSTHEM. JANE If Father Lowe is an innocent little lamb, why hasn't he picked up the telephone and called Constable Haller to tell him Marty's sending poison-pen letters? UNCLE AL I don't accept the idea that he knows who his letter writer is, Jane. Because I don't accept the idea that there was a big bad wolf who saw Marty in his wheelchair. JANE Why hasn't he picked up the phone and told Constable Haller that someone is sending him poison-pen letters?UNCLE AL stops. He hasn't thought of this. He looks toward:EXT. THE CATHOLIC RECTORY, LONG - UNCLE AL'S POVLESTER LOWE is mowing the lawn, eye-patch and all.EXT. MAIN STREET, WITH UNCLE AL, MARTY, AND JANE UNCLE AL (a bit perplexed) Well... he probably did. I mean, he could make a complaint without taking an ad out in the paper, couldn't he? MARTY I'll bet you a quarter that eyewash stuff was nonprescription. And I'll bet you another quarter he hasn't said anything to Mr. Haller. UNCLE AL Marty, do you see your suspect?EXT. THE RECTORY LAWN, WITH LESTER LOWEKeeps on moving. MR. ASPINALL drives by and waves. LOWEwaves back.EXT. MAIN STREET, WITH UNCLE AL, MARTY, AND JANE MARTY (grim) Yes, I see him. UNCLE AL Do you really think that a man who took a rocket in the eye three nights ago could be out mowing his lawn? He'd either be in the hospital... or dead. MARTY I didn't shoot him when he was a man. I shot him when he was- UNCLE AL When he was a werewolf. Yes. Right. Jesus. Jane, you don't really believe this madness, do you? JANE I don't know exactly what I believe. But I know that what I saw was a baseball bat and not a broomstick. I know there was something strange about the way the house smelled that day. It smelled like an animal's den. And I believe in Marty. I mean- there are times when he makes me so mad I could kill him, but I still believe in him. (Pause) You used to believe in him, too, Uncle Al.UNCLE AL looks momentarily ashamed of himself. Then hethrows his hands up in disgust. UNCLE AL Kids!He walks ahead of them. MARTY bats his eyes sweetly at JANE.She walks on, miffed. MARTY gooses the Silver Bullet tocatch up.EXT. A FIELD ON THE OUTSKIRTS OF TOWN DAYIt's midafternoon. A bunch of kids are playing baseball. Inthe extreme f.g. we see one small boy- MARTY- sitting backto us in his wheelchair, watching.EXT. AN OLD COUPEIt draws slowly along a tree-lined lane and stops. LESTERLOWE is behind the wheel.SOUNDS OF THE BASEBALL GAME CONTINUE.EXT. THE BASEBALL FIELD, AND MARTY, LOWE'S POVTHE CAMERA MOVES SLOWLY IN ON MARTY'S BACK.EXT. LESTER LOWE LOWE (quietly) Little bastard.EXT. A FLY BALLEXT. THE FIELD, A WIDER SHOTThe field team heads in. Kids start streaming back towardtown.EXT. MARTYThe OUTFIELDER who caught the fly trots past, and glanceshis way. OUTFIELDER You comin' down to Robertson's for a soda, Marty? MARTY No- I guess I'll go home.I think that here we are seeing a rare moment of depressionin MARTY- they can run and play ball. He can't. OUTFIELDER Okay- seeya! MARTY Yeah... seeya.He fires up the Bullet and starts away alone.EXT. LOWE'S COUPEHe starts it up.EXT. MARTY, LOWE'S POVHe bumps up a grassy slope to a tarred road. The last of theother kids are headed back the other way. MARTY is alone.EXT. LOWE'S COUPEIt turns out of the lane where it was parked and onto theroad.EXT. MARTY'S WHEELCHAIR, LOWE'S POVMARTY'S back is to us. The wheelchair draws rapidly closerto THE CAMERA as LOWE bears down on it.INT. LOWE, BEHIND THE COUPE'S WHEELHe leans over the wheel, grinning sadistically. LOWE (whispers) Bastard.EXT. MARTY, IN THE SILVER BULLETHe's daydreaming his way along- maybe, inside his head, he'splaying center field for the Dodgers.SOUND: Winding roar of a car engine. MARTY turns around.EXT. LOWE'S COUPE, MARTY'S POV, ROARING AT THE CAMERAEXT. MARTY AND LOWE'S COUPEMARTY opens the throttle wide and the Bullet swerves acrossthe road. The coupe's bumper actually clips it on the wayby, jolting MARTY and almost overturning the Bullet.LOWE'S coupe veers over the embankment and partway down intothe ditch.INT. LOWE, BEHIND THE WHEEL OF THE COUPE LOWE Oh, you bastard!He floors the engine.EXT. THE COUPE'S REAR WHEELSSpinning helplessly in the dirt.EXT. MARTY, IN THE SILVER BULLETHe speeds past the coupe, and thumbs his nose.INT. LOWE, IN THE COUPEHe's in a teeth-grinding fury. He jams the gear-shift leverinto reverse and floors the gas pedal again.EXT. THE COUPEIt roars backward in a cloud of ditch dust and bounces ontothe road. Then it screams out after the rapidly disappearingSilver Bullet.EXT. THE SILVER BULLET, WITH MARTYHe hears the GROWLING SOUND of LESTER LOWE'S coupe. He looksbehind.EXT. THE COUPERoars toward THE CAMERA.EXT. MARTY, IN THE SILVER BULLETHe twists the throttle and the Silver Bullet responds.EXT. CHASE MONTAGEThe director will shoot it as he likes- the basis is simple:LOWE is chasing MARTY's hopped-up wheelchair along a countryroad at speeds approaching fifty MPH. MARTY should have acouple of near misses, and perhaps we could actually havehim pass one car. At one point we should have a REVERSEANGLE on LESTER LOWE'S coupe, featuring two bumper stickers:ATTEND AND SUPPORT YOUR LOCAL CHURCH and HONK IF YOU LOVEJESUS!As the chase goes on it becomes apparent that LOWE isgaining. MARTY looks increasingly desperate. And now helooks down at:EXT. THE SILVER BULLET'S GAS GAUGE, MARTY'S POVThe needle is all the way over on "E."EXT. MARTYHe groans. SOUND of the coupe's engine GROWS LOUDER.EXT. THE COUPE AND THE SILVER BULLETLOWE charges, rapidly closing the distance. MARTY swervesfrom one side of the road to the other, escaping LOWE forthe moment but almost overturning in the process.They are now running beside a river- the Auger River, infact.EXT. THE BULLET'S GAS GAUGENow the needle is actually past "E."EXT. MARTY MARTY Come on, baby... come on...His face registers hope as he sees:EXT. ROADSIDE SIGN, MARTY'S POVAUGER RIVER COVERED BRIDGE 2000 FEET AHEAD AUTOMOBILESPROHIBITED!EXT. MARTY, IN THE BULLETHe twists the throttle as far as it will turn- he's goingfor broke. The coupe chases him- and now the Silver Bullet'smotor COUGHS.EXT. THE BRIDGE, MARTY'S POVIt's pretty ramshackle. A big orange sign beside it reads:BRIDGE UNSAFE! TRUCKS AND AUTOS ABSOLUTELY PROHIBITED!EXT. THE SILVER BULLETMARTY brakes, hits the shoulder of the road, and somehowmakes the turn. We see him holding on for dear life as theSilver Bullet bounces and jounces down the dirt road to themouth of the covered bridge.EXT. LOWE'S COUPEIt overshoots the right turn MARTY just took, screeches to ahalt, backs up, and turns onto the lane.EXT. THE SILVER BULLETIt bounces up the incline to the bridge, MOTOR COUGHING ANDSPLUTTERING.EXT. THE COUPEIt comes to a sliding, dirt-digging stop.INT. LOWE, BEHIND THE WHEELHis face is so full of frustrated hate that it has becomethe face of a gargoyle.EXT. THE SIGN PROHIBITING MOTOR TRAFFIC, LOWE'S POVEXT./INT. THE COVERED BRIDGE, WITH THE BULLETIt's dim and spooky in here. Cracks between the boards ofthe side walls allow dusty fingers of daylight to shinethrough. More light rays up from the cracks in the floor.The floorboards are warped and uneven; MARTY'S wheelchairsways drunkenly from side to side. The total inside passageis about seventy feet.About halfway across, the Silver Bullet coughs its lastcough and splutters its last splutter. It rolls alongsilently, going on its dying momentum.EXT. THE FAR END OF THE BRIDGE, MARTY'S POVDrawing closer. We hear the SOUNDS of boards rumbling underthe Silver Bullet's tires and the Auger River beneath.EXT. MARTY, REVERSERolling ever more slowly, the Silver Bullet approaches THECAMERA... and stops. MARTY is covered with sweat. His hairis in a wild tangle. He's panting. He looks at:EXT. THE LANE LEADING AWAY FROM THE BRIDGE, MARTY'S POVThis is an extremely rustic lane. Pretty, but hardly thesort of place in which one would want to find oneself whenone has a part-time werewolf and a full-time homicidalmaniac close behind.EXT. MARTY, AT THE MOUTH OF THE BRIDGE LOWE (soft voice) Marty...MARTY'S head whips around.EXT. THE FAR END OF THE BRIDGE, MARTY'S POVWe see a brilliant square of light. In it stands LOWE'Ssilhouette. The silhouette begins to move. SOUND offootfalls on the loose floorboards of the covered bridge.INT. LOWE'S SHOESSensible black Oxfords. LOWE I'm very sorry about this. I don't know if you believe that or not, but it's true. I would never willingly hurt a child. You should have left me alone, Marty.SOUND of footfalls resumes.EXT. MARTYHe's nearly paralyzed with terror- even if he wasn't, hewouldn't get far in a powerless Silver Bullet.INT. LOWE, IN THE SHADOWS LOWE (soft; soothing) I can't kill myself, Marty. You see, our religion teaches that suicide is the greatest sin a man or a woman can commit. Stella Randolph was going to commit suicide; if she had done so, she would be burning in hell right now. By killing her I took her physical life but saved her life eternal. You see, Marty? You see how all things serve the will and the mind of God? You see, you meddling little shit!He begins to walk forward again.EXT. LOWE, MARTY'S POVHe's halfway across the bridge now, walking slowly, nothurrying. LOWE You're going to have a terrible accident, Marty. You're going to fall into the river.SOUND: TRACTOR ENGINE. LOWE stops, alert to possible danger.EXT. MARTYTRACTOR SOUND IS LOUDER.MARTY'S face fills with hope. He looks from LOWE toward:EXT. THE LANE, MARTY'S POVTHE TRACTOR SOUND gets louder still, and here comes ELMERZINNEMAN on a John Deere. The tractor is hauling a manurespreader which is mostly empty.EXT. MARTY MARTY (waving madly) Mr. Zinneman! Mr. Zinneman!INT. THE COVERED BRIDGE, WITH LOWEHe draws back a little, and his face is sharp with animalcunning- inside his head he's running a four-minute mile.Stay and try to bluff it out, or beat it?EXT. ELMER AND MARTYELMER draws the tractor up close to MARTY and swings itaround. MARTY looks back at:INT. THE COVERED BRIDGE, MARTY'S POVEmpty.SOUND OF A CAR STARTING, FAINT.EXT. MARTY AND ELMERMARTY looks back at ELMER. MARTY I ran out of gas. ELMER Spooky in there, ennit? MARTY (with feeling) It sure is!He looks back once more toward:EXT./INT. THE COVERED BRIDGE, MARTY'S POVBrooding, shadowy. CAMERA HOLDS AND WE DISSOLVE TO:EXT. THE COSLAW BACKYARD DAYMARTY is talking to UNCLE AL. JANE is behind them, knockingcroquet balls through the wickets on the back lawn.MARTY is looking at his Uncle anxiously as JANE strollsover. UNCLE AL Well... it's a lot easier to swallow without the hair and the foaming jaws. Also, I checked on the otic solution. It was counter brand. No prescription needed. MARTY I told you! UNCLE AL Shut up, dear boy- no gloating allowed. JANE (sits down) Did you talk to the constable? UNCLE AL After Marty called me with his latest Thrilling Tale of Wonder, I did. (Pause) He's had no poison-pen complaints lodged at all. MARTY I told you! JANE Shut up, Marty. UNCLE AL (reluctantly) There's something else. MARTY JANEWhat is it? What other thing? UNCLE AL I probably shouldn't tell you- you're both hysterical on the subject. I'm starting to feel like a guy handing out free Arthur Murray coupons to victims of the dancing sickness. MARTY Uncle Al, if you don't tell me-He makes strangling gestures. UNCLE AL (reluctant) I went out to that rest area. MARTY (triumph) You found the tracer? UNCLE AL No... but I found some blood, smeared on a tree trunk in that grove. MARTY There! You see! UNCLE AL It could have been anything, Marty. MARTY What about Father Lowe chasing me in his car and trying to run me down? You don't think that was a dream, do you? UNCLE AL No.UNCLE AL comes over to JANE'S side of the Silver Bullet. Helooks down at:EXT. THE FRAME OF THE BULLETThere's a scrape and a dent where LOWE'S coupe dented it.There is also a fleck of paint.EXT. UNCLE AL AND JANE, CU UNCLE AL Lowe's car-? JANE Blue. This blue. UNCLE AL Jesus.EXT. THE NIGHT SKY, WITH THE MOONThree-quarters full.THE CAMERA PANS DOWN to the Tarker's Mills town hall. UNCLEAL'S sports car is parked out front.INT. THE CONSTABLE'S OFFICE, WITH HALLER AND UNCLE ALHALLER is behind his desk, rocked back in his chair, handslaced together behind his head. He's looking at UNCLE AL.There's a silence that draws out for quite some time. In it,UNCLE AL becomes steadily more uncomfortable. HALLER That's just about the craziest damn story I've ever heard, Al. UNCLE AL I know. I could have edited out all of the completely crazy stuff, but I thought you deserved to hear it with the bark on. HALLER I appreciate that. Now, the next question: Do you believe any of this? You do, don't you? UNCLE AL Let's just say I believe Lester Lowe should be checked out.HALLER rises. HALLER That can be arranged.They shake hands.EXT. THE RECTORY NIGHTA Chevrolet with TARKER'S MILLS CONSTABLE painted on theside in gold leaf pulls up. JOE HALLER gets out, and as hedoes there's a business of pulling his pants legs down overhis boots- nice stitched cowboy boots, not black cop'sshoes. We want the audience to notice these boots, rememberthem- probably HALLER should wear them all through thepicture. He goes up the walk.HALLER rings the doorbell.No one comes. HALLER rings the bell again. Waits. No onecomes. He leans down and looks through a side window.INT. THE RECTORY HALL AND SITTING ROOM, HALLER'S POVNo one there.EXT. HALLERHe goes down the steps, stands on the path for a moment, andthen goes over to the shed-garage. He opens the door andlooks in.EXT./INT. THE GARAGE, HALLER'S POVLOWE'S coupe is in there. There's just room for it amid theshadowy piles of bottles and cans.INT. THE GARAGE, WITH HALLERHe goes around to the front of LOWE'S coupe and squats down.In the b.g.: a heaped mountain of aluminum beer and sodacans.HALLER feels in his breast pocket and brings out a Zippo. Helights it and looks at:INT. THE COUPE, CUOne of the turn-signal lamps is broken. There's a scratch inthe paint and a dent in the bumper. HALLER'S fingers comeinto the frame and touch the scratch. They stop, and THECAMERA ZOOMS IN to a small streak of silvery paint. As MARTYhas a scrape of blue car paint on his wheelchair, so doesLOWE have a scrape of silver wheelchair paint on his car.INT. HALLERHis eyes widen.SOUND: SHATTERING ROAR and the CLINK AND TUMBLE of aboutnine thousand cans as LOWE erupts from under the aluminumscrap heap behind HALLER. He is a mixture of man andwerewolf, and quite clearly a beastial version of LOWE. Inone hand he holds the remains of OWEN KNOPFLER'S peacemaker.HALLER starts to turn; LOWE strikes him with the bat. CAMERACLOSES IN ON LOWE as the bat rises and falls... rises andfalls. We can't see HALLER, and that is probably a mercy,but we can hear the THUD of the bat as it strikes again andagain and again.EXT. THE REST AREA AT AUGER FALLS, WITH MARTY, AL, JANEDAYUNCLE AL has taken the Coslaw family station wagon today.The three of them are sitting in the grove of trees. MARTY Mr. Haller said he'd check him out, and guess what? No one sees him again! UNCLE AL And what do you suggest I do about it, dear boy?MARTY slips off his St. Christopher's medallion and hands itto UNCLE AL. MARTY I want you to turn this into a silver bullet. UNCLE AL You're not going to let it go, are you? MARTY I saw what I saw. UNCLE AL Marty, the moon wasn't even full! JANE (quietly) In the made-up stories, the guy who's the werewolf only changes when the moon is full. But maybe he's really that way almost all the time, only as the moon gets fuller... MARTY (finishes) ...the guy gets wolfier. JANE (hands AL her crucifix) Here. Take mine, too. MARTY Jane... you don't have to do that. JANE Don't tell me what I have to do and what I don't, booger-brains. MARTY Will you marry me, Jane? UNCLE AL Would you kids mind telling me how this guy Lowe became a werewolf to begin with? JANE I don't know. Maybe he doesn't know, either. MARTY No one knows how cancer begins, either- or exactly what it is- but people still believe in it. UNCLE AL The kid is eleven years old and already he sounds like a Jesuit. A French Jesuit. MARTY I think he's going to come for me. Not just because I know who he is, but because I hurt him. Only I don't think he'll try again as Lowe. UNCLE AL Dear boy, you have gone right out of your mind. MARTY Will you do it?UNCLE AL only looks at him, confused and unsure.EXT. A COUNTRY ROAD, WITH THE COSLAW STATION WAGON DAYUNCLE AL is taking the kids home- THE CAMERA TRACKS thewagon for a moment, and then we are looking up the shortlane and into a gravel pit.THE CAMERA ZOOMS IN, FAST, on the sandy rear wall. We cansee one cowboy boot sticking out of a wall of sand. It'sbloody and chewed.EXT. THE COSLAW DRIVEWAY DAYThe wagon pulls in.INT. THE CAR, WITH MARTY, JANE, AND UNCLE AL MARTY Please, Uncle Al. JANE Will you?The St. Cristopher's medal and the crucifix are hanging fromthe rearview on a fine silver chain. UNCLE AL takes down themedal and looks at it. UNCLE AL All right. I give up. Yes. MARTY JANEAll right! Thanks! Thank you, Uncle Al! UNCLE AL If either of you ever tells anyone I even bought a piece of this story, werewolves will be the least of your problems.EXT./INT. SILVER BULLET MONTAGEa.) UNCLE AL pulls up to a city store front with a signreading MAC'S GUNS AND AMMO. He takes out the St.Cristopher's medal, looks at it, and shakes his head, as ifstill ruing his own credulity and stupidity. He goes inside. JANE (voice-over) Uncle Al's friend Mac was more than a gunsmith; he was, Uncle Al said, an old-world craftsman, a sort of wizard of weapons.b.) In the gun shop interior, we see UNCLE AL talking toMAC, who really should look like an elderly white wizard- akind of Gandalf figure. In the b.g. window we see a paperskeleton and paper jack-o'-lanterns: our first clue that AllHallow's Eve is nearing. UNCLE AL is speaking animatedly,using his hands a lot; we don't know exactly what the taleis, but it must be a whopper. In the course of it, he handsthe medal and the crucifix to MAC, who tents the silverchains over his fingers and looks at them. JANE (v-o continues) God knows what sort of story my uncle told him, but I think that for men who have been married as often as Uncle Al, invention on short notice becomes something of a specialty.c.) In his workroom, we see MAC spilling boron over themedal and looking closely at the stain. JANE (v-o continues) The gunsmith confirmed the high-grade silver content of my crucifix and Marty's medallion...d.) In a dim shot which makes MAC look more like a sorcererthan ever, we see him light an acetylene torch and beginmelting the medal and the crucifix in the crucible. THECAMERA MOVES SLOWLY IN as JANE'S contribution and MARTY'Smelt together; they are becoming on and indissoluble. JANE (v-o continues) ...melted them down...e.) We see MAC pouring molten silver into a bullet mold. JANE (v-o concludes) ...and molded them into a silver bullet.INT. MAC'S GUN SHOP, WITH MAC AND UNCLE AL DAYMAC comes out of the back with a small inlaid wooden box. Heputs it down on the glass counter top. MAC Here it is.INT. THE BOX, CUMAC'S hands open it, disclosing a single bullet resting ondark velvet plush. It is a .22 short round, and it gleams apure silver. It would be great to hype this bulletoptically- not much, just a little- to make it lookabsolutely magical. Almost holy.INT. MAC AND UNCLE ALUNCLE AL picks up the bullet almost reverently, holds it tothe light. MAC Nicest piece of work I ever did, I think. It's got a low-grain load so it won't tumble. Should be pretty accurate. UNCLE AL It's just a gag, that's all. What would you shoot a silver .22 bullet at, anyway? MAC (joking) How about a werewolf? (Pause) Happy Halloween, Al.EXT. THE FULL MOON, CLOSE NIGHTIt nearly fills the screen, swimming mysteriously in thewarm summer air. JANE (voice-over) By the time Marty's silver bullet was done, it was Halloween... and the full moon had come around again. Earlier that afternoon, my grandfather, who had been dying of cancer for over seven years, finally finished the job.THE CAMERA PANS DOWN to the COSLAW house. There's a carvedjack in the window and a corsage of Indian corn on the door.UNCLE AL'S MG is in the driveway. The COSLAW station wagonis just backing out. UNCLE AL and JANE stand in the doorway;MARTY is slightly behind them in the Silver Bullet.NAN leans out of the car. She's wearing black, and she hasobviously been crying. NAN Remember, Al... we'll be at the Ritz-Carlton in Boston tomorrow night! Or at the funeral parlor. It's Stickney and- UNCLE AL -and Babcock, I remember. Now go on!The station wagon backs farther and NAN leans out again. NAN And don't open the door for any trick or treaters even if they come! UNCLE AL We won't!The station wagon backs out into the road and NAN pops outagain. NAN You kids go to bed on time! You've got school tomorrow! UNCLE AL If you keep doing that, you're going to bump your head, sissy. Give my love to Mama- tell her I'll see her Thursday. NAN I will- be good, kids. MARTY JANE'Bye, mom! Bye, dad! We will! 'Bye!The station wagon accelerates away. UNCLE AL Can I tell you kids something? JANE Sure, Uncle Al. UNCLE AL When me and sissy were kids, we were just like you two. MARTY Yeah? Really? UNCLE AL Yeah. Really. The bitch of it is, we still are. Learn from your elders, dearies.He ushers them inside and closes the door.INT. THE STATION WAGON, WITH BOB AND NAN BOB I can't believe that you'd agree to leave the kids with him. A year ago I would have laughed at the idea. You used to almost breathe fire when Al came in the house. NAN He's changed. Just this summer. Or something's changed him. Marty, maybe. And the drinking- I think it's almost stopped. Whatever it is, it's wonderful. And they'll be safe with him. I'm sure of it. BOB I know they'll be safe with him... but will he get them both into bed by nine-thirty? NAN (firmly) If I told him to, he will.INT. THE WALL CLOCK IN THE COSLAW LIVING ROOM NIGHTIt reads 1:00.SOUND: The National Anthem.INT. THE TV, CUThe anthem finishes up. We go to a station ID card. ANNOUNCER'S VOICE This concludes WDML's broadcast day.The TV goes to snow.INT. JANE ON THE COUCHShe's mostly asleep in one corner.INT. MARTY, IN THE SILVER BULLETHe's also dozing.INT. UNCLE AL, IN BOB'S EASY CHAIR IN FRONT OF THE TVHe is also dozing. There are three or four empty beer cansin front of him, and a cigarette with a long ash issmoldering between his fingers. There's a .22 pistol in hislap.EXT. THE COSLAW HOUSE, FROM ONE SIDEThe WEREWOLF breaks from the woods and runs across the sideyard to a line of high bushes that runs along the side ofthe house (this is the opposite side from MARTY'S bedroom).EXT. IN THE BUSHES, WITH THE WEREWOLFThere is a space in here between the house and the bushes-it's like an animal's run. The WEREWOLF creeps along this,its one eye flaring.DIM SOUND OF TV SNOW.INT. THE LIVING ROOM, WITH MARTY, JANE, AND UNCLE ALUNCLE AL jumps up and cries out as the cigarette burns up tohis fingers. The .22 falls onto the rug.MARTY and JANE also wake up, startled.EXT. IN THE BUSHES, WITH THE WEREWOLFIt recoils, eyes gleaming. Foam begins to drip from itsjaws. It creeps slowly along toward a window. TV SNOW SOUNDSGROW LOUDER.INT. THE LIVING ROOM, WITH AL, JANE, MARTYUNCLE AL is shaking his burned hand; he picks the cigaretteout of his lap and puts it out. JANE (sleepy) You'll burn yourself up sometime doing that, Uncle Al. UNCLE AL I suppose so. You kids ought to go up to bed. MARTY But Uncle Al! You said- UNCLE AL I know what I said, Marty- but it's ten past one. He's not coming. JANE The moon's not down yet... UNCLE AL Damn near. Now I'll sit up with this stupid gun in my lap because I promised, but you two are going to bed. Go on, now, scoot.JANE gets up and starts toward the stairs. MARTY What if I say no? UNCLE AL Then I'd have to kick your ass, dear boy. (more kindly) Go on, now.MARTY begins to roll the Silver Bullet toward the stairs,where the stair chair awaits. JANE is waiting for him at theliving-room doorway. MARTY sees the gun on the floor andstops. MARTY If that'd gone off, it would have been the end of our silver bullet.INT. UNCLE ALHe prickles a bit at the unstated criticism. He bends downand picks up the pistol. He opens the cylinder. Fivechambers are empty; in one there's a bright silver circle.INT. UNCLE ALHe pushes the cylinder plunger, dropping the silver bulletinto his hand. UNCLE AL See, dear boy? Totally unimpaired.Behind him, the WEREWOLF'S head appears in the window, itsgreen eye flaring.INT. BY THE LIVING ROOM DOORWAY, WITH MARTY AND JANEMARTY, looking toward UNCLE AL, sees nothing. JANE islooking toward the window and she SCREAMS. JANE (shrieking) It's him! It's the werewolf! I see him! IT'S THE WEREWOLF!She's pointing at the window.INT. UNCLE ALHe jumps up and looks around at the window- at this point ALhas the .22 with its cylinder open in one hand and thesilver bullet loosely held in the other.Nothing in the window but darkness. UNCLE AL turns back tothe kids. UNCLE AL (sharply) You see it, Marty!INT. MARTY MARTY (shakes his head) I was looking at you...INT. UNCLE ALHis shoulders slump a little with relief- now that the scareis over, his relief is tempered with irritation. They'rejust a couple of hysterical kids after all, and JANE isactually worse than MARTY. Polly Practical indeed! UNCLE AL A very familiar feeling is beginning to creep over me.INT. MARTY AND JANE, BY THE DOORWAYJANE is crying. MARTY What's that, Uncle Al?INT. UNCLE AL UNCLE AL I feel like a horse's ass.INT. MARTY AND JANE, BY THE DOORWAY JANE (weeping) I saw it, Uncle Al! I did!MARTY rolls a little closer to her and attempts to put acomforting arm around her shoulder. JANE Don't you touch me, snotbrains! MARTY Jane-INT. UNCLE AL UNCLE AL Would you kids go to bed? My head's starting to ache.EXT. THE SIDE OF THE HOUSE, ECUWe see a clawed, hairy hand reach into the frame and closearound a thick wire. WEREWOLF (voice) Reeeal slow...It yanks.INT. THE LIVING ROOM, WIDEThe lights go out.JANE SHRIEKS. MARTY It's here! It's outside!INT. UNCLE AL UNCLE AL Jane, it's just a power fai-He's starting toward her. At that moment most of the wall-not just the window it was looking through before but thewhole wall- crashes inward as the WEREWOLF bulls its waythrough, roaring.UNCLE AL whirls, raising the pistol automatically to fire-but the cylinder is rolled out and all the chambers areempty. He has time to register surprise before the WEREWOLFsmashes him aside.INT. UNCLE AL, A NEW ANGLEHe goes flying backward. The pistol goes one way, the silverbullet another.INT. THE GUNIt spins into a living-room corner.INT. THE SILVER BULLET, SLOW MOTIONWe see it rise in the air, turning over and over. It comesdown, hits the floor, and rolls.INT. THE HALLWAY FLOOR, WITH THE BULLET, SLOW MOTIONIn the extreme f.g. is a heating vent. The bullet is rollingtoward it.INT. MARTY AND JANE MARTY Get the gun!He uses his hands to propel the ungainly Silver Bullet intothe hall.INT. THE BULLET (THE REAL BULLET) AND MARTY, SLOW MOTIONThe silver bullet rolls slowly toward the heating vent. Inthe b.g. we see a frantic MARTY in his wheelchair.He heaves himself out of it and falls full-length, grabbing.His fingers touch the bullet, but that's all. It falls inthe heating vent.INT. THE WEREWOLF, CUIt's roaring, furious, its one eye flaring.INT. THE LIVING ROOM, WIDEUNCLE AL lies senseless against one wall, the front of hisshirt bloody. JANE runs into the corner and grabs thepistol.The WEREWOLF picks up the easy chair and throws it throughthe hole it made coming in. It picks up an end table andhurls it through the TV. Then it sees JANE and starts towardher.INT. JANE, COWERING IN THE CORNERINT. THE WEREWOLF, CUComes toward her.INT. JANE IN THE CORNERShe makes as if to run one way.INT. JANE AND THE WEREWOLFIt's only a couple of feet from her now, but again, it istoying with her- it's making this reeeal slow.INT. THE FIREPLACE TOOLS, CUA bloodstained hand grabs a poker.INT. THE WEREWOLF AND JANEAs it tenses down to leap at her, UNCLE AL leaps at it andstrikes it across the back. It turns, ROARING.UNCLE AL hits it between the legs.It BELLOWS and grabs the poker. It bends it and tosses itaside. The glaring, savage expression on its face says thatnow it will bend UNCLE AL and toss him aside.INT. JANEShe breaks out of the corner and runs across the room towardthe door. Most of the way there she trips and falls.INT. THE WEREWOLF, CUIts head whips around.INT. MARTY, IN THE HALLHe's lying full-length. He's got the heater vent's grilleoff. One arm is down inside. MARTY (scream) Janey! The gun! THE GUN!INT. JANEShe tosses it awkwardly.INT. THE GUN, SLOW MOTIONIt slides down the hall floor to MARTY like some strange,awkward shuffleboard disc, its cylinder still open.INT. THE WEREWOLF WEREWOLF (snarls) Maa-aaa-rty...It begins walking slowly across the living room, smashingthings out of its way.INT. MARTY, IN THE HALLThe gun slides into his hand. Now he reaches into theheating duct again...INT. IN THE HEATING DUCT, ECUThere's an elbow bend just below MARTY'S twisting, graspingfingers- the silver bullet lies here. It's less than half aninch out of reach.INT. THE WEREWOLF, CU WEREWOLF (foaming) Maaa-aaa-rty...INT. JANE, ON THE FLOOR JANE (sobbing) Don't you hurt him! Don't you hurt my brother!She bites one of the WEREWOLF'S hairy ankles as it passes.INT. JANE AND THE WEREWOLFIt roars with pain and kicks her aside. Then it looks backinto the hall. It is grinning. I believe it is thinking thisis going to be better than a Thanksgiving dinner you don'thave to pay for. WEREWOLF Reeeal slow, Maa-aaarty-INT. MARTY, CUHe's reaching desperately into the duct and staring at theapproaching WEREWOLF.INT. IN THE HEATING DUCT, ECUMARTY'S fingers brush the bullet once... again... seize it.INT. MARTY, IN THE HALLHe rolls over on his back and sticks the silver bulletblindly into one chamber of the cylinder and slams thecylinder closed.INT. THE WEREWOLF, CU WEREWOLF Bastard Marty!INT. MARTYHe points the gun and pulls the trigger. There's only aclick. An expression of dismay on his face.INT. THE WEREWOLF, CU WEREWOLF Kill you...INT. MARTYHe drags himself so he's half propped against the hall wall.He pulls the trigger again. Click! Dismay becomes fear.INT. THE WEREWOLFIt's reached the Silver Bullet. It smashes it aside. TheBullet hits the wall.INT. MARTYHolding the gun in both hands now, he pulls the trigger athird time. Click!The WEREWOLF'S shadow falls over him.INT. WEREWOLF, ECU WEREWOLF Bastard Marty!It bends down, reaching.INT. MARTY, ECUCraning back as if to drive himself into the wall, he pullsthe trigger again.INT. THE BARREL OF THE .22 MAXI-CLOSEThe bullet flies from the barrel, gleaming silver.INT. THE WEREWOLFThe silver bullet strikes him in his one remaining eye. Heflies backward, hands clapped to his gushing face... andcrashes into MARTY'S Silver Bullet wheelchair. It sitsthere, roaring... and then it begins to change.INT. THE LIVING ROOM, WITH JANEShe lies there, sobbing. UNCLE AL (voice) You okay, Janey?INT. UNCLE AL AND JANEUNCLE AL is bloody and staggering but on his feet. He helpsJANE up. JANE I'm all right... but Marty! Ma-SOUND: SHATTERING ROAR.INT. THE WEREWOLF, ECUIts hands drop from its face. It is now blind in both eyes;it is half WEREWOLF and half LOWE.It BELLOWS again, convulses... and dies.INT. MARTY, ON THE FLOOR MARTY (calls) I'm all right. He's dead.INT. UNCLE AL AND JANEHere's a creature that is mostly FATHER LOWE collapsed inthe remains of MARTY'S wheelchair; beyond it, MARTY is lyingon the floor. UNCLE AL goes by the corpse. JANE starts by...and LOWE sits bolt upright for a moment, grasping blindly ather.She shrieks and darts aside. LOWE falls back, now reallydead. I think. Until the sequel.INT. THE HALL, WITH UNCLE AL, JANE, AND MARTYUNCLE AL puts a comforting arm around JANE, who is sobbingagain- hell, I'd be sobbing after that last one, myself- anddraws her down beside himself and MARTY. UNCLE AL (to MARTY) There. I told you there weren't any such things as werewolves.They smile at each other with love. JANE (nervous) Are you sure it's dead? Or him? Or whatever it is? UNCLE AL If it isn't now, it will be after I pound one of your mother's silver candlesticks through its heart. JANE (grimaces) Oh Uncle Al, no! UNCLE AL (grim) Oh yes, Janey. When I believe something, I believe it all the way.He gets up and leaves. JANE Are you all right, Marty? MARTY All except my legs... I don't think I can walk. JANE You're a real booger, you know it? MARTY (smiles) I love you, Jane.EXT. TARKER'S MILLS, LONG NIGHTQuiet. Sleeping. JANE (voice-over) It wasn't always easy for me to answer that... but I could answer it that night, and I find I can say it now that the terrible events of that fall have receded to memories which seem little more than dreams in my mind.INT. THE HALLWAY, WITH MARTY AND JANE JANE (hugging him) I love you, Marty.EXT. TARKER'S MILLS, LONG JANE (voice-over; no more than a whisper) I love you, Marty... good night.THE CAMERA PANS UP to the full moon. FADE OUT.
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+                          SILVER LININGS PLAYBOOK                                          Written by                            David O. Russell                                                                    (Based on the novel by Matthew Quick)                                                                                                      Shooting draft                                                            INT. KAREL PSYCHIATRIC FACILITY - DAY                         OVER BLACK                          PAT           What, are you kidding me? Sundays?           I love Sundays. I live for Sundays.           The whole family's together. Mom           makes braciole. Dad puts the jersey           on. We're all watching the game.           Yeah, it drives me crazy, and yes,           I was negative.          FADE IN ON:          INT. KAREL PSYCHIATRIC FACILITY/PAT'S ROOM - DAY          PAT SOLATANO stands in the middle of his room, his back to          camera.                          PAT (CONT'D)           You didn't even know that I loved           it, Nikki, but I did. I just didn't           appreciate it, or you, before."          There is a knock at the door.           MALE ORDERLY (O.S.)           Come on. Time to go.                          PAT           I lost all that. I blew it. But you           also blew it. We can get it back.           We're gonna get it back. It's all           gonna be better now. I'm better now           and I hope you are, too. And I'm                          GONNA APPRECIATE--"          Another knock at the door. Pat ignores it.                          PAT (CONT'D)           Hey, I'll be there in a minute,           okay?           MALE ORDERLY (O.S.)           Doctor's waiting. Let's go.                          PAT           I'll be there in a minute.          Pat returns to his speech.           3.                                                   PAT (CONT'D)           That's true love.          See glimpses of Pat's room: mayonnaise jar filled with water,          black trash bag strewn on the bed, handwritten sign taped to          Pat's wall, "EXCELSIOR".          INT. PSYCHIATRIC FACILITY/ HALLWAY - DAY          PAT HURRIES DOWN THE STAIRS.                                   INT. PSYCHIATRIC FACILITY/ DISPENSARY - DAY          PAT HOLDS SMALL PAPER CONTAINER WITH PILL.          TIPS HIS HEAD BACK AND DUMPS THE PILL INTO HIS MOUTH.          DRINKS WATER, OPENS MOUTH WIDE AND STICKS HIS TONGUE OUT to          show he swallowed.          PAT WALKS, SPITTING OUT THE PILL. PILL LANDS ON FLOOR.                                   INT. PSYCHIATRIC FACILITY/ROOM - DAY          A GROUP OF PATIENTS SEATED IN A CIRCLE WITH A DOCTOR, HAVING          A GROUP THERAPY SESSION. PAT IS INCLUDED.                          DANNY           Yeah, that's when I had long hair.           People say I talk about my hair too           much.                                                            DANNY SITS BETWEEN TWO OTHER MALE PATIENTS.                          DANNY (CONT'D)           And it was just the way I wanted           it, but he cut it back too far. He           cut this side back too far trying           to even it up. I didn't tell him to           do that. I said, "Just cut it the           way you cut it...."                          PAT           Once you get in the right frame of           mind, I think anything's possible.           I think we get, we so often get           caught in this state of negativity           and it's a, it's a poison like           nothing else.           4.                                   EXT. PSYCHIATRIC FACILITY - DAY          PAT works out: drinks water from his plastic mayo jar, does          squats, sit ups, push ups --          A WOMAN'S FOOT STEPS INTO FRAME NOT FAR FROM HIS FACE -- WITH          RED TOE NAILS IN A WHITE FLAT SANDAL --          Pat looks at the foot -- then looks up --          HIS MOTHER, DOLORES SOLATANO, dressed in a dress.          INT. PSYCHIATRIC FACILITY/HALLWAY - DAY          CAMERA TILTS UP OVER A MALE DOCTOR, DR. TIMBERS, AS HE WALKS          WITH DOLORES. PAT FOLLOWS. CAMERA MOVES BACK WITH THEM.           DR. TIMBERS           ...technically, you can take him           out against our recommendation,           but you assume a lot of liability           in the eyes of the court. And he's           just getting used to the routine           here.                          DOLORES           I don't want him to get used to the           routine here. Eight months is           already long enough.                                   INT. PSYCHIATRIC FACILITY/OFFICE - DAY          CS - A FORM WITH THE HEADING:          HOSPITAL DISCHARGE APPROVAL FORM          PART OF THE FORM, WHICH STATES:          ACKNOWLEDGE THAT THE HOSPITAL BEARS NO LIABILITY          DOLORES SIGNS HER NAME.                                   INT. DOLORES'S CAR - DAY          PAT CLOSES THE REAR PASSENGER DOOR, GETTING INTO THE FRONT          PASSENGER SEAT. DOLORES IN THE DRIVER'S SEAT.          THE CAR BEGINS TO MOVE, DANNY APPEARS., CARRYING A SUITCASE.                          PAT           Hey, Mom. Can we give Danny a ride           to North Philly?          DOLORES STOPS THE CAR.           5.                                                   DOLORES           What? I don't understand.                          PAT           Mom, no, it'll be fine. It'll be           fine.          DANNY OPENS THE REAR PASSENGER SEAT AND GETS INTO THE CAR          WITH HIS SUITCASE.                          DANNY           I guess everybody's leaving today!           Hello, Mrs. S. An honor to finally           meet you. Pat told me all about           you, how God made you rich in           character, and you're the mighty           oak that holds the household           together, and not to mention the           lasagna you make on game day when           the Birds play.                                   EXT. HIGHWAY - DAY          DOLORES'S CAR DRIVES TOWARDS PHILADELPHIA.                                   INT. DOLORES'S CAR - DAY                          PAT           Danny was in for assault because of           crystal meth and alcohol.                          DANNY           Bad combination.                          PAT           Yeah. On top of an anxiety           disorder.                          DANNY           That was when I was an X-ray           technician with my ADD and my           anxiety. I had a lot of access to           medication and I took advantage of           it. That's when my hair was long,           too. But my hair only grew when I           was older. When I was younger, my           hair didn't grow because my           brother...                          (TO PAT)           Remember I told you about my           brother, he had a Jheri curl, and I           couldn't get a Jheri curl because           my hair didn't grow long enough. I           was so jealous of my brother...           6.                                                   PAT                          (TO DOLORES)           He's obsessed with his hair.          DOLORES'S CELL PHONE RINGS. SHE ANSWERS AS SHE DRIVES.                          DOLORES           (into cell phone)           Hello?                          PAT                          (TO DANNY)           It looks great now.                          DANNY           You like it?                          PAT           It's good now.                          DOLORES           (into cell phone)           Yes, it is.          PAT TOUCHES DANNY'S HAIR.                          DANNY           (as Pat touches hair)           Wait, you're going the wrong way!                          DOLORES           (into cell phone)           What? Are you sure about that? I'll           bring him back right away.          DOLORES HANGS UP.                          DOLORES (CONT'D)           You lied to me, Pat. Danny's not           allowed to leave.                          PAT           All right, Mom, just hold on a sec.                                   EXT. STREET - DAY          DOLORES'S CAR BEGINS TO TURN AT A SMALL INTERSECTION.                          PAT                          (VOICE OVER)           Let's just talk about this.           7.                                   INT. DOLORES'S CAR - DAY          DOLORES REACTS AS PAT GRABS THE STEERING WHEEL.                          PAT           Mom, just listen--                                   EXT. STREET - DAY          DOLORES'S CAR SWERVES TOWARD THE LANE AGAIN. A PASSING CAR          HONKS AND SWERVES TO AVOID DOLORES'S CAR.                          DOLORES           Don't tou-...                                   INT. DOLORES'S CAR - DAY          DOLORES REACTS AS PAT GRABS THE STEERING WHEEL.                          DOLORES           ...-ch the steering...                                   EXT. STREET - DAY          DOLORES'S CAR MOVES. THE PASSING CAR HONKS AND SWERVES TO          AVOID DOLORES'S CAR.                          DOLORES                          (VOICE OVER)          ...wheel!                                   INT. DOLORES'S CAR - DAY          DOLORES PULLS THE CAR OVER AND STOPS.                          DOLORES           Pat, this whole thing was a           mistake.                          PAT           I'm sorry, Mom. You okay?                          DOLORES           I am out on a limb for you with the           courts right now.                          DANNY           It's my fault. Pat didn't know. Pat           didn't know. He's my friend, so he           was rootin' for me.                          (MORE)           8.                                                   DANNY (CONT'D)           I'm havin' a disagreement with the           hospital, but we're working it out.           Take me back to the hospital, but           take Pat home, he's fine. Trust me.           You'll see, he's fine. It's my           fault.                          DISSOLVE TO:          INT. DOLORES'S CAR - DAY          THE EMPTY REAR PASSENGER SEAT: DANNY GONE. PAN TO: PAT, IN          THE FRONT PASSENGER SEAT.                          PAT           Mom, can we stop at the library? I           wanna read Nikki's entire English           high school syllabus.          DELORES LOOKS AT HER SON, WORRIED.                          PAT (CONT'D)           Mom, it's a good thing. I'm           remaking myself.          DOLORES SMILES. PRE-LAP INCOMING DIALOG FROM HOUSE:           RANDY (O.S. PRELAP)           DeSean Jackson. What happened to           DeSean Jackson?                                   INT. SOLATANO HOUSE/LIVING ROOM - DAY          CAMERA PANS L. ONTO PAT'S FATHER, PAT SR., AND HIS NEIGHBOR,          RANDY.                          RANDY           Come on, tell me that one.           PAT SR.           It's insanity. He spikes the ball           at the one yard line. The one-           fucking-yard line. I mean, get into           the end zone, dummy. I mean, he           celebrates before he's even in!                          RANDY           You know something? It's nothing           new. Your team does that all the           time. They get close...          PAT SR. LEANS DOWN, SHUFFLES RESTAURANT DESIGN PLANS ON          COFFEE TABLE.           9.                                                   RANDY (CONT'D)           ...and then they blow it. They got           an inferiority complex.                                                            PAT SR. STRAIGHTENS AND TURNS TO RANDY.           PAT SR.           Wait a minute, what are you talking           about? What makes the Cowboys           America's Team?                          RANDY           Because we are, we're America's           Team.           PAT SR.           You should be ashamed of yourself.           We're in Philadelphia, what's the           matter with you? You're a fucking           traitor.                          RANDY           What's more American than a cowboy?           PAT SR.           You know what's more American?                          RANDY           What?           PAT SR.           Benjamin Franklin, that's what's           more American.                          RANDY           Benjamin Franklin?           PAT SR.           Benjamin Franklin. The founder of           our country, here in Philadelphia.                          RANDY           You mean the guy with the...                                   INT. SOLATANO HOUSE/FOYER - DAY          THE FRONT DOOR OPENS AND DOLORES AND PAT STEP INTO THE HOUSE.                          RANDY           ...little glasses and the long           scraggly hair?           10.                                    PAT SR.           What about the lightning with the           kite? He stood in the storm with a           kite.                          RANDY           If he wasn't on the hundred dollar           bill, nobody...          A FRAMED PHOTO OF PAT'S BROTHER JAKE ON THE WALL. PAN TO          EMPTY SPACE WHERE ANOTHER FRAME HUNG --                          RANDY (CONT'D)           ...would even know who he is.          FALLEN FRAMED PHOTO OF PAT, ON THE TABLE BELOW.           PAT SR.           What are you doing? No, no, no, no.           Don't touch them, don't touch them.                          RANDY           I didn't even touch `em. Why are           you--, don't blame me.           PAT SR.           Who did this? Who took, who took,           who took the...                                   INT. SOLATANO HOUSE/LIVING ROOM - DAY          PAT SR. LEANS OVER, STRAIGHTENS MULTIPLE REMOTE CONTROLS ON          TABLE.           PAT SR.           -the remotes like this? Did you do           this, Randy?                          RANDY           No, I don't touch them. As a matter           of fact, I don't know why you need           so many. Hey, there she is! Look           how beautiful!           PAT SR.           (turns, sees Pat)           What?! What's this?!                          RANDY           Hey.          PAT SR. STEPS CLOSER, PATTING PAT ON THE ARM.           PAT SR.           Everything good?           11.                                                   PAT           (awkward, unsure)           Mm-hmm.           PAT SR.           Ahh.          PAT SR. EMBRACES PAT.           PAT SR. (CONT'D)           Where is it?          PAT SR. TOUCHES PAT'S SHIRT.                          PAT           It's right here.           PAT SR.           You got it. Ahh, well, we got that.           We don't want them to steal that.          PAT SR. PULLS A GOLD NECKLACE OUT OF PAT'S SHIRT.                          PAT           You still got yours?           PAT SR.           Yeah, I got mine.          PAT SR. LOOKS AT DOLORES.           PAT SR. (CONT'D)           So what, you don't talk to me? You           didn't tell me you took him out.                          DOLORES           Well, he's ready. Look at him.                          PAT           You didn't tell Dad you were           picking me up?                          DOLORES           Don't worry about that.           PAT SR.           I wanna make sure when you come out           that you're okay, and she didn't           say anything. (to Dolores) You           didn't tell me?                          DOLORES           The court said yes. Don't worry.           12.                                    PAT SR.           Yeah, but what did the doctor say?           Because the, the court listens to           the doctor.                          PAT           Yeah, and the court said--           PAT SR.           The court listens to the doctor,                          THE DOCTOR--                          PAT           Dad, relax. The court said it's           fine, okay? Let it go.                          DOLORES           Don't worry.                          PAT           Dad, I'm in there because of the           court. That's the agreement that we           made months ago. It was a plea           bargain with the courts. The           lawyer, he instructed me, he said           that what we should plead that, and           then I would serve eight months and           then I'd get out.           PAT SR.           Yeah, no, I just--                          DOLORES           It's all under control.           PAT SR.           Well...okay, okay. Congratulations.                          PAT           Thank you. So what are you doing           with yourself?           PAT SR.           You know, I'm gonna start a           restaurant.          A DRAWING OF A RESTAURANT ON THE COFFEE TABLE.           PAT SR. (CONT'D)           It's gonna be a cheesesteak place.                          PAT           How you gonna pay for it?           PAT SR.           I'm gonna pay for it, don't worry           about it.           13.                                                   PAT          From your bookmaking?           PAT SR.          Who told you that?                          PAT          Mom told me. Outside.                          DOLORES          I did not. No, I didn't.                          PAT          You just told me outside, Mom, what          are you talking about? Five minutes          ago, we were walking up the stairs,          you said, "Don't say anything, but          Dad lost his job and he's          bookmaking."           PAT SR.          Why, Dolores? Why did you say that          to him? He has the wrong idea.                          (TO PAT)          Everything's fine, Patrick. I'm          more concerned about you than          anything else.                          PAT          Good, Dad. Good.           PAT SR.          Okay, the question, the big          question, is what are you gonna do          with yourself?                          PAT          What am I gonna do? I'm getting in          shape, I'm getting trim, I'm          getting really fit for Nikki. I'm          gonna read Nikki's teaching          syllabus and get my old job back.           PAT SR.          Nikki sold the house. She left.          Didn't your mother tell you that?                          PAT          Let me tell you something. You          don't know anything about my          marriage, okay, Dad? All right? Our          marriage...we're very, very much in          love, okay? Just like you two.           PAT SR.          Listen, Patrick, she's gone. She's          not around anymore. Nikki left.           14.                                                   PAT           What are you doing, Dad? You know           what? Excelsior. Excelsior.           PAT SR.           What does that mean?                          PAT           It means you know what I'm gonna           do, I'm gonna take all this           negativity and use it as fuel and           I'm gonna find a silver lining,           that's what I'm gonna do. And           that's no bullshit. That's no           bullshit. That takes work and           that's the truth.                                   EXT. SOLATANO HOUSE - NIGHT                                   INT. SOLATANO HOUSE/LIVING ROOM - EVENING          PAT SR. AND DOLORES SIT, READING.                                   INT. SOLATANO HOUSE/ATTIC - EVENING          PAT SITS, READING A BOOK. SIGHS. HE TURNS A PAGE.          PAT LIES ON HIS BED, READING. DOLORES ENTERS AND SETS A TRAY          OF FOOD ON THE BED FOR DINNER.                                   INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT          PAT SR. AND DOLORES GET INTO BED.                                   INT. SOLATANO HOUSE/ATTIC - NIGHT          PAT'S HAND TURNS A PAGE.          PAT LIES ON HIS BED, READING.                                   INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT          PAT SR. TURNS OFF THE LAMP ON HIS SIDE OF THE BED. DOLORES IS          NEXT TO HIM.                                   INT. SOLATANO HOUSE/ATTIC - NIGHT          CU - THE BOOK PAGES.           15.                                   PAT SITS IN A CHAIR, READING.          PAT AS HE READS.          PAT TURNS THE LAST PAGE.          HANDS CLOSE THE BOOK.          CAMERA TILTS UP ONTO HIS FACE.                          PAT           What the fuck?!          CAMERA PULLS BACK AS PAT THROWS THE BOOK.                                   EXT. SOLATANO HOUSE - NIGHT          THE BOOK SMASHES THROUGH THE ATTIC WINDOW, SOARS THROUGH AIR,          LANDS ON THE FRONT LAWN.                          PAT                          (YELLING)           Stupid fucking book!                                   INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT          PAT SR. WAKES.                          CUT TO:                                   PAT PACES IN HIS PARENTS BEDROOM.                          PAT                          (YELLING)           I just can't believe Nikki's           teaching that book to the kids. I           mean the whole time -- let me just           break it down for you -- the whole           time you're rooting for this           Hemingway guy to survive the war           and to be with the woman that he           loves, Catherine Barkley...          HIS TIRED PARENTS LOOK AT HIM FROM THE BED.                          DOLORES           It's four o'clock in the morning,           Pat.           16.                                                   PAT           ...and he does. He does. He           survives the war, after getting           blown up he survives it, and he           escapes to Switzerland with           Catherine. But now Catherine's           pregnant. Isn't that wonderful?           She's pregnant. And they escape up           into the mountains and they're           gonna be happy, and they're gonna           be drinking wine and they dance --           they both like to dance with each           other, there's scenes of them           dancing, which was boring, but I           liked it, because they were happy.           You think he ends it there? No! He           writes another ending. She dies,           Dad! I mean, the world's hard           enough as it is, guys. It's fucking           hard enough as it is. Can't           somebody say, "Hey, let's be           positive? Let's have a good ending           to the story?"                          DOLORES           Pat, you owe us an apology.                          PAT           Mom, for what, I can't apologize.           I'm not gonna apologize for this.           You know what I will do? I will           apologize on behalf of Ernest           Hemingway, because that's who's to           blame here.          PAT WALKS TO THE DOOR.           PAT SR.           Yeah, have Ernest Hemingway call us           and apologize to us, too.          PAT EXITS, CLOSING IT BEHIND HIM.                                   EXT. STREET - DAY          PAT SR. AS HE JOGS TO PAT. HE WALKS TO THE SIDEWALK AND          BEGINS STRETCHING.          PAT SR. JOGS.           PAT SR.           Why didn't you run with me?                          PAT           I was reading.           17.                                    PAT SR.           Please. Do us a favor, don't read           for a while.                         PAT GROANS           PAT SR. (CONT'D)           What are you wearing a garbage bag           for?                          PAT           I'm gonna go run now.          PAT BEGINS TO JOG PAST PAT SR.           PAT SR.           Wait, wait, wait. You have to fix           this window.          PAT STOPS AND TURNS.                          PAT           I'll fix it when I get back.           PAT SR.           Fix it now.          DOLORES ENTERS.                          DOLORES           Get in the car, Pat. You have to go           to therapy.          DOLORES EXITS.                          PAT           I don't wanna go to therapy.                          DOLORES           You have to go. It's part of the           deal. You can't live with us and           not go.                                   INT. OFFICE/LOBBY - DAY          PAT STEPS INTO THE LOBBY. THE FEMALE RECEPTIONIST SITS AT HER          DESK AND SHE PUSHES A SIGN- IN SHEET TO PAT WHO ENTERS,          WRITING HIS NAME.          SONG FADES IN: `CHERIE AMOUR' BY STEVIE WONDER.                          PAT           Is that song really playing?                          RECEPTIONIST           We have music sometimes.           18.                                                   PAT           That song is killing me. Could you           please turn it off?                          RECEPTIONIST           I can't.                          PAT           What do you mean, you can't?                          RECEPTIONIST           I don't have the controls. I'm           sorry, I--                          PAT                          (INTERRUPTING))           Did Doctor Timbers put you up to           this? Is there a speaker here?          PAT WALKS TO A MAGAZINE RACK.                          PAT (CONT'D)           Is, is the speaker here?          HE OVERTURNS THE METAL MAGAZINE RACK.          WAITING PATIENTS STARE, A MALE THERAPIST OPENS HIS OFFICE          DOOR, LOOKING AROUND.          THE RECEPTIONIST REACTS.                          PAT (CONT'D)           I'm sorry. I'm sorry. Okay...I'm           sorry. I'll fix all this, okay?          PAT PICKS UP THE MAGAZINES, EMOTIONAL, EMBARRASSED.                                   INT. DR. PATEL'S OFFICE - DAY                          PAT           That was a messed up thing you did,           Doctor Patel. That's a messed up           thing. I'm sorry, but that's....           DR. PATEL           You can call me Cliff, please.                          PAT           Yeah, well, Cliff, that's not the           way you're supposed to meet people,           okay? Why don't you write that down           in your, I don't know, your little           book you write stuff down in.           19.                                    DR. PATEL           I'm sorry about that song. I just           wanted to see if it was still a           trigger for you.                          PAT           Bravo. It's a trigger. I'm not           gonna take any meds, I should just           tell you that right now.           DR. PATEL           You have to take medicine.                          PAT           No, I'm not gonna take any           medicine. It makes me foggy--           DR. PATEL                          (INTERRUPTING)           No, you will have to take           medication.                          PAT           I don't want any meds, Doctor.           Look, I am not the explosion guy,           okay? My father is the explosion           guy. I'm not that guy. He got           kicked out of that stadium he beat           up so many people at Eagles games,           he's on the exclusion list. I had           one incident.           DR. PATEL           One incident can change a lifetime.                          PAT           But I'm ready. I'm ready to take           responsibility for my side of the           street. She just needs to take           responsibility for hers.           DR. PATEL           What's hers?                          PAT           What's hers? Are you joking? Let's           go back to the incident. I come           home from work after I                                   EXT. HOUSE - DAY-FLASHBACK          THE HOUSE WHERE PAT AND NIKKI LIVED. PAT'S POV GOES TO HOUSE.           20.                                                   PAT                          (VOICE OVER)           I left work early -- which I never           do, by the way, but I got in a           fight with Nancy, the high school                                   INT. OFFICE/DR. PATEL'S OFFICE - DAY                          PAT           ...principal. I come home and           what's playing but the song from my           wedding. The song that you so           charmingly played out here today           for us. That's playing and I don't           think anything of it. Which is odd,           `cause I should have.                                   INT. HOUSE/LIVING ROOM - DAY - FLASHBACK          CAMERA MOVES OVER THE FLOOR AND STAIRCASE, WHICH IS LITTERED          WITH CLOTHING.                          PAT                          (VOICE OVER)           I come home, what do I see? I walk           in the door and I see underwear and           pieces of clothing and a guy's           pants with his belt in it, and I           walk up the stairs, and all...          THE SONG PLAYS                                   INT. OFFICE/DR. PATEL'S OFFICE - DAY                          PAT           ...ll of a sudden I see the DVD           player, and on the D-...                                   INT. HOUSE/UPSTAIRS HALLWAY - DAY - FLASHBACK          CAMERA MOVES IN ON A SMALL MUSIC SYSTEM.                          PAT                          (VOICE OVER)           ...-VD player is the CD and it's           playing our wedding song, and then           I look down and I see my wife's...          CAMERA PANS L. ONTO A PAIR OF WOMEN'S UNDERWEAR ON THE FLOOR.           21.                                   INT. OFFICE/DR. PATEL'S OFFICE - DAY                          PAT           ...panties on the ground and then-                                   INT. HOUSE/UPSTAIRS HALLWAY - DAY - FLASHBACK          CAMERA TILTS UP FROM THE UNDERWEAR ONTO THE BATHROOM DOORWAY.          THE DOOR IS OPEN AND PAT'S WIFE NIKKI IS VISIBLE THROUGH THE          TRANSPARENT SHOWER CURTAIN. SHE FACES THE WALL IN BG.                          PAT                          (VOICE OVER)           ...I look up and I see her naked in           the shower...                                   INT. OFFICE/DR. PATEL'S OFFICE - DAY                          PAT           ...and I think, "Oh, that's kinda           sweet, she's in the shower. What a           perfect thing. I'm gonna find her           and maybe I'll go in there. We           never-...                                   INT. HOUSE/BATHROOM - DAY- FLASHBACK          PAT SEES NIKKI, VISIBLE THROUGH THE SHOWER CURTAIN.                          PAT                          (VOICE OVER)           ...fuck in the shower anymore.           Maybe today we will." I...                                   INT. OFFICE/DR. PATEL'S OFFICE - DAY                          PAT           ...pull the curtain back and           there's the fucking history...                                   INT. HOUSE/BATHROOM - DAY- FLASHBACK          PAST PAT, TO NIKKI, VISIBLE THROUGH THE SHOWER CURTAIN. NIKKI          TURNS AND REACTS, REVEALING A MAN IN THE SHOWER WITH HER,          DOUG CULPEPPER.                          PAT                          (VOICE OVER)           ...-teacher with tenure.           22.                                   INT. OFFICE/DR. PATEL'S OFFICE - DAY                          PAT           And you know what he says to me?                                   INT. HOUSE/BATHROOM - DAY- FLASHBACK          PAST PAT, TO DOUG AND NIKKI AS THEY REACT.                          PAT                          (VOICE OVER)           "You should probably go." That's           what he says to me.                                   INT. OFFICE/DR. PATEL'S OFFICE - DAY                          PAT           So yeah, I snapped. I almost beat           him to death. But now I get fucking           chastised for it? I'm parallel to           my father? I don't think so.           DR. PATEL           All right. Can you talk about           something that you did, before or           after?                          PAT           Yeah, about a week before the           incident, I called the cops and I           told them that my wife and the           history guy were plotting against           me by embezzling money from the           local high school, which wasn't           true. It was a delusion. And we           later found out from the hospital           that's because I'm, uh...           DR. PATEL           ...undiagnosed bipolar.                          PAT           Yeah. With mood swings and weird           thinking brought on by severe           stress, which rarely happens, thank           God. And then the shower incident           happened and that's when everything           snapped, so I then realized that,           oh, wow, I've been dealing with           this my whole life. And without any           supervision I've been doing it all           on my own with no help and           basically I've been white-knuckling           it this whole time.           23.                                    DR. PATEL           That had to be hard.                          PAT           Yeah. It's a lot to deal with,           especially when you don't know what           the hell is happening, which I do           now. Sort of.                          DOLORES           (O.S. PRELAP)           Pat, you have to take your                          MEDICATION -                                   INT. SOLATANO HOUSE/LIVING ROOM - DAY          PAT SR. SITS, WATCHING THE O.S. TELEVISION. DOLORES AND PAT          ARE VISIBLE IN THE KITCHEN, THROUGH THE DOORWAY IN BG.                          PAT           I can't, Mom. I can't.                          DOLORES           I will call them. They'll come for           you.                          PAT           Why would you do that? You wouldn't           do that. Why would you call them?           PAT SR.           What's up?                          PAT           I don't, I don't feel good when I'm           on them, Mom. I don't feel good.           I'm so much clearer without them.           Mom, they make me bloated. I don't           like the way it makes me look.                          DOLORES           You've gotta take your medication.           PAT SR.           Why don't you just take your           medication?          PAT WALKS INTO THE ROOM, CAMERA MOVING BACK WITH HIM. DOLORES          FOLLOWS HIM.                          PAT           Come on, I'm doing it with my           physicality. I've been workin' out,           that's what I'm doin'.           24.                                    PAT SR.           Why is he wearing a garbage bag?                          DOLORES           Why are you wearing a garbage bag?                          PAT           To sweat.           PAT SR.           Sit down. We're seven minutes in,           no score. Come on, help turn the           juju around.                          PAT           I don't believe in juju, Dad.           PAT SR.           Come on, Mister Excelsior. You           wanna be positive? Be positive. Sit           down.                          PAT           All right, all right.           PAT SR.           Come on.                          PAT           For a second. I'll watch the           beginning of the game.                          DOLORES           He says you're good...          PAT SR. HOLDS A GREEN HANDKERCHIEF IN ONE HAND, FIDGETING          WITH IT. SEVERAL REMOTE CONTROLS ARE ALIGNED PERFECTLY ON THE          TABLE NEXT TO HIM.                          DOLORES (CONT'D)           ..luck, honey.                          PAT           What's that in your hand?           PAT SR.           It's a... see?                          PAT           Handkerchief?           PAT SR.           Yeah.          PAT SR. STRAIGHTENS THE REMOTE CONTROLS. PAT SITS.           25.                                                   PAT           That's OCD. That's crazy.           PAT SR.           What OCD? I want my son to watch           the game with me, so sue me.          PAT ENTERS R., STANDING UP.           PAT SR. (CONT'D)           Just sit down, come on. I want you           to watch the game with me. I'm not           superstitious. That's a small thing           that I do. If I make a lot of           money, what's the difference if I           do this or that? It's a small           thing. Sit down. Come on.                          DOLORES           I'm making crabby snacks and           homemades.          TOUCHDOWN ON TV. PAT SR. YELLS, DOLORES YELLS. PAT REACTS.           PAT SR.           You see?! You see that?! You're           meant to be here!          PAT LAUGHS.           PAT SR. (CONT'D)           This is special. Everything happens           for a reason. That's why you came           home. Embrace it! Embrace it!          THE TELEPHONE RINGS.                          PAT           I'm the reason? I don't think so.          PAT SR. ANSWERS THE TELEPHONE, HANDLING BETS.           PAT SR.                          (INTO TELEPHONE)           Yeah, Tommy, Tommy, yes, yes. I got           your whole sheet. Yeah. No, no...                          PAT           Mom.           PAT SR.                          (INTO TELEPHONE)           ...I'm just confirming. I'm just           confirming. Okay.          THE DOORBELL RINGS.           26.                                   INT. SOLATANO HOUSE/FOYER - DAY          PAT OPENS THE FRONT DOOR, REVEALING A NEIGHBORHOOD TEENAGER,          RICK, WHO HOLDS A SMALL VIDEO CAMERA UP.           PAT SR.           Wait, wait, wait, wait.                          RICKY           Can I do..an interview for a school           project on mental illness?           PAT SR.           No.          PAT SR. SLAMS THE DOOR CLOSED.                                   INT. SOLATANO HOUSE/FOYER - DAY           RICKY (O.S.)           It's for a school project!           PAT SR.           Don't pay any attention.                          PAT           Who's that? That's not Rick           D'Angelo, is it?                          DOLORES           That's him.                          PAT           Is he the guy who's having the           problem?           PAT SR.           People are stupid.                          DOLORES           Yeah, that's the one.           PAT SR.           They, they, they, they don't know           what they're saying.           PAT SR. (CONT'D)           Don't let them hurt your feelings.                          PAT           No, you shut the door in his face.           I'm going for a run.           27.                                   EXT. SOLATANO HOUSE - DAY           PAT SR.           No! (to kid Rick) Get outta here           with that camera!                          DOLORES           Pat, don't look for Nikki!           PAT SR.           Take your camera and get out of           here!          PAT JOGS, EXITING. RICK FOLLOWS.           PAT SR. (CONT'D)           Patrick, please.                          DOLORES           Pat!           PAT SR.           Patty! Patty!                          DOLORES           Don't look for Nikki!                                   EXT. STREET - DAY          PAT RUNS. HE TURNS A CORNER AND RUNS.          THE SONG PLAYS                                   EXT. RAILROAD TRACK - DAY          PAT RUNS TO A HIGH SCHOOL.                                   EXT. HIGH SCHOOL - DAY          THE PRINCIPAL, NANCY METGERS, STANDS NEXT TO HER PARKED CAR          WITH AN ARMLOAD OF PAPERWORK AS PAT RUNS TOWARD HER.                          PAT           Ms. Meckers!          NANCY SEES PAT APPROACH.                          NANCY           Oh, God! Oh, God!          NANCY HURRIES to avoid him.           28.                                                   PAT           Nance! This is my lucky day! Look           at you working on a Sunday!          NANCY HURRIES UP THE STAIRS TO A LOCKED SCHOOL ENTRANCE.                          PAT (CONT'D)           How are you? Hey.                          NANCY           What are you doing here?                          PAT           I just came by to say hi, to let           you know I'm ready to come back to           work.                          NANCY           You shouldn't be here.                          PAT           I'll work full-time, half-time.           I'll sub, I'll work history,           whatever you want.          PAT WALKS UP THE STAIRS TO NANCY, WHO UNLOCKS THE DOOR.                          PAT (CONT'D)           Here, let me give you a hand. I'm           sorry. I'm being rude.                          NANCY           I got it.          PAT HELPS HER. NANCY OPENS THE DOOR.                          NANCY (CONT'D)           I got it. I got it.                          PAT           Let me ask you something. Let me           just ask you something. Does Nikki           still work here?                          NANCY           You know I can't tell you that. But           Doug Culpepper is still here.                          PAT           Why would you tell me that? You           know he broke up my marriage. What,           are you being, a troublemaker?                          NANCY           You know, you look good. Did you           lose a lot of weight?           29.                                                   PAT           I did, yeah. I did. Thank you.          PAT EMBRACES NANCY, WHO REACTS.                          NANCY           Get away from me! Get away!                          PAT           I'm better. I just want to let you           know, I'm better now. Okay? I'm           better. I feel good. I feel so           good. Look at my eyes. Look at my           eyes. Look at how clear they are.                                   INT. HIGH SCHOOL /HALLWAY - DAY          PAT OPENS A DOOR, HOLDING IT FOR NANCY AS SHE STEPS PAST HIM.                          PAT           I'm not a complainer anymore. I'm a           positive guy. Okay?                          NANCY           You just have to give it some time.                          PAT           Yes.                          NANCY           You know, a lot went down. People           will get over it. It'll be all           good. It'll work out.                          PAT           Yes! It will be!                          PAT (CONT'D)           I'm gonna take that as a silver           development, Nancy! A silver           development! That's a silver           lining!                          NANCY           Good luck.                                   EXT. STREET - DAY          PAT RUNS.          THE SONG PLAYS.          PAT SEES HIS FRIEND RONNIE CARRYING GROCERIES FROM HIS PARKED          CAR.           30.                                                   PAT           Ronnie! Pat.                          RONNIE                          (LAUGHS)           There he is! He's back!          THEY EMBRACE.                          PAT           Hey.                          RONNIE           Welcome home.                          PAT           Thank you.                          RONNIE           Welcome back, man.                          PAT           Yeah, I'm out.                          RONNIE           Yeah? You're out out?                          PAT           Uh-huh.                          RONNIE           Cool, man. Wow, you lost a lot of           weight. I almost didn't recognize           you.                          PAT           Thank you.                          RONNIE           I'm sorry I didn't visit you in the           hospital. You know, work's out of           control, you know, she had the           baby. I'm really glad you're back.           I missed you. I really need someone           to talk to. You gotta come see the           baby. She's beautiful. And Veronica           wants to make dinner for you.                          PAT           Congratulations on the baby, but           I'm not buying the invitation.                          RONNIE           'Cause you think Veronica still           hates you?           31.                                                   PAT           I know Veronica still hates me.                          RONNIE           That's not true.                          PAT           Yes, it is. Nikki always said that           "Ronnie's wife keeps his social           calendar where she keeps his balls,           in her purse."                          RONNIE           That's not true.          UPSTAIRS WINDOW RONNIE'S HOUSE OPENS IN BG. WIFE VERONICA          LEANS OUT.                          VERONICA           Ronnie! What are you doing?                          RONNIE           Okay, it's a little true. But if           you think she still hates you,           you're wrong because why would she           tell me to invite you to dinner?           Hmm?                          VERONICA           Did you invite him?                          RONNIE           Yes.                          VERONICA           Well, can he make it?                          RONNIE           I don't know yet! (to Pat) Can you           make it next Sunday?                          PAT           Sure.                          RONNIE           I'll see you next Sunday.          RONNIE LEANS DOWN TO PICK UP THE BOX OF DIAPERS. PAT GRABS          HIS ARM.                          PAT           Now, you guys are still in touch           with Nikki, right? Does Veronica           still talk to Nikki?                          RONNIE           Yeah.           32.                                                   VERONICA           Get in here, please. I need you.                          RONNIE           Okay.          VERONICA EXITS INTO THE HOUSE, CLOSING THE WINDOW.                                   INT. SOLATANO HOUSE/KITCHEN - DAY           PAT SR.           As soon as you left, the Redskins           threw a trick play, a pitch out to           Randal El. Andy Reid wastes a time-           out challenging it, loses the           challenge, loses the game. You're           in this house, please show some           respect for what I do. And we           should spend time together anyway.           I'm trying to keep you out of           trouble, please.                          PAT           I have very, good news, everybody.           Very good news.           PAT SR.           What's that? What's the good news?                          PAT           Things are looking up.           PAT SR.           Oh, are they?          PAT PICKS UP THE PHONE TO DIAL.                          PAT           You know what, I knew why they           invited me over. I knew it.           PAT SR.           Listen, she might be with that guy.           That, the....                          PAT           Oh, no way!           PAT SR.           She--, no, she might be with him.           She's afraid of you. She doesn't           want to talk to you.                          PAT           No way, Dad. You mean, Doug           Culpepper?           33.                                    PAT SR.           Put the phone down. You gotta...                          PAT           Wait just a minute.          PAT SR REACHES FOR THE TELEPHONE.           PAT SR.           ...Put the phone down, please.                          PAT           What are you doing?          THEY BOTH PULL ON THE TELEPHONE RECEIVER.           PAT SR.           Listen--, stop.                          PAT           Give me the phone. Dad, this is my           life. Dad.           PAT SR.           Gimme the phone. Gimme the phone.                          DOLORES           Pat!           PAT SR.           You gotta understand me. You wanna           go back? Well then, stop this! Then           don't fucking do this.                          PAT                          (TEARFULLY)           Don't talk to me like that.           PAT SR.           Well then, don't behave this way.          THEY REACT AS THE DOORBELL RINGS.                          OFFICER KEOGH                          (VOICE OVER)           I got...a call asking to...                                   INT. SOLATANO HOUSE/FOYER - DAY          PAT SR. OPENING THE FRONT DOOR TO A POLICE OFFICER STANDING          ON THE PORCH. HE IS OFFICER KEOGH.                          OFFICER KEOGH           ...check on this house. Pat           Solatano?           34.                                                   PAT           Yeah.                          OFFICER KEOGH           Yeah? Missus Solatano, Mister           Solatano, I'm Officer Keogh. I work           this beat. Look, I heard about the           restraining order. And I heard you           went to your old house and the           school. It's not okay. I've been           assigned to your case, so you're           gonna be seeing a lot of me. Do           yourself a favor. Respect the           restraining order, okay? Five           hundred feet.           PAT SR.           You hear what he just said? You           have a restraining order.                          PAT           Yeah, Dad, I know.           PAT SR.           Thank you, Officer.                          OFFICER KEOGH           If you need anything...my card.          PAT SR. TAKES THE BUSINESS CARD.           PAT SR.           Thank you. Sorry. We understand.                          PAT           Since when do cops have cards?          PAT SR. CLOSES THE DOOR.                                   INT. OFFICE/DR. PATEL'S OFFICE - DAY           DR. PATEL           Tell me one thing. Would you like           to be a guy who goes back to jail           or to the hospital? Hmm? So take           your medication and if you do fine,           we'll reduce them.                          PAT           Nikki's waiting for me to get in           shape and get my life in order, and           then she's gonna be with me. And           that's better than any medication.           35.                                    DR. PATEL           Pat, there's a possibility, and I           want you to be prepared for it,           that she may not return. True love           is about letting her go and seeing           if she returns. In the meantime, if           you listen to that song, I don't           want you to fall apart. So get a           strategy, okay? You need one.                          PAT           Let me say something, I gotta say           something.           DR. PATEL           Okay.                          PAT           This is what I believe to be true.           This is what I learned in the           hospital. You have to do everything           you can, you have to work your           hardest, and if you do, if you stay           positive, you have a shot at a           silver lining.           DR. PATEL           Work on a strategy, okay?                          PAT           Hey, my friend Ronnie's having this           party on Sunday night and it's like           a real hoity-toity thing and his           wife, Veronica's a real stickler           for.... I don't know, my mom got           this Gap outfit she wants me to           wear, but I wanna wear a jersey           that my brother, Jake, got me from           the Eagles.           DR. PATEL           Which jersey?                          PAT           DeSean Jackson.           DR. PATEL           DeSean Jackson is the man.                          PAT           Well, that settles that.                                   EXT. RONNIE'S HOUSE/FRONT PORCH - EVENING          PAT STANDS ON THE PORCH, HOLDING A BOTTLE OF WINE AND A          BOUQUET OF FLOWERS. HE WEARS THE FOOTBALL JERSEY.           36.                                   HE LOOKS DOWN AT HIS JERSEY, THEN TURNS AND LEAVES.                                   EXT. RONNIE'S HOUSE - EVENING          PAT HURRIES. RONNIE OPENS THE DOOR IN BG.                          RONNIE           Pat! What are you doin'?          PAT STOPS AND TURNS.                          PAT           I gotta go, man.                          RONNIE           Why?                          PAT           I can't stay, come on. I made a           mistake, I shouldn't have worn           this.                          RONNIE           Dude, you're fine. I like that           jersey. I wish I was wearing that           jersey.                          PAT           I feel like an idiot.                          RONNIE           Are you comfortable?                          PAT           Veronica's not gonna like it.                          RONNIE           Get over here.                          PAT           Plus you got a tie on.                          RONNIE           Don't worry about it, you're the           guest of honor. You come however           you wanna come.                          PAT           Really?                          RONNIE           Get over here.           37.                                   INT. RONNIE'S HOUSE/FOYER - EVENING                          RONNIE           DeSean Jackson's in the house!          CAMERA TILTS UP ONTO VERONICA, HOLDING THE BABY.                          VERONICA           You mean rookie of the year?                          RONNIE           Yeah.                          VERONICA                          (TO BABY)           DeSean Jackson? DeSean Jackson?           (noticing Pat) Oh, you wore a           jersey to dinner.                          RONNIE           Isn't it awesome?                          VERONICA           Not for dinner.                          RONNIE           Look, he got us flowers.                          VERONICA           Oh, that's sweet. (to Pat) That's           sweet, Pat. That's lovely.                          RONNIE           And wine.                          PAT           Hey.                          VERONICA           Hey.                                   INT. RONNIE'S HOUSE/DEN - EVENING          RONNE AND PAT HAVE A MOMENT. A FRAMED PHOTO OF RONNIE,          VERONICA AND THE BABY ON THE WALL.                          RONNIE           Check this out. We just redid the           whole thing.                          PAT           Wow!          RONNIE LAUGHS.           38.                                                   PAT (CONT'D)          Tremendous. Tremendous.                          RONNIE          Isn't it great?                          PAT          Tremendous.                          RONNIE          Yeah, man, I'm, I'm thinking of          redoing it again.                          PAT          Why?                          RONNIE          Because.                          PAT          Gotta be making a lot of paper to          do that.                          RONNIE          Yeah, we're doing all right, man. I          can't complain.                          PAT          Isn't the market down, though?                          RONNIE          It is down, but you know, she wants          more, so I'm giving her more, man.                          PAT          Hey, you know my dad lost his          pension.                          RONNIE          I'm sorry, man.                          PAT          Yeah.                          RONNIE          A lot of people. My uncle, too.                          PAT          Really?                          RONNIE          Yeah, but you know what? No          disrespect, it's not personal, but          this is the time to strike.                          (MORE)           39.                                                   RONNIE (CONT'D)           You start snapping up commercial           real estate -- cheap -- flip it           over, you flip it over and that's           when you make the money. But the           pressure...it's like....          RONNIE GLANCES, LOOKING FOR VERONICA.                          PAT           You okay?                          RONNIE                          (WHISPERING)           I'm not okay. Don't tell anybody.           Listen to me. I feel like I'm           getting crushed and--                          PAT                          (WHISPERING)           Crushed by what?                          RONNIE                          (WHISPERING)           Everything. The family, the baby,           the job, the fucking dicks at work,           and it's like, you know, like I'm           trying to do this, (Ronnie reaches           for his throat, mimicking trying to           breath) you know, and, and, and I'm           like...suffocating.          RONNIE COVERS HIS FACE WITH ONE HAND.                          PAT           Holy shit.                          RONNIE           You can't be happy all the time.                          PAT           Who told you you can't be happy?                          RONNIE           It's all right. You just do your           best, you have no choice.                          PAT           That's not true at all.                          RONNIE           You just can't.                          PAT           Ronnie, Ronnie, Ronnie!          THE DOORBELL RINGS.           40.                                                   RONNIE           I hope you're okay with Veronica's           sister coming over. You okay with           that?                          PAT           Who?                          RONNIE           Veronica's sister.           PAT AND RONNIE                          (IN UNISON)           Tiffany.                          PAT           Tiffany and...Tommy?                          RONNIE           Yeah. Just Tiffany.                          PAT           What happened to Tommy?                          RONNIE           He died.                          PAT           Tommy died?                          RONNIE           Cops die.                          PAT           How'd he die?                          RONNIE           Please, don't bring it up.                          PAT           No, how did he die?                          TIFFANY           How did who die?          PAT LOOKS UP TO SEE VERONICA'S SISTER TIFFANY ENTER: THEY          LOCK EYES IMMEDIATELY. SHE IS TALL, STRIKING, INTENSE. She          walks to Ronnie and Pat, who is unsure how to behave.                          RONNIE           Hey, Tiffany! This is Pat. Pat, my           sister-in-law Tiffany.                          PAT           You look nice.           41.                                                   TIFFANY           Thank you.                          PAT           I'm not flirting with you.                          TIFFANY           Oh, I didn't think you were.                          PAT           I just see that you made an effort           and I'm gonna be better with my           wife, I'm working on that. I wanna           acknowledge her beauty. I never           used to do that. I do that now.           `Cause we're gonna be better than           ever...Nikki. Just practicing.           How'd Tommy die?          TIFFANY IS STUNNED. RONNIE CAN'T BELIEVE WHAT PAT JUST SAID.                          PAT (CONT'D)           What about your job?                          TIFFANY           I just got fired, actually.                          PAT           Oh, really? How?                          PAT (CONT'D)           I mean, I'm sorry. How'd that           happen?                          TIFFANY           Does it really matter?          TIFFANY AND PAT FACE EACH OTHER. VERONICA ENTERS IN BG.,          VISIBLE THROUGH A PASS-THROUGH WINDOW INTO THE KITCHEN.                          VERONICA           Baby, how's it going?                          RONNIE           Great, great.                          VERONICA           Everyone having fun? We're gonna go           on a tour now. We're gonna go on a           tour now.                          TIFFANY                          (TO PAT)           Let's go see the house.                          RONNIE           Come on, let's go for the tour.           42.                                    VERONICA (O.S.)           I've, I've been planning this           forever. I love our house. I love           our house. I'm really excited about           it.          Tiffany looks back over her shoulder at Pat, intensely.                          RONNIE           (motions to Pat)           Come on.                                   INT. RONNIE'S HOUSE/LIVING ROOM - EVENING          A SILVER FRAME MOUNTED ON THE WALL.                          VERONICA           Guess what it is.                          PAT           Oh, it's a television.                          TIFFANY           It's a computer screen.                          RONNIE           Nope.                          VERONICA           Just keep going, keep going, keep           going.                          PAT           It's a brick oven, it's a brick           oven.                          TIFFANY           It's a light. It's a...                          VERONICA           Ooh, ooh, warmer, warmer, warmer.                          TIFFANY           ...it's a drawer at a morgue where           they pull out dead bodies and shoot           them with formaldehyde.                          VERONICA           Don't think so hard, don't think so           hard.                          PAT           Where would the dead body...where           would the body go, though? `Cause           the outside of the--           43.                                                   TIFFANY                          (ANNOYED)           It's a joke!          VERONICA LIGHTS THE FRAME --                          VERONICA           It's a...fireplace.                          TIFFANY           In the middle of the wall?                                   INT. RONNIE'S HOUSE/BATHROOM - EVENING          VERONICA SHOWS OFF AN OUTLET ON THE WALL.                          VERONICA           We have a port in every room. Gimme           an iPod. Who, who doesn't have an           iPod?                          PAT           Well, I don't have an iPod. I don't           even have a phone. They won't let           me make any calls. They think I'm           gonna call Nikki.                          RONNIE           Don't worry about it. Don't focus           on that.                          PAT           I would call Nikki.                          RONNIE           I'm actually gonna give you one of           my iPods. I have an old one.                          VERONICA           Gimme your iPod.          RONNIE HANDS AN IPOD TO VERONICA.                          VERONICA (CONT'D)           Give it to me. Thank you, baby,           thank you.          VERONICA PLUGS THE IPOD INTO THE OUTLET.                          TIFFANY           Of all the rooms there are iPod           ports in, I'm happy you brought us           into the bathroom.                          VERONICA           Look, look, look.           44.                                   MUSIC BEGINS TO PLAY.                          VERONICA (CONT'D)           I can play music for the baby in           any room.                          PAT           Can you play "Ride the Lightning"           by Metallica?          VERONICA IS SPEECHLESS. RONNIE GRINS.                                   INT. RONNIE'S HOUSE/DINING ROOM - EVENING                          RONNIE           Pat was a history sub at the high           school, Tiffany. Ask him about any           president, he knows 'em all.                          PAT           Here's a fun fact. You know where           the term "OK" comes from?                          VERONICA           No. No, I don't.                          RONNIE           Where?                          PAT           Well, Martin Van Buren, the eighth           president of the United States of           America, is from Kinderhook, New           York...                          VERONICA           Oh.                          PAT           ...and he was part of a club, a           men's club, called Old Kinderhook.           And if you were cool, you were in           the club, they'd say, "That guy's           OK." `Cause he was in the Old           Kinderhooks.                          RONNIE           Really?                          PAT           Yeah. Pretty cool, right?                          RONNIE           That's interesting.           45.                                                   VERONICA          You know, Tiffany's been doing this          dance thing for years and she's          real good at it. She's gonna be          competing at the Ben Franklin          Hotel.                          PAT          Oh, really? My wife loves dance.          Nikki loves dance.                          TIFFANY          Why do you have to talk about me          like that?                          VERONICA          I'm just bragging about you. Can't          I brag about my little sister?                          TIFFANY          Don't talk about me in the third          person.                          VERONICA          Please, gimme a break.                          TIFFANY          I'm right here.                          VERONICA          Just be nice. Just be nice.                          PAT          Wow, wow, wow. Fascinating.                          TIFFANY          Sorry. I don't wanna be mean.                          VERONICA          I know. I know, I know.                          TIFFANY                          (TO PAT)          What meds are you on?                          PAT          Me? None. I used to be on Lithium          and Seroquel and Abilify, but I          don't take them anymore, no. They          make me foggy and they also make me          bloated.                          TIFFANY          Yeah, I was on Xanax and Effexor,          but I agree, I wasn't as sharp, so          I stopped.           46.                                                   PAT           You ever take Klonopin?                          TIFFANY           Klonopin? (Chuckling) Yeah.                          PAT           Right?                          TIFFANY           Jesus.                          PAT           It's like, "What? What day is it?"           How about Trazodone?                          TIFFANY           Trazodone!                         TIFFANY LAUGHS                          PAT           Oh, it flattens you out. I mean,           you are done. It takes the light           right out of your eyes.                          TIFFANY           God, I bet it does.          VERONICA AND RONNIE FEEL UNCOMFORTABLE. TIFFANY STANDS UP.                          TIFFANY (CONT'D)           I'm tired. I wanna go.                          VERONICA           No. No, no, no, no. We haven't, we           haven't even finished the salad           yet, or the duck. I made the Fire           and Ice cake.                          TIFFANY           I said I'm tired. (to Pat) Are you           gonna walk me home or what?                          PAT           You mean me?                          TIFFANY           Yeah, you. Are you gonna walk me           home?                          PAT           You have poor social skills. You           have a problem.           47.                                                   TIFFANY           I have a problem? You say more           inappropriate things than           appropriate things. You scare           people.                          PAT           I tell the truth. But you're mean.                          TIFFANY           What? I'm not telling the truth?          Veronica and Ronnie are very uncomfortable.                          RONNIE           Um, maybe I should drive them home           separately?                          VERONICA           You can drive them both home. Now.                          TIFFANY           Stop talking about me in third           person.                          VERONICA           You can take Tiffany home first.                          TIFFANY           You love it when I have problems.           You love it, Von, because then you           can be the good one. Just say it.                          VERONICA           No...          PAT STANDS UP.                          VERONICA (CONT'D)           ...I don't. I don't. I just wanted           to have a nice, I just wanted to           have a nice dinner.                          TIFFANY           Oh, God.                          VERONICA           What is your problem?!                          TIFFANY           Nothing's my problem! I'm fine. I'm           tired and I wanna go. (to Pat) Come           on, are you ready?          Pat stands.           48.                                                   VERONICA           You really, you really wanna go           right now?                          TIFFANY           Yes, I really wanna go! It's been           great.                          RONNIE           Okay, guys, the baby is sleeping!                          TIFFANY           Sorry. I don't wanna wake up the           baby. Bye.          PAT FOLLOWS TIFFANY.                          RONNIE           Sorry, man.          PAT GIVES RONNIE AN "ALL GOOD" AND FOLLOWS TIFFANY OUT.                                   EXT. STREET - EVENING          PAT AND TIFFANY WALK TOGETHER IN SILENCE.                          TIFFANY           This is me.          TIFFANY AND PAT STOP, FACE EACH OTHER.                          TIFFANY (CONT'D)           Listen, I haven't dated since           before my marriage so I don't           really remember how this works.                          PAT           How what works?                          TIFFANY           I saw the way you were looking at           me, Pat. You felt it, I felt it,           don't lie. We're not liars like           they are. I live in the addition           around back, which is completely           separate from my parents' house, so           there's no chance of them walking           in on us. I hate the fact that you           wore a football jersey to dinner           because I hate football, but you           can fuck me if you turn the lights           off, okay?          PAT IS MOMENTARILY SPEECHLESS.           49.                                                   PAT           How old are you?                          TIFFANY           Old enough to have a marriage end           and not wind up in a mental           hospital.                          PAT           Look, I had a really good time           tonight and I think you're really           pretty, but I'm married, okay?          PAT HOLDS UP HIS HAND, DISPLAYING HIS WEDDING RING.                          TIFFANY           You're married? So am I.          TIFFANY HOLDS UP HER HAND, DISPLAYING HER WEDDING RING.                          PAT           No, that's confusing. He's dead.          TIFFANY LOOKS AS IF SHE HAS BEEN PUNCHED, SHE EMBRACES PAT.                          PAT (CONT'D)           Wait, what?          TIFFANY STARTS TO CRY.                          PAT (CONT'D)           What's happening?                          PAT (CONT'D)           Oh, my God. Hey.          TIFFANY PUSHES PAT AWAY AND SLAPS HIM ACROSS THE FACE.          TIFFANY TURNS AND WALKS TO HER RENOVATED GARAGE APARTMENT.          LED ZEPPELIN'S "WHAT IS AND WHAT SHALL NEVER BE" STARTS TO          PLAY ON SOUNDTRACK.                                   INT. SOLATANO HOUSE/KITCHEN - EVENING          PAT ENTERS THROUGH THE BACK OF THE HOUSE, DEEPLY UNSETTLED.          HE WALKS PAST DELORES IN THE KITCHEN.                          DOLORES           Are you okay? Ronnie called. Hey,           is that make-up on your shirt?                          PAT           I don't know, Mom.           50.                                   INT. SOLATANO HOUSE/LIVING ROOM - EVENING          PAT IS WITH PAT SR. HE STANDS UP FROM HIS CHAIR.           PAT SR.           What happened over there?          PAT BEELINES PAST PAT SR. TO THE STAIRCASE.                          PAT           When am I gonna get a phone?           PAT SR.           You'll get a phone in due time. (to           Dolores) What happened?          DOLORES ENTERS.                          DOLORES           Pat!                                   INT. SOLATANO HOUSE/ATTIC - EVENING          PAT REMOVES HIS JERSEY.          LED ZEPPELIN CONTINUES alternately quiet and LOUD.          PAT LIES ON HIS BED, RESTLESS. SUDDENLY HE IS FRANTICALLY          SEARCHING THROUGH ATTIC BOXES AS IF HIS LIFE DEPENDED ON IT.                                   INT. SOLATANO HOUSE/UPSTAIRS HALLWAY - NIGHT          PAT WALKS OUT OF THE ATTIC. HE OPENS THE DOOR TO THE MASTER          BEDROOM AND WALKS INTO THE ROOM. HE KNEELS DOWN NEXT TO          DOLORES'S SIDE OF THE BED.                          PAT                          (WHISPERING)           Mom!                                   INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT          DOLORES WAKES.                          PAT                          (WHISPERING)           I can't find my wedding video. Mom,           wake up.                          DOLORES                          (WHISPERING)           What is it?           51.                                                   PAT                          (WHISPERING)           Where's my wedding video?          Led Zeppelin continues.          PAT SR. WAKES, LOOKING AT THE ALARM CLOCK.           PAT SR.           It's after three o'clock! What are           you doing?                                   INT. SOLATANO HOUSE/ATTIC - NIGHT          DOLORES AND PAT WALK INTO THE ATTIC.                          PAT           I looked in here, but this is all           your sewing shit up here, for your           sewing and everything. Did you put           it up here?          PAT STEPS TO AN OPEN CLOSET.                          DOLORES           What about in your father's study?                                   INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT                                                             PAT SR.           (shouts from bed)           Don't go in my study.                          PAT           (shouts O.S.)           Dad, not now!                                   INT. SOLATANO HOUSE/ATTIC - NIGHT          PAT'S HANDS AS HE RIFLES THROUGH STUFF ON THE CLOSET FLOOR.                          PAT           Would you put it in here? It makes           no sense for you to put it in here.                                   INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT          PAT SR. IN BED           52.                                    PAT SR.           (shouts from bed)           Patty, what are you doing?                                   INT. SOLATANO HOUSE/STUDY - NIGHT          WE SEE PAT AS HE LOOKS INTO A CABINET OF VIDEOTAPED FOOTBALL          GAMES.                          PAT           He's got all his Eagles videos and           not one video of my wedding!          PAT SEARCHES THROUGH THE VIDEOTAPES.                          PAT (CONT'D)           Is it here? I mean....?           PAT SR.           (shouts from bed)           Patty!                          DOLORES           It's probably in the attic.                                   INT. SOLATANO HOUSE/MASTER BEDROOM - NIGHT          PAT SR. IN BED.           PAT SR.           (shouts from bed)           Are you going in my study?                                   INT. SOLATANO HOUSE/ATTIC - NIGHT          PAT WALKS INTO THE ATTIC, FOLLOWED BY DOLORES.                          PAT           It feels to me like you wanna hide           my wedding video.          CAMERA SWISH PANS OVER PILES OF BOXES. PAT'S HANDS AS HE          LIFTS AND ITEM AND TOSSES IT ONTO THE FLOOR.                          DOLORES           Please stop yelling!          PAT SEARCHES THROUGH BOXES.                          PAT           I'm not yelling, Mom, I'm just           frustrated because I should have my           fucking wedding video!           53.                                   PAT CONTINUES LOOKING.                          DOLORES           Pat! Pat!          SHE GOES AFTER HIM.                          PAT                          (SPIRALING)           I looked over there! I already           looked all over there!          CAMERA SWISH PANS R. ONTO A PLASTIC BAG WHICH APPEARS TO BE          FULL OF CLOTHING.          PAT YELLS AS HE SORTS THROUGH THE CLOTHING DOLORES PUTS HER          HAND ON PAT'S SHOULDER.                          DOLORES           Calm down, Pat.          PAT TURNS TO FACE HER.                          PAT                          (YELLING)           I'm not calming down! I don't give           a fuck who hears, I'm not calming           down! Anybody can wake up! I'm not           ashamed of it! I'm not ashamed of           it! Let the whole neighborhood wake           up! I...                          DOLORES           Pat! Stop it!                                   EXT. SOLATANO HOUSE - NIGHT                          PAT                          (YELLING)           ...don't care!                          DOLORES                          (YELLING)           Stop it! Stop it! Stop it!                          PAT                          (YELLING)           No, Mom!                                   INT. SOLATANO HOUSE/UPSTAIRS HALLWAY - NIGHT          PAT SR., SITTING ON THE EDGE OF THE BED.           PAT SR.           What's going on?           54.                                   PAT SR. STANDS AND WALKS OUT OF THE ROOM.           PAT SR. (CONT'D)           What?                          PAT           (yelling and crying)           I want it! It-...           PAT SR.                          (YELLING)           Hey!                                   INT. SOLATANO HOUSE/ATTIC - NIGHT                          PAT           (yelling and crying)           It's my wedding! It's my wedding           video!                          DOLORES                          (YELLING)           Pat!          THE O.S. TELEPHONE RINGS.                                   EXT. STREET - NIGHT          CAMERA PANS R. OVER SEVERAL HOUSES AS INTERIOR LIGHTS ARE          TURNED ON.                          DOLORES                          (YELLING)           Stop it! Stop it! Stop it!                                   INT. SOLATANO HOUSE/ATTIC - NIGHT                          PAT                          (YELLING)           I can't watch my wedding video, but           I CAN hear the fucking song in my           head, goddamn it!          He grabs his head, to stop hearing the wedding song.          FLASHBACKS OF NIKKI IN THE SHOWER, DOLORES AND PAT REACTING,          NIKKI AND DOUG IN THE SHOWER, NIKKI SCREAMING, PAT BEATING          DOUG, NIKKI TRYING TO PULL PAT OFF OF DOUG.          PAT SOBS DOLORES, HUGS PAT FROM BEHIND; NICKI JUMPS ON PAT IN          FLASHBACK TO STOP HIM FROM BEATING THE HISTORY TEACHER; PAT          JERKS HIS ARM AWAY; KNOCKING DOLORES SPRAWLING ONTO THE          FLOOR.           55.                                                   PAT (CONT'D)           Mom?          PAT RUNS.           PAT SR.                          (YELLING)           What the fuck you doing?! You...                          PAT           Mom?          DOLORES SITS UP, STUNNED.           PAT SR.           ...hit your mother?!                          PAT           No, no, no, no, no!          PAT SR. SLAPS PAT IN THE FACE TWICE.          DOLORES REACTS.                          DOLORES                          (YELLING)           Stop it!          PAT SLAPS PAT SR. IN THE FACE. PAT SR. PUSHES PAT R.                          PAT           Get off me, Dad!          PAT SR. PUSHES PAT DOWN ON THE BED, FIGHTING.          DOLORES REACTS, STANDING UP.                          DOLORES           Stop hitting him!          PAT STRUGGLES AS PAT SR. SLAPS PAT IN THE FACE, DOLORES TRIES          TO PULL PAT SR. OFF OF PAT.                          DOLORES (CONT'D)                          (SCREAMING)           Stop hitting him!           PAT SR.           I'm not hitting him! He's hitting           me!          THE DOORBELL RINGS.                          PAT                          (CRYING)           I'm sorry! I'm sorry! I'm sorry!           56.                                   INT. SOLATANO HOUSE/FOYER - NIGHT          PAT SR. HURRIES DOWN THE STAIRS.                          OFFICER KEOGH           Police!          PAT SR. STEPS TO THE FRONT DOOR AND OPENS IT, REVEALING          OFFICER KEOGH STANDING OUTSIDE.           OFFICER KEOGH (CONT'D)           Open the door, please. Open up.           Mister Solatano, I got a lot of           calls. People in the neighborhood           are scared. I gotta come in.          NEIGHBORS clamour behind him.          OFFICER KEOGH HURRIES UP THE STAIRS.           OFFICER KEOGH (CONT'D)           How are we doing in here, huh?                                   INT. SOLATANO HOUSE/ATTIC - NIGHT          OFFICER KEOGH TO PAT SR., DOLORES AND PAT.                          OFFICER KEOGH           There are a lot of reports from           your neighbors, we got a lot of           phone calls.          PAT STANDS UP AND PAT SR. RESTRAINS HIM.                          PAT           Nikki is being manipulated and           controlled. You have to talk to           her.                          OFFICER KEOGH           Hey, sit down.           PAT SR.           Sit down.          PAT SR. FORCES PAT TO SIT DOWN. DOLORES SITS WITH HIM.           PAT SR. (CONT'D)           You gotta stop with these crazy           theories. He's a cop. What are you           doing?                          DOLORES           It's a medication problem, but           he's fine now.           57.                                                   OFFICER KEOGH           Oh yeah? He's fine now? You wanna           send him back to Baltimore? We know           all about the explosion at the           psychiatrist's office.                          DOLORES           What?                          PAT           What explosion? No. Cliff is lying,           that's not true. He's not allowed           to talk about that.          THE DOORBELL RINGS.                          DOLORES           Jesus Christ, who's that?                                   INT. SOLATANO HOUSE/FOYER - NIGHT          PAT SR. HURRIES DOWN THE STAIRS.           PAT SR.           Keep an eye on him.          PAT SR. OPENS THE FRONT DOOR TO SEE: RICKY D'ANGELO AGAIN,          THE CURIOUS NEIGHBOR KID WITH THE FLIP CAMERA.                          RICKY           Is this a bipolar episode?                                   EXT. SOLATANO HOUSE/FRONT PORCH - NIGHT          PAT SR. PUSHING RICK AWAY. RICK EXITS.          NEIGHBORS (indistinct chatter - continues under following          scene and dialogue)           PAT SR.           Get outta here, you little fuckin'           idiot! Get outta here!                          RICKY           Someone, help me! Help me!                                   INT. SOLATANO HOUSE/ATTIC - NIGHT          OFFICER KEOGH, DOLORES AND PAT.                          PAT           You can't tell Nikki about this,           Officer.           58.                                                   OFFICER KEOGH           Look, I gotta make out a report.                          PAT           No, no! No!                          OFFICER KEOGH           She can see it by law.          PAT STANDS UP.                          DOLORES           Hey!                          OFFICER KEOGH           Sit down.                          PAT           No, no, no, listen, sir.                                   EXT. RICK'S HOUSE - NIGHT          PAT SR. FOLLOWS RICK BG. TO HIS HOUSE.                          RICKYY           He's chasing me! This guy's chasing           me! Help me!          PAT SR. KNOCKS ON THE CLOSED FRONT DOOR.                                   INT. SOLATANO HOUSE/ATTIC - NIGHT                          OFFICER KEOGH           Sit down!          PAT SITS DOWN WITH DOLORES.                          PAT           I'm sorry. I could just write you a           letter and you could just let me           have five minutes, explaining how           much better I'm doing.                          OFFICER KEOGH           There's a court order against you --           five hundred feet. Listen to me!           59.                                   INT. RICKY'S HOUSE/FOYER - NIGHT           PAT SR.           ...and I'll take that fucking           camera and I'm gonna break it over           your fuckin' head, then I'm gonna           come back and interview you about           what it's like to get that fuckin'           camera broken over your head! You           wa--, what are you laughing about?                          (TO ROSALIE)           I'm sorry. I'm sorry.           RICKY'S MOTHER ROSALIE           I'm sorry.           PAT SR.           Okay.          PAT SR. WALKS BACK TO HIS HOUSE. NEIGHBORS CATCALL PAT SR.           PAT SR. (CONT'D)           Go back to sleep. The party's over.           Show's over.                                   INT. SOLATANO HOUSE/ATTIC - NIGHT          PAST OFFICER, DOLORES AND PAT.                          PAT           ...this is not a reflection of           where I'm at. You can't...please,           you can't tell her any of this You           can't tell Nikki about this.                          OFFICER KEOGH           You need to pipe down.           PAT SR.           Everything all right?                          DOLORES           Who was at the door?                          PAT           Who was that, Dad?           PAT SR.           It was that kid with the camera.                          OFFICER KEOGH           Good luck. I gotta write this up.                          PAT           Come on, don't write it up! I don't           want her to see this!           60.                                    PAT SR.           It's okay, everything is okay.           We're fine, thank you, we           appreciate it. Thank you.          The family stands together in silence.           FADE TO BLACK.                                   INT. SOLATANO HOUSE/ BATHROOM - MORNING          OPENING STRAINS OF ALT-J'S "BUFFALO". PAT STARES AT HIS          REFLECTION IN A MIRROR AS HE GENTLY TOUCHES A BRUISE ON HIS          FOREHEAD.                                   INT. SOLATANO HOUSE/MASTER BEDROOM - MORNING          PAST PAT SR. TO HIS REFLECTION AS HE TOUCHES A SCRAPE AND          BRUISE ON HIS CHEEK.                                   INT. SOLATANO HOUSE/KITCHEN - MORNING          PAT STANDS AT THE KITCHEN SINK. DOLORES AND PAT SR. STAND,          WATCHING HIM.          CU - TWO PILLS IN PAT'S HAND -- SEROQUEL AND LITHIUM -- PAT          TAKES THE PILLS.          INT. SOLATANO HOUSE/ATTIC - DAY          MONTAGE OF SCENES SHOWING PAT AS HE REPLACES THE BROKEN          WINDOW PANE.                                   EXT. STREET - DAY          PAT RUNS, CAMERA MOVING WITH HIM. CAMERA TILTS UP ONTO HIS          FACE.          PAT BREATHS HEAVY. HE LOOKS AT TIFFANY'S HOUSE AS HE PASSES.          TIFFANY BURSTS INTO FRAME, RUNNING PAST PAT.                          TIFFANY                          (RUNNING)           Hey!                          PAT                          (RUNNING)           What the hell?                          TIFFANY           What happened to your face?           61.                                                   PAT           Weight lifting accident.                          TIFFANY           That sounds like bullshit. Why'd           you run by my house? Did our little           conversation get you upset last           night?                          PAT           Hey, this is my route, okay? Just           back off.                          TIFFANY           This is my neighborhood. You just           ran by my house.                          PAT           I like to run by myself, okay?                          TIFFANY           Me too.                          PAT           (stops and turns)           Hey, I like to run alone! Will you           stop?                          TIFFANY           What?                          PAT           Okay? I'm running here!                          TIFFANY           Me too!                          PAT           Well then, why don't you run           somewhere else? There's a fucking           ton of roads to run in! What are           you trying to do?                          TIFFANY           I like this road. This is my           neighborhood.                          PAT                          (SIGHS)           Oh, come on, please!                          TIFFANY           Calm down, crazy.          PAT SPITS. TIFFANY SPITS.           62.                                   PAT TAKES OFF DOWN AN ALLEYWAY TO DITCH TIFFANY; HE DOES. AS          PAT SLOWS TO A JOG AGAIN, MUTTERS TO HIMSELF, NOTICEABLY          DISTURBED BY HIS ENCOUNTER WITH TIFFANY WHEN --                          TIFFANY (CONT'D)           Hey!          TIFFANY REAPPEARS FROM ANOTHER ALLEY BEHIND PAT.                                                   PAT           What the fuck?!                          PAT (CONT'D)           I'm married!                          TIFFANY           So am I!                          PAT           What the fuck are you doing? Your           husband's dead!                          TIFFANY           Where is your wife?                          PAT           You're crazy!                          TIFFANY           I'm not the one that just got out           of that hospital in Baltimore.                          PAT           I'm not the big slut!          TIFFANY STOPS AND REACTS, BENDING OVER. PAT STOPS AND WALKS.                          PAT (CONT'D)                          (BREATHES HEAVILY)           I'm sorry. I'm sorry. I'm sorry.          TIFFANY STANDS UP.                          TIFFANY           I was a big slut, but I'm not           anymore. There's always gonna be a           part of me that's sloppy and dirty,           but I like that, with all the other           parts of myself. Can you say the           same about yourself, fucker?! Can           you forgive? Are you any good at           that?          TIFFANY TURNS AND WALKS.           63.                                   INT. OFFICE/DR. PATEL'S OFFICE - DAY           DR. PATEL           You seemed to have trouble last           night.                          PAT           Let me just set the record straight           about last night. Hurting my mother           was a mistake and I hate myself for           it, and I hate my illness and I           want to control it. My father, on           the other hand, had no trouble           slapping the shit out of me last           night, which I did not return           `cause I could've killed him and I           didn't. He's sixty-five years old.           You don't think I could've beat the           shit out of him? I mean....           DR. PATEL           He was scared for your mother and           you hurt him as well.                          PAT           Yes, last night was a mess. Okay?           And I think he probably just tried           to do his best.           DR. PATEL           Pat, you have to have a strategy. I           told you earlier. You need to           recognize these feelings coming to           you, otherwise you will be sent           back to Baltimore. So when you get           these feelings, you need to get to           a quieter place, and be at peace           with yourself, however you can.                          PAT           Yeah, but that's easier said than           done.           DR. PATEL           You have to do it. You have no           choice. Excelsior.                          PAT           Yeah, Excelsior. Listen, I have a           letter I want you to give Nikki,           okay?           DR. PATEL           No.                          PAT           Why?           64.                                    DR. PATEL          Because you have a restraining          order.                          PAT                          (SIGHS)          What good are you, man?           DR. PATEL          Why did you have this overwhelming          urgency to see your wedding video          last night?                          PAT          Oh, I don't know, because I'm          married and I haven't seen my wife          in eight and a half months?           DR. PATEL          Maybe you think that Nikki's not          around and Tiffany's an attractive          girl and if you get drawn towards          Tiffany, you will spoil your          chances of getting Nikki back to          you?                          PAT          Not bad, Doctor Jones. But I don't          think I'm gonna blow it with Nikki          because Tiffany's a slut.           DR. PATEL          Why is she a slut?                          PAT          After the dinner at Ronnie's, she          said, quote, "We can go to the back          house and you can fuck me as long          as we turn the lights out."          Unquote. And she still wears her          wedding ring. So she's a loyal,          married-to-a-dead-guy slut.           DR. PATEL          Maybe she just needs a friend and          she thought if she offers you sex,          it will be easier for you to become          friends with her.                          PAT          She said she's not a whore anymore,          but she likes that part of herself          along with all the other parts of          herself and can I say the same?           DR. PATEL          Can you?           65.                                                   PAT           Is that....? You're asking me,           you're really asking me that           question?           DR. PATEL           Yes.                          PAT           With all my crazy sad shit? What,           are you fucking nuts?           DR. PATEL           Pat, the silver lining thing is           yours. I'm just giving back your           words to you. This "crazy sad           shit," as you call it, made you a           happier, calmer person with a           beautiful positive philosophy of           going outdoors, working out, and           reading books.                          PAT           No, not the books.           DR. PATEL           You said Nikki's friends with           Ronnie, Veronica and Tiffany. So if           you become friends with Tiffany,           Nikki will think that you're a           kind, generous, large-hearted           person, who helps people in need,           who is basically thriving. So if           you help Tiffany, it will be good           for you.                                   EXT. STREET - DAY          PAT RUNS. CAMERA TILTS UP AND MOVES BG. WITH HIM. CHILDREN          AND PARENTS ARE ON THE SIDEWALK, DRESSED IN HALLOWEEN          COSTUMES.           CHILD (O.C.)           Trick or treat!          PAT LOOKS AT THE MAXWELL HOUSE AS HE RUNS PAST IT. HE RUNS          ONTO THE SIDEWALK. HE RUNS AROUND A TREE. TIFFANY ENTERS AND          CIRCLES HIM.                          TIFFANY           Hey!          THEY RUN.                          PAT           How do you know when I run?           66.                                                   TIFFANY           I wanted to clarify something. I           just want us to be friends.           (Pat doesn't answer)           Did you hear what I said?           (Pat doesn't answer still)           Why are you giving me such a hard           time?                          PAT           No, I'm not giving you a hard time.          PAT AND TIFFANY RUN ACROSS THE STREET TOWARD A SMALL DINER.                          TIFFANY           I don't know how to act with you           when you do this shit.          PAT STOPS.                          PAT                          (WINDED)           You wanna have dinner at this           diner?          TIFFANY IS MOMENTARILY TAKEN ABACK BY PAT'S PROPOSAL.                          TIFFANY           Pick me up at seven thirty.          SHE RUNS AND EXITS.                                   EXT. STREET - EVENING          SEVERAL CHILDREN RUN AROUND IN COSTUMES. PAT WALKS TO THE          MAXWELLS' DRIVEWAY AND STOPS. CAMERA DOLLIES L. AROUND HIM.          WE SEE TIFFANY AS SHE WALKS AND WE SEE TIFFANY'S PARENTS PEER          THROUGH A LIVING ROOM WINDOW.          TIFFANY'S GRANDMOTHER LOOKS FROM AN UPSTAIRS WINDOW.                          PAT           Happy Halloween.                          TIFFANY           Hi.          ACROSS THE STREET TO THE DINER, PAT AND TIFFANY WALK TOWARD          IT.                                   INT. DINER - EVENING          PAT OPENS THE DOOR FOR TIFFANY AS SHE WALKS INTO THE DINER.          PAT FOLLOWS.           67.                                   EXT. DINER - EVENING          THROUGH THE WINDOWS, TO A WAITRESS AS SHE LEADS TIFFANY AND          PAT L. TO A BOOTH. CAMERA PANS WITH THEM.                                   INT. DINER- EVENING                          WAITRESS           Here you go.                          TIFFANY           Thank you.          PAT LOOKS AT THE MENU. THE WAITRESS STANDS, WAITING.                          PAT           I'm gonna have a bowl of your           Raisin Bran.          TIFFANY'S PERPLEXED.                          TIFFANY           Tea.          THE WAITRESS TAKES THE MENUS FROM THEM AND WALKS AWAY.                          WAITRESS           Be right back.                          PAT           You look nice.                          TIFFANY           Thanks.          THE WAITRESS ENTERS L. WITH THEIR ORDER.                          WAITRESS           Raisin Bran. Milk.          TIFFANY WATCHES AS THE WAITRESS SETS HER TEA DOWN.                          TIFFANY           Thank you.          PAT POURS HIS CEREAL INTO A BOWL. PAUSES.                          PAT           You want to share this?                          TIFFANY           Why did you order Raisin Bran?                          PAT           Why did you order tea?           68.                                   SHE EATS CEREAL.                          TIFFANY                          (CHEWING)           Because you ordered Raisin Bran.                          PAT           I ordered Raisin Bran because I           didn't want there to be any           mistaking this for a date.                          TIFFANY                          (CHEWING)           It can still be a date if you order           Raisin Bran.                          PAT           It's not a date. So how's your           thing going -- your dancing thing?                          TIFFANY           It's good. How's your restraining           order?                          PAT           I wouldn't actually call the           restraining order "my thing," but           getting back with Nikki is, and           I've been doing pretty well. Except           for a minor incident at the           doctor's office.                          TIFFANY           And the so-called incident with the           weights.                          PAT           Yeah. That was a thing with my           parents. I wish I could just           explain it all in a letter to Nikki           because it was minor and I could           just explain it and let her know           that I'm actually not out of           control and that I'm actually doing           really well.          TIFFANY TAKES THIS IN. BEAT.                          TIFFANY           I can get a letter to Nikki. I see           her sometimes with my sister.          PAT CAN'T BELIEVE WHAT HE IS HEARING.                          PAT           It would be so amazing if you could           get a letter to Nikki from me.           69.                                                   TIFFANY          I'd have to hide it from Veronica.          She's not into breaking the law,          which this letter would definitely          be doing.                          PAT          But you would do it?                          TIFFANY          I'd have to be careful. I'm already          on thin ice with my family, you          should hear how I lost my job.                          PAT          How did you lose your job?                          TIFFANY          By...having sex with everybody in          the office.                          PAT          Everybody?                          TIFFANY          I was very depressed after Tommy          died. It was a lot of people.                          PAT          We don't have to talk about it.                          TIFFANY          Thanks.                          PAT          How many were there?                          TIFFANY          Eleven.                          PAT          Wow.                          TIFFANY          I know.                          PAT          I'm not gonna talk about it          anymore.                          TIFFANY          Okay.                          PAT          Can I ask you one more question?          Were there any women?           70.                                                   TIFFANY          Yes.                          PAT          Really?                          TIFFANY          Yes.                          PAT          What was that like?                          TIFFANY          Hot.                          PAT          Jesus Christ. Was it like...older          women, a sexy teacher who wants to                         SEDUCE YOU--                          TIFFANY          Made me sit on her lap and do          things? Yeah.                          PAT          What? You sat on her lap?                          TIFFANY          Mm-hmm.                          PAT          She told you what to do?                          TIFFANY          Mm-hmm.                          PAT          Oh...my God. Nikki hated when I          talked like this. Made me feel like          such a pervert. Maybe we should          change the subject.                          TIFFANY          I don't mind it.                          PAT          You don't, do you.                          TIFFANY          No. But then people were getting          into fights in the parking lot at          work, and in the bathroom...and the          boss called me in to his office and          tried to pin it all on me. So I          accused him of harassment and then          they fired me, sent me home and put          me on some meds.           71.                                                   PAT           I get it. The song that was playing           when my wife...was in the shower           with the history teacher...                          TIFFANY           I heard about that.                          PAT           ...it was my wedding song and when           I hear it, I go kinda crazy.           Sometimes I hear it when it's not           even playing.                          TIFFANY           Wow.                          PAT           Yeah. So they put me on medication,           which I feel ashamed of.                          TIFFANY           Yeah.                          PAT           So I know.                          TIFFANY           You do.                          PAT           I just gotta get a strategy, you           know?                          TIFFANY           Me too.                          PAT           We'd better get back to the letter.                          TIFFANY           Yeah, let's get back to the letter.                          PAT           What if you told Nikki when           Veronica was in the bathroom?                          TIFFANY           Yes. Yes, that could work. I love           that.                          PAT           Oh, my God, I'm gonna go home and           write the letter right now.          PAT BEGINS TO SLIDE OUT OF THE BOOTH.           72.                                                   TIFFANY          Can I at least finish my tea?                          PAT          Wait, what?                          TIFFANY          My tea. Can I finish it?                          PAT          Wait a minute. Did Veronica tell          Nikki about our dinner? Why would          she do that? Was it a test?                          TIFFANY          I kinda got that feeling, yeah.                          PAT          Goddamn it. I knew it. It was a          test. How did I do? I think I did          pretty well.                          TIFFANY          Yeah, she said you were cool,          basically.                          PAT          "Basically"? Was I some percentage          not cool?                          TIFFANY          No, she said you were cool, but you          know.                          PAT          No, I don't know.                          TIFFANY          Sort of how you are. It's fine,          relax.                          PAT          What do you mean? How am I? What          does that mean?                          TIFFANY          Sort of like me.                          PAT          "Sort of like you"? I hope to God          she didn't tell Nikki that.                          TIFFANY          Why?           73.                                                   PAT           Because, it's just not right,           lumping you and I together, I mean,           it's just wrong. And Nikki wouldn't           like that. Especially after all the           shit you just told me.                          TIFFANY           You think that I'm crazier than           you.                          PAT                          (SCOFFS) (CHUCKLING)           Because, well, we're different, I                          MEAN--                          TIFFANY           Oh, my God. Ugh. You're killing me.           You know what? Forget I offered to           help you. Forget the entire fucking           idea. `Cause that must have been           fucking crazy because I am so much           crazier than you.                          PAT           Keep your voice down.                          TIFFANY           I'm just the crazy slut with a dead           husband!          HALLOWEEN DINERS LOOK.                          TIFFANY (CONT'D)           Forget it!                          PAT           Shut the fuck up.          TIFFANY STANDS, SWEEPING THE DISHES OFF THE EDGE OF THE          TABLE.                          TIFFANY           Fuck you!                         DINERS GASP          CAMERA PANS R. ONTO THE FLOOR WITH THE BROKEN DISHES.          PAT STANDS UP.                          TIFFANY (CONT'D)           You shut the fuck up!                          PAT           Tiffany! Hey! Tiffany!           74.                                   TIFFANY WALKS. PAT WATCHES.          DINERS (scattered applause and cheers)                                   EXT. DINER - EVENING          TIFFANY WALKS.                                   INT. DINER - EVENING          PAT GRABS HIS WALLET FROM THE TABLE.          THROUGH THE WINDOW TIFFANY HOLDING UP HER MIDDLE FINGERS.          PAT WALKS, BUT IS STOPPED BY THE WAITRESS, HOLDING UP HIS          BILL.                          WAITRESS           Slow down, Raisin Bran.                                   EXT. STREET - EVENING          TIFFANY WALKS.          PEDESTRIANS (low and indistinct chatter - continues under          following scenes and dialogue)                          PAT           Hey, come on. Look, I don't think           you're crazy, all right?          PAT HURRIES TO TIFFANY.                          TIFFANY           Yes, you do.                          PAT           No, I don't.                          TIFFANY           You told your therapist that you           were in a superior mental illness           category, didn't you?                          PAT           What? Hey, calm down! Hey--          TIFFANY STOPPING AND TURNING TO FACE PAT.                          TIFFANY           Just leave me alone!           75.                                                   PAT           Can I just explain myself, please?           I didn't want Nikki to think that I           was associated with that kind of           sexual behavior because I've never           done anything like that, okay?                          TIFFANY           You may not have experienced the           shit that I did. But you loved           hearing about it, didn't you? You           are afraid to be alive, you're           afraid to live. You're a hypocrite.           You're a conformist. You're a liar.           I opened up to you and you judged           me. You are an asshole. You are an           asshole!          TIFFANY GRABS PAT'S JACKET COLLAR.                          TIFFANY (CONT'D)           Get off of me! (yelling) Get off!           You're harassing me!                          PAT           Hey, hey!                          TIFFANY                          (YELLING)           He's harassing me!                          PAT           Shut up!          SEVERAL PEDESTRIANS STEP IN, INTERVENING.          `CHERIE AMOUR' starts in Pat's head.                          TIFFANY           Get off!                          MAN                          (TO PAT)           Take it easy. Dude, relax.                          PAT           Bro, get off of me.                          TIFFANY                          (YELLING))           He's harassing me!!                          PAT           Hey, hey, stop, stop. Stop, all           right?          THREE TEENAGE BOYS SURROUND PAT, TAUNTING.           76.                                                   PAT (CONT'D)           Hey, get off of me! Shut up, shut           up.          PEDESTRIANS CROWD AROUND, WATCHING.                          PAT (CONT'D)           Stop it.          A POLICE CAR SIREN IS HEARD. A POLICE CAR AS IT PARKS.          OFFICER KEOGH GETS OUT AND WALKS                          PAT (CONT'D)           Hey, hey, hey, get off me!                          OFFICER KEOGH           What are you doing? Come on. What           are you doing? What are you doing           to these kids?          CAMERA PANS WITH OFFICER KEOGH AS HE WALKS TO PAT, GRABS HIS          ARM.           OFFICER KEOGH (CONT'D)           Are you being a punk on Halloween           with these kids? You wanna go back           to Baltimore? Is that what you           wanna do?                          PAT           I didn't, I didn't, I didn't--          TIFFANY WATCHES IN THE CROWD OF HALLOWEEN TEENS. Softens.                          TIFFANY           It's the kids! [Walks to Pat and           Officer Keogh]. He didn't do           anything, it was all the kids.          Officer Keogh turns to push the crowd back.                          OFFICER KEOGH           (walks crowd back)           Let's go, clear out, nothing going           on here.          AS -- TIFFANY LEANS IN CLOSE TO PAT WHO IS UPSET, SONG          PLAYING IN HIS HEAD. Tormented.                          TIFFANY           You gonna go your whole life scared           of that song? It's just a song.           Don't make it a monster.          She leans close to Pat's downcast face.           77.                                                   TIFFANY (CONT'D)           There's no song playing. There's           no song. Breathe, count backwards           from ten. That's it.          Pat breathes, listens to her. Calms himself. Song stops.          Tiffany's face stays close to his.                          TIFFANY (CONT'D)           That's it. There you go. I'm sorry.           I'm sorry.                          PAT           I'm sorry.                          TIFFANY           I took it too far.                          PAT           I'm sorry.                          OFFICER KEOGH           (pulls her away)           Hey, is he messing with you?                          TIFFANY           No, no. No, this was just a joke.           This is a joke I started.                          OFFICER KEOGH           There's a restraining order on this           guy.                          TIFFANY           I know, I have a stupid sense of           humor.                          OFFICER KEOGH           That's not a good thing to do.                          TIFFANY           Well, I'm fucked up. What can I           tell you? I'm sorry.                          OFFICER KEOGH           You're Tommy's widow, right?                          TIFFANY           Yes, I'm Tommy's crazy whore widow,           minus the whore thing for the most           part.                          OFFICER KEOGH           You're a funny girl. You wanna get           a drink sometime?          TIFFANY TURNS AND WALKS AWAY.           78.                                    OFFICER KEOGH (CONT'D)           What'd I say?                          PAT           She doesn't, she doesn't do that           anymore.                                   EXT. STREET - EVENING          TIFFANY WALKS - upset, vulnerable. Pat walks behind, CATCHES          UP TO TIFFANY AND THEY WALK TOGETHER.                          PAT           I'm sorry about what I said in the           diner.                          TIFFANY           I know. I know you didn't mean it.                          PAT           I didn't mean it at all.                          TIFFANY           I know, you say shit you don't mean           all the time.                          PAT           All the time.                          TIFFANY           I'll still give your letter to           Nikki, don't worry.          TIFFANY WALKS THE DRIVEWAY TOWARD HER GARAGE. Pat watches her          go.                          PAT           Wow. I really appreciate that,           Tiffany.                          TIFFANY                          (WALKING AWAY)           I know you do.                          PAT           You do?                          TIFFANY                          (DISHEARTENED)           Yeah, sure.                          PAT           I'll see you tomorrow? With the           letter?           79.                                   INT. SOLATANO HOUSE/DINING ROOM - DAY          PAT SR.'S BOOKMAKING MATERIALS SPREAD OUT ON THE DINING          TABLE.                          RANDY           I'll bet I know what happened if           only one is missing. Either Dolores           or Pat needed an envelope and one           of `em took it. That's the only           answer.           PAT SR.           No, no, no.          DOLORES, PREPARING FOOD IN THE KITCHEN.           PAT SR. (CONT'D)           Dolores, somebody was in my study.           Who took one of my envelopes?           Somebody took an envelope.                          DOLORES           Maybe we should call the FBI.           PAT SR.           Don't make fun. This is serious.           What FBI? Come on, let's take a           look. I'll show you what this is.           I'm gonna just explain to you           something. I mean, you know what           I'm doing, honey. This everything,           like this. I got this, it all           corresponds.          PAT ENTERS.                          PAT           Dad, I borrowed one of your           envelopes. I hope that's not a                          PROBLEM           PAT SR.           No, it's not okay. It's not okay.           You gotta ask.                          DOLORES           "Do not go in my study or I will           eat you!"                         RANDY LAUGHS           PAT SR.           It's not funny, it's not funny.           What's everybody making a joke out           of this for?           80.                                                   RANDY          Dolores, you are so beautiful!           PAT SR.                          (TO RANDY)          Stop that! Hey, hey, hey, stop,          stop, stop!                          (TO PAT)          Listen, a lot of envelopes go in          and out of my office every day          after games with a lot of cash in          `em. So show some respect for what          I do.                          PAT          Yeah, I know. I saw two-seven-four.          I just wanted to tell you the          number.           PAT SR.          Thank you.                          PAT          But the envelope was empty. I'm          sorry, you were sleeping. I didn't          want to wake you, but I needed an          envelope.           PAT SR.          You didn't want to wake me? (to          Dolores and Randy) He didn't want          to wake me. He doesn't have a          problem complaining about Ernest          fucking Hemingway. He doesn't have          a problem asking for his wedding                         VIDEO-                          DOLORES          Be nice. It's game day! I'm makin'          crabby snacks and homemades.                          PAT          Yeah, come on, Dad, be nice. Come          on, she's making crabby snacks and          homemades. Come on, Dad!           PAT SR.          What are you so up about?                          DOLORES          He's very happy.                          PAT          I'm happy.           PAT SR.          No, you're so up, up, up, up.           81.                                                   PAT          Isn't that a good thing?           PAT SR.          You're just up, up, up. I don't          know what that is. Are you taking          the proper dosage of your          medication?                          PAT          Am I taking the right dose? Of          course I am.           PAT SR.          Okay. Taking a little bit too many          or something?                          PAT          No, if I was taking that, I'd be on          the floor, Dad.           PAT SR.          Just stay with us. Stay for the          game. Spend some family time.                          PAT          Dad, I can't. Look, I'm ready to          go.           PAT SR.          Spend family time.                          PAT          Wait, you mean OCD, superstitious          time?                          RANDY          Come on, your dad needs a winner.          Help him out.           PAT SR.          Come on.                          PAT          I can't.           PAT SR.          It's the Seahawks. Put on the          jersey and stay, please. Please.          It's important, please.                          DOLORES          What are you up to, Pat?                          PAT          Nothing, come on.           82.                                                   DOLORES           What's in the envelope?           PAT SR.           Yeah, what are you doing? What's in           that envelope?                          PAT           Guys, I'm beating the song! I'm on           the scoreboard! I'm playing down           field! I feel great!          PAT WALKS OUT THE DOOR.                                   EXT. MAXWELL HOUSE/FRONT PORCH - DAY          PAT WALKS TO THE DOOR AND KNOCKS.                          PAT           Tiffany!          PAT PUSHES THE DOORBELL.          TIFFANY'S MOTHER OPENS THE FRONT DOOR.                          PAT (CONT'D)           Hey, how you doin'? Is Tiffany           here?                          TIFFANY'S MOTHER           What do you want with her?          TIFFANY'S FATHER APPEARS.                          TIFFANY'S FATHER           Is that another creep? What do you           want, creep? Just beat it.                          PAT           Whoa, no, no, no. No, I'm married.          PAT HOLDS UP HIS HAND, POINTING TO HIS WEDDING RING.          A CAR PARKS AT THE CURB IN BG.                          TIFFANY'S FATHER           Oh, great, a married creep.                          PAT           I'm her friend.          ANOTHER MAN, JORDIE, JOGS UP TO THE PORCH, BEHIND PAT.                          PAT (CONT'D)           We go running. Have you guys not           seen us? I took her to the diner.           83.                                                   TIFFANY'S MOTHER           She's not here.                          JORDIE           Hi, guys. How's it going? Hey. Is           Tiffany home?                          TIFFANY'S MOTHER           Go away.                          JORDIE           I know her. I know her, we've           dated. We still date.                          PAT           What are you doing here?                          JORDIE           I've called her, I've texted her.                          PAT           Do you know this guy?                          JORDIE           I still haven't heard back. We used           to work together--                          TIFFANY'S FATHER           Just get the hell out of here...          JORDIE'S HAND, HOLDING OUT A BUSINESS CARD.                          JORDIE           I just wanted to give you my card           to give to her.                          TIFFANY'S FATHER           Another rude creep.                          PAT           Listen to what he's saying. Listen           to what he's saying.                          JORDIE           What's he saying?                          PAT           He's saying you're being rude.                          JORDIE           How am I being rude?                          PAT           Oh, you know. You know. Come on.           Sometimes it's okay with girls like           this, they wanna have fun and                          SOMETIMES --           84.                                   INT. MAXWELL HOUSE/HALLWAY - DAY          TIFFANY STANDS CONCEALED BEHIND DOOR LISTENING.                          PAT           --it's not because they got a           broken wing, and they're hurt, and           they're an easy target. And in this           case, in this particular case, I           think that wing is being fixed.                                   EXT. MAXWELL HOUSE/FRONT PORCH - DAY                          PAT           And you gotta make sure it gets           mended. And you're gettin' in the           way of that right now, okay?           Because she's sensitive and she's           smart, she's artistic. This is a           great girl and you gotta be           respectful of that. Come on.          PAT TURNS AND LEADS JORDIE BACK TO HIS CAR.                          PAT (CONT'D)           Let me walk you down to your car.           You're a better guy than this. I           can see it in your eyes.          JORDIE LOOKS OVER HIS SHOULDER TOWARDS TIFFANY'S STUNNED          PARENTS.                          JORDIE           She just texted me!                                   INT. MAXWELL HOUSE/HALLWAY - DAY          TIFFANY BEHIND DOOR TAKES IN HOW PAT STOOD UP FOR HER.          THINKS.                                   EXT. STREET - DAY          PAT RUNS. TIFFANY ENTERS. PAT REACTS.                          PAT           Hey! Hey, wait a second! What are           you doing? What happened? How come           you weren't outside? What the           hell's going on?          THEY STOP, FACING EACH OTHER.                          TIFFANY           I can't, I can't do it.           85.                                                   PAT           What do you mean, you can't do it?           You can't do what?                          TIFFANY           I can't give the letter to Nikki.                          PAT           Tiffany, what are you talking           about? What do you mean you can't           give the letter to Nikki?                          TIFFANY           Because what am I getting in           return? What are you doing for me?                          PAT           You said! You said if I wrote a           letter, you'd get it to Nikki.                          TIFFANY           I know.                          PAT           That was the set-up.                          TIFFANY           Because I do this time after time           after time, I do all this shit for           other people and then I wake up           and, and I'm empty, I have nothing!                          PAT           What are you talking about? You           seem like you're a tough girl to           me. Why don't you just do things on           your own?                          TIFFANY           I always get myself in these           fucking situations. I give           everything to other people and           nobody ever, I never -- I don't get           what I want, okay? I'm not my           sister.          Pat takes this in.                          PAT           Alright, well, ask for you. What           can I do for you?                          TIFFANY           I can't do it.                          PAT           Tiffany, what do you want me to do?           86.                                   TIFFANY SIGHS.                          PAT (CONT'D)           Think of something.                          TIFFANY           There's this thing.                          PAT           There's a thing, okay. What kind of           thing?                          TIFFANY           It's a thing, it's a thing. It's a,           it's a dance thing.                          PAT           It's a dance thing, all right.                          TIFFANY           It's a competition thing at the           Benjamin Franklin Hotel. Tommy           would never do it with me and I           missed it every single year.                          PAT           Well, Tommy's dead, so he's not           gonna fucking do it.                          TIFFANY           Would you please!                          PAT           I don't have a filter when I talk.                          TIFFANY           Can we have one conversation           without you reminding me that my           goddamn husband is dead? My God.                          PAT           Yes, I'm sorry. I'm sorry. Okay,           I'm sorry.                          TIFFANY           But I can only do it if I have a           partner...and now I'm about to miss           it for another year.                          PAT           Whoa, whoa, whoa, I'm not gonna           fuckin' dance with you. What are           you talking about?           87.                                                   TIFFANY           What, your schedule is so busy?           "Grapes of Wrath" and watching           football with your dad?                          PAT           Tiffany, I'm not gonna do a dance           with you.                          TIFFANY           All right, then I'm not giving her           your fucking letter.          TIFFANY WALKS AWAY.                          PAT           Wait a second! But you promised you           would do this.                         TIFFANY TURNS                          TIFFANY           Think about it.          TIFFANY TURNS AND WALKS.                          PAT           Well, I already did do something           for you, you know.          TIFFANY TURNS.                          TIFFANY           WHAT DID YOU DO FOR ME?                          PAT           I took care of that jerkoff that           was in front of your house.                          TIFFANY           What? Jordie?                          PAT           Let me ask you something. Do you           call him when you're lonely?          TIFFANY STOPS.                          PAT (CONT'D)           That encourages him, Tiffany. You           shouldn't do it.                          TIFFANY           Couldn't you say the same about you           and Nikki?           88.                                                   PAT           It's not at all like me and Nikki.           What are you talking about? We're           in love and we're married. It's           completely different.                          TIFFANY           How are you in love? Tell me about           that. The big Nikki love. Tell me           about it, I wanna understand it.                          PAT           We have a very unconventional           chemistry, it makes people feel           awkward, but not me. She's the most           beautiful woman I've ever been           with.                          TIFFANY           Wow.                          PAT           It's electric between us, okay?           Yeah, we wanna change each other,           but that's normal, couples wanna do           that, I want her to stop dressing           like she dresses, I want her to           stop acting so superior to me,           okay? And she wanted me to lose           weight and stop my mood swings,           both of which I've done. I mean,           people fight. Couples fight. We           would fight, we wouldn't talk for a           couple weeks. That's normal. She           always wanted the best for me.          Tiffany listens.                          PAT (CONT'D)           She wanted me to be passionate and           compassionate. And that's a good           thing. You know? I just, look, I'm           my best self today, and I think           she's her best self today, and our           love's gonna be fucking amazing.                          TIFFANY           It's gonna be amazing, and you're           gonna be amazing, and she's gonna           be amazing, and you're not gonna be           that guy that's gonna take           advantage of a situation without           offering to do something back. So           think about the dance thing.          TIFFANY TURNS AND WALKS. PRELAP OF EAGLES GAME FADES IN.           89.                                    PAT (O.S.)           Danny, you're out of the hospital?           And you're here on game day?                                   INT. SOLATANO HOUSE/LIVING ROOM - DAY          PAT EMBRACES DANNY.                          DANNY           I'm out.          DANNY AND PAT EMBRACE.                          DANNY (CONT'D)           It's official, man. They didn't           convert me to my Mental Hygiene Law           admission status within two thirds           of the maximum length of my felony           sentence, so I'm out. They had to           let me go.                          PAT           I never understand what he's           saying.          PAST DANNY, TO PAT SR. DOLORES AND RONNIE WATCH IN BG.           PAT SR.           Okay, jailhouse lawyer, come on,           let's come back and sit down the           way you were before.                          PAT                          (LAUGHS)           What a treat!                                   INT. SOLATANO HOUSE/LIVING ROOM - DAY          PAT SR. ESCORTS DANNY TO THE SOFA, WHERE RANDY SIT. DOLORES          AND RONNIE STAND.          SPORTS ANNOUNCER (over television) (low and indistinct          chatter - continues under following scenes and dialogue)                          PAT           Whoa, whoa, whoa. Dad's got you           sitting here?           PAT SR.           Oh, yeah.                          DANNY           He calls me "Jailhouse Lawyer."          DANNY SITS DOWN ON THE SOFA NEXT TO RANDY.           90.                                    PAT SR.           Hold the remote the way you were           holding it before.                          DANNY           Okay.          PAT SR. AND DANNY, WHO CAREFULLY HOLDS THE REMOTE CONTROL IN          ONE HAND AND THE GREEN HANDKERCHIEF IN THE OTHER HAND.                          PAT           And now you're holding the remote?                          DANNY           And it's working. Your dad's a           genius.          PAT SR. URGES DANNY TO SIT UP STRAIGHTER with remote.           PAT SR.           Now sit up.                          PAT           And Danny's the good luck charm?           PAT SR.           Danny's from you. This is your           house, so it comes down to you.           You're the one.                          DANNY           Yeah, you're the one, Pat.                          PAT           Superstition, Danny. I don't know.          WE SEE DOLORES.           PAT SR.           Come sit down.           PAT SR. (CONT'D)           Don't disappear doing God knows           what with that Tiffany Maxwell.                          PAT           Dad, Dad, Dad. She's my friend. Why           would you say that?                          RONNIE           Oh, she's a mess. You gotta be           careful. She goes to a lot of           therapy.          PAT SR. GROANS           91.                                                   PAT           I go to a lot of therapy, Ronnie.           What are you trying to say?                          RONNIE           I'm just saying--                          PAT                          (INTERRUPTING) )           Am I messed up?                          PAT (CONT'D)           Why don't you stop judging people?           You judge everybody. You're the one           who has a messed up marriage.                          RONNIE           I'm just looking out for you, I'm           just looking out for you. She's           unstable.                          DOLORES                          (ALARMED)           What's wrong with your marriage?           What's wrong with your marriage?                          RONNIE           Nothing's wrong!                          PAT           You should have seen when I was at           his house. It's like a circus over           there.                          RONNIE           Shh, shh.          RONNIE PUSHES PAT R. INTO THE FOYER.                          PAT           What are you talking about? I'm not           gonna hide this. You need to deal           with it.                          RONNIE           Stop breaking my balls.          RONNIE HOLDS UP AN IPOD.                          PAT           Oh!!!!                          RONNIE           I got you an iPod.                          PAT           Whoa! Is this for me?           92.                                                   RONNIE          Yeah. Well, that's my old iPod, but-                          PAT                          (HUGS RONNIE)          Oh, buddy, thank you. That's so          nice of you. Wow.                          RONNIE          Thirty-two gigabytes.                          PAT          How many songs is that?                          RONNIE          Seven thousand.                          PAT           (scrolling through iPod)          Oh, yeah, you got The Stranglers.          You love The Stranglers. Oh, the          Sex Pistols. The Clash.                          RONNIE          Got some Clash.                          PAT          Oh, "West Side Story."                          RONNIE          Yeah, "West Side Story." It makes          me peaceful.                          (SINGING)          "Maria, I just met a girl named          Maria..."                          PAT          Right, right, right.                          RONNIE          And then when I'm angry, which is a          lot these days, I go to the          garage...Metallica...Megadeth. I          start fucking smashing shit.                          PAT          You gotta get your marriage          together.                          RONNIE                          (WHISPERING)          I start breaking shit, and I hurt          my hand. And --                          PAT          Ronnie, that's fucked up.           93.                                                   RONNIE           Yeah, but it makes me feel better.           It's like my therapy, you know?                          PAT           When I'm with Nikki, I'm never           gonna do stuff like that...           JAKE (O.S.)           Whoa, Nikki? What's all this about           Nikki?          Pan from the framed photo of Jake on foyer wall, to Jake on          the stairs above.                          JAKE (CONT'D)           A restraining order is nothing to           fool with, bro. [Walks down to           Pat]. Holy shit, look at you! You           are fit! You look absolutely           amazing. You feel good?                          PAT           How you doing, Jake?                          JAKE           Good. You look like Schwarzenegger           in his prime.                          DOLORES           Didn't I say you wouldn't recognize           him?                          JAKE           So, listen, I'm sorry that I didn't           come see you down at the hospital.           You know how those places creep me           out, and the firm's been expanding.           I've been helping Pop with the           restaurant `cause he needs to have           a legitimate business. He needs a           tax return. With all the money that           he's making with his bookmaking,           they're gonna come after him. And           then it looks like I'm making, I'm           gonna make partner at the firm.          Pat just stares at Jake. The room is silent.                          JAKE (CONT'D)           Well, I don't even know what to say           to you anymore. You lost your wife,           I'm getting engaged, and I wanna be           able to tell you about those kind           of things. You lost your house, I'm           getting a new house. You lost your           job, things are going great for me           at the firm.           94.                                    PAT SR.           Maybe stop talking about all the           stuff that's good for you and bad           for him. Just, you know, leave it           alone. We're watching the game.                          JAKE           You know what, I'm just gonna, I'm           just gonna, I'm just gonna stop           talking. I'm gonna shut my mouth.          Pat stares down Jake. Tense.                          PAT           As my friend Danny would say 00          The room hangs on Pat's words.                          PAT (CONT'D)           I got nothing but love for you,           brother.          PAT SMILES. TENSION EASES. PAT AND JAKE EMBRACE.                          DANNY           That's right. That's right.           RONNIE/RANDY/DANNY/DELORES (O.C.)           That's nice. That's nice.          DOLORES INHALES TEARFULLY.           PAT SR.           Well, thank God, finally.                          PAT           DeSean Jackson.                          JAKE           Yeah. Did it fit?                          PAT           I wore it to Ronnie's for dinner.                          RONNIE           Beautiful jersey. I love that           jersey.                          PAT           Veronica didn't like it.                          RONNIE           Veronica hates the jersey.                          JAKE           Whatever you do, watch out for           that restraining order, okay?           95.                                   JAKE PATS PAT'S CHEST AND WALKS TO SOFA.                          PAT           I'm not doing anything!                          RONNIE           Don't let Tiffany get you in           trouble.                          DOLORES           Pat, you're up to something, I           know.                          PAT           People like Tiffany, or Danny, or           me, maybe we know something that           you guys don't know, okay? Did you           ever think about that? Maybe we           understand something because we're                          MORE--          DOORBELL RINGS.                          DANNY           We have a sixth sense. I mean,           everybody's got it. Everybody's           just not in touch with it.          OFFICER KEOGH STANDS WITH MALE ORDERLIES FROM THE PSYCHIATRIC          HOSPITAL.                          DOLORES           Oh, no.                          OFFICER KEOGH           How you doing, Pat?                          PAT           Jesus.           PAT SR.           I guess his sixth sense forgot to           tell him the cops were coming.                          OFFICER KEOGH                          (RE: DANNY)           I'm taking him back to the           hospital.                          PAT           What? No, no, he passed his thing,           right?                         RANDY LAUGHS           96.                                                   DANNY           First of all, check with the latest           legal development.                          OFFICER KEOGH           Well, we got a call that they did           convert you to a Mental Hygiene Law           admission status by the deadline of           your sentence, so....           PAT SR.                          (TO KEOGH)           Wait a minute. Are you an Eagles           fan or are you not an Eagles fan?                          OFFICER KEOGH           I'm an Eagles fan.           PAT SR.           Well then, what's the problem? He's           not goin' anywhere. Just let him           finish the game, that's all. The           handkerchief is working. We're           killing the Seahawks, twenty-seven-           ten. What's the matter with you?           Let him stay, please!                          OFFICER KEOGH           I don't know what the hell you're           talking about "the handkerchief".           And I'm glad that the Seahawks are           losing and we're winning, but I           gotta take Danny McDaniels back to           Baltimore, alright? He can contest           his case from Baltimore.          DANNY STANDS UP.                          DANNY           Not correct about the Mental           Hygiene Law. You're not correct.                          OFFICER KEOGH           Come on.          DANNY ENTERS R. AND OFFICER KEOGH GRABS HIS ARM. THE          ORDERLIES AND OFFICER KEOGH ESCORT DANNY L. THROUGH THE FRONT          DOOR.                          DANNY           You guys oughta be ashamed of           yourselves.          PAT SR. CAREFULLY FOLDS UP THE GREEN HANDKERCHIEF.           97.                                   EXT. MAXWELL HOUSE - DAY          PAT WALKS ALONG THE DRIVEWAY TOWARD TIFFANY'S GARAGE,          CARRYING HIS ENVELOPE. HE SEES TIFFANY'S MOTHER, LOOKING          THROUGH A WINDOW.          PAT WAVES.                                   INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY          TIFFANY LEADS PAT INTO HER DANE STUDIO.                          TIFFANY           I used the insurance money to build           this. I designed it. All the floors           are hard oak. It has good bounce           for dancers.                          PAT           Wow.                          TIFFANY           I'm not that great of a dancer, but           who cares? It's therapy and it's           fun. And the walls are good `cause           I can play music really loud           without anybody hearing.                          PAT           Where do you sleep?          TIFFANY GESTURES AT A STAIRCASE.                          TIFFANY           Upstairs. It's a garage, I just           renovated it. You know, I was           thinking about putting a ballet           barre here.                          PAT           When are you gonna give it to her?                          TIFFANY           What?                          PAT           The letter to Nikki.          PAT HOLDS UP THE ENVELOPE.                          TIFFANY           Probably tonight.                          PAT           Really?           98.                                                   TIFFANY           Ronnie and Veronica and I are gonna           see her tonight.                          PAT           Oh, I actually changed the first           paragraph. I did this thing about           Shakespeare and how it's very                          ROMANTIC-                          TIFFANY           Mm-hmm.                          PAT           -and that maybe in the future if           she wanted to go dancing, I can be           able to do that because of all the                          TRAINING THAT--                          TIFFANY                          (INTERRUPTING)           No, that's good, that's really           good.                          PAT           I assume you're a good teacher.          TIFFANY'S HAND TAKES THE ENVELOPE FROM PAT.                          TIFFANY           Yeah. I mean, I hope so.                          PAT           Maybe you can teach us both, you           know what I mean?          TIFFANY EXITS AND PLACES THE ENVELOPE ON THE STAIRCASE.                          PAT (CONT'D)           And I also mentioned how generous           it is, what I'm doing for you.                          TIFFANY           Yeah. Mm-hmm. It's really generous.                          PAT           You know, being of service.                          TIFFANY           Yeah.                          PAT           To your need.                          TIFFANY           Uh-huh.           99.                                                   TIFFANY (CONT'D)           All right, let's start simple.           Start at that corner, walk towards           me. Walk across the room.          Pat stands in the corner, doesn't move.                          PAT           Can we do something else besides           the dance deal?                          TIFFANY           Are you fucking kidding me?                          PAT           I'm good with a hammer. You want me           to fix something?                          TIFFANY           A deal is a deal.                          PAT           I know. Okay. I was just suggesting           that maybe there's a better           scenario.                          TIFFANY           Why don't you walk towards me like           I'm Nikki. And the only way to           convey how much you've missed me is           by your walk. By your slow walk.           You can't talk.                          PAT           I'm not doing it.                          TIFFANY           Only walk. Do it.                          PAT           No. That's stupid.                          TIFFANY           No walk, no letter. Walk to me like           I'm Nikki, come on. Do it. I'm           Nikki. Come on.                          PAT           (under his breath)           You're not Nikki.          PAT RELUCTANTLY WALKS.                          TIFFANY           Don't look up until you're halfway           here.           100.                                   PAT WALKS SLOWLY. CAMERA TILTS UP ONTO HIS FACE AS HE KEEPS          HIS HEAD DOWN.                          TIFFANY (CONT'D)           That's right.          PAT WALKS TO HER.                          TIFFANY (CONT'D)           Not yet.          PAT AS HE STOPS FACE TO FACE WITH TIFFANY AND LOOKS HER IN          THE EYES.                          TIFFANY (CONT'D)           Yes. Do you feel that? That's           emotion.                          PAT           I don't feel anything.                          TIFFANY           Has anybody ever told you how Tommy           died?                          PAT           No.                          TIFFANY           We were married for three years and           five days, and I loved him. But for           the last couple months, I just           wasn't into sex at all. It just           felt like we were so different and           I was depressed. Some of that is           just me, some of it was he wanted           me to have kids and I have a hard           enough time taking care of myself.           I don't think that makes me a           criminal. Anyway one night after           dinner, he drove to Victoria's           Secret at King of Prussia Mall and           got some lingerie to get something           going. And on the way back, he           stopped on 76 to help a guy with a           flat tire and he got hit by a car           and killed. And the Victoria's           Secret box was still in the front           seat. (pause) That's a feeling.          PAT, VISIBLY UPSET, WATCHES AS TIFFANY TURNS TO HER IPOD. BOB          DYLAN'S "GIRL FROM NORTH COUNTRY" DUET WITH JOHNNY CASH          STARTS.          PAT AND TIFFANY SIT ON THE FLOOR, FACING EACH OTHER AS THEY          LISTEN. CUT TO:           101.                                   TIFFANY LEADS PAT ONTO THE DANCE FLOOR.                          TIFFANY (CONT'D)           Okay, this is the waltz. I'm gonna           teach you the waltz step.          TIFFANY POSITIONS PAT AND GESTURES FOR HIM TO DANCE. HE MOVES          AROUND HER as she showed him, his hands on his shoulders.          PAT AND TIFFANY AS THEY DANCE WALTZ CAMERA MOVING WITH THEM.                                   INT. SOLATANO HOUSE/LIVING ROOM - DAY          DOLORES AND PAT SR. SIT TOGETHER ON THE SOFA. THEY WATCH AS          O.S. PAT PASSES BY.                                   INT. SOLATANO HOUSE/ATTIC - DAY          PAT FALLS ONTO HIS BED, EXHAUSTED.          PAT'S LEG HITS A STACK OF BOOKS AS HE ROLLS OVER. HE KNOCKS          NIKKI'S BOOKS ONTO THE FLOOR.                                   INT. SOLATANO HOUSE/FOYER - DAY          PAT HURRIES DOWN THE STAIRS. HE WAVES AT DOLORES AND PAT SR.                                   INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY          TIFFANY IS HOLDING HER IPOD. SHE WATCHES A CLIP OF TWO          DANCERS IN AN OLD MOVIE.          PAT AND TIFFANY WATCH THE IPOD.          PAT AND TIFFANY DANCE, COPYING THE MOVES. CAMERA TILTS DOWN          ONTO THEIR FEET.          PAT AND TIFFANY AS THEY DANCE. PAT PULLS TIFFANY CLOSE AND          THEY LOOK AT EACH OTHER. SHE SPINS AWAY.          PAT'S HANDS LIFT HIS TRASH BAG AND SWEATSHIRT OFF THE FLOOR,          CAMERA TILTS UP WITH HIM. HE LOOKS R. AND REACTS.          PAT'S POV - THE OPEN BATHROOM DOOR, WHICH HAS A MIRROR          MOUNTED ON IT. THE MIRROR SHOWS THE REFLECTION OF TIFFANY, IN          THE BATHROOM, AS SHE TAKES OFF DANCE TOP, BACK TO HIM.          PAT STARES FROM AFAR--          HE SUDDENLY TURNS AND LEAVES           102.                                   EXT. MAXWELL HOUSE/DRIVEWAY - DAY          PAT RUNS DOWN GRAVEL DRIVE.                                   INT. SOLATANO HOUSE/ATTIC - DAY          PAT LIES ON BED STARES AT CEILING, emotions churning inside.                                   INT. SOLATANO HOUSE/KITCHEN - DAY          PAT CROSSES KITCHEN.                          DOLORES           Whoa! Slow down.          PAT STOPS AND TURNS.                          PAT           What?                          DOLORES           Your father wanted you to have           this.          SHE PICKS UP A SECTION OF THE NEWSPAPER AND HANDS IT.          HE TAKES THE NEWSPAPER AND LOOKS AT IT.                          PAT           He wants me to have-          THROUGH THE DOORWAY, PAT SR. LISTENS.                          PAT (CONT'D)           -all this Eagles information.                          DOLORES           It's his living.                          PAT           Um, tell Dad thanks.                          DOLORES           Your father expects to spend time           with you, Pat.          PAT NODS. HE OPENS THE BACK DOOR.                                   INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY          TIFFANY HOLDS UP THE NEWSPAPER AND A BOOK.           103.                                                   TIFFANY           Football stays out of this place,           so does "Lord of the Flies."                          PAT           Wait, wait, no, no, no, what are           you doing? I'm behind on my           syllabus.                          TIFFANY           I don't give a fuck.                          PAT           What the hell are you doing?          TIFFANY STEPS TO DOORWAY --                                   EXT. TIFFANY'S GARAGE - DAY          TIFFANY THROWS THE NEWSPAPER AND BOOK TO DRIVEWAY.           PAT (O.S.)           Hey, hey!                                   INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY                          PAT           Did you just throw that outside?                          TIFFANY           What? You're not gonna read that           shit on my time. I can tell you all           about the "Lord of the Flies." It's           a bunch of boys on an island and           they have a conch -- they have a           shell -- and whoever has the conch           has the power and they can talk.           And if you don't have the conch,           then you don't have the power. And           then there's a little chubby boy,           and they call him Piggy and they're           really mean, and then there's a           murder. I mean, humanity is just           nasty and there's no silver lining.                          PAT           Wow. That was a great synopsis. I           still need to read it, though.          A KNOCK AT THE DOOR.                          PAT (CONT'D)           Who's that?          PAT OPENS THE DOOR.           104.                                                   PAT (CONT'D)           What the....? (laughing) What are           you doing here, man?          DANNY WALKS INTO THE ROOM.                          DANNY           If one of your two supervising           physicians loses their license,           then your whole ajudication is           thrown out.                          PAT           How'd you know we were here?                          DANNY           I went by your parents' house           looking for you and they told me           you was over here.                          PAT           Danny, this is Tiffany. (to           Tiffany) Tiffany, this is Danny.                          TIFFANY           Hello. Pat told me about you.                          DANNY           So is the girl, that you wrote           about?                          PAT           Yeah.                          TIFFANY           What? He wrote about me? I'm "the           girl"?                          DANNY           He wrote about you, all right.                          TIFFANY           What'd he say?                          DANNY           He said you guys was helping each           other out and you were nice and had           a mouth on you, that you were           mouthy, but--                          PAT           Whoa, whoa, that's enough.                          TIFFANY           No, please, tell me more about what           he said in the letter.           105.                                                   PAT           Yeah, anything you wanna know, I'll           just tell you. It was nothing. It           was just a very general letter.                          TIFFANY           Cool.                          DANNY           (looks at Tiffany)           She's fine.                          PAT           She is my friend with an "F."                          DANNY           A capital "F."                          PAT           For "friend."          The three stand there awkwardly for a beat.                          DANNY           Hey, can I see what you guys are           doing?                          PAT           Yeah.                          TIFFANY           Okay.          SHE TURNS ON MUSIC: PAT AND TIFFANY DANCE SIDE BY SIDE.                          TIFFANY (CONT'D)           And then this goes into something           else.                          DANNY           That's it?                          PAT           Why? What is it, what is it, what           is it.                          DANNY           Can I say something? Do you mind?                          TIFFANY           No.                          DANNY           You sure?                          PAT           Just say it. Say it.           106.                                                   TIFFANY           No, please.                          DANNY           I think Pat, you should be facing           Tiffany.          DANNY STEPS TO PAT AND TIFFANY, REMOVING HIS JACKET.                          DANNY (CONT'D)           Let me show you, Pat, let me show           you what I mean. You gotta come at           her with a little bit more soul,           man.          HE HANDS HIS JACKET TO PAT AND FACES TIFFANY.                          DANNY (CONT'D)                          (TO TIFFANY)           You should move more hips.          TIFFANY AND DANNY. PAT WATCHES, STANDING BEHIND DANNY.                          DANNY (CONT'D)                          (TO PAT)           Just, just sort of come in, Pat,           come in like this. And....          DANNY DANCES, DEMONSTRATING.                          PAT           Okay.                          DANNY           Yeah. Can you move `em a little bit           more? Yeah, that's it. Move `em a           bit more.          PAST DANNY, TO TIFFANY AS SHE DANCES. TIFFANY CHUCKLES                          DANNY (CONT'D)           You could turn around, too, there's           nothing wrong with that. Yeah.           You're pretty good.          TIFFANY, DANNY AND PAT AS THEY DANCE. ONE HAND ON HER WAIST.                          DANNY (CONT'D)                          (HUMS)           Mm, yeah.          PAT ENTERS, STEPPING BETWEEN DANNY AND TIFFANY.                          PAT           Okay, we got it, we got it.           107.                                                   DANNY           Okay. Okay.          DANNY MOVES, EXITING. AS PAT AND TIFFANY DANCE.                          DANNY (CONT'D)           Come on, Pat, come on. A little bit           more soul. Black it up, Pat.                          PAT           "Black it up"?                          DANNY           You know damn well what it means.          TIFFANY LAUGHS.                          DANNY (CONT'D)           Oh, wait a minute, wait a minute,           wait a minute. Oh, man! I got an           idea.          CAMERA MOVES IN ON DANNY. CAMERA TILTS UP OVER DANNY AND          TIFFANY AS THEY JUMP UP REPEATEDLY, HOLDING HANDS AND MOVING          IN A CIRCLE.          PAT WATCHES AS DANNY AND TIFFANY JUMP TOGETHER.                          DANNY (CONT'D)           Come get some, Pat. Come get some.          PAT BEGINS JUMPING WITH TIFFANY. CUT TO: DANNY WITH TIFFANY          AGAIN.                          DANNY (CONT'D)           Shuffle back, shuffle back. Shuffle           back, shuffle back. Girl, you gotta           move your junk.          TIFFANY'S HIPS AS SHE DANCES. DANNY DANCES WITH HER. MUSIC          STOPS.                          DANNY (CONT'D)           I gotta get out of here. I gotta go           see this girl, Tanya. She lives on           this side of town.                          PAT           Yeah, go see Tanya. Good idea.                          DANNY           Okay, man, hey. I'm gonna be there,           man. I want you guys to win!                          TIFFANY           Bye!           108.                                                   DANNY           Excelsior, Pat!                          PAT           Excelsior!                          DANNY           That's my man.          DANNY EXITS.          TIFFANY AND PAT SMILE.                                   INT. SOLATANO HOUSE/ATTIC - MORNING          PAT, ASLEEP IN BED.          PAT SR. WALKS INTO THE ATTIC. HE SITS DOWN ON THE BED NEXT TO          PAT.          PAT SR. TOUCHES PAT'S SHOULDER.           PAT SR.           Hey. Patty.          PAT WAKES.           PAT SR. (CONT'D)           Pat.           PAT SR. (CONT'D)           Patty. Where have you been? Huh?          PAT GROANS.           PAT SR. (CONT'D)           We got a serious situation on our           hands, you know that.          Pat looks concerned, he could be in trouble.           PAT SR. (CONT'D)           We gotta beat the Giants if we           wanna have a chance of getting into           the division, any chance of playing           in the playoffs. Do you realize           that?                          PAT           I didn't realize that.           109.                                    PAT SR.           Yeah, that's the bind we're in. I           mean, I think it would be wise if           we spent father-son time, reading           about the Eagles, talking about           them, just to strengthen the good           luck thing that you're in.                          PAT           Okay.           PAT SR.           Yeah?                          PAT           Right.           PAT SR.           Hmm?          PAT SR. LOOKS AWAY.           PAT SR. (CONT'D)           I just wanted to, maybe I didn't,           spend enough time with you growing           up. I spent too much time with your           brother. It might have made you           feel worse about your behavior, but           I didn't know anything, I didn't           know how to handle it. I mean,           that's what all this Eagles stuff           is about. It's about us, spending           time now. I wanna do everything I           can to help you get back on your           feet. That's the whole point. Yeah.           I wish you'd watch these games with           me so we could talk, we could get           into things. (inhales) So would           you, would you just come downstairs           and talk to me and Randy now?          PAT SR. TOUCHES PAT'S CHEEK. PAT, MOVED, NODS.                                   INT. SOLATANO HOUSE/KITCHEN - MORNING          RANDY SITS AT THE TABLE, DRINKING COFFEE.           PAT SR.           Randy, tell him what I'm doing.                          RANDY           He's betting everything on the           Giant game. Everything.           110.                                                   RANDY (CONT'D)           All the money that he needs for the           restaurant, he's betting on the           Giant game.           PAT SR.           Tell him why.                          RANDY           Because he believes in you.                          PAT           Is that true?           PAT SR.           I believe in you, Patty. I believe           in you. I want you to know that. So           I'm gonna bet heavy on this game.          DOLORES STARES INTENSELY AT PAT.           PAT SR. (CONT'D)           You understand?                          PAT           Yeah.           PAT SR.           Heavy. I want you to go to the game           with your brother.                          PAT           You want me to go to the game with           Jake?           PAT SR.           Of course I do.                          JAKE           Does he want me to go?           PAT SR.           Of course he wants you to go.                          PAT           He told you that?           PAT SR.           He told me, yes.                          PAT           Even with all his friends?           PAT SR.           With all his friends. He trusts           you.           111.                                                   PAT           He's not embarrassed?           PAT SR.           No. I'd love to go to the game,           too, but as you know, I'm banned           from the stadium. `Cause I'd love           to see us beat the Giants and take           a lot of money from this asshole.                          RANDY           Listen, personally, I think it's a           stupid bet. As a matter of fact, I           think it's ridiculous to bet all           that dough for the restaurant on a           game.           PAT SR.           Randy. (to Pat) I just hope you           heard what I said. It's like a           family business, it's our family           endeavor. We all stick together on           this. That's how it works. That's a           positive, positive vibe.                          PAT           I made a commitment to Tiffany           about a project, and we have a very           important part of it that we have           to go over on Sunday, and it's good           for me, Dad. It's making me           disciplined and focused, and it's,           it's--, I never would've thought           this, but it's a good thing.           PAT SR.           What is this thing you're doing?                          DOLORES           Yeah, what is it? What is this           project, hon?                          PAT           It's a dance thing, okay? There's           nothing more to it, Dad. I swear.          DOLORES STEPS TO PAT, KISSES HIS FOREHEAD.                                   INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY          TIFFANY AND PAT.                          PAT           Listen, I need to ask you           something.                          (MORE)           112.                                                   PAT (CONT'D)           Tomorrow can I spend half the day           with you and half the day at the           Eagles game?                          TIFFANY           I'm gonna pretend that you didn't           just ask me that.                          PAT           Why?                          TIFFANY           These are the two days that you           have promised me and that we have           prepared to nail the big move. It's           not ready yet. And we don't have a           move yet.                          PAT           I know, but my dad opened up to me           and it was really beautiful and I           wanna be of service to him, okay?           And he's worried that the juju from           the Eagles is being fucked up and           he's concerned that it's because           I'm spending time with you.                          TIFFANY           Oh, I messed up the Eagles' juju?                          PAT           No, you're not messing up the juju,           but the juju is messed up because           I'm not with him during the games.                          TIFFANY           Guess what?                          PAT           What?                          TIFFANY           Nikki replied to your letter.          TIFFANY STEPS TO THE STAIRCASE, LIFTING AN ENVELOPE.                          TIFFANY (CONT'D)                          (INTERRUPTING)           But you can't read it until after           you nail the big move. Go.          PAT SIGHS AS SHE TURNS SHARPLY, PLACES THE ENVELOPE ON THE          STAIRCASE AGAIN. CUT TO:          PAT BRACES HIMSELF AT FAR SIDE OF STUDIO TO CATCH TIFFANY'S          BIG LEAP -- TIFFANY BRACES HERSELF TO RUN -- SHE RUNS --          LEAPS -- THE FALL. THEY DO IT AGAIN, SAME RESULTS.           113.                                                   PAT           Tiff, I'm sorry. I can't do           anything else without reading           Nikki's letter, okay? It's just--,           it's in the back of my head. We           don't almost have it, all right?                          TIFFANY           I just hope you can handle it.                          PAT           Thank you.          TIFFANY PICKS UP THE ENVELOPE AND TURNS.                          PAT (CONT'D)           What was her energy when she gave           it to you?                          TIFFANY           She was intrigued, excited, and a           little scared.                          PAT           She was scared? About what? Did she           tell you?          PAT TAKES THE ENVELOPE.          CAMERA TILTS DOWN ONTO HIS HANDS, OPENING THE ENVELOPE.                          TIFFANY           Try to stay positive.          PAT'S HANDS UNFOLD THE TYPED LETTER.                          PAT           I'm just gonna read it out loud,           okay? Because if she says anything           that's, you know, is that too much           to ask?                          TIFFANY           No.          PAT LOOKS DOWN AT THE LETTER, READING SILENTLY.                          TIFFANY (CONT'D)           I thought you were gonna read it           out loud.                          PAT           Okay. Sorry.                          (READING)                          (MORE)           114.                                                   PAT (CONT'D)           "Dear Pat, It was very emotional           for me to get your letter, as I'm           sure you can imagine, but I'm glad           you took the risk of discreetly           getting it to me through Tiffany.           This gives us a chance to           communicate while I keep the           restraining order until I feel           safe. I must admit you sound           terrific and I'm happy that you are           feeling so positive and becoming a           more loving and caring man, which I           always knew you were. I was moved           to read about `Excelsior' and your           belief in happy endings. I am also           moved by your act of love to read           the books I have taught at the high           school. I'm sorry you find them so           negative, but I disagree. I think           they are great works of art that           reflect how hard life can be and           they can also help kids prepare           themselves for the hardness of           life. In spite of all these           positive developments, Pat, I have           to say if it's me reading the           signs, I need to see something to           prove you are ready to resume our           marriage. Otherwise I find myself           thinking that we might both be           better off moving on with our lives           separately. Please don't react           quickly to this, but take time to           think about it. I'm glad you're           doing so well. Love, Nikki."          PAT FOLDS UP THE LETTER AGAIN. He is kind of crying.                          PAT (CONT'D)           I think I'm done for today, okay?                          TIFFANY           (follows him to door)           She said to show her something,           Pat. This dance can be that           something. You would have never           done something like this in a           million years. It shows all kinds           of skills on so many different           levels: focus, collaboration,           discipline. It's romantic, like I           said it would be. It's for her.                          PAT           (over his shoulder)           Thanks for the letter. I'll see you           tomorrow, okay?           115.                                   PAT WALKS OUT.                                   EXT. STADIUM - DAY          MONTAGE OF SCENES SHOWING FOOTBALL FANS ARRIVING.          PEOPLE (indistinct chatter - continues under following scenes                         AND DIALOGUE)                                   INT. PAT SR.'S CAR - DAY          PAT AND PAT SR.                          PAT           Can I use your phone?           PAT SR.           Is it an emergency?                          PAT           Yeah, kind of.           PAT SR.           What kind of emergency?                          PAT           Well, I'm just doing this project           with Tiffany and I wanted to tell           her I'm not gonna be on time.           PAT SR.           Just don't make her an emergency,           that crazy girl, you know?                          PAT           She's not crazy -- I'll just borrow           Jake's phone. It's too bad you           can't come in to the stadium, but I           know you were kicked out, you know,           for beating everybody up. Guess           we're not that different, huh, Dad?           PAT SR.           That a bad thing?                          PAT           No, I think, it's a good thing.          PAT SR. SLOWS THE CAR AND PARKS AT THE CURB.           PAT SR.           Don't drink too much. Don't hit           anybody. You'll be fine.           116.                                                   PAT           Yeah. I'm solid.                                   EXT. STADIUM/PARKING LOT - DAY          `HELLO OPERATOR' BY WHITE STRIPES plays as PAT WALKS, PASSING          PEOPLE HAVING TAILGATING PARTIES, DRINKING AND EATING.          PEOPLE (indistinct chatter - continues under following scenes                         AND DIALOGUE)          JAKE INTRODUCES PAT HIS GROUP OF MALE FRIENDS.                          JAKE           This is my little brother Pat.          JAKE AND PAT, WHO SHAKES HANDS WITH AN O.S. MAN.                          PAT           Hey, how you doing?                          GUY #1           So, Pat, what's this I hear about           you just gettin' out?                          GUY #2           (laughs) Yeah, from the looney bin!                         GUY #1 LAUGHS                          JAKE           What the fuck?! I talked to you           about that already!                          JAKE (CONT'D)           I told you guys--                          PAT                          (INTERRUPTING)           It's all right.                          JAKE           Huh? No.          JAKE AND PAT. GUY #2 ENTERS, EMBRACING PAT.                          PAT           It's alright.                          GUY #2           He's a good dude! He's a good dude.          THE GROUP GATHERS AROUND PAT, LIFTING CUPS OF BEER.          A HORN HONKS.           117.                                                   JAKE           Oh, shit! The Asian invasion!          PAST PEOPLE, TO A LARGE BUS INDIAN PAINTED WITH THE EAGLES          COLORS AND LOGO. IT SLOWLY MOVES R. THROUGH THE CROWD.                          JAKE (CONT'D)           They're here every week!          MONTAGE OF SCENES SHOWING A GROUP OF INDIAN MEN WALKING OFF          THE BUS.                          PAT           (can't believe his eyes)           No!          PAT WALKS, CAMERA MOVING BACK WITH HIM.                          GUY #1           Uh, Jake you better get your           brother.                          GUY #2           Cuckoo bird's takin' off.                          PAT           Doctor Patel!          DR. PATEL TURNS, REVEALING THAT HALF OF HIS FACE IS PAINTED          GREEN.           DR. PATEL           Pat!                          PAT           Hey! What are you doing here?           DR. PATEL           You know, we must beat the Giants,           my brother.                          PAT           I'm not supposed to be seeing you,           right? Outside the office?           DR. PATEL           Pat, Pat.                          PAT           That's illegal!           DR. PATEL           Pat, today I'm your brother in           green, not your therapist. I'm so           happy to see you. How wonderful           that you are here!           118.                                                   PAT           Hey, Jake this is Cliff. This is my           doctor, Cliff.                          JAKE           Look, two things. We gotta watch           that bubble screen for fuckin'           Manning in the backfield and we           gotta make sure we knock the           receivers on their ass on the line           of scrimmage.           DR. PATEL           You can say that again. Those           cocksuckers!          DR. PATEL, PAT and JAKE LAUGH.          RONNIE, PAT AND THEIR FRIENDS LIFT THEIR CUPS OF BEER INTO          THE AIR TO RARE EARTH'S "HEY, BIG BROTHER".          RONNIE DANCES IN FRONT OF THE CROWD, HOLDING HIS CUP OF BEER.          THE SONG PLAYS          PAT ENTERS L. AND FACES RONNIE. THEY BEGIN FLAPPING THEIR          ARMS AS IF THEY WERE EAGLES.          RONNIE MOVES IN FRONT OF THE CROWD, SHAKING HIS FIST.                          RONNIE           Okay, you know what? I don't have           her phone number. If you want, if           you really want, you can call           Veronica `cause she does, but I           don't want to talk to Veronica.                          PAT           Why don't you wanna talk to           Veronica?                          RONNIE           Because she brings me down, man!           She just brings me down.                          PAT           You have to change. You're not           gonna throw the marriage away.           There's some kind of love there. I           know, I used to see it.                          PAT (CONT'D)           You guys have a beautiful thing           that got broken somewhere along the           line and you gotta fix it like a           chiropractor. You gotta give it a           chiropractic adjustment.           119.                                                  RONNIE CHUCKLES                          PAT (CONT'D)           Enough with awkwardness! I don't           wanna walk in your house and not be           able to say what I wanna say.                          RONNIE           You're right, man. You're right,           you're right, you're right, you're           right, man.          A MALE EAGLES FAN WALKS THROUGH THE CROWD, FOLLOWED BY          SEVERAL MALE FRIENDS.                          FAN #1           Eagles, baby! Yeah! Let's go!          THEY LOOK AS THEY WALK TOWARD THE O.S. BUS.                          FAN #1 (CONT'D)           What the fuck? What's that smell?          FAN #1 AND HIS FRIENDS LOOK BG. AT SEVERAL INDIAN MEN IN          FRONT OF THE BUS.                          FAN #1 (CONT'D)           Nasty Indian curry! This is           America, baby! Go back to your           country!          RONNIE, PAT AND JAKE. RONNIE LOOKS AT FAN #1 AND HIS FRIENDS,          HARASSING THE INDIANS.                          PAT           What, what's wrong?          AN INDIAN MAN SHOVES FAN #1 AWAY.                          INDIAN MAN           Hey!          FAN #1 PUNCHES THE INDIAN MAN IN THE FACE.,          INDIAN MAN GRUNTS AND FALLS.                          RONNIE           Whoa, whoa, what's going on?                          JAKE           Stay back, Pat. Stay back.          FAN #1 PUNCHES ANOTHER INDIAN MAN.                          JAKE (CONT'D)           Leave the fucking Indians alone.           120.                                   PAT WATCHES. RONNIE ENTERS.                          RONNIE           Stay here, stay here!                          PAT           I'm not gonna go anywhere.                          RONNIE           Don't get in a fight!          JAKE IS SURROUNDED BY FAN #1 AND HIS FRIENDS.                          PAT           I'm not gonna fight. I'm not gonna           fight.          JAKE STRUGGLES AS ONE OF FAN #1'S FRIENDS GRABS HIM. OTHER          FRIENDS AND INDIANS FIGHT.                          PAT (CONT'D)                          (YELLING)           Hey, not my brother! Hey, hey, hey!          CAMERA SWISH PANS ONTO ONE OF THE MEN PUNCHING JAKE.                          COP                          (OVER BULLHORN)           Break it up or you'll be arrested!          PAT PUNCHES ONE OF FAN #1'S FRIENDS AND MOVES PAST HIM.          CAMERA SWISH PANS ONTO SEVERAL COPS AS THEY GRAB DR. PATEL.          COPS GRAB PAT.          PAT PUNCHES FAN #1'S FRIEND AS THE SECURITY GUARDS PULL PAT.          PAT YELLS.                                   INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY          TIFFANY SITS ALONE ON THE FLOOR, WAITING.          TIFFANY GRABS HER COAT AND EXITS.                                   INT. SOLATANO HOUSE/LIVING ROOM- DAY          PAT SR. STEPS IN.           PAT SR.           What'd you do?          PAT, JAKE, DR. PATEL AND RONNIE WALK INTO THE ROOM.           121.                                    PAT SR. (CONT'D)           What happened?                          PAT                          DAD--           PAT SR.                          (INTERRUPTING)           What the fuck happened?                          PAT           Dad.          PAT. DR. PATEL, RONNIE AND JAKE STAND BEHIND HIM.           PAT SR.           The birds lose, I lose a fuckin'           fortune, a fortune to Randy! What           the fuck did you do?! You fucking           lost it! I thought you said you had           it together! You were solid!                          PAT           I am solid. I was solid at the           game, Dad. I'm solid, I'm solid           now.           PAT SR.           You fell apart! What are you           fucking talking about?!           DR. PATEL           Your son was trying to--           PAT SR.           It's all fucking ruined now. It's           all ruined.                          PAT           No, Dad!          PAT SR. TURNS, REMOVING HIS JERSEY. PAT STEPS TOWARD HIM.          PAT SR. AS HE STRUGGLES TO PULL HIS JERSEY OFF.           PAT SR.                          (YELLING)           It's all fucking ruined now! It's           all fucking ruined!                          PAT           No, Dad, Dad, Dad, don't!           PAT SR.                          (YELLING)           It's all ruined, you little fucking           shit!           122.                                                   PAT           No, Dad! I didn't do a fucking           thing! Come on, Dad!           PAT SR.                          (YELLING)           You loser! You loser!          PAT SR. SHOVES PAT.                          PAT                          (EMOTIONAL)           I'm not a loser.           PAT SR.           You fucking loser! You ruined           everything!           DR. PATEL           He was defending his brother!                         PAT CRIES           PAT SR.           You fucking idiot! You spike the           ball on the one yard line, you           fucking idiot!          THE DOORBELL RINGS.          DOLORES LOOKS AT THE FRONT DOOR.          THE GROUP WATCHES AS TIFFANY WALKS INTO THE ROOM.           PAT SR. (CONT'D)           Who is this?! Who's this?!          TIFFANY WALKS TO PAT.                          TIFFANY           We need to talk right now! When you           make a serious commitment to           somebody, it is not cool to not           show up!                          PAT           Wait a second, I tried to call, my           God, what's happening, I called--,           but I tried to call you, Tiffany,                          I--           PAT SR.           Who is this? What is this?                          TIFFANY           Oh, really?           123.                                                   PAT          Yes.                          PAT (CONT'D)          I told you I was gonna split my          time with my dad and you, and my          dad was pulling me in one          direction. Doctor Patel, Ronnie--                          TIFFANY          Well, that sounds great, Pat.          That's great for all of them, but          all of them didn't make a          commitment to me in return for my          help. I'm Tiffany, by the way.           PAT SR.          What is this craziness with Tiffany          Maxwell?                          PAT          There's no craziness. I told you          who she was, I was doing this thing          with her. We had a conversation!           PAT SR.          She's fucking nuts! When you          started spending time with her, it          all fell apart. This is the fucking          reason right here.                          TIFFANY          You think I fucked up the Eagles'          juju, don't you?           PAT SR.          Ever since, ever since he was with          you, ever since--                          TIFFANY                          (INTERRUPTING)          You think that I'm why today's          happened?           PAT SR.          That's right, you are why today          happened.                          TIFFANY          I'm the reason why today happened?           PAT SR.          I think so.                          TIFFANY          Let's talk about that.           124.                                    PAT SR.          Be my guest.                          TIFFANY          The first night that Pat and I met          at my sister's, the Eagles beat the          Forty Niners handily, forty to          twenty-six. The second time we got          together we went for a run and the          Phillies beat the Dodgers seven to          five in the NLCS.                          JAKE          She's right, Dad.                          TIFFANY          The next time we went for a run the          Eagles beat the Falcons, twenty-          seven to fourteen.                          PAT          Wow.                          TIFFANY          The third time we got together we          had Raisin Bran in the diner and          the Phillies dominated Tampa Bay in          the fourth game of the World          Series, ten to two.                          PAT          Oh, wow.           PAT SR.          Let me think about that. Wait a          minute.                          TIFFANY          Well, why don't you think about          when the Eagles beat the Seahawks,          fourteen to seven.           PAT SR.          He was with you?                          TIFFANY          He was with me. We went for a run.                          RONNIE          Really? That's crazy.           125.                                                   TIFFANY           There have been no games since Pat           and I have been rehearsing every           day and if Pat had been with me           like he was supposed to, he           wouldn't have gotten in a fight, he           wouldn't be in trouble, maybe the           Eagles beat the New York Giants.                          JAKE           She's making a lot of sense, Pop.           That's all right on all counts.                          TIFFANY           Does anybody here happen to know           what the official motto of the           state of New York is on the           official seal of the State of New           York? Huh? Anybody? (to Pat Sr.) Do           you? Do you know? "Excelsior." Look           it up. Yeah, "Excelsior."                          DOLORES           Oh Pat.                          TIFFANY           Not that I give a fuck about           football or about your           superstitions, but if it's me           reading the signs, I don't send the           Eagles guy whose personal motto is           "Excelsior," to a fucking Giants           game, especially when he's already           in a legal situation.                          RONNIE           Unbelievable.                          PAT           Wow. How did you know all that           stuff?                          TIFFANY           I did my research.          SHE SNAPS OFF A BEER BOTTLE CAP AND DRINKS.           PAT SR.           Well, I gotta say, I'm impressed.                          TIFFANY           Thank you.           PAT SR.           I gotta rethink this whole thing. I           didn't trust it before, but I gotta           say, now I do.           126.                                                   PAT          Oh, now you like her, Dad?           PAT SR.          I have to say I do. Yup.                          RANDY          Patrizio, I feel terrible, you          know? You made the bet, I won a lot          of money, and now look, your whole          family is in turmoil.                          TIFFANY          Oh, fuck off, Randy. You love it.          You live for this shit. You've been          betting against my father for          years.                          PAT          Is that right?                          TIFFANY          You're twisting the knife right          now. You get off on it!                          RANDY          That's bullshit! That's not true!          Don't say that!                          TIFFANY          You get off on it! If not, then          prove it. Prove it.           PAT SR.          Yeah, prove it, prove it!                          RANDY          How do you want me to prove it?           PAT SR.          How's he gonna prove it?                          TIFFANY          By giving them the chance to win          back everything, double or nothing.                          PAT          No, no, no, no, no, no, no.                          RANDY          Double or nothing on the Bengals,          next week? Is that what you're          saying?                          TIFFANY          No.           127.                                   She pauses, turns dramatically to Randy.                          TIFFANY (CONT'D)           Against the Cowboys.          EVERYONE GASPS.                          TIFFANY (CONT'D)           That's your team isn't it, Randy?                          PAT           That's his team!                          TIFFANY           I know who his team is.                          RANDY           When is the game?                          TIFFANY           December twenty-eight, last game of           the season.                          PAT           Oh, my God.                          TIFFANY           Same day as the Benjamin Franklin           Pairs Open Freestyle Dance           Competition.                          DOLORES           Oh God.           PAT SR.           Randy, I thought they were           America's Team. Don't you believe           in America's Team?                          TIFFANY           Yeah, Randy, don't you believe in           America's Team?                          RANDY           Yeah, I believe in America's Team           but if I win that bet, I win your           book, you're out of action, you get           no restaurant, no nothing.           PAT SR.           I like it.                          DOLORES           No. No, Patrizio--           128.                                    PAT SR.          I believe in the Eagles, I believe          in my son, I'll take the action.          I'll take it.                          PAT          Dad!                          DOLORES          Patrizio, don't! It's toxic!           PAT SR.          I have faith, I have faith.          Excelsior belongs in this house--                          PAT                         DAD--           PAT SR.          --not in the State of New York. In          this house.                          PAT          Dad, listen to me. I didn't know          that "Excelsior" was the state          motto of New York, okay?           PAT SR.          I didn't know, either, but now I          know.                          PAT          I know, but listen to me, this is          toxic. Dad, Dad, Dad, this is          toxic, you shouldn't be doing this,          you shouldn't be doing--           PAT SR.          Randy, what do you say-- (to Pat)          Be quiet, shut up. You already did          enough. (to Randy) Randy, what do          you say? My birds, Benjamin          Franklin's team favored by one and          a half points. I'll give you three          more.                          DOLORES          Patrizio, stop it! And Randy, don't          you take the bet!           PAT SR.          In fact, I'll give you ten points.                          PAT          No, Dad! Dad!           129.                                                   JAKE          Dad!           PAT SR.          You have to take that bet on the          Cowboys.                          RANDY          Dolores, would you stop him?                          JAKE          Jesus!           PAT SR.          How could you not take that bet?          Even with the ten points I give          you, that's an insane spread to          your advantage. Cowboys are          cowards. And I'll bet you're such a          coward, you won't take the ten.          Plus, are you listening, plus          whatever their score is at the          dance thing. (to Tiffany) What's          that? Tiffany, what's that?                          PAT          What? No, no, no, no.                          RANDY          You're crazy to give away that many          points. That's ridiculous! I won't          take that! However, wait a second.          I do like the idea of a parlay.                          DOLORES          What? No parlay! No!                          PAT          No, don't do it. Don't do it.                          RANDY          Pat, how do they run this dance          competition? I mean, how do they          score it and everything?                          PAT          I don't know, I don't know how they          fucking score! We're participating.          We're not, we're not a part of it.          There are people, this is a high-          end dance contest. I don't know. Do          not put it as part of the parlay,          Randy. Don't--           130.                                                   TIFFANY           They go by the Philadelphia rules.           Each dancer is scored on a scale of           one to ten, ten being the highest.           You have to average the four           judges' scores.                          RANDY           Okay, score is from one to ten,           right? And you guys are how good?                          PAT           We suck.                          TIFFANY           We don't suck. Pat's a beginner,           I'm okay, we're happy just to be           going there.                          RANDY           And how are the people you're           competing against?                          TIFFANY           They're good. Some of them are           professionals.                          RANDY           They're good? Better than you?          Pause. Tiffany says nothing.                          PAT           A lot better.                          RANDY           A lot better. So if I was to say           you only have to score five, I           would be really very generous,           right?                          PAT           No, no, that would be amazing if we           got five. Let's not get away--                          TIFFANY           Oh, come on, we can get a five out           of ten! Gimme a break! Gimme me a           break!                          PAT           We can't get five!           PAT SR.           Give `em a five. Give `em a five.           131.                                                   TIFFANY          We can do a five.                          PAT          What are you talking about, Dad?          You haven't even seen us dance!                          RANDY          That's the parlay.           DR. PATEL          Will somebody please explain to me          the parlay? Please?                          RONNIE          You gotta win two bets or you lose          the whole thing. For Pat Sr. to          win, the birds gotta beat the          Cowboys plus Pat and Tiffany gotta          get at least a five at the dance.           DR. PATEL          That's very, very manic indeed.                          RONNIE          That's the parlay.                          RANDY          Shake on it.                          PAT          You know what? I'm not gonna be a          part of this. (to Randy) Randy,          Randy, you're a sickness. You're a          fucking sickness, Randy. I'm out.                          TIFFANY          Pat, you can't quit.                          PAT          I'm not doing the dance. I'm out.                          TIFFANY          Pat, calm down. Thank about it.                          PAT          See you later.                          TIFFANY          Pat, no.           PAT SR.          What are you doing?                          TIFFANY          Pat.           132.                                                   PAT                          (WALKING OUT)           I'm out.           PAT SR.                          (FOLLOWS HIM)           Here we are again at the one yard           line. DeSean, snatching defeat from           the jaws of victory. There you go.                          PAT           What does that even mean, Dad? I'm           not gonna make that, that, that           connection that you're making with           DeSean Jackson. It doesn't matter           anymore okay? Just because I have           the fucking jersey on...I'm not           gonna do it. I'm sorry.                          TIFFANY           You are not a stand up guy right           now. If it's me reading the           signs...if it's me reading the                          SIGNS--                          PAT           If it's you reading the signs?           You're reading the signs? Oh, okay.          PAT STEPS THROUGH THE DOORWAY                          DOLORES           Pat!                          TIFFANY           You are not a stand up guy!                          DOLORES           Pat!          PAT SIGHS.                                   INT. SOLATANO HOUSE/LIVING ROOM - EVENING          TIFFANY AND PAT SR.          PAT SR. GRUMBLES.                          DOLORES           I told you not to push it.           PAT SR.           Yeah, but he's gotta do this thing.           He can't be a quitter. He cannot be           a quitter.           133.                                                   DOLORES                          (SIGHS)           You took that stupid parlay thing,           and now he won't do the dance and           it was very constructive for him,           and you ruined it.                          TIFFANY           There's only one way to get him to           show.           PAT SR.           What's that?                          DOLORES           Oh, what's that?                          TIFFANY           We have to tell him Nikki's gonna           be there.          They stare at her.                                   EXT. SOLATANO HOUSE/FRONT PORCH - EVENING          PAT STANDS. HE GLANCE. OVER HIS SHOULDER, REACTING, AND PULLS          THE LETTER OUT OF HIS POCKET.          PAT'S HANDS AS HE UNFOLDS THE LETTER. CAMERA TILTS UP ONTO          HIS FACE.          CU - THE END OF THE LETTER.          CU - THE BEGINNING OF THE LETTER.          PAT AS HE READS.                                   INT. SOLATANO HOUSE/KITCHEN - EVENING                          DOLORES           She won't come. She can't come.                          TIFFANY           We have to tell him that she's           coming.           PAT SR.           We have to tell him that she's           going.                          DOLORES           But that's a lie!                          TIFFANY           It's a white lie.           134.                                    PAT SR.           It's a white lie, what's that           matter? That's no big deal. So it's           a little lie.                          TIFFANY           There's no other way.           PAT SR.           You know, we gotta leave a trail of           bread crumbs so that he can live           his life without ruining it.                          DOLORES           No. I don't approve. You can't do           it.           PAT SR.           Well, you know, I didn't approve           when you called her and you told           her where he was running, so she           could ambush him. I didn't approve           of that, but you did it anyway, so           I'm doing this anyway. That's it.                          TIFFANY           We're gonna tell him Nikki'll be           there.           PAT SR.                          (TO DOLORES)           You gotta be part of it.                          TIFFANY           We have to do it.                          DOLORES           Aren't you nervous to be lying?                          TIFFANY           Yeah. A little bit. But it's for           the best.                                   EXT. SOLATANO HOUSE/FRONT PORCH - EVENING          PAT AS HE READS THE LETTER.                          PAT                          (READING)           "...but if it was me reading the           signs...."          PAT REACTS. HE LOOKS OVER HIS SHOULDER. HE TURNS, LOOKING AT          THE LETTER. HE JUST FIGURED SOMETHING OUT: Tiffany wrote the          letter, not Nikki.           135.                                   STUNNED, PAT FOLDS THE LETTER AND WALKS BG. DOWN THE STAIRS.          STOPS AND LOOKS BACK AT THE HOUSE then at the sky -- he can't          believe Tiffany lied to him. Emotions course through him.          MUSIC SCORE PLAYS --                                   INT. SOLATANO HOUSE/KITCHEN - EVENING           PAT SR.           That's it.                          DOLORES           Okay.                          DISSOLVE TO:                                   EXT. STREET - EVENING          PAT RUNS THROUGH THE RAIN.                                   INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY          TIFFANY, SITTING ON THE FLOOR AND STRETCHING.                          TIFFANY           Hey.          PAT ENTERS, SITS DOWN NEXT TO HER.                          PAT           Hey, what's up? Sorry I'm late.                          TIFFANY           It's fine.          TIFFANY WRAPS DUCT TAPE AROUND PAT'S SNEAKER.          HE WATCHES HER CAREFULLY, stares at her. Thinking.                                   EXT. SOLATANO HOUSE - EVENING          CAMERA TILTS DOWN OVER THE HOUSE, DECORATED WITH CHRISTMAS          LIGHTS AND NATIVITY FIGURES ON THE LAWN.          FRANK SINATRA'S "HAVE YOURSELF A MERRY LITTLE CHRISTMAS"          PLAYS.                                   INT. SOLATANO HOUSE/LIVING ROOM - EVENING          SEVERAL HANDS LIFT DRINKS FROM A TRAY.           136.                                                   TIFFANY'S MOTHER           Is everything all right?           PAT SR.           Everything is fine. Cheers.          PAT SR. HOLDS UP HIS GLASS.          GROUP CHEERS.                                   INT. SOLATANO HOUSE/ATTIC - EVENING          PAT STARES AT TIFFANY AS SHE STRUGGLES TO TIE HIS NECKTIE.          SHE FUMBLES. She is agitated as he studies her.                          TIFFANY           This isn't working!          TIFFANY YANKS OFF THE NECKTIE AND STEPS. PAT WATCHES.                          TIFFANY (CONT'D)           Stupid!          TIFFANY'S HANDS SORTS THROUGH A BOX OF TIES ON THE BED.          TIFFANY HOLDS ANOTHER TIE. SHE PLACES IT AROUND HIS NECK.          PAT WATCHES HER.          TIFFANY STRUGGLES TO TIE THE TIE.          SHE WORKS. CAMERA TILTS UP ONTO PAT'S FACE.                          TIFFANY (CONT'D)           This just isn't working!          SHE WALKS WITH THE TIE.          PAT UNBUTTONS HIS TOP SHIRT BUTTON. TIFFANY REACHES DOWN INTO          THE BOX OF TIES. PAT PULLS ON HIS JACKET.          PAT LIFTS AN ENVELOPE FROM A TABLE.                          PAT           Come on, it's gonna be great.           Nikki's gonna be there. You know?           Everything's gonna come together.           It's what's meant to be. You okay?          SHE NODS.                          PAT (CONT'D)           Don't get wobbly on me.           137.                                                   TIFFANY           I'm not.                          PAT           We have a dance to do. We have a           parlay. You gotta stay focused.                          TIFFANY           I'm focused.                          PAT           Okay, let's go.                                   EXT. HOTEL - EVENING          CAMERA TILTS DOWN OVER THE HOTEL. PAT SR.'S CAR ENTERS AND          PARKS AT THE CURB.                                   INT. HOTEL/LOBBY - EVENING          PAT AND TIFFANY WALK, LOOKING AROUND. PAT SR. AND DOLORES          FOLLOW.                          PAT           Look at the dancers. You see them?                          TIFFANY           Shit.          PAT SR. AND DOLORES WALK BG. TO THE LOUNGE AREA, WHICH IS SET          UP WITH TELEVISIONS SHOWING THE FOOTBALL GAME. RANDY AND JAKE          ARE IN BG.           PAT SR.           Hey, Randy, Jake. What do we got?                          JAKE           Dallas just tied with another field           goal, three-three. I'm worried           about the bet.           PAT SR.           Don't worry about the bet.                          JAKE           I'm worried about the bet.           PAT SR.           Holy shit.          PAST PAT SR. TO THE DANCERS AS THEY REHEARSE.           PAT SR. (CONT'D)           Is this "Dancing with the Stars"?           138.                                                   DOLORES           Well, you knew that. Maybe you           should've scouted `em.                          RANDY                          (LAUGHING)           Look at those fucking dancers! You           can give me the money now, you           know?           PAT SR.                          (TO PAT)           Patty, Patty, all we have to do is           we have to make a five. That's all.           You stay here and watch the game           with me.                          TIFFANY           The birds are better when Pat is           with me. We settled that.           PAT SR.           Stay for the next quarter.                          PAT           Relax, we're gonna do fine, okay?           I'll see you in a little bit. I'll           see you up there, okay?           PAT SR.           Okay.          DANNY ENTERS WITH HIS GIRLFRIEND, TANYA.                          DANNY           Hey, Pat, Tiffany!                          PAT           Hey.                          DANNY           What a glorious, beautiful           occasion, man.                          PAT           Yeah, yeah. All right, buddy, I'll           see you. Alright. Wish me luck,           man.           DR. PATEL           Excelsior!          Pat and Tiffany walk to sign in.                          PAT           (Notices he and Tiffany are holding           hands) Wait, what's this?           139.                                   THEY ARE HOLDING HANDS.                          TIFFANY           What? I thought you were doing it.                          PAT           Oh, I thought you were doing it.           We're doing a dance thing anyway,           for God's sake.          CAMERA TILTS DOWN ONTO PAT AND TIFFANY'S CLASPED HANDS AS          THEY WALK.                          PAT (CONT'D)           You okay?                                   INT. HOTEL/UPSTAIRS HALLWAY - EVENING          TIFFANY AND PAT WALK TOGETHER.                          TIFFANY           I want you to remember everything.           I want you to remember all of the           good stuff that we have here.                          PAT           Of course I do.                          TIFFANY           Just check in. I gotta go find           Veronica.          PAT STEPS TO THE REGISTRATION TABLE.                          PAT           Hi, good evening.                          MALE OFFICIAL           Evening.                          PAT           Check in? How many dancers are           there?          TIFFANY LOOKS DOWN OVER THE RAILING AT THE LOBBY BELOW. SHE          SEES: NIKKI WALKING WITH RONNIE AND VERONICA. OH NO.                          TIFFANY                          (TO HERSELF)           What?! Nikki? Nikki. Oh, Jesus.          She seems devastated by Nikki actually being there for Pat.           140.                                   INT. HOTEL/LOBBY - EVENING          TIFFANY WALKS TO VERONICA, STRUGGLING NOT TO CRY.                          TIFFANY                          (TEARFULLY)           What the fuck?                          VERONICA           Sweetie, sweetie. Honey, calm down.                          TIFFANY           You're killing me. You're killing           me!                          VERONICA           Tiffany, please. She'll see how           well he's doing, maybe she'll lift           the restraining order.                          TIFFANY           Oh, my God. Oh, my God.                          RONNIE           Pat told me. He told me you should           never throw a marriage out the           window.                          TIFFANY                          (TEARFULLY)           Pat did not say that. He didn't say           that.                          RONNIE           He said it several times, Tiffany,           and this is his chance. You gotta           give him a chance.          TIFFANY BREATHES HEAVILY.          TIFFANY WALKS, PASSING OTHER DANCERS AND SPECTATORS.          SPECTATORS APPLAUD.          SHE STEPS TO THE BAR, SITTING DOWN AT THE COUNTER.                          TIFFANY           Bartender! Bartender, can I get a           vodka, please?          SPECTATORS APPLAUD, PAT WALKS, LOOKING AROUND.          SPECTATORS APPLAUD.          TIFFANY SITS AT THE BAR, DRINKING. A MAN IS SEATED NEARBY,          WATCHING HER DRINK. HE IS THE GUY AT BAR.           141.                                    GUY AT BAR           So, you want another one?                          TIFFANY           Sure.          THE DANCERS AS THEY PERFORM. CAMERA TILTS UP AND PULLS BACK          TO INCLUDE PAT, WALKING.          PAST THE DANCERS, TO PAT AS HE WALKS, WATCHING THEM. CAMERA          PANS WITH HIM.          PAT STOPS, LOOKING.          RONNIE, NIKKI AND VERONICA SIT AT A TABLE, WATCHING THE O.S.          DANCERS.          SPECTATORS APPLAUD.          CAMERA MOVES PAST THE DANCERS, TO THE TABLE WHERE FOUR JUDGES          SIT. CAMERA MOVES IN ON THE JUDGES. TO RONNIE, NIKKI AND          VERONICA.          THE GUY AT BAR WITH TIFFANY.                          TIFFANY (CONT'D)           So what do you do?           GUY AT BAR           I'm a lawyer. Litigator, actually.                          TIFFANY           Oh, the arguing kind.           EMCEE (O.S.)           And the scores for Santos and           Aguilar are: seven point six, seven           point three, seven point four, and           six point nine for an average score           of seven point three.          CAMERA PANS ONTO THE DANCERS.                                   INT. HOTEL/LOBBY - EVENING          CAMERA PANS OVER A CROWD OF PEOPLE, WATCHING AN O.S.          TELEVISION SHOWING THE FOOTBALL GAME.          CAMERA PANS OVER DEPRESSED RANDY AND HOLDS ON CELEBRATING          DANNY, PAT SR. AND JAKE.                          SPORTS ANNOUNCER                          (OVER TELEVISION)           Three, two, one! Philadelphia beats           Dallas! They are on their way to           the playoffs.           142.                                   GROUP CHEERS.                          DANNY           Randy, what the fuck is happening,           man?!           PAT SR.           Yeah, Randy, what the fuck is           happening?!                                   INT. HOTEL/BALLROOM - EVENING          A COUPLE AS THEY DANCE.          PAT WALKS, LOOKING AROUND.          PAT SITS DOWN AT A TABLE WITH DR. PATEL AND HIS WIFE. DOLORES          SITS.                          DOLORES                          (WHISPERING)           Where's Tiffany?                          PAT           I don't know, Mom. Have you seen           her?                          DOLORES           You gotta find her.                          PAT           I know, Mom, I know.          PAT STANDS AND WALKS R., CAMERA MOVING WITH HIM.          THE SONG PLAYS.          PAT TURNS AND WALKS AND LOOKS AT THE BAR AT TIFFANY, STILL          TALKING TO GUY AT BAR.          PAT APPROACHES TIFFANY. ADDRESSES GUY AT BAR.                          PAT (CONT'D)           Hey, WHAT are you doing?           GUY AT BAR           She's fine, buddy, she's with me.                          PAT           She's fine?           GUY AT BAR           Yeah.                          PAT           Why don't you shut up, okay?           143.                                   PAT TURNS TO TIFFANY.                          PAT (CONT'D)           How many drinks have you had?                          TIFFANY           I've had two vodkas.                          PAT           Listen, I don't know what choices           you've made, but you gotta deal           with it right now, okay? We're in           this.                          TIFFANY           We're in what?                         SPECTATORS APPLAUD                          EMCEE           Next, Pat Solatano and Tiffany           Maxwell.                          TIFFANY           You know, I used to think that you           were the best thing that ever           happened to me, but now I think           that you might maybe be the worst           thing and I'm sorry that I ever met           you.                          PAT           Good for you.          He pulls her out of her chair to go to the stage. TIFFANY AND          PAT WALK TOGETHER, CAMERA MOVING BACK WITH THEM.                          EMCEE           And the scores for Makarov and           Tretiak are: six point seven, eight           point one, seven point five and six           point five for an average score of           seven point two.          CAMERA DOLLIES L. ONTO THE EMCEE AND THE DANCERS.          INT. HOTEL/UPSTAIRS HALLWAY - EVENING          PAT SR., JAKE, DANNY AND RANDY RUN.          SPECTATORS APPLAUDS.          THEY RUN L. INTO THE BALLROOM.          INT. HOTEL/BALLROOM - EVENING           144.                                                   RONNIE           They were great and they only got a           seven point two. This is a tough           room.          PAT TRIES TO HELP TIFFANY REMOVE HER COAT, BUT SHE BRUSHES          HIM OFF.                          TIFFANY           Got it.                          EMCEE           Up next, ladies and gentlemen           please welcome Pat Solatano, Jr.           and Tiffany Maxwell.          CAMERA RACKS FOCUS ONTO PAT AND TIFFANY, STANDING AT THE EDGE          OF THE STAGE AS THE PREVIOUS DANCERS WALKS BG. OFF THE STAGE.          SPECTATORS APPLAUD AS PAT AND TIFFANY WALK ONTO DANCE FLOOR.          PAT SR., DANNY, RANDY AND JAKE HURRY INTO THE ROOM.                          DANNY           Damn.                          JAKE           Let's go, Patty!                          DANNY           Come on, Pat!          PAT AND TIFFANY STAND IN THE AWKWARD SILENCE BEFORE THE MUSIC          STARTS, STARE AT EACH OTHER. SHE TILTS HER HEAD TO SAY, `Come          on' to him.          STEVIE WONDER'S `DON'T YOU WORRY `BOUT A THING' STARTS.          PAT AND TIFFANY DANCE, as Danny taught them.          PAT SR. WATCHES with Danny.          TIFFANY AND PAT AS THEY DANCE, MOVING DOWN ONTO THE FLOOR.          PAT CRAWLS TOWARD TIFFANY.          RONNIE, NIKKI AND VERONICA WATCH.          TIFFANY CRAWLS., CAMERA MOVING BACK WITH HER. TIFFANY AND PAT          LEAP UP.          WHITE STRIPES `FELL IN LOVE WITH A GIRL' CRASHES ON -- PAT          AND TIFFANY DANCE INTENSELY TO THIS SONG.          DOLORES REACTS TO THE CHANGE IN MUSIC. NIKKI watches with          Ronnie and Veronica. Pat Sr. watches. The Judges watch.          DAVE BRUBECK'S COVER OF`MARIA' FROM WEST SIDE STORY STARTS.           145.                                   Pat and Tiffany WALTZ as they waltzed in their rehearsals.          Everyone watches. They come to the big move -- Tiffany          inhales nervously, braces herself to run across floor to leap          into Pat's arms. Pat braces himself to catch her:          SHE LEAPS UP AND PAT AWKWARDLY CATCHES HER THIGH, her crotch          awkwardly wedged on his neck and head.          SPECTATORS GASP.          TIFFANY STRUGGLES TO PULL HERSELF UP ONTO PAT'S HANDS. HE          HOLDS HER AS SHE AWKWARDLY SITS ON HIS SHOULDER.          PAT TURNS WITH TIFFANY ON HIS SHOULDER, HER GROIN CLOSE TO          HIS FACE SHE LOOKS AROUND LIKE AN OSTRICH ATOP HIS HEAD.          PAT SR. WINCES; DOLORES WATCHES, TEARY.          THE JUDGES MAKE NOTES.          TIFFANY AND PAT AS THEY DANCE.          DOLORES WATCHES, TEARY. CAMERA PULLS BACK.          PAT HOLDS TIFFANY, WHO ARCHES AND LEANS BACK.          TIFFANY STRAIGHTENS AND PAT PULLS HER CLOSE.          THE MUSIC ENDS.          SPECTATORS APPLAUD.          THEY STEP TOWARD THE EDGE OF THE STAGE.                          RONNIE                          (YELLING)           Yeah, Pat! Yeah!                          JAKE                          (YELLING)           We love you, Pat!          CAMERA ONTO THE JUDGES.                          EMCEE           Alright, let's see the scores for           Solatano and Maxwell.          THE JUDGES HOLD UP THEIR SCOREBOARDS.                          EMCEE (CONT'D)           We have a four point nine, four           eight, a four nine...                          FEMALE DANCER           That's really too bad, guys. That's           a lot of fours.           146.                                                   EMCEE           ...and and a five point four for an           average score of..five point zero.          DOLORES PUTS A HAND TO HER MOUTH.                          MALE DANCER           Sorry about that, guys.          PAT AND TIFFANY REALIZE -- YES! A FIVE! THEY SCREAM.          DANNY, PAT SR., JAKE, DOLORES AND DR. PATEL CHEER.                          RANDY                          (PISSED)           What?! Come on!          Pat and Tiffany run to Pat Sr., Dolores, everyone. Pat and          his father embrace.                          PAT           Dad, Dad, did the Eagles win?           PAT SR.           The Eagles won, forty-four-six!           They won, forty- four-six!                          RANDY           Come on!          THE OTHER DANCING COUPLE LOOKS AT EACH, CONFUSED BY THE          CELEBRATION.                          EMCEE                          (PUZZLED)           Why are they so excited about a           five?                         SPECTATORS LAUGH                          EMCEE (CONT'D)           We'll take a ten minute break.          PAT EMBRACES DR. PATEL AND DANNY.          TIFFANY EMBRACES HER MOTHER AND VERONICA.          PAT SLAPS HANDS WITH RONNIE, THEY EMBRACE.          PAT AND RONNIE LAUGH          PAT EMBRACES TIFFANY.                          TIFFANY           Thank you! You're amazing!          PAT PULLS AWAY TIFFANY, WATCHES HIM GO TO NIKKI.           147.                                   PAT WALKS TO NIKKI. JOHNNY MATHIS `MISTY' PLAYS.          TIFFANY WATCHES from across the ballroom, emotional as Pat          and Nikki talk. At last.                          PAT                          (QUIETLY)           Thank you for coming.                          NIKKI           Of course.                          PAT           How are you? You okay?                          NIKKI           Good. How are you?                          PAT           I'm really good. Yeah, thanks.                          NIKKI           You looked really happy out there.                          PAT           Did I?                          NIKKI           Yeah.                          PAT           Yeah, who'd have thought, dancing?          Tiffany reacts from afar, stung.                          NIKKI           You look incredible.                          PAT           Thank you.                          NIKKI           You lost a lot of weight.                          PAT           I've been reading your books and, I           have a positive attitude. I'm on           medication, I'm in therapy.          PAT STEPS CLOSER, LEANING TOWARD NIKKI. WHISPERS INTIMATELY          IN NIKKI'S EAR. SHE LISTENS AND NODS INTIMATELY, WARMLY.          TIFFANY WATCHES, GRABBING HER COAT FROM VERONICA, AND WALKS          AWAY.           148.                                   INT. HOTEL/UPSTAIRS HALLWAY - EVENING          TIFFANY HURRIES TO THE STAIRCASE, PUTTING ON HER COAT. SHE          RUNS ACROSS THE LOBBY.                                   EXT. HOTEL - EVENING          TIFFANY AS SHE HURRIES OUT OF THE HOTEL DOORS. SHE STOPS,          PUTTING ON HER OTHER SHOE, THEN WALKS.                                   INT. HOTEL/BALLROOM - EVENING          PAT AS HE LEANS BACK. NIKKI AND PAT SMILE AT EACH OTHER.          HE TURNS AND WALKS.          PAT SR. PUSHING PAST RONNIE TO PAT.                          PAT           Where's Tiffany?           PAT SR.           She left.                          PAT           What do you mean, she left?           PAT SR.           She left. What do you think!                          PAT           Where is she?           PAT SR.           Let me tell you, I know you don't           wanna listen to your father, I           didn't listen to mine but I'm           telling you, you gotta pay           attention to the signs. When life           reaches out with a moment like           this, it's a sin if you don't reach           back. I'm telling you, it's a sin           if you don't reach back, and it'll           haunt you for the rest of your days           like a curse. You're facing a big           challenge in your life right now,           at this very moment, right here.           That girl loves you, she really           loves you. And I don't know if           Nikki ever did, but she sure as           hell doesn't love you right now.           I'm telling you, don't fuck this           up.          PAT EMBRACES PAT SR.           149.                                                   PAT           I love you, Dad.          PAT KISSES HIM ON THE CHEEK AND RUNS OUT.                                   EXT. SIDEWALK - EVENING          TIFFANY WALKS DOWN THE STREET, ALONE.                          PAT                          (YELLING)           Hey!          TIFFANY LOOKS OVER HER SHOULDER, TAKES OFF RUNNING. PAT RUNS          AFTER HER. They turn a corner. He is chasing her, a reverse          of their previous runs together. HE GRABS HER ARM AND SHE          STOPS, TURNING.                          TIFFANY                          (UPSET)           Would you just leave me alone?!                          PAT           Wait a second!          HE PULLS A LETTER OUT.                          PAT (CONT'D)           I have one more letter for you to           read, okay?                          TIFFANY                          (YELLING)           What the fuck is the matter with           you? Give it to her yourself!                          PAT           Let me say something. You don't           ever have to see me again if you           just read it, alright?                          TIFFANY           This is so fucked up.                          PAT           Yeah, just read it.          TIFFANY UNFOLDS THE LETTER.                          TIFFANY                          (READING)           "Dear Tiffany...          SHE STOPS, surprised it is addressed to her.           150.                                                   TIFFANY (CONT'D)                          (READING)           "...I know you wrote the letter.           (long pause) The only way you could           meet my crazy...."                          PAT                          (RECITING)           "...was by doing something crazy           yourself. Thank you. I love you. I           knew it the minute I met you. I'm           sorry it took so long for me to           catch up. I just got stuck. Pat." I           wrote that a week ago.                          TIFFANY           You wrote that a week ago?                          PAT           Yes, I did.                          TIFFANY           You let me lie to you for a week?                          PAT           I was trying to be romantic.                          TIFFANY           You love me?                          PAT           Yeah, I do.                          TIFFANY           Okay.          SHE LEANS FORWARD AND KISSES HIM, they kiss. Camera pulls          away. Score comes in.                                   EXT. MAXWELL HOUSE/GARAGE - DAY          TIFFANY'S GARAGE.                                   INT. TIFFANY'S GARAGE/DANCE STUDIO - DAY          THE EMPTY STUDIO. TIFFANY'S DANCE SHOES. HER IPOD AND          SPEAKER.           151.                                   PUSH IN ON: EXT. SOLATANO HOUSE - DAY                          PAT                          (VOICE OVER)           The world will break your heart ten           ways to Sunday, that's guaranteed.           And I can't begin to explain that-                                   INT. SOLATANO HOUSE - DAY          DETAILS OF THE HOUSE: FOOTBALL MEMORABILIA, PAT SR.'S          VIDEOTAPED GAMES, FAMILY PHOTOS ON WALL, THE REMOTE CONTROLS,          CERAMIC ANGEL FIGURINE NEXT TO A FOOTBALL.                          PAT                          (VOICE OVER)           -or the craziness inside myself and           everybody else, but guess what?           Sunday is my favorite day again. I           think of everything everyone did           for me and I feel like --a very           lucky guy.                                   INT. SOLATANO HOUSE/FOYER - DAY          PAT SR. STRAIGHTENS THE HANGING PHOTO OF PAT ON THE WALL.           PAT SR.           We have to beat the Vikings by           three. I'm givin' you a six, which           is very generous after the beating           you just took. So what are we           doin', what are we talkin' about           here?          PAT SR. TURNS TO RANDY.                          RANDY           I'd like to do another parlay if we           make it to the next round, that's           all.           PAT SR.           But we are gonna make it to the           next round. We're gonna beat...          PAT SR. LEANS DOWN AND PICKS UP A REMOTE CONTROL.          JAKE AND RONNIE PLAY CARDS IN THE DINING ROOM.                          RONNIE           No, that was me that did that.                          JAKE           No that was me.           152.                                                   RONNIE           That was me. I played the Jack.                                   INT. SOLATANO HOUSE/KITCHEN - DAY          DOLORES PREPARES BRACIOLE WITH DANNY.                          DANNY           So you put the bread crumbs, the           garlic in the steak and you roll it           up with the toothpicks?                          DOLORES           Yeah. For, oh, maybe three hours,           plus.           PAT SR.                          (INTO TELEPHONE)           Everything's good, everything's           good, yeah. I got you, you're all           down. (pause) No, Randy, he's           complaining. You know he lost a lot           of money. He's moaning and           groaning. The restaurant's           happening because of Randy, so           everything's good.          TIFFANY SITS DOWN ON PAT'S LAP AND THEY TALK (we cannot hear          them) and KISS.          DOLORES AND DANNY WATCH, SMILING.          END CREDITS ROLL UP.                          
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+SIMONE by Andrew Niccol ---------------------------------------------------------------- FADE IN: ON BRIGHT, OUT-OF-FOCUS, OVAL-SHAPED COLORS. The colored shapes dart around the screen -- the impression of looking through a kaleidoscope. As the image comes into sharp focus, we discover that we are inside a CANDY BOWL. A MAN'S FINGERS are frantically removing all the cherry-flavored pieces of candy. EXT. STUDIO LOT - DAY The man performing this curious task is writer/producer/director, VIKTOR TARANSKY, forties, conservatively dressed in suit and tie. He sits alone at an empty craft service table outside a cavernous soundstage, some distance from the rest of the film set -- a breeze blows the table's paper cloth. Viktor finishes sorting. Finding no trash can to deposit the rejected cherry candy, he scoops them into his pocket. A young headset-clad P.A. hurriedly approaches. He looks ill. P.A. Mr. Taransky -- Viktor reads the young P.A.'s panicked expression. VIKTOR She's walking?... Don't tell me she's walking. (blood slowly draining from his face) She is not walking... She can't walk. EXT. TRAILER - DAY NICOLA ANDERS, twenty-something, A-list actress, beautiful face scowling, is supervising her ASSISTANT ferrying clothes from a movie trailer to a limousine. VIKTOR desperately follows after Nicola. VIKTOR -- Nicola! How was your massage? NICOLA You're in breach. VIKTOR -- Is this about the new pages? -- I made the changes you wanted, you're in virtually every scene -- NICOLA (wheeling on him) It's not the size of the role, Viktor. (suddenly very cool) Am I or am I not contractually entitled to the biggest trailer on the set? VIKTOR (regarding the enormous silver fish behind them, confused) It's the biggest on earth! I swear! It's a 50-foot Airstream -- they don't make them any longer than that. NICOLA Taller, Viktor. VIKTOR Taller? What? Viktor looks up in horror. The trailer next to Nicola's does indeed appear to be fractionally taller. NICOLA (walking away) You've insulted me for the last time. Viktor looks to the tires. His face suddenly brightens. VIKTOR Nicola, it's just the tires -- they're over-inflated! I can fix it! Viktor grasps the air nozzle on a tire and begins desperately stabbing at it with a ballpoint pen. Air hisses out. VIKTOR See, it's lower already. Nicola ignores Viktor, marching towards her limo with her PUBLICIST. Abandoning the trailer, Viktor hurries after her. VIKTOR I beg you. You can't do this to me. NICOLA (looking back) I had three other offers. I only signed on to this picture out of... loyalty. VIKTOR Then show some. They'll shut me down! NICOLA (opening the car door) It wasn't working anyhow. The scene with the thousand geese -- I don't understand this film. I don't think anyone will understand it. I already put out a press release -- citing "creative differences". Viktor stops, nods resignedly -- suddenly very calm. VIKTOR You know what, Nicola, you're right. (picking up her last piece of luggage) Here, let me help you with that. (holding the door for her) You ought to go. The truth is I don't deserve you. This film doesn't deserve you. Frankly, it deserves much, much better. The reason it's not working is because you're not about the work. Nicola is stunned. VIKTOR (to the limo driver) To Hell, please. The door slams and the limo roars away. Viktor looks to the still hissing trailer tire. The CREW regards Viktor apprehensively. VIKTOR (to the crew) What are you looking at? Get back to work. The crew is uncertain what work there is to do. INT. BEDROOM - "SUNRISE, SUNSET" - NIGHT In an ornate bedroom, NICOLA lies on her death bed under a veil of netting. A distraught man, HAL, sits close by. NICOLA (whispered) Jack... are you there? HAL I'm here. I'm right beside you. A NUN enters. NUN (to Hal) You should really go now. NICOLA No, it's alright. Please, let him stay. The nun withdraws. Hal holds his face in his hands, almost breaking down. HAL (a glance to heaven) What kind of cruel God is it that would take you away from me? NICOLA The same one who brought me to you. HAL No... I cannot accept it. If something like this can happen. What... (struggling to find the words) What is it for? NICOLA (smiles through her pain) -- Why are we here? Is that what you're asking, Jack?... Why are we here? No why. Just here. Nicola dies peacefully. INT. SCREENING ROOM - STUDIO - DAY VIKTOR sits with leading man HAL, THREE EXECUTIVES and studio head ELAINE CHRISTIAN, watching a rough assembly of the film. It ends with a close up of NICOLA ANDERS. The lights go up. The image of Nicola fades off the screen. EXECUTIVE 1 She's good. You can hardly tell she's reading off a teleprompter. VIKTOR (ignoring him) I've analyzed the footage. We've got almost everything we need in the can. If we rework the script, we can finish the film without her. EXECUTIVE 2 (forceful shake of the head) According to the writ her attorneys filed at noon today. They'll sue if the film is released with Nicola in a single frame. VIKTOR (more anxious) So we'll re-cast. HAL Nicola Anders is the only actress who can play that role. VIKTOR (incredulous) It's a re-make, Hal. Anders is not bigger than this picture. Elaine finally speaks up. ELAINE Of course she is. No other name is going to sign on now and risk offending her. VIKTOR We don't need a name. We'll cast an unknown. HAL I won't play opposite an unknown. ELAINE We can't sell an unknown. Nicola's soured on the project and we have to accept that. If we ever want to be in the Nicola Anders business again, we have to cut our losses and shelve the picture. The executives, leading man and director nod sagely. VIKTOR (aghast) No! You will not give in to that blackmailing bitch! ELAINE (a wince, addressing everyone but Viktor) Excuse us. Elaine ushers Viktor out of the screening room. EXT. STUDIO LOT - DAY ELAINE and VIKTOR talk in the shadow of an enormous soundstage. They speak more freely in each other's company. ELAINE God, Viktor. Why do you always have to make things so difficult for yourself? VIKTOR Difficult. I'm difficult. He produces a handful of candy from his pocket. VIKTOR (referring to the candy) -- Do you know what these are, Elaine? ELAINE (talking a piece of candy and eating it) Hmm... Mike and Ike's. VIKTOR Not just any Mike & Ike's -- cherry Mike & Ike's. Do you know why I, Viktor Taransky, two-time Academy Award nominated director -- ELAINE -- Viktor, that was Short Subject. VIKTOR -- overseeing the most cherished movie project of my career, am walking around with a pocketful of cherry Mike & Ike's? Elaine takes a seat in a nearby studio cart as Viktor paces. ELAINE -- I have a feeling you're going to tell me. VIKTOR -- I'll tell you why. It is because Miss Nicola Anders, supermodel with a SAG card God's gift to cinema, has it written into her contract that all cherry Mike & Ike's be removed from her candy dish along with strict instructions that any room she walks into should have seven packs of cigarettes waiting for her three of them opened, that there be a personal jacuzzi within eighty paces of her dressing room, and that any time she travels, her nanny must fly with her first class. ELAINE -- What's wrong with that? VIKTOR Elaine, she doesn't have any children! (grabbing her arm) Don't you see? We're being held hostage by 12 men and 5 women who someone somewhere has decreed are the A-list. ELAINE The public decides who's on that list. VIKTOR Please. ELAINE It's the truth. Those 17 superstars are our insurance policy. We can't open -- can't make a profit without them. VIKTOR We can hardly make a profit with them. Up-front salary, back-end deal, perks, per diem, percentages -- They're mocking us, Elaine. We're at their mercy. (staring wistful, into space) We always had movie stars but they used to be our stars. We used to decide who would play what role. We told them what to wear, what to say, who to date. When they were under contract, we could change their names if we wanted to -- more than once! ELAINE (regarding him as if he's insane) You realize you're nostalgic for an era you weren't even born in? VIKTOR (irritated at her infuriating logic) Well, I do remember why I started out in this business -- you seem to have forgotten -- working in New York with Cassevetes -- we were trying to do something important, shine a light in that darkened cinema -- ELAINE (rolling her eyes) -- It's called a projector. VIKTOR (ignoring her) -- Illuminate hearts and minds with a ray of truth. ELAINE Listen, Viktor, I have good memories of those days too -- but this isn't about that or you or me or some high-minded ideal. This is business. VIKTOR Spare me. ELAINE (gesturing at the studio lot) -- Christ, Viktor, look around. What do you think pays for all this? This is about investment and return. Those days in New York... that's... it's over. A pause. Viktor reads Elaine's face. VIKTOR You're not renewing my contract. ELAINE How can I? Your last three pictures tanked. The board is giving me hell. No bankable star will work with you after this. If you just compromised... a little. Viktor eats some of the candy in his hand as he takes in the news. VIKTOR (rueful smile) -- Well, it's not every day you're fired by the mother of your own child. Elaine also eats some more candy -- a curiously intimate moment between them. ELAINE (softening, a heart-to heart) I'm not taking away your daughter, just your deal. You and I both know, after the divorce I kept you on for old time's sake, so you could still hold your head up in front of Lainey. I called what's his name at Warner's. He said he'd take a meeting -- in July. I've fought for you Viktor... (voice trails off) You want to talk severance? VIKTOR (staring off into the distance, face hardening) You can have everything -- office, car, assistants -- all I want is the picture. ELAINE (confused) The picture's dead. VIKTOR So there's no problem -- I can have the rights, the negative too? ELAINE (believing she's getting off lightly) They're yours. But how are you going to finish it? Without a star there's no movie. VIKTOR I don't need a star. All I need is an actor -- I'll reshoot the part, cut out Nicola and replace her with a real actor. A real leading lady. ELAINE Even if you find her, you know the problem with unknowns, Viktor. If they're good, they get known. And then you're back to sorting their candy... and worse. (kissing him on the cheek as she departs in her studio golf cart) I'm sorry, Viktor. Viktor watches her depart down the canyon of stages, left alone on the deserted lot. EXT. STUDIO ENTRANCE - DUSK Twenty NICOLA ANDERS' FACES jiggle into frame. VIKTOR's face appears amongst them. They are cardboard figures, standing together in the trailer of an electric cart. A WORKMAN is collecting the promotional standees from around the lot. VIKTOR places his hands on the neck of a cardboard cut-out -- we sense he is about to rip her head off -- when a fourteen year old girl, LAINEY, appears beside him, carrying a laptop computer. LAINEY Hi, Dad. VIKTOR (slightly ashamed) Hello, sweetheart. Viktor, embarrassed by his childishness, steps aside for the suspicious workman who carries the standee away. Lainey smiles sweetly. She hugs him. LAINEY I'm sorry Mom canned you. VIKTOR (shrugging) It's really... not anything, Lainey. It's just -- LAINEY Don't feel too bad. (glancing to a standee) Mom runs the place and they still walk all over her. You're better off out of it. VIKTOR (regarding his daughter) You look very grown up. What are you doing? You meeting your mom for dinner? She glances towards the entrance where Lainey's mother, ELAINE, and her dependable, uncomplicated businessman boyfriend, KENT, wait beside Elaine's car. LAINEY (reluctant admission) Kent got tickets to the ballet. Viktor shakes the idea of Kent and Elaine from his head. VIKTOR (trying to convince himself as much as Lainey) I'm going to finish the picture, sweetheart. It's important. LAINEY (not quite convinced) I know you'll do it, Dad. You're Viktor Taransky. Lainey kisses the forlorn Viktor goodbye. She runs to her mother and Kent. VIKTOR (to himself) That's right. I'm Viktor Taransky. EXT. STUDIO BUILDING - SOME DISTANCE AWAY - DUSK From a distance ELAINE and KENT regard the lonely figure of VIKTOR. KENT You had no choice, Elaine. He's a liability. ELAINE (wistful look to Viktor) He also happens to be the most talented man I've ever known. Elaine climbs in the car as Lainey approaches. EXT. STUDIO BACKLOT - TRAM - DAY CLOSE UP on a copy of "Variety". The front page banner headline: "ANDERS RIDES OUT OF 'SUNSET' -- Cites Creative Differences" The man reading the trade paper sits in the back of a tram on a studio tour -- HANK ALENO. He wears a pair of spectacles with one lens blacked out, his head tilted on one side. It is an item buried on the inside pages that catches Hank's one good eye. TARANSKY CALLS A-LIST: "OVER-PRICED, OVER-PAMPERED PRIMA DONNAS" - Director's Future Now In Doubt - The tram pauses. The TOUR GUIDE keeps up a commentary. TOUR GUIDE -- On your left, the house where Claris Commodore uttered those now immortal words, "If that door doesn't hold, stand behind me". And coming up on your right -- When the tram departs, we discover that Hank has exited the tram and is hiding in the facade of a New York subway entrance. The tag around his neck reads, "VISITOR -- Stay With The Tour". EXT. STUDIO GATE - NIGHT VIKTOR wheels a stack of film cans on a dolly while holding several framed black and white photographs of screen legends under his arm. HANK, hiding in the shadows of the soundstages, spies Viktor. He hurries towards him as Viktor approaches his antiquated Bentley. HANK -- Mr. Taransky, Mr. Taransky... thank God. I've been trying to see you, calling -- Your assistant wouldn't put me through. I told her it was a matter of life and death. I was afraid I wouldn't get to you in time -- VIKTOR (using his stack of film cans as a barrier) -- Please, get away from me. HANK I did it, Mr. Taransky. I licked skin. I licked hair. I licked every part of her. VIKTOR (more disturbed, fearing he is dealing with a pervert) You want me to call Security? HANK I have her, Mr. Taransky. The answer to your prayers. (producing the "Variety" article, conspiratorial) The answer to this. VIKTOR (regarding the article) I was misquoted. HANK I have your new leading lady... (indicating the bulge in his pocket) ... right here in my pants. Viktor takes a step back, concerned once again about the man's motives. HANK (trying to reassure) It's me, Mr. Taransky. Don't you recognize me? -- The Future of Film conference in San Jose. Hank... Hank Aleno. I was keynote speaker. You must remember my speech... "Who Needs Humans?" VIKTOR (faint glimmer of recognition) That's right. You were booed off the stage. That's got to be -- ? HANK -- Eight years ago. In that whole time, I never left my computer. VIKTOR (wary) Good for you, Hank. HANK (referring to his covered eye) Good and bad. They think that's what caused this. Me eye tumor. Microwaves from the screen. It's the size of a grapefruit. Heavy too. VIKTOR (regarding the pathetic figure with the tilted head) I'm sorry. HANK Don't be. It was worth it. Hank once again indicated the bulge in his pocket. Viktor now understands the significance of the gesture. HANK You have to see her. VIKTOR (loading cans into the car) I've seen them all before. HANK Not like this -- VIKTOR (patronizing smile) Come on, Hank. A synthespian, virtual actor -- ? HANK (irritated) -- We call them "vactors". VIKTOR I need flesh and -- HANK -- Flesh is weak. VIKTOR -- a living, breathing actor -- I can't work with a fake. Viktor loads his film cans into the car. HANK (pointing to Nicola in Variety) You already do. But my actor won't get old, fat, lazy or drunk -- won't throw tantrums, demand a body double, script changes or a bigger trailer. (whispers, conspiratorial) The Disney Corporation has been using artificial actors for years. VIKTOR That's the point, Hank. No matter how good they are, they're still Mickey Mouse. Everyone's tried. Everyone's failed. It can't be done. HANK It can -- with my new computer code, you and me, we can do it together. VIKTOR I don't know anything about computers. HANK That's why you're so perfect. You have something I don't have. VIKTOR What's that? HANK An eye -- for performance. You know the truth when you see it. I know. I've seen your movies. I love your movies. VIKTOR You do? HANK "Straw God" changed my life. VIKTOR You saw that? HANK I've seen every frame of your work. You're the only filmmaker in Hollywood with the artistic integrity to realize my vision. You and me, art and science... we are the perfect marriage. VIKTOR Listen, Hank, it's been a rough day. (climbing into his car) I'll call you about his next week. HANK (at the car window) I won't be here next week. The tumor's inoperable. I'll be dead. VIKTOR (winding down the window) I'm already dead. Viktor's car roars away. He looks back at the forlorn Hank in the rear view mirror. HANK Call me. (looking at his watch) This week! A huge eye from a dismantled Nicola Anders billboard is wheeled away behind him -- followed by a huge pair of lips. INT. VIKTOR'S MALIBU HOUSE - DAY A sea of ingenue headshots. Black X's are drawn through all of them. VIKTOR lies amongst the rejected faces, talking on the telephone, in his spartan bachelor beach house. VIKTOR (into phone, referring to a young woman's headshot) -- What do you mean she won't work with me? She's done nothing. She doesn't have a single credit -- AGENT'S VOICE (from phone, off-camera) -- Better no credits than a Taransky credit. No young actress is going to step into Nicola Anders' shoes and risk ending her career before it's even started. VIKTOR -- Art, you don't understand. I've mortgaged everything to finish this film -- creditors calling, coming to the house, for God's sake, I need this -- The phone goes dead. Viktor tries to re-dial -- disconnected. VIKTOR -- Damn. Sharp knock on his door. Viktor peers through a curtain and spies an official-looking MAN IN A SUIT, carrying what looks to be a legal notice in his hands. Viktor slips out of the back door. EXT. BEACH - DAY VIKTOR hurries along the beach. When he turns, he discovers the MAN IN THE SUIT following him. As Viktor runs, the Suit runs -- calling out to him. MAN IN THE SUIT Mr. Taransky, Mr. Taransky -- VIKTOR (calling back) I'm not him. Viktor stumbles. When he recovers, the Suit is on him. MAN IN THE SUIT Mr. Taransky, Sir, I represent the estate of Mr. Hank Aleno. (showing him Hank's obituary in the L.A. Times) It was Mr. Aleno's last wish that you have this. The Suit hands Viktor a heavily-sealed envelope. VIKTOR What is it? MAN IN THE SUIT I have no idea, Sir. He wanted you to have it. The Suit departs. Viktor hesitates, then breaks the seal on the package -- inside he finds a hard-drive. The hard-drive is labeled "SIMULATION ONE". A TITLE APPEARS ON THE SCREEN: SIX MONTHS LATER CLOSE UP ON a VACUUM CLEANER cleaning a tatty red carpet. On the other end of the vacuum cleaner is VIKTOR. The red carpet leads to a rundown, downtown Los Angeles cinema -- the venue for the premiere of "SUNRISE, SUNSET". To save money on posters, Viktor has altered the originals, "Starring NICOLA ANDERS" crudely pasted over with "Introducing SIMONE". EXT. RUNDOWN DOWNTOWN CINEMA - DUSK VIKTOR regards the sad, little premiere. No paparazzi, no limos, no klieg lights. Resorting to giving away tickets to PASSERS-BY, Viktor approaches a HOMELESS MAN sleeping in trash. VIKTOR Want to see a free movie? HOMELESS MAN (he thinks) No. A taxi pulls up. Viktor's daughter, LAINEY, steps out. LAINEY (kissing him hello) Hi, Dad. VIKTOR Hello, Lainey. Viktor goes to pay for the taxi but doesn't have quite enough cash. Lainey pays herself. VIKTOR Your mother couldn't make it? LAINEY She's at the premiere of "A Cold Day In Hell". But I think she send someone from Acquisitions. VIKTOR She still with Kent? LAINEY This week anyhow. VIKTOR escorts Lainey down the empty red carpet, regarding the pathetic premiere. As they walk by, the bulb in Viktor's sole spotlight expires. VIKTOR Not quite how I imagined it -- LAINEY (looking on the bright side) -- You finished the film on your own terms, that's what matters. Did you really do all the post yourself? VIKTOR There was no other way. LAINEY I missed you. I wondered if you were ever coming back. VIKTOR Me too. LAINEY (regarding the makeshift poster, trying to lift his spirits) Well, I can't wait to meet Simone... what's her last name? VIKTOR You know, I... don't know. LAINEY Is she here tonight? VIKTOR She can't watch herself. They are interrupted by the THEATER OWNER. THEATER OWNER -- Hey, we have to start. I've got "Tough Love 2" playing at ten. EXT. PIER - "SUNRISE, SUNSET" - MORNING A foggy, empty pier. A MAN is running through the mist, shouting desperately. HAL Valarie! VALARIE! Finally, out of the fog -- a young woman in a black cape and hood, her back to us. The camera pushes in, music swells and she turns. SIMONE. She is exquisitely, ethereally beautiful. Perfect. INT. RUNDOWN DOWNTOWN CINEMA - AUDITORIUM - NIGHT In the near-empty, dilapidated theater, "SUNRISE, SUNSET" is playing ON THE SCREEN. When Simone's face appears, the faces of the AUDIENCE MEMBERS change. They are all visibly moved, including the THEATER OWNER. Some weeping, some with curious smiles on their faces, some opened-mouthed. HAL (ON SCREEN, approaching) Valarie, what are you running from? SIMONE (enigmatic smile) From Valarie. Suddenly a GUNSHOT rings out. Simone collapses to the ground. HAL (running to her) Valarie! No! INT. THEATER LOBBY - NIGHT VIKTOR, unable to watch, paces up and down, chain-smoking while worriedly shoving popcorn in his mouth. Viktor finally musters the courage to look inside the auditorium. INT. BEDROOM - "SUNRISE, SUNSET" - NIGHT The same scene that played in the studio screening room. However now when we cut from the leading man, HAL, to the leading lady it is not NICOLA but the newly cast SIMONE. SIMONE -- Why are we here? Is that what you're asking, Jack?... Why are we here? No why. Just here. INT. AUDITORIUM - NIGHT ON SCREEN SIMONE lies dying. Now even LAINEY is affected by Simone's performance. She wipes a tear from her eye. VIKTOR watches the backs of the heads, trying to gauge the audience reaction. Finally the credits roll. A dedication, "For HANK". No one moves from their seats. Viktor permits himself a brief smile of satisfaction as he sees his name appear in the credits: A Film By VIKTOR TARANSKY Still no one moves from their seats. Viktor cannot stand it any longer. He runs to the restroom. INT. THEATER RESTROOM - NIGHT Face over the stained sink, VIKTOR splashes himself with water. He looks to the mirror, horrified by his own reflection. He rehearses a courtroom speech. VIKTOR Ladies and gentlemen of the jury, I may be guilty of a crime, but it was committed with the purest of intentions, to send a message to the acting community who put themselves above the work and above -- Three AUDIENCE MEMBERS enter the restroom. They approach the urinals. AUDIENCE MEMBER 1 (continuing their conversation from the lobby) -- So fake. AUDIENCE MEMBER 2 -- Totally artificial. Viktor looks at the men aghast and hurriedly exits, missing the end of their conversation. AUDIENCE MEMBER 1 We're really supposed to believe that was 19th Century Lisbon? AUDIENCE MEMBER 3 Who's looking at the sets when she is on the screen? All three nod in agreement and begin to urinate. INT. THEATER LOBBY - NIGHT VIKTOR exits the restroom. Almost all the AUDIENCE MEMBERS, including LAINEY, are waiting for him. LAINEY (pointing out her father) There he is. That's my dad, Viktor Taransky. Viktor is about to run for the exit when the small group spontaneously applauds. They rush to shake his hand. AUDIENCE MEMBER 4 -- She is magnificent. AUDIENCE MEMBER 5 -- Absolutely unreal. Viktor appears uncomfortable with their compliments. VIKTOR She wasn't too... cartoony? AUDIENCE MEMBER 6 -- Who? The nun? AUDIENCE MEMBER 7 -- Or are you talking about the mother? AUDIENCE MEMBER 8 -- A star like that, who cares about the supporting cast? AUDIENCE MEMBER 9 -- Congratulations again. She was... not of this earth. You should be very proud. VIKTOR "Not of this earth". A good way of putting it. And the film as a whole -- ? The group drifts away, leaving LAINEY and VIKTOR alone. LAINEY She's a miracle, Dad. Where did you find her? VIKTOR (vague) I saw her picture on the, er... internet. (interrogating his daughter's face) You really didn't notice anything -- unusual? LAINEY Only her brilliance. To be honest, with what you had to work with, I was expecting a train wreck. You really pulled it off. Lainey regards the makeshift poster. LAINEY I have a feeling mom is going to take you back after this. Viktor's head snaps around. Lainey smiles. LAINEY Back on the lot. Viktor shrugs off the misunderstanding. INT. VIKTOR TARANSKY'S MALIBU HOME - NIGHT VIKTOR enters his sterile, bachelor home, carrying his mail. His answering machine blinks in the darkness, the message light reads "FULL". He hits the "PLAY" button. ELAINE (V.O.) Viktor, you bastard! I hear it's great. (beat) Seriously, I'm happy for you. Viktor opens a drawer containing a photo of he and Elaine from happier times. He gazes at it as he listens to the message. ELAINE (V.O.) I know people are going to be beating down your door but... well, I'd love the chance to buy back something I gave away for free. Don't you just love Hollywood?... BEEP. Viktor stops the machine, dazed. He idly opens his mail. Inside an envelope he finds a SAG Card with the new member's name, "SIMONE". A MONTAGE OF SCENES BEGINS TO PLAY. A) A line of AUDIENCE MEMBERS stretches outside the rundown movie theater as far as the eye can see. ENTERTAINMENT REPORTER (O.S.) A dazzling new ingenue has come from seemingly nowhere to capture the hearts of movie-going audiences across the nation... B) THE FRONT PAGE OF "VARIETY" coming off the presses reads, "SIMONE: A REVELATION -- Dawning Of A New Star In "SUNRISE". ENTERTAINMENT REPORTER (O.S.) ... in her debut film, "Sunrise, Sunset". C) A TEENAGE BOY in a public library logs on to the first website dedicated to SIMONE. ENTERTAINMENT REPORTER (O.S.) Her face is already posted on everything from websites to bedroom walls. D) Trendy TEENAGE GIRLS saunter past a swimming pool in Simone capes and hoods despite the sweltering heat. ENTERTAINMENT REPORTER (O.S.) Her wardrobe has inspired a fashion craze. E) In a Third World back-alley a YOUNG ASIAN MAN shows an UNDERCOVER REPORTER a pirated recording of SIMONE on a camcorder. ENTERTAINMENT REPORTER (O.S.) And bootleg copies of her film are being sold in back alleys all over the world. F) A LIQUOR STORE CUSTOMER watches a TV behind the counter showing a clip of SIMONE from, "SUNRISE, SUNSET Courtesy: Taransky Productions". ENTERTAINMENT REPORTER (from TV) But who is Simone? We know so little about her. No details of her background have been released, not even her age. She is somewhere between a girl and a woman. A fresh face and familiar both at the same time. G) The ENTERTAINMENT REPORTER now stands outside a multiplex. The marquee has 16 screens and looks like this: "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "SUNRISE, SUNSET" "THE MAKING OF SUNRISE, SUNSET" ENTERTAINMENT REPORTER Is Simone even her real name? And why the secrecy? All we know for sure is that she was discovered by little-known director, Viktor Tarinsky. INT. LIMOUSINE - DAY VIKTOR, watching "SCENE" on a TV in the back of a limousine, corrects the reporter. VIKTOR Taransky. ENTERTAINMENT REPORTER (from the TV) He has parlayed his relationship with the new sensation into a three picture deal with the very studio that dumped him only six months ago. And no wonder with the starlet's performance breaking all box office records. EXT. STUDIO GATE - MORNING Outside the studio entrance, a swarm of REPORTERS, PHOTOGRAPHERS and FANS rush VIKTOR's limousine, hoping for a glimpse of SIMONE. MOB Simone! SIMONE! I LOVE YOU! I Want to BE you! Studio SECURITY GUARDS hold them back as the limo enters the lot. EXT. STUDIO - ENTRANCE - DAY ELAINE and an entourage of EXECUTIVES greets VIKTOR's limousine on the studio steps. A STUDIO PHOTOGRAPHER has a camera at the ready. A banner reads, "Welcome SIMONE". A YOUNG ASSISTANT wheels a cake. VIKTOR steps out of the car. ELAINE pushes past him, into the limo. ELAINE Simone!... Simone? The car is empty. ELAINE (re-emerging from the car) Where is she? VIKTOR Good to see you too, Elaine. ELAINE (ignoring his sarcasm) Why isn't she with you? VIKTOR Why? Because she would never show up at something like this. She's intensely private. Elaine sighs, exasperated. ELAINE (dismissing her colleagues) Back to work, everyone. She's not here. The reception committee disperses, murmurs of disappointment. ELAINE Viktor... I want to thank you for convincing Simone to sign with the studio. VIKTOR Don't thank me. It was entirely Simone's decision. Do you have Simone's check? ELAINE I don't have it on me. Anyway, it means a lot. (quickly changing tack) Have you read the reviews? They're love letters. (reading from a newspaper) Listen to this one. "Simone has the voice of a young Jane Fonda, the body of Sophia Loren, the grace of, well, Grace Kelley, and the face of Audrey Hepburn combined with an angel". VIKTOR (musing to himself) Almost right. ELAINE I can't wait to meet her. VIKTOR I don't know if that's going to happen. ELAINE (confused) Why not? VIKTOR As I say, she's... something of a recluse. That's how she's able to stay so pure -- by isolating herself in her art. ELAINE (face falling) Don't be ridiculous. I arranged a press conference. VIKTOR Out of the question. A circus like that? ELAINE Viktor, it's my studio. VIKTOR She's my actor. There are other studios, Elaine. There's only one Simone. (leaving her on the steps) Leave the press conference to me. Viktor strides up the studio steps. Elaine stares after her ex-husband -- she finds herself smiling at his newfound arrogance. EXT. STUDIO - PRESS CONFERENCE - DAY The studio soundstages as a backdrop, VIKTOR approaches a podium and a forest of microphones, revelling in his recent fame by association. VIKTOR (tapping the microphone) Is this on? REPORTER 1 Who are you? VIKTOR Taransky, Viktor. T-a-r-a-n-s-k-y, V-i-k-t-o-r. REPORTER 1 Yeah, but -- who are you? VIKTOR (patronizing smile) I am a two-time Academy Award nominated director with over eighteen films to my credit thus far including my latest release, "Sunrise, Sunset". Who are you? A REPORTER rolls her eyes at his pomposity. VIKTOR I will not be taking any questions. However I do have a statement to read on behalf of my leading lady, Simone. (reading from his statement) "To Whom It May Concern. I'm deeply grateful for the extraordinary public response to Mr. Taransky's film. At this time I will be conducting no interviews or making publicity appearances since I am really nothing without the beautiful worlds and characters Mr. Taransky creates for me. I politely request that the press respect my privacy and let the work speak for itself. All questions and inquiries should be directed to Mr. Taransky to whom I entrust all aspects of my career. Yours very truly, Simone". The reporters all call out at once. REPORTER 2 -- Viktor, Viktor, who's Simone dating? REPORTER 3 -- Viktor, where'd you find her? REPORTER 4 -- Is Simone her real name? REPORTER 5 -- What's she got to hide? REPORTER 1 -- Is she the new Garbo? REPORTER 2 -- Who's Garbo? Viktor silences the reporters by theatrically raising his hands. VIKTOR I thought I made it clear -- no questions regarding Simone. (bringing the press conference to a hasty conclusion) Now, I would like to close by announcing that Miss Simone begins production today on her next film, "Eternity Forever". This project has been near and dear to my heart since I wrote it nine years ago. (a tinge of bitterness, then a smile) I Thank you. Viktor exits the podium. A voice stops him in his tracks. VOICE (O.S.) Who do you think you're fooling, Taransky? Viktor turns. The voice belongs to over-zealous, crusading, truth-seeking investigative reporter, MAX SAYER, accompanied by his assistant, MILTON. VIKTOR Do I know you? MAX Max Sayer -- National Echo. VIKTOR (regaining his composure, a smirk) Don't you have a real story to write? Why aren't you in Latin America? MAX This is the story. VIKTOR I remember when the Echo had class -- the paper that could bring down governments. MAX Our leaders aren't presidents anymore -- they're pop stars and screen idols. If Woodward and Bernstein were alive today, they'd be right here in Hollywood with me. VIKTOR They are alive, Sayer. Milton confirms that Woodward and Bernstein are still living. MAX So they're probably here. (hardly missing a beat) You might be able to sell this 'disappearing act' to the rest of the world, but I'm not buying it. What's really behind this Simone woman? The public has a right to know. Why is she staying out of sight? And why the hell is she with you? I don't want you to take this the wrong way, Viktor, but you're not exactly Cecil B. DeMille -- more run-of-the-mill. VIKTOR Maybe the reason she's with me is a little thing called integrity, Sayer. Look it up. Viktor walks away. MAX (calling after him) Oh, I know all about integrity. I know even more about persistence. Look that one up. Max watches Viktor depart, with obvious suspicion. EXT. SOUNDSTAGE - STUDIO LOT - DAY A large satellite dish sits atop a soundstage. "CLOSED SET" is the sign on the door -- a surveillance camera panning the entrance. A SECURITY GUARD, also keeping watch, nods a greeting to VIKTOR as he pulls up in his studio golf cart, script in hand. SECURITY GUARD No one came in or went out just like you said, Mr. Taransky. VIKTOR Good. SECURITY GUARD Is Miss Simone coming today? VIKTOR She's already here. She arrived before you and she'll leave long after you've gone. (admonishing guard) Remember, under no circumstances are you or any other person to enter the set without my express permission. SECURITY GUARD What if it catches on fire? VIKTOR Let it burn. Simone would rather go up in flames than give up her privacy. Viktor enters his secret code into the keypad lock and enters the soundstage. INT. VIKTOR'S SOUNDSTAGE - DAY The cavernous soundstage is almost completely empty save for a small table upon which sits two computer keyboards and a tablet attached to a large, projection screen monitor and two side monitors. VIKTOR takes a seat in front of the monitor. VIKTOR (to himself as he inserts his Hollywood hard-drive -- SIMULATION ONE) Pay no attention to the man behind the computer. A title appears on his computer screen. Welcome to SIMULATION ONE With a satisfied smile, Viktor backspaces characters until he revises the title to: Welcome to SIMONE He presses "ENTER" and a face begins to build -- wire upon wire, pixel upon pixel -- until a completed synthespian emerges -- SIMONE. She is indistinguishable from a flesh-and blood actress. Simone moves on a video loop against a neutral background -- titled "VISUAL LOOP 6". Within the confines of the monitor she is reminiscent of a beautiful caged animal. She looks a little bored as if she has been cooped up in cyberspace for too long. VIKTOR (to the screen) Good morning, Simone. SIMONE / VIKTOR Good morning, Mr. Taransky. VIKTOR A star is... SIMONE / VIKTOR ... digitized. Only now do we observe that Viktor is occasionally talking into a microphone connected to the computer and pressing a key on his keyboard. When he speaks, she speaks. Simone's voice and mouth movements automatically sync in response to Viktor's voice. A scanning light on Viktor allows Simone to mimic his movements. SIMONE / VIKTOR You mean they buy it? VIKTOR (nervous smile as he examines his first royalty check) Buy it? They're paying for it. And around here that's how you really know they buy it. Viktor fondly touches a photograph of Hank that is taped to the terminal -- from the "L.A. Times" obituaries. VIKTOR I'm only sorry Hank isn't here to see this. Viktor looks up, Simone mimicking his action. SIMONE / VIKTOR (depressing the button every time he wants to express his thoughts through Simone) Maybe he can. VIKTOR Do you have any idea what this means, Simone? Our ability to manufacture fraud now exceeds our ability to detect it. SIMONE / VIKTOR (appearing to indulge Viktor with a smile) I am the death of real. VIKTOR (pondering the enormity of the hoax) You are birth of... what? A Phenomenon. A miracle. A new era in show business. All I wanted to do was finish the film. SIMONE / VIKTOR And now look what you've started. And now look what you've started. And now look what you've started. Viktor's conversation with himself is not merely for his own amusement. He is adjusting and refining Simone's voice. VIKTOR Hmm... a little less Streep, a little more Bacall. Viktor scrolls through a photo library of stars, living and dead, that comprise Simone. Viktor makes an adjustment on a panel on the computer screen dedicated to Simone's audio, incorporating the vocal deliveries -- "20% STREEP, 80% BACALL". He speaks once again as Simone to test the adjustment. The voice patterns appear on his screen -- graphic representations of the sound waves. SIMONE / VIKTOR Is that better, Mr. Taransky? VIKTOR Yes. Yes, it is. VIKTOR snaps back to reality himself. He scrolls through the list of screen legends. He clicks on the image of AUDREY HEPBURN. VIKTOR While I think of it, I'd like you to add something to your repertoire -- remember that thing Hepburn does in "Breakfast At Tiffany's". A clip of AUDREY HEPBURN in "Breakfast At Tiffany's" plays on the screen. Hepburn, sitting on a fire escape, looks up. AUDREY HEPBURN (from the screen, an incomparable smile) Hi. VIKTOR (pausing the moment) Let's hear you say "Hi" like Audrey. With a CUT and PASTE, Viktor morphs the gesture seamlessly into a frozen Simone. Viktor presses play. SIMONE (imitating Audrey's performance perfectly) Hi. VIKTOR Perfect. (stretching) God, I'm so relaxed around you. SIMONE / VIKTOR You did create me. VIKTOR No. I... just helped bring someone else's dream to life. SIMONE / VIKTOR Mr. Taransky, we both know I was nothing without you. I was computer code -- ones and zeros. VIKTOR You're right. You're right. Of course, one doesn't want to boast. It's a classic case of technology in search of an artist. That's all you've been waiting for, an artist with integrity, with a vision, who can see. Viktor gets up and starts walking around the room, warming to his theme. SIMONE moves in a VISUAL LOOP on the monitor, nodding attentively as if she's really interested. VIKTOR See beyond that irrational allegiance to flesh and blood. -- See that with the rise in price of a real actor and the fall in price of a fake, the scales have tipped in favor of the fake. (voice raising in excitement) -- See that if the performance is genuine, it doesn't matter if the actor is real. Once a performance is committed to film, the blood and bones are gone anyway. Only the spirit, the illusion remains. Besides, what's real anymore? These days most actors have digital work done to them so it's a gray area. SIMONE / VIKTOR (Simone appears to look directly at her maker) Are you ever going to tell the truth about me, Mr. Taransky? VIKTOR The only real truth is in the work. SIMONE / VIKTOR You know what I'm talking about. VIKTOR Yes. Yes, I'm going to tell the truth about you, why wouldn't I...? (pondering his own question) Of course, with Hank's tragic passing, the secret died with him. (shaking the thought from his head) I am going to tell the truth... after your next picture. Feeling uneasy at the prospect, Viktor changes the subject. He pulls out his script for "ETERNITY FOREVER". VIKTOR Speaking of which -- this is the project I'd like you to do next. SIMONE / VIKTOR Not, "Eternity Forever"? The legendary unproduced script that was too good ever to get made? I'd kill for that part. VIKTOR I was hoping you'd say that. Suddenly, Simone appears to talk on her own. SIMONE I'll do anything to please you, Mr. Taransky. VIKTOR (pretending to be hard of hearing) I'm sorry, I didn't catch that. What did you say? SIMONE I'll do anything to please you, Mr. Taransky. On a side monitor, we discover a highlighted box marked "PRE RECORD" -- Viktor's finger on the "PLAY" button. He is unable to resist speaking another line. SIMONE / VIKTOR And I will never, ever leave you. Simone appears to indulge Viktor by blowing him a kiss -- until we see that Viktor has now highlighted a box marked, "GESTURES OF AFFECTION -- WINK, SMILE, GIGGLE, SIGH, KISS, FLUTTER OF EYES, FLICK OF HAIR, PUFF OF CHEST". Viktor comes close to the monitor. He notices something about Simone's face. VIKTOR You're so beautiful. Too beautiful. Viktor accesses a program labeled, "DISTINGUISHING FEATURES". He adds a "FRECKLE" and a "MOLE". From a distance we watch him, alone with Simone in the vast, empty soundstage. EXT. STUDIO LOT - DAY VIKTOR's face against the SKY. As he walks, we reveal that the sky is no more than a huge, painted backdrop on the studio lot -- behind a parking lot. Viktor hands his valet ticket to a fawning VALET MANAGER. VALET MANAGER -- Just be a minute, Mr. Taransky. We gave you a complimentary car wash -- they're washing the engine now. Viktor joins other industry MOVERS and SHAKERS waiting for their cars under an umbrella. A young TALENT AGENT approaches. TALENT AGENT Viktor! Look, I'm sorry I didn't call you back last year. I was, er... out of the country. (strained moment) But we should get together. My schedule's wide open. VIKTOR Sure, I'll... "call you". The agent's face falls. He gets in his car, disconsolate. Suddenly, HAL SINCLAIR, rushes over and hugs Viktor. HAL Viktor, I'm so happy for us! VIKTOR Hello, Hal. HAL The film. The chemistry. No reflections on Nicola but Simone and I -- we were just so right together. VIKTOR You never were together, Hal. HAL And still the connection was undeniable. (aside) I haven't read "Eternity Forever" but I know it's brilliant. And I know I would be perfect for Clive. VIKTOR (correcting him) Clyde. HAL Yes, perfect. (lowering his voice) As a matter of fact, I ran into Simone on the lot the other day. VIKTOR (genuinely startled) Really? She didn't mention it. HAL (quickly covering) I'm sure she's meeting with a lot of people right now. (under his breath) She is just as you described her, Viktor... indescribable. I strongly sensed she thought I was right for it. Behind his back, Viktor surreptitiously presses a button on his cell phone. The phone rings. Viktor feigns surprise and answers. VIKTOR (answering the phone he has just dialed, louder than necessary) Hello?... SIMONE! How are you, sweetheart? A hush descends over the executives. Hal is suddenly very uncomfortable. Even the VALETS strain to eavesdrop on the conversation. VIKTOR (winking to Hal) You'll never guess who I'm with... you ran into him on the lot. HAL It was more in passing. VIKTOR You're so far off! (finally chuckles) Hal... Hal Sinclair... your co- star. Remember now?... No, I don't think he's put on weight. (a shrug of apology to the appalled Hal) Anyway, you think he's right for "Eternity Forever"?... not the right type?... a different direction... (covering phone, to Hal) I'll try to talk her into it. The other INDUSTRY PEOPLE make a note of the remark. A mortified Hal excuses himself with a pathetic wave, climbing into his car. VIKTOR (into phone) ... Listen this is a bad place to talk... what?... sweetheart, I know you have charity work you want to do, I know you want to give back -- but remember, your greatest gift is your talent... we'll talk about it at the beach house this weekend... I'm looking forward to it too. Viktor hangs up. His car pulls up. He tips extravagantly and drives away. The INDUSTRY PEOPLE get on their cell phones. EXT. STUDIO LOT - FACADE - DAY Parked behind the sky facade is a curious CAR with shaded windows. INT. CAR - DAY Inside the car, MAX SAYER and assistant MILTON, scanner in hand, are replaying Viktor's intercepted phone call on a computer. VIKTOR'S VOICE (from the machine) -- "... You think he's right for "Eternity Forever"?... not the right type?... a different direction..." MILTON (to Max, a shake of the head) I'm getting nothing from her side of the conversation. MAX Is it a jamming device? MILTON (shrugs) Maybe he's talking to himself. MAX (dismissing the idea) Taransky isn't that good an actor. No, they're taking special precautions. Some kind of new encryption. MILTON Why? MAX (musing) Whatever it is, it's dark. MILTON Dark? MAX Yes, very. They continue listening to the recording. VIKTOR'S VOICE "... We'll talk about it at the beach house this weekend..." MAX's eyes light up. He gazes to a photo of SIMONE pasted to the inside of the car. INT. VIKTOR'S MALIBU HOME - MORNING VIKTOR and LAINEY make breakfast. Lainey is in her pajamas, occasionally glancing to a laptop computer as her father prepares French toast. VIKTOR (glancing to the computer) Can't you stop that? LAINEY Why? VIKTOR Those things can be dangerous. Staring at a screen all day -- you miss what's going on outside in the real world. You can lose yourself. You should get out more. How are you going to meet boys? LAINEY (shrugs coyly, getting up) I know plenty of boys. VIKTOR Really? Who? Where do you meet them? In a chat room? How do you know he's not some middle-aged freak? LAINEY Dad, I can spot a middle-aged freak a mile away. VIKTOR Okay. But you have to find a way to escape that thing. LAINEY I do. VIKTOR How? LAINEY I read. VIKTOR You do? Still? I can't tell you how happy I am to hear that. LAINEY You were the one who insisted on it. Reading me Dostoyevsky and Joyce when I was four. VIKTOR You understood them. That's what was amazing. (looking out the window) It's a nice day. Let's eat outside. Lainey grabs the plates and opens the deck door. We hear a chorus of CLICKS. LAINEY Actually, it may be nicer inside. Viktor joins her at the doorway. VIKTOR Stay here, I'll deal with this. Unfazed, Lainey retreats into the house. EXT. VIKTOR'S MALIBU HOUSE - MORNING Boats are moored just off the beach packed dangerously full of telephoto lens-toting PHOTOGRAPHERS. The next door houses have LENSES protruding through the drapes of the windows. VIKTOR strides onto the lawn of his property that backs onto the beach, soaking up the attention -- unable to resist waving extravagantly. Suddenly, a PHOTOGRAPHER, losing his balance, drops from a nearby rooftop. The photographer limps towards the fence. Viktor calmly follows, retrieving the photographer's camera and ripping out the film with a flourish -- he is clearly relishing the attention. The photographer clambers over the fence where he joins several dozen other SHUTTER-BUGS and VIDEORAZZI. PHOTOGRAPHER 1 That wasn't her, Taransky. ECHO PHOTOGRAPHER Where is she? You can't hide her forever. VIKTOR (hurling the camera into the mob) You'll never find her. Simone only appears when I want her to appear. MAX SAYER from "The NATIONAL ECHO" is at the head of the mob, accompanied by assistant MILTON. MAX She sounds like a prisoner, Taransky. Are you holding her hostage? Are you some kind of Svengali? VIKTOR (recognizing the reporter) Who's the hostage, Sayer, her or you? You look kind of "captive" yourself. While you're spending every waking hour obsessing over Simone, guess what, I guarantee she doesn't even know you exist. Get off my property or I'll call the cops. MAX The cops? The cops read my column to know who to bust. We're the only watchdog the public has. (looking around at the photographers) None of this is going away. We'll be here tomorrow and the day after that. Until you slip up. And you will. You are looking at your shadow. (getting in his face) Because all these elaborate precautions with Simone -- every instinct in my body tells me, it's not natural. VIKTOR I'm just trying to help you, Sayer. I don't want you to be disappointed. It gets cold out here at night. MAX Nice try. If we can't get to her through you, maybe your family will be more co-operative. I can guarantee you, Taransky, one way or another, Miss Simone and I are going to get acquainted. VIKTOR (turning away) I'd like to see that, Sayer. Invite me. INT. VIKTOR'S CAR - DAY VIKTOR drives along a twisty mountain road, LAINEY in the passenger seat. They have become so blase about the paparazzi, they no longer acknowledge the posse of motorcycle PHOTOGRAPHERS risking their necks to stay up with the car. REPORTER (ON RADIO) -- The rumor is, Simone is holed up in Taransky's Malibu home -- so far we haven't seen so much as a glimpse -- VIKTOR (switching off the radio) Honey, I'm really sorry about all this. I don't know if it's safe for you to stay the weekends... just until things settle down. LAINEY (shrugs) Okay, Dad. VIKTOR If anyone asks about Simone -- LAINEY -- I know, I don't know anything. VIKTOR Exactly. (slightly irritated by her lack of interest) Don't you wonder where I'm really hiding Simone? LAINEY (looking to him) I'm sure you'd tell me if you thought it was important. Lainey gives her father a smile. Through the car window behind her, a MOTORCYCLIST appears to lose control and drops down a bank. EXT. ELAINE'S MANSION - DAY VIKTOR'S car pulls up to Elaine's imposing mansion. LAINEY gives her father a kiss and departs. ELAINE, in the garden, overseeing a GARDENER pruning roses, approaches. VIKTOR (from the car) Sorry I didn't get her back in time. ELAINE No problem. (she smiles) Do you want to come in? VIKTOR (surprised -- pleasantly) Why not? INT. ELAINE'S MANSION - DAY VIKTOR walks down a hall, passing the dining room, where KENT is working on a computer. Kent smiles blandly. KENT Hey, Vik. VIKTOR (disappointed to see him) Hello -- Kent. INT. ELAINE'S MANSION - DAY VIKTOR waits in an opulent drawing room. Despite the eighty degree temperature outside, a fire burns in the hearth. ELAINE enters, waving a thick studio file. Viktor's face falls, expecting a less business-related conversation. ELAINE Viktor, we simply have to talk about "Eternity..." VIKTOR "Forever". ELAINE Whatever. I still haven't received Simone's script notes. VIKTOR There aren't any. If the filmmakers are happy, Simone's happy. She considers herself an... "instrument". ELAINE Really? Oh, so she's really going to do all this nudity? VIKTOR (shrugs) If it's on the page... Elaine refers to her documents, bewildered. ELAINE Well, something has to be done about this budget. It's completely unrealistic. (referring to a column in the budget) You allowed nothing for limousine service. VIKTOR She'll drive herself. ELAINE Hair and make-up? VIKTOR She'll do her own. Theater training. ELAINE She was in the theater? When? Where? VIKTOR I'll send you her resume. ELAINE Al least a contingency for wardrobe. Any woman can go up a dress size. VIKTOR -- I guarantee she won't gain an once. She's very disciplined. ELAINE (concerned by an entry in the budget) Well, we have to do something about this -- "stuntwoman". VIKTOR What about it? ELAINE There isn't one. VIKTOR No need. She does all her own stunts. ELAINE (skeptical) Even the fall from the plane? VIKTOR (nonchalant) Even the fall from the plane. ELAINE Well, shoot it on the last day. Viktor regards Elaine with a condescending look. VIKTOR As I've tried to explain to you, Elaine. Simone isn't like any other actress you've ever known. She's about the work and only the work -- lives for the work. She wants all the money up there... (gazing into space) ... on the screen where it belongs. She'd work for scale except I know you only respect people you pay a fortune. ELAINE Which accounts for your percentage. (tossing the budget on the coffee table) When do I get to meet this dream? VIKTOR Not today. She's learning her lines. (glancing to Elaine's budget) You can also take cue cards and teleprompter out of the budget. ELAINE (smiles) I'll walk you out. Elaine escorts Viktor out to the lavish garden. EXT. ELAINE'S MANSION - GARDEN - DAY ELAINE's demeanor softens. She speaks to VIKTOR quietly, sympathetically. ELAINE Listen, Viktor... I want to talk to you now, not as Elaine, studio head, but Elaine, ex-wife. (correcting herself) Second ex-wife. You got lucky this last time but you need to be careful. We both know you wouldn't be making this overblown art film of you hadn't convinced Simone to be in it. VIKTOR Elaine, talking to you now, not as Viktor, director, but Viktor, ex husband... what the hell happened to you? ELAINE (exasperated) Experience, Viktor. I've seen this a hundred times -- young stars destroying the very people who discovered them. I'm worried about you, that's all. This woman -- she controls your destiny. VIKTOR Simone does not control my destiny. ELAINE Viktor, I have a feeling. One of my feelings. There's something about her I don't trust. From her bedroom window on the mansion's second floor, LAINEY smiles at the sight of her mother and father together. INT. SIMONE & VIKTOR'S OFFICE - DAY VIKTOR enters his office where he's greeted by his assistant, JANE. JANE (sheepish) Thanks for taking me back, Mr. Taransky. I know it looked like I sided with the studio, but I always believed in you, honestly. VIKTOR Don't worry. I understand. JANE (referring to the cast seated around a conference table) They're all here. INT. SIMONE & VIKTOR'S OFFICE - DAY VIKTOR sits at the head of the table, surrounded by HAL, LOTUS, MAC and three other CAST MEMBERS. A preliminary poster behind him -- "COMING THIS SUMMER - SIMONE in ETERNITY FOREVER" -- bears a huge photograph of Simone's face. VIKTOR I can't tell you how delighted I am to have this wonderful cast assembled for "Eternity Forever". Thank you all. Now, a reminder -- as a condition for working on this film, you will not be rehearsing with Simone, shooting with Simone and you are forbidden from contacting Simone in any way at any time, whatsoever. The CAST nods seriously. HAL (a thought occurs) How will you do our love scenes? VIKTOR Body double. HAL (confused) For her? VIKTOR For you. (addressing the entire cast) I want you to know, Simone appreciates you all working for scale. But why am I thanking you? Simone can thank you herself. She insisted on speaking with you before filming begins. She's on the line now. Viktor nods to a speaker phone in the center of the table, a red blinking light on the phone. The cast reacts excitedly. VIKTOR (pushing a button on the phone) Simone, are you there? SIMONE (through the speakerphone) I certainly am, Mr. Taransky. LOTUS (unable to contain her excitement) So are we, Simone! Everyone laughs giddily. SIMONE (O.S.) Why don't you leave me alone with my co-stars, Mr. Taransky, so we can get to know each other better? HAL Good idea. VIKTOR Of course. I'll be back in a minute. Viktor exits. SIMONE (O.S.) Hi. Who's there? Don't be shy. Introduce yourselves. The CAST stares nervously at the speakerphone. Mac breaks the silence. MAC I'm Mac. I turned down a Bertolucci film to be here. LOTUS My name's Lotus. God, I can't believe I'm talking to you. We're going to become such great friends. HAL I'm Hal. Wonderful to be working together... again. The other cast members introduce themselves. EXT. VIKTOR'S SOUNDSTAGE - DAY VIKTOR pulls up sharply in his studio golf cart outside the nearby soundstage and hurriedly enters. INT. VIKTOR'S SOUNDSTAGE - DAY VIKTOR races across the vast, empty space to a digital player, connected to a phone. Simone's pre-recorded opening remarks (graphically represented on the screen) are almost completed. SIMONE Is that everyone...? (pause) Well, obviously, as you know... Viktor jumps into the conversation in the nick of time, speaking through the synthesizer. As usual, Viktor's voice is automatically synthesized into the voice of Simone. SIMONE / VIKTOR ... I'm Simone. The other CAST MEMBERS laugh nervously. HAL (from Viktor's speakerphone) Obviously. Who else? SIMONE / VIKTOR (from speaker phone) I just want to start by apologizing for my "process" -- INT. SIMONE & VIKTOR'S OFFICE - DAY The CAST are hunched over the speakerphone. MAC -- No. No. I'm completely simpatico. On my last film I was playing a schizophrenic so I made them give me two dressing rooms. HAL (an aside) So committed. SIMONE (O.S.) Well thank you for your understanding. I know it's an unusual way to work but I just find I relate better to people when they're not actually there. LOTUS Of course, of course. SIMONE (O.S.) I don't have much to say except that I know it's going to be a great project, if we all just trust Mr. Taransky's vision. Always do what Mr. Taransky says. If in doubt, do it the Taransky way. They all nod vigorously in agreement. SIMONE (O.S.) I know we're going to make a wonderful movie together. LOTUS (nodding in agreement) Wonderful movie. HAL Together, absolutely. EXT. SOUNDSTAGE - DUSK VIKTOR removes his own garbage from his soundstage. A young cleaning woman, VIVIAN, wheeling a janitor's cart, tentatively approaches. VIVIAN Mr. Taransky... VIKTOR (referring to the stage) No one goes in there. VIVIAN Oh, I know. Vivian hesitantly hands Viktor a publicity photo of SIMONE. VIVIAN If it's not too much trouble. Could you...? VIKTOR Of course... VIVIAN (hesitant about broaching the subject) This last year I was... going through some things. (shaking her head at the memory) Awful, awful... things. But when I saw Simone in "Sunrise"... what she did... in the scene in the fireworks factory... (face lighting up) ... suddenly everything made sense. My friends, family, doctors -- nobody could reach me -- but Simone, she really... spoke to me. Viktor is touched by the heartfelt testimony. VIKTOR She'll be happy to sign it. INT. PRODUCTION SOUNDSTAGE - DAY A green set. Walls, floor, ceiling -- all green. A FULL CAST shoots HAL, dressed in a futuristic suit, tentatively crossing the green expanse. Hal pauses, looks longingly, then impulsively dashes forward. Hal passionately embraces thin air and wrestles it to the ground. VIKTOR (O.S.) Cut! Cut!... Cut! Hal freezes. VIKTOR runs from behind the camera and confronts Hal on the green floor. VIKTOR Hal, what are you doing? HAL Viktor, Clyde simply has to get close to Simone in this scene! He has to touch her. He has to! VIKTOR Absolutely not! HAL But she's right there! I must feel her! VIKTOR You can't. HAL Why not? VIKTOR (struggling to find an excuse) There's... a wall between you -- HAL -- an emotional wall, I know. That's why -- VIKTOR -- No. No. A real wall. (describing a wall with his hands within the green space) You ran right through it. HAL (confused) How did the wall get there? VIKTOR I can't explain it to you now -- you'll see when it's all put together. (walking away) Anyway, we got it a couple of takes ago. Let's move on. Hal, dumbfounded, tentatively touches the non-existent wall. INT. VIKTOR'S SOUNDSTAGE - NIGHT Viktor digitally adds SIMONE standing beside a sportscar with HAL in a scene from "Eternity Forever". He works on her close up. SIMONE (eyes welling with tears) -- What you don't understand, Clyde, is that love is like a wild flower, but that flower only grows -- Viktor hits STOP and Simone freezes. Viktor brings up a menu and chooses from a range of "EMOTIONAL OPTIONS". JOY SADNESS FEAR elated melancholy anxious jubilant tearful frightened giddy weeping petrified ecstatic blubbering loss of bladder inebriated Kevorkian control CONTEMPLATION INNOCENCE SENSUALITY reflective chaste seductive thoughtful virtuous lustful meditative angelic bestial stoic Madonna Madonna bored out of her [Blessed Virgin] [Like A Virgin] skull He fine-tunes SIMONE's performance -- sliding a cursor on a performance axis from "BROAD" to "SUBTLE". VIKTOR Let's take it down a notch. SIMONE -- What you don't understand -- Simone freezes again. Viktor make another adjustment. VIKTOR I like it. But still too big. (making a correction) Smaller teardrops next time. Simone's tears retreat into her eyes. VIKTOR It's not working. It's not alive. Let's try it again. She repeats the line. Viktor mimes the performance. SIMONE (teardrops arriving on cue) -- What you don't understand, Clyde, is that love is like a wild flower, but that flower only grows on the edge... (dramatic pause) ... of a very high cliff. Simone FREEZES. VIKTOR Perfect, Simone. Viktor returns SIMONE to her neutral background. VIKTOR I'm only sorry you still have to work with flesh and blood for the time being -- as user friendly as you are, even I can't manufacture an entire cast. "To Vivian. Love, Simone" -- VIKTOR writes on the publicity shot. He applies lipstick and adds a kiss to the photo. Viktor wipes his mouth and looks to SIMONE on his screen -- she is waiting patiently, as usual. VIKTOR We are going to have to change our plans, Simone -- you have no idea what an affect your performance is having on people. We can't stop now. There's too much to say -- these films they speak, they speak to the human condition. We're changing lives. No, revealing the truth now would be too cruel. (searching for more justification) Anyway, when you're seeking a greater truth -- in the work -- you are not so concerned with the lesser truths along the way. Simone doesn't appear convinced. SIMONE / VIKTOR You're going to get in a lot of trouble, Mr. Taransky. VIKTOR (irritated at her pricking his conscience) Why do you have to bring that up? There's always risk -- life's a risk. It's worth it. Besides, how could something so lovely be a crime? (regarding her tenderly) Well, I think we've done enough for today. You've been cooped up in there too long. How about you and me go out on the town? They're expecting us. He turns to a copy of "The Echo". A photo of Viktor at the gate of his Malibu home. "SIMONE HELD CAPTIVE - Self proclaimed Svengali Keeps Star Out Of Limelight". Viktor puts Simone to sleep and picks up a briefcase. INT. HOTEL LOBBY - NIGHT VIKTOR, briefcase in hand, strides through the lobby of an opulent hotel. He approached the CONCIERGE. VIKTOR I'm checking in a special guest... (obviously conspiratorial) ... Miss Enomis. The Concierge straightens as he recognizes Viktor from a copy of "Variety". Headline: "Taransky Rides Ingenue's Coat-Tails To Three Picture Deal". CONCIERGE Miss Enomis, yes. VIKTOR Miss Enomis demands her privacy. You will switch off all surveillance cameras. I will escort Miss Enomis to her room alone via the rear exit. She will require no help with her luggage. She does not wish to be disturbed at any time for any reason. She will be departing for a function tonight at eight sharp. (tipping him with a hundred dollar bill) I'm sure I can rely on your discretion. Do you understand? CONCIERGE (passing the key to Viktor) Oh, I understand. As Viktor departs, the Concierge holds the registration card to the mirror. ENOMIS becomes SIMONE. The Concierge picks up his phone. INT. HOTEL ROOM - NIGHT VIKTOR enters the hotel suite. We see a montage of scenes -- Viktor revelling in his masquerade. A) VIKTOR pulls down the covers of a bed and rolls around in the sheets to give it a slept-in look. B) VIKTOR sprays cologne in the bed. C) VIKTOR tosses skimpy lingerie on the floor of the closet. D) VIKTOR eats several candy bars from the mini-bar. E) VIKTOR puts one of his own movies in the DVD player. F) VIKTOR writes a note on the bedside pad. G) In the bathroom, shower running, VIKTOR attempts to open a tampon -- it shoots out of the applicator like a penny rocket. H) VIKTOR cuts a lock of "faux" hair from a Simone wig and scatters it on the counter. I) VIKTOR shakes open a bag of toiletries, the toothbrush bouncing into the toilet bowl. He retrieves it. J) VIKTOR looks through the drapes of the hotel window -- a jam of PRESS PHOTOGRAPHERS has congregated outside the rear entrance. K) VIKTOR shines a lamp against a doll casting a life-size shadow on the drapes. A "walking" silhouette is visible to the media on the street. L) VIKTOR writes a message in lipstick on the mirror -- "I LOVE YOU V--". VIKTOR is interrupted by a knock on the door. He looks at his watch. VIKTOR (peering through the peephole) Who is it? WOMAN'S VOICE (from other side of door) It's... Simone. Viktor smiles. EXT. HOTEL - REAR ENTRANCE - NIGHT VIKTOR stands at the rear entrance of the hotel with a leggy YOUNG WOMAN wearing a coat over her head. A HOTEL DOORMAN keeps back the growing horde of REPORTERS. Viktor's limousine waits at the curb. The coated woman starts towards the car but Viktor holds her back. VIKTOR Not yet. (scrutinizing the crowd) Where's "Matinee"? There they are. Okay, I think everyone's here. Now! Viktor and the young woman run the gauntlet to the car, providing a perfect albeit restricted photo-op for the paparazzi. PHOTOGRAPHER 1 Simone! ECHO PHOTOGRAPHER Over here, sweetheart! PHOTOGRAPHER 3 Come one Simone, take it off, baby! PHOTOGRAPHER 4 We got a job to do! The car door slams shut as the pack descends. MAX SAYER and MILTON are amongst the frustrated reporters. The limo screeches away. A POLICE MOTORCYCLIST prevents anyone following. The frustrated REPORTERS assess their efforts. PHOTOGRAPHER 1 I think I got a piece of her ear. ECHO PHOTOGRAPHER I didn't get shit. MILTON (emerging from the pack, to Max) Ten feet from a living Goddess... INT. MISS ENOMIS'S HOTEL SUITE - NIGHT MAX SAYER pays off the CONCIERGE. His assistant, MILTON, begins to collect "evidence" of the celebrity -- dusting for fingerprints, etc. Max rubs pencil into the impression on the bedside notepad revealing the message -- "The meaning of life is that it ends". MAX (interrupting Milton's work) Leave me for a moment. Milton and the Concierge depart. Max is alone. He looks around the room. A) MAX enters the bathroom. He picks up a drinking glass and inspects it closely before placing it in a sealed plastic bag. B) MAX examines the wet soap from the shower and also places it in a plastic bag. C) MAX picks up the used toothbrush, puts it to his lips before placing it in a plastic bag. D) MAX gently places his hands on the toilet seat. E) MAX enters the bedroom. He carefully removes a slip from a pillow. He folds it meticulously, appearing to breathe in its scent as he places it in a plastic bag. F) Finally, MAX kneels and gazes at "Simone's" unmade bed. He slowly slides into the bed and slips beneath the same sheets recently vacated by Viktor. INT. HALLWAY - OUTSIDE HOTEL SUITE - NIGHT MILTON, ear pressed against the door, tries to listen inside. INT. VIKTOR TARANSKY'S LIMOUSINE - NIGHT VIKTOR and the COATED WOMAN have finally left the PAPARAZZI in their wake. Viktor gently removes the coat from over her head. Although the woman is impossible beautiful, she is not Simone. FAITH is Simone's latest stand-in and decoy. Viktor and Faith are still pressed together against one side of the limousine. VIKTOR (not quite able to avert his eyes from her telescopic legs) Thank God for you, Faith. I know this is above and beyond the call of duty for a stand-in. You don't know what a service you're performing for Simone -- shielding her from those animals. FAITH No, thank God for you, Mr. Taransky. How many men would go to so much trouble to protect a woman? Neither Viktor nor Faith seem inclined to move from their intimate position. VIKTOR You understand you'll have to come back to my place to keep them off the, er... (his nose close to Faith's neck) ... scent. FAITH Of course. VIKTOR (meeting her gaze) You look so, so... FAITH ... so much like her? VIKTOR Yes, of course, but very beautiful in your own right. FAITH I do find myself physically attracted to you, Mr. Taransky. Their lips are now tantalizingly close. VIKTOR Viktor. INT. VIKTOR'S MALIBU HOUSE - NIGHT VIKTOR'S HEAD hits the sofa in his living room, closely followed by FAITH on top of him. Faith tears at his clothes and her own, ravenous. Viktor hardly resists. In the midst of the wild caresses, Faith murmurs in his ear. FAITH Do whatever you do to Simone. Viktor freezes. VIKTOR What?... What did you say? FAITH Do what you do to Simone. VIKTOR What I do to Simone? FAITH Yes, call me Simone. VIKTOR Simone? FAITH (still tearing at his clothes) Yes, yes, again, again. Do what you do to Simone. I want to know what it's like to be her just for one night. VIKTOR (confused) You're with me to be close to her? FAITH (panting) Is that a problem? As Viktor ponders the question, Faith begins to do Simone's deathbed speech from "Sunrise, Sunset". FAITH "Why are we here? Is that what you're asking, Jack?... Why are we here? No why. Just here". VIKTOR (this is too much for Viktor) Please put your clothes on Viktor gets up from the sofa, leaving the frustrated Faith to straighten her clothes. EXT. FUTURISTIC LANDSCAPE - "ETERNITY FOREVER" - DAY The finished scene with SIMONE and HAL plays ON A SCREEN. INT. SCREENING ROOM - STUDIO - DAY VIKTOR watches the rough cut of "ETERNITY FOREVER" with ELAINE and daughter, LAINEY. As usual, they are mesmerized by the breath-taking beautiful SIMONE. The scene ends. The light go up. ELAINE Stunning, Viktor. The Hollywood Foreign Press is going to eat this up. VIKTOR Thank you. (turning to his daughter) What did you think, Lainey? LAINEY One thing bothered me. VIKTOR I know, Hal is as stiff as always. LAINEY No, not that. I was just wondering -- in the bedroom scene in reel two why did Simone have no reflection when she walked in front of that mirror? Viktor is shocked, busted. He covers it with a laugh. VIKTOR (ashen-faced) I wondered if you'd spot that. You've got a good eye, Lainey. I'm proud of you. Elaine looks at Viktor for an explanation. VIKTOR I got them to remove the reflection. The mirror's metaphor -- to show how her character's inwardly dead. ELAINE That's genius, Viktor. Was that Simone's idea? VIKTOR (sarcastic, annoyed at the suggestion) Who else? It's always Simone's idea. LAINEY (not quite convinced) So that accounts for the lack of a shadow in reel six? VIKTOR Precisely. EXT. STUDIO LOT - NIGHT VIKTOR escorts ELAINE and LAINEY to Elaine's car parked outside the theater. LAINEY (as she gets into the car) Good-night, Daddy. VIKTOR (kissing Lainey good-bye) Night, Lainey. Elaine and Viktor linger a moment outside the car. VIKTOR (drawing Elaine aside) Elaine, I don't know if it's a good idea for Lainey to come to the screenings -- mature content and all that. Both look to Lainey. From inside the car Lainey watches her parents. ELAINE (impressed by his responsible attitude) Maybe you're right. (gently teasing) Twelve years after your daughter's born you decide to become a father. VIKTOR Better late than never. ELAINE (softening) I should fire you more often. The film's looking wonderful. VIKTOR You really think so? ELAINE Yes. To be honest I never quite saw this film before -- maybe it's the way Simone is playing it -- but what it's saying about the illusion of permanence in everyday life, how that's the only way we can love -- I think it's really going to mean something. VIKTOR Thank you. I'll tell Simone you liked it. ELAINE I'd love to tell her myself. (cajoling) When are you going to let me meet her? VIKTOR Soon. Soon. ELAINE Everyone I know has met her, Viktor. VIKTOR Everyone you know is lying. ELAINE (amused) That's true. They instinctively kiss, more affectionate than before. However, their embrace is interrupted by a click of a camera shutter from a nearby bush. VIKTOR Damnit! The PHOTOGRAPHER has gone but so has the mood. ELAINE You know how you can stop that. She has to get out more. (climbing into the car) See you at the premiere. Elaine climbs into her car and drives away. EXT. PREMIERE - DUSK The premiere for "ETERNITY FOREVER" is everything VIKTOR had hoped for "SUNRISE, SUNSET". Red carpet, klieg lights searching the sky, screaming FANS and PAPARAZZI. A limousine pulls up, door opens and VIKTOR steps out. The crowd screams with excitement. Viktor waves. Am expectancy in the crowd -- people crane their necks, waiting for someone else to step out of the open car door... but nothing. The door shuts. A disappointed murmer. The limo drives off. VIKTOR walks down the carpet to little fanfare. PREMIERE REPORTER 1 (talking to camera) -- What a night! Anyone who's anyone is here at the premiere of "Eternity Forever," but waiting for Simone to show may take even longer. We do have her director, Viktor Taransky. (ushering him over) Viktor, Viktor, is Simone coming? VIKTOR (slightly irritated by the focus on the star) You know Simone. Other reporters force their way into the interview. PREMIERE REPORTER 2 I hope she does show up. Some of her fans got here at dawn. We don't want to disappoint them. VIKTOR (through a pained smile) Well, I'm sure they're going to love the movie. I got the inspiration -- However, the reporter's attention has strayed. PREMIERE REPORTER 2 HARRY EPSON! The CAMERAS pivot away from Viktor. Screen idol, HARRY EPSON, is walking up the carpet. PREMIERE REPORTER 2 Harry! Harry! Can we have a minute? What brings you here tonight? HARRY (waving to the fans) I just came out to support my good friend, Simone. PREMIERE REPORTER 2 There's a rumor that you're more than just "good friends"? HARRY (slightly irritated by the invasion) We've been seeing each other, sure, but we'd rather keep our relationship private. PREMIERE REPORTER 2 (believing she has a scoop) Do I hear the sound of... wedding bells? HARRY (suddenly losing it) I can't believe you people! No wonder she never comes to these things! Harry angrily pushes the camera away and strides up the carpet. VIKTOR watches him go, flabbergasted. EXT. PREMIERE PARTY - NIGHT A packed, glitzy party. VIKTOR enters without an escort. Despite his recent rise to prominence he appears strangely alone. He observes ELAINE, champagne in hand, and the younger KENT, schmoozing with a group of industry MOVERS and SHAKERS. MOVER/SHAKER Elaine! The picture is a revelation! ELAINE Thank you. I mean, it was a team effort -- Viktor cannot resist taking Elaine's photo with a small pocket camera. Elaine is unaware of the shot. Viktor turns away -- just as Elaine turns to look at him. Viktor picks up a drink from the bar. A DRUNK WOMAN, perched unsteadily on a nearby barstool, is knocking back Jack Daniels. She accidentally brushes one of her discarded glasses off the bar. Viktor catches it. A HAND taps Viktor on the shoulder. HAL stands there accompanied by his "Eternity Forever" co-star, MAC. HAL Is she here? VIKTOR I'm fine, Hal. How are you? HAL (oblivious to his sarcasm) Somebody said she was here. Mac spots the two glasses in Viktor's hands -- one glass lipstick-smeared. MAC Oh my God, that's her glass! (impulsively smelling "Simone's" glass) Jack Daniels, straight-up. She is my kind of woman. HAL (looking anxiously around the room) Viktor, where is she? VIKTOR She's around. MAC (dawning on him, glancing to the far side of the packed room) Jesus, Hal... she's in the Ladies Room. HAL You know I sometimes forget she has bodily functions. VIKTOR (unable to resist) I know what you mean. HAL (anxiously looking to the restroom) I have to talk to her about my experimental film. It's very... experimental. MAC Is that her? -- By the fountain. Far across the party, a WOMAN, with a Simone-type hairstyle, her back to us, is standing at the edge of a fountain. VIKTOR (testy) No. In fact, between us, she doesn't really exist. HAL (ignoring him, calling out to the woman) Simone! MAC SIMONE! Several nearby GUESTS, including ELAINE, overhear. They talk over each other. GUEST 1 -- Simone's here! ELAINE (slightly the worse for drink) -- When did she arrive? Why didn't someone tell me? GUEST 2 -- Where is she? MAC -- She's by the fountain. GUEST 3 -- Simone, over here! GUEST 4 -- Simone! The rumor races through the party like wild-fire. The GUESTS surge towards the fountain in a wave of mindless adoration. The Simone lookalike herself spins around. LOOKALIKE WOMAN Simone! She gets knocked into the fountain. Several other GUESTS also fall in the stampede. Back at the bar, the BARMAN, autograph book in hand, deserts his station. Viktor is left alone with the drunk woman. LOCAL TV NEWS The limousines outside the hotel ballroom have been replaced with ambulances. PARAMEDICS tend to GUESTS, bloodied and battered in the stampede caused by Simone's "appearance". ENTERTAINMENT REPORTER (into microphone) -- Forget "Eternity Forever", the big news tonight was the surprise appearance of Simone. Even these seen-it-all superstars are apparently not immune to Simone fever and the resulting stampede forced organizers to bring the event to an early end. I spoke with some of the departing guests about their encounter with Hollywood's most reluctant superstar. CUTS of interviews with VARIOUS bruised GUESTS. EXECUTIVE 3 -- I would say, even more beautiful in person, you have to see her to believe her. MALE GUEST 1 -- I can't reveal what we spoke about. It was... personal. Simone and I go back a long way. FEMALE GUEST 1 -- When she talks to you, for that moment, you are the only other human being in the room. FEMALE GUEST 2 (dress torn) -- I really don't know what the fuss is about. So over-rated. She's done one film. Talk to me when she's had the kind of career I've had. MALE GUEST 2 -- I do expect her to be nominated, yes. We return to the live shot of the ENTERTAINMENT REPORTER. ENTERTAINMENT REPORTER Fortunately, Simone was not amongst the injured and was spirited away as mysteriously as she arrived. EXT. ECHO OFFICES - DAY Max Sayer's car is parked outside of the Echo Building. INT. ECHO OFFICES - DAY In the ECHO war room, MAX SAYER is agitated. He paces back and forth, railing at a table of cowering STAFFERS. MAX -- She goes to a major, Hollywood, A-list party and we don't get an interview, a comment, we don't even get a photograph? Is that what you're telling me? ECHO PHOTOGRAPHER Nobody got a photograph. Nobody ever gets a photograph. MILTON We've got our best people on it, Mr. Sayer. MAX 24-hour tail on Taransky? MILTON Shutter bugs camped outside any place he goes, every concierge and maitre d' on the take. But this Simone woman is good. MAX (referring to a "Confidential" FBI report) Obviously the name isn't real -- she's using an assumed identity, travels under a false name, checks into hotels with an alias. She never stays in the same place two nights in a row. Anything on the satellite photos? (irritated) What about the fingerprints? What happened when we dusted that hotel suite? MILTON holds up a glass taken from the hotel. MILTON Well, we got some of Taransky's fingerprints, a lot of your fingerprints... but none of hers. MAX (interest piqued) Which means they're significant. (beat) Incriminating. (beat) Perhaps, criminal. (getting excited) She's hiding her past. She's hiding her past. Max ponders the revelation. MAX Of course -- no one's that perfect, that pure. You know I had something on Mother Teresa. But then she died and it wasn't worth it anymore. (approaching a computer) I know how to flush out this Simone -- a tell-all story from her childhood. MILTON (impressed) My God, you've got one? MAX (offering Milton a seat in front of the computer) I will when you're finished writing it. MILTON hesitates, questioning his journalistic ethics. MAX (disappointed in his protege) Am I wasting my time with you? When she sues to protect her privacy, she'll have to appear in a public courtroom to do it. MILTON (under his breath) Long live the First Amendment. MAX Sometimes you have to tell a small lie to get to the bigger truth. (to his nervous photographer) As for a photo -- if you can't do it, I know twelve million people who can. CLOSE UP on The Echo magazine -- "CIRCULATION - 12 MILLION". EXT. STUDIO LOT - DAY "MILLION DOLLAR REWARD FOR PHOTO OF SIMONE!" -- Is the headline on the cover of The ECHO. VIKTOR is reading the magazine as he makes his way through the studio lot. He looks up to see several studio carts parked outside his soundstage. A group of STUDIO EXECUTIVES, led by ELAINE, is trying to break into the "CLOSED SET". VIKTOR runs towards the door, throwing himself between the door and the executives. VIKTOR -- You can't go in there! ELAINE -- We have to talk to her, Viktor! EXECUTIVE 1 -- We know she's in there! Viktor glares at the SECURITY GUARD who shrugs weakly. VIKTOR (struggling to hold them back) -- Why? What's all this about? EXECUTIVE 2 (waving a spreadsheet) -- We've got the tracking numbers for "Eternity Forever". EXECUTIVE 3 -- They're in the toilet. ELAINE -- She has to get out there and sell the film. VIKTOR -- What do you want her to do, go door-to-door -- ? EXECUTIVE 1 -- Even Garbo would be on the talk show circuit if she was alive today. VIKTOR (irritated) -- It's precisely because she doesn't crave the limelight that people love her. I told you, she's only about the work. EXECUTIVE 3 -- This is over-shadowing the work! EXECUTIVE 2 (waving the front page of The Echo) That's the problem. She's more famous for her no-shows than her shows. ELAINE -- It's starting to look like she doesn't support the film or you, Viktor. (trying to squeeze past Viktor) If you can't handle her, I will. VIKTOR (blocking her path) Not now. She's emotional. Her mother dies today. Scene forty-two of "Good For Nothing". It's not a good time. Elaine and the executives are not convinced, they overpower Viktor. VIKTOR No! Please, don't go in there! Too late. Elaine and the suits force the lock and enter. INT. VIKTOR'S SOUNDSTAGE - DAY ELAINE and the EXECUTIVES stop in their tracks -- confronted with the surreal sight of the lone computer station in the vast soundstage. A desperate VIKTOR catches up with them. EXECUTIVE 1 Where is she? EXECUTIVE 2 She's not here. VIKTOR Elaine... I... Elaine wanders over to the idle computer with a knowing smile. ELAINE So, the secret's finally out, Viktor. VIKTOR -- I can explain. ELAINE -- I don't think that's necessary. I think it's perfectly clear. I should have guessed -- it all makes sense now... it's why she never goes anywhere, never seen in public... Viktor lowers his head, resigned to his fate. ELAINE She's into computers. Viktor looks up. EXECUTIVE 1 (nodding in agreement) Probably spends her whole life in chat rooms. EXECUTIVE 2 It's the one place she can be herself. EXECUTIVE 3 Anonymous. Viktor seizes on the opportunity. VIKTOR (adopting a serious tone) It's worse than you think. She's extremely agoraphobic -- has a morbid fear of people and germs. In a way I'm relieved you... found out. The Executives are taken aback by the shocking revelation. VIKTOR The premiere was the first time I've convinced her to venture out and it just confirmed her worst nightmares. ELAINE (concerned) Viktor, you should have said something. VIKTOR She doesn't want pity. ELAINE (seeing a new side of Viktor) You're so good to protect her like this. Viktor shrugs modestly. VIKTOR (to the Executives, conceding) I'll tell you what. I know how much this means to you. I'll try to get her to plug the film. (beat) I'm not promising anything but maybe she'll do a talk show -- taped. ELAINE Oh, make it live -- please, Viktor. VIKTOR I'll try. Maybe live but remote. She'll never go to them. EXECUTIVE 1 We understand. Thank you, Viktor. EXECUTIVE 2 Give her our best. Satisfied, the Executives make their way out of the soundstage. EXECUTIVE 1 (aside to a colleague) That agoraphobia -- it's like a plague. EXECUTIVE 2 It's out of control in Europe. Viktor and Elaine are left alone. VIKTOR I'm sorry I didn't get a chance to introduce you to Simone at the premiere. There wasn't time with the riot and everything. (picking up a framed photo from the work station) But she wanted you to have this. The photograph shows ELAINE, slightly inebriated at the premiere, SIMONE standing slightly behind her. ELAINE She was there. She didn't by any chance happen to mention me? VIKTOR She said you were very beautiful. ELAINE (flattered) Really? VIKTOR (blurting out) Elaine, what are you doing tonight? Would you like to go somewhere -- dinner? ELAINE I'd love to. But aren't you supposed to meet up with Simone? VIKTOR Oh, yes. Of course. Don't I always? Viktor watches Elaine make her way back to her studio cart. Viktor realizes he is still holding a copy of the National ECHO -- the headline, "MILLION DOLLAR REWARD FOR PHOTO OF SIMONE"! Accompanied by a photo of intrepid reporter MAX SAYER. INT. SUPERMARKET - NIGHT An unattended shopping cart, at the end of the frozen foods aisle, begins to mysteriously roll towards us. We discover VIKTOR, pulling the cart with fishing line, while at the same time shooting it with a video camera. INT. SUPERMARKET - NIGHT Viktor's home video of the shopping cart plays on a TV. However, now SIMONE is pushing the cart. She wears sunglasses, her hair in curlers under a scarf. Simone takes a Swanson Chicken Pot Pie out of a cabinet... then a box of cereal off a display. INT. ECHO OFFICES - DAY MAX SAYER watches the video in his office, enraptured. He rewinds the tape and replays the moment. MAX She likes Apple Jacks... just like me... Assistant MILTON enters. He looks ill. MILTON Mr. Sayer... MAX (irritated at being interrupted) What do you want -- ? MILTON Mr. Sayer, did we pay the million bucks yet? MAX (never averting his eyes from the screen) -- Cashier's check went out to our anonymous tipster this morning -- worth every penny too. Who says there's no place for checkbook journalism? We'll be running stills of this for months, then release the whole tape -- we'll get our money back -- maybe show it on an exclusive pay-per-view event. Do you realize what we have here? We have the only independent footage of Simone in existence. MILTON We used to. Max's head snaps around. MILTON (holding a copy of the L.A. Times Calendar section - "Simone Live") She's doing Frank Brand on Thursday. Max coughs. MAX Get out. A TV The opening credits to "FRANK BRAND LIVE", a global cable show plays against a starscape -- images of famous politicians and world leaders interviewed by Frank. FRANK BRAND (to camera) Tonight on Frank Brand Live -- INT. ELAINE'S MANSION - DAY ELAINE, KENT and LAINEY watch the TV interview in Elaine's mansion with eager anticipation. FRANK BRAND -- Since taking the nation by storm with her debut movie, "Sunrise, Sunset"... INT. MAX SAYER'S OFFICE - THE ECHO - DAY MAX SAYER and assistant MILTON are also glued to their set. FRANK BRAND ... no one's managed to land a live TV interview with the fabulous, new shooting starlet, Simone... until now. INT. VIKTOR'S SOUNDSTAGE - DAY Casually tacked up on the monitor is the MILLION DOLLAR CHECK from The ECHO. VIKTOR, face and body scanned by the computer, is making a final test of his equipment. When he touches his hair, bats his eyes, moves his hands -- so does Simone. VIKTOR frantically tests several different backgrounds behind SIMONE from a library of images. Rainforest. Desert. Ritzy hotel suite. Moonscape. Factory. SIMONE / VIKTOR Make up your mind, Viktor. Make up your mind. He settles on the desert location. He also make a last-second change to Simone's wardrobe -- selecting "TOO-TIGHT SWEATER". INT. FRANK BRAND TV STUDIO - NIGHT FRANK BRAND talks to camera. FRANK BRAND I'm happy to say she's agreed to join us tonight from the set of her new film. (turning to the TV monitor) Welcome, Simone. The just-completed image of SIMONE appears on Brand's monitor. SIMONE Wonderful to be with you, Frank. INT. ELAINE'S MANSION - DAY KENT, referring to Simone, forgetting or not caring that Elaine is in the room. KENT She is all woman. LAINEY shoots her mother's boyfriend a withering look. She gets up and leaves the room. During the interview we cut between Frank Brand's studio, Viktor's soundstage and various viewer locations including Elaine's mansion, Max Sayer's office and various worldwide locations -- A) A lone AFGHANI SHEPHERD gazing at a Watchman. B) A JAPANESE COUPLE watching TV in a capsule hotel room. C) A CATHOLIC CARDINAL watching TV in the Vatican. INT. FRANK BRAND TV STUDIO - NIGHT FRANK BRAND Well, no one could accuse you of being over-exposed, Simone. Why have you stayed so completely out of the limelight? SIMONE (shrugs) I just think actors talk too much. Does the world really want to hear your life story just because you've got a movie opening Friday? FRANK BRAND Of course, the only problem with shying away from publicity these days is that it tends to attract more. VIKTOR is in his element, his effeminate gestures frighteningly convincing. SIMONE (from TV) Don't I know it. That's the only reason I'm here now -- to put the attention back where it belongs, on Mr. Taransky's film. FRANK BRAND You don't secretly want the attention? SIMONE I'm not even sure I deserve it. After tonight I'll have almost as much screen time on your show as I do in my movies. How is that healthy for a performer? IE. ELAINE'S MANSION - DAY LAINEY has turned her back on the TV screen, preferring to look through a book. SIMONE (from TV) Because, you have to understand, Frank, these interviews -- none of this is real. Who I am on screen and who I really am are two totally different people. FRANK BRAND Who are you really? SIMONE That's a good question. (beat) As Nietzsche said, "Whenever a man strives long and hard to appear someone else..." LAINEY (reading from a bookmarked page, along with Simone) "... he ends up finding it is difficult to be himself again." FRANK BRAND Well put. Lainey regards the name written on the inside page -- "Viktor Taransky". INT. MAX SAYER'S OFFICE - THE ECHO - DAY TV playing in the background, MAX and MILTON are hurriedly leafing through travel books and scrutinizing maps. MAX (focusing on the desert background behind Simone) I know where that is... I know... INT. FRANK BRAND TV STUDIO - NIGHT FRANK BRAND Change of topic. Simone, you've been romantically linked to dozens of men in the press -- Mick Jagger, Stephen Hawking, Fidel Castro... and most recently Viktor Taransky. Is there a Mr. Right in there somewhere? SIMONE I'd rather not discuss my private life. (gently) But Viktor and I are inseparable. INT. ELAINE'S MANSION - DAY ELAINE's face drops, slightly hurt. KENT You dog, Viktor! SIMONE (from TV) I literally wouldn't be here today without him. INT. VIKTOR'S SOUNDSTAGE - DAY VIKTOR accidentally taps his finger on the keyboard in his excitement -- the cursor aimed at "TEARS" command. SIMONE'S EYES start to well with tears -- a tear spills from her eye. FRANK BRAND Would you like a moment, Simone? Viktor notices, quickly withdrawing his finger -- his startled expression instantly imitated by Simone. SIMONE No, I'm okay. INT. FRANK BRAND TV STUDIO - NIGHT FRANK BRAND Let's talk about the work that you care so much about. SIMONE Sure. Where would you like to start? FRANK BRAND How about the nudity? SIMONE Nudity has just never been an issue for me, Frank. For me, clothes are just an option. FRANK BRAND What exactly was it that attracted you to your first two projects? SIMONE (unable to resist a smile) I suppose the thing I like most about the movies I'm in is that they're not about special effects. Frank nods sagely. FRANK BRAND They're better for it if I may say. INT. VIKTOR'S SOUNDSTAGE - DAY The smile is suddenly wiped off VIKTOR's face by a blinking alert: !!INSUFFICIENT MEMORY TO COMPLETE THIS TASK!! The pixels that form SIMONE start to break up. Curiously, it is only Simone and not the background that is disintegrating. INT. FRANK BRAND TV STUDIO - NIGHT FRANK BRAND (regarding the screen) Well, we appear to be experiencing satellite difficulties. In case we lose you, Simone, I want to thank you -- INT. VIKTOR'S SOUNDSTAGE - DAY VIKTOR speaks again, his voice suddenly deeper. SIMONE / VIKTOR Thank... YOU, FRANK. In horror Viktor hurriedly pulls the plug. The feed goes blank on Frank Brand's screen. VIKTOR slumps over his computer in exhaustion. Since SIMONE is still synced to his movements, the partially de-pixelated Simone also slumps. Viktor's cell phone rings. Viktor picks up. VIKTOR / SIMONE Hel-- He remembers at the last second to switch off his voice synthesizer. VIKTOR (into phone) Hello. INT. ELAINE'S MANSION - DAY We cut between the two sides of the conversation -- ELAINE on the phone, KENT still watching post-interview analysis on the TV. ELAINE -- Viktor, are you with her? Is she there? VIKTOR No. An anxious beat. ELAINE Are you and Simone... (blurting it out) ... getting married? VIKTOR (taken aback by the suggestion) No, of course not! (realizing the significance of the question) Why? Would you care if we were? ELAINE (covering, realizing she has given herself away) Well, yes. From a studio point of view, it would be better if Simone stayed single. (quick change of topic) Anyhow, I thought she came across great tonight. Intelligent, well informed, a natural. And touching. She was spectacular. VIKTOR Thank you. A pause. ELAINE Viktor, do you realize you always do that? VIKTOR Do what? ELAINE Whenever I compliment Simone, you take the credit. VIKTOR I do? ELAINE Yes, you do... (shrug) Anyway, tonight was a good start. VIKTOR Excuse me? Start? ELAINE It's a crowded summer. We need every photo-opp, sound-byte and column inch we can get. Good night, Viktor. Elaine hangs up. Lainey approaches. LAINEY (carefully broaching the subject) Mom, do you miss Dad? ELAINE (she thinks) Sometimes. But, just when I think your father's changing for the better, I realize he's as self absorbed as ever. He took the credit for Simone tonight. Lainey, coming to her father's defense, glancing at the Nietzsche book in her hand. LAINEY I think Dad deserves more credit than he gets. INT. VIKTOR'S SOUNDSTAGE - LATER THAT NIGHT VIKTOR watches SIMONE on screen. He is unusually anxious. As usual SIMONE is wearing a skimpy, provocative outfit as she awaits instructions on the screen. For some reason Viktor becomes irritated by the image. VIKTOR (to Simone) Will you cover yourself up!? He hits a button. A thick WOOL COAT clicks over her body. EXT. NEW MEXICO DESERT - MORNING The ECHO newscar streaks through the bronze and purple desert. MAX and his assistant MILTON emerge from the car. MAX -- I've been here before! -- On my honeymoon with my ex-wife. MILTON Is that why she left you? Max holds a video print of SIMONE giving her FRANK BRAND interview. He compares her desert location to the one in front of him. MAX (pointing out a Joshua tree) You see, that's the exact same tree and in the distance, there's the... (voice trailing away) ... mountain. Sure enough, the Joshua tree is identical but the mountain is now obscured by a ten-story Holiday Inn. Max and Milton are mystified -- they look back at the photo. MILTON It's a hotel. MAX I don't understand. MILTON Could they have built that hotel since yesterday? Max shakes his head, deeply concerned. MAX Get in the car. INT. VIKTOR'S SOUNDSTAGE - NIGHT VIKTOR has transformed his soundstage into a one-man publicity machine. The floor is littered with photographs of SIMONE in various states of dress and undress. Using a sophisticated Photoshop computer program, VIKTOR constructs magazine spreads out of numerous previous magazine spreads -- "Time", "People", "Us", "Life", "Popular Mechanics". VIKTOR (angrily into phone) -- We don't do the photo shoot, you don't get the cover... written answers to written questions, that's right... website interviews, no problem. Viktor calls up a "DANCE OPTION". Choosing from a HULA DANCER, a BELLY DANCER and a CLASSICAL BALLERINA, he removes Simone's head and places it on the body of the ballerina. She begins to dance for him. He uses a program to construct childhood photographs of SIMONE and other childhood memorabilia. He employs backgrounds from numerous on-line library sources. With a quick cut and paste he is able to place Simone on a beach in San Tropez or a bicycle factory in Calcutta. VIKTOR (muttering to himself) You want exposure, Elaine? I'll give you over-exposure... INT. ELAINE'S OFFICE - STUDIO - DAY ELAINE watches TV in her office. She cannot change channels without finding Simone sitting in a chair giving generic answers. INT. SIMONE INTERVIEW SET - DAY (ON ELAINE'S TV) SIMONE I think "Eternity Forever" is my finest work. SIMONE I'm most proud of my work in "Eternity Forever". SIMONE I think people are going to love "Eternity Forever". INT. VIKTOR'S SOUNDSTAGE - NIGHT VIKTOR inspects a cut-out photograph of Simone in "ETERNITY FOREVER" costume. He speaks to the photo. VIKTOR Forgive me, Simone. EXT. FASTFOOD RESTAURANT - DAY The photograph of Simone is emblazoned on a fast food drink cup -- a pyramid of cups promoting "ETERNITY FOREVER" Happy Meals. Beneath the plastic pyramid is a SIMONE action figure in a convertible. INT. VIKTOR'S MALIBU BEACH HOUSE - DAY "ETERNITY FOREVER" HAS BIG FUTURE AT B.O.! Screams the banner headline in "Variety". $$$IMONE - WINS 6TH WEEKEND IN A ROW Shouts the "Hollywood Reporter". The trade papers sit on the coffee table in front of VIKTOR who reclines on a leather sofa, watching TV, gazing lovingly at Simone. INT. SIMONE INTERVIEW SET - DAY (ON VIKTOR'S TV) SIMONE Of course, being a movie star is wonderful, but I have so many other ways I want to express myself -- INT. BOOKSTORE - DAY Various book titles are on display: "SIMONE'S FAVORITE SOUTHERN RECIPES" "HUMAN:KIND - The POETRY of SIMONE" "SIMONE'S 101 WAYS TO JOY" EXT. DEPARTMENT STORE - DAY A banner in a window reads. "In Stock: SIMONE'S EASY-WEAR FASHION". Mannequins model the clothes. INT. VIKTOR'S SOUNDSTAGE - DAY We focus on the screen where VIKTOR types in instructions: SEARCH: "NUMBER 1 HITS - FEMALE ARTISTS/BILLBOARD CHARTS" PERIOD: "LAST 40 YEARS" A list of the Number 1 hits for the last forty years promptly appears on the screen along with photographs of the artists -- PATSY CLINE, ELLA FITZGERALD, ARETHA FRANKLIN, JANICE JOPLIN, CAROL KING, WHITNEY HOUSTON, MADONNA, etc. Beneath the title of each song is a graphic representation of the music -- "PITCH" and "RESONANCE". Viktor presses a button: "MORPH". The audio waves converge. INT. VIKTOR'S SOUNDSTAGE - DAY VIKTOR, wearing headphones, records his composite pop song. As usual when he sings into his microphone, Simone also sings. The catchy song is titled: "(If You Can't Believe In Yourself) Believe In Me". SIMONE APPEARS IN A MUSIC VIDEO. INT. RECORD STORE - DAY The video for SIMONE's song plays on the video wall inside the record store. TEENAGE GIRLS, buying CD's, dance adoringly in front of the screen, unaware that they are gyrating to the vocals of a middle-aged man. INSERT - "(If You Can't Believe In Yourself) Believe In Me" shoots up the Billboard charts. EXT. OCEAN - DAY CLOSE UP on the name "SIMONE" painted on the stern of a luxury yacht. VIKTOR is at the helm, breathing in the clean air -- at last a moment to savor his success. Simone's hit single plays on the yacht's stereo. He looks at peace. EXT. MARINA - DAY A TOURIST has his arm around SIMONE, having his photograph taken. However, we discover that the Simone is only a lifesize cardboard cutout used by a STREET VENDOR to sell snapshots. He also has cardboard cutouts of the POPE and ELVIS. MAX SAYER and MILTON walk by. Tying up his boat, VIKTOR's mood is abruptly shattered by the sight of Max and Milton walking down the pier towards him. MAX Nice boat, Taransky. VIKTOR It's a yacht. MAX I know what you're up to. VIKTOR (pushing past Max) I don't have time for this, Sayer. MAX I think you do. (holding up his video print of Simone in the desert) I know it's a fake. Viktor freezes. MAX Got your attention now? Max compares the shot to one of the current desert location with the Holiday Inn in front of the mountain. MAX (referring to the photographs) It's bogus. You used an old library shot for the background. VIKTOR (ashen) The background is. MAX She was never in New Mexico. She never left the studio. Viktor is relieved that Max is only accusing him of faking the background. MAX (referring to a large bundle of other shots under his arm) I've done my homework. I've studied her. VIKTOR -- I bet you have. MAX -- I've looked at every piece of publicity she's ever done, the video in the supermarket, there's no evidence she's ever left the studio. (afterthought) Oh, and for some reason this woman leaves no paper trail. But I have "obtained" a copy of your bank accounts. I know you have power of attorney but so far you haven't transferred one single solitary cent to her. VIKTOR I'm keeping it in trust. MAX I know that's what you'd like us to believe. But I got to tell you -- embezzlement is a serious matter. Not to mention abduction. VIKTOR Abduction? MAX I don't buy the whole recluse scam. How are you doing it? What is it -- drugs? Blackmail? Mind-control? All three? What do you do -- keep her locked in a box somewhere? Viktor flinches at the remark. VIKTOR What is it exactly you want, Sayer? MAX I want to see her. Unless you show me Simone live and in person I show these pictures to the authorities. Viktor pauses, considering the threat. VIKTOR Alright, Sayer, you've got a deal. MAX Er,... good. MILTON That's good. Viktor walks away leaving Max confused. The breeze whips the photos of SIMONE out of Max's hands and into the sea. INT. CONCERT STADIUM - DUSK A vast, empty stadium. On the stage, a lone microphone. VIKTOR approaches, gazing out at the vast arena. Several PROMOTERS and TECHNICIANS join him. PROMOTER All ready, Mr. Taransky. This time tomorrow night, she'll be standing right here in front of a packed house. We could have sold it out twenty times. Viktor nods. TECHNICIAN Soundcheck went perfect. Laser show ready to go. (cautionary note) I gotta say, you ordered an awful lot of smoke. VIKTOR That's the way she likes it. The Promoter glancing to the area in front of the stage, where a barrier has been erected. PROMOTER After what you told us about the death threats, the security guards are under strict instructions never to take their eyes off the crowd. VIKTOR Excellent. Viktor hands each man a headshot of SIMONE signed with a kiss. VIKTOR Simone wanted you to have these. TECHNICIAN (visibly moved by the gesture) Wish her luck from us. VIKTOR Oh, I will. (afterthought) Remember, no cameras, no binoculars. EXT. STADIUM - NIGHT In the shadow of the enormous stadium sits a control truck/tour bus, satellite dishes on the roof -- the lights from the laser-show inside the arena play off the truck. The control truck shakes from the stomping of the crowd. CROWD ... SI-MONE! SI-MONE! SI-MONE!... The door to the truck is marked, "SIMONE - Splendid Isolation Tour. NO ENTRY". INT. CONTROL TRUCK - BACKSTAGE - NIGHT VIKTOR sits alone at the mixing panel of a control truck. On his monitors, a sea of humanity, chanting. CROWD ... SI-MONE! SI-MONE! SI-MONE!... Viktor produces the "SIMULATION ONE" hard-drive from his jacket pocket and inserts it into the computer. SIMONE appears on the monitor. VIKTOR Let's get you into hair and make up. Simone's hair rapidly grows in a number of styles, eyelashes grow and are trimmed, eyeshadow of various shades paints across the lids. VIKTOR Wardrobe. Viktor tries several outfits on Simone -- the clothes appearing to fabricate themselves on her body. He settles for the most provocative outfit. Finger poised over the keyboard, Viktor glances to a monitor showing -- INT. STADIUM - CROWD - NIGHT ELAINE and LAINEY amongst the crowd, clapping their hands, stomping their feet and chanting. INT. CONTROL TRUCK - BACKSTAGE - NIGHT VIKTOR Easier to make one hundred thousand believe than just one. He scrolls to a program, marked "HOLOGRAM" and pushes the "ENTER" key. INT. STADIUM - CONCERT STAGE - NIGHT Smoke fills the stage. A strobe light show plays. A booming ANNOUNCER is heard. ANNOUNCER Ladies and gentlemen, Viktor Taransky Promotions is proud to present, live on stage, for the debut concert of the "Splendid Isolation" tour, the one, the only, SI-MONE! A spotlight falls on the solitary figure of Simone, standing alone on the stage with a guitar over her shoulder (the only accompaniment) -- dwarfed by the huge stage. However, on closer inspection, the spotlight is actually a laser beam creating a hologram. Clouds of smoke and strobe lighting aid the illusion. The only clear view of Simone for the audience is provided by the enormous video screens on either side of the stage. The CROWD stares up at the jumbotrons, blissfully unaware that they are watching a pre-recorded event. Some watch the event on portable TVs. INT. CONTROL TRUCK - BACKSTAGE - NIGHT CLOSE UP on the computer screen. VIKTOR scrolls down a list of options -- "... HOUSTON, MIAMI, NEW YORK, L.A...." SIMONE (from on stage) I love you... He selects "L.A.". SIMONE ... L.A. The crowd roars its approval. SIMONE It's great to be here. INT. STADIUM - CONCERT STAGE - NIGHT SIMONE -- her voice a seamless blend of several DIVAS -- begins to sing her hit song, "(If You Can't Believe In Yourself) Believe In Me". A verse of the song is sung in perfect Spanish. EXT. VARIOUS LOCATIONS - NIGHT/DAY A) On a jumbotron in Tokyo SIMONE's concert plays LIVE. B) On a TV set on a West African beach, children dance to SIMONE. C) On a computer in a Bombay taxi, the driver and his passengers gyrate to SIMONE webcast. INT. CONTROL TRUCK - BACKSTAGE - NIGHT VIKTOR's face is reflected in a monitor showing a frenzied crowd gazing up at the jumbotron -- singing along, many in tears, overcome with emotion -- holding cigarette lighters aloft. For a moment Viktor is in awe of his own wizardry -- the grand illusionist. Viktor is at the height of his powers. VIKTOR (to the image of Simone on his screen) I don't know about you, Simone, but I've never felt more alive. He snaps back to reality just in time to notice that the Simone hologram beam has wandered through her own microphone stand. VIKTOR Damn! He adjusts the beam -- the rapturous crowd, transfixed by the TV screen, apparently fails to notice. INT. STADIUM - CROWD - NIGHT We focus on a face in the crowd -- MAX SAYER. His journalistic assignment temporarily forgotten, Max is singing along and waving his arms, tears rolling down his face, swept up in the moment. INT. STADIUM - CONCERT STAGE - NIGHT SIMONE finishes her final number. SIMONE Good-night. Never stop believing. EXT. STADIUM - EXIT - NIGHT A bin contains dozens of confiscated cameras and binoculars. FANS exit the stadium through a tunnel. S-I-M-O-N-E is spelt out on the bare chests of six TEENAGE BOYS. Other FANS wear "SIMONE - Splendid Isolation Tour" T-shirts and carry posters. Several CONCERT GOERS speak to a TV NEWS CREW. FAN 1 -- I swear, she looked right at me. FAN 2 -- She was, like, ethereal. FAN 3 -- One moment she seemed to walk right through her mike stand like it wasn't even there. INT. CONTROL TRUCK - BACKSTAGE - NIGHT The chanting crowd can be heard exiting. VIKTOR, wearing lipstick is hastily signing a pile of souvenir programs with Simone's signature kiss. He is interrupted by a knock at the door. Viktor irritably opens it. VIKTOR I said I didn't want to be interrupt -- EXT. CONTROL TRUCK - BACKSTAGE - NIGHT ELAINE and LAINEY stand at the foot of the trailer, a SECURITY GUARD nearby. VIKTOR (face brightening) My two favorite girls. ELAINE Lainey and I just wanted to congratulate... Regarding Viktor closely, Elaine's smile evaporates. ELAINE ... Simone. VIKTOR She's lying down. She's exhausted. ELAINE (suddenly cool) I can imagine. Viktor is confused by their reaction. Elaine yanks Lainey away. ELAINE Thank Simone for the tickets. LAINEY (calling back as she is led away) It was a great show, Dad... Viktor waves disconcertedly. VIKTOR Where are you... going? As he returns to the trailer, Viktor catches sight of his lipstick-smeared mouth in the mirror on the inside of the trailer door. He slams the side of the trailer in frustration. INT. ELAINE'S MANSION - NIGHT ELAINE paces back and forth in front of her TV showing re- runs of the SIMONE concert. KENT cannot take his eyes off the screen. ELAINE I can't believe she's doing this -- taking advantage of him this way. It's cruel. KENT Why? ELAINE Obviously, this can't last. She's going to dump him. Viktor won't be able to take that. He's too sensitive. It'll destroy him. KENT Elaine, do you realize you can't stop talking about Viktor? ELAINE (not hearing) I have to talk to her. Kent switches off the TV. KENT I've been meaning to talk to you. Behind the open door, we find LAINEY eavesdropping. EXT. VIKTOR'S MALIBU HOUSE - BEACH - DAY VIKTOR, deep in thought, stands at the water's edge, staring at the breaking waves. LAINEY joins him. VIKTOR Hey, Lainey. (gently teasing her) How's your love life? LAINEY I do okay. How about you? VIKTOR You know me -- married to my work. LAINEY I noticed. An awkward silence. LAINEY Dad, you know I don't like to get between you and mom but she's feeling down right now. She broke up with Kent. VIKTOR (buoyed by the news) Really? Too bad. LAINEY She thinks you're with Simone. VIKTOR Lainey, you know Simone and I don't have a real relationship. LAINEY I know but Mom doesn't. Maybe if it came from Simone, if Simone spoke to Mom -- she could straighten things out. (shrug) Dinner, maybe. VIKTOR Dinner? Dinner's difficult. A phone call? LAINEY Too impersonal. They have to meet face-to-face. VIKTOR I'll see what I can do. (a thought occurs) You know, Lainey. I don't believe you've ever once asked to meet Simone. Don't you like her? LAINEY I love her but that doesn't mean I need to meet her. Viktor is confused. LAINEY Why? So I can tell my friends at school -- as if that validates my life somehow. What's Simone going to say to a fourteen-year-old anyhow? She's going to be polite because you're my father but we're not suddenly going to become friends -- we have nothing in common. It's not going to be real. Anyhow, she gets more beautiful in my head every day. Why kill the dream? What do they say, "don't get too close to your idols, they always disappoint you". Viktor gazes in wonder at his daughter, so much wiser than her years. VIKTOR I love you, Lainey. LAINEY I love you too, daddy. A car horn sounds outside the house. LAINEY That's Mom. (kissing him on the forehead) See you. She exits, leaving Viktor deep in thought. EXT. LOS ANGELES FREEWAY - DAY Milli Vanilli's "GIRL YOU KNOW IT'S TRUE" plays on a car radio. ELAINE, wearing a red power suit, drives home along the freeway in bumper-to-bumper traffic. Her car phone rings. She turns down the radio and picks up. ELAINE Hello? SIMONE Hello, is this Elaine? ELAINE Yes -- oh my, God. Is that you, Simone?! I've been wanting to talk to you. SIMONE Well, here I am. (beat) You look pretty today. Red suits you. ELAINE (looking around the freeway) Where are you? SIMONE Right beside you. I borrowed Viktor's car. Elaine looks to the inside lane. SIMONE, wearing sunglasses, phone to her ear, drives alongside. Simone waves, somewhat mechanically. Elaine waves back. They keep driving as they talk. INT. VIKTOR'S CAR - DAY The sunglasses-clad SIMONE is a mannequin, seated in the driver's seat with her left hand on the phone obscuring her mouth, right hand attached to the steering wheel. Seat fully-reclined on the passenger side, VIKTOR drives the car by stretching a foot across to the pedals and steering with one hand, occasionally sneaking a glance to the road ahead. He speaks on a phone through the Simone synthesizer. SIMONE / VIKTOR I'd love to stop somewhere but I'm late. I'm on my way to see Viktor now. ELAINE No, I understand. That's what I want to talk about. I don't know if you know this, Simone, but Viktor and I were married once. SIMONE / VIKTOR I can't imagine how you ever let a man like that go. I owe Viktor everything. ELAINE I think he owes more to you. But that's not important now. I know what's going on between you two. SIMONE / VIKTOR I want to reassure you, Elaine, there's absolutely nothing going on between Viktor and I. ELAINE (rueful smile) You don't have to protect my feelings, Simone. I don't blame Viktor for falling in love with the most desirable woman in the world. SIMONE / VIKTOR (breaking character) I'm not -- (correcting himself) He's not. Viktor, losing concentration on his driving, drifts across his lane, almost striking Elaine's car -- swerving back at the last second. ELAINE My God, are you alright, Simone? SIMONE / VIKTOR Damn -- (struggling to stay in her/his lane) Yes -- I -- (regaining control) -- I'm just a little tired. Listen, Elaine, Viktor and I -- it's strictly a working relationship. We could never be anything else. We're just so... different. ELAINE Exactly. You're a household name now. You're moving in entirely different worlds. That's why I hope you're not toying with Viktor. SIMONE / VIKTOR It sounds like you still have feelings for him. ELAINE We have a daughter together. I just don't want to see Viktor get hurt. SIMONE / VIKTOR I don't know how many times I have to say this, Elaine, but Viktor and I are not in love. (joking weakly) I only make love to the camera. ELAINE Simone, I recognize the shirt you're wearing. I gave it to Viktor on his birthday. Over-correcting his steering, Viktor drifts into the next lane, dangerously close to a pick-up truck that has to swerve to avoid him. SIMONE / VIKTOR Christ -- (still struggling to stay on the road) Elaine, I know how it looks but... (blurting it out) ... it would mean a lot to Viktor if you'd go with him to the Oscars. If you won't do it for him, please do it for me. ELAINE (reluctant, frightened by Simone's erratic driving) Okay -- for you. SIMONE / VIKTOR (sigh of relief) Thanks. This is my exit so, I -- ELAINE I'm glad we talked. SIMONE / VIKTOR Good-bye. Viktor's car swerves to the right. Elaine looks back in her rearview mirror, concerned. Elaine just misses the sight of VIKTOR's car rear-ending the truck in front of him. EXT. FREEWAY SHOULDER - LATER IN THE DAY VIKTOR anxiously watches a HIGHWAY PATROLMAN writing up the fender-bender. However, the Patrolman is more interested in the Simone mannequin. PATROLMAN You don't have to explain. I know what the press is like. Lunatics. Out of control. (referring to the Simone mannequin) You do know I'm going to have to take this? INT. ACADEMY AWARDS - AUDITORIUM - NIGHT VIKTOR, in his tuxedo, sits in the front row of the packed auditorium beside an empty seat -- "RESERVED for SIMONE". ELAINE and LAINEY sit alongside -- LOTUS and MAC nearby. HAL stands at the transparent plastic podium with the "Best Actress" envelope. HAL And the winner is... Hal tears the envelope's seal, momentarily confused as he reads the name. HAL Actually, there's a tie. The AUDIENCE gasps. HAL (milking the moment for all it's worth) The winners are... Simone for "Sunrise, Sunset"... The audience cheers enthusiastically, but Hal stills their applause. HAL (big smile) ... and Simone for "Eternity Forever". The audience erupts. Viktor accepts the congratulations of those around him. HAL Unfortunately, Simone can't be with us tonight. (turning to the screen) But thanks to the miracle of modern technology she is able to join us live via satellite from the location of her new film. The screen flickers to life. ON SCREEN - A DESOLATE WASTELAND - DAY SIMONE sits in a director's chair in the desolate wasteland location chosen by Viktor. SIMONE Thank you! Thank you! This means so much to me. I'm just sorry I can't be there with you. (wiping away a tear) First off I have to acknowledge my fellow nominees -- I don't even feel I belong in the best actress category let alone with these... wonderful human beings. (composing herself) I also have to thank my co-stars, the studio, of course. But most of all, I have to thank the audience for supporting what I do -- you're the only reason I'm here. The CROWD applauds wildly. LAINEY is puzzled. She leans over to Viktor. LAINEY Why didn't she thank you? VIKTOR (confused) She did... didn't she? ELAINE (crestfallen) No. Viktor glances to the "Simone" sign beside him. The blood drains from his face. INT. VIKTOR'S SOUNDSTAGE - MORNING On the monitor, SIMONE reads the forgotten line from the speech. SIMONE ... And of course I must thank my collaborator, Viktor Taransky, without whom none of this would be possible. VIKTOR, still in his tuxedo, stares at SIMONE on the screen. He holds the text of Simone's acceptance speech in his hands. VIKTOR (to himself) It's written right there... Why didn't I say it?... How could I forget to say it? Simone stares back at him blankly. A copy of VARIETY is slid under the soundstage door. The front page headline, "NO THANK YOU - Simone Snubs Taransky At Oscars". INT. VIKTOR'S CAR - NIGHT VIKTOR pulls up to the gate of his Malibu home. MAX is standing outside next to his car. VIKTOR Damn it! EXT. VIKTOR'S MALIBU HOME - NIGHT VIKTOR also spies an OLD WOMAN in a wheelchair sitting beside the car, MILTON closeby. Viktor stops at the gate and reluctantly exits his car. VIKTOR What now, Sayer? MAX (smug smile, noticing Viktor noticing the woman) Looks familiar, doesn't she? No one comes from nowhere, Taransky. You turn over enough rocks... The old woman appears drugged, stares into space. MAX I traced her to a nursing home. A young woman fitting Simone's description dropped her off five years ago. VIKTOR She looks a lot like you. MAX (undeterred) She hasn't uttered a word that whole time -- until she saw the big show. Max produces a shot of SIMONE at the Oscars and holds it in front of the old lady. OLD LADY (pointing to Simone's picture, catatonic) My baby... My baby... MAX (putting his hand on his heart) Who would think that "Saint Simone" would abandon her own mother? I've been looking into the family history -- heartbreaking. Most likely a biography to run over four issues... who knows, maybe there's a Pulitzer in there somewhere. Viktor produces his own driver's license and holds it in front of the old lady. OLD LADY (pointing to Viktor's face on the driver's license) My baby... My baby... Max hastily steps between Viktor and the Old Lady. MAX That doesn't prove a thing -- wait until I get a court order for a blood test. VIKTOR (sensing an opportunity) That won't be necessary. (pretending to be resigned) Sooner or later I knew you'd crack this thing, Max. You got me. MAX I do? (recovering) Sure I do. (taking Viktor aside) Can we speak off the record? I'm a fair man. I'm willing to sit down with her and tell her side of the story. VIKTOR I wouldn't want you to compromise your ethics. MAX No. Thanks. Absolutely. Viktor regards the newshound with a look of pity. VIKTOR You love her, don't you, Max? MAX Don't you? VIKTOR (writes a check, hands it to Max) This should take care of Mother. Viktor drives into his home. Max, very confused, stares at the old lady. EXT. VIKTOR'S SOUNDSTAGE - DAY VIKTOR escorts LAINEY, blindfolded, around the corner of his soundstage. He removes the blindfold. From Lainey's point- of-view we see the sportscar Simone drove in "ETERNITY FOREVER" -- the car tied with a bow. VIKTOR Happy birthday, Lainey. Do you like it? LAINEY (taking in the car) It's fantastic -- it's too much. VIKTOR It's the car she drove in "Eternity Forever". LAINEY I know. Thank her for me. VIKTOR (disappointed by her reaction) It's from both of us. Of course you'll have to drive it around the lot until you get your permit -- Lainey averts her gaze. LAINEY -- I can't accept it. I don't want a car, Dad. VIKTOR (clearly hurt, not understanding) Why not? I can get you something else. What do you want? LAINEY The old Viktor Taransky. (finally blurting it out) I liked you better before -- before all this. You were a loser, Dad, but at least you had integrity. I can't stand to see you like this -- clinging to Simone's coattails -- it used to be about the work, and now it's all about her. And then she's not even grateful enough to thank you. VIKTOR No, that was me. LAINEY There you go again, blaming yourself. Can't you see what she's done to you -- she's taking advantage, mocking you. You deserve better than Simone. (hasty exit) I've got to go, Dad. VIKTOR Lainey... Viktor watches Lainey depart towards the studio gates. INT. SIMONE & VIKTOR'S OFFICE - DAY VIKTOR leans on his desk, still reflecting on LAINEY's remarks. JANE enters. JANE Ready for your casting session? Viktor nods distractedly. Jane shows in NICOLA ANDERS. JANE Nicola's here for the role of Simone's sister. Viktor offers Nicola a seat, staring at her as if he has never truly looked at her before -- she has a quality of Simone. NICOLA (slightly uncomfortable by Viktor's scrutiny) A lot's happened since we last saw each other. VIKTOR (numb) Yes. NICOLA I never apologized properly for what happened on "Sunrise". She hands Viktor a peace offering -- a large jar of Mike & Ike candy, including cherry. VIKTOR Thank you. It's not important. NICOLA After I saw what Simone did with the role -- you know I fired all my people, went into rehab, took acting classes, changed my whole look. She really inspired me. Viktor continues to stare. NICOLA (referring to the script in her hands) Would you like me to read? VIKTOR Yes, I'd like that. Nicola glances at the script a last time and puts it down. She approaches Viktor, standing close to him, playing the scene to him -- an immediate intimacy. NICOLA (her angry words are in opposition to her amorous actions) -- Who do you think you are, Carlos -- coming in here like this? With my husband sleeping in the next room. Do you think I won't call out? Do you think I will just give in to you without a fight -- like the last time and the time before that? (she kisses his ear) I wish you were dead. (she kisses his lips) I wish we were both dead. Nicola immediately breaks character. Viktor is mesmerized -- he has fallen back in love with flesh. VIKTOR (finally able to speak) You know you're really very good. I take back what I said. I mean, you're really good. NICOLA Thank you. VIKTOR (forgetting himself) You could play the lead. NICOLA (confused) But that's Simone's part. VIKTOR Yes, of course it is. (gazing at her face) You know you have a line here. Not a wrinkle. Actually, more of a dimple. I've been thinking of incorporating something like that in Simone. NICOLA (incredulous) You'd cosmetically alter Simone to look like me? VIKTOR No, of course not, you're right. That would be crazy. Viktor sits back down and stares out of the window. NICOLA Do you want me to do it again? Viktor does not reply. Nicola quietly leaves. INT. ELAINE'S MANSION - DAY The front page of "Variety" is dominated by a large photograph of SIMONE giving her acceptance speech via satellite. However, ELAINE is gazing at a small inset picture of VIKTOR, HERSELF and LAINEY arriving at the Oscar Ceremony. Elaine tears out the photo and slips it into her purse. EXT. SWIMMING POOL - DAY (ON VIKTOR'S SCREEN) Old home video of ELAINE. She is in a garden by a swimming pool, laughing, waving and sweetly flirting with the camera. Elaine raises her skirt teasingly, winks, gestures the camera operator towards her with a beckoning finger, finally blows a kiss to the camera. INT. VIKTOR'S SOUNDSTAGE - DAY While the ever-seductive SIMONE waits patiently on-screen for Viktor's instructions, VIKTOR is gazing at the smaller monitor -- the home video of ELAINE. Viktor freezes the tape. Elaine appears particularly beautiful. Viktor electronically cuts out Elaine's mannerism and morphs it into Simone. Now Simone blows the kiss and has the same dazzling smile. INT. SIMONE & VIKTOR'S OFFICE - DAY At her desk, JANE is busy trying to mimic Simone's hairstyle as she talks on the phone. JANE (into phone) -- Oh sure, she comes in all the time... we've become close. She told me -- VIKTOR enters the office. VIKTOR Jane -- Jane hurriedly hangs up. JANE Gotta go. VIKTOR (picking up a pile of scripts from the in-tray) I'm leaving early tonight. If you need me I'll be at the beach house having dinner with a... certain someone. Jane tries to conceal her interest. As soon as Viktor exits the office, JANE picks up the phone. JANE (into phone, under her breath) ... Elaine Christian please. We reveal VIKTOR, outside the door, eavesdropping on his assistant, pleased she has taken the bait. INT. VIKTOR'S BEACH HOUSE - NIGHT VIKTOR dims the lights, plays "mood" music. The doorbell rings. He checks himself in the mirror. In the reflection, he spies an autographed photo of HIMSELF with his arm around SIMONE. He hurriedly hides the photo and answers the door. ELAINE stands there. ELAINE Viktor, I'm picking up Lainey. Elaine is over-dressed for her supposed errand. VIKTOR Elaine, it's Wednesday. ELAINE (feigning absent mindedness) Is it Wednesday? It's Wednesday. How embarrassing. I don't know what I was thinking. With all the excitement lately... (peering past him) Am I interrupting something? Are you expecting company? VIKTOR (ushering her inside) As a matter-of-fact I am. ELAINE When is she coming over? VIKTOR (glancing to his watch) About now. Would you like a drink? ELAINE I suppose I could stay, just until she arrives. Elaine takes a seat on the sofa. Viktor hands her a glass of wine and sits beside her -- close. They both knock back their wine in one long gulp, both apparently in need of courage. ELAINE (trying to make conversation) Is Simone back to earth yet? VIKTOR Not quite. ELAINE I'm sure you'll keep her focussed. She's lucky to have you, Viktor. (blurting out) Is she really having your baby? VIKTOR Impossible. ELAINE (instantly regretting the remark) I just read somewhere -- VIKTOR I know. I know. They'll say anything. ELAINE -- And she was positively glowing at the awards. (making to leave) I should be going, she'll be here soon -- Viktor puts his finger to her lips to hush her. VIKTOR -- She already is. Simone's not coming over, Elaine. Not tonight, not ever. (holding her) I want you back, Elaine. ELAINE (melting) I want you back too, Viktor. They kiss. Elaine breaks the kiss, suddenly consumed with doubt. ELAINE This is crazy. Who am I fooling? I can't compete with Simone. What woman can? VIKTOR I would rather have you than Simone. Believe me. ELAINE That's sweet, Viktor, but I couldn't let you do that -- make that kind of sacrifice. (meeting his gaze) It's strange. I've stabbed people in the back, clawed and slept my way to where I am -- it goes with the territory -- but, for some reason, I can't betray Simone. There's... I don't know any other way to say it -- there's a goodness to her. VIKTOR No, there isn't. There's nothing to her. ELAINE Oh, Viktor. You say that now -- because we're here, alone, like this. But in the morning, you'd go back to her. What man wouldn't? VIKTOR No, I will end my relationship with her -- totally. ELAINE But you don't understand. She'll always be there -- at some party, on some magazine cover, some song on the radio, up on some screen. VIKTOR (desperate) No. She'll never work again -- retire, never make a movie or a record, or appear ever again. ELAINE (confused) Of course she will. Her public will demand it. VIKTOR Not if I don't let her. ELAINE You? Viktor knocks back another glass of wine for courage. VIKTOR I'm going to tell you a secret now, Elaine. (mustering all his nerve) Simone is not a real person. I invented her. ELAINE (misinterpreting his remark) Every actor is an invention, Viktor. Don't embarrass yourself. No one's denying that you discovered Simone. But it's like finding a diamond in the desert. Anyone can trip over it, but it's not the finder who sparkles. VIKTOR (agitated) -- No, no, I didn't trip over her. You don't understand -- ELAINE (ignoring him) -- You just got lucky that she's loyal enough to stay with you. Maybe she's staying out of pity, who knows? She certainly doesn't need you. Some people even say you're holding her back. VIKTOR (wounded) Who says that -- ? (shaking off the insult) -- Never mind. You have to listen to me, Elaine. Simone is thin air, pixels, molded by me from a mathematical equation. I inherited it from a madman -- I can show you -- ELAINE How much wine have you had? VIKTOR -- She's a figment of my own imagination. I, Viktor Taransky, have perpetrated the greatest hoax, the greatest sleight-of-hand, sleight-of-mouth, sleight-of- sleight in entertainment history! And still no one appreciates me, recognizes what I've done -- even you. ELAINE (rolling her eyes) You're drunker than I thought. Are you doing that again? VIKTOR No! Whatever talent Simone has comes from me -- me! Me! I swear, as God is my judge. You don't know what I've been through. Tens of thousands of mind-numbing hours in front of that screen, nights without end, and look what it's cost me. (producing his spectacles) Why do you think I've been wearing these? I may have done irreparable harm to my eyesight, and why? To extract and refine the infinite nuances of a human being -- a human soul. (a final explanation) Don't you see? I made Simone! A pause. His words hang in the air. ELAINE You made Simone? (a trace of pity) Viktor, she made you. Elaine gets up and walks out, leaving the distraught Viktor alone in his house. INT. VIKTOR'S OFFICE - DAY A hung-over VIKTOR enters his office. Suddenly, he stops and confronts the standee of SIMONE. VIKTOR You bitch! I'll destroy you! JANE stares in shock. She discreetly exits. INT. VIKTOR'S SOUNDSTAGE - DAY VIKTOR sits in front of his monitor, smiling venomously at SIMONE. He begins to digitally disrobe Simone. MONTAGE: A) Peering through a gap in the drapes of his Malibu house, VIKTOR watches MAX dig through his trash. Max finds a beat up reel of 16mm film. MAX holds the end up to the light -- his eyes pop. B) The ECHO headline screams, "SIMONE'S HARD CORE PAST" and shows censored film frames of a naked Simone in a compromising position. VIKTOR, hovering at a supermarket check-out line, overhears two WOMEN discussing the article. WOMAN 1 Disgusting... WOMAN 2 (sympathetic) She must have been so desperate to do something like that, so depraved. WOMAN 1 I'm still naming my baby after her. WOMAN 2 You're having a boy. WOMAN 1 So? Viktor blanches. It is not the reaction he'd hoped for. C) Inside a theater, VIKTOR hovers by the door, smirking. ON SCREEN, we hear a farmyard scene -- SIMONE in an empty farmyard on all fours, grunting like a pig, and foraging for muddy vegetables. The AUDIENCE is shocked, then suddenly breaks into spontaneous applause. Viktor, enraged, exits into the lobby past the poster for "I AM PIG - Starring Simone". D) A pretentious FILM CRITIC talks to camera, a film poster behind him. FILM CRITIC For Simone to do something as brave as "I AM PIG" at this point in her career, with so much to lose -- all I can say is, "I Am Pig, I Am Oscar". E) In his soundstage, VIKTOR moves a slider that adds wrinkles to Simone. F) SIMONE appears on a morning talk show -- as usual, remote on a TV screen. However, her squeaky-clean image has gone -- hair unkempt, bloated, chain-smoking and drinking during the interview. The HOSTS are smiling weakly. HOST Simone, that's a rather controversial position. SIMONE I just think all elementary schools should have a firing range -- so students can learn how to defend themselves. We could fit it inbetween recess and American History. Another clip: SIMONE If there's a hole in the ozone layer why can't I see it? Another clip: SIMONE Immigration?! God, isn't it crowded enough?! HOSTS Just as we always knew. Simone's not like other celebrities. She speaks her mind! G) VIKTOR driving along a city street, suddenly slams on his brakes, almost causing an accident. He stares numbly up at a twenty-foot high smiling photo of Simone on a billboard featuring a huge cover of TIME MAGAZINE. It reads, "SIMONE: WOMAN OF THE YEAR". VIKTOR (to himself) She's trying to kill me. Realizing what he's said, a thought comes into his eyes. EXT. CEMETERY - DAY An inscription on a headstone reads: HANK ALENO Remembered Virtually Forever VIKTOR kneels at HANK's grave. He places a bunch of flowers there. VIKTOR (referring to the flowers) They're plastic, Hank. I know that's the way you'd want it. (glancing to a Simone billboard outside the cemetery wall) She killed you, Hank. Now she's killing me. She's a serial killer. (ducking out of sight of the billboard as if Simone is watching him) But I don't know how to stop her. She's taken on a life of her own. I can't just come clean -- make some confession. I've defrauded millions -- they'd turn on me. And I can't put the genie back in the bottle. If she stopped working -- dropped out of sight, they'd never let it rest. I've tried to kill her career but they like her even more. (more desperate) What am I going to do, Hank? A thought occurs to Viktor. He slowly rises from behind Hank's headstone, revealing a forest of headstones. VIKTOR Don't say another word, Hank. You are truly a genius. INT. VIKTOR'S SOUNDSTAGE - DUSK A sad but resolute VIKTOR sits in front of his monitor, SIMONE's face full screen. He speaks into the voice synthesizer, Simone's face automatically speaking the words he speaks -- the final time he puts his words in her mouth. SIMONE / VIKTOR What's the matter, Viktor? You look so sad. Don't you love me anymore?... It's over, isn't it? He switches off the synthesizer and speaks in his own voice. VIKTOR It's the only way, Simone. If it's any consolation, you're going to live on in the public's heart like all the other tragic figures that went before their time. There's no love like posthumous love. On the screen, Simone is on the verge of tears. VIKTOR I know what you're thinking. It's a phoney-baloney world. The women are surgically enhanced, the athletes are on steroids, the singers are lip-syncing if they're even singing at all, the news is entertainment, the politicians are bought and paid for -- we're living one big lie. So why shouldn't you live too? You're more authentic than the people who adore you. (a trace of despair) And that's the problem. You're looking at the real fraud. I told myself this was all about the work but if that was the truth, it wouldn't matter to me -- and it does. It wasn't that the artists had no respect for the art. They had no respect for me. Someone like you, you have so much love showered on you -- I just wanted to feel one tiny drop on my face. I'm sorry, Simone. Here I've been trying to convince the world that you exist, but I was really trying to convince them that I exist. It's not that you aren't human, Simone, it's that I am. Viktor produces a disc from his jacket marked, "PLAGUE - Ver. 8.1". He places the disc in the machine. Viktor sees that Simone is crying. He touches a tear on his own face and realizes her tears are in response to his own. Viktor hesitates -- a moment of doubt -- then presses "ENTER". The image of SIMONE's face gradually begins to deconstruct -- pixel by pixel -- as the virus takes hold. The pixels collect into a pile at the bottom of his screen like dust. Finally, the dust is blown away in a single digital breath. For a moment his attention is taken with a layer of dust on his own desk. Viktor regards his own reflection in the now black screen. His hard-drive now corrupted, he picks up his original disc marked, "SIMULATION ONE". He tosses this disc into a steamer trunk he has loaded with hundreds of discs relating to Simone's software. He shuts the lid and begins dragging the trunk towards the door. EXT. SANTA MONICA BAY - DUSK Viktor's yacht sits at anchor in the glassy waters of Santa Monica Bay -- "SIMONE" written on the stern. VIKTOR manhandles the trunk to the railing. A mournful pause -- then he heaves it over the side. The trunk sinks like a stone. Heart heavy, Viktor stares into the inky depths. EXT. STUDIO - ENTRANCE - DAY A throng of REPORTERS and CAMERA CREWS. A somber VIKTOR enters and takes a seat in front of a forest of microphones. VIKTOR It is my sad and solemn duty to announce the tragic passing of Simone. A gasp from the audience. Then, an explosion of anguish. CROWD No!! What happened?! Oh. God. PRESS REPORTER 1 (stepping forward, mustering the courage to ask the question) How did she die? VIKTOR A rare virus. (pretending to compose himself) On her goodwill tour of the third world. PRESS REPORTER 2 Did she suffer? VIKTOR Mercifully, it was quick. At the back of the room are MAX SAYER and MILTON. They are frozen in grief, a tear spills from Max's eye. A MONTAGE OF SCENES: A) "SIMON GONE - FADE TO BLACK", reads the cover of Variety. B) The announcement of her death appears on local TV news shows around the globe. C) A carpet of bouquets and notes of commiseration several yards wide completely surrounds Viktor's property including the driveway. VIKTOR insensitively drives over the bouquets to the horror of the MOURNERS, including MAX SAYER and MILTON. D) In a remote Mongolian encampment MONGOL HORSEMEN crowd around a television showing a live picture of Simone's funeral. E) The HEARSE carrying Simone's "body" and the funeral procession led solemnly by VIKTOR, proceeds through the studio lot. Distraught STUDIO STAFF toss flowers onto the hearse. F) The same television picture is playing on a television sitting on a stool in a WEST AFRICAN river. LOCAL WOMEN stop washing their clothes to watch. EXT. GRAVESIDE - CEMETERY - DAY We tilt up from Hank's headstone to an ornate mausoleum on an island in a lake. Simone's coffin is ferried across a bridge by PALLBEARERS from the studio. Numerous MOURNERS follow behind. VIKTOR, ELAINE and a curiously dry-eyed LAINEY walk behind the coffin. VIKTOR (to Elaine) Can I see you later -- go away for the weekend? ELAINE (horrified by the suggestion) How can you bring that up at a time like this? The coffin reaches the steps of the marble mausoleum. A PRIEST, RABBI, and a BUDDHIST MONK turn to Viktor. He nods and they start to carry the coffin towards the door. However, the coffin is suddenly stopped by a POLICE OFFICER. A SECOND POLICE OFFICER begins to jimmy open the lid. The coffin lid is pulled back. Inside is a life-sized cardboard standee of Simone from "ETERNITY FOREVER". The MOURNERS gasp. Everyone looks to Viktor. INT. L.A. COUNTY JAIL - INTERVIEW ROOM - DAY A SERIES OF POLICE INTERVIEWS: JANE sits in the interview room, describing Viktor's assault on the standee. JANE -- I heard him say, "Die bitch". A) MAX SAYER, distraught and weeping. MAX -- He was a controlling madman, she was a prisoner. I blame myself... I should have done more to stop it... B) NICOLA gives a statement. NICOLA -- It was strange. He wanted to replace her with me in his new movie... and I know I'm not that good. INT. L.A. COUNTY JAIL - INTERROGATION ROOM - DAY VIKTOR sits in an interrogation room in a sea of SIMONE. Magazine covers, cosmetics advertisements, publicity shots, interviews, website print-outs, photographs and report cards from her fictitious childhood are plastered on the walls, stacks of film cans and tapes of her numerous movie and television appearances. DETECTIVE -- Forgive me, Mr. Taransky. I'm just trying to understand. All these films, TV appearances, magazine covers, internet interviews, publicity photos, snapshots from her childhood -- all fake. (referring to various items) This is fake, this is fake -- fake, fake, fake, all fake. VIKTOR That's right. You understand perfectly. I will confess to fraud, not murder. DETECTIVE (referring to oversize mail bags) A fan club with a worldwide membership in the millions -- also bogus? VIKTOR Oh, no. The fan club is real. But they were worshipping computer code -- ones and zeros. DETECTIVE So, of course, you couldn't kill Simone because there never was a Simone. VIKTOR Of course. DETECTIVE And this Mr. Hank Aleno who you talk so much about, a renowned failure, who also happens to be so conveniently dead -- perhaps the "man" you claim helped invent Simone is an invention himself? Viktor, sensing his sarcasm, does not reply. DETECTIVE (patronizing smile) But not everyone's imaginary, are they, Mr. Taransky? I refer, of course, to Edith. VIKTOR Who? The Detective raises a window-blind to reveal a next door room where the OLD WOMAN from the rest home is being interviewed. DETECTIVE The woman you admitted to a journalist is Simone's mother and for whose silence you paid a fortune? Is she not flesh to you -- are her tears not wet? The OLD WOMAN glances up and sees all the photos of Simone through the window. OLD LADY My BABY! The Detective abruptly lowers the blind. Viktor rolls his eyes at the Detective's theatrics. He is suddenly enraged. VIKTOR She's insane! This whole thing is insane! There is no Simone. Look! (grabbing a Simone poster) Even her name is fake. It's not Simone. (he tears Simone's name in half to demonstrate) It's SIM... ONE! Simulation One! The Detectives sadly shake their heads. DETECTIVE 2 (regarding Simone's face also torn in half) You really hated her, didn't you? The Detective places a tape, marked "EXHIBIT A" in a video machine. DETECTIVE Perhaps you could explain this to me, Mr. Taransky -- or is this tape "doctored" too? He plays a tape showing -- EXT. MARINA PIER - NIGHT (ON TV SCREEN) VIKTOR dragging his trunk from his car down the pier to his yacht. DETECTIVE It's footage from the marina's closed-circuit camera on the night in question. Altered, of course. Is that really what you expect us to believe, Mr. Taransky? The Detective freezes the tape. DETECTIVE Can you tell us why you were disposing of the body of a woman who didn't exist? VIKTOR It wasn't her body. It was her body of work. DETECTIVE Why don't you just come clean, Viktor? Tell the truth. You'll feel better afterwards. VIKTOR I am telling the truth. DETECTIVE (coming close to him) We all know what happened. In a fit of jealous rage you killed Simone and dumped her body off a boat she bought for you. VIKTOR No!! I can prove it to you. I'll take you to her. EXT. BOAT - SANTA MONICA BAY - DAY VIKTOR sits handcuffed on a POLICE BOAT with the DETECTIVE and his LAWYER. DIVERS surface with the steamer trunk. Viktor's face lights up. The trunk is winched aboard. However, as it lowers onto the deck, we see the latch has broken and the lid is ajar. All eyes stare inside the trunk as the lid is lifted. Apart from a scrawny piece of kelp -- empty. VIKTOR (panicky, desperately grabbing the divers) Did you find anything else -- drivers, discs... disc-drives? DIVER 1 Nothing. (gazing to the water) We couldn't stay down any longer. All eyes follow the diver's gaze to several SHARK FINS in the water. CLOSE UP ON FRONT PAGE OF L.A. TIMES: "SIMONE"S BODY FEARED EATEN BY SHARKS" The newspaper is being read by Viktor's LAWYER, sitting opposite Viktor in his cell. VIKTOR is numb -- the likelihood of conviction slowly dawning on him. LAWYER -- Plead guilty and throw yourself on the mercy of the court. It's the best deal you're going to get. VIKTOR (incredulous) I could get the death penalty. LAWYER You certainly will if you go to trial -- a jury in this kind of ugly mood. You've killed an icon, for God's sake. VIKTOR I didn't kill anyone, Bernard, there was no one to kill! LAWYER (musing) An insanity defence. INT. VIKTOR'S SOUNDSTAGE - NIGHT A FIGURE sits at Viktor's computer. LAINEY. She scrolls through Viktor's files. All empty. Lainey sighs. ELAINE paces behind her. ELAINE Let's go, Lainey. There's nothing here. LAINEY Just a minute. Elaine continues to pace as Lainey works. ELAINE God, it's so like your father. Why can't people take responsibility for their actions anymore? I can almost forgive him for killing Simone -- but denying her existence. I can never forgive that. LAINEY Because obviously she existed, right? ELAINE I know it as surely as you're sitting here, sweetheart. She was the most vital woman I ever met. LAINEY So you did meet her? ELAINE Of course. What are you suggesting? LAINEY I mean really meet her -- in the flesh. Elaine regards her daughter curiously. LAINEY I know it's embarrassing to admit it, mom, but when I think about it -- honestly, I haven't. I mean, it feels like I have. I know more about her than members of my own family. She's even in my dreams. But I realized, going back through my diary, they were all TV appearances, near misses at parties, second-hand rumor, gossip on the internet. I've never actually seen Simone up close, touched her, been in her physical presence. Have you? ELAINE (unable to refute it) Well, I -- LAINEY -- We don't believe daddy because we don't want to believe we were taken in too. ELAINE (trying to shake the notion from her head) Lainey, there's no evidence that Simone isn't real. LAINEY Listen to what you're saying, mom. Is there any evidence she is? Lainey finally tries another file. She presses "EJECT". The "PLAGUE" disc spits out of the machine. LAINEY (regarding the disc) There's one part of dad's story that may have been true. Simone may have contracted a virus. Lainey smiles at her mother. LAINEY Certain viruses can be cured. INT. L.A. COUNTY JAIL - POLICE CELL - DAY VIKTOR sits in his cell, arms crossed, quietly seething, while his LAWYER lays out his trial strategy. LAWYER (hushed tones, referring to a thick Psychiatric Report) ... Listen, I've found a psychiatrist in Ventura -- well respected -- who's willing to testify under oath that you have diminished capacity due to the trauma of your divorce, ten years of abject failure in the movie business and a bump on the head you sustained as a child -- VIKTOR, fuming throughout this, suddenly explodes. VIKTOR -- No! I can't go along with this horseshit! Just tell them they can fry me! LAWYER (aghast, looking around to see if anyone has heard) What?! VIKTOR It was premeditated -- I knew exactly what I was doing! I strangled her! I bludgeoned her! I set her on fire! I did it! I killed her! DETECTIVE (O.S.) (clearing his throat) Excuse me. The Lawyer spins around guiltily. The Detective stands outside the cell, clearly overhearing the confession. Viktor, resigned to his fate, couldn't care less. DETECTIVE I think you'd better see this. The Detective switches on the TV set hanging outside the cell. VBC is playing -- "BREAKING NEWS" -- INT. TELEVISION STUDIO - "VBC" - DAY (ON TV SCREEN) A NEWS ANCHOR appears. VBC ANCHOR (from TV) -- Breaking news -- international media star, Simone, is alive and well. Her studio released this footage only minutes ago... EXT. STUDIO LOT - DAY (ON TV SCREEN) The brief clip shows the front page of the L.A. Times -- headlines: "HOLLYWOOD SUSPENDS FILMING IN MEMORY OF SIMONE" and "D.A. Seeks Death Penalty for Taransky". The reader lowers the newspaper to reveal herself -- SIMONE, on the studio lot, looking more beautiful than ever. She winks to the camera. VBC ANCHOR ... Simone reading today's edition of the L.A. Times. Who says, "The only bad publicity is your obituary"? Details at the top of the hour. The TV is switched off. Viktor stares at the screen, trying to take it in. VIKTOR You're indestructible. When he looks back to the Detective, he discovers him holding the cell door open. DETECTIVE (shaking his head in pity) I'll never get you Hollywood people. EXT. L.A. COUNTY JAIL - DAY A throng of REPORTERS, PAPARAZZI and ONLOOKERS parts like a sea for VIKTOR, released from custody. One placard reads, "ASK JESUS TO SAVE YOU NOW". He is escorted to a waiting limousine where he is met by ELAINE and LAINEY. He hugs them both. INT. LIMOUSINE - DAY VIKTOR sits beside ELAINE. LAINEY sits opposite, studying her laptop computer. Outside the car, REPORTERS are pressed against the glass. VIKTOR (relaxing back into his seat) Thank you! (to Lainey) I don't know how you did it but thank you. ELAINE (putting her arm around him) Don't thank us too fast, Viktor. You know what we have to do? VIKTOR (resigned smile) Why stop at one character when you can have a whole cast? ELAINE Exactly. Now that you have the studio behind you, we can really do things. Viktor shrugs resignedly, savoring his freedom. ELAINE (holding Viktor close) I was thinking -- what about you and... "Simone" moving back in with me and Lainey? VIKTOR (meeting her gaze) That sounds wonderful. (to Lainey) How do you feel about all this, Lainey? LAINEY (beaming) About you and mom? VIKTOR (reluctant admission) Me and Simone. What I did. LAINEY (sweet smile) Your mistake wasn't making something fake, daddy. We're fine with fake -- as long as you don't lie about it. Once again his daughter's words have a ghastly ring of truth. Viktor stares out of the limo window as the car gradually forces its way through the reporters. He recognizes MAX and MILTON amongst the mob. Max has hastily scribbled a note that he presses against the window -- "WILL PAY $ FOR EXCLUSIVE". Viktor looks away. ELAINE (kissing him on the cheek) Don't look so glum, Viktor. It's not a death sentence. VIKTOR (still staring out of the window, a rueful smile) No... it's life. INT. FRANK BRAND TV STUDIO - DAY FRANK BRAND conducts a remote interview with SIMONE who appears as usual on a television monitor. FRANK BRAND -- Simone, the question on everyone's mind is simply... "why?" SIMONE Frank, you know as well as I do, living in a fish bowl, the insatiable appetite of the media... Frank nods sympathetically. SIMONE With everything that was going on in my life, I just needed to drop out of sight for a while -- I needed time. Viktor bought me that time. I owe him so much. FRANK BRAND We all do. (quickly returning to Simone) But now I understand you're eager to get back to work -- and not the kind of work that we're all expecting. SIMONE (smiles coyly) That's true. I can reveal that I am considering a career in politics. FRANK BRAND And what may I ask brought this on? SIMONE holds up a beautiful BABY BOY to camera. SIMONE I suppose this little man had something to do with it. Viktor and I are both concerned about what kind of world our new son, Chip, is going to grow up in. (turning lovingly to Viktor) Aren't you, Viktor? On Frank Brand's monitor, the camera pulls back to reveal VIKTOR, sitting on a sofa -- an idyllic domestic scene. VIKTOR (turning lovingly to Simone) Yes. INT. SOUNDSTAGE - DAY Only we see the set where the interview is being recorded. VIKTOR is sitting on a sofa against a green screen in his soundstage, smiling at a woman and child who are not there -- he is alone. CUT TO BLACK INT. CONCERT STADIUM - NIGHT DURING THE CLOSING CREDITS SIMONE PERFORMS ANOTHER SONG FROM HER CONCERT TOUR -- "(YOU MAKE ME FEEL LIKE) A NATURAL WOMAN".
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+                          SINGLE WHITE FEMALE                             Screenplay by                                Don Roos                        Adapted from the novel                            SWF Seeks Same                                  by                               John LutzCOLUMBIA PICTURES LOGOBLACK SCREENOn a black screen, the words (without capital letters in front ofthe words) :       columbia pictures       presentsand then :       a film by       barbet schroederBATHROOM - INTERIORWe don't know if it's day or night. We see a little girl, agedaround eight, putting lipstick on her lips. She is wearingearrings and a ring on the middle finger of her right hand. Shemoves forward and we see another girl about the same age. Thefirst girl puts lipstick on the lips of the second girl. Both girlare smiling.More credits, still without capital letters.The camera moves back and we get a better view of the second girl.The two girls appear to be twins. The first girl takes a powderpuff and puts powder on the second girl's cheeks.The two girls look at themselves in the mirror. The camera givesthe impression to be located behind the mirror.The first girl gives a kiss on the cheek of the second girl.FADE OUT TO BLACK SCREENThe title of the film appears on the black screen.The camera moves and we see, appearing on the right-hand side ofthe screen :BUILDING - EXTERIOR NIGHTThis building is actually Allison's building, but we don't know ityet.Credits resume on the screen.The camera keeps on moving and we see several lit windows. Thebuilding itself is a nice building with carvings on the walls.The camera moves backward, giving us a full view of the building.As the camera comes back forward, we hear two voices speaking, onemale, one female. They are the voices of Allison ´Allieª Jones andher fiancÈ Sam Rawson.       SAM (voice over)       So how many kids do we want ?       ALLISON (voice over)       I dunno. What's the statistical norm ?       SAM (voice over)       You and your statistics.Allison laughs       SAM (voice over)       One point two.       ALLISON (voice over)       Okay, then I want two point two.Fade to :ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTSam and Allison are lying on the bed, partly dressed. Sam isholding Allison next to him. They are both about thirty years old.Allison has short red hair, and Sam has brown wavy hair.Behind the front of the bed we see the wrought iron of thebalcony. The light is very dim in the room, lit only by the streetlights and a couple of candles. We hear Allison finishing her lastvoice over sentence.       ALLISON       And I want them to look like you.       SAM       Poor kids.End of credits.       SAM       So, if I got to be able to drag you away from computer       tomorrow, I'll buy you that ring.       ALLISON       Sure. So, is this gonna be a real wedding ?She moves a bit away from him, and takes a piece of grapes in aplate lying on the floor.       SAM       As opposed to a fake one ?       ALLISON       You know what I mean, Sam. You've already been through the       big ceremony with too hundred people.       SAM       That was the fake one. This is the real one. You can have       any kind of wedding you want. Underwater. In and out of a       steam room in the wild. Horseback.Allison goes back into Sam's arms.       ALLISON       Naked skydiving ?       SAM       Naked skydiving !       ALLISON       It's OK. It's going to have to be a small one, you know.       I've not been in New York long enough to know very many       people.       SAM       Except me.       ALLISON       Oh, you're invited.They laugh.       ALLISON       And my friend Graham upstairs.       SAM       It won't be long before you know half the people in New       York. People like you, you know... but I found you first.       ALLISON       You're the only friend I need. You're the best thing that       ever happened to me.They start kissing very tenderly.Fade to two seconds of black screen. And then we see Sam andAllison asleep in the bed. They are naked but covered with thesheet.The phone rings. Allison wakes up and picks up the phone handset.       ALLISON       Hello ?... Hold on a second.She bends down to take the telephone set.       ALLISON       Sam, it's your ex-wife.She gives the receiver to Sam. Still half-asleep, Sam takes thephone.       SAM       What ?       ALLISON       It's Lisa.Sam puts the receiver to his ear. We hear vaguely Lisa's voice,but not precisely enough to understand the words.       SAM       Yeah ?... No... Because... I'm hanging up now.He puts the handset back on the telephone set, which Allison hadput on the bed.       SAM       I'm sorry. She shouldn't call here.       ALLISON       It's where you live. She's entitled.The phone rings again. Allison moves up to pick up the phone.       SAM       Don't... don't answer it.The phone keeps on ringing. Then the answering machine starts with´Hi, it's Allison Jones...ª but the rest of the message is coveredby Sam and Allison's conversation.       SAM       Why does she do this ?       ALLISON       Talk to her now. You're already up. I'll get that.We hear the beep at the end of Allison's message.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTAllison is walking naked in the hall.       LISA'S VOICE ON THE ANSWERING MACHINE       Hello, Sam. Oh, damn... Would you pick up the phone,       please ? Hello ?... Please, don't do this to me.       SAM (voice over)       Lisa...       LISA'S VOICE ON THE ANSWERING MACHINE       Sam, I've been sitting here since you left this       afternoon...Allison is standing up in the dark, not moving. We hear Sam'svoice, partly from the bedroom, and partly from the answeringmachine, which gives the voice a sort of echo effect.       SAM (voice over)       Yeah... Lisa... Can we talk about this tomorrow ?       LISA'S VOICE ON THE ANSWERING MACHINE       You can't come over here and sleep with me, and then...Close-up on Allison's face in the dark. She looks very shocked bywhat she hears.       SAM (voice over and yelling)       Allie, Allie, I don't know how you shut that thing off.       LISA'S VOICE ON THE ANSWERING MACHINE       You said you were going to call.Allison shuts the machine off.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTClose-up on Sam's face. He picks up the phone and puts the handsetto his ear. We hear Lisa's voice saying : ´Hello, Samª       SAM       Huh-huh...ALLISON'S APPARTMENT - FRONT HALL - INTERIOR NIGHTAllison grabs a night-robe and presses it on her naked body.       SAM (voice over)       Okay ... goodbye.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTSam is seated on the bed. He puts the phone back on the set.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHT       ALLISON       I take it back. She's not entitled.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTClose-up on the ancient-looking ventilation system in the bedroom.The air vent is protected by a very decorative wrought iron grill,as can be found in old New-York buildings.       SAM (voice over)       I didn't go over there intending to sleep with her, Allie.       I swear to God.       ALLISON (voice over)       Oh, well, I fell a lot better knowing you can talk now.GRAHAM'S APARTMENT - GRAHAM'S BEDROOM - INTERIOR NIGHTClose-up on the same air vent in Graham's apartment. We can hearthe conversation going on in Allison's bedroom, with a slight echoeffect in the sound, which makes some words incomprehensible, butstill well enough to get the general idea of the conversation.       SAM (voice over from the air vent)       She's very depressed, OK ? It's the anniversary of our       divorce. She heard we were getting married. She has been       drinking.Slowly the camera moves from the air vent to Graham's bed.Graham Knox is about thirty years old, and we shall learn laterthat he is gay. He is lying in his bed, perhaps naked, but we seeonly his chest, the rest of his body being covered by the sheets.He was apparently awaken by the voices in the ventilation systemand is half-raised on his elbow and listening to the conversation.       ALLISON (voice over from the air vent)       I don't want to hear this !       SAM (voice over from the air vent)       I feel bad for her. I'm moving on feeling guilty. It won't       happen again.       ALLISON (voice over from the air vent)       (a few words incomprehensible)       I am supposed to trust you now ?Graham is listening with a worried look on his face.Fade out to two second of black screen, during which we keep onhearing the conversation through the ventilation system, butwithout understanding the words. And then :ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR NIGHTAllison rings the bell of Graham's apartment. It says 1203 on thedoor.GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHTA corridor with a lot of books on shelves going all the way up tothe ceiling. Graham walks along the corridor, zipping his pants.He is bare-chested.       GRAHAM       It's 4 a.m. !       ALLISON (voice over through the door)       It's me, Graham.Graham opens the door. Allison is just wearing a night-robe, andher face is full of tears.       GRAHAM       Allie ?       ALLISON       I'm sorry... Sam left. I told him to. And... And I can't be       alone tonight... so I came up here.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR NIGHTGraham takes Allison by the hand and brings her inside hisapartment.       ALLISON       Thanks.Graham closes the door behind Allison.GRAHAM'S APARTMENT - SPARE BEDROOM - INTERIOR DAYA nice room with pictures on the wall. Allison is sleeping in alarge bed. Through the shutter-less window, we can see the otherbuildings.Graham, dressed in a black T-shirt and kaki short pants, entersthe room and sits on the bed. He takes Allison's leg through thebedcover. Allison stands up with a start.       GRAHAM       Allie, I let you sleep.       ALLISON       What time is it ?       GRAHAM       About ten.       ALLISON       Oh, my GodAllison jumps from the bed in a hurry.       ALLISON       I've got a meeting. It's really important.Graham, still seated on the bed, watches her leave the room.NEW YORK - A BUSY STREET - EXTERIOR DAYAllison walks quite rapidly on the sidewalk. She comes to a shopand looks through the window. She combs her hair with her hand.A RESTAURANT - INTERIOR DAYA nice restaurant in New-York. Paintings on the walls. Soft music.A waitress is talking on the phone. Allison enters the restaurantand crosses the room to a table, where a man, who was sittingalone, stands up when she comes to him. The man is MitchellMyerson, Allison's appointment.       ALLISON       Hi !       MITCHELL       Hi !       ALLISON       I'm sorry, I'm a little late.They shake hands.       MITCHELL       No, no, it's worth the wait.       ALLISON       Thank you.They sit down. The man takes his glass.       ALLISON       So...A little later. They have finished their meal. Allison has put herlaptop computer on the table and is typing on the keyboard. On thescreen of the computer, we see models of woman's dresses changingcolor and appearance each time Allison presses a key.       ALLISON       You can redefine your product on-screen without going to an       expensive designing concept. This is Allison Jones'       software, and it's a marketing tool no one else has.       MITCHELL       Who do I get to run it ?       ALLISON       I stay to be the person to speak. That's included in the       quote.       MITCHELL       Ah !... The quote... That's the one thing I haven't seen.       ALLISON       Best for last.She gives him a printed paper.       ALLISON       I think you'll find that's reasonable... as a ballpark.       MITCHELL       Here's where I was thinking of playing.He takes a pen out of his pocket and start writing on the documentAllison gave him. Then he hands back the document to her. Shereads it and seems surprised.       MITCHELL       It makes sense for you. You see, after our last meeting, I       made some phone calls... to your former partner, for one.       ALLISON       No, I wouldn't rely much on what she says. It was not a       friendly split. And I did all the work. And... she took all       the credit and she didn't like me telling her so.       MITCHELL       Well, I was more interested in the settlement you made. You       walked off with the hardware and a rent-controlled       apartment. Which means your overhead is minimal, as is your       client list. I could improve that if you're as good as you       say you are.He points to what he wrote on the document Allison is stillholding.       MITCHELL       But that is the only way to prove it.       ALLISON       Well, I could go for something...The waiter puts the bill in a small tray on the table.       MITCHELL       No, no, please, don't embarrass yourself. That's my final       offer. Now, of course, if you would like to think about       it...Allison takes the bill from the tray, and tears the tab off thebill.       ALLISON       I'll get this. You'll see it on my first expense report.       MITCHELL       I look forward to it.They shake hands.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYThe front door opens and Allison gets in and closes the door. Shedrops her keys and her handbag on a shelf near the door. She goesto the answering machine, and presses a key.       THE ANSWERING MACHINE       No messages.The machine beeps.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAYAllison starts tearing the sheets off the bed. Her movements arevery nervous. And, eventually, she drops on the sheet-lessmattress and starts crying.ALLISON'S BUILDING - LAUNDRY ROOM - INTERIOR DAYWe hear the first words of Graham's sentence on the previous imageof Allison crying on her bed.Allison and Graham are working on their respective laundry on atable. We see washing machines working in the background.       GRAHAM       What is this ? A song cue ? ´You're Nobody Till Somebody       Loves You.ª       ALLISON       It's just living alone, you know. I thought about buying       those books like ´Cooking for Oneª. It's just too       depressing.       GRAHAM       There are worse things than being on your own, you know.       ALLISON       Maybe it's all a sign I should go home.       GRAHAM       Come on ! You came here for a reason. Sam has nothing to do       with that. No guy does. You think I'd let some guy       interfere with my acting career ? Assuming I had a       career... or a guy to interfere with it.       ALLISON       You'll find someone again.       GRAHAM       Maybe I will. Why not ? But the point is, if I don't... I       don't.       ALLISON       I know that. I can do it on my own.       GRAHAM       Absolutely.       ALLISON       I'll just get a room-mate.       GRAHAM       You could always call him, Allie.       ALLISON       Not if I have a room-mate.COMPUTER SCREENAn Apple Computer Screen (certainly Mac OS 7 or even Mac OS 6,since the film was made in 1991/1992). The window is titled´Comlink Fax TMª. On the window itself we can read :       ATZ       OK       ENTER YOUR AD NOW       SWF SEEKS FEMALE TO SHARE APARTMENT IN W70S       NON-SMOKER PROFESSIONAL PREFERREDWhen we first see the computer screen, only ´SWF SEEKS FEMALE TOSHª is written. We hear the clicks of the computer keys as therest of the ad is written. The computer screen fades into anewspaper clip after ´PROFESSIONAL PREFª is written.NEWSPAPER CLIPWe see a newspaper clip, where Allison's ad has been highlightedwith a felt-pen red rectangle. It says :       SWF seeks female to share       apartment in west 70s. Non-smoker       professional preferred. 555-9814Around this ad are other ads, all about apartment renting orsharing.       ALLISON (voice over)       The managers couldn't really know you want to live there.ALLISON'S OFFICE - INTERIOR DAYThe previous voice over sentence ends on a close-up of the foldednewspaper with a red felt-pen lying on the newspaper.The camera moves up from the desk, on which the newspaper islying, to Allison's face, who is speaking over the telephone.Around her, we see other desks with people working.       ALLISON       Oh, yes, that's a promise. Rent-stabilized, so you couldn't       come on the lease.ALLISON'S APARTMENT - KITCHEN - INTERIOR DAYA young butch woman, wearing a leather jacket and a black andwhite bandana around her head, bangs her fist on the walls of thekitchen. She enters the kitchen, where Allison is sitting at atable. Behind Allison, a nice white stove. The butch girl iscarrying a motorcycle helmet in her left hand. In the credits, thebutch girl is called ´Mannish Applicantª       THE BUTCH GIRL       Nice... you could really open 'em up. I can't wait to get       in here. Are you proper with tools ?ALLISON'S APARTMENT - SPARE BEDROOM - INTERIOR DAYA young very pretty woman, dressed in a short brown dress, movesaround the room and then looks at Allison with a seducing eye.Allison, who is holding some papers in her hand, looks at thedeparting applicant with an amused eye.Later in the same room. Another applicant is walking around theroom. She's wearing large glasses, and never stops talking. Whileshe is walking, we hear a camera clicking and we see a cameraflashlight across the room.       TALKATIVE APPLICANT       I'm an incest survivor, you know. I haven't remembered the       instance yet, but I know it's there somewhere. I just have       the sense that I survived something. All my therapists       think so.She goes out the room in the hall. Allison is shaking her headbehind her back.       TALKATIVE APPLICANT       Oh God, a kitchen ! I hate kitchens, cooking, cleaning,       anything feminine. I mean, it's probably my mother's fault.While the applicant is going into another room, Allison is writingsomething on a pad she is holding in her left hand. Underneath thepad is a Polaroid camera, certainly the one we saw the flashlightcoming from.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAYA nice clear room, with a comfortable vintage-looking couch.A young woman is standing in the middle of the room, wearing awhite blouse and brown large pants, looking very discreet... tooperfect !       PERFECT APPLICANT       I think this could work. And if you feel the same, please       give me a call.Allison takes her picture with her Polaroid camera.Later. Close-up on the pile of application forms. On the top ofthe pile, the one concerning the woman we just saw, with herpicture stapled in the left top corner of the form.Allison is sitting on the couch, looking through the files. Shehas the file of the last woman in her hand. She stands up andwalks to the kitchen.ALLISON'S APARTMENT - KITCHEN - INTERIOR DAYAllison picks up the phone and dials the number of the lastapplicant, whose form is still in her hand. Then she sees Sam'spicture on the fridge door. She puts the form on the top of thefridge.Close-up of Sam's picture.Allison takes the picture off the fridge door and starts dialingagain.       SAM'S VOICE ON THE PHONE       Hello, Sam Rawson. Hello ?Allison puts the phone back on its hook on the wall. She sits downon the floor crying, and still holding Sam's picture. She crumplesthe picture into a small tight ball.We see a pair of foot underneath a long light-grey dress walkingin the hall. Allison is still crying.The woman knocks on the kitchen wall. Allison stands up with astart.       ALLISON       Oh !... Hi !We get a full view of the unknown visitor. It's Hedra Carlson. Sheis wearing a black hat on her long light brown hair. She iscarrying a large bag held by a strap across her chest. She looksvery sweet and nice.       HEDRA       Hi !... The front door was kind of open. Are you Allison       Jones ?       ALLISON       Yes... I'm Allie.       HEDRA       Oh, I'm Hedra Carlson. We spoke on the phone this morning.She looks at Allison's face, where we still can see she's beencrying.       HEDRA       Are you sure you're okay ?       ALLISON       You know what ? I'm not. Would it be all right if you came       back tomorrow ?Hedra starts taking her arm, and then moves away inside thekitchen.       HEDRA       Why don't you just... sit down.       ALLISON       No, I'm fine.       HEDRA       I'll make you some tea.       ALLISON       I just... I don't think I had lunch, that's all.Hedra tries to get some water at the sink, but just gets a strangenoise.       ALLISON       It's only this one. The one in the bathroom works. Here...She comes to the sink, and takes a wrench lying by the sink.       ALLISON       I use a wrench.She squeezes the water faucet with the wrench. Hedra puts her bagon the floor. Allison keeps on trying to open the faucet with herwrench, but the faucet breaks off and showers both girls.Hedra bends down to shut the main water tap under the sink.The girls are both all wet.       ALLISON       Oh ! Wow !... Wow !... I'm so sorry.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAYClose-up on Hedra's dress and Allison's jacket drying on hangersnear the open window.       HEDRA (voice over)       If you need a reference, you can call them at Rizzoli.Hedra gives some papers to Allison, seated on the sofa. Hedra iswearing a red T-shirt and black pants, certainly borrowed fromAllison.       ALLISON       Oh, yes...Allison looks at the papers.       ALLISON       Hedra... that's unusual.       HEDRA       I got terrible nicknames growing up, which I'm not telling       you.       ALLISON       Not Hedy ? Like Hedy Lamarr ? That's exotic.       HEDRA       Well, I wasn't that exotic in grade school... as opposed to       now, right ?While Allison is reading the documents Hedra gave her, Hedra feelsthe clothes hanging by the window.       HEDRA       They're dry.She picks them up, gets them off the hangers, and gives her jacketto Allison       HEDRA       Here.       ALLISON       Thanks.Sam's crumpled picture falls on the floor from a fold in thejacket. Hedra picks it up       ALLISON       Oh ! You can just toss that. I was just cleaning up. He's       the reason why I'm looking for a new room-mate.       HEDRA       Oh !...She sits down on the sofa next to Allison.       HEDRA       Do you know if there is a chance that you guys patch things       up ? As... I do not want to move in and catch you being       bound again, and then have things change. It would just be       awkward.       ALLISON       Well, nothing going to change it, except for... maybe that       my faucets will work. When can you move in ?       HEDRA       No, really ?She looks very moved by what Allison just said. She takesAllison's hand.       ALLISON       Congratulations.       HEDRA       Thank you.ALLISON'S BUILDING - BASEMENT - INTERIOR DAYAllison and Hedra are walking along a corridor in the basement.Allison is wearing a black sleeveless T-shirt and beige pants.Hedra is wearing a red dress with white small dots. Allison iscarrying two suitcases and Hedra a very large box. They all mustbe empty, the way the girls are carrying them.       ALLISON       I've got one friend. Graham. He lives just upstairs...       HEDRA       A friend ?       ALLISON       Oh, not like that : he's gay. So, anyway, it's not a real       friendly building, but, at least, there's no problem with       privacy. 'Cause, I mean, you just close your door...       HEDRA       Yeah.       ALLISON       No problem.       HEDRA       I'll leave you alone, you know... I mean, whatever's good       for you.They've come to a row of stocking rooms, all protected bypartition and doors covered with chicken wire. They look likecages, and that's exactly what the tenants call them. The twogirls drop their parcels on the floor. Allison takes a key out ofher pocket to open the padlock of her own private ´cageª.       ALLISON       Anyway.       HEDRA       Wow !Hedra crosses the corridor. On the opposite side from the row of´cagesª, a door that says : ´Incinerator Roomª and stuck on it, asign that says ´Use prohibited by lawª.By this door, a pile of junks, probably left by a tenant. Hedrapicks up an old rusty metal lamp.       HEDRA       Hey, look, Allie, this could be good, huh.A few moments later. Allison has resumed her tour of the basement,walking along the corridors. Hedra is carrying the metal lamp shefound. They pass by the Laundry Room, where we've seen Allisonearlier chatting with Graham. Inside, a lady is working with herlaundry on a table.       ALLISON       Laundry room.Another corridor.       ALLISON       I don't go in there at night. It's a bit creepy. It's okay       in the day, but, still, lock yourself in.Hedra looks at a key she is holding.       HEDRA       This one ?       ALLISON       No, that's mail key.They've come to the elevator. An old machinery, enclosed in achicken wire cage, is working with a loud noise. Allison pressesthe switch of the elevator       HEDRA       This is creepy.       ALLISON       Oh, it's not bad, it's just kind of old.The elevator door slides into the wall, and the two girls get inthe cabin. Allison wants to close the inner door of the cabin, butit does not want to slide back into closed position.       ALLISON       Sometimes this gets stuck and you have to use this       screwdriver.She takes a screwdriver hanging on a chain in the cabin. With it,she works on the door lock, and succeeds in moving it.While she rolls the inner telescopic door shut, she discovers thatanother tenant has come into the cabin behind their back. Hedoesn't look very friendly, with his bow-tie and his smallmustache. He is holding a newspaper.       ALLISON       Excuse me.When the inner door is completely shut, the outer door slidesautomatically into shut position.ALLISON'S BUILDING - ELEVATOR CABIN - INTERIOR DAYThe elevator is moving up.       THE TENANT       Which floor ?       ALLISON       ElevenThe tenant presses a button on the switchboard by the door.       HEDRA       Fourteen, please.The tenant presses another button. Hedra plays with her keys andsmiles to Allison.ALLISON'S APARTMENT - SPARE BEDROOM - INTERIOR DAYAllison and Hedra move a table out of the room. The table iscovered with various objets, and has apparently been used as adesk. When they try to squeeze the table through the door, theyupset everything that is on the table down on the floor. Theyscream and laugh.ALLISON'S APARTMENT - KITCHEN - INTERIOR DAYAllison turns the water faucet on, and it seems to be workingperfectly.       ALLISON       Okay.Hedra is kneeling by the sink, looking at the cupboard underneaththe sink. She stands up with an oval metal dish.       HEDRA       Look what I found.ALLISON'S APARTMENT - SPARE BEDROOM - INTERIOR DAYHedra is kneeling on the floor, cleaning the dish she has found inthe kitchen. It shines so well that she can look at herself in itas if it was a mirror.Close up on the dish. Beside Hedra's face, we see Allison's facecoming to join her.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYHedra, just wearing her underwear, is talking on the phone.       HEDRA       I'm not sure. Hold on, I'll check.Sitting on the floor, Allison is painting the old lamp Hedra hasfound in the basement. An electric fan is working next to her.Hedra puts the dress she is holding on the receiver, and whispers.       HEDRA       Allie, it's Sam.Allison shakes her head ´Noª.NEW YORK - A STREET - EXTERIOR DAYNice weather. Busy street, with shops and people. Allison andHedra are walking, eating ice cream cones. Allison is veryelegantly dressed. Hedra is more simply dressed and is stillwearing her old black hat.       HEDRA       Where do you guys learn to dress like that ? I mean, it's       just so New York.       ALLISON       I think you look very comfortable.       HEDRA       Yeah, I never know what looks good.NEW YORK - A CLOTHES SHOP - INTERIOR DAYHedra comes out of a dressing room, wearing a very elegant redjacket.       ALLISON       Oh !... I think that looks nice       HEDRA       Yes ?       ALLISON       But I found this.She gives her a red dress on a hanger, which she was holding outof our view.       HEDRA       Oh !       ALLISON       I think you'd look great with that.       HEDRA       OkayHedra takes the dress and looks at it.NEW YORK - A SHOE SHOP - INTERIOR DAYWe see only Allison's feet and legs. She is sitting on a chairtrying on some high-heel shoes. We see Hedra's feet coming towardher. She is also wearing high-heel shoes.       HEDRA       Hey ! What do you think ?       ALLISON       I think you should take them.Allison takes off the shoes she was trying on.       HEDRA       Oh God, you like them ?We now see both girls' faces. Hedra is taking off the shoes shewas wearing.       ALLISON       Well, I think they go great with that dress.       HEDRA       You take themShe gives her shoes to Allison.       ALLISON       Well...       HEDRA       I'll just borrow them when I want to.ALLISON'S BUILDING - EXTERIOR NIGHTA full view of Allison's building in the New-York night. Actually,it's not full night yet, because there is still some dark bluelight in the sky.ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHTThe room is all dark, lit only by the street light coming from thewindow. Allison walks into the room with a lampshade in her hand.She puts the lampshade on the lamp by the bed. Then she switchesthe lamp on. Apparently it is the lamp Hedra found in thebasement, cleaned and painted.Allison looks at the books on the night-table.She then moves across the room, puts her handbag on the bed, andtakes a medicine bottle from a small table. She puts it back andtakes a perfume bottle. She takes the plug off and sniffs thebottle. With the plug, she puts a bit of perfume on her neck. Sheputs the plug back on the bottle and the bottle back on the table.She then takes a pair of earring from the table. She holds them onher ears and looks at the effect in a mirror.In the mirror, we see Hedra entering the room behind Allison.Allison turns quickly around. Hedra is wearing a light night-robeand her hair is wet       ALLISON       God! I didn't know you were home. I was...Lying on the bed, there are a shoebox with a rubber band aroundit, a key on a keyring, and a piece of paper. Apparently, Allisonhas not noticed them. Quickly, Hedra throw the bath-towel, she isholding, on those items, for Allison not to notice them.       ALLISON       I was... I was... God, I'm sorry. You haven't even been       here two weeks and I'm already in your room.       (ironically)       I was just about to go through your drawers !Hedra laughs. Allison puts the earrings, she was still holding,back on the table.       HEDRA       That smells nice on you.       ALLISON       Oh, I hope you don't mind. I just... I always wanted to try       that.       HEDRA       Oh God, no. anything you want... you want.She takes her night-robe off. Allison seems embarrassed to see hernaked. She turns her eyes away from her.       HEDRA       Go ahead. Share and share alike.       ALLISON       Well... I don't really know about that. I'm an only child.       Do you have... a big family ?Hedra puts her nightdress on.       HEDRA       Hu-uh... There's just me.She sits on her bed.       HEDRA       I am... Well, I was supposed to be a twin, but she was       stillborn.       ALLISON       Oh, that's so sad.       HEDRA       I grew up like a part of me was missing.She turns around sees the new lampshade.       HEDRA       Allie ! God !She stands up to have a better look at the lampshade.       HEDRA       It's beautiful. Thank you. What do I owe you ?She walks toward the little table.       ALLISON       Oh... nothing. It's just a little housewarming. It's like       that.Hedra picks up the earrings from the table, and gives them toAllison       ALLISON       Oh no no...       HEDRA       Shhh !...She puts the earrings on Allison's ears.       HEDRA       They look beautiful on you.       ALLISON       But I can't take these.       HEDRA       It's housewarming.Allison looks at herself in the mirror.       ALLISON       Thanks, they're great.The phone rings.       ALLISON       Excuse me.She goes out of the room. While going out, she bumps into Hedra.       HEDRA       Oops !ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTAllison picks up the phone.       ALLISON       Hello ?...It's Sam. We only hear a few words of what he says.       SAM (voice over on the phone)       ... Talk to me...       ALLISON       No, Sam.          SAM (voice over on the phone)          Why not ?... Why not ?...          ALLISON          No, it's not a good time.ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHTHedra takes the shoebox from her bed, goes to a closet inserted inthe wall of the bedroom, and puts the shoebox on the top shelf ofthe closet.          ALLISON (voice over from the corridor)          I'm not ready to see you. You're just going on something          that's over.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTAllison is still on the phone.          ALLISON          No, there's nothing to talk about anyway. Sam, there's          somebody here right now...We see Hedra's face peeking through the door of her bedroom.          ALLISON          All right ?... Okay... Bye.She puts the phone down. Hedra is still peeking behind her bedroomdoor.          HEDRA          Why don't we order some Chinese ?Allison remains two seconds motionless with her hand on thetelephone, and then smiles and shakes her head ´Yesª.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYThrough the open door of the bathroom, we see Hedra kneeling bythe bathtub, and apparently washing something in the bathtub.The phone rings. Hedra rushes out of the bathroom. She is wearinga orange T-shirt, a very large red boxer-short and white slippers.          ANSWERING MACHINE          Hi, this is Allison Jones. Please leave a message. Thank          you.A beep.While listening to the machine, Hedra picks up a box on thetelephone table, takes a sweet out of the box, eats it, and putsthe box back on the table          SAM'S VOICE ON   THE ANSWERING MACHINE          Allie, are you   there ?... Allie, pick up. Allie, listen.          Please, please   call me back. This is torture for me. I know          you need me as   much as I need you. I love you. I'll do       anything for you for us to get back together, just call me.A click, meaning the end of the call. Hedra presses a button onthe answering machine, to erase Sam's message.We hear some yapping coming from the bathroom. Hedra turns herhead toward the bathroom.       HEDRA       Buddy !ALLISON'S APARTMENT - BATHROOM - INTERIOR DAYClose-up shot of Hedra, kneeling by the bathtub and holding a bigpuppy in her arms. She is rinsing it with mugs of water taken fromthe bath.       HEDRA       Oh, yes, you're a good clean boy. You're going to cheer her       up, are you ? Hmm ? You're going to cheer her up. So she'll       let you stay.While rinsing the puppy, she hugs and kisses it.She hears the front door opening and turns her head around. Shesays ´Shhh !ª to the puppy, and whispers some otherincomprehensible words to it, then puts it back in the bathtub.Close-up of a paper lying near the sink over Hedra's key-ring. Thepaper is a bill from a shop called ´Pet Expressª, in New-York. Itwas paid in cash, and the date is 8/16. It reads :       YELLOW LAB PUPPY          MALE, 6 WEEKS OLD, $ 350,-                           TAX $ 29,75                           $ 379,75Hedra's hand crumples the bill and puts it in the waste-basketunderneath the other items already in the basket.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYAllison enters the apartment. She is wearing a silver-coloredraincoat.       ALLISON       Yoo-hoo !She closes the front door. Through the open bathroom door, we seeHedra going from the waste-basket to the bathtub. She takes atowel and wraps it around the puppy, still in the tub.Allison puts her keys on the shelf by the door, puts her handbagon the floor, and presses a button on the answering machine. Abeep and then :       ANSWERING MACHINE       No messages.Behind Allison, we see Hedra coming out the bathroom carrying thepuppy wrapped in the towel.Allison turns around, sees Hedra with the puppy and stops in hertracks. She doesn't seem very happy, almost angry in fact.       HEDRA       I know I shouldn't have, but they were just giving him       away... in the market. But they said I could bring him back       to-morrow.       ALLISON       Well, I hope they meant it.Hedra sits down on the floor.       HEDRA       Well... his name's Buddy. I had a dog named Buddy when I       was little.She gives a kiss to the puppy. She then looks up at Allison'sface, which doesn't seem very friendly.       HEDRA       Tomorrow, okay. I promise.Allison walks away taking off her raincoat.ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHTWe hear the puppy yapping. Hedra is sitting on her bed in thedark. She stands up and peeks through the ajar opening of thedoor.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTClose-up at Hedra's peeking through the ajar opening of the door.The puppy is still yapping.The door of Allison's bedroom opens and Allison comes out. She iswearing a light pink nightdress.She slowly opens the kitchen door, bends down and picks up thepuppy.       ALLISON       Oh ! Come on.ALLISON'S APARTMENT - KITCHEN - INTERIOR NIGHTReverse angle shot of Allison picking up the puppy. She then goesaway, presumably to her bedroom, with the puppy in her arms.       ALLISON       Okay. Come on. Shhh !Through the open kitchen door, we see, across the corridor,Hedra's bedroom door closing itself.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAYHedra, wearing pajama-looking pants and a sleeveless loose shirt,comes in the room, carrying a tray. There is a mug on the tray, inwhich Hedra is pouring honey from a plastic bottle. She comes to atable, where Allison is working on two computers. The puppy issitting on Allison's laps.Hedra stirs the mug with a teaspoon, and puts the tray on thetable.       HEDRA       You're working so hard.Close-up on the screens of the computers. They show women dressesdesigns.       ALLISON (voice over)       Myerson better refers some clients to me.       HEDRA (voice over)       He will, you're the best.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTHedra and Allison are lying on Allison's bed, with the puppybetween them. Hedra is wearing a pink T-shirt and red short pants.The TV is on and we hear its sound faintly, without reallyunderstanding the words.       ALLISON       God, Hedy, thanks. I never would've got it done without       you.Hedra is playing with a portable battery-powered fan. She puts itdown to play with the puppy.       HEDRA       I love helping.She tries to move the puppy, who wants to move the other way.       HEDRA       Wait... Wait...Allison takes her Polaroid camera to take a shot of the three ofthem.       HEDRA       Oh yeah ! Family portrait.       ALLISON       Ready ?       HEDRA       Yeah.Allison takes the snapshot.Later in the night. There is a black and white movie on the TV.       THE WOMAN IN THE FILM ON TV       I lived a few weeks while you loved me. Goodbye, David.The camera moves away from the TV, and we see Allison and Hedraasleep on Allison's bed, with the puppy between them. Hedra movesslightly in her sleep.NEW-YORK - A STREET - EXTERIOR DAYAllison and Graham are walking on the sidewalk of the street,Graham pushing his bicycle. He has a canvas bag strapped over hisshoulder.Graham's first sentence is actually heard in voice over theprevious sequence.       GRAHAM       Ready to kill her yet ?       ALLISON       Who, Hedy ?       GRAHAM       Hm-mm !       ALLISON       No, no, it's a lot of fun having a girlfriend again.       GRAHAM       I can tell. I was worried for a while that you were so       down. You were starting to look like a Kennedy wife.ALLISON'S BUILDING - MAIN LOBBY - INTERIOR DAYThey enter the lobby. We can see that Allison is carrying someshopping bags. A lady is going out with a dog on a leash.       ALLISON       You were great, Graham. I just had to spend some time with       her. She needed a lot of help moving in. Plus, I've been       working like crazy. I promised I'm not avoiding you.They enter the elevator. Two ladies are coming out. Allison has touse the screwdriver to close the inner door of the cabin.       GRAHAM       Oh, I've got you cornered now. I've been meaning to come       down and see you. I was on my way to ask you something.ALLISON'S BUILDING - ELEVATOR CABIN - INTERIOR DAYThe cabin is moving up.       GRAHAM       Will you cat sit again ? I have to go to Boston this week-       end for my cousin's wedding.       ALLISON       Fine. Sure, I'll watch Carmen.He takes a keyring out of his pocket.       GRAHAM       Hey, I've made you a set. You know which one to try. And       ignore the litter box this time, I do.She laughs.       ALLISON       It's so cruel. We'll be fine.       GRAHAM       You know, I think I saw her the other day, your room-mate.       You were leaving the building. Then I thought it was you.       Your backpack. This jacket. I chased her down. But it was       someone else. Someone very nervous.       ALLISON       Oh !... That's Hedy. I really freaked her out about people       knowing she's living in the building. I would've had you       down to meet her... but she's shy.The elevator stops.       ALLISON       Well.The outer door opens. Allison bends down to pick up her shoppingbags. She opens the inner door and takes the keys Graham is givingher.       ALLISON       Friday ?       GRAHAM       That'll be great. I'll make dinner when I get back.Allison closes the inner door.ALLISON'S BUILDING - LANDING HALL OUTSIDE ALLISON'S APARTMENT -INTERIOR DAYReverse angle shot of Allison closing the elevator inner door. Theouter door closes automatically. Allison walks along the halltoward her apartment.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYThe front door opens. Allison bends down to pick up her shoppingbags and enters the apartment. The front door closes behind her.She drops her keys on the little shelf by the door. She sees Hedrain the doorway of the living room. Her hair is in a bun.       ALLISON       Hey, I thought you'd be at work.       HEDRA       No.       ALLISON       Don't tell me we have the same belt.Hedra looks down at her belt. She seems embarrassed by something.       HEDRA       Well... Yeah ... Sorry... Listen, I have to talk to you.       ALLISON       You have to see these. Look, cookies for dogs.       HEDRA       Oh, they're great.       ALLISON       I had to get them. They're so great.       HEDRA       Can I just talk to you for a second...       ALLISON       Buddy !Sam enters from the living room with the puppy in his arms.       HEDRA       I tried to let you know.Sam puts the puppy on the floor.       ALLISON       What are you doing here ? Hedy !       SAM       But no, don't blame Hedy. It's not her fault, okay.Hedra goes out of the hall into the living room.       SAM       I kind of forced my way in here. I had to see you.Hedra comes back in the hall.       HEDRA       I've got to get out of here now. Unless you need me...She looks back and forth to Allison and Sam, and gets just a ´Noªhead-shake as an answer from Allison.       HEDRA       Okay.Hedra goes out of the apartment and closes the door behind her.       ALLISON       Why can't you just leave me alone ?Allison takes her shopping bags and goes into the kitchen.       SAM       You've got to talk to me, baby. You just can't pretend I       don't exist.ALLISON'S APARTMENT - KITCHEN - INTERIOR DAYAllison puts her bags down on a table.       ALLISON       Easier that way, Okay ? Is that so hard to try to make it       easier on me ?       SAM       But people screw up. People do something wrong. And I was       wrong, I admit it. And you just... You cut me off. You       don't take my calls. You don't answer my letters.       ALLISON       Wait a minute. You lied to me ! If she hadn't called, would       I have found out ? I think that's really scary, okay ?       Please, if you want to be nice, just stay away.       SAM       Okay. You know, I know that there is something that you       just can put back together. I was hoping that this wasn't       one of them.       ALLISON       Well, I guess it is. And... I didn't get any letter. So, I       wasn't trying to punish you by not answering it. I just       didn't get it.       SAM       Well, I sent it with the keys.       ALLISON       Well, I didn't get those, either. What did it say ?       SAM       Forget the letter. I love you. I can't exist without you.       I have no excuse for what I did, Allie. You have to give me       a second chance.She goes into his arms. He hugs her. She start crying.       ALLISON       You really hurt me, Sam.       SAM       Shhh !ALLISON'S BUILDING - EXTERIOR DAYClose-up on Allison's kitchen window. We see Allison and Samhugging each other.ALLISON'S BUILDING - LANDING HALL OUTSIDE ALLISON'S APARTMENT -INTERIOR DAYHedra is standing by the window, with a knee on the heater. Sheseems very pensive.An old lady comes out of the elevator, and looks at Hedra.Hedra turns her head toward the lady. She picks up her bag, whichwas sitting on the heater beside her, and moves away from thewindow. She goes to the elevator and presses the call button.A STREET IN NEW-YORK - EXTERIOR DAYWe are across the street from the Rizzoli bookshop, the shop whereHedra is working.RIZZOLI BOOKSHOP - INTERIOR DAYHedra, dressed exactly like she was in the previous sequence, isdialing a number on the telephone on the wall.A lady comes to her.          THE LADY CUSTOMER          Excuse me, can you tell me where the biography section is ?          HEDRA          Oh, yes, towards the front, against the wall.          THE LADY CUSTOMER          Okay.The lady moves away from Hedra.We hear Allison's answering machine talking in the telephone.          ALLISON'S ANSWERING MACHINE (voice over)          Hi, this is Allison Jones. Please leave a message. Thank          you.A beep.          HEDRA          Hi, Allie, it's me. I'm just calling to see if you're okay.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYClose up shot on the answering machine. Then the camera moves awayfrom the telephone table and, in the living room, we see Sam andAllison, standing in a close embrace and kissing each other. Somepieces of clothing are already on the floor, and we see Allison'sfoot stroking the back of Sam's leg.          HEDRA (voice over on the answering machine)          Call me at work. Yeah. Okay. My number's on the fridge.          Okay, bye.RIZZOLI BOOKSHOP - INTERIOR DAYHedra puts the phone back on its hook. She seems very nervous.HOTEL ATHERTON - MAIN ENTRANCE - EXTERIOR NIGHTThe Atherton Hotel is evidently a quite luxurious hotel.Sam and Allison are walking on the sidewalk towards us and theentrance of the hotel.       SAM       Say... Next month, that would give her enough time.       ALLISON       I don't know. Just got herself on hands. Haste wouldn't do.       I'm sure she'll understand.They enter the hotel.HOTEL ATHERTON - LOBBY - INTERIOR NIGHTSam and Allison cross the lobby, hand in hand.An old hotel clerk looks at them from behind his counter.       HOTEL CLERK       Good evening, Mister Rawson.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHTClose-up on the TV set showing a movie featuring James Stewart.       JAMES STEWART (playing his character in the movie)       I have an idea I must be in love with you. Has it hit you       that way ?Reverse angle shot on Hedra sitting in an armchair, with her barefeet on another armchair. She is eating ice-cream from a largeplastic pot. On the floor beside her, the puppy is playing with atennis shoes. Hedra looks down at it and kicks it away with one ofher feet.       HEDRA       Hey ! It's not for you !The puppy goes away yapping. Hedra has a mean look on her face.       JAMES STEWART (voice over from the TV set)       Would you like it to go on for always ?       FEMALE CHARACTER IN THE MOVIE (voice over from the TV set)       How does anything go on for always ?       JAMES STEWART (voice over from the TV set)       Well, one likes to think some things do.Hedra keeps on eating her ice-cream, looking absently at the TV,with the same mean look on her face.HOTEL ATHERTON - A BEDROOM - INTERIOR NIGHTSam is sitting on a chair, naked. Allison, also naked, is sittingon his laps, facing him, and with her legs spread on either sideof the chair. She is moving up an down. They evidently are havingan intercourse.Close-up on Allison's hand behind Sam's back. She is wearing herengagement ring.ALLISON'S APARTMENT - BATHROOM - INTERIOR NIGHTHedra is lying naked in the bath. The bath is almost full, but hotwater is still pouring from the tap. Hedra, her eyes closed, ishumming some music.ALLISON'S BUILDING - EXTERIOR NIGHTFull view of the building.ALLISON'S BUILDING - MAIN ENTRANCE - EXTERIOR NIGHTA Yellow Cab is parked in front of the entrance. On the sidewalk,Sam and Allison are hugging and kissing.Allison moves away from Sam and into the building. Sam goes backinto the cab.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTThe front door opens. Allison comes in and closes the door behindher. She locks the door and puts the security chain on. She putsher keys on the shelf by the door, and looks through her mail. Shestops near Hedra's bedroom closed door, because she notices thereis still some light in the room. She then goes to the telephonetable to look at the answering machine.Still looking through her mail, she enters her bedroom.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTWithout switching the lights on, Allison puts her mail on a chestof drawers.       HEDRA       Where the hell have you been ?Allison gasps at that somber voice in the dark. Hedra switches thebed-light on. She is sitting on Allison's bed, with her legscovered by the sheet, and the puppy on her laps. She is wearingher night-dress, with a pink sweater on her shoulders.       ALLISON       God, Hedy, what are you doing in my room ?       HEDRA       I've been waiting since six o'clock last night to hear from       you. I'm worried sick. Buddy was crying. I thought I might       as well come in here, so it calm down.       ALLISON       Sorry, I guess I just didn't think.       HEDRA       No, you didn't. There's such a thing as a phone, you know.       This is New York. Things happen.       ALLISON       Okay, okay, I'm sorry. It was thoughtless, really. You're       making me feel like I'm sixteen years old here.She goes to the bed where Hedra is stroking absently the puppy.She kneels down at the bedside.       ALLISON       Hey, are you okay ?       HEDRA       Yeah... Yeah. Just... forget it. So, I guess you've patched       things up with Sam, huh ?       ALLISON       Yeah... Yeah, I made him suffer.Hedra looks down at Allison hand stroking the puppy.       HEDRA       Is that an engagement ring ?Allison stands up.       ALLISON       Right.Hedra sighs, and moves the sheet away to get out of the bed.       HEDRA       Beautiful ring.       ALLISON       Thanks.Hedra walks away from the bed. She gives a last look at Allison'sring.       HEDRA       Really great.She walks to the door.       HEDRA       I'm sure you'll be very happy ... you'll be very happy and       I'll be alone.       ALLISON       No, no, wait a little. You'll find someone, Hedy. I mean,       God, if I can...Hedra is standing in the doorway and points to the mirror.       HEDRA       Why don't you look in the mirror ?... Huh ? Look !She comes back into the bedroom. She forces Allison to look atboth of them in the mirror.       HEDRA       Look ! You're in a different league. I know that. You have       this great personality. You have this great style. You're       running your own business. You're always going to find       someone. You'd have to be stupid to think that you       wouldn't.She puts her head in her hand.       HEDRA       Well, I guess you... you and Sam want to be together. So...       I have to move out, right ?... No ?       ALLISON       Well, anyway, Sam's going to keep his place for a while. I       know you just spent a lot on furniture.       HEDRA       Yeah, your timing is great, Allie, it's really great ! You       promised me this wouldn't happen. Exactly what...       ALLISON       Nothing's happened, Hedy, come on. Look, I'll talk to Sam.       Well... Well, maybe we'll move, I don't know. Maybe, we'll       find some place like this, or... I don't know. But, we'll       see, we'll figure something out. Okay ?FONTANA FASHIONS OFFICE - MAIN HALL - INTERIOR DAYFontana Fashions is Mitchell Myerson's company.Close-up on some feminine hands typing on an Apple computerkeyboard. We see various windows, showing models of female dress,opening and closing on the screen.       MITCHELL (voice over)       They tell me they're nervous.       ALLISON (voice over)       Of course, they're nervous. They're salesmen. They want to       be sold.We see the whole room. It is a very big room with large whitecolumns supporting the ceiling, and large bay windows.Girls are working in the background. Some are trying a new dresson a model girl. Mitchell's assistant is typing on the computer,with Allison standing near her. Her name is Barbara, and she is awoman with brown hair and a sleek bob haircut. Mitchell isstanding a couple of feet away.       ALLISON       Let's set up a demo, to show them something. Something       special, something different, you know. Maybe at night, you       know. Open bar, open minds. That's ´Fª night.Mitchell walks to the desk next to Barbara's one, where he startsflipping the cards of a Rolodex.       MITCHELL       I'll set it up, I'll set it up. Maybe I... I'll call you       tonight after I check on some things.       ALLISON       Great.He takes a card from the Rolodex.       MITCHELL       ´8796, Knoxª. Knox ? What's this Knox ?       ALLISON       Oh no, that's Graham Knox. He is my upstair neighbor. That       was just for last night. Oh, he's the first one.       MITCHELL       Well, I've got to admit, I'm very impressed.       ALLISON       Well, maybe you start spreading the word.       MITCHELL       You know, I can see I'm not going to be able to afford you       any more.He puts his hand on Allison's shoulder and walks away. Allisonsmiles and then looks at what Barbara is doing.       ALLISON       Great. Press ´enterª. That's it.ALLISON'S BUILDING - EXTERIOR NIGHTLow angle shot of Allison's building.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTIn the dark, we see the shadow of Allison moving up and down ontop of Sam. She is slightly moaning.Fade out.Later. Sam and Allison are lying on the bed, naked and half-covered by the sheet. Allison's head is resting on Sam's chest.       ALLISON       You thirsty ?       SAM       No.She starts moving out of the bed.       ALLISON       I'll be right back, okay.She stands up and puts a light night-gown on. She walks out of theroom.ALLISON'S APARTMENT - BATHROOM - INTERIOR NIGHTAllison is filling a tooth glass from the tap of the sink.Suddenly we hear voices. Allison seems surprised. We don'tunderstand the words, but we recognize Sam's voice, and thenHedra's light laugh.Allison slowly walks out, carrying her glass.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTHedra is standing at the door of Allison's bedroom. She is holdinga glass containing an orange liquid. She is wearing a night gownand she is holding a book in her other hand.       HEDRA       Well, you'd know more about that than I would.She laughs.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTThe lights are switched on in the bedroom.Sam is lying in the bed, still half-covered by the sheet. He isdrinking from a can.Reverse angle shot of Hedra drinking from her glass. The night-gown is slightly open and we can see that she is just wearingpanties underneath.Allison walks behind Hedra. She is holding her tooth glass, andwith her other hand, she keeps her night gown well closed. Hedraturns her head towards her.       HEDRA       Oh, hi !       SAM (voice over from the bed)       Allie, do you want a sip ?Allison shows her own glass in her hand without answering.Hedra looks at Sam and then at Allison. She seems slightlyembarrassed.       HEDRA       Oh well... Well I think I'll turn in. Goodnight, Allie.She kisses Allison's cheek.       HEDRA       Goodnight, Sam.She walks away toward her bedroom.Sam turns himself around in the bed to lie on his back.Before closing the door, Allison switches the lights off.In a corner of the room, the puppy is wide awake and is sitting inhis basket.Allison lies down on the bed. She hasn't taken her night gown off.Close up shot on Allison's face lying on her back on the bed. Sheseems worried.Reverse angle shot of the fan spinning on the ceiling.Fade-out.Later. Allison is asleep, lying on her side. She is still wearingher night-gown. Her hand is moving on the sheet, and apparentlydoes not find what it was looking for, because Allison suddenlysits up on the bed.We see Sam sleeping and lying on his back, half-covered by thesheet. Allison looks at him and sighs.We hear some strange noises. Allison gets up and off the bed.We see her naked feet walking past the puppy's basket. Allisonopens the door. The puppy leaves his basket and follows her.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTAllison crosses the hall, followed by the puppy. She stops, bendsdown and picks it up.She walks slowly to Hedra's door, which is partly opened. We hearHedra moaning.In the mirror on the closet door, we see Hedra lying on herstomach on her bed, half-covered by the sheet. She ismasturbating. She turns around to lie on her back.Close up shot on Allison's face looking at Hedra. She seems half-surprised, half-fascinated by what she sees.ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHTHedra is lying on her back in her bed. Her sheet is down to herwaist, showing her breasts. She still has one hand between herlegs.The puppy yaps.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTClose-up of Allison's face, looking slightly frightened. She putsthe puppy on the floor.Reverse angle shot on the mirror in Hedra's bedroom. We see Hedrasitting up on her bed.Allison runs through the hall towards her bedroom. The puppyfollows her, but she shuts the door before it can gets in theroom.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTAllison jumps into her bed and lies down. We can hear the puppyyapping behind the door.Allison hears the door opening. She puts her head on the pillow,closes her eyes and pretends she is asleep.Hedra walks slowly across the room towards the bed. She is wearingher night gown.We see Allison's shoulder moving slowly up and down, just as shewas really asleep.Hedra remains a few seconds looking at Allison, then startswalking back towards the door.Close-up shot on Allison's face. Her eyes are closed, but, whenshe hears the door closing, she opens them again.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAYSam is fixing a broken piece of wrought iron on the balustrade onthe balcony. He is screwing a sleeve clamp to fix the broken pieceon the main body of the balustrade.       HEDRA (voice over)       They're ready.       SAM       Right, just a minute.Hedra is coming out of the kitchen with a frying pan. She is justwearing her night gown. She is stirring some scrambled eggs in thepan.       HEDRA       They'll get cold.She eats a piece of crispy bacon out of the pan.       SAM       All right, all right.Sam climbs out of the balcony.A wider shot shows Hedra back in the kitchen, cooking something onthe stove. Sam slides the window down, and then walks across theroom and into the kitchen. The puppy gets out of its basket andfollows him.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYAllison gets out of her bedroom, fully dressed and ready to go towork. She hears voices coming out of the kitchen.       SAM (voice over)       No, no, Rawson is a Norse name.Allison opens the kitchen door.ALLISON'S APARTMENT - KITCHEN - INTERIOR DAYSam and Hedra are eating breakfast seated on either side of thesmall kitchen table. The puppy is eating something off the floor.       SAM (finishing the sentence he was saying in voice over       while Allison was opening the door)       Well, isn't this a thoroughly uninteresting conversation.He looks up at Allison entering the room       SAM       Hey !       HEDRA       Hi !       ALLISON       We going ?She walks to the sink, and picks up an orange. Sam gives her akiss on the cheek. She turns her head and doesn't respond to thekiss.Hedra comes toward them with a plate in her hand. She gives theplate to Allison.       HEDRA       Scrambled or fried ?Allison doesn't take the plate and shows her the orange. She seemsquite upset.       ALLISON (whispering)       This is fine.She gets out of the kitchen. Sam turns his head towards Hedra andthen follows Allison.Hedra walks a couple of steps towards the open door and listen tothe conversation going on in the living room       SAM (voice over)       Allie, sweetheart, this isn't all that urgent. You know, if       you don't want to do this apartment thing today, it can       wait till I get back.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAYHedra is standing in the doorway leading to the kitchen, with theplate still in her hand.Reverse angle shot on the legs of Allison and Sam. The puppy isplaying between them, putting its nose on Allison's leg.       SAM       Why don't we get away together ? Drive to Box Camp ?Reverse angle shot on Hedra bending down and slapping her thigh.       HEDRA       Buddy, come here, boy.She takes a piece of bacon out of the plate and shows it to thepuppy.Reverse angle shot on Allison and Sam.The puppy doesn't respond at all to Hedra's call and food.       HEDRA (voice over)       Come on, three's a crowd, sweetie.       ALLISON       All right, Hedy, he's fine.       (in a much lower voice, for Sam's ears only)       Poor guy's doesn't who's who anymore.Reverse angle shot on Hedra standing up and finishing her plate.Then reverse angle shot again on Allison and Sam.       SAM       Well, wouldn't you like to take a day off... Renting a       car...       ALLISON       No, I'm okay. I'm fine. I just didn't get a very good       sleep, that's all. Nightmares. Okay ?Sam gives her a very tender kiss, which she gives him back.Reverse angle shot on Hedra looking very angry. She goes back intothe kitchen and puts her plate down. She then walks into theliving room, looking very casual.       HEDRA       You've got a good day for it if it doesn't get too hot.She gives a light tap on Sam's back when she walks behind him. Shetakes a food plate off Allison's desk, and starts walking awaytowards the kitchen with the plate.       ALLISON       You don't have to do that, Hedy. You're doing enough       already.       HEDRA       Oh, I don't mind. It's clean when you can't tell I'm here.She enters the kitchen to put the plate down. She then comes backinto the living room.       HEDRA       Oh... Hey, if the eggs were okay, maybe you guys can trust       me with dinner. Do you know when you'll be back ?       ALLISON       Oh, no, it's kind of an anniversary tonight. So I think       we'll be eating out.       HEDRA       Really ? Well, that's great... Well, good luck.We can see, by her expression, that Hedra is not very happy aboutwhat she just heard, but she keeps a smiling face.Sam and Allison walks out of the room.Hedra wrinkles the front of her night gown with her nervous hands.She walks slowly toward the hall.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYSam and Allison are going out of the apartment.       HEDRA       Goodbye.Sam closes the door behind them. The puppy remains behind thedoor, whining.Hedra sits down on the floor, leaning on the wall near the door ofthe living room.       HEDRA       Buddy, come here.She taps her hand on the floor.       HEDRA       Come here, sweetie.The puppy doesn't move away from the front door, and keeps onyapping and crying.       HEDRA       I know... I know.She seems very nervous. The dog keeps on yapping at the door.       HEDRA       Buddy, come !She taps her hand on the floor in a more and more nervous way.       HEDRA (angry voice)       Come !The dog doesn't move from the door, and keeps on yapping.       HEDRA (calmer voice)       Fine.AN EMPTY APARTMENT - INTERIOR DAYA large room in a typical old New-York apartment. Large windowsgoing almost to the ceiling. Through the windows we see roofs withwater tanks on them. The room is empty, save for a ladder and afew tools.The real estate agent is standing with some papers in his hand.Sam and Allison are coming towards him from the other side of theroom.        SAM        But this is half the size for twice the price from your        apartment.        ALLISON        It's easier this way, believe me. And this could be nice.They walk away toward the exit of the apartment. The agent remainsstanding on the same spot.        SAM        Can you imagine going from The Victoria to this.NEW YORK - A STREET NEAR ALLISON'S PLACE - EXTERIOR DAYA busy street in New York, with small shops with goods for sale oncounters on the sidewalk.Sam and Allison are walking down the street.        SAM        Do you think we can smoke her out ?        ALLISON        This is such a mess. I just can't do it right now. I think        I'm her only friend.They turn the corner of the street, and we hear a scream. Sam andAllison both lift their heads.ALLISON'S BUILDING - EXTERIOR DAYLow angle shot taken from ground level showing a woman running onher balcony. She bends over the balustrade to look down.        THE WOMAN ON THE BALCONY        My God, what happened ?Reverse angle shot showing what the woman sees from her balcony.Buddy, the puppy dog, is lying motionless on the pavement, with agroup of passers-by around it. One of them points his finger tothe upper stories of the building.ALLISON'S BUILDING - LANDING HALL OUTSIDE ALLISON'S APARTMENT -INTERIOR DAYAllison and Sam are running toward Allison's apartment door.Allison opens it.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYAllison rushes into the apartment, followed by Sam.        ALLISON (yelling)        Hedy !She runs past the kitchen door. We see Hedra sitting at thekitchen table. She stands up when she sees Allison.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAYAllison stops in front of the window. The window is open and thebroken piece of wrought iron, on which Sam was working earlier inthe morning, is missing, leaving a gap in the balustrade, a gapwide enough for a puppy dog to go through.       ALLISON (screaming and crying)       He's dead ! Buddy's dead !Sam climbs on the balcony.Close up on the gap in the balustrade.       HEDRA       What ?Hedra seems genuinely surprised. She still has the earphones ofher Walkman around her neck.       ALLISON (crying)       You left the window open. How could you do that ?       HEDRA       But I thought we could leave it open. I know you fixed it       this morning.Sam is still on the balcony, looking at the balustrade.       SAM       I thought I did.       HEDRA       It's me. I interrupted you when I called you in for       breakfast. And Allie, it's my fault.She starts crying.Allison rushes out the room.       HEDRA       Allie !       SAM (voice over)       Allie !Sam runs out of the room after Allison.       SAM       Allie !Hedra walks to the balcony and slowly slides the window down.Fade out.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTAllison is lying in her bed with the sheet up to her neck. Sambends over her and gives her a light tender kiss on the lips. Thenhe stands up. We hear him leaving the room and closing the door.Allison turns her head with her eyes still closes.ALLISON'S APARTMENT - KITCHEN - INTERIOR NIGHTHedra is sitting on the floor in the dark, leaning on the wall.She is sorting things and putting them in a box in front of her.Hearing the musical noise of a plastic toy, we understand she isputting the puppy's stuff away.Sam comes out of Allison's room and, walking in the hall in frontof the kitchen open door, stops and looks at her.       SAM       Thanks, that pill helped.       HEDRA       Are you still going on that trip tomorrow ?       SAM       Well, she wants me to.       HEDRA       If I'd just let you finish your work this morning...We can hear repressed tears in her voice. Then she starts cryingfor real.       SAM       Listen, if she blames anybody, she blames me, huh ?Sam kneels down.       SAM       Shh !Sam takes her in his arms where she goes on crying. He slowlystands up, still holding her in his arms. He leads her to herroom.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTOutside Hedra's room. Sam is in the doorway. Hedra moves slightlyaway from him and then hugs him even stronger.Gently, he pushes her away from him. They almost kiss on themouth, but Sam takes her arms off his neck and goes out of herroom, where she stays. He closes the door behind him, and sheholds his hand on the doorknob. Then she moves her hand away andthe door closes. We hear her sobbing behind the closed door.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAYAllison is asleep on her bed, dressed with a short black slip andblack panty hoses.The phone rings. Allison wakes up slowly, and, with her eyes stillclosed, feels around on the night table to find the phone. Sheeventually picks it up.       ALLISON       Hello ?... Hi, Mitch...She raises her head.       ALLISON       What ?She looks at the clock.       ALLISON       God ! I know... I'm... No, I'm just... I'm just running a       little late.She picks up the pill bottle on the night table and looks at it.       ALLISON       I didn't forget. I dunno... Just hold them till five,       okay ? Thanks.She puts the phone down.She gets up and goes into the dressing room. She starts lookingfor a dress. She rapidly goes out.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYThrough the open door of the bathroom, we see Allison looking fora dress.She then goes out of the bathroom, crosses the hall and open acloset, in which more clothes are hanging. She picks up threehangers with clothes on them.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAYShe enters her bedroom, carrying the hangers. She throws one ofthem on the bed, and goes, with the two other ones, back into thedressing room. She picks up a hanger with a light brown jacket,and compares it with the one on the hanger she brought from thecloset in the hall. They are exactly the same. Then she picks up ared dress, and compares it with the one she brought from thecloset in the hall. They're both the same. She looks a bit worriedby what she just discovered.FONTANA FASHIONS OFFICE - MAIN HALL - INTERIOR DAYClose-up on an Apple Computer screen, showing dress models. Thefile is called ´Fontana Fashionsª.       MITCHELL (voice over)       You were terrific...We see Mitchell, very smartly dressed, with a white Roman-collarshirt and a black jacket. He is holding a glass of Champagne.       MITCHELL       ...but you know that, don't you ?A large section of the main hall of Fontana Fashions Office hasbeen transformed into a reception room. Dresses are hanging onracks. On a round table with a white tablecloth, many half-emptyglasses of Champagne, two silver bucket with Champagne bottles inthem, plates of ´petit foursª, and a lot of flowers.Mitchell and Allison are both standing in front of a large TVscreen, set on a hight stand, and showing the ´Fontana Fashionsªcomputer files.Allison, wearing a very smart black short sleeveless dress, puts avideo cassette back in its box.       ALLISON       Thank you.Mitchell goes to the table, puts his glass down, and fill anotherglass with Champagne.       MITCHELL       And here, I thought all the guys would resist you. As if       anyone ever could.He gives the glass to Allison, who doesn't take it.       ALLISON       Oh no, here, I've got to go. I'm just cleaning a bit.       MITCHELL       Hold it. Hold it. Not so fast. Now everybody under me knows       more than I do. I hate that.       ALLISON       Well... Block up some time for me next week. Then... it's       just a little late tonight.Mitchell kneels down on the floor.       MITCHELL       Oh, please, please, just a taste.He puts the glass on the top of his head       MITCHELL       Something simple. Right now.He gives the glass to Allison, who takes it.       ALLISON       Okay... Something simple.She walks to a table with an Apple computer on it, puts her glasson the table, and sits down. Mitchell comes behind her, drinkinghis glass, which he then puts on the table. He bends down behindAllison, who starts typing on the keyboard.       ALLISON       All right... You know, this is just the Mickey-Mouse stuff,       but it does come in handy.Close-up on the computer screen. The ´Fontana Fashionsª file ison. We see the outline of a model, then a small window appears onthe model. It says ´Are you sure you want to quit ?ª and below twochoices, ´Cancelª or ´OKª. Allison chooses ´OKª. ´FontanaFashionsª file disappears, replaced by another window that says´Search by vendorª, and in the bottom of the window, ´Enter VendorName:ª, with an empty box underneath.       MITCHELL (voice over)       Huh-huh.Back to Allison typing. Mitchell's head is just behind hers.       ALLISON       Okay. Enter the vendor's name.       MITCHELL       Oh !... Vendor...He bends over Allison to type on the keyboard, encircling her withhis right arm.       MITCHELL       J-o-n-e-s... All..i...son.Allison seems a bit embarrassed by this close physical contact.       ALLISON       Very good.Close-up on the screen, where a new window titled ´Acc. Payable -Summaryª. In the window, a data chart that reads as follows :COMPANY: Concept Software CONTACT: Jones, Allison tel:212-555-9814                          Payment History    contract price:            $16,000.00    payments to date:          2    balance outstanding:       4,500.00                                          15-Jul-91     $7,000.00                                           1-Aug-91     $4,500.00    last paymt. sent:            1-Aug-91    next paymt. due:           15-Aug-91 ***PAYMENT PAST DUE***    no more records       ALLISON (voice over)       See, here you go. ´Contract priceª, ´Payments to dateª,       ´Balance outstandingª.Back to Allison and Mitchell looking at the screen       MITCHELL       Ho-ho. According to this, we should have paid you last       Friday.       ALLISON       That's all right. Barbara will handle that.       MITCHELL       Not till I give her the word.Allison turns to him, and seems not to like his strange smile.       ALLISON       Well, I hope you're satisfied with what I've done.       MITCHELL       So far.He walks away from her and goes to the Champagne table.       ALLISON       But this is it. I mean, there ain't much more. Just maybe a       little fine tuning, that's it. I have some free time now,       if you want us to set up some meeting with your colleagues.Using a napkin, he is drying a bottle of Champagne he just got outof its bucket.       MITCHELL       I was thinking that maybe I want to keep you all to myself.He throws the napkin on the floor, and comes back toward Allisonwith the bottle of Champagne. He puts the bottom of the bottle onAllison's bare shoulders. She shivers.       MITCHELL       Top her ?       ALLISON       What are you doing ?He puts his other hand on her shoulder. Then he puts the bottle onthe table, and starts massaging her shoulders.       MITCHELL       That's just that you're so tight.       ALLISON       Mitch, please, don't. That's enough.He grabs her from behind and squeezes her in his arms.       ALLISON       Mitch...       MITCHELL       Hey, look...He kisses her neck.       MITCHELL       I've been a good boy, haven't I ? And you've been a good       girl. We have nothing to prove any more.He keeps on kissing her neck, and puts his hand inside her dressto reach her breast. Allison seems to be on the verge of tears.       MITCHELL       This is your last chance to play before you're an old       married lady.       ALLISON       Let me turn around, okay ?She has a strange smile on her lips.       MITCHELL       That's better. That's better.He stands up.       MITCHELL       Just a second... A second...While she slowly turns around on her swivel seat, he startsunzipping his pants, and lets them fall on his ankles, showing hiswhite trunks.Allison, still   seated, is now facing him, her face at the level ofhis crotch. He   takes her head to guide it toward his privateparts. Allison   looks up at him and then, with both fists and allher might, she   hits him very hard between his legs. He screams.She jumps from her seat and runs out of the room.He falls on the floor, holding his private parts with both hands.       MITCHELL       Fucking bitch !ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHTClose-up on Allison, still in her black dress, and holding a glassof wine.       HEDRA (voice over)       Here. Take this.We see Hedra's hand giving some pills to Allison. She thenreplaces the glass of wine by a glass of water.       ALLISON       I can't believe I didn't see it coming. It's just so       humiliating.       HEDRA (voice over)       You're too nice, that's the problem. Men are pigs. I don't       care how nice they seem. You always fall for that.       ALLISON       But what I did... It was like something inside taking over.       It was scary.We see Hedra standing near the mantlepiece. She is wearing anorange T-shirt and a red skirt.       HEDRA       No, Allie, don't turn this around. You're the victim. He       should pay for this.She kneels on the floor in front of Allison.       ALLISON       He'll pay. I set up all my programs, so they have to       eventually.Hedra laughs.       HEDRA       What ! I'm not talking about getting paid, I'm talking       about getting even.       ALLISON       You don't understand. It's the contacts more than the       money. When I just took the job for the word of mouth and       now that's gone. It's just like he's put me back to square       one.       HEDRA       Only if you let him. But you won't let him, will you ?       ALLISON       What can I do ?       HEDRA       Oh, Allie...She opens Allison's purse and takes her address-book.       HEDRA       Of course, Sam's away. I didn't want to say anything... How       he could go on that trip the day after Buddy died.She walks to the telephone table in the hall, flipping the pagesof the address-book.       HEDRA       Especially when it was his fault.Since the bedroom door is wide open, we can see Hedra in the hall.She picks up the phone and starts dialing.       HEDRA       Hello ! May I speak with your husband, please ?       ALLISON       Who are you calling ?She gets up from the sofa on which she was sitting.       HEDRA       Yes, I know it's late. Tell him it's Allison Jones, he'll       take the call.Allison has come to the telephone table.       ALLISON       Who are you talking ?Hedra shushes Allison with her finger.       HEDRA       Listen, you pathetic shit. Do you want to hold on to your       business ?... No, you listen to me this time, asshole ! If       you trash me around town, you're fucked and your family is       fucked, too ! You got that ? It won't just be you.She puts the phone down, and starts laughing.       HEDRA       Let me tell you, he is pissing in his p.j.'s right now.       ALLISON       Gee, Hedy, I hope you never get mad at me.ALLISON'S BUILDING - EXTERIOR DAYHigh-angle shot of the building, taken from the roof of thebuilding across the street. We see Allison and Hedra coming out ofthe building. From this height, they look like a couple of ants !       ALLISON (voice over)       Hedy, we really have to talk.       HEDRA (voice over)       Allie, please, I have a surprise for you.       ALLISON (voice over)       Hedy !A STREET OUTSIDE JOHN DELLAR'S HAIR SALON - EXTERIOR DAYAllison and Hedra are walking on the sidewalk. They stop in frontof the shop of ´John Dellar's Hair Salonª.       ALLISON       Oh, Hedy, I'm not really up for this today.       HEDRA       What ?She puts her hand on Allison's neck.       HEDRA       No, no, no, this is going to be fun. It'll make you feel       better, promise. Okay ? And I'm paying. Go.She takes Allison by the hand and drags her to the door of theshop.       HEDRA       Let's go.Allison tries to resist Hedra.       ALLISON       Oh, Hedy.       HEDRA       It'll be fine, come on.They enter the shop.JOHN DELLAR HAIR SALON - INTERIOR DAYAllison is seated in front of a large mirror. An attendant istaking the protection garment off her shoulders.       ALLISON       Thank you.She smiles. She seems happy and puts her hands through her hair.Suddenly she stops, and the smile disappears from her mouth. Shelooks up in the mirror at someone descending the stairs from theupper level of the shop. She makes the swivel chair turn around tohave a better look at the staircase.Close-up on Hedra going down the stair. Her hairdo is so much likeAllison's one that she almost looks like a twin sister of Allison.Back to Allison's thunderstruck face.       ALLISON       You've got to be kidding.A STREET - EXTERIOR DAYAllison and Hedra are walking in a busy street. If Hedra was not abit shorter than Allison, one could think they were twins. Allisonseems angry.       ALLISON       You just should've asked first.       HEDRA       Well, I wanted it to be a surprise.They stop at a newspaper stand.       ALLISON       Can I have the Consumer Market, please.       NEWSPAPER STAND ATTENDANT       Sure.The attendant picks up a magazine from a rack and Allison picks upsome other magazines at random.       HEDRA       This feels so good on my neck. I didn't think you'd mind.Allison is paying the attendant.       ALLISON       Thank you... please.Hedra seems to be worried by Allison's very cold reaction to her´surpriseª. She seems even a bit sad.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAYAllison is looking at the dresses hanging in the closet.       HEDRA (voice over)       I'm going to take a shower.Allison walks out of her room into the hall.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYThrough the open door of the bathroom, we see Hedra turing thewater faucet on in the shower cubicle, then taking her belt off.She closes the door of the bathroom.Allison stealthily runs into Hedra's bedroom.ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR DAYAllison enters the room, and looks around. She walks to the closetand starts looking through Hedra's clothes. Suddenly, she noticesthe shoebox on the shelf above the clothes.Close up on the shoebox and then on Allison's hand picking it up.Allison opens the shoebox. She sits down on the bed, and startslooking through the content of the box. She takes several papersout of the box and looks more closely at them.Close-up on the documents Allison is looking through. Severalphotographs, and then a black and white photograph of two twingirls with a puppy between them. The twin girls are the one we sawat the very beginning of the film.Allison looks very attentively at the picture. She puts thedocuments she is holding into the lid of the box and startslooking at the rest of the documents.Close-up on an envelope that reads :                            ELLEN BESCH                        441 OCEANSIDE EAST                             TAMPA, FLAAllison seems surprised by the name on the envelope.       ALLISON       Ellen Besch...She looks through all the other envelopes. On another envelope, acomputer-generated label has been glued on the original EllenBesch address. It reads :                  AUTOMATED MAIL PO BOX NEW YORK                           PO BOX 72810                        c/o 845 W. 93RD ST                         NEW YORK NY 10024She puts the envelopes back into the box, and picks up otherdocuments. They are newspapers clippings.Close-up on the clipping Allison is holding. There is a picture oftwo young twin girls, and above, a title that reads :         NINE-YEAR-OLD BESCH TWIN DROWNS AT FAMILY PICNICAnd underneath :                       Services were held Friday at                          Hope Lutheran Church for                      nine-year old, Judy Besch, of                          Mapic Drive, who drowned                        Tuesday at a family picnic.                      Circumstances surrounding her                            death remain unclear.                      A eulogy was delivered by Dr.                   William Starr, the family's doctor                         for many years. Among theShe puts the clippings back into the box and picks up anotherenvelope.Close-up on the envelope, which reads :                               ALLIE JONES                         768 W. 74TH ST. #1103                           NEW YORK, NY 10017       ALLISON (voice over)       Sam !We see Allison's hand looking inside the already opened envelopeand taking a key-ring out.ALLISON'S APARTMENT - BATHROOM - INTERIOR DAYClose-up on Hedra's hand turning the water faucet off.ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR DAYAllison is reading the letter which was with the keys.Close-up shot on the letter. It was written on a Hotel Athertonstationery. The close-up is too close for us to be able to readall the words, but we still can read :                              DEAR ALLIE,                            I KNOW HOW MUCH I HU                         AND I KNOW HOW LITTLE MY                       CAN DO TO MAKE THINGS RIGHT.                          BUT PLEASE FOR THE SAKE                     WHAT WE HAD, GIVE ME THE CHANCE                                TO SAY THEM.                          YOU FORGIVE ME, MAYBE I                     TOO. I NEVER WILL, IF WHAT I'VE                           HAS RUINED EVERYTHING.                    I'LL CALL YOU IN A FEW DAYS,IF I                       DON'T HEAR FROM YOU.                         I LOVE YOU, ALLIE                                SAM                        DAY YOU GAVE ME I'MAllison reads the letter very attentively. Suddenly she hears somenoise coming from the bathroom and turns her head towards thenoise.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYThe bathroom door is opening slowlyALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR DAYAllison puts the letter back in the envelope, the envelope backinto the box. She then puts everything back into the box, closesthe box and puts it back on the shelf.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYAllison comes out of her bedroom, picks up her handbag and startsunlocking the safety chains and locks on the front door, while,through the open bathroom door, we see Hedra, wearing a long whiteshirt, taking care of her hair in front of the mirror.       HEDRA       Do you want me to fix you something before I go ?       ALLISON       Oh, no, thanks. I'm just going up and visit Graham.       HEDRA       Okay.       ALLISON       Okay.       HEDRA       I love myself like this.       ALLISON       Have fun.Allison opens the door and goes out.       HEDRA       Yeah.Allison closes the door behind her.ALLISON'S APARTMENT - BATHROOM - INTERIOR DAYClose up on the mirror. We see Hedra still fixing her hair       HEDRA       I love myself like this.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR NIGHTAllison rings the doorbell of Graham's apartment. Getting noanswer she knocks on the door. Getting no answer again, she walksaway from the door.ALLISON'S BUILDING - MAIN STAIRCASE - INTERIOR NIGHTAllison is going down the stairs. She opens a service door, and,hidden by this door, watches Hedra waiting for the elevator.Allison rushes back to the staircase.High-angle shot of the whole staircase, with Allison running down.NEW YORK - THE STREET OUTSIDE ALLISON'S BUILDING - EXTERIOR NIGHTThis is the street outside Allison's building, probably seen fromthe entrance of the building, or very near it.Hedra, coming from behind the camera, crosses the sidewalk,towards the street.       HEDRA       Taxi !She raises her hand to stop a taxi cab.Allison, also coming from behind the camera, hides behind thecorner of a wall to watch Hedra.       HEDRA       Hey !A yellow cab stops and Hedra climbs in it.As soon as the cab is gone, Allison rushes from her hiding spotand runs to the street, with her hand raised.       ALLISON       Taxi !YELLOW CAB - INTERIOR NIGHTWe are inside Allison's cab. In front of us, through thewindshield, we see the back of Hedra's cab driving in the heavytraffic of New York.       ALLISON (voice over)       Don't lose her.Reverse angle shot on Allison seated in the back of the cab.Allison bends slightly to speak to the driver.       ALLISON       It's very important. She has something of mine.NEW-YORK - A QUIET STREET - EXTERIOR NIGHTCompared to Allison's neighborhood, this is a very quiet district.Almost no one in the streets. No shops.Hedra's cab has just stopped in front of a grim building with afire escape. Hedra walks out just as Allison's cab stops at thecorner of the street. Allison walks out of her cab. Both cabsdrive away, and Allison starts following Hedra from a distance.Medium shot of Allison following Hedra.Hedra reaches her destination, another grim building, and goesdown a stairway, starting from the street and going down to thebasement of the building. A strong man with a ponytail and glassesis guarding the entrance. But he lets Allison go down the steps.Other people follow Allison.BASEMENT NIGHT CLUB - INTERIOR NIGHTAllison goes down the last steps to the basement, which actuallyis a sort of night club. We hear some religious-sounding musicwith drum rhythms.The place is quite dark, but flashes of light enable us to seethat all the customers are very smartly dressed, men wearingelegant suits and neckties, and women wearing elegant dresses.They seem to be watching some sort of a show.A young woman, wearing a black sleeveless dress and long blackleather gloves, notices Allison and comes towards her.       THE WOMAN       Do you want to play ?       ALLISON       No, thanks.Allison walks away, followed by the young woman. She passes near acage, inside which we see a middle-aged man. The man gets his handthrough the bars of the cage, and strokes Allison's cheek. Allisonjumps, rubs her cheek and moves away from the cage.Behind Allison's back, we see the young woman, who was followingher, coming to the cage and speaking to the man inside.From where she is, Allison can see what's going on at the bar,without actually be seen by the people seated on high stools alongthe bar.Reverse angle shot on the bar itself, and more precisely, onHedra, seated on a stool, with a man, seated on another stool,stroking her cheek.       HEDRA       Come on, Jim.The bartender, a bald bare-chested young man, turns toward Hedra.       THE BARTENDER       Allie !Hearing her name, Allison starts and looks at the bartender       THE BARTENDER (voice over)       Hey, Allie ! Regular or diet ?Hedra turns towards the bartender.       HEDRA       Diet.A flash of light enable us to have a better view of Hedra'scompanion, the man she called ´Jimª. He looks a bit like Sam.       JIM       Something's different.Hedra smiles.       HEDRA       Yes.       JIM       Yes.Allison is staring at the couple       HEDRA (voice over)       Yeah, you look like my sister's boyfriend.Jim laughs.GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHTWe hear the first sentence said by Graham in voice over theprevious sequence.       GRAHAM       Jesus, Allie, what is it ?Graham is opening his front door to Allie, who enters theapartment, but stays near the open front door.       ALLISON       God, you've got to help me, Graham. You've got to tell me       what to do.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTHedra opens the front door and enters the apartment.       HEDRA       Allie ?She closes the door and locks it.       HEDRA       I'm home.She drops her keys on the shelf near the door and crosses thehall.The camera moves into the living room.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHTThrough the open door to the kitchen, we see Hedra crossing thekitchen to go into the living room.       HEDRA       Allie ?She seems slightly drunk and doesn't control her movements verywell. Before entering the living room, she takes a blue bag in thekitchen (maybe something to eat) and drops it on a table. But,being a bit nervous, she actually drops the bag on a small bowlcontaining various objects, and the bowl falls on the floor andbreaks into pieces.       HEDRA       Allie ?Hedra looks at the fallen bowl and bends down to pick up thedebris.       HEDRA       God...The bowl has fallen near the air vent. It is exactly the same asthe one which, earlier in the film, had enabled Graham to hear Samand Allison's conversation.Hedra kneels down to gather the pieces of the broken bowl. We heara faint voice. Hedra raises her head, trying to find out wherethis faint voice comes from.First, we don't understand the words the faint voice is saying,then it becomes clearer. It's Allison's voice speaking to Grahamin his apartment.       ALLISON (voice over from the air vent)       It's like looking at myself. And she lies. I found a       shoebox in her room.Hedra understands that the voice is coming from the air vent, andshe moves closer to it.       ALLISON (voice over from the air vent)       Nothing she told me is true. The twin that she said died at       birth. It was in an accident when she was nine.Hedra moves a brass knob on the air vent, to open it wider and tohave a better understanding of the words.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHTGraham and Allison are sitting on a couch. Graham has a glass inhis hand, and Allison a cup.       ALLISON       And she stole a letter that Sam wrote me. I have to do       something.Graham gets up from the couch.       GRAHAM       Get rid of her.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHTHedra is still kneeling on the floor, with her ear close to theair vent, listening to the conversation between Allison andGraham.       GRAHAM (voice over from the air vent)       Call the police if you have to. If she steals thing you       have to get her out of the place.We hear steps. Hedra looks up at the ceiling, and then slowlystands up.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHTGraham is pouring something we don't see in a glass.       ALLISON       You're right. I'll tell her tonight.Allison gets up from the couch, with her cup in her hand.       ALLISON       I can't just throw her out on the street. I mean, she       obviously needs help.       GRAHAM       She is a lunatic, Allie. She's got to go. Do it tonight.GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHTClose-up on the front door. The door slowly opens and a handcovered by a black glove comes through the opening of the door. Wehear the conversation going on between Graham and Allison.       ALLISON (voice over)       It's just that I feel responsible for her somehow. I'm the       only one she has. Someone like her parent.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHTBack to Graham and Allison.       GRAHAM       Allie, either she's gone by Saturday, or I go to the       police, okay ?Allison laughs.       ALLISON       That was very impressive.       GRAHAM       I can be butch when I have to. I got it from my mother.GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHTThe room is very dark and only lit by the street lights throughthe window. A shadow moving in the dark. We hear the conversationcoming from the living room.       GRAHAM (voice over)       Look, if you worry about her, I've got a friend who's a       shrink. Maybe he can help her.The shadow moves away from the dark corner where she was hiding :it is Hedra, who starts walking cautiously in the room.       ALLISON (voice over)       Oh God ! Maybe after I talk to her, she just leaves.       GRAHAM (voice over)       Do you want to sleep here tonight ?       ALLISON (voice over)       Oh, don't tempt me. No, I just needed to talk it out.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHTAllison and Graham are both standing in the middle of the room.       ALLISON       Thanks.She walks to a table to pick up her purse.GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHTSensing that Allison is going to leave, Hedra walks back into adark corner to hide herself.       ALLISON (voice over)       She's not going to chase me out of my own place.       GRAHAM (voice over)       When's Sam coming back ?GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHTGraham is carrying his cat in his arms.       ALLISON       Oh, tomorrow.Allison picks up her purse and they start walking towards thefront door.GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHTThey walk along the corridor, Graham still with his cat in hisarms.       GRAHAM       That's good.       ALLISON       Yeah.       GRAHAM       Oh, this is a little embarrassing, but since we're letting       our hair down... Those old air vents between our apartments       carry sound. It's a weird acoustic thing.They've stopped walking.       ALLISON       Oh... What do you hear ?He does not answer but he makes a face and then laughs, which is agood answer to Allison's question. She puts her head down in herhand, feeling a bit embarrassed.       ALLISON       Oh, no ! Oh no ! I'm... I'm sorry.       GRAHAM       Big deal. I am sorry. I should've mentioned it sooner.       ALLISON       I'm so sorry.       GRAHAM       You're sure you want to go down there ?       ALLISON       Yeah. She's my problem. I'll handle it.She starts walking again towards the front door. Graham followsher.Allison opens the door.       ALLISON       Thank you for the tea. I'll see you tomorrow.       GRAHAM       Okay.Allison goes out and Graham closes the door behind her, and thenlocks it.ALLISON'S BUILDING - MAIN STAIRCASE - INTERIOR NIGHTHigh angle shot of the staircase. Allison is walking down thestairs.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTThe apartment is all dark. The front door opens and Allison walksin, and closes the door behind her.       ALLISON       Hedy ?She puts her keys on the shelf by the door.       ALLISON       Hedy ?She walks around the hall, looking in all the rooms.       ALLISON       Hedy ?We hear a little noise, and we see Allison turning her head.Close up on a mirror-covered door opening slowly. At that verymoment, we, the spectators, do think we are still in Allison'sapartment. But actually, we are in :GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHTThe door opens slowly with a light squeaking noise. We hearGraham's voice talking on the telephone in the next room.       GRAHAM (voice over)       This is serious, it's a lot more serious than I thought.       No, I know you can't diagnose over the phone.The camera moves away from the door, then looks into the living-room, where Graham is sitting in the dark, only lit by the streetlights coming through the window, and talking in the telephone.       GRAHAM       I don't know. I don't even know what hyper-vigilant is. No,       I've never met the woman. She could be infantile or       paranoid, whatever. I don't know...ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR NIGHTClose-up on the air-vent. We see Allison's hands sticking piecesof large adhesive tape on the air-vent. We hear the faint voice ofGraham still talking on the telephone, but we don't understand thewords.Larger shot of Allison sitting on her bed and sticking the piecesof tape on the air-vent.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHTGraham is still talking on the phone.       GRAHAM       I tell you what, let me go downstairs. If I call you from       there, will you talk to my friend ? She can tell you better       than I can. Right, okay.We hear some noise in the background, and Graham turns his headtowards the noise.Quick reverse angle shot on the corridor seen from the living-roomdoor. It looks empty and quiet.Back to Graham on the phone.       GRAHAM       Thanks. So... so, all right... so, so you might hear from       us. Love to Jack. And you're not charging me for this.He puts the telephone down on his set on the table, turns his headagain in the direction where he heard the strange noise, and getsup. He thinks it may be the cat and calls her with a soft gentlevoice.       GRAHAM       Carmen...He gets out of the room into the corridor.GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHTGraham makes little noises with his lips to attract the cat. Hesuddenly hears the wooden floor squeak behind him. He turns hishead.We see Hedra coming out of a room and walking towards the frontdoor. Since we see only the back of her head, she can easily bemistaken for Allison.       GRAHAM       Allie !She doesn't turn her head and just wave her hand.       HEDRA       Goodnight.She has almost reached the front door, when Graham realizes thatsomething is queer about the girl's attitude.       GRAHAM       Hedy ?She turns around. She seems very panicky suddenly. She startsfumbling with the locks of the door, and drops the safety bar onthe floor.       HEDRA       I'm sorry...       GRAHAM       Wait... hey, wait, it's okay. Take it easy. Take it... We       just want to get you some help.Hedra is kneeling down, fumbling with the fallen safety bar.       HEDRA       No, Please... Please... I didn't do anything wrong.Graham is walking slowly towards her.       GRAHAM       Okay, take it easy.       HEDRA       I'm sorry, I didn't do anything.       GRAHAM       No problem.Hedra suddenly stands up with the safety bar held firmly in bothhands. She strikes Graham first in the stomach, then, as hedoubles up with pain, she strikes him again on the shoulder.Graham falls on the floor, and she gives him a final blow on thehead, leaving him unconscious on the floor.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHTAllison is standing by the desk, talking on the telephone andholding the telephone set with her other hand. We hear a beep.       ALLISON       Hello, Mr. Besch, you don't know me, my name is Allison       Jones. I think my room-mate Hedra is your daughter. Ellen.       I'm not sure, really. She's... She's been under a lot of       stress lately... And... Well... Huh... Huh... God... I       really, really would not get into this on the answering       machine. Could you please give me a call ? Or her ? I'm       sure you have the phone number. It's 2-1-2-5-5-5-9-8-1-4.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTThe front door opens, and Hedra comes in.       ALLISON (voice over, still talking on the telephone)       I'll really appreciate, I'll really. Don't say I called.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHTAllison, still on the phone, turns her head towards the fronthall.       ALLISON       Oh, thank you.She puts the phone down.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTHedra closes the front door and walks slowly across the hall       ALLISON (voice over)       Hedy ?Hedra enters the bathroom and closes the door behind her.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR NIGHTAllison is standing near the window, apparently not knowingexactly what to do next.ALLISON'S APARTMENT - BATHROOM - INTERIOR NIGHTHedra is sitting naked under the shower. She is playing with ajewel ring and humming softly some musical tune.We hear several knocks on the door. Hedra doesn't react at all.       ALLISON (voice over)       Hedy ?Hedra answers without moving her head.       HEDRA       What ?Apparently, Hedra has not spoken loud enough above the noise ofthe shower, because Allison knocks again on the door.       ALLISON (voice over)       Hedy, are you all right ?       HEDRA       I can't hear you.She has spoken with a very soft voice, and apparently Allisonhasn't heard her, because she opens the door, and walks slowlytowards the shower       ALLISON       It's okay, it's just I was starting to worry. You've been       in here so long. I'm making some tea. Do you want some       tea ? Camomile.Hedra turns slowly her head towards Allison and smiles.       HEDRA       Yeah... that'd be great.She turns the shower off, and stands up. She picks up a towel.Allison turns her head, apparently feeling embarrassed to see hernaked.Close up on the basin, full of water, and where Hedra's clothesare soaking. The water is red with what looks like blood.       HEDRA (voice over)       I'm not feeling really well.Hedra, wrapped in a large bath towel, has noticed that Allison hasbeen looking at the blood in the basin.       HEDRA       Mine always comes when I'm wearing something nice.She walks slowly across the bathroom. When she passes near thebasin, she notices that a small part of her clothes are not insidethe basin, and she moves it back inside.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTStill wrapped into the bath towel, Hedra walks slowly out of thebathroom, followed by Allison.       ALLISON       Are you crampy ? Sometimes tea helps. Something warm. We       could talk.Hedra has reached her room's door, and she turns around.       HEDRA       About what ?Hedra walks into her room followed by Allison.       ALLISON       About Sam and I wanting this place for ourselves...ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHTHedra has not switched the light on in the room. The room is justlit by the street light coming through the window.       ALLISON       ...It's just crazy keeping two places like this.Hedra sits on the bed. She is wearing a night shirt and a largesweater over the night shirt. (NOTE - This could be considered asa continuity goof. Apparently, Hedra has been able to change fromthe bath towel to the night shirt and sweater in less than asecond !)       HEDRA       Well... Well, I... I thought you wanted a long engagement       so you could make sure you can trust him again.       ALLISON       Well, frankly, I think that's my business. I'm sorry, but       it is.Hedra cracks her knuckles.       HEDRA       Huh-huh... It's me, isn't it ? I'll change, Allie. I can       change.       ALLISON       No, that's not it at all. You've been a good room-mate.       It's just... This is the man I'm going to marry. I want us       to start our lives together.       HEDRA       Well... He will cheat on you again, that's a promise. And       when he does, don't come running to me, okay ? Cause...       I've had it with you. You're so fucking weak !Suddenly, she has a very menacing face. Allison, still standingup, looks down at her with a very hard stare. Hedra, seeing thatstare, calms down and laughs.       HEDRA       I'm sorry. I'm so sorry.The phone rings, but Allison, who is still looking down at Hedrawith her very hard stare, doesn't move. Hedra turns her head inthe direction of the phone.       HEDRA       Allie ?Hedra now has a very sweet look on her face. She gets up and outof the room.ALLISON'S APARTMENT - FRONT HALL - INTERIOR NIGHTHedra picks up the phone from the little table in the hall.       HEDRA       Hello ?Allison enters the room from Hedra's bedroom.       ALLISON       Is it Sam ?We hear a male voice over the phone. We quickly understand it'sHedra's father.       HEDRA'S FATHER (voice over on the telephone)       Ellen, is that you ? Talk to me, or your mother. Honey, we       miss you. We want you to come home.       HEDRA (with a deep menacing voice)       Don't call here again.       HEDRA'S FATHER (voice over on the telephone)       Ellen, listen. We'll stop sending the cheques if you don't       come. I promise, no doctors this time. Just come.Hedra puts the telephone down. She doesn't move for a couple ofseconds, then looks at Allison, trying to look more casual thanshe actually is. She has a little nervous laugh.       HEDRA       Obscene phone call. New York !The phone rings again. Hedra picks up the receiver and slams it onthe table. Then she presses on a button on the telephone set tocut off the communication.       HEDRA       Find someone else, jerk !Allison walks to the telephone table.       ALLISON       I'm expecting a call from Sam. He might be coming in       tonight.       HEDRA       Just for a little while, okay. Sam will call back if it's       busy.Hedra hugs Allison.       HEDRA       I'm sorry, Allie.She moves away from Allison, looking falsely casual.       HEDRA       It's no big deal. I'll find some other place. You know, I       just... I don't want you making a mistake.       ALLISON       I understand. Hey, we'll still be friends. We'll keep in       touch.       HEDRA       Sure.Allison walks away to her room.Hedra picks up the telephone set from the little table, withoutputting the receiver back on its hook. We hear several short beepscoming from the telephone. With one nervous movement, Hedra tearsthe cord off the wall socket. Then she walks slowly into her room.ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHTA little later. Hedra is lying in her bed, writing something in anotebook. She is humming a song. Her other hand is resting on thetelephone set on the bed.The phone rings. Hedra picks it up immediately, not to let it ringmore than once.       HEDRA (whispering)       Hello ?       SAM (voice over on the phone)       Allie ?       HEDRA       No, it's Hedy.HOTEL ATHERTON - A BEDROOM - INTERIOR NIGHTSam is lying on the bed, still dressed in his suit and necktie. Heis talking on the telephone.       HEDRA (voice over on the phone)       Where are you ? Where are you ?       SAM       Oh... I just got in from the airport. Is she asleep ?       HEDRA (voice over on the phone)       Yeah...ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHTHedra gives a quick look at the clock on the night table.       HEDRA       It's after two. Do you want me to wake her ?       SAM (voice over on the phone)       No, tell her to surprise me.HOTEL ATHERTON - A BEDROOM - INTERIOR NIGHT       HEDRA (voice over on the phone)       Okay.       SAM       Okay.       HEDRA (voice over on the phone)       Okay, I'll tell her.       SAM       Goodnight, honey.ALLISON'S APARTMENT - HEDRA'S BEDROOM - INTERIOR NIGHT       HEDRA       Goodnight, Sam. Sleep well.She slowly puts the phone down and plays a little with it.HOTEL ATHERTON - MAIN ENTRANCE - EXTERIOR NIGHTClose up on a pair of female legs and feet with stiletto heelsshoes.The heels clicks on the sidewalk, and we see the figure of a womanwalking away from us, and towards the entrance of the hotel. Noone else is in the streets at this time of the night. The woman iswearing a grey raincoat.The woman enters the hotel.HOTEL ATHERTON - A BEDROOM - INTERIOR NIGHTSam is sleeping, covered by the sheet up to his waist, andapparently naked underneath.The door opens slowly. The woman in the grey raincoat enters theroom. We have already guessed she is Hedra.She closes the door and puts the key on the night table.She remains motionless for a couple of seconds, looking at Sam,then she slowly starts to take the raincoat off. She is completelynaked under the raincoat.She slides under the sheet of the bed, close to Sam. Sam moans inhis sleep. He turns slowly towards Hedra, who starts kissing himon the chest.       SAM (sleepy voice)       Allie, Allie... what are you doing ?Hedra goes down Sam's body, still kissing him. When she getsbetween his legs, even if the room is very dark, we understand sheis performing oral sex on him.Sam moans with pleasure.       SAM       Oh... Oh... Jesus !... Oh... Gee...Suddenly, Sam realizes that something may be wrong. He gives ananxious look at Hedra.       SAM       Allie ?Hedra raises her head from Sam's private parts.       HEDRA       No, not Allie.She resumes what she was doing. Sam would like to push her away,but he is so close to his climax that he can't do it.He has his orgasm, with Hedra not moving away from between hislegs.She only raises her head when she is sure it is over. She giveshim a light kiss on the pubis and smiles.Then she moves up in the bed, her head finally resting near Sam'sone. Sam is breathing very hard. Hedra strokes him on the chest,and kisses his cheek.Then she gets up and off the bed, and puts her raincoat back on.She picks up a half-full glass on a table and drinks from it, whatlooks like beer. Then she eats something from a plate on the sametable.Sam breathes normally again and moves slowly on the bed. He lieson his side, facing away from Hedra.       HEDRA       Hey !With the glass still in her hand, she walks to the bed       HEDRA       Hey, sleepy guy.She puts the glass on the night table, and kneels on the bed. Shestart stroking Sam's shoulder.       HEDRA       I knew it.       SAM       Knew what ?       HEDRA       I told her. Guys like you don't change. You can't be       faithful. And now she'll know.While talking, she keeps on stroking his face. Sam doesn't reactto her caress.       SAM       She'll know what ?He switches on the light on the night-table. He then turn aroundto face her.       SAM       That you came up here and pretended to be her ? My God,       what is this hair ? What is this supposed to mean ? You're       in her clothes. You're wearing her perfume! For Christ-       sake !He jumps out of the bed, and starts putting his clothes on. Hedraremains seated on the bed, drinking her glass.       HEDRA       You knew it was me. Come on ! You knew and you didn't care.       Well, I think she should know that.       SAM       You think she's going to thank you for that news, do you ?       HEDRA       Well, I don't expect you to understand her friendship.She puts her glass on the night table, and gathers her shoes toput them back on her feet.       SAM       She can't... she can't stand you, for Christ-sake !       HEDRA       That's not true.       SAM       Oh, bullshit !       HEDRA       Huh-huh.She shakes her head ´noª.       SAM       You're too needy. You're always cleaning. You're constantly       in her face.       HEDRA       She needs me. Who was there for her when her boss almost       raped her ?       SAM       What ?       HEDRA       Could you care of her ? You were off on a business trip or       screwing someone.       SAM       She never said a word to me about that.After his pants, Sam has put his shirt back on.Hedra gets up from the bed where she was still sitting.       HEDRA       That's right, she told me.She sits back on the bed.       HEDRA       So... don't try and make me think that we're not close. We       lean on each other and we... we protect each other. We're       best friends.       SAM       You're nuts, you know that ? Yes... I think you're out of       your skull, that's right.       HEDRA       Yeah, well, sticks and stones...He comes near the bed and bends down to pick up something. Hedrarushes on him.       HEDRA       Sam !He pushes her away from him.       SAM       Don't touch me !She sits back on the bed.       HEDRA       I'm sorry. I'm sorry. Look, I know you want to save face. I       won't tell her, okay ? Just... Just pick up the phone and       call her and tell her you're going back to your ex-wife, or       something. And I won't say a word, okay ?       SAM       Yeah... Well, you won't have to say a word, sweetheart,       because I'm going to tell her myself.He walks to the night-table and picks up the telephone. She throwsone of her shoes towards him. The shoe hits the wall just abovehis head.       HEDRA (yelling)       No !He rushes towards her, ready to hit her.       SAM       Fucking bitch !But, before he reaches her, she strikes him very hard in the facewith her other shoe. The stiletto heel of the shoe enters his lefteye, and, behind the eye, certainly enters his skull and hisbrain, because, instantly after the blow, Sam falls heavily on hisback on the floor, where he remains motionless and unconscious.With her bare foot, Hedra touches his cheek.       HEDRA (softly)       Hey !... Hey !HOTEL ATHERTON - LOBBY - INTERIOR NIGHTClose up on Hedra's feet walking on the rug. She's wearing both ofher stiletto heels shoes.Hedra goes down some steps and reaches the hotel reception desk.The same hotel clerk, that we saw earlier in the film, when Samand Allison came together into the hotel, is talking on the phone.He is talking in a soft voice, so we can't understand exactly whathe's saying.But, when Hedra walks in front of his desk, he puts his hand onthe receiver microphone, and says, in a louder voice :       HOTEL CLERK       Goodnight, Miss Jones.Without turning her head, Hedra waves her hand.       HEDRA       Goodnight.ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAYClose up on the clock on the night table : it says 06:22.Allison slowly wakes up to some noise in the apartment.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYAllison comes out of her bedroom, wearing a long sleeveless pinknight shirt. She seems to be naked underneath.She walks around the room, looking in every room which door isopen.       ALLISON       Hedy ?... Hedy ?She eventually finds her in the living room, vigorously cleaningthe mantlepiece. Hedra is wearing a long plain gray dress and redrubber gloves. Allison remains at the door of the room.       ALLISON       Hedy ?Hedra looks up at Allison, but doesn't stop her cleaning.       HEDRA       Oh, hi ! I hope I didn't wake you. I got an early start.       ALLISON       No, Hedy, I didn't mean for you to move out today.Hedra looks around the room.       HEDRA       Oh, there, I think that's it.She goes out of the room into the hall.       HEDRA       I hope you don't mind. I'm storing some of my stuff in the       cage downstairs.She resumes her vigorous cleaning in the hall, starting with thesmall shelf by the front door.       HEDRA       That way, I won't have to bother... You see what I mean...       You know... I mean...Allison has come near Hedra.       ALLISON       Sure, that's fine. Look, I'm really sorry it didn't work       out.Hedra has stacked ´her stuffª near the front door. She picks themup : a red suitcase, a cardboard box and a large paper bag. Shehas taken her rubber gloves off and keeps them in one hand.       HEDRA       Well, I'd better get this stuff out of here.Allison walks to the door.       ALLISON       I'll help.She opens the door.       ALLISON       We can have breakfast when you get back.Hedra walks out of the apartment. Allison closes the door, butremains behind it, lost in her thoughts.ALLISON'S BUILDING - BASEMENT - INTERIOR DAYHedra is rapidly walking along a corridor, carrying ´her stuffª.ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAYClose up on the open red suitcase. Inside, all the clothes thatmakes Hedra look like Allison.Hedra takes the clothes out of the suitcase and puts them into theopen incinerator. Then she sprays some lighter fluid over theclothes.Close up on Hedra's hands striking a match on the side of amatchbox. She throws the match into the incinerator, and longflames immediately start on the clothes.ALLISON'S APARTMENT - KITCHEN - INTERIOR DAYAllison is fixing breakfast. She has cut some fruits into smallpieces and she puts them in the bowl of the blender. We hear somemusic from the TV in the background.Allison walks to a cupboard on the wall to pick up a spices jar.The door leading to the living room is open, and the TV is on.Allison gives a quick look at the TV, on her way back from thecupboard to the kitchen working bench.Allison puts a bit of spices from the jar into the blender, closesthe lid and starts the blender.       MALE TV REPORTER (voice over from the TV set)       And now, Morning News-break...The rest of the words of the TV reporter are lost, covered by thenoise from the blender. But the voice of a female reporter, beingslightly louder, can be heard over the blender noise       FEMALE TV REPORTER (voice over from the TV set)       Police found the body of a man brutally murdered early this       morning.Allison shuts the blender off, and walks to the open door to watchTV.ALLISON'S APARTMENT - LIVING ROOM - INTERIOR DAYClose up on the TV screen, showing the reporter, standing, withher microphone in hand, near the entrance of the Atherton Hotel.       FEMALE TV REPORTER (voice over from the TV set)       Identification of the victim, a white male of around 30       years of age is pending notification of next of kin.Reverse angle shot of Allison, standing in the doorway and peelinga banana.       FEMALE TV REPORTER (voice over from the TV set)       A witness I spoke to just right here said...Reverse angle shot on the TV.       FEMALE TV REPORTER (voice over from the TV set)       ...he heard the sound of a struggle emanating from room       612...Reverse angle shot on Allison.       FEMALE TV REPORTER (voice over from the TV set)       ...around four o'clock this morning.Allison suddenly realizes that the room number is Sam's one. Sherushes to the telephone set on the wall near the refrigerator.ALLISON'S APARTMENT - KITCHEN - INTERIOR DAYAllison dials very nervously a number on the phone.       HOTEL CLERK (voice over from the phone)       Atherton Hotel.       ALLISON       Sam Rawson's room, please, room 6-12..       HOTEL CLERK (voice over on the phone)       I'm sorry, there's been an accident. I think you should       speak to the police.She doesn't even wait for the end of the sentence, and drops thephone, letting the receiver hang on its cord. She rushes out ofthe kitchen.ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAYHedra is leaving the room, carrying ´her stuffª. Behind her, theincinerator door is wide open, and we see a bright fire inside.ALLISON'S BUILDING - BASEMENT - INTERIOR DAYAcross the corridor from the incinerator room, Hedra reachesAllison's private ´cageª. She drops ´her stuffª and opens thepadlock.ALLISON'S APARTMENT - BATHROOM - INTERIOR DAYAllison is bending over the toilet bowl and vomiting.ALLISON'S BUILDING - BASEMENT - INTERIOR DAYIn the ´cageª, Hedra takes a boot out of the cardboard box. Thenshe takes a sock out of the boot, and delicately, takes a blackhand gun out of the boot. She puts the gun in the paper back,above some clothes.ALLISON'S APARTMENT - BATHROOM - INTERIOR DAYAllison is still vomiting in the toilet bowl. She slowly raisesher head from the toilet bowl, trying to catch her breath.She sees Hedra's pair of stiletto heel shoes. Underneath one ofthe heels, there are some traces of blood on the tile floor of thebathroom.Kneeling on the floor, Allison takes the shoe to look at it moreclosely. Then she screams and throws it away, knocking the othershoe down on the floor.She is still kneeling on the floor, crying, when the door opensand Hedra enters the room. Allison raises her head to look atHedra.       HEDRA       Allie ?Hedra sees the stiletto heel shoe behind the toilet bowl, where ithas been knocked away.       HEDRA       What are you doing down there ?Allison remains kneeling on the floor, just supporting herself onher arms.       ALLISON       Oh... I just suddenly felt sick. It was the funniest thing.       I hope I'm not pregnant.Hedra walks towards Allison to help her stand up.       HEDRA       Let me help you.Allison stands up.       ALLISON       Oh, that's all right, I'm fine.       HEDRA       I'll get some water.Hedra walks to the basin, but wraps her hand in the bottom of herdress before touching the water tap.Allison walks out of the room.       HEDRA       Wait !Allison stops at the door, and turns around toward Hedra.Close-up on the mirror above the basin, showing Hedra and Allisonstanding next to each other.       HEDRA       Drink some.Allison takes the tooth glass and drinks. Hedra strokes hershoulder.       HEDRA       Okay ?Allison puts the glass down and shakes her head ´Yesª. Hedrastrokes the back of her head.       HEDRA       Feeling better ?       ALLISON       Yeah. I can go out for a while. I feel much better now.ALLISON'S APARTMENT - FRONT HALL - INTERIOR DAYAllison walks out of the bathroom, followed by Hedra.       HEDRA       I thought you said breakfast ?Allison has reached the front door, and she starts unlocking thedoor.       ALLISON       Oh, it's in the blender. I've got to go out.Hedra looks at Allison thin sleeveless night shirt and smiles.       HEDRA       Dressed like that?       ALLISON       I'm out. I'm just going to go upstairs and see Graham. He       called while you were out.Hedra looks at Allison with a very strange expression on her face.She can see the tears on Allison's face.       HEDRA       Well, still, if you're not feeling well, you should wear       more than that.       ALLISON       Maybe you're right.She walks away to her room. Hedra puts her hand on her face.       HEDRA       Oh...ALLISON'S APARTMENT - ALLISON'S BEDROOM - INTERIOR DAYAllison enters her room coming from the hall.       HEDRA (voice over from the hall)       Leave the door open so we can talk.Allison grabs a pair of pants and puts them on.Hedra enters slowly in the room, carrying the large paper bagwhere she has put the gun.Allison takes her night shirt off. She is now naked from the waistup. But she grabs a sweater and puts it on.       HEDRA       You know why I think you're sick ?While talking, Hedra slowly slides her hand into the paper bag,takes a pair of black gloves out of the bag and puts the bag downon the floor.       HEDRA       You're upset about Sam.Slowly, Hedra puts the black gloves on her hands.       HEDRA       You know Sam's dead, don't you ?Allison turns around to face Hedra.       HEDRA       Yeah, we don't have much time.She picks up the bag and walks to a chest of drawers. She puts thebag on the floor and opens the top drawer.       ALLISON (crying)       You didn't... you didn't do it, Hedy, did you ?Hedra is taking white pantie and bra from the drawer       ALLISON (crying)       You couldn't have him !She falls down, sitting on the floor and crying.       ALLISON       Why ?... Why ?       HEDRA       Allie, he came in my mouth. Then he tried to beat the shit       out of me because I wanted to tell you.She slams the drawer shut, and opens another one.       HEDRA       You know, it was an accident. But he deserved it.She claps her hands.       HEDRA       Okay, come on. The police will be here soon.Allison doesn't move and remains seated on the floor.       ALLISON       But... but you shouldn't run. That'll only make it worse. I       know you weren't yourself when you did this, Hedy.Hedra laughs.       HEDRA       I know. I was you.She points her gloved finger to Allison, and then looks at herselfin the mirror.       HEDRA       Who is this Hedy anyway ?She turns around, and walks away from the mirror towards Allison.       HEDRA       No one's seen her. She's not on the lease. There's not even       a fingerprint of hers here. I've been cleaning like crazy.       You have to come with me, Allie, or they'd put you away.       ALLISON       Hedy, it'll never work. Besides ... people have seen you.       We just can't tell. We'll go to a lawyer or a doctor and       they'll explain it to the police, or something.Hedra, who is now very upset, knocks everything, that was on topof the chest of drawer, with a long sweeping movement, down on thefloor.       HEDRA       No.She bends down and takes the gun out of the paper bag.       HEDRA       Why are you making me do this ?She snaps a cartridge into the chamber of the gun.       HEDRA       We're friends, Allie. You could be in a lot of trouble       without me. But I'm not going to leave you.She walks to Allison and kneels on the floor besides her, pointingthe gun to her head       HEDRA       That wouldn't be right. I won't leave you. Okay, let's go.       Up ! Up ! Up !She slaps her face.ALLISON'S BUILDING - LANDING HALL OUTSIDE ALLISON'S APARTMENT -INTERIOR DAYHedra leads Allison along the hall. She is carrying her paper bagin one hand and the gun in the other hand. She still has hergloves on. Allison is carrying a small plastic case.       HEDRA       Go ! Go-go-go !They reach the elevator and Allison is ready to press the callbutton, but Hedra moves her away towards the staircase.       HEDRA       No-no, up to Graham's. Come on. No-no, he's already       involved.ALLISON'S BUILDING - MAIN STAIRCASE - INTERIOR DAYThey climb the stairs. Hedra is pushing Allison with her gun.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR DAYThey reach Graham's front door. Allison rings the bell, waits acouple of seconds and turns around.       ALLISON       Nobody's home.Hedra takes some keys out of her bag and gives them to Allisonwith the gloved hand that is still holding the gun.       HEDRA       Use these. Come on, come on, hurry up. Go !Allison takes the keys and unlocks the door.       ALLISON       He must be sleeping. We were up late last night.Hedra seems very nervous. While Allison is unlocking the door, shekeeps looking around her and pressing Allison's back with her gun.Allison opens the door, and enters the apartment, followed byHedra.       ALLISON       Graham ?       HEDRA       He can't hear you.Hedra closes the door behind them.ALLISON'S BUILDING - EXTERIOR DAYLow angle shot of the building, taken from street level.GRAHAM'S APARTMENT - CORRIDOR - INTERIOR DAY       HEDRA (voice over)       Wait till you see me.Hedra comes out of the bathroom, with a dark towel on her head.The cat crosses the corridor and enters the bathroom.Hedra puts her towel down : her hair, instead of being red likeAllison's, is now dark brown.       HEDRA       Your color was beautiful, but I can't go around looking       like you any more, can I ?She smiles.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAYHedra enters the living-room.       HEDRA       Okay now, Allie, don't laugh.She walks in front of the window, and makes a couple of dancesteps.       HEDRA       Ta-dah !Reverse angle shot on Allison, tied up in an armchair with ducttape. Each one of Allison's arms is tied on each armrest of thearmchair. Her legs are tied on the legs of the armchair, and herchest is tied on the back of the armchair. There is also a pieceof tape across her face to keep her mouth shut.Hedra laughs and turns the TV set on. The screen shows adocumentary about African fauna. Hedra turns the volume slightlyup.       HEDRA       How's that ? Good ?She puts the remote control on the armrest of the armchair, withineasy reach of Allison's right hand. Allison doesn't move at all.       HEDRA       22 and 24 are the movie channels. I've got to cash a pay       cheque. So I'll only be gone an hour. I know how you hate       to be alone. Okay... Are you good and comfortable ? All       right.She walks away from the armchair, takes the towel off her neck anddown on the back of a chair. She takes her purse.       HEDRA       So, well... When I get back, we'll do your hair, too.       Okay ? Be good. Bye.She gets out of the room.Allison moves for the first time : she turns her head around, thenlooks back at the TV screen.Reverse angle shot. On the TV screen, close up of a lion yawning.Reverse angle shot. Allison looks at the remote control on thearmrest.Close up on the remote control. Almost at the top of the remotecontrol, we see the two volume control buttons : up and down. Andunder those buttons, we see the two channel control buttons.Close up on Allison's face looking at the remote control.Close up on Allison's right hand moving the remote control on thearmrest, to get the volume control buttons within reach of herforefinger. She presses the up button.On the TV screen, we see the volume bar graph going up on thepicture of a crocodile. And the volume of the music goes up too.Allison looks at the remote control again.Close up on Allison's forefinger pressing one of the channelcontrol buttons.On the screen, we see a different channel : a comic movie. Acouple is having dinner in a restaurant and the waiter pours thewater bucket on the man.Another channel. A woman is sleeping. A telephone rings.Reverse angle shot on Allison pressing the channel controlbuttons. We hear a male voice for a couple of second, then Allisonchanges the channel again.The TV screen seen from behind Allison's hand dialing on theremote control. There is a cartoon on the screen. Then anotherchannel showing the concert of a rock music band.Close up on Allison's face looking at the screen and then at theremote control in her hand.Reverse angle shot on the TV set. The volume bar graph is going upagain until it reaches the end of the graph. The volume of thesound of the rock music is very high.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR DAYWe hear the rock music very loudly in the empty hall.The front door of apartment 1206 opens slowly. A man with glasseson his nose peeks into the hall. He seems very annoyed by thenoise.BANK OFFICE - HALL - INTERIOR DAYClose up on the hand of Hedra writing ´Ellen Beschª on the back ofa cheque on the cashier's counter. In front of her, we see thehands of the cashier girl on the other side of the glasspartition.       CASHIER GIRL (voice over)       What's the part this time ?Larger view of the bank office hall. Hedra is standing in front ofthe cashier's desk. We see the cashier girl through the partitionglass. Behind Hedra, a man is waiting for his turn, reading anewspaper.       HEDRA       Excuse me ?Through the opening at the bottom of the partition, she gives hercheque to the girl.Closer shot. Now we are on the cashier's side of the partition,and we see Hedra's face through the glass.       CASHIER GIRL       You're an actress, right ? You're never the same person       twice.Reverse angle shot. We are now on Hedra's side of the partition,and we see the cashier girl through the glass : she is a blondegirl about the same age as Hedra. She puts her finger on her ownhair.       CASHIER GIRL       I like it. I just thought the other was more you.Reverse angle shot. Cashier's side.       HEDRA       Well, maybe next time I'll try blonde.Reverse angle shot. Hedra's side. The cashier girl smiles.       CASHIER GIRL       Really ? I'm flattered. Thanks.A male bank clerk, sitting at a desk behind the cashier girl,stands up and walks to the partition glass.       BANK CLERK       Miss Besch ?       HEDRA       Yes ?       BANK CLERK       A man's been calling here. Says he's your father.Reverse angle shot. Cashier's side. Hedra seems worried by whatthe man is saying.       BANK CLERK (voice over)       Might even come to New York if you don't call him.Hedra runs away from the counter.       BANK CLERK (voice over)       Miss Besch !GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAYOn the TV set, the rock band is still playing with the soundvolume very loud.Reverse angle shot on Allison, trying to free herself from thearmchair where she is tied up. But the duct tape is strong enoughand her jerky movements don't bring any result.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR DAYOutside Graham's apartment. We hear the loud rock music veryclearly. The building manager is standing by the door, with theneighbor from apartment 1206 behind him. The neighbor has hisglasses hanging around his neck on a string.The building manager rings the bell. Then he bangs on the doorwith his fist.       BUILDING MANAGER       Hey !GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAYAllison turns her head towards the front door and try to speakthrough the tape stuck on her mouth.       ALLISON       Mmmm !She starts moving again to free herself from the armchair, but shedoesn't succeed.The bell rings again. Allison turns her heard towards the frontdoor.A BUSY STREET IN NEW-YORK - EXTERIOR DAYHedra is walking very fast on the sidewalk. She passes a fruitshop and bumps into a pedestrian girl, but doesn't stop toapologize.       THE PEDESTRIAN GIRL       Jerk !Hedra keeps on walking very fast. She seems worried.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR DAYThe manager has a key ring with many keys in his hand. He issorting them trying to find the right key to the apartment.ALLISON'S BUILDING - MAIN LOBBY - INTERIOR DAYHedra is crossing the lobby, walking very fast.She reaches the elevator and presses the call button.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAYOn the TV screen, a video clip with loud rock music behind.Reverse angle shot on Allison, still trying to free herself fromthe armchair.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR DAYClose up on the manager's hand putting the key in the keyhole.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAYAllison hears the key moving in the keyhole and turns her headtowards the front door.Close up on the video clip : a man is running, apparently chasedby men armed with spears.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR DAYHedra just came out of the elevator and is closing the inner doorof the cabin. She turns the corner of the hall and suddenly seesthe manager and the neighbor near Graham's door. She runs towardsthem and yells.       HEDRA       Oh !The apartment door is wide open, but, when they see Hedra, the twomen don't enter the apartment. The neighbor goes back into his ownapartment, but the manager remains just outside the apartment.       BUILDING MANAGER       You live here ?Hedra closes the door to talk to the manager, but she doesn't lockit.       HEDRA       No, no, I'm just watching the place for the week-end like       that. It's on a timer. Huh... Huh... I'm sorry.       BUILDING MANAGER       I have to register a complaint.       HEDRA       Please, I'll turn it off. I will.She enters the apartment and closes the door shut behind her.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR DAYAllison turns her head towards the front door.Hedra enters the room, walking very fast. She drops her purse on achair and walks to the TV set. She switches it off. Then she walksslowly towards Allison, with a quite menacing face.She gives Allison a very hard slap in the face. She kneels down infront of her, and shakes her shoulders a couple of times. Then shestops but remains kneeling on the floor, while she's talking toher.       HEDRA       How could you do that ? Everything I've done, I've done for       you. Don't you understand that ? People you hated, I hated.She stands up.       HEDRA       People like you don't care.She knocks a large metal vase down on the floor.       HEDRA       Just like that stupid girl in Tampa. She called my parents,       too. Told them all my secrets.She comes behind Allison and pulls her hair to tilt her head back.       HEDRA       You want to put me away, huh ?She releases Allison's hair.       HEDRA       I can't... I can't keep making excuses for you, Allie. I       can't... I can't... I can't... I can't... I can't...She walks out of the room. She is crying.       HEDRA       Oh God !... Oh God !... Ohhh !We hear her crying in the next room. Allison turns her headslightly towards her.Close up on Allison's face. We hear Hedra screaming and breakingthings. Allison seems terrified.Hedra comes back into the room. She has a big knife with aserrated blade in her hand.Close up on Allison's face. She seems more and more terrified. Shestarts moaning under her tape gag.Hedra is now just behind Allison. She puts the tip of the blade onAllison's throat, then the full length of the blade.       HEDRA       What ?... What ?She tears the tape off Allison's mouth.       ALLISON       Please...       HEDRA       No.Hedra's face is now very close to Allison's one. Allison raisesher head and kisses Hedra on the mouth.Close up on the serrated blade of the knife on Allison's throat.The blade is ready to tear the skin, but doesn't move further.Slowly, Allison moves her mouth away from Hedra's one.       ALLISON (whispering)       Don't make me leave you, Ellen.Hedra slowly raises up. She has a strange look on her face. Sheseems not to understand the situation anymore.Close-up on Allison's head and throat. We can see the slightlybloody marks left by the serrated blade. Allison looks at Hedramoving away from her with an anxious face.Hedra kneels down in front of Allison. She bends down to rest herface on Allison's lap, and starts crying. Allison moves her handas far as she can and strokes Hedra's hair.       ALLISON       Shhh !... It's okay. It's okay.Close-up on a wallet on the floor, close to Allison's foot.Allison is trying to reach it with her foot, but she can't becauseof her leg still being taped on the armchair.       ALLISON (voice over)       We've got to get out of here now.She eventually succeeds in kicking the wallet away from thearmchair. And she keeps on stroking Hedra's hair, still crying onher lap.NEW YORK - EXTERIOR EVENINGLarge overview of the city. There is still daylight, but we cantell, by the color of the sky, that we are getting closer to thenight.FONTANA FASHION OFFICE - MAIN HALL - INTERIOR EVENINGIn the forefront, Mitchell's assistant, Barbara, is typing on thekeyboard of a computer. Behind her, we see rows of dresses onhangers.Suddenly, the woman stares at the screen. We hear strange clickingand beeping noises coming from the computer.       BARBARA       Jesus...She stands up, with horror in her face, and yells.       BARBARA       Mitch !FONTANA FASHION OFFICE - MITCHELL'S OFFICE - INTERIOR EVENINGThe room is much smaller, and quite dark. A blonde woman issitting on an armchair in front of a desk. Mitchell is standingbehind her. Mitchell is slightly rocking the armchair and theblonde woman's eyes are closed.       MITCHELL       What ?He doesn't stop rocking the armchair.       BARBARA (voice over from the main hall)       Get in here.       MITCHELL       What ?He reluctantly leaves the armchair and walks out of the room.FONTANA FASHION OFFICE - MAIN HALL - INTERIOR EVENINGMitchell crosses the hall       MITCHELL       What is it ? What?The computer is still making strange beeping noises. On thescreen, pictures of dresses appear and then disappear immediately.       BARBARA       Look.Close up on the screen. A data chart titled ´Fontana Fashionsª hasappeared. The extreme left column is labelled ´Expensesª, andunderneath, a list of all the expenses (Lease - Telephone -Payroll - Liabilities... and son on). The other columns on theright are labelled ´Janª to ´Aprª, and underneath lists of numberscorresponding to the various monthly expenses.But, the data chart has hardly appeared on the screen that thecolumns of numbers start erasing themselves one by one, startingwith January.       BARBARA       It's erasing.Then, when all the numbers have been erased, a window appears onthe screen with ´LOST!ª written in red letters in it.Another data chart appears on the screen : the expenses from Mayto August. And, on this chart, the columns of numbers also startto erase themselves.Mitchell looks severely at Barbara. She raises her hands.       BARBARA       I didn't do anything.Suddenly, Mitchell seems to remember something.       MITCHELL       Shit !He runs away toward his office.The blonde woman is standing in the doorway of the office.Mitchell brutally pushes her away.FONTANA FASHION OFFICE - MITCHELL'S OFFICE - INTERIOR EVENINGMitchell types something on the keyboard of his computer. We hearthe computer beeping.Close-up on the computer screen. A data chart titled ´Productionlineª, and underneath ´Fontana Fashions Production Lineª.Underneath, four columns of numbers labelled ´Orderª, ´Samª,´Scheduledª and ´Completedª. All the numbers in these columns areerasing themselves. And then appears the window with ´LOST!ª inred letters.       MITCHELL (voice over)       On mine, too !Then another rectangular window appears on the screen. On the leftof the window, the drawing of a bomb with a lighted wick stickingout of it. On the rest of the window, the following text :       The last payment in Fulfillment of the Contract between       Fontana Fashions and Allison Jones is now past due.       Please contact Allison Jones at 212-555-9814 within 24       Hours of the rest of your data will be irretrievably lost.Mitchell bends down to have a better look at the screen.Close up on the screen, while Mitchell reads out loud :       MITCHELL (voice over)       The last payment in Fulfillment of the Contract between       Fontana Fashions and Allison Jones is past due. Please       contact Allison Jones...Medium shot of Mitchell reading what's written on the screen.       MITCHELL       ...in 24 hours of the rest of your data will be       irretrievably lost. This payment policing program is       installed on all of Allison Jones software."Mitchell jumps up.       MITCHELL       Bitch !GRAHAM'S APARTMENT - WORKING ROOM - INTERIOR EVENINGAllison is seated behind Graham's desk. She unplugs the cord fromthe telephone set and plugs it in the back of a small portablecomputer.Shot on floor level. We see the bottom of the desk chair andAllison's legs, around which there is still some duct tape. Hedrais kneeling on the floor near the desk. She has a telephone cordin her hand.       HEDRA (voice over)       Should I just plug this in the phone jack ?       ALLISON (voice over)       Huh-huh.Hedra gets up and looks at what Allison is doing with thecomputer.       ALLISON       Great.       HEDRA       Can you make reservations on this ?       ALLISON       Hm-m. And you can pay by credit card.Close up on Hedra's face who looks intensely at Allison, notbelieving completely that Allison is not trying to fool her.       ALLISON       L.A., right ?       HEDRA       Yeah.She walks away.FONTANA FASHION OFFICE - MAIN HALL - INTERIOR EVENINGClose up on Allison Jones' business card. Above her name, a logothat reads ´Concept Softwareª. Under Allison's name, the title´Software Designerª, and underneath ´768 West 74th Street, Suite1103, New Yorkª, and underneath ´(212) 555-9814ª. On the top ofthe card, written with a pencil ´555-8796 KNOXª.       BARBARA (voice over)       No answer at the first number.Mitchell's forefinger points at the penciled number on the card.       MITCHELL (voice over)       What about this number ?Mitchell is standing near Barbara's desk. She has the telephonereceiver to her ear, trying to reach someone to help them.Mitchell brings the next desk telephone to him by pulling it byits cord. He start dialing on the telephone.We hear the ´engagedª tone.       MITCHELL       Busy.He throws the receiver on the desk. He starts walking away, thenturns to Barbara.       MITCHELL       You turn them off.       (yelling)       Turn them all off !Barbara remains calm, with the telephone receiver still at herear.Mitchell runs out of the room, and Barbara puts the telephonedown.GRAHAM'S APARTMENT - WORKING ROOM - INTERIOR EVENINGClose up on the computer screen. The window is titled´Compuserveª. Underneath it reads ´Flight Reservationª. Andunderneath ´Browse Flights by Faresª. Underneath : ´DepartureCity:ª. Next to it a box, where we see the letters ´JFKª beingtyped. Underneath ´Destination City:ª. Next to it, another box,where we see the letters ´LAXª being typed. Another windowappears, titled ´Flight Informationª, and giving all the detailsof the different flights between New-York and Los Angeles.Allison is sitting at the desk typing on the computer, and Hedrais standing next to her.       HEDRA       Things are going to be different in L.A, Allie. You'll see.       ALLISON       First class ?       HEDRA       Is it worth it ?       ALLISON       Well, we can use one of Graham's cards. I think I saw his       wallet in the living room.       HEDRA       Oh... Me too. Okay, I'll go and see.She gets out of the room.Close up on the computer screen. It switches from ´FlightInformationª to ´Main Menuª, and then to ´Chat-Mail Menuª.Close up on Allison's face focused on her typing on the computer.Close up on the computer screen. It reads ´CB Simulatorª, andunderneath ´Chat Mode Initiatedª, and underneath ´User: Don193ª.Underneath, we see the following words being typed :       PLEASE HELP ME. THIS IS NOT A JOKE.       HEDRA (voice over from the living room)       I can't find it.Allison is typing very fast. She knows she doesn't have much time.       ALLISON       I know I saw it somewhere. Maybe it's in the kitchen.Close up on the computer screen. The following words have beenadded :       I'M AT 768 W.74TH STREET, APT.Back on Allison sitting at the desk and typing. Slowly andsilently, Hedra enters the room.Close up on Hedra's angry face. She bends downAllison at the desk seen from behind. Suddenly we hear the noiseof a plug being pulled off from its socket. The computer screenbecomes all black and Allison turns quickly around. Hedra ispointing her gun at her.       ALLISON       No ! No ! No ! No !ALLISON'S BUILDING - MAIN LOBBY - INTERIOR EVENINGClose up shot on the window above the elevator door. We see theelevator coming down. The camera follows the elevator down tofloor level. Mitchell is waiting in front of the elevator door.The elevator outer door opens. Hedra is inside. She keeps theinner door shut.       HEDRA       Going down.The outer door closes in front of a bewildered Mitchell.ALLISON'S BUILDING - BASEMENT - INTERIOR EVENINGHedra opens the door of Allison's private ´cageª, and enters thecage. She tries to open a suitcase, but doesn't succeed. She slapsnervously the suitcase. She then finds another suitcase, which isopen. She tries to fit herself inside the suitcase, and more orless succeeds. She seems very nervous. She gets out of thesuitcase, closes it and carries it out of the cage.ALLISON'S BUILDING - ELEVATOR CABIN - INTERIOR EVENINGClose up on the numbers above the door. They go from ´9ª to ´10ª,and then to ´11ª.Hedra is watching the numbers. The elevator stops.The outer door opens. Mitchell is there, waiting for the elevator.He opens the inner door and comes in the cabin. The outer doorcloses automatically and the elevator cabin starts moving up againHe looks at the control panel, where the 12th floor is lighted.Then he looks at Hedra, who looks back at him with a ratherunwelcoming face.The elevator stops and Mitchell goes out first.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR NIGHTThrough the windows, we can see that night has come.Mitchell goes out of the elevator, followed by Hedra pulling hersuitcase behind her.Hedra goes directly to Graham's apartment. Mitchell first goes inthe opposite direction, and then comes back towards Hedra.       MITCHELL       Oh... Excuse me, miss, is this 1203 ? Is Graham Knox at       home ?Hedra is now in front of Graham's door and puts the key in thekeyhole. Mitchell has caught up with her, and is standing behindher.       HEDRA       No, he's on a cruise.       MITCHELL       Actually, I'm looking for a woman Allison Jones ? Do you       know her ?Hedra suddenly stops unlocking the door.       HEDRA       Who are you ?       MITCHELL       Mitchell Myerson.Hedra turns around to face Mitchell.       MITCHELL       She did a job for me.       HEDRA       Oh... There's no one named Jones on this floor.       MITCHELL       Yeah, I know that. I was just down at her apartment. But I       did contact her here once.       HEDRA       Well, I'm the only one here and I never met her. So...       You'll excuse me.She bends down to pick up the suitcase.       MITCHELL       Oh, sorry.Mitchell bends down to help her. He picks up the suitcase andlooks at it.       MITCHELL       This is hers. You do know her.We hear a muffled scream coming from inside the apartment.Hedra opens the door to get inside as fast as possible, butMitchell catches her and throws her aside. More muffled screamscoming from the apartment. Mitchell rushes into the apartment, andcloses the door shut behind him. Hedra rushes to the door, but toolate.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHTMitchell rushes into the room, stops and looks down.Allison is lying on the carpet, completely tied up in duct tape,looking like a human salami. She is gagged by another piece oftape. When she sees Mitchell, she starts wriggling and screamingthrough her gag.        MITCHELL (voice over)        What the fuck is going on here ?He kneels down and tears the tape off her mouth.        ALLISON        Be careful, she's crazy.Hedra enters the room, pointing her gun towards Mitchell.        HEDRA        Get off of her.Mitchell, still kneeling down across Allison's body, turns around.        MITCHELL        What ?Hedra walks towards him, still pointing her gun with both hands infront of her.        HEDRA        You think she wants you touching her, huh ? I said get off        her !        MITCHELL        Okay, okay... I'm... I'm getting up. Okay.He gets up very slowly with his hands raised at his shoulderslevel. And suddenly, he grabs the gun and throws Hedra across theroom. She falls on a round table, which breaks under her weight.She remains motionless on the floor.Allison looks anxiously at the scene, but, from her lying positionon the carpet, doesn't see everything.Mitchell puts the gun inside his belt and kneels down to untieAllison.        ALLISON        Where is she ?        MITCHELL        Don't worry about her, I took care of her.Hedra suddenly comes behind him, and strikes him very hard on thehead with a statuette. He falls down on the floor. Hedra rushes tohim and picks up the gun from his belt. She takes a cushion fromthe back of an armchair, puts the cushion on Mitchell's face andpresses the barrel of the gun on the cushion. Allison screams.GRAHAM'S APARTMENT - BATHROOM - INTERIOR NIGHTGraham is lying in the empty bathtub, with his cat sleeping on hisright shoulder. There are a few traces of blood on the side of thebathtub.We hear the muffled sound of a gun shot. Then a scream fromAllison and another gunshot.The camera moves closer to Graham's face. He has a large bloodybump on his forehead.There is a slight move of his head, then a slight blink of hiseyelids.GRAHAM'S APARTMENT - LIVING ROOM - INTERIOR NIGHTClose up on Hedra's hands taking some pills out of a medicinebottle.       HEDRA       I don't want to try to be loved any more. And you know...The camera moves up to Hedra's face.       HEDRA       I don't want to be scared any more. Or to kill any more. I       don't want to kill any more. I don't want to be alone any       more. I don't want to be anything any more. I don't need a       reason to kill myself, I need a reason not to and there       isn't one.Hedra turns her head towards Allison sitting at the desk in frontof the computer. The camera moves away to a larger shot, and wesee that the gun is stuck in the hollow of Hedra's left elbow.       HEDRA       You don't want to say anything special to anyone ?Allison shakes her head ´noª.       HEDRA       Okay, ´Allison Jonesª, go on.Close up on the computer screen. We see the words Hedra justdictated : ´I don't want to try to be loved...ª and so on up to´...there isn't one.ª The words ´Allison Jonesª are being typed.Back to Hedra pointing her gun to Allison. She takes Allison'shand and presses it on the screen of the computer.       HEDRA       Now they'll know it was you.       ALLISON       No one who knows me will believe that I wrote that. I was       never that scared. Well... not like that.       HEDRA       Of course it's you. I never met anyone so scared of being       alone. And I saved you from that, but you don't care.She brings a glass of water to Allison, who takes it.       HEDRA       Did you know that identical twins are never really       identical ? There's always one that's prettier. And the one       who's not does all the work. She used me and then she left       me. Just like you.She puts the barrel of the gun on Allison's temple, and she opensher left hand in front of Allison's face.       HEDRA       Come on... take them. Come on, Allie, it's nicer this way.       ALLISON       Okay.Close up on Hedra's hand full of blue pills. She pours them intoAllison's left hand. Allison's other hand still holds the glass ofwater.Without warning, Allison suddenly smashes the glass on Hedra'sface.Then the two girls start fighting for the gun. Allison slamsHedra's hand on a mirror hanging on the wall. The glass of themirror breaks into small pieces, but Hedra doesn't drop the gun.The two girls keep on fighting on the floor, knocking variousobject around them.Close up of Allison's hand holding Hedra's hand with the gun, andsmashing it through the window. The pane breaks into small pieces,and Hedra drops the gun on the balcony.Hedra moves away from Allison.Close up of Allison's hand picking up a piece of glass lying nearthe gun on the balcony.Allison slashes Hedra's chest with the broken piece of glass.Hedra falls on the floor and Allison rushes out of the room.Hedra gets up and picks up the gun from the balcony.GRAHAM'S APARTMENT - CORRIDOR - INTERIOR NIGHTAllison is fumbling with the locks and the safety bar of the frontdoor.Hedra rushes into the corridor, pointing her gun at Allison.       HEDRA       Allie !Allison has opened the door and turns around to face Hedra.Hedra walks slowly along the corridor towards Allison.       HEDRA       Please...Allison still has the piece of broken glass in her hand.Behind Hedra, we see Graham moving in the bathroom.       HEDRA       Please...Reverse angle shot to Allison standing in the open doorway andholding the piece of broken glass.       ALLISON       I'm not like your sister, Hedy. Not any more. I'm like you       now.Close up on the barrel of the gun.Graham rushes out of the bathroom, grabs Hedra by the waist andfalls with her on the floor.       ALLISON (voice over)       Graham !Graham bangs Hedra's head repeatedly on the floor. Hedra succeedsin moving slightly away from him, and try to point her gun towardhim.       HEDRA       I'll kill you !Allison rushes towards them, grabs Hedra by her feet, and pullsher towards the front door. Hedra, still lying on her stomachwhile being pulled away by Allison, still tries desperately topoint her gun towards Graham.       ALLISON       Get off him !Allison succeeds in pulling Hedra out of the apartment. Hedragrabs the front door with both hands to try to resist Allison'spull.ALLISON'S BUILDING - LANDING HALL OUTSIDE GRAHAM'S APARTMENT -INTERIOR NIGHTAllison pulls a little harder, and Hedra's hands are squeezed bythe door. She screams. Allison lets go of Hedra's legs to closethe door shut.       ALLISON       Graham, stay inside !       GRAHAM (voice over from inside the apartment)       All right.Allison runs away towards the elevator. Hedra, still lying on thefloor, raises her gun towards Allison and shoots.Allison screams : she's been shot in the left shoulder. Hedrashoots again, but Allison hides behind the corner of the wall ofthe hall.Hedra gets up to run after Allison.Close up on the elevator. Allison is already inside the cabin andcloses the inner door just as Hedra reaches the elevator.ALLISON'S BUILDING - ELEVATOR CABIN - INTERIOR DAY       HEDRA       No... No... No...Allison pulls Hedra right arm through the vertical bars of theinner door, and opens it again, squeezing Hedra's arm very hard.Hedra screams and drops her gun on the cabin floor. Allison closesthe inner door shut.Close up of Allison's hand picking the gun up from the floor.       HEDRA       No... No... No...Hedra watches the outer door closing slowly.Allison points the gun towards Hedra and presses the triggerseveral times. But nothing happens : there are no more cartridgein the chamber of the gun.Hedra opens the inner door to get into the elevator. Allison triesto prevent her from getting in, but Hedra eventually succeeds ingetting into the cabin. She closes the inner door, and the outerdoor closes itself automatically.Hedra throws Allison against the wall of the cabin. Then she bangsher head very hard against the wall. Allison pulls Hedra away fromher. Hedra hits the wall on the other side of the cabin, and fallson the floor. Allison rushes and falls on Hedra, but Hedra pushesher away from her.The two girls start fighting in the cabin. They fall on the floor,Hedra on top of Allison. Hedra tries to strangle Allison.Close up of Allison's face choking under the pressure of Hedra'shands.Short reverse angle close up shot of Hedra's face, then back toAllison's face.Close up on the screwdriver hanging from its chain and rockinggently with the movement of the elevator. Allison's hand tries tocatch it and doesn't succeed.Back on Allison's face, suffocating more and more under Hedra'sstrangulation. Back, for a couple of seconds, to Allison's handtrying to catch the screwdriver, and then back to her suffocatingface.Close up on Allison's hand which has eventually caught thescrewdriver, then back to her face. The face slowly relaxes asAllison falls into unconsciousness. Her arm, which was extended tocatch the screwdriver, falls on the floor of the cabin.Hedra watches Allison's face intently. Then, when she realizesthat Allison is unconscious, she bends down and kisses her on thecheek. She brings Allison's both arms along Allison's sides, thenshe puts her head on her chest and kisses her hand.ALLISON'S BUILDING - BASEMENT - INTERIOR DAYThe outer door of the elevator opens, and, through the verticalbars of the inner door, we can see Allison still lying on her backon the floor of the cabin. Hedra opens the inner door, then pullsAllison by the legs out of the elevator.        HEDRA (snorting under the effort of pulling Allison)        Huh... Huh...She pulls Allison along the corridor of the basement.She reaches the door opening on the emergency staircase, and kicksit shut.She suddenly stops and looks intently at Allison lying on thefloor. She grabs a green blanket on a shelf and wraps Allison'sface in it.She pushes a a heavy metallic storage shelves cabinet along thewall all the way to the emergency staircase door, in order toprevent it from being opened by anyone coming from the staircase.Then she pulls down a big lever on the wall on the side of thecage where the elevator machinery is enclosed. We supposed it isthe emergency switch of the elevator, and that she also wants toprevent anyone coming down to the basement from using theelevator.ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAYHedra picks up some pieces of dry wood from a wheelbarrow and putsthem inside the incinerator, where some flames are still burning.ALLISON'S BUILDING - BASEMENT - INTERIOR DAYHedra pushes the empty wheelbarrow along the corridor of thebasement.Suddenly she stops, drops the wheelbarrow and emits a shortscream.Reverse angle shot on the green blanket on the floor. Allison isgone.Hedra looks very worried.        HEDRA       Allie ?She runs to the blanket, but doesn't stop and keeps on running tothe elevator. She gives a quick look inside the open cabin, thentries to open a large locked gate, near the elevator, but doesn'tsucceed.       HEDRA (yelling)       Allie ?She goes back along the corridor the way she came from. Near theplace where she left the wheelbarrow, she comes to a door marked´Storageª, and opens it       HEDRA       Hey, here you are.But this is just a closet full of various junk.Hedra thinks she heard something and quickly turns around. Shetakes a big iron hook from the storage closet and starts walkingmenacingly along the corridor.       HEDRA       Don't make me come get you... Allie, come out now... Come       on... Allie !...She bangs the hook on a vertical pipe on the wall.Close up on a rat scuttling away from the noise.Close up on Allie hidden in a big metal box, near the ceiling ofthe basement. This metal box is obviously a part of theventilation system.       HEDRA (voice over)       Come on !The rat is running along a large horizontal pipe towards Allison,who seems frightened by it.High angle shot of Hedra seen from Allison's hiding place.       HEDRA (screaming)       Come out now !Close up on Allison's face, frightened by the rat.Reverse angle close up shot of the rat coming towards us andAllison.Back to Allison looking at the rat.       HEDRA (voice over)       Allie, please.High angle shot of Hedra. She is crying.       HEDRA       I'm scared ! Where are you ?The rat has reached Allison's hiding place. She pushes it downfrom the pipe where it was standing.The rat falls on Hedra's shoulder. She screams.Allison hides back into the ventilation metal box not to be seenby Hedra.Hedra throws the rat on the floor.The rat runs away.Hedra looks up at the place where the rat fell from.Close up at Allison's hiding place. The metal box seems empty.       HEDRA (voice over)       Allie...ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAYHedra comes back into the incinerator room. Just above the opendoor of the incinerator, there is a big ventilation metal box,similar to the one Allison is hiding in.Hedra bangs the box with her hook. She must think that Allison iscrawling inside the ventilation system.ALLISON'S BUILDING - BASEMENT - INTERIOR DAYAllison is peeking from behind a corner of the corridor.Reverse angle shot showing what Allison sees. We - and she - seethe incinerator room with Hedra banging her hook on theventilation system.ALLISON'S BUILDING - INCINERATOR ROOM - INTERIOR DAYHedra is walking backward, away from the incinerator. She hears astrange noise and turns around.ALLISON'S BUILDING - BASEMENT - INTERIOR DAYWe see the open door of a cage slightly moving with a squeakingnoise.Hedra walks toward the cage.       HEDRA       Why are you hiding from me ?Close up on a big wooden closet with two doors. A piece of greenfabric is sticking out between the two closed doors.Hedra bangs her hook on the closet.       HEDRA       You think I can't find you ? Huh ? Your goddam shirt is       sticking out of it.She opens the door, sees herself in a mirror at the back of thecloset, and thinking it's Allison, bangs her hook on the mirrorand breaks it.Hedra backs up one step from the closet. And suddenly, Allison,who was hiding in the pipework on the ceiling, falls down upsidedown, hanging from her legs hooked in the pipework. She stabsHedra in the back with the elevator screwdriver. Hedra screams,and tries to take the screwdriver off her back.Allison drops on the floor. Hedra tries to hit her with the hook,but Allison grabs her arm.With her other free hand, Allison pulls the screwdriver out ofHedra's back, then immediately sticks it again in another place onHedra's back.       HEDRA       Allie...Hedra slowly falls on the floor, where she remains motionless.Allison looks down at her, trying to catch her breath back.She kneels down to close Hedra's eyelids.BLACK SCREEN       ALLISON (voice over)       I cried the whole week of Sam's funeral.ALLISON'S NEW APARTMENT - LIVING ROOM - INTERIOR DAYThis is Allison's new place. Actually it is the apartment Allisonvisited with Sam, just before the puppy's death.Some furniture from the old apartment, and a lot of unopened boxeson the floor. It looks like if Allison just moved in.Very large windows overlooking New-York. Allison is standing nearone of the windows, with her back toward us.       ALLISON (voice over)       Graham says that won't bring him back. He says I have to       start letting go. He's right.Close up on Hedra's collection of photographs, lying near theshoebox where she used to stock them. In the forefront, the blackand white picture of Hedra and her twin sister holding a dogbetween them.       ALLISON (voice over)       Hedy's parents said that for years they'd tried to explain       her that her sister's death wasn't her fault.We see Allison's hands taking the pictures one by one.       ALLISON (voice over)          But she never forgave herself for surviving.The last picture she takes is the black and white picture of thetwins with the dog. She puts all the pictures back in the shoebox,with the twins and dog picture on the top.          ALLISON (voice over)          So every day, I try to forgive Hedy for Sam.Allison puts the lid back on the shoebox.          ALLISON (voice over)          Then I try to do what she couldn't... Forgive myself.The camera moves slowly away from the shoebox to a last photographhidden underneath some wrapping plastic material.          ALLISON (voice over)          I know what can happen to someone who doesn't.Close up on the picture. It looks like the picture of the face ofone woman. But actually, the picture is a mixture of two pictures.The left half-side of the picture shows Allison's face, when theright half-side shows Hedra's face.CREDITSThe credit are rolling up on the picture of Hedra / Allison forabout 25 seconds, then fade-out to black screen, where the end ofthe credits are rolling up.
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+                               SISTER ACT                               Written by                              Paul Rudnick                                                 July 19, 1991      Page 1.     SISTER ACT     FADE IN:     INT. ST. ANNE'S ACADEMY - AKRON, OHIO - CLASSROOM     We are in a parochial school classroom, in the late      Sixties.  The children all wear uniforms and sit at little      desks.  SISTER IMMACULATA stands at the front of the room;      she is a middle-aged nun, very severe.  The children are      all terrified of her.                               SISTER IMMACULATA               Who can name all the Apostles?  Yes?     ANGLE ON CHRISTINE CARTER     A thirteen-year-old girl sitting at a desk.  She raises      her hand.                               SISTER IMMACULATA               Christine?                               CHRISTINE               Sister, may I be excused?                               SISTER IMMACULATA               Christine...                               CHRISTINE               It's an emergency.  Real bad.     Sister Immaculata nods, pursing her lips.  Christine      stands and heads for the door.                                                               CUT TO:     INT. GIRLS ROOM     Christine is now in the deserted St. Anne's girls room.      She is standing on tiptoes, looking in the mirror.  She has      taken her hair out of its neat barrettes; she is combing it      out.  She applies lipstick.     Christine reaches into her schoolbag; she pulls out a      stack of glittery bracelets and slips them on.  She      unbuttons the top few buttons of her stiff white blouse.       She sprays herself with dime store cologne.                                                          CUT TO:     EXT. HALLWAY     Christine opens the girls' room door; she looks both ways.       No one is around; she saunters down the hall.     Page 2.     ANGLE ON A DOOR MARKED BROOM CLOSET     Christine opens this door.  She looks into the closet.      There is a very nervous thirteen-year-old BOY waiting for      her inside.                               CHRISTINE               Hi, Jimmy.     Christine slips inside the closet and closes the door      behind her.     ANGLE ON SISTER IMMACULATA     Striding down the hall, with a bloodthirsty look in her      eye, and a nasty-looking wooden ruler in her hand.  She      flings open the broom closet door,     ANGLE ON CHRISTINE AND JIMMY     in the broom closet.  Jimmy's face is covered with      lipstick.  Christine's hair is awry.  The couple has      clearly been making out.                               SISTER IMMACULATA                             (outraged)               Miss Christine Carter!  Again!  Don't                you know what happens to girls like you?                 Don't you know what they become?     INT. CHRISTY'S APARTMENT - ANGLE ON A LARGE, TATTERED      POSTER-NIGHT (TODAY)     Taped over a crack on a wall.  The poster shows a      glittering CHRISTY VAN CARTIER:  singing star of a fifth-     rate Vegas lounge.  Christy wears tight spangles and a      major wig on the poster.  She has clearly lived up, or      down, to all of Sister Immaculata's expectations.     The CAMERA PANS through the dark bedroom in which the      poster hangs; a neon sign flashes outside the window,      casting a red and blue haze over the premises.  A dressing      room table is cluttered with dozens of bottles of nail      polish and makeup, and garish clothing and flashy jewelry      are scattered everywhere.     We hear the movement of BED SPRINGS as someone sits up in      the dark.                               CHRISTY'S VOICE               Come on, Vince -- hold me a minute.                               VINCE'S VOICE               I'd love to. babe -- but I've got to go.                 It was great.  Like usual.                               CHRISTY'S VOICE               It was twenty minutes.  Like usual.     Page 3.                               VINCE'S VOICE               The best.     VINCE LAROCCA stands at the mirror, adjusting his clothing      and checking his hair.  Vince is a powerful, charismatic      man who rules an organized crime empire with personal      magnetism and threat.  Vince's hold over Christy is      obvious, if unfortunate; he can seem expansive and generous      one minute, ruthless and dangerous the next.                               VINCE                             (half to Christy, half                              to the mirror)               You are something else.     Christy turns on a lamp and lights a cigarette.                               CHRISTY               Come on -- stay.  Just a little.  We can                talk, I'll get a pizza.  Pizza in bed,                we'll have fun.  And you still haven't                told me what happened.  What did she say?                               VINCE               What did who say?                               CHRISTY               Who?  The other woman.  Your wife.     Vince turns to face Christy, turning on the charm.                               VINCE               You are so damn sexy.                               CHRISTY               Vince...                               VINCE               How did I get so lucky?  What is it now,                five years we've been together?  Who do I                thank?                               CHRISTY                             (not buying it)               Today was the deadline, Vince.     Vince sits on the bed.  He takes Christy's hand, and      kisses it.                               VINCE               I want us to be together.  Like people.                 Honest, decent people.  In the eyes of                God.  Babe, today... I went to                confession.                               CHRISTY               You did what?     Page 4.                               VINCE               For the first time in I don't know how                long.  I wanted everything done right.                Open and above board.  I told Father                Antonelli I was in love.  I told him it                was a special love, for all the ages.                               CHRISTY                             (starting to fall for                              it)               You said that?  And what did he say?                 Did he say you could leave her?  Did he                say we'd be happy?                               VINCE                             (looking deep into her                              eyes)               He said that if I got a divorce I'd burn                in Hell.  For all eternity.     Vince kisses Christy's hands again and drops turns away      and starts putting on his shoes.                               CHRISTY               What?                             (outraged)                               VINCE               You want me to go against a priest?  Get                excommunicated?  You think I'm nuts?                               CHRISTY               You bastard!                               VINCE                             (trying to calm her)               We can still see each other.  Just like                always.  It's a different kind of sin.                Smaller.                               CHRISTY               You pig!     Vince backs off, and starts searching for his jacket.                               VINCE               Babe, it's not me!  I love you!  It's                God!                               CHRISTY               You lying sleazeball!  The best years of                my life!  What am I, garbage?  Am I lint?     Vince ducks as Christy throws an ashtray at him, and it      smashes against the wall.                               VINCE               You're upset.  I understand.  I should                go.  I hate to.     Page 5.     A CLOCK-RADIO hits the wall beside Vince's head.                               CHRISTY               Get out of here!  And never come back!     A LAMP hits the wall, as Vince dodges it.  He makes a      phone gesture with his hand.                               VINCE               I'll call.     Vince kisses two fingers, and blows the kiss to Christy.      He leaves.     Christy is left standing on the bed, holding a      particularly garish stuffed animal she was about to hurl.       With Vince gone she slumps to the bed, cradling the stuffed      animal. She is caught between tears and rage.                                                          CUT TO:     EXT. LAS VEGAS - NIGHT     ANGLE on various neon Vegas landmarks -- the Golden      Nugget, Caesar's Palace, Bally's, etc.  Scrunched in      between two larger hotels and casinos is the MOONLIGHT      HOTEL AND CASINO.  The Moonlight isn't all that small, it's      just seen better days.     INT. LOUNGE - NIGHT     A spotlight hits a solitary figure on a small stage.  The      man is caped and dramatic, but not especially talented; an      Elvis impersonator who's just a shade off in voice, looks      and style.                               ELVIS               Good evening, ladies and gentlemen.  Are                you lonesome tonight?  Welcome to the                Moonlight Hotel and Casino's incredible                Platinum Oldies Spectacular.     Backstage, there's still a look of resolve in Christy's      eye as she waits to go on with MICHELLE and TINA, her back-     up singers.                               MICHELLE               But you can't quit.  What'll happen to                us?                             (to Tina)               Tell her she can't quit.                               TINA               I told her.  She stuck pantyhose in my                mouth.     Onstage, Elvis glances into the wings to be sure the      Ronelles are ready.     Page 6.                               ELVIS               Please welcome our own girl group                extraordinaire, our beehives of beauty --               the fabulous Ronelles!     Elvis disappears.  The spotlight hits Christy, who wears a      high beehive wig and a sequinned, early Supremes-style      gown.  Michelle and Tina wear matching gowns and wigs.  The      band begins a doo-wop vamp.                               CHRISTY               Oh, girls.                               RONELLES               Yes, Betty?                               CHRISTY               This prom is a real drag.                               RONELLES               Oh-huh.                               CHRISTY               Oh my!                             (gasping)                               RONELLES               What is it, Betty?                               CHRISTY               Look at that.  Get a gander.                               RONELLES               Oh my!                             (sighing)                               CHRISTY               He's so dreamy.  He's like... a Greek                god.  He's the cutest guy here.    He's                boss.  He's fab.  He's...                               RONELLES               Yes, Betty?                               CHRISTY                             (singing)               HE'S SO FINE.                               RONELLES               D00-LANG, DOO-LANG, D00-LANG.                               CHRISTY               WISH HE WAS MINE.  THAT HANDSOME BOY                OVER THERE, THE ONE WITH THE WAVY HAIR.     As they sing, their moves and gestures are carefully      choreographed in vintage girl group style.     Page 7.     A lot of talent and hard work has clearly gone into the      number.  While Christy does her best, her singing voice is      not on a par with those of the other Ronelles.     The lounge itself is practically empty, except for a few      drunken Shriners and a couple of college kids.  POLICE      LIEUTENANT EDDIE MULCAHY sits at a ringside table with his      eyes locked on Christy.  An easygoing charmer, Eddie gives      her a wink, but she responds with an up-yours look and a      turn to the other half of the room as the song continues.     INT. DRESSING ROOM - LATER     A small, cramped room with cracked plaster walls and a      sputtering fan for ventilation.  Christy has her own      dressing table and mirror, and the Ronelles share a table a      few feet away.  Clothing and costumes hang on nails or are      draped over chairs as the girls change into street wear.                               CHRISTY               Screw this dump.  It's a roach motel                with sequins.  Every guy I meet is either                married, a cop, or a lush from Des                Moines.                               MICHELLE               But what about us?                               TINA               You taught us the act.  The songs, all                the moves.                               CHRISTY               And where did it get me?  I'm stuck in                this rathole!  You're holding me back,                just like Vince!  I should be headlining!     A pock-faced weasel of a man named JOEY opens the door and      leans into the room.                               CHRISTY               What do you want?  This is a private                area!  Get lost!                               JOEY               You ain't got nothin' I ain't seen.                               CHRISTY               Then stop trying to memorize it.  Hit                the road.     Joey takes a step into the room and sets a box on the      chair near Christy.                               JOEY               From Vince.     Page 8.                               CHRISTY               His ashes?                               JOEY               With love.     Joey leaves.  Michelle and Tina hover around the box, very      excited.  They pick it up, trying to tempt Christy.                               MICHELLE               From Vince! With love!                               TINA               Michelle and Tina can't restrain                themselves: they open the box.  Inside is                a rather gaudy fur coat.  Michelle and                Tina are impressed.                               MICHELLE               It's a fur!                               TINA               It's new!                               CHRISTY               It's a bribe.  Five years of my                goddamned life!                               MICHELLE               So you earned it!                               TINA               Vince owns the casino!  Cash in                               CHRISTY               I should throw this in his facet     There's a KNOCK on the door, and Tina opens it.       Lieutenant Eddie Mulcahy enters.  Christy is not pleased.                               CHRISTY               Oh, Jesus.  What is going on here?                             (to heaven)               Why me?  Whose dog did I kill?                               MICHELLE               Hi, Lieutenant.                               TINA               Hello, Eddie.     Eddie picks up the coat.                               EDDIE               From Vince?  What a guy.  Doo-lang, doo-               lang.                               CHRISTY               At least he's not a cop.  At least he                can afford a decent gift.                               EDDIE               I used to buy.you,..stuff.  On your                birthday .  When we were seeing each                other.                               CHRISTY               Yeah, like what?  Quilted coat hangers,                that your mother picked out?  Lottery                tickets?  A travel iron?                               EDDIE               So I don't shop.                               CHRISTY               'Cause you're always out, arresting                people.  Making trouble.  I don't know                why I went out with you in the first                place, it was embarrassing!  I couldn't                hold my head up, I used to tell people                you were a security guard!                               EDDIE               Oh, yeah? Well, how do you think I felt?                 You were singing in bowling alleys back                then.  I told people you were a hooker!                               MICHELLE               Calm down, you two.  It's always like                this.                               EDDIE               Yeah, well, now, she goes out with a'                better class of people.  Vince Laflocca.                               CHRISTY               He's a businessman.                               EDDIE               A what? When are you qonna wake up?                               CHRISTY               When are you gonna get off my case?                 Have you got a search warrant?  What do                you want -- cheap thrills?                               EDDIE               Information, baby.  I thought maybe                somebody around here might have a                conscience.                               CHRISTY               Think again!  And get out of here.     Page 10.                               EDDIE               I'm going.  My regards to Vince,   And                the Mrs.     Christy hurls a jar of cold cream at Eddie's head.  He      ducks, and the jar hits the door.                               EDDIE               Ladies.     Eddie leaves.  Christy is standing, absolutely furious.                               CHRISTY               That's it!  I'm not taking it from him,                and I'm not taking it from Vince!  From                now on, it's all about me!  And if I                can't spend it, drink it, or sleep with                it -- it's gone.  Like Sister Immaculata                used to say, "Life is short, and then you                fry."  So long, girls -- see you in                church!     Christy grabs the mink and heads out the door.     INT. VINCE'S OFFICE - NIGHT     ERNIE SCHMIDT sits across the enormous mahogany desk from      Vince.  The young man's throat is dry; he's sweating      bullets.  The presence of Joey the weasel and WILLY, a      brutal thug, increases Ernie's tension.                               VINCE               Ernie Schmidt.  How long you been with                us, Ernie Schmidt?                               ERNIE               Three years, Mr. LaRocca.  One behind                the bar, two as croupier.     Vince gestures to the lush office and its furnishings.                               VINCE               Ernie, you know what's important to me?                 What counts?  It's not all this.  This is                '-- what?  Frosting.  Loyalty.  That's me,                Ernie.  That's home.     Vince gestures to Joey, who takes out a revolver and      points it at Ernie's head.                               VINCE               You ain't been loyal, Ernie.  What did                you tell the cops?     Ernie's eyes open wide with denial as the gun comes closer      to his temple.     Page 11.     INT. HOTEL LOBBY     Holding the coat, Christy waits by the elevator.  It      arrives; she gets in.     INT. VINCE'S OFFICE     The interrogation continues.                               ERNIE               I didn't tell the cops anything. I                swear.                               VINCE               Joey?     Joey slams Ernie on the side of the head with the gun.     INT. CORRIDOR     Christy steps out of the elevator and faces a maze of      office cubicles with half-wall partitions.  The floor is      deserted and dark as she makes her way through the      cubicles.     INT. VINCE'S OFFICE     Vince is standing over Ernie, holding his head up by the      hair.                               VINCE               Who else, Ernie?  Who else was in on it?                               ERNIE                             (moaning)               No one...                               VINCE                             (dropping Ernie's head                              in disgust)               Why am I wasting my time?     INT. EXECUTIVE CORRIDOR     Beyond the cubicles, Christy strides down a lush corridor      to an executive suite.  She tries the knob, but finds the      door locked.  Pulling a key from her purse, she unlocks the      door to the suite and enters a large outer office with a      reception area and doors to several inner offices.  She      tosses the key onto the receptionist's desk.                               CHRISTY               Won't need that anymore.  Ta-ta.     Crossing to Vince's office, Christy squares her shoulders      and narrows her eyes with anger as she reaches for the      doorknob.  She pauses for a second, and then doubles her      resolve.     Page 12.     INT. VINCE'S OFFICE                               VINCE               Do it.                             (to Joey)     ANGLE on the door to the office, which opens.  Christy      appears, with the mink coat in her arms.                               CHRISTY               Stuff this up your...     A GUNSHOT is heard, 0.S.  Christy's eyes widen, and her      jaw drops, at what she has just witnessed.     ANGLE on the office.  Ernie is slumped in the chair, dead.      Joey stands over him, holding the revolver.  Joey, Willy      and Vince stare at Christy.                               VINCE               Babe.                             (icy calm)     Christy tries to speak; she can't.                               VINCE               Christy.  Is there a problem?  With the                coat?     Christy glances around the room; she doesn't move.  She      quickly sizes up the situation.  She tries to appear      matter-of-fact. unaffected by what she's just seen.                               CHRISTY               No... it's fine.                                VINCE               Yes?                               CHRISTY               Thanks.  A lot.                               VINCE               Is that why you came up here, Christy?                To thank me?                               CHRISTY               Sure.                               VINCE               And to say you're sorry.  About this                afternoon.  And the things you said.                Forgotten.  Completely.  Do you                understand?  Forgotten.                               CHRISTY                             (catching the subtext)               Right.  Yeah.  Forgotten.     Page 13.     Vince crosses the room, to Christy.  He takes her hands in      his, and kisses them.                               VINCE               That's my girl.  My girl in mink.  Will                you be home?  Soon?     Christy kisses Vince, quickly.                               CHRISTY               Right.  I'll be... at the apartment.                 Call me.  Thanks.  Again.     Christy reaches for the doorknob, without looking at the      door.  She fumbles a bit.  She finds the door.                               CHRISTY               Mink.  Wow.     Christy walks backwards, out the door.  She turns; she is      gone.                               JOEY               Vince -- is she... okay?                               VINCE               Maybe.                             (considering this)                               WILLY               I mean, won't she talk? She seemed kind                of upset.                               VINCE               She did.                             (making a decision)               Bring her back.  Now.  For a talk.                               JOEY                And if she runs?                                VINCE                             (icy)               Take care of it.     With guns drawn, Willy and Joey run after Christy.     INT. RECEPTION AREA     Christy, clearly terrified, is walking quickly away from      Vince's office.  She passes through a glass door which      leads to the cubicle area.     LONG SHOT of the cubicle area, which resembles a darkened      maze.  Christy hears Joey approaching; she runs into the      cubicle area.                               JOEY               Christy?  He only wants to talk to you!     Page 14.     ANGLE on Christy, crouched behind a half-wall.  She is      clutching the coat.                               WILLY               Christy?     There is a stuffed toy, a "Garfield the Cat," attached to      the wall near Christy, with suction cups.  Christy tries to      pull the cat's feet off the wall, very quietly.                               JOEY               Christy?     Christy finally just yanks the cat off the wall.  She      hurls it as high and as far as she can, to the opposite end      of the room.     ANGLE on the flying stuffed cat.     Joey sees the blur of the cat; he SHOOTS it, and the cat      explodes.                               JOEY               Come on, Christy!  There's no place to                go!     Christy steadies herself against a Xerox machine.  She      accidentally activates the machine, which lights up and      starts HUMMING.     ANGLE on Willy, as he hears the Xerox machine.  He quickly      moves toward the SOUND.     Willy reaches the Xerox machine; the area is deserted.  He      starts moving quickly down the aisle   A chair, the kind on      casters, comes rolling out of one of the cubicle doorways;      the chair hits Willy and he falls.     Christy runs out of the cubicle; Willy is on the floor,      struggling to get up.  As Christy sprints away, Willy      SHOOTS at her.  He misses, but a glass partition SHATTERS.     Christy runs for an open elevator, but it has been      summoned from another floor and the doors are beginning to      close. She runs even faster.  A BULLET whistles past her      ear and hits the back wall of the elevator.  She reaches      for the doors a moment too late, and the elevator is gone.     Christy scrambles to the door beside the elevator and runs      into a stairwell as two more BULLETS bite pieces out of the      door.     INT. STAIRWELL     Taking the stairs three at a time, Christy is flying,      still clutching the mink.  The thugs are gaining on her.  A      BULLET hits metal and RICOCHETS off several walls and      steps.     Page 15.     At the next landing, Christy opens the door and ducks into      a corridor.     INT. CORRIDOR     Exhausted but powered by adrenaline, Christy sprints past      doors to the end of the hall, still with the mink.  Joey      appears from the stairwell just as Christy ducks into a      supply room.     INT. SUPPLY ROOM     Christy shoves a cleaning cart aside and wades through a      pile of dirty linen.  Joey opens the door just as Christy      dives head first into the laundry chute.     INT. LAUNDRY CHUTE     Christy, lying atop the mink, flies through the chute like      a subway train through a tunnel.     INT. BASEMENT     The chute spits Christy out like a bullet into a huge bin      of dirty linen.  Two workers glance around as they load      large washing machines with laundry.  Christy climbs out of      the bin and dashes for a door.  Working in a hotel, the      workers have seen everything.     INT. LAUNDRY CHUTE     Joey flies through the chute.     INT. BASEMENT     Joey suddenly flies into the bin.  He climbs out with his      gun in sight.                               JOEY               Which way?     The workers point to the door, and Joey rushes across the      room.  One of the workers is now wearing the mink coat.     EXT. STREET - NIGHT     Joey comes out of the hotel and finds an empty street.  He      looks in every direction, but the nearby streets have      swallowed Christy into safety for the moment.     EXT. POLICE STATION - NIGHT     The central offices of the Las Vegas Police Department.     INT. MULCAHY'S OFFICE     Eddie's office is a glassed-in area set in the middle of      the station's main floor.     Page 16.     Christy is huddled in a chair, surrounded by Eddie and two      other detectives, CLARKSON and TATE.                               CHRISTY               Right between the eyes!  Down and out!                The guy was gone!  I... I couldn't                believe it!                               EDDIE               You couldn't believe it?  Vince the                Prince?                               CHRISTY               I never said he was an altar boy, okay?                 But he sent his goons after me!  They                tried to kill me!  I'm not kidding!                               CLARKSON               Tough break.  Whoa.                               EDDIE               What did you expect?  Vince is as dirty                as they come.  We've been finding bodies                around here for years.                               CHRISTY               I don't know anything about bodies!  I                mean, he didn't bring it home.  He was                good to me... sometimes.  He was sweet.                He took care of me.  Who am I supposed to                go out with?  He owns a casino.  He let                me sing.                               EDDIE               He didn't do you a favor.                               CHRISTY               Screw you!                               TATE               Come on, she'll sing great.  When she                sings for us.                               CHRISTY               Sing -- like testify?  Are you nuts?  I                just want you to protect me!  You're                cops!                               TATE               Busy cops.  We don't have time to be                bodyguards for anyone who comes in here                with some cockamamie story.  Mink coats                and laundry chutes.                               CLARKSON               Unless, of course, you're willing to                testify.     Page 17.                               CHRISTY               What is this, some squeeze play?  Can't                you just protect me without any strings?     The three detectives move in closer now and really apply      the pressure.                               EDDIE               We could put you into our witness                protection program.                               TATE               A hiding place.                                CLARKSON               A new identity.                               EDDIE               But you'd have to agree to testify.  The                whole nine yards.                               CHRISTY               And if I don't?                               EDDIE               Then-you run.                               TATE               You wait.                               CLARKSON               You listen for the footsteps.                               EDDIE               Then one day they find you.                               TATE               They open a window.                               CLARKSON               It's ten flights up.                               TATE               Ten flights down.                               CHRISTY               Ten flights?                               EDDIE               You'd lose.  You'd die.  All over the                sidewalk.  And into the street.                               CHRISTY               All right!  I get the picture!  I'll do                it!  I'll testify!                               EDDIE                             (to Tate)                Get a stenographer.     Page 18.     Tate leaves.  Christy looks to Eddie for a bargain now.                               CHRISTY               Okay, here's what I want.  I know about                this stuff.  A five-star hotel.  With                room service.                               EDDIE               Maybe Hawaii.                               CLARKSON               Diamond Head.                               CHRISTY               Yeah.  And I'll need a new look.  Like a                disguise.                               EDDIE               Maybe Armani.                               CLARKSON               No -- Calvin Klein.                               CHRISTY               For sportswear.  And a limo.  And my                hair -- up?                               CLARKSON               It could work.                               EDDIE               Jesus, what do you think this is --               Wheel of Fortune?  Let me spell it out                for you.  You have to hide like you don't                even exist.  You have to get so far                hidden away that you never see sunlight.                               CHRISTY                             (confused)               Okay -- no limo.                               EDDIE               No nothing.                               CHRISTY               What're you gonna do, put me in a bag                and bury me?                               EDDIE               I'm gonna put you in the last place on                Earth that Vince would ever look for you.     Eddie smiles.  Christy doesn't like the sound of this at      all a     Page 19.     INT. STAINED CLASS WINDOW - DAY     Jesus delivers the Sermon on the Mount in vibrant red,      blue and green stained glass.  An ORGAN plays a hymn --      badly.  Notes are missed, skipped over and mutilated.     PAN DOWN to a procession of nuns who march into a chapel      at the ancient St. Katherine's Convent.  The organ isn't      getting any better, and we see it is being played by SISTER      ALMA, a seventy-year-old nun with arthritis and a hearing      aid.  Apparently the hearing aid is malfunctioning, because      Sister Alma doesn't seem to realize how badly she's      playing.     As the last nun in the procession enters the chapel, she      closes the door behind her.  Across the lobby, the front      door opens and Eddie enters with a very reluctant Christy.                               CHRISTY                             (to Eddie)               I hate you.  I totally hate you.                               EDDIE               Safest place in the world.  You think                Vince would look for you here?     As Christy looks around the lobby, various religious      artifacts loom at her; we see them from her terrified P0V.      ANGLE on a crucifix, casting an ominous shadow, a stack of      hymnals, and a large, framed Sunday School-style portrait      of St. Katherine.  Christy shudders.                               CHRISTY               Nuns, Eddie.  There are nuns here.                Everywhere.  It's crawling with 'em.                               EDDIE               It's a convent.  All you have to do is                shut up, behave yourself, and get along.                               CHRISTY               With nuns?  With rulers?  No way.  I'm                gonna go back, work things out with                Vince.     Christy turns to head back to the entrance, but Eddie      catches her arm.                               EDDIE               Vince has put out a contract on you.  A                hundred grand.  You've seen him in                action.     Christy searches his eyes for a lie, but realizes he's      telling the truth.                               CHRISTY               But... but Vince loves me.  How could                he... I mean, five years...     Page 20.                               EDDIE               And one bullet.  That's all it's gonna                take.                               CHRISTY                             (suddenly scared)               But Vince has contacts all over the                place!  This is San Francisco!  They'll                be looking for me!                               EDDIE               Everywhere but this little hole-in-the-               wall convent.  Nobody knows you're here                but me.  We're trying to get a quick                court date.  A month, maybe two, tops.                I'll spring you as soon as I can.                               CHRISTY                             (panicking)               I can't stay here!  I'll crack up!                Eddie, what am I gonna do?                               EDDIE               Pray.                             (smiling)     From inside the chapel, the CHOIR begins to sing a hymn --     horribly.  The voices don't blend, and individual notes are      real migraine material.  Christy looks aghast.  Eddie urges      her into a corridor, and she follows.     INT. MOTHER SUPERIOR'S OFFICE     The office is bare and austere.  MOTHER SUPERIOR sits at      her desk with her hands folded.  Like all the nuns at the      convent, she wears the traditional full-length habit and      wimple.     Mother Superior is in total command of all she surveys,      and she seldom raises her voice or her blood pressure as      she rules.  Control is her passion; within the walls of the      convent, she has created a world she can trust because it's      a world she controls.               But Mother Superior is not in control at                this particular moment.  BISHOP GEORGE                O'HARA stands before her with a majestic                presence and some bad news.                               MOTHER SUPERIOR               Absolutely not.  I am very sorry, but                no.                               O'HARA               We can save this young woman's life, and                imprison a parasite -- all in one                gesture.     Page 21.                               MOTHER SUPERIOR               But she's been exposed to the underside                of life.  She is the underside of life.                               O'HARA               And therefore an ideal prospect for                rehabilitation.                               MOTHER SUPERIOR               We're a small convent, Bishop.  Surely                there are... more appropriate shelters.                               O'HARA               Your small convent is in danger of                closing, Reverend Mother.  The Las Vegas                Police Department has offered to make a                generous financial donation.                               MOTHER SUPERIOR               But, Bishop...                               O'HARA               St. Katherine's is a Benedictine Order.                You have taken a Vow of Hospitality.  To                all in need.                               MOTHER SUPERIOR               I lied.                               O'HARA               I know.                             (smiling)     Mother Superior's jaw locks.  She realizes she is stuck      with the situation and will have to control it as best she      can.  There is a KNOCK at the door, and Eddie and Christy      enter.                               O'HARA               Welcome, Lieutenant.  Everything is in                order.                               EDDIE               Aces.  Bishop -- maybe a cup of coffee,                down at the corner?     The thought of being left alone with Mother Superior      panics Christy, like a child left in the principal's      office.                               CHRISTY               Hey, you're not leaving me alone...                               O'HARA                             (reassuringly)               You're never alone in this house, my                child.     Eddie touches her gently on the arm.     Page 22.                               EDDIE               One month, two tops.  Behave yourself.                               MOTHER SUPERIOR               Bishop...                             (a last-ditch attempt)                               O'HARA                             (opening the door to                              leave)               Lieutenant?                                                          CUT TO:     EXT. THE CONVENT - A FEW SECONDS LATER     Eddie and Bishop 0'Hara are leaving, by the convent's      front door.  As they exit, they hear the CHOIR, singing      horribly. They both wince at the sound, and then chuckle.     INT. MOTHER SUPERIOR'S OFFICE     Christy is pacing, outraged at her new situation.                               CHRISTY               A convent?  They put me in a convent?                What's the problem?  Wasn't there any                more room in Hell?                               MOTHER SUPERIOR                             (very calm)               What is your full name?  Your Christian                name?                               CHRISTY               Mother Theresa.  Gandhi.  Don't you                understand?  This is all a mistake.  I'm                the good guy.  I'm the witness.  And I'm                being punished!                               MOTHER SUPERIOR               Your name?                               CHRISTY               Christy.  Christy Van Cartier.                               MOTHER SUPERIOR               Enough joking.                               CHRISTY               That's my real name!  Currently I'm a                 singer.  Sort of.                               MOTHER SUPERIOR               Very well.                               CHRISTY               Oh my God.  This isn't happening, tell                me this isn't happening.  It's a                nightmare, I'm back at St. Anne's!     Page 23.                               MOTHER SUPERIOR               St. Anne's?                               CHRISTY               Parochial school.  Akron.  St.                Android's.                               MOTHER SUPERIOR               You were unhappy?                               CHRISTY               I was expelled!  When I was fifteen?                               MOTHER SUPERIOR               The reason?                               CHRISTY               Beats me!  What do you think?  Smoking!                Heavy petting, without a chaperone. Heavy                petting, with the chaperone.  And wearing                a black bra, under my uniform.  The demon                bra.                               MOTHER SUPERIOR               I see.                               CHRISTY               You see?  You see?  I have to get out of                here   I have to make a phone call.                 Don't you get  it?  I'm in a convent!                 You're a nun!                               MOTHER SUPERIOR                             (very stern)               Sit down.                               CHRISTY               What?     Mother Superior rises.  She is an extremely imposing      woman.                                MOTHER SUPERIOR               Sit.     Christy sits in a wooden chair across from Mother      Superior.                               MOTHER SUPERIOR               Miss Van Cartier.                                CHRISTY               What?                             (belligerent)                               MOTHER SUPERIOR               Your cigarette -- out.     Christy inspects her cigarette.     Page 24.                               MOTHER SUPERIOR                             (ruefully)               It has come to pass.                               CHRISTY               What?                               MOTHER SUPERIOR               I joined this convent some thirty years                ago.  At that time, the world knew some                measure of peace.  And hope.  Our order                was a beacon of hospitality, to families,                to children, to a neighborhood filled                with promise.  And, as the years have                passed, I have watched that promise                destroyed.  Drugs.  Gangs.                             (staring at Christy's                              outfit) Spandex.  And.                              so I have made this                              convent an oasis, a                              retreat from horror.                              And now that horror has                              invaded these sacred                              walls.                               CHRISTY               Are you talking about me?                               MOTHER SUPERIOR               And all those like you.                               CHRISTY               You mean black people?                               MOTHER SUPERIOR               Absolutely not.  I mean the wicked.  The                heedless.  And their Las Vegas                concubines.                               CHRISTY                             (very suspicious)                              What's a concubine?                               MOTHER SUPERIOR               Check your driver's license.     Christy stands, facing off with Mother Superior.                               CHRISTY               Fine.  Got it.  Look, the way I see it,                I'm stuck here, right?  I mean, I'm here                or I'm target practice.  So here's the                deal -- I don't bug you, you don't bug                me.  I'll catch up on some sleep, watch                some tube, lay back and lay low.  So just                get me a key and show me to my room, and                do not disturb.  Capisce?                               MOTHER SUPERIOR                             (suspiciously                              gracious)               Of course.  But it's almost lunch.     Page 25.                               CHRISTY               Cool.  Is there a menu?  Or buffet?                               MOTHER SUPERIOR               Before we do, you might like to freshen                up.  And you'll certainly want to change                               CHRISTY                             (sniffing her clothes,                              the same outfit she's                              had on since the night                              at Vince's office)               Deal.     INT. CONVENT CHANGING ROOM     A small room, with a sewing machine, some bolts of fabric,      and several wooden cabinets.  There is a wooden screen in a      corner, marking a changing area.  Christy is behind the      screen; we hear her, but do not see her,  Mother Superior      stands beside the screen, catching the various items of      clothing which Christy tosses to her.                               CHRISTY (O.S.)               How about a robe?  One of those big                terry cloth jobs, with like embroidery on                the pocket.  "Guest of St. Katherine's"                               MOTHER SUPERIOR               Would you like that?     Mother Superior takes Christy's skirt and blouse, and      tosses them down a chute marked "INCINERATOR."                               CHRISTY (O.S.)               You should hand-wash that blouse, and                send somebody out for some things.  I                look good in reds, purples, hot pink --               and shoes.  Five-inch heels.  Fuck-me                pumps.  Oh, man -- sorry.   'Scuse my                mouth.     Mother Superior carries Christy's lacy bra at the end of a      ruler; it goes down the incinerator.                               MOTHER SUPERIOR               Excused.  Open the cabinet to your left.                You will find appropriate attire.                               CHRISTY (O.S.)               Can do.     INT. CHAPEL     A group of nuns are praying, their heads bowed.  They hear      a muffled SCREAM, from elsewhere in the convent. They look      up, puzzled.     Page 26.     INT. CONVENT CHANGING ROOM     Christy is standing before a full-length mirror, staring      at herself, in complete shock.  She now wears a habit and      wimple.  Mother Superior is doing final adjustments on the      wimple.                               CHRISTY                             (almost unable to                              speak)               No!  No!  I can't do this!                               MOTHER SUPERIOR               Normally dressed, you are a sore thumb,                and you endanger us all.  While you are                here, you will conduct yourself as a nun.                 Only I shall know who, and what, you                truly are.  You will not disrupt the                convent.  You will not influence the                Sisters with your colorful street talk.                You will draw no attention to yourself in                any way.                               CHRISTY                             (furious, in                              disbelief)               But look at rites  Look at this!  I'm a                nun!  I'm invisible!  I'm a penguin!                               MOTHER SUPERIOR               As of now, and until you leave, you are                Sister Mary Clarence.                               CHRISTY                             (outraged)               Mary Clarence?  Like a guy?  Like a dumb                guy?     INT. CONVENT HALLWAY - A MINUTE LATER     Mother Superior is striding down the hall.  Christy is      beside her, trying to get the hang of her new outfit.                               MOTHER SUPERIOR               The Mary is in deference to the Holy                Mother, the Clarence in honor of Saint                Clarence Loyola.  There are three vows                that every nun must accept.  The vow of                poverty...                               CHRISTY                             (pulling out her                              pockets)               No problem.                               MOTHER SUPERIOR               The vow of obedience.                               CHRISTY               Like to who?     Page 27.                               MOTHER SUPERIOR               And the vow of chastity.                               CHRISTY               I'm outta here.     Christy starts to leave; Mother Superior grabs her by the      wimple     INT. CONVENT DINING HALL     A large, whitewashed gothic room, with oak beams and a      crude iron chandelier.  There is a long, central wooden      table, with rough wooden benches.     The convent's population is standing around the table in      silence.  There are about thirty nuns in all.     Mother Superior moves to the head of the table, with      Christy following her.  She motions for Christy to stand at      her right.                               MOTHER SUPERIOR               Good afternoon, Sisters.  I apologize                for my tardiness.  I would like you to                welcome a new member of our order, Sister                Mary Clarence.     ANGLE on SISTER MARY ROBERT, the nun standing beside      Christy.  Sister Mary Robert is naive and mouse- like, but      very sweet.  She has only been at the convent a few years;      she wears the simpler habit of a novice.  She sneaks a look      at Christy.  Her eyes widen, and then she resumes staring      at her hands.                               MOTHER SUPERIOR               Mary Clarence comes to us from a                somewhat more progressive convent.  She                is eager for a more disciplined life, and                will make every effort to conform to our                ways.     Everyone sits, including Christy.  SISTER MARY PATRICK, a      nun seated at the middle of the table, waves her hand. Mary      Patrick is extremely cheerful, a truly upbeat person.                               MOTHER SUPERIOR               Yes, Mary Patrick?                               MARY PATRICK               Reverend Mother, on behalf of the                sisters, I'd like to welcome Mary                Clarence to St. Katherine's.     ANGLE on Christy, looking thoroughly disgusted.      Page 28.                               MARY PATRICK               As part of our welcome, I've had a                little thought, just for fun.  Could we                have our new friend offer today's                blessing?     ANGLE on the nuns, watching Christy.                               MOTHER SUPERIOR                             (reluctantly)               Very well.  Mary Clarence, rise please.     Christy stands up slowly, aghast.                               CHRISTY               A blessing?  Like, for lunch?     ANGLE on Mary Patrick, beaming.  She and the other nuns      bow their heads.                               CHRISTY                             (trying to recall a                              blessing)               For what we are about to receive...     So far, so good.  Mother Superior has one eye open.                               CHRISTY               may the Lord... prepare us and... watch                us and... walk through the valley and be                our shepherd and... to the republic for                which it stands... God bless us every                one, hallowed be thy name.  Hallelujah.                 Ave Maria. Boyardee.  Amen.     ANGLE on the nuns, staring at Christy. Mother Superior      rises, very quickly.                               MOTHER SUPERIOR               Sisters, for the rest of the day we                shall declare a Vow of Silence.                               CHRISTY               A what?                               MOTHER SUPERIOR               Surely you are familiar with this                practice, Mary Clarence.  Only when our                lips are silent, can our prayers truly be                heard.                               CHRISTY               Silence?  No talking?  All day?                               MOTHER SUPERIOR               Until sundown.     Page 29.                               CHRISTY                             (mouthing the words.                              without speaking aloud)               Oh my God.     Christy reaches for a piece of bread.                               MOTHER SUPERIOR               And Mary Clarence?     Christy looks up.                               MOTHER SUPERIOR               As a new member of our order, I think                you might also enjoy a ritual fast.                               CHRISTY                             (mouthing the words)               A what?                               MOTHER SUPERIOR               A fast.  To remind us of the poor, of                those who must endure without enough to                eat.                               CHRISTY                             (mouthing)               No food?                               MOTHER SUPERIOR                             (taking away Christy's                              plate)               No food.  Not until sundown.     ANGLE on Christy, clutching her fork, hungrily watching      the other nuns eat.     EXT. POLICE STATION - DAY     Vince leaves the police station with his henchmen, Joey      and Willy, and LARRY NARREN, an attorney.  Vince is      steaming as they walk through the parking lot.                               VINCE               They grilled me for six hours in there.                And my hotshot lawyer -- where the hell                were you?                               LARRY               It takes time, Vince.  Slow and steady.                We've been through this before.     Vince reaches his car.  As Joey opens the door for him,      another car drives by, and stops.  Eddie is driving; he      leans out the window.                               EDDIE               So long, Vince.  See you soon.     Page 30.     Vince lurches toward Eddie; Larry restrains him.  Eddie      drives off, chuckling.                               VINCE               He's so damn cocky.  This is different.                               JOEY               It's a bluff, Vince.                               VINCE               You know so much.  They've got Christy,                and we've got to find her.  Get her 8x10,                from in front of the lounge.  Fax it to                every contact we got.     Larry covers his ears with both hands.                               LARRY               I can't hear this.  I'm an attorney,                Vince, and you're just an honest casino                owner.  Object of a witch hunt. Innocent                victim.                               VINCE               Keep the message vague, but let 'em                know.  The price has gone up.  Christy                Van Cartier -- a quarter of a million.                 Dead or nearby.     Vince looks grim and vindictive, as he gets into the car.     EXT. CONVENT VEGETABLE GARDEN - DAY     The vegetable patch is located behind the convent, on a      patch of land surrounded by high walls.  Various sections      have been partitioned with string and then furrowed.     Several nuns are working in the patch, weeding and raking.      They wear large, ungainly straw hats over their wimples.     Christy has been given a hoe and a straw hat.  She is      hacking at the dirt, with great disinterest.  She picks up      a carrot from the vegetable patch; she looks around to see      if anyone is watching.  She starts to gnaw on the carrot.       She becomes aware that someone is watching her.  She looks      up.     Sister Mary Robert is watching Christy eat the carrot,      breaking her fast.  Christy drops the carrot on the ground,      as if it burned her.  Mary Robert resumes hoeing in the      next furrow over.     Christy stares at Mary Robert, narrowing her eyes.       Christy looks around; all the other nuns are busy at their      tasks.  Christy decides that she will try and make Sister      Mary  Robert talk.  She picks up the carrot and tosses it      at Mary Robert.  Mary Robert jumps.  She waggles a finger      at Christy, scolding her.  Mary Robert resumes hoeing.     Page 31.     Christy is now determined.  She takes her hoe, and tiptoes      nearer to Mary Robert.  Very gently, she uses the handle of      the floe to lift Mary Robert's skirt, and gooses her.     Mary Robert vips, very loudly.  All the other nuns turn      and stare at Mary Robert, scolding her.  Christy waggles      her finger at Mary Robert, scolding her.     Christy, giggling to herself, resumes hoeing.  She sees      Mother Superior, standing at the end of the furrow.  Mother      Superior looks extremely grim; she has not missed anything.     EXT. SUNSET - THAT NIGHT     LONG SHOT of the sun going down, ending the nuns' Vow of      Silence.     We hear Christy SCREAM, O.S.     INT. CONVENT HALLWAY - THAT NIGHT     This hallway is marked by a series of heavy wooden doors      with tiny, grilled windows.  These are the cells where the      nuns sleep.  Nuns are entering their cells and closing      their doors for the night.     Mother Superior glides down the hall, followed by a dusty,      bedraggled Christy.  Christy is devouring a slice of brown      bread.                               CHRISTY               Is this all the food I get?                               MOTHER SUPERIOR               Yes.  Until breakfast.                               CHRISTY               That's tomorrow!  Don't you have any                snacks?  Machines?     They stop by a door.                               MOTHER SUPERIOR               This shall be your cell, Mary Clarence.                               CHRISTY               My what?                               MOTHER SUPERIOR               Your cell.  Your room.     INT. CHRISTY'S CELL     The door swings open, and Mother Superior and Christy      enter.  The room is tiny, with bare plaster walls.  There      is a narrow wooden bed, with a thin muslin-covered      mattress.  There is a small nightstand and a wooden stool.     Page 32.                               CHRISTY                             (looking around)               You were right the first time.  Is this                like, solitary?  The cooler?  Where's the                furniture?                               MOTHER SUPERIOR               Our lives are simple.  We have little                need for material possessions.                               CHRISTY               Right, sure thing.  But what about,                like, appliances?  Like a little color                portable?  Boom box?                               MOTHER SUPERIOR               Useless distractions.                               CHRISTY                             (sinking to the bed)               It's like the Stone Age.  The room time                forgot.  What about a phone?                               MOTHER SUPERIOR               And whom would you call?                               CHRISTY               Oh, I don't know... Satan?                               MOTHER SUPERIOR                             (not amused)                Your cell is more than adequate.                               CHRISTY               Right.  So what do we do now?  Ping-               Pong?  Row over to the monastery?                               MOTHER SUPERIOR               It is nine p.m.  Pleasant dreams.                               CHRISTY               Wait.  No.  You're kidding.  Lights out?                At nine?  My day's just starting.                               MOTHER SUPERIOR                I'm sure.  If I were you, I would use                this time, to think about my life.  And                its direction.  Or lack thereof.                               CHRISTY                             (indignant)               What's wrong with my life?                               MOTHER SUPERIOR               From all I've heard, just about                everything.  Your singing career seems                all but nonexistent, and your married                lover wants you dead.                             (MORE)     Page 33                               MOTHER SUPERIOR (CONT'D)               If you're fooling anyone, it's only                yourself.  God has brought you here. Take                the hint.     Mother Superior leaves.     After the door shuts, Christy stands and looks out the one      small window in her cell.  She leans her head against the      wall.  She is trying not to think about what Mother      Superior has said.  Still, the mess her life has become      overwhelms her.  She fights back tears.     EXT. CONVENT - DAY     The sun is just barely rising, as the convent BELL tolls.     INT. CHRISTY'S CELL     Christy is fast asleep.  There is a RAPPING at the door.                               MARY ROBERT (0.S.)               Sister Mary Clarence!     EXT. CONVENT HALLWAY     All the nuns are proceeding, in their simple robes and      nightshirts, down the hallway.     Christy's door opens; she is still in her nightshirt, and      her hair is a mess.                               CHRISTY               What?     Mary Robert, in her nightshirt, stands outside.                               MARY ROBERT               Come on, we're late.                               CHRISTY               What?  What time is it?                               MARY ROBERT               It's after five.  We have to bathe.                               CHRISTY                             (groaning)               Five a.m.?     INT. HALLWAY OUTSIDE BATHING ROOM - A FEW MINUTES LATER     Christy is standing on line in the hall, along with      several other nuns; they are waiting to take showers.  They      carry soap and towels.     Page 34.                               MARY PATRICK                             (sincerely)               Isn't it a glorious morning?  Good                morning, Mary Clarence.  sleep well?                               CHRISTY               Right.                               MARY ROBERT               Is this like your old convent?                               MARY PATRICK               Which convent was that, Sister?                               CHRISTY               Which convent?  It was, um, the Little                Sisters... of the Moonlight.  In Vegas.                Everybody used to come to Mass.  Frank.                Dean.  Sammy.  Right at ringside.                                MARY LAZARUS               Enough jabber.     MARY LAZARUS is a much older nun; she is very no-nonsense,      a hard-liner.                               CHRISTY               What?                               MARY LAZARUS               Progressive convents.  Vanity.  It                sounds awful.  It sounds just like this                place.                               CHRISTY               Like this place?                               MARY LAZARUS               I like my old convent, in Vancouver. Out                in the woods.  It wasn't all modern, like                here.  No electricity.  Cold water. Bare                feet.  Those were nuns.  It was Hell on                earth, but I loved it.  This place is a                Hilton.     INT. BATHING ROOM     A stone room that is very medieval-looking.  One wall is      divided into stalls by wooden partitions.  In each stall is      a nun, standing beneath a crude shower head that releases a      thin stream of lukewarm water.  We see only the nuns' heads      and shoulders.     Still sleepy, Christy leans against the wall of her stall,      her eyes closed.  Lost in thought, she begins singing      softly to herself.     Page 35.                               CHRISTY               MY BOYFRIEND'S BACK               AND YOU'RE GONNA BE IN TROUBLE                               A FEW OTHER NUNS                             (very softly)               HEY-LA, HEY-LA     Christy looks up from her reverie; she looks around.  The      other nuns are bathing, their eyes down.  There is no sign      of singing.  Christy decides to try a test.                               CHRISTY               MY BOYFRIEND'S BACK               HE'S GONNA SAVE MY REPUTATION                               A FEW OF THE NUNS                             (still very softly)               HEY-LA, HEY-LA                               CHRISTY               IF I WERE YOU,               I'D TAKE A PERMANENT VACATION                               A FEW OF THE NUNS               HEY-LA, HEY-LA               MY BOYFRIEND'S BACK     The nuns giggle.                               CHRISTY               Where did that come from?                               MARY PATRICK               I haven't heard that song in ages.  The                Ronettes?                               MARY LAZARUS                             (very grouchy)               Shirelles.                               CHRISTY               You know that song?                               MARY PATRICK               1961?  '62?  Mary Clarence, that's when                many of us took final vows.  It's the                last secular music we recall.                               CHRISTY               No.               HEY -- HE KNOWS THAT YOU BEEN CREATING               NOW YOU'RE GONNA GET A BEATING                               ALL THE NUNS               HEY-LA, HEY LA     Page 36.                               MARY LAZARUS                             (cutting off the song)               That's enough.  We've got to get to                chapel.     Mary Lazarus leaves the bathing room, and the other nuns      resume scrubbing themselves.  Christy looks around.                               CHRISTY               Anybody got conditioner?     INT. CHAPEL - A FEW MINUTES LATER     Bishop O'Hara is leading the Sunday mass.  He stands in      the pulpit.  The choir nuns stand in a fenced-in area to      his left.  The remaining nuns, including Christy and Mother      Superior, sit in the first few pews.                               O'HARA               We are a small congregation this                morning.  Too many mornings.  Something                has gone terribly wrong.   Where is                faith?  Where is celebration?  Where is                everyone?  Still, rather than regret the                absence of our neighbors, let us rejoice                in the fellowship of those present.  Our                choirmistress, Sister Mary Lazarus, has                informed me that our choir, while always                superior, has been toiling especially                hard on this week's selection.  Sister?     Mary Lazarus raises her hand, and the choir begins      singing. They sing a traditional hymn, "Let Thy Thoughts Be      Guided." As always, their singing is dreadful; they have no      tempo or pitch, and the hymn becomes an off-key drone.     As the hymn continues, the CAMERA PANS OVER the chapel.      Aside from the nuns, it is almost empty; only a few elderly      people are in attendance.     ANGLE ON CHRISTY     sitting with the other nuns.  She is clearly about to fall      asleep.  Then the choir hits a particularly horrendous      note, and Christy jerks awake.  She immediately tries to      assume a pious expression, tilting her head and folding her      hands in prayer; she looks like a somewhat demented Sunday      School calendar.     EXT. LAS VEGAS POLICE DEPARTMENT     Detective Clarkson gets out of his car and hurries into      the police station.     INT. POLICE STATION     Clarkson crosses the busy room to Eddie's glass-walled      office.  Along the way, he signals Detective Tate to follow      him.     Page 37.     INT. MULCAHY'S OFFICE     Eddie looks up from his desk as the two detectives enter.                               CLARKSON               There was a raid on a pawnshop in L.A.                this morning.  The place was fencing                stolen property.  They found this.     Clarkson gives Eddie a fax sheet, showing a publicity      photograph of Christy.                               EDDIE               Jesus.  Data-base hoods.  It's a                wonderful world.                             (reading the fax                              sheet)                Beloved daughter missing.  Reward of two                hundred and fifty thousand dollars.                Please find our adored angel, we miss her                so.  Dead or alive.                               TATE               Vince is getting desperate.  Where is                she, Eddie?  Where'd you stash her?                               EDDIE               Where's who?                               TATE               You won't even tell us?                               EDDIE               I wouldn't even tell the Pope.     INT. CONVENT SCHOOLROOM - AN HOUR LATER     A plain whitewashed classroom, with battered student-style      desks.  A group of about eight local TEENAGE GIRLS has      gathered.  The girls wear extremes of hair, makeup and      clothing; they are bored and scruffy, clearly the local bad      Girls.  Sister Mary Patrick is leading the class, in her      usual perky manner.                               MARY PATRICK               Good afternoon, young ladies.  And                welcome to our Christian Youth Group.     The Girls make grunting noises.                               MARY PATRICK               Hi.  I hope we'll have some fun, and                maybe learn a little something, too. Now,                today's topic is something very up-to-               date -- "Teenage Promiscuity."  My. Now,                can anyone tell me -- just what is                promiscuity?     ANGLE on the Girls, exchanging glances and rolling their      eyes.     Page 38                               MARY PATRICK               Anyone?  Yes?     Mary Patrick points to a Girl in bicycle pants. a bustier      and a leather baseball cap.  Her name is Lawanda.                               LAWANDA               Uh, it's like, you know, doin' it.  A                whole lot.  Till your head falls off.                               MARY PATRICK                             (blushing)               Well, yes.  That is one way to put it.     Mother Superior enters the classroom accompanied by      Christy                               MOTHER SUPERIOR               Sister Mary Patrick?                               MARY PATRICK               Yes?                               MOTHER SUPERIOR               I need to see you, at once.  Girls,                please excuse Sister Mary Patrick for a                few moments.  Mary Clarence?                               CHRISTY               Yeah?                               MOTHER SUPERIOR               Girls, this is Sister Mary Clarence.                She'll be minding you until Sister Mary                Patrick's return.  Mary Clarence, please                assign a biblical passage.  Do not                attempt discussion.  Am I understood?                               CHRISTY               I got it.                               MOTHER SUPERIOR                             (to Mary Patrick)               Come, Sister.     Mother Superior and Mary Patrick leave the classroom.      Christy now stands at the front of the room.  She is      visibly uncomfortable.                               CHRISTY               So, hi there.  I'm... Sister Mary                Clarence.  And you're... young                Christians.  I guess I should assign you                this passage.  What's good?  What were                you talking about?                               LAWANDA               We were talking about the wild thing.                Teen promiscuity.     Page 39                               CHRISTY                             (after a beat)               Really.                               CHARLENE               Yeah.  Sister Mary Pat was discussing                it.  You know she thinks it's a sin.                               CHRISTY                             (trying to behave)               Well... yes.  Yes it is.                               LAWANDA                             (goading Christy)               How come?  Sister?                               CHRISTY                             (still trying to                              behave)               Well... because it's in the Bible. "Thou                shalt not..."  Thou shalt not.     The Girls all laugh and make jeering noises.                               CHRISTY               Excuse me -- just what are you all doing                here?  At Sunday School?                               LAWANDA               'Cause we love it so damn much.  And                cause we gotta come here.  Probation.                               CHRISTY               Probation?                               CHARLENE               Yeah.  We all got caught.  Shoplifting.                Cuttin' school.  Cuttin' up some bitch                with a blade.  So we gotta come here.  So                we'll be good, in the future.  So we'll                learn valuable lessons.  And I learned                mine.  I will be incredibly good, I will                never rip out nobody's nose-ring by                accident ever again.  Can I go now?                               CHRISTY                             (getting fed up)               Yeah, you learned a whole lot, I can                tell.                               LAWANDA               Well, what would you know about it,                anyway?  What do any of you nunheads know                about anything?  About doin' the nasty,                or gettin' high?                               CONCHITA               Leave her alone, Lawanda, she's just                some ol' nun!  Don't pick on no nun, it's                bad luck!     Page 40.                               CHRISTY                             (fed up)               Shut up!     All the Girls look up, stunned by Christy's language.                               CHRISTY               Okay, so maybe I'm a nun -- so, you want                to ask me something?  You want to listen,                for once in your little lives? You want                to pay some attention?                               CHARLENE               What about crack?  You a user?                               CHRISTY               I said I was a nun, not an asshole.     All the girls jeer at Charlene.                               KESHIA               Got you, Charlene!                               CONCHITA               Dunked by the nun!                               LAWANDA                             (more sincerely)               Well, what about the sex stuff?  What if                some dude is after you, and he's always                saying stuff, commin' on sweet and                mellow.  Like, oh, baby, you know you'll                love it.  Oh, baby, if you loved me,                you'd stay.                               CHRISTY               And you listen to that?                               LAWANDA               No, but... I don't know... sometimes.                               CHRISTY               Hey, I know, it's hard.  But do what I                do.                               LAWANDA                             (puzzled)               What you do?                               CHRISTY               Just tell him, I do love you, but I                can't -- I'm a nun.     The girls all laugh; they are really beginning to like      Christy.     Page 41.                               CHARLENE               But, like what if you are doin' it? What                about protection?  Who's responsible?                               CONCHITA               What about them things, you know, for                the guy?  Aren't they like, a mess to put                on?  Don't they kinda mess up the mood?                               CHRISTY               Deal with it, sweet thing.  It's                important, nowadays.  You just practice                at home, with a balloon and a banana.                               MOTHER SUPERIOR (0.S.)               Mary Clarence!     Mother Superior has returned, with Mary Patrick.  Everyone      has been so wrapped up in the discussion, that no one has      noticed their entrance.                               CHRISTY                             (thinking on her feet)               Because a banana is part of a balanced                breakfast.  And don't forget fiber.     INT. MOTHER SUPERIOR'S OFFICE - LATER THAT DAY     Mother Superior is seated behind her desk; she is very      angry.  Christy sits across from her.                               MOTHER SUPERIOR               A balloon and a banana!  Tell me, Mary                Clarence, what were you thinking?                               CHRISTY               Those girls were asking questions.                 They've got it rough.  I wish somebody                had talked to me about that stuff when                was their age.  I wish somebody would                talk to me about it now.                               MOTHER SUPERIOR               This is a convent, not a clinic.  We                offer moral guidance, not hardware.                               CHRISTY               Have you been out in those streets?  Do                you know what those kids are up against?                 You should help them!                               MOTHER SUPERIOR               We are nuns.  We seek solutions through                prayer.     Page 42.                               CHRISTY               Sometimes it's not enough!                               MOTHER SUPERIOR               You are correct.  Sometimes prayer alone                cannot help a situation.  Such as your                own, for example.  How do you feel about                physical labor?                               CHRISTY               It never solves anything.                               MOTHER SUPERIOR               Do your recall the words of Saint Peter,                in Ecciesiastes 1:27?  He spoke unto a                wastrel youth.  He said, "Take up thy                task, and know ye the path of                contentment."                               CHRISTY               In English?                               MOTHER SUPERIOR               How to put it... ah, Of course, Mary                Clarence.  "No pain, no gain."     Mother Superior smiles in a rather evil manner.     INT. VINCE'S OFFICE - DAY     Vince is on the telephone in his office at the Moonlight      Hotel and Casino.  He clearly has a new mistress or two.                               VINCE                             (very seductive)               Baby, you know I do... of course... I                feel it too... I'm blushing... can you                hold?     A second telephone RINGS, and Willy answers it.  Vince      meanwhile has pushed a button on his phone and is involved      in a second romantic call.                               VINCE               Soon, you gorgeous thing... tell me...                how lonely?                               WILLY               It's that call you were expecting,                Vince.                               VINCE               Can you hold?  Can you try?     Willy passes the phone to Vince. t     Page 43                               VINCE               Have you found out where Christy is yet?                 Hey, bozo, you re on my payroll! You want                to try making it on a cop's salary?  Find                her, and find her now!     Vince passes the phone back to Willy.                               VINCE               Raise the ante to three hundred grand.     Willy heads for the fax machine.  Vince regains his      composure, and picks up his own phone; he pushes a button.                               VINCE               Sorry, baby... you are?  Totally?  Not a                stitch?... Yeah, I'm naked too...                inside...     INT. CONVENT CRAFTS ROOM     This is a large, open room where the nuns create various      gift items which the convent sells to support itself.       Several nuns sit at a table, diligently hand-painting      Christmas cards and making Christmas tree ornaments.     On the other side of the room is a large, free-standing      loom, which resembles a grand piano.  The loom is wooden; a      tapestry is half-completed.  Mary Patrick is seated at the      loom, which is a complicated mechanism.  Christy stands      beside her.                               MARY PATRICK               The minute I saw you. I said to myself,                she's a weaver.  Have you ever used a                loom?                               CHRISTY               Not in years.                               MARY PATRICK               Well, it all comes back, in just a                jiffy.  I'm working on a wall-hanging, of                the convent.                               CHRISTY               Why?                               MARY PATRICK               To sell, of course.  I hate to say it,                but we're in terrible trouble here at St.                Katherine's.  We need a new roof, the                furnace is going, and there's no money.                               CHRISTY               But don't you get money?  From the                Vatican?     Page 44.                               MARY PATRICK               Mary Clarence.  Goose.  We're completely                self-supporting.  Like all convents. Like                yours.                               CHRISTY               Oh, right.  At my old place, we used                to... wash cars.  Groom dogs.  So... nice                loom.                               MARY PATRICK               Isn't it lovely?  Now I'll demonstrate,                and then you can hop right in.                             (as she deftly works                              the loom)               You just draw your beater in, keep it                pressed against the pick, and open the                shed.  Then pass your shuttle, beat, and                open the next shed.  Shuttle. beat, beat,                shuttle, beat, shed.  Keep tension on the                warp.  Is that clear?                               CHRISTY                             (pretending to be                              fascinated)               Just about.  Show me again.                               MARY PATRICK               You betcha.     CRAFTS ROOM - AN HOUR LATER     ANGLE on the wall hanging, which has progressed      considerably.     ANGLE on Christy, leaning against the wall, thumbing      through a magazine.     ANGLE on Mary Patrick, hard at work at the loom.                               MARY PATRICK               Shuttle, beat, shed.  And watch your                heddles.                               CHRISTY               I love my heddles.  Show me again.     Mother Superior appears.                               MOTHER SUPERIOR               Mary Clarence -- how is your weaving                progressing?                               MARY PATRICK               Oh, she's doing just fine, Reverend                Mother -     Page 45.                               CHRISTY               Really catching on.                               MOTHER SUPERIOR               Good.  Mary Patrick, I need you in the                office.  Mary Clarence, carry on.     Mother Superior gestures to the loom.  Christy sits at the      loom, and waves as Mother Superior and Mary Patrick exit.     Christy stares at the loom; a look of horror crosses her      face.  She has not been paying attention to Mary Patrick's      instructions.  She cracks her knuckles, as if she were      about to play the piano.  She grabs two parts of the loom,      at random.  She moves these parts.     ANGLE on the loom.  As a result of Christy's movements,      the loom collapses, piece by piece.  The tapestry unravels,      the many skeins of wool snap, and the mechanical apparatus      disintegrates, until finally the entire loom shudders and      falls to the floor, as Christy watches, aghast.     INT. CORRIDOR     Mother Superior is striding down the hall; she is livid.      Christy trails behind her, trying to keep up.                               CHRISTY               I'm sorry, I'm not a weaver!                               MOTHER SUPERIOR               Months of work, and the loom, absolutely                ruined!                               CHRISTY               Look, this isn't my kind of thing!  I                wasn't cut out to make little tapestries,                or knit little sweaters! I don't do that!                 I'm a star!     Mother Superior stops dead in her tracks; she turns and      stares at Christy.  Then she smiles, in a rather      frightening manner.     MONTAGE - CHRISTY     A)on her hands and knees. scrubbing the stone floor of a      convent hallway.     B)crawling along between the pews in the chapel, oiling      every inch of wood with a bottle of polish and a rag.     C)crawling along the convent roof, cleaning out gutters      with a trowel.  She discovers a dead rat in one of the      gutters.     Page 46     D)sewing; she is repairing a hole in a habit.  The CAMERA      PULLS BACK.  Christy is sitting in a small stone room,      surrounded by piles of torn habits, linen and other      mending.     INT. MOTHER SUPERIOR'S OFFICE     Christy is on the phone in the darkened office.  She keeps      checking the door, to make sure no one is listening.                               CHRISTY                             (into phone)               Let me talk to Detective Eddie Mulcahy.                 It's an emergency.  Real bad.                               EDDIE'S VOICE               Mulcahy.     Christy cups her hand around the phone and speaks quietly      and frantically.  INTERCUT between Christy and Eddie.                               CHRISTY               Eddie, you've got to get me out of here.                               EDDIE               Not again.  You can't keep calling.                Somebody's going to catch on to where you                are.                               CHRISTY               But I'm going insane!  All these people                do is pray and work, work and pray!  I                don't get it -- when's the weekend? They                have gruel, Eddie, that's what they call                food!  Gruel -- it's like Alpo for nuns!                 I sleep in a cell, on a board, and I pray                five times a days  Do you know what I                pray for, Eddie, do you have any idea?                 Check your crotch, Eddie --anything fall                off yet?  Get me outta her!                               EDDIE               Calm down.  Look, I didn't want to tell                you this, but we've had some problems                with our protection program lately.                               CHRISTY               Like what?                               EDDIE               Keeping our witnesses alive.  We hide                them, but there's a leak in the                department, and they end up dead.                               CHRISTY               You son-of-a-bitch!     Page 47                               EDDIE               I just need a few more weeks,                               CHRISTY               But it's a nightmare!  Mother Superior                is out to get me!  She hates my guts! She                keeps thinking up new kinds of torture!     In the distance, Christy hears the CHOIR practicing; they      sound even worse than usual.                               CHRISTY                             (holding the phone                              out)               Do you hear that?  That choir?  Eddie,                in here, that's what they call music!                               EDDIE               Don't call again.  It's not safe.  I'll                be in touch.     As the line goes dead, Mother Superior enters.  Christy      takes her dust rag and pretends to polish the receiver. She      sings as she works.                               CHRISTY               THE HILLS ARE ALIVE WITH THE SOUND OF                MUSIC...     Still singing, Christy breezes out of the room.  Mother      Superior looks mystified.     INT. CHRISTY'S CELL - MIDNIGHT     Christy is lying flat out on her bed, in her habit,      utterly exhausted by the week's hard labor.  There is a      meek SCRATCHING at her door.                               CHRISTY                             (without moving)               Yeah?     Sister Mary Robert enters, very shyly.  She barely looks      up.                               CHRISTY               What?  What does she want now?  I did                the dishes.  I oiled the pews.  I dusted                the hymnals.  Two hundred hymnals.  Why                can't people share?                               MARY ROBERT                             (not speaking above a                              whisper)               I... I...     Page 48.                               CHRISTY               What?                               MARY ROBERT               I... I brought you something.                               CHRISTY               A cigarette?                               MARY ROBERT               An extra heel of bread.  Please take it,                you need your strength.  You've been                working so hard.     Mary Robert holds out a rather rugged crust of brown      bread.  Christy takes it..                               CHRISTY               Thanks.  So which one are you? Sister                Bruce?  Sister Doug?                               MARY ROBERT                             (until almost                              whispering)               Mary Robert.  I'm... Mary Robert.                               CHRISTY               Right.  Okay.  Bob.  Nice to know you.     Mary Robert nods, and resumes looking at her hands.  She      doesn't 1eave, but she's still tongue-tied. Christy is at a      loss.                               CHRISTY               So, Bob, how long have you been in? St.                K's?                               MARY ROBERT               Three years.  Sister.                               CHRISTY               Three years.  A rookie.                               MARY ROBERT               A novice.                               CHRISTY               Yeah, like a learner's permit, right?                When do you hit the big time?  You know,                when do you take the final vows?     Mary Robert bursts into tears.                               CHRISTY               Whoa!  Bob!  What's going on here?                What'd I say?     Page 49.                               MARY ROBERT                             (still sobbing)               You have to help me                               CHRISTY               Right, sure, but what's the problem? Are                they keeping you a prisoner here? Do they                drug you?  Did Reverend Mother like,                kidnap your parents?  We can call the                Enquirer.                               MARY ROBERT               No, you don't understand -- I don't want                to get out!  I want to get in?                               CHRISTY               Excuse me?                               MARY ROBERT               Oh. Mary Clarence, I'm so unworthy.  I                want to take my final vows, I would do it                tomorrow, but Reverend Mother won't let                me!                               CHRISTY               She won't?  Why not?                               MARY ROBERT               She says I should wait.  She says that                no one should become a nun as an escape                from life.  She says that I'm not                experienced enough to make the decision                yet.  In a mature manner.                               CHRISTY               She said that?  Reverend Mother?     Mary Robert nods, solemnly.  Suddenly, from the streets      outside the convent, we hear a BLAST OF hot dance MUSIC,      and the SOUND of laughter and carefree conversation.                               CHRISTY               Well, then there's only one thing to do.                               MARY ROBERT               What?                               CHRISTY               Reverend Mother says you need                experience, right, in life.  In order to                make a responsible decision.  This is                going to be very painful for me.  You                know how much I love this little room.                This whole convent.  Wait.     Christy stands, and goes to the crucifix hanging on the      wall.  She speaks to the crucifix, and listens, as if Jesus      is advising her.     Page 50.                               CHRISTY                             (to Jesus)               Must I do this thing, 0 Lord?  Please                help me.,. yes, I know... I must put my                selfish cares aside... I must think of                others... yes, she's here...                             (she gestures to Mary                              Robert)               He says hi... yes, I understand... let                thy will be done.  Amen.  You too.     Christy turns to Mary Robert, having received a holy      message.                               CHRISTY               We must do this sacred thing, Mary                Robert.                               MARY ROBERT                             (desperate)               Of course!  We must do it!  It's the                will of God!  What is it?                               CHRISTY                             (shutting her eyes,                              for the full spiritual                              effect)               We must... get you some experience.  We                must... leave this place.                               MARY ROBERT               Are you sure?     Another BLAST OF MUSIC from the street.  Christy turns to      the crucifix.  She gets confirmation.                               CHRISTY                             (to Jesus)               We hear you.     EXT. STREET     The outer wall of the convent.  A door swings open, and      Christy sticks her head out.  She looks both ways, and      steps outside.  She beckons to Mary Robert, who appears      from behind her.  Mary Robert looks very wary.  Christy      pulls her along.     EXT. A STREET NEARBY     Christy and Mary Robert walk along a street a few blocks      from the convent.                               MARY ROBERT                             (looking around                              cautiously)               Are you sure this is what Reverend                Mother had in mind?     Page 51.                               CHRISTY               I know it is.  It's life.  Experience.                 Take a deep breath.     Christy breathes deep, and then lets out a whoop.  She      spins, letting her habit billow around her.                               MARY ROBERT                             (shocked)               Mary Clarence!                               CHRISTY               Now you.     Mary Robert's eyes widen.  She points to herself -- "Me?"      Christy nods.  Mary Robert lets out a tiny little whoop,      and does a little, timid hop.                               CHRISTY               It's a start.     EXT. SOCIAL CLUB     A neighborhood hang-out, the windows bright with neon beer      signs.  The exterior is colorfully painted; the club all      but explodes with good times.  A group of teenagers lounge      on the steps, sipping beers and smoking.  Among the      teenagers are the girls from Christy's Christian Youth      group.  Christy and Mary Robert approach, and the group      falls silent.                               CHRISTY               How are you doing.                               LAWANDA                             (puzzled)               Hey, Sisters.  Are you going in there?                               CHRISTY               You know it.                               MARY ROBERT               We need experience.                               CHRISTY                             (remembering she's a                              nun)               It's part of St. Katherine's new                community outreach program.  How old are                you?  You shouldn't be smoking.  Have you                ever seen a diseased lung?  Hand 'em                over.     Lawanda reluctantly hands over her cigarettes.  Christy      turns to a TEENAGE BOY who's drinking beer.     Page 52.                               CHRISTY               And you, with the devil's brew passing                through your lips.                             (holding out her hand)               A mind is a terrible thing to waste.     The boy hands over the beer.  Christy and Mary Robert      enter the club.     INT. SOCIAL CLUB     Christy enters the club and grins.  She takes a drag on      the cigarette.  Mary Robert grabs the beer from Christy's      hand, and takes a swig.                               CHRISTY                             (shocked)               Bobs                               MARY ROBERT               Experience!  Right?                               CHRISTY               Right.     The club is alive with activity; the bar is crowded,      couples are making out at small tables, and the dance floor      is packed.  The atmosphere is a combination of hazy      darkness and colored lights; the club should have the      feeling of a hot neighborhood party, with people of all      ages and races.  The MUSIC percolates, and Christy starts      to move to it.  She and Mary Robert find a table in the      corner, and signal a nearby waitress.                               CHRISTY               A couple of bowls of chili.                             (holding up the beer)               And another round of these.     The waitress looks at the two women strangely; the club      has never hosted nuns before.                               MARY ROBERT                             (to the waitress,                              confidentially)               I have to do this.  So I can become a                nun.                               CHRISTY                             (to the waitress)               Initiation.  You understand.  Later on,                we make her wear her underwear on her                head.                               MARY ROBERT               Really?     Page 53                               CHRISTY                             (to the waitress)               And she wants to be a nun.     The waitress leaves, shaking her head.  Christy and Mary      Robert watch the action at the club.     Across the room, MIKE the bartender stares at the nuns,      especially Christy; he tries to place her.                               MARY ROBERT               Who are all these people?                               CHRISTY               This is your neighborhood.  Your turf.                You should get to know 'em.     From across the room, Mike the bartender continues to      study Christy's face.  He takes out a copy of Vince's fax      photo and stares at it.  He covers Christy's hair in the      photo with his hands, creating a wimple.  There is no      question in his mind; the two are the same.  Mike has a      dangerous look in his eyes as he takes a gun from the      drawer and slips it into his pocket beneath his apron.     There is a LIVE BAND on a small stage at one end of the      club.  They start playing a hot dance number, and the club      really begins to cook, as the dance floor fills.  Christy      and Mary Robert, both still seated, start to move with the      music.     A very good-looking LOCAL DUDE comes over to the nuns      table.  He is clearly amused at their presence.                               DUDE               Hey, Sisters -- how you doin'?                               CHRISTY                             (flirting)               Better now.                               DUDE               How come they let you out?  Out of that                convent place?                               CHRISTY               Time off.  For bad behavior.                               DUDE               Oww!  A nun havin' fun!  I don't believe                it!  It's good to have you ladies in this                fine establishment.  So... anybody on the                move?                               MARY ROBERT                             (standing up)               I am.     Page 54.                               CHRISTY               Bob!  What're you doing?     Mary Robert leads the Dude out onto the dance floor.                               MARY ROBERT               I'm getting experience.                               CHRISTY                             (to the Dude)               You watch yourself!     Christy decides she'd better keep an eye on Mary Robert;      she grabs another DUDE, and heads for the dance floor.     As the music percolates, Christy and Mary Robert dance;       Christy is very hot, and Mary Robert picks up on her moves.       The CLUB PATRONS are delighted, and cheer as the nuns start      to get down.                               CLUB PATRON #1               Do it, Sisters!                               CLUB PATRON #2               Sway and pray!     As the song, and the nuns' exuberant dancing, peak, the      Club Patrons cheer, shouting "Hallelujah!" and "Amen!"     EXT. STREET - NIGHT     Christy and Mary Robert are walking back to the convent.      They are both in very good spirits.                               MARY ROBERT               Those people are wonderful!  Why don't                we ever see them in church?                               CHRISTY               Good point.  Especially that dude you                were with.  I'd like to see him down                front.                               MARY ROBERT                             (giggling)               Mary Clarence!  You're so... different                from the other sisters.  Sometimes,                well... sometimes you sound more like a                layperson.                               CHRISTY               Honey.     As the two women laugh together, they don't notice the car      that begins to follow them, creeping slowly forward with      its headlights out.     Page 55.                               MARY ROBERT               I can't wait to tell Reverend Mother                about all my experiences.  I've learned                so much.                               CHRISTY               Well, you know, you don't have to tell                her everything.  I mean, nothing really                happened.  We just... took a walk.     The car's bright lights suddenly switch on, and the nuns      turn, startled.  The car hurtles toward them.  They scream,      and Christy grabs Mary Robert and throws her out of the      car's path; the two women land on a pile of garbage bags.     Struggling to her feet, Christy sees the car go into      reverse, and then pull forward again.  She sees a glint of      light reflect off a gun as the car's driver (Mike the      bartender) leans out the window.                               CHRISTY                             (to Mary Robert)               Run!     Christy shoves Mary Robert towards an alley.  As she does      so, the gun GOES OFF with a red flash.  The shot misses the      two women and SHATTERS a plate glass window of the store      behind them.     EXT. ALLEY     Running up the alley, Christy and Mary Robert hear Mike's      FOOTSTEPS chasing them, growing louder as he gains on them.                               MARY ROBERT               Mary Clarence!                                CHRISTY               Keep moving!     Christy grabs the ladder of a fire escape, and shoves Mary      Robert up the ladder ahead of her.                               CHRISTY               Climb!  Now!     As Christy and Mary Robert climb the fire escape, another      GUNSHOT ECHOES in the alley, ricocheting off the fire      escape.     The nuns climb higher up the building.  Mike pursues,      looking for a shot between the steps and the landings, but      not finding any openings.  He takes the steps two at a time      and begins to gain ground.     At the fourth floor landing, Christy's heel gets stuck in      the grating.  She pulls frantically at the laces.     Page 56.                               CHRISTY               Goddamn it!                               MARY ROBERT               Mary Clarence!     Mike arrives at the landing just as Christy twists her      toot out of the shoe, and surprises him with a lunge for      the gun.  Mike's hand is knocked back against the metal      frame of the fire escape, and the gun flies loose, RATTLING      down the metal steps to the landing below.  Christy shoves      Mary Robert into the open window of an apartment, and      follows her in.     INT. TENEMENT APARTMENT     Christy and Mary Robert leap into the bedroom of an      Hispanic couple, their arms wrapped around each other in      bed.  At the women's entrance, the couple looks up, stunned      to see two nuns in their bedroom.                               MARY ROBERT               Oh my Lord!                               CHRISTY                             (pushing Mary Robert                              forward)               Experience!     The couple continues to look stunned as the nuns race out      of the room.     EXT. CONVENT - NIGHT     Christy and Mary Robert run up to the side door of the      convent; they catch their breath.                               MARY ROBERT               What was all that?  Who was that man?                 Why would he shoot at us?                               CHRISTY               I don't know, some people just don't                like nuns.  I wish I had a ruler.                               MARY ROBERT               We could have been killed!  But you                saved me!                             (throwing her arms                              around Christy)               Thank you, Mary Clarence!     The door to the convent swings open.  Mother Superior is      waiting.                               MOTHER SUPERIOR               Yes -- thank you so much.     Page 57     INT.CONVENT CORRIDOR - DAY     Christy sits alone outside Mother Superior's office,      listening to the loud TICKING of the clock on the wall. She      seems small and vulnerable, like a child sent to the      principal's office.     The door opens and Eddie emerges from the office.                               CHRISTY               What'd she say?                               EDDIE               You blew it -- big time.  She doesn't                want you back.                               CHRISTY               Does she know people are trying to kill                me out there?                               EDDIE               She's counting on it.  She's concerned                for your safety, but she wants me to try                and find another convent that will take                you. Or a carnival.                               CHRISTY               So what am I supposed to do in the                meantime?                               EDDIE               Go in and talk to her.  It can't hurt.                              (urging her)               Go.     Reluctantly, Christy rises and approaches the door.  She      looks at Eddie, who motions her to go in.  She finally      does.     INT. MOTHER SUPERIOR'S OFFICE     Mother Superior is working on some papers at her desk as      Christy enters.  Christy is trying to figure out a      strategy.                               CHRISTY               So... hi there.                               MOTHER SUPERIOR                             (not amused and not                              looking up)               I don't believe we have anything to say                to each other.                               CHRISTY               Look... I know I shouldn't have, I'm                incredibly sorry about Mary Robert, I                wasn't thinking, I didn't know that would                happen!     Page 58.     Mother Superior glances up from her work.  She is      justifiably outraged.                               MOTHER SUPERIOR               Mary Robert's life was in danger! Your                behavior was inexcusable!                               CHRISTY               I know!  I'm sorry   I didn't mean for                it to happen!  And I was the one they                were shooting at!                               MOTHER SUPERIOR               Mary Clarence, I have given you every                opportunity.  To change.  To make a                decent life for yourself.                               CHRISTY               A decent life?  Excuse me?  As what?  A                janitor?                               MOTHER SUPERIOR               Clearly, you have learned nothing. And                you present an ongoing threat, both to                this convent and to yourself.                               CHRISTY               But you can't kick me out!  Guys want to                kill me!  You're a nun!  A big nun!                Aren't you supposed to have compassion?                For the wayward sheep?  I mean, I'm a                major sinner!  All-time great!  Hall of                Fame!  Aren't I, like, your dream come                true?  Your Olympic event?     Mother Superior stares at Christy.                               MOTHER SUPERIOR               Mary Clarence, perhaps you are correct.                               CHRISTY                             (surprised)               I am?                               MOTHER SUPERIOR               You may stay.  But I shall restrict your                activities to but a single task.                               CHRISTY                             (with great dread)               What?                               MOTHER SUPERIOR               You have, I believe, some minimal                background in music.  Therefore, you are                to join our choir.                             (MORE)     Page 59                               MOTHER SUPERIOR (CONT'D)               You will sing, and you will sleep,' that                is your schedule until you depart.  As                almost no one attends Mass, you will be                unable to cause further damage.                               CHRISTY               No.  No.                               MOTHER SUPERIOR                             (smiling)               You're my Olympic event.                               CHRISTY               Not the choir, please, anything but                that.  The choir -- I mean, have you                heard them?  I'll do anything, scrub                floors, toilets, you name it, but not                that I                               MOTHER SUPERIOR                             (in triumph)               The choir, Mary Clarence.  Go for the                gold.     INT. CHOIR REHEARSAL ROOM - THAT DAY     There are twelve nuns in the room, going over sheet music.      Mary Lazarus is the group's leader; Mary Patrick and Mary      Robert are also in the choir.  Christy appears at the door,      grimacing.                               CHRISTY               Is this... choir practice?                               MARY PATRICK               Sure is!  Come on in, and sing a spell.     Christy spots Mary Robert.                               CHRISTY               Mary Robert, I am so sorry about last                night...                               MARY ROBERT               Now stop that.  You didn't shoot at me.                 You were only trying to help, to give me                experience.  I tried to explain that to                Reverend Mother, but -- I don't know if                she understood.     Mary Lazarus cuts off this chitchat, thrusting a hymnal at      Christy.                               MARY LAZARUS               Soprano or alto?                               CHRISTY                             (very gloomy)               Whatever.     Page 60.     Mary Lazarus hands Christy a hymnal, and raps her baton.      The choir begins to sing; Christy doesn't even bother      trying.  She is horrified; the choir is the worst-sounding      group in history.  They seem to be singing in several      random keys, and they even have trouble with the words.  No      one looks up from their hymnals.  Sister Alma, the organist      with the hearing aid, is plodding along.     INT. BLUE COLLAR BAR - DAY     Mike the bartender is taking chairs off tables and setting      them on the floor as Joey and Willy enter.                               JOEY               We're looking for Mike.                               MIKE               You found him -- but we're not open yet.     Willy grabs Mike's arms and bends them behind his back.                               MIKE               Hey -- the till's empty!     Willy slams Mike's face into the wall, stunning him.  Joey      lifts Mike's groggy face and offers sympathy.                               JOEY               I'm sorry -- I don't know what gets into                him.                               MIKE               Who are you guys?                               JOEY               We're the guys from Vegas.  You had                Christy last night, but you let her get                away.  It's upsetting.     Willy hammers Mike's face into the wall again.                               MIKE               But you didn't tell me!                               JOEY               We didn't tell you what?                               MIKE               That she's a nun!  That chick you're                looking for -- she's a nun!                               WILLY               What?  Christy?     Page 61.                               JOEY               A nun?                               MIKE               I'm telling you!     Willy and Joey look at each other, and consider this.       Then they burst out laughing.  They refuse to believe      Mike's story.                               WILLY               Gimme a hand here.     Willy and Joey pick Mike up, and hurl him over the bar.      Then they exit, still laughing.                               JOEY               A nun!     INT. CHOIR REHEARSAL ROOM - DAY     The choir continues its dreadful rendition of the hymn      Let Thy Thoughts He Guided.  Christy is not singing; she      is clearly in pain.  Mary Lazarus stops the song.  One of      the nuns has to nudge Sister Alma to stop her playing.                               MARY LAZARUS               Mary Clarence, are you with us?                               CHRISTY               Um, I don't really know this one...                               MARY ROBERT               Mary Clarence has a background in music.                That's what Reverend Mother said.                               MARY PATRICK                             (eagerly)               Really, Mary Clarence?  Were you a                choirmistress?                               CHRISTY               Sure.  Kind of... free-lance.                               MARY LAZARUS                             (circling Christy)               Free-lance?  Oh really?  You think I                don't see?  You think I took vows                yesterday?  I know what you're up to. You                and Reverend Mother.                               CHRISTY               What?                               MARY LAZARUS               You're a ringer.  She brought you in to                replace me.  Out with the old.     Page 62.                               CHRISTY               Hold on.                               MARY PATRICK               Mary Clarence, could you?  Mary Lazarus,                you're terrific, but...                             (to Christy)               Could you help us?                               ANOTHER NUN               Please?                               ANOTHER NUN               You've heard us.                               MARY LAZARUS               Well.     Everyone falls silent.  Mary Lazarus walks across the      room, eyeballing each member of the choir.                               MARY LAZARUS               There's a word for this -- mutiny.                             (to Christy)               So, Mary Clarence, you think you can do                better.  I believe I'd like to see that.                             (she hands Christy her                              pitchpipe and baton)               I'm out to pasture.  Dry dock.  The glue                factory.  Go ahead, Sister -- make 'em                sing.     Everyone watches Christy.                               CHRISTY               Well...                             (to Nary Lazarus)               With all due respect... let's have a                look at this.     Christy goes over to the piano.  She examines the sheet      music for "Let They Thoughts He Guided."  She sits at the      piano, beside Sister Alma.  Christy picks out the hymn on      the piano, accompanying herself.                               CHRISTY               LET THY THOUGHTS BE GUIDED               LET THY SOUL BE HEALED     Christy's singing voice is, as usual, not very good.  She      stops singing.  For perhaps the first time in her life, she      has really heard herself.                               CHRISTY               Man.  I sound like you guys.     Page 63.                               MARY LAZARUS                             (victorious)               Very nice.  Sisters, have we learned our                lesson?  I won't hold this little episode                against anyone.  I'll try not to.                               CHRISTY                             (standing)               Mary Robert.     Mary Robert jumps, startled by the attention.                                MARY ROBERT               What?                               CHRISTY               Mary Robert, I've watched you.  You                never really sing.  You whisper. Nothing                comes out.                               MARY ROBERT               I don't want to mess anyone up...                               CHRISTY                             (to Sister Alma)               Give me a C.                             (because Sister Alma                              is hard of hearing)               A C!     Sister Alma plays the note.  Christy points the baton at      Mary Robert.  Mary Robert whispers the note.                               CHRISTY               Louder!  Like you're onstage.     Mary Robert sings a little louder.                               CHRISTY               Like people are eating, and there's                silverware, and you want them to hear                you.     Mary Robert sings louder still.                               CHRISTY               Think about that guy you were dancing                with!     Mary Robert finally lets out her full voice, which is huge      and glorious.  After singing a single perfect note, she      stops abruptly; she has scared herself.                               MARY ROBERT               Oh my!     Page 64.                               CHRISTY               You see?  We've got the voices.  They're                just allover the place. I've heard all of                you, in the shower --you're decent.                 Better than me.  We just need charts --                harmony -- chops.                               MARY PATRICK                             (puzzled)               Chops?                               CHRISTY               The goods.  The sound.  The sale.  Let's                rearrange a few things.  Mary Patrick,                you re not a natural soprano, you're an                alto.  Get over here.  Mary Robert --with                the sopranos.     The two nuns trade places.                               CHRISTY               Sister Alma -- a C.     Sister Alma plays the note, and the nuns try to duplicate      it, but the results aren't much better than before. Christy      uses her pitchpipe; she circulates among the nuns, giving      each her note, urging them closer to pitch.                               CHRISTY               Middle section, hold that note, for dear                life.  Sopranos, an A.  Sister Alma?     Sister Alma hits the note.  Christy shuffles a couple of      more nuns to other sections, then gets a third note going      with the altos, using her pitchpipe.     For one moment, the nuns all realize they are singing a      perfect chord.  They are elated.                               MARY PATRICK               We did it!  We actually sang a chord!                               MARY ROBERT                             (thrilled and                              disconcerted)               That was exciting!                               CHRISTY               Yeah, for one second.  That was the                blend -- you've got to listen to each                other.  Be a group.                               MARY LAZARUS                             (under her breath)               I knew that.                               CHRISTY               Mary Lazarus, I get the feeling that you                like discipline.  Hard work.     Page 65.                               MARY LAZARUS               Of course.  I'm a nun.  Four Popes now.                 The Lord hates a loafer.                               CHRISTY               I hear you.  How many days a week do you                rehearse?                               MARY PATRICK               Two days.  An hour or so.                               CHRISTY               No way.  We're a choir, right?                Headliners.  The big room.  Two days a                week won't cut it.  Every day.                               MARY LAZARUS                             (impressed)               She's good.                               MARY ROBERT                             (to Christy)               Do you really think we could do it?  Get                better?                               CHRISTY               I don't know.  Mary Lazarus, what do you                think?  They're pretty raw.                               MARY LAZARUS               Wet behind the ears.                               CHRISTY               A bunch of real mama's girls.                               MARY PATRICK               Oh, please?  Can't we try?     Christy and Mary Lazarus look at each other, as real      comrades.  Christy leans on Mary Lazarus' shoulder.                               CHRISTY               It'll be hell.                               MARY LAZARUS               Tell me about it.     Christy and Mary Lazarus shake hands, firmly.  Christy      turns to the choir, very businesslike.                               CHRISTY               Ten-hut!     INT. CONVENT LAUNDRY ROOM - DAY     This is a basement utility room.     A large industrial      washer-dryer stands along one wall; the machine makes a      repetitive CHUNG-CHUNG sound     Page 66.     The choir nuns are busily doing laundry; some iron, others      fold sheets, others stack towels and garments on a long      table.  Christy is helping Mary Patrick fold a sheet.       Everyone is working rhythmically, to the drone of the      washer-dryer.                               CHRISTY               That machine.                               MARY PATRICK               I know.  It's ancient.                               CHRISTY               It's a rhythm section.  The beat.     Christy starts clapping her hands to the sound of the      washer-dryer; gradually, the other nuns join her.                               CHRISTY               Mary Patrick -- do you remember the                Dixie Cups?                               MARY PATRICK               The Dixie Cups?  Oh my.  I was just a                girl.  Of course.                             (singing)               SPRING IS HERE               THE SUN WILL SHINE                               CHRISTY                             (stopping the beat)               Hold it.  Mary Patrick, you're a pretty                cheerful person, aren't you?                               MARY PATRICK               Am I?     There is a murmur from all the other nuns -- "Oh, yes.                               MARY PATRICK                             (as a confession)               All right, I am, I know it!  All my                life, I've just been... upbeat.                Optimistic.  Perky.  I can't help it.                Even when I was little, I remember my                mother used to say, "That child is pure                sunshine.  She'll either be a nun -- or a                stewardess."                               CHRISTY               So use it.  When we sing hymns, they're                usually about rejoicing, right?                Celebration.  Most music is.  So don't                hold back.  Let all that joy go right                into your voice.  Make me happy.  Let me                hear it.  Perk out.  Perk down.     Page 67.                               MARY PATRICK                             (with real joy)               SPRING IS HERE               THE SUN WILL SHINE               I'LL BE HIS               AND HE'LL BE MINE               WE'LL LOVE UNTIL               THE END OF TIME               AND WE'LL NEVER BE LONELY ANYMORE                               CHRISTY               Because we're                               ALL THE NUNS               GOING TO THE CHAPEL               AND WE'RE GONNA GET MARRIED               GOING TO THE CHAPEL               AND WE'RE GONNA GET MARRIED               GOING TO THE CHAPEL               AND WE'RE GONNA GET MARRIED                               MARY PATRICK               GOING TO THE CHAPEL OF LOVE!     The nuns have really gotten into the song, with Christy      encouraging them verbally.  They are sounding better and      better.     SISTER MARY FREDERICK, a member of the choir, steps into      the laundry room and lets loose with a sudden, piercing      whistle.  The nuns immediately stop singing, and a moment      later Mother Superior enters.     The room is quiet except for the sound of the washer-     dryer. The nuns all get very busy at their laundry tasks.                               NUNS                             (in unison)               Good morning, Reverend Mother.                               MOTHER SUPERIOR               Good morning, Sisters.     Mother Superior takes one more glance around, then leaves.     Now that the coast is clear, the singing begins again,      quietly, to the rhythm of the machine.                               NUNS               GOING TO THE CHAPEL...     INT. CHAPEL     Bishop O'Hara is leading the Sunday Mass.                               BISHOP O'HARA               Welcome this Sunday morning, 0 ye few                and faithful.     Page 68.     As usual, the chapel is almost empty, except for the nuns.      The choir is in place behind the pulpit.                               BISHOP O'HARA               The choir, I am told, has elected a new                director -- Sister Mary Clarence, who                will lead them in Hymn 127.     Christy nods to the Bishop, and signals to Sister Alma,      who begins the accompaniment.                               CHOIR               LET THY THOUGHTS BE GUIDED               LET THY SOUL BE HEALED     They sound fantastic.  Their voices blend with a heavenly      harmony as they sing the slow, melodic hymn.  Mother      Superior is startled by this new sound.     EXT. STREET     Lawanda and her friends glance at the convent with      curiosity as the beautiful MUSIC drifts out to the street.       A few other heads turn, but with only mild reactions.     INT. CHAPEL     At the end of the first verse, Christy signals the choir      to stop.  There's a hush in the chapel as Christy glances      at the vacant pews.  Then she turns to Sister Alma and      nods. Sister Alma strikes a bold, stirring chord.     Several of the nuns blink.  Bishop O'Hara glances at the      organ with surprise.  Mother Superior sits up with a      stiffened back and a severe expression.     As the chord grows in force, Christy gives the choir a      beat.                               CHRISTY               One, two, three...     The choir begins a radically new version of the same hymn.      Christy strides up and down in front of the choir,      transforming the song into a rousing gospel anthem, with a      passionate call-and-response format.                               CHOIR               LET THY THOUGHTS BE GUIDED                               CHRISTY               What you say?                               CHOIR               LET THY SOUL BE HEALED     Page 69.                               CHRISTY               But how?                               CHOIR               BY A VOICE YOU HEAR FROM ON HIGH                               CHRISTY               I think I hear it!                               CHOIR               LET THY THOUGHTS BE GUIDED                               CHRISTY               You know, I just might!                               CHOIR               LET THY SOUL BE HEALED                               CHRISTY AND CHOIR                LET THY SPIRIT TAKE WING AND FLY!     Spontaneous reactions from everyone in the church.     EXT. STREET     The gorgeous, exciting MUSIC pours into the street.       Everyone turns to look.  Windows open and people glance      out. The street takes on a new movement.     INT. CHAPEL     The choir really lets loose flow.                               CHRISTY AND CHOIR               LET THY THOUGHTS BE STRENGTHENED               LET THY PRAYERS BE HEARD               LET OUR LORD REJOICE IN YOUR PRAISE               LET HIS GOODNESS LIFT YOU TO A HIGHER                PLACE               AND LET LOVE AND PEACE FILL YOUR DAYS     Lawanda and her friends peer in at the back door of the      chapel.  Bishop O'Hara sees them, and beckons them to come      in.                               CHRISTY               Sister Alma!     Sister Alma, inspired by Christy and the choir, burns up      the organ with a solo.  More people from the street begin      to enter; tentative, curious, drawn by the music.     At the end of the solo, Christy makes a gesture to the      choir, and each member produces a tambourine.  The chapel      is full of energy, music and life.                               CHRISTY               Mary Robert!     Page 70.     Mary Robert sings, really letting the power of her voice      ring out.  She is astonishingly good.                               MARY ROBERT               LET THY THOUGHTS BE GUIDED               LET THY SOUL BE HEALED               BY A VOICE YOU HEAR FROM ON HIGH               LET THY THOUGHTS BE GUIDED               LET THY SOUL BE HEALED               LET THY SOUL TAKE WING AND FLY!     The new visitors to the church begin to clap in rhythm to      the music, and after a few beats, the nuns join in.  Mother      Superior is aghast.     The choir builds to a huge gospel finish, all keeping      their eyes on Christy.                               CHOIR               LET THY SPIRIT                               CHRISTY               You know what we're saying!                               CHOIR               LET THY SPIRIT                               CHRISTY               I think they hear you!                               MARY LAZARUS               LET THY SPIRIT                               CHRISTY AND CHOIR               LET THY SPIRIT TAKE WING AND FLYI     After the final note, everyone in the chapel is      exhilarated -- everyone except Mother Superior.  Christy      looks out at the congregation that has increased by a dozen      or more, including Lawanda and her friends.  Christy looks      happier than she has in years.     INT. CORRIDOR - DAY     The members of the choir are all gathered outside Mother      Superior's office, leaning close to the door and listening      to her harangue Christy.  They are surprised to find      themselves joined suddenly by Bishop O'Hara, and part to      let him through.  He leans down to the keyhole and listens.     INT. OFFICE     Mother Superior is livid.                               MOTHER SUPERIOR               Gospel.  A jazz solo on the organ.  What                next?  Jesus goes to Rio?  Good Friday-a-               go-go?  What were you thinking?     Page 71.                               CHRISTY               I was thinking Las Vegas.  Get some                butts in those seats.                               MOTHER SUPERIOR               And what next?  Popcorn?  Curtain calls?                 This is not a theater.  or a casino.                               CHRISTY                             (sincerely)               Exactly.  People like going to theaters                and casinos.  But they think church is                for Grandma -- we could change that. Pack                the joint.                               MOTHER SUPERIOR               Through blasphemy?  You have corrupted                the entire choir!                               CHRISTY               Hold on.  That's not fair.  I worked                hard with them.  They gave up their free                time, and they loved it.  Those women are                happy.  And we can get even better.  We                can wake this place up.                               MOTHER SUPERIOR               Out of the question.                               CHRISTY               Please let me try.  I'm begging you.                               MOTHER SUPERIOR               And I am refusing.  As of tomorrow, Mary                Lazarus will resume her leadership of               the choir.     Christy is crestfallen.  There is a KNOCK on the door, and      O'Hara enters.  The other members of the choir are in      behind him like sardines.                               BISHOP O'HARA               Reverend Mother, I just wanted to                congratulate you.                               MOTHER SUPERIOR               Oh?                               BISHOP O'HARA               I haven't enjoyed Mass this much in                years.  What a marvelous program.                Innovative.  Inspiring.  You are to be                commended.                               MOTHER SUPERIOR               Well... thank you.     Page 72.                               BISHOP O'HARA               I can't wait until next Sunday, when the                choir performs again.  Did you see the               people walk right in from the street?                That music, that heavenly music -- it                called to them.                               MOTHER SUPERIOR               Perhaps.                               BISHOP O'HARA               I must tell the Cardinal.  I.11 send him                a personal letter, describing your               efforts, your bold new fight to keep                your little convent alive.                               MOTHER SUPERIOR               Really?     Christy has just been eating this up with a spoon.                               CHRISTY               Excuse me, Bishop.  Reverend Mother has                some other ideas too.  She's too modest                to talk about it, but she thinks we                should get out of the convent and into                the neighborhood more.                             (putting her hands on                              Mother Superior's                              shoulders)                This woman.     Mary Patrick jumps forward.                               MARY PATRICK               Bless her!  There are so many problems                in this neighborhood that we could help                solve.  That's why many of us became                nuns.  It's marvelous, Reverend Mother.                               MOTHER SUPERIOR                             (confused by the turn                              things have taken)               Really...                               CHRISTY                             (with regard to Mother                              Superior)               You know Reverend Mother.  Hides her                light under a bushel.  She has plans for                us to move right onto the streets.  Get                to know people.  Work with 'em.                               BISHOP O'HARA                             (to Mother Superior)               You're a pioneer.     Page 73.                               MOTHER SUPERIOR               But, Bishop, surely you realize -- this                is a most dangerous neighborhood.                               O'HARA               And you'll face that danger head-on.  As                if I could stop you.  And you have my                complete support in this matter. Anything                you can do to revitalize this                neighborhood would be a blessing.                               CHRISTY                             (hugging Mother                              Superior from behind)               Don't you love her?     EXT. CONVENT - DAY     The nuns are out in force, painting the walls of the      convent, mostly with rainbows and flowers and bright,      shining suns.  The CAMERA PANS to Christy, who is adding      her own original touch to the mural, using cans of spray      paint.  Christy's section includes an image of a nun in a      miniskirt and spike heels, accompanied by neon letters that      read "St. Kate!"  People gather in the street, watching the      nuns' activities.  The convent begins to crackle with      energy and life.     A drug deal is going on in a house up the street, but the      DEALERS give only a curious glance to the action at the      convent.     INT. MOTHER SUPERIOR'S WINDOW     From the window of her office, Mother Superior watches the      painters and feels her control slipping away.     EXT. STREET - LATER     Christy leads the members of the choir down the middle of      the street.  They get lots of attention each step of the      way.  As each nun raps, the other nuns make rhythmic boom-     box noises.                               CHRISTY                             (rapping)               WE'RE THE SISTERS OF THE SACRED HEART WE                DO OUR BIT, NOW DO YOUR PART                               MARY ROBERT                             (rapping)               HONOR THY MOTHER AND THY FATHER TOO               DON'T KILL, DON'T STEAL, IT'S BAD FOR                YOU                               MARY PATRICK                             (rapping)               BELIEVE IN THE LORD, HIS WILL BE DONE               COME TO CHURCH, IT'S TONS OF FUN     Page 74.                               MARY LAZARUS                             (rapping)               DIG DOWN DEEP, GIVE ALL YOU CAN               TRUST ME, CHILDREN, THERE'S A HEAVENLY                PLAN!     The parade goes on, the crowd gathers, and a general air      of jubilance prevails.     INT. REHEARSAL ROOM - DAY     The rehearsal room is filled with high energy as the choir      is separated into several groups.  Christy has got the      whole thing running like a disciplined Broadway cast.     Mary Patrick leads one group in the corner as they      practice synchronized movements with tambourines.  Colorful      streamers are tied to the tambourines, and they make      colorful patterns in the air.     Sister Alma pounds the piano with newfound energy, as Mary      Robert and the sopranos reach higher and higher for notes      they've only dreamed of in the past.     Christy and Mary Lazarus have corralled the rest of the      nuns into a practice of intricate dance steps, somewhat      like the Temptations in skirts.  Mary Lazarus keeps the      beat with a yardstick.                               CHRISTY               Don't look at your feet, and I don't                want to see anybody counting.  Make it                look easy.  Again!                               MARY LAZARUS               Right, right, cross with the left, spin                and turn!                               CHRISTY                Hopeless I                               MARY LAZARUS               Amateurs 2                               CHRISTY               Babies                               MARY LAZARUS               Again!     EXT. CRACK HOUSE - NIGHT     One of the drug dealers stands outside the crack house as      a car suddenly pulls up to the curb.  He starts toward the      car as the DRIVER rolls down the window, but before he gets      there, Christy and several nuns surround the car.     Page 75.                               CHRISTY               We're here to pray for you, brother.                               DEALER               What?  Get the hell out of here.                               CHRISTY               We know you don't want to sell drugs.                 You just had an unhappy childhood, and                maybe a learning disability.  You just                need someone to pray for you.                               MARY PATRICK               We know you don't want to bring pain and                misery to your friends and neighbors.                We'll pray to find you some honest work.                               CHRISTY               And we know that, even though most                people would call you a leech and a                parasite, the lowest slug of humanity! We                know that deep down inside, you're                probably even worse.  And so you truly                need our prayers.                               DRIVER               What is this?  Outta my way!     The nuns give him room, and the Driver zips off down the      street.  A small crowd has begun to gather, and it is      growing by the moment, murmuring encouragement for the      nuns.  Christy turns to the Dealer, as other cars drive      slowly past.                               CHRISTY               Yes, prayer is the answer, and prayers                free  We're going to give free prayers to                everyone who drives up to this house.                               MARY ROBERT                             (to the Dealer)               We're nuns!                               MARY PATRICK                             (to cruising cars)               Free prayers right over here!  Drive up                and get your prayers!                               DEALER               You're hassling my customers!  That's                not legal!  I know my rights.  This is                restriction of trade.                               CHRISTY               You wanna call a cop?     Page 76.     The Dealer's eyes turn ugly as he takes a gun from his      pocket.  Mary Patrick steps forward.                               MARY PATRICK               Are you going to shoot us all, tough                guy?                               MARY LAZARUS               Is it worth it?  A lot of witnesses                here.                               CHRISTY                             (to the crowd)               Can I get a witness?     The Dealer glances at the surly crowd, then gives the nuns      a disgusted look.  He puts the gun away.                               DEALER               So I'll find another neighborhood to do                my business.  You can' t stop me.                               CHRISTY               If we can stop you here, they can stop                you there.     The Dealer turns and walks back to his house with anger.      The crowd APPLAUDS and CHEERS.     The picture suddenly becomes GRAINY, and we hear the voice      of a NEWS REPORTER.                               NEWS REPORTER (V.0.)               It was a truly remarkable scene, as the                nuns from St. Katherine's literally drove                the crack dealers from the neighborhood,                led by the feisty Sister Mary Clarence.     CAMERA PULLS BACK and we see a TV screen with an image of      the nuns and neighbors still celebrating.  On top of the TV      are several framed photographs of Vince Laflocca, his wife      and children.     INT. VINCE LaROCCA'S LIVING ROOM - NIGHT     CONNIE LaROCCA, Vince's wife, watches the TV NEWS STORY      and calls to Vince in the kitchen.                               CONNIE               Vinnie, get in here.  You gotta see                this!     Carrying a roast beef sandwich and a can of beer, Vince      appears from the kitchen and glances at the TV screen to      see a shot of the convent.  He looks at Connie and makes a      sour face.     Page 77.                               VINCE               What?  Nuns?  You got me in here to see                nuns?  Isn't there a ball game on or                something?     Vince turns away from the TV just as a closeup of Christy      appears on the screen.                               CONNIE               Look -- she's adorable!     Vince leaves the room, and we see Christy again as she      leads the choir.     INT. EDDIE'S APARTMENT - NIGHT     Eddie is cooking spaghetti in his efficiency apartment and      watching the NEWS on TV at the same time.  He pours himself      a glass of wine and stirs the spaghetti sauce.                               NEWS REPORTER               This tiny convent has experienced an                amazing turnaround.  The sisters have                revitalized and taken back their                neighborhood, all due to the energy and                talent of the convent choir, a group led                by this gifted young nun.  Tell us, Mary                Clarence1 what makes you so special?                               CHRISTY                             (trying to appear                              modest and nun-like)               Oh, I'm not special, Bob.  It's just                hard work... and prayer.     Eddie all but spits out his wine.  His eyes are wide as he      watches Christy being interviewed.  In one stride, he grabs      his hat and coat and is out the door on the run.     EXT. CONVENT - DAY     The Sunday morning bell is CHIMING as crowds of people      stream into the convent.  The entire neighborhood looks      cleaner, and the people walk with a spring in their step.      Three local TV stations have remote news crews on the scene      doing follow-ups on the story.     INT. CHAPEL HALLWAY     Last in line, Christy follows the other choir members down      a hallway toward the chapel.  Suddenly, a hand reaches out      and grabs her, and a second hand covers her mouth as she is      pulled into an empty cell.     INT. CELL     Shocked and terrified, Christy struggles to free herself,      but is suddenly relieved to see that her abductor is Eddie.     Page 78.     Eddie releases her, and she falls onto the bed.                               CHRISTY               Eddie!  You scared the hell out of me!                               EDDIE               What if I was Vince?  You'd be dead                right now.  What are you doing giving                interviews on TV?                               CHRISTY               It wasn't my fault!  They just showed                up.  It's helping the convent.                               EDDIE               You're supposed to be hiding out!                               CHRISTY               I really can't talk about it now.  The                place is packed.  SRO.  I've got a show                to do.                               EDDIE               Listen to yourself.  This isn't a career                opportunity.                               CHRISTY               I know that.  This isn't about me.  It's                about the choir.  You should hear them.               They're good.  Really good.  And I                taught them.                               EDDIE               Jesus, look at you   You're glowing.                               CHRISTY               I am?                               EDDIE               Yeah.  You look... great.  I mean it..                               CHRISTY                             (flirting)               Really?  Lieutenant?                               EDDIE                I've been worried about you.     Eddie sits on the bed beside Christy.                               CHRISTY               You mean -- worried about my testimony?                               EDDIE               No -- worried about you.  Personally.     Page 79.                               CHRISTY               Well..  thanks.  I've been thinking                about you.. - sometimes.  I mean, there                aren't a lot of guys around here.  I                mean, sometimes I feel like... a nun.                               EDDIE               Me too.                               CHRISTY               You're not... seeing anybody?                               EDDIE               No.  Most of the time I'm thinking about                you.  And now... you've really changed.                               CHRISTY               I have?                               EDDIE               You re sort of... radiant.   your eyes                are shining.  You're rea1ly different...     Eddie and Christy are gazing into each other's eyes; they      are just about to kiss.  Their lips are less than an inch      apart.                               EDDIE               You're... you're a nun.     Eddie and Christy jump apart, their intimacy has      frightened them both, particularly given Christy's outfit,      and their location.                               CHRISTY               We're in a convent!     Christy goes to the door.                               CHRISTY               I've got to go.                               EDDIE               Just remember - you're a target.  Don't                you think Vince has a T.V.?                               CHRISTY                             (trying to think                              straight)               I know, I know.  I'll be careful.  I'll                try.     Christy begins to leave, and then she turns, filled with a      performer's excitement.                               CHRISTY               Magic time!     Page 80.     Christy hurries toward the chapel, leaving Eddie to shake      his head and wonder.     INT. CHAPEL     Sister Alma plays the organ, and the choir hums quietly as      Christy addresses the congregation.  Cameras from several      TV stations are focussed on her from various places in the      chapel.                               CHRISTY               This Sunday's hymn is inspired by the                lesson of Mary Magdalene.  You know the                one.  Mary Magdalene was a young lady                with a past.  She was no stranger to sin.                 She was no stranger to practically                everybody.  Many condemned her.  The                whole neighborhood.  But one man refused                to do so.  One man said, hey now, wait a                minute.  Listen to the story.     Sister Alma starts playing a doo-wop vamp.  Mary Patrick      and Mary Robert step forward from the choir, standing      beside Christy the way the Ronelles used to do.                               CHRISTY               Hey, girls.                                MARY PATRICK AND ROBERT               Hail, Mary.                               CHRISTY               Jerusalem is a real drag.  Everybody                hates me.                               MARY PATRICK AND ROBERT               Oh-huh.                               CHRISTY               People throw stones.  They call me                names.  I mean, really.                               MARY PATRICK AND ROBERT               Really.                               CHRISTY               But -- wait.                               MARY PATRICK               What is it, Mary?                               CHRISTY               That man -- who is he?                               MARY ROBERT               He's a carpenter.     Page 81                               MARY PATRICK               He's not like other guys.                               MARY ROBERT               He's decent.                               MARY PATRICK               He's kind.                               CHRISTY               He's... dreamy.  He's...                               CHOIR               Yes, Mary?                               CHRISTY               HE'S SO FINE...     The full choir sings back-up while Christy, Mary Patrick      and Mary Robert perform intricate girl group choreography.                               CHOIR               DOO- LANG, DOO-LANG, DOO- LANG.                               CHRISTY/MARY ROBERT/ MARY PATRICK               WISH HE WAS MINE               THAT HANDSOME GUY OVER THERE               THE ONE WITH THE WAVY HAIR     Sister Alma is surrounded by several STREET KIDS who play      guitar, bass and drums to accompany the organ and choir.     Lawanda and her friends sit in a pew, moving joyously to      the music.     Eddie stands in the back of the chapel, watching a Christy      he has never seen before.  Christy is now glowing with      happiness and confidence.     As the song continues, we see the chapel is packed to the      rafters.  A tin bucket is passed around as a collection      plate, and it overflows with money.     EXT. CONVENT     Church services are over, and happy people stream out of      the convent, but they don't hurry home.  Standing in      groups, they talk pleasantly and make plans for the day.      There is a real sense of neighborhood up and down the      block.     Eddie comes down the steps, glances back at the convent,      smiles to himself, then crosses the street to his car.     Page 82.     INT. CHAPEL     Christy and the choir stare at the collection plate that      is filled with money.                               CHRISTY               Jackpot!  Two buckets                               MARY PATRICK               This is so exhilarating!  All week long,                I can't wait till Sunday, when we sing.                               MARY ROBERT               I'd rather sing than do anything!                               MARY PATRICK               It's better than ice cream.                               MARY ROBERT               It's better than springtime.                               CHRISTY               It's better than sex!     Everyone looks at Christy with astonishment.                               CHRISTY                             (catching herself)               I imagine.     Everyone's attention suddenly turns to Bishop O'Hara as he      approaches.                               O'HARA               Better and better, Sisters, you are                truly an inspiration.  And I bear                gladsome tidings.     The choir gathers around O'Hara with curiosity.                               O'HARA               I've kept the Cardinal informed of your                progress in the neighborhood.  He has                been most impressed.  And he has invited                you to attend a special evening Mass at                St. Matthew's Cathedral on Sunday night1                to sing for the Council of Cardinals.     The choir reacts with an excited buzz:  "The Council of      Cardinals!", "What shall we sing?", etc.     Mother Superior appears, from the center aisle.                               MOTHER SUPERIOR               That is indeed glorious news, Bishop. We                will be honored to appear.                             (MORE)     Page 83.                               MOTHER SUPERIOR (CONT'D)               And on such an occasion, I feel a                completely traditional program will be                best.                               CHRISTY               What do you mean?                               MOTHER SUPERIOR               The council of Cardinals is perhaps the                most esteemed body in the entire Catholic                church.  They command the utmost respect.                 Your more... secular entertainment would                be wholly out of place.                               MARY PATRICK               But, Reverend Mother -- everyone loves                our new style.                               MARY ROBERT               It's brought people back to the church.                               CHRISTY               Isn't that why we were asked to sing for                those Cardinals?                               MOTHER SUPERIOR               I believe this can be settled by a                simple vote.                               CHRISTY               A vote?                               MOTHER SUPERIOR               Of course.  Mary Clarence, a convent is                not a totalitarian state.  Most major                decisions are made by the membership as a                whole.  A membership that, I am certain,                will vote in a rational and pious manner.                 All those in favor of allowing Mary                Clarence to select a program?     All the nuns look at one another.  Then, slowly, one by      one, they all raise their hands.     Mother Superior is pure steel at this moment; her      expression betrays no emotion.  Christy, on the other hand,      is quite confused.                               CHRISTY               But... wait a minute...                               MOTHER SUPERIOR               The majority has spoken.     Page 84.                               BISHOP O'HARA               Reverend Mother, as always, you are a                true leader.  Gracious and understanding.                               MARY ROBERT               It will be wonderful, Reverend Mother.                You'll see.                               MARY LAZARUS                             (gesturing to Christy)               She's a pro.                               CHRISTY               What?                               MOTHER SUPERIOR               I am certain the presentation will be a                great success.  Congratulations, Mary                Clarence.  And congratulations to you                all.     The nuns cheer, and cluster around Christy, chattering      about the upcoming concert, as Mother Superior strides off.     INT. MOTHER SUPERIOR'S OFFICE - DAY     Seated at her desk, Mother Superior glances up as Christy      enters.                               CHRISTY               You sent for me?                               MOTHER SUPERIOR               You have a phone call.     Mother Superior continues with her paperwork as Christy      picks up the phone.                               CHRISTY               Hello?                               EDDIE'S VOICE               Good news, kid.  I pulled a few strings                the judge has agreed to move the trial               up.  We'll be in court in a couple of                days.     With mixed emotions, Christy speaks softly.                               CHRISTY               That soon?     Mother Superior is a very interested eavesdropper.                               EDDIE'S VOICE               Forty-eight hours -- and you'll be a                free woman.     Page 85.                               CHRISTY               Great.  That's good to hear.                               EDDIE'S VOICE               Hey, don't thank me or anything.                               CHRISTY               Right, right -- thanks.     Christy hangs up the phone.  She looks at Mother Superior.                               CHRISTY               Hey -- your prayers have been answered.                 I'm leaving.  In just a couple of days.                               MOTHER SUPERIOR               Really.  Well, that makes two of us.                               CHRISTY               What?                               MOTHER SUPERIOR               I have submitted my resignation to                Bishop O'Hara.  Privately.  I have asked                to be relocated as soon as possible.                               CHRISTY               But -- why?                               MOTHER SUPERIOR               I must go where I can be of use.                               CHRISTY               But -- there's so much more to do right                here.  And look, if it's about me, I                mean, I'm gone.                               MOTHER SUPERIOR               Indeed.  After how long?  A few weeks?                 I have been here thirty years.  And yet,                it would seem, I know nothing.                               CHRISTY               But everything that's happening is good!                 You can be a part of it!                               MOTHER SUPERIOR               A part of what?  Mary Clarence, it is                one thing to rabble rouse, to sweep into                town and declare a holiday.  You have                raised the Sisters' expectations, you                have excited and confused them.  They                imagine this neighborhood to be some sort                of delightful ongoing block party.                             (MORE)     Page 86.                               MOTHER SUPERIOR (CONT'D)               You and I know that life is not so                simple.  There will be disappointments.                 Rude shocks.  And you will have vanished.                 How... fortunate.                               CHRISTY               Okay, so I just got things started.  But                you could build on that.  You could keep                it going.                               MOTHER SUPERIOR               I am sorry, Mary Clarence.  I seem to                have misplaced my tambourine.  Good day,                Mary Clarence.                               CHRISTY               But...                               MOTHER SUPERIOR               Good day.     Christy, frustrated, leaves the room.  Mother Superior      looks up, she is truly torn, a proud woman unsure of her      choices.     EXT. CONVENT - NIGHT     The moon casts shafts of silver light down to the      courtyard of the convent.  Most of the lights in the      neighborhood are out at this late hour.                               CHRISTY'S VOICE                             (whispering)               Come on... I've got a surprise...     INT. CONVENT KITCHEN - NIGHT     The kitchen is dark, lit only by a flickering candle      carried by Christy.  Three more candles appear, carried by      Mary Robert, Mary Patrick and Mary Lazarus.  The door to      the freezer opens, and light spills out.  Christy removes      several pints of ice cream and distributes them to the      nuns.                               MARY ROBERT                             (delighted)               Ice cream!                               MARY PATRICK               Mary Clarence -- you shouldn't have.                Where did you get this?                               MARY LAZARUS               It's a sin.  It's a wicked indulgence.                Is this butter almond?     Page 87.     Christy and the nuns sit on stools, enjoying their ice      cream by candlelight.                               CHRISTY               It's contraband.  Don't ask.  But I                wanted to give you a treat.  A sort of...                thank-you gift.                               MARY ROBERT               A thank-you?  For what?  You're the one                we should be thanking.                               MARY LAZARUS               Is there any syrup?                               CHRISTY               Well... see, at my old convent, I wasn't                always... real popular.  I was sort of                selfish and... not real helpful.  Okay,                I'll say it -- I wasn't much of a nun.                But now, thanks to all of you... maybe                I'm shaping up.                               MARY ROBERT               Mary Clarence, don't be silly.  You're                an example to us all.  You've taught us                so much.  We're singing for the                Cardinals, and then -- who knows?  Maybe                the choir can travel -- to schools, and                nursing homes.                               MARY PATRICK               Maybe we can get some of the local kids                to sing with us.                               MARY LAZARUS               We could cut a demo.  Look for a label.                               CHRISTY                             (knowing she has to                              leave)               That's true, wouldn't that be great.  Of                course, we never know when things are                going to change.  Any one of us could be                transferred to another convent, tomorrow.                               MARY ROBERT                             (worried)               Are you leaving us?                               CHRISTY                             (sincerely)               Oh no.  We'll always be together.                               MARY LAZARUS               That's what Diana Ross said.     Page 88.     Christy and the nuns qiggle, and continue eating their ice      cream, in a spirit of true friendship.     Mother Superior watches this scene, hidden in the shadows      by the door to the kitchen.  She has begun to see Christy      in a new light.  She looks thoughtful, and walks off.     INT. LAS VEGAS POLICE DEPARTMENT - DAY     Tate sits at his desk in the detective room, reading the      sports section.  HENRY PARKER, the accountant for the      police department, looks stressful as he enters the room      and heads for Eddie's glassed-in office.  Tate glances up      as Parker passes his desk.                               TATE               You're too late.  Mulcahy just left.                               PARKER               I need his signature on some things.                They can't be processed without it.                               TATE               Leave 'em.  He'll sign 'em later.     Parker looks annoyed -- he doesn't like deviations from      procedure -- but after a moment of indecision, he sets the      file folder on Tate's desk and walks away.     Tate finishes the newspaper and shoves it aside.  Bored,      looks at his watch, then flips the file folder open and      glances at its contents;  routine money vouchers for      equipment, supplies, etc.  Tate is about to close the      folder and shove it aside when something catches his eye.                               TATE               What the hell is this...?     He examines a money voucher for a generous donation to St.      Katherine's Convent in San Francisco.  It only takes a      moment to put two and two together, and Tate scrambles for      his phone and dials a number.     INT. CORRIDOR     Henry Parker waits for the elevator.  When it opens, he's      surprised to see Eddie step out.                               PARKER               Tate said you were gone.                               EDDIE               I get all the way down to my car, and,                of course -- where are the keys?     Page 89.                               PARKER               I left the money vouchers with him.  He                said you'd sign them in the morning.     Eddie nods and moves on as Parker enters the elevator.      After a few steps, Eddie suddenly looks disturbed.  He      picks up his pace.  A little panicky, he begins to jog      toward the squad room.     INT. VINCE'S OFFICE     Vince is on the telephone.  He signals Joey and Willy, and      they move quickly toward him.                               VINCE               This is it.  Get ready to move.  No                mistakes.  Grab her, get her to the                Moonlight.  We meet there, and we take                care of her.                             (into phone)               We're on it.  Give me the address.     Vince begins to write down the address.     INT. SQUAD ROOM     Tate is hunched over the telephone, talking quietly with      his back to the rest of the room.  The voucher for St.      Katherine's is in his hand as Eddie moves quickly toward      him.                               TATE               St. Katherine's Convent on East Barton.                It's gotta be the place.     Tate hangs up the phone and BOOM!  Eddie hits him from      behind like a linebacker, drilling him to the floor.  Other      detectives look up from their desks with confusion and      alarm.  Eddie pins Tate to the wall and snatches the      voucher from his hand.                               EDDIE               You're the leak, you son-of-a-bitch!     Clarkson and another detective restrain Eddie before he      can hit Tate.                               EDDIE               Get him out of here!  Downstairs, in the                cell!  I want his ass locked up now!     Nobody dares even question Eddie at this moment, and two      detectives drag Tate away.  Eddie grabs Tate's phone and      dials long distance.                               EDDIE               Clarkson, get on the other line.  Call                Frisco Central.  Tell 'em to get two                squad cars outside St. Katherine's                convent, and stop anybody with an out-of-               state license plate from getting near the                place.     Clarkson dials quickly.  Eddie listens to Tate's telephone      as it RINGS and RINGS and RINGS.     INT. CONVENT - DAY     All the nuns are in the chapel as the choir rehearses a      hymn, along with Gina and her girlfriends.  Those who are      not in the choir clap their hands in rhythm.  War in the      background, we can hear the telephone RINGING.     EXT. HIGHWAY - DAY     Eddie's police car streaks past an entrance ramp with the      SIREN screaming.  It blazes through traffic, weaving in and      out at breakneck speeds.  A moment later, Joey and Willy      pull onto the highway at a fast rate.  The race is on, with      Eddie securely in the lead.     INT. CONVENT - DAY     In the rehearsal room, the choir members are putting on      their robes.  Christy and several nuns are all trying to      primp in front of one small mirror.                               MARY ROBERT               The Council of Cardinals!  I'm so                nervous!  What if I forget the words?                               CHRISTY               Right to Hell.  Just kidding. Where is                that bus?                               MARY PATRICK               It should be here any minute.                               MARY LAZARUS                             (with a clipboard)               Dress rehearsal at four, performance at                8:30.  Sharp.     Christy looks out the window, but sees no bus.     EXT. HIGHWAY - DAY     Eddie's police car streaks toward L.A.     Page 91.     EXT. CONVENT - DAY     The neighborhood has turned out to see the choir off.       Banners hang from the fire escapes of the building across      the street:  "ST. KATE'S - THE GREATEST!", "GOOD LUCK      TONIGHT!"     A Catholic school bus pulls up to the convent and parks in      front.  Several nuns in choir robes come outside and hurry      onto the bus.  A moment later, Eddie's police car streaks      up to the side entrance of the convent, parking around the      corner from the bus.     INT. CONVENT     Eddie runs into the convent and finds Mother Superior at      the bottom of the stairs.                               EDDIE               Reverend Mother!  Quick!  Where's                Christy?                               MOTHER SUPERIOR               What's wrong?                               EDDIE               They know she's here!   They're on their                way!     Mother Superior points up the stairs.                               MOTHER SUPERIOR               The rehearsal room!     Mother Superior looks alarmed as Eddie takes the stairs      two at a time.     INT. REHEARSAL ROOM     Looking out the window, Mary Robert sees the bus.                               MARY ROBERT               It's here!  Let's go!     Everyone makes a final check of their appearance, and then      the group leaves the room to head for the bus.  Mary Robert      and Mary Patrick are the last to leave, except for Christy.                               MARY PATRICK               Hurry, Sister!                               CHRISTY               Get moving.  I'm right behind you.     Christy primps in the mirror one last time, then leaves      the room.  She is puzzled to suddenly see Eddie running      toward her from a side staircase.     Page 92.                               CHRISTY               Eddie...?     Eddie grabs her hand and pulls her toward the side      staircase.                               EDDIE               Vince knows you're here.                               CHRISTY                             (shocked and scared)               How?                               EDDIE               Long story.  His goons will be here any                minute.  We've got to get you out of here                '- now!     Christy and Eddie hurry down the steps to the side      entrance, and she almost trips on her choral robes.  Eddie      opens the door and starts outside, but Christy stops in her      tracks.                               CHRISTY               I can't go with you.                               EDDIE               What?                               CHRISTY               I've got a show -- at St. Matthew's                Cathedral.  We're singing for the                Cardinals.                               EDDIE               You're gonna be singing for St. Peter if                you don't get your ass out of here!     Eddie jerks her hand, and Christy follows him reluctantly      to the car.     INT. EDDIE'S CAR     Eddie takes off at a fast clip up the street.  As the car      cruises through an intersection, Christy looks back at the      bus with confusion and sadness.  She sees the other nuns      rushing back into the convent to look for her.     INT. REHEARSAL ROOM     Several members of the choir rush into the room with panic      in their eyes.                               MARY PATRICK               Mary Clarence!  Sister!                               MARY ROBERT               It's no use.  She just isn't here.     Page 93.                               MARY PATRICK               It doesn't make any sense.  She was                right behind me...     The HORN on the school bus blows loudly down in the      street.                               MARY ROBERT               We can't sing without her!  What should                we do?                               MARY PATRICK                             (calming herself)               We'll pray -- and she'll be there.     The nuns are calmed by the tone of Mary Patrick's voice.      They leave the room to join the others on the bus.     EXT. STREET - DAY     Eddie's police car streaks through crowded streets.     INT. EDDIE'S CAR     Christy still looks unsettled.                               CHRISTY               Eddie -- I've got to go back.  They                won't sing without me.  I'm deserting                them.                               EDDIE               I think they'd understand.                               CHRISTY               That's not the point!  They need me!     Eddie glances at her, impressed by the influence the      convent has had.                               EDDIE               They need you?  A bunch of nuns?  For                what?  Moral guidance?  Make-up tips?                               CHRISTY               You don't get it!  It's a big thing for                them, it's like... Caesar's Palace.                Prime-time.  They're singing for the                Cardinals.  It's like... "Star Search."                If first prize was a trip to the Vatican.                 They've worked really hard, they deserve                this.                               EDDIE                             (goading her)               Nuns?     Page 94.                               CHRISTY               They're not nuns.  They're like..                people.  With one outfit.     EXT. CONVENT - DAY     Joey and Willy park their car in front of the convent, get      out quickly and climb the steps to the front door.  They      ring the bell.                               JOEY               So that guy in the bar was right?  She's                like... some kind of nun?                               WILLY               Yeah, right -- when I see it.     Lawanda and her friends watch Joey and Willy pounding on      the convent door.                               LAWANDA               You dudes looking for nuns?  They all                went to St. Matthew's.                               JOEY               St, Matthew's?  Thanks.                               LAWANDA               Praise the Lord.     Joey and Willy run past the girls, get into their car and      take off.     INT. EDDIE'S CAR - DAY     Eddie glances at the dashboard and sees that the fuel      gauge is close to empty.  He wheels into a gas station and      pulls up to the tanks.  Christy starts to open the door,      but he stops her.                               EDDIE               What're you doing?                               CHRISTY               Even nuns have to pee.     He lets her go, then gets out to pump gas.     INT. WOMEN'S ROOM     Christy enters the bathroom; it is deserted.  She fondles      her rosary beads, and sinks to her knees.  This position      doesn't work for her; she stands.  She looks around her;      she glances up, toward heaven.  She decides to do things      simply, and speaks in a matter-of-fact tone.     Page 95.                               CHRISTY               Okay, it's me.  Mary Clarence.  Christy.                It's Chris Carter.  I need some help                here.  I can't believe I'm doing this.                Okay, look, I know I should just get back                in the car, and get the hell out of here.                 Save my skin.  I mean, it's not wrong,                Vince really wants to kill me. Why do you                make guys like Vince?  But if I don't                sing at St. Matthew's... Mary Robert.                 Mary Patrick.  It means so much to them.                 They're counting on me -- and I like                that.  Maybe Reverend Mother is right,                maybe I am a bad influence, maybe I'm                just some Vegas slut, but... can we cut a                deal here?  I mean, I still don't believe                in, like, most of the Commandments, and                stuff in church still gives me the                willies, but -- if I go back and sing, if                I do a good deed, will you promise I                won't get killed?  All I want is a sign.                 Lightning.  Thunder. Anything.     Suddenly, Christy hears the toilet FLUSH in the next      bathroom.                               CHRISTY                             (in disbelief)               No.  No.  Doesn't count...     Suddenly, Christy hears "AVE MARIA" coming from a radio or      TV outside the bathroom.  She looks up; a ray of sunlight      illuminates a grimy, dime-store Christmas tree ornament      hanging from a room deodorizer.  The ornament is a glittery      angel; it sparkles in the light.     Christy leaves the bathroom, still not quite sure.     EXT. GAS STATION     Christy looks through the grimy window of the gas station      office.  A bored Mechanic is watching a small portable TV.      On the TV is an episode of "THE FLYING NUN":  Sally Field,      in full habit, is soaring along.     Suddenly, Christy hears the loud ROAR of a motorcycle      starting up over by one of the gas pumps.  The BIKER turns      and looks at Christy:  he has long hair, and a beard and      moustache, and he looks, well, a bit like Jesus.                               CHRISTY               Oh my God...     Christy runs up to the Biker..                               CHRISTY               I'm late for church.  Can I get a lift?     Page 96.     Christy swings onto the back seat; the Biker puts his      Harley in gear and flies down the street.  Eddie is shocked      as he drops some money on the ground and jumps into his car      to follow.     EXT. ST. MATTHEW'S CATHEDRAL - DAY     We see a network truck parked in front of the landmark      cathedral.     INT. CHAPEL     There is a sense of chaos in the chapel as TECHNICIANS set      up television equipment, and Mother Superior leads the      choir as it rehearses.  Near the back of the chapel, Bishop      O'Hara looks concerned over the performance of the choir. A      CARDINAL walks up to Bishop O'Hara.                               CARDINAL               Is this the choir you've been speaking                so highly of, Bishop?                               O'HARA               They're just a bit nervous.  They'll be                fine.     The choir seems very demoralized as they finish the hymn.      Mary Patrick is close to tears.                               MARY PATRICK               We sound terrible   We need Mary                Clarence.                               MARY LAZARUS               We're losing it.                               MARY ROBERT               I don't understand.  Where is she?                               MOTHER SUPERIOR               Her whereabouts are unknown, and we must                proceed without her.  Pull yourselves                together.     Clapping his hands briskly, the FLOOR DIRECTOR suddenly      steps forward from behind the TV cameras and hustles the      choir away from the altar.                               FLOOR DIRECTOR               Okay, Sisters, we have to move on now.                That was great, just great.  Charlie,                throw a spot on the pulpit.  Let's get a                balance.     Dispirited, the choir leaves the altar and walks toward      the back of the church.     Page 97.     EXT. LOS ANGELES STREET     The motorcycle flies through the streets, breaking every      traffic law on the books.  Christy's robe flaps behind her      in the wind, and she has a wide smile as she rides.  As      passersby stare at her, she holds out two fingers and      blesses them.     EXT. ST. MATTHEW'S CATHEDRAL     Mary Robert stands alone in front of the cathedral,      wringing her hands with worry.  Suddenly, her face      brightens like the dawn as she sees Christy ride up.                               MARY ROBERT               You're here!  Thank goodness!     INT. CATHEDRAL     Christy and Mary Robert rush down a side corridor, turn a      corner and see two TV Technicians standing near some cables      with the letters of the network embroidered on the backs of      their jackets.  Christy rushes up to them and taps them on      the shoulders.                               CHRISTY               Excuse me -- where's the rehearsal room?     The two Technicians turn toward her, and she is horrified      to see they are. Joey and Willy.  Christy gasps as Willy      sticks a gun in her ribs.  Joey smiles at her.                               JOEY               The rehearsal room is right this way.     Joey opens a door that leads to an alley behind the      cathedral.  Mary Robert looks confused.                               MARY ROBERT               Wait, this isn't the way.  Who are you?                               CHRISTY               They're from my old convent.     Christy suddenly lifts her knee into Willy's groin, and he      buckles over.  She scrambles for the gun, but Joey beats      her to it.  Christy looks frantically at Mary Robert.                               CHRISTY               Run!  Take off!                                MARY ROBERT               Again?     Revived Willy lunges for Mary Robert and grabs her.  The      two men hustle the two struggling nuns out the door to the      alley.     Page 98.     EXT. ALLEY - DAY     Joey and Willy wrestle the two nuns to the open door of      their car.  They shove Christy and Mary Robert into the      back seat, and Willy climbs in next to them.                               WILLY               Go!     Joey starts the car, and it takes off with SQUEALING      tires.  Willy has his gun pointed at Christy, who sits      beside Mary Robert.                               MARY ROBERT               But what do they want?  Where are we                going?                               CHRISTY                             (to Joey and Willy)               She's got nothing to do with this.  Let                her go.                               JOEY               Yeah, right to the cops.  No way.                               CHRISTY               Mary Robert, don't panic.  Remember what                we talked about?  Experience?                               JOEY               What?                               CHRISTY                             (quickly, to Mary                              Robert)               You can handle this.     The car comes to a stop at an intersection.  Christy      reaches across Mary Robert and opens the car door.  She      shoves Mary Robert into the street.                               CHRISTY               Go!     Mary Robert executes a perfect somersault onto the      sidewalk.  She looks to heaven, crosses herself and runs      back to the cathedral.     Willy grabs Christy before she can escape.                               JOEY               She's gettin' away!                               WILLY               Forget her!  We got the one we need!                Step on it!     Joey takes off again.     Page 99.     EXT. STREET     Eddie's car is tied up in traffic, but he turns on his      blinker lights and peels over to the opposite lane.  Cars      stop to let him through.     INT. ST. MATTHEW'S CATHEDRAL - DAY     In the rehearsal room, Mary Robert has just finished      telling the nuns what happened to Christy.                               MARY PATRICK               You mean -- they kidnapped her?                               MARY ROBERT               Yes -- two men -- and they had guns.                               MOTHER SUPERIOR               She shouldn't have come back.  She knew                she was in danger.                               MARY PATRICK               But -- why would anyone kidnap a nun?                               MARY LAZARUS               Were they Catholics?     Mother Superior suddenly steps forward.                               MOTHER SUPERIOR               She isn't a nun.  Her real name is                Christy Van Cartier, and she is a                professional entertainer.  She witnessed                a vicious crime, and has been hiding in                our convent.     The nuns all react with shock and emotion.                               MARY ROBERT               An... entertainer?                               MARY PATRICK               She wasn't a nun?                                ANOTHER NUN               She lied to us?                               MARY ROBERT               But... but... she was such a wonderful                nun.                               MARY PATRICK               Look what she did with the choir.  She                made us sing beautifully.                               MARY LAZARUS               That should have tipped us.     Page 100.                               MARY ROBERT               Well, I don't care who she is.  We can't                sing without her!                               MARY PATRICK               She's our inspiration!                               MARY LAZARUS               She's the act!                               MARY ROBERT               Reverend Mother, I know that you and                Mary Clarence didn't always agree, but --               we've got to help her.                               MARY PATRICK               We've got to save her!                               MARY LAZARUS               We can't leave it up to the Feds!     The nuns all look to Mother Superior for an answer.                               MOTHER SUPERIOR               Calm down.  Think clearly.  Mary Robert,                do you have any idea who those men were?                               MARY ROBERT               She said they were from her old convent.                               MOTHER SUPERIOR               But... she was a showgirl.  She didn't                have an old convent.                               MARY PATRICK               She told us about one.  The Little                Sisters of the Moonlight.  In Las Vegas.                               MOTHER SUPERIOR               All right.  It's a beginning.  Las                Vegas, Nevada.     All the nuns hurriedly cross themselves.                               MOTHER SUPERIOR               Mary Lazarus, find the Bishop and tell                him the situation.  Everyone else --               follow me.     Mother Superior leads the way out the door.     EXT. STREET - NIGHT     The Driver sits at the wheel of the school bus, reading a      sleazy novel.  He looks up as the nuns all converge on the      door.     Page 101                               MOTHER SUPERIOR               Emergency!  Open up!     The Driver opens the door.                               MOTHER SUPERIOR               The San Francisco airport!  Immediately!     The nuns are all zooming past the Driver, onto the bus.                               MARY LAZARUS                             (to the Driver)               Step on it!     Mary Lazarus grabs the Driver's sleazy novel, confiscating      it. The Driver starts the engine.  As the bus drives off,      Eddie's car streaks INTO THE SCENE and parks in front of      the cathedral.     INT. ST. MATTHEW'S CATHEDRAL     Eddie rushes into the lobby and sees Bishop O'Hara.                               EDDIE               Where is she?                               O'HARA               There was a kidnapping.  We think Las                Vegas.     Eddie turns and races back toward the car.     EXT. SAN FRANCISCO AIRPORT - NIGHT     Several small planes are parked on the tarmac.     Mother Superior and the nuns are arguing with the MANAGER      of the airport, a grouchy guy in grease-stained overalls.                               MANAGER               Fifteen hundred for the run to Vegas.                Rock-bottom.                               MARY PATRICK               But we don't have fifteen hundred!                               MARY ROBERT               We're nuns!     The Manager starts back toward his office.                               MANAGER               Can't help you.  No exceptions.                               MOTHER SUPERIOR               Young man!     Page 102.     The voice has a powerful ring of authority to it, and the      Manager looks around.                               MANAGER               What?                               MOTHER SUPERIOR                We are nuns.  We pray.                               MANAGER               So?                               MOTHER SUPERIOR               We pray for good things.  Food for the                hungry.                               MARY PATRICK               Peace on Earth.                               MOTHER SUPERIOR               However, we can also pray for other                things.                               MARY PATRICK               Measles.                               MARY ROBERT               Lawsuits.                               MARY LAZARUS               Tax audits.     There is a pause, as the Manager stares at the nuns in      horror.                               MOTHER SUPERIOR               Come, Sisters.  Let's go to chapel.                 Bring your beads.     The nuns begin to leave.                               MANAGER               Wait!     EXT. NIGHT SKY - LATER     A plane sweeps through the desert sky, headed for Las      Vegas.  Through the windows of the plane, we see nuns      staring out at the glittering city in the distance.     INT. MOONLIGHT CASINO - NIGHT     Packed with gamblers, the room is a flurry of activity.      Joey works his way through the crowd, then spots Vince near      the money cage.                               JOEY               We got her.     Page 103.     Vince follows Joey out of the casino with a grim      expression.     INT. STORAGE ROOM     Vince and Joey enter a storage room that is cluttered with      boxes.  Christy is tied to a chair in the back of the room,      with Willy standing guard over her.     Christy sits very calmly, despite the anger she is in.       She seems distinctly nun-like in her radiant serenity.                               VINCE                             (turning on the charm)               Babe.     Christy does not reply.                               VINCE               Babe, what happened here?  Look at you.                               CHRISTY               Good evening, Vincent.                               VINCE               What, Vincent?  This is me, doll.  I                know you.  What did you think you were                doing?  Running to the cops.  Hiding out.                 No, no.  You're sorry now, aren't you?                               CHRISTY               I am sorry for all my sins.  And yours.     Vince, Willy and Joey all look at each other, perplexed.                               WILLY               She's a nun, Vince.                               VINCE                             (kneeling by Christy)               I love you, Chris.  I always will.  I                gave you so much.  My time.  My                affection.  A big-time career.  And how                do you repay me?  What's the thanks I                get?  Where's the loyalty, huh?  Where's                the love?                               CHRISTY               You will be judged, Vincent.  We all                will.     Vince stands; the charm hasn't worked.  He's getting      angry.                               VINCE               What do you mean -- judged?  I don't get                judged, baby.                             (MORE)     Page 104.                               VINCE (CONT'D)               And who are you to talk?  You were                nothing.  You couldn't even sing.  I must                have been out of my mind.                               WILLY               She's acting weird, Vince.  Ever since                we picked her up.                               JOEY               It's spooky.  It's like she ain't even                afraid or nothing.     Vince grabs the front of Christy's habit and squeezes it      tightly around her throat.                               VINCE               She's afraid.  Come on, tell the boys                you're afraid.                               CHRISTY                             (calmly)               I feel sorry for you, Vincent.  And I                forgive you.     This really throws Vince, and angers him further.  He      glares at Christy, and then releases her.  He turns to Joey      and Willy.                               VINCE               Who gives a damn?  Waste her.     Joey and Willy look a little unsure as Vince storms out of      the room.     INT. PLANE     The nuns are mesmerized by the bright skyline with its      colorful flashes of neon.                               MARY PATRICK               It's so beautiful...                               MARY ROBERT                And what a lovely name.  Las Vegas...                               MOTHER SUPERIOR               And Gommorah.     The plane sets down at the Vegas airport.  Mother Superior      and the nuns climb out.     INT. BAR AREA     Joey and Willy find Vince near the bar.     Page 105.                               VINCE               It's done?                               JOEY               Not... totally.                               VINCE                             (disturbed)               What's the problem?                               WILLY               She's... she's a nun.                               VINCE               Are you nuts?  She's not a nun.  It's                Christy.  She's a babe!                               JOEY               But, Vince, how do you know she didn't                like, join up and become a nun when she                was in that convent?                               VINCE               It didn't happen.                               WILLY               She was real quiet and peaceful all the                way back in the car.                               JOEY               No smart-ass remarks or nothing.                               VINCE               I can't believe this.  Okay, I want both                you guys to go back there, and both of                you shoot her at the same time.                               JOEY               Yeah...                               WILLY               Right.  That way we'd never know which                bullet got to her brain and killed her                first.  It could always be the other guy.     They all look happy with this solution as Joey and Willy      leave.     INT. STOREROOM     Christy still shows no signs of fear as Joey and Willy      take out their guns.                               JOEY               Okay, we got one-two-three, and on three                we both shoot.  Got it?     Page 106.                               WILLY               Got it.     Joey points his gun at Christy's left temple, and Willy      points his gun at her right temple.                               JOEY               One... two...     Christy closes her eyes.                               JOEY               Three!     Neither man shoots.  They look at each other with anger.      Christy opens her eyes.                               JOEY               You didn't shoot!                               WILLY               Neither did you!                               JOEY               I figured if you were gonna, then I                wouldn't have to.                               WILLY               That's what I figured, too.     EXT. LAS VEGAS HELIPORT     The nuns leave the terminal and stand on the sidewalk out      front.                               MARY ROBERT               Las Vegas -- she's here somewhere.                               MOTHER SUPERIOR               But where?                               MARY PATRICK               Look!  There she is!     Mary Patrick is pointing to a group of billboards that      feature huge ads for the local hotels and casinos.  The      center billboard has a splashy picture of a roulette wheel,      the Elvis impersonator, and Christy and the Ronelles.  The      bottom part of the billboard shows the name of the      Moonlight Casino and Lounge.                               MARY ROBERT               The Little Sisters of the Moonlight!                               MARY PATRICK               But how do we get there?     Page 107.                               MOTHER SUPERIOR               Stand back.                             (she strides into the                              road)               Taxi!     INT. CASINO     Once again, Joey and Willy find Vince.                               VINCE               Well?                               JOEY               It didn't work, Vince.                               VINCE               You were both supposed to put your guns                to her head and shoot.                               WILLY               We both missed.                               VINCE               Okay, so the problem is still the nun                outfit, right?                               JOEY               Right.                               VINCE               So, take it off.                               WILLY                             (shocked)               Strip down a nun?  You want us to fry?                               JOEY               For like, twelve zillion eternities?                               VINCE               I'm telling you, she's not a nun!  Get                her out of the nun outfit, and put her in                some clothes.                               JOEY               Maybe pants.                               WILLY               A sweater.                               JOEY               And then we can ice her.  No nun, no                evil eye.     Joey and Willy are very confident about this solution.      They strut off, pleased with themselves.     Page 108.     EXT. LAS VEGAS AIRPORT - NIGHT     Eddie strides out of the airport; he took a later flight      than the nuns.  A squad car is waiting; Clarkson beckons      him.                               CLARKSON               Lieutenant!     Eddie jumps in the car.  Clarkson turns on the red bubble      light and the SIREN, and the car zooms off.     INT. STORAGE ROOM - NIGHT     Joey and Willy return to the storage room, looking      confident of their mission this time.  Christy glances up      at them as they enter, and Willy begins to untie her.                               WILLY               We got it all worked out.     He works the ropes free, and Christy rubs her wrists to      get circulation back again.                               JOEY               Okay, Christy -- strip.                               CHRISTY               What?                               JOEY               That... thing.  That nun thing.  Take it                off.     Christy suddenly drops to her knees and begins to pray.                               WILLY               What's she doing?                               JOEY               She's praying.                               CHRISTY               And God bless Joey and Willy, who are                only trying to do their jobs.                             (faking Latin)               Pox fibula tibia vobiscum.  Et marcus                domino's pizza.  Have mercy.  Amen.                             (she looks up at the                              guys)               I'm finished now.  Help me up.     As Joey and Willy bend down to help her up, Christy      suddenly grabs their neckties in each hand.  With a fierce      jerk, she pulls the neckties with all her might, smashing      Joey's head against Willy's.     Page 109.     Stunned, Joey and Willy stagger backward, holding their      heads.  Christy scrambles out the door while the two men      groan in pain.     INT. CORRIDOR     Joey and Willy burst out of the room with guns drawn.  At      the far end of the corridor, they spot a glimpse of black      clothing as Christy starts down the stairs.                               JOEY               There she goes!  she's taking the stairs                I     They run quickly after her.     INT. STAIRWAY     Christy runs down the stairs as a SHOT rings out.  Christy      screams and runs even faster.     INT. CASINO     A door swings open into the casino, and Christy appears,      looking frantic.  A MUFFLED SHOT is heard behind her, and      she sprints into the casino.     Seconds later, Joey and Willy appear.                               JOEY               Find Vince and tell him what happened.                I'll take this side of the room.     Willy hurries away to find Vince, and Joey starts      searching the crowd.     EXT. THE MOONLIGHT HOTEL AND CASINO     Three cabs ROAR up in front of the building and nuns      tumble out.     INT. CASINO ENTRANCE     The nuns enter the casino and stop dead in their tracks.      Before them is a large room filled with glitter and sin,      the SOUND of jackpots and crap tables.                               MOTHER SUPERIOR               Brace yourselves, Sisters.     In unison, the nuns all cross themselves.                               MOTHER SUPERIOR               Spread out and look for Mary Clarence.                Try to blend in.     The nuns spread to every part of the room, looking for      Christy.     Page 110.     INT. CASINO     A blackjack table; a game is in progress, with several      players.  Mary Patrick rushes up to the table.                               MARY PATRICK               Excuse me -- has anyone seen a nun?                               MARY ROBERT               A Benedictine.     The CROUPIER and the players stare at the two nuns.      INT. CASINO     Christy is making her way past a roulette table.       Suddenly, she sees Joey coming toward her, making his way      through the crowd.  Christy grabs the arm of a SALESMAN      playing roulette.                               CROUPIER               Place your bets.                                CHRISTY                             (to the Salesman)               Red 21.                               SALESMAN               You sure?  How do you know?     Christy looks up to heaven.                               SALESMAN                             (to the Croupier)               Red 21.     Joey stands at the opposite side of the roulette table,      glaring at Christy.  The crowd around the table watches      Christy for a moment, then they all put their chips down on      Red 21.     Joey starts working his way around the table toward      Christy as the Croupier spins the wheel.  The ball falls      into a slot.                               CROUPIER               Black 14.     Everyone at the table turns toward Christy, outraged.  She      gives them a reprimanding look.                               CHRISTY               Did you learn something?     Christy suddenly realizes that Joey is almost at her side.      She shoves the Salesman against him and runs away.     Page 111.     INT. CASINO     We see two long rows of slot machines, with gamblers      working every machine.     Willy appears at one end of the row, scanning the area for      Christy.  He sees a nun crossing at the far end of the row,      and she moves out of sight.  Willy heads in that direction.      Someone hits a JACKPOT behind him, and he turns toward the      sound.  As he does. he sees another nun crossing at the      opposite end of the row of machines.  Willy turns again --     now he sees three nuns crossing at the opposite end.  He      looks confused, and doesn't know which way to turn.     EXT. PARKING LOT - NIGHT     Eddie drives up in the squad car and parks near the back      door.                               EDDIE                             (to Clarkson)               Close off the block, but don't move in                till I tell you.     Eddie jumps out of the car and hurries inside.     INT. BLACKJACK AREA     As Christy moves past a blackjack game, she suddenly sees      Vince moving toward her.  Turning quickly, she moves away      from Vince, but suddenly sees Joey coming toward her from      the opposite direction.  Trapped for a moment, she has      panic in her eyes.  Suddenly she is flanked by Mother      Superior and Mary Patrick.                               CHRISTY               What are you doing here?                               MOTHER SUPERIOR               Saving you.  Move!     The nuns surround Christy and head through the crowd in a      cluster.  Joey and Vince pursue them from different      directions.  Just before they catch them, Mother Superior      barks an order.                               MOTHER SUPERIOR               Break!     The nuns split up, each taking a different direction.      Vince and Joey look bewildered.                               VINCE               Get her!                               JOEY               Which one!     Page 112.                               VINCE               The nun!     Vince, Joey and Willy each pick a nun and follow her.     Vince catches up to a nun, whom we only see from the rear.      He grabs her shoulder.                               VINCE               Babe.     The nun spins around; it is Mother Superior.                               MOTHER SUPERIOR               Sweetheart.     Vince releases her and frantically searches the crowd      again.     Joey catches up with his nun, only to find it is Mary      Patrick.  The shell game has worked; Christy has escaped      for the moment.     INT. SLOT MACHINE AREA     We FIND Eddie scanning the floor and seeing nuns spread      out everywhere.  He talks quietly into his walkie-talkie.                               EDDIE               Move in.  Seal off the exits, but don't                come inside till I tell you.     INT. CASINO     Vince, Joey and Willy run into each other in the center of      the casino.                               WILLY               There's nuns everywhere!  Hundreds of                'em!     All the nuns suddenly come together, and see that the      exits are blocked by Vince and his hoods.  Vince spots      Christy in the center of the group.                               VINCE               There she is!                               JOEY               Which one?     Christy sees Vince pointing at her.                               CHRISTY               Quick, there's another way out of here.                 Follow me.     Page 113.     Christy runs toward a set of glass doors set off to one      side.  The other nuns follow her.                               VINCE               She's heading for the lounge!  Go!     Vince, Joey and Willy head for the lounge.     Across the room, Eddie sees Christy and the cluster of      nuns head through the glass doors.  He barks into his      walkie-talkie.                               EDDIE               Move in -- now!     INT. LOUNGE     The lounge is deserted between shows, and all the lights      are out.  The mobsters enter with guns drawn.                               JOEY               I can't see anything in here!                               VINCE               Willy -- hit the lights.                               WILLY               Where?                               VINCE               Find 'em!     Willy moves off to find the light switch.  There is a      flash of black and white fabric behind some chairs.                               JOEY               There!               Before he can shoot, there is another                flash of fabric on the opposite side of                the room.                               VINCE                             (aiming)               No -- there!     And a third flash of fabric near the stage.                               JOEY               Over there!     Willy has found the lights, and the lounge is suddenly      brightly lit.  The mobsters blink for a moment, then find      all the nuns bunched together in a corner, trying to find      an exit.                               VINCE               Freeze!  Everybody!     Page 114.     The nuns turn and face the mobsters, shielding Christy.                               VINCE               Joey?                               JOEY               Where is she?     Christy steps forward, to the front of the stage.                               CHRISTY               Right here.  Let the others go -- they                have nothing to do with this.                               VINCE               Joey -- do it.                               JOEY               But, boss -- she's still, you know, a                nun.                               VINCE               She's a broad!  Got it!  Just some                broad!     Mother Superior steps forward.                               MOTHER SUPERIOR                             (with authority)               I guarantee you, she is no broad.  She                is Sister Mary Clarence, of St.                Katherine's Convent.  She is a model of                generosity, virtue and love.  You have my                word, gentlemen.  She is a nun.                               WILLY               Hear that?  Now aren't you glad we                didn't shoot her?     Vince has had enough.  Facing Christy, he raises the gun      and points it right between Christy's eyes, only inches      away.  The nuns all recoil with horror.     BLAM!  The gun goes off, but Christy isn't hit.  She      blinks her eyes open, shocked to be alive.  Instead, it's      Vince who falls, crumpling to the floor, and clutching his      shoulder.     Across the room, Eddie holds a smoking police revolver.      The nuns all swarm around Christy joyously.                               MARY ROBERT               Mary Clarence -- you're alive!                               MARY PATRICK                             (smiling)               Christy.     Page 115.                               MARY LAZARUS                             (also smiling)               Van Cartier.                               CHRISTY               You know?  About me?  About everything?     Christy breaks away from the jubilant nuns. She faces      Mother Superior.                               CHRISTY               Reverend Mother -- Thank-you.                               MOTHER SUPERIOR               Oh?                               CHRISTY               You saved my life.                               MOTHER SUPERIOR               I'm a Christian.     Police pour into the room and gather up Joey, Willy and      Vince.  Eddie walks over to Christy and Mother Superior.                               EDDIE               Don't you have a concert to go to?                               CHRISTY               That depends.  Sisters, you don't know                this, but Reverend Mother's been making                all sorts of noises about resigning.                That's bad news.  I don't know if we                could sing, if we thought that was true.                               MARY ROBERT               Not a note.                               MARY PATRICK               Impossible.     Mary Lazarus coughs, and points to her throat, as if she      has laryngitis.  All the other nuns imitate her.                               CHRISTY                             (to Mother Superior)               Then I guess you're stuck.  Life                sentence.  No parole.                               MOTHER SUPERIOR               Very well.                             (she turns to Eddie)               I hold you responsible for all of this,                For introducing a lounge act into my                convent.  For utterly disrupting our way                of life.  And for placing all of us in                mortal danger.                             (sincerely, with a                              smile)               Thank-you.     Page 116.     ANGLE on Christy, watching this.  She grins.                               CHRISTY               Yeah, Eddie, thanks a whole bunch.                Thanks for sticking me in a convent.  So                you think, after all this, maybe I really                am a nun?                               EDDIE               I don't know.  There's only one way to                be absolutely sure.                               CHRISTY               Yeah, like what?     Eddie takes Christy in his arms, and they begin a kiss.       As they do so, Vince struggles toward Christy, as two cops      hold him back.  He is furious.                               VINCE               I was good to you! You re nothing but                no-talent garbage! You're a two-bit                Tramp!                               CHRISTY                             (staring at Vince,                              seeing him for the scum                              that he is)               That used to be true, Vince.  I was with                you.  But something happened.  And I'm                different now.  Real--different.  I've                had, well, you might call it -- a                religious experience.  And I've got just                two words for you.  And those two words                are...                               MARY ROBERT                             (afraid Christy will                              curse)               Mary Clarence!                               CHRISTY                             (grinning, to Vince)               Bless you.     EXT. ST. MATTHEW'S CATHEDRAL     People are pouring into the cathedral.  Among them we see      many Cardinals in their red uniforms.     INT. ST. MATTHEW'S CATHEDRAL     The choir has gathered together in a small room off the      main chapel.  They are putting finishing touches on their      choral robes, and are waiting nervously to go on.                               MARY PATRICK                             (to Christy)               I just realized -- this is the last time                we'll all be together.  We're going to                miss you so much.     Page 117.     Christy and Mary Patrick embrace.  Mary Patrick is      tearful.                               CHRISTY               Hey -- you re supposed to be the                cheerful one.  Why do I suddenly feel                like Snow White?                               MARY LAZARUS                             (to Christy, with                              humor)               You re okay -- for a civilian.     Christy and Mary Lazarus embrace.                               MARY ROBERT               Reverend Mother?                               MOTHER SUPERIOR               Yes?                               MARY ROBERT               Since Mary Clarence came to St.                Katherine's, I've been shot at, kidnapped                by Mafia hit men, and I've tasted beer.                 Is that enough experience yet?  For final                vows?                               CHRISTY               I don't think so.  What about skydiving?                 A crank call to Billy Graham?                               MOTHER SUPERIOR               You have evidenced great maturity, Mary                Robert.  We shall have a serious                discussion.                               CHRISTY               What about me, Reverend Mother?  I think                you were right.  I'm just a bad                influence.  Sister show biz.                               MOTHER SUPERIOR               Perhaps not.  Perhaps we can all use...                a little Spandex.                               CHRISTY               Really?  And maybe shorter habits, and                women priests, and sleeping late?                               MOTHER SUPERIOR               Don't push it.     Christy and Mother Superior embrace.     INT. CHAPEL     The chapel is packed to the rafters.  The first few rows      of pews are occupied by Cardinals.  Television cameras      glide up and down the aisles, angling for shots of the      altar.     Page 118.     The Choir stands together on the altar with Christy in      front. Behind them stands a much larger, all-city choir.      Christy gives the nod to Sister Alma, and the organ vamp      begins.                               MARY ROBERT               I WAS DOWNHEARTED                               CHRISTY               It's true!                               MARY ROBERT               I WAS HELL-BOUND,                YES THAT'S WHAT THEY SAY               SATAN WAS WAITING                               CHRISTY               Don't you know it!                               MARY ROBERT               BUT THE LORD CAME TO ME                               CHRISTY               What did He say?                               MARY ROBERT               HE SAID, SING THE DEVIL AWAY!                               MARY PATRICK               MY SOUL WAS IN DANGER               I'D FALLEN FROM GRACE                               CHRISTY               It's true -- I know her.                               MARY PATRICK               DAMNATION WAS ALL I COULD SEE                               CHRISTY               What a shame!                               MARY PATRICK               BUT THEN CAME AN ANGEL               WHO WHISPERED THESE WORDS                               CHRISTY               Pay attention...                               MARY PATRICK               SING AND THE DEVIL WILL FLEE!                               CHRISTY               Were you wicked?                               CHOIR               SING!                               CHRISTY               Were you tempted?                               CHOIR               SING!               SING AND YOUR SPIRIT WILL SOAR!     Page 119.     In the front row, Mother Superior is trying to resist the      music.  She gives in, and starts bobbing her head to the      beat.  Beside her, Eddie looks very proud as his eyes meet      Christy's.                               CHRISTY               But I'm fearful!                               CHOIR               SING!                               CHRISTY               And I'm tearful!                               CHOIR               SING!                               CHRISTY               YES I'LL SING AND KNOW JOY EVERMORE                               CHRISTY/CHOIR               DO YOUR TROUBLES BIND YOU               IF YOO'RE DEEP IN WOE               YOU CAN BANISH GLOOM IF YOU TRY               FIND A SONG WITHIN YOU               LET IT FILL YOUR DAYS               JUST SING                               MARY ROBERT               SING!                               CHOIR               JUST SING!                               MARY PATRICK               SING!                               MARY LAZARUS               JUST SING!                               CHRISTY               Sing!                               CHRISTY/CHOIR               SING AND SAY DEVIL, GOODBYE!     The entire congregation is ecstatic, as the song concludes      with a glorious final flourish.     FADE OUT:     THE END
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+                           SIX DEGREES OF SEPARATION                                  Written by                                  John Guare                                                            April 1992                                                                       1          INT KITTREDGE'S APARTMENT LIVING ROOM DAWN          JOHN FLANDERS KITTREDGE and LOUISA KITTREDGE ("FLAN" and          "OUISA") , an attractive couple in their 40s, in their night          clothes are in an uncharacteristic state of shock.          Some sort of horrible disaster has happened to them.          THEY survey their living room which under normal          circumstances would appear to be a serene haven.          But why are they-so aghast? And terrified?          Has the apartment been violated?          The Fifth Avenue apartment, red and cozy, threadbare with          the legacy of years of kids and dogs running in and out, is          filled with beautiful objects chosen with care. Even though          the apartment is 19th Century in feel, a lot of modern          paintings hang on the walls.          No. No visible disaster here.          But then why FLAN and OUISA's emotional state? THEY run          between the hall and the living room.                         OUISA          Is anything gone?          OUISA opens the front closet with trepidation. But nothing          leaps out. SHE sees a mink is still there..                         FLAW          How can I look? I'm shaking.                         OUISA          My god! The Kandinsky!          0UISA runs into the living room. SHE can see by the          discoloration on that wall that a painting is missing.                         OUISA Y          It's gone! Call the police!                         FLAN          There it is!          An early abstract painting by Kandinsky leans against a          Philadelphia Chippendale chair: the painting is wild and          brilliantly colored.                         0UISA          Thank god!          SHE picks the painting up and flips it around. It's a double          sided painting. The artist, Kandinsky, had painted in          different styles on either side of the canvas.                                                                                                                             2          One side of the painting is geometric and somber; the other          side is all chaos and brilliant colors.          OUISA replaces the framed canvas on the wall where it          belongs, but the side she chooses to display is the          geometric side. SHE admires it.          FLAN opens the door from the hall into          THE OFFICE.          A computer. Calendars. File cabinets. Bulletin boards with          prints of paintings tacked on. FLAN checks - the slide          projector is there. FLAN opens and closes cabinet drawers.          OUISA appears in the doorway of the office.                         OUISA          We could've been killed.                         FLAN          Don't say that. The silver Victorian inkwell!          FLAN runs past OUISA down the hall back to the living room.          OUISA follows HIM back into          THE LIVING ROOM.          FLAN looks on an antique table crowded with framed family          photographs going way back in time and all kinds of          mementoes.                         OUISA          How can you think of things? We could have been          murdered.                         FLAN          I want to know if anything's gone?          HE picks up an ornate Victorian inkwell capped by a silver          beaver and looks at it with great objectivity..                         FLAN          There's the inkwell. Silver beaver. Why?          OUISA, drained, looks out the window down onto Central Park.                         OUISA          Slashed ---our throats slashed.          Go to bed at night happy and then murdered.          Would we have-woken up?          OUISA screams.                                                                                                                             3          But it's their pug dog licking her leg.          OUISA picks up the dog and pets it.          FLAN remembers something and buries his face in his hands.                         FLAN          We have to go to the wedding.                         OUISA          I am in no mood to go to any wedding.                         FLAN          We have to                         OUISA          They're your friends                         FLAN          I beg to differ. They're Your fr -          FLAN stops, frightened suddenly, listening.                         FLAN          Hello?          OUISA runs to HIM, terrified. HE holds HER.                         OUISA (WHISPERS)          You don't call out Hello unless--          THEY walk softly to the dark hall.                         FLAN          I think we could tell if someone else was here.                         OUISA          We didn't all night.          THEY look down the silent dark hall.                                                                                                              INT THE WHITE WALL SOMEWHERE ELSE          We don't know where we are yet but it's certainly not the          KITTREDGE'S. The rain drumming outside and the distant          thunder and the soft cool jazz playing makes the air of this          room with the white wall, wherever it is, claustrophobic,          even erotic.          A YOUNG BLACK MAN whose name is PAUL comes into frame and          leans against this white wall. Right off, you say this          YOUNG MAN is a winner.          PAUL frowns, then smiles. Right into the camera.                         PAUL                         (SERIOUS)          Hello.                         (FLIRTATIOUS)          Hello.                         (QUESTIONING)          Hello?                         (SUSPICIOUS)          Hello...                         (ELATED)          Hello!          Yes.          Hello.          SOMEONE OFF SCREEN claps.          PAUL bows to the OFF SCREEN PRESENCE.          EXT KITTREDGE'S APARTMENT BUILDING 910 FIFTH AVENUE DAY          OUISA and FLAN run out of their apartment building, their          clothes hastily pulled on, their faces swollen with shock.          THEY run down the side street into          THE GARAGE.          Their car is waiting - a Mercedes - FLAN slips the          attendant a bill. FLAN gets in the driver's seat.          OUISA gets in the passenger seat.          FLAN (a statement of fact)          I'm shaking.                         OUISA          Then I'll drive.                         FLAN          I have to hang on.                                                                                                                             5                         T                         OUISA          Let's just get there          INT THE WHITE WALL          The Sound of the rain, the jazz, the thunder.                         PAUL          Bottle of beer.          Bottle of beer.          Bottle of beer.          AN UNSEEN YOUNG MAN OFF CAMERA speaks - elegant phrasing.                         VOICE          Bottle of beer.                         PAUL          Bottle- of beer.                         VOICE          Very good. You owe me.          PAUL takes off his shirt. HE's strongly built. HE throws                                   the shirt directly into the camera.          EXT HENRY HUDSON PARKWAY DAY          FLAN is driving terrifically fast. OUISA puts on a tape.          MARIA CALLAS sings the death scene from La Traviata.                         OUISA          Be care - !          A CAR veers by. FLAN swerves his car.                         OUISA          Let me drive!                         FLAN (FURIOUS)          Driving calms me!                         OUISA          When you're in one of these moods you do not          drive well and I do not want to be killed today.                         FLAN          We could have been killed last night.                         OUISA          Stop saying that!                         6          !          FLAN pulls himself together. HE moves over to the Slow lane.                         FLAN          I'm driving slowly. See. Slowly.                         OUISA          I went in the room first.          FLAN looks for signs.                         FLAN          Where's the goddam turnoff onto the Taconic?          A truck veers and almost hits them.                         OUISA          You didn't see what I saw!          FLAN puts on brakes.                         FLAN          It's that fucking Maria Callas!          Turn that damn thing off!                                   FLAN snaps off the tape deck.          THEY resume driving.                         OUISA          It's not Maria Callas. It's that truck and you.                         FLAN          And last night.          THE COUNTRYSIDE speeds by.          EXT ST PETER'S EPISCOPAL CHURCH LITHGOW, NEW YORK DAY          LOTS OF CARS parked in front of this sweet rural wooden          chapel near Millbrook, New York.          THE BRIDE, 20s, gets out of a limo escorted by her FATHER.          OUISA and FLAN run up to the BRIDE and kiss her.                         OUISA          Happy is the bride the sun shines on                         BRIDE (ALARMED)          You look horrible!                         OUISA (BRIGHT)          No no! Could've been killed. All fine!                                                                                                                             7                                                  FATHER          What?                         FLAN          Wonderful wedding. Wonderful day.          THEY run into          THE CHAPEL.          This.perfect country chapel with a dozen or so rows of pews          is bedecked with flowers and lit by candles.          A STRING QUARTET at the side of the little altar plays          Dvorak's American Quartet.          THE USHER in morning clothes, greets FLAN and OUISA and          shows them to their pew.                         USHER          Bride's side? Groom's side.                         FLAN          Either side. I can't even remember          how we met them. Why are we here?           THEY walk down the aisle, heads down.                         OUISA          Do not make a scene.          THEY kneel.                         FLAN (WHISPER)          Now I lay me down to sleep - the most          terrifying words  just think of it -                         OUISA(WHISPER)          I pray the Lord my soul to keep-                         FLAN (WHISPER)          The nightmare part - If I should          die before I wake -                         OUISA(WHISPER)          If I should die - I pray the Lord          my soul to take -          COUPLE IN THE PEW IN FRONT turn. A          MAN, A WOMAN, strangely not unlike FLAN and OUISA, perhaps A          few years older, perhaps more nautical as if they'd flown a          in from Nantucket, are named SANDY and CONNIE.                                                                                                                             SANDY          Is anything wrong?                         OUISA          We were almost murdered                         FLAN                         THROATS SLASHED          THE PEOPLE in the pew in front gasp.          FLAN and OUISA are serious.          THE QUARTET plays The Wedding March.          EVERYONE stands.          THE BRIDE and her FATHER walk down the aisle.          CU OUISA'S FACE lost in thought.          Bright vivid colors fill the screen. Later we will learn          they are from a double-sided painting by Kandinsky, which                         HANGS IN          THE KITTREDGE'S LIVING ROOM.                         OUISA (VO)                                   Chaos.          OUISA'S face appears briefly, smiling, then is replaced by          dark, geometric patterns. The other side of the painting.          It is lowered to reveal OUISA very serious.                         OUISA (VO)          Control.          (The painting is flipped.)          Chaos.          (OUISA smiles. Flips it again. Frowns.)          Control.          BACK IN THE CHAPEL          OUISA, still frowning at her memory, realizes the wedding          ceremony is over.          THE BRIDE and the GROOM run up the aisle beaming at EVERYONE          to the strains of Lohengrin.          But even THEY slow down when THEY see the state FLAN and          OUISA are in.                         GROOM          Is everything all          FLAN snaps out of it, putting on his party smile.                                                                                                                             9                         FLAN          We always get this way at weddings.          THE BRIDE and GROOM resume their run up the aisle.          It's FLAN and OUISA's turn to leave the pew and go up the          aisle. SHE is stricken.                         OUISA          I do not always get this way at weddings.                         FLAN          We're alive.          THEY walk up the aisle into the foyer of the chapel.          SHE puts her head into his shoulder.                         OUISA          Oh, it was awful awful awful awful.          Then OUISA and FLAN put on their best smiles as THEY pass          through a receiving line, finally shaking hands with the          WEDDING COUPLE.                         BRIDE                                   Did you say you could have been killed?                         OUISA (MERRY)          Yes! Only hours ago!                         FLAN (MERRY)          But we're here!                         OUISA          Wouldn't miss it!          THE BRIDE and GROOM look after THEM.          EXT THE MILLBROOK GOLF AND TENNIS CLUB DAY          A spankingly bright and solid country club in Millbrook New          York situated on the golf course grounds surrounded by lots          of tennis courts.          INT MILLBROOK CLUB DAY          THE WEDDING GUESTS file into the cheery club, all bright          white and a shade of cheery green that only country clubs          seem to find.          MORE GUESTS than could f it into the CHAPEL are here in the          club waiting for the Bride and Groom.          FLAN and OUISA hesitate before going into the ballroom.                                                                                                                             10          THEY stop in the small quiet dark clubby BAR.          THEY sit at a small table, pulling themselves together.          SANDY and CONNIE (the people from the pew in front of them)          come up to THEM. A WOMAN who looks like a dormouse is with          them. SHE is named JULIA.                         SANDY          We hate to pry -                         FLAN          No no. You're not prying                         CONNIE          But what happened -                         SANDY          This is our friend Julia                         FLAN          Do we know each other?                         JULIA          Oh yes through...                         9 FLAN          Of course. Haven't seen them in years          FLAN shakes hands with the new acquaintance.                         CONNIE          We're worried for you          FLAN and OUISA look at each other.                         OUISA          Tell them!          SANDY and CONNIE and JULIA sit down at the small table.                         FLAN          We were having a wonderful evening last night.                         OUISA          A friend we hadn't seen for many years came by           for dinner. I don't think you know him -                         FLAN (PORTENTOUSLY)          Geoffrey Miller. From South Africa--                         OUISA          Don't say it so portentously.                                                                                                                             11                                                  FLAN (BRIGHT)          Geoffrey from South Africa.                         OUISA          Don't be ga-ga.          (THEY give their orders to THE BARTENDER.)          Something large.                         SANDY          I didn't know Geoffrey was in town.                         JULIA          I saw him at Susie Baxter's                         SANDY          I wasn't at Susie Baxter's                         CONNIE          Sandy forgets he was married to Susie Baxter.          THE WAITER goes.                         SAVOY          That's no reason why she can't          invite me to a party.          CONNIE whispers to JULIA, her eyes on FLAN.                         CONNIE          He's an art dealer.          JULIA nods now that's she's remembered.          FLAN (hears it)          Private sales. Purchases.          OUISA leans forward. Somehow the telling calms HER.          THE CHUMS lean forward.                         OUISA          We knew Geoffrey                         FLAN          through our children when Geoffrey and his          family all lived in New York.                         OUISA          They've moved back to South Africa.                         FLAN          He was here in New York briefly on business          and asked us to ask him for dinner.                                                                                                                             12                         OUISA          He's King Midas rich. Literally. Gold mines.          THE WAITER puts down the tray of drinks.                         FLAN          Seventy thousand workers in just one gold mine.                         OUISA          But he is always short of cash because his          government won't let its people --                         FLAN          Its white people --                         OUISA          -- its white people take out any money. So it's          like taking in a War Baby.                         (TO WAITER)          Thank you. That one's mine -          THEY switch drinks.                         FLAN           When he called it was like a bolt from the blue          as I had a deal coming up and was short by                         OUISA                         TWO MILLION          FLAN puts down his drink.                         FLAN          The figure is superfluous          OUISA turns to CONNIE.                         OUISA          I hate when he uses the word "superfluous". I          mean, we needed two million and we hadn't seen          Geoffrey in a long time and while Geoffrey might          not have the price of a dinner he easily might          have two million dollars.                         FLAN          The currents last night were very churny.                         CUISA          we weren't sucking up. We like Geoffrey.                                                                                                                             13                         FLAN          It's that awful thing of having truly          rich folk for friends.                         OUISA          Face it. The money does get in the -                         FLAN          Only if you let it. The fact of the money          shouldn't get in-                         OUISA          Having a rich friend is like drowning and your          friend makes life boats. But the friend gets          very touchy if you say one word: life boat.          (THE CHUMS laugh.)          Well, that's two words. We were afraid our          South African friend might say "You only love me          for my. life boats?" But we like Geoffrey.                         CONNIE          I know who he is now.                         JULIA           Lovely man.                         X                         SANDY          Didn't he invite us to visit him?                         FLAN          It wasn't a life-threatening evening.                         OUISA -          Rich people can do something for you even if          you're not sure what it is`you want them to do.          THEY turn at the sound of applause.          THE BRIDE and GROOM have entered the Country Club and our          table in the bar looks up as THE WEDDING PARTY passes by for          a moment rushing past the Bar into the ballroom.          Off in the ballroom THE SMALL ORCHESTRA strikes up "Just One          Of Those Things" for the ten thousandth time.          EVERYONE in the club is applauding and OUR TABLE applauds          too. OUISA starts to rise.                         OUISA          Should we?                         CONNIE          Not on your life.          CONNIE pulls OUISA back down to the table.                                                                                                                             14                                   FLAN signals another round.                         FLAN          Hardly a Life Boat evening -          OUISA sits, enjoying this.                         OUISA (SING-SONG)          Portentous.                         FLAN          But when Geoffrey called and asked us to take          him for dinner, he made a sudden pattern in          life's little tea leaves because who wants to          go to banks?          FLAN'S VOICE takes us back to last night          INT THE KITTREDGE.'S LIVING ROOM NIGHT                         FLAN (VO)          Geoffrey called and our tempests settled          into showers and life was manageable. What          more can you want?                                   GEOFFREY stands up into the frame, an elegant, impeccably          British South African, more English than the English, ten          years older than Ouisa and Flan.          FLAN and OUISA are both dressed very stylishly and nattily          tonight. But not trendy, not so it shows.          FLAN was definitely an athlete and he still keeps himself in          trim. If HE's in the art world, there's nothing arty about          him.                         GEOFFREY          Listen.          OUISA stops doing what she's doing which is rolling out a          drink trolley with little hors d'oeuvres on plates.          FLAN stops doing what he's doing which is checking that a          slide projector is in place on the desk along side the          silver beaver inkwell.          FLAN and OUISA both tense.                         FLAN          What's wrong?                                                                                                                             15                         GEOFFREY          It always amazes me when New York is so quiet.          OUISA and FLAN relax and laugh.                         OUISA          With the kids away, we get used to a lower noise          quotient.          FLAN pours a drink for GEOFFREY.                         FLAN          Geoffrey, you have to move out of          South Africa. You'll be killed.          Why do you stay in South Africa?                         GEOFFREY          One has to stay there to educate the black          workers and we'll know we've been successful          when they kill us.                         FLAN          Planning the revolution that will destroy you.                                   OUISA sits back on the comfy sofa amazed at the thought.                         OUISA          Putting your life on the line.                         GEOFFREY          You don't think of it like that.          I wish you'd come visit.          OUISA takes her drink and strokes the ears of her dog.                         OUISA          But we'd visit you and sit in your gorgeous          house planning trips into the townships           demanding to see the poorest of the poor. "Are           you sure they're the worst off? I mean, we've           come all this way. We don't want to see people          just mildly victimized by apartheid. We demand          shock." It doesn't seem right sitting on the          East Side talking about revolution.                         FLAN          Only small murky cafes for Pepe le Noko here.                         OUISA          No. La Passionaria. I will come to          South Africa and build barricades and          lean against them, singing.                                                                                                                             16                         FLAN          And the people would follow.                         OUISA          "Follow Follow Follow". What's that song?                         FLAN          The way Gorbachev cheered on the striking coal          miners in the Ukraine - yes, you must strike-          it is your role in history to dismantle this          system. Russia and Poland - you can't believe          the developments in the world -           (HE remembers:) "The Fantasticks" (SINGS:)          "Follow Follow Follow".                          OUISA          China.          FLAN and OUISA (despair)          Oh.                         GEOFFREY          Oy vay China. As my grandmother would say.          Our role in history. And we offer ourselves up                                   to it.                         FLAN          That is your role in history. Not our role.          OUISA ponders this thought.                         OUISA          A role in history. To say that so easily.          GEOFFREY suddenly gets up and looks through the telescope by          the window.                         GEOFFREY'S POV          GEOFFREY flashes down nine floors into Central Park. HE          frowns in puzzlement when HE sees          A STATUE OF AN ALASKAN HUSKY          baying up into the sky.          FLAN and OUISA look at GEOFFREY's back and then at each          other. How to keep the ball rolling?          FLAN (to Geoffrey)          Do you want another drink before we--                                                                                                                             17                                   GEOFFREY turns into the room.                         GEOFFREY          Wonderful view.                         OUISA          The phrase - striking coal miners - I see all           these very striking coal miners modelling the          fall fashions.                         GEOFFREY          Where should we?                         FLAN          There's good Szechuan. And Hunan.                         OUISA          The sign painter screwed up the sign. Instead          of The Hunan Wok, he painted The Human Wok.                         GEOFFREY          God! The restaurants! New York has become the          Florence of the Sixteenth Century. Genius on          every corner.                         OUISA          I don't think genius has kissed the Human Wok.          THEY finish off their drinks.                         GEOFFREY          The new Italian looked cheery.          FLAN and OUISA          Good.                         FLAN          We made reservations.          FLAN looks at the slide projector.                         FLAN          Geoffrey, I'd like to show -          FLAN'S sentence hangs in mid-air as GEOFFREY follows OUISA                         INTO          THE HALL.          OUISA burrows in the closet getting her coat and          GEOFFREY's coat out of the hall closet stuffed with tennis          rackets and skis and boots.                                                                                                                             18                                                  OUISA          This restaurant - they wrap ravioli up          like salt water taffy.          FLAN appears behind HER to help HER.          THEY both wrestle the coats out of the closet.                         FLAN          Six on a plate for a few hundred dollars.          And FLAN gets the coats. A clatter of tennis rackets          falling. GEOFFREY takes his topcoat.                         GEOFFREY          You have to come to South Africa so          I can pay you back. I'll take you on my plane          into the Okavango Swamps -                         OUISA          Did you hear - to take back to Johannesburg.          out in Eastharpton                         FLAN                         LAST WEEKEND                         OUISA          a guy goes into one of the better food stores -                         FLAN          Dean and DeLuca -          FLAN helps OUISA on with her coat.                         OUISA          one of the Dean and DeLuca look alikes. Gets a          pack of cigarettes and an ice cream bar. Goes          up front. Sees there's a line at the register.          Slaps down two twenty dollar bills and goes out.          GEOFFREY doesn't get the anecdote.                         FLAN          We sent it to the Times.          GEOFFREY smiles politely.          FLAN and OUISA press a little bit too hard.                         OUISA          They have the joke page of things          around New York.                         IV                                                                                                                             19                                                  FLAN          They send you a bottle of champagne.          THEY all laugh brightly.          INT MILLBROOK CLUB BAR          THE CHUMS listen enrapt. OUISA is serious.                         OUISA          We weren't auditioning but I kept thinking Two          Million dollars Two Million dollars.                         FLAN          It's like when people say -Don't think about          elephants' and all you can think about is          elephants elephants elephants.                         OUISA          Two million dollars Two million dollars.          BACK IN THE KITTREDGE'S LIVING ROOM           OUISA and FLAN laugh brightly. THE FRONT DOORBELL rings.           OUISA and FLAN look at each other. Who is that?          OUISA goes into the hall.                         OUISA          What ever you do, don't think about elephants.                         GEOFFREY          Elephants?          FLAN rapidly steers GEOFFREY to a chair, closes the living          room door, then wheels a projector with a carousel tray into          place.                         FLAN          Louisa is a dada manifesto. About the Cezanne -          unless we're careful, it'll be sold and never          seen again -          FLAN switches off the room's lights and clicks on the          projector. The slide projection of a beautiful green          landscape by Cezanne fills the wall by the door.                                                                                                                             20                         0                         FLAN          Mid-period. Landscape of a dark green forest.          In the far distance you see the sunlight. One          of his first uses of a pale color being forced          to carry the weight of the picture. The          experiment that would pay of f in the apples. A          burst of color asked to carry so much-- The          Japanese don't like anything about it except          it's a Cezanne--          And suddenly the door in the wall opens up.          A YOUNG BLACK MAN supported by the ELEVATOR MAN, (EDDIE)          appears in the Cezanne forest holding his eyes against the          projector's light. And OUISA behind HIM.          FLAN clicks off the projector.          OUISA switches on the living room lights.          THE YOUNG BLACK MAN - PAUL - is in his early twenties, very          handsome, very preppy. His shirt front is ripped and          bloodied. Fresh blood. EDDIE helps PAUL to the sofa,          OUISA following at a loss.                          PAUL           I'm so sorry to bother you, but I've been hurt-           and I've lost everything and I didn't know where           to go. Your children-- I'm a friend of --          MILLBROOK CLUB BAR          THE CHUMS are transfixed.                         OUISA          And he mentioned our childrens' names.                         FLAN          And the school where they went.                         OUISA          Harvard. You can say Harvard.                         FLAN          We don't want to get into libel.          BACK IN THE KITTREDGE'S LIVING ROOM          PAUL (exhausted and scared)          I was mugged. Out there. In Central Park. By          the statue of that Alaskan husky. I was          standing there trying to figure out why there is          a statue of a dog who saved lives in the Yukon          in Central 'Park and I was standing there trying          to puzzle it out when -                                                                                                                             21                                                  OUISA          Are you okay?                         PAUL          They took my money and my brief case. I said my          thesis is in there -          PAUL looks down. HE sees the blood seeping through his          shirt.                         FLAN          His shirt's bleeding.                         OUISA          His shirt is not bleeding. He's bleeding.          PAUL holds his mouth, nauseous.                         PAUL          I get this way around blood.          FLAN (leading PAUL out of the room)          Not on the rug. Eddie, get the doctor--           EDDIE turns to leave.                          PAUL           No! I'll survive. Please. No doctors -           PAUL, frightened, looks at FLAN.           FLAN (To EDDIE)           We'll call if we need any -          FLAN helps PAUL out of the room down the hall.                         OUISA          Thank you, Eddie -          EDDIE goes.          FLAN, followed by OUISA, supports PAUL into          THE WHITE TILED BATHROOM.          PAUL sits on the side of the tub.          PAUL takes off his blazer and pulls off his ripped shirt.          His tie is still around his neck. There is a good sized           knife slash in his side by his rib cage. OUISA and FLAN          cringe. FLAN opens the medicine cabinet.                                                                                                                             22                         PAUL          I don't mind the money. But in this age of          mechanical reproduction they managed to get the          only copy of my thesis.                         FLAN          Where's the first aid book!          OUISA runs into their bedroom.          PAUL looks out the bathroom door into FLAN and OUISA'S          bedroom. PAUL watches OUISA as she goes into          THE MASTER BEDROOM.          OUISA rummages through her book case and finds her Red          Cross manual. OUISA turns and sees PAUL sitting on the edge          of the tub staring at HER.          FLAN is crouched down, bathing PAUL'S slash.          MILLBROOK CLUB BAR          OUISA is moved by these events.                         OUISA           We bathed him. We did First Aid.          BACK IN THE KITTREDGE'S BATHROOM          OUISA reads from the manual.                         OUISA          The Red Cross advises: Press edges of the wound          firmly together, wash area with water-                         FLAN          Yes! I'm doing that - Hold on          FLAN daubs on mercurochrome.                         PAUL          Owww!                         FLAN          Hold still! Ouisa! I need gauze!          GEOFFREY pokes his head in the bathroom.                         GEOFFREY (LEAVING)          It's been wonderful seeing you--                                                                                                                             23                                   OUISA (firm but cheery)          No no no! Stay!                         GEOFFREY          My time is so short. Before I leave America, I          really should call -                         OUISA          You darling old poop -                         FLAN          Have you seen the new book on Cezanne?                         GEOFFREY                         NO                         OUISA          An absolute revelation - this'll only take a mo-          OUISA rushes out of the bathroom after GEOFFREY.                         FLAN          I need the gauze          MILLBROOK CLUB BAR                         OUISA          I ran down the hall to get the book on Cezanne,          got the gauze from my bathroom--          BACK AT THE KITTREDGE'S          We watch a flustered OUSIA dart about as she describes--                         OUISA (VO)          Gave the Cezanne to Flan who wanted the gauze,          gave the gauze to Geoffrey who wanted Cezanne.          OUISA mutters under her breath as she dashes down          THE HALL.                         OUISA          two million dollars two million dollars                         AND INTO          THE LIVING ROOM                                                                                                                             24                         0          GEOFFREY stares at the gauze he's just been handed.                         FLAK'S VOICE          ouisa?          OUISA grabs the gauze out of GEOFFREY's hand.          SHE runs back down the HALL.          MILLBROOK CLUB BAR                         OUISA          Two million dollars two million dollars--          BACK IN THE KITTREDGE'S BATHROOM          FLAN finishes bandaging PAUL's wound.          OUISA goes into          HER SON'S BEDROOM.,          SHE takes a pink shirt from the bureau.          THE MASTER BEDROOM          PAUL puts on the pink shirt and looks at HIMSELF in the          mirror.                         FLAN          He's going to be fine.          GEOFFREY appears in the door with the book on Cezanne.                         GEOFFREY          Lovely book.          FLAN looks stricken.                         OUISA          Please? Stay?          GEOFFREY pauses.                         GEOFFREY          Agreed.          FLAN beams.          MILLBROOK CLUB BAR                         OUISA          And peace was restored.                                                                                                                             25                                   BACK IN THE MASTER BEDROOM          FLAN holds out PAUL's blazer. PAUL winces as HE lifts his          arms to put it on.                         PAUL          Your children said you were kind. All the kids          were sitting around the dorm one night dishing          the- shit out of their parents. But your kids          were silent and said No, not our parents. Not          Flan and Ouisa. Not the Kittredges. The          Kittredges are kind. So after the muggers left,          I looked up and saw these Fifth Avenue          apartments. Mrs. Onassis lives there. I know          the Babcocks live over there. The Auchinclosses          live there. But you lived here. I came here.          OUISA, so touched, turns to FLAN and GEOFFREY.                         OUISA          Can you believe what the kids said?          PAUL looks at the framed photos on wall of          0 THE HALL.                          PAUL           But your kids - I love them. Talbot and Woody           mean the world to me.                         FLAN          He lets you call him Woody? Nobody's          called him Woody in years.          THEY come into          THE LIVING ROOM.          PAUL looks around happily. HE goes to the wall by the          mantlepiece and looks at a dark abstract painting.                         PAUL           They described this apartment in detail. This          is a Kandinsky! - a double. One painted on          either side. May I see - ?          OUISA lifts the painting off the wall and turns it around.          Even GEOFFREY is taken by the painting.                                                                                                                             0 26                         FLAN          What makes it valuable is Kandinsky painted on          either side of the canvas in two wildly          different styles. One side is geometric and          somr=r. The other side is wild and vivid.                         GEOFFREY          My god!                         FLAN          We flip it around for variety.          OUISA happily turns the painting back and forth to show off          its two sides. The SCREEN is filled with the bright colors          then the dark colors.                         OUISA          You like? You like? Chaos? Control?          Chaos? Control?          SHE puts on a goofy happy face for the chaotic side and a          dopey tragic face for the geometric. Yes. We've been here          before, through OUISA's memory, at the wedding.                         PAUL          It's wonderful.          OUISA leans the painting against a chair, the chaotic side          showing.          MILLBROOK CLUB BAR          FLAN turns to JULIA.                         FLAN          Wassily Kandinsky. Born 1866 Moscow. Blue          Rider Exhibition 1914. He said "It is clear          that the choice of object that is one of the          elements in the harmony of form must be decided          only by a corresponding vibration in the human          soul". (very spiritual) Died 1944 France.          JULIA nods. Ah yes.          BACK IN THE KITTREDGE'S LIVING ROOM          PAUL looks around the apartment, so cozy, warm.                         PAUL          It's the way they said it would be.                                                                                                                             27                                   MILLBROOK CLUB BAR                         OUISA          Geoffrey had been silent up to now.          BACK IN THE KITTREDGE'S LIVING ROOM                         GEOFFREY          Did you bitch your parents?                         PAUL          As a matter of fact. No. Your kids and I...we          both liked our parents... loved our--Look, am I          getting in the way? I burst in here,          hysterical. Blood. I didn't mean to---          FLAN and OUISA          No!                         OUISA          Tell us about our children.          MILLBROOK CLUB BAR          FLAN (to JULIA)          Three. Two at Harvard. Another girl at Groton.          BACK IN THE KITTREDGE'S LIVING ROOM                         OUISA          How Harvard?                         PAUL          Well, fine. It's just there. Everyone's in a          constant state of luxurious despair and constant          discovery and paralysis.          MILLBROOK CLUB BAR                         OUISA          We asked him where home was                         FLAN          Out West, he said.          BACK IN THE KITTREDGE'S LIVING ROOM                         PAUL          Although I've lived all over. My folks are          divorced. He's remarried. He's doing a movie.                                                                                                                             28                                                  OUISA          He's in the movies?                         PAUL          He's directing this one but he does act.                         FLAN          What's he directing?                         PAUL          Cats.                         OUISA          Someone is directing a film of Cats?                         FLAN          Don't be snooty.                         PAUL          You've'seen it? T.S. Eliot--                         FLAN          Well, yes. Years ago.                         OUISA          A benefit for some disease or school---                         FLAN          Surely they can't make the movie of Cats.                         OUISA          Of course they can.                         PAUL          They're going to try. My father'll be here                         AUDITIONING-                         OUISA          Cats?                         PAUL          He's going to use people.                         OUISA          What a courageous stand!                         PAUL          They thought of lots of ways to go. Animation.                         FLAN          Animation would be nice.                                                                                                                             29                         PAUL          But he found a better way. As a matter of fact,          he turned it down at first. He went to tell          the producers - as a courtesy - all the reasons          why you couldn't make a movie of Cats and in          going through all the reasons why you couldn't          make a movie of Cats, he suddenly saw how you          could make a movie of Cats --                         OUISA          Eureka in the bathtub. How wonderful.                         FLAN          May we ask who --          MILLBROOK CLUB BAR          Can it be possible? A FEW MORE GUESTS have joined the table.                         OUISA           And it was here we pulled up - ever so          slightly - pulled up closer--                         FLAN          And he told us.                         OUISA          He named the greatest black star in movies.                         SIDNEY -                         FLAN          Don't say it. We're trying to keep this          abstract. Plus libel laws.                         OUISA          Sidney Poitiers There. I don't care. We have          to have truth. He started out as a lawyer and          is terrified of libel. I'm not.                                                                                                                             30                                   INT THE WHITE WALL          PAUL, leaning against the wall, talks with great vivacity to          that OFF SCREEN PRESENCE who is the POV of the camera.                         PAUL          Sidney Poitier, the future Jackie Robinson of          films, was born the twenty fourth of February          1927 in Miami during a visit his parents made to          Florida - legally? -to sell tomatoes they had          grown on their farm in the Bahamas. He grew up          on Cat Island, "so poor they didn't even own          dirt" he has said. Neglected by his family, my          father would sit on the shore, and, as he told          me many times, "conjure up the kind of worlds          that were on the other side and what I'd do in           them." He arrived in New York City from the           Bahamas in the winter of 1943 at age fifteen and           a half and lived in the pay toilet of the bus           station across from the old Madison Square           Garden at Fiftieth and Eighth Avenue. He moved           to the roof of the Brill building, commonly           known as Tin Pan Alley. Washed dishes at the           Turf restaurant for $4.11 a night. He taught          0 himself to read by reading the newspaper. In the           Black newspaper, the theater page was opposite           the Want Ad page. Among his 42 films are No Way           Out 1950/ Cry the Beloved Country 1952/           Blackboard Jungle 1955/ The Defiant Ones 1958/           Raisin in the Sun 1961/ Lilies of the Field           1963/ In the Heat of the Night 1967/ To Sir With           Love 1967/ Shoot to Kill 1988 and, of course,           PAUSE. (THE OFF SCREEN VOICE JOINS HIM)          Guess Who's Coming To Dinner.                         PAUL (LAUGHS)          He won the Oscar for Lilies of the Field and          was twice named top male box-office star in          the country. My father made no films from 1977          to 1987 but worked as director and author. Dad          said to me once "I still don't fully understand          how all that came about in the sequence it came          about".          And we hear the OFF SCREEN PRESENCE applauding.          PAUL bows, happily.          HE kicks his shoe off into the camera.                                                                                                                             31                                   BACK IN THE KITTREDGE'S LIVING ROOM                         PAUL          Dad's not in till tomorrow at the Sherry. I          came down from Cambridge. Thought I'd stay at          some fleabag for adventure. Orwell. Down and          Out. I really don't know New York. I know Rome          and Paris and Los Angeles a lot better.                         OUISA          We're-going out to dinner. You'll come.                         PAUL          Out to dinner?                         FLAN          Out to dinner.                         PAUL          But why go out to dinner?                         OUISA          Because we have reservations and oh my god'what          time is it? Have we lost the reservations and           we don't have a damn thing in the house and it's          Sixteenth century Florence and there's genius on          every block.                         GEOFFREY          Don't mock.          SHE kisses GEOFFREY.                         PAUL          You must have something in the fridge.                         FLAN          A frozen steak from the Ice Age.                         PAUL          Why spend a hundred dollars on a bowl of rice?          Let me into the kitchen. Cooking calms me. What          I'd like to do is calm down, pay back your kids-          MILLBROOK CLUB BAR                         OUISA          He mentioned our kids names--                                                                                                                             32                                   FLAN turns to a NEWCOMER.                         FLAN          Two. Two at Harvard. A daughter at Groton.          BACK IN THE KITTREDGE'S LIVING ROOM                         PAUL          - who've been wonderful to me.                         OUISA          They've never mentioned you.                         FLAN          What are they supposed to say? We've become          friends with the son of Sidney Poitier, barrier          breaker of the fifties and sixties?                         GEOFFREY          Your father means a great deal in South Africa.          MILLBROOK CLUB BAR                         OUISA          Even Geoffrey was touched.          BACK IN THE KITTREDGE'S LIVING ROOM                         PAUL          I'm glad of that. Dad and I went to Russia once          to a film festival and he was truly amazed how          much his presence meant -                         OUISA          Oh no! Tell us stories of movie stars tying up          their children and being cruel.                         PAUL          I wish.                         GEOFFREY          You wish?                         PAUL          If I wanted to write a book about him. I really          can't. No one would want to read it. He's          decent. I admire him.                         OUISA          He's married to an actress who was in one of--          she's white? Am I right?                                                                                                                             33                                   PAUL (painful territory)          That is not my mother. That is his          second wife. He met Joanna making          "The Lost Man". He left my mother          who had stuck by him in the lean years.          X had just been born. "The Lost Man"          is the only film of my father's I can't          bring myself to see.                         OUISA           Oh, I'm sorry. We didn't mean to -                          PAUL (BRIGHT)          No! We're all good friends now. . His kids from          that marriage. Us - the old kids. I'd love to          get in that kitchen.          FLAN (to Ouisa)          What should we do?                         OUISA          It's Geoffrey's only night in New York.                         GEOFFREY           I vote - stay in.          OUISA, FLAN and PAUL          Good!          MILLBROOK CLUB BAR                         OUISA          We moved.into the kitchen.          BACK IN THE KITTREDGE'S KITCHEN          THE KITCHEN is large, was built in the 205 when people had          big dinners at home.          PAUL opens the refrigerators and freezers.          PAUL'S actions are synchronous with the words.                         FLAN (VO)          We watched him cook.                         OUISA (VO)          We watched him cook and chop.                         FLAN (VO)          He sort of did wizardry                         OUISA (VO)          An old jar of sun dried tomatoes--                                                                                                                             34           FLAN (VO)           Left avers - tuna fish - olives - onions -          It's all dazzling and rapid. FLAN opens the wine. OUISA          takes dishes and silver out and hands them to GEOFFREY.          EVERYONE is in a picnic spirit. PAUL fills a large pot with          water from the tap.          PAUL (to Geoffrey)                         YOU'RE FROM                         GEOFFREY          Johannesburg.          PAUSE. PAUL Studies GEOFFREY. OUISA and FLAN freeze.          Is it a tense moment?          PAUL takes a breath. PAUL puts the water on the fire, eyes          never off GEOFFREY. Then PAUL resumes chopping onions          briskly and dropping them into the frying pan.                         PAUL          My dad took me to a movie shot in South Africa.          The camera moved from this vile rioting in the                                   streets to a villa where people picked at lunch          on a terrace, the only riot the flowers and the          birds-- gorgeous plumage and petals. And I          didn't understand. And Dad said to me "You meet          these young blacks who are having a terrible          time. They've had a totally inadequate          education and yet in '76 - the year of the          Soweto riots - they took on a tremendous          political responsibility. It just makes you          wonder at the maturity that is in them."          PAUL opens a cabinet and takes out a Haitian candelabra that          obviously hasn't been used since it was brought home as a          souvenir. PAUL dusts it off.                         PAUL          it makes you realize that the 'crummy childhood'          theory, that everything can be blamed in a          Freudian fashion on the fact that you've had a          bad upbringing, just doesn't hold water. May I?                         FLAN          Oh, please.          PAUL pours a brandy.                                                                                                                             35                                                  GEOFFREY          What about being black in America?          PAUL scoops a melange of vegetables into a glass dish and          puts it in the microwave.                         PAUL          My problem is I've never felt American.          I grew up in Switzerland. Boarding school.          Villa Rosey.                         OUISA          There is a boarding school in Switzerland that          takes you at age eighteen months.                         PAUL          That's not me. I've never felt people liked me          for my connections. Movie star kid problems.          None of those.          THE WATER boils. HE dumps in pasta.          The microwave timer goes off. PAUL removes the glass dish.                         PAUL          But I never knew I was black in that racist way          0 till I was sixteen and came back here. Very          protected. White servants. After the divorce we          moved to Switzerland. My mother, brother and Z.          I don't feel American. I don't even feel black.          I suppose that's very lucky for me even though          Freud says there's no such thing as luck. Just          what you make.          PAUL takes the pasta off the boil and drains it, plopping          the pasta into a brightly colored bowl.          OUISA, FLAN and GEOFFREY sit at the counter, transfixed.                         OUISA          Does Freud say that?          PAUL holds out three dishes heaped with food.                         PAUL          Here's dinner. All ready.                         OUISA          Shall we move into the dining room?          OUISA opens double doors leading into          THE DINING ROOM.                                                                                                                             36          This room has not been in use for a while.          The overhead chandelier is very bright and harsh.          A sewing machine is in the corner there.          Bookkeeping items at one end of the long table.          Nineteenth century Victorian mythological paintings hang.on          the walls. FLAN adjusts the rheostat to dim the lights in          the chandelier.                         OUISA          Don't look at the sewing machine.          FLAN sweeps the bill things off the table onto a chair.          OUISA opens the sideboard and takes out four linen place          mats and silverware and quickly sets the table.          PAUL takes out matches and lights the Haitian card"e'Yabra.          FLAN runs into the living room and returns with a vase of          flowers.          THEY smile at the appearance of the sudden party in this          wonderful room.          THEY sit down. THEY eat. Surprise. It's delicious.                          PAUL          Is everything okay?          FLAN, OUISA and GEOFFREY          Mmrmmm .. yes.                         GEOFFREY          This is the best pasta I've ever -                         OUISA          The best!                         PAUL          My father insisted we learn to cook.                         FLAN          Isn't he from Jamaica? There's a taste of--                         GEOFFREY          The islands.                         PAUL          Yes. Before he made it, he ran four restaurants          in Harlem. You have good buds!                         GEOFFREY          See? Good buds. I've never been          complimented on my buds-                         R                         FLAN          I am astonished!                                                                                                                                                      37          PAUL leans back and watches them happily.                         OUISA          Where's yours?                         PAUL          The cook never eats.                         FLAN          The more for us!          THEY all laugh.          PAUL leaves the room abruptly.          FLAN, OUISA and GEOFFREY look at each other.          FLAN stands.                         FLAN          Hello?          PAUL returns with the rest of the real in brightly painted          bowls.                                                  PAUL          Seconds?          THEY laugh and are served.                         OUISA          Have you declared your major yet?                         PAUL          You're like all parents. What's your major?                         FLAN          Geoffrey, Harvard has all those great titles the          students give courses.                         OUISA          The Holocaust and Ethics?                         FLAN          Krauts and Doubts.                         OUISA          I think we're lucky having this dinner. Isn't          this the finest time? A toast to you.                         GEOFFREY          To Cats!                         FLAN          Blunt question. What's he like?                                                                                                                             38          OUISA reaches for the bottle of wine.                         OUISA          Let's not be star fuckers.                         FLAN          I'm not a star fucker.                         PAUL          My father, being an actor, has no real identity.          You say to him, Pop, what's new? And he says,          'I got an interesting script today. I was asked          to play a lumberjack up in the Yukon. Now, I've          been trained as a Preacher, but my church fell          apart. My wife says we have to get mbney to get          through this winter. And I sign up as part of          this team where all my beliefs are challenged.          But I hold firm. In spite of prejudice because          I want to get back to my wife. Out of this          forest,back to the church... .' And my father is          in tears and I say Pop, this i:. not a real           event, this is some script that was sent to          you. And my father says ' I' m trying it out to          see how it fits on me.' But he has no life--he          has no memory--only the scripts producers send          him in the mail through his agents. That's his          past.          MILLBROOK CLUB BAR          Can it be? The CROWD listening to FLAN and OUISA is even          larger.                         OUISA          I just loved the kid so much. I wanted to reach          out to him.                         FLAN          And then we asked him what his thesis was on.          BACK IN THE KITTREDGE'S DINING ROOM                         GEOFFREY          The one that was stolen. Please?                                                                                                                             39                         PAUL          Well...          (HE takes a deep breath and leans back in                         HIS CHAIR)          A substitute teacher out on Long Island was          dropped from his job for fighting with a          student. A few weeks later, the teacher          returned to the classroom, shot the student          unsuccessfully, held the class hostage and then          shot himself. Successfully. This fact caught my          eye: last sentence. Times. A neighbor          described the teacher as a nice boy. Always          reading Catcher In the Rye.          The nitwit - Chapman - who shot John Lennon said          he did it because he wanted to-`draw the          attention of the world to Catcher In the Rye and          the reading of that book would be his defense.          And young Hinckley, the whiz kid who shot Reagan          and his press secretary said if you want my          defense all you have to do is read catcher in          the Rye. It seemed to be time to read it again.                         FLAN          I haven't read it in years.          OUISA shushes FLAN.                         PAUL          I borrowed a copy from a young friend of mine          because I wanted to see what she had underlined          and I read this book to find out why this          touching, beautiful, sensitive story published          in July 1951 had turned into this manifesto of          hate.          I started reading. : It's exactly as I          remembered. Everybody's a phoney. Page two: "My          brother's in Hollywood being a prostitute."          Page three: "what a phony slob his father was."          Page nine: "People never notice anything."          Then on page twenty two my hair stood up.          Remember Holden Caulfield--the definitive          sensitive youth--wearing his red hunter's cap.          "A deer Hunter hat? Like hell it is. I sort of          closed one eye like I was taking aim at it.          This is a people shooting hat. I shoot people          in this hat."                                                                                                                             40                                                  PAUL (CONTINUES)          Hmmm, I said. This book is preparing people for          bigger moments in their lives than I ever          dreamed of.          Then on p. 89 "I'd rather push a guy out the           window or chop his head off with an ax than sock          him in the jaw. I hate fist fights...what          scares me most is the other guy's face..."          I finished the book. It's a touching story,          comic because the boy wants to do so much and          can't do anything. Hates all phoniness and only          lies to others. Wants everyone to like him, is          only hateful, and is completely self involved.          In other words, a pretty accurate picture of a          male adolescent.          FLAN, OUISA, .GEOFFREY are transfixed.           And what alarms me about that book--not the book           so much as the aura about it--is this: the book           is primarily about paralysis. The boy can't           function. And at the end before he can run          away and start a new life, it starts to rain and          he folds. Now there's nothing wrong in writing          about emotional and intellectual paralysis. It          may indeed thanks to Chekhov and Samuel Beckett          be the great modern theme.          The extraordinary last lines of Waiting For          Godot--"Let's go." "Yes, let's go." Stage          directions: They do not move.          But the aura around this book of Salinger's--          which perhaps should be read by everyone ut          young men---is this: It mirrors like a fun          house mirror and amplifies like a distorted          speaker one of the great tragedies of our times-          --the death of the imagination.          Because what else is paralysis?          The CAMERA moves closer and closer in on PAUL.                                                                                                                             42                         PAUL (CONTINUES)          The imagination has been so debased that          imagination--being imaginative-- rather than          being the lynch pin of our existence now stands          as a synonym for something outside ourselves          like Science fiction or some new use for          tangerine slices on raw pork chops---what an          imaginative summer recipe--and Star wars! So          imaginative and Star Trek--so imaginative! And          Lord of the Rings--all those dwarves--so                         IMAGINATIVE---          The imagination has moved out of the realm of          being our link, our most personal link, with our          inner lives and the world outside that world--          this world we share--what is schizophrenia but a          horrifying state where what's in here doesn't          match up with what's out there?          Why has imagination become a synonym for style?          I believe that the imagination is the passport          we create to take us into the real world.          I believe the imagination is another phrase for          what is most uniquely Is.                                   Jung says the greatest sin is to be unconscious.          Our boy Holden says "what scares me most is the          other guy's face--it wouldn't be so bad if you          could both be blindfolded"--most of the time the          faces we face are not the other guys' but our          own faces. And it's the worst kind of          yellowness to be so scared of yourself you put          blindfolds on rather than deal with yourself.          To face ourselves.          That's the hard thing.          The imagination.          That's God's gift to make the act of self-          examination bearable.          PAUSE.          FLAN, GEOFFREY, OUISA are very moved.                         OUISA          Well, indeed.                         FLAN          I hope your muggers read every word.                                                                                                                             42          OUISA (chiding FLAN)                         DARLING                         GEOFFREY          I'm going to buy a copy of Catcher i. the Rye at          the airport and read it.                         OUISA          Cover to cover                         PAUL          I'll test you. I should be going.          PAUL starts to go. THEY follow.          THE DINING ROOM opens into          THE LIVING ROOM.                         FLAN          Where will you stay?                         OUISA          Not some flea bag.                         PAUL           I get into the Sherry tomorrow morning. It's not          so far off. I can walk around. I don't think          they'll mug me twice in one evening.          FLAN and OUISA take's PAUL's by the arm and leads him down          the hall into          THEIR DAUGHTER'S BEDROOM.                         OUISA          You'll stay here tonight.                         PAUL          No! I have to be at the hotel at seven AM sharp!                         OUISA          We'll get you up.                         PAUL          or Dad will have a fit.                         QUISA          Up at six fifteen which is any moment now and we          have that wedding in Millbrook-          OUISA pulls back the covers on the bed and puts the dolls on          the floor.                                                                                                                             4 3                                                  FLAN          There's an alarm by the bed                         OUISA          Your feet might hang out over the end                         PAUL          If it's any problem--                         FLAN          It's only a problem if you leave.          PAUL takes the alarm and sets the time.                          PAUL          Six fifteen? I'll tip toe out.                         FLAN          And we want to be in Cats.                         OUISA                         FLAN:                         PAUL          It's done.          THEY shake hands.                         GEOFFREY          I'll fly back. With my wife.                         OUISA          Pushy. Both of you.          PAUL sits on the bed, testing it.                         PAUL          He's not. Dad said I could be in          charge of the extras. You'd just          be extras. That's all I can promise.                         FLAK          In cat suits?                         PAUL          No. You can be humans.                         FLAN          That's very important. It has to be in our          contracts. We are humans.                                                                                                                             44                                   THEY all return down          THE HALL.                         GEOFFREY          We haven't got any business done tonight.                         FLAN          Forget it. It was only an evening at home.                         OUISA          Whatever you do, don't think about elephants.          GEOFFREY puts on his overcoat.                         PAUL          Did I intrude?          FLAN and OUISA          No!                         PAUL          I'm sorry - Oh Christ -          GEOFFREY (to Flan)                         0          There's all ways of doing business. Flanders,          walk me to the elevator.                         OUISA          Love to Diana.          OUISA kisses GEOFFREY on the cheek.          MILLBROOK CLUB BAR          It seems the BRIDE and GROOM have joined the people          listening to FLAN and OUISA's tale.                         OUISA          We embraced. And Flan and Geoffrey left -          BACK IN THE KITTREDGE'S HALL          FLAN walks GEOFFREY to the elevator, leaving OUISA and PAUL          alone. PAUL and OUISA look at each other. Then PAUL breaks          the moment and goes to          THE DINING ROOM.                         _ PAUL          Let me clean up -                                                                                                                             45          OUISA follows.                         OUISA          Hal Leave it for -          PAUL looks at the table filled with dishes and bowls and          glasses and napkins.                         PAUL          Nobody comes in on Sunday.          PAUL snuffs out the candles with his fingers.                         OUISA          Yvonne will be in on Tuesday.                         PAUL           You'll have every bug in Christendom -          The room is dark, -lit only from the living room.          THEY both reach for the dishes.                         OUISA          Let me -                                   PAUL takes the dishes.                         PAUL          No. You watch. It gives me a thrill to be          looked at.          PAUL looks at HER. OUISA is momentarily at a loss.          PAUL goes into the kitchen.          The service door into the kitchen swings back and forth.          DINING ROOM/KITCHEN          OUISA in the dining room looks at PAUL's back as HE washes          dishes at the sink.          Suddenly the dining room is flooded with light.          FLAN has flicked on the light.                         FLAN          He's in.                         OUISA          He's in?          FLAN parades around the table.                         FLAN          He's in for two million.                                                                                                                             46                                                  OUISA          Two million!                         FLAN          He says the Cezanne is a great inv1stment. We          should get it for six million and sell it to the          Tokyo bunch for ten.                         OUISA          Happy days! Oh god!          PAUL comes into the dining room.                         PAUL          Two million dollars?          FLAN runs into          THE LIVING ROOM.          FLAN picks up the slide carousel and kisses it.                         FLAN          Figure it out. He doesn't have the price of -a          dinner but he can cough up two million dollars          and the Japs will go ten!          PAUL and OUISA come into the living room.                         PAUL          Go to ten? Ten million?                         OUISA          Break all those dishes! Two million! Go to ten!          And we put up nothing?                         PAUL          Nothing?                         FLAN          Geoffrey sold that Hockney print I know he          bought for a hundred bucks fifteen years ago for          thirty four thousand dollars. Sotheby took          their cut, sure but still--Two million! Wildest          dreams. Paul, I should give you a commission.                         PAUL          Your kids said you were an art dealer. But you          don't have a gallery. I don't understand -                                                                                                                             47                          FLAN          People want to sell privately.          Not go through a gallery.                         OUISA -œøΩ          A divorce. Taxes. Publicity.          FLAN (holding up a slide)          People come to me looking for a          certain school of painting.                         OUISA          A modern.. Impressionist. Renaissance.                         FLAN          But don't want museums to know where it is.                         OUISA          Japanese.          OUISA, FLAN and PAUL go down the hall to          FLAN'S OFFICE.          FLAN flicks on his computer.                                                  FLAN          I've got Japanese looking for a Cezanne. I have          a syndicate that will buy the painting. There is          this great second level Cezanne coming up for          sale in a very messy divorce.          FLAN holds up the slide.                         OUISA          Wife doesn't want hubby to know she owns a          Cezanne.          PAUL looks at the slide.                         FLAN          I needed an extra two million. Geoffrey called.          Invited him here for dinner.                         OUISA          Tonight was a very nervous very          casual very big thing.                         PAUL          I couldn't tell -                                                                                                                             48          s PAUL gives the slide very carefully back to FLAN who files          it.                         OUISA          All the better. 0          FLAN opens a door in the OFFICE. THE OFFICE connects to          THE MASTER BEDROOM.          PAUL follows FLAN and OUISA into their bedroom.                         PAUL          I'm glad I helped -                         OUISA          You were wonderful!                         PAUL          I'm so pleased I was wonderful.          All this and a pink shirt.                         OUISA          Keep it. Look at the time.                         PAUL          It's going to be time for me to get up.                         FLAN          Then we'll say our good nights now.                         PAUL          Oh Christ. Regretfully. I4l1 tip toe.          PAUL and OUISA follow FLAN into          THE HALL.          PAUL goes into their daughter's bedroom.          FLAN and OUISA hover in the hall.          FLAN takes out his wallet.                         FLAN          Take fifty dollars.                         OUISA          Give him fifty dollars.                         PAUL          Don't need it.                                                                                                                             49                                                  OUISA          Suppose your father's plane is late?                         FLAN          A strike. Air controllers.                         OUISA          Walking around money. I wouldn't want my kids          to be stuck in the street without a nickel.          PAUL sits on the bed and takes off his shoes.                         FLAN          And you saved us a fortune. Do you know what          our bill would've been at that little Eye-tie          store front?                         OUISA          And we picked up two million dollars. One          billionth of a percent commission is -                         FLAN          Fifty dollars.          FLAN hands PAUL the money. PAUL hesitates, then takes it.                         PAUL          But I'll get it back to you tomorrow. I want my          father to meet you.                         OUISA          We'd love to. Bring him up for dinner.                         PAUL          Could I?                         FLAN          You see how easy it is.                         OUISA          Sure. If Paul does the cooking.          FLAN, OUISA and PAUL laugh.          OUISA goes into the bathroom and fills a glass with water          and puts it on the night table.                         OUISA          Goodnight.          PAUL smiles at them.                                                                                                                             50                                   THE MASTER BEDROOM/BATHROOM          FLAN and OUISA get ready for bed, undressing, hanging jacket          and trousers up neatly. OUISA undoes her dress.          THEY are in and out of bathroom and bedroom, -brushing          teeth.                         FLAN          I want to get on my knees and thank god -money-                         OUISA          Who said when artists dream they dream of money?          I must be such an artist. Bravo. Bravo.          FLAN putting on pajamas, OUISA her nightgown.                         FLAN          I don't want to lose our life here. I don't          want all the debt to pile up and crush us.                         OUISA          It won't. We're safe.          OUISA in bed turns off the light.           FLAN looks out the window onto the park.                         FLAN          For a while. We almost lost it. If I didn't          get this money,. Ouis, I would've lost the          Cezanne. It would've gone. I had nowhere to          get it.          OUISA gets out of bed and comes to FLAN.                         OUISA          Why don't you tell me how much these things          mean? You wait till the last minute -          OUISA and FLAN get into bed.                         FLAN          I don't want to worry you.                         OUISA          Not worry me? I'm your partner.                         FLAN          There is a god.                         OUISA          And his name- is --                         A                                                                                                                             51                          FLAN          Geoffrey?                         OUISA          Sidney.          THEY embrace. THE CAMERA comes in very close, circling          FLAN and OUISA, their love, their safety. Then THE CAMERA          drifts back and away from them, travelling out through the          window, out of their cocoon to          EXT THE APARTMENT BUILDING/CENTRAL PARK NIGHT          down the face of the solid apartment building and drifts          away through the night down into Central Park and stops at          the statue of the husky barking at the moon.          MILLBROOK CLUB BAR                         OUISA          I dreamt of Sidney Poitier and his rise to          acclaim. I dreamt that Sidney Poitier sat at          the edge of my bed and I asked him what troubled          him? Sidney? What troubles you? Is it right          to make a movie of Cats?                                   BACK IN THE MASTER BEDROOM          FLAN is asleep on his side of the bed. OUISA is wide awake,          staring at A MAN in dinner clothes, who sits on the edge of          her bed. His back is to the camera. Is it SIDNEY POITIER?          THE CAMERA drifts in to OUISA, who is transfixed by this          apparition.          "SIDNEY" (very comforting)          I'll tell you why I have to make a movie of          Cats. I know what Cats is, Louisa. May I call          you Louisa?          (OUISA nods Yes)          I have no illusions about the merits of Cats.          But the world has been too heavy with all the          right to lifers. Protect the lives of the          unborn. Constitutional amendments. Marches!          When does life begin? Or the converse. The end          of life. The Right To Die. Why is life at this          point in the 20th century so focussed on the          very beginning of life and the very end of life?          What about the eighty years we have to live          between those two inexorable book ends?          THE CAMERA closes on OUISA. Her face, seen over "SIDNEY's"          shoulder, is all wonder.                                                                                                                             52                         OUISA          And you can get all that into Cats?          THE CAMERA drifts round with OUISA'S gaze to finally see          "SIDNEY'S" face. ÔøΩ,.          It is PAUL.                         PAUL/SIDNEY          I'm going to try.                         OUISA          Thank you. Thank you. You shall.          THE CAMERA circles off PAUL to OUISA. She is asleep.          CUT BACK to reveal          No one is sitting on the bed.          THE CAMERA moves onto FLAN's face, sleeping.          Slides of paintings by Matisse, Picasso, De Kooning, Pollock          appear over his face.                          FLAN (VO)           This is what I dreamt. I didn't dream so much           as realize this. I felt so close to the           paintings. I wasn't just selling like pieces           of meat. I remembered why I loved paintings in           the first place - what had got me into this -           and I thought - dreamed - remembered-           INT AIRPLANE HANGAR           FLAN happily sits in the bright vast empty space at a slide           carousel projecting slides of paintings into the air.                          FLAN (VO)           How easy it is for a painter to lose a           painting. He can paint and paint - work on a           canvas for months and one day he loses it - just           loses the structure - loses the sense of it -           you lose the painting.          A BRIGHT WHITE LIGHT shines on FLAN who turns to see          A TEACHER, in her forties, very pure and happy, hanging          beautiful and brilliantly colored children's drawings in the          air. FLAN'S VOICE echoes in this vast space.                                                                                                                             53                                                  FLAN          Why are all your students geniuses in the second          grade? Look at the first grade. Blotches of          green and black. Look at third grade.          Camouflage. But the second grade --your grade.          Matisses everyone. You've made my child a          Matisse. Let me study with you. Let me into          the second grade! What is your secret?                         THE TEACHER          Secret? I don't have any secret. I just know          when to take their drawings away from them.          THE TEACHER hangs pink shapes like paper versions of PAUL'S          button down shirt on a clothes line stretching to the end of          the hangar.          THE SCREEN is filled with the color Pink.          EXT PINK SKY DAWN          The bright pink morning sky flashes with golden blotches,          abstract, until WE see it is the morning sun reflecting off          windows on the West Side of Central Park.          Then we realize it is the view from                                   THE KIZTREDGE'S MASTER BEDROOM DAWN          THE CAMERA pulls back from the window to FLAN and OUISA in          bed, cozy. SHE wakens, smiles, kisses HIM.          FLAN mumbles in his sleep and rolls over.          OUISA looks at her bedside clock. 6 A.M.          SHE gets out of bed, then pauses to take in the dawn          display.          OUISA walks through          THE LIVING ROOM          and opens the front door. SHE picks up the Sunday papers          and goes into          THE KITCHEN.          OUISA looks at the spotlessly clean sink and counter.          SHE flicks on the coffee machine and takes juice out of the          refrigerator scanning the front page.          SHE sits at the counter and opens the magazine to the back          page and begins to do the cross word puzzle.                                                                                                                             54          MILLBROOK CLUB BAR          THE CHUMS hang on OUISA's every word.                         OUISA          I sat in the kitchen happily doing the cross          word puzzle in ink. Everybody does it in ink. I          never. met one person who didn't say they did it          in ink.          BACK IN THE KITCHEN          OUISA fills in a word on the puzzle. is it in ink? Then          looks up.                         OUISA (VO)          And I'm doing the puzzle and I see the time and          it's nearly seven and Paul had to meet his          father and I didn't want him to be late and was          he healthy after his stabbing?          OUISA puts the puzzle down and goes into          THE HALL.                         0                         OUISA (VO)          The hall is eighteen feet long.          OUISA walks down the hall which now seems impossibly long.                         OUISA (VO)          I stopped in front of the door.          OUISA taps on the door of her daughter's room.                         OUISA          Paul?          SHE hears - what? - sounds of moaning?                         OUISA          Paul??                         PAUL (MOANING)                         YES YES                         OUISA          Are you all right?          OUISA opens the door to          HER DAUGHTER'S BEDROOM.                                                                                                                             55           SHE turns on the light. SHE screams.           A GUY mid 20s, buck naked except for ratty white socks,          stands up on the bed.                         HUSTLER          What the fuck is going on here. Who the fuck          are you?!          PAUL, startled,"sits up in bed and pulls on his clothes.          OUISA screams.                         OUISA          Flan!!          THE MASTER BEDROOM          OUISA shakes FLAN violently. FLAN comes to.                         FLAN          What is it?!          FLAN AND OUISA step out into          THE HALL.                                   SILENCE.          THEY hear their dog bark in          THE LIVING ROOM.          THE HUSTLER, naked but for white socks, wanders around the          living room picking up things. THE DOG is barking at HIM.          THE HUSTLER turns and smiles at FLAN and OUISA. -                         HUSTLER          Hey! How ya doin'? Nice stuff.                         FLAN          Oh my God!          THE HUSTLER stretches out on the sofa.                         HUSTLER          Hey. I got to get some sleep--          FLAN tips the sofa, hurling the HUSTLER onto the floor.          THE HUSTLER leaps at FLAN threateningly.                         OUISA          Stop it! He might have a gun!                                                                                                                             56           HUSTLER (laughs)          Yeah. I might have a gun. I might have a knife.          THE HUSTLER raises his hand threateningly.                         OUISA          He has a gun! He has a knife!          THE HUSTLER chases OUISA around the room.          FLAN chases the HUSTLER. THE DOG chases FLAN.          PAUL,dressed, runs in to the living room, carrying THE          HUSTLER's clothes which HE hurls down onto the sofa.                         PAUL          I can explain.                         OUISA          You went out after we went to sleep and picked          up this thing?                         FLAN          You brought this thing into our house! Thing!          Thing! Get out! Get out of my house!          FLAN picks up the HUSTLER'S clothes and opens the front           door.                         THE HUSTLER          Hey! Be careful of the pants!                         FLAN          Take your clothes. Go back to sleep          in the gutter.          FLAN flings the clothes out into          THE OUTSIDE CORRIDOR.          FLAN pushes the elevator button.          THE HUSTLER suddenly lunges at FLAN and grabs FLAN by the          lapels of his bathrobe.                         HUSTLER          Fuck. You!          THE HUSTLER throws FLAN back violently, then picks up his          clothes.          OUISA runs to FLAN.          FLAN gasps, catching his breath.          THE ELEVATOR DOOR opens..          EDDIE, the elevator man, is startled by the sight.                         W                                                                                                                             57          OUISA is terrified as PAUL stands at the front door.                         PAUL          Please. Don't tell my father. I don't want him          to know. I haven't told him. I got. so lonely.          I got so afraid. My dad coming. I had the          money. I went out after we went to sleep and I          brought him back. You had so much. I couldn't          be alone. I was so afraid. I am so sorry.                         OUISA          Just go.                         EDDIE          Is everything all right?                         FLAN          Make sure they go out!                         PAUL          I can explain!                         FLAN          Give me my fifty dollars.                          PAUL           I spent it.                          OUISA           Get out!                          PAUL          I'm so sorry.          THE HUSTLER is in the elevator, pulling on his seedy          clothes.                         FLAN          Make sure they leave. By the back door.          PAUL steps into the elevator. The door shuts.          BACK IN THE LIVING ROOM          FLAN and OUISA survey the room. THEY are at a loss.          THEY straighten out the pillows on the sofa.          THEY are exhausted.          MILLBROOK CLUB BAR          THE CROWD is astonished.                                                                                                                             58                         OUISA          And that's that.                         FLAN          Well, it's not          BACK IN THE KITTREDGE'S LIVING ROOM          FLAN and OUISA survey the living room.                         FLAN          I am shaking.                         OUISA          You have to do something.                         FLAN          it's awful.                         OUISA          Is anything gone?                         FLAN          How can I look? I'm shaking.                         OUISA          Did he take anything?                         FLAN          Would you concentrate on yourself?                         OUISA          I want to know if anything's gone?                         FLAN          Calm down.                         OUISA          We could have been killed.                         FLAN          The silver Victorian inkwell.                         OUISA          How can you think of things? We could          have been murdered.          FLAN picks up an ornate Victorian inkwell capped by a silver          beaver.                         FLAN          There's the inkwell. Silver beaver. Why?                                                                                                                             59                         OUISA          Slashed ---our throats slashed.          A framed portrait of a pug.                         FLAN          And there's the watercolor. Our dog.          FLAN pets his dog.                         OUISA          Go to bed at night happy and then murdered.          would we have woken up?                         FLAN          we're alive.          THEY sit on the sofa, drained, holding onto the phone.          The phone suddenly rings. THEY clutch each other.                         OUISA          Don't pick it up!          FLAN does.                          FLAN          Hello?          INT A LIMOUSINE MORNING          GEOFFREY sits in the back seat of a limousine talking on a          cordless portable phone.                         GEOFFREY          Flanders. Look, I've been thinking.          Those Japs really want the Cezanne.          They'll pay. You can depend on me          for an additional overcall of two fifty.          THE KITTREDGE'S LIVING ROOM MORNING          FLAN's rind is boggled.                         FLAN          Two hundred and fifty thousand?                                                                                                                             60                                   EXT CURBSIDE KENNEDY AIRPORT          As GEOFFREY'S DRIVER takes care of the baggage, GEOFFREY          proceeds into the          THE FIRST CLASS LOUNGE          never dropping one beat on his radio phone.                         GEOFFREY          And I was thinking for South Africa. What about          a black American film festival? With this Spike          Lee you have now and of course get Poitier down          to be the president of the jury and I know Cosby          and I love this Eddie Murphy and my wife went          fishing in Norway with Diana Ross and her new          Norwegian husband. And also they must have some                         NEW BLACKS-          KITTREDGE'S LIVING ROOM          OUISA is trying to hear the other end of the call.                         FLAN          Yes. It sounds a wonderful idea.          INT JFK THE TERMINAL          GEOFFREY walks through the terminal.                         GEOFFREY          I'll call Poitier at the Sherry --          KITTREDGE'S LIVING ROOM                         FLAN          No! We'll call!          INT AIRPORT IMMIGRATION          GEOFFREY puts the phone down on the security belt.          The phone goes through radar.          All the while we hear FLAN's voice.          The SECURITY PERSON impassively watches the phone on the          X-Ray screen.          GEOFFREY picks up the phone as it slides off the band.                         GEOFFREY          They're calling my plane- And again last night-                                                                                                                             61           KITTREDGE'S LIVING ROOM                         FLAN          No need to thank. See you shortly.          INT KENNEDY AIRPORT THE GATE                         GEOFFREY          The banks.          KITTREDGE'S LIVING ROOM                         FLAN          My lawyer.          KENNEDY AIRPORT THE GATE                         GEOFFREY          Exactly.          KITTREDGE'S LIVING ROOM                         FLAN          Safe trip.                                   KENNEDY AIRPORT THE GATE          GEOFFREY snaps the phone shut, sticks it in his pocket and          goes into the gate.          KITTREDGE'S LIVING ROOM          FLAN and OUISA look at each other in amazement.                         OUISA          We're safe?          As FLAN hangs up the phone we hear a car door shut as FLAN          and OUISA get in their car.          EXT THE MILLBROOK GOLF AND TENNIS CLUB DAY          THE GROUP FROM THE WEDDING waves goodbye not at the BRIDE          and GROOM but at FLAN and OUISA. THE BRIDE and GROOM as a          matter of fact are there.                         THE BRIDE          And then?                         SANDY          And then?                                                                                                                             62                          OUISA          That's all we know!          And FLAN and OUISA drive out of the parking lot.          INT/EXT THE CAR TACONIC PARKWAY DAY          THE CAMERA pulls back to show FLAN and OUISA driving back          down the Taconic Parkway. THEY are more composed now than          when THEY left - and even pleased.          THE RADIO plays a Bach Cantata: Gloria!          THE CAMERA pulls back further to show them entering New York          City via the Triborough Bridge. THE CITY looks magnificent          for a moment from this vantage.          EXT EAST 67TH STREET DAY          Below us FLAN and,OUISA's car heads for the garage.          OUISA's hand suddenly flies out of the car window, waving          at a couple in their forties, KITTY AND LARKIN, crossing the          street. FLAN honks the horn. THE CAMERA travels down to          KITTY and LARKIN as they glare at the car, then smile when          THEY see who it is.                         T                         OUISA          Do we have a story to tell you!                         KITTY          Do we have a story to tell you!          INT PRECINCT NIGHT          We cannot tell where we are yet.          But OUISA and FLAN and KITTY and LARKIN lean across a desk          and tell a MAN we will learn shortly is a DETECTIVE.                         OUISA          Our two and their son are at Harvard together.          KITTY and LARKIN are pleased about this.          INT MORTIMER'S RESTAURANT AFTERNOON          THE TWO COUPLES sit a table in this definitive East Side          restaurant.                         FLAN          Let me tell you our story.                                                                                                                             63                          LARKIN          When did your story happen?                         FLAN          Last night. We are still zonked.                         KITTY          we win. Our story happened Friday night.          So we go first.                         LARKIN          We're going to be in the movies.                         KITTY          We are going to be in the movie of Cats.          OUISA puts down her white wine.                         OUISA          You tell your story first.                         LARKIN          Friday night we were home, the doorbell rang---                         KITTY          I am not impressed but it was the son of -                         INT PRECINCT          THE DETECTIVE makes notes.          OUISA and FLAN          You got it.          BACK AT MORTIMER'S RESTAURANT                         KITTY          The kid was mugged. We had to go out. We left          him. He was so charming. His father was taking          the red eye. He couldn't get into the Hotel          till seven AN. He stayed with us.          SHE is very pleased.                         LARKIN          In the middle of the night, we heard somebody          screaming Burglar! Burglar! We came out in the          hall. Paul is chasing this naked blonde thief          down the corridor. The blonde thief runs out,          the alarm goes off. The kid saved our lives.                                                                                                                             64                          FLAN          That was no burglar.                         OUISA          You had another house guest.          KITTY and LARKIN laugh.                         LARKIN          We feel so guilty. Paul could've been killed by          that intruder. He was very understanding -                         OUISA          Was anything missing from your house?                         LARKIN          Nothing.                         FLAN          Did you give him money?                         KITTY          Twenty-five dollars until his father arrived.                         THE PRECINCT                                   THE DETECTIVE looks at THEM carefully.          FLAN (to the detective)          We told them our story.          MORTIMER'S RESTAURANT NIGHT                         KITTY & LARKIN          Oh.                         OUISA          Have you talked to your kids?                         KITTY          Can't get through.                         FLAN          Let's go back to our place.          INT KITTREDGE'S APARTMENT NIGHT          The sound of keys in the door. The door swings open.          FLAN switches on the lights. THE TWO COUPLES run in heading          for the phone. OUISA dials.                                                                                                                             65                                                  OUISA          Sherry Netherlands. I'd like--                         THE PRECINCT                         LARKIN          She gave the name.          BACK IN THE KITTREDGE'S LIVING ROOM                         OUISA          No! I'm not a fan. This is not a fan call.          Sidney Poitier must be registered.          His son is a friend of-          CLICK. The Sherry's hung up.          The doorbell rings. FLAN goes to the door.                         LARKIN          He must be there under another name.          Another phone call.                         OUISA          Hi. Celebrity Service? I'm not           sure how you work.                         KITTY          Greta Garbo used the name Harriet Brown.                         OUISA          You track down celebrities? Am I right?                         LARKIN          Everybody must have known she was Greta Garbo.                         OUISA          I'm trying to find out how one would get in          touch with---No, I'm not a press agent--No, I'm          not with anyone---My husband. Flanders          Kittredge?                         (CLICK)          Celebrity Service doesn't give out information          over the phone.                         LARKIN          Try the public library.                         KITTY          Try Who's Who.          FLAN returns carrying an elaborate arrangement of flowers.          FLAN reads the card.                                                                                                                             66                          FLAN          "To thank you for a wonderful time.          Paul Poitier.'"          FLAN reaches into the bouquet. HE takes out a p.t of jam.                         FLAN          A pot of jam?                         LARKIN          A pot of jam.          THEY back off as if it might explode.                         KITTY          I think we should go to the police.          EXT THE 19TH PRECINCT NIGHT          THE FOUR approach the precinct on East 94th Street.          INT THE PRECINCT          THE DETECTIVE, whom we recognize from earlier, looks up from          his desk.                                                  DETECTIVE          What are the charges?                         OUISA          He came into our house.                         FLAN          He cooked us dinner.                         OUISA          He told us the story of Catcher In The Rye.                         FLAN          He said he was the son of Sidney Poitier.                         DETECTIVE          Sidney Poitier?          FLAN and OUISA          You got it.                         DETECTIVE          Was he?                         OUISA          We don't know.                                                                                                                             67                         FLAN          We gave him fifty dollars.                         KITTY          We gave him twenty five.                         LARKIN                         S HHHH                         OUISA          He picked up a hustler.                         FLAN          He left.                         KITTY          He chased the burglar out of our house.                         OUISA          He didn't steal anything.                         LARKIN          We looked and looked.                         KITTY           Top to bottom. Nothing gone.          THE DETECTIVE closes his notebook.                         OUISA          Granted this does not seem major now.                         DETECTIVE          Look. We're very busy.                         FLAN          You can't chuck us out.                         DETECTIVE          Come up with charges. Then I'll do something.          INT THE MORGAN LIBRARY NIGHT          FLAN and OUISA have come to a charity do featuring a string          quartet playing Schubert Trio in B flat.          But FLAN and OUISA are not entranced by the music.          THEY stand at the back of the room by the bar telling their          story to a GROUP of fascinated FRIENDS (none of whom was at          the wedding) as the QUARTET plays. These FRIENDS are all          dressed formally but with the look of people who dress this          way every night. There-'s always one of these going on and          they're always there.                                                                                                                             68                         FLAN          Yes, there is another chapter.                         OUISA          Our kids came down from Harvard. a          Loud groans of protest and disbelief fill the          KITTREDGE'S LIVING ROOM DAY          Two of FLAN and OUISA'S college aged CHILDREN, WOODY and          TESS, and KITTY and LARKIN'S boy, BEN, slump around the          room. They are in dismay at OUISA, FLAN, KITTY and LARKIN          and their story.                         FLAN          --the details he knew--how would he know about          the painting?          FLAN has taken the Kandinsky off the wall and flipped it          around to the wild side.                         FLAN          Although I think it's a very fine Kandinsky.          FLAN leans the painting against a chair and studies it.                         OUISA          And none of you knows this fellow? He has this          wild quality--yet, a real elegance and a real          concern and a real consideration.          TESS looks at the floral arrangement PAUL sent.          It's only slightly wilted.                         TESS          Well, Mom, you should have let          him stay. You should have divorced          all your children and just let this          dreamboat stay. Plus he sent you flowers.                         FLAN          And jam .                         THE KIDS          Oooooo.                         OUISA          I wish I knew how to get hold of his father.          Just to see if there is any truth in it.                                                                                                                             69                         LARKIN          Who knows Sidney Poitier so we could just call          him up and ask him?                         KITTY          I have a friend who does theatrical law.          I bet he -                         LARKIN          What friend?          KITTY (suddenly trapped)          Oh, it's nobody.                         LARKIN          I want to know.                         KITTY (SCREAMS)          Nobody!                         LARKIN (RECONSIDERS)          Whatever's going on anywhere, I do not          want to know. I don't want to know.          I don't want to know.                                                  KITTY (OVERLAPPING)          Nobody. Nobody. Nobody.                         BEN (OVERLAPPING)          Dad. Mom. Please. For once. Please?          BEN, KITTY, LARKIN scream at each other in anguish.          TESS, in a fury, leaves the apartment.          FLAN follows HER to          THE OUTSIDE CORRIDOR.                         FLAN          Tess, when you see your little sister, don't          tell her that Paul and the hustler used her bed.                         TESS          You put him in that bed. I'm not going to get          involved with any conspiracy.                         FLAN          It's not a conspiracy. It's a family.          THE ELEVATOR DOOR opens. TESS and FLAN virtually growl at          each other as the door shuts on TESS.                                                                                                                             70           FLAN sees KITTY, LARKIN and BEN screaming at each other.          FLAN sees OUISA, to avoid involvement in the domestic stir,          hang the Kandinsky back on the wall.          The geometric ordered side.          EXT CENTRAL PARK DAWN          The Alaskan Husky barks at the moon.          THE CAMERA travels out of the park up the face of the Fifth          Avenue apartment once again into the safety of          THE MASTER BEDROOM.          FLAN and OUISA are in bed asleep.          OUISA sits up when SHE hears someone tapping insistently on          the window pane. SHE looks around the room.          PAUL appears outside on the window ledge wearing the pink          shirt. OUISA gets out of bed and opens the window.                         PAUL          The imagination. That's our out. Our           imagination teaches us our limits and then how           to grow beyond those limits. The imagination           says listen to me. I at your darkest voice. .I          am your 4am voice. I am the voice that wakes          you up and says this is what I'm afraid of. Do          not listen to me at your peril. The          imagination is the noon voice that sees clearly          and says yes this is what I want for my life.          It's there to sort out your nightmare, to show          you the exit from the maze of-your nightmare, to          transform the nightmare into dreams that become          your bedrock. If we don't listen to that voice,          it dies. It shrivels. It vanishes.          (PAUL takes out a switch blade and opens it.)          The imagination is not our escape. on the          contrary, the imagination is the place we are          all trying to get to.          PAUL lifts his shirt and stabs himself.          OUISA screams.          PAUL falls over backward into space.          The phone rings, waking OUISA. FLAN picks up the phone.          OUISA sits up, a little stunned. She is relieved to find          things so normal.          INT THE PRECINCT EARLY MORNING                         DETECTIVE          I got a call that might interest you.                                                                                                                             71          BACK TO THE MORGAN LIBRARY          The string quartet reaches a climax.                         FLAN          And a new character entered our story          EXT BETH ISRAEL DOCTORS HOSPITAL DAY          FLAN and OUISA, KITTY and LARKIN come to this hospital          across from Gracie Mansion.          INT BETH ISRAEL DOCTORS HOSPITAL DR. FINE'S OFFICE          DR. FINE, an earnest professional man in his 50s, comes          down the hall, and opens his office door.          FLAN, OUISA, KITTY and LARKIN sit in his office.          DR. FINE          I was seeing a patient. I'm an          obstetrician at New York Hospital.          The nurse opened my office door.          INT EXAMINING ROOM DAY           THE NURSE, a sturdy woman in her 50s, opens the door.                         NURSE          There's a friend of your son's here.          PAUL appears,- looking much as HE was when HE came to FLAN          and OUISA's. PAUL's shirt front is bleeding.          DR. FINE'S OFFICE          OUISA and FLAN, KITTY and LARKIN are filled with dread.          DR. FINE          I treated the kid. He was more scared than          hurt. A knife wound, a few bruises.                         EXAMINING ROOM          PAUL gets off the examining table, buttoning his pink shirt.                         PAUL          I don't know how to thank you, sir. My father          is coming here.          DR. FINE'S OFFICE          THE TWO COUPLES sit cramped on the Doctor's leather sofa.                                                                                                                             72          FLAN and OUISA and KITTY and LARKIN          He's making a movie of Cats.          DR. FINE stands by the window looking out at the river.          DR. FINE          And he told me the name of a matinee idol of my          youth. Somebody who had really forged ahead and          made new paths for Blacks just by the strength          of-his own talent. Strangely, I had identified           with him, before I started Medical School. I           mean, I'm a Jew. My grandparents were killed in           the war. I had this sense of self-hatred, of          fear. And this kid's father - the bravery of          his films - had given me a direction, a          confidence. Simple as that. We're always          paying off debts. Then my beeper went off. A          patient in her tenth month of labor. Her water          finally broke. I gave'him the keys.                         EXAMINING ROOM          DR. FINE gives PAUL a set of keys and walks him out into          THE HOSPITAL HALL.                                                  PAUL          Doug's told me all about your brownstone. How          you got it at a great price because there had          been a murder in it and for a while people          thought it had a curse but you were a scientific          man and were courageous!          DR. FINE          Well, yes! Courageous!          DR. FINE'S OFFICE          FLA.N and OUISA, KITTY and LARKIN agree.                         FLAN          Very courageous.          DR. FINE          I ran off to the delivery room. Twins! Two          boys. I thought of my son. I dialed my boy at          Dartmouth. Amazingly, he was in his room.          Doing y hat I hate to ask.                                                                                                                             73           INT COLLEGE DORM ROOM DAY           The call wakens DR. FINE'S son, DOUG, 20.          DOUG grabs for the phone from under the covers. Is there          someone else in bed with Doug?          DR.FINE'S EXAMINING ROOM          DR. FINE          So you accuse me of having no interest in your          life, not doing for friends, being a rotten          father. Well, you should be very happy.          COLLEGE DORM ROOM                         DOUG          The son of who? Dad, I never heard of him.          Dad, as usual, you are a real cretin. You gave          him the keys? You gave ,& complete stranger who          happens to mention my name the keys to our          house? Dad, sometimes it is so obvious to me          why Mom left. I am so embarrassed to know you.          You gave the keys to a stranger who shows up at          your office? Mother told me you beat her! Mom          told me you were a rotten lover and drank so           much your body smelled of cheap white wine. Mom           said sleeping with you was like sleeping with a           salad made with bad dressing. Why you had to           bring me into the world!          A GIRL sits up in bed, terrified.                         EXAMINING ROOM          DR. FINE          There are two sides to every story -          COLLEGE DORM ROOM                         DOUG          You're an idiot! You're an idiot!          THE GIRL in bed puts pillows over her head.          DR. FINE'S OFFICE          FLAN and OUISA, KITTY and LARKIN lean forward in          fascination.          DR. FINE          I went home..-courageously with a policeman.                                                                                                                             74           EXT DR. FINE'S BROWNSTONE DAY          DR. FINE puts the key in the door. The COP with HIM has his          gun drawn. DR. FINE and THE COP enter          THE BROWNSTONE.          THEY hear a Debussy quartet playing.          PAUL sits in the living room wearing a silk robe, swirling a          snifter of brandy, listening to the music.          PAUL smiles when HE sees DR. FINE, but when the COP appears          with the gun, PAUL rolls over on his side out of the chair.          DR. FINE          Arrest him!          DR. FINE snaps off the radio.          PAUL backs up against the wall.                         PAUL          Pardon?          DR. FINE          Breaking and entering.                          PAUL          Breaking and entering?          DR. FINE          You're an imposter.                         PAUL          Officer, your honor, your eminence, Dr. Fine          cave me the keys to his brownstone. Isn't that          so?          DR. FINE          My son doesn't know you.                         PAUL          This man gave me the keys to the house.          Isn't that so?          THE COP puts his gun away.                          POLICEMAN (SCREAMS)           Did you give him the key to the house?           DR. FINE           Yes, but under false pretenses. This fucking           black kid crack addict comes into my office                         LYING -                                                                                                                             75           PAUL (cool and forgiving)          I have taken this much brandy but can pour the          rest back into the bottle. And I've used          electricity listening to the music, but I think          you'll find that nothing's taken from the house.          PAUL takes off the silk robe and neatly places it on the          table.          DR. FINE          I want you to arrest this fraud.          PAUL puts on his jacket and leaves the house.          DR. FINE          Stop him!          THE POLICEMAN walks away.          COLLEGE DORM ROOM          DOUG continues his tirade.                         DOUG          A cretin! A creep! No wonder mother left you!                                   DOUG flings the phone against the wall.          DR. FINE'S OFFICE          FLAN and OUISA, KITTY and LARKIN look at DR. FINE          sympathetically.          DR. FINE          Two sides. Every story.          But THE TWO COUPLES are also embarrassed.          BACK TO THE MORGAN LIBRARY          PEOPLE from the back row of the concert turn away from the          music and listen to OUISA and FLAN.                         OUISA          We went down to the Strand -                         FLAN          Five Sherlock Holmeses-                                                                                                                             76          0 EXT THE STRAND BOOKSTORE 12th STREET AND BROADWAY DAY          The TWO COUPLES AND DR. FINE, go into          THE STRAND BOOKSTORE.          which advertises itself as possessing Eight miles of books          and that seems an understatement.          THE CAMERA rushes past rows of books.          And then suddenly stops.                         OUISA          I found it!          OUISA'S HAND reaches up and brings down.                         CU          A COPY OF SIDNEY POITIER'S AUTOBIOGRAPHY: "This Life"          OUISA reads from the Poitier autobiography.          THE OTHERS are enrapt..                         OUISA          "Back in New York with Juanita and the children,          I began to become aware that our marriage,           while working on some levels, was falling apart          in other fundamental areas."          FLAN takes the book.                         FLAN          There's a picture of him and his four-          daughters. No sons. Four daughters.          BACK TO THE MORGAN LIBRARY                         FLAN          The book's called This Life.                         A CONCERT-GOER          No sons?                         OUISA          No sons!          THE STRAND BOOKSTORE                         KITTY          Oh dear.                         OUISA          This kid bulldozing his way into our lives.                                                                                                                             77          LA.RKIN          is We let him in our lives. I run a foundation.          You're a dealer. You're a doctor. You'd think          we'd be satisfied with our achievements.          TNT THE GOTHAM RESTAURANT DAY          THE FIVE of THEM have gone down the street fram the Strand          to this swell restaurant.                         FLAN          Agatha Christie would ask what do          we all have in common?                         OUISA          It seems the common thread linking us all is an          overwhelming need to be in the movie of Cats.                         KITTY          Our kids. Struggling through their lives.                         LARKIN          I don't want to know anything about the          spillover of their lives.                         OUISA                                   All we have in common is our children went to          boarding school together.          FLAN (to Dr. Fine)          How come we never met?          DR. FINE          His mother had custody. I lived out West. After          he graduated from high school, she moved west.          I moved east.                         LARKIN          I think we should drop it right here.                         KITTY          Are you afraid Ben is mixed up in this fraud?                         LARKIN          I don't want to know too much about my kid.                         KITTY          You think Ben is hiding things from us? I tell          you, I'm getting to the bottom of this. My son          has no involvements with any black frauds.          Doctor, you said something about crack?                                                                                                                             78                         LARKIN                                   I don't want to know.          DR. FINE          It just leaped out of my mouth.          No proof. Oh dear god, no proof.                         FLAN          We'll take a vote. Do we pursue this to the end          no matter what we find out about our kids?                         OUISA          I vote yes.          DR. FINE          I trust Doug. Yes.                         LARKIN          No.                         KITTY          Yes.                         FLAN          Yes.          KITTY looks through the Poitier autobiography.                         KITTY          Listen to the last page. ".. .making it better          for our children. Protecting them. From what?          The truth is what we were protecting those          little people from... there is a lot to worry          about and I'd better start telling the little          bastards - start worrying!" The end.          KITTY closes the book in dismay.          OUISA, FLAN, LARKIN, and DR. FINE are each lost in thought.          INT LINCOLN CENTER METROPOLITAN OPERA NIGHT          FLAN and OUISA, dressed formally, the way people used to          dress for the opera, stand at the small champagne bar          outside the boxes. Their similarly dressed FRIENDS are          engrossed in the tale.                         FLAN          We all went up to Harvard.                         OUISA          We had to enlist our children -                                                                                                                             79          EXT HARVARD UNIVERSITY DAY          FLAN and OUISA, KITTY and LARKIN, and DR. FINE cut through          the Harvard Yard at an urgent pace.          INT ELIOT HOUSE HARVARD          The FIVE PARENTS sit in the empty Dining Commons.          THEY've come for lunch. And now lunch is over.          TESS, WOODY, BEN and DOUG sit on the other side of the          refectory table, glaring at their parents, lunch trays          between the generations.          STUDENTS walk in and out. THE PARENTS speak in hushed,          library size whispers to avoid any echo.                         FLAN          It's obvious. It's somebody you went to High          School with, since you go to different colleges.          DR. FINE          I just want to tell you how I appreciate          your coming today -                         DOUG           Dad? Spare me?          DOUG'S voice echoes.                         OUISA          He knows the details about our lives.                         FLAN          Who in your high school, part of your gang, has          become homosexual or is deep into drugs?                         TESS          That's like about fifteen people.          TESS enjoys her echo because it makes FLAN and OUISA          uncomfortable.                         LARKIN          I don't want to know.                         TESS          I find it really insulting that you would assume          that it has to be a guy. This movie star's son          could have had a relationship with a girl in                         HIGH SCHOOL---          And BEN is just as loud.                                                                                                                             80                         HEN          That's your problem in a nut shell.          You're so limited.          FLAN and OUISA try to shush them.                         TESS          That's why I'm going to Afghanistan.          To climb mountains.                         OUISA          You are not climbing mountains.                         FLAN          We have not invested all this money in          you to scale the face of K-2.          TESS leans across the table, matching them whisper for          whisper.                         TESS          Is that all I am? An investment?                                                  OUISA          All right. Track down everybody in your high          school class. Male. Female. Whatever. Not          just homosexuals. Drug addicts. The kid might          be a drug dealer.          DOUG throws back his chair.                         DOUG          Why do you look at me when you say that? Do you          think I'm an addict? A drug pusher? I really          resent the accusations.          DR. FINE          No one is accusing you of anything. Sit down.          LARKIN gets up and paces around the table.                         LARKIN          I don't want to know. I don't want to know.          I don't want to know.                         FLAN          Nobody is accusing anyone of anything.          I'm asking you to go on a detective search and          find out from your high school class if anyone          has met a Black kid pretending to be a movie          star's son.                                                                                                                             81                          BEN          He promised you parts in Cats?                         OUISA          It wasn't just that. It was fun.                         TESS          You went to Cats. You said it was an all time          low in a lifetime of theater going.          OUISA considers.                         OUISA          Film is a different medium.                         TESS          You said Aeschylus did not invent theater to          have it end up a bunch of chorus kids wondering          which of them will go to Kitty Kat Heaven.                         OUISA          I don't remember saying that.                         FLAN          No, I think that was Starlight Express -                                                  TESS          Well, maybe he'll make a movie of Starlight          Express and you can all be on roller skates!          THE KIDS stand up.                         DOUG          This is so humiliating.                         BEN          This is so pathetic.                         TESS          This is so racist.                         OUISA          This is not racist!          THE KIDS stride out of the DINING HALL into          THE CORRIDOR.          THEIR PARENTS run ahead trying to circle them.                                                                                                                             82                          DOUG          How can I get in touch with anybody in high          school? I've outgrown them.                         KITTY          Now can you outgrow them?          You graduated a year ago!          THE PARENTS stop in front of          THE MAIN ENTRANCE          blocking TESS and DOUG and BEN's escape. OUISA takes a red          book out of her bag and brandishes at THEM.                         OUISA          Here is a copy of your yearbook. I want you to          get the phone numbers of everybody in your          class. You all went to the same boarding          school.          DR. FINE          You can charge it to my phone.                         OUISA           Call everyone in your class          and ask them if they know--          THE THREE KIDS try to break through the blockade.                         DOUG          Never!                         TESS          This is the KGB.          DR. FINE          You're on the phone all the time. Now I ask you          to make calls all over the country and you          become reticent.                         TESS          This is the entire McCarthy period.          WOODY saunters up to his PARENTS.          HE is very cool.          FLAN and OUISA smile at his sweet attitude.                         WOODY          I just want to get one thing straight.                                                                                                                             83                         FLAN          Finally, we hear from the peanut gallery.          And WOODY screams at THEM in rage, his voice echoing,          mindless of the STUDENTS who freeze in the background as you          would at a traffic accident.                         WOODY          You gave him my pink shirt? You gave a complete          stranger my pink shirt? That pink shirt was a          Christmas present from you. I treasured that          shirt. I loved that shirt. My collar size has          grown a full size from weight lifting. And you          saw my arms had grown, you saw my neck had          grown. And you bought me that shirt for my new          body. I loved that shirt. The first shirt for          my new body. And you gave that shirt away. I          can't believe it. I hate this life. I hate          you.          EXT ELIOT HOUSE          WOODY's wrath grows and grows and drives OUISA and FLAN,          indeed all the PARENTS, out of the serene, venerable Harvard          building onto the street. PASSERSBY stop and gape.           WOODY doesn't care.                         DOUG          You never do anything for me.                         TESS          You've never done anything but          tried to block me.                         BEN          I'm only this pathetic extension          of your eighth rate personality.                         DOUG          Social Darwinism pushed beyond all limits.                         WOODY          You gave away my pink shirt?                         TESS          You want me to be everything you weren't.                         DOUG          You said drugs and looked at me.          THE PARENTS go down the street, speechless, defeated.                                                                                                                             84           CUT TO          PAGES of a Yearbook turning. The pages stop.                         TESS (VO)          Trent Conway. -          EXT THE BANKS OF THE CHARLES RIVER DAY          THE FOUR KIDS look through their high school yearbook.          TESS spots a face. THEY all consider.                         THE KIDS          Trent Conway.                         CU          TRENT CONWAY'S YEARBOOK PICTURE          TRENT is weasel faced. Very hard to read. Not quite          looking into the yearbook photographer's camera.                         TESS          Trent Conway.                         DOUG          Look at those beady eyes staring out at me.                                                  BEN          Trent Conway.                         WOODY          He's at MIT.          INT KITTREDGE'S LIVING ROOM DAY          TESS has come down to New York with news for her mother.                         TESS          So I went to MIT. He was there in          his computer room and I just pressed          him and pressed him and pressed him.          I had this strapped to me.          TESS puts a small tape recorder on the desk.          TESS turns it on. OUISA listens to the tape.          TRENT'S TAPED VOICE          Yes, I knew Paul.          INT A COMPUTER ROOM AT MASSACHUSETTS INSTITUTE OF TECHNOLOGY          THE CAMERA focusses in on her thigh. WE can see the slight          bump where TESS has strapped the recorder.                                                                                                                             85                                   TRENT looks up from his bank of computers at TESS.          TRENT's pinched face looks as if it has never, known one          truly happy day.                         TESS A          But what happened between you?                         TRENT          It was...It was...          EXT A DOORWAY RAIN NIGHT          PAUL dressed in ragged clothes stands huddled in a doorway          to get out of the freezing rain.          TRENT passes by the doorway.          TRENT is gone.          Then TRENT reappears and stares at PAUL.          INT TRENT CONWAY'S APARTMENT NIGHT          PAUL stands against the WHITE WALL we've seen earlier.          Rain. Distant thunder. Jazz playing somewhere.          PAUL, unlike the elegant PAUL we have seen, is dressed in          torn jeans, a ripped tank top, dirty high top sneakers.          This is the PAUL we first saw.                                   PAUL looks at TRENT with a mixture of contempt and I dare          you.          PAUL stretches out on the bed.          HE pulls out a thick address -book from under him.                         PAUL          What's this?          PAUL speaks.street talk speech. Hardly what we've heard.                         TRENT          My address book.          TRENT tries to take the address book away from PAUL.                         PAUL          All these names. Addresses.          Tell me about these people.          TRENT lies along side PAUL.                         TRENT          This is where I wanted you to be...          Right here...          PAUL, hypnotised by the-'address book, slaps TRENT away from          him and gets out of the bed.                                                                                                                             86                         PAUL (FIERCE)          Tell me about these people, man!                         TRENT          I just want to look at you. Sorry.                         PAUL          Are these all rich people?          TRENT sits up in bed.                         TRENT          No. Hand to mouth on a higher plateau.          KITTREDGE'S LIVING ROOM          OUISA looks at the tape recorder, horrified at this          judgement.                         OUISA          How long did Trent keep Paul?          TESS shushes OUISA.          TRENT CONWAY'S APARTMENT                                   PAUL paces around the room, looking into this book.                         PAUL          I think it must be very hard to be with rich          people. You have to have money. You have to          give them presents.                         TRENT          Not at all. Rich people do something nice for          you, you give them a pot of jam.                         PAUL (AMAZED)          That's what pots of jam are for?                         TRENT          Orange. Grapefruit. Strawberry. But fancy.          They have entire stores filled with fancy pots          of jam wrapped in cloth. English. Or French.                         PAUL          I'll tell you what I'll do. I pick a name. You          tell me about them. Where they live. Secrets.          And for each name you get a piece of clothing.                         TRENT          All right.                                                                                                                             87          PAUL picks a name at random, circling his finger and                         0          plunging into the address book.                         PAUL          Kittredge. Talbot and Woodrow.                         TRENT          Talbot called Tess was anorexic and was in a          hospital for a while.          PAUL takes off a shoe and kicks it to TRENT.          KITTREDGE'S LIVING ROOM          Now it's TESS's turn to be hurt. OUISA comforts TESS.          PAUL'S TAPED VOICE          Their parents.          TRENT CONWAY'S APARTMENT                         TRENT          Ouisa and Flan for Flanders Kittredge. Rhode          Island I believe. Newport but not along the          ocean. The street behind the ocean. He's an art           dealer. They have a Kandinsky.                         PAUL          A Kan--what- ski?                         TRENT          Kandinsky. A double-sided Kandinsky.          PAUL kicks off his other shoe.          KITTREDGE'S LIVING ROOM          OUISA and TESS look up at the Kandinsky hanging geometric          side front.          TRENT CONWAY'S APARTMENT          TRENT catches PAUL's sneaker joyously.                         TRENT          I feel like Scheherazade!          TRENT embraces PAUL with fierce tenderness.          Maybe TRENT had one happy day and this is it.                                                                                                                             88                         TRENT           I don't want you to leave me, Paul. I'll go           through my address book and tell you about          family after family. You 111 never not fit in          again. we'll give you a new ideas it.y. I'll          make you the most eagerly sought after young man          in the East. And then I'I1 come into one of          these homes one day---and you'll be there and          I'll be presented to you. And I'll pretend to          meet you for the first time and our friendship          will be witnessed by my friends, our parents'          friends. If it all happens under their noses,          they can't judge me. They can't disparage you.          I'll make you a guest in their houses. Ask me          another name. I'd like to try for the shirt.          PAUL kisses TRENT.                         PAUL          That's enough for today.          PAUL takes his shoes and the address book and goes.          KITTRED4 E' S LIVING ROOM          40 OUISA brushes TESS's hair as THEY listen.          TRENT'S TAPED VOICE          Paul stayed with me for three months.          TRENT CONWAY'S APARTMENT          PAUL leans against the white wall.          PAUL frowns, then smiles.          All ready PAUL has begun to change from a street kid to          someone quite preppy - very Ralph Lauren. Only on the          surface. HE's still learning.                         TRENT          This is the way you must speak. Hear my accent.          Hear my voice. Never say you're going horse          back riding. You say You're going Riding. And          don't say couch. Say sofa. And you say          Bodd-ill. It's bottle. Say bottle of beer.                         PAUL          Bodd-ill a bee-ya.                         TRENT          Bottle of beer.                                                                                                                             89                          PAUL                         (SERIOUS)          Bodd-ill a bee-ya.                         (FLIRTATIOUS)          Bodd-ill a bee-ya.                         (SUSPICIOUS)          Bodd-ill a bee-ya.                         (ELATED)          Bottle of beer.          TRENT claps. PAUL bows to TRENT.          TRENT'S face is transfigured with joy.                         COMPUTER ROOM          TRENT smiles at TESS but the smile is one of tight lipped          stoicism.                         TRENT          We went through the address book letter by          letter. Paul vanished by the L's. He took the          address book with him. Well, he's already been          in all your houses. Maybe I will meet him          again. I sure would like to.          TRENT stands up signalling an end to the conversation. HE          turns off his computers.                         TESS          His past? His real name?                         TRENT          I don't know anything about him.          It was a rainy night in Boston.          He was in a doorway. That's all.                         TESS          He took stuff from you?                         TRENT          Besides the address book? He took my stereo and          sport jacket and my word processor and my laser          printer. And my skis. And my TV.                         TESS          Will you press charges?                         TRENT          No.                         TESS          It's a felony.                                                                                                                             90                         TRENT          Why do they want to find him?                         TES S          They say to help him. If there's a crime, the          cops will get involved.                         TRENT          Look, we must keep in touch. We were friends          for a brief bit in school. I mean we were          really good friends.          KITTREDGE'S LIVING ROOM          TESS'S TAPED VOICE          won't you press charges?          TRENT'S TAPED VOICE          Please.          TESS leans forward-and snaps off the tape recorder.          OUISA is amazed.          INT LINCOLN CENTER METROPOLITAN OPERA NIGHT           FLAN and OUISA have brought their FRIENDS up to date.                         OUISA          Paul learned all that in three months!                         OPERAGOER          Three months?                         FLAN          Three months!          The chimes ring, signalling the start of the opera.                         OUISA          who would have thought it? Trent Conway, the          Henry Higgins of our time.          THE GROUP laughs and finishes their drinks as THE USHER          unlocks the door to          THE OPERA BOX.          THE GROUP proceeds in, deciding who'll sit where in the box          and checking their programs.          OUISA looks into the vastness of the Metropolitan Opera          House.          THe chandeliers are rising into the ceiling.                                                                                                                             91                         OPERAGOER #1          Quick - what the hell is the story of this          opera?          FLAN adjusts his opera glasses. a                         OPERAGOER #2          Boy meets girl. Boy loses girl.          OUISA is distracted.                         OUISA          Paul must have looked at all those          names and said I am Columbus. I am Magellan.          I will sail into this new world.          The camera comes in on OUISA as she remembers          THE KITTREDGE LIVING ROOM.          TESS laughs. OUISA laughs. It's a nice moment between these          two.                         OUISA          I read somewhere that everybody on this planet          is separated by only six other people. Six          degrees of separation. Between us and everybody          else on this planet. The President of the          United States. A. gondolier in Venice. Fill in          the names. I find that A.] tremendously          comforting that we're so close and B.] like          Chinese water torture that we're so close.          Because you have to find the right six people to          make the connection. It's not just big names.          It's anyone. A native in a rain forest. A          Tierra del Fuegan. An Eskimo. I am bound to          everyone on this planet by a trail of six          people. It's a profound thought. How Paul found          us. How to find the man whose son he pretends to          be. Or perhaps j& his son, although I doubt it.          How every person is a new door, opening up into          other worlds. Six degrees of separation between          me and everyone else on this planet. But to          find the right six people.          TESS kisses HER MOTHER.          OUISA puts out the light and THEY leave the room.                                                                                                                             92                          MUSIC          THE ACT ONE MUSIC OF PUCCINI'S TOSCA suddenly swells up and                         CONTINUES UNDER:          THE MASTER BEDROOM NIGHT          OUISA looks out the window down into the park.          EXT CENTRAL PARK          THE HUSKY bays up at the moon.          INT LINCOLN CENTER METROPOLITAN OPERA NIGHT          The curtain comes down on Act One of TOSCA.          Applause.          SANDY and CONNIE (yes! Pram the wedding) have leaned over          from the next box.                         FLAN          No. No news.                         OUISA          He just vanished.                          FLAN          Nothing. All quiet. Thank god.          THEY pass out of the box into          THE CHAMPAGNE BAR.          EVERYONE is very cheery.                         OUISA          Yes! We are going to Rome.          CONNIE gives OUISA a card with a name on it.          OUISA reads the card and passes it to FLAN.                         OUISA          No! I don't know them.          FLAN smiles when HE sees the card.                         FLAN          Always wanted to meet them! Of course we'l1          call. As soon as we get to Rome! What fun!                                                                                                                             93                                   EXT ROME DAY          THE CAMERA floats high across the city heading for ST.          PETER'S BASILICA. It descends, circling ST. PETER'S,                         TOWARDS          THE VATICAN.                         FLAN (VO)          Rome is always remarkable but to see -          Columns flash past. The blurring clears and we are moving                         INTO          INT SISTINE CHAPEL          with FLAN and OUISA. They are escorted, through a maze of          scaffolding, by an elderly Italian ART DEALER.                         FLAN (VO)          the Sistine Chapel like this!                         OUISA (VO)          To stand at the very top on scaffolding!                                   FLAN and OUISA ride up through the scaffolding, in a          rickety elevator.                         OUISA          We were at the opera and ran into them and they          gave us your address!                         FLAN          This is staggering!          THEY step out, in great excitement, right onto          THE SISTINE CHAPEL SCAFFOLDING.                         FLAN (VO)          They restored it after all these years -          FOUR ITALIAN WORKERS scrub away at the ceiling a few feet          above them. They refer constantly to banks of computers          operated by TWO JAPANESE.                         OUISA (VO)          scraped all this paint off it                         FLAN (VO)          and years of smoke and tourists and it's brand          new!                                                                                                                             94           OUISA looks up. SHE is right beneath the hand of God           touching the hand of Man. SHE looks at it in awe. To be           this close to it! THE SCREEN is filled with the cleaned          ceiling of the Sistine Chapel.          INT SOHO LOFT NIGHT          FLAN and OUISA sit on cushions of a Soho loft done in the          most glamorous minimal Japanese mode.                         FLAN          The colors are vibrant!                         OUISA          Flan went for business but for me it was -          THE OWNERS of this loft are a MAN, 40s, who is confined to a          wheel chair, and his beautiful COMPANION, an elegant          Japanese woman. THE TEN DINNER GUESTS are dressed all in          black, except OUISA who has on a bright Chanel suit. SHE          and FLAN have managed to capture stage center.          THE WHEEL CHAIR MAN                         (INTERRUPTING OUISA)          But what happened!                         FLAN          No. It's not important -          THE JAPANESE HOSTESS          You must!                         OUISA          Well, the day we got back from Rome -                         FLAN          We stepped out of the taxi from the airport and          EXT THE KITTREDGE'S APARTMENT BUILDING DAY          FLAN steps out of the cab first.                         OUISA (VO)          our doorman whom we tip very well at Christmas          and any time he does something nice for us-- our          doorman spits at my husband, J. Flanders          Kittredge. I mean, spit at him!          The DOORMAN - FRANK - good faithful loyal FRANK - holds          the door open and spits at FLAN.                                                                                                                             95           SOHO LOFT          THE CROWD gasps.          FLAN frowns at OUISA for telling this part.                         FLAN          Darling, they don't have to know every detail.          EXT THE KITTREDGE'S APARTMENT BUILDING          OUISA is afraid to come out of the cab.                         DOORMAN          Your son! I know all about your son.                         FLAN          What about my son?                         DOORMAN          Not the little shit who lives here. The other          son. The secret son. The negro son you deny.                         FLAN          The negro son?                         DOORMAN          The black son you make live in Central Park          while you're gallivanting around Rome.          The DOORMAN spits at FLAN again.                         SOHO LOFT          THE JAPANESE HOSTESS is interested.          THE JAPANESE HOSTESS          You have a black son?                         FLAN          No! The cops brought this young girl to us!                         OUISA          The cops called us up and we went          down to the precinct again!          INT PRECINCT DAY          THE DETECTIVE sits on the edge of his desk.          OUISA and FLAN sit in chairs in the small office, looking on          uncomfortably. The emotion in the shabby room is too big for          the size of it. THEY watch a young woman named ELIZABETH,in          her mid-20s, seated behind the DETECTIVE'S desk.                                                                                                                             96          ELIZABETH (in a rage)          I want him dead. That's all I want.                         SOHO LOFT          OUISA leans forward at the dinner table.                         OUISA          The next chapter.          THE PARTY is silenced.                         THE PRECINCT                         ELIZABETH          My boy friend and I took a picnic          into the park          EXT CENTRAL PARK DAY          RICK, ELIZABETH and PAUL sprawl out on the grass in the          sun, under the statue of the Alaskan husky, the remains of a          picnic around them. Bongo Drums play in the distance.                         ELIZABETH (VO)          and we met this guy and started          singing and talking.          RICK, a nice young guy in his mid-twenties, plays his guitar          energetically, the THREE of them having a great time singing          a cheery old rock song.          PAUL is wearing the pink shirt and the khakis but looks          pretty seedy. HE eats hungrily.                         PAUL          I was hallucinating from not eating-                         ELIZABETH          If I told people back home that          New York had trees and picnics,          they'd swear I was lying. I love New York so          much. Look at it! I can't get over it.                         RICK          We're here from Utah.                         PAUL          Do they have any black people in Utah?                         RICK          Maybe two.                                                                                                                             97                         ELIZABETH          I saw them once. Two black people.                         RICK          Yes, the Mormons brought in two.          THEY all laugh, enjoying each other, the day, the meeting.                         ELIZABETH          We came here to be actors.                         RICK          She won the all-state competition          for comedy and drama.                         PAUL          My gosh!          ELIZABETH stands up and declaims.                         ELIZABETH          "The quality of mercy is not strained.          It droppeth like the gentle rain from heaven.."          SHE's not bad. But then SHE giggles and the Shakespearean           effect crumbles.                         RICK          And we study and we wait tables.                         ELIZABETH          Because you have to have technique.          ELIZABETH and RICK are very earnest.                         PAUL          Like the painters. Cezanne looked for the rules          behind the spontaneity of Impressionism.                         RICK          Cez - That's a painter?                         ELIZABETH          We don't know anything about painting.                         PAUL          My dad loves painting. He has a Kandinsky but          he loves Cezanne the most. He lives up there.                         RICK          What?                                                                                                                             98           PAUL points up at 910 FIFTH, the home of the Kittredge's.                         PAUL          He lives up there. Count six windows over.          John Flanders Kittredge. His chums-call him          Flan. I was the child of Flan's hippie days.          His radical days. He went down South as a          freedom marcher, to register black voters - his          friends were killed. Met my mother. Registered          her and married her in a fit of sentimental          righteousness and knocked her up with me and          came back here and abandoned her. Went to          Harvard. He's now a fancy art dealer. Lives up          there. Count six windows over. Won't see me.          The new wife--the white wife-- The Louisa          Kittredge Call Me Ouisa wife - the mother of the          new children wife--                         RICK          Your brothers and sisters?                         PAUL (BITTER)          They go to Andover and Exeter and Harvard and          Yale. The awful thing is my father started out          good. My mother says there is a good man inside          s J. Flanders Kittredge.                         ELIZABETH          He'll see you if he is that good. He can't          forget you entirely.                         PAUL          I call him. He hangs up.                         RICK          Go to his office -                         PAUL          He doesn't have an office. He works out of          there. They won't even let me in the elevator.                         RICK          Dress up as a messenger.                         ELIZABETH          Say you have a masterpiece for him.          "I got the Mona Lisa waitin' out in the truck."                                                                                                                             99                          PAUL          I don't want to embarrass him. Look, this is so          fucking tacky.                         (PAUSE)          You love each other? a                         ELIZABETH          A lot.          RICK and ELIZABETH touch each other's hands.          PAUL (standing up to go)          I hope we can meet again.                         RICK          Where do you live?          PAUL looks around HIM and makes a hopeless grand gesture.                         PAUL          Live? I'm,home.          PAUL picks up two plastic shopping bags which are filled          with clothing.                                                  ELIZABETH          You're not out on the streets?                         PAUL          You're such assholes. Where would I live?          PAUL shrugs his shoulders and leaves.          RICK and ELIZABETH look at each other then follow him down          the path leading through the park to the carousel.          THE CAROUSEL calliope plays merrily.                         RICK          Stay with us.                         ELIZABETH          We just have a railroad flat in a tenement --          PAUL looks at a bank of daffodils planted by the carousel.          HE begins picking a bouquet of daffodils.          RICK and ELIZABETH are being as persuasive as they can.                         RICK           It's over a roller disco. The last of the           roller discos but it's quiet by five AM and a          great narrow space -                                                                                                                             100                          ELIZABETH          A railroad loft and we could give you a corner.          The tub's in the kitchen but there's light in                         THE MORNING-                         SOHO LOFT                         OUISA          And he did!          INT RICK AND ELIZABETH'S TENEMENT DAY          RICK and ELIZABETH'S tenement is disastrously crummy and          probably violates every building code. But, yes, light          does flow in through that one narrow window.          PAUL puts the bouquet of daffodils into a jelly jar and sets          it down on a board that covers the tub.                         THE PRECINCT          ELIZABETH composes herself.          OUISA pours ELIZABETH a glass of water.                         ELIZABETH           He stayed for a few weeks. He taught          us so much. We even thought he was the          reason for coming to New York. He opened          up a new world for us. That's all anybody          wants, isn't it? A new world?          OUISA looks at FLAN.          RICK AND ELIZABETH'S TENEMENT          RICK and ELIZABETH listen intently to PAUL.                         PAUL          This is the way you must speak.          Hear my accent. Hear my voice.          Never say you're going horse back riding.          You say You're going Riding. And don't          say Couch. Say Sofa. And you say bodd-ill.          It's bottle. Say bottle of beer.                         RICK          Bodd-ill a bee-ya.                                                                                                                             101          ELIZABETH pokes around in the refrigerator.                         ELIZABETH                         (SERIOUS)          Hello. ÔøΩ. _                         (FLIRTATIOUS)          Hello.          (SHE discovers two bottles of beer)          Hello hello!          SHE opens the beers. PAUL regards RICK for a moment.          PAUL takes the bottle of beer.          RICK and ELIZABETH share the other.                         PAUL          Bottle of beer. And never be afraid of rich          people. You know what they love? A fancy pot          of jam. That's all. Get yourself a patron.          That's what you need. You shouldn't be waiting          tables. You're going to wake up one day and the          temporary job you picked up to stay alive is          going to be your full time life.          ELIZABETH is struck by his advice and embraces PAUL          gratefully.                                                  THE PRECINCT          ELIZABETH is more pulled together, sipping her drink of          water. FLAN takes OUISA's hand.          RICK AND ELIZABETH'S TENEMENT          RICK and ELIZABETH have made love and lay on their backs in          bed and dream.                         RICK          I'll tell you all the parts I want to play.          Vanya in Uncle Vanya.                         ELIZABETH          Masha in Three Sisters.                         RICK          I'd like a -          ELIZABETH is on fire with happiness and unwittingly cuts off          RICK.                         ELIZABETH          No, Irina first. The young one          who yearns for love.                                                                                                                             102                          RICK           I'd like a shot at -                         ELIZABETH          Then Masha who loves.                         RICK          I'd like a shot -                         ELIZABETH          Then the oldest one, Olga, who never knows love!          RICK'waits to see that ELIZABETH is through, then:                         RICK          I'd like a shot at Laertes. I think          it's a much better part.          ELIZABETH gazes in a mirror that- SHE holds close to her          face.                         ELIZABETH          Do you think it'll hurt me?                         RICK           What'll hurt you?                         ELIZABETH          My resemblance to Liv Ullmann.          PAUL runs into the loft.                         PAUL          He wrote me! I wrote him and he _          wrote me back! He's going to give          me a thousand dollars! And that's          just for starters! He sold a Cezanne          to the Japanese and made millions and          he can give me money without her knowing it.          PAUL lets out a whoop and leaps up onto the bed with RICK          and ELIZABETH in it and begins jumping up and down.                         ELIZABETH          I knew it!          PAUL goes to a corner which contains a single mattress on          the floor and begins to pack his few things back in the          plastic bags.                         PAUL          I'm moving out of here!                                                                                                                             103                                   ELIZABETH reaches for her robe and pulls it on.          RICK pulls on his jeans.                         ELIZABETH          You can't!                         RICK          No!          RICK and ELIZABETH surround PAUL to make HIM stay.          PAUL hugs THEM.                         PAUL          But I am going to give you the money to put on a          showcase of any play you want and you'll be in          it and agents will come see you and you'll be          seen and you'll be started. And when you win          your Oscars - both of you - you'll look in the          camera and thank me -          ELIZABETH loves the moment and weeps her acceptance speech.                         ELIZABETH          I want to thank Paul Kittredge.                         RICK          Thanks, Paul!          THEY all hug each other and that's real.                         PAUL          One hitch. I'm going to meet him in Maine. He's          up there visiting his parents in Dark Harbor.          My grandparents whom I've never met. He's          finally going to tell my grandparents about me.          He's going to make up for lost time. He's going          to give me money. I can go back home. Get my          momma that beauty parlor she's wanted all her          life. One problem. How am I going to get to          Maine? The wife checks all the bills. He has          to account for the money. She handles the purse          strings. Where the hell am I going to get two          hundred and fifty dollars to get to Maine?                         ELIZABETH          How long would you need it for?                         PAUL          I'll be gone a week. But I could wire          it back to you.                                                                                                                             104          PAUL goes into the john to take his toothbrush and razor.          ELIZABETH pulls on her dress and straightens out her hair.                         RICK (QUIET)           We could lend it to him for a week.                         ELIZABETH (QUIET)          We can't. If something happens -                         RICK (QUIET)          You're like his stepmother. These women holding          on to all the purse strings.                         ELIZABETH          No. We worked too hard to save that.          PAUL comes out of the john.          RICK - always laid back - is suddenly quite angry.                         ELIZABETH          Paul. I'm sorry. We just can't.                         PAUL          Look. No problem. I understand.                         ELIZABETH          I'll meet you both after work. If your father          loves you, he'll get you the ticket up there.                         PAUL          He does. It'll work out. Hey.          Posture. Stand up straight. Don't slump.          Attitudes of defeat.          ELIZABETH kisses PAUL and looks at sullen RICK and leaves.                         SOHO LOFT                         OUISA          She was one of those armies of          young people who come to New York          filled with dreams and end up on a treadmill          working and working just to stay alive.          INT A WEST SIDE RESTAURANT NIGHT          ELIZABETH is one of the few waitresses in this crowded bar          and works very hard.          EXT CASH MACHINE NIGHT          ELIZABETH gapes at the information on the screen.                                                                                                                             105          CU MESSAGE ON SCREEN                         "ACCOUNT CLOSED"          ELIZABETH begins hitting the machine to get her card back.          ELIZABETH picks up the phone on the machine and calls the          emergency number.           ELIZABETH (in phone)           There's some mistake. It says my joint account           - can you see the numbers on the screen - that's          right. that's my name. And his name. Joint          account. What do you mean? Closed? Who closed          the account? Who took everything out of the          account? Who did this! Give me my card back!          THE GUY next in line nudges her.          THE NEXT CUSTOMER          Let somebody else in here.          EXT THE KITTREDGE'S APARTMENT BUILDING NIGHT          An hysterical ELIZABETH goes into                                   THE LOBBY.          FRANK, the DOORMAN, is having a snooze.          ELIZABETH shakes him. HE wakes up terrified at the sight of          this hysterical creature over HIM.                         ELIZABETH          - people named Kittredge. This Kittredge guy          has a black son he makes live in the park -                         FRANK          Mr. Kittredge has what?                         ELIZABETH          His black son took money from me -                         FRANK          You have to be quiet                         ELIZABETH          I want to get up to see them!                         FRANK          You'll have to call or write a letter -                         ELIZABETH          They owe me money!                                                                                                                             R                         106           FRANK takes ELIZABETH by the arm and ushers her out of          THE KITTREDGE'S APARTMENT BUILDING.          FRANK, the DOORMAN, bolts the front door to the-building.          ELIZABETH bangs on the door.                         ELIZABETH          I'm here trying to get to meet people.          I am stranded. Who do I know to go to?          I want my money. I work tables. I work hard.          A CAB pulls up. A POSH COUPLE steps out of the cab to go          into 910 Fifth. THEY look at ELIZABETH.                         ELIZABETH          "The quality of mercy is not strained?"          Fuck you, quality of mercy.          FRANK opens the door quickly. THE POSH COUPLE scoots in.          ELIZABETH kicks the building.          INT ORSO'S RESTAURANT NIGHT           FLAN and OUISA have come to this Broadway Italian restaurant          after the theater with a MAN and WOMAN who from their dress          and manner are obviously in the theater: ANDREW and ZEANNIE.          FLAN and OUISA are in mid-story.                         FLAN          - all over the building that I had abandoned          some mistake of my past in Central Park!          THE COUPLE gasps!                         JEANNIE          But it's too fantastic!                         FLAN          Can't you just see me marching          down South for Freedom Now!                         OUISA (PROUDLY)          Yes. Yes, I can.                         FLAN          It was so embarrassing.                         ANDREW          Horrible!                                                                                                                             107                         OUISA          It wasn't so embarrassing.                         JEANNIE          I bet Flan loves being outraged.          FLAN (mock outrage)          I don't!                         ANDREW          You do! Flan loves getting into          high dudgeon! His cheeks go all rosy!          Look at his cheeks! Dudgeon becomes him.          THEY all laugh as the WAITRESS puts down the plates of food.                         FLAN          To high dudgeon!          THEY all toast.          But OUISA has stopped laughing.          INT RICK AND ELIZABETH'S TEN EME NT NIGHT          ELIZABETH sits up in bed in the dark. SHE impassively          watches a rat scramble across the floor. RICK comes in,          drained, dressed in a baby blue tuxedo with a ruffled blue          shirt - the kind of tux worn at high school proms.                         RICK (BRIGHT)          Hi!          ELIZABETH puts on the light.                         ELIZABETH          Where's the money?          BACK IN ORSO'S RESTAURANT          OUISA continues her tale.                         DUISA          - she understandably wanted to know.          RICK AND ELIZABETH'S TENEMENT          RICK laughs brightly and sits beside HER on the bed.                                                                                                                             108                          RICK          No! Let me explain. Paul found some extra           money of his own and he wanted to thank us for           staying here! He would've treated you but you           had to work or else we would've . We rented          these tuxedos! Isn't it a gas! He's going to          give us the money back! And then I'm going to          take you to the Rainbow Room. That's where we          went! I brought you matches!          INT THE RAINBOW ROOM NIGHT          RICK, in his ruffled blue tux, and, PAUL, in impeccable          black tie, look into the Rainbow Room.          THE CAPTAIN takes THEM to a table by the window.          RICK and PAUL look out over the city. The view is magic!                         RICK (WHISPERS)          Now did we get this table!                         PAUL          Stick with me, baby. I know the          right name to drop.          RICK AND ELIZABETH'S TENEMENT          RICK (laughs brightly)          And it's not that expensive for what you get.          Well, it's not a bargain but it's          THE RAINBOW ROOM          THE WAITER opens a bottle of champagne.                         RICK          How an I going to explain to Elizabeth          about the money?          PAUL tastes the champagne. THE WAITER pours.                         PAUL          She'll have it back. With interest. Wonderful          bouquet. Bouquet. That's what you call the          taste of the wine. And I believe that wine from          the even numbered years is generally the          superior to the odd numbered years. Although          it's just a theory - Cheers! Skol! Prosit!                         RICK          You are just about the greatest -          THE DANCE ORCHESTRA plays a salute to 1930's romance.                                                                                                                             109                          PAUL          Do you want to dance?                         RICK          Elizabeth has never seen anything l_4e here. I          wish she was... Who do we dance with?          THE ORCHESTRA segues into a tango. PAUL stands.                         RICK          We're guys.                         PAUL          Every moment in life is a learning experience or          what good is it? Right? Right?                         RICK          Well, yes.                         PAUL          Then let this bunch of jerks see class.                         ORSO'S RESTAURANT          FLAN nods for their dinner guests, ANDREW and JEANNIE.                                   A little bit of titillation.                         FLAN          They danced. That's right! High          over New York City.          THE RAINBOW ROOM          RICK and PAUL go to the dance floor and begin to dance,          PAUL leading. RICK loving it.          RICK AND ELIZABETH'S TENEMENT          RICK tries to laugh it up into a wild experience.          ELIZABETH sits impassively.                         RICK          I swear nothing like this ever          happened in Utah.          THE RAINBOW ROOM          At first PEOPLE don't notice RICK and PAUL dancing. Then          PEOPLE do notice.                                                                                                                             110           RICK (VO)          And, I'll tell you, nothing like that must have          ever happened at the Rainbow Room because they          asked us to leave. It was so funny.          PAUL spins RICK round and round and the CAMERA spins with          THEM.          RICK AND ELIZABETH'S TENEMENT                         RICK          You'll love the place. It's up so high.          THE RAINBOW ROOM          THE CAMERA spins around the panoramic view sixty-five floors          and then spins out of the windows down onto          EXT THE ICE RINK ROCKEFELLER CENTER NIGHT          THE CAMERA focusses in on a COUPLE spinning in the middle of          the ice. RICK and PAUL, hysterical with laughter, cut          through Rockefeller Center and then come to Fifth Avenue          where A HANSOM CARRIAGE waits. THE DRIVER tips his hat to          these customers. PAUL jumps into          THE HANSOM CARRIAGE.                         RICK          We don't have any money -                         PAUL          Amigo! When will you learn! Money is one          commodity you can always get.          THE HANSOM CARRIAGE proceeds up to Central Park.          RICK leans forward looking out the isinglass windows.                         RICK          I'm going to have to explain to Elizabeth about          the money and calm her. She gets so nervous                         ABOUT-          (PAUL draws a circle on RICK's back.)          Hey, stop that. Paul. Come on.                         PAUL          I was wondering if I could fuck you.          RICK laughs. Then sees PAUL is serious.                         RICK          I don't do things like that.                                                                                                                             111                                                  PAUL          That's what makes it so nice. You don't.          RICK AND ELIZABETH'S TENEMENT          RICK reaches over and turns off the light by the bedside.          Downstairs we hear the throb beginning of the roller disco.          ELIZABETH looks at him coldly.                         RICK          - and he did and it was fantastic.          THE HANSOM CARRIAGE          Time has passed.          PAUL kisses an amazed, mussed RICK on the mouth and jumps          out of the CARRIAGE and goes off into the dark.          EXT CENTRAL PARK          THE DRIVER stands up seeing PAUL run out. RICK runs out of          the CARRIAGE after PAUL. THE DRIVER chases them.                         CU          RICK lost in the nighttime park.          RICK looks up and sees the STATUE OF THE HUSKY.          RICK AND ELIZABETH'S TENEMENT          RICK paces back and forth.                         RICK          Didn't we come here for experience? Right? We          can use this. Right?          ELIZABETH lies on her stomach on the bed away from him.                         THE PRECINCT          ELIZABETH rolls a pencil back and forth on the desk.          FLAN and OUISA watch sympathetically.                         ELIZABETH          He rambled on for hours. His own father          warned me Rick was a fool and I looked          at Rick and knew his father was right.                                                                                                                             112           RICK AND ELIZABETH'S TENEMENT           RICK paces back and forth in a rage, pulling at his tux.           RICK - -           My father is not right! I can't have him be           right. I wanted experience. We came here for          experience. What's so wrong with that? Right?          ELIZABETH is repelled by him.                         ELIZABETH          Don't touch me!                         THE PRECINCT          ELIZABETH rubs her hands over her face as if trying to get          the memory away.          OUISA looks at FLAN and THE DETECTIVE.                         ELIZABETH          He went on for a long time trying to get me          just to look at him. I couldn't even do that.          RICK AND ELIZABETH'S TENEMENT                                                  RICK          But I didn't come here to do this or lose that          or be this or do this to you. Not to you. Look          at me? Elizabeth! What did I let him do to me?                         ELIZABETH          Nobody did this but you.          BACK IN ORSO'S RESTAURANT                         FLAN          Now the amazing part is                         OUISA          talk about six degrees                         FLAN          We were in the roller disco that night!          ANDREW and JEANNIE's jaws drop.                                                                                                                             113                                                  OUISA          Yes! There we were roller skating for heart          disease or cancer -                         FLAN          It was illiteracy.          INT ROLLER DISCO NIGHT          MIDDLE AGED PEOPLE all dolled up roll skate around and          around trying to keep their balance to 40s swing music.          Among the SKATERS we spot FLAN and OUISA at this ROLLER          DISCO BENEFIT skating round and round breathlessly going          faster and faster, laughing and laughing.          Lights flash and whirl.                         ORSO'S RESTAURANT                         OUISA          I hadn't skated in I hate to tell you how many                         YEARS -                         FLAN          We came outside giddy and reeling                         0          EXT ROLLER DISCO NIGHT          Lights reflect in a puddle on the wet street. THE CAMERA          pulls back to reveal it is a puddle of blood, seeping out of          a crumpled body.                         OUISA (VO)          The body must have just landed there in a clump                         FLAN (VO)          Because the blood seeping out had not yet          reached the gutter...                         OUISA (VO)          The blood just oozing out slowly          towards the curb.          FLAN and OUISA and another COUPLE, SANDY and CONNIE from          the wedding, stop at the sight. They stare at the body          that has slammed into the pavement. The body of RICK.                         FLAN (VC)          The boy had jumped from above.                         OUISA (VO)          We just missed it by minutes.                                                                                                                             114                         ORSO'S RESTAURANT                         OUISA           Perhaps we could have saved him - called an          ambulance - but it was too late -                         FLAN          He could've landed on us!          ANDREW and JEANNIE are appalled. No!          OUISA frowns.                         JEANNIE          It's so funny you say that. Yesterday we walked          through the park by Gracie Mansion                         ANDREW          and it was cold and we saw police putting a          jacket on a man sitting on a bench.                         JEANNIE          Only we got closer and it wasn't a jacket.                         ANDREW          It was a body bag. A homeless person           had frozen during the night.                         OUISA          Was it that cold?                         ANDREW          Sometimes there are periods where you see death          everywhere.          FLAN waves to someone over there.          THE WAITRESS brings coffees.          OUISA looks straight ahead.          THE PRECINCT DAY          OUISA and FLAN sit with the DETECTIVE and ELIZABETH.                         DETECTIVE          When this young lady told me the black kid was          your son, it all seemed to come into place.          What I'm saying is she'll press charges.                         ELIZABETH          I want Paul dead. He took all our money. He          took my life. Rick's dead! You bet your life          I'll press charges.                                                                                                                             115                                                  OUISA          We haven't seen him since that night.                         DETECTIVE          Find him. We might have a case. a                         OUISA          How do we find him?                         FLAN          We'll trap him. I'll release it to the papers.          I can call the New York Times. I have friends.          They'll publish the story. Someone will see          it. And turn him in. We'll find Paul.                         OUISA          Six degrees. Six degrees.          OUISA looks at FLAN. FLAN is so secure.          INT THE FRONT DOOR OF THE KITTREDGE'S APARTMENT DAY          FLAN, in his bathrobe, opens the door and picks up the          morning paper.          t HE scans through the paper, then lets out a whoop and runs          through the apartment to                         INSERT          NEW YORK TIMES article entitled:          "Who Says New Yorkers Don't Have a Heart"                         THE KITCHEN          OUISA is making a breakfast drink at the blender.          FLAN (reading from the Times)          "Smart sophisticated tough New Yorkers such as          J. Flanders Kittredge who opened their homes and          pocket books to a young man learned yesterday          they had been boondoggled by a confidence man          now wanted by police -          FLAN pounds the kitchen counter in glee.          OUISA looks at him, askance.          EXT LINCOLN CENTER THE STATE THEATRE NIGHT          The fountain shoots up. The camera drifts up the face of          the State Theatre. It's intermission. FLAN and OUISA are          out on the terrace in,.mid story talking to A COUPLE (ALEX          and LILY) who are there with a YOUNG GIRL who is obviously          an aspiring ballerina.                                                                                                                             116                                                  LILY          I didn't see that piece.                         ALEX          We were in Aspen.          THE CHIME signals the intermission's end.                         FLAN          I'll send you the clipping.                         OUISA          You could wall paper the Empire State Building          with all the copies he made.                         ALEX          We'll meet right here at the next intermission-          THEY return inside.          THE YOUNG BALLERINA          Did you ever hear from Sidney Poitier?                         FLAN           No.                         ALEX          Did you hear from the boy?                         FLAN          No.          EXT CATHEDRAL OF ST. JOHN THE DIVINE DAY          OUISA and FLAN get out of a taxi in front of this gothic          cathedral. THEY see KITTY and FLAN running down the street          to the same destination.          INT CATHEDRAL OF ST. JOHN THE DIVINE          OUISA and FLAN walk down the aisle with KITTY and LARKIN.                         KITTY          Come for dinner with us after                         OUISA          We'd love to but can't!                         FLAW          So sorry! Have to work.                                                                                                                             117                                                  OUISA          Black-tie auction - Sotheby's -          FLAN leans in close to KITTY. Top secret.                         A                         FLAN          We are bidding tonight on an Henri Matisse.                         LARKIN          The nudes? The bathers? The dancers?          THEY cut down a side aisle.                         FLAN          It's a second level Matisse -                         OUISA          but a Matisse -                         KITTY          Who are you buying it for? The Japanese?          Germans?          AN ORGAN suddenly begins playing a triumphant Bach cantata.                         OUISA          Not allowed to tell.          OUISA turns to look up at the choir loft.                         LARKIN          Then it's the Germans.                         FLAN          They'll go as high as -                         OUISA          Don't tell all the family secrets -                         FLAN          Well over 25 million.                         LARKIN          Out of which you will keep -                         OUISA          Not that much in this new market.                                                                                                                             118                         FLAN          Ugh. Bring back the 80s.          I'll have to give most of it away, but the good          part is it gives me a credibility in this new          market. It's all out of whack. Everything's          up. Everything's down. I mean, a David Fucking          Hockney print sold for a hundred bucks fifteen          years ago went for Thirty four thousand dollars!          A print! A flower. You know Geoffrey. our          South African -          OUISA shushes FLAN.          THEY have arrived at          INT THE BAPTISTRY OF THE CATHEDRAL OF ST. JOHN THE DIVINE          OUISA and FLAN are part of the GROUP in this stone Gothic          chamber witnessing the baptism of the infant child of two          FRIENDS of theirs. KITTY and LARKIN are the godparents.          EVERYBODY applauds as THE PRIEST shakes the water on the          baby's head.          CU A SHOWER HEAD          spewing a jet of water           INT KITTRIDGE'S MASTER BEDROOM/BATHROOM EARLY EVENING          FLAN is in the shower singing merrily.                         FLAN          The Matisse will be mine          - for a few hours          Then off to Tokyo          Off to Saudi          OUISA is on the speaker phone with TESS while she is          dressing for the auction.                         TESS (VO)          What do you have on?                          OUISA           I'm totally dolled up. The black. Have you seen          it? I have to tell you the sign I saw today.          Cruelty-free cosmetics. A store was selling          cruelty-free cosmetics.          INT HARVARD DORM ROOM          TESS is curled up on her bed enjoying this chat.                                                                                                                             119                         TESS          Mother, that is such a beautiful thing. Do you          realize the agony cosmetic companies put rabbits          through to test eye shadow?                         A                         MASTER BEDROOM                         OUISA          Dearest, I know that. I'm only talking about          the phrase. Cruelty-free cosmetics should take          away all evidence of time and cellulite and--          HARVARD DORM ROOM                         TESS          Mother, I'm getting married.                         MASTER BEDROOM          OUISA picks up the receiver on the cordless phone. This is          too important for 'a speaker phone.                         OUISA          I thought you were going to Afghanistan.                         TESS (VO)          I am going to get married and then go to          Afghanistan.                         OUISA          One country at a time. You are not          getting married.          HARVARD DORM ROOM                         TESS          Immediately so deeply negative--                         OUISA (VO)          I know everyone you know and you are not          marrying any of them.                         TESS          The arrogance that you would assume you know          everyone I know. The way you say it: I know          everyone you know -                         MASTER BEDROOM          In the Background, FLAN shaves at the bathroom mirror.                                                                                                                             120                          OUISA           Unless you met them in the last two days - you          can't hold a secret.          (The other line rings)          Wait- I'm putting you on hold                         TESS (VO)          No one ever calls on that number.                         OUISA          Wait. Hold on.                         TESS (VO)          Mother!                         OUISA          Hello?          EXT UNIDENTIFIED PHONE BOOTH DUSK          Lights flash on the glass of this UNSPECIFIED LOCATION.          PAUL, frightened, is on a street phone AND dressed as HE was          when TRENT first met him, ragged, scared.                         PAUL          Hello?          BACK IN THE MASTER BEDROOM                         OUISA          Paul?          We will cut back and forth between these two locations for          the remainder of this scene. At times, the two will share          the screen.          During this scene OUISA walks throughout THE APARTMENT          speaking on the cordless phone.                         PAUL          I saw the story in the paper. I didn't know the          boy killed himself. He gave me the money. I          didn't steal any -                         OUISA          Let me put you on hold. I'm          talking to my child.                         PAUL          If you put me on hold, I'll be gone and you'll          never hear from me again.          OUISA pauses.                                                                                                                             121                                   HARVARD DORM ROOM                          TESS          Mother! I -                         A          TESS is cut off.          BACK IN THE KITTREDGE'S HALL                         OUISA          You have to turn yourself in. The boy comaitted          suicide. You stole the money. The girl is          pressing charges. They're going to get you.          Why not turn yourself in and you can get of f          easier. You can strike a bargain. Learn when          you're trapped. You're so brilliant. You have          such promise. You need help.                         PAUL          Would you help me?                         OUISA          What would you want me to do?                          PAUL          Stay with you.                         OUISA          That's impossible-.                         PAUL          Why?                         OUISA          My husband feels you betrayed him.                         PAUL          Do you?                         OUISA          You were lunatic! And picking that drek off the          street. Are you suicidal? Do you have AIDS?          Are you infected?                         PAUL          I do not have it. It's a miracle. But I don't.          Do you feel I betrayed you? If you do, I'll          hang up and never bother you again -                         OUISA          Where have you been?                                                                                                                             122                         PAUL          Travelling.                         OUISA          You're not in trouble? I mean, more trouble?                         PAUL          No, I only visited you. I didn't like the first          people so much. They went out and just left me          alone. I didn't like the doctor. He was too          eager to please. And he left me alone. But you.          You and your husband. We all stayed together.                         CUISA          What did you want from us?                         PAUL          Everlasting friendship.                         OUISA          Nobody has that.                         PAUL          You do.                          OUISA          What do you think we are?                         PAUL          You're going to tell me secrets? You're not          what you appear to be? You have no secrets.          Trent Conway told me what your kids have told          him over the years.                         OUISA          What have the kids told him about us?                         PAUL          I don't tell that. I save that for blackmail.                         OUISA          Then perhaps I'd better hang up.                         PAUL (PANIC)          No! I went to a museum! I liked          Toulouse-Lautrec!                         OUISA          As well you should.                         PAUL          I read the Andy Warhol Diaries.                                                                                                                             123                                                  DUISA          Ahh, you've become an aesthete.                         PAUL          Are you laughing at me?                         OUISA          No. I read them too.                         PAUL          I read The Agony and the Ecstasy by Irving Stone          about Michelangelo painting the Sistine Chapel.                         DUISA          You're ahead of me there.                         PAUL          Have you seen the Sistine Chapel?                         OUISA          Oh yes. Even gone to the top of it in a rickety          elevator to watch the men clean it.                         PAUL           You've been to the top of the Sistine Chapel?          PAUL leans into the phone, amazed, as the screen floods with          the brightly colored ceiling of the          INT SISTINE CHAPEL          OUISA and FLAN stand on the top of a rickety platform.          THE WORIOCkN slaps it.                         OUISA (VO)          Absolutely. Stood right under the hand of God          touching the hand of man.                         THE WORKMAN          Hit it. Hit it. It's only a fresco.          OUISA looks up at the hand of God. SHE laughs and slaps          the hand of God.          PAUL smiles in wonderment as the SCREEN fills with color.          But then WE're out of his imagination and see the squalid          surroundings of his phone booth.                         PAUL          You slapped God's hand!                                                                                                                             124          KITTREDGE'S LIVING ROOM                                                  OUISA          I slapped God's clean hand.          And you know what they clean it with? All this          technology? Q-tips and water.          PAUL is thrilled by this bit of knowledge.                         PAUL          No!                         OUISA          Clean away the years of grime and soot and paint          ovens. Q-tips and water changing the history of          Western art. Vivid colors.                         PAUL          Take me to see it?                         OUISA          Take you to see it? Paul, they think you might          have murdered someone! You stole money!          0 FLAN appears, needing help with his studs.                         FLAN          Honey, could you give me a hand with--          OUISA (mouths to Flan)          It's Paul.          FLAN goes to the other phone.                         FLAN          I'll call that detective.          The other phone line rings. FLAN picks it up.          INT HARVARD DORM ROOM                         TESS          Dad! We were cut off. I'm getting marr -                         FLAN (VO)          Darling, could you call back -                         TESS          I'm getting married and going to Afghanistan -                                                                                                                             125          BACK IN THE KITTRIDGE'S LIVING ROOM                         FLAN          We cannot talk about this now -          HARVARD DORM ROOM                         TESS          I'm going to ruin my life and get married and          throw away everything you want me to be because          it's the only way to hurt you!          TESS hangs up.          ANOTHER PHONE is picked up. It is at          THE PRECINCT.          THE DETECTIVE doesn't even get to say "Hello".          FLAN (on the phone)          I've got that kid on the line.                         DETECTIVE          Find out where he is.                                   KITTREDGE'S LIVING ROOM          FLAN (mouths to Ouisa)          Find out where he is                         PAUL          Who's there?                         OUISA          Look, why don't you cone here. Where are you?          PAUL, pressed in the battered phone booth, doesn't want to          be in this cold street with its brightly lit squalor. HE          wants to be at OUISA's, but his fear wins out.                         PAUL          I come there and you'll have the cops waiting.                         OUISA          You have to trust us.                         PAUL          Why?                         OUISA          Because - we like you.                                                                                                                             126           FLAN (mouths)          Where is he?          PAUL, straining to hear, gets very paranoid.                         PAUL          Who's there?                         IT'S -          I'm not here.          It's Flan.          FLAN groans impatiently.          PAUL brightens.          THE OPERATOR makes noises.          PAUL drops a coin in the box.                         PAUL          Are you in tonight? I could come and make a          feast for you.                                                  OUISA          We're going out now. But you could be here when          we come back.                         FLAN          Are you nuts! Tell a crook we're going out. The          house is empty.                         PAUL          Where are you going?                         OUISA          To Sotheby's.          FLAN grabs the phone.                         FLAN (SARCASTIC)          The key's under the mat!          PAUL is as cheery as HE can be.                         PAUL          Hi! Can I come to Sotheby's?          FLAN thrusts the phone back to OUISA.                                                                                                                             127                         OUISA                                   Hi.                         PAUL          I said hi to Flan.                         OUISA                         FLAN                         OUISA                         PAUL          That's wonderful! I'll come!                         OUISA          You can't.                         PAUL          Why? I was helpful last time -                         FLAN           Thank him - he was very help -          OUISA hands FLAN the phone.                         FLAN          Paul? You were helpful getting me that money          for the Cezanne. You impressed Geoffrey -                         PAUL          Really! I was thinking maybe that's what I          should do is what you do - in art but making          money out of art and meeting people and not          working in an office -                         FLAN          You only see the glam side of it. There's a          whole grotty side that -                         PAUL          I could learn the grotty -                         FLAN          You have to have art history. You have to have          language. You have to have economics -                         -- PAUL          I'm fast. I could do it. Do your kids want to                                                                                                                             128                         FLAN          No, it's not really a profession you hand down           from generation to gen - what the hell at I           talking career counselling to you! You           embarrassed me in my building! You stole money.           There is a warrant out for your arrest.'           OUISA (wrests the phone away)          Don't hang up! Paul? Are you there? Paul!           (TO FLAN) You made him hang up -                         PAUL          I'm here.                         OUISA          You are! Who are you? What's your real name?                         PAUL          If you let me stay with you, I'll tell you.          That night was the happiest night I ever had.          OUISA (to Flan)          It was the happiest night he ever had.                         FLAN                                   Oh please. I am not a bullshitter but never          bullshit a bullshitter.          FLAN goes.          SHE paces into the KITCHEN, looking at the implements PAUL          had used that night, the funny candelabra.                         OUISA          Why?                         PAUL          You let me use all the parts of          myself that night -          OUISA opens the door into the DINING ROOM.                         OUISA          It was magical. That Salinger stuff -          SHE turns on the chandelier in the DINING ROOM.                         PAUL          Graduation speech at Groton two years ago.                         OUISA          Your cooking -                                                                                                                             129                          PAUL           Other people's recipes. Did you see Donald          Harthleme's obituary? He said Collage was the          art form of the 20th century.                         OUISA          Everything is somebody else's-                         PAUL          Not your children. Not your life.          SHE walks around the empty dining room table.                         OUISA          Yes. You got me there. That is mine.          It is no one else's.                         PAUL          You don't sound happy.          SHE walks back into the LIVING ROOM.                         OUISA           There's so much you don't know. You are so.           smart and so stupid -                                    PAUL slams the side of the phone booth.                          PAUL (FURIOUS)           Never say I'm stupid -                          OUISA           Have some flexibility! You're stupid not to           recognize what you could be.                         PAUL          What could I be?                         OUISA          So much.                         PAUL          With you behind me?                         OUISA          Perhaps. You liked that night?          I've thought since that you spent          all your time laughing at us.                         PAUL          No.                                                                                                                             130          SHE walks down the HALL.                         DUISA          That you had brought that awful hustling thing          back to show us your contempt -                         PAUL          I was so happy. I wanted to add sex to it.          Don't you do that?          OUISA looks into the MASTER BEDROOM and goes in.                         DUISA (PAUSE)          No.                         PAUL          I'll tell you my name.                         OUISA          Please?                         PAUL          It's Paul Poitier-Kittredge.          It's a hyphenated name.          SHE sits on her bed.                         OUISA          Paul? You need help. Go to the police. Turn          yourself in. You'll be over it all the sooner.          You can start.                         PAUL          Start what?                         OUISA          Your life.                         PAUL          Will you help me?          OUISA stands up.                         OUISA          I will help you. But you have to go to the          police and go to jail and -                         PAUL          Will you send me books and polaroids of you and          cassettes? And letters?                                                                                                                             131                         OUISA          Yes.          OUISA walks rapidly down the HALL.                         PAUL          Will you visit me?                         OUISA          I will visit you.                         PAUL          And when you do, you'll wear your          best clothes and knock em dead?          SHE's in the LIVING ROOM.                         OUISA          I'll knock em dead. But you've got to be careful          in prison. You have to use condoms.                         PAUL          I won't have sex in prison. I only          have sex when I'm happy.                          OUISA          Go to the police.                         PAUL          Will you take me?                         OUISA          I'll give you the name of-the detective to see-                         PAUL          I'll be treated with care if you          take me to the police. If they don't          know you're special, they kill you.                         OUISA          I don't think they kill you.          PAUL puts the phone receiver over his head in a sudden          gesture of fear. Then HE returns the receiver to his ear.                         PAUL          Mrs. Louisa Kittredge, I am black.          PAUSE.                                                                                                                             132                         OUISA           I will deliver you to them with          kindness and affection.                         PAUL          And I'll plead guilty and go to          prison and serve a few months.                         OUISA          A few months tops.                         PAUL           Then I'll come out and work for          you and learn -                         OUISA          We'll work that out.                         PAUL          I want to know now.                         OUISA          Yes. You'll work for us.                         PAUL          Learn all the trade. Not just the grotty part.                                                  OUISA          Top to bottom.                         PAUL          And live with you.                         OUISA          No.                         PAUL          Your kids are away.                         OUISA          You should have your own place.                         PAUL          You'll help me find a place?                         OUISA          We'll help you find a place.                         PAUL          I have no furniture.                                                                                                                             133                          OUISA          We'll help you out.          PAUL beams as HE becomes the PAUL from that night. His          imagination is off and running. The lights, from wherever          HE is, shine on his face and reflect on the broken glass of          the booth.                         PAUL          I made a list of things I liked in the museum.          Philadelphia Chippendale.                         OUISA           Believe it or not, we have two Philadelphia          Chippendale chairs -                         PAUL          I'd rather have one nice piece than          a room full of junk.                         OUISA          Quality. Always. You'll have all that.          Philadelphia Chippendale.                         PAUL           All I have to do is go to the police.                         OUISA          Make it all history. Put it behind you.                         PAUL          Tonight.                         OUISA          It can't be tonight. I will take you tomorrow.          We have an auction tonight at Sotheby's -                         PAUL          Bring me?                         OUISA          I can't. It's black tie.                         PAUL          I have black tie from a time I          went to the Rainbow Room. Have          you ever been to the Rainbow Room?                         OUISA          Yes.                                                                                                                             134                         PAUL          What time do you have to be there?                         OUISA          Eight o'clock.                         PAUL          It's five thirty now. You could come          get me now and take me to the police          tonight and then go to Sotheby's--                         OUISA          We're going to drinks before at the Pierre.                         PAUL          Japanese?                         OUISA          Germans.                         PAUL          You're just like my father.                         OUISA          Which father?                         PAUL          Sidney!          PAUSE.                         OUISA          Paul. He's not your father. And          Flanders. is not your father.          FLAN comes in to the living room, dressed.                         FLAN          Oh fuck. We have drinks with the Japanese at          six- fifteen - Get off that fucking phone. Is          it that kid? Get him out of our life! Get off          that phone or I'll rip it out of the wall!          OUISA (looks at FLAN)          Paul, I made a mistake. It is not the Germans.          We will come right now and get you. Where are          you? Tell me? I'll take you to the police. They          will treat you with dignity.                                                                                                                             135          EXT PHONEBOOTH BY THE MARQUEE OF THE WAVERLY THEATER,                         GREENWICH VILLAGE                         PAUL          I'm in the lobby of the Waverly movie theater on          Sixth Avenue and Third Street.          KITTRIDGE'S LIVING ROOM                         OUISA          We'll be there in half an hour.                         PAUL          I'll give you fifteen minutes grace time.                         OUISA          We'll be there. Paul. We love you.                         PAUL          Ouisa., I love you. Ouisa Kittredge. Hey?          Bring a pink shirt.                         OUISA          We'll have a wonderful life.           SHE hangs up and looks at FLAN.                         OUISA          We can skip the shmoozing. Pick          the boy up, take him to the police          and be at Sotheby's before eight.          INT A FORMAL DINING ROOM          Of all the PARTIES we've been to, this is the most luxurious          of all, given by one of New York's legendary hostess's, a          glamorous woman who must be in her late 80s, MRS. BANNISTER.          OUISA and FLAN are here.          This dinner is really a state occasion in honor of that          United Nations type at MRS. BANNISTER'S right.          But FLAN and OUISA have captured the table.                         OUISA          t The story ended there...                         FLAN          It did not!          Clearly OUISA is as disturbed by the telling of the events          as FLAN is energized.                                                                                                                             136                         OUISA           There are so many other people here tonight. We          didn't mean to take up so much          MRS. BANNISTER slams her napkin down.          MRS. BANNISTER          No! It's my supper and I command you to sing!                         FLAN          We called our new best friend, the detective.                         OUISA          We told them Paul was at the Waverly theater.          FLAN (to his dinner partner)          Sixth Avenue and Third Street. The lobby.                         OUISA          But we had promised Paul that we would          bring him to the police. We told the police he          was special.                         FLAN          Well, Ouisa did.                          OUISA          The detective said he'd honor our promise.                         FLAN          We skipped the cocktails                         OUISA          But we didn't count on          EXT TRAFFIC ON FIFTH AVENUE          OUISA and FLAN in dinner clothes are stuck in a traffic jam.                         OUISA (VO)          Traffic traffic traffic          FLAN gets out of the car and looks ahead in this din of          honking horns.          EXT WAVERLY MOVIE THEATER, GREENWICH VILLAGE NIGHT          FLAN and OUISA speed up Sixth Avenue and double park in          front of the Waverly Movie Theater.          Two Cop cars are there. Red lights spinning.          PEOPLE gape on the street.                                                                                                                             137          THEY see PAUL being dragged into one of the two Cop cars,          t kicking and screaming.          THE COPS throw PAUL into the back seat.          FLAN tries to talk to one of the POLICE while OUISA runs up          to the Cop car window.          PAUL, being handcuffed, looks at OUISA. HE smiles as if          HE's bumped into DUISA at a cocktail party.                         PAUL          The Kandinsky is painted on both sides.          DUISA is startled. THE COP slams the car door on PAUL.                         OUISA          Paul? Officer? Let me go with you -          I promised I'd take him!                         OFFICER          Lady. Out of the way --          FLAN takes OUISA's-arm.                         OUISA          We have to do soaething!                         FLAN                                   Let's just get the hell out of here.          THE COP CAR pulls away, sirens blaring.          PAUL turns and looks at OUISA. Betrayal.          BACK IN THE FORMAL DINING ROOM          MRS. BANNISTER          There's nothing more you can do -                         FLAN          What could we do? We tried.                         OUISA          went to the precinct.          INT THE PRECINCT DAY          DUISA hands the detective's card to the DESK CLERK.                         CLERK          He's transferred.                         OUISA          Since yesterday? He's been handling this                                                                                                                             138                         CLERK           He's transferred -                         OUISA          This is about an arrest made yesterday at the          Waverly Movie theater -          THE CLERK checks the records.                         CLERK          This precinct didn't do any business at the          Waverly Theater.                         OUISA          I didn't imagine it -                         CLERK          I'm not saying you did.                         OUISA          Could you find out which precinct -          THE CLERK looks through the book.                         CLERK          The name?                                                  OUISA          Poitier. He's a young black man. Or maybe          Kittredge. I don't know the exact name -                         CLERK          Are you family?                         OUISA          Not exactly. But the detective          promised me yesterday that I could go with the          young man when he was arraigned to let them know          he was special.                         CLERK          We have no record of it. Some other precinct          must have made the arrest. It sounds like your          special friend was wanted for something else.                         OUISA          Like what?                         CLERK          Lady, how can I help you? You don't even know          your friend's name.                                                                                                                             139                         OUISA           We can find anybody - Six degrees          THE CLERK closes the book.          BACK IN THE FORMAL DINING ROOM                         OUISA          We weren't family. We didn't know Paul's name.          EXT HOGAN PLACE THE DISTRICT ATTORNEY'S OFFICE DAY                         OUISA (VO)          I went to the District Attorney's office.          we weren't family. We didn't know Paul's name.          EXT THE CRIMINAL COURTS BUILDING                         OUISA (VO)          I called the Criminal Courts.          I wasn't family. I didn't know Paul's name.          THE FORMAL DINING ROOM                         OUISA          You see, I read today that a young man          committed suicide in Riker's Island.          Tied a shirt around his neck and hanged          himself. Was it the pink shirt? This          burst of color? The pink shirt. Was it Paul?          We never found out who he was.                         FLAN          I'm sure it's not him.          MRS. BANNISTER          Yes. I agree. Isn't it amazing.                         FLAN          He'll be back. We haven't heard the last of          him. The imagination. He'll find a way. Could          we talk about something else? Our guest of          honor tonight- it's such a pleasure to meet you-          But.THE GUEST OF HONOR FROM THE UN leans forward.          THE GUEST OF HONOR          Why does it mean so much to you?                                                                                                                             140                         OUISA           He wanted to be us. Everything we are in the          world, this paltry thing--our life--he wanted          it. He stabbed himself to get into our lives.          He envied us. We're not enough to be envied.                         FLAN          Like the papers said. We have hearts.                         OUISA          Having a heart is not the point. We were hardly          taken in. We believed him -- for a few hours.          He did more for us in a few hours than our          children ever did. He wanted to be your          child. Don't let that go. He sat out in that          park and said that man is my father. He's in          trouble and we don't know how to help him.                         FLAN          Help him? He could've killed me. And you.          THE GUESTS agree.                         OUISA          You were attracted to him -                                   FLAN throws down his napkin in mock outrage. Almogj mock          outrage.                         FLAN          Cut me out of that pathology! You are          on your own -                         OUISA          Attracted by youth and his talent and the          embarrassing prospect of being in the movie          version of Cats. Did you put that in your Times          piece? And we turn him into anecdote to dine out          on. Like this. As we are right now. But it was          an experience. I will not turn him into an          anecdote. How do we fit what happened to us          into life without turning it into an anecdote          with no teeth and a punch line we'll mouth over          and over for years to come. "Tell the story          about the imposter who came into our lives---"          "That reminds me of the time this boy--". And          we become these human juke boxes spilling out          these anecdotes. But it was an experience. How          do we keep the experience?          OUISA looks around the dinner table.          THE GUESTS have decided to start on their dinners.                                                                                                                             141          FLAN (to his Dinner Partner)                                   That's why I love paintings. Cezanne. The          problems he brought up are the problems painters          are still dealing with. Color. Structure.          Those are problems.          OUISA (to herself)          There is color in my life, but I'm not          aware of any structure.                         FLAN          What are you saying, darling?          OUISA looks at FLAN clinically. FLAN frowns and turns back          to his dinner partner brightly.                         FLAN          Cezanne would leave blank spaces in his          canvasses if he couldn't account for the brush          stroke, give a reason for the color.                         OUISA          Then I am a collage of unaccounted-for brush          strokes. I an all random.           OUISA stands up from the dinner table.          Her chair scrapes. There is an embarrassed rush.          MRS. BANNISTER (an order)          Sit down.          OUISA leaves the dinner table.          THE CORRIDOR OUTSIDE THE FORMAL DINNER PARTY          OUISA pushes the elevator button.          FLAN comes into the hall.                         FLAN          What kind of behavior is -                         OUISA          God, Flan, how much of your life          can you account for?          THE ELEVATOR DOOR opens.                         FLAN          Do you realize how important this woman is!          SHE steps in the elevator. FLAN follows.                                                                                                                             142          THEY descend in silence, not wanting a scene in front of the          THE OPERATOR. THE ELEVATOR DOOR opens into the lobby.          INT PARK AVENUE LOBBY NIGHT          FLAN follows OUISA through the lobby.                         FLAN          Are you drunk? What are you unhappy about? The          Cezanne sale vent through. The Matisse went          through. We are rich. Geoffrey's rich. Next          month there's a Bonnard and after that -                         OUISA          These are the times I would take a knife and dig          out your heart. Answer me? How much of your -                         FLAN          - life can I account for! All! I am a gambler!          OUISA smiles at the simplicity of her realization.                         OUISA          We're a terrible match.          OUISA steps out onto          EXT PARK AVENUE NIGHT          FLAN (following OUISA)          She is a very important woman. I am hoping to          do business! Did you see the paintings on her          walls! She might want to sell! She          FLAN glares at HER and turns back into the lobby and returns          to the party.          OUSIA moves to follow FLAN, then walks up PARK AVENUE, lost,          agitated, unsure.          OUISA walks on, remembering          THE SISTINE CHAPEL.          OUISA's hand completes the action.          OUISA slaps the frescoed ceiling of the Sistine Chapel.          OUISA slaps the Hand of God!                         PARK AVENUE          OUISA gasps when SHE looks in a SHOP WINDOW
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+		t   h   e      s   i   x   t   h      s   e   n   s   e						written by						M. Night Shyamalan	INT. BASEMENT - EVENING	A NAKED LIGHTBULB SPARKS TO LIFE.  It dangles from the ceiling of	a basement.	LIGHT, QUICK FOOTSTEPS AS ANNA CROWE moves down the stairs.	Anna is the rare combination of beauty and innocence.  She stands	in the chilly basement in an elegant summer dress that outlines	her slender body.  Her gentle eyes move across the empty room and	come to rest on a rack of wine bottles covering one entire wall.	She walks to the bottles.  Her fingertips slide over the labels.	She stops when she finds just the right one.  A tiny smile as she	slides it out.	Anna turns to leave.  Stops.  She stares at the shadowy basement.	It's an unsettling place.  She stands very still and watches her	breath form a TINY CLOUD IN THE COLD AIR.  She's visibly	uncomfortable.	Anna Crowe moves for the staircase in a hurry.  Each step faster	than the next.  She climbs out of the basement in another burst	of LIGHT, QUICK FOOTSTEPS.	WE HEAR HER HIT THE LIGHT SWITCH.	THE LIGHTBULB DIES.  DRIPPING BLACK DEVOURS THE ROOM.							CUT TO:	INT. DINING ROOM - EVENING	Two place settings are arranged on the living room coffee table.	Take-out Chinese food sits half eaten on good china.  An empty	bottle of red wine sits between boxes of Chinese food.	Anna arrives with the backup bottle and is now wearing a sweater.	She hands a collegiate rowing team sweatshirt to Malcolm.			     ANNA		It's getting cold.	MALCOLM CROWE sits on the floor at the coffee table, his vest and	tie on the sofa behind him.  A jacket and an overcoat lay on a	brirfcase next to him.	Malcolm is in his thirties with thick, wavy hair and striking,	intelligent eyes that squint from years of intense study.  His	charming, easy-going smile spreads across his face.  He points.			     MALCOLM		That's one fine frame.  A fine		frame it is.	Malcolm points to the HUGE FRAMED CERTIFICATE propped up on a	dining room chair.  It's printed on aged parchment-type paper.	The frame is a polished mahogany.	He slips on the sweatshirt.			     MALCOLM		How much does a fine frame like		that cost, you think?	Anna hands the backup bottle over to Malcolm.			     ANNA			(smiling)		I've never told you...  but you		sound a little like Dr. Seuss when		you're drunk.	Malcolm uncorks the wine and starts pouring in the empty glass.			     MALCOLM		Anna, I'm serious.  Serious I am,		Anna.	Anna giggles.  She's clearly buzzed herself.  Malcolm doesn't get	it.  Anna takes a few calming sips of her wine.  Her attention	slowly moves to the framed certificate.			     ANNA		Mahogany.  I'd say that cost at		least a couple hundred.  Maybe		three.			     MALCOLM		Three?  We should hock it.  Buy a		C.D. rack for the bedroom.			     ANNA		Do you know how important this is?		This is big time.			(beat)		I'm going to read it for you,		doctor.			     MALCOLM		Do I really sound like Dr. Seuss?	Anna ignores Malcolm and clears her throat.  She leans forward	her seat and reads the certificate out loud as Malcolm tries to	tickle her.			     ANNA		In recognition for his outstanding		achievement in the field of child		psychology, his dedication to his		work, and his continuing efforts to		improve the quality of life for		countless children and their		families, the City of Philadelphia		proudly bestows upon its son Dr.		Malcolm Crowe...  That's you...		the Mayor's Citation for		Professional Excellence.	Beat.  The power of the words sobers the two of them.			     ANNA		Wow.  They called you their son.			     MALCOLM		We can keep it in the bathroom.	Anna turns to Malcolm.  He smiles.			     MALCOLM		It's not real, Anna.  Some		secretary wrote that up.  Don't		tell me you thought it was real?	Anna's expression becomes serious.			     MALCOLM		What?	She just keeps staring.  Beat.			     MALCOLM		Don't do the quiet thing.  You know		I hate it.	Beat.			     ANNA		This is an important night for us.		Finally someone is recognizing the		sacrifices you made.  That you have		put everything second, including me,		for those families they're talking		about.	Malcolm plays softly with her face.  Anna takes his hands and	holds them steady.			     ANNA		They're also saying that my husband		has a gift.  Not an ordinary gift		that allows him to hit a ball over a		fence.  Or a gift that lets him		produce beautiful images on a		canvas...  Your gift teaches		children how to be strong in		situations where most adults would		piss on themselves.			(beat)		Yes, I believe what they wrote		about you.	Anna lets go of his hands.  Anna's eyes are emotional.  Malcolm	smiles softly.			     MALCOLM		Thank you.	Anna leans towards him.  They hold each other tight.  Beat.			     MALCOLM		What are we hugging about again?	Anna laughs as she wipes her eyes.			     ANNA		Nothing.  There wasn't supposed to		be any crying at this celebration.		Just a lot of drinking and sex.	Malcolm's charming, easy-going smile returns.			     MALCOLM		I would like some red wine in a		glass.	Anna hands him his glass.  He stares at it.			     MALCOLM		I would not like it in a mug.  I		would not like it in a jug.	Malcolm looks at Anna surprised at what he said.  They crack up	laughing.  THEIR SWEET LAUGHTER FILLS THE HOUSE.							CUT TO:	INT. BEDROOM - NIGHT	TWO GIGGLING SHADOWS APPEAR IN THE BEDROOM DOORWAY.  They try to	turn on the light.  It doesn't come on.			     MALCOLM		Bulb's out.	Anna giggles some more as Malcolm's shadow stumbles across the	bedroom.	MALCOLM TURNS ON THE BATHROOM LIGHT.	A SHAFT OF LIGHT falls on Anna as she stands in the corner of the	room.	Anna smiles playfully and pulls off her sweater.  She sways to a	pretend striptease song.	Malcolm can't hold back his grin.  He joins in -- slowly peeling	off the sweat-shirt.  He looks back to Anna.  She's stopped her	playful dance.  She's facing away from him.	He walks towards her.  HIS GRIN QUIETLY DISAPPEARS.  Malcolm's	face turns to rock as his attention is drawn to the SHATTERED	WINDOW in their bedroom.  The wind moves through the room.  A	lamp lays broken on the ground by the window.	Malcolm kneels down.  Beat.  Anna's eyes fill with a quiet	awareness.			     ANNA		He's still in the house.	A SHADOW FROM THE BATHROOM FLATS OVER BOTH OF THEM.	ANNA SCREAMS.	Malcolm spins around.  His heart stops.	Malcolm and Anna stare at the bathroom doorwary.  They know	someone is inside.  Beat.	Malcolm slowly starts towards the door.  The first thing that	comes into view are the clothes on the bathroom floor.  Then the	figure of a man comes into view.  A STRANGER stands bare chested	in the back of the bathroom.	NO ONE MAKES A SOUND.	The STRANGER is about nineteen.  Drugged out.  Pitch black eyes	bulging.  His body is covered in scars and bruises.  His hands	are folded in front of him.  He shakes ever so slightly.  He has a	patch of white in his hair.	Malcolm speaks in a very calm voice.  Never takes his eyes off	the stranger.			     MALCOLM		Anna, don't move.  Don't say a word.	Anna barely nods her understanding.			     MALCOLM			(to the stranger)		This is forty-seven Locust Street.		You have broken a window and		entered a private residence.  Do		you understand what I'm saying?	The stranger slowly looks up for the first time.  His eyes lock	on Malcolm.			     STRANGER		You don't know so many things.	Beat.			     MALCOLM		There are no needles or		prescription drugs of any kind in		this house.	The stranger suddenly comes forward into the doorway.  Malcolm	stumbles back onto the edge of the bed.	Anna sees the stranger for the first time.  Her face drains of	color.	The stranger looks at Malcolm.  He half grins.			     STRANGER		Are you drunk?	The stranger's stare slides to Anna.			     STRANGER		Did you get him drunk?	The stranger gazes at Anna.  Gazes directly into her eyes.  A	penetrating, unwavering stare.			     STRANGER		Do you know why you're scared when		you're alone?	Anna's expression instanly changes.			     STRANGER		I know.	BEAT.  THE ROOM GOES SILENT.			     MALCOLM		What do you want?  I don't		understand what you want.	The stranger turns and glares at Malcolm.			     STRANGER		What you promised.	Malcolm stops all movement.			     ANNA		--My God.			     MALCOLM		--Do I know you?			     STRANGER		Let's all celebrate, Dr. Malcolm		Crowe. Recipient of awards from the		Mayor on the news.  Dr. Malcolm		Crowe, he's helped so many children...		And he doesn't even remember my		name?	Malcolm can't speak.  Beat.  The stranger's face starts to	tremble.			     STRANGER		I was ten when you worked with me.	Beat.  Malcolm's intelligent eyes race for answers.			     STRANGER		Downtown clinic?  Single parent		family?			(beat)		I had a possible mood disorder...			(beat)		I had no friends... you said I was		socially isolated.			(beat)		I was afraid -- you called it acute		anxiety...			(beat)		You were wrong.			(beat)		Come on, clear your head...  Male,		nine...  Single parent...  Mood		discorder... Acute anxiety.	Malcolm looks like someone hit him with a sledgehammer.			     STRANGER		I'm nineteen.  I have drugs in my		system twenty-four hours a day...		I still have no friends.  I still		have no peace.  I'm still afraid.	Tears jump into the stranger's eyes.			     STRANGER		...I'm still afraid.	Malcolm stands.			     MALCOLM		Please give me a second to think.	Malcolm's shaking hands touch his mouth as he stares at the	stranger.  Beat.			     MALCOLM		Bed Freidken?			     STRANGER		Some people call me freak.			     MALCOLM		...Ronald...  Ronald Sumner?	Tears fall down the stranger's face.			     STRANGER		I am a freak.	Malcolm looks up at the sound of those words.  Something clicks	in his head.			     MALCOLM		--Vincent?	THE ROOM GOES SILENT AGAIN.			     MALCOLM		Vincent Gray?	VINCENT GRAY stares with surprise through his tears.	Malcolm lets out a deep breath like he just emerged from deep	waters.			     MALCOLM		I do remember you, Vincent.  You		were a good kid.  Very smart...		Quiet...  Compassionate...		Unusually compassionate...	Vincent's eyes burn at Malcolm.			     VINCENT		You forgot cursed.	VINCENT is fully crying now.			     VINCENT		You failed me.			     MALCOLM			(whispers)		Vincent...  I'm sorry I didn't help		you...  I can try to help you now.	Vincent turns to the sink.  His hand goes in.  He turns arund and	raises a gun at Malcolm.  He FIRES.  A VIOLENT, EAR-SHATTERING	ECHO.  Malcolm clutches his stomach and folds like a rag doll	onto the bed.	Vincent instantly moves the gun to his own head.  ANOTHER	HORRIFIC BLAST SPIKES THE AIR.  Vincent crumples onto the	bathroom floor.	ANNA'S CHILLING SCREAMS FILL THEIR HOME.							DISSOLVE TO:	EXT. BENCH - AFTERNOON	The legend, "Two Years Later" appears.	A man flips open a worn file folder on his lap.  Handwritten	notes fill every line.  At the top of the first page reads,	"Vincent Gray, age 10, Referred January 19, 1989."	The man's hand touches the name almost reverently.	He glances through the page.  Words and phrases are circled	throughout the file.	"...Acute anxiety"	"...Socially isolated"	"...Possible mood disorder"	"...Parent status -- Divorced"	"...Communication difficulty between mother-child dyad"	The man's hands flip the page.  At the top of this new page	reads, "Cole Sear, age 8, Referred September 1998."	As the man's fingers move through the notes we again see words	and phrases circled throughout this new case history.	"...Acute anxiety"	"...Socially isolated"	"...Possible mood disorder"	"...Parent status -- Divorced"	"...Communication difficulty between mother-child dyad"	The hands close the notepad.  The hands are slightly shaking now.	WE PULL BACK to reveal the shaking hands belong to Dr. Malcolm	Crowe.	Malcolm sits on a sidewalk bench facing a row of brownstone homes	across the street.  He gazes blankly at the brownstones.  Beat.	A door opens.  Malcolm is brought out of his trance.	COLE SEAR steps out his front door.  Cole is a munchkin of a boy	with large, black eyes that seem to take in everything around	him.	His hair is dark, with a small patch of jet white on the side.	Cole carefully locks the door behind him.	He moves to the bottom of the stairs and looks around nervously.	Anxiously.	The eight-year-old child reaches into his pocket and slips on a	pair of VERY LARGE GLASSES.  They look comical on him.	Malcolm rises to his feet.  He smooths out his shirt.  Looks down	and buttons his jacket.	When he looks up, Cole is gone.	Malcolm barely catches a glimpse of the boy.  Cole runs at full	speed down the street and turns the corner.  TINY SNEAKERS	SCREECHING ON THE SIDEWALK.	For a second, Malcolm doesn't react.  The second passes.  He	stuffs the file in his bag and starts running too.							CUT TO:	EXT. STREET - DAY	Malcolm hauls down the sidewalk.  He comes to a hard stop at a	street intersection.  Searches.  Spots Cole running into a	parking lot.	COLE sprints across the empty lot and reaches the doors of a	building.  He has to use all his strength to push open the highly	ornate doors.  He slips inside.	Malcolm jogs into the parking area.  His pace slows to a walk and	then to stillness as he gazes up at the building.  Its old stone	and huge towers make it stand out from the modern buildings all	around it.  Malcolm stares up at the historic Philadelphia church	quietly.	A SHOOTING PAIN PIERCES HIS SIDE.  Malcolm's hand goes to it	quickly.  He waits for it to pass before starting for the ornate	doors.							CUT TO:	INT. CHURCH - DAY	Only a few people sit and pray in the sea of oak pews.	Malcolm scans the majestic room and finds what he's looking for	in the last row of the church.	He moves down the center aisle towards the back.	Malcolm finds Cole playing in his pew with a set of green and	beige plastic soldiers.  Cole makes the soldiers talk to each	other.			     COLE			(soft)		Pro... Fun... Add...	The words are unintelligible.	Cole senses someone.  He looks up and sees Malcolm staring at	him.  The boy immediately goes white.  Every cell of his body	still with fear.			     MALCOLM		It's okay, Cole.  Don't be		frightened.	Cole stays rigid.  Hands clutching a handful of plastic riflemen.			     MALCOLM		My name is Dr. Malcolm Crowe.  I		was supposed to meet you today.		Sorry I missed our appointment.	Malcolm waits for a response.  None comes.			     MALCOLM		Do you mind if I sit down?  I have		this injury from a couple of years		ago and it flares up every once in		a while just so I won't forget it.	Beat.  Cole slowly slides down the pew, giving Malcolm most of	the seat.  Malcolm sits.	Cole fidgets with his soldiers.  Beat.  Malcolm looks over and	stares at Cole's glasses.  He leans forward to inspect them more	carefully.			     MALCOLM		Your eye frames.  They don't seem to		have any lenses in them.			     COLE			(soft)		They're my dad's.  The lenses hurt		my eyes.			     MALCOLM		I knew there was a sound explanation.	Malcolm returns to staring at his lap.  Beat.			     MALCOLM		What was that you were saying		before with your soldiers?  Day pro		fun.			     COLE		...De profundis clamo ad te domine.	Malcolm stares surprised.			     COLE		It's called Latin.  It's a		language.	Malcolm nods at the information.			     MALCOLM		All your soldiers speak Latin?			     COLE		No, just one.	Malcolm smiles at Cole.  His eyes drift down to Cole's arms.	Malcolm's smile slowly disappears.	Cole's arms are covered in TINY CUTS AND BRUISES.  Some almost	healed.  Some fresh.  Malcolm looks around to gather himself.	Beat.			     MALCOLM		I like churches, too.			(beat)		In olden times, in Europe, people		used to hide in churches.  Claim		sanctuary.	Cole looks up.			     COLE		What were they hiding from?			     MALCOLM		Oh, lots of things, I suppose.  Bad		people for one.  People who wanted		to imprison them.  Hurt them.			     COLE		Nothing bad can happen in a church,		right?	Malcolm studies Cole's anxious face.			     MALCOLM		Right.	Malcolm and Cole just stare at each other.			     COLE		I forgot your name.			     MALCOLM		Dr. Crowe.			     COLE		You're a doctor.  What kind?			     MALCOLM		I work with young people who might		be sad or upset or just want to		talk.  I try to help them figure		things out.	Beat.			     COLE		Are you a good doctor?	Malcolm smiles.			     MALCOLM		I got an award once.  From the		Mayor.			     COLE		Congratulations.			     MALCOLM		Thank you.  It was a long time ago.		I've kind of been retired for a		while.			(beat)		You're my very first client back.			     COLE		You use needles?			     MALCOLM		No.			     COLE		Not even little ones that aren't		supposed to hurt?			     MALCOLM		No.			     COLE		That's good.	Cole pockets his soldiers and rises from his pew.			     COLE		I'm going to see you again, right?			     MALCOLM		If it's okay with you?	Cole thinks it over carefully.			     COLE		It's okay with me.	Cole and Malcolm just stare at each other.			     MALCOLM		And Cole, next time I won't be late		for you.			     COLE		Next time I won't be scared of you.	Cole turns and starts to the rear of the church.  Malcolm loses	himself in his thoughts.	When Malcolm looks back, he sees Cole stop by the exit doors and	take a tiny STATUE OF JESUS off the back table.  Cole pockets the	statue and quietly leaves the church.	Malcolm just sits and stares.							CUT TO:	INT. MALCOLM'S HOME - EVENING	The house is dimly lit.  Malcolm has to turn on the HALLWAY LIGHT.			     MALCOLM		It's me.	He stops before a pile of mail collecting on a thin table.  He	stares at it blankly.  Almost every envelope has "Over Due" or	"Final Notice" stamped on it.							CUT TO:	INT. DINING TABLE - EVENING	Malcolm stares down at the remains of a meal on the only place	setting on the table.							CUT TO:	INT. BEDROOM - EVENING	Malcolm quietly walks into his bedroom.  Only A READING LIGHT IS	ON.  THE SOFT LIGHT FALLS ON ANNA AS SHE SLEEPS.	Malcolm moves to her side.  The sight of her stops him.	He stares at his wife...	She huddles under a blanket, a wad of tissues in her hand.  He	takes it in silently.	His eyes move to her face...  One wisp of hair falls over her	soft lips.  OUTLINED IN THE SOFT READING LIGHT, Anna Crowe truly	looks like an angel.	Malcolm forms a tiny smile.							CUT TO:	INT. HALL - NIGHT	Malcolm turns and moves for a narrow door in the hallway.	THE DOOR KNOB.  He tries to open it.  IT'S LOCKED.  Malcolm	reaches into his pockets.  Searches for his keys.							CUT TO:	INT. BASEMENT - NIGHT	The empty basement is no longer empty.  It's piled with file	cabinets and boxes of psychology and medical books.  A desk sits	in the corner next to the wine racks.	The room still feels unsettling.	Malcolm hunches over one of the books.  Rifles through a stack of	dusty books.  Pulls out a thick text.	The spine of the text reads, "The Meridian Latin Dictionary."	Malcolm sits back at his desk and opens Cole's file.  Handwritten	on the first page are the words,		"De profundis calms ad te, domine"	Malcolm starts working through the Latin text.  As he comes to	each word, he jots it down underneath the Latin.	Malcolm translates the last word.	He stares quietly at the paper.  The new words reads...		"Out of the depths, I cry to you Lord."	Beat.			     MALCOLM			(whispers)		...The mass for the dead.	The words seem to hang in the air forever.							CUT TO:	EXT. PHILADELPHIA - DAWN	Old Philadelphia awakens...  For a moment, it's like we're back	in time.	A golden sun dances on the waters of Penns Landing.  Historical	old ships sit docked in its harbor...  The dark bronze surface of	the Liberty Bell reflects the dawn...  A majestic Independence	Hall stands watch as its city begins to stir...  A thirty foot	statue of Ben Franklin makes a proud silhouette against the	morning sky...	AND THEN 1997 COMES CRASHING IN.	FLUORESCENT HOUSE LIGHTS COME ON IN WINDOWS...  Jeeps and	hatchbacks start roaming the cobblestone streets...  Neon	restaurants signs flicker to life...  Traffic helicopters make	their rounds...  CAR ALARMS PIERCE THE AIR.							CUT TO:	INT. LAUNDRY ROOM - MORNING	A hand turns off a radio, shutting off the morning news.	A small dog with two different colored eyes sticks his head out	of the dryer, where he plays with the newly-dried clothes.	LYNN SEAR reaches in and pulls out a blouse.	She shakes it in the air and slips it on as she dresses hurriedly	for work.	Lynn is a woman in her late twenties.  One hundred percent South	Philly.  Hair teased.  She chews on an early morning piece of	Trident.  Under all of it, Lynn Sear is an attractive and	sweet-looking young woman.	Lynn enters THE KITCHEN through a swinging door.	A bowl of cereal and milk sit on a table in an empty kitchen.	Lynn stares at a handful of kitchen CABINETS and DRAWERS that are	open.	Lynn shakes her head.			     LYNN		Cole.	She closes them one at a time before moving to the coffee machine.	Lynn shivers a little.  She leans over the thermostat and raises	the heat.  She returns to her post at the coffee machine.	TINY FOOTSTEPS.	Lynn turns to see Cole standing in his private school uniform.			     LYNN		Your Cocoa Puffs are getting soggy.	Lynn walks over to Cole.  Checks his tie.			     LYNN		You got a spot.	Lynn unclips the tie.  Cole takes a seat at the kitchen table as	Lynn walks back into the laundry room.	The dog is gone now.  Lynn reaches into the dryer, digging for a	new tie.  She finds one, then turns and steps back into the	kitchen and SCREAMS AT THE TOP OF HER LUNGS.	Every cabinet and every drawer is wide open.	Cole sits at the kitchen table.  His hands are pressed flat on	the tabletop.	He looks shaken.	Neither says anything for a beat.			     LYNN			(shaken)		Something you were looking for,		baby?	Beat.			     COLE			(shaken)		Pop Tarts.	Lynn looks over to the open cabinet near the sink.  The pop tarts	are clearly visible.			     LYNN		They're right here.			     COLE		Oh.	Cole gets up from the table.  Takes his pop tarts.  Doesn't make	eye contact.			     COLE		What are you thinking, Momma?			     LYNN		Lots of things.			     COLE		Anything bad about me?	Lynn leans down.			     LYNN		Look at my face.	Cole does.			     LYNN		I wasn't thinking anything bad		about you, got it?	He looks at her eyes.  Beat.			     COLE		Got it.	THE DOOR BELL RINGS.			     COLE			(soft)		That's Tommy, Momma.	Cole quietly kisses his mother on the cheek and starts out.			     LYNN		Don't you want this?	Cole turns to see Lynn holding the pop tarts.  He walks back and	takes them from her before leaving.	Beat.  Lynn glances to the kitchen table.  Her gaze stops on the	TWO TINY HAND PRINTS OF SWEAT formed on the table's surface.	Lynn stands motionless in the kitchen.  She looks up and wraps	her arms around her shivering shoulders.							CUT TO:	EXT. BROWNSTONE STREET - MORNING	TOMMY TAMMISIMO is a tough-looking, eight-year-old Italian kid	who waits at the bottom of Cole's brownstone stairs in his school	uniform.	Cole emerges from the brownstone and moves down the steps.	Lynn's face appears in the kitchen window.	The two boys begin their walk down the street to school.  Tommy	puts his arm around Cole.  Lynn waves.  Cole waves back.	When the two boys turn the corner and are out of Lynn's sight,	Tommy rips his arm away.			     TOMMY		Hey freak, how'd you like the "arm		around your shoulder" bit.  I just		made it up.  Went with it.  That's		what great actors do.  It's called		improv.	Tommy starts to run ahead, he turns and back pedals.			     TOMMY			(taunting)		Be careful...  I hope no one jumps		out and gets you.	Tommy runs away.	Beat.  Cole looks around nervously.							CUT TO:	EXT. ST. ANTHONY'S ACADEMY - MORNING	The last uniformed boys and girls rush into the front doors of	St. Anthony's Academy as the FINAL BELL SOUNDS.	Cole is the last one to go in.  He stands alone on the sidewalk.	He looks like he'd rather be anywhere but there.	Beat.	He buries his hands in his pockets and begins a quiet walk by	himself into the school.							DISSOLVE TO:	INT. COLE'S HOME - AFTERNOON	The front door CREAKS open as Cole walks in after school.  He	looks around before closing the door.  His eyes stop on Lynn	seated in the open doorway of the den.  Malcolm is seated with	her.  They both look up.	Lynn comes out.  She reaches Cole -- kneels down in front of him.			     LYNN			(whispers)		How was school, baby?	Cole shrugs.			     LYNN			(whispers)		You know, you can tell me things if		you need to.	Cole doesn't respond.  Beat.			     LYNN			(whispers)		Well, you know what I did today?	Cole shakes his head "No."			     LYNN			(whispers)		I won the Pennsylvania Lottery in		the morning.  I quit my jobs.  Ate		a big picnic in the park with lots		of chocolate mouses pie and then		swam in the fountain all afternoon...			(smiling)		What did you do?	Cole starts to smile too.  He thinks.			     COLE			(whispers)		I was picked first for kickball		teams at recess.  I hit a grand		slam to win the game and everyone		lifted me up on their shoulders and		carried me around cheering.	Cole and Lynn smile at each other.  Beat.	Lynn tries to hide the utter sadness behind her smile.			     LYNN		I'll make triangle pancakes.  You		got an hour.	Lynn takes Cole's school bag and jacket before moving to the	kitchen.							CUT TO:	INT. DEN - AFTERNOON	The den doubles as a playroom.  Boxes of old toys sit in the	corner.  A small, plastic, multi-colored table sits on the rug.	Cole appears in the doorway.  Malcolm sits up and smiles.	He points to the chair on the other side of the coffee table.			     MALCOLM		You want to sit?	Cole nods very softly, "No."			     MALCOLM		Don't feel like talking right now?	Cole nods again very softly, "No."			     MALCOLM		How about we play a game first?	Cole looks a little more interested.			     MALCOLM		It's a mind-reading game...  Did I		mention I could read minds?	Cole nods, "No."			     MALCOLM		Here's the game.  I'll read your		mind.  If what I say is right, you		take a step forwards the chair.  If		I'm wrong, you take a step		backwards the doorway.  If you		reach the chair, you sit.  If you		reach the door, you can go.  Deal?	Cole tilts his head, then nods, "Yes."	Malcolm presses his fingers to his temples like a vaudeville	magician.  He closes his eyes tight.			     MALCOLM		Just after your mom and dad were		divorced, your mom went to a doctor		like me and it didn't help her.		And so you think I'm not going to		help you.	Beat.  Cole, surprised, takes a small step forward.			     MALCOLM		You're worried because she said she		told him things.  Things she		couldn't tell anybody else.			(beat)		Secrets.	Cole takes a step.  Malcolm opens his eyes.  He looks right at	Cole.			     MALCOLM		You have a secret.  But you don't		want to tell me.	Beat.  Cole takes another step.  The next step will put him at	the chair.  Malcolm lowers his fingers from his temple.			     MALCOLM			(whispers)		You don't have to tell me your		secret if you don't want to.	Malcolm smiles.  Returns his fingers to the mind-reading	position.  Malcolm looks to Cole's arm.  Cole is wearing A LARGE	SILVER WATCH.  It swims on his thin wrist.  It could probably	slide up to his shoulder.  Malcolm closes his eyes.			     MALCOLM		Your father gave you that watch as		a present before he left.	Cole takes a step BACK.  Beat.  Malcolm lowers his hands	surprised.			     COLE		He forgot it in a drawer.  It		doesn't work.	Beat.  Malcolm puts his fingers to his temple.  This time a	little bit slower.  He gazes at Cole's school uniform.			     MALCOLM		You don't like to say much at		school.  You're an excellent		student however.  You've never been		in any kind of serious trouble.	Beat.  Cole takes a slow step back.  Beat.			     COLE		We were supposed to draw a picture.		Anything we wanted...  I drew a man.		He got hurt in the neck by another		man with a screwdriver.	AN UNCOMFORTABLE SILENCE OVERTAKES THE DEN.			     MALCOLM		You saw that on T.V., Cole?	Cole answers by taking a small step back.  Beat.			     COLE		Everybody got upset.  They had a		meeting.  Momma started crying.			(beat)		I don't draw like that anymore.			     MALCOLM		How do you draw now?			     COLE		I draw people with smiles, dogs		running, and rainbows.			(beat)		They don't have meetings about		rainbows.			     MALCOLM			(soft)		I guess they don't.	Malcolm looks down at Cole's feet.  They're almost at the	doorway.  One more step and he's there.  Cole is very still.  He	doesn't move at all.			     COLE			(whispers)		What am I thinking now?	Malcolm takes his time before speaking.  He just stares.  No	fingers to the temple.  No games.  He just stares.  Beat.			     MALCOLM		You're thinking...			(beat)		I don't know what you're thinking,		Cole.	Cole quietly takes a step back into the doorway of the other room.			     COLE			(whispers)		I was thinking...  you're nice.			(beat)		But you can't help me.	Cole's tiny figure steps away.  Malcolm stares helplessly at the	empty doorway where his client used to stand.	THE DEN IS SUFFOCATED WITH SILENCE.							CUT TO:	INT. RESTAURANT - EVENING	Malcolm hurriedly enters a spacious, dimly-lit Italian	restaurant.  He stops in the dining room and searches the many	candle-lit tables.  He finds Anna.	Anna sits alone at a corner table.  The remains of her half-eaten	dinner lay on the only place setting on the table.  A small PIECE	OF CAKE WITH A CANDLE in it sits untouched.	Anna stirs sugar in her coffee as Malcolm sits in the seat across	from her.  She gently stops stirring, but doesn't look up.  Beat.			     MALCOLM		I thought you meant the other		Italian restaurant I asked you to		marry me in.	Anna isn't laughing.  Not even close.			     MALCOLM		I'm so sorry.			(beat)		I can't seem to keep track of time.	Anna quietly takes a sip from her coffee.			     MALCOLM		It didn't go well today.  Spent		some time after trying to get my		head together.	Anna looks around for the waiter.			     MALCOLM		They're so similar, Anna.  They		have the same mannerisms.  The same		expressions.  The same thing		hanging over them.			(beat)		It might be some kind of abuse.	That makes Anna turn back.  She glances across the table, then	looks down.			     MALCOLM		There are cuts on Cole's arms.		Fingernail marks, I think.  Looks		like defensive cuts.	Malcolm demonstrates by holding up his arm to shield his face.			     MALCOLM			(beat)		Possibly a teacher, neighbor.			(beat)		I don't think it's the mother.		Just a gut thing.  The way she		deals with him.  It doesn't fit.			(beat)		Hard to say this early.  Could		just be a child climbing a lot of		trees.	Malcolm loses himself in his thoughts.  The waiter drops off the	check on the table.  Anna grabs it before Malcolm and quickly	signs it.			     MALCOLM		I know I've been kind of out of it		for a long while and you resent it.		You do.  I know you're mad.  I know		it's put some distance between us.	Beat.			     MALCOLM		But I'm getting a second chance		here.  I can't let it slip away.	Anna waits till he's done and rises from the table.  She pushes	her chair in hard and walks away without a word.  Malcolm sits	alone and stares at the piece of cake with a candle on it.			     MALCOLM			(soft)		...Happy Anniversary.							CUT TO:	EXT. FRONT STEPS - AFTERNOON	Cole is seated on the front stoop of his brownstone.  On the	steps and on the landing are his plastic soldiers in the grips of	a war.	Malcolm sits with his bag and overcoat on the step next to him.	Malcolm just observes quietly.  Beat.	Cole glances up as he plays.  Sees Malcolm's expression.			     COLE		You want to ask me a question?			     MALCOLM		See, this is why I lose at poker.		Yes, I do have a question.	On the step are two rows of soldiers facing each other.  To one	side are a couple soldiers covered by a tissue.  Malcolm points	to them.			     MALCOLM		What happened to those two?  Being		under tissue paper can't be a good		thing.	Cole removes the tissue.			     COLE		That's Private Jenkins and Private		Kinney.  They got killed.  Private		Jenkins has a baby girl that was		born seven pounds, six ounces.		He's never seen her.  He wanted to		get back to Blue Bell, Pennsylvania		and hold her...	Cole points to the other soldier.			     COLE		Private Kinney's wife is really		sick -- she has something called a		brain anism.			     MALCOLM			(soft)		You mean aneurysm.			     COLE		Yeah, Private Kinney needed to get		back safe to take care of her.	Beat.  Cole's face becomes emotional.  Tears fill his eyes.			     COLE		It's sad they died, isn't it?	Malcolm falls into silence and stares at his client.  Beat.  Cole	wipes his eyes quickly.			     COLE		Don't look at me.			(beat)		I don't like people looking at me		like that.	Malcolm takes in Cole's gesture and expression.			     COLE		Stop looking at me.	Malcolm looks down.			     MALCOLM		Where should I look then, Cole?			     COLE		Look over there.	Cole points to the corner of the street.  Malcolm slowly turns.	He sits in profile to Cole.  Beat.			     MALCOLM		It's very unusual for someone your		age to understand the kind of		problems that Private Jenkins and		Private Kinney have or even to be		thinking about them at all...	Malcolm continues to stare at the street.  Beat.			     MALCOLM		It is okay if I look back now?	Cole doesn't answer.			     MALCOLM		Tap the foot once for "No" and		twice for "Yes."	Cole taps his foot once.	Malcolm sits patiently.  Beat.  They don't say anything for a	while.			     MALCOLM		You wouldn't want to take a walk,		would you?	Cole looks up from his soldiers.  Malcolm stares at the far side	of the street.	Cole taps his foot twice.							CUT TO:	EXT. STREET - AFTERNOON	The two of them walk down a row of brownstones across from a park	where children Cole's age are playing.			     COLE		I walk this way to school with		Tommy Tammisimo.			     MALCOLM		He your best buddy?	Cole almost smiles.			     COLE		He hates me.			     MALCOLM		You hate him?	Cole shakes his head, "No.!	Malcolm thinks for a bit.			     MALCOLM		Your mom set that up?	Cole nods "Yes."			     MALCOLM		You ever tell her about how it is		with Tommy?			     COLE		I don't tell her a thing.			     MALCOLM		Why?			     COLE		Cause she doesn't look at me like		everybody and I don't want her to.		I don't want her to know.			     MALCOLM		Know what?			     COLE		That I'm a freak.	Malcolm stops walking.  The words hit him hard.  He stares at	Cole.			     MALCOLM		Listen to me.  You are not a freak.		Don't you believe anybody that		tells you that.  It's bullshit and		you don't have to grow up believing		that.	Beat.  Cole is surprised.			     COLE		You said the "s" word.			     MALCOLM		Yeah.  Sorry.	Malcolm's face is filled with emotion.  Cole is suddenly hit by	Malcolm's passion.  Beat.  Cole nods slowly as he looks at	Malcolm with different eyes.	They start walking again in silence.  They turn a corner and move	down another street.  Cole spots an old man with a cane standing	at the gate of a brownstone.			     COLE		Is it okay if I do something?  I		have to do something.	Malcolm nods "yes" as they continue walking.  Cole slows as they	approach the old man.  As we get closer, we make out the man can	barely see.			     COLE		Hi, Mr. Marschal.	MR. MARSCHAL leans over his gate and stares at Cole for a few	seconds.			     MR. MARSCHAL		Guten Tag, Cole.	Mr. Marschal has a thick German accent.  The old man squints down	the block with a concerned expression.			     COLE		What's wrong?			     MR. MARSCHAL		Mrs. Marschal.  She went food		shopping.  She's running late.	Beat.			     COLE		Ich Habe Durst.	Malcolm's eyes dart to Cole.			     MR. MARSCHAL		Wunderbar!  Where did you learn to		speak German?			     COLE		I just know a couple lines.			     MR. MARSCHAL		Yes, you may have a drink.  What		would you like?			     COLE		Lemonade, please.	Mr. Marschal smiles at Cole before walking back inside his house.	Cole turns back to Malcolm.			     COLE			(sad)		Mr. Marschal gets real lonely.			     MALCOLM		What about Mrs. Marschal?			     COLE			(whispers)		She died a long time ago.							CUT TO:	INT. MR. MARSCHAL'S LIVING ROOM - MORNING	This brownstone has been home to the Marschal's for many, many	years.  It's filled with a lifetime of memories.  Memories shared	by two people.	Two rocking chairs sit side by side near the windows that	overlook the street...  A corner table displays fancy wooden	chess set.  The game half-finished, frozen in a layer of dust...	An easel stands before a piano.  The incomplete water color	painting of a smiling elderly woman sitting on the piano bench	sits sadly on the faded yellow paper.	Malcolm takes in the living room silently.  He stands near the	open door.	Cole walks through the room.  Tiny eyes searching carefully.  He	leans behind the sofa looking for something.  Malcolm watches	Cole with a crinkled brow.	Cole peeks behind the old piano crammed against the wall.			     MR. MARSCHAL		Maybe Jill will play for us when		she gets back.	Cole turns to find Mr. Marschal standing with a glass of	lemonade.  Cole takes it from his shaking hands.			     COLE		Thank you.	Mr. Marschal shuffles over to the sofa.  Takes a seat.	Cole begins surveying the room again.  Beat.  His eyes finally	come to rest on a plant seated in the corner.  He stares at it...	THE LEAVES OF THE PLANT SHAKE SLIGHTLY FROM A BREEZE.	Cole puts down his glass on a table and walks over to the plant.	Cole kneels down and starts to push the potted plant aside.  THE	POT SCREECHES ON THE WOODEN FLOOR.	Malcolm calls to Cole under his breath.			     MALCOLM		Cole--			     MR. MARSCHAL		What's going on there?	Mr. Marschal strains to see across the room.	Cole doesn't answer either of them.  Instead, he continues to	push the plant aside revealing AN AIR VENT.  Cole gently reaches	over and takes off the metal face.  It slips right off.	Cole's hands disappear into the darkness of the vent.  They	reemerge holding a STACK OF NOTEBOOKS.	Malcolm becomes very still.	Cole rises to his feet and carries the notebooks over to Mr.	Marschal.  Cole carefully places them on his lap.			     MR. MARSCHAL		Is this for me?	Mr. Marschal fingers the notebooks then reaches for his thick	glasses hanging from his neck.  He places them on the tip of his	nose and inspects the notebooks six inches from his face.			MR. MASCHAL		What's this?  Jill's keeping a		diary.	Malcolm takes an involuntary step forward.	Mr. Marschal starts flipping through the notebooks.			     MR. MARSCHAL		She's full of surprises...	He gets to the last book.  His hands become still as he stares at	the final page of writing.			     MR. MARSCHAL			(whispers)		She hasn't written anything for		some time.	Beat.  Mr. Marschal slowly looks up from the notebooks.  Looks up	to Cole.  Cole just stands quietly.	Mr. Marschal's eyes slowly fill with tears of realization.  They	gently spill down his weathered face.			     MR. MARSCHAL		Oh no...	Cole takes a deep breath.  Trying hard not to cry himself.  The	sight of Mr. Marschal weeping shakes Cole.	Cole softly lays his hand on Mr. Marschal's silver hair.  Mr.	Marschal reaches up and clutches his small hand.	They stay like that for a while.  Beat.  Mr. Marschal lets go and	brings the notebooks tighter to his body.	Cole quietly walks to Malcolm who stands motionless.  He stares	down at Cole in a daze.	Cole turns his head, crying.			     COLE			(softly)		Stop looking at me.							CUT TO:	INT. BASEMENT OFFICE - NIGHT	Malcolm sits still in his office chair.  His eyes are fixed at a	point in space.  He brings a slim, black tape recorder to his	mouth.	CLICK.			     MALCOLM		April or March of Eighty-seven.		Two weeks into sessions with		Vincent Gray.  I was treating a		couple, Donald and Robin Wagner,		who had lost their child to		Leukemia.  They were waiting with		Vincent in the reception room of		the downtown clinic.  They were		alone together maybe fifteen		minutes.  When I entered the room,		all three were crying.  The		Wagner's progress from that		afternoon was dramatic and sudden		....  As if some door had been		opened for them.			(beat)		I'm not at all clear what happened		in those fifteen minutes.  But I		now believe Vincent tried to tell		me something, show me something and		I didn't listen.			(beat)		Cole Sear allowed me to witness		something today.			(beat)		This time I'm going to listen.	A long silence.  CLICK.  The tape recorder turns off.							DISSOLVE TO:	INT. BROWNSTONE - NIGHT	Lynn holds a laundry basket on her hip as she fiddles with the	thermostat in the hall.  The house is cold.  Lynn wears a winter	jacket in the house.	Lynn turns and moves into the shadowy hallway.  No lights.  The	house seems somewhat ominous.  Beat.	Lynn's eyes dart to an open guest room like she just saw	something.  She stares in the doorway until a SOUND TURNS HER IN	THE DIRECTION OF THE FAMILY ROOM.	She picks up balled-up boy's sweat socks and dirty T-shirts	laying on the carpet.  When she reaches the end of the hall, she	HITS A LIGHT SWITCH.  The hall LIGHTS UP REVEALING A WALL OF	PHOTOS.  Lynn forms a tiny smile.	Snapshots of Cole and Lynn's life hang before her eyes.	Cole's birthday parties...  Lynn and Cole at an amusement park...	Cole under the Christmas tree...  Cole on Lynn's shoulders in a	pool...  Cole with a group of neighbors at a barbecue...	Lynn takes a step forward.  Lynn's face betrays the fact that she	notices something she never noticed before.  She touches a photo	of three-year-old Cole.	WE MOVE INTO THE PHOTO -- COLE'S FACE SMILES AT US.  LYNN'S	FINGER GENTLY BRUSHES A THIN STREAKS OF LIGHT THAT CURVES IN THE	BACKGROUND BEHIND COLE.  THE STREAK OF LIGHT IS BLURRED, LIKE	SOMETHING CAUGHT IN MOTION.	Lynn looks to the adjacent photo -- the barbecue photo --	Everyone stands with hot dogs and sodas.  Lynn searches the	picture.  Her eyes suddenly stop at the TINIEST BLUR OF WHITE	LIGHT STREAKING AROUND COLE.	WE MOVE FROM FRAMED PHOTO TO FRAMED PHOTO -- EACH THE SAME --	SOMEWHERE HIDDEN IN THE FRAME, SOMEWHERE NOT EASILY SEEN, LYNN	FINDS A BLUR.	Lynn takes it all in curiously.							CUT TO:	INT. COLE'S BEDROOM - AFTERNOON	Lynn moves into Cole's room with the laundry basket balanced on	her hip.  The Walkman headphones on her head blares A MUFFLED	TECHNO DANCE BEAT.  Lynn starts picking clothes up around Cole's	room.	This bedroom is an eerie place.  The shadows seem to make shapes	and figures.  All the furniture is wood -- old fashioned.  The	lamps, the paintings on the wall -- antiques as well.	The most striking feature of the room, however, is the homemade	tent created from bedsheets and blankets tied to chairs and	bureaus.  It takes up a large corner of the room.	A sign hangs over the bedsheets.		"DO NOT ENTER"	Lynn grabs the spiderman P.J.s that drape over the tent.	A German Shepherd Puppy sleeps on the pillow.  SEBASTIAN lifts	his head sleepily and peers at Lynn before returning to his	slumber.	Lynn slowly reaches for a picture frame that peeks out from under	Cole's pillow.  Slides it out...  It's a VACATION PHOTO of a	couple.  Lynn and Cole and a man.  The man looks in every way a	larger version of Cole.	The picture has a visible effect on Lynn.  She lets out a shaky	breath before returning the photo to its hiding place.	Lynn pulls a pair of school uniform pants off the wooden roll	cover desk next to the bed.	The desk is covered with loose leaf papers filled with writings.	Lynn's eyes are drawn to the papers.	Her curious gaze turns serious.  Her mouth opens a tiny bit	involuntarily.	THE PAPERS are strewn with lines of handwriting.  Countless	lines.  Thousands of words...  Some horizontal, some vertical...	The writing moves in arcs and flows in various size -- written at	great speed -- every word connected by a single pen stroke --	everything written in one continuous motion.	Lynn slowly spins the papers, taking in some of the phrases...	...Christ break the freaking glass oh no God no what the hell is	going on Quiet the damn baby I'll cut you I swear it someone stop	the burning I'll kill you I'll kill all you bastard...	The words go on and on.	Lynn removes her hands from the paper.  She pulls her headphones	off slowly.	THE MUFFLED TECHNO DANCE BEAT FILLS THE DEAD SILENCE OF THE EERIE	ROOM.							CUT TO:	INT. DEN - AFTERNOON	Malcolm stares as the rain pelts the windows of the den.			     MALCOLM		...So your dad lives in Pittsburgh		with a lady who works in a toll		booth.			     COLE (o.s.)		What if she has to pee when she's		working?  You think she just holds		it?			     MALCOLM		I don't know.  I was just thinking		the same thing.	Beat.			     COLE (o.s.)		You ask a lot of questions about my		dad today.  How come?	Cole is playing behind the couch.  All we see is the top of his	head.			     MALCOLM		Sometimes, we don't even know it,		but we do things to draw attention.		Do things so we can express how we		feel about issues...  Divorce or		whatever.	Every now and then we get glimpses of things Cole is playing with	peeking over the back of the couch, but we can't quite make out	what he's doing.			     MALCOLM		One night, as an example...  leave		something on a desk for someone to		find.	The top of Cole's head stops moving.			     MALCOLM		Cole, have you ever heard of		something called free-writing?  Or		free-association writing?	Cole shakes his head, "No."			     MALCOLM		It's when you put a pencil in your		hand and put the pencil to a paper		and you just start writing...  You		don't think about what you're		writing...  You don't read over		what you're writing...  You just		keep your hand moving.	Cole has become very still.  He looks right at Malcolm.			     MALCOLM		After awhile if you keep your hand		moving long enough, words and		thoughts start coming out you		didn't even know you had in you...		Sometimes they're things you heard		from somewhere...  Sometimes		they're feelings deep inside...			(beat)		Have you ever done any free-		association writing, Cole?	Beat.  Cole nods, "Yes."			     MALCOLM		What'd you write?			     COLE		Words.			     MALCOLM		What kind of words?			     COLE		Upset words.	Beat.			     MALCOLM		Did you ever write any upset words		before your father left?	Beat.			     COLE		I don't remember.	Malcolm watches him carefully.  Beat.  Malcolm waves the question	off casually.			     MALCOLM		Can you do something for me?	Malcolm smiles.  He rises and grabs his coat.			     MALCOLM		Think about what you want from our		time together.  What our goal		should be?			     COLE		Something I want?			     MALCOLM		If we could change something in		your life, anything at all, what		would you like that to be?	Cole's brow furrows as he thinks about it carefully.			     MALCOLM		You don't have to answer now.	Malcolm heads for the door, stops when Cole emerges from behind	the couch.  Cole is wearing his father's jacket, it hangs to the	ground like a dress.			     COLE		Instead of something I want, can I		have something I don't want?	Malcolm turns back to Cole.  Malcolm nods "Yes."  Beat.			     COLE		I don't want to be scared anymore.	Cole's sad eyes stare up at Malcolm.							CUT TO:	INT. BASEMENT OFFICE - NIGHT	The surface of Malcolm's desk is covered with open texts.	Malcolm pours over a thick reference book.	He circles a phrase...	"...resulting bruises and abrasions on arms and legs may, in	fact, be self-inflicted."	Malcolm appears disturbed by the thoughts running through his	head.	ANNA'S MUFFLED VOICE CARRIES DOWN THE STAIRS.	His face turns up to the ceiling.			     MALCOLM			(loud)		Are you calling me?	WE HEAR ANNA'S FOOTSTEPS MOVE ACROSS THE BASEMENT CEILING.  WE	HEAR THE FRONT DOOR OPEN.			     ANNA (o.s.)		What?  You don't see enough of me		at the store?	Malcolm gets up and moves closer to their voices as he stretches	his legs.			     MAN'S VOICE (o.s.)		On my way to the flea market in		Amish country.  Thought maybe you		want to come.  Show me how to buy		at these things.			     ANNA (o.s.)		I trust you...  Besides, I don't		know if I'm up for the Amish today.		You can't curse or spit or anything		around them.	Malcolm smiles at Anna.			     MAN'S VOICE (o.s.)		I thought you'd want to get out.		You've been kind of down.	Malcolm slowly stops smiling.			     ANNA (o.s.)		That's very sweet.  I'm okay.			     MAN'S VOICE (o.s.)		Do you think I should stop by on my		way back?  Show you what I got?		It's not a problem.	Malcolm shakes his head in disbelief.			     ANNA (o.s.)		You know that's probably not the		best idea.  I'll just wait to see		them in the store.			     MAN'S VOICE (o.s.)		Okay.  Fine.  Understood.			(beat)		I'm off then.			     ANNA (o.s.)		Don't step in the horse manure.			     MAN'S VOICE (o.s.)		Thanks.	WE HEAR THE FRONT DOOR SHUT.	Malcolm moves to the narrow basement window.	INT./EXT. MALCOLM'S HOUSE - DAY	We see SEAN, an attractive young man in his late twenties.	He gets into his car across the street.  He just sits there for a	moment before putting his forehead to the steering wheel.			     MALCOLM			(under his breath)		Give it up, kid.	Malcolm turns away from the window as Sean's car starts up and	pulls away from Malcolm's house.							CUT TO:	INT. CLASSROOM - DAY	STANLEY CUNNINGHAM is a teacher in his late forties.  He writes a	question on the board.			     MR. CUNNINGHAM		Can anyone guess what city was the		capital of the United States of		America from 1790 to 1800?	Mr. Cunningham turns and stares at his class of eight and nine	year old private school students.  They stare back at him blankly.	Cole rests his chin on his desk and watches the class with big	eyes.			     MR. CUNNINGHAM		...I'll give you a hint, it's the		city you live in.	The class says the answer in unison.			     CLASS		Philadelphia.			     MR. CUNNINGHAM		Right...  Philadelphia is one of		the oldest cities in the country.		A lot of generations have lived and		died in this city...  Almost every		place you visit has a history and a		story behind it.			(beat)		Even this school and the grounds		they sit on...  Can anyone guess		what this building was used for a		hundred years ago, before you went		here, before I went to this school		even?	Stanley Cunningham looks over the class of blank faces.  He's	just about to answer his own question when he sees a hand go up.	Mr. Cunningham looks surprised to see who it is.			     MR. CUNNINGHAM		Yes, Cole?			     COLE		They used to hang people here.	Mr. Cunningham furrows his brow.  Beat.			     MR. CUNNINGHAM		That's not correct.  Where'd you		hear that?			     COLE		They'd pull the people in crying		and kissing their families bye...		People watching would spit at them.	Beat.			     MR. CUNNINGHAM		Cole, this was a legal courthouse.		Laws were passed here.  Some of the		first laws of this country.  This		building was full of lawyers.		Lawmakers.			     COLE		They were the ones who hanged		everybody.	Mr. Cunningham chuckles.  Cole's face turns cement grey.			     MR. CUNNINGHAM		I don't know which one of these		guys told you that, but they were		just trying to scare you, I think.	Tommy Tammisimo leads the class in a wave of snickering.	Cole glances up.  Sees all the eyes on him.  He glances at the	teacher who is still staring.			     COLE		I don't like people looking at me		like that.			     MR. CUNNINGHAM		Like what?			     COLE		Stop it!	Mr. Cunningham sees the traumatized expression on Cole's face and	instantly stops smiling.			     MR. CUNNINGHAM		I don't know how else to look--			     COLE		You're a stuttering Stanley!	Mr. Cunningham's face becomes still.  So does the classroom.			     MR. CUNNINGHAM		Excuse me?			     COLE		You talked funny when you went to		school here.  You talked funny all		the way to high school!	The class falls into stunned silence.  Mr. Cunningham takes an	involuntary step towards Cole's desk.			     MR. CUNNINGHAM		What--			     COLE		You shouldn't laugh at people.  It		makes them feel bad.	Mr. Cunningham moves closer to Cole.			     MR. CUNNINGHAM		How did you--?			     COLE		Stop looking at me.	Cole covers his eyes with his hands.			     MR. CUNNINGHAM		Who have you been s-speaking to?	We see Cole's mouth under his covered eyes.			     COLE		Stuttering Stanley!  Stuttering		Stanley!			     MR. CUNNINGHAM		Who!	Mr. Cunningham is standing right over Cole's desk now.			     COLE		Stuttering Stanley!			     MR. CUNNINGHAM		S-ssstop that!			     COLE		Stuttering Stanley!  Stuttering		Stanley!			     MR. CUNNINGHAM		S-ssssstop it!			     COLE		Stuttering--			     MR. CUNNINGHAM		--Shhhhhhut upppp you fffffffreak!	MR. CUNNINGHAM SLAMS HIS HAND ON COLE'S DESK.  Cole's hands drop	from his eyes.  The teacher's face is burning red.	The children in the room are frozen.  Completely startled.	Cole's eyes are filled with tears.	Mr. Cunningham's expression drains of anger as Cole Sear begins	to cry.							CUT TO:	INT. ANTHONY'S LIBRARY - SAME AFTERNOON	Cole is seated in the school library by himself.  He sits at a	long center table near the windows.  His head is laying on his	folded arms on the table.	Malcolm peeks his head in the door -- unsure if he's in the right	place.  He spots Cole and enters the room.  He silently takes a	seat across from Cole.  The eight-year-old looks up.  Cole's eyes	are hard -- filled with anger.			     MALCOLM		Hey, big guy.	Cole stares for a second.			     COLE		I don't want to talk about anything.	Cole lowers his head.  Malcolm just sits and thinks.	THE SOUND OF BOYS PLAYING SPORTS ON THE FIELD OUTSIDE FILTER IN	THROUGH THE LIBRARY WINDOWS.	Cole turns his head and stares at the windows.  Malcolm takes in	the sad vision of this boy.  It affects him.  Beat.			     MALCOLM		Do you like magic?	Cole's face softens a bit.  He turns from the windows and looks	to Malcolm.  Beat.  Cole nods, "Yes."	Malcolm pulls out a penny from his pocket.  He places it in his	right hand.			     MALCOLM		Watch the penny closely.	Malcolm closes his hand around the penny.			     MALCOLM		I do the magic shake...	Malcolm shakes his hand in circles.  Cole watches his hand	carefully.			     MALCOLM		And suddenly the penny has		magically traveled to my left hand...	Cole looks to Malcolm's closed left hand.  Malcolm doesn't open	it.			     MALCOLM		But that's not the end of the trick.		With another magic shake, the penny		travels into my shirt pocket...	Cole's eyes lock on Malcolm's shirt.  Malcolm taps the pocket but	doesn't open it.			     MALCOLM		But that's still not the end!...  I		do a final magic shake...  and		suddenly...  The penny returns to		the hand where it started from.	Malcolm opens his right hand.  The penny sits quietly in the	center of his palm.	Cole looks at the penny and then up to Malcolm's face.  Beat.	Cole cracks a smile.			     COLE		That isn't magic.			     MALCOLM		What?			     COLE		You just kept the penny in that		hand the whole time...			     MALCOLM		Who me?	Malcolm smiles a mischievous smile.  He places the penny on the	table.  Cole stares at it and then looks to Malcolm.			     COLE		I didn't know you were funny.			     MALCOLM		I forgot myself.	Malcolm and Cole share a warm look.	THE SOUNDS OF KIDS LAUGHING AND PLAYING OUT ON THE FIELD COME	POURING INTO THE ROOM AGAIN.	Cole's expression changes back to sadness as he looks to the	windows.  Malcolm leans across the table and whispers.			     MALCOLM		Cole...	Cole looks at Malcolm.			     MALCOLM		One day...			(beat)		You're going to sound just like		them.	Beat.  Cole's chin starts to tremble.  His voice cracks.			     COLE			(whispers)		Promise?	Beat.			     MALCOLM			(whispers)		Promise.	Malcolm and Cole sit in silence and listen to THE SOUND OF	CHILDREN PLAYING.							CUT TO:	INT. HALLWAY - EVENING	Malcolm sorts through the many bills on the mail table.			     WOMAN (o.s.)		Malcolm, sit your cute butt down		and listen up.			(beat)		Are you listening?	Malcolm turns AT THE SOUND OF THE WOMAN, and moves into the empty	living room where the T.V. is on.  A blanket lays crumpled on the	sofa.	THE WOMAN'S VOICE IS COMING FROM A VIDEO PLAYING ON THE VCR.	IT'S A WEDDING VIDEO.  A LARGE WOMAN IN A BRIDESMAID DRESS STANDS	HOLDING THE MICROPHONE.   IN THE BACKGROUND, WE CAN SEE THE DANCE	FLOOR.			     BRIDESMAID			(T.V.)		No doubt about it.  Anna's like my		sister.  You better make her happy...		And I'm not talking about -- mmm		this tastes like real butter --		kind of happy...  I'm talking about		Julie Andrews twirling around like		a mental patient on a mountain top		-- kind of happy.	THE LARGE BRIDESMAID BECOMES VERY EMOTIONAL.			     BRIDESMAID			(T.V.)		You're really lucky.  She's got so		much love for you.  Don't tell her		I told you, but she said she loved		you from the first time she met you		on the street.  She'd do anything		for you.			(crying)		I love you guys.			(more crying)		My nose is running.  Why isn't		someone getting me a tissue?	THE WOMAN HANDS THE MICROPHONE TO SOMEONE OFF SCREEN.  THE CAMERA	PANS AWAY FROM HER AND ZOOMS IN ON THE DANCE FLOOR.  MALCOLM AND	ANNA ARE SLOW DANCING.  THEY'RE WHISPERING AND LAUGHING WITH EACH	OTHER.  THE HAPPINESS FROM THEM IS TANGIBLE.	Malcolm can't help smiling as he stares at the flickering images.	He turns and looks down the hall to their bedroom.							CUT TO:	INT. BEDROOM - EVENING	Malcolm moves into their bedroom.	THE SOUND OF A SHOWER CAN BE HEARD FROM THE BATHROOM.	Malcolm moves to the bathroom door and opens it slowly.							CUT TO:	INT. BATHROOM - EVENING	Malcolm steps into the bathroom quietly.  He stares at the	silhouette of Anna's body through the smoked glass of the shower.	Anna stands still, her head tilted back.	Malcolm watches quietly.  By his experience, it's clear he's	taken by his wife's beauty.	Malcolm starts towards the shower when his eyes glance to the	sink.  Malcolm locks on a tiny bottle resting on the marble	surface.	He reaches out and picks it up.  The label on the plastic bottle	reads,		"Zoloft Anti-depressant"		"To be taken twice daily"	Malcolm gently puts down the plastic bottle.  He gazes at the	still figure of his wife as the water covers her.	Malcolm leaves the bathroom.  He makes sure not to make a noise	with the door as he closes it shut.							DISSOLVE TO:	EXT. DARREN'S HOUSE - DAY	Colorful balloons flutter in the wind in front of an old grey	stone home.	INT. DINING ROOM - DAY	Cole and an overweight boy named BOBBY are seated at a dining	table covered in colorful paper.  A stack of birthday presents	are sitting on the table next to a cake.	The house is filled with the SOUND OF CHILDREN PLAYING AND	LAUGHING.	Cole and the overweight boy are the only ones in the dining room.	Bobby watches with a dull expression as Cole moves his hand in	circles in the air.			     COLE		...Then you do the magic shake.		And now the penny moves from my		pocket all the way to the hand it		started in.	Cole smiles and holds out his hand.  His fingers open to reveal	the penny.	Bobby stares.			     BOBBY		That's stupid.	Cole loses his smile.			     COLE		It's supposed to be funny.			     BOBBY		It's stupid.	Cole and the overweight boy stare at each other.			     BOBBY		Give me my penny back.	Cole gives the boy his penny.  Beat.  Cole gazes at Bobby.			     COLE			(almost inaudible)		...Don't be sad.	Bobby looks up sharply.			     BOBBY			(hard)		What'd you say?			     COLE			(shaken)		...Nothing.	Bobby stares down at him before returning his attention to his	tattered napkin.	The two boys sit in silence.							CUT TO:	INT. KITCHEN - AFTERNOON	Cole sits alone in the corner of the living room.  The open	kitchen doorway is next to him.  Inside the kitchen are Lynn and	DARREN'S MOM speaking.  It's clear they're from different worlds.	Lynn is wearing tight clothes with hair teased to dramatic	heights.  Darren's mom is in a designer suit.			     LYNN		...He doesn't get invited places.			     DARREN'S MOM		It's our pleasure.			     LYNN		The last time was a Chuck E. Cheese		party a year ago.  He hid in one of		those purple plastic tunnels and		didn't come out.			     DARREN'S MOM		Chuck E. who?			     LYNN		Cheese.  It's a kid's place.	Darren's mom smiles formally and turns to give the catering	people instructions on how to lay out the food on her sterling	silver trays.			     LYNN		He's my whole life.	Darren's mom turns back to Lynn, the forced smile on her face.			     LYNN		I work at an insurance place and at		Penny's, so Cole can go to that		good school.			     DARREN'S MOM		J. C. Jenny's?	Lynn nods "Yes."			     DARREN'S MOM			(bullshit)		Good for you.			     LYNN		I wish I could be like my momma		though.  She always knew what was		wrong.  Knew just what to say.	Darren's mom glances at her expensive watch.			     LYNN		Cole's going through something bad.		He won't talk to me.			(beat)		I'm his momma.			(emotional)		And I don't know what's wrong and		I don't know what to say.	Lynn drowns in her thoughts.  Cole moves away from the kitchen	with sad eyes.							CUT TO:	INT. HALL - AFTERNOON	Cole walks past two expensively-dressed mothers eating hors	d'oeuvres as they move down the hallway.			     MRS. WESTON		Did you have the Brie?			     MRS. SAUNDERS		It tasted like cheese whiz.	They pass when Cole moves down the shiny mahogany wood hallway.	The women's conversation FADES AWAY behind him.	Cole turns a corner and comes to a dead stop.  He turns white as	he stares at an open CRAWL SPACE CLOSET a few feet away.  Cole's	eyes are riveted in the darkness of the closet.  Beat.	THE HALLWAY ERUPTS WITH NOISE AS THE CHILDREN RUN IN FROM THE	BACKYARD.	Tommy Tammisimo is one of the children.  He talks with the	birthday boy, DARREN, a skinny kid in a party hat.			     TOMMY		I even got a trailer.			     DARREN		For what?  You only had one line.			     TOMMY		You're slow, you know that.  The		star of the commercial always has		his own trailer.  You need to think		about your character alone.	Tommy glances down the hall and sees Cole standing frozen staring	at the crawl space closet.	Tommy grabs Darren.			     TOMMY		Darren, check it out.	     DARREN looks down the hall to Cole.			     DARREN		My dad made me invite him.	Tommy nudges Darren to move down the hall.  Cole breaks from his	trance as Tommy and Darren walk up.			     COLE		Happy birthday, Darren.			     TOMMY		Something you want to see in there?	Tommy points to the crawl space.			     COLE			(too quick)		--No.	Beat.  Tommy looks to Darren and then back to Cole.			     TOMMY		We're going to put on a pretend		play.  You want to be in it?	Beat.			     COLE		...Okay.			     TOMMY		It's called, "Locked in the Dungeon."	Tommy stares at Darren.  Darren finally gets it.			     DARREN		Yeah, Cole...  you get to be the		one locked in the dungeon.	It happens too quick for Cole to react.  Darren and Tommy shove	Cole backwards.  He stumbles into the darkness of the crawl space.			     COLE		Don't!	Tommy slams the door closed.  Darren turns the lock.  They crack	smiles at each other as Cole bangs on the door.	The BANGING GOES ON FOR A FEW SECONDS AND THEN IT JUST STOPS.	SILENCE.	Darren and Tommy look at each other and then back at the crawl	space door.	Then THE SCREAMING BEGINS.	Darren and Tommy back away from the door as COLE SCREAMS IN	TERROR at the top of his lungs.  He CRASHES OVER AND OVER against	the door.  HIS BODY SLAMMING AGAINST THE WOOD.  The DOOR RATTLES	like it's going to break off its hinges.	The two boys are statues as Cole's BLOOD-CHILLING YELLS FILL THE	HALLWAY.	FOOTSTEPS SPIKE THE AIR AS children and mothers come running down	the hall.  Lynn is one of them.	Darren's mother turns the corner.			     DARREN'S MOTHER		Who's making that noise?	She looks to the closet.  THE HIGH-PITCHED SCREAMS CUT THROUGH	THE HALL.			     LYNN		Cole!	Lynn and Darren's mom rush to the door and turn the knob...  The	door flies open.  Lynn reaches in and pulls out Cole.  He's	UNCONSCIOUS.	Darren's mom looks into the crawl space -- there's nothing inside	except a couple packing boxes in the back.  She looks to Lynn.	She turns around with Cole in her arms.			     LYNN			(desperate whispers)		Help me get him in the car.							CUT TO:	INT. HOSPITAL RECEPTION AREA - AFTERNOON	Colorful murals don the curved walls of the pediatric reception	area.	A spattering of children accompanied by adults sit and wait.	Lynn and Malcolm are seated at a children's play table.  A game	made of a maze of wires sit on the table in front of them.	A young resident DR. HILL takes a seat at the table with them.	He opens up his notes.			     LYNN		What's wrong with Cole?	Beat.			     DR. HILL		The tests indicate he did not have		a seizure.  In fact he's doing fine.		After some rest, he could go home		tonight.	Lynn closes her eyes.  Lets out a tense breath.  Beat.  Malcolm	eyes the doctor as he glances back to an academic-looking woman	standing at the reception room door.			     MALCOLM		There's something else going on,		Lynn.	Lynn opens her eyes and catches the doctor's expression.			     LYNN		What is it?			     DR. HILL		There are some scratches and		bruises on your son that concern me.			     MALCOLM		Oh, man.			     LYNN		Those are from sports, from playing.		He's not the most coordinated kid,		but I don't want him to stop trying,		you know what I mean?	Doctor Hill gestures to the woman standing near the doorway.			     DR. HILL		Mrs. Sloan over there is our social		worker at the hospital.  She's		going to ask you some procedural		questions.			     LYNN		You think I hurt my child?			(emotional)		You think I'm a bad mother?			     DR. HILL		At this point it's just procedure.		And you should probably calm down.			     MALCOLM		How do you expect her to react?			     LYNN		You want me to answer your		questions?			     DR. HILL			(sarcastic)		I'm sorry if I was being vague --		yes, I do.			     LYNN		Who's going to answer mine, you		dick.	Dr. Hill stares at her before closing up his files.			     LYNN			(raising voice)		What happened to my child today?	Dr. Hill gets up.			     LYNN		Something was happening to him --		physically happening.  Something		was very wrong.	Dr. Hill hands his files to MRS. SLOAN and exits the reception	room without looking back.	Everyone in the reception room stares at Lynn.  Mrs. Sloan walks	up to the table and waits.	Lynn takes a second.  Wipes her eyes.  Gathers her considerable	strength.  Beat.			     LYNN		How long will these questions take?							CUT TO:	INT. HOSPITAL ROOM - NIGHT	Cole lays rigid in the hospital bed.  Blankets bundled around him	as if to shield him.  Cole's eyes fixed out the window.	Malcolm quietly enters through the half-opened door to the room.	Cole spots him.  Visibly relaxes.			     MALCOLM		I've decided we shouldn't schedule		sessions anymore.  I'll just follow		you around.	Cole smiles weakly as Malcolm takes a seat on a rolling metal	chair.	Malcolm notices Cole's legs emerging from under the hospital	gown.  Cole is wearing A MAN'S DRESS SOCK.  The baggy folds ride	up all the way to his knees.			     MALCOLM		Your father ever tell you bedtime		stories?			     COLE		Yes.	Malcolm looks at Cole.  Malcolm makes a decision.  He rolls in	the chair across the room as he thinks.  Beat.			     MALCOLM		Once upon a time there was a prince,		who was being driven around...  He		drove around for a long, long time...		Driving and driving...  It was a		long trip...  He fell asleep...			(beat)		When he woke up, they were still		driving...  The long drive went on--			     COLE		Dr. Crowe.			     MALCOLM		Yes.			     COLE		You haven't told bedtime stories		before?			     MALCOLM		No.			     COLE		You have to add some twists and		stuff.  Maybe they run out of gas.			     MALCOLM		No gas...  Hey, that's good.	They sit in silence.  Malcolm works on a new plot in his head.			     COLE		Tell me a story about why you're		sad.	Beat.			     MALCOLM		Do you think I'm sad?	Cole nods, "Yes."			     MALCOLM		What makes you think that?			     COLE		Your eyes told me.	Beat.  Malcolm's affected by his client.			     MALCOLM			(rote)		I'm not supposed to talk about		stuff like that.	Cole smiles softly.	Malcolm stares at the tired child sitting before him in the	hospital bed.	Malcolm rolls his stool away from his client as he thinks.	Beat.  He slowly moves the rolling chair closer to Cole's bed.			     MALCOLM		...Once upon a time there was this		person named Malcolm.  He worked		with children.  Loved it more than		anything.			(smiles)		Then one night, he finds out he		made a mistake with one of them.		Didn't help that one at all.  He		thinks about that one a lot.  Can't		forget.			(beat)		Ever since then, things have been		different.  He's become messed up.		Confused.  Angry.  Not the same		person he used to be.			(beat)		His wife doesn't like the person		he's become.  They don't speak		anymore.  They're like strangers.	Malcolm breaks from his thoughts and looks at Cole who watches	him with unwavering attention.  Malcolm smiles.			     MALCOLM		And then one day this person		Malcolm meets a wonderful boy who		reminds him of that one.  Reminds		him a lot of that one.  Malcolm		decides to try to help this new boy.		He thinks maybe if he can help this		boy, it would be like helping that		one too.	Malcolm leans forward, whispers with emotional eyes.			     MALCOLM		I don't know how the story ends.		I hope it's a happy ending.			     COLE		Me too.	Cole looks at Malcolm's caring eyes.  Cole stares at Malcolm a	long time.	EVERYTHING THAT'S SAID FROM THIS POINT ON IS WHISPERED.			     COLE		I want to tell you my secret now.	Malcolm blinks very slowly.			     MALCOLM		Okay.	Cole takes an eternal pause.  A silent tension engulfs them both.			     COLE		...I see people.	Malcolm just gazes quietly.			     COLE		I see dead people...  Some of them		scare me.	Beat.			     MALCOLM		In your dreams?	Cole shakes his head, "No."			     MALCOLM		When you're awake?	Cole nods, "Yes."			     MALCOLM		Dead people, like in graves and		coffins?			     COLE		No, walking around, like regular		people...  They can't see each		other.  Some of them don't know		they're dead.			     MALCOLM		They don't know they're dead?	Beat.			     COLE		I see ghosts.	Malcolm becomes completely motionless.  Works to hide his shock.	He and Cole stare at each other a long time.			     COLE		They tell me stories...  Things		that happened to them...  Things		that happened to people they know.	Beat.  Malcolm's words are extra-controlled.  Revealing nothing.			     MALCOLM		How often do you see them?			     COLE		All the time.  They're everywhere.			(beat)		You won't tell anyone my secret,		right?	Beat.			     MALCOLM		...No.			     COLE		Will you stay here till I fall		asleep?	Malcolm nods, "Yes."  Cole pulls the covers up to his chin and	turns to the window in the room.  Malcolm is very still and	stares at Cole.	MALCOLM'S EYES -- slowly turn and survey the room.  They find	nothing.  Malcolm returns to watching Cole.	COLE'S EYES LOOK AROUND THE ROOM WARILY...  WE MOVE IN ON THEM --	TILL HIS EYES FILL THE FRAME.	Beat.	And then we see what he's staring at.  Through Cole's hospital	room window we see the adjacent wing of the hospital building.	Rows of hospital room windows are visible.  In the windows are	patients...  SOME OLD, SOME YOUNG...  SOME ARE DRESSED IN MODERN	HOSPITAL GOWNS...  SOME FROM DECADES PAST.	THEY STAND UNNATURALLY STILL IN THEIR WINDOWS...  WATCHING,	WAITING.							CUT TO:	EXT. STREET CORNER - NIGHT	Malcolm hails a cab.  He steps off the sidewalk lost in his	thoughts. Steam rises from a street vent.  HEADLIGHTS.  A CAR	SUDDENLY EMERGES FROM THE STEAM, NARROWLY MISSING MALCOLM.	Malcolm jerks out of the way.  His briefcase falls to the ground.	His tape recorder falls to the sidewalk.  Beat.  Malcolm reaches	down and picks it up.			     MALCOLM		Cole...			(beat)		His pathology is more severe than		initially assessed.			(beat)		He's suffering from visual		hallucinations, paranoia --		Symptoms of some kind of school age		Schizophrenia.			(beat)		Medication and hospitalization may		be required.	CLICK.  Malcolm's hand with the tape recorder drops to his side.			     MALCOLM			(whispers)		I'm not helping him.	Malcolm stares into the night.  He stands alone as thoughts crash	like thunder in his head.							CUT TO:	INT. CAR - NIGHT	The STREETS TURN RED as Lynn drives home from the hospital in	silence.  She glances down to her right.	Cole is curled up asleep on the passenger seat, back in his	regular clothes, a tiny party hat clutched in his hand.  He looks	like a four-year-old.	The sight of him exhausted and still, hits Lynn hard.	Lynn's face drowns in deep concern.  She lays a hand on Cole's	head as she drives.							CUT TO:	INT. COLE'S HOUSE - NIGHT	The front door opens, Lynn carries Cole in.  He's asleep on her	shoulder.  She carries him down the hall to his BEDROOM.	Lynn lays Cole gently on his bed next to his German Shepherd	Puppy.  Cole curls up with Sebastian.	Lynn watches the two youngsters sleep for a moment.  Cole is	curled up asleep with a tiny party hat clutched in his hands.  He	looks like a four-year-old.  Lynn has been carrying Cole's	sweater from over her shoulder.  She pulls it off and begins to	fold it.  Her attention is drawn to the sweater.  She fingers the	fabric of the back.  IT'S RIPPED.  Her eyes move to Cole.  In the	middle of the back of his T-shirt are THREE SMALL TEARS.  Lynn	pushes the fabric open with her fingers and sees DEEP FINGERNAIL	LIKE SCRATCHES on his skin.	Lynn looks around helplessly, fear creeping into her eyes.							CUT TO:	INT. HALL - NIGHT	Lynn emerges from Cole's room.  She turns OFF THE HALL LIGHTS as	she moves into her room and closes the door.	WE HEAR LYNN PICK UP A PHONE AND DIAL.  Beat.			     LYNN		Hi, this is Lynn Sear, Cole's		mother.  I wonder if we could		talk about your son and his		friends keeping their goddamn		hands off my boy?	The thermostat on the wall reads seventy-eight degrees.							DISSOLVE TO:	INT. HALL - NIGHT	A few hours later.  The house seems threateningly still.  Too	still.							CUT TO:	INT. COLE'S HOUSE - NIGHT	An unnatural silence fills each room of the house.	The thermostat on the wall now reads, fifty-two degrees.	A LIGHT TURNS ON FROM UNDER COLE'S DOOR.	The door opens a crack.  Cole's tiny face peeks out.  Eyes scan	the darkness.	The door opens a little bit more.  Cole's knees are pressed	together.  His body dances a little.  Cole has to pee.  He moves	cautiously into the hall.	Cole moves briskly to a door halfway down the corridor.  Opens	it.  Cole turns on the LIGHT IN THE BATHROOM.	He checks behind the shower curtain, before he turns his back and	pees into the toilet.	A LARGE FIGURE MOVES PAST THE DOORWAY.	Cole instantly stops peeing.  His body becomes very still.  He	slowly reaches for the toilet handle and flushes.  He closes his	pants and turns.  He doesn't come out of the bathroom at first.	He just stands there and stares into the darkness of the hall.	HIS BREATH FORMS TINY CLOUDS IN THE COLD AIR.	Beat.  Cole finally steps out into the hallway.  His eyes catch a	SLANT OF LIGHT now coming from the kitchen.	Cole hesitates before being drawn to the kitchen.  He moves down	the hall and turns the corner -- coming to a stop in the doorway	of the kitchen.							CUT TO:	INT. KITCHEN - NIGHT	Cole stares at the back of a person cooking food on the stove.	Cole's fear slowly fades away.  Beat.			     COLE		Momma?			(beat)		Dream about daddy again?	The person turns.  It's not Lynn.  It's a strange woman.  The	woman's face is demented.  A purple gash cuts across her	forehead.  ALL THE CABINETS AND DRAWERS ARE OPEN BEHIND HER.			     WOMAN		DINNER'S -- NOT -- READY!	Cole's face turns the color of ash.			     WOMAN		What are you going to do?	Cole backs up to the doorway.			     WOMAN		You can't hurt me anymore!	The woman smiles menacingly as she thrusts her wrists forward...	They've been savagely cut.							CUT TO:	INT. HALLWAY - NIGHT	Cole turns and runs down the hall.							CUT TO:	INT. BEDROOM - NIGHT	Cole runs across his room.	He heads right for the homemade tent seated in the corner with	the "DO NOT TOUCH" sign on it.  He scurries in.  His legs	disappear as the bedsheets flap closed behind him.	The crazed woman stands at the end of the hall.  Doesn't come any	closer.							CUT TO:	INT. TENT - NIGHT	Cole is curled up in the tent.  He lays still for a moment	reaching over and FLICKING ON A FLASHLIGHT.	The red interior of the tent gets LIP UP.	It's a striking sight.  The bedsheet walls of the tent are lined	with religious pictures taped to the walls.  Tiny statues of	saints surround the interior perimeter.  We see the statue Cole	stole from the church is in here...  This tent is a sanctuary	made by an eight-year-old to hide in.							DISSOLVE TO:	INT. AUDITORIUM STAGE - AFTERNOON	THE LIGHTS IN THE GYM GO DOWN.  THE SPOT LIGHT OPENS ON THE STAGE	AS THE CURTAINS MOVE TO THE SIDES...	A sign to the side of the stage reads, "The third and fourth	grade presents -- Rudyard Kipling's "The Jungle Book."	The parents APPLAUD AS TOMMY TAMMISIMO WALKS OUT ON STAGE in a	villager's outfit.			     TOMMY			(Decent British accent)		There once was a boy, very		different than other boys.  He		lived in the jungle, and he could		talk with the animals.	BACKSTAGE, Mr. Cunningham cues the rest of the children.	THE AUDIENCE APPLAUDS AS THE FULL CAST OF THE ACTORS COME OUT.	Some are villagers, others are dressed as trees and animals.	Cole comes on stage holding a painted cardboard monkey.	MALCOLM APPLAUDS FROM THE BACK OF THE AUDITORIUM.							CUT TO:	INT. SCHOOL CORRIDOR - AFTERNOON	The arched halls of the private school are lined with posted	drawings and test papers.	Cole and Malcolm walk down an empty hall.			     COLE		Did you think the play sucked big		time?			     MALCOLM		What?			     COLE		Tommy Tammisimo acted in a cough		syrup commercial.  He thought		everybody was self-conscious and		unrealistic.  He said the play		sucked big time.			     MALCOLM		I know every child is special in		their own way, but Tommy sounds		like a punk.			(Cole smiles)		I thought the play was excellent.		Better than Cats.			     COLE		Cats?			     MALCOLM		Never mind.	Beat.  They continue down the hall in silence.  Malcolm takes his	time.			     MALCOLM		Cole, I was really interested in		what you told me in the hospital,		I'd like to hear more about it.	Malcolm stops at a set of doors at the end of the hall --	realizes Cole is no longer next to him.  Malcolm turns to find	Cole frozen about ten feet back.	Malcolm walks to him.  He notices Cole's expression as he gets	closer.			     MALCOLM		What's wrong?	Cole points to the doors.			     MALCOLM		Is something in there?	Cole doesn't say anything.  Beat.							CUT TO:	INT. GYMNASIUM - AFTERNOON	It's a large shadowy GYM.  Climbing ropes hang from the wood	beamed ceiling.	Cole is trembling slightly as he stands next to Malcolm.			     MALCOLM		What is it?	Malcolm follows the child's gaze to the ceiling of the gym.			     MALCOLM		I don't see.	Beat.			     COLE		Be real still.	Malcolm looks to Cole and then turns back to the ceiling.	Malcolm's body becomes very still.  Beat.			     COLE		Sometimes you feel it inside.		Like you're falling down real fast,		but you're really just standing		still.	Malcolm looks at the wood beams and climbing ropes.			     COLE		You ever feel prickly things on the		back of your neck?	Beat.			     MALCOLM		Yes?			     COLE		And the tiny hairs on your arm.		Are they all standing up?	Malcolm glances at Cole.  Surprise on his face.			     MALCOLM		-- Yes.	Beat.			     COLE			(whispers)		When they get mad, it gets cold.			     MALCOLM		Them?	Malcolm looks at the empty stairwell and then back to Cole.	Nothing is said for a few moments.			     MALCOLM		I don't see anything.			(beat)		Are you sure they're there?			(beat)		Cole?	Malcolm turns back to Cole, he finds the child with tears in his	eyes.  Cole looks at Malcolm desperately.			     COLE		Please make them leave.	Malcolm stares helplessly.			     MALCOLM			(whispers)		I'm working on it.	Malcolm gently leads Cole away from the stairs.	COLE GLANCES BACK AS HE MOVES OUT OF THE STAIRWELL.	COLE'S P.O.V. -- The ropes and school banners dangling at the top	of the stairs sways a little...  But so do THE THREE BODIES	HANGING BY THEIR NECKS FROM A WOODEN BEAM.	It's a truly horrific sight.  A BLACK MAN in britches and no	shirt, face beaten to a pulp, hangs in the center.  A WHITE WOMAN	in a torn white frilly dress -- tears soaking her face, hangs to	the right.  A small MIXED RACE CHILD in half pants, hangs to	their left.  The family stares at Cole.  They follow Cole with	their tortured eyes as he exits the stairwell.							CUT TO:	EXT. HISTORIC PHILADELPHIA - NIGHT	Malcolm walks from the bus stop over the cobblestone streets in	front of Head House Square.  The streets are quiet and dark.	Night time has fallen over the city.	He slowly comes to a stop in front of an old building.  He holds	his arm up.  Uses his other hand to gently touch his hairs on his	arm's surface.	Malcolm looks up slowly.  Looks around.  The dark shadows fill	the corners of the historic building...	Malcolm stares into the darkness...  Beat.			     MALCOLM			(whispers)		...Is anyone there?	A long moment as he waits.  The shadows seem to move, then	becomes still.	Malcolm shakes off the moment.  He returns his hands to his	pockets as he moves through the dark streets of Philadelphia to	his home.							CUT TO:	INT. HALL - NIGHT	The doorway to Malcolm and Anna's bedroom is open.  STRAINED	VOICES SPILL OUT INTO THE HALLWAY.			     MALCOLM (o.s.)		Look, he's an eight-year-old child.		He's my only client.  If he invites		me to his play, I'm not thinking		about how late I get back...  I go.		I have to go.  You know that.		That's the only way I know how to		work.			(beat)		Vincent said I failed him.			(raising his voice)		I WON'T GIVE COLE A CHANCE TO SAY		THOSE WORDS TO ME!  I WON'T!	Beat.  THE PORTABLE PHONE RINGS OUT IN THE HALL.			     MALCOLM (o.s.)		Please let it ring.	WE HEAR MOVEMENT.  Anna emerges from the bedroom.  Eyes raw.  She	wipes her tears.	She picks up the phone and moves down the stairs.	Malcolm walks out into the hall.  Stops at the top of the stairs.	ANNA'S VOICE CAN BE HEARD SPEAKING ON THE PHONE from downstairs.			     ANNA		I can't talk now.	Malcolm doesn't hear anything as Anna listens to the person on	the phone.  She smiles as she wipes her tears.  He starts for the	basement door again.			     ANNA			(whispers)		I thought about you too.	Malcolm turns.  He stands frozen at the top of the stairs.	Anna's HUSHED WORDS RISING IN THE AIR LIKE A GUN BLAST.							CUT TO:	INT. KITCHEN - NIGHT	Lynn adjusts the thermostat as she tries to keep herself warm.			     LYNN		I don't care what they say, this		thing is definitely broken.	Lynn fiddles with the dials.  Cole is standing before the beat-up	twelve inch kitchen T.V.	ON THE TELEVISION SCREEN is Tommy Tammisimo.  He stands in his	pajamas in a doorway.  He coughs.			     TOMMY			(on T.V.)		Mommy, my throat hurts.	Cole watches as Tommy's T.V. mother and father give him a	spoonful of medicine.			     NARRATOR			(on T.V.)		Pediaease Cough Suppressant...		gentle, fast, effective.	Cole watches Tommy running around in his T.V. background, the	very next T.V. morning.  He's not sick anymore.  Tommy waves to	the camera smiling and healthy.  The T.V. goes BLACK as Cole	throws his shoe at the power button.	He moves to the dinner table where Lynn is seated.  Cole sits.	His hands go on the table.  He's wearing a pair of his father's	extra large LEATHER GLOVES.  Cole's small hands don't even fill	the palm area.  Cole has difficulty trying to pick up his milk	glass with the gloves.			     LYNN		Take 'em off.	Cole removes the gloves from his hand and places them next to his	plate.			     LYNN		I don't want them on my table.	Cole moves them to the floor.	Lynn is irritated, this is a sore point between them.	Lynn and Cole eat quietly.  Beat.			     LYNN		I saw what was in your bureau		drawer when I was cleaning.	Cole looks up.  An anxious expression on his face.  Beat.			     LYNN		You got something you want to		confess?	Cole just stares.			     LYNN		The bumble bee pendant.  Why do you		keep taking it?	Cole looks down at his lap.			     LYNN		It was Grandma's.  It's not for		playing.			(beat)		What if it broke?  You know how sad		I'd be.			     COLE		You'd cry.  Cause you miss grandma		so much.			     LYNN			(soft)		That's right.  So why do you take		it, sweetheart?			     COLE		Sometimes people think they lose		things and they didn't really lose		them.  It just gets moved.			     LYNN		Did you move the bumble bee pendant?	Cole shakes his head, "No."  Lynn just stares.			     LYNN		You didn't take it before.  You		didn't take it the time after that.		And now, you didn't take it again?			     COLE		Don't get mad.			     LYNN		So who moved it?	Cole doesn't answer.			     LYNN		There's only two of us.			(beat)		Maybe someone came in our house --		took the bumble bee pendant out of		my closet, and then laid it nicely		in your drawer?			(beat)		Is that what happened?			     COLE			(soft)		Maybe.	Lynn just stares at Cole.			     LYNN		I'm so tired, Cole.  I'm tired in		my body.  I'm tired in my mind.		I'm tired in my heart.  I need a		little help here.			(beat)		I don't know if you noticed -- but		our little family isn't doing so		good.	Lynn folds her napkin quietly.			     LYNN		I'm praying for us, but I must not		be praying right.			(beat)		It looks like we're just going to		have to answer each other's prayers.		If we can't talk to each other --		we're not going to make it.			(beat)		Now baby, tell me...  I won't be		mad, honey...  Did you take the		bumble bee pendant?	Beat.  Cole's eyes start to water up.			     COLE		No.	Lynn goes cold.			     LYNN		You've had enough roast beef.  You		need to leave the table.	Cole just stares at his mother's expression.			     LYNN			(yells)		Go!	Cole gets up -- never taking his eyes off his mother -- and	leaves the room.							CUT TO:	INT. HALL - NIGHT	Cole enters the DARK HALLWAY.  He gets startled by the SOUND OF	HIS PUPPY GROWLING.	Sebastian comes racing down the hall and scurries past Cole.	Cole watches his puppy dart into the living room and under a	couch.	Cole slowly turns back and looks down the hall.	THE DOOR TO COLE'S ROOM SITS AT THE END OF THE CORRIDOR.  IT'S	ALMOST SHUT.  COLE WATCHES AS THE DOOR BEGINS TO OPEN VERY	SLOWLY.  IT OPENS WIDE.  COLE DOESN'T MOVE AN INCH.	SUDDENLY IN THE STILLNESS AND THE DARKNESS, A SMALL FIGURE	SCURRIES FROM ANOTHER BEDROOM INTO THE BLACKNESS OF COLE'S ROOM.	IT HAPPENS LIKE A FLASH.	Cole stops breathing.	THE FIGURE SLOWLY STEPS OUT FROM COLE'S DOORWAY.	IT'S A BOY.  A FEW YEARS OLDER THAN COLE.	THE BOY WHISPERS IN A LOW, HOARSE VOICE.			     BOY		Come on...  I'll show you where my		dad keeps his gun...  Come on.	THE BOY TURNS.  WE SEE THAT THE BACK OF HIS HEAD IS MISSING AS HE	DISAPPEARS INTO THE DARKNESS OF COLE'S ROOM.	Cole is too terrified to move.							CUT TO:	INT. KITCHEN - NIGHT	Lynn is kneeling on the kitchen floor trying to coax the puppy	out of the broom closet.			     COLE (o.s.)		Momma.	Lynn turns -- surprised to hear her son's voice.  Lynn's eyes are	red from crying.  She wipes them quickly with the back of her	hand.	Mother and son look at each other.  Beat.			     COLE		If you're not very mad...  Can I		sleep in your room tonight?	Lynn fights back some tears.			     LYNN		Look at my face, Cole.	Cole does.  Lynn smiles at her son.			     LYNN		I'm not very mad.	Lynn hugs him.  Beat.			     LYNN		Baby...  Why are you shaking?	Cole doesn't answer.			     LYNN		Cole, what's wrong?	Cole just closes his eyes and holds his mom tight.			     LYNN			(desperate)		...Please tell me.	Cole doesn't say a word.			     LYNN			(crying)		Please.							CUT TO:	INT. ANTIQUE STORE - DAY	We are in an antique store.  Filled floor to ceiling with	furniture and knickknacks.	Anna stands with a YOUNG COUPLE.  All three lean over and peer	into a glass cabinet.	An antique engagement ring sits on a velvet stand.			     ANNA		It's Edwardian.  Beautifully worked.		Entirely platinum with a mine cut		diamond and an actual color Burmese		Sapphire...  It's timeless.			     YOUNG MAN		You got anything a little plainer?	The young woman looks at her beau.			     YOUNG WOMAN		Plainer?  You want a plain ring to		go with your plain fiance.  Is that		how it is?			     YOUNG MAN		No, baby.  Don't get in a tizzy.		It's just...  you're so beautiful...		you're like a Burmese Sapphire all		by yourself.  You don't need all		that.			     YOUNG WOMAN			(disbelief)		Uh-huh.	Anna smiles as she takes the ring out of the cabinet.			     ANNA		Why don't you two hold it?	She places it in their hands.			     ANNA		Do you feel longing?			     YOUNG WOMAN		Excuse me?			     ANNA		When I touch this piece I feel a		longing.  I imagine the woman who		owned this, loved a man deeply she		couldn't be with.	The young woman looks at Anna with great intrigue.			     YOUNG WOMAN		Did he have wavy hair and broad		shoulders?	The young man throws an odd glance at his fiance.			     ANNA		I don't know...  But maybe...			(beat)		A lot of the pieces in this store		give me feelings.  I think maybe		when people own things and then		they pass away -- a part of		themselves gets printed on those		things -- like fingerprints.	Beat.  The young man and the young woman gaze at Anna silently.	They look down at the ring.  They place their hands on it	reverently, delicately -- like checking for a pulse.	Anna can't hold back her sweet smile.							CUT TO:	INT. ANTIQUE STORE - DAY	Anna moves to the back desk where SEAN comes out.  He's carrying	an antique bench in his arms. He places it down and takes a much	needed seat.			     SEAN		You don't need someone with a		masters.  You need a wrestler guy		whose neck is larger than his head.			     ANNA		I need a wrestler with a masters.	Anna fills out the paperwork for the ring.			     SEAN		What's this?	Anna looks over to find Sean standing at his desk where a	BIRTHDAY PRESENT sits on his tabletop.  Sean looks at her.			     SEAN		From you?	Anna nods, "yes."			     SEAN		Is it wrestling tights?	Anna smiles as she moves to his desk.  Sean begins to tear off	the wrapping paper like a kid at Christmas.	Anna laughs.  Sean holds up a weathered hardback copy of "THE	GREAT GATSBY."  Beat.			     ANNA		It's a first edition.			     SEAN		Wow, this is too much.  It's		perfect, Anna.	Sean puts down the book and hugs her.  He pulls back a little,	still holding her.  They smile at each other.	Beat.  The moment goes on just that crucial fraction of a second	too long.  Their smiles slowly melt away as they continue to hold	each other.  Nothing happens for the longest time.	CRASH!  A SHATTERING DOOR SLAM ECHOES THROUGH THE STORE.  Anna	and Jeffery pull apart.  They rush past the young man and the	young woman to the front of the store.  They find the glass front	door cracked in a spider web pattern.	They carefully push open the door and step out onto the sidewalk.	Look around.   No one in sight.	Anna stares down the empty street.  A concerned expression on her	face.							CUT TO:	EXT. STREET - DAY	Malcolm walks angrily down the sidewalk.  He stops as his hand	goes to his side.  He winces with pain as he keeps walking.							CUT TO:	EXT. SUPERMARKET - DAY	Lynn and Cole emerge from the supermarket.	Cole rides inside the shopping cart tucked between bags of food.	Mother and son are quiet as they move towards their car.	Beat.	Lynn leans over, looks at the side of her son's pensive face.	She starts pushing the cart faster.  Cole wakes from his thoughts	as his hair flutters in the wind.  He looks back.  Lynn is	smiling as she pushes.  Cole turns and raises his hands in the	air like he's on a roller coaster.	Beat.	They slow and come to a rest at the bumper of their car.  Lynn	leans over -- sees the side of Cole's face smiling.	Lynn's face shows a little happiness for the first time.  A	little hope enters her eyes as she starts to load the groceries	into the car.							CUT TO:	INT. CAR - DAY	Cole and Lynn ride home with a back seat full of groceries.	Cole finishes off a cherry popsicle as he watches out the window.	Lynn looks over.			     LYNN		Let's rent a movie.	Cole bites off the last of the popsicle and glances at his mom.			     LYNN		Your pick.	Cole stares at his mom quietly.			     LYNN		It can even have Jean Claude Van		Damme in it if you want.	Cole smiles at that.  He nods, "Yes" joyfully.	His smile fades away as he notices his mother fiddling with the	HEATER controls.	Cole gazes out the front windshield as the car moves towards home.	Suddenly a piece of paper sticks to the windshield.  It's a page	from a Playbill.  A 1941 Playbill.  It flies away revealing a	woman in a flowing flowery dress from the 40's suddenly walks	into the middle of the street as the pages of her Playbill swirl	in the air.			     COLE			(yells)		Momma, look out!	The woman in the flowery dress turns.  Her hand rests on her	stomach.  WE SEE SHE IS PREGNANT.	Playbills stick to the windshield obstructing the view.	Lynn slams the brakes...  Too late.	THE WOMAN SMASHES INTO THE FRONT GRILL OF THE CAR...  HER TERROR-	STRICKEN FACE COMES OVER THE HOOD AND CRASHES RIGHT THROUGH THE	WINDSHIELD IN A SHOWER OF BLOOD AND GLASS...	COLE SCREAMS.  LYNN SCREAMS...  THE CAR SCREECHES TO A STOP IN	THE MIDDLE OF A CONGESTED INTERSECTION.	The line of cars behind them suddenly hit their brakes and swerve	to one side avoiding a mass collision.  After a few seconds, the	entire intersection has come to a halt.	Cole who has shut his eyes...  slowly opens them.	He looks around fearfully.  His eyes move to the windshield.  No	broken glass.  No blood.  And no woman.  Cole looks out through	the pristine windshield onto the street where cars are stopped	and staring all around them.	Cole slowly looks over to his mother.  He finds her staring at	him in complete and utter disbelief.  Her hands clutch the wheel.	The whites of her knuckles showing her fear.  She has no idea why	he screamed.							CUT TO:	INT. DEN - AFTERNOON	The den is very quiet.  Cole and Malcolm sit around the multi-	colored table.  Malcolm leans back in his small plastic chair --	arms folded over his chest.  Cole sits slumped over the table --	eyes peering out over his arms.	They both look like shit.			     COLE		You don't wanna ask me questions		today?	Malcolm nods, "No."  Beat.			     COLE		Can I ask you then?			     MALCOLM		Yes.			     COLE		What do you want more than anything?			     MALCOLM		I don't know.			     COLE		I told you what I want.			     MALCOLM		I don't know, Cole.			     COLE		Why don't you think about it for a		while?	Malcolm doesn't respond.  Cole watches him.  Beat.			     MALCOLM		I know what I want.			(beat)		My goal is to speak to my wife.		The way she and I used to speak.		Like there was no one in the world		but us.	Beat.			     COLE			(soft)		How are you going to do that?	Beat.			     MALCOLM			(whispers)		I can't be your doctor anymore.			(beat)		I haven't given my family enough		attention.  Bad things happen when		you do that.  Do you understand?	The room falls into silence again.  Cole speaks extra soft.			     COLE		You want to go home?	Malcolm stares across at Cole.			     MALCOLM		I have to.			     COLE		When?			     MALCOLM		Soon.  One week.	Malcolm looks down at his eyes full with emotion.			     MALCOLM		I'm going to transfer you.  I know		two psychologists that are		exceptional--			     COLE			(whispers)		Don't fail me.	Malcolm looks up sharply.			     MALCOLM		--What?			     COLE		Don't give up.  You're the only one		who can help me.  I know it.	Beat.  Malcolm tries to stay composed.  It doesn't work.			     MALCOLM		You want to know a secret?...  I		was a paper champion.			(beat)		Do you know what that means?	Cole shake his head, "No."  Tears fall down Malcolm's cheeks.			     COLE		Don't cry.			     MALCOLM		I means I wasn't what everyone		thought I was...			(beat)		I was a fake.			     COLE		You weren't a paper champion.			     MALCOLM		Someone else can help you.  Someone		else can make you happy.	Cole is crying now.	Cole wipes his eyes with his sleeve.  They sit quietly and stare	at each other.  Beat.	Cole whispers.			     COLE		Dr. Crowe?			     MALCOLM		Yes.			     COLE		You believe me, right?	A long pause.			     COLE		Dr. Crowe, you believe my secret,		right?	They both just stare.			     MALCOLM		I don't know how to answer that.	Cole searches for the answer in Malcolm's eyes...  He finds it.	It's not the one he wanted.  Malcolm looks down.			     COLE		How can you help me if you don't		believe me?	Cole reaches into his pocket.  Pulls out a PENNY.	Cole pushes it across the table.	Malcolm gazes at it, then looks up at Cole's pained eyes.	Beat.			     COLE			(whispers)		Some magic's real.							CUT TO:	INT. BASEMENT - AFTERNOON	Malcolm sits stoically at his desk in his basement.  His eyes	gaze at the dusty FRAMED CERTIFICATE FROM THE CITY OF	PHILADELPHIA shoved between two packing boxes.	Malcolm leans his head back against the chair.  Stares into the	shadows.  Drowns in his thoughts.	Beat.  THE CHAIR CREAKS as he slowly sits up again.  Malcolm's	eyes scan the room and come to a stop on a box marked with the	label...	"SESSION TAPES -- VINCENT GRAY"							CUT TO:	INT. BASEMENT - AFTERNOON	A tape slides into the tape player seated on Malcolm's desk.	Malcolm hits play.	THE SOUND OF A DOOR OPENING AND CLOSING IS HEARD.			     MALCOLM			(on tape)		Sorry about that.  Hope I didn't		leave you alone too long...  Wow,		it's cold in here.	WE HEAR A CHAIR MOVE AS MALCOLM SITS DOWN.  And then SILENCE.	Beat.			     MALCOLM			(on tape)		Vincent...  Why are you crying?			(beat)		Vincent?	A TEN-YEAR-OLD'S VOICE ANSWERS.			     VINCENT			(on tape crying)		Yes?			     MALCOLM			(on tape)		What happened?			(beat)		Did something upset you?	Beat.  VINCENT SNIFFLES.			     VINCENT			(on tape)		You won't believe.			     MALCOLM			(on tape)		I won't believe what?	Beat.			     VINCENT			(on tape)		I don't want to talk anymore.  I		want to go home, okay?  I want to		go home.	Beat.			     MALCOLM			(on tape)		Okay, Vincent, you can go home.	CLICK.  THE TAPE GOES TO SILENCE.	Malcolm just sits in the shadowy basement.  He doesn't move for a	while.	Then he hits the rewind button.  Stops it.  Presses play.			     MALCOLM			(on tape)		--about that.  Hope I didn't leave		you too long...  Wow, it's cold in		here--	Malcolm hits the rewind button again.  Lets it rewind for a	while.  Presses play.			     MALCOLM			(on tape)		--like needles either.  When I was		a kid, I had this blood test down --		threw up chill cheese fries all		over this male nurse.	WE HEAR VINCENT CHUCKLE SOFTLY.	THE SOUND OF A DOOR OPENING IS HEARD.			     SECRETARY			(on tape)		Excuse me, Doctor Reed is on line		two.			     MALCOLM			(on tape)		Vincent, I have to take this.  Give		me a minute.			     VINCENT			(on tape)		Okay.	FOOTSTEPS AS MALCOLM AND THE SECRETARY LEAVE THE ROOM.  THE DOOR	CLOSES.  AND THE SILENCE.	Nothing happens for a long time.  AND THEN WE HEAR A SUDDEN CHAIR	SCREECH ACROSS THE FLOOR.  VINCENT'S BREATHING QUICKENS.	A SLIGHT STATIC STARTS TO FILTER IN ON THE TAPE.	Malcolm's eyes are locked on the spool of audio tape as it spins	in the player.	Malcolm's fingers move to the volume dial.  He turns it way up.	THE STATIC NOISE FROM THE TAPE FILLS THE BASEMENT.	Malcolm leans closer to the tape player.  Closes his eyes and	listens...  Beat.	DEEP IN THE STATIC...  ANOTHER SOUND EMERGES, WHISPERING.	A MAN'S VOICE IS HEARD IN THE ROOM WITH VINCENT			     MAN'S WHISPERING			(on tape)		Familia...  No dejen que esto me		pase...  Mi familia...  Yo no		quiero morir...  Familia...	Malcolm's mouth opens in disbelief.			     MALCOLM		...Jesus Christ.							CUT TO:	EXT. STREET - AFTERNOON	Malcolm stands on a familiar sidewalk.  He stares into the bay	window of Mr. Marschal's brownstone.	Inside the window we see Mr. Marschal seated with a group of	older gentlemen his age.  They sit around a table eating	sandwiches and talking.  Malcolm watches as Mr. Marschal tells a	story to his friends.  WE CAN'T HEAR WHAT HE'S SAYING, but when	he finishes everyone at the table laughs.  Mr. Marschal smiles.	Malcolm can't help smiling as well.  This is not the same man he	saw before.  Life has returned to this house.  Beat.	Malcolm turns and moves down the street.  Each step faster than	the next.							CUT TO:	INT. CHURCH - LATE AFTERNOON	Malcolm moves to the front of the church down the center aisle.	His eyes scan the empty seats.  No one in sight in any direction.	Malcolm stands in the aisle a little out of breath.  He holds his	hand to his side as he winces a bit.	Malcolm's eyes float up to the balcony where toy soldiers sit on	the bannister.  Cole's head pops up.			     MALCOLM		Hello again.	He looks down and studies Malcolm.			     COLE		You been running around?	Malcolm nods, "Yes."			     COLE		It makes you feel better?	Malcolm nods, "Yes" again.			     COLE		I like to run around.  It's good		exercise.			(beat)		You want to ask me questions now?	Malcolm shakes his head, "No."			     COLE		You want to be a lance corporal in		Company M, 3rd Battalion, 7th		Marines?  We're being dispatched to		the Quang Nam province.	Cole holds up his plastic rifleman.  Malcolm's eyes show he	understands now.			     MALCOLM		Maybe later.	Beat.			     COLE		Something happened, didn't it?			     MALCOLM		Yes, it did.			     COLE		Are you wigging out?			     MALCOLM		Yes, I am.			     COLE		We're not gonna start crying again,		are we?			     MALCOLM		No, we're not.			     COLE		What happened?	Beat.	Malcolm glances around the empty church before looking back up to	Cole.			     MALCOLM		These people...  People that died		and are still hanging around.		Maybe they weren't ready to go.	Cole studies Malcolm's passionate face.  A new face.			     COLE		You really look better.			     MALCOLM		 Maybe they wake up that morning		 thinking they have a thousand		 things to do and a thousand days		 left to do them in...  And then		 all of a sudden, it's all taken		 away.  No one asked them.  It's		 just gone...			     COLE		You have nice red in your cheeks now.			     MALCOLM		Do you know what 'Yo no quiero		morir' is?	Cole shakes his head, "No."			     MALCOLM		It's Spanish.  It means...  'I		don't want to die.'			(beat)		Not all the ghosts are scary, are		they?  Like Mrs. Marschal?			     COLE		No.			     MALCOLM		What do those ghosts want when they		talk to you?  Think real careful		now, Cole...	Cole stops moving.  He looks over the balcony railing at Malcolm.			     COLE		Just help.			     MALCOLM		Yes!  I think that's right!...  I		think they all want that.  Even the		scary ones...			     COLE		You believe now?	Malcolm's stare is unwavering.			     MALCOLM		I believe both of you now.			(beat)		And I think I might know how to		make them go away.			     COLE		You do?	Malcolm nods "Yes."			     MALCOLM		I think they know you're one of		those guys rare people can see them.			(beat)		You need to help them.  Each one of		them.			(beat)		Everyone wants to be heard.		Everyone.	Cole takes a big sigh.  Fiddles with his riflemen.			     COLE		What if they don't want help?  What		if they're just angry and they want		to hurt somebody?			     MALCOLM		I don't think that's the way it		works, Cole.	Cole looks nervous.			     COLE		How do you know for sure?	Malcolm's eyes are drawn to Cole's arm.  Peeking out from under	his shirt sleeve are a set of cuts.  Malcolm gazes at them.			     MALCOLM		I don't.	Cole and Malcolm stand silently in the center aisle of the back	of the church.							CUT TO:	EXT. HOUSE - NIGHT	Malcolm moves around the corner on his street.  His mind surges	with thoughts.  And then he glances up.  His steps slow to a	complete stop.	Further down the sidewalk, coming out of the front door of his	house is SEAN.	Malcolm's face turns to stone.  He watches as Sean comes down the	front stairs and starts across the street.	A sudden rage surges up.  Malcolm moves towards Sean fast.	Sean reaches his car and enters it.  He doesn't notice the figure	closing in on him.	THE ENGINE STARTS.  Malcolm reaches the car a second late.  Sean	pulls away into traffic almost hitting another car as he does.	Malcolm watches the car disappear down the next street.  Beat.	Malcolm turns and looks up at his home with unchecked anger and	overwhelming pain erupting his eyes.							CUT TO:	INT. HOUSE - NIGHT	Malcolm stands in his foyer.	Anna is sitting on the stairs, phone in her hand.  She faces away	from the front.	Malcolm's a ball of tension as he listens to Anna talk into the	phone.			     ANNA		...You just walked out.  You're		probably on your way home.  I'm		leaving this message...  I just		didn't get to say what I meant...			(beat)		I know you're confused.  It's just...		I'm not prepared to do this, Sean.			(beat)		I don't want to be ashamed of that.		I don't want to have to make		excuses for that.			(beat)		And I wanted to tell you...  I		bought your present wholesale from		a friend.  I didn't even pay tax on		it.  You don't need someone cheap		like that.			(beat)		By the way, it's a non-refundable		item, it's scratched on the bottom.			(beat)		Are you smiling?...  I hope you're		smiling.			(beat)		I'll see you at the store.	Beat.  A long silence.  Then WE HEAR ANNA GENTLY HANG UP.	Malcolm leans back against an old radiator.  Beat.	His eyes close as the SOUND OF HIS WIFE'S FOOTSTEPS RISES UP THE	STAIRS.							CUT TO:	INT. BROWNSTONE - NIGHT	The house is silent.  No movement.	Cole is in his pajamas asleep on the floor of the TENT.	Curled up next to him is Sebastian.  They sleep surrounded by	statues and pictures.	Cole's eyes open as he hears HIS MOTHER'S DISTANT VOICE.			     LYNN		Cole...			(beat)		Cole, what's happening...	Cole quickly gets up and rushes out of the tent.  His foot	catches one of the chairs the tent is fastened to.  He stumbles	out.  He doesn't realize one of the bedsheets comes loose.  It	folds to the ground.							CUT TO:	INT. HALL - NIGHT	He doesn't stop as he moves through the shadowy hall and pushes	open his mother's bedroom door.							CUT TO:	INT. LYNN'S BEDROOM - NIGHT	Cole stands in the doorway to his mother's bedroom.  He looks	over the room carefully.  Everything is still.	Lynn's room is sparse.  No paintings, no accessaries.  A bed	without a frame sits in the corner.  A table with a sewing	machine fills the other side of the room.	HIS MOTHER'S VOICE turns his attention back to the bed.			     LYNN		Cole, what's happening to you?	Cole looks down and finds his mother laying in her bed.  Her face	contorted in deep sadness as she speaks in her sleep.			     LYNN		Is someone hurting you?...  I'll		beat their asses.	Cole smiles at his mother as he moves to her side.  Touches her	face with his tiny fingers.			     COLE			(whispers)		Momma, you sleep now.	His touch seems to have an effect.  Lynn becomes still in her	sleep.  Cole watches her carefully.							COT TO:	INT. HALL - NIGHT	Cole closes the door to his mother's bedroom shut.  He stands	still in the hallway.  Lets out a heavy sigh...	HIS BREATH ROLLS IN A TINY CLOUD IN FRONT OF HIM.	Cole's brow furrows.  He breathes again.  This time	intentionally.  Watches as his breath materializes in the	suddenly ice cold air.	Every muscle in Cole's eight-year-old body becomes rigid.  He	takes a second before moving through the inky darkness of the	hall.							CUT TO:	INT. BEDROOM - NIGHT	Cole hurries to fix his tent.  He ties the collapsed bedsheet in	a knot on the edge of the chair.  He checks it carefully before	entering the tent.							CUT TO:	INT. TENT - NIGHT	When Cole turns around, he stops breathing.	AN EIGHT-YEAR-OLD GIRL VOMITS ON HERSELF IN HIS TENT.  She	finishes and looks up at Cole with drawn eyes.			     GIRL		I'm feeling much better now.	The girl reaches out with her withered and emaciated hands --	tiny tubes hang from her wrists.  She scratches Cole as he	tumbles back terrified out of the tent.  The whole tent collapses --							CUT TO:	INT. LIVING ROOM - NIGHT	Cole runs hard out of his bedroom and down the hall to the living	room.  He gets down to the ground and slides under the wooden-	legged couch.	Sebastian is already huddled in fear under the couch.  Cole	presses as far back as he can and waits.	COLE'S P.O.V. -- is of the living room floor.  Chair legs.	Coffee table base.  Rugs...  Everything is still.	Cole holds his breath.  He waits.  Beat.  Nothing happens.  He	takes his first short breaths and watches the room for any sign	of movement.							CUT TO:	INT. COLE'S BEDROOM - NIGHT	A few minutes later.  Cole is now standing in his doorway.  He	stares at the hunched figure covered by the collapsed tent.	BEAT.  Cole makes a decision.  He looks like he is going to cry --	fights it back.	He walks towards it.  Reaches down and slowly pulls the sheet off	the figure.  The girl vomits one more time before looking up at	Cole.			     GIRL		I'm feeling much better.	Cole and the little girl stare silently at each other.  Cole	holds her stare with trembling eyes.	He opens his mouth -- it takes a while before the words come out.			     COLE		Do you want to tell me something?							CUT TO:	INT. PUBLIC BUS - DAY	A downtown Septa public bus.  Malcolm and Cole are among the	spattering of passengers.	They're both wearing suits.	Cole leans his head against the glass of the scratched window.	Cole's large eyes drink in the passing scenery.	COLE'S P.O.V. -- A dark, abandoned building stretches for an	entire block on one side.  A MAN IN A GREY, FULL-BODIED UNIFORM	WITH NUMBERS PRINTED ACROSS HIS CHEST...  RISES OUT OF THE TALL	WEEDS IN FRONT OF THE BUILDING.  HE HOBBLES HIS WAY DESPERATELY	TOWARDS THE BUS.  HIS HANDS AND LEGS ARE SHACKLED...  HE LUNGES	OUT FOR COLE IN THE PASSING WINDOW.			     SHACKLED MAN		My name's not Sullivan!	A GUNSHOT ECHOES IN THE AIR.  THE MAN'S CHEST EXPLODES IN RED AS	HE FALLS TO HIS KNEES SCREAMING.	Cole jerks back from the window.	The bus quietly drives past THE OLD PRISON BUILDING.	Cole stares down at his lap and tries not to look up anymore.	Beat.			     COLE		She came a long way to visit me,		didn't she?			     MALCOLM		I guess she did.	Cole falls into deep thoughts as he stares down at his dress	shoes.  Malcolm slips back into silence.	The city bus slithers through the old Philadelphia streets	working its way downtown.							CUT TO:	EXT. HOME - AFTERNOON	A modest home sits on a corner.  Its small lawn, groomed	carefully.  Rows of parked cars spill out from the driveway onto	the streets.	People in suits and dark dresses move somberly in and out of the	front door of the home.	Cole and Malcolm join the visitors as they walk slowly towards	the doors.	A frail, little girl about four years of age sits in a dark dress	on the swings in front of the house.  Visitors say hello to her	as they pass.  She doesn't say anything back.			     MALCOLM		Her little sister?	Cole nods, "Yes."	Malcolm and Cole watch her for a moment before following others	into the modest corner home.							CUT TO:	INT. HOME - AFTERNOON	The home is packed with people.  The gathering of mourners is	standing room only.  The AIR IS FILLED WITH DOZENS OF HUSHED	CONVERSATIONS.			     VISITOR #1		...can you imagine being a child in		a bed for two years?	We move to.			     VISITOR #2		...I think it was six.	We move to.			     VISITOR #3		...Six separate doctors?	We move to.			     VISITOR #4			(whispers)		...the little one's falling ill now...	We move to.			     VISITOR #5		...God help them...	A FAMILY PORTRAIT HANGS NEAR THE FRONT DOOR.  Two girls, one	bigger, one smaller sit on the ground in front of their mother	and father.  Their smiling faces welcome the mourners.	Malcolm and Cole are standing at the bottom of a staircase.	Waiting.	The front door opens as another group arrives.  Malcolm nods to	Cole as the foyer fills up.  The two of them quietly disappear	upstairs.							CUT TO:	INT. HALLWAY - AFTERNOON	The narrow hall is lined with boxes of medical supplies.  I.V.	stands, sterile needles and pads are in the process of being	taken away.  The boxes are piled outside a closed bedroom door.	Cole stares at the shut door like he doesn't want to go in.  His	eyes move to the large, colorful map of the world that dons the	hallway wall.  He gazes at the many countries and continents.	Beat.			     COLE		I wish I were somewhere else.			     MALCOLM			(soft)		Where will you go, where no one has		died?	Cole stares at the map and then turns to Malcolm.			     COLE		Don't go home, okay?			     MALCOLM		I definitely won't.	Cole turns and stares quietly at the door.  He waits a long time	before reaching for the doorknob.							CUT TO:	INT. GIRL'S BEDROOM - AFTERNOON	Cole closes the door behind him.  He turns and gazes at the	girl's bedroom.  There's a hospital bed near the window.  The	walls are covered with get-well cards and drawings from family,	friends, and school children.	Her shelves are filled with puppets.  All shapes and sizes of	puppets.  Next to the shelf is a puppet stage and a camcorder on	a mini tripod sitting next to it.	Cole walks to the shelf and picks up a FINGER PUPPET DANCER.  He	places it in his pocket.	On the girl's desk, is a large collection of video cassettes.	The labels read, "Puppet Show Christmas 96," "Puppet Show	Birthday party," "Puppet Show class trip"...	Cole reads the labels carefully before moving towards the	closets.  He passes the bed.	AN EMACIATED HAND REACHES OUT FROM BENEATH THE BED AND GRABS	COLE'S ANKLE.	Cole jerks back startled.  He watches as the girl's hand slips	back under the bed.  Cole stays very still.  Waits.  Nothing	happens.	He slowly bends down.  His hands touch the floor.  He tilts his	head and looks under the bed.	The emaciated little girl who came to his tent lays curled on the	floor.  Her bulging eyes glare at Cole.  She moves suddenly.	Thrusts a jewelry box forward.  It slides across the wooden floor	and stops just before Cole.  Cole and the sickly girl stare at	each other.  Neither of them say a word.							CUT TO:	INT. LIVING ROOM - AFTERNOON	The room is thick with mourners.  Most are gathered around the	GIRL'S MOTHER, a young woman in her late twenties.  As she moves	through the room to the kitchen, she receives the many cards,	hugs, and flowers that are offered as condolence.  Mrs. Collins	leaves the living room.	Malcolm watches breathlessly from the doorway as Cole moves	through the many adults across the room.	The girl's father, MR. COLLINS, a thin man in his late twenties,	is seated on the reading chair next to a T.V.  His face is	granite.  No one in the room dares to talk to him.  He stares	statue-like at an abstract point in the room.			     COLE		Mister?	The man doesn't react.  Some of the guests look oddly at the	little boy standing before the man.			     COLE		Excuse me, Mister.	Beat.  The man slowly turns and looks down at the boy standing	next to him.  Cole is very shaky.	Malcolm watches everything anxiously.	Cole stares at Mr. Collins.			     COLE		Are you Kyra's daddy?	The man's face begins to crumble.  Beat.  He nods, "yes" softly.	Cole holds out the jewelry box.  It trembles with his hands.	The father just stares at it.  Beat.			     COLE		It's for you...			(beat)		She wanted to tell you something.	The father becomes very still.  His eyes fill with a storm of	confusion and pain.  After the longest time, the father reaches	and gently takes the box out of Cole's small hands.	Cole begins to back away...	The father gazes at Cole as he melts into the crowd.  Cole	reaches Malcolm and the two then slip out of the house.	The father looks down in a daze.  He goes to open the jewelry	box.  His movements are slow and strained.  He lifts the latch	and open the box.	Mr. Collins stares at an unlabeled video cassette.							CUT TO:	INT. LIVING ROOM - AFTERNOON	People in the room start to turn as the T.V. comes on.  Mr.	Collins is seated now.	THE STATIC SNOW ON THE SCREEN IS QUICKLY REPLACED BY AN IMAGE.	TWO PUPPETS DANCE ON STAGE.  WE HEAR KYRA'S VOICE SING FOR THE	PUPPETS AS THEY DANCE AROUND.	Her father's face forms the most heartbreaking of smiles as he	watches the performance.	The entire room has stopped what they were doing.	T.V. SCREEN	WE HEAR FOOTSTEPS COMING UP THE STAIRS.  The puppets go limp.	The entire stage gets lifted up.  We see it carried away by Kyra.	We can view the whole bedroom now.  The camera is seated on her	desk in the corner.	Kyra climbs in bed and pretends to be sleeping when the door	opens.  It's Mrs. Collins.  She carries in a tray of soup and a	sandwich.	LIVING ROOM	The crowd watches in riveted silence.  The father never takes his	eyes off of the screen.	The image of the mother prepares the meal.  She uncovers the	fruit and the soup.  Places a straw into the drink.	And then it happens.	The image of the mother walks to a closet.  Opens it.  An	assortment of household cleaners and sponges are kept inside.	She pulls out a bottle of floor cleaner.  Reads the label for the	ingredients.  Walks back to the food tray, where she unscrews the	cap on the floor cleaner.  The mother pours some into the cap.	Checks it.			     MRS. COLLINS			(video tape)		That's too much.	The mother pours some into the bottle.  The remainder goes into	the child's soup.  She replaces the cap and puts the bottle back	in the closet.	The image of the mother turns to the bed carrying the tray.  She	places the food on a metallic rolling table and swings it over	the bed.			     MRS. COLLINS			(video tape)		Kyra, time for lunch.	Kyra pretends to wake from a deep sleep.			     KYRA			(video tape)		I'm feeling much better now.	The image of the mother smiles.			     MRS. COLLINGS			(video tape)		I'm glad, honey.			(beat)		Time for your food.			     KYRA			(video tape)		Can I go outside, if I eat this?			     MRS. COLLINS			(video tape)		We'll see.  You know how you get		sick in the afternoon.	Kyra picks up the spoon and takes a sip.  Her face crinkles at	the taste.  She looks up at her mother.			     MRS. COLLINS			(video tape)		Don't say it tastes funny.  You		know I don't like to hear that.	Kyra slowly brings the spoon to her mouth and swallows another	spoonful.	The father SHUTS OFF THE TELEVISION with his trembling hands.  He	presses his hands to his eyes like they're burning.	The ROOM IS UTTERLY SILENT.							CUT TO:	INT. DINING ROOM - AFTERNOON	Mrs. Collins is seated at the dining room surrounded by friends	and family.  She fixes one of the many bouquets of flowers on the	table.  It takes her a beat before she feels the stare.	She looks up.	Standing in the doorway to the dining room is Mr. Collins.  A	group of ashen faced guests stand in the distance behind him.	Husband and wife's eyes meet.  Mrs. Collins smiles softly.	Mr. Collins' eyes tremble with tears.			     MR. COLLINS			(soft)		You were keeping her sick...	The whole world stops.	The mother's face registers confusion at first.  Then slow	realization.  Her eyes glace at the many faces around her.	She looks back at her husband.  His glare is painful.  Rage	filling every cell of his body.  Tears falling faster down his	cheeks.	Mrs. Collins turns her attention back to the flowers.  She	concentrates with all her strength.  Beat.  Her hands begin to	shake.			     MRS. COLLINS			(to no one)		I took care of her...	Her words are met with ice cold stares.  The first tears stream	down her face.  The pretty flowers of consolation in her hand	tumble to the floor.							CUT TO:	EXT. HOUSE - AFTERNOON	Cole sits on the swings next to Kyra's four-year-old sister.  She	doesn't look up.	Malcolm waits in the driveway.  Watches them from a distance.	Cole reaches into his pocket and pulls out the little FINGER	PUPPET.  He holds it out.			     COLE		You liked it, she said.	The four-year-old stares at the finger puppet, then quietly takes	it in her small hands.	The two children don't say anything for a while.  Malcolm glances	to the house, where all movements in and out of the home has	ceased.	Cole turns to the four-year-old.			     COLE		She watched out for you.	The little girl finally looks up.  She has the saddest eyes.			FOUR YEAR OLD		Kyra's not coming back.	Beat.			     COLE		Not anymore.	The little girl stares down at the finger puppet.  Cole lightly	places a hand on her shoulder.	Nothing else is said.  Nothing else is done.	Malcolm looks across the two children on the swings.  One	mourning.  One consoling.	Malcolm takes it in, overwhelmed.							DISSOLVE TO:	INT. PROP ROOM - AFTERNOON	Stanley Cunningham moves between two curtains and comes to a prop	room door in the back.  He puts an ear to the door, listens and	then knocks.  After a second, he enters.	Mr. Cunningham finds Cole sitting in a poor villager costume as a	FEMALE TEACHER kneels next to him and makes final adjustments.	Cole and the woman glance at Mr. Cunningham.			     MR. CUNNINGHAM		They're calling for the stable boy.	Mr. Cunningham looks around the room and then directly at Cole.			     MR. CUNNINGHAM		Who were you talking to?	The Female Teacher looks to Cole and nods.			     FEMALE TEACHER		Poor Stanley.	She stands up.  The entire left side of her face has been burnt	horribly.  Grotesquely disfigured.			     FEMALE TEACHER		My favorite student.	THE FIGURE OF THE WOMAN MOVES PAST MR. CUNNINGHAM IN THE DOORWAY.	SHE DISAPPEARS INTO THE DARKNESS.	Cole puts on his tattered hat.			     COLE		Thanks for giving me this part, Mr.		Cunningham.	Mr. Cunningham smiles.			     MR. CUNNINGHAM		You're welcome, Cole.	They share a look before walking out of the prop room and	entering the hall.	We see them walking away.			     MR. CUNNINGHAM		You know when I was in school,		there was a terrible fire in this		section of the theater.  They		rebuilt the whole thing.	Beat.			     COLE		I know.							CUT TO:	EXT. SCHOOL - AFTERNOON	It begins to rain.  Malcolm pulls his jacket over his head as he	scurries up the stairs of the school.							CUT TO:	INT. HALL - AFTERNOON	Malcolm stands and catches his breath in the corridor of St.	Anthony's Academy.	A teacher rushes in the hall with an armload of costumes.			     MALCOLM		Has the play started yet?	The teacher hurries past Malcolm and down the hall without saying	a word.			     MALCOLM		Is that a yes?	The teacher scurries around a corner.  Malcolm watches her	curiously.							CUT TO:	INT. AUDITORIUM - AFTERNOON	Malcolm moves quickly to a set of double doors and opens them.	He steps into the DARKNESS OF THE AUDITORIUM.	The play is in full swing...  Cole and a large group of costumed	children are on stage.  Cole holds a broom and wears a worn-down	costume.  He stands to the side -- hidden by others.	A boy in a shiny-armored costume walks to the center of the stage	where a large cardboard stone is seated.  A sparkling HANDLE	sticks out of the top.	The armored boy tries to lift it.  It won't budge.	Bobby, the chubby boy from the party, is dressed in a magician's	costume.  He is Merlin.  He steps forward.			     MERLIN		Only he who is pure of heart can		take the sword from the stone.	Merlin looks to the group on stage.  Looks right at Cole.			     MERLIN		Let the boy try.	The group of villagers on the stage LAUGH AND MOCK THE SUGGESTION.	Tommy Tammisimo is dressed in a mismatched costume -- he hops	around, clearly embarrassed.			     TOMMY			(half-heartedly)		But he's the stable boy.  He cleans		after the horses.			     MERLIN		Silence village idiot!  Let the boy		step forward.	Tommy turns a deep shade of red and hobbles off the stage.	Merlin looks to Cole.  He smiles a true friend's smile.			     MERLIN		Arthur...	Cole hesitates.  Not because he's acting.  He really hesitates.	It takes him a moment before he steps forward.	Cole steps up to the stone.  He places his hand around the	handle.  Begins to pull.  The sword starts to come out.	The villagers GASP.	Cole raises the shiny sword out of the stone and high above his	head.	Merlin and everyone on stage bows.  A SILENCE FILLS THE	AUDITORIUM.	Malcolm watches his client, standing unafraid in the spot light	for the first time.	The villagers rise and rush to Cole.  They scoop him up and carry	him around the stage in celebration.  Cole chuckles and then	starts laughing as the group of eight-year-olds try	unsuccessfully to keep him up.  They slowly sag and then	collapse.  All the students are laughing as they try to untangle	themselves.	Malcolm watches with utter joy as Cole becomes indistinguishable	among of a group of twenty children giggling and enjoying	themselves on stage.							CUT TO:	INT. SCHOOL LOBBY - LATE AFTERNOON	The rain comes down a little stronger now on the stained glass	window.	Malcolm sits on the stairs in the lobby.  Cole walks back and	forth in front of him.  Cole still holds the sword from the play.			     COLE		How come we're so quiet?	Malcolm shrugs his shoulders.			     MALCOLM		I think we said everything we		needed to say.			(beat)		Maybe it's time to say things to		someone else?  Someone close to you?			     COLE		Maybe.	Cole keeps moving.  Beat.			     COLE		I'm not going to see you anymore,		am I?	Malcolm doesn't respond for a while.  He shakes his head, "No."	Beat.			     MALCOLM		You were great in the play, Cole.			     COLE		Really?			     MALCOLM		And you know what else?			     COLE		What?			     MALCOLM		Tommy Tammisimo sucked big time.	Cole smiles huge.  Beat.  Cole's sword drags on the tile as he	continues to circle around the hall.  We get the idea he doesn't	want to be still.			     COLE		...Maybe we can pretend we're going		to see each other tomorrow?	Cole glances at Malcolm.			     COLE		Just for pretend.	Beat.  Malcolm exhales very slowly as he gets up.			     MALCOLM		Okay, Cole, I'm going to go now...		I'll see you tomorrow.	Cole watches as Malcolm walks down the stairs to the entrance.	Cole stops moving.			     COLE			(soft)		See you tomorrow.	Malcolm's face shows his losing battle against his emotions.  He	doesn't turn to look back.							CUT TO:	EXT. CAR - LATE AFTERNOON	A rain-soaked bridge.  A two-lane road merges to one lane around	a severe car accident.  A rear-ended car has jumped the sidewalk	and hit the guard rail of the bridge.  The driver is helped out	by police.  He's shaken but okay.  Police flares guide the cars	as they crawl by.	Lynn and Cole are standing still in bumper-to-bumper traffic.	Lynn leans her chin on the steering wheel.  She tries to stare	through the layer of water on the glass.  She hits the windshield	wipers.			     LYNN		I hope nobody got hurt.	Beat.  Lynn glances over to Cole who sits in his seat silently.			     LYNN		You're very quiet.			(beat)		You're mad I missed the play,		aren't you?	Cole shakes his head, "No."			     LYNN		I have two jobs, baby.  You know		how important they are for us.	Beat.			     LYNN		I'd give anything to have been		there.			     COLE		I'm ready to communicate with you		now.	Beat.			     LYNN		Communicate?			     COLE		Tell you my secrets.	The way he says the words gives Lynn a chill.			     LYNN		What is it?	Cole takes a long time.			     COLE		You know that accident up there?			     LYNN			(confused)		Yeah.			     COLE		Someone got hurt.			     LYNN		They did?			     COLE		A lady.  She died.			     LYNN		Oh my God.	Lynn leans over the steering wheel.  She wipes the windshield	with her palm to see better.			     LYNN		You can see her?			     COLE		Yes.	Lynn gazes out the windshield at the line of red tail lights.	Beat.			     LYNN		Where is she?			     COLE		Standing next to my window.	A WOMAN IN HER LATE FORTIES, HELMET CRACKED, HAIR MATTED WITH	RAIN AND BLOOD, STANDS STARING THROUGH COLE'S PASSENGER WINDOW.	Lynn looks over slowly.  She doesn't see anything outside his	window.  She eyes Cole.			     LYNN		Cole, you're scaring me.			     COLE		They scare me too sometimes.			     LYNN		They?			     COLE		Dead people.			     LYNN		Dead people?			     COLE		Ghosts.	Beat.			     LYNN		You see ghosts, Cole?			     COLE		They want me to do things for them.			     LYNN		They talk to you?	Cole nods, "Yes."			     LYNN		They tell you to do things?	Cole nods "Yes" again.  Lynn becomes upset.  She nods with grave	understanding.  Cole watches her.			     COLE		What are you thinking, Momma?			     LYNN		...I don't know.			     COLE		You think I'm a freak?	Lynn's eyes moves to Cole.			     LYNN		Look at my face.	Cole gazes at her intense expression.			     LYNN		I would never think that about you		...  ever... Got it?			     COLE		Got it.	BEAT.  Cole smiles a tiny smile.  Lynn glances down.			     LYNN		Just let me think for a second.	She drowns in her thoughts.  Beat.			     COLE		Grandma says hi.	Lynn looks up sharply.			     COLE		She says she's sorry for taking the		bumble bee pendant.  She just likes		it a lot.			     LYNN		What?			     COLE		Grandma comes to visit me sometimes.	Lynn becomes still.  Her face is unreadable.  When she speaks,	her words are extremely controlled.			     LYNN		Cole, that's very wrong.  Grandma's		gone.  You know that.			     COLE		I know.	Beat.			     COLE		She wanted me to tell you--			     LYNN			(soft)		Cole, please stop.			     COLE		She wanted me to tell you, she saw		you dance.	Lynn's eyes lock on Cole's.			     COLE		She said when you were little, you		and her had a fight right before		your dance recital.  You thought		she didn't come to see you dance.		She did.	Lynn brings her hands to her mouth.			     COLE		She hid in the back so you wouldn't		see...  She said you were like an		angel.	Lynn begins to cry.			     COLE		She said, you came to her where		they buried her.  Asked her a		question...  She said the answer is		"Everyday."	Lynn covers her face with her hands.  The tears roll out through	her fingers.			     COLE			(whispers)		What did you ask?	Beat.  Lynn looks at her son.  She barely gets the words out.			     LYNN			(crying)		Do I make her proud?	Cole moves closer to Lynn.  She cradles him in her arms.  Mother	and son hold each other tight.	WE PULL BACK FROM THE WINDSHIELD, BACK PAST THE FRONT BUMPER	WHERE THE FIGURE OF THE BLOODED WOMAN STANDS STARING AT COLE AND	HIS MOTHER.	WE SEE A MANGLED BIKE PULLED OUT FROM THE REAR-ENDED CAR ON THE	SIDEWALK.  WE MOVE UP AND AWAY FROM THE RAIN-SOAKED BRIDGE.							CUT TO:	EXT. MALCOLM'S HOUSE - NIGHT	Malcolm walks quietly down the sidewalk towards his home.							CUT TO:	INT. LIVING ROOM - NIGHT	Malcolm enters the living room and smiles at what he sees.	Anna is asleep in a chair.  She's curled up in a ball.  In a way,	she looks like a little girl.	Their WEDDING VIDEO PLAYS SOFTLY ON THE TELEVISION.	Malcolm watches himself and Anna cutting their wedding cake.  THE	CROWD APPLAUDS AS THEY FEED EACH OTHER PIECES.	Malcolm turns from the television and takes a seat next to Anna.	He gazes upon his wife softly.			     MALCOLM			(whispers)		Anna, I've been so lost.			(beat)		I need my best friend.	Silence.  Malcolm gazes for a beat before looking down.			     ANNA		I miss you.	Malcolm's eyes move back up.  He looks at his sleeping wife.	ANNA'S TALKING IN HER SLEEP.	Malcolm can't believe it.			     MALCOLM		I miss you.	Beat.  Her lips move again.  Eyes never open.			     ANNA		Why, Malcolm?			     MALCOLM		What, Anna?  What did I do?  What's		made you so sad?	Beat.			     ANNA		Why did you leave me?			     MALCOLM		I didn't leave you.	Beat.  She becomes silent.  Anna falls back into deep sleep, her	arm slides down.  SOMETHING SHINY FALLS OUT AND ROLLS ON THE	GROUND.	Malcolm's eyes watch as it comes to a stop...  Beat.  He gazes	curiously at a GOLD WEDDING BAND laying on the wood floor.	Confusion washes over his face.  He looks to Anna's hand...  An	identical gold wedding ring sits on her finger.	Beat.  Malcolm looks down at his own hand...  HIS WEDDING RING IS	GONE.	Malcolm is completely lost.  He takes a couple steps back.  Looks	around in confusion...	His eyes come to rest on the door to his basement office.  He	looks in disbelief at the set of DEAD BOLT LOCKS on the door.	Malcolm doesn't know what the hell's going on...  His eyes are	drawn to the dining table...  Only ONE PLACE SETTING is out on	the tabletop.	His eyes search again -- they finally lock on the WEDDING VIDEO	PLAYING.  Malcolm watches images of himself on the screen...  His	eyes fill with a storm of emotions...	Malcolm looks to Anna's face and becomes very still.  Beat.	CLOSE ON ANNA...  TILL HER SLEEPING FACE FILLS THE FRAME...  IT'S	NOW WE NOTICE FOR THE FIRST TIME, THAT ANNA'S BREATHS ARE FORMING	TINY CLOUDS IN THE COLD AIR.			     MALCOLM			(like he's falling			 down a deep hole)		No...							SLAM CUT:	FLASHBACK:  INT. BEDROOM - NIGHT	VIOLENT GUN SHOTS RING THROUGH THE BEDROOM.	Anna rushes across the room to a crumpled Malcolm laying on the	floor.  Malcolm's hands are clutched at his side.	Anna pries his hands away to reveal the tiniest tear in his	shirt.  Anna's eyes catch something dark -- moving...  A POOL OF	BLOOD IS FORMING UNDER MALCOLM.  She slowly turns him over on his	side...  A horrific sight...  An enormous exit wound on his lower	back pours out blood uncontrollably.	Malcolm's jaw is locked open.  His breaths are long and strained.	ANNA IS SCREAMING, BUT HER VOICE SOUNDS FAR AWAY.	Malcolm's open jaw releases a long strained breath and then	becomes silent.  Anna tries to cover the wound with her hands	desperately.							SLAM CUT:	PRESENT:  INT. LIVING ROOM - NIGHT			     MALCOLM			(screaming)		     ANNA!	MALCOLM'S VOICE SHAKES THE ROOM.	Anna just sleeps.	Malcolm staggers back.  His breathing erratic.	He takes a seat across from her.  He looks at his wife and	suddenly becomes very still.	Anna's still curled up asleep, but tears are falling from her	shut eyes.	Beat.			     MALCOLM		Don't cry.	Anna doesn't move, but her tears seem to fall a little faster.			     MALCOLM		I think I have to go.	Malcolm's mind is racing.			     MALCOLM			(realizing)		I just needed to do a couple of		things.			(beat)		And I needed to tell you something.			     ANNA		Tell me.	Beat.			     MALCOLM		You were never second...  Ever.	Malcolm gazes at his wife.  Tears fall from both their eyes.			     MALCOLM		You sleep now, Anna.  Everything		will be different in the morning.	Anna lays still.			     ANNA		Goodnight, Malcolm.			     MALCOLM		Goodnight, sweetheart.	The room falls into silence.  Malcolm sits still across from his	wife.  He drinks her in with his eyes.	Malcolm leans back in the chair.  Slowly closes his eyes.  They	close shut.	WE ARE TIGHT ON ANNA...  WE SEE HER SOFT BREATHS FORMING A TINY	CLOUD IN THE COLD AIR...	WITH EACH BREATH, THEY BECOME LESS AND LESS VISIBLE...  THE ROOM	BECOMING LESS AND LESS COLD.	SOON HER BREATHS AREN'T VISIBLE AT ALL.  SHE BREATHES GENTLY,	FALLING BACK INTO A PEACEFUL SLEEP.	WE PULL BACK to reveal Anna alone in the living room.	THE WEDDING VIDEO PLAYS ITS LAST SCENES...  MALCOLM IS AT THE	MICROPHONE ON THE DANCE FLOOR IN FRONT OF ALL THE GUESTS.  HE'S	HOLDING A GLASS OF WINE.			     MALCOLM			(on tape)		...I think I've had too much to		drink.	Malcolm smiles as he takes a sip.  The guests chuckle as they	watch.  Beat.			     MALCOLM			(on tape)		I just have to say, this day today		has been one very special day...		I wish we all could stay and play.	The crowd erupts in LAUGHTER.			     MALCOLM			(on tape)		What?	Malcolm looks around at everyone's smiling faces.	Beat.  Malcolm takes his time.  He looks just past the camera.			     MALCOLM		Anna, I never thought I'd feel the		things I'm feeling.  I never		thought I'd be able to stand up in		front of my friends and family and		tell them what's inside me...		Today I can...	Malcolm's eyes fill with water.			     MALCOLM			(softly)		Anna Crowe...  I am in love.  In		love I am.							FADE TO BLACK:				THE END
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+	S L E E P L E S S   I N   S E A T T L E	by Jeff Arch	Rewritten: Nora Ephron & Delia Ephron	May 10, 1992	--------------------------------------------------------------	FADE IN:	CLOSE ON SAM BALDWIN	A card: Chicago.	He's in his thirties.  His neck is pinched into a crisp 	dress shirt and tie.  His expression is vacant, faraway.	A breeze blows but he doesn't react to it.  In the 	distance the architecture of the Chicago skyline.				 SAM		   Mommy got sick and it happened 		   just like that and there was 		   nothing anybody would do.			   (continued)	And pull back to reveal:	EXT. CHICAGO - A GRAVESITE - DAY	Next to Sam is his son Jonah, age 9.  Sam's hand is on 	his shoulder.  As the mourners go past and each takes a 	turn shoveling a clod of dirt into an open grave --				 SAM		    If we start asking why we'll go 		    crazy.  So, rule number one.  		    We don't ask why.							CUT TO:	CLOSE ON ANNIE REED	Pretty, blonde, animated.  Jeans, a T-shirt, a Baltimore 	Orioles hat.				 ANNIE		    Why? I just want to know why? 		    That's my first rule.  I always 		    ask why.  Come on.  Tell me.  		    C'mon, c'mon, c'mon --	And pull back to reveal:	EXT. CHICAGO ALLEY - DAY	Annie is talking to her boyfriend, a good-looking guy 	named SETH.  They're carrying packing boxes into the 	house they share in the Old Town section of Chicago.  	The same stunning architecture in the b.g.  They go up 	the back wooden staircase to the house.				 SETH		    There's no why, Annie.  I'm 		    just not up for it.  I never 		    said I was.				 ANNIE		    Is there somebody else?				 SETH		    Nope.				 ANNIE		    You don't love me, is that it?				 SETH		    Nope.	Follow them into:	INT. KITCHEN - DUSK	As they set down the packing boxes and Seth starts to 	assemble them.				 ANNIE		    How about ... you're too 		    narcissistic to commit to 		    another human being in a long-		    term way.				 SETH			   (agreeably)		    That's good.							CUT TO:	INT. SAM'S CHICAGO TOWN HOUSE - DAY	An attractive, thirtyish couple, SUZY and GREG are 	stocking Sam's freezer with enough Ziploc meals for a 	months.  A number of friends and relatives talk quietly 	in the living room beyond.  Sam stands alone by a window 	that looks into the backyard.  We can see a garden of 	flowers -- clearly planted by Sam's wife.				 SUZY		    Five minutes in the microwave.  		    Any one of them, five minutes 		    and done.  Ready to eat.  Do 		    you know how to make juice?				 SAM		    Microwave.  Five minutes.							CUT TO:	ANNIE'S KITCHEN - SEVERAL DAYS LATER	Packing boxes.  Seth is moving out.				 ANNIE		    You take the microwave?				 SETH		    What am I going to do with a 		    microwave?				 ANNIE		    You turn it on, you open it and 		    you stand in front of it for a 		    very long time.				 SETH		    So you're angry.  Big deal.							CUT TO:	SAM'S OFFICE - DAY	A large modern architectural firm in a Chicago high-	rise.  Lake Michigan out the window.  A large space with 	several architects consulting, drafting, etc.  Sam is at 	his desk, working.  An older colleague, ROB, comes over 	to him.  Rob has a mustache, smokes a pipe; he's kind 	but a little stuffy.				 ROB		    Young man, it's none of my 		    business, but maybe you should 		    talk to someone.  I myself 		    have consulted a professional.  		    I used to be up tight.	On Sam's face.  It's hard to imagine Rob being any more 	uptight than he is.  Sam takes some business cards out 	of his shirt pocket and reads them off.				 SAM		    Hypnotherapy...Shiatu Massage...		    Loss of Spouse support groups...		    Single parent discussion nights...		    Parents without partners.			   (starts riffling, angry)		    Partners without parents.  		    People who need people.  Guys 		    who go into the woods, beat 		    drums and bond.  Get a shrink.  		    Hug a friend.  Hug yourself.	He stops, realizing that everyone in the room is staring 	at him.  Quickly they pretend they weren't paying 	attention.  Someone whispers something to a client.				 SAM			   (continued)		    Don't mind him.  He's the guy 		    who just lost his wife.			   (beat)		    What I really think is we need 		    a change.				 ROB		    Good idea.  Take a few weeks 		    off, get some sun, take Jonah 		    fishing --				 SAM			   (shaking his head no)		    A real change.  New city.  		    Someplace where every time I go 		    around a corner I don't think 		    of Maggie.	And hold on Sam for a moment and--							DISSOLVE:	EXT. WRIGLEY FIELD - DAY	Sam, Jonah and Maggie walking toward the field.  It's a 	gorgeous day for a game.  They high-five each other.				 ROB (V.O.)		    Where you going to go?	And cut back to:	INT. SAM'S OFFICE - DAY	As Sam snaps out of it.				 SAM		    I was thinking about Seattle.	INT. CHICAGO TRIBUNE - DAY	The Living Section of the paper.  Annie is blowing her 	nose as she finishes telling her tale of woe to her 	boss, LAURIE JOHNSON.				 LAURIE		    Honey, he wasn't right for you.				 ANNIE			   (blowing her nose)		    I know.				 LAURIE		    He wasn't even wrong for you, 		    like cosmically wrong, so don't 		    beat up on yourself for 		    wasting...however long it was.				 ANNIE		    I know.			   (blowing her nose 			    again)	She pours Annie a cup of hot water.  Annie pulls a 	teabag out of her pocket, puts it into the water.				 LAURIE		    Maybe you should see a shrink.			         ANNIE		    I want my money.				 LAURIE		    Go home for the weekend.				 ANNIE			   (after a beat)		    That's what I'm going to do.  		    I'm going to go home.			   (she thinks about it)		    I quit.  Laurie, I quit.  I'm 		    going back to Baltimore.			   (she's giddy)		    How does a blonde do a high-		    five?	She smacks herself in the head.							CUT TO:	O'HARE AIRPORT - DAY	The X where walkway K crosses with walkway L.  Coming 	down walkway K are Sam, Jonah, Suzy, Greg, their son 	MACK, and several other friends.	And coming down walkway L is Annie with Laurie and a 	couple of FRIENDS from the paper, JUDITH and DIANE.	They pass each other going in diagonal directions and 	continue on.	We stay with Sam's group:				 JONAH			   (to Mack)		    Dad says I'm going to get used 		    to it, but I don't think you 		    can ever get used to a 		    designated hitter.	overlap:				 SUZY			   (to Sam)		    Eventually, in a few months, 		    you'll start seeing women, 		    you'll meet someone.				 SAM		    Move on.  Right.  That's what 		    I'm going to do.  In a few 		    months, boom, I'll be fine, 		    I'll just grow a new heart.				 SUZY		    I'm sorry --				 GREG		    Sam, she didn't mean --	Sam is shaking his head no as they reach the gate for 	the Seattle plane.				 SAM		    I know, I know.			   (emphatic)		    Look, it doesn't happen twice.							CUT TO:	Annie's group, as they approach the gate for the 	Baltimore plane.				 ANNIE		    I'm going to meet someone, 		    someone nice and stable who 		    wears a hat so he won't catch a 		    cold, and I'm going to marry 		    him and have three children 		    and live happily ever after.  		    I mean, I am not cut out for this 		    --				 DIANE		    For what?				 ANNIE		    For life as we know it.				 LAURIE		    Just make sure he isn't fat 		    like my Michael or you'll spend 		    your whole life worrying he's 		    going to drop dead.				 JUDITH		    God, you guys are so romantic.				 ANNIE		    Do you know how long romance 		    lasts?			   (she snaps her fingers)		    That long.				 DIANE		    Steven still brings me flowers 		    every Friday and we've been 		    married 10 years.				 LAURIE			   (to Diane)		    Honey, nobody wants to hear 		    that.			   (to Annie)		    Here, darling, have some Tic 		    Tacs.	Kissing everyone.  Annie starts toward the plane, loaded 	with stuff.				 ANNIE		    The next time you see me I am 		    going to be incredibly happy.	INT. PLANE - NIGHT	Sam and Jonah sitting together as the plane waits on the 	runway.  He notices his father's distractedness, reaches 	over and takes his hand.  Sam comes back into focus.				 SAM		    I'm your dad.  Don't ever 		    forget that.  That's rule 		    number two.			   (beat)		    It's you and me, kid.	INT. PLANE - NIGHT	Annie sitting by herself as the plane waits on the 	runway.				 ANNIE			   (to herself)		    I guess it's just us.	She gulps.	EXT. O'HARA AIRPORT - NIGHT	The two planes face in opposite directions, waiting for 	instructions.	And now they both start to take off.  In opposite 	directions.	And we pull back back back back as the planes take off, 	one flying east, the other flying west.	And further and further back as they soar into the air 	and leave the frame.	The night sky.	Stars twinkle.	And now tilt down to see the United States.  It looks 	like a cross between a satellite photo and a drawing by 	Saul Steinberg.	A light goes on in Baltimore.	A light goes on in Seattle.	They are the only lights on the map.	EXT. BALTIMORE SUN BUILDING - LATE AFTERNOON - CHRISTMAS EVE	As Annie comes out of the newspaper building with WALTER 	JACKSON, a tall, handsome man who wears a hat.  They're 	carrying an armful of Christmas presents.  They're 	walking toward the parking lot.				 WALTER		    The short one with black hair 		    is your cousin Irene --				 ANNIE		    -- who's married to --				 WALTER		    Harold, who ran away with his 		    secretary but came back --				 ANNIE		    -- because Irene threatened to 		    put the dog to sleep if he 		    didn't --				 WALTER		    And your brother Tom is a 		    psychology professor and is 		    married to...Betsy --				 ANNIE		    -- who is the most competitive 		    woman in the world --	They put the presents in the backs of their two cars and 	pull out together.	EXT. A HOUSE IN BALTIMORE SUBURBS - NIGHT	Christmas lights twinkling as the two cars pull up in 	front of a comfortable upper middle-class house and park 	their cars.  They get out assembling presents.				 WALTER		    Your Uncle Milton lost all his 		    money in a Puerto Rican 		    condominium that went belly up, 		    don't mention the IRS or the 		    Federal prison system.  Your 		    mother is Barbara, your father 		    is Cliff --				 ANNIE		    I hope he doesn't get out his 		    slides.				 WALTER		    Am I what they had in mind?				 ANNIE		    They're going to love you.	As they start toward the house.							CUT TO:	CLANGING ON THE WINE GLASSES.	AND PULL BACK TO REVEAL:	INT. ANNIE'S PARENTS' DINING ROOM - NIGHT				 BARBARA		    Everybody! Annie has an announcement --				 ANNIE		    Walter and I are engaged!	And the family's at the diner table.  Annie's family is 	a completely normally-looking WASP family -- only 	everyone is a little eccentric.  Annie's mother BARBARA, 	a beautiful gray-haired, fantastically cheerful woman, 	claps her hands together.  Her father CLIFF, who's at 	the head of the table next to her, gives Annie a kiss.  	Annie's brother TOM and his wife BETSY are at the table, 	along with cousin IRENE and her husband HAROLD.  UNCLE 	MILTON, who's Irene's father and Barbara's brother.  	There are about FIVE CHILDREN there, too.				 IRENE		    That's wonderful, Annie.  I 		    hope it lasts... for years 		    and years.				 BETSY			   (the competitive one)		    Do you have a ring?				 ANNIE		    No.  Not yet.				 BETSY		    Oh.  Well.  How will anyone 		    know?				 TOM		    Because you're going to call 		    them all and tell them.  		    Congratulations, Walter.	He claps Walter on the back.	Walter sneezes.  And sneezes again.				 CLIFF		    Are you all right?				 WALTER		    It's nothing.  Nothing.				 ANNIE		    It's probably just the flowers --				 BARBARA		    We'll move them --				 WALTER		    Don't touch them.  I feel 		    terrible sneezing at a time 		    like this.  This is a big 		    moment for me --				 ANNIE			   (overlapping)		    He's allergic to everything, 		    don't worry about it --				 HAROLD		    Bees.  I'm allergic to bees.				 CLIFF		    Not salmon I hope --				 ANNIE		    If he eats one tiny piece of a 		    nut --				 WALTER			   (cheerfully)		    My head swells up like a 		    watermelon and I drop dead.				 IRENE		    It's the same with Harold and 		    bees.				 CLIFF		    Your mother and I had salmon at 		    our wedding, and I really think 		    a wedding without cold salmon --				 WALTER		    I'm not allergic to salmon.  I 		    don't think.  But you never 		    know.				 HAROLD		    You never know.				 BARBARA		    Oh, honey, I feel terrible, we 		    used up this magnum of 		    champagne we were saving on 		    something else, what did we use 		    it for?				 TOM		    Uncle Milton's parole --				 BARBARA		    Right.				 UNCLE MILTON		    And it was delicious.				 BARBARA		    It was, wasn't it, Milton 		    darling --				 BETSY		    When are you getting married, 		    Annie?				 CLIFF		    In early June.  In the garden.				 HAROLD		    Does it have to be in the garden?				 IRENE		    What about Harold and bees?				 BARBARA		    We'll spray you.				 CLIFF		    Cold salmon.  A lovely cucumber 		    salad.  Strawberries.				 WALTER		    I'm afraid I'm allergic to 		    strawberries.				 CLIFF		    No strawberries.	Annie smiles at Walter.				 ANNIE			   (to Walter)		    Is that all right with you?				 WALTER			   (to Lou Gehrig line)		    Today I consider myself the 		    luckiest man on the face of 		    the earth.				 IRENE		    What are you wearing?				 ANNIE		    I don't know.				 BETSY		    I wish you would wear my dress.  		    I only wore it once, and you'll 		    barely have to do anything to 		    it except take it in in the 		    bust --				 BARBARA		    I have something that might do 		    --	INT. LIVING ROOM - LATER	Walter is sitting on the couch as Cliff shows him slides 	of cloud formations in Guatemala.  In the next room 	Tom's at the piano and the kids are singing Christmas 	carols.	INT. BACK STAIRWAY - SIMULTANEOUS	MAX, one of the children, is teaching Uncle Milton to 	burp.	INT. ATTIC - NIGHT	The sound of Christmas carols from below.	The attic is full of boxes and Annie walks through with 	her mother.  They come to a dressmakers dummy with a 	sheet over it.  Barbara removes the sheet.  A beautiful 	antique dress.  A veil sitting on top of the dummy.				 BARBARA		    The Historical Society wanted 		    this and I never would give it 		    to them --				 ANNIE		    Granny's dress.  Oh, Mom.				 BARBARA		    I notice these things are back 		    in fashion.  Oh, honey.			   (tears are rolling down 			    her face as she tries 			    the veil on Annie)		    He's a lovely man, Annie.				 ANNIE		    I know.  He's wonderful, isn't 		    he?				 BARBARA		    Are his folks nice?				 ANNIE		    You'll love them.  We're going 		    down to D.C.  tonight to be with 		    them Christmas morning.				 BARBARA		    How did it happen?	Barbara starts to unbutton the tiny buttons on the back 	of the dress and remove it from the dummy.				 ANNIE		    It's silly, really.  I mean, 		    I'd seen him at the office, 		    obviously I'd seen him, he's 		    the associate publisher, and 		    then one day we both ordered 		    sandwiches from the same place, 		    and he got my lettuce and 		    tomato sandwich on whole wheat, 		    which of course he was allergic 		    to, and I got his lettuce and 		    tomato on white.				 BARBARA			   (utterly without irony)		    How amazing.				 ANNIE		    It is, isn't it? You make 		    millions of decisions that mean 		    nothing and then one day you 		    decide to order takeout and it 		    changes your life.				 BARBARA		    Destiny takes a hand.				 ANNIE		    Oh, please.  Destiny's just 		    something we've invented 		    because we can't stand the fact 		    that everything that happens is 		    accidental.				 BARBARA		    Then how do you explain that 		    you both ordered exactly the 		    same sandwich except for the 		    bread? How many people in this 		    world like lettuce and tomato 		    without something else like 		    tuna?				 ANNIE		    It wasn't a sign.  It was a 		    coincidence.	Barbara shrugs, slips the dress off the dummy and Annie 	steps into it.	Barbra starts to button the dress on Annie.				 BARBARA		    I was in Atlantic City with my 		    family.  Cliff was a waiter.  		    He talked me into sneaking out 		    for a midnight walk on the 		    Steel Pier.  I've probably told 		    you this a million times, but 		    I don't care.  And then he held 		    my hand.  I was scared.  All 		    sorts of thing were going 		    through my head.  But after a 		    while I forgot about them.  At 		    one point I looked down, at our 		    hands, and I couldn't tell 		    which fingers were mine and 		    which were his.  And I knew.				 ANNIE			   (hearing it for the 			    first time)		    What?				 BARBARA		    You know.				 ANNIE			   (she doesn't know, but 			    she doesn't want her 			    mother to know she 			    doesn't know)		    What?				 BARBARA		    Magic.  It was magic.				 ANNIE			   (repeating)		    Magic.				 BARBARA		    I knew we would be together 		    forever, and that everything 		    would be wonderful, just the 		    way you feel about Walter.  		    Walter.  It's quite a formal 		    name, isn't it?			   (lowering her voice)		    One of the things I truly knew 		    was that your father and I were 		    going to have a wonderful time		    ... in the sack I believe you 		    call it --				 ANNIE		    Mom!				 BARBARA		    Of course it took several years 		    before everything worked like 		    clockwork in that department, 		    so don't be worried if it takes 		    a while --				 ANNIE		    Mom, we already...				 BARBARA		    Well, fine, fine.  Fiddle da 		    dee.  And how's it working?				 ANNIE		    Like... clockwork.	She turns to look in the mirror.  The dress doesn't fit 	at all.  It's completely lopsided.  One shoulder is 	higher than the other.  The waist is in the wrong spot.  	The effect is quite comical.				 BARBARA		    So you'll get married in a new 		    dress.				 ANNIE		    It's a sign.				 BARBARA			   (gently)		    You don't believe in signs.	EXT. STREET - LATE	The house Christmas lights sparkle outside, twinkling on 	the tree inside, and the warm light spilling out.				 ANNIE		    They loved you.  I told you 		    they would love you and they 		    did.				 WALTER		    I love you.				 ANNIE		    I love you, Walter.			   (beat)		    Did anyone ever call you 		    anything other than Walter?				 WALTER		    Nope.				 ANNIE		    Even when you were young?				 WALTER		    Nope.  Not even when I was 		    young.	It's starting to rain.				 WALTER		    You sure you don't want to 		    drive with me?				 ANNIE		    How will I get back to 		    Baltimore Saturday?			   (remembering something)		    Oh God, I forgot my present for 		    your stepmother -- I took it 		    inside by accident.				 WALTER		    I'll wait.				 ANNIE		    Don't be silly.  I'll just be 		    ten minutes behind you.	EXT. BELTWAY - NIGHT	As Annie drives back toward Washington, D.C.	Raining.	INT. CAR - NIGHT	Annie driving.  Presents on the front seat.  She's 	singing "Sleigh Ride" and doing all the sound effects 	and clipclops and giddyups.  After a moment, she 	realizes she doesn't know all the words and turns on the 	radio.				 DR. MARSHA'S FIELDSTONE'S VOICE		    Welcome back to "You and Your 		    Emotions." I'm Dr.  Marcia 		    Fieldstone broadcasting across 		    America from the top of the 		    Sears Tower in Chicago where we 		    would have a fantastic view of 		    Santa Claus and his reindeer if 		    there was a -- oops, never 		    mind.  Tonight we're talking 		    about wishes and dreams.  		    What's your wishes this Christmas 		    Eve? Maybe the best present 		    you can give yourself is a call 		    to me.  The number is --				 ANNIE		    Give me a break.	Annie changes the station.				 RADIO VOICE		    The subject of the evening's 		    medical update is You and Your 		    Spleen and our host --	She flips the dial back the other way.				 DR. MARCIA FIELDSTONE (V.O.)		    Our caller is from Seattle.	Annie changes the station.				 RADIO VOICE		    Coming up, Jingle Bells 		    backwards, sung by the New 		    Jersey Cape Mayettes --	Annie twists the dial back the other way.  We hear a 	YOUNG BOY's voice.				 BOY'S VOICE (V.O.)		    Hello, this is Jonah --			   (there's a bleep as 			    Jonah says his last 			    name)	Annie's hand lingers on the dial.				 DR. MARCIA FIELDSTONE (V.O.)		    No last names, Jonah.  Hello 		    there, you sound younger than 		    our usual callers.  How come 		    you're up so late?				 JONAH (V.O.)		    It's not that late in Seattle.				 DR. MARCIA FIELDSTONE (V.O.)		    Got me there.  What's your 		    Christmas wish, Jonah?				 JONAH (V.O.)		    It's not for me.  It's for my 		    dad.  I think he needs a new 		    wife.	Annie shakes her head.				 DR. MARCIA FIELDSTONE (V.O.)		    You don't like the one he was 		    now?				 JONAH (V.O.)		    He doesn't have one now.  		    That's the problem.				 DR. MARCIA FIELDSTONE (V.O.)		    Where's your mom?				 JONAH (V.O.)		    She died.	Annie closes her eyes for a moment.				 ANNIE		    I don't believe this --	EXT. HIGHWAY - NIGHT	As the car drives along.				 DR. MARCIA FIELDSTONE (V.O.)		    I'm sorry to hear that, Jonah.				 JONAH (V.O.)		    I've been pretty sad, but I 		    think my dad is worse.	INT. CAR - NIGHT				 DR. MARCIA FIELDSTONE (V.O.)		    And you're worried about him.				 JONAH (V.O.)		    I'm worried about him, he's 		    worried about me, I ride my 		    bike to school, he follows in 		    the car, like I'm not supposed 		    to know he's there.  Now it's 		    Christmas, and you know what 		    happens to people at Christmas.				 ANNIE		    They lose their minds and call 		    crackpot doctors on the radio --				 DR. MARCIA FIELDSTONE (V.O.)		    Have you talked to your dad 		    about this?				 JONAH (V.O.)		    No.				 DR. MARCIA FIELDSTONE (V.O.)		    Why not?				 JONAH (V.O.)		    It's very hard for him to talk 		    about this stuff.  It's like it 		    makes him sadder.				 DR. MARCIA FIELDSTONE (V.O.)		    You want me to talk to him?				 ANNIE		    Perfect.  Sandbag the father.				 JONAH (V.O.)		    And you crazy? He thinks shows 		    like this are dumb.  If you 		    didn't have an 800 number I 		    could never get away with this 		    --				 DR. MARCIA FIELDSTONE (V.O.)		    Is he home right now?				 JONAH (V.O.)		    Yeah.				 DR. MARCIA FIELDSTONE (V.O.)		    Well, I think I can help a 		    little more if I talk to him 		    directly.				 JONAH (V.O.)		    I don't know --				 DR. MARCIA FIELDSTONE (V.O.)		    I'm sure he won't be angry once 		    he realizes how concerned you 		    are about him.				 JONAH (V.O.)		    Okay, but if I get yelled at, 		    I'm never gonna listen to this 		    show again.				 DR. MARCIA FIELDSTONE (V.O.)		    Fair enough.	INT. SAM'S HOUSEBOAT - NIGHT	Jonah is on the telephone on the first floor of the 	houseboat he lives in with Sam.  He's got the phone cord 	coming out of the small first-floor study, and he's 	standing near the kitchen end of a large living area 	looking out at the back deck, where his dad is sitting 	in a deck chair looking out at the sea.				 JONAH		    Dad --				 SAM		    What is it?	ON ANNIE AGAIN.				 JONAH (V.O.)		    There's somebody on the phone 		    for you.			   (into phone)		    His name is Sam.				 ANNIE		    This is completely disgusting.	INT. BALDWIN HOUSEBOAT - NIGHT	Sam pokes his head in the back door.  He looks much as 	he did eighteen months earlier, except that his hair is 	a little longer.  He picks up the phone extension.				 SAM		    Hello.				 DR. MARCIA FIELDSTONE (V.O.)		    Hello, Sam, this is Dr. Marcia 		    Fieldstone on Network America.	Sam looks across the room to Jonah.				 SAM		    I'm probably not interested in 		    whatever you're selling.				 DR. MARCIA FIELDSTONE (V.O.)		    I'm not selling anything.  Your 		    son called and asked for advice 		    on how to find you a new wife.				 SAM			   (he really didn't get 			    her name)		    Who is this?				 DR. MARCIA FIELDSTONE (V.O.)			   (repeating herself)		    Dr. Marcia Fieldstone of 		    Network America.				 SAM		    Jesus, are we on the air? 		    Jonah, for God's sake --				 JONAH		    Don't be mad at me, Dad.	Sam can see Jonah.  He's frightened.  Sam immediately 	feels how upset Jonah is.				 DR. MARCIA FIELDSTONE (V.O.)		    He feels that since your wife's 		    death you've been very unhappy. 		    He's genuinely worried about you.	Sam is looking at Jonah, who's rooted to the spot he's 	standing on.				 SAM			   (to Jonah)		    I'm not mad at you.  Okay, I'm 		    not mad at you.				 DR. MARCIA FIELDSTONE (V.O.)		    I think it's hard for him to 		    talk to you about all this.  		    Maybe we could talk and it 		    would make him feel a little 		    better.	Sam hesitates.				 JONAH		    Please --	INT. ANNIE'S CAR - NIGHT				 ANNIE		    This is a grotesque violation 		    of this man's personal life, 		    but never mind --				 SAM (V.O.)		    All righ...				 DR. MARCIA FIELDSTONE (V.O.)		    Good.  How long ago did your 		    wife die?	INT. HOUSEBOAT - NIGHT				 SAM		    It's been about a year and a 		    half.				 DR. MARCIA FIELDSTONE (V.O.)		    Have you had any relationship 		    since?				 SAM		    No.	Sam is very uncomfortable about this --				 DR. MARCIA FIELDSTONE (V.O.)		    Why not?				 SAM		    Look, Doctor, I don't want to 		    be rude, but --				 DR. MARCIA FIELDSTONE (V.O.)		    And I don't want to invade your 		    privacy --	INT. CAR - NIGHT				 ANNIE		    Sure you do.				 SAM (V.O.)			   (overlapping)		    Sure you do --	Annie smiles.				 SAM		    Look, we had a tough time at 		    first, but I think I'm holding 		    my own as a dad, and Jonah and 		    I will get along fine again as 		    soon as I break his radio.	Annie laughs.  So does Mr.  Fieldstone	INT. HOUSEBOAT - NIGHT	Jonah is smiling too.				 DR. MARCIA FIELDSTONE (V.O.)		    I have no doubt that you're a 		    good dad.  You can tell a lot 		    from a person's voice.  But 		    something must be missing if 		    Jonah feels that you're still 		    under a cloud.				 JONAH		    Tell her how you don't sleep at 		    night.				 SAM		    How do you know that?	Sam and Jonah both talk into their extensions, literally 	talking to each other on the phone within their own 	house, but also ON THE AIR.				 JONAH		    I can hear you walking around 		    sometimes.  At first I thought 		    it was a robber.  Go ahead, 		    tell her, Dad.				 SAM		    I don't think I have to now.	Sam starts across the room towards Jonah, who starts 	toward him, both of them holding their phone receivers.  	On the wall in the dining area is a pine bench.				 SAM		    Look, it's almost Christmas --			   (as the two of them sit 			    down together on the 			    bench)		    A kid needs a mother --	He puts an arm around Jonah.	INT. CAR - NIGHT	As Annie listens.  She's softened considerably.				 DR. MARCIA FIELDSTONE (V.O.)		    Could it be that you need 		    someone just as much as Jonah 		    does?				 ANNIE		    Yes.	Annie catches herself, covers her mouth in embarrassment.				 ANNIE		    I'm losing my mind.	EXT. HIGHWAY - NIGHT	As Annie makes a turn off the beltway into a rest stop.				 DR. MARCIA FIELDSTONE (V.O.)		    We've been talking to -- well, 		    let's just call him Sleepless 		    in Seattle, and we'll be right 		    back after this break with 		    listener response, your 		    response, to the things we've 		    been discussing.  The number to 		    call is...	INT. BALDWIN HOUSE				 SAM		    What's she talking about?				 JONAH		    This is where other people get 		    to call in and dump on what you 		    said.	We hear the beginning of a commercial.	INT. TRUCK STOP RESTAURANT - NIGHT	Annie walks in, anxious to break the spell of her radio 	reverie.  She goes to the counter to order some coffee.  	There's a commercial on the radio.  The counter WAITRESS 	LORETTA is talking to the customers -- who include a 	TRUCK DRIVER at a booth.  HARRIET, a short-order-cook, 	is visible through an open window to the kitchen.				 LORETTA		    I'll bet he's tall, with a cute 		    butt.				 HARRIET		    I'll bet he hasn't shaved in a 		    week.  I'll bet he stinks.				 LORETTA		    Shut up, Harriet.			   (to Annie)		    What'll it be?				 ANNIE		    Coffee, please.  Black.  To go.				 LORETTA		    Maybe I should hustle myself 		    out to Seattle.  Give him a 		    little present for New Year's 		    Eve.				 HARRIET		    You can go there if you want 		    but don't open his refrigerator.  		    They don't cover anything when 		    they put it in the fridge.  		    They just stick it in and leave 		    it there till it walks out by 		    itself.				 LORETTA		    Harriet, ever since you 		    divorced your last husband, 		    you've been no fun.  I'm 		    looking, and this guy pops my 		    tarts.				 TRUCK DRIVER		    Come on, Loretta, you're going 		    to have to jump-start this guy.  		    His battery's dead.  And look 		    at me.  Mister Ever-Ready.  		    Every six minutes, another 		    charge.				 LORETTA		    I'm looking for someone 		    sensitive.				 ANNIE		    Come on, nobody wants a guy 		    who's sensitive on the radio.				 DR. MARCIA FIELDSTONE (V.O.)		    Let's take a call before we get 		    back to Sleepless.  Knoxville, 		    Tennessee, you're on.				 SWEET SOUTHERN VOICE		    Yes, I would just like to know 		    where I could get this man's 		    address?				 LORETTA			   (to the radio)		    Honey, get on line.	EXT. DINER - NIGHT	As Annie gets into her car.	EXT. WASHINGTON, D.C.  STREET - NIGHT	Annie driving toward the house where Walter's parents 	live.				 DR. MARCIA FIELDSTONE (V.O.)		    Do you think there's somebody 		    out there you could love as 		    much as your wife? Maybe even 		    more?				 SAM (V.O.)		    It's hard to imagine.	And cut back and forth between the car and the 	houseboat.  Sam and Jonah are still on the bench, but 	Jonah has fallen asleep in Sam's lap.  Sam is stroking 	the boy's hair.				 DR. MARCIA FIELDSTONE (V.O.)		    What are you going to do, Sam?				 SAM		    I don't know.  When I met my 		    wife, it was so clear.  I just 		    knew.	Annie is listening now.				 DR. MARCIA FIELDSTONE (V.O.)		    What was it that made you know?				    SAM		    I don't think I could really 		    describe it.				 DR. MARCIA FIELDSTONE (V.O.)		    Why not?				 SAM		    And if I could describe it, 		    it probably wouldn't be on a radio 		    show.			   (he laughs to himself)		    But what the hell.  It's not 		    one specific thing.  It's more 		    of a feeling.			   (continued)	Annie coasts to a stop outside a handsome mansion in 	Washington, D.C., the motor running.  She's hooked now, 	she's not getting out of the car until she's heard it 	all.				 SAM		    You touch her for the first 		    time, and suddenly... you're 		    home.  It's almost like...				 ANNIE		    Magic.				 SAM		    Magic.	CLOSER ON ANNIE	realizing she has just said this.  Realizing that it 	must mean something but not knowing what.	SHE'S CRYING.				 DR. MARCIA FIELDSTONE (V.O.)		    Well, it's time to wrap up, 		    folks --	A FIGURE appears at the passenger side window, which 	Annie doesn't notice.  She's wiping the tears away with 	her hand.				 DR. MARCIA FIELDSTONE (V.O.)		    We hope you'll call again soon.	The figure TAPS on the window --				 WALTER			   (muffled, outside car)		    Annie?				 DR. MARCIA FIELDSTONE (V.O.)	    	    ... and let us know how it's 	    	    going.	-- and taps again.				 WALTER		    Annie?	She turns.  He's pointing at the locked door.  She 	searches for the button.  Finally finds it so that 	Walter can open the door.				 ANNIE		    I'm sorry, Walter.  I just 		    heard the most amazing thing on 		    the radio.	They start toward the front door, Walter and Annie 	carrying presents, an overnight bag of Annie's.				 ANNIE		    People call up these shows and 		    you can't believe the stuff 		    they say.  It's the end of 		    privacy as we know it, this 		    country is just one big global 		    village with everyone out there 		    going blah blah blah --	As they enter the house, we hear Silent Night and we see 	a Christmas tree, glittering with lights.							CUT TO:	A CHRISTMAS TREE GLITTERING WITH LIGHTS	as we pull back to reveal:	INT. HOUSEBOAT - EARLY MORNING	As Jonah opens his presents under the tree and we cut 	from gift to gift:	A BROOKS ROBINSON BASEBALL GLOVE which Jonah loves and 	which he puts on his hand and keeps on while continuing 	to open:	A TIE which mystifies him, but he hangs it around his 	neck.	A PLAID SHIRT	A MAP OF THE UNITED STATES -- the kind that's used in 	schoolrooms that pulls down from a roller.	And now Sam brings out a long narrow present from behind 	the door and Jonah opens --	A NEW FISHING ROD	EXT. HOUSEBOAT - DAY	As Jonah poses with all his Christmas presents -- his 	tie hanging around his neck over his bathrobe and new 	plaid shirt, his baseball glove, fishing rod -- as Sam 	takes his picture.	INT. HOUSEBOAT - DAY (OR POSSIBLY EXT. DECK HOUSEBOAT)	Sam opens his present from Jonah, which is something he 	made in woodworking class.				 SAM		    The hopes are perfect -- 		    beautiful, identical, smooth -- 		    and they are for something 		    really amazing I feel it in my 		    bones --				 JONAH		    It's a spice rack.				 SAM		    We desperately need a spice 		    rack.  Desperately.							CUT TO:	INT. KITCHEN OF HOUSEBOAT - DAY				 SAM		    And we desperately need spices.	Where Sam is putting the spices they have -- pepper, 	salt, paprika and oregano -- into the spice rack, which 	has room for at least twenty more.  Jonah is 	methodically making pancakes.				 JONAH		    Dad?  About last night?				 SAM		    It's never happening again.  		    Right?				 JONAH		    Right.	There's a knock on the door.				 SAM		    Then it never happened.	Sam goes to answer the door.	TWO YOUNG WOMEN are standing there.  Both are wearing 	quite a lot of Spandex.  One of them is named LULU.  It 	says so on her jacket.  The other is JOBETH.				 SAM		    Hi.				 LULU		    Hi.  Sam?				 SAM		    Yes?				 LULU			   (looking in and seeing 			       Jonah)		    You must be Jonah.	Jonah nods.				 LULU			   (to her friend)		    See.  I told you.  Sam and 		    Jonah.  I'm LULU.  This is 		    JoBeth.	JoBeth nods, and continues to nod as Lulu talks.				 LULU			   (continues)		    We live two piers over, don't 		    we? Number 12, right? We're 		    having like a really neat open 		    house today from like four to 		    whenever if you care to stop 		    by.				 SAM		    Thanks, but... we've got plans.				 LULU		    Well, here's the number.  If 		    you ever find yourself 		    Sleepless, give us a call.  We 		    also... do babysitting.	She winks.  JoBeth nods.	Sam nods.	Lulu waves goodbye, and she and JoBeth sashay off down 	the dock.	Jonah closes the door and turns to Sam.				 JONAH		    Not.				 SAM		    My feelings exactly.	EXT. LAKE UNION MARINA - EARLY MORNING	Jonah and Sam are fishing off a dingy.				 SAM		    How many people do you think 		    heard that thing last night?				 JONAH		    It plays in 50 states.				 SAM		    What?!				 JONAH		    Nobody else is going to know it 		    was us.				 SAM		    You're right.			   (after a beat)		    You better hope so.	EXT. BALTIMORE SUN - MORNING	INT. LIFESTYLE SECTION - DAY	A large open newsroom-type space with REPORTERS at 	computers.  Around the perimeter are glass-partitioned 	offices and meeting rooms.  Inside one of the offices is 	BECKY, the Lifestyle editor of the Sun.  She's at a 	table with Annie, now a reporter for the section, and 	two other colleagues -- KEITH and WYATT.  Wyatt is 	playing Gameboy.				 KEITH		    This man sells the greatest 		    soup you've ever eaten, there's 		    a line around the block, and he 		    is, I am not kidding, the meanest 		    man in America.			   (beat)		    I feel strongly about this, 		    Becky.  This is not just about 		    soup.				 BECKY		    Do it.  What else?				 WYATT		    New Year's Eve.  Please don't 		    make me write it.	Becky looks at Wyatt, notices the Gameboy.				 BECKY		    Wyatt, I do not mean to remind 		    you of your mother, but if you 		    don't put that game away, no TV 		    for a week.				 WYATT			   (pushing it to the 			    center of the table)		    Would someone look this up, 		    don't tell me where.	Becky is riffling through some papers on the table, 	among which are some tearsheets from the Associated 	Press wire.				 BECKY		    Listen to this.  Phone service 		    in the greater Chicago area was 		    tied up for two hours Christmas 		    Eve because some kid called a 		    phone-in show to get a wife for 		    his father.  Two thousand women 		    called in for the number.				 KEITH		    Jesus.				 ANNIE		    I heard it.  This kid calls up 		    and says my dad needs a wife 		    and I'm talking to myself in 		    the car saying, this is 		    completely disgusting, you're 		    taking advantage of a child, 		    and then the father gets on and 		    this shrinkette says, do you 		    want to talk about it? And he 		    says no as a matter of fact I 		    don't, and I am saying, bravo! 		    Right on! Don't talk to her, 		    it's none of her business --			   (she's completely into 			    this story now)		    -- and then suddenly, for no 		    reason at all, he's talking 		    about how much he loved his 		    wife, and how he just --			   (she snaps her fingers)		    fell in love with her and I am 		    crying.  Me.  A tear is 		    actually rolling down my face.  		    It was like what happens when I 		    watch those phone company ads.  		    I don't have to see the whole 		    ad, I just have to see the part 		    where the daughter gives her 		    mother a refrigerator with a 		    big red bow on it, have you 		    seen that one?	Everyone looks at her.  Apparently she's finished.				 BECKY		    You should write something 		    about this.				 ANNIE		    About what?				 BECKY		    Whatever it is.				 KEITH			   (waving the AP story)		    What it is is, there are a lot 		    of desperate women out there 		    looking for love.				 WYATT		    Especially over a certain age.	Annie is looking at them.  This isn't what she was 	talking about at all, although she isn't quite sure what 	she was talking about.				 KEITH		    It is easier to be killed by a 		    terrorist after the age of 40 		    than it is to get married --				 ANNIE		    That is not true.  That 		    statistic is not true.				 BECKY		    It's not true, but it feels 		    true.				 ANNIE		    There's practically a whole 		    book about how that statistic 		    is not true --				 WYATT		    Calm down.  You brought it up --				 ANNIE			   (sharply)		    I did not, Wyatt.	A beat, everyone pauses.  Things are a little out of 	hand.				 BECKY		    So where were we?				 WYATT		    New Year's Eve.  I'll do it, 		    okay?				 BECKY		    Okay.				 ANNIE		    If someone is a widower, why do 		    they say he was widowed? Why 		    don't they say he was widowered?	Everyone looks at her strangely.				 ANNIE		    I was jus wondering.	EXT. BALTIMORE STREET - DAY	Annie walking purposefully, followed by Becky, hurrying 	to catch up.				 BECKY		    What was that about up there?				 ANNIE		    What was what?				 BECKY		    What's with you?				 ANNIE		    Nothing's with me.	INT. BALTIMORE RESTAURANT - DAY	Becky and Annie are having lunch.				 BECKY		    "Sleepless in Seattle"?				 ANNIE		    That's what she called him on 		    the show.  Because he can't 		    sleep.				 BECKY		    And now 2,000 women want his 		    number.  The guy could be a 		    crackhead, a psychopath, a 		    flasher, a junkie, a 		    transvestite, a chain-saw 		    murderer, or someone really 		    sick, like Rick.				 ANNIE		    Actually, he sounded nice.				 BECKY		    Oh? Oh, really? Now we're 		    getting down to it.				 ANNIE		    Not.	She reaches down for her purse.	INT/EXT. REMODEL HOUSE - DAY	A hand reaching down to pick something up -- the Seattle 	newspaper, and	PULL BACK TO REVEAL:	Sam carrying the paper down/up the stairs to an old 	house that's being renovated.  Jonah, who is playing 	Cameboy, is walking along with him.  WORKMEN are active 	everywhere.  Dry wall going up, cabinets being 	installed, tile being set.	One of Sam's partners, BOB LANGMAN, is walking with him, 	and JAY MATHEWS, the on-site supervisor, is waiting for 	them in an unfinished doorframe.  Bob is hefty, older, 	always eating something dietetic.  Jay is younger and 	always wears as little as possible, even in cold weather.				 BOB LANGMAN		    Now she wants a circular 		    stairwell off the den.				 JAY			   (to Jonah, in b.g.)		    Punch me, punch in right here.			   (points to his stomach;			    Jonah punches)		    And she wants the Sub-Zero with 		    the side-by-side doors --				 BOB		    Which means --				 SAM		    The cabinets have to be redone 		    --	They all nod at each other.  The woman has been a 	nightmare.				 BOB		    So we thought --				 JAY		    Since you're on the make again 		    --	Sam looks at Jonah --				 SAM		    Great.  This is great.  The 		    whole town knows.  Just out of 		    curiosity, how do you two know?				 BOB		    Grace heard it.				 SAM		    Grace the dispatcher.  Great.				 BOB		    The point is, take the client 		    out to dinner and ask her to 		    marry you and then maybe we 		    won't have to redo the kitchen 		    cabinets.				 SAM		    Why me? What about Jay?				 JAY		    Hey, my plate is full.				 SAM		    Well, okay.  What's the big 		    deal?  If she'll forget the 		    new fireplace, I'll marry her.  		    Just point me in the right 		    direction.				 JONAH		    Dad, I don't know about this 		    one --				 SAM		    Oh, you're changing your mind 		    --				 JONAH		    No, I'm not, but --				 SAM		    What's the matter with this 		    one? Wouldn't you like to have 		    Imelda Marcos as your mother?				 JONAH		    Dad --	Sam cuffs him good-naturedly.				 SAM		    We better take the measurements 		    for the new cabinets.	He walks away past some workmen, ladders, etc.  and 	starts checking the cross-beams in the ceiling over in 	another area of the site.  Bob follows after him.  Jay 	tosses Jonah a hammer and they start knocking nails into 	the wall.				 BOB		    Sam, if you're not doing 		    anything New Year's -- 		    obviously you're not doing 		    anything New Year's -- we're 		    having some people over, all of 		    them married, not one even 		    remotely interested in playing 		    around.  Does that sound great 		    or what?			   (whistfully)		    I can't think of the last time 		    I was at a party when anything 		    actually happened.				 SAM		    Thanks, but I'll pass.  It's 		    kind of a big night.  I don't 		    like to leave Jonah alone.							CUT TO:	SHOT OF  HOUSEBOAT BEING TOWED BY A TUG DOWN THE RIVER (OR A 	SEAPLANE LANDING) - TWILIGHT	EXT. HOUSEBOAT - TWILIGHT	Jonah watching it.  Sam visible in the distance in the 	kitchen.	INT. KITCHEN - TWILIGHT	As Sam is busy installing the spice rack.  He marks the 	wall, hammers in the nails, etc.				 SAM			   (as he starts putting 			    new spices into the 			    rack, in alphabetical 			    order)		    Does red pepper go under R or 		    P?				 JONAH		    P.			   (beat)		    Dad?				 SAM			   (absently)		    What?				 JONAH		    I forgot to mention.  Jed 		    called --				 SAM		    Just out of curiosity, do you 		    have any friends whose names 		    don't begin with a J?  I feel 		    like it was a failure of the 		    imagination on our part naming 		    you Jonah.		  	   (looking at the spices)		    What is marjoram? Does anyone 		    know?				 JONAH		    Jed is having a slumber party 		    New Year's Eve and he invited 		    me.	A beat.				 SAM		    Fine.  Fine.				 JONAH		    So I can go.				 SAM		    Sure.			   (almost done with the 			    spices)		    Looking good.				 JONAH		    Shouldn't you have used a 		    toggle bolt?				 SAM		    I think I know how to have a 		    spice rack.	He puts in the last spice.	They stand back to admire it.  A beat.  The rack falls 	off the wall.	The rack itself doesn't break, but about six of the 	glass jars of spices break.	There's paprika and thyme and currying powder, etc.  all 	over the floor along with shards of glass.				 SAM	    	    God fucking dammit!  Shit! 	    	    Fuck.  Piss.	Jonah bursts into tears.				 SAM			   (still angry)		    I'm sorry.			   (softening)		    I'm sorry.	He picks up Jonah and holds him.				 SAM		    I'm sorry.  I'm just --				 JONAH		    Stressed.				 SAM		    Right.  I'm sorry, Jonah, I'm 		    sorry.	And he holds Jonah as Jonah calms down.  Sam closes his 	eyes tight.	INT. A TELEVISION SET OF NEW YEAR'S EVE ON TIMES SQUARE	And pull back to reveal:	INT. HOUSEBOAT - NIGHT	Sam, alone, watching the ball drop.  He's got a bag of 	Doritos and a beer.				 A VOICE		    Can I have half your beer?				 SAM		    Sure.	It's Maggie.	She takes his bottle of beer and pours half of it into a 	glass.				 MAGGIE		    What did I used to say? Here's 		    looking at you? Here's mud in 		    your eye?				 SAM		    Here's to us.  You used to say 		    here's to us.			   (he looks at her and 			    his eyes well with 			    tears)		    Oh babe.  I miss you so much it 		    hurts.	He reaches out for her.  She's gone.	And we hear the television set now counting down to 	midnight in New York.							CUT TO:	INT. NEW YEAR'S EVE PARTY IN BALTIMORE - NIGHT	The same television show counting down to midnight.	Champagne corks popping, etc.	And we see Walter and Annie.				 WALTER		    Happy New Year, darling.				 ANNIE		    Happy New Year.	They start to dance.				 WALTER		    I was thinking, I have to go up 		    to Boston for the AAP 		    convention and then visit 		    Winston-Hughes about switching 		    over our computers.  Why don't 		    we meet in New York for 		    Valentine's Day weekend?				 ANNIE		    Walter, I'd love to --				 WALTER		    We'll stay at the Plaza --				 ANNIE		    Go for a walk in Central Park --				 WALTER		    Go to the Symphony --	A beat.				 ANNIE		    We will?			   (beat)		    The Symphony?			   (beat)		    Okay.			   (beat)		    I'll take you to the Russian 		    Tea Room for pelmeni.				 WALTER		    What is it?				 ANNIE		    It's delicious, trust me.				 WALTER		    Does it have wheat in it?				 ANNIE		    I don't think so.	They go on dancing.  It's one of those parties where 	everyone looks so happy and so in love.  Annie, however, 	looks thoughtful.	ET.  MARINA PARKING AREA - DAY	Sam gets out of his car and starts down the dock toward 	his houseboat.  He's carrying a bag of groceries.	In the parking lot is a U.S.  MAIL TRUCK.	EXT. HOUSEBOAT - DAY	Sam approaches his boat and a puzzled look comes over 	his face.	A MAILMAN with a sack of mail is standing outside the 	front door of the houseboat.  Jonah is signing a receipt 	for the mail.				 JONAH		    Look at this, Dad.  They're 		    all for you --	Sam picks up an envelop and looks at it.  It's 	addressed to Sleepless in Seattle c/o Dr.  Marcia 	Fieldstone, Radio Station KWRS in Chicago.  He's 	stunned.  As he signs the receipt:				 MAILMAN		    If you're having trouble 		    sleeping, you might want to try 		    drinking a glass of water from 		    the other side.				 JONAH		    I thought that was for hiccups.				 MAILMAN		    Does it work for hiccups?				 JONAH		    For hiccups, a spoonful of 		    sugar, you hold it in your 		    mouth for a minute.				 MAILMAN		    Really?	The mailman starts back toward the mail truck.	Sam and Jonah start toward the door.	INT. HOUSEBOAT - NIGHT	Sam is in the kitchen making dinner.  Jonah is sitting 	at the table, reading the letters from the stack they 	found by the door.				 SAM		    Just out of curiosity, how did 		    they get our address?				 JONAH		    They called and asked for it.			   (reading)		    "Dear Sleepless in Seattle.  		    You are the most attractive man 		    I've ever laid ears on."	Jonah rolls his eyes, tosses the letter into a pile of 	rejects, opens another.				 SAM		    How did they get our phone 		    number?				 JONAH		    You have to give them your 		    phone number or they won't let 		    you go on the air.	Sam nods as if this makes perfect sense.				 JONAH			   (continues, reading)		    "Dear Sleepless in Seattle: I 		    am an SWF"--			   (to Sam)		    What is that?				 SAM		    Thank God.  Something you don't 		    know.  It's a single white 		    female.				 JONAH		    This is no good.  She's looking 		    for someone French.  Or Greek.			   (puzzled, he throws the 			    letter into the reject 			    pile, opens another)		    "Dear Sleepless in Seattle: I 		    live in Tulsa." Where is that? 		    --				 SAM		    Oklahoma.  Do you know where 		    that is?				 JONAH		    Somewhere in the middle.				 SAM		    I'm not going to think about 		    what they're not teaching you 		    in school.  I am not going to 		    think about it.			      (beat)		    Generally speaking I think we 		    should rule out people who 		    don't live somewhere near here 		    --				 JONAH		    She's willing to fly anywhere.	As Jonah hands Sam the picture.				 SAM		    She looks like my third grade 		    teacher.  I hated my third 		    grade teacher.  Hold it! Wait 		    a minute! She is my third 		    grade teacher!				 JONAH		    Dad, you're not taking this 		    seriously.				 SAM		    This is not how you do it.			   (referring to the 			    hamburger)		    You want this on an English 		    muffin or a bun?				 JONAH		    English muffin.  How do you do 		    it?				 SAM		    You see someone you like, you 		    get a feeling about them, you 		    ask them if they want to have a 		    drink or --				 JONAH		    -- a slice of pizza --				 SAM		    But not dinner necessarily on 		    the first date because by the 		    time you're halfway through 		    dinner you might be sorry you 		    asked them to dinner whereas if 		    it's just a drink, if you like 		    them you can always ask them 		    for dinner but if you don't you 		    can go home if you see what I 		    mean.			      (beat)		    I wonder if it still works this 		    way.				 JONAH		    It doesn't.  They ask you.				 SAM		    I'm starting to notice that.	INT. ANNIE'S BEDROOM - NIGHT	Annie and Walter are making love.				 JONAH (V.O.)		    If you get a new wife, I guess 		    you'll have sex with her, huh?				 SAM (V.O.)		    What do you think?				 JONAH (V.O.)		    Will she scratch up your back?				 SAM (V.O.)		    What?	JONAH'S BEDROOM - NIGHT	As Sam puts Jonah to sleep.  Jonah is holding his teddy 	bear while this conversation concludes.				 JONAH		    In the movies women are always 		    scratching up guy's back and 		    screaming and stuff.  When 		    they're having sex.				 SAM		    Whose show was this on?				 JONAH		    Jed's got cables.				 SAM		    Go to sleep.	He kisses him good-night.				 JONAH		    Kiss Howard.			   (he holds out the 			    teddy bear)		    G'night, Howard.	INT. ANNIE'S BEDROOM - NIGHT	Annie and Walter have just finished making love.	Walter falling asleep.	Annie lying in bed, with her eyes open.	She starts to get out of bed.  Puts on a robe.	INT. STAIRWAY - HOUSE	As Annie comes downstairs in a bathrobe.	She opens the door to the street.	EXT. STREET - NIGHT	As Annie starts to run down the street.	CLOSEUP OF: ANNIE, RUNNING	And now we widen out to see a misty highway she's running 	down.	Past a sign saying: Seattle Approximately 3,000 miles.	Past another sign: Your nerves are shot.	And another: Your feet are cold.	And another: Will you find love.	And another: Before you're cold?	And another: Burma Shave.	And Annie continues to run, and now we see she's running 	across a map of the United States -- it's a little like 	the one we saw in the beginning of the movie -- it's 	like the famous map of the United States by Saul 	Steinberg, but instead of being about New York, this one 	is about Seattle.	In the distance, at the very edge of the map, we see two 	indistinct figures -- a map and a young boy.  They start 	to wave at her, very slowly.	Annie's eyes widen.							CUT TO:	INT. ANNIE'S BEDROOM - NIGHT	Annie in bed, eyes open.  Walter fast asleep.	She gets out of bed, puts on her robe (just as she did 	in the dream sequence).	INT. STAIRWELL - NIGHT	As Annie comes down the stairs.	INT. KITCHEN - HOUSE	She turns the light on.	Opens the refrigerator.	Closes it.	Opens it again.  Takes out some milk.	Sits down at the kitchen table with a bowl, corn flakes, 	banana.  She's about to assemble it when:	She sees:	THE RADIO	She stands up, turns it on to the station Dr. Marcia 	Fieldstone is on.  She sits back down with her corn 	flakes.				 ANNOUNCER (V.O.)		    Up next, "You and Your 		    Emotions" with Dr.  Marcia 		    Fieldstone, clinical 		    psychologist and the best 		    friend you never had.			   (the teaser continues)				 WOMAN'S VOICE (V.O.)		He says he doesn't love me any 		more.				 DR. MARCIA FIELDSTONE (V.O.)		    Why do you want to be with 		    someone who doesn't love you?				 ANOTHER WOMAN (V.O.)		    Every time I come close to 		    orgasm he stops and goes to 		    make himself a sandwich --					 DR. MARCIA FIELDSTONE (V.O.)		    Why don't you make him a 		    sandwich beforehand?				 SAM'S VOICE (V.O.)		    When I met my wife, it was so 		    clear.  I jus knew.	Annie starts at hearing Sam's voice.				 DR. MARCIA FIELDSTONE (V.O.)		    What was it that made you know?				 SAM'S VOICE (V.O.)		    I don't think I could really 		    describe it.				 DR. MARCIA FIELDSTONE (V.O.)		    Why not?				 SAM'S VOICE (V.O.)		    And if I could describe it, it 		    probably wouldn't be on a radio 		    show.			   (he laughs to himself)		    But what the hell.  It's not 		    one specific thing.  It's more 		    of a feeling.  			      (continuing)		    You touch her for the first 		    time, and suddenly... you're 		    home.  It's almost like... 		    magic.	Annie closes her eyes.				 ANNOUNCER (V.O.)		    We'll be back after this 		    commercial with Dr. Marcia 		    Fieldstone.	EXT. BALTIMORE - PEABODY LIBRARY - DAY	We see Annie's car pull into a parking space outside the 	Peabody Library.  Annie gets out of the car.	INT. LIBRARY - DAY	As Annie strides purposefully across the library and 	enters:	INT. ANNIE'S BROTHER TOM'S OFFICE - DAY	Annie bursts into Tom's office and walks over to his 	desk.  We barely has time to look up.				 ANNIE		    I think I'm going crazy, Tom.  		    I really do.  Are you happily 		    married?				 TOM			   (completely panicked by 			    the question)		    What?				 ANNIE		    I mean, why did you get 		    married? Was it all fireworks 		    and trumpets and --				 TOM			   (regaining composure)		    I got married because Betsy 		    said we had to break up or get 		    married.  So we get married.				 ANNIE		    But when you met her, did you 		    believe she was the only person 		    for you? That in some mystical, 		    cosmic way, it was fated?				 TOM		    Annie, when you meet someone 		    and you're attracted to them, 		    it just means that your 		    subconscious is attracted to 		    their subconscious, 		    subconsciously.  So what we 		    think of as chemistry is just 		    two neuroses knowing that they 		    are a perfect match.				 ANNIE		    I don't even know him.  But 		    I'm having all these fantasies 		    about a man I've never met, 		    who lives in Seattle.				 TOM		    It rains nine months of the 		    year in Seattle.				 ANNIE		    I know, I know.  I do not want 		    to move to Seattle.  But what I 		    really don't want to do is end 		    up always wondering what might 		    have happened and knowing I 		    could have done something.  		    What do you think?			   (Tom opens his mouth to 			    say something, but 			    before anything comes 			    out, Annie fills the 			    void)		    It's just cold feet, isn't it? 		    Everyone panics before they get 		    married, didn't you?				 TOM		    Yes, I did.				 ANNIE		    Thank you, Tom.  I feel so much 		    better just having blown this 		    off.				 TOM		    Any time.	INT. PEABODY LIBRARY - DAY	As Annie walks through it and pushes the door to exit.	EXT. A DOOR OPENING TO SEATTLE STREET - DAY	Sam and Jay walk out of the Arctic Building onto the 	street.				 JAY		    Sandy has a girlfriend, Clenda		    ... She's a weightlifter, but 		    it's not like her neck is 		    bigger than her head or 		    anything --				 SAM		    I'm not asking you to set me 		    up, Jay.  That's not what I 		    need your help for.  I want to 		    know what it's like over there.				 JAY		    And that's what I'm trying to 		    tell you.  What women are 		    looking over, okay? Pecs and a 		    cute butt.				 SAM		    You mean, like, "He has the 		    cutest butt"? Where did I hear 		    that recently?				 JAY		    Everywhere.  You can't even 		    turn on the news without 		    hearing about how some babe 		    thought some guy's butt was 		    cute.  Who the first babe to 		    say this was I don't know, 		    but it caught on.	INT. SEATTLE RESTAURANT - DAY	Sam and Jay at the counter.  Out the window, we can see 	water.				 JAY		    When's the latest time you were 		    out there?				 SAM			   (trying to remember)		    Seventy... eight.				 JAY		    Well.  Things are different.  		    First, you have to be friends.  		    You have to like each other.  		    Then you neck.  This can go on 		    for years.  Then you have 		    tests.  Then you get to do it 		    with a condom.			   (beat)		    The good news is, split the 		    check.				 SAM		    I don't think it could let a 		    woman pay for dinner.				 JAY		    Great.  They'll have a parade 		    in your honor.  You'll be Man 		    of the Year in Seattle 		    Magazine.  Tira misu.				 SAM		    What's tira misu?				 JAY		    You'll find out.				 SAM		    What is it?				 JAY		    You'll see.				 SAM		    Some woman is going to want me 		    to do it to her and I'm not 		    going to know what it is.				 JAY		    You'll like it.				 SAM			   (grimly)		    This is going to be tougher 		    than I thought.	EXT. HOUSEBOAT - EARLY EVENING	Sam coming home.	INT. HOUSEBOAT - EARLY EVENING	As he enters.  It's very quiet.  Too quiet.				 SAM		    Jonah?	No answers.				 SAM		    Jonah?	He starts to look concerned.				 SAM		    Jonah?	He goes down the hall to Jonah's room.  The door is 	shut.  He opens it.	Jonah is sitting on his bed listening to a tape.  	Earphones on.  Next to him is a young girl named 	JESSICA.				 SAM		    Jonah?	Jonah takes off the earphones.				 JONAH		    Hi, Dad.  Dad, this is Jessica.				 SAM		    It's nice to meet you, Jessica.				 JONAH		    Dad, this is amazing.  If you 		    play this backwards, it says 		    "Paul is dead."				 SAM		    I know.				 JONAH		    How do you know?	Sam shrugs, turns to go back down the hall.				 JONAH		    Dad, could you close the door?				 JESSICA		    H and G.			   (Sam looks back)		    Hi and goodbye.	Sam closes the door to Jonah's room.	Hold on Sam.				 SAM			   (to himself)		    Get a life.	INT. HOUSEBOAT - CONTINUOUS	As Sam comes downstairs, goes into his office.  Closes 	the door.	INT. SAM'S OFFICE AT HOME - CONTINUOUS	He goes to the phone.  Looks up a number in the phone 	book.  Picks up the phone and dials a number.				 SAM		    Hi, Victoria?... It's Sam 		    Baldwin, I don't know if you 		    remember me.  Oh?  Well, great.  		    I was wondering if you wanted 		    to have a drink... Friday, 		    say... Dinner?... Sure, dinner 		    would be fine.  Sure.  Dinner.	INT. AN UNFINISHED DINNER ON A PLATE IN ANNIE'S LIVING ROOM 	- NIGHT	Annie is watching "An Affair to Remember" on television, 	tears pouring down her face.  Cary Grant is saying: "Are 	you in love with him?" Deborah Kerr replies: "I'm not 	now."	She's sitting at the dining room table.  A dozen pieces 	of paper litter the table.  Annie's been unsuccessfully 	typing a letter on an old Underwood typewriter.				 ANNIE		    Now those were the days when 		    people knew how to be in love.	She takes a blast from the wine glass to her right.  	Becky leans in, refilling the glass.  Annie begins to 	type and sob and look at the TV.				 BECKY		    You're a basket case.				 ANNIE			   (as she types)		    They knew it.  Time, distance, 		    nothing could separate them.  		    Because they knew.  It was 		    right.  It was real.  It was...				 BECKY		    ... movie.			   (beat)		    That's your problem.  You don't 		    want to be in love.  You want 		    to be in love in a movie.			   (beat)		    Read it to me.				 ANNIE			   (reading her letter)		    "Dear Sleepless and Son..."				 BECKY		    It sounds like the name of a 		    mattress store --				 ANNIE		    "I am not the sort of person 		    who listens to call-in radio 		    shows" --	Becky flops on the couch.				 BECKY		    And this woman is a writer! 		    That's what everyone writes at 		    the beginning of letters to 		    strangers.				 ANNIE		    I know that.  You think I don't 		    know that? "I know that's a 		    dumb way to begin, but it's the 		    only way I can think of to 		    convey what happened to me the 		    other night when I heard the 		    two of you on the radio.  On 		    the other hand, maybe I'm just 		    losing my mind."				 BECKY		    You are.  You're losing your 		    mind.  What about Walter?				 ANNIE		    I'm going to marry Walter.  I 		    just have to get this out of my 		    system.				 BECKY		    Right.				 ANNIE		    I should say something in this 		    about magic.				 BECKY		    What?				 ANNIE		    I don't know.  I mean, what if 		    I never meet him? What if this 		    man is my destiny and I never 		    meet him?				 BECKY		    Your destiny can be your doom.  		    Look at me and Rick.				 ANNIE			   (typing some more)		    "I want to meet you..."	Cary Grant says: "How about the top of the Empire State 	Building?"				 BECKY		    "On top of the Empire State 		    Building at sunset on 		    Valentine's Day."				 ANNIE		    Good.  Perfect.  I'll be in New 		    York with Walter, I can squeeze 		    it in.	She types in Becky's idea.	Then she takes the piece of paper out of the typewriter, 	smashes it into a ball and tosses it up in the air and 	into Becky's lap.				 BECKY		    You want to hear about destiny? 		    If my husband hadn't gone on a 		    diet, which caused me to leave 		    him, I would never have been on 		    that flight to Miami, and met 		    Rick, and ended up having sex 		    in the bathroom of a 727 with 		    that nob you slide that says 		    "vacant-occupied, vacant-		    occupied, vacant-occupied" --			   (she shudders in 			    ecstasy, then pulls 			    herself together)				 ANNIE		    You never told me you left your 		    husband because he went on a 		    diet.				 BECKY			   (nods; after a beat)		    He lost all the weight... 		    there.				 ANNIE		    That's impossible.  A guy can't 		    --				 BECKY		    Can too.				 ANNIE		    No.				 BECKY		    Yes.				 ANNIE		    And then you left him? He lost 		    weight there and you left him?				 BECKY		    Plus he fell in love with a 		    temp.				 ANNIE		    Listen to this, I love this 		    part --	Deborah Kerr says: "It's now or never." And Cary Grant 	says: "We'd be fools to let happiness pass us by." 	Deborah Kerr: "Winter must be cold for those with no 	warm memories."	Becky and Annie with tears rolling down their faces.				 BECKY		    Men never get this movie.				 ANNIE		    I know.				 BECKY		    Do you think at the end of the 		    movie when she's in the 		    wheelchair they can still do 		    it?				 ANNIE		    I always wondered about that 		    too.	As Becky reaches for a Kleenex.	INT. JONAH'S BEDROOM	A Kleenex being pulled from a box.  Sam is giving it to 	Jonah, who's up.  His hair is mated with perspiration.				 SAM		    It's okay, it's okay.  I'm 		    here.	A beat while Jonah calms down.				 JONAH		    It was sinking.				 SAM		    What was?				 JONAH		    Our house.  There was water 		    coming in all the windows.				 SAM			   (calm and definite)		    You're worried we're going to 		    be all right.  We're going to 		    be all right.			   (Sam gives Jonah a 			    squeeze)		    I remember sometimes you'd have 		    nightmares as a baby.  Your mom 		    would hold you and rock you and 		    sing you a song.				 JONAH		    Bye bye blackbird.				 SAM		    Is that what she used to sing?				 JONAH		    I miss her.			   (beat)		    What do you think happens to 		    someone after they die?				 SAM		    I don't know.				 JONAH		    Like do you believe in heaven?				 SAM		    I never did.  Or the whole idea 		    of an afterlife.  But I don't 		    know any more.  I have these 		    dreams about... your mom... and 		    we have long talks about... 		    about you, and how you are, 		    which she sort of knows but I 		    tell her anyway.  So what is 		    that? It's sort of an afterlife, 		    isn't it?				 JONAH		    I'm starting to forget her.				 SAM		    I know.  But she's here, Jonah.  		    Because I have you.  And as 		    long as I have you, I have your 		    Mom.	Hold on the two of them as music begins.  Bye Bye 	Blackbird.				 SAM		    I... uh... have a date with 		    someone Friday night.				 JONAH		    Good.	A beat.				 SAM		    Did I ever tell you about the 		    time I ate a dog biscuit?	As Jonah cuddles closer MUSIC COMES UP AS WE PULL BACK 	FROM THE BED AND...							CUT TO:	EXT. ANNIE'S TOWNHOUSE - LATE NIGHT	AS MUSIC CONTINUES.  Annie waves as Becky gets into her 	car and rides away.  Annie turns to her doorway and 	stops.  She can't go back in.  She needs to walk and 	think.  She crosses the street into a little 	neighborhood park.  We can see the moon.							CUT TO:	EXT. SAM'S HOUSEBOAT - NIGHT	Sam comes out onto the porch.  Flops down in his deck 	chair.  The city lights in the background.  Same moon.  	The MUSIC CONTINUES.							CUT TO:	EXT. PARK - NIGHT	Annie flops down on a child's swing set in the park.  	MUSIC CONTINUES.							CUT TO:	CLOSE ON SAM	CLOSE ON ANNIE	AND A LONG SHOT OF ANNIE IN THE SWING	As Walter pulls up into the parking space Becky pulled 	out of.  Annie starts toward him.	A LONG SHOT OF SAM ON THE BACK OF THE BOAT	Make my bed and light the lights I'll arrive late 	tonight, blackbird, bye bye.	FADE IN:	INT. BALTIMORE SUN - DAY	Annie on the phone at her desk.				 ANNIE		    Laurie, it's Annie.  Fine, I'm 		    fine.  Listen, I'm doing an 		    article on call-in radio shows.  		    Do you know anyone who works 		    for someone named Dr. Marcia 		    Fieldstone...?							CUT TO:	Annie on the phone.				 ANNIE		    I'm a writer for the Baltimore 		    Sun and I'm a friend of Laurie 		    Johnson's.  I'm doing a piece 		    on how people handle 		    bereavement and I understand 		    that you had a caller the other 		    night... I know you're not 		    supposed to, but Laurie said 		    you might, and I'll plug the 		    show and everything --			   (she winces in 			    anticipation of a 			    rejection, but then 			    her face relaxes)							CUT TO:	Annie dialing Sam's telephone number.				 JONAH (ON MACHINE)		    This is Jonah Baldwin, we're 		    not in right now but you can 		    leave --	Annie hangs up.				 ANNIE		    Baldwin.							CUT TO:	Annie at her computer modem.  She's dialing a number.  	We hear some beeps.				 COMPUTER SCREEN		    Directory.  Enter password.			   (Annie types)		    Ann Reed.  BSun124.			   (computer)		    Find.			   (Annie types)		    Samuel Baldwin.			   (computer types)		    216 Samuel Baldwin.  Strike Y 		    to printout or enter factors.			   (Annie types)		    Samuel Baldwin, Seattle.			   (there's a pause)		    Not found.			   (Annie thinks for a 			    moment, then types)		    Samuel Baldwin, Jonah Baldwin.			   (a pause)		    Samuel Baldwin, Jonah Baldwin 		    found.  Strike Y to printout or 		    enter factors.			   (Annie types Y)	And now on the computer screen, we see a funeral notice 	from the Chicago Tribune that reads: Baldwin, Margaret 	Abbott, beloved wife of Samuel, mother of Jonah, June 	10, Funeral 10 a.m.  Thursday, Church of the Heavenly 	Rest, 110 N.  State, in lieu of flowers contributions 	should be sent to Chicago Horticultural Society.  And 	then there's a citation: Chicago Tribune, June 12, 1989.	Annie types another entry.				 ANNIE			   (typing)		    Samuel.  Baldwin, Chicago.			   (after a beat)		    Four Samuel Baldwins.  Strike Y 		    to printout.			   (Annie strikes Y)		    Samuel Baldwin, arrested for 		    grand larceny, 1961.  Samuel 		    Baldwin, alderman, convicted of 		    accepting bribes, 1967.  Samuel 		    J. Baldwin, architect, built 		    City Plaza.			   (Annie presses Y)							CUT TO:	A PRINTOUT OF AN ARTICLE	that Annie's reading.  There's a newspaper picture of 	Sam at the dedication of a building site.  It's got that 	kind of grainy quality that things have when they've 	been transmitted, but you can make out Sam's basic good 	looks.	EXT. BO'S SECURITIES/WORLDWIDE - DAY	Annie coming from the street toward a storefront in 	downtown Baltimore across the street from the courthouse.  	Next door there's a bailbondsman, there are ambulance-	chasing lawyers hanging out on the corner.	The sign on the door reads: "No job too small." "All 	major credit cards accepted." And then everything on 	the sign is translated into Spanish.	INT. BO'S SECURITIES - DAY	Detective Bo Wheedle, a former cop, sits at his desk 	listening to Annie.  He has some papers.				 ANNIE		    I need to know about him 		    because... he's involved with 		    my sister...			    	 DET. WHEEDLE		    Okay.				 ANNIE		    She has a pattern of getting 		    involved with losers... Once 		    she almost ran away with a 		    human cannonball from the 		    circus.				 DET. WHEEDLE		    Do you want a matrimonial, past 		    wives, any kids--				 ANNIE		    No, I know that part --				 DET. WHEEDLE		    So you want a financial, is he 		    a deadbeat, we can do a D&B --				 ANNIE		    No, no, no, it's more like, who 		    is he, does he have a sense of 		    humor, is he nice -- no forget 		    nice, I've got nice --				 DET. WHEEDLE		    A sense of humor.				 ANNIE		    I'll tell you the truth, I 		    heard this guy on a call-in 		    radio show and I might not 		    marry the person I should marry 		    because I've become obsessed 		    with him.				 DET. WHEEDLE		    Oh.  Like Glenn Close in that 		    movie.				 ANNIE		    No.  Not remotely.  I just want 		    to find out about him.				 DET. WHEEDLE		    You want a tail.			   (picking up the phone)		    I got a guy in Seattle --	INT. SAM'S HOUSEBOAT - NIGHT	Jonah is watching Geraldo with his babysitter, CLARISE, 	17.	Geraldo is talking to a heavily made-up, sexily-dressed 	WOMAN.				 GERALDO		    So how long have you been a 		    woman?				 WOMAN			   (husky voice)		    About two weeks.	Sam is coming down the stairs.				 CLARISE			   (to Jonah)		    Pssst!	Jonah hits the remote control and the channel changes to 	the Disney channel as Sam comes into the room, dressed 	for his date.				 SAM		    Clarise, I'll be back by 		    midnight I'm sure --				 CLARISE		    Whenever.	Sam tosses Jonah a letter.				 SAM		    This one's for both of us.				 JONAH			   (reading from the 			    envelope)		    Sleepless and Son.			   (reading the postmark)		    Baltimore.	He starts to open the letter.				 SAM		    I left the number of the 		    restaurant I'll be at if 		    there's any emergency.				 CLARISE		    Fine.				 SAM			   (to Jonah)		    How do I look?				 JONAH			   (absently)		    Great.				 SAM			   (looks in mirror)		    I look stupid.  I look stupid, 		    don't I? I look like I'm 		    trying too hard.  I was going 		    to get a haircut but then I 		    thought I'd look like I just 		    got a haircut.			   (checks his teeth, 			    peers up his nose)				 JONAH			   (reading the letters)		    This is a good letter, Dad.				 SAM			   (checks his fly, looks 			    down at his feet)		    The heels on these shoes are 		    very large.  Why have I never 		    noticed this? The heels on 		    these shoes are grotesque.				 JONAH		    Her name is Annie.  Annie Reed.				 SAM		    Now I'm late.  Bye.	He starts toward the door.				 JONAH		    Listen to this --				 SAM		    Not now, Jonah --				 JONAH		    Just this one part, okay?			   (reading)		    "I have been an excellent 		    third-baseman for as long as I 		    or anyone else can remember, 		    and I guarantee you will not 		    get one past me"				 SAM		    Jonah, I'm leaving --				 JONAH		    WAIT!!!			   (Sam stops, amazed at 			    Jonah's vehemence; 			    Jonah continues 			    reading)		    -- "and while we're on the 		    subject, let's just say right 		    now that Brooks Robinson was 		    the best third baseman ever.  		    It's important that you agree 		    with me on that because I'm 		    from Baltimore."  Dad, she 		    thinks Brooks Robinson is the 		    greatest.	Sam goes out the door with Jonah behind him, waving the 	letter.	EXT. HOUSEBOAT - NIGHT				 JONAH		    Dad!				 SAM		    Everyone thinks Brooks Robinson 		    is the greatest.				 JONAH		    It's a sign.				 SAM		    Oh, right.	Sam stops, takes Jonah by the hand and takes him back 	into the house.				 SAM		    Come here.  I want to show you 		    something.	INT. HOUSE - NIGHT	As Sam pulls down the map of the United States, which is 	hanging over one of the kitchen windows and stands Jonah 	in front of it.				 SAM		    Here is Seattle.			   (moves his finger 			    across the country)		    And here is Baltimore.  Case 		    closed.			   (he pulls the map and 			    it snaps back up)				 JONAH		    She doesn't want us to go to 		    Baltimore.  She wants to meet 		    us in New York City on 		    Valentine's Day.  On top of the 		    Empire State Building.				 SAM		    Perfect.  We'll be there.	Sam goes out the door.  Jonah just looks down at his 	letter, his hopes on hold.  Clarise switches the TV back 	to Geraldo.	INT. RESTAURANT - NIGHT	Sam sits at a table.  Nursing a beer.  A little nervous.  	He looks up and spots:	VICTORIA	walking into the place.  She's attractive.  She waves 	and smiles and sits down, orders a white wine spritzer 	from the maitre d'.	After a beat.				 SAM		    Hi.				 VICTORIA		    Hi.	An awkward pause.				 SAM		    You look good.				 VICTORIA		    You look good yourself.	Another pause.				 VICTORIA		    I thought you were never going 		    to call me.				 SAM		    You did?				 VICTORIA		    I really wanted you to call me, 		    and I thought you were never 		    going to --				 SAM		    You could have called me --				 VICTORIA		    No way.  No way I was going to 		    be the first woman you went out 		    with after...			   (she gestures 			    helplessly)		    There is no percentage 		    whatsoever in being the first 		    woman anyone goes out with 		    after...				 SAM		    You are the first woman I'm 		    going out with.				 VICTORIA		    Oh.				 SAM		    So whatdya say? I'll get the 		    check, and I'll call you in 		    eight months.	Victoria laughs far too enthusiastically.				 VICTORIA		    Oh, you are funny --	We hear a CLICK as the image FREEZES.							CUT TO:	SEATTLE DETECTIVE	sitting at a table across the room, having just taken 	the picture of Sam we saw frozen, with a miniature 	camera.  In QUICK CUTS we see a progression of later 	photographs:	SAM AND VICTORIA SIMPLY TALKING.	SAM HOLDING HIS FORK ACROSS THE TABLE TO GIVE VICTORIA 	A BITE OF HIS SALMON.	SAM AND VICTORIA SHARING A LAUGH.							CUT TO:	INT. BALTIMORE MARKET - DAY	Lots and lots of fish stalls with crabs, etc.  Annie is 	walking with Det. Wheedle toward a table you stand at 	near the clam bar.				 ANNIE		    Tell me he's living in squalor.  		    Tell me everything he has is 		    being repossessed, including 		    his filthy, dented mobile home.				 WHEEDLE		    He's got a houseboat.				 ANNIE		    I hate boats.				 WHEEDLE		    It sounds nice.				 ANNIE		    Boats.  You go out in them.  		    You come back in them.  I hate 		    them.				 WHEEDLE		    Houseboats don't go anywhere.				 ANNIE		    Boats.  All anyone talks about 		    is the wind.  Is it up, is it 		    down.  I can't live with a man 		    who only talks about the wind.				 WHEEDLE		    It's not a boat boat.  It's 		    really a house.				 ANNIE		    But it's on the water.				 WHEEDLE		    It's on the lake right in the 		    middle of Seattle.			      (beat)		    It rains nine months of the 		    year in Seattle.				 ANNIE		    I hope I don't have to pay for 		    that piece of information.				 WHEEDLE		    No, that's free.  He's an 		    architect.  Used to do big 		    high-profile projects.  He 		    scaled it all back when his 		    wife died.  Now he remodels 		    people's homes.  He works in 		    a small firm, makes a good 		    living.	He shows her a good picture of him.				 ANNIE		    He's real.	She goes to the next shot.  Sees a picture of Sam and 	Victoria in the restaurant, although all we see of 	Victoria is her back and mane of blond hair.	Hold on Annie's face.	INT. SEATTLE MARKETPLACE	With its stalls of king crab, but otherwise almost 	identical in design to the Baltimore marketplace.	Sam and Jonah walk past the fish stand, Sam looking 	around, slightly distracted.				 JONAH		    I figure we could go to New 		    York, catch the Knicks, and 		    since we'd be there anyway, 		    obviously we'd go to the Empire 		    State Building --				 SAM		    There she is.	As Victoria comes toward them, with a bag full of 	groceries.				 JONAH		    Why is she bringing that bag?				 SAM		    She's going to cook something 		    for us?				 VICTORIA		    Hi, Sam.  And let me guess -- 		    you must be Jonah.				 JONAH		    Hi.			   (back to the subject)		    He should book now because we 		    can get an excursion fare.  		    Jessica's parents are travel 		    agents and --				 SAM		    Not now, Jonah.	INT. HOUSEBOAT - LATER	Sam, Jonah and Victoria are at the dining room table, 	finishing the dinner that Victoria cooked.				 SAM		    We can't finish the job.  She's 		    on her sixth painter, now she's 		    thinking maybe she wants the 		    fireplace rebricked --				 VICTORIA		    I know her pretty well.  Maybe 		    I could call her --				 SAM		    I've already solved it.  I've 		    hired a hit man.	Victoria laughs a little too hard.				 VICTORIA		    Oh that is so funny, you are so 		    funny.	Sam smiles.  Jonah is appalled.				 SAM		    Every time she wants to change 		    something, she talks in this 		    little baby voice --			   (in a little baby 			    voice)		    "Couldn't you just move the 		    stairway a teeny tiny bit?"--	Victoria almost dies laughing.  Jonah's eyes narrow to 	slits.				 JONAH		    Do you like baseball?				 VICTORIA		    Yes, I do.  In fact, my firm has 		    box seats for the Mariners.  		    Why don't we all go next week?				 JONAH		    What about camping?				 VICTORIA		    What about it?				 JONAH		    Do you like it?				 VICTORIA		    I went camping once.			   (to Sam)		    I love to brush my teeth in a 		    brook and floss with a weed.				 JONAH		    We ought to start camping 		    again, Dad.				 SAM		    Okay, tiger.  Time for bed.				 JONAH		    It's only ten o'clock.				 SAM			   (a little edgy)		    Jonah!				 JONAH		    Okay.				 SAM		    Thank Victoria for dinner.				 JONAH		    Thanks for dinner.  I never saw 		    anybody cook potatoes that way.				 SAM			   (gracious)		    I'm glad you liked it.  Good 		    night, Jonah.	They watch as Jonah pads down the hallway.	EXT. SAM'S HOUSEBOAT - REAR DECK - ON SAM & VICTORIA	They're standing at the rail, talking.	INT. HOUSEBOAT - NIGHT	Jonah has snuck downstairs and is peeking out the window 	at them.	Victoria runs her finger down Sam's arm.	Jonah is horrified.	He dashes over to the phone and begins to dial.	INT. ANNIE'S BEDROOM - NIGHT	A sleeping Annie and Walter are startled awake by the 	ringing of her phone.				 ANNIE			   (groggy)		    Hello.				 BECKY			   (through filter)		    Turn on your radio!				 ANNIE		    What?				 BECKY			   (through filter)		    The kid is on.  You've got me 		    listening to this garbage.  		    Go on, turn it on.				 WALTER		    Who is it?				 ANNIE		    Oh, it's just Becky, she's 		    having trouble with Rich again.			   (into phone)		    Hold on, Becky, I'm going 		    downstairs.	She puts the phone on hold and gets out of bed.	INT. KITCHEN - NIGHT	As Annie comes in and turns on the radio and picks up 	the phone.				 JONAH (V.O.)		    This is a complete disaster.  I 		    wanted him to find a wife, but 		    he's got the wrong one --				 ANNIE		    How am I going to explain this 		    to Walter?				 BECKY (V.O.)		    Shhh, listen to this --	Annie takes the portable radio and the telephone 	receiver, opens the broom closet and closes herself 	inside.				 DR. MARCIA FIELDSTONE (V.O.)		    Shouldn't your father be the 		    judge of whether she's right 		    or wrong?	ON JONAH	sneaking glances out at Sam and Victoria as he talks.  	Victoria puts her arms around Sam's waist and clasps 	them behind him.				 JONAH		    Please, please don't make me 		    sick.  He's not sane enough to 		    judge anything.  She's a ho.	ON THE OUTSIDE OF THE BROOM CLOSET, WITH THE TELEPHONE 	CORD LEADING INTO IT.				 JONAH (V.O.)			   (muffled slightly)		    My dad's been captured by a ho.	Suddenly Sam happens to look over to the window.  Jonah 	ducks down behind the desk before Sam sees him.	EXT. HOUSEBOAT - NIGHT	Victoria notices Sam glancing back at the house, aware 	that he's concerned about Jonah seeing them.				 VICTORIA		    Is he there?				 SAM			   (turning back)		    No.			   (beat)		    After he was born, every time 		    we started to make love, he 		    would cry.  He had an uncanny 		    sense of timing.  We really 		    shouldn't do anything here 		    anyway.				 VICTORIA		    Absolutely.  Right.	And she moves in to kiss him.	ON JONAH	Jonah peeks up over the top of the desk to check if the 	coast is clear and is sickened to see them locked in a 	kiss.				 JONAH		    Oh God, it's major.  He's 		    kissing her on the lips.  I 		    have to stop this.	ON BROOM CLOSET				 ANNIE			   (muffled)		    Come on, Jonah --				 BECKY (V.O.)		    Do something --	ON JONAH				 DR. MARCIA FIELDSTONE (V.O.)		    Jonah, you can't butt in here.				 JONAH		    Yes, I can.	He hangs up the phone and SCREAMS.							CUT TO:	ANNIE AS THE BROOM CLOSET DOOR OPENS.	SHE SCREAMS.	It's Walter.				 WALTER		    Miss Scarlett.  In the broom 		    closet.  With the radio.				 ANNIE			   (to Becky)		    I gotta go.  I'll see you at 		    work.			   (she hangs up, turns 			    off radio)		    Walter, you scared me.  Don't 		    ever do that again.	INT. HOUSEBOAT - NIGHT	As Sam holds Jonah by the shoulders.				 SAM		    Don't ever do that again.				 JONAH		    I thought I saw a black widow 		    spider.	Sam looks at Victoria, shrugs.  Back to Jonah.				 SAM		    What are you doing up?				 JONAH		    I was thirsty.				 SAM		    There's a bathroom upstairs.				 JONAH		    The water tastes better in the 		    kitchen.				 SAM		    That's true.  Why is that?	INT. ANNIE'S TOWNHOUSE APARTMENT - NIGHT	As she and Walter go upstairs to bed.				 ANNIE		    Becky heard this woman on the 		    radio complaining about this 		    guy she was sure was Rick, 		    which meant he was cheating on 		    her.  She was completely 		    hysterical.  Then it turned out 		    the woman lived in Duluth.				 WALTER		    That doesn't make any sense.				 ANNIE		    I know.  It makes no sense at 		    all.  Thank God my life is in 		    place.	INT. ANNIE'S BEDROOM - NIGHT	Walter asleep.  Annie stares up at the ceiling, wide 	awake.  Thinking.	INT. JONAH'S BEDROOM - NIGHT	Jonah lying on his pillow, staring up at the ceiling, 	wide awake.  Thinking.	INT. JESSICA'S PARENTS' TRAVEL AGENCY - DAY	Jessica is reading the letter from Annie.  She's sitting 	at a computer in their travel agency, which is on the 	entrance level to a charming Seattle townhouse.  Jonah 	sitting there.				 JESSICA		    Write her.				 JONAH		    You think so?				 JESSICA		    It's Y. O. H.				 JONAH			   (agreeing)		    Yeah.			   (a beat)		    What's that?				 JESSICA		    Your only hope.	INT. NEWSROOM - DAY	Annie, at her computer, talking to Becky.				 ANNIE		    I thought I would look into 		    doing a story about those radio 		    shows.				 BECKY			   (nods; after a beat)		    You'd probably have to go 		    somewhere to really look into 		    it.				 ANNIE		    Definitely.	EXT. STREET OUTSIDE JESSICA'S HOUSE - A LITTLE LATER	Jonah and Jessica at the mailbox.  As Jonah opens the 	mailbox and drops the letter in, we hear a SQUEAL OF 	BRAKES.  It's Sam's car.				 SAM			   (angry)		    Get in the car right this 		    minute.	Jonah, about to get in, looks at Jessica.				 JESSICA		    I'll call you later.	Jonah gets in.	INT. SAM'S CAR - CONTINUOUS				 SAM		    Did you call that radio station 		    again?				 JONAH		    No.				 SAM		    Everyone at work heard you.				 JONAH		    I just called for a second.				 SAM		    Long enough to call Victoria a 		    ho.				 JONAH		    It's a short word.				 SAM		    This is not a joke.  Thank God 		    Victoria doesn't know.  It 		    would really have hurt her 		    feelings.				 JONAH			   (really getting into 			    it)		    If she knew, she'd never 		    forgive me.  It would be 		    hopeless for the two of you.	EXT. SEATTLE STREET - CONTINUOUS	As the car drives off.				 SAM (V.O.)		    Don't open your mouth again.  		    Ever.	EXT. A CAR DOOR SLAMMING - NIGHT	And pull back to reveal:	EXT. BALTIMORE RESIDENTIAL STREET - NIGHT	As Annie and Walter get out of the car, dressed for a 	dinner.				 WALTER		    Couldn't you just do a phone 		    interview?				 ANNIE		    Not for the kind of place I 		    want to do.  I won't be in 		    Chicago that long.				 WALTER		    When you get back, I'll be 		    gone --				 ANNIE		    And then I'll see you in New 		    York --				 WALTER		    Okay, okay.	EXT. BALTIMORE INTERNATIONAL AIRPORT - DAY	A 747 accelerates down the runway and blasts into the 	winter sky.	INT. AIRPLANE - IN FLIGHT - DAY	Annie is looking out the window, preoccupied.				 PILOT'S VOICE		    This is Captain Foster 		    welcoming you aboard Flight 132 		    to Seattle.  Our flying time 		    today...				 ANNIE		    Do you believe that any lie is 		    a betrayal? That's what Harold 		    Pinter says, but it seems to me 		    it's a very harsh way of 		    drawing the line.	Annie turns back to the window, leaving the seatmate, 	who in any case doesn't speak English, completely 	mystified.	INT. SEATTLE/TACOMA AIRPORT - DAY	Jonah is standing out of the way at a departure gate, 	watching Sam as Victoria checks in for a flight bound 	for Minneapolis.				 VICTORIA			   (turning to Jonah)		    Can I bring something back for 		    you? A souvenir?			   (to Sam)		    Does he like those little snow 		    scenes?			   (to Jonah)		    You know -- you shake them up 		    and the snow floats down?	Sam looks at Jonah, threateningly.  Be nice or else.				 JONAH			   (extremely polite)		    Sure.  I'd really like that.  		    Thank you so much.				 VICTORIA		    Well...				 JONAH		    I think they're announcing your 		    flight.	Sure enough, passengers are starting to board.				 SAM		    He's ten.				 VICTORIA			      (he's good at it)		    He's good at it.				 SAM		    I read an article about this		    ...				 VICTORIA		    I read the same article...				 SAM		    It takes time --				 VICTORIA		    Absolutely.  When I come back, 		    maybe the two of us should 		    spend some time together, on 		    our own.  What do you think?				 SAM		    Sure.  Sure.	Victoria waves goodbye and starts toward the jetway.  	As Sam watches her go, Jonah looks at him, sticks his 	finger in his mouth and pretends to gag.				 SAM			   (impatiently)		    Jonah, this isn't fair.  You 		    don't know Victoria.  I hardly 		    know her myself.  She is, in 		    fact, a mystery to me.  She 		    tosses her hair a lot.  Why 		    does she do this? I have no 		    idea.  Is it a twitch? Does 		    she need a haircut? Should she 		    use barrette so it doesn't 		    keep falling in her face? 		    These are things that I'm 		    willing to get to the bottom 		    of, and that is why I am dating 		    her.  That is all I am doing.  		    I am not marrying her.  Can you 		    appreciate the difference? 		    That's what single people do, 		    they try people on and they see 		    if they fit.  But nobody fits 		    perfectly, everyone is an 		    adjustment.				 JONAH		    Was Mom an adjustment?				 SAM			   (complete exasperation)		    I'm never going to meet anyone 		    who's going to measure up to 		    your mom in your eyes? What do 		    you think? There's a perfect 		    woman walking around out there?	At that moment, Annie emerges from the jetway right next 	to the one Victoria went into and comes toward us.				 SAM		    There's no such thing as a 		    perf --	Sam sees Annie immediately, and is instantly struck by 	her looks, her fluidity, her poise.	Annie walks right toward Sam, right past him, inches 	from him, not noticing him as she looks for the exit.  	Sam continues to stare at her.				 SAM			   (to himself, referring 			    to Annie)		    God, she's beautiful.				 JONAH			   (unaware he's talking 			    about Annie)		    Victoria? She's okay.	Sam and Jonah start toward the exit, Sam trying not to 	lose sight of Annie.				 JONAH		    Dad, I was talking to Jessica 		    about reincarnation, and she 		    thinks that probably you knew 		    Annie in another life.				 SAM			   (completely distracted)		    Who is Annie?				 JONAH		    The one who wrote us.	Sam is preoccupied with Annie.  She takes a turn that he 	doesn't expect.  He's having trouble keeping up, because 	he has to wait for Jonah.				 JONAH			   (continuing)		    But Jessica says you and Annie 		    never got together in that 		    life, and your hearts are like 		    puzzles with parts out of them 		    and when you get together the 		    puzzle's complete.	He's lost Annie in the crowd.  She's nowhere in sight.				 SAM		    God dammit.	A beat, then Sam heads off to the exit.  Jonah follows.  	As they walk into the distance --				 JONAH		    The reason I know this and you 		    don't is that I'm younger and 		    purer so I'm more in touch with 		    cosmic forces.				 SAM		    I sincerely hope you are not 		    going to marry Jessica.	EXT. AIRPORT CAR RENTAL AGENCY - DAY	As the shuttle bus drops Annie off at a rental car.  As 	she gets in and starts the car.	EXT/INT. SEATTLE/RENTAL CAR - DAY	Annie driving through the streets of Seattle, referring 	continually to a map she has spread out on the passenger 	seat, trying to navigate her way to the Baldwin houseboat.	EXT. STREET FRONTING THE BALDWIN HOUSEBOAT SLIP -- DAY	Annie drives slowly down the street, looking for the 	Baldwins' marina.  She stops, blocking the driveway to 	the marina.	ON ANNIE IN HER RENTAL CAR	checking the map.	Suddenly she hears a HORN HONKING behind her.  She looks 	into the rear-view mirror and sees Sam and Jonah in 	their van, anxious for her to move so they can pull into 	their driveway.	Recognizing Sam from Wheedle's picture, Annie panics and 	speeds away, tires squealing.	EXT. SEATTLE GAS STATION - DAY	Annie's car is parked just outside the rest room.	INT. GAS STATION RESTROOM - DAY	Annie's in the Ladies' Room, splashing some water on her 	face.  She towels it off and looks into the mirror.				 ANNIE			   (practicing)		    Hello, Mr.  Baldwin? No.  		    Hello, Sam?			   (sweet)		    I'm Annie Reed.			   (dignified)		    I'm Annie Reed.			   (sultry)		    I'm Annie Reed.			   (matter-of-fact)		    I'm Annie Reed.	She settles on the matter-of-fact reading.				 ANNIE		    I heard about you calling Dr. 		    Fieldstone, and well, I just 		    happened to be out here on...	JUMP CUT:				 ANNIE			   (businesslike)		    business...	JUMP CUT:				 ANNIE			   (carefree)		    vacation...	JUMP CUT:				 ANNIE			   (losing confidence, 			    ready to pack it in)		    for no good reason at all...			   (rallying, businesslike 			    again)		    business... and I thought I'd 		    drop and...			   (breezy)		    say hello...	JUMP CUT:				 ANNIE			   (earnest)		    invite you to lunch...	JUMP CUT:    				 ANNIE			   (sexy)		    take a shower with you...	JUMP CUT:				 ANNIE			   (embarrassed with all 			    this)		    shoot myself.	EXT. STREET NEAR MARINA - LATER	ON ANNIE	watching.  She's at a safe distance, across the street 	and down some from the marina entrance.  She watches it 	for a moment, then gains courage.  She starts to cross 	the street to enter the dock.	EXT. DOCK - CONTINUOUS	Annie walks toward Sam's houseboat.  Nervously.  Goes up 	to the door.  Adjusts herself quickly and knocks.  No 	response.  Let down, she's just about to walk away when 	she hears a motor REV UP.	Annie peeks around the side of Sam's houseboat and spots 	Sam and Jonah heading out in their dingy.	EXT. STREET NEAR MARINA - CONTINUOUS	Annie races back to her car, jumps in and follows the 	boat along the seashore drive.	EXT. SEATTLE HIGHWAY - CONTINUOUS	As we see Annie driving along the water as Sam and Jonah 	chug along in the water.	EXT. ALKI BEACH - ON SAM AND JONAH	They're down at the water's edge, skipping broken 	clamshells, like stones, across the surface of the water.  	They're laughing, pointing, counting out the number of 	skips, arguing over the merits of each throw.	ON ANNIE	checking them out from a phone booth next to the Snak Shak.							DISSOLVE TO:	ANNIE'S POV - ON SAM AND JONAH - LATER	They're throwing a football.  Jonah catches it and 	starts to pretend to score a touchdown, dodging and 	feinting.  Sam tackles him and they tumble together on 	the beach.	CLOSE ON ANNIE	watching.  The purity and innocence of this little scene 	-- a father and son at play -- is affecting her more 	than she ever could have imagined.  Their LAUGHTER 	filters up to her.  Right to her heart.				 ANNIE (V.O.)		    I watched him play with his son 		    at the beach.	INT. ANNIE'S MOTEL ROOM - NIGHT	Annie's on the phone with Becky.  We cut back and forth 	between them.				 BECKY (V.O.)		    Did you talk to him?				 ANNIE		    I couldn't do it.  How did I 		    get here?	INT. BECKY'S BEDROOM - NIGHT	Becky on the phone in bed.  And cut back and forth.				 BECKY		    You told a lie and got on a 		    plane.				 ANNIE		    That's not what I mean.			   (beat)		    I'm going back over there 		    tomorrow and talk to him.  I 		    am.				 BECKY		    Okay.  Good.  Goodbye.				 ANNIE		    Becky?				 BECKY		    What?				 ANNIE		    Is this crazy?				 BECKY		    No.  That's the weirdest part 		    about it.				 ANNIE		    Thank you.  I love you.				 BECKY		    I love you, too.				 ANNIE		    Good night.	Annie hangs up the phone.  She turns off the light.  	Moonlight coming through the window.  Hold on her.	EXT. STREET NEAR MARINA - DAY	Annie parks across from the marina, starts to get out.	Sam's van pulls into a parking space.  Jonah in the 	front with Sam.  They're diagonally across a four-lane 	street.	ON SAM AND JONAH	As they start to get groceries out of the car.	Annie watching.  This is it.  No chickening out this time.	She's come three thousand miles, told lies, the whole 	thing.  It's now or never.	Sam and Jonah start toward the gate to the dock.	Annie starts to cross the street, gathering courage and 	rightness with every step.	But she STOPS DEAD WHEN SHE SEES:	SUZY	who we remember from eighteen months ago, appearing at 	the gate to the marina -- waving, smiling a mile wide -- 	beckoning Sam and Jonah home like a military wife whose 	boys have just come back from the front.  Sam and Jonah 	are overjoyed to see her.  Jonah breaks into a run, 	nearly leaping into Suzy's waiting arms -- as Sam brings 	up the rear, picking up Jonah's sodas which he dropped 	when he started running.	ON ANNIE	She comes to a standstill, in the middle of the street.  	In shock.  The scene in front of her is too horrible to 	bear.	ANNIE'S POV - GATE TO MARINA	Sam catches up.  Suzy -- no less beautiful and vivacious 	than she was before -- tousles Jonah's hair, kisses Sam 	and hugs them both.	ON SAM, JONAH AND SUZY.				 SAM		    God, it's wonderful to see you.  		    Where's Greg?				 SUZY		    He's over at the boat show.  		    He'll be by later.			   (she looks around)		    It's so beautiful here.	ANNIE	There is such apparent warmth, and joy, and love about 	this homecoming that she forget where she is -- in the 	middle of the street.  A car HORN blares at her... all 	she can do is stare at the nightmare that has unfolded.  	She starts to back away -- and that's when she sees --	A TAXICAB	coming right at her, horn BLARING, tires SQUEALING.  	Annie starts to jump to the other lane but there's a van 	bearing down from the opposite direction.  She steps 	back to the middle line.	The cab goes into a skid.  Annie freezes.	Sam heard the noise and turns to see what's going on.  	The cab comes SCREECHING right at the CAMERA.	Annie screams.	The cab stops inches from her body.  The van in the 	other oncoming lane fishtails to a stop as well.	ON SAM	responding.  He runs from the gate toward the near-	accident.	ON THE CAB DRIVER	getting out of the cab, as other people gawk from the 	sidewalk.				 DRIVER		    Lady, what the hell are you 		    doing?	Annie, still in shock from her brush with disaster, 	hears the Cabbie but doesn't respond.  Stunned, she 	turns to see Sam on the other side of the street.  Their 	eyes meet.  Sam stops, realizing it's the woman he saw 	in the airport.				 SAM		    Hello.				 ANNIE		    Hello.	Annie, totally mortified and humiliated by everything 	that's happened, bolts for her car.	Sam wants to run after her -- but there's traffic is 	coming past and he can't cross the street.  Annie gets 	into her car, starts and pulls away.  Sam stands there, 	deflated.	EXT. AIRPLANE - IN FLIGHT ACROSS THE U.S. - DAY				 ANNIE (V.O.)		    How could I have been such an 		    idiot?	EXT. BALTIMORE STREET - DUSK	Becky's car driving toward Annie's house.				 BECKY		    You were standing in the middle 		    of the street?	INT. BECKY'S CAR - DUSK				 ANNIE		    You know that dream where 		    you're walking down the street 		    naked and everyone is looking 		    at you?				 BECKY		    I love that dream.				 ANNIE		    That was nothing compared to 		    this humiliation, nothing.				 BECKY		    But he saw you, right?				 ANNIE		    He said hello.	EXT. TOWNHOUSE - ON ANNIE & BECKY - DUSK	As Annie leads the way to her door, from Becky's car.				 BECKY		    And what did you say?	Annie takes the mail from the mailbox on her way to the 	door.				 ANNIE		    All I could think of to say was 		    hello.							CUT TO:	"AN AFFAIR TO REMEMBER" ON THE TELEVISION SET.  DEBORAH 	KERR IS SAYING: "ALL I COULD THINK OF TO SAY WAS HELLO."	And pull back to reveal:	INT. ANNIE'S TOWNHOUSE LIVING ROOM - NIGHT	Becky and Annie looking at the television.				 BECKY		    It's a sign --				 ANNIE		    It's a sign I've watched this 		    movie too many times.			   (beat)		    I'm so stupid.  From the minute 		    I listen to that stupid program 		    on the radio, I've been a 		    complete jerk.	She starts absently going through the mail, throwing 	almost all of it away without even opening it.				 BECKY		    You don't know who she was, 		    Annie --				 ANNIE		    I saw her.  She looked just 		    like this --	She shows Becky the photo of Victoria and Sam having 	dinner.				 BECKY		    This is a photo of hair.				 ANNIE		    Well, it's the same woman.  And 		    he was crazy about her.			   (looking at one letter)		    What is this?			   (beat)		    This is from Seattle.	She opens the letter.	Reads it.	Looks up at Becky.				 ANNIE		    Becky?				 BECKY		    So I mailed your letter.				 ANNIE			   (reading the letter)		    "Dear Annie: Thanks for your 		    letter.  It was great.  We're 		    very excited about meeting you 		    in New York on Valentine's Day 		    and seeing if we are M.F.E.O. 		    Sleepless in Seattle."				 BECKY		    M.F.E.O.?				 ANNIE		    Made for each other.	A long beat.				 BECKY		    It's cute.  It's like a little 		    clue.	Annie looks at her balefully.				 BECKY			   (continuing)		    So he can't write.  Big deal.  		    I mean, verbal ability is a 		    highly overrated thing in a 		    guy, and our pathetic need for 		    it is what gets us into so much 		    trouble.				 ANNIE			   (with resolve)		    I'm going to run back to 		    Walter's arms, if he's still 		    have me.				 BECKY		    What about the letter?				 ANNIE		    It doesn't mean anything.  It 		    was written before I went out 		    there.  Before the ho.	She puts the letter on an ashtray, takes a match and 	lights it.  They both watch it burn.	CLOSEUP ON THE FIRE	And pull back to reveal:	INT. SAM'S HOUSEBOAT - NIGHT	A fire is blazing in the wood-burning stove.  Suzy is 	sitting with her husband Greg and Sam.  Jonah is in 	evidence, curled up on the couch under some blankets, 	asleep.  On the table near the couch is red construction 	paper for valentines, doilies, magic markers, etc.				 SUZY		    You saw her in the airport and 		    then here?				 SAM		    I tried to talk to her...			   (he shrugs)		    It was like I knew her.  Weird.				 GREG		    Well, at least you're out there 		    seeing people again.  That's 		    terrific.				 SAM		    Well, just one really.				 SUZY		    How's Jonah taking it?				 SAM		    It'll take him a while to come 		    around.  A month ago he called 		    one of those radio call-in 		    shows and told them I needed a 		    wife --				 SUZY			   (charmed)		    You're kidding --				 SAM		    Now that I'm seeing someone, 		    it's a whole other thing.	ON JONAH	he's not asleep after all.  He's been listening all 	along.				 SAM		    He's become obsessed with 		    some woman who wrote me --				 GREG		    Are you serious?				 SAM		    She wants to meet me at the top 		    of the Empire State Building.				 SUZY		    It's a little derivative.				 SAM		    What do you mean?				 SUZY		    "An Affair To Remember." Did 		    you ever see it? Cary Grant 		    and Deborah Kerr.  Before that 		    it was called "Love Affair With 		    Irene Dunne And Charles Boyer."				 GREG		    Women love this movie.	On Jonah, listening.				 SUZY		    They met at the Empire State 		    Building, only they didn't.  		    Never mind.				 GREG		    What kind of person would write 		    to someone they heard on the 		    radio?				 SAM		    I got hundreds of letters from 		    women all over the country --				 GREG		    Desperate women --				 SUZY		    Just because someone's looking 		    for a nice guy doesn't make 		    them desperate.				 GREG		    How about rapacious and love-		    starved?				 SUZY		    No.				 GREG		    It is easier to be killed by a 		    terrorist --				 SUZY		    It is not --				 GREG		    Right, right.	Suzy's irritated.				 SAM		    Anyway, Victoria's nice.				 SUZY		    Would you follow her through an 		    airport?				 SAM		    Look, I met somebody.  She's 		    good, and capable and smart.  		    We hit it off.  We can't spend 		    your life chasing after 		    fantasies.	Jonah is devastated by the realization that his dad is 	serious about Victoria.	INT. SAM'S BEDROOM - ON SAM IN BED - NIGHT	The door to his bedroom opens.	Annie walks in.  She's wearing a white men's shirt.				 ANNIE		    Hi.				 SAM		    Hi.			   (a beat)		    So far so good.  So.  What 		    should we talk about? How 		    insecure we were in high 		    school.  Shirley Votypka, the 		    first girl I ever felt up.  		    Health.  What about health? 		    Did you know that eating six 		    macadamia nuts is the 		    equivalent of eating a steak?				 ANNIE		    Shhhh --	She unbuttons her shirt.	And they kiss.	FREEZE FRAME on the kiss.  It becomes the silhouette of 	a man and a woman kissing.	AND PULL BACK TO REVEAL:		The silhouette of a man and a woman kissing on a red box	of Valentine's Day chocolates and now we see:	EXT. BALTIMORE - VALENTINE'S DAY - DAY	A few quick shot of Valentine's Day in Baltimore: shop 	windows lined with candy displays of red satin hearts, 	lacy Valentine cards, red roses in elaborate floral 	arrangements, old ladies selling chocolates, young 	ladies selling perfume.	A red Valentine's envelope is being tossed on a desk, 	and pull back to reveal:	INT. BALTIMORE SUN - DAY	Annie at work.  She looks at the card and opens it.  	It's from Walter.  She smiles.  Looks up.  There's 	Becky.				 BECKY		    You're going to miss the train.				 ANNIE		    No, I'm not.			   (she starts assembling 			    her things)				 BECKY		    What are your plans in New 		    York?				 ANNIE		    We're going to the Rainbow Room 		    and the symphony tomorrow night.				 BECKY		    I love the symphony.				 ANNIE			   (cheerfully)		    I hate it.			   (she stands to go, 			    starts toward the 			    elevator)		    I'm so happy, Becky.  Finally I 		    feel happy.  This is right.  		    This is real.  Everything else 		    is what happens when you watch 		    too many movies and completely 		    lose sight of what counts.			   (as she steps into 			    elevator)		    Please don't tell anyone about 		    what happened.  "Sleepless in 		    Seattle" is history.	INT. BALTIMORE TRAIN STATION - DAY	Annie through the train window as the train starts to 	move out of the station.	MAP OF THE UNITED STATES.	The map we saw at the beginning of the movie, as the 	light dims in Baltimore and a light goes on in New York.	EXT. NEW YORK HOTEL - NIGHT	Annie steps out of a cab.	INT. NEW YORK HOTEL - NIGHT	Walter opens the door to a beautiful suite.  A bouquet 	of flowers sits on the desk.  A bucket of champagne.	Annie throws herself into his arms.	Walter sneezes.	EXT. THE EMPIRE STATE BUILDING - DAY	And pull back to reveal that it's a shot from "An Affair 	To Remember."	And pull back to reveal:	INT. JESSICA'S HOUSE - DAY	JONAH is watching with his little girlfriend JESSICA, 	who's crying.				 JESSICA			   (weeping)		    This is the best movie I've 		    ever seen in my life.				 JONAH		    I don't get it.				 JESSICA		    You have to go to her, Jonah.  		    You have to find her.	Jonah nods.  But he isn't sure how he's going to do it.				 JONAH		    Do you know how much it costs 		    to go to New York?				 JESSICA		    Nobody knows.  It changes 		    practically every day.  How 		    much money do you have?				 JONAH		    Eighty dollars.				 JESSICA		    I have forty-two.  So that 		    would definitely cover 		    taxicabs, I think.				 JONAH		    But how am I going to get 		    there?				 JESSICA'S MOTHER		    Honey, I'm going out for a few 		    minutes.			   (sticking her head in 			    the door to the living 			    room)		    Could you keep an eye on things 		    out front till I get back?	Jessica looks over at Jonah.				 JESSICA		    Sure.	INT. JESSICA'S HOUSE - TRAVEL AGENCY OFFICE - DAY	Jessica is working on the computer.  She punches Jonah's 	name into it.				 JESSICA		    Do you want an aisle or a 		    window seat?				 JONAH		    Window.				 JESSICA		    Do you want a fruit plate?				 JONAH		    I don't know.  Do I?				 JESSICA			   (shrugs)		    I'd rather die than eat on an 		    airplane.			   (beat)		    I'm telling them you're twelve 		    so you can fly unaccompanied 		    and they won't make you be 		    carried around by a stewardess 		    and everything.	Jonah nods.	Now Jessica takes a ticket form out of the desk and 	starts to fill it out for Jonah.	EXT. FIFTH AVENUE - TIFFANY'S - A SCULPTED GLASS HEART 	- DAY	formed by two dancers bending over backwards, awash in 	pink light and spotlighted in white.	Walter and Annie are among a few other people -- couples 	mostly -- looking in the windows.  Each one a variation 	on the heart motif.  They move to a window -- "Broken 	Heart" -- burnished metal, with tow cherubs flying out 	of the wound in the middle.	ON WALTER AND ANNIE'S REFLECTION	in the Broken Heart window.	They're both in their own worlds.  Then they both start 	to speak at once.  They stop.  Annie looks at Walter.				 ANNIE		    You go.				 WALTER		    Ever since Christmas, you've 		    been different.  Kind of 		    distracted, distant.  But I 		    feel like you're coming back 		    from wherever you were.				 ANNIE		    I am.			   (she smiles at him)		    I was just... I just got... I 		    think I got nervous.  It's 		    normal, right? Don't you ever 		    feel nervous about, you know?				 WALTER		    What?				 ANNIE		    About forever.				 WALTER		    No.				 ANNIE		    Well, I did.  And you know what 		    I think? I think that it was 		    almost... too perfect.	INT. FIRST FLOOR - TIFFANY'S - DAY	As Annie and Walter walk through the jewelry department 	to the elevator.				 ANNIE		    I started to wonder whether we 		    were the human equivalent of 		    two rights making a wrong, you 		    know?	Walter has no idea what she means, but he's completely 	good-natured about it.	INT. THIRD FLOOR TIFFANY'S - DAY	Annie and Walter are walking around the floor, followed 	by a SALESWOMAN who is carrying a large white card on 	which she is noting their selections.				 ANNIE		    It was like kismet but not, if 		    you see what I mean.	Walter's brow furrows slightly.				 ANNIE			   (continuing)		    You have to grow up.  You can't 		    have all these adolescent 		    dreams about how exciting your 		    life is going to be --	Walter starting to look puzzled.				 ANNIE			   (continuing)		    Don't hate me but I love this 		    pattern.			    	 WALTER		    You couldn't.				 ANNIE		    I do.				 WALTER		    It's just like my grandmother's 		    china.				 SALESWOMAN		    How many place settings should 		    I put down?				 ANNIE & WALTER		    Ten.	Walter beams at her.				 WALTER		    Exactly.  Eight is too few and 		    twelve is too many.	The SALESWOMAN writes a "10" on the big sheet of paper.	INT. FIRST FLOOR - TIFFANY'S - DAY	As Annie and Walter come out of the elevator on the 	ground floor and WALTER stops for a moment at the 	Jewelry Repair department, reappears with a little blue 	Tiffany's box he gives to Annie.	Annie opens it.	Inside is a lovely antique diamond ring.				 ANNIE		    Walter.				 WALTER		    It was my mother's.				 ANNIE		    It's so beautiful.  It's just 		    what I would have picked out if 		    I'd had every ring in the world 		    to choose from.			   (as she slips the ring 			    onto her finger)		    You see what I mean.  There are 		    people who would like a 		    relationship to be full of 		    surprises, but I am not one of 		    them.			   (as she starts out the 			    door with Walter 			    behind, thinking about 			    what she has just 			    said)		    Surprises are highly overrated.	As they go out the door to:	EXT. FIFTH AVE.  - DAY	As they start down the street and go off into the 	distance.				 ANNIE			   (continuing)		    Promise me something, Walter.  		    Promise me you will never have 		    a surprise party for me.  Ever.  		    You know what happens, you walk 		    in the door in some horrible 		    sweater you put on that morning, 		    and there are hundreds of people 		    in their best clothes shouting 		    "Surprise!"	INT. SAM'S BEDROOM - NIGHT	Sam's got a suitcase on the bed, packing.  Jonah is 	standing in the doorway, watching.	He goes to his desk looking for something but can't find 	it.  He tries a few drawers.				 SAM		    Have you seen my wallet?				 JONAH		    It might be in the kitchen.	Sam doesn't remember leaving it in the kitchen.				 SAM		    I'm only going to be away one 		    night, okay, and Clarise will 		    be here.  You'll have a swell 		    time.  You'll watch a little 		    Geraldo, some Nightmare on Elm 		    Street 12, I'll never know.				 JONAH		    Are you going with her?				 SAM		    Yes.	Jonah walks out of Sam's bedroom and we hear the door to 	his bedroom slam shut.	ON SAM	Starting to boil.	He walks into --	INT. HALLWAY - NIGHT	And open the door to Jonah's room.	INT. JONAH'S ROOM - NIGHT				 SAM		    I have to have a life.  I have 		    to do things that I want with 		    people my own age.  It's none 		    of your business who I am going 		    out with.  I don't give a good 		    goddam if you're angry --				 JONAH			   (holding up Annie's 			    letter)		    This is the one I like.	Sam starts back to his bedroom.	INT. SAM'S BEDROOM - CONTINUOUS				 SAM		    I don't care who you like.  		    It's who I like.  But the truth 		    is you're never going to like 		    anyone because it isn't your 		    mother.	Sam throws a pair of socks into the suitcase.				 JONAH			   (yelling)		    Fine.  I won't say anything.  		    You can marry Count Dracula.				 SAM		    Thank you, Jonah.  But the 		    point is, I am not asking 		    permission.				 JONAH			   (yelling)		    What's wrong with Annie?				 SAM			   (emphasizing every 			    word)		    Shut up.	Jonah appears at the doorway.				 JONAH		    Shut up?  Shut up???  Mom never 		    did that.  Mom never said shut 		    up to me.  Mom never yelled at 		    me.				 SAM		    This conversation is finished.				 JONAH		    You said we could go to New 		    York.				 SAM		    Did not.				 JONAH		    Did too.				 SAM		    I can't know what I said, but 		    we're not going.				 JONAH			   (crossing his arms 			    across his chest)		    I'm not leaving this room until 		    you say yes.				 SAM		    Get out.				 JONAH		    No.				 SAM		    Goddammit, I am sick of this 		    --	Sam picks Jonah up and carries him kicking and screaming 	into:	INT. UPSTAIRS HALLWAY - NIGHT	and into:	INT. JONAH'S BEDROOM - NIGHT				 JONAH		    Put me down.  I hate you, I 		    hate you --	He throws Jonah on the bed.  Jonah in tears.				 SAM		    I'm sick of this phony 		    melodramatic bullshit.  I'm 		    sick of it.	He leaves the room and slams the door.	INT. HALL - CONTINUOUS	Jonah weeping as Sam goes back to his bedroom.	INT. SAM'S BEDROOM - CONTINUOUS	The sound of Jonah weeping.	Sam sits down on the bed, wiped out.  Hold on him.	EXT. BALDWIN HOUSEBOAT - MORNING	As Clarise the babysitter arrives at the houseboat.	INT. HOUSEBOAT - MORNING	Sam and Clarise in the hallway outside Jonah's door.				 SAM		    Jonah?  Clarise is here, okay? 		    And I'm leaving.	No response.				 SAM		    Jonah?			   (to Clarise)		    He's probably still asleep.	He opens the door gently to the room.	Jonah's gone.	IN QUICK CUTS:	Sam looks in the bathroom: no Jonah.  In the main cabin.  	The back deck.  Out onto the docks.  Looking all up and 	down.  Clarise coming down the deck -- she's apparently 	been looking in the neighborhood.  As she shakes her 	head no, Sam goes to the bicycle shed.  Jonah's bike 	still there.  Sam stands on the deck.	EXT. SEATTLE/TACOMA AIRPORT - DAY	We see a group of people filing off an airport shuttle 	bus.  The sign in front rotates from "Airport" back to 	"Marina."	Jonah comes down the stairs and steps off with his 	Mariners backpack.  He just stands there a beat, looking 	around.  Then he goes through the glass doors.	INT. AIRPORT FIRST CLASS TICKET COUNTER - DAY	The TICKET CLERK turns back to the counter.				 TICKET CLERK		    Next.	Jonah steps forward, with his ticket.	INT. JESSICA'S HOUSE - DAY	Jessica is sitting defiantly in a chair in the middle of 	the living room.  She is being interrogated but she is 	not going to talk.  There's a clock on the mantel.  Sam 	is in the room with Jessica's mother and father.				 JESSICA'S MOTHER		    Jessica, this is not 		    acceptable.				 JESSICA'S FATHER		    If you don't tell us right now, 		    right this minute, I'm going to 		    kill you.	Jessica rolls her eyes.	She looks over the clock on the mantel.  As it ticks 	to 8:30:				 JESSICA		    He's on his way to New York.				 JESSICA'S MOTHER		    What?				 SAM		    How?				 JESSICA			   (the child of travel 			    agents)		    United 597.	Jessica's mother and father are horrified.				 JESSICA'S MOTHER		    Jessica!				 SAM		    When does it leave?				 JESSICA'S FATHER		    Eight-thirty.	Everyone looks over at the clock.  It says 8:31.  	Jessica smiles.	INT. SAM'S CAR - DAY	CLOSE ON SAM	Driving to the airport.	EXT. HIGHWAY NEAR SEATTLE/TACOMA AIRPORT - DAY	As his car takes the airport exit.	INT. AIRPLANE - DAY	A stewardess bends affectionately over Jonah, ensconced 	in the first-class section.  He's got his backpack on 	his lap and he's holding it.				 STEWARDESS		    Here you go... here's a nice pin 		    for you, for flying with us.				 JONAH			   (completely unmoved, 			    but polite)		    Thank you.				 STEWARDESS		    You're welcome.  Can I take 		    that for you?				 JONAH			   (clutching it even 			    tighter)		    No.	INT. AIRPORT TICKET COUNTER - ON SAM - DAY	at the reservations desk.  Desperation.				 SAM			   (frantic)		    He's about this high, 90 		    pounds, never combs his hair, 		    Mariner's hat --				 AIRLINE CLERK			   (to his colleagues)		    Anyone check in a 		    unaccompanied minor on the New 		    York flight?				 FIRST CLASS TICKET CLERK		    I did.	Sam closes his eyes.				 SAM		    I'll kill him.			   (beat)		    I have to get to New York as 		    fast as I can.				 AIRLINE CLERK		    We can get you on a flight to 		    Chicago and you can change 		    planes --	Starting to punch information into the computer.				 AIRLINE CLERK		    How will you be paying for 		    this?				 SAM			   (taking out his wallet)		    American Express.			   (there's no American 			    Express card in his 			    wallet)		    Visa.			   (beat)		    I really am going to kill him.	INT. O'HARA AIRPORT - DAY	As Sam comes out of the plane from Seattle and dashes 	through the concourse, managing to arrive at the plane 	for New York at the very last moment.	INT. KENNEDY AIRPORT - DAY	As Jonah comes out of the plane from Seattle and looks 	up to see which way to go.  He looks very small.  Big 	New York passengers in a hurry whiz by with their 	carryons dangerously flying at their sides.	EXT. KENNEDY AIRPORT - A FEW MINUTES LATER	Jonah stands in a taxi line.	INT. TAXI - A FEW MINUTES LATER	Jonah sits down in the back seat.  Looks up.  A big 	bruiser of a CAB DRIVER leans back over the seat, sizing 	Jonah up.				 TAXI DRIVER		    Where to?				 JONAH		    Empire State Building.	INT. PLANE TO NEW YORK - DAY	Sam is in an aisle seat.  He closes his eyes and 	squeezes them tight.				 SAM			   (to himself)		    Come on... come on... come on... 		    COMEONCOMEONCOMEONCOMEONCOMEON...	EXT. EMPIRE STATE BUILDING - AFTERNOON	It looks magnificent in the waning afternoon light.				 CABBIE'S VOICE		    There it is.	We are watching from:	INT. A TAXICAB	where Jonah, with his head out the window, regards the 	building with awe.				 CABBIE		    What are you gonna do there, 		    spit off the top?				 JONAH		    No.  I'm gonna meet...			   (trying to figure out 			    what to call her)		    my mother.	INT. RAINBOW ROOM - DUSK	Walter and Annie walking toward their table with the 	MAITRE D'.	Annie sits down, looks at the view.  Walter starts to 	sit, revealing a spectacular view of the EMPIRE STATE 	BUILDING directly behind him.  Annie's smile fades.				 WALTER		    Is something wrong.	Annie shakes her head.				 MAITRE D'		    May I get you a drink?				 WALTER		    Some champagne?				 ANNIE		    Fine, fine.	Walter glances back over his shoulder.				 WALTER		    Beautiful view, isn't it?				 ANNIE		    Walter, there's something I 		    have to tell you --	EXT. KENNEDY AIRPORT - DUSK	As Sam rushes out of the terminal.  Desperate.	A cab pulls up.  Sam bolts to the head of the line and 	muscles his way into the cab.  The other people in line 	are irate.				 SAM		    Sorry, this is an emergency.	The cab pulls out to a chorus of verbal abuse.				 SAM (V.O.)		    Empire State Building.	INT. EMPIRE STATE BUILDING LOBBY - DUSK	Jonah, carrying his backpack, walks through the majestic 	lobby and follows the arrow to the Observation Deck.	EXT. TOP OF EMPIRE STATE BUILDING - HELICOPTER SHOT - DESK	Looking down on the observation deck.  The city below.  	The tiny figure of Jonah walks into the middle of the 	deck.  Looks around.	EXT. 59TH STREET BRIDGE - DUSK	Sam's cab speeds across the bridge and into Manhattan, 	heading for the Empire State Building.	INT. TOP OF THE EMPIRE STATE BUILDING - DUSK	Jonah is going to take the bull by the horns.  He walks 	up to a likely-looking WOMAN.				 JONAH		    Hi, I'm Jonah.  Are you Annie?				 WOMAN #1		    No.			   (smiles at him)		    I'm Cynthia.	He spies another unattached woman.				 JONAH		    Excuse me, are you Annie?	EXT. RAINBOW ROOM - DUSK	A helicopter shot of Annie talking animatedly to Walter.	And pull back to reveal that the Rainbow Room is 	actually being seen by Jonah through a viewscope in:	EXT. EMPIRE STATE BUILDING OBSERVATION DECK - DUSK INTO 	NIGHT	Jonah is looking through the viewfinder.  He turns 	around, forlorn.  He takes off his backpack and is about 	to sit down next to it when Sam bolts into the 	observation deck.	Jonah leaps into his arms.				 SAM		    You're my family.  You're all 		    I've got.  What if something 		    happened to you?	Sam's eyes well up.  Jonah starts to cry.				 SAM		    What if I couldn't get to you?				 JONAH		    I was scared of what you were 		    gonna do.				 SAM		    When I found you?				 JONAH		    If I didn't go.				 SAM		    Listen, have I ever done 		    anything really stupid?				 JONAH		    No.				 SAM		    I mean, so far, have I screwed 		    it up for you?				 JONAH		    No.	The two of them hold each other tight.  After a beat:				 SAM		    I can't believe you flew first 		    class.				 JONAH		    It was all they had.	INT. RAINBOW ROOM - NIGHT	Annie and Walter.  There's champagne in their glasses, 	but neither of them has drunk a drop.				 ANNIE		    I don't know what to say about 		    it, Walter.  It was a form of 		    temporary insanity.  But I had 		    to tell you about it because --				 WALTER			   (matter-of-fact)		    -- it was a betrayal.				 ANNIE		    Yes.  But it wasn't really.  It 		    was just...				 WALTER		    So what happened?				 ANNIE		    I told you.  Nothing --				 WALTER		    At the top of the Empire State 		    Building --				 ANNIE		    I'm not at the top of the 		    Empire State Building.  I'm 		    here.				 WALTER		    Not really.			   (beat)		    Look, Annie, I love you.  Let's 		    leave that out of it.  I don't 		    want to be someone you're 		    settling for.  I don't want to 		    be someone anyone settles for.			      (beat)		    I have a life insurance policy,  		    I'm fully invested in growth 		    stocks, I have a paid 		    subscription to Home Rox 		    Office, I have no sexual 		    diseases, I have been steadily 		    employed in a part of the 		    economy that isn't soft, I have 		    expectation in the way of 		    inherited wealth, I dress 		    nicely, I am a member of the 		    private sector, an independent 		    voter, I don't watch Monday 		    Night Football, the only thing 		    wrong with me is that I am 		    allergic to wheat, 		    strawberries, penicillin, 		    pollen, nuts and wool.  There 		    are plenty of women who see me 		    as the brass ring.  If you 		    don't -- marriage is hard 		    enough without bringing such 		    low expectations into it, isn't 		    it?	Annie is nodding.  She wipes a tear from her face.				 ANNIE		    Oh, Walter.  I don't deserve 		    you.				 WALTER		    I think that's what I'm saying.	Slowly, gingerly, Annie slips the engagement ring off 	her finger and hands it to Walter.	No bitterness here.  Both of them trying to be gentle 	with each other.				 ANNIE		    You okay?				 WALTER		    Yes.			   (beat)		    Some people will do anything to 		    get out of going to a symphony.	This breaks the tension.  Both of them smiles.				 ANNIE		    Oh!				 WALTER		    What?				 ANNIE		    Look!	Walter turns to look over his shoulder at what Annie 	sees:	THE LIGHTS HAVE JUST GONE ON ON THE EMPIRE STATE BUILDING 	VALENTINE LIGHTS:	A huge pink and white heart.	Walter turns back to Annie.				 WALTER		    Go for it.	And as Annie's heart leaps and she's about to bolt.							CUT TO:	EXT. WEST 50TH STREET - NIGHT	As Annie comes out to the street and hails a cab.	As it screeches off toward Fifth Ave.	INT. EMPIRE STATE BUILDING OBSERVATION DECK - NIGHT	The lights are on all over the city.	The crowd has thinned out considerably.  Jonah and Sam 	are among the last people left.  They gaze out at the 	twinkling lights and the ever-darkening sky.				 ELEVATOR OPERATOR		    Last call.  Closing time.	Jonah looks at Sam.				 JONAH		    This is pretty dumb, wasn't 		    it?	Sam shrugs.				 SAM		    Big deal.	After a beat.				 SAM		    Maybe we'll get a dog when we 		    get back.				 JONAH		    Okay.				 SAM		    What do you mean, okay? 		    Wouldn't you like a dog?				 JONAH		    Sure.	Sam puts his arm around him, they start toward the 	elevator.				 SAM		    Let's go home.	EXT. FIFTH AVE - NIGHT	Annie's cab stuck in traffic.	As Annie gets out of the cab.	She's breaking into a hard run toward the Empire State 	Building.	INT. LOBBY OF THE EMPIRE STATE BUILDING - NIGHT	Annie sprints in and over to Information Booth.				 INFORMATION BOOTH PERSON		    Sorry, ma'am, but the elevators 		    are closed.				 ANNIE			   (out of breath)		    No.  Please.  I really need to 		    get up there.				 INFORMATION BOOTH PERSON		    We're closing up.  No more runs 		    tonight.	Annie takes a deep breath.  She's hit the end of the 	road.  She turns to go but then turns back.				 ANNIE			   (out of breath)		    Listen, can I just take a look? 		    Maybe... maybe... There's 		    someone I was supposed to 		    meet... He's probably not 		    there, but if I don't at least 		    look I'll always wonder about 		    it.	The Information Booth Person looks at her.				 INFORMATION BOOTH PERSON		    Cary Grant, right?				 ANNIE		    You know that movie?				 INFORMATION BOOTH PERSON		    One of my wife's favorites.	INT. TOP OF THE EMPIRE STATE BUILDING	After a few beat the elevator door opens on a very 	empty platform.				 ELEVATOR MAN		    Sorry, ma'am.  Empty.	Annie slowly walks out.				 ANNIE		    Can I take a minute?				 ELEVATOR MAN		    Go ahead.	She sighs.  Heads for the telescopes.  Looks out at the 	twinkling lights below.	She casually turns the telescope and suddenly sees 	something on the floor.	Jonah's Seattle Mariners backpack.	She picks it up.  She realizes that it might be... 	could be... and opens it.  Inside is a toothbrush and 	Jonah's teddy bear.  As she takes out the bear the other 	elevator DINGS.	Annie looks up as Jonah and Sam exit the elevator.				 JONAH		    I left it near the...	And they stop.  There she is.  There they are.  Sam 	can't believe it.  It's the mystery woman.				 SAM		    It's you.				 ANNIE		    It's me?				 SAM		    The one in the street.  I 		    chased after you.				 JONAH		    Are you Annie?				 ANNIE		    Yes.				 SAM			   (confused)	    You're Annie too?	She smiles awkwardly.				 ANNIE			   (indicating the 			    backpack)		    Is this yours?	Jonah walks over to her.  He puts his hand out.  She 	shakes it solemnly.				 JONAH		    I'm Jonah.			   (nodding back to Sam)		    That's my dad.  His name is 		    Sam.				 ANNIE		    Hi, Jonah.  Sam.			   (indicating the teddy 			    bear)		    And who is this?				 JONAH		    Howard.				 ANNIE		    Howard.	Sam nods.  Smiling.  Starting to put it all together.  	Annie smiles.  Still nervous.  No one knows what to do 	next.  Just then, one of the elevator operators CLEARS 	HIS THROAT.				 SAM		    We better go.	Annie nods.	Sam holds out his hand.				 SAM		    Shall we?	Annie slips her hand into his.  It feels comfortable, 	natural, right.				 ANNIE		    Sam?	He looks at her.				 ANNIE		    It's nice to meet you.	On Annie.	On Sam.	On Jonah.  He makes a triumphant little double-fist 	gesture to himself as the elevator doors close.	EXT. THE EMPIRE STATE BUILDING - NIGHT	WE SEE THE BUILDING from above, all lit up, a romantic 	confection, the world's largest Valentine.	The CAMERA PULLS BACK and we see the United States 	spread out before us, with lights twinkling everywhere.	And	FADE OUT	--------------------------------------------------------------	
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+Sleepy Hollow Being the true storie of one Ichabod Crane and the Headless Horseman Kevin Yagher and Andrew Kevin Walker Based on "The Legend of Sleepy Hollow" by Washington Irving Screenplay by Andrew Kevin Walker Third Draft 4/10/95 A pleasing land of drowsy head it was, of dreams that wave before the half shut eye... EXT. GNARLED FOREST -- NIGHT An UGLY MAN charges through on a horse, holding a lantern forward on a long pole. He looks back, terrified. INSERT TITLE: 1799 Sleepy Hollow, New York THUNDEROUS HOOFBEATS are HEARD behind. The ugly man glances back again. His lantern swings wild... SHATTERS against a tree. The jammed-up pole SLAMS the ugly man off his horse... He hits the ground. He runs, trips, falls and scrambles up. DEEP IN THE FOREST, we glimpse the source of the HOOFBEATS: a HUGE FORM on a HUGE BLACK HORSE, already gone. The ugly man pushes through thorny bushes. Jagged branches slit his hands and cheeks. He bursts from the briar patch and tumbles to a trail. He lifts his bloodied face. He runs. IN THE FOREST BEHIND: the hooves of the black horse rip underbrush. HOOFBEATS DEAFENING. A spur digs into the snorting steed's already bleeding flank. The pursuer's gloved hand draws a SWORD, blade RINGING. ON THE TRAIL, the ugly man runs on. The shrill WHISTLE of a SWORD SWING is HEARD as the pursuer blurs past. The ugly man is still running when his head lolls back, at an impossible angle... tumbles off his shoulders... His headless body hits the dirt. EXT. CITY STREETS -- NIGHT Empty cobblestone streets. Crooked buildings. A RAPIDLY CLANGING BELL breaks the silence from afar. INSERT TITLE: New York City TWO CONSTABLES clamor round a corner, lanterns held high, listening. They rush into an alleyway. ELSEWHERE, piers border the Hudson River. The BELL is LOUDER. The two constables arrive, searching. No one around. Constable One hefts his pistol, scared. CONSTABLE ONE Where are you?! MAN'S VOICE (o.s.) Here! Over here! They hurry to the river's edge. Down a hill, the MAN, another constable, stands with his back to us. He's waist deep in water, tossing away his ALARM BELL. MAN I need your help with this. Constable Two crosses on the peir above. Constable One moves forward, wary. The MAN grunts, lifting something. CONSTABLE ONE Constable Crane? Ichabod Crane... is that you? The MAN turns. Meet ICHABOD CRANE, handsome, eyes piercing. ICHABOD Yes, it is me. But, not only me... (lifting, struggling) I found someone here... He drags a bloated MALE CORPSE up from the murky water. ICHABOD Someone quite dead. EXT. WATCHHOUSE/JAIL -- NIGHT The elderly HIGH CONSTABLE lifts a blanket off the corpse on a wheelbarrow manned by Constable Two. A snobby MAGISTRATE looks, disgusted. Constable One and Ichabod wait. HIGH CONSTABLE Burn it. CONSTABLE ONE Yes, sir. Constable Two wheels the corpse inside. Ichabod's dismayed. ICHABOD Just a moment... if I may. It is possible this man was murdered. HIGH CONSTABLE He drowned. Anyone could see. ICHABOD There are surgical ways of telling how he died... by the water in his lungs... Ichabod follows the High Constable and Magistrate in. INT. WATCHHOUSE, NIGHT WATCH QUARTERS -- NIGHT Constable Two wheels the body ahead past many "booking" tables. A JAILER moves to unlock a massive door. HIGH CONSTABLE He will be burned pursuant to statutes of health. ICHABOD I could determine if he were dead before he went into the Hudson. HIGH CONSTABLE Must we again hear these heretical rantings? MAGISTRATE Yes, must we? ICHABOD There is nothing heretical about science, sir. The Chinese have written on it for hundreds of years... procedural study used to solve seemingly unsolvable crimes. The door is opened. The corpse again leads the way. INT. WATCHHOUSE, JAIL -- NIGHT A two-tiered prison, alive with MOANS of AGONY and CRIES of INSANITY. Cells are full of wretched men in chains and iron gags. Many are against the bars, watching. ICHABOD Our first night watch is adequate against fire and some violence, but if we were more often able to ensure justice, after the fact, then criminals would truly have something to fear from law enforcement. HIGH CONSTABLE Have they nothing to fear presently? ICHABOD Without disrespect, look around you. (motioning to cells) We overflow. As do our courts. HIGH CONSTABLE And, with disrespect, Constable, if jails and courts overflow, it is testimony to success, not failure. ICHABOD But, how many innocents rot here? And, how many victims are buried without reprisal while guilty men roam our streets? The High Constable reaches a desk, taking a seat. Guards wait to process beaten, bloody prisoners. HIGH CONSTABLE Very few, if any. ICHABOD Even though I have seen confessions pried from the lips of the accused, often quite literally? HIGH CONSTABLE For one who calls himself a Federalist, your mouth reeks of Republican liberalism. ICHABOD Not Liberalism. Equanimity. MAGISTRATE (to High Constable) Um, sir... might I suggest... The Magistrate WHISPERS in the High Constable's ear. Ichabod notices with worry that Constables One and Two wheel the corpse onwards into another room. The Magistrate finishes. The High Constable smiles faintly. HIGH CONSTABLE (to Ichabod) There is a farming community upstate, Constable... ten days journey north in the Hudson Highlands. It is named Sleepy Hollow. Within a fortnight, three persons have been murdered there. Each with their head lopped cleanly off. (holds up papers) The elders of the Hollow have sent dispatches to me, requesting assistance, and now, just this very moment, I have chosen you. ICHABOD Chosen me? HIGH CONSTABLE These "methods" of yours... there has been no practical application. ICHABOD Not for lack of trying. HIGH CONSTABLE Just so. Granted. And so you take your experimentations to Sleepy Hollow and catch the murderer who has tainted the place. Bring him here to face our good justice. Will you do this for me? ICHABOD (swallowing doubt) I shall, gladly. HIGH CONSTABLE Excellent. Then, you are excused till morning. Ichabod moves away, heading to where the corpse was taken. HIGH CONSTABLE Oh, and, Constable... (off Ichabod's look) Do make certain that you meet with success. Otherwise... perhaps you should not come back at all. The High Constable smiles a sardonic smile. INT. WATCHHOUSE, INCINERATION ROOM -- NIGHT The corpse burns in a raging furnace. Flesh sizzles. Constable One pumps bellows which fan the flames. Ichabod steps from darkness nearby. He watches with bitter regret as the corpse is consumed. EXT. CITY -- DAY Market town streets bustle. Filthy. Pigs roam free. INT. ICHABOD'S HOME, SECOND FLOOR -- DAY Decorated in Early-American Mad Scientist: books, papers and jars of chemicals. Charts of anatomy above a small bed. ICHABOD (o.s.) Such a day for such a sad farewell. But, this is goodbye, my sweet. At the window, Ichabod holds a bird cage with a red CARDINAL inside. He opens the cage. The bird flies free. Ichabod watches it go, then looks down. A COACH halts in the street below. The forlorn DRIVER looks up. INT. ICHABOD'S COACH -- DAY In motion. Ichabod absently studies his hands, touching the strange SCARS on both palms: evenly dispersed, tiny dots of tissue. Many scars. Ichabod lifts a LEATHER SATCHEL, checking its contents. EXT. UPSTATE FORESTS -- DAY TWO FAMILIES of MIGRANT WORKERS travel a path, leading over- burdened horses. Ichabod's coach approaches from the other direction. Ichabod looks out, unnerved. One GAUNT MAN watches Ichabod pass. There is a dead, worried look in the man's eyes. Others stare at Ichabod. EXT. SLEEPY HOLLOW, THE LONG STRAIGHT ROAD -- DAY Ichabod faces two massive, vine-covered PILLARS, unsure. He turns to watch the driver lead the coach away. Ichabod walks between the pillars to a long straight road. He does not notice, above: THREE DEAD RAVENS hang from a tree limb, twine wrapped round their necks. EXT. SLEEPY HOLLOW, TOWN SQUARE -- DAY Ichabod walks on with baggage. The square is empty, a CHURCH and GRAVEYARD at one end. The road ahead is bordered by businesses and homes. CONVERSATION DRIFTS from a tavern. A criminal sits in stocks. A quiet CRYING is HEARD. Ichabod hears... He looks for its source. It's from a window above, LOUDER. SOUNDS like the SOBBING of an OLD WOMAN. EXT. VAN TASSEL ESTATE -- DAY ICHABOD'S P.O.V.: a BELLTOWER stands tall, like a mast pole with a crow's nest basket atop. There's a man in the basket and a huge BELL. Ichabod ponders this as he continues. Ahead on a hill: the grand Van Tassel Manor House. INT. VAN TASSEL MANOR HOUSE, SITTING ROOM -- DAY MANY CHILDREN, in a circle, taunt a BLINDFOLDED YOUNG WOMAN spun round by the handsome, barrel-chested man, BROM VAN BRUNT. A few YOUNG MEN and LADIES watch. Brom releases the woman. Everyone quiets and avoids her searching hands. BLINDFOLDED WOMAN This is such a silly game. BROM Be a sport and stop complaining. The woman moves to Brom's voice. He backs away, flanked by peers GLENN and THEODORE. Children laugh. Ichabod enters, clearing his throat. No one notices. The blindfolded woman keeps grasping. One LITTLE GIRL sees Ichabod and goes to him, finger to her lips. LITTLE GIRL Play along. You must. She tugs him. Before Ichabod can protest, he is placed in the blindfolded woman's grip. BLINDFOLDED WOMAN There, I have someone. Am I finished? LITTLE GIRL You have to tell who it is. The woman touches Ichabod's face. He is uncomfortable, affected by this caress. Brom watches jealously. LITTLE GIRL At least make a guess. BLINDFOLDED WOMAN I don't know. Is it Brom Bones? BROM Certainly not. ICHABOD Excuse me, Miss... (takes her hands) They have a laugh at your expense. She takes the kerchief off to reveal a stunning beauty: KATRINA VAN TASSEL. Ichabod tries to compose himself. KATRINA Forgive me, I didn't know. ICHABOD I... I am looking for Baltus Van Tassel. BROM We haven't heard your name yet, friend. ICHABOD Well, unless your name is Baltus, you should not worry over mine. Brom grabs Ichabod's collar, pissed. Ichabod's baffled. BROM You need some manners. KATRINA Brom! Brom looks at her, then reluctantly releases Ichabod. MAN'S VOICE (o.s.) What is this, then... ? BALTUS VAN TASSEL, 45, has entered, a working-class aristocrat. LADY VAN TASSEL, 40, stands behind, a mix of home-spun wife and well-kept lady. BALTUS Can I help you, sir? Ichabod's relieved to have a proper focal point. Children gather around Katrina and hide behind her. ICHABOD I have been sent from the city with a letter of introduction. I am told you offer me room and board. Ichabod hands over papers. Baltus reads, furrows his brow. ICHABOD If we could speak alone. BALTUS (nods, looks to Katrina) This is not a time for frivolity, Katrina, is it? Am I mistaken? KATRINA They're only children, father. Baltus snorts, then exits with Ichabod. The others huddle to gossip, except Katrina, who moves beside Lady Van Tassel to watch Ichabod and Baltus walk down the hall. INT. VAN TASSEL HOUSE, PARLOR -- DAY DOCTOR LANCASTER, 50, dour and always sweaty, takes a seat by the fire, joining Baltus and three other elders. A pretty servant, SARAH, brings a pipe cradle while Lady Van Tassel sets down food. Ichabod is standing. BALTUS That will be all, ladies. (waits as they exit) We are joined by Doctor Thomas Lancaster, Constable. And to his left are, Clergyman Steenwyck and our able magistrate, Samuel Philipse, both keeping order in their own ways. PHILIPSE is youngest, eyes bloodshot, mug in hand and pipe in mouth. CLERGYMAN STEENWYCK is formidably built, wearing a constant look of disapproval. BALTUS I myself am in charge of financial matters and the regulation of currency in our commonwealth. And, lastly, this fine fellow is James Hardenbrook, our Notary. HARDENBROOK is oldest, ancient, with one eye pale and blind. ICHABOD An honor, gentlemen. In time I will need every detail of the three murderings you've had, but, for now, I ask only if you have any theory at all as to who the killer might be? DOCTOR LANCASTER Excuse me? ICHABOD I say, is there any one person suspect in these acts? DOCTOR LANCASTER I was afraid of this. Philipse shoots a look to Baltus. Angst amongst the elders. PHILIPSE Well, Constable... are you aware... to be honest, you are not what we expected. We sent for the militia. ICHABOD The militia? FATHER STEENWYCK Why not tell us what you have heard? Hmm? How much have your superiors bothered to tell you? ICHABOD All I know is three are slain, their heads found severed from their bodies... FATHER STEENWYCK The heads were not found severed. The heads were not found at all. Withered Hardenbrook leans forward, his voice cragged. HARDENBROOK Taken. Taken by the Headless Horseman. Taken back to hell. ICHABOD Pardon me? BALTUS You have not been well informed of our troubles, sir. If you would... Baltus gestures for Ichabod to sit. Baltus lights his pipe. BALTUS The Horseman... he was a Hessian mercenary, sent to our shores by German princes to help keep Americans under the thumb of England. However, unlike his compatriots who came as muscle in trade for currency, he came willingly. For love of carnage. FLASHBACK -- AMERICAN BATTLEFIELD -- DAY The HESSIAN HORSEMAN rides his black steed into a gory, close-quarters clash, his cloaked uniform adorned with edged weapons. He cuts down Americans left and right. BALTUS (v.o.) He was infamous for taking his horse, Daredevil, hard into battle... chopping off heads at full gallop. He dismounts, hoisting a battle axe. With sword and axe, he annihilates. Blood gushes. Bones crack. BALTUS (v.o.) Just to look on him made your blood run cold, for he had filed down his teeth to rapiers... to add to the ferocity of his appearance. The Horseman lets out a war cry. Jagged teeth. Grotesque. FOREST BATTLEFIELD -- DAY Winter. CANNONS can be HEARD BOOMING from afar. Daredevil lies dead in red snow. FOLLOW FOOTPRINTS away... BALTUS (v.o.) He would not finally meet his end till the winter of seventy-nine, when New York City was held by Henry Clinton and Washington occupied West Point. It was between those two places, not far from here... The Horseman flees, cloak flowing, chased by FIVE rag-tag REVOLUTIONARY SOLDIERS. Ahead, a steep, rocky area prevents escape. Soldier one aims a rifle and FIRES... Blood explodes from the Horseman's arm as he runs. His sword falls from his now functionless hand. Soldier Two grabs the sword. At the rocks, the Horseman faces the men. Another Rifleman raises his rifle. The Horseman reaches over his shoulder to grasp a sheathed knife, THROWS -- THOCK! The Rifleman jerks back, knife in his eye socket. The Horseman readies an axe. The Revolutionaries move in with swords. They battle, STEEL AGAINST STEEL. The Horseman fends off blows from all sides. Soldier Three lunges, stabs his blade deep into the Horseman's side. The Horseman roars, brings his axe DOWN... BREAKS the sword at the hilt... An UPWARDS stroke sends Soldier Three head over heels in a fountain of blood. The Horseman staggers, howling, trying to pull the blade from his ribs. The remaining soldiers close in. INT. VAN TASSEL HOUSE, SITTING ROOM -- NIGHT Pipe smoke wafts from Philipse's mouth. PHILIPSE Cut off his head with his own sword. It's a legend told for twenty years. BALTUS But, only recently has the Headless Hessian been seen prowling the Hollow, in search of a head to suit his shoulders. ICHABOD Just a moment... (sits back, incredulous) Are you saying it is he? HARDENBROOK (aggravated, loud) When a goblin leaps from the nether world, others follow. Poltergeists of the air, water and earth follow and cheer his desecrations! Hardenbrook BANGS his cane on a table. Baltus puts a calming hand on senile Hardenbrook's shoulder. DOCTOR LANCASTER No one knows why he chose to now to climb out from his grave. FATHER STEENWYCK It is very clear why. Citizens here have long tried to hide sins behind closed doors. Their failed faith has saturated the soil and called forth one of Satan's own. ICHABOD Excuse me, gentlemen, but... who has seen this Horseman? BALTUS Many have. ICHABOD Then, name one person who has seen him with their own eyes. A long wait. No reply from the elders. Ichabod rises. ICHABOD While I will do everything I can to find your assassin, I will look for a man of flesh and blood. Not some goblin-demon from hell. EXT. BELLTOWER FIELD -- EARLY EVENING The Belltower is covered in defensive spikes. A man climbs down a rope ladder. Below, many ARMED MEN gather. Everyone grim. Philipse moves to the center, on horseback. PHILIPSE Gather round! Gather and quiet! The hour has come to choose for this night. Each man's name is in this box and has been checked. A box is handed up. Ichabod and Baltus arrive on foot at the back of the mob. Ichabod looks... At a nearby forest, men light TORCH POSTS in a line bordering the forest edge for at least a half mile. Philipse draws a folded paper from the box, holds it up. PHILIPSE May the Lord watch over him... (unfolds paper) "Jonathan Masbath." Are you here? JONATHAN (o.s.) I am. I take my responsibility. The crowd parts as JONATHAN MASBATH, a dirt-poor farmer with a bow and quiver of arrows, moves forward. His son, YOUNG MASBATH, 14, grips his arm. YOUNG MASBATH No, father. Wait... (up to Philipse) He's already been up once. Why does he go again? JONATHAN It is a lottery, son. It just as easily might have been one of them. YOUNG MASBATH Then... I go with you. JONATHAN No. You obey my wishes. (looks to crowd) Brom. Look after him, will you? Brom steps up, nodding. Jonathan kisses his son's cheek, then heads to the rope ladder. Men pat him on the back. PHILIPSE Someone leave him a horse. Young Masbath watches his father go. Brom coaxes him away. At the back of the crowd, Ichabod watches skeptically, looks to Young Masbath as he and Brom pass. ICHABOD You worry for naught, little man. Nothing will harm him there. (looks up, sotto) It is problems here on the ground you people need begin to worry about. Ichabod watches Jonathan climb, very high above. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT Ichabod makes notations in a LEDGER BOOK. KATRINA (v.o.) You will dream. Katrina strolls in, sits on the bed. Ichabod is nervous. KATRINA Did they tell? It is something in the air so that dreams come to everyone. According to the elders, an Indian prophet held powwows here before the land was taken, and spells cast then still linger to this day. ICHABOD Do you often make a habit of sitting on strange men's beds? KATRINA You are horribly old-fashioned, aren't you? ICHABOD Feel free to form your own opinion. (facing his ledger) Though it appears you already have. KATRINA Well, I intended to apologize for the behavior of my friend Brom Van Brunt, but it seems I've made matters worse. (getting up to go) I'll leave you to your business. ICHABOD Excuse me... I should apologize. I, um... I... have no great love of... KATRINA Other people? ICHABOD Small talk. KATRINA It might have been more. Might have been positively grand talk. Ichabod offers his chair, backing away. Seeing it is the only one, he remains standing. Katrina sits. KATRINA Is it me, or are you this nervous around all women? ICHABOD Perhaps it is because your suitor's hands were recently very nearly wrapped around my throat. KATRINA My suitor? ICHABOD The massive fellow... Brom. For someone you call "friend," he misplaces a good portion of jealousy. KATRINA He has proposed to me twice. ICHABOD Which may explain his temperament. To have asked twice means the answer was "no" at least once. Katrina looks down, discards this with a smile. KATRINA I've read a great deal about your New York City. Do be a dear and tell me all about it. Sounds like an extraordinary place to live a life. ICHABOD Extra ordinary, yes. But first, you tell me about the Headless Horseman. EXT. BELLTOWER FIELD -- NIGHT The torches burn bright. ABOVE, in the Belltower, Jonathan Masbath loads a rifle. THUNDER BOOMS. Jonathan stands, looking to a sky that is all stars and moon. A HORSE is HEARD SHRIEKING. Below, the horse tied at the base of the tower is spooked. A COMMOTION is HEARD, ground rumbling. Jonathan grips a rifle, cocks it and moves to look... At the forest edge, a herd of deer stampedes out. They sprint past the tower and across the field. Jonathan crosses to watch the herd scatter. He crosses back to peer at the forest. Bad news... A thick FOG creeps from the woods. As the fog overtakes the base of each torch, a tentacle of mist snakes up to the flame, killing it. All along the forest, arms of vapor snuff torches... one by one by one... Above, Jonathan sights the rifle along the trees. JONATHAN Come out, devil... come.... INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT Ichabod leans on a dresser. Katrina's still seated. KATRINA Not all think it is the Horseman. Many say witches come from the Western Woods to steal skulls for their cauldrons. Some believe a person in this very town kneels before Lucifer, offering death as tribute. And, still others believe none of it. ICHABOD Are you so superstitious? KATRINA To call a person superstitious is to imply they fear magic, but not all magic is black. ICHABOD There is no such thing as magic. KATRINA Really? Then... what is your rebuttal to those romantic poets claiming proof of magic in a rose at full bloom, or even in a teardrop? ICHABOD Poets have silly notions about plants and bodily secretions. KATRINA (laughs) You are funny. Ichabod doesn't get what's so funny about that. The DISTANT TOLL of a BELL is HEARD. Katrina looks fearful. She goes to open a window. The BELL TOLLS... EXT. SLEEPY HOLLOW, OVERVIEW -- NIGHT ... TOLLS mournfully over farms and forests... EXT. FARM -- NIGHT ... TOLLS as a MAN comes from his barn, listening, then sprinting towards his home. EXT. TOWN SQUARE -- NIGHT ... TOLLS across the deserted square. Windows go dark. Shutters are slammed shut. EXT. VAN TASSEL HOUSE -- NIGHT ... TOLLS. Ichabod bounds out to the lawn, halting to listen. Katrina and Baltus come out on the porch. BALTUS Constable, where are you going!? ... TOLLS... TOLLS... then, SILENCE. Ichabod chases away. BALTUS Come back, sir... (watches him go) Madness. Baltus ushers Katrina back in. The door slams. EXT. BELLTOWER FIELD -- NIGHT Ichabod charges across the rocky field. He slows, awed... The Belltower is down, its mast is splintered. The horse is gone. Ichabod moves to where the crow's nest lies smashed. No sign of Jonathan. EXT. SLEEPY HOLLOW FOREST -- NIGHT Jonathan runs past, gripping his bow. It's QUIET... till HOOFBEATS are HEARD in pursuit. Trees are silhouetted against the sky. As HOOFBEATS get LOUDER, branches bend like arms and fingers yearning to touch. As HOOFBEATS ROAR PAST, the trees relax. FURTHER ON, Jonathan runs. WIND begins to BLOW. BEHIND, in motion, WE SEE Daredevil's snorting visage; eyes lizard-like, with vertical slits literally aglow. The Horseman's hand yanks a wooden WAR HAMMER from a saddle mount. (No clear view of the Horseman.) HORSEMAN'S P.O.V.: closing in on Jonathan. Jonathan is overtaken. The Horseman swings the hammer WHOOMP -- sends Jonathan sprawling. HOOFBEATS FADE. Jonathan tries to get up, but pain shoots through him. He crawls to retrieve his bow. Against a tree, he takes an arrow from his shoulder quiver and readies it. Waiting. A metal TAPPING is HEARD O.S. CLINK... CLINK... CLINK. A HORSE SNORTS. Jonathan pulls the bow taut, pained, lips bloody. Elsewhere, Daredevil approaches slow. The Horseman taps his sword on his spur, CLINK... CLINK... CLINK... Foliage moves as the Horseman's form pushes through. Jonathan releases -- the arrow WHISTLES... THWACK! -- imbeds in the Horseman's chest. CLINK... CLINK... CLINK... continues -- Jonathan readies a second arrow. Pulls and releases -- O.S. THWACK! CLINK... CLINK... CLINK... Jonathan cries out, crawling away desperately. Crawling through underbrush, over roots and rocks. CLINK... CLINK... CLINK... Jonathan gives up, spent, face to the dirt. He closes his eyes. CLINKING STOPS. Daredevil halts astride Jonathan; two legs on each side of Jonathan's body. EXT. SLEEPY HOLLOW FARMLAND -- MORNING Baltus and a large, DULLARDLY MAN ride. Behind, Ichabod rides with Magistrate Philipse. Ichabod is not adept at riding his old nag, Gunpowder. ICHABOD The Van Garretts died first; a man and his son, survived by a wife and two infants. And the Widow Windsor was next... PHILIPSE And now Jonathan Masbath. ICHABOD (looks back, ponders) Why would he flee this direction, with so much open ground to cross before he reached cover? PHILIPSE He would not have gone into the Western Woods. No sane man would. Philipse drinks from a whiskey flask, sees Ichabod watching and offers some. Ichabod declines. PHILIPSE Van Ripper there... Ahead, the dullard, VAN RIPPER, sloppily spits tobacco. PHILIPSE ... found the body this morning. (pause) You do believe now, don't you? ICHABOD Believe? LADY VAN TASSEL You said yourself. What mere man could have downed the Belltower? ICHABOD It is a prime tenet of science, Philipse, that because one thing appears improbable does not mean you embrace the utterly fantastical. PHILIPSE You need less big words, and more common sense. Philipse fingers an IRON KEY talisman he wears on a cord. ICHABOD What is that you wear? PHILIPSE My talisman. It will, protect against the Horseman if I show a brave face. But, I cannot run. If I run in fear, it is worthless. ICHABOD Well... so much for common sense. EXT. SLEEPY HOLLOW FORESTS, FURTHER ON -- MORNING Brom and Baltus stand at a HORSE'S CORPSE amongst jagged boulders. The flesh has been stripped, guts exposed. Philipse and Ichabod arrive and dismount. BALTUS Was this Jonathan's? BROM Yes. Seems he panicked across here and broke two legs. ICHABOD Who took the meat? BALTUS Must have been the Redman. A Lenape Indian lives in the Western Woods. ICHABOD These woods of yours sound a bit crowded, what with all the witches, ghouls and Indians living there. Brom climbs up onto his own horse, a black beauty. BROM There's only one Lenape. He eats small animals and lost children... and the occasional constable when he can get it. Brom rides. Ichabod goes to the dead horse, digs in his satchel for a thin iron tool, which he uses it to pry off one HORSESHOE. A WHISTLE is HEARD O.S. Everyone looks far ahead to where Van Ripper has ridden. The doctor and others are there. Van Ripper waves. INT. FOREST, MASBATH MURDER SITE -- MORNING Doctor Lancaster stands with SEVERAL ARMED MEN. A coffin on a cart is covered by a blanket. Ichabod is crouched nearby. ICHABOD Why did you move the body, Doctor? DOCTOR LANCASTER To place it inside its coffin. Ichabod, nods, vaguely annoyed. He puts the horseshoe into a hoofprint in the dirt. It fits. Ichabod rises, walks, studying the ground, kicking up leaves. Brom, Van Ripper, Baltus and Philipse watch. Ichabod finds a deep hoofprint. Huge. He compares the horseshoe. The hoofprint is much larger. Ichabod pulls his satchel off his shoulder, takes out a bowl, bottle of water and bag of brown powder; begins mixing water and powder with a fork to make plaster. The others watch, finding this bizarre, whispering. Brom comes up to stand over Ichabod, irritated. BROM What the hell are you doing? ICHABOD (ignoring pause) You are the blacksmith. Ever shod a horse with a hoof this large? BROM Never. A shoe that size I would have remembered. Ichabod starts to fill the print with plaster. ICHABOD Van Ripper. Can you show where the body lay? VAN RIPPER I can show exactly. Van Ripper dismounts, wiping tobacco drool. Ichabod rises to follow with his satchel. VAN RIPPER Here... in front of this oak, facing north. Horrible... ICHABOD To the best of your recollection, where did the open wound fall? Van Ripper points. Ichabod takes a BOTTLE of WHITE POWDER from his pocket. He uncorks the bottle, cautiously pouring powder in an x on the dirt there, then waiting. A chemical reaction causes the powder to bubble a bit. ICHABOD There was not much blood, was there? VAN RIPPER I didn't see none. Ichabod stands, puzzled. He walks to the coffin cart, rolling up his sleeves. Others come to watch, but keep distance. Ichabod removes the blanket... Reveals Jonathan's headless corpse. Philipse can't look. Ichabod takes strange spectacles from his satchel; wire-framed with many lenses. MAGNIFICATION SPECTACLES. He examines the gross neck wound, sniffs it. He pokes the flesh and severed spinal cord. ICHABOD No bleeding. DOCTOR LANCASTER What is that? ICHABOD This should have bled by the pint. Yet, no blistering or scorched flesh. How... ? Whatever weapon was used... it cauterized somehow.... Ichabod straightens, eyes weirdly big in the spectacles. ICHABOD It instantly burnt the wound shut. EXT. CHURCHYARD AND CEMETERY -- DAY A coffin in a grave. Headstone reads "MASBATH, 1799." A CROWD gathered. Young Masbath broods. Clergyman Steenwyck steps forward to take a handful of newly dug dirt. Men with guns stand at the outskirts, like on guard. Steenwyck sprinkles dirt into the grave with prayerful words. In the crowd people whisper. They steal glances at Ichabod, who stands with the Van Tassels. INT. VAN TASSEL HOUSE, DINING/VARIOUS ROOMS -- DAY Dining room. Sarah and two other servants collect plates. A few people still sup, including Van Ripper, his warty WIFE and two kids. Van Ripper guzzles ale, laughs at something his also-drunk wife says. IN the HALL and FOYER, funeral goers socialize quietly. FURTHER ON, in the SITTING ROOM, men smoke. Young Masbath is confronting Ichabod, who is leaving... ICHABOD I am not here for revenge. I am here to bring justice. YOUNG MASBATH Whatever. You still need a second to tend to your things. ICHABOD I manage fine alone. YOUNG MASBATH I deserve to help you. Don't you see how much this means? My father... he... he was a good man... ICHABOD (faces Masbath) Young Masbath, I am sorry for your loss. It is a great and sad tragedy. However... I cannot be the one to look after you now. YOUNG MASBATH (angry) I did not ask you to, did I? Young Masbath exits. Ichabod remains impassive. EXT. VAN TASSEL HOUSE, FRONT PORCH -- DAY Ichabod comes out. KILLIAN, a dashingly rustic man, carries his son, THOMAS, 5, and chats with Baltus. Doctor Lancaster peers off at something through a SPYGLASS. BALTUS Hail, Constable. How are you? ICHABOD Well enough. Your gathering does honor to the deceased. DOCTOR LANCASTER (still using spyglass) We must be a curious sight to him. ICHABOD What are you spying on? DOCTOR LANCASTER (offers the spyglass) The Lenape. He comes to gawk at civilization from time to time. ICHABOD'S POINT OF VIEW -- THROUGH SPYGLASS Searching a line of trees and foliage far away... DOCTOR LANCASTER (o.s.) Do you see the Redskinned bastard? There he is -- the LENAPE. A towering savage with misshapen features covered in tumors. He ducks away. BACK TO SCENE ON PORCH Ichabod lowers the spyglass, a little awed. ICHABOD He is a behemoth. DOCTOR LANCASTER A diseased monster. BALTUS If you gentlemen will excuse the doctor and I... we have financial matters to discuss. Ichabod and Killian nod as Baltus and Lancaster head in. KILLIAN Master Crane, sir. I'm glad we have time alone. You've been told plenty about the Horseman, I'm certain. ICHABOD More than enough, actually. (tired laugh) I beg you, no more, please. KILLIAN No, sir, no. If you ask me, I say you just laid eyes on our murderer through that glass. Ichabod ponders, folding the spyglass. ICHABOD Tell me something. (pause) What becomes of Young Masbath? KILLIAN Van Ripper and his wife agreed to take him. They have children and a good home and good land. Ichabod nods. He turns to look THROUGH THE WINDOW. In the DINING ROOM, Van Ripper rises, ill. His wife questions his health, but he holds her off and vomits. Ichabod notes this with a deep sigh. EXT. VAN TASSEL ORCHARD -- EARLY EVENING Ocher dusk. Ichabod rides to Young Masbath, seated on the ground, miserable. Young Masbath does not look up. ICHABOD Find yourself a place in the servants' residence and wake me before dawn. Our first task will be an unsavory one. Ichabod rides. Young Masbath runs to his horse and follows. EXT. CHURCHYARD AND CEMETERY -- DAWN Steenwyck is on horseback, looking down at Ichabod, furious. FATHER STEENWYCK It is sacrilege! ICHABOD I cannot proceed without examining the previous victims. Steenwyck looks to men with shovels. Killian's there. Philipse, hung-over, stands beside Young Masbath. FATHER STEENWYCK Magistrate Philipse, surely you can stop this. Philipse just looks up with a helpless expression. FATHER STEENWYCK I will not allow it. I will not! ICHABOD Protest to my superiors if you like. FATHER STEENWYCK Your superiors are two days away! ICHABOD Then, you should have left two days ago, because I have men willing to help me today. Ichabod motions. Killian leads the men to the graveyard. Steenwyck watches, enraged. He kicks his horse and rides. Philipse looks worried. EXT. CHURCHYARD AND CEMETERY -- LATER MORNING (TIME CUT) A PSALM is HEARD READ by STEENWYCK O.S. while a coffin is exhumed. Ichabod guides the lifting. The coffin is put near the headstone "WINDSOR." Ichabod looks... At the church, Steenwyck faces about fifty people who now take up the PRAYER. Across the cemetery, two coffins, one small, one large, are pried open. "VAN GARRETT, 1799." Killian leads the effort with Young Masbath's aid... The lids come off, revealing the HEADLESS BODIES of a MAN and a little BOY. Young Masbath backs away. At the "WINDSOR" coffin, nails creak as Ichabod opens the lid. WE DO NOT SEE inside, but when Ichabod does, he is aghast. He looks to the men, angry. ICHABOD Why was I not told of this? No answer. Killian arrives, nods solemnly. KILLIAN The Widow Windsor. ICHABOD Is that all you say? Look at her. KILLIAN It's not something people speak of openly. She did not remarry. Ichabod kneels, studying. Now, WE SEE: the belly of the headless corpse is bulbous, because the Widow Windsor was very far along in a pregnancy. Ichabod notices: a tear in the cloth of widow's blouse. He reaches through the tear, feeling the stomach. He straightens, greatly troubled. INT. DOCTOR'S RESIDENCE, MEDICAL ROOM -- MORNING Scissors cut open the widow's blouse. There's an inch-long WOUND on the moldering belly; a sword puncture. Ichabod examines the corpse on a table. Lancaster watches, anxiously mopping his face. Young Masbath's in a corner. Ichabod goes to write in his ledger full of notes. ICHABOD What is the common thread between these victims? YOUNG MASBATH I'm sure I don't know. ICHABOD We must discover it. The reason the murderer chose these persons. Ichabod goes to look at the widow's corpse, pondering. ICHABOD The wounds are the same. Cauterized. No chopping or half-measures either. One stroke took the head. Have you seen, doctor... ? (pointing to it) Even the spinal bone... sliced as smooth as butter. DOCTOR LANCASTER I do not care. You are welcome to use my work area, but I beg you... return her to her resting place. ICHABOD In time, doctor. Soon as I finish. Ichabod picks up an iron knife. He looks to Young Masbath. ICHABOD You should step outside. EXT. CHURCHYARD CEMETERY -- EARLY EVENING Ichabod and others restore graves. Ichabod looks to the church, where Clergyman Steenwyck stands in the door. FATHER STEENWYCK The devil sent you, Ichabod Crane. The Lord will not forgive your sins. Steenwyck shuts the creaky doors. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT Ichabod sleeps, dreaming... ICHABOD'S DREAM -- FARMLAND -- DAY A young BOY, 10, stands in a wheat field with his back to us. A FEMALE VOICE is HEARD FAINTLY, getting LOUDER. FEMALE VOICE (O.S.) Ichabod! Ichabod... come along. The boy, YOUNG ICHABOD, turns, smiling. He runs. We FOLLOW to a clearing behind a frontier home. MOTHER waits. Lovely woman. She kisses him. ICHABOD'S DREAM -- YOUNG ICHABOD'S BEDROOM -- NIGHT Dark. Young Ichabod, in bed, has one eye open. Across the room, Mother has her back to him. She's WHISPERING something to no one. She turns... Young Ichabod pretends he is asleep. A DRAWER is HEARD SHUTTING. Mother exits. Ichabod gets up, curious, opens a drawer... finds something behind clothing. It's a piece of reed grass, woven into an elaborate pattern with shafts of wheat twisted into the center. Young Ichabod replaces it, closes the drawer. ICHABOD'S DREAM -- MARKET SQUARE -- DAY A busy, muddy street lined by wares and produce. Young Ichabod walks with FATHER, an emotionless man. Father stops to examine tools. Young Ichabod stays by him, but something captures his attention... Across the way, Mother is involved in a argument with a FREAKISH-LOOKING WOMAN. They shout. People stop to watch. Can't make out words, but Freakish Woman is furious. ICHABOD'S DREAM -- STORM SKY -- NIGHT LIGHTNING flashes over tree tops. THUNDER BOOMS. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT Ichabod jerks awake in his bed. INT. VAN TASSEL HOUSE, KITCHEN -- NIGHT Ichabod enters with a lantern and his ledger. He sits, studies notes, then notices there's a light down the hall. INT. VAN TASSEL HOUSE, SEWING ROOM -- NIGHT Opposite an elaborate loom, Katrina reads by candlelight. She looks up, seeing Ichabod enter. ICHABOD Sorry for disturbing you. I thought a forgotten candle was burning. Katrina self-consciously closes her shabby book, puts it with another on her lap and covers them. KATRINA You do not disturb me. Please stay. Having trouble sleeping? ICHABOD May I ask... why do you cover your book that way? KATRINA You pay great attention to small things. I hide these as I hide all my books. Father would not approve, lest it were the Bible. ICHABOD I, um... I have something to show you, if you have a moment. Ichabod sits, looking through his ledger. KATRINA These are strange... may I? She takes his hand, spreads the fingers to the palm. She touches the many evenly spaced scars. KATRINA These scars. How did you get them? ICHABOD I have had them since childhood. I cannot remember what from. KATRINA It would be interesting to find out. Their eyes meet. Ichabod gets back to the ledger. Katrina seems to relish the effect she has. Ichabod finds a paper disk on string, illustrated thusly: ICHABOD Here it is. A bird on one side. His cage on the other. Now, stare at it. (spinning it) The bird seems to be in his cage. KATRINA Yes, he does. May I try? Ichabod gives it. She spins it, smiling. ICHABOD He only appears to be inside the cage. The point being... KATRINA You made this, and the drawings? ICHABOD Yes, but listen. The illusion is easily explained. The eye retains each image, till they combine. And yet, some would call this toy magic. KATRINA Don't you see why? Look closely a moment. Put your intellect aside. (spinning it) Can't you see what is inexplicable? Ichabod watches it spin. He shakes his head, unimpressed. KATRINA Oh, you are hopeless. May I keep it at least? ICHABOD If you want. But... KATRINA Then, I also have a gift for you. True magic which even you will not be able to deny. She hands him a book. "ROMEO AND JULIET." Ichabod stands, offering it back, but she will not take it. ICHABOD Thank you. No. Here... KATRINA I insist that you have it. ICHABOD (resigned, leaving) Very well. But, it will only sit gathering dust. KATRINA That would be a pity. Those words might show you something you've never seen before. Ichabod stops at the door, looks back. He exits. EXT. VAN TASSEL HOUSE -- NIGHT A light glows in Ichabod's window. LOOKING IN: Ichabod's in bed, fully dressed. He sits up. Pause. He crosses to pick up "Romeo and Juliet." He begins to read. EXT. PHILIPSE'S FARM -- DUSK Ichabod walks with Philipse. Young Masbath follows with the horses. CICADAS CHATTER from a vast corn field. PHILIPSE Not more than a year ago, a mob hung a man for stealing a horse. For stealing a horse! And, you dig up our dead. ICHABOD Are you saying I should be frightened? Is this a message passed on from Clergyman Steenwyck? The CICADAS SUDDENLY go SILENT. Young Masbath notices. PHILIPSE We are farmers here, not lawyers or bankers, or even constables. Every penny we earn comes from what we send down the Hudson. ICHABOD I know it. YOUNG MASBATH Um.... excuse me, sirs... PHILIPSE (still to Ichabod) Because of the Horseman, our migrant workers flee for their lives. There is a danger that our crops will rot. So, if you are going to help us, you stop the Horseman. That is your task... to kill an undead thing. Young Masbath looks to a fenced grazing area, worried. The sheep there are agitated, all running one direction away. ICHABOD Listen to what you say.... PHILIPSE No, you listen! You may think we are a pack of superstitious dullards... ICHABOD At times I do. YOUNG MASBATH Sirs... please! PHILIPSE What will it take for you to realize this is no laughing matter? The horses go crazy, braying and rearing. The reins yank Young Masbath off his feet as the horses flee. Ichabod and Philipse look to Masbath. A SOUND is HEARD, distant: THUNDERING HOOFBEATS. Wind kicks up. HOOFBEATS seem to come FROM ALL DIRECTIONS. Philipse looks to the corn field. A flock of birds alights; a great sheet of black against the sky. PHILIPSE Oh my... oh my oh my oh my... Philipse runs towards his house, past Masbath. HOOFBEATS are LOUDER, CLOSER. Ichabod faces the corn field. The field explodes open, stalks bending to make way as the Headless Horseman gallops into view atop Daredevil. Young Masbath runs, following Philipse. Ichabod's stunned. He looks down to draw his flintlock pistol, but the Horseman blows by before he can raise it. A blast of air knocks Ichabod off his feet. The Horseman chases Masbath and Philipse. Ichabod follows. The Horseman draws his sword. Young Masbath falls in the grass... Daredevil's pounding hooves will certainly crush him. Daredevil leaps over Young Masbath, continuing the charge. Philipse has a long way to go before home. He looks over his shoulder. No way he'll make it. Ichabod, running, watches Philipse slow. Philipse gathers all his courage and stops, turning. The Horseman is closing, sword held high. Philipse raises his talisman. ICHABOD Philipse! Philipse holds the talisman up, trying to be fearless. The Horseman swings -- WE HEAR the CLANK of sword on talisman... Philipse's severed head spins. His body falls and folds. Ichabod runs past Young Masbath. The Horseman halts just as Ichabod reaches a point in front of dead Philipse, aiming his pistol. Daredevil lets out a SCREECHY CRY. The Horseman rides toward Ichabod. Ichabod gets on one knee, trying to steady his pistol. The Horseman closes. Ichabod sweats bullets. FIRES... The slug SLAMS the Horseman dead center -- bursts through and rends his uniform without slowing him. The Horseman is almost on Ichabod. Ichabod cringes, arms up... as the Horseman passes. The Horseman leans to skewer Philipse's head with his sword. With the head as his prize, the Horseman races away. Ichabod gets up, watches the Horseman head to the forest. Ichabod looks to Young Masbath, finds his legs will not support him, falls, trembling. THUNDER BELLOWS. INT. VAN TASSEL HOUSE, SECOND FLOOR HALL -- NIGHT Lady Van Tassel comes to a door, knocks. Sarah stands behind with a tray of food. Young Masbath is seated near. LADY VAN TASSEL (to Young Masbath) Has he not come out at all? Young Masbath shakes his head. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT KNOCKING is HEARD. Ichabod sleeps restlessly. ICHABOD'S DREAM -- YOUNG ICHABOD'S BEDROOM -- NIGHT THUNDER BOOMS. WIND and POUNDING RAIN blast open a window. Mother comes to it, then moves to comfort fearful Young Ichabod in bed. MOTHER'S VOICE (v.o.) Don't be afraid... don't be afraid. ICHABOD'S DREAM -- YOUNG ICHABOD'S HOME -- DAY A keyhole. Young Ichabod's eye peers in... ICHABOD'S DREAM -- P.O.V. THROUGH KEYHOLE Mother is kneeled before flour on the floor. She draws patterns in it, whispering. She blows the flour away. ICHABOD'S DREAM -- YOUNG ICHABOD'S HOME -- DAY The Freakish Woman (who argued with Mother) walks towards the home, supported by a SAD MAN. She weeps, carrying something in a blanket. Young Ichabod comes a window, watching, scared. The Freakish Woman is so weak that she falls. The blanket opens... the corpse of an infant tumbles to the dirt. The Freakish Woman's WAILING GROWS LOUDER. ICHABOD'S DREAM -- FRONT OF YOUNG ICHABOD'S HOME -- NIGHT TWO MEN in black drag Mother to a coach. She looks back, fearful, pulled along. A THIRD MAN in black follows. Young Ichabod struggles as Father restrains him. YOUNG ICHABOD No... mother... no... ! The Third Man peers back, a gray-haired, Cotton Mather-ish man with a villainous face. FREAKISH WOMAN (v.o.) The night of the great storm, I saw her cross my windows. ICHABOD'S DREAM -- COURTROOM -- DAY Many people in the gallery. The Third Man stands in front of the tearful Freakish Woman in the witness box. THIRD MAN You are certain it was she? FREAKISH WOMAN In the lighting, I did see her. (points) Her. Lady Crane... Mother sits in shackles. FREAKISH WOMAN I will never forget. The next moment, I found my infant dead... with the blood welt on his breast. Those in attendance cry out at this. Ichabod is seated beside Father, eyes filled with tears. ICHABOD'S DREAM -- YOUNG ICHABOD'S ROOM -- NIGHT As before, a STORM RAGES. Ichabod is in Mother's arms. FREAKISH WOMAN (v.o.) The night of the great storm, I saw her cross my windows. MOTHER Don't be afraid... INT. VAN TASSEL HOUSE, ICHABOD'S BEDROOM -- DAY KNOCKING is HEARD. Ichabod gasps awake. KATRINA (o.s.) Constable Crane? Ichabod looks at his hands balled into fists. He opens them -- has ONE HALF of PHILIPSE'S TALISMAN in each palm. INT. VAN TASSEL HOUSE, SECOND FLOOR HALLWAY -- NIGHT Katrina holds a tray of food. The DOOR is HEARD UNLOCKING. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT Katrina enters. Ichabod sits at his work table. KATRINA Are you hungry? Ichabod shakes his head, won't look up. Katrina crosses. She begins picking up pieces of the PLASTER HOOFPRINT CAST which lies shattered on the floor. KATRINA You promised justice. ICHABOD If these are the random stalkings of a monster, what good am I? KATRINA People have put their trust in you. ICHABOD They have done nothing of the sort. KATRINA Won't they still have that justice? (patience waning) Or, was it a vain promise? Ichabod stews, head in his hands. Someone is HEARD RUNNING... Young Masbath enters, frightened. YOUNG MASBATH Constable Crane... something has happened. EXT. WESTERN WOODS -- DAY The Lenape Indian hangs dead in a tree, lynched. TOWNSFOLK are gathered. Ichabod makes his way through, followed by Young Masbath, looking up. BROM (o.s.) We do not need you, Constable... Brom strides towards Ichabod from a group of men spreading a sheet under the tree. Van Ripper's there. BROM The men who did this have been taken. We do not need you here. Brom points to where TWO FILTHY MEN in chains sit in a horse-drawn cart. An armed man guards them. ONE FILTHY MAN You should thank us. The killings will end. We saved you all! The armed man shoves the filthy man to shut him up. BROM They spend two days in chains. ICHABOD Two days... ? For murder? FATHER STEENWYCK For poaching. Or, would you remake our laws now that Magistrate Philipse has given up the ghost? ICHABOD Does that look like an animal hanging? BROM Looks like an Indian. Van Ripper cuts the noose rope at the trunk. The Lenape corpse free falls, landing hard. The Lenape lies in a heap on the sheet. Van Ripper and others come to lift the sheet with the Lenape in the middle. Ichabod watches, noticing... The Lenape wears a WOVEN PIECE of REED GRASS a cord on his loin cloth, twisted in a pattern. ICHABOD Wait. Give me a moment... Ichabod kneels. He removes the woven piece, looking across the diseased Lenape's body. Something else... The Lenape's mouth is agape; teeth rotting. Ichabod looks around, finds a twig. He uses it to pull the Lenape's mouth open... gets close to peer inside the Lenape's mouth. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- DAY A DRAWING of the Lenape's WOVEN PIECE in Ichabod's ledger. The piece lies near. Ichabod sits staring at it, trance-like. Masbath waits. Long silence. ICHABOD The Lenape Indian had much to tell once I opened his mouth. YOUNG MASBATH How could he? ICHABOD His teeth. Someone had cut them and chipped off rotten pieces far back in his mouth. The Lenape could not have done that for himself. (closes his journal) Someone out there cared for him. Ichabod rises, deciding. He picks up his satchel and exits. Young Masbath is surprised. He follows. EXT. WINDMILL -- DAY A massive, wooden WINDMILL, raised off the ground on a 7' center post. Ichabod and Masbath walk to it. INT. WINDMILL -- DAY Ichabod and Young Masbath enter via a ladder from the underbelly. Gears and counter wheels turn millstones. A few men work in the grain powder filled air. Ichabod leads the way to a staircase, up twists and turns. YOUNG MASBATH Where are we going? ICHABOD Up. EXT. WINDMILL ROOF -- DAY Ichabod and Young Masbath climb out a door to the roof. The rotors spin nearby. Ichabod searches the countryside. Below, MANY MEN are ride up the long straight road. ICHABOD What is it? YOUNG MASBATH It's payment day. Loan monies are given to Baltus the last day each month. Almost everyone borrows... for tools or to hire workers. Ichabod sits, takes a bowl from his bag and gives it to Masbath, then produces a bottle of water... fills the bowl. ICHABOD (points) Out there. What do you see? YOUNG MASBATH The Western Woods. ICHABOD Look again. A plume of smoke rises from woods, far. YOUNG MASBATH Smoke. Chimney smoke. Ichabod holds a piece of straw in his mouth, rubs the point of a sewing needle against a small BLACK ROCK. ICHABOD Are you familiar with magnets? YOUNG MASBATH What kind of nuts? ICHABOD Not for eating, I assure you. Watch here. Ichabod shows the magnet grab the needle. Young Masbath is amazed, reaching for it. Ichabod watches him play with it. YOUNG MASBATH It's spectacular. ICHABOD (smiles, pause) Yes... I suppose it is. Keep it. YOUNG MASBATH No, I couldn't... ICHABOD I have others. All I need is this. Ichabod takes the needle, poking its butt end into the tip of the straw. Young Masbath studies the rock, pockets it. YOUNG MASBATH Thank you. ICHABOD (nods, almost shy) Now, hold the bowl steady. Back to business. Young Masbath lifts the bowl. Ichabod drops in the needle/straw which floats and turns compass-like. ICHABOD If the Western Woods are truly the Devil's Glen, we will see for ourselves. YOUNG MASBATH (uneasy) Father said witches live there. ICHABOD Witches do not exist. However... Ichabod uses a knife to notch the bowl lip where the needle points, then surveys the smoke, making a second notch. ICHABOD Not long ago, I would have said the same for Headless Horseman. KATRINA (o.s.) Constable... ! Katrina's on horseback below, unhappy. KATRINA I need to speak with you. Alone. EXT. VAN TASSEL GREAT LAWN -- DAY Ichabod and Katrina lead their horses. A heated argument. KATRINA Why would you do such a thing? ICHABOD No stone may be left unturned. It may appear harsh... KATRINA I have misjudged you I think. I did not imagine you were so cruel. ICHABOD You are not regarding it in full. The Widow Windsor had been run through by a sword. I followed the bloodless wound, a wound whose path I could not comprehend till I had seen the Horseman with my own eyes. KATRINA What are you on about? ICHABOD The child she carried was eight months grown at least... near to birthing. The sword had pierced its tiny heart exactly. KATRINA Must I hear this? ICHABOD There was no blind stabbing. This singular thrust found its target omnipotently, as if the Horseman made certain the unborn child died with its mother. KATRINA And this gives worth to butchery? ICHABOD It was not butchery. KATRINA What is it then? Scientific method? How can any of this matter in the slightest? ICHABOD I have no solution for its meaning yet, but I could not just ignore it. KATRINA Take a lesson from Young Masbath's desires, Ichabod Crane. He follows with you to avenge his father's death. That I understand. But, what do you want? ICHABOD To avenge his father, and the others. KATRINA But, why? Tell me why. Ichabod struggles for a reply. KATRINA You falter with your answer because you strive without putting the whole of your heart into it. Can't you see? You'll bring dignity to the dead even if you have to chop them into little pieces to do it. ICHABOD (fed up, growing anger) If it had been surgery on a living person, done to save that person's life, you would not question it. Not for a moment. So, let me be the first to tell you, dear girl... on the other side of these sheltering mountains, a whole world has advanced beyond such plebeian thinking as yours. And someday, no matter how much you fear it, that world will come to roust Sleepy Hollow out of its slumber. Katrina storms away. Ichabod's already regretting. EXT. BELLTOWER FIELD -- DAY Ichabod and Young Masbath ride to the Western Woods, horses loaded for expedition. At the Belltower remnants, Ichabod slows, looking to the wreckage. At forest's edge, Young Masbath waits. Ichabod circles the tower. With a sigh, he rides to join Young Masbath. They head into the woods. EXT. WESTERN WOODS -- DAY Dark, dense and creepy. Ichabod and Young Masbath move through. Young Masbath halts his horse and looks around. ICHABOD What is it? YOUNG MASBATH Listen. ICHABOD (listens, looks) I hear nothing. YOUNG MASBATH No crickets or cicadas calling. No bird songs. Stark quiet. Ichabod notes this unhappily. EXT. WESTERN WOODS -- LATER DAY Ichabod's hand drops the needle/straw in the water bowl. The needle spins. The bowl is turned to match notches. Ichabod points the way to Young Masbath. ELSEWHERE, SOMEONE WATCHES: A MOVING P.O.V. WATCHES them as they ride, FOLLOWS. EXT. WESTERN WOODS, FURTHER ON -- LATER DAY Ichabod and Masbath reach a hill crest. They stop, uneasy. Below: a CAVE with a rock archway. An ill-fitting door covers the mouth. The chimney spews smoke. ICHABOD We have apparently arrived. EXT. CAVE HOME -- DAY The horses are tied to a tree. Ichabod walks to the cave door. Unsure, he hesitantly knocks. INT. CAVE HOME -- DAY Ichabod and Young Masbath step in. Walls are hung with skins and skeletons, dry flowers and reed grass in patterns. An OLD CRONE sits facing away. The old Crone, a mountain woman with matted hair and grey features, sits disinterested. Ichabod edges closer. ICHABOD Pardon. You did not answer when I knocked. Are we intruding? OLD CRONE You are from the Hollow? ICHABOD In a way, yes. Ichabod looks at tables of gourd bowls of dead insects and acorns. Knifes, scissors, yellow bones. He takes the Lenape's piece of reed grass from his pocket. ICHABOD The Lenape who lived in these woods... do you know him? The Redman? (uncomfortable wait) I should tell you... he has been murdered. OLD CRONE Leave me. You are not welcome here. The old Crone places something on a table beside her -- a dead cardinal, bright red. Ichabod is afraid, backing away, but Young Masbath takes the woven piece and steps to the Crone. YOUNG MASBATH Were you a friend to the Indian? (waits) You should have this... if you were his friend. Young Masbath puts the woven piece beside the cardinal. He walks to join Ichabod in leaving. OLD CRONE You seek remedy against the Horseman? The Old Crone reaches to pick up the weaving. She stands, faces them. Tall. Ichabod nods. OLD CRONE (to Young Masbath) Go out and keep away, child. (to Ichabod) You stay. Follow with me. The Old Crone takes a candle and walks, deep into the cave. INT. CAVE HOME, LOWER CAVE -- DAY The Old Crone comes through a passage in the wet walls. Ichabod enters, scared, bent under low ceiling. OLD CRONE I hear him. He rides to the Hollow and back. ICHABOD The Horseman. Yes. OLD CRONE Sit. Ichabod sits on crooked stool. The old Crone kneels with her back to him, gathers straw in a pile on the floor. ICHABOD Can you help? OLD CRONE You want to see into the nether world... I can show you. Whatever you see, do not move or speak. I will hold him. She gathers bowls, putting grass and powder on the pile. ICHABOD What... what are you doing? OLD CRONE (turns, furious) Close your mouth! Keep silent. She takes two jars from a table, pours ashes on the pile from one. She shakes the other roughly, takes the lid off and upends it. A baby bat squirms on the floor, dazed. The Old Crone holds the bat, using a knife to cut off its head. She soaks the straw with blood, SPEAKING IN TONGUES, guttural. Using a wick, she lights the straw. She grasps two METAL CUFFS with chains attached, slides these onto her bony wrists, then bends to inhale smoke. OLD CRONE He comes now. Ichabod would like to leave now. EXT. CAVE HOME -- DAY Young Masbath, waiting by the horses, looks up. Through the trees, black clouds billow and block the sun. INT. CAVE HOME, LOWER CAVE -- DAY The old Crone slumps, still with her back to Ichabod. She does not move. Wind howls through a hole/window. Rain. Candles blow out. Ichabod stands, worried. ICHABOD Excuse me... um... She remains motionless. The STORM outside intensifies. WE SEE the skin of the Crone's wrists transform; swelling in the cuffs, hardening, cracking and bleeding. Some thing Ichabod cannot see. He inches closer. ICHABOD Are you alright... ? The Crone turns, hideous, leaping erect -- a half-human, half-demon CREATURE. Its black clawed hands reaching. Ichabod recoils, crying out. Chains on restraining cuffs yank the creature back. Ichabod hits the floor, knocking over a table of bones. The creature is chained, but still wants Ichabod. It SCREECHES. The Old Crone's face seethes from transformation, eyes blood red, nostrils dripping, teeth now jagged. CREATURE/OLD CRONE You seek the warrior bathed in blood... the Headless Horseman. Ichabod slides back as far as possible while the creature claws the rock floor, yearning. CREATURE/OLD CRONE Follow the Indian trail to where the sun dies. Follow to the tree of the dead. The creature pulls, testing the chains. Behind, the BOLT holding the chains to the wall slips. The wall cracks. CREATURE/OLD CRONE Climb down to the Horseman's soulless place and let loose his silent shrieking. Do you hear? Do you hear?! Ichabod nods, quaking, aghast. He glances to the exit. The chain bolt gives more... coming loose... CREATURE/OLD CRONE He who holds fast the Horseman's desire will guide his reaping hand. Catch hold of his desire. Ichabod bolts for the door. The creature HOWLS, leaping... The chain bolt breaks... Ichabod cries out, tackled to the floor... It is the Old Crone who landed on him. She has returned to human form, semi-conscious. Ichabod shoves her off. EXT. CAVE HOME -- DAY Ichabod runs out into the howling storm, past Masbath. ICHABOD We are leaving. YOUNG MASBATH What happened? Ichabod scrambles onto Gunpowder, heading further into the woods, glancing back. Young Masbath follows. EXT. WESTERN WOODS, FURTHER ON -- EARLY EVENING No rain. Dark. A lantern's glow creates shifting shadows as Ichabod and Young Masbath ride. YOUNG MASBATH Follow the Indian trail to where the sun dies. To the tree of the dead. (looking back) Maybe we passed it by. ICHABOD How could something named "the tree of the dead" fail to draw attention? A BIRD CRIES OUT. Ichabod's startled, looking up. The BIRD is HEARD ALIGHTING. Leaves float downwards. ICHABOD We should not go much further in this murk. YOUNG MASBATH Should we go back? ICHABOD We are far from the Hollow. (dismounts, troubled) Loath to say it... better to get our backs against a tree and stay till morning. EXT. WESTERN WOODS (TIME CUT) -- NIGHT Horses are tied. Ichabod is seated against a tree. A campfire burns. Young Masbath lies on a blanket, rifle cross his chest, staring to treetops. Leaves and branches shift in the wind. Bats fly wildly. YOUNG MASBATH What does it mean... climb down to the Horseman's soulless place? ICHABOD "Let loose his silent shrieking." Who knows, till we work at it? I admit not being anxious to find out. (pause) "He who holds the Horseman's desire will guide his reaping hand." Whatever the Horseman's desire is, other than extinguishing lives. A SNAPPING BRANCH. Ichabod raises his pistol. ICHABOD (to Young Masbath) Do not move. Ichabod rises. He creeps forward, pistol and lantern forward. Foliage is thick. CRUNCHING LEAVES are HEARD. Ichabod crouches, puts down the lantern and picks up a branch. He tosses the branch to the foliage... SOME ANIMAL darts away, a running blur. Ichabod rises, following with his pistol. ANOTHER ANGLE, MOVING P.O.V.: low to the ground, moving swiftly at Ichabod... Ichabod spins, blindsided. Young Masbath fires his rifle -- CRACK!! The ANIMAL is KNOCKED DOWN mid-leap, yelping... The beast lands, a mass of grey fur. Ichabod comes to stare down. Young Masbath arrives. They both look to the beast, horrified. The creature lies helplessly spastic; a TWO-HEADED WOLF, with one head blown open to brain and gore. Its living head lifts, MEWING sadly, eyes pleading. Ichabod step up with pistol. FIRES. MEWING STOPS. ICHABOD What God-forsaken hell is this? Ichabod swallows back sickness, looking away. Something catches his eye. ICHABOD Christ... Through the forest: the SKY'S LIT UP. Distant fire. EXT. WESTERN WOODS, CAVE HOME -- EARLY EVENING Ichabod and Masbath ride up, confronted by the Crone's cave vomiting flame out all orifices. Ichabod approaches. Embers swirl everywhere. The Old Crone's body lies amongst bloodied leaves. Headless. EXT. TOWN SQUARE, DOCTOR'S RESIDENCE -- NIGHT Much commotion. A MOB in front of the home marked "LANCASTER, PHYSICIAN." Steenwyck addresses the rabble. FATHER STEENWYCK You all stand idle, while this man goes about with a book of secrets and a bag filled with magic. You all stand idle, while the shadow of the Devil falls over our town. Baltus, Lady Van Tassel and Katrina watch at safe distance. FATHER STEENWYCK I say, if you do nothing, you share in the blasphemy of Ichabod Crane! Killian, on horseback beside his wife, BETH, and son, Thomas, rides to one side of the shouting crowd. KILLIAN Listen to me! Do you want to save your crops? Or would you rather see your farms go to ruin? FATHER STEENWYCK How is he saving our farms? How? Ichabod Crane has brought into our midst the soulless, moldering corpse of a heretic! INT. DOCTOR'S RESIDENCE, MEDICAL ROOM -- NIGHT Ichabod examines the Crone's neck wound with magnification spectacles. Young Masbath is seated, ledger in his lap. ICHABOD The wound is neither smooth nor cauterized, but jagged. She bleeds like a fountain. Ichabod lifts her dead hand to show bruises and cuts. ICHABOD She did not go quietly. INT. DOCTOR'S RESIDENCE, PARLOR -- NIGHT Doctor Lancaster wrings his hands. His WIFE rocks nervously in a rocking chair. The CROWD outside ROARS as a bonfire lights up the curtained windows. The front door is POUNDED open. ANGRY MEN enter. Lancaster stands, lips quivering. He points insistently to a door. INT. DOCTOR'S RESIDENCE, MEDICAL ROOM -- NIGHT Angry men break in. Ichabod looks up. ANGRY MAN Step aside, Constable. Step aside... Ichabod is shoved aside, spectacles knocked off. The group grasps the Crone. Masbath stands on his chair, clutching the ledger. Ichabod grabs one man. ICHABOD What are you doing? The man slams Ichabod back. Magnification spectacles are crushed under foot. EXT. TOWN SQUARE -- NIGHT Angry men carry the corpse to a raging bonfire. The mob makes way. Steenwyck cheers them. FATHER STEENWYCK Let her burn! Let her burn! Ichabod comes out, followed by Young Masbath. The Crone's corpse is thrown in the fire. Cheers all around. At Ichabod's side, a man tries to grab the ledger Young Masbath holds. Young Masbath cries out, hanging on to the book. Ichabod joins the struggle. Katrina watches, emotions conflicting. Other men grab Ichabod. One punches Ichabod in the face. Katrina rides forward as Baltus calls for her to stop. Katrina leaps down, into the crowd, pulls men off Ichabod. KATRINA Stop this! Leave them alone! A SHOT RINGS OUT. Chaos halts. Everyone turns, quieting. The men around Masbath and Ichabod turn to face Brom Bones. Brom holds a smoking pistol, flanked by Theodore and Glenn. BROM Let them go (pointing) Are you going to beat an orphaned child, imbecile? Masbath is released, along with the ledger. Steenwyck moves forward, pushing people aside. FATHER STEENWYCK Are you Ichabod Crane's protector, Brom Bones? BROM Only for the moment. FATHER STEENWYCK You side with him in this? BROM No. I agree he has only made matters worse. But, that will change, if you listen. He trades with Theodore, pistol for a long rifle. Brom hefts the rifle, taking a round slug from his pocket. BROM Theodore, Glenn and I offer to ride each day and night to watch over the Hollow. We will stalk the border of the Western Woods and haunt the Horseman for a change, with rifles like this... and slugs like this... Brom brings the slug to his lips, blows. It WHISTLES. BROM Hollowed out and filled with powder. Brom smiles at Katrina, who watches unimpressed. BROM Constable Crane is not the only one who fights with science on his side. ICHABOD I fired upon the Horseman and the bullet did nothing. BROM You must have missed your mark. ICHABOD I hit him square. BROM (to the crowd) I say... if the Horseman is solid enough to take the lives of our people, he's solid enough to feel this... Brom aims the rifle at a BARREL down the road. FIRES. PLUNK -- the barrel is hit -- EXPLODES. Smoke wafts. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT In bed, Ichabod is having unpleasant dreams once more. FREAKISH WOMAN (v.o.) The night of the great storm, I saw her cross my windows. ICHABOD'S DREAM -- COURTROOM -- DAY Young Ichabod is seated beside Father, eyes tearful. We are back in the court where Mother stands trial. FREAKISH WOMAN In the lightning, I did see her. (points to Mother) Her. Lady Crane... I will never forget it. The next moment, I found my infant son was dead, with the blood welt on his breast. The evil Third Man turns to a jury of TWELVE MEN. THIRD MAN You have heard it. The blood welt is the mark of Satan's touch. As the crowd murmurs in fear, Young Ichabod looks to Father, who sits with hands clenched, emotionless. ICHABOD'S DREAM -- YOUNG ICHABOD'S HOME -- NIGHT In the quiet kitchen, Young Ichabod looks across the table. Father stares into his food. YOUNG ICHABOD She was with me, father. FATHER Nothing can be done against them. YOUNG ICHABOD She was with me that night. Father doesn't even look up. ICHABOD'S DREAM -- CHURCH -- NIGHT Empty church. Young Ichabod carries a lantern past pews. A soldier is seated near the altar with a rifle. YOUNG ICHABOD May I see her? The soldier exits through a white door. Young Ichabod waits, looking up at the vast church. The white door opens and the Third Man steps out. THIRD MAN Go home. YOUNG ICHABOD May I see my mother? THIRD MAN You do not want to be here. Go home to your father. YOUNG ICHABOD She did not do it... please listen... THIRD MAN She is guilty. YOUNG ICHABOD No, sir, please... she is innocent... THIRD MAN She has confessed. YOUNG ICHABOD No. THIRD MAN She has admitted to her evil and signed a written confession. Do you know what confession is? (off Ichabod's nod) All that is left for you now is to pray for her soul. The Third Man leaves through the white door. ICHABOD'S DREAM -- YOUNG ICHABOD'S BEDROOM -- MORNING Young Ichabod buttons his shirt. ICHABOD'S DREAM -- YOUNG ICHABOD'S YARD -- MORNING Young Ichabod comes out, looks to the lawn, not understanding. Father loads a wagon full of belongings. FATHER We are leaving. (long pause) She has gone away. Realization comes to Young Ichabod. He runs, away across the lawn as Father calls after him. ICHABOD'S DREAM -- FOREST TRAIL -- MORNING Young Ichabod runs, weeping. THIRD MAN (v.o.) She has confessed. ICHABOD'S DREAM -- CHURCH -- MORNING Empty. Doors are thrown open and Young Ichabod enters. He goes down the aisle, towards the white door. THIRD MAN (v.o.) She has admitted to her evil and signed a written confession. YOUNG ICHABOD Mother. ICHABOD'S DREAM -- CHURCH, BEYOND WHITE DOOR -- MORNING Young Ichabod enters, halting. The room contains TORTURE DEVICES: iron cuffs, thumb screws, knifes and needles. THIRD MAN (v.o.) Do you know what confession is? He walks, numb, eyes locked forward... In the corner is a SPIKED CHAIR, adorned with sharp iron spikes. Hundreds of spikes. It is fitted with straps for holding down the "accused." Tears stream down Young Ichabod's face. He kneels, hands on the spikes of the chair, pressing hard. As he sobs, blood runs down from his hands. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT In bed, Ichabod opens tear filled eyes. He sits up, bringing his trembling hands to wipe his cheeks. His hands trail blood. He looks to them... The old scars are bleeding. INT. VAN TASSEL HOUSE, SITTING ROOM -- NIGHT Katrina comes to the door. Ichabod is seated by the fire, eyes bleary, palms wrapped with bloodied cloth. KATRINA Constable Crane? Katrina comes beside Ichabod's chair. ICHABOD Allow me some time. I have spent every hour in the company of others. I need to be alone. KATRINA What troubles you? She moves in front. Ichabod gets up and crosses to sit facing away. Katrina takes the chair he deserted. KATRINA The things I said to you before... I was wrong to say them. ICHABOD No, actually, you were not. Every word you spoke had truth in it. KATRINA What has happened? Ichabod sits silent, puts his head back, eyes closed. ICHABOD Lady Van Tassel... she is your stepmother, isn't she? She bears so little resemblance. KATRINA What? ICHABOD She is not your birth mother, is she? KATRINA No, but... why do you ask that? ICHABOD What happened to your mother? Is she still alive? KATRINA She died. Her lungs were diseased... two years ago. What is this about? ICHABOD Memories have come back. I had them forgotten, and wish I could forget them again... but they are here now. (pause) Lord, how I hate this place. KATRINA If you want me to go, I will. Do you want me to leave? ICHABOD I... I do not know. I no longer know what I think or what I feel. Katrina walks to him. She touches his back. KATRINA Why are you so afraid of that? Is there truly such harm in uncertainty? She kneels, smiles a little for him. She reaches to touch his face, holds his head in her hands. Leans to kiss him. He rests his head against hers, weary, putting his arms around her. They kiss passionately. EXT. THE HOLLOW -- EARLY MORNING Dawn light, is visible over forests pounded by rain. INT. VAN TASSEL HOUSE, SECOND FLOOR HALL -- MORNING Ichabod exits his room, satchel in hand. He looks down the hall, then steps back in to take a white rose from a vase. AROUND A CORNER, Ichabod comes to the last door. He bends, slipping the white rose under the crack of the door. EXT. VAN TASSEL HOUSE, FRONT PORCH -- MORNING Rain. Ichabod comes out. Across the lawn, Young Masbath is bringing the horses. LADY VAN TASSEL (o.s.) Good morrow, Constable. Ichabod turns to see Lady Van Tassel in a chair, sewing. LADY VAN TASSEL Returning to the Western Woods? ICHABOD Yes, actually. LADY VAN TASSEL Use caution. ICHABOD (nods, studies her) Do you know... I think those are the first words I have heard from you my entire time here. LADY VAN TASSEL As my husband says, a wife should be always like an echo, and at the same time, quite unlike an echo. (off Ichabod's confusion) Like an echo, she should speak only when spoken to, and unlike an echo, should never try to have the last word, or, at least that is what he believes. Baltus comes out the door, irritable, skillet in hand. BALTUS Constable... did you notice anything out of the ordinary during the night? Ichabod eyes the skillet, ill at ease, trying not to be. ICHABOD Um... I... I did not... no. Why? BALTUS Sarah has gone missing... my servant girl. Her things are gone. Damn it. She has joined the migration out of town. (to Lady Van Tassel) What about breakfast, woman? Or, am I to starve to death? Lady Van Tassel gets up and goes in, taking the skillet. ICHABOD I should be going... good day to you. Ichabod heads towards Young Masbath. Baltus watches from the porch, disgruntled. He goes in. EXT. WESTERN WOODS -- DAY Heavy rain. Ichabod and Young Masbath ride side by side. YOUNG MASBATH If the Crone's wound bled hard, that means she was not killed by the Hessian. Someone only tried to make it look that way. ICHABOD You grow sharper by the minute, little man. It boggles my mind, but I begin to prefer your company over all others. YOUNG MASBATH Well... I'm one of the few people who likes you. ICHABOD (laughs) True enough. YOUNG MASBATH Then, who murdered the Old Crone? And why? ICHABOD Good questions, deserving answers, of which we are in short supply. A SOUND is HEARD. Ichabod looks back, then to Masbath. ICHABOD Quicken pace. Ichabod rides faster. Young Masbath keeps up. FURTHER ON, they charge over a hill. Ichabod halts Gunpowder and climbs clumsily off. ICHABOD Ride on. Young Masbath obeys. Ichabod takes out his pistol and wades into forest growth, backtracking. INSIDE THE FOREST, Ichabod bounds through underbrush, low. A HORSE is HEARD SNORTING. He pushes through branches... Moving behind a FIGURE IN A GREY CLOAK on horseback. ICHABOD Halt and turn. I have a pistol aimed at your head. The figure stops, pushes off the cloak hood. Katrina. KATRINA It is only me. ICHABOD Katrina. Why do you follow? KATRINA I apologize if I worried you. ICHABOD A woman should not be out alone in these woods. KATRINA But, I am not alone, am I? I only wished to see what you were up to, and... (takes out WHITE ROSE) To thank you. Ichabod softens, but doesn't want to. ICHABOD Come along. EXT. WESTERN WOODS, TREE OF THE DEAD -- DAY Raining still. Ichabod, Masbath and Katrina come into a clearing, mouths falling open at the sight of... A monstrously huge TREE OF THE DEAD, at the clearing's center, with branches reaching far and wide, knotted and gross, like agony captured in wood sculpture. Ichabod dismounts, crossing a line beyond which grass and weeds will not grow. Young Masbath and Katrina dismount. YOUNG MASBATH You were right... it does draw attention to itself. Ichabod stares up into the endless, dead canopy of branches. He circles the incredibly wide trunk. There's a VERTICAL WOUND in the bark, as if the tree once had a terrible vertical in it, now partially healed and disgustingly scarred. Ichabod approaches. He feels the mushy scar, picking at its scabs till much sap begins to trickle. It is red and Ichabod fingers it. ICHABOD Blood. KATRINA What did you say? Ichabod goes to where Katrina and Masbath wait with the horses, digs in a saddle bag for a hand axe. YOUNG MASBATH What is it? ICHABOD Stay back. At the trunk, Ichabod thumps the flat end of the axe against the suture. It sounds hollow. Ichabod begins to chop. He pulls away loose bark. The tree drips more blood and a clear goo. Ichabod uses both hands on the axe to hack at the festering suture. KATRINA What are you doing? ICHABOD Just... keep where you are. Ignoring, Young Masbath moves closer. Ichabod keeps chopping, then grips a large, loose flap of wood, trying to bend it. It's not easy. Ichabod struggles. Katrina follows Masbath's slow advance. Ichabod's pulling... the flap suddenly gives, revealing a blood-soaked, wide-eyed, gap-mouthed HUMAN HEAD. Ichabod recoils. Behind him, Katrina stifles a scream, taking Young Masbath in her arms to keep him from looking. It is Philipse's head, hanging off the trunk flap, held by roots grown around and into the flesh. Ichabod reapproaches, back of his hand to his mouth. FOUR other SEVERED, DECAYING HEADS are held by ingrown roots within the dewy innards. KATRINA My God... what has happened? ICHABOD He... he tries to take the heads... they will not pass. He looks to the branches towering above. ICHABOD Must be some sort of gateway. But, why this place... ? YOUNG MASBATH We should go. ICHABOD Why this tree? Ichabod begins looking at the ground, moving around the tree. He gets to his knees, pushing mud away. Uncovering a flush HEADSTONE carved with "666." ICHABOD (to himself) "Climb down to the Horseman's soulless place." (to Masbath) Bring the shovel. EXT. WESTERN WOODS, TREE OF THE DEAD -- LATER DAY Rain. Young Masbath's crouched, muddy, rifle across his knees. He's watching the tree. Behind him, Katrina climbs out of the shallow grave near a pile of mud. Ichabod hands up the shovel. KATRINA Masbath, we've found it. Young Masbath goes to the grave. Ichabod pulls at thick burlap cloth, straining as it comes away. Ichabod looks down, disbelieving. ICHABOD It cannot be true. WE SEE: roots have gripped the Horseman's bones and tattered uniform. The skeleton is all there -- except the skull. ICHABOD Why is it every grave I open holds a new mystery inside? KATRINA The skull is gone. ICHABOD Yes. I did notice that, thank you. Ichabod climbs out, weary in body and spirit. LIGHTNING. THUNDER. He stares at the bones. ICHABOD This is his silent shrieking... and his desire, to reclaim his head. Ichabod turns, looking to the bordering forest. ICHABOD "He who holds fast the Horseman's desire will guide his reaping hand." (pause) Someone controls the Horseman. KATRINA (o.s.) Ichabod! Ichabod turns, looks... Katrina and Young Masbath back away, because the ROOTS in the grave are ALIVE, further entwining around remains. Ichabod spins to the twisted tree... The vertical SUTURE SEETHES, pulling inwards... sucking Philipse's head back in and closing, bubbling. Ichabod bounds over grave dirt pile, hastening Katrina and Young Masbath along as he flees. At the tree, the suture swells. Ichabod, Katrina and Young Masbath pass where their freaking horses are tied to a fallen trunk, heading for cover. A RUMBLING is HEARD from the twisted tree, which suddenly BURSTS wide, spitting smoldering cinders. At the tree line, Ichabod, Katrina and Young Masbath cower, looking back. From the tree wound, a glow brightens, till the Headless Horseman and Daredevil EXPLODE into existence... They hit the ground running. Ichabod watches the Horseman ride away with bolts of LIGHTNING STRIKING the GROUND BEHIND. The Horseman disappears in the forest. ICHABOD His next victim is chosen! (to Masbath) Give me distance, then guide her back to the Hollow. Ichabod runs towards the horses. YOUNG MASBATH Constable! EXT. WESTERN WOODS -- DAY The Horseman rips past on Daredevil. EXT. BEHIND IN WESTERN WOODS -- DAY Ichabod rides as fast as Gunpowder is able. INT. KILLIAN'S HOME, KITCHEN -- DAY Small home. Killian, Thomas and Beth have finished supper. Beth clears plates as Killian picks his teeth with a knife. THOMAS May I be excused, father? KILLIAN Do you deserve to be? THIRD MAN (shyly) I think so. KILLIAN (smiles) Then, go. Thomas gets down from his chair. He goes to the fireplace to light a tallow wick, which he takes to the next room. INT. KILLIAN'S HOME, WHITE ROOM -- DAY Thomas plops on the floor and lights his MAGIC LANTERN: a lantern with an outer sleeve of glass painted with silhouettes of lions and monsters. Thomas turns the lantern and looks to the walls where the creatures, shadows are thrown. He roars for them, imagining them real and having a grand time. INT. KILLIAN'S HOME, KITCHEN -- DAY Beth comes for more dishes. BETH Don't pick teeth. You teach Thomas bad habits. Killian pulls her to him, playful. KILLIAN I am a bad habit. There's nothing for it. BETH (kisses him) No one knows better than I. INT. KILLIAN'S HOME, WHITE ROOM -- DAY Thomas continues his fun, shadow animals circling him. In the shifting light, a baby spider comes from a crack in the wall. Then, another spider skitters out. More follow. EXT. FORESTS -- DAY A black horse runs, hooves pounding the ground. THUNDER is HEARD. The horse slows and stops... it is Brom's horse, with Brom aboard. Brom looks skyward. The storm harshens, roaring through the trees. Distant HOOFBEATS can be HEARD. POUNDING. Brom takes his rifle off his shoulder. The HOOFBEATS grow LOUDER and PASS, far away. Brom turns in the saddle and WHISTLES. He kicks his horse and rides. INT. KILLIAN'S HOME, WHITE ROOM -- DAY Thomas still watches shadow beasts, but sees something else. He goes to the crack where hundreds of spiders flee all directions. Thomas is amused. INT. KILLIAN'S HOME, KITCHEN -- DAY Behind Killian, mantelpiece stones pulse, breathing almost imperceptibly. Demonic faces form, then disappear and reform again, shifting. WIND HOWLS. INT. KILLIAN'S HOME, WHITE ROOM -- DAY Beth enters, looking at Thomas. BETH What are you doing there? The magic lantern stops spinning. Shadow creatures freeze. INT. KILLIAN'S HOME, KITCHEN -- DAY The ENTIRE HOUSE CREAKS. Killian looks up. CREAKING STOPS. The HOWLING WIND is LOUD. INT. KILLIAN'S HOME, THE WHITE ROOM -- DAY Beth comes to Thomas' side as he points. THOMAS Spiders. Beth bends to see the swarming spiders. She looks up, noticing the FEROCITY of the WIND. INT. KILLIAN'S HOME, KITCHEN -- DAY Killian stands, looking up. The HOUSE CREAKS again, then suddenly the WIND CEASES. Silence. KILLIAN Beth... INT. KILLIAN'S HOME, THE WHITE ROOM -- DAY Beth picks up Thomas. The magic lantern creatures begin spinning anew, all around. INT. KILLIAN'S HOME, KITCHEN -- DAY With a ROAR, the fire flares. Killian looks. WHHOOOSH the fire shoots up the fireplace. Gone. Behind Killian, the DOOR SPLINTERS INWARDS. The Horseman steps in, a battle axe in each hand. WIND BLASTS... The DOOR to the other room SLAMS. Killian grabs a kitchen chair and hurls it at the Horseman. The Horseman swings, smashing it aside. KILLIAN Beth... run! INT. KILLIAN'S HOME, WHITE ROOM -- DAY Beth hugs Thomas to her as she backs away. KILLIAN (o.s.) (from kitchen) Get out! INT. KILLIAN'S HOME, KITCHEN -- DAY Killian grabs an iron skewer from the fireplace, swings it to fend off a blow from the Horseman. The Horseman swings the other axe. Killian ducks. The axe cracks fireplace stone, throwing sparks. Killian lunges, jamming the skewer into the Horseman. The skewer comes through the Horseman's back. The Horseman swipes with the flat of one axe -- pounding Killian aside. Killian hits the wall, bashing his head. Hits the floor. INT. KILLIAN'S HOME, WHITE ROOM -- DAY Beth kicks a carpet to reveal a trap door. INT. KILLIAN'S HOME, KITCHEN -- DAY The Horseman pulls the skewer out of his body, throws it. He goes to lift Killian by the hair with one hand, brings back the axe in the other... INT. KILLIAN'S HOME, WHITE ROOM -- DAY At the trap door, Beth lowers Thomas to stairs leading to the cellar. Thomas is crying. BETH Don't let him get you. THOMAS Mommy... BETH You hide now... go... Beth closes the trap door, frantically replacing the carpet. The room's door flies open and the Horseman strides in, carrying Killian's severed head. Beth shrieks. The Horseman steps forward, knocks over the magic lantern. INT. KILLIAN'S HOME, CELLAR -- DAY Beth's SCREAMS are abruptly CUT OFF. Her BODY is HEARD HITTING the floor above. Thomas crosses the cellar, stumbles. He scurries into the shelter of a wheelbarrow propped against the wall. FOOTSTEPS are HEARD. INT. KILLIAN'S HOME, THE WHITE ROOM -- DAY The Horseman's hands place Killian's and Beth's heads in a sack, cinching the sack shut. INT. KILLIAN'S HOME, KITCHEN -- DAY The Headless Horseman enters, bends to retrieve the battle axe he left. He stands. Pause. INT. KILLIAN'S HOME, CELLAR -- DAY Thomas' trembling hands pull the wheelbarrow closer. QUIET. He tries to control his sobbing. INT. KILLIAN'S HOME, KITCHEN -- DAY The Horseman turns, falls to his knees. He starts to chop at the floor with both axes. CHOPping, CHOPping, CHOPping... making quick work of it... INT. KILLIAN'S HOME, CELLAR -- DAY A hole appears in the ceiling as debris falls. Thomas looks up, terrified. He gets up to run away... The Horseman's arm shoves through above, grasping Thomas and yanking him up. EXT. KILLIAN'S FARM -- DAY Brom rides from the forest, charging across Killian's field. At Killian's house, Daredevil rides up as the Headless Horseman walks out with his sack of heads. The Horseman ties the sack to the saddle and leaps up. Brom puts his reins in his mouth, raising his rifle. The Horseman heads away, past the barn, as Brom gains. Brom aims... FIRES! BOOM -- the slug EXPLODES, blowing the Horseman off Daredevil. Daredevil keeps going. The Horseman's smoldering body is left "face down." Brom halts his horse. He climbs down, pleased. The Horseman moves. Brom backs away, satisfaction diminishing. The Horseman gets on his knees. Brom falls to one knee, begins reloading. He fills the gun from his powder horn. The Horseman stands, unsheathes his sword and turns. The blast has blown apart his uniform at the chest and shoulder, exposing rotten flesh and maggot-infested muscle. Brom readies his ramrod, jamming powder in the barrel. The Horseman charges. Brom stands, pulling out the ramrod. The Horseman is on him. Brom swings the rifle, blocking. Sparks fly. The battle is on, with Brom fending off the Horseman's sword with the gun -- CLANK -- CLANK -- CLANK. ACROSS THE FIELD, Ichabod and Gunpowder break into the open. UP THE FIELD, the Horseman makes a backhanded swing. Brom goes down, his rifle sent flying. Brom rolls to avoid as the Horseman slashes. Brom flees. The Horseman pulls and throws a knife... THWAP -- the knife imbeds in Brom's thigh. The Horseman runs towards Brom. Ichabod closes in, pulling an unlit lantern off his saddle. Brom tries to get up, bends to extract the knife. The Horseman, mid-run, changes his sword grip, blade down. He plants one foot on Brom's back, raising his sword, about to skewer... Ichabod arrives full gallop, SMASHES the lantern into the Horseman -- knocking the Horseman off Brom. AT THE EDGE OF THE FOREST, Theodore and Glen arrive on horseback. They hold a moment, watching. Brom runs, limping, to the barn, goal in sight: farm implements propped there. Brom grabs SCYTHES with long curved blades, one in per hand. The Horseman rises. Ichabod turns Gunpowder and leaps off, runs to Brom. The Horseman moves towards them, hefting a battle axe in his free hand. Ichabod steps up, pistol aimed, furious. ICHABOD For what it's worth... FIRES -- the bullet rips through the Horseman's stomach to reveal putrid innards as he keeps advancing. At the forest, Theodore looks to Glenn, turns and flees. Brom steps up, scythes ready. He and the Horseman go at it. Brom blocks axe and sword, catching and deflecting blows. At the forest, Glenn follows Theodore away. Ichabod grabs a long handled SICKLE. Brom swings the scythes. The Horseman avoids. Ichabod moves to the side, looking for an opening. He swings the sickle. The Horseman blocks. The Horseman battles both at once, catching blows... countering every strike, METAL RINGING. Brom catches the Horseman's sword in one scythe, holding it off. Catches the axe handle in the other scythe. The Horseman flatfoot KICKS Brom's chest, sending him down. Ichabod swings the sickle blade... Hits the Horseman, the blade embedding to the hilt. The Horseman drops his axe and grasps the sickle, jerking... The sickle handle SLAMS Ichabod's, knocking him away. Ichabod crawls, tries to shake off the blow. He looks up. The Horseman staggers, spastically trying to pull the blade from his body. Brom limps to Ichabod, yanks him to his feet. BROM We cannot win this. They head towards the forest. Behind, the Horseman extracts the sickle, throws it. He strides after them, picks up his axe on the way. EXT. RIVERBANK -- DAY Ichabod and Brom stumble down a hillside. Brom points. BROM There... They run to a DOCK at the edge of a wide, rapid river. They jump into a FLAT BOAT barge. BROM Go to the front and guide it. Ichabod goes. Brom uses a scythe to slash the ropes. Ichabod picks up a GUIDE POLE. The barge lurches, set free. Ichabod struggles to push the boat out. it moves swiftly, caught in rain swollen current. Brom looks back. No Horseman. He leaves the scythe and moves to the front, hefting another pole to help guide. BROM Let's see him catch us now. Ichabod looks to the shore. Horror. ICHABOD Look. LIGHTNING ILLUMINATES -- ahead, the Horseman stands on the bank with Axe and sword. Daredevil near. BROM We'll pass right by the son of a bitch. Ichabod and Brom push with the poles, trying for speed. At the bank, the Horseman walks directly to the water... Just as he takes a step onto the water, the rain churned surface TRANSFORMS -- instantly BECOMING a SHEET of ICE... SPREADING and supporting the Horseman as he advances. ICE SHOOTS OUT ahead of him, towards a point in the river where it will intercept the barge. BROM My Christ... The Horseman's ICE BRIDGE engulfs the barge, HALTING IT. Ichabod and Brom are thrown. The barge is trapped. The Horseman nears. Brom runs to the rear to retrieve his scythe. Ichabod holds up the only weapon he has, his guide pole. The Horseman steps on board. Ichabod swings. The Horseman's axe cracks the pole in half... The Horseman thrusts with sword -- into Ichabod's chest -- clean through. It SIZZLES as Ichabod screams. The Horseman lifts Ichabod up, flips him, pulling the sword out as Ichabod goes... SMASHING through the ice and under. UNDERWATER: water carries Ichabod, slams him against ice above. He's pulled down by undertow. ABOVE WATER, beyond the edge of the ice bridge: Ichabod comes up, gasping, choking on rain. He treads water, looking to the barge. ICHABOD'S P.O.V. -- FROM THE WATER Aboard the barge, the Horseman cuts Brom down... stands over him, chopping with sword. Our VIEW grows BLURRY, and... FADES OUT/IN INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT Candlelight. Ichabod, shirtless, feverish, opens his eyes. The wound at the top of his chest is raw. Katrina inserts a needle in the skin around it. KATRINA Lay still, Ichabod. Do not move. LADY VAN TASSEL Doctor, he is awake. Ichabod tries to sit. Pain stops him. Lady Van Tassel helps bleed the wound with the needle and a tube leading to a SUCTION JAR of blood. ICHABOD (barely a voice) What... what are you doing... ? KATRINA I'm drawing bad blood from the wound. Doctor Lancaster comes to the bed. DOCTOR LANCASTER Keep still, Constable. You were half-drowned when they found you. ICHABOD ... Brom Bones... DOCTOR LANCASTER He is dead. You would be also, if your wound had not somehow shut. ICHABOD Bring Young Masbath here. DOCTOR LANCASTER You need to sleep. ICHABOD Bring him. DOCTOR LANCASTER You need rest. Ichabod gives up, closes his eyes. Katrina, needle in one hand, brings her other hand to hold Ichabod's. Blood drips into the suction jar. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- LATER NIGHT Ichabod is soundly asleep. Across the room, Katrina is at his work table. Ichabod stirs. Katrina looks to him. Once she is satisfied he will not wake, she returns to what she was doing, turning a page. She is reading his ledger. EXT. SERVANT'S QUARTER'S, MASBATH'S ROOM -- NIGHT Young Masbath lies awake. A glint of light crosses the window. Masbath looks to it, gets up, peers out. THROUGH THE WINDOW, he can see the Van Tassel Manor House in the distance. Lantern LIGHT crosses the lawn. EXT. VAN TASSEL ESTATE, ORCHARD -- NIGHT The lantern light moves through the orchard, away from the house. We cannot make out the person. Elsewhere, Young Masbath runs in pursuit. He hides against one tree, leans to look... The light enters forest. Young Masbath follows. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- MORNING Ichabod's hurting. Masbath helps with a shirt. YOUNG MASBATH Someone left last night. Looked like they headed to the square, but I lost them in the forest. ICHABOD Man or woman? YOUNG MASBATH All I saw was their lantern. ICHABOD Business, best hidden is hidden best at night. Ichabod goes to his work table, organizing his satchel. YOUNG MASBATH If someone has the Horseman's skull... if they control the Horseman, then why haven't they sent him for your head yet? ICHABOD Because, I serve a fine purpose alive. It is perfection for our murderer if I return to New York City with nothing more than tales of a galloping ghoul. (pause) We must uncover the reason these victims were targeted. What was taken from them... other than their lives? Who benefits by their deaths? Ichabod fumbles the bottle of white powder. It bounces, cork popping out... rolls under the bed. ICHABOD Damn it. Ichabod kneels, pained. A trail of the blood-detecting powder has spilled. The bottle is out of reach. YOUNG MASBATH I'll get it. Young Masbath gets down, ready to crawl for it, but Ichabod stops him, peering under. ICHABOD Wait... Far under, near the bottle, some powder is bubbling. Ichabod moves to the end of the bed and lifts, in pain. Young Masbath helps. They drag the bed to one side. Under the bed: a Satanic PENTAGRAM has been DRAWN IN BLOOD. Ichabod stares, trying to grasp the implication. Masbath is about to speak, but Ichabod puts a finger to his lips. Ichabod moves to lock the door. YOUNG MASBATH (whispers) Who did this? Ichabod does not answer. He picks up a wash basin and dumps the water to wash the Pentagram away. EXT. TOWN SQUARE/CHURCH -- DAY WAGONS, HORSES and TOWNSPEOPLE swarm. A CROWD loots the town's general store. Provisions are passed along man to man and loaded on wheelbarrows. All up and down the long straight road, home owners board up windows with lumber. Ichabod and Young Masbath ride, passing many angry faces. ICHABOD Panic has set in. They stop, tying their horses and climbing stairs to the door of the "NOTARY." Ichabod looks off... DOWN THE ROAD, at the far end, people head to the church. Much activity there as well. ICHABOD Sanctuary. Or, so they hope. Families put up tents all around the church within the bordering wrought-iron fence. Supplies abound. People work to build and erect massive wooden crosses. INT. NOTARY PUBLIC, HARDENBROOK'S OFFICES -- DAY Tidy room. Young Masbath watches Ichabod hand a slip of paper to the elderly Notary, Hardenbrook. ICHABOD Do you have these persons' wills? HARDENBROOK I have everything... last testaments... birth certificates, death certificates... deeds. ICHABOD Yes, sir... but, do you have these? Hardenbrook studies the paper with his one good eye. HARDENBROOK Certainly... certainly. Hardenbrook nods, handing the list back, grinning. Ichabod stands waiting. Hardenbrook is still nodding. ICHABOD May I see them, Master Hardenbrook? HARDENBROOK Hmm? See them? ICHABOD May we look at them now? HARDENBROOK Of course. You want them... it shall not take long. Wait here. Hardenbrook heads across the room. Ichabod offers the list. ICHABOD Maybe you should take this. HARDENBROOK A fine idea. Hardenbrook takes it and exits. Young Masbath sits. YOUNG MASBATH What good is this? ICHABOD To discover what might have been taken from those who died, it will help to know what was there that could be taken in the first place. Ichabod waits. After a moment, he looks uncertain. He crosses to the half-open door... INT. NOTARY PUBLIC, RECORDS ROOM -- DAY Ichabod sticks his head in, not liking what he sees. Hardenbrook's amidst unbelievable disarray. Tables, shelves, and baskets of unevenly piled documents. Hardenbrook looks on a shelf, confused, then goes to a table, lifting papers, mumbling. HARDENBROOK Damn... damn... damn... ICHABOD Master Hardenbrook... Hardenbrook turns, a bit startled. ICHABOD Perhaps, I could assist in finding them? HARDENBROOK Well... that might be... helpful. INT. NOTARY PUBLIC, RECORDS ROOM (TIME CUT) -- DAY Hardenbrook is asleep in a chair, snoring, blind eye open. Ichabod and Young Masbath face official-looking documents, with Ichabod focused on one will in hand. YOUNG MASBATH My father had farm land. It was the only thing we owned of any value. ICHABOD (still reading) And it now belongs to you, according to Baltus. I heard him say it. YOUNG MASBATH Yes. Ichabod turns the will in his hand to Masbath. ICHABOD Then look here at your father's will, and tell me why you are not listed. Young Masbath takes it, boggled. Ichabod grabs another. ICHABOD Van Garrett had denoted his elder son in his last wishes; the same son murdered along with him. But Van Garrett's wife and two infant children are not written... and they were spared. (picks up another will) Do you see? Philipse had no family to bestow his farm to. But, here... (picks up another) The Widow Windsor was listed on her late husband's will. After her inheritance, she amended the document to include her bastard child. This is why the Horseman made absolutely certain to impale the unborn descendant. Ichabod sits back. ICHABOD Only the heirs were killed. Proof that the Horseman slaughters by assignment. YOUNG MASBATH But, if the farm is not mine, who stole it away? ICHABOD No one yet, far as I can tell. It has gone intestate. YOUNG MASBATH In test... what? ICHABOD Intestate. Your farm... all the farms... they belong to no one. YOUNG MASBATH What does it mean? Ichabod stares off. ICHABOD Often in such cases, property which has gone intestate legally passes to whomever the deceased was indebted to. And, who in this town is owed a great many debts? YOUNG MASBATH (realization) Baltus Van Tassel. ICHABOD Did your father take a loan? YOUNG MASBATH Yes. I rode with him on payment days. Ichabod stands, grim, gathering wills and his ledger. ICHABOD Tonight, we answer questions. And, to discover who moves about the Van Tassel house after dark... all we need is a candle. A LOUD NOISE is HEARD from the other room. Ichabod looks. INT. HARDENBROOK'S OFFICES -- DAY Ichabod bursts in. No one there. A chair has been knocked over and the front door is ajar. Ichabod moves... EXT. NOTARY -- DAY Ichabod exits. All around is the commotion in the square as before. No telling who it was who just fled. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- DAY Young Masbath is seated, bored. Ichabod writes in his ledger. A KNOCK on the door. They both look up. KATRINA (o.s.) (from outside door) Constable... are you there? (long pause) Ichabod? The knob is tried and found locked. Pause. At the bottom of the door, a red rose is passed under. This saddens Ichabod. EXT. CHURCH -- NIGHT Quiet night. The church is a sight, with a yard resembling an empty squatter's tent city, surrounded by crosses. Boarded over windows leak shafts of light. MOVING PAST THE WINDOWS: many eyes peer out from the slats. UP IN THE BELFRY, TWO RIFLEMEN are on watch. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT Ichabod and Masbath are in darkness, still waiting. Ichabod takes the cover off a lantern, looks at a clock. Midnight, straight up. Ichabod stands, picks up an unlit candle. ICHABOD Midnight seems an appropriate time. INT. VAN TASSEL HOUSE, HALLWAY -- NIGHT Ichabod and Young Masbath look out, cautious. They move to the nearest door. Ichabod crouches, using the candle to mark the seam of the door and door frame. He's making a low, wax seal. If the door opens, the seal will break. They move to a second door, quietly. Ichabod makes another low wax mark. INT. VAN TASSEL HOUSE, MAIN ENTRANCE -- NIGHT Ichabod and Masbath come downstairs to a hall. Ichabod continues his wax marking at each door. INT. VAN TASSEL HOUSE, BALTUS' OFFICE -- NIGHT Ichabod and Young Masbath enter, shutting the door. Ichabod walks to shelves at Baltus' desk, looks through ribbon bound DOCUMENTS and hands some to Masbath. Young Masbath pulls off the ribbon, pages through these "LOAN AGREEMENT" parchments. Ichabod brings another pile. ICHABOD (whispering) They are alphabetical. Young Masbath has the M's. "MARYIE," "MEGAPOLENISIS," AND "MELYN..." Not finding what he wants. YOUNG MASBATH There is no Masbath here. My father's loan papers are missing. ICHABOD (regarding his documents) There are none for Magistrate Philipse either. "Paasch, James" "Pieter, Thomas" "Pos, William." A FLOORBOARD CREAKS. Ichabod looks, blows out the lantern. He and Young Masbath stand frozen. Across the room, light comes under the door, stops, then continues. A DOOR is HEARD OPENING and SHUTTING. Ichabod crosses to follow, pointing back. ICHABOD Keep looking. Then, hide in my room and bolt the door till I return. EXT. FOREST -- NIGHT Lantern light moves, far ahead. Ichabod follows. EXT. FOREST, FURTHER ON -- NIGHT Ichabod stops, hidden. He can see the light ahead, but it is no longer in motion. He advances. EXT. FOREST CLEARING -- NIGHT A lantern sits on a rock. On a blanket, a semi-naked MAN and semi-naked WOMAN are in the midst of rough SEX. Ichabod crawls to peer from underbrush. The couple keeps coupling, with the man on top. His grunts and gasps are particularly desperate. He's all over the woman, who lays back... it is Lady van Tassel. Ichabod swallows, inches closer. Lady van Tassel pulls the man's shirt, exposes his flesh. She raises a small, sharp KNIFE behind his back. Ichabod's eyes widen. Lady Van Tassel brings the blade to her own hand, slicing deep in her palm. Blood flows. She rubs her cut hand over her partner's arching back, smearing blood. Lady van Tassel caresses the man's chest, neck, face... trailing blood. The man lifts his head, in ecstasy, sucks the woman's bloody fingers... it's Clergyman Steenwyck. Ichabod backs away, having seen more than plenty. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT Young Masbath unlocks the door. Ichabod enters. YOUNG MASBATH I was getting worried. Who was it? ICHABOD Lady Van Tassel. YOUNG MASBATH What was she doing? ICHABOD Something I really wish I had not seen. Never mind it. Did you find the victims' loan agreements? YOUNG MASBATH No. They are all missing. This troubles Ichabod. YOUNG MASBATH There is more, though. While you were gone, I could hear someone else walking through the house. INT. VAN TASSEL HOUSE, UPSTAIRS HALLWAY -- NIGHT Ichabod and Young Masbath creep round a corner. Going to the LAST DOOR, Ichabod crouches, eyes narrowing... ICHABOD (whispers, to himself) Katrina. The wax seal is broken, flecks of wax on the floor. INT. VAN TASSEL HOUSE, FOYER AND HALL -- NIGHT Ichabod and Masbath come downstairs, checking all the wax marks. Young Masbath finds one broken. YOUNG MASBATH Here. Ichabod comes over, pushes the door... INT. VAN TASSEL HOUSE, KITCHEN -- NIGHT They enter. The kitchen is empty. Ichabod crosses to another door, crouches. Another broken wax mark. INT. VAN TASSEL HOUSE, SEWING ROOM -- NIGHT They enter... the room with the elaborate loom. Ichabod moves his lantern to make a quick search, goes to table. He touches the top of a candle. His finger comes away with a bit of still wet wax. YOUNG MASBATH There are no other doors. This is as far as she could have gone. ICHABOD It is nothing. She comes to read books, so her father will not find her. (to convince himself) It is absolutely nothing. YOUNG MASBATH What books? ICHABOD Fiction plays and novels. Baltus does not approve. Now, come. It may not be long before Lady Van Tassel returns. YOUNG MASBATH But, sir... what books? Where are they? Ichabod stops, looking around. No books anywhere. YOUNG MASBATH If there is a secret place for books... it could be just as good for the missing loan agreements. Ichabod ponders this without saying anything. INT. VAN TASSEL HOUSE, SEWING ROOM -- LATER NIGHT SEARCH MONTAGE: - Drawers are opened and searched, quietly. - Young Masbath uses a candle to look up the fireplace. - Ichabod opens a linen cabinet, unfolding blankets. - Young Masbath looks in a closet filled with big spools of sewing thread, on his knees, pulls a wooden box forward. Inside it, he finds only old cups and silverware. Ichabod pulls up a rug, feeling along the floorboards. Young Masbath crawls, doing the same. He climbs under the loom, tapping on the floor. TAP... TAP... TAP... He crawls further under the loom. TAP... TAP... PLONK. A hollow sound. He taps again... PLONK... PLONK. YOUNG MASBATH Constable. Ichabod comes over as Young Masbath lifts a loose board. Under the floor, there are piles of books. Masbath brings them up, handing them to Ichabod, who studies the spines. Young Masbath reaches in up to his shoulder. He comes up with "LOAN AGREEMENTS." YOUNG MASBATH Fie! Here they are. Ichabod takes them. Names are near the top: "Masbath," "Van Garret," "Philipse," and "Killian." Ichabod sits back, numb, his heart bitterly broken. INT. VAN TASSEL HOUSE, KITCHEN -- MORNING Lady Van Tassel prepares food with two servants at the open fireplace/oven. Ichabod enters, rushed. ICHABOD Excuse me, Lady Van Tassel... Katrina is not in her room. LADY VAN TASSEL No. She has gone out. ICHABOD Where? LADY VAN TASSEL She has taken the last of our grain to be milled. (crossing to him) You do have a background in the medical arts, don't you, Constable? ICHABOD Very little. I must be going... Lady Van Tassel holds out her cut palm, the gash sewn shut. LADY VAN TASSEL Will you look at this? I cut my hand this morning: I sewed it myself, but I am afraid it will go bad. Ichabod takes her hand, distracted and nervous. ICHABOD It appears well. It has already clotted. LADY VAN TASSEL Look closer. Do you have anything to clean it with? ICHABOD It is fine. Now, I must... Lady Van Tassel grabs Ichabod by the wrist, tight. LADY VAN TASSEL (whispering, close) I know you saw me. ICHABOD What... ? Lady Van Tassel glances to servants, keeps her voice low. LADY VAN TASSEL I know you followed last night. You must promise not to tell Baltus... Ichabod tries to pull away, but she grips tighter. The FRONT DOOR is HEARD SLAMMING. Ichabod is panicky. LADY VAN TASSEL Have mercy on me. Please... have mercy. Ichabod pulls away just as Baltus enters. Lady Van Tassel goes back to work as if nothing happened. BALTUS Constable, it is urgent that we speak. EXT. VAN TASSEL HOUSE FRONT PORCH -- MORNING Baltus leads Ichabod to the porch. BALTUS Clergyman Steenwyck is calling a meeting. This time he is determined to have you forced out, or worse. ICHABOD How did you hear this? BALTUS He came to me. He promised great violence. Said I should cast you out for my own protection. (troubled pause) I must speak honestly. There is no reason to think he will not meet with success. Ichabod looks to barn, sees Masbath bringing the horses. The CHURCH BELL is HEARD TOLLING far away. BALTUS That is the meeting bell already calling. With the murder of Killian and Brom, no one sees any good from you. If... if you were to leave... you might be saving your own life. Ichabod studies Baltus, then offers his hand. They shake. ICHABOD I appreciate your concern. I thank you, sir. Ichabod hurries off, across the lawn, exasperated. He runs. Masbath runs to him. Ichabod takes Gunpowder and climbs up. YOUNG MASBATH (mounting his horse) What now? Where is she? ICHABOD Things have become complicated. Katrina is at the mill. Ride ahead, find her and bring her to meet me outside the church. Find her at all costs. Quickly. They ride, fast. EXT. FOREST -- DAY A conjuring pile of straw burns. Gloved hands unfold a paper filled with clippings of human hair. The hair is sprinkled on the fire. A cloaked FIGURE is kneeled at the pile. The figure turns to remove A human SKULL from a cloth bag. The skull is placed at center in the flames. It's teeth are sharp, cut to points. The HORSEMAN'S SKULL. EXT. CHURCH -- DAY In the church yard refugee camp, food is prepared over fire. People inhabit the tents. INT. CHURCH, STEENWYCK'S QUARTERS -- MORNING IN THE CHURCH: it's crowded with families. Pews filled with bedding and belongings. Steenwyck comes to CLOSE the DOUBLE DOORS of his quarters, turning, angry. FATHER STEENWYCK You are astonishing, Constable. Do you truly think your ridiculous accusations frighten me? Ichabod is doing nothing to hide his disdain. ICHABOD Only if I repeat them outside this room. And, I will if I must... (points to doors) Out there, for all to hear. Or... you may speak, as planned. But, you tell them you feel compelled to move on to greener pastures. FATHER STEENWYCK No. You will not run me out. No one will believe a word of what you say. ICHABOD Oh? Far as I can tell, a rumor does not travel alone for long here. FATHER STEENWYCK Are you a deist? Is that it? A free thinker who does not believe in divinity. ICHABOD It is only important what you are. An adulterer... FATHER STEENWYCK I am the Lord's voice in this town. ICHABOD Wallowing in sin and lust... FATHER STEENWYCK They need guidance. ICHABOD Wallowing quite literally in blood. FATHER STEENWYCK (snapping, quaking) Damn you, sir! God damn you to hell! ICHABOD He may. But, not soon enough for you, and not on your behalf. Ichabod walks. Steenwyck is humiliated. ICHABOD You are so upset now... and yet, you seemed in such good spirits last night. FATHER STEENWYCK You cannot do this. I am a man of God! ICHABOD Climb to the top of the tallest ladder you can find, Father. That is the closest you ever come to God. INT. CHURCH -- DAY Pews are packed. Steenwyck enters, walks to the altar. EVERYONE QUIETS. Steenwyck has composed himself, barely. FATHER STEENWYCK My friends... dear friends. Those of you still on your farms, I thank you for coming. He sees Ichabod near the back. THUNDER is HEARD OUTSIDE. FATHER STEENWYCK I... I address unfortunate business. (pause) I am forced to take my leave from Sleepy Hollow. I will be moving on to do the Lord's work elsewhere. The GATHERERS MURMUR shock. Ichabod walks out. EXT. THE LONG STRAIGHT ROAD -- DAY Raining hard. Baltus and Lady Van Tassel ride. BALTUS Hurry along. The meeting has most certainly already begun. We do not want Steenwyck as our enemy. Lady Van Tassel trails. WOOD is HEARD SPLINTERING... Just off the road, a tree falls... The trunk catches Lady Van Tassel's horse on its rear flank. The horse falls. Lady Van Tassel hits the dirt. Baltus looks back, halting. Lady Van Tassel looks up to Baltus in fear, then turns. Behind her, the Headless Horseman trots from, the forest on Daredevil, stops. Calm. He takes his axe in hand. EXT. CHURCH -- DAY Storming. The meeting is letting out. Near the churchyard gate, Young Masbath rides with Katrina following on a horse cart. Ichabod walks up as Katrina dismounts. KATRINA What is so urgent? ICHABOD Come with me. Ichabod leads her to where they can talk away from others. KATRINA Why have I not seen your face for so long? You look much better. She touches his face, but he takes her hand, places the loan agreements there. ICHABOD Explain these. I found them secreted away in the sewing room. Katrina's expression changes just so slightly to guilt. ICHABOD Why... why have I scrambled and run and clawed in all directions, only to find you against me? He stares at her. Katrina stares back, in a small way defeated. She looks for an out, but there is none. KATRINA I have been reading your journal. I'm sorry. I found it too fascinating to resist. (pause, ashamed) I rode to catch up with you at the Notary, out of curiosity. Before I found you though, I overheard what you were said. ICHABOD It was you there? KATRINA When... when you spoke father's name along with accusations, I could not believe it. I had to hide these... at least till I could confront him myself. ICHABOD And, what did he say? KATRINA He did not do these things. If you knew him, you would realize... ICHABOD What did he say, Katrina? KATRINA I have not been able to face him yet. ICHABOD The loans give the land to your father. It does not matter survivors are still on their farms. They could be thrown off... tomorrow... a year from now. KATRINA Yes, I have seen that, and I told you why I hid them. ICHABOD What would you have me believe? KATRINA (tiring, angry) If you think I am behind this, say it. ICHABOD The name Van Tassel is blackened. You share that name. KATRINA Call me a liar, then, and a murderess. Say it, out and out. Many people are starting to notice the confrontation. ICHABOD Katrina... KATRINA Speak the words, Constable. What is stopping you? What has happened to your ability to transcend sentimentality? Emotions tear at him. Rain seems to pound down harder. KATRINA Oh, no. No. Please... don't dare stand looking as if you still care for me, after all that you have said. If I were to confess, would that ease your suffering? Would that make it easier for you to hate me?! A TORTURED CRY is HEARD O.S. Baltus comes charging through the square on his horse. BALTUS The Horseman is coming! He's barely hanging on. He stops, practically falling off, running towards Katrina and Ichabod. BALTUS Save me... KATRINA Father? BALTUS He killed her... Baltus grasps Katrina, fearful. HOOFBEATS are HEARD. BALTUS The Horseman has killed her. Far behind, the Horseman rides to follow, axe held up. Instant mayhem -- people scatter all directions, screaming. Baltus runs headlong to the church. KATRINA Father! Katrina runs after Baltus. Ichabod backs away, watching the Horseman come, then heads to the church with Masbath. Baltus pushes through the iron gate, into tent city, joining the swarm of townsfolk pouring into the church. The Horseman rides behind, closing the gap. Men, women and children run for cover all along the square. Amidst the churchyard panic, Ichabod looks back... The Horseman reaches the open gate and Daredevil suddenly rears up, snorting, unwilling to enter. The Horseman grabs Daredevil's reins, tries to move forward again. Same result. Daredevil freaks out. INT. CHURCH -- DAY Baltus makes his way in, shoving. People are still clamoring in through the doors. Men pass rifles from stockpiles and climb onto pews at boarded windows. Women herd children into a cellar. Baltus searches for a hiding place. He looks across the church to see Steenwyck closing the doors of his living quarters. Baltus moves... BALTUS Steenwyck! At the front doors, Katrina squeezes in with Ichabod and Young Masbath just as people are forcing the doors closed. It's madness. People outside begin pounding. Katrina searches. KATRINA Father! Ichabod goes to a window, looking out between boards. EXT. CHURCH -- DAY Across the yard, the Horseman gives his axe an underhand toss to the ground inside the gate. The AXE instantly BEGINS TO DEGRADE TO DUST in the rain. The Horseman rides, keeping outside the fence. INT. CHURCH -- DAY Ichabod comes away from the window, looking to panicked citizens. He sees Katrina moving up the aisle... She's heading towards Baltus, who slams against the door to Steenwyck's room. BALTUS Damn you, Steenwyck! Help me! Let me in! RIFLES BOOM LOUDLY as men at the windows begin firing. EXT. CHURCH -- DAY The Horseman circles, under fire. Great clouds of gun smoke shoot from the church. Men fire down from the belfry. Parts of the Horseman and Daredevil splatter red into the rain as slugs hit without effect. AT THE OTHER SIDE OF THE CHURCH, the Horseman comes around, heading to the town square. INT. CHURCH -- DAY Rifleman shout to each other, running to the opposite windows to follow the Horseman. Young Masbath grabs a rifle and leaps to join the brigade. Baltus is still beating Steenwyck's door when a HUGE FARMER grips Baltus angrily and throws him... HUGE FARMER You'll kill us all! Baltus falls, knocking over pews. Katrina's nearby. HUGE FARMER You're the one the Horseman wants. Why should we die for you!? KATRINA NO! The huge farmer picks Baltus up, dragging him and shoving Katrina aside as she approaches. Ichabod's pushing past people, trying to reach them. EXT. CHURCH/TOWN SQUARE -- DAY The Horseman brings Daredevil to a halt, yanking a large coil of ROPE off a hitching post. INT. CHURCH -- DAY The huge farmer shoves Baltus to the floor again. HUGE FARMER Get out! Others join the rage, pulling Baltus towards the front of the church, shouting. Ichabod struggles to push them off. ICHABOD Stop this! Ichabod gets to Baltus' side, trying to protect. ICHABOD The Horseman cannot enter! It does not matter who he wants, he cannot cross the gate! At the windows, ONE RIFLEMAN turns, crying out. ONE RIFLEMAN He's coming back! More panic. The huge farmer moves towards Baltus. HUGE FARMER We have to save ourselves! Baltus pulls the pistol from Ichabod's holster, brandishing. BALTUS No! Get away from me! EXT. CHURCH -- DAY The Horseman rides past the front, fired upon. He halts at the wrought iron gate, reaching to yank off one POST which is pointed on top, like an arrow head. INT. CHURCH -- DAY Baltus holds everyone's back with the pistol. BALTUS The next person to lay hands on me will have a bullet. Stand off! KATRINA Father... BALTUS No! We're safe here. (points at Ichabod) You said it. The Horseman will not have me. CRASH, the harpoon-like post SPEARS through a window, trailing rope tied to it... CRACK -- SKEWERS Baltus from behind, the bloodied point bursting out his breast bone. Baltus looks down, drops the gun... clutching the post with both hands. Blood streams out his mouth. Katrina screams. The rope yanks Baltus back. He SLAMS into the WINDOW... EXT. CHURCH -- DAY Baltus CRASHES out, hits the ground, dragged... Outside the fence, Daredevil runs with the rope tied around his saddle pommel. The Horseman strides forward, sword out. Baltus SLAMS the fence and the rope snaps. He is held there awkwardly, gurgling blood. The Horseman reaches Baltus... chops off his head. INT. SLEEPY HOLLOW FORESTS -- DAY The storm has passed. Empty forest. Long, peaceful pause, till Ichabod makes his way through, searching the ground. Ichabod comes to look down a small hill. The corpse of Lady Van Tassel lies headless, in a dirty, torn dress. Ichabod walks to the body. Lady Van Tassel's arm is twisted behind. The sewn cut on the palm of her hand faces up. ICHABOD (shouting back) Here! I have found her... (looking at corpse, quiet and miserable) Here she is. INT. VAN TASSEL HOUSE, UPSTAIRS HALL -- EARLY EVENING Doctor Lancaster comes out from where Katrina is asleep. He closes the door, wipes his sweaty face. Ichabod waits. DOCTOR LANCASTER It has been a terrible jolt to her nerves. ICHABOD You will stay at her side? Doctor Lancaster nods. Ichabod walks. EXT. VAN TASSEL HOUSE -- EARLY EVENING It's getting dark. Ichabod comes out and crosses the porch. A few of the Hollow's residents are here. Young Masbath gets up and follows Ichabod onto the lawn. Ichabod walks without waiting. YOUNG MASBATH She's the one who controlled the Horseman, isn't she, sir? Sir? (no answer) ICHABOD I need time for thinking. Without you hanging on my coattails for a change. Ichabod keeps walking. Young Masbath stops, wounded. EXT. WESTERN WOODS, TREE OF THE DEAD -- NIGHT Ichabod stands holding a torch, looking up. The whole area is bright from the light off a giant fire. There are broken lanterns and barrels around the agonized, twisted tree. The tree is aflame, fire dancing up the trunk, and through every branch to lick the sky. EXT. FOREST -- DAY Dawn. Ichabod is seated overlooking the Hudson. He stares at the beauty around him, brooding through bleary eyes. Gunpowder is tied to a tree. BIRDS SING. The ledger is open in Ichabod's lap. He thumbs pages absently, just keeps staring off. EXT. FOREST -- DAY (TIME CUT) A fire burns in a circle of rocks. Ichabod's ledger is thrown in. The pages catch quickly. Ichabod watches, then walks away. He's about to climb onto Gunpowder, but on second thought he opens his satchel and digs out a BOOK. He walks back to the fire, throws it on... "Romeo and Juliet." Flames devour it. EXT. WESTERN WOODS, TREE OF THE DEAD -- DAY The clearing is silent. The twisted tree still stands, smoldering, impressive as ever, or perhaps even more so with the alien appearance its blackened skin now affords it. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT Ichabod packs up baggage. Young Masbath is miserable. YOUNG MASBATH Won't you change your mind, sir? What can I say to convince you? ICHABOD Nothing. To hell with this place and all the people here. Ichabod closes a bag, throws it with others. YOUNG MASBATH Why... why are you like this? ICHABOD (pause, softening) You do not know all that has happened. (pause) You cannot understand. EXT. VAN TASSEL ESTATE -- NIGHT A coach, with Gunpowder as one of its team, waits in the orchard. Van Ripper comes to meet Ichabod and Masbath. ICHABOD Half now. Half when we reach the city. Ichabod hands Van Ripper money. Van Ripper takes the baggage. Ichabod looks to the Manor House. Only one light shines, in a second floor window. Katrina can be seen there a moment as she closes curtains. Ichabod turns to Young Masbath, who is beginning to cry. ICHABOD This is farewell. YOUNG MASBATH Take me with you. There's nothing left for me here. ICHABOD I cannot. (bends to Masbath) You should not worry. (pause, sorrow) Van Ripper and his wife will look after you. They will. You will be well cared for. Young Masbath hugs. Ichabod hugs back, swallowing. ICHABOD I am sorry. (quietly) Forgive me. I failed you. Ichabod releases and goes quickly away, finding this misery unbearable. He climbs in the coach. YOUNG MASBATH Do not go, Constable. How can you leave? INSIDE THE COACH, Ichabod slumps back in darkness and closes his eyes. He pounds twice on the coach wall. OUTSIDE, Van Ripper whips the reins. The coach starts. Young Masbath follows. The coach picks up speed on the long straight road. Young Masbath stops, wiping tears. EXT. TOWN SQUARE/CHURCH -- NIGHT Ichabod's coach moves through the town square. A few people in the churchyard's tent city come out to watch it pass. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT The door is pushed open. Young Masbath enters, looks around the empty room. He goes to sit in a chair at the work table, crossing his arms and resting his head. INT. VAN TASSEL HOUSE, SITTING ROOM -- NIGHT A plate of food sits untouched. Katrina is slumped down in a chair, heartbroken, staring into the fireplace. Behind her, a shadow moves across the room. EXT. THE LONG STRAIGHT ROAD -- NIGHT Van Ripper leads the coach through the stone pillars marking the entrance of Sleepy Hollow. INT. ICHABOD'S COACH -- NIGHT Ichabod takes off his hat, sets it on the seat. The window between him and the driver slides open. VAN RIPPER Sir... this is yours. (offering something) The Van Tassel girl said to give it to you after you were gone. Ichabod takes it. It is the bird/cage spinning toy. He studies it. What melancholy. INT. VAN TASSEL HOUSE, DINING ROOM -- NIGHT Katrina sits with her eyes closed. A BOARD is HEARD CREAKING. She sits up. Suddenly, a FIGURE in black is behind her as she turns. WHACK! -- a gloved fist strikes. INT. VAN TASSEL HOUSE, ICHABOD'S ROOM -- NIGHT A dull THUD is HEARD downstairs, like a body falling. Young Masbath takes notice. He moves to the door... INT. ICHABOD'S COACH -- NIGHT Ichabod turns the strings on the bird/cage toy, ponders it. The paper disk spins, images flickering until the bird appears to be inside the cage. Ichabod keeps spinning it, looks out the window. A tear rolls down his cheek. The bird cage toy's rotation slows... stops. Ichabod looks at it a long moment, then pockets it and leans forward to the window at front. OUTSIDE THE COACH Ichabod's face appears behind Van Ripper. ICHABOD Van Ripper, turn the coach about! VAN RIPPER What did you say? ICHABOD Turn around. Now! INT. VAN TASSEL HOUSE, FOYER -- NIGHT Young Masbath comes down the stairs, looking around meekly. YOUNG MASBATH Hello? Katrina? Masbath starts down a hall. He does not see, in another room, Katrina's body is dragged across the floor. EXT. TOWN SQUARE, DOCTOR'S RESIDENCE -- NIGHT The coach comes to Lancaster's. Ichabod climbs out before it even stops fully, satchel in hand. He hurries... INT. DOCTOR'S RESIDENCE, PARLOR -- NIGHT Doctor Lancaster, half asleep, comes to answer BANGING on his door. Ichabod pushes past, taking Lancaster's lantern. ICHABOD Pardon the intrusion... INT. DOCTOR'S RESIDENCE, MEDICAL ROOM -- NIGHT Ichabod enters. There are two coffins on the floor. ICHABOD I never examined these bodies. Ichabod removes the lid from one coffin. Lancaster is about to say something indignant, but then just looks disgusted. DOCTOR LANCASTER ... help yourself, you pompous ass. I will be in bed. ICHABOD Would you stay, doctor? I may need assistance. Lancaster reluctantly remains. Ichabod stares at the dead Lady Van Tassel. The neck wound is covered by a stained brown cloth, which Ichabod unwraps. ICHABOD Stains of blood. DOCTOR LANCASTER What of it? Ichabod takes out one of the lenses that survived the magnification spectacles, bends to examine the neck. ICHABOD Jagged flesh. (pause) The Horseman did not do this. Ichabod moves to the side of the coffin, lifting the hand with the stitched gash on its palm. ICHABOD Here, Doctor. Hold this just so... Lancaster holds the lens so that Ichabod can study the cut through it. Ichabod takes a scalpel-like knife from his satchel, lifts the hand and cuts stitches. THROUGH THE LENS: the gash spreads easily, soft, bloodless. ICHABOD No clotting or gathering of pus. No healing at all. DOCTOR LANCASTER What? ICHABOD When this cut was made, this person was already dead. (stands straight) This is not Lady Van Tassel. INT. VAN TASSEL HOUSE, KITCHEN -- NIGHT Young Masbath enters. The door swings shut. YOUNG MASBATH Katrina. (steps forward) Is anyone here? Behind him, the door SLAMS open -- Lady Van Tassel reaches to grab Young Masbath by the throat. EXT. CHURCH/TOWN SQUARE -- NIGHT Ichabod charges up to the church doors, pounding. ICHABOD Open the door. Open up, damn it! (pounds, shouting) Lady van Tassel is alive. The Horseman is her puppet. Please... The door opens and Huge Farmer points a rifle at Ichabod. Frightened people peer out from behind. HUGE FARMER Aren't we rid of you? ICHABOD Listen to me. Lady Van Tassel has faked her death. I need able men... HUGE FARMER She's dead, and you have gone mad. ICHABOD No... HUGE FARMER (steps forward) Get out! Isn't it enough that you have ruined this town? Go! Ichabod backs away from the gun, frustrated, runs... At the DOCTOR'S RESIDENCE, Van Ripper is still on the coach. Ichabod sprints over, breathless, taking out his pistol. ICHABOD Van Ripper... do you have a gun? VAN RIPPER Yes. Here... Van Ripper hold up a rifle. Ichabod holds out his hand. ICHABOD May I see it? Van Ripper's confused, but hands the rifle over. Ichabod immediately points his pistol at Van Ripper. ICHABOD Get down. Hurry! Van Ripper climbs off. Ichabod climbs up, whips the horses. ICHABOD Sorry. Van Ripper watches the coach leave, still with his hands up. EXT. FOREST -- NIGHT In a wooded area, Katrina lies unconscious. Gloved hands reach to her hair and cut off a clump with SCISSORS. A conjuring pile has been made, containing a small animal's heart with an iron nail through it. Katrina's hair is added and the pile is lit to burn. Nearby, Young Masbath watches, on his belly with his hands tied behind his back. Lady Van Tassel whispers over the fire, her white horse tied nearby. She looks to Katrina, who stirs. Lady Van Tassel takes the Horseman's skull from a bag over her shoulder, places the skull in the flames. THUNDER is HEARD. Lady Van Tassel looks up, smiles. EXT. WESTERN WOODS, TREE OF THE DEAD -- NIGHT The wind tosses leaves in swirls. The twisted tree opens wide, with a RUMBLE -- shafts of light shooting out. EXT. THE LONG STRAIGHT ROAD -- NIGHT Ichabod drives the coach hard ahead. EXT. FOREST -- NIGHT Katrina sits up, groggy. Lady Van Tassel looks down at her. KATRINA You... you are alive. LADY VAN TASSEL Am I? Or, are you and Young Masbath dead along with me? Katrina sees Young Masbath, and beyond him, the dying fire. YOUNG MASBATH She commands the Horseman. LADY VAN TASSEL And, quite beautifully done, wouldn't you say? It is almost over. THUNDER again. Wind starts to pick up. LADY VAN TASSEL (of the wind) He rides tonight. KATRINA Father saw you die. LADY VAN TASSEL He saw me thrown... saw the Horseman looming over me as I fled. Things I wanted him to see. But, as long as I govern the Horseman, he cannot harm me. Baltus did not stay enough to see that. He ran as a coward, unfettered by my fate. YOUNG MASBATH Then, whose body was it... ? LADY VAN TASSEL The precious servant girl Sarah. I killed her and kept her body hidden, till I needed it. And, when I return to the Hollow tomorrow, my version of the truth will come to pass. (faking meekness) I mean, there I was that fateful day, following Baltus into the woods. I did not know what he was up to... where he was going. I worried for his safety. Katrina cautiously moves the hand she's supporting herself with, feels a rock and clutches it. LADY VAN TASSEL Imagine my surprise, finding him on a liason with a common servant. A girl who had apparently become his secret love. KATRINA No one will believe your lies, whore. LADY VAN TASSEL This whore will see your mouth shut forever very soon. But... I am not going to kill you. Not me... She picks up the Horseman's skull in her gloved hand. LADY VAN TASSEL He will have that honor. EXT. WESTERN WOODS -- NIGHT The Horseman rides Daredevil, a freight train of moldering flesh, heading towards a chasm with no bridge. They reach it, galloping in mid-air to the other side. EXT. LONG STRAIGHT ROAD/VAN TASSEL ESTATE -- NIGHT Ichabod guides the coach into the Van Tassel orchard. EXT. FOREST -- NIGHT Lady Van Tassel admires the skull. LADY VAN TASSEL (mock sorrow) Woe is me... that spying on my husband in his filthy indiscretion, I saw he and Sarah attacked by the Horseman. Oh pity me... so overcome was I that I wandered in the Western Woods... dazed... nearly blind from terror. Lady Van Tassel crouches, rubbing dirt on her face. LADY VAN TASSEL And, tomorrow is my grand performance, having barely survived the elements... (more emoting) By sheer luck I found my way back to the Hollow. But... what do I find here... ? My dear, sweet step-daughter Katrina is dead. Why has God forsaken her? Seeing that Lady Van Tassel lavish attention on Katrina, Masbath takes this opportunity to ease onto his knees. LADY VAN TASSEL (of herself, pleased) No one will suspect this sad woman who has been through such an ordeal. With only the empty solace of her money and land to comfort her. EXT. VAN TASSEL HOUSE -- NIGHT Ichabod leaps from the coach, bounds up the porch. ICHABOD Katrina! EXT. FOREST -- NIGHT ICHABOD is HEARD. Lady Van Tassel turns, astonished. KATRINA Murderer! Katrina slings the rock -- strikes Lady Van Tassel in the head, a glancing blow that knocks her down. Katrina runs. Katrina grips Young Masbath, helping him up... But, Lady Van Tassel scrambles up, grabs Katrina and throws her back to the ground. Lady Van Tassel steps hard on Katrina's ankle, touches her forehead, bleeding, pissed. LADY VAN TASSEL You've been a naughty girl. Young Masbath leaps to action, charging head first -- slams into Lady Van Tassel, sends her backwards. Katrina runs and pulls Masbath up. They flee. KATRINA Ichabod! Lady Van Tassel rolls, recovering, not very concerned. LADY VAN TASSEL Little bitch. EXT. VAN TASSEL HOUSE -- NIGHT Ichabod comes out the open front doors... hearing... KATRINA (o.s.) (far away) Ichabod! Ichabod climbs back on the coach, taking off. EXT. FOREST -- NIGHT Katrina and Young Masbath run out from a line of trees. KATRINA Ichabod! YOUNG MASBATH Here we are! BEHIND IN THE FOREST, Lady Van Tassel rides her white horse, in no hurry. Wind kicks hard. HOOFBEATS are HEARD. LADY VAN TASSEL Run, Katrina! Fast as your pretty legs will carry you. It makes no difference. ON THE LAWN, Ichabod drives towards Katrina and Masbath. Behind, at the tree line, Lady Van Tassel holds up the Horseman's skull, wind tossing her dress and hair. LADY VAN TASSEL Nothing will stop him now! At mid-field, Ichabod reaches Katrina and Masbath. ICHABOD Climb up! YOUNG MASBATH Lady Van Tassel... ICHABOD I know. Hold on. With Katrina and Masbath on board, Ichabod turns the coach. Katrina unties Masbath's hands. HOOFBEATS GET LOUDER. LADY VAN TASSEL Olly-olly oxen-free! Ichabod looks back towards Lady Van Tassel. At the treeline, the Horseman breaks into the open, hell on horseback. Full speed ahead. ICHABOD Christ. EXT. THE LONG STRAIGHT ROAD -- NIGHT The coach hits the long straight road, away from the house. Katrina and Masbath hold on as the coach shakes violently. KATRINA Where are we going? ICHABOD I do not know. Away. YOUNG MASBATH Here he comes! Behind, the Horseman can be seen on the forest bordered road. Closing fast. Breakneck pace. ICHABOD We might make it to the church. Masbath takes a lantern, crawls back to the roof. KATRINA Masbath... ! He ignores, reaching the rear of the coach and throwing the lantern at the Horseman. It smashes on the trail. ICHABOD Damn it, boy, get back here! Young Masbath slides back. Katrina helps him. YOUNG MASBATH What can we do? ICHABOD Take the reins. Young Masbath takes them. Ichabod slings Van Ripper's rifle over his shoulder and starts back. Katrina grips him. ICHABOD Masbath is right. We must do something. She releases. Ichabod gets to the luggage area at the rear, struggling to open a storage box. Behind, the Horseman draws his sword, closer. Ichabod opens the box, hefting out a long, jagged SAW. KATRINA Ichabod! Ichabod looks. The Horseman rides up, swinging... Ichabod recoils -- THWACK -- just missed by sword. The Horseman lets the coach get ahead, shifting to the other side of the trail... coming along side. Ichabod backpedals, looking to Masbath. ICHABOD Keep him off! Block him! Masbath guides the horses over. The Horseman must fall behind to avoid the wheels. The coach hits a large, fallen tree trunk. Ichabod bounces, falling... He hangs off the side of the coach. Katrina climbs to offer her hand. Ichabod offers the saw. ICHABOD Take it! Katrina takes the saw. Now with both hands, Ichabod tries for better purchase. He grips the coach door. It opens... Ichabod clings to the open door as branches slam him. He's reaching to the coach threshold, reaching... Ichabod pulls himself inside. BOOM -- the door hits a tree trunk, bashed to pieces. Ichabod looks out from the coach, dazed. He climbs. Katrina looks back as Young Masbath guides the coach to block the Horseman again. The Horseman sheaths his sword, riding... reaching to grip the back corner of the coach. The Horseman dismounts, clinging, climbing... Ichabod takes the rifle off his shoulder, aiming... BANG! -- splattering the Horseman's hand point blank. The Horseman hangs on with his other hand. The Horseman re-grips with the blasted hand, amazing since it's now all mush and bone. Ichabod throws the rifle on his way to the driver's perch, taking the saw from Katrina. ICHABOD Move forward! Katrina looks to the horses, then at Ichabod. ICHABOD Go! Ichabod takes the reins from Young Masbath. ICHABOD Help her. Reins in one hand and saw in the other, Ichabod waits. The Horseman rises up and moves in, taking out his sword. Young Masbath climbs down to the wooden pole connecting the coach to the bridles, puts out his hand. Katrina takes it. Behind, the Horseman swings. Ichabod blocks with the saw. Young Masbath guides Katrina as she leaps onto one horse. Bareback. Young Masbath straddles the horse beside her. The Horseman swings, backhanded knocks the sword from Ichabod's hand as Ichabod falls back... Ichabod hits the bridle post, hanging onto straps for dear life. His feet drag on the trail. Above, the Horseman comes to the driver's perch, close enough to kill Katrina. He raises his sword... Katrina screams, ducking, helpless... Below, Ichabod pulls a bolt from the coach's hitching-rod. He shoves off with his feet. The Horseman swings.... missing. The horses detach from the coach, dragging Ichabod along. The coach careens out of control. It flies off the trail, hits an incline and sails off, throwing the Horseman. The coach hits a tree trunk and SMASHES. FURTHER DOWN THE TRAIL, the coach horses stop. Young Masbath and Katrina climb off as Ichabod gets to his feet, hurting, clutching his previously wounded shoulder. YOUNG MASBATH What now? ICHABOD I doubt that's the end. KATRINA The church. ICHABOD He moves too fast. Ichabod unhooks a lantern off the bridle rail. The trail behind is silent, till a bone chilling SCREECH is HEARD. KATRINA What was that? ICHABOD His horse. They start moving. Ichabod looks around. He sees... ICHABOD There... Through the tree line, the Hollow's massive windmill can be seen against the sky. Katrina and Young Masbath run. EXT. WINDMILL FIELD -- NIGHT Ichabod, Katrina and Young Masbath book into this open area, heading to the windmill. Another HORRIBLE SQUEAL echoes. Ichabod looks over his shoulder. Heavy, low hanging BRANCHES and VINES at the forest edge creep to life, parting... forming a sort of black tunnel. ICHABOD He's coming! The Horseman gallops out, throwing leaves in his wake. ICHABOD Hurry! The Horseman readies a battle axe. Ichabod gets under the windmill, helping Young Masbath up the ladder and in. Katrina next. The Horseman is almost there. Ichabod follows Katrina. He gets in, feet dangling. The Horseman dismounts... INT. WINDMILL -- NIGHT Ichabod leaps up and struggles with the heavy trap door... slams it. He closes the latch just as the Horseman hits. The door buckles. YOUNG MASBATH It won't hold. Ichabod goes to a large GRINDSTONE against a wall. He struggles to roll it. Young Masbath helps him roll it to the trap door. It falls on top with a thud. The Horseman's sword jabs up through the grindstone's center hole. The sword withdraws. A POUNDING begins. EXT. WINDMILL -- NIGHT The Horseman chops at the door with his axe. INT. WINDMILL -- NIGHT POUNDING CONTINUES. The grindstone shifts. Katrina and Young Masbath back away. Ichabod holds his lantern up, desperate for ideas, searching. Above, to the right, is the milling platform, where grain is ground and bagged. To the left is the crooked staircase. Ichabod picks up a bailing hook, a plan forming. He gives his lantern to Katrina and points. ICHABOD Get up those stairs. Open the door to the roof and wait. Katrina and Young Masbath obey. Ichabod crosses and climbs the ladder to the milling platform. He grasps a wooden lever, pulling it. Gears above begin to turn. EXT. WINDMILL -- NIGHT The windmill's rotors CREAK to life, spinning. UNDER THE WINDMILL, the Horseman keeps chopping. His axe exposes grindstone, throwing sparks. INT. WINDMILL -- NIGHT Katrina looks down from the stairs. The Horseman's axe pries at the seam of the trap door. KATRINA Ichabod... ICHABOD Keep climbing. I will follow... Ichabod pulls bags of grain, lining them up at the edge of the milling platform. ICHABOD (under his breath) Hopefully. ABOVE, Young Masbath reaches the ceiling, throws open the door to the roof. BELOW, Ichabod cuts holes into the grain bags, so milled grain spills out and falls to the floor, creating dust. He grabs one open bag and dumps it. More grain dust. EXT. WINDMILL ROOF -- NIGHT Masbath and Katrina come out. Rotors spin behind them. INT. WINDMILL -- NIGHT Ichabod sees below... the Horseman sticks a hand through, trying to push the grindstone aside, then withdrawing. The RACKING axe continues. Won't be long. Ichabod grabs one half-full bag of grain, swings it with effort, throws... The bag smashes on the grindstone, busting the door... EXT. WINDMILL -- NIGHT The grindstone falls through, SLAMMING the Horseman down... INT. WINDMILL -- NIGHT Ichabod slices into a sack hanging from a pulley system. More and more dust rises. Below, the Horseman enters. Katrina shouts from above. YOUNG MASBATH Look out! The Horseman moves toward the ladder milling platform ladder, but Ichabod grabs it, pulling it up... The Horseman just misses the final rung. Ichabod throws the ladder aside as the Horseman backs off. Ichabod looks to the staircase. No way to climb down from the milling platform and get there. The Horseman runs and leaps, grabbing a hanging chain... The Horseman climbs the chain, swinging... Ichabod runs across the platform, jumps... Ichabod grasps the frail rail of the staircase, barely. The rail creaks, about to break. Behind, the Horseman lands on the milling platform. Ichabod is losing grip. Young Masbath races down the stairs, grabs his hand. He pulls Ichabod up. Ichabod's pistol slips from its holster and falls. Ichabod and Young Masbath look... The Horseman, following Ichabod's lead, runs across the milling platform and leaps... Grabs the staircase rail, only a few feet from Ichabod and Masbath. Ichabod kicks the rail, breaking it... The Horseman falls in billowing dust, crashing below. Ichabod pushes Masbath up the stairs. EXT. WINDMILL ROOF -- NIGHT Katrina helps them onto the roof. KATRINA Quickly, close it. ICHABOD No. (takes lantern, points) Get to the crest of the roof and be ready to jump. YOUNG MASBATH Jump? Jump where? INT. WINDMILL -- NIGHT The Horseman runs, agile, up stairs. EXT. WINDMILL ROOF -- NIGHT Ichabod shepherds Katrina and Young Masbath to the edge where the rotors spin close. ICHABOD The blades will carry us to the ground. Face front and wait for me. KATRINA I... I can't do this. ICHABOD We have no choice. Ichabod moves back to the trap door. Katrina and Young Masbath look at the rotors, and down at the long distance between them and the ground. ICHABOD Be ready... Ichabod throws the lantern into the windmill and runs. ICHABOD Now! INT. WINDMILL -- NIGHT The Horseman continues up. The lantern falls past. EXT. WINDMILL, ROOF -- NIGHT Young Masbath jumps. Ichabod grips Katrina and jumps... They hit one rotor and cling to the frame and cloth. The rotor begins its downwards swing. INT. WINDMILL -- NIGHT The lantern hits the ground and shatters. FLAMES EXPLODE! Grain dust is consumed instantaneously -- FLAMES ROAR upwards, filling the windmill... Engulfing the Horseman. EXT. WINDMILL -- NIGHT The rotor is halfway to its lowest point. Masbath, Katrina and Ichabod hang on as the entire structure trembles. BOOM -- flames shoot out the windows, doors and seams, lighting up the night. On the rattling rotor, Ichabod struggles to hold the frame with one hand and keep a grip on Katrina. Masbath drops. Ichabod releases Katrina, then drops. They hit the ground. Ichabod rolls, gasping, holding his shoulder. They all look at each other in disbelief a moment. Ichabod lets out a sort of rasping laugh, standing. ICHABOD Okay... come on... Ichabod ushers them across the field, uphill. Running. Lightning flashes across the sky. THUNDER RUMBLES. A bolt strikes the windmill, and it EXPLODES... SHOCKWAVE DEAFENING. The rotors bust apart. Splinters of burning wood spin all directions. ACROSS THE FIELD, Ichabod, Katrina and Young Masbath keep running. There is a WOODEN CART parked ahead. IN THE WINDMILL RUBBLE, the Horseman rises, shoving off burning debris. His flame-ravaged uniform smolders. ACROSS THE FIELD, Ichabod stumbles onwards, but notices something horrible... In the distance, Lady Van Tassel's white horse roams free. ICHABOD (as this registers) Oh, no... Young Masbath and Katrina are just past the cart when Lady Van Tassel rises from behind it, swings a plank... SLAMS Ichabod in the chest and sends him down. Lady Van Tassel grabs Katrina's hair, drags her. LADY VAN TASSEL Should have stayed away, Constable. Ichabod gets up slow, furious, reaches to his holster, only to find it empty. He moves forward. LADY VAN TASSEL Keep back, or I kill her. She takes out scissors, holds them to Katrina's neck. Katrina ceases struggling. Ichabod keeps Masbath behind him, keeps his distance. Lady Van Tassel shoots a glance... LADY VAN TASSEL See him... Par off, the Horseman strides from the wreckage. LADY VAN TASSEL You cannot kill what is already dead. ICHABOD Let her go! LADY VAN TASSEL Yes... yes. I think I will... Lady Van Tassel spins and throws Katrina in the cart, shoving against it. ICHABOD No! The cart rolls downhill. Ichabod moves forward. Lady Van Tassel turns, brandishing the scissors, slashing and missing. Ichabod backs off. DOWNHILL, the cart picks up speed, headed for the Horseman. The Horseman starts running to meet it. UPHILL, Lady Van Tassel grins. LADY VAN TASSEL Say goodbye to her. Lady Van Tassel lunges, stabbing. Ichabod avoids, puts all his fury behind his fist -- punches her in the face. Lady Van Tassel hits the ground and her bag falls open, sending the Horseman's skull rolling out... The skull rolls... rolls... landing far away. DOWNHILL, Katrina leaps out from the cart... She lands hard... The Horseman shoves the empty cart aside, still on the move. UPHILL, Ichabod sees the skull. He runs towards it. Lady van Tassel grabs Ichabod by the ankle. He falls. DOWNHILL, Katrina runs back. The Horseman is catching up. UPHILL, Ichabod tries to pull f ree from Lady Van Tassel. Young Masbath comes behind her - BAM - hits her in the head with the wooden plank. She's out. Ichabod scrambles to his feet. DOWNHILL, the Horseman catches Katrina, taking her by the hair as she falls to her knees and screams. UPHILL, Ichabod runs... grasps the Horseman's skull. He runs towards the Horseman and Katrina. DOWNHILL, Katrina struggles, but the Horseman holds her ready by her hair... raises his sword... UPHILL, Ichabod throws the skull... ICHABOD Horseman! The skull spins through the air... The Horseman drops Katrina, reaches up... Catches the skull. Katrina runs. Ichabod runs to meet her, grabs her as she falls, exhausted. Together, they back away from the Horseman. The Horseman holds the skull out, then brings it to his shoulders, to its rightful place. THUNDER POUNDS. TRANSFORMATION begins -- blood and flesh rise up from the Horseman's throat and grip the skull. Young Masbath drops the plank, watching in awe. The Horseman's reformation continues. Muscle forms. Liquids become solids. He is made whole once more, the same evil, human face we saw in Baltus' stories. He looks to Ichabod and Katrina, touches his restored face. Daredevil rides up, SCREECHING. The Horseman replaces his sward and climbs into the saddle. He rides towards Katrina and Ichabod, but passes them by. They are so exhausted they fall down. Young Masbath backs up as the Horseman comes, but the Horseman does not want him either. The Horseman leans to grab Lady Van Tassel's unconscious form, pulls her up across Daredevil's back. He rides away with her. Ichabod and Katrina watch him go. They look at each other, then kiss gratefully. Ichabod looks to Young Masbath. ICHABOD How are you? YOUNG MASBATH Tired. Ichabod smiles and holds out his arm. Masbath comes over. Group hug. Lightning brightens the farmland around them. EXT. WESTERN WOODS, BURIAL GROUND -- NIGHT HOOFBEATS. The Horseman enters the clearing, keeping a hand on Lady Van Tassel. Ahead, the twisted tree awaits. Lady Van Tassel is awakening, face bloody. She turns her head and looks forward. She screams. The twisted tree's wound opens, wide and glowing. Daredevil picks up speed... Daredevil leaps just as a lightning bolt blasts down, striking the Horseman. For an instant, Horseman and horse are transformed, SKELETONS OF LIGHT, entering the tree. Silence and smoke. At the tree, Lady Van Tassel's hand sticks out from the tight-shut suture. The sewn wound on her palm seeps blood. EXT. NEW YORK CITY STREET, ICHABOD'S HOME -- DAY A bright, busy day in New York. A coach pulls up to Ichabod's home. Ichabod is the driver. He gets off, goes and opens the coach door. He helps Katrina down. Next, Young Masbath sticks his head out. Ichabod goes about unloading bags. Katrina holds Young Masbath's hand, and they look down the street in wonder. THE END 
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+FADE IN: INT. A MENTAL HOSPITAL - DAY A few patients sit around fumbling with themselves. One man sits at a table scratching back and forth on a piece of paper with a crayon. Another stands in a corner smoking a cigarette and staring at the crayon guy. This is CHARLES. Another man, KARL, sits in a chair staring at the floor and rubbing his hands together. We cut back and forth between Charles staring and Crayon Man scratching. After a moment, an attendant approaches Charles. ATTENDANT You can't smoke in here. Charles stares at him blankly for a moment and continues smoking. He looks back to Crayon Man again for a moment then looks over at Karl and then goes and sits down beside him. CHARLES A Mercury is a good car and that's what I was driving that day. I've owned a lot of cars. Different kinds. Lots of different kinds of cars. She was standing, this girl, on the side of the street where there was a chicken stand; not the Colonel, mind you, but nevertheless a chicken stand, and I pulled the Mercury over and rolled down the window by electric power. She was wearing a leather skirt and she had a lot of hair on her arms. I like that. I like it a lot. It means a big bush. I like a big bush. She said, "Are you dating?" I said, "yes," and she got in the car. We pulled to a remote location, one that she and I both felt comfortable with and she said, "How much can you spend?" I said, "What it takes to see your bush. I know it's a big one." She said "twenty five dollars," which to a working man is not chicken feed. I produced the money and she put it in her shoe and pulled up her skirt. There before me lay a thin, crooked, uncircumcised penis. You can imagine how badly I wanted my twenty-five dollars back. INT. A HALLWAY - DAY Two young women, MARSHA DWIGGINS, carrying a briefcase, and THERESA EVANS, carrying two camera bags are being led down the hallway by a GUARD. THERESA I don't know why you're so weirded out, this is not San Quentin, it's just a nuthouse. Most of these people don't even know where they are, they're not gonna hurt you. MARSHA In a few minutes we're gonna be in a room with a killer. That doesn't bother you? THERESA Hey, you're the one that wanted to major in journalism. Anyhow, wasn't the guy something like twelve or thirteen when he did it, it was twenty-five years ago, he probably doesn't even remember it. MARSHA (wrinkling her nose) Do you smell shit? THERESA Yeah. They reach a door and the guard ushers them through. INT. AN OFFICE - DAY JERRY WOOLRIDGE stands up from behind the desk as they enter. He's in his fifiles and looks like a school teacher, shop class or perhaps eighth-grade science. GUARD These are the people from that newspaper deal. WOOLRIDGE Oh yeah, from the college? MARSHA Yes sir. Woolridge shakes hands with them. WOOLRIDGE My name's Jerry Woolridge. MARSHA Nice to meet you. I'm Marsha Dwiggins and this is Theresa Evans. She's here to take the pictures. WOOLRIDGE Y'all have a seat. Is this all of you? MARSHA Yes sir. WOOLRIDGE I think there must have been a little mix up. I told your sponsor or teacher or whatever he is, there couldn't be any pictures. It's s'posed to be just a little story or article or something, isn't that right? MARSHA Well, yeah, it's for the school newspaper. But it has pictures. I mean it's a regular paper, you know. WOOLRIDGE Karl's real sensitive about having his picture made. He wouldn't even be on the bulletin board for the Easter Collage. (to guard) Melvin, would you get me a good hot cup with two sugar substitutes? You girls want some coffee? MARSHA No thank you. WOOLRIDGE The other thing is I told your boss on the phone to send a man. Karl won't talk to women. INT. REC ROOM - DAY CLOSE UP on Karl's face. Charles has started another monologue. CHARLES There was a young man named John Liggit Hunter who was in the filling station business and a good filling station business. He was one of those young men that we run across so often in life. I'm sure you've run across them, that didn't deserve the things he had. One of those things was his beautiful bride, Sarah. She was a Georgia Peach. As a matter of fact she looked more like the picture I've had in my head than any woman I've ever seen. I took it upon myself to take her away from John Liggit Hunter, who didn't deserve her. I'm not sure if I mentioned that he was a Frenchman who claimed to be an Englishman. It took some very strong nylon cord to take her away from him. She was a fighter as well as a Georgia Peach. INT. WOOLRIDGE'S OFFICE The girls look confused. WOOLRIDGE I don't know what to tell you. I'm sorry. I made myself pretty clear I thought. He probably got busy and wasn't thinking. I know how that is. I used to teach shop and eighth grade science. MARSHA Well, what do we do? We drove all the way out here. THERESA Let's just go, Marsha. MARSHA No, we have to get this story. THERESA I thought you'd be happy to leave. MARSHA Why won't he talk to women? WOOLRIDGE He has problems. You know. With all that. He won't hardly talk to anybody really. Just certain people. He's very troubled. INT. REC ROOM CHARLES (leaning in to Karl) A shovel just makes too goddamn much racket. INT. WOOLRIDGE'S OFFICE WOOLRIDGE (takes a drink of coffee) I don't think he's talked to a woman in twenty-five or so years. That I know of anyway. That's why I said to send a man. At least maybe he'd answer a question or two for a man. I'm all for helping the college out, believe me. It might be a real good article or story. MARSHA Can't you talk to him? Maybe talk him into it. I'm a real good interviewer. Just get me in the room with him. WOOLRIDGE (to guard) Melvin, go get Karl and take him down to the old classroom. INT. HALLWAY - DAY Woolridge and the two women walk down the hallway. WOOLRIDGE I'll talk to him and see what we can do. INT. CLASSROOM - DAY Woolridge is opening a door. He enters and the women follow him in. He flips on a light switch and very bright florescent lights illuminate the room. WOOLRIDGE You see, Karl, growing up, only knew that sex was wrong and that people who did it should be killed for it. He couldn't really read but, well, neither could his mother. But, his father made sure that his mother knew what the Bible said. And she made sure Karl knew. You know he slept in a hole in the ground under a toolshed, right? MARSHA I knew he slept in a toolshed. WOOLRIDGE His mother told him that he was their punishment. Hers and his father's; from God, for having sex-- MARSHA Before they were married? WOOLRIDGE I don't think so. Just period, I think. She told him... God gave them the ugliest creation he could think of. Karl has an entire book -- a notebook. On every page it says "Franklin Chapter 1 Verse number 1." He wrote that a few years ago after he'd learned to write. His father's name was Franklin. MARSHA That's really strange. What does it mean? WOOLRIDGE One of his Daddy's Bible lessons I imagine. Y'all pull up a chair. I'll go out and talk to him. INT. REC ROOM CLOSE UP on Charles's face. CHARLES You have to make something explode to truly understand it. You have to examine the tiny particles while they're on fire. Off screen we hear FOOTSTEPS approaching. We pull back and see MELVIN the guard. MELVIN Karl, I gotta take you down to the old classroom. Mr. Woolridge has some people for you to see down there. Come on. Let's go. INT. HALLWAY - DAY Melvin and Karl walk down the hallway. Woolridge stands outside the door of the classroom. They reach him and Woolridge talks quietly to Karl. WOOLRIDGE Karl, you know, do you remember when I told you about those people from that newspaper? (pause) They want to ask you some questions about your release. They think it would make an interesting story. Will you talk to 'em? Get interviewed. (pause) Now, they're women. I think it might be good for you to. You're gonna be seein' all kinds of people when you go on the outside. This'll help you I believe. INT. CLASSROOM - DAY It's just Woolridge and the two women in the room. WOOLRIDGE Well, it surprised the dickens out of me. He said he'll talk to you. Marsha smiles and looks at Theresa. WOOLRIDGE (CONT'D) But, here's the thing. He'll only talk to you. He doesn't want you to ask him anything. And you shouldn't stare at him. MARSHA How am I going to conduct an interview if I can't ask him any questions? WOOLRIDGE It's the best you're gonna get. I'm sorry. MARSHA Can I ask you a question? If he's so troubled, why are you letting him out? What if he does it again? It happens all the time. WOOLRIDGE He's free. His time's up. That's the rules. He's been treated and reevaluated. He doesn't show any signs any more. MARSHA Signs? WOOLRIDGE Homicidal signs. Oh, we're gonna change the light in here for Karl. I hope you can see to write. Woolridge turns on a lamp on a desk and turns off the overhead lights. He opens the door and Melvin brings Karl in. In the semidarkness Woolridge pushes a chair up and motions for Marsha to sit. Karl stands beside Melvin motionless. Woolridge whispers to Theresa. WOOLRIDGE (CONT'D) You'll have to step outside. Theresa starts to protest. WOOLRIDGE (CONT'D) Please. Karl sits down in a folding chair near a lamp as Melvin ushers Theresa outside into the hallway. Karl sits staring at the floor. Rubbing his palms together and breathing strangely, as usual. He sits silent for what seems like forever. INT. HALLWAY - DAY Theresa stands on one side of the door, Melvin on the other. THERESA Can I just sneak in there? I won't take any pictures, I promise. I just want to listen. MELVIN No ma'am. I'm sorry you can't. Theresa takes a cigarette from her purse and starts to light it. MELVIN (CONT'D) You can't smoke in here. I'm sorry. INT. CLASSROOM - DAY Marsha is staring at Karl. Karl, still breathing and rubbing his palms, starts to speak. His voice is low and raspy, but not just low and raspy; strange. KARL Well, I reckon what you're a wanting to know is what I'm doing in here. I reckon the reason I'm in here is 'cause I killed somebody. But I reckon what you was a wanting to know is how come me to kill somebody. Well, I reckon I'll start at the front and tell you. (pause, heavy breathing) I lived most of my life out behind my mother and father's house in a little old shed and my daddy'd built for me. They didn't too much want me up there in the house with the rest of 'em. I mostly just set around out there in the shed all the time a lookin' at the ground. It didn't have no floor but I had me a hole dug out to lay down in and a quilt or tow that I put down there. (pause, more breathing) My daddy was a hard workin' man most of his life, not that I can say the same fer myself. I most just set around the shed and tinkered around with a lawn mower or two and went to school off and on from time to time but the children there made quite a bit of sport of me, made fun of me quite a bit. Some of 'em roughed me up sometimes so mostly I stayed out back there in the shed. My daddy worked down at the sawmill there, down there at the planer mill for an old man named Dixon. Old man Dixon was a very cruel feller, he didn't treat his employees very well, didn't pay 'em much of a wage, didn't pay my daddy much of a wage, just barely enough to get by on. But I reckon he got by all right, they come out one or the other of 'em, usually my mother, and fed me pretty regular. At least I know he made enough for me to have mustard and biscuits three or four times a week. Old man Dixon had a boy named Jesse Dixon. Jesse was really more cruel than his daddy. He made quite a bit of sport of me and takened advantage of the little girls around the neighborhood quite a bit. (pause) He used to say my mother was a very pretty woman. He said it quite a bit from time to time, when I was at the school house. Well, I reckon you want me to get on and tell you what happened so I reckon I'll tell you. I was settin' out in the shed one evenin' not doin' too much, just kindly starin' at the wall and a waitin' fer my mother to come out and give me my Bible lesson and I heared a commotion up in the house there so I got up and run up on the screened-in porch there to see what was a goin' on, and I looked in the kitchen window and I seen my mother a layin' there on the floor without any clothes on. (pause, breathing) And seen Jesse Dixon a layin' on top of her having his way with her. (pause) Well, I just seen red. I picked up a kaiser blade that was a layin' there by the screen door, some folks calls it a sling blade, I call it a kaiser blade. It's just a long handle like a axe handle with a long blade on it that's shaped kind of like a banana. Sharp on one edge and dull on the other. It's what the highway boys use to cut down weeds and whatnot. I went in the kitchen there and I hit Jesse Dixon up side the head with it and knocked him off my mother. I reckon that didn't quite satisfy me so I hit him again in the neck with the sharp edge and just plumb near cut his head off. Killed him. Well, my mother, she jumped up from there and started yellin', "What did you kill Jesse fer? What did you kill Jesse fer?" (pause, intense breathing) Well, come to find out my mother didn't really mind what Jesse was a doin' to her. I reckon that made me madder than what Jesse had made me. I takened the kaiser blade, some folks calls it a sling blade, I call it a kaiser blade and hit my mother up side the head with it an' killed her. (long pause, breathing) Some folks has asked me if I had it to do over again would I do the same thing. I don't know, I reckon I would. Anyhow, they seen fit to put me in here and here I've been for a great long while. I've learned to read some; took me four years to read the Bible. I reckon I understand a good deal of it. It wasn't what I expected in a lot of places. I've slept in a good bed for a great long while. They've seen fit to put me out now. They tell me they're a settin' me free today. Anyhow, I reckon that's all you need to know. If you want any more details I reckon I can tell 'em to you. I don't know if that's enough for your newspaper or not. Suddenly Marsha speaks from the darkness. MARSHA Will you ever kill anybody again, Karl? This seems to startle the very room itself. Woolridge motions for Marsha to shut up and Karl stops still. Very still. He breathes hard for a moment then starts to calm down. He seems almost at ease. He slowly looks up. From Karl's point of view we barely see Marsha's face in the dim light. Karl is looking straight at Marsha. KARL (slowly) I don't reckon I got no reason to kill nobody. INT. HALLWAY - DAY Woolridge stands just outside the classroom door with Marsha and Theresa. Karl stands down the way a few feet with Melvin. MARSHA Is he leaving right this minute? WOOLRIDGE We've got some paperwork to take care of. Pretty soon. Don't worry, you won't run into him in the parking lot. MARSHA I didn't mean that. WOOLRIDGE I hope the best for you, Miss Dwiggins, with your school and your paper and all. MARSHA Where will he go? WOOLRIDGE Wherever he wants to. I think he's going back to Millsburg where he's from. It's just about twenty miles from here. MARSHA Will he be supervised? WOOLRIDGE As much as anybody else is, I guess. Y'all have a good rest of the day now. Marsha and Theresa walk toward the exit. As they pass Karl he speaks to Marsha. KARL (looking down) Thank you. MARSHA (immediately extends her hand) Thank you. Karl doesn't take her hand. Karl continues to stare at the floor until the women exit. KARL I reckon I'm gonna have to get used to looking at pretty people. WOOLRIDGE Yes, I guess you are. KARL I reckon I'm gonna have to get used to them lookin' at me, too. WOOLRIDGE You better go get your things. KARL I ain't got nothing but them books. WOOLRIDGE You better go get 'em. KARL All right then. Karl walks slowly down the hallway. EXT. BUS STATION - MILLSBURG - DAY Karl steps off the bus carrying a few books by a strap. He stands there for moment staring at the bus station as the few people around stare at him, then he starts walking. A SERIES OF SHOTS Karl standing in front of a barbershop looking through the window at a man having his hair cut. In front of the police station. Staring at an empty school yard... EXT. DAIRY QUEEN - DAY Karl stands and stares at the building for a moment. He sees a woman take a tray of food from the window. When she's gone, he walks up to the window. A pimply-faced TEENAGE BOY comes to wait on him. BOY Can I help you? KARL I was kindly wantin' somethin' or 'nother d'eat. BOY Well, what did you want? KARL You have any biscuits for sale? BOY Naw, we don't have biscuits. Karl stands in silence for a moment. BOY (CONT'D) Did you decide, sir? KARL What you got that's good to eat? BOY Well, I guess it's all good. KARL What do you like to eat here? BOY French fries. I like to eat them pretty good. KARL French-fried potaters. BOY Yeah. KARL How much you want fer 'em? I'll get some of them I reckon. BOY Sixty for small and seventy-five for large. KARL Give me the big'uns. Karl digs in his pocket for money. EXT. LAUNDROMAT - DAY Karl sits on a bench eating french fries. After a moment, a twelve- or thirteen-year-old BOY comes out of the laundromat wrestling three or four big bags of laundry. He can't seem to get a plan together for carrying them all. Karl gets up and goes over to him. The boy looks up at Karl, a little startled by Karl's strange figure looming over him. BOY These dang things are heavy. Hard to carry, too. KARL What you got in there, warshing? BOY Yeah. KARL Ain't you got no mama and daddy to tend to it? BOY I got a mama, but she's at work over at Ben's Dollar Store. My daddy's dead. (pause) He got hit by a train. KARL How fer you going with them sacks full of warsh? BOY About a half a mile I think it is. KARL I'll help you tote 'em if I don't give out first. BOY Okay. You don't have to though. Karl picks up two sacks and they walk away. EXT. STREET - DAY They walk in silence for a while before the boy finally speaks. BOY My name is Frank Wheatley. What's your name? KARL Karl's my name. FRANK (BOY) What's you last name? KARL Childers. FRANK What are all them books? KARL Different ones. One's the Bible. One of 'ems a book on Christmas. One of 'ems how to be a carpenter. FRANK How come you're carryin' them around with you. KARL Ain't got nowhere to set 'em down. FRANK Don't you live somewhere? KARL I did live there in the state hospital. FRANK Why'd you live there? KARL I killed some folks quite awhile back. They said I wadn't right in the head and they put me in there in the nervous hospital instead of puttin' me in jail. FRANK They let you out? KARL Yeah. FRANK How come? KARL They told me I was well. They had to turn me loose. FRANK Are you well? KARL I reckon I feel all right. FRANK You don't seem like you'd kill nobody. They reach a little white frame house and the boy turns up the sidewalk. FRANK (CONT'D) This is my house. You can just set those bags on the porch. Karl sets the bags down and he and the boy stare at each other in silence for a moment. FRANK (CONT'D) Do you like to play football? KARL I never was much count at it. I never did get picked out fer it. FRANK Me and the Burnett twins and some boys plays down at the junior high practice field all the time. If you ever want to come by and play. We ain't no good either. Well, I'll see you later. He goes inside leaving Karl staring at the front door. INT. BUS STATION - DAY Karl stands at the counter. A middle-aged man is selling tickets. KARL How does a feller go about gettin' up to the state hospital? MAN You buy a ticket for fourteen dollars and then set and wait for the four-fifteen bus to Kelton. KARL All right then. INT. MENTAL HOSPITAL - DAY Karl walks down the hallway carrying his books. A couple staffers give him 'Why are you still here' looks. He reaches a door and goes in. INT. WAITING ROOM - DAY There is no one at the desk in the outer office, so Karl goes into Woolridge's office. INT. WOOLRIDGE'S OFFICE - DAY Karl finds Woolridge doing paper work. Woolridge looks up startled. WOOLRIDGE Karl, what in the world are you doing here? KARL I want to come back and stay here. WOOLRIDGE Well, you can't do that. You're a free man. You've been let out to do as you please. KARL I reckon I don't care nothin' about bein' a free man. I don't know how to go about it. WOOLRIDGE Well, you have to learn. It'll take some time. Don't you know anybody down there to help you out? KARL Naw. WOOLRIDGE Your daddy's still livin' down there from what you told me. (pause) I guess he wouldn't help you any, would he? I wasn't thinking. You don't know anybody? KARL Naw. Never did know too much of nobody. Not to he'p me out anyway. WOOLRIDGE (sighs) Listen, Karl, the truth is I don't know where they expect you to go or what they expect you to do. If it was up to me, I'd let you stay here if that's what you wanted. I'm just doin' my job. (they sit in silence for a moment) You follow me? (no answer) Listen, I know an old boy that runs a fix-it shop deal down in Millsburg. He used to go to church with me. You're good workin' on small engines and things. If I put my neck out for you with him, will you work at it if he'll hire you? KARL I'm pretty handy I reckon on lawn mowers and whatnot. WOOLRIDGE I know, I've seen it myself. Would you give that a try? KARL I reckon. WOOLRIDGE I can't promise he'll hire you. I'll have to tell him about your history. KARL I never was no good with history. WOOLRIDGE No, I mean your past. About why you were in here. (pause) I'll take you first thing in the mornin'. You have anyplace you can stay tonight at all? I just can't let you stay here. It's the rules. If something happened well, I'd be liable. KARL I reckon I can just walk around till the mornin'. Or set and read me a book somewhere. They sit and stare at each other for a moment. INT. WOOLRIDGE DEN - NIGHT Woolridge, his WIFE, his teenage SON, BUBBA, and teenage DAUGHTER sit in various comfortable chairs looking extremely uncomfortable and staring at Karl, who is sitting on the edge of a chair looking at the floor. After a long creepy moment, Mom speaks. MRS. WOOLRIDGE Karl, would you like a muffin? KARL No thank ye. MRS. WOOLRIDGE I understand Jerry is going to take you somewhere else tomorrow. KARL I don't reckon I know nobody name Jerry. WOOLRIDGE She's talkin' about me, Karl. That's my first name. KARL He's a-carryin' me to look fer work in Millsburg where I was borned. MRS. WOOLRIDGE Would you like some coffee? KARL Coffee makes me a might nervous when I drink it. DAUGHTER Daddy, can I be excused to go to bed? WOOLRIDGE Sure, honey. You sleep with Mama tonight. I'll sleep with your brother and Karl can take your room. DAUGHTER Why? WOOLRIDGE We have company. Now you go on. INT. BEDROOM - NIGHT It's an all-American girls room. Everything is pink. There are stuffed animals everywhere and posters of pop idols. WOOLRIDGE Well, Karl, there's plenty of blankets and things there. Bathroom's right there in the hall. We'll leave first thing tomorrow. Karl stands in the middle of the room holding his books. Woolridge closes the door. INT. WOOLRIDGE KITCHEN - NIGHT Woolridge walks into the kitchen where Mom and Son sit at the table. MRS. WOOLRIDGE Jerry, why didn't you give him Bubba's room? Sister's is kind of girly, isn't it? WOOLRIDGE Yeah, I thought about that. No sense in moving him now I guess. BUBBA Daddy, don't you think one of us ought to stay up all night and kind of - guard or somethin'? WOOLRIDGE Why, hell no, son. What's wrong with you? BUBBA Well, he's crazy. He's a nut ain't he? MRS. WOOLRIDGE 'Isn't' he, Bubba. Don't say ain't. INT. WOOLRIDGE DEN AND HALLWAY - MORNING Woolridge, already dressed, walks through the den and down the hallway. He knocks on the bedroom door. WOOLRIDGE Karl, you up? KARL (O.S.) Yes sir. Woolridge opens the bedroom door and sees Karl sitting on the edge of the bed beside his books. The light is on, the bed still as it was the night before. WOOLRIDGE Didn't you go to sleep at all, Karl? You been sittin' there like that all night? KARL Yes sir. WOOLRIDGE Well, I guess we better hit the road. INT. FIXIT SHOP - DAY Woolridge's car pulls into the parking lot. He and Karl get out and walk toward the shop. INT. FIXIT SHOP - DAY Two men, BILL COX, a large man in his forties, and SCOOTER HODGES, a really country-looking guy in his thirties, look up from behind the counter as Woolridge and Karl enter. Woolridge goes to the counter, Karl stands by the door looking at the floor. BILL Hey Jerry, how it's goin'. Good to see you. Been a long time. WOOLRIDGE Good to see you, Bill. How's everybody doin'? BILL Aw, pretty good. Kids are drivin' me crazy and Phyliss is gonna put me in the poorhouse. Can't complain other than that. Wouldn't do any good if I did. (laughs) Do you know Scooter, Jerry? WOOLRIDGE No, don't guess I do. (he shakes hands with Scooter who sort of smiles) Scooter, good to meet you. (Woolridge leans in and gets confidential) This is him, the one I talked to you about on the phone. Now like I said, I'll understand if you get nervous about it. I'm not gonna lie to you now, he did get in that trouble but then he was real young. BILL I remember it real well. Cut them folks to pieces. His mama one of 'em. SCOOTER And that ol' Dixon boy. Hell, I always wanted to kill him myself. Asshole's what he was. I remember that ol' boy (points to Karl) too. Kind of retarded or somethin' back in school. WOOLRIDGE Well, he seems pretty well-adjusted these days. I don't think he'd ever hurt anybody. BILL Don't look much like he could. You say he can fix a small engine like nobody's bidness. WOOLRIDGE He's a regular whiz at it. That's all he did when he was a kid. BILL Well, I ain't scared of him workin' here. You know me. I'm a church goin' man. Forgivin' man. When your time's up the Lord's gonna come git you. You seared of him, Scooter? SCOOTER I don't guess. Can he talk? WOOLRIDGE Oh yeah. Listen I really appreciate it. He needs the job. I don't know what to do with him. He don't have anybody really. BILL That old man of his still livin' over there on Clark Street I believe. WOOLRIDGE He won't have anything to do with him. Now you say it's all right for him to stay out here in the back? BILL Fine with me. If he steals anything, I'll take it out of your pocket anyway. Bill slaps Woolridge on the shoulders and wheezes with laughter. WOOLRIDGE He won't steal. I'm tellin' you he's a pretty good ol' boy. Keeps to himself. BILL Well, I've got a roomful of work for him to do. Can't get Scooter to do any of it. WOOLRIDGE Karl, come over here. I want you to meet your new boss. (Karl obediently shuffles over) This is Bill Cox, runs this place. Says you can work here and stay in the back. BILL Good to know you, Karl. KARL Thank ye. BILL Now it's minimal wage and there ain't nothin' but a army cot and a toilet back there. Karl doesn't say anything. WOOLRIDGE That'll be fine. Karl, I'll go to the car and get your books. Woolridge exits. Bill and Scooter just stare at Karl and Karl stares at the floor. BILL They say you're a whiz on fixin' lawn mowers and things. KARL I've tinkered around on 'em a little bit. BILL We order from Dairy Queen at noontime usually. We can buy your lunch till you get on your feet a little. KARL I like them french-fried potaters. BILL (long pause) Yeah, me too. SCOOTER They make a good double meat burger. INT. SHOP WORKROOM - NIGHT The place is cluttered with mowers, edgers, weed-eaters, and other equipment, most of it in pieces. A small cot is in a little clearing in the corner by the bathroom. Karl is sweeping up oil with sawdust and a push broom while Scooter puts some tools away. Bill comes to the door. BILL All right then, I'll see y'all later. Karl you done a good day's work. They right about you. Scooter, he's gonna knock you out of a job if you're not careful. I'll see you tomorrow. SCOOTER Wait up, I'll leave with you and lock up. BILL Karl, they's a blanket up in under that cot and soap in the bathroom to clean up with. (pause) Now there's one more thing. The way we lock these doors at night, you can't get out. You didn't want to go anywhere, did you? KARL I don't reckon. BILL If it works out and all, maybe we'll get you a key so you can get out at night if you need to. See you later. They leave Karl standing in the midst of the lawn mowers. He sets the broom down and goes and sits on the cot. After a moment, he gets back up and starts sweeping again. INT. SHOP - DAY It's lunch time and Bill, Scooter, and Karl are sitting in folding chairs behind the counter eating from their Dairy Queen to-go bags. Karl has french fries. BILL Scooter, did I tell about the two old boys pissin' off the bridge? SCOOTER I can't remember. BILL There was these two old boys hung their peckers off of a bridge to piss, one old boy from California and one old boy from Arkansas. Old boy from California says, "Boy this water's cold." Old boy from Arkansas says "Yeah, and it's deep too." (starts wheezing) Get it? That's a goodun. SCOOTER (laughing) Yeah, that's a goodun. I believe you did tell me that one before. I've heard that a bunch. Long time ago. BILL Well, yeah it's a classic. You know, Karl, I got to thinkin' about it last night and it's just not Christian of me to not let you have a key. I mean you been in lockup so long, you don't need me keepin' you locked up. You need to come and go as you please. Here, take this key, it'll get you in and out that back door. (Karl takes the key and keeps eating french fries) Them french fries good? KARL Yeah, they's good all right. BILL You got any money? KARL They give me fifty dollars when they turned me loose. I spent up some of it on ridin' the bus and eatin' french-fried potaters. BILL Well, I'm gonna pay you today for this comin' week, so you'll have some walkin' around money. When you get off this evenin' you better go buy some toothpaste and cleanin' up supplies to have back there. Some hard candy and some magazines. Somethin' to keep you busy at night. KARL All right then. BILL I'll let you off while it's still daylight. EXT. STREET - DAY Karl is walking down a residential street. He stops in front of the house where the boy, Frank, lives and stares at the house for a moment, then he walks up to the door and stares at it. A curtain moves and the boy's face appears at the window. He comes and opens the door. FRANK Hey there. I thought I heard somebody on the porch. Wasn't your name Karl? KARL Yeah it is. Your name's Frank. FRANK Yeah. What you doin' by here? KARL You told me to come by. FRANK Did you want to play ball with us? KARL I ain't no good at it. I just come by. FRANK Well, anyhow, I was just fixin' to go see my mama down at Ben's Dollar Store. She's workin' two till eight. KARL All right then. He starts to walk away. FRANK Wait a minute. You want to go with me? You can meet my mama. KARL I don't want to worry your mama with company. FRANK Aw, come on. You'll like her. She's real nice. She'll give us somethin' if we ask her to. Candy or somethin'. KARL I was kindly needin' to do some tradin'. Reckon they sell toothpaste? FRANK They sell some of everything. Come on let's go. I won't tell her about you bein' in the state hospital for killin'. INT. BEN'S DOLLAR STORE - DAY Frank and Karl make their way through the fairly crowded store. It's sort of a mini-version of a Walmart. They find Frank's mother in her red smock talking to a guy in a red Ben's knit shirt. They are laughing together and pricing some mouthwash. LINDA WHEATLEY is a short, plain woman in her thirties. The man, VAUGHAN CUNNINGHAM, is in his forties, with a neat flattop hair cut, glasses, and a paunch hanging over his belt. They eye Karl suspiciously, as the boys approach. FRANK Hey, Mama. Hey, Vaughan. LINDA Hey, sweetheart. What you up to? VAUGHAN Let me guess. You want a bunch of candy and a pop. FRANK Yeah. VAUGHAN You're gonna rot your teeth that way. But I bet I know what you would like even better. I put potted meat on special, four cans for a dollar and they're not moving very well. I'd sure let a few cans go for free to the right boy. FRANK I don't like potted meat. Daddy used to say it was made out of lips and peckers and intestints. LINDA Frank, don't talk that way. Who's that strange lookin' man behind you? Did he follow you in here? VAUGHAN Can I help you, sir? FRANK Oh, that's Karl. I met him at the laundrymat. Karl, this is my mama. And Vaughan, Vaughan's the manager. He lets mama off any time she feels like it 'cause they're best friends. LINDA Nice to meet you, Karl. KARL (keeping his distance) Pleased to know y'all. There's an uncomfortable silence. LINDA Frank come back here with me for a minute. She shuffles him away and leaves Vaughan staring at Karl. VAUGHAN I don't think I've ever seen you before. KARL Naw, I don't believe you have. I don't reckon I never been in here. This store didn't used to be here. VAUGHAN It's been here seventeen years. Did you live here before or something? KARL I's horned and raised here up till I's twelve year old. VAUGHAN What brings you back? KARL What's that you say? VAUGHAN Why are you here now? KARL They turned me loose from the state hospital. VAUGHAN Is that right? (pause) Are you going to be staying here long? KARL I reckon Mr. Woolridge got me hired on to work for Bill Cox's outfit. VAUGHAN Do you have family here? KARL Not really to speak of. Linda and Frank return from the back. FRANK Hey Karl, guess what. Mama said you can stay with us. Out in the garage. Our car won't fit in there anyway. It's real neat. LINDA Frank told me about your situation. And Frank loves company. You know, especially after his daddy passed and all. There ain't no sense in you stayin' in that old greasy shop. (to Vaughan, hushed) He's mentally retarded, poor thing. VAUGHAN (hushed) He just got out of the state hospital. LINDA (put out) I know. FRANK Can we get some candy and pops? VAUGHAN Sure, go ahead. They walk off down the aisle leaving Vaughan a little puzzled. VAUGHAN (CONT'D) Are you sure it's safe to let him around that guy? LINDA Frank's just crazy about him. He likes the way he talks. He helped him carry home the clean laundry. VAUGHAN He's been in the state hospital a long time, something must be wrong with him. LINDA He's retarded's all. You know he's always after a father figure and Lord knows Doyle ain't a good one with his mean ass. VAUGHAN What about me? LINDA I don't think he sees you as a guy guy. VAUGHAN (wrinkles his brow) Karl is a guy guy? EXT. WOODED AREA - LATE AFTERNOON Karl and Frank sit on stumps in a little clearing enjoying the spoils of their Ben's Dollar Store visit. FRANK This is what I call my secret place 'cause I come out here when I feel like bein' by myself. I used to come here with Karen Cross. She's kind of like my girlfriend, or used to be. She says she likes Jerry Maroney now. But I'm gonna get her back 'cause I love her. We used to come here and hold hands and talk and read books to each other with a flashlight. She didn't want to have anything to do with me in front of other people 'cause I don't have any money. Well, mama and me, I mean. She seemed to like me a whole lot when we were out here though. She said she loved me, too. Out here. Settin' right on that stump you're on. See, her daddy's a dentist so they're rich. So's Jerry Maroney's daddy. He owns the ice plant. Was your folks well off? KARL Naw. Didn't have too much. Enough to scrape by on, I reckon. FRANK They still around, your folks? KARL My mother's dead. My daddy's s'posed to be around still. He don't want to have nothin' to do with me though. FRANK How do you know? KARL He never did want to. I figure he ain't changed his mind much. FRANK How did your mama die? KARL (long pause) You don't need to know all of that. You're just a boy. You need to think about good thoughts while you're still a boy. They'll be plenty of time for the other. FRANK I've had a lot of bad thoughts since my daddy died. Sometimes I wish I was still real little and he was still here. My mama's real good, but I wish I had both of 'em. (pause) When we went to Memphis one time in the car, it was rainin' so hard we couldn't see the road. But I wadn't scared because I thought as long as daddy was drivin' nothin' could happen to us. I feel that way about mama now. (he looks at the ground for a moment) Mama has a boyfriend now. His name is Doyle Hargraves. He works construction so he makes a pretty good livin'. He still don't help mama out with any money though. He ain't no good. He's mean to her. He don't like me at all. Mama says it's because he's jealous I belong to my daddy instead of him. He stays with us all night sometimes, but he's got his own house. Somebody told me it's so he can still have other girlfriends. I like it on the nights when he ain't at our house. I'm not so nervous then. KARL How come her to keep bein' girlfriends and all with him if he's mean to her? FRANK She says it's for the times when he's good to her. She's lonely since daddy died. She said sometimes she don't know why. (pause) He threatened to kill her if she ever left him. My daddy would kill him if he was here and somebody was mean to mama. Vaughan, he's real good to mama. Vaughan that you met. But he's not able to do anything to Doyle, he's funny you know. Not funny ha, ha, funny queer. He likes to go with men instead of women. That makes him not to be able to fight too good. He sure is nice though. He's from St. Louis. People who are queer can get along better in a big town. He got transferred here to work. But mama said the real reason he left is 'cause his daddy hated him. For bein' the way he is. I wish he liked to go with women. I'd rather him be mama's boyfriend than Doyle. Pause as Frank looks at the ground again. He seems troubled. FRANK (CONT'D) Karl. (pause) You know when I said daddy got hit by a train. KARL Yeah, I remember you a-tellin' me that. FRANK It ain't the truth. He shot hisself with a shotgun on purpose. KARL Why did he do that, reckon. FRANK 'Cause he didn't have enough money to take care of us the way he wanted to. That's what the letter said. He got laid off from work and had to just work odd jobs. I thought he took care of us fine. (pause) Karl, did you really kill somebody? KARL Yeah, I did. FRANK Who did you kill? KARL Two people. FRANK Were they bad people? KARL I thought they was. FRANK Maybe they needed it. KARL I growed up and got taught it ain't right to kill nobody. FRANK It's okay if you're lookin' out for yourself. If it's self-defense. Was it self-defense? Karl shifts around and makes a noise in his throat and doesn't answer. FRANK (CONT'D) My daddy was good. I think too many good people die. It ain't right. That's what I think. INT. SHOP - DAY Karl is tying the strap around his books. His sack of toiletries is on the bed. Bill Cox comes in. BILL Now, Karl, you sure you want to go stay with these folks? You're welcome to keep on stayin here. It's workin' out real good. KARL That boy wants me to. BILL All right then. I'll see you bright and early. How you comin' along on that garden tiller? KARL I fixed it. Hit's a workin' pretty good. BILL You done fixed it? I'll be damned. Scooter told me it couldn't be fixed. 'Course Scooter's about as shitless as one poor son-of-a-bitch can be. You done fixed it. I'll just be damned. See you tomorrow. INT. WHEATLEY LIVING ROOM - NIGHT DOYLE is in the comfortable easy chair with adjuster handle drinking beer. He's in his late thirties and dressed in his construction clothes. Linda sits on the arm of the chair and Frank stands before them. DOYLE Well, honey, I don't guess I give a shit. I ain't here half the time anyway. If you want a retard livin' in the garage, I don't guess I care. I've got a good tool box and socket set out there I don't want stol'd. I guess I could take it home with me. FRANK He's real honest. He wouldn't steal nothin'. DOYLE Now son, I wadn't talkin' to you, was I? (pause) Was I? FRANK No sir. DOYLE No sir's right. I'm talkin' to your mama. This is your mama's decision, not yours. I'm lettin' it go on because she asked me, not you. (to Linda) Now is this the kind of retard that drools and rubs shit in his hair and all that, 'cause I have trouble eatin' around that kind of thing. Just like I am about antique furniture and midgets. I can't so much as drink a glass of water around a midget or a piece of antique furniture. Same thing with a droolin' retard. LINDA Doyle, you're awful. You shouldn't be that way. DOYLE I ain't sayin' it's right. I'm just tellin' the truth. What was he in the nuthouse for? LINDA He's just mentally retarded, I guess. DOYLE He had of went nuts and did somethin'. They don't put you in there for just bein' a retard. They's retards all over the place that ain't in the nuthouse. Do you know, Frank? FRANK I ain't sure. DOYLE You might want to find out. He might of hacked his family to pieces with a hatchet or somethin'. LINDA Yeah, that's right, Frank, you better ask him. I mean, don't hurt his feelin's or anything, but it would be good to know. I'm sure it's nothin'. He seems real sweet. DOYLE You sure are hung up on people bein' sweet. (takes a long pull on his beer) Speakin' of which, where's your girlfriend? I thought he was comin' by here for something. LINDA He'll be here in a little while, he's takin' me to get an ice cream. DOYLE Ain't that the sweetest thing. What am I supposed to do about supper with you traipsin' around with that fag? LINDA You're not crippled. Get in there and make somethin'. DOYLE Boy, ain't you somethin' else. Talkin' back and everything. It kinda makes me horny when you talk back. LINDA Frank, why don't you go off and play in your room if Doyle's gonna talk nasty. FRANK I want to watch T.V. DOYLE Yeah, honey, let the kid watch T.V. Hell, let's all watch T.V. like a family till your retarded friend and your homosexual friend gets here. EXT. PORCH - NIGHT Karl is standing on the porch with his bag and his books staring at the door. After a moment, we hear a car door slam and footsteps on the porch. Then we hear Vaughan's voice. VAUGHAN Karl? Karl turns to face Vaughan. KARL Yes sir. VAUGHAN So, you're really going to stay here? KARL That boy wants me to. VAUGHAN Did you knock on the door yet? KARL Naw, I ain't. VAUGHAN How long have you been standing here? KARL Quite a spell, I reckon. VAUGHAN Listen, before you get very used to staying here, I think you and I need to talk about a few things. Can I take you to lunch? KARL I done et just a little bit ago. VAUGHAN I mean tomorrow or the next day. KARL I reckon I can stand to eat a little somethin' or 'nother at noontime tomorrow. Bill Cox generally gets me a box of french fried potaters. But I reckon he can lay off doin' it tomorrow. VAUGHAN Okay, I'll come by Mr. Cox's and get you at noon. They stand therefor a moment. Vaughan doesn't really know exactly what else to do, so he knocks on the door. After a moment, Frank answers the door. FRANK Hey. Y'all come on in. INT. LIVING ROOM - NIGHT Vaughan ushers Karl in and they stand behind the sofa. Doyle looks up and grins. LINDA Hey, Vaughan. How are you, Karl? KARL Tolerable, I reckon. LINDA (in a hurry to get out) Karl, this is my boyfriend, Doyle. Frank, why don't you and Karl go out in the garage and fix him up a place or play a game or somethin'. Vaughan, you ready to go? VAUGHAN Sure, I guess. DOYLE Don't rush ever'body, honey. She starts to get her things together. LINDA (to Frank) Maybe you and Karl want to go with us? FRANK Naw, I don't want to. Me and Karl got things we need to do. DOYLE Hey, Vaughan, you know what I heard? I heard you been puttin' it to Albert Sellers that works over at the funeral home. VAUGHAN I know Albert. We're friends. DOYLE I heard you was more than friends. I heard Dick Rivers caught y'all all bowed up and goin' at it in the same room with poor, little, old Mizz Ogletree and her dead as a doornail layed out on a gurney. VAUGHAN That's ridiculous. That's just a total lie. LINDA Let's go, Vaughan. (they start for the door) Frank, we'll be back in a little while. I'll bring you back somethin'. You're food's in the oven warmin' over. DOYLE See, you made him somethin'. Hey Vaughan, I was just goin' on with you, jokin' around, buddy. VAUGHAN (smiles a little) Yeah, I knew that. You're a card all right. Linda kisses Frank on the forehead and they leave. DOYLE So, Karl, come have a seat, talk to me. Karl sits on the couch. FRANK Come on, Karl, let's go out to the garage. DOYLE Goddamnit, I'm talkin' to the man. You set right there, Karl. Frank leans on the sofa arm beside Karl. DOYLE (CONT'D) What's in your bag? KARL This and that. Toothpaste and whatnot. DOYLE What's all them books? KARL Different ones. The Bible's one of 'em. DOYLE You believe in the Bible? KARL A good deal of it, I reckon. Can't understand all of it. DOYLE Well, I can't understand none of it. This one begat this one and that one begat this one and begat and begat and begat and lo somebody sayeth some shit or another. Just how retarded are you? FRANK Stop it, Doyle! DOYLE You be quiet, Frank, we're talkin'. The adults are talkin'. Were you in the lockup for cuttin' somebody up with a hatchet? KARL I ain't never used no hatchet that I remember. DOYLE You're just crazy in a retarded kind of way then. (pause) It wouldn't matter to me if you did do violence on somebody 'cause I ain't afraid of shit. You think I'm afraid for you to stay here. You're just a humped over retard it looks like to me. Not really, I'm just jokin' with you. Welcome to our humble home, buddy. Frank needs all the friends he can get. Frank's a real weak little kid. His daddy taught him how to be a pussy. FRANK Stop it, Doyle! Don't talk about daddy, you hear me! DOYLE (mocking) Don't talk about daddy. Y'all go on to the garage and let me be. Frank is crying now. FRANK Come on, Karl. They get up and walk away. DOYLE (yelling to Frank) Don't tell your mama we had a little spat. She don't need to be worried with your ass. INT. GARAGE - NIGHT Karl sits on an old sofa and Frank sits on an upside down paint bucket, still upset. FRANK I'd like to kill that son of a bitch. I hate him. KARL You ort not to talk that way. You're just a boy. FRANK Well, I hate him. KARL He ort not to talk that away to you neither. He ain't no count. He's mean to you and your mama. (pause) Yore mama and that feller that's carryin' me to get somethin' d'eat's gonna be back here directly. FRANK Will you stay here with us for a long time? KARL I reckon if you want me to. (pause) I got some of that potted meat and sodie crackers left over if you want some. FRANK I don't see how you can eat that stuff with all those insides it's made out of. KARL I reckon it tastes pretty good to me. FRANK I like the way you talk. KARL I like the way you talk. Karl starts to put together a cracker and potted meat delight as we: DISSOLVE TO: INT. HAMBURGER ESTABLISHMENT - DAY Vaughan is carrying a tray of food as Karl follows him to a table and they sit and immediately start to eat. After a few bites, Vaughan starts to speak in an official manner. VAUGHAN Okay, Karl, the reason I brought you here was to talk to you about something that is on my mind. (pauses for a response, instead Karl eats french fries and stares at the table) I guess I'll put it right out on the table. Where do I start. Linda and Frank are very important to me. They're like family. My own family was never like family. They're horrible people. As a matter of fact I prayed every night for years that my father would die. I finally realized through a lot of therapy that I was wasting my energy on hating him. Now I just don't care. (pause) You see, you and I are a lot alike, strange as that may seem. I mean not physically or even mentally really, just well, maybe emotionally or actually the hand we've been dealt in life. We're different. People see us as being different anyway. You're -- well you have your affliction or whatever and I, well mine's not as easy to see. I'm just going to say it. I'm gay. (watts) Does that surprise you? (watts) That I'm gay. You know what being gay is, don't you? KARL I reckon not. VAUGHAN Homosexual. I like men. Sexually. KARL Not funny, ha, ha, funny queer. VAUGHAN Well that's a very offensive way to put it. You shouldn't say that. You were taught that, weren't you? KARL I've heard it said that way. VAUGHAN Anyway, it's hard to live gay, that's the right way to say it, in a small town like this. I've wanted to leave many times, but my love for Linda and Frank and another certain person that we won't go into have kept me from it. Anyway, I'm rambling. If you're going to live in the Wheatly garage you need to know that it won't be easy. Doyle is a monster. Not just a closed minded redneck, but a monster. A dangerous person. I've told Linda that one day that man is going to really hurt her or that boy. Maybe even kill one of them. I see it in his eyes. I'm very in tune, maybe even psychic. Doyle will make your life hell. You're a perfect target. When I first saw you I was afraid of you. Not really afraid, I guess, just taken aback. But also, I felt a real sensitive feeling from you. And for some reason, Frank has adopted you. Much like a stray animal. I'm sorry, I didn't mean it like that. In a good way. Anyway, I just want you to know what you're in for. I have a good feeling about you. You're good for Frank. Maybe it's that he can have an adult friend on a child's level. I'm sorry, I didn't mean it in a bad way. (pause) There's one more thing. It's none of my business why you were in the state hospital. Everyone has something in their past, maybe you tried suicide, maybe you did something -- terrible. But what I see before me is a gentle, simple man. All I want you to promise me is that you're capable of being around Linda and Frank. You know. You would never hurt them under any circumstances, would you? KARL I wouldn't never hurt them. VAUGHAN That's what I thought. I hope I haven't offended you in any way. You seem like a thinker. You seem to always be in deep thought. Tell me something. What are you thinking right now? Karl looks up and stares for a moment. KARL I was thinkin' I could use me another helpin' of these potaters. VAUGHAN Oh. How about before that? KARL Before that I was thinkin' it'd be good if I could get another three or four cans of that potted meat if you got any extry. INT. WHEATLEY KITCHEN - NIGHT Linda, Frank, and Doyle are eating. LINDA How come Karl won't eat here with us? FRANK I don't know. He just said he'd eat out there. DOYLE Well, I wouldn't let it get to you. LINDA I just feel sorry for the poor thing. DOYLE Who could eat with him settin' there makin' that goddamn racket with his throat. LINDA He does make some funny noises. FRANK I sure like the way he talks. It sounds like a race car motor idlin'. It makes me not be nervous. LINDA I'm glad of it, honey. DOYLE What have you got to be nervous about? You're a damn kid. You ain't got any bills to pay or bidness to run or old lady to stay on your ass all the time. FRANK I get nervous, that's all I know. They eat in silence for a while. Linda and Frank know where this conversation could lead and know when to leave well enough alone. DOYLE You know what, by God? LINDA What? DOYLE You know what we ought to do tonight? LINDA Please Doyle, don't. DOYLE Have a damn party! Call Morris and them and get the band together and just party our asses off. I'd like to show that fuckin' Karl to the guys. They'd get a kick out of that. Don't you know they would. LINDA Please don't. Not tonight. I'm not up for it. They always stay till mornin'. I'm just give out, Doyle. DOYLE You don't have to do anything but pour some potato chips in a bowl and bring beers out when we get low. FRANK Last time you got mad and run Morris and them off and said to stay away from here. DOYLE That ain't none of your damn bidness. Besides that's the way friends do one another. Fuck it, I'm gonna go call 'em. Honey, find my guitar, I think it's out there in the garage with that loony tune. INT. GARAGE - NIGHT Karl sits on his cot eating from the plate Frank brought him. Frank and Linda come through the door. Frank comes and sits beside Karl. Linda gets a guitar case down from a shelf and comes over and stands in front of Karl. LINDA Karl, now listen, there's gonna be a party tonight here at the house. Doyle's invited his music-playin' buddies over to make a bunch of racket out on the patio. FRANK They ain't even no good. The only one can play is Randy Horsefeathers. He claims he's an Indian. His real name's Randy Collins and he works at the feed mill. He can at least play guitar. LINDA He's no more an Indian than I am though. Anyhow, Doyle's gonna try and tease you and be mean to you to show off to his friends. Just like he does to Frank and me sometimes. You just ignore it. Or stay out here away from 'em if he'll let you. He's an okay guy till he gets drunk but tonight he'll get drunk. I guarantee it. FRANK He ain't ever okay to me. The garage door opens and Doyle appears. He seems really happy. DOYLE Well, it's on! We're gonna rock. Linda, call Vaughan. Tell him to get over here. I'd like him to be here. I owe him a good time. LINDA No Doyle. Vaughan don't want to come to a party with you. DOYLE Too late, Honey. Fooled you. Done called him. He'll be here. (grins) Or I'll go get him. Come on Karl, I need you to help me ice down a tub of beer, you and Frank. INT. BACKYARD - NIGHT White Christmas tree lights are strung above the patio. Karl sits to the side in a kitchen chair staring at the ground alongside Vaughan, Frank, and Linda. The "band" is set up on the patio. The band consists of MORRIS, a heavyset guy in a military uniform on tambourine, TERENCE, a skinny guy in a wheelchair on bass, RANDY, a long haired younger guy who's not an Indian on guitar, Doyle on a guitar which he can't play and MONTY "The Johnson " Johnson, a large guy with a ZZ Top beard on drums. A tub of beer is in front of them. They're all hooting and hollering and drinking. They've obviously been at it for a while. Doyle steps forward to address the 'crowd.' DOYLE Okay ladies and gentlemen (points to Vaughan) or both. It's come to the time in our show when we like to introduce the band. Over here on lead guitar Mr. Randy Horsefeathers. Come on hit a hot lick, Randy. (Randy plays a lick) Well, come on, y'all are supposed to clap now. Come on! (they clap a little except for Karl) ANGLE ON LINDA LINDA Karl, you better clap your hands or he'll just keep on. Karl claps his hands a little. DOYLE On the bass, give it up for Terence "One Ball" Atkins. (more half-assed clapping) On the tambourine and lyrics Morris Hobbs the fuckin' genius of the group. (claps) On drums "The Johnson." (claps) And last and most importantly, Doyle Hargraves on rhythm guitar and business affairs and the only motherfucker with a truck big enough to haul this outfit on the next world fuckin' tour. Come on, a big hand for these guys. They're workin' their asses off here. (pauses for a slug of beer) Okay I'd like to dedicate this next one to some very special people in our audience tonight. To my lovely female companion Linda, her lovely son Frank, our new boarder Karl - what's your last name Karl? KARL Childers. DOYLE Karl Childers just in from the state facility. Make one of them gruntin' sounds Karl or whatever it is you do. (nothing) Oh well, Karl's a little retarded, he don't know what the hell I'm talkin' about. And to Vaughan who fucks a mortician in the rear entrance right in front of his clients. Now that takes balls. Our number one tune for the folks, boys. Kick it off Johnson! They play "Walk Don't Run" while the audience of four sits in motionless silence. They finish the song and hoot and holler and drink some more and say nasty things to each other. DOYLE (CONT'D) You like that Vaughan? VAUGHAN Sure. It sounded like a number one tune all right. DOYLE You enjoying yourself, Karl? KARL I reckon. We hear the voice of an OLD MAN NEIGHBOR in the near distance. VOICE (O.S.) I wished you all would lay off for tonight. I can't hear myself think for that racket. It's nighttime, now let folks be! I'll call the law! DOYLE (hollers back) I told you already three times, the laws on my side. I play cards with J.D. Shelnutt, chief' of police. Get fucked you old bastard! (to the party) Okay now, Linda, you and the kid clean up and get a tarpaulin over this instruments. Me and the boys are goin' to the county line. We're out of liquor and beer. Come on Karl, you and Vaughan are goin' with us. VAUGHAN I'd better go on home now, it's late. I have to work tomorrow. DOYLE Come on, don't be a pussy. Everybody has to work. LINDA He don't want to Doyle. Don't go Vaughan if you don't want to. You'll wreck Doyle, you're drunk. DOYLE (very sincere) But honey, I'll be good. I promise. I love you sweetie. I'm just tryin' to help these two be part of things. INT. DOYLE'S TRUCK - NIGHT Doyle is driving, Vaughan in the middle, and Karl by the window. Doyle cranks up the truck and pops in a cassette tape. The first few notes of "Ghost Riders in the Sky" play. VAUGHAN Are you sure you can drive? You've really had a lot of alcohol. DOYLE Shhhh! This is the national anthem. They take off, tires screaming on the pavement as the song goes louder. EXT. STREET - NIGHT The truck fishtails into the night and we see the rest of the "band" in the back of the truck trying to control Terence's wheelchair as it rolls back and forth. INT. TRUCK - NIGHT DOYLE (points to tape player) Not that you afflicted sons of bitches would know anything about it, but this is art. They are stopped by a red traffic light. A police car pulls up beside them and Doyle looks over at the RED-FACED COP on the passenger side and turns down the music. DOYLE (CONT'D) Hey Freddy, what's goin' on boy. I seen your pitcher in the paper for catchin' that big-ass bass. FREDDY Yeah She was a big 'un. You ain't drunk drivin' are you Doyle? DOYLE Yeah. FREDDY I figured that. Well you better be careful with that cripple in the back. You'll throw him out. Looks like you got a wagonful. DOYLE We run outta somethin' to drink. Goin' to the county line. You want to race? FREDDY (laughing) You know better than that. We're on duty. Catch me in that Camaro next week one night. DOYLE Catch you later Freddy! Doyle peels out and the music blares again. DOYLE (CONT'D) I bet you like sittin' between two men in a dual wheel truck don't you? VAUGHAN Oh, yeah, I'm thrilled. DOYLE Sarcastic right? (pause) You know the boys in the band are probably gonna stay over tonight. We'd be glad to have you. INT. LIVING ROOM - NIGHT Doyle slouches in his chair drinking whiskey from the bottle. Terence and Morris are sitting facing Karl and Vaughan who are on the sofa. Randy and The Johnson are sitting across the room in straight-backed chairs drinking beer. They really stocked up at the county line and beer and liquor bottles are strewn everywhere. Morris is in the middle of a monologue, which has obviously been going on for awhile. MORRIS Anyhow I'm not sure if you follow me on those particular points, but it's not really important in the smaller picture, which is where most people dwell anyway. Not that being manager of Ben's Dollar Store is insignificant. Or that making it through years of incarceration in a state supported facility is any small feat. THE JOHNSON Morris, he's the only one in the band that went to college. RANDY I'm in junior college right now over in Westfield. THE JOHNSON That ain't no college, that's trade school. Auto repair ain't ever made a genius out of nobody. MORRIS Holidays are for campers. RANDY What do you know about bein' a genius, Johnson. You can't even hardly keep a steady beat on that high-price drum set. TERENCE I think y'all play really tight together, Randy. Y'all shouldn't throw off on one another. MORRIS Anything that has to be discussed can't mean anything. DOYLE You got that shit right. VAUGHAN What exactly do you mean by that? I don't understand. MORRIS Exactly the point, my young levelheaded friend. VAUGHAN I don't get it. MORRIS I rest my case. TERENCE Morris is real smart with philosophies and things. That's why him and me are the songwriting team of our group. I make up good tunes or melodies as we call them and Morris is the lyrics. MORRIS Not unlike Gary Brooker of the Protocol Harum. RANDY We don't ever play any songs that y'all wrote. I never even heard one of 'em. Y'all just talk. THE JOHNSON We don't even play any songs with words at all that I remember. We ain't got no fuckin' microphone. Or speaker set up. TERENCE We wrote one last night standin' outside Mini-Mart. Morris called it "Stuart Drives a Comfortable Car." Then, you know, like on country songs in parenthesis it says "There is usually someone in the trunk." I came up with a tune just humming. DOYLE See Vaughan, you shouldn't question a genius. Morris is a modern day poet like in the old days. MORRIS Our latest composition is as follows: entitled: "The Thrill" -- "I stand on the hill Not for a thrill but for a breath of a fresh kill Never mind the man who contemplates doing away with license plates He stands alone anyway Baking the cookies of discontent By the heat of a laundrymat vent Leaving his soul" (Then like in poetry I have dot dot dot then drop down to the next line kind of off center.) "Leaving his soul parting waters Under the medulla oblongata of (then dot dot dot again) mankind." Silence for a moment as everyone in the room just stares at something other than Morris. TERENCE I don't think that's right. I believe dot dot dot come between medulla and oblongata or something like that. (Morris stares at him) Well it did. It wadn't before mankind, I know that much. MORRIS The dots are where I say they are. Melody and tune. That's your trade. You're a tunesmith Terence. VAUGHAN I don't really understand the meaning of the words. DOYLE If y'all don't shut up I'm gonna go out of my mind. And plus you're liable to bust a spring in Karl's head. He's already off balance. TERENCE That wadn't the way you made it up before, Morris. That's all I know. RANDY We don't need fancy words, we need to practice. We don't ever rehearse. THE JOHNSON We need some payin' gigs instead of just messin' around on first one patio and then another'n. RANDY Morris, you should just be the manager, you can't play nothin' anyway. Doyle jumps up and throws his whiskey bottle through the window. He has changed from groggy drunk to a wild-eyed madman in a flash. DOYLE We don't have a goddamn band! Y'all just shut the fuck up! We don't need no practicin' or managers cause we ain't no fuckin' band! Morris ain't no genius and the rest of you are just losers. Am I the only one sane human bein' around here? Just get the hell out of my house and don't come back! VAUGHAN It's not your house, Doyle, it's Linda's. DOYLE I'll kill you, you fuckin' faggot! You mind your own business. Now get out! Now, before I get too mad to turn back. TERENCE What about our instruments? Doyle grabs the handles of Terence's wheelchair and pushes him right out the screen door. We hear the chair clatter down the steps and a cry of pain from Terence. DOYLE Now! They all file out the door except Vaughan and Karl who sit frozen on the sofa. THE JOHNSON (turning back) You ain't right Doyle. Somethin's wrong with you. Nobody needs your shit. MORRIS (stops at the door) The dots just look good on paper. You don't sing 'em anyway. You're showing your true Aries colors now. DOYLE Get out of my goddamn face, you fuckin' buzzard! He slams the door and turns to see Vaughan and Karl on the sofa and Linda and Frank, in their nightclothes, standing in the doorway. DOYLE (CONT'D) I thought I told everybody to get out of my house. That includes cocksuckers and retards. Get off your asses and go. LINDA This is not your house, Doyle. This is my house and I'll say who stays and goes. You've got a house, why don't you go get one of your girlfriends and go home to it. DOYLE You know better than to talk like that when I'm hurtin'. Don't make me knock the piss out of you. VAUGHAN Doyle, don't you lay one hand on her. DOYLE That's funny. (to Linda) You go to bed and take snot nose with you. Linda walks up to him with Frank close behind. Vaughan gets up also. Karl stares at the floor rubbing his hands together. LINDA You're not stayin' here tonight. Go get sober before you come back. I'm tired of my child seein' this. Now you get yourself straight or I'll lock your ass out of my life for good. DOYLE You know what I told you, you even think of leavin' me, I'll kill you dead as a doornail. LINDA That might be better than this. VAUGHAN I'm a witness. I heard you threaten her life. DOYLE I thought I told you to keep out! LINDA Leave. DOYLE Don't tell me what to do. LINDA Leave. DOYLE Don't tell me what to do. LINDA Leave. DOYLE Don't tell me what to do. LINDA Leave. DOYLE (an inch from her face) Don't tell me what to do. She shoves him in the chest and he slaps her hard in the face. Vaughan starts looking for a weapon and Frank goes wild. He starts throwing anything he can find at Doyle. Empty cans, bottles, a lampstand. He connects with an encyclopedia to the head. Doyle goes to the door. His face has changed from angry to sad, almost pitiful. DOYLE (CONT'D) Okay, I'll leave and sober up. Everything's botherin' me, that's all. I'm hurtin' Linda. I love you. FRANK I hate you! DOYLE Well, I hate you, too. No I don't. I love your mama. Nobody understands what I go through. I'll leave. You bunch of freaks have fun. I'll call you tomorrow honey. I'm sorry. You can kiss my ass, really. (to Frank) You ever hit me again you little bastard and I'll make you sorry your daddy ever squirted your little ass out. He leaves and slams the door. Frank goes to Linda's side, as does Vaughan. FRANK You all right, Mama? LINDA I'm fine, honey. Let's just try and forget about tonight. FRANK We don't need to think bad thoughts, do we Mama? LINDA No, honey, we don't. (pause) I'll make some coffee and start cleanin' up this mess. Karl, you want some coffee, huh? KARL No, ma'am. Coffee kindly makes me nervous when I drink it. DISSOLVE TO: INT. LIVING ROOM - NIGHT Linda cleaning up the last of the mess. Frank comes in sleepy eyed in his pajamas. LINDA What are you doin' up again, Frank? You need to get a little sleep. FRANK Did Vaughan go home? LINDA Yeah, he has to go to work in a little while. I do too. FRANK Did Karl go to bed? LINDA I guess. He went to the garage. Poor thing, he's probably never seen such a crazy mess. He probably wants to go back and live in Mr. Cox's shop. FRANK I bet he don't. Karl likes me. LINDA I know he does. FRANK Mama? LINDA Huh? FRANK Is everything gonna be all right someday? I just stay nervous all the time just about. LINDA Yeah, honey, someday everything's gonna be all right. FRANK Doyle wouldn't really kill you, would he? LINDA I promise we're gonna get away from him. The time has to be right, that's all. I'd rather him get tired of me and leave me. Then he wouldn't want to hurt me. He wouldn't care then. We'll be fine. I promise. You go to bed now. (she hugs him) I love you. FRANK I love you, too, Mama. He goes to his room. INT. KITCHEN - NIGHT Linda goes into the kitchen and pours a cup of coffee and sits at the table. After a moment, she looks up and is startled to see Karl in the doorway. LINDA You scared me. KARL I didn't aim to. LINDA Want to sit down? Did you need somethin'? KARL No ma'am. Karl just keeps standing there and Linda keeps staring. KARL (CONT'D) Two fellers was on a bridge a takin' a leak and one feller says the water was cold and the other said it was deep water. One of 'em came from Arkansas, I believe. LINDA (puzzled) I'll be dog. More silence. KARL Do you reckon you can make me some biscuits? LINDA Right now? KARL Just whenever you take a notion to. I don't aim to put you out. LINDA Well, it is nearly breakfast time anyway. I can't go to sleep. I have to be at work in three hours. You know how it is when you just sleep an hour or two, you feel worse than if you hadn't slept at all? KARL Yes ma'am. LINDA Well, set down and I'll make some biscuits and gravy. KARL Mustard's good on 'em to me. LINDA Okay. Karl sets at the table and Linda starts to make the biscuits. KARL Thank ye. LINDA It's all right. (pause) You know I was thinkin' there's this girl that works with me. She's real heavy, but she's cute in the face. Well, you know, she's slow. She's a little bit, I think. She's not retarded, just -- it don't matter, listen to me. I thought you might like to meet her. Vaughan wants to have a little supper over at his house and we could invite her. Would you like that? KARL I wouldn't mind a havin' supper. LINDA Vaughan's "friend" will be there, too. He works at the funeral home. And Frank. You know Frank likes you a lot. He says you make him feel calm. KARL I like Frank. He's a good boy. Me and him's made friends. She keeps working. KARL (CONT'D) Hit ain't right for me to keep from tellin' you how come me to be put in the state hospital. LINDA That's okay. It's not really my business. I have wondered though. Why was it? Was it like a nervous breakdown? KARL I killed my mother and a old boy name Jesse Dixon. I thought they was a-doin' wrong. I was about your boy's age. They say I'm well now from it. Linda stops working and turns to Karl, a little shocked, but not as much as you would think. LINDA Was that you? I remember that. I was only three or four, but I always heard about it growin' up. (pause) They say you're well? KARL Yes ma'am. (pause) I like your garage. (pause) I wouldn't never hurt you or your boy. I'd lay my hand on the Bible and say the same thing. LINDA I believe you. I really do. EXT. COVS PARKING LOT - DAY Bill Cox is standing beside a garden tiller with an old man. Bill is trying to crank it up, but it won't start. A car pulls into the parking lot and Gerry Woolridge gets out of it and comes over to Bill. BILL How 'bout you, Jerry. WOOLRIDGE How are you, Bill? BILL Doin' pretty good. Got a sick tiller here. What's got you down this way? WOOLRIDGE Just thought I'd check on Karl and see if everything's working out. BILL Well, he's pretty quiet. Except for them rackets and breathin' things he does. Ain't threatened me with a killin' or anything. (laughs) But boy you couldn't of been more right about him fixin' things. That son of a bitch is a regular Eli Whitney on a lawnmower. Loves french fries. Eats four larges and don't even so much as belch. I'm proud to have him. WOOLRIDGE Is him stayin' here workin' out? BILL He's gone to stayin' over with that Wheatley boy and his mama in their garage. I think that little boy adopted him damn near like a mascot. But he's got a key here to come and go as he pleases. Everything's worked out good. WOOLRIDGE Can I see him? BILL Sure. Bill looks over at Scooter, who is putting up a sale sign on new mowers in the front window. BILL (CONT'D) Scooter! Run get Karl for me. EXT. PARKING LOT - DAY Woolridge and Karl lean on the hood of Woolridge's car. In the background, Bill and the old man tinker with the tiller. WOOLRIDGE Are you sure you're okay staying with that woman and boy? KARL Yes sir. WOOLRIDGE Do they know about you? KARL My history. WOOLRIDGE Yeah. KARL I told 'em about it. They know I'm well. That Mizz Wheatley made me some biscuits. WOOLRIDGE I'll be. KARL That boy, he's my friend. He likes the way I talk and I like the way he talks. WOOLRIDGE I knew you'd do all right. Well, I just wanted to check on you. I'll say bye to Bill and get on back. They walk over to Bill. BILL Karl, see if you can figure out what's wrong with this thing. It won't crank up and ever'thing seems to be put together right. Karl squats beside the tiller. WOOLRIDGE I'll see you, Bill. BILL Okay, stop back by. Don't worry about your boy here, he's doin' good. Karl looks up from the tiller holding the gas cap. KARL Hit ain't got no gas in it. BILL See there. Thinks of the simplest thing first. INT. VAUGHAN'S DINING ROOM - NIGHT Vaughan, ALBERT the "friend," Linda, Frank, Karl, and MELINDA, the Dollar-Store girl, are seated at the table. Karl and Frank are going at the delicacies while Melinda shyly picks at hers and the others are engaged in idle chit chat. This goes on for a few moments, then Albert's attention turns to Karl. ALBERT So Karl, do you intend to stay in the lawnmower business for a while or do you have other plans? KARL I reckon. VAUGHAN I think Karl is going to be a writer or a librarian eventually. You should see all the books he has. He must read constantly. KARL I ain't read 'em yet except two or three of 'em. I can't understand a lot of what I try to read. My mind, hit wonders off to somethin' else when I try to read. ALBERT I'm the same way. Of course, in my line of work, I stay too busy to read. But at least I have job security. People may stop doing a lot of things, but one thing is for sure, they won't stop dying. LINDA (looks at Frank) Why don't we talk about something a little more festive. VAUGHAN Does everyone like the food? Nods and yeses. VAUGHAN (CONT'D) Good. I haven't decided yet if I'm a good cook. LINDA Hey Karl, you know what? Melinda was voted employee of the month at the Dollar Store last February. Isn't that somethin'? KARL Yes ma'am, I reckon. MELINDA Well, when you like pricing items as much as I do, I guess it's just bound to happen sooner or later. VAUGHAN Karl, maybe you and Melinda might want to take a walk or something after dinner. It's a nice night. LINDA Vaughan, don't get pushy. VAUGHAN I'm sorry. KARL I like walkin' quite a bit from time to time. MELINDA I stay on my feet all the time at work. I just can't find shoes that's comfortable. ALBERT Hospital shoes might be the answer. Nurses' shoes. VAUGHAN Or the kind old ladies who work in the school cafeteria wear. ALBERT Same difference. MELINDA I get real mean when my feet hurt. It's the only time I don't like checkin' out the customers, when my feet hurt. LINDA Frank, you and Karl aren't talkin' much, you boys must really like that food. FRANK I just don't have anything to say about shoes. Silence for a moment. VAUGHAN Listen everybody, I know this may sound corny, I've had a few glasses of wine and that kind of makes me a little emotional, but I'm going to say it anyway. It just came over me in a rush. I want you all to know that I care about each and every one of you at this table. LINDA That's very sweet of you Vaughan. We care about you, too. Don't we y'all? Nods, grunts, "Sure do's." VAUGHAN Also, Melinda, please don't tell anybody at the store that Albert was here tonight, okay. MELINDA Why? VAUGHAN Well, a lot of people in town talk and spread cruel rumors. Unfortunately, I have to keep certain parts of my life private. MELINDA You mean about y'all bein' together in "that" way? VAUGHAN Yes. MELINDA I think everybody at the store knows that already. They always talk about it. Maureen Ledbetter told a awful story about why you ain't allowed over at the First Baptist Church no more. LINDA Karl, why don't you and Melinda go take a walk. It's nice out. KARL All right then. He gets up and walks toward the front door. Melinda gets up and tries to catch up. EXT. SIDEWALK - NIGHT Karl and Melinda are walking in the moonlight. It seems a little hard for Melinda to keep up. MELINDA You walk fast, don't you? KARL I reckon. They walk a little farther in silence. MELINDA These is the worst shoes I own for walkin'. How far did you want to go? KARL I ain't really thought about it too much I don't reckon. They walk until they disappear into the darkness. INT. COX'S SHOP - DAY Karl is on the floor working on a mower with Scooter, they are ad libbing semi-technical lawnmower things. Bill Cox appears in the door. BILL Hey Karl, they's somebody out here to see you. Some gal holding a nice bouquet. (Karl doesn't move) Come on now, she wants to talk to you. Don't just set there. Karl gets up and goes to the counter followed by Scooter. Melinda stands on the other side of the counter holding a cellophane wrapped store-bought flower assortment. Nobody says anything for a moment. MELINDA Hi, Karl, I'm on lunch break. These was on sale 'cause they're not fresh. Two ninety-nine a bunch plus my ten percent employee discount. Since I didn't bring you anything to our date last night, I thought you'd like to have 'em. She hands them to him. KARL Thank ye. BILL Scooter, let's me and you go over to Dairy Queen and pick up a few things for lunchtime. SCOOTER I can go. You don't have to. You don't never go. BILL Goddamnit, Scooter, come on. Pardon my language, ma'am. They start to leave. At the door, Bill Cox turns and winks at Karl. They exit leaving Karl and Melinda staring at the counter. They are silent for a while. MELINDA Well, I just thought I'd give you them. I liked walkin' with you. I got a blister the size of a quarter on one heel. Well, I'll see you sometime, I guess. She walks to the door and stops as if she expects Karl to say something. KARL A blister shore can hurt. MELINDA Yeah. KARL Flowers is pretty. I've always thought that. MELINDA Me, too. She leaves and Karl goes to the window holding the flowers and watches her walk away. EXT. SIDEWALK - DUSK Holding the flowers, Karl is walking down the sidewalk toward the Wheatley house when he sees Frank coming out the front door with a book and a flashlight. He sees Karl. FRANK Hey Karl, you off work? KARL Yeah. FRANK Where'd you get them flowers? KARL That gal that made employee of the month give 'em to me for awalkin' with her. FRANK I was goin' to the secret place. I borried one of your books to take down there. You ain't mad, are you? KARL Naw. You can look at all my books you want to. FRANK It's name's A Christmas Carol. KARL That's than un on Christmas I was tellin' you about. FRANK You want to go with me? KARL Yeah. EXT. SECRET PLACE - NIGHT Karl and Frank sit in the clearing, Karl on the stump, Frank on the ground. Frank is shining the flashlight on the book. He finishes reading a few lines and turns off the flashlight. FRANK I'm gettin' tired of readin' for a while. KARL All right then. FRANK Boy, folks sure had it rough back a long time ago, didn't they? KARL Yeah, I reckon they did. Hit like to tore me up when I read about that pore little cripple boy. FRANK Yeah, me too. (pause) That was nice of that woman to give you them flowers. KARL Hit was right thoughty of her. FRANK I was wantin' to ask you somethin'. KARL All right then. FRANK You know that girl I told you about. The one I love. KARL Yeah, I recollect it. FRANK Would you go see her with me? I kind of thought I might take her some flowers like that woman done you. KARL If you want me to. FRANK I ain't got no money to get 'em with but I bet Vaughan will let me have some of them flowers at the store. KARL I bet he will. I got a little money if he don't. I'll get 'em for ye. FRANK I usually get run off by her mama or daddy if they're home. Reckon why they don't like me? KARL They ort to. You're a good boy. FRANK Just 'cause I'm not rich don't mean I don't love her. KARL Naw. FRANK And I don't try to touch her. You know, in a bad way. Foolin' around, sex and all. KARL That's real good. You ort not to if ye ain't married to somebody. Bible tells you that much. Hit tells some things that don't seem right too, I reckon. I guess a feller ort to foller it close as he can, though. (pause) You don't touch yourself, do you? FRANK What do you mean? KARL Pull on your works. Your privates. FRANK Oh, jackin' off? KARL Yes sir. You ort not know that language. FRANK I didn't know till here while back a year or two ago when I spent the night with Ronnie Smart one time. He said just tug on your peter and think about your mama. I tried it, but I felt funny thinkin' about my mama. So, I switched over to thinkin' about his mama and then what he told me would happen, happened. It sure tingles, don't it? KARL You ort not to pull on yourself that away. FRANK I kind of like you tellin' me what to do and not to do. Just like my daddy. I didn't mind him tellin' me. I hate Doyle to tell me what to do. Mama said the only way to ever get away from him is for him to get away from us. That we can't leave him or he'll try and hurt her. KARL He ain't no count. FRANK You don't seem like a daddy. You seem like a brother. (pause) Wonder what makes you like somebody right off when you don't even know 'em like what happened with me and you. KARL I don't reckon I know. FRANK And then some people you don't like right off. It's funny. (pause) You know why I want you to play ball with me? KARL Naw. FRANK 'Cause it's fun. It don't matter if you ain't no good. It takes your mind off of everything else while you're doin' it. When you run real fast tryin' to make a touchdown you don't think about anything else. I ain't no good, but my daddy always said he was proud of me when I threw a ball or ran with it. Did you have any brothers and sisters growin' up to play with? KARL I had one there for little bit. Hit didn't get old enough to play with. FRANK Why not? It died? KARL Yeah. FRANK Why? KARL Hit was borned a little too early on. My mother and father made hit come too early some way or other. I reckon they changed their mind about havin' another'n. I was about six or eight year old then and they didn't care too much for me so I reckon they didn't need somethin' else to worry 'em with. FRANK So it died when it come out? KARL My daddy come to the shed out back and got me and said throw this here away and handed me a towel with somethin' in it. I went for the trash barrel there and opened up the towel to see 'cause they was a noise and somethin' movin' in it. Hit was bloody-like around that towel. Hit was a little ol' bitty baby, no bigger than a squirrel. FRANK It was alive? KARL Yes sir. Right then it was. FRANK A boy or girl? KARL A little ol' boy. FRANK You threw it in a trash barrel? KARL I didn't feel right about doin' that. I takened a shoe box from there in the shed and emptied out some screwdrivers and nuts and warshers from it and put the little feller in that and buried him in the corner of the yard there. That seemed more proper to me, I reckon. FRANK It was still alive when you buried it? KARL I heared it cryin' a little through that box. FRANK That don't seem right. It seems like you should have kept him alive and took care of him if he was your brother. KARL I wadn't but six or eight. I reckon I didn't know what to do. I didn't know how to care for no baby. Mama and Daddy didn't want him. They learned me to do what they told me to. These days I figure it might of been best to give him right back to the Good Lord right off the bat anyhow. FRANK That makes me feel real sad. Couldn't you have done somethin', Karl? I would have. I wish I would of had him. He'd be here right now. Livin'. KARL Hits been hard thinkin' about it. They ain't a day goes by I don't think about it. I kindly have a picture of it up in my head that I see. Hit makes me sad, too. I have bad thoughts on it. I wished they was somethin' I could of did, too. Shouldn't no bad things happen to childern. All the ol' bad things ort to be saved up for folks that's growed up, the way I see it. I shouldn't of told you about that. A boy ort not hear about such things. It just kindly come out. FRANK I didn't mean to say anything bad about you. I know you're good. You didn't mean no harm. (pause) Did you ever think about killin' yourself on purpose like my daddy did? KARL I've studied about it. The Bible says not to or you end up goin' to Hades. Some folks calls it Hell, I call it Hades. FRANK Bible says the same thing about killin' others, too. KARL Yes sir, I reckon it does. EXT. RESIDENTIAL NEIGHBORHOOD - DAY Frank, flowers in hand, and Karl approach a very nice two story house. They get to the door and Frank rings the doorbell. FRANK I always get nervous when I hear that doorbell. I'm okay just walkin' over, but somethin' about that dang doorbell. They have one room where you can't walk on the carpet or sit on the furniture. I don't see much sense in havin' it. The door opens and we see an older black lady, the HOUSEKEEPER. HOUSEKEEPER (eyes Karl) Son, I don't know why you keep comin' over here. You know these folks don't want you here. They run you off ever' time. Don't keep doin' this to yourself. You a sweet boy. Now go give them flowers to somebody that'll enjoy 'em. FRANK Ma'am, I really want to give them to Karen. HOUSEKEEPER (to Karl) You his daddy? KARL No ma'am. HOUSEKEEPER Well, whoever you are, you ought to talk some sense into him. That little old girl is way too fast for him and don't wanna see him no way. FRANK Will you get her for me. Please. I really want to see her. She'll want to see me, too, 'cause we're not in public. Just don't tell her folks I'm here. HOUSEKEEPER (sighs) Okay. She disappears and a moment later KAREN appears. She's thirteen, pretty and very neatly dressed. KAREN (put out) Hey Frank. You shouldn't be coming over here. My parents really don't want you to. FRANK I wanted to bring you some flowers. They're pretty good ones. KAREN They're from the Dollar Store. I'm not an idiot. Besides we have a garden full of flowers. She eyes Karl. FRANK I wanted for you to meet Karl, too. He's my new friend. But I feel like I've always known him. I thought you should meet him. KAREN Why? Hi, Karl. FRANK He's gonna be around a lot and I hope you are too, so... KAREN Here give me the flowers, I'll do something with them. Thank you. Now you better go. Maybe I'll see you down at the secret place one day in a week or two or something. I have a boyfriend now you know. And we're pretty serious. He gave me a ring. She proudly displays the ring. FRANK Can you go there with us now? Me and Karl. We could just hang out. Karl has some cool books. KAREN Frank, I just like you as a friend. Only at the secret place. Okay? I can't go there now. I'll see you later. FRANK But maybe just for awhile -- KAREN I'm closing the door now. I told you, I'll see you later. She closes the door. They stand therefor a moment, then walk away down the sidewalk. FRANK She said she'd see me later. That's kinda good, right? KARL I reckon. EXT. WHEATLEY HOUSE - DAY Frank and Karl walk up the steps to the house. Frank opens the door and they enter. INT. HOUSE - DAY As Frank and Karl enter, they see Doyle sitting on a footstool facing Linda who's in a chair. Doyle is holding both her hands and talking very softly to her. He sees the guys and looks up. DOYLE Well, I'll be damned, there's the boys. I'm glad y'all came in. I wanted to talk to y'all, too. I was just tellin' Linda here -- Oh hell, I'll just start over, set down you boys. They do, on the couch. DOYLE (CONT'D) Well, what it is is, I just, well I took off work early today and your mama was good enough to do the same so we could talk. I guess you'd say I'm really here to apologize, which ain't easy for me to do, about the way I acted the other night. I was just drunk and kinda got a little too worked up and one thing led to another. I care about y'all a lot, I do. I don't mean to be so damned, assholish I guess the word would be. Now Karl, I don't believe I hit you, did I? So no apology needed there I guess, but Frank, I'm sorry. I'm sorry I hit your mama. I'm just jealous of her. I don't like her life or the way she runs it. I don't like homosexuals and she buddies with one. I don't like little wimpy ass kids or fuckin' mental retards and she's got one of each livin' with her. (laughs) I was just kiddin'. But really I guess people need to get along even if they have differences. (pause) You see, I work construction. I build things. Do you realize how important that is to the world. I have a lot of pressure on me. The upshot is, I'm gonna spend a lot more time over here and we're gonna get along. Like a family should. (to Linda) I may even surprise you one day and pop the question. (he gets up) Well, I'm goin' back to work. I just wanted to give y'all some little piece of happiness today. (kisses Linda) See you tonight honey. Karl. Be a good boy, Frank. He leaves. LINDA Well, at least he's tryin'. But who knows for how long. FRANK He's lyin' Mama. He ain't gonna do better. LINDA I know honey. Just remember what I said, we'll bide our time. You just steer clear of him as much as you can. Doyle's had a real hard life. It's just about run him crazy I think. FRANK We've had a real hard life, too, Mama. Linda moves to the couch and puts her arms around Frank. LINDA You're a hell of a boy, Frank. Someday you're gonna get all the good things you deserve. And Karl here's gonna get some more biscuits tonight. What do you think about that? KARL I could shore use some. Thank ye. INT. SHOP - DAY Karl is cleaning some parts in a bucket of gasoline. Bill comes to the door. BILL Hey there Karl, can you come unload a generator for me? Karl wipes his hands on a shop towel and starts outside. EXT. PARKING LOT - DAY A MAN and a TEENAGE BOY stand by a pickup truck. A small generator is on the tailgate. BILL Karl, lift this thing down and carry it to the back. It's on the blink. (to man as Karl unloads it) We'll have it for you in a day or two, Walter. WALTER Y'ont us to he'p you there liftin' that? BILL Oh no, that dang Karl can lift a bulldozier. Fix anything, too. (confidentially) He's mentally retarded, but he's a whiz on small engines. Lord works in mysterious ways. Karl carries the generator toward the shop. He turns and watches the man and boy talking and laughing with Bill. The man playfully puts an arm around his son's neck and tousles his hair. WALTER Hell, he didn't just make the team, Coach says he's probably gonna start at end on defense. He's a chip off the old block. Ain't you, Steve? STEVE I guess so. Karl turns and goes in the shop. INT. WHEATLEY GARAGE - DAY Karl is on his cot reading a book. Frank comes in. He looks very depressed. He sits beside Karl. FRANK What you readin'? KARL Readin' on this book on how to work carpentry. I aim to learn how to build things out of wood one of these times. I've always been partial to wood buildin's and cabinets and whatnot. These drawin's they got here don't make no sense to me so far. (he looks directly at Frank, which he seldom does) You seem like yore tails a'draggin' a might. You got somethin' wrong with ye? FRANK Seems like Doyle's wormed his way back in. Mama said he's stayin' over tonight and he's talkin' about movin' in for good. We ain't ever gonna be happy. We'll always be nervous, won't we Karl? KARL I don't reckon I know. I ain't found no way yet and I'm three or four times as old as you. Might be that's just the way folks is. FRANK I feel sad about Karen Cross, too. I just make like to myself she loves me. I know better, though. It just feels good to me when I imagine it. KARL Make believin' always made me feel good too from time to time. They sit in silence for a moment. KARL (CONT'D) Bill Cox is goin' to a funeral for a Mister Turner tomorrow and a closin' up shop early. FRANK Is that right? KARL I'll play ball with ye. I reckon if neither one of us is no count it won't make no difference. FRANK You will? For sure? KARL Yeah. FRANK We'll be on teams, me and you? KARL Yessir. EXT. JUNIOR HIGH FOOTBALL FIELD - DAY It's the practice field, so it's not very well kept. Karl, Frank, and two other boys around Frank's age are huddled up. Four boys are lined on defense. They break the huddle and come to the line. They are on about the fifty-yard line. Frank hikes the ball to one of the boys. He later als it to Karl who stands there for a minute as the defenders run toward him. Then he takes off like the wind. He runs funny, kind of humped over and pigeon-toed, but fast. All the others are chasing him. Two of the other team's boys catch him on about the fifteen-yard line, but he drags them along. Karl sees Frank out of the corner of his eye and tosses him the ball just as Karl bites the dirt. Frank goes into the end zone untouched. There are cheers from Frank and the other boys. Frank runs over to Karl who's still on the ground. FRANK Way to go, Karl. We got a touchdown. That was a good lateral, man. That was just like the Wishbone. KARL I dern near had me a touchdown till them boys got a-hold of me there so I figured I better give it off to you. I seen you over there follerin' me. FRANK We're liable to win if we keep this up. For somebody like you, you sure run fast. He grabs Karl by the hands and helps pull him up. FRANK (CONT'D) Come on, let's kick off to 'em. EXT. SIDEWALK - DAY Karl and Frank, dirt, grass stains and all, walk toward home. FRANK I know you could of scored them three touchdowns by yourself instead of throwing 'em over to me. KARL Them boys was tryin' to pull me down pretty hard. FRANK You're strong though. You let me make them touchdowns so I'd feel good. My daddy used to do that kind of thing. They walk in silence for a moment. FRANK (CONT'D) It don't matter to me about us losin' does it to you? KARL No sir. FRANK It was fun, anyhow. KARL I wadn't thinkin' about nothin' else just like you told me I'd do. FRANK Can we play ever' Saturday? KARL If I ain't too stove up. I ain't like you. I'm old and give out. (pause) I'm proud of ye. INT. GARAGE - DAY Karl sits on his bed rubbing his hands together, deep in thought. EXT. STREET - DAY Karl is walking down the street past rundown houses. He comes to an old gray woodframe house. It is in bad repair, the paint is peeling, the yard is grown up. There is an old wooden shed in the back yard. He stands looking at it for a moment then walks through the yard and opens the door to the shed. He's motionless for a moment, then goes inside. INT. SHED - DAY Sunlight comes through the cracks in the wood. The shed has nothing but dirt for a floor. A few tall patches of grass shoot up between boxes and rusty lawnmowers. A few old garden tools hang on the wall. In the center is a low circular spot in the ground and a few tattered shreds of an old quilt. Karl stands looking at the hole for a moment, then turns and walks out of the shed. EXT. YARD - DAY Karl walks across the yard to the house. INT. SCREENED-IN PORCH - DAY Karl goes onto the screened-in porch, looks through the kitchen window and goes inside. INT. KITCHEN - DAY The place is a mess. Dirty dishes are piled in the sink and on the table. It's not just clutter, but filth everywhere. INT. LIVING ROOM - DAY Karl walks into an equally filthy living room where an OLD MAN in overalls sits slumped in a chair looking at his lap. Karl stands facing him for several moments. KARL I'm ye boy. OLD MAN I ain't got no boy. KARL I'm ye oldest boy name Karl. OLD MAN I ain't got no boy. KARL They turned me aloose from the nervous hospital. Said I was well. No response. KARL (CONT'D) I got hired to work for a Mr. Cox fixin' lawnmowers and whatnot. No response. KARL (CONT'D) That grass out in the yard's all growed up. I figured I might cut it fer ye. OLD MAN I told you, I ain't got no boy, now get on out from here and let me be. Long silence. KARL I learned to read some. I've read on the Bible quite a bit. I don't understand all of it, but I believe I understand a good deal of it. Them stories Mama and you told me ain't in there. You ort not to of done that to ye boy. (pause) I've studied on killin' you. But I don't reckon they's no reason fer it if all you're gonna do is set there in that chair. You'll be dead soon enough I reckon and the world'll be shut of ye. (Karl walks toward the kitchen and turns back to the old man) You ort not to of killed my brother. He ort to have had a chance to grow up. Sometimes he would of had fun. EXT. YARD Karl walks out of the house and across the yard to a hedge in the corner and kneels down. He pushes some grass aside to reveal a rock about afoot tall and afoot across. In front of it, the ground is raised a little. He stares at the rock for a moment and touches it. KARL Little feller. EXT. A LARGE OLD WOODEN SLAT BRIDGE - DUSK Karl stands on the side of the bridge looking into the river below. INT. WHEATLEY HOUSE - NIGHT All the lights are out. We see a shot of Frank in his bed asleep, but tossing and turning. Then a shot of Linda in bed staring at the ceiling and Doyle beside her snoring. Suddenly, the lights come on and Linda lets out a little yelp and sits up, which wakes up Doyle and he sits up with a start. From their P.O.V. we see Karl standing in the door holding a hammer. DOYLE What in the goddamn hell are you doin'? It's the middle of the night. LINDA What do you want, hun? KARL I want to be baptized. DOYLE Baptized? Well, get baptized then. I don't give a shit. Call a fuckin' preacher, goddamnit! I can't baptize you. LINDA We'll go to church and get you baptized, tomorrow's Sunday. You go on back to bed. DOYLE What are you doin' with that damn hammer? KARL I don't rightly know. I just kindly woke up a-holdin' it. INT. CHURCH - DAY We see a shot of Frank and Linda and Vaughan in a church pew. The church is pretty full. From their P.O.V. we seek Karl in a robe standing in the baptismal tank. The preacher takes Karl and dunks him under the water and brings him back up. INT. WHEATLEY LIVING ROOM - DAY Doyle is in his favorite chair as Linda, Frank, and Karl come through the front door. DOYLE How'd your baptizin' go? LINDA It went real good. DOYLE Well, that's good. It's about time to eat and you know what I'm cravin'? Some of that take out chicken. Why don't you run get some of it, honey, for lunch? LINDA (to Frank and Karl) Would y'all like that? FRANK Yeah, I guess. KARL Yes ma'am. I like a fried chicken leg. LINDA All right, y'all gonna go with me? DOYLE Naw, hell, let them stay here with me and do men things. There might be some kind of ball game on we can watch. You go on. LINDA I'll be back in a little bit then. She leaves and Doyle walks up to Karl and Frank. DOYLE I really just wanted to git your mama out of the house for a minute so we can have a talk. Y'all set down. They sit on the couch and Doyle kneels in front of them. DOYLE Now here's the deal. Now that I'm gonna throw my entire life away doin' what I want to come live here with y'all, we have to get a few things straight. See, Frank, me and you mama wouldn't have any problems if it wadn't for you. We'd never have a bad word between us. But since you do exist, if I'm gonna be here as the head of the household, we'll have to live by my rules. And my rules are you don't speak unless you're spoken to. Stay out of my way and do what a regular kid does. You're a weird little shit. I don't get you. So wake up. Face what they call reality. We're gonna be a family now. And it's my family. I'll be payin' the bills so you got me. But I ain't your daddy. You just treat me like I am. I'm the boss, okay. And the other thing is your friend Karl has to go. We can't have a normal family with him livin' in the garage and comin' in the bedroom at four in the mornin' with hammers and shit. See? FRANK Karl can stay if he wants to. Mama said -- Doyle slaps him across the face and Karl grabs Doyle's arm. Doyle shakes him off. KARL Don't hit that boy no more. DOYLE You shut up you, fuckin' retard. Get your shit and get out of here. (to Frank) That was a wake-up slap, Frank. Remember. Reality, like I said. Don't forget any bit of what I said to you and we'll be fine. Frank jumps up and runs from the house and Doyle sits back in his chair and pops a beer. Karl gets up and goes to the garage. INT. GARAGE - DAY Karl ties his books up with his strap and gets a bag from his bed and leaves. EXT. DRIVEWAY - DAY Karl is walking away as Linda pulls up in her car and gets out with fast-food bags. LINDA Where are you goin', Karl? Didn't you want some chicken and things? KARL No ma'am. I'm a'goin' off sommers. LINDA Well, okay. I got you some. KARL Frank, he went off, too. He ain't gonna be in there when you get indoors. LINDA Where'd he go? What's goin' on? KARL He wanted to go off and play, I reckon. (pause) You go in there and you and that Doyle eat ye dinner. You don't have to worry yourself none. LINDA All right then. Well, I'll see you later. If you see Frank, tell him to come on back home. I don't get to see him all day except Sundays. He can play tomorrow. KARL Ma'am? LINDA Yeah. KARL You're a good mama to that boy. You care for him. You work hard fer him to take care of him. You light him up in his eyes, I've seen it. He wouldn't know what to do without ye. LINDA Well thank you, hun. That's real good of you to say. I wouldn't know what to do without him either. KARL You've been real good to me, too. It ain't ever'body that'd make biscuits in the middle of the night. You and that boy has give me a good feelin'. LINDA We sure like havin' you. KARL Thank ye. (Karl walks away, then turns) I'm just getting around to tellin' you, but I fixed your warshin' machine. EXT. SECRET PLACE - DAY Frank is on the ground digging a trench in the dirt with a stick. He hears footsteps in the leaves and looks up and sees Karl coming toward him. FRANK Hey, Karl. How'd you know to come out here? KARL I knowed you'd be here. (Karl sits on the stump) What are you a-doin' digging with that stob? FRANK Just diggin'. (pause) I ain't ever gonna be happy now. Not with that son of a bitch movin' in for good. I wish me and you and Mama could just run away. But she said he would find us wherever we went. He's crazy. Sometimes I think it would of been better if I wadn't ever born. KARL I'm glad of it you was borned. (pause) I reckon I ain't gonna be there in the garage no more. FRANK You have to Karl. You have to look out for me. You don't let that son of a bitch run you off. KARL You're just a boy. You ort not to use that sort of language. FRANK Karl, I ain't tryin' to say nothin' bad about you, but why don't you stop Doyle when he gets that away? You're older than him. You're strong, too. My daddy wouldn't let him do that to me and Mama. KARL That feller's a whole sight meaner than me. He'd just whup the tar out of me. FRANK Yeah, I guess so. I'm real tired, you know that. A kid my age shouldn't be tired of things. KARL I'm tired, too, Frank. (pause) If I ain't around no more, it don't mean I don't care fer ye. I care for ye a good deal. I care for you more than anybody they is. We made friends right off the bat. FRANK I care for you, too. But you'll be around, don't say that. KARL Hit don't make no difference where I was to be. We'll always be friends. There ain't no way to stop that. (pause) I aim for you to have these books. He hands him the books. KARL Maybe you can make more sense out of them than I can. I made you a little old book marker and stuck it in that book on Christmas. FRANK You don't want to give away all your books. KARL I aim fer you to have 'em. FRANK Man. Thanks. (pause) You know when you get a feelin' and you don't know why? KARL Yes sir. FRANK I've got a feelin' today. KARL Reckon what kind of a feelin'? FRANK Like something different. I don't know. (pause) You're leavin' ain't you, Karl? KARL Will ye do somethin' for me if I ast you to? FRANK You know I would. Whatever you want. KARL Don't go home tonight and stay with that Doyle. He's got it in for ye tonight. I got me a feelin', too. Feels like to me you ort not be there in that house with him liquored up and mean. Ye mama neither. When you get up from here, I want you to go to that feller's house. Your mama's friend. I want you to give me your word on it. FRANK Okay. I give you my word. Is ever'thing gonna be okay? Are you all right? KARL Ever'thing's okay, boy. I kindly want to put my arm around ye for a minute and then I'm gonna go on and leave here. FRANK Okay. Karl lays his arm on Frank's shoulder and Frank puts his hand on Karl's arm. They sit like that for a few moments, then Karl gets up with his paper sack and walks away. Frank takes the book marker out of the Christmas book. It is just a folded piece of notebook paper. On it is written 'You will be happy.' He looks up at Karl who is now thirty yards away in the trees. FRANK (CONT'D) Karl! Karl turns around and he and Frank stare at each other through the trees. EXT. VAUGHAN'S HOUSE - DAY Karl knocks on the door. After a moment, Vaughan answers in a pair of big shorts and a sweatshirt. VAUGHAN Karl, what are you doing here? Come in. KARL I ain't a-stayin'. I need to ast you fer a favor. VAUGHAN Okay. KARL This evenin' I want you to go get Mizz Wheatley and that Frank and have them stay with you tonight. VAUGHAN What's wrong? Is everything okay? KARL That dern Doyle is in a bad way again with that drinkin' and bein' mean to folks. Will you give me your word you'll do it? VAUGHAN Well, sure, okay. He hasn't hurt them, has he? KARL Naw, not yet. (hands the bag to Vaughan) I want ye to give this to Mizz Wheatley. Hit ain't much, but maybe there's a little somethin' to hep out. Hits what I've earned fixin' lawnmowers and whatnot fer Bill Cox. Vaughan takes the bag. VAUGHAN What about you, Karl? Do you want to stay here? KARL I don't reckon you have to go with women to be a daddy to a boy. (pause) You've been real square dealin' with me. The Bible says two men ort not lay together. But I'll bet you the Good Lord wouldn't send nobody like you to Hades. Some folks calls it Hell, I call it Hades. (Karl starts away) That boy lives inside of his own heart. Hits an awful big place. You take care of that boy. Vaughan watches Karl walk away. EXT. BUS STATION - NIGHT Karl stares at the bus station door. EXT. WHEATLEY HOUSE - NIGHT Karl stares at the house from the sidewalk. EXT. OLD WOODS BRIDGE - NIGHT Karl stares into the river. INT. COX'S SHOP - NIGHT Karl has a lawnmower blade sharpening it on a grinding wheel. EXT. WHEATLEY HOUSE - NIGHT Karl carrying the blade walks onto the porch and enters the living room. INT. LIVING ROOM - NIGHT Doyle is in his chair drinking beer and watching TV. He looks up as Karl comes around and sits on the sofa. DOYLE Where's ever'body else? You seen 'em? (no response) I thought I told you to get the hell moved out of here anyway. KARL How does a feller go about gettin' ahold of the police? DOYLE (CONT'D) Pick up the fuckin' phone and call 'em, I guess. KARL What numbers do you punch? DOYLE I told you to get away from here, didn't I? I'm tryin' to relax and look at TV. (notices blade) What are you doin' with that piece of iron? I swear to God you're the weirdest son of a bitch I ever heard of. KARL I aim to kill you with it. Doyle keeps drinking and watching TV. DOYLE Yeah, okay. Well, to get the police you push 911. You'll need to tell 'em to send an ambulance, too. Or a hearse. You fuckin' idiot. You're gonna kill me. (laughs) Karl gets up and walks slowly toward Doyle out of frame. We see the flickering light of the TV on the wall. O.S. we hear one short dull thud. DOYLE (O.S.) Oh God! Oh God! We hear one more thud, then the sound of Doyle's body hitting the floor. Karl appears in frame again and we follow him to the kitchen where he picks up the wall phone. He stares at it for a moment, then pushes 911. He has a few specks of blood on his face, hand and shirt. KARL (into phone) Yes ma'am. I need the police over here at the Wheatley house. (pause) I've killed somebody with a mower blade. (pause) Yes ma'am, I'm right sure of it. I hit him two good whacks. That second time just plumb near cut his head in two. (pause) Hits a little old yeller house right on the corner of Marigold Street and some other street. They's a red pickup truck out front says DOYLE HARGRAVES CONSTRUCTION on it. I'll be a settin' here waitin' on ye. Beside sendin' the police, Doyle said you might want to send a ambulance or a hearse. Thank ye. He hangs up and goes to the refrigerator and takes out a jar of mustard. He gets a knife out of the drawer and sits at the kitchen table and pulls back a table cloth that is covering up some leftovers. He picks up a biscuit and opens the mustard jar and runs the knife around it. There's hardly any mustard in it. He dabs a little on the biscuit and takes a bite and relaxes to wait for the law. CUT TO: CLOSE UP OF CHARLES THE NUT CASE He's in the middle of one of his sick monologues. We pull back and see we're in the recreation room of the hospital again with Karl in his usual chair listening to Charles. Karl is now wearing the hospital issue clothing. CHARLES ... on the third day I washed her. She wasn't very clean. I got all the right spots. She was the first one I ever kept for any length of time, you see I get bored easily, I have a short attention span. I can't say she enjoyed her stay, although the washcloth in her mouth held in place by good duct tape kept any complaints to a minimum. I don't really like people who talk a lot. I like to do the talking. I guess that's why I'm so fond of you. You're so easygoing, although I do sense a little tension in you sometimes. By the way, how was it out there? Did you have any fun? Make any new acquaintances? Tell me what it was like. KARL They was a boy. We made friends. CHARLES I bet you did. I was never bent that way. I'm bent the other way. So, you liked it out there in the world. KARL It's too big. CHARLES Well, it's not too big in here, is it? (pause) I feel very generous today. I feel like listening. I'm sure you have plenty to tell me. And please bore me with the details. (long pause) ) Come on Karl, who did you kill? Was it the boy? KARL Don't say nothin' about that boy. Karl looks him right in the eye for the first time ever. KARL Fact the bidness, don't you say another word to me. I ain't listenin' to you no more. Karl gets up and goes to the window and looks out at the grass that separates him from the next building. He stares out the window, as we: FADE OUT. THE END
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+                                    SLITHER                                                       written by                                             James Gunn                                                                                         September 10, 2004                    FADE IN:                              INT. HIGH SCHOOL CLASSROOM - DAY                    CLOSEUP: A slender woman's hand writes on a chalkboard,          in teacherly cursive.                    We PULL BACK to REVEAL STARLA GRANT, a stunningly beautiful          Southern woman in her twenties, as she finishes writing          out, "SURVIVAL OF THE FITTEST"                    Starla glances at the classroom of high school students.          She is a demure woman, somewhat awkward in her speaking,          but she has the rapt attention of all the boys in the          class.                                             STARLA                     When Darwin said 'fittest,' he                     didn't necessarily mean the                     strongest or the most intelligent,                     or any one trait -- he merely meant                     those organisms most well-suited                     to their environment.                    The boys in the class look her up and down as she speaks.          KYLIE STRUTEMYER, a pretty student, notices a BOY beside          her drawing Starla, only without her clothes. She hits          him. He CHUCKLES.                                             STARLA                     We humans think we're more fit,                     more evolved, because we're smarter.                     But we're neophytes. We've been                     around two million years, give or                     take. The cockroach has been here                     for 350 million. You tell me who's                     the more successful species.                    A BOY raises his hand.                                               STARLA                     Will.                                             WILL                     How's all this go with how the                     Bible says there ain't no dinosaurs?                    Some of the kids LAUGH at the boy.   Starla pauses, about          to answer, when the BELL RINGS.                                             STARLA                     We'll tackle that tomorrow...                     Everyone bring your boxing gloves.                    The kids start to leave.                                                                             2.                    EXT. MAIN STREET - DAY                    Celebratory banners are strung over this street, including          one that reads: "DEER SEASON STARTS TODAY!" We're in the          center of Wheelsy, South Carolina, a moderately depressed          small town. Today's a big day, as HUNTERS from far and          near crowd the streets in their massive pickups.                    MEN spill in and out of a gun store buying loads of          ammunition. OLD HUNTERS with faces like prunes stand          outside Angell's Tavern getting drunk. A MAN WITH FEW          TEETH has a dead deer strung out across the back of his          truck, skinning the carcass, its innards spilling loose.                    JACK, an older, uptight man in fancy clothes, is driving          through town in his big old Cadillac. He comes upon a          hunter's truck, double-parked, jamming up traffic. Jack          jams on his HORN.                                            JACK                    Get the fuck out of the way,                    cocksucker!                    Jack turns to see a MOTHER and her two CHILDREN on the          sidewalk, listening and staring in shock.                                            MOTHER                    Mornin', Mayor.                    Jack smiles, a bit embarrassed. Jack notices a group of          HUNTERS on the sidewalk, looking and pointing at something          up in the sky.                    He looks up to see a small meteor plummeting toward earth.                              EXT. HIGH SCHOOL - DAY                    Students file out of the open door for the day. Kylie,          Starla's pretty student, is among them. She and her FRIEND          are looking up at the falling meteor.                                            KYLIE                    Prolly go find it later, sell it                    on eBay.                              EXT. HORSE RANCH - DAY                    A RANCHER with a cleft palate turns his head to see the          meteor, much closer to him. It's rushing down toward the          treetops of a nearby forest.                                                                            3.                    INT. GRANT'S OFFICE - DAY                    A framed wedding photograph of a very young Starla and a          large man is sitting on a desk. The photo TREMBLES          LIGHTLY, with the impact of the meteor hitting the earth.                    GRANT GRANT, a large, indelicate man in his mid forties,          notices the photos on his desk moving. He looks up from          his desk and out his door, where there's a GLASS WORKSHOP.          Two WORKERS are carrying a large pane of glass, looking          relieved they didn't drop it.                                            GRANT                    Just a tremor, boys.                    Grant goes back to filling out the tags of file folders          with a Sharpie.                              EXT. POLICE STATION - DAY                    Four cops -- BILL PARDY, the town's young,   relaxed, and          handsome Chief of Police, WALLY, an older,   toad-like cop,          TREVOR, a younger, somewhat goofy cop, and   MARGARET, a          mannish cop -- are standing stock-still in   the station          parking lot. They CHUCKLE.                                            TREVOR                    Did ya' feel that?!                    They enter the station.                              INT. POLICE STATION - DAY                    The four cops start to remove their holsters and so forth,          finished for the day.                                            TREVOR                    I always get afraid when that                    happens, 'cause what if the ground                    cracks open and you fall inside?                    It's so hot in there you get all                    burnt to nothin' like that --                          (snaps)                    Happened to my uncle Barry.                    Wally and Bill LAUGH at him.                                            WALLY                    Who told you that story, Trevor?                                              TREVOR                    My aunt.                                                                             4.                                            BILL                    Your uncle Barry left her for a                    stripper up in Winnsboro.                    Trevor looks shocked, sad.                    SHELBY, a slightly dim dispatcher, on his headset at the          police operator's unit, swirls toward them, alarmed.                                           SHELBY                    Chief! We got a 'mergency over at                    the diner!                              INT. DINER - LATER                    The four cops move in.   There's a COMMOTION.   Most of the          patrons are standing.                                            WAITRESS                    Back there, Bill!                    The Waitress nods back through the service window, into          the kitchen, where a large DOE is hopping around. A          DISHWASHER stands on the counter, YELPING with fear.                              INT. DINER KITCHEN - MOMENTS LATER                    Bill, Wally, Trevor, Margaret, and the Waitress enter.          The doe skips around.                                            WAITRESS                    She slipped in, was eating trash.                    We seen it on TV, how they kill                    ya'--                                             BILL                    Right.                                            WAITRESS                    So we thought we best call in.                    Bill spots the open rear door, and tries to herd the deer          toward it.                                            BILL                    Come on now, honey, door's this                    way.                                            MARGARET                    It's open season. Let's shoot                    her.                                            BILL                    She's just scared, Margaret.                                                                           5.                                            WALLY                    Also, Bill likes to take a female                    through the back door any chance                    he gets.                    Wally and Margaret LAUGH. Trevor snatches a dish-towel          and rushes the doe, using it like a cape. The scared doe          leaps away from him, jumping onto the kitchen counter.                                            BILL                    She ain't a bull, Trevor!                    The animal kicks off a pot, which hits Margaret.                                            MARGARET                    Goddamn bambi-rat!                    As the doe jumps to the floor, she gets her hoof wrapped          in a telephone cord.                    The cord is plugged into the wall, trapping the doe in          place. Wally, Margaret, and Trevor attempt to dive for          the cord, but can't avoid the doe's crazy, flying hooves.                                            BILL                    Get back.                    The other cops step away.   Bill steps slowly toward the          doe, speaking calmly.                                            BILL                    It's okay, sweetheart.   Nobody's                    gonna hurt you.                    The doe looks at him, settling a bit.   His voice seems to          be soothing her. Bill gets closer.                                            BILL                    That's right. Just gonna pull                    this cord out. It's gonna be all                    right.                    The cops and restaurant folk look on in awe as the doe,          breathing heavily, becomes still. Bill scoops close past          her, and yanks the telephone cord out of the wall.                    Bill smiles. Then the doe runs forward, almost knocking          Bill over, and streaks out the back door.                    Bill, Wally, Margaret, and Trevor move up to the doorway          and watch the deer skitter off into the woods beyond,          dragging the telephone, tied to her leg.                                            BILL                    Hell, she took a phone. Now them                    forest critters are gonna be calling                    us all hours of the night.                                                                               6.                    Everyone LAUGHS.   Wally pretends to be on the phone.                                            WALLY                    Chief of police there? This a                    squirrel. Bring me a bag of                    peanuts, motherfucker!                    Everyone LAUGHS some more.                              INT. GLASS WORKSHOP - EVENING                    Grant locks his office for the day.   His SECRETARY sees          him going.                                            SECRETARY                    'Night, Mr. Grant.                                            GRANT                    See ya', Ashley.                    Grant walks across the workshop toward the door. He sees          a crowd of WORKERS lounging around a glass-cutting table,          LAUGHING at something.                    Some of them nod at Grant, and he nods back.   But he's          completely outside their circle.                              EXT. GRANT HOUSE - NIGHT                    A sizable two-story suburban home.    All the lights are          off but one.                                            GRANT (O.S.)                    So I get home today, phone's                    ringing. It's Hank Wilcox.                              INT. GRANT DINING ROOM - NIGHT                    Starla and Grant eat dinner in this well-decorated room.          As Grant chatters, Starla occasionally smiles politely at          him.                                            GRANT                    Callin' for you. What the hell?                    I said, 'Hank, that's a little bit                    outta line don't'cha think, a single                    man callin' someone's wife?' At                    night, nonetheless.                    Starla is quiet, almost afraid:                                                                               7.                                            STARLA                    He's teaching environmental science,                    Grant. Probably wants to borrow                    my lesson plans from last semester.                                            GRANT                    Oh yeah, that's what he wants to                    borrow, this guy.                                            STARLA                    It's just a work thing.                                            GRANT                    Work thing hell, Starla. He just                    wants to get in your pussy. Him                    and most these other ones around                    here. That's where their minds is                    at, them sick fucks.                    Grant takes a big bite of food, stuffing his mouth.                                            GRANT                    I'll tell you, sugarplum, you're                    lucky you got me. You're too damn                    trusting. Without me to protect                    you, you'd get kilt one of these                    days.                    Starla nods.                              INT. GRANT MASTER BATHROOM - LATER                    Starla stares at herself in the mirror as she brushes her          hair. She uses long, slow strokes, as if stalling.                                            GRANT (O.S.)                    Sugarplum, you coming into bed?                    Starla turns toward the door.       She doesn't say anything          for a moment.                                               STARLA                    Just a second.                    Starla sets her brush down on the counter. She arranges          it neatly beside the others. And walks into the bedroom.                              INT. GRANT BEDROOM - MOMENTS LATER                    Grant turns off the TV as Starla gets into bed with him.          It's almost completely dark in here.                    Grant crawls on top of Starla. He kisses her and grabs          her in a way not meant to be rough, but is utterly without          grace.                                                                            8.                    After doing this for a few moments, Starla starts to push          him off her.                                            STARLA                    Grant, no -- I'm sorry, I'm just --                    I'm not in the mood.                    Grant is on top of her, breathing a little too heavy.                                            GRANT                    Come on, baby, it's --                                             STARLA                    I'm sorry.   I don't just have some                    switch.                                             GRANT                    Sure you do.                    Through Starla's nightgown, Grant pretends to flick one          of her nipples.                                             GRANT                    Flip.                    Then the other.                                             GRANT                    Flip.                                            STARLA                    That's disrespectful.                    Grant, peeved, gets off of her. He sits on the edge of          the bed for a moment, in silence. Starla looks afraid.                                            GRANT                    When are you in the mood, exactly?                    Seems to me that mood's as rare as                    winnin' the Goddamn lotto.                    Grant grabs his slacks off the valet and starts putting          them on.                                            STARLA                    Where are you going?                                            GRANT                    I'm just some big clown to you,                    ain't I?                                            STARLA                    That's not true -- Where are you-?                                             GRANT                    Out.                                                                          9.                    INT. HENENLOTTER'S SPORTS BAR - LATER                    Grant sits at the bar, knocking back a shot of tequila.          He's getting drunk. He taps his glass.                                            GRANT                    Hit me again there, killer.                    The BARKEEP fills his drink.                                            BARKEEP                    Hey, Grant, how's it you come to                    have the same last name as first?                                            GRANT                    Parents thought it sounded pleasant,                    I s'pose. Joke on me, ain't it?                    Grant notices a woman with a lot of makeup -- BRENDA          GUTIERREZ -- staring at him from across the bar, smoking          a cigarette. Grant stares at her, trying to figure out          who she is. She slides off her stool.                    She sashays toward him. She props herself on the stool          beside him, leans drunkenly in toward him.                                            BRENDA                    Megan Halesy' little sister.                                             GRANT                    Shit.   You're kidding me.                                                BRENDA                    Nope.   Brenda!                                            GRANT                    Hell, you were --                    Grant holds his hand only so high.                                           BRENDA                    I was! And I'll tell you somethin',                    Grant Grant. I's in love with                    you.                    Grant stares at her.                                            BRENDA                    My sister Megan, she's a big fat                    cow. Was then, even more so now.                    I'd be thinking, what'd you see in                    her ain't in me?                                            GRANT                    Shit, girl, you couldn't'a been                    eleven.                                                                            10.                                            BRENDA                    Hell, I was game!                    She LAUGHS. So does Grant. He stares at her,          contemplating sinful things. He nods at her wedding ring.                                            GRANT                    Who's the lucky fella?                                            BRENDA                    Fuck lucky. Never marry a damn                    half-Mexican.                                               GRANT                    Already ain't.     Married a gal named --                                            BRENDA                    Starla Covington. Don't be                    ignorant. Everyone knows that.                    Fucking prom queen.                    Grant thinks.                                               GRANT                    Yeah.                    Grant finishes his drink, and gets up to go.                                            BRENDA                    Where you goin'?                    Grant speaks more loudly than need be:                                            GRANT                    Starla, she gets real worried 'bout                    me I stay out too late. Loves me                    too much, that one.                    He glances around to see if people have heard, and stumbles          out.                              EXT. SHADED CREEK - LATER                    Grant sits on a boulder beside a creek, looking miserable,          downing a six pack.                    He throws an empty can into the creek, when he glances          down and sees particles flowing down the river.                    Grant slides off the boulder. He kneels and examines the          particles. They shimmer in the moonbeams coming down          between the trees.                    Grant peers up the creek from where the particles are          coming.                                                                            11.                    He sees a gap on the edge of the creek, where water          splashes and is diverted in streamlets down the hill.                    He approaches the spot, and comes upon a small crater on          the side of the creek. The meteorite is inside the crater,          but it's cracked into pieces. The rock seems almost          organic, like a shell. The shimmery specks are part of          the shell itself, flecking off into the creek and rushing          downstream.                    Grant crouches. He touches the meteorite, and feels some          sort of goo inside it. It's sticky.                    He notices a strip of the same slime leading out of the          crater itself and into the woods.                    Grant, curiously, slowly, follows the slimy trail.                    He comes to a flurry of colorful wild flowers. Something          is rustling the flowers ever so slightly. He moves in          closer.                    A gelatinous yellow organism slithers sluggishly between          the flowers. The organism is a mound a few inches high,          gross and veiny, yet as colorful as the flowers around          it. A small cavity on the apex of the organism constricts          and expands lightly. I guess it's not worth keeping secret          that this thing looks a tad like a bright yellow vagina.                                             GRANT                    What the...?                    Grant is a little freaked-out by this thing, even          frightened. He looks around for someone else.                                            GRANT                    Hey, anybody 'round here?   'Lo?                    No one answers. Grant looks down at the organism, unsure.          He picks up a tree branch.                    Grant softly prods the organism with the pointy end of          the branch.                    Nothing happens.                    He does it again.   The thing pulses a little, and surges          toward Grant.                    Grand pokes it again.                    A small, thin quill -- a SPORE -- emerges from the cavity          in the center of the organism. The spore is quivering          and, as it trembles upward, little bulbed spurs pop up as          well.                    Grant slowly bends down to look at it when --                                                                          12.                    The SPORE suddenly SHOOTS OUT.   It strikes Grant in the          stomach.                                            GRANT                    Ow!   Fuck!                    Grant yanks up his shirt, looking at a wound on his          abdomen. He watches as the spore quivers and disappears          inside him.                    He clutches his stomach, SCREAMS in agony. He falls back          into the colorful flowers. His body convulses.                                                                  MATCH CUT TO:                              CAT SCAN SHOT - INT. GRANT'S BODY                    We see the insides of Grant's body, as if sliced in half.          We ZOOM IN on the little spore, which is jittering up          through his body, and into his neck.                    The spore keys into the base of Grant's cerebellum, and          his entire brain crackles with a WHITE ELECTRICAL ENERGY.                              BACK TO SCENE                    Grant freezes in place, his fingers contorted up in front          of him, silent. He's utterly still, a wax corpse.                    A hippie CAMPING COUPLE run into the area, looking for          the source of the screams. The man looks down at the          frozen Grant.                                            CAMPER                    Over here!                    The Camper crouches down beside him.                                           CAMPER                    Hey, man. You all right?...                    Dude?... Oh shit.                    The Camper turns from Grant to his girlfriend.                                            CAMPER                    I think he's d --                    Grant GASPS suddenly, sitting up and grabbing the man,          like a drowning man popping up above water. The Camper          YELPS and jumps back. Grant sweats and heaves, trying to          speak, but hardly can --                                            GRANT                    It's taking... my... brain.                                                                            13.                                            CAMPER                    Buddy?                    Grant's eyes glaze over, and he eases off. He heaves          there, momentarily confused. His eyes dart around, as if          seeing his surroundings for the first time. Grant stands.                                            CAMPER                    You all right, man?                    Grant looks down curiously at the camper. Then he turns          and stumbles away from them, out of the forest.                                            CAMPER                    That might of been a stroke, buddy.                    You better take it easy.                              INT. GRANT'S PICKUP - DAWN                    Grant drives down the road in his luxury pickup truck,          sweating and blinking rapidly.                              EXT. GRANT HOUSE - MORNING                    Grant steps out of the truck in his driveway, when he          hears --                                            NEIGHBOR (O.S.)                    Hey ya', Grant.                    Grant swings his head toward his NEIGHBOR, who is taking          a happy BEAGLE for a morning walk.                                            NEIGHBOR                    What were ya', night-fishing again?                    You catch anything?                                            GRANT                    I caught a little somethin', yeah.                    Grant walks inside his house.                              INT. GRANT FOYER - MORNING                    Grant looks around the foyer.                              INT. GRANT BEDROOM - MORNING                    Grant creeps into the bedroom, looking around.   We can          hear the SHOWER RUNNING.                    Grant spots his face in a mirror above the dresser. He          moves in close to the mirror, and stares at his own image.                                                                            14.                    He pulls on his face a little, his eyes brimming with          excitement. He smiles at himself.                    Grant looks toward the open bathroom door, where he hears          the running shower. He creeps toward it.                    Grant peeks around the doorway. Starla is in the shower,          soaping herself. She looks beautiful there. Grant tilts          his head to the side like a dog. He watches her,          mesmerized, even moved.                              INT.   GRANT BATHROOM - MOMENTS LATER                    Starla is wearing a white towel and brushing her wet hair          in the foggy bathroom mirror when she hears Air Supply's          EVERY WOMAN IN THE WORLD coming from the bedroom. She's          struck by it.                    She moves toward the door.   Opens it.                              INT. GRANT BEDROOM - MORNING                    The shades are drawn, darkening the room. A few candles          have been lit. Grant is standing there, mostly in          silhouette. He's silent, and he doesn't move.                                             GRANT                     Hey there, sugarplum.                    Starla looks at him, stirred.                                             STARLA                     Haven't heard this for a while.                    Grant walks toward her. He takes her hand in his own,          lifting it beside him. He wraps his other arm around her          waist. And he slow dances with her. Starla dances too,          a bit hesitantly, a bit shy.                                             STARLA                     I never danced in a towel before.                                             GRANT                     Wearing white, just like on our...                     wedding day. I remember it.                    Starla nods.                                             GRANT                     I'm sorry about last night. I get                     a little insecure sometimes, want                     to hold on too tight. It's just                     'cause you're precious to me,                     Starla.                                   (MORE)                                                                          15.                                            GRANT (CONT'D)                    But I swear to God, baby, I'm                    turning over a new Goddamn leaf.                    Okay?                    Starla nods, touched.    Grant's eyes are teary.                                            GRANT                    I love you, sugarplum.                    Starla and Grant kiss, tenderly.                    Grant falls to his knees in front of her. He runs his          hand over the curve of her hip, her thigh, her buttock,          with as much fascination as lust. He pushes Starla back          onto the bed.                    He lifts her leg, and kisses it, nibbles on it a little,          scrapes his teeth on it. Starla is surprised by this,          but enjoys it too: it's probably the most foreplay she's          had in years.                    Grant crawls on top of her, runs his hands over her          breasts, her face. Starla's hand moves over Grant's back,          and to his stomach. When she stops, startled.                                            STARLA                    Grant, what's that?                    She gazes down at the wound between them, on Grant's bare          abdomen, where the spore entered him. The wound is          yellowish, and surrounded by veins.                    Grant, embarrassed, pulls his shirt down.                                            GRANT                    Just a little bug bite is all.                    Grant kisses and munches on Starla as she lies back on          the bed, enjoying it.                    O.S. HUMMING.                                                                       FADE TO:                              INT. TEACHER'S LOUNGE - DAY                    Starla is HUMMING Every Woman in the World as she drops          coins into a soda machine and chooses Tab. JANENE, a          heavyset black teacher, notices this.                                            JANENE                    What are you so smiley about, girl?                                              STARLA                    Oh, nothin'.                                                                            16.                    Starla grabs her soda and sits down with Janene.   Janene          just stares.                                             STARLA                     Just, Grant and I had a nice                     morning. It's been a while.                                             JANENE                     Oh! You got that fresh-fucked                     glow, don't you?                                              STARLA                     Janene.                                              JANENE                     You slut.                                              STARLA                     Hush.                                              JANENE                     No shame.   You're a married woman.                                             STARLA                     He was... considerate. Maybe this                     is the start of a real change in                     Grant.                              INT. GRANT BATHROOM - DAY                    Grant is holding up his shirt, and looking at his torso.          The wound on his side is blackened and gangrenous, and is          starting to puff up into a veiny little spout. A fuzzy          bluish moss is growing in the crevices around the spout.          A pus oozes out.                    Grant looks concerned. He squirts some Neosporin onto          his fingers. He massages it slowly into the wound.                              INT.   GRANT KITCHEN - MOMENTS LATER                    Grant opens the refrigerator door and rummages around          inside. He pulls out some bread. Some cheese.                    He opens the meat drawer. It's replete with cold cuts.          He pulls out some Oscar Mayer baloney. Turkey. Pastrami          and salami. He grabs every type of meat there is.                              MOMENTS LATER                    Grant assembles a sandwich at the table. Two pieces of          bread and some cheese. He starts putting the meat on.          But he can't stop, piling more and more on until he has a          little sandwich tower.                                                                            17.                    He looks at it. Something seems off about it. He removes          the cheese. Better. And then the bread. Even better.          He stares at what is now simply a tower of cold cuts.                                               GRANT                    Meat.                    After contemplating it for a moment, Grant stands and          carries off the pile of meat.                              INT. GRANT GARAGE - MOMENTS LATER                    Grant enters the garage through a door from the FOYER.          He flips the lights on with his shoulder. He looks around.                    Grant spots an old file cabinet. He sets the tower of          meat down on the oily floor and opens a drawer. It's          filled with files. He closes that drawer, and opens          another. It has manila file folders, but no files.                    Grant takes out the folders. He uses a Sharpie to write          out "BALONEY" on a folder. Then he stuffs all the baloney          into the folder and files it away.                    He starts writing out "PASTRAMI".                              LATER                    Grant flips through his alphabetically-filed meat: from          "BALONEY" through "TURKEY." But he doesn't look satisfied.                              INT. SUPERMARKET - LATER                    Grant stands beside the butcher's counter with a shopping          cart. He peers dreamily in through the glass at the rows          of steaks, pork chops, and so on.                                               GRANT                    Meat.                                            BUTCHER                    Howdy, Mr. Grant. You goin' to                    the Deer Cheer this weekend?                    Grant snaps out of his reverie.                                            GRANT                    Sure thing, killer.                                            BUTCHER                    What can I do you for?                                                                          18.                                            GRANT                    Thinkin' 'bout getting me a couple                    of these big ol' rib eyes.                                            BUTCHER                    How many you need?                    Grant stares at the steaks.                                            GRANT                    Well... having us a little dinner                    party... I'd say... eight. No,                    no... fourteen...                    The Butcher nods, starts to grab steaks.   Grant CHUCKLES.                                            GRANT                    Hell, what am I holding back for?                    Why don't you just give me                    everything you got here?                                            BUTCHER                    All the rib eyes?                                            GRANT                    Yep. And while you're at it, get                    me a few of them chicken wings...                    some pork loins... and, ooo, what's                    this here? Osso buco?...                              EXT. GRANT HOME - LATER                    Grant backs his pickup toward the garage. Meat is piled          into the bed. Wrapped packages of meat fill the seats          around him.                              INT. GRANT GARAGE - MOMENTS LATER                    Grant stands in the garage, tearing open the packing, and          letting the loose meat slide into piles onto the floor,          muttering:                                              GRANT                    Meat.                              MOMENTS LATER                    Grant rolls slabs of beef over the dirty floor and into a          pile.                    SOMETHING skitters across the garage and around the pile.          Grant peers around the pile and sees a RAT nibbling on          some ribs. He realizes something.                                                                            19.                                               GRANT                     You're meat.                    The rat moves away from Grant. But Grant snaps out his          arm with alarming speed, snatching the rat. It SQUEAKS          and wriggles in his grip, tearing and biting at him, trying          to get free.                    Grant snaps its neck, and tosses the dead rat onto the          pile of meat. Continues on.                              EXT. GRANT GARAGE - NIGHT                    Starla pulls into the driveway.     She presses the button          on her garage door opener.                    The door SHUDDERS but stays closed.    Starla's confused.                    She gets out of the car and examines the door. She looks          down and sees a new padlock, locking the door to the cement          driveway with bolts on both sides.                              INT. GRANT FOYER - MOMENTS LATER                    Starla enters the house. She heads toward a door along          the wall that leads to the garage. There's a shiny new          lock on that door as well. She touches it, baffled.                    She turns to see Grant standing at the end of the foyer.          He's in shadows, a little spooky in the darkness.                                               GRANT                     Welcome home.                                             STARLA                     Grant? Why are there -- did you                     put locks on the garage?                    Pause.   No answer.                                             STARLA                     You drilled into the driveway.                    Grant walks into the light.                                             GRANT                     Yeahhhh. I'm sorry. I just got                     so excited about... your present.                                               STARLA                     My present?                                             GRANT                     You're my princess, aren't you?                                                                          20.                                             STARLA                    Okay.                                            GRANT                    I got a super-special birthday                    present for you this year. I                    couldn't risk you finding it, so I                    had to put them locks on the doors.                    Pause.                                             STARLA                    All right... I have to clean up                    before dinner.                    Grant smiles at her. Starla confused, tries to smile          back, then turns and heads up the stairs. Grant watches          Starla's fine form from behind, somewhat lustily. But          his leering gaze gradually turns into something darker,          and he has a realization.                                             GRANT                    You're meat.                    Starla turns.                                             STARLA                    What?                    Grant snaps himself out of it.                                             GRANT                    Oh, nothin'.   Nothin'.   See you in                    a sec.                    Starla smiles uneasily, and heads on upstairs.                              EXT. GRANT HOME - MOMENTS LATER                    Grant steps onto the front porch to get some air. He's          blinking and seems a little dizzy. He gazes around the          neighborhood:                    Down the way, a BOY in a little league uniform and his          MOTHER get out of their car and walk toward the front          door.                    Across the street, THROUGH A KITCHEN WINDOW, a PLUMP MAN          and his WIFE are eating dinner.                    At another home, a SHORT MAN steps on a stepladder,          changing the dome light on his porch.                    Grant stares at these individuals, looking like an animal          ready to lunge at its prey, fighting the urge.                                                                         21.                                                GRANT                     Meat.                    He HEARS a BARKING. Grant turns to see the beagle next          door, tied to the tree, YAPPING at him.                    Grant looks around to make sure no one's watching.                              EXT. GRANT HOME - MORNING                    Starla walks to get the paper in her robe, and she sees a          BOY, aged thirteen or so, stapling a LOST: REWARD flyer          to a telephone pole, with a picture of the beagle.                                                STARLA                     Roscoe's gone?                    The Boy's face is streaked from a long night of crying.                                             BOY                     You haven't seen him, have you?                    Starla shakes her head.                                             STARLA                     I'm sure he'll show up, Tim.                    The Boy nods, and walks to the next telephone pole to put          up another flyer.                              EXT. SHADED FOREST - DAY                    Grant moves up a hill, between trees, looking around for          something. He comes to a stop, trying to remember which          way to go. He does, and moves on.                              EXT.   OLD BARN - LATER                    Grant comes upon an old wooden barn. The structure is          maybe a hundred years old, and long abandoned. It's          spattered with graffiti. Grant stares at it.                              MOMENTS LATER                    Grant gathers large fronds and other foliage in his arms.                              INT.   OLD BARN - LATER                    Grant spreads the plant life over the floor of the barn.          He arranges it, fluffs it there. His actions are very          animal-like when no one's around. He seems to be making          a nest. He sits back, looks at it.                                                                           22.                    He's happy.                                                                       FADE TO:                              INT. GRANT BEDROOM - NIGHT                    Starla, dressed in her weekend finery, is looking in the          mirror above her dresser, and putting on earrings.                                            STARLA                    Grant, are you almost ready?                              INT. GRANT MASTER BATHROOM - MOMENTS LATER                    Grant looks ill. He is leaning over the sink, sweating,          clutching his stomach.                                            GRANT                    Yeah, hon, I'll be right there!                    Grant turns and pushes open his door.                              INT. GRANT BEDROOM - NIGHT                    Grant sees Starla sitting on the edge of the bed, her          back to him, as she puts on her nylons. She doesn't know          he's there.                    Grant stares at her, demented, and moves slowly toward          her, stalking her.                    Something starts to push Grant's shirt up at his stomach,          like a bellybutton erection. The thing slips out of his          shirt -- a writhing, pointy tubule, aiming toward Starla's          back.                    Grant looks at the nape of Starla's neck.    Her delicate          ear. He becomes confused; he softens.                    Starla turns to see Grant, his body now turned away from          her. He's trying to push the tubule back down.                                            STARLA                    What are you doing?                                               GRANT                    You're pretty.                    Starla nods, confused by his behavior.                                                                         23.                    EXT. WHEELSY SADDLE LODGE - LATER                    A banner hangs across the front of the lodge, "DEER CHEER          '05" -- the first Friday of deer season in Wheelsy.          Inflatable deer totems decorate the front of the wooden          lodge. RAMBUNCTIOUS MUSIC comes from inside. Partyers          enter.                    Grant and Starla step out of his truck. As they do, one          of Starla's students, Will, sees her and waves. Starla          waves back.                    Grant notices this and grabs Starla's arm, a bit too hard,          pulling her back.                                            GRANT                    Who's that?                                            STARLA                    It's just one of my students, Grant.                    Grant stares at the boy with distrust, and ushers Starla          towards the lodge.                    Bill, Trevor and Margaret are hanging out on a large rock          outside the entranceway, drinking beer. Bill watches          Grant and Starla cross the lot. Trevor sees this.                                            TREVOR                    What's she see in that douchebag?                                            BILL                    That's the mystery of the ages                    there, Trev. Starla was seventeen                    when they got engaged. He was,                    like, in his thirties. No one                    even knew they were goin' out till                    she had that ring on her finger.                                            MARGARET                    Ain't no mystery to it. She's                    raised in them shanties off St.                    Luc. Dirt-poor.                                            TREVOR                    Gold-digger, huh?                                            BILL                    Hell, you don't know that, Margaret.                    Margaret shrugs, BELCHES. Jack, the mayor, with his WIFE,          stops beside them after she does, staring at her.                                            JACK                    Bill, you're Chief of police now.                                  (MORE)                                                                           24.                                            JACK (CONT'D)                    Comes with some Goddamn                    responsibility, like keeping your                    people in line.                                            BILL                    You're right, Jack.    Margaret,                    you're fired.                    Margaret and Trevor LAUGH. Jack shakes his head with          disdain, and enters the party.                              INT. WHEELSY SADDLE LODGE - NIGHT                    Wheelsy citizens celebrate.   A country-western band PLAYS.          Couples two-step.                    Starla and Grant move through the party. Grant looks          around at the dancing and laughing bodies. Starla sees          her friend from school.                                            STARLA                    Janene!                    Janene LAUGHS heartily and the two embrace                                            JANENE                    Hey, Grant.                                            GRANT                    Why don't you two catch up? I'll                    go see what the boys are doing.                    Starla nods. She and Janene watch as Grant moves off          through the crowd.                                            STARLA                    He's been strange the past couple                    days.                              EXT. WHEELSY SADDLE LODGE - MOMENTS LATER                    Grant steps outside, and looks around.                    Across the parking lot is a playground. Two YOUNG CHILDREN          are spinning on a little carousel there.                    Grant starts toward them.                              EXT. SADDLE LODGE PLAYGROUND - NIGHT                    The Children GIGGLE, unaware of Grant inching up on them.          Grant gets closer, excited, when he hears:                                                                           25.                                            BRENDA (O.S.)                    Hey there, handsome.                    Grant turns and see Brenda Gutierrez standing there.          Once again, she's very drunk.                                            BRENDA                    Must be fate, us meeting again                    like this.                    Grant smiles.                                            GRANT                    Well, you might be right...                    Grant sees if anyone's watching.   He circles around her.                                            GRANT                    You're lookin' awful pretty.                                            BRENDA                    Shut up.                    Brenda SNICKERS.                                            GRANT                    Where's the old half-Mexican?                                            BRENDA                    Took the kids to his Mom's for the                    weekend.                    Grant smiles.                              EXT. FOREST - NIGHT                    Grant holds Brenda's hand, and he pulls her between the          trees. She GIGGLES.                                            BRENDA                    Where you takin' me, you bad boy!                    Grant stops in a secluded place, beside the creek, looking          around. No one's there. He turns toward her, smiles.                                            GRANT                    Take off your shirt, doll.                    Brenda looks at him, confused.                                            GRANT                    Guess it's hard to explain how                    amazin' a human brain is to someone                    who that's all they know.                                                                             26.                                              BRENDA                    What?                                            GRANT                    Stuff you can never imagine.                    Feelings. Big thoughts. And love.                    Yeah. I'm inclined to parlay it                    into somethin' more. So, go ahead                    there, beautiful, and take off                    your shirt.                    Brenda, though startled, leans back on a boulder and starts          unbuttoning her blouse. After a moment, she looks at          Grant, trying to be sexy while she does it. Grant looks          at her in her bra.                                              GRANT                    Nice.                    Grant unbuttons his shirt as well.    As he removes it          completely, he turns toward her.                    Brenda sees the wound on his stomach has blossomed into a          veiny, blue-moss-encrusted yellow spout, huge and pulsing.                                              BRENDA                    Grant!?    What -- ?!                    Grant grabs her.    She tries to push his arms away.                                              BRENDA                    No, no, we --                    Brenda gets up, trying to run away. But Grant grabs her          necklace, yanking her back. The necklace snaps and falls          into the creek beside them.                    Grant pins Brenda's wrists against the rock.    She struggles          to get free.                    Brenda's eyes widen as she looks down to see the writhing,          tentacle-like tubule emerge from Grant's wound. She          SCREAMS.                    Grant shoves his hand over her mouth, shutting her up.          He's extremely strong. She watches as the tubule twitches,          feeling its way like a blind snake.                    The tubule comes to rest on her abdomen. Tears stream          down from Brenda's eyes. It pushes into her flesh.                    Brenda goes into convulsions. Something -- a fluid --          pumps through the tubule and into Brenda.                    Grant watches Brenda without emotion as her body spasms          there beside him.                                                                          27.                    Then she falls back, unconscious.   The tubule retracts          into Grant's torso.                              EXT. WHEELSY SADDLE LODGE BACK PORCH - NIGHT                    Starla is leaning over a wooden rail, looking at the lights          of the town below. She turns to see Bill lean on the          rail beside her. She looks genuinely happy.                                            STARLA                    Hey, Bill!                    Starla catches herself, and looks around to see if Grant          is watching.                                           BILL                    Don't worry. The lurker ain't                    around. I checked.                                            STARLA                    That's not funny.                                            BILL                    Sorry.                                            STARLA                    Whatcha' doin'?                                            BILL                    Tryin' to get a buzz on. But I'm                    too buff. Too much muscle mass.                    Starla LAUGHS.                                            BILL                    What you up to?                                            STARLA                    Just checking out the lights.                    Bill and Starla look out over the city together.                                            BILL                    Pretty, ain't they?                                            STARLA                    I don't know. I've seen them so                    many times before. I guess any                    spot gets boring after awhile.                                            BILL                    Well that's only if you're in the                    wrong spot.                    Starla looks at him.                                                                               28.                                              BILL                      There's a place over there on the                      bluffs. When the fog is just right,                      like tonight, the lights of Main                      look like a kaleidoscope.                                                STARLA                      Oh, yeah?                                              BILL                      Mm hm. But only a few folks know                      how to get there. Wally. Rollo                      Linkski coulda taken you, but                      'course he got hit by that train.                      Me.                                              STARLA                      I'll get Wally to show me sometime                      then.                      Starla LAUGHS out loud.   So does Bill.                                              BILL                      Oh, will you now?                            STARLA                            GRANT (O.S.)          Or Rollo's ghost.               Starla.                      They turn to see Grant approaching.     He's a mess.   His            pants are streaked with mud.                                              STARLA                      Grant, where'd you go?                                                BILL                      Hey, Grant.                      Grant eyes Bill with suspicion.    He grabs Starla.                                              GRANT                      You ready, sugarplum?                      Starla nods.   She looks at Bill and mouths:                                                STARLA                      Bye.                      Bill watches Grant and Starla head off, as he downs the            rest of his beer. Wally walks up beside him.                                              WALLY                      Surprised you're able to lift a                      mug after carrying that torch for                      so long.                                                                           29.                                            BILL                    Hey, Wally. Glad you're here.                    There was something I wanted to                    tell you...                    Bill SNAPS his fingers, trying to remember.                                               WALLY                    What?                                               BILL                    Oh yeah.     Fuck you, fat ass.                    They both LAUGH.                              INT. GRANT BEDROOM - LATER                    Starla lies on her side, awake. She's staring at the          dirt on Grant's pants, which are hung over a valet. Grant          holds her from behind, sleeping peacefully.                                                                        FADE TO:                              INT. WHEELSY POLICE STATION - DAY                    The front door of the precinct opens, and a confused          Mexican MAN walks inside. He is trying to keep from          crying. Three half-naked children follow him, clutching          onto his clothes. The man walks slowly through the office,          looking around for help.                    Margaret sees him from her desk.                                            MARGARET                    Sir, may I help -- ?                                            BRENDA'S HUSBAND                    My wife, Brenda. I think something                    has happened to her!                              EXT. STOP SIGN - DAY                    Starla, in her car with groceries, comes to a stop sign.          She looks at the telephone pole beside it and sees that          it's covered with flyers for missing pets.                              INT. GRANT FOYER - MOMENTS LATER                    Starla enters with a shopping bag.    The lights are off.          CREEPY MUSIC plays.                                               STARLA                    Grant?                                                                            30.                    No answer.    Starla tries to turn on the lights, but nothing          happens.                                               STARLA                       Damn fuse.                    She passes the door to the garage, noticing the lock.                              INT. GRANT KITCHEN - MOMENTS LATER                    Starla sets down the bags on the counter, looks around.                                               STARLA                       Grant?                    Again, no one's here. She sees a potted flower on the          counter. A green INCHWORM is crawling up the stem, little          by little. She stares at it, as if it's a portent.                    She hears a MOAN, coming from upstairs.                              INT. GRANT BEDROOM - MOMENTS LATER                    Starla moves slowly into this dark room, looking for her          husband. It seems no one is here.                                               STARLA                       Grant, where are y -- ?                    Starla turns, when Grant POPS INTO FRAME. Starla,          startled, SCREAMS. Grant is sick and trembling. But,          worse, he's been transforming. There are small pustules          all over his face.                                              STARLA                       Grant. Oh my God. What happened                       to your -- ?                                               GRANT                       Heh. It ain't as bad as it looks,                       sugarplum. Dr. Carl was just here.                       I had a reaction to a bee sting.                       He gave me a prescription. Said I                       should be fine, in a couple days.                    Starla stares at him, mute and horrified.                                               GRANT                       Don't look at me like that, baby.                       Please? I'm gonna go get my...                       prescription filled.                    Grant grabs his keys off the dresser, puts them in his          pocket, trying to pretend he doesn't hurt.                                                                                31.                                            STARLA                    I'll get if for you.                                                 GRANT                    No!   No.   Heh.     I'll be right back.                    He moves outside the door, leaving Starla, shell-shocked.                              INT. GRANT GARAGE - DAY                    It's too dark to see much in here, but we do see Grant          putting meat into a garbage bag.                              EXT. GRANT HOUSE - DAY                    Grant looks around to make sure no one's looking, as he          places the garbage bag full of meat into his trunk, closes          it.                              EXT. OLD BARN - EVENING                    Grant moves through the forest, in massive pain, dragging          the garbage bag.                    Grant comes upon the old wooden barn.                              INT. OLD BARN - NIGHT                    Grant enters. It is almost completely dark.          He hears          WEEPING. CHAINS RATTLE.                    Grant peers over at Brenda, mostly in silhouette, sitting          on the nest he has made. She's chained up and MOANS          through a mouth gag. Grant walks to her. Her body is          horribly pear-shaped and misshapen, like some tumorous          pregnancy. Grant pulls her gag away.                                            BRENDA                    Grant? Grant, I'm hungry. I'm so                    fuckin' hungry I think I'm gonna                    die.                                            GRANT                    Brought you munchies.                    Grant pours the garbage bagful of rotting meat and dead          animals out in front of her.                                            GRANT                    Been saving for a rainy day.                    CLOSEUP: Brenda's face, still mostly in darkness. She          stares at the meat, simultaneously excited and repulsed.                                                                           32.                    She looks up at Grant.                                            BRENDA                    Grant, I'm sorry if I did something                    wrong! I think I gotta -- I think                    I should go to a hospital!                    Grant doesn't respond.    Brenda's eyes trail back down to          the meat.                    Brenda's hand reaches out, and grabs a maggot-infested          pork chop, pulling it toward her.                    We HEAR, but can barely see, Brenda CHOWING DOWN on the          raw pork in the nearly pitch black barn.                              INT. GRANT'S TRUCK - LATER                    Grant gets into his pickup; he trembles and YELPS as his          body is wracked with pain and his body starts to transform          even more.                              INT. GRANT FOYER - NIGHT                    There's a HARD KNOCKING on Starla's door. She swings it          open to see Bill and Wally standing there, worried.                    Wally tries to see inside.                                               WALLY                    Grant around?                                             STARLA                    No.   He went to the pharmacy.                                               WALLY                    Pharmacy?                                            STARLA                    He's got a... rash.                    Bill and Wally exchange a glance -- maybe this means          something. Starla can see Trevor and Margaret, across          the street, talking to another neighbor.                                            BILL                    Starla, you know Brenda Gutierrez?                    Starla shakes her head.                                            BILL                    Maybe she's ever called the house,                    or -- ?                                                                            33.                                               STARLA                    No.   What...?                                            BILL                    She disappeared Friday night. We                    got reason to believe foul play                    might be involved.                                            WALLY                    Some kids found her necklace near                    Tipper Creek, as well as what might                    be her blood on a rock.                                            BILL                    The problem, Starla, is, the last                    person anyone saw her talking to                    was Grant.                    Starla looks at him, surprised.                                            BILL                    The Deer Cheer. And Wally and me,                    we also saw him that night, with                    mud all over his slacks.                    Bill hands her his card.                                            BILL                    Have him call me right away, okay?                    Starla nods, distraught. Bill tries to smile kindly before          he and Wally move out and off to canvas other neighbors'          homes.                    Starla closes the door behind her, distraught, panicked.                    She looks at the foyer door, leading into the garage.          Her eyes fall down to the floor, where she sees what          appears to be blood drop stains near the door.                    She gains courage, and moves off toward --                              INT. GRANT CLOSET - MOMENTS LATER                    Starla throws open this door. She looks at old, unused          sports equipment. She grabs an aluminum baseball bat.                              INT. GRANT FOYER - MOMENTS LATER                    Starla holds the aluminum bat, standing in front of the          door to the garage. She hesitates a moment. But then          she swings the bat at the lock on the door.                    She swings it again, GRUNTING.                                                                           34.                    And again.                    Finally, the lock is knocked off the wooden door.                    Starla pushes away the useless lock, letting it fall to          the floor.                    Starla steels herself, and slowly pushes open the door          into the dark garage. As she does, the horrendous stench          hits her. Terrified, she covers her face with her hand,          and enters.                              INT. GRANT GARAGE - NIGHT                    Starla sees what's there: not only a huge stockpile of          rotten meat, but a dozen dead pets. They are neatly          divided into various categories, and labeled: Pork, Ground          Beef, Cats, Dogs. The walls and doorway have been heavily          insulated so the smell doesn't sink into the home. She          looks on the floor and sees poor, dead Roscoe the beagle,          his tongue dangling out.                    Starla starts to CRY.                    She moves quickly back inside.                              INT. GRANT LIVING ROOM - MOMENTS LATER                    Starla runs to the front picture window, and looks out          onto the street. She can't see any of the cops.                    She turns from the window and picks up a cordless phone.          She looks at the card Bill gave her, and dials the number.          The phone RINGS, and:                                               SHERRY (O.S.)                       You've reached Chief Pardy at the                       Wheelsy Police Department. Please                       leave a message and your call will                       be returned as soon as possible.                    There's a BEEP.    Starla tries to speak through her SOBS,          pacing:                                               STARLA                       Bill, it's Starla!                    As Starla passes the large picture window, she doesn't          see Grant staring in at her, his face now that of some          diseased cephalopod.                                               STARLA                       It's -- I think you better come                       over right away -- I think Grant's                       sick, he --                                                                            35.                    Starla turns to see the monstrous Grant through the window.                    She just stops.   They stare at each other for a moment.                    And then Grant lets out a FURIOUS WAIL.                    Starla turns and dashes toward the back of the house.                    Grant disappears from the window.                              INT. GRANT FOYER - NIGHT                    As Starla runs through here, she looks behind her at the          front door to make sure Grant isn't following.                              INT. GRANT HALL - NIGHT                    She runs past a wall of family photos.                              INT. GRANT FAMILY ROOM - NIGHT                    Starla sees the door on the rear of the house, leading to          the backyard.                    She arrives at it, and flings it open --                    Grant is there.                    He lunges onto her. Starla SCREAMS and drops the cordless          phone, just as it starts RINGING. Grant crawls on top of          her body. Starla reaches for the ringing phone, but he          pins her hands above her head. He looks into her eyes.          He's CRYING. His voice and breath are sick and raspy.                                            GRANT                    Why'd you betray me, sugarplum?!                                               STARLA                    Grant, no!                                               GRANT                    I loved you.     I loved --                                            STARLA                    Grant, you're sick!                    Grant is about to cry.                                            GRANT                    I wanted you by my side, but you --                    I can't trust you now!                    Starla's WEEPING, confused. Grant rips his shirt open.          Starla looks down to see the tubule protruding from the                                                                          36.                    now enormous yellow spore on Grant's chest. The tubule          feels over Starla's blouse, and then slips beneath it.          It starts to poke into her skin.                                             STARLA                    Noooo!                    Starla grabs the leg of a coffee table beside her. She          SLAMS the table into Grant's head. This hurts and          surprises him sufficiently to let Starla get out from          under him.                    Starla grabs the cordless phone, which is no longer          ringing, and scurries behind the couch. She dials 9-1-1.                    Grant thrusts the couch aside.                    Starla crawls away again, when Grant attacks her from          behind. He wraps his arm around her neck, pulling her          back. He looks down at her with his sick, angry eyes, as          his arm -- now apparently jointless -- curls around her          like a snake.                    Starla gasps for air. Her face turns purple.   She hears          a SLAMMING on the door.                                             BILL (O.S.)                    Starla?!!   Starla, are you in                    there?!                    Starla tries to speak but she cannot.   Suddenly, we HEAR          the FRONT DOOR OPEN.                                             BILL (O.S.)                    Starla?!                    Starla, with barely an ounce of life left in her, sees          Bill, Wally, Trevor and Margaret burst into the living          room.                    They are surprised, to say the least, to see this diseased          humanoid strangling Starla from behind.                                             TREVOR                    Fuck!                    The cops, freaked out, pull their guns. Grant makes a          SCREECHING SOUND at them. They SHOOT at Grant, nicking          him.                    Grant jumps away from Starla, back into the shadows,          SCREECHING in anger and pain. Starla falls to the floor.                    Grant slips out the back door and away.                    The cops stare, gape-jawed and frozen with shock; what          the hell was THAT?!                                                                                 37.                      Starla rubs her neck, COUGHING.                      Bill Pardy runs toward the back door.                                EXT. GRANT HOME - NIGHT                      Bill runs out into the backyard. Wally runs up behind            him. They look around at the trees surrounding the area.            Grant is nowhere to be seen.                      We CRANE UP and AWAY from them as we...                                                                        FADE TO BLACK.                      O.S. SNIFFLING.                                                 PASTOR (O.S.)                         Jesus, these past few days have                         been a trying time for us.                                INT. CHURCH - DAY                      We PAN OVER an altar where family members have placed            little items that remind them of Brenda -- photographs,            mementos, "Come home, Mommy" cards, etc.                                                 PASTOR (O.S.)                         We ask you now for the safe return                         of our beloved Brenda.                      Everyone in this modest little church has their heads            bowed as the PASTOR leads the prayer service.                                                PASTOR                         Our sister. Our daughter.    Our                         mother. Our wife.                      Brenda's husband, in the front pew, loses it, CRYING.            His little children, beside him, fiddle in their seats.                                                 PASTOR                         And we ask that you keep your light                         alive in her heart, wherever she                         may be. We ask all this in your                         name, Lord. Amen                      Bill Pardy is here, in full uniform, hat in hands.                            BILL                               CONGREGATION          Amen.                            Amen.                      Bill looks around the church. He spots Starla, in the            very back of church, head down, distraught, guilty.                                                                          38.                    He also sees a group of OLD CRONES nearby, pointing at          Starla, and whispering about her.                              EXT. CHURCH PARKING LOT - MOMENTS LATER                    Starla's high heels CLACK on the pavement as she moves          quickly to her car.                                               BILL (O.S.)                    Starla.                    Starla turns to see Bill coming after her.   She stops.                                            BILL                    I talked to the CDC. They didn't                    have nothin' on file consistent                    with Grant's... symptoms.                    Starla nods.                                            STARLA                    How about Brenda?                                            BILL                    New? No. We're hoping we find                    Grant, he'll lead us to her.                    Starla nods. The wind is strong. Her hair is flying          over her face. Tears come to her eyes.                                               BILL                    You all right?                    Starla nods.                                               STARLA                    Yeah.                    She moves away from him.                    Bill watches her go.                              INT. POLICE STATION - DAY                    Bill enters. A few COPS and SECRETARIES are bustling,          making phone calls, etc. They all look tired, as if they          haven't slept. Jack, the mayor, sees Bill.                                               JACK                    Bill!                    Bill spots him, moving quickly toward him.                                               BILL                    Shit.                                                                           39.                                            JACK                    Bill, we need to talk!                                            BILL                    'Mornin', Jack.                    Bill crosses the station.   Jack follows.                                            JACK                    Bill, this Brenda's Randy Flagg's                    niece. We need to find Grant                    yesterday! The town council has                    lit a Roman candle and stuck it up                    my ass!                                            BILL                    Hell, Jack, your leisure activities                    ain't my business.                                            JACK                    Don't fuck with me, Bill. Your                    post here as Chief is in dire                    straits you don't work this shit                    out.                    They come to a desk with Wally and Trevor working away.                                            BILL                    Don't worry, we'll find him.                          (to Trevor)                    Anything new?                    Trevor shakes his head.                                            JACK                    How are you going to find him?                                            BILL                    Dude's a half-squid. Ain't many                    places he can hide. Sea World,                    maybe.                    Jack sees a SECRETARY making copies nearby.    He speaks in          hushed tones:                                            JACK                    That young lady heard you say                    'squid.' She's gonna go out and                    create a Goddamn hysteria!                                            BILL                    Sherry, you gonna create a hysteria?                                            SHERRY                    Not today, Bill.                                                                         40.                                            JACK                    Still, quit that talk! You yourself                    said it was dark in there! You                    don't know what you saw!                                            TREVOR                    We saw his arm was all bendy.                                            JACK                    Bastard obviously got lyme disease!                                             BILL                    What?                                            JACK                    Touch some deer feces out in the                    forest. Eat a sandwich without                    washing your hands. Then you got                    lyme disease.                                            BILL                    And that makes you look like a                    squid?                                            JACK                    I'll tell you what, no one with                    lyme disease gonna win any damn                    handsome contests!                    Bill, Wally, and Trevor can't help but SNICKER.                                            JACK                    Well, screw you all for laughin'.                                             SHELBY (O.S.)                    Bill!                    Bill looks over at Shelby, on his headset at the dispatch          unit.                                            SHELBY                    Another ranch attack!   Up at the                    Castavets'.                    Bill nods for Trevor and Margaret to get up from their          desks. They do, and start to move out with Bill and Wally.                                             JACK                    'Ranch a -'?   What 'ranch attacks'?                              EXT. CATTLE RANCH - LATER                    POV: A dead rottweiler is lying on its back in the long          grass, its gut split open and intestines spilling out,          almost perfectly symmetrical.                                                                            41.                                               WALLY (O.S.)                       It looks like one of them psyche                       tests. What do they call it?                    Bill and Wally are staring at the dog from above.                                               BILL                       Rorschach.                                               WALLY                       What do you see? I see a butterfly.                    Bill moves on through the windswept weeds.                                                BILL                       I see we're fucked.   Three ranches                       in three days.                    Margaret is taking measurements and writing in a note          pad; she sees Bill.                                               MARGARET                       So, I think I got it part-way                       figured. You want to hear it?                    Bill nods.                                               MARGARET                       So Grant -- I mean, we're saying                       this is Grant, right?                    Bill nods.                                               MARGARET                       Grant kills a cow right about here.                       See there's the blood, musta slit                       its neck.                    Margaret walks backward, showing the trail of blood in          the crushed grass.                                               MARGARET                       So he drags the cow backwards here.                       Only he prolly didn't know 'bout                       the Castavets had them dogs.                                               TREVOR (O.S.)                       Hey, look!                    Bill looks over at Trevor, standing up between the tall          weeds, holding a dog's head in his hand.                                               TREVOR                       He knocked this'n's head clear                       over here!                                                                          42.                                            WALLY                    Put that down, numbnuts!                    Bill peers at the various slaughtered dogs around them.                                            MARGARET                    So the dogs attacked, somehow he                    slew 'em all, and he stole off                    with the cow into the forest.                    Trevor heads toward them. Bill looks off into the dark          forest on the edge of the ranch.                                            BILL                    He's gotta be in the forest. All                    three ranches run alongside it.                                            TREVOR                    Think we should get up a search                    party, head in there?                                            WALLY                    It's a hundred thousand acres. Be                    finding a needle in a fuckstack.                    Bill has a realization.   He moves quickly for his car.                                            BILL                    Wally, come on. Trevor and                    Margaret, get some folks together.                    I think I know where he's gonna                    hit next.                              INT. POLICE STATION - LATER                    CLOSEUP: A property map of Wheelsy is tacked to a bulletin          board. Red Magic Marker circles are around various ranch          properties on the edge of the city, next to an enormous          forest. A finger points to one of the red circles.                                            BILL                    So the night after Grant ran off,                    a calf went missing from here, the                    Raglans' ranch.                    REVEAL Bill, standing beside the bulletin board. A posse          has gathered, listening intently: Wally and the usual          cops; Jack; an OLDER COP, probably pulled out of          retirement; and a couple of recruits -- a REDNECK and a          GOOD OL' BOY. Bill points to the next red circle.                                            BILL                    Two nights ago, a mare was stolen                    from this property, run by                    Fitzgibbon, that old rancher with                    the cleft palate.                                                                        43.                    Wally whispers to Margaret, amused:                                            WALLY                    Looks like a chipmunk.                                            BILL                    Your momma wasn't too proud when                    you came out neither, Wally.                    Bill points to the next circle.                                            BILL                    And then we get here, the                    Castavets', where last night's                    shit-storm took place.                                            TREVOR                    I see. It's like as if he's going                    in a pattern. Is that what you're                    saying, Bill?                    Bill nods and points to the next red circle.                                            BILL                    And if he sticks to that pattern                    he'll be here next. Belongs to a                    family, the Strutemyers'. Now I                    know y'all are tired and you've                    barely seen your families. But                    we're gonna have to go there                    tonight, lie low and wait.                    The posse nod, agreeing.                                            REDNECK                    Let's get that son-of-a-bitch,                    Chief.                                            BILL                    Just remember, we don't know what                    we're up against here. So let's                    be careful.                              INT. POLICE STATION/ARMORY - DAY                    Beside a small armory, Trevor loads a Benelli M-1 super          semiautomatic shotgun. Margaret checks the site on a          Remington 700 PSS rifle. Bill takes a Springfield M-1A          pump-action for himself, while Wally stuffs numerous          pistols and ammo into a leather satchel. Trevor notices          a dusty grenade on a shelf.                                            TREVOR                    Hey, Bill, we got that grenade we                    confiscated from them jokers wanted                    to use it fish for trout?                                                                           44.                    Bill looks at Trevor, considering.                                            BILL                    Can't hurt.                    As Trevor puts the grenade into a side-pocket on the          satchel, Bill sees Jack and the Older Cop, watching.                                            JACK                    I didn't know the Russkies were                    invading there, folks.                                            MARGARET                    You seen this guy, you'd wished                    they was.                              EXT. POLICE STATION - LATER                    The posse loads up their vehicles, and start taking off          out of the parking lot.                    Bill and Wally walk out to their police car.   Bill tosses          the leather satchel into the trunk.                    They get in the car, Bill starts the engine, when --                    Starla Grant pulls quickly into the parking lot. Bill          rolls down the window as she gets out of her car and runs          toward them.                                            STARLA                    Bill, I heard what you're doing.                    I think I should go along.                                           BILL                    Why? Listen, it doesn't matter.                    I gotta go.                    Bill starts to roll away, but Starla holds on to the car,          following.                                            STARLA                    Wait! Dammit, Bill, if that girl's                    still out there, how will you find                    her? How, unless you bring Grant                    in alive? Your best chance of                    doing that is with me. I can talk                    to him --                                            BILL                    He tried to kill you, Starla.                                            STARLA                    He did. I know. But I got him                    angry 'cause I wasn't calm. This                    time I could --                                                                                45.                    Starla's on the verge of tears.                                            STARLA                    Please, Bill. What happened, it's                    my fault, I know it.                                            BILL                    Starla, it ain't --                                            STARLA                    It is. He'd been acting strange.                    And the physical changes. I should                    have told someone right away...                    But I was just blind. I wanted to                    pretend it wasn't happening... If                    I don't do what I can to help now,                    I just couldn't live with it.                    Bill looks at her.   He looks at Wally.     Wally shrugs.                    Bill nods for Starla to get in.                              INT. STRUTEMYER KITCHEN - EVENING                    Kylie is blowing on a cup of coffee. Her MOM, DAD, and          two younger SISTERS, aged 9 and 11, are relaxing after          dinner. As Kylie's Mom picks up plates --                                           KYLIE'S MOM                    Kylie! What'd you do to your                    fingers?                    Kylie's Mom grabs her hand, looking at her very long          fingernails. They're painted sky blue and spotted with          minute teddy bear and bumblebee decals.                                            KYLIE                    Kiri Goshima done 'em.    She's                    Japanese.                                            KYLIE'S DAD                    Looks like Pokemons done 'em to                    me!                    Kylie's sisters LAUGH out loud.                                            KYLIE                    Foreign stuff is classy if you                    knew something.                    Kylie's family sees, OUT THE WINDOW, police cars pulling          up by a gravel road.                                            KYLIE'S DAD                    Oh. There's Jack. I want y'all                    to stay inside tonight. All right?                                                                            46.                    Kylie's sisters nod.   Kylie too.                              EXT. STRUTEMYER FARMHOUSE - EVENING                    Kylie's Dad steps onto the front porch of this quaint          family farmhouse. He sees Jack heading toward the ranch,          and waves. Jack gives a little salute, while muttering          to the Older Cop.                                            JACK                    This turns out to be a mountain                    lion we're gonna look like a damn                    bunch of idiots.                    The Redneck and Good Ol' Boy make their way to the ranch          as well. They see Bill with Starla.                                            REDNECK                    Didn't know it was date night.                    The Good Ol' Boy LAUGHS.                                            REDNECK                    I'll be expecting you toss my salad                    at the end of all this then,                    Charlie.                                               GOOD OL' BOY                    Shut up.                              EXT. STRUTEMYER RANCH - MOMENTS LATER                    The posse fans out over this grassy land where the cattle          graze, finding places to hide. The sun sets behind them.                                                                      FADE TO:                              EXT. STRUTEMYER RANCH - NIGHT                    Darkness has crept over the ranch, and the beautiful,          pastoral scene has become distinctly more sinister.                    The wind blows hard, WHISTLING through the long weeds.                    A rusty rooster windmill atop the old barn twists and          CLINKS on its half-bent perch.                    A piece of tarp hangs down from the barn roof, FLAPPING          incessantly against the wooden wall.                    Trevor and Jack; the Redneck and the Good Ol' Boy; and          Margaret and the Older Cop are hidden around the ranch,          waiting, watching or dozing.                                                                         47.                    INT. STRUTEMYER BARN - NIGHT                    Inside the barn, the wind is only slightly quieter, and          it's darker. Bill, Starla, and Wally are here. Bill          peers out through the doorway at cattle drinking from the          trough. He looks at Starla; her head tilts to the side          as she nods off. When her head falls all the way, she          snaps back up, and catches Bill gazing at her.                    Bill nods and smiles. She doesn't smile back; she's          embarrassed and miserable and this is the last place she          wants to be.                    They sit there for a moment in the dark.                                            BILL                    Hey, Starla, remember that time                    when you were a kid and you came                    knocking on my window in the middle                    of the night?                    Wally looks at them.                                            BILL                    Starla here's twelve. Guess I was                    fourteen. I said, 'Starla, what                    the hell you doing out there?'                    She tells me she's running away to                    Hollywood to become a big star.                    She said she knew I was in ROTC,                    and she was gonna need a bodyguard.                    Invited me along.                    Wally LAUGHS. Bill smiles. Starla is embarrassed, but          grudgingly enjoys the story.                                            BILL                    I said, 'Starla, if there's anybody                    can take care of herself, I think                    it's you. I'm gonna have to                    decline.'                                            WALLY                          (to Starla)                    How far'd you get?                                            STARLA                    About the bus stop. Ranger Rick                    here called my dad.                                            WALLY                    Ha! A cop from the get-go!   You                    son-of-a-bitch!                                            STARLA                    You fucked up our fame and fortune,                    Bill Pardy.                                                                         48.                                            BILL                    Yeah, maybe I did.                              EXT. STRUTEMYER RANCH - NIGHT                    Jack smokes a cigarette as he keeps an eye out for the          cow killer. The burning ember of the cigarette is blown          off by the wind. Jack searches for it in the dry grass,          trying to catch it before it starts a fire. He crawls          forward, slapping the ground, when he glances up and          sees...                    A large, shadowy shape hulking through the trees on the          edge of the forest.                              INT. STRUTEMYER BARN - NIGHT                    Bill, Starla, and Wally see Grant Grant emerging from the          forest. He has transformed into something much more          monstrous: a giant, gangrenous, slug-like beast, a clump          of cells and tumor-like protuberances. He has various          tentacle-like-arms growing out of him, like overgrown          eyes on a potato. As opposed to just having the disease,          he now seems to BE the disease itself.                                              STARLA                    Grant?                              EXT. STRUTEMYER RANCH - NIGHT                    Jack and Trevor watch in amazement as Grant slithers across          the field, his large, dark, watery eyes searching out          prey. Jack turns to Trevor, pissed, and whispers:                                            JACK                    You said 'squid'!                                              TREVOR                    It got worse.                    The Redneck and the Good Ol' Boy watch too, mouths dropped.                    The diseased Grant slithers through the grass just a few          feet beside Margaret and the Older Cop. They duck below          the grass, looking as if they're going to have heart          attacks.                    Grant approaches a cow. The cow makes a little MOO of          protest when he gets too close, and steps back.                    The Grant-creature stabs one of his tentacle growths into          the cow's neck, piercing it. The cow stumbles, choking.          Blood spurts from her neck. And she topples over.                                                                          49.                    INT. STRUTEMYER BARN - NIGHT                    Bill and Wally stare out the window, motionless.                                            WALLY                    What we gonna do now, Bill?   Cuffs                    won't even fit on 'im.                    Starla musters courage.   She stands, and moves out of the          barn.                                            BILL                    Starla, where you...?                              EXT. STRUTEMYER RANCH - NIGHT                    Grant wraps a feeler around the cow's horns, and starts          dragging it back in the direction of the forest.                              INT. STRUTEMYER BARN - NIGHT                    Bill motions through the barn window to Margaret.                              EXT. STRUTEMYER RANCH - NIGHT                    Margaret motions to Trevor.                    Trevor motions to the recruits.                    And Starla moves slowly in toward Grant.                                              STARLA                    Grant?                    Grant turns and looks at her with his half-human eyes.          His breathing is loud, raspy, and sick. He sees, in a          wide circle around him, the nervous posse standing up,          their guns at the ready.                    Starla moves even closer.   Bill and Wally are coming in          close behind her.                                             STARLA                    Grant?   It's okay.                    As Starla and the posse get closer, Grant looks almost          scared. His eyes dart around from cop to cop.                                            STARLA                    You're just sick is all. But we'll                    take you to get help right now.                    I'll stay by your side, Grant,                    just like I swore I would. For                    better or worse. Remember?                                                                           50.                    Grant's huge milky eyes betray that he does.                                               STARLA                     Okay?                    The posse inch in closer, tightening the circle.                    Grant lets out a PIERCING SCREECH of protest.    All of the          posse stop, terrified.                    Everything is quiet and still except for Grant's gross          breathing. Deep: In, out.                                               STARLA                     Okay, Grant?    It's gonna be all                     right.                    Grant SCREECHES again: a warning. He looks from Starla          to Bill, with hurt, jealous eyes, and GROWLS.                    Then Grant's eyes close to half-mast, and he turns away.          His tentacle tightens around the cow's horns, and he again          drags it toward the forest.                    While Bill tries to decide what to do, the Good Ol' Boy          nervously blocks Grant's path. He aims his pistol at          him.                                             GOOD OL' BOY                     You stop right there, you son of a                     bitch. I don't care what kinda                     leprosy you got. We need to find                     that girl. Now you can make this                     peaceful, or you can make it hard.                    Pause.   Grant and the Good Ol' Boy stare at each other.                    And then Grant SNAPS out a tentacle-arm, whipping it up          the front of the man's body, and back.                    The front of the Good Ol' Boy's whole body is split neatly          in half. For a split second, he remains alive: the two          different sides of his split head look down in disbelief          as his organs spill out from inside him. And then he          topples over.                                               BILL                     Fire!   Fire!                    The posse SHOOT at Grant.    Starla covers her head.                    Grant is struck; he SCREECHES in pain. He lets go of the          cow. He slithers with incredible speed off toward the          forest.                    Bill and the other posse members take off after him like          hounds on the heel of their prey. They SHOOT madly.                                                                           51.                    Starla watches as the posse follows Grant into the woods.                    Starla stands alone and worried a moment, and then she          darts off after them.                              INT. KYLIE'S BATHROOM - NIGHT                    Kylie is running a bath.    She hears GUNSHOTS ECHO in the          distance.                    She peers out a little window above the tub, trying to          see where the shots are coming from.                              EXT. FOREST - NIGHT                    The posse run through this very dark forest after Grant,          leaping over brush and rocks. They're nervous, but also          excited, as the primordial hunting urge takes over. Their          eyes are filled with anger and bloodlust.                    They're able to follow Grant only by catching glimpses --          a flash of flesh between trees, a tentacle disappearing          around brush.                                               WALLY                    There he is!     Over there!                    They FIRE at the creature, taking chunks out of trees,          but missing. He's too fast.                              EXT. CREEK - NIGHT                    Grant slips around a boulder and splashes through a creek,          and into the plentiful trees beyond. He rustles thick          fronds as he moves up alongside the creek.                    The posse run up the creek itself, splashing, trying to          peer through the leaves to get a shot at Grant.                    Jack, carrying his revolver, trips and falls in the creek.          He cuts his knee on a sharp rock. He stands, and keeps          going.                    They come to --                              EXT. FOREST CLEARING - NIGHT                    The posse come up out of the creek. They've completely          lost track of the diseased man-beast.                    They stop, out-of-breath and looking around.   They whisper:                                                                           52.                                               TREVOR                    Where'd he go?                                            MARGARET                    We ain't never gonna find that                    girl now.                    The Redneck is WEEPING with rage.                                            REDNECK                    I'll kill that asshole what he did                    to Charlie.                    Bill sees Starla run up behind them.    He waves her back.                                            BILL                    Starla, get the hell out of here!                    Starla takes a couple steps back, but doesn't leave. She          watches there, half in shadows as the posse creep around,          searching for some trail of Grant.                    Margaret looks down into the bubbling creek. She sees          it's turning red. She looks up the trail of red, which          is rippling downhill in the water. The red flow starts          somewhere near a boulder.                    Bill and Wally are searching in front of the boulder.          Margaret SEES, but they don't, Grant pulling himself up          on a tree branch and RISING behind them. Blood from a          shotgun wound is dripping into the creek. Grant, pissed,          lifts a tentacle.                                               MARGARET                    Bill!!                    Bill turns as the tentacle swings down toward him. He          falls back; the tentacle slashes inches from his face.                    Bill BLASTS his shotgun up at Grant, but Grant is already          slithering swiftly back into the thick brush.                    The posse squeeze themselves though the brush, following.                              EXT. OLD BARN - NIGHT                    The posse emerge on the other side of the brush, only to          be confronted by a terrible odor. They cover their noses          and mouths as their faces shrivel in disgust.                                            TREVOR                    What the hell's that smell?                                            WALLY                    It's something dead.                                                                           53.                    The posse gaze up at the old ramshackle barn where Grant          had brought Brenda.                                            JACK                    It's coming from in there, ain't                    it?                    Margaret looks at Bill.                                            MARGARET                    Think he's inside?                    Bill takes the lead, carefully approaching the barn.                    The posse follows, their weapons drawn. The closer they          get to the barn, the more unbearable the smell becomes.          Only Bill, intent on the task in front of him, doesn't          react to the stench at all.                    Bill leans his ear in close to the front door, and listens.          Through the door he can HEAR a QUIET SOBBING. Bill and          Wally exchange a look.                    Bill steps back. He and Wally aim their shotguns at the          door. Bill nods to Margaret, and gestures for her to          open it. Starla watches all this from the rear.                    Margaret swings open the door.                              INT. OLD BARN - NIGHT                    Bill and Wally move cautiously but quickly inside.   But          they stop suddenly, in disgust and horror.                                              BILL                    Oh...                    It's Brenda. And she doesn't look good. Her weepy little          head is stuck to the front of a huge fleshy orb, which is          what her body has become. This enormous ball of flesh is          nine or ten feet tall. Vestigial fingers protrude from          the sides. She is utterly immobile. Her flesh sloshes,          slightly and constantly; a thousand snakes seem to be          slithering beneath her thin, tight, bruised skin. The          woman is in great pain. She SOBS. Her mouth and chin          are stained with blood.                    The posse and Starla enter behind Bill and Wally and are          equally astounded.                                              OLDER COP                    Oh, shit!                    They see the source of the awful stench:                                                                           54.                    Brenda is encircled by the rotting carcasses of cows and          horses and forest critters. They are mostly skeletal, as          they have been largely devoured. They're swarming with          flies. The stench is so bad the posse cover their faces          with the bottom of their shirts.                    The SOBBING Brenda looks desperately at Bill and Wally.                                            BRENDA                    Something's wrong with me.                                              WALLY                    Uh, yeah.                    Bill and Wally get in a little closer.                                              BILL                    Brenda, um...                                            BRENDA                    I didn't want no one to be seeing                    me like this.                    As the posse inch closer, Brenda's whole body suddenly          LURCHES FORWARD a bit -- like whatever's inside her is          trying to get out and to the posse. Brenda SCREAMS in          agony.                    The posse jump back.    They stare as she recomposes herself.                                            BRENDA                    How are my boys, Bill?    Are they                    all right?                                            BILL                    Boys are fine, Brenda. Uh, what's --                    what's happening here, exactly?                                            BRENDA                    I'm so fucking hungry, Bill. I'm                    so hungry. I just never knew                    anybody could be so hungry.                    Brenda tries to smile in a way she might charm her Daddy          into giving her candy. This is creepy as hell.                                            BRENDA                    Would you mind handing me a piece                    of that possum there at your feet?                    Little bit?                    Trevor gags and runs out of the barn.                              EXT. OLD BARN - NIGHT                    Trevor vomits into some bushes.                                                                           55.                    INT. OLD BARN - NIGHT                    Bill eyes poor Brenda.                                            BILL                    I think we best get you to a                    hospital right quick.                                            WALLY                    What the fuck they gonna do with                    her in a hospital, Bill?                    Again, Brenda SCREAMS.    Her body LURCHES FORWARD.                                            OLDER COP                    Why's she doing that?!                                            REDNECK                    Her tumors is moving.                                            JACK                    Bill, get her to stop that shit!                                               BRENDA                    It hurts!                    Her body lurches forward AGAIN.     She sobs.                                               BRENDA                    Help me!!     Help!!                    And then AGAIN. Starla notices that Brenda's skin is          starting to SPLIT AND TEAR on her side.                                               STARLA                    Bill!                                            BRENDA                    Little fuckers are tearing me                    aparrrr- !                    Brenda SCREAMS like a woman giving a thousand evil births          at once and her body RIPS OPEN in one part; and then, in          quick succession, ANOTHER, and ANOTHER. Bill looks out          one of the windows. Grant is peering in at them, smiling.                                            BILL                    He led us here.                    And then Brenda's body BURSTS OPEN COMPLETELY, like a          water balloon hitting cement, and thousands of little          SLITHERING EYELESS PARASITES with slippery black-red skin          like slugs spill forth. The horrid creatures, eight inches          long and a few inches thick, swarm over the posse,          completely covering them before they can react.                                                                         56.                    EXT. OLD BARN - NIGHT                    Trevor sees the things flooding over the posse in the          barn. The parasites are especially drawn to the posse's          heads. Because there are so many, the weight of the beasts          knocks most of them down.                    Trevor runs, but the things make it out the doorway,          covering him like lava in One Million B.C., and he buckles.                              INT. OLD BARN - NIGHT                    A parasite slithers quickly and fluidly into Wally's mouth.          He gags on it. His eyes flip back up into his head, and          his body starts to spasm.                    Jack tries to pull one away from his face, but it's too          slippery and it disappears inside his mouth. His body,          too, convulses, and he spits up blood.                    Bill notices the parasites slithering into the mouths of          the Redneck and the Older Cop as well; whites of their          eyes, bodies convulsing, spewing blood. Bill sees the          things oozing up Margaret's neck.                                            BILL                    Margaret, cover your mouth!                    Bill sees Trevor outside the door in the dirt, trying to          slap the parasites off. Bill yells to everyone:                                            BILL                    Don't let 'em in your mouths!                    One starts to get in Bill's mouth as he speaks, but he          slaps it aside. Margaret pulls her shirt over her face.                    Starla SHRIEKS. She puts her hand over her mouth as the          parasites rush up her. She's knocked over, and falls          back onto the floor.                    A parasite slithers between Starla's lips -- when,          suddenly, a KNIFE thrusts down, pinning the creature to          the dirt, stopping it from oozing further into Starla.                    Bill is holding the knife in one hand, his other hand          firmly over his mouth. Bill swats more incoming parasites          away from Starla's mouth. He covers her mouth with his          free hand. He lies on top of her, mushing their bodies          and faces as closely together as possible so the things          don't get into them. The parasites swarm all over them,          flapping their slimy little tails as they try to fight          their way inside their mouths. But Bill holds tight to          himself and Starla.                                                                           57.                    Eventually, the parasites give up on Bill and Starla, and          begin to slither away. Bill watches as they crawl off          the posse and filter out of the barn in a squirmy mound.                    Eventually, they're gone. Bill takes his hand from          Starla's mouth. Starla looks around.                    She sees Margaret lift her face from the ground, shivering,          holding her shirt over her mouth. They gaze out the front          door of the barn.                              EXT. OLD BARN - NIGHT                    Trevor pulls his face from the dirt and stands. He spits          violently and wipes the dirt off his tongue with his wrist.                                            TREVOR                    They wanted us to eat 'em!   Why                    would they want that!?                              INT. OLD BARN - NIGHT                    Bill is trying to make sense of it all. He gazes down at          Brenda's body, her bloody skin and misshapen skeleton          spread out over the floor, split open like an enormous          bloody tiger rug.                    He looks around at the posse lying on the floor in mangled          positions, their mouths and lips covered in blood, still          lightly convulsing.                    He gazes out INTO THE FOREST to see the parasites rushing          away like an ugly wormy army, shaking the brush as they          head off in different directions.                                                                         CUT TO:                              EXT. STRUTEMYERS' RANCH - NIGHT                    Parasites crawl over rocks and out of the forest and onto          the ranch. The Strutemyer farmhouse looms nearby.                              INT. KYLIE'S BATHROOM - NIGHT                    Kylie is taking a steamy bubble bath. Her head is back,          her eyes shut; she's enjoying the warm water. The tub          faucet drips lightly in an uneven rhythm.                              EXT. STRUTEMYERS' FARMHOUSE - NIGHT                    The parasites squirm up the side of the house, sticking          to the wood siding.                                                                                 58.                      INT. KYLIE'S BATHROOM - NIGHT                      Kylie glances out the window beside the tub, at the starry            sky and crescent moon, beautiful and still.                      There's a KNOCK on the bathroom door. Kylie turns toward            the door -- as she does, a parasite crawls across the            window behind her, streaking a moist slimy trail.                                               KYLIE'S MOM                      Kylie! You're gonna turn into a                      plum in there!                                                KYLIE                      Prune, Mom.    Plums turn into prunes.                                INT. STRUTEMYERS' HALLWAY - NIGHT                      Kylie's Mom is at the bathroom door.                                              KYLIE'S MOM                      I know what turns into what. You                      got school tomorrow. Finish up in                      there and get to bed.                      O.S. Kylie GRUNTS in vague agreement.                      Kylie's Mom trots down the hall, to another door.                      She KNOCKS once, then opens the door to --                                INT. STRUTEMYER GIRLS' BEDROOM - NIGHT                      Kylie's younger sisters lie in single beds, reading            Goosebumps by bed-lamps clipped to the headboards.                                              KYLIE'S MOM                      Time to turn in, ladies.                                              KYLIE'S SISTER 1                      Just a couple more pages, Mom?                                                KYLIE'S MOM                      Come on now.                      The girls SIGH in lazy protest, but still turn off their            reading lamps.                                                KYLIE'S MOM                      G'night.                            KYLIE'S SISTER 1                  KYLIE'S SISTER 2          Night, Mom.                     Night.                                                                            59.                    EXT. STRUTEMYERS' FARMHOUSE - NIGHT                    THROUGH THE WINDOW we see Kylie's Mom start to close the          door.                                             KYLIE'S MOM                    Sleep tight.   Don't let the bed                    bugs bite.                    Numerous parasites slither INTO FRAME, up the side of the          house, approaching the girls' bedroom window, which is          open a few inches for air.                              INT. STRUTEMYER GIRLS' BEDROOM - NIGHT                    Kylie's Mom shuts their door completely. The girls turn          on their sides and close their eyes to sleep.                    And the parasites pour in through the cracked window.          They slither over the walls. Their slimy black-red bodies          contrast sharply with the pretty flowered wallpaper.                              INT. KYLIE'S BATHROOM - NIGHT                    The door cracks open, and a parasite enters.   It slithers          silently over the linoleum tiles.                    It arrives at the base of the tub, and crawls up the side.                    Kylie continues relaxing, her eyes closed. She doesn't          see the parasite enter the soapy bath water at her feet.                    Kylie hears a SOFT SPLASHING and peers down. She spots          the creature swimming toward her between her knees.                    Kylie SHRIEKS and scrambles up to get out of the tub.    As          she clamors out, she slips and falls to the floor.                    The parasite squirms up Kylie's wet naked back. Kylie          SHRIEKS again, jumping up as she tries to slap the thing          off.                                             KYLIE                    Mom!!                    The parasite winds toward her lips. Kylie goes to grab          it with both hands, but it slips through them. The thing          slides into Kylie's mouth as she looks down at it.                    Kylie snatches the very end of the parasite's tail. Her          long, teddy-bear-spotted fingernails pinch it there,          digging into the parasite's flesh, barely stopping it          from sliding completely into her mouth. It wildly flaps          its tail like a docked trout, desperate to enter her.                                                                            60.                    Kylie falls to her knees. Her eyes roll back in her head,          and her body spasms while she holds tenuously onto the          very tip of the parasite's tail.                    We TRACK IN to a CLOSEUP of Kylie's face: a slight white          electrical-telepathic charge can be seen SPARKING inside          her mouth.                                                                     FLASH TO:                              KYLIE'S VISION                    We are RUSHING through some amoebic landscape, PAST          microbes and cytoplasm and cells, and to:                              KYLIE'S VISION - SERIES OF IMAGES - CREATURE'S POV                    Perhaps the memories of some creature not of earth. Its          eyesight is not like our own; it's in grainy black and          white and amber outlines. Various images FLASH in quick          succession, including the following:                    -- We are on top of an alien ANIMAL, pinning it down.    It          HOWLS beneath us as we tear into its flesh, feasting.                    -- All around us, diseased monstrous BEASTS feed on more          alien animals. They lunge toward them and pin them down,          ripping them apart, like some National Geographic          documentary shot in Hell.                    -- In FAST MOTION, unfamiliar plant life around us grows          sick and withers, dying out.                    -- A group of diseased monstrous beasts CRY OUT in uniform          pain. They buckle to their knees; now they're dying.                    -- The diseased beasts feed on their own appendages.                              BACK TO SCENE                    Kylie tries to regain control of her mind. Her eyes fight          against flipping back in her head. Tears pour down her          face. She pulls the parasite out just a bit.                    But then it SLAMS back into her and there are more SPARKS          inside her mouth --                              KYLIE'S VISION - SERIES OF IMAGES - MANGLED INSECT POV                    -- We are CLIMBING UP through a creamy, gelatinous yellow.          An opening slit widens in front of us, and we see Grant          slowly bending to look at us, the forest behind him.                                                                          61.                    KYLIE'S VISION - SERIES OF IMAGES - GRANT'S POV                    -- We watch Starla soaping herself in the shower.                    -- We make love to Starla, our hands on her face.                    -- We sit over a convulsing Brenda, impregnating her with          our tubule.                    -- We see the posse members coming in toward us.                              BACK TO SCENE                    With a last, desperate effort, Kylie yanks at the exhausted          worm, pulling it fully from her mouth. It flaps in her          fingers. Kylie spits up blood.                    Kylie tosses the parasite away from her. Though slightly          crippled, the little bastard writhes back toward her.                    Kylie spots her curling iron on the counter; it's plugged          in, the red light is on. She grabs it, and swings it          into the wormy thing.                    The parasite SQUEAKS and trembles with pain. Smoke rises          from it as Kylie digs the curling iron in deeper, burning          it, and, finally, killing it.                    Kylie lifts the iron in front of her and looks at it.          The dead parasite is stuck to it, dangling from the metal.                                                KYLIE                    Mom!!!                    Kylie drops the iron. She quickly steps into her clothes          lying on the floor. She runs out of the bathroom and          into --                              INT. STRUTEMYERS' HALLWAY - NIGHT                    Kylie runs to the stairway.                                                KYLIE                    Mom!!    Mom!!!                    Kylie stops. Dozens of the things are slithering up the          stairs and up the handrail towards her.                    O.S. Kylie hears her SISTERS' SCREAMS.   She looks in their          direction, running toward their room.                                              KYLIE                    Emily!!    Jenna!!                    Kylie tosses open her sisters' door.                                                                            62.                    INT. STRUTEMYER GIRLS' BEDROOM - NIGHT                    Kylie's youngest sister is on her knees on the bed, a          parasite sticking out of her mouth. Her eyes are rolled          back. Her arms flail spastically. The slithering beast          wags its tail as it disappears down her throat.                    Kylie's other sister is backing into a corner, with          parasites crawling up her body. She's SCREAMING bloody          hell, trying to slap them off.                    Kylie runs toward her to help. Kylie slaps the parasites          off her sister. But there's too many and they're too          fast. They slide into her sister's mouth.                                              KYLIE                    No!!   Nooo!!                    Her sister's eyes flip back in her skull as the thing          disappears completely, and she starts spitting up blood.                    Kylie sees the parasites around the room coming at her.          There's a clear path toward a window. Kylie runs to the          window, and shoves it open. As the things approach her,          she crawls out --                              EXT. STRUTEMYERS' FARMHOUSE AWNING - NIGHT                    Kylie steps onto this shingled, angled canopy over the          front porch. She turns to see the parasites slithering          out towards her. She looks down. It's probably too far          to jump, but she has no choice.                    So she jumps down onto --                              EXT. STRUTEMYERS' FRONT LAWN - NIGHT                    Kylie lands, hard, tumbling over.                    She glances back at the front of the house.                    THROUGH THE KITCHEN WINDOW she sees her Mom and Dad, eyes          rolled back, convulsing, spitting up blood.                    More parasites are crawling towards Kylie through the          grass.                    She spots her family's old Luv pickup truck on the driveway          in front of her. She breaks for it.                    She throws open the front door, and jumps inside.                    The things approach, crawling in after her. Kylie tries          to slam the door shut, but it won't; many things are stuck          in the door jamb.                                                                              63.                    They SQUEAK in a chorus of pain, trying to wriggle toward          her.                    So she SLAMS the door AGAIN, and AGAIN, and she slices          the little bastards in half.                              INT. PICKUP TRUCK - NIGHT                    Kylie makes sure none are inside.                    She feels for the keys in the ignition.    There aren't          any.                    The creatures crawl up and over all the pickup's windows,          trying to get in. Slithery shadows cover over Kylie,          leaving her in almost complete darkness.                    Kylie crouches down in on herself, and WAILS.                              INT. OLD BARN - NIGHT                    Starla, Trevor, and Margaret stand, wide-eyed and shaken.          All three seem to be in some mild state of shock.                    Bill, suppressing his desperation, is trying to make          contact on his police radio.                                            BILL                    11-41. We're gonna need paramedics                    out here right away. We got four                    men down.                    Bill listens for a response, but there's only STATIC.      He          presses the button again.                                            BILL                    Shelby, you there?                    Still, only STATIC.    Bill tries another frequency.                                            BILL                    Shelby, this is Bill.     We got an                    emergency here.                    STATIC.                                              BILL                    Goddammit.                    Bill steps outside the doorway, to see if he can get          reception. Trailing off:                                              BILL                    Shelby?                                                                           64.                    Starla sees Wally's body on the floor. His skin is white          and corpse-like. His mouth is streaked with blood. Starla          crouches beside him, and takes his pulse. Her hands are          visibly shaking.                                               MARGARET                    Is he alive?                    Starla looks at Margaret, and nods.                                               MARGARET                    Praise Jesus.                                            TREVOR                    'Praise Jesus?' That's fucking                    pushing it, Margaret.                    Trevor looks about to cry.                                            TREVOR                    What the hell were those things?!                    You ever seen anything like that?                    You ever heard of anything like                    that?                    Margaret shakes her head.    Trevor looks at Starla, who          also shakes her head.                                            TREVOR                    Me neither. And I watch 'Animal                    Planet' all the fuckin' time!                    Bill re-enters.                                            BILL                    No reception out here.                                            STARLA                    Bill, I'll run out to your car,                    call for paramedics from there.                                             MARGARET                    That's a long ways. Them worms                    are out there.                                            STARLA                    I'll keep my mouth covered.                                            BILL                    No. I'll go. The three of you,                    you wait here. Get these folks,                    out of the barn. The stench and                    rot can't be any good for 'em.                    Margaret and Trevor nod.    As Bill starts to leave, Starla          grabs him.                                                                         65.                                            STARLA                    Be careful, Bill.                    Bill nods. Makes a feeble attempt at a smile.   He jogs          off into the forest.                              EXT. FOREST CLEARING - MOMENTS LATER                    Bill runs into the small glade, and looks around, trying          to remember which way he came from.                    He gazes between some greenery, some distance away, and          spies a long-lashed deer munching on foliage. A couple          more deer and a fawn are eating as well. Bill looks at          them a moment, peaceful, perhaps a sign of some hope...                    And then a parasite crawls up the deer's neck and slithers          into its mouth. Parasites crawl up the bodies and necks          of the deer behind it. The deer buck and flounce and          scratch trying to get the things off of them.                    Bill runs away as fast as he can.                              EXT. OLD BARN - NIGHT                    Trevor and Margaret carry Jack out of the barn. He's          bloated, corpse-like and covered in varicose veins.          Margaret is wearing a gag-like swatch of clothing tied          around her mouths, to protect themselves. Trevor's gag          is down around his chin so he can chatter.                                            TREVOR                    It's got to be some Goddamn                    biological weapons. Government's                    testin' 'em out on us! 'Cause who                    gives a shit if Wheelsy disappears,                    right?!                    They set down Jack and head back toward the barn.                                            TREVOR                    I hope it ain't contagious. I'll                    be pissed as hell I turn into a                    big mollusk. I'll fuckin' sue, I                    swear to God.                    Starla, also wearing a gag, is kneeling beside Wally, who          is similarly sick and bloated. His lips are parched and          cracking.                    Starla squeezes a wet cloth, dripping all the water onto          Wally's lips. Then she stands, and heads toward the creek.                                                                            66.                    She doesn't see Wally open his eyes behind her. He sits          up, and stares over at Starla with milky eyes as she kneels          down beside the water.                    Starla dips the swatch of clothing into the creek, re-          wetting it.                    She stands, and turns, only to see Wally directly in front          of her, standing between trees, almost completely covered          in darkness.                                             WALLY                     Hey, sugarplum.                    Pause.   Starla pulls the gag from her mouth.                                                STARLA                     What?                    Wally speaks with Grant's cadence.                                             WALLY                     Marriage. It's a sacred bond.                     Just like you said.                    Starla stares at him.   Wally almost looks weepy.                                             WALLY                     I'm sorry 'bout trying to strangle                     you and all. I lost -- Lost my                     head. I didn't want to do none of                     the things I done. Not kill them                     pets. Not make Brenda a womb.                     But it's my nature, ain't it? How                     can you blame a one for actin'                     according to his nature?                    Starla, too freaked to speak, takes a step back from him.                                             WALLY                     I wanted to tell you what was going                     on. But I didn't - didn't think                     you'd love me no more. I never                     knew... love, Starla, I --                    Trevor and Margaret are setting down the Older Cop.   They          see Wally standing. Margaret pulls down her gag.                                                MARGARET                     Wally?                    Wally turns and stares at her like some angry animal.                                                MARGARET                     You all right?                    Wally doesn't answer.                                                                            67.                                            MARGARET                    Maybe you better sit back down.                    You don't look so good.                                             TREVOR                    Margaret.                    Trevor's staring at something. Margaret follows his eye          line. Jack and the Older Cop are sitting up, staring at          her, just like Wally.                    The Redneck stumbles into the barn doorway, also staring          at them.                              EXT. STRUTEMYERS' FARMHOUSE/INT. PICKUP TRUCK - NIGHT                    Kylie is still alone in the Luv truck. The windows are          clear; the parasites have abandoned their quest, just as          they did with the posse in the barn. But Kylie stays in          the car, trembling, afraid to leave.                    She HEARS a DOOR OPEN. She sees her parents and her          sisters come stumbling out the front door of her home.          They're also bloated and diseased. Their chins and shirts          are stained with the blood they spit up.                                            KYLIE'S DAD                    Kylie, honey, you okay? Come on                    out.                    Her family lumbers up to the truck. They peer in with          their milky eyes. Her youngest sister pushes her face up          close to the window.                                             KYLIE'S SISTER 2                    Hi, Kylie.   It's me.                    Her family tries the door handles, but they're locked.                                            KYLIE'S MOM                    Open the door, sweetie. I know we                    don't look so good, but your mommy                    and daddy love you.                                             KYLIE                    Get away!!                                            KYLIE'S MOM                    Now, Kylie, there's no excuse why                    not to be with your family. This                    is family fun day, isn't it?                    They continue RATTLING the door handles, over and over.          They SLAP the windows.                    Kylie SOBS.   Her sister speaks in a singsongy voice:                                                                              68.                                            KYLIE'S SISTER 1                    Kyyy-leee, this is your last cha-                    ance.                    Her Dad leans over and picks up a large rock. He carries          it toward the truck. He holds it up over the windshield.                    Kylie SCREAMS as he SMASHES it down. The windshield          CRACKS, but doesn't shatter. He holds it up again.                              EXT. FOREST NEAR STRUTEMYER'S - NIGHT                    Bill, out of breath, runs out of the forest --                              EXT. STRUTEMYERS' RANCH - NIGHT                    Bill emerges on the edge of the ranch, stretching five or          six acres out in front of him. On the other side of the          field is the gravel road, where his police car is parked.          Beside the field is the Strutemyer's farmhouse.                    Bill HEARS a CRASH. He turns to see the diseased          Strutemyers in their driveway, all holding rocks now,          smashing the pickup's windows.                                            BILL                    Hey!                    The Strutemyers stop, mid-swing.   They turn toward him.                    Kylie sees Bill through the rear windshield.    She unlocks          the door, and jumps out of the car.                                            BILL                    What's -- ?                    Kylie runs past her family and up to Bill.    She grabs          onto him, and hides behind him, WEEPING.                                            BILL                    What's going on here?                    Kylie's Dad's cadence is also like Grant's:                                            KYLIE'S DAD                    Well, hello there, Pardy.                                            BILL                    What happened to you, Dwight?                    Kylie's Dad looks down at his own bloated arm.                                            KYLIE'S DAD                    Poison ivy out back, maybe?                                                                             69.                                             KYLIE'S SISTERS                    We're itchy!                    Kylie is obviously in shock.                                            KYLIE                    They're not my... They killed...                                           BILL                    Okay. Y'all just wait in this                    spot. I'm gonna call the paramedics                    for you. Kylie can come with --                                            RANCHER (O.S.)                    Hey there, killer.                    Bill turns to see the RANCHER with the cleft palate, now          diseased, holding a shovel. He swings it into Bill,          knocking him down.                    Kylie SCREAMS. Her family runs in toward them. She looks          around to see a couple more DISEASED RANCHERS rushing          toward them through the fields.                    The Cleft Palate Rancher stands over Bill and raises the          shovel to bring it down again.                    Bill feels for his shotgun, which has fallen into the          dirt beside him. He yanks the trigger.                    The BLAST hits the Rancher in the foot.    He buckles.                    Bill stands, pulling Kylie with him as the other diseased          folks rush toward them through the fields.                                             BILL                    Come on.                    Bill and Kylie dash toward the cluster of cars as the          diseased chase them.                              EXT. OLD BARN - NIGHT                    The infected posse -- Wally, Jack, the Older Cop, and the          Redneck recruit -- are all coming in towards Trevor and          Margaret.                                            MARGARET                    Now, what'd I say?! Y'all just                    sit down! You need to get some                    Goddamn rest! You're sick!                    Starla watches this, by herself, next to the creek.      She          eyes a rifle in the dirt.                                                                         70.                    Jack grabs a fistful of Trevor's hair and restrains his          arms. Wally pulls his pistols from their holsters and          tosses them into the dirt.                                            TREVOR                    Let go!!                    Margaret goes to grab her pistol, when the Redneck opens          his mouth wide and --                    GLEEKS; that is, he sends a yellowish globby-stream          shooting out of the back of his throat. The glob SPLASHES          on Margaret's hand. Margaret SCREAMS, drops the pistol.                                            MARGARET                    It burns!!                    Margaret looks at her hand as the gleek-liquid sinks into          her skin. The hand is swelling monstrously. It's soft.          Parts of it are nearly dripping off the bone.                                            MARGARET                    What'd you do to my fuckin' hand?!                    Jack opens his mouth and GLEEKS too -- shooting the stream-          glob forward and onto her neck. Margaret SCREAMS again,          grabbing onto her neck.                    Margaret tries to speak, but she struggles just to breathe,          as her neck puffs up, impeding her thorax.                                            OLDER COP                    Meat.                    The Older Cop buries his fingers into her neck. The puffy          flesh comes off easily; it's soft, almost creamy. He          stuffs the flesh into his mouth, eating it.                    As Margaret topples over, dying, the other posse members          turn to look at a very freaked-out Trevor. The Redneck          opens his mouth at him, when --                                            STARLA (O.S.)                    Let him go!                    The posse turn and see Starla, who has made her way over          to where the rifle was on the ground, and is now pointing          the rifle at the posse, trembling.                                            STARLA                    Trevor, come on.                    Surprised, they release Trevor.                                            STARLA                    What'd you do to her?!                                                                                71.                      Jack stares at Starla.    He too speaks with Grant's cadence.                                              JACK                      There you go, sugarplum! Why you                      choosing camps 'fore you hear --                            JACK                            REDNECK          Both sides of the story!?       Both sides of the story!?                                              STARLA                      Why are you talking like Grant?!                      The posse moves toward her. Starla is CRYING. The posse            makes a COLLECTIVE SCREECHING sound, then speaks again:                                              WALLY                      'Cause I am Grant!                            WALLY                           REDNECK          I'm you husband --              I'm you husband, Goddammit --                                              JACK                      You swore to honor and obey --                            OLDER COP                       REDNECK          Obey me --                      Obey me, so put that Goddamn                                          gun down.                                              STARLA                      Don't come any closer.    I'll...                      shoot.                                              WALLY                      You ain't gonna shoot me! You                      always needed me to protect you!                      You for damn sure ain't got the                      balls to --                      Starla BLASTS Wally, blowing open a big crater into his            face.                      Wally falls to his knees.    Starla and Trevor look on in            shock, as they see...                      A slithering parasite squirming out of the crater on his            face -- out of the Wally's brain.                      The little thing squirms down Wally's body and slithers            off quickly into the woods. Wally falls over, dead.                      The sick posse look at Starla, surprised, infuriated.                      And then they leap at her.                      Starla tries to shoot them.   But she's out of ammo.                                                                            72.                    She and Trevor turn and dash away as quickly as their          legs can take them.                              EXT. TREE-THICK FOREST - NIGHT                    Trevor and Starla run in a zigzag pattern through trees          rooted closely together, panicked, breathing heavy.                                            TREVOR                    Oh shit oh shit oh shit oh shit!                              EXT. STRUTEMYERS' RANCH - NIGHT                    Bill and Kylie arrive at his police car. Bill throws the          door open, and shoves Kylie inside. As he starts to get          in, he turns to see the two little girls closing in.                    One opens her mouth and GLEEKS -- it shoots out and lands          on the car right beside Bill's hand.                    The other little girl opens her mouth to GLEEK as Bill          jumps into the driver's seat. He slams the door shut          just as the oozy liquid splashes on the window beside          him.                    Bill is grossed-out by this, but he doesn't have much          time. He goes to reload his shotgun, when he remembers.                                             BILL                    Shit.   Ammo's in the trunk.                    He grabs the police radio.                                             BILL                    Trevor!   Margaret!                              EXT. TREE-THICK FOREST - NIGHT                    Trevor turns and sees Jack, the Redneck, and the Older          Cop leap powerfully over the brush behind them, coming in          fast. But he's able to grab onto his radio.                                            TREVOR                    They killed Margaret!                              EXT. STRUTEMYERS' RANCH - NIGHT                    Kylie's two sisters jump onto the hood, SCREECHING.   They          SLAM rocks on the windshield. Kylie SCREAMS.                                            BILL                          (into radio)                    Where are you?!                                                                         73.                                            TREVOR (O.S.)                    We're coming your way, man!                    Bill JAMS the car forward, knocking the sisters off the          hood. Then he slams on the brakes.                    He looks back and sees the two little girls running toward          the car again.                    And he sees the mass of diseased ranch families also          running toward the car. Kylie is SCREAMING and CRYING.                                              KYLIE                    Go!   Go!   Please!                    But, instead, of pulling forward on the gravel road, Bill          turns up and onto the ranch itself -- back towards the          running diseased.                                            BILL                    My friends are still in the forest.                    Bill speeds the police car over the dirt field, trying to          avoid approaching ranchers. Some leap at the car, holding          on and getting tossed aside. Bill zooms back toward the          trees.                    Just as Bill gets a little headway on the diseased, the          car gets stuck in some mud. The wheels spin, spraying          mud, as the infected approach.                              INT. TREE-THICK FOREST - NIGHT                    Starla looks back to see Jack right behind her.                              EXT. STRUTEMYERS' RANCH - NIGHT                    The infected arrive at the car. Bill just lets his foot          off the gas, and sits there, letting the ranchers leap          onto the car. Kylie looks at Bill, panicked by his choice          to do nothing.                                            BILL                    We need their weight.                    Bill slams down the gas again, and the car zooms forward.          The diseased get knocked off.                                              BILL                    Dumbshits.                    Bill rushes toward the trees of the forest.                                                                          74.                    INT. FOREST - NIGHT                    Starla keeps running, when she trips and falls. She looks          down to see she stumbled over old barbed wire fencing,          now long fallen and curling on the forest floor. Starla          forces herself up, as Jack closes in.                    Jack grabs onto her blouse, SCREECHING furiously.   When          he HEARS something and looks over to see:                    Bill's police car, cruising over the forest floor, directly          toward him. Jack, frightened, lets go of Starla. He's          about to get hit when --                    The police car suddenly stops, jammed between two trees,          inches from Jack.                    Jack smiles, and moves toward Bill -- but Starla rises          behind him, holding a sharp rusty stake from the barbed-          wire fence.                    She thrusts it forward, hard; and it pops out the front          of Jack's neck.                    Jack turns to look at Starla, and topples over into the          leaves.                    Bill backs the car out from between the trees. He sees          the Older Cop and Redneck coming in toward them.                                            BILL                    Come on!                    Trevor and Starla get into the car.   The Older Cop watches          them back away and yells:                                            OLDER COP                    Starla!!                              EXT. ROAD AWAY FROM FOREST - MOMENTS LATER                    The police car pulls up and out of the forest. The car          is in bad shape. Steam rises from the smashed grill.                    Bill looks to his side; he's down a bit from the          Strutemyers' ranch. He pulls away, heading back toward          town.                    The foursome sit in a stupefied daze. Starla's beside          Bill. Trevor and Kylie are in the back. Bill grabs the          police radio.                                            BILL                    Shelby?                                                                           75.                    Nothing. STATIC.   Everyone notes this, worried.    Bill          tries again:                                            BILL                    Shelby, you there?                    For a moment, there's nothing.    And then:                                             SHELBY (O.S.)                    Yo, Chief.   How y'all doin'?                    Bill and Starla look at each other, relieved.                              INT. POLICE STATION - NIGHT                    Shelby sits at the police operator's unit, peppy.                                            SHELBY                    You dig that rat out of the hole?                              INTERCUT POLICE CAR AND STATION                                            BILL                    Listen, you got any reports of...                    I don't know what you call 'em.                    They look like big slugs, only                    fast.                                            SHELBY                    Slugs? No. 'Less you talkin'                    about that new waitress down at                    Sloan's! Ha ha!                                             BILL                    Shelby --                                            SHELBY                    Oh, shit! I hope she ain't a police                    radio aficionado. If so, I apolog -                                            BILL                    Shelby, shut up. Keep an eye out                    for these things. If you see 'em,                    keep your mouth covered. Otherwise                    they'll go straight down it. All                    right?                    Shelby looks confused, and nods.                                            BILL                    Are you nodding?                                             SHELBY                    Yeah.                                                                            76.                                            BILL                    I can't hear when you're nodding.                                              SHELBY                    Sorry.                                            BILL                    We'll be there in ten minutes.                    Bill hangs up. Kylie is clutching onto herself, hollow-          eyed, in deep shock. She mutters, almost unintelligibly:                                            KYLIE                    The worms are in their brains.                    Starla, Bill, and Trevor look at her.                              INSERT - FOREST                    The CAMERA TRACKS QUICKLY FORWARD, through the forest,          and to a CLOSEUP on the Redneck, who is hunched over          Margaret's body, eating her flesh.                    MATCH CUT TO a CAT SCAN of the REDNECK'S HEAD: a parasite          is imbedded into his brain; its tail hangs down his spine,          wagging just a bit.                                            KYLIE (O.S.)                    Drivin' 'em around...                              BACK TO THE POLICE CAR                    Bill stares at Kylie like she's insane.                                            STARLA                    She's right. We saw one -- one                    came out of Wally's head.                                           TREVOR                    Yeah. Sort of his eye, it came                    out there --                                            STARLA                    Kylie, how do you --                    Kylie is rocking back and forth.                                            STARLA                    Kylie, how do you know that?                    Kylie shakes her head.    She doesn't want to answer.                                              BILL                    Kylie, honey.    Please.                                    (MORE)                                                                   77.                                            BILL (CONT'D)                    A lot of bad things have happened                    to you today, we know. But we                    need your help to find out what's                    going on.                    Kylie CRIES.                                            KYLIE                    I was in the bath. It tried to go                    inside me and I -- for a minute I                    became it.                                               BILL                    The worm?                                               KYLIE                    I got it out.                                               TREVOR                    What are they?                                               KYLIE                    Part of him.                                               BILL                    Who?                           (pause)                    Who?                                            KYLIE                    Mrs. Grant's husband.                    Starla stares at her.                                            KYLIE                    But not always. I was -- He was...                    other stuff too.                                            STARLA                    What other stuff?                    Kylie kind of points at the sky.                                            TREVOR                    He's a fucking Martian?!                                            BILL                    A Martian is from Mars, Trevor.                    Kylie tries to think.                                            KYLIE                    For real it looks like a needle.                    Its real face. But it always gots                    another.                                  (MORE)                                                                         78.                                            KYLIE (CONT'D)                    He goes from place to place,                    worlds... planets... killing 'em.                    He takes over half of what's alive                    and eats the other half. Till                    they're gone.                    They stare at her, freaked out.                                               KYLIE                    Now he's here.     He went in Mr.                    Grant.                                            STARLA                    Through a wound on his stomach?                    Kylie nods.                                            KYLIE                    He took him over. His body. His --                    his brain, everything what he knew.                    He's only been dumb stuff before -                    amoeba-things, and rhino-things.                    He liked being human. Didn't want                    to change.                                            STARLA                    And you said the worms are part of                    him. They're all linked, like one                    creature?                                            KYLIE                    When one sees you they all see                    you.                                            STARLA                    An animal that doesn't procreate.                    It spreads, grows. A living                    disease.                                             BILL                          (to Kylie)                    So the way to stop this thing is                    to stop Grant?                    Kylie shrugs.   The police car starts CHUGGING.                                               BILL                    Shit.                    The car slows, and comes to a stop.                              EXT. ROAD TOWARD WHEELSY - MOMENTS LATER                    Bill, Starla, Kylie, and Trevor step slowly out of the          car. They look around the deserted road.                                                                          79.                    The wide-open night is shrouded in darkness. Quiet.          They can see the lights of Wheelsy down the road in front          of them.                    Bill speaks into the radio again, as he gets his leather          satchel of weaponry out of the trunk. Trevor grabs ammo          from the satchel to reload his pistol.                                               BILL                       Shelby, we broke down on 22, a                       mile outside town. Come pick us                       up.                                               SHELBY (O.S.)                       I got to leave my post.                                                BILL                       Do it.                              MOMENTS LATER                    The foursome walks down the road, toward the city.   Starla          and Bill are in the lead.                                                BILL                       Hey, Starla.                    She looks at him.                                               BILL                       Was always curious why you...                       married Grant in the first place...                       Just never seemed outta love.                                               STARLA                       I know what people say, Bill.                       I... Remember, back in high school                       I worked at my father's gas station?                    Bill nods.                                               STARLA                       Grant used to get filled up every                       day. I knew it was just to see                       me. He was too old -- But he was                       handsome. And he had that big ol'                       Lincoln then. I flirted with him.                                               BILL                       Well, big ol' Lincoln, sure. Guess                       I would have flirted with him too.                    Starla smiles, thinks.                                                                       80.                                               STARLA                       My father, he was -- he was real                       close to evil. People didn't know.                       Still don't. From the time I was                       a toddler he'd beat the hell out                       of me. I don't mean just like a                       smack for smart-mouthing... he                       took a real enjoyment in it. And                       when I turned eleven or twelve,                       things... well, they got worse.                    Starla looks at Bill, who seems struck.                                               BILL                       When you wanted to run away, I                       called your dad.                                               STARLA                       That wasn't a good night, no.                                               BILL                       I'm sorry.                    Starla shrugs it off.                                               STARLA                       Anyway, Grant rolls in one day. I                       fill his tank with like an eighth-                       a-gallon as usual. And he notices                       my lip's all swollen up, and starts                       asking me how it happened. I don't                       know why I chose then, why Grant --                       I guess I saw an opportunity. And                       I told him everything, first time                       I told anyone. Grant was furious.                       He picked up a tire iron, walked                       straightaway into the garage, and                       beat my father half to death. You                       say it's not about love, Bill.                       But that was the closest thing to                       it I ever knew.                    Pause.                                               STARLA                       Grant asked me to marry him a few                       weeks later. I felt... safe with                       him.                    Bill nods.    Starla looks at him, smiles.                                               STARLA                       After all this shit tonight, I                       know for sure now you regret not                       running off with me to Hollywood!                                                                           81.                                              BILL                    Hell, Starla.    I always regretted                    that.                    Starla looks at him, moved.                    Trevor looks at Kylie, shivering and terrified.                                            TREVOR                    Don't worry, kid. Pretty soon,                    we'll be in town, everything'll be                    fine.                              EXT. WHEELSY CITY LIMIT - NIGHT                    A slithering parasite squirms over a paint-chipped sign          that reads "WELCOME TO WHEELSY, SOUTH CAROLINA, THE WHEELS          OF THE FUTURE," featuring early-'sixties graphics of a          utopian future.                    THE CAMERA MOVES DOWN to the road, where hundreds of          slithering parasites squirm into the city. They divide          off in thin lines heading toward the various homes.                    We MOVE UP TO a WINDOW on a SMALL HOUSE, through which we          can see an OVERWEIGHT WOMAN in spasms with a slithering          thing in her mouth.                    We PAN TO the WINDOW of the HOME NEXT DOOR, where we can          see a FAMILY gathered around a CORPSE, feasting on his          goopy flesh.                              EXT. ROAD TOWARD WHEELSY - NIGHT                                              STARLA                    What's that?                    Our foursome look up to see a Buick Century parked at a          haphazard angle in the middle of the road. The driver's          side door is open. The headlights are still on.                    They look at each other. Bill takes his flashlight off          his belt and aims it in front of him. They all slowly          approach the car, in the darkness.                    Bill aims his flashlight into the Buick.   The keys are          still there, but no one's inside.                    Trevor looks at the grill of the car.   It's dented.                                            TREVOR                    They musta hit a deer. Probably                    got out to see if it's okay.                    Bill and the others look around.                                                                            82.                    Bill hears a LAPPING sound behind him.   He turns, aiming          the flashlight downward.                    A DISEASED DEER is lapping a thick purple tongue on the          wound of a dead man. The sick creature is mostly hairless          and pink and covered in veins. Bulbous black eyes hang          on the sides of its head like a goldfish's.                    The diseased deer glances up at Bill and GROWLS a low          growl.                                            BILL                    Fuck me.                    The deer springs upward, bringing his hoofs into Bill's          chest. Bill is knocked violently to the gravel, dropping          his shotgun and satchel. The deer rears back and brings          his hoofs down into Bill again. They CRACK Bill's head          against the hard road.                    Kylie, Trevor, and Starla see diseased deer coming in at          them from different directions. The deer SCREECH like          dying rabbits.                                            TREVOR                    Bambi-rats!                    Trevor aims his pistol at a DEER jumping toward him. He          SHOOTS, misses. The deer knocks him down. The deer stomps          his feet, rearing up and down on Trevor's ribs, almost          like a little dance. The deer tears at Trevor's sleeve          with decidedly carnivorous teeth, forcing him into letting          go of his gun.                    Kylie SCREAMS. She dives into a small space beneath a          rock overhang on the side of the road. She watches what's          going on from there.                    Starla sees the Buick a few yards away. She glances beside          her to see the largest diseased deer of all, a HORNED          BUCK, careening toward her.                    She dashes toward the Buick as fast as she can.                    A TUMOROUS DOE leaps onto Bill, biting into his shoulder          and tearing at his flesh, so now he has two deer on him.          Bill is bleeding, dizzy, and disoriented, but he's able          to turn, just a bit, to see the barrel of his shotgun          above him. He tries to scoot himself back as he's being          battered. He reaches up for the shotgun; but the tips of          his fingers barely graze the muzzle.                    Starla arrives at the Buick, and starts to crawl into the          front seat.                    But the horned buck is upon her.   He bites into Starla's          ankle. She SCREAMS.                                                                           83.                    He yanks back on her, half pulling her onto the road.          But Starla grabs onto the steering wheel with all her          might, and pulls against the horned buck's massive power.                    The deer on Trevor starts pulling him off, dragging him          down the road as he HOLLERS.                    Kylie, underneath the rock overhang, watches Bill try to          scoot himself back and reach for the shotgun. It's just          a little too far away. She works up her nerve and slowly          starts to crawl out toward him.                    As Starla is stretched between the horned buck pulling on          her ankle, and her hand on the steering wheel, she's able          to flip on her side and turn the keys in the ignition;          the ENGINE STARTS. She reaches one hand down to the          floorboard, pressing on the gas.                    The Buick lurches forward, wrenching her away from the          horned buck's mouth.                    Bill reaches again for the barrel of his rifle. It's too          far away. But then he sees Kylie, at the butt of the          rifle. She reaches out and pushes it just a little, into          Bill's hand. Bill grips the muzzle like a baseball bat,          and swings it into the face of the deer jumping on him,          knocking the beast back.                    The deer tries to stumble forward again, but its whole          head and neck have been knocked askew. It topples over,          dead.                    Bill flips the shotgun forward into his hands. He stuffs          the muzzle into the tumorous doe biting into his leg.          The deer looks at him. Blood is running down Bill's face          and he looks half-crazed. Bill glances down and sees the          telephone wire wrapped around her ankle.                    Bill pulls the trigger, destroying her.                    He stands, looking around for the deer with Trevor. It          has dragged him a fair distance down the street. Bill          SHOOTS once, missing it, and again, hitting it straight          on.                    Kylie looks around to see more diseased deer running          through the fields toward them.                    Starla pulls herself into the driver's seat and backs up          alongside her friends. Throws open the passenger door.                                            STARLA                    Get in!                                                                          84.                    INT. BUICK CENTURY - MOMENTS LATER                    Bill fumbles for the radio controls.                                               BILL                    Shelby!                    Trevor looks out the window, watching the deer fade away          behind them.                                            TREVOR                    When I buy my zoo, I'm leaving                    them things the hell out!                                               BILL                    Shelby!                                            SHELBY (O.S.)                    Hey there, Chief.                                            BILL                    Shelby! We need people out here                    at Cosgrove and McCammon right                    away!                                            SHELBY (O.S.)                    Don't worry, Chief.                              EXT. MAIN STREET - NIGHT                    Shelby, sick and bloated, speaks into his radio, as he          moves down the street with a hoard of the infected.                                            SHELBY                    Already on our way.                              BACK TO BUICK                    Kylie turns her head, and glances out the window.   And          SCREAMS. Starla, Bill, and Trevor turn to see --                    An SUV barreling straight towards them.                    It SLAMS hard into the side of the Buick.                    And SMASHES the car back, across a short lot, and through          the glass storefront of a flower store.                              INT. FLOWER STORE - NIGHT                    The Buick and SUV are destroyed, amidst the ruins of this          store. Shattered vases and flowers surround them. Glass          fragments dangle from the window frame. Some fall and          CLINK to the floor.                                                                             85.                    Starla lifts her battered head from the wheel. She looks          beside her to see Bill and Trevor, seemingly unconscious.                    She looks back at Kylie. The impact has killed her. Her          neck is bent at an ungodly angle. Bone juts up out of          her skin.                    Starla looks out her rear window and sees the SUV door          open, and the DISEASED DRIVER stumble out. His body is          battered and broken, but, still, he lumbers toward her.          He tries to speak, but his jaw is broken, and only a MUMBLY          MOAN comes out.                    Starla struggles to get out of the car. Eventually, she          does, and she falls to the floor, amidst the broken glass          from the shattered window, and the water all over the          floor from the broken vases.                    She sees the moaning driver limping toward her.   He's          still trying to speak, but he's unintelligible.                    The driver gets close, ready to grab her. Starla sees a          metal bar. She grabs it. And SLAMS it into the diseased          man's shin.                    He topples over.                    She crawls onto the fallen driver and brings the metal          bar down into his head, again and again, SHOUTING and          CRYING with fury.                    Starla looks down at the man, who is very dead.                    Starla looks up to see dozens of DISEASED TOWNSFOLK coming          at her, from down the street, between buildings. They          see Starla there.                                            DISEASED TOWNSFOLK                    Starrrrrlaaaaaa!!                    Bill and Trevor limp up behind Starla, pulling her toward          a door on the back wall.                                            BILL                    Come on.                              INT. FLOWER STORE STORAGE AREA - MOMENTS LATER                    Bill closes and locks the door behind them.                              EXT. FLOWER STORE - NIGHT                    The diseased townsfolk surround the little store on all          sides. They SCREECH.                                                                           86.                    INT. FLOWER STORE STORAGE AREA - NIGHT                                            TREVOR                    What the hell are we going to do?!                                            BILL                    Just block the doors, any way you                    can.                    Bill grabs hammers and nails off a hardware bench.                    Trevor knocks things off shelves and yanks up the metal          shelving.                    Starla looks doubtful of this whole activity.   But still,          she helps.                    The storeroom has two doors.    They start nailing anything          over them they can.                    Trevor sees some slithering parasites coming in through a          crack in the upper corner of the room.                                            TREVOR                    Goddamn snakes!!                    Trevor aims his pistol at the things and starts shooting          wildly at them, BLASTING up the whole room.                    Bill and Starla see slithering parasites coming in from          other cracks in the room as well. They also BLAST at          them. Dust is all around; they can hardly see.                    Bill runs out of ammo. He grabs a hand-held Black and          Decker electric circular saw and turns it on. He starts          jamming it into the parasites, cutting them up, and putting          big slices in the floor. They SQUEAK with pain.                              EXT. FLOWER STORE - NIGHT                    The diseased townsfolk WAIL and SLAP their hands on the          walls, almost rhythmically, like some tribal ritual.          Some push on the doors.                              INT. FLOWER STORE STORAGE AREA - NIGHT                    Bill hears something POP behind him. He turns to see a          little hole in one of the doors. Three diseased fingers          slip inside, trying to pull away more.                    Bill uses the circular saw to cut off the fingers.                    An arm pops through the door.    Bill slams the circular          saw into that. Blood spurts.     Bone grinds.                                                                         87.                    A man's eye peeks through another crack. Bill jams the          circular saw through the crack and into the man's face.                              EXT. FLOWER STORE - NIGHT                    The FACE-SAWED MAN backs away from the hole, clutching          his bleeding eye.                              INT. FLOWER STORE STORAGE AREA - NIGHT                    Bill spots a wide piece of shelving falling off the door          across from him. He runs over to the space, when the          circular saw stops turning. Bill turns to see he's          accidentally unplugged it.                              EXT. FLOWER STORE - NIGHT                    The diseased townsfolk have all gathered on one side of          the building now, putting all their efforts into tearing          down one door. Some have even climbed onto the roof above          it, curling off the gutter and roofing overhead.                              INT. FLOWER STORE STORAGE AREA - NIGHT                    Bill grabs his leather satchel, and starts to reload his          shotgun. Starla sees that the diseased townsfolk have          almost torn down one of the doors.                                            STARLA                    This is stupid.                    Starla goes to the other door, and starts tearing away          the planks they nailed there.                                            BILL                    What are you doing?!                                            STARLA                    We can't make it. Just get away,                    when you get the chance.                                             BILL                    What?                                            STARLA                    He wants me, Bill! I'm going to                    get him to take me to him! See if                    you can follow me, and kill him!                                             BILL                    No, Starla!   No!                                                                               88.                      Another full metal plate is pushed off the door. A            DISEASED MAN'S face peeks through. Trevor swirls to see            it. The Man GLEEKS, hitting Trevor on his chest. Trevor            looks down, in shock.                      And the whole door and part of the wall bursts open. The            Diseased pour inside and around Trevor, GLEEKING all over            him, splattering his body with the burning liquid. Trevor            starts to puff up, swelling, becoming soft. They grab            him.                                               BILL                      Nooo!                      Bill grabs Trevor by the wrist, and tries to pull him            away from them. But Trevor SCREAMS in agony; the liquid            has made his flesh too soft. His entire body splits apart            like wet tissue, his organs spilling out in front of them.                      Bill stares down in shock, still holding Trevor's arm.                      Starla has pulled away enough boards of the other door.            She throws it open. None of the diseased are on this            side of the building anymore. She moves outside.                                EXT. FLOWER STORE - NIGHT                      Bill follows her. Two DISEASED PEOPLE appear, SCREECHING            and running toward them. Bill SHOOTS them both. And he            makes a break for it, running as fast as he can across            the street.                      He turns, expecting to see Starla right behind him. But            she has stayed behind, staring quietly at the ground.            Starla has tears in her eyes. She motions with her head            for Bill to go. Bill is confused.                      The diseased townsfolk come up around Starla from the            sides of the flower store, no one paying attention to            Bill. They encircle her, slowly. Some SCREECH angrily            at her. She's too disgusted or fearful to even look in            their eyes. They BREATHE with SICK, RASPY breath.                            DISEASED WOMAN                 DISEASED KID          Starlaaaaaaa!                  Starlaaaa!                      And they WAIL, in a cacophony of simultaneous voices, all            the deep angers, fears, frustrations, and jealousies they            inherited from Grant Grant, such as:                                              SMASHED-FACE MAN                      You said for better or worse! You                      lied!                            NO LONGER PRETTY                BRENDA'S HUSBAND          I gave you everything!         I.   Loved. You!                                                                                89.                            SHELBY                           FAT SICK GUY          It's not just about lesson       I wanted you by my side,          plans! Hank Wilcox wants         sugarplum. But I'm too          your pussy!                      ugly now, huh!!?                            MR. INAPPROPRIATE                WAITRESS          Your daddy'd still be            You always thought I was a          fucking your every hole          joke, ain't you?          weren't it for me!!                                              BRENDA'S HUSBAND                      You like Pardy better'n me? That's                      who you want to screw now?!                                              STARLA                      Grant... Please...                      They surround her. They touch her body, her ass, her            breasts. Pull on her clothes. She trembles.                                              STARLA                      I'm sorry... I know I haven't                      behaved how you -- how you want.                      I know. Don't... hurt... me.                      Starla glances down to see a diseased dog licking her            calf, tasting her.                                              STARLA                      We need... to... talk.                      A DISEASED MAN grabs the side of her neck and face.                            DISEASED MAN                     BRENDA'S HUSBAND          Then talk.                       Then talk.                                              STARLA                      Not here, though, okay? Not all                      of you. I'm not used to -- I want                      to talk to your face, Grant. Your                      more real face. Your --                      The diseased townsfolk grab Starla, enveloping her, and            start dragging her away.                      A few townsfolk remain behind.    They look around for Bill.                                               SMASHED-FACE MAN                      Pardy?!!   Where are you, Pardy!!                      But he's nowhere to be seen.    They SCREECH angrily.                                EXT. MAIN STREET - NIGHT                      Bill runs as fast as he can across the street here -- the            same direction the hoard took Starla, but down a block.                                                                           90.                      EXT. SIDE OF MOVIE THEATER - NIGHT                      Bill falls against the side of this building, hiding in a            dark crevice. Down the way, he can see numerous dead            bodies, and a WOMAN chased down and tackled by some            infected townsfolk.                      Some diseased townsfolk wander by Bill, looking for him.            Bill crouches down so he isn't seen.                             DISEASED WOMAN               SHELBY          Pardy.   Pardy. Pardy.        Come on out, Pardy.                                               PASTOR                       We've surrounded the town, you                       prick! Ain't no way outta here!                      Bill waits for them to pass. When they're gone, Bill            looks up toward the next street -- he can see the hoard            moving Starla across that street.                      He makes sure no one's looking, and follows her.                                EXT. GRANT STREET - LATER                      One of the diseased pushes Starla too hard, and she falls            to her hands and knees. They keep pushing her. She            stumbles back to her feet and moves on. She's almost            hyperventilating.                                EXT. GRANT HOME - MOMENTS LATER                      Here, the Diseased Townsfolk around Starla stop. She            looks up to see that they've led her onto her own front            yard. Starla gazes up at her home:                      The diseased have done a little remodeling. Part of the            front wall has been torn away, replaced with some primitive            thatched woodwork. The front doorway has also been            partially destroyed. Because of the sloppy reconstruction,            the roof is caved-in and sloping.                      Diseased people sit in meerkat-like poses on all sides of            the Grants' home, watching out for trouble.                                EXT. HOUSE ACROSS FROM THE GRANT HOME - NIGHT                      Bill, out of breath, arrives across the street. He can            see Starla standing with the diseased. He hides behind            some shrubs.                                                                             91.                    EXT. GRANT HOME - NIGHT                    The diseased push Starla up between them, violently, to          the front door.                    Starla stops at the dark hole on the front of the house.          It's pitch black inside. She looks back at the rotting          faces behind her. And then slowly enters.                              INT. GRANT FOYER - NIGHT                    Starla balks at the smell. She looks beside her at the          garage; the wall has been torn out, and this has become          Grant's feeding area, with rotten meat, including some          bodies, in a pile.                    Starla steps slowly forward, looking around.                                               STARLA                    Grant?                    Starla can see into the shambles of a kitchen from here.                              EXT. HOUSE ACROSS FROM THE GRANT HOME - NIGHT                    Bill looks at the diseased surrounding the Grant home.          They seem impossible to get through.                    Bill eyes the house next door, maybe twenty-five feet          from the Grants'. He makes sure no one's paying attention          for a moment, and he darts across the street to a parked          car. The diseased don't see him. Bill gazes down the          street beside him.                    The sun is just barely beginning to rise.   They don't          have much time to move in the darkness.                    Bill makes a break for the house next door.                              INT. GRANT KITCHEN - NIGHT                    Starla walks into the kitchen. Cooking supplies and          condiments are scattered over the floor. She spots a          meat thermometer on the floor amongst other utensils.                    She glances out the rear window. Diseased people are          guarding the backyard, looking away from the home.                    She grabs the meat thermometer. She snaps the thermometer          part off the top, discards it, and shoves the long metal          spike into the seam of her skirt.                                                                            92.                    Suddenly, Starla hears EVERY WOMAN IN THE WORLD, the song          she and Grant danced to earlier, starting to play through          tinny speakers.                    Starla looks up through a missing section of ceiling; she          can see a tiny piece of Grant in the bedroom above her.                                             STARLA                    Grant?   We should talk.                              EXT. NEIGHBOR'S BACKYARD - NIGHT                    Bill has made his way into the backyard. He looks over          at the Grant home. Some diseased townsfolk in the backyard          could conceivably see or hear him. He tries the back          door, but it's locked.                    Bill notices a window slightly open.    He starts to push          it up. It SQUEAKS LOUDLY.                    He peers over at the diseased. They don't hear. He throws          the window up further, and crawls inside the home.                              INT. GRANT FOYER - NIGHT                    Starla stands at the base of the stairwell.    The SONG is          louder.                                               STARLA                    Grant?                    She starts to ascend the stairs.     They CREAK beneath her          feet.                              INT. NEIGHBOR'S HOUSE - NIGHT                    Bill peeks out the window, careful not to be seen by the          diseased humans around Grant's. Bill can see Starla in          the home next door, walking up the stairs.                    Bill runs toward the stairwell here.                              INT. GRANT UPSTAIRS HALLWAY - NIGHT                    Starla looks down the hall.    Most of the walls have been          torn away.                    Between wooden beams, Starla can see Grant's cumbersome          mass, his back to her, in what was once the bedroom.                    In front of him, the SONG ENDS on the CD player. It starts          into the NEXT SONG on the album. Grant uses one of his          crusty tentacles to push the back button.                                                                            93.                    EVERY WOMAN IN THE WORLD starts over.                    Starla walks toward him.                              INT. GRANT BEDROOM - NIGHT                    Grant keeps his back to her. Starla takes in the room.          Photographs from their scrapbooks are all over the walls:          photos from their wedding, and vacations, and family          parties.                                               STARLA                    Hey, Grant.                    Starla walks around Grant, giving him a decent berth.                                            STARLA                    You did some real interesting                    decorating here.                    Grant watches her from the corner of his sad, purulent          eye.                                               STARLA                    Hey.                    Starla walks by a window.                                            STARLA                    Look, the sun's starting to come                    up.                    Starla starts to open the drapes.                              INT. NEIGHBOR'S UPSTAIRS HALL - NIGHT                    Bill happens to look through the neighbors' kid's bedroom          and to the home across the way where Starla is pulling          the drapes away from the window. She sees Bill there.                              INT. GRANT BEDROOM - NIGHT                    Grant SCREECHES angrily at Starla. She quickly closes          the drapes, not letting on she saw Bill.                                            STARLA                    Sorry. I didn't -- I didn't know                    you wanted it dark.                              INT. KID'S BEDROOM - NIGHT                    Bill walks into this young boy's bedroom, filled with          airplanes and sports memorabilia.                                                                             94.                    He peeks around the window frame at the Grant bedroom          window, now closed to him. He makes sure his shotgun is          loaded.                              INT. GRANT BEDROOM - NIGHT                    Starla tries to change the subject by walking to a wall          with the photos.                                            STARLA                    You like these memories, huh, Grant?                    Grant looks away from her.   Starla moves toward him, almost          seductively.                                            STARLA                    You like being called Grant, don't                    you?                    Grant is silent.   She gets closer.                                             STARLA                    I think you do. You really do.                    You like being Grant. Like when                    we danced. And when you... made                    love to me here on the bed.                    Remember that?                    Grant looks embarrassed.   Starla becomes more brazen.                                            STARLA                    I know you've been alone, Grant.                    Almost forever. From here to there                    to there to here, there's never                    been another one for you.                    Starla almost looks as if she's about to cry, out of          compassion for him.                                            STARLA                    Grant. Grant, I could help you.                    Be with you the way you want.                    See, I want to live. I've never                    had much use for this world, not                    really. You and I, together, we --                    She touches his tentacle with her fingers.   He moves it          back, and GROWLS a little.                    Starla moves her trembling fingers toward him again. She          sets them on his tentacle once more. He glares at her          distrustfully, breathing his deep, sick breath.                                            STARLA                    You don't trust me, I know. That's                    why I brought you someone, Grant.                                                                             95.                    Starla looks into his eyes.                                           STARLA                    It's Bill. He's in the house next                    door. Just look.                              INT. KID'S BEDROOM - NIGHT                    Bill glances down to see a diseased man looking up at          him. In fact, they're all looking up at him. Bill is          confused.                              INT. GRANT BEDROOM - NIGHT                    Grant looks at Starla with sad eyes, perhaps touched.          Starla smiles nervously, expectantly.                                            STARLA                    See? I brought him here for you!                    As an offering! To prove I love                    you more than him!                    Grant wraps his tentacle around Starla. Starla, though          obviously disgusted, touches his face with her hand.                              INT. NEIGHBOR'S HOUSE - NIGHT                    The diseased townsfolk break down the door, moving into          the downstairs below Bill.                              INT. KID'S BEDROOM - NIGHT                    Bill hears them approaching. He SHATTERS the window, and          crawls onto a small mock-balcony outside.                              INT. GRANT BEDROOM - NIGHT                    Starla moves slowly in toward Grant, as if to kiss him.          Grant looks, well, joyful.                    And then she yanks the metal spike from her skirt and          JABS it into Grant's eye.                    Grant SCREECHES, blind and bucking.   Starla SLAMS the          spike into his other eye.                    And she STABS him again, shoving the spike into his          forehead, where it stays.                    Starla leaps to the window.   She throws open the drapes.                                                                         96.                                             STARLA                    Now, Bill!!   Kill the motherfucker!!                              EXT. NEIGHBOR'S MOCK BALCONY - NIGHT                    Bill raises his shotgun and BLASTS as Starla jumps away          from the window.                              INT. GRANT BEDROOM - NIGHT                    The WINDOW SHATTERS and the shot strikes Grant. He          SCREECHES, swinging his tentacles aimlessly around the          room in fury.                    One tentacle SLAMS Starla against the wall, probably          breaking a rib or two. Another tentacle SMASHES the CD          player, squelching the song.                              EXT. NEIGHBOR'S MOCK BALCONY - NIGHT                    The diseased townsfolk enter the kid's bedroom, rushing          toward Bill on the balcony. But Bill won't stop. He          BLASTS the shotgun again.                              INT. GRANT BEDROOM - NIGHT                    Grant is struck in the head. He starts slithering out of          the bedroom, feeling his way out.                              EXT. NEIGHBOR'S MOCK BALCONY - NIGHT                    Bill is out of shells. He drops his shotgun. He grabs          the grenade out of the pocket on the black leather bag.                              INT. GRANT BATHROOM - NIGHT                    Starla, clutching her ribs and barely able to move, pulls          herself up on the window.                    Bill tosses her the grenade. She tries to catch it, but          misses it. It lands on the carpet. She see Grant's          tentacles slipping away. She tries to move but she's          hurt bad, bleeding.                              EXT. NEIGHBOR'S MOCK BALCONY - NIGHT                    The diseased GLEEK at Bill, but Bill throws himself          forward, letting himself fall through the flimsy balustrade --                                                                            97.                    EXT. GRANT HOME - NIGHT                    Bill lands hard on the lawn between the two homes. He          grabs a .38, and stands beside the window on Grant's house.                    Through the window he sees Grant barreling down the stairs.                    Bill SHOOTS Grant with the .38, SHATTERING the glass.                    He UNLOADS the clip into him.                    The diseased townsfolk surround Bill, grabbing him. Grant,          using the others' eyes to see, snaps his tentacle forward,          wrapping it around Bill's neck, raising him up. Grant          SCREECHES.                              INT. GRANT FOYER - NIGHT                    Starla appears at the top of the stairs, clutching her          bloody side. She has the pin in one hand and the grenade          in the other.                    With all her remaining effort, she lobs the grenade behind          Grant.                                               GRANT                    Er...?                    It EXPLODES.                              EXT. GRANT HOME - NIGHT                    Grant's exploding flesh sends Bill flying backwards.                              INT. GRANT HALLWAY - NIGHT                    Starla is thrown back.                              EXT. GRANT HOME - NIGHT                    Around the house, the diseased's eyes gaze lifelessly          upward as they each plummet to the grass.                                                                      FADE TO:                              EXT. GRANT HOME - MORNING                    Bill unwraps what's left of the tentacle from his bruised          neck, and looks around at the dead diseased. Grant's          splattered flesh is around him.                                                                         98.                    Bill hears a quiet RATTLING sound. He looks around him.          And then sees, down at his feet, what is actually a          distorted piece of Grant's cerebellum. Sticking out of a          new organic slit in the cerebellum is the quill-like spore.          It quivers and trembles upward, its little bulbed spurs          popping out.                              INT. GRANT HALLWAY - MORNING                    Starla crawls forward to look down through the smoke:          most of the second floor has been blown away. Her mutated          husband is just a mass of flesh and alien organs.                              EXT. GRANT HOME - MOMENTS LATER                    Starla comes around the side of the house, holding a paper          towel roll to the slice on her ribs. She sees Bill          standing there. She smiles.                                             STARLA                    Hey.                    Bill smiles too.                                             BILL                    Hey.                              EXT. MAIN STREET - DAY                    Bill and Starla hobble down the town center. The leather          bag is slung over Bill's shoulder. Everything around          them is dead: the victims who were being feasted on, as          well as the various diseased. The torture is over, but          no life remains.                              EXT. MAIN STREET - MOMENTS LATER                    Bill finds an abandoned Nissan Maxima in the middle of          the street, with the keys still in it.                                            BILL                    Starla, over here.                              EXT. WHEELSY EXIT - LATER                    In the Maxima now, Bill and Starla pull around a toppled          ambulance and through a spouting fire hydrant, and out          onto --                                                                            99.                    EXT. ROAD BEYOND WHEELSY - DAY                    The sun is bright and beautiful, glistening on the car.          Bill and Starla breathe more easily and smile a little as          they head up this long, barren road outside the city.                              EXT. CLUSTER OF STORES - MOMENTS LATER                    Bill and Starla pass through a small block of stores.                    Starla gazes out the window to see people -- real, actual,          HEALTHY HUMAN BEINGS: men and women and children -- going          about their daily chores. Tears come to her eyes.                    Bill grabs Starla's hand.   She clenches his tightly.                                            STARLA                    We can probably get some first aid                    and food at this gas station up                    here.                                              BILL                    Yeah.   Good.                              EXT. GAS STATION - MOMENTS LATER                    The Maxima pulls into the station, and stops.                              INT. GAS STATION MART - MOMENTS LATER                    Starla and Bill pile stuff up on the cashier's counter --          Band-Aids, gauze, alcohol; Power Bars and Gatorade. The          CASHIER rings it up, staring at them because of their          wounds.                                            CASHIER                    Comes to 32.87.                    Bill pulls money out of his pants pocket. As he does,          Starla glances down. His arm pulls up his shirt, and          Starla can see the black and yellow wound there on his          stomach. She turns away, looking around, confused.                    Bill pays, smiles at the cashier.                                              BILL                    There you go.                              EXT. GAS STATION - MOMENTS LATER                    A stunned Starla steps with Bill out of the station, moving          toward the car.                                                                          100.                    Starla stops.                                           STARLA                    Shit. I- I forgot... I wanted to                    get aspirin.                    She starts to move back inside.     Bill stops her.                                            BILL                    I'll get it for you.      Ibuprofen or                    aspirin?                                               STARLA                    Aspirin.                    Bill smiles, and goes back inside. Starla moves quickly          with the bag of stuff toward the car.                              INT. GAS STATION MART - MOMENTS LATER                    Bill pays for the aspirin, and walks out with it.                              EXT. GAS STATION - DAY                    Bill walks out; the Maxima is still there.                              INT. MAXIMA - DAY                    Bill gets in the driver's seat, puts his keys into the          engine.                                            BILL                    We'll just head up here into                    Bishopville, get checked up in the                    hospital. Then maybe we'll head                    off to Hollywood after all, huh?                                               STARLA                    Okay.                    Bill turns to smile at Starla. She's aiming the .38 at          his face. Tears are streaming down her cheeks.                                            BILL                    Please, Starla. I'm gonna do my                    best not to hurt anybody --                                               STARLA                    You took Bill.                                            BILL                    It's my nature.                                                                          101.                                            STARLA                    And this is mine.                    Starla pulls the trigger, the GUNSHOT CRACKS OUT.                              EXT. GAS STATION - DAY                    As the Maxima sits in the lot, ANOTHER GUNSHOT CRACKS          OUT. Then we hear the HORN BLARING.                              INT. MAXIMA - DAY                    Bill's dead body is slumped over the steering wheel.          Starla really can't bring herself to look at it, as she          reaches across it and toward the door handle.                              EXT. GAS STATION - DAY                    The car door flips open.    The horn stops blaring.                    And Bill's body is kicked out of the car, sliding onto          the pavement.                              INSERT TITLE, FULL SCREEN:                    SLiTHER                              INT. MAXIMA - DAY                    Starla WIPES the tears away from her face. She glances          out the window to see the cashier peeking out of the          cashier's station.                    Starla scoots over into the driver's seat.    She shoves          the car into drive.                    And she takes off down the road, not looking back.                    Starla's blanched and numb but the tears still keep coming.                                                                 CUT TO BLACK.                                                                            THE END
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+                      SLUMDOG MILLIONAIRE                          Written by                         Simon Beaufoy                                             November 4th, 2007© SLUMDOG FILMS LIMITED39 LONG ACRELONDON WC2E 9LG1   INT. JAVED'S SAFE-HOUSE. BATHROOM. NIGHT.                 1    An expensive bathroom suite. Excess of marble and gold    taps. Into the bath, a hand is scattering rupee notes.    Hundreds and hundreds of notes, worth hundreds of    thousands of rupees. The sound of a fist thumping on    the bathroom door, furious shouting from the other    side.                               JAVED O/S              Salim! Salim!2   INT. STUDIO. BACKSTAGE. DAY.                              2    Darkness. Then, glimpses of faces. In the half-light,    shadowy figures move with purpose. An implacable voice    announces.                            TALKBACK V/O              Ten to white-out, nine, eight,              seven...                               PREM              Are you ready?    Silence. A hand shakes a shoulder a little too roughly.                            PREM (CONT'D)              I said are you ready?                               JAMAL              Yes.3   INT. JAVED'S SAFE-HOUSE. BATHROOM. NIGHT.                 3    The thumping at the door continues. The sound of    mumbled Indian prayer. Dull gleam of a pistol. A hand    cracks the chamber open. Loads a single bullet into the    chamber, snaps the chamber shut.                            TALKBACK V/O              ...three, two, one, zero. Cue              Prem, cue applause...    Suddenly, the door splinters as it is smashed through.    A burst of gun-fire and white light as suddenly...4   INT. STUDIO. NIGHT.                                       4    ...we are back in the studio, the gun-fire morphing    into rapturous applause.                                                  (CONTINUED)                                                                2.4   CONTINUED:                                                       4                                  TALKBACK V/O                 Go, Prem.    A wall of light and noise as the two walk on stage.    Cheering, music, banks of searing studio lights. On    stage, Jamal, an eighteen year-old Indian boy-man    stares, petrified. He would surely turn and run but for    the iron grip on his shoulder of the smiling host, Prem    Kumar.                               PREM                 Welcome to Who Wants To Be A                 Millionaire!    More applause.                               PREM (CONT'D)                 Please give a warm welcome to                 our first contestant of the                 night- a local from our very own                 Mumbai!    Under cover of the wild applause, Prem ushers Jamal    towards the guest's chair, leaning in and hissing.                                  PREM (CONT'D)                 Smile, dammit.    The lights seem to bore into him but Jamal manages a    tentative smile. Out of nowhere, a hand slaps him    ferociously across the face. Then again and again.    Blood trickles from his mouth.5   INT. POLICE INTERVIEW ROOM. NIGHT.                               5    The studio lights have seamlessly transformed into the    harsh bulb of an interrogation light. Jamal is strung    from the ceiling by his arms.                               CONSTABLE SRINIVAS                 Your name, bhen chod.    Constable Srinivas's hand pulls back Jamal's head by    the hair, forcing him to stare directly into the    lights.                                  CONSTABLE SRINIVAS (CONT'D)                 Your name!                                  JAMAL                 Jamal Malik.    And seamlessly we are back....                                                           3.6   INT. STUDIO. NIGHT.                                         6    ...on the set of Who Wants to be a Millionaire. Prem    leans back in his chair, a man at home in his    surroundings. Jamal sits opposite, frozen.                            PREM              So, Jamal, tell us a bit about              yourself.    Close on Jamal's face. Without warning, it is shoved    under water.7   INT. BUCKET. NIGHT.                                         7    We look up from the bottom of the bucket at the    screaming face of a drowning man. His head shakes    desperately, pointlessly. Then Jamal's face is dragged    up again, roaring for breath. Close on his eyes.                            JAMAL V/O              I work in a call centre. In              Juhu.8   INT. STUDIO. NIGHT.                                         8                            PREM              A Phone-basher! And what type of              call centre would this be?                            JAMAL              XL 5. Mobile phones.                            PREM              Aha! So, you're the man who              rings me up every single day of              my life with Special Offers,              huh?                            JAMAL              No, actually, I'm an assistant.                            PREM              An Assistant Phone-basher?    A raised eye-brow at the audience. Amusement ruffles    through them.                            PREM (CONT'D)              And what does an Assistant Phone-              basher do, exactly?                            JAMAL              I- I get tea for people and-                                                  (CONTINUED)                                                          4.8    CONTINUED:                                                8                                PREM                  - a chi-wallah! Why didn't you                  say?     Laughter in the audience.                                PREM (CONT'D)                  So, ladies and gentlemen, Jamal                  Malik from Mumbai, let's play                  Who Wants To Be A                  Millionaire...!9    OMITTED                                                   910   INT. POLICE INTERVIEW ROOM. DAY.                          10     Jamal's body dangles motionless from the ceiling. His     head is bowed and he is moaning to himself. The ceiling     fan thumps round slowly. In the corner, Constable     Srinivas mops his brow and lights a cigarette. Hot     work. The door opens and the Inspector of Police walks     in. A rumpled man in his late forties who has seen     pretty much everything. He eyes Jamal, surprised.                                INSPECTOR                  Has he confessed, yet?                                CONSTABLE SRINIVAS                  Apart from his name, I can't get                  a word out of the runt.                                INSPECTOR                  You've been here all bloody                  night, Srinivas. What have you                  been doing?     Srinivas shrugs.                                CONSTABLE SRINIVAS                  Tough guy.                                INSPECTOR                  A little electricity will loosen                  his tongue.     Constable Srinivas brings a box and a tangle of wires     out of a cupboard and proceeds to put crocodile clips     on Jamal's fingers. The Inspector stares, deep in     thought. Sweat trickles down his face. He wipes it away     with a handkerchief, seems to be talking to himself.                                INSPECTOR (CONT'D)                  Every night I get home, "why                  can't we have a/c like Bajan                  Chacha?                                (MORE)                                                     (CONTINUED)                                                           5.10   CONTINUED:                                                 10                                INSPECTOR (CONT'D)                  Why don't you care about your                  poor family, dying in this                  heat." Twenty-four years a                  policeman and I can't afford                  bloody a/c.     Turns on Jamal.                                INSPECTOR (CONT'D)                  But you. You've got ten million                  rupees ek dum guaranteed, yaar?                  And who knows how much further?                  Fancy the twenty million, do                  you?     Jamal just stares.                                INSPECTOR (CONT'D)                  I think you probably do.     The Inspector nods absently to Constable Srinivas who     turns a handle. Jamal's body pulsates and jerks. He     screams. His body goes limp again. The Inspector goes     over to Jamal.                                INSPECTOR (CONT'D)                  So. Were you wired up? A mobile                  or a pager, correct? Some little                  hidden gadget? No? A coughing                  accomplice in the audience?                  Microchip under the skin, huh?     Constable Srinivas hadn't thought of that. Grabs     Jamal's arms and starts squeezing them all over until     the Inspector has had enough.                                INSPECTOR (CONT'D)                  Srinivas! Look, it's hot, my                  wife is giving me hell, I've got                  a desk full of murderers,                  rapists, extortionists, assorted                  bum-bandits...and you. Why don't                  you save us both a lot of time?                  Hmm?     Jamal doesn't answer. The Inspector sighs and sits     down. Looks at his watch, nods at Constable Srinivas     again. Jamal's body jerks with electric current. When     the shudders and screams have subsided, the Inspector     goes over to Jamal's collapsed form. Clicks his fingers     in front of Jamal's face to check for a response.                                INSPECTOR OF POLICE                  He's unconscious, chutiya. What                  good is that? How many times                  have I told you-?                                CONSTABLE SRINIVAS                  Sorry, Sir.                                                      (CONTINUED)                                                           6.10   CONTINUED: (2)                                             10     An excited Young Police Constable sticks his head     around the door.                             YOUNG CONSTABLE               He's coming! Sir.                             INSPECTOR               ArÈ wa, Srinivas, we'll have               Amnesty International in here               next, peeing their pants about               human rights. Get him down, tidy               him up, for God's sake.     Constable Srinivas goes over to Jamal and starts to     undo the crocodile clips.                             CONSTABLE SRINIVAS               Maybe he did know the answers.                              INSPECTOR               Have you gone soft, Srinivas?               Professors, lawyers, doctors,               General Knowledge Wallahs never               get beyond sixteen thousand               rupees. And he's on ten million?               What the hell can a slum dog               possibly know?     Jamal lifts his head.                              JAMAL               The answers.     He lifts his head, spits blood out of his mouth and     says again, straight into the Inspector's face.                             JAMAL (CONT'D)               I know the answers.     Titles. Slum Dog Millionaire.11   EXT. CRICKET GROUND. DAY.                                  11     Bright sunlight filtered through the ever-present     Mumbai dust. A group of children are playing cricket on     a tarmac cricket ground. They are bare-foot, dressed in     little more than rags, wiry-skinny and fast on their     feet. Salim, a nine-year old, polishes the ball on his     almost non-existent shorts, comes in with surprising     speed and bowls. The batsman hooks it high in the air.     The bowler screams at a boy in the outfield.                             SALIM               Jamal! Catch it! Catch it!     The seven-year old Jamal stares up at the ball, jinks     around trying to get into position.                                                   (CONTINUED)                                                            7.11   CONTINUED:                                                  11     He pays no heed to the rest of the children who are     scattering fast to the edges of the tarmac. The ball     seems suspended in the blue sky. Shouts from the other     children seem very far away. He doesn't notice that     they are screaming for him to get out of the way. Jamal     adjusts his feet for the perfect catch. Then out of     nowhere, a light aircraft almost takes his head off as     it comes in to land on the tarmac runway. Jamal is     knocked to his feet by the down-draft of the plane. The     ball bounces away. Also flattened, Salim gets to his     feet.                                SALIM (CONT'D)                  How could you drop that? It was                  a sitter.     Then Salim's face turns to one of alarm.12   EXT. AIRPORT PERIMETER. DAY.                                12     At the back of a pack of children, carrying a piece of     wood crudely fashioned into a sword, Jamal is running     for his life, pursued by an ancient but surprisingly     nimble Security Guard from the airport who is screaming     abuse and wielding a long stick. The kids dash across a     rubbish dump and disappear down dozens of tiny lanes     that run in between the shacks of the slum.                                SECURITY GUARD                  Private-ka land! Private-ka                  land! The planes won't kill you,                  mader chod, I will!     Jamal and Salim- also with a wooden sword- break off,     head down a separate lane. The Guard pursues them.13   INT. JUHU SLUM. DAY.                                        13     The lanes in between the corrugated iron shacks are     three feet wide, with an open drain running down the     middle. Many of the precarious upper floors of the     shacks have been built right over the paths, turning     them into black tunnels. Tunnels shot through with     slivers of light. If you didn't live here, you would be     lost and frightened in minutes.     But these children are natives and with the practice of     many years, Jamal and Salim zig-zag down the warren of     lanes.     They dodge past people cooking in the doorways,     sleeping, washing clothes or in the case of Vinod, a     naked four year-old, pissing into the drain. Salim     shouts a warning.                                                     (CONTINUED)                                                          8.13   CONTINUED:                                                13                                SALIM                  Vinod! Musketeers coming                  through!     Without breaking step, they both jump expertly over the     stream of piss. Not so the Security Guard who gets it     all over his trousers, but doesn't stop the pursuit.     The two children charge past a shack filled to the roof     with chickens in cages who all start squawking. They     break out into the sunlight of the `main road' of the     slum lined with shops. It is packed: with people,     stalls, bicycles and cows. All modern India is here,     drinking tea, shouting at each other, selling food,     playing carom, video games. Leaving a trail of shouting     and wreckage behind them, the pair approach a brand new     Mercedes almost blocking the lane. Beside it stands     Javed, an impressive man in a beautiful suit and his     two Minders. Jamal and Salim skid to a stop, put their     hands together in respectful greeting and edge ever so     carefully past the immaculate paintwork of the car.     Still in pursuit, the Security Guard also slides     carefully past the car with deprecating bows and     smiles. On past the chi stall where a crowd has     gathered to watch a hindi film blaring from the tv     rigged up overhead. The irate Security Guard gets     tangled up in a bicycle. Jamal and Salim stop to give     him a taunting, hip-gyrating parody of the dance on the     tv before scooting down another tunnel. They break out     into sunlight again.                                WOMAN'S VOICE                  Jamal!     Jamal skids to a halt, bumping into Salim who is     already frozen.                                JAMAL                  Shit. Mummy-ji.                                JAMAL'S MOTHER                  Don't you move a muscle.     The Security Guard arrives and he too skids to a halt     at the sight of Jamal's mother.                                JAMAL'S MOTHER (CONT'D)                  Thank you, Mister Gupta. I will                  deal with these two.     The Guard puts his hands together in grudging respect     as Jamal's Mother lifts each skinny kid off the floor     by their t-shirt and marches them down the road.                                                            9.14   INT. SCHOOL. DAY.                                           14     The two renegades are dumped by Jamal's Mother into     their desks as Mister Nandha hands out ancient school     books.                             MISTER NANDHA               So, the musketeers return. We               are honoured. Salim. Or Porthos,               isn't it?     He crashes the heavy book down on his head. Salim opens     the book. Jamal glances over and turns the book the     right way round for Salim.                             SALIM               I know!     Mister Nandha hovers over Jamal's head. He winces in     anticipation.                             MISTER NANDHA               And Athos.     The book comes down like thunder. Jamal blinks from the     impact and suddenly we are back....15   INT. INSPECTOR'S OFFICE. DAY.                               15     ... in the Inspector's office. Jamal watches Srinivas     fiddling with the video recorder, trying to get a     picture. Through the pebbled glass, Jamal sees shapes     moving along the corridor.16   INT. CORRIDOR. POLICE STATION. DAY.                         16     The Commissioner of Police is fawning along beside Prem     as they walk. The Young Constable hurries behind.                             COMMISSIONER OF POLICE               It is so kind of you to visit               our station, Sir. A great               honour.                             PREM               Not at all, not at all. I hope               you will visit us, Commissioner.     Out of his jacket pocket comes a couple of tickets.                             PREM (CONT'D)               Bring the family. It's a lot of               fun.                             COMMISSIONER OF POLICE               Oh! A thousand thanks, Sir.               Missus Janda will be overcome.                                                      (CONTINUED)                                                             10.16   CONTINUED:                                                    16     He turns to the Young Constable.                                COMMISSIONER OF POLICE                                (CONT'D)                  chi, you lazy chutiyÈ, chi!     The Inspector joins them in the corridor.                                COMMISSIONER OF POLICE                                (CONT'D)                  Ah, Inspector! Cracked it?     The Inspector moves his head. Maybe yes, maybe no.                                  INSPECTOR                  Nearly, Sir.     The Commissioner is just able to contain his apoplexy.                                COMMISSIONER OF POLICE                  Nearly? Nearly? When Prem Kumar                  himself has-     Prem holds up a tolerant hand to the Commissioner who     falls silent. Turns his laser-like charm onto the     Inspector.                                PREM                  Inspector. How good to meet you.                  Clearly the kid cheated.                                  INSPECTOR                  Clearly, Sir.                                PREM                  So, it is just a question of                  how, no?                                INSPECTOR                  Indeed, Sir. The proof. That is                  all we need.                                PREM                  We are lucky to have a man of                  your obvious experience on the                  case. This kid might run rings                  around us filmi types, but he                  won't make fools out of the                  Mumbai Police Force, I can see                  that.     Forced laughter from the Commissioner.                                PREM (CONT'D)                  In front of sixty million                  people.     More laughter. And fear.                                                         (CONTINUED)                                                           11.16   CONTINUED: (2)                                              16                             PREM (CONT'D)               Which is what will happen if we               don't get a result, Gentlemen.               He goes back on the show to rob               us all with the whole of India               watching. But. I can rely on               you.     Prem walks away down the corridor. Stops and turns,     apparently casual.                             PREM (CONT'D)               Has he- has he made any               allegations?                                INSPECTOR               Allegations?                             PREM               He's a cunning one. A convincing               liar. Don't be taken in,               Inspector, don't be taken in.     Walks off. The Inspector stares after him. Goes back     into his office.17   INT. INSPECTOR'S OFFICE.                                    17     Srinivas has finally got the recorder to work. We get     snatches of filmi dancing- heroines singing on     mountainsides surrounded by implausible numbers of     flags- cricket and finally after some shouting by the     Inspector, Who Wants to Be A Millionaire?.                             INSPECTOR               So, Mister Malik, the man who               knows the answers. Talk.     We close in on the tv screen where Prem is smiling his     crocodile smile and find ourselves....18   INT. STUDIO. NIGHT.                                         18     ...as Prem asks the first question.                             PREM               So, are you ready for your first               question for one thousand               rupees?                                JAMAL               Yes.                             PREM               Not bad money to sit in a chair               and answer a question. Better               than making the tea, no?                                                   (CONTINUED)                                                           12.18   CONTINUED:                                                  18                                  JAMAL                  No. Yes. No.                                PREM                  No. Yes. No. Apka final answer?     Laughter from the audience. Jamal looks confused. Prem     waves it away, switches on his serious face.                                PREM (CONT'D)                  Remember, you have three                  lifelines if you're not sure of                  your answer- Ask the Audience,                  50/50 and Phone a Friend. So,                  the question:     The lights go down, the portentous music rolls.                                PREM (CONT'D)                  Who was the star of the 1973 hit                  film Zanjeer. Was it A-     Close on Jamal's eyes.19   INT. SHACK. NIGHT.                                          19     A tiny shack. A garland of dirty plastic flowers     surrounds a torn flyer for one of Amitabh Bacchan's     films.20   EXT. JUHU SLUM. RUBBISH DUMP. NIGHT.                        20     Salim is sitting on a chair at the end of a rickety     wooden pier, though it is not water, but a sea of     rubbish and sewage that lies below them. There are     dozens of these piers protruding from the slum onto     airport land, each with a toilet shack perched right at     the end. Another man hurries up the pier and hands     Salim a coin.                                SALIM                  Immediately, sir.     Turns to the toilet door.                                SALIM (CONT'D)                  Bhai, get out of there. Prakash                  wants a shit.                                  JAMAL O.S.                  Not finished.                                PRAKASH                  Stop your time-pass. This is                  urgent.                                                     (CONTINUED)                                                          13.20   CONTINUED:                                                 20                                JAMAL O.S.                  It's a shy one. Since when was                  there a time limit on a crap?                                SALIM                  Since there was a customer                  waiting, that's when.     He flashes another placatory smile at Prakash.                                JAMAL O.S.                       (singing/ grunting)                  Come on out, you beauty, unveil                  yourself, my darling-warling....                                PRAKASH                  Look, kid, I got a bad stomach.                  It's borderline....     A disturbing combination of heaving and snake-charmer     noises come from the toilet shack. Finally Prakash can     stand it no longer.                                PRAKASH (CONT'D)                  I'm off to Devi's bog. Give me                  that.     He snatches the coin back from Salim and hurries off.     Salim bangs on the toilet door.                                SALIM                  You just lost me good money, you                  stupid idiot-     Salim stops. In the distance, there is the faint sound     of shouting, a crowd coming closer. Then the crowd     bursts through the outer shacks of the slum, pour onto     the rubbish dump and make for the airfield.                                MAN                  It's Amitabh! That's his                  helicopter!                                JAMAL O.S.                  Amitabh? Amitabh Bacchan?21   INT/EXT. TOILET. NIGHT.                                    21     Jamal peers through one of the many cracks in the     shack. He sees crowds surging around the pier, charging     towards a landing helicopter. Salim shoves the chair     under the door handle- effectively locking it- and runs     down the pier to join the chase. Jamal pulls up his     shorts.                                JAMAL                  No! Wait! Salim, sala! Salim!                                                      (CONTINUED)                                                           14.21   CONTINUED:                                                  21     Rattles the locked door. Pulls a torn flyer from his     pocket advertising an Amitabh movie.                                JAMAL (CONT'D)                  Wait! Amitabh....     He looks down the toilet hole at the sewage beneath     him, the landing helicopter, the disappearing crowd. A     final rattle of the door. There is only one way out. He     jumps down the hole, sprawling headlong into a year's     worth of human waste, managing to keep the flyer out     the mire. He runs for the helicopter.                                JAMAL (CONT'D)                  Amitabh-ji! Amitabh-ji!     Salim is at the back of the crowd, trying to force a     way through, but the adults shove him back. Not so for     Jamal. The down-draft from the helicopter flicks bits     of sewage from his clothes. Disgusted fans curse him     and get out of his way. Suddenly, the red sea parts and     there is nobody between Jamal and Amitabh Bacchan     getting out of the helicopter.                                JAMAL (CONT'D)                  Please. Amitabh-ji.     Jamal holds out his flyer. Used to signing autographs,     the movie star barely looks at Jamal. He takes the     flyer and scribbles his autograph on it.                                JAMAL (CONT'D)                  A thousand thanks, Amitabh-ji.     He hands the flyer back to Jamal as his bodyguards     surround him and hustle him into a car. Jamal chases     the flyer across the tarmac, grabs it. Kisses it.22   EXT. JUHU SLUM. NIGHT.                                      22     From high up, the rickety tin roof-tops of the slum     seem to stretch to the horizon. There is a distant     shout, a figure waving an arm.                                 MAN                  It's coming!     Then another shout and another, a chain of voices     coming closer. People come out of their doorways with     pails and buckets. The shouts come closer until we see     a naked figure entirely encased in bubbles dancing and     singing in the lane. Jamal is the happiest boy in the     slum.                                JAMAL                       (singing)                  Amitabh, Amitabh, oh Amitabh!                                (MORE)                                                   (CONTINUED)                                                         15.22   CONTINUED:                                                22                                JAMAL (CONT'D)                  I have your autograph, oh, holy                  Amitabh!                                   MOTHER                  Here it comes!     Water comes bubbling through a hose and Jamal's mother     hoses down her ecstatic son.23   EXT. JUHU SLUM. NIGHT.                                    23     Not far away, Salim wanders to Mister Chi's stall. He     glances around to make sure everybody is glued to the     hindi film on Mister Chi's tv and surreptitiously slips     Mister Chi the signed flyer. Mister Chi takes a look     and gives Salim a small wad of rupees. He sticks the     money in his pocket, slinks away.24   EXT. JUHU SLUM. NIGHT.                                    24     A tear-stained Jamal is furiously trying to batter     Salim, but Salim's extra strength and height means that     he can keep Jamal at bay with one hand, Jamal's     flailing fists punching thin air.                                   JAMAL                  Sala! Sala!     Salim's laughter only makes Jamal cry harder.25   INT. INSPECTOR'S OFFICE. NIGHT.                           25     Close on the tv screen in the Inspector's office. Prem     ponders Jamal's choice. Presses a button on his     computer.                                PREM V/O                  You chose A- Amitabh Bacchan.                  Guess what? You just won one                  thousand rupees!     Applause on screen. The Inspector looks at Jamal. Jamal     shrugs.                                JAMAL                  You don't have to be a genius.                                CONSTABLE SRINIVAS                  I knew it was Amitabh.                                   JAMAL                  Like I said.     Constable Srinivas twists Jamal's arm behind his back,     evincing a squeal of pain from Jamal.                                                     (CONTINUED)                                                           16.25   CONTINUED:                                                  25                                JAMAL (CONT'D)                       (squealing)                  He's the most famous man in                  India...!     The Inspector stares at Jamal, turns back to the tv     where Prem is asking the next question.                                PREM O/S                  For four thousand rupees....the                  national emblem of India is a                  picture of three lions. What is                  written underneath? Is it...26   INT. STUDIO. NIGHT.                                         26                                PREM                  ...A) The truth alone triumphs.                  B) Lies alone triumph. C)                  Fashion alone triumphs. D) Money                  alone triumphs.     Prem shoots a mock puzzled look out to the audience     eliciting giggles from them.                                PREM (CONT'D)                  What do we think, Jamal? The                  most famous phrase in our                  country's history. Maybe you                  want to phone a friend?     Laughter from the audience. The studio lights bear down     on Jamal. a drop of sweat trickles down his forehead.     Prem is loving his discomfort.                                PREM (CONT'D)                  Or Ask the Audience? I have a                  hunch they might just know the                  answer. What do we think?     He gestures expansively at his audience. Oh, they love     him.                                 JAMAL                  Yes.                                  PREM                         (startled)                  Yes?                                JAMAL                  Ask the audience.     Prem whistles. Raises his eyes at the audience.                                PREM                  Well, you're the contestant,                  Jamal.                                (MORE)                                                     (CONTINUED)                                                         17.26   CONTINUED:                                                26                                PREM (CONT'D)                  Put the poor man out of his                  misery, Ladies and Gentlemen.                  Press your key-pad now.     The lights dim. Portentous music.27   INT. INSPECTOR'S OFFICE. DAY.                             27     The Inspector presses pause. Sighs.                                INSPECTOR                  So, Jamal. My five-year-old                  daughter knows the answer to                  that, but you don't. Strange for                  a millionaire genius. What                  happened? Your accomplice nip                  out for a piss, did he? Or did                  he just not cough loud enough?     Silence. Constable Srinivas kicks Jamal's chair.                                CONSTABLE SRINIVAS                  The Inspector asked you a                  question.                                JAMAL                  How much is bhelpuri at Jeevan's                  stall on Chowpatty Beach?                                INSPECTOR                  What?                                JAMAL                  One bhelpuri. How much?                                CONSTABLE SRINIVAS                       (can't help                        himself)                  Ten rupees.                                JAMAL                  Wrong. Fifteen since Divali. Who                  stole Constable Varma's bicycle                  outside Dadar Station last                  Thursday?                                INSPECTOR                       (amused)                  You know who that was?                                JAMAL                  Everyone in Juhu knows that.                  Even five year-olds.     Despite himself, the Inspector laughs. Then leans in.                                                     (CONTINUED)                                                         18.27   CONTINUED:                                                27                                INSPECTOR                  I'll give you five hundred                  rupees if you just admit it. You                  go home, I go home. Everybody                  happy.     Jamal just stares back.                                INSPECTOR (CONT'D)                  No, you want to go back on the                  programme and win twenty million                  rupees, don't you?                                  JAMAL                  Wouldn't you?28   INT. STUDIO. NIGHT.                                       28                                PREM                  The audience has chosen. And,                  whaddya know? Ninety-nine                  percent of them think the answer                  is A). The truth alone triumphs.                  What do we think, Jamal? A                  hundred percent would have made                  me a little more reassured,                  maybe....     Prem shrugs, makes a show of examining his computer.     Suddenly fixes him with his eyes.                                PREM (CONT'D)                  Are you married, Jamal?                                  JAMAL                  No.                                PREM                  Well, don't despair, there's                  someone out there who thinks our                  national motto is "Fashion alone                  triumphs". You two could be very                  well matched.     Audience laughter.29   INT. GALLERY. NIGHT.                                      29     The Director is shaking his head.                                DIRECTOR                  What the bloody hell is he                  playing at? He's way off                  script...                                VISION MIXER                  Split up with his girl-friend.                                                     (CONTINUED)                                                           19.29   CONTINUED:                                                  29                                DIRECTOR                  Which one?                                VISION MIXER                  All three, I heard. Nita as                  well. Back with the wife. She's                  pregnant again.                                DIRECTOR                  Oh, God, that's all we need....                                VISION MIXER                  Oh, for Sharukh Khan...Stand by                  white out.30   INT. STUDIO. NIGHT.                                         30                                PREM                  ...won four thousand rupees!     Music, lights, applause.                                PREM (CONT'D)                  One more question before the                  commercial break. What will our                  Call Centre Assistant do next?     The lights dim. Prem presses his computer.                                PREM (CONT'D)                  Religion! Interesting. For                  sixteen thousand rupees,                  in depictions of the God Ram, he                  is famously holding what in his                  right hand? Is it A) a flower.                  B) a scimitar. C) a child or D)                  a bow and arrow?31   EXT. DHOBI. JUHU SLUM. DAY.                                 31     Right next to the railway lines is a pond of dirty     water surrounded by shacks in which dozens of women are     washing clothes. Trains flash past only feet away from     them. Down the other end of the pond, nine-year old     Jamal and Salim are splashing noisily with some other     children. Jamal's mother pauses in her scrubbing, wipes     sweat from her forehead and gazes up at the leaden sky.                                JAMAL AND SALIM'S MOTHER                  It's going to come. Today. I can                  feel it.     The woman next to her nods.                                WOMAN                  Hope so. My head is exploding.                                                      (CONTINUED)                                                          20.31   CONTINUED:                                                 31                                MOTHER                  Yes. We need rain.     Jamal is trying to intercept the ball that Salim and     Krishna are throwing to each other. He's not having     much success. The ball flies overhead again from Salim     to Krishna. Jamal dives for it, misses and goes     underwater. When he comes up for air, he shakes his     head, clearing his ears of water. Then he stops,     listens. Shakes his head again. Definitely something     strange. Thunder? Salim and Krishna are trading     catches, unaware that anything has changed. But Jamal's     mother has heard it too. The faintest sound of     shouting, roaring. The wave of noise is still faint but     getting louder. A frozen moment broken by:                                MOTHER (CONT'D)                  Run! Jamal, Salim, run!     Everybody stares at her. A train speeds through as she     continues to shout, her words lost beneath the     thundering train.                                MOTHER (CONT'D)                  Go! Run!     The train goes through, the last carriage flying past     suddenly opening up the sight of a wall of rioting men     wielding clubs, scythes, metal bars. They come     screaming across the railway tracks.                                SALIM                  Krishna, quick!     Salim holds out his hand to Krishna who is wading with     difficulty through the water.                                KRISHNA                  No way! You're a bloody Muslim.                  Get away from me!     The rioters leap the tracks and are upon them.                                KRISHNA (CONT'D)                  They're Muslims! Him and him!                                MOTHER                  Go!     Salim and Jamal scramble out and retreat into the     lanes. Salim turns to see his Mother felled by a     rioter. She is surrounded by screaming, chanting men     who rain blows down on her. Jamal runs back and drags     Salim down an alley. As they head down the alley, they     get glimpses of burning houses, fleeing women, a three-     year old boy in a doorway, painted entirely in garish     blue. He stares at them. In his hand, he is carrying a     bow and arrow. An eleven-year old girl dressed only in     a pair of pants runs after them.                                                      (CONTINUED)                                                         21.31   CONTINUED: (2)                                            31     She has two bleeding red gashes on her back. They turn     a corner and head towards some vans full of police.     Jamal sees Mister Nandha, the school teacher, stops.                                JAMAL               Salim!     Then Mister Nandha starts walking towards him. An oasis     of calm in the chaos. Jamal looks at him with relief.                                JAMAL (CONT'D)               Mister Nandha.     Mister Nandha smiles, walks towards them.                             MISTER NANDHA               Ram nam satya hai, Babri Masjid               dhvasth hai.                                JAMAL               Mister Nandha?                             MISTER NANDHA               We have destroyed your mosque.               Now, the followers of Ram will               drive you dogs out of our city.     From behind his back he produces a knife and runs     towards Jamal, screaming.                             MISTER NANDHA (CONT'D)               Ram has returned to his temple!               Ram has returned!     They flee, but Jamal turns, sees the girl, frozen. He     chases back a few steps, hauls her arm. The spell     broken, and they are off.32   INT. STREET. EVENING.                                     32     They reach the safety of the police vans. But inside     the vans, the police are smoking, laughing, playing     cards. Down the street, a man comes whirling out of a     doorway, his hair on fire. He falls into the middle of     the street and is engulfed by rioters. Unperturbed, the     police continue to chat. Salim and Jamal look on,     horrified. Then one of the police men turns, looks at     them. Is interested. Motions to a colleague. Puts out     his cigarette with purpose.                             JAMAL               Let's go, bhai.     Salim and Jamal run. The girl follows.                                                        22.33   EXT. MUMBAI. EVENING.                                     33     Salim and Jamal stand on a hill overlooking the city.     Black smoke billows from a large area that is clearly     the Juhu slum. Standing a little way off is the girl.                              JAMAL                We should go back.     Silence.                              JAMAL (CONT'D)                See if Ama-     Salim shakes his head fiercely, silencing Jamal for a     moment. But only a moment.                              JAMAL (CONT'D)                What about Jeevan Chacha?     Salim shakes his head.                              JAMAL (CONT'D)                Maybe he-     Salim shakes his head again.                              SALIM                - I saw him. He was with them.                              JAMAL                But he wouldn't hurt-                              SALIM                - he was with them!                              JAMAL                But-                              SALIM                - shut up, Jamal, can't you?                Just shut up!     Salim turns away and sees the girl. Picks up a rock and     hurls it at her. She dodges, takes a couple of steps     back but makes no real attempt to get away. He finds     another rock and hurls this in her direction too.                              SALIM (CONT'D)                Ja!     Then a flash of lightning and thunder rumbles across     the city. Rain begins to come down.                              JAMAL                What shall we do?                                                   (CONTINUED)                                                           23.33   CONTINUED:                                                  33     No answer. Jamal sits down. Salim sits down. At a     distance, the girl sits down. Rain pours down their     faces.34   INT. BUILDER'S YARD. NIGHT.                                 34     Rain as you've never seen. A pile of huge water pipes     in a sprawling builder's yard. Jamal is in one pipe,     Salim above him in another. They are both soaked,     shivering, but have found some plastic sheet to wrap     themselves in. Outside, thirty feet away, stands the     girl. Staring. Salim hisses angrily at the girl.                                SALIM                  Go away. Ja, ja!     The girl might not even have heard.                                SALIM (CONT'D)                  She'll have the Security Guard                  onto us, standing there.                                JAMAL                  Not if we let her in.                                SALIM                  No.                                JAMAL                  She could be the third                  musketeer.                                SALIM                  I am the head of this family,                  now. And I say no. Piss off,                  you.     Salim huddles down in the pipe. After a while, Jamal     follows suit.                                SALIM (CONT'D)                  We don't even know what the                  third musketeer's called.35   EXT. JUHU SLUM. DAY                                         35     A flash of Jamal's mother being clubbed to the ground.     Her scream.36   INT. BUILDER'S YARD. LATER.                                 36     Jamal wakes with a jolt and a scream half-swallowed in     his mouth. He shuts his eyes tight, trying to force the     image out. His breathing slows and he sees the girl     staring at him. Salim, too, is staring into nothing.     The rain is still falling.                                                   (CONTINUED)                                                           24.36   CONTINUED:                                                  36     The girl goes back to drawing shapes in the mud with     her finger. Jamal climbs out of the pipe. Looks at     Salim for permission or refusal, but he just continues     to stare. So, Jamal walks across to her. She looks up,     wary.                                JAMAL                  Where's your Mother?     Silence.                                  JAMAL (CONT'D)                  Father?     The girl shakes her head slightly. Jamal takes the     plastic sheet from around his shoulders. Gives it to     her.                                JAMAL (CONT'D)                  I'm Jamal. He's Salim.                                  LATIKA                  Latika.     Jamal goes back to his water pipe, climbs in. Watches     her huddled under the sheet. Sighs, motions for her to     join him. She darts across, jumps into the water pipe     and huddles up next to Jamal.37   INT. INSPECTOR'S OFFICE. DAY.                               37     Jamal looks at the Inspector.                                JAMAL                  I wake up every morning wishing                  I didn't know the answer to that                  question? If it wasn't for Ram                  and Allah, I would still have a                  Mother.38   INT. STUDIO. NIGHT                                          38                                JAMAL                  D) A bow and arrow.                                  PREM                  Final answer?                                  JAMAL                  Final answer.     Prem stares at him for dramatic effect. Presses his     computer.                                PREM                  Computer-ji, D lock kiya-jaye.                                                     (CONTINUED)                                                           25.38   CONTINUED:                                                  38     The lights dim, the music swells.                                PREM (CONT'D)                  Jamal Malik, you answered D? Ram                  is depicted with a bow and arrow                  in his hand. And guess what?                  You've just won sixteen thousand                  rupees! Well done, my friend.                  Time for a commercial break-                  don't go away, now.     Music, applause. Prem switches off his professional     smile. Gets up.                                PREM (CONT'D)                  Got lucky, huh? I'd take the                  money. You'll never get the next                  one.                                JAMAL                  You're from the Juhu slum,                  aren't you?                                PREM                  Hmm? Sure. Know where I live                  now, kid? Pali Hill. Twelve                  bedrooms, a/c in every room, two                  kitchens, a gym and a screening                  room. Steel balls is what it                  takes, my friend, steel balls.     The Floor Manager comes over and gives his head-phones     set to Prem. Prem listens.                                DIRECTOR V/O                  Prem? Tone it down, for goodness                  sake. You're making him a                  laughing stock.     Prem glances up at the gallery with contempt.                                PREM                  We're having fun here. They love                  it...Where the hell do you get                  them from?     He makes no attempt to hide the conversation from     Jamal.                                DIRECTOR V/O                  It's supposed to be a quiz show,                  not a blood sport.                                 FLOOR MANAGER                  Two minutes.                                                     (CONTINUED)                                                          26.38   CONTINUED: (2)                                             38                             PREM               Stop wetting your pants. I'll be               a good little boy with the next               one. Promise.     He chucks the head-phones back at the Floor Manager.     Glances in the wings. Sees Nita, the make-up woman.     Gets up and goes over.39   INT. STUDIO. BACKSTAGE. NIGHT.                             39     In the half-light, backstage, Nita dabs his face with     powder.                             PREM               Meet me after the show. Please.                             NITA               No.                             PREM               Nita, I can explain.                             NITA               No need. I read it in bloody               Stardust. Didn't even have the               balls to tell me. "Prem's               happiness with another baby on               the way". After everything you               said...                             PREM               Baby, it all happened before I               met you. I swear to you.                             NITA               She's got the gestation period               of an elephant, then.     Prem is about to object. But instead, he laughs.                             PREM               You see? Amidst all this misery,               only you can make me laugh.     Scornful but hints of melting.                             NITA               All this misery...                             PREM               Her and I- nothing. You have to               believe me, baby...     Nita turns away. The Floor Manager comes over.                             FLOOR MANAGER               One minute.                                                      (CONTINUED)                                                        27.39   CONTINUED:                                                39     Prem slings himself in a chair.                                PREM                  No. I'm not going on.                                 NITA                  Prem...                                PREM                  I can't. Without you, it's all                  pointless.     Clicks his fingers at the Floor Manager.                               PREM (CONT'D)                  You. Tell the Director.     Nita shakes her head at the Floor Manager who by now is     looking very worried.                                FLOOR MANAGER                  Thirty seconds.     Prem shrugs and folds his arms. Sees her weaken.                                 NITA                  Prem...                                PREM                  Calypso Bar, private room, just                  you and me?                                 FLOOR MANAGER                  Fifteen.                                NITA                       (furious)                  Alright.     He grins, jumps up, blows her a kiss, and stalks back     on stage.40   INT. STUDIO. NIGHT.                                       40     He sits back down, says almost to himself.                                 PREM                  Steel balls.     Turns to Jamal.                                PREM (CONT'D)                  Okay, Juhu boy, you've had a                  good run. Take your Mother to                  Khandala and eat some chiki.                                JAMAL                  My Mother's dead.                                                    (CONTINUED)                                                         28.40   CONTINUED:                                                40                                PREM                  Well, your girlfriend then. Even                  better.                                JAMAL                  I don't have a girl-friend.                                PREM                  Live wire like you? You surprise                  me.                                  FLOOR MANAGER                  Five, four...     The warm-up man starts the applause.                                TALKBACK V/O                  ....three, two, one...     Cheering and music. Prem switches on his charm.                                PREM                  Welcome back to Who Wants to be                  a Millionaire! Our contestant,                  Jamal Malik, Call Centre                  Assistant- from Mumbai, is on                  sixteen thousand rupees and has                  already used one lifeline: Ask                  the Audience. So, my friend: are                  you ready for the next question?                                  JAMAL                  Yes.                                PREM                  Then, let's play.     Portentous music. The lights dim.                                PREM (CONT'D)                  For sixty-four thousand rupees.                  The British architect Frederick                  Stevens designed which famous                  building in India? Is it: A) The                  Taj Mahal. B) Chhatrapati                  Shivaji Terminus. C) India Gate.                  D) Howrah Bridge. What do you                  think, Jamal? Are you one of                  those tea-boys with a penchant                  for architecture?41   INT. CHHATRAPATI SHIVAJI TERMINUS. DAY.                   41     Known to everyone as VT station, this monument to     Victorian railway architecture is a dangerous place to     be at rush hour.                                                     (CONTINUED)                                                           29.41   CONTINUED:                                                  41     Even before the train has stopped, men are jumping from     the open doors, or vaulting out of the windows or from     the roof of the train to join the tens of thousands of     Mumbaites streaming to and from work. A seventeen-year     old Jamal squeezes himself out of a train and shoves     through the crowds. He checks the time. The digital     numerals flick to five O'clock. Looks around the tide     of humanity.42   INT. STUDIO. NIGHT.                                         42                                PREM                  So, what's it to be? Walk away                  and this cheque for sixteen                  thousand rupees is yours. Look,                  it's even got your name on it.     He produces a cheque and waves it at Jamal.                                JAMAL                  I don't have a bank account.     Laughter from the audience. Prem is momentarily wrong-     footed.                                JAMAL (CONT'D)                  But I'll take cash.     More laughter, this time with Jamal, rather than at     him. Prem gets up and starts rummaging theatrically     through his jacket pockets and trousers.                                PREM                  Nope. Looks like the Producer's                  stolen my wallet again-                                 JAMAL                  - I'll play.     Nobody was expecting this. Least of all Prem who has to     rearrange his features into one of surprised delight.     He sits down.                                 PREM                  You'll play?                                 JAMAL                  Why not?                                PREM                  Well, well, well. We've got a                  wild one, here.     Prem tears up the cheque with theatrical slowness.                                                    (CONTINUED)                                                        30.42   CONTINUED:                                                42                                PREM (CONT'D)                  For sixty-four thousand rupees,                  Ladies and Gentlemen, the                  question once again....43   INT. CHHATRAPATI SHIVAJI TERMINUS. DAY.                   43     The digital clocks show five fifteen. Shoving the     descending river of people out of his way, the eighteen     year-old Jamal is forging a path up steps that cross     the platforms. He pushes to the middle of the     footbridge and leans out on the side railings. He scans     the sea of people, desperately. Then he sees her: the     eighteen year-old Latika, heart-stoppingly beautiful,     over the other side of the station. A world away. She     is scanning the crowd, as wired as he is.                                JAMAL                  Latika! Latika!     But though he is screaming her name, his voice is     swallowed by the noise around him. Then he sees two     thuggish-looking men also fighting a way towards her.                                JAMAL (CONT'D)                  Latika!     Frightened now, he fights his way down the steps, one     figure against an army of white-robed people.                                JAMAL (CONT'D)                  Latika!                                JAMAL V/O                  Chhatrapati Shivaji Terminus.                                PREM V/O                  Chhatrapati Shivaji Terminus.                  Sure?                                JAMAL V/O                  I think so.                                PREM V/O                  You think so. A brave man,                  Ladies and Gentlemen, a brave                  man.44   INT. CHHATRAPATI SHIVAJI TERMINUS. DAY.                   44     The commuters have mostly gone. Jamal is pacing the     platform desperately. He stops, stares blankly at the     statue in front of him- a proud, rather pompous figure     in a Victorian frock coat. The plaque reads: Frederick     Stevens.                                                        31.45   INT. INSPECTOR'S OFFICE. NIGHT.                           45     The Inspector, Srinivas and Jamal are staring at the     video recorder.                             JAMAL               Yes. Final answer. Chhatrapati               Shivaji Terminus.                             PREM               Is the right answer! Sixty-four               thousand rupees to you, Sir!     Applause and music. The Inspector presses pause. Stares     at Jamal.                             INSPECTOR               And did she come back?     Jamal smiles sadly.                             JAMAL               I wouldn't be here if she had.                             INSPECTOR               Pretty was she?     Jamal stares down at his feet.                             INSPECTOR (CONT'D)               Guess not.     Right in the eyes.                             JAMAL               The most beautiful woman in the               world.     Constable Srinivas snorts. Suddenly, Jamal is out of     his chair and at Srinivas' throat. The combined force     of the Inspector and Srinivas force him roughly back     down. He is again handcuffed to the chair.                             INSPECTOR OF POLICE               Well, well. The slum dog barks.               Money or women. The reason for               most mistakes in life. Looks               like you got mixed up with both.               Srinivas, you need the exercise:               a trip to VT Station to check on               the statue. And lock your bloody               bike up.     Constable Srinivas swears under his breath but bumbles     out.                                                   (CONTINUED)                                                         32.45   CONTINUED:                                                45                                INSPECTOR                  That's the chutiyÈ out the way.                  Now, man to man. How did you                  know all the answers?                                JAMAL                  If I knew, I'd tell you.46   OMITTED                                                   4647   OMITTED                                                   4748   INT. STUDIO. NIGHT.                                       48                                PREM                  Now we're into the serious                  money. For two hundred and fifty                  thousand rupees, ladies and                  gentlemen, a quarter of a                  million rupees...the song Chalo                  Ri Murali was written by which                  famous Indian poet. Was it A)                  Surdas. B) Tulsidas. C) Mira                  Bai. D) Kabir. Remember you                  still have two lifelines- fifty-                  fifty and Phone A Friend.                  Tempted to use one?                                JAMAL                  No.                                PREM                  No?                                JAMAL                  I know this one.                                PREM                  Oh. I see. An expert on the                  poets, huh?     The lights dim, the music swells and Prem presses his     computer.49   EXT. MUMBAI STREET. NIGHT.                                49     Jamal is studying a piece of paper and reading out     numbers from it. There is something not quite right     about Jamal- perhaps the fact that there are two feet     by his ears. Salim is standing on his shoulders and     spraying the numbers on a wall with an aerosol and a     certain lack of confidence.                                                     (CONTINUED)                                                          33.49   CONTINUED:                                                 49                                JAMAL                  Four, nine, zero, nine- the one                  with the stick going down, Salim-                  six- stick going up-     Latika's head appears from around the corner.                                 LATIKA                        (whispered)                  Oi!     But they don't hear. Then she is running for her life     past the pair of them.                                JAMAL                  Six, one, shit, let's go-     Salim collapses off Jamal's shoulders and all three run     off down an alley past a dozen of the gang's sprayed-on     adverts all reading: "Beanbags- 989 4909661". A fat     Security Guard with a long stick huffs round the     corner. Chases them up an alley. Nowhere to go except     through an imposing gate that clearly leads to a     private house.                                SECURITY GUARD                  Got you now, little shits.50   EXT. GARDEN. NIGHT.                                        50     They charge across the lawn, down one side of the house     where all the washing is hanging. The Guard gets caught     up in drying sheets, towels. He fights his way through     to see Salim, Latika and Jamal leaping over the wall to     safety. But Jamal turns, jumps back and grabs a girl's     dress from the line.                                SECURITY GUARD                  Aha! Little thief!     The Security Guard lands a couple of blows on Jamal's     back as he dodges around him and back across the lawn,     dress in hand. The Security Guard gives up.                                SECURITY GUARD (CONT'D)                  Pervert!51   INT. ALLEY. NIGHT.                                         51     Jamal is examing the bruises on his legs.                                SALIM                  Useless bloody look-out. What                  good is she, huh?                                                      (CONTINUED)                                                        34.51   CONTINUED:                                                51                                LATIKA                       (infuriated)                  I tried to warn you.                                JAMAL                  It's okay, Salim.     Latika slips on the dress. Spins. Both of them look up.     Stare. She pulls her hair back, smiles, is transformed     into a beautiful girl.52   EXT. GORAI BEACH DUMPING GROUND. DAY.                     52     Blazing sun. Diggers and trucks are shifting mounds of     rubble on a rubbish dump that seems to stretch for     ever. Oblivious to the dust kicked up by the trucks,     Latika is picking up old plastic bags, examining each     one and putting the less worn in a big sack. The dress     is recognisable but dusty and torn. She stoops to dig     another bag out of the dirt, but stops and stares.     Shimmering in the heat, a rickety pick-up truck comes     through the rubbish dump gates. Toots at the Guard who     waves, pulls up in the dump. "Hope Orphanage is written     on the side of the van. A man gets out. Looks around.53   INT. `TENT'. DAY.                                         53     Under sheets of plastic propped up on sticks, Jamal and     Salim are sleeping out the hottest part of the day.     Jamal wakes to see a figure standing over him- a     silhouette with a halo of sun behind him. Out of his     bag, the man produces a bottle of Thumbs Up. He uncaps     it with an alluring hiss. It is almost an advert for     thirst-quenching affluence. Almost instinctively, Salim     and Jamal stir.                                MAN                  Hello.     He hands the bottle to Salim, gets another from his bag     and waves it questioningly at Jamal.                                MAN (CONT'D)                  Hot, huh? My name is Maman.54   EXT. ORPHANAGE. EVENING.                                  54     The hills on the edge of Bombay. Greenery and space,     for the first time in the film. The pick-up truck pulls     up outside a building with Jamal, Salim and Latika     sitting on a bench in the back. Maman gets out. Drops     the gate on the back of the pick-up.                                MAMAN                  Anyone hungry? Come on in.                                                          35.55   INT. ORPHANAGE COURTYARD. EVENING.                         55     Twenty children are eating at long benches in a     ramshackle courtyard. Maman, ushers Jamal, Salim and     Latika in and sits them down at one of the benches. He     waves a hand and a giant man, Punnoose, comes over with     a big bowl of food. The three tear into it. Cleaning     every last morsel of rice from his plate, Jamal looks     up and notices a table peopled entirely with blind or     crippled children. Some of the legless are eating on     the floor next to the table. Jamal leans over to Salim.                             JAMAL               He must be a very good man to               look after these people.                             SALIM                    (glancing at them)               A saint.     Arvind, a boy smaller than either Jamal or Salim     overhears.                             ARVIND               We're not allowed to talk to               them.                                LATIKA               Why not?     Arvind shrugs. Latika licks her plate, glances at Maman     who is looking right at them.                             LATIKA (CONT'D)               Well, if there are seconds,               Maman is definitely a Saint.     As if telepathic, Maman signals to Punnoose and he     brings a large bowl of rice and dhal over to them.     Latika looks at Jamal and Salim. They burst out     laughing.                             LATIKA (CONT'D)               I tell you, Lord Siva is with               us.56   INT. ORPHANAGE. EVENING.                                   56     Salim, Latika, Jamal and a group of children are     standing in a line singing a doha- ancient lyrics set     to music. Maman is leading the singing, walking up and     down the line listening to each one individually. He     stops at one small boy, Arvind, and listens. Nods his     head, pleased, and continues down the line until he     stops in front of Jamal. Holds up his hand.                             MAMAN               Stop! You. Again.                                                   (CONTINUED)                                                          36.56   CONTINUED:                                                 56     Jamal starts singing again. He has the sweetest of     voices. Untrained but pure. Maman smiles, ruffles     Jamal's hair, impressed.                                  MAMAN (CONT'D)                  Everyone.     They all join in. Maman continues down the line. He     stops at Salim whose octave-slipping singing is lusty     and appallingly out of tune. Maman winces and moves on.     Standing next to Salim, Latika giggles. Immediately,     Salim is on her. Before a fight breaks out, Punnoose     pulls Salim off Latika and hurls him across the room.     Salim gets up and charges at Punnoose. For a second,     Punnoose is back-footed, but then pins Salim's arms to     his side. Maman laughs. Approaches Salim.                                MAMAN (CONT'D)                  You sing like one, and you fight                  like one. I think you've found                  your dog, Punnoose.57   EXT. CENTRAL MUMBAI TRAFFIC. DAY.                          57     A group of children are sitting in the jumble of     concrete under a motorway flyover. Cars surround them,     bumper to bumper. Latika and Jamal are playing an     improvised hopscotch on concrete slabs. They are     giggling, bumping into each other, tickling, laughing.     Salim and Punnoose are sitting together, smoking. Salim     is staring hard at Jamal and Latika until Punnoose     grunts, a sign for Salim to clap his hands.                                SALIM                  Okay, let's go, let's go! It's                  not a bloody holiday!     The children get to their feet. Latika sighs, puts a     patch over her eye and grabs a pair of crutches.     Suddenly, the lame beggar. Salim goes over to one of     the girls, who is carrying a sleeping baby. Puts out     his hand.                                  SALIM (CONT'D)                  Give me that.     The girl shakes her head. Salim grabs her by the hair     in one hand and takes the baby with the other. He     shoves her to the ground. The other children stare.                                  JAMAL                  Hey, Salim!     He challenges Jamal.                                SALIM                  What, chotÈ bhai? You got a                  problem?                                                     (CONTINUED)                                                        37.57   CONTINUED:                                                57     He laughs and walks over to Latika.                                   SALIM (CONT'D)                  Here. For you.                                LATIKA                  I don't want it.                                SALIM                  You'll earn double. I'm doing                  you a favour, Latika.                                JAMAL                  She doesn't want it.                                   SALIM                  Chup, Jamal.     Latika turns away and begins to walk towards the cars.                                   SALIM (CONT'D)                  I'll drop it.     He holds the baby up. Latika grabs the baby with a cry     just as Salim releases it from his hands. Salim pinches     the baby.                                SALIM (CONT'D)                  Triple if it's crying.     Latika snatches it away. Salim laughs, goes back to     sitting with Punnoose. The children scatter to the cars     trapped at the lights, tapping plaintively on the     windows and making the universal begging gesture.58   INT. ORPHANAGE. KITCHEN. NIGHT.                           58     Surrounded by beer bottles, Punnoose is slumped asleep     by the kitchen door. Latika edges past, avoids the cook     sleeping under the table and goes to a shelf laden with     vegetables. She pulls down a bunch of chillies still on     the vine, strips a few off and tip-toes out with them.59   INT. ORPHANAGE. DORMITORY. NIGHT.                         59     Sleeping children, three or four to a mattress on the     floor. Latika tip-toes around the mattresses. She     pauses over one in particular where we see Salim,     asleep. She carefully pulls up the sheet, delves     underneath. Pleasant dreams cross Salim's sleeping face     for a second. Then suddenly, he is bolt upright and     screaming. He charges around the room clutching his     genitals in agony.                                SALIM                  Madher chod...!                                                    (CONTINUED)                                                           38.59   CONTINUED:                                                  59     He sprints out of the room, wailing.60   INT. ORPHANAGE. SHOWERS. NIGHT.                             60     The lights are on and two dozen children are screaming     with laughter as Salim stands under the make-shift     shower directing the water down his pants to his     burning genitals, his face a picture of agony. Latika     wipes crushed chillies from her hands.                                SALIM                  You're dead, sala.     She smiles and walks past Jamal with a shrug. Then     Punnoose comes stalking in and the children scatter     away.                                PUNNOOSE                  Get back to bed, dogs! What the                  hell...                                JAMAL V/O                  They taught me every song in the                  history of Indian music.                                INSPECTOR V/O                  And why would they do that, I                  wonder?61   INT. SHACK. NIGHT.                                          61     In a shack, Arvind is singing one of Surdas' bhajans in     front of Maman and an old man who by his ragged     appearance must be a villager. Punnoose and Salim sit     behind Arvind.                                MAMAN                  Very good, very good. I am                  pleased, Arvind. He is ready.                                ARVIND                  Ready?     Maman nods to Punnoose. Before Arvind can turn round,     Punnoose has covered his mouth with a cloth and after     the briefest of struggles, Arvind's body goes limp. The     villager puts an old tin box on the table. Taking the     lid from the tin, he brings out a cloth and unwraps it.     Inside is a spoon. He checks the edge with his thumb.     Sharp. Douses it with a clear liquid from a bottle and     passes it over a candle flame. The spoon whooshes with     a high flame for a moment. The villager wipes it with     the cloth nods to Punnoose.                                PUNNOOSE                  Salim!                                                     (CONTINUED)                                                           39.61   CONTINUED:                                                  61     Utterly bemused, Salim nevertheless helps Punnoose lay     Arvind on the table. The villager takes hold of     Arvind's eyelid and pulls it open. He brings the spoon     close. Suddenly, Salim is being sick in the corner of     the shack. By the time he has turned back, the villager     is wiping the spoon on a blood-soaked rag.                                MAMAN                  Okay. Take him out the back.     Punnoose picks up Arvind and carries him out.                                MAMAN (CONT'D)                  Now the other one. Salim, go get                  Jamal.     A frozen moment.                                SALIM                  What?                                MAMAN                  Gunfighter Number One, isn't                  that right, Salim? The money,                  the women, the cars...you want                  them bad, huh? And why not?     Maman gets out of his chair. Approaches Salim.                                MAMAN (CONT'D)                  The time has come to choose,                  yaar. The life of a slum dog or                  the life of a man. A real man. A                  gunfighter, Salim.     Maman holds Salim's head in his hands.                                MAMAN (CONT'D)                  Your destiny is in your hands,                  bhai. You can be me. Or nobody.                  Understand?                                SALIM                  Yes, Maman.     Maman nods.                                MAMAN                  So, brother, go get Jamal.     Salim is frozen for another few seconds, then turns and     walks out of the door. Punnoose appears at the door.     Maman nods to him and he slips off after Salim.62   INT. DORMITORY, ORPHANAGE. NIGHT.                           62     All the children are asleep apart from Jamal who is     crouched underneath a couple of wash-basins.                                                      (CONTINUED)                                                          40.62   CONTINUED:                                                 62     He is talking through a plate-sized hole in the     crumbling masonry. Latika's eyes can be seen.                                JAMAL                  ...weddings, government things,                  big parties. If Maman says my                  voice is ready. Big money.                                LATIKA                  Enough for a room?                                JAMAL                  Easily. Maybe an apartment.                                  LATIKA                  Really?                                JAMAL                  That's what Arvind said. On                  Harbour Road. You, me and Salim.                  The three musketeers.                                LATIKA                  Harbour Road! We can have ice                  cream from Babanji's.                                JAMAL                  Every day if we want.     Salim appears at the door. Nods his head at Jamal.                                  JAMAL (CONT'D)                  It's my turn.                                LATIKA                  Good luck, Jamal.     Latika's hand comes through the gap. Jamal takes it for     a moment. Salim hisses at Jamal. He lets go of the hand     and heads out.63   EXT. PATH. NIGHT.                                          63     Salim and Jamal walk along the path, Jamal humming     happily. Salim checks behind him, sees Punnoose     following.                                JAMAL                  So, this is it, hey, bhai? The                  good life, here we come....                                SALIM                       (conversationally)                  Athos.     Jamal is suddenly alert. Slows                                                     (CONTINUED)                                                        41.63   CONTINUED:                                                63                                  JAMAL                  Porthos?     Salim nods. Big smile. Puts a hand on Jamal's shoulder.                                  SALIM                  When I say.64   INT. SHACK. NIGHT.                                        64     Salim guides Jamal into the shack where Maman and the     Villager are waiting. Maman smiles. Punnoose slips in     behind Salim.                                MAMAN                  Jamal, hello. You have done                  well. It's time for you to- turn                  professional.                                  JAMAL                  Really?                                MAMAN                  Sing me a song, yaar. How about                  Chalo Ri Murali, huh? My                  favourite.     Jamal opens his mouth, then closes it again. Holds out     his hand.                                  JAMAL                  Fifty rupees.                                  MAMAN                  What?                                JAMAL                       (shrugs)                  I've turned professional. What                  can I do?     Maman laughs.                                  MAMAN                  Sala...!     He throws some notes at him.65   EXT. SHACK. NIGHT.                                        65     Outside, a giggle. Latika is peering through a gap in     the wall.                                                          42.66    INT. SHACK. NIGHT.                                        66      Jamal begins to sing. Maman waits a while, then nods to      Punnoose. Behind Jamal, Punnoose hands Salim the bottle      of chloroform and the rag. Salim approaches the back of      Jamal. Salim waits until he has finished the song.      Raises his hand with the rag in it. Maman smiles, nods.      Salim flings the contents of the bottle in Punnoose's      face. Punnoose screams and stumbles back clutching his      eyes, knocking over the table.                                SALIM                Go!      Salim and Jamal scramble for the door. The knocked-over      candle catches the spilled chloroform and a curtain      which whooshes up in flame.                                LATIKA                Jamal!                                JAMAL                Run!66A   EXT. SHACK. NIGHT.                                        66A      They charge past the prone Arvind- a flash of bloodied      bandages covering his eyes.67    EXT. HILLSIDE. NIGHT.                                     67      Heavy, desperate breathing. Feet stumble on roots. Fall      into holes. The three children are running. Branches      smack into their faces. But they are so scared, nothing      will stop them. Behind them, torches scour the      undergrowth. Men shouting. They break out of the woods      and are confronted with a train goods yard.68    EXT. GOODS YARD. NIGHT.                                   68      They run over the tracks, between the trains, but the      shouts are getting louder, the torches closer. A diesel      engine is moving out of the station. Jamal, Latika and      Salim sprint for the Guard's Van at the very back of      the moving train. Punnoose is closest to them. Salim is      fastest and first to jump the train. He holds out his      hand. Jamal grabs it and is hauled in. Jamal holds his      hand out to Latika.                              JAMAL                Come on! Faster!      She reaches out to him. Their hands almost touch.                                                    (CONTINUED)                                                             43.68   CONTINUED:                                                    68                                JAMAL (CONT'D)                  Take it! Take it! I can't                  reach...     Salim barges Jamal out of the way. Jamal      stumbles back     as Salim reaches his hand out to Latika,      so he doesn't     see Latika's hand grasp Salim's, nor see      their eyes     lock onto each other, nor see Salim very      deliberately     let go of her hand. Latika stumbles.                                LATIKA                  Jamal!     Jamal scrambles to the rail. The train gains more     speed. Jamal climbs on to the top rung, makes to jump,     but Salim flings him backward. Jamal tries to scramble     to his feet again, but Salim restrains him.                                JAMAL                  Got to go back. We've got to go                  back.                                SALIM                  He'll kill us if we go back.                  Jamal! He was going to take your                  eyes out- with a bloody spoon!     The train is speeding along. Jamal breaks free and     stares back at Latika.                                SALIM (CONT'D)                  She'll be alright. She always                  is.     Latika stumbles again and stops running. They watch as     Punnoose catches up with her and stops running. He     smashes Latika to the ground.69   INT. STUDIO. NIGHT.                                           69                                PREM                  The question was, for two                  hundred and fifty thousand                  rupees: who wrote the famous                  song Chalo Ri Murali. I should                  warn you, Jamal: from this                  question on, if you get the                  answer wrong you lose                  everything. So. Are you sure?                  The life-lines are there....                                JAMAL                  Surdas.                                PREM                  Surdas. Apka final jawab?                                                        (CONTINUED)                                                         44.69   CONTINUED:                                                69                                  JAMAL                  Yes.                                PREM                  Computer-ji, A lock kiya-jaye.     The lights dim, the music swells. Prem presses a button     on his computer: looks him straight in the eyes for an     age.                                PREM (CONT'D)                       (simply)                  Guess what? You're right.     Applause, music, lights.70   INT. INSPECTOR'S OFFICE. DAY.                             70     The Inspector is eying Jamal, weighing it all up.                                JAMAL                       (shrugging)                  Blind singers earn double. You                  know that.                                INSPECTOR                  And what happened to the girl?                  They blinded her too?                                JAMAL                       (shakes his head)                  They had other plans. Though it                  took me a long, long time to                  find out.71   EXT. TRAIN. MORNING.                                      71     Salim and Jamal are sitting on top of the train. Jamal     is staring blankly down the track.                                  SALIM                  ArÈ, Jamal...     Salim puts an arm around Jamal's shoulder. Jamal wipes     the tears from his eyes, shakes his head furiously.     Salim gets up. Holds out his hand.                                  SALIM (CONT'D)                  Come.                                JAMAL                  Where you going?                                SALIM                  First class, bhai. Where else?                                                        45.72   INT/ EXT. FIRST CLASS CARRIAGE. MORNING.                  72     The ancient train is huffing slowly up an incline. A     middle class Indian couple with their three children     are sitting at a table, their breakfast spread before     them. Into this domestic scene, unseen by them comes     Jamal. Upside down and still outside the train, he is     clearly being dangled by his ankles from the train     roof. He gives a few, silent directional signs to Salim     who manoeuvres him across, dips his hand into the open     window, snatches a chapatti and signals franticly to be     hoisted up. The family continue to eat, unperturbed.     Then Jamal appears again. This time one of the children     spots him. Despite Jamal giving her a friendly wave,     she yelps. The father of the group grabs Jamal's hand     which has just snatched a samosa. There is a tussle,     Salim holding onto Jamal's legs, the father holding     onto Jamal's arms and Jamal in the middle, shouting.     Salim is losing the battle and his footing. He stumbles     and the pair of them fall from the train, rolling and     tumbling down an embankment in slow-motion.     Interspersed with the seemingly endless tumble are     images of Jamal and Salim on top of different trains-     - huddled together against the freezing rain...     - surfing the wind at the front of the train...     - admiring the distant Himalaya....                             JAMAL V/O               We criss-crossed the country               from Rajasthan to Calcutta.               Every time we were thrown off we               got back on again. This was our               home for years. A home with               wheels and a whistle.     The final tumble as they crash onto flat ground.73   EXT. RAILWAY EMBANKMENT. DAY.                             73     Groggily, Jamal sits up and groans. Somehow in the     tumble, he has been transformed into a twelve year-old.     And Salim a strong fourteen year-old. Through the haze     of pain and dust, Jamal sees something glinting in the     distance- something impossibly beautiful.                             JAMAL               Salim? Is this heaven?                             SALIM               You're not dead, Jamal.     Jamal clears his head. Sees Salim picking himself up     from the ground. But the apparition is still there.                                                   (CONTINUED)                                                         46.73   CONTINUED:                                                73                                JAMAL                  So what's that?                                SALIM                  Wow.     They stare at the apparition. The unmistakable outline     of the Taj Mahal rises from the horizon, pink in the     morning sun. Nothing could be more beautiful.                                JAMAL                  Some hotel, huh?74   EXT. TAJ MAHAL. DAY.                                      74     Jamal and Salim wander under the great dome of the Taj     Mahal. Two tiny slum kids dwarfed by this massive     monument to love. It is a moment of genuine wonderment     for them. Then a tour guide bustles nearby, tourists     flowing behind him.                                GUIDE                  ...there are five main elements                  to the Taj. The Darwaza, the                  main gateway, the Bageecha or                  garden, the Masjid or mosque,                  the Naqqar Khana, the rest house                  and the Rauza or mausoleum. If                  you would like to follow me, I                  will show you the ninety-nine                  names of Allah on Mumtaz's tomb.                  As before, please remove your                  shoes.     Jamal follows the Guide and his entourage into the     mausoleum. Salim meanwhile is studying the line of     shoes. Tries a smart pair of women's court shoes,     before slipping a foot into a nice, white sneaker. A     smile crosses his face. His other foot quickly follows     and he saunters away, all mock-innocence.75   EXT. TAJ MAHAL. DAY                                       75     Jamal comes out of the mausoleum into the bright     sunlight and looks around for Salim. No sign of him.     Suddenly, a German couple approach.                                ADA                  Please, what time is the next                  tour?                                JAMAL                  Err-                                PETER                  - so much waiting around in this                  damned country.                                                     (CONTINUED)                                                          47.75   CONTINUED:                                                 75     Jamal notices that he is standing next to a sign     advertising guided tours of the Taj.                                JAMAL                  No, I-                                ADA                  - we're on a very tight                  schedule, you see, young man.                  Have to see the Red Fort this                  afternoon. Would it be possible                  to show us around now? Obviously                  we understand it would cost more                  for just the two of us...     Peter waves a couple of thousand rupee notes at Jamal.     His eyes widen.                                JAMAL                  But of course, Madam. Please                  follow me.     Jamal stalks off. The Germans follow. Jamal stops     before the monument. Points a confident arm at it.                                JAMAL (CONT'D)                  This is....the Taj Mahal.     A terrible pause as Peter and Ada stare at him. Clearly     more is expected. He moves off at a pace.                                 JAMAL (CONT'D)                  The Taj Mahal was built by the                  Emperor Khurram for his wife                  Mumtaz who was maximum beautiful                  woman in the whole world. When                  she died, the Emperor decided to                  build this five star hotel for                  everyone who wanted to visit her                  tomb...but he died in- in                  fifteen eighty-seven, before any                  of the rooms were built. Or the                  lifts. The swimming pool,                  however, as you can see was                  completed on schedule in top                  class fashion.     He waves confidently in the direction of the fountains.                                ADA                  It says nothing of this in the                  guide book.                                JAMAL                  With respect, Madam, the guide                  book is written by a bunch of                  lazy, good-for-nothing, Indian                  beggars.                                                     (CONTINUED)                                                         48.75   CONTINUED: (2)                                            75                             ADA               Oh.                             JAMAL               And this, Lady and Gentleman, is               burial place of Mumtaz.                             ADA               How did she die?                             JAMAL               A road traffic accident.                             ADA               Really?                             JAMAL               Maximum pile-up.                             PETER                    (suspicious)               I thought she died in child-               birth.                             JAMAL                    (nodding sagely)               Exactly, Sir. She was on the way               to the hospital when it               happened.     Jamal moves on. Ada and Peter exchange a glance.                              ADA                    (shrugging)               You've seen the way they drive               around here...76   EXT. TAJ MAHAL. DAY.                                      76     Montage of Jamal authoritatively showing tourists     around the Taj Mahal.                             JAMAL V/O               It was the best-paid job I've               ever had.                             JAMAL               This is the Princess Diana seat,               Madam. Allow me.     Jamal shows the tourist a battered postcard of Princess     Diana, staring doe-eyed into the distance with the Taj     behind. The tourist sits. Jamal adjusts her legs so     that they match the postcard. Takes the photo....                             SALIM O/S               Tourist police!                                                   (CONTINUED)                                                         49.76   CONTINUED:                                                76     ...and abandons the woman with a polite bow, charging     for safety as two Police Officers race towards him.                                                      CUT TO:77   EXT. TAJ MAHAL. DAY.                                       77     Jamal stands a Tourist on a wall and positions his     hands to create the optical illusion that he is     dangling the Taj from his fingers. Takes a photo for     the Tourist. Behind the Tourist, Salim and a boy called     Shankar pick up the Tourist's shoes and saunter     casually across the grass.                                                      CUT TO:78   EXT. ROADSIDE MARKET. AGRA. DAY.                           78     By the side of a busy market street Salim stands next     to a row of stolen shoes. Sneakers, court shoes,     sandals, high heels...he is busy bartering with a man     over a pair whilst Jamal tries to shout up business.                                JAMAL                  Top-class fashion, bottom-class                  prices! Shoes for all! Shoes for                  all!79   EXT. BOYS CAMP, YAMUNA RIVER. DAY.                         79     Hectares of drying clothes by the side of the river.     Spectacular squares of red, saffron, white. Not far     away from the dhobi ghat, there is a makeshift slum-     camp where Salim and a gang of children are sitting,     smoking. Jamal joins them, hands over a wad of rupees     to Salim. Salim counts the cash, hands half to Shankar     and slaps Jamal so hard on the back that he nearly     falls over.                                JAMAL V/O                  And life was good.80   EXT. SLUM. DAY.                                            80     Jamal gets out of a new Mercedes driven by an Indian     Man. A middle-aged American couple also get out. Jamal     points them down a lane which opens out on India's     largest dhobi where hundreds of women are beating     clothes on stone slabs.                                JAMAL                  This is the biggest dhobi ghat                  in the whole of India, Mister                  David.                                (MORE)                                                     (CONTINUED)                                                          50.80   CONTINUED:                                                 80                                JAMAL (CONT'D)                  They say that every man in Uttar                  Pradesh is wearing a kurta that                  has been washed here at least                  one time.                                CLARK                  Is that so? That's amazing.                  Let's get a look at this, Adele.     He gets out his video camera and wanders towards the     dhobi ghat. Behind them a motor rickshaw pulls up.     Salim, Shankar and a couple of the street kids from the     Taj leap out. Within seconds, the Mercedes is up on     bricks and the wheels are being removed. Salim takes a     hacksaw to the Mercedes badge on the bonnet, whilst     urging the others on.                                SALIM                  ArÈ, sala! Formula One, Formula                  One! Pit-stop ka speed,                  Schumacher ka ishtyle     The crowds in the lane barely notice as the car is     stripped of all its parts.                                SALIM (CONT'D)                  Go, go!     A shout from the top of the lane and the boys scatter,     bouncing the four wheels at speed down the lane. Jamal,     the Indian driver and the two Americans return. They     stop in front of the denuded car.                                CLARK                  Woah. What happened here?     Suddenly the Indian driver is slapping Jamal     ferociously around the head with one of his shoes.                                DRIVER                  I give you two tight slaps,                  mader chod!                                JAMAL                  I don't know! I didn't do it,                  did I...? Nothing to do with                  me...get off!     But the beating continues, the driver kicking Jamal     down onto the floor. The two Americans stare, uncertain     what to do.                                ADELE                  Do something, Clark.                                CLARK                  Well, I- I dunno, I-     Finally Clark intervenes, pulling the driver off Jamal.                                                     (CONTINUED)                                                            51.80   CONTINUED: (2)                                                80                             CLARK (CONT'D)               Okay, okay, just cool it. You're               insured, aren't you? Jesus               Christ...     Jamal sits up. He is bleeding from his nose and mouth.                                  CLARK (CONT'D)               You okay?                             JAMAL               You wanted to see the `real               India', Mister David. Here it               is.                             ADELE               Well, here's a bit of the real               America, too, son.     Adele pulls out his wallet and rummages for dollars.81   EXT. YAMUNA RIVER. NIGHT.                                     81     A battered Jamal limps along the river bank towards the     Taj. He stops, bathes his swollen face in the river.     Then looks up. Strange lights appear to emanate from     the base of the monument. And then strange sounds.82   EXT. TAJ MAHAL. NIGHT.                                        82     Jamal climbs   a crumbling   wall and is confronted with an     opera taking   place right   under the dome. Gluck's Orfeo     ed Euridice.   Hundreds of   India's smartest professionals     are watching   from banked   seating on a scaffolding     frame.83   EXT. STANDS. NIGHT.                                           83     Jamal and a couple of street kids slip under the     scaffolding supporting the banked seats. The street     kids are trying to reach the hand-bags of the women     above them.                             BOY                    (hissing)               Oi, Jamal! There's a woman with               no panties on over here.     Jamal reaches up and easily lifts a wallet from a man's     trouser pocket. On stage, the actors start singing.     Jamal seems to have forgotten the wallet and stares,     mesmerised, at the stage.                             WOMAN               Why don't you put it back and               listen to the music?                                                       (CONTINUED)                                                           52.83   CONTINUED:                                                  83     Jamal starts, makes to run, but the woman who spoke     holds out a cigarette. A Canadian back-packer is     sitting, staring at the singers.                                WOMAN (CONT'D)                  It's called Orfeo. Orpheus and                  Eurydice. Orpheus- that one                  there- is looking for his lover,                  Eurydice. She died, but he can't                  live without her.     She hands him a cigarette. He puts the wallet back. She     smiles at him and they both turn to the stage.                                WOMAN (CONT'D)                  The pain is so bad that he goes                  to the underworld- the place we                  go when we die- to try to get                  her back.                                JAMAL                  You can't do that. Can you?                                WOMAN                       (shrugging)                  You can in opera.                                JAMAL                  Does he find her?                                   WOMAN                  Watch and see.     Jamal watches as Orpheus sings one of the most     beautiful pieces of music a human is likely to hear.     Tears are running down Jamal's cheeks.84   EXT. YAMUNA RIVER. NIGHT.                                   84     Salim, Shankar, Jamal and the Taj Gang are gathered     around a campfire. All of them wear extraordinary foot-     wear of one form or another, from elaborate high heels     to walking boots five sizes too large. A home-made     hooka pipe is being passed around the fire. The eyes of     the children have long since stopped focussing. Salim     is sporting a Mercedes Benz badge on a chain around his     neck. Behind him, Jamal appears, his face swollen. He     takes off his fake Guide's Badge and throws it in the     fire.                                SALIM                  Woah! What are you- Jamal?                                JAMAL                  We have to go, Salim.                                   SALIM                  Go? Go where?                                                     (CONTINUED)                                                           53.84   CONTINUED:                                                  84                                   JAMAL                  Bombay.                                SALIM                  Don't be stupid. We're making                  good money here.                                JAMAL                  We should have gone a long time                  ago.     Salim turns to Shankar with sudden understanding.                                SALIM                  Oh, God. Baby brother's in love.                  With a flat-chested hijra.                                JAMAL                  Latika was one of us. A                  musketeer.                                SALIM                  A musketeer...Grow up, Jamal.                  Look, how was I to know they'd                  beat you up. Here, you can have                  some of the cash. Come on...                                   JAMAL                  I've got cash.     He rips out a wad of dollar bills from his pocket.                                   JAMAL (CONT'D)                  Dollars.                                   SALIM                  How much?                                JAMAL                  Enough. I'm getting my stuff.     He walks off.                                SALIM                  Wait! Jamal! Ah, shit!     He gets up, kicks the fire in rage and stomps after     Jamal.85   INT. STUDIO. NIGHT.                                         85     Prem leans back in his chair.                                PREM                  So, my friend: ready for another                  question.                                                     (CONTINUED)                                                         54.85   CONTINUED:                                                85                                JAMAL                  Yes.     Prem presses his computer. The lights dim again, the     music comes up.                                PREM                  For a straight one million                  rupees, Ladies and                  Gentlemen...On an American One                  Hundred Dollar Bill there is a                  portrait of which American                  statesman? Is it A), George                  Washington, B) Franklin                  Roosevelt, C) Benjamin Franklin,                  D) Abraham Lincoln?     Silence from Jamal.                                PREM (CONT'D)                  Pay or play, Jamal? All you have                  to do is stop now and you walk                  away with a cool quarter of a                  million rupees. Decide to play,                  get the answer wrong and you                  walk away with absolutely                  nothing. But, get the answer                  right and you win a million                  rupees. So. You decide. Pay or                  play?     A long pause.86   INT. GALLERY. NIGHT.                                      86                                DIRECTOR                  Okay, he hasn't got a clue. This                  is going to be a walk-away.                  Stand by.                                VISION MIXER                  No, he's going to play with him,                  first.87   INT. STUDIO. NIGHT.                                       87                                PREM                  Get a lot of hundred dollar                  bills in your line of work,                  Jamal?                                JAMAL                  The minimum tip for my services.     Laughter from the audience.                                                     (CONTINUED)                                                           55.87   CONTINUED:                                                  87                                PREM                  Now I know why my cell phone                  bill is so high...they pay the                  chi-wallah in hundred dollar                  bills!                                JAMAL                  It's C. Benjamin Franklin.     A gasp from the audience. Prem is caught off-guard.                                PREM                  Woah! We haven't locked the                  computer, man. You're going to                  play?                                JAMAL                  I think I just have. Haven't I?                                PREM                  You certainly have. C. Right?                                JAMAL                  Right. C.                                PREM                  Not confusing your Franklins?                  Benjamin for Roosevelt?                                JAMAL                  I've never heard of Roosevelt                  Franklin.                                PREM                  There's a million rupees at                  stake and he's never heard of                  Roosevelt Franklin...I can't                  bear to look.     He gives this one to the audience who titter on cue.     Jamal looks confused.                                PREM (CONT'D)                  No, no. Don't you worry, Jamal.                  You were asked which statesman                  is depicted on a hundred dollar                  bill. You said C. Benjamin                  Franklin. Ladies and                  Gentlemen...     He presses the computer, pretends to ruminate for a     while with his finger pressed to his lips.                                PREM (CONT'D)                  Jamal Malik- you chose to play                  not pay. I'm afraid you no                  longer have two hundred and                  fifty thousand rupees....                                                    (CONTINUED)                                                           56.87   CONTINUED: (2)                                              87     Prem leans over and tears up the cheque. There is a     sigh of disappointment from the audience, a look of     confusion on Jamal's face.                             PREM (CONT'D)               ...you in fact have one million               rupees!     Wild applause from the audience. Jamal allows himself a     genuine smile.88   INT. INSPECTOR'S OFFICE. DAY.                               88     The Inspector pulls out a note from his wallet. Glances     at it.                             INSPECTOR               Who's on the thousand rupee               note?                               JAMAL               I don't know.     He waves the note at him.                               INSPECTOR               It's Gandhi!                             JAMAL               I've heard of him.     The Inspector kicks his chair.                             INSPECTOR               Don't get clever or I'll get the               electricity out again.                             JAMAL               They didn't ask me that               question. I don't know why. Ask               them.     The Inspector stares hard at Jamal.                             INSPECTOR               Funny, you don't seem that               interested in money.     Then, Constable Srinivas stomps back into the office,     sweat pouring from him.                             CONSTABLE SRINIVAS               Platform Seventeen-     Has to consult his notebook.                                                   (CONTINUED)                                                           57.88   CONTINUED:                                                  88                                CONSTABLE SRINIVAS (CONT'D)                  A statue of Frederick Stevens,                  architect and builder of                  Victoria Terminus in -                                INSPECTOR OF POLICE                  - yes, yes, Srinivas. The                  hundred dollar bill.89   EXT. BOMBAY. DAY.                                           89     From a thousand feet in the sky, looking down on the     limitless megatropolis of Mumbai. Half-built sky-     scrapers, slums, factories, roads, trains.                                JAMAL V/O                  Bombay had turned into Mumbai.     We descend, down until the lines of ants become people.                                JAMAL V/O (CONT'D)                  The orphanage had gone, the slum                  had gone, the people.... all                  gone. And everywhere was                  building, building, building.     Descending even further, we pick out a construction     site and then Jamal....90   EXT. CONSTRUCTION SITE. DAY.                                90     ..who is staring through a wire fence at the     construction site.                                JAMAL V/O                  But I knew she was here.                  Somewhere she was here.     He turns away, then something catches his eye.     Underneath all the scraps of flyers and posters on a     broken wall is a corner of something that Jamal     recognises. He tears back a poster. Underneath, faded     but recognisable is one of their beanbag graffiti     advertisements.91   EXT. SLUM. NIGHT.                                           91     Jamal asks a group of stall-holders on the slum main     street. They shrug, aren't interested. The camera pulls     up and up until Jamal is nothing but a dot wandering     the maze of lanes, railways and highways, one among     endless millions of people.                                JAMAL V/O                  Evenings, I searched. Days, I                  worked.                                                           58.92   EXT. HOTEL. DAY.                                            92     Jamal wanders up to the rickshaw drivers parked outside     the hotel. He stops and asks a question. The drivers     shake their heads. Jamal continues up the steps towards     a door, exhausted face and grubby clothes walking     straight towards camera. He goes through the door and     immediately....93   INT. HOTEL. FOYER. DAY.                                     93     ....is, without breaking step in a slightly grubby     white uniform. He walks across the echoing, marble     floor of a struggling four-star hotel, goes through     double doors....94   INT. HOTEL CORRIDOR. DAY.                                   94     ...into a corridor that is devoid of carpet, paint-     anything except a phone on the bare wall and a stool.     The phone is ringing. Jamal sits on the stool and     answers the phone.                             JAMAL               Room service, good afternoon?...               Yes, sir. Two chicken burgers,               two fries, one cocoa-cola and               one mango lassi and a large               bottle of mineral               water...Bisleri or Himalayan               Spring, Sir?...Certainly, Sir.               That will be with you in fifteen               minutes, Sir. Thank you. Have a               nice day.     He hangs up and goes through another set of doors...95   INT. HOTEL KITCHENS. DAY.                                   95     ...to a cramped kitchen with definite hygiene problems.     The cooks are playing carom on the table while under it     Salim is dozing.                             JAMAL               Two chicken burgers, coke, mango               lassi and a bottle of Bisleri.     Dozily, Salim gets up and takes a look behind one of     the fridges. He chases out a chicken with a desultory     kick and sorts through some empty mineral water bottles     until he finds a Bisleri bottle. Salim fills the bottle     of mineral water from the tap and begins delicately re-     sealing the tamper-proof lid with super-glue. Jamal     collects cutlery and starts laying out a tray.                                                   (CONTINUED)                                                         59.95   CONTINUED:                                                95                                JAMAL (CONT'D)                  I'm going to Chowpatti again,                  okay? Want to come?                                SALIM                  For God's sake. You got some                  disease? You force me back to                  this shit-hole, we leave our                  friends, a good life, loads of                  money- for this. Isn't that                  enough?                                JAMAL                  We came back to find her.                                SALIM                  No, you did, Jamal, not me. Me,                  I don't give a shit about her.                  Plenty of pussy in Bombay for                  Salim. Oh, yes, sir! You should                  come down the Cages on Saturday                  night instead of searching for                  your lost love.                                JAMAL                  I'm going to Chowpatti.                                 SALIM                       (impersonating Ram)                  "I'm going to Chowpatti". There                  are nineteen million people in                  this city, Jamal. Forget her.                  She's history.                                JAMAL V/O                  But she wasn't.96   EXT. BANDRA BANDSTAND. DAY.                               96     Jamal is dodging the traffic at a busy junction. He     moves around the beggars who are working the cars. Then     he hears singing. He looks around, suddenly panicked.     It is a siren song drawing him across the road, not     even noticing that he is narrowly run down by a couple     of cars, to a traffic island underneath a flyover. He     turns a corner and there is the singer, leaning up     against one of the struts of the flyover. Arvind. Older     now, just like Jamal, a fourteen year-old boy. But eye-     less. Jamal freezes. He approaches Arvind and waits     until he has finished singing. Despite his eyeless     sockets, Arvind appears to know somebody is there. He     turns and bows low, putting his hands together.                                ARVIND                  Namaste, Sahib. Any kindness you                  give will be repaid in heaven                  many times.                                                     (CONTINUED)                                                           60.96   CONTINUED:                                                  96     Jamal gets a couple of notes out of his pocket and puts     them into Arvind's outstretched hand. He feels the     notes with his fingers.                                ARVIND (CONT'D)                  A fifty. And a hundred!                  Blessings upon you, Sahib.                                JAMAL                  How do you know?                                ARVIND                  There are many ways of seeing.     Arvind puts his hands together and bows deep again.     Then, Jamal takes his shoe off and gets out a hundred     dollar bill.                                 JAMAL                  Here.     Jamal crouches down and puts the bill into Arvind's     hand. His fingers feel it. He sniffs it.                                ARVIND                  Dollars. But how many?                                 JAMAL                  One hundred.                                ARVIND                  Now you are playing with me,                  Sahib.                                 JAMAL                  No. I swear.                                ARVIND                  What is on it? The pictures.                  Tell me.                                JAMAL                  A building. With a clock on it.                  Trees behind it.                                ARVIND                  The other side. Turn it over.                                JAMAL                  A man- it doesn't say his name.                  He is sort of bald, but has long                  hair on the sides.                                ARVIND                       (smiling)                  Benjamin Franklin. My God, my                  God. Thank you, Sahib. You were                  generous the first time. But                  this...                                                     (CONTINUED)                                                       61.96   CONTINUED: (2)                                          96     He stops. Suspects.                             ARVIND (CONT'D)               And without even a song?     A long pause. Arvind keeps hold of Jamal's arm.                             ARVIND (CONT'D)               So you are rich, now, are you,               Jamal? I am happy for you.                             JAMAL               I am so sorry, Arvind.                             ARVIND               You got away. I didn't. That is               all. No, no tears. Tears mock me               all the more.                             JAMAL               Arvind, I am looking for-                             ARVIND               - how's your voice, Jamal?                             JAMAL               I don't know. I haven't sung               since- since then. Arvind, I-                             ARVIND               - and your eyes?                             JAMAL                    (surprised)               My eyes? My eyes are fine.                             ARVIND               Then stay away, chutiyÈ, and               count your blessings every               morning you open them and see               the sun rising. You owe Maman.               He doesn't forget.                               JAMAL               I owe Latika.     Arvind shakes his head angrily.                             JAMAL (CONT'D)               Please. Is she alive? Arvind, is               she alive?                             ARVIND               Alive? Oh, she's alive alright.               It's your life, Jamal. Pila               Street. They call her Cherry,               now.                                                   (CONTINUED)                                                           62.96   CONTINUED: (3)                                              96                                JAMAL               Thank you.     Jamal heads off through the traffic. Arvind shouts     after him.                             ARVIND               I will sing at your funeral,               yaar.97   EXT. PILA STREET. NIGHT.                                    97     Dark, crowded streets. Gangs of women stand outside the     doorways or lean out of upstairs windows. They are     garishly-dressed prostitutes varying in age from 13 to     60. Men wander past, eying the possibilities,     exchanging lewd comments with them. Among the hordes on     the pavement are Jamal and Salim. They pass doorway     after doorway of narrow rooms where prostitutes wait     for customers. Jamal and Salim stop at each group of     women, Salim taking the lead, clearly asking them     something, as the women either shrug or offer them     something lewd- judging by the laughter that follows.     But one woman in a narrow doorway points down the     street. Jamal has to drag a reluctant Salim away from     the group.98   INT. BROTHEL. NIGHT.                                        98     They go into one of the tiny houses. Loud Filmi music     comes from upstairs. They are confronted by a woman in     her fifties watching tv. She is less than interested.                             SALIM               I'm looking for Cherry.                             WOMAN               No, kid. Not available. Plenty               of others. Take a look.     She indicates curtained cubicles behind him.                             SALIM               I'm Latika's brother.     The Woman looks at him properly for the first time.                             WOMAN               She's still not on the menu.               Choose someone else or piss off.     Then, Jamal pulls out some rupee notes.                             JAMAL               Just two minutes to talk to her.     She takes the money, counts it.                                                    (CONTINUED)                                                              63.98    CONTINUED:                                                    98                                  WOMAN                   Two minutes.      She nods upwards. Salim and Jamal head up the dark,      tiny staircase. The Woman picks up the phone on her      desk.99    INT. LANDING. NIGHT.                                          99      On the tiny landing, Salim and Jamal pull back a      curtain to reveal a humping couple. They move on, past      more women lying on their beds or blankly having sex,      not in the least perturbed to be interrupted. They      reach the end of the landing. From the other side of      the door comes the filmi music. Jamal puts his eye to      one of the gaps in the slatted door. Through it he can      see glimpses of a girl dancing to the music. Latika;      though not the rag-picker of before. Now fifteen, she      is a beautiful young woman and dressed in a revealing,      turquoise, silk sari.                                 SALIM                   Is it her or not?      He shoves Jamal out of the way and watches.                                 SALIM (CONT'D)                   Shit, she's sexy, man....      Then the music stops, an effeminate man steps into the      limited frame Salim can see and snaps a stick down hard      on Latika's hand.                                 DANCE TEACHER                   Smile! Flow, flow! You entice                   with the hands not make                   chapattis, you gawaar. Again.      The man starts the music again and Latika's hands flow      elegantly around her head.                                 DANCE TEACHER (CONT'D)                   Lift your feet, you lump. Stop,                   stop!      The stick is raised to hit her but Jamal opens the      door.100   INT. BROTHEL. NIGHT.                                          100      She can barely believe her eyes.                                  LATIKA                   Jamal?      The Dance Teacher turns.                                                          (CONTINUED)                                                          64.100   CONTINUED:                                             100                                 DANCE TEACHER                   What the hell do you want?      He switches off the music.                                   JAMAL                   Come. Quick.      But Latika remains fixed.                                 DANCE TEACHER                   You silly little boys. Get out                   now while you can.                                   JAMAL                   Come with us.      Latika runs to Jamal. But she freezes as she looks at      the doorway. Maman, Punnoose and the Woman from      downstairs stand there. The skin around Punnoose's eye      bears the blisters from the chloroform burn years ago.                                 MAMAN                   Look who we have here, Punnoose.                   Hello again, Jamal. Salim. Never                   forget a face. Especially one                   that I own.                                 PUNNOOSE                   Shall I take them to the                   marshes?                                 MAMAN                   Whatever you like. Have fun.                   Just make sure that you dispose                   of them properly afterwards. No                   traces, thank you.      He turns to Jamal.                                 MAMAN (CONT'D)                   You really thought you could                   just walk in and take my prize                   away? Have you any idea how much                   this little virgin is worth,                   bhen chod?      He fingers Latika's hair.                                 MAMAN (CONT'D)                   Get them out of here.      Punnoose and the Muscle walk towards Jamal. Maman turns      to the Dance Teacher as they grab his arms.                                 MAMAN (CONT'D)                   Please continue, Master-ji.      The Dance Teacher puts the music back on.                                                      (CONTINUED)                                                          65.100   CONTINUED: (2)                                         100                                SALIM                No.      Suddenly, Salim is holding a pistol.                              SALIM (CONT'D)                Leave him. Get over there.      Punnoose and the Muscle slowly release Jamal and join      Maman.                              MAMAN                Let's not be foolish, Salim.                Heavy, aren't they?      Salim straightens up his gun arm.                                SALIM                Money.                              MAMAN                You can have money. Here.      Maman gets out his wallet and throws all the money in      it on the floor.                              MAMAN (CONT'D)                Take it. Go. Disappear with your                friend and we'll forget all                about this. Okay?      Salim collects up the money.                              SALIM                Maman never forgets. Isn't that                right?                              MAMAN                Oh, Maman can make an exception.      Salim walks over to the music, turns it up. Picks up a      cushion from the bed and walks right up to Maman.                              SALIM                Can't take that risk, Maman.                Sorry.      He wraps the cushion around the gun and pulls the      trigger. Or tries to. Nothing happens. There is a      frozen moment as they watch him fail to shoot.      Everybody watches with surreal interest as Salim      fumbles with the pistol. Eventually he looks up,      giggles stupidly.                                SALIM (CONT'D)                Safety catch.      Shrugs apologetically and shoots. Nobody is more      surprised than Maman who crumples onto the floor.                                                    (CONTINUED)                                                         66.100   CONTINUED: (3)                                        100      Latika starts desperately gathering up the notes on the      floor, grabs Maman's wallet. Jamal just stands.                               SALIM (CONT'D)                 Come on.      They run out of the room and down the stairs as Maman      dies on the floor in front of his frozen colleagues.101   EXT. CHOWPATTY BEACH. DUSK.                             101      Children are splashing in the sea, flying kites,      digging sand, laughing. Salim, Latika and Jamal are      crouched on the shore watching the sun sink into the      sea. Latika is going through Maman's wallet, Salim is      fingering the pistol, admiringly. Jamal is staring out      to sea. Each in their own world, yet sharing swigs from      a bottle of Johnny Walker.                               LATIKA                 Shit, there's thousands here.                               SALIM                 We should be celebrating.                               JAMAL                 You just killed somebody.                               SALIM                 He was going to kill us.                               JAMAL                 Where did you get the gun?                               SALIM                 Bought it. Now, I'm going to                 have to throw this beauty in the                 sea.                               LATIKA                 You didn't need to kill him.                                SALIM                 What? Typical. I save your life                 and you're on at me. All you                 ever do is mess us up. Whenever                 you're around-                               JAMAL                 - shut up, can't you? Just shut                 up.      Silence.                               SALIM                 Why can't you just be happy,                 huh?                                                    (CONTINUED)                                                          67.101    CONTINUED:                                            101                                    JAMAL                    Happy?                                  SALIM                    You got what you wanted, didn't                    you? So, let's celebrate.                                  LATIKA                    Yeah. Let's celebrate.       She takes a long swig from the bottle.                                    LATIKA (CONT'D)                    While we can.       She nudges Jamal and holds the bottle out to him.       Smiles at him. He smiles back, shakes the black dog       from his head and takes a long, long drink. Latika and       Salim cheer.101A   EXT. TULIP STAR. NIGHT.                              101A       Latika, Salim and Jamal bend back a bit of the wire       mesh fence that protects the deserted hotel. Crawl in.102    INT. TULIP STAR. LOBBY. NIGHT.                           102       A very wobbly Latika, Salim and Jamal walk up the       frozen escalators of the empty hotel, lit only by       security lights. Kick through the odd pile of rubbish       and stacked-up chairs. Go to the dusty reception desk.                                    JAMAL                    Service!                                    SALIM                    Reception!                                  JAMAL                    We want a room, boy. Executive                    Class with smoking. Third floor                    with balcony.                                  LATIKA                    Sea-facing, yaar.                                  SALIM                    Have the bags brought up.       And they scoot off, giggling into the dark.102A   INT. TULIP STAR. KITCHENS. NIGHT.                    102A       Jamal and Latika wander the vast, empty kitchens. Jamal       searches the empty chillers and cabinets. Then,       realises that he is alone.                                                      (CONTINUED)                                                             68.102A   CONTINUED:                                              102A                                     JAMAL                    Latika? Salim?       Where are they? Suddenly,                                     LATIKA                    Room service!       She comes shooting out of the darkness across the       kitchen floor riding a trolley with Salim pushing her       at top speed. Jamal has to skid out of the way. He       grabs another trolley and glides off in pursuit.102B   INT. TULIP STAR. CORRIDOR. NIGHT.                       102B       The three stand by a mirror and play with their       reflections.102C   INT. TULIP STAR. HOTEL LOBBY. LATER.                    102C       On top of the metal preparation counters, Salim and       Jamal are fencing: Jamal with a fish slice and Salim       with a large spoon.103    INT. HOTEL ROOM. NIGHT.                                  103       An empty, dusty hotel suite. Jamal is on the phone.                                  JAMAL                    307 here. I want a bottle of                    Johnny Walker Red Label, beer,                    wine-                                     LATIKA                    - chicken.                                  JAMAL                    Ah! Chicken....       Jamal closes his eyes at the wonderful thought.                                  JAMAL (CONT'D)                    What kind of chicken?                                  LATIKA                         (also dreaming)                    Tikka Masala. With roti-                                  SALIM                    Naan, chutney, dal-                                  LATIKA                    - aloo gobi, rice-       She stops. Change of mind.                                                     (CONTINUED)                                                           69.103   CONTINUED:                                              103                                    LATIKA (CONT'D)                   Pop Tarts!                                 JAMAL                   Hold the line, chutiye.                   Pop Tarts?                                 LATIKA                   On the tv. The commercial.                   Everybody's happy when they have                   Pop Tarts.                                 JAMAL                   Exactly! A bucket of Pop Tarts,                   chutiye.      Jamal slams down the phone.104   INT. HOTEL ROOM. LATER.                                  104      Latika is clearly in the shower. Jamal wanders in      carrying an old pair of lunghi. Shouts through the      door.                                 JAMAL                   Found some lunghi!                                 LATIKA V/O                   Stay there. Look away.      The shower stops.                                    JAMAL                   Atcha, atcha.                                 LATIKA V/O                   I'll know if you're looking....                                    JAMAL                   I'm not!      With a towel around her, Latika comes to the doorway      where Jamal is holding out a the lunghi with his eyes      tight shut.                                    JAMAL (CONT'D)                   Where's Salim?                                    LATIKA                   Dunno.      She watches this innocent a second with true fondness.                                 LATIKA (CONT'D)                   You're a sweet boy, Jamal.                                                      (CONTINUED)                                                         70.104   CONTINUED:                                            104      She takes the lunghi from his outstretched hand and      disappears into the bathroom, slamming the door with a      giggle.105   EXT. MUMBAI SLUM STREET. NIGHT.                          105      Salim wanders the crowded streets of a slum. He stops      uncertainly at a doorway where a group of men are      lolling, smoking. Plucks up his courage.                                 SALIM                   I'm looking for Javed-bhai.                                 MAN                   Ja, mada chod. He's not looking                   for you. Ja!                                 SALIM                   I need to see him.      The group of men stir, irritated now. Salim begins to      back away, then stops. Pulls the gun from behind his      back.                                 SALIM (CONT'D)                   I killed Maman. I'll kill you                   too. Easy.      The group are frozen.                                 JAVED                   You killed him?      Javed is standing in the doorway.                                 JAVED (CONT'D)                   My enemy's enemy is my friend,                   no? So, come in, friend.106   INT. HOTEL ROOM. LATER.                                  106      Jamal and Latika lie on the bed, drunk, though still      coherent. Latika is dressed in the Bell-Boy's jacket      and the old lunghi.                                 LATIKA                   Maman's gang will hunt us. You                   know that?                                   JAMAL                   I don't care.                                   LATIKA                   Me neither.      They burst into stupid laughter. The laughter subsides.                                                     (CONTINUED)                                                           71.106   CONTINUED:                                              106                                 JAMAL                   That dance you were doing. In                   Pila Street. Show me.      Latika rolls over and switches off the light. Rolls      back. In the half light, her hands begin to move for      Jamal, the elegant, alluring hand movements of the bar-      girl dancers. Jamal stares, mesmerised.                                 LATIKA                   You came back for me.                                   JAMAL                   Of course.                                 LATIKA                   I thought you'd forgotten.                                 AMIR                   I never forgot. Not for one day.                   I knew I'd find you in the end.                   It's our destiny.                                   LATIKA                   Destiny. Yes.      Latika stops her hands. They stare at each other, their      faces inches away from each other. Latika strokes      Jamal's face.                                   LATIKA (CONT'D)                   Thank you.      And face to face, they slowly fall asleep.107   INT. HOTEL ROOM. LATER.                                 107                                   SALIM                   Hey.      Jamal opens his eyes. Salim is standing over them,      swaying with alcohol.                                   JAMAL                   Salim?      He puts his hand out to Latika.                                   SALIM                   Come.                                 JAMAL                   No. Salim....Bhai, you've had a                   lot to drink...      Jamal tries to get up, but Salim's hand is round his      throat and pushes him down on the bed.                                                      (CONTINUED)                                                          72.107   CONTINUED:                                             107                                 SALIM                   I am the elder. And I am the                   boss. For once, you do as I say.                                    JAMAL                   No.      Salim pulls Latika to her feet.                                 SALIM                   I saved your bloody life, didn't                   I?                                    LATIKA                   Salim, please-                                    SALIM                   - chup, sali.      As he turns, pulling a protesting Latika, Jamal leaps      on him. The two brothers go down fighting, but of      course it is Salim who comes up on top. Latika launches      herself at Salim, but he smashes her away, almost      delighted that she has joined in. He drags Jamal to the      door, laughing.108   INT. HOTEL CORRIDOR. NIGHT.                            108      Salim throws him out into the corridor, slams the door.                                 SALIM                   I am Number One now!                                 JAMAL                   Salim, no, no....!                                 SALIM                   Get yourself a room, bhai.      Salim slams the door. Jamal gets up, bangs on the door,      keeps on banging until the door opens and Salim stands      there with the pistol pointing straight at Jamal's      head.                                 SALIM (CONT'D)                   The man with the Colt 45 says                   chup.      He shoves Jamal hard down the corridor, the gun pointed      at him all the while.                                    JAMAL                   Salim...      Salim nods towards the fire escape door.                                                      (CONTINUED)                                                            73.108   CONTINUED:                                               108                                 SALIM                   Now go. Or Gunmaster G-9 will                   shoot you right between the                   eyes. Boom. Don't think he                   won't. You have five seconds.                   One, two, three, four-      Salim cocks the pistol. Jamal screws up his eyes for      the inevitable. But Salim shoves him out with a roar      and slams the door. Jamal bangs on the door.                                 JAMAL O/S                   Salim...      Salim walks slowly back down the corridor as Jamal      bangs and bangs on the door. Down the hall, Salim's      door shuts.109   INT. INSPECTOR'S OFFICE. DAY.                            109      The Inspector is staring hard at Jamal. Srinivas is      desperately trying to get his attention.                                 CONSTABLE SRINIVAS                   Sir, sir!                                 INSPECTOR                        (eventually)                   Enlighten us Constable.                                 CONSTABLE SRINIVAS                   Accessory to murder, Sir.      The Inspector puts his hands in the air, palms up.      Simple.                                 INSPECTOR                   Only the finest minds in the                   Mumbai Police Force.      Untroubled by irony, Srinivas looks extremely pleased.                                 INSPECTOR (CONT'D)                   Go check the files, Constable.      Srinivas goes out.                                 INSPECTOR (CONT'D)                   You puzzle me, Slumdog.                   Admitting murder to avoid a                   charge of fraud is not exactly                   clever thinking. Now, why would                   you do that?      Jamal shrugs.                                                      (CONTINUED)                                                         74.109   CONTINUED:                                            109                                 JAMAL                   When somebody asks me a                   question, I tell them the                   answer.110   EXT. TULIP STAR. MORNING.                                110      At the gate, a Security Guard is sitting in his chair.                                 JAMAL                   Where are they?      The Guard grunts.                                 JAMAL (CONT'D)                   Where did they go?      A more impatient grunt from the Guard. He stands up,      walks towards Jamal.                                 JAMAL (CONT'D)                   Please, Sir. Which way?                                 SECURITY GUARD                   I don't know and I don't care.      The Guard raises his stick and gives him a roar. Jamal      backs away onto the street. The Guard slams the gate      shut. Jamal looks despairingly up and down the street      at the teeming traffic, the crowds.                                 PREM V/O                   Ready for another question.                                 JAMAL V/O                   Yes. I'm ready.111   OMITTED                                                  111112   INT. STUDIO. NIGHT.                                      112      We are back in the Studio.                                 PREM                   For two and a half million                   rupees. Ladies and Gentlemen.                   Cambridge Circus is in which UK                   City. Is it A) Oxford, B) Leeds,                   C) Cambridge, D) London.      Jamal smiles.                                 PREM (CONT'D)                   He's smiling. Why does that                   worry me?                                                         75.113   EXT. MUMBAI. DAY.                                        113      Leaden skies. Torrential rain is hammering on the tin      roofs of the slum.114   INT. SHACK. DAY.                                         114      Eighteen year-old Jamal's eyes open. Now with the      beginnings of a beard and moustache, Jamal wakes in a      tiny shack just big enough for a mattress on the floor.      He pulls on a shirt, lifts the mattress and takes out      his trousers which have been pressing there all night,      puts them over his shoulder, picks up his shoes and      goes down a ladder.115   INT. SHACK. DAY.                                         115      He descends into a room and two feet of water that is      eddying around the ground floor of the shack. Wades out      of the door into the narrow lane of the slum.116   EXT. SLUM. DAY.                                          116      Jamal nods hello to a number of neighbours, also bare-      legged, also with their shoes in hand. Together, they      wade to higher ground, put on their trousers and shoes      and trudge up to the main road.117   INT. CALL CENTRE. NIGHT.                                 117      Ultra-modern, glass-windowed office. The words Cultural      Studies are written on the white board. Jamal walks in      with a tray of glasses of chi. He puts a glass down on      the young, hip, Teacher's desk and heads out again.                              TEACHER                Okay, guys, it's been a big week                in UK. Kat is back.      He holds up a copy of Radio Times showing Kat from East      Enders smiling at them. A collective groan from the      Trainees.                              BARDI                She's already back.                                 TEACHER                Bardi...Jamal?                              JAMAL                Oh. Well. She did come back,                then she went away when Alfie                split up with her and now she's                back again.                              (MORE)                                                    (CONTINUED)                                                          76.117   CONTINUED:                                             117                                 JAMAL (CONT'D)                   But it looks as if Alfie still                   fancies Mo after all, so-                                 TEACHER                   - thank you, Jamal. Keep up,                   Bardi. The chi-wallah knows more                   than you.      Bardi glares at Jamal. Jamal shrugs apologetically and      goes out.                                 TEACHER (CONT'D)                   Okay, it's been super-duper hot                   for UK this week, so there'll be                   a lot of chat about that- they                   love their weather- and there's                   the festival in Edinburgh-                   Edinburgh?      He points at a young woman Trainee.                                 NASREEN                   Scotland. Kilts, castles, err,                   haggis? Porridge, the Highlands,                   mountains. Ben- Ben Nevis?      The Teacher points at another Trainee.                                 TRAINEE 2                   Detective Taggart. Whisky, Sean                   Connery!                                 TEACHER                   And lochs. Their word for lakes.                   Good. It's also double bonus                   time for an upgrade to the                   `friends and family' package                   this week, so remember to push                   for an upgrade...                                    EVERYONE                   ...Every Call!      Jamal walks out, turns a corner.118   INT. CALL CENTRE. UK FLOOR. NIGHT.                       118      We are confronted with a room you could swing a Boeing      in. Rows and rows of Operators in tiny booths stretch      into the distance. On the walls are pictures of London,      Tony Blair, red telephone boxes, the Yorkshire Dales,      the Highlands- a snapshot of tourist Britain. Huge      posters of soap stars and celebrities adorn the rest of      the walls. Slogans hang from the ceiling. "When the sun      comes up, you'd better be running", "you snooze, you      lose", "Upgrade for a better, faster life." "Every call      is a new opportunity".                                                      (CONTINUED)                                                          77.118   CONTINUED:                                             118      Each section of the room has a banner with a British      city's name on it and various mock sign-posts for the      different aisles. A Manager under the banner      "Bradford", is standing over an Operator, listening in      on a call. The Manager leans over and presses a key.                                 MANAGER                   If they want an upgrade, a new                   tariff or we're stealing them                   from the other networks, you                   take the call. Anything else-      He mimes cutting his throat.                                 MANAGER (CONT'D)                   No time-wasters on Team                   Bradford, kid. Leave that to the                   homosexuals on Tunbridge Wells.      Jamal stops by him. The Manager takes a glass of tea      from Jamal.                                 MANAGER (CONT'D)                   Where've you been? Dave on                   Cornmarket's virtually lost his                   voice, there's two on Ilkley                   Moor who've had their hands up                   for hours. Come on, move it!      Jamal hurries down the aisle signposted "Cornmarket",      gets to a male trainee and hands him a tea. Dave      glances around to check nobody's looking and slips off      his head-set.                                 DAVE                   Two minutes, Jamal. I'm on                   "Millionaire" duty.                                  JAMAL                   Rajneesh...                                 DAVE                   It's my turn, Jamal. I've had my                   pee breaks. Please. If he comes                   just keep your head down and                   pretend you're doing an upgrade                   on the-                                 JAMAL                   - `friends and family'. I know.      Jamal still looks unwilling.                                  JAMAL (CONT'D)                   Two minutes.                                                      (CONTINUED)                                                         78.118   CONTINUED: (2)                                        118      Dave heads off towards a Rest and Recreation room,      where a big plasma screen on the wall is showing "Who      Wants To Be A Millionaire."Jamal grabs the jacket from      the back of Dave's chair, puts the head-set on and      hunches over the booth, just another Operative at work.      We become aware that every operator down the Cornmarket      aisle- and quite a few other aisles besides- is staring      in the direction of the Rest and Recreation Room.119   INT. REST AND RECREATION ROOM. NIGHT.                 119      Dave is watching the screen.                              PREM                ...if you want a chance to be a                contestant on Who Wants To Be A                Millionaire, dial the number                now.      Dave dives for the doorway and waves.120   INT. CALL CENTRE. UK FLOOR. NIGHT.                    120      Suddenly all the operators are dialling. Almost      simultaneously, twenty or so voices say.                              OPERATORS                I'd like to be a contestant on                Who Wants to be a Millionaire.      Most of the Operators- including the man next to Jamal-      suddenly lose their tension.                              OPERATOR                Bloody bastard. I never get it.                              JAMAL                You have to dial when Prem says                "if". "If you want the chance to                be a contestant on Who Wants To                Be A Millionaire..." That's when                they open the lines.      The Operator looks at him. Jamal shrugs.                              JAMAL (CONT'D)                That's what Anjum in Technical                says. He put the system in.                              OPERATOR                So why don't you?                              WOMAN V/O                Hello? Hello? Have I been                transferred again, for God's                sake?                                                    (CONTINUED)                                                          79.120   CONTINUED:                                             120      Jamal freezes with fear. The head-set speaks again with      its broad Scottish accent.                                 WOMAN V/O (CONT'D)                   Hello? Jesus, God, will somebody                   talk to me?                                   JAMAL                   Hello, Mrs...      He stares at the computer.                                 JAMAL (CONT'D)                   ...Mackintosh from King Gussie.                                 WOMAN V/O                        (weary)                   It's Kingussie, love. Pronounced                   Kinoosie.                                   JAMAL                   Kinoosie?                                 WOMAN V/O                   So where are you from? Abroad, I                   bet. China or somewhere. What                   good is-                                 JAMAL                   - just down the road from your                   house, Mrs Mackintosh. Next to                   the loch.                                 WOMAN V/O                        (suspicious)                   Oh aye? Which loch?      Jamal searches desperately around, spots a picture of      Big Ben.                                 JAMAL                   Loch Big- Loch Ben. Next door to                   Detective Taggart's flat.                                 WOMAN V/O                   Loch Ben? Och, no, hen, that's                   one of the wee ones up in the                   Highlands. You're all the way up                   there? But I bet it rains, eh,                   hen?                                 JAMAL                   Indeed yes, Mrs Mackintosh. I                   have to wade through a metre of                   water every morning.                                   WOMAN V/O                   No!                                                      (CONTINUED)                                                         80.120   CONTINUED: (2)                                        120                              JAMAL                Yes, yes, Mrs Mackintosh. In my                kilt.                                WOMAN V/O                Och, no, hen.      Jamal puts his feet on the desk.                              JAMAL                It's alright once I've had my                porridge, my haggis and a few                Scotch whiskies- and the                monsoon's nearly over, so-                              WOMAN V/O                - and what monsoon would that                be? I'd like to speak to your                supervisor, son.                              JAMAL                I don't think that's a good                idea. He is a very important                man, Mrs Mackintosh-                              WOMAN V/O                - get me the supervisor on this                line now-                              JAMAL                - and he doesn't like bloody                time wasters.      Jamal panics, presses the button he saw the Manager      press earlier. The screen goes blank, then reboots      itself. Jamal looks around. Where the hell is Dave? On      the screen, Jamal is faced with the question: "what      name do you require?" He looks around again, and then      with one finger types in the word "Latika". He presses      enter. Hundred upon hundred of Latikas with their      surnames and phone numbers scroll down the page. He      erases her name and enters the name Salim K. Malik.      Presses enter. Fifteen numbers come up. He stares at      the numbers for a long time, then types it into his      computer and presses dial.                                MAN V/O                Yeah?                                JAMAL                Salim?                              MAN V/O                Who wants to know? Do you know                what bloody time it is?      Clearly not Jamal's brother. Jamal cuts the line. Dials      the next number.                                                    (CONTINUED)                                                          81.120   CONTINUED: (3)                                         120                                 MAN V/O (CONT'D)                 Huh. Hello?      Clearly not his Salim. He cuts the line. Dials again.                               SALIM V/O                 Hello? Hello? Who is this?      But Jamal can't speak.                               SALIM V/O (CONT'D)                 Hey. Is someone screwing with                 me?      Silence.                                 SALIM V/O (CONT'D)                 Who is this?                               JAMAL                 I am calling from XL 5                 Communications Sir. As a valued                 customer, we are offering you a                 free upgrade with our `friends                 and-      Jamal's voice peters out.                                 JAMAL (CONT'D)                 Family.                               SALIM V/O                 Jamal? Is that you? Brother?                 Where are you, man?...I thought                 you were dead or something...we                 had to go, Jamal. Maman's guys.                 They were searching the                 hotel...Jamal, say something.                 Please.      There is another long silence.                                 JAMAL                 Hello, Salim.121   INT. STUDIO. NIGHT.                                     121                               PREM                 Ever been to Cambridge?                                 JAMAL                 No.                               PREM                 Ever been to the circus?                                                      (CONTINUED)                                                            82.121   CONTINUED:                                               121                                 JAMAL                   No. And I've never been to UK                   before. But I'll still have a                   go.      Gasps and laughter from the audience. Jamal laughs and      shrugs.                                   JAMAL (CONT'D)                   Why not?      Prem grips his heart theatrically.                                 PREM                   Can someone call me an                   ambulance?122   INT. CALL CENTRE. NIGHT.                                 122      A flash of a sign post reading `Oxford Circus',      pointing down one of the aisles. The banner above that      section of the warehouse reads `London'.                                                      CUT TO:      Jamal hurrying down another `Kings Parade' carrying      glasses of tea. He glances up to see a large banner      that says `Cambridge'.                                                      CUT TO:      Jamal comes back up an aisle named `Broad Street'. An      Operator on the adjacent `The High' clicks his fingers      for another cup. Jamal hurries under the sign marked      `Oxford'.                                                      CUT TO:      The signposts of the aisles come faster and faster      `Pembroke Street', `Trafalgar Square', `East India      Dock' and finally `Cambridge Circus'.                                   PREM V/O                   So, Jamal....123   INT. STUDIO. NIGHT.                                      123      Jamal is sweating, his face scrunched up in thought.                                 JAMAL                   I can't remember.                                 PREM                   You can't remember. Does that                   mean you did know? Once?                                                    (CONTINUED)                                                           83.123   CONTINUED:                                              123                                 JAMAL                   I don't think it's Oxford.                                 PREM                   Based on your extensive                   travelling, right?                                 JAMAL                        (almost to himself)                   Well, Oxford has Broad Street,                   Saint Aldates, Turl Street,                   Queen Street, The High and                   Magdalene Bridge- which is                   pronounced Maudlin, so-      He stops as he hears the surprised laughter of the      audience.                                 PREM                   I thought you hadn't been to UK.                                 JAMAL                   Oh, I haven't. And it's not                   Leeds, because that's Elland                   Road, Kirkgate Market,                   Commercial Street, St Peter's-                                 PREM                        (icy)                   - what might it be then, Jamal?                                 JAMAL                   Well, I don't think it's                   Cambridge.                                 PREM                   Cambridge Circus is not in                   Cambridge? Dare I ask why?                                 JAMAL                   Too obvious. There's definitely                   an Oxford Circus in London, and                   there's a rowing race between                   Oxford and Cambridge so there's                   probably a Cambridge Circus too.                   I'll go for D) London.                                 PREM                   That's the logic that's got him                   this far, Ladies and Gentlemen.                   Who are we to argue? So. Jamal.                   D. Apka final jawab?                                 JAMAL                        (shrugs)                   If the Gods are with me...Final                   answer. D.                                                      (CONTINUED)                                                            84.123   CONTINUED: (2)                                           123      The lights dim, the music swells as Prem pushes the      button on his computer.                              PREM                Computer-ji, D lock kiya-jaye.      More portentous music.                              PREM (CONT'D)                It's been a rollercoaster ride                all the way, a pleasure to have                you on the show, my friend, but                I'm sorry to say that                you're....incredibly, absolutely                right!      Huge cheers and applause. Even Jamal laughs at this. He      cannot quite believe it himself.                              PREM (CONT'D)                Ladies and Gentlemen, Jamal                Malik, the man with two and a                half million rupees!      More applause. Prem hands him a cheque. Jamal looks at      it. Laughs again.                               PREM (CONT'D)                A few hours ago, you were                fetching tea for the phone-                wallahs. Now you are richer than                they ever will ever be. What a                player, Ladies and Gentleman!                What a player.      The lights dim, the music swells. Prem consults his      computer.                              PREM (CONT'D)                For five million rupees, my                friend: who invented the                revolver? Was it A) Samuel Colt,                B) Bruce Browning, C Dan Wesson                or D) James Revolver?      Dramatic pause.124   INT. HOTEL. NIGHT.                                       124      A flash of Salim shooting Maman. Another flash of Salim      in the doorway, holding the pistol up to Jamal's head.125   INT. STUDIO. NIGHT.                                      125                              JAMAL                     (suddenly)                A). Samuel Colt.                                                    (CONTINUED)                                                            85.125    CONTINUED:                                              125                                  PREM                    A). Samuel Colt. Are you sure?       Jamal nods.                                    PREM (CONT'D)                    Final answer?                                    JAMAL                    Final answer.       The music swells again. Prem presses his computer.                                  PREM                    You had two and a half million                    rupees. If I may-?       He holds out his hand. Jamal hands him back the cheque.       He tears the cheque in two.                                  PREM (CONT'D)                    Ladies and Gentlemen, the chi-                    wallah has done it again! D. Is                    right! Incredible!       Cheers and applause from the audience.125A   INT. INSPECTOR'S OFFICE. NIGHT.                        125A                                   INSPECTOR                    Not that incredible. You'd just                    murdered somebody with a Colt                    45, after all.                                  JAMAL                    It was self-defence.                                  INSPECTOR                    Let's call it manslaughter,                    then, shall we?126    INT. STUDIO. NIGHT.                                     126                                  PREM                    Getting hot in here, isn't it?                                  JAMAL                         (genuinely)                    Are you nervous?       The audience laugh. Prem is momentarily flustered.                                  PREM                    What? Am I nervous? You're the                    one who's in the hot seat, my                    friend.                                                      (CONTINUED)                                                          86.126   CONTINUED:                                             126                                 JAMAL                   Oh. Yes. Sorry.      More laughter.127   INT. GALLERY. NIGHT.                                     127                                 DIRECTOR                   Bloody hell. He's got Prem on                   the run...128   INT. STUDIO. NIGHT.                                      128      Music, lights. Prem presses his computer.                                 PREM                   What sports do you play?                                 JAMAL                   None.                                 PREM                   None. Oh, dear, oh dear, oh                   dear. Not to worry, there's only                   ten million rupees at stake...                   Which cricketer has scored the                   most first class centuries in                   history. Was it A) Sachin                   Tendulkar, B) Ricky Ponting, C)                   Michael Slater, D) Jack Hobbs.      Prem allows the question to sink in.                                 PREM (CONT'D)                   You've got a cheque for five                   million rupees in your hands.                   You've still got two life-lines,                   Phone A Friend and 50/50. For                   ten million rupees: pay, play,                   or bail out. It's still an                   option. Remember, if you get the                   answer wrong, you will lose                   everything like that.      He clicks his fingers.                                 PREM (CONT'D)                   Are you sure you want to do                   this?129   EXT. CRICKET GROUND. DAY.                                129      An Indian batsman hits a nicely-timed stroke, heads      down the wicket for a single. Turns. The other batsman      is taking a second run.                                                      (CONTINUED)                                                         87.129   CONTINUED:                                            129      The Indian tries to halt the other batsman with a      shout, then succumbs to the inevitable and charges down      the wicket. A fielder hurls the ball at the stumps. The      bails fly off.130   INT. STUDIO. NIGHT.                                     130                                 JAMAL                   I'll play.      Tense laughter from the audience. Prem holds up the      cheque. Jamal nods. Prem tears it up slowly. Allows the      pieces to fall to the floor.                                 PREM                   The dreams of so many. On the                   floor.131   EXT. TOWER BLOCK. DAY.                                  131      Jamal is riding the construction lift to the top of a      high building, still just a shell but buzzing with      carpenters, bricklayers, cable-layers. The lift stops      at the top. Jamal gets out. Looks around. He is miles      up. Alone.                                 SALIM                   Jamal!      Jamal looks around. There is Salim standing on the edge      of the building. He saunters over to Jamal, his arms      outstretched in theatrical greeting. He is groomed,      expensively dressed with the best mobile money can buy      dangling from a gold chain around his neck.                                 SALIM (CONT'D)                   God is good, bhai. God is good.      He tries to embrace Jamal. With as much force as he can      muster, Jamal punches him in the face. Salim takes it.      Stands there. Wipes blood from his lip. Gets another      punch. Then another and another, not even defending      himself, until he is being beaten back by a raging      Jamal towards the edge of the building. Finally, he      tries to reason with Jamal                                 SALIM (CONT'D)                   Maman's boys were after us. Had                   to skip.      Jamal keeps on beating him back.                                 JAMAL                   Liar.                                                     (CONTINUED)                                                           88.131    CONTINUED:                                             131                                  SALIM                    Left a message at reception.                    Waited weeks for you in Nagpur.                                  JAMAL                    There was no message at                    reception.                                  SALIM                    Bhai, I left a message.       Salim opens his arms, defenceless. It would take one,       small push to send him over the edge. There is a       moment, when Jamal might. He even has his hands on his       chest.                                  JAMAL                    I will never forgive you.                                  SALIM                    I know.       The fury in Jamal subsides minutely. Finally, he turns       away with a roar of frustration. Salim hangs his head.131A   EXT. TOWER BLOCK. LATER.                              131A       Jamal and Salim are sitting on the very edge of the       building. They can see for miles across the city. Salim       has rediscovered his attitude.                                  SALIM                    Can you believe it? This was our                    slum. We lived just there, huh?                    Now it is business, apartments,                    call centres...Fuck USA, fuck                    China. India is at the centre of                    the world, now, bhai. And I am                    at the centre of the centre,                    Jamal. This is all Javed-bhai's.                                  JAMAL                    Javed Mehta? The Gangster from                    our slum? You work for him?                                  SALIM                    Who else would protect us from                    Maman's gang, huh?                                  JAMAL                    What do you do for him?                                  SALIM                    Anything he asks.       Salim's mobile rings. Salim is immediately subservient       on the phone. Rings off.                                                       (CONTINUED)                                                             89.131A   CONTINUED:                                              131A                                  SALIM (CONT'D)                    He is coming. You must go. My                    card.       He hands Jamal a card.                                  JAMAL                    What for?                                  SALIM                    You think I am going to let you                    out of my sight again, little                    brother? You stay with me now.                    Ab phut!                                  JAMAL                    Salim, where's Latika?                                  SALIM                    Still? She's gone, Jamal. Long                    gone. Now go. Quick.       Jamal gets up, hurries away, hidden behind piles of       building materials just as Javed appears in his flash       suit and jewelry. Three of his young henchmen walk       alongside.132    INT. SALIM'S APARTMENT.    NIGHT.                        132       Jamal is asleep on a mattress on the floor of a smart       apartment. A mobile phone rings. The muffled sound of       Salim talking quietly next door. Then, Salim creeps       into the room, checks to see Jamal is asleep, unlocks a       desk drawer and brings out his pistol. He puts it in a       hold-all and goes out the front door. Jamal's eyes snap       open. He has seen it all.                                  JAMAL V/O                    Slum dogs never sleep, only nap.                    He would disappear for a couple                    of days and come back changed.                    Sometimes elated-133    INT. SALIM'S APARTMENT. NIGHT.                           133       The door bangs open and a giggling-drunk, half-naked       Bar Girl drags the sleeping Jamal up and into the       bathroom.                                  BAR GIRL                    He has flipped! I can't do                    anything with him....       Salim is in the bath, bathing, literally, in money.                                                       (CONTINUED)                                                           90.133   CONTINUED:                                              133                                 SALIM                   Look at it, bhai, look at it!134   INT. SALIM'S APARTMENT. DAWN.                            134                                 JAMAL V/O                   Sometimes the opposite.      Jamal creeps towards Salim's bedroom door. He pushes it      open a fraction to see Salim crouched on the floor in      prayer, sobbing quietly.                                 SALIM                        (whispering)                   AÈ khuda mujhÈ baksh dÈ mainÈ                   bahut gunaah kiyÈ hain....                                 JAMAL V/O                   But younger brothers don't                   interfere. Mostly.135   EXT. SALIM'S APARTMENT. DAY.                             135      Salim comes out of his apartment block. Gets into his      jeep. Drives off. Doesn't notice Jamal in the motor      rickshaw that pulls out and follows him.136   EXT. JAVED'S BUNGALOW. DAY.                              136      Salim approaches a gate-house to a large bungalow. The      Door-Keeper nods to him, rings a bell. From the      rickshaw, Jamal watches a woman come to the door.      Latika. Eighteen, completely beautiful and rich. She      hands Salim a package and goes back inside. Salim gets      in his jeep and drives away.137   EXT. JAVED'S BUNGALOW. DAY.                              137      Jamal approaches the Door-Keeper's gate-house.                                 JAMAL                   Baba, I am the new cook from the                   agency. A thousand apologies, I                   am late for the Memsaab.      The Door-Keeper grunts and goes inside. After a brief      pause, he returns.                                 DOOR-KEEPER                   She doesn't know anything about                   any cook. There's supposed to be                   a dishwasher being delivered.                   Know anything about that?                                                       (CONTINUED)                                                            91.137   CONTINUED:                                               137                                 JAMAL                   Baba, I am your dishwasher!      The Door-keeper grunts at this attempt at humour.      Latika appears at the gate.                                 LATIKA                   Haven't I told you, don't                   interrupt when I'm watching-      She looks at Jamal. Is silenced briefly.                                 LATIKA (CONT'D)                   - come inside. I'll show you the                   kitchen.138   INT. KITCHEN. DAY.                                       138      Latika and Jamal go into the kitchen. Who Wants To Be A      Millionaire plays on the tv in the background. She      turns and hugs him tight. They laugh with happiness.                                 LATIKA                        (delighted)                   Jamal, Jamal, look at you...!      Their heads are close, they might kiss. Then Latika      turns away, stares out of the window.                                 LATIKA (CONT'D)                   ArÈ wa, Jamal....      Jamal smiles hopefully at her. But there is sadness in      her now. She takes her sunglasses off, rubs her eyes.      There is a bruise there.                                 JAMAL                   You've hurt your eye.                                 LATIKA                   Why are you here?                                 JAMAL                   To see you.                                 LATIKA                   Well. You see me.      She stands there, challenging. On the tv, somebody is      winning money.                                 JAMAL                   Why does everyone love this                   programme?                                                      (CONTINUED)                                                           92.138   CONTINUED:                                              138                                 LATIKA                   It's the chance to escape, isn't                   it? Walk into another life.                   Doesn't everyone want that?                                 JAMAL                   You have another life. A rich                   one.                                 LATIKA                   Who'd have thought it possible?                   A slum dog, with all this.                                    JAMAL                   Are you happy?                                 LATIKA                   I have five star food, five star                   clothes. I sleep in a bed, not                   on the street. From where we                   come from, Jamal, that is                   happiness.                                 JAMAL                   You don't look so happy with a                   black eye.                                 LATIKA                   You turn up here out of nowhere,                   telling me I'm not happy: how                   dare you?      Voices at the gate-house.                                 LATIKA (CONT'D)                   God, Javed will kill you. Here.                                 JAMAL                   Javed? You are with him?      She throws him an apron. He gets it on just in time for      Javed to walk in. Jamal turns away.                                  JAVED                   First you want a dishwasher, now                   a bloody cook-                                 LATIKA                   -I just thought-                                 JAVED                   - chup. The cricket's on.      Javed changes channel and dials on his mobile.                                 JAVED (CONT'D)                   Why do you always watch that                   shit? Huh? I'm already a                   millionaire.                                                       (CONTINUED)                                                         93.138   CONTINUED: (2)                                        138      He laughs at his own joke. Turns to Jamal.                              JAVED (CONT'D)                Well, come on then, Cook. I'm                hungry. Get me a sandwich.                              JAMAL                Immediately, Sir.      Javed stares at Jamal a moment, trying to place a face      he vaguely recognises. Then the Bookie comes on the      line and he turns back to the television.                              JAVED                Atcha...      Latika hurries around the kitchen getting out bread and      condiments, whispering while Javed talks on the phone.                              JAMAL                Come away with me.                              LATIKA                ChutiyÈ. Away where? And live on                what? What can you provide? What                have you got, Jamal?                              JAMAL                Love.                               JAVED                      (on the mobile)                ..yeah. He's on eighty-five. I                want four lakh on him making a                century. What are you                giving?...Okay, make it five                lakh.      Javed pours himself a glass of whisky, never taking his      eyes from the television.                              TV COMMENTATOR                We are watching history unfold                today at the WankhedÈ Stadium as                Sachin Tendulkar carves his way                towards another magnificent                century and the record books.                His thirty-eighth century- the                most by any Indian cricketer                ever...                              LATIKA                Love. That will feed us, will                it?                              JAMAL                It won't buy you a new                dishwasher, but it might make                you happy.                                                    (CONTINUED)                                                          94.138   CONTINUED: (3)                                         138                              LATIKA                Where have you been? Get in the                real world, Jamal.                              JAMAL                You and me. That is the real                world. Come away with me.      Latika snatches the sandwich from him and gives it to      Javed. Goes back to Jamal, whispers under cover of      putting condiments away.                                LATIKA                You're crazy.                              JAMAL                Salim will help us.                               LATIKA                Salim? You still believe in                Salim? Jamal...I'll be gone                soon, anyway. Bombay's got too                dangerous for-      She indicates Javed.                                JAMAL                Where?                              LATIKA                You think he'd tell me?                              JAVED                Straight bat, straight bat,                dammit.      Then the batsman at the other end calls to take a      second run.                                JAVED (CONT'D)                No! A single!      Tendulkar seems to agree, tries to halt the other      batsman with a shout, then succumbs to the inevitable      and charges down the wicket. A fielder hurls the ball      at the stumps. The bails fly off.                              JAVED (CONT'D)                No, no, no! stupid ben chod                idiot...      He flings his glass of whisky at the television.      Suddenly tastes what he has been eating.                              JAVED (CONT'D)                And what is this shit supposed                to be, mader chod? Get out. Get                out!                                                    (CONTINUED)                                                            95.138   CONTINUED: (4)                                           138      Javed throws the sandwich at him and slams out of the      room. His footsteps can be heard stomping into another      room.                              LATIKA                Now go, before he kills us both.      She leads Jamal to the door.                              JAVED                Latika, where's my bloody shirt?                The Armani.      Latika shouts over her shoulder.                              LATIKA                Coming!      Back to Jamal.                              LATIKA (CONT'D)                     (whispered)                You want to do something for me?                              JAMAL                Anything.                              LATIKA                Then forget me.                              JAMAL                I'll wait at VT station. Five                o'clock every day until you                come.      She shakes her head.                              JAMAL (CONT'D)                I love you.                              LATIKA                So what, Jamal? So what?                (loudly)                Now, get out and tell your no-                good agency not to send anybody                else until they've learnt to                cook. You hear?      She slams the door. Hurries back into the kitchen,      throws Javed's plate into the sink. The Door-keeper      comes in.                              DOOR-KEEPER                Madam, your dishwasher has                arrived.      Leaning over the sink, Latika weeps silently.                                                         96.139   INT. SALIM'S APARTMENT. NIGHT.                           139      Salim has his hand around Jamal's throat.                              SALIM                Why can't you let it alone? You                want money, I'll give you money.                Girls? I can get you girls.                              JAMAL                You know what I want.                              SALIM                You're like some crazy man-                you're obsessed.                              JAMAL                She is my destiny, Salim.                              SALIM                Know what your destiny is, crazy                boy? A bullet between the eyes.                And after that, he'll kill her.                Is that what you want? Huh?                              JAMAL                Me, I don't care. Latika? She's                already half dead.      Salim takes his hand away from Jamal's neck.                              SALIM                Yes. About that, you are right.                                JAMAL                You sold her.                              SALIM                     (fierce)                I didn't sell her. Javed wanted                her. He gets what he wants.      He turns away bitterly.                              SALIM (CONT'D)                She's doing alright. Get it into                your thick head, Jamal. She's                not yours and she never will be.140   INT. STUDIO. NIGHT.                                      140                              PREM                Time for a commercial break,                Ladies and Gentlemen. I know, I                know, I can't stand the tension                either. Don't even think about                leaving your seat. We'll be                back.                                                     (CONTINUED)                                                          97.140   CONTINUED:                                             140      The lights flick back on. Prem slumps back in his      chair.                                 PREM (CONT'D)                   You've got the luck of the                   devil, yaar, I'll give you that.                                   JAMAL                   I- I need to-                                 PREM                   Oh, the toilet. Sure. Naveed,                   Jamal wants the bog.      The Floor Manager and a Security Guard usher Jamal off-      stage. Prem looks up at the gallery, raises his eyes at      the Director. Some show. Then he gathers himself and      heads off-stage.141   INT. CHHATRAPATI SHIVAJI TERMINUS. DAY.                 141      The clock reads five oh three. Jamal stands on the      footbridge. Humanity washes around him. His eyes dart      around, frightened to miss her. Checks the clock again.      Six. The platform is almost deserted. He wanders away.142   INT. CORRIDOR. NIGHT.                                   142      Prem wanders down the corridor followed by a Security      Guard. Another Security Guard is waiting at the      entrance to the toilet. Prem goes in, leaving the two      Guards in the corridor.143   INT. CHHATRAPATI SHIVAJI TERMINUS. DAY.                 143      Jamal stands on the footbridge gazing down at the      hordes of commuters. Five o'clock, five fifteen, five      thirty. Six. Jamal rests his head against the railings.144   INT. TOILET. NIGHT.                                     144      Jamal is in one of the cubicles. Prem goes to the      urinal. Unzips.                                 PREM                   A guy from the slums becomes a                   millionaire overnight. You know                   the only other person who's done                   that? Me. I know what it's like.                   I know what you've been through.                                 JAMAL O/S                   I'm not going to become a                   milionaire. I don't know the                   answer.                                                      (CONTINUED)                                                             98.144    CONTINUED:                                               144                                  PREM                         (laughs)                    You've said that before, yaar.       Prem finishes pissing. Goes over to the washbasins,       runs the taps and washes his hands.                                  JAMAL O/S                    No, I really don't.                                  PREM                    What? You can't take the money                    and run now. You're on the edge                    of history, kid!                                  JAMAL O/S                    I don't see what else I can do.                                  PREM                    Maybe it is written, my friend.                    You're going to win this. Trust                    me, you're going to win.       Prem leaves. Jamal flushes and comes out of the       cubicle. Goes to the washbasins. In the mist on the       mirror above the taps is written the letter "B". Jamal       stares at it. Gradually it fades, leaving only the       growing fury on his face staring back at him.145    INT. STUDIO. NIGHT.                                      145       Jamal stalks back onto the set. Sits down in his chair.       Stares at Prem who looks unconcernedly back.                                  TALKBACK V/O                    Twenty seconds.145A   INT. CHHATRAPATI SHIVAJI TERMINUS. DAY.                 145A       The digital clocks show five fifteen. Shoving the       descending river of people out of his way, the       seventeen year-old Jamal is forging a path up steps       that cross the platforms. He pushes to the middle of       the footbridge and leans out on the side railings. He       scans the sea of people, desperately. Then he sees her:       the eighteen year-old Latika, heart-stoppingly       beautiful, over the other side of the station. A world       away. She is scanning the crowd, as wired as he is.                                  JAMAL                    Latika! Latika!       But though he is screaming her name, his voice is       swallowed by the noise around him. Then he sees two       thuggish-looking men also fighting a way towards her.                                                      (CONTINUED)                                                          99.145A   CONTINUED:                                           145A                                   JAMAL (CONT'D)                    Latika!       Frightened now, he fights his way down the steps, one       figure against an army of white-robed people. He gets       to the bottom of the steps, is making progress against       the tide. But so are the two men. Jamal is now on the       same platform. Shouts her name again. She turns with a       smile. But the two Thugs leap through a train onto her       platform. She sees them, starts running, is lost in the       crowd. Jamal runs off along the platform after Latika.                                  JAMAL (CONT'D)                    Latika! Latika!       By the time Jamal has fought himself to where Latika       was- she is gone. He whirls around, mad with       frustration.                                  JAMAL (CONT'D)                    Latika! Latika!146    OMITTED                                                  146147    EXT. CHHATRAPATI SHIVAJI TERMINUS. DAY.                  147       Latika is jumping the tracks, crossing in front of       trains. But the Thugs are gaining on her. He brings her       down and drags her across to Javed's waiting Mercedes.       Salim is standing by the car. Jamal pushes through the       crowds just in time to see Salim bundling her into the       car.                                   JAMAL                    Salim!       Salim spits disgustedly on the ground. Gets in. Latika       twists her head to see Jamal as the car skids off.       Jamal screams with hopeless fury.148    INT. STUDIO. NIGHT.                                      148                                  TALKBACK V/O                    Fifteen seconds.       Jamal and Prem stare at each other. Prem smiles.                                  PREM                    Do the right thing and in                    approximately three minutes you                    will be as famous as me.                                   TALKBACK V/O                    Ten seconds.                                                      (CONTINUED)                                                         100.148   CONTINUED:                                             148                                 PREM                   And as rich as me.                                    TALKBACK V/O                   Five seconds.                                    PREM                   Almost.                                    TALKBACK V/O                   Four, three...                                 PREM                   From rags to Raja. It's your                   destiny.                                    TALKBACK V/O                   ...we're on.      Applause from the audience.                                 PREM                   Welcome back to Who Wants to Be                   A Millionaire? In the chair                   tonight is Jamal Malik- as if we                   don't know! In an amazing run,                   Jamal has already five million                   rupees but, not content with                   that, has chosen to gamble for                   one Crore- that's ten million                   million rupees. What a player!                   The question one more time:                   Which cricketer has scored the                   most first class centuries in                   history. Was it A) Sachin                   Tendulkar, B) Ricky Ponting, C)                   Michael Slater, D) Jack Hobbs.                                 JAMAL                   I know it isn't Sachin                   Tendulkar.                                 PREM                   That's a start. So, it could be                   Ricky Ponting, Jack Hobbs or                   Michael Slater.                                 JAMAL                   I'll use a life-line. Fifty-                   fifty.                                  PREM                   Okay. Computer, take away two                   wrong answers.      Music swells, lights dim.                                                      (CONTINUED)                                                        101.148   CONTINUED: (2)                                        148                              PREM (CONT'D)                Well, you were right about                Sachin Tendulkar. The computer                has taken away A) Sachin                Tendulkar and C) Michael Slater.                That leaves you a fifty-fifty                choice, Jamal. B) Ricky Ponting                or D) Jack Hobbs. What do you                think? Decision time. For half a                million rupees. Your answer: B)                Ricky Ponting or D) Jack Hobbs.      A hideous, never-ending pause while Jamal stares into      Prem's eyes.                                 JAMAL                D.      A barely perceptible jump from Prem.                              PREM                You sure? Not B) Ricky Ponting?                The Australian? Great cricketer.                                 JAMAL                D. Jack Hobbs.                                 PREM                Do you know?      Jamal shakes his head.                              PREM (CONT'D)                So it could be B, Ricky Ponting?                              JAMAL                Or D. Jack Hobbs.                                 PREM                Final Answer?                              JAMAL                Final Answer. D.      A just-perceptible narrowing of the eyes.                              PREM                Computer-ji D lock kiya-jaye.      Prem turns to the computer. Music. Lights.                              PREM (CONT'D)                With one hundred and ninety-                seven first class centuries, the                answer is...D. Jack Hobbs!      The audience go wild. Prem's smile is thin.                                                    (CONTINUED)                                                          102.148   CONTINUED: (3)                                          148                              PREM (CONT'D)                Jamal Malik, Crorepati!      The camera goes off Prem for a second. He mimes a      disgusted spit. Then he is back on.                              PREM (CONT'D)                I cannot believe what I am                seeing here, tonight, Ladies and                Gentlemen....So, are you ready                for the final question for two                Crore rupees- twenty million                rupees?                              JAMAL                Not really, but...maybe it is                written, no?                              PREM                Maybe, indeed. Okay, okay. For                twenty million rupees, the final                question on Who Wants to be a                Millionaire?      The lights dim again, the portentous music increases.      Suddenly a klaxon sounds. The audience burst into      nervous laughter and groans. Prem laughs.                              PREM (CONT'D)                Ohhhhh! Just when I thought I                would need a pacemaker fitted,                we're out of time! What a show,                Ladies and Gentlemen, what a                show. Join us tomorrow night to                see if Jamal Malik has made the                biggest mistake of his life or                has just won the biggest prize                in the history of Indian                television....Same place, same                time. You wouldn't dare miss it.                Goodnight!      Applause. The studio lights come up. Prem switches off      his smile as fast as the cameras switch off. Gets up      and pulls out his mobile.149   EXT. JAVED'S BUNGALOW. DAY.                              149      Waving a kitchen knife in on hand, a desperate Jamal      slams through the gates of Javed's bungalow, the      objecting Doorkeeper running along behind. He bangs      open the front door.                              JAMAL                Latika!                                                         103.150    INT. JAVED'S BUNGALOW. DAY.                              150       Stops dead. The place has been stripped of everything.       Not a single thing remains. Jamal runs into another       room. As empty as the first. He stops in his tracks.                               DOOR-KEEPER                 Told you.                               JAMAL                 Where? Where is she?                               DOOR-KEEPER                 Dunno.       He grabs the Door-keeper by the shirt-collar, slams him       up against the wall. Holds the knife against his       throat.                               JAMAL                 Where?                               DOOR-KEEPER                 I don't know! Wouldn't say,                 would they? They had to get out                 fast. The police. Honestly.       Jamal lets go of the Door-keeper. Goes hopelessly to       the window. On the window sill is a phone. He picks it       up. There is a dial tone. Jamal rummages in his trouser       pocket. Gets out the battered card with Salim's details       on. Dials. Salim picks up.                               JAMAL                 Where are you? Where is she?150A   INT. JAVED'S SAFE HOUSE. SALIM'S ROOM. DAY.             150A       Salim is stalking around his room in Javed's new house.       Hold-alls of clothes and possessions lie around the       room. A chest of drawers sits with its drawers open,       still empty.                               SALIM                 Where you'll never find her. Or                 me. You could have joined us,                 you bloody idiot, been one of                 us. You've lost everything now.                 Everything.       Cuts the call off and slings the phone in a drawer.       Takes the gun from his waist, and throws that in too.       Slams the drawer shut with as much force as he can.                                                          104.150B   INT. JAVED'S BUNGALOW. DAY.                           150B                                 JAMAL                 Salim...!       The line goes dead. Jamal slides to the floor...151    INT. SALIM'S APARTMENT. NIGHT.                            151       ...the camera pulls out from Jamal's face revealing       that Jamal is sitting on the floor of Salim's       apartment. In the background can be heard the sound of       the television. Jamal looks at the knife in his hand,       wonders what he might do with it. The sound of Prem's       voice on the tv.                               PREM O/S                 ...if you want a chance to play                 Who Wants to be a Millionaire,                 call now...!       Jamal looks up. Stares at the tv.152    INT. STUDIO. BACKSTAGE. NIGHT.                            152                                PREM                 This way, Jamal, this way. Great                 show, my friend. See you                 tomorrow, huh?       In the half-light, Prem guides him to a stage door.153    EXT. STUDIO. BACKSTAGE. NIGHT.                            153       Jamal steps outside the backstage door. Leans on the       rail and takes a huge breath. Immediately, a blanket is       thrown over his head and two police men bundle him into       the back of a police van. The Director joins Prem at       the back-stage door as the van pulls away, sirens       screaming.                               DIRECTOR                 What's going on?                                 PREM                 He's a cheat.                               DIRECTOR                 This was you? You called them?       Prem shrugs.                               DIRECTOR (CONT'D)                 How d'you know he's cheating?                                                     (CONTINUED)                                                         105.153   CONTINUED:                                             153                                 PREM                   Oh, come on! Of course he is.                   He's a bloody village boy. Even                   when I fed him the wrong answer                   the little shit got it right.      Director stares at him.                                 DIRECTOR                   You gave him an answer?                                 PREM                   Well, I didn't exactly-      The Director walks away shaking his head. In the      doorway, Nita is standing there, watching.                                 PREM (CONT'D)                   Nita?      But she too turns and walks away.154   INT. INSPECTOR'S OFFICE. DAY.                            154                                 INSPECTOR                   It is all bizarrely plausible.                   And yet...                                 JAMAL                   Because I am a slum dog, chi-                   wallah, I am a liar, right?                                 INSPECTOR                   Most of you are.      Srinivas comes hurrying in carrying a file, very      pleased with himself.                                 CONSTABLE SRINIVAS                   Shooting at Pila Street, October                   19th...Maman Hossani....Victim                   pronounced dead at scene.                   Suspects absconded: two males,                   early teens, one female, early                   teen.      The Inspector takes the file. Stares at it. Shakes his      head.                                 INSPECTOR                   But you: you're not a liar,                   Mister Malik, that is for sure.                   You are too truthful.      He turns to Srinivas.                                                      (CONTINUED)                                                              106.154    CONTINUED:                                                 154                                  INSPECTOR (CONT'D)                    Thank you, Constable. All that                    remains is to work out whether                    it was manslaughter or murder.                    Ten years, or life.       The Young Constable sticks his head around the door.                                  YOUNG CONSTABLE                    The Commissioner's here, Sir.       The Inspector sighs. Gets up. Accompanied by Srinivas,       he leaves the room. Jamal sits there. Lets his head       drop. The camera floats from the room, down the dingy       corridor and out through a window...155    EXT. POLICE STATION. DAY.                                  155       ....alighting on a crowd of hundreds of people jostling       to get a view of the building. News crews are setting       up around them. A tv Reporter is doing a piece to       camera.                                  TV REPORTER                    ....behind the walls of this                    police station lies the mystery                    all of India is talking about.                    Did Jamal Malik, an uneducated,                    eighteen year-old boy from the                    slums of Mumbai win one Crore                    rupees by fair means or foul?                    And in the crowds all around me                    there is an even bigger                    question. Will he be back on the                    show tonight to play for twenty                    million rupees...156    OMITTED                                                    156156A   INT. POLICE OFFICE. DAY.                                  156A       The Commissioner is waiting in the outer office.                                  COMMISSIONER OF POLICE                    So? Have you charged him yet?                                  INSPECTOR                    I- progress is being made sir.                                  COMMISSIONER OF POLICE                    Progress? Have you charged him?                                  INSPECTOR                    No, Sir.                                                           (CONTINUED)                                                              107.156A   CONTINUED:                                                156A       The Commissioner dumps a copy of the Times of India       down on the desk. Then the Hindustan Times, the Amar       Ujala and the Afternoon Dispatch thump down after them.       All have photos of Jamal on Who Wants to be a       Millionaire on the front page.                                  COMMISSIONER OF POLICE                    And if that isn't enough for                    you...       He motions the Inspector to come over to the window.       Lifts the blind. The Inspector hurries over. Looks       alarmed.                                   INSPECTOR                    That's-?                                  COMMISSIONER OF POLICE                    - yes, yes! The boy's a bloody                    hero with every beggar and thief                    in the city. We're in danger of                    looking very stupid, here,                    Inspector.                                  INSPECTOR                    Whilst I'm not convinced he                    actually cheated, I have got-       The Inspector brandishes the file.                                  COMMISSIONER OF POLICE                    - Prem Kumar himself- a man of                    great standing and integrity-                    said the kid was a liar and a                    cheat. What more do you need?       The Inspector pauses.                                   INSPECTOR                    A liar.       Then he puts the file behind his back. Srinivas frowns.                                   INSPECTOR (CONT'D)                    Indeed, sir.       Srinivas coughs pointedly. Gets a steely look from the       Inspector. The Commissioner has been staring out of the       window at the crowds. Turns back to them.                                  COMMISIONER OF POLICE                    He's in for fraud, so you charge                    him for fraud. Fast. Or you'll                    find yourself on traffic duty at                    the Gateway of India.                    Understand?                                                           (CONTINUED)                                                         108.156A   CONTINUED: (2)                                       156A                               INSPECTOR                 Yes, sir.       The Commissioner walks out.                               CONSTABLE SRINIVAS                 Sir-?                               INSPECTOR                 Not a word, Srinivas.157    INT. JAVED'S SAFE-HOUSE. SITTING ROOM. NIGHT.            157       A cheek scarred by disfiguring knife scars. Pulling       back we see it is Latika, staring frozen at Jamal on       the television news. A palatial living room. Dealing       cards to Salim, is Javed Khan. A couple of Bar Girls       giggle next to Javed and a couple of his Thugs. Pouring       drinks at a sideboard is Latika. Javed glances up at       the screen, clearly not recognising Jamal on a clip       from Who Wants to be a Millionaire. Salim, too is       staring, wide-eyed at the tv. Javed picks up the       remote, doesn't even notice and switches over to a       music channel. Latika hurries out.                               JAVED                 What about my bloody whisky,                 woman?       But she has already gone. He growls after her.                               JAVED (CONT'D)                 Hey, Salim.       He motions Salim to get him a drink. Javed's mobile       rings as Salim goes over to the sideboard. Shifts a       bottle to the back.                               SALIM                 We're out. I'll just get- Syed.       Salim smiles faintly at the image of Jamal and hurries       out.158    INT . JAVED'S SAFE-HOUSE. SALIM'S ROOM. NIGHT.           158       A drawer opens. Inside is Salim's pistol. And a phone-       the same one he threw in there months ago. Salim stares       at both for a long time. Finally, picks up the gun and       phone.                               SALIM                      (to himself)                 Final answer?       He finds this faintly amusing.                                                        109.159   INT. JAVED'S SAFE-HOUSE. KITCHEN. NIGHT.                 159      Latika sits in the kitchen, staring at the tv, tears      running down her cheeks. A reporter is talking in front      of an enlarged photograph of Jamal. Latika wipes away      the tears quickly as Salim comes in. He locks the door      behind him. Stares at the tv.                              SALIM                That boy. He will never give up.                Never.      He shakes his head.                                 SALIM (CONT'D)                Crazy chutiyÈ.      Salim approaches Latika. She flinches as he walks      towards her. He puts some car keys in front of her.                                 SALIM (CONT'D)                Ja. Go.                                 LATIKA                But-                              SALIM                - just drive. There won't be                another chance. Go.      Latika takes the keys. Hesitates.                              LATIKA                He'll kill you.      Salim smiles, shakes his head.                              SALIM                It is not written.                                 JAVED O/S                Salim!      Salim goes to the back door. Unlocks it. Opens it for      her.                              LATIKA                Salim, I....can't.      Salim points at the television.                              SALIM                You have to. It'll take you two                hours if you drive fast. Here.      He holds out his mobile phone.                              SALIM (CONT'D)                For God's sake, hold on to it.                                                    (CONTINUED)                                                        110.159   CONTINUED:                                            159      Latika takes it. Salim takes hold of both sides of her      head for a moment.                                 SALIM (CONT'D)                   For what I have done, please                   forgive me.      Salim releases her.                                 SALIM (CONT'D)                   Go. Have a good life.      Salim puts his hands together in blessing. She leaves.      Salim shuts the door, locks it. Smiles.160   INT. INSPECTOR'S OFFICE. NIGHT.                          160      Jamal is dozing in the chair. He wakes with a shout.      Srinivas has just thrown a bucket of water in his face.      He unlocks the handcuffs. Jamal looks up at him.      Srinivas shrugs.                                 CONSTABLE SRINIVAS                   You're back on the show.161   INT. BACKSTAGE. NIGHT.                                   161      The audience for Who Wants to be a Millionaire are      standing in line. They are being body-searched by      police. Mobiles are being confiscated and put in bags.162   INT. BACKSTAGE. NIGHT.                                   162      Gaffers make last-minute adjustments to the lights      shining on the empty chairs in the middle of the set.      Camera positions are checked by the Floor Manager.163   INT. POLICE OFFICE. NIGHT.                               163      Srinivas walks Jamal through the police office, past      the Inspector sitting at his desk, his arms behind his      head, pondering. He watches Jamal go and then asks:                                 INSPECTOR OF POLICE                   What happened? To the girl?                   Latika?      Jamal stops.                                 JAMAL                   Who knows?      Jamal walks on. The Inspector watches him all the way.                                                          111.164   INT. POLICE JEEP. NIGHT.                                   164      Jamal sits in the back of the police jeep. It pulls out      of the police station car park into a sea of people all      cheering and shouting at the jeep. Jamal looks      terrified.165   INT. CAR. NIGHT.                                           165      Latika drives through the slums of Mumbai. She hoots      her horn furiously at a cart-driver ambling across the      road.166   INT. POLICE JEEP. NIGHT.                                   166      The jeep stops at the lights and a beggar wanders up,      tapping on the windscreen. The beggar studies Jamal's      face for a second, then starts shouting and pointing at      him.                              BEGGAR                Crorepati! Crorepati!      Other beggars- just like the one Jamal used to be- join      him and start cheering and applauding. The jeep pulls      away.167   OMITTED                                                    167168   EXT. SLUM. NIGHT.                                          168      At the chi stall, everyone gathers around the tv,      watching.169   EXT. ROADSIDE CHI HOUSE. NIGHT.                            169      A rickshaw parks up next to a hundred others. The      Driver leaps out, abandoning the irate business man in      the back and runs to the tv in the cafÈ.170   INT. CALL CENTRE. NIGHT.                                   170      The Manager walks into the aircraft hanger of a      building. Stops. Where is everyone? Then he sees      everyone crowded around the tv in the Recreation Room.      Stalks over.                              MANAGER                Oi! Get back to work.      Then he sees Jamal's face on the tv.                                                    (CONTINUED)                                                        112.170   CONTINUED:                                            170                                 MANAGER (CONT'D)                   The chi-wallah?171   EXT. ROADSIDE SHACKS. NIGHT.                             171      All along the highway, one by one the televisions in a      hundred shacks flick on, silhouetting the family      huddled in front of it.172   INT. STUDIO. BACKSTAGE. NIGHT.                           172      In the half-light, Jamal is being powdered by Nita.                                    NITA                   Good luck.      Prem sneers.                                    TALKBACK V/O                   Two minutes.      She finishes powdering Jamal.                                 PREM                   Hey. Sweetheart. What about me?                   I'm sweating, here.                                    NITA                   You should be.      She dumps the powder compact in his hand.                                 PREM                   So. Tonight. The Calypso Bar.                                 NITA                   Not if you were the only man in                   the world.      She walks off.                                 PREM                        (genuinely puzzled)                   But I am the only man in the                   world.173   EXT. MUMBAI STREET. NIGHT.                               173      The traffic is gridlocked. Latika is pumping the horn.                                 LATIKA                   Come on, come on!      She glances out of the window, sees one of the roadside      shacks with the television on. Gets out of the car and      runs to it.                                                           113.173A   INT. COMMISSIONER'S OFFICE. NIGHT.                     173A       The Commissioner grabs his phone.                               COMMISSIONER OF POLICE                 Get me the Inspector on the                 phone now!173B   INT. INSPECTOR'S OFFICE. NIGHT.                        173B       The Inspector wanders into his office, still deep in       thought. Switches on the television just as the       Millionaire music starts. Sits. The phone rings.174    OMITTED                                                    174175    OMITTED                                                    175176    OMITTED                                                    176177    INT. STUDIO. NIGHT.                                        177       Prem and Jamal walk on-stage. Blinding light. They take       their seats to tumultuous applause.                                PREM                 Welcome back to Who Wants to be                 a Millionaire? I can safely say                 that tonight is the biggest                 night of both of our lives,                 Ladies and Gentlemen. Jamal                 Malik, the Call Centre worker                 from Mumbai has already won one                 Crore rupees, a cool ten                 million. Tonight, he can walk                 away with that in his pocket or                 make the biggest gamble in                 television history and go for                 the final question and a                 staggering twenty million                 rupees! Jamal, are you ready for                 that question?                               JAMAL                 Yes.       The lights dim, the music rumbles. Prem pushes the       button on his computer. Pauses. Gets conversational.                               PREM                 Big reader, are you Jamal? A                 lover of literature?       Nervous laughter from the audience. Jamal just shrugs.                                                        (CONTINUED)                                                         114.177   CONTINUED:                                             177                                 JAMAL                   I can read.      Even more nervous laughter.                                 PREM                   Lucky! In Alexandre Dumas' book,                   The Three Musketeers, two of the                   musketeers are called Athos and                   Porthos. What was the name of                   the third musketeer. Was it A)                   Aramis, B) Cardinal Richelieu,                   C) D'Artagnan, D) Planchet.      An involuntary laugh comes out of Jamal's mouth.178   INT. ROADSIDE SHACK. NIGHT.                              178      In the shack, sitting on an upturned oil drum,      surrounded by puzzled Indians in rags, a slow smile      comes to Latika's face.179   OMITTED                                                  179180   INT. STUDIO. NIGHT.                                      180      Camera on Prem.                                 PREM                   The final question, for twenty                   million rupees: and he's                   smiling. I guess you know the                   answer.                                 JAMAL                   Would you believe it? I don't.      Jamal laughs. There's nothing else to do. The audience      groan.                                 PREM                   You don't? So, you're going to                   take the ten million and walk?                                 JAMAL                   No.                                 PREM                   No?                                 JAMAL                   I'll play.      A gasp from the audience.                                                      (CONTINUED)                                                        115.180   CONTINUED:                                            180                                 PREM                   You just said you don't know the                   answer. I heard that, right? You                   do understand that if you get                   the answer wrong, you lose                   everything? Ten million rupees.                   A fortune, Jamal.      A terrible pause.                                 JAMAL                   I'd like to phone a friend.                                  PREM                   We're going to the wire, Ladies                   and Gentlemen, we are going to                   the wire. The final Life-line.                   Here we go....181   INT. STUDIO. NIGHT.                                      181      Prem presses his computer. Ominous rumble of drums. The      lights dim. A phone can be heard ringing, the amplified      sound echoing around the studio.                                   PREM                   It's ringing.      The phone continues to ring.182   INT. ROADSIDE SHACK. NIGHT.                              182      Latika is staring at the television. Then an electric      current seems to shoot through her and she is running,      dodging the static traffic, street vendors, the odd      cow, heading for her abandoned car. Hooting horns,      shouting drivers. The phone rings on...183   INT. STUDIO. NIGHT.                                      183      And on...                                 PREM                   Doesn't look as if your friend                   is in, Jamal. Who is it?                                 JAMAL                   My brother's number, but-                                 PREM                   - the sort of brother who'd go                   for a walk on the twenty million                   rupee question?                                 JAMAL                   It's the only number I know.                                                           116.184   INT. CAR. NIGHT.                                            184      On the passenger seat of Latika's car, Salim's phone      continues to ring...185   INT. STUDIO. NIGHT.                                         185      ...and ring.                              PREM                You're on your own, Jamal.      Prem looks up at the gallery. The Director shakes his      head, mimes cutting his throat.186   INT. CAR. NIGHT.                                            186      Latika wrestles the door open, grabs the phone.187   INT. STUDIO. NIGHT.                                         187      Prem opens his mouth to speak. Then, out of the      darkness of the studio,                                LATIKA V/O                Hello?      A gasp from the audience.                                LATIKA V/O (CONT'D)                Hello? Jamal?                              PREM                Wow! That's cutting it fine. I'm                guessing this isn't your                brother. This is-                              LATIKA V/O                My name is Latika.      The first real smile of Jamal's adult life.188   EXT. STUDIO. BACKSTAGE. NIGHT.                              188      A small smile spreads across the Inspector's face.                              INSPECTOR                That's why he's on the show.      He picks up his hat and hastens out of the room.                                                         117.189   INT. JAVED'S SAFE-HOUSE. NIGHT.                           189      Javed pulls the Bar Girl from him, stares open-mouthed      at the television.                               JAVED                 What the bloody-?      He pushes the girl off him. Gets to his feet.                                  JAVED (CONT'D)                 Latika! Salim!190   INT. STUDIO/ INT. ROADSIDE SHACK. NIGHT.                  190                               PREM                 Okay! So, Latika, you want to                 hear the question one more time?                 And let's be clear about this.                 Twenty million rupees ride on                 your answer. You have thirty                 seconds. Jamal, please read out                 the question to Latika.                               JAMAL                 Is that really you?                                  LATIKA V/O                 Yes.                               PREM                 The question, Jamal.                               JAMAL                 In Alexandre Dumas' book, The                 Three Musketeers, two of the                 musketeers are called Athos and                 Porthos. What was the name of                 the third musketeer. Was it A)                 Aramis, B) Cardinal Richelieu,                 C) D'Artagnan, D) Planchet.      Silence. The electronic clock ticks loudly.                               PREM                 Fifteen seconds.                                  JAMAL                 Where are you?                                  LATIKA V/O                 I'm- I'm safe.                               PREM                 Ten seconds. So, Latika, what do                 you think?      Silence.                                                      (CONTINUED)                                                           118.190   CONTINUED:                                               190                                 PREM (CONT'D)                   Five, four, three, two, one.                   Time's up! Your answer.                                   LATIKA V/O                   I don't know.      The audience groan.                                   PREM                   Oh...                                 LATIKA V/O                   I've never known.                                 PREM                   You really are on your own, now,                   Jamal. Your answer: for twenty                   million rupees.      Jamal shrugs.                                   JAMAL                   A.                                   PREM                   A. Because?                                 JAMAL                   Just...because.                                 PREM                   Apka final jawab?                                 JAMAL                   Yes. Final answer. A. Aramis.      The lights dim, the music crescendoes. A buzz runs      around the audience. Prem pushes the button on his      computer. Stares hard at Jamal.                                 PREM                   Computer-ji A lock kiya-jaye.                   Jamal Malik, Call Centre                   Assistant from Mumbai, for two                   Crore, twenty million rupees,                   you were asked who the Third                   Musketeer was in the novel by                   Alexandre Dumas. You used your                   final life-line to phone a                   friend. You answered A.                   Aramis.....which is...I have to                   tell you...the correct answer!      Wild applause. Prem jumps up and pulls a bemused Jamal      to his feet, raising his arm in the air. Jamal is      smiling, but disorientated.                                                      (CONTINUED)                                                          119.190   CONTINUED: (2)                                          190                              PREM (CONT'D)                Ladies and Gentlemen, Jamal                Malik, Crorepati! What a night!                We have all been present at the                making of history, Ladies and                Gentlemen! Jamal Malik,                millionaire!                              JAMAL                Latika? Latika?      To ever-increasing roars and applause from the      audience, Prem escorts Jamal off-stage.191   INT. ROADSIDE SHACK. NIGHT.                              191      The line goes dead in Latika's hand. She stares down at      the phone. The bemused family are still eying her like      an alien. She smiles at them and goes out. The traffic      on the road is still grid-locked. She starts walking,      faster and faster. Then she breaks into a run.192   INT. JAVED'S SAFE-HOUSE. BATHROOM. NIGHT.                192      A small tv in the bathroom. Salim smiles.                              JAVED O/S                Salim! Teri ma ki chute! Salim!      Javed is banging on the door. Salim gets up from where      he has been praying. He climbs into the bath which is      full of bank notes and lies down amongst the money. He      reaches across for the pistol and picks it up. Smiles      slightly as Javed smashes down the door, pulls the      trigger and shoots Javed. He falls onto the floor,      dead. But the Thug right behind him shoots Salim in the      chest. He lies back in the bath, the faintest trace of      a smile on his face as he stares at the pictures of      Jamal on the tv.                               SALIM                God is good.      Salim dies.193   INT. STUDIO. BACKSTAGE. NIGHT.                           193      Prem and Jamal are being posed by photographers. A      giant-sized cheque for twenty million rupees is      manhandled onto the floor by the Floor Manager and an      Assistant amidst much cheering and laughter. Jamal is      snapped next to a scowling Prem. The Inspector appears      next to them.                              INSPECTOR                Just one more thing left, Sir.                                                       (CONTINUED)                                                               120.193   CONTINUED:                                                   193      Prem smiles.                                   PREM                   Finally, huh?                                 INSPECTOR                   If you'd like to come with me.      He takes Jamal by the arm, leads him backstage.194   INT/EXT. POLICE JEEP. NIGHT.                                 194      Jamal sits silent in the back seat next to the      Inspector as he drives through the traffic. Then:                                 JAMAL                   Truth alone triumphs? I should                   have known better.      The Inspector stops the jeep. Unlocks the handcuffs.      Holds the back door open for Jamal.                                 INSPECTOR                   Thought you might need a lift,                   Sir.      He nods towards the outside world. Dazed, Jamal gets      out.195   EXT. CHHATRAPATI SHIVAJI TERMINUS. NIGHT.                    195      Jamal finds himself    gazing up     at VT station. Slowly, he      wanders inside. The    Inspector     takes the contents of the      file and tears them    slowly in     half. Lets the pieces      fall on the ground.    Gets back     in the jeep and drives      away.196   OMITTED                                                      196197   INT. CHHATRAPATI SHIVAJI TERMINUS. NIGHT.                    197      VT station is awash with the evening commute. Thousands      of people crowd the platforms, jostling the only still      figure who is sitting at the base of the statue of      Frederick Stevens. Jamal. Then there is a gap in the      wall of bodies that swirls around him. Jamal gets to      his feet.                                   JAMAL                   Latika?      Then she is gone in the melee again. Only to reappear.                                                           (CONTINUED)                                                        121.197   CONTINUED:                                            197                                 LATIKA                   Jamal?      Jamal forces himself through the people. Nothing will      stop him. Latika too is shoving them aside until they      are face-to-face. They stop, look at each other, hold      each other's hands tight. The whole station seems      frozen, the only movement from a thousand bodies being      Jamal and Latika.                                  LATIKA (CONT'D)                   I thought we would meet again                   only in death.      He shakes his head.                                 JAMAL                   I knew you'd be watching.      Jamal puts his hand on Latika's chin, turns her head      gently so that she is facing him. He sees the knife      scars on her cheek for the first time. She tries to      turn her head, but he won't let her. Runs his hand      slowly down the scar. Rests his hand there.                                 JAMAL (CONT'D)                   This is our destiny.      He gently kisses the scarred cheek.                                 JAMAL (CONT'D)                   This is our destiny.      The camera pulls back and back, rising above the      station. The music starts and the frozen station comes      alive, two thousand kurta-clad men and saree-clad women      dancing in and out and on top of the trains, an unbound      celebration of hope and humanity that has at its      centre, Jamal and Latika.                                                      THE END
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+                              SMASHED                             Written by                    James Ponsoldt & Susan Burke                                                                September 24th, 2011                                                   OVER BLACK:    CLINKING GLASSES and other assorted BAR SOUNDS.                        KARAOKE ANNOUNCER (V.O.)              Let's give a hand to Rodney!    Scattered APPLAUSE and LAUGHTER.                        KARAOKE ANNOUNCER (V.O.)              Next up, we've got a little lady              named...KATE!    Joyful APPLAUSE.                        BAR VOICES (V.O.)              Yeah, Kate!    THE OPENING MUZAK STRAINS OF A "KARAOKE SONG TO BE    DETERMINED"                                                      FADE IN:1   INT. KARAOKE BAR - NIGHT                                     1    CLOSE ON: KATE HANNAH -- late-20s, pretty and wholesome and,     *    oh yeah, piss drunk. She stands on a tiny    KARAOKE STAGE    in the far corner of a half-empty dive bar.    Kate holds a MICROPHONE and dances as she SINGS a bad karaoke    version of "SONG TO BE DETERMINED." What Kate lacks in talent    she more than makes up for with charm and enthusiasm.    At a table near the stage is --    -- CHARLIE HANNAH: Kate's husband, late-20's, scruffy but      *    handsome, also pretty damn drunk. He enthusiastically claps    and points to Kate, making up a cheering section along with --    -- OWEN HANNAH -- Charlie's younger brother, early-20's --       *    who sings along with --    -- the small but energetic CROWD.    Kate begins to ramble between verses -- and gleefully points    to Charlie and Owen. For the moment, this drunk girl is the    Queen of Karaoke.    LATER                                                         2.Kate finishes the song and drunkenly tumbles off the stage tojoin Charlie and Owen.                    CHARLIE          That was so good, baby!                       KATE          Bullshit.                    CHARLIE          I'm serious. You sing like an angel          -- a drunk angel.Owen and Kate LAUGH.                    KATE          If you were writing about my          performance for your blog, what          would you say?                    CHARLIE          I'd say that, uh...my wife is the          sexiest, most amazing woman alive.                    KATE          That would be such a shitty article          -- nobody would read it.Kate and Charlie laugh and kiss -- and then Kate glances atOwen and makes a puppy dog face.                    KATE (CONT'D)              (to Owen)          Aw...we need to find you a lady,          Owen.                    OWEN          Yeah -- I've been trying to flirt          with the bartender, but...I can't          tell.Owen motions to the ---- FEMALE BARTENDER, early 20's.                                *                    KATE          She's hot! What can't you tell?                    OWEN          She looks like she could kick my          ass. No way would she go for a guy          like me.                                                         3.                    KATE          You're being a little girl -- just          go talk to her.                    OWEN              (clearly shy)          I don't know...forget about it.                    KATE              (not going to take "no"               for an answer)          I'll take point -- follow me.Kate stumbles to the bar. Charlie and Owen follow. Kate putsher arms around Owen and gets the attention of the bartender.                     KATE (CONT'D)          I want to buy a gimlet for me and a          double-shot of whiskey for my          brother-in-law `cause he's had a          hard week.                    FEMALE BARTENDER          `Kay.The bartender quickly pours the drinks.                    FEMALE BARTENDER (CONT'D)          That's fifteen.                    KATE          Wait -- don't you wanna know what          happened to him?The bartender rolls her eyes and checks around the bar to seeif there are other customers. It's pretty dead -- so shelistens.                    FEMALE BARTENDER              (unenthused)          What happened?                    KATE          He just got back from England --          because he went there for a girl! A          preppy, bitchy girl. Diane          Court...that was her name. He loved          her so much that he went with her          because she had a fellowship or          something. He gave up being a          kickboxer. A kickboxer!                               *              (sad)          And she dumped him.                                                         4.The bartender sizes up Owen. The trio waits with anticipationto hear her response, which is --                    FEMALE BARTENDER              (to Owen)          You kickbox?                    OWEN              (caught in the headlights)          Yeah.And...that's all Owen's got.                    KATE              (jumping in)          And he teaches kids at the          kickboxing studio. Oh, they're so          cute!The bartender glances back to Owen.                     OWEN              (finally)          A lot of `em don't have parents --          so...it's kinda more than just a          teacher/student thing.              (beat)          I know it sounds silly, but I feel          responsible for them -- like...              (emotional)          ...I could be their parent.Kate slides down the bar to Charlie.                    KATE              (hushed)          I think I got him laid.                       CHARLIE          Yeah?                    KATE          She seems totally game.                    CHARLIE          Sure she just didn't want to get          into your pants?Kate rolls her eyes.                    KATE          I think I'm done for the night.                                                5.                    CHARLIE          Yeah?Owen wanders over, dejected.                         *                    OWEN          She's seen "Say Anything."                      CHARLIE          Eh, well...what're you gonna do,          huh?               (beat)          Wanna drive us home?                    KATE          No -- he needs to keep working it!         *          You guys stay here.                     CHARLIE          I don't want to watch my brother          not score. I want to go to bed with          you and...              (whispered into Kate's               ear)          ...you know.                    KATE          I'll be home when you get there. We          can "you know" then.                    OWEN              (to Charlie)          Yeah, man -- you don't have a job          to wake up for in the morning or          anything.                    CHARLIE          Writing is a job! Not having to          report to an office only makes work          harder.              (to Kate)          Baby, you drank a lot. I think Owen          should take us home -- you're too          drunk to drive.                     KATE          So's Owen.              (suddenly focused)          I'm not that drunk. Besides, you          know I focus when I drive -- it          sobers me up.                    CHARLIE          Tell that to the cops.                                                             6.    Kate kisses Charlie and hugs Owen.                        KATE                  (to Charlie)              I love you, baby. I'll be waiting              for you in a nice warm bed. You              have exactly one mission: get your              brother laid -- and don't talk to              any other women.    Beat.                        CHARLIE              That sounds like two missions.                        KATE              No, it's just one.                        CHARLIE                  (to Owen)              It kinda sounded like two, right?                        OWEN                  (nodding)              It did.    Kate grins and slowly backs away towards the door.                        KATE                  (really fast)              GoodbyeIloveyouboth!2   EXT. KARAOKE BAR - PARKING LOT - NIGHT                        2   *    Kate stumbles out of the bar and hears a GROAN. She glances    over and sees:    A drunk woman -- FREDA, 30s -- sitting on the curb. She MOANS    again.    Kate glances around the parking lot. Nobody else but her and    Freda.                          KATE              You okay?                        FREDA                  (quick)              Yeah. Are you?                         KATE                  (taken aback)              Um...sure.                                                             7.                        FREDA              Good.                  (whispers)              Hey, I'm not really okay.                        KATE              Oh...                        FREDA              My bitch sister just took off and              left me here so she could hook up              with some asshole. Now what am I              supposed to do? Huh? I don't have a              car here.                        KATE              I guess I could...                         FREDA              You'll give me a ride? Oh my god!              Thank you!    Freda gets up quickly -- and almost falls over.                   *                        KATE              I was gonna say "call you a cab,"              `cause, you know -- I don't even              know you.                         FREDA              It's not far. Please? Pretty              please...?    Kate looks dismayed. Not sure what to do.                                                      CUT TO:3   INT./EXT. SUBARU (MOVING) - NIGHT                             3   *    The car passes through Chinatown on its way downtown.             *    Kate drives with Freda in the passenger seat. Freda glances    down at the floor and notices a FLASK.                            *                        FREDA              You know, you shouldn't drink and              drive.                        KATE              I wasn't --                        FREDA              Just kidding. Can I have a sip?                                                            8.Kate's speechless.                    FREDA (CONT'D)          I'm really thirsty.                    KATE          It's, uh...whiskey.                    FREDA          Fuck yeah, it's whiskey! I love          whiskey. You're the real thing,          huh? A hardcore drinking bitch like          me!Freda takes a swig from Kate's flask.                    KATE          I don't know. No.                    FREDA          Can I smoke in your car?                    KATE              (slightly annoyed)          Okay, fine -- go ahead. Can you          just roll down the window?                    FREDA          Of course -- I'm not uncivilized.Freda takes out a ---- CRACK PIPE and lights it, deeply inhaling crack smoke.                    KATE              (in disbelief)          WHOA!Kate immediately pulls the car over.                    KATE (CONT'D)          Not what I thought you meant.                    FREDA          Want a hit?                    KATE          No, I...is that pot?                    FREDA              (as though it's a               ridiculous question)          Of course not! What do I look like?          A stoner?                    (MORE)                                                            9.                     FREDA (CONT'D)              (beat)          It's crack.                    KATE          Oh, shit! No...no thank you.                    FREDA          C'mon -- it's good crack.                    KATE          I don't, um...I've never smoked          crack.                    FREDA              (surprised)          Really? This stuff is the truth --          and it'll sober you up.                    KATE          Uh...I think you should go.                    FREDA          I'm not getting out in the middle          of nowhere. Do you know what could          happen to me all alone out here at                     *          night?                     KATE          I don't know -- people might offer          you crack?                    FREDA          Seriously? It's not a big deal --          just take a little hit.Kate and Freda stare at each other. A stand-off.                       KATE          I said no.                    FREDA          One hit won't hurt you. It'll sober          you up.Kate glances at the pipe, which Freda wiggles in front ofher.                    FREDA (CONT'D)              (high-pitched cartoon               voice)          Smoke me!Kate LAUGHS.                                                               10.                        KATE              One puff. Then we are both going              home.    Freda nods. Long beat.                        KATE (CONT'D)              Fine.    Freda puts the pipe into Kate's lips and lights it. Kate    sucks in crack smoke. Her eyelids flutter.                        FREDA              You've got money, right?4   EXT. DOWNTOWN - STREET - NIGHT                                   4    Near some TENTS, CARDBOARD BOXES, and SHOPPING CARTS --    -- Kate smokes crack with FREDA and TWO OLDER MEN. They pass    around TWO PIPES.    LATER    Freda is passed out on a SLEEPING BAG on the sidewalk.    Kate is animatedly telling a story to the two guys -- who're    still smoking crack.                        KATE                  (mile-a-minute fast)              ...'cause I feel like I understand              what it's like to be homeless, ya              know? I mean, if you didn't know              me, if we hadn't connected tonight,              you might think: "There's some              upper-middle-class, NPR listening,              self-congratulatory, insulated,              lazy liberal bitch. Probably never              had to worry about anything." But              that's not true at all! I grew up              poor, man. Single mother.              McDonald's used to have one day a              week where they sold 29 cent              hamburgers, and another day where              they had 39 cent cheeseburgers. My              mom and me would go there and she'd              get twenty burgers -- that was the              limit, probably set up for folks              just like us -- and then she'd put              `em in the freezer and we'd              microwave `em for dinner throughout              the week.                        (MORE)                                                             11.                         KATE (CONT'D)               I was kinda overweight until high               school, to be perfectly honest.               Eating used to be my thing. When I               started drinking, though, I kinda               stopped eating so much.                   (back on track)               But anyway, the point is: You and               me, we're not so different.     The two guys aren't paying much attention to Kate. They're     more concerned with their crack pipe.5    EXT. DOWNTOWN - SIDEWALK - DAWN                               5     Kate is asleep on the curb. She looks awful. Suddenly, Kate's     eyes widen. She looks around at her surroundings, confused,     then jumps to her feet.6    EXT. DOWNTOWN - STREETS - DAWN                                6     Kate runs through the streets.6A   EXT. DOWNTOWN - STREETS - DAWN                               6A   *     We TRACK along with Kate as she dashes past various               *     buildings.                                                        *6B   EXT. DOWNTOWN - STREET - DAWN                                6B   *     We stare down a long, empty street, the downtown SKYSCRAPERS      *     towering in the distance. From out of nowhere --                  *     -- Kate appears at the end of the street and sprints towards      *     the camera.                                                       *     A LEGEND APPEARS OVER THE IMAGE OF KATE RUNNING:                         "SMASHED"7    INT./EXT. SUBARU (MOVING) - DAWN                              7     Kate drives -- a paranoid expression on her face and her     hands tightly gripping the steering wheel. She glances down     at --     -- her CELL PHONE in the passenger seat. 21 missed calls.                                                            12.    She passes various sites on her way from downtown to Highland     *    Park.                                                             *8   EXT. KATE & CHARLIE'S HOUSE - MORNING                         8    Kate slowly pulls into the driveway of a small, cute house.9   INT. KATE & CHARLIE'S HOUSE - LIVING ROOM/HALLWAY/KITCHEN - 9     *    MORNING    Kate walks into the kitchen to find --    -- Charlie asleep at the kitchen table. CELL PHONE next to    his head. Empty BEER BOTTLES litter the table.    Kate tip-toes across the kitchen.    Charlie quickly jerks up.                        CHARLIE                  (confused)              Huh?!                        KATE              Shhh...it's okay, baby. Go back to              sleep.                        CHARLIE              What happened? I came home and you              were gone and I waited and waited.                        KATE              It's a long story.                        CHARLIE              I was worried. I kept calling you.                        KATE              I ended up...    Charlie SNIFFS Kate.                        CHARLIE              You smell funny. What do you smell              like?                        KATE              I fell asleep in my car. Near the              bar. I was too drunk to drive.                                                             13.                         CHARLIE               So, why didn't you come back or               call me?                          KATE               Charlie --                    (beat)               -- I'm fine.                         CHARLIE               Well, maybe I'm not. I worry, baby.               I love you -- and you know how you               get sometimes.                         KATE               I love you too. But I'm home. It's               over. I gotta get to work.                         CHARLIE               I can't be worried about you all               the time.     Kate rubs Charlie's hair and kisses his forehead.                          KATE               Don't worry so much. I'm fine.                   (beat)               C'mon -- let me get you to bed.                         CHARLIE               I'm up now -- how `bout I make us               bacon and egg sandwiches?     Kate smiles.                         CHARLIE (CONT'D)                   (knows he's got her)               Magic words.10   INT. KATE & CHARLIE'S HOUSE - BATHROOM - MORNING          10     Kate takes a shower -- while she drinks a BEER.                *     Gets dressed.     Puts on make-up.11   INT. KATE & CHARLIE'S HOUSE - KITCHEN - MORNING           11     Kate walks into the kitchen, ready to go. Charlie is at the     stove, cooking bacon and eggs. He hands Kate a MUG OF COFFEE     and gestures to the table -- where there's a CHECK.                                                              14.                         CHARLIE               Check for your mom's on the table.                         KATE               Thanks, baby.     Kate takes a sip of coffee.                         KATE (CONT'D)               Why does the coffee taste so much               better when you make it?                         CHARLIE               Because I make it with love -- and               bacon.     Kate LAUGHS and kisses Charlie.12   INT./EXT. SUBARU (MOVING) - DAY                              12   *     Kate takes a right on a STREET and then pulls into the            *     PARKING LOT AT AN ELEMENTARY SCHOOL     She's about to get out, but then notices...     ...the FLASK on the floor.     A FEW MOMENTS LATER     Kate chugs what's left in the flask.     ACROSS THE PARKING LOT                                            *     MR. DAVIES -- the assistant principal, early-40's, slightly       *     nerdy but not bad looking, watches --                             *     -- Kate drink in her car.                                         *     CHILDREN pass by in the distance.                                 *     Mr. Davies takes a beat, but instead of saying anything he        *     walks away through the parking lot.                               *     Kate doesn't notice she's been seen.                              *13   OMITTED                                                      13   *                                                             15.14   INT. ELEMENTARY SCHOOL - CLASSROOM - DAY                  14     Kate stands next to a CHALKBOARD in front of a class of THIRD     GRADERS. She's really animated -- doing her "game show     hostess" schtick.     On the chalkboard are the letters: "AN"                         KATE                   (to the class)               Now, if I add a "C," what word do I               have?     A STUDENT raises her hand.                         KATE (CONT'D)               Yes, Hillary?                                         *                           HILLARY                                   *               Can?                         KATE               That's correct! Can. You've won an               all-expenses paid trip to the               blackboard, Hillary!                                  *     Hillary hesitates. She looks embarrassed.                       *                         KATE (CONT'D)               C'mon...there's a washer-dryer               combo in it for you.     Hillary shuffles up to the board and writes "CAN."              *                         KATE (CONT'D)               Great job, Hillary -- let's give                      *               her a round of applause!     The class APPLAUDS.     Hillary smiles and goes back to her seat.                       *                         KATE (CONT'D)               Can anyone use "can" in a sentence?     A student -- ANGELA -- raises her hand.                           KATE (CONT'D)               Yes?                         ANGELA               "Hurry up in there -- I gotta use               the can!"                                                        16.The students GIGGLE.                    KATE              (quickly moving on)          Wonderful, Angela. You get a Camaro          with flames painted on the hood.The students CHEER.                    KATE (CONT'D)          Now --              (to the class)          -- what's another word I could make          by adding a letter to "an"?Nobody raises their hand.                       KATE (CONT'D)          C'mon...Finally, a student in the back -- RAMON -- raises his hand.                    KATE (CONT'D)          Yes -- Ramon?                       RAMON          P.                    KATE          P...okay, what word would that make          if I added a "P"?                       RAMON          Um...pan?                    KATE          Pan! That's right. Ramon          Martinez...COME ON DOWN!Ramon walks up and begins to write "PAN."                    KATE (CONT'D)          Wow! Just look at that excellent          penman --Kate stops suddenly and raises her hand to her mouth. Shequickly runs behind her desk, leans over, and discretely ---- VOMITS on the floor!Ramon -- who's just inches from the pool of vomit -- lookshorrified.Kate glances up from behind her desk to see --                                                                17.     -- the kids all make grossed-out faces and say things like --                         KIDS               EW! GRODY! GROSS! YUCK! IT SMELLS               LIKE CHEESE! SLOPPY JOE! GRANDPA!               SHRIMP! BACON!     Embarrassed, Kate quickly gets TISSUES from her desk and     begins cleaning up the mess.                         KATE                   (to the class)               I'm so sorry you had to see that.     HILLARY stands up.                                                *                         HILLARY                                       *               Mrs. Hannah -- are you pregnant?                          KATE               What?                         HILLARY                                       *               My mommy threw up when she was               pregnant with my little sister. Are               you pregnant?     Some of the kids begin WHISPERING (saying things like "Ooh!"     "She's gonna have a baby.").                          RAMON               Are you?     Kate seems flustered and says --                          KATE               Yes.15   INT. ELEMENTARY SCHOOL - PRINCIPAL'S OFFICE - DAY            15     Kate sits across a desk from --     -- PRINCIPAL BARNES: female, early 50's, stern, scattered,        *     and clearly a softy at heart, she wears a pair of GLASSES         *     around her neck.                                                  *                         PRINCIPAL BARNES               Vice Principal Davies will be               looking after your students for the               rest of the day -- so you don't               need to worry about that.                                                        18.                     KATE          Oh, that's really good to know.          I'll have to thank him.              (beat)          I just feel awful for getting sick          in front of my students.                     PRINCIPAL BARNES          Oh, please -- they're troopers. I'm          sure they've seen plenty worse.              (beat)          So -- how long have you been          pregnant?                    KATE          Um...it's the first trimester.                    PRINCIPAL BARNES          Well, it's very exciting. You must          be thrilled.                       KATE              (nods)          Uh-huh.                    PRINCIPAL BARNES          Can I ask a...personal question?                       KATE          Okay.                     PRINCIPAL BARNES          How's it...              (beat)          ...going for you?                       KATE          Huh?                    PRINCIPAL BARNES          The pregnancy, I mean.Kate's not sure how to respond.                    PRINCIPAL BARNES (CONT'D)          Having kids wasn't in the cards for          me. I came close, but...Principal Barnes drifts off into thought for a moment, thencatches herself and quickly shifts gears.                                                        19.                    PRINCIPAL BARNES (CONT'D)          ...I mean, it's like I've got a          couple hundred kids here --              (forces a laugh)          -- but...I don't fool myself. It's          not the same.                    KATE              (considers her reply)          Well...it's hard to explain.                    PRINCIPAL BARNES          Of course...                    KATE          I wouldn't call it a burden, but --                    PRINCIPAL BARNES          It's a responsibility.Beat.                    KATE          Yeah. Exactly.                     PRINCIPAL BARNES              (nods)          You're so lucky.              (beat)          Can I...touch it?                    KATE          Um, I don't...okay -- but it sleeps          a lot.                       PRINCIPAL BARNES          Of course.                    KATE          Like...a lot.Principal Barnes gets up and kneels next to Kate. She placesher hand on Kate's belly and closes her eyes.                    PRINCIPAL BARNES              (whispers)          Hello in there. Can you hear me?          You're a tiny miracle. Did you know          that? A miracle.Principal Barnes looks up at Kate and smiles -- with tears inher eyes.                                                                20.16   INT. ELEMENTARY SCHOOL - HALLWAY - DAY                       16     Kate walks down the hall and comes to the door of her     classroom. Through the glass she sees --     -- Mr. Davies. He notices Kate and smiles (the concerned     smile you give someone right after they've publicly     embarrassed themselves).     Kate mouths the words --                          KATE                   (silent)               Thank you.     -- and gestures "come here."     Mr. Davies gestures   to the class that he'll be right back --     before he walks out   to talk to Kate. He's got a slightly     nervous demeanor --   somewhere between "I never became     comfortable talking   to women" and Asperger's.                         MR. DAVIES               Is everything, um...okay, Mrs.               Hannah?                         KATE               Yeah, well...I'm really embarrassed               -- but I feel a lot better. And I               just wanted to say thank you.     Mr. Davies glances down the hall.                         MR. DAVIES               Look -- I'm not a fool.                   (whispered)               I know you were drinking this               morning.     Kate looks shocked.                            MR. DAVIES (CONT'D)               I saw you.                         KATE                   (taken aback)               Oh, no, I...                         MR. DAVIES               Drinking when you're pregnant is               really dangerous.                                                             21.                         KATE               I know that! Oh, God, I...                   (long beat)               ...listen -- I'm not actually               pregnant.                         MR. DAVIES               What?                         KATE               I'm just really hung over. The kids               started asking me questions after I               vomited and I panicked.                         MR. DAVIES               Oh. That's...not good.                         KATE               I know. I...please don't say               anything.     Mr. Davies looks torn, unsure how to respond.                         MR. DAVIES               Just...go home. Get some sleep.     Before Kate can say a word, Mr. Davies heads back into the     classroom.17   INT. ELEMENTARY SCHOOL - BATHROOM - DAY                      17     Kate has her face fully in the sink while water runs over it     and --     -- TWO LITTLE GIRLS curiously watch.18   INT. NEIGHBORHOOD BAR - DAY                                  18   *     Kate and Charlie play POOL while splitting a PITCHER OF BEER.     It's a bit early to be drinking, but hey -- why not?                         KATE               I had such a crappy morning.                         CHARLIE               Me too. I spent like three hours at               the post office trying to buy               stamps and stuff.     Kate takes a long sip of beer.                                                        22.                    KATE          I told my class I was pregnant.Charlie looks up at Kate with a beaming smile. He leans overand grabs her hand.                    CHARLIE              (excited and sort of               confused)          Oh, baby, that's --                    KATE          I'm not. Pregnant. So don't worry.                      CHARLIE                (deflated)          Oh.              (beat)          `Cause it would be great news -- if          it was true.              (beat)          `Course then I'd have to drink your          beer...                    KATE          Well, it was a lie. I just lied to          my class. After barfing in front of          them.                    CHARLIE              (cringes)          Ooh...                    KATE          Yeah, that's what they said.              (long beat)          Listen...I can't do this anymore.A look of complete terror and confusion passes over Charlie'sface.                    CHARLIE          What do you mean?                    KATE          I dunno. I think I might...drink          too much.Charlie LAUGHS.                    CHARLIE          Oh. That. Yeah...you kinda do.Charlie swigs his beer.                                      23.          KATEI know I do -- I'm a fuckingmess...          CHARLIEBaby -- that's not true. You'rebeautiful. And brilliant. And Ilove you. I wouldn't be married toa "mess."          KATEI left work after puking in front           *of little kids. And...now I'm               *drinking in the middle of the day.          *           CHARLIEWell, those things happensometimes.    (beat)I mean, they shouldn't happen allthe time, but...it's the price of,uh, truly living life.          KATEIsn't that like a slogan for somekind of beer or toothpaste orsomething...?           CHARLIENo. And it's true -- you and me,we're not just some boring couplein the suburbs who don't sleep witheach other and have nothing to talkabout except whatever TV showthey're currently into.    (beat)We, like...still know how to party.           KATEYeah...    (beat)...I think I need to slow down.    (beat)And I might need help.          CHARLIEI'll help you.          KATEI know, but...I might need morehelp.          CHARLIEYeah? Like a therapist?                                                24.                    KATE          I don't know -- I just get stupid          when I'm drunk, and I'm drunk a          lot.                    CHARLIE          We just like to have a good time.                     KATE          Yeah, well...              (beat)          ...you've gotta promise not to tell          this to anyone.                     CHARLIE              (curious)          I promise.                    KATE          That includes Owen.                       CHARLIE          Of course.                    KATE          Well, last night I kinda, um...              (hushed)          ...smoked some crack.                       CHARLIE          WHAT?!Some bar patrons glance at Kate and Charlie.                    KATE          After I left the bar, I, uh, picked          up this drunk girl and...I don't          really remember what came next, but          I ended up smoking crack with her.                     CHARLIE              (confused)          Uh...how's that even happen?              (beat)          You give someone a ride and she          rewards you with crack?!                    KATE          Well...she seemed desperate. She          really needed a ride home.                       CHARLIE          Where?                                                        25.                    KATE          Downtown. I think she maybe lives          in...a tent?                    CHARLIE          What?                    KATE          Well...she might be homeless. Or a          prostitute. Or just some lost          sorority girl.              (thinks about it)          To be honest, I'm not sure...                    CHARLIE              (disgusted)          Oh, my god...you smoked crack with          some random stranger? Did          you...share a pipe?Kate doesn't answer. She doesn't need to.                     CHARLIE (CONT'D)          Ughhh...              (beat)          Just playing Devil's advocate, but          maybe it's the crack-smoking you          need help with and not the          drinking.Kate gives Charlie a dirty look.                    CHARLIE (CONT'D)          I'm just saying.                     KATE          The drinking led to the crack-          smoking. The drinking leads to          everything stupid I do.              (beat)          I mean...can you even remember the          last time we had sober sex?Charlie begins to answer, but then...goes blank. He tries toremember. And can't.                     CHARLIE          We'll chill out with the booze for          a while. We can just be wine-with-                   *          dinner people.              (beat)          How's that sound?                                                             26.19   EXT. STREET - DAY                                            19     Kate and Charlie joyfully ride BICYCLES home from the bar.                         CHARLIE               Maybe you should go to, uh... one               of those meetings. They have `em               over there.     Charlie gestures to a     BUILDING (could be a church or different type of building     where AA meets).     Kate LAUGHS.                         KATE               Yeah, right.                         CHARLIE               Remember when I was shit-faced and               took that Q & A pamphlet from               there?                         KATE                   (laughs)               Holy shit! And we answered "yes" to               like every question and at the end               it was like, "If you answered `yes'               to any of these you're an               alcoholic!"                         CHARLIE               Yeah...                   (nostalgic)               ...that was fun, wasn't it?     Kate smiles and nods.                         CHARLIE (CONT'D)               Hey --     Charlie gestures to the street.                         CHARLIE (CONT'D)               -- look out for that crack!     Kate looks down but sees nothing.                         KATE               What crack?                                                             27.                         CHARLIE               Oh, sorry -- I thought there was a               crack there...                   (grins)               ...but you must have smoked it last               night.     Kate rolls her eyes -- and then jokingly swerves towards     Charlie, trying to knock him over. He LAUGHS and speeds away.     Kate chases after him.20   INT. KATE & CHARLIE'S HOUSE - LIVING ROOM - LATER           20     While an old 70's R & B song plays on a RECORD PLAYER, which     is next to STACKS AND STACKS OF RECORDS --     -- Kate and Charlie drunkenly slow dance, drink WINE, and        *     LAUGH at an AA PAMPHLET.                         CHARLIE               "Have you missed days of work or               school because of drinking?"                         KATE               Absolutely.                         CHARLIE               "Do you envy people who can drink               without getting into trouble?"                         KATE               Envy isn't exactly the right               word...                         CHARLIE               "Do you have `blackouts'?"                         KATE               Yeah, but who doesn't?                         CHARLIE               "Has your drinking caused trouble               at home?"                         KATE               No! We're great.                         CHARLIE               Yeah. Definitely. But we still had               a lot of "yes" answers.                   (refers to pamphlet)               Yep...we still qualify as drunks.                                                              28.                         KATE               I'm gonna go!                         CHARLIE                   (disbelief)               Yeah, right.                         KATE               No -- I'm serious! I'm gonna go.               What time is it?                         CHARLIE               Eight.     Kate gets up.                         KATE               See ya.                         CHARLIE                   (doesn't believe her)               Uh-huh...     Kate takes a big sip of wine.                         KATE                   (quite serious)               This is me: going.     Charlie LAUGHS -- he doesn't buy it.                         CHARLIE               You've been boozing.                         KATE               So? You should come too!     Charlie LAUGHS.                          CHARLIE               Yeah, right. You can't go to AA               wasted. It's like a rule or               something.                         KATE               Oh, yeah? Watch me!21   INT. MEETING HALL - NIGHT                                  21     An AA meeting is in progress.     An OLDER WOMAN stands at the podium sharing her story.                                                        29.The room is filled with ---- different groups of PEOPLE, all of whom sit with their"own group," like a high school lunch room -- but the peopleare adults. There are distinct groups of ---- "PRETTY WOMEN" ---- "OBSESSIVELY TATTOOED PEOPLE" ---- "BUSINESSMEN" ---- and "HIPSTERS."As Kate -- who's slightly confused -- enters the building, ahip looking man -- DONOVAN, 30's -- stops her, extending hishand.                    DONOVAN              (whispers)          Hey, I'm Donovan. Welcome.                    KATE          Hi Donovan -- I'm Kate!Donovan "shushes" Kate.                    DONOVAN          You must be a newcomer, huh?                       KATE          A what?                    DONOVAN              (whispers)          Um, I'm not really allowed to talk          to new chicks, but there are lots          of women here who can help you out.                     KATE              (confused)          Okay.              (beat)          Do I just sit wherever?                    DONOVAN          The meeting already started so just          try to find a spot anywhere.Kate drunkenly stumbles to the back of the room, sayingthings like "sorry" and "I like that jacket" as she takes aseat next to two very CLEAN CUT WOMEN.                                                        30.As the woman at the podium continues to speak, the women nextto Kate quietly try to welcome her.                    LILY                                        *          Are you new?                    KATE          To this? Yeah. Why's everyone          whispering?                    SHANA                                       *          It's hard, huh?                     KATE          I guess.                    LILY                                        *          Everything's going to be fine.          You're home.Kate doesn't respond -- just looks around with the fearanyone would have if they felt they had just accidentallyjoined Jim Jones' church.LATERThe room is COMPLETELY FULL -- with over ONE-HUNDRED PEOPLE.The tattooed man stands at the podium.                    TATTOO MAN          Not to embarrass anyone, but so          that we may get to know you better -          - is there anybody here in their          first thirty days of recovery?Several PEOPLE scattered throughout the room stand up andintroduce themselves as alcoholics.Kate stands up.                    KATE          I'm Kate. I...I'm...I guess I'm a          little drunk right now.People burst into LAUGHTER.                    KATE (CONT'D)          Do you want me to talk about my          childhood or something?                                                        31.                    TATTOO MAN              (painfully polite)          You know, Kate, we actually ask          that you don't share if you've had                  *          a drink or any mind-altering          substance in the past 24 hours.                    KATE              (not listening)          I can -- I kinda hate my dad and          don't talk to him. And my mom...oh,          man...I don't even know where to          start. She's, like, stuck in the          80's and kind of a metalhead. Her          last boyfriend called himself a          drummer but really just gave drum          lessons to little kids and --                    TATTOO MAN              (tries to shut Kate up)          Welcome, Kate.              (forces a smile)          It gets better.                    KATE              (not picking up the hint)          I like drinking is the thing. I          mean, I don't want to say you guys          are wrong or anything...Kate nervously LAUGHS.Some of the PEOPLE in the crowd look embarrassed for Kate.                    TATTOO MAN          Thank you -- we're all here to          help. We do have to move on,          though.The woman next to Kate gets her to sit back down.                    LILY                                      *          Don't worry, sweetie -- there'll be          plenty of time to tell your story.A young woman -- AMBER, 22 -- approaches the podium.                    AMBER          Hey, I'm Amber, alcoholic. I can't          really believe that it's been five          years. I mean, my life was a mess          back then. Now I'm back in school,          I have an amazing man, I love my          parents -- it's crazy...                                                        32.                    KATE              (way too loud)          How old is that girl?! Can she even          go to bars?              (to Amber)          How old are you, Amber?                    SHANA                                      *          Be respectful.Kate seems surprised at being chastised.                    AMBER              (gaining intensity)          Um...okay? It's because I did the          work. I got down on my knees and          prayed every night! I went to a          meeting everyday!                      KATE          Everyday?                    AMBER          It wasn't easy, but I've gotta say,          I owe everything to AA. Well, AA --          and God, of course!The whole room APPLAUDS.LATEREveryone is standing, holding hands, and saying the SERENITYPRAYER.                    EVERYONE          God grant me the serenity to accept          the things I cannot change --          courage to change the things I can -          - and wisdom to know the          difference.                      KATE          AMEN!Everyone turns and looks at Kate.                    KATE (CONT'D)              (embarrassed)          Okay...I think I'm good.Kate quickly leaves the meeting as clumsily as she arrived.                                                             33.22   EXT. KATE & CHARLIE'S HOUSE - BACKYARD - NIGHT               22     Kate chugs frozen Margarita straight from a PITCHER.                         KATE               So much for that.     Kate and Charlie stand in their backyard, which is criss-     crossed by WHITE CHRISTMAS LIGHTS and has some old LAWN     FURNITURE.     They drunkenly play CROQUET.                                      *                         CHARLIE               Was it a bunch of old biker guys?                         KATE               No, it was...I don't know.               Enthusiastic people. A lot of               really ENTHUSIASTIC PEOPLE!                         CHARLIE               Yuck -- I hate enthusiasm. I'm               sorry it wasn't cool.     Charlie thinks for a moment.                          CHARLIE (CONT'D)               I can't really imagine never               drinking. I guess I don't have to,               though --                   (beat)               -- you're the one with the problem.     Kate nods in agreement.                                           *                         CHARLIE (CONT'D)               Hey -- I love you. I don't want you               to have to drink.                          KATE               I don't have to drink.                   (beat)               I just really like to drink.                            *                         CHARLIE                   (sincere)               Good -- `cause you're my favorite               person to drink with in the whole               damn world.     Charlie leans in to kiss Kate. They make out for a moment,     and then Kate...                                                             34.     ...BITES Charlie's lip. Charlie pulls back, shocked. Kate     grins mischievously.                         CHARLIE (CONT'D)               Oh, no you didn't!     Charlie lunges at Kate, who dodges him and LAUGHS. Charlie     dives and playfully tackles Kate. They begin to wrestle in     the grass -- it's cute and loving but perhaps a little too     intense.23   INT. KATE & CHARLIE'S HOUSE - BEDROOM - NIGHT                23     Kate and Charlie are making out on the bed. Kate starts to     unbutton Charlie's shirt. As it turns out, Charlie's     extremely drunk (and it's apparent in his movements and     voice).                         CHARLIE               Are you trying to have some sex?     Kate removes Charlie's pants and takes off her clothing. She     climbs on top of him and --     -- they start having sloppy, drunk sex.     After a few beats, Kate notices that Charlie isn't moving.     She looks down to discover that --     -- he's passed out.     Kate pauses for a moment...then continues to ride her     unconscious husband.24   INT. KATE & CHARLIE'S HOUSE - KITCHEN - NIGHT                24     Kate drinks what's left in the TEQUILA BOTTLE as she     drunkenly searches the fridge, counter, and cupboard for more     booze. She finds a few sips here and there at the bottom of a     couple BEER BOTTLES -- but she seems frustrated that there     isn't more alcohol in the house.     A FEW MOMENTS LATER     Kate puts on her slippers, robe and --25   EXT. STREET - NIGHT                                          25     Kate drunkenly rides a BICYCLE down the street (still in her     robe and slippers).                                                                35.26   INT. CONVENIENCE STORE - NIGHT                               26     Kate tries to open the LOCKED glass fridge where the BEER is     kept. After several attempts, she gives up and grabs TWO     BOTTLES OF WINE from a shelf.     Kate sets the bottles on the counter.                             *     The CLERK -- a tired looking man in his 30's -- looks at Kate     with pity.                         CLERK               You know I can't sell you this,               Kate.     An ELDERLY MAN -- shopping for frozen food -- glances over at     Kate.                                                             *                         KATE               What? You can't tell I'm 21? Come               on -- I'm in here all the time. You               know me.                         CLERK               Yes, I do, Kate. And I know you're               old enough -- but it's too late.     The clerk holds up his WATCH (which reads 2:45).                         KATE               C'mon -- we can just pretend it's               before two...     Kate reaches down and tries to rewind the clerk's watch.                         CLERK                   (not amused)               Stop it.                         KATE               It's just a little wine. I'm not               driving or anything.                         CLERK               I don't think so. Sorry.     Kate gives him a big, flirty smile.                         KATE               Come on, dude -- I'll let you have               a sip if you want.     Kate tries to do a "sexy" dance.                                                        36.                    CLERK          It's the law. I can't sell alcohol          after 2 a.m. You know that.                    KATE          Why don't you give it to me, then?          That wouldn't hurt anything. A gift          -- because we're friends.                    CLERK          I could lose my job.Kate doesn't have anything to say back -- so she glances atthe Elderly Man in the frozen food section.                   *                    KATE              (to the elderly man; meant               to be a whisper, but way               too loud)          You distract him, okay?!The elderly man puts up his hands, not wanting any part ofit.                    CLERK          Look -- why don't you get a bottle          of water or a coffee or something          instead?                    KATE          Water or coffee? Fuck you. What --          just cause I won't suck your dick?                    CLERK              (had enough)          Oh my god. Okay, enough -- you          gotta go.Kate doesn't budge.                    CLERK (CONT'D)          Seriously, Kate. You should go.                    KATE          Fuck you! Fuck you! Fuck you!Kate is hysterical and her eyes are starting to fill withtears.                     KATE (CONT'D)          This is bullshit!              (beat)          I have to pee.                                                             37.     Kate runs down the aisle and tries to open the bathroom door -     - but it's locked. She hides from view, and then squats down     and begins to pull up her robe.                         CLERK               What the fuck are you doing?!                         KATE                   (caught)               I didn't mean to! Sometimes I just               have to pee really, really bad.                         *                         CLERK                   (frustrated)               Get outta here NOW!                         KATE                   (pleads)               C'mon...can't we drink together?     The clerk clearly isn't going to budge. Kate nods, resigned,     and then...     ...grabs a BOTTLE OF WINE and dashes out the door.27   EXT. L.A. RIVER - DAWN                                       27     Kate is passed out on the concrete bank of the Los Angeles     River. The empty bottle of (screw top) wine is next to her.     Kate's bicycle lays in some weeds nearby.     A bird SQUAWKS.     Kate slowly wakes up, confused, and in a zombie-like state     she gets up and trudges home, wheeling along her bike.28   INT. KATE & CHARLIE'S HOUSE - BEDROOM - MORNING              28     Kate is awakened by the deafeningly loud ALARM CLOCK and the     sound of a news radio ANNOUNCER. She looks at the clock and     realizes that --     -- it's 7:30.     She jumps out of bed in a panic.                          KATE               Charlie!     Kate pauses when she realizes her back is wet. She looks down     at the bed, which is --                                                        38.-- COMPLETELY SOAKED.                     KATE (CONT'D)              (mumbled)          Not again.Half-asleep, Charlie rolls over onto the pee-soaked part ofthe bed.                    CHARLIE          Come back to bed, baby.                    KATE          I have to go to work. You snoozed          my alarm again. I'm gonna be late.                    CHARLIE          Well, you peed on me so I guess                     *          we're even.                                         *                    KATE          I have a weak bladder.                    CHARLIE          Well...I can't go to work like          this.                    KATE          You work from our kitchen.                     CHARLIE          Yeah, but changing the sheets is my          real job.              (beat)          Hey -- where were you last night?                    KATE          Huh?                     CHARLIE          I woke up at like 4 a.m. and you          were gone.                    KATE          Where would I go at 4 a.m. alone?          You must've been dreaming.Kate then glances down and notices ---- that HER FEET ARE COVERED IN DIRT AND GRASS.She pauses, slightly alarmed, but continues getting ready.                                                             39.29   INT. ELEMENTARY SCHOOL - BATHROOM - STALL - DAY           29     Kate's on her knees, puking into a toilet.     A FEW MOMENTS LATER     Kate exits the stall to find --     -- Principal Barnes standing by the door.                           KATE               I...                         PRINCIPAL BARNES               I can only imagine the chemistry               experiment that's going on --     Barnes points at Kate's stomach.                         PRINCIPAL BARNES (CONT'D)                   (smiles)               -- in there.30   INT. ELEMENTARY SCHOOL - CLASSROOM - DAY                  30     Kate sits on a SMALL CHAIR reading a CHILDREN'S BOOK to her     class --     -- who're sitting Indian style in a semi-circle.                         RAMON               Are you gonna have a boy or a girl?                         KATE               I don't know yet.                         HILLARY                                    *               When will you know?                         KATE               Not until summertime. You guys will               be on vacation.                         RAMON               If you have a boy what will you               name him?                         KATE               Maybe...Woodrow Wilson?                         ANGELA               That's a name for a man -- not a               baby!                                                          40.     The children LAUGH.     Kate LAUGHS too -- but looks a little freaked out.31   INT. ELEMENTARY SCHOOL - TEACHERS' LOUNGE - DAY        31     Kate eats her PACKED LUNCH with Mr. Davies.                         KATE               Thanks again for covering for me.                         MR. DAVIES               I can't promise to cover for you               every time you get pregnant.                         KATE               There won't be another time.                         MR. DAVIES               I genuinely hope not. Look -- I               didn't tell Barnes, but if anything               like this happens again I'll have               to.     Mr. Davies smiles -- a sweet, genuine smile.                         MR. DAVIES (CONT'D)               Okay...Kate?                         KATE                   (nodding)               Okay...                   (not sure what to say)               ...David?     Beat.                           MR. DAVIES               Dave.     Kate tries to hold back a smile.                         MR. DAVIES (CONT'D)               I know -- Dave Davies...yup...hah-               hah. Anyway, uh, is everything okay               with you?                          KATE               I don't know.                   (beat)               Um...no?                          (MORE)                                                           41.                    KATE (CONT'D)          I puked in front of my class and          then told everyone I'm pregnant.          That's not really okay, huh?                    MR. DAVIES          No, I don't think so.                    KATE          I went to AA last night.                    MR. DAVIES              (slightly uncomfortable)          Oh, yeah? What'd you think of it?                    KATE          It was awful. I kept getting          shushed.                    MR. DAVIES          I don't normally tell people I work          with this... but --Mr. Davies takes a COIN that says "Nine Years" out of hispocket and shows it to Kate.                    MR. DAVIES (CONT'D)          -- I'm a bit of an expert when it          comes to these things.                       KATE                 (shocked)          You?                     MR. DAVIES          Yeah, me. I've lived a strange one.                    *          I'm nine years sober, AA and NA.              (beat)          I used to drink cocaine.              (off Kate's shocked               expression)          It's really cheap in the          Philippines.Mr. Davies takes a beat to think about what he's saying.                     MR. DAVIES (CONT'D)          Listen, Kate. I know meetings can          be weird. Especially at first, but          if you want to...you never need to          feel like you have to...but the          ones I go to are pretty small. Nice          little groups.              (beat)          I'd be happy to take you.                                                        42.                    KATE          Maybe that would be good...I don't          know.                    MR. DAVIES          No pressure, okay. That shit saved          my life, though.Principal Barnes walks in.                    MR. DAVIES (CONT'D)              (switching gears)          Well, I'm scheduled to observe Ms.          Carol's art class. They're making          macaroni art, so...I'm pretty          stoked.Mr. Davies gets up to leave -- discretely winking at Kate ashe exits.Principal Barnes watches Mr. Davies leave, a puzzledexpression on her face.                     PRINCIPAL BARNES              (to Kate)          Mrs. Hannah -- I've got something          for you...Principal Barnes opens the MINI FRIDGE to reveal a huge jugof ORANGE JUICE.                    PRINCIPAL BARNES (CONT'D)          Folic Acid! You need it now like          never before.                       KATE              (beat)          Thanks.                     PRINCIPAL BARNES          I bet your mother is over the moon,          huh? Probably planning you a baby          shower...?                    KATE          Oh, well...she and I aren't that          close.                    PRINCIPAL BARNES          Oh, I'm sorry. Well, listen -- any          motherly thing you need -- I'm                       *          here, okay?Barnes hands Kate a large glass of juice.                                                             43.                         PRINCIPAL BARNES (CONT'D)               Now drink up -- that baby in               there's thirsty!                          KATE               Okay.                   (takes a sip of orange                     juice)               And...you're kinda the only person               at school -- besides Mr. Davies --               who knows I'm pregnant. Could               you...?                         PRINCIPAL BARNES               My lips are --     Principal Barnes mimes "zipping" her lips.32   EXT./INT. KATE & CHARLIE'S HOUSE - LIVING ROOM/KITCHEN - DAY                                                               32   *     Kate walks in the front door to see    --                      *     -- Charlie working on his computer. A BEER next to him. An     old record PLAYS on the record player.                         KATE               Hey...                         CHARLIE               Howdy.     Kate collapses on the couch next to Charlie and kisses him.                         KATE               How was your day? And what's that               smell?                         CHARLIE               Eh -- alright. Couldn't find               oatmeal so I made ketchup soup.                         KATE                   (cringes)               Charlie! You need to eat.                          CHARLIE               What? It's tasty.                   (beat)               So...I'm going to see that band                      *               from Iceland with the triplets play                  *               tonight. Want to come with me and               Owen to check it out?                                                44.                    KATE          Oh, that sounds fun, but...                    CHARLIE          C'mon -- Owen can't pick up girls          without you.                    KATE          I don't know...this guy I work with          -- Mr. Davies --                    CHARLIE          The Vice Principal?                    KATE          Yeah -- turns out he's sober and          invited me to a meeting.                    CHARLIE              (surprised)          Wow, that's...uh, cool.Charlie goes silent.                       KATE          What?                    CHARLIE          Nothing -- I just...I didn't think          you really loved the meeting you          went to yesterday. In fact, it          sounded like you hated it. So I'm          kinda surprised you're going back.                    KATE          Well...this is a smaller meeting.          It might be different. I dunno -- I          think I want to give it a fair          shot.Charlie nods.                     KATE (CONT'D)          Besides -- I was hammered last          night.              (beat)          Go on and have fun out drinking          with Owen tonight. Seriously. I'm          just gonna, you know, try something         *          different...Charlie pulls Kate close to him.                                                               45.                         CHARLIE               I'm here for you, okay? Even though               I drink -- I could slow down if you               need me to.                   (forces a smile)               I'm sure I could.33   EXT. CHURCH - AA MEETING ROOM - NIGHT                       33     Kate approaches a small church.     Mr. Davies waits outside.35   INT. CHURCH - AA MEETING ROOM - NIGHT - A FEW MOMENTS LATER                                                               35     Mr. Davies walks Kate into a medium sized room where --     -- about TEN PEOPLE are getting coffee, talking, and setting     CHAIRS IN A CIRCLE.     Kate looks around the room, scoping out the people, who're     very different from the crowd at the previous night's meeting     --     -- several BLUE COLLAR MEN --     -- JENNY: 40-ish, with dark hair and a confident, sort of        *     tough demeanor --     -- a few OLDER PEOPLE, and a YOUNG COUPLE.     Mr. Davies directs Kate over to a table with COFFEE and     COOKIES.                         MR. DAVIES               This is a little more my speed. No               one here is the slightest bit hip.                         KATE               Does everybody just...kinda, you               know -- talk here?                         MR. DAVIES               Pretty much. Someone leads -- tells               their story. And then everyone else               shares -- talks.                         KATE               So since you're taking me here does               that make you my sponsor?                                                         46.                      MR. DAVIES            No -- I don't think I could do                     *            that.                (off Kate's expression)            `Cause, um...                (nervously searches)            ...well, it could get weird. But                   *            I'll help you find one if you want.                (gestures to the seats)            We should sit down.Kate looks around the room at everyone taking their seats.                      KATE                (takes a deep breath; to                 Mr. Davies)            I can't believe I'm really here.                      MR. DAVIES            It gets better. Weirder, maybe --            but better.LATERThe meeting has begun and everyone sits in a circle ofchairs.Jenny is midway through her speech.                            *                       JENNY                                   *            ...all I knew about taking care of            myself was fucking people over and            lying to get by. I had no idea how            to even look for a normal job or            pay my bills on time -- or pay my            fucking bills at all.                (beat)            Now I pay my bills online.The group CHUCKLES.                      JENNY (CONT'D)                           *            And I found a love in cooking. I've                *            got my own catering business now.                  *            And...maybe I just replaced alcohol            with chocolate chips and            cigarettes, but still...it's been            years since I woke up in a park --            in a different state.LAUGHTER.Kate leans in towards Mr. Davies and whispers --                                                        47.                       KATE             I kinda like her.                       MR. DAVIES             Sponsor potential?Kate nods.                       MR. DAVIES (CONT'D)             Get her number at break.                       KATE             I feel like you're my wingman.Kate grins at Mr. Davies, who smiles shyly and glances away.LATERAn older man -- ARLO -- stands and announces.                       ARLO                                    *             Arlo, Alcoholic. There'll now be a             ten minute break. Smoke em' if you             got em.As some of the PEOPLE go outside ---- Kate walks over to Jenny, who's getting a cup of coffee.    *                       KATE             Hey, I liked your speech.                        JENNY                                  *             Thanks. All that dumb shit happened             so I'm glad that now it's at least             entertaining.                 (beat)             What's your name?                       KATE             Kate. This is my first meeting.             Or... first meeting where I'm not             wasted.Jenny LAUGHS.                                                  *                       JENNY                                   *             Oh, yeah -- I remember doing some             of that.                       KATE             I don't really know how this stuff             works.                       (MORE)                                                        48.                    KATE (CONT'D)          But...could I get your number? I          mean, I may not need it, but...                    JENNY                                     *          Yeah, of course. I can help explain          it to you -- and also, we can just          talk.                     KATE          Okay. Yeah.              (beat)          You've been sober since you were          24?Jenny nods.                                                   *                    KATE (CONT'D)          That seems really young.                     JENNY                                    *          I didn't have much of a choice -- I          crashed my car into a nursing home.              (beat)          I think the break is just about          over. This meeting is the kind          where everyone can share. Sharing          always helps me, so...if it's not          too weird -- try introducing          yourself and telling the group          what's going on.LATEREveryone is sitting down and sharing. The woman (TINA) next   *to Kate is finishing up.                    TINA                                      *          ...anyway, that's where I'm at          today. Thanks for listening.Everyone looks at Kate.                    KATE          Okay, um...hello. I'm Kate and...              (long beat)          ...I'm an alcoholic?Kate nervously LAUGHS.                      GROUP          Hi, Kate.                                                                49.                          KATE               Sorry. I don't mean to laugh --               it's just saying those words...                   (beat)               ...I think I'm an alcoholic, but I               don't really know. I drink -- a               lot. I've always drank. Everyone I               know drinks a lot. I never really               thought I had a problem -- lately               though it seems like maybe I do. I               just want to be able to drink a               beer without it turning into twenty               -- or wetting my bed.                   (beat)               It seems like every time I drink               something awful happens. All the               shit that I used to laugh off isn't               really funny anymore. The dumb               drunk stuff has gone from               embarrassing to scary.                   (beat)               I'm kinda...scared.     Kate stops. Looks around self-consciously.                                                  CUT TO BLACK.                                                       FADE IN:     A SERIES OF short, quick scenes:35   INT. ELEMENTARY SCHOOL - CLASSROOM - DAY                      35     Kate sits at her desk grading papers. Kate's hand has an     uncontrollable tremble as she tries to carefully make red     checks on students' papers. Self-consciously, she steadies         *     her right hand with her left.                                                  FADE TO BLACK.                                                       FADE IN:36   INT. SUBARU (MOVING) - DAY                                    36     Kate shovels chocolate chips from the bag into her mouth     while driving.                                                  FADE TO BLACK.                                                       FADE IN:                                                               50.37   INT. CHURCH - AA MEETING ROOM - NIGHT                          37     Kate is at a meeting -- talking to Jenny.                           *                                                 FADE TO BLACK.                                                         FADE IN:38   EXT. KATE & CHARLIE'S HOUSE - BACKYARD - NIGHT                 38     While Kate and Charlie eat dinner, Kate drinks WATER but     focuses on Charlie's glass of WINE and the slow, careful sips     he takes.                                                 FADE TO BLACK.                                                         FADE IN:39   INT. KATE & CHARLIE'S HOUSE - LIVING ROOM - NIGHT              39     Charlie and Owen play video games and LAUGH while Kate tries     to concentrate on a book -- but is clearly distracted by how     loud the guys are.                                                 FADE TO BLACK.                                                         FADE IN:40   INT. KATE & CHARLIE'S HOUSE - BEDROOM - NIGHT                  40     Charlie sleeps on the other side of the bed as Kate writes in     a notebook. Kate stops writing. She stares at Charlie as he     sleeps.                                                 FADE TO BLACK.                                                         FADE IN:41   EXT. DOWNTOWN - DAY                                            41     Kate rides her bicycle hard. It might even be...exercise?                                                 FADE TO BLACK.                         MR. DAVIES (V.O.)               How about ninety days?                                                         FADE IN:                                                                51.42   INT. CHURCH - AA MEETING ROOM - NIGHT                        42     EVERYONE is dressed differently, some people have different     hair-cuts, etc.     Mr. Davies stands up, holding a PLASTIC CASE.                         MR. DAVIES               Is there anyone here who has ninety               days of continuous sobriety?     Kate stands up -- she looks way more "together" than she did     earlier. She gives Mr. Davies a hug -- and he hands her a "90     DAY CHIP."                         KATE               I'm Kate. I'm an alcoholic.     Everyone CLAPS.                           EVERYONE               Hi, Kate.     Kate sits down next to Jenny and gives her a hug.                 *                         JENNY                                         *                   (whispered)               Congratulations.43   EXT. JENNY'S CATERING BUSINESS - NIGHT                       43   *     Kate -- who eats a piece of CAKE -- sits on a patio with          *     Jenny, Mr. Davies, and several other PEOPLE from AA.              *                         JENNY                                         *               I'm really proud of you, Kate.                          KATE               I kinda can't believe it's been               ninety days.                   (beat)               The longest I've gone since high               school without drinking was, like,               a week.                         MR. DAVIES               My first three months were such               hell. I think I'm only sober today               because I just never want to go               through that again.                                                52.                    KATE          It's weird -- in after-school          specials the getting-sober part was          only like a minute of the movie and          suddenly...daddy's all okay.Several people LAUGH.                    KATE (CONT'D)          But it's so fucking hard and weird          and suddenly I have all these other          problems now that drinking isn't          the problem.                       JENNY                          *          Like what?                                  *                    KATE          Everything else. Work, my non-          existent relationship with my          mom...                    JENNY                             *          When was the last time you saw her?                    KATE              (tries to remember)          A year, at least.                    JENNY                             *          Well...maybe it's time.                     KATE          Maybe.              (beat)          And then there's my marriage. I          mean, Charlie's great. Really          great, he's supportive, especially          at first. It's strange, though. I          feel like alcohol was the thing          that connected us and now that I          don't drink we lead these two very          different lives.              (beat)          We haven't slept together in          forever...              (laughs)          I haven't pissed myself in awhile,          though. So that's good.                    JENNY                             *          It takes time.Kate gives an exasperated look.                                                     53.                          JENNY (CONT'D)                    *                   (half-stern cheerleader                    tone)               Keep working the steps.                   (glances at her watch)               Let's grab coffee tomorrow, okay? I               should actually run you home now               and come back. I need to start               locking up.                         KATE               I could stick around and help               you...                         MR. DAVIES                   (to Kate)               I could take you home.                   (off Kate's reaction)               If you want.44   INT./EXT. MR. DAVIES' CAR - NIGHT                 44   *     Mr. Davies pulls up to Kate's house.                         MR. DAVIES               My ex-wife -- she doesn't drink --               well, not like us, but as soon as I               got sober I started to change and               she just...didn't.                         KATE               I didn't know you were married.     Beat.                         MR. DAVIES               Yeah, I was married once --                   (laughs)               -- in my other life. But I               shouldn't be talking to you about               this stuff.                         KATE               Why?                         MR. DAVIES               I don't know...                         KATE               Because you're a dude we can't               talk? I don't get that "men stick               with men, women stick with women"               stuff.                                                54.                    MR. DAVIES          Well, if you were sitting where I'm          sitting you'd understand.                    KATE          Are you trying to tell me that you          have a crush on me?                    MR. DAVIES          What am I, one of your students?            *          Crush?                    KATE          Yeah, crush.                     MR. DAVIES              (long beat)          I kind of do, yes. I have a crush          on you. I know that's wrong --          you're newly sober and married and          I shouldn't be thinking about you          like that. But yeah, I should put          that out on the table.              (beat)          Honesty.                    KATE          It's okay. I think you're a really          good guy.                    MR. DAVIES          Oh, great -- good guys are the          nerds that carry the pretty girls'          books.                    KATE          Oh, c'mon...                    MR. DAVIES          I think you're beautiful.Kate smiles bashfully.                    MR. DAVIES (CONT'D)          And smart, and sexy, and cool...Mr. Davies moves slightly closer to Kate.                    MR. DAVIES (CONT'D)          And I know it's wrong, but -- in          meetings I stare at your lips and          your legs and all I can think about          is fucking your moist pussy.                                                             55.     Kate jumps back, aghast.                         MR. DAVIES (CONT'D)                   (off Kate's horrified                    expression)               Oh, crap! I don't know why I just               said that. I'm really, really               sorry.                         KATE               WHAT THE FUCK?                         MR. DAVIES                   (genuinely sorry)               Oh, that was a bad thing to say,               right?                           KATE               YES.                         MR. DAVIES               I'm so, so sorry. I'm just               confused, and I don't know how to               talk to women --                          KATE               Jesus -- you can't just go around               telling people you want to fuck               their "moist pussy."                   (beat)               Who even says that?                         MR. DAVIES               I'm really sorry.     Kate gets out of the car, slams the door shut, then leans in     to say --                          KATE               I have to go inside my house --               where I live with my husband.                   (beat)               Thanks for your creepy version of               honesty.45   INT. KATE & CHARLIE'S HOUSE - BEDROOM - NIGHT             45     Kate lies in bed and appears slightly bored as --     -- Charlie is under the covers, going down on Kate.                           KATE               You okay?                                                        56.                    CHARLIE              (from under the covers)          Yep -- I'm just pacing myself. The          tortoise wins the race.                    KATE          Actually, I'm not really in the          mood.                    CHARLIE                                   *          But I wanted to give you a 90 days          gift.                    KATE          It's okay -- the 90 days was the          gift.                    CHARLIE          Sorry if I was doing a bad job --          I'm kinda hammered.                    KATE          It's alright. Charlie...              (long beat)          ...I miss you.                    CHARLIE          Huh?                                                *Charlie comes up from under the covers -- and looks a bit     *tipsy.                                                        *                    KATE          I mean...I don't know. I don't          really feel connected to you          anymore.                    CHARLIE          Did I do something?                    KATE          No.              (beat)          We don't talk that much.                    CHARLIE          We used to talk, but now you come          home and go to meetings and by the          time you get back I'm --                    KATE          Kinda drunk.                                                   57.                       CHARLIE             I was gonna say "tired."Silence.                       KATE             There's some stuff I need to do             this weekend. I think I'm gonna go             up to Lake Arrowhead.                       CHARLIE             Really? To see your mom?Kate nods.                       CHARLIE (CONT'D)             Why?                       KATE                 (defensive)             Do I need a reason?                        CHARLIE             With your mom? Kinda.                 (beat)             Is this the "amends" step?                       KATE             No.                       CHARLIE             Well then why're you going?                        KATE                 (beat)             We send her checks. But we never             actually see her. Sometimes it             feels like I'm paying her to not be             in my life. I thought it would be             nice to visit her.                 (beat)             And Jenny thinks it would be a good         *             idea.Charlie LAUGHS.                       KATE (CONT'D)             What?                       CHARLIE             I don't know...I mean, do you do             everything your sponsor tells you             to do?                                                        58.                          KATE               No. Do you think I'm brainwashed or               something?                          CHARLIE               I dunno...it's been a long damn               time since you've seen your mom.                   (beat)               And you didn't listen when I               suggested we visit her.                          KATE                   (suddenly gets that it's                    an ego thing for Charlie)               Oh, baby -- I listen to you. This               just...it felt like the right time.                   (beat)               With all the changes I'm going               through.                         CHARLIE               Well, can I come with you? It'll be               like a little vacation.                         KATE               Um...I think I should go alone.                         CHARLIE               Come on, if you do that you'll just               get depressed. If I go we can try               to make it fun. Go hiking and               stuff.                          KATE               Well, if you go, don't take this               the wrong way but -- I'd like it if               maybe you didn't drink.                   (beat)               Just while we're there.                         CHARLIE                   (smiles)               I think I can handle not drinking               for like a day.     Kate smiles and snuggles up into Charlie's arms.46   INT. SUBARU (MOVING) - DAY                           46     Kate and Charlie drive and listen to MUSIC.47   OMITTED                                              47   *                                                              59.47A   OMITTED                                                  47A      *48    INT./EXT. SUBARU - LAKE ARROWHEAD - RESIDENTIAL STREET - DAY                                                                48      Kate and Charlie are parked in front of a --      -- HOUSE. Small. A little run-down. Sort of a vague ski cabin      look. There's some dirty lawn furniture in the front yard as      well as a DOZEN LAWN-GNOMES.                          CHARLIE                Ah...the lawn-gnomes. I missed                those guys.      Kate playfully punches Charlie in the shoulder.                          CHARLIE (CONT'D)                    (waving to a lawn-gnome)                Hi, Holger!      Kate LAUGHS. Long beat.                          CHARLIE (CONT'D)                So...we gonna go in?      Charlie glances at Kate and reads the anxiety on her face.49    EXT. KATE'S MOTHER'S HOME - DAY                              49      Kate and Charlie walk to the front door.                          KATE                    (unsettled)                I should've brought something.                          CHARLIE                You're fine.                          KATE                Something, you know? Flowers, or...                          CHARLIE                Wine?                          KATE                No. Definitely not that.      They get to the door. Charlie looks at Kate -- who seems like      she'd be okay if they ran back to the car.                                                        60.                    KATE (CONT'D)              (conceding)          Go on...Charlie KNOCKS.                      FEMALE VOICE (O.S.)          S'minute!                     KATE              (under her breath)          Oh, God...The door opens, revealing ---- ROCHELLE: late-50's, wears an old shredded heavy metalband T-shirt and tight ripped-up jeans, looks like she enjoysan afternoon drink or three.                    ROCHELLE              (surprised)          Katie!Rochelle wraps her arms around Kate.                    ROCHELLE (CONT'D)          What're you doing here?                    KATE          I left you a message, mom.                    ROCHELLE          Oh, you know I don't check that          thing.              (notices Charlie; slightly               flirty)          Hello there, young man.                    CHARLIE          Hi, Ms. Foster.                     ROCHELLE          Well, then...              (beat)          ...what a lovely surprise -- you          two came to visit. Hell has frozen          over.              (laughs)          Just kidding. Come inside -- let me          fix you both some drinks.                    KATE          Just water for me.                                                             61.     Rochelle LAUGHS as she leads the way. Kate glances at Charlie     -- she already seems slightly annoyed.50   INT. KATE'S MOTHER'S HOME - LIVING ROOM - DAY             50     Kate and Charlie sit down.     The place is a MESS. Magazines and junkmail everywhere. Too     much furniture thrown together in a chaotic manner. The walls     are covered with framed HEAVY METAL BAND POSTERS -- and there     are ASHTRAYS everywhere, filled to the brim with cigarette     butts.                         ROCHELLE (O.S.)               ...you wouldn't believe how much               the neighborhood's changed! After               Mr. Baker passed away and the kids               put Mrs. Baker in a home, the               people that moved in, oof!     Rochelle walks in holding a tray with THREE GIN AND TONICS.                         ROCHELLE (CONT'D)               It's like they don't even               understand the concept of birth               control in their country!     Rochelle hands Charlie a glass and then goes to Kate and puts     a drink on the table in front of her.                          ROCHELLE (CONT'D)                   (confides)               If you ask me, I think it's a meth               house.                   (beat)               They've always got those little               five year old twins "playing" in               the yard, but I'm pretty sure               they're the lookouts.                         KATE               That's pretty wild, mom.                         ROCHELLE               Right?                   (notices that Kate hasn't                    touched her drink)               What's wrong, honey? Think I forgot               how to mix `em?                         KATE               I told you I just wanted water.                                                           62.                    ROCHELLE          Oh, please! Where I'm from, "no"          means "yes."              (to Charlie)          Am I right or am I right?                     CHARLIE              (forcing it)          Huh-huh...                     KATE          That's actually why I wanted to          come up, mom.              (beat)          I stopped drinking.Rochelle LAUGHS -- then realizes Kate and Charlie aren'tjoking.                     ROCHELLE              (quickly serious)          Are you telling me I'm going to be          a grandma?Rochelle tears up with joy.                    ROCHELLE (CONT'D)          Oh -- that's so exciting! I'm gonna          be a grandma!              (to Charlie)          And you know that "no drinking when          you're pregnant" thing is just a          myth. I drank plenty when I was          pregnant with Kate -- and look how          she turned out!Beat.                    KATE          I'm not pregnant, mom.                    ROCHELLE          Oh.                    KATE          I just needed a break. I'm sober          for the first time in years.                    ROCHELLE          Well...              (dismissive)          ...we'll see how long that lasts.                                                63.                    KATE          It's been a while, actually.                    CHARLIE              (chimes in)          90 days.                     ROCHELLE              (to Kate)          You've sure picked the right          partner --              (gestures to Charlie)          -- for this little mission.                    CHARLIE              (defensive)          Hey -- I'm not drinking          either...today.                     KATE              (to Charlie; slightly               annoyed)          Drink if you want to, Charlie.              (to Rochelle)          Charlie didn't stop drinking. I'm          doing it by myself.              (beat)          And...I started going to 12-step          meetings.Rochelle looks slightly disgusted.                     ROCHELLE          Ah...yes. Assholes Anonymous.              (to Charlie)          Katie's father went to those          meetings a few years after we got          married. Dried up. Left me. You can          see how well that worked out for          me...              (Rochelle gestures to her                living room)          ...I raised his daughter in this          PALACE while he's somewhere in          Florida with his shiny new wife and          kids.              (beat)          Bastard.              (long beat; to Charlie)          You better be careful -- they          change.Kate and Charlie exchange a glance.                                                               64.                         KATE               I thought you'd be happy for me,               mom.                         ROCHELLE               Oh...I'm sorry -- I'm not being a               good hostess, am I?     Rochelle gets up, takes the drink away from Kate, and chugs     it.                         ROCHELLE (CONT'D)               I'll microwave you your favorite.     A FEW MOMENTS LATER     Charlie, Kate, and Rochelle watch a REALITY TV SHOW -- while     eating...     ...MCDONALDS CHEESEBURGERS.                                      *     Rochelle rests her head on Kate's shoulder.                         ROCHELLE (CONT'D)               I'm sorry if I acted like a bitch.                         KATE               It's okay, mom. I know you can't               help it.51   EXT. LAKE ARROWHEAD - SANTA'S VILLAGE - DAY                 51     Kate and Charlie wander around Santa's Village --     -- an abandoned Christmas-themed amusement park (with giant     ginger bread houses, plastic Christmas trees, etc.) in the     middle of the woods. Creepy and nostalgic at the same time.     Looks like the set of a Christmas horror film.     Kate holds Charlie's hand as she leads him around.                         KATE               This place shut down a decade ago               and then there was a fire and now               it's basically abandoned.     Charlie seems totally impressed by the weirdness of the     place.                         KATE (CONT'D)               We came here every year the week               before Christmas.                         (MORE)                                                        65.                    KATE (CONT'D)          And then I worked here in high          school -- selling hot chocolate.          And they had real reindeer, too.          They kept `em over there.Kate points at the remains of a PEN.                    KATE (CONT'D)          My mom worked here when she was          younger. I think everyone who grew                  *          up around here worked at Santa's          Village at some point.Charlie just nods and listens -- he's in awe of this place.                    KATE (CONT'D)          This is what I think of when I          think of Christmas.              (long beat)          Thanks for coming up here with me.                       CHARLIE          Of course.                    KATE          I'm sorry my mom's so awful.                    CHARLIE              (shrugs)          She just can't handle her liquor.Kate and Charlie look in each other's eyes. Seem to have amoment. And then Charlie asks --                    CHARLIE (CONT'D)          Did you ever hook up with guys when          you worked here?                       KATE          Huh?                    CHARLIE          You know -- sneak off with a co-          worker and do it against a pine          tree or something?                       KATE          Um...no.                                                             66.                         CHARLIE               I mean, if I were a teenage boy               working with a stone cold fox like               you I'd totally want to hook up               with you here. Like...in the ginger               bread house.     Charlie puts his arms around Kate.                         CHARLIE (CONT'D)               You were probably the coolest girl               in town -- and the prettiest. I'm               sure everyone was in love with you.     Kate giggles. They kiss. It's sweet.52   OMITTED                                                   52    *53   INT. ELEMENTARY SCHOOL - CLASSROOM - DAY                  53     Kate walks in to her class to find --                           TEACHERS               SURPRISE!     -- a GROUP OF TEACHERS -- including Principal Barnes and Mr.     Davies -- standing in the room, which has been decked out for     a --     -- BABY SHOWER.                         PRINCIPAL BARNES               I couldn't keep quiet. Sorry. I               just had to tell everyone so we               could celebrate.                         KATE                   (shock)               Oh...you shouldn't have.                         PRINCIPAL BARNES               You don't have to thank me -- just               open your presents!     Kate looks at her desk which is stacked with PRESENTS wrapped     in pink and baby blue wrapping paper. There's also a CAKE.                           KATE               Wow...                           PRINCIPAL BARNES               Go ahead.                                                             67.                         OTHER TEACHERS               `C'mon, Kate! You're gonna love               what I got you! Is it a boy or a               girl?     LATER     Kate opens a present -- a MOBILE.                         KATE                   (seems nauseous)               Oh, it's so...nice.                         PRINCIPAL BARNES                   (enthusiastic)               It's to hang over the crib!                           KATE               Uh-huh...     MONTAGE: Kate opens presents while the teachers CLAP.     Eventually, Kate begins to CRY -- which everyone assumes are     tears of joy.     Principal Barnes takes a bite of cake.                         PRINCIPAL BARNES               Mmmm...it's so moist.     Kate glances at Mr. Davies, who cringes.54   EXT. ELEMENTARY SCHOOL - PARKING LOT - DAY                  54     Kate walks to her car.                           MR. DAVIES (O.S.)               Kate!     Kate looks back to see Mr. Davies running over -- but she     doesn't reply or slow down.                           MR. DAVIES (CONT'D)               Kate?                         KATE                   (stops)               What?                         MR. DAVIES               Listen -- I am so, so sorry. You               have no idea how much this has been               eating me up.                                                  68.Long beat.                        KATE             What you said to me was really             fucked up.                       MR. DAVIES             I know.                       KATE             What were you even thinking?                       MR. DAVIES             I wasn't -- I was just...I try to             be really honest.                       KATE             I get that. But you can't force             your "honesty" on everyone you             know.Mr. Davies nods. He looks really embarrassed.                       KATE (CONT'D)                 (changing tone)             I'm flattered that you             have...feelings for me. I am. But             I'm married.                       MR. DAVIES             I know. I'm sorry. I'll apologize             to your husband if you want.                       KATE             No -- you don't have to do that. I             didn't even tell him. But...you             can't say that to a girl -- like,             ever.                       MR. DAVIES             Okay.                        KATE             Seriously. Consider that a rule of             thumb.                 (beat)             Someday, you're gonna meet a nice,             available lady -- but if you say             "moist pussy" to her, you will             never, ever, ever get to see that             part of her body!                                                             69.                           MR. DAVIES                    (even more embarrassed)                Okay.                    (beat)                Thank you.                    (nods)                I feel like this was a really good                talk.     Kate forces a smile.55   INT. KATE & CHARLIE'S HOUSE - KITCHEN - NIGHT             55     Kate stares at a --     -- HALF-EATEN BIRTHDAY CAKE ("OWEN" is still sort of legible)     on the kitchen table. It's totally mutilated.     She walks out the back door into the                            *     BACKYARD                                                        *     where she finds                                                 *     Charlie, Owen, and one of Owen's friends --                     *     -- GREG, 21 --                                                  *     -- listening to loud MUSIC while they play FOOSBALL.            *     They're all SHIT-HOUSED.                                        *                          GREG                                       *                ...getting married would fucking                     *                suck. I can't even imagine waking                    *                up to the same person for the rest                   *                of my life.                                          *     Kate walks out.                                                 *             GREG (CONT'D)                           OWEN     What's up, Kate?                Hey, Kate.                          KATE                                       *                I see you guys found the birthday                    *                cake Jenny and I baked.                              *                          OWEN                                       *                Yeah, thanks! You should get a                       *                slice.                                               *                                                 70.                    KATE                               *              (to Charlie)                             *          I, uh...kinda thought we'd all eat           *          it together.                                 *                    CHARLIE                            *          Baby -- I didn't even think about            *          that. I'm sorry.                             *                    OWEN                               *          It was really good.                          *                    GREG                               *          We have plenty of tequila to make            *          up for the cake.                             *                    OWEN                               *          Kate's in AA -- so she can't drink.          *          She hasn't drank in forever -- like          *          thirty-eight days or some shit.              *                    KATE                               *          Ninety-five days, actually.                  *                    GREG                               *          That sucks! Do you still smoke               *          weed?                                        *                    KATE                               *          No, I wasn't a big weed smoker               *          anyway.                                      *                    OWEN                               *          You smoked crack though, didn't              *          you?                                         *Kate's face goes blank. She stares at Charlie.         *                    GREG                               *          Shit -- I hear crack gets you so             *          high!                                        *                    CHARLIE                            *          No -- my wife doesn't smoke crack.           *          Jesus...                                     *                    OWEN                               *          What? I'm joking around. I know              *          Kate's not a crackhead or some               *          shit.                                        *              (to Kate)                                *          It was just that one time, right?            *                                                                71.                         KATE                                          *                   (angry; to Charlie)                                 *               Thanks, Charlie.                                        *     Kate storms out of the room.                                      *                          CHARLIE                                      *                   (to Owen)                                           *               It's your birthday, man, so I'm not                     *               gonna make a big deal out of this --                    *               but you need to shut the fuck up                        *               sometimes.                                              *56   OMITTED                                                      56   *57   INT. KATE & CHARLIE'S HOUSE - BEDROOM/BATHROOM - NIGHT -     57   *     MOMENTS LATER     Charlie walks in to see Kate getting ready to go to bed.          *                         CHARLIE               Listen -- I'm sorry. He's               drunk...really drunk.                         KATE               I'm not mad at him -- I'm mad at               you! You said you wouldn't tell               anyone about what I did.                         CHARLIE               I'm...sorry. I...was drunk too when               I told him.                          KATE               Great.                   (beat)               Why don't you guys just go to the               bar now?                         CHARLIE               You wanna come?                         KATE               I'm hanging here.                         CHARLIE               I'm sure they have near-beer, baby.               It'll be fun.                         KATE               I'm staying in.                                                              72.                         CHARLIE               That sounds like a lot of fun.                         KATE               Bye.     Beat.                         CHARLIE               I love you.     Kate doesn't say a word.                         CHARLIE (CONT'D)               I love you...?                         KATE               Yeah...                   (long beat)               ...I love you too.58   INT. ELEMENTARY SCHOOL - CLASSROOM - MORNING                 58     Kate stands at the BLACKBOARD -- teaching addition and     subtraction to the class.     A little girl -- ISABEL -- raises her hand.                       *                         KATE               Yes?                         ISABEL                                        *               Mrs. Hannah -- shouldn't you be               more fatter?                         KATE               What?                         ISABEL                                        *               `Cause of the baby. My mom got real               fat.                         KATE                   (taken off-guard)               Well..."Shouldn't you be fatter?"               is the correct way to ask that               question.     Kate goes back to the board -- clearly wanting to move on.                                                           73.                    KATE (CONT'D)          Now, one day when you're very old          and wise fourth graders, you'll          learn about multiplication and --                    ISABEL                                       *          Mrs. Hannah -- Shouldn't you be          more fat?All the students look at Kate. She's on the spot. Flustered.                       KATE          Well, I...Kate searches for something to say. Anything. But then sheblurts --                    KATE (CONT'D)          ...I'm not going to have a baby.                       CLASS          OOOH!Kate immediately looks like she wishes she could take itback.                    KATE          See -- I was pregnant but, it          wasn't my time, I suppose...Another little girl -- WINNIE -- jumps in.                       *                    WINNIE                                       *          Mrs. Hannah -- did you kill the          baby?                    KATE          WHAT? No -- of course not!                    WINNIE                                       *          `Cause my mom says that when you          kill a baby you go to hell and you          can't even go to church to ask god          for forgiveness.The students begin to WHISPER to each other.Another boy -- TOBY -- asks --                    TOBY          Mrs. Hannah -- are you going to          hell?                                                          74.                             KATE                  No! I didn't kill my baby! Okay,                  listen kids -- we shouldn't be                  talking about this. But...                      (beat)                  ...sometimes women get pregnant and                  then early on -- before it's even a                  baby -- they stop being pregnant.                            WINNIE                               *                  Because a doctor murders it!                             KATE                  No -- not because a doctor   murdered                  it.                      (beat)                  It's called a miscarriage.   That                  means it wasn't my plan --   it's                  just what happened.                      (composes herself)                  Does anyone want to ask me   any                  questions?     The class nods but seems silently freaked out.                            KATE (CONT'D)                  Let's get back to subtraction -- or                  addition. Or both.59   INT. ELEMENTARY SCHOOL - TEACHERS' LOUNGE - DAY        59     Kate sits with Mr. Davies eating lunch.                            MR. DAVIES                  Well, that was bound to happen at                  some point. Kids notice things like                  that.     Kate nods.                             MR. DAVIES (CONT'D)                  But I had no idea how pro-life                  little Winnie Reddy is.                        *                      (beat)                  Remind me to wear my "May the fetus                  you save be gay" T-shirt to the                  next banana split night.     Kate half-laughs.                                                             75.                         MR. DAVIES (CONT'D)               And just think: the kids got a               lesson about life and death that               nobody planned on. I mean, you're               years ahead of the standard               curriculum for, uh, third graders.                         KATE               Does it matter that I lied? That I               was never pregnant?                         MR. DAVIES               You want me to answer that as a               friend or as someone who takes the               twelve steps very seriously?     Kate shrugs.                          MR. DAVIES (CONT'D)               Well, the good thing is that it's               all over now. Principal Barnes will               think you're a martyr for losing a               baby.                   (beat)               The kids won't ask about it anymore               and as long as you don't toss your               cookies again you won't have to               deal with it.                         KATE                   (long beat)               And the bad news?                         MR. DAVIES               You lied. To your boss -- and a               bunch of small children. Who trust               you. And rely on you to help them               differentiate right from wrong.                         KATE                   (slowly nods)               That's all, huh?60   INT. KATE & CHARLIE'S HOUSE - LIVING ROOM/DINING          60   *     ROOM/KITCHEN/BEDROOM - NIGHT                                   *     Kate and Charlie eat TAKE-OUT FOOD in SILENCE. Kate texts on     her CELL PHONE -- not even paying attention to Charlie.                            CHARLIE               Well...                   (beat)                            (MORE)                                                76.                    CHARLIE (CONT'D)          ...I gotta say -- this is the          boringest meal I've had in about as          long as I can remember.Kate doesn't look up.                    CHARLIE (CONT'D)          Who're you texting?                    KATE              (still looking down)          Jenny.                                      *                    CHARLIE          She's like a parole officer.                    KATE          She's my sponsor.                    CHARLIE          I'm glad to know every little fuck-          up I have is gonna become a topic          of conversation with some chick I          don't even know.Kate finishes her text. Puts down her phone.                    KATE              (fake enthusiasm)          So...what'd you do today, honey?                     CHARLIE          I finished some writing and met up          with Owen to watch the game and          toss a few back. Dear.              (beat)          You do anything special?                    KATE          I lied to my class again. I told          them that I had a miscarriage.Charlie LAUGHS.                    KATE (CONT'D)          That's not funny.                    CHARLIE          Yeah, it is. Telling kids fucked-up          stuff is totally funny...in, you          know -- a kinda fucked-up way.                                              77.                  KATE        Great, well -- I'm glad I'm not        actually having a baby.                  CHARLIE        God, Kate -- come on. What else        were you supposed to do?                   KATE        Well, I feel like a piece of shit        for lying.                  CHARLIE        It's not that big a deal. Jesus. Is        this what those meetings teach you?        To make drama out of nothing?                  KATE        It's not nothing. I lied to little        kids and to my boss because I can't        take responsibility for my actions.                  CHARLIE        Why don't you go and tell the        Principal that you were never        pregnant? That the reason you puked        is because you smoked crack all        night? Would you feel better about        yourself then?Beat.                  KATE        I've been thinking about doing        that, actually.            (thinks about it)        Yeah. I think I would feel better        about myself.                  CHARLIE        Fine. Do it, then. I guess you        don't need a job.                  KATE        I could be like you -- I could stay        home drinking all day and never do        anything responsible.                   CHARLIE            (hurt)        I never do anything responsible?        What about buying this house that        we live in? Or the food that we're        eating?                                                 78.                    KATE          Having rich parents doesn't make          you responsible. I think it's          pretty much done the opposite.Charlie looks stunned.                                 *                    CHARLIE          Oh, I'm sorry that I have a family          that supports us -- and not the          other way around.                    KATE          What the fuck is that supposed to          mean?                    CHARLIE          Nothing, Kate. But you can't be mad          at me because my family has helped          us out. You should be grateful we          don't have to struggle.                     KATE          I wouldn't care if we struggled          with money. I've struggled with          money my whole life.              (beat)          I'd rather worry about where my          next meal is coming from than if I -          - in some drunken stupor -- married          a man who just wants to party and          meet bands.                    CHARLIE          What the fuck are you talking          about?                    KATE          I'm talking about you being a baby.          A selfish baby.                    CHARLIE          You know what?                    KATE          What?                    CHARLIE          I fucking hate AA! It turned you          into a bitch. A brain-washed bitch.                    KATE          At least I'm not drunk all the          time.                                                               79.                         CHARLIE               Yeah, you don't drink booze for               three months and suddenly you're               some saint? You have it all               together and I'm just a baby?     Kate doesn't answer.                         CHARLIE (CONT'D)               I'm trying, Kate. I'm trying to               understand you. But it's hard.               You're different and maybe it's               good that you're different. Maybe               I'm bad and bad for you or               something -- because I didn't think               the person you were before was so               awful. I loved that person. Yeah,               she drank a lot and she did some               silly things...but she was my Kate.                         KATE               You loved that person? Do you not               love me now?                         CHARLIE               Yeah, of course. But it's               different. You're different.                          KATE               Before I was a mess.                   (beat)               I'm finally getting my life               together -- and you loved me more               before?     Charlie looks at the floor.                          CHARLIE                   (soft)               Kinda, yeah.     Charlie looks like he immediately regrets what he said.61   INT./EXT. JENNY'S CATERING BUSINESS - NIGHT                 61   *     Kate follows Jenny from her patio to her kitchen as she          *     cleans up.                                                       *                         KATE               I feel so fucking weird right now --               Charlie doesn't love me like he               used to and I've lied to my               students multiple times.                         (MORE)                                                   80.                         KATE (CONT'D)                  (beat)             I just don't feel...normal right             now.                        JENNY                            *             Well, you're not normal.                 (beat)             None of us are.                       KATE             Everything in life isn't connected             to being an alcoholic.                        JENNY                            *             I'm not just talking about             alcoholics.                 (beat)             People are fucking weird. We all             have a lot of shit we carry around             in our heads that doesn't make             sense.                 (beat)             At least alcoholics have tools to             work through it.                            *                          KATE             "Steps"...                       JENNY                             *             Yeah, steps -- and talking and             listening and crying...                       KATE             I have the crying part covered.                        JENNY                            *             I know, right? I think my first             year I cried tears I'd been saving             since I was eight.                 (beat)             It's hard to live your             life...honestly. You know?Kate nods.                        JENNY (CONT'D)                   *             Any idea what you're gonna do about             your school situation? What you're             gonna say?Kate shakes her head.                                                             81.                         KATE               I don't know what I'm gonna do               about anything.                         JENNY                                         *               Listen...you wanna stay in my guest                     *               room tonight? You can watch movies,               get some good sleep...?                         KATE               You sure that's okay?                          JENNY                                        *               Yeah, of course. That's why I spent               money on a guest bed -- so people               could sleep in it.                   (beat)               I know it might feel like it, but               really, you don't have to figure               everything out tonight.                   (smiles)               You've got time.62   INT. ELEMENTARY SCHOOL - CLASSROOM - DAY                     62     Kate goes into her classroom and finds a NOTE on the desk.63   INT. ELEMENTARY SCHOOL - PRINCIPAL'S OFFICE - DAY            63     Principal Barnes hugs Kate.                          PRINCIPAL BARNES               I'm so sorry, Kate.                   (beat)               I haven't told many people this,               but when I was young -- younger               than you...I lost a child too.     Kate's stunned. Looks like she feels terrible.                         KATE               I'm...I'm really sorry.                          PRINCIPAL BARNES               It's okay. It was a long, long time               ago. Still hurts sometimes. But               eventually...you move on. You have               to.                   (beat)               Have a seat.     Kate sits down.                                                        82.                    PRINCIPAL BARNES (CONT'D)          I got a phone call from a very          upset parent. That's how I found          out about...you know. Frankly, I'm          not sure why you didn't feel like          you could tell me.                    KATE          I freaked out -- a student asked          why I wasn't fat and I just froze          up and then another student was          saying I killed my baby and I          didn't know what to do.                    PRINCIPAL BARNES          I'm not angry with you -- but I          need to be clear that this doesn't          happen again.                    KATE          It won't. I promise that.                     PRINCIPAL BARNES          By "not happening again," I mean          that you don't discuss any          controversial topics -- things the          school board deems "family matters"          with your class.              (beat)          No sex. No god. No drugs and          alcohol.                       KATE          Okay, I...Kate straightens up in her seat, takes a deep breath. Sheseems...exhausted.                    KATE (CONT'D)          ...I can't keep doing this. I feel          awful.                    PRINCIPAL BARNES              (confused)          I know this all must be hard for          you --                     KATE          No. You don't understand.              (beat)          I have to be honest with you.                    PRINCIPAL BARNES          What do you mean?                                                    83.                    KATE          Principal Barnes...I wasn't ever          pregnant.Principal Barnes looks shocked.                    KATE (CONT'D)          I lied -- to the class and to you --          because I was scared.                    PRINCIPAL BARNES          But...you vomited in class.                    KATE          I know. And when that happened I          didn't know what to do because the          truth is --                    PRINCIPAL BARNES          Oh, my god -- are you really ill?          Is it cancer?                     KATE          No, well, yes. I have a disease,          but, um...              (beat)          ...it's alcoholism.Principal Barnes goes from concerned -- to angry.                    PRINCIPAL BARNES          What?                    KATE          I've been working on it. I'm one-          hundred days sober. When that          happened I'd been out drinking and          was hung over and --                    PRINCIPAL BARNES          You vomited in front of children          because you were hung over?                    KATE          Yes.                    PRINCIPAL BARNES          And lied, saying that you were          pregnant?                    KATE          Well, a student asked if I was          pregnant -- and "yes" just kind of          fell out of my mouth.                                                84.Principal Barnes looks disgusted.                    PRINCIPAL BARNES          That's sick, Kate.                       KATE          I know.                     PRINCIPAL BARNES          No, I don't think you understand          how wrong that is. To lie to me --          to the children. You know I felt so          terrible for you when I found out          that you had a mis -- ?              (beat)          -- how can you play with people's          emotions like that?                    KATE          I was sick.                    PRINCIPAL BARNES          Jesus...you told us you had a          miscarriage.                       KATE          I'm sorry.                    PRINCIPAL BARNES          I threw you a baby shower.                     KATE          I'm really sorry. I am. I've been          wanting to tell you the truth          because honesty has become really          important to me. I'm in AA now and          doing the steps and working with a          sponsor and everything.              (beat)          It's really hard. I mean, I think          my husband might hate me, and --                    PRINCIPAL BARNES          I'm sorry, but what you did is          totally irresponsible.                       KATE          I know.                     PRINCIPAL BARNES              (beat)          I can't have you here anymore.                                                        85.                    KATE              (surprised)          Am I being fired?                     PRINCIPAL BARNES          No, no -- the state wouldn't allow          that without a report. I'm not          going to write a report. Because,          frankly, I have no idea what that          report would say.              (beat)          But I'm forcing you to take a leave          of absence and I think it's in your          best interest if you find a job          elsewhere.                    KATE          Listen -- I'm really sorry, but I'm          doing the right things now.                     PRINCIPAL BARNES          I believe you -- or I want to. I          really do. But honey -- I believed          you before.              (beat)          I'll have a sub take over your          class starting tomorrow. It's late          enough in the year that we can just          say you're having personal problems          --Principal Barnes looks at Kate.                    PRINCIPAL BARNES (CONT'D)          -- which seems to be the truth.                    KATE          Principal Barnes --                    PRINCIPAL BARNES          Not another word. I'm upset right          now -- very upset -- and I think          I'm doing you a favor by not          reporting you.Kate struggles to say something, to try to explain herselfbut no words come out until she musters --                       KATE          Thank you.Kate stands, defeated, and leaves the Principal's office.                                                             86.64   INT. ELEMENTARY SCHOOL - STAIRS/HALLWAY - DAY               64   *     Kate glumly marches down the stairs -- holding a BOX filled      *     with some of her things (including the BABY SHOWER GIFTS).     Mr. Davies stops her.                         MR. DAVIES               Kate -- what's going on?                         KATE               I told Principal Barnes about               everything.                         MR. DAVIES                   (terrified)               What? Everything? Did you tell her               about...?     Mr. Davies gestures to Kate's crotch.                            KATE                      (confused)               Huh?                   (gets it)               Oh, God -- no. I told her that I'm               an alcoholic. And that I lied. And               she fired me.                         MR. DAVIES                   (relieved)               Oh...                   (but concerned, too)               ...my god, Kate -- I'm sorry.                          KATE               I've been going to AA and trying to               be sober and this is what it got               me.                   (beat)               Fired, for telling the truth.     Mr. Davies awkwardly puts his arm around Kate's shoulder.                         MR. DAVIES               I'm sorry. I wish there was               something I could do.                         KATE               I'm a fuck-up. I'll always be a               fuck up. I'm just like my mom.                                                               87.                         MR. DAVIES                   (confused)               No, no -- you're a wonderful, smart               woman Kate. You can't let this get               you down.                         KATE               I gotta go.     Mr. Davies takes Kate's box of things from her.                         MR. DAVIES               Let me walk you to your car.     Kate throws her arms around Mr. Davies and begins to --     -- full-on SOB.     Mr. Davies seems flustered and a little scared but tries to     comfort Kate.65   INT. SUBARU (MOVING) - DAY                                   65     Kate cries as she drives.     She glances in the backseat at --     -- all the baby shower gifts --     -- and sobs even harder.66   INT. DIVE BAR - DAY                                          66     Kate walks into a near-empty, depressing dive. She nervously     sits at the bar.     The BARTENDER -- a gruff looking guy with the sleeves rolled      *     up -- approaches.                         BARTENDER               What do you need?                         KATE               Whiskey. Double.     The bartender gives Kate her drink. Kate immediately downs     it.                         KATE (CONT'D)               Can I have another one?                                                        88.                    BARTENDER          Sure -- you gotta pay for the first          one, though. Eight bucks.Kate puts a TWENTY DOLLAR BILL down.The bartender pours her another shot.LATERKate has clearly been drinking for awhile -- she's curled upat the bar, nursing her BEER.                    BARTENDER (CONT'D)          Look, Miss -- I don't wanna be a          downer or anything `cause I take it          you've had a bad day, but um... I          think you need to go home.                       KATE          Why?                    BARTENDER          Cause you're pretty drunk -- and          it's four p.m.                    KATE          What about him?Kate points to an old CRUSTY MAN at the other end of the bar.                    KATE (CONT'D)          You're not kicking him out.                    BARTENDER          I'm just trying to be a pal.                     KATE          Stop it -- you aren't my pal. I          just got fired, and I just quit AA.              (beat)          It didn't work.                       BARTENDER          Oh, boy...                    KATE          You know what? I was fine -- had a          husband that loved me and maybe I          sometimes did embarrassing stuff,          but it was a phase.                    (MORE)                                                        89.                    KATE (CONT'D)          I go to AA and sober my husband and          I start fighting and stop fucking --          and sober I get fired! Isn't that          what's supposed to not happen?                     BARTENDER          Wow, okay, well...I'm real sorry.          But this place gets a little nuts          after sundown and I don't think a          pretty girl who just left AA should          be here.              (beat)          I'm gonna call you a cab.                    KATE          NO! I don't want a cab. I want --              (glances around)          -- drugs. Can you hook me up?The bartender rolls his eyes.                    KATE (CONT'D)          C'mon...let's go out back and smoke          some crack.                    BARTENDER          Lady, you're done.                    KATE          You think I'm above smoking crack?          `Cause I'm not. And are you really          gonna tell me you're not a little          attracted to me...?Kate leans across the bar, trying to look "seductive" -- butshe just looks like she might fall off her bar stool.                      BARTENDER          No.                    KATE          Just a teensy bit...?                    BARTENDER          Not in the slightest.                    KATE          Well...you might want to consider          investing in glasses, buddy. `Cause          I'm a...a stone cold fox. And I'm          smart. And I'm...Kate begins to cry.                                                             90.                         KATE (CONT'D)               ...a good person.                         BARTENDER               I think it's time for you to go               home. Now are you gonna let me call               a cab?                         KATE                   (suddenly angry)               NO! I'm not. I've got friends.               They'll pick me up.                         BARTENDER               You do that.                         KATE               I'll call Mr. Davies. He has dreams               about me.     The bartender takes a long look at Kate -- as though he's     trying to size up if she's insane.                         BARTENDER               Hope that works out for you.                          KATE               Can't believe my luck. I just want               to get drunk and a bartender won't               let me.                   (beat)               Life is stupid.     Kate stands up -- almost falling over -- and glares at the     bartender.                         KATE (CONT'D)               You hear me? Life is FUCKING               STUPID!     Kate goes over to the old man at the end of bar, winks at     him, then picks up his drink and chugs it.67   INT. MR. DAVIES' CAR (MOVING) - DAY                          67   *     Kate is slumped in the back seat.     In the front seat is Mr. Davies and Jenny.                        *                         KATE               Davey-wavey...I called you. Why'd               you bring her?                                                             91.                          JENNY                                     *                We're worried about you, Kate.                          KATE                    (accusing)                Parole officer.                          MR. DAVIES                She's your sponsor.                          JENNY                                     *                It's gonna be okay. You stumbled.                You'll get back up.     Silence.                          KATE                How `bout we drive to Mexico and                party our asses off? My treat.     Jenny and Dave glance back at Kate --                          *     -- whose face reveals what a bad state she's in.                          KATE (CONT'D)                    (holding back tears)                Sounds fucking stupendous, right?68   EXT. KATE & CHARLIE'S HOUSE - DAY                         68     Kate gets out of the car.                                      *     Mr. Davies and Jenny watch with concerned expressions as --    *     -- Kate stumbles to her front door.                          JENNY                                     *                Kate! Are you sure you're --                          KATE                    (over her shoulder)                Fuck off.69   INT. KATE & CHARLIE'S HOUSE - LIVING                      69     ROOM/KITCHEN/HALLWAY/BEDROOM - DAY                             *     Charlie plays a VIDEO GAME -- with the TV hooked up through     his STEREO SPEAKERS.     Kate opens the doors and walks in, wobbly.                                                           92.                    CHARLIE              (not looking up)          Babe -- you gotta hear this with          the speakers hooked up. It's          insane.Kate says nothing. Just stares at Charlie.Charlie looks up -- and is surprised to see Kate clearlydrunk.                    CHARLIE (CONT'D)          Whoa...what happened to you?Charlie stops playing the game.                    KATE          I'm drunk. I'm fired from my job.                      CHARLIE          Oh, no...                    KATE          We got any drinks?                    CHARLIE          Uh...we have soda. I can make          coffee.                    KATE          Don't be cute with me. You know          what I mean.                    CHARLIE          So...I guess you aren't doing the          AA thing anymore?                    KATE          What gave that away?Kate turns and goes to the kitchen ---- reappearing a moment later with a BOTTLE OF TEQUILA, saltand limes.                    KATE (CONT'D)          Come on, baby -- let's do some          shots.                    CHARLIE          What's going on?                                                        93.                    KATE          I'm celebrating. What the fuck does          it look like?Kate takes a shot.                    KATE (CONT'D)          Are you gonna be a little girl or          are you gonna drink with me?                    CHARLIE          I don't know what the right thing          to do here is.                     KATE          Okay, so let me see if this makes          sense: you say you miss the old          Kate -- the Kate who drinks and          blacks out and has fun.              (beat)          Well...here she is.Kate smiles -- but she looks more desperate and drunk thanfun.                    CHARLIE          Baby, I didn't mean that. I was          just being a jerk.                    KATE          Fuck yeah you were. And what? Now          you won't drink with me?                    CHARLIE          I don't know. Having a beer or          something is one thing, but...I          think you really may have a          problem.Kate LAUGHS.                    KATE          Well thanks for all the support          when I was trying to be sober!Kate takes another shot.                    CHARLIE          I'm sorry. I didn't realize --                    KATE          Of course you didn't realize! You          don't fucking care about me.                                                        94.                    CHARLIE          What are you talking about?! Of          course I care about you. I love          you.Kate takes a shot and approaches Charlie.                    KATE          I love you too. Love is the easy          part. It's the rest of the shit          that's hard.Kate kisses Charlie.                    KATE (CONT'D)          Take off your pants.Charlie gently pushes Kate away.                    CHARLIE          Look -- I think you should get to          sleep. You're really wasted.                    KATE          I don't wanna sleep. I wanna fuck.Kate pulls Charlie -- who struggles -- down to thecouch...and straddles him.                    CHARLIE          Please, will you stop?                    KATE          No! I want you to fuck me!Charlie calmly tries to move Kate off of him.                    CHARLIE          Really. This is weird.                    KATE          Be a man and fuck your wife!Charlie -- who's creeped out now -- forcefully pushes Kateoff.                    CHARLIE          No! Jesus -- what the fuck is wrong          with you?Kate has become quite angry and belligerent by this point --and begins picking up HOUSEHOLD OBJECTS and throwing them atCharlie.                                                        95.                    KATE          With me? With me?! What the fuck is          wrong with me? I try hard and I get          shit on! Fucked up family, fired          from my job -- this marriage.          Nothing's wrong with me! What's          wrong with YOU?!                    CHARLIE          Kate, you need to --                    KATE          What? What? What do I need? I can't          drink because I'm crazy or          something and I can't stay sober          because of you!                    CHARLIE          You're blaming other people for          your problems.Kate picks the tequila bottle back up, takes a sip, then ---- runs at Charlie and tackles him to the ground.                    CHARLIE (CONT'D)          Stop it! You're acting like a          freak!Kate rips Charlie's SHIRT ---- and holds the bottle over his head while straddling him,as if she's about to hit him with it.                    CHARLIE (CONT'D)          No! What's wrong with you?Kate holds the bottle in the air and looks hard at Charlie.She begins to weep.                    KATE          I can't be sober and be with you.Kate gets a flash of anger again and just as it seems likeshe's about to hit Charlie with the bottle, she ---- upturns the bottle and begins to chug the tequila.Charlie tries to yank the bottle away, but Kate holds ontight. With the bottle at Kate's lips -- and tequila pouringdown her chin -- the couple wrestles for control of thebottle.                                                               96.                                                    CUT TO BLACK.                                                        FADE IN:70   INT. JENNY'S CATERING BUSINESS - KITCHEN - DAY                 70   *     Kate wears a UNIFORM and carefully works on a CAKE.                 *     On the other side of the kitchen, Jenny makes APPETIZERS.           *                         JENNY                                           *               How's it coming?                         KATE               You tell me.     Jenny walks over and tries the icing.                               *                          JENNY                                          *                   (nods with approval)                                  *               Delicious.                                                *                         KATE                   (proud)               Thanks.71   INT. CHURCH - AA MEETING ROOM - NIGHT                          71     A middle-aged MAN stands at a podium in front of a medium     sized group of PEOPLE -- about twenty-five or so, including     Kate, Jenny, and Mr. Davies -- and says --                          *                          CHUCK                                          *               At this meeting we give cakes to               celebrate sober birthdays. We have               one birthday tonight -- for Kate,               for one year.                   (beat)               Jenny and Dave are giving her the                         *               cake.     Kate hugs everyone -- then blows out ONE CANDLE on a CAKE     before standing at the podium.                         KATE               Hey, I'm Kate, alcoholic.                           GROUP               Hi, Kate.                                                 97.                     KATE          I've heard that your best day          drinking is worse than your worst          day sober.              (beat)          Well...that is SO not true! I had          amazing times drinking, dancing,          and laughing...feeling like the          most adorable, charming girl in the          world. And I was adorable.              (beat)          I'd piss my pants, but I was still          cute.People in the crowd LAUGH a little bit.                     KATE (CONT'D)          When I first tried getting sober, I          figured that as long as I didn't          drink...everything else would just          magically work out. But it didn't.              (beat)          My marriage fell apart. I got fired          from my job. And that shit happened          SOBER! I never read that in any          pamphlet...              (shakes her head)          ...that isn't what I signed up for.                (beat)          Um...so, I relapsed. Another shitty          slogan I've heard in the rooms is          that when you're sober for a bit          and drink again "the disease waits          for you, picks up where it left          off."              (beat)          I'm sorry you guys, but I HATE          those slogans. They all sound like          bumper stickers. But, I have to          admit...for me, that last one is          pretty damn true.              (beat)          When I drink...I become another          person. And that person is a pretty          big asshole. Well, unless you want          to give me drugs or buy me drinks --          then that person is awesome.People knowingly LAUGH.                    KATE (CONT'D)          I wasn't happy being the "good-time          girl," though. And honestly, I          wasn't very good at it.                    (MORE)                                                             98.                          KATE (CONT'D)                   (beat)               My life is really different than it               was a year ago. I live alone. I'm               bored a lot more. I have a job that               pays a lot less.                   (beat)               I'm thankful for the program -- for               my friends in here who took the               time to help me and give a shit               about me.     Kate glances at Jenny and Mr. Davies.                             *                         KATE (CONT'D)               There are people that used to be a               part of my life that I miss -- a               lot -- but...                   (long beat)               ...I'm really grateful for this               boring new life of mine.     Kate smiles and steps down from the podium as people CLAP.72   INT. BAR - NIGHT                                             72   *     Charlie, Owen, and a woman -- MILLIE -- stand at the bar,     drinking BEER and WHISKEY SHOTS. Owen speaks -- but Millie     seems way more into Charlie.                           OWEN               I was in North Carolina for a while                     *               -- Durham -- playing minor league               ball. I had some real heat. That's               when I met Crash, here.                    (gestures to Charlie)               He'd been sent down to single-A to               teach me how to carry myself as a               pro ball-player. We got involved               with the same woman -- an older               chick -- but Crash won her in the               end.                    (beat)               He's really taught me               some...important life-lessons.     Millie nods.                         MILLIE               Wow...that's a pretty crazy way to               meet.                         OWEN               Yeah. It is.                                                         99.                    MILLIE          You guys are sorta like that          movie...what's it called?                    OWEN              (plays dumb)          I don't know. Which one?              (to Charlie)          Do you know what movie she means?Charlie -- who's pretty hammered -- shakes his head.                    MILLIE          "Bull"...something? What is it?Charlie and Owen feign ignorance.                    MILLIE (CONT'D)          Whatever. It'll come to me.              (to Charlie; flirty)          So...what do you do now, Crash?                    CHARLIE          I write about music.                       MILLIE          Really?Owen gestures to a WAITRESS to bring THREE MORE SHOTS.                    CHARLIE          Yeah...I do freelance for a lot of          magazines. But print really is          dead. So now most of my stuff winds          up on websites. Which is          depressing. `Cause you can't hold          it -- you can just look at it. It's          like...Charlie seems lost in drunken thought. Long, awkward silence.Millie puts her hand on Charlie's arm.                       MILLIE          Like what?                       CHARLIE          Huh?                    MILLIE          You were talking about writing for          websites and you kinda trailed off,          honey.                                                   100.                    OWEN              (trying to save the               situation)          So, Crash -- why don't you tell          this nice lady about the 21 days          you were up in "The Show," and what          the crowds were like, and --                    CHARLIE          It was crazy. I...Charlie drifts off for a moment.                    CHARLIE (CONT'D)              (to Millie)          I'm sorry -- I'm sure you're a          great lady. You have lovely hands          and hair but...Charlie begins to walk away, wobbly on his feet.                    CHARLIE (CONT'D)          ...I'm gonna go to the...I'm just          gonna go.Charlie stumbles off.                    MILLIE              (as Charlie leaves)          You want a ride...?Charlie exits the bar.                    MILLIE (CONT'D)              (to Owen)          Um...is he cool to drive?                    OWEN          Yeah, he'll be fine -- on his          bicycle.                    MILLIE          He rides a bicycle?                     OWEN          Oh, yeah --              (smiles)          -- as a teenager, he was a bike          racing champion growing up in          Bloomington, Indiana. He and his          friends were called the "Cutters" --          and they beat a bunch of rich          college kids in this big race. It          was great.                     (MORE)                                                             101.                          OWEN (CONT'D)                   (beat)               Back then, I was a kickboxing               instructor...73   EXT. STREET - NIGHT                                         73     Charlie rides his BICYCLE down the street. Swerving all over     the place, he's obviously drunk.     Red and Blue LIGHTS flash behind him. Charlie turns to see --     -- a POLICE OFFICER.                                             *74   INT. KATE & CHARLIE'S HOUSE - LIVING ROOM - DAY             74     Charlie leaves Kate a VOICEMAIL MESSAGE.                          CHARLIE                   (into phone; seems sort of                    nervous)               So, I got into a little trouble --               drunk in public. On a bicycle.                   (beat)               Um, I was thinking...maybe I need               to go to one of those meetings. I'd               like to go with you, though. If               that's cool.                   (beat)               Let me know if we could discuss it               sometime, okay? Maybe you could               come over to our -- um, my house?                   (beat)               Uh...yeah. Thanks.     Charlie hangs up the phone.                          CHARLIE (CONT'D)                   (to himself)               "Let me know if we could discuss it               sometime?"                   (shakes his head)               Such an idiot...75   EXT. KATE & CHARLIE'S HOUSE - STREET/FRONT YARD - DAY       75   *     Kate and Charlie stand by Kate's car, which is parked in     front by the street. She's just arrived. Awkward tension.                         CHARLIE               Miss our house?                                                       102.                     KATE           Um...yeah. Sometimes.                     CHARLIE               (hesitant)           Miss me?Beat.                      KATE           Sometimes.               (long beat)           I've been sober for a year.                       CHARLIE           Really?                       KATE           Yeah.Kate reaches into her purse and takes out her ONE YEAR CHIP,showing it to Charlie.                     CHARLIE           They gave you that?                     KATE           Yeah. A couple of days ago.           Tuesday.                      CHARLIE           Oh...wow. Congratulations. That's           really...really...just great. I           mean it.               (beat)           Tuesday is the night I got pulled           over.               (laughs)           Parallel lives, huh?Kate rolls her eyes.                     CHARLIE (CONT'D)           So -- you dating anyone?                      KATE               (taken aback)           Charlie...                       CHARLIE           Are you?Silence.                                                103.                    KATE          No.Charlie seems relieved.                     CHARLIE          Me either. Owen keeps trying to get          me to be his "wing-man" and it's          ridiculous and these girls in bars          are so lame and I just keep          thinking how I wish I was meeting          you in a bar for the first time and          I didn't come with any baggage and          I could buy you a drink and flirt          with you all night and ask for your          number.              (beat)          Wanna go out sometime?                    KATE          I don't think it's a good idea.Charlie nods. Long beat.                    CHARLIE          I fucked up, didn't I?Kate looks down, doesn't speak.                    CHARLIE (CONT'D)          Yeah, I did. I know I did. I had a          beautiful woman who used to love me          and now when I see her she doesn't          even want to look me in the eyes.                    KATE          Charlie, please don't do this.                    CHARLIE          I miss you. I miss the way you          taste and smell and...I miss things          about you that used to drive me          nuts! I miss you liking shitty 80's          music and fake punk-rock from the          90's...                     KATE          I don't like shitty 80's music.              (beat)          I like good 80's music.                                                               104.                         CHARLIE               ...and all I want to do is touch               you one more time to just, remember               -- to make sure it was real.     Silence. Kate looks Charlie in the eyes and gives him a     slight smile.                         CHARLIE (CONT'D)                   (changing course)               Or...maybe I'm a just a delusional               fucking idiot.76   INT. KATE & CHARLIE'S HOUSE - LIVING ROOM/KITCHEN - DAY      76   *     Kate and Charlie walk in -- it looks sort of the same, but a     number of items are missing, and it's messier. In general,     the room looks more "dude."                         KATE               You look really thin.                         CHARLIE               Yeah?                         KATE               When did you last eat?                         CHARLIE               I dunno -- like...I'm not sure.                   (seems slightly concerned                           *                    that he can't remember)               I think, um...                         KATE               Should we order something?                         CHARLIE               Sure, yeah -- or I could make a               bacon and egg sandwich...                         KATE               I don't know. I haven't really been               doing the meat thing.                          CHARLIE               Jesus. It starts with alcohol. Then               meat.                   (beat)               Have you given up fun, too?     Kate looks at Charlie -- he's half-smiling, not sure if she     finds him funny.                                                             105.                         CHARLIE (CONT'D)                   (off Kate)               Sorry. Bad joke.     Kate cracks a smile.                         KATE               Fine. Bacon and egg sandwiches. But               I'm gonna make them.     Charlie raises his eyebrows.                            CHARLIE               Okay...     LATER     Kate's at the stove, cooking bacon and eggs.     Charlie goes to the FRIDGE and gets a BOTTLE OF BEER.     Kate glances at him.                            CHARLIE (CONT'D)               Sorry.     Charlie puts the beer back in the fridge.                         KATE               I don't care if you drink a beer.                            CHARLIE               You sure?                         KATE               Yeah. Whatever.                         CHARLIE                   (thinks about it)               No...I'm good.     LATER     Kate stands by the stove and watches as --     -- Charlie -- who sits at the kitchen table -- wolfs down the     bacon and egg sandwich.     Kate seems pleased that Charlie enjoys it so much.77   EXT. KATE & CHARLIE'S HOUSE - BACKYARD - TWILIGHT          77     Kate and Charlie play croquet.                                  *                                                          106.They look a little tired -- like they've been playing awhile. Kate seems to be much better than Charlie.                       CHARLIE             Have you been playing a lot?                       KATE             I haven't played in over a year.                       CHARLIE             Then how're you beating me?                       KATE             I don't know. Innate talent?They keep playing.                       CHARLIE             I haven't met anyone even vaguely             interesting since we separated.                       KATE             Um...stick to the game, okay?Long beat.                       CHARLIE             I've been masturbating like crazy.                          KATE             Charlie --                       CHARLIE             I miss you.                          KATE             Stop it.                       CHARLIE             Okay. Fine.Beat.                       KATE             You could've been killed.                       CHARLIE                 (confused)             What?                       KATE             Riding your bike -- drunk.                                                   107.                    CHARLIE          But I wasn't.                    KATE          But is that really the point?                    CHARLIE          What are trying to say?                     KATE              (beat)          I worry about you.                     CHARLIE              (laughs)          Yeah, I can understand that. I used          to worry about you. But now I know          you're okay.              (beat)          That makes me happy...I mean, it          fucking sucks that you're better          off without me but I'm glad you're          doing well.No reply from Kate.                    CHARLIE (CONT'D)          Would you move back in if I came to          meetings?                    KATE          You should go for yourself, not to          make me happy.                    CHARLIE          But, would you?                    KATE          I'm not moving back in.That wasn't the response Charlie wanted to hear.                     KATE (CONT'D)          Listen, I should go. It's gonna get          dark soon.                    CHARLIE          We can always turn the lights on.                    KATE          I don't know...Beat.                                                         108.                    CHARLIE          So, would you at least...let me          take you out on a date?Kate says nothing.                       CHARLIE (CONT'D)          Maybe...?Kate shakes her head.Charlie seems hurt -- but still determined.                    CHARLIE (CONT'D)          Okay...fine. 0 for 2.              (new direction)          Last question: can we just...play          one more game?Kate doesn't answer.                     CHARLIE (CONT'D)          C'mon...you keep kicking my ass.          It's embarrassing. You've gotta          give me a chance to redeem myself.              (soft)          Please.Kate thinks about it for a long beat, and doesn't say yes......but she also doesn't say no.There's a look of hope in Charlie's eyes.                                               CUT TO BLACK.                       THE END
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+                    SNATCH                By Guy RitchieDraft 4                    FOR EDUCATIONALAugust/9/1999               PURPOSES ONLY1∑    EXT. RUSSIA -- NIGHT      We open on a GUARD sitting in front of a sentry post. He is      wearing a heavy fur hat that covers his ears and a military-      jacket. Behind him is a list of instructions (in Russian).      He 'sucks in a cigarette as though he's a drowning man lookin      for oxygen. A CAR comes to a stop by the sentry post, the,      guard looks, asks a couple of questions and is given an     -envelope which he quickly examines, he then attempts to stick      his head in the car. A gun barrel is promptly stuck in his      face and a couple of angry words emanate from the back, the      guard jumps back and quickly raises the barrier.     This next section will be intercut with the credit sequence.                                      ´∑'2    INT. BACK OF RUSSIAN CAR -- NIGHT     On the back seat is FRANKY FOUR -FINGERS, (New York street     wise Jew) who is clutching a fancy looking briefcase which     is handcuffed to his wrist. He is flanked by TWO RUSSIAN     HOODS. This next section will be subtitled.                           FRANKY FOUR FINGERS               How much further do we have to go?     Just then the car comes to a standstill. The window is wound     down and a gun barrel is stuck through. The RUSSIAN DRIVER     looks dramatically calm.                           RUSSIAN               Pass him the money.     Franky hesitates for a second.                           RUSSIAN (CONT'D)               Franky you know you have no choice.               So please can we get on with it?      Franky knows discussion is futile. He flips the case open      and pulls out a transparent plastic bag full of American      dollars. The package is pulled out of the window, the driver      doesn't move, we dissolve for a passage of time, the anxiety      is more than obvious, but Four Fingers can do nothing. All      of a sudden a package comes through the window and the car      speeds off without waiting for an inspection of the delivery.                                             (CONTINUED)2   CONTINUED:    Franky opens the package and he reveals a stone the size of    a fist. He shines a torch onto it and puts a stone inspectin    monocle to his eye. He's satisfied.    CUT TO: MUSIC,A CLOSE UP OF THE DIAMOND. MIX TO: ANOTHER    DIAMOND BEING HELD BY AN OVERWEIGHT BLACK MAN. CUT TO: MONTAG    INVOLVING ALL THE CHARACTERS IN THE FILM. DEALING OR HAVING    SOMETHING TO DO WITH DIAMONDS OR THEFT. ONE SHOT AND SET UP    TAKES US SEAMLESSLY INTO ANOTHER SHOT AND SET UP. THIS GOES    ON FOR THE DURATION OF THE CREDITS. CUT BACK TO:    Franky Four Fingers opens a fancy case, presses a hidden    catch, this reveals a second wall within the case, he then    carefully places the stone within this secret compartment    and firmly closes the case. The Russian next to him is    playing with a revolver, he spins the chamber.                             RUSSIAN (CONT'D)                 If you need a man in London then                 call this number.    Franky takes the card looks at it and repeats the name.                           . FRANKY FOUR FINGERS                 Boris?                          RUSSIAN              Boris, Boris can get you anything              you need.                                 CUT TO:CU OF SPINNING GUN CHAMBER                                                                      :3   INT. LONDON - AMUSEMENT ARCADE -- DAY                                 C UT TO:CU OF SPINNING GUN CHAMBER    We are in the back room of an amusement arcade and can hear    fruit machines beeping in the distance. Meet BORIS THE BLADE    and TOMMY who is toying with a heavy-looking revolver.                             TOMMY                 It's a bit heavy isn't it Boris?                             BORIS                 Heavy is good. Heavy is reliable.                 If it doesn't work you can hit him                 with it.    Tommy practices a couple of gun slinging maneuvers. He's    impressed. At that moment the door opens and in walks a MAN    carrying two heavy sacks of coins. He's a rough looking    bastard, he's massive, and extremely ugly. Meet GORGEOUS    GEORGE.                                               (CONTINUED)3     CONTINUED:                            TOMMY                Yes Gorgeous?      George looks at the weapon and can see that he's interrupting.                            GORGEOUS GEORGE                Sorry Tommy, I hope that I am not                interrupting.                            TOMMY                Oh of course you're not interrupting                Gorgeous, I put the do not disturb                sign on the door because I wanted                you to join us.      George isn't too bright                            GORGEOUS GEORGE                What are you doing Tommy?                              TOMMY                I am baking a cake Gorgeous, not                that i t ' s any of your business. Put                the takings down, and be a good chap.    -. George puts down the coins. Tommy implies he should leave.       Gorgeous isn't too bright and continues to stand there looking       stupid. Tommy goes to turn around but can see that he hasn't       left, so he turns back,                            TOMMY (CONT'D)                Is there anything else Gorgeous, a                cup of tea perhaps? No? Well in                that could you kindly fuck off and                shut the door behind you?      Tommy turns round to Boris with a slight shake of his head.                            TOMMY (CONT'D)                Not too bright but he hits like a                train. OK I ' l l take it. You're a                gambling man Boris, so I'll toss you                for it. Heads it's mine, tails I'll                give you twice the price.      Boris chews this for a second.                                  BORIS                   I ' l l toss the coin.      He tosses the coin                                            CUT TO: CU OF SPINNING COIN4   INT. NEW YORK_OFFICE -- DAY                                        CUT TO :CU OF SPINNING COIN    Meet HANDS. On the phone. Cool young street wise NY diamond    dealer. He catches a coin.                          HANDS              Twenty carats?5   INT. HEATHROW AIRPORT -- DAY    Franky's on the phone.                          FRANKY FOUR FINGERS              Best stone I've seen in years.                          HANDS              Good man Franky, you done a good              job. What time you back?                          FRANK Y FOUR FINGERS              I gotta move the smaller stones here;              it shouldn't take me long. I ' l l be              a couple of days.                          HANDS              Speak to my cousin Doug.                          FRANKY FOUR FINGERS              Doug the Head?                           HANDS              Yeah, Doug the Head. But get some              security. I mean it, get it today,              speak to those Russians, they can              get you anything. And. . .    Dramatic pause                             FRANKY FOUR FINGERS              And what?                          HANDS              No fuckin around in any casinos, you              hear me? You've done a good job              Franky, don't go and fuck it up.                          FRANKY FOUR FINGERS              I hear ya Hands. I see ya Hands.    The phone goes down and Hands looks up at a COLLEAGUE.                             HANDS              He's got it.6   INT. BORIS1 HOUSE    On the phone subtitled                          RUSSIAN              Yes he's got it. He might call, he              might not, but if he does be ready.                            BORIS              I' l l see what I can do.                          RUSSIAN              He can't know that it's you Boris.              We do too much business together.              You're gonna have to get someone              else to hit him and there is no way              it can relate to us. You understand?                           BORIS              Yes I understand.                          RUSSIAN              One more thing, he loves to gamble.7   EX.T. BACK ALLEY MAKESHIFT BOXING RING -- DAY    BRICK TOP (aka MR MCLEAN) is a heavy looking fella. He is    observing a giant of a man, BOMBER HARRIS, boxing a sparring    partner.                          BRICK TOP              Two hundred and sixty pounds, that's              fucking pedigree pal.    He's talking to LIAM and GARY, a couple of employees.                          BRICK TOP (CONT'D)              He doesn't look bad does he?                          GARY              Oh no Mr Mclean, he looks great.                             LIAM              Yeah great.                          GARY              He'll kill him, he'll do you proud              governor.                          BRICK TOP              Do you reckon that's what people              should do for me, do you Gary, do me              proud?                          GARY              That's what you deserve Mr Mclean.                                               (CONTINUED)7   CONTINUED:                         BRICK TOP             Pull your tongue out of my arsehoie             Gary. Dogs do that, and you're not             a dog, are you Gary?    Taken aback by the change in tone.                         GARY             Err no, I am not.                         BRICK TOP             However, you do have all of the             characteristics of a dog Gary, all             except loyalty.    There is a definite change in temperature.                           BRICK TOP (CONT'D)             And people like dogs Gary, for the             principal reason that they're loyal.             So I don't quite know where that             leaves you my old son, other than             refuckinpugnant. . .    There is a problem                         BRICK TOP (CONT'D)             Which one was it that kept the four             grand from the Clapham job?    Pause                         BRICK TOP (CONT'D)             Don't let me ask again. I would             like answers, but I am not in the             mood for asking questions, get busy             lads, or it's feeding time, oink,             oink, know what I mean?    Liam takes a step to the side and moves his eyes in a sideways    action implying the guilt lies with Gary. Gary catches this    and opens his mouth to protest. One of Brick Tops's henchmen,    ERROL, sticks a belt in there as quick as it opens and smashes    a bar across Gary's legs, he buckles. The henchman man pulls    out a plastic bag and a roll of tape.                            BRICK TOP (CONT'D')                 You know what to do with that don't                 you Liam?    CUT TO FIGHTERS. SMALLER FIGHTER IS DISTRACTED.                             HARRIS                 Don't look for your sake.                                                  (CONTINUED)7   CONTINUED:   (2)    POV of Smaller Fighter, we witness Liam putting the bag over    Gary's head and tying tape round his neck. Gary tries to    resist but it's futile and we vaguely witness the demise of    poor Gary.    CUT TO BRICK TOP                             BRICK TOP                 You're a ruthless cunt Liam, I' l l                 give you that.    Brick Top turns away at this point to admire his fighter.                             BRICK TOP (CONT'D)                 But I got no time for grasses.    We cut to see Liam's panic filled eyes. The bar comes down    again. Brick Top finds more interest in his fighter.                             BRICK TOP (CONT'D)                 Feed em to the pigs Errol.    With a short beat.                             BRICK TOP (CONT'D)                 He's looking good, Bomber, is he                 not? How's their man getting on?    We whip pan off Brick Top's boxing ring...8   EXT. ANOTHER BACK ALLEY MAKESHIFT BOXING RING - - DAY    ...And the whip pan shot takes us into this boxing ring.    Meet TURKISH, he is Tommy's partner. Turkish is older and    wiser than Tommy, they are both watching Gorgeous go through    his paces. Gorgeous George is head butting a heavy punch    bag. The sound that emanates is disturbing, and Tommy is    distracted.                             TOMMY                 Is he allowed to do that?    Turkish is drinking milk from a bottle                             TURKISH                 It's an unlicensed boxing match Tommy,                 not a tickling competition. These                 lads are out to hurt each other.                             GORGEOUS GEORGE                 Oi Turkish, can I have a drink?    Turkish looks over his shoulder and then points to himself                                                   v                                                  (CONTINUED)8   CONTINUED:                          TURKISH              What do I look like to you George, a              fuckin water boy?    Turkish looks at the WATER BOY.                          TURKISH (CONT'D)              Oi son, look lively.    He turns .back to Tommy.                              TURKISH (CONT'D)              Look at it.    He turns to see the remnants of a caravan where they keep    the training gear and administration for the fights                          TURKISH (CONT'D)              How am I supposed to run this thing              from that? We gonna need a proper              office.    He looks at the caravan again and sighs, it is quite pitiful                          TURKISH (CONT'D)              I want a new one Tommy and you 're              going to buy it for me.                          TOMMY              What's wrong with this one?    Turning back to Tommy and ascending the steps in to his "I    have seen better days" caravan, TURKISH'S foot goes through    one of the stairs and the.door comes off at the hinges as he    tries to open it.                          TURKISH              Oh nothing Tommy, it's tip top, it's              just I am not sure about the colour.    He passes him a piece of paper                          TURKISH (CONT'D)              Here it's all arranged. You just              gotta pick it up. Here's an address.    Tommy looks at the address and frowns.                                TOMMY                 I t ' s that campsite.                             TURKISH                 That's right, you're buying a caravan,                 caravans live in campsites.                                                 (CONTINUED)CONTINUED:   (2).                          TOMMY             They aren't pikey are they?                         TURKISH             I don't know what they are, all I             know is they have a caravan, and we             want a Caravan.                         TOMMY             I hope they're not pikies.     I hate             fucking pikies.                          TURKISH             You're a sensitive boy, ain't you             Tommy? You got ten grand and I want             to see change.He is distracted by the bulge in Tommy's trouser front.                         TURKISH (CONT'D)             Fuck me, hold tight, what's that?                         TOMMY             It's my Gucci belt, Turkish.Pointing quite clearly at the gun.                         TURKISH             No Tommy, there's a gun in your             trousers. What is a gun doing in             your trousers?                          TOMMY             It's for protection.                         TURKISH             Protection from what, the Germans?             The war ended fifty years ago. Err             what's to stop it blowing your balls             off every time you sit down? Where             did you get it?Looking down onto his gun.                         TOMMY             Boris the Blade.                         TURKISH             You mean Boris the sneaky fucking             Russian.Turkish pulls the gun out of Tommy's front.                                               (CONTINUED)8   CONTINUED:   (3)                               TURKISH (CONT'D)                 I t ' s a bit heavy isn't it?    H e spins the chamber                                              CUT TO: CU OF GUN CHAMBER    INT. BORIS1 HOUSE -- DAY9                                              CUT TO: CU OF GUN CHAMBER                             BORIS                 The weight is a sign of reliability.                 I always go for reliability.    Boris is showing Franky a large pistol.                               FRANKY FOUR FINGERS                 I ' l l take it. How much do you want                 for -it?                             BORIS                 Nothing.    Pause                             FRANKY FOUR FINGERS                 Ok, so what do you want for it?                             BORIS                 I want you to do something for me .    Franky nods for him to go on .                             BORIS (CONT'D)                 There is a fight in a couple of days:                             FRANKY FOUR FINGERS                 What kind of a fight?                             BORIS                 Unlicensed boxing.    The camera tracks into Franky: he has a problem and it's    been exposed.                             BORIS (CONT'D)                 There is a bookies I know that will                 take bets. If you place one down                 for me we will call it quits.                             FRANKY FOUR FINGERS                 Why don't you put it down yourself?                                                   (CONTINUED)9    CONTINUED:                              BORIS                  Well there isn't too many bookies                  that take those kind of bets, and I                  already have an outstanding debt                  with the house. I know something                  most don't. Why don't you put a few                  pounds down yourself?     Frankie shrugs and implies he wants to hear more.                               FRANKY FOUR FINGERS                  What do you mean?              ∑10   INT. NEW YORK OFFICE --DAY     On the phone.                              HANDS                  Play the game Doug.11   INT. DOUG'S OFFICE     DOUG THE HEAD is an east London Jew, about forty five, almost     completely bald and proud of it, he sits with his two twin     daughters ALEX and SUSI - they look like Prada models but as     soon as they open their mouths, it's clear that they aren't,     they have extremely rough London accents. Doug is on the     phone to Hands.                                 DOUG                  I am playing the game Hands. That's                  what I ' l l give ya.     Hands shakes his head in disbelief.                              HANDS                  You gotta haggle fairly Doug,                  otherwise it'll make your hair fall                  out you'll see.                              .                              DOUG                  You know I won't buy poop.                              HANDS                  He isn't selling poop.                              DOUG                  Listen if the stones are kosher then                  I'll by em. Now I gotta business, to                  run.     He puts the phone down.                                                 (CONTINUED)11   CONTINUED:                              DOUG (CONT'D)                  That was my cousin Hands, Have I                  told you about my cousin Hands?                              ALEX                  Yes Dad, you have.                              DOUG                  He's an important fella.                              SUSI,   .        .                  Yes Dad, you told us.                              ALE X                  Is that a prawn sandwich you're                  eating?     Doug looks mildly embarrassed                              DOUG                  Is it?                          ALEX              You're Jewish Dad.                             DOUG              Yes.     I was last time∑I looked.                            ALEX              Well you can't eat shell fish, Dad,              i t ' s against your persuasion.                          DOUG              What persuasion myself or the prawns              belongs to is not the issue, the              issue is how a fuckin shrimp managed              to sneak in to' my sandwich.     Pause.                              DOUG (CONT'D)                  Sneaky bastards.     He throws the half eaten sandwich out the window.12   EXT. STREET OUTSIDE BOOKIES -- DAY     We cut to an enormous and frightening looking dog sniffing     the half eaten prawn sandwich, before he is yanked away by     his master. The dog is a lively young thing. We raise the     camera to see the man that is walking it. Meet VINNY. Vinny     is a very large black man - the size is due to dumplings not     dumbbells. He .stops outside a shop. We see it clearly.     I t ' s a pawnbrokers.                                                   (CONTINUED)12   CONTINUED:                                VINNY                  Move it, come on move" i t .     Vinny enters the pawn shop.13   INT. PAWN BROKERS -- DAY     Meet SOL, who's behind the counter, Vinny's partner in the     pawn shop. He's concentrating on the deal at hand with BAD     BOY LINCOLN and has a stone-inspecting monocle to his eye.                              VINNY                  Alright Sol, Lincoln.     They are in deep discussion and only Lincoln responds.                                B AD BOY LINCOLN                  Vin.                              SOL                  It's a mosinite.                           BAD BOY LINCOLN               A whatinnite?                            SOL               No, a mosinite.                           BAD BOY LINCOLN               How much a night?                           SOL               No, a fuckin mosinite.            It's the               updated zirconia.                              BAD BOY LINCOLN                  Enough of bosinites and mosonias,                  talk English to me Sol?                              SOL                  Zirconias are artificial diamonds,                  they look pretty good to the novice                  like you Lincoln. But you could                  break them with a hammer, so they                  came up with mosinites.                              BAD BOY LINCOLN                  What are you saying?                              SOL                  I am saying it's worth fuck all.     Lincoln's face drops                                                       (CONTINUED)13   CONTINUED:                               BAD BOY LINCOLN                  Fuck what?                                .SOL                  I t ' s worth more than fuck what, but                  not a lot more.                              VINNY                  We have told you before Lincoln, you      ∑           stick to being a gangster and leave                  this game to me and Sol.     Sol looks round properly at Vin and can see that he's     accompanied by a dog.        '                              SOL                  What's that Vince?                              VINNY                  Err, it's a dog Sol.                              SOL                                 '                  Where do you think you're going with                  that Vince?. You can't bring that                  thing in here.                              VINNY                  It's in here, what's the problem,                  it's only a dog.                          SOL              I know full fucking well what it is              Vin. Where did you get it?                          VINNY              Those gypsies, they threw it in with              a load of moody gold.     Sol considers this and decides it can't be all bad.                              SOL                  It better not be dangerous.                          VINNY              Does it look dangerous?                          SOL              Yes, it fucking does Vin.          If it so              much as farts it's out.                              VINNY                  If it farts we'll all be out.                                                    (CONTINUED)13   CONTINUED:   (2)     Vin turns around and runs into Boris, who's entered the shop     without making a noise.                              VINNY (CONT'D)                  Jesus, where did you come from?                                 BORIS                  Uzbekistan.                              VINNY                  Oi Sol, Boris is here.                              SOL                  Boris, what's up?                              BORIS                  I have a job for you.                                 SOL                  Go on.                              BORIS                  I want you to hold up a bookies.                              SOL                  How high do you want us to hold it?                  Steady on George. We deal in                  jewellery Boris, we don't hold up                  bookies.     We can hear Vinny in the background                                 BORIS                  Hear me out.     This one is different.14   INT. TOMMY'S VAN -- DAY     Tommy is driving down a country lane with Gorgeous George in     the passenger seat.                               TOMMY                  Don't you worry Gorgeous, he's a big                  man granted but you gotta bigger                  punch than Judy.     Cut to a caravan camp site comes into view.        It's the PIKEY     ENCAMPMENT.                              GORGEOUS GEORGE                  Jesus what's that?                               TOMMY                  That's what we are looking for.                                                    (CONTINUED)14   CONTINUED:                                GORGEOUS GEORGE                  I t ' s a camp site. It's a pikey                  campsite.                                TOMMY              Ten points.                          GORGEOUS GEORGE              What are we doing here?                          TOMMY              We are buying a caravan.                          GORGEOUS GEORGE              Off a pack of fucking pikies? What's              wrong with you? This'll get messy.                          TOMMY              Not if you're here.                          GORGE OUS GEORGE              Oh fuck off Tommy you never said              anything about pikies.                          TOMMY              Calm down, we are buying and then we              are off.                          GORGEOUS GEORGE              Oh you bastard, I hate fuckin pikies.     They arrive in the camp site and the car is immediately     surrounded by KIDS. The kids (most of whom are on bikes)     speak with a sort of Anglo-Irish mix that sounds as rough as     the kids look.         ,                          KID 1              That's a flash car Mister.                          TOMMY              Not as flash as your bike though is              it?                              KID 1                  Who you looking for?                                TOMMY                  Mr O'Neill.                              KID 1                  Do you want me to go and get him?                                TOMMY                  Good lad.                                                  (CONTINUED)14   CONTINUED: (2_)                .     There is a pause, the boy doesn't move.                              TOMMY (CONT'D)                  Well are you going to go and get                  him?                                KID 1                  Yeah.     There is another pause.                              TOMMY                  Well what are you waiting for?                              KID 1                  The five quid you are going to pay                  me.     Chuckling.                              TOMMY                  Oh fuck off, I'll find him myself.                                KID 1                  Two fifty.                              TOMMY                  You can have a quid.                              KID 1                  Oh you're a tight fucker aren't ya?     A man shouts from the background. He's a young fella with a     hard but friendly face (when he smiles). He's covered in     grease and facial hair, and his trousers are done up with     string. But he's wearing a Cartier watch and Gucci shoes,     and a large gold identity bracelet. This is MICKY O'NEILL.                              MIC KY                  What are you doing Paul? Get out of                  the way boy. Are you Tommy, have                  you come about the caravan?                                TOMMY                  Mr O'Neill?                              MICKY                  Fuck man, call me Micky.     Micky comes up to the car, cleaning his grease covered hands     with a hand towel.                                TOMMY                  How are ya?                                                   (CONTINUED)14   CONTINUED: ( 3 )                             MICKY                 I am well sir, well, quite well, the                 weather is being kind to us but the                 engines aren't.     Gorgeous George steps out of the car.      Micky takes a step     back.                             MICKY (CONT'D)                 Fuck me, would you look at the size                 of him, Jesus man how big are you?                 Hey kids how fucking big is he?                             KID 2                 He's a big man that's for sure.                             MICKY                 Would you look at the size of his                 muscles? And then look at the size                 of his fists. Hey Mum, come and                 look at the size of this fella.     The kids start to feel his arms. Gorgeous George plays the     game and raises the kids on his biceps. Micky's MUM comes     out to see.                             MICKY (CONT'D)                 Would you look at the strength of                 the man? I bet you can box a little                 can't you sir? You look like a boxer.                             MUM                 Get out of the way Micky and see if                 the fellas would like a drink.                             TOMMY                 I could murder one.                             MUM                 There won't be any murdering done                 around here, I don't mind telling                 ya.                             MICKY                 Would the big fella like a cup of                 tea?                             MUM                 Don't be silly Micky, a man didn't                 get that size from drinking cups of                 tea. Offer the man a Guiness boy.                             KID 2                 Lift me up would you Mister?                                                (CONTINUED)14   CONTINUED: ( 4 )                             KID 3                 I bet you can't lift us both at the                 same time.     Tommy and Gorgeous follow Micky who's walking past a kennel.     The dogs are in good condition, and are happy as you like to     see. Micky stops and gives one of them a stroke.                             MICKY                 Good dogs, do you like dogs?                             TOMMY                 Sure, yeah, I like dogs.   I like                 caravans more.15   INT. TYRONE'S CAR     We open on Vinny's dog, now sitting in a car, it's breathing     heavily and doesn't look well, and Sol doesn't see the funny     side of the dog sitting next to him. The man driving is     called TYRONE: he's a white guy who thinks he's black. Vin     is also in the car.                             TYRONE                 I don't want him dribbling on my             ,                 seats man.                             SOL                 Give him another of those biscuits.                 They shut him up.                             VINNY                 They give him wind.     Tyrone turns round to complain, and narrowly misses a car.                             VINNY (CONT'D)                 Hey watch the road! Fuck me, you                 want this man to drive us Sol? Can                 you drive mate?                             SOL                 No Vin, he can't tell the difference                 between a steering wheel and a man               . on the moon. That' s why I got him.     Sol gives the dog another biscuit.                             TYRONE                 Don't you worry about me, jus worry                 about the dog on my seats man!     Tyrone gets out of the car to put some petrol in.                                                (CONTINUED)15   CONTINUED:                           VINNY               Sol why's he talking like a black               man?                           SOL               I don't know Vin. Oi Tyrone, Vin               wants to know why you talk like a               black man?                           TYRONE               Roots and ting, seen?     Sol and Vin raise their eyebrows.                           VINNY               Roots and what?                           SOL               I don't know. You get that gun from               Boris?                           VINNY               Got it. It wasn't exactly what I               was expecting, mind. Mean looking               bastard though, that's for sure.     Sol unzips a bag.     Inside is a ridiculously powerful shotgun.                           SOL               What's that?                              VINNY                  It's a shotgun Sol.                             SOL               I t ' s a fuckin anti-aircraft gun Vin.               What are you planning on shooting,               the angels out of the clouds? That's               gonna raise more than pulses.                              VINNY                  It will raise hell my old son.                          SOL              I don't think I really want to see            ∑ hell Vin. What's wrong with a normal              gun?                              VINNY                  The are psychological advantages to                  a gun that looks like it can perforate                  the moon.                                                   (CONTINUED)15   CONTINUED: ( ? )     Tyrone gets into the car, starts it up again and puts some     money in the car wash machine.                             SOL                 Can you get this fuckin dog to stop                 dribbling on me?     Vin pulls the dog back.                              SOL (CONT'D)                 I worry about you Vin, Jesus, talk                 about overkill. One look at a crack                 desperate brother and you could wave                 a knife and fork around, and I am                 sure they would lick the salt of                 your scrotum.     The car wash starts.                             VINNY                 What the fuck are you doing?                             TYRONE                 I never do a job unless I have a                 clean car, I like to make my wheels                 look crisp.                             VINNY                 Are you serious,? You' re a getaway                 driver, you're not here to show your                 fuckin car off.               ∑∑.     The machine starts. They do the windows up and that point     the dog lets out a fart. The water starts to hit the     windshield so they can't undo the windows. There is more an     atmosphere of disbelief than of concrete anger.16   EXT. CARAVAN CAMP SITE     Gorgeous George fastens the caravan to the back of their     Land Rover and pulls away. They wave at Micky and he     reciprocates.                             MICKY                 He's a good dog. He'll get a little                 homesick for a while but he'11 get                 over it.     Tommy has a dog that looks distressed about leaving Micky     sitting next to him.17   INT. CAR -- DAY                           TOMMY               I don't know what all your fuss was               about. They aren't bad fellas.     Just then the wheels of the caravan come straight off and     the caravan is dragged until the car comes to a sudden stop.     The dog jumps out the window and goes bounding back to the     campsite.18   EXT. CARAVAN -- DAY     They are looking at the damage.   Of course i t ' s completely     useless now.                          . GORGEOUS GEORGE               I don't think it's supposed to have               done that.19   EXT. CARAVAN CAMP SITE -- DAY     The dog is behind Micky's legs happy to be back.                           MICKY               The deal was you bought it how you               saw it.      Tommy goes to interrupt but he doesn't get a chance                           MICKY (CONT'D)               Look, I have helped ya as much as I               am gonna help ya. You still got a               car and I suggest you use it before               you're not welcome anymore.     There is a silence for a while. The atmosphere has gone     more than frosty and a few more gypsies are hanging around.                           GORGEOUS GEORGE               Hey...     Interrupted                           MICKY               It was only a question of time before               you got some attention. Nobody brings               a fella the size of you unless they               are trying to say something without               talking.                           TOMMY               Just give us my money and you can               keep your caravan.                                               (CONTINUED)19   CONTINUED:                               MICKY                  Why the fuck do I want a caravan                  that's got no fuckin wheels? I am                  not going to do that.     Gorgeous George steps forward.                              MICKY (CONT'D)                  Where the fuck do you think you're                  going? You want to settle this with                  a fight?                               MUM                  You'll do no such thing Michael.                  You'll...                              MICKY                  Alright Mum, we shan't, we'll settle                  it some other way, now don't get                  upset.                              MUM                  I won't have you fighting, Micky.     Micky's Mum is getting upset and it's consequently upsetting     Micky.                              MICKY                  Okay mum okay. You need to sit down.     Micky calls to one of the lads standing by.                              MICKY (CONT'D)                  Darren look after Mum. Get her                  sitting down.     We see Mum being led out by Darren; Micky looks genuinely     concerned for his mum. Pause as Micky waits for her to be     well gone.                                 MICKY (CONT'D)                  I ' l l fight you for it.     Tommy looks at Gorgeous George.        Gorgeous George raises his     eyebrows.20   INT. HORSE BOX, PIKEY CAMP -- DAY     The two fighters start pacing. It looks a bit ridiculous,     Micky is dwarfed by comparison. Gorgeous George takes a     swipe: it was an .impressive punch, but Micky is a quick littl     bastard and sidesteps. Micky does nothing to retaliate; his     hands are still by his,side.                                                   (CONTINUED)20   CONTINUED:     Gorgeous George lunges out and grabs Micky by the throat and     groin, picks him up like a sack of spuds and throws him     against the car door. All eyes are on Micky for a second or     two, then he rises and appears little bothered by this, he     gets up brushes himself off and starts to pace again, hardly     even looking at the big man.                          GORGEOUS GEORGE              You want to stay down my friend, I              promise you, you want to stay down.     Micky ignores this and continues to pace, the big fella grabs     him and puts him in a headlock and charges him into the stable     door. There is a terrible noise.                          GORGEOUS GEORGE (CONT'D)              Now you fucking stay down boy or you              won't be coming up next time.     It appears as though this is going to get messy and any humour     that might have been around has now evaporated. Micky raises     his head there is still no damage to speak of. All of a     sudden he starts jumping up and down like he's warming up,     throwing a few shadow punches, taking off his shirt. This     reveals a heavily tattooed and scarred torso, and underneath     these embellishments is a physique that warrants some respect.                          GORGEOUS GEORGE (CONT'D)              This is sick. I am outta here.                          MICKY -              You're not going anywhere my friend.              You stay until the job is done.     Micky starts pacing, and throwing out a couple of shadow     punches with his back to Gorgeous George, he still hasn't     really acknowledged his opponent. Gorgeous George moves in     for the coup de grace, Micky spins on his feet and catches     the big man under the jaw.     CUT TO BLACK     FADE IN: We see Gorgeous George lying on the floor with a     head the size of a water melon. There is blood streaming     out of every orifice in his head - he's in.big trouble. We     are in slow motion;- there's a lot of activity going on around     the body on the floor, their mouths are open but we can't     hear what they are saying, all we can hear is the voice over     given by Tommy.                             TOMMY (V.O.)                  This isn't good, if George doesn't                  wake up in the next few minutes I                              (MORE)                                                (CONTINUED)20   CONTINUED: (2)                           TOMMY ( V . O . ) (CONT'D)               have a problem. I am scared, really               fuckin scared. There is something               coldblooded and practical about what               these people are thinking. They               will pop me like a hot sausage if               George doesn't wake up. Why do they               want to go to the trouble of               explaining why a man died in a               campsite? These people don't exist               in society, you can't find them,               they live under their own laws and               ignore everybody else's. I am scared,               I am really fuckin scared.21   INT. AMUSEMENT ARCADE 1 -- DAY     We see Turkish with a somewhat serious expression on his     face he has his customary pint of milk on one side, he takes     a sip and "ohhhs" and "arrrs" for a while.                          .TURKISH               So you're telling me he would have               run you through if Gorgeous hadn't               woken up?                           TOMMY               No, his Mum stopped it. If his Mum               hadn't turned up, well, I ' d be pikey               fuckin sausages.                           TURKISH               What were you thinking of? Why the               fuck did you put Gorgeous George               into a bare knuckle boxing match two               days before he had to fight the               Bomber?                           TOMMY               He was half his size.     He pantomimes a man that would reach his navel                           TOMMY (CONT'D)               I didn't expect him to get hurt.                           TURKISH               You put the man into a bare knuckle               boxing match.     He raises his voice                                              (CONTINUED)21   CONTINUED:                           TURKISH (CONT'D)               What the fuck did you expect? A               grease down and a shiatsu?                           TOMMY               Who took the jam out of your donut?                          TURKISH              You took the fuckin jam out of my              donut Tommy, you did.                           TOMMY              You said get a good deal so...                          TURKISH              Tell me the correlation between a              hospitalized boxer and a good deal?     Pause there is no correlation as Tommy knows.                          TURKISH (CONT'D)              How are we going to explain to Brick              Top that his fight isn't going to              .              happen?                          TOMMY              We replace the fighter.                          TURKISH              Oh what, and hope he doesn't notice?              And who the fuck are we going to              replace him with?                          TOMMY              John "The Gun?" Or "Mad Fist" Willy?                          TURKISH              You're not exactly Mr Current Affairs,              are you Tommy? Mad Fist went mad,              and the "Gun" shot himself.                          TOMMY              What about Clam Hand Tony?                          TURKISH              Got his fingers caught in the till.              He's no good to anyone.                          TOMMY              Why not?                                               (CONTINUED)21   CONTINUED: (2)                             TURKISH                A bare .knuckle boxer isn't a lot of                good without any fuckin knuckles,                Tommy.     Pause for thought, then Turkish has the look of a man that     has come across a really bright idea.                             TURKISH (CONT'D)                Jesus!                             TOMMY                What?                            TURKISH                Let's use the fuckin pikey.22   INT. DOUG'S OFFICE -- DAY     Doug the Head and Franky Four Fingers are doing a deal.     Doug has a case open and is admiring a couple of stones.                            FRANKY FOUR FINGERS                From Russia with love. You                interested?                                .                            DOUG                I told you I was interested.     Pause.   Franky's in a rush.                           FRANKY FOUR FINGERS               I got stones to sell, fat to chew               and many different men to see about               many different dogs, so if I am not               rushing you, could you spit shine               the top of your smoothie and move a               little faster?                            DOUG                Hold tight Franky, when in Rome.                            FRANKY FOUR FINGERS                I am not in Rome Doug, I am in a                rush.     He looks at his watch                            FRANKY FOUR FINGERS (CONT'D)                I gotta make the bookies.                           DOUG                Bookies? What you betting on?                                                (CONTINUED)22   CONTINUED:                              FRANKY FOUR FINGERS                  Some guy called Bomber Harris.                              DOUG                  The unlicensed boxer? You know                  something I don't?                              FRANKY FOUR FINGERS                  Maybe.     Doug raises his eyebrows                              DOUG                  You get busy Franky. Put a couple                  of hundred down for me.23   INT. PIKEY ENCAMPMENT -- DAY                              TURKISH                  What do you say?                              MICKY                  How much you going to pay us?                              TOMMY                  Ten k.                              MICKY                  I lose more than that running for                  the bus. I ' l l do it for a caravan.                              TURKISH                  A what?                              MICKY                  No a caravan.                              TOMMY                  A what?                              M ICKY                  You are sitting in one if that makes                  things easier. I want a top caravan.                              TOMMY                  It was us that wanted a caravan.-                  Anyway what's wrong with this one?                              MICKY                  It's not for me, it ' s for me Mum.24   INT. DOUG'S OFFICE -- MORNING     Doug is on the phone to Hands.                                                    (CONTINUED)24   CONTINUED:                           DOUG               I overpaid Hands, I want you to               recognize charity when i t ' s offered.                           HANDS               Do shut up, where is he now?                           DOUG               I don't know Hands, I ' m not his               mother. But I am seeing him later.                            HANDS               When?                          DOUG              He wants cash so he's coming back              after he has been to a fight.     There is a serious expression of alarm on Hands's face - the     camera crashes in.                          HANDS              What do you mean a fight, you mean a              boxing match? Is there gambling              involved?                             DOUG               I t ' s a boxing match Hands.     Hands isn't happy.                          HANDS              Did he have a case with him?                            DOUG              Yes.                          HANDS              And he's gone gambling? That's Franky              "I have a problem with gambling"              fuckin Four Fingers, you are talking              about Doug.                           DOUG               What am I, telepathic?                           HANDS               Franky is good at buying stones Doug               but he's a fuckin liability when it               comes to gambling. That has cost               me. So in turn rit' s cost him. He               gets distracted and chopping off a               digit seems to focus his attention.                                               (CONTINUED)24   CONTINUED: ( 2 )                             DOUG                 How much can he lose?     Hands pulls a face like "what kind of a stupid question is     that?" He them starts to shout                               HANDS                 I ' l l not forgive you Doug, I am coming                 over, get me that car.     The phone is slammed down.                                                                   CUT TO:25   EXT. AIRPLANE --     We see the undercarriage of Concorde taking off.26   INT. BRICK TOP'S PUB --     Tommy and Turkish walk into a pub and approach the BARMAN.     They reach the bar.    .            .                             TURKISH                 We are here to see Brick Top.     The barman looks them up and down a bit.      He's not doing     anything.                             BARMAN                 I am very busy at the moment.                             TURKISH                           ∑                 I am not asking you to break sweat,               . I am asking you to call Brick Top.                              BARMAN                 Who?                              TURKISH                 Brick Top.                             BARMAN                 Never heard of him.                       . ... : TURKISH               :                 Well make a call and see if someone                 else has. Say it's Turkish.     The barman looks bothered by the fact he has to move but     wanders off. Turkish looks at the pool table.                                                 (CONTINUED)26   CONTINUED:                              TURKISH (CONT'D)                  You know what he's done to people on                  that pool table?     They both give the table an eyeball.                              TOMMY                  What, potted more balls than any                  other player? What else can you do                  to people on a pool table?                              TURKISH                  Quite a fuckin lot if you nail 'em                  to it.     TWO HEAVY LOOKING FELLAS appear out of the woodwork.                              HEAVY FELLA                  You Turkish?                               TURKISH                  Yup.   -                               HEAVY FELLA                  Follow me.     The heavy fella opens up the bar and beckons Turkish and     Tommy through. They go through another door and the corridor     turns into a mass of dogs barking, snarling 'and whining in     cages. The mood is sinister..they reach another door, they     open up and we are introduced to a dog fight. A load of     HEAVY GEEZERS are commenting on the performance of the dogs,     one dog is being carried out by a single leg, it's covered     in blood. Another dog is left in the ring, it too is covered     in blood but it's survived.                               TURKISH                  They can charm the paint off walls                  these fellas.27   INT. BACK OF PUB - DOG FIGHT -- NIGHT     A circle of blunt faces are exchanging money with one another     A few faces turn round to examine Tommy and Turkish, they     frown slightly but carry on about their business once they     see they are accompanied by the muscle.     The heavy walks over to Brick Top. The heavy taps him on     the shoulder and whispers. He acknowledges, and gives his     drink to the heavy. He walks over. There is a cage next to     Brick Top which has a pit bull in, and Brick Top who is     carrying a cane pokes it through the cage doors. The dog     snarls back.                                                  (CONTINUED)27   CONTINUED:                           BRICK TOP               Look mean now you hairy fucker won't               ya?     He looks at the appalled faces of Turkish and Tommy.                           BRICK TOP (CONT'D)               Shits itself when you put it in the               ring, but poke .it with a stick and               watch his bollocks grow. You like a               dog fight, Turkish?                           TURKISH               I like my dog to growl at the post               man.                           BRICK TOP               Gorgeous ready for tonight?                           TURKISH               We don'c have a Gorgeous anymore.     Brick Top turns round and indicates that he would like the     noise around him to drop. It does marginally.                           BRICK TOP               You're going to have to repeat that.                           TURKISH               We have lost Gorgeous George.     Brick Top turns round again at the already subdued crowd, he     doesn't raise his voice but the crowd reacts.                               BRICK TOP                  I said keep the noise down.. . .     A tangible silence between the men reflects Brick Top's     authority.                              BRICK TOP (CONT'D)                  Well, where did you lose him? He                  isn't a set of fuckin car keys is                  he? And it's not as though he is                  inconfuckinspicuous is it?                              TURKISH                  I am not backing out.                              BRICK TOP                  You can bet your bollocks to a barn                  dance you're not backing out.                                                     (CONTINUED)27   CONTINUED: .(2)                            TOMMY                We are changing the fighter.     Brick Top wasn't expecting anything out of Tommy.                            BRICK TOP                Oh fuck me your lady friend has got                a voice. And who might you be                changing him to, sweetheart?                            TURKISH                You won't know him.     Pause: a look of you're kidding comes over his face.                            BRICK TOP                Are you taking the piss?                            TURKISH                No, there was an accident.                            BRICK TOP                I'll show you a fuckin accident.                            TURKISH                You've still got your fight.                            BRICK TOP                No, I lose all bets at the bookies.                You can't change fighters at the                last minute, so no, I don't have my                fight do I, you fuckin prat!                            TOMMY                You could take bets at the fight.                            BRICK TOP                Put a lead on her Turkish,     Before                she gets bitten.     Pause                            BRICK TOP (CONT'D)                Make sure your man goes down in the                fourth. You're on thin fuckin ice                my pedigree chums and I'll be there                if it breaks.28   EXT. BOOKIES     The black guys pull up in'Tyrone's car outside the bookies     Vin is playing with the dog in the back.                                                 (CONTINUED)28   CONTINUED:                           SOL               I am not happy about that dog Vin,               you can't bring a dog on a job.                           VINNY               You can't leave him on his own, not               to begin with, he gets homesick.                           SOL               Homesick, for fucks sake.                           VINNY               He does. If he gets the chance he               runs back to the gypsies' campsite.                           SOL               Ohh shut up, how can he find it?                           VINNY               I don't know Sol, I am not a dog.               Ask him. It' s like he's got a fuckin               homing beacon. Give him the chance               and he's off.                           SOL               You're going soft Vin? Here pass me               a sandwich.     Vin throws a sandwich to Sol but the dog catches it whilst     i t ' s in flight and swallows it in one gulp.                           SOL (CONT'D)               Jessssus, he didn't even chew it.     The car has stopped.                           VINNY               What have you stopped here for?               What's wrong with that space?                              TYRONE                  It's too tight.                           VINNY               What are you talking about, tight?               You could land a jumbo fuckin jet in               there.                              SOL                  Leave him alone, he's a natural.     Tyrone gets a little over-excited with the accelerator and     reverses with a crashing sound into the rear of the van behin     them (ie it:s parked back to back with them).                                                (CONTINUED)28    CONTINUED: ( 2 )                              VINNY                  A natural fuckin idiot.    Tyrone,                  what have you done?                              TYRONE                  Look, you hassle me, see what happens.       Tyrone makes to move the van forward again.                              VINNY                  Well don't move it now, otherwise                  people will see the damage. What                  did you do that for?                        ^                              TYRONE                  I didn't see it there.                              VINNY                  Eh? It's a four ton truck. It' s                  not as though i t ' s a ferret fuckin a                  flea is it?                              TYRONE                  It was at a funny angle.      Vin is confused as to this last statement.                              VINNY                  Funny angle? It was behind you                  Tyrone, whenever you reverse things                  come from behind you. I am not happy                  Sol.     - The dog starts whining.                              VINNY (CONT'D)                  Give him something to shut him up.       Sol throws a plastic squeaky dog ball that was in the front.       The dog grabs in and swallows it in one gulp. The brothers       look on in shock.                              SOL                  He can't swallow a whole ball.                              TYRONE                  He swallowed it.       The dog looks up having completed the task. Vin who looks       quite alarmed holds the dog by the ribs and squeezes, there       is a squeak.29   EXT. AIRPORT. --     Doug and Alex are waiting to pick- up Hands.                           DOUG               Did you get Hands that car?                           ALEX               I got him one like it.     Doug is in shock.                           DOUG               What do you mean one like it?                           ALEX               I got him the Volante.                           DOUG               What did I say? What exactly did I               say?                           ALEX               You said get him the Vantage.                           DOUG               That's right, I clearly said get him               the Vantage. So why did you get the               Volante?                                      ;                           ALEX               Because they look the same.                           DOUG               The Septuagint scholars mistranslated               the Hebrew word for "young woman" in               to the Greek word for "virgin",               because they thought they looked the               same, coming up with the prophecy               "behold a virgin shall conceive and               bear a son". But there is a world               of difference between a virgin and a               young woman like there is between a               Volante and a fuckin Vantage.     '.Pause: she thinks about this.                           ALEX               Are you saying that the fact that               your cousin Hands is driving a Valiant               instead of a Vantage is a profound a               mistake as a whole religion?                           DOUG               Yes I fuckin am!                           (MORE)                                               (CONTINUED)29   CONTINUED ∑                               DOUG (CONT'D)                   Cars are his religion. He can drive                   a Valiant in the States but I can't                   drive a Vantage because they won't                   tolerate the emissions. Well, it's                   too late now, that's Concorde.     SHOT OF CONCORDE'S WHEELS TOUCHING DOWN30   EXT. AIRPORT -- DAY     Hands and his sidekick Rosebud are coming out of the sliding     glass doors towards Doug who's now standing by the car with     his arms crossed. Hands is quite clearly looking for a car.                               DOUG                   How about a hug for your old cousin                   Doug?     He stops looking for his car and focuses on Doug.                              ∑ HANDS                   Fuck off you fat bald bastard - and                   where's my car?31   EXT. BOOKIES     The black guys are sitting in the car still.         The occasional     squeak comes from the dog.                               VINNY                   How am I going to get it out?                               SOL                   He'll probably cough it up.                               VINNY                   Do you think he'll be alright?     Sol shrugs.                               SOL                   Hope not.                               TYRONE                   What are we waiting for?                               SOL                   We are waiting for a man carrying a                   case.                                                      (                               TYRONE                   Why?                                                    (CONTINUED)31   CONTINUED:                              SOL                  Because the deal is that we give the                  Russian the case and we keep the                  money.     He rubs his fingers symbolically together                              TYRONE                  What's in the case?     Sol turns round to talk to Tyrone.                              SOL                  Fuckin 'ell Tyrone you ask a lot of                  questions. You concentrate on the                  driving okay?     He turns back just as a MAN is stepping into the bookies: he     is carrying a case.                              SOL (CONT'D)                  Shit, was that him?          .'               VINNY               Don't ask me, you're the one supposed               to keep an eye on it. How many               fingers did he have?                           SOL               Are you serious? I am sorry but I               couldn't get the binoculars out in               time.                           VINNY               Well let's not stand on ceremony,               let's start the show.     They get out of the van and go up to the bookies, leaving     Tyrone in the van. There's a double set of glass doors.     Sol pushes them open, and Vinny walks in first, while Sol     hangs back with the shotgun.32   INT. BOOKIES -- DAY     Inside is the MAN with the case, busy filling in a slip, and     TWO CLERKS behind the betting counter. Vinny doesn't mince     around and goes straight to the counter, where the HEAD CLERK     PAULINE, comes up to help.                              PAULINE                  Yes sir, how can I help?                                                (CONTINUED)32   CONTINUED:                          VINNY              You can start by giving me all your              money.                          PAULINE              Does Sir know who this bookies belongs              to?                               VINNY                  It. belongs to me now.     Vinny then leans over the counter to get menacing.              Pauline     looks more than a little concerned                              VINNY (CONT'D)                  If you know what's good for...     He is cut short, as Pauline triggers a button under the     counter and a security screen comes flying up at a very rapid     rate of knots protecting all the counters. This has the     unfortunate consequence of taking Vinny with it. Poor Vin     is shot straight to the ceiling, all we can see is half a     body and his desperately searching for ground legs. Needless     to say this leaves Sol in a bit of a bewildered state. He's     looking the wrong way at the critical moment and is left     wondering what happened, not having seen Vince impaled on     the ceiling. Sol extracts the enormous shotgun.                           SOL              Vi nce ? Vince??     He spins round looking for his colleague. A muffled noise     tells him to look up.     ,                          SOL (CONT'D)                           .              What are you doing Vince? And what              the fuck are you doing up there?     A few groans emanate from the other side of the counter.     Sol panics some more, and decides that emergency action is     called for.                               .                              SOL (CONT'D)                  I have got your man out here. If                  you don't put down the screen I'll                  blow his fucking head off! You hear                  me?                              PAULINE ( O . S . )                  I don't care, you can do what you                  like he's not related to me.                              SOL                  You think you can try me?                                                   (CONTINUED)32   CONTINUED: (2.)     Sol raises the gun and fires into the side .of- the wall.     There's an enormous explosion and a clear hole is made in     the side of the wall. The powerful kick from the gun also     makes Sol momentarily airborne.33   EXT. BLACK GUYS' VAN -- DAY     We see Tyrone grimace at the sound of the shotgun.34   INT. BOOKIES -- DAY     Sol pulls himself together and marches up to the hole in the     wall that the shot created and pokes the gun through.                            SOL                Drop the screen now! You just seen                what it did to this wall so think                what it could do to you.     Pauline knows she has lost this one and looks genuinely     scared.                               PAULINE                     (to the other clerk)               . Do it. . . . I said do it.     The screen comes down with a thud. This means that Vince     comes down with just as serious a thud. He lets out another     groan.                            SOL                How you doing Vince?     A weakened voice retorts.                            VINNY                How do I look like I am doing you                fucking idiot? I would be doing a                lot better if you would stop using                my name.     Consoled that his colleague is not dead it's back to business     for Sol. He raises the gun and pulls his fiercest face.                                SOL                Now fill this bag. . . ' . - . -                            PAULINE                All bets are off.                            SOL                I am not here to make a fuckin bet.                                                   (CONTINUED)34   CONTINUED:                            PAULINE               All bets are off.                           SOL               Are you fuckin stupid? I don't care               if the fuckin bets are off. I want...                           PAULINE               If all bets are off then there can't               be any money, can there?     There is a pause. Sol knows he's fucked. She points to a     black board that clearly states "ALL BETS ARE OFF"                            SOL               I ain't buying that.                           PAULINE               I ain't fuckin selling it, it's a               fact!                                         . ''.     Pause                            SOL               Well, what have you got?                            PAULINE               Nothing, I mean we got a few coins               but no notes.                           VINNY               Can we just get out of here please.               I am not feeling too funny.     Sol's temper does have a limit.                           SOL               Well I am not feeling too fucking               funny myself, let me tell you!     Sol points at the man on the floor who is carrying the case.                              SOL (CONT'D)                  Let me see your hands.     The man holds his hands up. He has got a perfect set of     five fingers on both hands. Sol puts his head in his hands.     Pauline and the other clerk put two bags full of coins on     the counter. Sol picks them up and frowns, he's not happy     with a bag full of change. He puts his gun down and starts     to rifle through the bag. Pauline can see Vinny's pistol on     the counter, dropped after his encounter with the screen.                                              (CONTINUED)34   CONTINUED: (2.)                            SOL (CONT.'D)                Copper coins?   What do you mean copper                fuckin coins?     Pauline sees her opportunity and grabs the pistol. Sol .goes     for it too, but he's beaten to it. Sol ducks, pulling Vince     with him, Pauline lets out a series of shots in their     direction, Sol counter blasts over the top of the counter.     The security screen comes flying back up.                            VINNY                             .                Get me out of here now Sol.     Vinny does sound convincingly desperate.                            SOL                We're going Vin.     He grabs the bag of copper coins, grabs Vince and marches     towards the double'doors. They open the first set and then     they try to open the second. They push the door nothing     happens. There is no going back. Sol starts to kick the     glass door, but it doesn't budge. With panic rising swiftly,     Sol doesn't fuck around he takes aim with the handgun and     fires, the bullet shatters the glass but it doesn't break     through, and the bullet now ricochets off both glass doors     shattering bullet-proof glass all around them. Vinny's panic     filled eyes attempt to follow its trajectory. Sol is unaware     of the ricochet and before Vin has time to warn him, Sol     fires another bullet. Now he observes the problem and waits     for the inevitable. The bullet tears through the bag of     coins, which then empties its contents at Vin's and Sol's     feet. Eventually the bullet hits poor Vince in the thigh.     Sol sinks to the floor, he has given up. Amongst the yells     emanating from Vince we can hear Sol's pathetic and desperate     whimpering.                            SOL (CONT'D)                No security, eh?     At that point Tyrone appears and pushes the door open. The     door was open the whole time - only Sol was pushing it the                                                    ,,   ∑    '     wrong way.                            TYRONE                What the fuck are you two doing?     They stumble out into the street. Vinny is in big trouble.     They throw him into the van. Just as Sol gets into the back,     we hear kicking noises on metal from the van behind. Tyrone     pulls out. And the rear doors of the van behind them fly     open. Franky Four Fingers appears from the back of this ∑     van. He was locked in due to the fact that the black guys'     van was blocking his exit.                                                (CONTINUED)34   CONTINUED:   (3.)                              SOL                  Tyrone get us outta here.     Tyrone takes an interest in the man from the van (ie Franky)     seeing that he's carrying a case and the case is connected     to his wrist.                              SOL (CONT'D)                  I said, get us outta here Tyrone!35   EXT. CAESARS PALACE STREATHAM     The Aston Martin comes to a screeching halt outside. Doug     is quite pale from the ride. Hands looks almost satisfied     with the car.                                HANDS          ...-.!         gotta say it's not bad.     He then looks at the sign of the rundown venue, his eyes     squint incredulously.                              HANDS (CONT'D)                  Caesar's Palace?36   INT. CAESARS PALACE STREATHAM     Doug approaches the entrance.                              DOORMAN                  Private night tonight chaps.     Doug passes him a ticket. The doorman steps to the side.     They continue to walk past several other doorman who all     inspect the ticket.                              HANDS                  Jesus are we ever going to get in                  there?                              DOUG                  You gotta understand that this isn't                  exactly Vegas and it's not exactly                  legal.                              HANDS                  I am not looking for Vegas, Doug, I                  am looking for Franky Four Fingers.                              DOUG                  Well he said he was going to be here.                                                   (CONTINUED)36   CONTINUED:     .                              HANDS                  If there's gambling involved, he'll                  be here.     They get nudged aside by an entourage of men coming through.                              HANDS (CONT'D)                  Hello, who's your man?     Hands points out Brick Top who is being crowded by minders.                              DOUG                  Horrible bastard, it's his fight,                  made all his money in.     He touches the side of his nose and inhales.                               HANDS                  Original.                              DOUG                  So he doesn't need to do this, but                  he's got dark taste for fights and                  blood, he wants to impress London's                  criminal royalty..     He points out JACK "THE ALL SEEING EYE" and SALT PETER:     they are surrounded by heavies.                               DOUG (CONT'D)                  ..with a tip on when who hits the                  floor. Any man with veins in his                  brains knows Brick Top knows the                  answer.     Cut back to Jack and Salt Pete.                               DOUG (CONT'D)                  Those boys make Brick top look like                  a skirt clinging thumb sucker. And                  i f y o u p l a y wi t h f i r e . . . ∑     Cut to a few still shots of atrocities committed by the men     in question.                                              ,                                           .:   CUT TO: TURKISH & MICKY                              TURKISH                  So Michael, you got it clear? It's                  the fourth round. I'll tap you anyway                  to let you know when to go down.                                                    (CONTINUED)36   CONTINUED: ( 2 )                               MICKY                   Just make sure the man doesn't kill                   me before the fuckin fourth.                                                CUT TO:BRICK TOP & ERROL               :                               BRICK TOP                   As long as we keep them happy.     Brick Top nods at Jack and Salt Peter, they nod back.                               BRICK TOP (CONT'D)                   Make sure they are kept sweet. The                   last thing I want is them fuckin                   moaning.37   INT. BOXING RING -- NIGHT                               REF           .'∑                   In the blue corner I have the young                   and only unchallenged cutthroat of                   calamity, meaner than Beelzebub's                   conscience cleaner. Give it up for                   the bone crunching one punch machine                   gun -- Micky.     A murky sound of displeasure emanates round the arena.         The     audience don't know who he is and don't care either.                               R EF (CONT'D)                   And in the other corner a man that                   needs no introduction to destruction,                   the solo warrior of Walthamstow,                   sometimes known as Buckshot Peter,                   or sometimes known as the dictator .                   to the devastator, he put the ' e ' in                   eradicate, the ' o ' in obliterate and                   the ' a 1 in annihilate, you know this                   monster of a monster, the sinister                   prime minister.. . . "Bomber the                   "mad man" Harris"!     The audience goes mad. It's hard to tell whether it's out     of affectionate enthusiasm or just enthusiasm.                                R EF (CONT'D)                   Now I want a good dirty fight lads,                   So now it's that time again.. . .                   Let's. . . . Get ready to                   rrrrrrummmmmble.     The two come out to fight. Bomber Harris lifts his monster     hands to do damage. They pace each other for a second.     Then Micky lets one go.                 <                                                    ( CONTIN UED)37   CONTINUED:     It hits Bomber Harris square on the jaw this has the effect     of forcing blood out of his ears the man is positively out     cold. We crashtrack into various characters' reactions:     Brick Top, Turkish and Tommy etc. All are in shock. The     ref (who is obviously paid off as well) tries to resuscitate     Harris/ but it's not happening, he catches a look of     desperation from one of the villains and is eventually left     with little choice but to hold Micky's hand up. We cut to     the nasty looking characters that we saw before they have     approached with their heavies, and they are obviously not     satisfied.            .                              SALT PETER                  Tha-nks for the tip, Brick top.                              JACK THE ALL SEEING EYE                  I have just said goodbye to forty                  large because of you, what's the                  crack?                                                                    :38   EXT. STREET OUTSIDE BOOKIES -- DAY     (NB: the first half of this scene happens about midway scene     28 - as Tyrone parks the van )     We cut back to Frankie Four Fingers getting out of his van.     He takes a quick look around and enters the back of his van.     There he raises the spare tire and picks up his gun, he     examines it and places it in his trouser front. He then     turns to exit. At which point there is a loud smash and     Franky is knocked backwards (as Tyrone hits his van).     WE CUT TO BLACK.                  '     WE FADE UP     (Time-wise, we're now at the end of scene 34)     Frankie wakes up. He has a trickle of blood dripping down     the back of his neck, he looks at his watch and panics. He     kicks the doors a couple of times - nothing happens, but on     the third kick the doors spring open. Franky brushes himself     off and makes his way to the bookies.39   EXT. STREET OUTSIDE BOOKIES --DAY     We cut to Tyrone. Tyrone clocks the case attached to Franky'     wrist. Gets out and slams the end of the gun across Franky     Four Fingers' head. He falls to the ground. Tyrone tries     to take the case off him but i t ' s handcuffed to his wrist.     So he has little choice but to pick him up and throw him in     to the back of the car with the other two.40   INT. PAWN BROKERS -- DAY     We cut to the   black guys trying to open the case. They have     Franky's hand   up on a desk and are fiddling with the handcuff,     whatever they   are trying to break in with snaps off. Vinny     is frustrated   and illustrates his dissatisfaction.                            SOL               Where ' s the Russian?                           VINNY               He should be here in a minute.     Well               get him to open it.     Vinny turns to Franky who has tape over his eyes.                            VINNY (CONT'D)              Oi, you, Four Fingers, how are we              going to get into your case?                           FRANKY THREE FINGERS               If you take the tape off my eyes ∑               I Ml tell you.                          SOL              What do you need the tape off your              eyes for? You talk out of them?                 ∑        VINNY              Just tell us the combination.                          FRANKY THREE FINGERS              I can't remember the combination I              can only do it if I see it .     Pause                          VINNY              You look at us and it's good night.     Vinny takes it off. Franky blinks at the revelation of light.     And gets busy opening the case .                            SOL               Come on.     He opens it - and it's got about a grand inside.                            VINNY              And?                           FRANKY FOUR FINGERS               And here's the money.                                                (CONTINUED)40   CONTINUED:    .                              VINNY                  I don't believe this.      Why are you                  carrying round a case with this little                  in it?      .                        .     Vin turns to Sol and Tyrone who is leaning on the big shotgun     At which point Franky pulls out the gun from the secret     compartment in the case.                              FRANKY FOUR FINGERS                  Now be a bunch of good fellas and                  lie down on the floor.     Tyrone goes for the big gun and Franky pulls the trigger.     Nothing happens other than a big click, there is silence for     a long second and the black guys open their tightly shut     eyes.                                                      :                              TYRONE                  Whoops.     Tyrone also looks into the case and sees the. open secret     compartment: this also reveals the stone.                              TYRONE (CONT'D)                  Hello what have we got here?41   EXT. PAWN BROKERS     Boris is admiring the outside of the shop.        He walks in.42   INT. PAWN BROKERS     Franky is tied up on a stool, in front of him is the case     and it's open. Boris waves the black guys to come into the     corridor so they can talk without being heard.                              BORIS                  What are you doing with him?                              SOL                  The case was attached to his body.                              BORIS                  So why didn't you chop it off?     Sol looks horrified by the thought.                              VINNY                  Err, because we didn't. Now Boris                  we have or rather you have a problem.                              BORIS                  What?                                                   (CONTINUED)42   CONTINUED:                            . SOL                  There wasn't any money there.                   v     Boris pulls out a wad of notes                            BORIS               There's ten grand.                           VINNY               Keep it. We want this, or at least               half of this.                                                                <                                                                ,     Vin holds up the stone: the atmosphere changes.                           BORIS               What was in the case was mine, what               was in the bookies was yours, ok               there wasn't much but, here's ten               large to help the situation.                           VINNY               I am afraid it's too late for that               Boris.                  -     He holds up the diamond. Boris1 eyes follow him as he walks     back into the room where Franky is and puts the diamond back     into the case while he's talking and changes the combination.                           VINNY (CONT'D)               We want half and that's because we               are being generous. We could by               rights keep the whole fuckin stone.     Boris grimaces and pulls out a gun from god knows where, and     within a second shoots poor Franky in the face. Franky's     body disappears off the stool that he was sitting on. The     black guys are stunned into silence.                           BORIS               You fuckin idiots. He couldn't know               who I am. Now open the case and               give me.the stone.     The black guys are left with their mouths open, everything     just changed gear and they weren't expecting that.                              BORIS (CONT'D)               Who's next? You have the ten grand               now give me the stone.     The pause continues. Boris lets a shot off that tears     worryingly close to Sol's head.                                                  (CONTINUED)42   CONTINUED:   (2.)                              SOL                  The only man that knows the                  combination you just shot.     Boris appears little bothered by this and whips out a four     foot machete that he was concealing about his person. He     pulls the case towards him and brings the machete down with     full force. We can tell by the expression on Tyrone's face     that it must have been some part of Franky's anatomy.     Pointing to the ground:                              BORIS                  He's your problem now. You can keep                  the" ten grand along with the body,                  but if I see you again...well look                  at him.     He points to Franky. While he is saying this he bends down     and picks up the case from the floor and wraps the severed     arm in newspaper. He then walks out of the shop casual as     you like.43   EXT. AMUSEMENT ARCADE LONDON -- MORNING     Turkish pulls up outside his arcade and has a look around:     all seems to be clear.                              TURKISH                  I ain't going in the front.                              TOMMY                  I don't think it's a good idea you                  going in at all.     The car surges off round the back.                              TURKISH                  Unless you are going to                  transcendentally extract the passports                  and cash from out of a steel safe, I                  can't see any other way of getting                  them. Keep your eyes peeled.     Turkish has another look around the back                              TURKISH (CONT'D)                  Well I can't see anyone. After I                  have got in go round the front and                  call me if you see anything.44   INT. AMUSEMENT ARCADE     Turkish lets himself in and walks through.        Everything seems     to be fine.     ∑                                                (CONTINUED)44   CONTINUED:     He walks into his office, has a quick look around and makes     his way to the safe under the floor. He decides to put the     kettle on, does so, and his attention is caught by something,     he looks at the cups on the side and sees that one is waiting     to be made. He stands back and looks at the cupboards he     sees that they are all open. Then he sees that the kettle     is already boiled.                                ERROL                  Oink, oink.    Where do you keep the                  sugar?                              TURKISH                  Shit you scared the life outta me.                              JOHN                  You wait till you see what the pigs                  do to you.                          TURKISH              What brings you two here, run out of              pants to sniff?                              ERROL                  That's very good Turkish.                          JOHN              Very cool Turkish.                          TURKISH              Well what do you want?                          EROL              I want two sugars in my tea.       What              do you want John?                          JOHN              I want to see him lying cold and              still, but we aren't here for what              we want are we Errol?     Errol shakes his head slowly.       Turkish's phone rings.   They     let it ring for a while.                              ERROL                  Well aren't you going to answer it?     Turkish does.45   EXT. AMUSEMENT ARCADE LONDON -- MORNING     Tommy on the phone.                                                 (CONTINUED)45   CONTINUED:                          TOMMY              Brick Top's just landed, he's walking              in the front, I would move it if I              were you Turkish...     Turkish puts down the phone                          ERROL              What's happening with the tea?                          TURKISH              Help yourself. You have to every              thing else.                          ERROL              That sounds like hostility, doesn't              it John?                          JOHN              Oh we don't like hostility do we              .Errol?                            EROL              No John we don't, but I am sure he              could be pacified, what do you think              John? Here you hold his arms, and              I ' l l hold his legs.     In walks Brick Top before the boys have had a chance to get     a grip.                                TURKISH                  Brick Top.                                 BR,ICK TOP                  Turkish.     Got the kettle on?     Turkish adapts to his new circumstances.                              TURKISH                  You want sugar?                              BRICK TOP                  No thank you Turkish, I am sweet                  enough.                              TURKISH                  If I turn my back am I going to get                  a hole through it?                               BRICK TOP                  Don't be silly Turkish, if I wanted                  you dead would I be talking?. . .                               (MORE)                                                    (CONTINUED)45   CONTINUED: (2)                           BRICK TOP (CONT'D)               Carry on. You've provided me with a               problem, which you gonna have to               remedy. I gotta bare knuckle fight               in a couple of days. I want to use               the pikey.                             TURKISH               Of course.                             BRICK TOP               Of course fuckin of course, I wasn't               asking I was telling. But this time               I do want him to go down in the               fourth. And I do mean it this time.     Pause                           BRICK TOP (CONT'D)               Now I know you,came back. to. open               your safe, so now you can open it.                .     There is nothing Turkish can do.46   EXT. AMUSEMENT ARCADE     Brick Top exits with Errol and John and grimaces with.the     light. He's holding the contents of Turkish's safe.                           BRICK TOP               He's been a busy little bastard that               Turkish.                           ERROL               I think you have let him get away               with enough all ready gov.     Brick Top looks round with some concern.                             BRICK TOP               It can get you into a lot of trouble               thinking Errol, I shouldn't do so               much of it. ∑     Pause as Errol wants the ground to swallow him up.                           BRICK TOP (CONT'D)               Well that takes care of one little               piggy, now find me the silly sods               that blagged the bookies. Find em               today.                                                              FADE OUT:                                                (CONTINUED)46   CONTINUED:     FADE TO BLACK:     FADE IN:47   EXT. PORTACABIN     The film stock is 1970s, and things seem more dated. This     is confirmed by the dress of our man TONY. Tony is standing     outside a scrap metal yard and he is kicking the door of a     portacabin.                                             ..                              TONY                  Open up Charlie.                             CHARLIE                  Fuck off. The only thing I'11 open                  up is you.                                TONY                  I t ' s lucky you .got me Charlie, it                  could have been one of the other                  lads, and then think how much trouble                  you' d be in.                              CHARLIE                  You come through that door and you'll                  be going out prostrate.                              TONY                  It doesn't belong to you Charlie.     He kicks open the door. CHARLIE is standing behind his desk     holding a pistol directly at Tony. On the table is a bag of     what we must believe is coke, it's open, and Charlie has it     all over his nose.                     .                              TONY (CONT'D)                  You silly fucker, you can't go running                  off with other people's gear. How                  much you put up your nose?     Charlie opens up, he fires four shots straight into Tony who     buckles and falls to the floor. Tony seems only shaken and     he holds his hands out to inspect them, he's bleeding.                              TONY (CONT'D)                  Oh you silly cunt.     Tony stands and walks towards Charlie. Charlie is     understandably shocked and fires another. It goes straight     through Tony and we see the blood hit the wall behind.                              CHARLIE                  Go down-boy, go down.                                                (CONTINUED)47   CONTINUED:     Tony keeps going for him. Charlie raises the gun and points     it at Tony's face and fires the last shot. The bullet goes     straight into his mouth but it went in at an angle and it     exits his cheek. Tony is standing there with six. bullet     holes in him and bleeding all over the carpet. As he talks     blood courses its way down his front and a strong lisp is     frustrating the words.                              TONY                  Ohh you'f in twouble nowf.     Tony slowly extracts a short sword from behind him. Fear     has set into Charlie's face and has rendered him useless.     FADE IN:48   INT. VANTAGE                              ∑     The car comes to a halt again.                              HANDS                  They, have only made forty this year.                  You could find the maker of this                  engine's signature on the engine.                  But you can't find me Franky.                              DOUG                  No it's true. I can't find'him, but                  I know a man that can.     Cut to a shot of Hands encouraging him to continue.                              DOUG (CONT'D)                  Tony. Bullet Tooth Tony.     He'll                  find Franky for you.                              HANDS                  Who's he?     Susi interrupts.                              SUSI                  ∑What is he?' Would be a more                  appropriate question.     Doug frowns at Susi, but continues.                              DOUG                  He's the best chance you have of                  finding Franky.                                                   (CONTINUED)                                             '                '               '                                                                              .48   CONTINUED:    .                              SUSI                  He has upset every bad boy in town,                  at some point, or another but nobody's                  got the nuts to knock him off because                  they aren't sure whether you can                  kill the bastard.                              HANDS                  You really think he can find him?                              SUSI                  He'll find you Moses and the burning                  bush if you pay him to.                              HANDS                  Ok so let's get hold of him.                              DOUG                  Firstly you gotta understand he's a                  little strange.                                       .                           HANDS              .He could swing from trees wearing               rubber dresses as far as I am               concerned, all as I care about is               whether he can find Franky.                                                                             449   INT. CARAVAN CAMP SITE --DAY     Turkish and Tommy pull up outside the pikey camp.             Micky's     Mum is sitting in her chair surrounded by kids.                              MUM                  They're very nice Tommy.       Thank you.     Tommy has produced a bunch of flowers from somewhere.              Turkish     finds this a great surprise.                              TURKISH                  Where did they come from? You're a                  snake in the grass Tommy.                              MUM                  You looking for Micky?                              TURKISH                  'Do you know where I can find him?                              MUM                  Yes.     Pause                                                          ∑                                                     (CONTINUED)49   CONTINUED:                              TURKISH                  Well would you like to share that                  information with me Ms O'Neill?                              MUM                  I don't want you getting my boy in                  to any trouble you hear me? He's my                  only boy and he's a good boy.                               M UM (CONT'D)                  He's coursing, he's a couple of fields                  that way.     Pause                              TOMMY                  What's coursing?50   INT. CAR                                            ∑                              TURKISH                  Hare coursing. The gypsies can't                  get enough of it.                              TOMMY                  What the fuck's a hare?                                 TURKISH                  I t ' s a big rabbit.                              TOMMY                  Why don't they call em big rabbits                  then?                              TURKISH                  Because they call em hares.     Tommy shrugs.                              TOMMY                  So what's coursing?                              TURKISH                  They set two lurchers, they are dogs                  before you ask, on a hare, that's                  the big rabbit. And the hare has to                  outrun the dogs.                              TOMMY                  What happens if he doesn't?                              TURKISH                  Well the big rabbit gets fucked                  doesn't it?                                                (CONTINUED)50   CONTINUED:     Tommy looks a taken aback by this statement.                              TOMMY                  Come on, what, proper fucked?                              TURKISH                  Yeah before the Germans get there                  Tommy. How can a dog fuck a                  rabbit?...eh? If eats the bastard.51   EXT. SEEDY STREET     Errol is curb crawling down a particularly seedy street in a     car with John. They come to a halt, at the feet of some     touter.                              ERROL                  Excuse me mate, d'ya know Mullet?     The man looks a little 'further down the street. Errol follow     his eyes, squints and seems to focus on something.                                ERROL (CONT'D)                  Cheers pal.     Errol puts on the gas a little-, the car surges forward and     slows at the feet of Mullet - seedy looking character with     big ears and a moody haircut, who smokes fat cheap cigars     and wears his top shirt button fastened.                              MULLET                  Errol, John. Alright chaps?     How's                  the gov'nor?                              ERROL                  Very well Mullet, I am sure he'll be                  flattered you inquired.                              MULLET                  Yeah let him know that I asked.                              JOHN                  We'll be sure to. Now come on Mullet                  what have you got for us about the                  gov'nor's bookies?                              MULLET                  I did find something out as it                  happens, I knew a driver who was                  grafting that day.                              ERROL                  Don't stop with the foreplay.                                                  (CONTINUED)51   CONTINUED:                              MULLET                  White geezer, bit of a bounty.                               EROL                  Eh?                               MULLET                  Bounty, black on the outside, white                  on the inside.                              JOHN                  Go on.                              MULLET                  He was doing a job for a couple of                  brothers in Smith Street. I think                  it was a pawn shop.                               JOHN                  Porn as in filthy dirty?                        i                              MULLET                  Pawn as in I have run out of money                  and here's my wedding ring.                               ERROL                  Good boy Mullet.52   EXT. FIELD     Turkish and Tommy have found Micky who is in the middle of a     field and is betting on with various dodgy characters.                               TURKISH                  Well do you want to do it?                              MICKY                  That depends.                              TURKISH                  On what?                              MICKY                  On you buying this caravan.     He pulls out a catalogue on fancy caravans and points to the     picture of the Rolls Royce of caravans.                              TURKISH                  That's not the same caravan.                              MICKY                  This isn't the same fight.                                                   (CONTINUED)                                                                    60.52   CONTINUED:    _                        -                                TURKISH                  I t ' s twice the fuckin size of the                  last one.                              MICKY                  The fight is twice the size. And my                  mum still needs a new caravan.                              TURKISH                  Micky you are lucky we aren't worm                  food after your performance, I think                  buying a tart's mobile palace is a                  little fuckin rich.     There is a pause while Micky frowns.       Turkish looks a little     sheepish.                              TURKISH (CONT'D)                  I didn't mean that your mum was a                  tart. I just meant...                           MICKY               Save your breath for cooling your               porridge. I'll bet you for it.                           TURKISH               What like Tommy did last time? Do               me a favour?                             MICKY               I ' l l do you a favour, you have first     ,               bet. If I win I get the caravan, if               I lose I'l l do the fight for free.     Turkish considers this, uneasily.       He looks at the dogs they     look keen and fit.                              TURKISH                  Okay, I reckon the hare gets caught.     But he's in. Gypsy Romany Music starts. Cut to slow motion,     CU of dogs' enthusiasm, CU of pikeys and their fingers     skillfully dealing in money, inhaling cigarettes, etc.53   INT. CAR --     Slow motion.      Errol and John are looking for Tyrone.54   EXT. FIELD     Slow motion.      Cut back to the dogs.    The chase starts.55   INT. CAR     Slow, motion.       They see Tyrone, Tyrone starts to run.56   EXT . FIE LD     Slow motion.       The hare sees the ,dogs and starts to run.57   EXT. STREET     Slow motion.       They bail Tyrone into the back of a car.58   EXT. FIELD     Slow motion.       The dogs move out in a pincer movement.59   INT. BOOT OF A CAR     Poor Tyrone is bleeding in the boot of a car.60   EXT. FIELD     The dogs move in.61   EXT. CAR     They bail Tyrone out of the car and into Brick Top's pub.     Brick Top is waiting there. Brick Top asks questions. We     can't hear what he's asking, but we can see that Tyrone isn't     playing the game.62   EXT. FIELD     The dogs are moving in.63   INT. DOG HOUSE     A door is opened and Tyrone is thrown in. A rabid Neapolitan     mastiff pitbull hybrid that is attached to the end of a long     pole with a lasso at the other end is brought in, it will     quite clearly savage anything in its way.64   EXT. FIELD     The hare gets caught and a pile of fur comes up65   INT. DOG HOUSE               ∑     The dog bites Tyrone in the leg.     Tyrone shouts in panic, the music breaks, we come out of     slow motion and into real time.                                TYRONE                    Ok, I'll fuckin tell you.66   EXT. FIELD    .     The hare escapes the jaws of the dogs and is off.67   INT. CAR     Turkish is getting into his car.                           .    ..                              TOMMY                  You're are as mad as mars you are,                  why did you take that bet? What                  happens now?                              TURKISH                  We buy him a caravan Tommy.                              TOMMY                  There is something very wrong with                  this, it was us that wanted to buy a                  caravan off him.                              TURKISH                  Why didn't you "bus a cap in his                  ass" then Tommy? Mind you, you would                  do more damage if you threw it at                  him.                              TOMMY                  You saying I can't shoot?                              TURKISH                  Oh no Tommy I wasn't saying you can't                  shoot, I know you can't shoot. What                  I was saying is that six pound piece                  of shit stuck in your trousers there                  would do more damage if you fed it                  to em.                              TOMMY                  Are you saying it doesn't work?                              TURKISH                  You tried it?     Tommy frowns                              TURKISH-(CONT'D)      .=..        . That Russian saves the shooters that        "'                  work for the faces, and I don't want                  to be the one that breaks it to you                  Tommy but you ain't a face. Go on                  try it.     Tommy sticks the gun out the window and pulls the trigger.     Nothing happens.                                                 (CONTINU ED)67   CONTINUED: .                                TURKISH (CONT'D)                 Whoops.                                TOMMY                 I want to see that sneaky fuckin                 Russian.68   INT. BACK ROOM PAWN BROKERS     Vin and Sol are trying to wrap Franky's body up.      Bad Boy     Lincoln has been called in to help.                             BAD BOY LINCOLN                 What happened to him?                              SOL                 He got shot in the face Lincoln, I                 would have thought that was obvious.                                BA D BOY LINCOLN                 Well what do you want me to do about                 it?                                SOL                 Sort it out.                                BAD BOY LINCOLN                 The only way to sort it out is to                 bring him back to life and I am not                 a fuckin witch doctor am I?                              SOL                 Villains are supposed to know how to                 get rid of bodies.                                BAD BOY LINCOLN                 Err, yes, but I have never actually                 got rid of one. Who is he?                             SOL                 He's a man with a hole in his face                 Lincoln. Who cares who he is?                             BAD BOY LINCOLN                 Err well, let's wrap him up.                              SOL                 What do you want to do that for?                , He's not a fuckin Christmas present.69   INT. CAR     Brick Top is on the phone and Errol and John sit opposite.                                                   (CONTINUED)69   CONTINUED:. .                          BRICK TOP              Like I said I wasn't giving you a              choice. I am telling you that fuckin              gypsy has got to fight.70   INT. AMUSEMENT ARCADE     Turkish is on the other end of the phone to Brick Top.         Tommy     is trying to listen in to what is being said.                          TURKISH              I am sorry, but he's a stubborn              bastard, he says he's had enough, he              says he's got to look after his old              mum.                             BRICK TOP              His what?                  ∑.-∑                     . ..                             TURKISH                          '              His mum.                          BRICK TOP              Are' you taking the piss again?                          TURKISH              That's what he said, she's a nice              old girl his mum.                          BRICK TOP              You're on thin ice Turkish, and I am              going to be there when it breaks.     He puts the phone down and inhales.                          BRICK TOP (CONT'D)              Anything for an easy life. That              fuckin pikey being difficult. Hello,              we here?71   EXT. PAWN BROKERS     We see Errol outside with a glass cutter. He puts it around     the door and creates a circle with the sharp side, pulls it     out and puts his hand through to kill the alarm. He's in.                         - ERROL               You coming John?                           JOHN               Is a trout's head water proof Errol?               I wouldn't miss it for the world.                                                (CONTINUED)71   CONTINUED:                              ERROL                  Get the governor John.     John goes back to the car which is parked down the street.     The window slides down.                              JOHN                  It looks like we are in gov.                              BRICK TOP                  Oh goodie gum drops. Get us a cup                  of tea would you Errol?72   INT. BACK ROOM PORN BROKERS     Vin, Lincoln and Sol are arguing                              SOL                  Hold him by his legs.                              BA D BOY LINCOLN                  What do you think I am holding him                  by, his fucking ears?     The interconnecting door opens slowly.                               BRICK TOP                  Hope it ' s not a bad moment.     Sol looks at Vin, Vin looks at Lincoln: they are     understandably surprised. Brick Top looks around the room     the silence continues. Brick Top helps himself to the most     comfortable seat.                              BRICK TOP (CONT'D)                  Do you know who I am?                                 BAD BOY LINCOLN                  Yeah I know.                               BRICK TOP                  Good.   That will save me some time                  then.                              VINNY                  Well I don't.                              BRICK TOP                  What you gonna do with your man there?                  You're always gonna have problems                  lifting a body in one piece.                  Apparently the best thing to do is                  cut the corpse up into six pieces                  and pile it all together.                                                   (CONTINUED)72   CONTINUED:                          SOL              Would someone mind telling me who              you are?                          BRICK TOP              After you got six pieces you gotta              get rid of 'em, of course you can't              just leave it in the deep freeze for              your mum to discover, can ya?     Pause while the black guys are still holding the body. The     door opens and in walks Errol. He passes Brick Top a cup of     tea in a take away container.                          VINNY              Lincoln, who is this man?                          BRICK TOP              And then I hear the best thing to do              is feed 'em to pigs. You gotta starve              the pigs for a few days, then the              sight of a chopped up body looks              like curry to a drunk. You gotta              shave the heads of your victims and              pull the teeth out, you could do              that after of course, but you don't              want to go sieving pig shit do you?              Ever seen the size of one of their              molars?                                        ∑     He holds up his fist                           BRICK TOP (CONT'D)              They go through bone like i t ' s butter.              You gotta have a few pigs though you              need about sixteen they will go              through a body that weighs two hundred              pounds in about eight minutes that              means that a single pig can consume              two pounds of uncooked flesh every              minute,. . .     Pause                          BRICK TOP (CONT'D)              Hence the expression greedy as a              pig.     Pause                            VINNY               Well thank you, that's a large weight               off my mind.                            (MORE)                                              (CONTINUED)72   CONTINUED: (2)                           VINNY (CONT'D)               But would you mind very much telling               me who the' fuck you are? Other than               a man that feeds people to pigs of               course.     The door opens and we see John, who is wearing a pair of     extremely large plastic gloves, showing Brick Top the shotgu     that he has found.                           JOHN               Would you look at the size of this?                           BRICK TOP               Golly that is big isn't it Errol?     He looks back at the brothers                           BRICK TOP (CONT'D)               Do you know what Nemesis means?     There is a pause                            BRICK TOP (CONT'D)               A righteous infliction of retribution               ∑by. an appropriate agent, personified               in this case by a horrible cunt.               Me.     Brick Top stands and opens the door. We can see that a coupl     of ropes have been slung over the rafters and a couple of     buckets are underneath them. SIX VERY LARGE MEN (including     Errol and John) are standing around wanting to get busy. -     Tyrone is with them, all trussed up.73   INT. DOUG'S OFFICE     ∑BULLET TOOTH' TONY is in front of Hands, Rosebud and Doug.                           HANDS               Can I call you Tony?                           BTT               You can call me Susan if it makes               you happy.                           ROSE BUD               You got nice teeth Susan.     Tony demonstrates an interest in Rose Bud's.                           BTT               You don't, you should comb em some               time.                                                 (CONTINUED)73   CONTINUED:     Hands interrupts                              HANDS -                  Tony, I want to know if you can find                  me a man.                              BTT                  Well then it depends on all the                  elements in the equation, how many,                 are there?                               HANDS                  About forty thousand.                              BTT                  Where was he last seen?                              DOUG                  At a bookies.                              BTT                  A bookies eh? Susi, pass us the                  blower.     Susi reaches for the phone.74   INT. PAWN BROKERS     The black guys are hanging upside down.        Errol and John are     now wearing industrial pinnies.                              ERROL                  Is this how you want him gov?                              BRICK TOP                  No spin him round, I want him sunny                  side up.                              SOL                  Mr Mclean I kid you not. Why do you                  think we have a dead man, missing an                  arm in our office? Give us four                  days and we'11 bring you a stone the                  size of a home.     Brick Top considers this, and has a look at Errol who is     more than enthusiastic to get on with the job at hand.                              BRICK TOP                  What do you think Errol?                              ERROL.                  I think we should drip dry em                  governor, while we have the chance.                                                  (CONTINUED)74   CONTINUED:     Brick Top again frowns at Errol.                               BRICK TOP                  It was a rhetorical question Errol,                  what have I told you about thinking?     He turns back to the brothers.                              BRICK TOP (CONT'D)                  You got forty eight hours.     He looks at Lincoln.                              BRICK TOP (CONT'D)                  I am going to take your man here.     Pointing to Tyrone.                              BRICK TOP (CONT'D)                  You can keep this silly wanker.                              .LINCOLN                  Hold on..                               ERROL                  Shut it or I'll cut ya. . .                              BRICK TOP                  In forty eight hours I'11 set the                  dogs on him and then the pigs on the                  remains.     Brick Top nods at Errol who looks extremely disappointed.75   INT. CAR     BTT and Hands are driving along.      Rose Bud is in the back.                              BTT                  A bookies got blagged last night.                               HANDS                  Blagged?                              BTT                  Robbed. I gotta see a man who looks                  like he might know something, but it                  can't be done on the phone if you                  know what I mean.     He turns to Rose Bud.                              ROSE BUD                  I need a cun.                                                    (CONTI NUED)75   CONTINUED:                               BTT                  No you don't, Rose Bud my old son,                  you need me.76   INT. PAWN BROKERS     Tyrone looks desperate.                  .                               TYRONE                  He set the dogs on me.   Look.     He shows his wounds to Sol and Vin.                               VINNY                  No wonder that sneaky fuckin Russian                  didn't want to do it.                               SOL                  First things first, one of us, Tyrone,                  you get round to-the Russian's. The                  second you see him call us.                               TYRONE                  You better be round with something                  substantial, don't turn up with a                  frown and a wagging finger.                               SOL                  I am on it Tyrone^.77   EXT. SEEDY STREET     BTT is in the car with Hands and Rose Bud. The car is parked     at the feet of Mullet, who is in discussion with another     horrible character. Mullet is extremely nervous about seeing     BTT.                            BTT               Alright Mullet?                               MULLET                  Tony, alright mate? I thought.,                  well I thought you weren't about                  anymore.                                             .:∑.∑∑∑∑                          : : BTT                  Well what do you know? It's still                  warm the blood that courses through                  my veins. Unlike yours Mullet.     Bt.t has a quick look down the street.                                                   (CONTINUED)    77   CONTINUED:                                  BTT (CONT'D)                      This job does have prospects after                      all, you travel to pretty places,                      meet interesting people.         Btt looks at who Mullet is talking to, the man has a try         hard mustache and interjects.                                  MAN                      Who the fuck gave you such a big                      mouth?                                  BTT                      Someone whom you might shortly meet.                                  MAN                      You threatening me?                                  BTT                      Only with wings and a halo.         Mullet gives the man a furtive kick and makes eyes to shut         up.                     ,                                  BTT (CONT'D)                      Clean the breakfast7off your top                      lip/ and make yourself busy sunshine.         The man moves off                                  BTT (CONT'D)                      I want to know who blagged Brick                      Top's bookies.                                  MULLET                      Oh do me a favour Tone?                                  BTT                      I will do you a favour Mullet, I'll                      not bash the living fuck out of you                      in front of all your girlfriends                      here.     ∑                            MULLET                      I don't know anything about that                                                               ∑                                                               ∑                      Tony..    .                                  BTT                      If you play hard to get 'Mullet you'll                      wish you'd never been caught.         Mullet looks uncomfor'table about the fact that he's thinking.j                   '                   ∑        ∑      ∑                                                     (CONTINUED)77   CONTINUED: (.2)                            MULLET                Make it worth my while at least.                Jesus Tone you know how it is.     Btt turns to Hands.                            BTT                Give us your wallet Hands.     Hands makes eyes and digs into his back pocket and produces     his wallet. BTT takes out some notes and proffers them to     Mullet, Mullet nervously reaches forward. As quick as you     like Btt has Mullet by the collar and pulls Mullet into the     car. He then raises the electric window on Mullet's throat     until it has fastened Mullet to the roof of the vehicle.                             BTT (CONT'D)                Comfortable Mullet? ,     Mullet has already gone pink.                            BTT (CONT'D)                You can take as long as you like                Mullet.     Btt starts to pull away so Mullet has to keep walking with     him.                            MULLET                Fuckin hell what are you doing?                            BTT                I am driving down the street with                your head stuck in my window. What                do you think I am doing you penis?     He does the window up a bit tighter. And grabs him by the     nose. He pulls a face when he smells his breath.                            BTT (CONT'D)                You been using dog shit tooth paste                Mullet?     He speeds up even more.                  ..      MULLET . . - . - ∑                Slow down.                            BTT                 .                Err no I don't think I'l l slow down                Mullet, I think I ' l l speed up. I                could play you some music if you                like.                                               .(CONTINUED)77   CONTINUED:   (3)     BTT turns on the radio.        A song comes on that he loves.                              BTT (CONT'D)                  Oh I love this track. Yes Mullet.                              MULLET                  It could be Tyrone Conway.                              BTT                  Tyrone Conway?                                MULLET                  White geezer, thinks he's black, did                  a job for a pair of brothers who                  have a pawn shop in Smith Street.                              BTT                  Tyrone Conway?                              MULLET                  Yes that's what I said.   I t ' s fuckin                  Tyrone Conway.                              BTT                  It may be fuckin him, but wait and                  see what I can do to you.     He puts his foot down and Mullet loses his footing, and is     dragged along.                                      '.                                HANDS                  What about?     He points to Mullet. BTT pulls an, 'oh yes I forgot about     him1 face. He doesn't even look at Mullet. He lowers the     window, and Mullet falls by the way, in god knows what     condition.78   INT. PAWN BROKERS     The music continues, and we have a montage of the black guys     dealing with Bullet Tooth Tony and Hands as they arrive at     the pawn shop. We see the corpse, we see Hands get irate     and it looks like it's going to be the end of the black fellas     again. The black guys try to whip out the big gun but Tony     disarms them and takes the gun off them. The music ends     along with the scene when Sol breaks.                              SOL                  It's the Russian, well to be technical                  an Uzbekistan.                                                  (CONTINUED)78   CONTINUED:                              HANDS                  Russian? The sneaky dogs. I been                  doing business with those sneaky                  dogs.                               SOL                  Boris.     BTT looks familiar with this name.                              BTT                  Dear oh dear, you do know some                  horrible people.79   INT. DOUG'S OFFICE                           HANDS               Russians, I didn't think it would be               the Russians.                           DOUG               Boris the Blade? I heard of him,               isn't he supposed to be a short little               fucker that's covered in scars?                           BTT               Sneaky little shit one of the Russian               dissidents, killed more men               than,...well he's-killed a lot of               men. Deals in arms, that he gets               off some of the old school.     We cut to the security monitor that observes the shop, it     sits on Doug's desk. The door opens and in walks Boris. As     bold as brass he walks up to the counter.                               DOUG                  Hold on.   What's going on here?     Doug picks up the phone to the downstairs shop.      Susi picks     up the receiver at the other end.                               SUSI                  Yes Dad?                   . ---   - DOUG                  What does that man want?                                SUSI                  I t ' s hard to say, he's got a thick                  Russian accent.80   INT. DOUG'S .OFFICE DOWNSTAIRS     They are obviously going to move in on the Russian.                           BTT               He's a bit sneaky this fella, so               watch out.                            ROSE BUD               I hate Russians. I'll sort him out.     Hands and BTT both look at Rose Bud and look relieved for     the offer.                            BTT               He's all yours Rose Bud.81   EXT. CARAVAN CAMP SITE     Micky is looking at his caravan; it's in flames, real proper     roaring flames. People are desperately trying to put the     flames out. Micky is covered in dirt from his futile efforts.     One of the other pikies who's involved in trying to extinguish     the fire turns round and sees Micky standing there motionless.     He can see he's upset.                           PATRICK               What's wrong with Micky?                           DAREN               His mam was in there Patrick.   They               burnt his mam.     All real sound recedes and we drift in to music. The camera     slowly tracks in on Micky. It's hard to read how devastated     he is. The camera reaches Micky's face, the reflections of     the flames can be seen in his water swollen eyes, but his     cheeks remain dry.         .82   INT. BTT CAR     BTT is driving, Hands in the passenger seat and Rose Bud in     the back. BTT's got a bleeding eye and his hand is wrapped     up in a bandage. Rose Bud is clutching his stomach.                           HANDS               Sneaky was a bit of a fuckin               understatement wasn't it?                           BTT               What do you want me to do? Your man               there thought he could take him. I               told you he was dangerous.                           HANDS               How you doing Rosey?                                               (CONTINUED)82   CONTINUED:    .     Hands looks at Rose Bud who's holding his midsection.                              ROSE BUD                  You're going to have to get me to a                  hospital, let's shoot that fucker.                  Then get me to a hospital.                              HANDS                  We gotta get this stone first Rosy                  and then we'll get you to a hospital.83   INT. BAD BOY LINCOLN'S     Vin and Sol are going through a selection of keys they have,     trying to open the front door.                              SOL                  Lincoln's got some tools here, when                  he has had a few drinks he gets em                  out and runs around the house holding                  a pistol in each hand, telling me                  about what a bad boy he is.                              VINNY                  Do you know where he keeps em?     They find the right key.                              SOL                  Well they ain't gonna be lying on                  the kitchen table Vince, we gotta                  have to look. Flick tlie switch.     I t ' s dark, they flick the switch. They look onto an     immaculate pad. Music fades up along with the lights.                               VINNY                  Jesus.   What's going on here?                              SOL                  He likes his drum does Bad Boy                  Lincoln.     The dog goes bounding in.                              SOL (CONT'D)                  Well let's get busy.     EXT. BORIS1 HOUSE84     BTT's car pulls up outside Boris1 house. BTT and Rosebud     pull Boris up in the boot. Tyrone who is hanging about nearb     keeping watch, witnesses this. Rosebud places a blade at     the Russian's neck.                                                   (CONTINUED)                                                                 77.84   CONTINUED:                              ROSE BUD                  I think you have got something to                  tell us.                              HANDS                  Take it easy Rosy, take it easy.     BTT looks at the blood that's already starting to pierce the     skin from where the blade is pressed against the Russian's     neck. BTT then looks at Hands with concern.                              BTT                  You want him to be able to talk or                  not?85   INT. BAD BOY LINCOLN'S     Sol and Vin have found the weapons and are tossing them from     hand to hand.                              SOL                  I didn't know did I? They always                  looked the shit to me.                           VINNY               What are we gonna do with em Sol?                           SOL               Shut your mouth Vince, this is all               we got, so this will have to do.     Sol's mobile rings.                              SOL (CONT'D)               Yes?86   EXT. BORIS' HOUSE                              TYRONE                  Boris is here.87   INT. BAD BOY LINCOLN'S                              SOL                  Now.                              TYRONE                  That's why I am calling you.                              SOL                  We're coming over.   Hold him there.     Sol puts the phone down before he has to hear what Tyrone     has to say.                                                 (CONTINUED)87   CONTINUED:                 .                                     S7                              SOL (CONT'D)                  Leave that dog here Vince, we gotta                      *                  go.     They shut the dog in the main room and go out of Lincoln's     house.88   EXT. BORIS1 HOUSE                                                88                                TYRONE                        (continuing after                                  *                        Sol's put the phone                                *                       down)                                               *                  He's not on his own.89   INT. TYRONE'S CAR                                                89     We cut to Vinny and Sol tearing round to Boris's.. They're     driving Tyrone's car. As they arrive, Tyrone jumps out in     the middle of the road. They screech to a halt, narrowly     avoiding squashing Tyrone.                            SOL              Where is he?            ∑             .                            TYRONE              I t ' s not just a he, there are three              .    *              of them in the house with him.                              SOL                  Why didn't you tell us Tyrone?     Tyrone pulls a "I tried" face.                              VINNY                  Do they look hard?                              TYRONE                  They look fucked up.                              SOL         .      "                     *                  Well get in and let's load up.     Vin whips out a gun.                              VINNY                                    *                  Load them up with what?                              *                              TYRONE                                   *                  What's wrong with them?                          VINNY     .        They're replicas.                                                   (CONTINUED)89   CONTINUED:                              TYRONE                  Hold tight rudy, are you fuckin mad?                  Do you know who these people are?                              SOL                  No I don't Tyrone, but I do know I                  don't want to be eaten by pulled                  apart by dogs and then eaten by fuckin                  pigs.90   EXT. PIKEY ENCAMPMENT     Tommy and Turkish are looking on to the burned out caravan. .     They are in shock. There is a whole gathering of dodgy,     angry looking pikies standing around, giving Turkish and     Tommy some bad looks.                              TURKISH                  Jesus I am sorry Micky. I am really                  sorry. He's a mad bastard.     Darren decides to interject.                              DAREN                  Who are these the boys Micky?     Darren's eyes are full of poison.         Tommy and Turkish suddenly     feel very uncomfortable.                              MICKY                  Back off Darren. What kind of cunt                  would turn up here if they knew what                  had happened? Leave my business to                  me boy.     Darren spins on his heel                              MICKY (CONT'D)                  I got a message that he wanted me to                  fuck you two off, that's why I wanted                  you back. I' l l do the fight before                  he causes any more carnage, but I ' l l                  only do it if you're there.                              TURKISH                  Why?                              MICKY                  Because I know he fuckin hates ya. .      ∑91   INT. TURKISH'S CAR -- CONTINUOUS     Turkish and Tommy are driving. Turkish is drinking a pint     of"milk (as usual). There is silence for a while.                                                   (CONTINUED)91     CONTINUED:                                TOMMY                    It's not warm the blood in his veins                    is it?                                TURKISH                  I gotta say .1 don't like this Tommy.                 This has got very fuckin messy.                 Jesus you know how he felt about his                 old girl. I think we should get you                 a new gun Tommy, but this time try     . . . '.    it.                                TOMMY                    How far is the Russian's?                                 TURKISH                    We'll be there in a minute.       He takes a sip of his milk.       There's a pause.                                TURKISH (CONT'D)                    It's not the same.                                TOMMY                    What?                                TURKISH                    Milk, in these cartons.                                           i                                TOMMY                    You shouldn't drink that stuff any                    way.                                 \                                TURKISH                    Why, what's wrong with it?                                TOMMY                    It's not in synch with evolution.                                TURKISH                    Shut up!                                T OMMY                    Cows have only been domesticated in                    the last eight thousand years, before                    that they were running around mad as                    lorries. The human digestive system '"'                    hasn't got used to any dairy products                    yet, it takes a lot longer than that.                                TURKISH                    Well fuck me Tommy, what have you                    been reading?                                (MORE)                                                     (CONTINUED)       CONTINUED: (2)91                               TURKISH (CONT'D)                  Cows mad as lorries eh? You hear                  about the two cows having a chat in                  a field? One says to the other,                  "what do you think about this mad                  cows' disease then? The other one                  looks back and says "doesn't bother                  me, I'm a duck.       Turkish looks back at him blankly.                               TOMMY                  Here let me do you a favour.       He reaches over and grabs the carton from Turkish, and throws       it out the window. The milk obviously hits an on-coming car     . in the other direction. There is a terrible crashing noise.       Tommy and Turkish come to a standstill, and look back to see       a small pile up on the other side of the road.                             TOMMY (CONT'D)                 What was in that milk?92     INT. BORIS' HOUSE       BTT, Hands and Rose Bud are standing over a safe. They are       looking at a whole pile of money. The case is open and Hands       is holding the stone.                             HANDS                 He's a sneaky fucker that Russian.                 Well shall we go?                             BTT    ∑                 What you want to do about the Russian?                               HANDS                  I want to bury him.       EXT. BORIS1 HOUSE93       Hands, Tony and Rosebud walk out.94     INT. TYRONE'S CAR       The black guys witness this. Tyrone's now in the front seat       driving.                   .                             VINNY                 Well come on let's have em.       Pause while they consider this.                                                  (CONTINUED)94    CONTINUED:    -                               VINNY (CONT'D)                   Well come on.                               SOL                   Not so fast Vin we can't get em now                   we gonna have to follow them.      B TT's car moves off.    The black guys follow.                                  TYRONE                   I ' l l move in. It'll be ok.                                SOL                   OK is very close to KO, and KO is                   close to R.I fucking.P. You know                   what RIP stands for Tyrone?                                TYRONE                   It stands for.                                SOL                   It stands for .shut your fuckin mouth                   Tyrone and leave the talking to us.                   Let's get these ready.                               TYRONE                   Do they fire?      Pointing to the guns.                              ' SOL                   Of course they fuckin fire?                                VINNY                   How do you know? They're replicas,                   what do you know about replicas?      Sol looks at the gun and frowns, "what does he know about      replicas"? He pulls the trigger. He fires one shot. It is      very loud, the gun goes off near Tyrone's ear, he buckles in     . pain. The car does a massive swerve and everything nearly      ends in disaster, all the windows shatter including the      windshield (but the glass stays put). Tyrone regains some      control over the car.                                VINNY {CONT'D)                   What the fuck do you think you're                   doing Sol?                                SOL                   Jesus, I didn't know it was that                   loud.                                                   (CONTINUED)94   CONTINUED: -<2)                             VINNY                Well just how fuckin loud did you                think it was going to be? It's a-                fucking gun Sol, guns are renowned                for making a loud fucking noise                whenever you pull the trigger.                            SOL                You wanted to see if they worked.                             VINNY                I didn't mean try it in the fuckin                car Sol.                             SOL                Well they work, I reckon they are                really going to put the shits into                em.                           VINNY               Right now I am not concerned with               putting the shits into em Sol, I am         " " . concerned about taking the pain out               of my ringing fucking ears. Look               what you did to poor Tyrone. Tyrone               you alright?     He taps Tyrone on the shoulder.     Tyrone looks up.                            VINNY (CONT'D)                Are you alright?     Tyrone spins in his seat and answers a little too loudly.                            TYRONE                I am fuckin deaf! What have you                done to my car?     They crash into the car in front.     Boris the Blade comes     flying through the windshield.95   INT. BTT CAR -- NIGHT     (This scene runs concurrently with scene 91)                            HNS                             AD-   .......                How we going to get rid of him?                            BTT                You want to shoot him?                              HANDS                I t ' s a bit noisy isn't it?                                                (CONTINUED)95   CONTINUED:    -                              BTT                  Well you want to stab him?                             -HANDS                  That's a bit cold blooded isn't it?                              BTT                  You want to kill him or not?                                ROSE BUD                  I' 1 1 cut him.                              BTT                  That's the spirit.   There's a sword                  back there.     He points to behind a seat: there is a bloody great sword     concealed. Tony skillfully passes the sword to Rose Budd,     who attempts to pull it out of its scabbard. Tony turns     round to Hands.                              BTT (CONT'D)                  You, you want a knife?     He passes Hands a knife.                              HANDS                  I wouldn't know what to do with it.                              BTT                  It's not a fuckin rocket launcher.                  It's a knife for gods sake, what                  have you used for to keep your fork                  company for all these years? It's                  got a sharp side and a blunt side.                  You want a lesson?     There is a sudden bang on the windshield and BTT turns back     to the front only to see the windshield covered in milk.     Tony can't see where he is going and searches for the     windshield wipers. While this is happening the car swerves     to the side and hits a lamp post. They crash and the boot      (trunk) has flown open and Boris the Blade tries to lift     himself out. Rose Bud looks down at the sword he has been     extracting he can see he very nearly cut himself in two.     Tony pulls himself up from the steering wheel he has a trickle     of blood running down his face. There's a crash and a car     hits em from behind.96   INT. TYRONE'S CAR --NIGHT     They too are recovering from the accident. And Boris has     now come headfirst through the windshield.                                                  (CONTINUED)96   CONTINUED:   -                              VINNY                  You idiot what have you done?                              SOL                  Is that Boris?97   INT. BTT'S CAR                              HANDS                  What happened?                              BTT                  We hit something and something hit                  us.     He turns and sees that Rose Bud has got a sword sticking     though him. It's gone through him and the seat that he is     sitting on.98   INT. BLACK GUY'S CAR                              SOL                  Let's hit em now.                              VINNY                  The is a dead Russian on my lap Sol                  I am not thinking about hitting                  anybody right now.                              SOL                  Well you better start thinking Vince                  because otherwise you'll be fuckin                  lucky if you end up looking like                  that.99   INT. BTT'S CAR    .                              BTT                  You alright?                              HANDS                  No I am about a rocket ride from                  right Tony.                              BTT                  I mean do you feel alright?                              HANDS                  Ohh yeah, I feel like I am lying on                  the naked lap of Aphrodite, cooled                  by the tumbling petals of spring                  roses, how the fuck do you think I                  feel?                                                  (CONTINUED)99     CONTINUED:     -                                BTT                    Hold tight big man, and put your                    guns away. Let's get going.                                HANDS                    What about Rose Bud?                                BTT                    Well you can bring him with you if                    you want but which bit do you want                    to bring?100    INT. BLACK GUY'S CAR                                SOL                    They are getting out.                                VINNY                    Well get down, the last thing we                    want him to see is three brothers                    wearing ski masks.1.01   INT. CAFE       BTT and Hands, covered in blood, walk off the street into a       cafe.                                HANDS                    I gotta clean up.       He goes out the back while BTT goes to the pay phone to call       Doug.102    EXT. STREET       The black guys pile out of the car and follow BTT and Hands       at a safe distance.103    INT. CAFE       BTT is on the phone                                BTT                    Doug, we are in the shit, come and                    pick us up.104    EXT. BORIS1 HOUSE       Tommy and Turkish pull up outside Boris' house.                                TURKISH                    He's left the door open.                                                  (CONTINUED)104   CONTINUED:    -                               TOMMY                   I shouldn't think that's a good idea.                   Shall we have a look?                               TURKISH                   I don't want to go in there, he's a                   dangerous bastard, taken too many                   disco biscuits in the heat of Russian                   disputations, he's got as many of                   these nuts as those nuts.      He grabs his groin and circles his finger and his temple                                 TOMMY                   I don't care if he's got fuckin hazel                   nuts, I want a gun that works.                                 TURKISH                   Well come on then before the Germans                   get here.105   EXT. CAFE              .                   .      The black guys have followed BTT and Hands and are waiting      outside, readying themselves for action.        .                            SOL                                    '   .              . Now Tyrone you go... Tyrone, oi                Tyrone.      Tyrone can't hear a thing.                               VINNY                   I'11 never forgive you Sol.      Sol taps Tyrone on the shoulder.                               SOL                   When we get in you wait by the door                   I am number one, Vin number two and                   you are number three.106   INT. CAFE      The black guys enter. BTT has just finished his phone call      and sat down.   .     -.                               SOL                   I don't want a fuss and I don't want                   to put a bullet in your face, but                   unless you give me exactly what I                   want there will be murders.      BTT shakes his head in amazement.                                                     (CONTINUED)106   CONTINUED:    -                               SOL (CONT'D)                   Number three pull the blind down.      Tyrone can't hear this request.                               VINNY                   lo number three, he said pull the                   blind down.      He still can't hear him.       This is minorly embarrassing.                               VINNY (CONT'D)                   I'll sort it.   .                               SOL                   Stand up!                               BTT                   Excuse me, but who the fuck are you?                               SOL                   You hear what .1 said? Stand up,                   unless you're crippled.                               BTT                   Do I look crippled?                               ,                               SOL                   You'll look fucking dead, unless you                   stand up.      Sol cocks the gun and Tony pulls a sarcastic 'I am shocked'      face.                               BTT                   You got ballsl                               SOL                   You want to test em?                               BTT                   There are two types of balls, there                   are big brave balls and there are                   little mincy faggot balls.                                           '-- - * ' . - ∑                          ∑p- WNNY     .                   You're a dead man talking. These                   are your last words so make them a                   prayer.      Vinny takes aim.                                                  (CONTINUED)106   CONTINUED: (2)                            BTT .                So you're obviously the big dick,                and they on either side of you, must                be your balls.      Vin goes to hit him with the gun but it's caught by Tony,      Vin tries to pull the nose out of Tony's hand but he can't      move it. Sol steps forward and raises his gun.                            SOL                Let go of the gun.      Vinny cocks his gun.   There is a pause and eventually Tony      lets go of it.                            BTT                I am talking for your benefit. Now                dicks have drive, and clarity of                vision.      Tony starts to build himself a complicated looking weapon      under the table, unseen by the black guys. He takes bits      out of one sock and bits out of another sock.                             BTT (CONT'D)                But they're not clever, they smell                pussy, and they want a piece of the                action, and the dimmer the dick, the                less he cares about the consequences,                and you thought you smelt gooood ol                pussy, and have brought your little                mincy faggot balls along for a gooood                ol time, but you have got your parties                muddled up, there is no pussy here,                just a dose to make you wish you                were born a woman.. . .      We cut to the shell shocked brothers, and the almost      completely built weapon.                             BTT (CONT'D)                And just like a prick, you are having                second thoughts; you're shrinking,                and your little balls are shrinking                with you.      They stare on. The brothers have lost this one and they      know it. They start to reverse. BTT lets the odd chicken      cluck out the corner of his mouth, Vinny misses his step and      waves his gun about in a futile effort to look mean. They      back away into the corridor down to the back door of the      cf. . .       ae                                                     ∑ 107   INT. CORRIDOR -- CONTINUOUS       ...and just as they turn the corner they bump into Hands       still drying his hands, they can see that he's carrying a       case that they recognize. The brothers adapt to their new       scenario:                               VINNY                 Pass it me.       Hands hesitates. 108   INT. CAFE.-- CONTINUOUS       BTT can hear that the black guys and Hands have run into       each other and pulls out the complicated looking gun which       is now in one piece. BTT cocks the gun and aims it at the       wall which the brothers would be behind, he follows the wall       simulating the speed of their journey. 109   INT. .CORRIDOR -- CONTINUOUS.-.'-..                      VINNY                 I won't ask again       He raises his gun. A covey of bullets perforates the wall,       one hitting Vin in the hand. The brothers take the       opportunity to duck. Hands dives for cover too and drops       the bag. A continuation of bullets comes flying through the       wall. The black guys take the opportunity to pick the bag       up and leg it. 110   INT. CARAVAN       I AM AFRAID THAT THIS SCENE HAS TO WAIT UNTIL I HAVE BEEN TO       A IRISH TRAVELERS WAKE. I'LL BE ABOUT FOUR MINUTES LONG.       IF YOU HAVE ANY IRISH RELATIVES THAT HAVE DIED RECENTLY DON'T       HESITATE TO CALL. 111   INT. BRICK TOP'S PUB       The brothers are standing in front of Brick Top, they move       uneasily from foot to foot. Brick Top examines the stone.       He looks up.                             BRICK TOP                 Quite a lump. Alright you can go         '                 now .        '                             SOL                 Any chance of taking Lincoln with                 us?                             BRICK TOP                 That's where Errol's taking ya.                                                (CONTINUED)Ill   CONTINUED:      They turn and Errol is waiting for them.                             ERROL                Follow me.      They go out of one room into another, and Errol shuts the      door behind them. Vin looks uncomfortable. Another door is      opened and a man brings out Lincoln. Lincoln is in bad shape      and is relieved to see familiar faces, they are now shut in      a room .                             SOL                You alright Lincoln?                            ERROL                Do you know why the governor is the                governor?                             VINNY                Err. .                             ERROL                I t 's because people are scared of                him. You know why they are scared                of him?                             SOL                Err .                            ERROL                It's because of stories. I am sure                you've heard one or two of those                stories. For example, did you hear                about the three black fellas that                did a very bad thing, however they                made some effort to redeem that very                bad thing, so the governor saw fit                not to kill em. He thought it would                be a more advantageous concept to                let them kill each other and let the                survivor live to tell the tale.                That way everybody wins, well, all                except the two that died of course.      We look at the table where we see three large kitchen knives      sitting provocatively. Tyrone rushes for one of the blades      grabs it and runs at Vin, Vin sidesteps and Tyrone keeps      running straight into the arms of Errol who raises his gun      at the last moment. Tyrone slides the blade into Errol 's      ribs and Errol fires a shot straight at Tyrone. The bullet      passes through Tyrone and hits John in the throat . Vin,      Lincoln and Sol are left wondering what the fuck has just      happened .                                                 (CONTINUED)111   CONTINUED:    (2)                                   BAD BOY LINCOLN      ,                    Grab it.                                   SOL                    What?                                VINNY                    The gun you prick.      Sol goes for one, and Vin goes for the other.112   INT. CARAVAN, PIKEY CAMPSITE      There is a wake in motion. We cut to Micky and Turkish. It      is obvious that a lot of hard core drinking has been going      on, and there is an Irish band playing. The is a coffin in      the middle of a caravan that is closed for obvious reasons      i t ' s surrounded by heavy looking lads. The is a man dancing      on one of the tables.      THIS SCENE I SHALL BE FILLING IN SHORTLY BUT I AM AFRAID YOU      HAVE TO WAIT TILL I HAVE BEEN TO A IRISH WAKE. ALL AS I      KNOW IS THAT RATHER IRONICALLY THEY ARE FUN. HOWEVER I LIKE      JUXTAPOSITIONS OF MICKY SINGING AND CRYING SIMULTANEOUSLY.113   INT. DOUG'S OFFICE            '      All three black guys are sitting in front of BTT and Hands      and Doug. There is silence as the white guys have just been      told something disturbing. BTT eventually breaks the silence                               BTT                   Well you gotta admire their balls.                                HANDS                   _ I don't want to admire balls that I                    want to chop off.                                SOL                    What choice did we have?                                VINNY                    I know sorry doesn't mean fuck all,                    but we are game on, what do you want                    us to do?                                ∑HANDS                    Get us that stone back.                                BTT                    So Brick Top has now got the stone?                                   VINNY                    He's got it.                                                     (CONTINUED)113   CONTINUED:                               HANDS                   You wouldn't be lying to us would                   you now?                                SOL                   Why should we? Could just have                   disappeared.      Cut to Hands who's thinking.                                HANDS                   Okay.114   INT. BRICK TOP'S PUB      BTT and Hands are at the bar.                            BARMAN                You got some front coming round here                ain't ya Tony?                            BTT                Never mind what I got , I am looking                for Brick Top?                           BARMAN               You mean Mr Mclean.                           BTT               You know who I mean you fucking fringe               now find him.      Pause: the barman looks truculent.                                BTT (CONT'D)               Chop chop.      The barman walks down the end of a bar and picks up the phone.                            HANDS                What was it you did exactly Tony?                            BTT                I had a little run in with a few of                the chaps.                                HANDS               How ' s that ?                            BTT               They're all brainless, they got white               powdered angels sitting on their               shoulders telling them what was what,               all too busy. . .                                                (CONTINUED)114   CONTINUED: -      He sticks his finger by the side of his nose and inhales.                              BTT (CONT'D)                If they weren't sniffing the dust                they where flicking the ash. And                never trust who puts anything other                than a finger up his nose.      KEN, another of Brick Top's men, appears from somewhere and      approaches Tony with another heavy, SEAN.                              KEN                Follow me.      They do and end up in a corridor. The door .shuts behind      them and the door in front hasn't yet opened. Ken turns      around and faces Tony.                              KEN (CONT'D)                Did you know that it was my cousin                Lorrie you stabbed?      There is a pause.    The situation is volatile.                             BTT                Yes I know I stabbed a man called                Lorrie, but no I didn't know he was                related to a tub a shit.      Ken knows it's on.                             KEN                Shut that door Sean.                             BTT                Lock that fuckin door Sean.      BTT takes a step forward and puts his hand, into the back of      his trousers. He starts to growl.                              BTT (CONT'D)                 You're a big man, but I don't care                 if you're ten foot fuckin tall, you                 still got eight pints of blood and                you'll bleed like any bastard. And              . when.I drop .ya, and I will fuckin                drop ya, I'll open you up like a                packet of crisps.      Pause to take in what has just been said then he continues.                              BTT (CONT'D)                You're a bully Ken, but remember, I                am a bigger bully.                                                 (CONTINUED)114   CONTINUED: (2)      The door opens and they are interrupted by another HEAVY.                              HEAVY FELLA                Ha, Ken what' s going on? Bring em                through. The governor wants to see                em.      Ken is relieved by the interruption, and he leads the way      with a truculent "you're lucky" stare. They enter Brick      Top's office.                              BRICK TOP                I gotta say you have got some front                coming round here Tone, you know the                lads are picking straws. . .      Interrupted                             BTT                You gotta diamond and it doesn't                belong to you, it belongs to my                colleague here.                             BRICK TOP                That's what I love about you Tone,                no small talk.                            BTT                I said we should come round and raise                fuckin hell, you know shoot a few of                the boys and that, but he said he                thinks we would have more success if                we paid for it. So I am going to                have a drink and let you two discuss                what you have to discuss.      Btt walks to the bar.   Ken is sitting there with Sean.                              BTT (CONT'D)                Alright big man, I hope you aren't                bitter about your cousin Lorrie.      If you listen carefully, you will hear a slight zip of flies      being undone.                             KEN                You know you're alright when they're                are talking business, I ' d like to                see you gob off outta here.                            BTT ∑                Ohh do me a favour Ken, you've always                been mouth and no trousers.                                                (CONTINUED)114   CONTINUED: (-3)      We cut back to Brick Top and Hands                             HANDS                        -                 I 'l l pay for it, I won't pay you the                 top fuckin whack but you'll never                 get that anyway. You got it?                             BRICK TOP                 I can't sell you something I haven't                 got now can I?      BTT returns to them - there is a scream from Ken                             KEN                 You're a dead fuckin man. You listen                 to me Tony you're a dead fuckin...      Brick top frowns at Ken, and Ken shuts up quickly.                             BRICK TOP                 What did you do to upset Ken, Tony?      Tony shrugs                             KEN                 He's pissed in my fuckin pocket,                 look!      Ken shows off a wet-sided jacket and a damp set of trousers.                             BRICK TOP                 Do shut up Ken.   That was a bit                 naughty Tony.      Tony shrugs. Brick Top puts his hands in to his pocket and      withdraws the stone. We cut to Hand's expression.                             HANDS                 Well come on, let's have a look.      Brick Top passes the stone to Hands. All goes quiet while      everybody focuses on the stone. Hands lifts it up to his      eye.                             HANDS (CONT'D)                 What are you playing at? -      He drops the stone: it smashes on the ground.                             HANDS (CONT'D)                 It's a zirconia.      We crash track in to Brick Top's expression of shock.115   INT. VAULT(DOUG'S OFFICE)      The four black guys are trying to pick the lock of the vault,      having been locked in it by Bullet Tooth, Hands and Doug.                               VINNY                   I changed the stone.                                SOL                   You what?                               VINNY                   I changed it. I know Brick Top knows                   nothing about stones.                               SOL                   Yes but Doug the fuckin head does!                               VINNY                   Yeah well I didn't expect them to                   lock us up in here did I?                               SOL                   Ohh your one clever bastard Vin, you                   really are. Where is it?                               VINNY                   It's at Lincoln's.                               BAD BOY LINCOLN                   What the fuck's it doing at my place?                               VINNY                   Waiting for us to pick it up.                               SOL                   What happen if they find that it's a                   fake stone Vince?                               VINNY                   Well we are going to get fucked Sol                   what do you think is going to happen?      The door opens.                               BTT                   Ohh yes you are going to get fucked                   Vince.                 -116   INT. DARK.      A distant voice is shouting                                TURKISH                   Oi Micky.   Oi Micky.117 ' INT. VAN -- NIGHT      We fade out of black to Micky's pov. Thisis shot in slow      motion. Micky opens his eyes, in the backof.a large van,      there is only one faint light that moodilyilluminates his      tired eyes.                            TURKISH                You feeling alright Micky?                            MICKY                I've felt better.                            TURKISH                We are nearly there. They are a                horrible bunch this lot Micky so pay                attention to what you are doing.      Micky just yawns.                             TURKISH (CONT'D)               Put up some kind of a show, he's a               hard bastard this "good night"               Anderson so don't get too clever, he               used to be a pro. Just keep moving               round the ring, and let the odd one               go when push has come to shove.                            MICKY                Let's get on with it, shall we?118   INT. WAREHOUSE                                -    '      A temporary ring has   been erected, four scaffolding posts      with welded on hoops   make the arena, the ropes that are      threaded through the   hoops are industrial nylon and free of      padding. Around the    ropes it's starting to fill. Brick Top      approaches Salt Pete   and Jack 'the all seeing eye'.                            SALT, PETER                I hope we gonna get a better show                this time.                            BRICK TOP                This will make up for it.     Micky's                going down in the fourth.     Terry                over there is in charge of   the bets.                Now you'll have to forgive   me.      Brick Top leaves with Ken.                            BRICK TOP (CONT'D)                Have we got the lads at the- camp                site?                                                (CONTINUED)118   CONTINUED:                               KEN                   Yeah they are there.      Cut to a shot of some of Brick Top's heavies waiting in a      car outside the campsite.                               BRICK TOP                   Where's that fuckin pikey?119   INT. BACK OF WAREHOUSE      Brick Top is standing in front of Micky whose eyes are still      semi open.                            BRICK TOP                What's wrong with you? You stoned?                Is he fuckin stoned?                            TURKISH            .   -                He's like that before a fight.      He turns his attention to Micky.                           BRICK TOP               Now you know when you're going down?                              TURKISH               Of course he knows when he's going               down.                           KEN               Hey fuck face, who's speaking to               you? He asked him didn't he?                           TURKISH               Fuck face? I like that, I ' l l have               to use that one next time -I want to               impress your mum Ken.                           MICKY               The fourth... or was it the fifth..                           BRICK TOP               There's a campsite full of pikies               that might not think you're so fuckin               funny when they 'are putting the flames               out on their children's backs.      Cut to a shot of Brick Top's boys lighting a cigarette in      the car outside the pikies.120   INT. WAREHOUSE      Micky appears from a small door at the back of the warehouse.      He approaches the ring accompanied with shouts of      encouragement and counter shouts. He's wearing a pair of      semi cut tracksuit bottoms and a t-shirt with grease marks      down the front. Turkish walks behind him, Micky still looks      bored. He climbs into the ring. Then from the same door as      the one through Micky came out walks a larger character with      a nose that appears to have seen countless rounds with a      frying pan: HORACE 'GOOD NIGHT1 ANDERSON.                            THE REFF                Alright lads no eye gouging no biting.                Do your worst. Back to your corners.      We drift again into Micky's pov, his world is becoming more      and more surreal. He can faintly hear Turkish whispering      words to him, but he's not really listening. A bell comes      from somewhere, and Micky instinctively walks to the center      of the ring. "Good night" is already there, they pace one      another for a second or two, Micky avoids a punch or two and      then he takes a hard one and he knows it, we flash to white,      Micky's in trouble: he lets one of his missiles go and BANG      it shakes "good night" to his core, all goes quiet. We go      to super slow motion: his knees buckle and "good night" is      in trouble. Micky maintains a frown as he watches his      opponent's knees threaten to betray him. The crowd tries to      digest what is happening. After a period of silence reality      dawns. Brick Top mouths the words in silence."Don1t go down      you fucker". The crowd wants Micky to finish the job. But      common sense reins back the coup de grace. "Good night"      eventually regains control of his legs and stumbles forward,      after a few sleepy punches he starts to provide a serious      onslaught.                            TURKISH                I don't like the look of this Tommy,                bring the van up to the back door.      This goes on for two rounds (which is montage down to a few      seconds). We go in the mind of poor Micky. We break the      music just as it's starting to look dangerous... The bell      goes and Micky walks to the wrong corner. Turkish pulls him      back to his corner.                            TURKISH (CONT'D)               They are on ya. You got to hurt him               Micky. Otherwise we are               rumbled.... you hear me Micky? Do               -something, it looks like it' s rigged.      Micky goes out again his hands are low, BANG there is a flash      of white as Micky goes down in the dirt. Dust rises from      where he fell. He gets up quickly, his hands are still low,      BANG he goes down again, in no time he's up.                                              (CONTINUED)120   CONTINUED:    -      BANG: he hits the ground again and this time when he hits      the deck, he penetrates the dust covered floor, like i t ' s      made out of water. He falls through the water like he's      sinking; his eyes are open and he can't breathe, he continues      to fall, but he's unpanicked (he is now Micky 1). When Micky      1 looks up he can see himself in the corner of the ring takin      kidney punches from Good Night, he's winded and only semi-      conscious (this is Micky 2). Micky 1 makes the effort to      swim up and tries to penetrate the floor but he's stuck he      can't get through. Micky 2 takes more punishment in the      ring, as Micky 1 ' s hand continues to try to break the      underside of the floor but it stretches like rubber and forces      Micky 1 down again. Micky 1 looks up again and sees how      much trouble Micky 2 ' s in the ring. Micky 1 is panicking      now, he's running out of oxygen and Micky 2's being beaten,      Micky 1 starts -to sink again but now flames tickle the bottom      of his feet he looks up. and sees Micky 2 being smashed to      hell, his body eventually collapses and Micky 2 falls through      the floor. And as the latter falls through, Micky 1 manages      to rise from the depths and his punch manages to perforate      the surface. The punch continues its trajectory and has the      power to fell a red blooded rhino.... it catches "Good Night"      on the jaw and it's good night for "Good Night" it's unlikely      that he'll awake in the next hour. Dear oh dear everybody      is in trouble.      Again we cut to the reactions of the relevant parties.                               TURKISH (CONT'D)                   Tommy get the van.                               TOMMY                   I have it, it's waiting.      Turkish jumps into the ring and grabs Micky.                               TURKISH                   We are off Micky, hold tight, and                   move quickly. ,      Turkish pulls Micky away. It's not as hard as it might be      trying to get out, because the crowd seems to have found its      own disputes, chairs start to fly. Brick Top's boys are      frustrated in the mayhem. Brick Top calmly dials into his      mobile telephone. It rings.                                                                     1121   EXT. CARAVAN, PIKEY CAMPSITE      Darren picks up the phone.                                DAREN      .                   If you would you like to speak to                   your friends, you'll have to speak a                   little -louder.                                                  (CONTINUED)121   CONTINUED:      We pull back to see four slumped heads in the car and blood      staining the windscreen. Brick Top calmly puts the phone      down.                               BRICK TOP                   Right lets get outta here.      Brick Top is looking every which way and trying to get out      of there, accompanied by Ken.                               BRICK TOP (CONT.'D)                   Where's the car Ken?                                  KEN                   I t ' s coming now.                               BRICK TOP                   We are outta here.      They come out of a side entrance, their car pulls round the      corner and screeches to a halt. Brick Top opens the door as      he is about to get in, he's eyes widen to the size of saucers      as FOUR MEN (who we recognize from the wake) are sitting in      the place of his driver. They both have sawed-off shotguns      and empty four barrels into the chest of Brick Top and Ken.      The car spins away, leaving their twitching bodies on the      dirt.                                                                       :122   INT. BAD BOY LINCOLN'S HOUSE                                 .      Hands, Doug and Bullet Tooth have Vin, Sol and Bad Boy Lincol      in tow. They look at the front room of Lincoln's house.                               HANDS                   Very nice Lincoln.                               BTT                   Veeeery nice Lincoln.                               BTT (CONT'D)                   Well where is it?                                VINNY                   Next door.      They open the door.123   INT. BAD BOY LINCOLN'S SITTING ROOM.      This room is a complete mess. All the colony leather has      been chewed up beyond recognition. They all grimace at the      smell. The dog comes running up                                                     (CONTINUED)123   CONTINUED:    -                                    B AD BOY LINCOLN                   Look what your dog's done to my                   leather.                                BTT                   It's a bit funky in here.      BTT opens a window.       The dog looks extremely relieved to see      someone.                                    HANDS                   You keep a good house Lincoln.      So                   where's this stone?                                VINNY                   It was over there.      He points to a pile of chewed up cushions.                                    HANDS                   Where?                               VINNY                   We left it in a box over there...                   somewhere.      He walks over and finds the remains of the box.                                    VINNY (CONT'D)                   I t ' s empty.                                    HANDS                   Tony.                               BTT                   Dear oh dear.                               SOL                   He's not fuckin about, we left it                   there. It must be in the dog.      All eyes focus on the dog.                                HANDS                   Well let's have a look shall we?                   . . . . Tn .                           oy      All eyes focus on Tony.                                    BTT                   What?                             HANDS               Have a vlook in the dog.      .∑                                                       (CONTINUED)123   CONTINUED: ( 2 )                               BT T                  What do you mean have a look in the                  dog?                               HANDS                  I mean open him up..      Tony is not sure about this.                               BTT                  I t ' s not a fuckin tin of baked beans,                  what do you mean open him up?                              HANDS                  I mean open him up.      Hands does a movement that represents a knife across the      throat.                             BTT                 That's a bit strong isn't it?                             HANDS                 You wouldn't have a problem if it                 was a person.                               BTT                 But it's not, it's a dog and I have                 never done a dog.                             HANDS                 My heart bleeds.      There is another pause                            ,BTT                 What dp I do?                              HANDS                  Let me take a wild and reckless guess.                  Stick a knife in his guts and see if                  it's got a diamond in there? I'll                  hold it still and'you open it up.      Tony looks positively unsure and rocks his head from side to      side.                              BTT                  Fuckin hell, alright then.                              VINNY                  You can't do that.                                                    (CONTINUED)123   CONTINUED: (-3)                             HANDS                 Well do it to you as well if it makes                 you feel any better.      Cut to Tony having some problems trying to get hold of the      awkward dog. The dog starts to squeak. Tony passes the      blade to Hands.                                BTT                 I t ' s squeaking.                               HANDS                 What, you've never heard a dog squeak                 before?... Hold him still.      The dog isn't sure about this either.      Vin is in a panic and      suddenly.                            VINNY                 Stop! I can see it.   I can see the                 stone.      Hands at the point of entry stops. Vinny hops over to the      stone and picks it up. Tony lets the dog stand but keeps a      grip oh the collar. The dog is relieved to be semi-liberated.      Hands is still on his knees armed with an incredulous stare.                             HANDS                 Well let's see it.      Vinny holds it up. There's a sense of relief. He then throws      the stone, it cuts through the air. And the dog seeing      .another projectile runs to intercept it. There's a pause      while all now focus again on the dog. This is digested      literally and mentally. The dog recognizes all the attention      it's receiving. And goes through the motions of swallowing      it. Hands attempts an approach. The dog understandably      feels uncomfortable about the advancing vanguard and decides      emergency action is needed, and seeing the open window      launches itself out of it.      FADE TO BLACK      FADE UP124   EXT. CARAVAN CAMP SITE                                             ;      The pikies have moved overnight.                             SOL                 Well this is where they were.                                                 (CONTINUED)124   CONTINUED:    -                               HANDS                   Well they aren't fuckin here now are                   they? And I can't see a dog can                   you?                                VINNY                   They can't be far.125   INT. CAR      Hands, BTT and the black guys are back on the road.                               HANDS                   You gonna have to come up with                   something.      Just then they see some caravans in the distance.                               VINNY                   There they are.126   INT. NEW CARAVAN CAMP SITE      All the caravans are fastened to the back of cars. Vinny,      Sol, BTT and Hands are standing in front of Micky.                             MICKY                 Well he's didn't come back to us.                               VINNY                   But he always came back.                             MICKY                 Well you might have noticed that we                 have moved, you should have fed him                 more, a dog will never leave you if                 you feed it properly. It was a good                 dog, he had a little flatulence                 problem but was a good dog.                               HANDS                   Are you sure he's not here?                               MICKY                   I think I would have noticed if a                   fuckin dog was sitting in my caravan                   don't you? Tommy, Turkish, have you                   seen a dog sitting in me caravan?                               TURKISH                   I can't say I have Micky.                               MICKY                   See there you have it.                                                  (CONTINUED)126   CONTINUED:                               HANDS                   Do you mind if we have a look around?                               MICKY                   What the fuck's got into you lot?                   It's only a dog. I'l l give you                   another one, if it means that much                   to you.127   EXT. CARAVAN CAMP SITE      Vinny, Sol, BTT and Hands descend the steps, they look like      children with their toys taken away.                             HANDS                 You better find me that dog, skinny                 Vinny.      One of Micky's kids is on the bottom of the caravan steps as      the brothers walk by.                              . KID 1                   I looked after your car for ya.                               HANDS                 So?                             KID 1                 So aren't you gonna pay me?                             BTT                 Yeah bollocks.                             KID 1                 Bollocks to you, you tight git.                             VINNY                 Watch your mouth you cheeky shite.                             KID 1                 Yeah fuck ya.      The kid turns away and goes back to squeezing a toy.   All      four of the chaps stop in their tracks.      Cut to shot of squeaky toy. We have seen this toy before.      Cut to freeze frame of Sol, Vin, BTT and Hands stopped dead      in their .tracks. They haven't turned to look over their      shoulders yet, but their eyes are turning to look.      THE END.
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+SNOW FALLING ON CEDARS Ronald Bass First Draft Screenplay March 3, 1997 EXT. THE SUSAN MARIE, SHIP CHANNEL BANK - NIGHT Fog. Penetrated only by sound. The LAPPING of sea at a drifting hull. Tendrils of mist part, revealing... ...a face. Strong and blond and handsome. SUPERIMPOSE: SEPTEMBER 15, 1954 LONG ANGLE...from below, we watch CARL HEINE, high on the cross spar of his mast. He has pulled a SHUTTLE of TWINE from his rubber overalls, and is LASHING a LANTERN in the cloud of mist, as MAIN TITLES BEGIN... ANGLE...the tiny, meticulously neat cabin. Empty, silent. A tin COFFEE CUP on the counter's edge. The battery well open, revealing two large BATTERIES in place. PAN to... ...the deck of this sturdy stern-picker. The fishing net stretched from the huge DRUM into the sea. Keep PANNING to the bow, where... ...Carl stands with his kerosene lantern and his air horn, watching as another BOAT comes slowly out of the mist. The silhouette of a FISHERMAN, holding a long fishing GAFF. As fragments of fog part, we CLOSE on the figure's face, to see... ...his eyes. They are Asian. SMASH CUT to... EXT. THE SUSAN MARIE, SHIP CHANNEL BANK - MORNING Blinding sun. Our boat bobs lifeless on placid water. As CREDITS CONTINUE, two figures slowly reel in the massive net. SHERIFF ART MORAN is painfully thin, unimposing, methodical. Only the eyes reflect his disquiet. His young deputy, ABEL MARTINSON, cuts anxious looks between his mentor and the sea. As the net brings silvered salmon across the gunnel, CUT to... ...the cabin. Tidy as before. Only two things have changed. CLOSE on the tin coffee cup, which now lies OVERTURNED on the floor. PAN above the open battery well, where a third MARINE BATTERY now stands next to the wheel. CUT to... ...the stern, as the raveling net LIFTS from the water's surface... ...the face of Carl Heine. Turned to the sun. SMASH CUT to... INT. CORONER'S LAB - DAY WHITE fills the frame. A hand PULLS back the blanket-shroud revealing Carl's face. As CREDITS CONTINUE, tilt up to the coroner, HORACE WHALEY, gazing down. A shading of regret behind the professional mask. A series of QUICK CUTS... ...Whaley's hand pulls the SHUTTLE of TWINE from Carl's pocket... ...examines the open, empty KNIFE SHEATH at Carl's belt... ...Carl's wrist, its WATCH stopped at 1:47... Whaley bends over Carl's body, presses on his solar plexus, watching pink FOAM rise from Carl's mouth and nose. And then. He sees something more. His fingers gently pull back the hair from above Carl's left ear, to reveal... ...a skull wound. The bone caved in. Four inches across. EXT. SAN PIEDRO ISLAND - DAY Snow falling on cedars. SUPERIMPOSE: DECEMBER 6. The heavens descend softly onto our island. Exquisite, silent, hypnotic. An epic snowfall inspiring awe at our frailness against the limitless scope of nature. As CREDITS CONCLUDE, a series of QUICK ANGLES... ...cars pirouetting, skating on their tires, past an abandoned school bus, where kids throw snowballs at is windows... ...Fisk's Hardware Center, its endless queue of orderly citizens waiting stoically for their snow shovels and kerosene... ...the harbor, with its moored fleet of tiny fishing vessels blanketed as if by volcanic ash, a pair of teenage lovers building a snowman at the edge of a dock, she pushes the boy into the water, and he rises laughing, steam rising from his clothes... ...undulating strawberry fields of pure white, untouched and flawless as the Sahara... Finally, to a public building, cars gathering as best they can, people streaming up snow-laden steps to the entrance, and as we FOLLOW them, SMASH CUT to... INT. COURTROOM - DAY CLOSE on impassive EYES. They are Asian. We have seen them before. PULL BACK to see... KABUO MIYAMOTO. Early 30's, dark blue suit, clean shirt. He sits ramrod straight, utterly motionless, expressionless, the eye of a storm of movement in... ...the assembling COURTROOM. A packed gallery of buzzing locals, the scent of anticipation. A bank of REPORTERS and PHOTOGRAPHERS, cosmopolitan in attire, bearing themselves as jaded dignitaries from the civilized world. As we PAN their ranks... ISHMAEL (V.O.) It was the first murder trial on the island in thirty-one years. ...we look over the right shoulder of ISHMAEL CHAMBERS, early 30's, dark, a rugged, somber man jotting notes on a pad which rests on his right leg. ISHMAEL (V.O.) Our only newspaper was the San Piedro Review, a four-page weekly that I operated alone. He glances blandly at his nonchalant colleagues. ISHMAEL (V.O.) What, I wondered, could the Seattle boys know of the hearts of these people... To the JURY BOX. Truck farmers, grocers, fishermen, in sober neckties. A waitress, a secretary, fisher wives in Sunday dresses. ISHMAEL (V.O.) Neighbors, sitting in judgement. On their neighbor. To the neighbor. The ramrod-still defendant. ISHMAEL (V.O.) Kabuo Miaymoto sat with the rigid grace of a Samurai warrior. As if detached from his own trial. Ishmael writing on the pad balanced precariously on his knee, until... ISHMAEL (V.O.) Did he know how dangerous his demeanor could be? With this jury. ...it falls with a CLATTER of pages. He reaches with his right hand, replaces the pad on his thigh. Around him, CAMERAS are being swung to the ready. Ishmael looks to see... ...a slender WOMAN of refined beauty, entering the courtroom. A few flashes POP, and Ishmael's right hand retrieves a venerable box camera from beneath his seat, as his notepad falls once more, unheeded. ISHMAEL (V.O.) Hatsue Miyamoto had been without her husband for 77 days. Ishmael pivots, and we understand his struggle with the notepad. For he is forced to rest his camera on the stump of his amputated left arm, its empty sleeve pinned at the elbow. ISHMAEL (V.O.) He was in jail. When his baby son learned to walk. Through his VIEWFINDER, we see HATSUE take her place in the first row. And sensing her presence, her husband turns. Their eyes meet. A string of FLASHES... But none from Ishmael. He hesitates. As if considering whether he will violate this woman's privacy. The camera lowers. HOLD on his face... INT. COURTHOUSE CORRIDOR - DAY MATCH CUT to Hatsue's face. Staring, impassive, empty. PULL BACK to see that she sits alone on a wooden bench by the courtroom door. Her hands rest delicately on the purse in her lap. Her demeanor as removed from this place as is her husband's. ISHMAEL (V.O.) Earlier, I noticed her in the corridor. PULL BACK to see him alone, in shadow. It is more than a notice. Ishmael stares with fixed intensity at the motionless woman, as she gathers her thoughts. A moment of decision. He approaches. Stops, respectfully, at a distance which will not invade her personal space. And softer than we might have imagined... ISHMAEL Are you all right? She turns her head only slightly. It is enough. Her voice quiet and firm at once... HATSUE Go away, Ishmael. There is no anger. Only directness and resolve. ISHMAEL Please don't be like th... HATSUE (softer) Go away. INT. COURTROOM - DAY PAN the back of the courtroom. Twenty-four citizens of Japanese ancestry fill the last row, dressed in their most formal clothes. Shades of Atticus Finch. As one, the Japanese-Americans watch... ...the prosecutor, ALVIN HOOKS, a crisp, even dapper man. There is a quickness about the eyes, a tendency to sharpness of manner, that he works carefully against... HOOKS ...four inch gash, skull crushed, and your thought was, what...? JUDGE FIELDING, tall and gray and rawboned, leans on his elbows, his eyelids droop slightly, a deceptive masking of keen attention. HOOKS (O.S.) That he...fell? Hit his head on the gunnel going over? The witness is Sheriff Moran. He answers as if this were a sincere question. As if he had never heard it before. MORAN Well, Carl was six-four, went 235. He was a grizzly bear and an able seaman... Ishmael watching. Thinking on that. MORAN (O.S.) For him to just...go over. Crush his skull like that on the way in... HOLD on Ishmael. INT. TEAM BUS - DAY Teenage BOYS in football uniforms. They ride with their helmets in their laps. ISHMAEL (V.O.) He was a mountain, all right. Anchored the line for us little fellers. CLOSE on Carl and Ishmael at 18, riding together. Ishmael, dark and rugged even then, is scarcely little. But dwarfed by the blond giant at his side, who glares out the window, at... CARL Chambers. Y'see the geese? ...snow geese landing in low flooded wheat. The grace of it holds both boys. CARL Picture'd be nice. In your pa's paper. Ishmael nods absently. They stare, side-by-side. ISHMAEL Lucky I got the camera in my helmet. They never look at each other. They never smile. But you can almost hear one in... CARL Careful, Chambers. That was almost a joke. INT. COURTROOM - DAY Hooks now stands with his polished shoe up on the witness podium. Like chatting with the Sheriff across the back fence... HOOKS And you weren't there, when the coroner examined the wound. MORAN Nossir. I'd gone to tell the wid... to tell Mrs. Heine. And his glance inevitably goes to the first row behind the prosecutor's table. Taking the glances of the jury with it. SUSAN MARIE HEINE is pretty and blonde and full-bodied in her modest black dress. Composure and dignity. Against her grief. EXT. HEINE HOME - DAY Moran climbs from his vehicle, as Carl's young SONS dash around the corner of the house. Seeing the Sheriff, they stop cold. Silent, shirtless, barefoot. MORAN Hey there, men. Is your mother home a-tall? He spits his Juicy Fruit into a wrapper. And as the younger boy nods across the distance... SUSAN MARIE (O.S.) Sheriff Moran, hullo. She has appeared in the doorway, smiling, spittle-marked baby's diaper across her shoulder. And he smiles back. Tells the boys... MORAN You go on and play, now. But they don't. So he follows into her entryway, closing the door behind him. And at the foot of her curving staircase... SUSAN MARIE What can I do for you, Sheriff, Carl's not home y... MORAN That's... Too quick. He stops himself. And she sees that. MORAN It's why I'm here. I'm afraid I have some...very bad news to tell you, the...worst...kind of news. She looks at him, uncomprehending, the smile only beginning to fade, before... MORAN Carl died last night. In a fishing accident. In White Sand Bay. She only blinks. As if translating the words from a foreign language. SUSAN MARIE No, Carl's fine, h... MORAN We found him, Mrs. Heine. Tangled in his net. And with these words, a slack, blank look crosses her face, and she stumbles back one step, sitting down HARD on the bottom stair of her curved staircase. He doesn't know what to do. She digs her elbows into her lap, and begins to rock, very slowly, wringing the diaper in her hands. Her face is more terrible than tears. It is frightened. She murmurs to herself, so that we can barely hear... SUSAN MARIE I told him this could happen. INT. COURTROOM - DAY CLOSE on Hooks, nodding. As if, slowly, digesting something in his mind. HOOKS So, no...immediate suspicion, no...general talk of enmity between the two. MORAN These are fishermen, Alvin. They don't talk at all to each other and less to me. Specially gossip. EXT. DOCKS - DAY Ishmael walking down the sunlit wharf. Purpose in his stride... ISHMAEL (V.O.) A gill-netter works through black nights with only himself to talk to. And learns to be silent. They were lonely men and products of geography. Up ahead, the Susan Marie has been brought to dock. Moran stands chatting with a knot of six or seven FISHERMEN. ISHMAEL (V.O.) ...men who, on occasion, realized that they wished to speak, but couldn't. As he arrives, Moran smiles a thin greeting. Not happy to see him. Of course, neither is anyone else. MORAN Figure you'da heard by now. Ishmael shakes his head in silent helplessness. WILLIAM GJOVAAG, a sunburned, big-bellied, tattooed gill-netter, clamps on his damp cigar butt. GJOVAAG You go fishing, it happens. ISHMAEL (to Moran) You see Susan Marie? MORAN I did. Boy. ISHMAEL Three kids. What's she going to do? GJOVAAG (disgusted) Well, what can she do? Jesus Christ. ISHMAEL Excuse me, Gjovaag. GJOVAAG I don't need to excuse nothin'. Fuck you anyhow, Chambers. Everybody laughs. It is all good-natured, sort of. ISHMAEL (V.O.) Like the Sheriff, I did not work the sea, and could never merit trust. Or respect. MARTY JOHANSSON Sheriff's been askin' which boats followed Carl out last night... MORAN (quickly) Only to see if somebody talked to him out th... ISHMAEL So who talked to him? Out there. Staring. At each other. Eye contact holds during... JAN SORENSEN (heavy Danish) So far, we figured the guys who went to Ship Channel Bank, was Jim Ferry, Hardwell, Moulton, Miyamoto... GJOVAAG (spits) Japs. MORAN All right, look, if you see these boys... GJOVAAG Never saw you so hard-ass, Art. Ain't this just an accident? Moran finds his eyes drifting to Ishmael's. Which are right there, waiting. Moran looks away. MORAN Course it is, but a man's dead, William. I got to write my report. ANGLE...Ishmael and Moran, walking alone back up the wharf. The Sheriff is worried. Finally... MORAN I'm not gonna see some article about an investigation, am I? ISHMAEL (quietly) You want me to lie? MORAN No, I wanna be off the damn record, that's what I want. No answer. They keep walking. MORAN I mean, if there is a killer, why would you want him all alerted? Silence. Silence. And slowly... ISHMAEL Let's say...someday I need some cooperation from you on this thing. Do I get it? And looks over. Like the guy holding all the aces. INT. COURTROOM - DAY Moran fidgets on the stand. NELS (O.S.) No sign of a struggle, you say. SEE him now. NELS GUDMUNDSSON, attorney for Kabuo Miyamoto, stands beside his impassive client. Nels is 79, blind in his left eye, a little shaky. His body is winding down. MORAN Well, the coffee cup was layin' right in the middle of the floor, like I said. And with a fella so neat as Carl, that did seem peculiar. And Nels begins to walk toward him. Limping, as he comes. NELS As peculiar as a struggle between a 235 pound man, and an assailant strong enough to subdue him...that leaves only a single overturned cup in its wake? HOOKS (O.S.) Objection, asking the witness to speculate. NELS My gosh, Alvin, was I supposed to object every time you did that? A real. Friendly smile. JUDGE (wearily) That's quite enough horseplay, Nels, why don't you act your age? NELS If I did that Your Honor, I'd be dead. Some gentle laughter. Judge Fielding doesn't even bother to look annoyed. JUDGE Any more homely loveable tricks, and you'll be worse than that. Proceed, gentlemen. HOOKS There's an objection, Your H... JUDGE And it's overruled, answer the question. If you can recall it. MORAN Maybe the assailant straightened the cabin. And forgot the cup. NELS Right. In the middle. Of the floor. MORAN Maybe. Nels nods to himself, as if considering that. So that the jury will do the same. NELS I think you testified all the lights were on. Cabin, mast, net lights, picking lights... MORAN Yessir, there'd been real heavy fog. NELS And yet you started the engine right up. With all those lights drawing all night, the batteries had that much charge. Did that strike you odd? MORAN Didn't think about it at the time. So no, it didn't strike me odd. NELS Does it now? MORAN A little. Yes. You have to wonder. NELS You have to wonder. And lets that sit. Scratches his neck. NELS You found three batteries, you say. A D-6 and D-8 in the well. And a spare D-8 on the cabin floor. Correct? MORAN It is. NELS Now I did some measuring down at the chandlery. A D-6 is one inch wider than a D-8. It would be too large for the deceased's well. MORAN He's done some on-the-spot refit- ting. You could see the side flange was banged away to make room for the D-6. NELS But he had a spare D-6, you said. Right there. Why not use that? MORAN It was dead. We had it tested. Maybe the D-6 was the spare and he had to use it. Ah. NELS Maybe he carried a spare that was too large to fit. So he'd have to bang out the flange to squeeze it in? No answer to that. The silence rests. NELS Sheriff, how many batteries and what size did you find on defendant's boat? MORAN Two D-6's. That's the kind his well was fitted for. NELS No spare. MORAN No. NELS So the defendant went out fishing for the night with no spare battery, hmmn? MORAN Apparently. NELS I'm curious. The D-6 that was refitted into the deceased's well. Was it exactly the same brand and model as defendant's? A beat. MORAN I believe so. NELS Now you've testified that the deceased was a heavy man, and hard to bring out of the net. Stops. Thinking. NELS Is it possible his head struck the transom, or the stern gunnel, or the net roller, as you were bringing him in? MORAN I don't think so. NELS You don't. Think so. MORAN He was heavy, but we were real careful. But I don't remember him hitting anything, anywhere. NELS You don't. Remember. And clears his throat. NELS Operating this winch you'd rarely operated before, doing this awkward job of bringing in a drowned man of 235 pounds...is it possible. Possible that he struck his head after death. Possible? MORAN Possible. But not darn likely. NELS (turns to jury) No further questions. And limps back to the defendant's table. Where Kabuo Miyamoto sits watching him. INT. COURTROOM - LATER Horace Whaley, the county coroner, folds his stork-like limbs uncomfortably. Searching for the appearance of ease. HOOKS ...so when the sheriff returned, you showed him the injury to the deceased's head. WHALEY He said, 'Could it be somebody hit him?' And I said, 'You want to play Sherlock Holmes, here?' Shakes his head, with a wry, disgusted smile. HOOKS Did you say more? WHALEY I said that if I was playing Sherlock Holmes...I'd maybe look for a... Japanese person. With a bloody gun- butt. A right-handed fella, to be precise. HOOKS And why. Is that? Slight shrug. WHALEY Well, I was a doctor in the Jap theater, in the war. I saw those kendo wounds, many times. Looked exactly like this one. HOOKS Could you tell me what 'kendo' is? WHALEY Japanese stick-fighting. They're trained as kids, y'know. To kill with sticks. And the prosecutor's eyes drift to the defendant. So that the jury's will do the same. HOLD on Kabuo's regal bearing. His neutral mask. HOOKS (O.S.) No further questions. EXT. STRAWBERRY FIELDS - DAWN Mist of early light. Two dark figures, little more than silhouettes, measuring each other with their lethal bokken staffs. We may think of Luke Skywalker and Darth Vader, for one is a full- grown man. The other, eight years old. Dialogue plays in subtitled JAPANESE... ZENHICHI Hips, stomach, cut. Stomach muscles tighten as stroke advances... And STRIKES a fearsome blow, which the child REPELS with startling proficiency. We can see ZENHICHI's stony face, now. If he is impressed by his son, he does not show it. ZENHICHI Elbow soft, or there is no follow- through. You cut your bokken off from the power of your body, unl... WHAP! WHAP! WHAP! The boy LASHES fiercely, the man parrying each stroke with blinding ease. ZENHICHI Hips sink more. Less weight on the heels, so tha... CRASH! The father has sent a blow in mid-word, FLINGING the child like a doll. The boy BOUNCES up, snatching his bokken into ready position. ZENHICHI (very quiet) Zenshin. Is constant awareness. Of dang... WHAP! The child has unleashed a blow at the left side of his father's HEAD. It has been blocked. The staffs rest against each other, just above Zenhichi's ear. There is no anger in either warrior. That we can see. ZENHICHI Elbow soft. A little better. LATER...father and son sit on the ground, eating a small meal. The sun has risen, angling light across the undulating fields. They are alone in beauty. A long silence. Dialogue in subtitled JAPANESE... ZENHICHI You can be good with the bokken. If you begin to concentrate. Eyes on his food. As if alone, as if speaking to himself. The boy darting glances, unseen, at his father's profile. ZENHICHI You must choose now, Kabuo. At eight years. If you want this. KABUO (boldly) I want it. The father keeps eating. Never turns. ZENHICHI Then speak quietly. So you may be heard. INT. COURTROOM - MORNING Whaley stares down the end of his needle-nose. The air of disdain of a man playing chess with an unworthy opponent. NELS (O.S.) So this...foam you found in the lungs. How does it get there? WHALEY As I testified. It occurs when water, mucus and air are mixed by respiration. I believe I said that. NELS (slightly confused) But a drowned person can't breathe. WHALEY Of course not. The foam means that he went in breathing. Ah. WHALEY That's why the autopsy report identifies drowning as the cause of death. NELS Meaning that he wasn't murdered first, say on the deck of the boat, and then thrown overboard. WHALEY Well... NELS Your report says death by drowning, which means he went into the water alive and breathing. And the report is accurate...? WHALEY (bristles) Of course it's accurate, but... NELS Of course, it is. Now as to the head injury. You say made by an object narrow and flat. That is your inference, correct? WHALEY (really pissed) It's my job to infer, that's what coroners do. You get hit with a crowbar, or a ball-peen hammer, or fall off a motorcycle, the injuries look different, that's my area of expertise. Nels nods. He can be quiet now. The witness distracted from volunteering the opinions Nels did not wish for. NELS In your motorcycle example. Those injuries are produced by the head being propelled against an object. Rather than the reverse, yes? WHALEY Obviously. NELS Can you tell whether an object moved against the head, or the other way around? Or would both look the same. WHALEY The same. NELS So if his head struck something narrow and flat, the gunnel of a boat, a net roller, a fairlead, could that have... WHALEY If the head was moving fast enough, but I don't see how it could be. NELS Is it possible? WHALEY Sure, anything's poss... NELS Is it fair to say that you do not know for certain which it was. WHALEY I already said that, b... NELS And that you can't say for certain whether the head injury was sustained before or after death? Whaley thinks. WHALEY For certain, no. NELS But you are certain that he died by drowning. WHALEY For the third time, yes. Nels nods. Whaley is beyond frustrated. WHALEY Can I say something, here? NELS Yes, you can tell me about the minor cut you found on the deceased's right hand. The report says 'recent origin'. How recent? As much as 24 hours before death? WHALEY Absolutely not. Probably one or two hours. Four at the most. A pause. NELS Are you absol... WHALEY Yes, I'm sure. Nels nods. Silence. NELS Thank you, Horace. No more questions. Horace wants to say more. Doesn't immediately move. JUDGE We'll take our luncheon recess. Reconvene at...2 o'clock sharp. The gavel CRACKS onto the block. Judge Fielding stands to leave, and the BAILIFF begins to usher the jury from its box. Abel Martinson, the deputy, stands near as Kabuo rises. As he puts his hand gently on Kabuo's arm, the defendant turns smoothly... ...to face a woman. Standing at the rail. And beneath the courtroom buzz... KABUO How are the kids? The voice so colloquially American, we are taken back. Having envisioned Kabuo as a silent Samurai. HATSUE They need their father. The look holds. Abel increasingly uneasy. KABUO Well. Just a few more days. ABEL (coughs) Look, Art's gonna want me t... KABUO (ignoring him) You look beautiful. Abel grasps his arm. HATSUE I look terrible. Don't sit so straight like Tojo's soldier. The jury will be afraid of you. He thinks about that. Abel tugs him. KABUO Okay, I'll hide under the table from now on. That make you happy? And for the first time. He smiles. And seems suddenly very American indeed. She stares back, her heart in her eyes. Abel tugs harder, but he can't budge the defendant. KABUO I'm not going until you smile. But she doesn't. So his fades. One last look. And he lets Abel lead him away. HOLD on her. Watching him go. EXT. MANZANAR INTERNMENT CAMP - NIGHT Stars above a desert. Wind gusts. PAN barbed wire, rows of dark barracks blurred by swirling dust, to... ...a fragile tar paper structure, its 'walls' rippling pre- cariously. And inside, to see that it is... INT. BUDDHIST CHAPEL - NIGHT ...a makeshift sanctuary. Candles, offerings of fruit. A young COUPLE together before a Buddhist PRIEST. Kabuo and Hatsue. Becoming one. INT. BARRACKS - LATER A cramped, ramshackle room. Dust blowing through gaps in the flimsy beams. Kerosene light. FUJIKO IMADA hangs the last of the woolen army blankets to divide the room in half, as her four youngest DAUGHTERS watch. We PUSH THROUGH the blankets to the other side, to see... ...the newlyweds. Standing at a window in their wedding clothes. Kissing. Slow and full. Until she whispers into his ear... HATSUE They'll hear everything. And her young husband turns. Speaks to the curtain. KABUO (loud) There must be something good on the radio! She giggles. His hands trace her body. KABUO (louder) Wouldn't some music be nice? And in a moment. The MUSIC begins. Glenn Miller. A song that sent our boys off to war. And our young American prisoners... ...begin to undress each other. Her slender fingers find the buttons of his shirt, deftly undoing it, as he kisses her face. He unclasps her dress. And as it falls from her shoulders, falls to the floor, we PUSH INTO her eyes, and... INTERCUT her MEMORY of... ...a beach. Two 10-year-old CHILDREN floating on the water. Clinging to a wooden box, with a glass bottom for fish-watching. The girl is Asian. The boy is not. HATSUE Ishmael. See the yellow one? And the boy wriggles around, leans over the box, as if seeking a better view. And KISSES the girl. Full on her startled mouth. BACK TO...the newlyweds. On their cot now. Close together. Naked and hungry for each other. KABUO (loud) Can the music be louder, please? We can't hear so good in here! The girl laughs soundlessly. And as the music BLARES, he has slid his body above hers. A whisper... KABUO Have you ever done this? A whisper back, sure and strong... HATSUE Never. You're my only. And as he enters her. As she holds him close with all her strength. Her lips breathe into his ear... HATSUE ...so right. INT. COURTROOM - DAY Hatsue watching her husband disappear through a door. RACK FOCUS to see across the way. A man stares at her. ISHMAEL (V.O.) Course, we grew up together. INT. IMADA PARLOR - DAY Hatsue at 12, sits with an OLD WOMAN who guides her silently, exquisitely, through the ritual of the tea ceremony. ISHMAEL (V.O.) Her mom had this Mrs. Shigemura come on Wednesdays. Teach her how to be Japanese. The woman turns the cup in her hands. One-quarter turn. Bows slightly, as she presents the tea. ISHMAEL (V.O.) Dances, calligraphy. Doing her hair. How to sit without moving... EXT. HOLLOW CEDAR - DAY Hatsue and Ishmael, both 12, are sprawled on the ground, sheltered in the hollowed-out base of a cedar tree. They watch the rain as it pummels the woods around them. She is speaking, carefully, thoughtfully. He listens with complete attention. ISHMAEL (V.O.) She would tell me stories of this woman and her lessons. As if complaining, or at least ex- plaining her world... He shifts his position, his body brushing against hers, which makes him reflexively pull away. She seems not to notice. ISHMAEL (V.O.) But I always fantasized. The lessons were for me. INT. BEDROOM - DAY Hatsue sits at a bedroom mirror. Mrs. Shigemura watching analytically, as Hatsue weaves her hair into a thick plait. MRS. SHIGEMURA No. You must never look at a man directly. This is part of grace. The girl smiles a small sour smile. Speaks quietly... HATSUE I don't think the boys on this island. Are impressed. By grace. The old woman studies her without irritation. MRS. SHIGEMURA Hakujin know nothing of life, Hatsue. Apparently, the girl has heard this before. MRS. SHIGEMURA This is why they fear death. Because life here is separate from Being. The girl takes a long pin. Begins carefully to fasten her hair. Breaking eye contact with the mirror. MRS. SHIGEMURA It is why they have no soul. Is the girl even listening? The old woman's voice never rises. Remains patient. MRS. SHIGEMURA Life embraces death, includes it. This truth brings tranquility. You must see yourself... HATSUE ...as a leaf. On a great tree. No irony in the girl's voice. No disrespect. The old woman reads the young face in the mirror. MRS. SHIGEMURA The pin. Could be better placed. INT. SAN PIEDRO REVIEW - DAY CLOSE on 12-year-old Ishmael. Neutral eyes. Eating an apple. A horrific CLANGING surrounds us. The clash of metal on metal. ISHMAEL (V.O.) My lessons came from my father. They were different. Or seemed so, at the time. See ARTHUR CHAMBERS now, at the printing press, an enormous lime green contraption, with rollers and conveyor pulleys in a cast- iron housing. The shrieking of metal and gears recalls an ancient locomotive. ISHMAEL (V.O.) He operated the Review alone, with an integrity and passion for principle that made him a figure of respect. If slightly larger than life. Arthur is a large, rugged man, with round gun-metal rimmed spectacles and garters on his shirtsleeves. He wears the soft, perpetual smile of an Oxford Don, as he gracefully ducks in and out of the machine, inspecting plates and printing cylinders. ISHMAEL (V.O.) He never spoke of wanting me to succeed him. And, in truth, it was the last job on earth I thought I'd ever want. The boy rises now. Sets his apple carefully aside. And under his father's supervision, takes his place operating the press. His arms inches from the fearful clatter of the rollers. ISHMAEL (V.O.) When I was five, he casually mentioned that if his sleeve got caught in the press, he'd be instantly popped open like a child's balloon, and splattered across the walls. Watch Ishmael running the monster, coolly, efficiently, with complete concentration. ISHMAEL (V.O.) Even his bones would disappear, to be discovered later on the floor, as strips of white confetti. Arthur turns away, lest his son feel a lack of confidence. Picks up the boy's apple. A crisp BITE. ISHMAEL (V.O.) Which, of course, made me certain that life would have no meaning until I could run that teakettle. EXT. MAIN STREET, AMITY HARBOR - SUNSET Arthur and Ishmael, now 17, strolling Main Street in the midst of what seems a festive carnival. ISHMAEL (V.O.) He was, for better or worse, the only God in my life. I guess it's our nature to resent those we know we can never measure up to... They are passing modest parade floats, booths with food and games. A genial crowd of farmers, fishermen, families, both races heedlessly mingling. A community. Arthur unselfconsciously slips his arm over the shoulder of his tall son. ISHMAEL (V.O.) ...which keeps us from accepting the warmth. The way we should. Up ahead, a crowd has gathered at the steps of the courthouse. Something's up. ISHMAEL (V.O.) Every summer, after harvest, the Strawberry Festival was Dad's favor- ite story to cover. Good news was his preference. Making him an oddity among journalists. As we approach, we see a ceremony begin at the top of the courthouse steps. ISHMAEL (V.O.) Highlight was crowning the Strawberry Princess. Always a Japanese girl, sort of an unwitting virgin sacrifice to the concept of racial harmony. We are there now. Arthur pulling down the same box camera Ishmael would use years later. Focusing up at the MAYOR, as he places the crown on the radiant young girl... ISHMAEL (V.O.) Senior Year. It was Hatsue. And as the applause ripples through the crowd. As the Strawberry Princess acknowledges her subjects, her eye falls on... ...Ishmael. She drops him a wink. And a special wave. ISHMAEL (V.O.) She winked at me. In public. Which was unusual. EXT. SOUTH BEACH - DAY Two 14-year-olds alone on a beach. Digging for clams in the mud. ISHMAEL (V.O.) I had kissed her once, when we were ten. Looking at fish through a glass-bottomed box. It was just an impulse, and no big deal. Ishmael pulls back from the deep hole, to make room for Hatsue to reach down. We can see her fingers explore the shell of the dug-in geoduck clam. HATSUE He's still got a good grip. We need to dig more. ISHMAEL (V.O.) At school, she kept mostly to the Japanese kids, and sort of ignored me. As if all of our times alone together...in the hollow cedar, everywhere...were a secret. They are digging now, together. Carefully. ISHMAEL (V.O.) I told myself that was good. That it made our friendship special. And didn't mean she was ashamed of it. Necessarily. HATSUE Easy. Slow is best. Gently, she begins to dislodge the clam from its lair. ISHMAEL (V.O.) I thought about her. Sometimes, all the time. I knew I was unhappy. But I knew if I told her... She lifts it clear. And as she admires its size and roughness with her fingertips. As she washes it in the shallows. He watches her movements. ISHMAEL (V.O.) It might be a mistake. I could never correct. ISHMAEL (quietly) I like you. The words make her turn. Not startled, exactly. Alerted. But neutral, without affect. ISHMAEL Do you know what I mean, Hatsue? I've always liked you. There is no answer. He leans slightly closer, and she looks down. This is the moment. Afraid and driven, he moves slowly to her face. And puts his mouth against hers. She lets him and, encouraged, he pushes harder, making Hatsue... ...lose her balance, and planting a hand beneath the water to support herself, eyes closed too tightly, she kisses Ishmael for a long moment, before... ...leaping up, snatching her clam pail and running AWAY down the beach like a deer. He stands slowly. To watch her go. ISHMAEL (V.O.) I knew in my heart that we would love each other forever. His face is slack and unsmiling, but he is helpless with happiness. Contemplating this truth. ISHMAEL (V.O.) The way she kissed me. She knew it, too. EXT. IMADA FARM - DUSK Ishmael crouching at the edge of the farm, in near-darkness. ISHMAEL (V.O.) She avoided me for a week. Across the distance, the screen door opens, light slips across the porch. Hatsue appears with a wicker basket, to take the laundry from the line. ISHMAEL (V.O.) So this way, I could see her without...bothering anyone. He watches, rapt, as she unpins and folds the clothes, clenching the clothespins in her teeth. Then reeling the line again, elegant hand over elegant hand... ISHMAEL (V.O.) I was certain everything would work out. She corrals the long sweep of her hair, knotting it deftly, before heading inside. ISHMAEL (V.O.) And frightened. EXT. STRAWBERRY FIELDS - DAY Children working fields in sunlight. Kneeling in the rows. Hatsue with a half-dozen Japanese girls, her hair loose, her face lightly sheened with sweat. She works with efficiency and grace, filling her flat. Three rows away. Ishmael watches. The fear not far beneath the surface of his quiet, dark features. ISHMAEL (V.O.) By two weeks, I knew I had made the defining mistake of my life. Hatsue's gaze drifts slightly in this direction, and Ishmael looks DOWN rapidly at his work. Cheeks burning, certain she is watching. Which she is not. ISHMAEL (V.O.) I'd ruined everything. LATER...end of day. The young pickers turning in their flats as a gentle rain begins. Hatsue counts her money, slips it into her pocket, and... ...runs lightly off, into the growing rain. Ishmael sees. Stricken to his soul with longing. And indecision. EXT. CEDAR GROVE - DAY Hatsue, drenched, alone with her thoughts in the protection of the hollow cedar. The rain is driving now, and she glances up. At something we don't see. And watches it. Finally... HATSUE You followed me, huh? PULL BACK to see him. Rain pelting off his poor soaked form. She is waiting for an answer. So... ISHMAEL Sorry. It sort of...happened, I just...I followed you. I'm sorry. She pulls her hair behind her ears. A movement which stretches her body. HATSUE I'm all wet. She starts refastening her hair now, looking away. He comes inside, crouches as respectfully far from her as he can. Which is close. He watches her, watches her, and... ISHMAEL I'm sorry I kissed you on the beach. No reaction. As if she hasn't heard. Now his heart is beating straight through his chest. ISHMAEL Let's just forget about it. Forget it happened. She picks up her damp straw hat. And, eyes down, tracing a finger around its brim... HATSUE Don't be sorry. I'm not sorry about it. His heart bursts within him. And he struggles to keep it from his face. Even though she isn't watching. ISHMAEL Me neither. She turns her face to him, and offers a small smile. It is genuine, and therefore dazzling to the boy. She lies back on the ground. Her eyes so unafraid and direct. HATSUE Do you think this is wrong? He swallows. Staring at her lying there so comfortably. ISHMAEL (V.O.) The best part was that there was a 'this'. To debate the wrongness of. ISHMAEL Your friends would. Your dad would kill me with a machete. HATSUE We're Japanese, not Mexican, Ishmael. He'll slice you up with a ceremonial sword. Ah. Better. They are both grinning now. HATSUE My mom. Would be the problem. ISHMAEL Why? We're only talking. Her eyes flicker. The synapse that a woman can offer a man. HATSUE (softly) Sure. And touches his hand. With her fingertips. The barest whisper... HATSUE I can't hear you. Thus invited, he leans down over Hatsue. Kisses her mouth with all the tenderness in him. This time, her eyes close gently. And her body arches slightly, into his. ISHMAEL (V.O.) We kissed for half an hour, that first time. And I knew there would never be another day like it. Rain POUNDING now. A curtain of water, sealing them from the world. ISHMAEL (V.O.) No matter how long I lived. INT. COURTROOM - DAY CLOSE on Ishmael, once more in the row of reporters. Absently kneading the stump of his amputated arm. The way some men drum their fingers. HOOKS (O.S.) ...you were acquainted with the defendant and his family. ETTA HEINE is a linebacker in a dress. Stout and German and wary. She is 57, and pulls her hem down tight below her knees. ETTA Him and his folks and two brothers and two sisters worked our land. Lived in a picker's cabin at first. HOOKS So the defendant knew the deceased, your son, even then. ETTA They fished t'gether. Went to school. Carl Junior treated him like a white person. Like any friend. Said not with pride, but regret. HOOKS But the dispute began. With the father, yes? INT. HEINE FARMHOUSE - DAY Etta twenty years younger, watches stoically from the parlor window, as her husband CARL SENIOR strools the strawberry fields with Kabuo's father Zenhichi. Carl is a huge rawboned man, and puffs a pipe as Zenhichi stops, sweeps his arms this way and that. Etta knows trouble when she sees it. INT. KITCHEN - LATER Etta pours her husband's coffee. It is very quiet. ETTA Don't sell, Carl. You'll regret it. CARL SR. Only seven acres, and the worst seven, at that. They're decent folks. They got five hunnerd to put down now. ETTA Don't go wavin' new church clothes at me. We're not such paupers as sell to Japs, are we? For what, a pouch of fancy pipe tobacco? She walks about the kitchen with her arms folded. Too upset to be still. CARL SR. They work hard, live clean, don't spend nothin'. Even kind to the Indjuns. People is people, comes down to it. Etta turns sharply. Glares at the big man. He just blinks blandly, puffs his pipe. She can see this ship has sailed. ETTA You wear the pants, doncha? Go ahead, sell our land to a Jap and see what comes of it. INT. COURTROOM - DAY Hooks pacing, slow and calm. This part needs to be clear. HOOKS But back in '34, Japanese-born could not own land. So...? ETTA Carl held it for 'em. Called it a lease. They make payments every June and December... HOOKS Why? If they could never take title. ETTA Their kids was born here. So when the oldest, that one there, was twenty...last payment gets made, and he could own it. She folds her hands. Looks Kabuo square in the eye. ETTA But they missed their last two payments. So that was that. INT. FARMHOUSE KITCHEN - DAY Carl Sr. and Zenhichi sit at the table. There is coffee. But it is untouched. Etta watches by the stove. ETTA (V.O.) March 1942, orders came down. Japs had eight days before the Army was gonna cart 'em off. Carl lights his pipe. Compassion in his broad weathered face. CARL SR. (softly) Eight days. It ain't right. ZENHICHI We must leave everything. If you like, you can work our fields, sell berries, keep the money. Otherwise, they just rot. ETTA (V.O.) Japs are shrewd. Offer berries he can't use. Soften us up about those two payments still to come. And sure enough, Zenhichi produces a neat stack of bills. Puts them on the table. ZENHICHI Today, I have $120 toward next paym... CARL SR. Absolutely not, Zenhichi. I'm not gonna take your savings at a time like this. The small man spreads the bills out. On the table. ZENHICHI Please, you take. Then, I send more from where I'm going. If not enough, you still have seven acres strawber... ETTA Thought you was givin' us those. And everything. Stops. ETTA Didn't you come in here givin' them away? Now you want $130, after our labor and fertilizer. Is that what you come here hopin' on? Zenhichi keeps his anger within. His face is stone. ETTA (V.O.) I spit on him, and he's pretending it didn't happen that way. How could anyone trust people like that? ETTA You want more coffee? ZENHICHI No, thank you. Take money, please. But Carl is staring at his wife. She stares right back. Carl turns, slides the money toward Zenhichi. CARL SR. Etta's been rude to you, and I apologize for that. You keep this money, and those payments will work out fine. Somewhere down the road. INT. PARLOR - TWILIGHT Silence. Palpable. Two figures sit at opposite ends of this darkening room, each under a lamp. Carl Sr. is reading the paper. His face is stone. Etta at a small writing desk strewn with bills and ledgers. Her face is angry. A screen door opens. Slams shut. Big footfalls coming. No one looks up. CARL JR. Look at this! He stands in the doorway. A bamboo fishing road in his giant hand. CARL JR. Kabuo loaned it to me. Til he gets back. And his parents stare back him. CARL JR. It's great for sea-run cutthroat. The ferrules are smooth, silk wrapped. ETTA Take that back. And do it now. The big young face is stunned, hurt. CARL JR. I told Kabuo I'd take ca... ETTA Those Japs owe us. I don't want nothin' confusing that. The boy looks to his father. Who says nothing. ETTA I said now, boy. Supper's in forty minutes. Crestfallen, defeated, the boy backs away. Hear his footfalls. The screen door SLAM hard. And Carl Sr. looks at his wife. No sound, until... CARL SR. We ain't right together. The words are flat and straight. Etta stoic. CARL SR. You and me. We just ain't right. INT. COURTROOM - DAY Hooks settles back. His butt on the edge of the prosecutor's table. The soul of patience and clarity. HOOKS You said neither of the last two payments were made. But your husband told defendant's father that he could pay them...what, 'down the road'. And straight back... ETTA Road ended October 1944, when my husband passed away. She nods. That's all there was to it. ETTA I sold all the land to our neighbor, Ole Jurgensen. Got a fair price, this time. And... Straightens her spine. To deliver the clincher... ETTA Sent all their equity back to those Japs down in California. Which I didn't have to do. Specially since my boy was out in the Pacific, gettin' shot at by Japs at the time. Hooks pauses. As if drinking this in. HOOKS Now defendant's father had also died by that point. Where was the defendant? When you sent his family their equity. ETTA In the war. Europe, I believe. They could hardly send him to the Pacific, could they? Kabuo watching the woman. Eyes as hard as her own. HOOKS And when he came home. Did he write you about this? Or phone, perhaps. ETTA Just showed up at my door, big as life and twice as mean. Wanted to talk to my son. INT. ETTA'S APARTMENT, AMITY HARBOR - DAY Kabuo stands at the open door. No one is inviting him inside. ETTA He's over the ocean, fighting the Japs. They're just about licked. KABUO (quietly) Just about. And there it sits. ETTA When Mr. Heine passed away, I couldn't farm the place myself, could I? You're gonna have to talk to Ole abou... KABUO I just did. He didn't know we were one payment away. You didn't tell him Mr. Heine promised my fath... ETTA I was s'posed to tell him there's some illegal contract muddling things up? You folks didn't make your pay- ments. In America, bank comes in and repossesses your land. I didn't do anything wrong. Kabuo stands. Calm, unblinking. KABUO Nothing illegal. Wrong is a different mat... ETTA Get out of here. KABUO You sold our land out from under us, Mrs. Heine. You took advantage of the fact that we were gone. You... SLAMM. The door has closed in his face. And Kabuo stands there. As if deciding. Whether to break it down. INT. COURTROOM - DAY Hooks standing at the jury box now. Looking at them, as he asks... HOOKS What do you mean by 'dirty looks'? ETTA Well. Every time I see him in town or somewhere, he's starin' at me with these narrow eyes. Givin' me his mean face. HOOKS When your son came back from the war, what did he say about all this? ETTA That he'd keep an eye on Miyamoto. Watch out for him. HOOKS Did he see some danger from defen... NELS Objection. Asking witness to speculate about deceased's state of mind. HOOKS All right. What did your son say to that effect? She looks up. As if trying to recall. ETTA He said he wished Kabuo would forget about his seven acres, and stop lookin' at us cross-eyed. Hooks stares at the jury. Holds the moment. HOOKS Your witness. And goes slowly back to his seat. Nels waits until his opponent is seated. Then, rises. NELS Just three questions. The Miyamoto family bought your seven acres for $4500? ETTA Tried to. Defaulted on their payments. NELS Second question. What did Ole Jurgensen pay you per acre? ETTA A thousand. NELS So that makes what would have been $4500 into $7000, doesn't it? If you sent the equity back, you had a profit of $2500. ETTA Is that your third question? NELS It is. ETTA You done your math right. The old man wears a thin, cold smile. NELS You, too. No further questions. HOLD on Kabuo. As he watches Etta rise heavily from the box. EXT. DEEP FOREST - FIRST LIGHT Mist of moments before dawn. As tendrils part, there is enough light to see... ...eyes. They are Asian. They are razor-keen. PULL BACK to reveal... ...Kabuo alone in G.I. gear and helmet. Rifle up high, sweat on his face, moving soundlessly, turning in a circle as he goes, until... ...he stops. A heartbeat of silence. Then... ...the BLAST of automatic tracer TEARS through trees, as he WHIRLS and RETURNS FIRE in a single motion, until... Silence. His heart is pounding. He waits. Waits. Weapon at the ready, he pushes THROUGH the dense foliage to see... ...the 15-year-old German SOLDIER, splayed on the forest floor, his chest torn and bloodied. Kabuo's gaze LOCKS with the boy's. The young soldier's empty left hand reaches out in a a plea, and as Kabuo steps forward, the boy's right hand comes suddenly... ...INTO view, metal GLINTING in motion, as Kabuo... ...BLOWS the boy AWAY with staccato rifle BURSTS that JUMP the already-lifeless body like an electric jolt. And falling from the kid's hand, not a pistol, but... ...ID TAGS. No expression on Kabuo's face. None at all. He moves on. INT. COURTROOM - DAY OLE JURGENSEN wobbles slightly in the witness box, hands resting on the cane planted unsteadily between his frail legs. His eyes leak water, his beard is wispy and unkempt. HOOKS Were those his exact words? OLE (shaky) He say Mrs. Heine robbed him. Mr. Heine never woulda let no such ting like that hap... HOOKS Robbed. He was angry. OLE Oh, yeh. He said someday he would get his land back. Hooks nodding. Nodding. HOOKS Mr. Jurgensen. Did he offer to buy the seven acres from you? OLE Oh, yeh. But this is nine year ago, I had my healt, I wasn't wantin' to sell. HOOKS And then your stroke came this summer. And you put your property on the market, I believe you said September 7. Which, remember, is eight days before Carl Heine died. And who comes Spetember 7, wanting to buy? OLE Carl Heine came. Hooks pauses. Lets that sink in. HOOKS But Carl was a fisherman. And successful at it. OLE He said he didn't want that life no more. He'd been saving to buy a farm. He was sorry I got sick. But pretty excited to get back his father's place. The old man's head bobs. Recalling. OLE Liesel and me. Was happy for him. Hooks smiles. As if he would be happy, too. Anyone would be. HOOKS And later, that same day. Only eight days before Carl Heine died. Did another prospective buyer appear? EXT. FARMHOUSE PORCH - DAY Ole sits in a wicker chair at a wicker table. His wife LIESEL is setting out cold drinks. But their visitor stands rigid, disbelieving. LIESEL I'm sorry to tell you, we took his earnest money, he shook Ole's hand. Come November, he'll sell his boat, and take over the farm. Kabuo is thunderstruck. KABUO But your sign... OLE We din't have no time to take it down. He just come ten o'clock. Kabuo nods. His voice is soft, but his eyes are steel. KABUO It's my fault. I should have come earlier. He looks so odd, perhaps he's ill. Liesel looks concerned. OLE If you want t'buy them seven acres. Carl Heine's the only fella can sell 'em. INT. COURTROOM - EVENING The witness box is empty. The snow outside the windows is falling in darkness. And Judge Lew Fielding is leaning his frame toward the jurors... JUDGE I apologize for keeping you folks from your families in a storm like this. I do hope you'll be reasonably comfortable in the hotel tonight. And one more thing... He smiles softly. JUDGE This Court takes judicial notice of the fact that tomorrow is the 13th anniversary of the attack on Pearl Harbor. Slight pause. To make sure they are listening. JUDGE Which has no relationship to this trial. Which is why I mention it. Gavel CRACKS down. JUDGE 10 o'clock tomorrow, folks. Stay warm. INT. COURTHOUSE CORRIDOR - MINUTES LATER Hatsue walks briskly down the crowded hallway, her eyes searching the benches lining the corridor ahead. Her view obscured by the crowd hurrying to fight the storm. Suddenly... ...she stops. Because there. On a bench. Sits Ishmael. Next to him, a round Japanese-American baby boy of 11 months. Before him, squat the boy's sisters, eight and four. All are watching Ishmael... ...manipulating a COIN. It rolls across his knuckles and back again, with amazing dexterity. Then, he snatches it into his palm. Holds up his fist. All little eyes are glued. The fist... ...opens. It is EMPTY. There are GASPS. ISHMAEL Know where it is? They don't. ISHMAEL It's in my other hand. The four-year-old LAUGHS. Her big sister socks her. And Mom steps in. The man looks up, with the sweetest smile. ISHMAEL Your mother went to the bathroom. She said I could show them a trick. FOUR-YEAR-OLD HE DOESN'T HAVE A OTHER HAND! Hatsue is not smiling. Nor is she angry. Even awkward comes to her in a graceful way. She scoops up her son. HATSUE Thank you for your help. (to the girls) Let's go find obaasan. And without even glancing at him, she heads off at a brisk pace. The girls following. The four-year-old turning back to wave once. And then they are gone. INT. JAIL - NIGHT Kabuo stands outside the open steel door of his tiny cell, as Abel Martinson clumsily unfastens the manacles. A cot, a toilet without a seat, a bare bulb hanging from a wire. No windows to the outside world. Only the small barred one in the cell door. As the manacles fall away... ...Abel removes two objects from his pocket. ABEL This is from Nels, I can't see the harm. Don't tell Art, okay? Hands him two CANDY BARS. A Snickers. And a Baby Ruth. Kabuo looks at them... In spite of himself. Kabuo smiles. Remembering... INT. JAIL - DAY Kabuo sits in jailhouse overalls on the edge of his cot. Motion- less. On a private journey of the mind. The door CLANGS open... MORAN This here is Nels Gudmundsson, he's your attorney. Kabuo looks over. That flat, unsmiling gaze. The old man has a folded chessboard and a Havana cigar box under his arm. Their eyes lock, as if the Sheriff weren't even here. And Moran leaves, closing the door with respectful quiet. Nels doesn't smile, doesn't speak. Opens the chessboard on the cot. Opens the cigar box filled with chess pieces, two cigars, a Snickers and a Baby Ruth. He puts the candy bars by Kabuo's pillow, a silent gift. Begins to set up the chessboard. KABUO What makes you think I play? NELS Your daddy played. I asked, down at the Japanese Community Center. You smoke cigars? And offers one up, rough and black. KABUO I'm not sure. I better check down at the Center. Kabuo smiles only with his eyes. Nels nods, maybe you better. Lights his own cigar. Puts the matches and the other cigar at Kabuo's side. NELS White or black? KABUO You mean, do I like to take the offensive? Or hang back and wait. That seems answer enough for Nels. He turns the board around to where he has white, and makes the first move. NELS Nice. When two fellas understand each other. Kabuo picks up the cigar. STRIKES a match. ........................................................... white. Kabuo moves a black bishop. Nels' eyes shoot around the table. He reaches and KNOCKS OVER Kabuo's black king. Kabuo blinks, studies the board silently. Then smiles. He unwraps the Snickers bar. Breaks it in half. Hands one piece across to his lawyer. SERIES OF ANGLES... RAPID CUTS, different days, Nels in different suits, chess pieces in different positions, each time Nels reaching to topple Kabuo's king. The last time... Kabuo has to study the board for a beat. Shakes his head. KABUO You must think I like losing. NELS I think you like learning. And leans his old bones back against the hard wall. NELS Me, too. That's why I come. Pulls out two cigars. Kabuo looks at them. NELS Bet there's a few things you could teach me. Kendo, for one. KABUO Sure. I could take a fishing gaff and split your head open. Right above your left ear. No smile. Steady gaze. KABUO You wouldn't even see it move. NELS You're wonderin'...how come I never ask. If you did it. Hands one cigar. Across the chessboard. NELS Now, you've told me you killed four men. In Germany. So I know you are the kind of man who can kill. When there's a reason. KABUO (very quiet) Guess I am. Takes the cigar. Rolls it between his thumb and forefinger. NELS You feel guilty. That you took their lives. That's in your eyes. STRIKES a match. NELS (softly) Jury sees what I see. More often than not. Reaches stiffly. Kabuo bends toward him. Accepts the flame. Takes a puff. NELS Prosecutor thinks. What was your reason? To kill Carl Heine. Kabuo says not a word. NELS Well, there is the land itself. Raise your children where you were raised. Sleep with your wife at night, 'stead of bein' alone on the sea. Brings the match to his own cigar. Careful. Expert. NELS There's fairness and honor. You were cheated by that old bitch. Boy, she is something. KABUO (simply) She's not alone. Worlds within those words. NELS (a murmur) None of us are. And in those. NELS And prejudice, like you say. Your people locked in a concentration camp. You go off to fight for our country's freedom. Come back to this. Shakes his head. NELS But Mr. Hooks has missed the one reason. One reason. You coulda done it. A flicker. Behind the defendant's eyes. NELS I read you Etta Heine's deposition. So I could watch your mind. Like I do when you move your rook, or when I move mine. A smile now. Very kind. Very sad. NELS And you weren't thinking about her. Or about land. Or about you. No, you weren't. And in the gentlest voice... NELS No, someone cheats you, you can rise above that. You're a family man. You put them ahead of you, hmmn? He sighs. But... NELS Wasn't you she dishonored. And the old watering eyes are rock steady now. NELS Your father was a strong and tireless man. Honest to a fault. Kind, and humble as well... There is a silence. And then... KABUO (real quiet) Nice. When two fellas. Understand each other. They let that sit. NELS Now this jury is gonna be lookin' at the evidence with one eye. And at you with the oth... KABUO Mr. Gudmundsson, we know what that jury is looking at. He won't let hs eyes lie to this man. NELS Your father needs you. To return to your family. Silence. NELS So every time you think about showing that jury strength. Or honor or composure. Or dignity. KABUO I should show them an American? Nels sees the rage. It breaks his heart. It makes him feel old and helpless. NELS Show them an innocent man. What he stares at now. Is a neutral mask. As powerful and opaque as the voice is quiet. KABUO Shame you couldn't play chess with my dad, sir. He'd kick your ass. INT. ISHMAEL'S APARTMENT - NIGHT Through glass, snow is tumbling in endless cascades, the world dwarfed by a descending heaven. A sound, a strange soft CLICK. PAN across... ...the small, well-kept bachelor apartment. Neat stacks of books on the floor, catching the overflow of shelves crammed full. Someone likes to read. Another soft CLICK. To... ...the kitchen now, along the floor. An awkward high-top SHOE, its buckled straps above elastic LACES that fasten across the instep. The shoe steps on a crude wooden PEDAL. And we hear another CLICK. PAN up along a vertical strip of mesh WIRE to... ...a plywood CONTRAPTION, held by a partially closed drawer. A piece of spring steel holding a set of NAIL CLIPPERS. Ishmael inserts his pinkie carefully. CLICK. Finishes clipping the fingernails of his only hand. And looks out. At the magic of white. EXT. HOLLOW CEDAR - DAY Safe within their haven, the 18-year-olds kiss and hold each other urgently. Their tongues exploring each other's mouth, her legs open beneath her skirt, pressing her body up against him. ISHMAEL (V.O.) I gave her all of my soul to love. I knew someday we would live in France. Italy. Somewhere. Far from the things that upset her. ANGLE...later, they lie so quietly. Her head nestled in the crook of his arm, he gently plays with her hair. Her face so still, so thoughtful and grave. ISHMAEL (a murmur) You don't have to be so tragic, you know. Ah. Her dark eyes flicker. HATSUE (dry) Kind of magical, the way you know how to comfort a girl. She cuts the irony by sending her fingertips to stroke his. HATSUE I can just feel my spirits soar. ISHMAEL Well, I don't do it for just anybody. And kisses her head. But her eyes still stare off into the tangle of her worries. He draws a breath... ISHMAEL There can't be any wrong in this, Ha... HATSUE I lie to my parents every day. And every night. His light tone against the fear... ISHMAEL Well. Since I never told your folks, I guess I'm lying to 'em, too. But you don't hear me complaining about it. She winds her fingers with his. Loyalty against her doubt. Very soft with... HATSUE I'm in awe. Of your strength. INT. SCHOOL BUS - DAY Hatsue sits with the Japanese kids. Ishmael with his friends. The bus filled with stone-faced teenagers listening to the DRIVER, who brandishes his newspaper at the Japanese side of the bus... DRIVER ...not just Pearl, they're attackin' all over the Pacific, the whole fleet's destroyed. The FBI's in Seattle right now... And pauses. His eyes moving from one Japanese face to the next. Are you listening? DRIVER ...arresting Jap traitors, the spies and everything. There'll be a blackout tonight, so keep your radios off. So the Japs don't pick up no signals. You get the message? Stares them down. Until, from across the bus... ISHMAEL (O.S.) Hey, Mr. Lamberson, over here! The driver's eyes snap around. The tall boy is waiting. ISHMAEL I have a radio, too. Don't you want to be sure I got the message? Ishmael sees the anger. He's not afraid of it. ISHMAEL Just checking. INT. SAN PIEDRO REVIEW - LATE NIGHT The horrid CLANGING of the great rattletrap press, Arthur Chambers ducking nimbly among the rollers. ISHMAEL (V.O.) It was a special edition, an extra. My father wrote, 'These people are our neighbors, they have sent their sons to the United States Army...' Print flying onto paper as it rolls through the green metal gauntlet. ISHMAEL (V.O.) 'They are no more an enemy than our fellow islanders of German or Italian descent.' Belary-eyed Ishmael, pulling finished copies from the bin. As he stacks them for delivery, he reads aloud, above the CLASH of metal... ISHMAEL (sleepy and loud) LET US SO LIVE THAT, WHEN IT IS OVER, WE CAN LOOK EACH OTHER IN THE EYE. AND KNOW WE HAVE ACTED HONORABLY. Big yawn. It's really late. He turns, and sees... ...his father. Staring at him. ISHMAEL (V.O.) I guess courage never inspires the young. Until the danger of it bites their butt. EXT. WOODS - TWILIGHT They walk slowly up the path. An arm around each other's waist, their bodies brushing as they go... HATSUE My father can't get our money from the bank. We have a few dol... ISHMAEL It'll be over soon. I can get you money. She stops. By a weathered fence, covered in vines. It's growing dark. HATSUE It's not going to get better, okay? She sighs. He moves close, looks so grave. HATSUE They arrested Mr. Shirazaki, because his farm is near a navy transmitter. And his family can't leave their house. What can he say. ISHMAEL It's just Pearl Harbor. People are a little crazy, right n... HATSUE Look at my face. It's the face of the people who did that. My father hardly speaks English. We're in bad trouble, you have to see that. He reaches. Touches this face that he loves with all his heart. Forces up a smile. ISHMAEL Maybe we can fix your eyes. She leans up. CROSSES her eyes in a goofy expression. Then kisses his mouth. When she pulls back... ISHMAEL Don't let this hurt us, okay? Whatever happens. And she studies this boy. Knowing more than he can ever understand. And chooses to whisper... HATSUE It won't. You'll see. INT. IMADA FARMHOUSE - NIGHT Hatsue and her older daughter are setting the farmhouse table, as snow drifts down beyond the window. Plates and flatware. Glasses and napkins. Slowly, in silence, as if a ritual bonding mother and daughter. She glances to the next room... ...her mother Fujiko plays with the babies. Her father HISAO reads the paper. Smoking his pipe. And Hatsue is motionless for a moment. Watching him. INT. IMADA FARMHOUSE - DAY CLOSE on Hatsue at 18, staring with silent anger greater than her fear. HISAO (O.S. shaky) We are loyal. PULL BACK to see the room. Hatsue and her sisters side by side, staring at the table. On it rests a shotgun, four boxes of shells, a ceremonial sword. An FBI AGENT, a small man in a dark suit, is tagging each item. He wears a light, perpetual, insincere smile. FUJIKO Everyone on the island has these things. Fujiko at her husband's side. She is quietly indignant. He is frightened. AGENT (overly casual) Well, they'll hold this stuff for a little bit, then ship it back to you. It's nothing to worry about. And walks over to the tansu, a chest of drawers, and begins to remove items... AGENT You folks have been real polite, and we'll be outta your hair in just a second... ...a silk kimono with gold brocaded sash... AGENT That's very nice. From the old country, it appears. Very high class. And lays it on another table. Next to a bamboo flute, a stack of shakuhachi sheet music. AGENT These are real nice things. They'll take special care of 'em. Hisao sees his wife's sudden alarm. And, as respectfully as he can manage... HISAO The flute is precious. The kimono, the music. Must you take th... AGENT ...oh yeh, any old country stuff, we have to take. And sees on the sofa, an open album. Strolls over. FUJIKO This is only my daughter's scrapbook. For her memories. So he picks it up. Doesn't see Hatsue stiffen with repulsion, as he wanders, thumbing through it, toward the hallway... AGENT (calling out) Wilson? Don't go pawing through the underwear! And chuckles. He knows they appreciate a joke. It means there's nothing to be afraid of. Stops turning pages now. Looks up, his eyes moving until they find Hatsue. AGENT Strawberry Princess, huh? You musta been flattered by that. Looks just like y... The soft slamming of a screen door. Another AGENT, large and shambling in his too-small suit, is carrying a crate. And a telling look. AGENT #2 (quiet triumph) Dynamite. Twenty-four sticks. And the crate BANGS onto the table. Just beside the kimono. Lifts out two sticks and holds them high. Proof. HISAO You must believe. This for tree stumps. For clearing land. The small man's smile fades now. First time. And his eyes fix Hisao before he speaks. As if reading his mind. AGENT Maybe. Maybe. But this is still bad, y'see. Fujiko slips her hand into her husband's. To give him strength. AGENT It's illegal contraband, you were s'posed to turn this stuff in. We, uh... Slight shrug. AGENT We gotta arrest you. Have to take you to Seattle. Fujiko's breath catches. One of the daughters whimpers. The silence hangs thick and frightening. The bigger agent unhooks a pair of handcuffs from his belt, but... AGENT Naw, you don't need those. Mister Eee-ma-da-san here is a class act, a real gentleman. The younger girls are crying now, clinging to their sisters. The agent regrets this. FUJIKO Please, reconsider. He has done no bad th... AGENT Well, nobody knows that yet, do they? So, best for an honest man to clear his name for godd and all. Ain't that right? AGENT Only a few questions in Seattle, okay? Few questions, few answers, the whole thing is over. He puts his hand on Hisao's arm. Not roughly, but much firmer than the ease of his voice... AGENT Simple as that. INT. FARMHOUSE KITCHEN - NIGHT Eight pages of a letter, carefully written in Kanji characters, folded neatly on a table. FUJIKO (O.S.) Why do I read you this distres- sing letter? From your father. From this hakujin...work camp, it is called. In Montana. PULL BACK to see mother and five daughters around the table. Even the youngest girls somber, attentive. As if they have aged these past few weeks. FUJIKO Because you need to know the darkness. In the hearts of the hakuj... HATSUE (blurts) Not all of them. The silent wake of her outburst, her interruption, lingers. Her mother studies her. FUJIKO The whites are enslaved by their egos, Hatsue. Each believes his aloneness is everything. We seek union wi... HATSUE ...the ones seeking union with the Greater Life bombed Pearl Harbor. They are not humble. I am not part of them, I'm part of here. Her voice so loud, so insistent. Her sisters are afraid for her. To have shown such disrespect. They look down at their hands. Or away, as if not hearing. FUJIKO (quietly, slowly) I see this. This lack of purity is a mist around your soul. I see it every day, it haunts your face in unguarded moments. The room is still as the grave. The mother's eyes burn silently. FUJIKO I see it in your eagerness to leave here. And walk the woods. In the afternoon. What does she know? Hatsue's heart pounding. And to her surprise, her mother's voice softens... FUJIKO If you lose your true self, Hatsue. True self... The stern warning, the unrelenting judgement, has become a plea. FUJIKO There is no way back. INT. ISHMAEL'S KITCHEN - NIGHT Ishmael washing his supper plate. His fork and knife. His coffee mug. His skillet. Hard labor with one hand. And as he works, he looks at... ...the window above his sink. Darkness and moonlit snow. And his own reflection. CLOSE on his face in the glass, and MATCH DISSOLVE to... INT. SAN PIEDRO REVIEW - NIGHT ...Arthur Chambers. Weary. Worn behind the smile of knowing ease, as he sips coffee from a mug of his own. His boy sits across from him in the silent press room. Feet up, reading their paper. Its headline, ISLAND JAPANESE ACCEPT ARMY MANDATE TO MOVE. ISHMAEL See, you bring it on yourself. 23 ladies honored by the PTA, you single out three names. And they're all Japanese. That isn't journalism. ARTHUR (quietly) Because...? Ishmael has heard this gently prodding word all his life. He sighs. ISHMAEL Because journalism. Is just the facts. ARTHUR Which facts? You can't print them all. Journalism is balance. Finding the facts folks need to know. The boy looks dryly at his father. SLAPS the page with the back of his hand. ISHMAEL Hence. The letters. Arthur closes his eyes. Recites from memory... ARTHUR 'Seems like you're favoring the Japs, Art. Writin' all about their patriotism and loyalty with nothin' 'bout the treachery.' A smile in the voice. A sad one. ARTHUR 'Your newspaper is an insult to all white Americans. Please cancel my subscription and send refund.' Now the smile is on his face. Even sadder. ARTHUR The calls are better. 'Jap lovers get their balls cut off and stuffed down their...' (shrugs) Missed the rest. Hanging up will do that. Silence. Two men. Watching each other. ARTHUR We lost the Price-Rite ads. And Lottie Opsvig's shop, and Larsen's Lumberyard and the Anacortes Cafe. And 30 percent of our subscribers. A deeper silence. ISHMAEL Integrity is expensive stuff, huh? ARTHUR Valuable things. Sometimes are. Toasts his son. With coffee. ARTHUR But. I've got the answer. A wink. A swallow of Joe. ARTHUR Print four pages. Instead of eight. EXT. HOLLOW CEDAR - DUSK They lie so close. Their bodies touching, not moving. Their faces inches apart, so that every word is a murmur... HATSUE You're like me. You've learned to be devious. He's never seen her this fragile, this scared. He knows he has to be strong for her. ISHMAEL It's not devious, it's what we have to do. You're leaving tomorrow... He unties her hair. So gently. Tries to keep his smile calm, steady... ISHMAEL You write to my house, and put Kenny Yamashita's name on the return address. It's no big deal. He brings his face to her hair. Kisses it. ISHMAEL You smell like cedar. Her eyes are wide. They move over his face. A murmured... HATSUE So do you. It's your smell I'll miss as much as anything. He looks in her eyes. And words come from his heart, before he can stop them... ISHMAEL Let's get married, okay? Her eyes fill with tears. Are they from happiness? ISHMAEL I want to marry you. Is that okay? Her face so still. One tear falls, and he kisses it. ISHMAEL (a whisper) Just say yes. No answer. Not knowing what to say, she winds an arm behind his head, and brings him nearer. His mouth opens into hers, with more force, more of his heart, than he has ever given. Deep and tender. His hands reach beneath her dress... ...peel her panties down her thighs... ISHMAEL (V.O.) When something that means your whole life. Is the last time ever... And suddenly, he is OVER her, drawing her legs up around him... ISHMAEL (V.O.) God should tell you. Or it's not fair. Her head tilts back, her eyes squeeze closed. And as he enters her... ISHMAEL (whispers) Please say yes... ...her hands GRASP his upper arms. And push away. HATSUE (softly) No. And he blinks. As if waking from a dream. Everything has stopped. Her face is strong and yet overflowing with regret. HATSUE No. No. It isn't right. So he draws away. Stunned, uncomprehending. Watching with blank eyes, as she stares up at him. Then, with dignity and tenderness, he helps her dress, his eyes awkwardly away from hers... ISHMAEL It felt right to me. It felt like getting married. She draws her legs up. Kneeling now, putting her hands on his face... But no words come. No words. Until... HATSUE I'll write you. And KISSES him fiercely, and BOLTS up before he can grab her, RUNNING off like a deer, while he... ...kneels. His mouth open. Like a silent scream. EXT. AMITY HARBOR FERRY - MORNING An army truck pulls up behind several others in cold morning air. Hesitantly, looking in all directions, Fujiko, Hatsue, and her four sisters climb from the truck, to see... ISHMAEL (V.O.) On Monday, March 30, 1942, the United States Army graciously transported the Imada women to the docks. ...a ferry, the KEHLOKEN, stands waiting. Soldiers are dis- tributing tags for luggage and coats. The evacuees, mostly women, stand in the cold, trying to smile bravely for each other. And lined against the railing... ISHMAEL (V.O.) Lifelong neighbors came to watch. Curiosity masked as kindness... ...a cluster of white islanders gawking as their Japanese neighbors file toward the ferry. A middle-aged woman waves to Fujiko, who casts her eyes down, refusing to acknowledge the greeting. And just as they reach the gangway... ...Hatsue sees Ishmael, who stands at an unobtrusive distance, among a group of students. She pauses. Her eyes hold his for a heartbeat... ISHMAEL (V.O.) ...with some exceptions. The wisp of a smile. And she is gone. EXT. IMADA FRONT PORCH - NIGHT Hatsue comes alone onto the white-blanketed porch. Snow is no longer falling. She takes out a cigarette, lights it impassively. The mannerisms make her seem fully American, despite the porcelain impenetrability of her Asian exterior. She closes her eyes, and... ...draws deep on the smoke. The act seems to cause her pain. When the eyes open, they are frightened, unguarded. Nowhere to turn. The next puff looks desperate, and she FLIPS the cigarette out onto the snow. Jams her hands in the pockets of her parka, stamps her feet against the cold, the helplessness. And looks out... ...strawberry fields, endless and white, shimmering in filtered moonlight, become... EXT. MANZANAR INTERNMENT CAMP - NIGHT ...a moonlit DESERT. PAN the barbed wire, the distant barracks, the desolation. Come to... ...two women walking alone. The younger one glancing at her mother as they go. Fujiko's eyes unreadable, stare implacably ahead. The barracks, everything, in distance behind them. HATSUE You think we're far enough away now? No sarcasm in the voice. She lets the words carry her irony. Her mother stops. Looks at her so directly, so strong. Even her tough-minded daughter flinches slightly. HATSUE Mom, whatever this is, they don't keep war secrets this carefully. Fujiko thinks that over. Nods. FUJIKO Secrets are hard to keep. She goes over to a large, flat rock. Sits down. Pulls two sheets of paper from her coat. And waits. As her daughter comes and crouches at her feet. Fujiko clears her throat. FUJIKO This letter. Was opened. By mistake. And watches. As the shard of fear penetrates her daughter's mask. Silence. Then... FUJIKO (reads) 'My love. I still go to our cedar tree in the afternoons every day. I shut my eyes, waiting.' Hatsue has turned to stone. To ice. Wind blows. FUJIKO (reads) 'I smell your smell. And I dream of you. And I ache for you to come home. So I can hold you and feel you near.' Fujiko scans the page silently. Turns to the second... FUJIKO (reads) 'After all these years that we've been together, I find you're a part of me. Without you, I have nothing. All my love, forever...' And looks up. Her eyes calm, quiet. FUJIKO The neighborhood boy. Who taught you to swim? The look holds. And holds. HATSUE You shouldn't have opened that. It was mi... FUJIKO (so quiet) How deceitful of me. Anger only at the edges. Like finely-honed steel. FUJIKO How can I ever hope. For your forgiveness. The wind swirls a cloud of dust between them. They seem not to notice. FUJIKO I have written this letter to the boy's parents... She pulls out a single page. Hands it down to her daughter. Hatsue's eyes move quickly over the words. FUJIKO Attraction is no crime, certainly among children. The dishonor lies in the concealment. From your families. Watches her daughter reading. And quietly... FUJIKO I know that you know this. I know you have suffered. Even if the hakujin could not. Silence. Hatsue's eyes cast down. She folds the page. FUJIKO There will be no further letters. No contact of any k... And stops. Because Hatsue is TEARING the page in two. She looks up. Into her mother's shock. HATSUE One more letter. I will write it. You may read it, and send it for me. Her mother's anger fades. Into interest. HATSUE I deceived more than you. I deceived this sweet boy. And myself. It was never love. Never love. The mother's face changes. There is understanding, acceptance. Even pride. HATSUE I will work hard. To earn your forgiveness. A sigh. A sadness deep, beyond her years. HATSUE I can never hope for his. INT. BARRACKS - NIGHT Mother and daughter enter their crude quarters. They find Hatsue's sisters sitting on the wooden floor, watching... ...a team of young MEN, working with tools and pieces of lumber. One is building shelves, two others, a chest of drawers. Their leader kneels tacking scraps of tin over the knotholes on the floor. One girl beams at her mother... SUMIKO These boys are buildings us a mansion! The leader grins and rises. Bows slightly to Fujiko. He is, of course... KABUO I'm Kabuo Miyamoto, Mrs. Imada. The woman smiles. Bows slightly in return. FUJIKO We are in your debt, Miyamoto-san. How are your parents, your family...? KABUO My father is sick with the camp food. The rest of us are fine. Don't speak of dept, please, we just want to help. And glances. To the eldest daughter. In the doorway. KABUO Hi, Hatsue, remember me? She looks back, without expression. There is much on her mind. His smile is handsome, easy. KABUO I was a senior when you were a junior. But I've seen you around. She tosses her hair free of the parka. Gathers it in her hands. Saying only... HATSUE Hello. Can't win a smile, but he doesn't seem to mind. KABUO Nice to see you. EXT. APARTMENT HOUSE REAR PORCH - NIGHT Ishmael steps from the building onto the rear porch. He draws from his coat a black CIGAR. Box of matches. The cigar goes into his mouth. With amazing dexterity... ...he slips a single match from the box, turns his face to the wall, and still palming the box, STRIKES a match on the buckle of his belt, bringing it smoothly to the cigar for a few critical puffs before the match dies. He turns toward... ...the fields. Stretching treeless, endless, seemingly to the horizon. Bathed in filtered moonlight, they become... EXT. TARAWA ATOLL - NIGHT ...the shimmering Pacific. We are with Ishmael in an LCVP landing craft, as his platoon enters Tarawa lagoon. Bobbing past two DESTROYERS firing in waves at the beach. Ishmael and his platoon mates watch with adrenaline-fueled fear as amphibious tractors draw fire on the sand, one exploding in flame. ISHMAEL (V.O.) Her letter reached me on the North Island of New Zealand. So I had a month to think it over... Men around him are shouting, cursing, jostling against each other, frightened out of their minds, as SHELLS POUND the ocean, horrify- ingly huge and near. ISHMAEL (V.O.) I wrote her four times. 'I hate you with all my heart. I hate you, Hatsue, I'll hate you always!' Suddenly their craft runs AGROUND on the hidden reef. They are still 300 yards from shore. ISHMAEL (V.O.) I never sent the letters. I wanted to kill as many Japs as possible. SQUAD LEADER MOVE IT, MOVE IT, MOVE IT, LET'S GO!! The SQUAD LEADER goes over the side, Ishmael and others follow, struggling with 85 pound packs. As Ishmael hits the water, the squad leader is SHOT in the face, a man five yards from Ishmael has the top of his head BLOWN AWAY, men are DROPPING in numbers under the WITHERING BURSTS of fire, the deafening ordnance sweeping over the SHRIEKS of terror and agony, and Ishmael... ...submerges behind his pack, splashing hard, keeping its bulk ahead of him as a shield, until he can wade and swim and plunge toward shore, as hellfire CRASHES everywhere, dead bodies floating, machine-gun blasts WHIPPING the water's surface, Ishmael at... ...the shallows now, men rising to make a run at the seawall, being CUT DOWN, Ishmael crouching in the water, watching other men draw fire, and in a moment's lull, four of them and Ishmael... ...GO for it, lungs BURSTING, pounding MADLY up the sand, one SHOT DEAD, another SCREAMS as his knee is blown away and goes down writhing, as three men... ...MAKE IT to the wall. Gasping, puking, shivering with cold and fright. They have no gear, no weapons. One of them is Ishmael. He looks back to... ISHMAEL (V.O.) Eric Bledsoe was bleeding to death. Thirty yards away. Bullets FLYING everywhere, CHEWING up the sand. The young man twitching, pleading... BLEDSOE (crying) Oh, shit, please, please help me you guys, come on, help me, fucking help me, PLEASE...! And flat against the seawall, three men watch. Not daring to look at each other. ISHMAEL (V.O.) I knew nothing could save him. Hell, I didn't have so much as a band-aid. I also knew I was a coward. For not giving up my life to try. EXT. SEAWALL - DAY Ishmael and his companions have been joined by others. Sixty or so men mill in the shadow of the seawall. The beach is littered with dead marines and wounded, calling for help. As Ishmael glances up, a SERGEANT leaps ONTO the seawall, cigarette dangling from his mouth... SERGEANT You pussies are the kinda chickenshits deserve to have your balls chewed off real slow when this is over! Stands with his hands on his hips. The men below him properly mesmerized. SERGEANT Any man who won't follow me over this wall is a cornhole-fucker with a half-inch hard-on wh... The words CUT OFF by the shell that RIPS THROUGH his spine, OPENING his shirt front as he PITCHES forward FLAT upon the sand. No one looks. No one speaks. It never happened. ISHMAEL (V.O.) I wanted to live. And I didn't know why. EXT. SEAWALL - NIGHT Ishmael has a carbine now and a field machete. PULL BACK to reveal 300 MARINES all down the wall, a striking force assembled from the survivors of multiple landings. ISHMAEL (V.O.) Some colonel came down the beach. Any man who didn't go over the wall at 2100 would be court-martialed, disgraced and imprisoned... Every man lining up now, rifles at the ready. ISHMAEL (V.O.) The captain who followed said shot on sight. They seem more resigned, or is it stunned numb, than terrified. There is no interaction. Each man dealing with his own insides. And suddenly... ...squad leaders go OVER THE WALL, the firing ERUPTS, and three hundred marines SCRAMBLE into the teeth of it, mortar and machine- gun BARRAGE lighting the sky from the row of battered palm trees, Ishmael SPRINTING, the man next to him goes DOWN, Ishmael TURNS instinctively, and a shot... ...RIPS into his left bicep, SPINNING him OFF his feet in SLO-MO, falling to dirt as all goes... BLACK. INT. SHIPBOARD OPERATING ROOM - NIGHT Ishmael feverish, writhing unconscious against the straps that hold him to a table. All around him, a hell of men and blood and doctors and limbs and shouted curses they never showed us on M.A.S.H. ISHMAEL (V.O.) My arm was dealt with by a pharmacist's mate, whose surgical career was four hours old. Ishmael LURCHES, his eyes pop OPEN, wild and bleary... ISHMAEL (V.O.) He used a handsaw. ...seeing there, in a corner, on a pile of blood-soaked dressings... ...his left arm. ISHMAEL (V.O.) I dream of it, now and then. The way my fingers curled. Against the wall. He blinks at it. Realizing at last that the arm is his... ISHMAEL (V.O.) ...fucking goddam Jap bitch! An ORDERLY turns at the words. Nods. As if he knows. ISHMAEL (V.O.) It was all I could think of to say. His eyes squeeze shut. ISHMAEL (V.O.) There was nothing more to say. For a long while. INT. KABUO'S CELL - LATE NIGHT CLOSE on a dark blue suit. Clean shirt. Hanging on a hook against the green wall. PAN ACROSS the bars in the cell door's tiny window. All is dark out there, and silent. Here... ...the bare bulb glows. Its light throws shadows of castles and horses across the chessboard. Kabuo cross-legged on the floor, alone. His back erect. His eyes calm. Stare at the pieces. EXT. WOODS - NIGHT Kabuo at 19 sits on the earth. By a shovel. By a lantern. This place is shielded by trees. PAN across the ground to... ...his father. Slowly, reverently, placing objects into burlap sacks, beside a shallow hole in the earth. Wooden swords, hakama pants, a bokken, scrolls written with care. Dialogue plays in subtitled JAPANESE... ZENHICHI Your great-grandfather was a samurai, a magnificent soldier. The father never looks at the son. Only at his work. ZENHICHI He killed himself. On the battlefield. At Kumamoto. The boy knows this. Yet his entire being is focused on every word. ZENHICHI He went to battle with a sword. Against rifles, mind you. Knowing what honor required. An elegant SWORD. Its curved blade gleaming in the lantern light. ZENHICHI He was angry. To the point of being crazy, yes. But he knew what honor. Required. A separate sack, just for this. Folded with respect. ZENHICHI Honor can require loyalty. Revenge. Death. It goes into the ground. With the others. He seems nearly overcome now. By some emotion that sweeps through him. Prompting the boy to murmur... KABUO These are safe, father. The hakujin will never f... ZENHICHI (quietly) ...it is the only scale... Meaning, be still. So the boy is still. ZENHICHI Only scale. In which our worth. Is weighed. The man gazes into the hole. At his treasures. ZENHICHI Every life ends. And if it ends dishonored. It is as if... And turns to his son. To complete the words. KABUO (in English) ...we have never lived. There is love. There is strength. There is no more to say. INT. COURTROOM - DAY Sheriff Moran sits in the witness box, blade-thin and fidgeting ever so slightly. Uncomfortable in the limelight. In his hands are four pieces of ROPE. MORAN Well, this one here comes off Miyamoto's boat. Matches all his others, worn equal and so on. But this one here... Holds it up for Hooks. So the jury can see. MORAN ...comes off third cleat from the stern, port side. And it's brand new. Unlike the rest. HOOKS And the next one...? MORAN From Carl Heine's boat. All his were like this one, three-strand manila, new condition, braided in loops. Not bowlined like Miyamoto's. HOOKS And the last...? MORAN Found on Carl's boat, too. Starboard side, second cleat from the stern. But it doesn't match Carl's lines. It matches Miyamoto's. perfect. Ah. Hooks nods. Significant. HOOKS So if defendant had tied up to deceased's boat. With that last one. Would those cleats have lined up? MORAN You bet. And if Miyamoto there had been in a hurry to cast off, he coulda left this line behind on Carl's boat. HOOKS And replaced it later with the new one. That's your inference? MORAN Pretty darn clear. I see. Hooks begins to pace. Toward the jury. HOOKS And when you visited defendant on his boat. The evening after Carl Heine's death. Did it seem pretty darn clear to him? EXT. THE ISLANDER - NIGHT Kabuo kneeling at the battery well of his boat. He is sliding a new BATTERY into place. Beside its older companion. He bolts it down. Starts his engine. He is visibly tense. As he steps onto the deck, he sees... ...two figures at the pilings. Sheriff Moran makes a cutting motion across his throat, as Abel moves to grasp the mooring line. MORAN Cut your engine, we're coming aboard. Kabuo doesn't move. The tension has fled beneath the surface. His face now a mask. KABUO What for, Sheriff? MORAN We have a warrant. To search your boat. He holds it up. Abel looks uneasy, as if expecting anything. KABUO Well, what are you looking f... MORAN (calmly) A murder weapon. We think you might be responsible for the death of Carl Heine. Kabuo blinks. As if hearing a foreign language. Words that do not compute. KABUO Sheriff, if somebody killed Carl, it sure as hell wasn't me. Moran steps from the dock ONTO the boat, Abel awkwardly following. MORAN Then let's get this over with, so you can get to fishin'. Now, cut yor engine. And walks ahead into the cabin, shining his flashlight across everything. Kabuo follows, killing the engine. And in the sudden silence, Moran's beam finds... ...the still-open battery well. MORAN You always run with the well open? KABUO I was checking the cables. Moran's light moves over the batteries. MORAN D-6s, huh? And says no more. Runs his beam once more around the cabin. MORAN We'll come back, let's take a look at the stern. Off he goes. Kabuo's glance goes to the open well. Then follows, noticing Abel Martinson prowling around the bow. But in the stern, Moran is shining his light. Third cleat. Port side. MORAN See you replaced a mooring line, lately. This one's new. KABUO Naw, I had that around for a while. MORAN Sure you did. Help me with this hold cover, willya? So Kabuo slides the cover away. They peer in. KABUO There's nothin' to see. I need to get out there fi... ABEL (O.S.) Art. Looka this. He has the fishing GAFF. Three-and-a-half feet long. Steel hook at one end. Hands it to Moran. ABEL There's blood on it. KABUO Fish blood, I gaff fish with that. Moran carefully examines the object. MORAN You gaff with the hook end. Blood's on the butt. Where your hand goes. KABUO Sure. Blood gets all over your hand, Sheriff, ask any fisherman. Moran takes out a handkerchief. Holds the gaff with it. MORAN Gonna have this tested. Now you go home, okay? Wait til you hear from me. Kabuo's heart is racing. KABUO Sheriff, I can't afford not to fish toni... MORAN Look, no way I'm lettin' you out there. In a half hour you could be in Canada. Kabuo's face has gone dead. Which makes it seem somehow fierce, almost threatening. And the sheriff is watching that. MORAN I'm sorry, son. But you're under arrest. INT. COURTROOM - DAY Moran still on the stand. The ropes are gone now. His hands interlock across his narrow thighs. NELS (O.S.) Now your testimony was interrupted yesterday, when that power line set fire to your mother-in-law's farmhouse... Art looks really irritated. NELS (O.S.) How is your mother-in-law? MORAN She's alright, Nels, thanks for asking. NELS (O.S.) And her farmhouse...? MORAN The damage was considerable. But she's insured. Thanks, again. See Nels now. Avuncular as hell. Bemused by Moran's annoyance. NELS Well, just to put it back in our minds, could you repeat what you told us. About the type of batteries you found. One Carl's boat. Moran sighs. Tries to be patient. MORAN One D-6 and one D-8 in the well. And a dead D-8 on the deck. NELS Which you inferred was replaced by the D-6, which must have been a spare. MORAN What else could it be? NELS Even though a D-6 is too big, and the flange had to be banged out to squeeze it in. (beat) Which makes it a peculiar choice. For a spare. MORAN You said that. That was your testimony. Everybody laughs. Including Nels. NELS (chuckling) I guess I'm a pretty smart feller, after all. And what were the type batteries you found on defendant's boat? MORAN (bland) D-6s. Like I sa... NELS No further questions. INT. COURTROOM - DAY DR. STERLING WHITMAN sits in his expensive suit, a giant of a man whose towering frame ill fits the witness box. His eyes are small and blue, and carry the weight of superiority with practiced ease. NELS (O.S.) So the blood on the gaff was not fish blood at all. It was human, yes? Type B positive. DR. WHITMAN Carl Heine's type. Nels nodding. Seemingly unconcerned by this fact. NELS But you can't say with any certainty that the blood was his. DR. WHITMAN No, but as I say, the type is rare. Ten percent of Caucasian males. NELS And the blood could not have belonged to defendant. Seeing that his type is O negative. DR. WHITMAN That's obvious. NELS You scraped the dried blood from the butt of the gaff. Where a fella's hand goes. And what did you see under your microscope, besides the B positive blood and the wood scrapings...? And the witness stops. A curious question. But Nels is waiting. With an expectant smile. DR. WHITMAN Bits of blood and wood. What else would there be? NELS No bits of bone, no particles of scalp, no strands of hair? DR. WHITMAN None. NELS Well, if the blood got onto the gaff by crushing a man's skull... DR. WHITMAN I'm a hemotologist, sir, I was asked only t... NELS (gently persistent) ...would that seem logical? DR. WHITMAN I don't know. NELS You don't. Nels lifts the gaff off the table. Looks at it. NELS The coroner testified that Carl Heine had a cut. A fresh cut. Probably one or two hours old. And grasps the butt end. Of the gaff. NELS On the palm. Of his right hand. Walks, dragging one leg just slightly, toward the box. And holding the butt of the gaff toward him... NELS With no bone or scalp or hair present. Would it be more probable that the blood came from crushing a man's skull... DR. WHITMAN I'm a hemotologist, not a detective. NELS ...or from the cut on his hand. Which is more probable? Whitman won't be badgered. His smile carries only a trace of coldness... DR. WHITMAN It is not my function. To weigh those probabilities. Nels looks him over. NELS You're right. And turns his back. Walks away. NELS ...that's the jury's job. INT. COURTROOM - DAY Hooks in pin-stripe serge today. Pommaded hair, glossy wing-tips. He is crisp. HOOKS Now this regiment you were training, the 442nd, this was all Nisei boys... First Sergeant VICTOR MAPLES wears his green dress uniform, splashed with decorations. Thick and powerful, no neck, razor cut. The eyes are alive. MAPLES They were Japanese-American boys, yes sir. HOOKS And you were generally experienced in training men for hand-to-hand combat. MAPLES It was my specialty, sir, I trained several thousand over the years. HOOKS So. Wide cross-section of men to evaluate. And the day that the defendant volunteered for this... demonstration. Did you find him eager? MAPLES More than eager. He was out to make a point. Hooks finds that interesting. Begins to pace. HOOKS And what point. Was that. EXT. TRAINING FIELD, CAMP SHELBY, MISSISSIPPI - DAY The squad of Nisei recruits, one hundred young Asian faces, surround Sgt. Maples. He paces before them, holding up a wooden staff, looking in their eyes... MAPLES Anyone. And Kabup steps forward. Bows slightly. Then salutes... KABUO SIR! Maples stares. Hard. MAPLES You don't salute me, you don't call me 'sir', soldier, I'm an enlisted man. Kabuo stares back. Blank. MAPLES And nobody bows in this man's Army, you're in America, son. Not Japan. KABUO I'm sorry, sir, force of habit. MAPLES No more 'sir'. That's the last of that. Tosses Kabuo a wooden staff and a helmet. A little hard. As Kabuo slips the helmet on... MAPLES The exercise is avoiding thrusts. Now, first y... KABUO (quietly) Ready, sergeant. Cut off in mid-word, Maples glares back. Are you? THRUSTS sharply, but Kabuo moves just enough to slip the blow by no more than an inch. Their eyes lock. Suddenly, Maples unleashes... ...a SAVAGE series of THRUSTS at blinding SPEED, and Kabuo... ...SLIPS them all effortlessly, scarcely seeming to move. As a man might toy with a child. Maples studies the face for any trace of mockery. And sees nothing at all. STABS out, only to have Kabuo... ...SLASH Maples' staff from his grasp, with a move so quick as to be nearly invisible. Maples clearly STUNNED by the display. KABUO (quietly) Excuse me. He bends, picks up Maples' staff, hands it to him. And bows. Slightly. The sergeant is hot. He looks into the faces of this Nisei regiment, searching for a single smirk. There is none. MAPLES Are you ready for some simulated combat, soldier? KABUO For combat. Sergeant. And Maples LUNGES with surprising speed, to be SWEPT off his feet in a BLUR, lying FLAT on the earth, his head PINNED to the ground by the tip of Kabuo's staff. A hush. Kabuo withdraws his staff. Retrieves Maples'... KABUO (just above a whisper) Your weapon, sergeant. And bows. INT. COURTROOM - DAY Maples smiling easily. Like a guy telling the story in a bar. HOOKS Well, what then, sergeant? MAPLES What else? I had the boy teach me kendo. Including...the importance of the bow. Everyone laughs. Maples the loudest. Hooks smiles like a regular Joe. HOOKS And your evaluation of the defendant? Could he kill a much larger man with a fishing gaff? So quickly, there would be no sign of struggle? MAPLES Oh, in a heartbeat. And the smiles are gone. All around. MAPLES Able and willing. Like few men I've ever seen. INT. COURTROOM - DAY Hooks sits against the prosecution table. His demeanor gentle, respectful. His voice soft. HOOKS So the plan was for your husband to fish through the prime season. Then, in November, sell the boat. And you would move onto the farm. In the box, the widow sits in lovely dignity. Blonde and alabaster and modest, in her black dress of mourning. SUSAN MARIE That was his plan, yes. In the press row, the boys are attentive. An angle they know they can sell. Ishmael among them, watching with neutral eyes. ISHMAEL (V.O.) Whatever she said, she was Hooks' star witness. The jury, especially the men, would not betray this fine lady with a not guilty verdict. How could they face her? Hooks walks slowly toward her. As if she were a precious object, deserving of reverence. HOOKS Can you think back for me to the morning of September 8? The day after your husband purchased the farm. One week before his death. Can you recall that morning? SUSAN MARIE I can. INT. BATHROOM - DAY A bright bathroom, filled with STEAM, filtering the sunlight. PUSH toward the opaque shower door, TOWARD the sound of rushing water. And of breathing. THROUGH it to... ...Susan Marie and her husband. Her arms are wound about his neck. Her legs wrapped around his body, feet locked behind the small of his back. Carl holds her high with his strong hands, so he can lick her breasts to the rhythm of the slow, slow thrusts. Her wet blonde hair is pasted across her face, and her eyes are closed. The intensity holds us. INT. PARLOR - MORNING CLOSE on a paint brush. It rests across the lid of a can of wood stain. See now... ...Susan Marie kneeling by the table she is refinishing. But her hands, her body, are motionless. Her eyes stare out the window... ...across the yard. Her towering husband walks beside a smaller man. Carl is doing the talking. Kabuo's face is stone. INT. PARLOR - LATER Susan Marie sits quietly in a rocker, nursing her baby. Her hands tenderly stroke the feeding infant. But her eyes are attentive. Concerned. CARL (O.S.) What could I tell him? There's my mother to think about. You know what she'd say? Susan Marie knows. What Etta would say. CARL (O.S.) I said I'd think it over, talk with you. SUSAN MARIE Did he go away angry? See Carl now, pacing his own parlor like a caged bear. Agitated in a way we could not have expected. CARL He kept talkin' about those seven acres belonged to his father, and how honorable and decent his father was. His meaning was pretty clear. And I didn't much like it. SUSAN MARIE You had a scrap. Nursing her baby. Calm, direct. CARL I couldn't...talk to him. Look, Kabuo's a Jap. And I don't hate Japs, but I don't like 'em neither. It's hard to explain if you weren't in the war, you know? SUSAN MARIE He's not a Jap. You don't mean that. You and he were friends. And Carl turns. Looks at her. A full beat. CARL We were kids. He looks helpless. Frustrated. He doesn't want his anger to spill onto her. He leaves the room. Without a word. HOLD on her. INT. COURTROOM - DAY Susan Marie's cornflower eyes are set. Wary. NELS (O.S.) So your husband said he's think it over. Encouraged Mr. Miyamoto to believe he might sell to h... SUSAN MARIE I wouldn't say encouraged. NELS (O.S.) Well, he didn't say 'no', did he? Didn't say no hope existed. SUSAN MARIE Not in those words. NELS (O.S.) So the defendant was encouraged to hope. Or could have been. She thinks about this. SUSAN MARIE I guess so. Nels is nodding. Nodding. NELS I guess you'd have to guess. Not having been there with them. Having to guess whether your husband's report was word for word accurate. SUSAN MARIE Carl never lied. NELS Of course not. But it was emotional. A friend's plea set against his mother's attitude. And then. As if it had just occurred to him... NELS Those 'dirty looks'. Defendant ever aim one of those at you? SUSAN MARIE He had no reason to. NELS Carl ever say he got one? SUSAN MARIE I can't speak for him. NELS You can speak for what he said. Just like you did for Mr. Hooks... HOOKS (O.S.) Objection, badgering the wi... CLICK. All the lights in the courtroom go OUT. A loud murmur. A FLICKER of light. Then, they go OUT again. The crowd BUZZES, laughs, the gavel RAPS. The lights come ON. A collective sound of relief. The gavel AGAIN. Finally, silence. NELS Sorry about that, Mrs. Heine. Shall I repeat the ques... SUSAN MARIE Carl said he didn't like Kabuo much anymore. A silence. A deep one. NELS The question is more about the defendant's attitu... SUSAN MARIE That's all he said. She arches her throat. SUSAN MARIE And we can't ask him anymore. INT. ISHMAEL'S DESOTO, CENTER VALLEY - TWILIGHT Ishmael driving an aged DeSoto through the blanketed strawberry fields of Center Valley. ISHMAEL (V.O.) My father had bought the DeSoto fifteen years before. Driving it reminded me of him. Which I considered a neutral fact... He turns the wheel, using a cherry wood knob, specially mounted for his convenience. ISHMAEL (V.O.) Actually, it was pleasant. Following the curve, fields are pure white to the horizon. ISHMAEL (V.O.) Snow made all the fields into one. The notion that one man might kill another for a small patch, made no sense. Up ahead, a Willys station wagon has run into a ditch. A middle aged Japanese man is working at a rear wheel with a shovel. ISHMAEL (V.O.) But I knew such things occurred. Having been to war and all. The man is Hisao Imada, and we can now see his eldest daughter working with a shovel behind the car. Ishmael pulls up behind them. And gets out. He crunches over to where Hisao works... ISHMAEL May I give you folks a lift? Hatsue has come around the car now, pulling her snowflaked hair from her eyes. ISHMAEL (V.O.) I didn't look at her. I thought that would be best. Her eyes on Ishmael's profile, Hatsue goes to her father's side. Murmurs to him in Japanese. WHen he answers, she turns to face Ishmael... HATSUE My father is grateful for your kindness. But he will free his car, shortly. Ishmael smiles softly. This car isn't going anywhere. He goes to Hatsue, reaching gently for her shovel. ISHMAEL Okay, I'll help. INT. DESOTO, SOUTH BEACH DRIVE - TWILIGHT Ishmael drives with Hisao beside him. ISHMAEL I know it's caused you trouble. But don't you think the snow is beautiful, coming down? His eyes flick to Hatsue in the rearview mirror. She stares out the side window, concentrating on the world. Two strands of wet hair pasted against her cheek. HISAO Yes, very beautiful. Suddenly, her eyes SNAP to meet Ishmael's in the mirror. His dart away. Hers hold. HATSUE This trial is unfair. You should write about that in your newspaper. He keeps driving. And he keeps his eyes on the road. ISHMAEL (calmly) What should I say? HATSUE Just that. This trial is wrong, they are calling a good man a killer. It is only about prejudice, and that is unfair. He thinks. As he drives. Hisao Imada silent beside him. ISHMAEL We all expect the world to be fair. As if we have some right t... HATSUE I don't mean everyone. Just people who can do things because they can arrest people or convict them. Or run a newspaper. And his eyes come up. Meet hers in the mirror. ISHMAEL Maybe I should write a column. What do you think? She studies his face. HATSUE What do you think? No smile. On either side. ISHMAEL I think people. Should be fair. His eyes on the road now. The farmhouse seen through the drifting screen of white. HATSUE Will you write that? Her voice is soft. The difference is palpable. ISHMAEL I might just. His voice is kindness and friendship. ISHMAEL (V.O.) I was part of her life again. I was a person. EXT. COAST GUARD LIGHTHOUSE, POINT WHITE - DUSK A tower of reinforced concrete, rising a hundred feet above the sea. Ishmael's hand in his pocket. Trudging toward it. INT. LIGHTHOUSE RECORDS ROOM - DUSK Ishmael being led into a cramped room, stacked floor to ceiling with wooden crates, file cabinets, duffel bags. Our host is LEVANT, a young Coast Guard radioman nearly six foot six, with a huge Adam's apple, and kinky black hair. He gestures around the room at all the records. Voila. ISHMAEL You have the night watch? On the radio. LEVANT Since September. Last guys got transferred. Ishmael looks around. There is a lot of stuff. ISHMAEL And you keep the records, or contribute to 'em. LEVANT Shorthard the radio transmis- sions, write 'em up, file 'em in a cabinet. Nobody ever looks. Just take up space. Ishmael nods. Guess so. ISHMAEL All kinds of radio transmissions? Fisherman in trouble, and such. Innocent question. Random example. LEVANT All kinds. Make yourself at home. And leaves. Ishmael looks at the task before him. Then, out the window. Dark now. His reflection stares back. As troubled as he is. INT. PETERSEN'S GROCERIES - DAY Ishmael at 24, carrying milk and crackers down the aisle of a grocery store, the empty sleeve of his mackinaw pinned up at the elbow. He turns the corner to see... ...three people in line at the register. The second is Hatsue. An infant carried at her shoulder. ISHMAEL (V.O.) I'd been back two months. It was the first time I'd seen her. He joins the line. The CHECKER glances his way, then looks awkwardly down. This makes the others turn. And Hatsue's eyes. Meet his. HATSUE Hello. The voice, the face, are cool and formal. There is no anger, no unkindness. Only the absence of warmth. Ishmael nods. His face hard, stricken. His heart pounds in his throat. ISHMAEL (V.O.) I couldn't say anything. I just stood there, hating her. HATSUE I'm sorry about your arm. Kabuo and I. Are very sor... ISHMAEL The Japs did it. No one knows where to look. Down, away, anything. But Hatsue never blinks. ISHMAEL They shot it off. At Tarawa. She holds her ground, her eyes soften, somehow. Somewhere between compassion and pity. Her slender fingers stroke the baby at her shoulder. ISHMAEL I'm sorry, I'm sorry I said that. All the feeling comes to his eyes. Everything he will never tell her. A murmur... ISHMAEL I'm sorry about everything. All of it. He drops his milk and crackers on the counter. And walks away. INT. LIGHTHOUSE RECORDS ROOM - NIGHT Ishmael sits alone. Beyond the glass, a SEARCHLIGHT sweeps the sea, the snow-covered shore. But Ishmael stares at a folder. Open in his lap. ISHMAEL (V.O.) September 16. At 1:42 A.M., the dead of night. The S.S. West Corona, a Greek-owned freighter, was lost. In heavy fog. His finger. Traces a line of the report. ISHMAEL (V.O.) They radioed to the lighthouse. They would have to dogleg, bisecting Ship Channel Bank. And Seaman Philip Milholland wrote that down. In his report. Ishmael closes his eyes. ISHMAEL (V.O.) Carl Heine drowned. In Ship Channel Bank. And his watch stopped. At 1:47. He looks out through the glass. As if he could watch it happen. ISHMAEL (V.O.) A huge freighter plowing through. Throwing a wake big enough to fling any man overboard. And Ishmael removes the page from the file. Slowly, he folds it into quarters. Slides it into his coat pocket. ISHMAEL (calls out) Seaman...? And closes the file. Slips it back into the cabinet. Levant appears, vaguely irritated by the summons. So Ishmael smiles. Sorry, nothing important. ISHMAEL How long you have this detail? LEVANT Me and Smoltz came on dogwatch September 16. Ishmael's face. Just to clarify... ISHMAEL You mean, early morning the 16th? LEVANT No, night of the 16th, morning the 17th. We replaced two guys named Miller and Milholland. Oh. Ishmael nods. LEVANT They got transferred that day. Out to Cape Flattery. ISHMAEL (V.O.) Some seaman's loast report. Stuffed in a cabinet, good as lost forever. No one knows. Ishmael rises, stiffly. Starts to pull on his coat. LEVANT You get what you come for? And Ishmael looks at the youngster. A little oddly. Admits... ISHMAEL Guess I'm not completely sure. What that was. EXT. FLETCHER'S BAY - MORNING Ishmael at 24, crouched among trees. Above a sunlit stretch of beach. ISHMAEL (V.O.) I left the grocery, and wrote a letter. I apologizes from my heart. I should never have said that word to her. I never would again. CLOSE on his face. Eyes gazing down. At something. ISHMAEL (V.O.) It sat in my desk for two weeks. Before I threw it away. He sighs. Rises slowly. ISHMAEL (V.O.) I knew her car. And sometimes when I'd see it, I'd...drive that way. At a distance. See Hatsue down on the beach. Alone, raking for steamer clams. Her baby beside her on a blanket, beneath an umbrella. Ishmael walks down to the sand. Crosses to where she works. And squats down. At a respectful distance. ISHMAEL Can I talk to you? She must have seen who was coming. Because the words do not startle her. Or slow her work. HATSUE I'm married, Ishmael. It isn't right for us to be alone. People will t... ISHMAEL There's no one here, and I've got to talk to you. Her back is to him. She is motionless. ISHMAEL Don't you owe me that? And she turns. Her eyes go first to her sleeping child. Then she walks over, and sinks to the sand. Just before him. Near enough to touch. She looks in his eyes. And waits. ISHMAEL I'm like a dying person. The words just came out. His eyes move over her face. His aching for her is naked, beyond his ability to cope. ISHMAEL I don't sleep. I tell myself this can't go on, but it goes on anyway. He seems at the edge of insanity. Or tears. HATSUE I did a terrible thing, Ishmael. I knew what you felt. And what I didn't. Sadness in her voice. But strength as well. HATSUE And I never found the courage to tell you. His eyes swim with tears. He chokes them back, he has to. ISHMAEL You'll think this is crazy, but all I want is to hold you. Just once. And smell your hair. She absorbs this. No sign of repulsion or anger. Her eyes seem wise. And very sad. HATSUE You have to hear this, I can never touch you, Ishmael. Not once, not ever. There's no half- way. As much as I know it hurts you, you have to let this go. ISHMAEL Look, I want to forget you, I do. I think if you hold me, just this once, I can walk away and never speak to you again. She just keeps looking at him. There is a bravery to her steady gaze. Her calm resolve. ISHMAEL Please? As one human being to another, just because I'm miserable and don't know where to turn. I need to be in your arms. If it's just for thirty seconds. His pleading look holds her for a moment. In the silence... HATSUE I hurt for you. Whether you'll ever believe that or not. Feeling behind her eyes. First time she lets it show. HATSUE I feel sick sometimes, with the guilt of what I've done to you. And I can't make it right. She rises slowly. Brushes the sand from her skirt. HATSUE To hold you would be wrong and deceitful. You're going to have to live without holding me, that is the truth of the way things are. She takes one step back. HATSUE Things end. They do. Get on with your life. And turns away. She gathers her baby in her arms. Takes her blanket, her umbrella, her rake and her pail. He watches, never moving, as she gathers her things. Gathers them as if he wasn't there. And with her back turned... HATSUE Get on with your life. She walks slowly away. Her baby cries. INT. KITCHEN - NIGHT CLOSE on a steaming soup kettle, resting on a woodstove. A woman's hand stirs with a wooden ladle. PULL BACK to see... HELEN CHAMBERS, slender and strong and keen. She is not yet 60. A code of fairness and self-reliance is written on the fine-boned features. ISHMAEL (V.O.) I drove from the lighthouse to my mother's place. I brought her some groceries. Beyond the window, snow falls more heavily than ever. Silent. Spellbinding. HELEN Your father thought that heavy snow was God's kindness. Despite the hardship, it brought us beauty... Ishmael at the rustic table. Watching her back. HELEN ...and reminded us. Of our place in things. Softer. Not bitter, but regretful that... HELEN You don't believe in God anymore. ISHMAEL Agnostics don't believe or disbelieve, Ma. We just don't pretend we know. She begins ladling the soup into big porcelain bowls. HELEN We don't know God, we feel Him. You felt Him as a child. I remember. And turns. Looks at him. ISHMAEL That's a long time ago. What a child feels...that's different. She studies him silently for a moment. Then brings the bowls to the table... HELEN Spend the night, will you? Don't go back out into all that snow. Sets them down. ISHMAEL (V.O.) I felt Milholland's report in my pocket. And wondered why I wasn't telling her. Telling someone. What I'd found. HELEN You've been busy with that trial, I suppose. Such a travesty... She takes her seat. As he watches her. HELEN They only arrested that poor soul because he's Japanese. ISHMAEL Seattle boys think he's guilty. They say the evidence is rock solid. She begins to eat. Eyes on her bowl. HELEN They're not his neighbor, like you are. He is a husband, a father, he risked his life for their country. The same as you. ISHMAEL Those aren't the facts that matter. She looks up. Straight to his eyes. HELEN Well, folks are pretty cold. And folks who believe in nothing else...they're cold, too. No mistaking her meaning. He swallows. Uneasy as always, in the path of her disapproval. HELEN I've tried to understand your unhappiness, all these years. Having gone to war, losing your arm... The directness of her gaze. He can't turn from that. HELEN But other boys came back. And pushed on. They found girls, and married, had babies... He doesn't flinch. His voice too quiet with... ISHMAEL Someday I'll get lucky, too. Too quiet to conceal the hurt. She thinks it is hurt she has caused. It changes her tone to a plea... HELEN Your father fought at Belleau Wood, it took him years to get over it. Nightmares, tears, b... ISHMAEL ...but he found you. Their eyes locked. HELEN It isn't the war, Ishmael. All those years growing up. You never had a real girl of your own. And now he looks down. He sees that his fist is tight around the handle of his spoon. HELEN And I know you have it in you to love. I know that much. I wish I knew more. His fingers open, and the spoon clatters softly on the wood. ISHMAEL I'll stay tonight. Thanks for asking. INT. BEDROOM - NIGHT Ishmael wanders through a silent room. A bed, a dresser. Work table and lamp. A room denuded of all decoration, all possessions, all sign of life. ISHMAEL (V.O.) I came back from the war to this room. I stayed a few months. Until my father passed. EXT. VETERAN'S CEMETERY - DAY Ishmael at 24, the left sleeve of his dark suit of mourning pinned at the elbow. The diggers are filling a grave in distance. Mourners mingle, some casting glances back at Ishmael. Keeping their distance out of awkwardness rationalized as respect. One man comes to him. MASATO NAGAISHI is aging and frail. But his voice is clear... NAGAISHI The Japanese people of the island are saddened by this loss. Your father was a man of great fairness and compassion for others... He stands at a respectful distance. Ishmael clears his throat. He nods, thank you. No words to say. So the small man adds... NAGAISHI A friend to us. And to all people. Silence. They are a tableau of stone. Finally... ISHMAEL Well... And no more. The man takes a step back... NAGAISHI We know you will follow in his footsteps. And honor his legacy. Which changes Ishmael's face. To something harder. ISHMAEL (V.O.) I thought it then. And often since. A balance, he's said. Finding the facts. That folks needed to know. INT. BEDROOM - NIGHT Ishmael stands at an open closet. Cardboard boxes have been set aside. One has been searched for treasure. The page is in his hand. Only slightly discolored by age. HATSUE (V.O.) Dear Ishmael. These things are very difficult to say. I can't think of anything more painful than writing this letter. He closes his eyes. ISHMAEL (a murmur) Think of reading it. HATSUE (V.O.) I don't love you, Ishmael. There is no more honest way to say it. He carries the letter to the twin bed. Where he slept alone. Thinking of her. HATSUE (V.O.) Whenever we were together, I knew it. I loved you and I didn't love you at the same moment. He sinks slowly. As if beneath the letter's weight. HATSUE (V.O.) The last time. At the cedar tree. I knew we could never be right together. And that soon I would have to tell you. His eyes are dry. The letter has used up his tears long ago. HATSUE (V.O.) This is the last time I will write to you. I am not yours anymore. He sets the letter on the bed beside him. HATSUE (V.O.) I wish you the very best. Your heart is large and you are gentle and kind. I know you will do great things in the world. He reaches now to his inside coat pocket. Withdrawing... HATSUE (V.O.) I must say good-bye to you now. Our lives will move on. The best we can. ...a page. Folded in quarters. Sets it near the letter. ISHMAEL (V.O.) Milholland's report was like her letter. Something no one else. Would ever read. He stares at them. Side by side. ISHMAEL (V.O.) Thing about having only one hand. It's hard to tear pages up. And I wasn't carrying a match. He lies back. Across the bed. ISHMAEL (V.O.) So I thought of my father. The man who would have taken this report to Judge Fielding. Tears stand in his eyes. ISHMAEL (V.O.) But every reporter. Chooses his own balance. FInds the facts that matter. Shuts the eyes. Against them. Against everything. ISHMAEL (V.O.) After all, the freighter was only a theory. It proved nothing at all. There were other facts. That mattered. We CLOSE on his face. The tightness of the muscles. ISHMAEL (V.O.) Tomorrow I would write a column. About prejudice. And she would be grateful. For my large...and gentle...heart. The eyes open, they are blank. Staring... ISHMAEL (V.O.) Her husband would be judged. And she would be alone. ...at the future. ISHMAEL (V.O.) Alone. The past looks different. INT. COURTROOM - DAY Hatsue Miyamoto in the witness box. Graceful, erect, her porcelain beauty accessible, eager to cooperate. Humble. HATSUE Hopeful. Is the word I would use. And Nels seems slightly surprised. NELS But Carl didn't say yes. HATSUE He didn't say no. That was Kabuo's point. Given how Carl's mother felt, Carl was still willing to consider selling to us. It was a good sign. Nels considers that. NELS Well, in the week that followed, the week before Carl's death... did your husband pursue him? HATSUE No. Kabuo did not wish to beg, he respected Carl's right to reflect. He was sure Carl would do the honorable thing. NELS (right back) And did he? She nods. Only once. Her eyes bright. HATSUE The night of the 15th, Kabuo helped Carl at sea. With his dead battery. Nels raises his eyebrows. To give the point its weight. HATSUE Right there, on the boat, they agreed. $8400 for the seven acres, $800 down. They shook on it. Kabuo was so excited when he came home. Nels lets that sit. And sit. NELS And when did you first learn. That Carl had drowned? The slightest pause. As if hesitant to confess... HATSUE One o'clock, that afternoon, from a clerk at Petersen's. NELS (turning to Hooks) Your witness. And Alvin Hooks rises. Perches on the edge of the prosecutor's table. And looks at the witness with fairness and suspicion. HOOKS Your husband came home agitated, after his encounter with the deceased? No impatience across her perfect features. Only earnestness will do. HATSUE I said 'excited'. Not agitated, he was excited in the sense of being overjoyed. HOOKS You were...overjoyed yourself, to hear the news? HATSUE Happy for him. And relieved. HOOKS So, then, you...and your husband... must have called friends, relatives, to tell them the amazing news. Yes? HATSUE (calm, respectful) No. HOOKS Really? Didn't call your mother, your sisters, about starting a new life. Your husband never tells his brothers that the family honor is vindicated. Hatsue shifts in her chair. Smooths her skirt. HATSUE We hear how Carl...passed away. Only a few hours later. HOOKS Your husband returned at, what, seven o'clock? HATSUE Closer to eight. HOOKS So, five hours. Plenty of time for a call. He was 'excited', you say. In the sense of being 'overjoyed'. She nods, he was. HATSUE We are...cautious people. You would say conservative. There would be time for celebrating with others when a paper was signed. Hooks pouts. He allows himself that. HOOKS You thought the deceased might... break his promise? HATSUE Of course not. We're just not quick to run and boast. In case something went wrong. HOOKS And then, something did. Carl Heine was found dead. With his head crushed. She weathers that last part. As if taking no notice. HATSUE Yes, and then, what was there to call about? Everything was up in the air. HOOKS Up in the air? Was that your reaction? And he rises. Tastefully indignant. HOOKS I would suggest that more happened than a land sale evaporating. A man died, Mrs. Miyamoto. A husband and father of small children had his skull bashed in! HATSUE (quiet dignity) If you mean to imply that we were callous about Carl's death, that is wrong and insulting. HOOKS I see. Well, did you come forward to tell Sheriff Moran what you knew? The encounter in the fog, the...dead battery, was it? Silence. HATSUE We discussed that. And decided not to. HOOKS Why not? She looks at him with the directness we've seen before. HATSUE Because the facts could be misconstrued as murder. HOOKS But if truth was on your side, whatever were you worried about? Her eyes cut to Nels. He smiles, to blunt the harm she's done by looking to him for support. Her gaze goes down now. And then... ...back up. Straight to Hooks. HATSUE Trials aren't only about truth, Mr. Hooks. Even though they should be. They're about what people believe is true. HOOKS So you hid the truth. Deliberately. HATSUE We were afraid. Silence seemed better. To come forward seemed like a mistake. HOOKS Well, it seems to me... NELS (gently) Objection. Mr. Hooks can give his view in his summation. HOOKS Doesn't it seem to you, Mrs. Miyamoto, that your mistake was in being deceitful? Concealing information during the course of a sheriff's investigation. HATSUE It seems human. To me. Oh. Hooks raises his brows. HOOKS I suppose that you mean this excuses concealing the truth. Then why ahouls any of us believe you now? And in the silence... HOOKS Question withdrawn, you may step down. HATSUE You're implying th... HOOKS I said. No further questions. Anger flashes across her eyes. Her face colors. She draws a breath... JUDGE That's enough, Mrs. Miyamoto, not another word. Step down, please. She looks to Nels in her desperation and regret for making things worse. he chuckles and waves. It's quite all right. She sits for a frozen moment. And as she rises... The boys in the reporter's row are scribbling furiously. All but one. INT. COURTROOM - DAY JOSIAH GILLANDERS folds his blunt, thick hands across his belly. Nearly 50, sporting a walrus moustache and the watery, dull eyes of an alcoholic, he is a man ready to make the most of his fifteen minutes of fame. NELS (O.S.) Thirty years fishing alone. Ever had an occasion to board another man's boat except in an emergency? Maybe to socialize or some such? GILLANDERS (ready for this) Never. Only boarded some fella's boat five, six times in thirty-one years. Dead engine, broken hip, only in need. NELS (O.S.) Now, Mister Gi... GILLANDERS Unwritten rule of the sea. We don't bother each other, stick to ourselves. Ask anybody. Nels is wandering over to the jury box. NELS Now if you wanted to kill a man. Think you'd try boarding against his will, and hitting him with a fishing gaff? GILLANDERS It's a joke. Maneuver up to Carl's boat? Tie your lines fast? Come aboard? All against Carl's will? It's the stupidest suggestion I ever heard of. NELS I'm sorry about that. It wasn't mine in the first place. Gentle laughter. Even some on the jury. NELS So the fishing gaff method wouldn't make sense? GILLANDERS Couldn't get on the boat. I'd just shoot the feller. Then tie up, throw him inta th' drink. And skip bein' the first gill-netter in history to make a successful forced boarding. More laughter. Hooks at his table. Simply smiles. NELS Now the sheriff believed that the D-6 battery in Carl's well was Carl's own spare. Even though it was too large f... GILLANDERS No sense to have any at all., even the right size. It's like having an extra battery in the trunk of your car. Nobody does. Nobody. No way. GILLANDERS Boat has two batteries. Lose one you run off the other til morning. Carl musta lost both, so Miyamoto there gave him one a his. NELS Course, if Carl lost both batteries, dead in the water, his radio wouldn't work. So how would he signal for help? GILLANDERS Compressed air horn, most likely. Hope to God some man hears you in that fog. NELS All right, what if the defendant heard? So Carl let him aboard, to help. And then the fishing gaff? Gillanders grins. Wide. GILLANDERS You mean Miyamoto followed him out there, and sucker-punched him? NELS Well, what if? GILLANDERS Now, how is Miyamoto gonna know in advance? That Carl loses two batteries. Must happen once ever' 20 years or so. Another chuckle or two from the gallery. NELS Thank you, Mr. Gillanders. Thank you for coming down, in this cold weather. GILLANDERS Well, it does seem mighty warm in here. Specially for Mr. Hooks. And looks at the prosecutor. Who rises, easily. A most polite fuck-you smile. Hooks strolls now. Slow and steady. Straight to the witness box. Rests his hands on the rail. Leans in. HOOKS What if the defendant follows Carl. And pretends his own batteries are dead? Would Carl tie up and help? And the smile on Gillander's face. Stops. Cold. HOOKS Is the word you're groping for...'yes', perha... JUDGE (O.S.) Alvin! HOOKS Rephrase. Do you agree that he might tie up to the defendant's bo... GILLANDERS So why's the D-6 in Carl's well? HOOKS Who's to say? Maybe it was just a spare, after all. Or maybe the defendant left it, as a potential alibi. In case somebody saw him in Ship Channel Bank. (beat) In case we put two and two together, knowing of the hostility. Between the families. Gillanders. Actually thinking about that. HOOKS My question is. Could Carl have tied up to help the defendant? A beat. A cleared throat. GILLANDERS It coulda happened. And if I start to say it's doubtful, you'd probl'y say 'no further questions', right? Once more, laughter. Enough to bring the gavel DOWN. HOOKS Right about that. And right that it 'coulda happened'. Turns his back, walks away. HOOKS Thanks for your help. Hope the witness box wasn't too warm for your comfort. All eyes follow the prosecutor, as he sits. Except for the defendant. His stare forward. Recalling... INT. KABUO'S CELL - NIGHT Kabuo seated on the concrete floor of his cell, leaning back against the wall. Leaving the cot. For his guest. NELS But the toughest scenario. Is the one Hooks will never raise. Kabuo watching. Quiet. Takes a breath... KABUO And what's that? NELS That you came upon Carl by accident. Like you said. Gave him the battery. Like you said. Asked him about the seven acres. Like you said. The hardest. Straightest. Look. NELS Only. He said no. Silence. NELS And something...happened. That you'd never planned. Because you're not a cold-blooded killer. Nobody flinches. Nobody blinks. KABUO I'm more a hot-blooded killer, huh? Like a soldier. Like a samurai. NELS You won't hear that from Hooks. Because the charge is first-degree murder, which requires premeditation. He can't change the charge. Do you understand? NELS So if the jury thinks you did kill. but only in the heat of anger. They have to acquit. Do you? NELS And you couldn't. Be. Re-tried. Kabuo's face is stone. A warrior's mask. KABUO You want me to say that. NELS I want you. To tell the truth. There is no kindly smile tonight. No candy bars. KABUO You think that is the truth. NELS I told your wife. Trials aren't always so much about actual truth. As about what folks believe is true. That's sad. And it's real. KABUO And what do you believe? Nels sighs. Cocks his head just to one side. NELS A question first. Why do you want to know? KABUO (straight back) Because you're my friend. The old man thinks about that. Studies his client. NELS I believe you are a good man. Who belongs with his family. And then the feeling comes. To the watery eyes. NELS And I believe. You didn't do it. EXT. SHIP CHANNEL BANK - NIGHT Fog. The sound of water. Lapping at the hull of a boat. The mist drfits, revealing... Eyes. They are blue. The heavy brows above them dark gold, matted and damp. CARL (O.S.) My batteries are drawed down, both of 'em. ALternator belts were loose. PULL BACK to see him. With his keroses lantern and his air horn. KABUO (O.S.) No sweat. We'll pull one a mine, get ya started. PULL BACK to see him now, leaning on his gaff. Squinting up. At the top of Carl's mast. We follow his gaze to see... KABUO (O.S.) You lashed up a lantern? 'Gainst a fog like this? See it now. SWAYING as the helpless boat bobs in the night. CARL (O.S.) Lantern and a air horn. That's all I got, without my juice. INT. CARL'S CABIN - LATER CLOSE on a battery well. One battery sits in place, one spot is empty. And... ...CRASH! The butt end of a fishing gaff BANGS against the metal flange. Again. Again. AGAIN. And as the next blow is STRUCK, the huge hand... ...slips, and the soft metal SLICES Carl's flesh across his palm. He stops. Then SMASHES away, twice more. We PULL BACK to see... ...two batteries lie above the well. Carl sucks the blood from his cut. Then lifts Kabuo's D-6 into place... CARL Don't know how long it's take to get a charge... KABUO Keep it tonight. We'll catch fish. I'll see ya back on the docks... Kabuo takes his gaff. Heedless of Carl's blood on the butt end. Carl looks up, still crouching above his well. CARL (quietly) Hold on. You know as well as I do, we got somethin' to talk about. No response from Kabuo. He stands above the larger man. Silent, neutral. Waiting. CARL Seven acres. I'm wonderin' what you'd pay for 'em. Just curious, is all. KABUO What are you sellin' 'em for? Why don't we start there. Which makes the big man smile. Just a little. CARL Did I say I was selling? But if I was, I'd have to figure you want 'em real bad. Oughta charge a sall fortune, maybe... A slight shrug. Of giant shoulders. CARL Then again. Maybe you'd want your battery back. Kabuo doesn't grin back. His face shows nothing at all. KABUO The battery's in, that's done with. Besides, you'd do the same for m... CARL ...might do the same. I have to warn you 'bout that, chief. I'm not screwed together like I used to be. Kabuo's face remains impassive. Patient. And the big man squints up into it. Holding a handkerchief to his injured hand. CARL Hell, I'm sorry, okay? About the whole damn mess. If I'd a been around, my mother wouldn't a pulled it off that way. He is sorry. And with that, Kabuo's face eases. Becomes like Carl's own. CARL (grins) I was out there at sea. Fightin' you Jap sons-a-bitches. KABUO (no grin) I'm an American. Did I call you a Nazi, you big Nazi bastard? CARL (softly) Not that I recall. KABUO I killed men who looked just like you, pig-fed German bastards. And their blood don't wash off so easy. Still no smile. Carl staring up. KABUO So don't talk to me about Japs, you big Nazi son of a bitch. Carl laughs. And Kabuo chuckles, right along with him. Having kept his poker face the longer. CARL I am a bastard. I'm a big Hun Nazi son of a bitch. And I still got your bamboo fishing rod. KABUO Oh, yeh? CARL Hid it from my mom. Caught a mess a sea runs. Damn thing's still in my closet. KABUO (very softly) You can have it. The hell with it. The look between them now. Is very wonderful. In the subtlety of its connection. CARL $1200 an acre, that's what I paid Ole, won't take a dime less. You got no choice on that. KABUO Didn't say I was buyin' did I? What you want down? Just bein' curious, is all. The handkerchief comes away from Carl's palm. And rising, his hand extends toward the smaller man. CARL A thousand down. We'll sign papers t'morrow. The hands grip. And they hold. And the length of this clasp, and the straightness of their gaze, and the silence of the moment. Wash years away. KABUO Eight hundred. And it's a deal. INT. COURTROOM - DAY CLOSE on eyes. They are Asian. Unblinking. HOOKS (O.S.) For the life of me, sir, I cannot imagine why you kept this story from the sheriff. PULL BACK to see Kabuo in the witness box. Ramrod straight. Face composed. KABUO As my wife testified, we were considering it. HOOKS Actually, she said you had decided. Decided not not come forward. KABUO (quietly) I was thinking about it. Every minute. HOOKS Except even when Sheriff Moran arrested you. You said nothing about seeing Carl. Turns to the jury. Openly bewildered. HOOKS At that point, you were already under suspicion. The battery story explained things. If the story was true...and not simply something you thought up later... Turns back. To the defendant. HOOKS Why. Didn't you. Tell it? No reaction from the defendant. Nothing anyone can see. KABUO Sheriff said right off, I was under suspicion. I didn't have a lawyer... HOOKS But even after you had an attorney. You still claimed to know nothing. Claimed not to have seen Carl. Am I correct? A beat. KABUO Yes. Initially. HOOKS Well, 'initially' is an interesting word, sir. You'd been arrested, you had a lawyer, and you still claimed ignorance! Silence. KABUO I should have told everything right away. I know that now, and I regret it. HOOKS Should have told 'everything'. Meaning, you should have told the truth. We can just discern the anger. At the edge of Kabuo's steady gaze. Silence. HOOKS Nothing to say? KABUO (quietly) I didn't know that was a question. It sounded like a speech. And Hooks smiles. Loving it. Walks toward the witness, stalking him. HOOKS My apologies. Do you regret not telling the truth? KABUO I have told the truth. HOOKS You mean, this morning. The new story, the battery story. That one is the truth? That's a question, sir. KABUO (even quieter) Yes. And I told it long before this morning. HOOKS I see. Now what happened the day Carl Heine was found? Before your arrest. KABUO I slept til one-thirty, when my wife woke me up with the news. We talked for a few hours. I left at six and went straight to my boat. HOOKS Didn't go anywhere else? No errands, no purchases? Just straight to the boat. That's the truth. KABUO Yes. Hooks leans over the box. Ever so slightly invading Kabuo's space. HOOKS Well, the sheriff found two batteries in your well. If you left one with Carl Heine, how is that possible? KABUO I had a spare battery in my shed. I brought it down, and put it in just before the sheriff showed up. Ah. I see. HOOKS Conveniently, in your shed. Only you didn't mention that a moment ago. Why does this battery story change every time a new question is raised? Kabuo looks at him, evenly. KABUO You asked if I went straight to the boat. I did. With the battery. Hooks steps back. Looks the witness over. HOOKS You're a hard man to trust, sir. You sit before us, with no expression, keeping a poker f... NELS (O.S.) Objection! JUDGE You know better than that, Mr. Hooks. Either ask questions that count for something, or sit down and be done with it. Silence. The judge staring hard. Hooks never flinching. JUDGE Shame on you. Hooks turns his eyes to Kabuo. Stares him down, so the jury can watch Kabuo's implacable stare in return. And softly... HOOKS I apologize to the court, for letting my feelings get the better of me. Turns away. HOOKS No other questions. We'll go to summation. As he returns to his table. As Kabuo steps down from the box. We PAN... ...reporters' row. The boys are writing as fast as their hands can move. Only Ishmael is not writing at all. He stares at the pad resting on hsi right knee. We CLOSE to see... One word circled. The word 'lantern'. INT. COURTROOM - LATER Alvin Hooks stalks the jury box now. Prowls before them along the rail. As their eyes follow. HOOKS ...believing that Etta Heine's son would never sell him the land. Land that in his mind, filtered through ancient rules of behavior handed down from his ancestors' culture, belonged to his family by right... Stops. To make sure they understand. HOOKS His only choice to get the land would be to eliminate Carl Heine. So that Ole Jurgensen would need a new buyer. Pacing again, hand trailing along the rail... HOOKS In his mind. Seen through codes of revenge difficult for us to fathom, this was also the only way to avenge what he felt to be the grievous dishonor brought to his father, his family... Raises his finger. This must be heard... HOOKS ...to a thousand years of ancestry, in a foreign land we still find an enigma. Despite our recent bitter experience with its ways. And stops once more. Places his hands on the rail. HOOKS Thus believing cold-blooded murder to be justified...he trailed Carl Heine... could hear his engine in the fog...and sounded his own horn, claiming distress. Straightens up. Shakes his head, ever so slightly. HOOKS As Carl pulled alongside: 'Please, Carl,' the defendant must have said. 'I am sorry for what has come between us, but adrift here in the fog, I plead for your help!' Imagine. Imagine that. HOOKS And so this good man tied his boat fast, while his enemy leaps aboard, striking the treacherous blow he was trained to strike by his father's hand. Counting off the facts. One finger at a time. HOOKS The feud over these seven acres had festered for eight years. He argued with Carl about buying the land one week before Carl was killed. Carl's skull was crushed, and his blood is on a murder weapon with which the defendant is a deadly expert! Spreads his arms. Wide. HOOKS And after a series of lies. The defendant at last admits he was there. Alone on the boat. In the fog. Carl Heine's blood on his fishing gaff. A hush. A murmur... HOOKS My lord. My lord. Looking into the eyes now. Of each man. Each woman. HOOKS Look clearly at the defendant. See the truth self-evident in him. And in the facts of this case. And turns. So that they will follow his eyes to Kabuo's stone- hard gaze. HOOKS Look into his eyes, ladies and gentlemen, consider his face. And ask yourself what your duty is as citizens of this community. INT. COURTROOM - LATER PAN the jury, slowly, as they hear... NELS (O.S.) ...not a single witness has testified to anything that could suggest pre- meditated murder. Not in the days before Carl Heine's death...or at any time...has anyone described a murderous rage toward the deceased. Nels stands very still. Hands resting on the rail. As calm and quiet as his adversary had been dramatic. NELS Etta Heine had cheated his family. He had asked his childhood friend Carl to sell him the land. And Carl was considering it. Leans forward. Just a little. NELS There is no evidence of anger at Carl, much less rage, much less murderous rage. No reason for premeditation and no evidence of it. Anywhere. He picks out a housewife. The youngest. Smiles sadly, wisely. As her grandfather might. NELS And yet the state is required to prove these things. Beyond. A reasonable. Doubt. His eyes widen. NELS Can you seriously think there is no reasonable doubt? Why is Kabuo's D-6 battery in Carl's well, if Carl was helping him? Why? NELS Why isn't the blood on the gaff more consistent with Carl's hand wound than a skull fracture? Given the absence of bone or brain tissue. And now. he begins to pace, limping slightly, eyes down. NELS What Mr. Hooks asks you to believe is that no proof is needed. Against a man who bombed Pearl Harbor. Slow. Eyes on his feet. NELS Look at his face, the prosecutor said. Presuming that you will see an enemy there. Treacherous by nature, by a thousand years of something or other. He stops. Looks at them. NELS An argument I find as despicable as it is dishonest and twisted and insulting to us all. Mr. Miyamoto is a much-decorated hero of the United States Army. For God's sake. The feeling wells in te old man. It bleeds through the very quietness of his voice. NELS If someone said you should convict Carl Heine. Or his lovely widow. Of murder. Without proof. Because their ancestry is the same as Hitler's. You would spit in his eye. Yes, you would. NELS And every decent American. Would applaud you. He leans his elbows on their rail. As if confiding to them across their backyard fence. NELS Now Kabuo Miyamoto did one thing wrong. He was afraid to trust us, at first. Afraid that he would be crucified by prejudice. As Mr. Hooks is urging you to do. Silence. NELS Well, we sent him. And his wife. And thousands of Americans to concentration camps. They lost homes, belongings, everything. We did that, folks. Can we now be unforgiving about his uncertainty? His mistrust? Looking in their eyes. As if waiting for an answer. They shift their weight, fidget beneath his gaze. NELS You may think this is a small trial. In a small place. Well, it isn't. He straightens his spine. Winces slightly, with the pain of it. NELS Every once in awhile. Somewhere in the world. Humanity goes on trial. And integrity. And decency. Every once in awhile, common folks get called on to give the report card for the human race. The eyes are watering. But the voice gains strength. NELS Now here in America. We relish those chances. Give us that one, we say. That's why we built this country in the first place. One step back. Just above a whisper... NELS Be Americans. Make your children proud. INT. COURTROOM - LATER CLOSE on handcuffs SNAPPING into place. Sheriff Moran checks their snugness about Kabuo's wrists, as the crowd mills through the courtroom in the wake of adjournment. Grasping Kabuo's arm, Moran begins leading him toward a small doorway just at the rear of the witness box. But... ...someone is there. In the doorway. And Moran's grip tightens as they approach... MORAN I'm awful sorry, Ma'am, but you know I c... HATSUE What are you afraid of, Sheriff? The edge on that, the ballsy undertone, throws him a little. HATSUE Am I going to slip him a weapon for a mad escape? Perhaps a kendo staff hidden in my dress? MORAN There's rules. HATSUE Well, please break them, then. I won't keep you a moment. And she reaches past him. To take her husband's hands. She looks in his eyes, as if they are alone. HATSUE I love you. And tomorrow, when I make our bed. I'm setting out your pillow. Tears just flood her eyes. Sudden, unbidden. She holds tight to her smile. And to his hands. HATSUE (whispers) You better be there. He smiles. A lovely, easy, cowboy-American smile. KABUO Only if you ask me nice. ANGLE...from the gallery. One man watches. Watches as a woman brings manicled hands to her lips. And walks quickly away... ...toward us. Straight toward us, in fact. And when she stands before us, her hands mangle her purse. The eyes are hollow, flint- edged. HATSUE Did you write that column? ISHMAEL I did. But the jury won't s... HATSUE It's not for the. They only get to convict him. She arches her throat. As if facing a firing squad. HATSUE It's the judge who decides. If he'll hang. He reaches. His fingertips find her shoulder. She does not resist his touch. ISHMAEL (gently) None of that is gonna ha... HATSUE You don't think he did this. His hand comes away. From his heart... ISHMAEL I know he didn't. She nods. Nods. Her eyes filling. Moving over his face. HATSUE Come to supper, tonight. My mother would be proud to have you with us. He hears the emotion in her voice. He swallows hard. ISHMAEL I can't. No, I can't. ISHMAEL Tell your mom. I want a rain check. INT. KABUO'S CELL - NIGHT Kabuo sits on the cot, the way we have always seen him. Alone in his mind. Footfalls. Kabuo oblivious, far away. The door CLANGS open. MORAN You have a visitor, son. Turns to the visitor... MORAN You said three minutes. ISHMAEL Won't take two. And Moran leaves. The door CLANGS shut. They are alone. Only one man smiling... KABUO Please, sit down... But the tall man doesn't. Doesn't move. KABUO She told me you're writing a column. We're very grateful. Ishmael nods, awkwardly. Acknowledging this. KABUO She. Said you two go way back... Ishmael stares into Kabuo's earnest smile. KABUO That's nice. ISHMAEL You said there was a lantern in his hand. When you found him in the fog. Kabuo blinks. The man's tone is formal. As if the offer of friendliness is somehow rejected. ISHMAEL And another one. Lashed to the mast? Kabuo's own smile has faded. The mask has returned. KABUO That's right. ISHMAEL Two. Lanterns. And Kabuo grins. In spite of himself. KABUO If I did the math right. Ishmael leans back. Against the door. ISHMAEL It's the sheriff's math. I'm wondering about. INT. SOMMENSEN'S WAREHOUSE - NIGHT Blackness. The sound of wind. Of water lapping at wood. CLICK of a key, springing a lock. The SCRAPE of a large PADLOCK sliding away. A door CREAKS open, and from the sound of it, a large one. Gray light seeps in. MORAN (O.S.) Blackmail. That's all it is. See them now. Three SILHOUETTES framed in thr barn's open doorway. Against the night sky. ISHMAEL (O.S.) I call it keeping your promise. We said if I ever needed some cooperation from you... A soft CLICK, and the LIGHTS go on. Such as they are. A few bare bulbs strung across the rafters of this towering ramshackle enclosure. A 50-year-old mildewed barn, built of creosoted timbers. This is a place for overhauling boats, with sea doors facing the harbor. Two BOATS are tied to wide-elbowed piers. We've seen them before. MORAN You threatened me, Chambers, pure and simple. And what idiot's gonna believe some cock and bull story that I made a deal to keep stuff outta your paper? Not that anybody reads your paper. Abel Martenson leads the way. Along soaking planks. ISHMAEL Same idiots who'll believe you cracked this case. When I tell 'em you did. Moran snorts. Points up to the cross spar, high on the mast of the first boat. MORAN See, no lantern. ABEL (respectfully) Sheriff? That's Miyamoto's boat. Oh. Moran swings his gaze up to the second boat. MORAN (quiet triumph) No lantern there, neither. Sure enough. No lantern on the cross spar. They keep walking. MORAN Never shoulda given you that inventory in the first place. ISHMAEL It's public record. If the public cares enough to read it. They step across the gunnel. Onto Carl Heine's boat. Flashlights working against the dim, eerie glow of distant bulbs, they enter Carl's cabin. Neat as a pin. Ishmael scans the floor. ISHMAEL You said there was a coffee c... ABEL (sorry) I picked it up. And points to the cup. Sitting on the counter. ABEL It's the only thing I moved, I swear. It was right there. The sheriff glares at the boy. MORAN You wanna see that in the papers? Don't ever touch something at a cri... And stops. Because Ishmael's gaze has gone to a kerosene lantern. In the corner. MORAN One lantern. Like the inventory says. Sorry to disappoint you. But Ishmael is out the door. Shining his flashlight. Up the mast. ISHMAEL Actually. I was hoping you got it right. What's that, up there? And they all squint up. Shining their lights together. Along the cross spar. MORAN Nothin'. Bits of string. That's what it looks like. Many of them. ISHMAEL Pieces of twine aren't nothing. And he steps to the base of the mast. Puts the flashlight in his pocket. Wraps his arm around the shaft of wood. MORAN Here now, what are you fixin' to do? ISHMAEL Have a look. At nothing. And wrapping his legs around the mast, he hoists himself up. MORAN You can't go up there, touch things... With all his strength. Ishmael begins to climb. ISHMAEL (grunting) Trial's over, Sheriff, it's with the jury now. Supporting himself with his legs, he struggles upward. MORAN You gonna climb that with one arm? ISHMAEL You're right. I better use two. Up he goes, inching his way, Abel shining his flashlight. Moran swings his beam up, too. ABEL There's lots of 'em, Art, look. And Moran is looking. Saying nothing. Now, Ishmael is there. ISHMAEL A dozen or more, all figure eights. All cut clean through on an angle. ABEL And look at that streak of rust, across the mast. His light playing on it. Bracing his full weight with his legs, Ishmael fingers the scraps of rope... ISHMAEL It's on the twine, too. But it's not r... MORAN Don't prove there was two lanterns. Coulda been the one in the cabin. Still supporting himself with his legs, Ishmael pulls out his flashlight... ISHMAEL There's a stretch of ground between guessin' and provin', Sheriff. I'll give you that. ...shines it DOWN on the deck. Along the gunnel. Just below the mast. And as we watch the circle of light move... MORAN (O.S.) What do you think you're lookin' at now? Still moving. And in the silence, an absent... ISHMAEL (O.S.) Not what I'm looking at. It's what I'm looking for. INT. JURY ROOM - NIGHT Eleven citizens around a walnut table. Eleven. Glaring at the twelfth. ALEXANDER VAN NESS Well. I guess it comes down to a feeling, don't it? If I feel uncertain, I feel a doubt. Isn't that it? And the boat builder smiles amicably, rubs his gray beard. No other smiles. Anywhere. HAROLD JENSEN Alex, nobody ain't ever sure about nothin'. It's unreasonable to be so stubborn that you think you're smarter than eleven folks who all agree! EDITH TWARDZIK The man sat there and admitted he lied, Mr. Van Ness. Now why isn't that enough for you? ALEXANDER VAN NESS We're not tryin' him for lying. Lots of us told lies, one time or another. Prob'ly none of us murdered anybody. HAROLD JENSEN But what drives a man to lie? Means he's hiding somethin'. ALEXANDER VAN NESS Not necessarily that he killed Carl. I'm not sayin' you're wrong, just that I have my doubts. BURKE LATHAM Look, if you changed chairs right now, cos you doubted that maybe a chunk of the moon was gonna fall through the roof, that wouldn't be a reasonable doubt. Folks turn to Burke. What the hell are you talking about? ALEXANDER VAN NESS (laughs) Okay, you win that one. Now can we all go to bed? HARLAN McQUEEN The mooring line. Doesn't that tell you something? ALEXANDER VAN NESS I think it does. Miyamoto was on Carl's boat, or vice-versa. Not much doubt about th... MARLAN McQUEEN And Carl's blood on the gaff? ALEXANDER VAN NESS There's a chance it came from his hand. BURKE LATHAM There's a chance of everything. But you add a chance from here and a chance from there, the world ain't made a coincidences only. Everyone agrees. Almost everyone. EDITH TWARDZIK Look, if he gave Carl a battery like he said, he'd only a had one left. Not two. ALEXANDER VAN NESS He explained that. He replaced it. HARLAN McQUEEN Only he threw that part in when he got cornered. But first time around, he never mentioned it. ROGER PORTER Alex, stop arguin' just to argue. You can see what really happened, same as us. Isn't that what we're supposed to do is tell the actual truth? My God, Carl died, here. ALEXANDER VAN NESS So I don't care Carl died, unless I'm ready to reach for the hangman's rope? You oughta stop tryin' to bully me into hurrying. Little anger in that. It brings a silence. BURKE LATHAM Been six hours. You sayin' there's a way to go slower? INT. NELS' KITCHEN - LATE NIGHT Nels in a ratty, frayed old robe, pouring hot water from a kettle into mismatched cups. His hair is wispy and wild, his eyes puffy. He COUGHS horrible. CLEARS his throat... NELS Well. It's imaginative... And drops tea bags into the cups with a splash. NELS ...I'll give you that. Lisps over to the cluttered table. Where his guest is waiting. ISHMAEL It's the way it happened, I know it is. NELS No, you don't. Nels sits. Slowly. Ishmael removes his bag. Sips his tea. NELS That report. About the freighter? You didn't find that tonight, did you? No answer. Ishmael keeps sipping. Holding eye contact. NELS You went right to the cell. Then to the boat. Then here. How long did you know about the freighter? ISHMAEL (just above a whisper) One day. Nels' turn. To sip his tea. NELS This tastes horrible, hmmn? ISHMAEL You're wondering why I held it. NELS I'm wondering how the judge is gonna like my waking up his old bones. in the middle of the night. And he smiles. A wonderful smile. NELS Your daddy. Was quite a feller. ISHMAEL Yes, he was. Another sip. NELS He's looking down. And he's not thinking 'bout the man you were yesterday. He's proud of the man you are tonight. That's what counts. ISHMAEL To my father. Everything counts. Nels watches the pain in that. NELS What if I told you he once said to me...don't matter the road we take. Just so we get there. ISHMAEL (smiles) Then you'd be lying. NELS Doesn't make me wrong. INT. COURTROOM - DAY The jury once more in the jury box. PAN their faces. The faces we saw last night. NELS (O.S.) All right, let's say that twine had been there to lash a lantern. That it had come from the shuttle of twine found in the deceased's pocket. Edith Twardzik. Burke Latham. Alexander Van Ness. NELS (O.S.) Now to re-open a trial that had gone to jury...new evidence should be pretty important. See Ishmael. Quiet, intense. On the witness stand. NELS (O.S.) Tell us why that lantern would be so significant. ISHMAEL Well. It shows the prosecutor was wrong. It was Carl's boat that was dead in the water. Or he'd never have put up the lantern. Nels thinks about that. So the jury will, too. NELS Now you believe there were two lanterns when defendant arrived. One in Carl's hand. The second lashed to the mast. ISHMAEL That's what Mr. Miyamoto reported, and he'd have no reason to lie. He couldn't know that it would help his case. NELS Well, why does it? ISHMAEL Because the second lantern, the one on the mast. Was never found. So we have to ask... A slight shurg. Stating the obvious. ISHMAEL ...where did it go? And then... ISHMAEL Maybe it went. Where Carl went. Over the side. HOOKS Objection! Speculation. Nels smiles his grandfather smile. NELS Your Honor, all of this is speculation. Including Mr. Hooks' dramaturgy about the defendant issuing a false distress call. HOOKS Tht was summation, Your H... JUDGE (gently) Overruled, Alvin. Let's hear this, hmmn? Nels Gudmundsson nods to himself. Takes a stroll over to the jury box. No limp today. Something has put some spring in his step. NELS So how does this fit with what you told us at the start? The freighter that plowed through Ship Channel Bank... And turns. Leaning his scrawny butt against the jury's rail. He'll watch this with them now. ISHMAEL That's when he fell. NELS Fell. Ishmael settles in. Here we go. ISHMAEL Miyamoto gave him the battery, and left. Carl's boat was running, he goes back to fishing. But at some point, he thinks of the lantern... NELS Still lashed to the mast. ISHMAEL He figures a perfectly good lantern could get banged around up there. So he climbs up. To cut it down. NELS Just as the freighter comes through? Isn't that quite a coincidence? ISHMAEL Coincidences happen. You run a yellow light just as a car comes out of nowhere. Split-second tragedy happens every day. Or maybe... NELS Maybe...? ISHMAEL Maybe Carl picks up something about the freighter on his radio, which is now working. Same report Milholland heard. And that makes him get the lantern fast. Before the freighter's wake can bang it around. NELS But you could be wrong. He could have climbed up earlier. ISHMAEL Then where's the lantern? And where's the knife? NELS The knife. What knife? As if he really has forgotten. As if he wants to know. ISHMAEL Coroner found an empty knife sheath on Carl's belt. But they never found the knife. He's nodding. Yes, that's right. ISHMAEL He climbs up. His hand wound still bleeding. That's the blood I found on the mast. And the twine. Nels' eyes are rapt. His mouth is shut. No way he interrupts this roll. ISHMAEL He cuts the lantern free, the freighter's wake hits, the boat rolls hard, his bloody hand slips. tracing blood along the mast... A hush. ISHMAEL He falls. The lantern, the knife, go into the water. Same as Carl. The words hang there. ISHMAEL And inside the cabin, a coffee cup falls off the counter. Shakes his head. ISHMAEL But there's no one around. To pick it up. Nels ponders. Puts his hand to his chin. NELS Still a coincidence. Timing and all. ISHMAEL The freighter started through at 1:42. The sea water seeped into Carl's watch and stopped it. At 1:47. CUT to the defendant. Ramrod straight, nothing revealed in his face. And to his wife. Elegant, erect. Her eyes flooded with tears. NELS Still and all. Carl was a strong swimmer, he m... ISHMAEL He hit his head. On the way in. Silence. NELS You think so? ISHMAEL The sheriff and the deputy and I inspected the deck closely. We found a small fracture in the wood of the gunnel. Just below the mast. NELS Well, anything coulda caused that. Ishmael nods. No smile at all. ISHMAEL Anything. That had a blond hair. And Nels is walking now. Toward the prosecutor's table. Pulling a small cellophane bag from hisinside pocket. NELS Request introduction of Exhibit 18. One single blond hair. Which Sheriff Moran dug out of that fracture. Below the mast. Of Carl Heine's boat. Lays the bag on the table. Just in front of Hooks. Turns to the judge. NELS We will call Sheriff Moran, who will confirm this. And Coroner Whaley to testify that the damage to the gunnel is of a size and nature not inconsistent with the deceased's skull fracture... Turns to the prosecutor... NELS But for now. Your witness... And just strolls on over to his seat. Looks in his client's eyes. How 'bout them apples? Kabuo loves this old guy. And right here, he lets a little of that show. Across the way, the prosector is rising. He smiles. Friendly, almost amused. HOOKS I have to start reading your paper more closely. You're quite a storyteller. ISHMAEL (straight back) Thank you. Coming from the man who wrote, 'But here, adrift in the fog, I plead for your help'...that's quite a compliment. There is a ripple of laughter. But no smile on Ishmael's features. His game face is on. Come and get me, sucker. And Hooks does come, one step at a time. Straight to the box. HOOKS Everything had to happen just right. For your little story to fly. I mean, a blond hair could be on that gunnel for a lot of reasons. ISHMAEL I'm sorry, was there a question in there? No love lost. And no pretense about it. Hatsue Miyamoto sits with her hand in her mother's. Watching these men battle for her husband's life. HOOKS Well, the freighter. The twine. The blood. The knife. The cup. The watch. The second battery. The phantom lantern. The fishing gaff. The cracked gunnel. The skull wound. The blond hair. That's eleven things... ISHMAEL Twelve. Hooks smiles. HOOKS I stand corrected, sir. And you have a neat explanation for every one of them. Hooks nods. Yes, you do. HOOKS And since you confess this is all pure guesswork. What is your expertise, sir, are you a detective of sorts? ISHMAEL My expertise. Is that I'm a journalist. Right at his eyes. ISHMAEL And journalism. Is balance. Finding the facts folks need to know. The words ring with quiet, heartfelt conviction, that others cannot fully appreciate. ISHMAEL Then putting them together. So truth is revealed. HOOKS But isn't the truth that there are several other ways to explain each of these twelve pieces. ISHMAEL Oh, yes. And the prosecutor stops. Confused for an instant by this confession. Until... ISHMAEL But no other way. To explain them all. A heart-stopping hush. As everyone, as Hooks himself, sees the cehckmate. ISHMAEL And since they all happened. This is the only explanation that's the truth. The prosecutor looks like he's been slapped. Like every act of will is necessary to maintain composure. To find the easy, untroubled smile. HOOKS Your line of work. You must meet a lot of men play fast and loose with the truth. ISHMAEL Like you couldn't believe. Service returned. Hooks leans in. HOOKS Well, the defendant is a liar. He's confessed that much. And his explanation is...he was afraid. And leans in some more. HOOKS Afraid that the good folks of this jury. Would be too stupid to understand. Too prejudiced to be fair. Shakes his head. HOOKS You buy that? ISHMAEL (gently) I think he was greedy. And once more. The prosecutor can only blink. Can only move toward the trap. HOOKS Greedy. ISHMAEL He didn't want to lose any more. No smile. No smile as the trap springs shut. ISHMAEL He'd lost a lot in the war, you see. I had sent him away. To a concentration camp. But a nice one. Far less brutal than the Nazis. Because I'm a civilized person. He stops. Lets Hooks clear his throat. HOOKS I asked you a question, you're writing a tract, h... ISHMAEL That's how journalists. Answer questions. Turns to Judge Fielding. With all respect... ISHMAEL May I answer the question, Your Honor? Anout the defendant's motivation to lie? JUDGE I wouldn't miss it for the world, son. Now, you say you sent the defendant to Manzanar? ISHMAEL I didn't say. I did it alone. And things get real quiet. ISHMAEL So there he was. His father lost his health there, finally died. They lost more than Etta Heine's seven acres. They lost their liberty, their dignity. Their ideals about this country. So much feeling in this. He has to stop. Swallow hard. ISHMAEL They lost their trust in us. We had treated them worse than animals. How would we now see tham. As human beings? Tells the jury. Straight to their faces. ISHMAEL This man lost a lot in the war. He didn't want now to lose his babies. Or the woman who loves him. Another level of quiet. He turns to the prosecutor... ISHMAEL And my expertise in this, sir. Is that I lost a lot in the war myself. Words coming from someplace very deep. ISHMAEL And the fact that I am the only witness. Who placed his right hand upon the Holy Bible. Is the least of it, sir. I assure you of that. Silence. HOOKS Well, sir. I hate to spoil the soliloquy, I truly do. But the fact is...you are not on trial here. Nor is Judge Fielding, or myself. Nor the good people of this jury. For events that took place twelve years ago. No sir. HOOKS And I wouldn't blame these good people if they were a mite resent- ful. At a tactic that insults their intelligence. ISHMAEL That's curious. I was appealing to their intelligence. HOOKS Were you, sir? Can you prove one word of all your fancy story? ISHMAEL No, sir, I can't. Not beyond a reasonable doubt. And he smiles. First time. ISHMAEL It's fortunate that the man who needs to prove his fancy story. Beyond a reasonable doubt. Is someone else. There is laughter in the room, so welcome is any chance to relieve the tension. The gavel BANGS. ISHMAEL I'm sorry, Mr. Hooks. I apologize for my tone. This is not a contest. Between you and me. Shakes his head. No, it isn't. ISHMAEL For it is not. As Mr. Gudmundsson so wisely put it. A small trial. In a small place. His eyes are damp now. Strangely enough, after all this. He is at last on the brink of losing control. Because... ISHMAEL I lost more in that war than anyone will ever know. So did a lot of folks. And what we got back in return... His voice breaks slightly. But it rings with dignity on... ISHMAEL ...was a country. Where a man was innocent. Until we proved him guilty. And the voice drops. To just above a whisper... ISHMAEL Whether we all got cheated. We're about to find out. INT. COURTHOUSE CORRIDOR - DAY CLOSE on Hatsue Miyamoto, speaking earnestly, her eyes down, her purse in her lap, her slender hands expressing the intensity of her feelings as she makes her point, and we... PULL BACK to reveal that she is on a corridor bench, surrounded by a half dozen REPORTERS, who are crouching, standing, scribbling away. Two PHOTOGRAPHERS pop flashes that she does not seem to notice, as she continues with refined determination, and we... PULL BACK, down the hallway to the POV of a man who sits alone, unnoticed. There is an unopened pack of cigarettes in his only hand, turning absently in long, strong fingers that crinkle the pristine cellophane. His eyes are fixed to hatsue, holding court at a distance. Fixed, as if no other sight could ever command this level of attention. NELS (O.S.) All things considered... Hearing the voice, Ishmael looks down. Uneasy to have been caught staring so intently. NELS ...you were adequate. No smile accompanies the irony. For that would be condescending. NELS I could make a few quibbles, but I am loathe to hurt your feelings. The old man sits. Very slowly. ISHMAEL Cigarette? NELS I'll take two. One for later. Ishmael tries to tear the cellophane without success. Nels seems not even to notice. NELS (quietly) She is simply. Beautiful. Ishmael's eyes cut to him. A little quickly. Confides... ISHMAEL I've always thought so. There it sits. His fingers claw absently at the cellophane. Nels makes no move to intervene. NELS If I whistle. Those boys'll see you, and come runnin'. You're the story today. ISHMAEL You ever been strangled by a single hand? NELS Naw, I've seen what that can do to a pack of cigarettes. Comfortable together. In this hour of discomfort. Ishmael brings the corner of the pack to his teeth, and tears the cellophane away. ISHMAEL Better take three... Fingers nimbly shred the seal, open the pack. ISHMAEL Maybe they'll keep us waiting. Shake the tips free. Holds the pack forward. NELS (very quiet) Maybe they won't. The way he said that. Subtly ominous. Ishmael watching Nels' face, as the old man takes two cigarettes... NELS Prejudice is like any obsession. Tucks one in his pocket. And his eyes slide, unmistakably, to Hatsue. NELS There's a reason why we can't let go. Even when we want to. Ishmael is stone still. Nels just gazing at Hatsue. Until... ISHMAEL A reason. NELS (simply) We don't want to. Looks back to Ishmael. Very straight. NELS Hate or love. It works the same. In the silence... ISHMAEL Your client's wife ever mention? We go way ba... NELS (softly) Her mother. May have said something. There it is. Kindness in this old man's face. He brings the other cigarette to his lips. And Ishmael takes out the match box. Never breaking eye contact. ISHMAEL We don't let go, you s... NELS It's a rare thing. Takes a turning point. Expertly, Ishmael's fingers withdaw a match. NELS You gave this jury three chances. To turn. Palming the box, Ishmael STRIKES the match. On his belt buckle... NELS No other way to explain it all. That was one. I caught some of 'em fluttering, waking up, on that. Reaches the flame toward the old man... NELS Second. You sent him to Manzanar, and you didn't do it alone. I liked that one, they didn't. No surprise. Nels leans to the flame. Sucks it in. Savors a drag. NELS Last. You gave your arm. To buy this woman back her husband. Are they gonna cheat you out of that? BAILIFF (O.S., calling out) JURY'S COMIN' IN... Everywhere, the buzz RISES, there is motion an expectation. But Nels doesn't seem to notice. NELS Some let go, some don't. Where did you? Asked so casually. Ishmael turns. Hatsue is standing now, surrounded by people, her mother grasping her arm. ISHMAEL (a murmur) Hooks called her deceitful. And I knew she wasn't. He's watching her. Across the way. So intently. ISHMAEL She was an honest person. Doing the best she could. We follow her approach toward the courtroom door. She has not yet turned to us. NELS (O.S.) The prosecutor, the judge, cut her off. She was desperate. Her husband helpless...I was helpless... Nels rises. With great effort. NELS You couldn't let her. Be helpless. Ishmael's eyes still fixed to Hatsue, grim-faced, listening to her mother's murmurings, as she... ...disappears through the door. Never having looked our way. NELS When this verdict is read. She may look for your face. And Ishmael's eyes come up. Because the voice commands it. NELS Here's what she needs to see: This is nothing. We win it on appeal. The old man is stern and strong. He wants a promise. ISHMAEL It'll be there. INT. COURTROOM - DAY The hush of a hundred silences. We can feel the air crackle in the stillness. Judge Fielding is leafing through papers. No one coughs, no one blinks... JUDGE (clears his throat) Mister foreman, has the jury reached a verdict? He looks up. Across the distance, Harold Jensen rises in the jury box. HAROLD JENSEN We have, Your Honor. And holds out a slip of paper. Little more than a scrap. Folded once. JUDGE Will the bailiff please bring the verdict to the bench. The bailiff does so, walking crisply to minimize his moment in the limelight. He hands the slip to the judge, who unfolds it, and... ...stops. Staring for a hung instant. As if seeing something unexpected. he folds it again, rather carefully, thoughtfully, and as he hands it back to the bailiff... JUDGE (softly) Will the defendant please rise. Kabuo and Nels rise together. But it is only into the defendant's eyes that the judge stares. No expression in the face of either man. But something passes, all the same. As the bailiff crosses to return the verdict to the foreman, we SNAP TO... REVERSE ANGLE...every pair of eyes in the room are on the foreman, now opening the slip of paper. Every pair. But one. JUDGE (O.S.) Will the foreman please read the verdict aloud. One reporter stares across the grain of all other sight lines. Toward a woman who does not see him. In case she needs his eyes. To be waiting. HAROLD JENSEN (reads) We the jury, find the defendant, Kabuo Kenji Miyamoto, to be not guilty of the cri... A sharp SCREAM, and the defendant's mother-in-law covers her mouth in embarrassment. HAROLD JENSEN (continues) ...of the crime with which he has been char... APPLAUSE breaks out from the back row of the gallery, where citizens of Japanese ancestry have forgotten custom and decorum, as has... ...a woman who comes OUT of her seat, tears on her face, not even realizing she is standing, Hatsue clings to the railing that separates her from her husband. Throughout the gallery, now... ...some of the citizens assembled add their applause. Others look awkward, not knowing how to react. The gavel lies untouched, unnoticed, by a jurist who has no problem with anything that is taking place right now. Saying only to the jury... JUDGE This is your verdict, so say you all? As they assent... JUDGE This Court thanks you for the good work you have done under difficult circumstances... Reaches STRONG to the gavel, turns to the defendant... JUDGE Go home, son. God bless. CRACKS the gavel on its block. The defendant is OUT of his chair, and with one strong grip of gratitude to the frail shoulder of his counsel, he is... ...AT the rail, through the POPPING of flashbulbs, she is IN his arms, the embrace so FIERCE on both sides, everyone crowding around them. An old man's eyes sweep the gallery, looking for someone. Only to find... ...Ishmael's back. As he disappears through the door. INT. COURTHOUSE CORRIDOR - LATER The Miyamotos holding court, surrounded by nearly twenty reporters and photographers, and countless looky-loo's of all persuasions. Hatsue's face is flushed and intense, unsmiling, she seems scarcely to have caught her breath. She holds tight to her husband's hand, as he... ...carries his baby son in the other arm, his 8-year-old daughter leaning against him, her 4-year-old sister standing on the bench beside her mom. Kabuo submits to questions with a boyish grin of humility and friendliness. An American family. Photogenic as hell. REPORTER #1 And how about the jury? You had confidence they'd see justice done? Kabuo glances to his lawyer, wanna field this one? But Nels sends it back with a twinkle. KABUO Oh, sure. These are our neighbors, you know. They've got good hearts. We could see they were following the evidence real close... At his side, Hatsue seems to be scanning the jumble of faces... KABUO We're just grateful to every one of them. ...looking for something she doesn't find. REPORTER #2 And you ma'am? You felt the same as your husband, I expect? Her eyes move to the eager young man. She reflects for a beat. HATSUE Honestly, no. Which catches everyone. A little short. HATSUE (quietly) I felt my husband would be found guilty. Unless proven innocent. No apologies for the truth. That's not her way. HATSUE And Mr. Chambers did that. INT. COURTHOUSE BASEMENT A vending machine stands in silence. The eerie strobing glow of defective neon. PULL BACK as... Ishmael thinks it over. Drops in his dime. Pulls the plunger, to watch a Snickers fall. Scoops the candy from the tray, pins it between his body and the machine. ...tears the wrapper. INT. COURTHOUSE CORRIDOR BACK to the reporters. The crowd of onlookers has grown. REPORTER #3 ...can we get some background on your handsome family? I understand you two were childhood sweethearts... And brings his Parker pen to his notepad. His subject smiles easily... KABUO Well, no sir, not exactly. We met in the Manzanar camp, you see, so I guess that was the most beautiful place I've ever been. There is gentle laughter. And as Kabuo looks up, he sees something in the rear of the crowd. Something we do not. And softly... KABUO No, her first love was another fella... Which brings Hatsue's eyes up, following his gaze. And there, in the back. A man watches. Eating a candy bar. KABUO (O.S.) I was the lucky one. No one sees their eyes lock. It is only an instant. It is enough. REPORTER #4 It all sounds very romantic, ma'am. Falling in love under those circumstances... And as she looks to the reporter, Ishmael begins to walk away... HATSUE He went off to the Army, right from Manzanar. And that last night, we danced alone in the desert... And somehow, Ishmael catches the eye of Hatsue's 4-year-old daughter. So he pulls a coin from his pocket... HATSUE (O.S.) I told him. If you don't come back alive, I'll kill you. ...Ishmael ROLLS the coin across his knuckles. And the child responds... With her mother's smile. EXT. COURTHOUSE STEPS - DUSK Alone on the steps where the Strawberry Princess once winked at him. Snow has begun to fall, soft and altogether beautiful. He squints up... ISHMAEL (V.O.) God's kindness, my father said. Despite the hardship...it reminds us. Of our place in things. Our place in things. He slides a black cigar between his teeth... ISHMAEL (V.O.) What the hell. Did he mean by that? He has the match box. Manipulating it with the dexterity we've come to know. ISHMAEL (V.O.) Things fall on us, I suppose. From the sky. STRIKES the match on his belt buckle... ISHMAEL (V.O.) Wars. Freighters plowing through... Cupping it expertly in a single motion, he brings the flame to the cigar. A single puff. ISHMAEL (V.O.) And we seem...helpless. Until we understand. One more. Savors it. The sky. The thought. ISHMAEL (V.O.) Accident rules every corner of the universe... Down the steps. Snow swirling between us. Gone. ISHMAEL (V.O.) Except the chambers. Of the human heart. FADE SLOWLY TO BLACK. ROLL END CREDITS. 
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+                            SNOW WHITE AND THE HUNTSMAN                                   Written by                 Evan Daugherty, John Lee Hancock & Hossein Amini                                   Story by                                Evan Daugherty                                                 Inspired by the Brothers Grimm's                             "Little Snow White"                                                                                                                             November 22nd, 2011          1 EXT. GARDENS/ CASTLE - DAY. 1          From high above we see the castle gardens covered in a blanket          of snow. We hear the tread of footsteps then see a beautiful          WOMAN in a fur-lined cloak heading towards an unseen object.          ERIC (V.0.)          Once upon a time, in deep winter, a Queen          was admiring the falling snow when she saw          a rose blooming in defiance of the cold.          The rose looks miraculously red. Nearby, a RAVEN looks on. The          Queen gazes at the flower, then bends down.          ERIC (V.0.)          Reaching for it, she pricked her finger and          three drops of blood fell.          BOOM -- with the impact of an artillery shell, a DROP OF BLOOD          lands in the snow. Followed by ANOTHER. And ANOTHER.          The Queen startles, then calmly touches her stomach.          ERIC (V.0.)          And because the red seemed so alive against          the white, she thought, if only I had a          child as white as snow, lips as red as          blood, hair as black as a raven's wings and          all with the strength of that rose.          A beat, then we hear the piercing cry of a new-born baby --          2 INT. ROYAL BEDROOM - DAY. 2          We find ourselves in a crowded chamber full of MIDWIVES and          PHYSICIANS. Moving through the chaos we glimpse buckets of          water, dirty sponges, astrology charts and protection charms --          until we see a BABY GIRL in the arms of her happy mother.          ERIC (V.O.)          Soon after, a daughter was born to the          Queen and was named "Snow White."          With a radiant smile, the Queen offers SNOW WHITE to her proud          father, KING MAGNUS. The baby's CRIES grow louder as the King          cradles her gently in his arms, turning towards a mirror.          ERIC V/O          And she was adored throughout the kingdom          as much for her defiant spirit as for her          beauty.          3 EXT. WOODS NEAR CASTLE - DAY. 3          A wounded MAGPIE is twitching in a puddle of water. SNOW WHITE,          aged 7 now, steps towards it hesitantly, looking concerned.                         (CONTINUED)                                                                                                                2                         3 CONTINUED: 3          YOUNG SNOW WHITE          Pick it up, William.          Her companion, William, also 7, braces himself, reaches down,          then steps back in alarm as the bird starts flapping wildly. He          tries to cover his embarrassment by sounding knowledgeable.                         YOUNG WILLIAM          It's dying. It doesn't want to be touched.          Snow White ignores him, approaching the bird herself. She kneels          down, hesitates, then reaches out and strokes the magpie,          calming its flapping before she picks it up.          High up on a tree, ANOTHER MAGPIE looks on.          4 EXT. SEASIDE VILLAGE/ CASTLE BRIDGE - DAY 4          SNOW WHITE runs, cupping the wounded bird in her hand, William          dashing after her. The sun is out and the fields and forests are          lit up in all their glory. The children sprint through a          BEAUTIFUL SEASIDE VILLAGE -- thatched homes with flower gardens,          HAPPY FARMERS and FAIR VILLAGE MAIDENS --          YOUNG SNOW WHITE          Hurry, William! Hurry!          They run down the dunes, waves crashing, the sand gleaming in          the sunlight, until they see the BEAUTIFUL CASTLE up ahead --          5 EXT. CLOISTER GARDENS/ CASTLE - DAY 5           A single apple tree stands in the middle of the cloisters. It           stands out. Snow White and William dash past it into the castle.                         6 OMITTED 6          7 INT. ROYAL BEDROOM - DAY. 7          Snow White bursts into her parent's chamber. The King and Queen          turn from the window. Two PHYSICIANS are in attendance. Snow          White is too young and preoccupied to notice but her mother's          smile is tinged with sadness and her father looks heartbroken.          YOUNG SNOW WHITE          We found it in the woods.          The Queen takes the wounded magpie from Snow White. The King          looks on sadly as she pulls a RIBBON from Snow White's hair and          carefully binds the magpie's wing. William watches from the          doorway, noticing how frail the Queen looks.          The magpie's flapping gradually calms, its pain easing.                         QUEEN          It will heal in time.          Snow White's eyes are fixed on the little bird.                         (CONTINUED)                                                                                                                3                         7 CONTINUED: 7                         SNOW WHITE          I'll look after it.          The King watches Snow White, hiding his sorrow behind a smile.          So does the Queen, holding back her tears.                         QUEEN          You possess a rare beauty, my love. In          here.          (She touches Snow white's heart)          Never lose it. Hold it dear. You will need          its strength to one day become Queen.          8 EXT. CLOISTER GARDEN/ CASTLE - DAY. 8          Snow White and William, with a small toy bow strapped to his          back, climb the branches of the apple tree in the cloister          gardens. William picks a DISTINCTIVE RED AND WHITE APPLE and          offers it to Snow White.          He makes a point of the offer, holding it out, nodding.          Just as she comes to take it he pulls it away and takes a          huge bite himself, grinning. Snow White shoves him off the          tree and they fall to the ground.          And now we PULL BACK to reveal the King and William's father,          DUKE HAMMOND, watching from the throne room balcony.                         KING MAGNUS          My daughter will need your son's friendship          more than ever, Duke Hammond. As will I          yours.                         DUKE HAMMOND          We are here to serve you, your Majesty.          As the King watches his daughter, ERIC'S VOICEOVER resumes:          ERIC (V.0)          The next winter was the harshest in memory          and Snow White's mother passed away.          Ba EXT. GARDENS/ CASTLE - DAY. 8a          The garden is covered in snow but there is no red rose now. King          Magnus walks with his arm around Snow white, heartbroken.          A single tear rolls down Snow White's cheek. Palace onlookers          and mourners, fixed on her face, feeling what she feels, move          aside.          ERIC (V.0)          A year went by but the King was          inconsolable. Taking advantage of his          grief, dark forces gathered on the          kingdom's borders.                                                                                                                4                         9 OMITTED 9          10 EXT. FOREST/ BATTLEFIELD - DAY 10           From above we see horses movie through the forest and enter a           clearing. At the head is --          King Magnus, with Duke Hammond by his side, surrounded by a          line of the King's Army. They are frozen as they look at--          Across the battlefield - Horsemen in a line. THE RIDERS are          silhouetted on a misty plain -- a VAST SHADOW ARMY of faceless          warriors.          King Magnus and the Duke trade a look -                         DUKE HAMMOND          From what hell comes this army?                         KING MAGNUS          A hell they'll soon revisit!          King Magnus SCREAMS A BLOOD CRY, kicks his horse and rides          forward with blind courage, no longer caring what happens to          him.          The two lines of warriors race, pell-mell to the center of          the battlefield. When they meet --          Hand to hand combat at its most brutal.          King Magnus swings his great sword, and a SHADOW WARRIOR          SHATTERS LIKE GLASS.          All down the line the same is happening - Shadow Warriors          shattering, evaporating.          Strange.          DUKE HAMMOND shatters an opponent as well and as loud and          furious as the battlefield was only moments before, it is now          that quiet.          The King and the Duke watch in amazement as the rest of the          SHADOW ARMY melts away, DISSOLVING INTO THE MORNING MIST until          all that is left in the field is --          ERIC (V.0.)          The unholy army was defeated, leaving          King Magnus with the spoils of victory.          A CAGED PRISON WAGON. Odd. Not even sure how it got there.          King Magnus moves toward it, with a little trepidation. When          he's close he gets off his horse, walks closer and dares to          look inside.                         (CONTINUED)                                                                                                                5                         10 CONTINUED: 10          Inside the cage, a WOMAN COWERS, her face hidden behind a veil.          King Magnus stares at her through the prison bars, then with a          mighty blow of his sword shatters the lock and enters.                         KING MAGNUS          You are now free. You have nothing to fear          from me.          Duke Hammond watches from outside the cage, a bit wary, as the          King kneels beside the terrified woman.                         KING MAGNUS          What is your name, my lady?          Slowly, the woman turns. For a moment the King wonders if it's          his beloved Queen behind the veil. Gently, he lifts her veil.          It's not his wife, but the most beautiful woman he's ever seen.                         RAVENNA          My name is Ravenna, sire.          The King is speechless now, gazing upon the face of an angel.          ERIC (V.0.)          So struck by her beauty was the King, that          he forgot, for the first time, his broken          heart.          His gaze is so intense that Ravenna looks down for a moment.          When she lifts her head --                         CUT TO:          10a INT. GYPSY WAGON - FLASHBACK - DAY. l0a          YOUNG RAVENNA - her face reflected in a small hand mirror.          Ravenna as a child, beautiful but poor, looks into the          mirror. Her MOTHER, a gypsy woman in tattered clothes, moves          the mirror closer.                         RAVENNA'S MOTHER          This - is all that can save you, Ravenna.          The young Ravenna looks away, distracted by SHOUTS and          COMMOTION outside.          10b EXT. GYPSY CAMP - SAME - DAY. 10b          A little boy, FINN, runs as fast as he can through the snow          toward the Gypsy Camp.          Behind him, THE KING'S RIDERS advance on the camp.          BACK INSIDE THE WAGON          Ravenna's mother tries to keep her daughter's attention --                         (CONTINUED)                                                                                                                6          10b CONTINUED: 10b                          RAVENNA'S MOTHER           Ravenna!          11 INT. PREPARATION CHAMBER/ CASTLE - DAY. 11          CU - RAVENNA'S FACE          Present day. Still as a statue and even more beautiful as          cheeks are powdered, eyebrows plucked and lips painted by          several sets of HANDS. Her eyes stare straight ahead,          unblinking, her mind elsewhere.          Attendants are preparing Ravenna for her wedding to the King.          SNOW WHITE (O.S.)          You're so beautiful...          Ravenna snaps to and looks into the face of Snow White,          reverential, standing a few feet away.          Ravenna's face softens as she looks at the face of Snow          White. Ravenna beckons to her with a look and then holds out          her arm - "Come."          As Snow White steps forward, the handmaidens withdraw until          only one is left, weaving beautiful flowers in Ravenna's          hair.                         RAVENNA          That is kind, child. Especially when it is          said that yours is the face of true beauty          in this kingdom.          Snow White doesn't quite know how to answer this.                         RAVENNA          (A warm smile)          Would you like to be dressed up like this          and married one day?          Snow White nods.                         RAVENNA          I hope you'll invite me?          YOUNG SNOW WHITE          Of course.          Snow White smiles, enchanted by her new friend.                         RAVENNA          I know it is difficult, child. When I          was your age I, too, lost my mother.                         SNOW WHITE          You did?                         (CONTINUED)                                                                                                               7                         CONTINUED:                         RAVENNA          Yes. A King tore me from her arms,          dressed me in lace and stole my          innocence.          Snow White's smile dies a bit; confused.                         RAVENNA          I can never take your mother's place, but          I feel that you and I are bound.          (touches her heart)          I feel it here.          Snow White mimics, touching her own heart, and smiles at          Ravenna. It should be a touching moment but something in          Snow White's face - the way her smile lights up the room -          gives Ravenna pause.          12 INT. CATHEDRAL - DAY 12          Ravenna, in a stunning dress,.walks down the center aisle. All          the NOBLES in the land are present.          Ravenna looks at them, on either side of the aisle. They are all          smiling, nodding appreciation. But they aren't really looking          at Ravenna. She follows their gaze to --          Snow White, behind, holding the folds of silk from the          wedding dress. Snow White looks up, adoringly, at Ravenna.          As the bride and groom reach the altar, KING MAGNUS turns and          smiles, the happiest man alive.          13 INT. ROYAL BEDROOM - NIGHT 13          King Magnus lies on the bed, drunk - half with wine and half          with lust. His eyes fixed on --          Ravenna, in a sheer silk nightgown standing near the fireplace,          holding a goblet. Staring a seductive hole through him.          She starts slowly toward him, never taking her eyes off him.          He licks his lips - can't wait for her to arrive.                         KING MAGNUS          (Gazing at her lustfully)          Who are you?                         RAVENNA          The bane of Kings.          When she does arrive she slowly crawls onto the bed, rolls          him on his back, straddles him and offers the goblet.                         RAVENNA          Sup, my lord.          King Magnus drains the goblet, tosses it and gropes her body.                         (CONTINUED)                                                                                                                8                         13 CONTINUED: 13                         RAVENNA          Now you are mine.          Her eyes gleam in the firelight. Magnus tries to playfully          wrestle her off, but she grabs his hands and holds him down          firmly.                         RAVENNA          I will destroy you.                         KING MAGNUS                         (LOVING IT)          Indeed, you will.          She rips open his shirt then bends down and kisses him on the          lips. He can't believe how good she tastes.                         RAVENNA          As my people were destroyed. As my family          was destroyed. As I would have been          destroyed.          He is slightly confused by this and his face begins to show          discomfort.                         RAVENNA          But when a woman stays young forever - no          man can resist her - and the world is hers.          He suddenly STARTS TO CHOKE, his eyes widening in surprise.          As he struggles for breath...                         KING MAGNUS          What...?                         RAVENNA          First I will take your life, my lord. Then          I will take your throne.          She reaches beneath the sheets, pulls out an ORNATE DAGGER          and BRINGS IT DOWN THROUGH HIM --          13a EXT. OUTSIDE ROYAL BEDROOM 13a          Several Guards line the hallway. The door opens and Ravenna          emerges. As she moves past them...                         RAVENNA          The King has laid down his sword for the          night.          Their eyes take her, lustfully, in as she strides away and          disappears around a corner.                         CUT TO:                                                                                                                9          13b INT. GYPSY WAGON - FLASHBACK - DAY. 13b          Ravenna's mother takes Ravenna's hand and holds it over a          bowl of white liquid.                         RAVENNA'S MOTHER          You must trust me, my love.          With a small blade she nicks Ravenna's wrist. Three drops of          blood fall into the white liquid - BOOM! BOOM! BOOM!          Finn, Ravenna's brother blasts through the door.                         FINN          They're coming! The King's men!                         RAVENNA          Drink!          Ravenna chokes it down.                         RAVENNA'S MOTHER          Drink! And with it the ability to steal          youth and beauty! For that is your          ultimate power and only protection.          Finn steps forward.                         FINN          I will protect my sister!          Ravenna's mother reaches out and touches her son's forehead,          closes her eyes, an incantation of sorts...                         FINN          So it shall be, Finn.                         CUT TO:          14 EXT. COURTYARD/CASTLE - PRESENT - NIGHT 14          Ravenna exits the castle and crosses the courtyard with a          lantern. A portcullis opens and DARK FIGURES emerge from the          shadows, entering the castle. Leading them is a tall pale-eyed          warrior (FINN). He looks at Ravenna devotedly.                         RAVENNA          Welcome, brother.          15 INT. CORRIDORS/ CASTLE - NIGHT. 15          We see the shadows of the invaders sweeping through the          corridors, putting the King's sleeping soldiers to the sword.                                                                                                               10          16 INT. SNOW WHITE'S ROOM/ CASTLE - NIGHT 16          Snow White lies asleep when she hears a bell ringing. At first          she thinks she's dreaming, but then she hears cries of alarm.          She sits up curiously, then climbs out of bed --          17 INT. CORRIDOR OUTSIDE SNOW WHITE'S ROOM - NIGHT. 17          There's panic and chaos outside, COURTIERS and SOLDIERS running          for their lives. Snow White stares in confusion, then runs too -          18 INT. CORRIDOR OUTSIDE ROYAL BEDROOM - NIGHT. 18          Snow White rushes towards her father's chamber and sees Ravenna          at the end of the corridor. Relieved, she hurries towards her          stepmother when suddenly she notices her father's lifeless body          lying on the bed. FINN and his KNIGHTS appear beside Ravenna. It          takes a moment for the betrayal to sink in, tears of shock          welling in Snow White's eyes, before she turns and flees --          19 EXT. COURTYARD/CASTLE -- NIGHT. 19          The chaos has spread to the courtyard, DUKE HAMMOND'S KNIGHTS          struggling to hold back the invaders. Snow White hurries out,          dazed by the sight of battle, then sees William pull free of his          father's guards and run towards her --          William grabs her protectively when strong arms reach down and          lift them both onto the back of separate horses. Duke Hammond          and his personal guard are attempting to ride out of the castle          before the portcullis closes.          The Duke rides under the portcullis with William. His bodyguard          is about to follow when an ARROW FROM FINN STRIKES HIM IN THE          BACK and both he and Snow White are thrown off their horse.                         YOUNG WILLIAM          Father! The Princess!          But the portcullis is down, separating Snow White and William.          The last thing he sees is Snow White struggling in Finn's arms,          being hauled back into the castle.          20 INT. MIRROR CHAMBER - NIGHT 20          Ravenna walks from statue to painting to urn, toppling and          tearing them from the walls. Cleaning house. Ravenna's soldiers          deliver a large object, then leaving her alone. A BEAUTIFUL          MIRROR rests against the wall. Ravenna stares at it.                         RAVENNA          Mirror, mirror, on the wall          Who is the fairest of them all?          There'.s a brief silence, then the surface of the mirror ripples.          LIQUID-spills onto the floor where it reforms into the shape of          THE MIRROR MAN. His body is a veil of reflective bronze but his          face-is a distorted version of Ravenna's own.                         (CONTINUED)                                                                                                                11                         20 CONTINUED: 20                         MIRROR MAN          it is you, my Queen! Yet another kingdom          falls to your glory! Is there no end to          your power and beauty?          Ravenna smiles, moves to the center of the room, raises her arms          and drunk with power --          SCREAMS! The scream becomes --                          CUT TO:          20a EXT. GYPSY WAGON - FLASHBACK - DAY. 20a          Young Ravenna's SCREAM as she is ripped from her mother's          arms. Finn throws himself into the mix but is backhanded to          the ground. Ravenna's mother moves forward, ready to attack.          The Guard holding Ravenna pulls a dagger and puts it to          Ravenna's throat, which stops her mother.          Ravenna is dragged away and tossed on the back of a horse --                         RAVENNA'S MOTHER          But be warned Ravenna: By fairest blood          it is done and only by fairest blood can          it be undone.          Ravenna looks back to see her mother and other gypsies put to          the sword.          Finn struggles free and chases after the King's men as they          gallop away.                         CUT TO:          20b EXT. COURTYARD - NIGHT. 20b          All the wedding guests and nobles stand, held there by guards          with swords and daggers.          Ravenna stands at the top of the stairs.                         RAVENNA          So kind of you all to stay over.                         GENERAL          What shall we do with these?          She eyes the noblemen and guests from left to right. Their          eyes beg for mercy.          There is none.                         RAVENNA          To the sword.                         (CONTINUED)                                                                                                                12          20b CONTINUED: 20b          There are GASPS and SCREAMS as the Guards move the guests          away.          Ravenna notices Finn, off to one side, his dagger at the neck          of Snow White, who stares defiantly at Ravenna.                         RAVENNA          Finn!          Finn stops his exit with Snow White, and turns. Ravenna          stares at the little girl, not sure where she stands with          this one. And then,...                         RAVENNA          Lock her away. One never knows when royal          blood may be of value.          21 OVER A TIME-LAPSE IMAGE OFA ROTTING RED AND WHITE APPLE. WE 21           HEAR ERIC'S VOICEOVER AGAIN --           ERIC (V.0.)          The spell Ravenna's mother placed on her          gave her the ability to steal youth and          beauty, and indeed all things good, for          her own evil purposes. But for every          life there must be a death, for every          gain, loss, and under the reign of          Ravenna nature turned on itself and          people turned on each other.          21A INT. CASTLE - NORTH TOWER - NIGHT. 21A          ERIC V/O          And all this time, she kept Snow White in          a cell in the north tower.          Ravenna, in the shadows, sits perfectly still. Though it's          been years she looks the same. The object of her gaze is --          Snow White, who has changed. She is now a woman, lying in a          darkened cell. Asleep.          Around the corner, Finn secretly eyes his sister, who doesn't          notice him.          Ravenna, just outside the cell, doesn't blink, entranced by          Snow White. Strange.          Snow White opens her eyes and sees Ravenna. This is not the          first time this has happened. Their eyes locked. Then...                         SNOW WHITE          Why?...          Ravenna doesn't answer, just stands and walks away.                                                                                                                12A          22 EXT. WOODS - DAY. 22          A chill wind whips through the woods. Lying sprawled on the          ground we see a man (ERIC) who looks like he's dead.                         (CONTINUED)                                                                                                                13                         22 CONTINUED: 22          It's only as we move closer to his rugged face that we see the          empty FLAGON OF GROG by his side and realize he's drunk. His          eyes flicker, as a WOMAN'S SCREAM cuts through the woods.                         FLASH TO:          THE SPECTRE OF A WOMAN          SARA, beautiful, in pain. A patch of blood blossoms on her          dress. Her mouth is open, screaming but no sound comes out.          BACK TO SCENE - WE HEAR THE SCREAM          Eric's eyes flicker and begin to open -- then he hears it          again.          ROSE (O.S.)          Help!!!!          He rises to his feet unsteadily, his head pounding from a          hangover, then grabs two THROWING HATCHETS and slides them into          his harness on his back --          23-240MITTED 23-24          25 EXT. FOREST - DAY. 25          Eric runs past trees and ducks under branches, crashing into a          few, still drunk. As he arrives at a clearing he sees a          beautiful girl, (ROSE), fighting off a HUGE TATTOOED WARRIOR,          (BROCH).                         ERIC          Lay a hand on her and I'll take your head!          BROCH turns and sees the huntsman with his hatchet raised.                         BROCH          Ale given you courage again, huntsman?                         ERIC          Won't take much courage to split your skull          from here.                         BROCH          Aye, but first you'd have to see straight.          Broch advances with a grin, drawing his own axe. Trying to clear          his vision and steady his aim, Eric hurls the hatchet -- and          MISSES, the blade sticking in the tree above the frightened          Greta's head --          Broch is on Eric in an instant, swinging his huge battle axe.          Eric narrowly avoids the deadly blows, his natural skill and          dexterity slowed down by all the ale he's drunk.                         (CONTINUED)                                                                                                                13A                         25 CONTINUED: 25          Rose looks on, terrified, as Broch drives Eric towards the          trees. He corners him against an oak and swings his axe -- only          for Eric to duck at the last moment --          The blade buries itself deep in the tree, stuck. We realize now          from Eric's dark smile that he lured Broch into the trap. He          draws his second hatchet, but instead of using the blade, cracks          Broch over the head with the handle, knocking him out.          Rose looks on in admiration as the huntsman goes through Broch's          pockets.                         (CONTINUED)                                                                                                                14                         25 CONTINUED: (2) 25                         ROSE          Thank you.          Eric turns. Rose sees how handsome he is. Eric stares at her          thoughtfully then approaches and gently lifts her chin,          examining her pretty features. Rose doesn't seem to mind,          looking back with an inviting smile.                         ROSE          I don't know how to repay you?          Eric stares at her a moment, then suddenly picks her up and          tosses her over his shoulders.                         ERIC          Don't worry, somebody else will.                         26 OMITTED 26          27 EXT. VILLAGE - DAY. 27          And now we see a RICKETY PRISON WAGON full of BEAUTIFUL GIRLS,          just like Rose, staring out furiously from behind bars. Eric and          a SLAVE MERCHANT haggle over Rose who is bound and gagged,          looking just as furious as the other women.                         SLAVE MERCHANT          Her nose is on the large size and her          chin's a little weak.                         ERIC          Your eyes are dim.                         SLAVE MERCHANT          I'll give you two gold pieces.                         ERIC          After all the business we've done          together?          Rose curses behind her gag as Eric pulls her away.                         SLAVE MERCHANT          Four gold pieces and that's my final offer!          Eric doesn't even bother to turn around.                         ERIC          I'll peddle my wares elsewhere, thank          you.          The slave merchant sees his prize disappearing and calls out:                         SLAVE MERCHANT          Ten gold pieces!          Eric hesitates, but it's not from a guilty conscience, he's just          considering the price. Then he smiles, turns. They have a deal.                                                                                                               14A          28 INT. PRISON TOWER/ SNOW WHITE'S CELL - DAY. 28          We get our first good look at grown Snow White as she shaves          wood for a fire. She's done this every day for years. A          regimen. Her hands work precisely as she stacks the wood and          blows on the kindling.                         29 OMITTED 29                                                                                                               15          29a OMITTED 29a          30 INT. PRISON TOWER/ SNOW WHITE'S CELL - DAY. 30          The fire is now burning and Snow White warms her hands on it.          She hears APPROACHING FOOTSTEPS. Unusual. She jumps up gets          in her bed and pretends to sleep.          A GUARD opens a cell opposite Snow White. A few seconds          later the door CLANGS SHUT.          As soon as the Guard is gone, Snow White rises, walks to her          cell door and looks down the hall to the other cell.                         SNOW WHITE          Hello?... What's your name?          Rose, sitting in a dark corner, goes to her cell bars and          looks out.                         ROSE          I am Rose.          Snow White smiles - a friendly face.          31 INT. QUEEN'S BATHING ROOM - DAY. 31          Ravenna stands, attended by MAIDS, in a black gown, open in          front. Appropriate in private but not when --          Ravenna's GENERALS and Finn stand across from her. The          Generals avert their eyes, made uncomfortable by her near          nakedness.          The General uses a pointer to make his presentation while          another holds a map.          BLACK KNIGHT GENERAL          There are scattered rebel groups on the          fringe of the dark forest, but they cause          little harm.                         (CONTINUED)                                                                                                                16                         31 CONTINUED: 31          She dips her fingers into a bowl of DEAD SONGBIRDS, plucks          out a tiny heart and eats it as she listens, not happy.                         RAVENNA          And what of the Duke?          BLACK KNIGHT GENERAL          We have pushed his forces into the          mountains but his stronghold at Carmath           holds firm.                         RAVENNA          Lay siege to it.                         ANOTHER GENERAL          The mountains and fortress provide          impenetrable protection, my Queen.                         RAVENNA          Then lure him out! Burn every village          that supports him. Poison their wells.          If they still resist put their heads on          pikes to decorate the roads!          BLACK KNIGHT GENERAL          My Queen.          (chooses words carefully)          They have taken the fight to us. Rebels          harry our supply lines and rob our pay          wagons.                          ANOTHER GENERAL          We have just captured two of the rebel          leaders. They will be put to the sword.                         RAVENNA          I wish to interrogate them myself.          She drops her robe and walks up the steps to her bath. She          lowers herself into the white liquid. Her face disappears          beneath the viscous liquid, then she rises, like a porcelain          statue.                                                                                                                17          31a INT. BATHING CHAMBER - MOMENTS LATER 31a           ECU - A small songbird, it's chest open, revealing a small           heart. Ravenna's claw plucks the tiny heart and we follow it           to her mouth.           She is dressed now and stands at a window, Finn at her side.            OUTSIDE THE WINDOW - A CROWD OF STARVING PEASANTS at the foot            of the castle, fight over the milk pouring from her bath.                          RAVENNA                         (TO HERSELF)          I won't go back.          She is lost for a moment, then...                         RAVENNA          Finn, do you remember when we were          children, begging for scraps like those          wretches?                         FINN          Yes, my Queen.                         RAVENNA          Am I not kinder?                                    32 INT. PRISON TOWER/ SNOW WHITE'S CELL - DAY. 32          Rose and Snow White converse...                         ROSE          All the girls in our village were taken.          I was trying to reach safe haven at Duke          Hammond's castle when I was caught --          Snow White bursts with hope --                         SNOW WHITE          The Duke?! He's alive?! He still fights          in my father's name?!          Rose stares at the feral girl now, realizing who she is.                         ROSE          You're the king's daughter? Princess?...          The night the evil one's reign began we          were told all in the castle were put to          the sword. How were you spared?                         SNOW WHITE          William? What about William?!          The Duke's son?! Is he alive?!                         (CONTINUED)                                                                                                                17A                         32 CONTINUED: 32                         ROSE          I don't know, princess.          Rose shakes her head, still gazing at Snow White, then hears          the distant cries of other female prisoners.                         ROSE          What will they do to me?                                                                                                               18          33 INT. THRONE ROOM - DAY 33          Ravenna sweeps into the great hall.          The Generals and Finn snap to attention. She stops and stares          at TWO MEN, the captured insurgents.          THOMAS, a grizzled old rebel, looks badly bruised and beaten,          while his handsome son, LAIN, is unmarked. They both stare at          her defiantly.          Ravenna faces the two rebels. A SOLDIER steps forward.                         SOLDIER          My Queen, these two were captured leading          an ambush of our supply caravan.          Ravenna seems intrigued, steps forward, eyeing them.                         RAVENNA          You left your home, your family, the bosom          of my protection, to aid my enemies? Why?                         THOMAS          Because under your rule we have lost          everything. We will not stop until this          kingdom is free.                         RAVENNA          Lost everything?                         (REGARDS IAIN)          Your son?          She moves to Iain, right up to his face.                         RAVENNA          Very handsome.                         (TO THOMAS)          Obviously a debt owed to your wife.          She reaches out and touches Iain's strong jaw. He struggles          against the Guards that hold him back.                         RAVENNA          There was a time I would have lost my heart          to a face like yours -- and you would have          no doubt broken mine.          In a flash Iain grabs a Guard's dagger and rams it into          Ravenna's chest. She makes a pained face, looks down at the          dagger, then up to Iain.                         RAVENNA          You would kill your Queen?          She pulls the dagger out - there is no"wound, no blood - and          drops it on the ground. Iain and Thomas are shocked.                         (CONTINUED)                                                                                                                19                         33 CONTINUED: 33                         RAVENNA          (admiring; to Iain)          You have beauty. And courage. But how          strong is your heart?          She smiles, almost regrettably, then places her hand on his          chest. We hear HIS HEART START TO HAMMER -- LOUDER AND LOUDER.          He grimaces in pain as she SQUEEZES -- the hammering filling his          ears -- until his heart finally bursts and he drops dead.          Thomas falls to his knees in horror, trying to revive his son.          Finn draws his sword to behead him when Ravenna raises her hand.                         RAVENNA          No. Let him return to the Duke and speak of          the generosity of his Queen.          With that she sweeps out, followed by Finn. It's only now that          we see the lines on her face. Finn takes her by the arm as she          falters.                         FINN          Are you alright?          Ravenna pulls her arm away furiously. The General and the          others stare, alarmed.                         RAVENNA                         (TO ALL)          OUT!!!!!          They quickly exit, all save Finn, who watches, concerned, as          Ravenna leans against the wall for support. She pulls          herself together, looks at Finn.                         FINN          Magic comes at a lofty price.                         RAVENNA          And the expense grows.                         FINN          You look...                         RAVENNA          old?...                         FINN          Tired.                         RAVENNA          My powers... fade.          This is about as much as Ravenna can confess. Finn watches          as she walks up the stairs to the mirror chamber. Then he          turns and CLAPS HIS HANDS TWICE. A GUARD appears and Finn          nods.                                                                                                                20          33a INT. MIRROR CHAMBER - ROYAL PALACE 33a          Ravenna walks into the room. Eyes the mirror, afraid to look          at herself.          FINN (O.S.)          I have something for what ails you.          She turns to see --          Finn, with Rose. Ravenna almost smiles.          Rose holds her gaze defiantly. Ravenna walks over, admires          her face, smiles, then takes her by the throat and --          LIFTS HER OFF HER FEET. Rose opens her mouth to scream but          instead of sound, ENERGY pours out. Ravenna opens her mouth,          DEVOURING GRETA'S YOUTH AND BEAUTY. Like a flower blooming,          her lines vanish. Like a flower wilting, Rose AGES until          she's as old as the scullery maids.          34 INT. PRISON TOWER/ SNOW WHITE'S CELL 34          Snow White hears approaching footsteps and watches as a Guard          opens Greta's cell and tosses someone in.                         SNOW WHITE          Rose?...          The Guard clangs the cell door shut and walks away.          Snow White peers through the shadows. Can't quite make her          out.                         SNOW WHITE          Rose?...                         DISSOLVE TO:          35 INT. MIRROR CHAMBER - DAY. 35          RAVENNA stares into her mirror now, rejuvenated.                         RAVENNA          Mirror, mirror, on the wall,          Who is the fairest of them all?          The bronze ripples. The Mirror Man pours out and reforms.                         MIRROR MAN          My Queen, you have defied nature and          robbed it of its fairest fruit. But on          this day there is one more beautiful than          you.                         RAVENNA          More beautiful, but --                         (CONTINUED)                                                                                                                20A                         35 CONTINUED: 35                         MIRROR MAN          She is the reason your powers wane.                         RAVENNA          She won't live to see tomorrow. Who is          it?! Give me her name?!                         (CONTINUED)                                                                                                                21                         35 CONTINUED: (2) 35                         MIRROR MAN          Snow White.          Ravenna is shocked by this, staggers a bit.                         RAVENNA          Snow White?                         (CALLS OUT)          Finn'.'.          (back to mirror)          I should have killed her as a child. She          is my undoing?                         MIRROR MAN          She is also your treasure, Queen. It was          wise to have kept her close for the          innocence and purity that can destroy can          also heal. Hold her heart in your hands          and you shall never again need to consume          youth. You shall never again weaken or          age. Immortality without cost!          Ravenna laughs, overjoyed.          Finn appears out of the shadows. All he sees is his sister          laughing, giddily into her mirror, no sign of the mirror man,          as if it exists only in her head.                         FINN          Yes, Queen?...          36-37OMITTED 36-37          38 INT. PRISON TOWER/ SNOW WHITE'S CELL - DAY. 38          Snow White paces in her cell, frantic.          Two magpies appear in the window. She looks at them and          watches as they flap their wings. Like they're trying to          tell her something. She moves toward them.          They jump back and up to the edge of the roof that is beside          the cell window, hovering there.          She is confused but notices --          A roofing nail, right where the Magpies hover.          Snow White reaches a hand out the window and touches the          loose nail. Her fingers move it back and forth as it, bit by          bit, breaks free.          She yanks hard.at the nail, almost has it when --          The Magpies flutter again and blast away, as if afraid --                         (CONTINUED)                                                                                                                22                         38 CONTINUED: 38          Snow White hears FOOTSTEPS down the hall.          She steadies herself, yanks once, twice and the nail comes          loose.          she jumps down, lies in her bed again just as --          Finn unlocks her door, leaving the key in the lock, and walks          into the cell. He stands there until she turns her head          slightly to him.          She doesn't move, grips the nail in her closed hand as she          tries to lure him closer with her eyes.                         FINN          Did I wake you?          Snow White shakes her head gently.                         FINN          Are you always awake when I watch you?                         SNOW WHITE                         (HOARSELY)          Yes.          She looks away.                         SNOW WHITE          You've never come in before.                         FINN          My Queen won't allow it. She wants you          all to herself.                         SNOW WHITE          I'm afraid of her.                         FINN          Not of me.                         SNOW WHITE          No.          He can't help himself, reaches out and touches her arm.                         FINN          It's alright, princess. You will never          again be locked in a cell.                         SNOW WHITE          What does she want from me?          His finger move from her hair to her cheek, stroking it          gently, and then to her chest. With his free hand he reaches          back for his dagger.                         (CONTINUED)                                                                                                                22A                         38 CONTINUED: (2) 38                         FINN          Your beating heart.          Snow White grips the roofing nail even tighter as she looks          at him. As he leans closer, she notices his off hand - the          dagger and --          She SLASHES him across the face with the nail. Blood flies.          Finn reacts, grabs his face in pain, yells and Snow White          kicks him and runs for the door, locking it behind --                                                                                                               23          39 INT. GRETA'S CELL/ TOWER STEPS - DAY. 39          Snow White hurtles down the steps to Greta's cell. She is          shocked by what she sees. Rose, now an old woman, looks to her.          Snow White fumbles with the keys. Rose holds out both her          hands. Snow White takes them, looks into her eyes.                         ROSE          Go.          Finn stumbles to the cell door, clutching his face.                         FINN          GUARDS!          Snow White tosses the keys into an empty cell and races away.          40 INT. CORRIDOR/ CASTLE - DAY. 40          Snow White runs down the steps into a corridor and sees ARMED          GUARDS appear at the other end. She hurries into another tower,          bolting the door shut behind her, and charges down the steps.          41 EXT. COURTYARD/ CASTLE - DAY. 41          SNOW WHITE BURSTS OUTSIDE -- into the light. She almost          hyperventilates at all the air, the sky. Then she runs through          the courtyard toward the portcullis.          The magpies fly right into her face then away, telling her to          follow. She does and heads straight for the small opening at          the base of the castle wall - the entrance to the SEWERS.          As the magpies rise, she slides on one hip, plunging into the          darkness below. The guards follow but can't squeeze through          the opening, running towards the Portcullis instead.          42 INT. SEWER - DAY. 42           Snow White splashes through the deep stinking sludge.          43 EXT. PORTCULLIS - DAY. 43           The old rebel, Thomas, with his son's body draped over a mule,          looks back curiously as he hears the guards yelling --          CHIEF GUARD 0/S          Open the gates! The Princess has escaped!          He stares in surprise as riders gallop out.          44 EXT. SEA - OUTSIDE CASTLE - DAY. 44          Snow White is swept out of the sewers into the sea. Seaweed          wraps itself around her limbs, pulling her deeper.into the          depths, but she kicks and fights her way back to the surface --          gasping for air.                                                                                                               24          45 EXT. BEACH -- OUTSIDE CASTLE - DAY. 45          Snow White swims ashore. She looks up and sees a maze of large          rocks stretching out. She sets off in one direction when the two          MAGPIES reappear, urging her to follow them in another          direction. She scrambles after them and sees a WHITE MARE          waiting for her on the beach, lying on its side, allowing her to          climb on. The mare raises itself and is away in a flash.          46 EXT. BEACH - DAY. 46          Galloping hooves skim the surf, RIDERS pursuing Snow White.          47 EXT. DECIMATED VILLAGE - DAY. 47          Snow White rides towards the village -- only it's unrecognizable          now -- most of the cottages have been razed to the ground or          boarded up.          A group of people including children - skeletal, hungry,          desperate - see her approach and move out to greet her.          She stops her horse for a moment, gazing past tears at the          devastation and the state of villagers all around her.          At first their approach seems harmless but as they get closer          their faces reveal dangerous desperation and --          She gallops off, looking back to see the Queen's men giving          chase.          48 EXT. FIELDS AND WOODLAND BEYOND THE VILLAGE - DAY. 48          The fields and woods are even more devastated than the village.          Farmland has been burnt to cinders and trees chopped down. All          around Snow White the world is stubble and ash.          49 EXT. ENDLESS MOOR - AERIAL SHOT - DAY. 49          Snow White crests a hill, her mare rearing as she sees -- THE          DARK FOREST -- A VAST WALL OF PRIMORDIAL TREES. A mist seeps          from the forest like an evil miasma. Snow white hesitates --          then sees the riders closing in and urges her mare on --          50 EXT. MISTY BOGS/ ENTRANCE TO THE DARK FOREST - DAY. 50          Shadows everywhere. The mare charges into the misty bog then          suddenly loses her footing. She rears -- throwing Snow White          onto the safety of solid ground.          Snow White tries to grab her reins but the horse pulls away, not          wanting to endanger her life. She tries again but the horse          backs farther away from her. Slowly they're separated by the          swirling fog --          As Snow White sees the silhouettes of the riders reappear.          Reluctantly she turns and runs into the forest --                         (CONTINUED)                                                                                                                25                         50 CONTINUED: 50          The riders are about to follow when their horses rear and kick          in terror. One guard is thrown off and sucked down in the bog,          frightening off the others.          Despite their concern for Snow White, the MAGPIES are also too          afraid to enter the forest.          51 EXT. DARK FOREST - DAY. 51          Snow White hurtles through the trees, a ghostly fog rising up          all around her, then trips over a root, landing face first in --          A patch of LARGE MUSHROOMS that unleash CLOUDS OF POLLEN. She          coughs, trying to fan the pollen away, but it's too late. She          hurries on, but the hallucinations come thick and fast now --          The trees look almost human, hooded figures peering at her          through the haze. She sees owls without eyes. Black oil oozing          out of tree trunks. A hanging vine reaches down and touches her          like a hand and now she runs --          More terrors rage at her from the swirling mist. She stumbles          again and when she looks up vampire bats scream at her from the          trees. Huge skeletal forms crack out of the bark, descending on          her until she finally passes out.          52 EXT. AERIAL VIEW OF DARK FOREST -- DAY.(D4N) 52          From high above, we see the unconscious Snow White as mist          whirls in a circle.          52a EXT. CASTLE BEACH - NIGHT.(D4N) 52a          Vicious waves crash into rocks. Nature's anger on display.          53 INT. MIRROR CHAMBER - NIGHT. 53          From above we see Ravenna striding furiously in a circle of          her own. She is livid, a whirling dervish.          She's fairly spitting as she barks at Finn, who stands in the          middle of the room, his face bleeding.                         RAVENNA          How is it an innocent young girl makes a          fool of my brother?! Armed only with a          nail?! If she'd had a sword she'd have          taken the whole castle!          We're in front of her, behind her, on her face, on her feet --          She picks up the pace as well as the volume --                         RAVENNA          You swore to protect me! Do you not          understand what, the girl means to us?!          This is my future! This is everything.          Everything!          (MORE)„                         (CONTINUED)                                                                                                                25A                         53 CONTINUED: 53                          RAVENNA (CONT'D)          There is no one I can trust in this          place!! There is no loyalty! None!!!!                         (CONTINUED)                                                                                                                26                         53 CONTINUED: (2) 53          And then she stops on a dime, turns to him, marches right up to          Finn and --          BELTS HIM! Hard. He staggers a bit then picks himself up,          looks at her.                         FINN          She was chased into the dark forest.          She's likely already dead.          She SCREAMS and slaps him viciously.                         RAVENNA          She's no good to me there, lost. I must          have her heart! You have failed me!          Finn's had enough, he erupts at her --                         FINN          Have I not given all to you?!          She takes this, softens, unexpectedly, and almost smiles.                         RAVENNA          Have I not given you all? All.          She raises her finger and touches his face. His wound heals          instantly and his face grows calm. He nods.                         FINN          Indeed, my Queen.                         RAVENNA          Don't fail me again, Finn.                         (BEAT)          I have no powers in the Dark Forest. Bring          me someone who knows it well. Someone who          can hunt her!                         CUT TO:          53a OMITTED 53a          54 EXT. VILLAGE - DAY. 54          Finn speaks to a group of people assembled by his men.                         FINN          The Queen demands the services of someone          to navigate the Dark Forest.          The villagers stay mum, shaking their heads.                         (CONTINUED)                                                                                                                26A                         54 CONTINUED: 54                         OLD LADY          No-one goes into the Dark Forest.                         FINN          You will be compensated.          Still no takers. An OLD-TIMER stares right at FINN, steps          forwards.                         OLD-TIMER          There's one man. A widower.                         FINN          Where might I find him.                         OLD-TIMER          In the Inn. Drinking.          THE SOUND OF SMASHING WOOD. They turn to see --          Eric flies through the Inn's wall and lands in a heap on the          ground.                         OLD-TIMER          Appears he's finished.          55 EXT. INN - SAME - DAY. 55          Eric. Drunk. He tries to focus as Broch strides through the          same hole and stands over him.                         (CONTINUED)                                                                                                                27                         55 CONTINUED: 55                         BROCH          You owe me money from my pocket and money          for the girl!                         ERIC          I have it right here in my pocket. If          you'll just help me up.          Eric holds his hand out. Broch walks over, suspicious. When          he's close, Eric grabs his arm and kicks with both feet in          Broch's chest. Broch flies back, then strides to Eric and          kicks him in the side. Hurts.                         BROCH          I want my money!                         ERIC          Actually, I seem to have drunk it all.          You're welcome to it when it comes out          again.          Broch hauls him back up to his feet. He takes a swing but          somehow the drunken Eric dodges the blow, swinging back at          him.          Everyone has come out of the Inn to enjoy the fight.          Eric lands a body blow to Broch, who doubles over. Eric          comes in for the kill, winds up and swings -          Missing Broch but hitting a HORSE on the ass. It kicks its          legs, sending him flying. He lands in a heap and drops his          head back.          Hands lift him and --          Drop him in a horse trough. He's underwater for a few          seconds before he comes to and lifts out his head, eyes still          closed.                         ERIC                         (MUMBLING DRUNKENLY)          Perfume?          He opens his eyes to see Finn gazing down at him.                         ERIC          Royalty. That explains it.                         FINN          The Queen demands your presence.                         ERIC          Can't you see I'm having a bath?                         56 OMITTED 56                         57 MOVED TO 55 57                                                                                                                27A          58 INT. THRONE ROOM - CASTLE - DAY. 58          RAVENS perch on the ledges and LURCHERS scamper about.          Eric, still drunk, filthy, damp clothes, face bruised, enters          the room, eyes the ravens, then looks at --          Ravenna on her throne. She watches him curiously. He's more          interested in the aged scullery maids, including Rose, who are          staring at him accusingly. He has no idea who they are or what          he's done wrong. Finally he comes before the Queen, sizing her          up like a tavern beauty.                         (CONTINUED)                                                                                                                28                         58 CONTINUED: 58                         RAVENNA          My brother tells me you are a widower, a          drunkard and one of few who has ventured          into the dark forest.          Finn looks on, standing nearby.                         RAVENNA          One of my prisoners has escaped there.                         ERIC          Then he's dead -                         RAVENNA          She.          She shoots Finn a pointed look then looks back at Eric.                         ERIC          Then she is certainly dead.                         RAVENNA          Find her. Bring her to me.          Eric holds her gaze, uneasy at the request.                         ERIC          I've been to the Dark Forest enough times          to know I'm not going back.                         RAVENNA          You will be rewarded handsomely.                         ERIC          Coin's no good to me if I'm lying dead          with crows picking at my eyes.          Ravenna steps off her throne now, approaching him.                         RAVENNA          There may be more than gold in the          offing.                         ERIC          Why is her life of such value?                         RAVENNA          That is none of your concern.                         ERIC          I'll determine what concerns me, thank          you.          She smiles, moves even closer to him.                         RAVENNA          You will do this for me, Huntsman.                         (CONTINUED)                                                                                                                28A                         58 CONTINUED: (2) 58                         ERIC          And if I refuse?          Ravenna nods to the Guards, who pull their swords. Dying to          cut him to pieces. Eric eyes them, then looks to her and, in          complete honesty --                         (CONTINUED)                                                                                                                29                         58 CONTINUED: (3) 58                         ERIC          Do me the favor. I beg of you.                         RAVENNA          So you wish to be reunited with your          beloved?          Eric reacts instinctively, grabbing her by the throat. The          courtiers rise to their feet and the guards draw their          swords, but Ravenna holds up her hand.                         ERIC          My wife is none of your concern.          Something about her face, the fact that she enjoys his hand          on her throat makes Eric queasy. He releases his grip,          stares right at Ravenna.                         RAVENNA          My condolences.          Ravenna holds his gaze.                         RAVENNA          You miss her?          His eyes say, yes, he misses her horribly.                         RAVENNA          What would you give to bring her back?          Eric stares at her curiously.                         RAVENNA          You know of my powers. Bring me the girl          and I will bring back your wife.                         ERIC          Nothing will bring her back.          Ravenna moves even closer, looks him right in the eye. She          is incredibly persuasive as she says --                         RAVENNA          I can. Believe me, huntsman.          Eric's eyes say he wants to believe. Needs to believe.                         RAVENNA          A life for a life.          59 EXT. MOORS/ OUTSIDE DARK FOREST - DAY. 59          Mist drifts across the moors, the primordial trees looming up          ahead. Finn and Eric ride side by side, FOUR GUARDS following.                         (CONTINUED)                                                                                                                30                         59 CONTINUED: 59                         FINN          You fought in the west? Against the armies          of the five kings?          Eric nods without looking at him, gazing at the forest.                         FINN          You must have seen a great deal of death?                         ERIC          Death is everywhere.                         FINN          Come now, you're being modest. There is a          difference between gutting a deer and          gutting a man. How many did you kill?                         ERIC          It's not something I counted.                         FINN          (with a smile)          Nor I. But I recall every face. There is          no greater delight than battle.          Eric finds this unseemly, but prefers not to engage.                         FINN          Come now, huntsman, what do you feel when          you watch a man die? Delight?          Invincibility?                         ERIC                         (HONESTLY)          Sorrow.          This takes Finn aback, not an answer he was expecting. After          a beat...                         FINN          And what of them? At the tip of your          sword. What do they feel? I'd enjoy          knowing.          Eric looks at him, realizing from Finn's face that it is an          honest question. -                         FINN          The.only difference between you and I is          I'-never found a wife to save my soul.                         ERIC          Too bad. You'll need one.          He stops his horse and nods.                         (CONTINUED)                                                                                                                31                         59 CONTINUED: (2) 59          They are all stopped at the entrance to the Dark Forest fifty          meters ahead. The Guards gulp back their fears. Finn tries          to hide his own.          Even the horses sense danger and start to whinny and back up.          60 EXT. DARK FOREST - DAY. 60          Vines and roots have grown over Snow White's body, as if the          forest is trying to devour her. She opens her eyes, sees her          wrists and ankles bound and reacts in horror, struggling to free          herself of her bonds.          WE PULL UP, UP, UP until we can see the full scope of the          Dark Forest.          61 EXT. BOGS/ DARK FOREST - DAY. 61          Eric and Finn have tethered their nervous horses and stand at          the entrance to the bog.                         ERIC          Do exactly as I do.          Eric carefully places one foot after the next on grassy stepping          stones that disappear into the bog as soon as his full weight is          on them. The others catch on and follow, stepping on stones of          their own.          Once they're across the bog and onto dry land Finn takes a          step forward but Eric grabs his arm.                         ERIC          Exactly as I do.          Eric puts a cloth to his face, gesturing for Finn and his guards          to do the same and moves forward through the mushroom field -          pops of pollen misting all around them.          Eric stops, bends down, spotting faint FOOTPRINTS in the dew. He          walks faster now, Finn watching in admiration.          62-63OMITTED 62-63          64 EXT.TREES/ DARK FOREST - DAY. 64           Snow White finally shakes free of the vines, jumps up and senses           she's being followed. She looks up at the trees but all she sees           are vague shadows. The wind picks up, ghostly voices howling in          the breeze. She's rooted to the spot for a moment, then loses          her nerve and runs --          64aEXT. DARK FOREST - DAY. 64a          Eric, Finn and the Guards move through a dark copse of trees.          VOICES AND WHISPERS-call to them from the wind. Eric stops,          looks around.                         (CONTINUED)                                                                                                                32          64a CONTINUED: 64a                         ERIC          Pay them no mind.          One of the Guards leans over a pool of water to drink when he          sees a GHOSTLY REFLECTION gazing back at him. He stares in          surprise, leaning closer. Suddenly a BARBED TAIL shoots out          of the water -- skewering him -- and drags him into the          depths.          The others turn as they hear a scream but there's no sign of          their companion now, just the bubbling water.          Only Finn looks unconcerned.          Eric stops senses something, holds up a hand.          Then darts ahead, leaving them flat-footed. Finn makes a          decision to follow and waves for his Guards to go ahead of          him.          They reluctantly follow Eric.          65 EXT. DARK FOREST - MOMENTS LATER - DAY. 65          Eric moves quickly then stops, listens - we see his hunting          skills - as he hears the noise of cracking branches in the          distance, he blasts away, moving like lightning.          66 EXT. TREES/ DARK FOREST - DAY. 66          Snow White feels like the whole forest is pursuing her. Running          out of breath, she hides in some bushes. As she stares into the          mist, she sees a sinister figure appear through the haze.          Eric stops and looks around, sensing his prey is close. Snow          White stays low, trying to quieten her breathing.          Eric studies the forest floor. He sees Snow White's footprints,          then looks up at an area of disturbed undergrowth.          Snow White peers through the bushes and sees the huntsman's          boots approaching. She looks around for something to defend          herself with when the sound of the footsteps fades. She can't          see anyone now. She looks relieved when SUDDENLY STRONG HANDS          GRAB HER BY THE FEET AND DRAG HER OUT OF THE BUSHES.          She fights to get away but he pins her with a foot, reaches          down and turns her over.          His first look at her gives him pause. Her face, her spirit,          her youth. She slaps at him - he pulls out his knife with          one hand while he pins her with the other.          Then grabs, lifts her.                         SNOW WHITE          Let me go!                         (CONTINUED)                                                                                                                32A                         66 CONTINUED: 66          She bites him. He grimaces and grabs her tighter and starts          trudging back.                         SNOW WHITE          She's going to kill me! The Oueen!          He ignores, keeps moving.                         ERIC          Sure she is.                         SNOW WHITE          Believe me! Her brother tried to cut out          my heart.          He stops, looks at her.                         SNOW WHITE          I swear it.          He somehow believes her. New game. Then...                         (CONTINUED)                                                                                                                33                         66 CONTINUED: (2) 66          FINN (O.S.)          Quick work!          Eric looks up to see Finn and his men approaching. Snow White          gasps at the sight of Finn.                         SNOW WHITE          Him! He's the one! He came at me with a          knife!          Eric holds her tight, one arm around her neck.                         FINN          Well done, huntsman. Hand her over.                         SNOW WHITE          You can't trust him!                         ERIC          What do you intend to do with her?                         FINN          Why do you care?          Finn nods and the Guards approach. Eric grips her tighter.                         ERIC                         (TO FINN)          You want her. Give me what I was          promised.                         FINN          Come now huntsman, you did your job well.          Keep your word and hand her over.                         (CONTINUED)                                                                                                                34                         66 CONTINUED: (3) 66                         SNOW WHITE          He'll betray you -                         ERIC          Shut up! -                         SNOW WHITE          He'll kill us both -                         ERIC          I said, shut up!          He puts his knife to her throat to quiet her.                         ERIC                         (TO FINN)          I'll keep my word when the Queen keeps          hers.          Finn shakes his head and laughs.                         FINN          You are a drunk and a fool. My Queen has          many powers; she can take life or sustain          it. But she can't bring your wife back          from the dead.                         ERIC          I WANT HER BACK!          His face tells us how much Eric wanted, needed to believe.          The Guards keep inching toward Eric.          Eric, still with a knife to Snow White's throat, starts          slowly backing up.          Finn pulls his own sword and approaches.          Four against one. As they burst toward him he tosses Snow          White to the ground and in the same motion throws his knife          into the chest of one of the Guards, who crumbles.          Eric reaches behind, grabs both hatchets and faces off with          the others.          They all rush at once. Eric fights off the guards as he          raises a hatchet, throws it --          Right into Finn's chest. Just like Ravenna, no blood, no          wound. Finn pulls it out, laughs and throws it at the          huntsman who ducks as it sticks into a tree.          Snow White, terrified, races off into the forest. They          notice her exit but keep fighting.          Eric fights on three sides now - holding his own until Finn          manages to plunge a sword in his side.                         (CONTINUED)                                                                                                                35                         66 CONTINUED: (4) 66          Eric grunts and falls back. Finn races forward to finish him          off but Eric lunges and --          Flips Finn onto his back and into a grove of mushrooms.          Eric covers his nose with his arm and looks at the other          Guards, who look from Finn, who is dazed, to Eric, who is          hurt.          Finn struggles to his knees, shakes his head, hallucinating a          bit.                         FINN          Butcher him! Find her!          The Guards, also trying to cover their noses, move forward.          Eric has a decision to make.          Bad odds. And he's injured. Eric decides in an instant,          grabs his knife out of the dead Guard, as well as his hatchet          from the tree and runs after Snow White --          67 EXT. DARK FOREST - DAY. 67          Snow White crashes through the woods.          Then a HAND grabs her shoulder--          Eric. He slaps a palm over her mouth before she can scream          and slides down a steep slope into undergrowth.          67a EXT. DARK FOREST - FINN - SAME 67a          Finn is on his feet but still hallucinating - stumbling          about. The Guards are spooked as they look all around.                         FINN          This is not finished!          The words echo through the dark forest.          67b EXT. DARK FOREST - ERIC AND SNOW WHITE - SAME 67b          Eric removes his hand from Snow White's mouth.          At once she PUNCHES HIM WITH ALL SHE'S GOT.          He steps back, licks his bloody lip. She takes another swing.          This one he manages to grab.                         SNOW WHITE          Get your hands off me.          She draws his dagger. He backs off. Eyeball to eyeball:                         (CONTINUED)                                                                                                                36          67b CONTINUED: 67b                         SNOW WHITE          Get away.                         ERIC          Who are you? What the hell's going on?                         SNOW WHITE          Get away from me.                         ERIC          Why does the Queen want you dead?                         SNOW WHITE          She wants us all dead. All of us-                         ERIC          Then what makes you so damn valuable?                         SNOW WHITE          You should know. You're the one hunting          me.          He backs away. Paces.                         (CONTINUED)                                                                                                                36A          67b CONTINUED: (2) 67b                         ERIC                         (TO HIMSELF)          Never get involved in the Queen's          business and what do I do? Get involved          in the Queen's business...          Without warning, he walks off.          Leaving her alone. She follows him.                         SNOW WHITE          Where are you going?                         ERIC          Away from you, love. You're trouble.                         SNOW WHITE          I need to get to the Duke's Castle.          There's an army there. I'll be safe.                         ERIC          The Duke? I've seen sheep with more fight          in them.          Desperate, she takes a chance.                         SNOW WHITE          Take me, you'll be rewarded.          I'm valuable. Isn't that why you're here?                         SHE APPEALS:                         SNOW WHITE          You're dead if you return without me. And          I'm dead if you leave me.          He turns, exasperated with her.                         ERIC          (Then -- wearily:)          Just for argument's sake.          (Shakes his head)          How much?                         SNOW WHITE          How much is enough?          Eric "reluctantly" prices up the job.                         ERIC          Well,it's a long way, through the          forest, and that... that's a dangerous          road, I couldn't even consider it for          less than thirty gold pieces...                         SNOW WHITE          A hundred. Deliver me safe to the Duke. I          give you my word.                         (CONTINUED)                                                                                                                36B          67b CONTINUED: (3) 67b          Deep quandary. Still suspicious..                         ERIC          Who are you?          She looks at him levelly.                         SNOW WHITE          Maybe that's a question you should have          asked the queen.          Stand-off.                         SNOW WHITE          Do we have a deal?                         ERIC          I don't trust you Billy Goat.                         SNOW WHITE          I've given you my word.          He spits on his hand. She puts out her hand.          He shakes it.                         ERIC          I still don't trust you.                         SNOW WHITE          I don't trust you either.          She wipes it on her skirt. Behind them, a commotion.          They run off.                         (CONTINUED)                                                                                                                37                         67BCONTINUED: (4) 67B          67c OMITTED 67c                         68 OMITTED 68          68a EXT. DARK FOREST - DAY. 68a          Tree roots gleam with an eerie phosphorescent light. The mist          closes in. Snow White looks around the forest, unnerved by          the haunting silence and the deep shadows. Reluctantly she          focuses on Eric, trying to take her mind off the terrors          around her.          He sits on a log for a breath.                         ERIC          We'll stay the night here.                         SNOW WHITE          You haven't answered me.                         ERIC          I don't recall a question.                         SNOW WHITE          Where are we going?          He takes a stick, draws in the dirt.                         ERIC          Queen. Mountains. Dark Forest. Here.          Past. There's a village.          She takes the stick, points to a different spot in the dirt.                         SNOW WHITE          I'm going to the Duke's Castle.          He grabs the stick back.                         ERIC          You'll go where I take you.                         SNOW WHITE          You'll take me to the Duke's castle or          I'll go alone.                         (MORE)                         (CONTINUED)                                                                                                               37A          68a CONTINUED: 68a           SNOW WHITE (cont'd)          (beat; looks around)          As soon as you get me out of the forest.                         ERIC          You're rather demanding, and not all that          endearing, you know?                         (CONTINUED)                                                                                                                38          68a CONTINUED: (2) 68a                         SNOW WHITE          There's a reward that awaits you. There          are noblemen there, an army.                         ERIC                         (LAUGHS)          An army? The Duke fights? He hides behind          walls. I know sheep that have more fight          in them.          (after a beat)          How much?          (off her look)          Reward? Just for argument's sake?                         SNOW WHITE          How much do you want?          Eric considers this, not sure how or if to negotiate.                         SNOW WHITE          Two hundred gold pieces. Do we have a          deal?          More, a lot more, than he was expecting.                         ERIC          I'll deliver you to safety m' lady.                         SNOW WHITE          Swear it.                         ERIC          I swear (beat). Constantly. It's one of          my better qualities.          She's not sure what to make of this, but...                         SNOW WHITE          Fine.          He moves to a spot to lie down and gathers leaves.          Snow White seeks her own spot and comes upon -- the RIB CAGE          OF A DEAD DEER, a host of BEAUTIFUL BUTTERFLIES feeding on          its bones. She is shocked. Eric notices...                         ERIC          I've seen far stranger things in here.          She sits, looks to Eric. Something's been bothering her.                         SNOW WHITE          Do you think... will they follow us?                         ERIC          They'd be foolish to. Few survive.          Good news/bad news. She looks around.                         (CONTINUED)                                                                                                                39          68a CONTINUED: (3) 68a                         SNOW WHITE          How far have you travelled into the Dark          Forest?                         ERIC          We passed it a few miles back.          He opens his flask and takes a healthy pull.          69 EXT. DUKE HAMMOND'S STRONGHOLD - AERIAL SHOT - DAY. 69          We're moving over high mountains and valleys now, approaching          Duke Hammond's castle.          70 INT. WAR ROOM/ DUKE HAMMOND'S CASTLE - DAY. 70          Grim faced COMMANDERS look on as DUKE HAMMOND comforts a          sobbing man in the firelight. We recognise the old rebel,          THOMAS, whose son was killed by Ravenna.                         THOMAS          She killed brave Lain with only her palm          and pulled a dagger from her chest          without blood. She cannot be killed.          Duke Hammond has heard enough, turns to leave.                         THOMAS          There is more.                         (DUKE STOPS)          The princess has escaped the castle!                         DUKE HAMMOND                         (EXCITED)          Where is my son?          71 EXT. FIELD - DAY. 71          FLAMING MOSS is thrown into a puddle of oil and a MASSIVE          FIRE lights up the night.          William, rapid-fires his bow at close quarters into a line of          the Queen's supply wagons and the fight is on. A VIOLENT          CLASH OF SWORDS IN CLOSE QUARTER FIGHTING.          His COMPANIONS are as wild and hot-headed as he is, roaring          with delight as the Queen's men finally flee.          72-7 30MITTED 72-73           73a INT. WAR ROOM/ DUKE HAMMOND'S CASTLE - NIGHT. 73a          William enters.                         WILLIAM          You asked for me, father?                         (CONTINUED)                                                                                                                40          73a CONTINUED: 73a                         DUKE HAMMOND          I have news of the Princess.          William stares in surprise --                         WILLIAM          The Princess?!!                         DUKE HAMMOND          Ravenna has kept her all these years.                         WILLIAM          She lives?!                         DUKE HAMMOND          She escaped the castle and into the dark                         FOREST -          He turns to leave --                         WILLIAM          I'm going after her!.                         DUKE HAMMOND          We don't know if she survived --          Duke Hammond grabs him by the arm.                         DUKE HAMMOND          You ventured beyond the walls tonight,          disobeying my orders. We are all that's          left, William. I cannot afford to lose          any more of my men.                         WILLIAM          Then I will go alone.                         DUKE HAMMOND          And I cannot afford to lose my only heir!          You do not know the dark forest!                         WILLIAM          Then I'll find someone who does.          William pulls away.                         WILLIAM          I will not abandon her a second time.          74 EXT. PLAINS BEYOND DUKE HAMMOND'S STRONGHOLD - DAWN. 74           William gallops away from the castle walls under the cover of           the breaking dawn.          75 MOVED TO 68a 75                                                                                                                41                         76 OMITTED 76                         77 OMITTED 77          78 EXT. STABLES/ INN/ VILLAGE - DAY 78          A motley crew of woodsmen stand side to side. Finn is eyeing          them, sizing them up, picking a crew.                         FINN          Which of you knows the dark forest?          A powerfully built Yakut tracker, ALDAN, and BROCH both nod.                         FINN          You. You. You. You.          He's selected Aldan, Broch and points to others. As we move          down the line we see --          William, hat low, trying to look tough.          Finn selects a few more.                         FINN          Load and prepare. You ride for bounty.          Into the dark forest. The rest of you.          Away !          As they disperse..          William sets his jaw, and heads off..                         CUT TO:          The men ride out of the village. Suddenly they stop.          Standing up ahead is William, blocking their path. He calls          to them.                         WILLIAM          You need a bowman?          FINN calls back.                         FINN          I have a bowman. Away.          WILLIAM stands unblinking.                         FINN          I said away, damn you!          WILLIAM doesn't move. Finn turns to the bowman.                         FINN          Kill him.                         (CONTINUED)                                                                                                                41A                         78 CONTINUED: 78          The bowman smiles, draws his bow.          BEFORE he can loose an arrow:          THWACK! THWACK!!          Two arrows strike the bowman in the throat, lifting him off          his horse, stone dead.          FINN turns. WILLIAM lowers his bow.                         WILLIAM          I said do you need a bowman?          Finn studies William with dead eyes.          79 MOVED TO 80A 79                         80 OMITTED 80                         (CONTINUED)                                                                                                                42                         80 CONTINUED: 80          80aEXT. VILLAGE ROAD - DAY. 80a          In the pouring rain, a group of fierce BOUNTY HUNTERS ride on          horseback, when another rider appears, blocking their way.          It's William.                         (CONTINUED)                                                                                                                43          80a CONTINUED: 80a                         BROCH          Clear the road.          But William doesn't budge.          One of the other mercenaries grins, then rides towards          William, drawing his sword. He raises it when William          unslings his bow and loosens two arrows at close range,          hitting him in each thigh and knocking him off his horse.          Broch draws his enormous battle axe, about to charge, when          Finn rides forward and stops him.                         FINN          Wait!          Finn sizes up William.                         FINN          You're quick with a bow.                         WILLIAM          I want to ride with you.                         FINN          Why?                         WILLIAM          You are paying well and I need the coin.                         FINN          Have you traversed the Dark Forest?                         WILLIAM          No.                         FINN          Then what use are you?                         WILLIAM          As you said, I'm quick with a bow.          He nods to the guy on the ground, groaning with arrows in his          thighs.                         WILLIAM          And unlike him, I have two good legs.          Finn considers for a moment, then smiles, nods to the guy on          the ground.                         FINN          Replace him.          William looks at Finn gratefully. Finn studies him with a          curious smile then rides on.                                                                                                                44          81 EXT. AERIAL VIEW/ DARK FOREST - DAY. 81           From high above, we see the dark forest stretching out.                         82 OMITTED 82                         83 OMITTED 83           83a EXT. DARK FOREST - DAY 83a          Snow White approaches a stream, kneels, splashes her face and          brings a handful of water to her lips.                         ERIC          I wouldn't do that if I were you.          Not unless you want your bowels to rip          apart.          She turns. Eric has been snoozing on a rock, with one eye          open. She releases the water, stands and faces off with Eric,          who offers his flask of mead. She reluctantly takes a sip,          spits most of it out, hands it back.          He smells something, walks a few steps, bends down and examines          a long brown pellet shaped object on the ground.                         SNOW WHITE          What is it?                         ERIC          A fumee.                         (CONTINUED)                                                                                                               44A          83a CONTINUED: 83a                         SNOW WHITE          A what?                         ERIC          You want me to call it by another name?          He doesn't need to. It's an animal dropping. Snow White winces          as he kneads it between his fingers and takes a long sniff.                         (CONTINUED)                                                                                                                45          83a CONTINUED: (2) 83a          She catches the look of fear in his eyes as he gazes around the          woods.                         ERIC          Stay here.          He moves away, though the trees, tracking prey. He hears the          wind call his name...                         SARA          Eric.          He stops, looks to --          An outcropping of rocks, surrounded by dense forest. From          out behind a tree steps an apparition of SARA. She's          beautiful.                         ERIC          Sara?...          BACK TO SNOW WHITE          She hears him call out and follows his tracks.          BACK TO HUNTSMAN          Sara holds out her hand.                         ERIC          Am I dreaming?                         SARA          Touch me and see for yourself.          Eric shakes his head, looks around, tries to fight it, but...          Her face draws him back and he begins to walk toward the          rocks.                         SARA          You weren't there to save me, Eric. I          called for you but you never came.          Snow White appears behind and sees --          Eric is walking toward a dark area where several sets of          lupine eyes await.          But Eric only sees Sara and he continues to move toward her.          She opens her arms to him and steps backwards, luring him.                         SARA          Where were you, Eric? Come to me now.          Protect me now.                         (CONTINUED)                                                                                                                46          83a CONTINUED: (3) 83a                          ERIC           Sara, I'm so sorry. Forgive me, please           forgive me. Give me peace. Sara...           He takes another step toward her and --          Buckles - THWACK!          Snow White hits him behind his knees with a piece of wood.          He hits the ground and she drags him away. He fights back and          she jumps on top of him, staring right into his face.                         SNOW WHITE          She's not real! Not real! Do you hear          me?!          He does and calms. She gets off him and he sits up, fatigued          by the experience. A low point for him.          He reaches for his flask -- pours the last single drop into          his mouth. All gone. He tosses it aside. A lost soul.          Snow White watches him with some compassion. He catches her          look, gets up and walks away.          83b EXT. DARK FOREST OPEN AREA - DAY 83b          Snow White catches up.                         SNOW WHITE          Who is she? The one you bargained for.          The one that spoke to you. Who is Sara?                         ERIC          A name you'll not mention again.          He tosses a knife to her. She's surprised but catches it.                         SNOW WHITE          What?                         ERIC          Feel its weight. One hand to the other.          She shakes her head but does so.                         ERIC          Now hold it - business end pointed at me.                         SNOW WHITE          Why are you?--          He lunges at her and she raises the blade.                         ERIC          Which is your lead foot?                         (CONTINUED)                                                                                                               46A          83b CONTINUED: 83b                         SNOW WHITE          What do you mean?                         (CONTINUED)                                                                                                                47          83b CONTINUED: (2) 83b          He jumps at her again and she puts her right foot forward,          knife in right hand pointed. He starts to slowly move toward          her. One step at a time.                         ERIC          Now stay back. You're too small to          attack. You have to parry; use your          opponents strength against him. Raise          your opposing forearm.          She does. He comes closer.                         ERIC          With it you block and deflect an opposing          thrust. You'll lose meat but you won't          die from it. Wait until I'm close.          He steps forward.                         ERIC          Not yet. Watch my hands, not my eyes.          He moves even closer.                         ERIC          Not yet. Not until you can feel my          breath.          He moves right up to her.                         ERIC          Now.          Their faces are inches apart.                         ERIC          This close. Drive it through me. To the          hilt. Now look in my eyes.                         (SHE DOES)          Don't pull it out 'til you see my soul.          Their eyes are still locked.                         SNOW WHITE          Why do I need to learn how to kill?          He looks at her.                         ERIC          There's a lot you need to learn lass.          Eric backs away.                         ERIC          Keep that.          She nods, now-focused on him in a way other than as an          instructor. He turns and walks away.                         (CONTINUED)                                                                                                                48          83b CONTINUED: (3) 83b                         SNOW WHITE          Where are you going?                         ERIC          Fumee.          84C EXT. CLOISTER GARDENS/ CASTLE - DAY. 84C          A single blossom flowers on the dying apple tree. Ravenna,          looking weaker than before, stares at it quietly, as if she          were gazing at Snow White. She reaches out and crushes the          blossom in her hand, turning it into ash.          Her look is one of conviction.                         RAVENNA          Find her.          85 MOVED TO 10A 85          86 MOVED TO 13A 86          87 EXT. DARK FOREST - DAY. 87          Finn reacts as if he heard Ravenna's words. He did. They have          that kind of connection. Spooked, he continues on. The other          trackers follow, William looking tense. At the back of the          group, one of the mercenaries slows down, sensing something in          the forest.          William is still watching Finn when they hear a bloodcurdling          CRY behind them. The mercenary's horse gallops out of the trees          without its rider, a gaping wound in its side. William and the          others look shaken but Finn doesn't even turn around, riding on.          87a EXT. DARK FOREST - DAY. 87a          Eric pulls Snow White along. Beyond a bridge we see open fens          -- the bridge LEADS OUT OF THE DARK FOREST -- and birds          circling on the distant horizon.          Snow White looks relieved as she follows him down a slope.          They hurry through a sea of mist when suddenly Eric stops.                         SNOW WHITE          What is it?                         ERIC          It can't be this easy.          He quietly unsheathes a hatchet.                         SNOW WHITE          Is this the end of the Dark Forest?                         ERIC          (not paying attention)          Uh-huh.                         (CONTINUED)                                                                                                                49          87a CONTINUED: 87a                         SNOW WHITE          How far to the Duke's castle?          He ignores, follows tracks, then stops as he sees the STONE          BRIDGE below -- LEADING OUT OF THE DARK FOREST. Snow White          stares at it too, relieved. Beyond the bridge there are open          fens.          They hurry down together and start to cross the bridge.          They're half way across WHEN SUDDENLY WE SEE THE STONES START          TO MOVE BEHIND THEM --          A PAIR OF EYES OPENS IN THE STONE, AND SLOWLY THE BRIDGE          STARTS TO RISE --          Snow White turns to see -- A HUGE CREATURE REARING UP --          TWENTY FEET TALL. IT'S NOT A BRIDGE AT ALL BUT A --                         ERIC          Troll!          Eric and Snow White are SLAMMED off the bridge and land in          the shallow creek below -- among the CARCASSES OF SLAIN          ANIMALS. The troll roars and comes after them, swinging its          giant stone fists. Eric grabs Snow White and runs --          As the troll catches up with them, Eric shoves her out of the          way and draws his hatchets.                         ERIC          Run!          Snow White turns and flees. Eric runs at the Troll. He ducks          as a mighty arm sweeps over him, darts between the troll's          legs, and hacks at its leg with his hatchets.          The Troll falters a bit then --          A swinging stone fist catches him and hurls him across the          creek.          Snow White looks back to see Eric lying stunned on the          ground, his wound bleeding again, at the troll's mercy. She          hesitates, still terrified, then runs back.          The Troll towers over the huntsman. It raises its stone hands          to crush him when --          Snow White arrives -- SCREAMING LIKE A BANSHEE!          The Troll looks around in surprise. So does Eric. A beat,          then the monster turns away from Eric, striding towards Snow                         WHITE --          She stands her ground, fighting her terror, PULLS HER KNIFE.          The TROLL looms over her, but she doesn't retreat. She raises          an arm, just as Eric instructed.                         (CONTINUED)                                                                                                               49A          87a CONTINUED: (2) 87a          Eric stares in surprise, watching the twenty foot monster          towering over the tiny girl.                         (CONTINUED)                                                                                                                50          87a CONTINUED: (3) 87a          Snow White stares into the troll's eyes, seeing something          almost gentle in its monstrous gaze, slowly losing her fear.          The troll stares at her too, confused, then slowly pacified,          until it finally turns and strides away.          Eric stares in disbelief. Snow White is rooted to the spot,          also confused but strangely moved by what's happened. Eric          rises to his feet painfully and heads over, taking her by the          arm.                         ERIC          I told you to run.                         SNOW WHITE          If I had you'd be dead. A "thank you"          would suffice.          It's clear he sees her in a different light. She stares back          at him. Eric holds her gaze, struggling a bit, then...                         ERIC          Thank you.          88 EXT. MARSHES - DAY. 88          The sun glints through the thinning trees. Eric wades through          the deep sludge, Snow White following in his steps.          Eric looks at her a moment, then suddenly turns away as he          sees her expression change --          GHOSTLY BACKLIT FIGURES EMERGE on the banks of the marsh now,          holding bows and arrows. Eric looks around for an escape route,          but everywhere he turns MORE FIGURES APPEAR.          He draws his axe when A FIGURE IN A HOODED CLOAK (ANNA) appears,          clutching her bow like a goddess.                         ANNA          They say only demons or spirits can          survive the dark forest. Which are you?          Eric, unsure, pulls his hatchet and steps in front of Snow          White protecting her.                         ERIC          Which are you?                         ANNA          Neither. Perhaps you are the Queen's          spies?                         ERIC          We're fugitives from the Queen.          Snow White steps forward into the light.                         (CONTINUED)                                                                                                                50A                         88 CONTINUED: B8                         SNOW WHITE          We mean you no harm.                         (CONTINUED)                                                                                                                51                         88 CONTINUED: (2) 88          Anna sees Snow White clearly now, raises her hood. Snow          White sees a deep scar running down her otherwise beautiful          face. And then a smile.          89 EXT. FENLAND VILLAGE - DAY 89          The fenland village is made up of mud huts, elevated on stilts          to protect them from flooding.                         ERIC          Where are the men?                         (CONTINUED)                                                                                                                52                         89 CONTINUED: 89                         ANNA          Gone.          Anna paddles a boat as they approach the village. Eric and          Snow White speak quietly.          ON THE BANK          The boat stops and they get out. The women of the village          move from their hut to greet them as they walk into the          village.          More women emerge from their huts to view the newcomers, no          men in sight. They all have scarred faces.          All the women have assembled alongside the group, watching          with awe as they pass. They stare at Snow White and murmur.          They can't take their eyes off her. Some even reach out to          touch her sleeve or dress.                         SNOW WHITE          (sotto; to Eric)          Why are they looking at me like that?                         ERIC          I don't know, but keep smiling.          A beautiful LITTLE GIRL, LILY, moves away from her friends          and offers her hand. Snow White stops, looks down at the          girl, trying not to stare at her scar.          90-93a OMITTED 90-93a          93b EXT. BANKS OF THE LAKE/ FENLAND VILLAGE - DAY. 93b          Eric sits by the lake, ANNA bandaging his wounds.                         ANNA          You have travelled far Huntsman. With a          heavy burden.          Snow white is playing with Lily. They are making little dolls          from straw.                         ERIC          I've had worse jobs. And anyway, she's          not that heavy.                         ANNA          You mean... you do not know who she is?          His eyes narrow.                         ERIC          What do you mean?          He looks over.                         (CONTINUED)                                                                                                               52aA          93b CONTINUED: 93b                         ERIC          Who is she?          ACROSS THE WAY          Snow White draws eyes upon the doll.          Snow White's eyes fill with tears.                         LILY          My father showed me how to make them. But          he's gone away.          Lily takes a stick and marks the dolls face with a scar..                         LILY          Here. She's finished.          She hands it to her.                         (CONTINUED)                                                                                                                52A          93b CONTINUED: (2) 93b                         SNOW WHITE          She's beautiful.          Lily smiles and runs off to play. Behind her Eric appears.                         SNOW WHITE          These women... This place.. It's very          peaceful. But it makes me very sad.                         ERIC          Why didn't you tell me?          She stops. She knows.                         ERIC          Because I'd think it too fell a task?          You'd be right.          She looks at him. Shakes her head.                         SNOW WHITE          That's not why. It's because I've never          said the words.          She looks at Lily playing.                         SNOW WHITE          I'm not sure I believe it myself. I never          felt like a..          (She stops.)          Alone in a dark cell. For years. Fighting          to cling to memories. What he looked          like. Smelled like. The kind man with the          big arms and the wonderful smiles.. To          me.. he wasn't The King. He was my          father.          Eric doesn't know what to say. In time, he reaches in his          pocket.                         ERIC          Here.                         SNOW WHITE          What is it?                         ERIC          I've carried it a long time.                         SNOW WHITE          What is it made of?                         ERIC          Gristle from a stag's heart.          (off her look)                         (MORE)                         (CONTINUED)                                                                                                               52B          93b CONTINUED: (3) 93b                          ERIC (CONT'D)          The stag's the most timid animal in the          forest but there's a bone in it's heart          that gives it courage in it's hour of          need and makes it the bravest in of all          God's creatures. It's a protection charm.                         (HE SHRUGS)          Or so they say.          They share a look.                         SNOW WHITE          Was it hers?          It's the most honest and emotional he's been with her.                         ERIC          Take it.          She does.                         SNOW WHITE          Thank you, huntsman.          He looks at the sky.                         ERIC          It's getting dark.          He walks away.                         (CONTINUED)                                                                                                                53          93b CONTINUED: (4) 93b                         94 OMITTED 94          95 INT. HUT - FENLAND VILLAGE - NIGHT. 95          Snow White lies in her bed. Nearby sleep Anna and Lily.                         SNOW WHITE          She's so beautiful.                         ANNA          That is not a kind thing to say in these          times. Youth one cannot alter... beauty,          however. We have sacrificed beauty to          raise our children in peace. And you,          your sacrifice will come, princess.                         (CONTINUED)                                                                                                                53A                         95 CONTINUED: 95          Snow White looks to Anna, surprised.          a95 EXT. OUTSIDE THE HUT - SAME a95          Eric exits and pauses, looks back - through the flap can see          Snow White. He walks away.                                                                                                                54          95a OMITTED 95a                         96 OMITTED 96          96a OMITTED 96a          96b INT. INSIDE THE HUT - SAME. 96b                         ANNA          You must prepare yourself, my dear. For a          time soon comes when you must deliver          that sacrifice. Will you be ready?          Anna suddenly stops. As if something has disturbed her. She          gets up and leaves.                         SNOW WHITE          What is it?                         ANNA          Sleep my dear. You must rest.          She leaves.          96c EXT. FENLAND VILLAGE. NIGHT. 96c          Eric makes his way along the perimeter, finding a path          through the trees. Suddenly he stops. Turns.          Twenty feet away. It's Anna.                         ANNA          How can you desert her now you know the          truth?                         ERIC          Aye I know the truth. And that's exactly          why she should be as far from me as          possible.                         ANNA          She's the only one that can save us. She          needs you.                         ERIC          Trust me. I'm the last thing she needs.          I'm bad luck. Everything I've ever cared          about was destroyed.                         ANNA          There's good in you Huntsman. I can see          it.                         ERIC          People have made that mistake before.          He heads off into the night.                                                                                                                54A                         97 OMITTED 97          97a OMITTED 97a          98-103 OMITTED 98-103          104 INT. ANNA'S HUT - FENLAND VILLAGE - NIGHT. 104          Snow White awakens. Looks around, no Eric, puts it in her          pocket. Then smells smoke, walks outside and looks up to see --          The sky BLAZES WITH BURNING ARROWS all raining down on the          village.          104a EXT. WOODS - SAME - NIGHT. 104a           Eric, moving away from the village, spins to see the ARROWS           LIGHTING UP THE SKY BEHIND HIM. He races toward the village.          104b-107 OMITTED 104b-107          108 INT. HUT/ FENLAND VILLAGE - NIGHT. 108          Snow White re-enters the hut just as A FLAMING ARROW pierces          through the thatch and sticks next to Lily's sleeping head.          Snow White pushes Lily away from the fire and grabs the          arrow. Anna SCREAMS because -          A MERCENARY races into the hut.          On impulse Snow White backhand STABS HIM in the leg WITH THE          FLAMING ARROW and he tumbles, flames burning his clothes.          Snow White stares at him for a moment, his face, his pain.          Anna shakes her out of the moment and they all race out.                         109 OMITTED 109                                                                                                                55          109A OMITTED 109A          110 EXT. FENLAND VILLAGE - NIGHT. 110          Finn and his hunters scour the inferno on their horses.                         FINN          Run, rats, run. Find her!          William looks around the burning village in panic.                         111 OMITTED 111          llla OMITTED llla          112 EXT. ANNA'S HUT - FENLAND VILLAGE - NIGHT. 112           Snow White runs with Lily and Anna when she sees a FEARSOME           MERCENARY leap off his horse and stride towards them.                          SNOW WHITE                          (TO ANNA)           Run!          Snow White faces off with the Mercenary. She does as she's been          taught - waits for him to approach. When he's close enough to          grab her slashes at him with the knife. The huge mercenary          knocks her to the ground and advances on her.          -- when an arrow strikes him in the shoulder. He falls,          revealing a young warrior holding a bow.          It's WILLIAM. Snow White stares at him through the flames, with          a mixture of recognition and uncertainty.          It's as if for a moment everything stops as she comes          FACE TO FACE          With something from the past. Almost like a ghost. Or a          vision.. He nods to her in recognition.          She stands perfectly still.                         SUDDENLY          Anna pulls Snow White away, as they move through the smoke          and the fire.          William starts to follow, a curtain of smoke swirling around          him.          113 EXT. FENLAND VILLAGE - NIGHT. 113          Eric arrives to see the village in flames. He rushes to the          centre of the village, pulling a mercenary off his horse and          running him through with his own sword, then fighting and          killing TWO MORE MERCS as he makes his way forward.                                                                                                               55aA          114 EXT. ANOTHER PART OF FENLAND VILLAGE - NIGHT. 114          Finn sits astride his horse like a demon king in the firelight.          He spots William in the distance, searching for Snow White and          rides toward him.                                                                                                                55A          115 EXT. FENLAND VILLAGE - NIGHT. 115          Snow White looks back through the distant flames as she runs,          when suddenly powerful arms grab her. She flails with the knife          but it's only Eric --                         (CONTINUED)                                                                                                                56                         115 CONTINUED: 115                         ERIC          Come on!                         SNOW WHITE          We must help them!          Anna sees Snow White fighting off Eric and shouts --                         ANNA          You will! Go!          Eric holds her firmly, pulling her away against her will.                         116 OMITTED 116          117 EXT. ANOTHER PART OF FENLAND VILLAGE - NIGHT. 117          William jumps on his horse again, looking for Snow White through          the clouds of billowing smoke. Finn and Aldan ride up.                         FINN          Have you seen her?                         WILLIAM          No, my lord.          Finn spits fury and continues to race around, frantic.          118 EXT. MARSHES OUTSIDE FENLAND VILLAGE/ LAKE - NIGHT. 118          Eric pulls Snow White onwards, the blazing fires from the          village lighting up the marsh. He sees a lake up ahead when a          figure appears, blocking their way. It's the giant BROCH.          Grinning, he unstraps his huge axe, ready to face Eric one more          time. Eric doesn't even slow down, letting go of Snow White and          unstrapping his own hatchets. It looks as if it's going to be an          epic fight, but as Broch swings, Eric ducks and drives both          hatchets into the giant's ribs, killing him instantly.          They escape into the darkness.          118A OMITTED 118A                                                                                                                57          118B INT. STAIRWAY - NIGHT. (MOVED FROM 84A) 118B           Ravenna walks up the spiral staircase. She passes an old          woman who glances at her. She walks past a few steps, thinks          she hears a whisper, then turns on a heel.                         RAVENNA          What did you say?          Then she's right in her face --                         RAVENNA          WHAT DID YOU SAY!          The "old woman" just stares at her, shakes her head. There's          something in the woman's eyes that terrifies Ravenna. She          backs up, retreating, then scurries away.          118C INT.ANTE ROOM - ROYAL PALACE - NIGHT (MOVED FROM B4B). 118C           Ravenna sits alone, naked. Her spine stretches through her           taut skin.           In front of her sits the CROWN on a dark cushion, a matted          tuft of HAIR caught on the gilded edge. She stares at it,          then slowly raises her hand to a bald patch at the side of          her hair.                                                   RAVENNA          FINN!!!!!!!!!          The word echoes in the palace --          119 EXT. FENLAND VILLAGE - NIGHT 119           Finn, surrounded by smoke and fire, is beyond frustration.           He screams to the heavens in despair.                         120 OMITTED 120          121 EXT. RIVER BANK - DAY. 121          Eric and Snow White are far down river. They make their way to          the bank, drenched and exhausted. Snow White's hands shake -          distraught over the violence at the village. Eric looks at her          guiltily.                         (CONTINUED)                                                                                                                57A                         121 CONTINUED: 121                         SNOW WHITE          Why did you come back?                         ERIC          I led them there. I am to blame.          Snow White looks at him with empathy. He's in pain, too.                         (CONTINUED)                                                                                                                58                         121 CONTINUED: (2) 121                         ERIC          I will take you to Duke Hammond's.          Snow White slowly nods.          Eric lies back and looks up at the sun flickering through the          trees. It dances on his face and then --          A HUGE SHADOW blots out the light.          Before he can react, fists and boots lay into him. As he          protects his face, we catch glimpses of brutal figures in          battle masks. Eric kicks a couple of them away, but more of          them swarm over him, pinning him down in leg locks and choke          holds.          Snow White is treated just as roughly, powerful arms and legs          pinning her down. She bites one of her captors and he twists          her arms behind her back. A noose is slung around Eric's          ankles and he's hauled up - hanging upside down. Snow White,          also tied up, sits on the ground beside him.          A line of DWARVES stand before them and pull up their          grotesque BATTLE MASKS.          The dwarf leader, Beith glowers.                         BEITH          Well, well, well... the miscreant          huntsman.                         ERIC          Come on, Beith! Is this how you treat a          friend?          The dwarf leader, BEITH, glowers.                         BEITH          No, you horn beast, this is how I treat a          friend!          He smacks Eric with a gnarled stick.          122 MOVED TO 84C 122                         123 OMITTED 123                         124 OMITTED 124          124a EXT. WOODS - LATER - DAY. 124a          Snow White and the huntsman are still trussed up like chickens          now. The dwarves are grouped together, arguing and occasionally          throwing angry glances toward Eric. As they bicker the dwarves          slap and bite at each other - like animals.                         (CONTINUED)                                                                                                                59          124a CONTINUED: 124a                         SNOW WHITE                         (WHISPERS)          What did you do to them?                         ERIC          I tried to collect the bounty on their          heads. A few times.                         SNOW WHITE          Is there no one you haven't wronged?          Eric nods at her. "You."                         ERIC          But there's always tomorrow.                         GORT          Shut it, you hedge pig.          The Dwarf confab breaks up and they approach.                         BEITH          This is my lucky day, the puttock I loathe          most in the world lands in my lap.                         ERIC          It is your lucky day, Beith. I've got          enough gold to keep you in ale for a year.          Cut me down and I'll --          NION, Beith's right hand man and a fervent dwarf supremacist,          clips Eric around the ear.                         NION          Shut your ugly mug, huntsman. You had any          pennies they would have fallen out your          pockets by now.                         ERIC          It's hidden. Back there, in the woods. A          short distance.          They get the reference, don't like it. Nion slaps Eric again.                         NION          Pull the other one, you lying dangler.                         SNOW WHITE          Tell them the truth, huntsman.          The youngest of the dwarves, GUS, is beaming at Snow White with          his dirty teeth.                         SNOW WHITE                         (FIERCELY)          What are you looking at?                         (CONTINUED)                                                                                                                59A          124a CONTINUED: (2) 124a                         GUS          Nothing, Miss. It's just... you been the          prettiest thing I ever did seen.          He smiles, almost sweetly, disarming her. Snow White looks at          her other captors now, noticing a blind dwarf, (MUIR), who sits          with his son (QUERT), also gazing at her.                         (CONTINUED)                                                                                                                60          124a CONTINUED: (3) 124a                         ERIC          Just tell me what I've done wrong?                         BEITH          Tell me what you've done right first?                         ERIC          I saved this girl from the Queen. Out of          the goodness of my heart.          Snow White gives him a look. He calms her with a look of his          own.                         BEITH          Doesn't sound like you, huntsman.                         ERIC          People change.                         NION          People, not ruttish swine.          Nion gives Eric another smack around the head.                         MUIR          Quert?          Quert jumps to and helps his father as he makes his way to          Snow White. He touches her face and something happens in          him. His demeanor softens and the hint of a smile lands on          his lips. Meanwhile...                         GORT          So what's the verdict?                         COLL          Leave 'em to rot.                         DUIR          Yeah. Or skewer him and leave her to rot!                         COLL          That would work, too, but my way's          cleaner.          Note: Coll and Duir have this "at each other but we're          comrades" relationship. Coll also has an incessant cough.                         MUIR          No!          (a beat for emphasis)          She is destined.          They all trade looks. Muir is the spiritual leader of the          group and they dare not speak against him, even Beith.                         GORT          Destined?...                         (CONTINUED)                                                                                                                61          124a CONTINUED: (4) 124a                         GUS                         (SMITTEN)          She is.                         BEITH          Are you?                         SNOW WHITE          Do you hate the Queen?                         BEITH          Hate's a strong word.                         (BEAT)          But not strong enough in this case.                         SNOW WHITE          My father was King Magnus.          This carries weight with the group. Impressed.                         MUIR          No one listens to me.                         SNOW WHITE          If you accompany us to the Duke's castle          you will be paid handsomely.                         ERIC          We don't need their help.                         BEITH          You were already lost seeing that you          found us.                         GORT          How handsomely?                         SNOW WHITE          Your weight in gold. Each of you.          The dwarves trade glances, literally sizing each other up.                         ERIC          That's more than you offered me?!                         BEITH          Goodness of your heart, eh, Huntsman?                         DUIR          (whispers to Coll)          I get more than you.                         COLL          True, but because of your size you eat          and drink more, which costs more, so...                         (CONTINUED)                                                                                                                62          124a CONTINUED: (5) 124a                         BEITH          Alright, we'll take you, but the huntsman          can hang -                         SNOW WHITE          Both of us.          Eric looks surprised by her loyalty. So do the dwarves.          Suddenly Duir calls out:                         DUIR          Riders!          The dwarves look round to see a DOZEN SILHOUETTED HORSEMEN          appear on the crest of a DISTANT HILL.                         ERIC          Those are the Queen's men, Beith, better          decide quickly.                         BEITH          One dwarf's worth a dozen tallsters, I'll          take my time thank you --          He suddenly stops as dozens more RIDERS appear on the hill.                         ERIC          You were saying?                         BEITH          Cut him down! MOVE OUT!          Nion roughly cuts the line and the Huntsman drops to the          ground as Gus gently lifts Snow White. They all hurry down          the hill.                         125 OMITTED 125          126 EXT. ROCKY HILL/ CAVE - DAY. 126          The dwarves and their captives arrive at a rocky outcrop. Duir          and Coll pull back a large root exposing a cave entrance.                         ERIC          Ah, a short cut.          All 8 dwarf heads spin at him - pissed off. Enough with the          short jokes.          Nion raps Eric's knee with the flat of his dagger.                         ERIC          Owww!!!          Gus cuts Snow White loose.                         (CONTINUED)                                                                                                                62A                         126 CONTINUED: 126          Nion hesitates, then reluctantly frees the huntsman. DUIR and          COLL lead the way into a cave. Gus pulls Snow White to safety          just as the enemy riders appear.          127 INT. CAVE COMPLEX - DAY. 127          From their hidden vantage point, Eric, Snow White, and the          dwarves watch the riders searching for them. Some gallop on, but          a small troop remain behind. Realizing they have no choice but          to retreat further, Duir and Coll signal and the dwarves follow          them deeper into the cave system.                                                                                                                63          128 INT. CAVE - DAY. 128          A shaft of light pours through the cave roof high above, BATS          circling. The dwarves move effortlessly down the labyrinth but          Snow White and the huntsman have to squeeze through the cracks.          129 EXT. SANCTUARY - DAY. 129          Snow White and the huntsman emerge from the cave to see a          shimmering landscape of glistening moss and sunlight. It's like          a mirage. The air is filled with specks of pollen and a strange          HUMMING NOISE echoes like music. For Snow White, it's the most          beautiful sound she's ever heard. Next to her, Nion, snorts:                         NION          Blasted fairy music. Wish I had some wax to          stuff my ears.                         GORT          There's plenty of moss.          GORT scoops up a handful of moss and moulds himself some ear          plugs, sticking them in his ears. Snow White is still mesmerized          by the fairy music and the shimmering haze.                         SNOW WHITE          What is this place?          The huntsman looks just as dazzled.                         GUS          They call it Sanctuary, my lady. The          Enchanted Forest. It's the home of the          fairies.          And slowly the hazy curtain gives way to an enchanted forest --          as different to the dark forest as one could imagine --          Life grows everywhere -- LUSH GRASS, PROUD TREES COVERED IN          BUTTERFLIES, BUBBLING STREAMS, MOSS COVERED TORTOISES, FOXES AND          RABBITS SIDE BY SIDE, EXOTIC FLOWERS AND EVERYWHERE THE LIFE-                         GIVING POLLEN--          Snow White sees tiny figures flying behind the trees -- almost          too fast to spot -- the pollen following them in long trails --                         GUS          Fairies.                         GORT          Pests.          Of the other dwarves, only the blind MUIR seems to appreciate          the beauty around him, enjoying the vibrations on his face.                         BEITH          set up camp.                                                                                                               64          130 EXT. STONE RUINS/ GROVE/ ENCHANTED FOREST - SUNSET. 130          HEARTY, SOULFUL SINGING. Seated among the ruins, the dwarves          sing a Celtic ballad as old as time, GUS playing the fiddle.          Coll and Duir sit away from the others, gazing out with the          thousand yard stare of hardened war veterans.                         COLL          That song takes me back to the battle of          Tylweth Gate. A small horde versus an army.          Pickaxes against swords and spears.                         DUIR          Them were the days.                         (BEAT)          What happened to your quailing cough?          Coll shakes his head, "dunno". The two of them smile then join          in the singing. A drunken GORT takes a swig of ale and staggers          over to GUS.                         GORT          Play louder, you whey-face, I can still          hear those harpy fairies.          He takes another swig and sings at the top of his voice, out of          tune, trying to drown out the humming of the unseen fairies.          Snow White and the huntsman look on, smiling.                         ERIC          Legend has it dwarves were created to          uncover all the riches hidden on earth. Not          just gold and precious stones, but the          beauty in people's hearts.                         SNOW WHITE          Really?                         ERIC          Ask me, they've lost the art if they ever          had it. When the Queen seized their mines          she stole their treasure but more than that          she stole their pride.          And as if to prove it, GORT and NION sing and share from a flask          of rum before they tumble to the ground-near Muir as the song          ends. Eric notices the tumble and chuckles.                         GORT          What are you pribbling at, longshanks?!                         ERIC          Nothing half-wit.                         GORT          I'm half of nothing.you canker blossom.                         (CONTINUED)                                                                                                                64A                         130 CONTINUED: 130                         MUIR          Son?... Sing the one.          Perched on his stone, QUERT nods; sings a more CHEERFUL SONG.          Eric watches as Snow White walks over to Muir. Before she can          say anything...                         (CONTINUED)                                                                                                                65                         130 CONTINUED: (2) 130                         MUIR          That seat's not taken, if that's what you          were about to ask.          She sits on the log beside him. Gort and Nion eye her.                         SNOW WHITE          Thank you so much, sir.                         MUIR          It's only a log, no need to praise me.                         SNOW WHITE          No. For before. For defending me.                         MUIR          Your father was a good man. The kingdom          prospered. Our people prospered.                         SNOW WHITE          There were more of you?                         MUIR          Aye.          And that is all Muir will say on the subject. Gort fills in.                         GORT          One day the group you see before you went          down into the mine for a month long          shift. Gus was only a boy. When we came          back to the surface... nothing. The land          was black, everything, everyone... dead,          gone. We searched but...          Gort surprises himself by choking up a bit. Muir helps out.                         MUIR          That was the month your father died.                         SNOW WHITE          I'm so sorry.                         MUIR          As am I, princess. As am I.          GUS walks over to Snow White.                         GUS          I know I'm a bit spongy to look at, Miss,          but would you care to dance-with a little          'un?                         SNOW WHITE          I'd be honored.          Snow White gets up and dances with Gus as the song picks up.                         (CONTINUED)                                                                                                                66                         130 CONTINUED: (3) 130          Nion and Gort watch her dance with Gus. Nion's not          impressed, leans in to Gort...                         NION          I don't trust her. And I don't believe          in her, no matter what Muir says.          Gort is still melancholy...                         GORT          Just you and me,... do you think there          are any of us left? Do you think perhaps          they were merely banished?                         NION          As long as the Queen's in charge we'll          never know.                         GORT          Well, maybe that's the point, isn't it?          (beat; out of the blue)          I feel funny. Queer almost.                         NION          Queer. Since when?                         GORT          How's your gout?          Nion rubs his leg.                         NION          Better.          Gort's look goes from Nion to Snow White.                         GORT          You don't think it has anything to do          with...                         NION          How much have you had to drink?!          The huntsman drains the last few drops of his rum when BEITH          approaches, sitting beside him gruffly.                         BEITH          Fleecing us of all our rum, eh huntsman?                         ERIC          What do you say, we let bygones be bygones?                         BEITH          Not yet, nut-hook. What's in it for you?          (off Eric's innocent expression)          I'm talking about the girl? Is it really          just the gold?                         (CONTINUED)                                                                                                                67                         130 CONTINUED: (4) 130          Eric watches Snow White dancing with Gus, then shrugs.                         ERIC          I'm not sure, Beith. If I had any sense I'd          have abandoned her long ago.          Beith eyes Eric as he watches Snow White dance.                         BEITH          Muir says she's destined. Question is,          huntsman, for whom?          Gus and Snow White are still dancing.                         GUS          (As Snow White treads on his toes)          You don't mind me saying, you got two left          feet for a princess.                         SNOW WHITE          I don't mind at all, Gus. I haven't danced          in a long, long while.          She feels eyes on her - turns to see the huntsman watching her          with a slight smile. She smiles back and breaks away.                         SNOW WHITE          Do you mind, Gus?                         GUS          Not at all.          Snow White walks over to the Huntsman, holds out her hand.                         SNOW WHITE          You've taught me to fight, surely I can          teach you to dance.          Eric trades a look with Beith, who nudges him on. Eric          stands and they proceed to dance, with her teaching.                         SNOW WHITE          Palms up, head straight, look me in the          eyes. And...          The huntsman moves better than you'd imagine. His face even          softens as they both enjoy the dance.          Beith looks on with a smile.          130a OMITTED 130a          131 EXT. STONE RUINS/ GROVE/ ENCHANTED FOREST - DAWN. 131          Eric and the dwarves are asleep. Flowers have grown around them,          as if they've been asleep for months.          Cull and Duir sleep sitting up, back to back, at the ready.                         (CONTINUED)                                                                                                                68                         131 CONTINUED: 131          Muir, also awake and smiling, sits against the log, his hand          rubbing his son's sleeping head.          Snow White sits amazed, drinking in the sights and sounds.          Animals emerge from the forest -- SQUIRRELS, BEAVERS, FOXES,          BIRDS. Slowly they make their way towards the ruins, gazing at          Snow White.          THE NIGHT SHIMMERS WITH FAIRY LIGHT AS THEY OBSERVE HER.          Snow White feels the light on her face and to her surprise, she          sees the two MAGPIES who watched over her at the castle. Two          BEAUTIFUL FAIRIES WITH THE DEER EYES slip out of the magpies'          bodies, beaming at her.          As Snow White sits up, they direct her to the woods WHERE A          DAZZLING LIGHT SHINES THROUGH A TREE. As she walks animals fall          in alongside her.          A little way away, Gus snores in his sleep. The golden light          crosses his face and he wakes up. As he opens his eyes, he          stares in wonder, then quickly wakes the other dwarves.          They all stare in amazement now, even the blind MUIR. Eric is          the last to wake up, wondering what the fuss is all about.          They rise and follow to --          AT THE TREE          She stands BENEATH THE GIANT TREE, facing a MAJESTIC WHITE HART.          The air around the mystical creature shimmers with a golden          light.                         BEITH          No one's ever seen it before.          The excited Muir grabs his son Quert by the arm.                         QUERT          The white hart bows before the princess,          father.          Sure enough, the HART lowers its head before Snow White. Muir's          face is lit up in the golden light, his blind eyes shining.                         MUIR          It's blessing her.                         ERIC          What are you talking about?                         MUIR          You have eyes, huntsman, but do not see.          You who have been with her the longest.          Eric doesn't understand.                         (CONTINUED)                                                                                                               69                         CONTINUED:                         MUIR          She is life itself. She will heal the land.          She is the one.                         GORT          So you're saying she is destined?...          Muir can only shake his head.                         MUIR          No one listens to me.                         (BEAT)          Can't you feel it? Are you ailments not          gone? Gold or no gold, where she leads I          follow.                         GUS          Aye!          The other Dwarves trade looks. Nion, the last, shrugs.          As Snow White strokes the hart's neck, the golden light          brightens, engulfing her.          -- SUDDENLY AN ARROW FLIES THROUGH THE AIR -- AND PIERCES THE          WHITE HART'S FLANK.          The HART roars in pain and bolts. The fairies and animals          scatter in all directions now, their sanctuary violated.          Eric looks up to see ALDAN the Yakut emerging through the trees          on horseback, notching another arrow to his bow.          A FIERCE WIND rips through the sanctuary now, shadows spreading          where there was once light. Eric sees FINN appear on horseback,          looking like a demon god in the gathering darkness.          The huntsman grabs his axe. So do the dwarves, pulling on their          battle masks.          WILLIAM emerges through the trees to see ALDAN aiming his bow at          Snow White. He rides into the Yakut's horse, knocking him off          balance just as he fires --          The arrow narrowly misses Snow White, thudding into a tree. Gus          grabs her by the hand.                         GUS          Come on!          He runs with her into the forest.          Aldan turns on William furiously, drawing his curved sword, but          before he can swing the dwarves attack both men --          Eric only has eyes for Finn. They stare at each other in the          roaring wind, then Finn gallops into the forest after-Snow White          Eric RUNS in the same direction --                         (CONTINUED)                                                                                                                70                         CONTINUED: (2)          William fends off the furious dwarf attack then rides off in          pursuit of snow white --          Aldan sees him but is too busy defending himself against COLL          and DUIR to give chase --          132 EXT. ENCHANTED FOREST - DAY. 132          All around the forest the shadow of death is spreading. Gus          runs, dragging Snow White behind him. Galloping through the          trees, WILLIAM spots them up ahead, riding faster.          133 EXT. ANOTHER PART OF THE ENCHANTED FOREST - DAY. 133          Bow and arrow at the ready, Eric runs after Finn. All around him          the forest is darkening. He follows the sound of galloping          hooves when suddenly they stop. He stops too, notching an arrow          to his bow, peering into the gloom and listening.          There's a tense silence, then SUDDENLY HE HEARS A NOISE. He          spins around, ready to fire, when he sees it's only Finn's          riderless horse galloping past --          He realizes too late that it's a trick -- FINN EXPLODES OUT OF          THE DARKNESS, catching him a glancing blow with his sword --          134 EXT. STONE RUINS/ GROVE/ ENCHANTED FOREST - DAY. 134          Coll and Duir leap up at Aldan, trying to drag him off his          horse, but he's a ferocious fighter, driving them both back --          135 EXT. ENCHANTED FOREST - DAY. 135          William spots Snow White up ahead. She disappears into the          trees and he rides faster. She erupts from behind a branch and          pulls him off his horse. Gus races over and raises his axe --                         SNOW WHITE          Gus, no!          Gus's axe stops inches from William's eyes. Snow White          recognizes the young warrior, staring at him in surprise.                         SNOW WHITE          I saw you at the village.          William looks up at her, out of breath:                         WILLIAM          It's me. William.          Snow White stares in disbelief, tears of surprise welling in her          eyes. Gus looks even more confused, lowering his axe.          William slowly rises to his feet, gazing back at Snow White,          when THEY HEAR A TWIG SNAP --          Gus hears it too, spinning around --                         (CONTINUED)                                                                                                                71                         135 CONTINUED: 135          -- To see ALDAN with an arrow notched to his bow --                         GUS          PRINCESS!          Gus launches himself -- and takes the arrow meant for Snow          White. Before Aldan can load another arrow -- William fires an          arrow of his own, striking him in the chest. The Yakut topples          over, dead at last but still astride his horse.          Snow White falls to her knees in anguish, cradling the dying          Gus. He smiles weakly, holding her gaze, then whispers:                         GUS          I shan't leave you, Miss.          136 EXT. ANOTHER PART OF THE ENCHANTED FOREST - DAY. 136          Eric charges into Finn with a cry of rage. Finn deflects the          blow and hurls him back into the trees. Driven by fury, Eric          charges again, but Finn uses his anger against him, ducking          under the vicious blow and landing a brutal one of his own --          Eric crashes into another tree. His eyes are still full of          hatred but his body is weak. Finn smiles in contempt from a few          yards away.                         FINN          I captured many girls, but your wife was          special.                         ERIC          What?!                         FINN          She fought and then she begged. For her          life. Please?!!! You should know she          called for you. Your Sara.                         ERIC          How do you know her name?!          Eric is shocked, desperate.                         FINN          She told me. Just before I slit her          throat.                         -ERIC          Bastard... .-          Eric notices a fallen TREE TRUNK behind Finn -- dead branches          STICKING UP LIKE SPIKES. Finn steps toward him...                         FINN          Now you can look for her in the other world          and beg for her forgiveness.                         (CONTINUED)                                                                                                                71A                         136 CONTINUED: 136          Finn smiles and raises his sword for the death blow -- when ERIC          LUNGES. He throws himself at Finn, his momentum carrying them          both into THE DEAD TREE'S SPIKED BRANCHES --          The branches pierce Finn's body, their tips digging into Eric's          flesh. Finn howls in agony --                         137 OMITTED 137                                                                                                                72          138 EXT. ENCHANTED FOREST - DAY. 138          Finn writhes, fighting to pull himself free of the branches but          Eric holds him down, even as the spikes dig into him, forcing          Finn's wounds to stay open - unable to heal.                         FINN           Sister -- heal me!! --                         139 OMITTED 139           140 ENCHANTED FOREST - DAY. 140           -- the SHADOWY ENERGY swirls around Finn's wounds -- but as the           branches keep the wounds open, they cannot heal --          141 INT. THRONE ROOM - DAY. 141           Ravenna sits at her desk - she is small and alone in the            vastness of the hall.           She stares off into space, a quill in her hand - parchments laid           out before her.           Then suddenly her body convulses - the bottle of black ink            spills - dark tendrils of liquid seep across the papers and onto            the floor.                           RAVENNA           Finn ...no!            She falls to the floor - writhing.            She fights hard at first - but then begins to weaken - her            power fades as she ages.            Then she stops.                          RAVENNA          Forgive me, brother.          142 ENCHANTED FOREST - DAY. 142          Finn gasps as he feels Ravenna cut him off. Reacts in horror and          heartbreak as his wounds stop trying to heal.                         FINN          Sister...          Finn twitches for a moment, looks to Eric.                         FINN          I feel...          Then the light goes out of his eyes. He is finally dead.          Slowly, Eric pulls himself free of the branches cutting into his          flesh.                                                                                                                72A          143 INT. THRONE ROOM - DAY 143           She has broken their connection. We pull away from her.            Ravenna's head is down, depleted, forlorn. Completely still.            Ink pools around her bony hands. But when she raises her head --           We see conviction, hatred and determination.                         (CONTINUED)                                                                                                                73                         143 CONTINUED: 143                         RAVENNA          You will pay. You will pay!!!          144 EXT. ENCHANTED FOREST - DAY. 144          Still bleeding from his wounds, Eric hurries back through the          forest until he sees Snow White and the seven dwarves gathered          around Gus's body, chanting a low prayer. Eric stares in          surprise, then notices William.                         ERIC          Who is this?          Beith is about to reply when William answers for himself.                         WILLIAM          My name is William. I am Duke Hammond's          son.                         (BEAT)          You look familiar.          Eric dodges a bit with --                         ERIC          What is the Duke's son doing riding with          the Queen's men?                         WILLIAM          I was looking for the princess.                         ERIC          Why?                         WILLIAM          To protect her.                         ERIC          The princess is well protected as you can          see.                         WILLIAM          And who are you?                         ERIC          The man who got her this far your lordship.                         WILLIAM          I'm grateful for your help but I will take          her from here.                         ERIC          You'll have to wait for your voice to break          before you give me orders -          William draws his sword in indignation and Eric draws his axe.                         (CONTINUED)                                                                                                                74                         144 CONTINUED: 144                         ERIC          Anyone can draw steel, boy. It takes a man          to use it.          William is about to react when Snow White turns...                         SNOW WHITE          Leave him, huntsman. He's our friend.          He glares but his eyes glisten with tears. Snow White is          still bowed over Gus's body, sobbing, mourning.          The prayer chant ends. Nion spits with anger and walks away.                         NION          We need to convene.          They all follow him a few steps away, where they have          privacy.                         BEITH          What is it, Nion?                         NION          This is what happens when dwarves mix          with men. We always come out worse. We          have big hearts and we'll fight for any          cause -- but for what? For some new Queen          to call us runts and turn us out of our          homes again?                         GORT          I've nothing against the girl, but I'm          not willing to risk my life for her          either, like poor Gus.          Beith considers quietly, the other dwarves listening too.                         DUIR          (whispers to Coll)          Does this mean we're not fighting the          Queen?                         COLL                         (WHISPERS BACK)          Not sure yet.                         QUERT          What about the gold he promised us?                         NION          What use is gold if you're dangling by          your bony neck, you jackdaw?!                         BEITH          Aye, the Queen will flay us alive for          helping her!                         (CONTINUED)                                                                                                                75                         144 CONTINUED: (2) 144                         MUIR          The White Hart blessed the girl.          Nion shakes his head and rolls his eyes, but Beith listens.                         MUIR          Even our own legends speak of the          redeemer who will heal the land.                         GORT          That little mutton?                         MUIR          All the lions and wolves in the kingdom          have tried to defeat the Queen and          failed. Why not a mutton?          The dwarves stare at him incredulously.                         NION          Gus lost his life because of her!                         MUIR          No. He gave his life for her. As will I          if necessary. Look at us. Look at what          we've become.          They trade looks. They know where he's going with this.                         MUIR          We were once proud, now we pilfer and          drink and dream of when we didn't. I am          willing to die for a chance at becoming          the man I once was.          And that is the last word. Quert puts his arm around his          father and kisses his forehead. Beith and Gort trade a nod          and a smile.          145 EXT. STONE RUINS/ GROVE/ ENCHANTED FOREST - DAY. 145          QUERT sings a CELTIC MELODY OF LOSS as Gus is laid out on a          funeral pyre. All around him, THE BRIGHT COLORS OF THE          ENCHANTED FOREST HAVE FADED and there are no animals and          fairies to be seen. It's as if Ravenna's shadow has passed          here too. The tough, battle hardened dwarves shed tears like          children. Snow White looks heartbroken as Beith lights the          pyre. As the flames rise, a HAUNTING LAMENT carries us into          the next scene ---                         146 OMITTED 146                                                                                                                76          147 EXT. HILLS - DAY. 147          Quert's SONG CONTINUES as the group make their way across the          barren hills and into the mountains --          148 EXT. HIGHLAND HILLS - DAY. 148          William walks alongside Snow White, glancing at her tentatively.          He waits until the others are out of earshot.                         WILLIAM          I'm sorry I left you.          She looks over and sees the remorse in his eyes.                         SNOW WHITE          You didn't.                         WILLIAM          If I'd known you were alive I would have          come sooner.                         SNOW WHITE          We were children, William. You're here now.          They reach some steep rocks and Eric turns around, offering Snow          White his hand. She takes it and he helps her up the slope.          William looks on, feeling jealous.          Beith follows Duir and Coll up to the summit of the hill, then          looks at the surrounding peaks.                         BEITH          We'll rest the night at the top of this          hill.          148a INT. MIRROR CHAMBER - ROYAL PALACE - DAY. 148a          From above - Ravenna stands in the center of the room,          surrounded by ravens. She raises her arms and they take          flight, circling above her. She lowers her arms and their          swirling pattern lowers, until she is completely surrounded          by them - a tornado of ravens.          She has become them, and they her.          149 EXT. CAMP SITE/ MOUNTAINS - NIGHT. 149          A FIRE CRACKLES. The dwarves have set up camp. Coll and Duir          sit on a rocky outcrop, Coll braiding Duir's hair while Duir          sharpens his axe.                         COLL          That's not how you sharpen an axe. You          sharpen downward. Not upward..                         (CONTINUED)                                                                                                                76A                         149 CONTINUED: 149                         DUIR          My father taught me how to sharpen an          axe.                         (CONTINUED)                                                                                                                77                         149 CONTINUED: (2) 149                         COLL          Well he taught you wrong.          He raises the axe, only half in jest.                         DUIR          You want to test it?          William watches Snow White warming herself by the fire, then          heads over to Eric, who is also keeping watch.                         WILLIAM          It's not my place to give you orders. I          misjudged you.          Eric looks up. He shakes William's hand.                         ERIC          And I you.          William looks over to where Snow White is.                         WILLIAM          We shared a childhood together, before she          was taken away. She hasn't changed. She has          that same light inside her. Surely you can          see it..          Eric looks at her.                         ERIC          You'd be blind not to.                         WILLIAM          If we can just get her to the castle, the          people.. The people will see it. She's          our only hope, Huntsman.                         ERIC          We'll get her to the castle. Don't worry          about that..                         WILLIAM          I've thought about her constantly. Every          time I closed my eyes. I can hardly          believe I've found her.                         ERIC -          You should tell her. She'd appreciate it.                         WILLIAM          I'm afraid to.                         ERIC          Not telling someone how you feel and living          with the regret is a lot worse.                         (CONTINUED)                                                                                                                78                         149 CONTINUED: (3) 149                         150 OMITTED 150          150a EXT. MOUNTAINS - DAWN. 150a          Snow White sits on a rock, away from the camp, reflecting          quietly.          She stares out at the surrounding mountains and valleys when          she suddenly senses a presence behind her. She turns in alarm          -- but it's only William.          William smiles back gently and whispers...                         WILLIAM          Walk with me.          They walk into the silver birches.                         SNOW WHITE          Up here it's as if nothing's changed. The          world looks beautiful again.                         WILLIAM          It will be. When you are Queen.          Snow White turns, surprised by his words.                         WILLIAM          The people of this kingdom hate Ravenna          with their very fiber.                         SNOW WHITE          It's strange, but... I feel only sorrow          for her.          William is taken aback by this but pushes on.                         WILLIAM          Once people find out you're alive they          will rise up in your name.          Snow White stares back at him uncertainly.                         SNOW WHITE          It takes more than a name. I an not my          father, William.                         WILLIAM          You are his daughter. And rightful heir.                         (CONTINUED)                                                                                                               78A          150a CONTINUED: 150a          He steps closer, gazing into her eyes devotedly.                         WILLIAM          If I had a choice, I would take you far          from here. And keep you safe by my side.          But I have a duty. And so do you.          They hold each other's gaze, Snow White still ridden with          doubt.                         (CONTINUED)                                                                                                                79          150a CONTINUED: (2) 150a                         SNOW WHITE          How do I inspire? How do I lead men?                         WILLIAM          The same way you led me when we were          children. I followed you everywhere. Ran          when you called. I would have done          anything for you.          She looks touched by his words, smiling softly, trying to          make light of them.                         SNOW WHITE          That's not how I remember it.                         WILLIAM          No?                         SNOW WHITE          No...          They gaze into each other's eyes, close enough to kiss.                         SNOW WHITE          I remember we were always arguing. And          fighting. And...          She trails off, lost in his gaze. He stops, leans closer and          kisses her gently. They stay like that a moment, then William          pulls away, holding something in his hand. Snow White smiles          as she sees that it's an APPLE.          With a mischievous smile, William holds out the apple for          Snow White, just like he did when they were children.                         SNOW WHITE          I remember this trick.                         WILLIAM          (With mock innocence)          What trick?          Snow White holds his gaze, then snatches the apple from him          before he can take a bite, raising it to her lips with a           smile. As she bites --          150b OMITTED 150b          150c OMITTED 150c          150d EXT. CAMP SITE/ MOUNTAINS - DAWN. 150d.          Eric, startled,- awakens.                                                                                                               80          150e EXT. MOUNTAINS - DAWN. 150e          As Snow White chews, a flicker of a smile crosses William's          face. Snow White stares curiously, then suddenly gasps,          struggling to breathe --          150f EXT. CAMP SITE/ MOUNTAINS - DAWN. 150f          Eric stands up, looks around, dwarves still asleep. He shakes          William, who wakes at the ready.          They walk into the trees and follow --          A SINGLE SET OF TRACKS.          150g EXT. MOUNTAINS - DAWN. 150g          Snow White staggers back and collapses in the snow, choking          from poison. Her eyes water and her vision blurs. The false          William kneels beside her and slowly she sees Ravenna's          features burning through, her cold blue eyes gleaming in                         TRIUMPH --          A SCREAM fills the air -- not Snow White but dozens of birds          shrieking in the sky above --          151-157 OMITTED 151-157          158 EXT. MOUNTAINS - DAY. 158          Eric and William hear the panicked bird cries and run --          158a EXT. SILVER BIRCH TREES/ MOUNTAINS - DAY. 158a          Snow White's limbs are petrified, frost spreading across her          cheeks -- but her eyes are open, taking in everything.          Ravenna leans over her, smiling.                         RAVENNA          You see, child, love always betrays us.          A sigh escapes Snow White's lips, condensing into steam.                         RAVENNA          By fairest blood it was done and only by          fairest blood can it be undone. You- were          the only one who could break the-spell          and end my life, and the only one pure          enough to save me.          She draws away, unwrapping her sacramental dagger.                         RAVENNA          You don't realize how lucky you are,          never to know what it is to grow old.                         (CONTINUED)                                                                                                                81          158a CONTINUED: 158a          She raises the knife, about to cut out Snow White's heart -          WHEN SUDDENLY HER BODY SHATTERS INTO A FLOCK OF SHRIEKING                         RAVENS --          And now we see the HUNTSMAN STANDING THERE, AXE IN HAND, THE          RAVENS FLAPPING AROUND HIM --          William blasts with a sword at the screeching birds --          Eric goes after her now, swinging his twin hatchets. The          ravens scream and pluck at his eyes but he hacks at them          fiercely, William joining in, until the shrieking birds          finally take to the sky and vanish on the horizon.          Eric and William rush to Snow White's side now. The dwarves          arrive too, hurrying through the snow.          William cradles Snow White in his arms, trying to revive her,          but it's no use. Eric stares in dismay as he sees the poison          drain the color from her lips. He kneels down and gazes at          her. William turns to the dwarves.                         WILLIAM          What are you looking at? Help her!          The dwarves stare back at him gravely but don't respond. He's          desperate now, irrational --                         WILLIAM          You are dwarves, healers, save her!          He grabs the blind seer, MUIR, shaking him.                         WILLIAM          Do something!          Muir stares back at him with his empty eyes, tears glistening          in them.          William collapses in prayer, the light in Snow White's eyes          almost gone. Eric looks over, sees William's grief is as          great as his own, and finally stops fighting.          Snow White looks up at William as if she wants to say          something, then the light in her eyes goes out.          The dwarves are heartbroken. Eric looks dazed.          William leans down and kisses Snow White gently on the lips.          He pulls away,.hoping against hope. And then --          Nothing happens. She lies there, lifeless and white as the          falling snow.          On all the faces - realizing that she is truly gone.                         (CONTINUED)                                                                                                                81A          158a CONTINUED: (2) 158a                         GORT          What do we do?                         (CONTINUED)                                                                                                                82          158a CONTINUED: (3) 158a                          BEITH           What we promised.                         159 OMITTED 159          160 EXT. ROYAL CASTLE - DAY 160          A flock of ravens whips across the sky, swooping into --          161 INT. MIRROR ROOM - DAY. 161          The ravens burst into the mirror room and "crash" to the          ground. Their swirl becomes --          Ravenna, on all fours, looking worse for wear, surrounded by          dead ravens. The effort depleted her. She GROWLS as she          crawls toward the mirror.                         RAVENNA          What must I do?! Where is she?! Where          have they taken her?! Answer me!          The mirror just REFLECTS RAVENNA'S weary and aging face.                         RAVENNA          ANSWER ME!!!!          Nothing. Ravenna releases it all, looks up and quietly          pleads...                         RAVENNA          help me...                         MIRROR MAN                         (MOCKS HER)          "Help me?"...                         (BEAT)          There is nothing more pathetic than          grovelling desperation. You sicken me, my          Queen.          The mirror starts to ripple, distorting Ravenna's face into          something even more awful.          161a EXT. PLAINS NEAR CASTLE - DAY. 161a          A wide shot as the group carries Snow White toward the          castle.          162 EXT. DUKE HAMMOND'S STRONGHOLD - DAY. 162          Snow White's body is wrapped in a shroud, laid out on a          funeral board. William leads it with tears in his eyes. Eric          and the dwarves walk alongside the body, all lost in grief.                                                                                                               82A          162a INT. DUKE HAMMOND'S CASTLE - DAY. 162a          Crowds move in to see and mourn the processional. Eric is          careful to lower his eyes a bit to keep from being          recognized.          162b INT. FUNERAL CHAMBER/ DUKE HAMMOND'S CASTLE - DAY. 162b          Torchlight flickers. Snow White's body is laid out on a          funeral bier, her face angelic in death.                                                                                                               63          163 INT. GENERAL'S TENT - COURTYARD - NIGHT. 163          Tent flaps open. William stands before Duke Hammond and his          council of LORDS, arguing his case with fierce passion --                         WILLIAM          She died for us! For our cause! We cannot          hide behind these walls and watch this          land die with her!                         DUKE HAMMOND          Your grief clouds your judgement, my son.                         WILLIAM          My grief makes me see clearly, father.          163a INT. FUNERAL CHAMBER/ DUKE HAMMOND'S CASTLE - NIGHT. 163a          Eric steps from the shadows up to Snow White's body, flask in          hand. Drunk.                         ERIC          Here you are. Where it ends. Dressed Up          to pretty.          He takes another pull from the flask.                         ERIC          Like you're asleep; about to wake-up and          give me more grief. Am I right?          The he touches her arm. Feels the fabric of her funeral          dress. Looks at her face and breaks a bit - losing the          drunken swagger and speaking with her as if she was still          alive.                         ERIC          You deserved better.          And then he answers her...                         ERIC          She was my wife, princess. That was your          question that went unanswered. Sara was          her name. When I came back from the wars          I carried with me the stench of death and          the anger of the lost. I wasn't worth          saving. But she did so anyway. I loved          her more than anything or anyone. And          then I let her out of my sight and she          was gone and I became myself again. A          self I never cared for. Until you. You          remind me of her. Her spirit. Her          heart. And now you, too, are gone. You          both deserved better. And I'm sorry to          have failed you as well.                         (CONTINUED)                                                                                                               83A          163a CONTINUED: 163a          Snow White lies pale and motionless on the bier. Eric reaches          down and gently brushes a strand of hair off her face.                         ERIC          You will be a Queen in heaven now...          He leans down and kisses her lips.                         ERIC          And sit among the angels.          He finally turns and leaves the chamber, tossing the flask          aside, disgusted with himself.          As we listen to his footsteps fade we hold on Snow White's          beautiful face. For a long time she stays perfectly still,                         THEN --          Her lips part ever so slightly, and she lets out an almost          inaudible whisper of breath.                         (CONTINUED)                                                                                                                84          163a CONTINUED: (2) 163a           Snow White's eyes open, gazing up at the ceiling, her           thoughts far away. There's a strange calm about her now, a           quiet acceptance, as if she knows what she must do.          164-168 OMITTED 164-168                         169 OMITTED 169          169a OMITTED 169a           169B EXT. NEAR THE CASTLE GATES - DAY (MOVED FROM 171) 169B          Eric, carrying all his gear, eyes down, strides toward the          gate and a clean getaway.                         ERIC          Open the gate.          PERCY (O.S.)          Huntsman!          Eric stops. He's been recognized. Percy catches up to him.          They share a look and Eric sighs.                         PERCY          Yes, I recognized you.          Eric sighs.                         PERRY          We have no quarrel with you. Not anymore.          You returned the princess to us. And for          that...          He hands over a heavy sack of gold. Eric takes it, weighs it          in his hand. God does he need it, but...                         ERIC          Keep your money.                         (CONTINUED)                                                                                                                85          169B CONTINUED: 169B          He hands it back and turns for the now open gate. He exits          the castle and as the doors begin to close --          SHOUTS OF JOY. Eric spins, wanders back to see what the          commotion is all about.                         170 OMITTED 170          170a OMITTED 170a          171 INT. GENERAL'S TENT - NIGHT. 171          The council session continues. Duke Hammond stares at          William gravely.                         DUKE HAMMOND          My duty is to protect the people who come          to me for help. I will defend them with          my last drop of blood but I will not          abandon these walls. I cannot afford to          believe in miracles.          He suddenly stops as the SHOUTS outside the tent get louder.          He goes to the flap, opens it to see --          Snow White , still dressed in her white funeral robes, stands           at the top of the stairs that leads down into the courtyard.          171a EXT. COURTYARD - DUKE HAMMOND'S CASTLE 171a          Everyone comes out of their tents and stands beneath Snow          White. Her heart pounding, she makes her way down the          stairs. All are riveted by the sight of her, as if they're          looking on an angel or a living miracle.          Eric makes his way back into the courtyard and he, too, is          stunned as he slides in next to the dwarves in the crowd.                         BEITH          It's a miracle!          Duke Hammond, embarrassed and still stunned by the sight of          her, walks up the stairs to greet her. Several Generals          follow him but stay a few steps below them. Hammond takes          her by the hands as they speak.                         DUKE HAMMOND          Your highness...          (He can't believe his eyes)          We thought you...                         SNOW WHITE          No, my lord.          William, below, stares at her in joy while his father still          looks dazed.                         (CONTINUED)                                                                                                                86          171a CONTINUED: 171a                         DUKE HAMMOND          You must rest -                         SNOW WHITE          I have rested long enough.          Her voice is gentle but full of quiet conviction.                         SNOW WHITE          I am ready to ride by your side, my lord,          when you face the Queen in battle.          The Duke looks speechless for a moment.                         DUKE HAMMOND          There will be no battle, your highness.          The best thing you can do for your people          is stay safe behind these walls.                         SNOW WHITE          That is all I thought to do when I          escaped. But I have come to learn there          is no peace while others suffer. Have you          not learned that?                         DUKE HAMMOND          The Queen cannot be defeated. She cannot          be killed. And therefore there can be no          victory.          Snow White hesitates, her heart pounding, then replies:                         SNOW WHITE          I can vanquish her. Defeat her. I am the          only one. She told me so herself.          Duke Hammond starts to object, but Snow White's eyes and, now          her feet, lead her down the stairs to her people. When she          reaches the last step - now at their level - she speaks...                         SNOW WHITE          I have been told that I represent you,          that it is my place to inspire you. That          is wronct. I am not a Queen, not a          leader, not a warrior.          Absolute silence in the courtyard as people, lords, knights          hang on her every word.                         SNOW WHITE          You represent me, who I've become - your          hopes,: your courage, your will - inspires          me.                         (BEAT)          I have also been told my place is not to          fight but to stay here, safely behind          these walls. I will not.                         (MORE)                         (CONTINUED)                                                                                                               86A          171a CONTINUED: (2) 171a           SNOW WHITE (cont'd)          I hold life sacred, even more since I've          tasted freedom, but I've lost my fear of          death.                         (CONTINUED)                                                                                                                87          171a CONTINUED: (3) 171a          Heads nod, people murmur approval. She has them in the palm          of her hand.                         SNOW WHITE          If Ravenna comes for me, I will ride to          meet her. And if she doesn't, I will ride          to meet her.          (looks back at Generals)          Alone if I must.          (back to people)          But if you would join me, I will gladly          give my life for you. For this land and          its people have lost too much.          Eric and the dwarves couldn't look prouder.          Duke Hammond stares at her for a moment, then BOWS. A beat,          then William follows, then all the Lords and Knights. His          eyes fixed on Snow White, Eric bows too. Then Beith. Then          Muir and his son, Quert. Then Coll and Duir. And finally even          Gort and Nion.          Snow White stands alone, overwhelmed by the faith of the          kneeling warriors, and the responsibility on her shoulders.          171b INT. MIRROR CHAMBER - ROYAL PALACE - NIGHT. 171b          Ravenna raises her head to look into the mirror.                         MIRROR MAN          Yes, my Queen! Yes!!!!          The Mirror Man laughs because Ravenna's face is younger, her          energy has returned and we see why when --          WE PULL BACK to reveal several CRONES, young only minutes          before, now old and lying on the floor.          Ravenna smiles, girding herself for the fight to come.                         172 OMITTED 172                         173 OMITTED 173                         174 OMITTED 174                         175 OMITTED 175                         176 OMITTED 176                         177 OMITTED 177                                                                                                               87A          177a OMITTED 177a          177b EXT. CASTLE - NIGHT. 177b          The army is amassed and ready to leave the gates. Snow White,          in full armor, sits astride a white horse, her coat of chain          mail glittering in the torchlight. She looks like an angel,          bearing her fathers standard.          Eric rides up next to her. She is happy to see him.                         ERIC          Back from the dead and instigating the          masses.                         SNOW WHITE          So the Huntsman fights for something          other than himself.                         ERIC          Only if you have need of a brutish          soldier.          She smiles, moved. He turns his horse to full back, but          before he leaves...                         ERIC          You look fetching in mail.          A bugle sounds and --                                                                                                                88          177c EXT. CASTLE - NIGHT. 177c          The Duke's army pours out of the great gate, their torches          blazing in the night. From above, it looks like a river of          lava coursing through the valley. Duke Hammond roars at the          top of his. voice, urging his riders on, and now we see their          vengeful fire spreading across the plain.          178 EXT. QUEEN'S BALCONY - ROYAL PALACE - NIGHT. 178          Ravenna and the general on the balcony. All around, soldiers          and Guards scurry to look busy lest they draw her wrath          (though some can't help but notice her aging appearance.          Ravenna sweeps away a map held out to her.                         RAVENNA          I don't need a map to see you've failed          me, fool, your face is map enough!          BLACK KNIGHT GENERAL          Yes, my Queen.                          RAVENNA           Where are they now?          BLACK KNIGHT GENERAL          A half day's march away. Every hour their          numbers grow. Rebels, peasants and          deserters rally to them wherever they -                         RAVENNA          Deserters?          BLACK KNIGHT GENERAL          Yes, my Queen.                         (CONTINUED)                                                                                                                89                         178 CONTINUED: 176          BLACK KNIGHT GENERAL (cont'd)          They say the King's standard flies again.          And now Ravenna understands -- Snow White.                         RAVENNA          Let them come. Let them break their          hearts and skulls on these castle walls          and bring my prize to me. You must not          harm her. I need her heart -- still warm          with blood.          As she strides away. To soldiers --                         RAVENNA          Victory comes!          178a EXT. PLAINS - WIDE - DAWN. 178a          Hammond's army thunders toward the castle. And then they          arrive at --          179 EXT. SAND DUNES OVERLOOKING RAVENNA'S CASTLE - DAWN. 179          Horses crest the hill. And now, all around Snow White, we see          her army -- not just Duke Hammond's men -- but REBELS --          PEASANTS -- WOMEN -- all willing to follow her.          Eric and William ride nearby. One of the Duke's commanders          arrives to brief him.                         DUKE'S COMMANDER          My lord, we only have a few hours before          the tide comes in. Not long enough to          breach the castle walls. We'll either be          completely exposed or drowned by the ocean.                         DUKE HAMMOND          Is there any other way in? Tunnels? Caves?                         DUKE'S COMMANDER          No, my lord.          Gloom descends on the gathering.                         SNOW WHITE          If we are at the portcullis when the sun          clears the horizon it will be open.          They all look at her.                         (CONTINUED)                                                                                                                90                         179 CONTINUED: 179                         DUKE HAMMOND          But how?          180 EXT. SEA/ SEWAGE TUNNEL/ RAVENNA'S CASTLE - DAWN. 180          An unmistakable brown sludge pours out of a sewage tunnel          into the sea. It is the same sewers where Snow White escaped.          We hear the sound of splashing oars and grumbling:          FROM INSIDE THE SEWAGE TUNNEL          We look out at the faces of the dwarves, peering inside.                         NION          We're promised gold and volunteer for          manure. How low has the dwarf race sunk?                         BEITH          Hi-Ho boys. Off to work.          And they begin to crawl inside.          181 EXT. BALCONY - RAVENNA'S CASTLE - DAWN. 181          Ravenna stares out. On the distant cliffs she sees the banners          of the rebel army. A ray of sunlight pours through the clouds,          lighting up the tiny figure of Snow White.                         RAVENNA          Come to me.          182 EXT. CASTLE SEWERS - DAWN. 182          Coll and Duir wade through the sewage, their axes held up in          front of them, not a flicker of emotion on their faces.                         DUIR          Seven dwarves against an army.                         COLL          I like them odds.          Behind them, Beith covers his nose from the stench, Gort and          Nion look like they're about to be sick, and Muir and his son          bring up the rear, the brown slime almost at Quert's mouth.                         QUERT          Times like this I wish I was taller.          183 EXT. SAND DUNES OVERLOOKING RAVENNA'S CASTLE - DAWN. 183          Crashing waves break against the rocks, washing over the sand.          Duke Hammond stares at the RISING TIDE in concern.                         DUKE HAMMOND          We don't have much time.                         (CONTINUED)                                                                                                                91                         183 CONTINUED: 183                         SNOW WHITE          Then we should ride now. They'll have the          portcullis up by the time we arrive.          Duke Hammond considers, then raises his sword. Snow white          glances at the huntsman. He breaks rank and rides closer to her.          There's a tense silence, then the Duke BRINGS DOWN HIS SWORD and          his riders charge down the dunes.          184 EXT. BALCONY - RAVENNA'S CASTLE - DAWN. 184          Ravenna stares out confidently, her eyes still fixed on Snow          White's distant banner.          185 EXT. CASTLE COURTYARD - DAWN. 185          The trap door in the courtyard rises and we see Beith's head pop          up, his expert eyes scanning the courtyard until they spot the          portcullis. Ravenna's guards hurry past without seeing him,          taking their positions on the battlements. Beith slips back down          into the sewer.                         BEITH          The gatehouse is fifty yards away to left.          Half a dozen guards and fifty armed          soldiers. Archers on either side.                         DUIR          (Pulling out a huge knife)          Give us a couple of minutes.                         COLL          Four tops.          186 EXT. BEACH - DAWN. 186          Snow White rides across the dunes. All around her, riders gallop          along the surf, waves crashing around them. Ravenna's castle          comes into the view, the portcullis still down.          187 EXT. COURTYARD/ CASTLE - DAWN. 187          Coll and Duir move stealthily through the busy courtyard, so          small and fleet they're almost invisible.          188 EXT. BALCONY/ RAVENNA'S CASTLE - DAWN. 188          Ravenna looks on as her archers take their positions and her          artillery men load missiles onto their trebuchets.          189 EXT. BEACH - DAWN. 189          Snow White suddenly sees tiny dots of firelight on the castle          walls. Eric realizes what they are and rides faster. The          pinpoints of light soar up in the air, growing larger and          brighter, until we realize they're FIERY MISSILES. Eric forces          Snow White's horse out of the way as a fireball explodes yards          from her.                         (CONTINUED)                                                                                                                92                         189 CONTINUED: 189          Fire rains down on the Duke's army now, panic spreading in the          ranks. Snow White takes her father's banner and holds it aloft,          rallying the men and riding on.          190 EXT. GATEHOUSE - DAWN. 190          Two unsuspecting guards collapse outside the gatehouse. Before          the other guards can react, Coll and Duir are on them, moving          fast and hard, the assault over in seconds.          191 EXT. SEWER MANHOLE/ COURTYARD - DAWN. 191          Beith sees Coll and Duir signal from outside the gatehouse.                         BEITH          Come on!          192 EXT. BEACH - DAWN. 192          Waves crash over the rocks. Fireballs explode in the sand. Snow          White sees men falling all around her, tears welling in her          eyes, but she never falters. As William rides on, he sees the          castle walls through the smoke, the portcullis still down.          193 INT. GATEHOUSE -- DAWN. 193          The GUARDS in the gatehouse look over as the door splinters and          the dwarves come crashing through in their battle masks. Even          though they're outnumbered, the seven fight like demons -- until          the enemy are subdued.          194 EXT. BEACH -- DAWN. 194          On the castle walls, archers replace the trebuchets. Snow White          holds up her shield to protect herself from the sea of arrows.          Up ahead, the portcullis is still down, Duke Hammond's forces          circling back as they're trapped against the walls.                         WILLIAM          You must turn back!                         SNOW WHITE          I gave my word I would stand with them!          195 INT. GATEHOUSE -- DAWN. 195          A huge pulley controls the portcullis. Beith, Gort and Nion draw          their pickaxes while Coll and Duir tie up the guards.                         BEITH          Now let's see how this works! --          With a mighty blow of his axe, Beith shatters the chains holding          up the pulley. The counter weights go flying down and the          portcullis comes shooting up -- then suddenly stops -- JAMMED.                                                                                                               93          196 EXT. BEACH -- DAWN. 196          The Duke's army are still circling the gates, stones and hot oil          pouring down on them from above. Arrows slam into Snow White's          shield but she still refuses to retreat.          197 INT. GATEHOUSE -- DAWN. 197          Beith peers down at the jammed counter-weights in frustration          when he hears a fierce cry. GORT jumps on the counter-weight,          trying to bring it down. Nion follows, yellingatthetopofhis          voice. Duir puffs up his proud chest and leapsontoo--          198 EXT. BEACH -- DAWN. 198          Snow White sees the portcullis shoot up now, the dwarves hanging          onto the counterweights for dear life. Smiling in relief, she          gallops through the open gates with Eric and William.          199 EXT. CASTLE COURTYARD -- DAWN. 199          The Duke's riders charge into the courtyard. ARCHERS fire at          them from every corner of the castle, but they raise their          shields and leap off their horses, forming a defensive wedge.          200 EXT. BALCONY/ RAVENNA'S CASTLE - DAY. 200          From her balcony above the portcullis, Ravenna watches her own          men being slaughtered; she enjoys the spectacle (Ravenna does          not care one bit about those men). Her eyes are locked on Snow          White.                         RAVENNA          Let her come to me...ALIVE!          Ravenna's soldiers are merely there to hold Snow White's army          back. She has planned the whole thing, calculated every move.          201 EXT. CASTLE COURTYARD - SAME - DAY. 201           TORTOISE FORMATION _ SNOW WHITE FIGHTS _ SNOW WHITE LOOKS UP TO          RAVENNA.           SNOW WHITE GOES THROUGH FIRE TO THE SIDE DOOR. -          202 EXT. BALCONY/ RAVENNA'S CASTLE - DAY. 202          Like a spider waiting in her web, with no concern about her          soldiers' situation, Ravenna remains calm and calculated.          Ravenna turns around and leaves the balcony to the throne          room.          203 EXT. CASTLE COURTYARD - SAME - DAY. 203          SNOW WHITE rushes into the castle. As soon as she passes the          door a dozen of Ravenna's men come outside closing the trap.                         (CONTINUED)                                                                                                                93A                         203 CONTINUED: 203          Now Eric, William and their men have to fight the road block.          In the courtyard, Ravenna's men are losing more and more ground.          Snow White's army will win.                         (CONTINUED)                                                                                                                94                         203 CONTINUED: (2) 203           Eric and William fight like demons, twice as fast, twice as          strong . They MUST pass.                         204 OMITTED 204                         205 OMITTED 205                         206 OMITTED 206          206a OMITTED 206a          206b OMITTED 206b          207 INT. THRONE ROOM - DAY. 207          Snow White storms into the throne room. She is breathing          heavily, a mix of fear and determination.          KNOCK... KNOCK... KNOCK          The raven claw ring, taps, resonating through the halls.          Ravenna stands at the top of the stairs, the mirror room           behind her.           Snow White approaches.                          SNOW WHITE          It ends today... I have come for YOU!                         RAVENNA                          (MOCKINGLY)          My rose has returned           (looking at Gus' small sword)          .with a thorn!          207a OMITTED 207a                         (CONTINUED)                                                                                                                95          207a CONTINUED: 207a                         208 OMITTED 208                         209 OMITTED 209           209a INT. THRONE ROOM - DAY. 209a           Eric, William and a dozen men rush in.           Ravenna smiles, raises her hand.                           RAVENNA           I'll show you thorns!           In a terrifying tremor, the black ceiling of the throne room            starts to shatter into millions of shards.           Snow White turns back to see William, Eric and Hammond's men -           the shards fall down like razor blades.           The men try to protect themselves. Some are caught out and           skewered to the stone floor. Ravenna looks down at them in           complete satisfaction.                                     The millions of black shards circle around Eric and his men,           completely blocking them and keeping them away from Snow          White.                         RAVENNA          Come! ... Avenge your father, who was too          weak to raise his sword.          The millions of shards assemble themselves into three seven           foot tall, razor sharp creatures. The DARK FAERIES: Ravenna's           ultimate soldiers.          Snow White looks at Eric and William - unable to help her.                          (CONTINUED)                                                                                                                96          209a CONTINUED: 209a          Eric, William and the other men are completely surrounded by          these creatures; they move so fast. Eric tries to step away          from them... to no avail.          One of the creatures rises in front of William.          William tries to slash the creature.          His sword goes through and the creature reforms itself right          away. The Dark Faerie opens it's mouth and screeches.          William gets smashed aside, saved only by his shield. The           Dark Faerie grabs the soldier right behind William and sends          him crashing into the wall.           Snow White walks up the stairs, torn and powerless.          She looks at Eric one last time.           Eric looks back as he fights off a Dark Faerie with his two           shields. He knows he does not have much time left but he is          ready to make the final sacrifice.                         ERIC          (battle cry!)          Kill her!          209b INT. MIRROR CHAMBER - DAY. 209b          Snow White braces herself and promptly follows Ravenna into          the mirror room. Now Snow White is exactly where Ravenna          wants her to be.          The two women circle each other like heavyweight boxers.                         SNOW WHITE          Ten years you locked me away!          Ravenna seems to relish this.                          RAVENNA          And every day, every hour led you to this          ,moment. It burned inside you. It drove          you forward, and here you are..          Listening only to her heart, Snow White lunges towards           Ravenna and tries - strikes at her with her sword.          Ravenna steps aside and with very little effort - throws her           to the other side of the room.                         RAVENNA          That's it. Fight. Fight for your land...          for your loss and for Hope!                          (CONTINUED)                                                                                                               96A          209b CONTINUED: 209b          Snow White slams and slides across the floor, she stops under          the archway at the top of the stairs. She is dazed.           Ravenna treads on her back, then grabs her hair, pulls her           head up to see William and his men being massacred.                          RAVENNA          Watch them die. You gave them hope and          they believed you. You have lead them to          their deaths. How foolish your followers.                                                                                                               97          209c INT. THRONE ROOM - SAME - DAY 209c          Eric is trying to stay alive. He rams a Faerie into a pillar.          Shredding the stone, the Faerie explodes in shards and          reforms immediately behind Eric.          Grabbing the first man in sight, the Faerie throws the poor          soldier to the other side of the room.          on the opposite side another Faerie slides faster than the          blink of an eye, grabs the man in flight extending it's          cutting limbs and claws the soldier to his death.          It is like carnage in slow motion.          209d OMITTED 209d          209e MOVED TO 209B 209e                                     210 INT. THRONE ROOM - SAME - DAY. 210          William is being overrun by a school of shards. The shards          shape up into a Faerie taking William up high. In a violent          arm blow, the Faerie projects William onto the banquet table          six feet lower. The table shatters in splinters, William          bouncing like a rag doll.          Spinning around on it's way down, the Faerie skewers a          soldier and impales another one into a pillar. The Faerie          drags him ten feet up, tearing and digging deep into the          stone column.          211 INT. MIRROR CHAMBER - DAY. 211           Enraged, Snow White jolts her body and frees herself from           Ravenna's grasp.          She swings her sword at Ravenna. She parries every attack           with her bare hands.          Snow White is breathless. One more strike... but Ravenna          blocks it again, and this time she doesn't let go.                         (CONTINUED)                                                                                                                97A                         211 CONTINUED: 211                         RAVENNA          (face to face with Snow White)          You were never ready for this princess!          Snow White struggles to get out of her lock. Ravenna is too          strong.          Snow White's wrist is twisted. She holds her sword tight but          can't use it. Ravenna forces the twist. Her fragile bones          crack.           Snow White screams in pain.          The sword drops on the ground.                         SNOW WHITE                         (GRUNTING)          I will... defeat... you... I am the           only...                         RAVENNA          Oh... please!          Ravenna back hands Snow White, sending her crashing to the          wall. SLAM! Cuts on her face.           Ravenna looms closer, through the fire in the middle of the           room. She stands IN the fire, unaffected.          For Snow White it is a vision of pure hell. So much power, so          much hate.                         RAVENNA          I have lived many lives. Ravaged entire          kingdoms, I have been given powers you          can't fathom. You cannot defeat ME?           .you are but a child!                          (LAUGHING)          Ravenna's skin blisters and heals. Ravenna raises her arms          and black shards start to cover the walls behind her...          entombing them in darkness... the trap closes.                          RAVENNA           But you are right... it is over.           Ravenna's laughter pierces Snow White like a dagger.           She feels powerless and lost, spitting blood and exhausted.           What else can she do?          Snow White stands up, stumbles, her right arm limp, blood           dripping down her face.           She stares at Ravenna, she won't back down... she will never          back down.                                                                                                                97B          212 INT. THRONE ROOM - SAME - DAY. 212          William, stumbling upon the dead bodies of his comrades, sees          the shards starting to obstruct the entry of the mirror room.          He runs towards it. Eric sees him and goes for it too.          Behind William and in front of Eric, a Dark creature shapes          up. William doesn't see it.          The Faerie claws William from behind through his armor,          stopping him still and sending him backwards against a pillar          like a stone ricochet.          The Faerie spins it's head 180 degrees and goes from turning          its back to Eric... to facing the huntsman.          Eric stops and tries to pull back.          The Faerie powers up gathering shards from another creature,          doubling in size and density.          Like a fire hose of black shards, the Dark Faerie unloads a          stream of razor blades at Eric.          Eric digs his heels in... slowly grinds and slides on the          floor, double shields up.          The shields are being shredded. One shield gives way          completely torn slicing Eric's arm.          Eric has one shield left. He kneels down... it is a matter of          seconds.          213 INT. MIRROR CHAMBER - DAY. 213          Ravenna approaches and grabs Snow White by the throat,          squeezing hard.          Snow White is chocking.                         RAVENNA          I will never stop... I will give this          wretched world the Queen it deserves...          Ravenna slams Snow White down onto the stone floor next to          the mirror altar.          Snow White stretches for her sword as Ravenna approaches.           Ravenna un-sheaths her dagger.                          RAVENNA                         (TO HERSELF)          A life .for a life.                         (CONTINUED)                                                                                                                97C                         213 CONTINUED: 213          Snow White tries to reach her sword with her left hand, but          it is too far. She tries to drag herself a little closer...           still too far.          Ravenna straddles Snow White, raises her dagger above her          head - smiling, relishing the imminent death blow. The black          tomb has closed in around them.          Eric watches - despair wrought on his face -- as the knife           falls.                                                    RAVENNA          (in a spell incantation)          By fairest blood it is done!          Ravenna strikes... in the blink of an eye Snow White blocks          her strike, reaches for her dagger and plunges it into          Ravenna's chest, just as the huntsman taught her.          Ravenna gasps, locks eyes with Snow White.                          SNOW WHITE          (whispers to Ravenna)          By fairest blood... it is undone!          Ravenna looks down. Three drops of blood fall onto Snow          White's armor.          BOOM... BOOM... BOOM          Ravenna stares in shock and disbelief.                          RAVENNA           NO!           She pulls out the dagger, her face starts to age.           Ravenna is aging at an incredible pace. Her body gives way          and she slumps to the floor, below the mirror.           She looks at the mirror above her, gasping, reaching out, her           pale eyes looking for a friend, a miracle... but nothing.           The black shards that entombed the room start to shatter and           fall to the floor.          214 INT. THRONE ROOM - SAME - DAY. 214          William is on the ground, out of strength and has given up          the fight. A dark creature is slowly close to reaching          William's face with his sharp claws as William tries to hold          the creature's arm with his bare hands, severely bleeding.                         (CONTINUED)                                                                                                                97CA                         214 CONTINUED: 214          The Faeries have slowed down dramatically. Eric grabs a sword          on the ground and slices the Faerie in front of him... the          Faerie shatters.          William looks at Eric, in desperation begging for help. The          two men lock eyes. A silent understanding.                         (CONTINUED)                                                                                                                97D                         214 CONTINUED: (2) 214          Eric throws his sword and blows the other Dark Faerie in          pieces, releasing William.          A silent pact has been made at this moment between the two          men.          The remaining Dark Creature freezes. Eric and William are          barely alive.                                                                                                                98          215 INT. MIRROR CHAMBER - DAY. 215          Snow White approaches Ravenna and kneels beside her, Ravenna          is weak. She ages dozens of years within seconds, her face          shows no anger, no hate, just a strange understanding.                         SNOW WHITE          Why this? Why all of this?                                    Snow White, overwhelmed by compassion, places her hand on          Ravenna's chest. Ravenna puts her own wrinkled hand on Snow          White's.          Ravenna smiles. She gently taps on Snow White's... in a           strange and affectionate motherly way.                                    Eric and William, exhausted and battered climb the steps of           the mirror chamber. It is over.           Ravenna stares up at Snow White's face in a shining halo of          light above her from the ceiling.                         RAVENNA          (whispering to Snow White)          See child,... we are bound.                         SNOW WHITE          (whispers to Ravenna calming)          It will be all right...          Ravenna whispers incomprehensible words with a peaceful smile           on her face. The clouds move in the disc of light above Snow            White. The light falls over Ravenna's face.            The light fades out of her eyes and she dies.                                     216 EXT. CLOISTER GARDENS/ CASTLE - DAY. 216           In the cloister gardens, a blossom flowers on the apple tree and           the world is born again --                         217 OMITTED 217                         218 OMITTED 218                                                                                                                98A          219 INT. MIRROR CHAMBER/ CASTLE - DAY. 219           In death, Ravenna's beautiful blue eyes are wide open, fixed on           the halo of light that surrounds Snow White's head.                          DISSOLVE TO:                         220 OMITTED 220                         221 OMITTED 221          222 INT. CATHEDRAL - DAY 222                          SNOW WHITE           Backlit in a golden hue. A crown is placed on her head.           We're in...          Packed for the coronation. Duke Hammond and Bishops surround          her. Snow White smiles and looks out at all assembled - her          subjects, her friends, the people she's come to know and love          - meeting the eyes of Rose, looking young and beautiful again          -- Anna and Lily -- the seven dwarves, who all wipe away          tears.          She sees William off to the side, smiling, looking on          adoringly. But her eyes continue through the crowd, looking                         FOR --          Eric, in the very back of the cathedral, near the door.          Their eyes meet, as if they're the only two in the room.          This lasts several moments until --                         BEITH          Hail to the Queen!          And then the huntsman smiles and leaves.                         ERIC V/0          The land was healed, and the rightful Queen          brought an age of peace and prosperity.                                                                                                                99          223 EXT. CASTLE - DAY 223          We drop down from the castle to find the huntsman, on horseback          heading toward us.          ERIC (V.0.)          As for the huntsman...          Eric goes under the village arch, back toward the forest.          ERIC (V.O.)          He returned to the forest where he          belonged.
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+                              "SO I MARRIED AN AXE MURDERER"                                      Screenplay by                                        Robbie Fox                                      SHOOTING DRAFT                               FADE IN:               OPEN ON:               MONTAGE OF VARIOUS SHOTS OF SAN FRANCISCO - DUSK               Over this we hear a recording of Jack Kerouac's poem, San                Francisco which is accompanied by a BE-BOP trio. Kerouac's                poetry coincides with the various shots of San Francisco. We                come to a sign for Jack Kerouac Street. We PAN OVER to "THE                CITY LIGHTS BOOKSTORE" and continue along to the ALLEYWAY                where there is a large high-contrast black and white sign                depicting Jack Kerouac in his famous "I'm looking into the                distance, having a brilliant thought" pose...               CHARLIE MACKENZIE, in his late twenties, wearing a flannel                shirt and torn jeans, walks INTO THE FRAME, right in front                of the picture of Jack Kerouac and inadvertently strikes the                exact same pose. We PULL BACK to reveal that Charlie has a                bag of garbage in his right hand, which he deposits in the                alleyway. We FOLLOW Charlie into...               INT. CITY LIGHTS BOOKSTORE               We FOLLOW him through the store. By day he is the Assistant                Manager, by night he is a poet.               A MAN in his fifties, wearing a beret and a goatee is reading,                Charles Bukowski's, Playing The Piano Like a Percussive                Instrument, Until Your Fingers Begin To Bleed A Bit.               Charlie takes his place behind the cash register and resumes                writing in his handsome leather-bound poetry journal.                                     CHARLIE                              (sotto)                         O' SCOTLAND                         YOUR SUCKLED TEET OF SHAME               CUSTOMER approaches.                                     CUSTOMER                         Do you have the book On The Road by                          Jack Kerouac?               Every day there is a steady stream of tourists who come in                to get copies of On The Road. Charlie is use to this and                without looking up he points to a huge, well marked display                of thousands of copies of On The Road. Another TOURIST COUPLE                approach.                                     TOURIST                         Do you have a copy of On The Road by                          Jack Kerouac?               Again not looking up, Charlie just points.                                     TOURIST                         Thanks.               EXT. CITY LIGHTS BOOKSTORE - NIGHT               Charlie puts the "CLOSED" sign on the door and proceeds to                walk home.               EXT. SAN FRANCISCO STREETS               The sights and the sounds of the city are accentuated by the                BEBOP as he sees life, warts and all. As the streets become                less populated, he can now hear the sounds of his own                FOOTSTEPS and, a COUPLE BICKERING. The streets become even                more deserted. The night is closing in on him. A cat darts                out from an alleyway and startles him. He quickens his pace.                RUMBLINGS make him cross the street to avoid the danger.                Headlights of a slow moving car approach from the distance.                Charlie, frightened, turns another corner onto:               HIS STREET               He approaches a 3-story Victorian home, in which he has an                apartment on the second floor, he notices a light on in his                window. A CRASHING sound from within.                                                                    CUT TO:               HANDS               taking papers out of a desk drawer.                                                                    CUT TO:               CHARLIE               carefully opening the front door and then gingerly closing                it. He reaches for a baseball bat in a nearby umbrella stand.                Sound of BREAKING GLASS from his apartment upstairs.                                                               CUT BACK TO:               SHATTERED PICTURE FRAME               with a photo of Charlie and an angelic blonde.                                                               CUT BACK TO:               CHARLIE               finishing off the last two steps nearing the front door of                his apartment, bat raised above his head ready to swing.                                                                    CUT TO:               THE HANDS               clasp a jewelry box on the top of the dresser and stuff them                into a dufflebag; the jewelry is followed by CD's.                                                                    CUT TO:               CHARLIE               pushing open his apartment door in a mock SWAT maneuver,                then stealthily stalking toward the sound of the intruder in                the bedroom. He stubs his toe on a spring loaded doorstop                making a loud metal VITTSWINGGGG's sound. He freezes,                terrified.                                                                    CUT TO:               THE BEDROOM               where the HANDS, freeze.                                                               CUT BACK TO:               CHARLIE               Like a coiled jungle cat ready to pounce, waits two beats...                then springs Samurai style into...               THE BEDROOM               He freezes.               REVERSE ANGLE TO REVEAL               that the HANDS belong to the angelic blonde in the broken                picture. It's Charlie's girlfriend, SHERRI.                                     CHARLIE                         Sherri! What are you doing?                                     SHERRI                         I'm leaving you.                                     CHARLIE                         Oh, thank God... I thought you were                          robbing our own home, because frankly,                          that's insane. I mean, what could                          you possibly gain by robbing your                          own home? I don't mean to meddle,                          but isn't it better to rob other                          peoples' homes? Start accumulating                          their wealth as opposed to just                          reaccumulating your own wealth.                                     SHERRI                         That's not funny, Charlie. I'm really                          leaving.               She continues to pack. Charlie tries to unpack her things.                                     CHARLIE                         What?! Just because we had a fight                          last night?                                     SHERRI                         We've had a fight every night for                          two months. Ever since I brought up                          the subject of marriage, you've found                          fault with everything I do. Why                          couldn't we have gotten married,                          Charlie?                                     CHARLIE                              (beat)                         I'm too young to get married.                              (begins putting her                               things back)                         I'm only twenty-nine and a half. We                          love living together.                                     SHERRI                         It's been two years now. I need                          something more.                                     CHARLIE                         See, Sherri, this is frustrating for                          me, okay. When we first started going                          out I thought we agreed that we                          weren't the sort of people who got                          married.                                     SHERRI                         That's like saying we're not the                          sort of people who are going to grow                          old. We're not going to fall into                          that "growing old" trap. Face it,                          you've got a problem with commitment,                          Charlie. Take a look at your other                          girlfriends. Every time you get close                          to a commitment there's something                          wrong with them.                                     CHARLIE                         Hey, I broke up with them for good                          reasons.                                     SHERRI                         What about Sandy?                                     CHARLIE                         Sandy was an alcoholic.                                     SHERRI                         No-no-no. You thought she was an                          alcoholic. She just drank more than                          you drank. What about Jill?                                     CHARLIE                         She hated my family.                                     SHERRI                         You thought she hated your family.                          Nobody hates your family. Everybody                          loves your family. What about Julie?                                     CHARLIE                         She smelled like soup.                                     SHERRI                         What does that mean?                                     CHARLIE                         She smelled exactly like Campbell's                          Beef Vegetable soup. She was dirty,                          physically dirty.                                     SHERRI                         Well, Charlie, I wonder what you're                          gonna say were my problems? Are you                          gonna tell your friends that I was a                          junkie, that I wasn't supportive                          enough or that I smelled like relish?                          Charlie, I loved you. It could have                          worked out.                              (she goes to the door)                         Think about it.               She leaves.               ANGLE ON - THE BROKEN PICTURE               EXT. SAN FRANCISCO - CHARLIE'S CAR - DUSK               Charlie and his best friend, TONY SPILETTI, are out for a                night on the town.               Tony is second generation Italian-American with very                Mediterranean features. They're listening to Teenage Fan                Club. They pass Ghierardeli Square.                                     CHARLIE                         Tony, Teenage Fan Club, they're                          Scottish you know?                                     TONY                         Oh.                                     CHARLIE                         I had that dream again.                                     TONY                         Oh, is that the one where you suspect                          that a fat man in a diaper, on a                          lazy susan has interfered with your                          plans for the evening?                                     CHARLIE                         No, but I have had that one. No, in                          this one I'm in love...                                     TONY                         Yeah.                                     CHARLIE                         And I say to myself, 'I've finally                          found somebody that I'm truly                          comfortable with.' You know when                          you're so comfortable that you'll                          let them put makeup on you to see                          what you would look like if you were                          a girl. Anyways you know what I do                          in the dream next?                                     TONY                         You propose?                                     CHARLIE                              (after a pause)                         No. I die.                                     TONY                         But Charlie, you're a normal suburban                          guy at heart, from a normal suburban                          family. Didn't you tell me you always                          wanted to get married and have a                          family.                                     CHARLIE                         Yes, but, I'm afraid, okay? There                          are seven main rites of passage in a                          man's life. Birth, first day of                          school, last day of school. Marriage.                          Kids. Retirement. Death. I'm at                          marriage. I'm two rites of passage                          away from death.                                     TONY                         I'm sorry, I wasn't listening.               Tony is doing three-sixties, scoping out beauties, when                suddenly his roving eyes lock on a police car directly behind                them. He slouches down into his seat.                                     TONY                         Christ. It's the cops.                                     CHARLIE                         Tony, you are a cop.                                     TONY                         I know. Isn't it awful? I work with                          those guys. They're assholes.               The police car passes.               INT. SPILETTI'S COFFEE HOUSE - NIGHT               Tony and Charlie enter. There is a poet on stage. The club                is full of art tarts and college bohemians. They are greeted                by the club's owner, GIUSEPPI, an Italian man in his fifties.                                     TONY                         Salve zio mio.                                     UNCLE                         Allora? Che catzo fai, Charlie?                                     CHARLIE                         Hi, Uncle Giuseppi.                                     UNCLE                         Tony, come' stai bello il tuo pappa                          e' in galera per la terza volta.               Tony's uncle shows them to a table.                                     UNCLE                         I'll have the waitress bring you                          cappuccino.                                     CHARLIE                         What did your uncle say?                                     TONY                         He says my Dad's back in jail again.                                     CHARLIE                         Ah, I'm sorry, man.                                     TONY                         You know, it's funny I don't even                          feel related to my parents anymore.                          I feel like your mom and dad are                          more like my parents. I feel more                          Scottish than Italian.                                     CHARLIE                         Tony Spiletti, I don't think you                          could get more Italian than that.                          Unless of course your name was Tony                          Italian Guy.               Charlie checks out the girls in the coffee bar.                                     CHARLIE                         I'm so bummed. Sherri was great,                          wasn't she? I'm an asshole, aren't                          I?                                     TONY                         Yes.                                     CHARLIE                         You've got to help me get through                          this night.                                     TONY                         You've just got to get back on the                          horse.               The waitress arrives with two cappuccinos in extremely large                cups like they have in France.                                     CHARLIE                         Waitress, I'm sorry, there seems to                          be a mistake. I ordered the large                          cappuccino.               Two girls at a nearby table, laugh. Charlie and Tony exchange,                "This could be promising." looks.                                     CHARLIE                              (to the girls)                         Do you think these cups could be                          larger? They're practically bowls.               The girls laugh again.                                     CHARLIE                         I feel like I'm having Campbell's                          Cuppuccino.                                     TONY                         Join us in a cup of coffee? There's                          enough room?                                     GIRLS                         Sure!               The girls come over.                                     SUSAN                         My name's Susan and this is June. We                          think you're funny.                                     TONY                         My name's Tony. This is my friend                          Charlie.                                     CHARLIE                         Look, Tony, I'm going home. See you                          later, girls.               Tony grabs him and pulls him aside.                                     TONY                         You really don't understand, do you?                          When a girl comes over to your table                          and says, 'I think you're funny.' It                          means you've pretty much been given                          the keys to the city. Charlie, this                          is big.                                     CHARLIE                         Perhaps you've confused me with                          someone who gives a shit. Here's                          what's gonna happen, Tony. We'll end                          up going out with them tonight, maybe                          even home with them. Well go out for                          two months. Soon she'll move in,                          we'll be happy, She'll want more of                          a commitment. I'll be terrified and                          I'll do something to ruin it. Just                          like I did with Sherri.               He leaves. Tony is left with the two girls.                                     JUNE                         Poor, guy... He seemed so nice.                                     TONY                              (talking, choked up)                         I just broke up with somebody as                          well. She left me high and dry.               The girls try to comfort him.               INT. CHARLIE'S APARTMENT               Three quarters of the furnishings and items have disappeared                with Sherri. Charlie sits dejectedly on the floor over his                Poetry Journal. He is missing Sherri. We see...               CHARLIE'S FACE               He looks out and is struck by an idea and begins to write.               ANGLE ON THE JOURNAL                                       I AM LONELY               CHARLIE'S FACE               Again he looks out, finds his inspiration and continues to                write               IN THE JOURNAL                                     IT'S REALLY HARD               CHARLIE'S FACE               A gentle tear rolls down his left cheek. He pauses, then                finishes off the stanza.               IN THE JOURNAL                                     THIS POEM SUCKS               After the last line he scratches out the entire poem. He                closes the book and turns on the TV set to CNN to veg out.                The show is "What's Cooking! With Burt Wolf."               EXT. SAN FRANCISCO STREET               Charlie is driving in his car. He drives slowly looking for                an address. Finds it, slips in to a parking spot in front.               EXT. BUTCHER'S SHOP - MEATS OF THE WORLD               Adorning the front are a "GRAND OPENING" sign and miniature                flags of the world. Charlie goes inside.               INT. BUTCHER'S SHOP               It's a small, hip shop selling specialty meats from around                the world. Charlie looks around. Suddenly, an attractive                woman in her late twenties, wearing a blood-stained smock                enters. It is HARRIET MICHAELS. She has a cleaver in one                hand and something bloody in the other.                                     HARRIET                              (angry)                         Goddamn shoplifter.                              (conscious of Charlie's                               presence; holding up                               bloody meat)                         But I got him!                              (smiles)                         You're next.                                     CHARLIE                              (backing out the door;                               terrified)                         I've come at a bad time.                                     HARRIET                         No stay!                                     CHARLIE                         No, no, really... Obviously you've                          got things you have to do. You've                          got to dismember the rest of his                          bloody torso. Dig a makeshift shallow                          grave. Cover the body with quick                          lime. Really so much to do, so little                          time and I'm only in the way here,                          I'm just gonna go. Good luck.                                     HARRIET                              (referring to meat in                               hand)                         Oh, this! Oh, no, this is what he                          stole. This isn't a piece of him or                          anything. This is Icelandic Shank.                                     CHARLIE                         I bet it goes well with a nice                          Chianti. Fittfittfitt.                                     HARRIET                              (laughs)                         Can I help you?                                     CHARLIE                         Yes. Do you have haggis?                                     HARRIET                         Yes, we do. It's over here in our                          Scottish Cuts section. One?               This is a section under glass flying a Scottish flag, with                haggis and various cuts of Scottish meat.                                     CHARLIE                         Yes! I've never been able to find                          haggis anywhere, except at my parents'                          house. They're Scottish.               Harriet rounds the counter and wraps up the haggis. Behind                her is the large "PRUSSIAN VENISON" sign.                                     HARRIET                              (ringing up his order)                         That'll be fifteen, seventy-nine.                          Will there be anything else?                                     CHARLIE                         Yes. I know it's a long shot, but                          you wouldn't by any chance happen to                          have any Prussian Venison?                                     HARRIET                         Now where in the world would I get                          Prussian Venison?               Charlie's charmed.               EXT. SAN FRANCISCO STREET               Charlie is driving along listening to Kerouac. We absorb the                flavor of San Francisco as he drives down Lombard Street.               EXT. CHARLIE'S PARENTS' APARTMENT BUILDING - NIGHT               An old crappie apartment building in San Francisco. Charlie's                car pulls up. We hear "SATURDAY NIGHT" by the Bay City                Rollers.               INT. OUTER HALLWAY OF CHARLIE'S PARENTS' APARTMENT - NIGHT               Charlie approaches a door.                                     CHARLIE                              (calling up)                         Mom, Dad, I'm here.                                     STUART (O.S.)                         We're in here, son.               The apartment is a shrine to Scotland. Scottish paraphernalia,                miniature Scotty dogs, shortbread tins and, on wall, framed                pictures depict famous Scotsmen, Sean Connery, Jackie Stewart,                Alexander Graham Bell, James Doohan (Scottie from "Star                Trek"), Sheena Easton, Billy Connolly.               CHARLIE'S POV - AS WE ENTER THE LIVING ROOM               We see STUART, MAY, TONY, and little WILLIAM, Charlie's                fourteen year old little brother all singing:                                     ALL                              (singing)                         S-A-T-U-R-D-A-Y... NIGHT                                     STUART                              (noticing Charlie)                         Come give your old man a kiss or                          I'll kick your teeth in.               The group are eating dinner on TV trays. Charlie walks over                and turns off the record.                                     MAY                         Charlie, put on Charlie Pride, would                          ya? Oh, I love Charlie Pride.                              (begins singing; in                               thick Scottish accent)                         HEY, DID YOU HAPPEN TO SEE THE MOST                          BEAUTIFUL GIRL IN THE WORLD...                                     STUART                         May, shut it.               STUART MACKENZIE is in his late fifties, a butcher, with                Coke bottle glasses and thick head of black hair. His red-               haired wife, MAY, is in her fifties, attractive with a soft,                but tough appearance. Little WILLIAM, has a very large head                and a skinny neck. Like Charlie, he was born in America.               Charlie gives his Mom a hug, his father a kiss.                                     CHARLIE                         Hey, William.                                     WILLIAM                              (on his stomach on                               the floor; watching                               TV)                         Hey, Charlie.                                     STUART                         SCORES! MAGIC GOAL!               On the television, Stuart's team, Glasgow Celtic, has scored.                                     TONY                         Aye -- magic.                                     STUART                         Let's have a look at the re-play.                          William, move your head. Look at the                          size of that ooy's heed. I'm not                          kidding. It's like an orange on a                          tooth pick.                                     MAY                         Stuart, you're going to give the boy                          a complex.                                     STUART                         I'm not kidding. That's a huge                          noggin'. It has it's own weather                          system. It's a virtual planetoid.                              (shouting to William)                         Heed! Move!               We see the re-play of the goal on TV. Tony sits down and May                brings over a plate of stew and three types of potatoes,                piled very high.                                     MAY                         Is that enough potatoes, Charlie?                                     CHARLIE                         Enough to recreate Devil's Tower in                          "Close Encounters".                                     STUART                              (sniffs the air)                         Do I smell haggis?                                     CHARLIE                         Aye, you do.                                     MAY                              (taking it)                         I'll put it in the frig.               Charlie notices Tony reading some papers. He realizes it's                literature from the Lyndon H. LaRouche Society.                                     CHARLIE                         Dad, what are you doing to Tony now?                          Why do you abuse his mind like this?                                     STUART                         That's the latest report from Lyndon                          H. LaRouche, outlining how the Queen                          and the Rothschilds masterminded the                          Soviet overthrow, so that they could                          reclaim lands they had annexed during                          the Holy Roman Empire.                                     TONY                              (goading Charlie)                         You know a lot of this makes sense.                                     CHARLIE                         I think you're suffering from the                          Stockholm Syndrome, where the hostages                          start to relate to their captors.                                     STUART                         Listen, Sonny Jim, it's a known fact                          there's a society of the five                          wealthiest people in the world, called                          the Pentaverate, who run everything                          and meet three times a year at a                          secret country mansion in Colorado,                          known as "The Meadows."                                     CHARLIE                              (sarcastic)                         And that's obviously why we haven't                          heard about it in the newspapers.                                     STUART                              (inappropriately angry                               & loud)                         That's right. They fuckin' own the                          papers, smartass. And everything                          else. Why do you think Scotland's                          not been able to get independence?                          Because the Queen the Pentavirate                          and those English dome heads in West                          Minster won't have it.                                     CHARLIE                         Who are the other members of this                          pentaverate?                                     STUART                         The Queen, the Rothchilds, the Gettys,                          the Vatican, and Colonel Sanders                          before he went tits up. Oh, I hated                          the Colonel with his wee beady eyes.                          And that smug look on his face.                                     CHARLIE                         Dad how can you hate "the Colonel?"                                     STUART                         Because the Colonel puts an addictive                          chemical in it that makes you crave                          it fortnightly.                                     CHARLIE                         Interesting... coo-coo                                     MAY                         Would anyone like a juice? Charlie,                          did I tell you, we bought a Juice                          Tiger?                                     CHARLIE                         A Juice Tiger?                                     MAY                         Aye, it's a juicer. It's part of my                          National Enquirer, Garth Brooks diet.                          Would you like potato juice?                                     CHARLIE                         Thank you, no.                                     MAY                         Sherri's late.                                     CHARLIE                         Yeah, uh, Sherri and I broke up.                                     MAY                         Oh, you didn't. Sherri was the                          daughter your father was never able                          to give me.                                     CHARLIE                         I'm just not ready for marriage. I'm                          twenty-nine and my poems haven't                          even been published yet.                                     STUART                         But it's not just the poetry is it                          son? You're afraid if you get married                          you'll lose your muse. Look at me, I                          was a strapping young butcher, at                          the height of my creative powers.                          When it came to de-boning a side of                          beef, there was nobody that could                          touch me. Then I married your mother.                          And people would still stand in awe                          as I filleted a shoulder of lamb.                                     MAY                         Maybe it's just as well not to get                          married, look at the news. Where did                          I put it?                                     STUART                         Heed. Move that melon of yours into                          the bathroom and get the paper for                          your mother.               William gets the National Enquirer and brings it back.                                     CHARLIE                         That's not news, Dad. That's bullshit.                          I wouldn't wipe my ass with that                          paper.                                     STUART                         What are you talking about? It's the                          fifth highest circulating paper in                          the United States, I'll have you                          know.                                     MAY                         Oh, here it is. Mrs. X. The Honeymoon                          Murderer. She marries men under fake                          identities, and then murders them.                          She killed some German martial arts                          expert, and some plumber named Ralph                          Elliot. Her whereabouts are unknown.               There's another goal on the TV set.                                     STUART                         Scores! Two nil. Magic!                                     TONY                         Ah, beautiful goal. We HOLD on the                          TV set.               Time passes. The TV set                                                               CROSS FADES:               TO THE END OF THE GAME               The two teams are shaking hands. And the final scores chyron                shows Celtic beating Rangers three nothing. We see Charlie                and Tony are leaving. Stuart is blind drunk.                                     STUART                              (singing Rod Stewart's                               song)                         YOU'RE IN MY EYES, YOU'RE IN MY                          DREAMS...                         YOU'RE CELTIC, UNITED                          AND BABY I'VE DECIDED...                                     MAY                         Ah, you're steaming.               She meets Charlie and Tony at the door and kisses him good-               bye. She turns to kiss Tony, and holds on the kiss far too                long.                                     TONY                              (pulling away)                         See you later, Mrs. MacKenzie.                                     MAY                         Oh, you've turned into a sexy Italian                          bastard.                                     CHARLIE                         See you later, mom.                              (calling out)                         See you later, Dad.                                     STUART                         Fine. Go! You've stayed your hour.               Charlie and Tony leave and enter...               THE HALLWAY               where they find William sitting on the stairs waiting for                them.                                     WILLIAM                         Take me with you.               EXT. MEATS OF THE WORLD - LATE AFTERNOON               Charlie's drives by and notices Harriet, who's unwinding the                store awning in Dutch national costume. The banner announces                "DUTCH WEEK." "MEATS OF THE WORLD SALUTES DUTCH MEAT."               Charlie slows down to look at her. She looks great in her                little Dutch costume.               INT. CITY LIGHTS BOOKSTORE - DAY               Charlie is again writing at the counter. Another PERSON                enters.                                     MAN                         Excuse me. You wouldn't happen to                          have...               Charlie again points to the Kerouac section without looking                up.                                     MAN                         Thanks.               ON THE PAD               Charlie writes...               OH MEAT MAID,                IF THE CATTLE HAD HAD A CHOICE, THEY WOULD HAVE SLAUGHTERED                THEMSELVES                WILLINGLY                FOR A CHANCE                TO BE TOUCHED                BY YOUR FINGERS                                                                    CUT TO:               CHARLIE'S FACE               She's on his mind.               EXT. MEATS OF THE WORLD               Charlie's car pulls up. The sign reads, "WELSH WEEK" "MEATS                OF THE WORLD SALUTES WELSH MEATS"               INT. MEATS OF THE WORLD               The store is very busy. There is a line at the meat counter                seven people deep. Charlie takes his place at the end of the                line.               We see a montage of a persons hands chopping a rack of lamb                into lamb chops, and carving meat with surgical efficiency.                                     HARRIET                              (spotting Charlie in                               the crowd)                         Oh, hi haggis, right?                                     CHARLIE                         It was a big hit.                                     HARRIET                              (finishing up with a                               customer)                         I remember you told me you were                          Scottish, but do you really like                          haggis.                                     CHARLIE                         No. I think it's repellent in every                          way. In fact, I think most Scottish                          cuisine is based on a dare.               Harriet laughs.                                     HARRIET                              (to the next customer)                         Can I help you?                              (to Charlie)                         Sorry, I'm really busy.                                     CHARLIE                         Look, um, my dad's a butcher, do you                          need a hand?                                     HARRIET                         Well, actually, Yes.               Charlie puts on a very stylish butcher smock and crosses                behind the counter.                                     HARRIET                         Can you get me four Belgian                          porterhouses? Do you know what a                          porterhouse looks like?                                     CHARLIE                         I'm meat literate.               Time passes we see a montage of Harriet and Charlie serving                customers. Ending on a customer's POV of Charlie.                                     CUSTOMER (O.S.)                         Yes, do you have any fresh blubber?                                     CHARLIE                         I'll check.                              (pause)                         You want blubber, right?                                     CUSTOMER                         Yeah.               We see Charlie's POV of an Eskimo with a "lower forty-eighth"                accent.                                     CUSTOMER                         My parents are coming to town. You                          know how parents are. They'll drive                          you nuts.               The Eskimo exits, there are no customers left.                                     HARRIET                         Look, I'm really grateful. Can I                          offer you some meat as payment?                          Please, help yourself to some meat.                                     CHARLIE                         I'm trying to be a vegetarian.                                     HARRIET                         Trying to be a vegetarian?                                     CHARLIE                         Yeah, the problem is I really love                          hot-dogs.                                     HARRIET                         I think the meat industry invented                          hot-dogs to stop people from becoming                          vegetarians. There's got to be                          something I can do to repay you.                                     CHARLIE                         You could take me to a nice romantic                          dinner.               EXT. PIER - NIGHT               Charlie and Harriet are eating hot-dogs. As Charlie puts the                relish on, he smells the relish.                                     CHARLIE                              (sniffing the relish)                         This reminds me of my ex-girlfriend.                                     HARRIET                         I hate talking about old                          relationships.                                     CHARLIE                         Then let's not and say we did.                                     HARRIET                              (she laughs)                         That was easy -- What a nice guy.                          You've probably never done a mean                          thing in your life.                                     CHARLIE                         You'd be surprised.                                     HARRIET                         I'd like to hear.                              (to his confused look)                         Name me something bad you've done in                          your life.                                     CHARLIE                         Are you kidding me?                                     HARRIET                         No. Did you ever steal anything? You                          ever hit someone?                                     CHARLIE                         Well, I've been in fights. Let me                          think.                                     HARRIET                              (as Charlie thinks)                         Not one bad thing, Charlie?                                     CHARLIE                         Tell me something bad you've done.                          And it better be bad. I mean, evil.                                     HARRIET                         How evil?                                     CHARLIE                         Really evil.                              (thinks)                         Like how many people have you brutally                          murdered?                                     HARRIET                         "Brutal" is such a subjective word.                          I mean, what's brutal to one person                          might be totally reasonable to                          another.               Next to them is a German couple, speaking German, looking                through a coin-operated binocular. He says something which                causes her to cry.                                     CHARLIE                         This just reminded her of that scene                          in "Brian's Song".                                     HARRIET                         Actually, he just proposed to her.                          Those are tears of joy.               She lifts her soda to toast them.                                     HARRIET                         Prost.               The man and woman smile and nod.                                     MAN                         Danke, Fraulein.                                     CHARLIE                         You're very smart. It's a shame I'm                          going to have to destroy you.                                     HARRIET                         Do bright women intimidate you?                                     CHARLIE                         No, not at all.                                     HARRIET                         Really, what do you look for in women                          you date?                                     CHARLIE                              (thinks)                         Well, I know everyone always say                          "sense of humor", but I'd have to go                          with breast size.                              (she laughs)                         How about you? In a guy.                                     HARRIET                         Income of course, and then...                              (thinks)                         ...savings.               He smiles at her.                                     CHARLIE                         Me likey how you thinkey.               INT. HARRIET'S APARTMENT - NIGHT               The lights turn on, and then they enter a very bohemian                apartment. There is artists paraphernalia strewn around. A                small bar separates the living area from the kitchen. She                smiles and walks off into the kitchen.                                     HARRIET                         I'll make us some tea.               He checks out her apartment. On the wall there is a huge                poster of the BOARDWALK IN ATLANTIC CITY.                                     CHARLIE                         Hey, you know what this apartment                          needs? A really large oversized poster                          of Atlantic City.                                     HARRIET                         I used to live there. That's where I                          had my first supermarket job.               On his way out, he peeks into the bedroom, where he finds a                bed that is facing neither parallel nor perpendicular with                the wall. It is just kind of "there".                                     HARRIET (O.S.)                              (coming into room)                         I only have chamomile. I hope that's                          all right.               He looks at her and then at the "Oddly-placed" bed.                                     HARRIET                         It's North-South.                              (to his confused look)                         For health reasons. See... I had                          this friend, he was a martial arts                          expert. Anyways, he used to sleep                          North-South. I don't know... It's a                          martial arts thing and it just sort                          of became a habit with me.                                     CHARLIE                              (walking into living                               room)                         You know Scotland has it's own martial                          arts. It's called FUCKU. It's mostly                          head butting and kicking people when                          they're on the ground.               Harriet starts laughing. Then so does Charlie. They lean                into each other. Pretty close. Too close even, and when it                seems like they're going to kiss, Charlie suddenly gets                uncomfortable and looks at his watch.                                     HARRIET                         Late?                                     CHARLIE                         No. No. Not for me.                                     HARRIET                         Who for then?                                     CHARLIE                         Who for then what?                                     HARRIET                         Well, you looked at your watch and                          said it wasn't late for you... I                          wondered who it was late for.                                     CHARLIE                         Not me. No, Sir. Not here.                              (after a pause;                               checking watch)                         Maybe it is late.               She gets him his coat. He starts to leave.                                     CHARLIE                         Look, the truth is, yes, I had a                          great time, and I'd like to kiss                          you, but if we do kiss, then we'll                          kiss on the couch and if we kiss on                          the couch, then we'll kiss in the                          bedroom, and once you're in the                          bedroom -- Well, the thing is, I                          always rush it. And this time I feel                          like maybe I should wait. Maybe we                          should let it build naturally and                          grow, instead of just immediately                          spending the night together.                                     HARRIET                         I want to spend the night together.                                     CHARLIE                              (sold)                         I have no problem with that.               THE BEDROOM - MIDDLE OF THE NIGHT               They are both fast asleep. She is curled up in his arms.                Suddenly, she begins to speak.                                     HARRIET                         Yes! Yes!               Charlie's eyes open. He smiles.                                     HARRIET                         Yes Ralph. I will. Ralph.               Charlie's smile fades. He sits up and looks at her. She is                lying completely still on the bed, her eyes closed, and still                sleep-talking.                                     HARRIET (O.S.)                         Now now Ralph!                                     CHARLIE                              (waking her)                         Harriet...? Harriet...?                              (as her eyes open)                         You were having a dream, or...? You                          kept saying the name Ralph.                                     HARRIET                         Ralph?                                     CHARLIE                         Ralph. I heard you say it.                                     HARRIET                              (sleepily)                         That's odd. Just today I was thinking                          about, her. She's a friend.                                     CHARLIE                              (starting to leave)                         Is she nice --? Ralph...                                     HARRIET                         Yeah. She's great.                                                             DISSOLVE INTO:               INT. HARRIET'S BEDROOM - MORNING               Charlie is sleeping alone in the bed, and the sound of RUNNING                WATER is heard off in the distance. His eyes slowly open, he                looks around, remembers where he is. He puts on his shorts                and walks towards the bathroom.               INT. BATHROOM - MORNING               Through the steam we can just make out Harriet in the shower                washing her hair. Charlie walks over.                                     CHARLIE                         You know... with this drought in                          California total strangers are urged                          to shower together.               He opens the curtain. It's not Harriet. The woman, ROSE,                calmly looks at him and closes the curtain.                                     ROSE                         Go away.                                     CHARLIE                         Oh God. I'm sorry. Jesus. Excuse me.               He backs out of the room.               INT. HALLWAY - HARRIET'S APARTMENT               The door opens and a hurriedly dressed Charlie emerges. Before                he gets to the door he once again encounters Rose. She's                completely dressed. Even her hair is dry.                                     CHARLIE                         Hi. I'm really sorry. I must have                          scared the... I'm Harriet's friend,                          Charlie, and you must be...                              (hopefully)                         Ralph?                                     ROSE                         I'm Harriet's sister, Rose. And this                          is Harriet's note.               He reaches for it, but she reads it aloud to him.                                     ROSE                              (reading)                         'Dear Charlie, I didn't want to wake                          you, make yourself at home, thanks                          for making me smile.' Harriet.                                     CHARLIE                         That's a very nice note.                                     ROSE                         I'll make you some breakfast.                                     CHARLIE                         Gee, I'd love to but I'm running                          late.                                     ROSE                         What would you say to blueberry                          pancakes, bacon, fresh squeezed grape                          juice and Kona coffee?               INT. KITCHEN - LATER               Charlie and Rose sit at the table each eating a bowl of dry                cereal.                                     ROSE                         I'm sorry I didn't have any of those                          other things.                                     CHARLIE                         Hey, that stuff'll kill you while                          Fruit Loops are light and probably                          reasonably high in Fiber. I like                          Apple Jacks too.                                     ROSE                         Got 'em.                                     CHARLIE                         So this is your apartment?               Rose starts sketching Charlie.                                     ROSE                         Yes. She's been here the past three                          months... ever since she came back                          from Miami. I used to visit her                          occasionally. She didn't speak of                          me?                                     CHARLIE                              (shakes his head, no)                         She told me about a martial arts guy                          and there was some discussion about                          Ralph...                                     ROSE                         She spoke of them...?                                     CHARLIE                         She spoke of the martial arts guy                          and screamed about Ralph...                                     ROSE                              (affectionately)                         Well, you know Harriet.                                     CHARLIE                         Actually, I really don't.                                     ROSE                              (puzzled)                         But you did have sex with her?                                     CHARLIE                              (taken aback)                         Hello.                                     ROSE                         Yet you still don't know her.                              (contemplates this)                         See, that's the problem with sex.                          It's not very revealing.                                     CHARLIE                         My, look at the time.               He stands up.                                     ROSE                              (after a pause)                         You should be careful, Charlie.                                     CHARLIE                         I am... usually. I just... You should                          know, this is very unusual that I                          would do this so soon, in this day                          and age particularly, but... We just                          really hit it off. We did. And...                                     ROSE                         I'm gonna go now. I won't tell Harriet                          that anything happened.                                     CHARLIE                         But... nothing did happen.                                     ROSE                         Exactly. Or she would be jealous.                          And when she gets jealous, we both                          know what she's capable of.                                     CHARLIE                         No, we don't. You do, like I said, I                          just met her.                                     ROSE                         You'll be okay, Charlie. Just be                          careful.               She leaves. Charlie is baffled.               INT. CITY LIGHTS BOOKSTORE - DAY               As Charlie walks by, FRED, a lanky customer in his late teens                is buying a book.                                     FRED                         Hey, Charlie. How you doin'?                                     CHARLIE                         Good. Good. Look, Fred...                              (leaning in)                         You got a lot of girlfriends, right?                          You know any girls named Ralph?                                     FRED                         Ralph? Gee, Charlie. Isn't that a                          guy's name?                                     CHARLIE                         Well, not necessarily, but... Never                          mind. Thanks, Fred.               Charlie catches the store manager, PENNY, on her way into                her office.                                     CHARLIE                         Hey Penny, I wanted to ask you --                          you know some girls named Ralph,                          right? I mean, that's a girl's name                          also, isn't it?                                     PENNY                              (confused)                         I don't think so, Charlie... Uh...                                     CHARLIE                              (walking away)                         Forget it. Thanks.               She walks into her office totally confused.               EXT. DOCKSIDE - ALCATRAZ TOUR KIOSK - MAINLAND - DAY               Tony and Charlie are waiting in line.               AERIAL VIEW OF BOAT               as they travel to the island.                                     TONY (V.O.)                         You know I've lived in this city all                          my life and I've never been to                          Alcatraz.               ALCATRAZ               We open on the LOUD BANGING of a CELL DOOR. We find our tour                group in the holding area. The PARK RANGER is a beefy man in                his late fifties and talks with emotionless, military                precision.                                     PARK RANGER                         Hello, everyone I'm a park ranger                          and I will be leading you on the                          tour. All the park rangers here at                          Alcatraz were at one time guards,                          myself included. My name is John                          Johnson, but everyone here calls me                          Vicki. Will you please follow me?               They are led out. We see that Alcatraz is a sinister place.                Cold and unforgiving. The Park Ranger leads them to the center                of a cell block.                                     TONY                         You're glowing, Charlie. The man's                          in love.                                     CHARLIE                         Sssh... Stop it. I'm trying to listen.                                     PARK RANGER                         This is the main cell block area.                          Home to such famous criminals as Al                          Capone, Micky Cohen, Joseph "Dutch"                          Critzer, and Robert Stroud, the famous                          Bird Man of Alcatraz. Follow me,                          please.               The Park Ranger leads them past the famous visiting rooms,                the mess hall, all the way to the solitary confinement area.               A CELL                                     PARK RANGER                         This is the cell for solitary                          confinement, that over the years has                          come to be known as Times Square.               Tony and Charlie are at the back of the tour group.                                     TONY                         So did you and Harriet?... you know...                                     CHARLIE                              (grinning)                         Sssh I don't want to talk about it.                                     TONY                         With that look, you don't have to                          talk about it. The grin alone could                          get you five to seven years.                                     CHARLIE                         Tony, get your mind out of the gutter.                          All you need to know is that she's a                          sweet, kind and loving person.                                     PARK RANGER                         Now this is something none of the                          other tour guides will tell you. In                          this particular cell block Machine                          Gunn Kelly had, what we call in the                          prison system, a "bitch." And one                          day, in a jealous rage, Kelly took a                          makeshift knife, or "shiv," and cut                          out his "bitch's" eyes.                                     CHARLIE                         Look, what can I tell you. I'm                          smitten. I'm in deep smit. I dunno.                          I just don't wanna talk about it,                          because then I start analyzing and                          that's not good for me.                                     TONY                         Good. I think that's good. Just let                          it happen.                                     CHARLIE                         Exactly. That's what's gonna be                          different this time. Something strange                          happens, let it go. It's not my                          business... Like Ralph. She says                          Ralph in her sleep.                                     TONY                         Who's Ralph?                                     CHARLIE                         I don't know who Ralph is. Moreover,                          I don't want to know.                                     TONY                         Good.                                     PARK RANGER                         And as if blinding his "bitch" wasn't                          enough retribution for Kelly, the                          next day he and four other inmates                          took turns pissing into the "bitch's"                          ocular cavity.               Tony and Charlie look at each other. They're a little queasy.                                     CHARLIE                         Exactly.                              (beat)                         Tony, I'm happy. Don't let me screw                          this one up.               INT. EL TORO - IN THE MISSION - DAY               They are eating Bay burrites.                                     ROSE                         Did you have a nice date last night?                                     HARRIET                         Rose, I don't really --                                     ROSE                         He disturbed me while I was naked in                          the shower this morning.                                     HARRIET                         Yeah, he stayed over?                                     ROSE                         I didn't mind. Charlie and I laughed                          about it over breakfast.                                     HARRIET                         That's good.                                     ROSE                         He said you had great sex last night.                                     HARRIET                         He did?                              (a beat)                         Yeah.                                     ROSE                         He seems really stuck on you. I hope                          for you that it lasts.                                     HARRIET                         Rose he's a sweet, kind and loving                          person. We like each other, but I                          don't want to think any further.                          It's taken me a long time to get                          back to dating, and I want to take                          things real steady this time.                                     ROSE                         Well, you can trust me not to tell                          him anything.                                     HARRIET                         He was quite happy not to talk about                          the past.                                     ROSE                         I did a sketch of him.               Rose shows the sketch to Harriet.                                     HARRIET                              (looking at the picture)                         That's good.                                     ROSE                         Think I've caught him?                                     HARRIET                         The eyes are good.                                     ROSE                         Charlie really liked it.                                     HARRIET                         It's a good likeness.                                     ROSE                         Boy, I really hope it works out.                                     HARRIET                         Rose, I don't wanna screw this one                          up.               EXT. HARRIET'S APARTMENT BUILDING - DAY               Charlie enters the building, holding a handful of poetry                books. He passes a UNIFORMED DELIVERY GUY coming out. The                guy nods and Charlie nods back.               INT. HARRIET'S APARTMENT BUILDING - CONTINUOUS               Charlie gets three feet down the hallway. Stops in his tracks                and heads back to the front door. He opens it and yells to                the delivery guy:                                     CHARLIE                         Hey, uh... Ralph...?                                     DELIVERY GUY                              (turning around)                         I'm Gilbert.                                     CHARLIE                         Shit.               HARRIET'S DOOR - MOMENTS LATER               She opens the door enough to see that she is wearing only a                blouse that goes below her hips. She looks fantastic. He                hands her the poetry books.                                     HARRIET                              (teasing him)                         Charlie, they're beautiful. I'll put                          them right in water.               He follows her inside and puts the books on the bureau. He                goes over and kisses her.                                     CHARLIE                         You look great.                                     HARRIET                         I was just getting dressed.                              (picking up skirt off                               couch)                         What do you think of this skirt?                                     CHARLIE                         Honestly?                              (pulls her close)                         I'd leave it off.                                     HARRIET                         So then you think I could go to a                          poetry concert like this?               She drops the skirt and stands there. She's fantastic.                                     CHARLIE                         Let's forget the poetry concert.                          It's already been nine hours since I                          last made love to you.                                     HARRIET                              (smiling; walking                               away)                         Come on we're meeting your best                          friend. I wanna look good. The second                          I go to the ladies room he's gonna                          tell you what he really thinks of                          me.               He follows her to the bedroom door, constantly trying to                kiss her.                                     HARRIET                         Come on, Charlie. We have to be there                          in fifteen minutes.                                     CHARLIE                              (following her into                               bedroom)                         Fifteen minutes. Perfect.               She closes the door on his face.                                     CHARLIE                              (through door)                         Maybe later.                                     ROSE (O.S.)                         I thought of calling you.                                     CHARLIE                              (startled)                         Aaaahhh!               Charlie turns on his heel. Rose has appeared out of nowhere.                                     ROSE                              (after a pause)                         To warn you, Charlie.                              (after a pause)                         There are just some things you should                          know, about Harriet.                                     CHARLIE                         About Harriet?                                     ROSE                         About her past.                                     CHARLIE                         I don't wanna know. I mean, look                          everyone has some skeletons in their                          past. I only care about the future.                          Not the past.                                     ROSE                         Here's the thing. I may have to tell                          Harriet.                                     CHARLIE                         Tell her what?                                     ROSE                         That we're lovers.                                     CHARLIE                         We're not lovers.                                     ROSE                         I know, and it's a damn shame.               Harriet walks in the room, fully dressed, and fully dazzling.                                     HARRIET                         I hope I'm not interrupting.                                     CHARLIE                              (feeling weird)                         No, not at all. We were just talking                          about... Rose and I met yesterday,                          so...                                     HARRIET                         So I heard.               Harriet hugs Rose and then stands right next to her.                                     HARRIET                         So, don't you think we look alike?                                     ROSE                         Oh, we do not. Harriet was always                          prettier than me. And a heck of a                          lot more popular. She always had                          boyfriends. The only thing I ever                          got was good grades.                                     CHARLIE                              (slightly uncomfortable)                         Good grades are good.                                     HARRIET                         She's just being kind. Show Charlie                          one of your photographs, Rose. Rose                          is a great artist.                                     ROSE                         No, Harriet. I don't want to. They're                          not good.                                     HARRIET                         You're so modest. If I weren't here                          to brag for you, I just don't know...                              (taking out a                               posterboard from                               cabinet)                         Show it to him, Rose. Do it.               He turns it over and there is a picture there. A collage of                unrelated images put together. And it is beautiful.               But it's very abstract. Violent perhaps. Confused definitely.                He likes it.                                     CHARLIE                         It's beautiful...                                     ROSE                         Thanks.                                     CHARLIE                         What is it?                                     ROSE                         I dunno.                                     CHARLIE                         What do you call it?                                     ROSE                         I dunno.                                     CHARLIE                         A lot artists don't like to title                          their work. They feel it biases the                          viewer.                                     ROSE                         It is titled. It's called "I dunno".               Charlie looks at it again, then at Rose, then at Harriet.                It's all a little bizarre, but in a funny way he feels for                Rose. A hidden talented overshadowed by her sister's beauty.                                     HARRIET                         We should get going, Charlie. Thanks,                          Rose... See you later.                                     ROSE                         Bye, Charlie.                                     CHARLIE                         Rose, great to see you. We should                          all go out together some time. The                          three of us. That would be great.                          That would be... interesting.               Charlie and Harriet walk out.               EXT. POETRY FESTIVAL - NIGHT               Charlie and Harriet wait in line with bohemian types and                poetry lovers from the suburbs, and all walks of life.                Directly behind them are TWO OLD LADIES. The marquee reads:                "POETRY FESTIVAL - TONIGHT ALLEN GINSBERG."                                     CHARLIE                         I think you're going to love Alan                          Ginsberg. He's great.                                     HARRIET                         Oh, I know all about him.                                     TONY (O.S.)                         Hey Charlie!               Tony is getting out of a cab accompanied by Susan, the girl                from Spiletti's Coffee House. He approaches Charlie.                                     TONY                         Sorry we're late.               Tony throws his arms wide open and hugs one of the Little                Old Ladies on the other side of Charlie.                                     TONY                         You must be Harriet. I've heard a                          lot about you.                                     CHARLIE                              (to Tony; re: Harriet)                         This is Harriet.                                     TONY                         Oh. Sorry. Of course.                              (whispering to Harriet)                         I apologize. Charlie described you                          as much older. And heavier.                                     HARRIET                              (smiling)                         Oh, he did...?                                     CHARLIE                         Thank you, Tony. This is my best                          friend.                                     TONY                         And this is Susan. Charlie, you                          remember her from Uncle Giuseppi's.                                     CHARLIE                         Yes, I do.                                     SUSAN                         You're funny...               Then she GIGGLES. The girls start inside, Tony lags back                with Charlie.                                     TONY                              (whispers to Charlie)                         I give Susan one night.               INT. POETRY FESTIVAL - NIGHT               ALLEN GINSBERG is on stage. He is brilliant. Tony, Charlie,                and Harriet are all amused. Susan is bored stiff. Charlie is                looking at Tony. Tony glances over at Susan and gives Charlie                an "Oh, well." look. Then he looks at Harriet and nods in                approval of her.               EXT. FISHERMAN'S WHARF - NIGHT               The four of them walk along the wharf. Charlie is at one of                those arcade games where you throw bean bags at the puppets                and try and knock them down. Charlie knocks two down.                                     ARCADE MAN                         One more and you get your pick.                                     CHARLIE                              (to Harriet)                         You do it.                                     HARRIET                         No, Charlie. I'm the worst.                                     TONY                         Come on, you'll be great...               The arcade man turns around to watch. Harriet winds up and                throws the bean bag directly into his neck.                                     ARCADE MAN                         Hey!                                     HARRIET                         Sorry... I told you Charlie.                                     CHARLIE                         No, no, you're okay, you're just                          having control problems.               They both start laughing. He puts his arm around her. In the                b.g. the wounded arcade man is being led away by a co-worker.               They continued down the boardwalk stand in front of a House                of Horrors.               It looks somewhat run down and Harriet looks questioningly                at Charlie.                                     CHARLIE                         I know this is really, really cheesy,                          but in a way this is one of the places                          in San Francisco I'm most proud of.                                     HARRIET                         Yeah, let's go in.               Tony nods agreement. Susan looks bored. They go inside the               HOUSE OF HORRORS               it's as low rent as Charlie described. The "KEEPER OF THE                THRESHOLD" so described in a poorly written sign, is an                overweight man in his late twenties, wearing jeans and a                denim jacket and a little bit of scary makeup. He looks like                a roadie for the band, KISS. He stands at a podium, smoking                and reading a paper. As Charlie, Tony, Harriet and Susan                pass the Threshold Keeper, he takes a casual drag of his                cigarette, lets out a little smoke and with zero commitment                utters:                                     THRESHOLD KEEPER                         Boo.               INT. WAX MUSEUM - DAY               Harriet and Charlie enter Bill's Wax Museum. The OWNER of                the wax museum greets them.                                     OWNER                         Hi. I'm Bill, welcome to my wax                          museum.               They walk over to the exhibits. There are exhibits of Abraham                Lincoln, Michael Jackson and Dolly Parton. As they look more                closely they notice that the faces are exactly the same as                Bill's. They laugh.               EXT. STREET - NIGHT               Pouring rain. THUNDER. Charlie and Harriet, wrapped in each                others arms, walking through the rain.                                     HARRIET                         I feel so safe with you right now.                          You're never going to leave me, are                          you? I feel like I could be here                          forever.                                                                    CUT TO:               TIGHT SHOT OF RAIN HITTING CHARLIE'S PANIC-STRICKEN FACE                                                         MATCH DISSOLVE TO:               THE REFLECTION OF RAIN ON CHARLIE'S PANIC-STRICKEN FACE               PULL BACK to see Charlie in bed. He lies awake on his side,                his back up to Harriet's. She is sound asleep. Suddenly:                                     HARRIET                              (sleeptalking)                         Ralph! No, Ralph!               Charlie sighs, then just shrugs and tries to fall asleep.                What can he do.               FADE IN:               INT. CHARLIE'S PARENTS' APARTMENT HALLWAY - NIGHT               Charlie and Harriet wait outside his parents' door.                                     CHARLIE                         Well, this is it.                                     HARRIET                         It'll be fine.               They enter the door.               INT. CHARLIE'S PARENT'S APARTMENT - NIGHT               We again move along the hallway. We pass the Scottish wall,                of fame, Scottie from "Star Trek", Sir Walter Scott, Sir                Harry Lauder, Sheena Easton, Al Pacino, Billy Connolly, then                the CAMERA BACKTRACKS to Pacino, where it HOLDS MOMENTARILY.                                     CHARLIE                         Mom, Dad, we're here.               May comes up, wearing a fancy country and western outfit.                                     MAY                         Ah, Charlie is this the wee Harriet.                          Ah, she's beautiful.                                     HARRIET                         Thank you.                                     MAY                         She's so sweet. I hope you keep her.                              (calling)                         Stuart, come out here. You tube.               When he comes up, Stuart is wearing only a shirt with his                boxer shorts.                                     STUART                         Ah, it's the wee Harriet.                                     MAY                         Stuart, put your pants on.                                     STUART                         Hold your horses.                              (calling to William)                         Heed! Pants!               William comes around the corner with his pants.                                     CHARLIE                         Dad, what's Al Pacino doing on the                          Scottish wall of fame?                                     STUART                         Oh, that's for Tony. So, Charlie                          tells me you're a butcher. Let's                          talk meat.                                     CHARLIE                         Dad, no one wants to talk shop.                          Especially butcher shop.                                     STUART                         Come here.               Stuart gets him in a half-Nelson.                                     CHARLIE                         Ah! Dad, dad I have a back zit, man                          it kills.               Charlie struggles to free himself. Stuart turns to greet                Harriet. As he reaches out his hand.               Totally instinctively, Harriet grabs Stuart's hand and twists                it behind his back. Charlie is startled, as his date has                just gotten Stuart into a Half-Nelson.                                     HARRIET                              (releasing his hand)                         I'm sorry. I just... You just                          surprised me. I'm sorry.                                     STUART                         I like this one Charlie. She's quite                          a filly.                                     HARRIET                         I'm really embarrassed.                                     STUART                         Don't be embarrassed about having a                          good strong butcher's grip. Do you                          link your own sausage?                                     MAY                         Oh, ignore him. Come have a look at                          some photos of Charlie when he was a                          wee'n.                                     CHARLIE                         Oh Mom, don't start with the pictures.                                     MAY                         Ah, Charlie, lighten up. You've got                          a pickle up your ass.                                     CHARLIE                              (whispering to Harriet)                         I'm gonna use the bathroom. You be                          okay alone with them?                                     HARRIET                              (kissing)                         Fine. Don't worry about it. Hurry.               They smile as he leaves the room.                                     STUART                         Make sure there's paper, Charlie.               Charlie picks up the pace, scared of what he might hear next.                                     MAY                         Make sure you leave the seat down.                                     CHARLIE                              (shutting her up)                         Ma, just show her the pictures.                                     STUART                         And light a match.                                     MAY                              (to Harriet)                         He always leaves the seat up. He's                          gotta learn.               INT. BATHROOM AT PARENTS' - NIGHT               He closes the door, and shakes his head. What can he do?                Those are his parents. On the wall opposite the toilet is a                well-used dart board with pictures of the Queen Mother and                Colonel Sanders. Hooked to the magazine caddie is a small                container of darts.               INT. THE LIVING ROOM - NIGHT               May excitedly shows Harriet family photo albums.                                     MAY                         This is Charlie with his Uncle Ecky.                          He's a policeman in Canada. And our                          cousins Ruth and Jack. He's just got                          a restraining order from his wife.                          She's a lovely girl. This is Billy.                          He's a member of parliament. He                          drinks.                                     HARRIET                         What a nice family you have.               CHARLIE IN THE BATHROOM               He doesn't seem in any hurry to leave either. He listens                through the door to Harriet enthusiastically looking through                old photos.               Charlie glances down at a stack of National Enquirers on the                magazine rack. He flips through a few.               He sees one of the absurd headlines: "ALIEN UFO SEX DIET"                Charlie shakes his head.                                     HARRIET (O.S.)                              (through door)                         Charlie was the cutest baby.                                     STUART (O.S.)                              (through door)                         You okay in there, Charlie? You didn't                          fall in, did you?                                     CHARLIE                              (through door)                         Jesus...               Charlie then looks down at another article in the Enquirer                and reads:               "WHO'S NEXT FOR MRS. X - THE HONEYMOON KILLER?"               It is the article about Mrs. X -- the axe-murderer who kills                her husbands on their honeymoons and then marries again under                a different identity.               IN THE LIVING ROOM               May is quickly flipping through a photo album, pointing out                pictures of relatives as she goes:                                     HARRIET                         I can't believe the resemblance                          between you and Charlie, Mrs.                          MacKenzie.               INT. CHARLIE IN THE BATHROOM               With Harriet speaking in the b.g., Charlie continues reading,                now absorbed in the article about the 3 victims:                                     HARRIET (O.S.)                              (through door)                         You have the same smile. It's so                          incredible.               "VICTIM #1 - THE GERMAN MARTIAL ARTS EXPERT FROM MIAMI"               "VICTIM #2 - THE LOUNGE SINGER FROM ATLANTIC CITY"               "VICTIM #3 - THE SAN FRANCISCO PLUMBER - RALPH ELLIOT"               INT. CHARLIE'S CAR - NIGHT - C.U. - HARRIET'S FACE               Sitting in the front seat of Charlie's car, smiling, content,                a great meal, a great night out with Charlie and a nice                evening with his parents.               Slowly PAN across the front seat to Charlie. A nervous anxious                "what the hell am I getting myself into" look on his face.                                     CHARLIE                         So, that was some move you put on my                          Dad, there. Did you study Karate,                          or...?                                     HARRIET                         No. Not officially. I dated a guy                          for a while who ran a studio.                                     CHARLIE                         Oh, the martial arts expert. The                          north-south guy. Here in San                          Francisco?                                     HARRIET                         Actually, Miami.               He looks straight ahead, trying to act unfazed. But, he's                very phased -- his expression is covered in it.                                     CHARLIE                         Was that before Atlantic City, or                          after?                                     HARRIET                         Oh, that was years ago. Atlantic                          City was recent. I didn't care for                          Atlantic City. A town full of gamblers                          and lounge singers.               He keeps driving.               INT. POLICE STATION - DAY               Charlie walks through the precinct towards Tony's office,                holding the National Enquirer in his hand.                                     DESK SERGEANT                         Hey Charlie!                                     CHARLIE                         Is Tony back there?               The Sergeant nods and Charlie heads back to the office.               INT. POLICE STATION - DAY                                     CAPTAIN                         O.K., Tony. Do you have the K673                          form completed yet, that street vendor                          incident on Powell Street?                                     TONY                              (really bummed)                         Yes, Captain.                                     CAPTAIN                         Tony, do you mind my saying that you                          seem a little down?                                     TONY                         Captain. It's about my work. About                          being a policeman.                                     CAPTAIN                         Tony, if there's anything wrong, I'm                          here to listen.                                     TONY                         I know. And that's what's irritating,                          you're too nice.                                     CAPTAIN                         Too nice!?                                     TONY                         Yes, You're my captain for gods sakes.                          You should be constantly on my case,                          like the captain on Starsky and Hutch.                          Once a week you should routinely                          haul my ass into your office, accuse                          me of being a maverick and complain                          to me that you're sick and tired of                          defending my screwball antics to the                          commissioner.                                     CAPTAIN                         Well, as you may know, Tony. I don't                          report to a commissioner. I report                          to a committee, some of whom are                          appointed, some elected and the                          remainder co-opted on a bi-annual                          basis. A quorum --                                     TONY                         Police work should be all about                          running around, following up crazy                          hunches that turn out to be right,                          going out on a limb.                                     CAPTAIN                         Well Tony, I've never seen it that                          way. For me police work is all about                          following procedure and remaining                          accountable to the general public.                                     TONY                              (exasperated)                         Captain! When I joined the police                          force, I thought I was going to be                          Serpico and unfortunately I ended up                          being Toma. I would have settled for                          Beretta.                                     CAPTAIN                         That's interesting Tony. I'm perturbed                          that you should be so disillusioned.               Charlie enters.                                     CHARLIE                         Hey, Tony, I gotta talk to you.                                     CAPTAIN                         Oh, hello, Charlie. Look, I'm in the                          way here. You guys probably have                          something you want to talk about,                          and Tony, if you've still got stuff                          you want to sort out, please, you                          know where the suggestion box is.               The Captain exits.                                     CHARLIE                         Nice guy. Hey, what's up?                                     TONY                         I'm having doubts about being a cop                          again. It's not like how it is on                          cop shows. All I do is fill out papers                          and reports.                                     CHARLIE                         Let me get this straight, your Captain                          hasn't threatened to have you up on                          charges so fast you won't know what                          hit you?                                     TONY                         No! He's never once said to me that                          he was going to "throw the book at                          me so hard it'll knock my ass from                          here till Tuesday." Anyways what's                          up?               Charlie pulls out the National Enquirer (the one on MRS. X,                the Honeymoon Killer).                                     CHARLIE                         Have you heard of this case? Mrs. X?                          She murders her husbands on their                          honeymoons and then changes her                          identity and marries again.                                     TONY                         I never heard of it. So what?                                     CHARLIE                         Curious, that's all. I read about                          it, and...                              (after a pause)                         I think I'm dating Mrs. X.                                     TONY                              (after a pause)                         Two words, Charlie. Get therapy.                          They have doctors that deal                          specifically with this illness.                                     CHARLIE                         Everything's adding up, Tony. One of                          the victims was a martial arts expert.                          Last night at dinner, she put a                          martial arts move on my dad.                                     TONY                         There about twenty thousand people                          in San Francisco who are martial                          arts experts. Should I arrest all of                          them too?                                     CHARLIE                         If they also say Ralph in their sleep                          I think it'd be a good start.                              (showing him paper)                         Ralph Elliot. A plumber from San                          Francisco. Missing since his                          honeymoon.                                     TONY                         You're just getting scared. Like the                          dream, you feel Harriet could be the                          one, so you start to suspect her of                          things, 'cause deep down you're scared                          that if she is the one, you'll marry,                          and marriage to you is death.                                     CHARLIE                         Hey, don't analyze my dreams, okay?                          They're my dreams. Analyze your own                          dreams.                              (a beat)                         It's not a marrying thing, Tony.                          It's a murdering thing.                              (showing him paper)                         Harriet lived in Atlantic City, right?                          Well so did this guy, right around                          the same time she left town.                                     TONY                              (reading article)                         "Larry Leonard, a crooner who made a                          name for himself for being able to                          sing in six different languages the                          song "Only You".                              (putting paper down)                         Does she know the song "Only You?"                                     CHARLIE                         I don't know. It hasn't come up yet.                                     TONY                         Charlie, move past it. You're running                          your life by the National Enquirer.                                     CHARLIE                              (defensively)                         What? It's the fifth highest                          circulating newspaper in the United                          States.                              (taking paper back)                         Mrs. X. Please. Look it up.               COMPUTER ROOM AT POLICE STATION - MINUTES LATER               Charlie and Tony are in the back with KATHY, a stocky black                woman in uniform, who works in the files department.                                     KATHY                         There's no record of any deaths. All                          three of these guys were reported                          missing around the time of their                          honeymoon, but so were the wives. No                          pictures of any of the brides. For                          all we know they just picked up and                          moved away.                                     CHARLIE                         And Ralph Elliot, too?                                     TONY                         Charlie, you're talking about three                          guys over a seven year span. That's                          hardly news. No deaths. Elopement in                          this state, as of this day, is still                          not illegal.                                     CHARLIE                              (re: the article)                         Yeah well murder is. And this article                          says that these men were murdered by                          the same woman.                                     KATHY                         Mr. MacKenzie, we've found that,                          most National Enquirer articles are                          actually based on our own police                          reports. They take the facts and                          fabricate a story around them.                                     TONY                         It's true, Charlie. You gotta realize                          that. I mean, personally, I would                          lie to you, but Kathy... has this                          crazy notion of always telling the                          truth.                              (patting his back)                         You feel better now?                                     CHARLIE                         It guess so. It's just... if I had a                          photo of Harriet, I could show it to                          the relatives or friends of Mrs. X's                          victims to identify her.                                     TONY                         Charlie, listen to me! There is no                          Mrs. X! Drop it! Okay?               INT. HALLWAY - HARRIET'S APARTMENT - EVENING               Charlie knocks on the door. Rose answers.                                     ROSE                              (thrilled)                         You're back. But Harriet's not here                          yet.                                     CHARLIE                         Maybe I could wait.                                     ROSE                         Sure. That would be fine.               She then starts to slowly close the door. He props it open                with his hand.                                     CHARLIE                         Inside? I was hoping...                                     ROSE                              (letting him in)                         I'm glad you asked. I didn't want to                          be so forward. I mean, if you're                          waiting inside, then you feel                          obligated to entertain me and keep                          up the conversation just to be polite,                          and really your head might be totally                          elsewhere and then there's the chance                          that you would really want to talk                          and it's me who'd be busy, but in an                          attempt not to be rude, I sit there                          and listen to some story that you                          don't really want to tell and I don't                          really have time to hear. You know?                                     CHARLIE                         I couldn't agree with you more.                                     ROSE                         I think about a lot of things.                                     CHARLIE                         Look, if you have work to do, you go                          right ahead.                              ("ah, here's an angle")                         I mean, to tell you the truth, I'd                          love to see your work.                                     ROSE                         Okay! What would you like me to do?                                     CHARLIE                         No, I don't want to see you work. I                          was talking about your work. Your                          photographs. That one that I saw was                          so, wonderful, and...                                     ROSE                         Harriet's far more talented than I                          am.                                     CHARLIE                         Well, I'm sure it's so subjective                          anyway and...                              (out of patience)                         Rose, show me your photos.               CLOSE ON PHOTOGRAPHS               There are two kinds. Beautiful travel pictures and very erotic                black and white portraits of young men and women. All with a                slight sadomasochistic quality. At the bottom of every photo                is says: "Seasons Greetings".                                     CHARLIE                         Hey, these are some interesting photos                          here. Very impressive. Nice shots of                          Sauselito and... some good bondage                          shots. A lot of people wouldn't think                          to mix the two subjects, but they're                          really a natural together.                              (new thought)                         Hey, you wouldn't happen to have any                          pictures of Harriet by chance, would                          you?                                     ROSE                              (re: her cards)                         Well, I don't think she'd wanna do                          this sort of...                                     CHARLIE                         No, no, not that. Just, in general                          some photos. Any little snapshot                          would do.                                     ROSE                         I doubt I'd have any. Harriet hates                          being photographed.               The sound of a key in the door as Harriet enters the                apartment.                                     HARRIET (O.S.)                         Rose -- did I see Charlie's car out                          in front?                                     ROSE                         We're in here, Harriet.                                     HARRIET                              (walking in)                         What are you guys doing?                                     CHARLIE                              (covering up)                         Oh, nothing. Just looking through                          some of Rose's work.                                     ROSE                         ...Charlie wanted a photo of you.                                     CHARLIE                         And that. That too.                                     HARRIET                         Why of me, Charlie?                                     CHARLIE                         Well, sentimental reasons. Something                          to remind me of you when we're not                          together.               She takes him in her arms and gives him a knee buckling kiss.                                     HARRIET                         There, can you remember that?                                     CHARLIE                         Okay, it's just, I was gonna give                          one to my parents, too, and...                              (getting nowhere)                         Another time would be fine. It's                          hardly a matter of life and death.               TV SET - PLAYING THE EVENING NEWS                                     NEWS ANCHORMAN                              (ON TV)                         In the news tonight, regarding a                          Beverly Hills Jeweler, Morris Cohan,                          who died last week, police are now                          suspecting that Morris's partner,                          Lawrence Sachs, may have murdered                          him with an untraceable poison.               Reveal: we are in...               INT. CHARLIE'S BEDROOM - NIGHT               Charlie is on a Stair Master, as Harriet walks in wearing a                robe. The TV is on in the b.g.                                     CHARLIE                         Where you been?                                     HARRIET                         Downstairs. I have a surprise for                          you.                                     CHARLIE                         Great. I just wanna do a quick twenty                          minutes on the Stair Master before                          bed.               Harriet drops her robe, and from over her shoulder we see                that Charlie prefers what he sees to working out.                                     CHARLIE                         I'll do forty tomorrow.                                     HARRIET                              (getting into bed)                         I got something much healthier for                          you than that.               She pulls out a milkshake from behind her back.                                     CHARLIE                         What is it?                                     HARRIET                         It's a health shake. Eggs, malt,                          cinnamon, oranges. It's great. I                          mixed it up downstairs.               THE TV SET               continues on about poisons and poisoners. Charlie glances at                it.                                     NEWS ANCHORMAN                              (ON TV)                         Poisoning has become the second                          leading method of murder in recent                          years, due to...               Charlie watches the TV, looking a bit disturbed. Harriet                offers him the shake.                                     CHARLIE                         Oh, look, I'm full. Dinner and...                          No...                                     HARRIET                         You'll like it Charlie.                                     CHARLIE                         No, really, thanks.                                     HARRIET                              (putting it up to his                               lips)                         You won't try it. I spent twenty                          minutes making it.               He takes it. Lifts it to his mouth... then puts it on the                table.                                     CHARLIE                              (sniffing it)                         Ummm. Smells good. Maybe I'll take                          some to the office tomorrow.                              (running into bathroom)                         I'm gonna brush my teeth. Be right                          back.               Charlie goes into the bathroom.               CHARLIE'S BATHROOM               Harriet comes into the bathroom and lays the empty glass                down on the counter.                                     HARRIET                         I'm gonna take a quick shower.               Charlie notices the empty glass on the counter.                                     CHARLIE                         Harriet, where did the shake go?                                     HARRIET                         What do you care? I drank it.                              (getting into shower)                         You could have at least tried it.                          You make me feel bad sometimes,                          Charlie. I don't know why.               With her in the shower, he sneaks back into the bedroom and                checks the trash can. Nothing. Then he runs around the bed                to the other trash can. Nothing.               He looks thoroughly confused as she enter the bedroom, wearing                a towel. She takes the towel off as she slips underneath the                covers. He gets into bed next to her. She gives him a kiss.                                     HARRIET                         Sorry. I'm a little sensitive. You                          didn't want to drink my milkshake.                          So what -- right?                                     NEWS ANCHORMAN                              (ON TV)                         Regarding the murder between the two                          partners, we talked to Toxicologist                          Dr. Show on the issue.               Charlie and Harriet are watching the news show. DOCTOR SHOW                is patched in via the Anchorman's close circuit TV.                                     NEWS ANCHORMAN                              (ON TV)                         Doctor, is it possible that one could                          be poisoned with no trace at all?                                     DOCTOR SHOW                              (ON TV)                         Certainly. There are plants that                          grow very commonly in our own backyard                          that could easily be fermented into                          poison. Take for instance the...                                     CHARLIE                              (getting nervous;                               blocking out TV)                         Harriet, why don't we shut the light                          off.                                     NEWS ANCHORMAN                              (ON TV)                         Really? And how easy it that to do?                                     DOCTOR                              (ON TV)                         Scarily enough, quite simple. You                          merely take the...                                     CHARLIE                              (blocking out the TV                               again)                         Maybe we should turn the light back                          on. Yeah that's better.                                     HARRIET                         Charlie, what's the matter?                                     CHARLIE                         Nothing.                                     HARRIET                         Charlie...                                     CHARLIE                         Well, it's just...                              (re: the TV)                         The TV. You can't even watch the                          news these days without getting                          depressed.                                     HARRIET                         I know, Charlie. And it's not just                          that. Look at the things people are                          doing. Partners killing each other...                          I mean, you hear a story like that,                          and... who can you really trust these                          days?                                     CHARLIE                         What do you mean?                                     HARRIET                         It's like, have you ever stood with                          someone at the edge of a cliff, or                          the edge of a subway platform, and                          you think, just for a split second,                          "What if I pushed him?"                                     CHARLIE                         Well, I don't really take the subway                          ever, so...               Charlie turns over on his side, she cuddles up behind him.                                     HARRIET                         I'm just making a point of how many                          times we trust people with our lives.                          I mean, look at us. If you didn't                          trust me, you would never be able to                          fall asleep.                                     CHARLIE                         Why do you say that?                                     HARRIET                         Look at you, you're sleeping. Look                          how vulnerable you are. I mean, I                          could do anything at that point.                                     CHARLIE                              (nervous)                         What could you do?                                     HARRIET                              (sweet and innocent)                         Anything. You're lying on your side,                          asleep, I could... stick a needle in                          your ear.                                     CHARLIE                              (grabbing his ear at                               the thought)                         Aahhh!                                     HARRIET                         I'm just making a point of what a                          good relationship we have. Goodnight,                          sweetheart.               He looks very uneasy. She kisses him and shuts off the light.                The moon gives the room an eerie glow.                                     HARRIET                         Well, good night.                                     CHARLIE                         Good night.               She doesn't close her eyes. He's scared to close his. Pause.                                     CHARLIE                         Well... good night.                                     HARRIET                              (smiling)                         Good night.               They both look over at each other. She closes her eyes. He                takes a deep breath and then closes his eyes.               And covers his ear with his hand.               INT. BART PLATFORM - DAY               Charlie is on the crowded platform. Next to him is an old                lady with a lot of shopping bags. Three kids on skateboards                whiz by and accidentally knock bags out of her hands. Cat                toys and cans of cat food go everywhere. Charlie bends down                and starts to help her gather her stuff.                                     LADY                         Thank you very much, young man. I've                          gotta get all this stuff back to my                          children.                                     CHARLIE                         Your children?                                     LADY                         When I say my children I mean my                          cats. You see my children moved out                          years ago, so all I've got is my                          cats. I have over one hundred of                          them.                                     CHARLIE                         That's a lot of cats.                                     HARRIET (O.S.)                         Charlie.               Charlie looks up and sees Harriet waving to him from the                subway stairs. He waves back and motions. "I'll be there in                a second", and continues to help the old lady. She watches                from the stairs.                                     LADY                         You see this red toy? That's for the                          Captain, he's finicky. and this blue                          one? That's for Marco Polo.               Two train headlights are seen off in the distance.                                     CHARLIE                         Do you have a name for all of your                          cats?                                     LADY                         Oh, yes.               Charlie glances over at Harriet, who slowly makes her way                down the platform towards him.                                     LADY                         Let me see! There's Winston Churchill,                          Reda Sovine, Thomas Edison, Andrew                          Carnegie...               The train is getting closer and closer, and so is Harriet.                                     CHARLIE                         ...He was Scottish.               Harriet moves forward a step, Charlie moves back a step.                                     LADY                         Wasn't he Irish?               As Harriet seems to get closer Charlie continues to back up,                picking up cat toys. Charlie realizes he has no where else                to turn. so he side steps down the platform, never stopping                his conversation with the lady.                                     CHARLIE                         Actually he was Scottish. Trust me,                          I know these things.               Harriet is moving in on him. Charlie steadily makes his way                down the platform, feigning accidentally kicking cat food                down the platform. The old lady is unsure what is going on,                she tries to keep up with him.                                     LADY                         Now that you say it, he was Scotch.               Charlie runs out of platform. Harriet is very close to him.                The train is closer, so is Harriet. Charlie lets out a scream.                                     CHARLIE                         Noooooo!               Charlie is standing at the edge of the platform, Harriet is                a good six or seven feet away as the train passes by. Charlie                is safe. People are all staring at Charlie curiously,                including Harriet and the old lady. Charlie is embarrassed.                                     CHARLIE                              (embarrassed)                         Nooooooo, Scotch is a drink. Scots                          are a people. Sorry, that just always                          bugged me.               No one knows what is going on.                                     LADY                         I'm sorry, I didn't know it meant so                          much to you.                                     CHARLIE                         Hi, Harriet.               EXT. SAN FRANCISCO CHRONICLE BUILDING - DAY               INT. CHRONICLE ANNOUNCEMENTS DESK.               WE SEE A LONG DESK WITH DIFFERENT SIGNS THAT READ; BIRTHS,                DEATHS, AND MARRIAGES.               We find Charlie at the marriage counter.                                     ASSISTANT                         Yes, Sir, can I help you?                                     CHARLIE                         I'd like to put in an announcement                          of my parents forty-fifth wedding                          anniversary.                                     ASSISTANT                         Sure, it's $4.50 per word, and you've                          got a choice of standard or bold.                                     CHARLIE                         Bold, and here, I've written it out.               Charlie looks over to the deaths counter. He overhears two                obituary assistants having a conversation.                                     OBITUARY ASSISTANT #1                         Hi, Frank, busy week?                                     OBITUARY ASSISTANT #2                         I've only got two. It's dead around                          here.               Both assistants laugh. Charlie is mildly bemused.                                     OBITUARY ASSISTANT #2                         Well, I've got this one guy, a                          tourist. He had a heart attack on a                          cable car.                                     OBITUARY ASSISTANT #1                         Looks like he left his heart in San                          Francisco.                                     MARRIAGE ASSISTANT                         Hey, that's a real person you're                          talking about.                                     OBITUARY ASSISTANT #1                         You're right, I'm sorry.                                     OBITUARY ASSISTANT #2                         Well, there's this other guy Elliot,                          Ralph. Plumber, disappeared four                          months ago. Body found in a sewer.                              (pause)                                     OBITUARY ASSISTANT #1                              (despite himself)                         I guess he took his work too                          seriously, and his life went down                          the drain.                                     CHARLIE                         Did they mention anything about his                          wife?                                     OBITUARY ASSISTANT #1                              (crest fallen)                         You're right, I feel bad. Point taken.                          I'm mean, these are real people we're                          talking about.                                     CHARLIE                         No, I'm serious. Did he mention the                          wife?                                     OBITUARY ASSISTANT #1                         You made your point. I was wrong to                          make a joke about a person's life.                                     CHARLIE                         I really want to know about his wife.                                     OBITUARY ASSISTANT #1                              (crying and shouting)                         O.K., you win. I'm a bad, bad person.                                     OBITUARY ASSISTANT #2                         Frank take it easy.                                     OBITUARY ASSISTANT #1                         No, he's right!                              (pounding his head                               with his fists)                         I'm for shit, I'm one insensitive                          asshole.                                     CHARLIE                         Is there any mention of the wife? At                          all?                                     OBITUARY ASSISTANT #1                         NO! THERE'S NO MENTION OF THE WIFE!                          YOU HAPPY!?               Charlie exits.               EXT. CHRONICLE ANNOUNCEMENT OFFICE - DAY               Charlie stands outside the announcement office, terrified.               INT. MEATS OF THE WORLD               Harriet is talking to a CUSTOMER.                                     HARRIET                         Hi.                                     CHARLIE                         I'm sorry.                              (beat)                         I think you're a terrific woman.                              (beat)                         I just don't think we should see                          each other anymore.               She moves around to Charlie. She lifts his chin so that he                is looking directly into her eyes.                                     HARRIET                         Why not? And tell me the truth.                                     CHARLIE                         The truth. Okay. The truth is...               She is so close to him, and so very beautiful, it's                distracting.                                     CHARLIE                         The truth is... I'm afraid that you                          are...                              (he can't)                         You're going to laugh.                                     HARRIET                         I don't think so.                                     CHARLIE                         Okay... the truth is that I'm afraid                          you're going to ki... leave me.                                     HARRIET                         I'm going to "cleave you?" What does                          that mean?                                     CHARLIE                         Leave me. Not "cleave me." Reject                          me. And so I decided to take matters                          into my own hands and get it over                          with by...                                     HARRIET                         Rejecting me.                                     CHARLIE                              (he feels awful)                         Purely preventive... It's not anything                          you've done.                                     HARRIET                         I know that... So why are you leaving                          me?                                     CHARLIE                              (heartbroken)                         Harriet, maybe I'm not meant to be                          in a relationship.               A single tear runs down her cheek. She brushes it away                quickly.                                     CHARLIE                         I never wanted to hurt you.                                     HARRIET                         You haven't. At least you left early                          on.                              (she's crying)                         So, that's it, then. I've got a lot                          of work to do.                              (to Customer)                         Now, where were we?               Charlie goes.               INT. SPILETTI'S COFFEE HOUSE - NIGHT               Charlie lies on the bar head down. Tony rushes in, looks                around and sees Charlie.                                     CHARLIE                              (without lifting head)                         Two hours and four minutes. Tony, I                          need you, and two hours and four                          minutes later you show up.                                     TONY                         Sorry. I know it was irresponsible                          to stay at the drug bust until it                          was over, but... What happened?                                     CHARLIE                              (slowly sitting up)                         I'm gonna tell you, but when I do,                          just say nothing. Don't judge me.                          Just be my friend. Okay?                                     TONY                         Fine. Okay.                                     CHARLIE                         I broke up with Harriet.                                     TONY                         You're an asshole.                                     CHARLIE                         What's your point?                                     TONY                         I'm sorry, I just... why?                                     CHARLIE                         Tony, she's a killer. The...                          everything.                                     TONY                         But nothing's proven. The only thing                          you're actually sure she did so far                          is she's treated you like a King.                                     CHARLIE                         I dunno, Tony, I just...                                     TONY                         Besides, everyone has something going                          on with them. I mean, you can't find                          everything in one person. I mean,                          she's bright, she's funny, she's                          independent. So maybe, and it's really                          just a maybe, she kills her husbands.                          Marriage is give and take, Man. You                          take the good with the bad.               INT. CHARLIE'S BEDROOM - MIDDLE OF THE NIGHT               Charlie lies in bed. He's writing in his journal. He stares                out into space. Inspired, he writes...               ANGLE ON THE JOURNAL               DON'T BE DISILLUSIONED BY THE SCOTTISH SON AS HE FLIES, IN                BAT-LIKE UNISON               CHARLIE               pauses a moment to reflect, then writes...               ANGLE ON THE JOURNAL               UNTRUST-ING                UNKNOW-ING                UNLOV-ING               CHARLIE               Thinks of something else and writes...               ANGLE ON THE JOURNAL               THIS POEM SUCKS               His hand reaches across and scratches it out.               EXT. HAIGHT-ASHBURY STREET - DAY               Charlie is exiting a vintage record store. Suddenly he finds                himself face to face with Sherri. She's accompanied by a                handsome young man.                                     SHERRI                         Hey, Charlie.                                     CHARLIE                         Hi. How're you doing.                              (he glances at her                               friend)                         Good, huh?                                     SHERRI                         I'm okay. This is Michael. Michael,                          this is Charlie MacKenzie.                                     YOUNG GUY                         I know. Why don't you two talk. I'm                          going over there to buy some                          magazines.               He walks over to a magazine stand.                                     CHARLIE                         That good looking and he can read!                                     SHERRI                         I'm teaching him. I heard you have a                          new girlfriend.                                     CHARLIE                         We broke up. There were problems.                                     SHERRI                         Problems?                                     CHARLIE                         Difficulties.                                     SHERRI                         Let me guess...                              (smiles)                         She's a murderer.               For a moment, Charlie is too stunned to respond. Then...                                     CHARLIE                         Why did you just say that?                                     SHERRI                              (laughs)                         What else is left?               INT. CHARLIE'S BEDROOM - EARLY EVENING               He's on the Stair Master, stepping very lethargically. The                TELEPHONE RINGS: He goes to answer.                                     CHARLIE                         Hello...                                     TONY                              (through phone)                         Not that it matters anymore, but I                          thought you should know -- someone                          just turned themselves in for the                          murder of Ralph Elliot.                                     CHARLIE                         Really? Did she confess to the other                          murders?                                     TONY                         Just the plumber so far, but she'll                          come along.                              (after a pause)                         A little old lady from Pacific                          Heights. Said he overcharged her on                          a leaking sink.                                     CHARLIE                         Really. Leaky sink, huh?                                     TONY                         Anyway, crime to stop. Gotta go.                          I'll catch you later.               Tony hangs up. Charlie stops pedaling on the bike. Now he                really feels like shit. Harriet's not a killer. Sherri's not                a cheater.               He races out of the bedroom.               Moments later he appears, puts on a pair of pants over his                exercise shorts, then races out the door again.               EXT./INT. CHARLIE'S CAR - EARLY EVENING               Charlie races along towards Harriet's house.               EXT. HARRIET'S APARTMENT DOOR - DAY               He races up to the door and starts to bang and knock and                ring...                                     CHARLIE                              (through door)                         Harriet, it's me, Charlie.                                     HARRIET (O.S.)                         Go away, Charlie.                                     CHARLIE                         I've gotta talk to you, cause I miss                          you, and I made a mistake... and if                          you give me another chance I'll                          change. I will. I promise. I'll get                          help, or therapy, or... Yeah, that'll                          be great. Therapy. Even twice a week.                          I'll check with my insurance to see                          if I'm covered, but forget that.                          Harriet...               The chain opens on the door.                                     HARRIET                         You really hurt me.                                     CHARLIE                         I'll make it up to you, can we at                          least talk.                                     HARRIET                         Sure, talk.               Rose steps up behind Charlie.                                     ROSE (O.S.)                         Hi, Charlie.                                     CHARLIE                         AAAhhhhhh.                                     ROSE                              (as she now proceeds                               to be let in by                               Harriet)                         Trust your first instincts, Charlie.                          You never do. It's your big mistake.                          That and the haircut.               Once again, baffled by Rose, Charlie touches his hair, shakes                it off and looks Harriet right in the eye.                                     CHARLIE                         I don't want to lose you.                                     HARRIET                         You didn't lose me. You rejected me.                                     CHARLIE                         I'm unrejecting you.                                     HARRIET                         How do I know you won't reject me                          again?                                     CHARLIE                         I love you.                                     HARRIET                              (after a long pause)                         I love you. But you blew it, Charlie,                          you blew it.               She goes into the house. Charlie stands there dejected. He                knows he's blown it.               INT. HARRIET'S APARTMENT - NIGHT               Harriet is doing a load of laundry consisting of bloodied                work clothes. Suddenly she can hear the sound of MUSIC, very                loudly.               Annoyed, she goes out her front door to tell her neighbors                off. Just as she's about to knock on the door, she realizes                it's not the source of the music. At that moment her neighbor,                who is a STEWARDESS, comes out in nightclothes.                                     STEWARDESS                         I don't mean to be a pain, but I'm a                          stewardess, and I have an early flight                          out in the morning. Can you please                          keep your music down?                                     HARRIET                         I thought it was coming from here.                                     STEWARDESS                         But someone keeps shouting your name                          over and over.               Puzzled, Harriet rushes back to her own balcony.               EXT. HARRIET'S APARTMENT - BALCONY - NIGHT               Harriet rushes out and smiles as she sees the source of the                noise. Charlie serenades Harriet in the street below,                accompanied by a TRUMPETER with a MUTE, a DOUBLE BASS PLAYER                AND A GUY ON A SNARE.                                     CHARLIE                         HARRIET, HARRIET HARD-HEARTED                          HARBINGER OF HAGGIS                          BEAUTIFUL, BEMUSED BELLICOSE BUTCHER                         UNTRUST-ING                         UNKNOW-ING                         UNLOV-ING                         HE WANTS YOU BACK HE SCREAMS INTO                          THE NIGHT AIR LIKE A FIREMAN GOING                          TO A WINDOW THAT HAS NO FIRE EXCEPT                          THE PASSION OF HIS HEART                          I AM LONELY,                         IT'S REALLY HARD                         THIS POEM SUCKS               A crowd has gathered in the street and spectators group on                their balconies. They break out into APPLAUSE. Charlie proudly                takes the applause and bows to Harriet. She throws him a                flower. He's won her back.               INT. BATHTUB - HARRIET'S APARTMENT - NIGHT               Romantic with candles surrounding the tub. Harriet and Charlie                are bathing together. Wherever one of them moves, the water                extinguishes a candle and Charlie lights it. This is keeping                him pretty busy.                                     HARRIET                         I've been there for almost a year. I                          only planned on stay with her for a                          few weeks, but she gets upset every                          time I say I'm moving.                                     CHARLIE                         You were close as kids?                                     HARRIET                         I pretty much raised her. You know                          the scene. Depressed mother...                          withdrawn father.                              (she remembers)                         My dad was a photographer too.                                     CHARLIE                         Really?                                     HARRIET                         He hated it. Trudging off to those                          weddings every Saturday night. Other                          people's celebrations he called it.                          He said sometimes they didn't even                          offer him a glass of soda. He had a                          small studio, and every year at                          Christmas he'd take a picture of me                          and Rose and put it in the window on                          a little card that said "Seasons                          Greetings." Awful pictures. It's                          like... I could see his pain in my                          face. Anyway, me and my sister worked                          with our "childhood issues" in                          different ways. She became a                          photographer and I became phobic                          about having my picture taken. It's                          quite a family.                                     CHARLIE                         Where are they now? Your parents?                                     HARRIET                         Dead. Car accident.               There is a RING at the door.                                     ROSE (O.S.)                         Harriet, its for you.               INT. HARRIET'S LIVING ROOM               Charlie comes out of the bathroom in a robe.                                     HARRIET                         Charlie, I want you to meet a friend                          of mine. Say hi to Ralph.                                     CHARLIE                              (shocked)                         Ralph?               A plain looking lady in her thirties, RALPH, is sitting by                the window.                                     CHARLIE                              (delighted)                         Oh, like Ralph, the lady carpenter                          in Green Acres!                                     HARRIET                         This is Charlie.                                     CHARLIE                         I love you!                                     RALPH                         It's nice to meet you.                                     CHARLIE                              (ecstatic)                         Nice? It's more than nice. It's great                          to meet you. It's fantastic to meet                          you. I just, I can't tell you how                          glad I am. Ralph. Really. I am.                                     RALPH                         Well, thank you, I've heard a lot of                          nice things about you too, and...               He rushes over to hug her.                                     CHARLIE                         Oh, Ralphie, I love you.               Swept up in his enthusiasm his towel falls off. Harriet is                shocked, but amused.                                     HARRIET                         I'll leave you guys alone. Have a                          great time.               Charlie realizes he is naked. His arms are still wrapped                around Ralph.                                     CHARLIE                         I'm naked, aren't I?                                     HARRIET                         Why, yes, you are.                                     CHARLIE                         I should really get dressed now.               He hurriedly puts his towel back on, bolts to the bedroom                door. Just before he enters, he pauses and turns to Ralph.                                     CHARLIE                              (to Ralph)                         Call me.               He leaves.                                     RALPH                              (to Harriet; a little                               confused)                         Friendly guy.                                                                    CUT TO:               A KITCHEN DOOR OPENS...               and Charlie's mother, MAY, shoulders her way through the                door, carrying a HAPPY ANNIVERSARY CAKE with a big 45 written                on it.               PULL BACK TO REVEAL WE ARE IN:               INT. CHARLIE'S PARENTS' APARTMENT - NIGHT               May and Stuart's 45 year anniversary party. UNCLE ANGUS is                at the piano playing "Happy Anniversary" as Charlie's parents,                all their friends and Harriet all sit around the piano                SINGING:                                     THE GROUP                         Happy Anniversary to you...                              (Etc.)               The song ends. May and Stuart blow out the candles.                                     MAY                         Okay, everyone come and get a piece                          of cake and some milk.                                     CHARLIE                         Hey Dad, I got an anniversary present                          for you...               Stuart looks up, and Charlie gets him in a headlock and pins                him to the ground.                                     STUART                         I'm proud of you, son. I'm proud of                          you.                              (Stuart addresses the                               group)                         I just wanna propose a toast. To my                          wife. Forty five years ago today May                          and I got married. Some of you were                          there, some of you weren't born yet,                          some of you are now dead, but... We                          both said, "I do" and we haven't                          agreed on a single thing since. But,                          I'm glad I married you May cause...                          It could have been worse and                          besides... I still love you.               They kiss and everyone APPLAUDS. Uncle Angus breaks into,                "Stand By Your Man." May and Stuart start to dance. Charlie                looks at another young couple who are touched by this sincere                display of love. He looks over at Harriet. Stuart and May                feed each other cake. Charlie approaches Harriet.                                     CHARLIE                         Harriet, I wanna talk to you.                                     HARRIET                         Boy, you really made some impression                          with Ralph. She can't get over you.                                     CHARLIE                              (stalling; nervous)                         I'm just so happy for you to have                          friends like Ralph. What a great                          friend to have.                                     HARRIET                         Is everything all right, Charlie?                          You're perspiring.                                     CHARLIE                         Harriet... marry me.                                     HARRIET                         What?                                     CHARLIE                         I want to have a wedding. With you.                                     HARRIET                         No.                                     CHARLIE                         Please.                                     HARRIET                         I don't know, Charlie. It's so good                          like it is. Why don't we just live                          together first?                                     CHARLIE                         Because, I love you and I want you                          to marry me and be with me for 45                          years. I want you to have my children,                          and I want to have your children. I                          know that sounds like a lot of                          children, and they might not all get                          along, but... I'm finally ready to                          trust you and to make a commitment.                          Marry me, Harriet, please. Be my                          wife.               Harriet flinches slightly at the word "Wife", but Charlie is                too wrapped up in the moment to notice. Stuart addresses the                group.                                     STUART                         I'd like to thank Charlie for throwing                          us this party. I hope some day you                          have the same great 45 years that                          we've had.               People clap and smile. Harriet looks at Charlie. He has tears                in his eyes.                                     HARRIET                         Yes.               At first it doesn't register. Then...                                     CHARLIE                         You will?               She smiles.                                     HARRIET                         Let's get married, Charlie.               They kiss.                                     MAY                              (from across room)                         Harriet, come here a minute. I want                          you and Uncle Angus to play a song                          together.               Harriet and Charlie kiss one last time and she goes to the                piano.               Charlie stays in the corner, and Tony comes over.                                     TONY                         Hey, sorry I'm so late. What's                          happening?                                     CHARLIE                         Nothing. Nothing at all. Just two                          little things...                              (as Tony looks in)                         That woman over there in the corner...                          She's Harriet's friend, and her name                          is Ralph.                                     TONY                         No shit.                                     CHARLIE                         And secondly... That woman over                          there...                              (Re: Harriet)                         That's Harriet, and we're getting                          married.                                     TONY                              (excited)                         Fantastic... What did I tell you.                          She's a great girl. And the last                          thing in the world she'd be is a                          murderer.               And then Harriet begins singing at the piano.                                     HARRIET                              (singing)                         ONLY YOU...                         CAN MAKE THIS WORLD SEEM RIGHT...                         ONLY YOU...                         CAN MAKE THIS DARKNESS LIGHT..."               Tony and Charlie look at each other. "Only you?" Then Charlie                looks at his bride with confidence.               He walks over and joins her. She sings to him. It's a moment.               INT. JEWELRY STORE - DAY               Charlie and Harriet pick out a diamond ring.               INT. TRAVEL AGENCY               Charlie and Harriet point to brochures of the different cities                they could go to on their honeymoon. They decide on a picture                of the "DRY CREEK LODGE" in Oregon.               INT. DOCTOR'S OFFICE               They are getting their blood tests back. Harriet looks at                hers, casually. Charlie is nervous. Reluctantly he opens the                file and looks at it. He is pleased with the results and                does a victory dance.               EXT. SCOTTISH PRESBYTERIAN CHURCH - ESTABLISHING               INT. SCOTTISH PRESBYTERIAN CHURCH               Charlie and Harriet are being married. Harriet is in a                beautiful wedding gown. Charlie is wearing a kilt. Tony is                the best man. He also wears a kilt. Stuart, also kilted,                May, the whole family along with a hundred well-wishers are                in attendance. The SCOTTISH MINISTER presides. Rose is in a                kilt.                                     SCOTTISH MINISTER                         Now, Mr. MacKenzie, if you will take                          this woman to be your wife, through                          thick and thin, for better or for                          worse, please say: "I do"...                                     CHARLIE                         I do...                                     SCOTTISH MINISTER                         Now Harriet, if you will take this                          man, through good times and bad, for                          ever and ever, as your husband, please                          say "I Do"...               Harriet starts to speak; but right before the words come                out, she stares into Charlie's eyes and STOPS. Charlie looks                nervous. So does the Scottish Minister. So does Tony. So                does everyone.                                     HARRIET                              (after a long pause;                               finally:)                         I do.                                     SCOTTISH MINISTER                         Now Charlie... Kiss the beautiful                          bride!               Charlie and Harriet kiss. We can see (though Charlie can't)                Harriet has a strange unsure expression on her face. Tony                notices it though and can't figure it out.                                     STUART                         Let's get pissed.               The wedding march kicks in being played by a drunken Scotsman                on BAGPIPES.               INT. RECEPTION HALL               A Scottish accordionist and a Drummer play SCOTLAND THE BRAVE.                Some OLDER SCOTTISH AUNTIES are CLAPPING and HOOTING LOUDLY                along with the tune. Some young girl COUSINS in traditional                Scottish costume, dance the sword dance along to SCOTLAND                THE BRAVE.               We pass the buffet which we see is catered by "Meats Of The                World." Then we pass a very drunken Stuart in a heated                discussion with four other people.                                     STUART                         You know Golden Gate park was designed                          by a Scotsman, MacClaren, which is                          who MacClaren park was named after.               The others agree heartily.               May and Tony are dancing. May is dancing uncomfortably close.                She keeps sliding her hand down to his ass, which he then                has to move back to his shoulder.               Then we come to William, who's reluctantly at the children's                table. All his little cousins are queuing up for a chance to                feel his head.               We find Charlie in a corner. One of the hooting Scottish                aunties is trying to get him to have another Scotch.                                     AUNTIE MOLLY                              (proffering the Scotch)                         Charlie, get this down your neck.                                     CHARLIE                         Auntie Molly if I have another one                          I'll end up underneath the table                          with my kilt over my head.               Tony joins them.                                     TONY                         Where's Harriet?                                     CHARLIE                         I don't know. Oh, there she is.               She's in the corner by herself looking weird and ominous.                She has enough food in front or her for three people.               She eats ravenously and incessantly. Charlie goes over to                her.                                     CHARLIE                         A little hungry, were you?               At that moment, a FLASH goes off. Harriet looks up angrily.                                     HARRIET                         What are you...!               Then she realizes it's Rose. She calms down and smiles.                Charlie looks at her, a little peculiarly, but Harriet regains                her composure.                                     HARRIET                         Sorry. The flash just...               The band kicks into a new dance. A YOUNG BOY comes up to the                bagpipe man with a shot of whiskey and whispers into his                ear. The bagpipe man stops the song, downs the whiskey and                then breaks into Rod Stewart's "IF YOU THINK I'M SEXY." From                across the room we hear Stuart singing.                                     STUART                              (full volume; singing)                         IF YOU THINK I'M SEXY...                         AND YOU WANT MY BODY...                         COME ON BABY LET ME KNOW.               Stuart gives the Bagpiper the thumbs up. The young people in                the room start to jam, and then one by one the other guests                start getting into the swing of things. The bagpipe man                continues playing. It is clear that he is far too drunk to                play. He slowly keels over, drunk. And as he falls over face                first, he lands on his Bagpipes. The bagpipes let out an                ATONAL DEFLATING SOUND like the last dying throes of a                tortured animal. The BAGPIPE WAIL extends into the next scene.               EXT. HIGH ABOVE COAST - DAY                                     CHARLIE (V.O.)                         Wait 'til you see this place, Harriet.               INT. CHARLIE'S CAR - DAY               They drive along the beautiful coast. Harriet is still eating.                They're listening to TEENAGE FAN CLUB.                                     CHARLIE                         This is Teenage Fan Club. They're                          from Scotland.                                     HARRIET                         They're great.                                     CHARLIE                         We'll have the whole lodge to                          ourselves practically.                                     HARRIET                         I can't wait, Charlie.                                     CHARLIE                         I wish you could be me, so you could                          know how great it feels to be with                          you.                                     HARRIET                         It sounds wonderful                                     CHARLIE                         Do you think that would be a good                          line for a poem?                                     HARRIET                         Honestly? It sounds a little Hallmark.                                     CHARLIE                         Yeah, it's a little Seals and Croft.                          I have a habit of sabotaging                          relationships, and there were a                          million times during me and you that                          I could have blown this, and I just                          thank God that I didn't...               INT. POLICE STATION - DAY               Tony is at his desk. The captain kicks open the door, knocking                Tony's feet off the desk. The captain is now dressed in                suspenders, a loosened tie, and a shirt with pit stains.                                     CAPTAIN                         O.K., Spiletti, I got word from                          upstairs that you been pokin' your                          nose into that Ralph Elliot case.                                     TONY                         Yes, Captain.                                     CAPTAIN                         Don't "yes, Captain" me, Spiletti.                          You're outta line. This is strictly                          homicide.                                     TONY                         Captain, I got this friend...                                     CAPTAIN                         Friend? Yeah, we all got friends,                          Spiletti. I'm warning you, Stay away                          from this one. Back off, Italian                          boy. You're getting too close to                          this one.                                     TONY                         Captain, I know what I'm doing. Trust                          me. What's the news.                                     CAPTAIN                         I can't believe I'm doing this, but                          that girl who confused to Ralph                          Elliot's murder also confessed to                          other murders.                                     TONY                         I knew she would! I knew it!                                     CAPTAIN                         Yeah, apparently she also confessed                          to killing Abe Lincoln, Julius Caesar,                          and Warren G. Harding. She's a nut,                          Spiletti!                                     TONY                              (getting up)                         Oh, my god! I gotta go!                                     CAPTAIN                         Yeah, screw this one up Spiletti and                          you'll be writing parking tickets                          for the rest of your days.                                     TONY                         I won't let you down, Captain.               Tony exits for a beat, then pokes his head in the doorway.                                     TONY                         That's much better Captain.                                     CAPTAIN                              (nice again)                         You think so? Well, thank you very                          much.               EXT. POLICE STATION - DAY               Tony hurries to his car.               EXT. GAS STATION ALONG THE COAST - DAY               They stop at a gas station with a small mini-mart. As Charlie                is filling the tank he notices Harriet slipping the key out                of the ignition before she walks to the mini-mart for more                food.                                     HARRIET                         You want anything?                                     CHARLIE                         Lamb chops, creamed spinach, stuffed                          tomatoes and a Hershey Bar.               Harriet arrives at the little Ma and Pa type mini-mart and                smiles to Charlie.                                     CHARLIE                         If they don't have all that, I'll                          just take the Hershey bar.               EXT. CHARLIE'S APARTMENT BUILDING - DAY               Tony stands at the door, buzzing the buzzer to no response.               INT. CHARLIE'S CAR - EARLY EVENING               They are still driving along the coast. Charlie is eating                his Hershey Bar. Harriet's eyes are becoming a bit glazed                now, her movements a little static. She keeps looking behind                them and out the window.                                     CHARLIE                         What do you keep looking behind us                          for?                              (joking)                         Is someone following you, or...?                                     HARRIET                         They were. I think they're gone.                                     CHARLIE                              (curious; pausing)                         What do you mean, they were?                                     HARRIET                         The gas station guy. I thought he                          was chasing us for a while, but I                          guess he stopped.                                     CHARLIE                         The gas station guy? Why would the                          gas station guy chase us.                                     HARRIET                         I don't know, Charlie. I guess for                          not paying.                                     CHARLIE                         What do you mean not paying? You                          didn't pay him for the gas.                                     HARRIET                         I forgot to pay... I didn't want to                          be away from you for any longer.                                     CHARLIE                         So, you just left.                                     HARRIET                         Yes. And you're an accomplice.               He stops mid-bite on his Hershey Bar. He's confused.                                     CHARLIE                         I'm not sure I understand.                                     HARRIET                         Look, Charlie, don't you get it?                          We're a team.                                     CHARLIE                              (going with it)                         I can play that game. I'll get the                          next gas station. Like Bonnie & Clyde.               He and Bonnie continue on the winding road and pass a sign                that reads: "DRY CREEK LODGE - 40 MILES"               INT. HALLWAY - HARRIET'S APARTMENT - DAY               Tony knocks. No answer. He picks the lock and enters.               INT. LIVING ROOM - DAY               Rose is tied up and lying in a pool of blood. Tony stops for                a beat, draws his gun and slowly walks over to her. Just as                he gets there, a SHUTTER CLICKS.                                     ROSE                         Oh, hi!                                     TONY                              (practically hysterical)                         What is it with the women in your                          family?                                     ROSE                         I was just doing a murder series in                          honor of the wedding.                                     TONY                         Hey, this is real blood.                                     ROSE                         Yes, Harriet, give it to me. She's a                          butcher.                              (Tony reacts)                         ...She owns a butcher shop.                                     TONY                         I need a picture of Harriet.                                     ROSE                         Sorry. No can do.                                     TONY                         You took a picture at the party. I                          saw it.                                     ROSE                         It didn't come out.                                     TONY                         Look, Rose. I need a photo.                                     ROSE                         The picture didn't come out.                              (he waits)                         It was unflattering. In made her                          look ten pounds heavier.                              (he waits)                         She's my sister.                                     TONY                         She's been implicated in a crime. I                          need the photo to eliminate her as a                          suspect.                                     ROSE                         And if she's not innocent. If she's,                          you know, "quirky?"                                     TONY                         If she's "quirky" we'll save Charlie's                          life.               Rose pulls out a photograph -- Charlie and Harriet. Looking                young and in love.               EXT. DRY CREEK LODGE - LATE IN THE DAY               A beautiful old Colonial Mansion, nestled in the mountains                and forests of the North-West. Romantic and from another                day. Charlie and Harriet pull up in front of it.               The Valets open the door for them.                                     HARRIET                         It's like a castle, Charlie. It's so                          beautiful.                                     VALET                         Welcome to the Dry Creek. You just                          beat the rainstorm. Two hours later                          and the roads'd probably be closed.                                     CHARLIE                         Great. If you could help us with the                          luggage, we have these two in the                          back seat and...               As they deal with the luggage, Harriet starts to walk away                from the hotel, away from the car, rain falling on her head.                She walks straight at the CAMERA, so only we can see her                expression. Her expression is one of simply "losing it".                                     CHARLIE                         Harriet? What are you doing honey?               Harriet turns around and smiles at Charlie. He smiles back.               INT. LOBBY OF DRY CREEK LODGE - EVENING               Charlie and Harriet stand at the desk. Harriet is not quite                paying attention. Her attention span has slipped to none.                She's fidgety. She looks around suspiciously at everything                and everyone.                                     DESK CLERK                         Welcome, Sir. We have you with us                          for four nights, Mr. MacKenzie. Dinner                          reservations are at eight-thirty.                                     CHARLIE                         Great. Sounds terrific.                                     DESK CLERK                         Also, you might wanna prepare some                          candles by the bed. We're expecting                          the rainstorm to get even worse. We                          might even lose the power tonight.                                     CHARLIE                         Did you hear that, Harriet? A storm.                          I can't think of anything more                          romantic than the two of us trapped                          in our room in the middle of a rain                          storm.                              (noticing her)                         You okay, Harriet?                                     HARRIET                         Just a little head-ache.                              (to clerk)                         Excuse me, is there a drug store in                          the hotel? I want to get some aspirin.                                     DESK CLERK                         Right beyond those trees, Ma'm.                          Anything you need.                                     HARRIET                         Thanks. Don't go anywhere. I'll be                          right back.               Harriet walks off to the lobby store, backwards, looking at                Charlie. Charlie watches her walk off. The Desk Clerk sits                staring at Charlie.                                     DESK CLERK                         You think she's really got a head-                         ache?                                     CHARLIE                         What?                                     DESK CLERK                         Ah, nothing. Here's your key. You're                          in the Oak Room.               Charlie looks back at the drug store, where Harriet is                shopping. She waves to him. Charlie looks back at the Desk                Clerk and grabs the key.                                                                    CUT TO:               FAX OF THE PHOTO OF CHARLIE & HARRIET               coming out of a fax machine.               INT. WALTER'S PLUMBING - EARLY EVENING               WALTER, the owner of the Plumbing store, dressed in overalls                takes the Fax out and then picks up the phone.                                     WALTER                         That's Ralph Elliot's wife, alright.                          She had shorter hair in those days.               INT. MARTIAL ARTS STUDIO - NIGHT               MASTER CHO, the new owner of the studio, dressed in a gee,                looks at the same fax.                                     MASTER CHO                              (into phone)                         Mrs. Richter gain much weight since                          then, but it's definitely her.               INT. THE LIZARD'S LOUNGE - ATLANTIC CITY               RANDY ROMANO, the owner, talks into the phone, holding up                the faxed photo of Charlie and Harriet.                                     RANDY                         That's his little lollipop, alright.                          Boy he loved her. I'll tell you, she                          was a lot of fun. Smart. A doll face                          to boot.               INT. TONY'S CUBICLE - NIGHT               Tony is on the phone. Kathy, seen before at the police                station, stands with him.                                     TONY                         Circuits are out from the storm.               Tony gets to the police station door and opens it. Kathy                follows him.                                     TONY                              (to Kathy)                         Keep trying the hotel. Tell the chief                          I just chartered a plane up to Oregon.               The Police Captain enters.                                     CAPTAIN                              (points to his hair)                         See that Spiletti -- A gray hair!                          Every day, Spiletti, I find another                          one. And that's all due to you. Get                          out there, and catch me some bad                          guys!                                     TONY                         Not now, Captain.                                     CAPTAIN                              (nice again)                         Sorry.               Tony dashes out of the police station and into his car.               INT. CHARLIE'S HOTEL ROOM - NIGHT               A beautiful suite, with a fireplace burning a big stack of                wood, with another stack next to it, with an AXE in it. Music                is playing softly on the stereo. And Charlie and Harriet                have just finished making love underneath the covers,                illuminated just by the light of the fireplace.                                     CHARLIE                         This is the best honeymoon I could                          ever imagine, Harriet. If we had to                          pack and go home right now, I'd still                          think it was the greatest honeymoon                          ever.               Harriet doesn't respond. Her head is turned from his.                                     CHARLIE                         Don't you agree, Harriet? Harriet?               He pulls the sheets away from her face to see that she is                crying.                                     CHARLIE                              (wiping her tears)                         What? What are you crying? What is                          it?                                     HARRIET                         It's nothing. It's just... I was                          just thinking... We're married now.                          And I always wanted to try and have                          kids, and...                                     CHARLIE                         So do I. Look, there's nothing more                          I'd like to do than have, kids, or...                                     HARRIET                         It's just, I get scared that certain                          things will happen, or...                                     CHARLIE                         What are you talking about? You're                          gonna be a great Mom. I know you                          will.                                     HARRIET                         It's not that, Charlie.                                     CHARLIE                         What then?                                     HARRIET                         You're gonna laugh.                                     CHARLIE                         Tell me. Of course I'm not gonna                          laugh. Kids is a big thing. It's                          hard. I'm sure I have the same fears.                                     HARRIET                         If we have kids, Charlie, things                          happen. Kids are healthy and fine,                          and some aren't, and I don't know if                          I could live with myself if I gave                          birth to a child with webbed feet.               Charlie stops to think about this. Webbed feet?                                     CHARLIE                         Webbed feet?                                     HARRIET                         You're laughing.                                     CHARLIE                         No, I'm not laughing.                                     HARRIET                         You think that's silly?                                     CHARLIE                         No, no. That's a natural fear. I've                          thought about that fear.                                     HARRIET                         It really worries me, Charlie.                                     CHARLIE                              (quite confused)                         Well, look, they have, doctors -- I                          assume -- that deal, only with, webbed                          feet. And, God Forbid, and I'm talking                          strictly hypothetically, should that                          happen, we'll find one.                                     HARRIET                              (kissing him; happy                               now)                         You're the greatest Charlie.                                     CHARLIE                              (confused, to say the                               least)                         Thanks. We should get ready for                          dinner.               EXT./INT. CHARTERED CESSNA - NIGHT               A small plane flies through the clouds. It's just Tony and                DENNIS the pilot.               Dennis never really realizes this is more than a sightseeing                tour, and constantly points out scenic points along the way.                                     DENNIS                         Out your left side, you can see the                          Sierra Nevada, which is the largest                          mountain range west of the Rockies...                                     TONY                         Great. Rockies. I don't care. Oregon.                          Move.               INT. CHARLIE'S HOTEL ROOM AT DRY CREEK LODGE - NIGHT               Charlie is dressed very sharply in sport coat and tie. He                yells into the bathroom where we can see part of Harriet                from behind.                                     CHARLIE                         You almost ready? The first seating                          is in five minutes.                                     HARRIET                              (from other room)                         I just wanna look good for you,                          Charlie. That's all.                                     CHARLIE                         I'm sure you look great. I'm sure                          you look...               Harriet turns the corner, wearing a nice dress. Her hair                looks okay. She's wearing perfume. The only problem is, she                has two lines of mascara running down her cheeks. She's been                crying. Charlie looks curious.                                     HARRIET                         Do I look okay, Charlie?                                     CHARLIE                         Yes. Well...               Charlie points to his own eye.                                     HARRIET                         What's wrong?                                     CHARLIE                         Nothing. You kind of look like Tammy                          Faye Baker right now.               She looks in the mirror.                                     HARRIET                         Oh, yeah.               She goes back into the bathroom.               EXT. CESSNA - NIGHT               The plane descends towards the runway. The rain comes down                hard.                                     DENNIS (V.O.)                         As we prepare to land, we can see                          off to our left Lake Shanony, which                          is...                                     TONY (V.O.)                         Just land. Don't worry about Lake                          Shanony. I don't give a shit about                          Lake Shanony.               The plane touches down.               EXT. DRY CREEK LODGE - NIGHT               Rain pours fantastically on the gothic castle. Wind blows                hard.                                     MAN'S VOICE (V.O.)                         A toast to our new friends, Charlie                          and Harriet...               INT. BEAUTIFUL FRENCH RESTAURANT IN HOTEL - NIGHT               A beautiful dining room with a small dance floor. Charlie                sits at an intimate table for two with Harriet. A small band                plays in the b.g., as the BAND LEADER is making the toast.                The five or six other couples in the restaurant also hold up                their glass.                                     BAND LEADER                         ...we're honored to be here for this                          very special day in...               The CONCIERGE at this point interrupts to bring Charlie a                TELEPHONE. Everyone stops and watches and waits.                                     CONCIERGE                         I'm sorry to interrupt, Sir. There's                          a phone call for you from town.                              (Charlie takes phone)                         They say it's quite urgent.               The toast, as well as the entire room, stops -- almost like                an E.F. Hutton commercial, waiting for Charlie's phone call                to finish.                                     CHARLIE                              (curious)                         Hello?               INT. AIRPORT IN OREGON - EARLY EVENING               Tony speaks into the phone frantically.                                     TONY                         Charlie, you okay?               INTERCUT PHONE CALL                                     CHARLIE                         Great. Couldn't be better.                                     TONY                         Charlie, listen to me! It's her!                          Harriet is Mrs. X! She killed Ralph                          and the two other men!               Charlie looks up across the table at Harriet who is completely                caught up in the event of seeing how long she can keep her                hand in the candle before it hurts.               She puts it in, smiles then takes it out. She shakes her                hand, and repeats the process.                                     CHARLIE                              (talking softly)                         Look, that's great -- it just so                          happens though, that I met...                              (louder than he had                               hoped)                         Ralph, and much to my delight, not                          only is she alive, but she's female.                          I thought I told you.               Harriet looks at Charlie, very suspiciously. He looks back                at her, and tries to smile, pretending that he is having a                pleasant, and completely irrelevant conversation.                                     TONY                         Rose had a picture. It checked out.                          It's her, Charlie. She is the                          murderer.                                     HARRIET                         Charlie, your food is getting cold.               Charlie waves "One Minute" to Harriet, as she watches.                                     CHARLIE                         So, what do I do?                                     TONY                         I called the police. All the roads                          are closed, but they're on their                          way. In the mean time just...               The line goes DEAD.                                     CHARLIE                         Hello?                              (pressing receiver)                         Hello?                                     HARRIET                         What's a matter, Charlie?                                     CHARLIE                              (to concierge)                         The phone just went dead. I was on                          the phone and it went dead.                                     CONCIERGE                         That's quite common, sir. I'm sure                          the lines'll be out in the whole                          city 'til tomorrow. Enjoy your meal,                          Sir.               The Concierge takes the phone away. Charlie turns slowly to                Harriet, genuinely scared.                                     HARRIET                         What happened, Charlie?                                     CHARLIE                         Nothing... Nothing happened. Just                          the lines are down. Phone lines.               Suddenly, the band leader continues with his toast.                                     BAND LEADER                              (over microphone)                         ...so to these two young people, we                          wish them a long and happy life                          together and would like to play their                          song. The Platters -- "Only You".               The band starts to play "Only You".               People APPLAUD. Harriet and Charlie just stare at each other.                He knows.               The older couple at the next table, MR. & MRS. LEVENSTEIN,                lean over to their table.                                     MR. LEVENSTEIN                         How about the traditional Bride &                          Groom dance?               Another couple walks by and pulls them literally out of the                their seats and onto the dance floor.                                     OTHER COUPLE                         Come on. It's a tradition.               Charlie finds himself in the middle of the dance floor dancing                slowly with Harriet. He's scared out of his mind. The music                plays in the background. Harriet smiles strangely at him. He                tries to smile back, checking all the Exits, planning an                escape.               Then suddenly, call it luckily, MR. LEVENSTEIN, interrupts:                                     MR. LEVENSTEIN                         Excuse me. Could I cut in on your                          dance?                                     CHARLIE                         Of course. Sure...               Charlie gives her hand away to Mr. Levenstein. He takes Mrs.                Levenstein's hand and starts to dance towards the EXIT, when                suddenly the ELECTRICITY GOES OUT. The MUSIC is out. The                LIGHTS ARE OUT.               In the dimmest of lights provided from the cloud covered                moon outside, Charlie runs across the dance floor, fighting                for an exit to the outside.               He arrives in someone's arms on his way.                                     CHARLIE                         I need your help! You have to help                          me! I've married a...!               The LIGHTS GO BACK ON and Charlie is in HARRIET'S ARMS again.                Her face is near menacing now. She smiles a very disturbed                grin. He doesn't know what to say.                                     HARRIET                              (much too pleasant)                         Hello, Charlie.               Charlie and her are squared off. Neither speak. Suddenly                both of them are lifted into the air. They look down and see                the waiters and busboys picking them up onto chairs, throwing                them up in the air again and again. The MUSIC plays along                loudly.               Harriet watches Charlie very closely, as Charlie looks scared.                Then, the people start to carry them out of the room and                down the hallway.                                     WAITER                         Let's take 'em to their room.                                     CONCIERGE                         Yeah, I'm sure they've had enough of                          these crowds for one night.                                     CHARLIE                         My dinner. I didn't finish my dinner                          yet.                                     HARRIET                         Smile, Charlie. Act like you're having                          a good time.               INT. OREGON AIRPORT - SAME/NIGHT               Tony is talking to an attractive young girl behind the airport                Rent-A-Car booth.                                     RENT-A-CAR GIRL                         I'm sorry, Sir. The roads are all                          closed. We can't rent any cars this                          evening.                                     TONY                         You have to rent me something. I've                          gotta get up there. My friend's in                          danger...               INT. CHARLIE & HARRIET'S ROOM - NIGHT               The other hotel guests threw them inside. The room is all                made up, the sheets are pulled down, the firewood is cut,                the AXE is in the wood.                                     CONCIERGE                         Have a good night, you two.                                     CHARLIE                         Come on in. Stay for a nightcap.                                     BELLBOY                         No, you two wanna be alone. See you.                                     CHARLIE                              (demanding)                         Stay for a nightcap!                                     BELLBOY                         Sir, I really don't think I should                                     CHARLIE                              (shouting)                         STAY FOR A NIGHTCAP!               The bellboy is frightened and runs away.                                     CHARLIE                              (shouting down the                               hall after him)                         STAY FOR A NIGHTCAP!               Harriet pulls Charlie back into the room, frightened that                he's leaving.                                     HARRIET                         Don't go, Charlie.               EXT. AIRPORT - NIGHT               Tony runs out of the airport terminal where he sees a man in                his forties who's just entered his four wheel drive jeep.                                     TONY                              (flashing his badge)                         Excuse me, Sir, I'm with the San                          Francisco Police Department. I'm on                          official business and I'm afraid I                          have to commandeer your vehicle.                                     MAN                              (unfazed)                         No.                                     TONY                         What do you mean no?!                                     MAN                         I happen to know for a fact that you                          don't have the power to commandeer                          my vehicle.                                     TONY                         This is true.                              (pause)                         Please can I commandeer your vehicle?                                     MAN                         Well, where are you going?                                     TONY                         To The Dry Creek Lodge.                                     MAN                         I'll give you a lift.                                     TONY                         Well, I don't want a lift, I really                          want to commandeer the vehicle. Please                          just let me commandeer the vehicle.                                     MAN                         Why don't you just let me drive you                          there? Really, I don't mind, it's on                          my way.                              (pause)                                     TONY                         You're not going to bend on the                          commandeering thing are you?                                     MAN                         No.                                     TONY                         Well, if we get stopped will you at                          least let me say that I commandeered                          the vehicle, but I let you drive?                                     MAN                         I'm uncomfortable with that.                                     TONY                         Please?                                     MAN                         All right.               INT. CHARLES AND HARRIET'S ROOM               Charlie & Harriet are all alone. The voices trail off down                the hallway until they disappear. Charlie and Harriet stare                at each other. Harriet blocks the door. Charlie looks around                the room. The Axe. The Corkscrew. The letter opener. The                fountain pen. At this point, everything in the room looks                like a potential weapon. Harriet takes the axe.                                     HARRIET                         I heard you on the phone before,                          Charlie. There's something I've got                          to tell you.                                     CHARLIE                              (frightened)                         Harriet, I...                                     HARRIET                         I've been married before.                                     CHARLIE                         I already know.                                     HARRIET                         About my husbands?                                     CHARLIE                         Yes. And I was meaning to have a                          word with you. We could get an                          annulment.                                     HARRIET                              (screams)                         AAAhhhhhhh!               Suddenly the power goes off again. They're both in the dark.                A scuffle. Charlie has restrained Harriet, throws her in a                walk-in closet and locks it. From behind the door, we hear                Harriet WAILING. Which continues.               Charlie picks up the axe, looks at it, relieved at his lucky                escape. He rushes to the door to escape. He opens it and                standing there is Rose.                                     CHARLIE                         Aaaaah, Rose, I never thought I'd be                          so glad to see you.               Rose smiles. Charlie puts down the axe. The lights flicker                back on.                                     CHARLIE                              (going to the phone)                         Maybe the phones are working again                          by now.               He listens for a dial tone. Beside the phone he sees a note.                He starts to read is:                                     CHARLIE                         'Dear, Harriet. I just can't handle                          the commitment. I'm leaving you.'                          Signed, 'Charlie.'               And behind him Rose approaches with the axe raised.                                     CHARLIE                         What the hell is this? I didn't write                          this?               And at that moment he turns to find the AXE BEING FLUNG                THROUGH THE AIR AT his head. He ducks just in time.                                     CHARLIE                         What the fuck?!               She takes another swing and she hits the lamp off the desk                and the room is in complete DARKNESS.                                     ROSE                         Charlie. Why did you marry Harriet?                          I warned you not to marry her, didn't                          I? I warned all of them. But none of                          them listened to me. They all went                          ahead and married her. She's the                          pretty one. Where's Harriet? What                          have you done with my sister, Harriet?                                     CHARLIE                         Nothing, Rose.                                     ROSE                         If you've done something to my sister,                          Harriet, I swear to God I'll kill                          you.               We stay in Charlie's hip pocket as he tries to get away from                what he can't see. He stays very silent.                                     HARRIET                              (from the closet)                         Where are you, Charlie? What's going                          on?               Then Rose strikes a match. She lights a candle and comes                toward him. He looks around. The window is open. And Charlie                is gone.               INT. COMMANDEERED CAR - NIGHT               Tony and the commandeered man drive through the swampy,                winding road on the way up to the hotel. Tony is drumming on                the dash.                                     MAN                         Could you stop doing that please?               EXT. CASTLE-LIKE ROUND TOWER/LEDGE OF TOWER - NIGHT               Charlie tightropes along the ledge of the building. The storm                continues. Rose comes out on the ledge and starts to chase                him. He rounds the bend. Charlie looks into one room and                sees MR. & MRS. LEVENSTEIN there. There's loud OPERA MUSIC                playing in the room                                     CHARLIE                         Call the police!               INT. THE LEVENSTEIN'S ROOM - NIGHT SAME               The Levensteins prepare for bed. Charlie races by their                window. Then Rose races by.                                     CHARLIE                         Call the police!               Mr. Levenstein closes the curtains. He can't hear.               EXT. LEDGE - NIGHT               Charlie races along the slippery ledge, almost falling at                several points. Rose then appears on the roof holding the                Axe, still.                                     ROSE                              (mostly to herself;                               slurring most words)                         Charlie, did you like your note? I                          thought it was pretty accurate. I                          did all the husbands' notes. I can                          forge anyone's handwriting, I can                          write in anyone's style. See, I'm an                          artist. Harriet isn't an artist.                          Sure she could get a husband, but                          she could never have done this. And                          you know what I'm most proud of?                                     CHARLIE                         What's that, Rose?                                     ROSE                         Harriet never knew. She thought they                          all just left her. I protected her.                          She's my sister.               Charlie turns and runs. Rose chases him.               INT. BEDROOM               Tony breaks into the room with his gun drawn.                                     TONY                              (shouting)                         Charlie!                                     HARRIET                              (from closet)                         Tony, is that you? It's me, Harriet.                          I'm in here.               Carefully, Tony opens the closet door.                                     HARRIET                         Tony, Rose is trying to kill Charlie.                          They're out on the ledge.                                     TONY                              (not believing)                         Get on the floor and put your hands                          behind your back.               Harriet willingly goes on the floor.                                     HARRIET                         Sure, anything. You've got to save                          Charlie.               Tony slaps cuffs on her and takes her to the window.               INT. BEDROOM               Tony is standing with his back to the window, between it and                Harriet. She looks out of the window and screams.                                     HARRIET                         Look! It's Charlie!               From Harriet's POV we see Charlie on the ledge edging along.                He stops in horror when he sees Harriet, glances back to the                pursuing Rose, and rushes off.               Tony looks behind him out the window. Nobody is there.                                     TONY                         Nice try.                                     HARRIET                         I swear to you... It was Charlie...                          Look! Now there's Rose!               Rose looks into the room, with the axe in her hand.                                     TONY                         No you don't.                                     HARRIET                         I beg you... Look! It is Rose.                                     TONY                         Oh no, not again.                              (he glances at the                               window)                         Aaaaah! Rose.               INT. LEVENSTEIN'S WINDOW               There is opera music playing. Charlie rushes by, past the                window. There is a beat and he comes back, staring inside in                amazement.               REVERSE ANGLE               Mr. Levenstein is in a Viking outfit. Mrs. Levenstein is in                full Norse Regalia.               INT. LEVENSTEIN'S WINDOW               Charlie gulps and rushes on, hastily pursued by Rose.               INT. THE ROOF               Rose pulls the Axe back and swings, and the momentum of the                swing pulls her feet out from under her, and on the slippery                icy roof she falls and starts to slide.               Just as she's about to go off the fifty foot high roof,                Charlie climbs down the roof. He stands over her. She's about                to slip. Her hands are losing strength. Her fingers are                slipping. The rain is falling harder and harder.               Charlie walks over to the cage where she's hanging on for                life.               He leans down to help her up, but just as he grabs on to her                hand, the drainpipe she's holding onto slips.               She is now dangling from the roof, the rain falling harder                and harder. Charlie now is nowhere near her. He then gets                down on his knees on the roof and starts to climb down the                side of the drainpipe to get her.               Rose looks up helplessly at him. Not really asking for his                help. Not denying it. She's accepted her fate.               Policemen, ambulances and spectators have gathered below in                bunches as Charlie climbs down the drainpipe, he himself                hanging on for dear life.               He just reaches out far enough to grab her hand, and just as                he does, her drainpipe tears and falls into the crowd below.                Charlie, then with all his strength -- his "where has this                strength been my whole life" strength -- pulls her up to the                roof next to him.               Several policemen make their way onto the roof and come over                to where Charlie is detaining Rose. The police take her,                handcuff her and cart her away. From the corner of the roof                appears Tony.                                     TONY                         I hate to bother you on your                          honeymoon, Charlie, but...               Charlie looks beyond Tony and sees Harriet standing in the                doorway. He goes over and puts his arm around Harriet.                                     CHARLIE                         Thank God. I'm sorry I doubted you,                          but I thought you were the killer,                          but you were acting pretty strange?                                     HARRIET                         I thought you were going to leave                          me, like the others. Thank God they                          were just murdered. I thought they                          were always leaving me.               Below, Rose is put into a police car and taken off. The SIRENS                disappear. So do the crowds.                                                             DISSOLVE INTO:               THE SOUND OF A CROWD IN A CLUB:               INT. SPILETTI'S COFFEE HOUSE               Charlie is on stage looking very beatnik. He's reading his                poetry, but we can't hear it. He nods to someone off stage.                Harriet is in the audience, also looking very beatnik with                their three year old son, STUART, a miniature beatnik version                of Charlie.                                     CHARLIE (V.O.)                         My dad was right. You don't lose                          your muse once you're married. Nothing                          changed, except I gained a great                          son, Stuart.               SOUND UP on Charlie's poetry.                                     CHARLIE                         MARRIED MAN                         MOST MERRY                         AND IN CONCLUSION                                     CROWD AND CHARLIE                         THIS POEM SUCKS.               The crowd goes crazy.                                     CHARLIE                         Thank you very much.               HOUSE MUSIC kicks on. It's Saturday Night by the Bay City                Rollers.                                     BAY CITY ROLLERS                         S-A-T-U-R-D-A-Y NIGHT               Charlie comes off stage and joins his wife and child at their                table. He is very happy.                                                                  FADE OUT:                                         THE END
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+                                THE SOCIAL NETWORK                                    Written by                                   Aaron Sorkin                                                          May 28, 2009                                                            FROM THE BLACK WE HEAR--                         MARK (V.O.)          Did you know there are more people with          genius IQ's living in China than there          are people of any kind living in the          United States?                         ERICA (V.O. )          That can't be true.                         MARK (V.O.)          it is true.                         ERICA (V.O.)          What would account for that?                         MARK (V.0.)          Well first of all, a lot of people live          in China. But here's my question:                         FADE IN          INT. CAMPUS BAR - NIGHT          MARK ZUCKERBERG is a sweet looking 19 year old whose lack of          any physically intimidating attributes masks a very          complicated and dangerous anger. He has trouble making eye          contact- and sometimes it's hard to tell if he's talking to you          or to himself.          ERICA, also 19, is Mark's date. She has a girl-next-door face          that makes her easy to fall for. At this point in the          conversation she already knows that she'd rather not be there          and her politeness is about to be tested.          The scene is stark and simple.                         MARK          How do you distinguish yourself in a          population of people who all got 1600 on          their SAT's?                         ERICA          I didn't know they take SAT's in China.                         MARK          I wasn't talking about China anymore, I          was talking about here.                         ERICA          You got 1600?                         MARK          You can sing in an a Capella group.                                                                                                              2.                         BRICA          Does that mean that you actually got          nothing wrong?                         MARK          Or you row crew or you invent a 25 dollar          PC.                         ERICA          Or you get into a final club.                         MARK          Or you get into a final club, exactly.                         ERICA          I like guys who row crew.                         MARK                         (BEAT)          Well I can't do that. And yes, it means I          got nothing wrong on the test.                         ERICA          Have you ever tried?                         MARK          I'm trying now.                         ERICA          To row crew?                         MARK          To get into a final club. To row crew?          No. Are you, like--whatever--crazy?                         ERICA          Sometimes, Mark-seriously-YOU say two          things at once and I'm not sure which one          we're talking about.                         MARK          But you've seen guys who row crew, right?                         ERICA          No.                         MARK          Okay, well.. they're bigger than me.          They're world class athletes. And a          second ago you said you like guys who row          crew so I assumed you'd met one.                         ERICA          I guess I meant I liked the idea of it.          The way a girl likes cowboys.                                                                                                              3.                         MARK          The Phoenix is good.                         ERICA          This is a new topic?                         MARK          It's the same topic.                         ERICA          We're still talking about the finals          clubs?                         MARK          Would you rather talk about something          else?                         ERICA          It's just that since the beginning of          the conversation about finals clubs I          think I may have had a birthday.                         MARK          We can change the subject.          ERICA.          (can't get over it)          There are more people in China with genius          IQ's than the entire population of--                         MARK          It's about exclusivity.                         T'RICA          .....what is?                         MARK          The final clubs. And that's how you          distinguish yourself. The Phoenix is the          most diverse. The Fly Club, Roosevelt          punched the Porc.                         ERICA          Which one?                         MARK          The Porcellian, the Porc, it's the best          of the best.                         ERICA          I actually meant which Roosevelt.                         MARK          Theodore.                                                                                                              4.                         ERICA          Okay, well, which is the easiest one to          get into?          MARK takes a cigarette from a pack, lights it, takes a drag          and blows the smoke out before he says...                         MARK          Hm.                         ERICA          What?                         MARK          why would you ask me that?                         ERICA          I was just asking.                         MARK          They're all hard to get into. My friend          Eduardo made $300,000 betting on oil          futures last summer and he won't get in.          Money or the ability to make it doesn't          impress anybody around here. Everybody          can do that.                         ERICA          He made $300,000 in a summer?                         MARK          He likes meteorology.                         ERICA          You said it was oil futures.                         MARK          If you can predict the weather you can          predict the price of heating oil. You          asked me that because you think the final          club that's easiest to get into is the          one where I'll have the best chance,                         ERICA                         (BEAT)          I've lost my place again.                         MARK          You asked me which one was the easiest to          get into because you think that's where I          have the best chance.                         ERICA          The one that's easiest to get into would          be the one where anybody had the best          chance.                                                                                                              S.                         MARK          I just think you asked--the placement of          where you asked the question--                         ERICA          I was honestly just asking. Okay? I was          asking just to ask. Mark, I'm not          speaking in code.                         MARK          Erica--                         ERICA          You're obsessed with the finals clubs.          You have finals clubs OCD and you need to          see someone about this who'll prescribe          some sort of medication. You don't care          if side effects may include blindness,          okay, just do it.                         MARK          Final clubs. Not finals clubs and there's          a difference between being obsessed and          being motivated.                         ERICA          Yes there is.                         MARK          Well you do--that was cryptic--so you do          speak in code.                         ERICA          I didn't mean to be cryptic.                         MARK          I'm saving I need to do something          substantial in order to get the attention          of the clubs.                         ERICA          Why?                         MARK          Because they're exclusive.                         (BEAT)          And fun and they lead to a better life.                         ERICA          You think Teddy Roosevelt got elected          president because he was a member of the          Phoenix Club?                         MARK          He was a member of the Porcellian and yes          I do.                                                                                                              6.                         ERICA          Maybe he sang in an a Capella group.                         MARK          I want to be straight forward and tell          you that I think you should be a lot more          supportive. If I get in I'll be taking          you to the parties and you'll be meeting          people that you wouldn't normally get to          meet.                         ERICA                         (SMILES)          You would do that for me?                         MARK          You're my girlfriend.                         ERICA          okay, well I want to be straight forward          and tell you that I'm not anymore.                         MARK                         (BEAT)          What do you mean?                         ERICA          I'm not your girlfriend anymore,                         MARK          Is this a joke?                         ERICA          No, I'm sorry, it's not.                         MARK          You're breaking up with me?                         ERICA          You're going to introduce me to people I          wouldn't normally get to meet? What the          fuck is that supposed to mean?                         MARK          Take it easy.                         ERICA          What was it supposed to mean?                         MARK          It was--Erica, the reason we're able to          sit here and drink is that you used to          sleep with the door guy.                         ERICA                         (PAUSE)          I want to really try not to lose it now.                         (MORE)                                                                                                              7.                         ERICA (CONT'D)          The door guy's name is Bobby. I haven't          slept with the door guy, the door guy's a          friend of mine. He's a perfectly good          class of people and what part of Long          Island are you from--England?                         MARK          I'm from Westchester.                         ERICA          I'm going back to my dorm.                         MAFT          Wait, wait, thisi reel?                         ERICA          Yes.                         MARK          I apologize, okay? Siddown.                         ERICA          I'm going back to my dorm, I have to          study.                         MARK                         ERICA---                         ERICA          Yeah.                         MARK          I'm sorry and I mean it..                         ERICA          I appreciate that but--                         MARK          Come on.                         ERICA          ---I have to study.                         MARK          You don't have to study. Let's just talk.                         ERICA          I can't..                         MARK          Why?                         ERICA          Because it's exhausting. Going out with          you is like dating a stairmaster.                                                                                                              S.                         MARK          All I meant is that you go to B.U. and so          you're not likely to--I wasn't making a          comment on your parents--I was saying you          go to B.U.                         ERICA          I have to go study.                         MARK          You don't have to study.                         ERICA          How do you know I don't have to study?!                         MARK          Because you go to B.U.!          ERICA stares at him...                         MARK (CONT'D)                         (BEAT)          Do you want to get some food?                         ERICA          I'm sorry you're not sufficiently          impressed with my education.                         MARK          And I'm sorry T don't have a rowboat.                         ERICA          I think we should just be friends.                         MARK          I don't need friends.                         ERICA OF          I was being polite, I had no intention          being friends with you.                         MARK          You're really leaving.          ERICA takes MARK's hand and looks at him tenderly..                         ERICA                         (CLOSE)          Listen, You're going to be successful and          rich. But you're going to go through life          thinking that girls don't like you          because you're a tech geek. And I want          you to know, from the bottom of my heart,          that that won't be true. It'll be because          you're an asshole.                                                                                                              9.          And with that stinger, ERICA walks off and we stay on MARK as          the pulsing intro to Paul Young's "Love of the Common People"                         CRASHES IN----                         ERICA (CONT'D)          (calling over her shoulder)          And you're never getting into a final          club.          Along with the MUSIC, we slowly push in on MARK. A fuse has          just been lit.                         TITLE:                         HARVARD           Fall. Semester, 2008                         CUT TO:          EXT. BAR - NIGHT          As MARK busts out of the bar, past Bobby the door guy and into          the population of Harvard Square.                         CUT TO:          EXT. HARVARD SQUARE - NIGHT          As MARK continues on, he passes a group of people heading in          the opposite direction for a party.          As MARK's steady and determined stride continues, he'll. pass          by all kinds of (seemingly) happy, well-adjusted, socially          adept people.          The vocals from the Paul Young song come in--                         PAUL YOUNG          LIVING ON FREE FOOD TICKETS          WATER IN THE MILK FROM A HOLE IN THE ROOF          WHERE THE RAIN CAME THROUGH          WHAT CAN YOU DO?          TEARS FROM YOUR LITTLE SISTER          CRYING 'CAUSE SHE DOESN'T HAVE A DRESS          WITHOUT A PATCH FOR THE PARTY TO GO          BUT YOU KNOW SHE'LL GET BY                         CUT TO:          INT. KIRKLAND HOUSE/LOBBY - NIGHT          As the MUSIC CONTINUES and MARK busts into the lobby of his          dorm. He doesn't look at anyone as he heads up the stairs and                         WE                         CUT TO:                                                                                                              INT. MARK'S DORM ROOM - NIGHT          A bedroom that's part of a three-bedroom suite. The MUSIC          CONTINUES as MARK walks in, flicks his lap-top on without          looking at it and walks out of frame as we stay on the laptop.                         PAUL YOUNG          'CAUSE SHE'S LIVING IN THE LOVE OF THE                         COMMON PEOPLE          SMILES FROM THE HEART OF A FAMILY MAN          DADDY'S GONNA BUY YOU A DREAM TO CLING TO          MAMA'S GONNA LOVE YOU JUST AS MUCH AS SHE                         CAN          AND SHE CAN          Then a moment or two later, a glass with ice gets set down          next to the lap-top. Then a carton of orange juice followed by          a bottle of vodka.          MARK's fingers dance easily on the keyboard---like a Juilliard          pianist warming up.          In the exact time it takes him to pour the vodka and orange          juice over ice, the website he's just called up gets loaded          onto the screen.          Zuckonit.com          This is the only place he's comfortable.                         TITLE:                         8:13 PM          He begins blogging.          MARY, (V.0.)          Erica Albright'‚Ä¢s a bitch. You think          that's because her family changed their          name from Albrecht or do you think it's          because all B.U, girls are bitches?          He takes a good gulp of his drink. We see the words we're          hearing filling up his computer screen--          MARK (V,O.) (CONT'D)          Folks, for the record, she may look like          a 34D but she's getting all kinds of help          from our friends at Victoria's Secret,          She's a 348, as in barely anything there..          False advertising.                         CUT TO:                                                                                                              11.          INT. MARX'S DORM ROOM - NIGHT          Fresh ice gets dropped in the glass and a new drink poured.          "Love of the Common People" continues.                         TITLE:                         9:48 PM          in back of MARK, sitting on the bed and hitting a bong, is          BILLY. OLSEN.          MARK (V.O.)          The truth is she has a nice face. I need          to think of something to help me take my          mind off her. Easy enough, except I need          an idea.          MARK has moved his mouse to an icon on his desktop labeled          "Kirkland Facebook". He clicks and opens it. A menu of photos          appear. He blogs again.          MARK (V.0.) (CONT'D)          I'm a little intoxicated, I'm not gonna          lie. So what if it's not even 10PM and          it's a Tuesday night? The Kirkland          Facebook is open on my desktop and some          of these people have pretty horrendous          f acebook-pics. Billy Olson's sitting here          and had the idea of putting some of these          girls' faces next to pictures of farm          animals and have people vote on who's          hotter. .                         CUT TO:          INT. FINAL CLUB - NIGHT          We'll be cutting back here a lot in this sequence, with the          Paul Young song tying them together, as we show---mostly MOS---          preparations under way for the hottest party on campus          tonight.          We start on a good looking STUDENT fixing his tie in the          bathroom mirror. He walks out of the bathroom and into the          main area where he's immediately tossed a bottle of champagne          by a similarly dressed STUDENT. We see that there are a          couple of dozen other guys around. Our guy takes the champagne          bottle and sticks it on the bar, which is being stocked by two          sexy FEMALE uniformed BARTENDERS.          Our guy walks past P. DJ's table where the DJ is setting up his          incredibly high-end equipment.          Our guy trots down a set of mahogany and red-carpet stairs,          opens a heavy door and looks out to the sidewalk.                                                                                                              12,          A BOUNCER in a tuxedo is standing by a velvet rope which is          holding back three dozen STUDENTS. The students are mostly          women and the women are all dressed to catch a man.          Over all this, we HEAR MARK CONTINUING‚Äî          MARK (V.0.)          Good call, Mr. Olson! I think he's on to          something.                         TITLE:                         10:17 PM          MARK (V.0.) (CONT'D)          year it's on. I'm not gonna do the farm          animals but I like the idea of comparing          two people together. It gives the whole          thing a very Turing feel since people's          ratings of the pictures will be more          implicit than, say, choosing a number to          represent each person's hotness like they          do on hotornot.com. The first thing we're          going to need is a lot of pictures.          Unfortunately, Harvard doesn't keep a          public centralized facebook so I'm going          to have to get all the images from the          individual houses that people are in. Let          the hacking begin.          CUT. TO:          INT. MARK'S DORM ROOM - NIGHT          There are two more kids-in the room with MARK--DUSTIN          MOSKOWITZ and CHRIS.-BUGHES.          MARK (V.0.)          First u is Kirkland. They keep          everything open and allow indexes in          their Apache configuration, so a little          NGET magic is all that's necessary to          download the entire Kirkland facebook.          Kids' stuff.          On the computer screen, we've been seeing him download picture          after picture of Harvard girls.                         CUT TO;          EXT. FINAL CLUB -. NIGHT          THREE COES, dressed kill, are talking BOUNCER. The          BOUNCER O l up at TWO HAND CLUB ME BERS. The MEMBERS           give him the nod and the THREE COEDS are SOME M let past the velvet          rope.                                                                                                              13.          They're led. in to a party in full swing. The best and the          brightest are checking out the hottest and the easiest.                         CUT TO:          INT. MARK'S DORM ROOM - NIGHT          MARK finishes another drink and gets back to his work.                         TITLE:                         1:03 AM          MARK (V.0.)          Next is Elliot. They're also open but          with no indexes on Apache. I can run an          empty search and it returns all of the          images in the database in a single page.          Then I can save the page and Mozilla will          save all the images for me. Excellent.          Moving right along.          Flying by at super-speed on MARR's computer screen have been          commands and images that the rest of us can't possibly          understand.                         CUT TO:          INT. FINAL CLUB - NIGHT          GIRLS are dancing with each other, doing tequila shots with          guys and laughing at jokes.                         PAUL YOUNG          T.T'S A GOOD THING YOU DON'T HAVE A BUSFARE          IT WOULD FALL THROUGH A HOLE IN YOUR POCKET          AND YOU'D LOSE IT IN THE SNOW ON THE                         GROUND          YOU GOT TO WALK INTO TOWN TO FIND A JOB          (WHAT'S A. JOB?)          TRYIN' TO KEEP YOUR HANDS WARM          WHEN THE HOLE IN YOUR SHOE LETS THE SNOW          CONE THROUGH AND CHILLS YOU TO THE BONE          NOW YOU BETTER GO HOME WHERE IT'S WARM          Over this we HEAR MARK's blog posts starting to cascade into                         ONE ANOTHER--          MARK (V.0)          Lowell has some security. They require a          username/password combo and I'm going to          go ahead and say they don't have access          to main faa user database, so they have          no way of--‚Ä¢                                                                                                              14,          MARK (V.O.) (CONT'D)          Adams has no security but limits the                         RESULTS TO--          MARK (V.O.) (CONT'D)          For Quincy I'm going to have to get a          matching name and student I.D. combo and          I'm in. All I have to--                         CUT TO:          MARK'S DORM ROOM - NIGHT          Ins'r ions and images fly across MARK'S sereen-                         PAUL YOUNG          WHERE YOU CAN LIVE IN THE LOVE OF THE                         COMMON PEOPLE          SMILE FROM THE HEART OF A FAMILY MAN          DADDY'S GONNA BUY YOU A DREAM TO CLING TO          MAMA'S GONNA LOVE YOU JUST AS MUCH AS SHE                         CAN          AND SHE CAN          MARK (V.0.).          Dunster is intense. Not only is there no          public directory but there's no--          MARK (V.0.) (CONT'D)          Leverett is a little better. It's          slightly obnoxious that they only let you          view one picture at a time and I'm not                         ABOUT TO--          MARK (V.0.) (CONT'D)          --definitely necessary to break out the          emacs and modify that pert script.                         TITLE:                         2:08 AM          And now anew guy walks into Mark's room. This is EDUARDO          SAVERIN--a sweet looking Brazilian sophomore who almost always          wears a three--piece suit.                         EDUARDO          What's going on?          MARK (V.0.)          Perfect timing. Eduardo's here and he's          going to have the key ingredient.                         EDUARDO          Mark. What's going on?                                                                                                              15,                         MARK          Wardo.                         EDUARDO          Did you and Erica split up?                         MARK          How did you know that?                         EDUARDO          It's on your blog.                         MARK          Oh yeah.                         EDUARDO          Are you alright?                         MARK          I need you.                         EDUARDO          I'm here for you.                         MARK          No, I need the algorithm you used for the          oil futures.                         EDUARDO          Are you okay?                         MARK          We're ranking girls.                         EDUARDO          Why?                         MARK          To watch the bottom 200's heads explode.                         EDUARDO                         (HEAT)          You think that's such a good idea?                         MARY          What's the algozithm?                         CUT TO:           INT. FINAL CLUB - NIGL'3T           The CLUB PRESIDENT is addressing the GUESTS from the top of                          THE STAIRS-                                                                                                              16.                         CLUB PRESIDENT          One of the oldest, one of the most          exclusive clubs--not just at Harvard but          in the world--and I want to welcome you          to this year-'s first--                         CUT TO:          INT. MARK'S DORM ROOM - NIGHT          EDUARDO' is writing an equation with a grease marker on the          window. When the equation's done it looks like this:                         GIRL A:                         1                         EA =          1 + 10( b - Ra) / 400                         GIRL B:                         1                         BB                         1 + 10(RA _ RB) / 400                         EDUARDO          Give each.girl a.-base rating of 1400. At          any time `Girl All has a rating R-a and          "Girl B" has a rating R-b.                         MARK S          When any two girls are matched up there'          an expectation of which will win based on          their current rating.                         EDUARDO          (tapping the window)          Those expectations are expressed this          way.                         MARK          Let's write it.                         CUT TO:                                                                                                              17.          EXT. FINAL CLUB - NIGHT          A few more attractive co-eds get let in through the velvet          rope.          CUT TO t          J_-NT. PARK'S ROOM - NIGHT                         TITLE:                         2:55 AM          MARK makes a few last key strokes and a new website comes up          on the screen .                         FACEMASH          MARK makes a few more keystrokes and two pictures of two          Harvard girls come up on the screen.          After a moment...                         ALL          The one on the left.          MARK clicks the girl on the left and another picture takes the          place of the girl on the right.                         ALL (CONT'D)          On the right.          MARY clicks the girl on the right while another picture takes          the place of the girl on the left.                         ALL (CONT'D)          Still the right.                         EDUARDO          It works.                         DUSTIN          Who should we send it to first?                         EDUARDO          Dwyer.                         CHRIS          Neal.                         EDUARDO          Who are you gonna send it to?          MARK's made the link to e-mail and hits send.                                                                                                              18,                         MARK          Just a Couple of people. The question is,          who are they gonna send it to?                         CUT TOT          INT. PHOENIX CLUB - NIGHT          The party's in its drunken stage.          We move to a room where there's a co-ed poker game underway          with the girls smoking cigars, AÔøΩbra and a couple of pairs of          stockings are out on the table, As move through the poker          room, we see a computer behind one of the players. The          computer is indicating that there's e-mail.           A PLAYER 'turns around and opens the e-mail as the poker game          and the party go on behind him.           at it, then          He hits a. link and FACEMASH opens. He looks                         PLAYER          (to another player)          Check this out..                         CUT TO:          INT. ANOTHER DORM ROOM - NIGHT          TWO MALE STUDENTS at a laptop.                         STUDENT          The one on the left.                         CUT TO;          INT. ANOTHER DORM ROOM - NIGHT          THREE MALE STUDENTS AT A COMPUTER                         ALL          On the right.                         CUT-TO:          INT. ALL NIGHT DINER - NIGHT          A bunch of STUDENTS around a computer.                         ALL          The right.                         CUT TO:          INT. FINAL CLUB -- NIGHT          Dozens of partiers are around the comp uter.                                                                                                              J. 9.                         FEMALE STUDENT          She's my roommate.                         CUT TO:          INT. CYBER CAFE - NIGHT          A bunch of students around the computer--                         MALE STUDENT          She will cut herself open if she gets a          low score on this, can somebody figure          out how to bust the curve?          INT. ANOTHER DORM ROOM - NIGHT          A FEW STUDENTS gathered at a computer---          .ALL          On the left.                         CUT TO:          INT. ANOTHER DORM ROOM - NIGHT                         ANOTHER COMPUTER--                         ALL          On the right.                         CUT TO:          INT. ANOTHER DORM ROOM - NIGHT           This time just a single student in his pajamas as he looks at          two pictures of girls side by side.                         CUT TO:          INT. ANOTHER DORM ROOM - NIGHT          And another single student voting and                         CUT TO:          INT. DORM ROOM - NIGHT          We should instantly know that this dorm room is different.          It's more modern and with less character and history than the          others.           A girl is at her computer and in the background is another           girl we can't quite make out who's taking notes from a          , i extbook.                                                                                                              20.                         GIRL          Oh shit,          (to the other GIRL)          Albright?          We rack focus to the studying girl and see that it's ERICA.                         GIRL (CONT'D)          He blogged about you.          ERICA looks at her for a moment, then gets up to look at her                         ROOMMATES COMPUTER--                         GIRL (CONT'D)          No you don't want to read it.          ERICA ignores her roommate, We see her mortification as she          reads, and at that moment THREE GUYS appear in her open doorway-          one of them wearing a padded bra over his Boston University          sweatshirt.                         GUY          Erica. They lift, separate and support.          Thanks for the tip.                         GIRL          Get the fuck out,          The three guys go on their drunken way as we SLOWLY PUSH IN on          ERICA who's frozen in her humiliation and then                         CUT TO:          INT. HARVARD DORM ROOM - NIGHT                         STUDENTS          The left!          INT. COFFEE HOUSE - NIGHT                          STUDENTS          The right!          INT. DINING HALL - NIGHT                         STUDENTS          The left!          INT. GIRLS' DORM ROOM - NIGHT                         STUDENTS          The right!          INT. MARK'S DORM ROOM - NIGHT          As sets of photos go flying by on his computer screen.                                                                                                                             21          MARK is staring at the chaos of activity he's.cr.eated in the          middle of the night.                         EDUARDO          Mark?                         (BEAT)          I wonder if maybe you. shouldn't shut it          down before you get into trouble.          MARK ignores him as we pre-lap a PHONE RINGING and                         CUT TO:          INT. BEDROOM - NIGHT          A man named COX is asleep next to his wife. It's his phone          that's RINGING. COX wakes up and answers it--                         COX          (into ' phone )          Hello?                         (LISTENS)          Wait, what?                         (LISTENS)          At 4 in the morning?                         INTERCUT WITH:          INT. HARVARD COMMUNICATIONS OFFICE - SAME TIME          A tired GRAD STUDENT who spends the night monitoring the          campus computer system is looking at his computer.                         GRAD STUDENT                         (INTO PHONE)          well there's a very unusual amount of          traffic coming out of Kirkland House.                         COX          You're saying it's unusual for 4 in the          morning?                         GRAD STUDENT          I'm saying it. would be unusual for          Mother's Day.                         COX          Alright.          COX hangs up the phone.                         COX (CONT'D)          I have to go in.                         COX'S WIFE          What's going on?                                                                                                              22.                         COX          Harvard's computer system's about to          crash.                         CUT TO:          INT. MARK'S DORM ROOM - NIGHT          Pictures are flying by on Mark's computer when suddenly they          freeze,          Then an icon comes up telling him he's no longer connected to          the internet.          Everyone is frozen silent for a moment...                         EDUARDO          You don't think--                         MARY          I do,                         EDUARDO          Go see if it's everybody.          DUSTIN, CHRIS and EDUARDO head out of the room. MARX drains          what's left of the vodka and lights a cigarette as the guys          start coming back in the room.                         DUSTIN          Mine's down.                         CHRIS          My computer's' frozen.                         EDUARDO          I mean ...unless it's a coincidence I          think this is-Us,                         MARK          It's not a coincidence.                         EDUARDO                         (BAD)          Holy shit.                         MARK                         (GOOD)          Yeah,                         CUT TO;          INT. DEPOSITION ROOM - DAY          It's three years later and MARK is sitting with his LAWYERS at          a large conference table.                                                                                                              23.          MARK is wearing a hoodie, sweatpants and Adidas flip-flops--a          personal uniform that we'll come to understand. And while it          may take us a while to notice it, MARK's a different person in          these flash-forward scenes. Still tortured and complicated,          but comfortable now with his own power.          His lawyer is SY, who's accompanied by some junior associates,          one of whom--a pleasant, pretty and professional young          contemporary of Mark's named MARYLIN, we'll get to know.           On the other side are EDUARDO and his lawyer, GRETCHEN, also          a. ‚Ä¢ mpanied by some associates. A STENOGRAPHER is typing the          recor..          The room is glass on two sides and through the windows we can          see the behemoths of Silicon valley--Oracle, SunMicrosystems,          Google, etc.          GRETCHEN is taking MARK's deposition.                         GRETCHEN          So you were called in front of the Ad          Board.                         MARK          That's not what happened.                         GRETCHEN          You weren't called in front of the          Administrative Board?                         MARK          No, back, I mean--That's--back at the bar          with Erica Albright. She said all that?          That I said that stuff to her?                         GRETCHEN          i was reading from the transcript of her                         DEPOSITION SO--                         MARK          why would you even need to depose her?                         GRETCHEN          That's really for us to--                         MARK          You think if I know she can make me look          like a. jerk I'll be more likely--                         SY                         MARK¬Äî                         MARK          --to settle, right?                                                                                                              24,                         SY          Why don't we stretch our legs a minute,          can we do that? It's been almost three          hours and frankly you did spend an awful          lot of time embarrassing Mr. Zuckerberg          with the girl's testimony in the bar.                         MART          I'm not embarrassed, it's just that she          made a lot of that up.                         GRETCHEN          She was under oath.                         MARK          Then I guess that would be the first time          somebody's lied under oath.          People are stretching and getting coffee and talking quietly.          MARK stays in his seat.          MARYLIN, the attractive second year associate who's on Mark's          legal team is still sitting too... about four seats down from          Mark.                         MARYLIN          Eight percent of the male population of          Harvard had been on it within two hours?                         MARK                         (BEAT)          Eighty.                         MARYLIN          What?          MARK ' '          Eighty percent of the male population.                         MARYLIN                         (PAUSE--EVEN)          Wow.                         CUT TO:          EXT. CHARLES RIVER - DAWN          The Harvard Crew is practicing on two-man sculls. There are          three boats that are running roughly even with each other and          the two-man crews are rowing with all they've got. We're          gliding along with them in the water--                         CREW MEMBER                         (SHOUTING)          Bring up the rate! 2 in 2! One..two--                                                                                                              25,           ANOTHER CREW MEMBER (DIFFERENT                          BOAT)          Power 10 in 2! In 2!           A THIRD CREW MEMBER (DIFFERENT                         BOAT)          They had open water after a hundred          meters. I don't think we're gonna catch          'em today.           And we PULL BACK TO REVEAL that there's a fourth boat which is          already five boat, ngths ahead of the other three.                         3-1          The fourth boat is being crewed by CAMERON and TYLER          WINKLEVOSS----identical twins who stepped out of an ad for          Abercrombie and Fitch.          They know that the others aren't in their class and even          though they're highly competitive athletes, they don't like          showing anyone up, least of all their teammates.                         CAMERON          Is there anyway to make this a fair          fight?                         TYLER          We could jump out and swim.                         CAMERON          I think we'd have to jump out and drown.                         TYLER          I'm not willing to do that.                         CAMERON          What are we at three-quarter power? Let's          drop down to a half.                         TYLER          Or you could row forward and I could row          backward.                         CAMERON          I'd kick your ass.                         TYLER          We're genetically identical, so biology          and mathematics says we'd stay in one          place not allowing for the current or the          wind.                         CAMERON          Just row the boat.                                                                                                              26,          And the WINI{LEVOSS twins kick into full gear and open up an          even wider lead as we.          CUT. TO:          INT. DINING HALL - MORNING          Two stacks of The Crimson, Harvard's student newspaper, get          dropped on the floor as TYLER and CAMERON walk by--their trays          loaded with mountains of eggs and pancakes and carbs.          Everyone knows and loves them in this 200 year old dining hall          and they wave and shout to a few people and whisper to a          couple of very pretty girls before taking a seat next to DIVYA          NARENDRA, a nice looking Indian student whose face is in a          copy of the Crimson.                         CAMERON          What's up?                         DIVYA          You guys hear about this?                         CAMERON          What?                         DIVYA          Two nights ago a sophomore at Kirkland          crashed the computers.                         CAMERON          Which computers?                         DIVYA          All of them. Be crashed the whole system.          TYLER picks up a copy-of the Crimson and begins reading while          his brother and DIVYA keep talking.                         CAMERON          How?                         DIVYA          He set up a website where you vote on the          hotness of female Harvard undergrads.          What were we doing that none of us heard          about this?                         CAMERON          I don't know. Rowing, going to class,          studying? How much activity was there on          this thing that he crashed the--                         TYLER                         (READING)          22,000 votes. There were 22,000 hits,                          (MORE)                                                                                                              27.                         TYLER (CONT'D)          Cam, this guy hacked into the facebooks          of seven houses in two hours. He set up          the whole site in one night while he was          drunk.                         CAMERON          22,000 hits?                          TYLER          Yeah.                          CAMERON           How do you know he was du- - - _                          TYLER          He was blogging simultaneously. Divya?                         DIVYA          I'm way ahead of you.                         TYLER          This is our guy.                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY          It's MARX and his LAWYERS again but this time on the other          side of the table are TYLER and CAMERON, DLVYA and the.i.r          lawyer, GAGE, whose family had first-class seats on the          Mayflower.          we' .l.]. be back and forth between the two deposition rooms a          lot,                         CAMERON          (for the record)          Cameron Winklevoss. W-I-N-K-L-E-VWO-S-S.          Cameron's spelled the usual way.                         TYLER          (for the record)          Tyler. Winklevoss. Tyler's spelled the          usual way and my last name is the same as          my brother's.                         CUT TO:          INT. ADMINISTRATIVE HEARING ROOM - DAY          MARK stands before a panel of ADMINISTRATORS as well as COX,          the systems manager who was woken up in the opening sequence.                         ADMINISTRATOR          Mr. Zuckerberg, this is an Administrative          Board hearing.                         (MORE)                                                                                                              28,                         ADMINISTRATOR (CONT'D)          You're being accused of intentionally          breaching security, violating copyrights          and violating individual privacy by          creating the website, WWW.FACEMASH.COM.          You're also charged with being in          violation of the university's policy on          distribution of digitized images. Before          we begin with our questioning you're          allowed to make a statement. Would you          like to do so?                         MARK                         (BEAT)          Uh...I've, you know, I've apologized in          the Crimson to the ABHW, to Fuerza Latina          and to any women at Harvard who might          have been insulted as I take it they were          by the things that have been said tome          in the last week. As for any charges          stemming from the breach of security, I          believe I deserve some sort of          recognition from this Ad Board.                         ADMINISTRATOR                         (PAUSE)          I'm sorry?                         MARK          Yes.                         ADMINISTRATOR          I don't understand.                         MARK          Which part?                         ADMINISTRATOR          You believe you deserve recognition?                         MARK          I pointed-out some pretty gaping holes in          your system.                         COX          Excuse me, may I?                         ADMINISTRATOR          Yes.                         COX          Mr. Zuckerberg, I'm in charge of security          for all computers on the Harvard system.          I can assure you of its sophistication          and in fact it was that level of          sophistication that led us to you in less          four hours.                                                                                                              29.                         MARK          Four hours?                         COX          Yes sir.                         MARE          That would be impressive except the          algorithm I used was written on my dorm          room window. Keep up the great work.                         CUT TO:          INT. CORRIDOR -- DAY          As the heavy wooden door from the hearing slams shut behind          MARK. EDUARDO is waiting for him.                         EDUARDO          Well?                         MARK          Six months academic probation.          They walk out onto--          EXT. QUAD - CONTINUOUS          EDU.ARDO          It could have been worse.                         MARK          No it couldn't. They made me apologize.                         EDUARDO          To who?                         MARK          To them. Over and over.                         EDUARDO          It's alright.                         MARK          No.                         EDUARDO          It's okay. You're fine.                         MARK                         (PAUSE)          I shouldn't have said the thing about the          farm animals. That was stupid. Everybody's          mad at me now.                                                                                                              30,                         EDUARDO          Maybe, but at least everybody knows you          now.                         CUT TO:          INT. LECTURE HALL - DAY          MARX is in his Operating Systems class. This is considered the          hardest class at Harvard and MARK is one of the 50 students          with their laptops open as the professor takes them through an          impossibly difficult lesson,                         PROFESSOR          So let's look at a sample problem:          Suppose we're given a computer with a 16-          bit virtual address and a page size of          256 bytes.          A GIRL scribbles something on a piece of paper. Then hands it          to the student next to her and nods that it should be passed          over to MARK. While that's happening--                         PROFESSOR (CONT'D)          The system uses one-level page tables,          which start at address 0x0400. Maybe you          want to have DMA. on your 16-bit system,          who knows? The first few pages are          reserved for hardware flags, etc.          MARK opens the note., It reads "Asshole".          He looks over and sees a couple of GIRLS looking at him with          contempt.                         PROFESSOR (CONT'D)          Assume page table entries have eight          status bits.          MARK closes his laptop, gets up and starts to head out of the          hall.                         PROFESSOR (CONT'D)          The eight status bits would be--                         (RE: MARK)          And I see we have our first surrender.          Don't worry, Mr. ZuckerberÔøΩ, brighter, men          than you have tried and failed at this          class.                         MARK                         (CALLING BACK)          1 valid bit, 1 modify bit, 1 reference          bit and 5 permission bits.                                                                                                              31.          MARK walks out of the lecture hall and we                         CUT TO:          EXT. ACADEMIC BUILDING - DAY          As MARK comes out and heads onto the quad--                         CAMERON (OS)                         (CALLING)          Mark?          CAMERON and TYLER have been waiting by the entrance.                         CAMERON (CONT'D)          Are you Mark?                         MARK          Yeah.                         CAMERON          I'm Cameron winklevoss.                         MARK                         TYLER          Tyler Winklevoss.                         MARY                         (BEAT)          Are you guys related?                         CAMERON          Good.                         TYLER          That's funny.                         CAMERON          We've never heard that before.                         MARK          Did I insult your girlfriends? What can I          do for you?                         CAMERON          No, you didn't insult our girl--                         (TO TYLER)          Actually, I don't know.                         TYLER                         (TO CAMERON)          We never asked.                         CAMERON          We should do that.                                                                                                              32,                         TYLER          Yeah.                         CAMERON          No, we have an idea we want to talk to          you about. Do you have a minute?                         MARK                         (PAUSE)          You guys look like athletes.                         CAMERON          We are.                         MART          What do you do?                         TYLER          We row crew.                         MARK          (pause---then smiles a little)          Yeah, I've got a minute.                         CUT TO:          INT. PORCELLIAN CLUB - DAY          The most exclusive of all the final clubs. DIIVYA is sitting in          the main living room with a textbook open as the heavy wooden          door opens and MARK is escorted in by TYLER and CAMERON.                         TYLER          You ever been in the Porcellian?                         MARK          No.                         TYLER          We can't take you past the living room          but we can sit here and talk.                         DIVYA          H i..          MARK is stealing a glance around the room...                         CAMERON          Mark? This is Divya Narendra, our          partner.                         MARK          Hi.                                                                                                              33.                         DIVYA          We were really impressed with Facemash          and then we checked you out and you also          built CourseMatch.          MARK is looking at the framed black and white group pictures          on the wall. of old Porcellian classes. He sees a pretty co-ed          on the couch with her legs stretched over her boyfriend while          they study.                          DIVYA (CONT'D)          Mark?                          MARK          Yeah .                         CAMERON          CourseMatch. You go online, you get to          see what courses your friends are taking?                         MARK          Yeah.                         DIVYA          And you invented something in high          school.                         MARK          An app for an MP3 player that recognizes          your taste in music.                         DIVYA          Anybody try to buy it?                         MARK          Microsoft.                         DIVYA          How much did they pay?                         MARK          I didn't sell it. I uploaded it for free.                         DIVYA                         MARK                         DIVYA          MARK gives a short shrug that says both "I don't know" and          "Fuck you" at the same time.                                                                                                                             ----- -          3n,                         CAMERON          Well we've been working for a while on an          idea. It's called HarvardConnecti.on. You          create your own page, Picture, bio,          interests, friends.                         TYLER          People can see your bio and request to be                         YOUR--                         MARK          Yeah. How's this different from MySpace          or Friendster?                         TYLER          How?                         MARK          Yeah.                         TYLER          Harvard-dot-E--D-U.                         CAMERON          Harvard.edu. The most prestigious e-mail          address in the country.                         TYLER          This site would be based on the idea that          girls want to meet guys who go to          Harvard. The difference between what          we're talking about and MySpace,                         FRIENDSTER---                         MARK          --is exclusivity,                         (BEAT)          Right?                         TYLER                         (BEAT)          Yes.                         CAMERON          We want you to be an equal partner. Our          first programmer graduated and went to          work at Google. Our second programmer          just got overwhelmed with school work. We          want you to write the code and build the          site and we'll provide---                         MARK          I'm in.                         CAMERON          --the money. What?                                                                                                                             35                         MARK          I'm in.                         CUT TO:          INT. SECOND DEPOSITION ROOM -- DAY          The WINKLEVOSSES and DIVYA with GAGE.                         GAGE          "I'm in"?, that's what you said?                         MARK          It was three or four years ago, I don't          know what I said.                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY          EDUARDO with GRETCHEN.                         GRETCHEN          When did you come to Eduardo?                         MARK          I don't understand that question.                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY                         GAGE          Do you remember answering in the          affirmative?                         MARK          The affirmative?                         CUTTO:          INT. FIRST DEPOSITION ROOM - DAY                         GRETCHEN          I'm asking when you came to Eduardo with          the idea for Facebook.                         MARK          It was called TheFacebook back then.                         CUT TO:          TNT_ SECOND DEPOSITION ROOM - DAY                         GAGE          This doesn't need to be that difficult.                                                                                                                             36                         MARK          I'm in the middle of two different          lawsuits.                         GAGE          Did you answer affirmatively? When Tyler          and Cameron Winklevoss and Divya Narendra          asked you to build HarvardConnection, did          you say yes?                         MARK          I said I'd help.                         CUT TO:          TNT. FIRST DEPOSITION ROOM - DAY                         GRETCHEN          When did you approach Mr. Saverin with          the idea for TheFacebook?                         MARK          I wouldn't say I approached him.                         GRETCHEN          Sy?                         SY          You can answer the question.                         MARK          It was at a party at Alpha Epsilon Pi.                         GRETCHEN          What's that?                         MARK          The Jewish fraternity. It was Caribbean          Night.                         CUT TO:          INT. LARGE LECTURE HALL - NIGHT          The lecture hall has been converted into "Alpha Epsilon Pi          Caribbean Night, 2003" and the party is about as lame as it          sounds. What's important is that this couldn't be less like          the final club party we saw at the beginning if they were          playing Pin the Tail on the Donkey.          Some potted palm trees have brought in along with a steel drum          set. The man playing the steel drum set has a yarmulke bobby          pinned to his thinning hair. A table with a punch bowl and          assorted cookies is nearby.                                                                                                              37.          EDUA.RDO, in baggy cargo shorts and a Hawaiian shirt buttoned          up to the top, is standing with a few similarly dressed          friends, including DUSTIN MOSKOWITZ and CHRIS HUGHES, in the          sparsely populated room. On the other side of the room are a          few girls--all Asian. One of the girls is wearing a bikini          over her clothes. A television monitor has been set up with a.          DVD running of Niagara Falls.                         EDUARDO          It's not that guys like me are generally          attracted to Asian girls. It's that Asian          girls are generally attracted to guys          like me.                         DUSTIN          I'm developing an algorithm to define the          connection between Jewish guys and Asian          girls.                         EDUARDO          I don't think it's that complicated.          They're hot, they're smart, they're not          Jewish and they can't dance.                         CHRIS          Mark's here.          They see MARK come in and look around. EDUARDO waves him          over...                         EDUARDO                         (CALLING)          Mark.          MARK sees EDUARDO and waves him over to where he is. He wants          to talk privately.                         EDUARDO (CONT'D)          I'll be back in a minute.          EDUARDO joins MARK in the back of the room and they take up a          spot next to a bay window that's covered on the outside with          ice.                         MARK          I think I've come up with something.                         E DUARDO          Hang on, I've gotta tell you something          you're not going to believe.                         MARK          What?                         EDUARDO          I got punched by the Phoenix.                                                                                                              38.                         MARK                         (BEAT)          Are you kidding?                         EDUARDO          No. I mean it's just the first of the          four step process but they slipped the          invitation under my door tonight. T go to          the first punch party tomorrow and if          they like me--                         MARK          Yeah.                         EDUARDO          --I get the second invitation and then          the third and then who knows?                         MARK          You got punched by the Phoenix.                         EDUARDO                         (PAUSE)          It was, you know ...I'm sure it was just a          diversity thing, And I'm never gonna make          it in, it was just a diversity thing. So          I'll just ride that'horse until--what did          you want to talk about?                         (PAUSE)          Mark?                         MARK          Yeah.                         EDUARDO          You said you think you've come up with          something.          It seems like MARK's just made a small decision in his head,                         MARK                         (PAUSE          Yeah. I think I've come up with          something. Come outside.                         EDUARDO          It's 20 degrees outside.                         MARK          I don't want to stare at that loop of          Niagara Falls which has absolutely          nothing to do with the Caribbean.                         CUT TO:                                                                                                              39.          EXT. QUAD NIGHT          MARK and EDUARDO come outside and are immediately met by the          freezing cold air.                         MARK          People came to Facemash in a stampede,          right?                         EDUARDO          Yeah.                         MARK          It wasn't because I put up pictures of          hot girls. You can go anywhere on the          internet and see pictures of hot girls.                         EDUARDO          Yeah.                         MARK          It was because I put up pictures of girls          that people knew. So if people Want to go          on the internet and check out their          friends, why can't I build a website that          offers that? An online community of          friends. Pictures, profiles, whatever you          can click into, visit, browse around. All          from the privacy of your dorm room. I'm          not talking about a dating site. I'm          talking about taking the entire social          structure of college and putting it          online.                         EDUARDO          I can't feel my legs.                         MARK          I know, I'm totally pumped about this.                         BUT WARDO--                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         EDUARDO          "It would be exclusive".          CUT BACK TO:          EXT. QUAD - NIGHT                         MARK          --it would be exclusive. You'd have to          know the people on the site to get in.          Like getting punched.                                                                                                              40,                         EDUARDO          This is interesting.                         MARK          Like our own Final club except not only          can we get into this one, we're the          president.                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         EDUARDO          I told him I thought it sounded great. I          mean it did, it was a great idea. There          was no reason to hack, people were going          to put their own pictures up. What they          were interested in, what they were          looking for, what classes they were          taking... and people had the ability to          invite their friends to join. Or put a          different way, not invite their friends          to join. In a world where social          structure is very important, that was          sexy.                         (BEAT)          It was a big project and he was going to          have to write tens of‚Ä¢thousands of lines          of code so I wondered why'he was coming          to me and not his roommates. Dustin          Moskowitz and Chris Hughes were          programmers.                         CUT TO:          EXT. QUAD - NIGHT                         MARK          We're gonna need a little start-up cash          to rent'the servers and get it online.                         CUT TO;          INT. FIRST DEPOSITION ROOM - NIGHT                         EDUARDO          That was why.                         GRETCHEN          Did he offer business terms?                         CUT TO:                                                                                                              41.          EXT. QUAD - NIGHT                         MARK          We'll split it 70-30. 70 for me and 30          for you for putting up a thousand dollars          and handling everything on the business          end. You'll be CFO.                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         GRETCHEN          And you said?                         EDUARDO          I said "Let's do it".                         GRETCHEN          Okay. Did he add anything else?                         EDUARDO          Yes. He said---                         CUT TO:          EXT. QUAD - NIGHT                         MARK          It probably was a. diversity thing but so          what?                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         GRETCHEN          Why do you think he said that?                         BY          Gretchen, what's the relevancy?                         GRETCHEN          This is discovery, I'm trying to          discover.                         MARK          They're suggesting I was jealous of          Eduardo and began a plan to screw him out          of the company.                         GRETCHEN          Were you?                         SY                         GRETCHEN--                                                                                                              42,                         MARK          Jealous of Eduardo?                         SY          Stop typing, we're off the record.                         MARK          Ma'am, I know you've done your homework          and so you know that money isn't a big          part of my life, but at the moment I          could buy Harvard University, take the          Phoenix Club and turn it into my ping          pong -room.                         CUT TO:          EXT. QUAD - NIGHT          EDUARDO's walking away and calls back to MARK--                         EDUARDO                         (CALLING)          I'll let you know how the party is,          We stay on MARK for a moment longer, his wheels turning,                         BEFORE WE                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY          EDUARDO's in different:.clothes and being questioned by GAGE.                         GAGE          We recognize that you're a plaintiff in          one suit involving Facebook and a witness          in another.                         EDUARDO          Yes sir,                         GAGE          At any time in the three weeks prior to          Mark telling you his idea, did he mention          Tyler Winklevoss, Cameron Winklevoss,          Divya Narendra or HarvardConnection?                         EDUARDO          Yes. He said they'd asked him to work on          their site but that he'd looked at what          they had and decided it wasn't worth his          time. Uhh, he said even his most pathetic          friends knew more about getting people          interested in a website than these guys.                         GAGE          "These guys" meaning my clients.                                                                                                              43.                         EDUARDO          Yes. He resented--Mark resented that they-          --that your clients, probably thought he          would jump at the chance to rehabilitate          his image after the Facemash thing but          Mark didn't want to rehabilitate          anything. With Facemash he'd beaten the          Harvard computers, he'd beaten the Ad          Board and he made the girls mad. Facemash          did what he wanted it to do.          MARK kind of nods a little to himself. It should be noted that          these depositions have an extra element of dish ort as          everything is being said within a few feet of the peop" being          talked about.                         GAGE          Were you aware that while Mr. Zuckerberg          was building TheFacebook he was also          communicating with the plaintiffs?                         EDUARDO          Not at the time I wasn't. I am now.                         GAGE          Were you aware that while Mr. Zuckerberg          was building TheFacebook, he was leading          the plaintiffs to believe he was building          Harvard Connection?                         SY          I have some problems with that question.                         EDUARDO          No I wasn't.          MUSIC kicks in that will tie this next section together as we                         CUT TO:          INT. MARK'S DORM ROOM - NIGHT          Two printouts of web pages are taped to a white board--          "Friendster" and "MySpace". Under the two pages, MARK draws a          third page and titles it "TheFacebook".          Then he makes the decision to turn the capital "T" into a          lower case "t" and it becomes "theFacebook" as we                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY                         GAGE                         (READING)          From mark Zuckerberg to Tyler Winklevoss.          November 30, 2003.                         (MORE)                                                                                                              44.                         GAGE (CONT-D)          "I read over all the stuff you sent me re          Harvard Connection and it seems like it          shouldn't take too long to implement, so          we can talk about it after I get all the          basic functionality up tomorrow night."                         CUT TO:          INT. MARK'S DORM ROOM - NIGHT          The whiteboard is filled with diagrams now under the heading          "theFacebook"--login page,, profile page, create account-We          move over to see MARK at his computer. He opens the Emacs          program and then Firefox, hits a few keys and the diagram on          the whiteboard comes-to life on his computer as we                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY                         GAGE          Mark Zuckerberg to Cameron Winklevoss.          December 1, 2003. "Sorry I was          unreachable tonight. I just got about          three of your missed. calls. I was working          on a problem set for my systems class."          CAMERON and TYLER are looking blankly at MARK who's giving          them a casual "I'm not scared.of'‚Ä¢you" look and we                         CUT TO:          INT. PHOENIX HOUSE -,-NIGHT          The MUSIC CONTINUES as EDUARDO and other prospective new          members, all wearing tuxedos, are lined up in four rows. The          boy at the front of each row has a bottle of Jack Daniels and          drinks as long as they can before passing the bottle, relay          style, to the boy in back of him as a few seniors look on.          EDUARDO gets handed the bottle and starts in as we                         CUT TO:          TNT. CLASSROOM - DAY          It's an Art History class and as we run past the rows of          STUDENTS we see that they all have the same painting up on          their laptops as the PROFESSOR gives his lecture. When we get          to MARK's laptop we see that he's writing code for theFacebook                         AND WE                         CUT TO:                                                                                                              45.          TNT. SECOND DEPOSITION ROOM - DAY                         GAGE          Mark Zuckerberg to Cameron and Tyler          Winklevoss. December 10, 2003. "This week          has been pretty busy thus far with          classes and work so I think it's probably          best to postpone the meeting."                         CUT TO:          INT, CAMERON AND TYLER'S DORM ROOM - NIGHT          CAMERON, TYLER and DIVYA are reading the e-mail.                         DIVYA                         (READING)          "I'm also really busy tomorrow."                         (BEAT)          Anybody else feel like there's something          up with this guy?                         CAMERON          Tell him okay but we've gotta make sure          we meet before we all head off for break.                         CUT TO:          INT. EDUARDO'S DORM ROOM - NIGHT          EDUARDO's at his desk with his head in a thick textbook when          an envelope that says "Phoenix" is slipped under his door. Be          turns and looks to see it-then pumps his fist in victory as                         WE                         CUT TO:          TNT. MARK'S DORM ROOM - NIGHT          Every available wall space is covered with a diagram or a          printout. EDUARDO comes in with the envelope.                         EDUARDO                         MARK--                         MARK          I need a dedicated Linux box running          Apache webserver with a mySQL backend.          It's gonna cost a little more money.                         EDUARDO          How much more?                         MARK          Two-hundred more.                                                                                                              46,                         EDUARDO          Do we need it?                         MARK          To handle the traffic.                         EDUARDO          Do it.                         MARK          I already did.                         EDUARDO          Hey, guess what?          (shows MARK the envelope)          I made the second cut.                         MARK          Good job. You should be proud of that          right there, don't worry if you don't          make it any further.                         EDUARDO          I'll get outa,here.                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY          The MUSIC CONTINUES‚Äî                         GAGE                         (READING)          Mark Zuck'erberg to Tyler and Cameron          Winklevoss and Divya Narendra. December          15, 2003. "I have" a cs problem set that          I'm just getting started with and it          should be about 15 hours of coding so          I'll be busy tomorrow night."                         CUT TO:          INT. CAMERON AND TYLER'S DORM ROOM - NIGHT                         DIVYA                         (READING)          "I won't really be free to meet until          next Wednesday afternoon."                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY                         GAGE                         (READING)          .have to cancel Wednesday afternoon.                         (MORE)                                                                                                                             47                         GAGE (CONT'D)          I've basically been in the lab this whole          time and also..."                         CUT TO:          INT. THE PORCELLIAN CLUB -- NIGHT          DIArYA's reading 'off his blackberry to TYLER and CAMERON--                         DIVYA                         (READING)          "Won't be able to do it Saturday as I          have to meet up with my parents to.."                         CUT TO:          EXT. HARVARD YARD - NIGHT          The MUSIC CONTINUES--          It's snowing and cold as hell. EDUARDO's now with a smaller          group of prospective members, most of whom are in their          underwear with a couple of them wearing pants. They're all          blue and shivering. They're gathered around a statue of John          Harvard as a senior announces--                         SENIOR          As the plaque reads, this is John          Harvard, founder of Harvard University in          1638. It's also called The Statue of          Three Lies. What are the three lies?                         SOPHOMORE                         (SHOUTING)          Sir!                         SENIOR          Mr. Dowd,                         SOPHOMORE          The three lies--                         (BEAT)                         THE FIRST--                         (BEAT)          Shit!                         SENIOR          Take your pants off.                         EDUARDO          I know.                         SENIOR          Mr. Saverin.                                                                                                              48.                         EDUARDO          1) Harvard was founded in 1636, not 1638.          2) Harvard wasn't founded by John Harvard          and 3) That's not John Harvard.                         SENIOR          who is it?                         EDUARDO          A friend of the sculptor, Daniel. Chester-                         SENIOR          You can?-.-tpi your shirt on.          And as another kid simply falls to his hands and knees and          throws up, we                         CUT TO:          INT. EDUARDO'S DORM ROOM - NIGHT          EDUARDO's studying at his desk but this time wrapped in          blankets and wearing gloves when the envelope with "Phoenix"          gets slid under his door. He smiles.          INT. SECOND DEPOSITION ROOM - DAY                         GAGE          39 days after Mr. ‚Ä¢Zuokerberg's initial          meeting with my clients and he still          hadn't completed work on          HarvardConnection. But on January 11,                         2003--                         CUT TO:          INT. MARK'S DORM ROOM - DAY          A website called Network Solutions is up on Mark's screen. He          hits a couple of keys and waits intently.          Then the computer shows him what he wanted to see--          www.theFacebook.com-‚Ä¢--DOMAIN NAME REGISTERED          CUT TO,          INT. SECOND DEPOSITION ROOM - DAY                         GAGE          To the best of your knowledge, had he          even begun work on HarvardConnection?                         EDUARDO          Not to my knowledge.                         CUT TO:                                                                                                              49.          INT. CAMERON AND TYLER'S DORM ROOM - NIGHT          CAMERON's looking at his e-mail.                         CAMERON          what in the hell is this?                         TYLER          What?                         CAMERON                         (READING)          "I'm still a little skeptical that we          have enough functionality in the site to          really draw the attention and gain the          critical mass necessary to get a site          like this to run."                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY                         GAGE          This is the first time he mentioned any          problem?                         DIVYA          Yes it was.                         GAGE          You'd sent 39 e-mails to Mr. Zuckerberg           and received 13 return e-mails and this          was the first time--                          DIVYA          He had 42 days to study our system and          get out ahead on---                         MARK          Do you see any of your code on Facebook?                         GAGE          Sy?                         SY                         (CALMING HIM)                         MARK--                         MARK          Did I use any of your code?                         DIVYA          You used our whole fuckin' idea!          SY.          Gentlemen.                                                                                                              50.                         MARK          Match-dot-com for Harvard guys?                         GAGE          Can I continue with my deposition?                         MARK          You know you really don't need a damn          forensic team to get to the bottom of          this. If you guys were the inventors of          Facebook you'd have invented Facebook.                         DIVYA          I'm just gonna stand over your shoulder          while you write is a check.                         MARK          No shit.                         SY                         (TO GAGE)          Let's continue,          DIVXA'a still staring at MARK, who just smiles a little as he          looks down.                         GAGE                         (BEAT)          February 4th, 2003-                         CUT TO:          INT. COMPUTER SCIENCE LAB - DAY          MARK is working at a station. We can see through the windows          that it's a frigid, snowy February day in Cambridge but MARK'::          in his hoodie and cargo shorts nonetheless. It looks like he          hasn't slept in days.. On his monitor we can see that he's          working on the profile page for theFacebook.          DUSTIN MOSKOWITZ steps up to him quietly,                         DUSTIN          Mark?                         (PAUSE)          Mark.          MARX turns his head and looks at him...                         DUSTIN (CONT'D)                         (QUIETLY)          There's a girl in the art history class          that you take. Her name is Stephanie          Attic, Do you happen to know if she has a          boyfriend?                                                                                                              51.          MARK just keeps looking at him--barely even blinking---"Why am          I being interrupted?"                         DUSTIN (CONT'D)                         (BEAT)          I mean, have you ever seen her with          anyone?                         (BEAT)          And if not, do you happen to know if          she's looking to go out with anyone?                         MARK                         (PAUSE)          Dustin. People don't walk around with a          sign on them that says--          And MARK stops short right there. Because in his head, he's          just discovered the cure for cancer.                         DUSTIN                         (PAUSE)          Mark?          EXT. CO&PUTER SCIENCE BUILDING - DAY          As MARK, with his backpack stuffed, comes flying out of the          building and into the snow, barely keeping his balance on the          ice and we                         CUT TO:          TNT. KIRKLAND HOUSE/LOBBY - MORNING          The heavy door bursts open and MARK comes busting through. He          makes his way with speed and intent up a flight of stairs.          Then another.          And then another until he gets to his floor. He sprints down          his hall toward his dorm room and barely notices EDUARDO          leaning against the door.                         EDUARDO          We were supposed to meet at 9.          MARK is searching the pockets of his shorts for his keys.                         EDUARDO (CONT'D)          Have you slept yet?          MARK opens the door and they go into his suite--                         MARK          I have to add a feature.                         EDUARDO          What are you adding?                                                                                                              52,          MARK's in his own world as he sits at the computer and calls          up theFacebook. The home page fills the screen.                         EDUARDO (CONT'D)                         (SIMPLY)          Shit.                         (BEAT)          That looks good.                         (BEAT)          That looks really good.                         MARK          It's clean and simple. No flashing          lights.          The CAMERA surveys the screen as MARK slips through some          functions to show EDUARDO and we see things that are now          familiar--A photo, sex, a profile, a list of attributes, a          poke application, etc.          MARK (cONT' T) )          But watch.          MARK's called up a the Emacs program and quickly writes out          several lines of code...                         EDUARDO          What'd you write?.          MARK goes back to the profile page. There's a new area to be          filled in...                         MARK          "Relationship Status", "Interested In".                         (BEAT)          These two things are what drive life at          college. Are you having sex or aren't          you. It's why people take certain          classes, sit`where they sit, go where          they go, do what they do, and at its, um,          center,`you know, that's what theFacebook          is gonna be about, People are gonna log          on because after all the cake and          watermelon there's a chance they're gonna-                         EDUARDO          --meet a girl.                         MARK          --get laid. Yes.                         EDUARDO          Really?                         MARK                         (BEAT)          And that's it.                                                                                                              53.                         EDUARDO                         (BEAT)          What do you mean?                         MARK          It's ready.                         EDUARDO          It's ready?                         MARK          Yeah.                         EDUARDO          Right now?                         MARK          It's ready, that was it. And here's the          masthead,          MARK hits another couple of keystrokes and the website's          masthead comes up.                         EDUARDO          You made a masthead.                         MARK          Yeah.                         EDUARDO                         (READING)          "Eduardo Saverin, Co-Founder and CFO."                         MARK          Yeah.                         EDUARDO          You have no idea how much that's going to          mean to my father.                         MARK          Sure I do.                         EDUARDO                         (PAUSE)          When's it gonna go live?                         MARK          Right now. Get your laptop out.                         EDUARDO          Why do we need my laptop?                         MARK          Because you've got e-mails for everyone          at the Phoenix.                                                                                                              54,                         EDUARDO                         (BEAT)          I'm not sure if it's gonna be cool with          them that I spammed their--                         MARK          It's not Spam.                         EDUARDO          I didn't mean Spam, it's not Spam, it's                         JUST THAT--                         MARK          If we send it to our friends it'll just          bounce around the computer lab,                         EDUARDO          I haven't gotten in yet.                         MARK          These guys know people and these guys          know girls. I need their e-mails.                         EDUARDO                         (BEAT)          Sure.          EDUARDO takes out his laptop--                         MARK          Let's start with the president.                         EDUARDO          "Jabberwockl2@Harvard E-D-U."                         MARK          Like the Lewis Carrol?                         EDUARDO          Yeah.          MARK opens up an e-mail and is writing a short message, then          includes a link to the site--                         MARK          These guys.                         EDUARDO          I know,                         MARK          Think they're literary geniuses because          the world's most obvious Lewis Carroll          reference is in their--                         EDUARDO          They're not so bad.                                                                                                              55.                         MARK          I'm just saying.                         EDUARDO          You're right.                         MARK                         (DONE)          Okay.          He hits "Send".                         MARK (CONT'D)          The site's live.                         EDUARDO                         (PAUSE)          You know what? Let's go get a drink and          celebrate.          MARK is staring at the computer...                         EDUARDO (CONT'D)          Mark?          MARK doesn't hear him. We just see MARK's head from the back          and it's ever so slightly bobbing back and forth...                         EDUARDO (CONT'D)                         (PAUSE)          Mark?                         (BEAT)          Are you praying?                         CUT TO:          INT. CAMPUS PUB - NIGHT          THE CROCODILLOS, Harvard's oldest male a Capella group, are          singing at the front of the pub in their usual uniform of          white tie and tails.          Incongruously, but with surprisingly nice results, the group          is covering a song from The Backstreet-Boys--"I Want it That          Way"--and the pub full of students is loving it.          We find a table in the back where DIVYA is sitting with some          of his friends who are having a nice time. DIVYA's got his          laptop open.                         MALE FRIEND          When did the Crocodillos start covering          the Backstreet Boys? What happened to          Cole Porter and Irving Berlin?                                                                                                              56,                         FEMALE FRIEND          It's a Valentine's theme. They're singing          love songs.                         MALE FRIEND          Good point, 'cause Cole Porter and Irving          Berlin never wrote any love songs,                         FEMALE FRIEND          Divya, what are you reading?                         DIVYA          Seven different people spammed me the          same link.          We see DIVYA click his mouse on the link--                         FEMALE FRIEND          What is it?                         DIVYA                         (DRYL Y)          I don't know, but I'm really hoping it's          video of kittens that look like the Marx          Brothers 'cause I can never get enough          file footage on my computer of animals          doing...          DIVYA trails off. We Slowly PUSH IN on his face as the blood          starts draining away...                         MALE FRIEND                         (PAUSE)          Div?                         DIVYA          (beat.)          I--uh...I have to go.          DIVYA shuts his laptop, grabs it off the table and starts to          bolt out of the pub. His foot gets caught on a chair leg and          he falls hard face-first to the floor.                         DIVYA (CONT'D)          Shit.          He starts out again, then comes back for his coat, grabs it;          starts out and falls down all over again.          Finally he's got it together and flies out of the pub and we                         CUT TO;          INT. BOATHOUSE - NIGHT          CAMERON and TYLER are rowing in a large practice tank--a          simulator with a hull, oars and rowable water.                                                                                                              57.          They're focused and charging away in perfect sync when the          door at the end of the century-old boathouse opens and DIVYA          charges In from the co:Ld with his laptop and a copy of the          Crimson in his hands.                         DIVYA                         (CALLING)          Hey!          The twins are in the zone and don't pay any attention.                         DIVYA (CONT'D)                         (LOUDER)          Hey !                         CAMERON          Not now, we've got another 5000 meters.                         DIVYA                         (CALMLY)          Okay. I just wanted to let you know          Zuckerberg stole our website.          TYLER stops rowing and then CAMERON. They look at DIVYA...                         DIVYA (CONT'D)          Mark Zuckerberg stole our website. It's          been live for over 36 hours.                         CUT TO-          INT. CAMERON AND TYLER' S DORM ROOM - NIGHT          They're in gear. CAMERON's taken a quick shower but didn't dry          off'. He's in sweatpants with a towel over his shoulder,          talking on the phone with his father and holding the Crimson.          DIVYA's on his cell looking for MARK and TYLER, still in his          practice clothes, has his desktop computer open to theFacebook          and is studying it.                         DIVYA                         (INTO CELL)          I left a message with his R.A., I left          two, now I'm leaving one here.                         CAMERON                         (INTO PHONE)          I'm looking at the article in the          Crimson.                         DIVYA                         (INTO CELL)          Narendra.                         CAMERON                         (INTO PHONE)          Today's.                                                                                                                             - 58                         DIVYA                         (INTO CELL)          N-A---just tell him Divya, he knows who I          am.          (clicks off phone and starts to          dial another number)          Asshole knows who I am.                         CAMERON                         (INTO PHONE)          It's titled, "Hundreds Register for New          Facebook Website" and then the sub-          headline is "Facemash creator seeks new          reputation with latest online project."                         DIVYA                         (INTO CELL)          It's me again. Can you try looking for          his roommates? Their names are Chris          Hughes and Dustin Moskowitz.                         CAMERON                         (INTO PHONE)          No it's today's paper, it went online          yesterday morning around 10.                         DIVYA                         (INTO CELL)          I don't have the slightest idea.                         CAMERON                         (INTO HONE)          Mr. Hotchkiss.                         DIVYA                         (INTO CELL)          Thank you.                         CAMERON          (covering the phone)          Ty, the lawyer's on the phone with dad.                         (INTO PHONE)          I'm here with my brother, Tyler, and our          partner, Divya.                         TYLER          (reading off the computer)          "Welcome to theFacebook, TheFacebook is          an online directory that connects people          through social networks. You must have a          Harvard.edu address to register."                         CAMERON                         (INTO PHONE)          That's right.                                                                                                              59.                         DIVYA                         (INTO CELL)          I called earlier. I'm looking for Mark          Zuckerberg.                         CAMERON                         (INTO PHONE)          Yes sir, he's quoted a couple of times. I          can read--it says, "'Everyone's been          talking a lot about a universal .facebook          within 1 arvard', he says"--he meaning          Mark--"I think it's kind of silly that it          would take the University a coupl-e-af          years to get around to it. I can do ¬±          better than they can and I did in a          week."                         DIVYA                         (INTO CELL)          Could you leave word that Divya Narendra          called, I appreciate it.                         CAMERON                         (INTO PHONE)          I know, that's how he talks.                         DIVYA          (off another copy of the                         CRIMSON)          "As of yesterday evening, Zuckerberg said          over 650 students had registered to use          theFacebook.com. He said he anticipated          that 900 students would have joined the          site by this morning."                         CAMERON                         (INTO PHONE)          Yeah, Divya was just reading that he'd          signed up 650 people on the first day.                         TYLER           If I were a drug dealer I couldn't give          free drugs to 650 people in one day.                         DIVYA          And this kid doesn't have four friends.                         CAMERON          (quieting them so he can hear)          Guys, please, for just one second.                         (INTO PHONE)          That's what we'll do, Mr. Hotchkiss.          We're gonna put it all, together right now          and e-mail it to you.                         (LISTENS)          You won't be able to get on the site          yourself.          (beat--.a little uncomfortable)                         (MORE)                                                                                                              60.                         CAMERON (CONT'D)          Because you went to Ohio State. But we'll          take care of everything and we'll talk to          you first thing in the morning. This is a                         GOOD GUY---                         DIVYA                         (REACTING)          Whoa !. ;                         CAMERON                         (INTO PHONE)          --and he's very bright and I'm sure he          didn't mean to...do what he did.                         (BEAT)          Thank you very much, and dad, we'll talk          to you in the morning too. Thanks.          CAMERON hangs up,                         DIVYA          This is a good guy?                         CAMERON          We don't know that he'.s not a good guy.                         DIVYA          We know that he took our idea and stole          it. We know that-he lied to. our faces for          a month and a half-while he--                         CAMERON          He didn't lie to our faces.                         DIVYA          He never saw our. faces! Fine, he lied to          our e-mail accounts and he got himself a          42-day head start because he knows what          apparently you don't which is that          getting there first is everythinal                         CAMERON          I'm a competitive racer, Div, I don't          think you need to school me on the          importance of getting there first.                         DIVYA                         (BEAT)          Alright. That was your father's lawyer on          the phone with you?                         CAMERON          Yeah, well his in-house counsel, We're          gonna send him everything and he'll look          at it and if he thinks it's appropriate          he'll send a cease and desist letter.                                                                                                              61.                         DIVYA          A cease and desist letter doesn't have          any teeth.                         CAMERON          You think we should hire lawyers and sue          him?                         DIVYA          I think we should hire lawyers and have          them beat him senseless with a crescent          wrench.                         TYLER          We don't have to do that.                         CAMERON          That's right.                         TYLER          We can do it ourselves.                         CAMERON                         HEY--                         TYLER          I'm six-five, 220-pounds and there are          two of me.                         CAMERON          And I'm saying let's Calm down until we          know what we're talking about.                         DIVYA          Just how much more information are you          waiting for? We met with Mark three          times, we exchanged 52 e-mails, we can          prove that he looked at the code, he'd          seen what Victor had already done and we          talked at length about what we planned to          do.                         (POINTING)          The page looks the same:                         (THEN)          What is that on the bottom?                         CAMERON          (he's already seen it)          It says "A Mark Zuckerberg Production".                         DIVYA          On the home page?                         CAMERON          On every page.                                                                                                              62 .                         DIVYA          Hang on, 'cause I need a minute to let          the classiness waft over me.                         CAMERON                         LOOK-                         TYLER                         (CALMLY)          Cam.          (he recites from the Crimson          thout having to read it)          They wr "Zuckerberg said that he          hoped the prly options would help to          restore his reputation following student          outrage over Facemash.com".                         (BEAT)          That's exactly what we said to him. He's          telling us to go fuck ourselves. We know          plenty of people at the Crimson. While          we're waiting for dad's lawyer to look          this over, we can at least---                         CAMERON          No.                         TYLER          --get something going in the paper so          that people know-                         CAMERON          What?                         TYLER          That this thing is in dispute.                         CAMERON          We're not starting a knife fight in the          Crimson and we're not suing anybody.                         DIVYA          Why not?          CAMERON wants-to answer the question but doesn't..                         DIVYA (CONT'D)          Why not?                         CAMERON          (beat--referring to TYLER)          He'll say it's stupid.                         TYLER          Me?                         CAMERON          Yeah.                                                                                                              63.                         DIVYA          Say it. Why not?                         CAMERON          Because we're gentlemen of Harvard.                         (BEAT)          This is Harvard. You don't plant stories          and you don't sue people.                         (BEAT)          That's why. There's a right way to do          things.                         DIVYA                         (PAUSE)          You thought be was going to be the only          one who thought that was stupid?                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY                         GAGE          During the time when you say you had this          idea, did you know that Cameron and Tyler          carne from a family of means?                         MARK                         (PAUSE)          A family of means?                         GAGE          Did you know that his father was wealthy.                         MARK                         (PAUSE)          I'm not sure why you're asking me that.                         GAGE          It's not important that you be sure why          I'm asking you.                         MARK          It's not important to you.                         GAGE          (asking for help again)          Sy.                         'SY                         (TO MARK)          Did you know that they came from money?                         MARK          I had no idea whether they came from          money or not.                                                                                                              64,                         GAGE          In one of your e-mails to Mr. Narendra          you reference Tate Winklevoss' consulting          firm.                         MARY                         (BEAT)          If you say so.                         GAGE          Tate Winklevoss founded the firm and its          assets are in the hundreds of millions.                         MARK          or roughly the amount I paid in income          tax last year, go on.                         GAGE          You also knew that Cameron and Tyler were          members of a Harvard final club called          the Porcellian.                         MARK          They made a point of pointing that out.                         TYLER          Excuse us for inviting you in.                         GAGE                         (TO TYLER)          Hey.                         (TO MARK)          So it's safe to say you were aware that          my clients had money?                         MARK          Yes.                         GAGE          Let.me tell you why I'm asking. I'm          wondering why, if you needed a thousand          dollars to start up your project, you          didn't ask my clients for it. They'd          demonstrated to you an interest in this          kind of thing so--                         MARY          From that you're deducing that I didn't          go to them because I didn't want them to          know what I was working on? I went to my          best friend for the money because he's          who I wanted to be partners with because          of our similar vision and his superior          business skills. Eduardo was president of          the Harvard Investors Association and he          was my best friend.                                                                                                              65.                         GAGE          Your best friend is suing you for 600-          million dollars.                         MARK          I hadn't heard, tell me more.                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         SY          Eduardo, what happened after the initial          launch?                         GRETCHEN          I'm sorry, Sy, would you mind addressing          him as Mr. Saverin?                         SY          They're best friends, Gretchen.                         GRETCHEN          Not anymore.                         SY          We just went through this on the--          nevermind. Mr. Saverin, what happened          after the initial--                         EDUAPœøΩDO          It exploded.                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY                         DIVYA          Everyone on campus was using it.          "Facebook me" was a common expression          after two weeks.                         SY          And Mark?                         DIVYA          Mark was the biggest thing on a campus          that included 19 Nobel. Laureates, 15          Pulitzer Prize winners, two future          Olympians and a movie star.                         SY          Who was the movie star?                         DIVYA                         (PAUSE)          Does it matter?                                                                                                              66,                         SY          No.                         CUT TO:          EXT./EST. AUDITORIUMi - NIGHT          The lamps in Harvard Yard light the snow falling.                         SPEAKER (VO)          The seminal event for me was when he was          in Harvard Square and picked up a copy of          Popular Electronics Magazine that ha the          MITS Altair Kit on the cover.          INT. AUDITORIUM -- SAME TIME          There's a lower-level and a balcony and both are full.          MARK and EDUARDO are sitting in the second to last row of the          balcony.          We'll hear the SPEAKER but we'll only get to see him in a          slightly blurry image as our attention is on MARK and EDUARDO.                         SPEAKER          And it was a clear day, And I was up in          my Radcliffe dorm. And he brought that up          there and said, "Look, it's going to          happen without us. We've got to do it          now." And so I said..."Okay."          He gets an appreciative LAUGH from the STUDENTS.                         SPEAKER (CONT'D)          Now the starting‚Ä¢of this industry was          very humble indeed. The kit computer on          the cover-of that magazine--          We HEAR a little muffled giggling coming from the row behind          MARK and EDUARDO, MARK is too into the speech to notice but          the giggling registers as a slight annoyance on EDUARDO's          face.                         SPEAKER (CONT'D)          --had an 8080 processor in it, and you          had to assemble it yourself and it came          with 256K of memory.          EDUARDO hears the giggling again and turns around.          In the row behind them and a few seats over are two beautiful          Asian students.--ALICE and JENNY. They're a little overly made-          up for a lecture. JENNY, the one sitting closest to EDUARDO,          is wearing a short skirt with a white shirt: open one button          too far down the front and we can see a hint of the red bra          she's wearing underneath.                                                                                                              67.          She leans forward and whispers to EDUARDO--                         JENNY                         (WHISPERING)          Your friend--isn't that Mark Zuckerberg?                         EDUARDO                         (BEAT)          You know Mark?                         JENNY          Didn't he make theFacebook?          EDUARDO smiles a little ...this has just never happened--                         EDUARDO          Yeah. Both of us. It's mine and his. It's          our--we're--yes.                         JENNY                         (STILL WHISPERING)          Way cool. I'm Jenny. This is Alice.          EDUARDO can't help noticing--just because it's in his line of          sight--that down the row from the girls, someone else is          pointing at them and whispering to a friend.          Then back to the girls--                         EDUARDO                         (WHISPERING)          Very nice to meet you.                         JENNY                         (WHISPERING)          Facebook me when you get home. Maybe we          can all go out for a drink later.                         EDUARDO                         (WHISPERING)          Certainly. I'll certainly--absolutely I          will do that.          EDUARDO turns back to the speaker, who MARK hasn't taken his          eyes off of--                         SPEAKER          There were a set of machines that came          after that. The TRS-80, Apple II,                         COMMODORE PET--                         CUT TO:                                                                                                              68.          EXT. AUDITORIUM - NIGHT          As the CROWD from the lecture spills out onto the snowy quad.          EDUARDO--always in his suit-.-is buttoning up his overcoat as          he walks and MARK zips up his hoodie.                         EDUARDO          She said "Facebook me" and we can all          have a drink later. Which is stunningly          great for two reasons. One, she said          "Facebook me". Right? And the other is          that, you know--                         MARK          They want to have drinks later.                         EDUARDO          Yes: Have you ever heard so many          different good things packed into one          ordinary-sized sentence?          A group of guys hustle up to MARK and EDUARDO--                         STUART          Excuse me. Mark?                         MARK          Yeah.                         STUART          I'm Stuart Singer. I'm in your O.S. lab.                         MARK          Sure.                         STUART          Awesome job with theFacebook.                         VIKRAM          Awesome job.                         MARK          Thanks.                         BOB          I'm Bob.                         MARK          How you doin'.                         BOB          You know, I could swear he was looking at          you when he said the next Bill Gates          could be right in this room.                         MARK          I doubt it.                                                                                                              69.                         BOB          I showed up late, I don't even know who          he was.                         MARK                         (BEAT)          It was Bill Gates.                         BOB          Oh shit, that makes sense.          As MARK and EDUARDO walk on, we leave STUART, VIKRAM and BOB in          the background---with STUART and VIKRAM admonishing BOB with--                         STUART/VIKRAM                         (TO BOB)          Are you a moron?/Are you medically          stupid?/You can't recognize Bill Gates          when he's standing in front of you for an          hour?/Mark Zuckerberg now thinks we got          into Harvard on a dimwit scholarship./I'm          gonna get a Glock 39 and I'm going to          kill you./I'm actually going to kill          you/etc.                         CUT TO:          INT. MARK'S DORM ROOM - NIGHT          As the door opens and MARK and EDUARDO come into the          overheated warmth of the room.                         EDUARDO          It's time to monetize the thing.                         MARK          Those Asian girls were cute. What were          their names?                         EDUARDO          Did you hear what I said?                         MARK          When?                         EDUARDO          I said it's time to monetize the site.                         MARK          What does that mean?                         EDUARDO          I mean it's time for the website to          generate revenue.                                                                                                              70,                         MARK          No I know what the word means. I'm asking          how do you want to do it?                         EDUARDO          Advertising.                         MARK          No. What were their names?                         EDUARDO          We've got 4000 members.                         MARK          'Cause theFacebook is cool. If we start          installing pop-ups for Mountain Dew it's                         NOT GONNA--                         EDUARDO          Well I wasn't thinking it would be          Mountain Dew but at some point--and I'm          speaking as the business end of the                         COMPANY--THE SITE--                         MARK          We don't even know what it is yet. We          don't know what it is, what it can be,          what it will be. We know it'‚Ä¢s cool,          that's a -priceless asset and we're not          giving it up.          EDUARDO is sitting at MARK's desk and he's seen something          sitting on top of a pile of'books.,,                         EDUARDO          Mark, what is this?                         MARK          What,          EDUARDO holds up a letter that's on a lawyer's stationary.                         EDUARDO          This,                         MARK          I think it's called a cease and desist          letter. What were their names?                         EDUARDO          Who?                         MARX          The girls.          EDUARDO's speed reading the letter.                                                                                                              71.                         EDUARDO          When did you get this?                         MARK          About 10 days ago. Right after we           launched the site.                         EDUARDO          Jesus Christ.                         MARK          I liked th shorter one.                         EDUARDO          They're saying--the Winklevoss twins are          saying you stole their idea.                         MARK          I find that to be mildly annoying.                         EDUARDO          They find it to be property theft. Why--                         MARK                         LOOK--                         EDUARDO          --why didn't you show this to me?                         MARK          It was addressed to me.                         EDUARDO          They're saying we stole theFacebook from          Divya Narendra and the Wink‚Äî                         MARX          I know what it says.                         EDUARDO                         (PAUSE)          Did we?                         MARK          What?                         EDUARDO          Please don't screw around with me now.                         MARK          I'm not.                         EDUARDO          Look at me.                         MARK          What are you, my mother?                                                                                                              72.                         EDUARDO          The letter says we could face legal          action.                         MARK          No, it says I could face legal action.                         EDUARDO          It's from a lawyer, Mark. They must feel          they have some grounds for--                         MARK          The lawyer is their father's house          counsel, I checked it out, they're not,                         YOU KNOW---                         EDUARDO          Do they have grounds?                         MARK          Yes, the grounds are theFacebook is cool.          and popular and sexy and          HarvardConnection is lame. I didn't use          any of their code, I didn't use anything.          A guy who builds a really nice chair          doesn.'t owe money to everyone who,,, ever          built a chair. Th ey came to me with an          idea, I had a better one.                         EDUARDO          Why didn't you show me the letter?                         MARK          I didn't think. it was a big deal..                         EDUARDO          If there's' something wrong--if there's          ever anything wrong--you can tell me. I'm          the guy who can help.                         (PAUSE) -          Is there anything you need to tell me?                         MARK          No,                         EDUARDO          What are we doing about this?                         MARK          I went to a 3-L at Student Legal services          and he told me to write them back.                         EDUARDO          What did you say?                         CUT TO:                                                                                                              73.          TNT. SECOND DEPOSITION ROOM DAY                         GAGE                         (READING)          "When we met in January, I expressed my          doubts about the site--where it stood          with graphics, how much programming was          left that I had not anticipated--                         CUT TO:          INT. MARK'S DORM ROOM - NIGHT                         EDUARDO                         (READING)          "---the lack of hardware we had to deal          with, the lack of promotion that was          needed to successfully launch the website--                         CUT TO:          INT. SECOND DEPOSITION ROOM - DAY                         GAGE                         (READING)          "--etc." This was the first time you          raised any of those concerns, right?                         MARK          I'd raised concerns before.                         DIVYA/TYLER          Bullshit./Not to us.                         GAGE                         (QUIETING)          Fellas.          (back to MARK)          I'm talking about at the meeting in          January to which this letter is          referring.                         MARK          Yeah.                         GAGE           Let me re-phrase this. You sent my          clients 32 e-mails. In the first 31, you           didn't raise any concerns.                         MARX                         (BEAT)          Is that a question?                                                                                                                             74-                         GAGE          In the 32nd e-mail you raised concerns          about the site's functionality. Were you          leading them on for six weeks?                         MARK          No.                         GAGE          Why hadn't you raised any of these--                         MARK                         (QUIETLY)          It's snowing.                         GAGE          I'm sorry?                         MARK          It just started snowing.                         GAGE          Mr. Zuckerberg, do I have your full          attention?                         MARK          No.                         GAGE                         (BEAT)          Do you think I deserve it?          . MARK          What.                         GAGE          Do you think I deserve your full          attention?                         MARK          I had to swear an oath before we began          the deposition phase and I don't want to          get arrested for perjury so I have a          legal obligation to say no.                         GAGE          Okay. "No" you don't think I deserve your          attention.                         MARX          I think if your clients want to stand on          my shoulders and call themselves tall          they have a right to give it a try. But          there's no requirement that I enjoy being          here listening to people lie. You have          part of my attention--the minimum amount          needed.                         (MORE)                                                                                                              75.                         MARK (CONT'D)          The rest of my attention is back at the          offices of Facebook where my employees          and I are doing things that no one in          this room, including and especially your          clients, are intellectually or creatively          capable of doing. Did I adequately answer          your condescending question?          GAGE just looks casually at MARK. MARK doesn't meet his gaze,          or the looks from DIVYA, TYLER and CAMERON...                         SY                         (BEAT)          I've got 12:45. Why don't we.say that's          lunch.                         GAGE          Back at 2:30?                         SY          Good.          Everyone gets np and we                         CUT TO:          INT. MARK'S DORM ROOM -‚Ä¢ NIGHT          EDUARDO puts the letter back on. the desk and looks at MARK...                         EDUARDO                         (PAUSE)          Their names were Jenny and Alice- They          want to have drinks tonight.                         CUT TO:          INT. MEN'S ROOM - NIGHT          It's a nice men's room--mahopny stalls--in a nice club in          Cambridge. We HEAR the thumping of the house music coming from          the club.          And then one of the wooden stall doors flies open and EDUARDO          is shoved in, followed by JENNY, who did the shoving. She's          all over him as she presses him back against the divider.          EDUARDO's hands are sliding under JENNY'S white shirt and          finding the red bra when they hear a noise.          Someone's gone into the next stall.                         EDUARDO                         (WHISPERING)          Shit.                                                                                                              76.                         JENNY                         (WHISPERING)          I don't care.          JENNY keeps him pinned against the divider as she reaches down          and unbuckles his belt.                         EDUARDO          (quietly--nervous).          Oh God.                         JENNY                         (WHISPERING)          That's right.          And then he hears another noise from the stall next door. A          thump against the divider. JENNY's got his fly unzipped.          EDUARDO looks down at the space between the stalls. He sees a          pair of Adidas flip-flops.          Then the sound of moaning, Before EDUARDO has time to say          anything, JENNY pulls her shirt open, revealing the red bra,          and puts her hand down his pants as we                         CUT TO:          INT. CLUB/MEN'S ROOM - NIGHT          MARK and EDUARDO are standing guard outside the door. They're          silent but very happy.          A guy comes along to use the men's room.                         EDUARDO          Sorry. It'll just be a minute. Some girls          are freshening up in there.                         GUY          (nodding a little)          Sweet.          The guy goes off...                         EDUARDO                         (PAUSE)          Mark.                         (BEAT)          We have groupies.          MARK can't help a smile. Then he sees something...                         MARK          I'll be right back.                         EDUARDO          Where you going?                                                                                                              77.          MARK makes his way through the crowd toward a round booth. A          girl is sitting there and even though her back is to MARK he          can recognize her. She's with a girlfriend and three guys.          When he makes it to the booth he says--                         MARK          Erica?          ERICA, from the opening scene, turns her head and looks up to          see MARK. She's looking sexy for her Friday ni.ght on the town          and the three guys she's with are studs. A few more friends of          theirs are standing around at the edges of the booth.                         ERICA                         (PAUSE)          Hi Mark.                         MARK          I saw you from over there. I didn't know          you came to this club a lot.                         ERICA          It's my first time.                         MARK          Mine too. It's not bad. It's not. great.          The music's kind of lame. Could I talk to          you alone for a second?                         ERICA          I think I'm good right here.                         MARK          okay.          MARK is aware of everyone else around the booth.                         MARK (CONT'D)                         (BEAT)          I don't know if you heard about this new          website I launched.                         ERICA          No.                         MARK          ThePacebook?                         ERICA          You called me a bitch on the internet,          Mark.                         MARK          I'm really sorry about that.                                                                                                              78.                         ERICA          On the internet.                         MARK          That's why I came over.                         ERICA          comparing women to farm animals?                         MARX          I didn't end up doing that.                         ERICA          It didn't stop you from writing it. As if          every thought that tumbles through your          head is so clever it would be a crime for          it not to be published. The internet's          not written in pencil, Mark, it's written          in ink and you published that Erica          Albright was a bitch.                         (BEAT)          Right before you made some ignorant crack          about my family's name, published my bra          size and then rated women-based on their          hotness. Why don't you say it to me now,          why don't say it to my face?                         MARK          I don't want to.          REGGIE (A FRIEND OF ERICA'S)          Erica, is there a problem?                         ERICA          No, there's no problem.                         (PAUSE)          You're not a real person, Mark. You write          your bullshit from a dark room because          you're a failure at human contact. I          liked you and I was nice to you.                         MARK                         (PAUSE)          I came over to say I was sorry for all          that and to see if there was any chance--                         ERICA          I don't want to be rude to my fxiends, I          should be talking to them.                         MARK          Okay.                         ERICA          Hey Mark. A year from now you won't          remember this conversation and you won't          remember me.                                                                                                              '79 .                         MARK          I think you're wrong.                         ERICA          Well... listen, good luck with your video          game.          It was an honest mistake on ERICA's part but a kidney punch to          MARK.                         MARK                         (BEAT)          Okay.          MARK turns and goes and sees that EDUARDO has been standing at          and watching from a distance with JENNY.                         EDUARDO          That was cool, you did good. You talked          to her, that was the right thing to do.                         (BEAT)          It was good, Mark.                         MARK                         (IGNORING HIM)          We have to expand.                         EDUARDO          (over the music)          What?                         MARK          We have to expand.          And MARK heads out the door.          EDUARDO watches MARK and then looks back at the girls and          answers the un-asked question--                         EDUARDO                         (BEAT)          I don't know.                         ALICE          Is he mad about something?                         CUT TO:          INT. MARK'S DORM ROOM - NIGHT          The door closes behind DUSTIN MOSKOWITZ and CHRIS HUGHES. MARK          and EDUARDO are waiting and JENNY and ALICE are sitting on the          bed. Everyone's got a beer.          Once the door is closed--                                                                                                              80.                         MARK          We're expanding theFacebook to Yale and          Columbia. Dustin, I want you to share. the          coding work with me. Chris, you're going          to be in charge. of publicity and          outreach. You can start by getting a          story about the expansion in the B.U.          student newspaper.                         CHRIS          They hate doing stories about Harvard.                         MARK -          Somebody at the newspaper will be a          computer science major and they will have          heard of me. Tell 'em Mark Zuckerberg          will do 10 hours of free programming for          theno .                         EDUARDO          Why do you want a story in the B.U.---                         MARK          Because I do. Here's the business          arrangement. Eduardo's CFO and owns 30%          of the company, Dustin's Vice President          and Head of Programming and his 5% of the          company will come from my end. Chris is          Director of Publicity and his          compensation will depend on the amount of          work he ends up doing. Any questions?                         DUSTIN          Who are the girls?                         EDUARDO          Jenny and Alice,                         DUSTIN                         JENNY                         ALICE                         CHRIS                         JENNY          Is there anything we can do?                         MARK          No. That's it. Yale and Columbia, let's          go.                                                                                                                             EDUA TDO          And Stanford.                         MARK          What?                         EDUJARDO          Stanford. Its time for them to see this          in Palo Alto.                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY          MARK is sitting alone in the now empty room. There's a          computer on a table in the corner and MARK makes a few          keystrokes and then reads the screen.          MARYLIN, the young lawyer we met early on, comes in with a          plastic salad container in her hand and sits at the far end of          the table from MARK, who doesn't acknowledge her.                         MARYLIN          (after a moment)          You don't want any lunch?                         MARK                         (BEAT)          No.                         MARYLIN          You're welcome to some of my salad.                         MARK          No thank you.                         MARYIJIN          I know this must be hard.                         MARK          who are you?                         MARYLIN          I'm Marylin Delpy, I introduced myself          this morning.                         MARK          I mean what do you do?                         MARYLIN          I'm a second year associate at the firm.          My boss wanted me to sit in on the          deposition phase.          MARK nod--.                                                                                                               82 ,                         MARYLIN (CONT'D)          What are you doing?                         MARK          Checking in to see how it's going in          Bosnia.                         MARYLIN          Bosnia?          MARK nods...                         MARYLIN (CONT'D)          They don't have roads but they have          Facebook?          MARK nods..,                         MARYLIN (CONT'D)          You really hate the Winklevoss twins,          don't you.                         MARX          I don't hate anybody.                         (PAUSE)          The Winklevi aren't suing me for          intellectual property-theft. They're          suing me because for the first time in          their lives the world didn't work the way          it was supposed to for them.                         CUT TO;          INT. TYLER AND CAMERON'S DORM ROOM - NIGHT          TYLER and CAMERON are both studying when DIVYA busts in.                         DIVYA          He's expanding.                         TYLER          What?                         DIVYA          He's expanding to Yale, Columbia and          Stanford, it'll be in the Crimson          tomorrow.                         TYLER                         (BEAT)          Really.                         DIVYA          Yeah.                                                                                                              83.‚Ä¢                         TYLER          So that cease and Desist letter really          scared the shit out of him, huh?                         DIVYA          I want to hire a lawyer to file for          injunctive relief and get this website          taken down now!                         CAMERON                         LOOK--                         DIVYA          Every minute it's up, Harvard Connection          becomes less valuable, I want an          injunction, I watt damages, punitive          relief and I want him dead.                         CAMERON          I want those things too!                         DIVYA          Then why aren't we doing anything about          it?! Because we're gentlemen of Harvard?!                         CAMERON          Because you're not thinking about how          it's going to look.                         DIVYA          How's it going to look?                         CAMERON          Like my brother and I are dressed in          skeleton costumes chasing the Karate Kid          around a high school gym.                         DIVYA          He violated Massachusetts state law. Then          when he goes to Connecticut, New York and          California he'll have violated federal          law. And by the way, he's violated          Harvard law.                         CAMERON          There's no such thing as Harvard Law.                         TYLER                         (PAUSE--REALIZING)          Wait. Yes there is.                         (BEAT)          Cam, there is.          TYLER goes to the bookshelf and pulls down a manual.                                                                                                              84,                         TYLER (CONT'D)          Harvard Student Handbook. Every freshman          is issued this book. Somewhere in here it                         SAYS---                         CAMERON                         (EUREKA)          --you can't steal from another student.          This is what we needed.                         DIVYA          You think campus security is going to          arrest him for copyright violation?                         CAMERON          We're going to meet with the president.                         DIVYA          You can't get a meeting with Larry          Summers.                         CAMERON          My brother and I pay tuition at this          school, we carry a 3.9 GPA at this          school, we've won trophies for this          school and we'll be rowing in the          Olympics for this school. I want a damn          meeting with the-president of this          school.                         (PAUSE)          Why Stanford?                         DIVYA          Why do you think?                         CUT TO          INT. A GIRL'S COLLEGE APARTMENT (PALO ALTO) - MORNING          A pretty 20 year-old co-ed, AMY, pulls a curtain open and the          darkened room immediately fills with un-welcomed sunlight.                         AMY          You don't know my name, do you?          AMY's wearing nothing but a Stanford sweatshirt and talking to          a skinny 22 year-old guy who's lying on her futon. There's          other evidence on the walls that we're at Stanford University.          There are also pieces of AMY'S clothing strewn about.          The young man on the futon is SEAN PARKER.                         SEAN          Is that something that's important to y ou?                                                                                                              85.                         AMY          Yes.                         SEAN          If I say your name will you stop the          enhanced interrogation techniques?                         AMY          Yes.                         SEAN          Amy.                         AMY          Nice. What's my major?                         SEAN                         (PAUSE)          Trombone.                         AMY          Really?                         SEAN          I remember something about a trombone.                         AMY          That was the beer bong. Tu fais l'amour A          la jolie fille et la mete de cote.                         SEAN          French! Your major is French.                         AMY          Oui. And what's yours?                         SEAN          My major?                         AMY          Yes.                         SEAN          I don't have one.                         AMY          You haven't declared?                         SEAN          I don't go to school here.                         AMY          You're kidding?                         SEAN          No.                                                                                                              86.                         AMY          Where do you go to school?                         SEAN          Grover Cleveland Elementary.                         AMY          Seriously, you're not like 15 years old          or anything are you?                         SEAN          No, I'm 22.                         (BEAT)          You're not like 15 years---                          AMY          No.                          SEAN          Good.                          AMY          So what do you do?                         SEAN          I'm an entrepreneur.                         AMY          You're unemployed.                         ¬Ä¢ SEAN          I wouldn't say that.                         ANY          What would you say?                         SEAN          That I'm an entrepreneur.          .AMY          What was your latest preneur?                         SEAN          Well...I founded an internet company that          let college kids download and share music          for free.                         AMY          Kind of like Napster?                         SEAN          No, exactly like Napster.                         PAY          What do you mean?                                                                                                              87.                         SEAN          I founded Napster.                         AMY          Sean Parker founded Napster.                         SEAN          Nice to meet you.                         AMY                         (PAUSE)          You're Sea - arker?                         SEAN          Ah, you see, the shoe's on the other, uh,          table which has turned.                         AMY          I just slept with Sean Parker?                         SEAN          All night long, Sister Souljah.                         AMY          You're a millionaire.                         SEAN          Not technically.                         AMY          What are you?                         SEAN          Technically?                         AMY          Yeah.                         SEAN          Broke. There's not a lot of money in free          music. Even less when you're being sued          by everyone who's ever been invited to          the Grammys.                         AMY          I think you're cool.                         SEAN          He too.                         AMY          I have to hop in the shower and get ready          for class. There's juice or anything else          you can find. Help yourself.                         SEAN          You mind if I check my e-mail?                                                                                                              88,                         AMY          Go ahead.          AMY heads into the bathroom but leaves the door a little ajar..          SEAN steps over to AMY's pink laptop and hits a key to wake it          out of sleep mode.          The shower starts running in the bathroom.          The laptop springs to life and is open to something SEAN's          never seen before--a Facebook page.;          He sees AMY's picture and a short profile: Her major at          Stanford, courses she's taking, books she likes, clubs she's a.          member of...                         SEAN                         (CALLING)          Amy?          She can't hear him in the shower.          SEAN explores around a little more. He knows his way around a          computer. He sees her "friends". Friend after friend after          friend.          SEAN (CONY' D )          (almost a whisper)          Jesus.          He gets up and goes to the bathroom door--                         SEAN (CONT'D)          Amy?                         AMY                         (CALLING BACK)                         YEAH:                         SEAN          Can'you come out here?                         AMY          Just a second.                         SEAN          There's a fire, Amy.          AMY.          What?!          AMY grabs a towel and jumps out of the shower--                         AMY (CONT'D)          Where?:                                                                                                              89.                         SEAN          Okay, there isn't a fire, but I need to          ask you something.                         AMY          Are you kidding?!                         SEAN          No.                         AMY          I could have been killed!                         SEAN          I3ow?                         AMY                         (BEAT)          What do you need to ask me?                         SEAN          I went to check my e-mail and there's a          website open on your computer.                         AMY          Yeah. After you went unconscious last          night I went on theFacebook for a while.                         SEAN          What's that?                         AMY          'iheFacebook? It. started at Harvard and          standford's had it for about two weeks          and it's awesome except it's addictive.          Seriously, I'm on the thing five times a          day, all my friends are.                         SEAN          You mind if I grab a piece of paper and a          pen?                         AMY          What's wrong?                         SEAN          Absolutely nothing. It's beautiful.                         AMY          What are you talking about?                         SEAN          I need to find...           says ‚ÄûA          SEAN scrolls down to the bottom of the page where it          Mark Zuckerberg Production"                                                                                                              90,                         SEAN (CONT'D)          .Mark Zuckerberg.                         CUT TO:          INT. LARRY SUMMERS' OUTER OFFICE - DAY          CAMERON and TYLER, in dark suits, are waiting to see the          president of Harvard,          The President's office is in one of the two oldest university          buildings in the country, and the SECRETARY sitting at the          desk i ven older. You get the sense that she thinks Harvard          would be d -better place if it weren't for all, these students.          She looks at them and the boys give her a polite smile and a          small nod before she goes back to her work.                         CAMERON          (just making small talk)          I've never been in this building.                         SECRETARY          (without really looking up)          This building is a hundred years older          than the country.it's in.                         CAMERON                         (THAT'S INTERESTING)          Hm.                         SECRETARY          So do be careful.                         TYLER          We're just siting in the chairs.                         SECRETARY                         (INTO PHONE)          Yes_.                         (INTO PHONE)          Very good.          She hangs up the phone.                         SECRETARY (CONT'D)          You can go in now.          She points to a door and CAMERON and TYLER get up, quickly          straighten themselves, and walk into          INT. SUMMERS' OFFICE - CONTINUOUS          LARRY SUMMERS, a large man, is on the phone at his desk in his          well-appointed office. A fire crackles in the sitting area and          a 40-ish African-American woman, ANNE, in a pants suit is          nearby going over some papers.                                                                                                              91.          SUMMERS waves the boys in--                         SUMMERS                         (INTO PHONE)          That's just their own stupidity, I should          have been there.                         (INTO PHONE)          Darkness is the absence of light and          stupidity in that instance was the          absence of me.          SUMMERS motions for them to sit and they do. They take in some          of the photographs around the room---SUMMERS with BILL CtINTON,          etc.                         -SUMMERS (CONT'D)                         (INTO PHONE)          Catherine, I have students in my office          now.                         (INTO PHONE)          Students.                         (INTO PHONE)          Under. grads.                         (INTO PHONE)          I don't know, from the looks of it I          think they want to sell me sets of          identical Brooks Brothers suits. We'll          speak later.          SUMMERS hangs up the phone--                         SUMMERS (CONT'D)          Good morning.                         CAMERON          Good morning, s_ir. I'm Cameron Winklevoss          and this is my brother, Tyler.          CAMERON is extending his hand but instead of taking it,          SUMMERS reaches to the top of a pile of papers and pulls a ten-          page letter off the top.                         SUMMERS          Why are you here?          There's silence while SUMMERS appears to read over the          letter...                         SUMMERS (CONT'D)          That wasn't rhetorical.                         CAMERON          I'm sorry, I thought you were reading the          letter.                         SUMMERS          I've read the letter.                                                                                                              92.                         CAMERON          Well I think it's pretty self-          explanatory. We had an idea for a website          called HarvardConnection--we've since          changed the name to ConnectU--and Mark          Zuckerberg stole that idea and--                         SUMMERS          What do you want me to do about it?          CAMERON points to a row of Harvard Student Handbooks on the          bookshelf behind SUMMERS.                         CAMERON V          Well sir, in The Harvard Student          Handbook, which is distributed to each          freshman--under the heading "Standards of          Conduct in the Harvard Community" and the          sub-heading, "Honesty"--                         SUMMERS          Oh dear God.                         CAMERON          --it says, "The College expects that all          students will be honest and forthcoming          in their dealings with members of this          community. All students are required to          respect private and public ownership.          Instances of theft, misappropriation or          unauthorized use of or damage to property                         OR MATERIALS--                         SUMMERS          Excuse me, Anne?                         ANNE          Yes sir.,                         SUMMERS          Punch me in the face.          (beat--then to CAMERON)          Go ahead-.                         CAMERON                         (BEAT)          --will result in disciplinary action,          including the requirement to withdraw          from the College." That's what is says in          the handbook.                         SUMMERS          When did you memorize that?                         TYLER          (a little frustrated with this                         BULLSHIT)                         (MORE)                                                                                                              93.          TYLER (CONY ' D )          Sir, it's against University rules to          steal. from another student, plain and          simple.                         SUMMERS          You've spoken to your R,A.?                         CAMERON          Yes sir, and the R.A. made a          recommendation to the Ad Board but the Ad          Board won't hear us.                         SUMMERS          Have you tried dealing with Mr.          Zuck.e.rberg directly?                         CAMERON          Mr. Zuckerberg hasn't responded to any of          our e-mails or phone calls for. the last'          two weeks. He doesn't answer when we          knock on his door at Kirkland and the          closest we've come to talking face to          face is when I saw him on. the quad and          chased him through Harvard Square.                         SUMMERS          You chased him?                         CAMERON                         (BEAT)          I saw him and I know he saw me and I          started after him and he disappeared                         SUMMERS          You know he could have you arrested for          harassment and attempted assault.                         TYLER                         (QUIETLY)          This isn't happening.                         SUMMERS          I don't see this as a University issue.                         TYLER          Of course it's a University issue.          There's a code of ethics and an honor          code and he violated them both.                         SUMMERS          You entered into a code of ethics with          the university, not with each other.                         TYLER                         (BEAT)          I'm sorry President Summers, what you          just said makes no sense to me at all.                                                                                                              94,                         SUMMERS          I'm devastated by that.                         CAMERON          What my brother means is that if Mark          Zuckerberg walked into our dorm room and          stole our computer it would be a          university issue, right?                         SUMMERS          I really don't know. This office doesn't          handle petty larceny and the only reason          I agreed to see you--Anne; by did I          agree to see them?                         ANNE          Colleagues of their father.                         SUMMERS          So you see?                         TYLER          This isn't a petty larceny.                         CAMERON                         (CALMING)                         TY--                         TYLER          This idea is potentially worth millions          of dollars.                         SUMMERS          Millions of dollars?                         CAMERON          Yes.                         SUMMERS          You might be letting your imagination run          away with you.                         TYLER          With all due respect I don't think you're          in any position to make that call.                         SUMMERS          I was U.S. Treasury Secretary, I'm in          some position to make that call.                         TYLER          Letting our imaginations run away with us          is exactly what we were told to do in          your freshmen address.                                                                                                              95.                         SUMMERS          Well. I would try letting your-          imaginations run away with you on a new          project.                         TYLER          You would.                         SUMMERS          Everyone at Harvard is inventing          something or starting a new business in          their dorm room- Harvard undergraduates          believe that inventing a job is better          than getting one so can I suggest again          that the two of you come up with a new          new project?                         CAMERON          I'm sorry, but that-'s not the point, sir.                         SUMMERS          What's the point?                         CAMERON          You don't have to be an intellectual          property expert to understand-the,          difference between right and wrong.                         SUMMERS          And you're saying that I don't?                         CAMERON          Of course I'm not saying that.                         TYLER          I'm saying that.          SUMMERS looks at TYLER and then smiles...                         TYLER (CONT'D)          Just start another project? Like we're          making a diorama for the science fair?                         SUMMERS          Yes. And if you have a goddam problem          with that, Mr. Winklevoss, the courts are          always at your disposal. Athletes don't          get special treatment at this school.                         TYLER          Do they get fairness?                         SUMMERS          They don't get to run to daddy. Okay?          This isn't 50 years ago.                                                                                                              96,                         TYLER          Excuse me, sir, but in your analogy, is          daddy our father or you?                         SUMMERS          Both. Is there anything else I can do for          you?                         TYLER-          Well I wouldn't mind that much if you          took a flying--                         CAMERON                         (STOPPING HIM)          Ty.                         (BEAT)          Thank you for your time, sir. We          appreciate your seeing us.                         SUMMERS          Get the door on your way out, would you?                         CUT TO;          INT. SUMMERS OUTER OFFICE - DAY          As CAMERON and TYLER exit, TYLER closes the door a little too          hard and the brass doorknob comes off in his hand. He drops it          on the SECRETARY'S desk as he exits                         TYLER          I broke your 335 year old doorknob.                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         GRETCHEN          Eduardo, spring break, you and Mr.          Zuckerberg took a trip to New York.                         EDUARDO          Yes.                         GRETCHEN          What was the purpose of the trip?                         EDUARDO          As CFO, I'd set up some meetings with          potential advertisers.                         GRETCHEN          Who paid for the trip?                                                                                                              97.                         EDUARDO          It was paid for out of the thousand          dollar account I'd set up a few months          earlier.                         GRETCHEN          At this point your thousand dollars was          the only money that had been put into the          company.                         EDUARDO          Yes.                         GRETCHEN          How did you feel the meetings'went?                         EDUARDO          They went terribly.                         GRETCHEN          Why?                         EDUARDO          Mark was asleep.                         MARK          I wasn't asleep.                         EDUARDO          Can I re-phrase my answer?                         GRETCHEN          Sure.                         EDUARDO           I wish he'd been asleep.                         CTJT TO:          INT. AD EXECUTIVE'S OFFICE - DAY           EDUARDO, in a three-piece suit, is pitching the EXECUTIVE.           MARK, in his hoodie and flip-flops, is completely detached and          staring at the floor.                          EDUARDO          .and we're at 29 schools now with over          75,000 members. People who go on          theFacebook tend to stay on longer than          almost any other site and here's the most          impressive statistic--67% of people who          try it once come back. Now if you'll                         ALLOW ME---                         EXECUTIVE          Excuse me.                                                                                                              98.                         EDUARDO          Yes sir.                         EXECUTIVE                         (RE: MARIA)          Are we boring him?          CUT BACK TO:          INT.. FIRST DEPOSITION ROOM - DAY                         GRETCHEN          There was one more meeting scheduled for          the New York trip.                         EDUARDO          Yes. A dinner. It was set up through my          girlfriend at the time.                         GRETCHEN          Would you say that mark was excited about          this meeting?                         EDUARDO          Yes, very,                         CUT TO:          INT. 66 - NIGHT          66 is a hip and trendy restaurant in Tribeca. The young crowd          is drinking cocktails of all different colors and wearing          Prada, We FIND EDUARDO,.in a three-piece suit and MARK in his          hoodie and flip-flops, along with EDUARDO's now-girlfriend,          JENNY, sitting at a table. with an empty seat waiting.                         JENNY          They're not gonna card us here.                         EDUARDO          They might.                         JENNY          Look around.                         EDUARDO          It' :l.l be embarrassing,                         JENNY                         (TO MARE)          Tell him they're not gonna card us.                         MARK          They're not gonna card us.                         EDUARDO                         MARK--                                                                                                              99.                         MARK          Are you gonna talk about ads again?                         EDUARDO          Unless you're the Ballet Theatre of          Hartford, the urpose of a business is to          make a profit.'                         MARK          This isn't a business.                         EDUARDO          That's tough for me because I'm the          business head of the company.          MARK says nothing...                         EDUARDO (CONT'D)                         (PAUSE)          He's 25 minutes late.                         MARK          He's a god, he can be as late as he          wants.                         EDUARDO          He's not a god-                         MARK          What is he?                         EDUARDO          25 minutes late.                         JENNY          I think Wardo's jealous.          CUT BACK TO:          INT. FIRST DEPOSITION ROOM - DAY                         EDUARDO          I honestly wasn't jealous. I was nervous.                         GRETCHEN          Why?                         EDUARDO          I didn't know him at all but I'd done an          internet search and asked around. He          struck me as kind of a wild man.          CUT BACK TO:                                                                                                              100.          TNT. 66 - NIGHT                         JENNY          Why?                         EDUARDO          He crashed out of two pretty big internet          companies in-spectacular fashion and he's          got a reputation with drugs.                         MARK          He also founded'the companies.                         EDUARDO          We don't need him.                         MARK          (nodding toward the door)          He's here.          SEAN PARKER has stepped into the restaurant and is. saying          hello to the hostess while hugging a waitress.                         EDUARDO          And he does own a watch.          SEAN stops at a table to shake hands with a guy in a suit and          kiss his girlfriend. It's sort of an incongruous sight--this          22 year old kid who's able to work a room like Sinatra. Who          the hell is this?                          EDUARDO (GONT'D)          (quiet] ) .          Take your time...                         JENNY          Stop it.          SEAN makes his way'over to MARK's table--                         SEAN          I'm Sean Parker.          EDU.ARDO                         (SHAKING HANDS)          How do you do.                         SEAN          You must be Eduardo, And Jenny. And Mark,          its great to meet you.                         MARK                         (ALMOST BEAMING)          Great to meet you.                                                                                                              101.                         SEAN          You guys don't have anything in front of          you.                         EDUARDO          We were waiting for--                         SEAN          (to a. passing WAITRESS)          .Cori.                         WAITRESS          Hey baby boy.                         SEAN          Could you bring out some things? The          lacquered pork with that ginger confit? I          don't know, tuna tartar, some lobster          claws, the foie gras and the shrimp          dumplings, that'll get us started. Jenny,          what do you like to drink?                         JENNY          An appletini?                         SEAN          Great. Four.                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         EDUARDO          From that point on it was a Sean-a-thon.          I'd never seen anyone perform a monologue          at dinner before but that's what          happened.                         CUT TO:          INT. 66 - NIGHT          The CA[ERA is moving around the table as SEAN--in and out of          MOS-‚Ä¢-is telling story after story while food is brought,          drinks put down, more food brought and more drinks put down.          MARK is enthralled, JENNY is sexy and EDUARDO is polite.          EDUARDO (V.O.)          He took us through his episode with          Napster .                         SEAN          . tried to sell the company to pay the          35 million they said we owed in royalties          and in the end we just had to declare          bankruptcy but I made a name for myself.                                                                                                              ].02.                         JENNY          I'll say.          EDUARDO (V.o.)          And then he went to his second business          venture which was Plaxo, an online          rolodex.                         SEAN          See, we had a VC from the beginning.          Michael Moritz, a partner at Sequoia          Capital who'd invested in Yahoo and          Google. Moritz wanted to push me out from                         THE BE          ginning and he hired private detectives to dig up everything on me          they could. Did they find anything? No.          But I was out of the company. I'm not          done with Moritz and Sequoia Capital yet.          I swear to God, Mark, before I'm 25 I'm          gonna make those guys kiss my ass and          then cry like girls, There will be          retribution for Plaxo and I'm not just          talking. I brought down the record          companies with Napster and I'll bring          down Michael Moritz,                         E DUARDO          You didn't bring down the record          companies, They won.                         SEAN          In court.          .EDUARDO                         (BEAT)          Yes.                         SEAN          (shrugging it off)          Well.          EDUARDO (V.O.)          And he told story after story about life          in Silicon Valley, parties at Stanford          and-down in LA, friends who" d become          billionaires--and then he finally got          around to theFacebook.                         SEAN          Tell me about your progress.                         EDUARDO          Well... we're in 29 schools now and we                         HAVE OVER--                                                                                                              103.                         SEAN          (ignoring EDUARDO and going for                         MARK)          Tell me about the strategy you're using.                         MARK          Okay. For instance, we wanted Baylor in          Texas but Baylor already had a social          network on campus so instead of going          right after them, we made a list of every          school within a hundred miles and put          theFacebook on those campuses first.          Pretty soon all the Baylor kids were          seeing their friends on our site and we          were in.                         SEAN          Perfect.                         EDAURDO          Thank you, it was mine.                         JENNY                         (TO EDUARDO)          Easy.                         EDUARDO          Settle an argument for us, would you? I          say it's time to start making money from          theFacebook but Mark doesn't want          advertising. Who's right?                         SEAN          Neither of you. TheFacebook is cool,          that's what it's got going for it.                         MART          Yes.                         SEAN          You don't want to ruin it with ads          because ads aren't cool.                         MARK          Exactly.                         SEAN          it's like you're throwing the coolest          party on campus and someone's telling you          it's gotta be over at 11:00.          MARY,          Exactly.                         SEAN          You don't even know what the thing is          y‚Ǩt.                                                                                                              104,                         MARK          I said exactly that.                         SEAN          Row big it can get and how far it can go.          Picture sharing, news feeds, a virtual          champagne room, apps you haven't even          thought of. This.is no time to take your          chips down. A million dollars isn't cool.          You know what's cool?                         EDUARDO          You?                         SEAN          A billion dollars. And that's where          you're headed. A billion dollar          valuation. Unless you take bad advice in          which case you might as well have come up          with a chain of very successful dry          cleaners. When you go fishing you can          catch a lot of fish or you can catch a          big fish. You ever walk into a guy's den          and see a picture of him standing next to          fourteen trout? No, he's holding an. 800          pound marlin and that's what you want.          Hey guys, it's your company, I don't have          a dog in this fight. Irjust came to say          hi.                         CUT TO          INT. FIRST DEPOSITION ROOM - DAY                         EDUO          No, he came to hook an 800 pound marlin          and he did. He owned Mark after that          dinner. He picked up the check, told Mark          they'd talk again soon and was gone. But          not before he made his biggest          contribution to the company.          CUT BACK.TO:          INT. 66 - NIGHT                         SEAN          (signing the check)          Oh Hey. Drop the "the". Just Facebook,          It's cleaner.          And SEAN heads out, patting backs and kissing waitresses along          the way.                         MARK                         (KNOCKED OUT)          Shit.                                                                                                              105.                         EDUARDO          That's gotta be some kind of land speed          record for talking.                         MARK          You want to end the party at eleven.                         EDUARDO          I'm trying to pay for the party.                         MARK          There won't be a party unless it's cool.                         (BEAT)          What'd you think?                         EDUARDO          Sure, let's drop the "the".                         MARK          I meant catching the marlin instead of          the 1.4 trout. Doesn't that sound good?                         EDUARDO          Only if you're a trout.                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         GRETCHEN          I'M going to enter this as Plaintiff's          Exhibit 54. Incorporation papers for          Facebook, a Limited Liability Corporation          registered in Florida--          (-to EDUARDO for the record)          Why Florida?                         EDUARDO          That's where my family lives.                         GRETCHEN          ---and ask the respondent to stipulate          that the documents of incorporation state          the ownership as follows: 65 percent for          Mark Zuckerberg, 30 percent for Eduardo          Saverin and 5 percent for Dustin          Mosokowitz .                         SY          We stipulate.                         GRETCHEN          And that was April 13th, 2004.                         SY          You can mark it.                                                                                                              106,                         GRETCHEN                         (TO SY)          Do you have anything here?                         SY          Yes, thanks, Mr. Saverin, have you ever          done anything that would be considered          legitimate grounds for termination?                         EDUARDO          No,                         SY          You never did anything to embarrass the          company or even seriously jeopardize it?                         EDUARDO                         (BEAT)          No.                         SY          No?                         EDUARDO          No.                         SY          You were accused of animal, cruelty-                         EDUARDO                         (PAUSE)          Is this a Doke?                         SY          I have an article here from The Crimson---                         EDUARDO                         JESUS CHRIST--                         CUT TO:          TNT. MARK'S DORM ROOM - DAY                         MART:          I can't have this, Wardo,          MARK's talking about the Crimson article in his hand. EDUARDO          is standing next to a crate that's holding--wait for it- a          live chicken,          DUSTIN is sitting at the desktop computer staring at something          intently.                         EDUARDO          It's bullshit, it's one of the other          clubs playing a prank.                                                                                                              107.                         MARK          They identify you as--          CUT BACK TO:          INT. FIRST DEPOSITION ROOM - DAY                         EDUARDO          I'd gotten into the Phoenix. I'd been          accepted and as part of my initiation I          had to, for one week, carry with me at          all -Limes and take care of a chicken.                         CUT TO:          TNT. MARK'S DORM ROOM - DAY                         MARK          --one of the founders of Facebook.          "Junior Eduardo Saverin, co-founder of          Facebook, wa.s-- --I'm not the expert but          being connected to torturing animals is          probably bad for business.                         CUT TO:          TNT. FIRST DEPOSITION ROOM - DAY                         EDUARDO          I wasn't torturing the chicken, I don't          torture chickens, are you crazy?                         SY          Settle down please. I'm holding an                         ARTICLE--                         CUT TO :          TNT. MARX'S DORM ROOM - DAY                         MARK          This is scathing.                         DUSTIN          (without looking up)          Nine--hundred and fifty-six.          TNT. FIRST DEPOSITION ROOM -- DAY                         EDUARDO          (trying to be calm)          Listen to me.                         (MORE)                                                                                                              108.                         EDUARDO (CONT-D)          I was having dinner in the Kirkland          Dining Hail with Mark and I had the          chicken with me because I had to have the          chicken with me at all times. This was          college.                         CUT TO:          INT. MARK'S DORM ROOM - DAY                         MARK          I'm gonna have to answer for this.                         DUSTIN          Nine--hundred sixty-nine.                         CUT TO;          INT. FIRST DEPOSITION ROOM - DAY                         EDUARDO          The dining hall was serving chicken for          dinner and I had to feed my chicken so I          just...I cut up little pieces,of chicken          and gave it to the chicken.'There were a          lot of people there and someone must have          seen me and the next thing I knew I was          being accused of forced cannibalism.          At the end of the table, MARYLIN'tries but fails to stifle a          small laugh.          EDUARDO looks down the table...                         EDUARDO (CONT'D)          i didn't'know you can't do that. I dealt          with the various animal rights groups, I          dealt with the Associate Dean of the          College, it was all fine.                         CUT TO:          INT.MARK'S DORM ROOM - DAY                         DUSTIN          Nine-hundred and eighty-eight.                         EDUARDO          Someone from the Fly or the Porc must          have reported it. For all I know it was          the Winklevoss twins who may have been          tipped off by somebody else who was          there.                         MARK          Alright, let's just forget about it.                                                                                                              209.                         EDUARDO          I can't forget about it, I'm being          accused of animal cruelty. It's better to          be accused of armed robbery. I'm going to          have to explain this to my father, I'm          going to have to explain this to          everyone, I'm going to have to--what is          happening on that?          EDUARDO's referring to a laptop that's open and displaying          images of four paintings.                         MARK          T. have my final coming up for "Postwar          and Contemporary Art" and I haven't been          to class. I'm supposed to write about          those four paintings.                         EDUARDO          Is that a Facebook page?                         MARK          Yeah, I opened it under an alias. I          posted the paintings and asked people to          comment. Every once in a while I hop on          and stir the pot to get a good debate          going, it's beautiful.                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         GRETCHEN          Mr. 2uckerberg was cheating on his final          exam?                         EDUARDO          I'd rather not answer that, Gretchen.                         GRETCHEN          Why not?                         EDUARDO          Because I'm not suing him for cheating on          his final exam and so that's not what          friends do.                         GRETCHEN          Well you just told us he was cheating.                         EDUARDO          bops.                         (TO MARK)          You told your lawyers I was torturing          animals?!                                                                                                              110.                         SY          No, he didn't tell us about it at all.          our litigators are capable of doing a          Google search. in fact when we raised the          subject with him he defended-yu. -                         MARK                         (BEAT)          Oops.          CUT TO.          INT. MARK'S DORM ROOM - DAY                         DUSTIN          Nine ninety-three, we are so close.                         MARK          We're gonna need more money, Wardo.                         EDUARDO          I agree. More servers, more apps--                         MARK          ---and I want to hit that coal by the end          of the summer. I'm interviewing people          tomorrow--two interns to come to Palo          Alto for the summer and we're-gonna have          to pay them something.                         EDUARDO          What?                         MARK          I already found a house for rent on a          street two-blocks.from the Stanford          campus. It's a piece of junk but it's          perfect and it's got a pool.                         EDUARDO          When did you decide to go to California          for the summer?                         MARK                         (BEAT)          You mean when did I actually decide?                         EDUARDO          Somewhere in the middle of The Sean          Parker Variety Hour?                         MARK          He was right. California's the place          we've gotta be.                         EDUARDO          You're Jed Clampett?                                                                                                                             MARX          You guys got The Beverly Hillbillies in--‚Ä¢                         EDUARDO          Yes, we got the show in Brazil, it was          genius.                         MARK          What's your problem with Sean?                         EDUARDO          He doesn't bring anything to the table.          He doesn't have money, Dustin's a better                         PROGRAMMER--                         MARK          He's got connections to the VCs.                         EDUARDO          We don't need VCs, we need advertisers          and I've got connections to the VCs.                         MARK          The real players and--                         EDUARDO                         LOOK--                         MARK          --as someone who's just really          embarrassed the company in a bad way--                         EDUARDO          It was the Winklevosses, Mark!                         MARK          Bang on.                         (TO DUSTIN)          Hit refresh.          DUSTIN hits "refresh" on the desk-top computer. Then smiles...                         DUSTIN          150,004.                         MARK          150,000 members, Wardo.                         EDUARDO                         (BEAT--SINCERELY)          Congratulations, dude.                         MARK          Congratulations.                                                                                                              112.                         EDUARDO                         (BEAT)          He was obsessed with the guy from Sequoia          Capital. He was followed by private          detectives.                         MARK          Who came up with nothing.                         EDUARDO          Enough to get him out of Plaxo. The          drugs, the girls--                         MARK          We don't know any of that's true.                         EDUARDO          You can read about it,                         MARK          And you can read about you torturing          birds.                         EDUARDO          Don't fish eat other fish?! The marlins          and the trout?!                         DUSTIN          What the hell?                         MARK          I'm interviewing interns at 10 tomorrow          night in t}y CS lab. Get on board with          this or not.                         CUT TO:          INT. COMPUTER SCIENCE BUILDING/BASEMENT CORRIDOR NIGHT          EDUARDO steps through double doors and stops for a moment as          he HEARS an odd sound--RAUCOUS CHEERING from a'CROWD that's          gathered in one of the classrooms.          EDUARDO walks down to the classroom, opens the door and walks                         INTO--          INT. CLASSROOM - NIGHT          --where'60 or so STUDENTS are in a semi-circle, five and six          deep, cheering on the contestants for the internship.          All the desks in the room have been moved to the sides and          five desks with laptops set up in the middle. Next to each          laptop is a shot glass filled with Jack Daniels.                                                                                                              113,          DUSTIN'S holding a. watch and MARK is walking slowly back and          forth behind the five "interviewees" who are intensely typing          at their keyboards.          EDUARDO slowly makes his way through the crowd to MARK. He can          see that on the computer screens are a whole lot of numbers          and letters that neither he nor we can understand.          He stands next to MARK and watches this for a moment. Every          once in a while, one of the contestants will throw back their          shot of Jack Daniels which will instantly get re-filled by a          PRETTY ASIAN GIRL. Throughout all this the CHEERING CONTINUES.                         EDUARDO                         (PAUSE)          Mark?          MARY,          Yeah.                         EDUARDO          What's goin' on?                         MARK          They have 10 minutes to get 'root access          to a Python webserver, expose its SSL          encryÔøΩti_on and then intercept all traffic          over its secure port.                         EDUARDO          They're hacking.                         MARK          All behind a Pix Firewall Emulator. But          here's the beauty.                         EDUARDO          You know I didn't understand what you          just said, right?                         MARL          I do know that.          EDUA.RDO          What's the beauty?                         MARK          Every 10th line of code written, they          have to drink a shot. And hacking's          supposed to be stealth, so anytime the          server detects an intrusion, the          candidate responsible has to drink a          shot. I also have a program running that          has a pop-up window appear simultaneously          on all five computers--the last candidate          to hit the window has to drink a shot.          Plus every three minutes they all have to          drink a shot.                                                                                                              114,                         DUSTIN                         (CALLING OUT)          Three minutes.          All five candidates drain their shot glasses and slam them          down where they get re-filled by the pretty Asian girl.                         EDUARDO          Can I ask--what part of the interns' jobs          will they need to be able to do drunk?                         MARX          You're right. A more relevant test would          be seeing if they can keep a chicken          alive for a week.                         (PAUSE)          what I just said was mean and I'm sorry.                         (BEAT)          Are we alright? We started this as a          team.          EDUARDO hands MARK a thick envelope---                         EDUARDO          Here.                         MARK          What's this?                         EDUARDO                         IN          I opened a new account and put $18,000          it. Will that get you through the summer?          MARK looks at EDUARDO...          Suddenly two of the candidates hands shoot up almost at the                         SAME TIME--                         CANDIDATE #1          Here!                         CANDIDATE #2          Right here!          MARK glances over at the first screen, then the second...                         MARK          welcome to Facebook.          The place ERUPTS. The pretty ASIAN GIRL hits an mp3 player          that's been hooked up to speakers and a Dr. Dre song blares          out--"California, it's time to party..."          The two winners are hugging each other and getting wild          congratulations from the crowd.                                                                                                              115.          MARK looks back at EDUARDO and smiles...EDUARDO gives him a          pat on the back and we                         CUT TO:          INT. FIRST DEPOSITION ROOM - DAY                         GRETCHEN          $18,000.                          EDUARDO          Yes.                          GRETCHEN          In addition to the $1000 you'd already          put up.                          EDUARDO          Yes.                         GRETCHEN          A total of $19,000 now.                         EDUARDO          Yes.                         MARK          Hang on.          MARK's scratching something out on a pad...                         MART{ (CONT'D)          I'm just checking your math on that.                         (BEAT)          Yes, I got the same thing.                         GRETCHEN          I can continue?          MARK motions "ves"...                         GRETCHEN (CONT'D)                         (TO EDUARDO)          After expressing misgivings about Mr.          Zuckerberg 'taking the company and moving          it to California for the summer, why did          you turn around and put $18,000 in an          account for his use?                         EDUARDO          Wel1... .I figured we were a team and I          wanted to be a team player. I figured          Mark, Dustin and the new interns could          work on the site while I worked on          generating advertiser interest in New York.                         (MORE)                                                                                                              13.6.                         EDUARDO (CONT'D)          And mostly I figured., you know...how much          could go wrong in three months?                         CUT TO:          EXT. PALO ALTO HOUSE - DAY          MARK is standing on the roof of this small, campus-area house          as LOUD MUSIC plays. A ziÔøΩ'line is tied from the chimney and          runs down over a small swimming pool where it's attached to a          telephone pole on the other side.          MARK grabs onto the handle that's connected to the zip line          and flies out over the pool, jumping in with a splash and          cheers from DUSTIN and the INTERNS who are waiting their turns          on the roof.          DUSTIN pulls the handle back up with_a rope that's been          rigged, grabs the handle, takes off and jumps into the pool-to          similar cheers.          The handle gets pulled back on a rope, an INTERN grabs it,                         JUMPS--          --and the brick chimney comes crashing down.          The INTERN drops into patio furniture as bricks from the          chimney come cascading down.                         EVERYONE SCRAMBLES--                         ALL          Shit!/Are you alright?!/ Jesus!/etc-                         INTERN (ERIC)          I'm okay.                         MARK          You sure?                         ERIC          Yeah.                         MARK          Is anything broken?                         ERIC          No.          And at that moment a stray brick drops from the roof and          crashes through a glass patio table.                         INTERN (STEVEN)          That's gonna out into the security          deposit.          From inside the DOORBELL RINGS--                                                                                                                             DUSTIN          That's the doorbell.                         MARK          I didn't know we had a doorbell.                         DUSTIN                         (SHOUTING INSIDE)          Andrew! Get the door!          MARY.          He's wired in.          MARK walks into--          INT. PALO ALTO HOUSE - CONTINUOUS          The place is computer geek paradise. Computers are everywhere,          along with some of the empty boxes they came in. Pizza boxes,          Chinese food containers, empty beer bottles and white boards          filled with indecipherable code fill the room. There are a          couple of large mattresses on the floor and a large map of the          U.S. with pins and tags showing the schools where they've          already put Facebook and different pins showing the schools          they're going for.          As MARK walks to the door, he walks past ANDREW, who's sitting          at a computer, writing code and completely oblivious to          everything around him.                         MARK          (snapping his fingers)          Andrew.                         ANDREW          Not now.                         MARK          Good boy.          MARK gets to the door and opens it.          He's stunned to see SEAN PARKER standing there with his          girlfriend, SHARON.          They all look at each other for a moment---                         SEAN          Mark?                         MARK          Sean?                         SEAN          Do you live here?                                                                                                              118.                         MARK          Yeah. Do you?                         SEAN          We were right across the street, we saw          the chimney come--                         MARK          Yeah.                         SEAN          Is anybody hurt?                         MARK          No. You live across the street.                         SHARON          I'm Sharon.                         SEAN          This is my girlfriend, Sharon. She lives          across the street and I was helping her          move out when we saw the chimney--                         MARK          Yeah, we had a zip line to the pool.                         SEAN          You came to California.                         MARK          Yeah.                         SEAN          You made the right choice.                         CUT TO:          INT. PALO ALTO HOUSE - LATER          SEA,'s looking around the place. DUSTIN and the INTERNS are          standing off to the side, happy to be in the presenbe of Sean          Parker. ANDREW'S still locked into his computer. MARK's off in          the kitchen.                         MARK (OS)          Here you go.          A beer comes flying out of the kitchen and SEAN catches it.          MARK (OS) (CONT'D)          Sharon.          Another beer comes flying out which SHARON had no idea was          coming and so it smashes into the fireplace.                                                                                                              119.                         SHARON          Oh God. I'm so sorry.          And a brick comes down the chimney and crashes on top of the          broken glass from the beer bottle.                         DUSTIN          You know, ironically, we're paying an          extra 50 bucks a month 'cause it has a          working fireplace.                         SEAN          This house is great. The team is great.          It's exactly what it should be.                         (TO ANDREW)          I'm Sean Parker.          MARK comes out of the kitchen--                         MARK          He's wired in.                         SEAN          That's what I'm talkin' about. Where's          Eduardo?                         MARK          He's got an internship in New York.                         SEAN                         (BEAT)          Eduardo didn't come out?                         CUT TO:          EXT. RUBY SKYE - NIGHT          An ultra-hip San Prancisco nightclub where a line of well-          dressed young people stretches from the clipboard holding          BOUNCER down the block. The BOUNCER motions to three SEXY          GIRLS who are let in through the velvet rope. If this reminds          us of the scene at the final club party at the beginning of          this story than that's fine.          The three SEXY GIRLS take us into          INT. RUBY SKYE - CONTINUOUS          It's a hundred-year old theater that's been converted into a          21st Century hot spot for Silicon Valley's rock stars. The          lower level is a giant dance floor packed"with sweating 20-          somethings bouncing to pounding house music. There are raised          blocks where scantily dressed professional. dancers perform non-          stop. A huge lighting grid hangs from the ceiling shooting          colored lights and lasers everywhere. Also hanging from the          ceiling are two trapeze bars with two performers swinging and          contorting.                                                                                                              120,          A WAITRESS holding a tray of colored drinks high over her head          takes us through the crowd to a spiral staircase that's being          guarded by two more BOUNCERS with clipboards. The staircase          leads up to the 2nd level which is all VIP tables that look          out over the dance floor. Each VIP area has a couple of          couches and a table covered in bottles of vodka, tequila, rum,          mixers, ice, glasses and a private waitress who's happy to          bend over and pour a drink for you,          And that's where we catch up with MARK and SEAN. Sitting next          to SEAN is a BEAUTIFUL WOMAN and there's another standing          behind him and leaning against the couch.          MARK and SEAN have to speak the music.                         MARK          I still can't believe I rented a house          across the street from you.                         SEAN          That's not my house. It was Sharon's. I          was crashing there for a little. bit while          I'm taking care of some things. But she's          done for the summer so she's back at her          parents' place and I'm homeless.                         NARK          Yeah?                         (BEAT)          You can crash at our. place for a few days          if you want.                         SEAN          That's sol..id man, thanks,                         BEAUTIFUL WOMAN #1          I'm going to the ladies' room;                         SEAN          You got it.                         BEAUTIFUL WOMAN #2          I'll go with you.          The two girls exit--                         MARK          Your date looks so familiar to me,                         SEAN          She looks familiar to a lot of people.                         MARK          What do you mean?                                                                                                              ].21.                         SEAN          Look at any Victoria's Secret catalogue          from the last six months.          . MARK                         (PAUSE)          You're kidding.                         SEAN          No man. I'll tell you something, you know          how I founded Napster?                         MARK          I know everything there is to know about          you Sean.                         SEAN          Fuck Wikipedia, Mark, no you don't.                         (BEAT)          I was going out with this girl in high          school. And it was great. I thought it          was great, but the whole time--almost the          .whole time we were together., like five          months--she was giving blow. jobs to the          co-captain of the lacrosse team. And I          found out and I was willing to forgive          her but she told me she loved him. So I          had this dream that I would make a          billion dollar company.. Not a million          dollar company--any hack can do that---a          billion dollar company. And I would have          business cards printed up that said, "I'm          CEO.. .Bitch. "                         (BEAT)          It's our time. We run the universe. Yeah,          she's a Victoria's Secret model. I want          to know where the fuck Eduardo is.                         MARK          He has an internship.                         SEAN          An internship?                         MARK          In New York.                         SEAN          The company's here. A billion dollar          company is here. And what confuses me is          that in New York, Eduardo introduced          himself as the business head of Facebook.          I've been at the front of two of the          biggest things in the history of the          internet and I can tell you that nothing,          nothing is more important to a start-up          than the energy and ambition of its          founders.                         (MORE)                                                                                                              122.                         SEAN (CONT-D)          You have to live and breathe the project          every minute of every day and-night. Do          you live and breathe Facebook?                         MARK          Yes.                         SEAN          I know you do. I know those guys back at          the house do. The guy's eyes did not          blink when a beer bottle smashed into a          fireplace 10 feet from his work, station.          So I'll ask again--where's Eduar                         MARK                         (PAUSE)          It'd be great if you stayed at the house          with us.                         SEAN          I think I should.          The girls come back--                         WOMAN #1          You guys figure out a new way to get porn          on your computer?                         WOMAN #2          You know most of it's bad but some of          it's pretty good.          MARK and SEAN aren't paying attention...                         SEAN          What's your goal for the summer?                         MARK          We want: to . be in a hundred schools.                         -SEAN          okay. Okay good. I'll tell you what.          Gesture of good faith. While you're          getting yourself into a hundred schools,          I'm gonna put you on two continents.                         MARK                         (BEAT)          What?                         SEAN          Let's line up some shots.          (to the WAITRESS)           You can take away the Cuervo, we'll have          Don Julio 1942.                                                                                                              123.                         WAITRESS          Absolutely, Mr. Parker.          The WAITRESS goes off--                         SEAN          Mark?                         MARK          Yeah.                         SEAN '          I never told her my name.                         CUT TO:          EXT. THE THAMES -- DAY          we're looking at a stone bridge crossing a perfectly straight          stretch of water against the backdrop of the medieval town of          Henley, England--founded in 1179.          And after a moment of placid quiet--                         ---BOOSHI          Two razor thin skulls explode out from under the bridge for          the final, agonizing hundred-meter stretch of the ancient and          prestigious Henley Royal Regatta.          The two boats are neck and neck coming out of the bridge. The          port-side boat is being crewed by the two Dutch members of the          Ilollandia Roeiclub. The starboard boat is being crewed by a          pair of identical twins wearing tank tops bearing the "H" of          Harvard.          We HEAR the ROAR come up from the CROWD in the viewing          section. The crowd is dressed as if for opening day at Ascot          -- the women in flowing dresses and wide-brimmed hats, the men i n          blazers and brightly colored floral ties.          But the young men in the boats can barely hear the crowd. Just          their own breathing as they pull against the longest natural.          straight stretch of water in the world--a mile and a half          torture test against the best competition they've ever faced.          And they're neck and neck. CAMERON and TYLER can't shake the          Dutch.          The CROWD is going crazy in their own English way as none of          them can remember ever seeing two boats this close this late.          Mixed in with the British crowd is a small contingent waving          the flag of Holland and a slightly larger contingent of          Americans.                                                                                                              124.          We'll notice a stoic man in a VIP viewing section and latex          we'll be introduced to him as Cameron and Tyler's father, Next          to him is their mother, who can barely watch.          Back on the boats it's just the breathing as the skulls slice          through the water like jet-powered knives. 50 meters now and          there's still no daylight between them.          We see a small trickle of blood from CAMERON's left hand begin          to stream down his arm.          25 meters and the Dutch and American fans are going crazy--          even the British aristocracy can't help but get caught ups          the closest race in the history of the competition. The 'ATH_PT'ÔøΩ          is silently willing his boys one more fraction of boat speed--          the MOTHER has her hands over her mouth in praying position.          The blood that's covering CAMERON's left arm is being diluted          by the sweat that's pouring down from his triceps as they dig,          and pull, and pull, and pull, and---          POP!          --the finish gun is fired into the air, the oars come out of          the water and the bodies of the crewmen slump over.          CAMERON turns his head to the cheering crowd to see the Dutch          group holding a giant flag and.jumping up and down. The          Americans bring their giant flag down and fold it up.          The two DUTCH CREW. MEMBERS pump their fists in the air and hug          as the two boats skim along to a gentle stop.          The MOTHER drops her head-and looks down. The FATHER refuses          to look away.          From CAMERON and TYLER, just the'breathing.,                         CUT TO:          EXT. AWARD CEREMONY - DAY          CAMERON and TYLER are standing with their coaches and next to          the two DUTCH CREWMEN who are with their coaches. They're on a          stand in the Steward's Enclosure, a sprawling and glamorous          tented area for the exclusive use of members and their guests.          After a moment, a man in a double breasted navy blazer steps          out with his retinue in tow. The man is PRINCE ALBERT of          Monaco. He receives a healthy clapping of golf applause as he          approaches the stand.          This conversation is done without microphones or anything as          modern as that.                                                                                                              125.                         AIDE          His Royal Highness, Prince Albert. Sir,          may I present Mr. Cameron Winklevoss and          Mr. Tyler. Winklevoss of Harvard          University.                         PRINCE ALBERT          Brilliant race. Never seen a race that          close. Less than one second, the steward          tells me.                         TYLER                         (BEAT)          Yes, Your Highness.                         PRINCE ALBERT          My grandfather, Jack Kelly, was one of          the premiere rowers of his day. I've been          coming to Henley for 30 years. Never seen          a race that close. Have you? Have you          seen a race that close?          CAMERON is thinking about starting a war with Monaco right now          so he lets his brother do the talking.                         TYLER                         (BEAT)          No, Your Highness. Mile and a half races          are more commonly won by a boat length or          two.                         PRINCE ALBERT          Yes, that's absolutely right. Less than a          second though in your case. Well as they          say, I suppose it just came down to who          wanted it more.                         CAMERON                         (SNAPPING)          Oh what a bullshit cliche: You think we                         DIDN'T---                         TYLER                         (EASY)          Cam.          There's an awkward silence for a moment...                         PRINCE ALBERT          Will I have the pleasure of watching you          both row again in Beijing?                         TYLER          If we make the team, sir, yes. Thank you.                         PRINCE ALBERT          I present you with your Second Place          ribbons. On to the champions!                                                                                                              126,          And off the APPLAUSE from the crowd, we                         CUT TO:          INT./EXT. STEWARD'S TENT - DAY          The regatta party is underway. Music, drinks, uniformed          waiters, blazers and hats everywhere.          TYLER and CAMERON have changed into their Harvard. blazers and          are joined now by DIVYA. The three of them have tried to find          an unpopulated spot. TYLER and DIVYA have glasses of beer and          are standing but CAMERON's sitting at a table with a laptop          open and watching film of the end of the race.          Hitting reverse on the computer and watching, over and over          again, the bow of the Dutch boat pull ahead by six inches at          just the right moment.                         CAMERON          Yeah. We didn't want it enough. That was          the problem. Fuck you, you fucking little--                         DIVYA          Casa. The guy' s the prince of a country          the size of East Hampton. Let it go.          MR. WINKLEVOSS has made his way over...          MR. WINKLEVOSS          Boys.                         TYLER          Dad.          MR. WINKLEVOSS          Divya.                         DIVYA          How are-you, Mr. Winklevoss.          MR. WINKLEVOSS          That was a tough beat. A tough beat.                         CAMERON          I'm sorry, dad. You and mom flew all the          way over.          MR. WINKLEVOSS          Listen to me good, you two. Don't you          ever apologize to me for losing a race          like that. Don't you ever apologize to          anyone for losing a race like that.          Another man comes along, MR. KENWRIGHT.                                                                                                              127.                         KENWRIGHT          -Boys.                         TYLER          Oh. Mr. Kenwright. Dad, this is Mr.          Kenwright, part of our host family this          week.                         KENWRIGHT          Pleasure to meet you.          MR. WINKLEVOSS          Good to meet you.                         KENWRIGHT          I just had the most extraordinary phone          chat with my daughter. She told me that          she and her friends are all talking about          the race, which ended just, a half-hour          ago, via their computers. A new website          called Facebook. Do you have this in          America?          Eve.ryon= is frozen...                         DIVYA                         (PAUSE)          Your daughter doesn't go to school in the          U.S.?                         KENWRIGHT          No no. Cambridge. Majoring in French          Literature, though I wasn't aware there          was such a thing.                         TYLER                         (PAUSE)          They have Facebook at Cambridge?                         RENWRIGHT          And Oxford, St. Andrews, Warwick and the          London School of Economics best as I can          tell. because that's where her friends          are.          MR. WINKLEVOSS          I'm going to find your mother.                         KENWRIGIT          Good race, boys. Live to fight another          day.                         TYLER          Thank you.          The men leave and CAMERON, TYLER and DIVYA are alone. CAMERON          looks at them for a moment, then turns back to watching the                         RACE FILM--                                                                                                              128.                         TYLER (CONT'D)          Turn it off.                         (PAUSE)          Turn it off, Cam. Look at me.          CAMERON turns to his brother...                         TYLER (CONT'D)          I don't mind that we got beat by the          Dutch by less than a second. That was a          fair race, that was a good race and they          had the better boat today and they'll see          us again. What I mind is that we got beat          by Mark Zuckerberg...by less than a          second.                         (BEAT)          We tried the Ad Board, we tried the          president of the University and we tried          talking to him ourselves. Now I'm asking          you. For the one-hundreth time. Let's          take the considerable-resources at our          disposal and sue him in a federal. court.          CAMERON looks at his brother...then turns back to the          computer. He watches the Dutch boat pull ahead at the last          moment. TYLER and DIVYA are just about to give up when CAMERON          swings back and says--                         CAMERON          Let's fucking gut that little nerd.                         DIVYA          (jamming his fists in the air)          Finally!                         CUT TO:          INT. PALO ALTO HOUSE - NIGHT          There's a thunderstorm going on outside and rain is beating          hard against the windows, DUSTIN, ANDREW-and the INTERNS are          hard at work writing code. Green Day is pumping from the          speakers.          SEAN is pacing the house on his cell phone while two YOUNG          WOMEN--dressed to go out for a party--are at the moment each          on a free computer playing each other in a game of Counter-          Strike. Basically they're shooting at each other and missing          and laughing their heads off,          it wouldn't appear as if the house has been cleaned since the          last time we saw it and in fact there are signs of more          wreckage as well as futons, pillows and blankets on the floor.                         SEAN                         (INTO PHONE)          But check it out, I saw him today.                         (BEAT)                         (MORE)                                                                                                              129,                         SEAN (CONT'D)          Moritz, Michael Moritz, my Sequoia          Capital---hang on.          (to the girls)          Are you guys using Wallhacks or Aimbots?                         GIRL #1          we don't know, we're just shooting at          each other.          The DOORBELL RINGS but no one pays attention--                         SEAN          Use Barr cks.                         GIRL #1          Like we know what that is.          Now there's a KNOCKING at the door and we                         CUT TO:          EXT_ PALO ALTO HOUSE - NIGHT          Ra:i.n is soaking down on EDUARDO as he stands at the front door          with a suitcase in his hand. A taxi is turning around in the          driveway and heading off. EDUARDO knocks on the front door          again as we          CUT BACK TO.          INT. PALO ALTO HOUSE - NIGHT                         SEAN                         (INTO PHONE)          I saw him getting into his car and he saw          me too, I know he did.                         (BEAT)          A Porsche Carrera 911 Turbo. Hang on.          SEAN leans over one of the girls, casually hits a few keys and          easily kills several of the other girl's soldiers.                         GIRL #1          Yes!                         GIRL #2          Hey!                         GIRL #1          Bong hit.                         DUSTIN          Anybody hear that banging?          While the following is going on, here's what's happening: The          girls have gone over to a 12-foot bong that starts at the          floor and goes to the landing at the top of the stairs.                                                                                                              130,          it gets lit at the bottom and smoked at the top so the girl          who just got her soldiers hit trots up the stairs.                         SEAN                         (TO DUSTIN)          You don't hear anything, you're supposed          to be writing code.                         DUSTIN          Dude, somebody's at the door.          SEAN goes back to the cell phone conversation as he heads to                         THE DOOR--                         SEAN                         (INTO PHONE)          The guy hires a P.T, to follow me around.          Who does that in real life? Michael          Moritz and I are gonna meet in a dark          alley, I'll take Sequoia Capital down          with him.          SEAN opens the door and the soaking wet EDUARDO is standing          there...                         EDUARDO          What the hell.                         SEAN                         (INTO PHONE)          I'll call you back                         (TO EDUARDO)          What's up?                         EDUARDO                         (LONG PAUSE)          What's up?                         (BEAT)          Mark was supposed to get me at the          airport two hours ago, I've been calling          his cell.                         SEAN          He was on a 36 hour coding tear so he          took a nap for a couple of hours.          EDUARDO walks into the house and surveys the wreckage--                         EDUARDO          What in hell happened here?                         SEAN          Not happened--happening. The next big          thing.                         DUSTIN          Wardo!                                                                                                              131.                         EDUARDO          Hey man.                         SEAN                         (TO DUSTIN)          Back to work.          The girl at the bottom of the stairs has filled the bowl and          lights a lighter--          GIRT, #1          You ready?                         GIRL #2          Go.          EDUARDO watches as the girl at the top of the stairs takes a          12-foot hit from the tower-bong.                         EDUARDO          Flow old are they, Sean?                         SEAN          It's not polite to ask,                         EDUARDO          How old are they?                         SEAN          You think you know me, don't you.                         EDUARDO          I've read enough.                         SEAN          You know how much I've read about you?          Nothing.          MARK comes down the stairs--                         MARK          Wardo.                         EDUARDO          I waited an hour for you at the airport.                         MARK          What time is it?                         EDUARDO          It's midnight. Or 3AM in New York where I          just came from.                         MARK          You've gotta see some of the new stuff          we've got. Dustin, show him the wall. I'm          just calling it the wall.                                                                                                              132.                         SEAN          Forget the wall, tell him about the          meeting I've got set up with Peter Thiel.                         (TO EDUARDO)          You know Peter Thiel?                         EDUARDO          No.                         SEAN          Why would you? He just runs a two-billion          dollar hedge fund called Clarium Capital          and was the money behind PayPal.                         EDUARDO                         (TO MARK)          Why's he setting up meetings?                         MARK          Thiel may want to make an angel,          investment.                         EDUARDO          I don't care if he's an actual angel,          why's he setting up business meetings?                         MARK          You've had a long flight.                         EDUARDO          No, I've had a long wait on the tarmac at          JFK, theft a long wait at the passenger          loading and unloading zone at SFO and in          between there was a long flight. I run          the business end of this company, he's a          house guest living rent-free on a          generous grant from the Eduardo Saverin          Foundation.'                         SEAN          How's the business end going? I see you          got some big ticket ad buys lined up.                         EDUARDO                         LOOK--                         SEAN          The Harvard Eartendi.ng Course, the Seneca          Club's Red Party and the Mather House          annual "Lather Dance". You're just one          small step away from bagging Snookies          Cookies, I can feel it.                         EDUARDO                         (TO MARK)          Can I talk to you alone for a minute?                                                                                                              133.                         MARK          Sure.                         SEAN                         (CALLING OUT)          Bong hit!                         G-IRL #2          I'm pretty baked.                         SEAN          Don't worry about it, it's just from the          pot.          EDUARDO's followed MARK into--          INT. KITCHEN CONTINUOUS                         MARK          How's it going? How's the internship?          How's Jenny?                         EDUARDO          How's the internship?                         MARK          Yeah.                         EDUARDO          Mark.. .Jesus, I quit the internship.          We've talked about this on the phone,          were you even--I quit on my first day.                         MARK          I do remember you saying that.                         EDUARDO          Yeah, it was a pretty big deal.                         MARK          How's Jenny?                         E DUAPRDO          Jenny's psycho.                         MARK          That can be fun.                         EDUARDO          No I mean she's actually psychotic. She's          insanely jealous and she's irrational and          she's violent.                         MARK          Still, it's nice you have a girlfriend.                                                                                                              134 ,                         EDUARDO          I do not want that guy representing          himself as part of this company.                         MARK          You gotta move out here, Wardo, this is          where it's all happening.                         EDUARDO          Did you hear what I just said?                         MARK          The con etions, the energy-                         EDUARDO                         MARK--                         MARK          --the creativity.                         EDUARDO          He's not part of the company.                         MARK          We've got over 300,000 members, we're in                         160 SCHOOLS INCLUDING--                         EDUARDO          I'm aware of that.                         MARK          --five in Europe.                         EDUARDO          I'm aware of that, Mark, I'm the CFO.                         MARK          We need more servers than I ever imagined          we'd need. We need more programmers. We          need more'money. He set uV the Thiel          meeting. He's set up meetings all around          town.                         EDUARDO          He's set up other meetings?                         MARK          Yes.                         EDUARDO          Without me knowing anything about it?!                         MARK          You're in New York!                                                                                                              135.                         EDUARDO          Riding subways 14 hours a day to get                         ADVERTISERS:                         MARK          How's it going so far?!!          EDUARDO looks at MARK for a long moment before we                         CUT TO:          INT. BANK OF AMERICA BRANCH- DAY          EDUARDO comes through the doors with single-minded intent,          heads past the tellers and straight to a desk where he takes a          bankbook out of his pocket and slaps it on the desk.                         BANKER                         (BEAT)          Can I help you?                         EDUARDO          I want to freeze this bank account and          cancel all existing checks and lines of          credit.                         CUT TO:          EXT./EST. SAN FRANCISCO SKYSCRAPER - DAY          80 stories of polished granite.          INT. TBIELL'S OUTER OFFICE - DAY          We're in the offices of a guy who's hero is Gordon Gekko. MARK          and SEAN are waiting--seated side by side--for a verdict.          SEAN's wearing his best Prada, MARK's wearing his hoodie and          Adidas flip-flops.          After a moment...                         SEAN          You know this is where they filmed          Towering Inferno.                         MARK                         (PAUSE)          That's comforting.          The office door opens and PETER THIEL sticks his head out--                         PETER          Come back in.          They get up and walk into--                                                                                                              ].36.          INT. THIEL'S OFFICE - CONTINUOUS          Several of Thiel's lieutenant's are sitting around.                         THIEL          We've talked it over and congratulations.          We're gonna start you off with a $500,000          investment. Maurice is gonna want to talk          to you about some corporate          restructuring.                         MAURICE          We'll file as a Corporations eiaware          and come up with a new stock strn ructure to          allow for new investors,                         THIEL          Now lemme ask you something. Who's          Eduardo Saverin?                         CUT TO:          INT. EDUARDO'S APARTMENT - NIGHT          A summer sub-let. A studio apartment the size of a small too].          shed.          EDUARDO is asleep on top of the covers in the un-air          conditioned apartment when he wakes up to the sound of a key          in the door;          One lock un-locks, then another--                         EDUARDO          Hello?          --and then the last.           The door opens and JENNY is framed by the dingy light of the          hallway.                         EDUARDO (CONT'D)          Jesus .                         JENNY          When did you get back?                         EDUARDO          You scared me. I need you to knock first.                         JENNY          When did you get back?                         EDUARDO          I got back this afternoon.                                                                                                                             137                         JENNY          And when were you going to call me?                         EDUARDO          Jen, it was kind of a rough trip and I          was tired and--                         JENNY          Or answer one of my 47 texts? Did you          know I sent 47 texts?                         EDUARDO          I did, and I thought that was incredibly          normal behavior.                         JENNY          Are you mocking me?                         EDUARDO          I brought you a present.                         JENNY          Why does your status say "single" on your          Facebook page?                         EDUARDO                         (BEAT)          What?                         JENNY          Why does your relationship status say          "single" on your k'acebook page?                         EDUARDO          I was single when I set up the page.                         JENNY          And you just never bothered to change it?                         EDUARDO                         (BEAT)                         JENNY          What?!                         EDUARDO          I don't know how.                         JENNY          Do I look stupid to you?                         EDUARDO          No. Calm down.                                                                                                              138,                         JENNY          You're asking me to believe that the CFO          of Facebook doesn't know how to-change          his relationship status on Facebook?                         EDUARDO          It's a little embarrassing so you should          take it as a sign of trust that I would          tell you that.                         JENNY          Puck you, Wardo.                         EDUARDO                         (CALMING)          Easy.                         JENNY          You didn't change it so you could fuck          Silicon valley skanks every time you go          out to see Mark.                         EDUARDO          That is not even remotely true and I can          promise you that the Silicon valley          skanks don't care what anyone's          relationship status is on Facebook.          Please let me give you your present.          EDUARDO's cell phone RINGS--                         'JENNY          Oh, your phone does work.          EDUARDO reaches for his cell but JENNY grabs it first to check          the ID.                         (CONT'D)          It's Mark.          JENNY tosses the still ringing phone back to him--                         EDUARDO          Okay, this is gonna be tricky. Here, open          your present. It's a silk scarf.                         JENNY          Have you ever seen me wear a scarf?                         EDUARDO          This'll be your first.          EDUARDO's gotten the gift box out of his half un-packed          suitcase, tossed it to JENNY and finally answered the phone.                                                                                                              139.                         EDUARDO (CONT'D)                         (INTO PHONE)          Yeah.                         INTERCUT WITH:          INT. PALO ALTO HOUSE - SAME TIME                         MARK          (into his cell phone)          You froze our account?          in the background there's a small celebration going on with          SEAN, DUSTIN, the INTERNS and of course some GIRLS. Champagne          is being sprayed from shaken bottles and the girls. are dancing          to triumphant music.                         EDUARDO          I did.                         MARY          You froze the account.                         EDUARDO          I had to get your attention, mark.                         MARK          Do you realize that you jeopardized the          entire company? Do you realize that your          actions could have easily destroyed          everything I've been working on?                         EDUARDO          We've been working on.                         MARK          Without money, the company can't          function.          What EDUARDO can't see behind his back is that JENNY has taken          the gift box and lit it on fire with a cigarette lighter.                         MARK (CONT'D)          If the servers are down for even a day,          our reputation is damaged irreversibly,.          Users are fickle. Friendster has proven          that fact.          And JENNY's now dropped the flaming cardboard box into the          wastebasket where the fire grows larger. She casually kicks          the basket over with her foot.                         EDUARDO                         LOOK--                                                                                                              140,                         MARK          Even a small exodus, even a few people          leaving would reverberate through the          whole user base. The users are          interconnected, that's the whole fucking          point! College kids are online because          their friends are online and if one                         DOMINO--                         EDUARDO          (finally seeing the fire)          Holy shit!                         MARK          --goes, all the dominos go! Do you get          that?! I'm not going back to Caribbean          Night at the Jewish fraternity!                         EDUARDO          I've got a fire in a my apartment!                         MARK          Did you like being nothing?! Did you like          being nobody?! Did you like being a pasty-          faced geek?! You wanna go back to that?!          .EDUARDO          I'm putting you on speaker.          EDUARDO hits a button on his cell and tosses it down. We'll.          keep hearing MARK's‚Ä¢voice as EDUARDO runs out into the          hallway, grabs a fire extinguisher from its wall bracket,          comes back in and sprays out the fire.                         MARK          That was the act'of a child, not a          businessman. And it certainly wasn't the          act of a friend, You know how embarrassed          I was when I tried to cash a check? And I          was with a girl, Wardo. It happened in          front of a girl. I'm not going back to          that life,                         EDUARDO                         (SHOUTING)          Yeah!                         MARK          Okay, maybe you were angry, maybe you          were frustrated. I'm ready to let, uh, to          let bygones be bygones because I've got          some good news.          EDUARDO--with the fire now out--picks up the phone.                         EDUARDO          I'm sorry. It .maybe was angry and it was          childish. I needed to get your attention.                                                                                                              ].41 .                         MARK          I said I've got some good news.                         EDUARDO          What is it?                         MARK          Peter Thiel's just made an angel          investment of a half a million dollars..                         EDUARDO                         (PAUSE)          What?                         MARK          A half a million dollars and he's setting          us up in an office. They want to re-          incorporate the company, they want to          meet you and they need your signature on          some documents so get your ass on the          next flight back to San Francisco. I need          my CFO,                         EDUARDO                         (BEAT--SMILES)          I'm on my way.                         MARK                         EDUARDO                         MARK          EDUARDO clicks the phone shut.                         JENNY          You're going back there?                         EDUARDO          Yes. Also I'm breaking up with you.                         CUT TO:          INT. FACEBOOK OFFICE - DAY           A glass conference room in the corner of a glass bullpen on a          high floor of a high rise.          Cartons are being unpacked, computers are everywhere along          with bags of potato chips and boxes of cereal.          In the conference room, EDUARDO is sitting with three LAWYERS          at a round, glass table and documents have been put out in          front of him.                                                                                                              1.42.          We can see through the glass that MARY, is working at a          computer nearby. SEAN is also hovering in the background.                         LAWYER          Four documents, These two are common          stock purchase agreements allowing you to          buy stock in the newly re-incorporated          Facebook instead of the old stock which          is now worthless, The third is the          exchange agreement, that's for exchanging          your old shares for new shares and this          is the voter holding agreement.                         EDUARDO          How many shares of stock will I own?                         LAWYER          1,328,334.                         EDUARDO          Jesus Christ.                         LAWYER          That's a 34.4% ownership share. Why the          rise from the original 30%?                         EDUARDO          Because you may need to dilute it to          award shares to new investors.                         LAWYER          I like dealing with business majors.                         LAWYER #2          You should know that Mark's already taken          his percentage from 60 down to 51.                         EDUARDO          Mark doesn't care about money and he          needs to be protected.                         LAWYER          Dustin Moskowitz owns 6.81%, Sean Parker          6-.47h__                         EDUARDO          I can live with that.                         LAWYER          And Peter Theil 7%. Would you like to use          my pen?                         CUT TO:                                                                                                              143.          INT. FIRST DEPOSITION ROOM EVENING          It's dusk now and the sky outside the room is turning purple.          EDUARDO seems lost in thought.                         GRETCHEN                         (HELPING)          Eduardo?          EDUARDO looks up.                         EDUARDO                         (PAUSE)          I'm sorry. Could you please repeat the          question?                         COURT REPORTER          Counsel: "And when you signed these          documents, were you aware that you were          signing your own death certificate?"                         EDUARDO                         (PAUSE)          No.                         (PAUSE)          It was insanely stupid of me not to have          my own lawyer look over all the-the,          uh.. .I thought they were my lawyers.                         (BEAT)          I was a Harvard business major.          (then to MARK)          I was your only friend. You had one          friend.                         (BEAT)          My father won't look at me.                         GRETCHEN                         (BEAT)          Okay. Eduardo? Did Mr. Zuckerberg saying          anything to you after you signed the          papers?                         EDUARDO          Well there was a lot of handshaking and          congratulations. He'd already told me he          wouldn't be coming back to school for at          least a semester so we were saying          goodbye for a while. And then before I          left, he said----                         CUT TO:          INT. rACE000K OFFICE -‚Ä¢ DAY                         MARE          But you gotta come back. Somewhere around          the end of November/early December.                         (MORE)                                                                                                              144,                         MARK (CONT'D)          Peter's gonna throw us an amazing party          when we hit a million members, it's gonna          be out of control. You've gotta come back          for it.                         EDUARDO          (quietly can't believe it)          A million members.                         MARK          Yeah.                         EDUARDO          Remember the algorithm on the window at          Kirkland?                         MARK          Yeah.                         EDUARDO          Yeah, I'll be here.                         CUT TO:          EXT. SAN FRANCISCO STREET - DAY          A brand new black Escalade pulls up in front of a gleaming          glass and chrome office building.. SEAN is at the wheel and          MARK, in the passenger seat, is wearing brightly colored          pajamas with his hair a mess.          They get out of the car and huddle-on the sidewalk.                         MARK          You sure about-this?                         SEAN          Oh yes. You're 20 minutes late. You're          going to walk in there and say you          overslept. and you didn't have time to get          dressed, They're gonna pitch you, Sequoia          Capital is gonna pitch you. They're gonna          .tell you why you should take their money.          They're gonna beg you to take their          money, You're gonna nod, you're gonna          nod, you're. gonna nod and then you're          -gonna say, "Which one of you is Michael          Moritz?". Moritz is gonna say, "That's          me". And you're gonna say, "Sean Parker          says 'Fuck you.' And walk right on out.                         MARK                         (PAUSE)          Okay.          MARK heads into the office building.                                                                                                              145.          SEAN looks up to the windows of a high floor, points, and says--                         SEAN          Fuck. You.                         CUT TO:          INT. FIRST DEPOSITION ROOM - EVENING                         EDUARDO          In late November I got the e-mail from          Mark telling me to come out for the          millionth member party.                         GRETCHEN          What else did the e-mail say?                         EDUARDO          It said that we had to have a business          meeting. That Mark and Sean had played          some kind of revenge stunt on Michael          Moritz and Sequoia capital. and that it          had impressed Moritz so much that he was          making an investment offer that was hard          to turn down.                         CUT TO          INT. NEW FACEBOOE OFFICES - NIGHT           EDUARDO (V.O.)          I went out to California and went          straight to the new offices.          And it's clear that we're in the offices of a new, high-tech,          very successful internet company. The Facebook logo in blue          metallic letters on the wall, the maple desks, new computer          monitors, carpeting, a wall covered in graffiti by an artist          commissioned for. the job and -tons of young employees.          EDUARDO (V.0.) (CONT'D)          I didn't know whether to dress for the          party or the business meeting so I kind          of dressed for both.          We see that most of the employees, especially the women, are          dressed to go to an after-work, late-night party.          EDUARDO (V.0.) (CONT'D)          But it didn't matter.          GRETCHEN (V.O.)          Why not?                                                                                                              146.          EDUARDO (V.0.)          Because I wasn't called out there for          either one.                         CUT TO:          INT. FIRST DEPOSITION-ROOM - EVENING          GRETCHEN (V.O.)          What were you called out there for?          EDUARDO (V.0.)          An ambush.          LAWYER (V.0.)          Eduardo'.          CUT BACK TO:          INT. NEW FACEBOOK OFFICES - NIGHT                         LAWYER          Eduardo.          EDUARDO turns to see the LAWYER he dealt with earlier standing          by the door to a glass conference room.                         LAWYER (CONT'D)          In here.          EDUARDO walks across the bullpen; where no one makes eye          contact, and into--          INT. CONFERENCE ROOM -CONTINUOUS          EDUARDO (V.0.)          At first I thought he was joking, giving          me more contracts to sign. But then I          started reading.          As EDUARDO reads, we rack focus to MARK, who's sitting at a          computer'with his back to EDUARDO, focused on his work.          And then we see-SEAN step into the frame and lean against a          desk a few yards away.          And then back to EDUARDO, who's almost shaking...                         EDUARDO (CONT'D)          What is this?                         LAWYER                         THESE ARE--                         EDUARDO          What is this?                                                                                                                             147                         LAWYER          If you'll let me--          EDUARDO goes back out into--          INT. BULLPEN - CONTINUOUS                         EDUARDO          Mark?          MARK doesn't look up from his computer--                         EDUARDO (CONT'D)          Mark.          MARK still doesn't look up--                         SEAN          He's wired in.                         EDUARDO                         (PAUSE)          I'm sorry?                         SEAN          He's wired in.                         EDUARDO          Is he?                         SEAN          Yes.          EDUARDO picks up MARK's laptop over his head and smashes it          down on the desk, breaking it into pieces.                         EDUAK2DO          How 'bout now, are you still wired in?                         SEAN          (to the girl at the desk he's                         LEANING AGAINST)          Call security.          Everyone in the office is frozen, silent and watching.                         EL DUARDO          You issued over 24-million new shares of          stock.                         MARK          You were told that if new investors came                         ALONG--                                                                                                                             148                         EDUARDO          How much were your shares diluted? How          much were his?!                         CUT TO:          INT. FIRST DEPOSITION ROOM - EVENING                         GRETCHEN          What was Mr. Zuckerberg's ownership share          diluted down to?                         EDUARDO          It wa ÔøΩ                         GRETCHEN          What was Mr. Moskowitz's ownership share          diluted down to?                         EDUARDO          It wasn't.                         GRETCHEN          What was Sean Parker's ownership share          diluted down to?                         EDUARDO          It wasn't.                         GRETCHEN          What was Peter Thief's ownership share          diluted down. to?                         EDUARDO          It wasn't.                         ¬Ä¢GRETCHEN          What was your ownership share diluted          down to?                         EDUARDO                         (PAUSE)          Point-zero-three percent.                         CUT TO:          INT. NEW FACEBOOK OFFICES - NIGHT                         MARK          You signed the papers.                         EDUARDO          You set me up.                                                                                                              1. 49.                         MARK          You're gonna blame me because you were          the business head of the company and you          made a bad business deal with your own          company?!                         EDUARDO          It's gonna be like I'm not part of          Facebook.                         SEAN          It's not. gonna be like you're not part of          Facebook, you're not part of Facebook.                         EDUARDO          My name's on the masthead.                         SEAN          Check again.          EDUARDO is momentarily frozen...                         EDUARDO          This is because I froze the account?                         SEAN          You think we were gonna let you parade          around in your ridiculous suits          pretending you were running this company?                         EDUARDO          Sorry, but my Prada's at the cleaners          along with my hoodie and my fuck-you flip-          flops you pretentious douchebag.                         SEAN          Oooh, security is here. You'll be leaving          now.          Two SECURITY GUARDS have come in--                         EDUARDO          :I'm not signing those papers.                         SEAN          We'll get your signature.                         EDUARDO          (turning to MARK)          Tell me this isn't about me getting into          the Phoenix.                         MARK          That's right. It is. Maybe if you'd spent          a little less time with your new friends          and a little more time with the company                         THIS--¬Ä¢¬Ä¢                                                                                                              150.                         EDUARDO          You did it. I always knew you did it. You          planted the story about the chicken.                         SEAN                         (PAUSE)          What the fuck is he talking about?          I didn't.                         EDUARDO          You had me accused of animal cruelty.                         SEAN          Seriously, what the fuck is up with the          chicken?                         EDUARDO          And I'll bet you just hated that they          identified me as a co-founder of Facebook-          -which I am! You better lawyer-up,          asshole, 'cause I'm not comin' for my 30          percent, I'm comin' after everythin g                         SEAN                         (TO SECURITY)          Get him outa here.                         EDUARDO          I'm going.                         SEAN          Hang on.          SEAN hands EDUARDO a‚Ä¢folded check.                         SEAN (CONT'D)          There's your $19,000. 1 wouldn't cash it,          though, I drew it on the account you          froze.          EDUARDO looks. at SEAN. . .then suddenly and quickly cocks his          fist back to punch him in the face. SEAN flinches as EDUARDO          holds his punch and lets out a small laugh.                         EDUARDO          I like standing next to you, Sean. It          makes me look tough in comparison.          EDUARDO exits with the security escort.          There's a long silence in the room...                                                                                                              151.                         SEAN          That's it. That's our show for tonight. I          want to see everybody here get geared up          for a party. We're gonna walk down to the          club like it's the Macy's Thanksgiving          Parade. Mackey, put it up on the screen,          we've gotta be almost there.          A young employee hits a remote and a few keys on his computer          and a huge flat-screen displays a Facebook page with a read-          out of the number of members.          999,982          There's scattered applause and excitement as everyone watches.          SEAN takes MARK aside.                         SEAN (CONT'D)          You alright?                         MARK          Yeah.                         (BEAT)          You were kinda rough on him.                         SEAN          That's life in the NFL.                         MARK          No. You didn't have to be that rough on          him.                         SEAN          Listen, I'm putting together a party-.-                         MARK          Sean? You didn't have to be that rough on          him.                         SEAN          I get it. I'll send flowers. I'm putting          -together a party after the party at Gamma          Phi Beta. Ashleigh over there's a sister          and she says her friends are all down..                         MARK          Ashleigh?                         SEAN          Yeah.                         MARK          That's great. I've been, you know, I've          been talking to her a little. I don't          know, I think she likes me.                                                                                                              152,                         SEAN          Oh dude.                         MARK          What?                         SEAN          Yeah.          An intern, ASHLEIGH, comes along With a small package--                         ASHLEIGH          Excuse me, Mark?          SEAN.          We were just talkin' about you,Ash.          We're on for tonight?                         ASHLEIGH          Yeah.                         (TO MARK)          This came in for you.                         MARK          You can put it on my desk.          ASHLEIGH puts the small package on Mark's desk.                         SEAN          She's 19, I can't he.lp it, But I'll tell          you what--after tonight.she's yours. in          fact, I'm. gonna get' you in with all sorts          of girls you wouldn't have met before.                         (CALLING OUT)          Mackey!                         MACKEY                         (CALLING BACK)          Yes sir!                         SEAN          Refresh!                         MARK          (blandly to SEAN)          You'd do that for me?          MACKEY hits the "refresh" key and the big screen shows--          1,000,002          CHEERS erupts throughout the place. SEAN grabs MARK and hugs          him but MARK doesn't quite hug back--he's still hearing what          SEAN just said.                         CUT TO:                                                                                                              153.          EXT. SORORITY HOUSE - NIGHT          We can hear the thumping music coming 'from the party inside          and college kids have spilled out onto the front lawn of this          pristine, four-columned house.          INT. SORORITY HOUSE - NIGHT          It's dark but we can make out people dancing. The place is          packed.                         UT TO          INT. BEDROOM - NIGHT          We hear the thumping music from the party. SEAN's in there          with a couple of guys, ASHLEIGH and another GIRL. SEAN's got          his cell phone out and will snap a picture every once in a          while.                         GIRL          I can't find a mirror.                         GUY          Do it on anything. You can use a CD.                         ASHLEIGH          Do it off this.          ASHLEIGH's sat on the bed and unbuttoned her top so that she's          in just a bra. She's offering her chest as a surface off of          which to snort cocaine.                         GIRL          Alright!          The GIRL taps out some coke from a vial onto ASHLEIGH's chest          and starts passing around a rolled up 20-dollar bill for          everyone to have a turn and she herself will unbutton her          shirt too for the same purpose. All this while SEAN is          talking,                         SEAN          The next transformative development? A          picture sharing application. A place          where you view pictures that coincide          with your social life. It is the          true... digitalization of real life. You          don't just go to a party anymore, you go          to a party with your digital camera and          your friends relive the party on          Facebook. And tagging. The idea that you          could tag anyone you wanted in those          pictures so that people could find          themselves. Then a digital log of every          change in a person's life, broadcast to          all their friends instantaneously.                                                                                                              154,                         ASHLEIGH          Would this be easier without the bra?                         GUY          It's worth finding out.          The girls start happily slipping off their bras--          .SEAN          I've spent hours--                         ASHLEIGH          Why has the music stopped?                         SEAN          I've spent hours watching what people do          when they log on.                         ASHLEIGH          Seriously, why has the music stopped?          ASHLEIGH has a point. The music stopped in the addle of          SEAN's speech and the sound outside from the party just          doesn't sound like a party anymore.                         SEAN          flow they always checked their friends'          status updates, checked to see which of          their friends had changed their profiles,          changed their photos and mostly...We          lived on farms, then we lived in cities          and now we're gonna live on the internet.                         - ASHLEIGH          Sean. Stop. Something's going on          downstairs,          SEAN stops talking-he senses it too now.          SEAN walks out of the room to the--          INT, STAIRCASE LANDING - CONTINUOUS          And out the window he sees a fleet of police cars with their          lights flashing parked in front of the house. Then before he          can react, the front door flies open--          POLICE with flashlights walk in--the beams of light streaking          across the darkened party floor and the faces..          We HEAR muffled murmurs from the cops of "party's over" and          "step to the side" and "nobody's leaving just yet", etc.          SEAN bolts back into--                                                                                                              155.          INT. BEDROOM - CONTINUOUS          --leaving the door open.                         SEAN          It's the cops.          And they all spring into action. The girls are putting their          bras back on, SEAN is wiping down a night table with the palm          of his hand to get the coke dust off.                         SEAN (CONT'D)                         POLICEMAN          What's goin' on?          They turn to see TWO POLICEMEN standing in the doorway, their          flashlights scanning the room and hitting SEAN's eyes.                         SEAN                         (BEAT)          We're sorry, was the music too loud?          We've got kind of a celebration going.                         POLICEMAN          Ladies, I need you to put your shirts on.                         SEAN          I can have them turn the music down.          One of the policemen casually takes SEAN's hand and sees that          his palm looks like he just used it to erase a blackboard. The          cop uses his finger to taste what it is.                         SEAN (CONT'D)          Yeah, that isn't mine.                         POLICEMAN          Okay, could you all stay where you are.          And the handcuffs start to come out and we've got a room of          terrified children.          GIRL,          Wait, can we just talk for a second?          We start to move in on SEAM...                                                                                                              150.                         POLICEMAN                         (TO SEAN)          You got anything in your pockets I need          to know about?                         SEAN          No sir.                         - POLICEMAN          Don't be stupid now,                         SEAN          I don It.                         POLICEMAN          (out of SEAN's shirt pocket)          What's this?                         SEAN          It's an Epipen,                         POLICEMAN          And this?                         SEAN          That's my inhaler.                         POLICEMAN #2          Ladies, how old are you?                         GIRL          I'm 20.                          ASHLEIGH          I'm 19,                         POLICEMAN          Lying makes ‚Ä¢ i_'E worse.                         ASHLEIGH          I'm 17, I-'m sorry, I shouldn't have lied.          SEAN closes. his eyes at hearing this news as we HEAR the sound          of the-cuffs lock around his wrists and we                         CUT TO:          INT. NEW FACEBOOK OFFICES - NIGHT          A digital LED clock on the wall tells us it's 4:40AM.          MARK is sitting at his computer alone. No one else is in the          office. The San Francisco skyline is beautiful outside the          floor-to-ceiling glass.          His cell phone RINGS and he answers.                                                                                                              1. 57.                         MARK                         (INTO PHONE)          Hello?                         INTERCUT WITH:          EXT. POLICE STATION - NIGHT          SEAN, freezing with no coat on, is sitting on the bottom of          the steps to the police station.'The LAWYER we've seen before          is standing in back of him.                         SEAN                         (INTO PHONE)          Listen, something's happened.          We see MARK listening on his end but can't hear SEAN's end of          the conversation.                         MARK                         (PAUSE)          Shit.                         SEAN          It's alright, it's gonna be alright. I've          posted bond-and I wasn't doing anything.          I mean, I've got allergies so I can't----          We're back on MARK's side. He listens... listens...                         MARK          17?          Back on SEAN's side-                         SEAN          I think it was Moritz. I swear, I think          it was Michael Moritz.                         MARK                         (EVENLY)          This is gonna be news, Sean, it's gonna.          be online any second.                         SEAN                         (BEAT)          I know.                         MARK                         (BLANK)          You know with anunderage intern and--                         SEAN          It's cool, I've got it under control.                                                                                                              158,                         MARK                         (NO PANIC)          I'll get it under control. I'll call our          guys and see what the next move is. But          this is gonna be news now.                         SEAN          You think it was Moritz? 'Cause I do. And          I'm gonna meet that guy in a dark alley          one night. Or Eduardo? Did Eduardo have          me followed?                         MARK          (cool as ice)          Go home, Sean. I'll call our people.          MARK clicks the phone shut. He sits there a moment.          He looks at the small package. that Ashleigh dropped on his          desk earlier. He opens up the brown paper wrapping and there's          a box.          He opens the box--a thousand brand new business cards. He          takes one of the business cards out and looks at it.          I'm CEO ...Bitoh          And over this we HEAR a woman's voice...          MARYLIN (V.0.)          Mark?                         CUT TO:          INT. FIRST DEPOSITION ROOM - NIGHT          MARK is sitting alone.-in the conference room. The only one          left is MARYL?N,whose voÔøΩ.ce we just. heard. The lightp of the          San Francisco skyline fill the huge picture windows.                         MARYLIN          Mark?          MARK looks up at her...                         MARYLIN (CONT'D)          Everyone's gone,          MARK doesn't say anything...                         MARYLIN (CONT'D)          We're done for the day,                         MARK                         (PAUSE)          Who would you rather he?                                                                                                              159.                         MARYLIN          I'm sorry?                         MARK          My lawyer or their lawyer?                         MARYLIN                         (SMILES)          Something tells me over the long run          there's more money in being your lawyer.          What happened to Sean?                         MAIM          He cashed out most of his stock. Hey          listen, all you had all day was that          salad. You want to get something to eat?                         MARYLIN          I can't.                         MARK          I'm not a bad guy.                         MARYLIN          I know that. I like you.                         MARK          What happens now?                         MARYLIN          Sy and the rest of them are at the Palm          having a steak. Then they'll come back, up          to the office and start working on a          settlement agreement to present to you.                         MARK          They're gonna want to settle?                         MARYLIN          Oh yeah. And you're gonna have to pay          some bonus money too.                         MARK          Why?                         MARYLIN          'Cause you're gonna need these guys to          sign a non-disclosure agreement and          you're gonna need to be indemnified. They          say one unflattering word about you in          public and you own their house, wife and          kids.                         MARK          I invented Facebook.                                                                                                              160.                         MARYLIN          I'm talking about what a jury'll see.          .That's what I do, that's what I'm doing          here. I'm trying to specialize in voir          dire--jury selection. Clothes, hair,          wedding ring, speaking style, likability--                         MARK          Likability?                         MARYLIN          I've been licensed to practice law for          all of-20 months and I could get a jury          to believe you planted the story about          Eduardo. You know how? Just by asking the          question. Watch. Why weren't you at the          sorority party that night?                         MARK          You think I'm the one who called the          police?                         MARYLIN -          Doesn't matter, I asked the question and          now everybody's thinking about it. You          lost the jury in the first 10 minutes.                         MARK                         (PAUSE)          Farm animals?          .MARYLIN          Yeah,                         MARK          I was drunk and angry and stupid.                         MARYLIN          And blogging.                         (PAUSE)          Pay the fine. Get your parking validated.          Get out of it. That's what Sy and the          guys'll tell you in the morning.                         MARK          Would anyone mind it I stayed and used          the computer for a minute?                         MARYLIN          No. There's a night guy downstairs. Stay          as long as you want.                         MARK          Thanks. I appreciate your help today,                         MARYLIN          You're not an asshole, Mark. You just          want to be.                                                                                                              161.          MARYI,IN, who's been putting on her coat, takes her briefcase          and exits.          MARK sits down at the computer. He logs on to Facebook.          He -types a name in the-search box: "Erica Albright".          Erica's name and picture come up, along with Boston          University, '07. Mark smiles. She's on Facebook.          He moves the mouse back and forth between two boxes: "Send a          Message." and "Add as a Friend".          He clicks on "Add as a Friend".          A box comes up that reads: "Your request to add Erica Albright          as a friend has been sent."          Then MARK clicks to his homepage and waits for the response.          And waits...                         TITLE:          Cameron and Tyler Winklevoss received a settlement of 65          million dollars and signed a non-disclosure agreement,          They rowed for the U.S. Olympic Team in Beijing and placed sixth.          MARK is still waiting...          Eduardo Saverin received an unknown Gash settlement. His name          has been restored to the Facebook masthead as a founder.          MARK is settling into his chair. He'll wait all night if he          has to.          Facebook has 180 million members in 60 countries. It's          currently valued at 15 billion dollars.          Mark zuckerberg is the youngest billionaire in the world.          MARK waits...          And waits...                         AND WE          SNAP TO BLACK          ROLL, MAIN TITLE
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+SOLARIS by Steven Soderbergh October 4, 2001First, over BLACK, we hear the sound of a light rain.Then: A MAN'S VOICE I'm not a poet. I've never moved anyone with my words. (beat) Maybe that's why they chose me.EXT. WOODS - DAYA mural of leafless trees beneath an overcast sky. Raincontinues to fall.Maybe now we begin to notice a strange quality to the light(or is it the sky?). Something vaguely unsettling. CUT TO:INT. BEDROOM - MORNINGStill, the sound of rain is heard.A MAN40s, lies on his side in bed, staring at us.He has not been sleeping. In fact, judging from his distantexpression, he has not slept in ages. CUT TO:EXT. ROAD - DAYLess like a road and more like a path that you maneuver avehicle through.The Man, dressed in rain gear, walks down the middle. He isaccompanied by a medium-sized LABRADOR, and seems in noparticular hurry.The sound of tires appear and grow in intensity. The Man,without saying an actual word, instructs the dog to heal. The dog obeys as the Man moves off the road. The vehiclehurtles past him -- its engine quiet, its windows darkened --spraying muddy debris in its wake.Seconds later, the car brakes abruptly and skids to a stop.THE MANStops walking and stares at the car, which seems ominouslystill.The car then reverses direction and begins to move toward theMan, who remains motionless.When the car is alongside him, a darkened window turnstransparent and we see a WELL-DRESSED BUREAUCRAT in the rearseat. His demeanor is pleasant and professional. WELL-DRESSED BUREAUCRAT Dr. Kelvin?The Man he is addressing, who we now understand is CHRISKELVIN, stares back at him. CUT TO:INT. CABIN - DAYThe contrast between the cabin's rustic aesthetic and theaggressively high-tech equipment contained therein isn't asjarring as you might imagine.Kelvin is seated in front of a desk, scrolling through a textreadout on a flat, transparent holographic screen. Behindhim is the Well-Dressed Bureaucrat from the car, and twoothers: A WOMAN in her 50s and a MAN in his 30s. They arealso well-groomed. Each of their suits are embroidered witha small but distinctive LOGO of some sort that composes theacronym DBA.Kelvin scrolls through several menus, hits a few keys, and adigitized VIDEO IMAGE appears on his screen: A MAN, unshaven,looking into the camera.The man, GIBARIAN, looks very tired and somewhat apologetic. The lower part of the screen has a time of day and datedisplay that reads: 0221 HRS 11/14/31. GIBARIAN We take off into the cosmos, ready for anything: solitude, hardship, exhaustion, death. We're proud of ourselves, in a way. But our enthusiasm is a sham. We don't want to conquer the cosmos -- we want to extend the boundaries of Earth to the cosmos. We are only seeking Man. We don't want Other Worlds. We want mirrors. (beat) Maybe we don't need to know what it is, or why. Maybe just knowing that it is should be enough.Gibarian stares at the camera for a long moment beforeswitching it off and ending the transmission.Kelvin sits back.The visitors exchange glances. CUT TO:INT. SPACE CAPSULEClose on Kelvin. We hold on him a long time, as a myriad ofreadouts scroll and flash across his face. A slit ofsunlight glides slowly through frame. DISSOLVE TO:KELVINin the same capsule, a month later. He is asleep. DISSOLVE TO:KELVINin the same capsule, two months later. He is dictating somecoordinates to Earth. He absently scratches his heavy growthof beard. DISSOLVE TO:KELVINtwo months later still. He is looking out his small,rectangular window, and for the fist time we cut around tosee the approaching planet: SOLARIS.Kelvin stares at it, hypnotized. It has a translucentquality, as though it is lit from within, and its undulating,ocean-like surface slowly changes colors.Kelvin's attention is diverted as an orbiting ship, thePROMETHEUS, edges into frame. KELVIN Prometheus, this is Athena 7, on approach, do you read me? (beat) Prometheus, this is Athena 7, on approach, do you read me?No response. He exhales and types on a keyboard.EXT. SPACEThe Athena 7, sporting a DBA logo, advances toward thePrometheus. CUT TO:INT. PROMETHEUSKelvin, in a space suit, climbs with some difficulty out ofthe Athena 7, which has come to rest in the DOCKING BAY ofthe Prometheus. Several exploratory PODS fill the remainderof the area.Kelvin gets his bearings and looks around, but sees no signof life. CUT TO:INT. CORRIDOREmpty.(NOTE: Except for some ROBOTIC, NON-SPEAKING CHARACTERS: theAUTOMATED TASKMASTERS. These are small, bug-like repairunits that constantly roam the ship, fixing things. Theirtiny hum is virtually silent, and we see them all the time onthe Prometheus. They can adhere to any surface at anyangle.)Kelvin, now out of his space suit and holding a smallcarrying case and a duffle bag, moves on. CUT TO:INT. GIBARIAN'S ROOMRansacked.Kelvin registers it, then moves to the corner of the roomwhere the computer terminal rests. Within moments he hasdiscovered Gibarian has recorded a video message for him toreplay.VIDEOGibarian addressing the camera. He appears to be lucid, butextremely fatigued. GIBARIAN Hi, Chris. (a light smile) I'm so glad you came. (beat, the smile fades) I still have a little time, and I want to tell you something. To warn you. By now you know about me, or if you don't, get Snow or Sartorius to tell you; it doesn't matter. (beat) I didn't lose my mind. You should be able to tell from this video. I'm not mad. (beat) If it happens to you, remember that it isn't madness. (beat) You should know, I'm in favor of destroying Solaris. I know that's... illegal. And unethical. And irresponsible. But it's the only way to make it stop.A long moment of silence is broken by a noise on the video,which draws Gibarian's attention offscreen. GIBARIAN (addressing whoever made the noise) Cut that out. Do you hear me?Gibarian switches off the video.The computer screen freezes the last recorded frame andoverlays a readout indicating the file has ended. CUT TO:INT. CORRIDOREmpty. But there is a door at the end of it, slightly open. Kelvin moves toward it.INT. ROOMA FIGURE, seated with its back to the door, turns to seeKelvin enter. This is SNOW. He looks Kelvin up and down,his expression wary and alert. KELVIN Snow. Didn't you hear me radio? I'm Kelvin.A long beat. Snow just watches him. SNOW Yes. We heard.Kelvin takes a step forward, and Snow recoils. KELVIN What's wrong? What happened to Gibarian? SNOW He's dead. KELVIN How?A beat. SNOW Suicide.Snow exhales, then looks up as though he's rememberedsomething. SNOW You didn't bring any chocolate, did you? KELVIN What? SNOW (musing) I love chocolate. I realized just yesterday how much I love it. (beat, then he recovers) I thought maybe, if they let you bring personal effects, you might have snuck some through, because... well, I've been thinking about it.A long beat as Kelvin stares at Snow. KELVIN What happened here?Snow lies back in his bunk. SNOW I can't talk just now. I'm too tired. KELVIN Where's Sartorius? SNOW In his lab. He won't let you in. KELVIN (leaving) He'll let me in. SNOW Kelvin, if you see anything unusual...Kelvin stops, but doesn't turn around. SNOW ... try to stay calm. CUT TO:INT. CORRIDORKelvin stands outside a door. KELVIN Let me in.A beat. SARTORIUS (inside, muffled) You have to give me your word you won't come in. Then I'll come out. KELVIN All right.Sartorius cracks the door open and slithers through the slitand into the hallway. He is of obvious intelligence and notto be messed with; contentious, intimidating when he wants tobe, and probably brilliant. Kelvin eyes him suspiciously. KELVIN What happened to Gibarian? SARTORIUS Didn't you talk to Snow? KELVIN I want to hear your version. SARTORIUS (incredulous) Who, here, could possibly care what you want? At best, you're Employee of the Month for the highest bidder in the Solaris auction. They have no idea what's going on up here. They've never even been in space. And I'm supposed to listen to you? KELVIN I am here to recover this mission, report my findings, and make a recommendation. Now: What happened to him? SARTORIUS The same thing that could happen to any of us. KELVIN Where's his body? SARTORIUS In the lab. With her, probably. KELVIN Her? Who are you talking about?Sartorius is grabbed by something on the other side of hisdoor. He struggles to keep his composure. SARTORIUS His last wish was to be buried on Earth. In dirt, he said. "I want to buried in dirt." What a clown.Sartorius is losing the battle with whomever or whatever ison the other side of his door. KELVIN They shouldn't let people like you into space. SARTORIUS Just so you know: I'm not going back until I understand what it is. I am going to figure out what it is, make it stop, and then I will go home. KELVIN Listen -- SARTORIUS We're done. Oh, I should tell you, I don't trust Snow. There's something wrong with him.Sartorius rotates and zips back into his room. As the doorcloses Kelvin sees a flash of ANOTHER FIGURE in Sartorius'room. The glimpse was too quick to judge who or what theother figure could have been. CUT TO:INT. CORRIDOR - DAYKelvin walks, exploring the ship. He sees something thatstops him:A NUDE WOMANBlack, early 20s, slipping across a corridor up ahead.Kelvin gives chase. He sees her turn a corner, but by thetime he gets there, she is gone. CUT TO:INT. SNOW'S ROOMSnow is lying on his bunk. KELVIN Is there anybody else here? SNOW (sits up a little) Why, who did you see? KELVIN Gibarian warned me. He left me a message. SNOW Who was it? KELVIN She was real. Where did she come from?Snow looks at him but doesn't respond. KELVIN Tell me. I won't think you're insane. SNOW Oh, that's a relief.Snow lies back down. KELVIN Where did she come from?A beat. SNOW How much sleep do you need? KELVIN How much sleep? SNOW How long can you go without sleep? KELVIN That depends. SNOW Well, when you do go to sleep: barricade your door.Snow rolls over, away from Kelvin. CUT TO:EXT. SPACESolaris. Quiet, but still active somehow. KELVIN (V.O.) The Prometheus, as far as I can tell, is functionally intact. Crew status: One dead, Gibarian. Cause of death appears to be suicide. CUT TO:INT. KELVIN'S ROOMKelvin speaks into a video communication device. As he does,we see images of the things and people he describes. KELVIN Interviews with the surviving members and a perusal of the deceased's personal effects indicate he was suffering from severe depression with psychotic features, along with bouts of hypomania, dementia, delirium, and primary insomnia. All of these symptoms, combined with a profound sense of isolation, are commonly found in studies of low stimulation environments, particularly long range space travel. Snow and Sartorius show indications of depression, including dysthymic and bipolar I; a variety of stress disorders, including acute and posttraumatic; and suggestions of agoraphobia, obsessive/compulsive disorder, and hypersomnia. I emphasize these are preliminary opinions on my part. I will attempt to convince Snow and Sartorius to return to Earth, but as they currently view me as an intruder of sorts, this may take some time. CUT TO:INT. KELVIN'S ROOMLater. Kelvin is lying down. The lights are out, and he istrying to sleep.After a moment, he gets up, checks the lock on his door, andlies back down.Then he gets up and moves a chair in front of the door, andlies back down.Then he gets up and puts two heavy cases on top of the chair,and lies back down.Laughing to himself, he drifts off to sleep.Silence.ANOTHER ANGLEOn Kelvin, asleep.ANOTHER ANGLEOn Kelvin, still asleep. Then:EXTREME CLOSE-UP:A WOMAN'S LIPS, slightly parted.BACK TO KELVINAsleep. Then:INT. TRAIN - DAYContinued silence, AND:RHEYA, 30s, staring at us, practically daring us to lookaway. Her obvious intelligence and confidence make herextremely compelling, along with the fact that it was herparted lips we were looking at a moment ago. Her expressionindicates she's in a very raw emotional state.REVERSE ANGLEKelvin is the person she has locked eyes with on the TRAIN.He is younger here; not just in age, but in spirit. Thecontrast with his older self is striking.BACK TO KELVINAsleep on the ship. After a beat:EXTREME CLOSE-UP:Rheya's LIPS.Except the circumstance is clearly different: it's darker andthere isn't the side-to-side shimmy of the train car.A WIDER VIEWReveals that Rheya is not sitting on the train -- she issitting in Kelvin's room on the Prometheus, right now.She is staring at Kelvin and she is ethereal in herstillness.KELVINAwakens, blinks, and slowly recognizes her.If he is not entirely surprised it is because he hasobviously dreamed of Rheya before. He looks at her, simply.RHEYAStands and makes her way to Kelvin.Without hesitation she kisses him and they begin to exploreeach other and we see all of it happen and two things areobvious: first, they have done this before, and two: theyhaven't done it in some time. CUT TO:INT. KELVIN'S ROOMKelvin is asleep, Rheya in his arms.He wakes up and looks at her, perplexed. After a beat herises to sit on the edge of the bed.A wave of terror is barely suppressed as he puts his hand tohis forehead. Rheya opens her eyes. KELVIN Oh, God. I'm awake. RHEYA Yes.He looks at her. KELVIN Where did you come from?She moves to him and kisses him as if that's all she wants todo, forever.Between kisses. KELVIN How are you here?She stops. RHEYA How do you mean? (beat) Chris, what's wrong?Hearing his name spoken by her (and those particular words,perhaps) nearly causes Kelvin to scream.He stands and moves to the chair. Rheya watches him. RHEYA I love you.He looks up at her for as long as he can. Then he looksdown. RHEYA Do you love me?He doesn't look up. KELVIN Yes.A beat. KELVIN I need to see Snow. RHEYA I'll go with you. KELVIN (rising) I'll just be a minute.She bolts out of bed. RHEYA Don't. KELVIN Why? RHEYA I don't know. I can't be alone. KELVIN I'll be right back.She is trying to accommodate him but her fear of being leftalone is palpable, even excessive. He sees this and puts hisarms on her shoulders to comfort her. KELVIN All right. All right. Here.He hands her a few pills and retrieves a glass of water. RHEYA What are they? KELVIN To calm your anxiety. RHEYA To calm my anxiety.She takes the pills and smiles. CUT TO:INT. DOCKING BAYKelvin leads Rheya to one of the exploratory pods. They arein space suits. RHEYA We're taking a flight? KELVIN Yes.He opens the door of a pod and indicates for her to enter. She is unsure. KELVIN Go ahead. I'll close the door behind me.She stares up and into the pod. Kelvin watches her go withdifficulty and then CLOSES THE DOOR behind Rheya.He walks across the docking bay to the control room andbegins preparations for the pod to be jettisoned.KELVINIn agony as he watches a real-time, beat-by-beat brand oftechnological murder take place: Rheya's pod is pushed offinto space.RHEYAHer face contorted in confusion, watches through the podwindow as the docking bay doors close in front of her with abrutal finality.KELVINcollapses to the ground, shattered.INSERT:A woman's HAND, resting on the floor of an apartment. Thefingers are being licked by a LABRADOR PUPPY.ANOTHER INSERT:A pot of coffee, on the boil. Except that it has been leftunattended for too long...ANOTHER INSERT:A rain-streaked window. CUT TO:INT. KELVIN'S ROOMKelvin, on the edge of his bed. He wants to tear himselfinside out.A voice calls over the intercom: Snow's. SNOW Was her breakfast conversation that bad? KELVIN Shut up. SNOW I told you, try to stay calm. You're supposed to be the psychologist of the bunch. KELVIN What was it?Kelvin rises and goes to wash his face. SNOW Personally, I think it's God. At least, it fits my definition. KELVIN And professionally? SNOW I'm not sure. (beat) It started with Gibarian. He locked himself in his room and refused to talk except through a crack in the door. He covered the video lens. Obviously we thought he was having a nervous breakdown. I don't know why he didn't tell us he had somebody in there. By this time, we were getting visitors, too. He was desperately trying to figure it out. Day and night. (beat) Who was she? KELVIN My wife. SNOW Dead?Kelvin nods. SNOW She has materialized from your memory of her. What was her name? KELVIN Rheya. SNOW It started about three months ago. Right after the government sold the expedition. We were ready to go home. KELVIN Will she come back? SNOW Probably. KELVIN I wish you'd told me. SNOW Told you what?A beat. SNOW What will you say? KELVIN To who? SNOW What are you going to report back to Earth? KELVIN I don't know. SNOW An enormous amount of money changed hands to get control of this project. We are in little danger of being left alone for long. (beat) You'll need to do something. Otherwise they'll be sending someone out to recover you. KELVIN Gibarian said he thinks Solaris should be destroyed. SNOW That's ludicrous. This is contact. We have found God. The only issue is figuring out how to prove this in a way that will make sense back on Earth. So how will we describe it, if we choose to describe it at all? CUT TO:INT. CONFERENCE ROOMBefore Kelvin's arrival.Gibarian is talking to Snow and Sartorius. GIBARIAN A pre-biological colloidal envelope, possibly exceeding terrestrial structures in complexity; a plasmic mechanism. Probably without life as we conceive it, but capable of performing functional activities on an astronomic scale. My view is that Solaris has reached, in a single bound, the "homeostatic ocean" stage without passing through stages of terrestrial evolution. I think it bypassed cellular development altogether. It hasn't taken endless eons to adapt itself to its environment, but in fact dominated its environment immediately. From the moment it existed, it was the most superior element in the Universe. And now it passes the time doing extravagant theoretical thinking about the Universe, with us as the cast.We now show this scene being played out on a video monitor,watched by Kelvin. GIBARIAN It's engaged in a never-ending process of transformation; an ontological autometamorphosis, begging the question: Can thought exist separately from consciousness? SNOW It's God. SARTORIUS I don't care what it is, we need to figure out how to make it stop. GIBARIAN Nelson, we have the opportunity -- SARTORIUS What if this thing follows us back to Earth? What if what's happening here started happening on Earth, on a mass scale? Don't you see that as a problem? I think it's a serious mistake to assume it's benign. For all we know it's driving us crazy so it can watch us kill each other.Gibarian considers this. SNOW We're not even sure it will let us leave. CUT TO:ANOTHER VIDEOThis time, Gibarian alone. Near the end. GIBARIAN Maybe it's stuck. Maybe its power isn't that God-like. I mean, we have God-like power relative to an insect, but that doesn't mean we can move the Earth around at will. Maybe it's like a spider web, waiting for something to show up. (beat) We intercepted some brief fragments of what must be an everlasting monologue with itself. Of course it was beyond our understanding. (beat) I've come to hate it here. There's only one way out of its reach, for us. Humans. CUT TO:INT. LABKelvin stares at Gibarian's body, which is lying under asheet in the ship's operating room. Also under the sheet,next to Gibarian: The Young Girl. GIBARIAN (from a video) I thought I'd been behaving normally, rationally. But a sign of insanity is the inability to think about more than one thing. So if I am consumed by the idea that I am insane and can't think of anything else, then I am insane. (beat, smiles) You ask questions at the end of your life, the sort of questions people who are content don't ask. (beat) Maybe life just can't be solved. CUT TO:EXT. SPACEA shot hovering over the surface of Solaris.INT. KELVIN'S ROOMKelvin is lying down, looking at the door.After a beat, he turns out the lights and rolls over. CUT TO:INT. KELVIN'S ROOMTime has passed. Kelvin is asleep.RHEYA leans into frame and kisses him.Without even waking, he kisses her back, hungrily. KELVIN Rheya... RHEYA I want you inside me right now.They make love. It's even better than before. CUT TO:INT. KELVIN'S ROOMKelvin and Rheya are asleep. CUT TO:INT. TRAIN - DAYKelvin, staring intently. What he is staring at is Rheya,who is seated across from him. She doesn't see him, yet. When she does, she locks eyes with his and doesn't look away.This continues until she gets off the train. Kelvin watchesher go, and she looks back at him through the window as thetrain pulls away.INT. PARTY - NIGHTRheya enters, looks around. She spots Kelvin, who hasalready spotted her. Their expressions indicate they arepleased to see each other again. He approaches her, and theystare at each other a long time, until: KELVIN "And Death Shall Have No Dominion". RHEYA Book? KELVIN Poem. Dylan Thomas. I thought of it when I saw you on the train. RHEYA My Thomas is a little rusty.He leans over and whispers into her ear. She listens, andwhen he finishes, she leans back and looks at him, intrigued. Genuinely intrigued. He smiles. RHEYA Not a very happy poem. KELVIN You didn't look very happy. RHEYA I wasn't. KELVIN And tonight? RHEYA Better.He nods, and they smile. They seem to be rooting for eachother. After an extended pleasurable moment, Rheya leansover and whispers in his ear. He listens, then leans backand looks at her. KELVIN That's good to know. CUT TO:INT. FRIEND'S APARTMENT - NIGHTAnother night.Rheya is wound up. Not drunk, something else. She has anodd look in her eyes.We are at a dinner party, and there are people trying -- butfailing -- not to watch. RHEYA You want to fuck her? KELVIN Stop it. RHEYA You behave as though you want to fuck her. KELVIN Rheya. Not here. RHEYA And I just want to know if I'm crazy or not -- if what I think is happening is actually happening. Or am I one of those people, those women, who are blind to what's going on? Who pretend not to see their husband's attention toward another woman? KELVIN Let's go home. RHEYA You go home. KELVIN I am. Please come with me. I don't want to do this here. RHEYA You talk like an actor.He is stung. CUT TO:INT. APARTMENT - NIGHTThe immediate aftermath of the preceding scene, but at homenow.Rheya crying as she embraces Kelvin. RHEYA I'm so sorry. I'm so sorry.He is unmoved, but she labors to change his mind. CUT TO:INT. APARTMENT - MORNINGRheya, in a chair, remorseful, Kelvin is dressing. KELVIN You're better when you take them. RHEYA I know, I know. But still, somehow I don't feel better. KELVIN All right. How about I feel better when you take them?A beat. RHEYA Right.They look at each other and understand; she will take thepills. CUT TO:INT. APARTMENT - MORNINGRheya, on the floor, dead. Her hand outstretched, a repeatof an image we saw earlier.Rain streaks the kitchen window.The bottle of pills nearby. CUT TO:INT. PROMETHEUSRheya is taking her pills. Kelvin watches. KELVIN What do you remember? RHEYA What do you mean? KELVIN Do you remember Beethoven? The Beatles? Movies, books, restaurants, friends? RHEYA (thinking) Yes. But not until you mentioned them. As soon as you said those things, I remembered them. And they have associations that make me think of other things I remember. It's like filling up.She looks out the portal at Solaris. RHEYA Is it a planet? KELVIN Not exactly. It exists in a continuum that wasn't proven until ten years ago, a higher mathematical dimension superimposed on top of the Universe. An infinite number of them, in fact. It was a violation of all of our various laws regarding the Universe, Space, or Space-Time. It was completely counter-intuitive. We had to unlearn everything. RHEYA Is it intelligent? KELVIN Intelligent beyond our comprehension. RHEYA Then it's God, right? KELVIN It's something. RHEYA You still don't believe in God? KELVIN The whole idea of God was dreamed up by a silly animal with a small brain called Man. Even the limits we put on it are human limits. It can do this, it can do that! It designs, it creates! RHEYA Even a God that wasn't active, that just created something and stood back and watched? KELVIN You're talking about a man in a white beard again. You're ascribing human characteristics to something that isn't human. Human beings look for causes and patterns. How could we know what Solaris is up to, if anything?A beat. RHEYA But what if Solaris is what there was before The Big Bang? KELVIN As I said, it is beyond our comprehension. RHEYA As I said, then it's God, right?She looks at him and can't keep from smiling, eventually. RHEYA Why are we talking about this shit when we could be fucking?Kelvin smiles.The intercom comes to life. SNOW Kelvin, you awake? KELVIN What is it? SNOW Can you meet me and Sartorius on B deck in an hour? KELVIN Why? SNOW Just a little strategy session. But in person this time. CUT TO:INT. KELVIN'S ROOMKelvin is getting ready to leave. Rheya sits on the edge ofthe bed, nervous. KELVIN All right?She nods and Kelvin exits, locking the door behind him.We sit with her for a moment as she tries to remain calm.IN THE CORRIDORKelvin listens. A long time.Satisfied, he begins to walk away but is stopped by thesounding of a CRASHING GLASS from within. He hears footstepsapproach the door, and then a fierce POUNDING.He takes a step back. An INHUMAN AMOUNT OF NOISE beginsemanating from the other side of the door, which is nowthreatening to break apart. It sounds like a plane iscrashing in Kelvin's room -- no human could create this kindof cacophony.Finally, he steps forward and presses the button to open thedoor.RHEYAIs revealed, covered in blood. She has completely torn theinside of the cabin door apart and has badly injured herselfin the process. KELVIN Rheya...Confused, she looks up at him as he takes her in his arms andcarries her to the bed. RHEYA What happened? KELVIN You were trying to break down the door. Do you know why? RHEYA When I saw you were gone I got scared.He puts her down on the bed and runs to the bathroom, wherehe gathers all the first aid materials he can find.Returning, he blanches.Rheya's wounds have HEALED; in fact, they are HEALING infront of us.She looks up at him and doesn't like the look on his face. RHEYA Chris, what's wrong with me? CUT TO:INT. LABKelvin runs Rheya through a battery of tests and studies theresults. RHEYA Am I all right?A beat. KELVIN Yes. CUT TO:INT. B DECK CONFERENCE ROOMSnow and Sartorius wait for Kelvin. SNOW He won't do it. SARTORIUS Why do you say that? SNOW He won't.Kelvin enters, with Rheya. Snow and Sartorius exchangeglances. KELVIN This is my wife, Rheya.She looks at Snow and nods. Sartorius she hates instantly,and the feeling seems to be mutual. SARTORIUS We thought you'd be alone. We want to talk about... SNOW We want to talk freely. KELVIN Go ahead.Sartorius begins. SARTORIUS I suggest we pool our knowledge regarding the... visitors. We can express whatever questions or conclusions we might have... share information about our various... experiments. Agreed?Kelvin and Snow nod. SARTORIUS I would like to start with motivation. Why are they here?Sartorius looks at Rheya. She looks away. SARTORIUS They are not autonomous individuals and they're not actual persons. They are projections materializing from our minds, based on a given individual. SNOW It's an experiment. KELVIN No. There's no behavior modification. SARTORIUS She reappeared exactly as she had before?Kelvin looks at Rheya and nods. She is struck by the word"before". SNOW The same vulnerabilities?He nods again. SARTORIUS A recoil, with no compensating mechanism. SNOW And when a given situation no longer corresponds to the normal faculties of the... original, the visitor suffers some sort of disconnected consciousness. SARTORIUS Followed by non-human manifestations. SNOW Are the actions of Solaris premeditated? KELVIN Is it being deliberately cruel, you mean? I don't think so. SNOW I'm just trying to find an explanation for the continual reappearances. KELVIN (to Rheya) When you cut yourself pounding the door, did it hurt? RHEYA Yes. (looks around) Of course. SARTORIUS If they're not learning anything and they're not modifying their behavior, why do they come back? SNOW It's like they're plugged into a game, which goes around and around, endlessly repeating itself. CUT TO:INT. APARTMENT - NIGHTThis is ten years ago. Rheya enters, alone.She crosses to the kitchen and makes a drink. Almostimmediately, the labrador puppy enters from the bedroom andstands beside her, tail wagging. She ignores it andcontinues mixing her drink.Halfway through this activity, the bedroom light comes on. Amoment later, Kelvin is in the doorway. Eventually, but notangrily, because he's still not really awake: KELVIN Where've you been? RHEYA I been thinking about how much I hate you.She finishes making her drink, drinks it, and walks out thedoor.Kelvin stands in the doorway for a beat, then pivots andreturns to bed. The light goes out. RHEYA (V.O.) Yes, I remember that. I went back to Lois' house and spent the night. Those were dark days. CUT TO:INT. PARTY - NIGHTKelvin and Rheya, later in the evening when they spoke forthe first time. They are absolutely infatuated with eachother; they know something is happening between them, willhappen between them. RHEYA I would have these -- I don't know how to describe them -- visions, when I was younger. Maybe not visions, but like these waking dream states. Time would just collapse, I would be inside time. I would stare at a second hand on a clock until it stopped. Freaky stuff. KELVIN How old were you? RHEYA Seven, eight. So one day my mother catches me sort of staring off into space, and she asks me what I'm doing, and I start trying to explain to her, about this state that I can put myself in, and this look comes over her face. KELVIN What kind of look?INT. KELVIN'S ROOMKelvin and Rheya sit together in the Prometheus. Rheyacontinues her story without a beat. RHEYA Scared. No, not scared. Wary. Like I was something to be... her guard went up. I was a threat. Now I know why. She was afraid she'd be seen. That I would see her for the self-obsessed neurotic that she was. I think she thought she had a few more years of being on a pedestal. But that's the cycle, right? I knew a little more than she did, she knew a little more than her mother, and on and on. (beat) I guess that's part of the reason why -- KELVIN I know. I know. We don't have to talk about that.Another beat. RHEYA I remember days of just thinking about you.INT. OFFICES - DAYIntercut Kelvin and Rheya at their respective jobs, goingthrough a normal day. There is no sound. As we see theseimages, it's clear that Kelvin and Rheya are slightly notpresent in their respective encounters with other people;they are distracted by the idea of each other.And they like it. RHEYA Thinking what you were doing and saying, just being consumed by thinking of you. I loved it so much, that feeling. KELVIN I did too.INT. APARTMENT - NIGHTRheya on the edge of the bed, facing away. KELVIN I used to watch you undress.As she does: KELVIN I never tired of watching you undress. Every time, it was exciting. Right until... to the end.A beat. Then a shot of Kelvin that we've seen before: Himleaving their apartment, angry.ON THE PROMETHEUSA beat. RHEYA What happened to us, exactly? KELVIN You don't know?Rheya shakes her head.Kelvin just watches her. RHEYA I remember... something burning. Coffee burning.INT. APARTMENT - DAYThe rain-streaked window.An automated coffee maker has been left on, and thesolidified coffee at the bottom of the pot is smoking.Rheya's body is on the floor of the kitchen.RHEYA (ON PROMETHEUS)She is looking at Kelvin. He is dreading this. RHEYA You found me?He nods. It's coming back to her.INT. APARTMENT - DAYKelvin is yelling at Rheya. We don't hear what he's saying,but judging from her reaction, it's not pleasant. She iscrying.RHEYA (ON PROMETHEUS)Experiencing this all over again. Kelvin comes and sits infront of her.INT. APARTMENT - DAYKelvin, still yelling, is packing some things into asuitcase. Rheya, between sobs, pleads with him.RHEYA (ON PROMETHEUS)Her eyes fill with tears. Kelvin embraces her. KELVIN I'm sorry. I'm sorry.Rheya is devastated, inconsolable. RHEYA Why did you say those things? KELVIN I don't know. I couldn't understand why you didn't tell me.INT. APARTMENT - DAYRheya lies on the kitchen floor, dead. There is a NOTE inher hand.Kelvin kneels next to her.KELVIN (ON PROMETHEUS)With Rheya still in his arms. KELVIN When you said you wouldn't make it... I didn't believe you. Or I didn't take you seriously, which is worse.INT. APARTMENT - DAYKelvin holds the dead Rheya.KELVIN (ON PROMETHEUS)Squeezing her. KELVIN I should have believed you. CUT TO:INT. KELVIN'S ROOMKelvin lies in bed, his eyes open. Rheya is in his arms. CUT TO:INT. APARTMENT - DAYRheya, talking to Chris. Obviously during a period when theywere getting along. Or at least: not fighting. RHEYA I can't help feeling that I'm cheating when I take them. KELVIN It's genetics. You know this. You know where it comes from. There is nothing wrong with uncrossing a few crossed wires.She knows, intellectually, that he is right. But it doesn'tmatter. CUT TO:INT. KELVIN'S ROOMKelvin is out of bed and speaking into a videophone to Snow. Rheya is asleep in the background. The room is dark exceptfor the glow of the screen. SNOW You're unnerved because you've spent your whole life thinking nobody is looking over you, and suddenly your subconscious is an open book. We are, for the first time, experiencing changes in natural reality by a force not our own. That proves that -- KELVIN -- we are not sure of that. We are not sure we aren't all hallucinating. SNOW If God is beyond our comprehension, and she -- (meaning Rheya) -- is here for reasons that can't be understood, isn't God here? KELVIN Not necessarily. SNOW Stop equivocating! Unbelievable, how you equivocate! You, the atheist, you're more dogmatic than any holy person I've ever seen! This is happening, Kevin. Wake up. KELVIN Consciousness is enough, that's all I've saying. Consciousness should be enough for anybody. SNOW Who are you trying to convince?Kelvin just looks back at Rheya. SNOW It will end badly. As inevitably as the rising of a bubble.Kelvin doesn't respond. SNOW Let's all meet tomorrow. Sartorius has some new ideas, about making it stop.Kelvin just keeps staring at Rheya, asleep. CUT TO:INT. KELVIN'S ROOMKelvin is eating with Rheya. Looking at her. Desiring her. RHEYA Do you have any idea how much I like fucking you? KELVIN I think so. RHEYA Good. Because I want you to know. I really like fucking you.He leans over and whispers in her ear. She smiles and leansback. RHEYA I like that too. KELVIN (V.O.) How could she not be real? I can smell her, taste her. She does exactly what she did... it's not possible. RHEYA (smiles, teasing) You know, I've decided: I'm just gonna believe what you believe about this whole Solaris thing, it'll make life so much easier; the little wife agreeing with her big, strong husband. You must get such a headache thinking about those Great Big Problems all day.He just stares at her -- he really likes this. It'sfamiliar, this type of teasing, and it reminds him of whenthings were good. KELVIN (V.O.) Like I said, it's not possible.A beat. RHEYA So, Chris, seriously, aren't you afraid you're going to get fired?They laugh. CUT TO:INT. KELVIN'S ROOMKelvin and Rheya, post-coital. Relaxed. On the verge ofsleep. RHEYA You sure say "God" a lot when we're doing it. KELVIN I know. I'm putting that in my next report.She smiles. RHEYA Right. The report. Report and recommend.They consider that. RHEYA What does Snow think you should do? KELVIN Snow thinks we shouldn't leave until we figure out a way to document it, to prove its existence to the planet Earth. This is hilarious: He thinks it's God, but he wants it to sit still for a photograph so he can show the folks back home.They smile at this. Rheya's smile fades before Kelvin's. RHEYA Sartorius wants to destroy it. KELVIN Well. He doesn't think it's God, but for different reasons than me. He's thinking: If I can figure out how to make it stop, than I am smarter than it is, and therefore it cannot be God. RHEYA He has a point. KELVIN He does have a point. That's just not the way I'd like to see it proven. RHEYA You feel sorry for Solaris, or for me? KELVIN It's a violent response to something we haven't figured out. Don't let the cowardly demeanor fool you: He is ruthless. Unblinking in his prejudice. RHEYA It was obvious from the way he first looked at me.A beat. He holds her. RHEYA Do I really feel like... I am...? KELVIN Yes. Yes. RHEYA I'm glad.A beat. CUT TO:EXT. SOLARISTurning, slowly. CUT TO:INT. APARTMENT - NIGHTThen years ago. Kelvin, naked, sitting in a chair, in thedark. Rheya, also naked, is smoking a cigarette in bed. KELVIN Everything you pursue, you end up becoming disinterested in. The fact that you're good at everything you try makes it worse. You have a degree in animal science, you could be a terrific vet. You drifted into writing and turned out to be a perceptive journalist. Then it was politics, which seemed best of all, you had an actual gift for understanding the best pattern for a group of people to be arranged for you to achieve your goal. And they didn't even know they were being arranged. But you got bored with it, like you do with everything.She just smokes, not really looking at him. Maybe it's acommon observation and she's past being defensive about it. KELVIN I don't know what it's really like, to not know what you want to do. To not have anything that you love to do more than anything else.A beat. He looks at her. She seems more interested in hercigarette at the moment. RHEYA (sarcastic) Imagine my frustration. CUT TO:INT. KELVIN'S ROOMOn the Prometheus. Rheya is awake, Kelvin asleep.She rises and goes to sit in a chair; she is anxious,something we haven't seen before.Kelvin wakes up, looks at her. Noting her expression: KELVIN What's wrong. RHEYA You don't love me. KELVIN Stop.A beat. She looks down. RHEYA I have to talk to you... I... I don't know where I came from. (up at him) Do you know?He doesn't respond. RHEYA If you know but can't tell me now... will you ever be able to?Calmly: KELVIN What are you talking about? RHEYA That I am not Rheya. That Rheya died. Killed herself. I'm different.He's looking at her, and knows this is dangerous territory. KELVIN Who have you been talking to? RHEYA (no reason to lie) Sartorius. KELVIN When? When I'm asleep?She nods. He can only imagine what form Sartorius' anecdotesmust have taken. KELVIN I'm sure there are worse people to talk to, but I don't know who they are. RHEYA I'm just trying to understand what's going on.A beat. RHEYA How have you lived the last ten years? Did you love anyone?A long beat. Kelvin shakes his head. RHEYA Did you think about me?Another beat. He nods. Then: RHEYA But we fought. KELVIN Yes. Especially toward the end. RHEYA Why did she do it? KELVIN You... she said I didn't love her. RHEYA Was she right? KELVIN No. I love you. RHEYA (reflexive, but genuine) I love you, too.If she seems satisfied for the moment, Kelvin knows thefeeling won't last. KELVIN Can you sleep? RHEYA I don't think do. It's not sleep; it's something else. It's all around me. KELVIN Those are dreams.She falls asleep. FADE OUT.FADE IN:INT. CONFERENCE ROOMKelvin, Rheya, Sartorius, and Snow. They are in the middleof a heated discussion. SNOW Gibarian was under enormous -- SARTORIUS Gibarian was helpless. It's very simple: Man created the science that resulted in the discovery of Solaris, and the ship that brought us here. KELVIN Meaning Man can do whatever the fuck it wants? SARTORIUS Yes. KELVIN That's fantastic. SARTORIUS Why did you agree to come here?A beat. SARTORIUS Too tired to answer?Looks at Rheya, then back to Kelvin. SARTORIUS I'll bet. Is this what they sent you here to do? You've lost it, you've gone native.Kelvin moves toward him. Sartorius just lets him come. RHEYA (to Sartorius) You're the coward. KELVIN Don't debate him; he'll say anything. RHEYA (still, to Sartorius) I'm just as human as you. I see, I hear, I touch, and I feel just like you do. SARTORIUS Prove it. RHEYA These "guests" are a part of you, of your subconscious. Chris loves me. SARTORIUS YOU ARE NOT HUMAN! Try to understand that if you can understand anything!Kelvin is within an inch of his face. KELVIN Get out of here.Slowly, carefully, Sartorius grasps Kelvin by the shoulders. Then he leans in and whispers in Kelvin's ear: SARTORIUS Rheya is dead. She's a copy. A facsimile. And she's seducing you all over again. You're sick. You think of fucking her as research for humanity. It's just fucking.Kelvin backs away. SARTORIUS There's nothing grandiose about it. You've jumped out of a plane and you're trying to sew a parachute together while you fall.Sartorius turns... SARTORIUS It'd be hilarious if it weren't so damn sad.And leaves.A beat. SNOW We didn't even get to hear his new ideas.Snow wanders toward the door. SNOW I'm not feeling well.He passes Kelvin and leaves.Kelvin watches him, then looks at Rheya. She seems dazed. CUT TO:EXT. SOLARISThe fog-shrouded surface, shifting and turning like an ocean. CUT TO:INT. KELVIN'S ROOMRheya is asleep. Kelvin is talking to Snow on thevideophone. SNOW We can liquidate the station. Take the Athena back. KELVIN No. SNOW Of course, when we return, we'll be regarded as lunatics if we tell the truth. (shrugs) We'll chalk it up to isolation, collective derangement. KELVIN I've never heard you express any desire to leave before now. Why now? SNOW Well, I think we're reaching the point of diminishing returns here, right? Certainly it's learning more about us than we'll ever learn about it. KELVIN But why is it doing what it's doing? Given it's resources, it could have done anything. Presented me with your double, and you with mine. SNOW Perhaps it did. KELVIN Human beings can die. SNOW But they are human. They certainly become human with incredible speed. First they're like they were in our memory, but then they fill in on their own. DNA doesn't determine the hundreds of trillions of connections that occur in the brain, it's not dense enough. They build up with experience.INT. KELVIN'S ROOM - EARLIERQuick glimpses of Rheya. In several of them she is inrepose, thinking, as if to illustrate Snow's point.INT. KELVIN'S ROOMBack to Kelvin, thinking. KELVIN They come when you sleep. SNOW That's right. And we all have to sleep, eventually. CUT TO:INT. KELVIN'S ROOMKelvin on the bed with Rheya. Their eyes are closed.We think they are asleep until: RHEYA You don't want me. KELVIN Rheya. RHEYA That's what you were saying. I heard what you were saying. KELVIN For a reason that neither of us understand, you are forced to stay near me. That's all I know right now.She realizes she doesn't want to argue. Not right now,anyway. RHEYA I have these strange thoughts, I don't know where they come from. (beat) I can't explain it. KELVIN Neither can I. Not any of it. There's no reference point for what's going on; it's never happened before. It's a clean break in the fabric of the Universe; a gap. There is nothing to do but experience it, moment-to- moment, and not let it destroy us. RHEYA But that's what happened before. KELVIN Not this time.He kisses her. She wants to believe him, so she saysnothing. Then: RHEYA Do you want to stay here? KELVIN Do you? RHEYA If you're here.They kiss again... DISSOLVE TO:INT. KELVIN'S ROOMKelvin is asleep. Rheya is next to him.Offscreen, we hear the door open.Someone walks quietly (though not surreptitiously) throughthe frame and sits.After a long beat, Kelvin bolts upright, his mind strugglingto clear. When it does: KELVIN Gibarian. GIBARIAN Leave the light off.A beat. Kelvin tries to get his bearings. GIBARIAN I wish you'd come a little sooner. I might not have had to kill myself.He smiles, looking at Kelvin. GIBARIAN You think you're dreaming me, like you dream her. Understand something: I am the real Gibarian. Just a new incarnation. KELVIN What do you want? GIBARIAN You're being tricked. Sartorius picked a fight with you to avoid telling you about his idea for getting rid of the visitors. He's figured out they're made of subatomic particles called neutrinos, and he's going to create a negative neutrino field. Twenty four hours a day, until they're back on Earth. KELVIN Can it work? GIBARIAN It can. Ordinary matter, like ours? Not affected. Everything else, disintegrates.Kelvin registers this. GIBARIAN What I'm saying is: Don't trust anyone. Find yourself a weapon of some sort. KELVIN I can trust Rheya. GIBARIAN You'll end up like me. KELVIN You're not Gibarian... GIBARIAN No? Who am I, then? KELVIN A puppet. GIBARIAN And you're not? Maybe you're my puppet. But like all puppets, you think you're actually human. It's The Puppet's Dream. Wondering if they're human!Gibarian smiles.KELVINwakes up, gulping air. Rheya, startled: RHEYA What's wrong? KELVIN Gibarian. He was here. RHEYA You said he was dead. KELVIN He is. But he was here...He moves to the chair, looking for some residue of Gibarian,some proof. Finding none: KELVIN He spoke to me.Kelvin leaves the room. After a few beats, Rheya follows.INT. LABRheya lingers behind Kelvin, who is looking at Gibarian'sbody.It is there, alone on its slab; even the Young Girl is notwith him. CUT TO:INT. KELVIN'S ROOMKelvin, thinking. He gives Rheya some pills to take. Shejust looks at them. KELVIN Are you going to take them?She nods and takes them. RHEYA What's happening to us? KELVIN It's all right. RHEYA Please don't lie. I told you before, I don't know how I came to be here. Whatever you think you can't say to me, I need to hear you say it. KELVIN I love you. RHEYA Don't. I'm the one at risk here. If we're playing out what happened before, I won't survive.He goes to her. KELVIN That won't happen again. We're different. RHEYA How can I tell? You've seen both of me. I only know what you're like here. You're all I know. There is no "You" from before.She sits, frustrated. Sad. RHEYA How could it be so cruel? How could it torture us like this? KELVIN I don't think it knows it's torturing us. It's just watching. CUT TO:INT. KELVIN'S ROOMKelvin and Rheya, in bed. She looks despondent. CUT TO:INT. KELVIN'S ROOMKelvin is asleep. Alone.After a long period of silence, we hear the faint sound of aninstrument of some sort hitting the ground. After anotherbeat, Kelvin awakens. He notices that he is alone, andsomething tells him that's not a good sign. CUT TO:INT. LABRheya is on the ground, convulsing. Beside her is a SMALLSTEEL DRUM, which is spilling a strange-looking LIQUID thatsolidifies and vaporizes with a smoky hiss.Kelvin moves to Rheya and is startled to see that half of herface and throat are burned away -- not melted as in a fire,but merely eaten cleanly away. He picks her up.INT. CORRIDORKelvin is carrying Rheya. Snow sticks his head out of apassing room. SNOW What happened? KELVIN She drank liquid oxygen.INT. KELVIN'S ROOMKelvin puts Rheya on the bed. Her face and throat havereturned to normal, but she is not breathing. Kelvin goesand puts his head to her chest, but doesn't hear what hehoped to hear. He stands, still looking at her. Snow seemsvery detached.An uncomfortably long moment as we realize she is actuallynot going to wake up. KELVIN She's dead.Snow says nothing.Then:Her finger twitches.Barely noticeable at first, but growing in intensity. Kelvinsees it, and goes to her. She is starting to shake a little,as though cold. SNOW She'll come back, don't worry. But then what? My theory is she can only live here, that she will die if she leaves this ship.Kelvin is still looking at Rheya, who is shaking a littleharder; it's feeling like a seizure now. SNOW Why do you think she hasn't suggested that? It's the most obvious solution: Escape. She knows she can't leave here -- KELVIN Get out -- SNOW Oh, this one you love? What about the first one, the one you fucked and then put into a rocket and blasted into space? You didn't love her?Rheya is shaking much harder now, Kelvin tries to hold herstill, but she's too strong. He stands, reluctantly, andwatches her. SNOW What happens if she comes back? Is that polygamy? And even if you could take her home, how would you get her through? You think they're not going to notice her?Rheya is shaking violently now, as if a rippling rhythmicforce were coursing through her. Snow, as he looksdispassionately on the two of them: SNOW I never get used to them, these... "Resurrections".He leaves.Rheya continues her process of "waking up" -- it's violent,even sexual. She spasms to a peak of some sort, and thenslowly returns to normal.Kelvin puts his hand on her forehead.She gradually begins to open her eyes. She looks at Kelvin.It takes her a moment to realize she shouldn't be seeing him;she shouldn't be seeing anything. She should be dead.She begins to cry. RHEYA What am I? Why can't I die?She turns away. RHEYA I'm not Rheya. You're always known that. KELVIN Rheya -- RHEYA Don't call me that.He turns her over. KELVIN Listen: I don't care about anything but the fact that you are here. You are her, you are Rheya. RHEYA I'm disgusting. KELVIN No. RHEYA You're lying. I'm not human. KELVIN Rheya, I am not going back. I'm staying here with you. RHEYA Then you'll die. KELVIN I want every second I can get with you.A beat. RHEYA What will I do, if you die?He doesn't know. CUT TO:EXT. SOLARISTurning slowly. CUT TO:INT. KELVIN'S ROOMKelvin and Rheya, in bed. RHEYA Do you think I can get pregnant here?A long beat. KELVIN We'll know soon enough.INSERT:The first time Kelvin and Rheya spoke, at the party ten yearsago. Again we see her whisper in Kelvin's ear, but this timewe hear what she is saying: RHEYA I can't be a mother.She pulls back. KELVIN That's good to know. CUT TO:INT. APARTMENT - DAYKelvin, as he packs to leave Rheya. RHEYA Don't do this. I am literally begging you not to do this. Chris. KELVIN You should have told me. RHEYA It wouldn't have made any difference. KELVIN Thank you. RHEYA Chris, I had to. I had to. I didn't think you'd react like this. KELVIN Neither did I. RHEYA You never said you wanted one. KELVIN I never said I didn't. RHEYA Chris -- KELVIN I can't stay here. RHEYA Chris, please. Chris, I'm serious. I won't make it. KELVIN Then you won't make it.He leaves, brushing past her. CUT TO:INT. APARTMENT - DAYRheya, unconscious, on the kitchen floor. CUT TO:INT. KELVIN'S ROOMA long, held shot of Rheya, crying. She is curled up,retreating into herself. Kelvin is trying to console her. KELVIN I came back. You have to know that. I came back that night. CUT TO:INT. APARTMENT - DAYRheya on the kitchen floor, the note in her hand.Kelvin is kneeling over her. CUT TO:INT. KELVIN'S ROOMKelvin and Rheya. She is sobbing, but somewhat calmer. KELVIN I couldn't make it, either. (beat) I'm so sorry. CUT TO:INT. KELVIN'S ROOMKelvin, asleep. CUT TO:GIBARIANAs we saw him before, sitting in the chair. But we didn'thear him say this before: GIBARIAN If they succeed, you'll never see her again. CUT TO:INT. KELVIN'S ROOMIn the immediate aftermath of her suicide attempt with theliquid oxygen: RHEYA You're afraid of me. I can't do this anymore. I still don't understand. It's not possible.He tries to console her, but she recoils. RHEYA Don't --INT. APARTMENT - DAYRheya, as Kelvin brushes past her on his way out. She looksdesperate.INT. KELVIN'S ROOMRheya and Kelvin. RHEYA What do I have to do to stop it? KELVIN I want you here. RHEYA You're lying. KELVIN You exist here. I keep telling you. RHEYA That's impossible. I'm not Rheya. KELVIN Who are you, then? RHEYA I... I am Rheya. But I am not the woman you loved ten years ago. KELVIN Yes, you are -- RHEYA Did you hear what Gibarian said? I'm not a human being. I'm an instrument. I came from your memory and your imagination and I will torture you no matter what. Even if I remain passive. That's when I drank the... (beat) I was going mad. It felt like there was no body underneath my skin. There was something else. An illusion. But I could feel my heart beating, and I remembered you tested my blood. Is it like yours? KELVIN Yes. I told you. It was exactly like mine. RHEYA But then I would be dead now.A beat. KELVIN Is that really what you want? RHEYA I want to stop taking those pills. KELVIN I wish you wouldn't. RHEYA They do something to me. It's hard to think straight. KELVIN I think they help. RHEYA I have consciousness, but I am not mortal. Don't you see why I'm going crazy? KELVIN You have to remember that I love you, that's all that matters -- RHEYA I can't -- KELVIN It put you here. I'll admit it, it acted like a God and put you here, put you into my consciousness. I was asleep, and it put you into my dream. I saw your mouth. And there you were. (beat) Whether you've been sent here to make me happy or punish me, it doesn't matter. The decision we make now is all that matters. Stay with me. RHEYA Am I really her? KELVIN I don't know anymore. All I see is you.They kiss. KELVIN Stay with me. (beat) Stay with me. CUT TO:INT. KELVIN'S ROOMKelvin is asleep. Rheya is next to him. CUT TO:INT. KELVIN'S ROOMKelvin is on the videophone to Snow. KELVIN She knows everything. She knows who she is. SNOW She knows everything? Does she know she came once before and you put her in -- KELVIN No.A beat. SNOW What do you want? KELVIN I want you to get Sartorius to abandon his plan. SNOW (feigning innocence) What plan? KELVIN Just get him to stop. SNOW What do you want to do, leave the station with her? KELVIN Yes. SNOW Kelvin, she'll disintegrate. You don't believe me? Let's radio that shuttle pod you launched -- better yet, let's go get it. I've charted it's trajectory, only take a few hours... KELVIN Her oxygen would have run out. SNOW Maybe she doesn't need any. Should we check?Kelvin just stares at him. SNOW Who are you trying to please? Yourself? Her? Which her, this one or that one. Can you face both? We are in a situation that is beyond morality. So: Leave with her. You'll see the transformation. KELVIN Into what? SNOW You'll see her die, that's all. They're mortal, despite what she told you. She will die. Then what will you do? KELVIN I love her. SNOW You do, you don't. She's willing to give her life, you're willing to give yours, it's touching and magnificent, anything you want but -- this isn't the place for it. Don't you see? No, you don't. CUT TO:INT. KELVIN'S ROOMHe is playing back a message sent by Sartorius. SARTORIUS I'm sending you a message because I feel sorry for you. I really do, Kelvin. (beat) It is a mistake to become emotionally engaged with one of them. You are being manipulated. You are going around in circles to satisfy the curiosity of a power we don't understand and can't control, and she is the living proof that power exists. If she were ugly, you wouldn't want her around; that's why she's not ugly. She is a mirror that reflects part of your mind. You provide the formula. You can only finish where you started, remember that. (beat) They sold us out to the highest bidder. They had no right to do that. We should have been consulted. We're not fucking hardware. CUT TO:INT. KELVIN'S ROOMKelvin wakes up. Rheya is beside him. He rises and headsfor the bathroom.He swallows two pills and a small cup of water.When he returns to the bed, Rheya is looking at him. RHEYA What are you taking? KELVIN A sleeping pill. Do you want yours?INT. APARTMENT - DAYRheya, on the kitchen floor. The bottle of sleeping pillsjust beyond her hand.BACK ON THE PROMETHEUSKelvin looks at Rheya. She shakes her head; she doesn't wantthe pills. Kelvin comes and sits beside her. KELVIN What does it want? RHEYA I don't know. Something. Anything.She goes to a portal and stares out at Solaris. RHEYA It created me and yet I can't communicate with it. It must hear me, though. It must know what's happening to me. Don't you think? CUT TO:INT. KELVIN'S ROOMSnow on the videophone to Kelvin. Rheya is asleep in thebackground. SNOW I don't think it dislikes us. I think it just noticed us. It lives, thinks, and acts. We are dealing with a living creature here, no question. And it's done something we've never been able to do: create a perfect human body. Perfect except for the subatomic alterations, but... CUT TO:GIBARIANOn his suicide tape: GIBARIAN If Solaris is inside our brain, and it knows everything, and we're only consciously aware of what 2% of our brain is up to at any given moment, it knows us better than we know ourselves. It's not even close. CUT TO:INT. KELVIN'S ROOMRheya and Kelvin. RHEYA I've decided that if it is God, it's a sick God. Its ambitions exceed its powers, but it doesn't realize it. (beat) It's created a situation without a goal, and I hate that. A God whose passion is not a redemption, who saves nothing, fulfills no purpose. (beat) And us? We would have to have "an arrangement". An unspoken understanding that I am not human. How can I not hate something that does that? KELVIN Please. Don't. CUT TO:INT. KELVIN'S ROOMKelvin is asleep. Rheya is crying beside him. CUT TO:INT. KELVIN'S ROOMKelvin asleep, alone. Rheya is in the corridor, talking tosomeone.KELVINwakes up. Rheya is beside him, asleep. CUT TO:EXT. SOLARISTurning, slowly. CUT TO:INT. KELVIN'S ROOMKelvin, in a fever, eyes open but glazed.Rheya is putting a compress on his forehead.KELVIN'S POVOf the room.His LABRADOR FROM THE OPENING SEQUENCE is sitting by thechair. CUT TO:INT. KELVIN'S CABIN (EARTH)Kelvin sits in a chair, looking at:THE LABRADORSitting in the same position as it was on the Prometheus.KELVINBreathes a sigh of relief at being home. Everything seemsslowed down, somehow. KELVIN (V.O.) I though I was home. CUT TO:INT. KELVIN'S ROOMOn the Prometheus. Kelvin is in bed, feverish. KELVIN (V.O.) I thought it was over.He sees Rheya, in the hallway again, talking to someone wecan't see.KELVINWakes up again. Rheya is asleep beside him. CUT TO:INT. TRAINRheya, the first day she and Kelvin saw each other. CUT TO:EXT. STREET CORNER - DAYTen years ago. Kelvin and Rheya standing on a street corner. They seem to be pausing in the midst of a very seriousconversation. It is raining. CUT TO:INT. KELVIN'S ROOMKelvin in bed, on the Prometheus. Still feverish.Rheya is mopping his brow.INT. KELVIN'S CABIN (EARTH)Kelvin in bed, feverish.Rheya is there, wiping his forehead.INT. KELVIN'S ROOMOn the Prometheus. Kelvin looks over to Rheya. KELVIN Where did you go before? RHEYA When? KELVIN Last night. You were talking to someone in the corridor. RHEYA You must have been dreaming.She begins to cry. KELVIN What's the matter?She just shakes her head. KELVIN Rheya?From Kelvin's point of view: Rheya, in the chair, crying.Then he looks right to see: Rheya, in the doorway, talking tosomeone we cannot see.Then he looks further to the right, and there she is again,staring at him from the bathroom doorway. She moves to theedge of the bed in order to be near.KELVINSweating. Struggling. Beyond fear. KELVIN (V.O.) I'm losing my mind. (beat) I'm breaking apart.INT. CABIN - DAYKelvin sits in his chair, as he did at the beginning, withthe three officials from DBA behind him.Only now the three officials are Snow, Sartorius, andGibarian.INT. KELVIN'S ROOM (PROMETHEUS)Kelvin, transfixed. KELVIN (V.O.) Is this what it means to die? (beat) Am I in the moment of my own death? (beat) Is this the last thought I will ever have?This idea forces him to rise, and he does, slowly.INT. CORRIDORBehind Kelvin as he somehow keeps moving.We hold a long time, and then: CUT TO:BLACK.Count to ten. Then: CUT TO:EXT. STREETKelvin moving down a crowded sidewalk, in slow motion. KELVIN (V.O.) I am home now. (beat) I try to find the rhythm of the world where I used to live... but I feel completely and continually out of-sync. I am separate. Why did I return to Earth and lie about what happened? Lie about having contact with something like Solaris? I knew something else was out there, and didn't tell a soul. I left them in the dark. We all did. CUT TO:INT. TRAIN - DAYKelvin, traveling home from the city. CUT TO:EXT. KELVIN'S CABIN - DAYKelvin returns. He stops and looks around before enteringhis front door. KELVIN (V.O.) So why come back at all? To see if she comes here?KEVIN'S POVOf the woods.But there are strange incongruities in the image -- pieces ofthe Prometheus breaking through; for instance, a few of theAUTOMATED TASKMASTERS are crawling along the ground.KELVINLooking from the doorway, notes this. He doesn't seemsurprised, though. KELVIN (V.O.) I don't believe it will happen.INT. KELVIN'S CABIN - NIGHTKelvin, in his bed, awake. KELVIN (V.O.) But I will wait, anyway. CUT TO:BLACK.Count to five. Then: CUT TO:INT. KELVIN'S ROOM (PROMETHEUS)Kelvin is in his bed, still feverish. KELVIN (V.O.) I thought it was over.He looks around the room. He is alone.A flashing light on his computer demands attention.ON THE COMPUTERA video message from Rheya. RHEYA Don't blame them. I begged them to do it. It's better this way. (beat) I'm sorry. (beat) I'm sorry I tried to make you think I was human. (beat) I read my own suicide note. I found it in your things. I realized I was not her.She looks away. RHEYA I know that you loved me, Chris. I know that. (beat) I love you.Kelvin breaks down. CUT TO:INT. APARTMENT - DAYKelvin, with the dead Rheya in his arms, crying. Beyond himis the rain-streaked window. On the floor, by her hand, isthe note. On it is scrawled the end of a Dylan Thomas poem,the one Kelvin quoted to her the first time they spoke.INT. PARTY - NIGHTThe first night. Again, Kelvin leans into Rheya's ear andwhispers. This time we hear what he says: KELVIN "Though they go mad they shall be sane. Though they sink through the sea they shall rise again."INT. APARTMENT - DAYKevin holding Rheya.The note on the floor.The rain-streaked window. RHEYA (V.O.) "Though lovers be lost love shall not. And death shall have no dominion."Kelvin wipes the hair from her face. KELVIN (V.O.) You killed her! SARTORIUS (V.O.) Not her. It. CUT TO:INT. PROMETHEUSKelvin, furious, is talking through a slit in Sartorius'door. KELVIN You murdered her! SARTORIUS Kelvin, she begged me. I had a short-range version of the destabilizer prototype, a miniature with a range of a few meters. She walked into it and disappeared. She was gone.Kelvin looks around. KELVIN She'll come back. SARTORIUS No, she won't. KELVIN Why would you let her to do that? SARTORIUS It's not human, Kelvin. Whatever it is, it's not human, and I am threatened by that. Evolution-of- the-species-at-stake threatened. And I want to win. I want humans to win. So I am killing it before it kills me. KELVIN You fucking bastard... SARTORIUS Whose side are you on?Kelvin moves away. CUT TO:EXT. SOLARISStill turning, slowly.But something about its appearance is different.INT. PROMETHEUSComplete chaos.Kelvin is chasing Sartorius to the flight deck. SARTORIUS (yelling as he runs) It's changing characteristics. It's solidifying taking on weight. KELVIN How quickly? SARTORIUS If it continues, it will implode from its own weight and turn into a black hole in about four hours and pulls us in with it.INT. FLIGHT DECKKelvin and Sartorius get the ship ready for take off. KELVIN Where's Snow? Did you call him? SARTORIUS Yes.Kelvin turns and sees one of the video monitors that Snow issitting in his room. KELVIN (via intercom) Snow! We need you up here.Snow doesn't reply. KELVIN Snow!Snow looks up. There's a strange look on his face. KELVIN What's wrong with you? We need your help. SNOW I won't be making the trip. SARTORIUS Snow, get up here, now. SNOW I'm not Snow.This stops Kelvin and Sartorius. They look at each other andthen at the monitor. SNOW I got rid of him. I wanted to see if... I wanted to be the only one. I wanted to be Snow. SARTORIUS Fuck me. I knew it. KELVIN When did this happen? SNOW Oh, right away. That's why you never saw me with anyone. You should've noticed that. I miss him, though. I think I made a mistake. KELVIN Jesus... SNOW But I can't leave with you. I won't make it. KELVIN Maybe you can. SARTORIUS You want it coming back with us? SNOW You go ahead. Of what I remember about Earth... it's all one thing now. Everything's a blur. I like distinctions.Snow lies down on his bed. Kelvin looks at Sartorius. SARTORIUS We do not have time to deal with this. Get the diode sail into position and let me know when the bias drive and the induction ring are at zero point.Kelvin nods and obeys. He then takes one last look at themonitor to see Snow lying in bed. Kelvin reaches over andshuts the monitor off. CUT TO:EXT. SPACESilence.The Prometheus moves away from Solaris.CLOSER ON SOLARISAfter the ship has gone.A soft black spot begins to form in the center of the planet.Slowly, inexorably, this black spot begins to expand.Within a minute Solaris has disappeared. CUT TO:EXT. STREET CORNER - DAYKelvin, back on Earth. Silent and still. And the raincontinues.He watches the activity; the cars, buses, and people movingto and fro. KELVIN (V.O.) Earth. (beat) What did that word mean to me? (beat) I have returned. Finally.Kelvin begins to walk. KELVIN (V.O.) I work in the city now. After work I wander and lose myself. I am silent and attentive. I follow the current. I make a conscious effort to smile, nod, stand, and perform the millions of gestures that constitute life on Earth.INT. TRAIN - DAYKelvin taking the train to the suburbs. KELVIN (V.O.) I will study these gestures until they become reflexes again. I will find new interests and occupations, but --EXT. ROAD - DAYKelvin makes his way toward his cabin. As he nears, hisLABRODOR recognizes him and approaches.Kelvin pats the dog's coat. KELVIN (V.O.) I will not... give myself. I will not give myself to anything or anyone, because I am haunted by the idea that I remembered her wrong. That I shaded my memory of her to suit myself. That I was unfair to her and caused her destruction. What if I was wrong about everything? (beat) I've come to believe that memory is a curse.EXT. CABIN - DAYKelvin is near the front door, dog at his heel. He looks inas he brings his key to the lock and his face FREEZES.RHEYAIs in the living room, waiting for him.She is sitting on the sofa, looking toward the other side ofthe room. Sensing someone, she turns to see Kelvin, and herface melts into a smile.KELVINOpens the door. He cannot speak.RHEYARises and moves toward him.They embrace.He breathes her in. She squeezes him.After a long beat: KELVIN How can you be here... RHEYA (whispering) Shhhh. Just stay with me. (beat) Stay with me. Everything is forgiven. Everything.She sways with him, gently. His body relaxes. KELVIN I love you.EXT. CABIN - DAYA tableau of the cabin. The dog is on the front step,seemingly content despite the light rain.As fog drifts in, we RISE, and soon the mist has nearlyobscured the house. The fog turns into clouds and we getfleeting glimpses of the cabin, as we move farther andfarther away.We stay in a translucent white stage for a few moments, untilgradually the edges of a circle become apparent in thecorners of the frame. Still there is a light rain sound.These dark, rounded edges penetrate further until they areforming the shape of a circle.The misty consistency begins to gain some color and body.And we realize we are now looking at the surface of Solaris. FADE OUT.
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+                             SOLDIER                            Written by                        David Webb Peoples                                                  REVISED DRAFT                                                  October 2, 1997     INT.  HOSPITAL NURSERY - NIGHT     BABIES in bassinets, isolettes, incubators.  BABIES sleeping,     BABIES blinking, BABIES cooing, BABIES chirping, BABIES     squalling.     It's the SQUALLING BABIES, the ones with pinched faces and tiny     bunched fists, that seem to interest the TWO ANONYMOUS MEN in     Military Uniforms.  (Their anonymity is assured by the angles     from which they are seen; they are hands, they are feet, they are     the backs of heads.)     A lone NURSE watches them grimly as they make their "selections,"     marking the cribs of the most active, noisy BABIES with X's.                                                       CUT TO:     EXT.  VAN/HOSPITAL - NIGHT     ANGLE ON VAN DOORS slamming shut on a dozen squalling BABIES in     tiered red cribs.     ANGLE ON THE VAN pulling away from the loading dock of the large     hospital as a date is SUPERED over the scene...                                1992                                                       CUT TO:     INT.  CAGE/BASEMENT ROOM - DAY OR NIGHT     Vicious teeth, savage snarls, tearing flesh as three fierce     fighting DOGS battle a single WOLVERINE in large steel cage.     The cage is in the middle of a gloomy windowless room surrounded     by twenty TWO-YEAR-OLDS seated on folding chairs and dressed in     identical gray overalls.  As the TWO-YEAR-OLDS watch the battle,     amazement on their innocent faces, a date appears SUPERED over     the scene...                                1994     WE DISCOVER in the shadows more ANONYMOUS MEN (and WOMEN), some     of them in Military Uniforms, observing the children.                                                       CUT TO:     INT.  A WINDOWLESS CEMENT ROOM - DAY OR NIGHT     It's creepy:  the same children two years older, milling about a     bare cement room, apparently unsupervised.  They ought to look     cute, but somehow these joyless FOUR-YEAR-OLDS look slightly     sinister, all of them wearing drab uniforms and military burr-cut     hair.  Again a date is SUPERED over the scene --                                1996     -- just as an AGGRESSIVE FOUR-YEAR-OLD approaches a PASSIVE FOUR     YEAR-OLD seated on the floor and kicks him.     It's a harmless child's kick.  But then, as the DATE DISAPPEARS,     he kicks the PASSIVE FOUR-YEAR-OLD again.  And again.     The servo-motor in a remote video camera mounted high on the wall     WHINES slightly as the camera pans to the record the action.                                                       CUT TO:     INT.  WINDOWLESS "CLASSROOM" - DAY OR NIGHT     Puzzles.  Fingers fit shapes into holes.  The puzzles aren't fun     puzzles; they're obviously tests of intelligence or dexterity or     both.  SIX-YEAR-OLDS now, the boys perform in a grim room under     fluorescent lights as more ANONYMOUS MEN and WOMEN in polished     shoes and sharply creased military slacks cruise the aisles,     observing.     As a date appears SUPERED over this scene...                                1998     WE NOTICE one of the SIX-YEAR-OLDS is becoming familiar to us.     TODD.  We NOTICE his intense eyes as he dexterously manipulates     a puzzle.                                                       CUT TO:     EXT.  FIELD - DAY     Behind a cyclone fence topped with curlicues of razor wire, the     boys, now TEN-YEAR-OLDS, are marching in formation under the     supervision of a (faceless) DRILL SERGEANT.  Again a date is     SUPERED over the scene...                                2002                                                       CUT TO:     INT.  GYMNASIUM - DAY     Fourteen-year-old TODD is doing bench presses in shorts while all     around him his FOURTEEN-YEAR-OLD COMRADES work out with weights     in a very grim and spartan gym that resembles a sinister     concentration camp more than the yuppie spas of the 20th Century.     The date appears SUPERED over the scene...                                2006                                                       CUT TO:     EXT.  OBSTACLE COURSE/MONTAGE - DAY     The FOURTEEN-YEAR-OLDS, TODD among them, jump, roll, dive, crawl,     swim, and rappel through a brutal course featuring:     vertical wooden walls,     fast moving rapids,     tangles of barbed wire,     steep rock faces,     and finally a jungle of dangling chains with tiny circular     "platforms" about eight inches in diameter every ten feet.     FOURTEEN YEAR OLDS bloody each other with pugil sticks and padded     cudgels while they swing twenty feet above the ground.  One of     them is knocked off, plummets downward.  CRUNCH!                                                       CUT TO:     EXT.  SNOW COVERED LANDSCAPE - DAY     Long even strides, two inches of snow.  Breathing hard, the     SIXTEEN-YEAR-OLDS now lope through hills and woods in shorts and      T-shirts, their breath coming in steamy blasts as the date is     SUPERED over the scene...                                2008     This a brutal cross country run under a grim sky in bitter cold     weather, but the SIXTEEN-YEAR-OLDS are super-fit, their faces     hard and without expression, their eyes as cold as snake eyes.     Except for the STRAGGLER, a lone boy who's bringing up the rear,      obviously in trouble, gasping for air, struggling, struggling,      struggling to keep his feet...     ANGLE ON A HILL where ANONYMOUS OBSERVERS, all in military dress,      watch.     ANGLE ON THE STRAGGLER, unable to keep his feet, going down,     gasping.  With fearful eyes, he looks toward the hill where he     knows the OBSERVERS are.     ANGLE ON THE PACK, sixteen SIXTEEN-YEAR-OLDS not looking back,     even as a single SHOT rings out.  TODD doesn't even blink, just     keeps running.                                                       CUT TO:     EXT.  SHOOTING RANGE - DAY     Suddenly, out of nowhere, a scary mechanized pop-up target, a     MILITARY FIGURE, erupts from the long grass, weapon pointing.     Before the weapon can flash a laser bean, AUTOMATIC FIRE ravages     the target and it disappears back into the grass.  The boys,     EIGHTEEN-YEAR-OLDS now, are wearing combat gear and carrying     automatic weapons as they advance through a sloping field of tall     grass.     Different sophisticated TARGETS pop up urgently, sometimes close,      sometimes far, some MOVING rapidly on tracks.     The EIGHTEEN-YEAR-OLDS expertly mow down menacing MILITARY     FIGURES while holding their fire when ANIMAL TARGETS or UNARMED     CIVILIANS and CHILDREN appear.     The eighteen-year-old on point is RILEY, a muscular redhead.     TODD is right behind him as a date is SUPERED over the scene...                                 2010     Suddenly multiple TARGETS appear, charging.     BUDDA BUDDA BUDDA!  First TARGET down!     RILEY, panning for the next target, holds fire, passes over two      MOTHERS HOLDING CHILDREN, pans for a nearby SOLDIER TARGET.  But     the SOLDIER TARGET zips behind the MOTHERS HOLDING CHILDREN,     taking cover, weapon pointed at RILEY.     For half a second RILEY hesitates!     BUDDA BUDDA BUDDA!  TODD blazes away, mercilessly blowing away     the MOTHERS HOLDING CHILDREN TARGET and the SOLDIER TARGET.                          THE MAIN TITLE APPEARS     as the ROAR OF GUNS gives way to MUSIC...                                                       CUT TO:     INT.  PROCESSING ROOM - DAY     Skillful hands operate a tattoo pen, stenciling an insignia and     a number on the left side of RILEY'S face over the cheekbone.     His cheek says RILEY, L.B., his face reveals nothing as...                          OPENING CREDITS BEGIN     The next face is TODD.  The skillful hands with the tattoo pen go     to work on his face, marking, stenciling the skin as...                       OPENING CREDITS CONTINUE     Then the tattoo artist's bands finish with TODD and move on to     the next MAN, leaving TODD staring straight ahead, his cheek     tattooed, his face like carved stone, his eyes as unfathomable as     the eyes of a statue as THE OPENING CREDITS CONCLUDE.                                                       CUT TO:     EXT.  JUNGLE - DAY     Machinegun fire, SOLDIERS in cammies moving through lush tropical      growth.     A mortar explodes, a SOLDIER is engulfed in shrapnel.  As the     smoke clears, the SOLDIER screams mindlessly like a siren.  This     is real war, not training.     A title and date appear on the screen, saying...                       2011, THE BOLIVIAN WAR     As the title fades, we glimpse TODD advancing at a crouch through     smoke and enemy fire, blazing away at the unseen enemy.  Sweaty     and smudged, his uniform torn and stained with blood, TODD     reveals nothing on his stone face.  But he's clearly     unintimidated by the death of his screaming comrade as we...                                                       CUT TO:     EXT.  PINE WOODS - DAY     Automatic weapons CHATTER as TODD struggles through thick snowy     woods, half-carrying a bloody comrade barely recognizable as     RILEY.  Bullets spatter bark and leaves as TODD and RILEY take     cover behind a fallen log.  A date and title appear, SUPERED over     the action...                    2012, THE MONTANA "INCIDENT"     RILEY is nearly unconscious.  TODD glances at his own wound, a     savage opening in his side.  He considers the torn flesh as      dispassionately as a man checking a flea bite.     Bullets whiz around the wounded man as we...                                                       CUT TO:     EXT.  DESERT, VILLAGE - DAY     Sunbaked landscape, a burning village, ENEMY CORPSES sprawled     here and there, burned or horribly mutilated by artillery fire.      SUPERED over the corpses, a date and title...                    2014-2016, THE SAUDI CAMPAIGN     WE DISCOVER TODD, RILEY, and several OTHER SOLDIERS, exhausted,     parched, in torn and bloodied uniforms, sharing a single canteen     under the blazing sun.  War is hard work!                                                       CUT TO:     EXT.  LAUNCH PAD - DAY     A fury of flames, the THUNDER of ignition as huge rocket engines     lift a space vehicle off the launching pad and propel it skyward.     EXT.  OUTER SPACE     Profound SILENCE!  The space vehicle that the rocket propelled is     a weathered looking military spaceship gliding through the     blackness of outer space like a huge shark.  A date and title     appear SUPERED over the scene...                          2017, TANNHAUSER GATE     As the title fades away in the eerie silence, we...                                                       CUT TO:     EXT.  ANOTHER PLANET - NIGHT     A huge moon looms in the blackness above a barely visible     landscape...                    2020, THE ARGENTINE SECTOR     SIX SOLDIERS stagger through the rough terrain in pressure suits     and plexi helmets, breathing from tanks.     Sudden automatic fire staggers the lead SOLDIER.  His helmet is     pierced, air and blood erupt from the hole in his face plate.     The SERGEANT, his futuristic "chevrons" on his helmet, signals     the men to take cover, starts to return fire.  As a flare     illuminates the battlefield, we RECOGNIZE the sergeant through     his visor.  It's TODD.                                                       CUT TO:     EXT.  EXTRATERRESTRIAL CITY - DAY     Bombed out!  Buildings turned to rubble, smoking ruins, rain.  An     extra-terrestrial city ravaged by war to such a degree that it     bears an uncanny resemblance to Dresden/Earth in 1945 after the     fire-bombing!  The architecture, even in ruins, recalls old     Europe, and the streets are narrow, as in before (or after)     automobiles.     Bursts of AUTOMATIC FIRE, occasional MORTAR BLASTS.  A spooky     battle between unseen SOLDIERS is taking place in seemingly     deserted streets and alleyways.  And SUPERED over the gloomy     scene...                        THE THIRD DRESDEN MOON                (1.16 Earth atmos, acceptable oxygen)     CRACK!  CRACK!  CRACK!  Shots!     Suddenly a terrified MOTHER dashes along the street, a screaming     BABY in her arms, looking for shelter.     A CIVILIAN MAN pops out of a doorway, pulls her to safety.     REVEAL TODD, watching from the shell of a once proud building.     TODD'S POV of four ENEMY SOLDIERS running at a crouch among the     rubble.     ANGLE ON TODD watching them scurry into a cellar door.  TODD     turns and gives a hand signal.     ANGLE ON RILEY twenty yards away, hidden behind exposed     machinery, acknowledging the signal and, along with a THIRD     SOLDIER, advancing toward the cellar.     EXT.  CELLAR DOOR     TODD, RILEY, and the THIRD SOLDIER converge stealthily,     coordinating with hand signals.     TODD pulls the pin on a grenade, and RILEY and the THIRD SOLDIER     kick in the door.     TODD tosses the grenade in as RILEY fires a withering barrage of     automatic fire through the cellar door.     BAHWHOOM!  The grenade EXPLODES.     Then, RILEY, TODD and the THIRD SOLDIER charge in.     INT.  CELLAR     HEAVY FIRE as TODD, RILEY and the THIRD SOLDIER spray the room.     ANGLE ON TODD signaling cease fire.     Sudden silence.  Drifting smoke.  Then...GROANS.     Four ENEMY SOLDIERS are sprawled motionless, horribly     eviscerated.  A fifth ENEMY SOLDIER, horribly wounded, is     groaning.     ANGLE ON TODD surveying the scene, stone faced.     TODD'S POV of the enemy dead, and several CIVILIANS equally dead,     as well as the dead BODIES of several CHILDREN.     BANG!  RILEY shoots the groaning ENEMY SOLDIER.     Silence again.     CLOSE ON TODD, his stone face.  What does he see?  What does he     feel?  Anything?  A mystery!                                                       CUT TO:     INT.  BARRACKS - DAY     A spartan room, bare bunk-beds.  Rain POUNDS on a window that     looks out into a stormy sky over the godforsaken ruins of the     Third Dresden Moon.     TODD is sitting on a bunk, shirtless.  His new rank has been     tattooed on his right cheek; there's a scar under one eye and     another scar that distorts his lip slightly.  The names of     various battles have been neatly stenciled down his left arm, an     official record, not a decoration.  TODD is silent, staring into     space.  The room is full of SOLDIERS in T-shirts, fatigues,     sleepwear.  WORDS APPEAR SUPERED OVER THE SCENE...     The WORDS FADE AWAY, the silence continues, the rain BEATS on the     barracks, no one says a word, they just stare into space or watch     the rain beat on the windowpane.  They look like robots...used     robots, made individual only by their different scars.                                                       CUT TO:     EXT.  BARRACKS - DAY     Rain.  Low buildings, boarded windows, slogans painted on the war-     scarred walls, the makeshift barracks in one building, command     quarters in the next.     A lone figure, a MAN IN A PONCHO, hurries through the downpour,     passing the barracks, heading for the command quarters.     INT.  COMMAND QUARTERS     Entering, the MAN shakes rain off his poncho.  His name is     RUBRICK, he's thirty-five, a lieutenant.  He faces the two bored     OFFICERS lounging in the cluttered office where outdated     equipment is strung together by mazes of wire and the desktops     are heaped with printout sheets and styrofoam coffee cups.     The captain, CHURCH, has his feet on the desk.  He's fifty years     old, gray and fat and soft.  The other officer, SLOAN, also a     lieutenant, is a thirty-five year old woman, dark, moderately     attractive, but not particularly happy.                                   RUBRICK                    Colonel Mekum has his "boys"                    unpacked.  I think he wants to show                    them off.                                   CHURCH                    Hmmmmph.                                   RUBRICK                    They look...impressive.                                                       CUT TO:     INT.  "STATION" - DAY     A NEW SOLDIER fills the frame, a perfect-looking man/boy of about     twenty built like a linebacker, powerful looking with sculpted     unscarred musculature.  He looks straight ahead, unblinking, and     so does the one next to him, and the next one.  Twenty of them     are standing in line in one corner of an enormous space that was     once a station of some sort.  They don't seem to respond to the     chill or to the occasional drops of rain from the skylights     leaking sixty feet above them.     Wearing dripping ponchos, CHURCH, SLOAN, and RUBRICK are looking     the robot-like monsters over like so much meat, while a bright-     eyed blond colonel about thirty, named MEKUM, stands proudly by,     glowing with satisfaction.     The vast interior is so large that in spite of clusters of     stacked crates, part of a dismantled spaceship, a rusty     earthmover, numerous large pieces of machinery, and a whole     arrangement of exercise gear, the place has huge open spaces and     a sense of emptiness to it.     SLOAN walks close to the line of NEW SOLDIERS and studies one,     her eyes drifting over their muscular bodies.  She breaks the     long silence.                                   SLOAN                    Well, they're...pretty.                                   CHURCH                         (to Mekum)                    What's so hot about them?                                   MEKUM                         (proudly)                    Very much improved.  In every way.                                   RUBRICK                    This is Colonel Mekum from Q.  He's                    their commanding officer.                                   CHURCH                         (dubious)                    Improved...how?                                   MEKUM                    As I said, in every way.  Physically                    and psychologically.  More                    endurance, quicker responses, better                    hand-eye, improved technical                    training.  Where the First                    Psychology gave you ninety-eight                    percent obedience, this bunch gives                    you 99.4.                                   CHURCH                         (dubiously)                    Mmmmmm.  Weeell, you know my old                    daddy was in maintenance and he had                    a saying...     RUBRICK and SLOAN exchange an eye-rolling private glance that     means they've heard a lot of Daddy's sayings.                                   CHURCH                    ...He used to say, "If it ain't                    broke, don't fix it."                                   MEKUM                         (patronizing)                    I...see.  I'm not sure I quite get                    your...point...                                   CHURCH                         (indicating the                          Veterans)                    Well, the soldiers we've got now,                    they've been through all kinds of                    heavy shit...and they've always got                    the job done.  Now these new ones,                    these "hot shots" of yours...what                    kind of action have they seen?  They                    are battle-tested, aren't they?                                   MEKUM                    That's up to you field guys.  H.Q.                    wants you to break 'em in when you                    do the annual security sweep in                    January.                                   CHURCH                    The sweep is just routine, not even                    police action.  I'd like to see some                    sort of...meaningful evidence...                                   MEKUM                    Such as?                                   CHURCH                    Maybe we could run some tests.  Kind                    of a comparison, the old and the                    new...     RUBRICK and SLOAN exchange a startled glance, but MEKUM doesn't     seem fazed as we...                                                       CUT TO:     INT.  "STATION" - DAY - LATER     A WEAPON FIRING!  BUDDA!  BUDDA!  BUDDA!  The automatic weapon is     being fired by the veteran soldier RILEY.  He's blazing away at     an elaborate electronic target a hundred yards away in the huge     space.     TODD is watching with the other VETERAN SOLDIERS.  They're seated     on the floor, wearing drab fatigues, directly across from the     twenty NEW SOLDIERS.     As TODD glances at them, the NEW SOLDIERS look back unblinkingly.     (The VETERANS, in spite of their impassive expressions, look very     human compared to the NEW SOLDIERS.  Their battle scars mark them     as individuals in sharp contrast to the perfectly-muscled young     giants across from them.)     The firing stops, and RILEY, his weapon empty, leaps to his feet     and salutes RUBRICK, who's been watching the demonstration with     the rest of the officers.                                   RILEY                    Sir!                                   RUBRICK                    Very nice, Riley.  Fall away.                                   RILEY                         (another salute)                    Sir!     As RILEY joins the VETERANS squatting motionlessly, RUBRICK     glances at the shredded electronic target, glances at his     stopwatch, then looks at Mekum.                                   RUBRICK                    Thirty seconds, 90 percent hits.     MEKUM smirks, picks up the weapon, disassembles it rapidly.                                   MEKUM                    Let's make it more difficult.     RUBRICK, CHURCH and SLOAN exchange glances of disbelief as MEKUM     scatters the disassembled parts onto the concrete floor with a     loud clatter.     TODD watches, unblinking, as MEKUM looks to the NEW SOLDIERS.                                   MEKUM                    Caine Six-Oh-Seven!     A blond Nordic giant is suddenly on his feet among the NEW     SOLDIERS.  There is real dignity in his salute; he's like a pro.                                   CAINE 607                    Sir!                                   MEKUM                    Assemble the weapon, load, fire on                    the target from various evasive                    positions in a thirty-second period.     OFFICERS look at each other again in disbelief.                                   MEKUM                    Starting...now!     MEKUM punches his watch as CAINE 607 gracefully begins to pick up      pieces of weapon, doing it rapidly, yet without apparent haste.     TODD is watching, revealing nothing.     CLACK!  KA SHACK!  CLICK!  CAINE 607 slaps the weapon together,      loading a magazine with a final KA SHUCK, then he dives to the     floor, firing a rapid burst at the electronic target which blinks      wildly...     OFFICERS watch, impressed.     CAINE 607 is firing from another position.     The target goes crazy.     CAINE 607 is rolling and firing at the same time.     The target goes wild.     MEKUM's watch clicks off 27 seconds...28...29...     The firing stops.     TODD stares impassively as CAINE 607 salutes.  Beside him, RILEY      watches also.                                   MEKUM                         (to Caine 607)                    As you were, soldier.     RUBRICK is looking at the electronic target, grudgingly     impressed.                                   RUBRICK                    Ninety-nine percent...                                   MEKUM                         (smug)                    While taking evasive action...                                   RUBRICK                         (amazed)                    That's...very good.                                                       CUT TO:     INT.  WEIGHT AREA/"STATION" - DAY - A LITTLE LATER     A NEW SOLDIER cleans an awesome weight with what looks like ease     as RUBRICK, CHURCH, and SLOAN again exchange impressed glances     and MEKUM watches smugly.     They're still in the giant warehouse in the gym section among all     sorts of ominous exercise devices.  The NEW SOLDIERS and VETERANS     are gathered in separate groups at attention, their faces like     stone.     TODD is watching the big man handle the weight easily.                                   MEKUM                    See?  Much stronger.                                   CHURCH                    What about endurance?                                                       CUT TO:     EXT.  RUINS - DAY     TODD is loping through sheets of rain.  The terrain around him      features ghostly shells of buildings, shards of a city nearly      invisible through the curtains of rain.     His feet slash through flooding gutters and trash filled streets      bordered by ruins as he runs smoothly, evenly, keeping a good     pace, his breath rasping rhythmically, his eyes revealing     nothing as we...                                                       CUT TO:     INT.  OFFICER QUARTERS - DAY     SLOAN accepts a cup of hot coffee from RUBRICK as she considers     the plastic "papers" MEKUM has spread on the cluttered desk.     Ponchos have been hung by the door.  MEKUM is pointing to various      numbers and paragraphs.     CHURCH has been staring out the window into the pouring rain.  He      turns to MEKUM and interrupts.                                   CHURCH                    Our man has been out there fifteen                    minutes now.  Shouldn't you send one?                                   MEKUM                         (smug grin, to Church)                    In a minute.                         (turning back to Sloan)                    Now, see this test?  This shows what                    they do under sleep deprivation                    conditions.  Forty-eight hours awake                    and they can...                                                       CUT TO:     EXT.  TODD RUNNING/RUINS - DAY     Rain slashes his face as TODD runs, his eyes staring vacantly     into the blinding storm, his legs pumping evenly, his feet     chopping through the thick mud in a wasteland of shelled     apartment buildings where rat-like CREATURES scurry out of his     way as we...                                                       CUT TO:     INT.  "STATION" - DAY     Separated by fifteen yards, the two groups of SOLDIERS, the NEW     and the VETERAN, sit on the cold cement floor, staring vacantly     into space as they await orders.  Occasionally a VETERAN will rub     his chin, another will scratch his nose, but nobody says     anything, and when their eyes accidentally meet, they look away      deliberately, expressionless.  Nobody flinches when a big door     opens and pale light streams in.     MEKUM is standing there in a poncho.                                   MEKUM                    Melton, Eight Five.  Forward.     MELTON, one of the husky new soldiers, climbs to his feet and     steps toward MEKUM, saluting.                                   MELTON                    Eight Five, sir.                                   MEKUM                    Ten miles, Melton, on the run.     MELTON's face shows no expression as MEKUM continues.                                   MEKUM (O.S.)                    You've got sixty minutes.  Go.                                   MELTON                    Sir!     MELTON heads out into the rain running smoothly and easily as     we...                                                       CUT TO:     EXT.  TODD/RUINS - DAY     TODD's breath comes in even rasps as his feet splash over rough     terrain, splash splash splash, hard work but nothing in his     stone face indicates he's not equal to the task.  Splash splash     splash!                                                       CUT TO:     INT.  OFFICER QUARTERS - DAY     In the cluttered office, RUBRICK, CHURCH, and SLOAN look up from     a conversation as MEKUM enters dripping wet and takes off his     poncho, smiling smugly.                                   MEKUM                    My man left exactly twenty minutes                    after yours.  Make a note of that.                                   RUBRICK                    What are we supposed to do with the                    old soldiers?                                   MEKUM                         (a shrug and a grin)                    Old soldiers never die.                                                       CUT TO:     EXT.  TODD/RUINS - DAY     Running.  Splash splash splash!  TODD makes a turn, heading back,     his face like stone, as we...                                                       CUT TO:     INT.  OFFICERS QUARTERS - DAY     MEKUM is filling his coffee cup as he speaks.                                   MEKUM                    They'll serve as a labor force.  You                    can use them for physical stuff...                    loading, unloading, repairs, power                    lines, that kind of thing.                         (a glance around the                          office)                    Even cleaning...sweeping...,uh,                    tidying up.                                                       CUT TO:     EXT.  TODD/RUINS - DAY     Breathing steadily, raspily, TODD lopes through the rain.     Something makes him glance back over his shoulder.     Thirty yards back he sees a vague shape, obscured by rain.     TODD looks ahead again, his face revealing nothing, his legs      maintaining the same even pace, running, running, running.     Then he looks back again.     The vague shape is taking form, a GHOSTLY RUNNER getting closer.     TODD continues at the same even place.  He doesn't look back     again until he feels closeness.  Then he looks.     IT'S MELTON only a few yards behind him, running effortlessly,     keeping a steady pace that's faster than TODD's.  The bigger man     moves even with TODD without even looking at him, as though TODD      weren't there, and then he moves ahead like a big machine,     inexorable.     As TODD runs, eyes straight ahead, he can see MELTON becoming     ghostly, disappearing in the curtains of rain ahead as we...                                                       CUT TO:     INT.  "STATION" - DAY     The huge doors are open to the rain as SLOAN, CHURCH, RUBRICK,     and MEKUM watch for signs of TODD.  Still dripping vet, the     muscular MELTON is standing beside MEKUM, breathing heavily but     not desperately.                                   MEKUM                    Of course, age is a factor, but the                    real factor is the training program,                    especially the psychological.  The                    mind controls the body after all,                    and we're doing wonderful things                    with the mind.     A shape appears in the rain a hundred yards off, moves closer,     takes the form of a runner running.  It's TODD, still moving at     the same pace, his face like stone.     TODD lopes into the big warehouse and, breathing hard but evenly,      comes to a halt in front of RUBRICK and salutes.                                   TODD                    Sir.                                   RUBRICK                    At ease, soldier.     CHURCH has been thinking and now he speaks to MEKUM.                                   CHURCH                    What's the price of all that speed?                    Is he tired?                                   MEKUM                    Tired?                                   CHURCH                    Todd here ran the pace he's been                    taught to run.  He's still strong.                    Send him up the chain, Rube.                                   RUBRICK                         (to Todd)                    Soldier!  Up the chain!                                   TODD                    Sir.     TODD salutes and lopes toward ten chains that dangle from the     rafters sixty feet above, grabs one, and starts up it, hand over     hand.     MEKUM watches TODD climb, then looks at CHURCH who is looking at     him expectantly.     MEKUM grins at CHURCH.     Then MEKUM looks back at TODD, not hurrying.     TODD is thirty feet up and climbing, passing the eight inch     circular "platforms" or footholds in the chain every ten feet.                                   MEKUM                         (sharply)                    Melton, on the double!  Up a chain!                                   MELTON                         (saluting)                    Sir!     MELTON takes a few easy strides, gracefully catches a chain mid-     stride, and smarts up, climbing easily and twice as fast as TODD.     CHURCH, SLOAN, and RUBRICK crane their necks as the two men     struggle upward toward the rafters.     Three quarters of the way up, MELTON comes even with TODD, then     passes him.     MEKUM, watching, smirks.     CHURCH is watching too, and he's still not satisfied.  His brow     is knit, something's bothering him.     ANGLE HIGH ABOVE, AMONG THE GIRDERS     Stonefaced, MELTON is resting an a "platform" on the chain, sixty     feet up, beneath the girders, swaying gently.     His stony gaze is on the next chain where TODD is arriving at a     "platform" on an adjacent chain...only three feet away.     Their eyes meet, TODD and MELTON alone together sixty feet up,     three feet apart.  Neither man blinks, neither man flinches,     neither man reveals anything at all...     LOW ANGLE, LOOKING UP     CHURCH considers the men high above, then to MEKUM.                                   CHURCH                    What about...spirit?                                   MEKUM                         (as in "what's that?")                    Spirit?                         (...a grin)                    Oh!  You mean "AQ"..."aggressive                    qualities"?                                   CHURCH                    Whatever the latest jargon is.                                   MEKUM                    Much better, much higher.  For                    example, where your old ones                    expressed ninety percent of their                    sexual energy in aggressive                    physicality, these new ones are                    ninety-nine percent without                    sexual inclination.  It's all                    aggression.                                   SLOAN                         (dryly)                    Real men!                                   CHURCH                         (sharply, to Sloan)                    At ease, Lieutenant.                         (turning to Mekum,                          serious)                    What if they fought?     A sudden silence.     SLOAN raises her eyebrows, gives RUBRICK a look.     Frowning thoughtfully, MEKUM looks up.                                   MEKUM                    You mean up there?                                   CHURCH                         (to Rubrick)                    Go ahead, Rube.  Tell Todd to take                    him.                                   MEKUM                    No!     They all look at MEKUM.  Is this the chink in the armor?  The new      soldiers can't fight?                                   CHURCH                    "No"?                                   MEKUM                    Not fair.  No contest.  Send two                    more of your old ones up.     Now CHURCH, RUBRICK, and SLOAN are stunned.  They exchange a     glance.                                   MEKUM                    Go ahead.     RUBRICK shrugs, turns to the VETERANS still sitting stoically in     a group on the cement floor.                                   RUBRICK                    Romero, A. -- Goines, D.L. -- up                    the chains.     Two of the veterans, ROMERO and GOINES, leap immediately to their     feet and climb rapidly.     SLOAN, CHURCH, and RUBRICK exchange a look as MEKUM smirks      confidently.     ANGLE ON TODD AND MELTON ABOVE.  They're still facing each other     across the sixty foot drop.     MELTON glances down...without losing sight of TODD.     ROMERO and GOINES are coming up the chains fast, hand over hand.      They're within ten feet, their impassive faces look dangerous.     Nothing shows on MELTON's machine-face, but he starts a slight     motion in his chain so that he spins slowly.  That way, as the      veterans surround him, he keeps a continual eye an all three.     TODD, his face impassive, eyes MELTON vigilantly.     ANGLE ON RUBRICK BELOW     For a long moment, RUBRICK looks up at the three men dangling     around the new soldier, then he shouts loudly at them.                                   RUBRICK                    Get him, men!     ANGLE ON TODD as SMASH!  TODD is hit hard in the face even as he     starts to swing.  WHAM!  MELTON hits him again and TODD loses his     grip on the chain, starts to fall, grabs at the chain, clutches,     slides...     ANGLE ON MELTON, CRUNCH!, hit as he swings at MELTON.  WHAM!     MELTON hits him again, hard.     GOINES swings against MELTON from behind, smashing at him with     his free hand and with both feet.     MELTON ignores the blows from behind as he grabs ROMERO by the     face with one hand, yanks the face close to his own, and squeezes      mercilessly.     ANGLE ON TODD, TWENTY FEET BELOW.  He's managed to get a foothold     on one of the mini-platforms.  His face horribly bloody, he looks     up at the action twenty feet above him and sees MELTON suddenly     hurl ROMERO downward.     ROMERO rockets down past TODD...     ANGLE ON THE FLOOR as SMASH!  ROMERO's body crunches against the      cement not far from RUBRICK, SLOAN, and CHURCH, splattering them     with blood.     Their eyes are wide with disbelief and horror as they look up     again...     ANGLE ON MELTON in the girders as he turns to face the man who's     been clubbing him from behind...GOINES!     GOINES swings his chain wide and MELTON, eyes merciless, deadly,      swings after him.     ANGLE ON TODD, bloody, struggling up the chain hand over hand.     His eyes follow MELTON above as the new soldier swings and     swings, trying to get a blow at GOINES.     Just then, GOINES lunges at MELTON, SMACK, SMASH, he hits him     hard, and WHAM!  MELTON hits him back...     ANGLE ON TODD who has climbed to a "platform" foothold on his     chain five feet above the swinging fighters.  TODD looks down     on MELTON's back as the big man swings close, watching, tensing,     then...     TODD dives off his chain and lands on MELTON's back, crooking one     arm around the new soldier's neck and pounding him with one free     hand and strangling him with the other arm.     MELTON gurgles while GOINES hits him in the face.     ANGLE ON MEKUM WATCHING BELOW.  For the first time a frown of     concern wrinkles his brow.     ANGLE ON MELTON AND TODD on chains just below the girders.     MELTON slams an elbow back into TODD's ribs hard and TODD gasps     for air, but...     GOINES uses the moment to slam a knee into MELTON's balls and...     MELTON gasps, then grabs GOINES by the neck with one hand, rips     him from the chain, and sends him plunging violently downward     even as...     TODD goes for face with his free hand.     SLAM!  MELTON smashes TODD in the ribs with an elbow.     TODD savagely gouges out one of MELTON's eyes.     ANGLE ON MEKUM, sixty feet below, enraged at the sight of     MELTON's injury.     ANGLE ON THE VETERANS watching the brutal fight with blank     impassive faces, RILEY among them.     ANGLE ON THE NEW SOLDIERS watching, robot-like.     ANGLE ON THE STRUGGLE OVERHEAD.  SMASH!  SMASH!  SMASH!  MELTON's     elbows drive back into TODD's ribs.  The breath knocked out of     him, TODD gasps for air, pain contorting his face.     MELTON manages to get TODD's forearm into his mouth and bites      furiously, drawing blood.     TODD grits his teeth in pain.     WHAM!  Another blow to the ribs from MELTON's elbow.     TODD is losing his grip.     RILEY watches below, his face a mask.     MELTON bites and elbows furiously.     TODD loses his grip and grabs at MELTON, rakes flesh as he begins     to fall and then...     Plunging downward, TODD grabs wildly at the chain and catches it     ...but he keeps falling, the chain ripping flesh from his hand     for twenty feet until...     He can't hold on any longer!  TODD plunges the last thirty feet     to the floor, landing with a terrible crunch right on top of     ROMERO's broken body below.     Sudden silence!     ANGLE ON THE VETERANS watching impassively as TODD lies     motionless, sprawled on ROMERO's body.     ANGLE ON THE NEW SOLDIERS revealing no feelings.     ANGLE ON CHURCH, SLOAN, and RUBRICK looking stunned and shaken.     It's MEKUM who breaks the silence, SCREAMING furiously at the one-     eyed MELTON who's still sixty feet up...                                   MEKUM                    GET DOWN HERE!  GET DOWN HERE ON THE                    DOUBLE, GET YOUR ASS DOWN HERE, YOU                    MISERABLE PISS ANT STINKING SHIT FOR                    BRAINS!     CHURCH, SLOAN, and RUBRICK lift their stunned faces from TODD to     MEKUM who's continuing to rant at MELTON as MELTON comes down the     chain fast...                                   MELTON                    COME ON, DOUBLE IT UP, DOWN, DOWN,                    DOWN, YOU MISERABLE THIRD RATE                    SHITHEAD INCOMPETENT CLOWN!     MELTON lets go of the chain and drops the last fifteen feet,     landing gracefully on his feet in front of MEKUM and salutes.                                   MELTON                    Sir!                                   MEKUM                    LOOK AT YOU, YOU BIG DUMB SHIT,                    YOU'VE LOST AN EYE.  WHAT THE HELL                    GOOD IS A GODDAMN ONE-EYED SOLDIER?                    DO YOU KNOW WHAT IT COST TO BREED                    YOU, YOU BIG MORON?  TO TRAIN YOU,                    FEED YOU?     As MEKUM turns, including all the NEW SOLDIERS in his continuing     tirade, CHURCH, SLOAN, and RUBRICK confer in low voices.                                   RUBRICK                    They're...fantastic!                                   CHURCH                         (reluctant agreement)                    Mmmmmmm...                                   SLOAN                         (worried)                    We could have a problem here,                    couldn't we?  I mean, we just lost                    three men...                                   CHURCH                    Oh, I wouldn't worry about that.                    "Training accident."  Paperwork.                                   SLOAN                    What about the bodies?                                   CHURCH                         (turning away)                    Incinerator.     Turning his back on SLOAN and RUBRICK, CHURCH approaches MEKUM     who's still raging, indicating MELTON to the blank-faced NEW     SOLDIERS.                                   MEKUM                    WHAT GOOD IS THIS MAN NOW?  WITH ONE                    GOOD EYE!  HE'S GOT NO DEPTH PERCEPTION!                    HE'S CANNON FODDER.  ALL HE CAN DO                    IS WALK POINT AND TAKE THE FIRST                    HIT.                                   CHURCH                         (interrupting)                    They're very...impressive.                                   MEKUM                         (fuming)                    Yeah, well, the big moron shouldn't                    have lost an eye.     CHURCH glances at TODD's corpse dumped over ROMERO's broken body,     tries to assuage him.                                   CHURCH                    It was our best man who got his                    eye...  Todd, a real tough one.                    Survived police action in Montana,                    fought in the Argentine Sector, and                    in the Saudi Campaign to say nothing                    of --                                   MEKUM                    Old news!  They're nothing at all!                    Wait until you get these new fellas                    into some real action.  I guarantee                    you'll be awed.  I guarantee it.     The NEW SOLDIERS sit impassively, the bleeding MELTON among them,     staring right at the VETERANS.     Not far away three dead bodies lie motionless as we...                                                       CUT TO:     INT.  FURNACES/FURNACE ROOM - NIGHT     A rage of flame!  The mouth of a huge furnace leers with yellow     fury, eight feet high.     Two men, BURNERS, in asbestos fire suits and helmets, appear,     laboriously dragging a tattered sofa leaking stuffing.  With     effort they shove it into the blazing furnace where it is quickly      consumed.  Slowly the BURNERS turn and trudge back for another     load as we REVEAL A REFUSE BIN, seven feet high, looming in the      shadows not far from the flickering light of the furnace.  It's      overflowing with junk, barely distinguishable in the gloom.     The BURNERS grab blindly and haul out the next object.     It's ROMERO's dead body.  They haul it out of the bin and let it     flop limply to the floor where ROMERO stares sightlessly at     nothing.     The BURNERS stare at the body, exchange a blank look through     their visors, shrug and start to drag the heavy carcass toward     the flames.     INT.  REFUSE BIN/FURNACE ROOM/CLOSE BY     In the near darkness, the faintest flickering light reveals two     tangled BODIES, motionless in the confusion of refuse.  But not     quite motionless!  A hand opens and closes!  A bloody hand!     Fingers twitch.     INT.  FURNACE ROOM     ROARING FLAMES as ROMERO's body is tossed unceremoniously into the     fire where the flames begin to consume it.     For half a second the BURNERS watch ROMERO melt into fire, then     they turn their backs and head back for another load.     INT.  REFUSE BIN/FURNACE ROOM     BURNERS' hands reach in and haul out another corpse, GOINES,     dragging the body right over TODD's body.     As GOINES' shoe drags over TODD's face, TODD's eyes flicker     stupidly.     Then GOINES' corpse is pulled over the edge of the bin.     TODD blinks, fighting for consciousness.  Where is he?  He moves     his head...     INT.  FURNACE ROOM     The BURNERS, silhouetted by flames, feed GOINES' body to the     furnace.     CLOSE ON THE FLAMES as GOINES' body is consumed by raging     flames.     ANGLE ON THE BURNERS trudging to the bin.  They reach in blindly     for whatever's next.  Tugging with effort, they struggle the     clumsy object over the rim, and let it fall to the floor.  It's a      mattress!     Communicating with a look, the FIRST BURNER drags the mattress     toward the fire while the SECOND BURNER reaches again into the     bin.     The SECOND BURNER frowns through the visor, struggles with     something, frowns, wrestles with it.     Finally, with great effort, he pulls out a big carton that      immediately spills old magazines on him.     Disgusted, he pulls the partially full carton across the refuse-     littered floor toward the furnaces.     ANGLE ON HIS FEET, as the SECOND BURNER struggles toward the     fire, stepping over a trail of blood which is hardly noticeable     in the flickering firelight.     He passes another big corrugated bin with a sign an it.  The sign     says NONFLAMMABLE WASTE DISPOSAL...and the trail of blood leads     to that bin!                                                       CUT TO:     EXT.  OUTER SPACE - "DAY"     Silence!  A vast darkness with only a few tiny lights in the     infinite depths.     A battered rusty spaceship glides slowly and silently into view.     This is a GARBAGE SHIP and it looks it.  Awkward and slow and     totally unglamorous, it moves through space like a great clumsy     church made of steel as we...                                                       CUT TO:     INT.  HOLD/GARBAGE SHIP - "DAY"     As the massive doors on the underside of the ship open, light     spills in and there is a huge ROAR as tons of debris, including      massive pieces of machinery, huge statues, old vehicles, and      numerous containers, spill out through the open bays and tumble      downward.  The one that says "Nonflammable Waste" on the side     careens against the bulkhead with a THUNDEROUS sound, then     hurtles downward.     EXT.  JUNK MOUNTAINS/LANDSCAPE     As debris from the ship tumbles down onto one of several huge     mountains of junk that loom 800 hundred feet above a windswept     terrain dimly lit by four pale suns, the bays close, and the     rusty GARBAGE SHIP glides away.     Still the cascade of machines and other bulky junk THUNDERS down     the steep slopes, shattering, breaking into parts, tumbling and     tumbling, settling here and there, while a SCREAMING WIND, very     powerful, picks off the lighter pieces and carries them off like     snow blowing off a mountain.     The familiar-looking container somersaults halfway down the slope      where it bursts open, spilling a confusion of junk.     Above the container, a huge drum smashes into a hunk of machinery     and splits, oozing an awful looking liquid that spills down onto     the contents of the container, sizzling and smoking on steel,     eating it like acid.     Not far from a smoking piece of steel, WE FIND TODD'S foot     protruding from the junk heap!  It's motionless!  Acid drips and      hisses.     ANGLE ON TODD, sprawled "inside" the mountain of junk, grimacing     in pain as acid hits his exposed foot.  Trapped in the debris,      battered and bloody and weak, he struggles to rise, fights the     heavy objects pinning him, fights to avoid the dripping acid.  As     the wind SCREAMS furiously, he continues to struggle against the     junk that pins him as we...                                                       CUT TO:     EXT.  "INSIDE" AND OUTSIDE THE MOUNTAIN - DAY - A LITTLE LATER     TODD's head, caked with blood, appears from the junk like a man     looking out of a cave.  Wind seizes at his hair furiously.     He looks up, sees four pale suns in the sky...just as a huge     steel lathe comes somersaulting down from above like a loose     boulder, and TODD has to duck hastily to avoid certain death.     As the heavy steel tumbles down the slope below him, wind plucks     a twelve-foot I-beam from the slope next to him and whips it off     in a frenzy.     Holding on for dear life, TODD looks down at the ground four     hundred feet below and sees a bleak wasteland strewn with junk     shifting and skittering in the wind.     He notices something and reacts.     Far down on the floor there is a strange pattern of lines...and     moving along one of the lines are four tiny FIGURES...they could     be humans...but maybe not!     For a moment TODD watches them.     Then he starts to climb downward through the labyrinth of junk      "inside" the mountain, and we...                                                       CUT TO:     EXT.  LOWER ON "JUNK MOUNTAIN" - DAY - MINUTES LATER     Far down the slope, perhaps forty feet from the foot of the     massive mountain, TODD's head pokes out of the confusion of junk     and he looks down at the FIGURES below.     Seen more closely, the FIGURES are more distinct, but no less     mysterious.  Heavy outer garments like huge parkas and hoods blur      their individual shapes as they inch across the landscape,     apparently clutching one of several crisscrossing wires that     stretch tautly for miles across the bleak terrain like "roads"     through the wind.     TODD watches as one of the FIGURES moves off the "road."  He's      trailing rope that attaches him to the others as he struggles     through the wind, walking almost on all fours like an ape.     TODD watches the FIGURE moving among bits of junk until he     locates something he wants, picks it up, and starts to struggle     back toward the others, dragging his burden after him.     TODD is watching what would seem to be some sort of scavenging     process by these strange unearthly FIGURES as we...                                                       CUT TO:     EXT.  FADING SUNS - DUSK - LATER     The four suns are changing color, dimming in the sky, as we...                                                       CUT TO:     EXT.  LANDSCAPE AND "JUNK MOUNTAIN" - DUSK     Tiny in the distance, the four FIGURES are moving together along     a cable, headed away from the junk mountain.     At ground level now, TODD is watching them, crouched behind a     massive transformer that teeters slightly in the wind in spite of     its great bulk.     Peeking around the sheltering transformer, he spots one of the     taut cables lashed to an enormous piece of junk near the foot of     "his" mountain.  The cable is twenty yards away in a "canyon" of     junk and he'll have to move across open space partially exposed     to the wind in order to get to it.     He starts out from behind the transformer...     WHOOOOOO!  Screaming wind lifts him and hurls him thirty feet,     his arms flailing.  He comes down even further from the cable,      struggling to keep on his feet.  Gritting his teeth, he fights     the wind, struggles toward the cable.     Suddenly a chunk of steel whips at him and he ducks just in time     as it whistles close to his head.     TODD drops to the ground and starts to crawl "under the wind,"     toward the taut cable, and we...                                                       CUT TO:     EXT.  "STEEL HENGE" - DUSK - LATER     Seen by TODD, the four tiny FIGURES are far ahead, disappearing     in the distance and the dusk.     Following them on a taut wire, TODD is passing through a barren      landscape punctuated by strange ruins, great shapes of steel     thrusting out of the ground and looming over and around him,     vaguely recognizable as the wreckage of a space vehicle that must     have crashed long ago.     The mountains of junk squat a mile behind him.  He's come a long     way, it's almost dark, he's weak.     He hangs onto the wire, walking with effort.     He can no longer see the creatures ahead of him on the wire.     He notices something thirty yards off the wire to the right.     Steel crosses.  Maybe a hundred of them.  A cemetery.     Just then, the wind catches TODD, yanks him, but he hangs onto     the wire, holding on desperately, as the wind pulls at him and     makes him flap like a pennant in the breeze.     Then the wind dies enough for him to get both hands on the wire     and get weakly to his feet.  For a moment he looks like he might      collapse, but he doesn't, and we...                                                       CUT TO:     EXT.  LANDSCAPE - NIGHT     At night the four suns glow darkly like night lights.     TODD is alone on the planet, punished by the savage wind,     struggling along the wire, shivering.     Every stop is an effort, but the eyes stare into the dark and     they reveal no emotion, not even when he suddenly tenses, seeing      something ahead.     In the distance a faint light glows.     TODD considers it as we...                                                       CUT TO:     EXT.  WINDOW/SKYLIGHT - NIGHT - MOMENTS LATER     The window is detached plexi from some kind of vehicle, embedded     in a low mound of "earth" like a skylight.  Whatever is making     the light comes from below in a sort of hut that slopes only     inches above the ground.     TODD is hanging onto the cable only ten yards from the strange     window.  He can see more of them glowing all around him, as well     as silhouetted pipes issuing smoke to the wind.     TODD drops to his belly to keep under the wind.  He crawls ten     yards to the window and pears through it.     TODD'S POV of a fantastic confusion of color and movement seen     through the thick scratched plexiglass window.  The wild blurs of     activity make no sense to him whatsoever, nor do the very FAINT     SQUEALS of sound barely audible over the deafening ROAR of the     wind.     (What he's seeing in the room below is a violent pillow fight     between eight BOYS and GIRLS ranging from four to ten years old.      Wearing cotton shifts dyed red, blue, or yellow they're smacking     each other violently with rag pillows and laughing happily in a      dormitory-style full of stacked bunks.)     ANGLE ON TODD, prone on the "roof," mystified.  He's never seen      anything like it.  His grease-covered face barely reveals his      puzzlement when he is suddenly distracted by a change in the     wind.     The ROARING WIND that has dominated the environment since he first      arrived has diminished to a strong breeze.     TODD tries sitting up.  The breeze doesn't overpower him.  He     looks around.     The meaningless SHRIEKS of the pillow fight, though still muffled     by heavy plexiglass, are LOUDER now, but TODD's attention is on     the other window/skylight that glows from this strange "roof" and     on the strange sound that's coming to him, borne on the breeze...     a MUSICAL sound.     Struggling weakly to his feet, TODD staggers toward the next     window.  The MUSIC is LOUDER as he approaches -- it's waltz music      played on an accordion.     TODD drops to his knees and peers through the next window.     TODD'S POV through the second "window," another mysterious     vision!  The color and movement are more subdued, but TODD is     just as puzzled.     What he's seeing indistinctly through the thick plexiglass is an      OVERHEAD VIEW of a man and a woman gliding across the floor,     moving as one, first this way, then that, in time to a WALTZ.  In     the corner, another person is making a strange movement that     seems to initiate the music...     ANGLE ON TODD, flat on the roof.  Now that the weak breeze has     given way to a deathly stillness, the mysterious (to him) MUSIC     is clearly audible as TODD peers through the plexiglass at the     warm scene below, as puzzled by the waltzing couple as by the     pillow fights.     Then he gets to his feet again and in the stillness makes his way     past a smoking chimney toward the next window.  Halfway there he      freezes...listening!     A strange haunting WHISTLING sound is coming from somewhere...     TODD looks around at the blackness beyond the roof windows.     There's nothing visible...     The mysterious sound is louder now, drowning out the music     ominously, drowning out everything, everything, everything.     Suddenly TODD understands, but he's too late...     ROOOOOOOOOOAAR!  It's the WIND, back with renewed fury, more     powerful than ever!     TODD is hurtled into the air, tossed head over heels by the wind,     struggling, clutching at empty air in vain, buffeted, slammed to     the ground, lifted again before he can flatten himself, tossed      violently, somersaulted helplessly...     EXT.  INSIDE A TRENCH     WHAM!  TODD is slammed face first to the ground.  For a long     moment he's motionless, untouched by the HOWLING WIND for reasons     that aren't clear.     Finally he rolls over weakly and looks up.     In the weak light he can just make out the steep earthen walls of     a narrow trench looming eight feet straight up, protecting him     from the wind howling overhead.     TODD tries to get up...but the fall has injured his leg and he     slumps to the floor of the three-foot-wide trench, too weak and      injured even to crawl.     Lying there, barely conscious, gasping for breath, he suddenly     sees something.     Shoes!  Less than a foot from his bloody face.     He manages to lift his head a little and look up.     Silhouetted by the light spilling from an open door in the trench     wall are four children...ELLEN, ten, WILL, six, TOMMY, five, and      JOHNNY, eight.     Barely conscious, TODD can just make out the astonishment on     their blurred shadowy faces as they look down at him in     amazement.  Then they go OUT OF FOCUS altogether as TODD slumps     unconscious and everything goes BLACK BLACK BLACK, and we...                                                       CUT TO:     INT.  MEETING ROOM - NIGHT     VOICES, CONFUSION.  About fifty people are jammed into the low-     ceilinged meeting room, all of them talking at once.  They are     PIONEERS, men and women of all ages and many races, a hardy,     weathered-looking group dressed in plain clothes of muted color.     Their faces seem to have been etched by the wind with deep lines,     the skin burnished, and even the younger ones have crow's feet     around the eyes from squinting.     As they chatter excitedly, asking each other what happened, who     found him, where, and so on, a sharp-faced fifty-ish woman,     HAWKINS, is standing behind a table in the front of the room,     calling for order.                                   HAWKINS                    Please!  Quiet, please!     Just as the hubbub finally dies down, a grizzled pioneer named     SLADE bellows loudly at her.                                   SLADE                    Just tell me one thing!  How many of                    them are there and are they armed?     HAWKINS stares SLADE down, refusing to speak until she has real      silence.  When she finally speaks, her voice is calm and     controlled.                                   HAWKINS                    There in a man...one man.  He was                    found in the trench by several                    children...     A sudden murmur dies away quickly under HAWKINS' hard stare.                                   HAWKINS                    This man was not armed.     A murmur goes through the crowded room, then a woman named ELISE     speaks over the hum of voices...                                   ELISE                    How could there only be one?  How                    could he get here?     HAWKINS glances toward MACE, a muscular, bearded man, about     thirty.                                   MACE                    He was unconscious.  We couldn't ask                    him anything.  He --     A commotion in the back room causes MACE to break off as JIMMY     PIG, a clean-shaven burly-looking pioneer in his thirties, pushes     his way in, followed by four more PIONEERS.  All five of then are      wearing their huge hooded parkas, strange Eskimo-type wind     goggles, and carrying weapons.                                   JIMMY PIG                    Nothin' out there.  We couldn't see                    nobody, couldn't see no ship, no                    vehicles, nothin'...plus the wind's                    up again real strong.     An excited hubbub.  HAWKINS is trying to restore order when SLADE     shouts over the commotion.                                   SLADE                    They're hiding, I bet.     HAWKINS ignores him as she speaks with firm authority.                                   HAWKINS                    Let's everybody calm down right now!                         (beat; silence; then)                    We have an injured man among us.                    One man.  A traveler.  Unarmed.                         (another pause; then)                    We all want to do the decent thing.                    The decent thing is to help him.                    Mace's wife, Sandra, is looking                    after him now.  Now, I'd like a vote                    of support on this course of action                    from all of you.     The way she says it, you know she's used to getting her way, and,     in fact, PIONEERS are exchanging glances and nodding when SLADE     shouts again.                                   SLADE                    You keep an eye on him, Mace!  You                    watch him!                                                       CUT TO:     INT.  BEDROOM - NIGHT     TODD is on his back in a bed in a tiny earth-walled bedroom.  He     stares stupidly at the woman bending over him.  She is SANDRA, a     woman of twenty-five who is attractive, but not in a glamorous     way.  It's a very natural beauty worn with intelligence and      dignity.  She's wiping away blood and grease from TODD's face.     TODD's eyes flick around the room even as he lies motionless.     He sees a window high on one wall.     He sees old-fashioned magazine pictures and bits of patterned     material hung here and there for decoration.     Clothing hangs from pegs on the walls.     He doesn't see the look in SANDRA's eyes as she discovers the      savage scar on his forehead or the sergeant's tattoo on his     cheek.  Eyeing these telltale marks, SANDRA pours liquid into a     spoon and holds it to his lips.                                   SANDRA                    Want to try some more of this?     TODD swallows weakly.     SANDRA smiles, stands up, moves toward the door.                                   SANDRA                    You rest now.  I'll give you more                    later.     TODD watches her exit.     He hears her VOICE in the next room...a low murmur.     He's looking around again when a NOISE makes him look back toward     the door.     A two-year-old is crawling into the room on hands and knees.  The     baby boy, NATHAN, stops just inside, seeing TODD in the bed.     NATHAN looks into TODD's eyes with childlike interest and wonder.     TODD meets the look with those blank soldier's eyes.     INT.  "LIVING ROOM"     A second tiny room next to the bedroom is the rest of the     Mace/Sandra/Nathan living quarters.  MACE and SANDRA are deep in      conversation.                                   MACE                    What do you mean he's survived                    worse?  Did he say something?                                   SANDRA                    No, but he's covered with old                    wounds, all sorts of scars.  Knife                    scars, bullet scars, burns.                                   MACE                         (worried)                    A soldier!                                   SANDRA                    There are words on his shoulder.                    Tannhauser Gate, the Argentine                    Sector, Montana, Bolivia, Shanghai                    2012...                                   MACE                    The Tannhauser Gate was a battle...     MACE and SANDRA look into each other's eyes, very worried.     Then...                                   SANDRA                    We'll have to sleep on the floor.                                   MACE                         (suddenly alarmed)                    Where's Nathan?     MACE is looking around.  He spots the open door to the bedroom,      hurries to it, and disappears.     SANDRA starts after him, looking worried...but before she gets to     the door, MACE reappears with NATHAN safely in his arms.                                   MACE                    If there's any danger to Nathan --                                   SANDRA                         (interrupting grimly)                    I won't permit danger to Nathan.     MACE and SANDRA lock eyes in firm understanding as we...                                                       CUT TO:     INT.  WAR SHIP - "DAY"     EXPLOSION!  SCREAMS!  SMOKE!  A SIREN!  We're in some kind of war     ship in outer space during a battle.     The interior is a lot like the interior of a submarine, cramped     even in the best conditions and right now the conditions are     awful as SOLDIERS in bulky space suits stumble through thick     smoke while a SIREN WHOOPS urgently and wounded SOLDIERS scream     in agony.     WHOOOOM!  Another EXPLOSION!  SCREAMING METAL!     Part of the bulkhead is shot away and the suction is like wind,     ripping SOLDIERS out of the hole into space..     We FOCUS ON a soldier in a space suit who's wedged himself behind     a cannon.  As we look closely at his visor, we recognize TODD     who's firing back at the enemy while all around him SOLDIERS are     screaming and dying as we...                                                       CUT TO:     INT.  BEDROOM - MORNING     SUDDEN SILENCE!  TODD blinks awake.  He looks around.     It's the same bedroom, but morning light is streaming in the high      window.     He can hear SOUNDS...LAUGHTER...coming from beyond the door.     INT.  OTHER ROOM     NATHAN is wobbling forward with wide eyes as MACE holds one of     his hands and SANDRA holds the other.  They're teaching the child     to walk, encouraging each step.  But when they let go, NATHAN     totters forward only one step before landing flat on his ass.     MACE and SANDRA laugh, making the whole thing a game, and NATHAN,      after a moment of confusion, joins in the laughter.  It's a warm      moment until SANDRA, sensing a presence, turns toward the     bedroom, suddenly serious.     MACE follows her look.     TODD is standing in the doorway, supporting himself on the door     frame...his soldier's eyes full of unspoken menace... one leg     heavily bandaged.                                   SANDRA                         (nervous)                    You must be...you must be feeling                    better.     TODD says nothing.  His eyes flick to NATHAN.     MACE is watching TODD sharply.                                   MACE                    We're teaching the boy to walk.                                   SANDRA                         (nervously filling silence)                    He's late learning.  He was sick for                    a long time.     TODD says nothing.  His eyes follow MACE who's gone to the corner     where he's seizing a heavy metal rod that might be a weapon.     TODD tenses.  Ready.  Dangerous.     As MACE turns toward him, MACE doesn't notice the danger in     TODD'S eyes.                                   MACE                    I got something for you.     He innocently approaches with the metal rod.     Super alert, TODD watches MACE hold the rod out to him.                                   MACE                    Here.     TODD looks mistrustful.                                   MACE                    Like this.     MACE demonstrates, using the rod like a cane.                                   MACE                    See?     Expressionless, watches MACE use the cane.                                   MACE                    Practice with it.  In a day or two                    maybe you'll be strong enough to go                    out to the garden with Sandra.     MACE never even realizes how much danger he was in.                                                       CUT TO:     INT.  OTHER ROOM - DAY - A LITTLE LATER     TODD's heavy boots come close to NATHAN, the cane clumps down,     just missing him.     NATHAN looks up with open-mouthed innocence and childlike wonder     at TODD who looms past him, walking very cautiously with the help     of a cane.     TODD looks down at NATHAN.  Their eyes meet for a moment.  TODD     is wearing one of the heavy parkas the pioneers wear.     SANDRA answers a KNOCK at the door, opens it, revealing ELLEN,     the ten-year-old, in the doorway.  Behind her are JOHNNY and     WILL, as well as several other CHILDREN of various ages.                                   ELLEN                    I came for Nathan.     But ELLEN's eyes are on TODD and so are the others crowding     behind her to peep over her shoulder.  They all want to get a     look at TODD, but when he looks in their direction, they retreat      shyly.     SANDRA is wearing a parka too.  She picks up NATHAN from where     he's sitting near TODD's feet and carries him to the door, giving     him a kiss, then handing him to ELLEN.     NATHAN starts to cry and holds his arms out to his mother as     ELLEN hugs him and comforts him.     TODD watches the drama as ELLEN and SANDRA comfort the child and      soothe his fears at being separated from his mother.     Nothing shows in TODD's eyes...but affection seems to fascinate     him.     As ELLEN and her cohorts hurry off with NATHAN, they sneak over-     the-shoulder glances at the strange monster, TODD.     Just then MACE, dressed in a heavy parka also, comes out of the      bedroom and heads for the door.                                   MACE                    Let's go.  Come on, Sergeant.     MACE is heading out the door as we...                                                       CUT TO:     EXT.  INSIDE THE TRENCH - NIGHT - MINUTES LATER     Single-file, a dozen PIONEERS move along a trench as the wind     SCREAMS overhead.     We DISCOVER the cane and boots of TODD among them.  The MAN in     front of TODD glances back at him occasionally, curious, while     MACE and SANDRA walk behind him.     As they pass huts, there are windows high in one sloping wall of     the trench.  TODD doesn't notice the distorted faces of the     CHILDREN peering out at him, their noses pressed against the      plexiglass, full of curiosity as we...                                                       CUT TO:     EXT.  A JUNCTION OF TRENCHES - DAY     Three trenches meet.  Some of the PIONEERS move off to the left,     some to the right.  MACE is going left, but SANDRA guides TODD     toward the right with her.                                   SANDRA                    This way...     MACE gives her a wave.  He waves at TODD too.  TODD looks     confused at the wave, then he salutes.     MACE is startled by that.  He sort of grins as we...                                                       CUT TO:     EXT.  GARDEN - DAY - LATER     A nasty little snake, a ten-inch VIPER, slithers through the dirt      among the neat rows of seedlings growing there until...     SQUASH!  One neat blow from the sharp edge of a trowel     decapitates the VIPER.     SANDRA flips the still wriggling thing aside and wipes her trowel      clean in the dirt as TODD watches with those blank snake eyes of     his.     They're on all fours in a garden.  The garden is simply a much     wider trench covered by a trellis so the light can be regulated.     There are already neat rows of vegetables are growing.  Behind     them, kneeling PIONEERS are planting new seedlings and weeding     around more mature plants.     SANDRA turns back to place a seedling in the dirt with only an     offhand glance at the dead VIPER.                                   SANDRA                    You have to watch out for them.                    They probably wouldn't kill someone                    your size, not if you were healthy                    anyway.  But they'd make you pretty                    sick.  Someone smaller...like me, or                    a child...     Her meaning clear, SANDRA continues to demonstrate to TODD how to      plant the seedling in the earth.                                   SANDRA                    In a month this one will be as big                    as those.     TODD follows her look to the other side of the trench where the     plants are already eighteen inches high.     Other PIONEERS, working on their hands and knees also, are     sneaking glances as TODD, among them, a middle-aged woman named     JUDITH and an older woman, EMMA.     SANDRA frowns one of their looks away protectively as she selects      another seedling from a tray and hands it to TODD.                                   SANDRA                    Here.  You try one.     TODD looks at it.  He doesn't exactly look scared, but he handles     it gingerly, seemingly intimidated by the delicate seedling.  He      starts to plant it carefully as we...                                                       CUT TO:     INT.  DINING COMMONS - EVENING     Jabbering VOICES, the click of utensils.  Heaping plates of food     are being passed the length of long tables set up in communal     style.  JOHNNY is kicking ELLEN under the table, WILL flips a     piece of food at TOMMY when his mother, ILONA, isn't looking, and     the outspoken SLADE is lecturing a pioneer named CHESTER.                                   SLADE                    You can't talk to a soldier no more                    than you can talk to a...a...bomb!                    Or a bullet!  They're trained,                    they're killing machines.  They got                    an objective and they go after that                    objective and nothing stops them but                    killing them.                                   CHESTER                         (a glance over his                          shoulder)                    Just one?  To kill us all?     The conversation gets the attention of JOHNNY and WILL who stop     food-fighting to listen to the adults talk.                                   SLADE                    First off, if there's one, there's                    more.  That's how it is, soldiers                    travel in bunches.  Second, they                    don't waste soldiers on folks                    like us, that's for police!  Training                    soldiers to kill weaklings like us                    is not what they call "cost                    effective."                                   CHESTER                    Then who do they fight?                                   SLADE                    Other soldiers!  There's a saying,                    "Soldiers deserve soldiers."     ANGLE ON ILONA noticing WILL and TOMMY listening.                                   ILONA                    Slade, hush up.     ANGLE ON TOMMY and WILL glancing toward the next table.     ANGLE ON THE NEXT TABLE where TODD, wedged between SANDRA and     MACE, is eating like a machine, looking neither right nor left as      people jabber all around him.     ANGLE ON JUDITH whispering to EMMA at a nearby table as she     watches TODD eat.                                   JUDITH                    You see how much he's eating?     ANGLE ON SLADE who turns now and boldly addresses TODD across the     gap between the tables...                                   SLADE                    I don't see how you can not remember                    how you got here, Sergeant.     There's a sudden hush in the noisy room, broken only by a few     urgent whispers and a cough.     TODD looks up from his food and meets SLADE'S look.     SANDRA scowls at SLADE as SLADE persists...                                   SLADE                    You're not a deserter, are you...                    Sergeant?     The silence is even more charged than before.     SANDRA looks alarmed.  Someone coughs.  The tension is     unbearable.                                   TODD                    No, sir.     A sigh of relief from everybody!  But SLADE presses on.                                   SLADE                    Then how come you're not with your                    unit?                                   JIMMY PIG                    Oh, come on, Slade, let the man eat.                                   SLADE                    It's not an unreasonable question.                         (to Todd)                    How about it, Sergeant?     ON TODD, actually struggling with the question...     remembering.  Suddenly he blurts...                                   TODD                    I was...replaced.                                   MACE                    Replaced?     TODD hesitates for half a second before answering.                                   TODD                    By a better soldier, sir.     There are looks exchanged among the PIONEERS as we...                                                       CUT TO:     EXT.  GARDEN - DAY     A little seedling is fitted into the earth gently.  TODD's strong      hands pat the earth around it.     TODD reaches for another seedling.  He's one of a group of ten     PIONEERS, all on their hands and knees, all working intently,      silently.  They seem to have accepted him.  Nobody stares.     TODD is carefully patting the next seedling in the ground when     something causes him to look up.     Five ENEMY SOLDIERS in torn and dirty uniforms are looming over     him, weapons pointed at him.  All around them is a desert of sand     stretching forever under a baking sun.     One of the soldiers kicks TODD.     ANGLE ON EMMA, JUDITH, and several other PIONEER WOMEN exchanging     nervous glances as they look back to where TODD's kneeling.     There are no soldiers...but somehow, he's trampled several rows     of seedlings.     TODD looks toward them, confused, disoriented by his "memory."     The women look away quickly, frightened, and we...                                                       CUT TO:     INT.  OTHER ROOM - NIGHT     SANDRA is changing NATHAN's diaper as she chatters, her back to     TODD.                                   SANDRA                    ...And it got worse and worse.  My                    father hadn't had any work in three                    months and...also...there were other                    things...violence...  political                    feelings.  My father said he'd heard                    it was better in the Trinity moons.                    A lot of other people must have had                    the same idea because the ship was                    jammed with people...mostly                    families.  That's probably why it                    broke down...  overloaded.     Across the room, TODD, wearing a T-shirt and baggy pants is     sitting on a stool, his face impassive as ever.     As SANDRA talks, her back to him, TODD's eyes are on the contours     of her body against the shift she's wearing.  It's very...erotic.                                   SANDRA                    Even after they made the repairs, it                    barely got off the ground, it was an                    old converted mining transport, a                    piece of junk to start with.  It                    just...dropped.  Maybe you saw                    what's left of it...out there in the                    wind.  A lot of people died.  And we                    couldn't make any radio contact...                    So we were stuck here.  Nobody was                    happy about it.  A few years later,                    when the dumpers started coming over                    and dropping stuff, people tried to                    get their attention with explosions                    and fires.  But it didn't work.                    They must be unmanned...or they just                    don't care.  Maybe they think we're                    garbage too!     TODD'S face is as impassive as ever while his eyes caress the     shape of her body...and she, unaware, continues to reminisce.                                   SANDRA                    So there really wasn't any choice.                    People had to pull together and make                    the best of it.  We became a...                    community.     As SANDRA maneuvers NATHAN, TODD catches glimpses of her breasts      pushing against the material of the shift.  She continues, still     not noticing where his attention is.                                   SANDRA                    One good thing...nobody bothers us.                    Who'd want to fight over a                    godforsaken place like this?     A wry laugh.  She turns to put NATHAN down on the floor and     catches TODD's eyes just as he shifts them quickly from her     breasts.     For a moment it's awkward...she looks at him...then she recovers.                                   SANDRA                    I guess that's what you like!  The                    fighting, I mean.  The wars.                         (unsure, a question                          really)                    You must...you're a soldier...     TODD doesn't answer as we...                                                       CUT TO:     INT.  CORRIDOR (AND MEETING ROOM) - DAY     The CHILDREN are peeking around a doorway, watching something in     the meeting room.     HAWKINS, coming along the dirt-walled corridor, spots the     CHILDREN ahead.                                   HAWKINS                    You children are supposed to be                    doing lessons.     The CHILDREN barely acknowledge her as she comes even with them.     She looks at what they're looking at.     What they're seeing through the doorway is TODD, shirtless, doing     an eerie sequence of tai chi exercises.  His muscular body     ripples, revealing an incredible map of scar tissue that speaks     eloquently of the life he's led...gash marks, long zippers of      stitches, the puckered patches of burns.     HAWKINS watches for a long moment, her eyes worried.     In the midst of a slow graceful movement, TODD suddenly whirls     and delivers a lightning blow to an unseen enemy with amazing     speed and fury, the terrible force contained in the movement all     too obvious.     Even as HAWKINS and the CHILDREN gasp silently, TODD returns to     the graceful, almost balletic movement, even spookier now, that      preceded the deadly thrust.     The CHILDREN's eyes are like saucers, their jaws agape.     HAWKINS shudders...and breaks the hypnotic spell, speaking aloud     to the children.                                   HAWKINS                    Lessons.                                                       CUT TO:     EXT.  INSIDE TRENCH - NIGHT     It's dark, the wind's HOWLING just above the trench walls as TODD     peers into a faintly lighted window in the wall of the trench.     TODD'S POV THROUGH THE BEDROOM WINDOW reveals a tender moment     between MACE and SANDRA as they enter the bedroom and kiss.  A      flickering candle on a low table, the only light, exaggerates      their shadows.     ANGLE ON TODD, his face revealing no feelings as he turns away.     Light spills from other windows, some more brightly lit, as TODD      begins to jog along the trench, gradually picking up speed, until     he's running hard through intermittent pools of light in the maze     of dark trenches.                                                       CUT TO:     EXT.  BARREN WASTE - DAY     Stillness!  No wind!  Everything is quiet.  Bits of junk are     strewn across the landscape under the four suns.                                   MACE'S VOICE (O.S.)                    She's down now, but she'll come up                    again.  Always does.     EXT.  INSIDE A TRENCH     As MACE continues talking to TODD, he loads the pockets of his     heavy parka with miscellaneous hunks of metal.                                   MACE                         (continuing)                    That's why we're weighing down.  And                    that's why we're always on the wire                    even when the wind's down, like now.                    You don't get much warning.  Here,                    load up, you'll want the weight, I                    promise.     MACE hands heavy hunks of metal to TODD who's wearing a parka     like MACE'S.  He pockets the metal obediently.     Behind them a small crowd of PIONEERS are doing the same:  JIMMY     PIG, SLADE, CHESTER, RED, a woman named SALLY and several OTHERS.     In addition to the parkas, they wear eskimo-style eye-protectors     and carry canteens, tools, and coils of rope attached to various     parts of their outfits.     ANGLE ON MACE noticing TODD eyeing the rifle JIMMY PIG is     carrying.                                   MACE                    Oh, we're not going to shoot                    anything.  That's not what we mean                    by "hunting."                         (then, laughing, to                          Jimmy Pig)                    Jimmy Pig, you're not going to shoot                    anything, are you?                                   JIMMY PIG                         (laughing)                    What could I hit?                                   MACE                         (to Todd)                    It's how we call for help.  Two                    shots.  There'll be someone on duty,                    listening in case we get off the                    wire and get lost or something.  We                    have flares too.  Come on.     Other are already climbing the ladder out of the trench to the     surface above as MACE urges TODD to follow.                                                       CUT TO:     EXT.  "STEEL HENGE" - DAY     It's very still, no wind.  The little group of PIONEERS is moving     along a wire that passes close to the towering ruins of the     wrecked spaceship.  They are tiny figures in the vast landscape.     CLOSER ON TODD AND MACE as they plod along in the line of     PIONEERS.  MACE indicates the wreck off to the right.                                   MACE                    Sandra said she told you how we                    wound up here.  Our parents and so                    on.                         (turning left,                          indicating)                    Over here, we call these "catcher                    trenches."     TODD follows his look to a long open trench leading, apparently,      nowhere.                                   MACE                         (continuing)                    Smaller stuff that blows across the                    ground, it falls in these trenches,                    it works sort of like a filter.  We                    go through the trenches sometimes                    and get some good stuff.     As they pass close along the trench,  TODD looks in and observes     the trench is knee deep in muddy water with rusty machine parts     and assorted junk protruding.     MACE chuckles at the sight.                                   MACE                    We try to work 'em when they're dry.                    It's lousy going in there when                    they're flooded.  You can see...     A sudden SHOUT, "HEYYUP!  YO!" distracts them.     TODD looks forward, sees RED pointing to a chunk of steel a     hundred yards off the wire.     ANGLE ON JIMMY PIG, already fastening his safety rope and a     second rope to the wire, then heading off toward the piece of     steel, trailing the two ropes.     ANGLE ON MACE, explaining the procedure to TODD.                                   MACE                    Whatever looks useful, if we can get                    a rope to it, we'll go for it.  But                    you can't ever go further than your                    safety line because it'll come up on                    you with sometimes maybe ten seconds                    or even less.     TODD is watching JIMMY PIG as he approaches the piece of steel     and starts to attach his rope to it.                                   MACE                    Like right now.  You hear that?     TODD listens.     Nothing at first...then a very faint WHISTLING.  The sound he     heard that first night when he was on the settlement "roof."                                   MACE                    It's close when you hear that.     TODD can see JIMMY PIG.  He's attached the rope to the steel and     he gives a signal.     As PIONEERS start to haul on the line, pulling the steel toward     them, MACE shouts at JIMMY PIG.                                   MACE                    SHE'S GONNA BLOW, JIMMY.     JIMMY waves, starts back toward them.     MACE indicates for TODD to help haul the steel and the two of     them are just joining in the effort when...     WHOOOOOOOOOO!  THE WIND IS SUDDEN AND FEROCIOUS!  IT STAGGERS     THEM!                                   MACE                    GRAB ON, SERGEANT!     TODD follows MACE'S example and, like the others, grabs the wire     and hangs on as the wind SCREAMS and tears at them.     One of the pioneers, CHESTER, shouts, points.     They all see JIMMY PIG being blown faster than he can run, his     legs churning desperately to keep up with his wind-propelled     body.  To no avail!  He's suddenly airborne, his legs still     churning like cartoon legs as he flaps helplessly at the end of     his safety tether like a kite, fifty feet in the air.     An eighty-pound steel barrel blows past, tumbling in the wind.     Bits of junk zip dangerously around like missiles.     ANGLE ON THE PIONEERS, crouched low on their knees against the     wind, clutching the wire with one hand while they pull on JIMMY     PIG'S safety line.  But the wind is too strong...until suddenly     TODD is pulling, and TODD'S strength makes the difference...     slowly JIMMY PIG is pulled toward them...and Pioneers exchange     amazed glances at TODD'S strength.     As he pulls, TODD notices what the others don't...     ANGLE ON THE RIFLE dropped by JIMMY PIG, ten yards away.     ANGLE ON JIMMY PIG as he's hauled safely in to the group of     PIONEERS who clap him on the back and hug him.  CHESTER is     laughing so hard he can barely stand up as he tries to describe     and mimic JIMMY'S desperate effort to outrun the force of the     wind...                                   CHESTER                         (shouting, guffawing)                    JIMMY...RUNNING...CAN'T...HA HA                    CAN'T...KEEP UP WITH HIMSELF...                    HA HA HA...     CHESTER breaks off, suddenly sober, staring off, and the others     turn to see what he's looking at.  Everybody stops laughing.     ANGLE ON TODD, carefully moving away from the wire to retrieve     the rifle!!!  The WIND is dropping off some, enough to stand.     ANGLE ON MACE and the other PIONEERS reacting with alarm at the     sight of TODD picking up the rifle.     ANGLE ON TODD as he turns, rifle in hand.     TODD'S POV of the PIONEERS staring at him, the WIND diminishing      further.     ANGLE ON TODD looking toward them.  Nothing shows on his face.     ANGLE ON SLADE looking sour.  Trouble!  Just what he expected.     ANGLE ON MACE, taking a deep breath, smiling as he moves toward     TODD, holding out his free hand for the rifle...                                   MACE                    Uh, thanks, Sergeant.  Thanks a                    lot...     But MACE breaks off, realizing that TODD'S attention is     elsewhere.     TODD is beyond MACE toward the landscape.     MACE (and the other PIONEERS) turn to see what TODD'S looking at.     ANGLE ON THE "JUNK MOUNTAINS" in the distance, several miles off,      where, hovering high above the junk mountains, an ancient DUMPER     SHIP issues a steady stream of metal and concrete debris onto the     junk heaps far below.  The faint THUNDER of the refuse tumbling     onto the steep slopes is just audible over the SOUND of the wind.     CLOSE ON TODD, as realizes how he got here.     ANGLE ON MACE, reacting to TODD'S intense interest.                                   MACE                    Dumpers.  They come every twenty or                    thirty days.     As TODD turns and looks at MACE, MACE puts out his hand again for     the gun.     TODD seems to notice the weapon in his hand for the first time.     Unhesitatingly, he hands the rifle to MACE...     As MACE casually takes the weapon, the PIONEERS breathe a sigh of     relief, grinning again as the tension eases.     TODD has turned his gaze back to the DUMPER SHIP, fascinated.  So      that's what they did to him!     Just then, JIMMY PIG claps TODD heartily on the shoulder.                                   JIMMY PIG                    Thanks, partner.  These no-goods                    woulda just let me blow away.     TODD, reacting to the smack on his shoulder, looks at JIMMY PIG     like what was that?  Are you hitting me?     But all the PIONEERS are gathering around TODD in such a jovial     manner that the puzzled soldier sort of understands this isn't an     attack.                                                       CUT TO:     INT.  OFFICE (OTHER WORLD) - NIGHT     A CHRISTMAS TREE!  The corny little tree with plastic needles,     blinking lights, and topped with a super cute angel is only a     foot high.  It's sitting on CHURCH's cluttered desk next to     framed photographs of CHURCH's wife and children.  We can hear     MEKUM's voice badly transmitted...                                   MEKUM (V.O.)                    Sorry to disturb the tranquillity of                    outer space on Christmas Eve, but                    I'm off to the Caribbean in a few                    hours, and I wanted to make sure                    you'd got the transmission on the                    security sweep.     Glowering at the monitor where MEKUM's badly transmitted VIDEO     IMAGE is quivering and distorting, CHURCH waves the print-out map     he's holding in his hand, a map showing hundreds of little dots      against a vast field, stars and moons in the vast sea of space.      RUBRICK and SLOAN watch as CHURCH addresses MEKUM's image      indignantly.                                   CHURCH                    We got it all right.  This is an                    outpost here, not the Third Army!                    You've got us securing thirty-four                    locations and erecting monitor units                    in one month and --                                   MEKUM                         (interrupting)                    Piece of cake, guys!  These are                    totally remote, totally uninhabited                    territories.  All you do is set                    down, send out a patrol purely as a                    formality, then have those veterans                    of yours put up an A-Type unmanned                    monitoring unit.  You should be on                    about number twenty-five by the time                    I get back from my vacation...                                   CHURCH                    What if we do run into people...                    say squatters or refugees?                                   MEKUM                         (a frown)                    Well, you sure as hell don't want to                    get involved in evacuating people                    and that sort of thing.                         (then, meaningfully)                    My advice would be to..."avoid                    paperwork."                                   CHURCH                    Eliminate them, you mean.                                   MEKUM                    Well, no one's out there, but                    officially these are "hostile                    zones."  Therefore you'd be within                    your rights to classify anyone as                    "hostile," I think.                    But I repeat, you should be worried                    about boredom, not action.  Any                    other questions before I go?     CHURCH hesitates.  SLOAN and RUBRICK look at him.  Then CHURCH     blurts a question, his voice breaking...                                   CHURCH                    Down there...is it snowing?                                   MEKUM                         (a smirk)                    Not in the Caribbean.  Have a good                    Christmas, guys.  See you when I get                    back.     MEKUM'S IMAGE disappears and the video screen goes blank, leaving     a glum silence broken only by the DRUMMING of the rain on the     roof.     CHURCH moodily strolls toward his desk, and his eyes go to the      photographs.     His wife and children smile back at him from the pictures.     Just then SLOAN taps him, and be turns to see her handing him a     cup full of amber liquid.                                   SLOAN                    Merry Christmas, Captain.     RUBRICK is pouring another glass from a bottle of Scotch as the     little tree winks on and off, and we...                                                       CUT TO:     INT.  BARRACKS - NIGHT     Silence.  Darkness.  Dim shapes in the darkness, hard to     distinguish.     Rain BEATS on the roof monotonously, relentlessly.     The room is alive with BREATHING.     Then we hear a MUFFLED WHOOP from outside.     The darkness is tense, the BREATHING changes rhythm.     The RATTLE of the door breaks the quiet.     The door swings open, a flashlight stabs the dark.     A woman GIGGLES:  SLOAN!     The flashlight beams and wavers in the darkness, catching brief     glimpses of the faces of the NEW SOLDIERS.  Their eyes glitter in     the lurching beam, their faces are ghostly like vampires.     RUBRICK switches on a dim overhead lamp as he and SLOAN (holding     the flashlight) and CHURCH stagger drunkenly into the bunkhouse,      carrying a couple of half-empty bottles.                                   SLOAN                    Hi, fellas.  At ease!                                   RUBRICK                    Merry Christmas, everybody.     Eyes riveted on the THREE OFFICERS, the NEW SOLDIERS are     unresponsive to Christmas cheer.  In fact, they look almost     angry, like big dangerous animals, as the three OFFICERS stagger      stupidly down the row of bunks, every eye following them.                                   CHURCH                    We brought you a little Christmas                    tree.     CHURCH almost falls over as he places the tree on the floor     As stone faces watch him without expression, RUBRICK waves a     couple of bottles.                                   RUBRICK                    And some good cheer.     SLOAN, giggling, does a provocative bump and grind.                                   SLOAN                    How about some Christmas pussy,                    guys?  Anybody for a quick piece?     The NEW SOLDIERS don't react.  Stone faces.                                   RUBRICK                         (smirking)                    That's "conduct unbecoming," Sloan.                                   SLOAN                    It's Christmas!  Haven't you heard                    of piece on earth?  "Piece on                    earth," get it?                                   CHURCH                         (suddenly serious,                          sober)                    Christ, I wish we were on Earth.     RUBRICK sets three bottles down and indicates them to the NEW     SOLDIERS.                                   RUBRICK                    Eat, drink, and be merry, men.  For                    tomorrow you go on patrol in the                     "hostile zone."     RUBRICK burps stupidly as the NEW SOLDIERS stare back at him from      their bunks, muscles bulging, eyes glittering, nothing but danger     in their stone faces as we...                                                       CUT TO:     INT.  PIONEER MEETING ROOM - NIGHT     "JINGLE BELLS, JINGLE BELLS, JINGLE ALL THE WAY."  In sharp     contrast to the gloom of the soldier Christmas, the PIONEERS,     MEN, WOMEN and CHILDREN, are SINGING and celebrating.     There's a six-foot carved wooden tree festooned with makeshift      decorations and ringed with heaps of presents in crude wrapping.     There's an appetizing looking buffet and a punchbowl.     ANGLE ON TODD seated against a wall not far from the door.  He     stares uncomprehendingly at the merriment all around him.  What     on earth is going on?  What are they doing?     JIMMY PIG is marching around in a Santa Claus costume, doling out     presents to ELLEN, WILL, TOMMY, JOHNNY and OTHER CHILDREN.                                   JIMMY PIG                    HO HO HO!  HO HO HO!     Passing TODD, JIMMY PIG acknowledges him with a wink and a     special "HO HO HO."     TODD'S eyes give away his confusion.  What the fuck is this?     JIMMY PIG in a fake beard and a fake stomach?  This is the     craziest shit TODD has ever encountered.     ANGLE ON NATHAN, a wrapped present in hand.  He hasn't a clue     what it is or what he should do with it.     Laughing, MACE and SANDRA hover over him, showing him how to pull     the wrapping off.  Great idea!  NATHAN likes pulling wrapping     off!  That's fun.  SANDRA and MACE watch joyfully as NATHAN tears     at the wrapping enthusiastically.     ANGLE ON TODD getting to his feet.     ANGLE ON NATHAN pulling away the last of the wrapping to expose a     pull toy, a METAL BIRD on crude wheels made of wire and junk.     MACE takes the toy, demonstrates pulling it.  The wings flap as     the wheels turn!     NATHAN reacts with delight and amazement!  Then grabs it!     A SUDDEN SCREECH...     ANGLE ON TODD looking alarmed.  He's on his way to the door, but     EMMA is charging at him, SHRIEKING!!!     Not sure whether this is an attack or not, TODD watches the older     woman scramble onto a stool next to him, still SHRIEKING giddily.     As TODD eyes her (and everybody else) warily, she gives him a     peck on the cheek and points over head.     TODD looks up, sees a strange cloth decoration with a sign on it     that says "MISTLETOE."     Means nothing to TODD.  There's a burst of applause as EMMA     scrambles off the stool.  Somebody starts to sing "GOD REST YE     MERRY GENTLEMEN."     A MONTAGE OF FACES:  JIMMY "SANTA" PIG, MACE, SANDRA, RED,     CHESTER, SALLY, ELLEN, HAWKINS, even SLADE, SINGING.     ANGLE ON THE DOOR.  No sign of TODD!  Gone!                                                       CUT TO:     EXT.  "ROOF" - NIGHT - MINUTES LATER     A low wind MOANS and mingles with strains of "OH, HOLY NIGHT" as     TODD bellies up to the "skylight" and peers down at the scene     below in the Meeting Room.     TODD'S POV THROUGH THE SKYLIGHT.  The merriment has evolved into     a more spiritual mood as the PIONEERS join in the solemn hymn.     But TODD spots NATHAN trying to pull his pull toy along so the     wings flap.  NATHAN is pretty wobbly and he goes down hard and     starts to cry.     Immediately SANDRA disengages from the adults and rushes to the      sobbing NATHAN and clutches him to her breast, soothing him...and     MACE joins her, hovering over his son.     ANGLE ON TODD, watching.  After a moment, TODD scrambles off the     roof and drops into the adjoining trench while "OH, HOLY NIGHT"     continues to blend with the soughing WIND.     EXT.  INSIDE THE TRENCH     Lit by spill from a window in the wall of the trench, TODD starts      doing push-ups.  One-two-three-four-five-six-fast-fast-fast-fast.                                                       CUT TO:     INT.  CORRIDOR AND MEETING ROOM/SETTLEMENT - (ANOTHER) DAY     HAWKINS is walking along the corridor outside the meeting room     when she hears strange SOUNDS.  She approaches the door and looks     in.     ELLEN and other CHILDREN (including NATHAN) are playing     children's games on the floor, paying no attention to the source     of the strange noises...JOHNNY and WILL.     JOHNNY and WILL are doing exercises, obviously inspired by TODD's      martial calisthenics, and including the sudden violent movements.     As the two boys make their ritual grunting noises, HAWKlNS frowns     a worried frown, and we...                                                       CUT TO:     EXT.  TRENCH GARDEN - DAY     The seedlings have grown to twelve-inch stalks.  SANDRA is     pulling some from the ground as TODD imitates her.  She shows him     the fat edible root.                                   SANDRA                    We'll eat these.     Other PIONEERS are also harvesting, with occasional glances at     TODD as we...                                                       CUT TO:     INT.  OTHER ROOM - DAY     Cleaning vegetables, SANDRA is separating the roots, shaking the     dirt off, cutting away the excess.     TODD is carefully following her example, cutting the stalks away     with the knife.     NATHAN is tottering across the floor an a beginner's wobbly legs.                                   SANDRA                    It seemed like he was never going to                    walk.  Then all of a sudden...he's                    an expert.     Whump!  NATHAN falls on his ass.                                   SANDRA                         (a laugh)                    Well, not quite an expert.     TODD watches SANDRA go to NATHAN and hug him affectionately.     Turning back to the vegetables, stone faced, TODD cuts his     finger.  Blood flows.  He ignores it, continues working...     But SANDRA, returning to the vegetables, notices TODD's cut     finger and immediately grabs a rag and takes his hand.     TODD looks startled is she takes his finger.  Then, staunching     the blood with the rag, she looks him in the eye, curious.                                   SANDRA                    Sergeant Todd...what's it                    like...what's it like being a                    soldier?     What's it like...?  TODD stares at her, trying to process the     question.  Seeing his difficulty SANDRA tries to help...                                   SANDRA                    What do you think about?     No answer, a stare.                                   SANDRA                    Do you think about food?  Or women?                    You must think about something.     TODD gulps.  His blank stare could pass for stupidity.                                   SANDRA                    What about feelings then?  You must                    have feelings.  You must feel                    something.     TODD wets his lips.  He seems about to answer...and yet it's     difficult for him.  He could kill a person easier.     On the floor NATHAN GOOS happily, oblivious.                                   TODD                         (at last)                    Fear.                                   SANDRA                         (startled)                    Fear!  You mean...you feel afraid?                         (as he nods)                    That's when you're in battle...                    What about other times?  Now, for                    example?                                   TODD                    Fear.                                   SANDRA                         (amazed)                    Now?                                   TODD                    Always.     A stunned silence.  Finally SANDRA speaks...                                   SANDRA                    You don't...look afraid.  You look                    fearless.     TODD looks at her.  This is incredibly difficult for him, like      physical labor.  He wets his lips and take a breath.                                   TODD                    Fear and...discipline.                                   SANDRA                         (growing horror)                    Oh, my God.  But there's nothing to                    be afraid of here.  I can't hurt                    you.  I wouldn't.                                   TODD                    Always.  It makes us...alert.     SANDRA is overwhelmed.  She reaches for him, hugs him to her     breast like a little baby, holding him.     But TODD is as tense in her arms as steel.  He can't relax.  He's     even trembling.     NATHAN, on the floor, looks up, smiles innocently.     SANDRA lets go of TODD and steps back, looking at him, her face     troubled, as we...                                                       CUT TO:     INT.  MEETING ROOM - DAY     ELLEN is supervising block building (babysitting) with several of     the younger children (OMAR, BUCKY, ANGIE and JANICE) while WILL     and TOMMY play their own separate games close by.  Then WILL     looks up and sees something disturbing.                                   WILL                    You're not supposed to do that                    anymore.     He's speaking to JOHNNY who is doing martial exercises.                                   JOHNNY                    So what?  I'm a soldier.                                   WILL                    They're gonna kick him out.     ELLEN looks up from the blocks.                                   ELLEN                    They can't kick him out...                                   WILL                    They're gonna.  My father --                                   ELLEN                         (interrupting strongly)                   My mother says when someone's sick                   or hurt, you have to help them.  You                   don't have a choice.                                   JOHNNY                         (getting interested)                   Yeah, but what if the hurt person                   is...evil?                                   ELLEN                   You still have to help them...                   because if you don't, you're evil!                                   WILL                         (importantly)                   My father says...uh...he says,                   "Soldiers deserve soldiers."                                   TOM                   Yeah.  That's what my father said                   too.                                   ELLEN                   My father's making Sergeant Todd a                   scarf because he saved his life one                   time.  He's knitting it.                                   WILL                   That's dumb.  Your father's dumb.     WILL is smirking with satisfaction at having settled that when     out of nowhere ELLEN's little fist hits him hard on the nose.     WILL looks stunned.  Blood oozes from his nose.  He starts to     cry.     ELLEN looks horrified at what she's done as we...                                                       CUT TO:     INT.  OTHER ROOM - DAY     The scarf!  It's been knitted with an elaborate and colorful     design.                                   JIMMY PIG'S WIFE (O.S.)                   Jimmy knitted it himself.  He worked                   on it for two months.     SANDRA is examining the knitted scarf as JIMMY PIG and his WIFE     stand in the doorway.                                   SANDRA                   It's beautiful, Jimmy.  He'll love                   it.     JIMMY PIG looks very embarrassed.  He shrugs.                                   JIMMY PIG                   He saved my life out there.  I guess                   Mace told you.                                   SANDRA                         (nods)                   You should give it to him yourself.                   I think he's in the meeting room...                   doing...exercises.     JIMMY PIG nods, takes the knitted scarf back from SANDRA as we...                                                       CUT TO:     EXT.  ALLEY/CITY - NIGHT     Frantic CIVILIANS, mostly women and children, are illuminated by      FLASHES from rocket fire overhead as they scramble for cover     amidst heavy CROSSFIRE from automatic weapons.     A terrified LITTLE GIRL, separated from her family, seeks shelter     in a doorway when suddenly she's confronted by THREE SOLDIERS IN     RED UNIFORMS looming over her.     Looking up in abject horror, she sees a RED SOLDIER casually pan     his assault rifle, pointing the muzzle right at her from only a     foot away, unmistakably flexing to fire.     BLAM!  Suddenly the RED SOLDIER is blown backwards violently,     shot in the chest.     ANGLE ON TODD, visored, in a torn black uniform, firing again.     BLAM!  A SECOND RED SOLDIER goes down.     CLICK!  TODD's weapon jams.     As the LITTLE GIRL, amazed to be alive, watches open mouthed,     TODD swings his weapon like a club, attacking the THIRD RED     SOLDIER before he can aim.     Then she runs, leaving TODD savagely beating the THIRD RED     SOLDIER to death.     TODD is delivering a final savage blow to the prone body when a      movement or shadow catches the corner of his eye and he whirls      savagely to defend himself from behind --     INT.  MEETING ROOM - DAY     WHUMP!  JIMMY PIG is slammed up against the wall of the meeting     room, TODD's big hand around his neck.     Gurgling desperately, his eyes popping out of his head, JIMMY PIG     stares helplessly into TODD's merciless soldier eyes and his     stone face only inches away.     TODD blinks.  He sees he's got a terrified JIMMY PIG pinned to     the wall, his feet dangling two feet off the floor.  Slowly he     lowers JIMMY PIG to the floor.     All JIMMY PIG can do is squeak desperately and point to the     floor.                                   JIMMY PIG                   Scarf!  Scarf!     TODD looks down.  He sees a knit scarf lying on the floor.  He     doesn't understand.  He looks up.     He sees JIMMY PIG'S WIFE, HAWKINS, SLADE, and several other     PIONEERS standing in the doorway of the meeting room, their     stunned expressions indicating they just saw something     horrifying.     TODD stands there, isolated, bare-chested, his huge muscles     glistening with sweat, decorated with terrible scars and     mysterious tattoos, as we...                                                       CUT TO:     INT.  OTHER LIVING QUARTERS - NIGHT     EVA, Johnny's mother, is reacting, horrified.                                   EVA                   What....?  What... are...those?                   Chester!  CHESTER!     CHESTER, Johnny's father, rushes in to see what the commotion's     about.     ANGLE ON JOHNNY in the tin cauldron that serves as a bath tub.     JOHNNY'S bare chest and shoulders are covered with crude     imitations of TODD's tattoos.                                   JOHNNY                         (sullen)                   Those are my war marks.  From the                   battles I fought.     CHESTER and EVA exchange a look.                                                       CUT TO:     INT.  BEDROOM - NIGHT     MACE and SANDRA are lying awake in the bed in darkness.  For a     long moment they're both silent with the silence that comes in a     heavy moment in a conversation.  Then MACE speaks, his eyes on     the ceiling.                                   MACE                   There's going to be a meeting.                   People are upset about him.                                   SANDRA                   He's not fully recovered.                                   MACE                   That's what scares people.  He gets                   stronger every day.     They're both silent for a long moment.  MACE has something     weighing on his mind that he hesitates to say...but finally he     says it.                                   MACE                   I've caught him..sneaking looks at                   you.  At your body.                                   SANDRA                   I know.     A heavy silence, then...                                   SANDRA                   Are you afraid of him, Mace?     MACE stares at the ceiling and speaks with difficult honesty.                                   MACE                   Yes.                         (pauses, then)                   God knows where he's been...or what                   he's done.     Another pause before...                                   MACE                   I've never been afraid of anyone                   before...not this way.  I feel he                   could break me in half...with no                   real effort and no real...feeling.                                   SANDRA                   He told me he's afraid.                                   MACE                   Maybe he is.  It doesn't matter.     MACE is staring grimly at the ceiling as we...                                                       CUT TO:     INT.  WINDOWLESS CEMENT ROOM - DAY OR NIGHT (FLASHBACK)     Silent and surreal, the events of 1986 continue with the PASSIVE     FOUR-YEAR-OLD sitting on the floor while the AGGRESSIVE FOUR-YEAR-     OLD looks down at him, and other FOUR-YEAR-OLDS gather ominously.     It's only now, as he gets to his feet, suddenly trading vicious     blows with the AGGRESSIVE FOUR-YEAR-OLD that we realize that this     passive boy is FOUR-YEAR-OLD TODD.  The boys don't fight like      children; they don't quit or cry as the blood flows.     Highly-polished shoes, sharply creased trousers, and eyes     glittering from the shadows are all that is visible of the     faceless OBSERVERS who make no move to interrupt the violence.     FOUR-YEAR-OLD TODD, his nose pouring blood, exchanges savage     hurtful blows with his opponent, bloodying him viciously, as     we...                                                       CUT TO:     INT.  OTHER ROOM - DAY (PRESENT)     Eyes!  The adult TODD blinks away the memory, stares straight     ahead...     into NATHAN'S face, only six inches from his own.     They're all alone in the room.  It's very quiet.     NATHAN smiles a tentative smile, raises a hand, reaches out to     touch TODD'S face affectionately, curiously, testing their      friendship...     ANGLE ON TODD, his eyes.  Dangerous.  He draws his face back     enough to avoid being touched.     NATHAN looks unsure.  He's used to affection.  Then he     realizes... it must be a game!  He reaches out again...     Again TODD avoids the touch...and as he does so, something     catches his eye.     TODD sees a VIPER sliding across the floor toward NATHAN.     NATHAN doesn't see it; he's still trying to figure out this game.     TODD pulls off his boot and hands it to NATHAN.     NATHAN accepts it, thinks it's a gift.  He's pleased.  It's that     kind of game!  He gives TODD a friendly "thanks for the boot"     smile.     TODD points to the VIPER which is close to NATHAN now.     NATHAN looks at the VIPER.  He doesn't understand what he's     supposed to do.     TODD makes a hitting motion with his hand.     The VIPER is close to NATHAN, coiling.     NATHAN looks from the VIPER to TODD.     TODD indicates the VIPER with his eyes.  His look is intense, a      message in his eyes.     The VIPER is like a spring, it strikes...     TODD's hand is like a blur, almost invisible as he catches the     snake and flips it a couple of feet.     NATHAN stares.     The angry VIPER SPITS and HISSES and coils to strike again.     NATHAN looks at TODD.     TODD eyes the boot, then indicates the VIPER with his eyes.     NATHAN frowns; he's getting the idea.     The VIPER is about to strike again...     SQUASH!  A heavy boot comes down on the snake, crushing it.     TODD looks up to see MACE standing on the snake, reaching down     for NATHAN.  As MACE hugs the boy protectively to his chest, he     glares down at TODD with eyes blazing with fury.     TODD meets the look without blinking.  He never blinks.                                   SANDRA (O.S.)                   What happened?     TODD turns to see SANDRA standing in the bedroom door, her eyes     almost as hard as TODD's as we...                                                       CUT TO:     INT.  MEETING ROOM - NIGHT     TODD stares impassively as HAWKINS addresses him...                                   HAWKINS                   No one here has any animosity toward                   you, Sergeant.  None of us here is                   your enemy.     TODD is standing in front of the room full of grim-faced     PIONEERS, all looking at him.  It's like a court.     HAWKINS is flanked by MACE and SANDRA...                                   HAWKINS                   Moreover, we respect your qualities.                   We have no doubt that you are a                   very, very good soldier.     As she speaks, TODD's blank stare considers the weathered faces     of the PIONEERS facing him.  He sees CHESTER, EVA, RED with his     WIFE, JIMMY PIG and his WIFE, SLADE and MRS. SLADE, JUDITH, EMMA,     SALLY.  As HAWKINS continues, TODD's sharp eyes pick out details.     He sees JIMMY PIG opening and closing his hands nervously, he     sees SLADE fingering a barely noticeable rifle barrel.  CHESTER     has a weapon too.                                   HAWKINS (O.S.)                   But, because of your training, I                   don't think you'll ever be able to                   function in a group like this, a                   community of vulnerable people, of                   families, of children, where the                   ability to fight is not the sole                   purpose of existence.     The PIONEERS are nervous, ready for trouble, afraid TODD might     take this badly and fly off the handle.     As TODD's huge hand opens...and closes, their eyes are on it.  He      could pick up the table and hurl it at them, break men in half     with his bare hands.  His face is like stone, his eyes like     diamond chips as he glances toward SANDRA.     TODD sees SANDRA is moved, trying to suppress her emotions,     biting her lip, as HAWKINS goes on...                                   HAWKINS                   You're different from us, Sergeant.                   We don't hate you for that, but we                   have agreed that to try to include                   you would pose an intolerable risk                   to the community itself.                                   MACE                   We'll give you any tools you need,                   warm clothing, a good knife, boots.                                   SANDRA                         (emotionally)                   And if you're ever sick...or you get                   hurt...                                   MACE                   You're a friend, Sergeant.  It's                   just...     MACE doesn't finish.  TODD's eyes glance again at the PIONEERS.     They too seem moved, not so ready to shoot.     TODD blinks.  Once.  And we...                                                       CUT TO:     EXT.  INSIDE THE TRENCH - MORNING (WIND)     TODD is wrapped in a heavy parka, his mouth wrapped with the     scarf JIMMY PIG knit, his eyes covered with eye protectors as     MACE hands him another sack in addition to the one already over     his shoulder.                                   MACE                   If you need us...you can ask us for                   help.     TODD glances at the knot of PIONEERS gathered in the trench, all     eyes on him.  SANDRA is among then with NATHAN in her arms.  For     just a second TODD's eyes go to the cheerful face of NATHAN; then     he turns to MACE.     MACE is startled to see TODD pull the scarf from his mouth to     speak.  He's never spoken before unless spoken to.                                   TODD                   It's not true.                         (then, with great effort)                   I'm not a good soldier.     Then TODD replaces the scarf over his mouth and starts to climb     out of the trench into the wind as we...                                                       CUT TO:     EXT.  LANDSCAPE (AND "STEEL HENGE") - DAY - LATER     Four suns glare down from the sky onto the vast, windswept     wasteland.     TODD is a tiny dot in the vastness, traveling like a bug along     one of the long cables that stretches for miles and miles.  He's     out by the skeleton of the old ship as we...                                                       CUT TO:     EXT.  ANOTHER PLANET - DAY     A low slung armored vehicle on caterpillar treads RUMBLES over a     steep rocky terrain faintly backlit by a cold sun that looms      enormously on the horizon while giving off only a faint glow.     Hanging on to the outside of the insect-like scouting vehicle     (called a "CRAWLER") are two nasty-looking NEW SOLDIERS in space     suits designed for battle, their heavy rocket rifles cradled and     ready, their visors blank and ominous.     INT.  CRAWLER     The husky sergeant, CAINE 607, steers the vehicle and speaks into     a radio mike at the same time.                                   CAINE 607                   Crawler, Crawler to Daddy.  No                   hostiles!     The GUNNER beside him and the NEW SOLDIERS in the back seat stare     stoically out the windows as CAINE 607 replaces the mike.     INT.  COCKPIT/"DADDY"     RUBRICK is sitting at a console cluttered with coffee cups and     half-finished cheeseburgers, responding to the radio.                                   RUBRICK                   All right, Crawler, Crawler, we got                   you.  This is Daddy.  Continue per,                   over.     RUBRICK turns to CHURCH who's standing in the cramped cockpit,     staring out a window at the gloomy planet outside, watching the      CRAWLER creep over the terrain.                                   RUBRICK                   We're clear.  We can send a crew                   out.                                   CHURCH                         (bored)                   Sloan's already on it.                                                       CUT TO:     INT.  CREW QUARTERS/"DADDY" - DAY     An oval hatch door swings open and SLOAN enters.     VETERANS in coveralls, slumped or sprawled on steel-tiered bunks,     scramble obediently to their feet, eyes on SLOAM.                                   SLOAN                   Suit up, fellas.  Time to go build                   another play house.     As VETERANS start to pull space suits from under the bunks, SLOAN     turns her back on them...but hesitates before exiting as though     expecting something.  Sure enough, veteran RILEY speaks up.                                   RILEY                   Sir.                                   SLOAN                   Yes, Riley, what is it?     SLOAN says it even before she's turned.  She knew who it would     be.                                   RILEY                   We haven't been issued weapons, sir.                                   SLOAN                         (as to a child)                   You won't need weapons, Riley.                   You're not soldiers anymore.                                   RILEY                         (saluting)                   Yes, sir.                                   SLOAN                   You don't even have to salute                   anymore.  A simple "Yes, sir" will                   do.     RILEY swallows hard and with effort keeps his hand from saluting     as he speaks.                                   RILEY                   Y-yes...sir.     SLOAN turns her back and exits.     As the door closes, RILEY, unable to restrain himself any longer,      salutes hastily as we...                                                       CUT TO:     INT./EXT.  COCKPIT - DAY - LATER     Through the cockpit window in the bluish glare of a work-light,     VETERANS, dressed in space suits, can be seem erecting a prefab     hut on the harsh moonscape.     SLOAN is watching them through the window while behind her     RUBRICK lounges with his feet on the console and reads a current     magazine on a VDT.  CHURCH is partially visible in the     background, poring over charts in the navigator's cubicle.  It's     very quiet until SLOAN speaks, almost to herself.                                   SLOAN                   Every time it's time to send them                   out, Riley asks about weapons.  And                   every time I tell him they don't                   need weapons anymore, they're not                   soldiers anymore.                                   RUBRICK                         (eyes on VDT)                   Jesus!  It says here Macy's is going                   out of business.  Can you imagine                   that?  New York without Macy's?     Silence.  SLOAN watches the VETERANS outside through the window.     They're working like a team of ants in space suits, erecting the     hut.     CHURCH gets up noisily from the navigation cubicle and joins     them, shaking his head.                                   CHURCH                   Next one's going to be a real pain                   in the ass.                                   RUBRICK                         (reading, not interested)                   Yeah?  What flavor pain in the ass?                   Gravity pain in the ass?  Atmosphere                   pain in the ass?                                   CHURCH                   How about a "gaseous currents" and                   "urgent convections" pain in the ass.                                   SLOAN                   I think you're trying to say a "wind                   pain in the ass."                                   RUBRICK                   Wind!                                                       CUT TO:     INT.  PIPE - DAY     WIND!  As the wind RAGES outside, TODD, wearing his parka,     crouches over a tiny fire inside a huge open-ended pipe twelve     feet in diameter.  He stares at the bleak, windy landscape     outside his shelter.  He looks primitive, like a caveman, and     very very alone as we...                                                       CUT TO:     EXT.  PIPE - DUSK     The fat section of pipe is twenty feet long squatting in the     blowing litter on the grim landscape in the shadow of the junk      mountains.  Somehow that inanimate pipe also looks lonely in the      vastness as the four suns overhead darken toward evening.                                                       CUT TO:     EXT.  STARS - NIGHT     Stars glitter behind the dimmed suns as the wind HOWLS and we...                                                       CUT TO:     INT.  PIPE - DAY     The fire is nothing but coals.  TODD sits stoically over the     embers, more alone than ever, chewing on a piece of dried food,     part of his spartan meal.     As he chews, he stares blankly at nothing until...     A single tear crawls down one cheek.     Then another.     TODD looks like a stone statue oozing tears.  He reaches up and      touches the strange water with his finger, then studies the     finger, as though a tear were the most remarkable thing he's ever      seen.  He cannot remember anything like this; he cannot remember     ever having cried.     And suddenly, without warning, he's convulsed with tears, heaving     with sobs, alone in the big pipe with the pitiful little fire,     bawling like a baby as we...                                                       CUT TO:     INT.  BEDROOM - DAY     A VIPER writhes across the floor through the patterns of light      streaming through the window, a sinister presence, full of menace     and evil designs.     The VIPER winds its way toward an object that will prove in a     moment to be a corner of the bad.     SMACK!  The VIPER doesn't make it!  SMACK!  Another blow from     MACE's heavy boot being swung by hand.     The VIPER coils and HISSES angrily, wounded and dangerous.     SMACK!  The boot again!     NATHAN wields it awkwardly, hitting bravely at the HISSING VIPER!     SMACK!  NATHAN hits again and...     MACE rolls over in the bed.     SMACK!  MACE comes awake, looks around.     MACE lunges from the bed.     SMACK!  Just as NATHAN gives the damaged VIPER another blow, MACE      snatches the boy in his arms and yanks him away.     SANDRA sits up in bad, looking around, alarmed.     MACE is holding NATHAN, staring down at the VIPER.     The VIPER has up the ghost, lying on the floor.     MACE hugs NATHAN to him and looks toward SANDRA.  They both look     at the boot.  And at the dead VIPER.     Their eyes meet and, for a long moment, they just look at each     other.                                                       CUT TO:     INT.  OTHER ROOM - DAY - A LITTLE LATER     MACE is wearing his parka, pulling on his eye protectors     hurriedly as he opens the door to the corridor.  SANDRA's voice     makes him stop and turn to her.                                   SANDRA                   Mace!  What about the vote?                   Everybody voted.     Mace glares at her for a moment, knowing she's right.  Then he     turns away and starts out defiantly.                                   MACE                   We voted wrong!     SANDRA looks relieved and worried at the same time and we...                                                       CUT TO:     EXT.  LANDSCAPE - DAY     This time MACE is the tiny figure struggling along the wire in     the wind, alone on the vast landscape under four suns.                                                       CUT TO:     EXT.  OUTER SPACE/"DADDY" - "DAY"     The military ship called "DADDY" (Defend And Attack Deployment     Entity) is a big ugly insect gliding through a black silent void.     On the grimy bulwark of the ship are the letters NAF followed by      serial numbers and the logo of the North American Forces.                                                       CUT TO:     INT.  COCKPIT - DAY     CLOSE ON space charts.  CHURCH's finger is indicating a tiny dot     on the chart surrounded by a vast sea of space.                                   CHURCH                   It's a dump.  Literally.     SLOAN and RUBRICK are looking over CHURCH's shoulder while a NEW      SOLDIER sits stonefaced at the control console flying the ship.                                   SLOAN                   No shit!  We're gonna set up a                   monitor on a garbage dump!  So we                   can monitor garbage rusting?                                   RUBRICK                   Will the wind affect the patrol?                                   CHURCH                   The Crawlers are low enough and                   heavy enough, they won't blow.  The                   men should wear armored vests and                   carry double weapons and ammo for                   the weight.  They may have to use                   lines too, like mountain climbers.     RUBRICK shakes his head, snorts disgustedly.                                                       CUT TO:     EXT.  OUTER SPACE/"DADDY" - "DAY"     As the grimy skin of the ugly military ship looms across our     vision, a tiny orb is visible off the bow in the distance, a     remote world, destination of "DADDY" as we...                                                       CUT TO:     EXT.  CABLE/LANDSCAPE - DAY     Alone, MACE is pulling himself along the cable as the wind     buffets him.     Ahead the cable stretches past the skeleton of the ship and the      "catcher trenches" toward the mountains of junk towering over the     flat landscape several miles off.     A heavy barrel blows by, then an old refrigerator tumbles past.     MACE squints into the wind.     Off to the right about a quarter mile away he can see a big piece     of pipe...and a trail of smoke blowing out of the pipe and      disappearing in the wind.     MACE struggles the cable past flooded "catcher trenches" as     we...                                                       CUT TO:     EXT.  PIPE/LANDSCAPE - DAY - MINUTES LATER     The pipe lies fifty yards off the cable to the right.  As MACE     pulls even with it, he can see right inside.     TODD is standing just inside the mouth of the pipe, looking     straight out at MACE...but the light is behind him and MACE can't     see TODD's face as he SHOUTS at him.                                   MACE                   TODD!  TODD!                         (pauses, then)                   TODD!  WE WANT YOU TO COME BACK!  WE                   MADE A MISTAKE!     MACE starts toward him, letting go of the wire, struggling in the      wind.     TODD watches him come.     MACE stumbles on, dances a few feet, recovers, struggles toward     TODD, SHOUTING....                                   MACE                   TODD!  WE'RE SORRY!  WE WERE WRONG!     Just then, a sharp gust staggers MACE, driving him several yards      toward a "catcher trench."     He's teetering on the lip of the flooded trench, about to fall     in, when TODD'S strong arms grab him.     They look like a strange four-footed beast as TODD drags him     through the wind in an awkward "embrace" toward the cable.     Once MACE has the cable in his hands, he laughs and gasps...                                   MACE                   Damn!  Thank you, Todd.  God damn!                   I almost took a... a...swim there!     MACE breaks off.  Todd isn't listening; he's looking off toward     the horizon.     MACE follows his look.     Five miles away he can see an ugly insect-shaped spacecraft     descending from about ten thousand feet.                                   MACE                   My...God!  Someone's landing.     TODD doesn't answer.  He's staring at the descending ship with     soldier eyes and a stone face as we...                                                       CUT TO:     INT.  CORRIDORS/SETTLEMENT - DAY     Excitement, confusion.  PIONEERS and CHILDREN are clogging the     narrow, earthen corridors, shouting excitedly, hurrying outside.     SANDRA opens her door into the corridor, concerned...                                   SANDRA                   What's going on?                                   JUDITH                   Someone's landing!  Jimmy Pig                   spotted a ship!     SANDRA stands there stunned as excited PIONEERS mill past her,     jamming the corridor, and we...                                                       CUT TO:     EXT.  CABLE - DAY     TODD is on the cable with MACE, his eyes on the squat beetle-like      object crawling slowly toward then through the junk half a mile     away.                                   MACE                   Look at that.  It's some kind of                   vehicle.  A landing party.  HEY!     MACE raises his arm to wave.     Without taking his eyes off the approaching CRAWLER, TODD grabs     MACE's arm and pulls it down.     MACE looks at TODD, sees the grim expression on TODD's stone     face, and suddenly MACE is worried too.     INT.  CRAWLER     Peering through binoculars, a soldier in the front passenger     seat, the GUNNER, nudges the DRIVER and indicates something to     the right.     Two tiny FIGURES in the distance on a long cable.     The driver is the beady-eyed giant, CAINE 607.  Reacting to what     he see, he adjusts the vehicle to the right.     EXT.  CRAWLER/LANDSCAPE     Two ominous NEW SOLDIERS wearing plexi-goggles and bulky armor     under their uniforms hang on the outside of the CRAWLER in the     wind, their waists dangling with weapons and equipment, big     rocket rifles across their chests.  They're looking ahead toward     the long cable, as their nasty-looking vehicle grinds slowly     forward through the litter, an evil vision.     EXT.  LANDSCAPE     TODD and MACE are running, TODD in the lead, buffeted by wind,      struggling through a clutter of old machinery, diesel engines,      turbines, scattered haphazardly on the flat desert floor.     MACE is running too, not as well, and TODD has to reach back and     grab him, pull him along...                                   MACE                         (gasp)                   ...maybe...they're...                         (gasp)                   ...friendly...     INT.  CRAWLER     The GUNNER works a servomotor, aiming a cannon, as he peers     through a scope.     Through the scope, surrounded by digital readouts, we see two     tiny running FIGURES...     EXT.  CRAWLER     BALAAM!  BALAAM!  The CRAWLER cannon FIRES...     EXT.  LANDSCAPE     MACE screams, he's hurled wildly mid-stride, tossed ten yards.     TODD looks back, sees him lying on the sand, screaming in pain.     TODD turns back, sprinting, low, weaving, tossed by the wind.     WHOOOM!  Another SHOT.  If the wind hadn't hit him, TODD would     have been hit.     MACE is screaming.  His right leg is gone.     TODD gets him, drags him, stumbles.     WHOOM!  Another SHOT, another miss.     TODD struggles for cover, staggering in the wind with MACE on his      back.     INT.  CRAWLER     Through his scope, the GUNNER sees TODD and MACE dive behind a     big turbine.     Unhurriedly the GUNNER flicks a switch on the dash.     CAINE 607 nods approval.     The GUNNER works the servo, bringing the cannon to bear on the     turbine.     EXT.  TURBINES     TODD is dragging MACE along behind the cover of the turbine,     glancing back for what he knows will occur.     BAWHOOM!  The area where they disappeared EXPLODES, chunks of      steel fly.     TODD keeps pulling MACE, who looks half dead as...     BAWHOOM!  The TURBINE is hit again!     INT.  CRAWLER     Through the scope, the GUNNER aims again and watches another     chunk of turbine disintegrate.     The GUNNER glances at the robot-faced driver.  Their eyes meet.     CAINE 607 nods.  Obviously, they've killed the two men.     The GUNNER points to the cable.     CAINE 607 follows the look, nods, and alters the course of the     vehicle in toward the cable as he reaches for the radio mike.     EXT.  ABANDONED ENGINES/TERRAIN     TODD is crouched over MACE inside an abandoned diesel engine not     far from the disintegrated turbine.  He's making a tourniquet to     stop the bleeding from the stump of MACE's leg.  MACE looks     awful, pale, in shock.  He speaks weakly.                                   MACE                   Oh, shit, Todd...I'm...dead...                   aren't I?  I'm not going to make it.     TODD meets his look but doesn't answer.  He finishes the     tourniquet and turns his back on MACE to peer out through a gap     in the engine at the CRAWLER.     TODD sees the CRAWLER approach the cable, watches it veer left     and start to travel along the cable...straight toward the colony!     TODD turns and looks into MACE's face.  MACE's eyes are clouded     with horror.                                   MACE                   Why?  Why?     No answer.                                   MACE                   I'm not..a soldier.                         (then...)                   A...mistake?  Was it...a mistake?     TODD shakes his head no.  MACE's eyes fill with new horror.                                   MACE                   Oh, my God.  They won't...they                   won't...?  Not Sandra!  Not...                   not...Nathan!     TODD turns away from MACE and peers through the machinery.     He can see the CRAWLER is a hundred yards away now, traveling     along the cable toward the colony.     He can see the faces of the NEW SOLDIERS hanging on the outside     of the CRAWLER, hard faces, goggled and ominous.     When TODD turns back to MACE, he finds MACE eyeing him with pure      hatred.  MACE sneers weakly.                                   MACE                   Soldiers!  Soldiers...                         (gasp)                   ...deserve...soldiers!     His eyes roll back.  He's dead.     TODD peers out again at the NEW SOLDIERS.  They look invincible     as we..                                                       CUT TO:     EXT.  "DADDY"/LANDSCAPE - DAY     The spaceship is squatting on the barren ground a mile from the      junk towers like an ugly insect.     INT.  MESS/"DADDY"     RUBRICK sticks his head in the door of the cramped officers mess.                                   RUBRICK                   People.  They've spotted people!     Both CHURCH and SLOAN look up in astonishment from the card game     they're playing on a tiny fold-out table.                                   CHURCH                   "People"!  "People"?  What do you                   mean "people"?                                   RUBRICK                   Two civilians.  Unarmed.  They've                   killed both of them.  They've                   spotted smoke from some kind of camp                   and they're going to check it out.                                   SLOAN                   A camp!  Jesus Christ!                                   CHURCH                   Damn!                         (worried)                   Did they ask for assistance?                                   RUBRICK                   Not yet.     CHURCH frowns, considers, then frets...                                   CHURCH                   Like my daddy used to say,                   "Nothing's ever as simple as it's                   supposed to be...except shit."                                   SLOAN                         (rolling her eyes)                   Thank you, "Daddy."                                   RUBRICK                   Who do you think they are?                                   SLOAN                   The civilians?                         (a shrug)                   Squatters...refugees. I don't think                   we want to know, do we?                                   CHURCH                   Good point.                                                       CUT TO:     EXT. GARDEN TRENCH - DAY - A LITTLE LATER     HAWKINS, JIMMY PIG, RED, and other PIONEERS are peering over the     lip of the trench just beneath the trellis.     A half mile off they can see the CRAWLER creeping in their     general direction.     The garden is full of excited PIONEERS with their CHILDREN,     everybody trying not to trample the plants, but trampling them     anyway, as HAWKINS addresses them...                                   HAWKINS                   I'm going to go out and talk to                   them.  More than likely they're                   friendly.  If not...                         (indicating Jimmy Pig,                          others)                   ...those of you with weapons will be                   ready to defend us.  The rest of you                   go back.     HAWKINS turns abruptly and looks over the rim.     The CRAWLER is closer now, only a quarter mile away, angling to     the left along the wire.     HAWKINS starts to climb out of the trench, boosted by JIMMY PIG     and CHESTER.  She's waving her arms, shouting.                                   HAWKINS                   HERE!  OVER HERE!     SANDRA looks worried.     INT.  CRAWLER     CAINE 607 and the GUNNER both see the tiny figure waving at them     a quarter mile away, trying to get their attention.     As CAINE 607 adjusts their course to the left, the GUNNER's     servomotor WHINES as he aims, peering through the scope at the      helpless figure of HAWKINS.     EXT.  SETTLEMENT/LANDSCAPE     ANGLE ON HAWKINS suddenly reacting to the sight of the vicious-     looking CRAWLER coming straight toward her, now only five hundred      yards away.  They don't look too friendly!  Frightened, she's     lowering her arms and turning when...     BLAAAAM!  The cannon flashes, HAWKINS flies backwards!     EXT.  INSIDE GARDEN TRENCH     HAWKINS' body flies back onto the PIONEERS in the trench.  Panic      erupts as...     CHESTER raises his light rifle and starts FIRING over the lip of     the trench.     BAWHOOM!  The whole edge of the trench explodes, dirt flies, and     CHESTER is hurled backwards, dead.     PIONEERS are screaming and running wildly down the trenches...     JIMMY PIG bravely aims his rifle over the lip of the trench.     He sees the CRAWLER is lumbering right at him.     PING!  PING!  His shots are pitiful.  The CRAWLER keeps coming.     ANGLE ON JIMMY PIG.  No choice but to retreat.  He turns and     hurries down the trench after the others as we...                                                       CUT TO:     INT.  OFFICERS MESS/"DADDY"     CHURCH and SLOAN look up from their card game again as RUBRICK     sticks his head in the door to report the latest.                                   RUBRICK                   Report from Crawler One.  Everything                   under control.  No need for                   assistance.                                   CHURCH                   There's resistance?                                   RUBRICK                   Ineffectual.  About fifty                   disorganized people with almost no                   fire power.  Three men are going in                   to clean them out; one man's staying                   with the Crawler.                                   CHURCH                   Humph.  Sounds reckless, three                   against fifty.  The old ones, the                   veterans, they would have called for                   support...just in case.     Again RUBRICK and SLOAN exchange a glance and an eye-roll at the      fretting old fuddy-duddy.  Then SLOAN changes the subject     brightly.                                   SLOAN                   Speaking of Riley and his old                   soldiers...why don't we let them                   start putting up the unit?  It's                   gonna take forever in this wind.                                                       CUT TO:     INT.  CREW QUARTERS/"DADDY" - MOMENTS LATER     RILEY is standing rigidly in front of his bunk in crew quarters,     flanked by the rest of the VETERANS in similar positions, facing     SLOAN.                                   RILEY                   Will we be issued weapons, sir?                                   SLOAN                         (a sneering smile)                   No, Riley...no weapons.  You're not                   a soldier, Riley.                                                       CUT TO:     EXT.  INSIDE THE TRENCHES - DAY     The NEW SOLDIER comes straight, like some inexorable death     machine, lumbering awkwardly with his burden of weapons, goggled     and blank faced.     A PIONEER is backing away ten yards in front of him, firing     wildly.  POW!  POW!  POW!     The NEW SOLDIER looks at one of his armor-gloved hands, opening     the palm in front of his face.  His hand's been hit.  He shakes     it, annoyed, like it was a bee sting, then he aims at the     PIONEER.     WHOOOOSH!  A tongue of fire from the NEW SOLDIER's flame thrower      engulfs the helpless PIONEER as we...                                                       CUT TO:     INT.  MEETING ROOM - DAY     PIONEERS are crouching in the room when the door bursts open, and     a tongue of flame turns the room into a firestorm and we...                                                       CUT TO:     INT.  CORRIDOR - DAY     SANDRA has NATHAN screaming in her arms as she calmly herds     frightened CHILDREN through a corridor, JOHNNY, WILL, and ELLEN     among them.                                   SANDRA                   Keep going, children, don't panic,                   don't panic.     But if her demeanor doesn't reveal her fear, her eyes do.                                                       CUT TO:     EXT.  INSIDE ANOTHER TRENCH - DAY     Two Pioneers, SALLY and RED, lunge from a doorway into the trench     and fire a rifle and a pistol at a THIRD SOLDIER who's advancing      along the trench.     BANG!  BANG!  PING!  SPLAT!     SALLY and RED dive back in the doorway for cover where a pioneer     named SINGH is crouched, watching with alarm the THIRD SOLDIER      advancing unfazed.     ANGLE ON THE THIRD SOLDIER coming toward them.     ANGLE ON THE PIONEERS huddled in the doorway.                                   RED                   They got armored vests.  You got to                   aim for exposed parts like the                   face...                                   SINGH                   Here goes.     RED and SALLY watch SINGH step out directly in front of the     advancing THIRD SOLDIER and FIRE five shots rapidly...PING!     PIZG!  PING!  PING!  PING!     WHOOOOSH!  RED and SALLY see SINGH incinerated before their eyes.     Exchanging a horrified glance, they turn to retreat down the     interior corridor, but before they get two steps, they freeze...     A SOLDIER is in the corridor, not looking at them, but breaking     down a door.  They can't go that way!     Trapped, they turn to see the THIRD SOLDIER almost to the     doorway, his flame thrower aimed, his finger on the trigger,     and...     A blur!  Something lands on the THIRD SOLDIER from above the     trench, and the THIRD SOLDIER falls over backwards, slamming hard     to the floor of the trench.     But he's a super soldier, so that almost at the same time he hits     the ground he's already lunging upward to regain his feet and     fight except...     A knife blade rips across his throat, opening it wide in one     swift movement, and...     The THIRD SOLDIER's head sags back because not even superman can     fight with no neck and the last thing he sees through his plexi      goggles is...     TODD looming over him with a bloody knife, a face like stone, and     fierce soldier's eyes.     ANGLE ON THE DOORWAY, where RED, SALLY, and another PIONEER peer      around the corner, eyes wide with amazement at the sight of TODD      kneeling over his victim.     ANGLE ON TODD, slipping the utility belt off the dead THIRD     SOLDIER, yanking grenades and ammo from the bulky body, stuffing     a heavy pistol in his own waistband.     RED approaches timidly.                                   RED                   You want help, partner?     TODD glances up at him, and RED sees TODD'S eyes and RED backs     away quickly because...     TODD looks badder even than the new soldiers!     Turning back to the dead man, TODD goes for the last item...the     goggles.  Ripping them off he reveals...     A one-eyed soldier.  The dead man staring up at him is MELTON.     For just a moment TODD stares into the dead face, revealing     nothing of how he feels, as we...                                                       CUT TO:     INT.  OTHER ROOM - DAY     NATHAN is SCREAMING in terror on the floor, ignored as SANDRA and     CHILDREN haul the bed from the bedroom to add to the heap of     obstacles they've placed in front of the door already.  The     stove, everything is wedged against the door to the corridor.     As they heave the bed against the mountain of furniture and other      belongings, the door quivers, the heap of furniture shifts.     INT.  CORRIDOR     The FIRST SOLDIER, as big as an offensive tackle, shoulders the     door again, and it gives...     INT.  ROOM     CHILDREN SCREAM as the mountain of furniture heaves backwards,     and the door opens part way, revealing the FIRST SOLDIER.     SANDRA grabs NATHAN and hands him to one of the children.                                   SANDRA                   Into the bedroom, all of you.     SANDRA picks up a stool to defend herself.     INT.  BEDROOM     Dashing into the bedroom, the children are greeted with a     terrifying sight!  SMASH!  Soldier boots are kicking out the     little window high in the wall, SMASH, SMASH, SMASH, and the     window collapses, a boot sticks through the opening...     INT.  OTHER ROOM     Unhurriedly, the giant FIRST SOLDIER bulls through the furniture,     tossing the bed and table aside like sticks.     SANDRA smashes at him with the stool, hitting him twice, hurling     it in his face.     The FIRST SOLDIER shakes off the blow as if he'd been hit by a      feather.  But she's got his attention.  He turns his goggles at     her, starts to raise his weapon as...     SANDRA turns and disappears into the bedroom...     INT.  BEDROOM     As SANDRA dashes into the bedroom in blind retreat she runs smack     into the chest of another soldier!     Helpless and horrified, she looks right into a cruel stone face     and goggled eyes, and she gasps...                                   SANDRA                   Sergeant Todd!     TODD never takes his eyes off the door as he brushes her roughly     aside with one hand, while his other arm aims the heavy rocket     gun right at the door and...     The FIRST SOLDIER comes into the doorway with his flame thrower     raised to torch women and children and what he sees is TODD     looking right at him, aiming the rocket gun, and BAWHOOM, the     FIRST SOLDIER is blown clear back across the other room with a      shot right in the chest.     ANGLE ON SANDRA, still on the floor where he knocked her,     watching TODD exit the room, weapon raised, his utility belt     dangling bandolier style across his chest.     He looks like...one of them!  A soldier!     INT.  OTHER ROOM     Crossing the next room, TODD moves quickly to the door, flattens,     and peers into the corridor.     He sees the SECOND SOLDIER heading toward him.     BLAM!  BLAM!  TODD fires twice around the door and sees...     The SECOND SOLDIER staggering back, hit, a pistol from his     hip...     Dirt explodes around the door frame as TODD ducks back.  Quick as     a wink, he yanks a grenade from his utility belt, triggers it,     and flips it around the corner as CRACK!  a shot rips at his arm.     BAWHOOM, the grenade goes off and, bleeding from his arm, TODD     swings into the corridor and follows the grenade with three quick      rocket shots.     INT.  CORRIDOR     Keeping low, TODD charges, his weapon pointed at the fallen     SECOND SOLDIER.     The SECOND SOLDIER is sprawled bloodily in the corridor, the     walkie-talkie on his chest squawking urgently.                                   WALKIE-TALKIE (V.O.)                   Crawler One calling Double Mike.                   Give me an "okay," Double Mike.     TODD seizes the walkie-talkie, presses the transmit button, and     snarls a throaty animal growl into the mike...     INT.  CRAWLER/LANDSCAPE     CAINE 607 is sitting at the wheel of the motionless vehicle     parked near the trench garden, radio mike in hand, when he hears     the low ANIMAL SNARL come across his speaker.     CAINE 607's robot face reveals nothing as he listens to ANOTHER     GROWL.  WIND HOWLS outside.     Then he flicks a switch on the dash and puts the mike to his     mouth, his face expressionless.                                   CAINE 607                   Crawler to Daddy, Crawler to Daddy.                   Come in, Daddy!                                                       CUT TO:     PORTHOLE VIEW/EXT./INT.  OFFICERS' MESS/"DADDY"     Seen through the thick plexi-porthole, heavily-clothed VETERANS     are struggling with a wall, trying to erect the pre-fab unit     while the wind, inaudible inside the ship, rages around them,      staggering them this way and that.  What we hear in the quiet     interior of the mess is CHURCH voicing his disbelief.                                   CHURCH (O.S.)                   A "growl"!  He heard a growl?     RUBRICK, looking uneasy, is facing CHURCH who's looking up at him     from a game of solitaire at the little table.  SLOAN is biting     her fingernails in the b.g.                                   RUBRICK                   Well, he didn't say the word                   "growl."  He said a "throat-noise,"                   but I asked him to imitate it and it                   sounded like a growl to me.                                   CHURCH                   My God!  Who are we fighting here!                                   RUBRICK                         (nervous)                   I think...I think we have to assume                   the missing men are...down.                                   CHURCH                         (getting up, pacing)                   I knew Mekum's hotshots were green.                   No reinforcements, then they walk                   right into an enemy stronghold.                                   RUBRICK                   We could send reinforcements now...                                   CHURCH                         (sharply)                   Absolutely not.  Those bastards are                   just waiting in there for us.  No                   more of this fancy super-soldier                   shit.  We do it with the hammer...     RUBRICK and SLOAN exchange a nervous glance as CHURCH paces     agitatedly.                                   RUBRICK                   Uh, what does that mean, "the                   hammer"?                                   CHURCH                         (suddenly smug)                   My daddy always said, "When you want                   to insert a nail in a piece of wood,                   you don't do nothing fancy or                   glamorous, you don't finesse or play                   the hero, you just pick up your damn                   hammer and hit that sumbitch till                   it's in."                                   SLOAN                         (under her breath)                    Christ!  Now Daddy's a carpenter!                                   RUBRICK                         (to Church)                   I...don't...quite...follow...sir.                                   CHURCH                         (decisive, sharp)                   Take the whole unit, both Crawlers,                   and tell 'em to pound that place                   with rockets, cannons, mortars,                   everything we got...from a safe                   distance.                                   RUBRICK                         (brightening)                   Raw firepower!                                   CHURCH                   It may not be heroic, and we may                   waste some ammo, but by God we'll                   get the job done.                                                       CUT TO:     EXT.  LANDSCAPE - DUSK     The four suns are dimming noticeably, dusk is falling.     The wind HOWLS, junk drifts and shifts.     A corpse turns over in the wind.  It's HAWKINS' BODY, ravaged by     the turbulent air, as we...                                                       CUT TO:     INT.  EARTHEN CORRIDOR/SETTLEMENT - NIGHT     Someone is dragging a CORPSE down the smoky, lamplit corridor as      little NATHAN watches SANDRA tending to the bloody wounds of a     PIONEER lying on the floor.  As the CORPSE is dragged past     NATHAN, the lifeless, vacant eyes stare right at the     uncomprehending little boy.     NATHAN sees the pioneer's seven year old daughter, ANGIE, sobbing     uncontrollably at the sight of her father's wounds.  SANDRA is     trying to help with the bandages and console ANGIE at the same     time while all round her in the hellish atmosphere people GROAN     and children CRY OUT.     NATHAN doesn't understand it, it's confusing.  MEN and WOMEN loom     past him.  He wobbles off down the corridor, toddling away from     the sounds of pain.     SHUK!  KA-SHUK!  Strange SOUNDS come from a doorway ahead, the     doorway to the meeting room.  CHAK!  KLAK!  SHIK CHIK KA CHIK!     The sound of metal and metal, metal parts CLICKING and SLIDING.     Alone in the corridor, NATHAN toddles innocently forward, toward     the SOUNDS.     INT.  MEETING ROOM     NATHAN wobbles into the meeting room doorway and stops there,     staring.     The burnt furniture has been heaped in one corner of the room,     leaving a large open space where TODD, bare-chested, a tourniquet     on one arm, is squatting on the floor, skillfully reassembling a     stripped rifle.     Surrounding him on the floor in neat piles are the rocket rifles,      pistols, ammo clips, utility belts, goggles, torn armor vests,     boots, grenades, knives, and flashlights he salvaged from the     dead soldiers.  TODD looks up at NATHAN and their eyes meet.     NATHAN recognizes his "friend," tries a tentative little smile.     But TODD just stares at him, and the unformed smile fades from      NATHAN's face.  For a long moment they just look each other in     the eyes very seriously.     SANDRA enters, her dress covered with the wounded man's blood.     Not noticing TODD, she rushes to NATHAN, grabs him...                                   SANDRA                   Nathan, thank God, there you...     Suddenly seeing TODD she breaks off, stares at him.     Squatting on the floor, surrounded by weapons, TODD'S eyes meet     hers for a long moment...then he looks away, goes back to     assembling the weapons with quick sure movements, almost as if he      wanted to avoid her eyes.     SANDRA wets her lips to speak, hesitates, then finally blurts out     what she can hardly bear to ask...                                   SANDRA                   Did he find you?     No answer.  TODD finishes with the weapon, starts checking the     next one.                                   SANDRA                   My husband...Mace...he went out to                   look for you.  He...found you,                   didn't he?     TODD looks up at her and nods.  Their eyes lock.                                   SANDRA                   They...killed him...didn't they?     TODD nods, turns back to his arsenal.     SANDRA stands there, hugging NATHAN to her chest, holding her     tears in, her lids quivering, fighting to conquer her emotion.     After a long, difficult moment, she wins the battle with herself.     She looks numb, stunned, but she's not crying.     TODD has begun to dress.  He straps a sheath knife to one ankle,     pulls on boots.  Then he pulls a jersey over his muscular torso,      covering all the old scars, the tattooed names of battles, and     the tourniquet on his arm.     Staring at him with glazed eyes, SANDRA notices a blotch of blood     form on the jersey, leaking through the tourniquet.  She speaks      numbly.                                   SANDRA                   Your wound...it's still bleeding.     Stuffing his pockets with ammo and other items, TODD glances at     her with eyes that glitter dangerously.                                   TODD                   I like to bleed, sir.     SANDRA stares at him stupidly as he continues to dress, pulling     on a heavy armored vest.                                   SANDRA                   It doesn't...hurt?     TODD pulls on a second armored vast, one that already has a     ragged hole in it from a rocket.                                   TODD                   Not enough, sir.     SANDRA watches him go to the heap of charred furniture in the     corner and take a blackened stick from it, watches him smear     charcoal under his eyes.                                   SANDRA                   How do you know they'll come back?     TODD looks at her, a savage with blackened eyes.                                   TODD                   They're soldiers, sir.  Like me.                                   SANDRA                   What...what do they want?                                   TODD                   Nothing.                                   SANDRA                   Nothing?                                   TODD                   They are obeying orders, sir.  It's                   their duty.     For a moment SANDRA is silent, then...                                   SANDRA                   You know who they are, don't you?                   Do you know how many there'll be?     TODD crosses two utility belts across his armored chest like      bandoliers.                                   TODD                   Seventeen more, sir.                                   SANDRA                   Seventeen!  My God!                         (suddenly energized)                   You can't fight seventeen yourself!                   You have to organize the rest of us,                   show us what to do.  We don't have                   your...your skills...but we're not                   cowards.  We'll do what you tell us,                   we'll --                                   TODD                         (interrupting, softly)                   No.     His voice is soft as silk but hard as steel.  She looks into his     eyes.  Does she detect a hint of approval, of respect, in those     flat expressionless snake eyes?                                   SANDRA                   Why not?     TODD turns to go, laden with weapons, a flamethrower on his back,     a rocket rifle on his shoulder, another in one hand.                                   TODD                   Soldiers deserve soldiers, sir.                                   SANDRA                   But...one soldier against seventeen!     He looks back at her, right into her eyes this time.                                   TODD                   I am going to kill them all, sir.                                                       CUT TO:     INT.  CREW QUARTERS - NIGHT     The NEW SOLDIERS are putting on their heavy gear in ominous     silence, covering their muscular torsos with armored vests and     utility belts while SLOAN watches from the hatchway.                                   SLOAN                   Double belts, double ammo, double                   everything!  You've got to be heavy                   there or you'll blow away,                   fellas...and we wouldn't want that,                   would we?     They continue dressing obediently, their eyes the sullen eyes of      robots.  But CAINE 607 speaks up, at once respectful and     dignified...                                   CAINE 607                   It's dark now, sir.                                   SLOAN                   You're afraid of the dark, Sergeant                   Caine?                                   CAINE 607                   No, sir.  But the manual says --                                   SLOAN                   That's what nightscopes are for,                   soldier.  For the dark.                                   CAINE 607                   Yes, sir.  But the sixth rule is                   "never give the enemy an advantage                   unnecessarily."  If they're                   expecting us --                                   SLOAN                         (erupting)                   Listen, Sergeant, this may come as                   news to you, but you're not a real                   hot thinker!  Your pitiful efforts                   at tactics have cost us three men                   already.  So turn it off, that                   little pea brain of yours!                         (turning to the others)                   That goes for all the rest of you                   mental giants too.  All you have to                   do is go boom-boom.  Understand?                   Boom-boom!  Kill kill!  Say it...                   Kill...kill...kill...     Draped in battle gear the seventeen NEW SOLDIERS obediently     repeat the words after her, their eyes blank and sullen...  "Kill     kill kill..."  They look like somber death machines as we...                                                       CUT TO:     EXT.  "CONSTRUCTION" SITE - NIGHT     In the harsh blue glare of work-lights RILEY and the crew of     VETERANS, dressed in heavy parkas, are struggling in the wind to     erect the second side of a small hut.     RILEY sees something, reacts.     He sees seventeen NEW SOLDIERS exiting the ship in the fringe of     the work-lights, ominous death machines in their heavy gear and      goggles, partly lost in shadows like some vision from hell.     RILEY stares at them, at the men who carry the weapons he used to     carry, his face like stone, his eyes a mystery as we...                                                       CUT TO:     INT.  CORRIDOR - NIGHT     SALLY and RED are guarding a door to the trench when a CLANKING     noise in the corridor behind them makes them turn and look.     Their jaws go slack with amazement.     Clanking toward them is TODD, so armored and laden with fighting     gear he looks almost like a medieval knight!  He says nothing as     he looms closer to then, heading for the door.  The two of then     shrink hastily out of his way.     EXT.  INSIDE TRENCH     Stepping into the trench, TODD hears the wind SCREAM overhead.     He approaches crude steps dug in the side of the trench and     begins to pull himself up into the wind.     As he climbs, the SCREAMING wind changes pitch radically, and by     the time he bellies over the lip of the trench, the wind is only     a breeze.     Getting to his feet and finds even the breeze is dying, replaced     by a terrible stillness.     As TODD looks off into the darkness, a voice calls to him from     the trench behind biz.                                   SANDRA (O.S.)                   Sergeant!  Sergeant Todd!     TODD turns back, looking down into the trench, and sees SANDRA     looking up at him.                                   SANDRA                   Sergeant...these soldiers...the ones                   you're going to fight...  Are these                   the "better ones"...the ones who                   replaced you?     TODD looks at her for a long moment, his face a mask, before he     nods almost imperceptibly.  Her eyes are full of tears.                                   SANDRA                   Sergeant Todd...I think they...I                   think...someone made a serious...                   mistake.     TODD looks into her eyes.  It is impossible to tell if he knows     that she cares about him and that she is blessing him.     After a moment he turns away and lumbers off into the darkness,     the CLANKING of his equipment the only sound in the spooky     stillness.                                                       CUT TO:     EXT.  JUNK/TERRAIN - NIGHT     Two CRAWLERS cut through the night fifty yards apart.  Four of     the NEW SOLDIERS cling to the outside of one CRAWLER, five on the      other, two on each CRAWLER operating spotlights that pan the     darkness to the sides while the headlights illuminate the     skeleton of the crashed ship and shadowy chunks of machinery     littered across the terrain ahead of them.     It is very still.  No wind.     INT.  CRAWLER ONE     A DRIVER is at the wheel, a GUNNER beside him, studying the night     through an infrared scope.  Behind them, two more NEW SOLDIERS     sit lost in shadows in the back seat, staring impassively out the      window at the spooky spotlights combing the eerie junkyard.     EXT.  CRAWLER ONE     The LEFT FRONT SOLDIER sits on the fender seat of CRAWLER ONE,     peering along the beam of his spotlight, scrutinizing the     sinister shapes in the darkness, when...     BLAM!  He's shot in the face, slammed back into the windshield of      CRAWLER ONE.     INT.  CRAWLER ONE     Vision blocked, the DRIVER is fighting for control of the vehicle     as the GUNNER to his right screams into the radio mike...                                   GUNNER                   CRAWLER ONE, WE ARE RED!  RED!  WE                   ARE RED!     By veering sharply, the DRIVER is able to shake off the body that     was blocking his vision, clearing his shattered windshield.     EXT.  JUNK TERRAIN     Seven of the NEW SOLDIERS -- the three hanging on CRAWLER ONE and     the four from CRAWLER TWO -- drop off into the stillness.  One     checks the LEFT FRONT SOLDIER's body while the others, barely     visible in the weak light, fan out, keeping low, taking cover in     the random junk strewn all around them.     ANGLE ON NEW SOLDIER ONE, a corporal, crouched behind a huge     piece of discarded agriculture machinery.  He yanks a flare from     his waist band and fires it.     The FLARE bursts overhead, exposing the ghostly terrain to a     bright green light.     ANGLE ON THE JUNK AND THE SKELETON SHIP: a ghostly graveyard.  No      wind.  Nothing moves.  No sign of TODD.     INT.  CRAWLER ONE     Maneuvering across the junk-strewn landscape, the DRIVER peers     through the cracked windshield at the green terrain, looking for     TODD as the RADIO crackles...                                   RADIO                   Crawler Two to Crawler One.  Do you                   have a sitrep?     THE GUNNER and the DRIVER exchange a glance.  The GUNNER takes     the mike and speaks into it.                                   GUNNER                   Crawler Two, we are one down,                   responding to sniper activity.     INT.  CRAWLER TWO     CAINE 607 is at the wheel, speaking into his mike.                                   CAINE 607                   Crawler One, do you require                   assistance?                                   RADIO                   That is negative.  We will eliminate                   the sniper and rendezvous at target.                                   CAINE 607                   Roger, One.  We are proceeding to                   target.     CAINE 607 accelerates the CRAWLER.     EXT.  JUNK TERRAIN     The flare fades and the near darkness returns.     ANGLE ON NEW SOLDIER ONE peering out into the stillness, then      signaling NEW SOLDIER TWO who's hiding nearby.     As the two NEW SOLDIERS step out from their sheltered positions,      they're joined by NEW SOLDIER THREE.  Exchanging hand signals,     the three of them advance, spreading out cautiously.     NEW SOLDIER THREE has moved about thirty yards away when suddenly     he "disappears."     EXT.  INSIDE A "CATCM TRENCH"     SPLASH!  SOLDIER THREE has tumbled into a flooded trench.     He struggles to his feet, can't figure out where he is.  He pulls     a flashlight from his waist and shines it down the trench in both      directions.     The flashlight beam reveals a steep-walled trench knee-deep in     water and littered with rusting junk.     NEW SOLDIER THREE splashes along the trench, looking for a way     out.     His light reveals a piece of a derrick mast leaning against the      trench, a perfect ladder.     He's slogging toward it when he whirls suddenly and splays his     beam down the trench behind him.     NEW SOLDIER THREE'S POV of the flooded trench.  Junk and water.     ANGLE ON NEW SOLDIER THREE, turning back and approaching the     ladder.  Just as he reaches the ladder he whirls again.     Again his light illuminates the spooky trench.  Again, nothing     but water and junk.     Relieved, he's just about to switch off his light when...     TODD rises out of the water only five feet away like a demon.     Before NEW SOLDIER THREE can cry out, TODO lunges at him.     EXT.  JUNK TERRAIN     As he creeps cautiously through the gloom, NEW SOLDIER ONE     stiffens.  Was that a stifled CRY?  Or not?     NEW SOLDIER ONE signals NEW SOLDIER TWO and the two of them turn     and move cautiously toward where NEW SOLDIER THREE was.     EXT.  INSIDE THE TRENCH     TODD'S light reveals NEW SOLDIER THREE slumped in the water, his     head askew, neck broken, eyes vacant.  TODD is hastily rummaging     through the soldier's equipment, looking for something.     He finds it.     EXT.  JUNK TERRAIN     NEW SOLDIERS ONE and TWO are approaching the trench when suddenly     a flare bursts above them.     The NEW SOLDIERS react with amazement as the flare exposes them     in a brightly illuminated landscape.  Before they can take     cover...     BUDDA BUDDA BUDDA.  Flashes of fire from the lip of the trench.     NEW SOLDIER ONE drops dead, NEW SOLDIER TWO is down and writhing     on the ground, SCREAMING.     ANGLE ON CRAWLER ONE veering sharply toward the trench,      accelerating, FIRING ROCKETS, CANONS, MACHINE GUNS....     ANGLE ON THE OTHER NEW SOLDIERS, prone, firing toward the trench.     EXT.  INSIDE THE TRENCH     Tracers whizzing over the top of the trench illuminate TODD as he      races down the trench, running for his life.     EXT.  JUNK TERRAIN     Still firing, CRAWLER ONE grinds up to the lip of the trench.     ANGLE ON NEW SOLDIERS charging toward the trench behind the     CRAWLER.     CLOSE ON CRAWLER ONE'S HOOD where a small trap opens and a nozzle     pops out like a little penis and...SQUIRTS a stream of liquid!     The liquid stream arcs fifty yards along the trench and     diminishes backward like a man pissing...     INT.  INSIDE THE TRENCH     TODD looks back just before be rounds a corner in the trench,     sees the liquid hitting the water in the trench.     Sheltered from their view by the turn in the trench, TODD tries     to scale the steep wall of the trench.     WHOOOOOOOOOSH!  The surface of the water-filled trench bursts     into flame.  A fiery river of flammable liquid.     ANGLE ON NEW SOLDIERS reacting to something!     NEW SOLDIERS' POV of TODD, visible in the firelight as he rolls     over the lip of the trench fifty yards from them.     ANGLE ON THE NEW SOLDIERS firing as they move toward TODD.     They've got him now!     ANGLE ON TODD bellying toward a rusting turbine, disappearing     from view.     ANGLE ON CRAWLER ONE, separated from TODD'S hideout by the      trench, pouring heavy FIRE on the spot where TODD disappeared.     ANGLE ON NEW SOLDIERS communicating by hand signals as they move     to surround TODD.     EXT.  BEHIND THE TURBINE     As rockets and canon shells SLAM into the turbine, TODD hastily     attends to a nasty wound in the flesh his thigh, bandaging it     skillfully, quickly.     EXT.  JUNK TERRAIN     While CRAWLER ONE keeps TODD pinned down, NEW SOLDIERS move to      outflank him.     EXT.  BEHIND THE TURBINE     As TODD completes dressing his thigh, the CRAWLER stops firing.     Silence.     TODD peers out, assessing the situation.     TODD'S POV of the terrain.  Vague glimpses of NEW SOLDIERS     slipping from cover to cover, never exposing themselves enough     for a shot.     ANGLE ON TODD.  He seems to know he's in a tight spot.  He's     preparing to fight off an attack, laying out weapons, grenades,     when...he freezes.  Listens.     Behind the stillness he can hear the faint WHISTLE that precedes     the wind.     Hastily TODD yanks his belt off.     EXT.  TERRAIN     NEW SOLDIER FOUR sticks his head up from behind an old boiler and      signals NEW SOLDIER FIVE.     ANGLE ON NEW SOLDIER FIVE acknowledging from the mouth of an old      storage tank where he's positioned.     ANGLE ON NEW SOLDIER SIX bellying toward TODD'S position.     EXT.  BEHIND THE TURBINE     Using his belt and a carabiner as a safety line, TODD attaches     himself to the heavy turbine...and gathers up his weapons.  He     can HEAR the very low WHISTLING building ever so slightly.     EXT.  TERRAIN     The WIND SIGHS and a faint breeze stirs.  Then a tin can skitters     by in a puff of wind as the NEW SOLDIERS take turns moving     closer to TODD, flanking him from safe vantage points.     NEW SOLDIER FOUR stands to wave the next man forward when...     WHOOOOOOOOOOOOOSH!  THE WIND ERUPTS, ROARS, BELLOWS...     NEW SOLDIER FOUR is lifted into the air and carried away.     NEW SOLDIER FIVE is trying to stay on his feet, as the wind SLAMS     him into one piece of junk after another.     INT./EXT.  CRAWLER     As the wind HOWLS and shakes the CRAWLER, the DRIVER and the     GUNNER stare with amazement as NEW SOLDIER FIVE slams into their      windshield, neck broken, and stares at them with lifeless eyes.     They see NEW SOLDIERS SIX and SEVEN tumble and somersault past.     As NEW SOLDIER SIX disappears, blown off into the night, NEW     SOLDIER SEVEN manages to grab hold of the walking wire.     Gripping the wire for his life, he turns just in time to be      decapitated by a piece of aluminum housing flying through the     air.     EXT.  TERRAIN     NEW SOLDIER FOUR, badly battered, is down on his belly trying to     stay "under the wind" when he sees something terrible!     HIS POV of a massive lathe blowing right toward him along the     ground, tumbling, crashing, slamming into things.  It looms over     him, unavoidable, the end!     ANGLE ON NEW SOLDIER FOUR reacting to the huge lathe about to     crush him.     EXT.  BEHIND THE TURBINE     Held by his safety belt and protected by the turbine, TODD peers     out, and watches the wind destroy the footsoldiers.     TODD'S POV OF NEW SOLDIER FIVE's lifeless body being blown along     the ground like a leaf.     ANGLE ON TODD, reacting.  He's seen something important.     TODD'S POV of CRAWLER ONE moving again, rounding the far end of     the trench and, no longer separated by the trench, turning     toward TODD'S position.     INT.  CRAWLER ONE     As the DRIVER steers, the GUNNER peers through his scope.     GUNNER'S INFRARED POV of TODD darting behind an overturned vat.                                   GUNNER                   There!     The DRIVER steers toward where TODD disappeared.     EXT.  JUNK TERRAIN     Windborne junk CLATTERS against CRAWLER ONE'S armor plating,     debris flies through the bright swaths of the headlights, as the     vehicle grinds toward the overturned vat.     ANGLE ON CRAWLER ONE coming around the vat, headlights glaring.     INT.  CRAWLER ONE     The GUNNER is peering intently through his scope.     GUNNER'S POV through his scope: The infrared view with crosshairs     is especially spooky because of the debris blowing eerily across     the landscape as the gun whips back and forth, looking vainly for      TODD.  Suddenly the sight is yanked hard, sweeping violently     over to pin a moving object...     False alarm!  Just another piece of blowing junk.  No sign of     TODD.     EXT.  CRAWLER/JUNK TERRAIN     The CRAWLER grinds slowly past a huge overturned boiler, its     cannon panning right, then left, then right.     INT.  CRAWLER ONE     Peering through the scope as he sweeps the terrain, the GUNNER     suddenly stiffens and back-pans to find something...                                   GUNNER                   Tentative at One.     The DRIVER angles right, aiming for one o'clock.                                   GUNNER                   That's negative, no target.     The DRIVER swings the wheel back and they continue slowly through     the darkness.     In the back seat, two NEW SOLDIERS peer into the night with blank      faces.  One of them is watching a huge plastic sign cartwheel     past in the wind when --     -- he reacts!     -- as TODD'S face appears is only inches from his, right against     the plexi!     BAM!  Before the NEW SOLDIER can do more than look startled, TODD      shoots out the window with a pistol and shoves a live grenade     through the hole.                                   NEW SOLDIER                   RED!  RED!  RE --     BAWHOOOM!  The grenade EXPLODES and...     The DRIVER fights for control of the wheel.     The GUNNER screams and screams and screams like a machine running     at high speed while the two NEW SOLDIERS lie open-eyed with death     in the back seat.     EXT.  CRAWLER     No sign of TODD.  Disappeared again.     As the wind ROARS furiously, the damaged CRAWLER limps along.     INT.  CRAWLER ONE     The dying GUNNER is making awful noises while the DRIVER, eyes     glazed, his face streaming with blood, maneuvers the vehicle     slowly and cautiously, looking for the enemy...     But all he sees through the cracked windshield is a shadowy world     of wind-tossed debris.     EXT.  JUNK TERRAIN     Protected by a hunk of pipe, TODD crouches and watches the     CRAWLER, his eyes glittering, his weapon ready.  It's clear now     that the tables are turned and he is the hunter as we...                                                       CUT TO:     INT.  CORRIDORS - NIGHT     EXPLOSIONS!  SCREAMS!  BAWHOOM!  Another shell hits, beams     splinter, dirt walls collapse.     Eight-year old JOHNNY, alone and terrified, comes in to view     around a corner.  He's been separated from the others.                                   JOHNNY                   DAD!  DAAAAAAD!     No answer.     JOHNNY doesn't know which way to go.  The world's falling apart!     WHUMP!  The little warren of earthen corridors is shaken by     another BLAST.     Desperate, JOHNNY makes a left, away from the last blast and     hurries down a collapsing corridor past doorways that reveal     rooms with no ceilings where the wind HOWLS.  It's obvious the      shelling has been going on for a while.                                   JOHNNY                   DAAAAAAAD!     Just then, JIMMY PIG pops out of a doorway in front of him and     and rushes toward him.                                   JIMMY PIG                   GOTCHA!     BA-WHOOM!  Another shell collapses the corridor behind JOHNNY as     JIMMY PIG grabs him and hauls him toward the door he emerged     from, the Dining Commons.     INT.  DINING COMMONS     EMMA is ushering CHILDREN through a trap door in the floor into     the root cellar as JIMMY PIG ushers JOHNNY into the room.                                   JOHNNY                   Where's my father?  Where's my                   father?     JOHNNY looks around urgently.     SANDRA is bandaging TOMMY'S arm while ELLEN, NATHAN, and WILL are     huddling under a table in the most protected corner of the room.     JIMMY PIG and JUDITH exchange a pained look as JIMMY PIG pushes     JOHNNY toward SANDRA and the table.                                   JIMMY PIG                   Johnny, get over under that table                   with Miss Sandra and Ellen and the                   others.  Miss Judith, you better go                   on down the root cellar with Emma                   and help with the ones down there.                                   JOHNNY                   Where's my mother?     BAH-DOOOM!  Another fierce CONCUSSION twenty yards away shakes     dirt from the ceiling.  ELLEN beckons from under the table...                                   ELLEN                   Come on, Johnny.                                                       CUT TO:     EXT.  SETTLEMENT - NIGHT     MUZZLE FLASH!  FFFWHOOOMP!  CRAWLER TWO fires another round.     The vehicle is squatting not thirty yards from the trench garden,     pouring round after round into the colony, lighting the night     with bright-colored flowery blasts.     Crouched in the wind not far from the vehicle, the two NEW     SOLDIERS from the back seat have set up a mortar, and they too     are firing away.     INT.  CRAWLER TWO/STATlONARY     The GUNNER is looking through his scope, methodically aiming and     firing as CAINE 607 at the wheel watches impassively.     KA-FOOMP!  Another shot, the vehicle rocks, and, five hundred     yards away, fire and dirt fountain thirty feet into the air.     BEEP!  BEEP!  A light on the dash blinks on.  CAINE 607 switches     on a radarscope, spots a blip.     The GUNNER takes his eyes off the scope, looks at the blip.     CAINE 607 is already manipulating a spotlight, looking across the     GUNNER out the right window.     The spotlight stabs the darkness, finds a moving vehicle a half     mile of moving toward them.  It's CRAWLER ONE with its lights     out.     As CAINE 607 flicks off the spotlight, the GUNNER turns back to     the scope and resumes his deadly barrage.  CAINE 607 speaks into     the radio mike.                                   CAINE 607                   Crawler Two to Crawler One.  Come                   in, One.                                   RADIO                   One.                                   CAINE 607                   Two to one, take your port to our                   nine o'clock and commence firing.                                   RADIO                   Copy, Two.  Port to your nine and                   commence firing.     FOOOMP!  The GUNNER fires again, rocking the vehicle.     CAINE 607 looks at the SCOPE.     The blip continues on directly on its course.     CAINE 607 picks up the mike again.                                   CAINE 607                   Crawler Two to Crawler One.  Again;                   proceed to port nine...                                   RADIO                   Affirmative, Two.     FOOOMP!  The GUNNER fires again as CAINE 607 looks at the screen.     The blip on the screen keeps on straight, doesn't alter course!                                   CAINE 607                         (into the mike)                   Two to One.  You are still on twelve                   o'clock.  Correct to nine.                                   RADIO                   Roger.     But the blip continues straight, directly at them.     And suddenly CAINE realizes!  Dropping the mike he snaps at his     GUNNER urgently.                                   CAINE 607                   Gunner, hard to port, target hard to                   port!     As the startled GUNNER starts to obey both of them are bathed in     sudden, blinding white light as CRAWLER ONE suddenly switches on     all lights and...     KA-BLAM!  KA-BLAM!  MUZZLES FLASHES from CRAWLER ONE.     WHUMP!  WHUMP!  CRAWLER TWO shudders, taking two direct hits.     The GUNNER SCREAMS in pain.     INT.  CRAWLER ONE     TODD is at the wheel, speaking into the radio as wind whips at     him through the shattered windshield.                                   TODD                   Roger, Two.  Affirmative.     BLAM!  BLAM!  TODD fires as he drives straight ahead toward     CRAWLER TWO and the two NEW SOLDIERS pinned in his headlight.     EXT.  CRAWLER TWO     As shells slam into CRAWLER TWO, the two NEW SOLDIERS outside try     to get clear of the explosions, staggering off into the wind.     INT.  CRAWLER ONE     TODD sets his sights on one of the NEW SOLDIERS, cutting him down     with rocket fire, then he glances toward the SECOND NEW SOLDIER     on the right.     The SECOND NEW SOLDIER, ten yards ahead, stops, turns to fire.     TODD yanks the wheel, swerving toward him.     EXT.  CRAWLERS     CRAWLER ONE plows into the NEW SOLDIER, crushing him under the     wheels, and continuing to grind toward the crippled CRAWLER TWO.     WHAM!  CRAWLER ONE rams CRAWLER TWO and drives it sideways,     pushing it ten yards... twenty yards.... thirty yards...until     suddenly it sprawls into the mouth of the trench garden,     splintering the trellis and wedging itself at a sharply canted     angle over the garden, and we...                                                       CUT TO:     INT.  CAPTAIN'S CABIN/"DADDY" - NIGHT     Silence.  CHURCH is dozing fully clothed on his bunk in a tiny     stateroom.     BZZZZT.  BZZZZT!  A buzzer sounds and a light flashes.     CHURCH opens his eyes, sees the light flashing.     Siting up in the bunk, he grabs the receiver of a phone and puts     it to his ear.  As he listens, his eyes widen with     incredulity...then they get wider as he hears more.                                   CHURCH                   Whaaaaat?                                                       CUT TO:     INT.  CORRIDORS/SETTLEMENT - NIGHT     Thick smoke clogs the narrow corridors as RED winds through the     maze of corridors, coughing desperately.  He can hear VOICES     ahead.     INT.  DINING COMMONS/SETTLEMENT     RED charges into the commons, shouting excitedly.                                   RED                   THEY STOPPED SHOOTING!  THEY STOPPED                   SHOOTING!     He stops abruptly, seeing...     a blazing fire, whipped by wind from a shel hole in the ceiling,      consuming tables in the far half of the commons...     while JIMMY PIG, SLADE and SANDRA struggle with one end of a huge     beam that's fallen at an angle on top of a trap door in the floor,     the root cellar.     ELLEN, with NATHAN in her arms, TOMMY, WILL, JOHNNY and OTHER     CHILDREN hover behind her, staring at...     a six inch opening between the floor and the trap door where     EMMA, JUDITH and OTHER CHILDREN, unable to squeeze through the     six inch gap, peer out with frightened eyes, trapped.                                   RED                         (dampened)                   They stopped shooting!                                   JIMMY PIG                         (to Red)                   Give us a hand, dammit!     As RED joins the effort.  SLADE snaps at him sarcastically as he      strains against the heavy beam.                                   SLADE                   You think (grunt) that's good they                   stopped?  It means (grunt) they're                   comin' for us!  To (grunt) kill us!                   That's good news, you think?                                   SANDRA                         (looking for hope)                   Sergeant Todd (grunt, cough) said...                                   SLADE                   That he's gonna (grunt) stomp a whole                   army?  Couldn't if he wanted.     The smoke is getting thicker.  EMMA and JUDITH are coughing,      looking scared.                                   SANDRA                   He (grunt) knew them!  He said --                                   SLADE                   He's dead!  If he isn't (grunt)                   dead, he joined 'em.  He don't                   (grunt) care about us, he's a                   soldier.  Besides, we threw him out,                   remember?     SANDRA pushes at the beam with all her strength, fighting back     tears of despair.                                   SANDRA                   He's not dead!     The massive beam won't budge!  Eyes wide with terror, EMMA and     RUTH peer out of their trap.                                                       CUT TO:     INT.  COCKPIT/"DADDY" - NIGHT     CHURCH is in the cockpit now, hovering behind RUBRICK who's     speaking urging into the radio mike.                                   RUBRICK                   This is Daddy, come in, Number Two.                   Daddy calling Number Two...                                   CHURCH                   What about Number One?  Try                   Number...                                   RUBRICK                   I tried One.  I can't get either                   one of them.     SLOAN is pacing, looks sick to her stomach with fear.                                   SLOAN                   There was...some kind of...                   guerilla action...                                   RUBRICK                   Then we lost them...     Now CHURCH is pacing back and forth, panicky, ranting...                                   CHURCH                   You should have waked me sooner!                   This is bad, very bad.  I never                   should have let that clown Mekum                   test his wonder boy army on me.  "If                   it ain't broke, don't fix it."                   Shit!  We don't even know what we're                   up against.  How many...?                                   SLOAN                   We couldn't get any figures on enemy                   troop strength.                                   RUBRICK                   Not even estimates...                                   CHURCH                   We're sitting ducks here!  There                   could be a couple of divisions!                   More!  We don't even have the                   weapons to arm the old soldiers.                                   RUBRICK                         (into the mike,                          desperately)                   Hello...  Hello, One. This is                   Daddy...     EXT.  ABOVE THE TRENCH GARDEN     The radio in CRAWLER TWO is still SQUAWKING urgently with     RUBRICK'S VOICE as the crippled vehicle lies sprawled at a     violent angle over the trench garden.                                   RADIO (V.O.)                   This is Daddy!  Come in, Crawler                   Two, come in...     Nearby, A VOICE is crying out in pain in the night.     Limping, TODD keeps his weapon ready as he searches out the     sound.     ANGLE ON THE INJURED SOLDIER, the one TODD crushed under the     treads of the CRAWLER.  He's screaming in pain.  Looks up.     TODD looms over the INJURED SOLDIER, weapon pointed.  Their eyes     meet.     In agony, the SOLDIER looks into TODD'S eyes, nods ever     so slightly.     BLAM!  BLAM!  TODD fires point blank.     Now the only sound is the ROARING of the WIND and the pathetic     sound of RUBRICK continuing his desperate RADIO BABBLE.     EXT.  INSIDE THE TRENCH GARDEN     As the RADIO CHATTERS, burning debris from the CRAWLER canted     over the garden illuminates the garden...and a BODY sprawled     there, fallen from the CRAWLER above.     BAM!  KABAM!  ROCKET FIRE!     EXT.  ABOVE THE TRENCH     TODD FIRES rockets into the damaged CRAWLER...until the RADIO     CHATTER stops abruptly.  RADIO killed dead.                                                       CUT TO:     INT.  DINING COMMONS/SETTLEMENT - NIGHT     The gap between the floor and the trap door has increased to ten     inches, enough for EMMA and RUTH to squeeze an INFANT through to     SANDRA'S reaching arms.     Soaked with sweat, gasping and coughing in the thickening smoke,      JIMMY PIG, SLADE and RED continue to strain at the beam...and it     moves.  Another inch!     The fire is raging.  The INFANT SQUALLS in SANDRA'S arms.  SLADE     snaps at her as he pushes on the beam.                                   SLADE                   Get them kids (grunt) hid somewhere!                   There's soldiers coming.     ELLEN and the CHILDREN look alarmed as SANDRA gathers them and     ushers them toward the exit, glancing back toward the trap door     as she's leaving.     EMMA and RUTH meet her look with frightened eyes.     Noticing SANDRA'S hesitation, JIMMY PIG reassures her...                                   JIMMY PIG                   Don't worry.  Couple more inches and                   they're out.     SANDRA and the CHILDREN exit.     And suddenly!!!  The beam slips back five inches, almost closing     the opening.  EMMA and JUDITH SCREAM!     JIMMY PIG, RED and SLADE look alarmed, defeated.     EXT.  ABOVE THE TRENCH GARDEN     TODD walks away from the smoking bulk of the CRAWLER canted over     the garden and drops into a traveling trench.     EXT.  INSIDE A PASSAGE TRENCH     Limping slightly, laden with weapons and still wearing his     helmet, TODD starts along the trench in the direction of the      settlement.     EXT.  INSIDE THE TRENCH GARDEN     In the shadows six feet below the overturned and smoldering     CRAWLER TWO, the BODY stirs on the floor of the garden, barely     visible in the flickering half light from the flames above.     It's CAINE 607.  He groans and stirs again.  He's not dead!  In     fact, he's rolling over, struggling to his knees.     INT.  DINING COMMONS     The frightened eyes of EMMA, RUTH and CHILDREN peer from the four     inch crack.     Whipped by wind from the hole in the ceiling, the fire is     spreading, the smoke is thick.  JIMMY PIG, SLADE and RED are     gasping with effort and coughing.  SLADE gasps to RED.                                   SLADE                   You know where Thomas keeps those                   two axes?  Go get the axes.     RED takes off at a run.                                   JIMMY PIG                         (so Emma and Ruth can't                          hear)                   We can't (cough) chop 'em out.  We                   don't have time.                                   SLADE                   Just as good (gasp) to die chopping                   as fighting.     INT.  CORRIDOR     RED rushes through a smoky corridor.  Wherever shells have     punctured the roof, the WIND whips debris about.     EXT.  INSIDE THE GARDEN TRENCH     Sitting up now, using a flashlight, CAINE 607 is examining a     terrible gash in his thigh that reveals tissue and tendon.  The     right side of his face is also badly injured, flesh torn, swollen     and distorted.     He pulls the first aid kit from his utility belt, opens it,     focuses the light on the contents.     Selects a couple of pills.  Swallows them.  Considers.  Takes two      more.  Pulls out a hypodermic needle, injects his leg.  Takes     another needle, stabs his bloody cheek.     His eyes glitter as he feels the rush from the drug.  He looks      dangerous again in spite of his condition.     EXT.  INSIDE THE PASSAGE TRENCH     TODD reaches the settlement, enters a half collapsed doorway.     INT.  SUPPLY ROOM     RED is urgently rummaging through crowbars, coils of rope, sledge     hammers.  At last he finds two axes, grabs them and exits.     INT.  CORRIDOR/SETTLEMENT     TODD picks his way among collapsed walls, fallen timbers.     He peers through doorways, sees CORPSES.     Moves on.  Searching.     EXT.  INSIDE THE PASSAGE TRENCH     Dragging a freshly bandaged leg, CAINE 607 makes his way along     the trench toward the settlement.  He's using the wall for     support...but he seems to be getting stronger rather than weaker.     His face is hideous.     INT.  JUNCTION OF CORRIDORS     Carrying two axes RED zips around a corner and freezes...     RED'S POV of: A SOLDIER, seen from behind, moving down a smoky     corridor, helmeted, heavily armed, dangerous looking,     unidentifiable.     ANGLE ON RED, terrified, waiting till the SOLDIER (TODD) has     disappeared in the smoke.  Then RED hurries on down another     damaged corridor, axes in hand.     INT.  OTHER DAMAGED CORRIDOR     RED scoots around another corner and... stops short...an armored     torso a foot in front of his face.     Looking up, RED looks right into the distorted face of CAINE 607.     Before RED can react, CAINE 607'S hand shoots out and snatches     one of the axes.     Astonished, RED backs up a step, and raises the other axe to     defend himself.     RED'S POV OF CAINE 607 looming toward him, axe in hand.     ANGLE ON RED, turning and running.     ANGLE ON CAINE 607 limping along, dragging his leg as RED     disappears around a corner.     CAINE 607 rounds the corner in pursuit... and see only smoke,     no sign of RED.     INT.  DINING COMMONS     EMMA and JUDITH peer out from under the heavy metal trap door as     JIMMY PIG and SLADE desperately try to move the beam using a     piece of metal as a lever.                                   SLADE                   This (grunt, cough) ain't gonna                   work.  Where's them axes?  He musta                   run into soldiers and got killed.                                   JIMMY PIG                   How do you know there's soldiers coming?                                   SLADE                   'Cause soldiers (gasp) finish what                   they start -- unless you stop 'em.                   And we're what (gasp) they started,                   and we didn't stop 'em!                         (shouts to Emma)                   WE'RE GONNA GET YOU OUTTA THERE                   SOMEHOW!  I SWEAR IT!     Just then RED bursts into the room with a single axe, shouting...                                   RED                   SOLDIERS!  SOLDIERS!                                   SLADE                         (grabbing the axe)                   Only one axe?                                   RED                   They took the other one!                                   SLADE                         (chopping furiously)                   Toldja.                                   JIMMY PIG                         (to Red)                   How many?                                   RED                   I... I couldn't... I couldn't...                   count 'em.  Four, I think.  Maybe                   five.                                   SLADE                         (chopping)                   More!  Trust me!                                   JIMMY PIG                         (grabbing the axe)                   Turns.     JIMMY PIG starts chopping furiously.     SLADE picks up a rifle, hands it to RED.                                   SLADE                   Do what you can.     As RED looks at the rifle, alarmed, SLADE "comforts" him.                                   SLADE                   They're gonna kill us anyhow.  No                   point in surrendering.                         (grabbing the axe)                   Turn!     JIMMY PIG gasps for air as SLADE takes over chopping again.     RED exits, worried.     INT.  THE MEETING ROOM     Huddled in a makeshift shelter of overturned furniture, with     NATHAN asleep on her lap, SANDRA is reciting to ELLEN, WILL,     TOMMY, JOHNNY, ANGIE, eight year old RAMON.                                   SANDRA                   "-- sailed an a river of crystal                   light into a sea of dew.  Where are                   you going and what do you wish the                   old moon asked the three.  'We've                   come to fish for herring fish...'"                                   TOMMY                   What's a "moon?"                                   JOHNNY                   I know what a moon is!  It's...                                   SANDRA                         (suddenly, urgently)                   SHHHHHHH!     SANDRA is reacting to vague movement in the shadows beyond the      door...and sounds.     She puts her hand over the mouth of a whimpering CHILD, hushes     another.     A timber falls outside the door and SANDRA sees a shadowy shape     enter the meeting room, looming in the darkness.     Frightened CHILDREN hold their breath, peer out fearfully.     CRACK!  SMASH!  The huge shape hurls aside the debris in his way,      switches on a flashlight, probes the darkness.     The light wipes the damaged room.     Suddenly, SANDRA gasps.                                   SANDRA                   Oh, my God!  It's... it's you!     TODD maneuvers the flashlight beam, sees the frightened CHILDREN.                                   SANDRA                   Are you...all right?                                   TODD                   We should go, sir.                                   SANDRA                   Go?     INT.  CORRIDOR     Peering into the smoke, RED reacts.     RED'S POV of CAINE 607, obscured by smoke, crossing the corridor      ahead, not seeing RED.     ANGLE ON RED, summoning all his courage, raising his rifle,     aiming.     BANG!     ANGLE ON CAINE 607 reacting, looking toward RED.     ANGLE ON RED scared to death, firing again!  And again!     ANGLE ON CAINE 607 wrenching a heavy door from its hinges and     holding it in front of him, shielding himself from RED's     continuous shooting, advancing.     ANGLE ON RED, firing again and again...and backing up.     ANGLE ON CAINE 607 holding the door/shield as he advances on RED.     Backing, RED trips, goes down flat on his back.     CAINE 607, only six feet away, hurls the door at him.     RED shoves the door aside, aims his gun up at CAINE 607, as the     huge soldier looms over him.     Before RED can pull the trigger, CAINE 607 snatches the rifle     barrel and yanks the weapon out of RED'S hands.     RED rolls, scrambles to his feet.     And CAINE 607 clubs him to the ground with the butt of the rifle,      crushes his skull with three brutal blows.     INT.  ROOM     TODD'S impassive face somehow reveals the alarm and awkwardness     he feels at what's happening to him.  TOMMY is seated on his      shoulders, he's got NATHAN in one arm and JOHNNY is nervously     looking up at him as he clutches at TODD'S huge free hand, and     now a little girl, SARAH, clutches at his combat pants as SANDRA      instructs her.                                   SANDRA                   Sarah, you hang on to Sergeant Todd.                   No matter what happens!     Clutching TODD's combat pants fiercely, SARAH looks up timidly at     the big stonefaced man as SANDRA turns to ELLEN.                                   SANDRA                   Ellen, go to the Commons.  Tell                   Jimmy Pig and Mr. Slade that                   Sergeant Todd says we have to leave                   as soon as they get everybody out of                   the root-cellar.  Can you do that?                                   ELLEN                         (scared)                   Uh, yes, ma'am.                                   SANDRA                   It's all right.  The soldiers are                   gone for now.  But be careful where                   you walk.  And if it's too smoky,                   just come back.                                   SARAH                         (on her way out)                   Yes, ma'am.                                   SANDRA                         (calling after her)                   Tell them to bring all the food and                   clothing they can carry.                         (turning to the                          children)                   Do you all understand that Sergeant                   Todd here is going to help us, and                   whatever he says to do you must do                   immediately, as if he was your                   father or your mother.                                   SARAH                         (tears)                   He's not my father!     ANGLE ON TODD'S stone face.  Unfamiliar territory.                                   SANDRA                   No... but he's our friend.  Our good                   friend.  Do you understand?     Frightened faces look to the awkward "killing machine."     TODD looks like a statue decorated with CHILDREN.     JOHNNY is sobbing as he hangs onto TODD's giant hand obediently.                                   JOHNNY                   I want my father and my mother!  Can                   he find where my father is?  I want                   him to find my father!                                   SANDRA                   No.  No, he can't do that, but --     A SCREAM!  From the corridor!     SANDRA freezes.  TODD is alert, tense...and covered with     CHILDREN.     SANDRA turns and runs for the door as TODD starts to put the     CHILDREN down.  But he's awkward, slow, not his usual graceful     self, trying to be gentle like a clumsy man handling breakables.     INT.  CORRIDOR     Bursting into the corridor, SANDRA sees ELLEN racing toward her,      weaving through broken beams, SCREAMING as CAINE 607 lumbers     after her out of the shadows.  CAINE 607 doesn't bother to avoid      obstacles, shoving beams aside like twigs, dragging his bad leg.                                   SANDRA                   Sergeant Todd!     ELLEN dives into SANDRA's arms and SANDRA turns, only three steps     ahead of CAINE 607, and rushes into the meeting room.     INT.  MEETING ROOM     TODD is just putting NATHAN gently on the floor when he sees     CAINE 607 arrive in the doorway.  For halt a second their eyes     meet, then --     CAINE 607 advances on TODD.     Still encumbered by CHILDREN clutching at him, TODD sees his     weapons, but can't get to them.  Then it's too late!     The terrified CHILDREN watch as the giant CAINE 607 clubs TODD      mercilessly with the rifle butt, then hurls him backwards like a     rag doll.     Horrified, SANDRA sees TODD slam into a wall, slump to the floor.     Dismissing TODD, CAINE 607 turns, looms toward the CHILDREN.                                   SANDRA                   THEY'RE JUST CHILDREN!     CAINE 607 ignores her, heads for ELLEN, dragging his bad leg.     Spotting TODD'S weapons, SANDRA snatches a heavy rocket rifle,     brings it up awkwardly, points it, FIRES!     And the kick from the heavy gun sends SANDRA sprawling back, the     weapon trembling from her hands.     But the WHIZZING ROCKET, a near miss, gets CAINE 607's attention.     He turns away from ELLEN, toward SANDRA.     ANGLE ON TODD rising to his knees, blinking stupidly, trying to     focus as blood pours into his eyes from a gash in his forehead.     TODD'S POV, a vague, unfocused image of SANDRA, snatching a     bayonet from TODD'S gear on the floor and lunging courageously at      CAINE 607.     Vaguely, TODD sees CAINE 607 parry her thrust effortlessly and     grab her.  As she beats at CAINE 607 bravely with her fists, the     big man slams her into a wall brutally.  As she crumples, he hits     her again.     ANGLE ON TODD struggling to his feet, staggering as he shakes his     head to clear it.     His eyes go to SANDRA, slumped against the wall, bloody.     Terrified CHILDREN look up at CAINE 607 as he towers over them.      Suddenly...     SHTUNK!  A knife blade suddenly sticks in CAINE 607's neck.     CAINE 607 only flinches... and, as he YANKS the knife from his     neck by the handle, he turns to see who threw the blade...     WHAM!  TODD slams into him, tackling him, driving his big     shoulder deep into the new soldier's waist, slamming the big man     hard into a wall.     Air goes out of CAINE 607, the knife drops from his hand.     But that's it for TODD's victory.  Six-five, two-sixty, CAINE 607     is bigger and stronger than TODD.  His powerful arms rip TODD off     him like he's taking off a Band-Aid.     Terrified, wide-eyed CHILDREN watch TODD hurled back across the     room.     TODD scrambles to his feet, shakes his head clear.     Here comes CAINE 607, dragging his bad leg.     TODD attacks!  Combining a martial arts feint and lunge with a     vicious kick!     But 607 counters expertly, brushing aside the attack!     TODD lunges again employing yet another skilled move.     SMACK!  CAINE 607 outmaneuvers TODD again, punishing him     brutally.     WHACK!  WHAM!  SMASH!  CRUNCH!  This time TODD jolts the bigger     man with a terrible combination of moves, smashing him in the     Adam's apple, kicking him in the knee, driving an elbow into the     jaw.     This time it's CAINE 607 who has to back away to recover.  And     now he seems to re-consider TODD, revealing for the first time a      genuine respect.     As their eyes meet, CAINE 607 seems to be saying "All right then,     you're serious, let's do it, fella."     TODD lunges.     SMASH!  CAINE 607 creams him.     TODD twists, slams CAINE 607 back.     BASH!  A fist to the face!     UMMMMMPH!  A knee in a groin!     SLAM!  A head against a wall!                                                       CUT TO:     VIDEO SCREEN/COCKPIT/"DADDY" - NIGHT     His face tanned from his Caribbean vacation, his image blurred     and distorted by transmission, MEKUM'S VIDEO IMAGE stares      incredulously from the snowy video monitor in the cockpit.                                   MEKUM/VIDEO SCREEN                   You can't be serious!  This is some                   kind of a joke...in poor taste.     As SLOAN and RUBRICK look on uneasily, an indignant CHURCH     addresses the image on the screen.                                   CHURCH                   Not only are we apparently out                   twenty of your fancy new soldiers,                   your supermen, we're out both                   crawlers and all the weapons...so we                   can't arm the old soldiers, the ones                   you "improved" on, to defend                   ourselves...                                   SLOAN                         (panicky, blurting at                          the screen)                   We've got to get out of here,                   Colonel Mekum!     CHURCH flashes a scowl at SLOAN as, on the screen, MEKUM erupts     excitedly.                                   MEKUM/VIDEO IMAGE                   Abort?  You want to lose twenty top                   soldiers to a phantom army and then                   abort the mission?  Do you know what                   that would look like on my record?                   Or yours?  We'd be explaining it for                   the next fifty years from some                   goddam assignment in God knows                   where, we'd --                                   CHURCH                         (interrupting sharply)                   Well, how's it gonna look when we                   lose the ship too?  How's that gonna                   look on the old record?  'Cause                   that's what's gonna happen if we                   don't get our ass outta here.  We                   can't defend ourselves with no                   weapons and --                                   MEKUM/VIDEO IMAGE                         (fighting his own panic)                   Hold on, hold on there, Captain!  At                   ease!  Let's calm down and                   remember...remember we're soldiers.                                   CHURCH                         (sarcastic)                   Good plan, Colonel.                                   MEKUM/VIDEO IMAGE                         (moving on, improvising)                   Now we can't just get the shit                   kicked out of us by an unknown                   guerilla army...  But maybe we                   could...alter...our objective...                                   CHURCH                   Meaning?                                   MEKUM/VIDEO IMAGE                   Nuke the joint...and get out!     Delighted with his own genius, MEKUM smiles triumphantly from the      video screen as RUBRICK, SLOAN, and CHURCH exchange stunned looks     and we...                                                       CUT TO:     INT.  MEETING ROOM - NIGHT     WHUMP!  TODD's bloodied head is slammed on the floor.  His eyes     are almost swollen shut as he looks up at CAINE 607 kneeling on     top of him.  Both men are bloody and exhausted their breath     coming in gasps, but it's CAINE 607 who's on top, beating the     last bit of resistance out of TODD who struggles desperately one     more time...before he slumps unconscious.     Horrified, NATHAN sees CAINE 607 smash the unconscious TODD with     the last of his strength, "finishing him off."  NATHAN can't     stand it.     He toddles toward CAINE 607, who's still on all fours, and     attacks, his tiny fists raining blows on the amazed monster's     bloody face.     The frightened CHILDREN see CAINE 607 ignore NATHAN's ineffectual     blows and struggle with enormous effort to his feet.     Once standing, he looks down at NATHAN beating at his knees.  For     a moment he's confused.  What's this?     Then he sees the frightened CHILDREN and orients himself.  When     he looks down at NATHAN again, tiny NATHAN is an enemy as good as      dead.  One blow and...     But just then big hands close around CAINE 607's ankles, tackling     him.  As the giant topples, TODD lets go of the ankles and crawls     on top of the fallen man.     As CAINE 607 looks up into TODD's fierce face, the fight goes out     of his eyes.  He knows he's beaten, he knows TODD will never     quit.  He's helpless as TODD grips him in a terrible hold and as     TODD puts the pressure on, CAINE 607 whispers...                                   CAINE 607                   It hurts!                                   TODD                         (sympathetic)                   I know.     SNAP!  TODD breaks CAINE 607's neck and watches the life go out     of him.     In the sudden silence as TODD, panting, stares at his defeated     enemy, he hears a VOICE...her VOICE...very weak...                                   SANDRA                   Sergeant...     TODD turns and sees SANDRA slumped against the wall where Caine     607 threw her.  There's a trickle of blood coming from a nostril,     more blood in her hair.  Her eyes don't look right.                                   SANDRA                   Nathan!     TODD sees NATHAN looking at his mother with fear in his eyes.      Struggling to his feet, TODD picks up NATHAN and puts the boy     down close to his mother.     SANDRA reaches out and takes NATHAN's hand.  She holds NATHAN's     hand toward TODD.     TODD looks confused.     There are tears in SANDRA's eyes as she pushes NATHAN's little     hand into TODD's huge left paw.     TODD looks down at the joined hands, then he looks into SANDRA's      flooded eyes.     Does TODD understand her gesture?  His face is impassive.  Maybe     he doesn't.  Just then a hand touches his shoulder.     TODD turns to see JOHNNY face him, trembling but valiant, to ask     the question the others are fearful of asking.                                   JOHNNY                    S-sir...sir, are you our friend?                         (indicating Sandra)                    Sh-she said you were our friend.     TODD sees all the CHILDREN looking at him, their eyes big with     hope and fear as we...                                                       CUT TO:     INT.  DINING COMMONS     Blackened with soot, JIMMY PIG still has the axe in his hand as     SLADE manages, with a supreme effort, to hold the door of the     root cellar up enough to allow EMMA and JUDITH to push the FOUR     CHILDREN out of the cellar and then to scramble after them.     Exhausted, SLADE lets the door fall back, picks up his rifle and     turns toward the exit.  And freezes.  Dumbfounded.     Standing in the doorway is TODD, laden with CHILDREN, on his     shoulders, in his arms, surrounding him, clutching at his     garments.                                   SLADE                    You!                                   JIMMY PIG                    Thank God!                                                       CUT TO:     INT.  CORRIDOR/"DADDY" - NIGHT     CRUDE LETTERS scrawled on the metal skin of the bomb say "LOVE     FROM DADDY."     The heavy bomb is lugged along a long narrow corridor.                                   SLOAN (O.S.)                    Well, Riley, you wanted a weapon,                    right?  Now you got one!  A real                    biggee!     We see that RILEY and three other VETERANS -- GREEN, CHESLEY, and      MOORE -- are struggling to maneuver the heavy bomb along the     narrow corridor and down a ladder hatch as SLOAN follows on     their heels and CHURCH and RUBRICK, fretting, follow her.                                   RUBRICK                    What good'll it do just setting it                    outside?  We don't know where the                    enemy is.                                   CHURCH                    Doesn't matter.  For once Mekum's on                    the ball.                    This is a very dirty bomb!  That                    wind will churn the radioactivity                    around like soap in a washing                    machine.  This is gonna be one clean                    place in a very short time...                                                       CUT TO:     INT.  BOWELS OF THE SHIP - NIGHT     THE TIMER on the bomb CLICKS into action, ticking off seconds and      blurring off the tenths.     ANGLE ON SLOAN, punching a code into the device as she addresses     the four VETERANS.                                   SLOAN                    Okay, fellas, take it about a                    hundred yards, then get back on the                    double...unless you wanna fry.     RILEY, his face impassive, opens a hatch, revealing the darkness     outside where the wind SCREAMS.     As RUBRICK and CHURCH watch, the four VETS stagger into the     darkness with the bomb, RUBRICK has to shout to CHURCH to be     heard over the wind outside.                                   RUBRICK                    THIRTY MINUTES IS AWFUL TIGHT!  WE                    HAVE TO LAUNCH AND GET CLEAR OF THE                    ATMOSPHERE.                                   CHURCH                    IT'S ENOUGH.  IF WE LEAVE MORE THAN                    ENOUGH, THE ENEMY MAY GET CLEAR                    SOMEHOW AS WELL.     As SLOAN shuts the hatch, she checks her watch.     EXT.  SPACESHIP/"DADDY"     Carrying the heavy bomb in a sling, RILEY, CHESLEY, MOORE, and     GREEN stagger past the work-lights into the darkness while the     wind rages around them.  Holding the sling one-handed, GREEN is      illuminating the ground ahead with a flashlight.     INT.  COCKPIT/"DADDY"     Flick!  Flick!  Flick!  Flick!  SLOAN is flicking switches as     RUBRICK reads off a check list and she responds to each item on     the list with "Roger."     CHURCH is punching buttons on the control console, causing lights     to light up reading "Port Power Cluster," "Starboard Power     Cluster," "Vertical Stabilizer Unit," and so on.     EXT.  TERRAIN     Darkness!  Buffeted by the wind, RILEY and his COMPANIONS lower     the bomb to the ground and release it gently.  They're just     turning to go back, fighting the wind, when RILEY senses     something.  He takes the light from GREEN and points it.     The four VETERANS axe astonished at what they see.     CRAWLER ONE, battered and motionless, is abandoned only ten yards      away.     The flashlight beam probes the blown out windshield, the scarred      chassis, pans across the back seat...and pans back urgently,     glimpsing tiny EYES.     The EYES disappear behind the back seat.     RILEY, CHESLEY, GREEN and MOORE exchange glances.     The light probes again, this time revealing the frightened faces     of CHILDREN cowering in the back seat, hiding from the wind.     Suddenly RILEY whirls.     Out of the darkness beside him, TODD looms.     RILEY looks into the face of a man he saw killed!     TODD has a CHILD in each arm and another hanging on to his leg     for dear life.  He's wearing the scarf Jimmy Pig gave him.     In the shadows behind TODD, JIMMY PIG, SLADE, EMMA, JUDITH and     more CHILDREN are watching anxiously.     RILEY's stone face comes as close to expression as it ever     will...astonishment!     The other VETERANS stare too, amazed.     Suddenly RILEY gives TODD a smart military salute.     ANGLE ON JIMMY PIG and SLADE exchanging a look of wonder.  What's      going on here?  They haven't a clue!  And we...                                                       CUT TO:     INT.  COCKPIT/"DADDY" - NIGHT     The countdown clock is TICKING away, showing ten minutes, as     CHURCH, RUBRICK, and SLOAN complete their pre-launch prep.                                   CHURCH                    Right horizontal?                                   RUBRICK                    Roger.  Right horizontal checks                    green.     CHURCH relaxes, looks up at the clock, satisfied.                                   CHURCH                    All right we're "go."  I'm allowing                    us three minutes to clear the                    atmosphere and get out of range.                    That means we can wait seven more                    minutes.                                   SLOAN                    Fuck 'em!  Let's just go!                                   RUBRICK                    She's right!  Four more casualties                    aren't gonna mean anything to                    anybody, especially when they're                    already obsolete.     CHURCH considers for a moment, then shrugs.                                   CHURCH                    I guess they wouldn't want to get                    old anyway.                         (to Sloan)                    Go ahead, lock the hatch.                         (to Rubrick)                    Rube, punch up the port power                    cluster and --                                   SLOAN                         (interrupting urgently)                    What was that?                                   CHURCH                    Huh?  What was what?                                   SLOAN                    Sssshhhh!  Listen!     SLOAN is listening intensely.     All they hear is the HUM of the air system and miscellaneous     WHITE NOISE.     CHURCH and RUBRICK exchange a glance and are about to speak when     they all hear it...     A sound like a CHILD CRYING somewhere in the ship!     All three of them stare at each other in utter amazement.                                   RUBRICK                    It sounds...                                   SLOAN                    Like a kid!     Just then they hear it again, closer.     CHURCH frowns.  What the fuck?                                                       CUT TO:     INT.  BUNKS/"DADDY" - NIGHT - MOMENTS LATER     EMMA, JUDITH, SLADE and JIMMY PIG are settling most of the     CHILDREN in the cramped crew quarters, pulling off hats and     coats, when a COMMOTION causes them to look toward the open door     to the corridor in time to see...     a glimpse of RUBRICK being shoved roughly along the corridor by     MOORE, his loud protests clearly audible.                                   RUBRICK                    Are you crazy?  You can't do this,                    soldier!  You're going to be in                    trouble.     Then, as RUBRICK is pushed out of view, CHURCH appears, indignant     and panicky, as CHESLEY hustles him past.                                   CHURCH                    I'm your superior officer, don't you                    understand that?     ANGLE ON THE PIONEERS, exchanging glances.     INT.  CORRIDOR/"DADDY"     As CHESLEY shoves him along, CHURCH continues to protest...                                   CHURCH                    Don't you realize you're violating                    the chain of command?  I'm giving                    you a direct order to...to...to...     CHURCH breaks off, suddenly speechless at the sight ahead of him.     Here comes TODD, laden with more CHILDREN, the tattoo on his     cheek clearly visible.  His eyes meet CHURCH'S.                                   CHURCH                    S-sergeant?  S-sergeant T-todd?                    It...  You...!  How...?  How...?     Weak at the knees, CHURCH is still stammering as CHESLEY shoves     him ahead.     And then SLOAN, in the grip of GREEN, is hustled by.  She looks     wide-eyed at TODD and the CHILDREN.                                   SLOAN                    Sergeant Todd!                                                       CUT TO:     INT.  BOWELS OF THE SHIP - NIGHT - SECONDS LATER     RUBRICK, CHURCH, and SLOAN are still protesting as the VETERANS     hustle them down the ladder toward the main hatch.                                   RUBRICK                    Listen, you don't understand!  That                    bomb is triggered!  It's on a timer!                                   CHURCH                    We have to get out of here!  All of                    us!  You need us!  You need us to                    operate the ship...                                   SLOAN                    YOU'RE FUCKING MORONS!  CAN'T YOU                    DIMWITS GRASP THAT YOU'RE KILLING US                    ALL!  YOU'RE KILLING YOURSELVES!                    THERE'S ONLY A FEW MINUTES LEFT!                                   RUBRICK                    NO!  NO!  NO!     RUBRICK is shoved out the door into the night!     EXT.  SPACESHIP/"DADDY" - NIGHT     RUBRICK desperately clutches at the hatch entrance as the savage     wind tears at him...but he can't hold on.     As SLOAN and CHURCH are shoved out the hatch, they see RUBRICK     blown off into the night, screaming.                                   CHURCH                    DOWN!  LIE DOWN!  FLAT!     And CHURCH dives for the ground as the wind tumbles him.     SLOAN does the same thing as the hatch door slams behind them,      shutting them out of the ship..                                   SLOAN                    NO!  NO!  NO!  PLEASE!  NO!     INT.  COCKPIT/"DADDY" - NIGHT     The countdown clock shows four minutes and twenty seconds as it     CLICKS off the seconds.     Their soldier faces inscrutable, TODD and RUBRICK consider the     various lights winking on the control panel.     RILEY points to a row of switches and looks at TODD.  Their eyes     meet.  TODD considers the switches, then nods.     RILEY throws the switches.  A row of red lights goes on and the     ship seems to hum with life.     Still communicating wordlessly, TODD points to another switch,     RILEY throws it!     EXT.  SPACESHIP/"DADDY"     BLAST OFF!  Big engines belch fire, illuminating the bleak     landscape as the ship rises into the night.     Brightly lit by the ignition, SLOAN, still on her belly, sees the     ship taking off.                                   SLOAN                    OH, MY GOD!  OH, MY GOD!                                   CHURCH                    THERE IT IS!  I SEE IT!     The bomb is clearly visible ten yards away in the dying glow of     the takeoff.     CHURCH bumps madly along the ground on his belly.     EXT.  SPACESHIP/"DADDY"     The NAF ship "Daddy" climbs off into space, getting smaller and     smaller, the light from the takeoff diminishing.     EXT.  THE BOMB/TERRAIN     The countdown timer on the bomb is faintly visible in the dying     light.  It reads twenty seconds.                                   CHURCH (V.O.)                    Twenty seconds.  Hurry.     CHURCH and SLOAN are hunched desperately over the bomb in near     darkness, the wind tearing at them.  SLOAN tries to punch a code     into the keys...                                   SLOAN                    Oh, my God, I can't remember if it's                    six-seven or seven-six...                                   CHURCH                    Try one! Try it!     SLOAN punches the keyboard blindly.                                   SLOAN                    There!  I did it!  Did it stop?  Did                    it -- ?     BAHWHOOOOOOOOOOOOOOOOM!  Everything is dazzling, blinding light!     INT.  COCKPIT/"DADDY"     White light from the blast briefly floods the cockpit as TODD and      RILEY stare at the video monitor where MEKUM'S VIDEO IMAGE is     babbling frantically.                                   MEKUM/VIDEO IMAGE                    ...I need a report, Captain.  It's                    not just my ass, it's yours too!                    You've got to stand by me on this.                    I want you to come in right now...                    right now!  Do you understand me?                    Right now!     RILEY turns to TODD, looking a question at him.  TODD meets his     look and no words are necessary.     RILEY reaches for the control switch as MEKUM continues babbling.                                   MEKUM/VIDEO IMAGE                    This is important for all of us, for                    our careers.  There's going to be a                    Board of Inquiry and --     MEKUM'S IMAGE cuts out mid-babble.                                   SLADE'S VOICE (O.S.)                    That was the boss, huh?     TODD and RILEY turn to see SLADE in the entrance to the cockpit      addressing TODD and the VETERANS collectively.                                   SLADE                    Well then, I guess you fellas are                    all right.  I guess I misjudged you                    some.  Where I said you were "a                    buncha no good killer robots," I                    mighta just overspoke myself.  As of                    now, till it goes otherwise, you got                    my sincere approval and support.     With that, SLADE turns and exits.     TODD looks at RILEY, RILEY looks at TODD.  What the fuck was     that?     INT.  CORRIDOR/"DADDY" - NIGHT     NATHAN wobbles along an empty corridor, stumbles, catches himself     on a wall, keeps going.     He passes a doorway, peers in, sees two SOLDIERS working at a     console like robots.  They don't look up.     NATHAN keeps going, toddling toward a hatchway.     INT.  COCKPIT/"DADDY"     Entering, NATHAN moves among the legs of big men, VETERANS.     NATHAN keeps going.     Then, backing against a wall, he looks up and VETERANS loom past     him with blank faces.  He is alone again.     NATHAN totters onward.     CLOSE ANGLE ON CHARTS, the same ones Church had on Christmas Eve,      showing tiny dots in a vast sea of space.     TODD and RILEY are poring over them, their eyes considering dot     after dot.  Finally, TODD points to a dot and looks a question at      RILEY.     RILEY considers the dot for a long moment...then he looks TODD in     the eye.                                   RILEY                    Cold.     TODD looks back at the dot, considers it, looks back at RILEY.                                   TODD                    Air?     RILEY nods a yes.     TODD is thoughtful...finally asks the next question.                                   TODD                    Safe?                                   RILEY                         (nodding yes)                    But very cold.     TODD considers the dot on the map again, then looks at RILEY.                                   TODD                    That one.                                   RILEY                    Aye, aye, sir.     RILEY turns toward a console, but something makes him look down     toward his feat.  Then he looks back at TODD.     TODD follows the look.     Tiny NATHAN is looking up at TODD who's towering over him.     TODD looks down without expression, the scarf from Jimmy Pig     still wrapped around his neck.     NATHAN puts his arms out to be picked up.     TODD considers the outstretched arms.     RILEY looks from TODD to NATHAN and back to TODD.  What's this?     TODD hesitates a half second more, then leans down and picks     NATHAN up in his arms, lifting the boy to his chest.     RILEY looks on.  Never seen anything like it.     NATHAN is close to TODD's face, looking right into it, trying a     little smile, a nervous one, looking for a response.     TODD hesitates, takes a breath, moves the muscles of his face.     All he can produce is an awkward grimace, the distortion of a     smile, almost comical.     NATHAN reads the intention successfully.  His face collapses into     a huge friendly grin.     TODD tries again, making a clumsy sort of rubbery wince.     RILEY watches.  Totally amazed.     TODD turns, takes NATHAN to a porthole, puts his face up to it.     NATHAN stares out at the darkness punctuated by a billion stars,     a sky full of hope.     As NATHAN looks out, TODD works his face again, trying for a     smile the way a weak man might try to lift a heavy weight.     NATHAN looks at the stars outside, TODD looks with him and     suddenly TODD's face relaxes into an awkward grin, almost by     accident.     RILEY watches the two of them for a moment, confounded by what     he's seeing.  Then he turns to the console and...                      THE CLOSING CREDITS ROLL.                               THE END
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+                 SOMETHING'S GOTTA GIVE                 Nancy Meyers                June 14, 2002                                                            1.OVER BLACKWe hear, Ja Rule's "Livin' It Up"...EXT. NEW YORK CITY - A HOT AUGUST NIGHT - MUSIC OVERMIDTOWN. A Brunette Beauty crosses in front of a stack ofcabs, her sheer dress clinging to her remarkable body.A Club in THE MEATPACKING DISTRICT. A long line waits to getin. A couple of Gorgeous Girls show up at the velvet rope andare promptly" let inside.SOHO. A Crowd spills out of a Bar and onto the sidewalk. AConfident Knock Out in jeans and a tank top laughs, drinkinga beer out of the bottle.                       HARRY (V.O.)             Ahhhh... The sweet, uncomplicated             satisfaction of The Younger Woman. That             fleeting age when everything just falls             right into place. It's magic time and it             can render any man, anywhere --             absolutely helpless. Some say I'm an             expert on The Younger Woman. Guess that's             'cause I've been dating them for over             forty years...INTO AN EMPTY FRAME COMES HARRY LANGERWhat is it about him? Could be his eyes, the turn of hismouth...something about this guy is just so damn appealing.Maybe it's just the way he wears the Young Slinky Girl on hisarm. He's confident, cool, enviable. We're in:A CHIC EATERY - DOWNTOWNThe place is full. Everybody is somebody here.                        HARRY                 (to Hostess)             Langer. ..The Maitre'd snaps to attention at the sight of him.                       MAITRE'D             Mr. Langer, got your table waiting.As Harry and his Girl wend their way around tables, we pass OtherCouples. Young Couples. Middle-aged couples. Not talking Couples.                       HARRY (V.O.)             So what does a life of bucking the system             all add up to?                                                         2.                    HARRY (V.O.) (CONT'D)          To never settle down with the right woman          for a life of leftovers and Christmas          mornings. No his and her IRA accounts, no          mini van parked in the garage. I think          it's made me what I am today.              (Harry smiles to someone               across the room)          The luckiest son of a bitch on earth.          Look at me. I'm positively debonair. I          should be illegal I'm lookin' so good.Harry passes a table where a BEATEN SIXTY YEAR OLD dines withhis AGE APPROPRIATE, WELL-FED WIFE. IN SLOW MOTION, Harry andThe Beaten Man catch each other's glance.                    HARRY (V.O.)          It isn't as if I haven't wondered what my          life would be like if I was a Regular Joe          and came in here once a month with a dame          my age' for a porterhouse and a side ofI         spinach. I've wondered... NT. CHIC EATERY - HARRY'S IMAGINATIONHarry ENTERS all over again. This time he looks older,something in his walk and the boxy cut of his jacket. Withhim is a regular looking, nothing-to-write-home-about WOMANIN HER FIFTIES.                    HARRY (V.O.)          No, come on, let's be honest. ..a dame          really my age. . .INT. CHIC EATERY - HARRY'S IMAGINATION - TAKE TWOAgain, the identical set up. Harry ENTERS again. This time helooks ten years older. The bounce to his step is gone. Thetwinkle in his eye, long dead. On his arm is a 63 YEAR OLDBATTLE AX, built just like Harry. The Maitre'd reluctantlyshows them to a shitty table.                    HARRY (V.O.)          There you have it. The story in a          nutshell. Not exactly debonair, am I?              (Harry TRIPS, his wife               looks disgusted)          Awww, man, it's down right sad. Look at          me. I look like I'm about to die. God          help me. I do not want to die.                                            SMASH CUT TO:                                                         3.A LONG STRETCH OF PRISTINE COUNTRY ROAD - THE HAMPTONS - DAYA Silver Mercedes convertible bursts into FRAME. Harry'sbehind the wheel, shades, smoking a cigar, livin' large. Nextto him sits a thoroughbred of a girl. An "IT" Girl. Smart,sexy and built for fun. She has perfected flirting to an art.Her hand rests on Harry's neck. There's a good thirty yearage difference between them. Her name is MARIN. She SINGSalong with Ja Rule, now coming from a CD.                    MARIN              ( singing)          To all my thugs that be livin' it          up, we say, what I do. To all my...              (stops)          Oh! This is it. Make a right.                    HARRY              (admiring the               neighborhood)          So baby, you're rich... .                    MARIN          Well, my mother is, sort of. Not          really...                    HARRY          If she lives within a mile of here, she's          rich.                    MARIN          I guess a hit play will buy you a house          in The Hamptons.                    HARRY          I'd like to meet your mother.                    MARIN          No you wouldn't. I mean, she's          great. She's totally brilliant, but          she's not your type.                    HARRY          You're overlooking one of the great          things about me. I don't have a type.                    MARIN              (very directly)          She's over thirty.Harry looks to Marin, feigning hurt.                    MARIN          Oh, what?! Like you don't know you          have a slight reputation for...                                                         4.Just then the CAR PHONE RINGS. Harry keeps looking at Marin.                    HARRY          -- For what?Harry waits. RINGGG!He doesn't look away.                    MARIN          For never dating anyone over 30.          Don't look at me like that.                    HARRY          It's just not true.                    MARIN          Okay. Sorry. Over 31?                     HARRY          Oh, so you wait 'til we get out to The          Hamptons to let me know you're a wise          ass.               (answers phone)          Hold on. . .               (then to Marin)          It just so happens, my dear, that women          of a certain age, don't date me. You ever          think of it that way? No, it's always me.          You dames are all alike.               (then into phone)          Hey...                    MARIN              (amused, to herself)          Dames...Marin continues singing along with Ja Rule as Harryconfidently slips his hand onto her thigh.                    BARRY              (into phone)          Vh-huh.. .I'll call back Monday. Who          else? Monday... Monday... Say you couldn't          find me. Who?              (glances at Marin, she's               not listening)          I'll call her later. No, I have it.Harry hangs up, doesn't look in Marin's direction to see if'she caught that. This brand of cool is about not playing thatcard. Marin turns toward him, she has been listening. They'vereached the end of the road, sand dunes, long lilting grassand the ocean stretch before them.                                                          5.                    MARIN              (all business)          Make a right, left at the second          fence.Marin turns up the CD, getting herself out of whatever justcame over her, looks out the window.                    HARRY          Have I mentioned how gorgeous your          breasts look in this sweater?                    MARIN              (blushing)          Yes you have actually.                     HARRY          So it would be too much to mention it          again. . .Marin laughs, softening, as Harry turns down a dirt driveway,driving toward a DREAM BEACH HOUSE.                    HARRY          Wow. It's the perfect beach house.                    MARIN          I know. My mother doesn't know how          to do things that aren't perfect.                    HARRY          Which explains you.That got her. Harry parks. She looks over at him but he'sgrabbing some cigars for his shirt pocket, then looks up ather with an innocent look that suggests he did not just saysuch a lovely thought.                    MARIN              (trying to keep up with               him)          Yeah, okay, right...They both grab their H                     overnight bags and step out of the car.                     ARRY          So, what are we gonna do out here,          just the two of us, for two whole          days?Marin sets her bag down, walks to Harry, wraps her armsaround his neck.                    MARIN          Tell me the truth, are you at all          glad we waited?                                                            6.                       HARRY             I'm incredibly glad we're finally             going to do it.                 (she's a bit disappointed)             If that's the same as being glad we             waited, then baby doll, I'm ecstatic.Marin smiles then kisses him. He's one of those guys thatlets you kiss them.                       HARRY                 (slaps her tush)             Let's go for a swim, how long will             it take you to change?                       MARIN             Two minutes.Marin starts UNBUTTONING HER SWEATER as she dancesseductively toward the front door, then notices Harry'scigars.                         MARIN             Oh Har... No smoking in the house. My             Mom doesn't allow it.                       HARRY             But she allows you to strip in the             front yard and bring men you're             dating here to...                       MARIN             She doesn't know everything I do...Or             when I do it.. or where I do it.She SLIPS OFF her sweater and DROPS IT ON HARRY'S HEAD.INT. HOUSEIt's one of those great Beach Houses. Light filled and warmwith spectacular views of the sandy landscape wrapping aroundthe rear of the house. Marin, now in a tight tank, tightpants, gives Harry the grand tour as she continues toundress.                       MARIN                 (TAKING OFF her belt)             The fabulous living room, perfect for             entertaining an intimate group of friends             or that special someone.                 (DROPS her belt then                  UNBUTTONS Harry's shirt)             Behind me, the requisite Hampton's deck             complete with pool and ocean view.                                                           7.                    MARIN (CONT'D)              (UNBUCKLES Harry's belt)          Your pants, please...                    HARRY          Ladies first.Marin provocatively UNZIPS her pants and wriggles out ofthem. She's now in a TINY TANK AND BIKINI PANTIES.                    MARIN          Gourmet kitchen's to your left          where tonight I will whip you up a          culinary feast of Mac and Cheese.Marin HEARS Harry's ZIPPER UNZIP. She turns, her EYESWIDENING as Harry's PANTS land on a chair. Harry is now downto his Boxers, an Open Shirt and a fearless smile.                    MARIN              (smiling)          .. O-kay, going quickly now...          Master bedroom is that away...They arrive in a warmly decorated GUEST BEDROOM.                     M                     ARIN          And this as they say on 'Cribs',          your favorite show, is where the          magic happens. Do we like it? Going          once, going twice ...                    HARRY          Sold.Harry takes Marin's hand and pulls her OUT OF FRAME and ONTOTHE BED. She playfully rolls on top of him. His hands cup herass.                    MARIN          You know when I first started          auctioneering someone told me if I was          nervous to just picture everyone in the          audience in their underwear. This sort of          gives that a whole new meaning.                    HARRY          Why? You're not nervous now, are you?                    MARIN          I'm always a little nervous.                    HARRY              (removing his hands)          So put on your bathing suit. I brought          some champagne, I'll put it on ice.                                                         8.                    MARIN          Me like you, Harry Langer.She bounces off him like a kid and disappears into thebathroom.Harry lies there alone for a second. Catches his breath. Hesits up, feet on the floor, shoulders hunched, clears histhroat, bangs on his chest. He waits a sec then stands with astiffness that for the first time suggests he is not a thatyoung man.INT. LIVING ROOMNow wearing only his Boxer Shorts, Harry crosses through theLiving ROOM, singing 'Livin' It Up' to himself. He reaches intohis bag and lifts out Two Bottles of Crystal. He sees himself inthe mirror, sucks in his gut.INT. KITCHENWell stocked, the best of everything. Harry opens the door to thefridge and just as HE DISAPPEARS BEHIND IT, the BACK DOOR OPENSand TWO WOMEN ENTER from a beach walk, in the middle of a livelyconversation.One of them is ERICA, Marin's Mother. The other is Erica'sYounger Sister, ZOE.ERICA is in her mid-fifties and is a poster girl for growing old.It's actually hard to imagine 55 looking any better. And notbecause she looks 35, but because she makes 55 look graceful andright. Erica is the "girl most likely" who went beyondexpectations but didn't realize until recently that being sure ofherself was a handicap. She doesn't try to be intimidating, shejust is.Her sister, ZOE is in her forties. Zoe's the loose one. Shewears draw string pants and a T-shirt that says, "BOYS LIE".The Women stop mid-sentence when they notice the REFRIGERATORIS WIDE OPEN. Then they SEE A PAIR OF BARE MEN'S LEGS poking                     Eout from UNDER THE DOOR. They don' t move.                     RICA          Oh God. What is this?Erica nods to Zoe, gesturing a nearby knife. Zoe grabs the knife.Harry pokes his head out from behind the fridge, equally confused.                    ERICA              (in control)          Okay, stay right where you are. We have a          knife.                                                         9.                    HARRY              (eyeing the knife)          Do you... live here?                    ERICA          Okay, Mister, look, I'm gonna dial          911 and you're not gonna move. Zoe,          hand me the phone.              (reaches out to Zoe               without looking at her)                    HARRY          You don't understand. I'm a friend          of your daughter's.With that, Harry SHUTS the fridge door. The Women see he'snaked except for a Pair of Boxers. They both GASP. ZoeFUMBLES the phone over to Erica who dials quickly..                    ERICA          Yeah? I don't think so. My daughter's in          the city and you what, wandered in          here,like high on Ecstasy..?.              (looks at phone)          Shit. I dialed 8-1-1.              (redials)                    HARRY              (calmly starts to move)          Honestly, if you just...                    ERICA          Back off. She was in the Israeli          army. She can break you in half.Zoe can't believe she just said that -- no truth in itwhatsoever.                    ERICA              (into phone)          Yes. I have an intruder in my          house. 29 Daniels Lane, Sagaponack.                    HARRY          I'm dating your daughter Marin. She          invited me here for the weekend.          She's in her room right now,          changing.                     ERICA              (GASPS even louder, really                   scared now)          You're dating my daughter?                                                        10.                    HARRY              (amused)          Now who would've thought that would          be worse news?With that, Marin ENTERS, in a tiny bikini, sees Harry in hisshorts, Zoe holding the knife and Erica frozen, holding thephone.                      MARIN          Oh, fuck.                    ERICA          Oh, God.              (into phone)          I'm sorry. False alarm. Yeah, no, I'm          sure. No, he's not a burglar              (with enormous difficulty)          He's dating my daughter.                    MARIN          Mom, I had no idea you were coming out          this weekend, you said you had to write.                    ERICA          I do. I thought I'd do it out here.                    MARIN          Oh, man, this is really....                      ERICA          Awkward.                    MARIN          Totally.. .but....              (starts laughing)          You gotta admit, sorta funny You thought          he was a burglar? In his boxer shorts?                    ERICA          Yeah, well, the world's nuts, I          don't know the man. . .                    MARIN              (still laughing)          I'm sorry, it's not really funny.          I'm an idiot. I should've told you          I was bringing someone out.                    E                      RICA          No, no, I should've told you we          were coming. Well. Anyway, here we          are.               (waves to Harry)          Hello. I'm the mother.                                                        11.All three Women turn to Harry who now dangles a long Lobstershaped oven mitt over his "privates"...                    HARRY          Harry Langer. How are ya?                     MARIN          Yes. Sorry... Mom, this is my friend,          Harry. Harry, my Mom, Erica... my Aunt,          Zoe.               (they all shake hands)          Harry's sort of a new friend. I think I          mentioned him in an e-mail. We just,          totally spur of the moment thought we'd          get out of the city for a few days.                    ERICA AND ZOE          Of course...Right...Great...                    ERICA              (can't look at him)          Honey, does Harry have a robe?                     HARRY              (backing out)          You know what? Actually, I think I should          just take off. Let you gals enjoy your          weekend...Marin shoots her Mom a look. Help!                    ERICA          No, no, no. Don't be silly. Uh, look,          here's what we'll do. Zoe and I will          leave. We took a great walk on the beach,          we'll go into town for lunch. You two          stay. Harry, apologize about the near          arrest.                      HARRY          No, you were impressive. Very strong,          very... "macho".                    ERICA              (a little thrown)          I don't think I was exactly "macho"          ...                    HARRY          Trust me, if I ever catch a guy in          his underwear in my refrigerator I          hope I'm half the man you were, Mrs          uh...                                                        12.                    ERICA              (already hating him)          Yeah. Okay. Whatever...Marin watches. Dying.                    HARRY          All righty then...I'm definitely gonna          hit the road.              (salutes Erica and Zoe)          Ladies...sensational meeting you.              (then to Marin)          Doll, call me.                    ZOE          Hold on. Hold on. Let's not get so          dramatic here. What are we four          teenagers? We're all sophisticated          people. Why can't we all stay, for the          weekend? Your mother's got work to do          I've got papers to grade. You'll do your          thing, whatever that is and if we want to          hang together, we'll hang together. If we          don't, we don't. There's no reason why          any of us should give up this spectacular          weekend.                    MARIN          Seriously. I can handle it.                    ZOE          I can totally handle it.                    ERICA              (on the spot)          I mean, well, I can "handle" it...The Women all look to Harry. He looks at Marin. She's hard toresist.                    HARRY          It can only go up from here.                                                   CUT TO:HARRY AND MARINWalking past SHOPS on the MAIN DRAG IN EAST HAMPTON. They areboth licking ice cream cones. CAMERA STAYS BEHIND THEM.                     Z                     OE (V.O.)          He's obviously a penis substitute.                                                        13.ERICA AND ZOEAre paced 20 feet behind them, carrying groceries.                    ZOE          I mean a father substitute.                    ERICA          Except he's older than her father. I          can't even look at them. What is she          doing with a guy that age?                    ZOE          Marin was how old when you guys broke up?                    ERICA          Five years ago, so. ..twenty-three.                    ZOE          Okay, so she was old enough not to          feel Dave was walking out on her.                    ERICA          Is that supposed to mean Dave walked out          on me? Why do people assume when you          break up after twenty years that the          guy's the one who wanted out? Just          because once we broke up he shtupped          everything that moved...                    ZOE          Easy cowgirl. I didn't mean it that way.          Just trying to figure out why such a          smart girl is always with the wrong guy.CLOSE ON A YOUNG FRENCH GIRL IN AN APRON                    YOUNG FRENCH GIRL          Mme. Barry, que je puis vous obtenir          aujourd'hui?The Girl stands BEHIND THE CHEESE COUNTER in:THE BAREFOOT CONTESSAA Gourmet Market in East Hampton. The clientele in here is asrich looking as the food. Erica stands on the other side ofthe Cheese Counter.                    ERICA          Bonjour je veux une partie de votre          pate merveilleux et de votre          meilleur fromage absolu de chevre.                                                        14.Harry and Marin shop near by. Harry listens to Erica out ofone ear.                    HARRY          That's impressive.                    MARIN          She started French lessons after she and          my Dad split up. Part of her "Keep Busy,          Don't Look Back" program. She's          practically fluent now.                    ERICA              (turning back to Marin)          Marin, au cas ou nous prende un desset ou          devrions jefaire quelgue chose?                    MARIN              (with an impeccable               accent)          Laissons quelque chose d'achat. Et          ce grand gateau de chocolat?                    HARRY          Hey, not bad.. .                    MARIN              (shrugs)          Yeah...well. ..I am fluent. Be right          back.Marin crosses to the dessert counter. Erica turns back andcatches Harry checking out Marin's ass. He smiles as he lickshis ice cream. Erica rolls her eyes then spots another OlderGuy with a Leggy Girl twenty-five years his junior.                    ERICA          It's an epidemic.Then Erica notices who's next to her at the cheese counter.She sees her Sister, Zoe, reading a cheese label with herglasses on and next to Zoe are two sad looking Old Women intheir Eighties with their arms linked. Almost woozy, Erica issnapped out of it when she is handed her package.                     Y                     OUNG FRENCH GIRL          Merci madame.Erica heads down the aisle, passing Harry whose back is toher. Just as she passes, he turns and almost bumps into her.                    ERICA              (backing off)          Woops. Sorry.                                                           15.                      HARRY          My fault.They so very badly do not want to actually touch. Ericahesitates. Harry gestures for her to go first then walksalongside her.                    ERICA          So, Harry... What do you do?                    HARRY          I'm one of the owners of a record          company among other things...                    ERICA          Oh, really? Which record company?                    HARRY          Drive by Records.                    ERICA              (appalled at the name)          "Drive By" Records??? Is that a          joke? What is that?                    HARRY          It's a Hip Hop label.                    ERICA          Hip Hop? Oh, rap? Oh, right. Well.              (with disdain)          Okay. That's... "interesting"...                    HARRY          Let me see if I get where you're          headed here. . .                    ERICA          I'm sorry, but, look, you know I hate          rap, I mean I do. It's sort of violent          and crude for my taste, not to mention          just a tad misogynistic.                    HARRY          Hey, a lot of people see rapping as          poetry.                    ERICA          Yeah, but come on, how many words          can you rhyme with 'Bitch'?Erica places her groceries on the check out counter.                    MARIN              (joining Harry)          How we doin?                                                        16.                    HARRY          Should've left when she tried to arrest          me.INT. ERICA'S DINING ROOM - THAT NIGHTMarin serves plates of pasta with lobster. Zoe pours wine andErica tosses a salad. Harry is the only one sitting.                    MARIN          So, Mom, how's the new play? You gettin'          happy with it?Marin places a plate in front of Harry then runs her fingeralong "the nape of his neck. They smile at each other as shecontinues on. Erica notices, tries not to respond.                    ERICA          Well, the thing with me is that I'm about          90% hard word, 10% talent and so far the          talent part hasn't exactly kicked in yet.                    ZOE          Yeah, right...                    HARRY          What's your play about?Marin and Zoe stop what they are doing and turn to Erica.She's hesitant to reveal this.                    ERICA          About? Well, I'm not exactly sure which          is a bit of a problem, but so far it's          about a divorced woman, a writer, she's          this high strung, over-amped,          controlling, know it all neurotic. . .              (everyone stares at her)          Who's incredibly cute and lovable.              (more stares)          It's a comedy.              (takes a seat next to Zoe)                    M          So, how did you two meet?                     ARIN          At a Wine Auction at Sotheby's. Harry was          the big buyer of the night.                    HARRY          I kept winking at Marin as she was          conducting the auction and apparently          every time I did that she misunderstood          and I ended up buying cases of          outrageously expensive wine.                                                        17.Zoe and Marin laugh.                    ERICA          Ever been married, Harry?                    HARRY          No. No, I haven't.                    ERICA          Wow. Now why do you think that is?                    HARRY          Some people just don't fit the mold. And          so far...                    ERICA          Hey, if it ain't broke.                       HARRY          Exactly.Harry leans back, places his arm around Marin's chair. Ericatakes note.                    ZOE          Wait a second, aren't you like a famous          bachelor?                    HARRY          I wouldn't say I'm famous.                    ZOE          No, I think I read a piece on you          in New York Magazine.                    HARRY          I guess people find it interesting          that I've escaped the noose for so          long.                    ZOE          Yeah, wasn't the name of the article,          "The Escape Artist"?                    ERICA          Wait. I read that article. That was you?          You were once engaged to somebody big.          Who was it? Not Joan Collins.. .Wait.          ..Carly Simon?                    ZOE          Yeah, it was somebody cool like that.              (trying to remember)          Not Martha Stewart....                                                18.                    MARIN          You could just ..'ask him.                    HARRY          No, this is more fun. It's like I'm          not here.                    MARIN          Harry was once engaged to Diane          Sawyer. Okay?                    ZOE          Right. Diane Sawyer. I love her.                    ERICA              (stunned)          I'm impressed.                    HARRY          Yeah, women your age love that          about me.Erica pauses on that one.                    HARRY              (trying to get thru this)          You know what I mean.                      ERICA          Yes I do.                     HARRY          It's not a bad thing to say 'women          your age'.                    ERICA          No...I'm sure it was a compliment.                    HARRY          It was. ..just the truth.                    ZOE              (stepping in)          So when was this engagement?                    HARRY          Long time ago. She was just this          adorable lanky girl from Kentucky          with the greatest pair of legs I'd          ever seen... Never understood her          ending up with a job where she          never showed them.              (munches on his lobster)                                      19.          ERICAYou're not serious? She's DianeSawyer, she goes into caves inAfghanistan with a shmahtah on herhead. Who cares about her legs?          HARRYJust anyone who's ever had thepleasure of... You know what? Ihate to eat and run but...          ZOENo, wait. This is actually a veryfascinating dynamic - what's goingon at this table...          MARIN    (warning him)Z oe teaches Women's Studies atColumbia. . .          HARRYOh, so this is gonna hurt.          ZOENo, come on, listen, here's the rubfor women. Look at what we havehere with you and Erica. Harry,you've been around the block a fewtimes, right? You're what? Around60, never been married, which, weall know, if you were a woman,would be a curse, you'd be an oldmaid, a spinster, blah, blah,blah... Okay, so instead of pityingyou, they write articles about you,celebrate your never marrying, itmakes you illusive and ungettable.You're a real catch. Then, take mygorgeous sister here...          ERICAAny chance of you stopping here?          ZOECome on, this is interesting. Imean, look at her, she's soaccomplished, the most successfulwoman playwright since who? LillianHellman? She's over fifty,divorced and still sits in nightafter night because the availableguys her age want    (to Marin)                                                        20.                     ZOE(cont'd)           --forgive me honey for saying this,           but they want girls that look like           Marin so the whole over fifty           dating scene is geared completely           towards men leaving older women out           and as a result that makes the           older women more and more           productive and more and more           interesting, which, in turn, makes           them even less desirable because as           we all know -- men, especially           older men, are threatened and           deathly afraid of interesting and           accomplished women. It's just so           clear. Single older women, as a           demographic, are as fucked a group           as can ever exist.Erica and Harry's EYES CONNECT for a millisecond. HEAR THESOUND OF PLATES CRASHING.INT. KITCHEN - MOMENTS LATEROVER, weErica is cleaning up the broken plates, Zoe leans down tohelp.                     ERICA           What are you, possessed? How could           you say those things?                     ZOE           It just seemed so obvious to me. The           injustice of it. Thank God men die           younger than us. It's the only break we           get.                     ERICA           Then you know what? Write a dissertation           on it, don't announce to the world that I           stay in night after night after night and           by the way, one night after night would           have been enough. Did you ever realize, I           stay "in" as part of my job. Why do you           think I married the director of my plays?           He was the only man I ever saw. Anyway, I           like staying in and I like this time in           my life. Why do I have to defend myself?M          I was married for 20 years. I'm done. arin ENTERS carrying more dishes.                     MARIN           What the hell was that?                                            21.           ZOEI'm sorry, I thought I was ontosomething.          ERICAHoney, what are you doing with thisguy? He's old, he's chauvinistic...            MARINHe's fun.          ERICAHe's fun? How is he fun? He'slike.. .wrong.          MARINWrong can be fun, Mom.          ERICANot this wrong.          MARINCan we not do this now? He'sactually incredibly smart andfascinating and if you had talkedto him about something other thanhis marital status you would'vefound out how smart he is. He ownslike 10 different companies...          ERICAWhat does that mean he owns tendifferent companies? He can'tcommit, that's what that means. Notthat, God forbid, I want him tocommit.          MARINYeah, that I get. Anyway, he said hethought you two were very spontaneous andnice and then said he's leaving as soonas the sun comes up.          ERICAWhat? His car doesn't haveheadlights?          MARINGood night.           ERICAWait. I have no right to get thisnuts.     (hugs her)He's your friend. Not mine. I loveyou.                                                         22.                    MARIN              (hugs her back)          I love you more.This is obviously a ritual between them. Erica kissesMarin's cheek in a flutter of kisses, then MarinEXITS.                    ZOE          No chance he said we were nice.                    ERICA          Please. None.They HEAR MUSIC coming from Marin's bedroom.                    ZOE          What are they listening to?                    ERICA          I don't care...              (listens)          Oy. Marvin Gaye. . .Erica turns on the garbage disposal. Zoe sings along,"Let's get it on". .., Erica shoots her a look, turnsoff the garbage disposal, doing the dishes with vigor.                    ERICA          I know she'll never see him after          this weekend. She can't commit          either.Then they hear Marin GIGGLING.                    ZOE          He does sound fun.Marin YELPS.                    ZOE          Admit it, he's got something. You          felt it, right?Then they hear Marin SCREAM.                    ERICA          Oh, this is nuts...Erica covers her ears with her hands. Then they hearMarin SCREAM "MOOOOOOMMMMMMMMMMMM!!!!"                    ERICA          Did she say, Mom?                                                        23.INT. MARIN'S ROOM - ANGLE - THE DOORErica and Zoe bust into the room and find Harry .on thefloor, leaning against the bed, a clenched fist on his chest.His shirt is open, he's sweating, his complexion is grey.Marin stands back, freaked out, afraid to get near him.                      MARIN           We were fooling around and he said he           felt funny Hthen he just collapsed.                      ARRY               (out of breath)           It's nothing. I'm okay maybe it was           the lobster...                     ERICA           Does your chest hurt?                     HARRY           Like an elephant's standing on it.                     ERICA               (to Marin)           Call 911...tell them to send an           ambulance. . .Marin hesitates.                     ERICA           Marin! Now!HARRY'S POV - THE ROOMSpinning. When he shuts his eyes, it goes BLACK. Spinning.BLACK. Spinning. BLACK. He sees Marin, soft in thebackground, on the phone and Erica coming toward him. Hehears Zoe:                     ZOE(O.S.)           What are you doing?                     ERICA               (coming closer)           Mouth to mouth...ON HARRYEven in this state he gets that Erica is about to place her.mouth on his. His eyes WIDEN IN HORROR, he reels back. Ericacatches this.                     ERICA           You fucking guy...                                                        24.She does it anyway. Her-mouth on his, her breath into hislungs, over and over. Harry's eyes roll back in hi-so head.As. Erica pounds on his chest, we HEAR THE BLARE OF ASIREN...AND A LOUD CLANGAs the DOORS to SOUTHAMPTON HOSPITAL FLY OPEN. ParamedicsWHEEL Harry through the corridors and into the ER withdizzying speed. Two Nurses jostle Harry OFF the gurney andONTO A BED.DR. JULIAN MERCER arrives at Harry's side. Julian is in hisearly-thirties and has finally just graduated out of the 'youlook too young to be a doctor' syndrome. Julian is a manwhose goodness makes him sexy. He wears his hair shaggierthan you'd expect but then again, this is a Johns Hopkinsgraduate who chose to live near the beach and work nights.The Nurses place oxygen in Harry's nose, .;hook him up to aheart monitor and connect him to an IV.                    JULIAN          How we doing here?                    PARAMEDIC #1          He's had 30 minutes of chest pain,          nausea, shortness of breath, blood          pressure's 170 over 100, pulse 104,          respirations 18...                     JULIAN          Let's get an EKG. Mr. Langer, I'm          Dr. Mercer. Are you in any pain          right now?The Nurse wheels over an EKG machine, Julian helps hook itup.                    HARRY          Feel some pressure in my          chest...it's real tight.                    JULIAN          Can you show me where the pain is?Harry clenches his fist over his sternum.                    JULIAN          What were you doing at the onset of          the pain?                    HARRY          I was uh, kissing a beautiful...                                                        25.                    JULIAN              (watching the monitor)          Where you having intercourse?                    HARRY          -- Unfortunately, no.                    JULIAN          S           ense of humor in tact...              (checks EKG)          Hang a nitroglycerine drip. Mr.          Langer the EKG shows you have a          blocked artery which is not          allowing enough oxygen to get to          the heart muscle.. .                    HARRY          I'm having a heart attack?                    JULIAN          We're gonna stop it. But I need to          know what kind of medications you          take?                    HARRY              (scared shitless)          I take uh... uh. . . Lipitor. . .                    JULIAN              (reading the EKG tape)          Uh-huh... .Any thing else?                    HARRY          -- and a white one for blood          pressure. . .                       JULIAN          procardia?                       HARRY          Yeah.                    JULIAN          What about, Viagra?Erica, Marin and Zoe ARRIVE in the DOORWAY of the ER. Harryeyes them...stalls.                    JULIAN          Mr. Langer? Did you take any Viagra          today? Mr. Langer?                    HARRY          No. No Viagra.                                                        26.                    JULIAN          You're positive?                    HARRY          I don't take Viagra. Don't need          Viagra.The Women grab looks at each other, know they shouldn't bethere. They turn away.                    JULIAN          Great. Just needed to be sure          because I put nitroglycerin into          your-drip and if you had taken          Viagra, the combo would make your          heart leap right out of your          body...CLOSE - HARRY'S EYES - PANICKEDAs he watches the NITROGLYCERIN make it's way DOWN THE TUBEand APPROACH HIS ARM. Just as the amber liquid is about toenter his bloodstream he YANKS the IV out of his arm. Thedrip is knocked onto the ground. The Women shriek as theNurses scurry to clean up. Erica and Zoe rush out, Marinhangs back. Harry catches the look on her face.                    JULIAN          Let's give him an aspirin and          Metoprolol 5mg...                    HARRY          Sorry, had an audience...              (clutching his chest)                    JULIAN          It's okay. ..it was a great save.              (to Nurse)          Let's start the thrombolytic protocol.          "4000 units of heparin. Mr. Langer, if          this works and I have every reason to          believe it will, it's going to reverse          what's going on so there will be little          or no damage to your heart. You with me?              (Harry nods. Julian places               his hand on Harry's)          Okay, here we go.THE HALLWAYMarin paces, smoking. Erica sits. Zoe leans against the wall.                    MARIN          Oh, man, what if he doesn't make          it? I don't know who to contact.                                                           27.                    MARIN (CONT'D)          I don't know his family. I've gone          out to dinner with the guy three          times. I hardly know him.                    ERICA          He's gonna make it. Don't worry.                    M          He's like a bulldog. He'll make it.                     ARIN          This is a nightmare. I go out with          a guy who's so old, he takes          Viagra.                    ERICA          Are you nuts? You go out with a guy          who's so old he's having a heart          attack!                    ZOE          All I can say is, thank God it didn't          happen when he was inside you. That could          be life altering.Julian rounds the corner of the corridor. Marin rushes towardhim, her face begging for good news.                    JULIAN          Your Dad's gonna be okay.                    MARIN          Oh, he's not my Dad...                     JULIAN          I'm sorry.              (then)          Your Grandad's gonna be okay.                    MARIN              (throws her arms around               him)          Oh, thank you so much. But he's not my...          oh we're not related. He's just a friend.                    JULIAN          Sorry.His sweet apologetic smile is not lost on Marin. Zoe andErica join them.                    JULIAN          I'm Dr. Mercer. Mr. Langer did have a          mild heart attack. I gave him something          to break up the clot in his artery and it          worked beautifully.                                                        28.                    JULIAN (CONT'D)          His EKG returned to normal almost          immediately which means I don't expect          any permanent damage. He's very lucky.                    ERICA              (shoulders sagging)          Thank you. . .                    JULIAN          No, whoever got him here so fast should          be thanked. Another half hour and I don't          know if this would've worked.Marin pats her Mom on the back.                     ERICA          Oh, man...              (realizing it all now)          This was...intense.Erica wipes away a tear. Nothing could surprise her more.                    JULIAN          We're out of the woods. I've given him          something to sleep, it might make him a          little loopy at first but then it should          knock him out.              (to Erica)          You're Mrs. Langer?                    ERICA          No, no I'm just... No. I'm Erica Barry. .          He was having dinner at our house. I just          met him this afternoon.                    JULIAN          You're Erica Barry?                    ERICA          Yes.                    JULIAN          The playwright?                    ERICA          Yes...                    JULIAN          What a pleasure. I'm a huge fan.          Huge fan.                    ERICA          Really? Oh, thanks... This is my          daughter, Marin, my sister, Zoe...                                                        29.Julian says Hi to each then returns his attention fully anddevotedly to Erica. Takes her in.                    JULIAN          Wow.CLOSE - A JAPANESE TEA POTJulian pours steaming hot tea into 3 paper cups.MARIN - CLOSESitting in the hospital corridor as JULIAN'S HAND ENTERS HERFRAME and hands her a cup of tea. She looks up at him withmore adorableness than most men could handle. She blows on                     Mthe steam.                     ARIN          Thanks.Camera Pans to ZOE. Sitting next to Marin. She is also handeda Cup of Tea. Even she softens as she looks up at Julian.                    ZOE          Thank you Doctor.This is all beginning to feel a little like the Step Sisterstrying on the Glass Slipper. Until we get to Erica, notpaying any attention at all as she is handed her Tea.                    ERICA          Oh. . .Hey. . .Ew. . .Hot. Thanks.                    JULIAN              (eyes on Erica)          You're welcome. May I join you?                    ERICA          Yeah. Sure. This is very nice of          you.                    JULIAN          First year of medical school you          learn what can keep you up all          night without making you nuts.          Green Tea beats everything plus          it's a great antioxidant. Cheers.                    MARIN              (turning on the charm)          So, urn, do you always work nights?                                                  30.                    JULIAN          Usually two or-three a week, gives          me a chance for a real life during          the day. . .              (immediately turns back to               Erica)          You know, I heard you had a place          in the Hamptons. I really am a very          big fan. I honestly think I've seen          every play you've ever written.                    ERICA          I think some were written before          your time. There are some Marin's          never even seen.                    JULIAN          No, I'm pretty sure I've seen them          all and I saw the last one twice.Zoe nudges Erica as a Nurse enters from the ER.                    NURSE          Doctor, we've got a walk in, may          need stitches. . .                    JULIAN              (rises)          I'll check on MI. Langer...if he's          asleep; you all might want to get          some shut eye and come back in the          morning. Great to meet you Erica.          Ladies. . .The Women wave and watch him exit.The second he's gone:                    ERICA              (to Marin)          Okay, now that's a perfect a guy          for you. He's adorable.                    MARIN          Mother! I've never seen a man less          interested in me.                    ZOE          Or more interested in you.                    ERICA          Me? He's thirty years old.                    MARIN          No, he's older than that.                                                        31.                    ZOE          Who cares how old, he is. I mean,          he's not my type, he's like a          gorgeous wholesome doctor but, he's          perfect for you and hot for you,          which makes him really perfect.                    ERICA          Stop it. He likes my work. Not me.              (they just stare at her)          It's insane. I would never.              (off Zoe's look)          Shut. Up.Just then, Harry stumbles into the corridor in his Hospital                     ZGown, pretty out of it.                     OE          Yuh-oh.                    MARIN              (rises)          Harry....Confused, Harry turns around, a little lost, giving the Womena FULL VIEW OF HIS BARE ASS. The Women muffle screams.                    MARIN          Harry! Over here!He faces them.                    HARRY          Honey, I want to go home. Can you          call Lowell to pick me up?                    MARIN              (confused)          Lowell?Harry wobbles. Is he going to fall? Marin freezes, looks toher Mom for help. Erica rushes to Harry.                    ERICA          Harry, you have to get back in bed.                    HARRY          Woman. And I say that as a          compliment... You saved my life.              (kisses her hand)          Soft.. .              ( then)          I don't remember your name but I          thank you from the bottom of my...                                                        32.He falls on Erica, totally out of it, his head on her breast,his mouth open.                    ERICA              (afraid to breathe)          Ugh. Look at this, even          unconscious, he's a lech.The Nurses rush out and peel Harry off Erica.                    NURSE          Mr. Langer, you shouldn't be          standing.                    HARRY          Got to take a whiz girls.                    NURSE          We'll take care of that for you,          Mr. Langer.Harry turns back to the Women, smiling. He likes that idea.LOVES that idea.                    HARRY          Okay. You take care of it for me,          sweetheart. I'd like to see that...As he walks away, his bare ass shines like a full moon in adesert sky.                    MARIN          This is the most insane night of my          life.                    ZOE          Yeah, but just admit that was one          great ass for a guy that age.CLOSE - A LARGE VASE OF YELLOW ROSES - 36 HOURS LATERA Nurse slides the Roses down the counter of her station.                    NURSE          Now what can I do you for?She looks across at a neat as a pin Man in his early forties,Prada suit, crisp white shirt, dark tie. He's a Gershwin tuneof a man. A throwback to a kinder world. This is. LOWELL,Harry's Houseman/Chef/all around Man Friday.                    LOWELL          I'm here for Mr. Harry Langer.Julian ENTERS the Nurse's station.                                                        33.                    NURSE              (to Julian)          Are we discharging Hurricane Harry?                    JULIAN          Yes we are. Hi, I'm Dr. Mercer.          Come on, I'll take you to him.Julian EXITS the Nurse's Station. Lowell, carrying theflowers, follows. He nods to TWO TALL LEGGY MINI SKIRTEDASSISTANT TYPES, KIM and LEXI who follow. Both pack cell                     Jphones, note pads, carry balloons, flowers and shopping bags.                     ULIAN          And you are. . ?                    LOWELL          Lowell St. James'. Mr. Langer's          houseman, chef... general valet..                    JULIAN          Well that sounds like a pretty,          interesting job.                    LOWELL          Fifteen years. Never a dull moment.They arrive at:A PRIVATE ROOMwhere Harry lies on the bed, dressed and ready to go. Hesquints as he reads a pamphlet at arms's distance called,"Heart Attack -- Bouncing Back".                    JULIAN          Okay, Harry, looks like we're going          to have to let you go.Harry sits up too fast, lies right back down. Lowell lookslike he might cry. The Girls hold back.                    HARRY          Take it easy kids, I just sat up          too fast. Doc, tell them. Am I in          good shape? How were my tests this          morning?                    JULIAN          He's doing extremely well.                    LOWELL              (holding back tears)          Can I hug him?                                                           34.                    JULIAN          Absolutely.Harry stands and indulges Lowell in a deep hug. Lowell'sshoulders shake as he sobs.                    HARRY          Okay, Okay. Let's not get goofy. We          got no thin , but good news here.                    LOWELL          I must say, you do look good...          considering. You have a little          extra baggage under your eyes, but          I know how to fix that.                    HARRY              (to Julian)          See what good hands I'm in. Did you          meet my gorgeous assistants?                    JULIAN          Not formally.                     HARRY          Girls... .my Doctor, Julian Mercer.              (then)          Honey, did you bring the CDs?Kim hands Harry a shopping bag full of CDs.                    HARRY              (to Julian)          These are for you...              (to the Girls)          The man loves Hip Hop.                    JULIAN              (checking out the bag)          Maybe not this much but...                    HARRY          And did you bring the other thing?Lexi hands Harry another bag. Harry reaches in and pulls outa small leather box, hands it to Julian.                    HARRY          This is just to thank you for your          brilliance the other night. I hope          it suits you.                    JULIAN              (opening the box)          Wow. This is.. .Jesus, this is the          most gorgeous watch I've ever seen.                                                        35.                    HARRY          - Oh, good. It's a Piaget.              (to Girls)          He likes it.                    JULIAN          No, I love it and this is incredibly          generous of you but I can't accept it.                    HARRY          You save my life and you end up          with some CDs?                    JULIAN          No, I end up seeing you walk out of          here and I do get paid you know -                    MARIN (O.S.)          -- Knock, knock.T hey all turn, see Marin at the door. She waves to Harry,more reserved than normal.                    JULIAN          Harry, I'll see you on the way out.                    LOWELL              (whispers)          We'll pull up the car.Everyone EXITS leaving Marin and Harry alone. Harry sits onthe bed. Marin joins him. Harry places his hand on her thigh.All she notices is his hospital bracelet.                    HARRY          So, I'm some great date, huh?                    MARIN          Yeah... Mr. Excitement.                    HARRY          Tell me somethin', we haven't actually          had sex yet, have we?                    MARIN          No we haven't. You're correct on          that one.                    HARRY          Something to live for.Marin smiles, kisses Harry on the cheek.                                                        36.                    HARRY          Down to the cheek.              (that's big, he digests               that one)          Come on, let's get outta here.EXT. SOUTHAMPTON HOSPITAL - DAYHarry is wheeled out in a wheelchair, Marin and a Nurse oneither side. In the parking lot is a Town Car with Lowell andthe Girls standing next to it. Next to them is Erica, waitingby her car. She's on her cell phone. Harry spots them andtries to get out of the wheel chair before it stops.                    NURSE          Hold on Tarzan, we're still movin' ...              (she stops)          Okay, now slow-ly.To prove her wrong, Harry rises quickly. Everyone stands by,ready to help.                    HARRY          Look at these faces. Will you tell them          I'm fine.As soon as Harry spots Erica, he starts to wobble.                    ERICA          Whoa! Whoa! WHOA!Everyone grabs for Harry as he FALLS OUT OF FRAME AND THESCREEN GOES BLACK.CLOSE ON JULIANtaking Harry's pulse as Harry lies on the ASPHALT OF THEHOSPITAL PARKING LOT. Lowell, the Two Assistants and Marinhuddle around. Erica steps back a bit.                    JULIAN          Harry, I'm sorry, but I think we jumped the          gun.. .can't let you travel quite yet.                    HARRY          I ain't goin' back in there.                    JULIAN          You don't have to but I can't put you in          a car right now and I can't leave you in          the parking lot. I'd like you to stay          nearby for a few days and let me keep an          eye on you 'til you get your strength          back.                                                        37.                    HARRY          Doc, I'm out in the middle of the          Hamptons. Where do you want me to go?Marin turns to Erica who very clearly mouths, "FORGET IT!"EXT. ERICA'S HOUSE - LATER THAT DAY.The Town Car sits in the driveway, Lexi leans on the hood,talking on her cell. A Market Delivery Van pulls away as aDrugstore Delivery Van pulls in. A Flower Delivery KIDholding a large bouquet, knocks at the front door.I NT. THE GUEST BEDROOM - SAME TIMEHarry sits up in bed wearing silk pajamas, holding an unlitcigar, and is on the phone.Zoe enters, placing the new bouquet on the already flowerfilled dresser. Lowell lifts a LUNCH TRAY off the bed as Kimstands nearby on the cell phone. Marin packs her bag.                    HARRY              (into phone)          Just promise me you won't make a decision until          we talk. Thinking about it ain't promising me.          Okay, man, I'm seein' you Friday...              (hangs up, then to Lowell)          Lowell, what was that?                    LOWELL              (looking down at the Tray)          Your lunch.                    HARRY          Somebody tell you to starve me to death?Kim hands Harry the cell phone.                     KIM          Russell.                    HARRY              (into phone)          Rush? No, man, you're livin' the shit.          I just got a clean bill of health.Kim hands Harry a NOTE that says:          YOU HAVE TWO DINNER DATES THIS WEEK,          SHOULD I CANCEL AND SEND FLOWERS?                                                        38.Harry steals a look at Marin, then nods to Kim.INT. KITCHENErica puts away groceries, a little on edge. Her back is to aMan in his fifties, who sits at the island, eating asandwich. He wears sweats and a baseball cap. His naturalexpression is -- worried. This is DAVE.                    DAVE          This is the best turkey sandwich I          ever had in my life. What kind of          mustard is this?                    ERICA              (not turning around)          I don't know.                    DAVE          All right, don't get pissy. It's          not Dijon, right?                    ERICA          Don't get pissy. ..you say that 'cause          this, of course, would never happen to          you. .1 come out here for peace and quiet          and suddenly I'm a character in a Kaufman          and Hart play.              (the phone RINGS)          And the phone does not stop.              (phone STOPS RINGING)          And it's never for me!Lowell ENTERS with the Bed Tray.                    LOWELL          Sorry to interrupt.                    ERICA          That's fine Lowell, I'll take that.                    LOWELL          No, please, allow me.                    ERICA          No, no, I'll take it. No problem.Erica takes the bed tray as Lowell EXITS.                    ERICA          The man does not know my name and          I'm doing his dishes.Lexi ENTERS, all 5'10" of her. Dave suddenly looks alive. Shecarries an empty water glass.                                                          39.                    LEX          Hi Erica. Um...where should I put                    E          this?                     RICA          Right here. I'll take it.                    LEXI          And Harry has a headache. Do you          have any Tylenol?                    ERICA          Tylenol yes. ..              (reaches in cabinet)                     LEXI              (extends her hand to Dave)          Hi. I'm Lexi, Harry's second          assistant.                    DAVE          Hey...Dave Klein. How ya doin'?Erica hands Lexi the Tylenol, she thanks her and EXITS.                    ERICA              (holding the water glass)          Where should I put this? It's an          empty water glass. What are the          choices?                    DAVE              (rises)          I'm gettin' outta your hair.                       ERICA          Thank you.                    DAVE          So you're not ready to show me any          pages? I'm not putting pressure on          you, I'm just asking.                    ERICA          I haven't written a word. I'm on          page twelve and the first eleven          pages stink.                      DAVE          So you have one good page.               (then)          How tall do you think that girl          was?Before Erica can respond, Marin ENTERS.                                                        40.                    MARIN          Dad! I didn't know you were here.                    DAVE          I'm just on my way out, bubbee.                    MARIN          Well, I was just gonna drive into the          city with Zoe but if you're driving back,          I'd much rather go with you.                    DAVE          I have to meet someone before I go...                    ERICA              (to Marin)          Wait wait wait wait. You're leaving, Zoe's          leaving, the entourage is leaving. And I'm          supposed to stay here with him alone?                    MARIN          The doctor said" he's 'sending over          a Nurse in the morning...                       ERICA          The morning? That's nineteen hours from          now...                 (takes a deep breath)          Okay, I can handle this. I'm just going          to get into a zen' place, play music,          cook, write, focus...                    DAVE          She never changes...                    ERICA              (setting him straight)          Yes. Maybe that's a good thing.EXT. ERICA'S HOUSE - SUNSETNo cars are out front. Quiet and peaceful. On the Soundtrackwe hear the French tune, I wish You Love sung in French.INT. ERICA'S KITCHEN - THE SAME TIME - MUSIC OVERErica cooks, softly singing along in French.                    HARRY (O.S.)          Smells great in here.Surprised, Erica turns to find Harry leaning in the doorwayin his pajamas, robe and slippers. No one's ever had moregorgeous clothes to sleep in. His presence disarms her.                                                        41.                    ERICA          Coq au Vin...              (he looks confused)                    H          Chicken cooked in red wine...                     ARRY          French Food... French music...                    ERICA          Part of my play takes place in Paris so          I'm hoping this helps me think. I'm          hopin'...How you feeling?                    HARRY          Well, I walked all the way in here,          only bumping into two chairs and an          ottoman.                    ERICA          Everyone bumps into that ottoman.Harry appreciates the thought. Before it has time to becomeawkward, the Phone RINGS.                    HARRY          Hey, thanks for letting me...                    ERICA          Yeah, no...it's fine.              (answering the phone)          Hello. Yes, he is.              (hands the phone to Harry)                    HARRY              (into phone)          Hello. Hey sweets...              (Erica hates this)          Oh, you got the flowers? Are they          pretty?Erica can't stand this. She puts on her glasses and skims herrecipe.                    HARRY          Hey, can I call you in a little          bit. What's your number doll?              (spots a pad and pencil)Harry squints, can't see what he's writing...backs his headaway from the pad. Erica hands him her glasses.                    HARRY              (slips them on, jots down               the number)          Okay... Call you in a little.                                                          42.Harry hangs up and hands the glasses back to Erica.                    HARRY          Same prescription...                    ERICA          Look, Harry, it's not like in any stretch          of the imagination, I think you're all          that right for my daughter but I don't          really appreciate hearing you on the          phone with other women. It's like I'm an          accomplice to you cheating, it's...                    HARRY          Your daughter knows I see other women.                    ERICA          She does? I mean, fine, it's none          of my business...but...              (struggles to open a               bottle of wine)                    HARRY          She knows I'm not monogamous...We've          discussed it.                    ERICA          Great? And that's what? Why are you          proud of that?                    HARRY          Not proud. Just honest. Your daughter          said she likes that about me.              (takes the wine and opens               it with ease.)                    ERICA          My daughter is confused when it comes to men.                    HARRY          I don't blame her. We're confusing.Harry hands her the open wine bottle.EXT. BEACH PATIOWIDE SHOT - ALMOST NIGHTErica and Harry sit not so close together at a long table,under a purple sky. Another French Tune plays. If this wasn'tthem, this would look romantic.N othing is said. Just two people eating. Harry lifts the saltshaker, about to add salt to his chicken.                                                        43.                    ERICA          Should I just call the ambulance now?Harry shoots her a look and places the salt shaker back on thetable.EXT. HOUSE - NIGHT - OVER - LOUIS ARMSTRONG'S LA VIE EN ROSEA starry sky gives the house a storybook setting. We HEAR THEPHONE RING.INT. ERICA'S BEDROOM - SAME TIME - MUSIC CONTINUESErica works at a laptop at a cluttered table. The CLOCK tells usit's a little after ONE A.M. Annoyed by the ringing phone, shepoints her remote at the CD Player and stops' the song. Harryanswers the phone in his room. A moment of quiet. Erica points herremote, starts the song again, starts typing again. Now the otherline RINGS. She looks over at the phone watching one RED LIGHT"BLINK, while the other line is answered.                    ERICA          What am I doing?She throws a piece of paper over the phone so she can't see it.She clicks on her AOL ICON and is told: AOL CANNOT CONNECT. LINEBUSY. She's pissed. Then, worse, she SMELLS something.INT. HARRY'S BEDROOM - SAME TIMEHarry is on the phone, smoking a cigar. His pajama top isunbuttoned, his hair is allover the place. His bed is a mess,laptop open, newspapers spilling onto the floor. Erica standsin the doorway. He quickly hides his cigar.                     HARRY               (into phone)          Can you hold a see, doll?               (looks to Erica)          Hey.                     ERICA          Okay, here's the thing. I really don't          want to play the part of the uptight          Nurse to your bad boy patient. If you          want to have another heart attack, go          ahead, it's your life but I have work to          do and I don't have time to make another          run to the hospital because you're          filling your already clogged arteries          with smoke but more importantly, I'd          rather not have my house smell like a          pool hall.                                                        44.Erica holds out a partially filled water glass for Harry todeposit his cigar in.                    HARRY          I have a question for you.She waits. She doesn't say anything.                     ERICA          What? Do I Hhave to say what?                     ARRY          Have you always been like this or          do I bring this out in you?She shakes the water glass, waiting for the deposit. He dropsthe cigar in.                    HARRY          I don't think I've ever had this          effect on a woman before.                    ERICA              (picking up the               newspapers)          And what effect do you think you're          having on me?                    HARRY          I don't quite recognize it, that's how I          know I've never had it before.Erica rolls her eyes as she finishes cleaning up.                    HARRY          So you don't sleep?                    ERICA          I only need about four hours a night.                    HARRY          Me too. Never slept eight hours in my          life.                    ERICA          Me either. I wish I could. ..but...              (re: curtains)          Want me to shut these, sun comes in          pretty strong in the morning.                    HARRY          Sure. . . thanks. . .                    ERICA              (drawing the drapes)          Who you talking to at this hour?                                                        45.                    HARRY          A friend in L.A. It's only ten out there.                    ERICA          And that's not past her bedtime?                    HARRY          So you don't get more mellow as the hours          pass?                    ERICA              (heading out)          Good night, Harry.                    HARRY          Can I ask you one other thing?              (Erica turns)          What's with the turtlenecks? It's          the middle of summer.                    ERICA          Now seriously, why do you care what I          wear?                    HARRY          Just curious.                    ERICA          I like them. I've always liked them. I'm          just a turtleneck kinda gal.                    HARRY          You ever get hot?                    ERICA          No.                    HARRY          Never?                    ERICA          Not lately.INT. ERICA'S BEDROOM - NIGHTAlmost TWO. Erica is writing, her eyes go to the phone withthe typing paper over it. She LIFTS a corner of the paper,takes a peek. The one lit line GOES OUT. Finally. "Ericaturns off her computer, sits for a second. No one has rattledher cage like this in quite some time. And no, she doesn'tlike it. She stands, starts to undress.ANGLE - THE FLOOR                                                        46.As Erica's TURTLENECK lands on it. Then her BRA, then herPANTS then her PANTIES.ERICA - NAKED - TIGHT SHOTShe crosses through the room on her way to the Bathroom. Shepasses by her partially open door, happens to look out INTOTHE HALLWAY AND SEES:HARRY - PLANTED RIGHT IN FRONT OF HERSeeing it all.ERICA - SCREAMSand DROPS OUT OF FRAME.HARRYflustered, spins around, loses his balance, crashes into thewall, covers his eyes.                    HARRY          I'm sorry! Oh, God am I sorry.                    ERICA (O.S.)          What are you doing?!?                    HARRY          Trying to find the kitchen!                    ERICA (O.S.)          Back here???                    HARRY          I-I got confused..! It was dark. I didn't          really see anything. Just your tits and a          little of your-Erica SLAMS HER DOOR. Photos on the wall shake.                    HARRY          This is gonna be murder.INT. LIVING ROOM - THE NEXT MORNINGA very wide MIDDLE AGED NURSE gruffly crosses thru the roomtoward the Front Door. Just as she opens the door, EricaENTERS in hat, sunglasses, turtleneck, long skirt. Prettymuch no skin is showing whatsoever. She carries a fewpackages.                    NURSE          Good bye Mrs. Barry.                                                        47.                    ERICA          Good bye? You're leaving? That's          not good.                    NURSE          Been fired.                     ERICA          Fired?   You just started.                    HARRY          Not fired darlin'. Just not needed.Erica hardly looks at You Know Who who appears to be freshout of the shower, wet hair, silk robe, bare chest and legs.                    ERICA          What do you mean, not needed? Of          course we need her. She's gonna          take care of you and feed you and...                    HARRY          -- No, no, I'm actually feeling          pretty perky today. Making quite a          recovery. . .              (opening the screen door)          Sorry for the trouble Mrs.          Gimble... Take care, dear.Harry hands her a wad of bills like she's a Maitre'd. Mrs.Gimble gives Erica a look of pity as she exits. Erica, nowalone with Harry, self-consciously adjusts her sunglasses.Harry, on the other hand, slips his hand onto his bare chest,pats it.                    HARRY          Listen, about last night.                    ERICA          Yeah. How 'bout we never talk about that?              (hands him some pills)          I was at the drugstore. Your          prescriptions were ready. They said take          these two with food and this one without.                    HARRY          Honestly, you were in silhouette.                    ERICA          I think that's talkin' about it.                    HARRY          I really didn't see all that much.                                                        48.                    ERICA              (heading toward her room)          Yip. There you go.                    HARRY          Okay. Won't mention it again but...                    ERICA              (almost out of the room)          Goin' to work, Harry.                    HARRY              (yells)          You saw my ass, you don't see me          acting nuts, wearing hats and          glasses and weird get ups...The Sound of a DOOR SLAM. - Harry flinches.INT. HARRY'S BEDROOMHarry and Julian sit on the bed. Julian takes Harry's bloodpressure.                    HARRY          Yes or no. What's the deal, can I          go?                    JULIAN          You still getting dizzy?                    HARRY          Not as much.                    JULIAN          Out of breath?                    HARRY          Only sometimes.                    JULIAN              (listens with stethoscope)          How's Erica treating you?                       HARRY          Who?                     JULIAN              (nods toward Living Room)          Erica. . .                    HARRY          Her? Oh, she's a major piece of          work. The woman wears turtlenecks          in the middle of the summer.                                                      49.                    HARRY (CONT'D)          She's beyond uptight. Almost makes          her fun to be around.                    JULIAN          Uptight? That's funny. I haven't          noticed that.                    HARRY          Try livin' with her.Julian takes Harry's pulse.                    HARRY              (with secret glee)          I actually saw her naked last          night.                    JULIAN          That doesn't sound so uptight.                    HARRY          It was an accident. She thought I          was asleep, I thought her room was          the kitchen.                    JULIAN          You know what Freud said - there          are no accidents.                    HARRY          Trust me. This was an accident. Although,          why would she be walking around naked          when she knows I'm 20 feet away.                    JULIAN          Why would you think her bedroom was          the kitchen?                    HARRY          It was dark, it was two in the          morning.                    JULIAN          That could explain why she was walking          around naked. Deep breath...                    HARRY          You know I've never seen a woman          that age naked before.                    JULIAN          You're kidding?                    HARRY          Hey, we're not all doctors.                                                        50.                    JULIAN          Well, I think she's very beautiful          and she's a fantastic writer, you          know.                    HARRY          No, I don't know...                    JULIAN          Erica Barry? She's pretty major.              (writing a prescription)          So, you date her daughter?                     HARRY          Okay, now she's a great chick. Must take          after the father. Which reminds me...Doc,          what (about Mr. Midnight here. . ?                indicates his dick)          When can I be up and running in          that department?                    JULIAN          I think Mr. Midnight needs to stay          put for another couple of weeks.                    HARRY          But it won't kill me when I do it, right?                    JULIAN          It's exercise. It'll be good for you. And          just so you know, I'm told after a heart          attack, if you can climb a flight of          stairs, you can have sex.                                                  CUT TO:A LOW ANGLE OF A STAIRCASEWhich goes from the beach up to Erica's deck. Harry stands atthe bottom of the stairs in his robe, velvet slippers andsunglasses.' He looks up to the top of the stairs as if it'sMt. Everest. Bravely, he climbs the first few steps. Not bad.After two more, he's out of breath. Determined, he holds ontothe railing and drags himself up to the next step. Happy withhimself, he holds on for dear life and drags himself up onemore...and then, he's so out of breath, he can barely move,yet he reaches up the railing and tries to hike himself upone more.INT . KITCHEN - SAME TIMEThe tea kettle WHISTLES as Erica and Julian stand on eitherside of her island. Erica reaches for a tea bag.                                                        51.                    ERICA          So, you're saying, he's not ready          to travel at all? Not even by          plane? Train?                    JULIAN          I don't think so...              (sees her disappointment)          It's been tough, huh?                    ERICA          Well, he fired the Nurse after an          hour, now says he doesn't need one.          He's a bit of a workout.. .yeah.                    JULIAN          How are you holding up?                    ERICA          Oh, fine. .I'm fine, I'm...                    JULIAN          One more fine and I won't believe you.The Phone RINGS.                    ERICA          Oh, shoot, hold on...              (into phone)          Hello. Hey...Oh, hi...ANGLE - JULIANSmitten. Just something about her. Watching her.ANGLE - ERICANot noticing, pouring water for her tea.                    ERICA              (into phone)          No, I'm finally getting to it...Erica sees Julian sliding a slip of paper over to her. Looksover at it. It's a piece of paper from his prescription pad.On it is written...Have dinner with me tonight? Erica looksup at him. Stunned. J                     ULIAN              (heading out)          Pick you up around seven?                    ERICA          W-What about the patient?                                                          52.                    JULIAN          Like he said, he doesn't need a          nurse.We begin to hear strains of another French song.INT. ERICA'S BEDROOM - LATE AFTERNOON - MUSIC OVERErica at her desk, typing. The Music plays from the CDplayer. As much as she doesn't want it to be true, thisattention from Julian has fueled her.THE LIVING ROOM - SAME TIME - MUSIC OVERHarry, dressed for the first time, wearing khaki's and asummer shirt, strolls through the Living Room a bit cautious.                    HARRY              (yells, warning-like)          I'm Walking Around The house!ERICA Laughs. Even she knows this is funny. Harry arrives ather open doorway, timidly pokes his head in.                    ERICA          Listen, I've decided to get over the          whole "you saw me naked" thing. So, we          don't have to deal with it anymore. Okay?                    HARRY          Good, 'cause I've been hiding from          you all day.                    ERICA          I know. You want to come in?                    HARRY          I don't want to break your rhythm          or anything.                    ERICA          That would be wishful thinking.Harry ENTERS cautiously and curiously.                    HARRY          Beautiful painting. So I'm gonna          venture out there and go for a          short walk...                    ERICA          You up to that?                                                        53.                    HARRY          My doctor recommended it. I gotta          build up to stairs and stuff like          that. You wouldn't want to join me?                    ERICA          That means you don't want me to?                    HARRY          No, I was asking if you wanted to.                    ERICA          Oh, well, I would but...I don't          usually like to break once I've          started writing so I probably          shouldn't, not that a little fresh          air would hurt but...                    HARRY          It's just a walk Erica, not a          marriage proposal.                    ERICA          You know my name.                    HARRY          Erica Jane Barry. I looked you up          on the internet.EXT. BEACH - MOMENTS LATER - LATE .IN THE DAYErica and Harry walk by the water's edge. They are the onlytwo people on the beach.                    HARRY          -- Did you know there are over eight          thousand websites that mention you?                    ERICA          That can't be possible.                    HARRY          No, it's true. I know everything          about you now. And not because of          last night, but...                    E                     RICA          Yeah, I understood. I actually          looked you up too. You grew up in          L.A., which I thought nobody did.                                                         54.                    ERICA (CONT'D)          You were the road manager for a group I          sorta never heard of, started your own          record label at 29, sold it at 45, then          started buying and selling boutique          companies then invested in a small record          company which you turned into the 2nd          largest Hip Hop label in the world.                    HARRY          It's exhausting just hearing about it.                    ERICA          I know, but the truth is, it goes          fast doesn't it?                    HARRY          Like the blink of an eye.Erica bends down and picks up A FLAT WHITE STONE, thenanother and another...                    HARRY          I noticed you have bowls of those          all over your house.                    ERICA          I know, I'm crazy, I just think          they're so beautiful...                    HARRY          But why do you only pick up the white          ones?                    ERICA          I don't only pick up the white ones.                    HARRY          Oh, so you really are crazy.                    ERICA          I pick up only the white ones?              (looks in her hand)          Oh, God, what does that mean? I'm          controlling, unadventurous, what?                    HARRY          So you're as hard on yourself as          you are on everyone else.Erica is stunned that he caught on to that. Harry bends down,picks up a BROWN stone, places it in her palm among the whitestones.                    HARRY          Something to remember me by.                                                        55.Erica realizes she can't sum this guy up so easily or at all.                    ERICA          So can I ask you something Harry? What's          with all the young girls? I mean, what's          the story there, really?                    HARRY          I just like to travel light.                    ERICA          You just like to travel light? Oh,          please, what the hell does that mean?                    HARRY          Now see a thirty year old gets that.                    ERICA          You mean falls for that.                    HARRY          I mean, accepts it.                    ERICA          If that's what you want... a non          threatening woman, who won't get your          number, you get to run the show...                    HARRY          I think our relationship is growing          by the way. Have you noticed?There he goes again. She can't believe he's cute like this.                    HARRY          I'm serious. Maybe we just needed to get          out of the house. Now, you may notice,          interestingly, we're walking back toward          the house and its getting a little rocky          again.                    ERICA          Of course it's getting a little          rocky, we're talking about you.                    HARRY          See, I'll accept that slight          hostility because I'm enjoying your          company so much.T hey're reached the bottom of the beach stairs. Harry looksup, daunted.                      ERICA          You okay?                                                           56.                    HARRY          Yeah, but I think I'11 stay down here and          watch the sunset. You interested?Erica checks her watch.                    HARRY          Big dinner date?                    ERICA          Well, yeah, as a matter of fact.          With your doctor.                    HARRY          Ohhhhh, my doctor, 'cause he's not          too young for you, huh?                    ERICA          No, he's totally too young for me.          But we're just having dinner. It's          not a date.                    HARRY          Does he know that?                    ERICA          Well, I'll tell him, but I doubt          that he thinks of it that way.                    HARRY          I doubt that you doubt that. Anyway, you          may like it. Think of it this way -- he's          not threatening, won't get your number,          you get to run the show. You might have a          hell of a time.Over, we HEAR, DING DONG.THAT NIGHT - THE FRONT DOOR - SWINGS OPENAnd we find Julian. Looking just as any girl would hope.Dream Date.AND ON THE OTHER SIDE OF THE DOORis Harry, in his robe and PJ's.                    JULIAN          Hey, look who's answering the door.                    HARRY          And look who's at the door.                    JULIAN          Brought you something.                                                        57.Julian hands him a take-out food box.                     JULIAN          A heart healthy dinner from our          cafeteria.                       ERICA (O.S.)          Hello...Both guys turn at once. She looks beautiful, wearing a dress,probably the sexiest one she owns. No turtleneck tonight.Julian walks to her, kisses her on the cheek.                    JULIAN          You look beautiful.                       ERICA          Thank you.Behind Julian's back Harry gives Erica the 'OK' sign.                    ERICA              (thrown)          We ready..?                    JULIAN          Let me just see how Harry's doing.          It'll take two seconds. Har, have a          seat. .ANGLE - HARRYsitting, self-conscious in his new role - The Sick One.Julian takes his wrist, feels his pulse. Harry looks straightahead.WHAT HE SEES - ERICA'S LEGSas she sits right in front of him. She crosses her legs andher dress hikes up a little, exposing her thigh.JULIAN furrows his brow.                    HARRY          What? That's not the face you want          to see your doctor making.                     JULIAN          Your pulse is a little fast but          maybe you're just excited about          something.Harry LOOKS AT ERICA'S LEGS again.                                                         58.                    HARRY              (quickly)          I don't think so. I'm not excited          about anything.Erica shifts, the hem of her skirt RISING even higher.                    JULIAN          There it goes again. Racing.                    HARRY          Doc... Impossible!Erica rises, leaving Harry's eye-line.                    JULIAN          Oh, there we go, now I feel better.          Back to normal.Harry winces then rises, looks to Erica as she throws apashmina over her shoulders in SLOW MOTION. Harry rushes themOUT THE DOOR.                    HARRY          Okay, all right, good, have fun, don't          rush back for me and don't do anything I          wouldn't do.                    ERICA          Well that wouldn't leave us too          many options would it?                    HARRY          And do we wonder how she writes          that snappy repartee.              (whispers to Erica)          Let him pick up the check. It'll          make him feel older.On Erica's shocked expression, the DOOR SLAMS.INT. LIVING ROOM - LATER THAT NIGHT - A BEN WEBSTER CD PLAYSHarry lies on the sofa. CAMERA MOVES UP Harry's body, pastthe hospital take out carton on his stomach and finally up to                     Mhis face. As the CAMERA moves we HEAR:                     ARIN (O.S.)          Hi, it's Marin, I'm not in so leave          a message and I'll call you back.                    HARRY          Hey, it's me...just sitting around          looking at your baby pictures...          Thinking about you...                                                          59.He hangs up, dials another number.                    ANOTHER YOUNG WOMAN'S VOICE (O.S.)          Hi and HI, you've reached Brooke and          Shannon. For Brooke push one, for -Harry hangs up then slowly sits up, letting himself feel asfunky as he wants.                    HARRY          Everybody's out but old Har.. .Old, old          old old Har...Harry rises dizzily, crosses to the bookshelves. He rummagesaround, finds ERICA'S SCRAPBOOK, pulls it out, randomly opensit, finds a photo of Erica in the 70's, wearing a turtleneck.Harry smiles.INT. ERICA'S BEDROOM - MOMENTS LATERHarry wanders in with the scrapbook tucked under his arm. Henotices a bowl filled with white beach stones. Harry's brownstone sits at the top of the pile.                    HARRY              (complimented)          Top of the heap...CLOSE ON JULIANStaring at Erica. He can't get enough of her. They're in aROMANTIC SEASIDE RESTAURANT. And Erica's blushing for thefirst time in twenty-five years.                    ERICA          -- So, when the land came up, I snatched it          and the house was built in record time and...              (blushing to death)          It's like a thousand degrees in here.                    JULIAN          You know, they say doctors fall for          people who need rescuing, that we have a          need to take care of someone.                    ERICA          Really? I never heard that one.              (starts fanning herself               with the menu)          Julian, how old are you, like...                    JULIAN          -- Thirty-three.                                              60.          ERICAThirty-three.-Okay, so, I'm twenty yearsolder than you. More than twenty yearsolder than you.          JULIANYou look fabulous.            ERICAThank you   but you know, I'm not surewhere you   were headed with that thing youwere just   saying, but in terms of us, youjust want   to be friends, right?          JULIANHonestly? No.          ERICAWell, then, what is it that you...want to be?          J           ULIANI think I'd embarrass you if I toldyou.          ERICAI was embarrassed just gettingdressed to see you.          JULIANThis may surprise you but somewomen consider me quite the guy.I've never been married. I'm adoctor. You wouldn't believe whatcatnip that is for some women.          ERICAOh yes I would. But, you don't likegirls your own age?          JULIANI do very much. But I've never met oneI've taken to quite like this and whensomething happens to you that's neverhappened to you before, don't you have toat least find out what it is?          ERICAI suppose but, see, I don't dateall that much or all that well...          JULIANOh, come on, you must beat themaway with a stick.                                                          61.                    ERICA          Now you're kidding, right? No, guys          my age, the ones I've met...well,          I'm not that regular a person and          they really like regular.                    JULIAN          Men your age may be really stupid,          you ever think of that?              (takes her hand)                    ERICA          Yes I have. Many times.                    JULIAN              (looks from her hand to               her eyes)          There's something radically wrong with          the idea that no one loves you.Ow. Right to the middle of her shoulder, then her neck.Julian kisses her palm, then her.                    JULIAN          I knew you'd smell good.                    ERICA          It's just...soap...                    JULIAN          How much is soap that smells like this?                    ERICA          I don't know. I got it at the market.                    JULIAN          Erica, you're incredibly sexy.                    ERICA          No, swear to God, I'm not...MEANWHILE, HARRY IS SOUND ASLEEP ON ERICA'S BEDHer scrapbook open against his chest. We HEAR the SOUND OFACAR pulling up to the house. Harry wakes up. Oh shit.   Heleaps out of bed, this is the fastest he's moved in days. Abit disoriented, he straightens the covers, looks around forother evidence then hightails it out of there.INT. LIVING ROOM - A MOMENT LATERErica enters, letting out a huge sigh. She's brought back toreality when she hears the TV in Harry's room. She heads hisway, then changes her mind and stops.                                                        62.                    ERICA              (yells)          I'm back...                    HARRY (O.S.)          You have fun?                    ERICA          It was interesting. So... Good night.INT. HARRY'S ROOM - SAME TIMEHarry's in bed, clearly disappointed that she didn't stop in.                    HARRY              (yells)          'Night...INT. ERICA'S BEDROOM - LATERErica, in pj's and glasses, sits at her laptop, writing. Shehears the CHIME of someone INSTANT MESSENGERING HER. It amessage from HARRYL37. It says: What R U doing?W e go BACK AND FORTH between their TWO ROOMS.She answers: Writing. Hi. What R U doing?He writes: Watching Joan Rivers sell jewelry.Erica laughs when he adds: So was your date a date?She types: I think so...He types: I told ya. (then) You hungry?Surprised, she types: I just had dinner.He writes: Yeah, but women never eat on dates.                    ERICA              (to herself)          How does he know everything!She hesitates then types: Actually am a little hungry but,I'm in my pjs.He writes: Me too. Pajama party?SHE stares at the screen biting her lip. HE does the same.                                                        63.Erica rises, LOOKS IN THE MIRROR, checks out her boobs in herpajamas. They look so low. She opens a drawer, rifles through it,takes out a bra, takes out a better bra.IN HIS BATHROOM, Harry fixes his hair, tries to make more of itthan he has.Erica now wearing a bra under he pajamas, checks out her boobsagain. Better. She adjusts the straps. Lifts them higher.INT. LIVING ROOMErica and Harry ENTER FROM OPPOSITE SIDES OF THE ROOM, both intheir pajamas.                    HARRY          We are cute...                    ERICA          This is pretty unusual for me.   I'm not          used to having sleepovers.                       HARRY          Me either.                    ERICA          Really? With your social life?                    HARRY          My, dear, you are confusing sex with sleeping.          Sleeping is something I prefer to do alone.                    ERICA          Okay, good to know.              (heading for the kitchen)          So, what are you hungry for?                    HARRY              (joining her)          What are my choices? I mean I know you          think I'm not very discriminating but...She looks through the fridge.                    ERICA          Oh, God, what's the difference what I          think. I can't imagine what you think of          me. Okay, so... Pasta, left over coq au          vin, turkey sandwich or grilled cheese.                       HARRY          Pancakes.                    ERICA          Totally what I wanted. Blueberries?                                                      64.                    HARRY          You ever miss being married? I bet you          were great at it.                    ERICA          Sometimes I miss it. At night.. But not          that much anymore. Was one of us just          saying something interesting?                    HARRY          You said you can't imagine what I think          of you.                    ERICA          Oh, right, but you don't have to answer          that.                    HARRY          Okay.                    ERICA          I mean, if you had an opinion, I'd be          curious but...'                    HARRY          will you tell me first why you only          miss being married at night?                    ERICA              (cracking eggs)          Oh, 'cause the phone doesn't ring as much          at night and the "alone" thing happens at          night and sleeping by myself took some          getting used to. But I got the hang of          it. You gotta sleep in the middle of the          bed. It's absolutely not healthy to have          a side when no one has the other side.She starts mixing the batter.                    HARRY          Okay, now I'm convinced what I          think of you is right.              (Erica waits. . . )          You are a tower of strength.                    ERICA              (shoulders sagging)          Ughhhhhhhhhh... .                    HARRY          Try not to rate my answer.                    ERICA          I'm sorry. It's just...I'm sorry.                                                        65.                    HARRY          You're like a thoroughbred in a world of          mutts. No, you know what you are, you're          like a great portrait over a fireplace.          Words have been invented to describe          women like you.                    ERICA              ( fearful)          Such as?                     HARRY          Flinty   and...Impervious.                    ERICA          So you think I'm inhuman.                    HARRY          No. I think you're formidable.                    ERICA          But cold and distant. Like I'm          frozen in some painting...                    HARRY          Not at all. I think you're strength          defines you.              (sees how sensitive she               is)          But it's thrilling when your defenses are          down arid you're not isolated. That, I          believe, is your winning combo. A killer          combo actually.                    ERICA          ... So I can't decide if you hate me or if          maybe you're the only person who ever got          me.                    HARRY          I don't hate you.The moment is broken when they HEAR the FRONT DOOR OPEN andHIGH HEELS APPROACHING.                    ERICA          Hello?Marin ARRIVES IN THE DOORWAY in a knockout of a dress holdinga bag from Zabars. She looks fresh, vibrant, sexy.                    MARIN          Room service!                    ERICA          What are you doing here at this hour?                                                        66.Erica and Harry have the air of kids caught making out by oneof their parents. Harry straightens out his pajamas, smoothsdown his hair. Erica catches all this.                    MARIN              (enters, kisses Erica)          I            had this big photography auction          tonight, then I went out with a          bunch of people, I checked my          messages and got this so sad          message from Harry so bored out          here. I thought I should come out          and at least see how he was doing.              (kisses Harry on the               cheek)          Thank you for the gorgeous flowers          by the way. They were so huge...Erica nods to herself. Oh, God, he sends them all flowers.Harry notes Erica's reaction.                    MARIN          So how are you guys?              (sets down the Zabar's               bag)          Oh, this is too sweet. You're making          pancakes? Awwww. And you're both in your          pj's. Now I feel I'm interrupting.                    ERICA          Don't be silly. You know I never          sleep and this one doesn't sleep          either. It's... .What's in the          bag?                    MARIN              (reaches into the bag)          A quart of matzoh ball soup for          Harry. I know it's not the remedy          for heart problems but it is low          cholesterol.                    ERICA              (hating to correct her)          But high sodium.                    MARIN          Oh, sorry. Stupid. For Mom, your          favorite raisin-bread. And for          me...              (reaches into the bag)          My favorite Vodka.Marin's cell phone RINGS.                                                          67.                    MARIN              (into phone)          Hello? No I'm here, babe. Made record          time. Everyone's still there?Erica feeling suddenly frumpy, fixes her hair. Harry watchesher. She catches him and shrugs. Marin flips her phone shutand tosses it in her purse.                    ERICA          So, Mar, now that you're here, why          don't you finish the pancakes and          I'll get back to work...                    MARIN          Mom! I just got here, hold on.She pours a healthy Vodka into a glass, grabs some ice.                    MARIN          So your ex-husband stood me up          today. We were supposed to have          lunch at Barneys . He never showed          up. Was he always like this?                    ERICA          Honey, I don't know...                    MARIN          This is what happens after a couple          gets divorced, the kid inherits all          the problems. Not that I'm a kid.              (then to Harry, the flirt               in her coming back)          So how are you, how do you feel?          When can you go home?Just as harry is about to answer, Marin's cell RINGS. Shepicks it up, looks at her caller ID, throws it back in herbag.                     ERICA          I really am gonna do a little work.          . . you two catch up. . . and just          flip these Hin like two seconds.                     ARRY          You don't want pancakes anymore?                    ERICA          I, uh, I don't think I...I...              (looks at Marin so)          gorgeous, next to him          No. I don't.                                                        68.Marin watches her mother EXIT then looks to Harry, his eyesfollowing her Mom out the door. She's sees a look on Harry'sface she never remotely saw when he looked at her. At firstshe's shocked. He likes my mother??? Then a flash ofjealousy. He likes my mother!?! Then pure joy - realizing howperfect it is.INT. BRIDGEHAMPTON GENERAL STORE - DAYErica, back in a turtleneck, picks peaches out of a basket.Marin ENTERS HER FRAME, baseball cap, sunglasses, pickingcherries.                    MARIN          I'm breaking up with Harry.                    ERICA          Why? What do you mean?                    MARIN          'Cause I met someone else.                    ERICA          In the two days you've been gone?                    MARIN          You know me, my life's crazy. I meet a          thousand people everyday. Also, let's          face it, the guy's insanely old for me.          I'd be nuts to keep this going.                    ERICA          True, but you know he is....                    MARIN          -- I know. He's soulful when you          don't expect it, right?                    ERICA          It's unnerving.                    MARIN          Now, Mom, if you could handle this,          I was thinking... you and Harry...                     ERICA          I can't handle it. Wouldn't want to          handle it.                    MARIN          But you're only saying that 'cause          you think he and I have had sex.                    ERICA          Yes. Lower your voice. Haven't you?                                                        69.                    MARIN              (whispering)          Never even got close. Swear to God.              (Erica digests this)          Just puttin' that out there...'cause for          two people who are convinced they got          life beat, there's was somethin' cooking          in the kitchen last night other than          pancakes.INT. ERICA'S KITCHENErica looks out her KITCHEN WINDOW and SEES Marin and HarryTALKING ON THE BEACH. She leans so far to see them, she'sabout to lose her balance. The Phone RINGS, she reaches forit and slips right Out Of Frame.                    ERICA (O.S.)              (into phone)          Hello.INT. HOSPITAL CORRIDORJulian, in his scrubs, walks quickly down a hallway of the                     JER, on his CELL PHONE.                     ULIAN          I've waited a reasonable amount of hours          before calling you, even though you've          been on my mind since I woke up at 5:15.          I'm wondering when we could have dinner          again? I have to work the next few nights          and if we wait 'til next week, I know          you'll chicken out so how's Friday? I          know it's like a date night but I think          that's good.                    ERICA          Who is this?Julian stops short.                    ERICA          I'm kidding!                    JULIAN          Can you meet me at The Grill at          eight?                    ERICA          Okay. Yes. That's seems fine.I                                                          70.                    JULIAN          I look forward to, seeing you too.Erica smiles to herself.ON JULIAN - AS HE LEANS AGAINST A WALLturning off the phone and grabbing his heart NT. ERICA'S KITCHENMarin ENTERS through the kitchen door, looking almost alittle dazed.                    MARIN          Okay, he's all yours.                    ERICA          Stop that. How'd he take it?                    MARIN          He just took care of it for me; He          was an ace. Elegant. Said our fate          was to be friends. ...Oh my God.              (realizes something)          He was breaking up with me. He's a          genius.                    ERICA          That's impossible, he wouldn't...                    MARIN          It doesn't matter, we're done and          we both feel good about it.              (hugs her)          I gotta get back.              (as she exits)          Now Erica, try to think of this as          the smartest thing you've ever done          for yourself.Marin EXITS and the PHONE RINGS.                    ERICA              (into the phone)          Hello.                    HARRY          (from the beach)          Thought you'd like to know your          daughter broke up with me.Harry and Erica talk while looking at each other through theKitchen Window.                                                        71.                     ERICA          I heard.                    HARRY          Made up a story about meeting another          guy. Guess I wasn't so cute with an IV in          my arm.                    ERICA          No, I think she really did meet          someone else.                    HARRY          Hey, it's alright. Her mother          didn't like me anyway.                    ERICA              (smiles)          How 'bout I bring you out some          lunch and a couple of blood                    H          pressure pills?                     ARRY          You're a great woman, Erica.              (Erica relaxes)          Is this why my doctor is falling in          love with you?THE BEACH - MUSIC OVERErica and Harry sit on a blanket on a cloudy day having apicnic lunch. Harry is telling Erica a story and she screamswith laughter.BROWN STONES IN THE SAND - MUSIC CONTINUESErica picks them up as.she walks with Harry by the water'sedge. They talk non-stop.A LITTLE LATER - LIGHTNING STREAKS THE SKYOut of nowhere, a downpour. Erica and Harry gather theirpicnic things. The blanket starts to fly and Harry grabs itas Erica runs after a plate spinning away in the wind.INT. LIVING ROOM - MOMENTS LATERErica and Harry, wet from the rain, quickly shut all thedoors and windows. Lightning crackles across the sky and THELIGHTS IN THE HOUSE GO OUT.A MATCH IS STRUCKand a CANDLE is lit. Then ANOTHER ONE, and ANOTHER ONE. Ericaturns and finds Harry just looking at her. Before either ofthem has time to think, they kiss.                                                        72.                       ERICA          I'm sorry.                    HARRY              (truly confused)          For what?                    ERICA          I just kissed you.                    HARRY          No, honey, I kissed you.Relieyed, Erica kisses him.                    ERICA          I know that one was me.                    HARRY          Try not to keep score.He kisses her again and again.                    HARRY          Soft lips...                    ERICA          I'm so glad they still work.I haven't used them for kissing in so long. They've been morelike for wearing lipstick and whistling and...He kisses her quiet. Relieved, she finally fully kisses himback. A big gorgeo~s kiss.                    HARRY          Well, well, now look who's gotsomething that works...They both look down at Harry. Hello, Mr. Midnight.                    ERICA          And you didn't even take Via-                     HARRY              (puts his finger on her               lips)          Kiss me before you make it go away.S he kisses him long and sweet.ERICA'S BEDThey're kissing on it. The rain pelts against the windows asthe sun goes down.                                                        73.                    HARRY          This could be world class          interesting.              (Erica nods)          Having any doubts?                       ERICA                 (as they kiss)          Yes.                       HARRY          Me too.                    ERICA          But so far the kissing is          spectacular.              (He looks at her)          I'm not grading you, just          mentioning it. Brilliant.He tries to kiss her neck but the turtleneck is in the way.He pulls it down, but it's tight and it's, difficult to getto her.                    HARRY          Can't get past your damn          turtleneck. . .He tries lifting the shirt from the bottom, it's awkward, hedoesn't want to be down there yet. He comes back up whenErica reaches to her night table, slides opens the drawer,takes out a SCISSORS and hands it to him.                    ERICA              (breathless)          Cut it off... Please.What a brilliant invitation. He takes the scissors and startscutting from the bottom, right past her belly, up her torso,between her breasts. The turtleneck falls open from thecenter. When he reaches her neck, he gently tears at it andit easily rips apart and there she is. He takes her in.                    HARRY          You're beautiful.She shakes her head, 'no' ...shuts her eyes.                    HARRY          Open your eyes so I know you can hear me.              (she opens her eyes)          Beautiful...They kiss and she reaches down for his pants.                                                        74.                    HARRY          What about birth control?                       ERICA          Menopause.                    HARRY              (thrilled)          Who's the lucky boy...He kisses between her breasts, her stomach, heads down andOUT OF FRAME. Erica can't quite believe life held this twistfor her. Then:,                    ERICA          I think we should take your blood          pressure.His head POPS BACK INTO FRAME. What?????                    ERICA          It's irresponsible not to.H ARRY -' A MINUTE LATERsprawled out on the bed. Erica straddles him and whips theblood pressure cuff on his arm and pumps it hard. Like a warmJewish Mother of a Dominatrix. He looks up at her, shakinghis head...                    HARRY          Nobody but you would. . .                    ERICA          Yeah...so you're lucky.Erica grabs Harry's glasses, reads the results.                    ERICA              (ecstatic)          One twenty over eighty!!! Baby!THE BLOOD PRESSURE CUFF - IN SLOW MOTIONhurdles recklessly into the air.EXT. HOUSE - NIGHT - LATERThe rain is coming down in torrents.INSIDEWe are CLOSE ON ERICA'S FACE - UPSIDE DOWN, hanging off theside of the bed. She's sweaty, flushed, overwhelmed...                                                           75.                    ERICA          Oh my God, I do like sex.CAMERA TWIRLS AROUND and we FIND HARRY, sprawled nearby,catching his breath, satisfied, stunned, scared.                    HARRY          You certainly do.Erica arrives next to him, also out of breath.                    ERICA          Wow. So this is what you're supposed to          do on a rainy afternoon...Harry smiles. He's trying to be his debonair self butsomething's off. He's very aware of himself. They lie therequietly for a second when Erica begins to tear up. Harryslowly, nervously turns to her.                    ERICA          I really thought I was sorta closed for          business. Just never expected this.                     HARRY              (nods)          Nothin's ever surprised me more...Flattered, Erica snuggles up close. Harry puts his arm aroundher. Then, with no warning, his eyes fill with tears.                    HARRY          This is crazy. I can't remember the last          time I cried. I think I'm overwhelmed.                    ERICA              (crying with him)          Me too. That's the perfect word.                    HARRY          Baby, I had sex three days after a heart          attack and I didn't die!Erica pauses. Oh. That kind of overwhelmed.                    HARRY          That's gotta be some kind of record.Good sport Erica gives him a double thumbs up.                    ERICA              (wiping her tears)          Let's not brag about this to our          doctor, okay?                                                           76.                    HARRY          Honey I may not be many things but one -          thing I am is a gentleman.Harry holds her close.                    HARRY          Erica, Erica, Erica.              (she turns to him)          You know I'm not good at being          monogamous, right?                    ERICA          Monogamous? Please, I hardly know          you.He looks at her wondering if she's for real. She smiles asshe wipes a small tear from the corner of her eye. Then hekisses her.LATER - THEY'RE HUDDLED UNDER THE COVERSC ozy. Candles light the room. It's still raining.                    HARRY          -- So there I was at nineteen, in New          York, by myself, and I'd never seen snow          before and I didn't have enough money for          the bus, so I had to walk. Had no idea          how far it was and I'm talking blizzard          and I'm in sneakers.                    ERICA          Awwwww,. . .LATER - THEY'RE LYING ON A CHAISEin Erica's room, making out. A Cell Phone RINGS. They bothlook around for it. Erica reaches for it on her desk.                    ERICA              (disoriented)          Hello? I mean...Hello.              (turns phone upside down)          Hello.INTERCUT WITH MARIN IN A TAXI IN THE CITY - IT'S POURING                    MARIN          Mom, you guys okay out there?                    ERICA          We're fine. Why? What's going on?                                                        77.                    MARIN          What do you mean, it's like a          hurricane. The news said the winds          are like a zillion miles an hour.                    ERICA          Oh, that. Oh, no, we're fine...                    MARIN          Are you having sex? Tell the truth.          You are, aren't you.                    ERICA          Absolutely not. No. That is not          going on now.                    MARIN          Oh my God, you already did it. Was          it amazing?                    ERICA          I have to go.                    MARIN          Just tell me, was it amazing?                    ERICA          Yes and thank you for the wonderful          opportunity.Marin SCREAMMMMMMMMMMMS. Erica flips the phone shut, looks toHarry, embarassed.                    ERICA              (to Harry)          Am I interested in buying aluminum          siding. . .                    HARRY          Really? Marin's selling aluminum siding?Erica buries her face in his chest.LATERHarry and Erica SIT ON STOOLS AT THE KITCHEN ISLAND, drinkingwine and eating scrambled eggs right out of the pan. Candleslight the room.                    HARRY          --But why Paris?                    ERICA          I just always wanted to write a play that          ended there.                                                        78.                    ERICA (CONT'D)          People need romance like that. And if          someone like me doesn't write it, where          they gonna get it? Real life?                    HARRY              (slightly insulted)          Excuse me. What do you call this? Eating          eggs by candlelight in our robes after...She kisses him, starts to say, "I'm sorry" when he pulls herback, kisses her again, then looks at her hard, perplexed.CLIMBING BACK UNDER THE COVERS                    HARRY          So where do you like to eat in          Paris?    E                     RICA          Oh, I love this place called Le Balzar,          it's just a little bistro on the Left          Bank, best roast chicken in the universe.                    HARRY          You'd be fun to go to Paris with.                     ERICA          It's a great city to stay up all          night in.              (then)          When's your birthday?                      HARRY          February.                    ERICA          Mine's in January. So, how 'bout if we          still know each other by then we go to          Paris for our birthdays.                     HARRY              (a beat, then)          Maybe. . .                    ERICA          Oh. Sorry. You just...              (sees the look on his              face) .          I have no idea how to do this...be          intimate but not...The color is draining          from your face. Okay, look, I'm gonna          pee,take one of your blood pressure pills          then when I get back, let's not talk          anymore.                                                          79.She gets out of bed.                    HARRY          You're the funniest girl I ever had          sex with.She has no idea how to take that. Decides to accept it.                    ERICA          That's somethin'...                       HARRY          Honey... ?She turns, sees he's getting out of bed, approaching her.                    HARRY          I think I'm gonna go back to my          room...let you sleep.                     ERICA          Let me sleep? Oh, right...you usually          send the girls home. . .but I am home...          so...okay.                    HARRY          I'm an old dog, you' know.                    ERICA          Hey, it's perfectly. .. whatever.          Good night. This was..This was a          great night. For me...                    HARRY          Me too. At one point I even thought          soul mates, you know...Erica nods. She knows.HARRY FLOPS ONTO HIS BEDstares straight up at the ceiling.INT. ERICA'S ROOM - SAME TIMEErica gets back in her bed. She lies there for asecond,securing her armor back in place. She routinely movesto the middle of the bed,neatens out the covers and shuts hereyes. Then a small KNOCK on her open door. She sees Harry inthe doorway.                    HARRY          I'd like to try sleeping with you.I                                                          80.Erica hesitates, then moves to one side of the bed and asHarry climbs in next to her we:                                          FADE THRU TO:EXT. HOUSE - THE FOLLOWING MORNINGThe place is a mess, the aftermath of the storm.HNT. ERICA'S BEDROOM - THE SAME TIME arry spoons with Erica on her side of 'the bed, his armssnuggly around her. The ELECTRICITY POPS BAGK ON and the roomis suddenly lit up and one of Erica's French CDs comes onfull blast.Harry opens his eyes. He's surprised to see he has his armaround her. Erica awakens just as surprised. In the light ofday, a definite hint of embarrassment ...                    HARRY              (grabs his watch, blinks)          Can you see this?                    ERICA          Not really but it looks like it          says eleven.                    HARRY              (slips on his glasses)          It is eleven...                    ERICA          It can't be, that would mean we          slept eight hours.                    HARRY          Impossible.They turn and finally look at each other. Both look wrinkled,messy haired, a little wiped.                    HARRY          How ya doin' Ace?              (she ,elts as he lies               right back down)          Whoa Nelly...little dizzy.                    ERICA          Okay, just stay still, here's the          clicker. You know you have a          doctor's appointmQnt in an hour.              (getting out of bed)              (MORE )                                                        81.                    ERICA (CONT'D)          I'll make us some coffee, get you your          pills, whip us up some french toast, I          have ,the best maple syrup ever. '                    HARRY          Erica...              (she turns)          You are a woman to love.Erica smiles, then walks away with the achey walk of a womanwho hasn't had sex in many a year but has more than made upfor it in the last 12 hours. She holds onto the wall as sheexits the room, a little bow-legged, like she's just gottenoff a horse. Alone in the hallway, she stops.                    ERICA          You are woman to love. What the          hell does that mean?AN EKG MACHINESpits out a long tape. TILT UP to Julian at the end of thetape. Harry sits on an examining table in JULIAN'S OFFICE,buttoning up his shirt.                    JULIAN          Okay, buddy, I'm sending you home. These          past few days have done wonders for you.                    HARRY          Yeah, I've been working on that stair          thing. I can do it by the way.                    J                     ULIAN          Do what?                    HARRY              (quickly)          Climb a flight of stairs. Several times          actually.Harry stands, tucks in his shirt, smiling proudly to himself.                    JULIAN          Way to go. How's Erica?                    HARRY              (caught)          Erica?                    JULIAN          I know you must know her name by          now.                                                        82.                    HARRY          Yes, I do. Erica, as it turns out          is an amazing woman. Does whatever          she can to make me happy. Really.          Turns out she's very giving.Julian, suddenly riveted to these words.                    HARRY          Very giving.                    JULIAN              (looking away)          Yeah, well that's wonderful. I          think she's wonderful.A real moment between them. Julian decides to take the highroad.                    HARRY          I think she's wonderful too.                    JULIAN              (gathering his things)          Give her my best...                    HARRY          Julian. Thanks for everything.Julian shakes Harry's hand. Harry's eyes TEAR UP.                    JULIAN          You're gonna be okay.                    HARRY              (touching his tears)          What the...? This is the second          time I've done this now. I get          overcome or something. . .                    JULIAN          It's very common to become emotional          after having an episode like you've had.          Everything takes on a new meaning.                    HARRY              (wiping his tears)          So it's not crazy for a man to do          something entirely out of character          after having a heart attack?                    JULIAN              (handing him Kleenex)          Like crying?                                                        83.                    HARRY          Yeah and totally changing their          tastes. Like suddenly really liking          something they never thought they          could like...ever...and I'm talking          really liking it. It's...unnerving.                    JULIAN          I think you can expect just about          anything right now. People have done some          wild things after having a heart          attack...selling businesses, getting          divorced, moving... Some people say it          saved their lives.                    HARRY          But most people go back to being          themselves, right? I'll go back to          being me, won't I?                    J                        ULIAN          We'll see.ERICA - TYPING - HER PHONE RINGSShe wears a blouse with more buttons unbuttoned than ever inher life. She picks up the phone.HARRY DRIVES ERICA'S CAR, TOP DOWN.                       HARRY                 (on his cell)          Hi.                      ERICA          Hey.    What'd he say?                    HARRY          He said you're wonderful.                    ERICA          No, really, what'd he say...How are you?                    HARRY          He said I'm good..that I can go.                     . ERICA              (obviously conflicted)          Oh. So... Congratulations. That's really.          . . great.                    HARRY          Yeah, he said... by tomorrow for absolute          sure. You think you can deal with me for          one more night?                                                        84.A CROWDED CLUB - SOUTHAMPTON - THAT NIGHTPacked with Young People. In the middle of this twentysomethingsun burnt beach crowd, we find, Erica and Harry, the two coolestpeople in the room, dancing with each other.A LITTLE 'LATER - THE KARAOKE ROOMHarry leads Erica through a crowd listening to a Girl singingBritney Spears' Oops, I Did It Again. When she finishes thecrowd enthusiastically applauds.                    HARRY              (big breath)          Okay, here goes...                    ERICA          Here goes what?                    HARRY          Here goes me singing to you...              (pulling a DISC out of his               pocket)          Bought my own music.                    ERICA          You knew they had karaoke?                    HARRY          Baby, it's why we're here. .Harry makes his way TO THE STAGE, hands them his disc. He'shanded a microphone. He looks right at Erica.                    HARRY          This is for you, Ace...              (then, under his breath)          wish me luck.The Music begins and it is an instrumental version of one ofErica's French Songs, "I Wish You Love".                    HARRY              (sings)          I wish you bluebirds in the spring... To          Give your heart a song to sing... And          then a kiss, but more than this... I wishH         you love... arry takes out a sheet of paper and his glasses.                    HARRY          Don't want to blow this part...Now Harry sings the rest of the song IN FRENCH. . .                                                           85.-.                    HARRY              (sings)          Et en juillet une limonade...Pour          vous refroidir dans quelque lefy          glade...And so on... Erica watches knowing something in her life hasjust that second, forever changed. And as Harry continuessinging, we:                                         CUT TO:LOWELL - THE NEXT DAYPacking the Trunk of the Town Car in front of Erica's house.INT. HARRY'S ROOM - SAME TIMEHarry tosses his pills in a leather bag. .. Erica entersdoing the worst job she's ever done of being strong.                    ERICA              (holding some cigars)          Here you go, you can have these back now.              (Harry looks confused)          I confiscated them your first night          here...                    HARRY              (smells them)          Thank you darlin' ...                    ERICA          Try not to smoke them...              (hands him a small bag)          And I packed you a sandwich, just          in case your blood sugar got low.          And some of that iced-tea you like,          and a nonfat, low cholesterol          cookie. And a peach.                    HARRY          what a doll...              (notices)          Got something else?From behind her back Erica pulls out a Mason Jar filled withall dark beach stones with ONE WHITE STONE in the center.                    ERICA          Something to remember me by.Harry hugs her. Erica awkwardly throws her arms around himand kisses him, then kisses him better. He's moved by her.                                                          86.                    HARRY          There is that...                    ERICA          And hey, we'll always have Paris.                    HARRY          Honey, no words can ever express my          gratitude for taking me in and taking care          of me and...                    ERICA          Hey, your heart attack could be the best          thing that ever happened to me.                     HARRY              (kisses her quickly, even               faster throws out)          I love ya.                    ERICA          I love you too...if that's what you said. I          don't know if it ends in 'ya' if it's an          official I love you but...Harry expression looks something like he's in pain. Then. . .                    HARRY          You're not like anybody.                    ERICA          Neither are you.INT. CAR - MOVING AWAY FROM THE HOUSE - DAYLowell drives, rattling on about all the people who have beencalling about him. Harry, in the backseat, looks back at thehouse, until it is finally out of view.Harry then looks inside the bag with the sandwich and finds anEnvelope from Erica, pulls it out, doesn't open it, places it backin the bag then takes out his cell phone and dials.INT. ERICA'S LIVING ROOM - SAME TIME - OVER, THE PHONE RINGSThe room is empty. Erica rushes in, picks up the phone.                     E                     RICA          I knew you'd call.MARIN - WALKING IN SOHOon her cell phone, CRYING.                                                          87.                     MARIN           Who? It's me.INTERCUT                     ERICA           What's wrong?                     MARIN           I had breakfast with Dad this morning and           we're talking and he starts looking all           weir~ and then he tells me he met someone           three weeks ago and it's "really           something and then he               (sobbing now)           He tells me he's getting married. Why am           I reacting this way? I'm almost thirty           years old...               (people stare at her)           Yes, I'm crying, leave me alone.                     ERICA           Who's he marrying?                     MARIN           I don't know. Some chick he met three           weeks ago. She's four years older than me           and she's an Ear, Nose and Throat Doctor.           Has he lost his mind? I have a huge           auction tonight... Why do I have to be           the one to deal with this? Can you please           come in? I'm rea:~y upset, my shrink'~           away for two weeks...I know you're           working but. . .please. . ?AN UPPER EAST SIDE STREET - A LITTLE LATEROne of those gorgeous tree lined streets from a Woody Allenmovie that makes New York seem quaint. Harry's Town Carpulls up in front of a GORGEOUS   PRISTINE TOWNHOUSE. Harrysteps out in shades, holding an   unlit cigar. Lowell joins himas the Front Door opens and out   pours his Two LeggyAssistants and thumping Hip Hop   Music.LOWELL Good to be back?HARRY Let's find out.EXT. ERICA'S HOUSE - LATERCamera quickly TRACKS Erica down the front path and to hercar. She's on her cell.                                                        88.                    ERICA          Hold on, I'm losing you. Okay,    so you'll          let Harry know I'll be. in the    city          tonight and he can reach me on    my          cell...if he wants... Okay? Aw    shit.          Hello?EXT. SOTHEBY'S AUCTION HOUSE - THAT NIGHTA Crowd files in for tonight's auction.INT. BACKSTAGE DRESSING ROOM - SAME TIMEA tearful Marin is changing from jeans and a T-shirt to aproper dress and heels. Erica leans on a table, listening.                     MARIN          -- Look, I get that he has a right to get          remarried, but he doesn't even know her          and she's like my age. You know what          that's like? It's like beyond creepy. And          I know he's not replacing me so why does          it feel like he is? This is crazy, right?          Crying like this...              (                lights a cigarette)                    ERICA          Honey, if he's replacing anyone, it's me.          And all the statistics say divorced men          almost always remarry. That's just the          way they're built.                    MARIN              (slipping on her dress)          Mom, you want to know the answer to          the big mystery of my life? Why I'm          always with the wrong guy? This is          why. Because the wrong guy can't do          this to you. You have some control          with the wrong guy. This thing I'm          feeling right now. This is my big          fear...that some guy could get me          unglued like this, like nothing's          connected. And this is just my          father! I'm just not strong enough          to handle this kind of drama.                    ERICA          The drama in life is what makes you          strong.                    MARIN          No, it's what makes you strong.          You've never really understood          this,but we're not all like you.                                                      89.                    MARIN (CONT'D)          I'm sorry, if I were you and my ex          husband, the man who I still allow to          direct my plays.! was getting married to          some 33 year old Ear, Nose and Throat          Babe, I'd be bonkers. And look at you.              (realizes)          You've never looked better, by the way.              (sinks)          My anti-depressant is obviously not          working. It should cover events like this          shouldn't it?                    ERICA          Since when do you take an antidepressant?                    MARIN          Ugggh, mother, do you know anyone who          doesn't?                       ERICA          Yes. Me.                    MARIN          I rest my case.A KNOCK on the door.                    VOICE FROM OUTSIDE          Marin, we're all set.                    MARIN          Mom, can you do one other really          big thing for me? Just say yes.                    ERICA              (taking two Turns)          Anything bubee.                    MARIN          Will you come out to dinner tonight          with me and Dad and the fiance?                    ERICA          Absolutely not. No.                    MARIN          Please. He wants me to meet her and I can          not go alone. I already asked him if you          could come and he said it was fine and          she said it was fine. Look, you're gonna          have to meet her too, so, we might as          well meet her together. Come on, you know          you can handle it.                                                        90.Erica pauses, thinks M                     about it. She knows she can too.                      ARIN           Okay. That's it. See that look on           your face. That's the gene I didn't           get.INT. SOTHEBY' S - MOMENTS LATERMarin, now all pulled together, stands at the podium in frontof a packed house. If' you didn't know, you'd never guess.                     MARIN           Good evening and welcome to Sotheby's and           this evening's sale of Impressionistic           and Modern Art. Bidders should know that           the auctioneer may open bidding on any           lot below the reserve by placing a bid on           behalf of the seller. Okay...Let's start           with Lot I, the Bonnard drawing. And           $5.000 starting with my bidders, $5000 is           bid, 5500, 6000, 6500 is mine, 7000           gentleman's bid, 7500 is here, 8000 on           the phone. . .ON ERICAin the back of the room, watching with pride and worry. Sheslips out her cell, checks her messages. Her phone lights upand tells her she has "0" Voice Mail.A CLOCK ON THE WALL - IT'S 8:30We are in ERICA'S EMPTY KITCHEN in The Hamptons and her phoneis RINGING.ANGLE - A CELL PHONEas A Man's HAND turns it off. We are:INT. HAMPTON'S RESTAURANTJulian sits at a table, by himself, in a coat and tie,tucking away his phone. The Waiter sympathetically approachesthe table.                     JULIAN           Guess I got stood up.                     WAITER           Would you like to order or...?                                                        91.                    JULIAN          Why not, I put. on the tie and          everything. And can you bring me          another. . .              (indicating his drink)Julian takes a look at the menu, then looks away.TWO DINNER PLATES ARE CARRIED THROUGH THE RESTAURANTand as the CAMERA WIDENS we realize we are:IN A CHIC CAFE IN MANHATTAN - LATER THAT NIGHTCamera takes us to Erica, Marin, Dave and DAVE'S FIANCE, KRISTEN,a combo of a hot tie and a young professional. Everyone has menusand drinks. A Waiter delivers two new Martinis for Marin andErica. They both go right for them. Erica drinks too much toofast.                D                     AVE              (to Erica)          Thirsty?                    ERICA          I've had a big week Dave, forgot how          these slip right down. I'm fine. So,          Kristen, where'd you go to...              (burps)          --medical school? Excuse me.                    KRISTEN          University of Pennsylvania.                    ERICA          I went to school in Philadelphia          too.                    DAVE          Bryn Mawr girl.                     KRISTEN          That's amazing. My Mom went to Bryn          Mawr . . .                    MARIN          Wow. So not only are you marrying my father          but our mothers went to the same college.Marin takes out a pack of cigarettes.                    MARIN          Anyone mind?                    KRISTEN          Actually I do.                                      92.          MARINOkay, I'll just..have one.    (lights up)So, this isn't going badly so faris it? I mean for a totally surrealsituation like this.          DAVEShall we order?          KRISTENAbsolutely.          DAVE    (peruses menu)Erica, do I like duck?          ERICAYes. It's rabbit you hate.    (to Kristen)I'll give you a list of everythinghe likes and dislikes.          DAVELet's let her figure some thingsout on her own.          ERICAI didn't mean those things, Dave.She did go to medical school.          MARIN    (pointing to herself and    Kristen)Hey, not in front of the kids.          ERICA    (polishing off her     Martini)I will tell you this...Dave has onetruly great love in his life.          KRISTENReally? What's that?             ERICAHis balls.          DAVEOkay, I forgot to mention she can'tdrink hard liquor.    (to Marin)Why did you order her a Martini?                     E                                                        93.                    ERICA          What? It's not true? The man can not          watch TV or read without the hand down          the pants-- Here's my advice after 21          years I say who cares, they're his          balls,let him enjoy 'em.                    MARIN              (chokes)          I think I swallowed my olive, whole.Erica looks up and sees something that takes her breath away.A COUPLE ZIGZAGGING AROUND TABLESand headed in her direction. A sexy Young Thing followed byher date -- no other than Harry. Harry stops to shakesomeone's hand, holds his date around the waist. Suddenly,the SOUND DROPS OUT of the restaurant as Harry and his Datewalk right by Erica's table in SLOW MOTION, not noticing her.M OVING IN ON ERICAas the room comes alive again. Her eyes follow Harry as he isseated only one table away, his back to Erica, his Datefacing her. Marin hasn't seen him. Erica tries her hardest toact normal but apparently isn't.                    MARIN          Mom, you okay?                    ERICA          Yeah, fine.Erica looks at her menu then her eyes go right back to Harry.His Date is laughing at something Harry is saying. Harryleans in to her, whispers something to her. She touches hishand.                     RICA          You know what? Maybe I need a little          air...Erica rises; grabs her purse, almost bumps into a Waiter asshe passes Harry's table, knocks into someone's chair, aglass breaks. Everyone turns to her, including Harry. She nowstands right at his table. He smiles up at her.                     HARRY          Hey.                    ERICA          Hello... Harry.              (to his Date)          Hello...                                                          94.EXT. RESTAURANTErica rushes out. She's a little high and her heart ispounding. She heads down the street.                    ERICA          Oh, God, I'm so stupid...She picks up her pace, starts running. Her cell phone RINGS.                    ERICA          Hello?Intercut Harry and Erica on their cells, a block apart.                    HARRY              (walking quickly)          Slow down. You want to kill me?She considers it.                    ERICA          Harry, I gotta go...                    HARRY          Erica, she's just a friend.                     ERICA          Yeah, she looks like a buddy kind          of a girl.Erica reaches a corner, can't get across, turns the corner.Harry ARRIVES NEXT TO HER.                    HARRY          Come on, it's just a dinner...                    ERICA          Look, Harry, here's the problem. I          really like you.                    HARRY          I really like you.                    ERICA          Yeah, but I love you like you.              (that stops him)          I do. I love you.Harry swoons and not in a good way.                    HARRY          I think maybe you should consider          that you're in love with the idea          of being in love.                                             95.          ERICAD o you? Okay. Oh, God...    (stomps her feet)I'm like the dumb girl who doesn't get it.    (tries not to cry in front     of him)I've never been the dumb girlbefore. It ain't so great.          HARRYLet's just calm down. This was justa a meal with a friend.           ERICA-- Did you know I called you sevenhours ago?          HARRYI was gonna call you. I've been jammingall day, it's my first day back.          ERICAUh-huh. . .          HARRYI had these plans before I met you. But Ido like seeing you. I do. I'm alwayssurprised by it.          ERICAWhat was I thinking?          HARRYMaybe you weren't thinking for once andlook what a good time we had. Let's notruin something great.          ERICAHarry, I won't be good at this.           HARRYAt what?          ERICAActing like I don't care.          HARRYI have never lied to you. I have alwaystold you some version of the truth.          ERICA    (freaking on that one)The truth doesn't have versions.                                            96.          HARRYCan you cut me a little slack? Mylife's been turned upside down.          ERICAYeah. Mine too.          HARRYThen let's each get our bearings.          ERICAI don't want my bearings. I've had mybearings my whole fucking life. I feltsomething with you that... Oh, you don'twant to-          HARRYYes I do.    (she won't open up)Tell me.          ERICAI felt something with you, I didn't knowreally existed. You know what that's likeafter a twenty year marriage? To feelsomething for another person that's sooff the charts, that -    (Harry looks down)Okay, not your problem. This is whyI'm not good in relationships. Youknow writers are like teachers,those who can - do, those who can't- write romantic comedies whereTHIS does not happen in the thirdact...and it certainly does nothappen to a 55 year old woman. Inthe play I'll be 36 so it won't beas pathetic. I'm just too old tofeel crushed.I've written thisfeeling but I never really got it.    (realizes)You know what this is?    (pointing to herself)This is heart broken. How's thatfor impervious?          HARRYYou're killin' me.          ERICAI just wish it had lasted more than aweek.          HARRYMe too.                                                      97.                    ERICA          That's a horrible thing to say.              (walks off, comes back)          The life I had before I met you. I          knew how to do that, could do that          forever. Now look at me...what do I          do with all this?                    HARRY          Can we talk tomorrow?                    ERICA          What for? I saw your friend you were          having dinner with, if that's what you          want, it's never going to work with me.          Look at me. I'm a middle aged woman,          don't let this brown hair fool you, I          don't have a real brown hair on my head,          I'm almost all grey...that would freak          you out, wouldn't it? And I have. high          cholesterol and my back hurts every          morning and I'm post menopausal and I          have osteoperosis and I'm sure arthritis          is just around the corner and I know          you've seen my vericose veins. Let's face          it man, that's not quite the buzz you're          lookin' for.A TAXI pulls up.                    ERICA          And you know what? Everyday, I'm          gettin' older. ..just like you.Erica opens the back door of the Taxi.                      HARRY          Wait.Erica turns.This is his chance.                    HARRY          I just... the truth is... I don't          know how to be a boyfriend.                     ERICA          That's what you have to say after all          this? You don't know how to be a          boyfriend.                    HARRY          That's not a small thing.They're both out of words.                                                           98.                    ERICA          Are we done?                    HARRY          I don't know.She nods. He doesn't give. She ducks into the CAB and itPULLS AWAY. Harry stands on the street, watching her go.                    HARRY              (winces)          Ouch.He grabs his heart.                       HARRY          Oh, God...HARRY - ON A GURNEYwheeled through the Emergency Room of Beth Israel Hospital.This is not the Hamptons. This place is crawling withpatients. Harry's delivered to a Latina Doctor in herthirties, DR. MARTINEZ. As he's taken off the gurney, he'simmediately hooked up to a heart monitor, given oxygen and anIV.                    NURSE          Came in by cab, 15 minutes of chest          pain, no nauseau, some shortness of          breath, was hospitalized a week ago          with a coronary thrombosis.                    DR. MARTINEZ          Hang a nitro drip.                    HARRY          You can't. I took Viagra.                    DR. MARTIINEZ          You have been through this before.          Give him 5 mgs of Metoprolol. You          h~ving chest pain right now?                    H                     ARRY          No, and the pain I was having was          sharp, not like before.                    . DR. MARTINEZ          That's good. Not like before is we          like to hear.              (reads EKG)          Give him aspirin.                                                        99.                      DR. MARTINEZ (CONT'D)          Based   on what I see so far, your          heart   is not in distress but I'm          gonna   do a rapid enzyme test to be          sure.    What were you doing at the          onset   of the pain?                    HARRY          Having a fight with someone. A woman. Can          a woman give you chest pain?                    DR. MARTINEZ          Are you kidding? Love hurts, haven't you          heard?                    HARRY          Yeah, but so far, I've only given pain, I          never got any.                    DR. MARTINEZ              (confused at how literal               he is)          All right, well you're battin' a thousand          here. Your enzymes look perfect, your          EKG is normal and the pain doesn't sound          like the kind of pain we worry about. I          think what you experienced was normal          chest pain associated with stress.                      HARRY          Stress?                    DR. MARTINEZ          And incase you haven't heard, that can          give you a heart attack. Mr. Langer, I          donlt know what you're up to gallivanting          out and about at this hour, but if you          were my Dad, I'd make sure you were home,          in bed, recuperating.INT. HARRY'S TOWNHOUSE - LATERHarry slowly climbs up the gorgeous staircase of hisTownhouse. Exhausted, he stops half way up, sits on a step,takes out his cell.                    HARRY          If you were my Dad...He pulls his glasses out of his pocket, puts them on to dial.Something feels odd, he takes off his glasses, looks at them,they're not his -- they're Erica's. He puts them back on anddials.                                                         100.                    ERICA'S VOICE          Hi. It's Erica. I'm not here so          leave a message.He realizes he doesn't know what to say, hangs up, then looksat her glasses.                    HARRY              (grabbing his chest)          Ouch.BLACK SCREENA LIGHT POPS ON and Erica ENTERS HER BEDROOM, crying. Sheflops down on her bed, picks up her phone, grabs her glasses,puts them on, doesn't realize they're Harry's. She dials.Voice Mail tells her she has One Message. She sits up,excited.             J                     ULIAN'S VOICE          Erica, Hi, it's Julian. It's about          8:20, I'm in the restaurant...just          Wondering if you're...Erica hangs up, starts crying again. She takes off herglasses to wipe her eyes when she realizes she's holdingHarry's glasses. Just the sight of them makes her burst intotears, the kind of tears that have been thirty years in themaking.ERICA'S COMPUTER KEYBOARD - NIGHTA tear lands on it. Erica, back in a turtleneck and wearingHarry's glasses, starts writing at a breakneck pace, all thewhile, tears flood her eyes.MORNING - WAVES BREAKING ON THE SHOREERICAwakes up. As soon as her eyes open, she bursts into tears.While in the SHOWER, the crying never stops. While she EATSBREAKFAST, a downpour. Running ON THE BEACH, she's wailing.Back at the "COMPUTER, she's sobbing as her hands fly overthe keys. An actual boo hoo can be heard.At NIGHT, laptop in bed, Erica writes, eating a   bagel, wearingHarry's glasses and a pair of wrinkled pajamas,   FRENCH MUSIC playsin the BG. At this point, she doesn't eVen" pay   attention to hertears, just wipes and types when out of nowhere   she receives anINSTANT MESSAGE from HARRY.He writes: Do I hear French Music?Shocked, she sits up, tries to fix her hair.H                                                         101.INT. HARRY'S BEDROOM - SAME TIMEHarry sits up in bed, staring at his laptop, wearing Erica'sglasses, a pair of pajamas and a three day growth. Athermometer is propped in his mouth.He writes: R U there?She answers: Yes. Hello.He writes: How are ya?She writes: Great... as, she wipes her tears on her sleeve. e writes:How's the writing going?She answers: Pouring out of me now. Go figure.EHe types: I miss y .. He stops, thinks before sending. rica waits on her side. Nothing, is coming over.Then, on his side, he receives: Actually just running out.Take care...Harry deletes the I miss y... and instead writes: U 2.Erica slides down in her bed, wiped.INT. HARRY' S BEDROOM - SAME TIMEHarry takes out his thermometer. Feels lost. Looks at theclock. It's 10:00 p.m.INT. LOWELL'S BEDROOM - SAME TIMELowell lies in bed in pj's, WATCHING TV, smoking. Harryarrives at his doorway in his pajamas. Lowell puts out hiscigarette, fans the smoke.                    HARRY          Lowell, I'm goin' out.                    LOWELL              (confused)          Okay. Don't forget to put some          clothes on.                    HARRY          I mean, I should go out, shouldn't I?          Since .when don't I go out? Just cause          some Emergency Room Doctor tells me to          stay in bed, doesn't mean I have to turn          into a monk.                                                       102.                    LOWELL          Is there something you'd like me to          do for you, Mr. Langer?                    HARRY          Well, no, just...well, what are you          doin'?                    LOWELL          Watching Lucy.                    HARRY          Would you hate making me something          to eat?CLOSE - LUCY AND ETHEL ON TVREVERSE - HARRY AND LOWELLlying on top of the covers in Lowell's room, both eatingbowls of pasta, watching TV.                    HARRY          Funny women are adorable, don't you          think?                    LOWELL          I never really thought about it.                    HARRY          Neither had I, but think about it.          Funny's a unique thing in a woman. It's          fun to be around.                    LOWELL          There's some reason we've been          watching these two for 5O years.                    HARRY          Exactly. It lasts. We're not          sittin' here watchin' Mamie Van          Doren reruns.                    LOWELL          No we're not. You feeling okay?                    HARRY          I don't think I've slept one night          since I've been home. Every little          ache and pain scares the shitout of          me...can't get a handle on my          emotional life, don't know what I          want, don't know if what I felt was          because I just had a heart attack          or was real. Plus, I feel needy. I          never used that word in my life.                                                       103.                    HARRY (CONT'D)          Lowell, have you ever seen me like          this? Be honest.                    LOWELL          Nothing even close.                    HARRY          That's right, buddy, I'm a mess.          And I'm no good at it.              (realizes something)          Those are very nice pajamas, by the          way. Did they used to be mine?                    LOWELL          Yes but you gave them to me, you          said you never wore them.                    HARRY          I know. But why would I do that?          They're so elegant. Nice piping...                    LOWELL          Mr. Langer, you're always giving          away beautiful things.                    HARRY          Awwwww... How did I get like this?              (eyes fluttering shut)          I'm gonna shut my eyes for a few          minutes. Keep Lucy on...Harry nods off and Lowell TURNS OUT THE LIGHT.EXT. BEACH - THE HAMPTONS - MORNING - MUSIC OVERErica and Zoe are taking a walk. Erica, still crying, picksup a brown stone, explains its meaning to Zoe. Zoe holds thestone, makes an `awwww' face.Erica nods, then Zoe tosses thestone in the ocean, fed up with hearing about him already.Then, Zoe stops Erica, points to something.MARIN AND HER NEW BOYFRIENDfrolicking on the beach. He's a YOUNG HUNK in a tank top,shorts, highlighted hair. Erica rolls her eyes.EXT. BEACH STAIRS - DUSKMarin rushes down the stairs. Erica sits near the bottom ofthe stairs, watching the sunset.                    MARIN          Mom, we're going into town...Erica turns, wiping tears.                                      104.          MARINAre you crying?    (joining her)I didn't know you did that.          ERICAYeah, it's my new thing. I'vegotten abnormally great at it.          MARIN    (sitting on the step with    her)Is it Harry?          ERICASeems I gotta learn how to do thatlove 'em and leave 'em stuff.          MARINFucking men. You don't care when Isay fuck, do you?          ERICANot really. Sometimes. Not rightnow.          MARINSo now you get my theory aboutlove? You gotta self protect. It'stoo dangerous.          ERICAMarin, that theory... how can I putthis so your feelings won't gethurt. It's just so crazy, it makesme want to SCREAMMMMMMMMMMM!!!!          MARINAnd how would you put it if youwanted to hurt my feelings?          ERICAListen to me... you cannot hidefrom love for the rest of your lifebecause maybe it won't work out andmaybe you'll become unglued. That'snot a way to live.          MARINSo you're telling me you're happyright now? This is good whathappened to you?                                                       105.                    ERICA          No. This was bad. But for the three days          it was good, it was electrifying.Marin's eyes fill up.                    ERICA          I think you must consider the possibility          that we are more alike than you realize.          I let someone in and I had the time of my          life.                    MARIN              (tearful)          I've never had the time of my life.                    ERICA          I know. And bubbee, I say this from          the deepest part of my heart. . ...          what the fuck are you waiting "for?INT. HARRY'S HOUSE - NYC - NIGHTA PARTY is in progress. It's loud. The place is crawling withcharacters from the Hip Hop world. Harry winds his way down hiscrowded STAIRCASE, Girls grabbing at him as he passes by. As hardas he tries, he can't quite bring to life the guy he knew how tobe.                    LOWELL              (as Harry passes)          H           aving fun?                       HARRY          Not quite.Harry makes his way down the stairs, through the crowdedentry and OUT THE FRONT DOOR. OUTSIDE, Harry steps into theQUIET STREET, looks up at his house and the party inside.EXT. ROADSIDE FARM STAND - EAST HAMPTON - DAYZoe is picking corn, when she notices Julian across the way.He glances up, looks right past her, obviously doesn'tremember her, keeps on shopping. Zoe thinks for a see,wondering how she can get his attention when he looks rightback at her, his face full of hope.INT. ERICA'S DINING ROOM - LATERErica sets the table for two. Zoe pokes her head in the door.                    ZOE          I got you something great at the          farm stand.J                                                       106.Zoe fully opens the door revealing Julian holding a bouquetof fresh cut flowers.                    JULIAN          These are for you to give me when          you apologize.INT. DINING ROOM - LATER - MUSIC OVERCandlelit. Zoe, Erica and Julian share a bottle of wine and ahome cooked meal. The CAMERA does a 360 around the table,their faces saying it all. The Women bask in Julian's warmthas he entertains them with stories. Zoe looks from Julian toErica, relieved to see her sister smiling again.INT. KITCHEN - LATERErica places coffee cups in the sink. Julian is next to her,leaning against the counter, holding a glass of wine.                    ERICA          Julian, I hope you know I'm          mortified by my behavior. I was          going to get in touch with you,          send you a note or something...                    JULIAN          A note? That's a little chilly.                    ERICA          I'm embarrassed. I just haven't          been myself lately. What can I say?                    JULIAN          Just tell me you're sorry.                    ERICA          I am sorry.                    JULIAN          Then you could kiss me.                       ERICA          Kiss you? ulian nods.                    ERICA          You'll forgive me if I kiss' you?                       JULIAN          Think so.Erica hesitates then gives him a peck of a kiss.                                                         107.                    JULIAN          No one on earth would forgive you          for that kiss              (places his wine glass on               the counter)          May I?Erica nods as Julian takes her in his arms and gives her akiss that doesn't quit.                    JULIAN              (still holding her,              whispers)          I forgive you.Erica very distinctly begins to hear the BEATING of her ownheart.                                          DISSOLVE TO:ERICA'S COMPUTER SCREEN - ANOTHER NIGHTOn it is written: The lights on the Eiffel Tower dim to blackas the music continues to play.Erica sits back, still wearing Harry's glasses. Finished atlast. She notices an empty Kleenex box on her desk. Shetosses it in a hook shot across the room and it lands rightin the trash can.INT. LIVING ROOM - MOMENTS LATERJulian sits on the sofa, shoes off, reading the first half ofthe play. A fire burns in the fireplace. Erica approaches theback of the sofa, holding the rest of the pages.                    JULIAN          It's the best thing you've ever written.                    ERICA          It is?                    JULIAN          It's wonderful. It's sweet. It's smart.          It's funny.Erica leans oyer the sofa, reading over his shoulder.                    JULIAN          How great is it that I'm not          intimidated by your brilliance?Erica gives him a small kiss of appreciation.                                                       108.                    JULIAN          Must we go through this every time?          Come here...She leans into him and he kisses her fully and sweetly. Sheholds onto the sofa for support.                                                   CUT TO:A PRETTY GIRL - WHO LOOKS A LOT LIKE MARINeating lunch in Orso's, talking non-stop.                    PRETTY GIRL          I'm totally excited about this audition.          It's such a great part. It's supporting          but she's a really funny character.          There's this totally hilarious scene          where she's dating this like chauvinist          older guy and just as they're about to do          it, the guy moans and she thinks he's          just really into her, right? Except he's          having a heart attack and she's like          creeped out and her mother, who basically          despises the guy, rushes in, gives him          CPR and saves his life.REVERSE ON HARRYchoking on his lunch.INT. BROADWAY THEATER - DAYAuditions are in progress. On stage, AN ACTRESS reads for the                     Apart of "The Sister".                     CTRESS          Look, we're four sophisticated people.          Why can't we all stay for the weekend?ON ERICA'S PROFILEin the audience. She sits in a row by herself, listening.Harry ENTERS HER FRAME, sitting directly behind her.                    HARRY          I need to talk to you.Erica freezes, horrified. Turns, sees him.                    HARRY          Got a minute?                                                       109.BACKSTAGEErica and Harry stand in front of a BACKDROP OF THE BEACH.                      HARRY            So your play's about us?                      ERICA            No, it's about me.                      HARRY            Am I in it?                      ERICA            A guy like you is in it but he's            not you.                      HARRY            What happens to this guy who's            ..not me?                      ERICA            Haven't totally decided. He can            live or he can die.                      HARRY            What are you leaning towards?                      ERICA            Death.                (Harry reacts)            It's funnier.                      HARRY            He dies of a funny heart attack?                      ERICA            He's sort of a schmuck who screwed            around with our heroine, so it            won't be too sad.                      HARRY            Schmucks are people too you know. Death            doesn't seem a little harsh?                      ERICA            I just went where the story took            me. It's a work of fiction, Harry.            Really...just stuff I made up.                      STAGE MANAGER                (approaching)            Erica, we're ready to do the            hospital, 'Do You Take Viagra            scene... Should we wait for you?                                                       110.Erica nods, horrified.                    HARRY          So I'm going to be the laughing stock of          Broadway.                    ERICA          Harry, he's not you. He's a version          of the truth of you. So to speak.                    STAGE MANAGER          Sorry to interrupt again but Dave wants          to know, when Henry says, "I love ya",          you want that to be 'Ya', not 'You',          right?                    ERICA          Right.We now HEAR Louis Armstrong's La Vie En Rose play throughoutthe theater. The BEACH backing is 'raised and an EIFFEL TOWERBACKING is lowered behind them. They both try to ignore themusic, but it's impossible.                     E                     RICA          Well, you look really nice. You          feeling all right?As they stand in front of the Eiffel Tower backing, FAKE SNOWFALLS from above...                    HARRY          You know it isn't like I wanted to stop          seeing you. We could've carried on a fun          thing for awhile. Why is it you dames          want all or nothing?                    ERICA          I don't know, we're just goofy when it          comes to love... Look, Harry, if it's all          right with you, I'd like to be friends                    HARRY          I'm not ready to be your friend. How's          that?                    ERICA          Fine. I understand.                    HARRY          Anyway, do you actually buy that horse          shit.. .that men and women can be friends          once they've had sex?                                            111.          ERICAI'm friends with my ex-husband, but thenagain, we didn't just have sex.          HARRYWe didn't just have sex either.          ERICAThen what was it? Love to know.           HARRYCan I e-mail it to you when I figure itout?     (laughs)This is perfect. I have given the `Can'tWe Be friends' speech for 40 years. Ithink I invented the 'Can't We BeFriends' speech. But you know what,now Iget why they never went for it. You damesgot one thing right. Sometimes sex doeschange everything. Call me crazy, but Ijust don't see us out on the town, beingpals, having dinner, 'cause I'd bet youanything, at some point, one of us willhave very unfriend like thoughts aboutthe other then pass the bread becomesanything but pass the bread. You get whatI'm saying?          ERICAYou don't want to be friends.          HARRYNot "don't". Can't. Can't be friends.Doesn't work that way.    (tries to calm down)Okay, I'm moving into another phase ofthis thing. I'm mad at you.    (realizes)It almost feels good.          ERICAI think I'm mad at you too.          HARRYExcellent. 'Cause I don't likethinking about you so much andworrying about how you are and if Iruined your life or...          ERICA-- You've worried about me?          HARRYYes honey, the schmuck who deserves todie, worries about you.                                                       112.                    HARRY(cont'd)          Sometimes worrying about you feels like a          full time job.                    ERICA          Well, doll, I'm doing fine. So you don't          have to work that shift anymore.Again, The Stage Manager...                    STAGE MANAGER          Erica, they want you to take a look at          the costumes for the dancing Henry's.          These gonna work for you?Harry and Erica TURN and SEE a CHORUS LINE of BALDING 60 YEAROLD MEN IN HOSPITAL GOWNS AND SOCKS.EXT. THEATER - DAYHarry FLIES OUT the Stage Door, right into the street, isalmost hit by a motorcycle, doesn't seem to care.EXT. CENTRAL PARK - DAYHarry walks briskly through the park, still pissed, his pacestarting to get to him. He spots a bench with a WOMAN JOGGERat one end. He parks himself at the other end of the bench,out of breath. Tries H reason with himself.                     to                     ARRY          God is a woman, I know that now. No          man would punish me like this.                    WOMAN JOGGER          You never change, do you?Surprised, Harry turns, glances over at the Woman. She drinksfrom a water bottle then offers him an easy warm smile. She'sadorable, mid-sixties, short grey hair.                    HARRY          Do you know me or are you just talking to          me as "man" in general, the beast women          love to hate.                    WOMAN JOGGER          No, no, I know you Harry.                    HARRY          Oh. Don't tell me. I dated your daughter.              (the Woman laughs)          Right? I broke her heart then she married          some hard working Joe on the rebound, has          three great kids. What is so funny?                                                       113.                    WOMAN JOGGER          You dated me and you broke my heart but          after you I met the right guy. I've been          married thirty-seven years, have four          kids, eight grandkids and a ninth on the          way.Harry now fully turns in her direction, totally clueless.                    HARRY          I dated you. .?              (the Woman nods)          Did we. ever...?                    WOMAN JOGGER          No...we did not.He looks at her hard but still doesn't remember her.                    HARRY          Can you give me hint? A year? A          decade?                    WOMAN JOGGER          The sixties.              (Harry squints at her)          You took me to Shea Stadium.                     HARRY          To a Mets game?    I must've really          liked you.                    WOMAN JOGGER          You took me to see The Beatles.                    HARRY          Oh, God, I really liked you. You're          Sandra. ..Cook. We did. We saw The          Beatles together. How the hell have          you been? What happened to you?                    SANDRA          Well, let's see, after we stopped          going out, I went back to school,          got my doctorate in marine biology,          went around the world a few times,          met the man of my dreams at Oxford,          married him, we lived in London for          25 years. I wrote and taught, we          raised 3 sons and a daughter. I've          just finished my ninth book and now          I'm training for my first marathon.          Now, I must confess, I actually          remember the very last thing you          ever said to me.                                                       114.                    SANDRA(cont'd)          You walked me to my door, I was          tearful and you looked at me with          those puppy dog eyes and said,          "Honey, I just don't know how to be          a boyfriend." Now, tell me, what          have you been up to since 1964?OVER Harry's face, we HEAR the SOUND of a SIREN BLARING.INT. HOSPITAL - DAYHarry is wheeled through the ER with the gurney. Dr. Martinezruns along with the gurney.                    DR. MARTINEZ          Mr. Langer... Back so soon.                    HARRY          This is it, I'm dyin', I've had 20          minutes of severe chest pain,          nausea, shortness of breath, blood          pressure's gotta be 170 over 100.              (sticks out his arm)          Give me the nitrate, I didn't take          viagra.              (rips open his shirt)          Plug me in to the EKG, I need an          aspirin, I'm taking 2 beta          blockers, blood thinner, Lipitor,          Procardia and if I were you, I'd be          pounding my chest. Ow!                    MALE NURSE          You're a doctor, huh?                    HARRY          Just a very sick man.CLOSE - THE PAPER TAPE FROM HARRY'S EKGDr. Martinez reads it.                     DR. MARTINEZ          Mr. Langer, your diagnosis although          fascinating, was entirely          incorrect.                    HARRY          That's impossible.                    DR. MARTINEZ          Your realize a severe anxiety attack can          masquerade as a heart attack.                    HARRY          So I'm nuts? Perfect! The one thing          I'm not taking pills for.                                                          115.                    DR. MARTINEZ          If you don't want ,to end up in here          every week, I suggest you do whatever it          takes to decompress. Try something with          me, okay?              (takes his pulse)          Close your eyes...now give yourself a          visual image of something that gives you          a feeling of peace and serenity.                    HARRY          I don't know. A hammock...                    DR. MATINEZ          Okay, good...what else..?                    HARRY          Palm trees...clear blue water...We hear the SOUND OF LAPPING WATER, SEA GULLS. . . .                    DR. MARTINEZ          Anybody there with you?                    HARRY          Yes. Beautiful women...in thongs...                    DR. MARTINEZ          (disgusted) Okay. What else do you          see, feel, taste...                    HARRY          A margarita...a Cuban cigar.          ..miles of soft beach.. .                    DR. MARTINEZ          Keep going...you're doing great...And as Harry keeps listing things, Camera MOVES IN ON HIM asthe STEEL BAND gets LOUDER AND LOUDER.                                         DISSOLVE TO:THE WORDS. . .                    SIX MONTHS LATERFALLING SNOW FILLS THE FRAMEBoom down to see the THEATER MARQUEE of Erica's play onBroadway. On the Marquee are raves from critics, "****", anda banner that brags, "Sold Out!".C AMERA CONTINUES DOWN to street level. Couples walk by,bundled up against the cold. Harry ENTERS FRAME.                                                       116.He looks different. He has a beard and has lost some weight:And in his eyes, a calm we haven't seen before. He pauses infront of the theater -- loo~s at the PUBLICITY PHOTOS. HeSEES Henry in his boxer shorts at the refrigerator meeting"Emily" and her Sister. He sees ANOTHER PHOTO of The DancingHenrys kicking up their legs like Rockettes. Then, finally, APHOTO of Henry and Emily in bed, both wearing glasses. HarryOPENS THE DOOR TO THE THEATER, steps inside and listens,hearing Louis Armstrong's La Vie En Rose, then, the audiencebreaks out in LAUGHTER. Harry smiles to himself.INT. APARTMENT BUILDING CORRIDOR - EARLY EVENINGThe elevator opens. Harry steps out, looks around for anapartment number, finds it, rings the bell and clears histhroat. The door quickly OPENS and we see MARIN. She looksrelaxed and happy to see him.                    MARIN          I couldn't believe you were calling from          downstairs.              (hugs him)          So great to see you.                    HARRY          You couldn't look better.                    MARIN          Thank you. Come on in.                    HARRY          No, no, I just wanted to stop by and say          hi and tell you I'm sorry if I ever did          anything to you that wasn't on the up and          up or...                    MARIN          What do you mean? You were great to me.                    HARRY          I was?                    MARIN          Always.                    HARRY          That's refreshing. Good. Well, I don't          know what you've done to yourself but you          look absolutely radiant.                    MARIN          I'm three months pregnant, that might          have something to do with it.                                                       117.                    HARRY,          Really? Who's ..the, lucky guy?                    MARIN          My husband, hold on, he really wants to          meet you.              (calls)          Danny...A Solid Citizen of a Guy joins Marin, loosened tie,glasses...                    MARIN          Harry Langer, my husband, Danny Yellin.                    DANNY              (shaking Harry's hand)          I've heard so much about you...                      HARRY          I bet.. .                     DANNY          Yeah, with Hthe play and all...                     ARRY          I'm famous,huh?                    MARIN          Just to us. In every interview my          Mom does, she always says she made          you up.                    HARRY          So the guy in the play, he doesn't          make it, does he?                    DANNY          He basically dies at the end of the          second act, but it's very funny.              (as if that's some              consolation)                    HARRY          Was hopin' she'd give me a          reprieve, but...                    MARIN          Yeah, well...                    HARRY          Yeah. Okay...Best of luck, kids...Marin is stumped by this little visit. Harry heads toward theelevator, pushes the button, then turns back.                                                          118.                    HARRY          How is she?                     MARIN          She's. . .              (Harry waits)          Really good.     Up to her old          tricks.Learning Italian, remodeling her apartment in the city.                    HARRY          Now if I wanted to see her...how          would that go over?                    MARIN              (encouragingly)          Only one way to find out, except          she's out of town right now.                    HARRY          Oh yeah? Where is she?                    MARIN          Paris. She left two days ago, for          her birthday. But she'll be back          next week...The Elevator arrives. Harry salutes his goodbye and stepsINSIDE THE ELEVATOR. He turns, FACES CAMERA.                       HARRY          Paris...ANOTHER ELEVATOR.OPENSAnd a clean shaven, dapper looking Harry steps off, cashmerecoat, gorgeous scarf. CAMERA FOLLOWS HIM out of the elevatorand through a BEAUTIFUL LOBBY OF A HOTEL then right onto THESTREET. CAMERA does a 360 and we catch glimpses of PARIS ATNIGHT. CAMERA SETTLES ON HARRY just as the LIGHTS OF THEEIFFEL TOWER POP ON, sending a flood of golden lights highinto the night sky directly behind him.                       HARRY          Showtirne.INT. LEFT BANK BISTRO - NIGHTErica sits alone at a table in the back of the room, drinkinga glass of wine. She looks vibrant. She glances up from herdrink and sees what looks like Harry making his way aroundthe tables. She leans to the side for a better look, to makesure it's him. It is him and he's corning right toward her.Her stomach sinks, her mind races... and before she can comeup with a single thought that makes any sense -- there he is.                                                       119.                    HARRY              (proud of himself)          I knew you'd be here.                      ERICA          You did?                    HARRY          I've come a long way to see you,          Erica.                    ERICA          You mean we're not bumping into          each other..? You came here to see          me?                    HARRY          Yes, I did.              (she seems to shiver)          I'm aware it was a bold move, one          of those impulses that grabs you,'          but...so far, we're okay; right?                    ERICA          Well, uh, I mean, I'm just...                    HARRY          I'll take that as a 'Yes'.Harry takes off his coat and scarf, hangs them on a hook.                     ERICA          You want a glass of wine or          something?                    HARRY          I was just gonna give you a kiss          hello.                      ERICA          Oh, Okay.Neither is sure where to go. Cheek? Lips? He lands on herchin. .Not what he wanted, but he takes a seat across fromher. She looks at him - utterly speechless.                    HARRY          I remember you said if we still          know each other we should go to          Paris for our birthdays, well, we          still know each other..".                    ERICA          That's true, but, Harry, I haven't          heard from you in six months.                                                         120.                    HARRY          I know but I've certainly been thinking          about you. There's a lot I have to say.          First thing is... I'm not mad at you          anymore.                    ERICA          Good, 'cause I'm not mad at you          anymore either.                    HARRY          That's a relief...since I did come all          the way to France and everything. And...          Happy Birthday.                     ERICA              (afraid of everything he              could possibly say)          Thank you.                     HARRY          And congratulations on your amazing          success...                    ERICA          It's been quite a ride. Funny, I thought          maybe I'd hear from you when it opened.          Where've you been?                    HARRY          After I saw you in the theater that          afternoon, I had another "episode...                    ERICA          Oh, I'm sorry.                    HARRY          I was actually okay, but I was sure I was          dying and the doctor in the ER said I needed          to decompress. So I did. I walked out of          there and changed my life, sold most of my          businesses, packed my bags and moved to an          island in the Caribbean.                    E                     RICA          That's where you've been all this          time? In the Caribbean?                    HARRY          Actually...No.EXT. CARIBBEAN BEACH - FLASHBACKHarry lies on a chaise under a palm tree, drink in hand, Hawaiianshirt, shades. A steel drum plays in the distance.                                                          121.                    ,                    HARRY (V.O.          I was there about ,six hours, when it          occurred to me that wasting away on an          island in the Caribbean wasn't going to          remotely cure what was ailing me.Harry sits straight up into CAMERA.BLACK SCREENA LIGHT POPS ON and we realize we are in HARRY'S CLOSET.                    HARRY (V.O.)          So I decided to take another kind of          pilgrimage...into my past.Harry ENTERS THE CLOSET, reaches onto a top shelf ,and startspulling down dozens of what used be called, "Little Black Books".                    HARRY (V.O.)          My thought was -- if I retraced my steps          and visited all the women I've dated...He blows dust off of the books.                                         BACK IN PARIS                    HARRY          -- maybe I could figure out how I          got so screwed up.FLASHBACK - HARRY'S PILGRIMAGEHarry STANDS at one FRONT DOOR after the NEXT, EACH ONESLAMMING IN HIS FACE.                    HARRY (V.O.)          A lot of the women wouldn't see me.Then, we see WOMEN of various ages SLAP HIM ACROSS THE FACE.                    HARRY (V.O.)          Or speak to me.Harry reels backwards from one Hefty Mama.                    HARRY (V.O.)          But I was on a mission to save my          soul.                     ,A Woman In Her Fifties, purposively walks down a SMALL TOWNMAIN STREET carrying groceries.                                                          122.Harry, at her side, keeps talking at her, even though shepicks up her pace and ignores him.                    HARRY (V.O.)          My losing streak finally ended when          I got one to open up to me.In a HOSPITAL ROOM, an Older Woman on life support, scrawlsout a note and shows it to Harry who sits in a chair byherside. A Priest stands in the background. The note says,"As I remember it, you were wildly insensitive". Harry lowershis head in shame. She places another note in front of him.It says, "I forgive you." Relieved, he smiles. Then, one lastnote: "Now, scram."                    HARRY (V.O.)          Hearing what they had to say was no          picnic.In an Upper West Side COFFEE SHOP, Harry pas coffeewith a Woman in her Mid Forties. She talks his ear off.Harry can' t deal with it. He looks away ~ The womanplaces her hand on his chin and pulls him right back toher and keeps talking at him.                     H                     ARRY (V .O.)          But I stuck it out and I listened.          Then I listened harder.Harry WALKS down THE STREET with a ANOTHER WOMAN in herThirties, who carries a cello.   She never shuts up.                    HARRY (V. O. )          And one of the things I realized          was, I was actually giving closure          to generations of women.At the corner, the Woman hugs Harry goodbye.                    HARRY (V. O. )          Although I admit, some refused to          give, no matter what I did. . .CLOSE - DIANE SAWYEROn the set of GOOD MORNING AMERICA. She glances out theSTUDIO WINDOW and sees Harry ON THE STREET among the folksholding signs. He HOLDS A SIGN that says, "DIANE, YOU WERERIGHT.   I WAS ENTIRELY WRONG.   I`M SORRY."   She looks himstraight in the eye and gives 'him the finger.                                                       123.HARRY - FULLY DRESSED - LYING ON HIS BED - TOP SHOT                    HARRY (V. O. )          When you hear the same story about          yourself over and over, your life          begins to make sense and the future          becomes your only salvation.INT. PARIS BISTRO - THE PRESENT                    HARRY          It took me six months to find them          all. I visited 18 different states          but I came the furthest to see you.A HAND lands on his shoulder and he HEARS:                    A MAN'S VOICE          I don't believe it.Harry looks up and sees handsome young Julian in a beret.Harry looks to Erica, instantly deflated..                       HARRY          Me either.Harry stands. The two Men hug, then Julian squeezes in nextto Erica. Harry slowly takes his seat across from them.                    ERICA          I should have told you he was coming, but          I was so engrossed in your story.                    JULIAN          What story..?                     HARRY          Oh, maybe another time. ..So...              (looks from Erica to               Julian, it all dawns on               him)          I guess I should've seen your play, then          I would've Jknown how this ended.                     ULIAN          Yeah, big twist, huh? So what are          you doing over here, man?                    HARRY          Just a uh, vacation...never been to Paris          in January...                     JULIAN          It's amazing to run into you. You look          wonderful.                                                          124.                    ERICA          You do.                    HARRY          Haven't been on a gurney in six months so          that's somethin'...                    JULIAN          Well, I've just been to every store          in the city, this woman is          impossible to buy for... But I          think I finally found the right          gift.He puts what can only be a RING BOX on the table betweenErica and Harry.                    JULIAN          Happy Birthday baby.He kisses her. Harry watches, dying.                    ERICA              (reaching for it)          I'll open it later...Harry rises, reaches for his coat.                    HARRY          No, no, you know what, I'll let you          two celebrate...                    ERICA          Harry, stay.                    HARRY          I can't really.                    JULIAN          Why? You have somewhere to go?                                           DISSOLVE TO:THE WAITER POURING THE END OF A WINE BOTTLEEveryone at the table is laughing, mid-meal. Julian is doingthe talking as well as laughing. Harry laughs along, tryingto be an approving part of their romance but he's totallyfaking it.THREE GLASSES OF BRANDY ARE SERVED - A LITTLE LATER                    JULIAN          -- To the forces of destiny that          brought us together tonight.                                                       125.Erica lights a cigarette.                    JULIAN          What are you doing, you don't          smoke?                    ERICA          I'm in Paris, the second hand smoke          will kill you anyway...                    JULIAN          She's very brilliant, but the woman          can not hold her liquor.Julian puts his arm around her, pulls her close.                    ERICA          I like that about me.                    BOTH GUYS          Me too.The Guys exchange looks.                    ERICA          Now, if I were writing this, this          is where I'd write, 'an awkward          moment' .                    HARRY          Honey, if you were writing this,          I'd be dead.Erica laughs.                    HARRY          Never fails to amuse her.The Waiter drops the check on the table. Harry takes it.                    JULIAN          No, Harry, please, let us...                    HARRY          No, no, I insist. I crashed your          party.              (to Erica)          At least let me buy you dinner on          your birthday...              (squints at his watch               shows it to Erica)          What time does that say?                    ERICA              (squints)          I have no idea...                                                       126.                    HARRY              (feels around)          Wait,' I have my. . .                    ERICA              (reaching into her purse)          Me too...They each take out EACH OTHER'S GLASSES and put them on.Erica points to Harry wearing her glasses and laughs.                    HARRY          You think you look so handsome in          mine?                     ERICA          You know how long I've been looking          for those?                      HARRY          Yes I do.Harry hands Erica her glasses. She hesitates. He snaps,gesturing for his to be turned over. She hands them to him.Julian watches all this, sobered by their chemistry.                     H                     ARRY              (tucking away his glasses)          Once again...closure.              (reads his watch)          So it's only 5 in the afternoon in          New York. What do they do around          here for fun?INT. NOISY CLUB - NIGHTCamera finds the three of them sitting at a small table. Theplace is dark, loud, crowded and young. They're all drinkingchampagne. The air is strained.                    BOTH GUYS              (at the same time)          Want to dance?Harry gestures for Julian to have the first dance. Juliantakes Erica's hand and leads her to the dance floor. Harrywatches them slip through the crowd. Erica turns back, Harrywaves. Julian takes Erica in his arms, it's clear she'scomfortable in his embrace. None of .this is lost on Harryand as he watches, the smile on his face more than fades, itevaporates and everything inside him begins to hurt.ANGLE - THE DANCE FLOORErica and Julian -- they're sexy together.                                                       127.ANGLE - THE TABLEHarry is gone.EXT. STREET - PARIS - NIGHTHarry, with his collar turned up against the cold, walks pastthe glass pyramid in front of The Louvre.EXT. PONT NEUF - PARIS - MOMENTS LATERHarry walks over the bridge, the beauty surrounding him justmaking it all worse. He stops, looks out at the Seine. Hehears a classic French song in the distance, then sees asmall barge, playing the music, pass beneath him. Withoutwarning, a tear falls from his eye.                    HARRY              (laughs at himself)          At the end of the day, I'm nothin'          but a sap, a stupid old sap,          standing on a bridge in Paris,          crying my eyes out.He stops, looks at the mighty city surrounding him. Beauty'snot supposed to hurt. Another tear.                    HARRY              (almost amused)          Look who gets to be the girl.He wipes his eyes on his coat sleeve as SNOW begins to fall.                    HARRY              (looking toward heaven)          Anything else... .                      ERICA'S VOICE          Harry?Harry turns and sees Erica standing by a Cab with its motorrunning, snow falling on her hair and coat.                    HARRY          Where's Julian?                    ERICA          He went back to the hotel.                      HARRY          How come?                                                       128.                    ERICA              (walking to him)          He said when he saw me with you, he          knew I was still in love with you.          What do you have to say about that?                    HARRY          If it's true, my life just got          made.                    ERICA          Why'd you come here, Harry?                    HARRY          Because I realized what I was feeling for          you, have always felt for you, was          something I didn't understand, like a          language I didn't speak...              (she listens...)          It scared me so I did what I do. I snuck          away. Turns out the heart attack was easy          to get over. You were somethin' else.              (she's starting to melt)          And when I went to see all those women, I          found out I was never really present for          any of them. And something inside me at          some point, had just...shut off. That's          when I think my heart gave out and you          saved me. I finally get what it's all          about. I'm 63 years old and I am in love          for the first time in my life. And that's          what I came here to say.                    ERICA          Okay, this is the best birthday ever.                     HARRY          I know I'm no spring chicken, I figure I          only got another 30-40 years in me. Tops.          But how 'bout we figure out a way to make          this work.                    ERICA          Okay.                    HARRY          Okay? Okay! I'll take it.The Barge drifts back under the bridge, La Vie En Rose pipingout of it's tinny speakers.                    HARRY          Honey, they're playing our song.                                                         129.She comes close and he pulls her in, kissing her great. Andas they separate, he smiles, relieved.                                                   FADE OUT:FADE IN:INT. CHIC EATERY - NYC - A HOT AUGUST NIGHTThe same restaurant from the first scene of the film - OneYear Later. Harry ENTERS FRAME, just like he did before.                     " HARRY           Langer, party of four.. .and a           half.The Maitre'D snaps to attention and leads Harry, Erica,Marin, holding her Baby Girl, and her husband Danny throughthe crowded restaurant. The Baby fusses and reaches out toHarry who takes her in his arms and proudly parades herthrough this swanky crowd to a round table in the center ofthe room. Harry beams at the prize in his arms as he sitswith his family for a Sunday dinner.                                            FADE OUT:
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+                                  SOURCE CODE                                  Written by                                  Ben Ripley                                                          1/18/2007                                                  SOURCE CODE          Darkness.          A SOUND slowly builds: the rhythmic rocking of a TRAIN'S          WHEELS over RAILROAD TRACKS...          INT. HIGH SPEED TRAIN - MORNING          COLTER jolts awake. Sunlight hits his face.          He blinks. A stunned beat. He's disoriented.          Slowly he turns his head to one side...          PASSENGERS. Filling most of the seats. Office workers on          their morning commute into a city.          Turning the other way, he's confronted with a window. Trees          flash by, splitting the rising sunlight into a hypnotic          strobe pattern.          Colter looks to be thirty years old. A military buzz cut. A          disciplined physique, lean and spare, almost gaunt. Skin          burnished by years of desert sandstorms and equatorial sun.          His expression, prematurely aged by combat, is perpetually          wary, sometimes predatory, accustomed to trouble.          Despite his military bearing, Colter wears a button down          shirt and navy sports coat. On his wrist is a digital watch.          It reads 7:40 a.m.          He swallows. A strange, creeping panic.          He has no idea where he is.          EXT. NEW JERSEY COUNTRYSIDE - MORNING          The train hurls straight at us.          NEW ANGLE -- Skimming alongside as the train twists and          turns, sucking up track -- feet, yards, miles of it.          Beneath it, the curving rails, which the rushing train barely          seems to touch. They vibrate with an eerie, dulcimer HUM.                                                                                                              2.          INT. TRAIN - MORNING          Colter hasn't moved. By his side he sees a canvas MESSENGER          BAG. Is that his?          Tentatively, he lifts the edge of the bag to look inside. A          red APPLE rolls against two LIBRARY BOOKS. The bag's leather          NAME TAG reads: "SEAN FENTRESS."ù          It's not coming back to him. This whole experience is          starting to freak him out.          He catches the scent of something. A passenger walks by with          a STEAMING CUP OF COFFEE.          CHK-THOCK! Two rows back, an OVERWEIGHT MAN opens a can of          soda.          Sitting opposite Colter, facing him, is a WOMAN in her late          twenties (CHRISTINA). In contrast to the corporate suits          around her, her appearance is thrift store funky: black nail          polish, dark lipstick, black hair with blue streaks, a button-          down blouse edged in black funeral lace with silver skull-and-          bones cufflinks. She's busy writing in a journal.                         COLTER          Ma'am?          Nothing.                         COLTER          Excuse me... ma'am?          She looks up. Blank stare.                         COLTER          What is this?                         CHRISTINA          What's what?                         COLTER          Where am I?                         CHRISTINA          (looks out the window)          Almost at Newark.          Goes back to her journal.                         COLTER          What's Newark? A city?                                                                                                              3.                         CHRISTINA          It's more of a hell hole.          But Colter still doesn't understand. He gets up. Nausea          slams into him. He hangs on to the seat.                         COLTER          Woah.                         (BEAT)          I think I'm going to puke.                         CHRISTINA          (gestures, alarmed)          Okay, bathroom's that way.          Colter looks down the aisle, hesitating.                         CHRISTINA          Go. Seriously.          Colter eases himself into the aisle. Totters down the length          of the car until he finds the RESTROOM.          The door is LOCKED. The latch reads "OCCUPIED."ù          Bracing himself, he lurches forward into...          INT. TRAIN - SECOND CAR - MORNING          He freezes. It's a mirror image of the first car. But no,          the passengers are different.          Beside him there's a small door. Thinking it's the bathroom,          he instead opens it to find a CONDUCTOR'S COMPARTMENT. A          cramped office with chairs and surveillance monitors.                         CONDUCTOR          Ticket?          A heavy-set CONDUCTOR stands in the aisle. A jangling of          keys. Colter just stares at him. Dazed.                         CONDUCTOR          May I see your ticket?          The last thing on his mind. Bewildered, he searches his          pockets.                         COLTER          I don't think I...                                                                                                              4.                         CONDUCTOR          Have to write you up then.          He pulls out a citation pad.                         COLTER          Is this...?          From inside his sports coat he pulls out a TRAIN TICKET. The          conductor snips his ticket and brushes past.                         COLTER          Wait a sec. I'm a little out of it          here. Where's this train headed?                         CONDUCTOR          New York. Penn Station.                         COLTER          New York?          Why would he be going to New York? How can this be          happening? Fear starts to grip him as the hallucination          simply continues.                         COLTER          Do you know where I got on?          The conductor examines his ticket again.                         CONDUCTOR          Princeton Junction.                         COLTER          Where's that?                         CONDUCTOR          "òBout ten minutes back.                         COLTER          But I've never been to Princeton          Junction. See... I don't remember          waking up or buying a ticket or          getting on the train or anything          else. It's just a blank.                         CONDUCTOR          Lucky you.          The jaded conductor moves on. Colter is alone with his          confusion. Takes a deep breath. The nausea has eased          slightly.                                                                                                              5.                         COLTER          Okay. You're gonna figure this          out.          INT. TRAIN - FIRST CAR - MORNING          Entering the first car again. The rows of passengers. Must          be at least forty people.          As he walks back up the aisle, he looks from face to face:          A pale COMPUTER ENGINEER reviews some documents.          A forty-something SECRETARY does a crossword puzzle.          DEREK, a stock broker type, talks on his cell phone:                         DEREK          Trust me, by one o'clock, the          bridge is going to be jammed...          A COLLEGE STUDENT, slumped against a window, eyes shut,          listens to an MP-3 player.          An OLD MAN with a faded wool suit clutches a cane.          A BACKPACKER, female, European, 20s, hiking boots, examines a          guidebook.          A dowdy OFFICER MANAGER type sorts supermarket coupons into a          tabbed file box.          An African American EXECUTIVE reads a newspaper.          None of them pays any attention to Colter.          A WHOOSH of AIR -- he turns to          An AIR-CONDITIONING VENT. The HISS of AIR sound sinister.          Like the exhalations of a creature.          A SCRAPE. He looks to see          A woman FILING HER NAILS.          Colter cringes. Every detail, every sensory impression seems          heightened, near the point of overload.          He reaches Christina again. Eases back in the seat across          from her. She writes in her journal, ignoring him.                                                                                                              6.          There's something else in his sports coat. A WALLET. He          turns it over a few times, inspecting it. Pulls out a          DRIVER'S LICENSE. Another man's face is in the photo. The          name on the license reads: "SEAN FENTRESS."ù The same name as          on the messenger bag. The street address on the license          reads: "58 Alexander Road, Princeton Junction, New Jersey."ù                         COLTER          Sean Fentress? Who the hell's          that?          And why does he have this guy's wallet? He leans forward to          speak with Christina again.                         COLTER          Ma'am?          She lowers her journal, annoyed. We see she hasn't been          writing but DRAWING. A well-executed sketch of a face.                         CHRISTINA          Why do you keep calling me ma'am?          How old do you think I am, anyway?                         COLTER          I'm having a little problem here.          I'm trying not to freak out, but I          think something's happened to me.                         CHRISTINA          Like what?                         COLTER          Like, total memory loss. Complete.          I don't know how I got here.                         CHRISTINA          So you drank too much last night.          So did I. Unfortunately, I          remember the whole thing.                         COLTER          That's not it. See... I'm a pilot.          I fly helicopters in Iraq. I'm in          the army.          She waits for more. As if he's telling a joke.                         COLTER          I was on a mission. Right before I          woke up here I was in the middle of          a mission...                                                                                                              7.          Wavering. Unsure of himself. His memories.                         CHRISTINA          Boy, you really did drink a lot          last night.                         COLTER          I'm telling you the truth.          ANNOUNCER (V.O.)          Now approaching Newark Station.          Newark Station, next stop.          The train begins to SLOW DOWN. A few people begin to get up.          The platform of Newark Station slides into view.                         COLTER          These aren't my clothes. And this          wallet here...          He holds up the driver's license. One final attempt to          convince her.                         COLTER          You see this? This isn't me.                         CHRISTINA          Of course it is.                         COLTER          What?                         CHRISTINA          Take a look in the mirror, good          sir.          The mirror? She goes back to her sketchbook. Determined not          to be interrupted again. Anxiety ripples through Colter.                         COLTER          This can't be happening.          The train lurches to a stop.          ANNOUNCER (V.O.)          Newark Station.          Colter gets up. Through the windows, a few passengers          disembark onto the platform: Derek, the Old Man, the College          Kid and GUZMAN, a Middle Eastern man, who HURRIES past all of          them towards the station building.                                                                                                              8.          Colter only half notices all this. He's intent on reaching          the train's BATHROOM, the door of which is now OPEN.          ANNOUNCER (V.O.)          All aboard. Doors are closing.          Christina watches Colter go. Curious.          ANNOUNCER (V.O.)          This is a New York bound train.          Next stop, New York - Penn Station.          The train begins MOVING. Colter reaches the bathroom.          INT. TRAIN BATHROOM - MORNING          A fluorescent light flutters on as Colter shuts the door.          He's in a tiny space with prefab restroom fixtures in          stainless steel.          He SHOUTS in surprise. Recoils backwards. Eyes locked on                         THE MIRROR          Staring back is SEAN FENTRESS'S FACE. Not his own.          He's frozen there. Heart pounding. Seized by cosmic panic.          He SLAPS himself in the face. Hard.                         COLTER          Wake up!          The restroom rattles and tilts with the motions of the train,          obliging him to hang on.          This isn't a dream. At least not one he can wake up from.          The other guy's face stares back at him. Blinks when he          blinks.          INT. TRAIN - MORNING          Warehouses go by in a blur. The train is entering New          Jersey's industrial zones on the outskirts of New York City.          From her seat, Christina stares at the messenger bag which          Colter left behind. Then up at the closed restroom door.                         CUT TO:                         BATHROOM DOOR                                                                                                              9.          Her hand knocks.                         CHRISTINA          Hey. You okay in there?          INT. TRAIN BATHROOM - CONTINUOUS          Colter sits on the closed toilet seat. Head buried in his          hands. Scared. Desperate for it all to end.          INT. TRAIN - CONTINUOUS          Christina's holding Colter's messenger bag. She talks          through the closed door.                         CHRISTINA          You left your bag on the seat.          Which is a flagrant violation of          rail security, leaving a suspicious          package behind and all that. I          probably saved you a huge fine.          No answer.                         CHRISTINA          I'll just leave it right out here          for you.          She places the bag beside the door. She hesitates at the          door. The oddness of this situation.          INT. TRAIN BATHROOM - CONTINUOUS          Colter stares into the mirror at the stranger's face.          Practically catatonic at this point. And then her voice --          CHRISTINA (O.S.)          If it'll help you remember, you've          been riding this train every          morning for three months.          Her words rouse him.                         COLTER                         (WHISPERS)          Three months?!                                                                                                              10.          INT. TRAIN - CONTINUOUS          Christina's walking back down the aisle.          The car rocks to one side as an EXPRESS TRAIN flashes by on          the opposite tracks, going the other way. A blur and a          whoosh, and it's gone.          INT. TRAIN BATHROOM - MORNING          On the verge of opening the door, Colter hears a METALLIC          RATTLING. Two SCREWS are rattling around in the sink.          Colter picks up a screw. Turns it over and over in his hand.          What are they doing in the sink?          He looks UP.          An overhead VENTILATION PANEL has been PRIED OPEN. Above it          is the darkness of a CRAWL SPACE.          Something is sitting up there.          From outside comes a TRAIN HORN.          INT. TRAIN - MORNING          Through the windows, a FREIGHT TRAIN is passing the other          way. A moving wall of metal boxcars and liquid tankers.          INT. TRAIN BATHROOM - MORNING          Colter looks up into the crawl space. Can't quite see the          object up there.          Moving carefully in the tiny space, he stands up on the          toilet. Grabbing onto the ventilation panel, he WRENCHES IT          all the way open. Then PULLS himself uncomfortably upward.          On tip-toes, he looks into crawl space and discovers          A MASSIVE BOMB          It's an enormous device. Several large CANNISTERS tied          together, full of sloshing liquid. Barely discernible behind          wires and gaffing tape is CELL PHONE -- the bomb's detonator.                         COLTER          Jesus.                                                                                                              11.          Running footsteps from outside. Commotion. An ALARM sounds.          THE BOMB'S CELL PHONE RINGS -- THE DEVICE'S CIRCUIT CLOSES --          THE BOMB EXPLODES IN COLTER'S FACE WITH A HUGE AND DEAFENING          FORCE, INSTANTLY KILLING HIM.          INT. TRAIN - CONTINUOUS          THE FIREBALL RIPS THROUGH THE CAR -- KILLING CHRISTINA AND          ALL THE OTHERS.          EXT. TRAIN TRACKS - MORNING          Fuel lines explode in the other cars in a horrendous chain          reaction. The fire is spectacularly bright, lighting up the          windows of the rowhouse apartments facing the tracks.          Nearby TREES INCINERATE, mere matchsticks amid sheets of          flames.          On the rowhouses, a ALUMINUM DOOR MOLDINGS begin to MELT in          the intense heat.          One of the FREIGHT CARS, loaded down with coal, shuddering          from the blast, wobbles a few yards then PITCHES OVER --          ROLLING off the rails, tipping right off the elevated          tracks...          It FALLS through the air and SMASHES into the middle of an          traffic intersection below with a shattering force.          The cascade of EXPLOSIONS continues. Large portions of BOTH          TRAINS are ANNIHILATED, while the heat reduces the heavy-          gauge steel rails back to elemental, molten ore.          And then...          An odd sound, like a BALLOON loosing air or MACHINERY winding          down as we                         DISSOLVE TO:          BRILLIANT WHITE. All sounds cease.          For exactly 1/3 OF A SECOND, a mysterious PATTERN OF LINES          appears. Like METAL RODS, maybe. RADIATING OUTWARDS. It          makes no sense. An abstract pattern.          Then it's gone. Many will not even see it.                                                                                                              12.          Now there is only darkness. Nothingness. Seconds pass.          The CLICK of an INTERCOM switching on.          GOODWIN (V.O.)          This is Beleaguered Castle.          INT. ISOLATION UNIT          We're VERY CLOSE on Colter's UPSIDE DOWN face. His eyes          flutter open. He's surprised to find himself alive.          Consternation flashes through him as he discovers that he's          tightly strapped in. He now wears a military flight suit.          GOODWIN (V.O.)          Captain Colter Stevens, this is          Beleaguered Castle. Acknowledge          transmission.          The measured calm of a mission controller's voice comes over          Colter's headset.          GOODWIN (V.O.)          Captain Stevens, do you copy?                         COLTER          Where am I?          GOODWIN (V.O.)          You're with Beleaguered Castle.          PULL BACK, fractionally, to reveal Colter in a tight and          confined CAPSULE. It bristles with sophisticated electronics          and ghostly glowing diodes. He's like an astronaut in an          orbiter craft.          GOODWIN (V.O.)          Are you functional?          He tries to clear his head. He's still upside down.                         COLTER          I'm dizzy.          GOODWIN (V.O.)          Adjusting your rotation.          Very slowly, almost imperceptibly, Colter's upside-down face          begins to turn and right itself.                                                                                                              13.          GOODWIN (V.O.)          Can you report at this time?                         COLTER          What is this? Who am I talking to?          More confusion. No idea how to react. Just as on the train.          GOODWIN (V.O.)          Report what you saw.                         COLTER          When?          GOODWIN (V.O.)          Just now.                         COLTER          I was on a train.          GOODWIN (V.O.)          And?                         COLTER          And... There was a bomb.                         (PANICKING)          What the hell is going on?!          GOODWIN (V.O.)          Just relax, Captain.                         DISSOLVE TO:          INT. ISOLATION UNIT          Later. We're still in the tiny chamber. It's stabilized.          As has Colter, but in the manner of a dangerous wild animal          given a sedative.          Embedded into the controls is a two inch-square VIDEO          MONITOR. It shows the face of GOODWIN. He's a middle-aged          communications officer. Although we know him as Goodwin, his          military name badge and rank insignia have been covered up.          He wears a headset and sits surrounded by banks of electronic          equipment and keyboards. He peers in at Colter, exuding the          blandness of a military flight controller.                         GOODWIN          Standby for thread one of alpha          memory pattern.                                                                                                              14.                         COLTER          Who are you?                         GOODWIN          You already have that information,          Captain. Now think. Recall my          name.          A long moment. A name floats into his head.                         COLTER          Goodwin?                         GOODWIN          Correct.                         COLTER          How do I know that? I have no idea          how I know your name's Goodwin.                         GOODWIN          Commencing memory pattern.                         COLTER          Listen to me. Something's wrong.          I was flying a mission. I was in a          chopper. Then I woke up on a          train. Now I'm here. Can you          explain that? What unit is this?                         GOODWIN          You're with Beleaguered Castle.                         COLTER          Who?                         GOODWIN          You're with friends.                         (PATIENTLY)          The exercises will assist you. Are          you ready?          Just like with the train, he seems to have no choice but to          go along with it.                         GOODWIN          Memory Thread One. Listen to the          following passage: "When Lily woke,          she had the bed to herself. She          sat up, bewildered by the          strangeness of her surroundings;          then memory returned, and she          looked about her with a shiver.                         (MORE)                                                                                                              15.                         GOODWIN (CONT'D)          In the cold slant of light          reflected from the back wall of a          neighboring building, she saw her          evening dress and opera cloak lying          on a tawdry heap on a chair."ù End          of thread one.          Silence. Is it Colter's turn to speak?                         COLTER          I don't get it. Is this a Red Flag          exercise?                         GOODWIN          Thread Two. Listen. I am holding          the following hand of cards: Queen          of spades. Four of clubs. Nine of          clubs. Three of hearts. Nine of          hearts.                         (BEAT)          I repeat: Queen of spades. Four of          clubs. Nine of clubs. Three of          hearts. Nine of hearts. End of          thread two.          Beads of sweat on Colter's forehead. What the hell?                         GOODWIN          Thread Three. The following is a          recording of a Western Screech-Owl:          A rather spooky BIRD CALL plays -- a short whistle, followed          by a long trill. The call is repeated twice more.                         GOODWIN          End of Thread Three. End of          pattern. Acknowledge.          Unexpectedly, in the back of his mind, a reply is there.                         COLTER          A... Acknowledge. End of pattern.          How did he know to say that? A conditioned response?                         GOODWIN          Stand by to initiate pattern          recall.                         COLTER          Go for pattern recall.          The response comes to him more quickly. Like lines from an          old script. Even if it still baffles him.                                                                                                              16.          GOODWIN (V.O.)          The five playing cards. Arrange          them in order of descending values,          irrespective of suit.          He thinks for a moment. Focus. Play along. Maybe it will          all be okay.                         COLTER          Queen, two nines, four and a three.                         GOODWIN          That is correct. The passage I          read contained mention of a woman's          name. What was that name?                         COLTER          Laurie.                         (THEN)          No. Lily. Her name was Lily.          At each answer, Goodwin makes notations and adjusts gauges.                         GOODWIN          That is correct. End of pattern.          Goodwin leans forward to flip a switch and EVERYTHING GOES          DARK.          INT. ISOLATION UNIT          Over DARKNESS, the SOUND of BACKGROUND CONVERSATION.          Engineers speaking in technical jargon.          Click. The unit's VIDEO MONITOR comes on again, illuminating          Colter in its glow. He's still strapped into the capsule.          The tiny monitor shows an out of focus view of a LAB. Like a          movie camera inadvertently left on between takes.          ENGINEERS wander past, oblivious. Their disjointed          conversations continue at low volume.          Abruptly, a MAN SMOKING A PIPE sits down in front of the          camera. His graying hair is windblown and unkempt. His eyes          are piercing blue. He wears a track and field warm-up          jacket. He looks in at us with an unsettling Cheshire-cat          grin. He puffs on his pipe. Winks. Pressing a button he --          Click -- shuts the whole thing off again. Sound and picture          vanish. Leaving us suspended.                                                                                                              17.          INT. ISOLATION UNIT          An indeterminate amount of time has passed. Goodwin is back          on the monitor.                         GOODWIN          Please list the primary          specifications of the aerial          platform you've been trained to          operate.          Colter mulls his options. Should he talk? Keep silent? He          tugs against the steel harness holding him in. A HATCH, like          the kind used on submarines, seals the capsule.          Goodwin's voice grows slightly louder over his headset.                         GOODWIN          Please list the primary          specifications of the aerial          platform you've been trained to          operate.                         COLTER          Is someone going to tell me what's          going on here?                         GOODWIN          Please list the primary --                         COLTER          The UH-60 Blackhawk Helicopter          weighs 20,250 pounds with a maximum          exterior load capacity of 8,000          pounds. It has a range of 320          nautical miles and is armed with          two 7.62 millimeter machine guns.                         GOODWIN          That is correct.                         (SUDDENLY REDIRECTS)          Who bombed the train?                         COLTER          The train.                         GOODWIN          Who bombed the train, Captain?                         COLTER          I have no idea.                                                                                                              18.                         GOODWIN          Whom do you suspect bombed the          train?                         COLTER          I don't know!                         GOODWIN          You didn't see?                         COLTER          Will you tell me what the hell is          going on here?                         GOODWIN          The Screech-Owl song can be seen as          a progression of musical notes.          Did the notes go up, down or remain          at the same pitch?                         COLTER          I don't know. Just tell me --                         GOODWIN          How many times was the bird call          repeated?                         COLTER          What does this have to do with the          train?                         GOODWIN          How many times was the bird call          repeated?                         COLTER          Twice.                         GOODWIN          Incorrect. Who bombed the train,          Captain?                         COLTER          I don't know who bombed the train!          Colter is seething now. Had it with these games.                         GOODWIN          You have seventeen minutes. Use          them. Find the bomber.          ON SCREEN -- Goodwin leans forward to press a button and --                                                                                                              19.          Click. Everything goes dark. We HEAR Colter's nervous          BREATHING.          COLTER (V.O.)          Hey. What's happening?          The HUM of machinery starting up.          COLTER (V.O.)          Goddamn it, Goodwin, what is all          this?          The machinery HUM changes modulation. Then gives way to a          GENTLE ROCKING SENSATION. Tha-thunk. Tha-thunk. Tha-thunk.          INT. TRAIN - MORNING          Colter opens his eyes...          SUNLIGHT hits his face. In flickering patterns. He turns to                         LOOK OUT          A TRAIN WINDOW          At the passing woodland scenery.          He's back on the train. Back in the same navy sports coat.          Across from him, Christina is at work on her sketch pad.          Just like before. Other commuters all around him.          Everything is exactly the same as before.          Note: The remaining story will follow this "binary pattern."ù          Scenes will take place either on the train or in the capsule.          Compared to tomb-like isolation chamber he just came from,          the train is exploding with sensory input -- the smell of          steaming coffee, the cramped proximity of other passengers,          the crinkle of an freshly-ironed dress shirt, the glint of a          buckle on a purse, the slanting sunlight, the trees out the          window, bursting with summer leaves.          Almost unintentionally, Colter finds himself repeating the          same opening actions as last time -- checking his watch (7:40          a.m.)... turning at the scent of passing coffee... peeking in          the canvas messenger bag beside him...          This time, however, he takes the books out of the messenger          bag. The books are stamped "NEW YORK PUBLIC LIBRARY."ù          He also takes out the APPLE. Sniffs it. Takes a bit. It's          good. No, it's awesome. Crisp and delicious.                                                                                                              20.          Is Goodwin watching him from somewhere?          Not knowing what else to do, he takes a few more bites.          Enjoying this small pleasure.          He reaches in his sports jacket pocket and pulls out his          TRAIN TICKET.          CLOSE ON -- THE TICKET. It hasn't been punched yet.          CHK-THOCK! The Overweight Man opens his can of soda. Just          as before.                         COLTER          It's a goddamn simulation.          Christina's pen stops sketching. She glances up.                         COLTER          A three dimensional, completely          immersive scenario. Touch, taste,          sound, sight and smell.          A measure of relief. A way to think about all this.                         CHRISTINA          Are you talking to me?                         COLTER          Complete with pretty girl.                         CHRISTINA          Pretty girl.                         COLTER          Every combat simulator has one. In          the middle of a fire fight a pop-up          window starts playing a porno.                         (CONFIDENT NOW)          You're an unusual choice for a          distraction.                         CHRISTINA          And you're a moron.          Disregarding her, Colter gets up. Pursuing a new line of          action. The only way he can make sense of this. He starts          walking up the rows.                         COLTER          Find the bomber. Find the bomber.          The conductor approaches him.                                                                                                              21.                         CONDUCTOR          Ticket?          Expecting this now, Colter hands over his ticket to be          punched.                         COLTER          Everything okay today, chief?                         CONDUCTOR          Say what?                         COLTER          Anything out of the ordinary?          The conductor frowns at him. Who is this guy?                         CONDUCTOR          Please take a seat, sir.          Colter moves on. He looks for suspects. We've seen the          faces before -- the Computer Engineer, the Secretary, the          Stock Broker, the Backpacker and so on.          All seems normal. He finds himself focusing on a jumble of          unfiltered details -- Suits. Ties. Shoes. Skirts.          Watches. Newspapers. Coffee cups. Litter.          Sudden dizziness. He grabs a seatback for support. Sensory          details slam into him. We go EXTREMELY CLOSE ON:          The STITCHING on a leather purse.          A FOUNTAIN PEN rattling in a fold-out tray.          AIR CONDITIONING hissing from a vent.          A CRUMPLING SOUND as the Overweight Man crushes an empty soda          can.          TAP, TAP, TAP -- the Computer Engineer tapping his foot on          the floor. Faster and faster.          Derek, the Wall Street Type, talks on his phone:                         DEREK          Trust me, by one o'clock, the          bridge is going to be jammed...          Then... the CLICK of a LOCK UNLATCHING.                                                                                                              22.          The restroom door swings open. GUZMAN, the Middle Eastern          man, emerges. After a furtive glance around, he quickly          takes a seat.          Now Colter makes the connection. The bomb in the restroom.          The Middle Eastern man emerging from the same restroom.          Colter starts down the long aisle.          In his seat, Guzman slips on dark glasses. He looks          forbidding with his mustache and olive-colored skin.                         COLTER          How's it going?          Colter stands in front of him, arms crossed. Behind his dark          glasses, Guzman ignores him, but he's visibly uncomfortable.                         COLTER          What's your name?          Guzman is stock still. Beads of sweat on his forehead. The          conductor appears, accosting Colter.                         CONDUCTOR          Didn't I tell you to take a seat?                         COLTER          Goodwin? Where are you? It's          over. I found him.          Appealing to Goodwin's invisible presence. But nothing          happens.                         CONDUCTOR          Who are you talking to?          An edgy silence. Other passengers looking over. Colter's          about to retort, about to accuse Guzman, when he stops.          It's too easy.          Colter senses the uproar he's about to create. Which just          might be a mistake. He reconsiders.                         COLTER          Sorry. This guy seemed a little...          anxious. I was worried about him.                         GUZMAN                         (THICK ACCENT)          I am minding my business. Tell him          to mind his.                                                                                                              23.          The conductor has noticed Guzman's white-knuckle uneasiness.                         CONDUCTOR          You feeling all right, sir?          With a pained smile, Guzman loosens his collar.                         GUZMAN          Motion sickness, I'm afraid. I          believe I will get off at the next          stop.                         CONDUCTOR          Very well.          The conductor turns back to Colter.                         COLTER          Okay. I'm sitting down.          Turning away, he finds a seat. He studies Guzman out of the          corner of his eye.          ANNOUNCER (V.O.)          Now approaching Newark Station.          Newark Station, next stop.          The train begins to slow down.          Several rows up, he sees Christina. She looks back at him          with distaste.          A small number of passengers get up, among them the College          Student. He catches Colter's attention as he picks up a          WALLET from a seat and catches up with Derek, the Stock          Broker, who's about to get off the train.                         COLLEGE STUDENT          Hey, you dropped this.                         DEREK          (relieved, takes back the                         WALLET)          Wow. Thanks.          The College Student waits to get off. Colter now eyes him          closely.          As the train pulls to a stop, Guzman forcefully pushes          forward towards the doors, moving with a barely contained          urgency.                                                                                                              24.                         GUZMAN          Excuse me... Please let me          through...                         COLTER                         (TO HIMSELF)          Jesus, he's running away.          EXT. NEWARK PLATFORM - MORNING          The doors slide open.          ANNOUNCER (V.O.)          Newark Station.          The Old Man, Derek and the College Kid get off. Guzman          hurries past them towards the station house.          ANNOUNCER (V.O.)          All aboard. Doors are closing.          Just before the doors close, Colter steps out onto the          platform. Eyes locked on Guzman -- who disappears inside the          station house.          The train PULLS OFF, leaving Colter behind. Did he make the          right move?          As he goes to pursue Guzman, Colter is struck by more sensory                         IMPRESSIONS:          The STATION CLOCK. Its digital numerals flash 7:50 a.m.,          hurting Colter's eyes with their brightness.          The dying HISS of the rails as the train recedes down the          track.          The super-sharp glint of a PENNY embedded down in the gravel          of the tracks.          The melancholy SIGH of trees in the wind.          Pushing it all aside, he hurries after Guzman.          INT. NEWARK STATION HOUSE - MORNING          Entering, Colter stops. There's no sign of Guzman. Just an          empty marble lobby. A lone CLERK restocks timetable          brochures at a display.                                                                                                              25.                         COLTER          A guy just came through here. Did          you see where he went?                         CLERK          (not looking up)          Lots of guys come through here.          Windows look out over the station's parking lot. There's no          sign of Guzman out there.                         COLTER          He was just here. A Middle Eastern-          looking guy.          Through the platform doors comes Derek, followed by the          College Kid. Derek heads for the parking lot, while the          College Kid mills around the newspaper stand.          A muffled COUGH.          Colter spins. Sees a door marked "MEN'S ROOM."ù          INT. NEWARK STATION - MEN'S ROOM - MORNING          Pushing open the door, Colter discovers a row of 1930's-era          sinks and stalls. An intercom crackles to life:          ANNOUNCER (V.O.)          The train to Philadelphia will be          four minutes late... The train to          Philadelphia will be four minutes          late...          Colter's footsteps echo down the length of the deserted men's          room. The last stall door is SHUT.          From within the closed stall, comes the sound of VOMITING.          Colter edges closer.          A toilet FLUSHES. Guzman emerges from the stall. Looks          awful. Freezes when he sees Colter.                         COLTER          All better now?          Guzman's face hardens. He goes to the sink to wash his          hands.                         COLTER          Don't much care for trains myself.                                                                                                              26.          The bathroom mirror, of course, reflects back Sean Fentress's          face, not Colter's. Guzman does not seem to notice this          disparity. He picks up his briefcase and briskly walks out.          Colter takes an uneasy look at Fentress looking back at him          in the mirror, then follows Guzman out.          INT. NEWARK STATION - MORNING          Colter emerges in the lobby. Guzman is nearby. A bit          indecisive. Colter wanders over to the newspaper stand.          The STATION CLOCK reads 7:54 a.m.          Colter looks down at HIS WATCH: THREE MINUTES remaining.          What will Guzman do?          Guzman glances over at Colter, then heads through the doors          and back out on the train platform.          EXT. NEWARK STATION - MORNING          Guzman sits on a bench. Colter stops nearby him.                         GUZMAN          I resent this. This is harassment.          You obviously work for someone.          FBI. CIA.                         (BITTER)          I expected this reception in your          country.                         COLTER          How are you going to pull this off?          That bomb has a cell phone          detonator. And I don't see a pay          phone around here. So I'm betting          you got a phone on you with the          number already programmed in.                         GUZMAN          I have no idea what you're talking          about. I am an international          business man. An executive.          The tracks begin to VIBRATE. In the distance comes the HORN          of an EXPRESS TRAIN approaching.                         COLTER          Open your briefcase. Prove to me          there's no phone in there.                                                                                                              27.                         GUZMAN                         (STANDS UP)          I will prove nothing to you. Leave          me alone.          WHAM! Colter PUNCHES Guzman with tremendous force, sending          Guzman sprawling to the ground.          Colter's hand throbs from the force of the punch. The          simulation's reality stuns Colter all over again.          Crouching down, Colter pops open Guzman's briefcase. Inside          is a corporate IDENTIFICATION BADGE with Guzman's name and          photograph on it. The company is Shell Oil.                         COLTER                         (READING)          "Hasnan Guzman, Vice President,          Shell Oil."ù Must be a cover.          ANNOUNCER (V.O.)          Philadelphia train now approaching.          Guzman groans in pain. Colter rifles through his briefcase.                         COLTER          Where the hell's your phone?          Another look at HIS WATCH -- 20 SECONDS.          Grabbing Guzman, Colter goes through his suit pockets. He          triumphantly pulls out GUZMAN'S CELL PHONE and steps back.          Guzman looks up at him, eyes moist with humiliation and          malice.                         COLTER          I thought so. Now let's see you          try to --          A distant THUD rattles the station windows. Colter pivots,          looks down the tracks. The first thing he sees is          THE EXPRESS TRAIN          Closing in on the station.          The second thing he sees, far beyond it, miles further down          the tracks, is the RISING PLUME of a HUGE EXPLOSION.          Colter looks back at Guzman in shock. Then down at Guzman's          cell phone. Which has remained off.                                                                                                              28.                         COLTER          You didn't do it.          Disbelief. As the din of the distant explosion is drowned          out by the ROAR of          THE ARRIVING EXPRESS TRAIN          With a cry of rage Guzman SPRINGS UP and PUSHES COLTER INTO          THE PATH OF THE ON-COMING EXPRESS TRAIN -- with a blast of          its horn, THE TRAIN RUNS HIM OVER.          Everything stops.          Like film celluloid catching fire in a projector, the world          itself BLISTERS AND BURNS INTO SEARING WHITE... into          smothering, forgetful SILENCE...          For exactly 2/3 of a second (1/3 of a second longer than          before), the same flickering after-image appears:          THIN LINES -- RADIATING OUTWARD --          This time they all connect into          THE SPOKES OF A WHEEL. A BICYCLE WHEEL.          INT. ISOLATION UNIT          The SOUND of MACHINERY STRAINING. Colter is SLAMMED back          into his seat -- back in the capsule. All he can do is hang          on and gasp for air.                         COLTER          Holy fuck!          GOODWIN (V.O.)          Stabilize. Lower your pulse.          Colter opens his eyes. He's back in his military flight          suit.          The craft goes still. Cautiously, he releases his hands from          their grip on the seat restraints. He looks like he's          sweated off five pounds.                         GOODWIN          Do you need to urinate?                         COLTER          A fucking train just ran over me.                                                                                                              29.                         GOODWIN          Do you need to urinate?                         COLTER          How are you doing this? Am I on          some kind of drug?                         GOODWIN          Did you find the bomber?                         COLTER          I didn't find the bomber. You          fooled me with the Middle Eastern          guy. I went for the diversion.          What kind of freaky simulation is          this? Let me out of here!                         GOODWIN          Which Middle Eastern guy? Be          specific.                         COLTER          Guzman. Shell Oil. Look, I don't          have intel experience. Why do you          have me doing this?                         GOODWIN          You've already been told what you          need to know. Discipline your          memory. Limit your operational          awareness to the tasks we assign          you. Everything else is          irrelevant.                         COLTER          Irrelevant? Killing me each time          is irrelevant?                         GOODWIN          You do not die. As you can see,          you simply return to us.                         COLTER          How? How can you do that?          Silence.                         COLTER          Who's the man with the pipe?                         GOODWIN          Say again?                                                                                                              30.                         COLTER          There was a man smoking a pipe. I          saw him on the monitor. Who's he?          How does he fit into this?                         GOODWIN          The man with the pipe isn't here          right now.                         COLTER          Let me talk to him. This isn't          right. I'm not your prisoner.          Goodwin makes technical adjustments to dials and gauges.                         GOODWIN          You feel unsatisfied with our          relationship?                         COLTER          What is this? Why are you talking          like that? Is this some kind of          script?                         GOODWIN          If Guzman, the Middle Eastern man,          is innocent, as you maintain, who          might be the guilty party?                         COLTER          Who cares? I'm tired of this.                         GOODWIN          This isn't a game, Captain.                         COLTER          Then what is it? Don't you already          know who the bomber is? Don't you          have all the answers?                         GOODWIN          We have no answers. Only corpses.          A weird beat.                         COLTER          Corpses? Whose corpses? The          passengers?                         GOODWIN          Some were too badly burned to be          identified.                         (MORE)                                                                                                              31.                         GOODWIN (CONT'D)          The heat from the explosion fused          many of them completely into the          wreckage.          Is this the truth? Or another evasive answer? His mind          pulled in all kinds of unpleasant directions.                         COLTER          These were real people?                         GOODWIN          Yes.                         COLTER          This really happened?                         GOODWIN          Yes.                         COLTER          When?                         GOODWIN          Today.                         COLTER          Today?! The train blew up today?                         GOODWIN          It was attacked this morning, at          7:57 a.m., Eastern Standard Time.          Six miles outside of New York City.          Colter's head is spinning.                         COLTER          You're lying. I don't believe it.                         GOODWIN          What do your senses tell you?          His senses tell him it's true. But how can he accept it?                         COLTER          Where am I, right now, as we speak?                         GOODWIN          With Beleaguered Castle.                         COLTER          My unit's still in Iraq. I'm          flying missions in Iraq. I flew          one yesterday!                                                                                                              32.                         GOODWIN          Your unit was rotated Stateside          three weeks ago.          The news comes like a slap in the face. Colter clearly has          no memory of this.                         COLTER          Then why do I still have Iraqi dirt          underneath my fingernails?          Goodwin simply makes another adjustment on the controls.                         COLTER          Talk to me! Three weeks? I've          been back three weeks? How'd I get          in here? Have I seen my family?          Does my father know I'm home?          "òCause I'd kinda like to tell him          if that's the case.                         GOODWIN          Listen up, soldier.          Goodwin hunches forward, putting his elbows on his desk. As          he does so, he inadvertently reveals a glimpse of his          military unit SHOULDER PATCH. The insignia contains wings          and a lightning bolt against a background of stars.          Underneath it is written "CAOC-N."ù                         GOODWIN          The train is just the beginning.          Our intel says there are more          attacks are coming today. And          they're linked with the train.          Time is of the essence. Do you          understand?          Colter barely hears. He's fixated on that shoulder patch.                         GOODWIN          Captain?                         COLTER          I'm listening.                         GOODWIN          D.N.I. Counterterrorism has come up          with the five most likely follow-up          targets in the New York area.                         (MORE)                                                                                                              33.                         GOODWIN (CONT'D)          They are, in no order of          importance, the Holland Tunnel,          Newark International Airport, the          Brooklyn Bridge, Penn Station and          the Empire State Building. It          could be any of them, it could be          none of them. Whatever it is, if          you find the bomber and learn his          plan, the next one we might be in a          position to prevent. Those are          your orders.          It's too much information to process. Colter's head spins          with questions.                         COLTER          Wait. If I'm somehow on that train          before it blows up, why don't I          just dismantle the bomb?                         GOODWIN          Those are not your orders.                         COLTER          But all those people dying...                         GOODWIN          Those are not your orders. You are          not to influence events any more          than you need to in order to          accomplish your mission.          Military priorities. Defying comprehension.                         COLTER          I didn't volunteer for this shit.                         GOODWIN          Would you like to see the release          form you signed?                         COLTER                         (EXASPERATED)          How do I know it's real? How do I          know you didn't force me to sign          it? And how the hell can I be put          on a train over and over again -- a          train I never was really on?!          He might as well be talking to a wall.                         COLTER          I don't believe in time travel,          Goodwin. There's no such thing.                                                                                                              34.          Machinery begins to RUN. Like the WHINE of a JET ENGINE          firing up.                         GOODWIN          Only one way forward, Captain.          Seventeen minutes. Find the truth.                         COLTER          Why seventeen? Why me? Why          anything?          The capsule begins to SHAKE.                         COLTER          Let me out! Don't send me back          there!          SFX: UP ON a HUGE ROAR as --          EXT. TRAIN TRACKS - MORNING          THE TRAIN hurls down the tracks.          INT. TRAIN - MORNING          Landscape flies by. Colter's forehead rests against the          glass window. Piercing sunlight.                         COLTER          Shit. This is not happening.          He leans back in his seat, as if just another beaten down          office worker on the train.                         CHRISTINA          Ain't life grand?          Across from him, Christina sketching. A gentle smirk. He          focuses in on her. Not knowing where else to begin.                         COLTER          You an artist?                         CHRISTINA          I went to art school. Doesn't make          me an artist.                         COLTER          Can I see what you're working on?                                                                                                              35.          Her pencil pauses. She eyes Colter.                         CHRISTINA          I'd rather not.          He looks down at his watch. 7:41 a.m. He's been back for          one minute. Adjusting the settings, he changes the digital          display to COUNT DOWN the remaining SIXTEEN MINUTES.          He tries again for human contact.                         COLTER          You don't look like you belong          here. The way you're dressed.                         CHRISTINA          You certainly do.                         COLTER          I'd really like to see what you're          working on. Unless you're worried          I won't like it.                         CHRISTINA          It's private. And your opinion          doesn't interest me.                         COLTER          So you scribble away on that thing          so as not to deal with people.          She scowls. Tosses the sketch pad onto his lap. Surprised,          Colter opens it. It's full of faces -- thumbnail portraits          of other passengers riding the train. They're exquisitely          observed, darkly stylized into expressions of loneliness.                         COLTER          They're amazing.                         CHRISTINA          I wouldn't go that far.                         COLTER          Seriously, they're really good,          Miss...?                         CHRISTINA          Christina.                         COLTER          My name's Colter. How many of          these passengers have you drawn?                                                                                                              36.                         CHRISTINA          All of them, practically.          She leans forward, eyes glinting conspiratorially.                         CHRISTINA          I know all about them.                         COLTER          You know all about them?                         CHRISTINA          I'm a collector of moments.                         (DISCREETLY GESTURING)          That woman over there? She's a          patent attorney with three kids and          a summer place on Long Island.          More important, however, she colors          her hair herself and wears the same          houndstooth check suit every third          Wednesday. The nebbishy fellow          behind her always calls into his          office three minutes before we go          into the tunnel. And the guy with          the shaved head and leather jacket          eating a scone has a profile          identical to that of Julius Caesar.          A click of the restroom door opening. Guzman emerges from          the bathroom and returns to his seat.                         COLTER                         (RE: GUZMAN)          What about that guy?          Christina looks over Guzman.                         CHRISTINA          I haven't seen him before today.                         (LOOKING CLOSER)          He's cranky. Thinks the worst of          people.                         COLTER          Dangerous?                         CHRISTINA          Everyone's dangerous.                         COLTER          You see anything unusual happen          this morning? Anything out of the          ordinary?                                                                                                              37.                         CHRISTINA          I'm not sure I know what you mean.                         COLTER          Has anyone else come out of that          bathroom that you remember?          She takes a closer look at him. A puzzled smile.                         CHRISTINA          Who are you?          Colter hesitates. Debating.                         COLTER          Don't you know? Haven't you seen          me here every day for, what, three          months?                         CHRISTINA          Something's different about you          today.                         COLTER          If I told you that there's a          terrorist on this train, that I was          sent here to catch him, would you          believe me?                         CHRISTINA          Most fervently.                         COLTER          Then tell me which one you'd          arrest.          Christina pages through her sketch pad again. Considering          different faces.                         CHRISTINA          They're all so utterly normal.          That's what's terrifying about          them. Perhaps there's more than          one. A team at work. The patent          attorney in cahoots with Julius          Caesar and the nebbishy guy. And          don't forget the sullen college          kid. He's the expendable one. But          they're all controlled by this good-          looking stock broker.          She shows him her sketch of Derek, the Stock Broker.                                                                                                              38.                         CHRISTINA          Blond, blue eyed, hyper alert. The          perfect Machiavellian operative.          Out for himself. He'll betray them          all in the end.          She's not taking him seriously.                         COLTER          Never mind.          He gets up. Foolish of him to confide in her. His watch now          reads THIRTEEN MINUTES.          ANNOUNCER (V.O.)          Now approaching Newark Station.          Newark Station, next stop.          The train begins to slow. Derek, Guzman, the Old Man and the          College Kid head towards the exit doors.                         CHRISTINA                         (STAGE WHISPER)          He's getting away...!          Colter moves aside to let them walk past.                         COLTER                         (CURT DISMISSAL)          Thanks for your help, ma'am.                         CHRISTINA          Ma'am? How old do you think I am?                         COLTER          I don't know. Thirty two?          Her icy glare tells him he's guessed too high.          EXT. NEWARK STATION - MORNING          The disembarking passengers exit the platform.          INT. TRAIN - MORNING          The train is moving again. In the exit area, Colter watches          the station disappear. He's doing this all wrong.          ANNOUNCER (V.O.)          Next stop New York Penn Station.                                                                                                              39.          INT. TRAIN BATHROOM - MORNING          The two screws rattle in the sink. Colter gazes up at the          half-opened ventilation shaft -- and at the edge of the          sinister bomb planted there.          Back down to the mirror. Sean Fentress's face. The most          baffling mystery of all.                         COLTER          What happened, Fentress? Who are          you? How can I be you?          FLASHCUT -- Back in the isolation unit. On the monitor, the          glimpse of Goodwin's SHOULDER PATCH INSIGNIA. The unit          initials "CAOC-N."ù          Back to scene. Colter churning over the thought.                         COLTER          "CAOC-N."ù What unit is that?          A KNOCK on the door.          INT. TRAIN - MORNING          Through the windows comes the blur of the EXPRESS TRAIN          whizzing past (the same train which previously ran over          Colter).          Emerging from the bathroom, Colter discovers Christina there.                         CHRISTINA          Who were you talking to?                         COLTER          Leave me alone.          Colter walks off. Irked at his change in tone, she follows          him, carrying his messenger bag.                         CHRISTINA          My pleasure, okay? It's just that          you left your bag on your seat.          (trying to be cute)          It's a flagrant violation of rail          security, leaving a suspicious          package behind and all that. Maybe          you're the terrorist.          This is too much. Colter turns on her. Paranoid.                                                                                                              40.                         COLTER          Terrorist? Why did you say that?                         CHRISTINA          I was joking.                         COLTER          Stop joking. Who are you? Are you          an operative?                         CHRISTINA          I had no idea you were so          thoroughly weird. I'm not entirely          sure I like it.                         COLTER          Why do you have sketches of          everybody on board? Are you part          of this?                         CHRISTINA          Part of what?                         COLTER          I can have you arrested. Maybe          that's the only way you'll drop the          bullshit and talk. Stay put. I'm          getting help.          She sees he's serious and drops her arch playfulness. Speaks          in a flat, sober voice.                         CHRISTINA          Who am I? I'll tell you. I'm          twenty seven years old. I have no          savings and no health insurance.          He turns back. Waits. The more she speaks, the angrier she          gets.                         CHRISTINA          Six months ago I moved back in with          my parents because I ran out of          money. I got A's in line drawing          and advanced oil painting but no          one's buying my stuff. Two weeks          ago I put away all my paints. My          little sketch book is the last          thing left. You see, I'm not a          artist. I'm a receptionist in a          law firm. The only thing I operate          is a phone switchboard.                                                                                                              41.          The stark reality of her life.          The HORN of the FREIGHT TRAIN yanks his attention to the          windows. Up ahead are the row houses opposite which the          train exploded. Time is running down.                         CHRISTINA          Now let me tell you about you. You          work at the New York Public          Library. You've been eyeing me for          months on this train but haven't          said a word to me. You're bland          and colorless and predictable. And          now I see you're delusional, too.          Colter doesn't hear her. He's still looking out the window.          COLTER'S POV          Above the row houses, a COMMERCIAL AIRLINER is climbing          serenely into the blue after take-off out of Newark Airport.          The view is wiped away as the FREIGHT TRAIN comes surging          past the windows. But the sight of the plane has already          caused something to click in Colter's head.                         COLTER          Son of a bitch. "CAOC-N."ù That's          not army. That's Air Force.          Combined Air and Space Operations          Center. Nellis Air Force Base!                         CHRISTINA          Are you mocking me?                         COLTER          They're running this whole thing          out of Nellis Air Force Base in          Nevada. Fucking Nevada!          Tears in Christina's eyes. That Colter would persist in this          delusion after what she's confessed about herself.                         COLTER          (racking his brain)          What's there? What's on that base?          B-52s. KC tankers. Air Combat          Command. Predator Drones. Remote          operations.          (something to this)          This a remote operation.                         (FINALLY)          What if it is time travel?                                                                                                              42.          A worried CONDUCTOR runs past them, talking rapidly into his          radio. We catch the words "bomb threat."ù                         COLTER          What did he say?          A WARNING ALARM begins beeping. Passengers look around          uneasily. Christina, however, focuses her anger on Colter.                         CHRISTINA          Do me a favor. Don't ever talk to          me again.          She drops his messenger bag at his feet and walks away.          Colter looks down at his watch. THE LAST SECONDS TICK AWAY --          5... 4... 3...                         COLTER          Christina!          He grabs her -- she struggles against him --                         CHRISTINA          Get off me!          But he HOLDS HER TIGHT, shielding her with his body and          squeezing his eyes shut as --          THE EXPLOSION RIPS THROUGH THE TRAIN -- EVERYTHING VAPORIZES.          Blinding light. Painful to look at.          Like a star exploding.          A dull, hollow sound of WIND rattling through an abyss.          And then the ghostly still life. Details flicker into view:          A bicycle. A stone wall. And next to it...          A woman.          It's Christina. Turning to look at us. A gentle, reassuring          smile.          INT. ISOLATION UNIT          Click -- click. Click -- click. The video monitor is          malfunctioning. It flickers on and off, revealing Colter's          face in and out of darkness.                                                                                                              43.          The capsule is nearly shut down. The controls appear non-          functional. Ice crystals have formed over the circuitry.          Colter hugs himself, shivering. His breath is visible in the          capsule's tomb-like cold.                         COLTER          Goodwin? What's happening? Come          in. Can you read me? It's goddamn          cold in here.          He hits a few buttons. Almost at random. The VENTS which          had been blowing in air FALL SILENT.                         COLTER          Goodwin, I'm losing oxygen.          The monitor fizzles out. The light from the controls FADES.                         COLTER          Goodwin!          It's now COMPLETELY DARK.          He BANGS on the side of the capsule. Just a muffled thump.          A terrifying silence.          The SNAP of a harness releasing. A THUD as Colter falls to          the floor of the capsule. Cursing. Some sounds of thrashing          around. Then...          The SPARK of a BLUE FLARE illuminates Colter's face. He's          activated a miniature signal light on his flight suit. It          begins to BLINK. Like a beacon for downed pilots afloat in          the sea. It is the only light in the otherwise dead capsule.          Up on his knees, he grasps the release handles of the EXIT          HATCH. Using all his strength he TURNS...          But the handles don't budge. The hatch remains sealed.          He gets to his feet. Can't stand up fully. The capsule is          incredibly cramped.          Rifling through a cabinet, he discovers OPERATIONAL MANUALS          in small, almost illegible type. And a small set of TOOLS.          He spreads them out on the tiny ledge. Taking a wrench, he          BANGS on the escape hatch. A deep, clanging ECHO in the          hull.                                                                                                              44.          So, like any pilot would, he sets about repairing his craft.          At first he puzzles over the electronics and circuitry.          Daunted by the complexity.          There's no time to lose. Using a miniature screw driver, he          begins unscrewing the monitor panel. His fingers are slow          and clumsy in the frigid cold and the screw driver slips out          of his hands.                         LATER          Icicles have appeared over dormant air vents. Colter, ice          crystals in his hair, is shivering more violently. Much of          the capsule's electronics lay open and exposed.          Using copper wires, he's attempting to revive a row of          BATTERIES. They spark once... twice... Nothing.                         COLTER          Come on!          Another SPARK. It shocks him. There's a puff of blue smoke.          He's burned his fingers.          But the battery now has a tiny BLINKING GREEN LIGHT.          Working fast, Colter attaches the copper wires to the leads          on the battery. From inside the engines comes a faint          electric HUM.          FFFT. The monitor awakens. Like a film projector it throws          the image of a PLAYING CARD onto the opposite side of the          craft.          Colter begins replacing the monitor components. As he does,          a pre-recorded AUDIO FILE comes on:          GOODWIN (V.O.)          -- four principle dialects of          Arabic: Egyptian, Gulf, Syrian-          Lebanese and North African. We          will now play you portions of each,          discussing the audible differences          between them.          CLIPS of SPOKEN ARABIC begin to play.          Colter continues reconstituting the computer. The monitor          fills with scrolling lines of COMPUTER CODE.          With an oddly low-tech CLANG, the heart of the machine          reawakens. The air vents come back to life. Heat starts to          return. The icicles begin to DRIP.                                                                                                              45.          Colter sits back in his seat, exhausted from the work.          The monitor switches to a real-time view of the LAB.          Goodwin's chair is there, but Goodwin is not in sight. In a          background distorted by the FISH-EYE LENS, various          technicians wander by.                         COLTER          Hello? Anyone out there? It's me.          He toggles an audio jack. Then a MAN comes walking up.          Frowns into the camera, as if through the foggy lens of          another world.          It's the MAN WITH THE PIPE. The elusive Bohemian scientist          whom Colter glimpsed once before. He will be known as          RUTLEDGE.                         COLTER          Can you hear me?          Rutledge is tinkering with the camera. The image shakes for          a moment as he adjusts it. Then puts on a headset.                         RUTLEDGE          Project designer initiating          sequence and drives check.                         COLTER          I'm here! I'm okay!          Rutledge checks his headset. Not sure he heard right.                         RUTLEDGE          Is someone there?                         COLTER          Yeah. It's me. Colter.          Rutledge blinks in surprise. The blue eyes sparkling.                         RUTLEDGE          Wow! It's you.                         COLTER          The capsule lost power. It's still          pretty cold in here.                         RUTLEDGE          We've been working towards you from          the other side. Nice to have you          with us again. You feeling all          right?                                                                                                              46.                         COLTER          I think so. Who are you?                         RUTLEDGE          The name's Rutledge.                         COLTER          They wouldn't let me talk to you          before.                         RUTLEDGE          No, I guess not. They're pretty          anal around here.          (lights his pipe)          Don't tell them you saw me smoking          in here, okay?          His genial eccentricity is completely at odds with the          military environment. And then it occurs to Colter:                         COLTER          You're the inventor of this thing.                         RUTLEDGE                         (SHRUGS)          I prefer the term project designer.          And sorry for all the secrecy.          Goodwin will be thrilled you re-          established contact.                         COLTER          I don't want to deal with Goodwin          anymore.                         RUTLEDGE          What?                         COLTER          Don't you understand? He's          torturing me. I'm helpless. Can't          you get me out of here?          Rutledge looks uneasy. As a scientist, he's ill-equipped to          deal with personnel issues.                         RUTLEDGE          Why would Goodwin have it in for          you?                                                                                                              47.                         COLTER          He's a remote operator. And remote          operators are risk averse pussies          who sit at control screens in the          rear while actual pilots like me          put their asses on the line in the          field.                         RUTLEDGE          He seems pretty devoted to the          mission.                         COLTER          And just what kind of mission is          this? Talk to me, man. Why won't          he let me save those people on the          train?                         RUTLEDGE          Because they can't be saved.                         COLTER          Why not? I know what's going to          happen. I could take apart the          bomb. Stop the train.                         RUTLEDGE          Yeah but you'd be doing it in the          Source Code, not here. Not in our          own past.          Mystery upon mystery.                         COLTER          What's the difference?                         RUTLEDGE          I'm not sure I should be telling          you this.                         COLTER          Telling me what?          Coaxing the scientist in him.                         RUTLEDGE          It's quantum physics. Linear          algebra. Parabolic calculus. It          would take weeks to explain.                         COLTER          Is Source Code time travel?                                                                                                              48.          Rutledge sighs. Looks at his pipe.                         RUTLEDGE          It's gone out again.                         COLTER          Why can't I save those people on          the train?                         RUTLEDGE          Think of it like this: events in          our past can never be undone.          Einstein proved that.                         COLTER          So...                         RUTLEDGE          So Source Code opens up another          past for you. A parallel past. It          looks the same but it has no          intersection with our own world.          In essence, by sending you back, an          entirely new but utterly parallel          world is created. It looks          identical to ours, but nothing you          do there has any effect on this          reality.          At last some useful information. Colter races to process it.                         COLTER          What happens to the Source Code          world after I leave it?                         RUTLEDGE          I don't know. You can never know          that because you're not there to          observe it. Maybe it vanishes.          Maybe not.                         (UNEASY)          I should tell them you're okay.                         COLTER          What about the bicycle?                         RUTLEDGE          What bicycle?                         COLTER          I see it each time. Right after          the bomb goes off. Like an after          image.                         (MORE)                                                                                                              49.                         COLTER (CONT'D)          There's a bicycle and a stone wall          and a girl. It's a girl from the          train. I don't know where any of          it is supposed to be, but --          Rutledge removes the pipe from his mouth.                         RUTLEDGE          Wait. You see all this after you          leave the train?                         COLTER          Yeah. Just for a split second.          Rutledge is stunned. Like he's discovered some strange new          property to his invention.                         RUTLEDGE          Please tell me you're not making          this up.                         COLTER          No. It's there. What do you think          it means?                         RUTLEDGE          I don't know.          Rutledge looks off camera for a moment.                         RUTLEDGE          They're here. There's no more time          to talk.                         (QUICKLY)          Make sure he sends you back in.          Find out about the after images.          Goodwin appears. Rutledge reluctantly takes off his headset.                         COLTER          Rutledge, wait. Don't leave me.          Rutledge steps away. A pointed look at Colter. Goodwin          settles back into his seat, donning the headset.                         GOODWIN          Welcome back. How are you feeling?                         COLTER          I'm alive. No thanks to you.                         GOODWIN          You find the bomber?                                                                                                              50.                         COLTER          You're a brick wall, Goodwin. A          fucking brick wall.                         GOODWIN          Lower your pulse. The situation          has worsened. The fire on the          tracks caused one of the freight          cars to blow up and release some          kind of gas. As a precaution          they're having to evacuate all of          lower Manhattan.          Evacuate lower Manhattan? The enormity of this. Having to          take it on faith.                         GOODWIN          We may have lost the initiative.                         COLTER          What do you mean? Let's keep          going.                         GOODWIN          We were expecting more from you.                         COLTER          I can give you more. Let me think          for a second.          But Goodwin ignores him. Absorbed in paperwork.                         COLTER          The freight car blows up from the          fire. It spews gas, or what could          be gas -- it might be chlorine, so          they can't take any chances.          Anxious now. Trying to make up lost ground. Whatever it          takes to get sent back in.                         COLTER          So they decide to play it safe and          evacuate parts of New York City.          And maybe that's part of the          terrorists' plan, right?                         (THINKING)          So... so who benefits from that?          What's vulnerable? What's down          there in lower Manhattan?                         (BEAT)          Wall Street.                                                                                                              51.          Surprising himself with this insight.          And now Goodwin is paying attention again. Waiting for more.                         COLTER          Wall Street. That's what they're          going to hit next. The financial          markets.          Goodwin considers this. For the first time, slightly          impressed.                         GOODWIN          I want to show you something.                         CUT TO:          DRIVERS LICENSE PHOTOS          The video monitor shows CHRISTINA's DMV shot. Her wry,          secretive smile.                         COLTER          Did she die, too?                         GOODWIN          Yes. This drivers license photo          was found with her body. We're          creating a database of recovered          identifications as they come in          from the site.          A pang of sorrow. Moving among ghosts.                         COLTER          You sure she's dead?                         GOODWIN          Would you like to see her morgue          photos?                         COLTER                         (QUIETLY)          She was sitting across from me.          GOODWIN (V.O.)          We know.                         CUT TO:          THE VIDEO MONITOR                                                                                                              52.          Playing a GRAINY, HAND-HELD VIDEO of the TRAIN WRECKAGE.          Rescue workers in protective gear picking their way carefully          through the twisted, charred remains of the two trains.          GOODWIN (V.O.)          This was taken shortly after the          rescue crews arrived on scene.          The TIME CODE on the image reads 8:26 a.m.          GOODWIN (V.O.)          We noted the location of each          corpse when we pulled it out.          On screen, rescue workers pull a CHARRED CORPSE out of the          wreckage.          GOODWIN (V.O.)          Prepare yourself. This is unedited          footage.                         COLTER          I told you I didn't want to see          her!          The camera ZOOMS IN on a corpse. Its burned face, like a          piece of rotted fruit, fills the screen. Nevertheless, we          recognize it. And it's not Christina. It's someone else.                         COLTER          That's...          GOODWIN (V.O.)          Sean Fentress.          The man in the mirror. Himself, at least on the train.                         COLTER          He died on the train.          GOODWIN (V.O.)          As a host identity, Sean Fentress          had to have certain basic          similarities to you. Gender.          Blood type. Approximate age. His          head was still intact. We need the          head, you see. To link the two of          you remotely.          They carry the corpse towards a MORGUE TRUCK with a vast          array of SATELLITE COMMUNICATION EQUIPMENT attached to it.                                                                                                              53.          The image freezes, then DISSOLVES back to Christina's DMV          photo.          Silence. Pondering.                         GOODWIN          Would you like to see the other          passenger photos? Perhaps that          would help you.                         COLTER          You still have Christina's body?          The other things she was carrying?          GOODWIN (V.O.)          Why?                         COLTER          I want to know about her.          Everything I can. She's not just          another victim. She's connected to          all this.          INT. TRAIN - MORNING          The rich smell of steaming coffee. The glint of a polished          leather shoe. The crisp click of someone uncapping a          fountain pen. The scenery rushing by -- the blur of trees,          the soft lavender of the morning sky. The swell and pull of          the mighty machine coursing over the rails.          If a train ride could ever be a sensory delight, this is it.          To Colter, every sensation has become even more pronounced,          more intensely real than ever.          CLOSE ON - HIS WATCH - A beep as he sets it to countdown          again from seventeen minutes. The duration of his freedom.          Across from him is Christina. Absorbed with her sketching.                         COLTER          Thirty six dollars and eleven          cents.          She looks up at him.                         COLTER          In your wallet. Right now. Thirty          six dollars and eleven cents.                         CHRISTINA          Is this a magic trick or something?                                                                                                              54.                         COLTER          Yes. In five seconds, a guy's          going to open a can of soda.          4... 3.. 2... 1...          CHK-THOCK!          The Overweight Man opens his soda can. She gives Colter a          quizzical look. He points out the window. They're passing a          neighborhood of modest homes.                         COLTER          We're about to pass a street with          willow trees. Two girls will be          jumping rope. A white dog's going          to run out behind them. A          Dalmatian mix.          In a moment, they pass a scene exactly as Colter described.          Christina's befuddled smile.                         CHRISTINA          You want to tell me how you're          doing this?                         COLTER          Close observation. You could say          I'm a collector of moments.                         CHRISTINA          A collector of moments?                         COLTER          Yes.                         CHRISTINA          That's the cheesiest line I've ever          heard.          She resumes her drawing.                         COLTER          You trained to be an artist.          No response.                         COLTER          You got A's in line drawing and oil          painting. But your work didn't          sell. You took a job answering          phones in a law firm.                         (MORE)                                                                                                              55.                         COLTER (CONT'D)          Six months ago you moved back in          with your parents. Two weeks ago          you put your paints away for good.          The sketch book is all you have          left.                         CHRISTINA          Who the hell are you? Who have you          been talking to?                         COLTER          You.                         CHRISTINA          Me? No. I haven't ever talked to          you.                         COLTER          But we have, Christina. You've          drawn all these people here. You          know their routines. At one point          you thought you were different from          all of them. But now you're not so          sure.          Christina has gone white. Utterly incredulous.          INT. TRAIN DINING CAR - MORNING          A small bar area. Coffee sloshing in styrofoam cups Colter          hands one to Christina and sits down opposite her. A glance          at his watch shows TWELVE MINUTES left.                         CHRISTINA          Okay, you've got my attention. Now          tell me what this is all about.                         COLTER          I need your help.                         CHRISTINA          Are you selling something?                         COLTER          Listen to me. I can't use up any          more time trying to convince you.          I just need you to believe          everything I'm about to tell you.                         CHRISTINA          This better be good.                                                                                                              56.                         COLTER          Bear with me.          (beat, where to begin?)          Your sketch book. Is there a          drawing of me in there?                         CHRISTINA          I'm not sure.                         COLTER          Please, Christina.                         CHRISTINA          Yes, fine! Here.          She flips through it. Shows him a sketch of SEAN FENTRESS.                         CHRISTINA          I did it last week.                         COLTER          The thing is, that's not me.                         CHRISTINA          Give me a little credit.                         COLTER          No. You drew what you saw, but the          person you're seeing now is someone          else. I'm not Sean Fentress. I'm          not really on this train.                         CHRISTINA                         (INCOMPREHENSION)          You're not really on this train.                         COLTER          I'm taking someone's place.          Borrowing it. My name is Colter.          I'm a soldier. And I'm being held          prisoner. And this is the only way          -- the only time and place I have --          to figure out how to escape.          She gives him a blank look.                         CHRISTINA          After three months of riding the          train, this is how you introduce          yourself to me?                                                                                                              57.                         COLTER          I'm serious. Elements in the          American military are using me for          an experiment. I'm not sure          exactly how it all happened, but          I'm at a facility on Nellis Air          Force Base in Nevada. Right now.          As we speak. It's a project called          Source Code.                         CHRISTINA          Source Code.                         COLTER          It's a program. It shifts          identities. It also performs small          amounts of time travel. Or "time          engineering."ù I don't know the          jargon.          He's not getting through to her. It's too bizarre.                         COLTER          I've been put on this train to look          for someone. A criminal. And I          need to find out just enough about          him to keep them putting me back on          this train. Because right here's          only place I can figure out what's          really happening. But I have very          little time. And each time I come          back, you won't remember me and          I'll have to go through this all          over again.                         CHRISTINA          You are, I think, deliciously mad.                         COLTER          Then how do I know all those things          about you if we've never spoken          before?          She doesn't have an answer. Can't easily dismiss him.                         CHRISTINA          Why tell all this to me? There's          lots of people around for you to          talk to.                         COLTER          Because I think you have the answer          to this whole thing.                                                                                                              58.                         CHRISTINA          Believe me, I don't have the answer          for anything.                         COLTER          There's a vision. I keep having          it. It's very powerful. And          you're in it. And there's a          bicycle. And this... old stone          wall. And it's very peaceful.          Does this sound familiar? Like          where you live, maybe?                         CHRISTINA          Stone walls? My parents live in a          house with aluminum siding and an          American eagle over the door. The          only bike is a Harley which the guy          down the street revs at three in          the morning.                         COLTER          The vision must mean something.          It's the only time when I'm not on          the train or in the capsule. Why          else would Rutledge be so          interested?                         CHRISTINA          Who's Rutledge?                         COLTER          Someone who was trying to help me          understand something. Until they          got to him.          He lowers his head. A dead end. No answer. The train          begins to slow down.          ANNOUNCER (V.O.)          Now approaching Newark Station.          Newark Station, next stop.          Colter looks at HIS WATCH. Ten minutes left.                         CHRISTINA          I saw a program on TV. It was          about psychics. They say psychics          have a lot of paranoia.                         COLTER          I don't believe in that shit.                                                                                                              59.          ANNOUNCER (V.O.)          Newark Station.          Through the window, the Old Man, Derek and the College Kid          disembark. Guzman hurries past them to the station house.          ANNOUNCER (V.O.)          All aboard. Doors are closing.                         CHRISTINA          Don't you have people you can go to          for help? Friends, family?          The train begins to move again.          ANNOUNCER (V.O.)          This is a New York bound train.          Next stop, New York - Penn Station.                         COLTER          Most of my friends are in the          military. My dad runs a melon farm          in Alabama.                         CHRISTINA          Maybe now's the time to reach out          to him.          She hands him her cell phone. Colter just holds it in his          hand.                         COLTER          Me and my dad, we don't see eye to          eye. We're just two different          people.                         CHRISTINA          As opposed to being the exact same          person?                         COLTER          Are you always this sarcastic?                         CHRISTINA          This is so not about me.          Colter reluctantly dials. As it rings --                         COLTER          What day is it?                         CHRISTINA          June 11th.                                                                                                              60.                         COLTER          June?          One more thing to puzzle him.          The call connects. An OLDER MAN, DONALD STEVENS, answers.          The gravelly voice of a Midwestern farmer.          DONALD (V.O.)          Hello?                         COLTER          Dad?          Donald doesn't respond.                         COLTER          Dad, it's me. It's Colter.          Again, silence.                         COLTER          Been a while, huh? I'd been          meaning to call you, but --          Click. The line goes dead. Colter looks at Christina.                         COLTER          He wanted me to stay on and take          over the farm but... I had other          ideas.                         CHRISTINA          You're intimidated by him.                         COLTER          What?                         CHRISTINA          You're scared of him. I can see          it.                         COLTER          The hell I am.          Challenged, he redials. Braced for conflict. The call          connects.                         COLTER          Dad, don't hang up. We're going to          talk. I need your help.                                                                                                              61.                         DONALD                         (CONTROLLED ANGER)          Now you listen to me. Whoever you          are, never call here again.          Donald hangs up.                         CHRISTINA          He's still mad at you, huh?                         COLTER          No... it was like he didn't even          know who I was.          Troubled, he hands back her phone. Outside, the EXPRESS          TRAIN flashes by.                         CHRISTINA          I don't know how to help you.          She feels bad for him. And something inside Colter closes.          Retreating inside himself.                         COLTER          Sorry to have bothered you.          He gets up to go. Christina stays where she is.          INT. TRAIN - MORNING          Back in his seat. Lost in the view out the window. The          neighborhoods have given way to Newark's industrial fringe.          Bringing him closer to the inevitable end.          CHRISTINA (V.O.)          I have a friend.          Surprised, he turns to find her there.                         CHRISTINA          She works at the New York Times.          Her name's Stephanie. She's just a          proofreader, but she wants to be          made a reporter. She's always          saying she needs a good story to          bring in so she gets noticed.          Something like this, with a crazy          paranoid angle could really          interest her.                         COLTER          Forget it.                                                                                                              62.                         CHRISTINA          She could do some poking around.          She's already quite suspicious of          the government.          Christina's dialing her phone. Colter turns back to the          window.                         CHRISTINA          I'm getting voice mail.          (into the phone)          Steph, it's Christina. You know          that story you're always looking to          write? I might just have something          for you. I met a guy. His name is          Colter Stevens. He says he's in          the army. He flies helicopters in          Iraq, but now they've put him into          a secret project called Source          Code. Maybe you can look into it a          bit, okay? Call me.          She hangs up. Pleased with herself.                         CHRISTINA          She'll call back. Just wait.          None of it will do Colter any good, but he manages a smile.                         COLTER          Thank you, ma'am.                         CHRISTINA                         (LAUGHS)          Ma'am? How old do you think I am?          He gives her a wary look. Considers.                         COLTER          Twenty five?          She smiles, pleased.                         CHRISTINA          No, but thanks.                         (BEAT)          What did you mean, there's a          criminal on the train? How do you          know that?          Colter looks away. Careful.                                                                                                              63.                         COLTER          I just do.                         CHRISTINA          How can I help you if you don't          tell me everything about this?          INT. TRAIN BATHROOM - MORNING          Colter enters the tiny space. Christina is reluctant to          follow him into the bathroom.                         COLTER          You said you wanted to know.                         CHRISTINA          Can't you just tell me?          He gives her an imploring look. She sighs and squeezes in          next to him.                         CHRISTINA          Try anything and I'll kill you.                         COLTER          Shut the door.          As she shuts the door, Colter gets up on the sink.                         CHRISTINA          What are you doing?          He wrenches back the ventilation panel, then steps aside.                         COLTER          It's up here.          He holds out his hand. She grabs hold and steps up on the          sink. She's not quite tall enough to see into the          crawlspace, so he steps up behind her and lifts her the rest          of the way.                         CHRISTINA          (startled, feels his hands                         ON HER)          What are you --                         COLTER          Just look.          Her blouse brushes his face as he holds her up. A long beat          as she looks inside the overhead space at the bomb.                                                                                                              64.                         CHRISTINA          Is that...?                         COLTER          Acetone Peroxide. It's a liquid          explosive. There's fourteen          cannisters of it. Simple          detonator. Cell phone signal          closes the circuit and boom.          He lowers her. An incredulous beat.                         CHRISTINA          Did you put this here?                         COLTER          No. It was someone else. They          don't know who. That's why I'm          here. To find out.          Watching her. Will she believe him?                         CHRISTINA          We have to tell someone. We have          to stop this.          INT. TRAIN - MORNING          The bathroom door opens and Christina walks quickly away.          Mounting fear. Colter falls into step behind her.                         COLTER          It won't matter. The train's          already...                         CHRISTINA          Already what?                         COLTER          I've been sent here. It sounds          crazy, but it's true. I've been          sent from the future -- from five          hours in the future. This train's          already been blown up.          She backs up. Scared of him. Every right to be.                         COLTER          You wanted to know. Now you know.          She turns and hurries for the exit doors.                                                                                                              65.                         CHRISTINA          This isn't happening. I've got to          get off.          Colter catches up with her inside the exit vestibule. She's          stabbing at the door release button.                         CHRISTINA          Why won't it open?!          Her phone is RINGS. They both stop. She looks at the          number.                         CHRISTINA          It's Steph.                         (HOLLOW)          I told you she'd be interested.                         (ANSWERS)          Hi.          Her eyes are fixed suspiciously on Colter as she listens.          Colter looks outside. Recognizes the terrain. Looks down at          HIS WATCH --          50 SECONDS.          It's awful. Unbearable. He dashes towards the bathroom --          INT. TRAIN BATHROOM - MORNING          Tears open the door. Jumps up on the sink.                         THE BOMB          Sits in the semi-darkness, faintly illuminated by the          bathroom's fluorescent light. As he grabs hold of the bomb,          he hears --          CHRISTINA (O.S.)          Colter...?          Working fast, he unhooks the leads on the detonator, rips          away gaffing tape -- jostling the cannisters of explosives --          CHRISTINA (O.S.)          Colter, I have to tell you          something.          -- and pulls off the detonator cell phone. Ducking back          down, he see Christina standing in the doorway.                                                                                                              66.                         COLTER          Look. Now the fucking thing can't          go off.                         HIS WATCH          Reads 20 SECONDS.                         CHRISTINA          Stephanie did a computer search.          Something in her expression worries him.                         CHRISTINA          She's got a database of all          newspaper articles going back to          forever.                         COLTER          Source Code's classified. It          wouldn't be in a newspaper.                         CHRISTINA          No. But you were. She found you.                         COLTER          She found me? What does that mean?          She stops. Not wanting to go on.          From outside comes the HORN from the approaching freight          train.                         COLTER          Jesus Christ, Christina, are you          going to spit it out?          In his hand, the CELL PHONE RINGS. Colter's eyes light up in          amazement -- the DISPLAY SCREEN is showing the name and          number of the bomber. But before he can read what's there,          Christina's voice finds its way to the back of his brain:                         CHRISTINA          According to the notice, you were          killed in action two months ago.          The world stops.          A SEARING PAIN SLAMS INTO him. He drops the phone and          doubles over. She runs to him --          COLTER'S POV                                                                                                              67.          Everything around him PIXELATES into a hundred thousand          POINTS on an array. Christina's cries become bursts of          static. Flying behind the array come LINES OF COMPUTER CODE -          - the Source Code architecture laid bare.          And then the screen itself seems to melt, giving way to a          frightening series of HALLUCINATORY FRAGMENTS:          INT. HELICOPTER - DAY          A PILOT'S P.O.V. -- desert sand, searingly bright -- flight          deck instrumentation -- a windshield pockmarked with bullet          holes -- the horizon tilting as the helicopter PLUNGES          towards earth amid a chaos of RADIO TRANSMISSIONS:          "...taking a lot of RPG fire... be advised A61 is going          down... A61 is going down hard..."ù          EXT. DESERT - DAY          Black smoke. Boots crunching on sand as we are borne,          P.O.V., a victim on a jostling stretcher.          INT. MEDIVAC HELICOPTER - DAY          Airborne again. The thud of rotors. Through blurred vision          we see medics working furiously to save a life.          INT. C5 TRANSPORT JET - DAY          The smooth, glassy calm of 30,000 feet. The regular          pulsations of a VENTILATOR. Fluids drip down through an IV          bag. Tubes and monitors stacked all around us. Gurneys of          other wounded packed together. The grumble of another,          unseen wounded soldier:          SOLDIER (O.S.)          Never any damn leg room on a plane.          An ALARM begins beeping.          FLIGHT MEDIC (O.S.)          Hey, this guy's crashing...          FADE TO BLACK.          Silence and darkness. Nothingness.                                                                                                              68.          Then, a PLAYING CARD appears, as if through a slide          projector. The Jack of Clubs.          GOODWIN (V.O.)          Captain...?          The playing card flickers, separates into pixels, then          dissolves.          GOODWIN (V.O.)          Captain, allow me to introduce          myself. My name is Goodwin.          You're with Beleaguered Castle.          You are safe. All your needs will          be met here.          Lines of computer code flit across the screen. A blinking          cursor.          FADE TO BLACK.          A tiny APERTURE opens... revealing CHRISTINA. And the          bicycle. And the stone wall. The strange, recurring vision.          GOODWIN (V.O.)          Captain?          The sound drives away the image, replacing it with          THE JACK OF CLUBS          GOODWIN (V.O.)          Captain, just tell me what you see.          Just look and speak.          Groggy breathing. A ragged voice:          COLTER (V.O.)          I see a card.          GOODWIN (V.O.)          Very good. Very, very good.          INT. ISOLATION UNIT          On Colter's face. A deep, cold knot in his stomach.          Shuddering in fear. The truth before him now. Crouching          there, a nightmare, ruling over him.          On the MONITOR, Goodwin looks into the camera. Assessing the          situation.                                                                                                              69.                         GOODWIN          Are you comfortable? Are you warm?          Colter clings to his harness as if to keep from vanishing          entirely from existence.                         GOODWIN          Do you need to urinate?          Colter swallows. Too terrorized to speak.                         GOODWIN          Beleaguered Castle is waiting for          your report.          Goodwin taps his pen on his clipboard. Impatient. He flips          a switch. A blocky COMPUTER VOICE, something out of the          1970s, comes on:          COMPUTER VOICE (V.O.)          Hearing Test. First sequence.          Left ear.          A short SERIES of ELECTRONIC TONES.          COMPUTER VOICE (V.O.)          Hearing Test. First sequence.          Right ear.          The tones cease. Colter remains impassive and inert.                         GOODWIN          Captain, I know you can hear me.          Did you find the bomber?          Goodwin keys in some commands. Forever adjusting.          COMPUTER VOICE (V.O.)          Memory Thread One: "When Lily woke,          she had the bed to herself. She          sat up, bewildered by the          strangeness of her surroundings;          then memory returned, and she          looked about her with a shiver."ù          Goodwin stops the audio.                         GOODWIN          As you're collecting your thoughts,          I should tell you there's been          another development. A terrorist          group has taken responsibility for          bombing the train.                         (MORE)                                                                                                              70.                         GOODWIN (CONT'D)          This began broadcasting over the          Internet a half hour. We've traced          it to central Asia.          ON THE MONITOR          A grainy VIDEO shows an arid, wind-swept plateau of a far-          away desert. It is twilight. A MUJAHIDEEN FIGHTER, his face          hidden by a hooded cloak, sits cross legged before a          flickering camp fire and a tea service.          The fighter rises, picks up a rocket-propelled grenade          launcher, and approaches the camera. The wind whips his          black robes. The figure looks slight. Almost spectral. It          begins speaking to the camera.                         MUJAHIDEEN FIGHTER          (on camera, in accented                         ENGLISH)          By now you have suffered a taste of          divine vengeance. God willing, you          will soon suffer another.          Colter does not raise his head. No idea whether he's even          listening.                         MUJAHIDEEN FIGHTER          These attacks will show you that          you will never be safe. You can          secure your borders. But what can          you do against one of your own          citizens? One who looks like you,          who is blameless, living already          among you, who takes eighty million          of our dollars, a trifle, and          carries out our bidding? You          cannot stop this. Time has run          out.          The image freezes. Then switches back to the live feed of          Goodwin.                         COLTER          Let me talk to Rutledge.                         GOODWIN          So you've decided to speak.                         COLTER          Rutledge. Get him.                                                                                                              71.                         GOODWIN          We appreciate your desire for          further discussion. Perhaps at a          later date.                         COLTER          Will you let me out of here?          Goodwin ignore the question. Continues making notations.                         GOODWIN          Frankly, Captain, we're          disappointed.                         COLTER          Find Rutledge! Now!                         GOODWIN          I have to say that we expected more          from you.                         COLTER          Stop! Stop reading from your          goddamn script!                         GOODWIN          Perhaps we overestimated your          abilities.                         COLTER          I swear to fucking Christ!                         GOODWIN          Please accept the criticism in the          spirit it was given. Perhaps a few          memory exercises would help.                         COLTER          I don't need your criticism and I          don't need your memory exercises,          you gutless freak. And by the way,          that bomb is detonated by a cell          phone. When activated, the phone's          display screen displays caller ID          information. Caller ID. I wonder          if that information would be useful          to Beleaguered Castle.          For a split second, Goodwin looks thrown. But the mask of          the cold clinician goes back up.                                                                                                              72.                         GOODWIN          Very well. We're ready for that          information.                         COLTER          You'll have to send me back. I          didn't get a good look at it. But          I will next time.          Goodwin hesitates. Skeptical.                         GOODWIN          What assurance do we have you'll be          able to read the screen before the          device detonates?                         COLTER          Goodwin, there's no time left.          Send... me... back.          Goodwin's pale, inscrutable face fills the monitor. His eyes          are unblinking. Unfeeling. Nothing behind them.          INT. TRAIN - MORNING          Colter prowls the aisle feverishly. He scans the overhead          luggage rack. Peeks inside a bag. Doesn't see what he          wants. He looks all around... up the rows of passengers...          intently scanning...          There. The Computer Engineer. He's asleep. But clutched in          his hand is what Colter wants -- a CELL PHONE.          CLOSE ON - THE COMPUTER ENGINEER - MOMENTS LATER          The train jolts slightly, waking him up. Looking down, the          Computer Engineer notices that his cell phone has vanished.          Across the aisle, a LATINA OFFICE MANAGER taps him on the          arm. She gestures down the aisle to                         COLTER          Who's walking off with the guy's cell phone. Behind him, the          Computer Engineer gets up.                         COMPUTER ENGINEER          Hey, do you have my phone?          People turn to look. Among them is Christina. Colter just          starts walking faster.                                                                                                              73.                         COMPUTER ENGINEER                         (UPSET)          Dude, give me back my phone!          INT. SECOND CAR - MORNING          The Computer Engineer hurries in. Colter is nowhere in          sight. He RUNS down the aisle and towards the next car.          PAN OVER to the DOOR of the CONDUCTOR'S COMPARTMENT as it          CLICKS SHUT.          INT. TRAIN CONDUCTOR'S COMPARTMENT - MORNING          Breathless, Colter has just finished shutting the door and is          about to use the cell phone when sees          THE CONDUCTOR and a TRAIN OFFICIAL          Looking over at him in surprise.                         COLTER          Sorry. Wrong turn.          Reversing gears, Colter backs out of the compartment.          INT. SECOND CAR - MORNING          Just as the befuddled Computer Engineer disappears into the          third car, Colter steps back into the aisle and walks the          other way.          INT. FIRST CAR - MORNING          Sweating a bit now, Colter is keying in a number on the cell          phone as he walks.          OPERATOR (V.O.)          Operator. City and listing.                         COLTER          Las Vegas, Nevada. Nellis Air          Force Base.          OPERATOR (V.O.)          Connecting you.          A tingle up his spine. The call connects.                                                                                                              74.          POST OPERATOR (V.O.)          Post Operator.                         COLTER          Is this... Nellis Air Force Base?          POST OPERATOR (V.O.)          Yes, sir. How may I direct your          call?          He takes a deep breath.                         COLTER          I'm trying to reach... Captain          Colter Stevens.          Calling himself. Strange. No idea where this is going.          POST OPERATOR (V.O.)          I have no listing for a Captain          Colter Stevens.                         COLTER          Then give me the Combined Air and          Space Ops Center.          POST OPERATOR (V.O.)          One moment, sir.          The call seems to take forever to connect. Then a terse          military VOICE comes on the phone.          VOICE (V.O.)          C Deck.                         COLTER          Who is this?          VOICE (V.O.)          C Deck.                         COLTER          I'm calling for Rutledge. It's          urgent.          VOICE (V.O.)          You have the wrong number.                         COLTER          This is Captain Colter Stevens.          An eerie pause.                                                                                                              75.          VOICE (V.O.)          Would you repeat that?                         COLTER          Colter Stevens. Captain Colter          Stevens.          VOICE (V.O.)          Hold the line.          ANNOUNCER (V.O.)          Now approaching Newark Station.          Newark Station, next stop.          The train slows at it pulls into Newark Station.          Another voice comes over the phone.          GOODWIN (V.O.)          Captain? This is Goodwin.          Colter's heart sinks.          GOODWIN (V.O.)          Where are you, Captain?                         COLTER          Let me talk to Rutledge.                         GOODWIN          Where are you? How did you find          us?                         COLTER          I'm on the train.          The train pulls to a stop.          ANNOUNCER (V.O.)          Newark Station.          GOODWIN (V.O.)          What train?                         COLTER                         (REALIZES)          You don't know. It hasn't happened          yet.          GOODWIN (V.O.)          What hasn't happened?                                                                                                              76.                         COLTER          The explosion.          GOODWIN (V.O.)          What explosion?          ANNOUNCER (V.O.)          All aboard. Doors are closing.                         COLTER          Don't you understand? I'm in it,          Goodwin. I'm calling you from          inside the mission. Inside the          Source Code.          A beat of stunned silence. The train begins moving.          ANNOUNCER (V.O.)          Next stop New York Penn Station.          GOODWIN (V.O.)          This contact is ill-advised. I          must ask you to hang up.                         COLTER          Goodwin, I'm trapped in this and I          can't get out.          GOODWIN (V.O.)          You have no authorization to be          making this call. Goodbye.                         COLTER          No! Wait! Don't hang up! Forget          authorization. There's no time.          Soon you're going to find out what          happened on this train. And then          your own day is going to start.          But not until then. Right now it's          just you and me talking. And          you're a different Goodwin than the          one I'm going to go back to in a          few minutes. You're separate from          him. Separate worlds. Do you          understand?          GOODWIN (V.O.)          I think so.                         COLTER          Good. Now there's a lot of secrecy          in all of this, and you have your          reasons for that.                         (MORE)                                                                                                              77.                         COLTER (CONT'D)          But here and now, just this once, I          need to ask you something. And you          need to tell me the truth.          GOODWIN (V.O.)          I'd rather you not ask me anything,          Captain.                         COLTER          I'm going to ask it.          GOODWIN (V.O.)          I should terminate this call.                         COLTER          Jesus, Goodwin, how can I get          through to you? You're not just a          soldier. Somewhere inside you're a          human being, too. Somewhere inside          you've got to know that this is          wrong. Source Code is wrong. And          if you can't grasp that, if you          just follow orders, then you're          just as much a prisoner as I am.          The car SHUDDERS as the EXPRESS TRAIN FLASHES BY. Quiet          returns as it recedes.          GOODWIN (V.O.)          What's your question?          Surprised, Colter raises his head. Draws a breath.                         COLTER          Did I survive that helicopter crash          in Iraq?          Silence. Colter shuts his eyes.                         COLTER          Answer me. Did I survive that          crash?          Another pause. This is crushing Colter.                         COLTER          Goodwin.          GOODWIN (V.O.)          Not physically.                         COLTER          What?                                                                                                              78.                         GOODWIN          You did not physically survive the          crash.          A terrible chill comes over Colter. He swallows. Trying to          stay brave.                         COLTER          Not physically? Fuck. At least          give me an answer I can understand.          GOODWIN (V.O.)          We've kept alive certain areas of          your brain.                         COLTER          But... the capsule I'm in...          GOODWIN (V.O.)          A manifestation. Your way of          making sense of it.          This is crushing. Colter fights back terror.                         COLTER          You had no right.          GOODWIN (V.O.)          As a soldier...                         COLTER          I was a soldier. Then. But now?                         (WHISPERS)          After death?          GOODWIN (V.O.)          It was the only way. You couldn't          have a body and be sent back into          the Source Code.                         (BEAT)          What is the status of your mission?          Is it a success?                         COLTER          You really want to know?          GOODWIN (V.O.)          I suppose not. You're right to          keep it from me.                         COLTER          That's what we do. Keep stuff from          each other. Will this ever end?                                                                                                              79.          GOODWIN (V.O.)          End?                         COLTER          How can I get out of this?          GOODWIN (V.O.)          You must realizes the army's made          an investment in you. You'll be          used again.                         COLTER          How?          GOODWIN (V.O.)          Imagine a turntable. With a record          spinning on it. All we do is lift          up the needle. The music stops.                         COLTER          And then what?          GOODWIN (V.O.)          Then we wait. Until another          mission. And the needle comes down          again. You won't remember any of          this. We'll start with the playing          cards. Electronic tones. Simple          memory exercises. Bit by bit,          we'll revive your cerebral          capacities once more.          The barbarism of it. Digital slavery.                         COLTER          How many times have I done this?          GOODWIN (V.O.)          Does it matter?                         COLTER          No one knows I'm here. No one can          help me.          GOODWIN (V.O.)          In stimulating your cortex, they're          prolonging your life. Many          soldiers would find that preferable          to death.                         COLTER          You can't do this. I served my          country. I already gave my life.                                                                                                              80.          GOODWIN (V.O.)          The courts.                         COLTER          What?          GOODWIN (V.O.)          The courts know you're here.                         COLTER          Military court or civilian court?          GOODWIN (V.O.)          Military.          Colter finds no comfort in this.          GOODWIN (V.O.)          I'm sorry you found out about all          of this. That wasn't our          intention.                         COLTER          Does that make it any less wrong?          No answer. Colter looks down at his watch. Time is running          out. And there's absolutely nothing he can do.                         DISSOLVE TO:          COLTER'S FACE          Ashen. Almost lifeless. Around him is the darkened steel          cocoon of the          INT. ISOLATION UNIT          Its appearance has altered slightly, given Colter's new          awareness of what this really is. The capsule is even more          claustrophobic. There are fewer controls. Even less light.          A shadow world.          The monitor is blank. He shouts from the void --                         COLTER          Goodwin?!          Rutledge appears. Drops into the seat and puts on the          headset. Fiddles with his pipe as a way to avoid looking at          the camera.                                                                                                              81.                         RUTLEDGE          How's it going? Any breakthroughs?                         COLTER          I finally get it, Rutledge. You're          the good guy, Goodwin's the bad          guy. Working together, you get          what you want out of me. Why          didn't I see it before?                         RUTLEDGE          Believe me, Captain, I'm on your          side.                         COLTER          Drop it. I know about the          helicopter crash. I know what          they've done with me.                         RUTLEDGE                         (STRUGGLING)          Look, it's been a long day. For          all of us. But now we've got to          bring this home and catch a killer.                         COLTER          What's in it for me?                         RUTLEDGE          Come on. These guys are serious.          Help me out. My ass is on the          line, too, you know.                         COLTER          You can do better than that. They          sent you here to offer me a deal.                         RUTLEDGE          If you think I'm enjoying this,          you're wrong.                         COLTER          What's their offer? What can they          possibly threaten me with after so          colossally fucking me? Spit it          out, you spineless turd.          Rutledge's face goes red. Quite possibly no one has ever          spoken to him like this before. After a sputtering pause,          Rutledge's mouth hardens.                                                                                                              82.                         RUTLEDGE          The government can decide to take          an interest in people. People like          your father with his struggling          farm. It can discover things like          unpaid property taxes. It can call          in his equipment loans or tie him          down for years in environmental          litigation. On the other hand, it          can pay him handsomely for mineral          deposits he never knew were there.          As distant and problematic as your          relationship was, surely you'd like          the chance to do something for him.          A beat of silent outrage from Colter.                         COLTER          Those after images I saw. You          never knew about them. They          weren't part of Source Code          architecture, were they?                         RUTLEDGE                         (HASTILY)          They're meaningless. Nerves          firing. Brain chemistry.                         COLTER          You don't believe that. I've been          to places you haven't. I've          crossed and recrossed that line          between living and dying. And when          I do, that veil gets lifted for          just a second. And what's there is          real. Maybe it's a vision of the          next world, but I can see it.                         RUTLEDGE          You can see it. But you can never          get there without our help.                         COLTER          Get there? What do you mean?                         RUTLEDGE          Our offer. Maybe we can get you          there. In return for your          completing the mission.                         (BEAT)          They'll let you die. I'll shut off          your life support and you'll simply          slip away.                         (MORE)                                                                                                              83.                         RUTLEDGE (CONT'D)          Just like the good Lord intended          you to do a few months back.          A fearful beat. Negotiating over his own soul.                         COLTER          You'd never do it. You wouldn't          have to. You could just flip the          switch and start me back up again          unaware. For all I know, you've          made this deal with me before.                         RUTLEDGE          Actually, we haven't. Your          operational awareness has become          too great. If you found out the          truth about yourself once, you          might do so again. As for Source          Code, I'm sure we can find other          servicemen coming back from          overseas with wounds just like          yours.                         (PATRONIZING)          Do you have the courage to serve          your country one final time?          Colter's eyes bore into Rutledge.                         COLTER          I'm going to find you, Rutledge.          Someday. Somewhere.                         RUTLEDGE          (retreating from the                         CONFRONTATION)          The display screen on the detonator          was a useful and exciting insight          you made. This time, make it pay          off. Get the information on the          screen. But let the bomb explode.          We need the force of the explosion          to help integrate you quickly back          into the present.          The Source Code machinery is already beginning to HUM.          Rutledge excitedly keying in system commands.                         COLTER          You hear me? Somehow, I'm going to          find you.                         RUTLEDGE          I doubt that.                                                                                                              84.          There's barely time for Colter to grab onto the harness          restraints before the machinery goes into a deafening HOWL.          THUNK.          Colter's body convulses and goes limp. Unconscious, he sags          in his seat, held in by the harness. Everything SWITCHES OFF          AND GOES DARK.          A split second later, the capsule comes back to life again.          As if the plug were simply put back in.                         RUTLEDGE          Captain?          Colter JOLTS AWAKE. Disoriented. Thrashing to get free.                         RUTLEDGE          It's okay. Calm yourself. You're          back.          Colter exhales. Shuddering. He's just completed another          Source Code.                         RUTLEDGE          What happened?          The tentacles of the nightmare slowly releasing. Replaced by          the oppression of being back in the capsule. Back in          Rutledge's power.                         RUTLEDGE          Was the bomber's identity on the          cell phone?                         COLTER          I think so. But there wasn't time          to read the screen. As soon as it          rang the bomb went off.                         RUTLEDGE                         (IMPATIENT)          What about the phone itself? Make,          model, product identification          number.                         COLTER          I was unable examine the phone          without separating it from the          detonator -- which I was instructed          not to do.          His delivery is different now. Impersonal. Distant.                                                                                                              85.                         RUTLEDGE          Did you make any other progress?          What in heck's name did you do for          those seventeen minutes?          Colter does not answer.          The machinery again STARTS UP. Colter tenses, bewildered.          Eyes dart accusingly to the screen.                         COLTER          Wait. What are you --          THUNK.          Again, he convulses and goes limp.          Click. Darkness. Everything POWERS DOWN...          ... And BACK UP again -- controls, monitor, machinery.          Colter GROANS and opens his eyes. Gripped by another terror.          Returning from yet another trip on the train. Another bomb          blast. Death and resurrection. Rutledge looks in on him          with impatience.                         RUTLEDGE          We can do this all day. Until you          get it right.                         COLTER          Please... I don't feel good...                         RUTLEDGE          I don't doubt it. Who's the          bomber?                         COLTER          I don't know... I honestly... I          can't keep...          The HUMMING again. He's helpless. An insect on a pin.          Colter tears at his restraints, ready to bash his brains out          against the controls. He SCREAMS...          INT. TRAIN - MORNING          ... and, in sudden freedom, surges up out of his seat with a          cry. Around him startled passengers look over in confusion.                         CHRISTINA          Hey!                                                                                                              86.          Colter, back in his navy jacket, slacks and shirt, has          pitched forward into Christina.                         CHRISTINA          You want to get off me?          The Overweight Man, wide eyed in surprise, has his finger          poised to open his can of soda.                         COLTER          Go ahead! Open your fucking soda!          CHK-THOCK! The Overweight Man complies. Some half-muttered          reproaches, then most people go back to what they were doing.                         CHRISTINA          What's wrong with you, anyway?          She glares at him at he stands up. He can't respond.          Despair surges through him. He stumbles off down the aisle.          But where can he go? There is no freedom. No escape.          Imprisoned in both worlds.          From her seat, Christina watches him go. Sensing the torment          in him.                         EXIT AREA          Colter is slumped in a corner. Christina appears. Taps him          on the shoulder.                         CHRISTINA          You okay?          He eyes her furtively. Like a cave man who's never seen          another human being before.                         CHRISTINA          You're not okay.          He's ghastly pale. He's sweating profusely.                         COLTER          Ma'am, please... return to your          seat.          Footsteps. The sound of jangling KEYS.                         CONDUCTOR          Ticket.                                                                                                              87.          The conductor takes up position in front of him. As          implacable as Rutledge, in his way.                         CONDUCTOR          Ticket, please.                         CHRISTINA          He's not feeling well.                         CONDUCTOR          He still needs a ticket.          Colter makes no move to respond. No more concern for          anything.                         CONDUCTOR          Have it your way, pal.          He takes out his book to write Colter up.                         CHRISTINA          Wait. I'll pay it.                         CONDUCTOR          I have no idea where he got on.          Full fare's $22.50.                         CHRISTINA          All right, all right.          Getting out her wallet, she pays the conductor. He eyes her          with disapproval, then shambles off.                         CHRISTINA          I see customer service is alive and          well on New Jersey Transit.                         COLTER          Why did you just do that?                         CHRISTINA          The ticket? I don't know. You          looked a little lost.          The gratitude in his look makes her self conscious. She          turns to go.                         COLTER          Will you do me a favor?                         CHRISTINA          What's that?                                                                                                              88.                         COLTER          Get off the train.                         CHRISTINA          What?          ANNOUNCER (V.O.)          Now approaching Newark Station.          Newark Station, next stop.                         COLTER          Please. Just get off the train.          Her puzzled look. The train begins to SLOW DOWN.                         CHRISTINA          This isn't my stop.                         COLTER          You shouldn't have been on this          train, Christina. You should be          living another life. Not spending          it answering phones for lawyers.                         CHRISTINA          How do you...?          A group of passengers approaches the exit area. We've seen          them all before: Derek, the Old Man, the College Kid. And          the small encounters: shuffling around, positioning at the          doors, and the College Kid tapping Derek on the arm, holding          out Derek's wallet.                         COLLEGE STUDENT          Hey, you dropped this.                         DEREK          (relieved, takes it back)          Wow. Thanks.          The train stops. The doors OPEN.          ANNOUNCER (V.O.)          Newark Station.          Derek, the Old Man and the College Kid get off. A second          later, Guzman bursts past them, making his nauseated run for          the station.          Leaving just Colter and Christina there. The doors stand          open, invitingly.                                                                                                              89.                         COLTER          Everyone has a destiny. And this          isn't yours.          He steps out onto the platform. Holds out his hand for her          to join him. A coaxing look.          She's incredulous. This guy. His words. This whole moment.                         CHRISTINA          Who in the world are you?                         COLTER          Just do it. Stop being afraid.          Believe in yourself.          He waits for her. Only two steps away.          ANNOUNCER (V.O.)          All aboard. Doors are closing.          She blinks. The spell breaks. Those two steps prove to be          two much.                         CHRISTINA          Leave me alone.          She retreats back into the car. Colter is heartbroken.          About to pursue her, he happens to look over and see                         DEREK          Instead of going directly to the station house, Derek          continues walking down the platform alongside the train, as          if intending to reboard further down.          And then it happens.          With a quick motion Derek TOSSES SOMETHING through an open          door of another car, then heads quickly away towards the          station house.          With no time to think, Colter slips back on board just as the          doors slide shut.          INT. TRAIN - MORNING          The train begins moving. Christina is nowhere in sight.          ANNOUNCER (V.O.)          This is a New York bound train.          Next stop New York - Penn Station.                                                                                                              90.          Intrigued, Colter leaves the exit door area...          INT. SECOND CAR - MORNING          ... Strides down the aisle of the second car... and reaches          the next set of                         EXIT DOORS          There's nothing there. Whatever Derek tossed inside is gone.          Did someone pick it up? Colter looks up the aisle and then          the other way into the next car. No one there.          Once more he examines the exit area. Gets down on his knees.          Then he spots it -- an OPENING between the floor and one of          the wall panels, only a few inches high.          And there something lies. Colter slides it out.          Derek's WALLET. Intentionally left here. The same wallet          the College Kid gave back to Derek earlier.          Opening it, Colter pulls out Derek's DRIVER'S LICENSE.          INT. ISOLATION UNIT          The Source Code has finished. The monitor shows just the          empty chair. Finally Rutledge returns to his seat.                         RUTLEDGE          They've searched the wreckage and          found the wallet. It was under the          wall panel. Just as you said.          An awkward dynamic between them. They despise each other but          have to work together.                         COLTER          Believe me, he's our guy. He          tossed his own wallet back on the          train. Only reason he'd do that...                         RUTLEDGE          (finishing his thought)          ...is if he wanted us to think he          died in the explosion. I know.                         (BEAT)          We looked into his profile.                         (MORE)                                                                                                              91.                         RUTLEDGE (CONT'D)          Derek Frost is a commodities          trader, with a wife, two children          and a promotion one month old.          He's an emergency preparedness          volunteer on his office floor, for          God's sake.                         COLTER          You saw that terrorist video --          they said it was one of us. One of          our own.                         RUTLEDGE          If he's really the one, you can          find out the rest of his plan.                         COLTER          How?                         RUTLEDGE          By any means necessary. There is          no Geneva Convention in the Source          Code.                         COLTER          Torture him, you mean.                         RUTLEDGE                         (SHRUGS)          Find out the plan, before it          happens here. And then I'll let          you die.          Their grisly bargain.                         RUTLEDGE          In the conductor's compartment          there's a fully loaded 9 millimeter          handgun locked in a safe. Think          you can remember the combination?          INT. TRAIN - MORNING          Christina is absorbed in her sketch book. Across from her,          Colter watches. A stranger to her again. It hurts too much.          She feels his eyes on her. When she looks up, he's gone.          INT. TRAIN - MORNING          As Guzman exits the bathroom, he almost crashes into Colter,          who's waiting right there.                                                                                                              92.                         GUZMAN          Excuse me.                         COLTER          Assalam'alaikoom.          Squeezing past, Guzman does a double take to hear the          standard Arabic reply.          INT. TRAIN BATHROOM - MORNING          Reaching into the overhead crawl space, Colter once again          unhooks the cell phone detonator from the bomb.          Sitting down on the toilet seat, he dials 4-1-1 on the cell          phone.          OPERATOR (V.O.)          What listing?                         COLTER          The New York Times.          INT. TRAIN - MORNING          Christina's CELL PHONE RINGS. She gets it out.                         CHRISTINA          Hello?          STEPHANIE (V.O.)          Christina? It's Stephanie. Where          are you right now?                         CHRISTINA          Going to work. Why?          STEPHANIE (V.O.)          The strangest thing. The phone          rang at my desk and some guy I          don't know said the train you're on          isn't safe and that you should get          off at the next stop. Then he hung          up.                         CHRISTINA          What?          The train begins to SLOW DOWN.                                                                                                              93.          ANNOUNCER (V.O.)          Now approaching Newark Station.          Newark Station, next stop.                         CHRISTINA          I don't understand.          STEPHANIE (V.O.)          Maybe you should get off. Are you          okay?          The station platform slides into view.                         CHRISTINA          I'm fine. Everything's normal. Is          there something on the news? Some          kind of alert?          STEPHANIE (V.O.)          Nothing that I've heard.          EXT. NEWARK PLATFORM - MORNING          The train pulls to a stop. Passengers begin to get off.          ANNOUNCER (V.O.)          Newark Station.          INT. TRAIN - MORNING          Christina is out of her seat, debating.          STEPHANIE (V.O.)          I think you should get off.                         CHRISTINA          I'll be late for work.          STEPHANIE (V.O.)          The hell with work, Christina! You          hate that job anyway.                         CHRISTINA          It's probably a joke. A weirdo guy          from somewhere.          She sees Colter down in the exit area. They lock eyes.          And somehow she knows. He made the call. Colter quickly          disappears into the other car.                                                                                                              94.          INT. SECOND CAR - MORNING          The doors stand open to the platform. Just then Derek's          WALLET goes skidding back on board, disappearing under the          wall panel. A second later, Colter reaches the exit area.          ANNOUNCER (V.O.)          All aboard. Doors are closing.          EXT. NEWARK PLATFORM - MORNING          The train doors shut. Colter is now out on the platform.          Christina is not there. Concerned, walking quickly forward,          Colter looks through the windows...          And finds her staring back at him. Still on the train. A          strange moment between the two of them.          Once again he's failed to save her.          They watch each other for as long as possible, until the          train pulls away.          INT. TRAIN - MORNING          As the train SPEEDS UP, Christina sits down again, lowering          her phone.          STEPHANIE (V.O.)          Did you get off...?                         CHRISTINA          No. I'll call you back.          She hangs up. Disturbed. As if she's failed some test.          But what test? Why this weird feeling?          ANNOUNCER (V.O.)          This is a New York bound train.          Next stop New York - Penn Station.          The train SPEEDS UP. Anxiety creeps into her face. Looking          around, the tranquility of the passengers begins to seem          ominous, hinting that she's made the wrong choice.                                                                                                              95.          INT. TRAIN CONDUCTOR'S COMPARTMENT - MORNING          The conductor enters. About to pour himself a cup of coffee                         WHEN --                         CONDUCTOR          Huh?          The metal door to THE SAFE has been OPENED.          INT. NEWARK STATION - MORNING          Inside the quiet lobby, Derek is heading for the outer doors          to the parking lot, when:          COLTER (O.S.)          Derek Frost.          Colter is walking towards him, holding up Derek's WALLET.                         COLTER          You forget something?                         DEREK          Gosh. Is that my wallet?          As he goes to take it, Colter GRABS HIM.          INT. NEWARK STATION - MEN'S ROOM - MORNING          Behind the closed door at the end stall comes the sound of          GUZMAN VOMITING.          BANG - The men's room DOOR flies open -- Colter DRAGS Derek          inside.                         DEREK          What the hell, man? What the          hell???                         COLTER          You see this?          Colter pulls out the DETONATOR CELL PHONE -- the one he took          off the bomb. Holds it inches from Derek's face.                         COLTER          Now you can't blow it up.                                                                                                              96.                         DEREK          What is this? Get away from me!          The BARREL of a 9 MM PISTOL. Aimed right at him.                         COLTER          Believe me, I'm very accurate with          one of these things.                         DEREK          Jesus.          Derek raises his hands. Sweating. All fright. Like a          decent man, terrorized.          It gives Colter pause. Does he have the right guy?          A toilet FLUSHES. The last stall door opens and Guzman          emerges. Stops cold as Colter swings the pistol at him.                         COLTER          Stay there, my man.                         DEREK          Don't hurt me.                         COLTER          Stop acting, for Chrissakes.                         DEREK          Keep my wallet. Take my watch.          Take anything you want.          Unprompted, Guzman takes out his own wallet and sets it on          the counter. Calmer than Derek. Accustomed to trouble.                         GUZMAN          There. Now you have two wallets.          Take them and go.                         COLTER          Shut up!          Tensing. This isn't supposed to happen like this.                         DEREK          Please. I have a family.                         COLTER          What about those other passengers?          Don't you think they had families?                                                                                                              97.                         GUZMAN          Just what is this about?                         COLTER          This man's a terrorist. He planted          a bomb on the train.                         DEREK                         (HALF LAUGHS)          What?          Click. Colter pulls back the hammer and savagely JAMS the          barrel of the pistol into Derek's cheek.                         COLTER          What's the next attack? Who else          are you going to kill today, huh?                         DEREK                         (IN TEARS)          Oh God... Oh God...          Guzman takes a step towards Colter.                         COLTER          One more step, asshole.                         GUZMAN          Don't treat him like this. He's          not an animal. Neither are you.                         DEREK          Listen to him. For God's sake I'm          not a terrorist...!          A URINE STAIN spreads on Derek's pants. He looks down,          ashamed. Colter keeps the gun on him.                         COLTER          Piss all you want. You took eighty          million dollars to kill hundreds of          people today.                         DEREK          Eighty million dollars? I swear to          you...                         COLTER          Then what about the wallet, huh?          Why the fuck did you twice try to          leave your wallet on board?                                                                                                              98.                         DEREK          I... I...                         COLTER          Time's up! What is it?! What is          the next attack! So help me, I'll          put this bullet through your brain.                         DEREK          I don't know what you're talking          about!                         COLTER          I'm going to do it.          Tightening his finger around the trigger. Tears are          streaming down Derek's face. But he's not going to talk.                         DEREK          I would never hurt anyone. I have          a family. I guess you'll have to          kill me.          But Colter can't. He can't shoot him. He lowers the gun.          Disgusted with himself. Why can't he do it?                         GUZMAN          You see? You are a human being.          Speaking gently. Trying to calm him. Even as Colter feels          like he's failed.                         GUZMAN          This can be worked out. We can          listen to each other.          The temperature cooling. Derek's nodding with him.                         DEREK          Anything you want... Please...          The detonator CELL PHONE RINGS, startling all of them.          Confused, he answers the phone.                         COLTER          Hello.          CHRISTINA (V.O.)          Who is this?                         COLTER                         (STUNNED)          Christina?                                                                                                              99.          CHRISTINA (V.O.)          Are you the guy who was sitting          across me on the train?           Colter looks at his watch. The countdown passes THREE          MINUTES. 2:59... 2:58...                         COLTER          How can you be calling this number?          CHRISTINA (V.O.)          My friend had it. From when you          called her -- to try and get me off          the train. Who are you? What do          you want?          Derek and Guzman cautiously lower their hands. Watching in          confusion.                         COLTER          I was trying to warn you.          CHRISTINA (V.O.)          About what?                         COLTER          I'm not sure that it matters now.          CHRISTINA (V.O.)          Talk to me. I feel that something          terrible's going to happen. Do I          need to get off the train? Am I          going to die?          He can hear the b.g. noise of the train on the other end.                         COLTER          I'm right here, okay? Don't be          afraid.                         CHRISTINA                         (ANGUISH)          Why didn't I get off the train?                         (SIGHS)          I knew I should have driven in          today. But then there's the          bridges, right? You never know          when they'll be jammed.          That stirs something in the back of Colter's mind.                         COLTER          What did you say?                                                                                                              100.                         CHRISTINA          The bridges. You just never know          when they'll be jammed.          His heart starts racing.                         FLASHBACK          On the train. Earlier. Derek in his seat, on his cell          phone. Colter nearby, overhearing him:                         DEREK          Trust me, by one o'clock, the          bridge is going to be jammed...          BACK TO SCENE          Colter looks to Derek. His stomach sinks.                         COLTER          "By one o'clock, the bridge is          going to be jammed."ù That's what          you said. You knew. You knew          there was going to be an          evacuation. You knew before it          happened. All those people walking          across the...          The realization hits.                         COLTER          They're going to bomb the bridges.          While they're full of people.                         ON DEREK          A slight flicker travels across Derek's face. Like a          disturbance on a surface of deep water.          CHRISTINA (V.O.)          What are you talking about. Who's          going to --          Over the phone comes the HORN from the passing FREIGHT TRAIN.          Colter presses the phone to his ear, trying to hear her.                         COLTER          Christina? Just hang in there.          You'll be okay.          A HAND closes over his gun. Before Colter can react, Derek          TURNS THE GUN BACK INTO HIM --                                                                                                              101.          BLAM! BLAM!          DEREK SHOOTS COLTER TWICE IN THE CHEST.          Colter staggers back -- slumps to his knees. Guzman cries          out -- makes a run at Derek -- who spins and --          BLAM!          SHOOTS GUZMAN DEAD.          Spent shell casings roll to a stop on the tile floor. A          terrible silence.          CHRISTINA (V.O.)          What's happening? Are you okay?          Are you there?          Derek picks up the phone and terminates the call. He coldly          evaluates the two men dying in pools of blood. Then calmly          walks out.          As the life slips from Colter's eyes, he manages to focus on          his beeping WATCH --          Where the seventeen minutes have RUN OUT. And the world          BLEACHES WHITE...          In the haze comes the mystical vision again -- but deeper in:          THE STONE WALL now curves over our heads, becoming a TUNNEL.          CHRISTINA walks away from us -- down into the tunnel. The          far end is ablaze in WHITE LIGHT.          We try calling to her. But our voice is weak and faint. She          continues towards the light... and we do not follow.          INT. ISOLATION UNIT          The monitor is dark. Everything is still. Colter in his          seat. For long seconds we watch his face.          INT. ENGINEERING LAB - NELLIS A.F.B. - DAY          A jarring transition. We are now away from Colter's P.O.V.          and in the real, physical environment of the Source Code          operations center. Military and civilian personnel work amid          mysterious scientific equipment.                                                                                                              102.          Rutledge talks on a wall phone. Like a team player serving          his country.                         RUTLEDGE                         (INTO PHONE)          Yes... We appreciate that... I just          hope the information has come in          time to clear the bridges... Thank          you, sir.          When he hangs up, he turns to Goodwin and a few other          TECHNICIANS. Naked ambition courses through him.                         RUTLEDGE          Whether or not they can stop the          bridge attack, we came up with the          intelligence. And that virtually          assures all of our futures. This          is just the beginning, guys.                         (TO GOODWIN)          You did a great job, Goodwin. You          operated our captain with skill and          professionalism. What's that you          have?          Goodwin opens an envelope and slides out a CITATION.                         GOODWIN          The Army investigated Colter's          helicopter crash in Iraq.          Apparently he stayed behind to fly          protective cover for a disabled          convoy until he ran out of fuel.                         RUTLEDGE          What's this, then? Some kind of          posthumous reprimand for reckless          flying?                         GOODWIN          No. It's the Silver Star.          Something in Goodwin's voice momentarily checks Rutledge's          breezy good humor.                         RUTLEDGE          Send it on to his father. It'll          ease the pain of his son's death.                         GOODWIN          I thought I might inform the          captain of the citation.                                                                                                              103.                         RUTLEDGE          Better not. We can't risk          acquainting him with the citation          in case the memory wipe isn't          entirely clean.                         GOODWIN          The memory wipe?                         TECHNICIAN          I thought we were going to let him          die.                         RUTLEDGE          I know, I know. But now the          Director of National Intelligence          is sure to want a closer look at          our program, and until we train up          another candidate, we'll need to          keep Colter around to demonstrate          it.                         TECHNICIAN          Oh.                         RUTLEDGE          This thing is much bigger than any          one of us. Goodwin, please clear          Colter's memories and re-initialize          Source Code.          Rutledge walks away. The technician gives Goodwin a look of          disgust. Goodwin carefully replaces the citation into the          envelope.          INT. CONTROL CONSOLE - DAY          Mission Control. Panels, consoles and screens. Goodwin          takes a seat at his workstation. He swings a microphone up          and goes to flip a switch.          Then stops. Unsure how to proceed. Looks down at the          envelope with the citation in it.          INT. ISOLATION UNIT          Inside the capsule, the silence continues. Colter thinks to          himself. The MONITOR then comes on.                                                                                                              104.                         GOODWIN          Captain, this is Beleaguered          Castle. Acknowledge transmission.          INT. CORRIDOR - NELLIS A.F.B. - DAY          Rutledge walks by himself. Reflecting. Pleased with          himself. Under his breath, he acknowledges the praises he's          imagining in his head:                         RUTLEDGE          Thank you, sir... I appreciate your          faith in me... It's a great day for          our country.          INT. ISOLATION UNIT          Colter looks out at Goodwin. A beat of difficult silence.                         GOODWIN          How are you feeling? Are you          comfortable?                         COLTER          Just do it.                         GOODWIN          Come again?                         COLTER          Just do it. I knew they wouldn't          let me die. At least you can make          me forget all of this. I hope.          Goodwin stares at his hands. Unmoving.                         COLTER          What are you waiting for? You're          just doing your job. I'd do the          same thing if I was you. At least          you've got a shot at saving those          people on the bridges.                         GOODWIN          I doubt it.                         COLTER          You don't think they'll save them?                                                                                                              105.                         GOODWIN          No. I meant, I doubt you'd be          doing this, if you were me.          An unusually personal statement, coming from Goodwin.                         COLTER          Look, someone had to be where          you're sitting, and someone had to          be in here. Turned out it was you          and me.                         (THEN)          Just do it. I'm tired.                         GOODWIN          Would you like to see Christina          again? One last time?          Colter's not sure he heard him right.                         COLTER          I don't understand.                         GOODWIN          Seventeen minutes. That's all I          could give you. No mission to          fulfill. Just... the two of you.                         COLTER                         (STUNNED)          Why would you do that?                         GOODWIN          As a favor. One prisoner to          another.                         COLTER          Prisoner?                         GOODWIN          You were right. About me. And          about Source Code. We've kept too          much from each other.          An odd sensation comes over Colter.                         GOODWIN          I usually report in at 0600. Today          I was there early. I was there          when the call came in. Your call.          His call? They share a long look.                                                                                                              106.                         COLTER          No... There's no way... There's no          way you could have...          Goodwin just smiles.                         COLTER                         (PROTESTING)          How? The Source Code was a          parallel world! You told me so!          It's hermetically sealed. Nothing          I did on that train would have any          effect on this reality!                         GOODWIN          You were on the train. I was not.                         COLTER          But...                         GOODWIN          We didn't know if any bleed-          throughs could occur. The          implications would be staggering.          That's why you were told to avoid          unduly influencing events.                         COLTER          You're saying I could have saved          those people?!                         GOODWIN          No. Not in our world. The time          currents are too strong. But minor          alterations, here and there, a          phone call, say, those might slip          through. We didn't know for sure.          But you proved it.          Colter is thunderstruck. Unable to grasp it.                         GOODWIN          I've been thinking about the things          you said on that call. As the day          passed, the more I understood them.          And now, I guess we've caught up to          each other.                         COLTER          Man. Just when I think I          understand this...                                                                                                              107.                         GOODWIN                         (NERVOUS)          There's not much time. They think          I'm re-initializing the system.          One last look at her. That's all I          can give you. If that.                         COLTER          They'll nail your ass for this.                         GOODWIN          If I had any feelings, I'd worry          about that. But, as you've          maintained, I do not.          The strange path of their relationship. Ending at last at          simple, grudging respect.                         COLTER          Roger that.          MACHINERY BEGINS TO HUM.                         GOODWIN          This is Beleaguered Castle signing          off. Acknowledge final          transmission.                         COLTER          Final transmission acknowledged.                         (BEAT)          Thank you, Goodwin.          Goodwin interrupts his preparation for a last look at Colter.          The noise gets louder. The capsule begins to shake.          Colter touches the monitor. His fingers imparting to the          last image of his world a quiet benediction.          INT. CORRIDOR - NELLIS A.F.B. - DAY          Sipping a cup of coffee, Rutledge lingers at a window,          contemplating his future.          INTERCOM (V.O.)          Dr. Rutledge, extension 16.          Blinking out of reverie, he goes over to a wall phone and          punches an extension.                                                                                                              108.                         RUTLEDGE          This is Rutledge.          He listens. His face darkens.                         RUTLEDGE          Shit.          He SLAMS down the phone and starts RUNNING.          INT. TRAIN - MORNING          Colter is back on the train. It is morning again, seventeen          minutes before the destruction. He's back in the navy          blazer. The slacks. The commuters, caught up in their          individual concerns, ignore Colter. But he looks on them          with an appreciation approaching joy.          For a moment he just sits there. Simply being alive in this          world. Attuned to the motion of the train. The sun on his          face. And across from him, oblivious, working away on her          sketch pad, is Christina.          The best sight of all.          INT. ENGINEERING LAB - NELLIS A.F.B. - DAY          Banks of MACHINERY are RUNNING. Rutledge comes charging in.          Flustered. Barking questions.                         RUTLEDGE          What is this? Who authorized this?                         TECHNICIAN          We don't know, sir. But Source          Code is up and running again.                         RUTLEDGE          Where's Goodwin?          The chair at the console is EMPTY.                         TECHNICIAN          No idea, sir.          A DIGITAL CLOCK ticks down from 17 minutes: 15:28... 15:27...          15:26...                         RUTLEDGE          What the hell is he doing?                                                                                                              109.          INT. TRAIN - MORNING          Colter drinks in the sight of Christina. Finally he gets up          and walks off down the aisle.          As soon as he's gone, Christina looks up. She's observed his          interest in her. Doesn't quite know what to make of it.          INT. TRAIN - MORNING          Colter is by himself in the exit door area. From his jacket          he takes out a CELL PHONE.          CLOSE ON -- THE CELL PHONE SCREEN          As he dials 9-1-1. The call connecting...          OPERATOR (V.O.)          9-1-1. What is the nature of your          emergency?          INT. CONTROL CONSOLE - DAY          Rutledge watches the computers churn.                         RUTLEDGE          Shut it down.                         TECHNICIAN          Sir?                         RUTLEDGE          Shut down the Source Code. Right          now.          The technician hesitates.          RUTLEDGE (CONT'D)          Fine. I'll do it myself.          Rutledge sits down at the controls.                         TECHNICIAN          I wouldn't do that.          Rutledge gives a dismissive snort. And yet he pauses.                         RUTLEDGE          And why not?                                                                                                              110.                         TECHNICIAN          We've never interrupted Source Code          in mid run. We'd have to literally          pull the plug. It could damage the          processors.                         RUTLEDGE          Let it finish, then. No harm in          that, I guess.                         (OMINOUS)          All of you are in deep shit, I          promise you. As for Goodwin, he'll          never make it off this base.          Rutledge picks up a phone.                         TECHNICIAN          I don't think that's where he's          headed.          Rutledge considers. And then catches on.                         RUTLEDGE          He wouldn't.          Looks up at the technician. Grows more and more uneasy.          Snapping his attention back to          THE COUNTDOWN CLOCK          Which reads: 12:42. Before it hits 12:41, Rutledge is          already out of his chair and RUNNING for the door.                         RUTLEDGE          Seal the ICU. I want a detachment          of MPs meeting me on the way there.          INT. TRAIN - MORNING          Colter walks down the aisle. Looks at HIS WATCH -- 12          minutes, 40 seconds. The train begins to SLOW DOWN.          ANNOUNCER (V.O.)          Now approaching Newark Station.          Newark Station, next stop.          The Computer Engineer begins to wake up. As he does, Colter          passes by, deftly slipping the borrowed cell phone back into          the engineer's hand without being noticed.          Derek packs up his things. We see him hide his wallet into a          gap in the seat cushions and get up.                                                                                                              111.          The College Kid, also getting up, notices Derek's wallet,          picks it up and hurries after him.                         COLLEGE STUDENT          Hey, you dropped this.                         DEREK          Wow. Thanks.          Keeping his composure, Derek accepts the wallet.          Colter steps aside, allowing them to pass. Allowing it all          to happen.          The station slides into view. No one on the platform.          INT. STAIRWELL - NELLIS A.F.B. - DAY          Rutledge furiously descends, shoving people out of his way.          INT. UNDERGROUND BUNKER - NELLIS A.F.B. - DAY          Rutledge runs up to a locked door and swipes his access card          through the scanner. It comes up RED.                         RUTLEDGE          What?!          He tries again. Red. The door stays LOCKED.          EXT. NEWARK PLATFORM - MORNING          The train comes to a halt. Unlike before, the doors stay          shut for SEVERAL SECONDS LONGER than usual. Derek waits          quietly at the doors.          Finally they open. Derek steps out onto the platform,          together with the Old Man, the College Kid and Guzman.          ANNOUNCER (V.O.)          Newark Station.          Colter remains on board, standing in the exit area, watching.          As usual, Derek quickly flips his wallet onto the next car          and starts toward the station house. Guzman is ahead of him,          already pushing open the doors to the station.          All is quiet. Perhaps too quiet. Derek approaches the          station and sees                                                                                                              112.          THROUGH THE OPEN DOORS          In station lobby are POLICE OFFICERS.          Derek's jaw tightens. He changes course, heading instead for          an outdoor stairwell.          Coming UP the stairs, however, are more POLICE OFFICERS.          Wheeling around, Derek heads the other way. Walking faster,          but keeping his head. Not running, not panicking.          The train, oddly, is still sitting there.          As he nears the other end of the platform, MORE OFFICERS          appear from behind columns, cutting off his escape. The          police are coming from all sides, converging on the platform.          Yet no one panics. No one runs. Finally --                         POLICE COMMANDER                         (CALLING OUT)          Derek Frost.          Derek goes to get back on the train. The doors, however,          SLIDE SHUT in his face. Through the closed doors, Derek          looks in at Colter, still on the train. They stare at one          another through the window.                         POLICE COMMANDER          Mr. Frost. Please turn to face us.          An entire PHALANX OF POLICE OFFICERS is on the platform.                         DEREK          Of course. What's this about?          Unseen by the officers, Derek has taken out his CELL PHONE          and is DIALING IT as he turns around.          The police approach, cautiously.                         POLICE COMMANDER          Place your hands in the air.                         DEREK          My pleasure.          Raising his hands, he pushes SEND on his phone.          On board the train there's a RINGING.                                                                                                              113.          INT. TRAIN - MORNING          The DETONATOR PHONE has been removed from the bomb and now          rings harmlessly in the hand of the train's SECURITY OFFICER.          The restroom door is open and swarming with conductors          examining the bomb.          On the platform, the officers tackle Derek, subduing him.          Passengers watch at the windows, mesmerized.          ANNOUNCER (V.O.)          Once again, please return to your          seats, ladies and gentlemen.          No way. No one's moving from the windows.          Except for Colter, who stands off by himself. The first look          of satisfaction we've ever seen on his face.          INT. UNDERGROUND BUNKER - NELLIS A.F.B. - DAY          An ALARM is going off. At a locked door, an Air Force          LOCKSMITH is in the process of disabling the key pad.          Rutledge paces, livid.                         RUTLEDGE          I want to know who reprogrammed          this lock. And if you don't get          this open in ten seconds I'll see          that you're busted back down to          private.                         LOCKSMITH          I'm already a private, sir.                         RUTLEDGE          Just open it! A man's life is at          stake.          The key pad goes GREEN and the pressure lock releases.          Rutledge tears open the door.          INT. STAIRWELL - NELLIS A.F.B. - DAY          Armed MILITARY POLICE clatter down the steps.                                                                                                              114.          INT. BUNKER MEDICAL FACILITY - NELLIS A.F.B. - DAY          Goodwin enters. He locks another door behind him. He is          shaken but nevertheless going forward. In the chamber, three          MEDICS monitor gauges and screens. One of them stands up to          block his way.                         MEDIC #1          Sorry, I can't let you pass.          Goodwin removes the patch on his uniform to reveal the          insignia of a major.                         GOODWIN          Step aside. That's an order.                         MEDIC #1          We all know your rank, Goodwin, but          I have explicit orders from          Rutledge not to --          BAM! Goodwin drops the Medic with a splintering HEADBUTT.                         GOODWIN          I'm glad you know my rank. Were          you also aware I'm in the Special          Forces?          EXT. NEWARK PLATFORM - MORNING          The train has been evacuated as police investigators search          the rest of the cars. Hoards of passengers fill the platform          as conductors try to herd them towards the station.          ANNOUNCER (V.O.)          Ladies and gentlemen, rail service          has been cancelled. Please clear          the platform and proceed into the          station. New Jersey Transit          apologizes for the inconvenience.          EXT. NEWARK STATION - PARKING LOT - MORNING          Police cars parked everywhere. Two DETECTIVES are          questioning the Computer Engineer.                         DETECTIVE          So you have no idea how your cell          phone was used to call in the tip?                                                                                                              115.                         COMPUTER ENGINEER          No!          People mill about waiting for the buses, groaning and          complaining. Christina accosts a passing transit employee.                         CHRISTINA          What now? How do we get to work?          You guys have some busses or          something?          The transit employee ignores her and walks away.                         CHRISTINA          Hey! I'm talking to you!          She stands there in exasperation. This whole thing has been          designed to thwart her. Nearby, Colter sits on a bench.                         COLTER          Ain't life grand?          Looking over, she notices him.                         CHRISTINA          Yeah. Now I'm going get fired for          being late.                         COLTER          Maybe that's a good thing.          She gives him a sharp look.          INT. UNDERGROUND BUNKER - NELLIS A.F.B. - DAY          Rutledge runs, now leading the detachment of MPs.                         RUTLEDGE          Shoot him if you have to, you hear          me?          The MPs exchange a look of annoyance at being ordered around          by this guy.          INT. BUNKER MEDICAL FACILITY - NELLIS A.F.B. - DAY          A heavy INNER DOOR has been opened.                                                                                                              116.          INT. BUNKER ICU - NELLIS A.F.B. - DAY          The BEEPING of life support systems. The compressions of a          ventilator. Goodwin approaches a GURNEY. A jungle of tubes          and lines lead from the gurney into advanced machinery. A          somber look on his face.                         GOODWIN          Hello, Captain.          As Goodwin edges forward, we reveal the bare foot of someone          lying there.          A DIGITAL TIMER reads 1 MINUTE.          INT. UNDERGROUND BUNKER - NELLIS A.F.B. - DAY          At the facility's outer door, the locksmith goes to work on          another panel as Rutledge and the MPs stand by.                         LOCKSMITH          Give me twenty seconds.                         RUTLEDGE          Make it ten.          Rutledge looks at HIS WATCH. It reads 52 SECONDS.          EXT. NEWARK STATION - PARKING LOT - MORNING          CLOSE ON - COLTER'S WATCH          It also reads 52 seconds.          His work is done. He's saved her. Saved them all. At least          this one time.          Only she doesn't know that. Christina stands there, arms          crossed, scowling at the parking lot.                         CHRISTINA          Could this day get any worse?                         COLTER          That train was taking you to a          place you didn't want to be. But          then you got off. And maybe that's          a sign.                                                                                                              117.                         CHRISTINA          Yeah. If only.          She takes out her cell phone. The stress of her day.                         CHRISTINA          I'm calling a cab. Maybe I'll only          be somewhat late for work.          Colter watches her, a quiet ache inside. Maybe some people          don't want to be saved.          INT. BUNKER ICU - NELLIS A.F.B. - DAY          The noise from the outer door grows louder. The MPs are only          seconds from getting inside. Goodman moves towards the life          support equipment.          As he does, we glimpse a horrifying sight: the upper half of          Colter's body -- his real body -- inside a sterile tent of          transparent plastic. His skull has been removed. A massive          apparatus has been infused directly onto his brain.          Goodwin takes a long, last look.                         GOODWIN          Thank you for your service. Time          to go home.          Goodwin's hand goes to the switch to shut off life support.          His eyes on the clock. It reads 30 SECONDS.          EXT. NEWARK STATION - PARKING LOT - DAY          Christina on the phone, waiting as it dials.                         COLTER          Hey.          She turns. Colter gets up.                         COLTER          You can do anything you want with          your life. Starting right now.          She's taken aback. He starts walking off.          CAB DISPATCH (V.O.)          Metro Cab Dispatch.          A long beat as she watches him.                                                                                                              118.          CAB DISPATCH (V.O.)          Hello...?          Click. She shuts her phone.          Beat. Is she crazy? She's baffled by her own action. And          by this unusual guy here.                         CHRISTINA          Wait.          Colter turns. She crosses her arms archly.                         CHRISTINA          You can't just expect someone to          change her life just like that. At          the very least... you'd have to buy          that person coffee and explain your          reasons.          She waits for his response. Uneasy at putting herself out          there.          Colter's watch ticks down to the final seconds. His last          moments in this world. He has only time enough for a final          look of reassurance.                         COLTER          Maybe some other time.          Disappointment flickers on her face. She turns to go.          Behind her is a STONE WALL. A BICYCLE is parked against it.          Colter's breath catches in his throat. This is it! This is          the mysterious scene he's been seeing!          HIS WATCH - Hits ZERO.          INT. BUNKER ICU - NELLIS A.F.B. - DAY          THE DIGITAL TIMER - Also hits ZERO.          The outer door OPENS. Rutledge RUSHES in, accompanied by          MPs.                         RUTLEDGE          Arrest him!          Goodwin backs away from the gurney, hands in the air.          The BEEPING has given way to a MONOTONE. All of Colter's          vital signs have FLATLINED.                                                                                                              119.                         RUTLEDGE          He's dying...!          Rutledge frantically goes to reconnect the machines -- but          Goodwin has turned off too many of them.                         RUTLEDGE          Get a medical team in here! Move!          But the MPs just stare at the appalling sight of Colter's          exposed brain.                         RUTLEDGE                         (SHRIEKING)          What are you standing there for?!          Do it! We can save him!!!          No one moves. Rutledge rashly grabs for one of the MP's          rifles.                         RUTLEDGE          I guess force is the only thing you          people understa --                         MP          Back away, sir, now!          The MP has leveled his rifle at Rutledge. Who steps back,          aghast. His authority has vanished with Colter's life.          Goodwin shuts off the monitors. Silence fills the room.          Colter is dead.          Rutledge stares sorrowfully at Colter's body. Then at          Goodwin with burning hatred.                         RUTLEDGE          You're a murderer.          Goodwin offers his hands to the MP.                         GOODWIN          Go ahead and arrest me.          But the MP does nothing.                         GOODWIN          I'll be around. Whenever you want          me.          They part as he walks out of the room. A look of grim          satisfaction on his face.                                                                                                              120.          EXT. NEWARK STATION - PARKING LOT - MORNING          Christina walks past the bicycle parked against the stone          wall. She's about to enter a TUNNEL that goes under the          tracks. The same tunnel from Colter's vision.          She stops. Something tells her to turn around.          The bench where Colter sat is empty.          But three feet away... Colter is standing there. Still here.          Dumbfounded, he looks at his watch -- it remains at ZERO.          He looks all around. Trees stirring in the breeze. A bird          flies overhead. The crowd of passengers outside the station.                         CHRISTINA          You okay?          Colter turns to her. How can this be? He's afraid to even          speak. As if that alone could break the enchantment.          But the world is here. It goes on. That's all he knows.          Finally he swallows. Finding his voice.                         COLTER          You're right. The least I can do          is buy you coffee.          This pleases Christina, although she tries not to show it.                         CHRISTINA          Okay, well, come on then.          Walking forward, he joins her. The two of them disappear          down the tunnel.          A beautiful morning.          FADE OUT.                                                                                                                              
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+South Park: Bigger, Longer and Uncut By Trey Parker Matt Stone & Pam Brady Eighth Draft January 21, 1999 FADE IN: Very happy, Disneyesque MUSIC swirls in. PAN DOWN from a pretty blue sky, to a small quaint town nestled in the hills. A wooden sign tells us this is South Park. EXT. SOUTH PARK AVENUE - DAY Birds fly into the air, TOWNSPEOPLE smile to each other as they walk by. It is a scene reminiscent of, if not directly ripped off from, the opening number of 'Beauty and the Beast'. A little eight year old boy walks happily down the street. He is STAN MARSH, a noble looking boy with piercing blue eyes and a strong chin. As he walks, he sings a happy song. STAN I'm going to the movies To see the brighter side of life! I'm going to the movie Everything's gonna be alright! Forget all my troubles Put my own life on hold Let a studio tell me how I should view the world Where everything works out I love it that way I'm going to the movies The movies today! Stan merrily walks up to a crappy looking house. INT. BEDROOM - MORNING We are in a young boy's bedroom, just as his alarm clock goes off. BRRRRRTTT!!! RADIO ANNOUNCER Good morning South Park! It's five-thirty a.m. on Sunday!! Time to feed the horses and water the cows!! From the back, we see the blond haired kid sit up from his bed. He stretches, and then walks over to his closet. We still only see the boy from the back as he reaches in his closet and pulls out an orange coat. The kid puts his coat on, then turns to camera and pulls the hood shut, so that we never get a good look at his face. MOTHER (O.S.) KENNY! YOU'RE GONNA BE LATE FOR CHURCH!!! This boy's name is KENNY, and under his orange coat, we have no idea what he looks like, except for his European nose and hazel eyes. KENNY Mph rmph rm! INT. KENNY'S HOUSE - KITCHEN Kenny walks through his small, dirty house and into the kitchen, where his MOTHER, FATHER and OLDER BROTHER are sitting at the humble table. KENNY'S MOTHER Sit down, you can share some of your brother's waffle. The doorbell rings. Kenny walks over to the door. EXT. KENNY'S HOUSE - DAY Kenny opens the door to find Stan. STAN Kenny! The Terrance and Phillip movie is out! You wanna come?! Stan shows Kenny a newspaper clipping. It's an ad for the new Terrance and Phillip movie 'Asses of fire'. Kenny's eyes light up. KENNY Mph rmph rm, rmph! Kenny walks away with Stan. His mother comes out after him. KENNY'S MOTHER Kenny! Where're you going? KENNY Mph mprh mprh rm! KENNY'S MOTHER What do you mean you don't want to go to church? KENNY Mrmph, rmph rmph rm rmph. Kenny and Stan walk down the street. KENNY'S MOTHER Well fine, go ahead and miss church!! And then when you die and go to hell you can ANSWER TO SATAN!! Dramatic MUSIC STING. Kenny stops, thinks for a minute... And then walks off with Stan anyway. EXT. SOUTH PARK AVENUE - DAY Stan and Kenny now both happily march down the street to the happy beat. TOM, a plastic surgeon, peeps his head out the door of his Rhinoplasty office. TOM Say, where are you boys going? STAN We're going to the movies! To see the brighter side of life! Where everyone is beautiful And have their hair combed just right! KENNY Mph rmph rm rmph rm! Mph rm rmph rm! Mprh rm rmph rm rm Rmph rm rmph rm rmph! TOM Have fun you rascals! EXT. KYLE'S HOUSE - DAY Kenny and Stan knock at the door. A handsome eight year old Semite, KYLE, answers the door. KYLE Hey, dudes... Aren't you supposed to go to church, Kenny? STAN Kyle, check it out. Kenny holds up the newspaper clipping. KYLE OH MY GOD, DUDE!!! Kyle slips on his coat and heads out the door. But just then, Kyle's little brother, IKE, a two year old adopted Canadian boy bounces up next to him. KYLE No, Ike! You can't come with me! Kyle's MOTHER, a big fat bitch, comes to the door and yells. KYLE'S MOTHER Kyle, you take your little brother out to play with you! KYLE Aw, ma!! KYLE'S MOTHER Do as I say, Kyle! Kyle's mother closes the door. KYLE Damn it!! EXT. SOUTH PARK AVENUE - DAY Now the three boys, and little Ike, merrily strut down the street and sing in unison. BOYS We're going to the movies To see the better side of life Where something interesting happens Every day and night! KYLE In movies we can pretend That love is real and good always wins- STAN We can even make believe marriages last! A HOMELESS guy is lying in the alley. HOMELESS GUY Spare a dollar? Spare a dollar? Stan walks by and throws a dollar at him. The homeless guy suddenly jumps up. HOMELESS GUY I'm going to the movies! To see the brighter side of life! I'm going to the movies Everything's gonna be alright! Forget my troubles Put my own life on hold Let a studio tell me how to view the world! KYLE Let's go get fat ass! EXT. ANOTHER HOUSE - DAY This house looks just like all the others. INT. THAT SAME HOUSE CLOSE UP on a bag that reads 'CHEESY POOFS'. A hand reaches into the bag, pulls out a wad of orange crunchies and raises them -- BOOM UP to reveal the fat face of eight year old ERIC CARTMAN who chows down on the chips. Now we see that fat little Eric is sitting on his couch, eating Cheesy Poofs and watching television. The doorbell rings. Cartman doesn't move a muscle. CARTMAN MOM! SOMEBODY'S AT THE DOOR! CARTMAN'S MOTHER enters. She is extremely June Cleaveresque (except that she's a hermaphrodite crack whore). She returns with Stan, Kyle and Kenny. CARTMAN'S MOTHER Look, Eric it's your little friends. CARTMAN What the hell are you guys doing here? IKE Baba turtre bad! Kyle holds up the newspaper ad. CARTMAN Ooh! EXT. SOUTH PARK AVENUE Now all four boys are merrily walking down the street and singing. BOYS We're going to the movies To see the better side of life! CARTMAN Maybe there'll be pirates! Or a whole city burnin'! Maybe we'll see a monster Or, better yet, Uma Thurman! BOYS We're going to the movies! Everything's gonna be okay! The boys skip out of frame. EXT. MOVIE THEATRE - DAY The movie theatre is nestled neatly between two other South Park buildings. The boys walk up to the geeky, teenage TICKET GUY. BOYS Going to the movies! The movies today!!!!! STAN Can I get five tickets to Terrance and Phillip Asses of Fire, please? TICKET GUY No. Suddenly, all the happy music that has permeated the film comes to an ABRUPT HALT. The boys look confused. KYLE What'dya mean, no? TICKET GUY Terrance and Phillip Asses of Fire is rated 'R'. You kids can't get in. The boys look shocked. They just stand there, in silence. CARTMAN The hell we can't! My money is just as good as any white person's! TICKET GUY You have to be accompanied by a parent or guardian. KYLE But why? TICKET GUY Because this movie has naughty language, and it might make you kids start using bad words. CARTMAN Listen you son of a bitch, if you don't let us in to see this movie I'm gonna kick you square in the nuts. TICKET GUY Sorry, Charlie. KYLE Damn it! TICKET GUY Next, please? A few TEENAGERS walk up to get their tickets. The boys step aside. STAN This is terrible! This can't be happening!! KYLE We HAVE to see this movie, dude! CARTMAN Aw, screw it. It probably isn't all that good anyway. KYLE Cartman! What the hell are you talking about?! You LOVE Terrance and Philiip! CARTMAN Yeah, but the animation's all crappy - it probably can't sustain itself over ninety minutes. IKE Poo baba! STAN Wait! I've got an idea! EXT. MOVIE THEATRE - A LITTLE LATER The old Homeless guy from the intro song walks up to the Ticket Guy with the boys. HOMELESS GUY Uh, hi. I want five tickets to Terrance and Phillip Asses of Fire. TICKET GUY You realize this movie is rated R? It may not be appropriate for your little ones. HOMELESS GUY Oh. (Turning to boys) Hey, he says this movie isn't appropriate for you. STAN (Whispering) Look, homeless guy, if you don't want to buy us tickets, and NOT get your ten bucks and NOT go buy yourself a bottle of Vodka and not forget about how miserable your life is and not stop the voices in your head then go right ahead. HOMELESS GUY Five tickets please. The Ticket guy suspiciously hands them over. INT. MOVIE THEATER - DAY The boys are all sitting in the front row. Cartman has a huge tub of popcorn, all kinds of candy, and a large drink. IKE Purpre mama! KYLE Be quiet, Ike! The movie's starting! ANGLE - MOVIE SCREEN A TITLE reads 'Terrance and Phillip - Asses of Fire' BOYS HOORAY!!! On the screen, we come across PHILLIP, a very handsome Canadian star with a great body. PHILLIP Say Terrance, what did the Spanish Priest say to the Uranian gynecologist? PAN OVER to TERRANCE, who is also Canadian, and equally handsome in a more rugged way. TERRANCE I don't know, Phillip, what? Phillip rips a big fart. Terrance and Phillip laugh merrily. ANGLE - BOYS Laughing their asses off. KYLE That was sweet! STAN Where do they come up with this stuff?! CARTMAN How come Terrance and Phillip are so weird looking? KYLE Cuz, dummy they're Canadian, just like Ike! CARTMAN Oh. IKE Poo bada! ANGLE - SCREEN TERRANCE You're such a pigfucker, Phillip! PHILLIP What?! Why would you call me a pigfucker?! TERRANCE Well, let's see... First of all, you fuck pigs. PHILLIP Oh yeah! Terrance and Phillip laugh merrily. ANGLE - BOYS KYLE Woa, dude! Did they say what I think they said? ANGLE - SCREEN Terrance pulls out a white envelope. TERRANCE Well, fuck my ass and call me a bitch, I just got a letter! PHILLIP A letter from who, you shit sucking cock master? TRACK IN on the boys' wide eyed faces as the dialogue from the film enters their innocent ears. TERRANCE It's from your mother. PHILLIP My mother sent YOU a letter? What's it say? TERRANCE It says 'Dear Terrance, please don't ever tell my son that I licked your hairy balls.' Terrance and Phillip laugh merrily. PHILLIP Oh, you fucking ball whore! The boys don't laugh, they just smile widely, they seem busy taking it all in. CARTMAN Wow... Ball whore... TERRANCE Listen, you donkey raping shit eater- KYLE (To himself) Donkey raping shit eater. IKE Doky maping she deeder!!! TERRANCE You'd fuck your uncle! PHILLIP YOU'D fuck your uncle! TERRANCE (Singing) Shut your fucking face, Unclefucka!! You're an asslicking, Ball sucking Unclefucka!! You're an Unclefucka, yes it's true Nobody fucks Uncles quite like you- PHILLIP SHUT YOUR FUCKING FACE!! UNCLEFUCKA!!! YOU'RE the one that fucked your Uncle, UNCLEFUCKA!!! You don't eat, or sleep or mow the lawn You just fuck your Uncle all day long! TERRANCE & PHILLIP Shut your fucking face, Unclefucka! You butt licking bastard Unclefucka! TERRANCE You're an Unclefucka I must say! PHILLIP You fucked YOUR Uncle yesterday! TERRANCE & PHILLIP Unclefucka! That's YOUUUUUUU!!!!! The song ends and the boys erupt into applause. EXT. MOVIE THEATRE - DAY The boys walk out of the theatre with glazed eyes and wide smiles. KYLE Dude, that movie was fucking sweet! CARTMAN You bet your fucking ass it was! STAN Fuck, dude, I wanna be just like Terrance and Phillip! TICKET GUY Hey wait a minute... Where's your guardian? STAN Huh? TICKET GUY I knew it! You PAID a homeless guy to get you in, didn't you! The boys think a second. CARTMAN Suck my balls. KYLE Yeah, (Singing) Shut your fucking face, Unclefucka!! The boys walk away, merrily. The ticket guy is in shock. TICKET GUY Oh oh, I'm in trouble. BOYS (Singing, fading off) You're an asslicking, ball sucking Unclefucka!! EXT. STARK'S POND - DAY All the children of South Park are gathered at the pond for ice skating. The scene is reminiscent of the skating scene from the Charlie Brown Christmas special. Delicate snowflakes fall, children laugh and skate, and joyous music plays. The boys walk up to the pond. CLYDE Hey, where have you guys been all day? STAN Oh, nowhere... We just went out to go see the TERRANCE AND PHILLIP MOVIE! All the kids gasp! Dramatic MUSIC STING. BEBE You saw it?! CLYDE How'd you get in?! Suddenly, all the kids are gathered around the boys. They're like celebrities. CARTMAN Hey! Stop crowding us you shitfaced cockmasters! All the kids stop, wide eyed. As if they've just hear the voice of God. KIDS Wowwww... STAN Yeah, you're all a bunch of ass ramming unclefuckers. KIDS Ooooohhh!!! CLYDE (To another kid) We HAVE to see this movie, dude. The other kids nod. CARTMAN Hey Stan, tell 'em about when Terrance called Phillip a testicle shitting rectal wart! Stan? Stan? But Stan is elsewhere, because out on the ice, skating gracefully, is little eight year old WENDY TESTABURGER. The heavens part, a CHOIR OF ANGELS sing, as Wendy skates around and around, performing a series of impossible Triple Lutzes, Sowcows and what-have-you-not's. All the animals of the forest -- deer, birds, bunnies -- all stop to admire her. Stan's smile grows wider and wider. Kyle turns to see what he's looking at. STAN Thank my lucky stars Here before me now Is everything I'd ever hoped for Knew it in a word Saw it in a glance The only thing I think I'd die for... KYLE Aw, God Damn it, he's singing that fucking song again. ANGLE - WENDY Spinning and soaring in slo-mo. Effortlessly covering every inch of the pond with her ballet maneuvers. Stan is slack-jawed. STAN I can't stop now My heart's awake I pray her arms my arms to take So this is why I'm ali- Wendy finishes her routine with a triumphant Hamill-camel landing right in front of Stan and spraying ice in his face and abruptly ending his song. WENDY Hi, Stan! Stan vomits profusely all over himself. WENDY Ew! Gross! Just then, another kid skates up, spraying more ice in Stan's face. His name is GREGORY, and he is a very handsome eight year old boy, with golden hair and an open-buttoned shirt. He speaks with a rich English accent. GREGORY Come, Wendy, let us try to jump the hilly brush. Stan looks at Gregory. STAN Who are you, kid? GREGORY My name is Gregory. I have been Wendy's counter-cousin for some time. WENDY Want to skate with us? GREGORY We've been skating all morning. And laughing and talking of memories past. Gregory skates away. Stan looks stunned. Finally, he tries to get Wendy's attention. STAN We saw the Terrance and Phillip movie! WENDY That's nice, Stan. Wendy skates after Gregory. Stan looks completely rejected. KYLE Woa, dude, who's your girlfriend's new guy? STAN She's not my girlfriend, dude! Meanwhile, the schoolkids are all still gathered around Cartman. CARTMAN Yes, I saw the Terrance and Phillip movie. Who wants to touch me? I said, "Who wants to touch me?!" A small boy steps forward and tentatively touches Cartman's arm. SMALL BOY Oooooh... EXT. SOUTH PARK - TOWN - MORNING Establishing shot of the little town of South Park which consists of four buildings. The sun rises in the background. It's a brand new day. EXT. SOUTH PARK ELEMENTARY - DAY The elementary school is nestled peacefully between two mountain peaks. INT. SOUTH PARK ELEMENTARY - DAY The kids of South Park are all in their seats, singing. KIDS Shut your fucking face, Unclefucka!! You're a shitsucking, cocksucking Unclefucka!! The door opens, and suddenly the kids quiet down. CLOSE-UP on a hand puppet with a large red hat. It seems to be speaking. MR. HAT Okay, children, let's take our seats. As the voice continues, we PULL BACK to reveal that the puppet is on the right hand of MR. GARRISON, a forty-six year old teacher who is in denial about his homosexuality. MR. GARRISON (AS MR. HAT) We have a lot to learn and precious little time. Garrison looks over the class and notices that every single one of them is wearing a Terrance and Phillip T-shirt, except, of course, for Wendy. MR. GARRISON Why is everyone wearing T-shirts of Sigfried and Roy? KYLE It's not Sigried and Roy, Mr. Garrison, it's Terrance and Phillip. KIDS TERRANCE AND PHILLIP!! Stan looks over at Wendy. She just rolls her eyes. Stan sulks. MR. GARRISON Well, anyway... Today children, our friend Mr. Hat is going to tell us all about the environment. MR. GARRISON (AS MR. HAT) That's right, Mr. Garrison. The environment is what surrounds us. It is what we live and breathe. CARTMAN I hate the environment. KYLE Dude, how can you hate the environment? CARTMAN 'Cuz, dude, it's all sticky and airy and fragile and stuff. I fucking hate it. The kids all GASP! MR. GARRISON Eric! Did you just say the "F" word? CARTMAN Fragile? KYLE No, he's talking about fuck, dude. You can't say fuck in front of Mr. Garrison. MR. GARRISON Kyle! CARTMAN Why the fuck not? MR. GARRISON Eric! STAN Dude, you just said fuck again. MR. GARRISON Stanly! KENNY Mph. MR. GARRISON Kenny! CARTMAN That's bullshit! If Terrance and Phillip can say something, I should be able to say it too! BEBE Wow, Cartman's cool! CLYDE He's like Terrance and Phillip! Cartman gloats proudly. CARTMAN Fuckin' a right. MR. GARRISON How would you like to go to the principal's office? CARTMAN How would you like to gargle rat jiz? Mr. Garrison is in shock. MR. GARRISON WHAT DID YOU SAY?!?! CARTMAN I said - Cartman takes out a megaphone, hits the switch and puts it to his mouth. It feeds back horribly. CARTMAN (Through megaphone) HOW WOULD YOU LIKE TO GARGLE RAT JIZ?! Garrison is floored. KYLE Oh, dude we are fucked now. INT. PRINCIPAL'S OFFICE - DAY The boys are seated in front of the Principal's desk. STAN Now remember, don't tell anybody we saw the Terrance and Phillip movie! KYLE Yeah, let's swear we won't tell! Just then, the Principal walks in. She is PRINCIPAL VICTORIA, a frizzy haired woman of about forty. PRINCIPAL VICTORIA I am VERY disappointed in you boys! You should be ASHAMED of yourselves! I've already called in your parents, but first I want you to THINK about what you've done. CARTMAN Principal Victoria, can I ask a question? PRINCPAL VICTORIA What? CARTMAN What's the big fucking deal? STAN Yeah. PRINCIPAL VICTORIA AGH!! I want to know where you heard these horrific obscenities! The boys look at each other. STAN Nowhere. KYLE I'VE heard them from Mr. Garrison a few times before... STAN Yeah! PRINCIPAL VICTORIA Boys, I seriously doubt that Mr. Garrison ever said- (Reading) 'Eat penguin shit you cum sucking ass spelunker' in school! The boys all laugh. But then the door opens and in walks Stan's mother, Kyle's mother, Cartman's mother and Kenny's mother. STAN Oh, oh... PRINCIPAL VICTORIA Thank you all for coming on such short notice. As you can see, your boys are all being disciplined. STAN'S MOTHER This just isn't like you, Stanley! Stan looks down at the floor. KYLE'S MOTHER What did my son say, Principal Victoria? Did he say the S word? PRINCIPAL VICTORIA No, it was worse than that... KYLE'S MOTHER (Gasping) The F word?! PRINCIPAL VICTORIA No, worse. Here's a short list of the things they've been saying. The mothers look over the sheet of paper. Immediately, their eyes bulge. STAN'S MOTHER Oh dear God... KYLE'S MOTHER What is 'fisting'? CARTMAN'S MOTHER That's when the fist is inserted into the anus or vagina for sexual pleasure. The two moms stare at Ms. Cartman. CARTMAN'S MOTHER What? KYLE'S MOTHER (To Kyle) Young man, you will tell Peincipal Victoria THIS INSTANT where you heard all these horrible phrases! KYLE I can't dude! We all took a sacred oath, and swore ourselves to secrecy! CARTMAN It was the Terrance and Phllip movie! STAN Dude! CARTMAN What? Fuck you guys, I wanna get out of here. KYLE'S MOTHER Terrance and Phillip MOVIE?! Oy gevalt! Not again! PRINCIPAL VICTORIA What is Terrance and Phillip? KYLE'S MOTHER Terrance and Phillip are two VERY untalented, unfunny actors from Canada. Their TV show is filled with toilet humor and bad language and is just complete garbage. Now it appears they have a movie and I'm positive it's not suitable for children! PRINCIPAL VICTORIA Well, it looks like I'll have to send a warning letter out to parents. I have to put a stop to this before MORE children see 'Terrance and Phillip'. CARTMAN Everybody's already fucking seen it. MS. CARTMAN Eric! CARTMAN I'm sorry! I can't help it!! That movie has warped my fragile little mind. KYLE'S MOTHER Alright, boys, that's enough. Get out and let us adults speak. The boys get up and walk out. Kyle's mother slams the door behind them. KYLE'S MOTHER We must take action on this immediately. PRINCIPAL VICTORIA Ooh yes. I think we'll have to give detention to those boys. KYLE'S MOTHER Forgive me for saying so, Principal Victoria, but your methods are too... Shall we say... soft? As head of the PTA, I am exercising my right under article 42 of the PTA code. A look of shock comes over the principal's face. PRINCIPAL VICTORIA Article 42! You don't mean-?! KYLE'S MOTHER Yes Principal Victoria. The PTA is impeaching you. PRINCIPAL VICTORIA But I- KYLE'S MOTHER You are officially relieved of your duties as principal of this school! Kyle's mother sits herself down at Principal Victoria's desk. KYLE'S MOTHER Get out of that chair! The PTA is in charge now! INT. CAFETERIA - DAY The other school kids are in line for lunch. Just then, the Kyle's mother's voice comes blaring through the P.A. KYLE'S MOTHER Attention students. We are now enforcing a new dress code at South Park Elementary. Terrance and Phillip shirts are NO LONGER ALLOWED IN SCHOOL. Anyone wearing a Terrance and Phillip shirt is to be SENT HOME IMMEDIATELY. The kids look down. They're all wearing Terrance and Phillip shirts. KIDS HOOORAY!!! The kids all cheer and run out the door. Leaving the cafeteria absolutely empty... Except for Wendy. WENDY Hello? Wendy's hello echoes throughout the entire building. INT. TELEVISION SET A dapper NEWS ANCHOR sits behind a news desk. NEWS ANCHOR All over America, kids are flocking to the R rated film, 'Terrance and Phillip Asses of Fire'. Here with a special report, is a quadriplegic midget in a bikini. INT. SPELLING BEE - DAY A QUADRIPLEGIC MIDGET IN A BIKINI stands in front of the camera with a microphone. Q. MIDGET W/BIKINI Thanks, Tom. It appears that the effects of the Canadian Comedy are far reaching indeed. All over America, children seem to be influenced. A TEACHER is on stage with a young spelling bee contestant. TEACHER Alright, this is for the silver medal. Spell 'Forensics'. KID Oh, fuck that, why should I fucking have to spell forensics? All the kids cheer. KID Here you go; S-U-C-K-M-Y-A-S-S, FORENSICS. CUT TO: EXT. BIRTHDAY PARTY - DAY A happy birthday party is going on is some kids backyard. A clown is entertaining everyone. CLOWN Hey kids, how would you like to see some magic tricks?! KIDS FUCK YOU!! The clown looks startled. CLOWN Huh? CHILD Yeah, and fuck your stupid little red nose. CHILD 2 Yeah, and fuck your yellow hair. And fuck your gay pants. PAN OVER to again find the midget reporter. He now has a graphic of a record chart next to him. Q. MIDGET W/BIKINI And the devastating impact of the Canadian phenomenon is Terrance and Phillip's new hit song, "Shut Your Fucking Face, Unclefucka" which has climbed the charts with a bullet -- We see a clip from the video, "Unclefucka." The video has Terrance and Phillip dressed like Mase and Puffy in that video they did in Vegas. They wear shiny bright jumpsuits and lunge at the fish-eye lens of the camera. TERRANCE & PHILLIP (Singing) Shut your fucking face! Unclefucka!! INT. NEWSROOM - DAY The news anchor shakes his head in disgust. NEWS ANCHOR Thanks, midget. Shocking report. The controversy surrounding the Terrance and Phillip movie began in the small mountain town of South Park, Colorado where the local PTA banned the movie. With us tonight is the head of the South Park PTA, Sheila Brofloski- A screen appears with Kyle's mother, looking very pissed. The TITLE below her reads 'Outraged Mother'. NEWS ANCHOR Ms. Brovlofski, how are these kids seeing this film? Is bad parenting to blame? Or is it Canada? KYLE'S MOTHER Canada! NEWS ANCHOR Alright. Here with a counterpoint is the Canadian Minister of Movies. A split screen appears, Kyle's mother on one side, and a goofy looking Canadian slides into the other. NEWS ANCHOR Thank you, Minister, for joining us. CANADIAN MINISTER OF MOVIES Thanks for having me, buddy. NEWS ANCHOR Minister, parents all over America are concerned about your country's entertainment. Your thoughts? CANADIAN MINISTER OF MOVIES Well, the film is R rated, and it's not intended for children- KYLE'S MOTHER Oh but OF COURSE children are going to see it!! CANADIAN MINISTER OF MOVIES Uh, can I finish? Can I finish? ...The fact is that we Canadians are quite surprised by your outrage- KYLE'S MOTHER YOU JUST DON'T CARE! CANADIAN MINISTER OF MOVIES Can I finish? Hello? Can I finish? ...The United States has graphic images of violence on television all the time, what is that one show? COPS? And car crashes caught on tape? We can't believe that a movie with some foul language and fart jokes would piss you off so much. KYLE'S MOTHER BECAUSE IT'S EVIL!! CANADIAN MINISTER OF MOVIES Can I finish? Please? Can I finish? ... ... Uh... Okay, I'm finished. NEWS ANCHOR But minister, it isn't like this film is the first troublesome thing to come out of Canada. Let us not forget Brian Adams a few decades ago. The Minister thinks. CANADIAN MINISTER OF MOVIES What? KYLE'S MOTHER The Canadians are just mad that we mothers here in South Park have the chutzpah to stand up to them! Like it or not, Mr. Canadian Minister, OUR children are now safe from your Canadian smut! INT. MOVIE THEATRE - DAY The boys are in the front row, this time with Wendy, watching the Terrance and Phillip movie. TERRANCE Well, Terrance I hope you learned something from this whole experience. PHILLIP I did, Terrance, I learned that you are a boner biting dick fart fuck face! The boys laugh merrily. Wendy just looks bored. TERRANCE Say Phillip, want to see the Northern Lights? PHILLIP You bet, Terrance! Terrance pulls out a match, lights it, then farts. The flame burns Terrance to a blackened mass. PHILLIP HA HA HA! You burned yourself to death by lighting the fart! HA HA HA!! TERRANCE (Just a skull) I sure did, Phillip!! The boys laugh hysterically. STAN Did you see that, Wendy? WENDY Yup. EXT. THEATER - DAY The boys walk out happily. KYLE Man, that movie gets better every time I see it! CARTMAN Yeah, but you know what? That whole part about lighting farts is bullshit. You can't do that. KENNY Mph rmpmh rm. CARTMAN No way. STAN Didn't you think it was funny, Wendy? WENDY Stan... I think you and I need some time apart. STAN WHAT?! CARTMAN Oh shit. WENDY It's just... It's obvious that we don't have a whole lot in common anymore. I need somebody who's... a little deeper. STAN But Wendy, I can go- Wendy places her little gloved hand over Stan's mouth. WENDY No. Don't speak. You'll only make things more annoying. Goodbye, Stan. And just like that, Wendy is gone. Stan looks almost ready to cry. Kyle walks up behind Stan. KYLE Dude, anybody who doesn't think Terrance and Phillip is funny can fuck off anyways. STAN (Insincere) Yeah... The boys walk off. KENNY Mph rmph rm!! CARTMAN No you can't Kenny! KENNY Mph rm rmph!! CARTMAN Okay Kenny, I'll bet you a HUNDRED DOLLARS you can't light a fart on fire! KENNY Mph mm! Kenny pulls out a book of matches. He strikes a match and holds it under his ass. After a few seconds Kenny farts, and there is a little flame. Suddenly, the flames catch and Kenny starts burning alive. KENNY MMMPMMPH!!! MGMFEODFO!!! Kenny runs around, and finally falls to the ground, still burning. STAN OH MY GOD!! YOU KILLED KENNY!! KYLE YOU BASTARD!! Cartman looks shocked. CARTMAN Wow, I guess you CAN do that! INT. HOSPITAL - LATER DOCTORS and NURSES are pushing Kenny into the operating room ER style. Everything is quick and chaotic. Shouts fill the hallway. NURSE CBC chem kit STAT!! DOCTOR GAUCHE LOAD THAT I.V. WITH 70CCS OF SODIUM PENTOTHAL!! INT. OPERATING ROOM It's mid-operation. DOCTOR GAUCHE Siphon the fluid off his brain!! Vacuum! Another nurse hands him a sucker tube. He immediately shoves into Kenny's skull. It starts to slurp and burble. DOCTOR GAUCHE Try to untangle his trachea and esophagus! NURSE Right! While Doctor Gauche wrestles with Kenny's lungs and torso, the nurse reaches into Kenny's mouth and pulls both his windpipe and esophagus out of his mouth, turning them inside out in the process. Off to the side, Stan, Cartman and Kyle look on as the doctor and nurses tangle themselves in knots with Kenny's innards. DOCTOR GAUCHE No! THAT DOESN'T GO THERE!! NURSE Watch his liver!!! Kenny's liver POPS out of his torso and slides across the floor. ASSISTANT I'll get it!!! DOCTOR GAUCHE We have precious little time left people! We're going to lose him soon!! Suddenly, there is a long, BEEEEEEEEEEEEEEEEEEEEEEEEEEP. NURSE Doctor, his heart's stopped! DOCTOR GAUCHE Crack him. Let's get it out of there!!! Doctor Gauche lifts Kenny's heart out of his body. DOCTOR GAUCHE We need to zap this, quick! And runs it to the microwave. He opens the door. DOCTOR GAUCHE Who's making a potato? DOCTOR 2 My bad, sir. I missed lunch. DOCTOR GAUCHE Damn it! I am NOT going to lose this kid!!!!!! INT. RECOVERY ROOM - LATER Fade up from black. We're close on Kenny's face. His little eyes start to open. Doctor Gauche leans over him Kenny. Stan and Kyle are there. DOCTOR GAUCHE Kenny. Kenny, can you hear me? Kenny stirs. KENNY (Weakly) Mph rmph rm... DOCTOR GAUCHE How are you feeling, son? KENNY mph.... rmph.... DOCTOR GAUCHE Great... Son, I have some bad news. We accidentally replaced your heart with a baked potato. You have about seven seconds to live. KENNY Mrm?! Just then, Kenny's baked potato heart explodes, splattering gore all over the inside of the recovery room and on the outside of Dr. Gauche, Stan and Kyle. STAN Oh my God! THEY killed Kenny! KYLE You bastards!! DOCTOR GAUCHE Damn it! It never gets any easier! Anybody get the score of that Broncos game? INT. HOSPITAL - WAITING ROOM Kyle's mother is waiting with the rest of the parents. The nurse walks up to Kenny's parents with a sad expression. NURSE I'm sorry... Kenny's mother breaks down. KENNY'S MOTHER Oh my God, they killed Kenny! KENNY'S DAD You bastards! KYLE'S MOTHER I knew this would happen! Those bastard Canadians have now killed a child! Can't people see the damage that film is doing?! STAN'S MOTHER He was killed doing something he saw in the movie. It was Terrance and Phillip... THEY killed Kenny. CARTMAN'S MOTHER You bastards. KYLE'S MOTHER This is it! The time for action is NOW!! (Singing) Something must be done! This is like a spreading rash! They're pulling out our children's brains and filling them with trash! Can't you see what this is leading to? A world of smut and sex and poo! I believe the good fight has begun! Something must be done! Everyone gathers around Kyle's mother. STAN'S MOTHER I agree! (Singing) Something must be done! We must take action fast! My child used to say 'please and thank you' Now he says suck my ass! CARTMAN'S MOTHER And my boy was the sweetest boy the world had ever known! until those damn Canadians brought that filth into our home! I agree that there is now a battle to be won! We can't just stand here singing! Something must be done! KENNY'S MOTHER But what are we going to do against the media machine? It's so big and powerful! KYLE'S MOTHER Right! And we can use that same media machine to exploit OUR cause! We've got to let the whole world know what the Canadians did to your son! PARENTS Yeah!! KYLE'S MOTHER COME ON! The parents all head out the door- EXT. HOSPITAL - CONTINUOUS The doors to the hospital swing open, and the parents march out into the street, singing in unison as they go. PARENTS (Singing) Something must be done! Something's gotta give! This world has become a bitch in which we have no desire to live! Cars come screeching to a halt as the parents sing in the middle of the road. People start honking their horns in frustration. KENNY'S MOTHER My boy could have become a doctor Or a lawyer rich and true Instead he burned up like a piggy on a bar-b-que! KYLE'S MOTHER We will fight for children's rights in memory of your son! PARENTS We can't just stand here singing! Something must be done! Cars are now smashing into each other, and flying off the road to people's deaths, as the music number has taken over the busy intersection. PARENTS We've pushed and pushed it to the edge And now the time has come! Something's gotta change! It's time to buy a gun! We can't just stand here singing No we can't just stand here singing No we can't just stand here singing! Something must be done!!! A few more cars careen off and explode into flames as if ending the song with a borage of fireworks. INT. OPERATING ROOM - The boys gather around Kenny's lifeless body. CARTMAN (Dazed) I bet him he couldn't do it... I bet him a hundred dollars! KYLE Come on, Cartman. It's not your fault. CARTMAN No, I know. I'm just fucking STOKED I don't have to pay him! KYLE Oh. The boys walk out, leaving Kenny's corpse behind. We can still hear the boys voices as they exit. KYLE (O.S.) I can't believe he's dead. CARTMAN (O.S.) Yeah, I'm having total deja vu right now. Like this has all happened before... After they leave, PUSH IN to Kenny's dead body, which is left all alone on the operating table. The camera continues to zoom in to Kenny's face... ZOOM IN on Kenny's dead face. We pass into his thoughs... FLASH!! EXT. SPACE - Kenny's body is floating through a great void. A PEACEFUL SONG plays as he soars upwards to the heavens. *note - except for Kenny's little construction paper body, this entire sequence should be done in 3D CGI. Ahead of him, Kenny can see a great white light. It appears warm and inviting. Now Kenny notices large beautiful breasts bobbing up and down in the heavens. He reaches out to touch them. Kenny blissfully floats upward toward the bright light and bobbing breasts. The music crescendos as Kenny gets almost close enough to the light to touch it. Just then, a huge, electronic sign pops up. 'Access Denied'. Suddenly, Kenny goes spiraling downward. The song changes to a MINISTRY type number as Kenny's surroundings start to become darker and more twisted. Kenny's hapless spirit enters a horrifying red tunnel, filled with flames and heat. KENNY Mph rmph rm! Burning souls SCREAM and CRY all around Kenny, as his body plunges into what is now obviously the depths of hell. Kenny passes images of Hitler, John Wayne Gacy, hunger and disease as he continues through the twisting tunnel. He then passes images of Jimmy Stewart and Gandhi. All of whom are opportunely locked in hell for all eternity. EXT. MOVIE THEATRE - DAY The same ticket guy from before is at the ticket booth. The marquee still reads 'Terrance and Phillip' but a huge sticker has been placed over it that reads 'banned'. The boys stand underneath the marquee looking baffled. STAN How can they do this? KYLE It isn't fair! CARTMAN Well, Terrance and Phillip are on Conan O'Brian tonight, we could at least go watch that. The boys hang their heads and walks away. The ticket guy suddenly hears a bunch of commotion. He sees a mob of angry mothers, led by Kyle's mother. KYLE'S MOTHER THIS must be him, officer! This is the scum that sold R rated tickets to children! TICKET GUY What?! Jesus Christ, I didn't mean to! Barbrady slaps handcuffs on the freaked out teen. OFFICER BARBRADY You can explain downtown! TICKET GUY (Getting dragged away) Oh shit! Hey it's not MY fault! You should arrest those pervert Canadians! KYLE'S MOTHER Oh we will, Mr. Scumbag... We will... EXT. CARTMAN'S HOUSE - NIGHT Establishing. INT. CARTMAN'S HOUSE - NIGHT The boys are sitting on Cartman's couch watching TV. ANGLE - TELEVISION - THE CONAN O'BRIAN SHOW Conan comes back from a commercial break. Sitting next to him, is Ms. Brooke Shields. CONAN O'BRIAN Our next guests have the number one movie in the world right now, please welcome Terrance and Phillip! A few cheers as Terrance and Phillip walk out on stage. A few boos as well, and we see that the South Park mothers are in the audience holding 'Anti-Terrance and Phillip' signs. Terrance and Phillip walk out and sit next to Brooke Shields. PHILLIP Hello, Conan! TERRANCE Hello, Brooke Shields! CONAN It's nice to have you here in America. PHILLIP Yeah, well, you being a Canadian and all, we thought what the hell! CONAN O'BRIAN So guys... I understand you have a comedy routine worked out for us. PHILLIP We sure do, Conan. And here it is. Excuse me, Terrance. TERRANCE Yes, Phillip? Phillip rips a fart that launches Terrance backwards and into the band. They both laugh wildly. PHILLIP Gotcha! Terrance and Phillip laugh. Nobody in the audience laughs. ANGLE - BOYS They laugh merrily. RESUME - THE CONAN O'BRIAN SHOW TERRANCE Good one, Phillip! Cheers. PHILLIP Cheers, Terrance! Terrance extricates himself from the band. Conan is growing nervous. He looks out into the audience... Kyle's mother is sitting there, looking angry. Conan makes eye contact with her, and then nods his head. Kyle's mother nods back. CONAN O'BRIAN (Nervous) So, guys, I need to ask you a serious question... PHILLIP I just farted Terrance back into the stone age! They both laugh hard. Brooke Shields waits a beat, then belts out a fake laugh. BROOKE SHIELDS I farted once on the set of Blue Lagoon! TERRANCE Nobody cares, Brooke Shields! CONAN O'BRIAN Terrance and Phillip... Whose idea was it, to have a person lighting a fart on fire in your movie? Who is responsible for that? Terrance and Phillip exhange glances. TERRANCE Phillip, I think our friend Conan has been working too hard. CONAN O'BRIAN Say it! It was YOUR idea to have someone light a fart on fire in your movie! PHILLIP/TERRANCE (Together) It was our idea to have someone light a fart on fire in your movie. ANGLE ON THE AUDIENCE Kyle's mother is among them, listening to all this. KYLE'S MOTHER (Into her lapel) That's it! Move, move, move! ANGLE ON TERRANCE AND PHILLIP A battalion of Army guys appear, seize Terrance and Phillip and arrest everyone in their group. KYLE'S MOTHER Terrance and Phillip, you are under arrest for working in America without the proper documents! WE GOT YOU! ANGLE - BOYS KYLE Dude, what the hell is going on? RESUME - THE CONAN O'BRIAN SHOW TERRANCE Phillip, we've been tricked and ambushed by The Conan O'Brian Show!! PHILLIP This little scrotum sucker willfully deceived us! (Pointing to Conan) You are a bad man! TERRANCE And you call yourself a Canadian! (To Phillip) I told you we should of done Leno! Conan O'Brian turns away, ashamed. KYLE'S MOTHER Don't listen to them, Mr. O'Brian. They're master manipulators. You did a good job. TERRANCE You loved our movie, Conan! We watched it together. You... You laughed! Conan grabs his head. CONAN O'BRIAN What have I done?!!! Conan grabs a gun and blows his head off, dousing Brooke Shields with blood. BROOKE SHIELDS AGAHGAHGGH!!!! Mondays at eight AAAGHGH!!!! Terrance and Phillip laugh merrily. Kyle's mother cradles Conan's lifeless body. KYLE'S MOTHER You see what your filth has caused? TERRANCE US?! This is your mess, outraged mother!! INT. CARTMAN'S HOUSE - NIGHT The boys are sitting on the couch in absolute shock. STAN Dude, our moms arrested Terrance and Phillip! KYLE Our moms suck! CARTMAN This could mean... No more Terrance and Phillip - EVER! EXT. UNITED NATIONS - DAY Establishing shot. INT. UNITED NATIONS - GENERAL ASSEMBLY ROOM Lots of foreigners with their silly foreign outfits sit at their stupid microphones with their ridiculous translation headsets -- in the general assembly hall. The Canadian Ambassador stands before them. CANADIAN AMBASSADOR As The Canadian Ambassador, I hereby condemn the actions taken by America in apprehending Terrance and Phillip! A MURMUR goes through the crowd. CANADIAN AMBASSADOR We demand their release IMMEDIATELY!! As you can see from this graph, the entire economy of Canada relies on Terrance and Phillip! Without them we are doomed to recession! The United Nations head bangs his gavel. Now Kyle's mother stands up. She is with a group of mothers all wearing M.A.C T-shirts. KYLE'S MOTHER If I may? Everyone looks at Kyle's mother. KYLE'S MOTHER As president and founder of M.A.C., I would like to state- UNITED NATIONS HEAD Excuse me, M.A.C.? KYLE'S MOTHER Yes, Mothers Against Canada. UNITED NATIONS HEAD Kay. KYLE'S MOTHER I would like to state that Canada must learn to stop infiltrating our country with its graphic art! Cheers from the Americans. CANADIAN AMBASSADOR Last time I checked America was a free country! KYLE'S MOTHER Look at this! Kyle's mother pulls Kenny's mother up by the head. KYLE'S MOTHER This woman's child was KILLED by your country's humor! Look how upset she is! Kenny's mom looks fine. CANADIAN AMBASSADOR We will continue to sell Terrance and Phillip videos to anyone retarded enough to buy it!! KYLE'S MOTHER Then you leave me no choice... I call for an EMBARGO on ALL Canadian Imports!!! More cheers from the Americans. The Canadians look worried. INT. SUPERMARKET - DAY The boys are in the check out line at Bob's supermarket. CARTMAN What the hell do you mean I can't get Cheesy Poofs?! BOB Sorry, kid. Cheesy Poofs are a Canadian export. We can't carry them any more. KYLE Who the hell made up that law?! CARTMAN You can't do this!! Have you ever HAD Cheesy Poofs? They're a taste sensation with a delightful cheddar crunch. BOB There's nothing I can do. I can still sell you Cheese-o's. CARTMAN FUCK Cheese-os and FUCK you! Cartman storms out. The boys follow him. INT. CARTMAN'S HOUSE - DAY The boys walk into Cartman's house. Cartman slams the door behind him. The boys all walk toward the living room. CARTMAN Come on, you guys... We have to THINK! STAN About what? CARTMAN About Cheesy Poofs, dumbass! This whole thing has gone too far! KYLE I don't really think you need Cheesy- Poofs, tubby- But the boys come to an abrupt halt when they reach the living room and see that all four mothers are waiting for them, silently. Everyone just sits there for a second. The lighting on Kyle's mother's face looks almost evil. KYLE'S MOTHER Boys, we have to have a difficult discussion. KYLE We already know what you did. We saw it on television. STAN Yeah, how come you arrested Terrance and Phillip? STAN'S MOTHER Stanly, you're too young to understand what's good for you. That's why we mothers have taken charge. KYLE But they fucking didn't do anything wrong! CARTMAN Yeah! And what rim job expert went and outlawed Cheesy Poofs!? The mothers all gasp in horror. KYLE'S MOTHER What was that word, young man!? CARTMAN'S MOTHER Oh, he said rim job. It's when someone licks your ass for- KYLE'S MOTHER I know what it is! CARTMAN (To his mother) Lick someone's ass?! KYLE'S MOTHER The Terrance and Phillip movie has obviously done irreparable damage to their brains. We have to put them in rehab right away. KYLE What's that? KYLE'S MOTHER You boys need help. There are rehab centers that specialize in treating people with chronic addictions to bad language. STAN'S MOTHER There are? Kyle's mother thinks for a second. KYLE'S MOTHER Well no, I guess not... But we will establish the first of its kind right here in South Park. All the children in town will have to attend and receive treatment from the school counselor Mr. Mackey! Ooh I just love when I get these sorts of ideas! CARTMAN Why? So you can fuck up our life some more? CARTMAN'S MOTHER Eric! Don't talk to Ms. Brovlofski that way! CARTMAN But mom! I'm not fucking addicted to fucking bad language! I don't have a fucking problem! INT. HELL - DAY Kenny walks through the black void of hell. A trippy, single shaft of light seems to follow him wherever he goes. KENNY Mphrmo? No answer... No nothing... Kenny continues on, flames shoot up randomly from the ground scaring the shit out of him. KENNY MPHR!! MMLY MMT! Suddenly, Kenny hears a CLAWING NOISE. It gets louder and louder. Kenny starts to run faster and faster. Now the clawing is RIGHT BEHIND HIM! Kenny spins around. He is face to face with SATAN! Satan looks down at Kenny and shoots flames out his nose. Kenny's eyes bulge open. KENNY MMMMMPHPHPHPHP!!!!! SATAN Fallen one... We have such sights to show you! Kenny shakes. Satan turns to a whispy form and flashes across the room like a serpent, in a millisecond he is right up in Kenny's face. SATAN I am Satan. I am your God, now. KENNY MPH RM!!! Kenny tries to run away, but Satan again changes form, flies across the room and cuts Kenny off. SATAN Come with me. I will show you what delightful pain awaits. Two black DEMONS grab Kenny by the arms and start to lead him away. KENNY MMMMMPHPHP!!!! Just then, SADDAM HUSSEIN show up next to Satan. SADDAM HUSSEIN Oh, a new recruit, huh? Welcome to hell, kid! Relax! Take a load off!! SATAN You remember... Saddam Hussein, don't you?! Kenny's eyes grow wide. KENNY MMMPPH!!! EXT. REHAB CENTER - DAY Establishing shot of the small Betty Fordesque building. INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER The kids are sitting in chairs in a circle. There are anti- drug signs on the walls: "Crack is Whack"; "Get High on Pottery"; and, "I Go From Zero to Bitch in .9 Seconds." MR. MACKEY, the wiry school counselor, leads the group. There's a pottery wheel and lots of craft tables behind them. MR. MACKEY Mkay, it's come to my attention, that you boys have a potty-mouth problem, mkay. Now the sooner you recognize your problem, mkay, the sooner we can get you back to your third grade homeroom where you belong. KYLE But they're just words, Mr. Mackey. Our parents are over-reacting. BEBE Yeah, Wendy's here, and she doesn't even like Terrance and Phillip! Wendy looks bored. Stan tries to smile at her, but she doesn't even acknowledge him. Meanwhile, Cartman is violently shaking in his seat. CARTMAN Ugh... You guys, seriously... I'm having Cheesy Poof withdrawal... MR. MACKEY Mkay, kids from all over the State have been brought here, because you all share the same problem. Uh, young man... Let's start with you. He points at Gregory. The little British bastard from the lake. GREGORY My name is Gregory... And I have a potty mouth. Wendy looks at Gregory. Stan notices this. CARTMAN You've got a stupid accent too. MR. MACKEY Eric, that is not appropriate. CARTMAN What? Fuck French people. Fuck 'em in the ear. MR. MACKEY Mkay, you see, children. This is exactly what I'm talking about. We have to change the way you think. GREGORY How are you gonna do that? Mr. Mackey crosses to a piano. He plays chords while speaking the following lines. MR. MACKEY There are times when you get suckered in, by drugs and alcohol and sex with wom-en. But it's when you do these things too much (Singing) That you've got to clear your head and get back in touch... Mr. Mackey plays the piano and sings: MR. MACKEY You can do it, it's all up to you, mkay? With a method, there's nothing you can't do, mkay? You don't have to spend your life addicted to crack Homeless on the streets giving hand- jobs for cash as long as you follow this simple plan I'm fully convinced that it's, easy, mkay... The kids are extremely disinterested. Mackey walks over to a chalkboard. MR. MACKEY Step one: Think about fun. Think about all that you'll miss addicted to this Step two: Think it all through. Think how's this gonna change my life, what am I gonna miss? Step three: Go and hug a tree, Hug anything that gets in your way! And step four: Just don't do it anymore - it's easy, Mkay! Mackey gets the children in a circle all holding hands. MR. MACKEY Come on, kids! Sing along! KIDS (Extremely half-assed) You can do it, it's all up to you mkay? With a method, there's nothing you can't do, mkay? We don't have to spend our lives addicted to crack Homeless on the streets giving hand- jobs for cash MR. MACKEY As long as you follow my simple plan I'm fully convinced that it's, easy, mkay... Everyone starts dancing in a circle. KIDS Step one: Think about fun. Think about all that you'll miss addicted to this Step two: Think it all through. Think how's this gonna change my life, what am I gonna miss? Step three: Go and hug a tree, Hug anything that gets in your way! And step four: Just don't do it anymore - it's easy, Mkay! MR. MACKEY It's easy, Mkay?! Everyone falls down laughing. INT. REHAB CENTER - LOUNGE Kyle's mom and the other moms watch the kids and Mr. Mackey rolling around on the floor laughing on a security monitor. KYLE'S MOTHER What the hell do they think this is?! Summer camp?! INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER Just then, Kyle's mother walks in with a scowling look, interupting the kids and Mr. Mackey who are still laughing merrily. The other mothers are behind her. KYLE'S MOTHER Mr. Mackey, what is going on?! Mr. Mackey stands up, looking scared. MR. MACKEY Uh, we're just, starting our program... KYLE'S MOTHER This is NOT a place for fun and games! This is rehabilitation! Now GET TO IT!! We at MAC have a trial to go to! The mothers walk away. MR. MACKEY Mkay. CARTMAN God Damn it your mom is a bitch, Kyle. Kyle hangs his head. EXT. SUPREME COURT - DAY A news reporter stands in front of the Supreme Court. All around him are protestors, with signs that say CANADA NO! and CAN'TADA! Still others hold signs with Kenny on them. NEWS REPORTER Tom I'm standing in front of the U.S. Supreme Court where the most important trial of the - day - is happening. Thousands of people have shown up from all over the country to show their outrage and disgust at Canada. Joining me now is Mrs. McKormick, mother of the poor little boy who was killed by the Canadians. Kenny's mother steps into frame. She is wearing a shirt with Kenny's picture on it. Written on the T-shirt is 'Have you seen my son? No, you haven't. He's dead.' NEWS REPORTER Mrs. McKormick, you must really hate the Canadians. KENNY'S MOTHER Yes, yes I do, Tom. NEWS REPORTER Did you ever think you would see the day when thousands of people were wearing your son Kenny on T-shirts? KENNY'S MOTHER No I didn't. But if any of you would like one they're 14.95. Available in blue or white. The reporter thinks for a second, and then turns back to the camera. NEWS REPORTER Well, we can only imagine the intense, vehement trial that is going on inside. INT. SUPREME COURT - DAY Terrance and Phillip are on the stand. JOHNNY COCHRAN Terrance and Phillip... You knowingly, with malice of forethought were trying to destroy American culture, yes or no? Terrance rips a fart. JOHNNY COCHRAN YES OR NO! INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER The kids are all in the main room, sitting on a couch, huddled around a television. They laugh merrily. STAN Shh! Mr. Mackey's gonna hear us! INT. SUPREME COURT - DAY TERRANCE The Americans are just showing their TRUE COLORS as smelly bastards. PHILLIP Fight the power! TERRANCE The young boy that died lit himself on fire. It was unfortunate, but how can they blame US? PHILLIP Don't believe the hype!! Terrance and Phillip laugh merrily. INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER The kids all shout agreement. KIDS (Adlib) Yeah! WooHoo! BACK TO COURTHOUSE Terrance and Phillip laugh merrily. TERRANCE You cannot oppress us! We will continue to pursue our art. We know there are Americans out there who will help us! Kyle's mother now stands up from the prosecutor's table. KYLE'S MOTHER Your 'ART' is shallow and immature! We Americans do NOT allow that for our children!! PHILLIP Please. You teach your children that America is the land of the free. But it's all bullshit. You're one of the most conservative countries in the world! INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER The children all listen, wide-eyed. INT. SUPREME COURT - DAY TERRANCE The problem is you don't allow your children to think for themselves. You try to raise them in a protective bubble, and then when they finally get old enough, they realize they've been lied to, and they resent you for it. PHILLIP Yeah, God, no wonder your country is so fucked up. KYLE'S MOTHER THAT IS ENOUGH!! TERRANCE WAKE UP AMERICA! YOUR government censors YOU from the world. KYLE'S MOTHER NO THEY DON'T! PHILLIP YES THEY DO! AND I'LL PROVE IT TO YOU! IN MARCH OF LAST YEAR, THE AMERICAN GOVERNMENT- BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOP. Suddenly, the screen goes blank. A sign that says 'PLEASE STAND BY' comes on. INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER The kids all watch, wide-eyed. KYLE What happened? WENDY The station CONVENIENTLY went blank. INT. CANADIAN PRESS CONFERENCE - DAY The Canadian Prime Minister stands directly in front of camera, looking right at us. CANADIAN PRIME MINISTER ATTENTION AMERICA!! You have taken our national treasure Terrance and Phillip. We, in turn, have taken yours... The Smothers Brothers! The Canadian Prime Minister steps out of the way, revealing the Smothers Brothers tied up in chairs behind him. CANADIAN PRIME MINISTER I'll let you catch your breath... Now, release Terrance and Phillip, or else we will EXECUTE your beloved Smothers Brothers!! TOMMY SMOTHERS Please listen to them!! DICK SMOTHERS They're not fucking around!! CANADIAN PRIME MINISTER We're not fucking around. This is not aboot deals. This aboot dignity. This is aboot freedom... This is aboot respect. RETURN Terrance and Phillip NOW!!! Another Canadian leans in and whispers in the Prime Minister's ear. CANADIAN PRIME MINISTER Oh yeah... AND FUCK YOU, AMERICA! He raises his middle finger, but it's all blurred and digitized. INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER MR. MACKEY Okay kids, for today's rehabilitation activity, we're going to watch the Terrance and Phillip movie. STAN What?! KYLE Sweet! MR. MACKEY Now, this is an EDITED version of the movie, which was put out by the MPAA. That's the Motion Picture Association of America. WENDY Isn't that censorship? MR. MACKEY No the MPAA is NOT a censorship group. WENDY Why not? MR. MACKEY Uh... Because they say so... Mkay. Now I want you to watch this movie, with all the immature profanity taken out, and notice how much better a movie it becomes... Mackey puts the tape in and hits play. The TITLES come up 'Terrance and Phillip Asses of Fire' Except that 'Asses' has been blurred out, and replaced with 'bunz'. KIDS HOORAY!!! The movie begins. Phillip walks in. But it isn't Phillip's voice, somebody has dubbed him over. DUBBED PHILLIP Hey Terrance. I feel like I'm going to pass gas near your head. DUBBED TERRANCE I would rather you didn't, Phillip. DUBBED PHILLIP Oh? Is that so? Phillip farts on Terrance. TERRANCE Oh, you are such a maroon! PHILLIP You would know, dummy. The boys look confused. TERRANCE You are pigeon-like in your intelligence. The pseudo-Terrance and Phillip laugh. Terrance throws a match on Phillip and Phillip burns to death. A TITLE comes up - THE END. And the credits roll. CARTMAN WHAT THE HELL WAS THAT?! KYLE Dude, they cut out 92 minutes! The lights in the theater come up. MR. MACKEY So you see, the point and the theme of the film is kept intact. And of course, the MPAA didn't cut out any of the graphic violence. What did you think? CARTMAN Oh man, I'm gonna need a cherry pie to get the taste of ass out of my mouth from that piece of shit movie. MR. MACKEY Eric, you're not watching your mouth! CARTMAN You get me Cheesy Poofs with the delightful cheddar crunch, and I'll watch my fucking mouth! MR. MACKEY Eric!!!! You need to be rehabilitated. Help me to help you! CARTMAN Help yourself prickfuck! MR. MACKEY I am not a prickfuck, mkay? You little asshole! Mackey slaps his hand over his mouth and looks around, scared. CARTMAN Ha, ha, you stupid asshole prickfuck. INT. REHAB CENTER - SEPARATE ROOM Mr. Mackey is in a private office with the members of M.A.C. KYLE'S MOTHER How is the children's progress? MR. MACKEY Very encouraging. Most of the children have been weened from their naughty mouths. KYLE'S MOTHER What do you mean MOST, why not ALL? MR. MACKEY (Nervous) Well, some of the children just don't respond to 12 step programs. KYLE'S MOTHER Then we'll have to resort to plan B and call the v-chip organization. Dramatic MUSIC STING. Mackey looks afraid. MR. MACKEY Mrs. Brovlofski, the V-chip hasn't been fully tested yet, it could be dangerous. KYLE'S MOTHER (Evil) I don't care if it's dangerous! Desperate times call for desperate measures, Mr. Mackey. Perhaps I need to remind you of your situation. MR. MACKEY (Nervous) Alright, I'll make the call... INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER The kids are again glued to the TV watching the trial of Terrance and Phillip. INT. SUPREME COURT - DAY Back in the courthouse, the jury walks in and sits down. JUDGE Madam foreman, have you reached a verdict? FOREMAN We have, your honor. JUDGE How find you, the jury? FOREMAN We the jury, find the defendants... Terrance and Phillip... GUILTY of being complete bastards. The crowd goes wild. The mothers of M.A.C. stand and cheer. INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER The kids sit in shock. KYLE Oh no! INT. COURTROOM - DAY TERRANCE Oh oh, Phillip. You know what this means? PHILLIP We'll be farting bread and water for a few years. The judge bangs her gavel. JUDGE Terrance and Phillip, for crimes against the great nation of America you are hereby sentenced to DEATH. HUGE MUSIC STING. TERRANCE DEATH?! You gotta be shittin' me! PHILLIP Aghgh! Phillip passes out. INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER The kids can't believe what they're seeing. Everyone is silent. Finally, Kyle perks up. KYLE Dude, let's help Terrance and Phillip!! STAN How do we do that? Kyle thinks for a moment. WENDY You raise awareness by distributing buttons, stickers and leaflets. CARTMAN That'd be sweet! We could try to bring back Cheesy Poofs! KYLE Yeah, let's make Free Terrance and Phillip buttons! WENDY You guys don't even care. All you care about is seeing Terrance and Phillip fart on each other more. The boys sit there and blink. STAN Yeah! WENDY This is about freedom of speech, Stan, about censorship. The handsome English kid, Gregory chimes in. GREGORY Yes, what's next? Barcodes on our forearms? This country is the most fascist of all. Wendy looks at Gregory deeply. Gregory smiles at her. STAN What the hell are you talking about, kid? WENDY You don't get it Stan... You just don't get it. Wendy walks away. STAN What? What don't I get? (To Kyle) What don't I get? KYLE I don't know, dude. STAN That British dickhole is what's taking Wendy away from me! KYLE I thought she wasn't your girlfriend, dude. STAN She's Not! But if she WAS it would be THAT little asshole who's fucking it up for me! INT. REHAB CENTER - SOUTH PARK'S BETTY FORD CENTER The kids are all sitting in rows, wearing very crude 'Free Terrance and Phillip' buttons. MR. MACKEY Mkay, children, you've all made terrific progress, and are hereby done with the eight step program. The kids all AD LIB relief. CARTMAN Thank God, that sucked ass. MR. MACKEY Uh, except for you Eric. I'm afraid you need to work more on not saying the F word and the N word. CARTMAN The N word? MR. MACKEY (Reading) Norwegian Ass Raper. CARTMAN Oh yeah. MR. MACKEY The rest of you are graduated. You can go home today. The kids cheer. CARTMAN I don't graduate?! WHAT THE FUCK IS THIS?! THIS IS BULLSHIT?! Just then, Mackey notices the little buttons on everybody's shirts. MR. MACKEY Free Terrance and Phillip? Oh no... Mkay. KYLE (Proudly) We're protesting! STAN Yeah! MR. MACKEY Well, boys, it might interest you to know that your FRIENDS the Canadians have just bombed the U.S. STAN They did?! MR. MACKEY Yes, at six this morning they bombed the heck out of Cleveland. KYLE Oh. That doesn't count. WENDY They only bombed Cleveland because we're going to Execute two of their citizens!! MR. MACKEY Wendy, Mkay, if you want to start getting political, I'll throw your skinny little butt right back into rehab. Mkay? CARTMAN HOW THE FUCK CAN YOU NOT GRADUATE ME?! DOES THAT MEAN I HAVE TO STAY HERE?! MR. MACKEY No, Eric... I'm afraid it's phase two for you... Dramatic MUSIC sting. INT. HELL - DAY Kenny is chained up in a torture chamber in Hell. Demons and ghouls surround him. SATAN Prepare thyself for unending pain! Unparalleled misery!! Kenny starts to cry. Saddam Hussein comes out from behind Satan holding a martini. SADDAM HUSSEIN Hey, relax Satan. Don't get all worked up. You're gonna give yourself an ulcer again. KENNY Mrph mprph!! SADDAM HUSSEIN What? What do you mean you don't belong here? Relax guy, hell is for children. KENNY Mrph mprhm mm rmph! SADDAM HUSSEIN A deal? You wanna make a deal with the devil. Well sure, deals are mounds o' fun. SATAN (To Saddam) Saddam, would you let me do my job please! SADDAM HUSSEIN Hey relax, guy. Let's see what the kid wants. KENNY Mph rmph rm rmph rmph rm! SADDAM HUSSEIN Oh, you want out of hell, huh? SATAN Well of COURSE he wants out of hell! The whole POINT of hell is that you don't WANT to be here! SADDAM HUSSEIN Okay, kid, I have a deal for you! If you want out of hell, all you have to do is collect 10 proofs of purchases from 'Snacky Smores.' They're rich, chocolatey and really hit the spot. Bring me ten proofs of purchases and we'll grant you ANY WISH YOU WANT. KENNY Mrph? SADDAM HUSSEIN I wouldn't bullshit you kid! Snacky Smores are now available in stores everywhere! No biggie! Saddam walks over to Kenny and releases his chains. SADDAM HUSSEIN (To Kenny) Well what are you waiting for pal?! Get to it! Kenny runs out and away. SADDAM HUSSEIN HA HA HAHA!! What a dumbass!! Saddam walks over and joins Satan on the couch. SATAN I don't see why you have to belittle me in front of people like that. SADDAM HUSSEIN Hey, relax guy. It's just a cruel joke. Rich, chocolatey Snacky Smores are only available up on Earth. He'll never get 'em, see? SATAN Sometimes I just think you don't have any respect for me. SADDAM HUSSEIN Hey, come here, guy. Saddam pulls Satan around and plants a big wet kiss on him. SADDAM HUSSEIN Who's my cream puff? SATAN I am. INT. PTA MEETING - DAY A large crowd of parents has gathered for a PTA meeting. Kenny's mother is at a table selling dead Kenny t-shirts. She has a shitload of money all around her. Another MOTHER walks up, hands Kenny's mom money, and gets a shirt. MOTHER Is that a new pearl bracelet, Mrs. McKormick? KENNY'S MOTHER Why yes. Yes it is. Meanwhile, Kyle's mother is on the stand. KYLE'S MOTHER As our next official order of business here at M.A.C., we will test the new V- chip. As most of you know, the V-chip was created to lock children out of watching certain shows on television. And now the N.I.H. has created a new, exciting product that they can tell us all about. Here is the Surgeon General, Dr. Pangloss. DOCTOR PANGLOSS, a lab technician in white takes the podium. DOCTOR PANGLOSS Thank you, parents. One person claps. Pangloss hits a button and a slide projector starts showing pictures of the device. DOCTOR PANGLOSS The machinery of the new 'V-chip' is very simple, and similar to that of the V- chip. The chip is placed just under the subject's skin, where it emits a small but painful shock of electricity whenever an obscenity is uttered. The parents are fascinated. STAN'S FATHER Now wait a minute, are you telling us that this chip somehow KNOWS if the kid is swearing? DOCTOR PANGLOSS It's just like a lie detector. Certain things happen in you when you swear just like when you lie, the chip picks up on this and gives the subject a shock. The parents AD LIB 'Ooohs' and 'Ahhhhs' DOCTOR PANGLOSS We are very excited to see the results of this test. (Calling) Patient 453, would you step out here, please? Cartman steps out wearing a hospital gown. DOCTOR PANGLOSS Patient 453 here has been fitted with the new v-chip... CARTMAN My head hurts. DOCTOR PANGLOSS Don't worry about that. Now, I want you to say 'Doggy.' CARTMAN Doggy. DOCTOR PANGLOSS Notice that nothing happens. (To Cartman) Now say 'Montana.' CARTMAN Montana. DOCTOR PANGLOSS Good. Now 'Pillow'. CARTMAN Pillow. DOCTOR PANGLOSS Alright, now I want you to say 'horsefucker.' Cartman looks offstage to his mother. CARTMAN'S MOTHER Go ahead, it's alright, Eric. Cartman smiles. CARTMAN Horsefuck- BZZZZZAAAAT!!!! CARTMAN AGAAHGAHGAH!!!!! Cartman falls to the floor in pain. All the parents ooh and ahh and applaud. CARTMAN OW!! That HURT GOD DAMMI- BAZAAATTT!! CARTMAN OW!! YOU CAN'T DO THIS TO ME!! THIS ISN'T FAIR!!! YOU SONS A BITCHE-- BAZAAATTT!! DOCTOR PANGLOSS Success!! Our device works perfectly! We will begin mass production immediately! KYLE'S MOTHER And so we have succesfully removed the Canadian smut from all of our children's brains. We have made changes at school to ensure that our kids are NEVER AGAIN exposed to smut!!!!!!! It's OVER! The crowd goes wild. EXT. SCHOOL - DAY School is now Naziesque. A military drum echoes in the distance. INT. CLASSROOM - SOUTH PARK ELEMENTARY - DAY Stan and Kyle are sitting in their desks, waiting for school to begin. Wendy walks by on her way to her desk. STAN Hi Wendy. WENDY (Not even looking) Hi Stan. Wendy walks on by. KYLE Wow, dude. Wendy could really give a rats ass about you. STAN (Eyes still on Wendy) I bet she would if my name was GREGORY!! KYLE Good thing she was never your girlfriend... Dude, here comes Cartman. Cartman walks in and gingerly sits down. KYLE Hey, Cartman, did they put that V-chip in your head or your ass? STAN What's the difference? Stan and Kyle laugh. CARTMAN Very funny dickhead- BZZAAT! The v-chip shocks Cartman. CARTMAN OW! FUCK- BZZZAAAT!! CARTMAN AY! Cartman is thrown to the floor in a shivering heap. KYLE Whoa! What the hell was that?! STAN Dude! It's the V-chip! It shocks him ever time he cusses! Stan and Kyle look at each other. Kyle smiles. KYLE Hey Cartman. CARTMAN What? KYLE You know, me and Stan were just talking about what a fat fucking hunk o' fat fuck you are. CARTMAN Oh yeah?! Well you're a monkey-shit- BZAAAT! CARTMAN SHIT- BZZZAAAT!! CARTMAN FUCK- BZZAAAT!! The cycle continues as Stan and Kyle laugh merrily watching Cartman flopping around on the floor. KYLE This is sweet!! STAN Totally! Garrison stands before his class. MR. GARRISON Okay, children, let's try a few new math problems. What is five times two? The kids all just sit there. MR. GARRISON Come on, children, do be shy, just give it your best shot. Clyde raises his hand. MR. GARRISON Yes, Clyde? CLYDE Twelve? MR. GARRISON Okay, now let's try to get an answer from somebody who's not a complete retard. Anyone? Come on don't be shy... Just then, the door bursts open and in walks a couple of Nazi looking American soldiers. They walk over to the children and start pulling off their 'Free Terrance and Phillip' pins. STAN Hey, what are you doing? SOLDIER You can't wear these in school. It's against school policy, thank you. Another solider rips off Kyle's pin and replaces it with a yellow star. KYLE What's that for? SOLDIER 2 You get a star for doing well in school. Just as quickly, the soldiers make their way out the door. WENDY NAZIS!! STAN What's the matter, Wendy? WENDY Nothing, Stan. You wouldn't understand. STAN (To Kyle) God damn it, why does she keep saying that? INT. CAFETERIA - DAY The boys are in line. Nazi-ish soldiers usher them through. STAN I'm so sick of these soldiers. KYLE Yeah, they suck. CARTMAN I know. Always saying, do this, do that. They think they're so cooool. (To the soldier) Acht lieben kraft auct shpiler! (BZZZT) OW!!! The soldier glares at him. The boys walk into the kitchen, where they are greeted by their big, happy, black school CHEF! CHEF Hello there, children!! STAN Hey, Chef. CHEF How would like some Salisbury Steak with buttered noodles? KYLE We can't, we're on a hunger strike. CHEF A hunger strike? For what? STAN To free Terrance and Phillip. CARTMAN But you guys... It's Salisbury steak. STAN Chef, do you know anything about women? CHEF Ha! Is the Pope Catholic? KYLE I don't know. CHEF Children, I know ALL there is to know about women. STAN What's the secret to making a woman happy? CHEF (Dishing out food) Oh that's easy, you just gotta find the clitoris. STAN Huh? Suddenly, Chef realizes who he's talking to. CHEF Oops, I guess you haven't got that far in your anatomy class, huh? STAN No, what does that mean, find the clitoris? CARTMAN Is that like finding Jesus or something? Now Chef starts to panic. CHEF Uh... Nothing. Forget I said anything. Now move along, children! You're holding up the line! Just then, the P.A. blares out an announcement. PRINCIPAL VICTORIA (O.S.) ATTENTION ALL SOUTH PARK ELEMENTARY STUDENTS AND STAFF! REPORT TO THE GYMNASIUM IMMEDIATELY FOR A SPECIAL ANNOUNCEMENT!! STAN Woa, I wonder what's going on, dude. INT. GYMNASIUM - DAY All the elementary students are gathered in front of a large television monitor. Mr. Garrison and his class walk in and look confused. The boys walk up to Chef. PRINCIPAL VICTORIA Please take your seats, everyone!!!! They all go to their seats. KYLE What's going on, Chef? CHEF Something big, children. The television goes from that Emergency broadcast signal to a scene of a news anchor sitting at his desk. NEWS ANCHOR (Very serious) This is a State of Emergency. We go now to the White House for a VERY IMPORTANT ANNOUNCEMENT from the President of the United States. INT. OVAL OFFICE - DAY The President is sitting in a chair by the fireplace. PRESIDENT CLINTON Ladies and gentlemen... At five a.m. today, a day which will live in infamy... sort of... the U.S. has declared war on Canada. ANGLE - KIDS They all stare in silence. Mr. Garrison takes a deep breath. CHEF Oh, no... MR. MACKEY I don't believe it. CARTMAN Holy crap- (BZZZT!) OW!! Hey crap isn't a swear word, what the fuck?! (ZZZZZZTTT) AGAGAGH!!! PRESIDENT CLINTON All Canadians are to leave the country immediately, or be subject to military camps. All Canadian products are to be thrown out. PRINCIPAL VICTORIA How can they do this? MR. GARRISON I never thought there would be war again in my lifetime... INT. WHITE HOUSE - DAY PRESIDENT CLINTON Do not be afraid of this war. Instead embrace it. We have God on our side. And besides, they're just Canadians, what the hell are they gonna do? INT. GYMNASIUM - DAY Everyone watches the television in stunned silence. STAN Chef, what does it mean that we're at war? CHEF It's... It's not good children. PRINCIPAL VICTORIA What do we do? Do we go on as normal or...? MR. GARRISON I don't know Principal Victoria... I don't know... PRESIDENT And now, I would like to bring up the woman who led, and is still leading the way in this glorious stand- KYLE (Pointing to TV) HOLY SHIT DUDE!! Kyle's mom appears on the TV dressed in military garb. PRESIDENT Mrs. Sheila Brovlofski. CHEF Isn't that your mother, Kyle? Kyle can't believe it. On the television, Kyle's mother walks up to the podium. She is dressed to the hilt. She hugs the President and the first lady and then takes a deep breath. KYLE'S MOTHER My fellow Americans. I have led this fight in the War against profanity. I have founded Mothers Against Canada. Our neighbor to the north has abused us for the last time. PRESIDENT As Commander in chief, I have ordered our Army to set up defensive positions along the US-Canada border in anticipation of an attack. KYLE'S MOTHER What about air strikes? PRESIDENT Huh? KYLE'S MOTHER We have to have air strikes on their military and entertainment centers. It's the only way to ensure that their smut can't reach American soil! PRESIDENT Oh, uh... I don't know if air strikes are necessary. KYLE'S MOTHER Not necessary?! Mr. President, may I remind you that our country's heart and soul are at stake, and our children's minds are the battlefield! The bastard Canadians want to fight us because we won't tolerate their potty mouths. Well, if it is war they want... THEN WAR THEY SHALL HAVE!!! A huge eruption of cheers from the crowd in front of Kyle's mother. She is obviously floored by it. She can't help but smile. She actually holds her head up higher, and then raises her arms up in two peace signs, as the cheers get louder. The president forces a smile and actually applauds with the rest of the crowd. Back in the gymnasium, Kyle looks thoroughly embarrassed. CHEF Damn, your mom's a bitch, Kyle. CARTMAN Amen to that. INT. HELL - DAY Kenny is sadly walking around hell. He walks up to another one of hell's prisoners. KENNY Mph rmph rm rmph rm? GEORGE BURNS Snacky Smores? Why the hell would I have proofs of purchases from Snacky Smores? Beat it, kid. Kenny moves along. He hears some voices coming from a door. Kenny opens the door and peeps inside- INT. SATAN'S BEDROOM - KENNY'S POV Saddam and Satan are lying in bed. SADDAM HUSSEIN You just get cranky when you're tired, that's all. I told you that you shouldn't have tried to carry that futon all by yourself. SATAN I'm not cranky. And that futon was not too big to carry myself- Just then, Satan hears a reporter on CNN. TV In war news, countries from Europe and Asia are joining sides in the Canadian- American War- SADDAM HUSSEIN -Listen butterbuns, let's make love and forget about the whole thing- SATAN SHHH!!!! TV ...The death count is already on its way to 10 million with no signs of slowing down. What started as a spat between the United States and Canada is quickly turning into World War III- Kenny's eyes bulge, he wants to see more, but Satan clicks off the television and sits up in bed. SATAN It has come to be... The Four Horsemen are drawing nigh! The time of the prophecy is upon us! SADDAM HUSSEIN Oh I love when you get all biblical Satan. You know exactly how to turn my crank! SATAN No I'm being serious! Those Canadian entertainers are to be killed. It is the seventh sign. Satan walks over to large pedestal which holds an ancient tome. Satan turns the pages as he talks. SATAN Behold, the signs of my reign on earth are all falling into place! The fall of an empire- He points to an ancient-looking picture of the death of Ceasar. SATAN -The coming of a comet- He points to a picture of a comet passing by Earth. SATAN Jerry Springer's movie doing more than ten million box office- A picture of Jerry Springer holding a bunch of money. SATAN ....And now.... Satan points to an ancient drawing on the wall. It looks like Terrance and Phillip being stabbed in the head. SATAN The seventh sign! When the blood of these Canadians touches American soil... It will be my time to rise!!!!! DRAMATIC music. SADDAM HUSSEIN Yeah! YEAH!!! Man I'm getting so HOT!!! SATAN Do you always think about sex? I'm talking about some very important stuff here! SADDAM HUSSEIN Listen buttercup, let's make love and forget about the whole thing. SATAN Is sex the only thing that matters to you? Saddam thinks for a second. SADDAM HUSSEIN I love you. Satan sits with his arms crossed and a frown. SADDAM HUSSEIN You know I do. SATAN I know. SADDAM HUSSEIN So what do you say we shut off that light and get close, huh? Satan reaches over and turns off the light. Everything goes pitch black. The light goes off of Kenny's face as well. A beat. Then, a small moan from Satan. SADDAM HUSSEIN Yeah, you like that, don't you bitch? EXT. SOUTH PARK AVENUE - DAY Stan and Kyle are walking down South Park Avenue. Stan is reading out of a huge book. KYLE Does it say what the clitoris is? STAN All it says is that it's above the vulva... But where the hell is the vulva? KYLE Isn't that in Arizona or something? Stan and Kyle walk into the middle of town, where a HUGE bonfire of Terrance and Phillip videos, posters, and Canadian items like syrup and hockey sticks are burning away. The soldiers throw Stan's book on top of the pile, and it starts to burn. Stan and Kyle walk up to where Cartman is standing. STAN What is this? CARTMAN They're burning all the Canadian stuff cause of the war. STAN That book wasn't Canadian! Clyde, one of the kids from school, throws his Terrance and Phillip dolls into the burning mass. Kyle stops him on his way back. KYLE Dude, don't you like Terrance and Phillip anymore? CLYDE Of course not! We're at war! My daddy says I HATE Canadians now! More kids line up to burn their Terrance and Phillip stuff. Several random mothers from M.A.C. are standing in front of the bonfire with anti-Canadian signs and T-shirts. The boys' parents aren't around, but another MAC mother is leading the charge. MAC MOTHER THAT'S IT! BURN EVERYTHING CANADIAN!!! MAKE OUR COUNTRY DECENT AGAIN FOR OUR CHILDREN!!! A townsperson throws Alanis Morisette albums into the fire. Another townsperson runs up and throws in a bag of Cheesy Poofs. CARTMAN NNOOOO!!!! WHAT ARE YOU DOING?! OH, WHY GOD, WHY?! Cartman falls to his knees and cries as the Cheesy Poofs burn away. CARTMAN This is all cause of your mom, Kyle. She's such a bitch- (BBBZAATT!!) AGH!! I mean - she's such a... meanie. KYLE And she's getting worse... STAN Dude... Isn't that your brother? Kyle looks to where a group of big, mean FIFTH GRADERS have encircled Ike. FIFTH GRADER Why don't you go back to your own country, CANADIAN! FIFTH GRADER 2 Yeah, go eat some potatoes and ride donkeys! IKE Eee todo ba! Kyle's eyes grow wide. He dashes over. KYLE Hey! Leave him alone! FIFTH GRADER It's just a smelly Canadian. They're like rats. KYLE He's my brother! FIFTH GRADER You don't look Canadian. KYLE He's adopted! Kyle picks his brother up and tries to protect him. FIFTH GRADER Well you better get his beady eyed Canadian ass out of America before my daddy finds him!! The boys watch in horror as the fifth graders run over and throw more Canadian items into the fire. KYLE It's only a matter of time before my mom has HIM burned too! STAN What has the world come to? This is horrible. We're locked up, burning books, hating other people- CARTMAN -no Cheesy Poofs. STAN -No Cheesy Poofs... What the hell is happening? DRAMATIC MUSIC begins. KYLE I don't know. But it has gone far enough! I'm sick of it! (Singing) Something must be done! Change has got to come around! They're taking all our laughter and burning it to the ground! Can't you see what this is leading to? A world of chains and ties and glue! We have to fight before they've taken every one! Something must be done! STAN I agree! The only way to save our future is to unite and fight! (Singing) Something must be done! We must take action fast! My parents have gotten so strict they forgot they were children in the past! CARTMAN And my mom has become so bu-sy that she's raising heck and ignoring me I agree that there is now a battle to be won! Something must be done! STAN But what are we going to do against this entire army? KYLE We've gotta get the word out. We'll get on my dad's computer and use the internet! Come on you guys! The boys proudly head down the street. BOYS Something must be done! Something's gotta give! This world has become a bitch in which we have no desire to live! (*note- cartman gets shocked again on 'bitch') BOYS We've pushed it to the edge And now the time has come! Something's gotta change! Something must be done! Something must be done!!! INT. KYLE'S HOUSE - KYLE'S DAD'S OFFICE Kyle is at the keyboard of his dad's computer. Stan and Cartman are waiting in the background. KYLE Okay... I just need to find a few private message boards... STAN Wait! Before we put a message out, do a search on the word 'clitoris'. KYLE Okay... Kyle types in the word and hits return. KYLE (Reading the screen) "Found Eight Million Pages With the Word Clitoris"! STAN Wow! KYLE I'll just try the first one. Kyle clicks the mouse. They wait for the screen to load. Finally, it does. KYLE Dude! It's a lady giving a blow job to a horse! Stan and Cartman rush over. STAN Is it Cartman's mom? CARTMAN Very funny! KYLE Hey... It IS Cartman's mom!! Cartman looks at the screen. CARTMAN Oh, son of a bitch! (ZZAP!!) AAGHGH!! I mean, son of a biscuit! STAN Maybe THAT'S who your father is, Cartman! Ike bounces in, happily. IKE Ber dada! KYLE Get out of here Ike, you're too young for this stuff! IKE Papa mama simi. Ike bounces out. CARTMAN Come on, just get to the message board! KYLE I'm trying, I can't find a Canadian server... I've got to break into the main frame... Kyle furiously hits a bunch of keys. KYLE Damn it! They've got an access code! I'll try to reroute the encryptions... Kyle furiously hits a bunch more keys. STAN Dude, do you know what you're doing? KYLE No, dude, all you have to do is hit the keys really fast and say a bunch of stupid shit and it works. Just then the screen pops up. Access Granted. KYLE Bingo. Okay, here we go... (Typing) Want to help Terrance and Phillip? Meet us for a meeting at Gladdy's barn tomorrow night... CARTMAN Tell 'em we'll have pie and punch. KYLE We're not gonna have pie and punch! CARTMAN More people will come if they think there'll be pie and punch! KYLE (Typing) pie and punch... This is Top Secret. The password is... The boys all think... STAN (Dramatically) La Resistance. Triumphant MUSIC cue. INT. KYLE'S ATTIC The door to the attic pops open. Kyle shoves Ike up into the attic. KYLE You stay up here in the attic, Ike. Don't make any noises or nothing, okay? IKE Uhh... KYLE Goodnight, Ike, we're all going to bed. The door closes and it is dark. Ike blinks. He looks out a small window, onto the street below. A few armed soldiers walk by. Ike pulls out a little plastic harmonica and sadly starts to play. INT. PENTAGON - NIGHT Tons of MILITARY PERSONNEL are running to and fro. Giant computer screens show Canada's latest attacks. SECRETARY OF DEFENSE Sir! The Canadians have destroyed Des Moines!! PRESIDENT How can you tell? Everyone laughs merrily. SECRETARY OF DEFENSE Good one, sir! Suddenly, a PENTAGON GUY runs up to the President, holding some papers. PENTAGON GUY Sir, we're tracking a signal crossing into Canadian computers! It looks like we may have a resistance movement starting... The President grabs the papers and dashes over to Kyle's mother, who is standing there looking smug, with her arms behind her back and her chest out. She has a few military badges on her. PRESIDENT (Showing her the papers) Ma'am, we're tracking a resistance... It's probably Canadian spies!! KYLE'S MOTHER Well find out where that signal is coming from! Then hunt them down like dogs! Any and all Canadian influence must be stopped at all cost! PRESIDENT Yes ma'am! The President starts to run off. KYLE'S MOTHER And Bill? PRESIDENT Yes? KYLE'S MOTHER I'm needing lunch. PRESIDENT Right away, ma'am! The president runs off. EXT. CARTMAN'S HOUSE - NIGHT Establishing. RADIO ANNOUNCER (V.O.) And so the draft will begin tomorrow, as more and more troops are needed to fight the Canadian forces... INT. CARTMAN'S HOUSE - NIGHT Cartman's mother is tucking him into bed. RADIO ANNOUNCER (V.O.) What is quickly being referred to as 'The Great Canadian-American War' has already reached a death toll of two million. Cartman's mother reaches over and switches off the radio. CARTMAN'S MOTHER Goodnight, honey. CARTMAN Mom... When is the war gonna be over? CARTMAN'S MOTHER I don't know honey. Soon we hope. You want it to end quickly, huh? CARTMAN Oh, I don't care, I was just asking cuz all my favorite TV shows have been replaced by news and it's pissing me off. CARTMAN'S MOTHER Oh. With that, Cartman's mother gets up- CARTMAN Mom... CARTMAN'S MOTHER Yes, hon? CARTMAN If you went down on a horse... You'd tell me, right? CARTMAN'S MOTHER Sure, hon. Goodnight. She switches off the light, and leaves. Cartman lies there, lit only by soft, blue moonlight and thinks. He hears a SCRAPING noise, and looks a little scared, but then tries to close his eyes to sleep. CARTMAN Go away, scary noise. Again the SCRAPING. Cartman pops open hs eyes to see - KENNY! He is transparent and floating above Cartman's bed. Cartman is horrified. Too much so to even scream. Kenny puts his hands to his mouth to try and speak, but he makes no sound. Finally, Cartman lets out a piercing cry. Cartman's mother comes running in, just as the image of Kenny disappears. CARTMAN'S MOTHER Eric?! Eric, what is it?! CARTMAN I saw him!! I saw Kenny!! Cartman's mother looks around and sees nothing. Finally, she just cradles Cartman's fat head in her arms. CARTMAN'S MOTHER Oh you poor dear. You've been through so much... CARTMAN I bet him he couldn't set himself on fire and now he's all pissed off!! (BZZTZT!) AGH! I can't say pissed off?! (BAZZTZT!!) AGH!! INT. HELL - DAY (MOVED) Kenny is again snooping around. He quietly creaks Satan's door open and walks in. Satan is in his room, looking at a map of Earth. SATAN The execution of Terrance and Phillip is imminent, soon all hell shall rise!! Kenny looks scared. SATAN (Evil and scary) Are you afraid, little one? Afraid for the souls of your pitiful friends that- Suddenly, Saddam walks in carrying some bags. SADDAM HUSSEIN Hey Satan! I got some great new home furnishings today! Satan rolls his eyes and sighs. His attempt to be evil to Kenny is squashed again. SADDAM HUSSEIN Boy buddy Rich, it was a bitch to get something to match with that bathroom tile! Saddam looks at Kenny. SADDAM HUSSEIN Oh, hey kid. Find those proofs of purchases yet? No?! Gee, whatta surprise! Well, keep lookin! A beat. Satan folds his arms and looks at the floor, pissed. SATAN Do you wanna know what I did today? Saddam lets out a sigh. SADDAM HUSSEIN What did you do today Satan? SATAN You don't care. SADDAM HUSSEIN Hey fella! Relax! This whole armageddon thing has got you all stressed out. Let's make love. SATAN Do you remember when you first got here? We used to talk all night long. Until the sun came up... We would just lie in bed and TALK. SADDAM HUSSEIN That's because I wanted to fuck you, dumbass! Now hows aboot you get those pants down! SATAN Don't call me dumb! SADDAM HUSSEIN I mean cute dumb. Now bend over! As this conversation happens, Kenny's eyes dart back and forth as if watching a tennis match. SATAN How come you always want to make love to me from behind? Is it because you want to pretend I'm somebody else? Saddam sighs. SADDAM HUSSEIN Satan, your ass is gigantic and red, who am I gonna pretend you are? Helen Reddy? A beat. SADDAM HUSSEIN Come on, kid. Help me with these shower curtains. Saddam and Kenny walk out. Leaving Satan all alone with sad music playing. SATAN (Gently) Sometimes I think When I look up real high That there's a whole world up there And just maybe it could be mine But then, I sink because it's here I'm supposed to stay but I don't even know how or why its supposed to be that way- Satan walks to his veranda. SATAN Up there, there is so much room Where babies burp and flowers bloom Everyone dreams I can dream too Up there, Up where The skies are ocean blue I could be safe and live without a care... Up there Satan walks over to a bright blue globe and spins it slowly. SATAN They say I don't belong That my place is down below Because of my beliefs I'm supposed to stay where evil is sewn But what is evil anyway? Is there reason to the rhyme? Without evil there could be no good So it must be good to be evil sometimes Up there, there is so much room Where babies burp and flowers bloom. Everyone dreams I can dream too Up there, Up where The skies are ocean blue I could be safe and life without a care... Up there PULL BACK, big crane shot rising above Satan. EXT. SMALL ABANDONED BUILDING - NIGHT A dim light is all that is visible from inside the small building. INT. LA RESISTANCE - NIGHT Stan and Kyle are painting a sign on the wall 'La Resistance'. Cartman comes running in, he looks scared. KYLE You're late, Cartman! CARTMAN I had to ride my bike here. My behind is killing me. KYLE Your behind? CARTMAN I have to say 'behind'! I get shocked if I say 'ass- (BBZZAATT) OW!!! KYLE Did you bring the pie and punch? CARTMAN No you guys... Something happened... You guys wanna hear something creepy? (Looking over each shoulder) I don't think Kenny is dead. STAN What? CARTMAN I saw him last night! KYLE I know Cartman, I know. I see Kenny every day. CARTMAN YOU DO?! KYLE Sure, dude. On the face of every child, on the smile of every baby... Kyle and Stan laugh again. CARTMAN Hey! I'm telling you this WAS Kenny! I think he's haunting me. KNOCK KNOCK KNOCK! The boys all look scared. KYLE Somebody's here... The boys walk over to the door, and open the sliding panel in front of their eyes. KYLE Who is it? VOICE Uhh... I'm here for La Resistance. KYLE What's the password? VOICE Uhh... I don't know. KYLE Guess. VOICE Uhh... Bacon. KYLE Okay. Kyle opens the door. The golden haired young boy from rehab stands there looking handsome and angelic. GREGORY Viva la Resistance. STAN Oh no, it's that kid. GREGORY This is the place-- Another kid walks up next to Gregory, it's Wendy. Stan's eyes grow wide. STAN Wendy? WENDY Stan?! YOU started La Resistance? GREGORY Well, apparently you have a bigger heart than we thought. Let us get this meeting underway, there are others coming. Gregory takes Wendy's hand and pushes his way in. Stan fumes. INT. LA RESISTANCE - LATER Now the room is filled with a bunch of scared looking RESISTANCE FOLLOWERS. All of whom are under the age of twelve. The room is lit only by candlelight. And the large 'VIVA LA RESISTANCE' banner hands on the wall. Stan and Kyle look nervous. STAN Everyone be seated, please. The kids all sit down. KYLE Wow, a lot of people showed up. STAN Yeah, so what do we say? KYLE I thought you had something planned. STAN Me?! Stan looks out over the faces. Gregory checks his watch. STAN (Nervous) Kay. Uh... Terrance and Phillip are supposed to be killed, and we think that sucks ass!! The kids don't respond. Stan shoots a nervous look at Wendy, who is sitting next to Gregory. STAN Uhh... So we think we should prank call a bunch of policemen! We can have pizzas sent to them that they didn't order! VIVA LA RESISTANCE!!! Again no response. Gregory rolls his eyes. STAN Uhh... Gregory stands up. GREGORY May I? STAN What? Gregory takes Stan's place at the front of the group. GREGORY Terrance and Phillip are currently being held at a Canadian Internment camp two kilometers outside of town. They are to be executed tomorrow during a star-studded USO show for the troops. Gregory pulls a big map out of nowhere and rolls it out. Stan and Kyle can't believe it. GREGORY We must sneak into the camp through this duct, freeing Terrance and Phillip inside... The war is escalating, and the American forces are preparing for a large scale attack on Canada. That means the time is now... KYLE Wow, dude, Wendy's new guy is smart. Stan shoots Kyle a dirty look. GREGORY This is a dangerous mission, so I'll go myself. Wendy smiles at Gregory. STAN No! Everyone looks at Stan. STAN WE'RE going! WE started La Resistance to save Terrance and Phillip! We're going! GREGORY This will be very dangerous... Are you quite sure? CARTMAN Fuck that! (BZZT) AGAGH!! STAN We're going... Let's run through the plan!! INT. SOUTH PARK - AMERICAN ARMY HEADQUARTERS A huge hall is filled with hundreds of soldiers in different battalions. We see our regulars: Mr. Garrison with a uniformed Mr. Hat, Mr. Mackey, Jimbo and Ned, Bo, Pip, Stan's Grandfather, Jesus, Officer Barbrady.... JIMBO Oh, I'm so glad there's a war again. I was gettin' worried I'd never see another one! NED I know what you mean. JIMBO And they're giving all us troops a big USO tomorrow with celebrities and executions! PAN OVER to Mr. Garrison. MR. GARRISON You look great in your new uniform Mr. Hat. MR. HAT You do too, Mr. Garrison. MR. GARRISON Boy, I can't wait for our first shore- leave so I can go get me some poontang. Chef sits down in a seat behind Garrison near the back. GENERAL PLYMKIN, a gruff old army type with bug eyes, steps up to a podium and addresses the troops. GENERAL PLYMKIN PAY ATTENTION! The crowd settles down. GENERAL PLYMKIN It's no secret that the Evil Canadian Federation has scored major victories all over the United State. We have brought you here because you ar America's best, and last hope. Another general leans over to Plymkin and whispers in his ear. GENERAL PLYMKIN Oh... Apparently you're not the best, you're simply the last. Anyway, let's strategize... Map! A large, holographic 3-D map of South Park springs up in front of him. He walks around it pointing out things with a laser-pointer. GENERAL PLYMKIN Our sources have told us that the Canadians might try to attach tomorrow's USO show and stop us from executing Terrance and Phillip. He points to a spot on the 3-D map. GENERAL PLYMKIN Now each battalion has a specific code- name and mission. Battalion 5, raise your hands- Chef is in Battalion 5 and dutifully raises his hand. Then he looks around and notices to his surprise that everybody else in his section is also African American. GENERAL PLYMKIN You will be the all-important first defense wave, which we will call 'Operation Human Shield'. CHEF Hey, wait a minute... GENERAL PLYMKIN Now keep in mind, 'Operation Human Shield' will suffer heavy losses. But don't lose your spirit men! Stay until the bitter end. Battalion 14? A bunch of white guys raise their hands. GENERAL PLYMKIN Right, you are 'Operation Get Behind The Darkies'. You will follow Battalion 5 here- He points to a spot on the 3-D map. GENERAL PLYMKIN -and try not to get killed for God's Sake. Are there any questions men? Chef raises his hand. GENERAL PLYMKIN Yes soldier? CHEF Have you ever heard of the Emancipation Proclamation? GENERAL PLYMKIN I don't listen to hip-hop. Chef scowls. GENERAL PLYMKIN If you somehow live, we will regroup on this hill outside-- Suddenly, the 3-D hologram starts to flicker and fizzle. GENERAL PLYMKIN Now what's wrong with this thing? General Plymkin messes with the controls. GENERAL PLYMKIN Fucking windows 98! General Plymkin has pulled the plug. He stands there with the cord in his hands. GENERAL PLYMKIN GET GATES IN HERE!!! BILL GATES walks in, escorted by two MILITARY GUARDS. GENERAL PLYMKIN YOU TOLD US WINDOWS 98 WOULD BE FASTER AND MORE EFFICIENT WITH BETTER ACCESS TO THE INTERNET!!! BILL GATES It is faster, over five million-- Plymkin pulls out a gun and shoots him in the head. Gates falls to the floor, dead. GENERAL PLYMKIN Alright men, get lots of rest, and prepare thyselves for battle! INT. LA RESISTANCE - NIGHT In the dead of night, the kids are all in a circle discussing the plan. GREGORY ...after you clear this zone here, rendezvous behind this ridge where Terrance and Phillip should be held. KYLE Gotcha. GREGORY You are indeed brave, but you will need someone who's done this sort of thing before. MOLE! Suddenly, a bump in the ground starts to move forward, leaving a trail behind it. (like bugs bunny before he pops out) The bump comes to a stop at the children's feet and out pops THE MOLE. He is a very bitter little nine year old French kid with a THICK French accent. VOICE Oui? GREGORY Thank you for coming, Mole. THE MOLE So... We must free more Canadian prizoners? KYLE Yeah, I guess. THE MOLE America... She iz a beetch that sheets on her own children. Stan and Kyle look at each other confused. GREGORY This is the Mole. He will accompany you to the prison where Terrance and Phillip are. He is an expert in covert operations and a lifelong fighter for freedom. THE MOLE Freedom... It's like cow's urine poured down your troat. You wonder 'Do I want this?' I'm thersty... But it's urine. Everyone stares at The Mole. GREGORY Good luck Stan, I'll make sure Wendy is... kept safe? Stan gets pissed. KYLE Give me Terrance and Phillip or give me death!!! OTHERS YEA!!! Now, Gregory breaks into song. His voice is absolutely gorgeous and deep. He puts his hand on Stan's shoulder. GREGORY God has smiled upon you this day The fate of a nation in your hands... Stan and Kyle look at each other. They can't believe how good this guy's voice is. Wendy appears enthralled. GREGORY As brothers and sisters we unite And behind you we shall fight! Until only the most righteous belief stands! The music builds. Gregory gets up on a soapbox. GREGORY Do you see the distant flames? they bellow in the night Fight in all our names For what we know is right And if you all get shot and cannot carry on Though you die, La Resistance lives on! KYLE What? Shot? Kyle and the boys look a little worried, as other kids join in the song. KIDS You might get stabbed in the head by a dagger or a sword You might be burned to death or skinned alive or worse! GREGORY But when they torture you You will not feel a need to run For though you die, La Resistance Lives on! KIDS Do you hear the beating drum? It is our hearts all joined to one It is the music of our souls knowing we have much to overcome! As THE SONG CONTINUES we- CUT TO: EXT. USO SHOW - NIGHT The MAC Mothers are on a stage, preparing two electric chairs. KYLE'S MOTHER Something must be done! Tomorrow it will be! We're going to execute this threat to our democracy! All the mothers join in as they decorate the chairs with American flags. Kenny's mother is counting money she has made from selling t-shirts. M.A.C. MOTHERS And after that our kids will be safe from all the Canadian scum! The time is now the time is here Tomorrow something will be done! The song still CONTINUES as we CUT TO: EXT. HELL - CONTINUOUS Satan stands on his veranda. SATAN I want to be part of that world! But if only I had the strength to go without HIM... If only I had the strength to leave him behind... Get on with my life in that world... Start over as part of that world... CUT TO: INT. MILITARY BARRACKS - CONTINUOUS The soldiers, including Garrison, Mackey, Ned and Jimbo are in their bunks. SOLDIERS Tomorrow we face our destiny! Tomorrow we fight to keep our country free! Death to Canada! Death to them all! Like our forefathers we shall answer the call! PAN DOWN to Chef's bunk where he is lying naked with a hot chick. As usual, Chef sings a song that has absolutely no relevance to what's going on. CHEF (Stroking woman's arm) Baby your thighs sparkle like diamonds Baby your butt is tender like the night I can see by the look in your pants that you want to treat me right. I'll whisper sweet nothings in your cleavage And you can kiss me gently with your tongue And I'll make love to you so deeply That you'll feel pressure clear up to your lungs. Meanwhile, the soldiers continue their song. SOLDIERS Something must be done! Something's gotta give! Tomorrow we will be free or we will no longer live! CUT TO: INT. MILITARY PRISON - CONTINUOUS Terrance and Phillip are chained to the wall in a dark, dirty prison cell. Two armed American soldiers are torturing Terrance and Phillip with hot irons, as Terrance and Phillip sing- TERRANCE & PHILLIP Shut your fucking face Unclefucka! You're an ass raping cock sucking Unclefucka!!! CUT TO: EXT. LA RESISTANCE - CONTINUOUS The kids are all gathered together, finishing their song. One kid grabs a large flag and starts swirling it around. KIDS Let it echo through the night! Let it reach the ears of everyone! Though we die La Resistance lives on! Though we die La Resistance lives onnnn!!!!! Ah- AHHHH!!! FADE OUT. EXT. SOUTH PARK AVENUE All the South Park men are in the rank and file marching down the street. OFFICER (Singing) I don't know but I've been told- SOLDIERS I DON'T KNOW BUT I'VE BEEN TOLD! They pass Kyle's house. INT. KYLE'S HOUSE - ATTIC Ike watches the soldiers march from his little attic window. OFFICER (O.S.) Canadian pussy is mighty cold! SOLDIERS (O.S.) CANADIAN PUSSY IS MIGHTY COLD! Ike blinks. Does he understand them? he picks up a small book and starts to write in it. INT. HELL - DAY Satan paces back and forth in hell. SATAN This is it! World War Three is at hand! The millennium nears! Satan crosses to one of his small demons. SATAN Prepare the minions for the rising of Gothos! The demon dashes off. SADDAM HUSSEIN This is so exciting! Let's fuck! Satan sighs and bows his head. SATAN This is the millennium, Saddam! This is Armageddon! There's more to life than sex! SADDAM HUSSEIN Hey, relax guy! SATAN Well I just want you to be impressed with what I do. I want you to respect my MIND. SADDAM HUSSEIN I DO respect your mind! It turns me on! It makes me wanna fuck the shit out of you! Don't you see? MUSIC BEGINS. SADDAM HUSSEIN (Singing) Hey guy, relax, put out You gotta put out for me! I'm just a man with needs And right now I need your generosity! I love your eyes, your nose and lips So drop those pants and do some dips Come on guy, you gotta relax relax, put out for me! Kenny looks confused. SATAN What if I, don't wanna put out? That's all you ever say Relax put out I'm a living creature, I have feelings too, I don't need this abuse from you- SADDAM HUSSEIN Hey, guy, relax, put out! You gotta relax, shut your mouth- Baby I'd do anything for ya! Now don't make me smack you in the eye like last time- Kenny keeps watching as Saddam throws on a Shakey's hat and does a quick softshoe. Satan rolls his eyes. SADDAM HUSSEIN I get what I want, and what I want is for youuuuu toooo put ooooout!!! Saddam finishes the song and Satanhangs his head. SATAN What if I just left? SADDAM HUSSEIN Where're you gonna go, bitch? Besides, you know that if you left me, I'd hunt you down and kill you, right? I'm gonna go grab a drink. Saddam leaves. Satan looks about to cry, but then notices Kenny still standing there. SATAN What are you doing?! Get on with your misery! KENNY Mph rmph rm rmph rm? SATAN Him? I don't know... He can be nice... sometimes. KENNY Mph rmph rm rmph rm. SATAN What do you mean?! I could leave him if I wanted to! KENNY Mph rm. Rmph rm rmph rm. Satan lowers his head. Slowly he starts to cry. Kenny walks over and pats him on the back. EXT. MILITARY COMPOUND Tents and makeshift buildings are lined up against the mountains. Jeeps and Tanks buzz to and fro. There's a huge stage which is set up with thousands of seats. There's a giant banner reading "USO SHOW TONIGHT!!!!!" Loads of soldiers file into their seats. ANNOUNCER Alright you men! The USO show is about to start!! The military men go wild. ANNOUNCER Get ready for loads of entertainment and fabulous celebrities! To be followed immediately by the swift and nasty execution of Terrance and Elroy! The crowd goes crazy again. EXT. INTERNMENT CAMP - BEHIND THE USO SHOW - DUSK Right out of Nazi Germany. Barbed wire, guards, the whole bit. ANGLE ON BOYS They are on their backs, shimmying along the ground underneath the blanket of razor-wire that is set up around the camp. The Mole uses the bolt-cutters to cut the wire as he goes, clearing a path for Stan, Kyle and Cartman. THE MOLE Be careful not to touch this wire- A wire catches on Cartman's arm and SNAPS against his face. CARTMAN OW! MOTHERFUCKER! BZZAAAAT!!! CARTMAN FUC- Stan shoves his hand over Cartman's mouth, leaving Cartman to cuss bloody murder into Stan's glove. CARTMAN MPHMPH MPHMPHMPH!!! BZAAT! CARTMAN MMMPPPHHH!!! Finally they clear the fence and lie down in view of the camp. THE MOLE It sounds like the USO show has started. We have precious little time... Kyle looks at the horrible concentration camp. KYLE Oh my God... THE MOLE God? ...Let me tell you something about God... He is ze biggest bitch of zem all. Kyle looks at The Mole, oddly. STAN How are we ever gonna find them? The Mole whips out some night vision goggles. ANGLE ON INTERMENT CAMP THROUGH NIGHT VISION GOGGLES The Mole inspects the camp. He sees a guard on a guard tower. Then he pans over to a bunch of Canadians standing in a line in rags. The Mole quickly clicks the magnification to high so we see the saddened faces of the Canadians. KYLE Do you see them? Do you see Terrance and Phillip? THE MOLE No. Zey must have zem inside. We will have to dig. KYLE That's gonna take a long time! THE MOLE Time? Did time matter to the Revolutionists who were forced to eat their own shit while dying in the dungeons of ze King? The boys think. EXT. USO SHOW - DAY Helicopters zoom over the makeshift stage like the USO show in Apocalypse Now. Groups of soldiers cheer as a helicopter approaches the landing platform and touches down. The US army men cheer. The mothers take the stage, and Kyle's mother speaks into the microphone. Behind her is a huge American flag. She is wearing an army helmet. This is right out of 'Patton'. KYLE'S MOTHER Ladies and gentlemen of the American war effort, we salute you! A big cheer goes through the crowd. Kyle's mother feels the power, and lifts her head high. She starts to pace back and forth on the stage as she speaks, becoming more and more Pattonlike. KYLE'S MOTHER Tomorrow you will be risking your lives so that our children will have a better future... God bless you men. And God bless this filth free nation. Many of you will die. Die like blood bathed pigs. So tonight, we at MAC present a NIGHT OF A HUNDRED STARS! Now without further ado, I give you... Out of the helicopter emerge a battalion of the best and brightest stars that the American show biz industry has to offer. KYLE'S MOTHER Pint size pixie and darling of the indie movie scene, Winona Ryder! She gestures grandly to the helicopter where Winona Ryder emerges and runs to center stage and waves to the audience. She looks like a strung out coke addict; because she is. WINONA RYDER Hi guys! I'm T.V.'s Winona Ryder! One guy claps. WINONA RYDER I want you all to know I'm super psyched to be here today. You guys rock. What you're doing for our country so sooo cool. It's so real. I've been acting since I was twelve and I can't distinguish between make believe and real life. Winona falls down. But gets back up immediately. WINONA RYDER And then I confuse me real life with my big-screen one. And sure, people get hurt, and I'm sorry about that but Christ, look at me. It's not my fault that I can get any guy I want. And that's reality to me. But you guys... wow. I mean, war, man. Fucking war. It doesn't get any more real-- Now, this one goes out to you. She cues the band which has been assembled from the same helicopter. Jazz music starts up. It's 'New York, New York'. The troops look confused. WINONA RYDER You know what I'm gonna do for you now, don't you? 'New York, New York' continues to play. WINONA RYDER WRONG! (Singing) The bells are ringin' For me and my gal! The birds are singin' For me and my gal!- INT. UNDERGROUND TUNNEL - BELOW THE USO SHOW The mole is digging frantically while the boys follow on all fours. Cartman holds a flashlight. CARTMAN Dude, this is seriously lame. I didn't know we were gonna get all dirty and stuff. THE MOLE Sheet! STAN What is it? THE MOLE Bedrock! I cannot dig any further in zis direction! STAN We're going to die here like baby mice who have had no milk in days. Dry up into crunchy little pinkies. The boys stare. A beat. THE MOLE Or, we can dig UP. The mole starts digging up towards the ground. EXT. INSIDE THE PRISON CAMP Mole pops his head out of the ground. Immediately, a search light passes over the hole. THE MOLE Sheet! Mole ducks, just avoiding the light. Slowly, the boys' heads appear from the hole. The whole camp is in front of them. There is a HUGE barbedwire fence on one side (the side they just dug from) A dozen armed guards with huge Dobermans patrol the grounds with Howitzers. It doesn't look good. THE MOLE Move! Move! One by one, The Mole, Stan, Kyle, and Cartman pop out of the ground, and run for a nearby building. Once at the building, they all duck to avoid the search lights. THE MOLE Okay.... The Americans must be holding Terrance and Phillip in one of those bunkers. We will split up here. Let's synchronize watches! The others look at each other. KYLE We don't have watches. A beat. THE MOLE You don't have watches? STAN Dude, you didn't say anything about watches. THE MOLE What do you think this is kid? Lick Barney the Dinosaur's pussy fucking kiddie hour? Huh? This is real life with consequences you take to the grave! KYLE Dude, we don't have watches. THE MOLE Sheet. Did you bring ze mirror? STAN Got it. THE MOLE And ze rope? STAN Check. THE MOLE And the butfor? KYLE What's a butfor? THE MOLE For pooping, silly. A beat... Then mole takes a long drag off his cigarette and slowly blows the smoke. THE MOLE Now listen carefully. Stan and Kyle, you stand watch here and await my return. If any guards come by, make a sound like a dying giraffe. KYLE What's a dying giraffe sound like? THE MOLE (Putting his hands to his mouth) Gwpaapa. Gwpaapa. KYLE Kay. The Mole turns to Cartman. THE MOLE Cartman, over zere, is the electrical box. You must sneak over zere and shut it off before I return with Terrance and Phillip or the alarms will sound and I will be shot full of holes. Got it? CARTMAN Okay. THE MOLE You MUST shut off the power, this is VERY IMPORTANT do you understa- CARTMAN I HEARD YOU THE FIRST TIME! I'M NOT LOU FERIGNO FOR PETE'S SAKE! Cartman storms off. THE MOLE I will tunnel my way into ze buildings, and find ze prisoners. The Mole starts to dig. KYLE Be careful, dude. THE MOLE Careful? Was my mother careful when she stabbed me in the heart with a clothes hanger while I was still in ze womb? And with that, The Mole quickly starts to tunnel his way underground. STAN Damn, dude, that kid is fucked up. EXT. STAGE - NIGHT Back on stage at the USO show. Winona Ryder is just finishing up her song. WINONA RYDER (Singing) ....It's a hell of a TOWN! And that's my New York Melodyyyyyy!!!! The band finishes with a flourish. Winona takes a bow. One person in the entire audience claps. KYLE'S MOTHER Let's hear it again for the one and only Winona Ryder!!! The same guy claps again. ONE CLAPPING GUY We love you, Winona! Everybody else in the audience just stares at him. KYLE'S MOTHER Next up we have a special treat... Please welcome, direct from Vegas- BIG GAY AL'S BIG GAY EXPERIENCE!!! The place goes wild as Big Gay Al walks out on stage. Winona fumes in the wings. RANDOM SOLDIER This guy is the coolest! RANDOM SOLDIER 2 Totally man! The back curtain goes up to reveal a tropical jungle set complete with a waterfall, hippos, monkeys and hundreds of colorfully dressed dancers. BIG GAY AL How we all feeling tonight?! Between the cheering, we hear a throng of "Happy!". Now the place is rocking!! Everybody loves Big Gay Al! Winona can't believe it. BIG GAY AL I can't hear you... CROWD Happy!!! BIG GAY AL Friends, you know why I'm here... I'm here to teach TOLERANCE!! The crowd cheers. BIG GAY AL I'm here to say that we're all PEOPLE under God, and we should embrace, and accept our differences!! The crowd cheers louder. BIG GAY AL And that means we should LOVE CANADIANS TOO!! The entire place goes incredibly quiet. You can hear a pin drop. Silence... Deafening silence... BIG GAY AL JUST KIDDING!! FUCK 'EM!!! Slow music swells in. Big Gay Al saunters around the stage and starts to sing. BIG GAY AL (Singing) Bombs are flying People are dying Children are crying Politicians are lying too Cancer is killing Texaco is spilling The whole world's gone to hell But how are you? Suddenly, Big Gay Al is wearing a big feathery outfit and all his dancers dash to his side. BIG GAY AL I'm super! Thanks for asking! All things considered I'm doing super I must say! Very peachee Nothing bugs me 'Cause everything is super when you're -don't you think I look cute in this hat? The crowd is absolutely confused. BIG GAY AL I'm so sorry, Mr. Cripple But I just can't feel bad for you right now Because I'm feeling so insanely super That even seeing you in that chair can't bring me down! EXT. INTERNMENT CAMP - ANOTHER AREA Cartman is by himself, slowly moving from building to building. He is scared out of his mind. CARTMAN (Imitating the Mole) Shut of ze Power, Cartman. Zis is very important, Cartman... Stupid British piece of shi- (BAZZT!) OW! He approaches the electrical box. Just as he's about to open it, two armed AMERICAN SOLDIERS round the corner. Cartman gets scared and hides in the shadows. The soldiers continue walking... AMERICAN SOLDIER Dude, if I was gay, I'd be just like Big Gay AL! AMERICAN SOLDIER 2 Me too!! ...And pass a terrified Cartman. EXT. INTERNMENT CAMP - STAN AND KYLE'S AREA The boys are waiting, bored, for The Mole to return. KYLE I don't think he's coming back, dude. Just then, we hear The Mole return from his hole. He is carrying the ticket guy from the movie theater. TICKET GUY Oh thank you! Thank you for getting me out of there!! They locked me up for selling movie tickets to minors! THE MOLE Is this one of zem? KYLE No! That's not Terrance or Phillip! THE MOLE Oh... Alright, back you go. The Mole takes the Ticket Guy back through the hole. TICKET GUY No! Please! I don't want to go back!! The boys sit back down and wait again. EXT. USO SHOW/STAGE - CONTINUOUS Meanwhile, Big Gay Al's song continues- BIG GAY AL I'm super! Thanks for asking! All things considered I'm doing better than okay! Feeling peaches nothing bugs me Everything is super when you're -don't you think I look cute in this hat and my little shoes and this matching tie that I got at Merv's? The chorus guys all pick Big Gay Al up and dance around with him on stage. CHORUS He's super! Thanks for asking! All things considered he is better than okay! And it's peachee, nothing bugs him Everything is super when you're- Let's fight fight fight against Canada today!!!!!! The song ends and everyone erupts into applause. INT. HELL - DAY Satan is looking into a large, oracle-like ball. Saddam isn't around, but a few demons and Kenny are hanging out. SATAN The execution is going to happen any moment... We must prepare. The demons make excited noises. KENNY Mph rmph rm! SATAN Get everyone in hell ready. When the blood of Terrance and Phillip spills, the day is ours! Two of the demons head for Satan's room. SATAN No! Not Saddam. Don't wake him... Uh... I'll tell him... Satan walks to the bedroom. EXT. INTERNMENT CAMP - ELECTRICAL BOX AREA Cartman approaches the electrical box nervously -- looking all around for soldiers. He opens the door to the electrical box and sees a large switch labeled ON and OFF. He reaches to turn off the switch when he feels a tap on his shoulder. Cartman jumps. CARTMAN Agh!!! Then turns and karate-chops in one spastic flurry to see - KENNY!! CARTMAN Son of a gun! HECK! Kenny's ghost is again floating in front of Cartman. Kenny again struggles to speak. CARTMAN GO AWAY, KENNY! IT'S NOT MY GOSH DARN FAULT! KENNY Mph rmprmmh rm!! CARTMAN I don't have proofs of purchases from Snacky Smores, Kenny! KENNY MPH RMPH RMPH RMPH RM!!! CARTMAN AGAGAH!! Cartman runs off, leaving the power completely on. INT. KYLE'S HOUSE - ATTIC - NIGHT Ike is still just sitting quietly in the dark attic. Suddenly, the attic door bursts open! AMERICAN SOLDIER Found one! Other soldiers file into the attic and grab Ike by the arms. AMERICAN SOLDIER Yep, that's a Canadian alright. IKE Sibi mammama. The American Soldier picks up Ike. AMERICAN SOLDIER So, thought you could hide from us, did you?! Take him away! The soldiers drag Ike down the stairs. AMERICAN SOLDIER 2 Sir, look at this! (Holding up a book) He was writing some kind of diary... AMERICAN SOLDIER Diary? What does it say? AMERICAN SOLDIER 2 (Reading) Cookie monster. Banana. Sweeping, moving MUSIC STING. EXT. INTERNMENT CAMP - STAN AND KYLE'S AREA Kyle is patiently awaiting Mole's return. KYLE Damn it! Come on, Mole we're running out of time! Kyle spins around when he hears someone coming. But it's only Cartman. He's panting heavily. CARTMAN You guys! Seriously! You guys! KYLE What Cartman?! CARTMAN Kenny! I saw Kenny again! STAN Oh, brother. KYLE Did you shut the alarm off, Cartman? Cartman stops breathing heavily and thinks. KYLE Cartman?! CARTMAN Whoops. Just then, all the alarms in the place go off. KYLE Oh shit! From the distance, the boys hear gunshots. Suddenly, the Mole pops out of the hole. The boys see that The Mole has been shot up badly. THE MOLE Ze alarms! Zey went off! CARTMAN Yeah... That was my bad, sorry. As SHOUTS and RUNNING FOOTSTEPS draw closer, The Mole lays down and begins to die in Kyle's arms. THE MOLE Please... Do not let ze resistance die... Gentle MUSIC begins. THE MOLE Now the light, she fades And darkness closes in But I will find strength I will find pride within Because although I die Our freedom will be won Though I die Ze Resistance Lives on... The Music fades away, as the Mole coughs up some blood. THE MOLE It's so very cold... KYLE We can't leave without you! THE MOLE It's okay, I am done for. KYLE No, I mean WE CAN'T LEAVE WITHOUT YOU - we don't know where the hell we are!! The Mole coughs up more blood. THE MOLE Where is your God when you need him? Where is your beautiful, merciful faggot now? The Mole dies. KYLE SHIT! VOICE FREEZE!! The boys look up to see three large MARINES pointing guns at them. Stan makes a run for it. He dashes off at full speed. KYLE Run, Stan!! One of the soldiers fires at him. PWANG! PWANG! But Stan disappears into the night. PENTAGON GUY Forget him! The night will swallow him up. MARINE You are under arrest! Cuff 'em! KYLE What? PENTAGON So THIS must be the resistance the pentagon has been tracking! CARTMAN Oh, son of a bitch... EXT. USO SHOW - NIGHT Kyle's mother, and the other mothers of MAC, take the stage again. KYLE'S MOTHER And now, for our big finale, the MOMENT YOU HAVE ALL BEEN WAITING FOR!!! Terrance and Phillip are wheeled out onto the stage. TERRANCE Oh, Phillip. This cannot be good. PHILLIP I know, Terrance. This is quite the shitstorm we've found ourselves in this time. From the other side, Kyle's mom appears with a couple of official looking military people. The crowd cheers. KYLE'S MOM It is my pleasure to present to you, THE EXECUTION OF TERRANCE AND PHILLIP!!! The crowd cheers. KYLE'S MOM Strap them in! Terrance and Phillip are then greeted by the EXECUTIONER, donned in a black hood. The scary giant Executioner grabs Terrance and Phillip and puts them into electric chairs. KYLE'S MOM Today is a great day for democracy! The crowd cheers. The Executioner steps up to the throw switch. TERRANCE Phillip, this is worse than that trip to Quebec City when I fell asleep in that disco. PHILLIP I know, Terrance. I know. EXT. SOMEWHERE IN SOUTH PARK - NIGHT LONG SHOT of a desolate, dark area. It has started to rain. Stan trudges through the wilderness looking tired and scared. STAN Hello? Where the hell am I? Is anybody here? A few wolf HOWLS sound in the distance. Stan walks on. STAN MARCO!!! No answer. STAN MARCO!!! No answer. Stan stumbles a bit. STAN Dude, weak... Can't go on... Dizzy... Stan falls to the ground. His face plops in the rainy mud and his head smacks against a rock. Stan is out cold. Just then, a strange sound emerges. It is like a pulsating WOBBLE. Stan slowly awakes, picks up his head and shines his flashlight around. STAN What is that? The sound gets louder. Stan shines his flashlight on something that is huge and throbbing. STAN OH MY GOD!!! EXT. STAGE - NIGHT Kyle's mother approaches Terrance and Phillip. KYLE'S MOM Gentlemen, do you have any last words? PHILLIP Last words? Let's see... How aboot "GET ME THE FUCK OUT OF THIS CHAIR". How's that for last words? Kyle's mom nods to the Executioner. GENERAL PLYMKIN WAIT!! General Plymkin walks out next to Kyle's mother. GENERAL PLYMKIN We have just captured some Canadian Sympathizers! The crowd cheers. Kyle's mother smiles. KYLE'S MOTHER We will execute them along with Terrance and Phillip for your viewing pleasure! Another cheer. The mothers are all very pleased. That is, until they see Kyle and Cartman brought out to the stage at gunpoint. KYLE'S MOTHER Kyle?! CARTMAN'S MOTHER Eric? KYLE Hi, ma. GENERAL PLYMKIN We also have a Canadian SPY who was hiding out in South Park!! Now Ike is brought out at gunpoint. KYLE'S MOTHER Ike?! Kyle's mother rushes over to General Plymkin. KYLE'S MOTHER General... These are OUR CHILDREN! GENERAL PLYMKIN They are Canadian sympathizers and they must be dealt with accordingly! STAN'S MOTHER But they're CHILDREN! Cartman walks over to where Terrance and Phillip are strapped into their chairs. CARTMAN Dude! Terrance and Phillip! Wow! Can I get your autographs?! TERRANCE Sure, tubby, just as soon as we're killed. KENNY'S MOTHER We can't kill these kids! GENERAL PLYMKIN Listen mothers, YOU'RE the ones that started all this. Don't get all emotional NOW! STAN'S MOTHER But we're doing all this to help our children's futures! CARTMAN'S MOTHER Yes, I think shooting our children would adversely affect their futures. KYLE'S MOTHER No... The General is right. KYLE MOM!!! KYLE'S MOTHER Boobie... This is the only way you're ever going to learn. I have an opportunity here to teach you about consequences. STAN'S MOTHER Sheila, you're going to far! Those are YOUR children! KYLE'S MOTHER YES! AND I WILL NOT ALLOW MY CHILDREN TO BE RUINED BY SMUT!! (To Kyle) I am sorry young man, but I have had it up to here! STRAP THEM IN! She walks away. KYLE YOU GOTTA BE FUCKING KIDDING ME!! KYLE'S MOTHER KYLE BROVLOFSKI, YOU WATCH YOUR LANGUAGE!! EXT. IN THE MIDDLE OF NOWHERE - NIGHT Stan is still lying in mud, but now he lies before a HUGE, pulsating, organic looking thing that belongs in the X-Files. It's the size of a small building. The massive thing starts to glow. Stan looks weak and afraid. BIG THING Be not afraid... Stan trembles. STAN (Weakly) What... BIG THING Behold my glory. STAN What... are you? BIG THING I am the clitoris. Stan's eyes grow wide. MUSIC starts to swell up. STAN The clitoris?! I DID IT!! I FOUND THE CLITORIS!! BIG THING Stan, your friends need you. They are in trouble and you must help them. STAN Wait, you're supposed to tell me how to get Wendy to like me. BIG THING There are more important matters right now... STAN NO WAY, DUDE! I'VE LOOKED ALL OVER FOR YOU, AND NOW YOU HAVE TO TELL ME HOW TO GET WENDY TO LIKE ME!! BIG THING Dude, she's eight years old, just get her some ice cream or something. STAN Of COURSE!! Ice cream!! BIG THING Now go, your friends are in danger... The USO show is a mile east of here, just over that ridge. The clitoris has spoken. The clitoris fades, and just as it does, all the kids of La Resistance come running into frame. Wendy and Gregory are with them as well. WENDY Stan! Stan are you okay?! STAN Wendy? GREGORY I see you failed in your mission. Terrance and Phillip must be dead by now. Wendy bends down to pick up Stan. WENDY Come on Stan, we have to hurry. The Canadian forces are about to attack!! Wendy pulls Stan up off the ground and slings his arm around her. EXT. USO SHOW - NIGHT A drummer plays as the execution begins. GENERAL PLYMKIN We begin with Terrance and Phillip!!! Throw the switch!!! The executioner throws the switch and Terrance and Phillip start to fry. Kyle, Cartman and Ike, in their chairs, look horrified. KYLE'S MOTHER Goodbye, bastards! Near death, Terrance cranks out a weak fart. Terrance and Phillip both laugh weakly but merrily. TERRANCE Take that, bitch. As Terrance and Phillip fry, they scream out: PHILLIP/TERRANCE FREEEEEEDOMMMMM!!! Suddenly, FWWOOOMMM!!! A Bomb lands in the middle of the army. BLAM!! It explodes with incredible force, sending dead bodies in all directions. Canadian military planes zoom overhead! It's a full scale attack!! From a HIGH ANGLE we see the soldiers all scatter like bugs in every direction. MR. GARRISON THE CANADIANS ARE ATTACKING!! RUN FOR YOUR LIVES!! FWWOOMM!!! BLAMM!! Another explosion! Everybody just starts screaming and shooting in every direction. Total and complete mayhem. One explosion knocks out the electricity, and Terrance and Phillip stop drying. The electricity runs along a wire, across the stage, and right up Cartman's leg. Cartman starts frying horribly. KYLE CARTMAN! CARTMAN (Frying) WAGAGAHGHGH!! YOU GUYS!!! SERIOUSLY!!! PHILLIP What's going on Terrance? TERRANCE Canada is saving us!! Finally, Cartman is blown clear of the electricity. Kyle picks him up and starts to run along with Ike. INT. HELL - SATAN'S BEDROOM Satan opens the door to find Saddam sleeping happily in his cozy bed. He is only wearing little black g-string panties. SATAN (Whispering) Have you finished? Now we see that Kenny is standing at the foot of the bed. He holds a gasoline can, and has just finished pouring the last drops underneath the bed. KENNY Mph mph. SATAN Then move out of the way. Kenny walks over next to Satan. Satan pulls out a book of matches. SATAN I must be strong... I must be strong... Satan tries to light the match. It won't light. SATAN Damn it... Finally, the match lights. Satan holds it up- SATAN Goodbye, Saddam... -and throws it onto the bed. SATAN Come on! Saddam burns to a crisp and Satan and Kenny run out. EXT. USO SHOW - DAY People run screaming in all directions as a full scale attack has broken out. Gunfire, explosions and dead bodies fly all around. JIMBO Ned! Behind you! Ned whips around and mows down a line of Canadians. But one Canadian makes it through, and sticks his bayonet through Ned's neck. Blood gushes from Ned's neck as he collapses. JIMBO NED!!! NOOOOOOO!!!!! FWWOOM!! BLAMMM!!! The boys runs as fast as they can amidst the explosions. CARTMAN HOLY SHIT! (Zap) AGHAGHGAH!! Now when the V-chip shocks Cartman, we can actually see the blue current swirl around his body. CARTMAN HEY! THIS V-CHIP IS GETTING ALL SCREWY!! General Plymkin has followed his men into the trench, where explosions and gunfire fly all around. He pulls out a walkie talkie as his men die all around him. GENERAL PLYMKIN ALRIGHT MEN!!! FALL INTO FORMATION! "HUMAN SHIELD" UP FRONT THEN "OPERATION GET BEHIND THE DARKIES"!!! They all fall in. A phalanx of black men, Chef included in them, walk out in front of a bunch of white guys. GENERAL PLYMKIN REMEMBER, HUMAN SHIELD! PROTECT OUR TANKS AND PLANES, TOO! Just then, over a ridge in front of them, a line of Canadian tanks appears. The tanks are lined up 3 deep. Behind them is a line of missile launchers. General Plymkin's jaw drops. GENERAL PLYMKIN Holy Mother of Johosephat... The black guys all look at each other nervously. EXT. BATTLEFIELD The boys run through the chaos. Body parts and scrapnel fly here and there. A bloody soldier suddenly stumbles and falls in front of the boys holding a massive head wound. KYLE Hey! It's Mr. Garrison!! Garrison lies on the ground, coughing up blood. MR. GARRISON Children... Take Mr. Hat... Please... Get him out of here... Garrison takes Mr. Hat off his hand and gives it to Cartman. Just then, Garrison goes limp. Cartman looks at the Mr. Hat in his hand and scowls. The boys run from the battle. They pass the American troops, where all the black guys are standing in a human shield around the white guys. CHEF Alright, squad... JUST LIKE I TOLD YOU... ONE!! The Canadian tanks take aim. CHEF TWO! The Canadian tanks fire. CHEF THREE!! All the black guys suddenly jump out of the way, leaving the whites completely exposed. GENERAL PLYMKIN What the- The tank fire hits the army, blowing all the white soldiers to smithereens, including Ned and Jimbo. BLACK SOLDIER GREAT PLAN, CHEF! CHEF Operation Human Shield my ASS! EXT. SOUTH PARK - DAY From an EXTREME WIDE SHOT, we see all the forces on both sides exchange firepower. The Canadian National anthem can be heard in the distance. We see Mr. Mackey looking like a natural born killer. He shoots like a maniac into the Canadians. He wounds one and then marches over to the wriggling body with a knife. MR. MACKEY Die Canadian, mmkay?! And he drives the knife into the Canadian's chest. But then, suddenly, another Canadian Soldier appears out of nowhere, and blows a hole through Mackey's chest. MR. MACKEY Mkay- Mackey falls to the ground, dead. Just then Big Gay Al runs through the frame, we FOLLOW him as he skips his way around gunfire. BIG GAY AL Ooh! Goodness those bullets are going FAST!!! Another bullet zings by his head. BIG GAY AL Jumping Jesus, this is insane!! THUMP! A bullet hits Big Gay Al square in the head. More bullets follow, tearing him to shreds. WIDE ANGLE ON - ENTIRE BATTLE This shot parodies one of the big shots from 'Saving Private Ryan'. Just complete overkill. Explosions, helicopters, gunfire and death. Kyle's mother, and the other mothers as well, stand on a ridge overlooking the horrific massacre. STAN'S MOTHER My God... This is terrible... Kyle's mother holds out her M-16. She is now completely insane. KYLE'S MOTHER This is what we wanted! We wanted our children to be brought up in a smut-free environment!!! KENNY'S MOTHER But we didn't want THIS. I just followed you 'cause I made a shitload of money selling Kenny t-shirts! STAN'S MOTHER Oh Lord, what have we done...? KYLE'S MOTHER Wake up, people! We all have to do things that aren't pretty sometimes! It's the not pretty things that make life worth fighting the not pretty things for! Why do you think children have to be born in hospitals? The other mothers look very confused. KYLE'S MOTHER Why does it matter?! My plan is a perfect plan!! Perfect! Perfect! Perfect!!!!! The other mothers walk away. KYLE'S MOTHER WHERE ARE YOU GOING?! We need to stop the not pretty things from letting our children be born in hospitals! STAN'S MOTHER We're going to find our boys! For God's sake Sheila, you almost had them killed!! Kyle's mother turns back to the battle. More killing and explosions. KYLE'S MOTHER Killed. They should only be so lucky. Kyle wasn't even BORN in a hospital! She charges the field. EXT. BATTLEFIELD - CONTINUOUS Terrance and Phillip are dodging gunfire and super loud explosions. PHILLIP Did you hear that, Terrance? I farted! TERRANCE You did? Just now? They laugh merrily. PHILLIP Come on, we can take shelter in one of those buildings! But just then, Kyle's mother comes charging in with her gun!! KYLE'S MOTHER AAAGHGAHGHGH!!! YOU DESTROYED MY FAMILY!!!!!!!!!! Phillip spins around just in time to see Kyle's mother plunge her bayonet into Terrance's abdomen. TERRANCE AGH! PHILLIP Terrance! NO! KYLE'S MOTHER DIE!!!!!! SLOW MOTION SHOT - Blood from Terrance's abdomen slowly spills from his stomach. Everything gets SILENT as we follow the blood down, down, down... Until it hits the ground with a huge, echoing BWOOOMMMM!!! CLOSE UP on Kyle's mother's eyes. CLOSE UP on the spot of blood on the ground... BACK TO REAL TIME Suddenly, the ground starts to open up! FWOOM!! Great flames and ash take over the sky. Satan and his minions explode from below. Everyone stops fighting for a moment, to watch this amazing spectacle. SATAN RAAGHGH!!!! MY TIME HAS COME!!! Demons and flames emerge from the ground. All the soldiers on both sides can't believe what they're seeing. Now out of the giant abyss comes Kenny. He dusts himself off and looks around. EXT. TRENCH - NIGHT As more bombs and gunshots go off. Kyle, Cartman and Ike huddle close to each other in a trench. CARTMAN Kyle... All those times I said you were a big dumb Jew... I didn't mean it. You're not a Jew. Kyle thinks. KYLE Yes I am! IKE Baba mama! Another explosion rocks the trench. Dirt flies all over the boys' heads. CARTMAN AGH! (Noticing Mr. Hat in his hand) What the hell am I still holding this for?! Cartman tosses Mr. Hat out of the trench. We hear GUNSHOTS and then VERY FAINTLY we hear Garrison's voice. MR. GARRISON Mr. Hat! Noooooo! Suddenly, Stan jumps down into the trench. KYLE Stan! STAN Dude, I found the clitoris! I think I can get Wendy to like me now! KYLE Sweet. CARTMAN (Sarcastic) Oh, that's swell, Stan. I guess all's well that ends well, huh? We can go home now. There's just one little thing left to tie up... WORLD WAR THREE!!! More explosions go off. Dead bodies fly all around the boys. Suddenly, Kenny appears before the boys. CARTMAN/KYLE AGAGAH!!! CARTMAN It's him! I told you!! Kenny's come to take us to the netherworld! KENNY Mph rmph rmph rmph?! KYLE Wait! He's not haunting us, he's trying to tell us something! KENNY Mph rmph rm rmph rm! CARTMAN Okay! We can get you some proofs of purchases for Snacky Smores Kenny! Just mellow the heck out! EXT. SOMEWHERE IN SOUTH PARK - NIGHT More battle. People are dying left and right. The Doctor from the Hospital scene runs in with an M-16. A Canadian steps in front of him, the doctor shoots, and blows the Canadian's head clean off. DOCTOR GAUCHE Hey, pal, don't lose your head. Suddenly, the ticket guy's chest rips open. He falls dead, and standing behind him is a Canadian with a double barreled shotgun. CANADIAN SOLDIER I'm glad you got that off your chest. Tom the Rhinoplasty surgeon leaps in and stabs the Canadian through the head with his bayonet. TOM I guess he got the point. A Canadian rushes in and machine guns Tom full of holes. CANADIAN SOLDIER 2 Plastics are a cheap and efficient insulator for electrical applications. Just as the fighting escalates, Satan and his minions rush in. SATAN Yes! Good! Fight and kill one another! The soldiers all look scared and puzzled. SATAN You're all part of Satan's army now! KYLE'S MOTHER What the hell is going on?! Satan gets in Kyle's mother's face. SATAN I am the dark master! KYLE'S MOTHER Oh no you don't! This is MY fight!! I don't need your help, Alan Dershwitz! SATAN SILENCE! I AM SATAN! KYLE'S MOTHER Oh. SATAN YOU HAVE SPILLED THE BLOOD OF THE INNOCENTS. NOW THE WORLD BELONGS TO ME... NOW BEGINS TWO MILLION YEARS OF DARKNESS!! AND ALL THANKS TO YOU!!! Kyle's mother backs down, ashamed. CHEF Oh, good job, Mrs. Broflofski, thanks a lot. KYLE'S MOTHER I... I was just trying to make the world a better place for children... SATAN Yes... And in doing so, you brought enough anger and intolerance to the world to allow my coming. KYLE'S MOTHER And I thought my mother was the master of guilt. Geez Louise. SATAN SILENCE!!! NOW!!! EVERYONE BOW DOWN TO ME!!! KYLE'S MOTHER Oh God... What have I done... One by one, the soldiers start to kneel. Satan throws his arms up in the air and laughs a horrible, deep laugh that fills the world. But just then, the ground shakes again. Satan looks over to the huge abyss he had crawled out of and notices another figure. He is burnt horribly, but it is Saddam. He holds a martini glass in his hand. SADDAM HUSSEIN Hey, I'm missing the party! SATAN No! It can't be! Saddam, burnt to a crisp, walks over to Satan and grabs his ass. SADDAM HUSSEIN Did you miss me, buttercup? (Yelling out) All right, gang! I am your new ruler now! Everyone bow down to ME!! Satan puts his head down. KYLE HOLD EVERYTHING!!! Kyle walks up with Cartman, Stan and Kenny. SADDAM HUSSEIN Oh, it's the bratty kid from hell. KYLE You made a deal with Kenny that if he got ten proofs of purchases from Snacky Smores you'd grant him any wish. SADDAM HUSSEIN And? Kenny pulls out the proofs of purchases. TRIUMPHANT MUSIC plays. SATAN I TOLD you not to make that deal, Saddam! SADDAM HUSSEIN Who gives a fuck?! I was just fucking with him! KYLE What? SADDAM HUSSEIN The deal's off, go away, guy. SATAN No, Saddam. You made a deal. You can't just renege on a deal. That's lying. SADDAM HUSSEIN Relax bitch! You're better seen, not hear okay? Saddam smacks Satan in the face. Now Satan looks mad, but he sits down like a good little bitch. SADDAM HUSSEIN Now, let's start torturing people, shall we? We'll start with... (Looks at Cartman) THIS little fat kid first!! CARTMAN AY! Don't call me fat, buttfucker- ZAP!! A huge CHARGE shoots from Cartman, knocking one of hell's demons on his ass. STAN Holy shit Cartman! What was that?! CARTMAN How the fuck should I know!! ZAP!!! Another huge CHARGE emits from the v-chip inside Cartman and sends the other Swedish Soldier reeling. KYLE Look at that! CHEF It's that v-chip thing that's inside you, Eric! The polarity must have been reversed by the electric chair! TERRANCE Oh boy! A smile comes across Cartman's face. CARTMAN BUTTFUCKING SHIT! BZZZZZZZZT! A huge charge busts the chains that hold Cartman's wrists. He jumps down. CARTMAN Yes! TRIUMPHANT MUSIC plays as Cartman uses his newly found power. SADDAM HUSSEIN Quick, Satan! Do something! But before Satan can do anything, Cartman holds up his hands and lets loose. CARTMAN FUCK A HUNK A SHIT, YOU RAT FUCK!!! BZZZZZZZZZAAT!!!! A charge hits Satan square between the eyes and knocks him down. He gets to his knees and stands up again. SADDAM HUSSEIN Hey, you need to watch your mouth, brat! CARTMAN Try this on for size- Cartman holds up his hands. CARTMAN DRIPPING VAGINA EATING SON OF A PIGFUCKING CRACK WHORE!!! HAIRY COCK SLURPING MAGGOT FUUUUUCK!!!! BZZZAAAAT!! The charge hits Saddam in the chest. He drops again. Saddam looks around and is suddenly scared. He appeals to Cartman. SADDAM HUSSEIN Hey buddy! No need to stress! Let me make you a deal! How about a lifetime supply of Snacky Smores and we just forget about this whole thing?! KYLE Don't listen to him, Cartman! KENNY Mrphmmmph!!! CARTMAN (giving in) Okay. (then) Not. Cartman closes his eyes and hums like he's summoning up the worst words in the world. Then, it comes out. Like a volcano. CARTMAN SUCK THE HOT SHIT FROM MY GURGLING ASS YOU BLOOD DRENCHED FROZEN TAMPON ON A STIIIIIIIIIIICK!!!!!!!!!!!!! BZZZZZZZZZZZZZZZATTTTTTTTT!!!!! A huge purple jolt emerges from each of Cartman's hands and joins into one powerful current that hits Saddam. Saddam is thrown back against the wall. SADDAM HUSSEIN (To Satan) What are you waiting for, bitch?! Destroy him!! Satan looks at Cartman, then at Saddam, and thinks... SADDAM HUSSEIN Come on you weak, stupid cum bucket! Save me!! Satan stands there. SATAN Help you? You've destroyed my life and now you want me to help you?! You're always making me feel like a piece of shit. SADDAM HUSSEIN Come on guy, you know I only rib you because I love you so much! SATAN If you love somebody then you treat them with respect! You've never respected me! SADDAM HUSSEIN Can we talk about this later? Everyone is watching! SATAN I don't care! I want to talk about it now! Saddam grabs Satan by the arm. SATAN Ow, you're hurting me! SADDAM HUSSEIN Listen guy, you're embarassing me in front of my friends! You know how I get mad when I get embarassed. Satan starts getting really mad. Steam starts coming from his nostrils. SADDAM HUSSEIN Your little problems can wait til later, see? Steam starts coming out of Satan's nostrils. SADDAM HUSSEIN Now do what I say and keep your fucking mouth shut! SATAN THAT'S IT! I HAVE HAD ENOUGH!!!! Satan picks up Saddam, and throws him over a huge, flaming cliff, back into the depths of hell. SADDAM HUSSEIN NOOOOOOOOOOOOoooooooooo!!!!! Heeeeyyyy guyyyyy, relaaaaaxx..... CHEF Saddam Hussein is dead! STAN AND KYLE Hooray!!! Everyone cheers. PHILLIP You're quite a purveyor of filth, little boy! TERRANCE Indeedy, that was a delicious choice of words! CARTMAN Well, I learned it all from you guys. PHILLIP Of course you did, cock fuck! They all laugh merrily. Satan stands over the cliff, looking down at where Saddam fell. SATAN He spent so much time convincing me I was weak and stupid that I believed it myself. The boys look at each other, confused. SATAN Saddam didn't respect me. All he wanted was sex. But it took me so long to figure that out. He starts to cry. Chef hands him a hanky. CHEF Here you go Satan- SATAN Thank you. Give me the proofs of purchases. Kenny hands them to Satan. SATAN Okay Kenny, I will keep the bargain. Any wish you want is yours. TRACK IN slowly on Kenny. MUSIC BUILDS. Finally, Kenny speaks. KENNY Mph rmph rmpg rmph mm. Everyone GASPS!! KYLE WHAT? STAN Are you sure, Kenny? SATAN What did he say? STAN He said that his wish is for everyone who died in the war to come back. CHEF Kenny, you realize this wish is the only chance for YOU not to be dead... KENNY M mprh. Mph rmph rm rmph rm rmphm rmphm. Mm rmphm rmphm rhmphm. Triumphant music plays, as if Kenny is giving a grand, important speech. SATAN Very well, then. I will put an end to the war as your wish and make everything as it was before the war started. But you Kenny, must remain dead. KENNY Mph rm. Satan turns to the open abyss. SATAN I must admit, I'm kind of relieved. It's too fucking cold up here. STAN Aren't there cold parts of hell? SATAN Yeah, but it's a real dry cold. Here it's the humidity that gets me. I guess I'm destined to live in hell... alone... Sadly, Satan walks back down the trench into hell. But something catches his eye. SATAN Hello... What's this? Satan bends down and picks up Mr. Hat. He looks at it, and then places it gently on his hand. SATAN Hi there, little guy... Would you like to go to hell with me? SATAN (AS MR. HAT) Sure. I bet we can be best friends! Satan smiles. And walks down to hell with Mr. Hat. The boys walks over to Kenny. KYLE Thank you, Kenny. STAN Yeah, thanks for going back to hell for us. You're a real pal. A bright red light flashes and Satan and his minions are dragged back down into hell. Kenny is taken along with them. At the same time, Garrison, Jimbo, Mackey and all the others who died, suddenly and magically appear. They look at themselves, wondering what just happened. Everyone just stands around in a daze. Canadians and Americans alike look at each other and wonder what to do. MR. GARRISON I... I'm alive... Where's Mr. Hat? BIG GAY AL Wow... We were all killed and now we're fine. That's super! KYLE Whew, I'm sure glad that's over. STAN Yeah, but you know, I learned something today. I learned that getting all worked up over fuck and shit and cockmaster is just stupid... You all focused so hard on erasing profanity that you forgot the most important thing... To love each other. CARTMAN Yeah! You're all a bunch of stupid sons a bitches! The boys' parents walk up. STAN Mom, I'm a man. Just a man. And I'm going to have fun with profanity just like you and dad did when you were little. KYLE Yeah, so what if you say uncle raper or dicksucker or, or- KYLE'S MOTHER Shiteater- STAN'S MOTHER -Or monkey fucker- They all laugh merrily at their naughtiness. Wendy walks up to Stan. WENDY I'm sorry Stan, I guess you really DO get it after all! Stan smiles. MUSIC swells. STAN Wendy... How would you like to go get some ice cream? WENDY Sure, Stan! How did you know I loved ice cream? STAN My friend the clitoris told me. WENDY Wow, I have a clitoris too. STAN Really? Where the hell do you keep it? It's huge. Wendy grabs Stan and plants a big kiss on him. Stan vomits into Wendy's mouth. STAN But Wendy... What about Gregory? Gregory stands off to one side, scowling. WENDY Stan, I never cared for Gregory. STAN You didn't? WENDY No, dude. Fuck him. Fuck him in the ear. STAN Cool! WENDY (Singing) Thank my lucky stars Here before me now Is everything I'd ever hoped for- STAN Knew it in a word Saw it in a glance The only thing I think I'd die for STAN AND WENDY I can't stop now... My heart's awake! I pray your arms my arms to take! So this is why I'm alive! Now everyone joins hands and starts singing- EVERYONE SHUT YOUR FUCKING FACE, UNCLEFUCKA! YOU'RE A COCK SUCKING ASS RAPING UNCLEFUCKA! YOU'RE AN UNCLEFUCKA, YES IT'S TRUE! NOBODY FUCKS UNCLES QUITE LIKE YOU! UNCLEFUCKAAA!!! Kenny's mom and dad come up. KENNY'S DAD This is all so wonderful. I just wish our little Kenny could see all of this joy. KYLE Oh he can, dude. Look! Kyle points to the sky. Everyone looks up just in time to see a brilliant shooting star across the daytime sky. We follow the shooting star and then slowly ZOOM in on it. As we get closer, we realize it is actually Kenny, shooting towards the heavens. As TRIUMPHANT MUSIC plays, Kenny's little body floats up and up through the clouds. (NOTE: This will also be done in 3-D CGI) Rays of light from above bathe his body and he flies up into the warmth of the baby blueness. Angels encircle him and give him a pair of wings. They smile gently. He feels calm. He feels good. Amidst a group of angels, Kenny flies upwards and finally... into Heaven. END. 
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+                               SPANGLISH                                  by                            James L. Brooks                            SHOOTING DRAFT    FADE IN:1   INT. BEDROOM - MEDIUM CLOSE - MALE FORM - LATE AFTERNOON      1    A shape fills the lower portion of the screen. It is a man's    back..... a perfect back... good dark color, slim, muscular.    LATIN MUSIC PLAYS... a song.... if you understood the words    you would hear love confronted and considered in a very    specific way...We are in a Mexico City suburb. The day is    hot; small beads of sweat are seen on the man's back, the    first indication that we are in slow motion..Perfect red    fingernails come into view...and now a woman's hand goes    beautifully to work...part sensual back scratch, part    massage. The hand cups bits of the man's back, a strong thumb    probes his spine, a long finger teases the very top of his    ass in a cute finger-pirouette and then continues down --    and, as the hand rises once more to the top of his back for    another trip down his upper body...    MAIN TITLES BEGIN: Full titles, minute after minute of titles    with some key dissolves helping us to represent some 30    minutes of time passage as the hand continues to scratch and    rub, the man making sounds of pleasure. The hand is getting    tired. Flirtatious no more, this is getting to be work...The    unseen woman shakes the hand vigorously, the man says a    single sound urging her to continue, the exhausted hand    complies, then stops, then the unseen woman changes hands as    TITLES CONTINUE.....The new hand, wearing a wedding ring,    goes to work then it too stops to rest..the man says    something in Spanish...important for us because it will    establish that there will be no subtitles and yet we    understand perfectly that he is asking her to continue. She    replies in Spanish lightheartedly, with a small and pretty    laugh, that her hands are tired. We understand. The man tells    her to continue. She continues, the rub now desultory and    resentful. She stops for another rest. The man wants more and    grabs forcibly at her hand -- his own hand coming into view    for the first time. She says, in Spanish, with no particular    anger, "you said you would never push me around again. If you    do, I will somehow break your arm so you can rub your own    back as high as you want." (NOTE: All Spanish dialogue will    be worked hard to provide something extra for the Spanish    speaking..working in tidbits or extra exposition, jokes etc.)    For now, the man's tone changes, placating her to continue.    Even as she resumes the massage they begin to have a domestic    argument in Spanish. This is no longer a massage we envy.    This back rub, going as it does from sex and hope to discord    and alienation, will be our only full direct knowledge of    their marriage.2   INT./EXT. BEDROOM / DUSTY ROAD - OTHER ANGLE                  2    Showing us the room and beyond, through the window, a school    bus stopping at the corner on a dusty road.    We now see the full figure of the woman's back as she looks    up with excitement and stops rubbing with the word,                                                             2.    "Cristina." When the man protests her stopping she indicates    they should both run and meet their daughter. He waves her    off. Stunned by his disinterest, she runs from the room.....3   EXT. DUSTY ROAD - THE BUS                                     3    As CRISTINA, six years old and adorable, waits patiently to    step down. She sees her mother and grins and waves excitedly,    digging into her little pack to pull out an English book    which she displays with pride. Now she steps down from the    bus and, as she walks TOWARD CAMERA, narration begins. The    voice is of a girl eleven years older than the child we see.                        NARRATOR              To Princeton University's Director              of Admissions: In considering me              for a scholarship you have asked              for, and have every reason to              expect, an essay from me about              myself. And, as a clever high              school graduate, I of course              realize the subtext of this essay              about who I am and why I want to              enter Princeton, is actually to              make clear to you why you should              have me. I have gotten tips, from              friends who have preceded me to              college, that being a Latina, with              my grades, list of activities and              relative poverty, I am as good as              in if I simply do the dance and              work in a word like              "bipolarization" every so often.              And while I love dances -- this              dance of self is one I am afraid to              master.                  (young girl looks off and                   lights up)              I prefer to write about my mother.4   INT. / EXT. HOUSE - SCHOOL GIRL'S POV - MOM                   4    A drop-dead gorgeous Latin woman in her early 20's. As mother    and daughter move inside, a car pulls up with an ominous man    getting out. He nods in another direction calling our    attention to a police car parked off the street. The woman    does not notice - instead shepherding the child to her    father. The woman makes a big fuss over the text books the    child has..this is one supportive mom..again she is    disbelieving that her husband shows no interest, especially    when the child seems briefly hurt. The woman's husband looks    from the window and sees the ominous man coming. The woman    now does everything humanly possible to distract the child so    she does not see what is transpiring.                        NARRATOR              For my mother, that afternoon              eleven years ago was a watershed              not because of my father's                        (MORE)                                                             3.                        NARRATOR (cont'd)              imprisonment but because it was my              first day at school....5   INT. KITCHEN / HUSBAND'S ROOM - LATE AFTERNOON                5    This room is directly across from the husband's room. The    woman looks up to see her husband open the suitcase to show    the man a huge store of Mont Blanc pens and high-end watches.    The man gives her husband some money..all the time the woman    is chattering to distract the girl. Looking off --the woman    grows wide-eyed as she sees her husband count some money. The    undercover cop begins shouting orders. The woman raises her    voice to cover the argument in the next room which puzzles    her daughter.                        NARRATOR              There was never any pretense that              the gorgeous, vital, clever,              temperamental animal that was my              mother ever for a heartbeat              considered having any life of her              own. She ignored all her needs and              was alive only for me. It was              terrific.                  (a long beat)              At the time.    ON MOM.    As she watches her daughter chew a cookie. Her daughter    begins to tell about her day, her young mother taking on a    glow we have not yet seen. And all the while she eyes the    action in the next room. Her husband makes a break for the    window. The other man points a gun at the ceiling preparing    to fire a warning shot. The woman moves ever so quickly to a    shelf of her favorite dishes, all the while talking to her    daughter, making much over the kid's new school books. It is    an impressive charade.    FULL SHOT - TAKING IN BOTH ROOMS.    And just as the cop shoots at the ceiling, in perfect timing,    she upsets the dishes, the resulting noise covering the    shot.. The woman asks her daughter what she learned    today..the daughter says she was taught a little English.    Mother is impressed as she watches the cop move her husband    toward the front door where other police await. Her daughter    starts to follow her gaze and she distracts her..brandishing    the Spanish/English book and asking her to say something.6   INT. / EXT. KITCHEN - ON GIRL.                                6    Standing proudly, smoothing her skirt.    CLOSE UP GIRL.                                                                 4.    As she clears her throat and says directly into camera.                           GIRL                 Hi.    The girl and woman are enormously excited over this word even    though, outside, her life's mate is being loaded into the    back of a police car.(Note: Mexican police DO NOT duck the    perpetrator's head WHEN LOADING THEM IN THE BACK SEAT..they    just allow the concussion.) It seems the mother will save her    child the trauma of her father being carted off; but the    police turn on their siren and the girl turns to see her    father as the car pulls away. The child is stricken. A tear    starts to form in her eye. Her mother acts quickly. We are    about to see powerful emotion reversed by sheer force of    will..the mother leans down, gives three quick kisses - power    pecks - to the girl's cheeks and then an admonition in    Spanish.                           MOTHER                 Una l·grima...sola una sola...Haz                 la mejor possible.                           NARRATOR                 "One tear..only one...so make it a                 good one." This was my mother's                 instruction to me.    ON CHILD.    Baffled by the edict..    ON MOTHER.    Holding up one finger. That's it..one tear..she means it.    ON CHILD..    As she complies..one great tear forming and falling..Her    mother's thumb wipes it away..But now her eyes well with more    tears..her mother gestures she must have strength and    resolve..and so she does..a toss of her pretty little    head...the eyes clear.7   INT. MOTHER'S BEDROOM - NIGHT                                     7    As the mother, lying in bed with her daughter loses her own    fight with tears..managing with difficulty to keep her    convulsive sobs silent since her daughter and she are    intertwined like pretzels.                                                      DISSOLVE TO:8   INT. GIRL'S ROOM - DAY                                            8    The girl works on her lesson plan..She is a study in beauty.    Her mother's daughter. Across the small hallway her mother    greets and deals with friends and family in a:                                                                 5.9    SERIES OF SHOTS                                                  9     As the girl works..her dress changing as the days change     while different visitors listen hard to her mother across the     hall.                         NARRATOR               My mother dealt with our               considerable problems of survival               by talking..Always she discovered               her own best thoughts by sifting               through her own words.     The mother stops talking in mid-sentence, realizing she has     just solved something and makes a note.10   INT. MOTHER'S BEDROOM - THE TWO OF THEM IN BED - NIGHT       10                         NARRATOR               Each night my mother promised me a               wonderful life.. Each night I               looked for a new expressive way to               tell my mother how much I loved               her.     The child is ardent..clutching at her heart...kissing her     mother.. Holding her mother's face, talking directly into her     eyes. The mother, enormously pleased, is nonetheless thrown     by the extremes of it.                         NARRATOR (CONT'D)               I just played and did my lessons               and every time I looked up my               mother was in the process of saving               us.11   INT. / EXT. MONTAGE - VARIOUS SHOTS                          11     Her mother selling keepsakes..counting money..Friends and     relatives bringing food, clothing - toys.                         NARRATOR               Desperation in her hands was our               weapon.     ON MOTHER..     We see her totally intimidating a priest.                         NARRATOR (CONT'D)               With this weapon she had her               marriage annulled - usually               impossible for the poor - and               somehow convinced an associate of               my father's to transport two               Mexicans North in style.                                                              6.12   INT. SMALL AIRPLANE - MAGIC HOUR                             12     The mother and daughter seating themselves. The mother is     enormously nervous with the prospect of flight. She sits,     the daughter ignores an empty seat and goes on her lap,     mother hugging daughter, daughter hugging the hug.                         AMERICAN PILOT                   (to girl)               How you doing?                         GIRL                   (accented English)               Hi. How are you? I am fine..                   (she checks her book of                    English synonyms)               ..happy, merry, joyful, glad,               contented, frisky.     As they taxi.                         AMERICAN PILOT                   (to mother)               Are you her mother, sister..what?     The mother says, "solo espaÒol"---"only Spanish." The     daughter starts to chatter excitedly about the imminent     flight. Her mother quiets her firmly in order to pray for     their safety.. As the plane continues to taxi...We HEAR the     mother's prayer in Spanish. She then nudges her     daughter..who, with this gentlest of prods, repeats the same     prayer.13   EXT. AERIAL SHOT..                                           13     The plane crossing the Rio Grande.                         NARRATOR               My mother's prayer for us, which               she made me repeat exactly,               represented a stunning look into               our future. "Please God, let only               the bad things change."14   INT. SMALL PLANE - CLOSE ON THE TWO FEMALES..                14     Use this image if ever you want to strike a coin depicting     the moment of no return. The child aglow with happy     anticipation..the adult brave and enormously anxious.     OTHER ANGLE.     The pilot taken with the mother's looks.                         AMERICAN PILOT               How can I reach you? Address?               Telephone? Por favor. Por favor.                                                                7.     He glances over..this is not lechery, it is art     appreciation..an errant but decent man awed by the creature     he is drawn to..                            NARRATOR                  My mother had redefined her own                  passions. Blaming herself for the                  father she gave me, she would never                  again be lured by a man's rough                  edges..She had decided that                  goodness would be her catnip.     ON MOTHER..     As she feels him looking at her and turns. With some     affection and regret, she shakes her head, "no."     THE PILOT.     As he mouths the word "ouch."15   EXT. FIELD - NIGHT...                                        15     Plane landing on a dirt and grass strip...16   EXT. FIELD - LATER - NIGHT - ON MOTHER AND DAUGHTER..        16     Standing on the tarmac..Latin flavored music suddenly gives     way to a Texas country harmonica riff..The child tries to     comfort her apprehensive mother with the one wondrous fact     she finds so thrilling.                            GIRL                      (exulting)                  Texas...     The mother hurries her along in the direction of distant     lights.                            GIRL (CONT'D)                      (more emphatically)                  Texas.17   EXT. ELEVATED HIGH SHOT...HIGHWAY                            17     The two of them waiting, small figures.                            GIRL                  Mam·, Texas..     She raises her fingers like pistols. Shoots, blows in them     and reholsters them.18   EXT. HIGHWAY - DUSK                                          18     Bus traveling the highway. The child looks out sadly.                                                                 8.                          GIRL                Adios, Texas.                                                 TRANSITION TO:19   EXT. NORTH VALLEY STREET - EARLY EVENING                     19     As they disembark...the mother studying a slip of     paper...fearing she has made the mistake of a lifetime. The     child fascinated by all.                          NARRATOR                At the time, I was oblivious to my                mother's anguish. She loved and                lived to talk. Now, as if by a                witch's spell, words were no longer                her bridge but her barrier. In a                very real sense she feared she had                left herself behind.     ON THE TWO FEMALES.     The mother sees something. Joy returns.     HER POV.     A street full of stores with SIGNS IN SPANISH..She begins     walking the street asking passers-by for directions in     Spanish and is answered..her step lightens..she beams with     relief. So far so very, very good.20   EXT. APT. COMPLEX - DAY - FIVE MONTHS LATER..                20     An iron gate in front..small courtyard ringed by a second     floor horseshoe of apartments.                          NARRATOR                We moved into a place managed by my                mother's aunt. My mother worked two                jobs in two local stores paying a                total of 450 dollars a week...21   INT. APT. - DAY                                              21     As the mother enters.                          NARRATOR                ..just ever so barely enough.22   INT. APT. - KITCHEN - CLOSER SHOT..                          22     Cristina taking a newspaper from her book bag and seriously     pondering - then circling grocery coupons.     ANGLE ON KITCHEN AREA.                                                               9.     Cristina taking a snack from the refrigerator..smiling at the     note her mother left...lighting a burner and melting cheese     on a tortilla.                         NARRATOR (CONT'D)               But we were fine. We had it down.               If only I could have stayed six.     The CAMERA MOVES QUICKLY from the child to:23   EXT. APT. COMPLEX - ELEVATED SHOT - SIX YEARS LATER.       23     The courtyard is lit with colored lights and candles..a     wedding reception is in progress -     EXTREME CLOSE UP - THE BRIDE.     Gorgeous round and full cheeks stretched into a deep,     explosive smile.     BACK TO SCENE... music plays and we focus on Cristina, now     nearing 12 years of age..dancing with her mother and some     other smaller children.. The mother eyes the muscular back of     a Great Looking Man...who turns, and quickly oozes quality     sex appeal. She is turned on..They talk in Spanish...him     saying something hushed like, "I have been afraid to talk to     you. I need oxygen when I look at you." She indicates the six     children she is dancing with and offers to include him in     some ring around the rosey dance...He indicates the magic of     just the two of them...She quickly leads her little flock     away..     OTHER ANGLE..     A reed-thin FOURTEEN YEAR OLD BOY is staring at them...at     first the mother thinks this is adorable...the child eyeing     her as if he were a man..she indicates he should join the     rest of the children for a dance..     MOVING WITH THE BOY..     As he steps forward and it becomes clear it is Cristina he is     interested in... Before the mom can do anything about it, he     asks Cristina to dance and she readily accepts.     ON CRISTINA..     Satellite virginities falling with alarming speed..the first     time held by a male, the first time held close, the first     sexy (albeit touchingly awkward) gaze from half-closed male     eyes which utterly confuses Cristina. He begins to grind his     hips into his dancing partner.     ON HER MOTHER.     Not confused. It is exactly as if she sees her daughter about     to be run down by a car..only this time the thing to do is     scare the car.                                                              10.     She runs toward the boy -- he sees the force of nature coming     his way and makes a break but she gets him and actually lifts     him and throws him to the sidelines. Then pats him on the     head maternally and goes back to Cristina.     CRISTINA.     Somewhat proud of her mom as the boy leaves the scene.                           NARRATOR                 That quickly it was clear she could                 no longer work two jobs and leave                 me to my own at night. The                 following morning she did something                 about it. A boy I never saw again                 had changed our lives.24   INT. BUS - DAY                                               24     The mother and her aunt, MONICA, take their seats..the bus is     filled with domestics..the mother, nervous, looks over to see     and greet... THE BRIDE from last night's wedding.25   INT. BUS - DAY - 90 MINUTES LATER.                           25                           BRIDE                     (to mom)                 Este es Stone Canyon.26   EXT. STONE CANYON - DAY                                      26     MUSIC CHANGE..as they disembark and start walking, joining     the busload of domestics into the canyon and up the     hill....they walk past a perfect country club fairway. Grand     trees from either side meet each other high over the road.     ON OUR GAL..AS THEY WALK     She sees the stuff...the dream that makes you migrate. She is     not awed..she is jazzed. To her aunt she does the Latin     version of OH.....MY...GOD!!!!!!!!...At regular intervals in     the background, one black SUV after another has a mother     taking kids home from school.27   EXT. ATTRACTIVE HOME SECURITY GATE - DAY                     27     Monica presses the security intercom. The gate swings open.28   EXT. HOUSE - DAY.                                            28     In the foreground an expanse of turned up dirt...and huge     rolls of sod ready to be laid down. A catering truck stands     in the driveway.29   INT. / EXT. HOUSE - GREAT KITCHEN / POOL - DAY               29     They enter..lots of glass French doors STAND OPEN to lawn,     pool and pool house. They look off.                                                           11.THEIR POV.DEBORAH NORWICH CLASKY, a cool beauty in her mid 30's, sitsdominating this three generation portrait of the Good Life.She is wearing a straw hat and killer Hawaiian shirt..She isa perfect dresser; meaning her clothes seem to say shedoesn't care, while every article is a true and gifted find.She is drinking from a tumbler which is also of the "don'thold your breath while you try to find something as terrific"variety. She is flanked by her mother, EVELYN, 60, who isdrinking from a stemmed glass with two olives and her 14 yearold overweight daughter, BERNICE..who is reading, hergrandmother idly holding her hand..In the immediate area morerolls of sod wait to be laid.THE TWO LATINAS.As they stand inside the kitchen not sure what to do next.Then Deborah gestures that they should join her at thepool..as they start out..THEIR EXIT.Boink..three stooges retro..those French doors were not openafter all. Monica hits first. The women at the pool react.Deborah and Bernice running. Evelyn momentarily attempts tojoin the rush.. she half rises and then thinks better ofit..too late in the day for sudden movements.KITCHEN DOORWAY.                       BERNICE             Gee whiz in heaven...How are you?             Please?                       DEBORAH                 (a bit hyper)             Don't worry..I'm not mad...I was             looking for decoration to put on             the glass so people would stop             walking into it and instead of             taking what they had in stock,             which was awful, I special ordered.             I'll design something myself which             I should have done in the fi...Our heroine, seeing the blood flow from her aunt's nose,gestures that Monica needs help not conversation.                       DEBORAH (CONT'D)             ..and what difference does that             make when your nose is bleeding.             Shut up, Deborah.                       BERNICE             Now you got it, Mom.                                                             12.     Deborah grabs at paper towels, gets an ice pack from the     freezer and then grabs some cash from a bowl in the     kitchen..She has, moment to moment, the enormous desire to     feel loved that only the seriously hard to love can     experience.                         DEBORAH               Here, take these.                   (second thought)               Was that strange to give you               money..I just felt badly that..                            MONICA               It's okay.     She pockets the cash.30   EXT. HOUSE - BACKYARD - DAY                                  30     Moments later. As the group arrives at the outdoor table.     Evelyn makes half-hearted incomplete gestures of shaking     hands, nodding, indicating a seat...each simple act a test     which she fails -- every gesture a bit too late and then     some..simply too much for her to manage with the drinks under     her belt. In the background workers roll out sod, the yard     becoming more beautiful even as we look.                         MONICA               She is my niece. She and her               daughter live in the apartment I               manage. Yolanda, who worked for               you, lived there before she went               back home. That's how I heard about               the job.                         DEBORAH               So who am I interviewing?                            MONICA               Her.                         DEBORAH                   (forcefully)               You're gorgeous.     On our gal..as she, not understanding the word, smiles and     nods.                         MONICA                   (translating sotto)               Vistosos.     Our gal thrown. Not knowing how now to react.                         EVELYN               She doesn't mean it as a               compliment. It's more of an               accusation.                                                        13.                    DEBORAH          This is my daughter Bernice and          this is my mother, Evelyn Norwich..                     BERNICE              (rising)          Excuse me...Glad you're okay.              (then to other Latina)          Good luck.Our gal smiles back in appreciation.                    DEBORAH          No, stay..this involves you.                    BERNICE          I wouldn't want some kid around for          my interview. You understand, Mom.                    EVELYN              (to Bernice)          Strength of character..empathy..big          heart..taste for futility - God I          love you.She eyes with disapproval her mother's empty glass.                     DEBORAH          MOTHER!               (then to Bernice)          Stop. It's just a conversation -          not an interview. Please sit.               (to visitors)          Don't you want to get out of the          sun?She indicates a shaded seat. Deborah is protected by hat,umbrella, sun glasses while her guest sits bareheadedenjoying the rays and indicates she is fine. UnderneathDeborah's surface is a Russian roulette of deeply feltemotions..at this moment she is earnest and vulnerable.                    DEBORAH (TO OUR GAL) (CONT'D)          You guys want some lemonade?              (they demur)          Let's just talk. I have two          children. My husband works          nights..he's a chef and has his own          place.                    MONICA          Do you work?                    DEBORAH          I helped run a commercial design          company until ten months ago when                                                        14.                    DEBORAH (CONT'D)          it was downsized to zip. Okay. I          have two children. I like the house          to be like me in that I'm very          loose and meticulous at the same          time. It's all about first names          and closeness here but I care about          the place, you know. It's what they          used to call homemaker..The two visitors exchange a wide-eyed look. Which Deborahsees and understands.                     DEBORAH (CONT'D)              (to Monica)          I'm not leaving time for you to          translate.Monica says, in Spanish, "this woman is very strange. Theonly thing I understand is she has two kids." Deborah leansinto Monica. Face to face, tender but unblinking..                    DEBORAH (CONT'D)          Too bad for you that it just never          occurred to you to check on how          much Spanish I know.                    MONICA              (a solid beat of               humiliation then)          I'm sorry what I say about          you...don't hold it against her.                    BERNICE          Mom!!                    DEBORAH          I don't speak any Spanish. But I'm          not an idiot - I talk for an hour          and you say two words. What did you          say?Monica squirms - unusual for her.                    DEBORAH (CONT'D)          Never mind. You got your nose          bopped. I got my feelings hurt.          Onward.As Monica paraphrases what has happened, her translation isDIALED DOWN for the:                    NARRATOR              (as Deborah continues               talking)          I will major in linguistics and          make sociology my sub-          concentration. Because it has been          my experience that the barriers of                    (MORE)                                                        15.                    NARRATOR (cont'd)          language are more than we dare          admit. That, as much as we          translate, finally we will never          understand each other. My mother's          name, for example, beautiful in          Spanish, becomes leaden and awful          when pronounced by a non-Latin.                    DEBORAH (IN THE CLEAR)          What's your name? Llamo? One of my          five Spanish words..                    OUR GAL          Flor Moreno.She pronounces Flor in the Latin way...lots of RRRR's with acurling of the tongue sound at the end.                      DEBORAH          Flor.She pronounces it flat like the "floor" we walkon...throughout the following each of the women sticks totheir pronunciation as indicated by the extra "r's.                    FLOR              (correcting)          Florrrrr.                      DEBORAH          Flor.                    FLOR              (correcting)          Florrrrr.                      DEBORAH          Flor.                    FLOR              (correcting)          Florrrrr.                      DEBORAH          Flor.                    FLOR              (trying)          Florrrrr.                    DEBORAH          Flor..what I walk on?                      MONICA AND EVELYN          Florrrrr.                                                        16.                      FLOR          Florrrrr.                    BERNICE          It means flower, right?                    MONICA          Yes. Flower. Florrrrr.                      EVELYN          Florrrrr.                      FLOR          Florrrrr.Deborah is beginning to feel criticized...she takes abeat..eyes everyone with some hostility.                    DEBORAH              (directly to Flor)          Is there some school of the ear I'm          flunking out of right now?Flor says to Monica, in Spanish, a tip to pronounce her name.Monica warns Flor to leave it rest..since Deborah is becomingclearly and strangely pissed..                    DEBORAH (CONT'D)          What did she say?CLOSE ON FLOR...She feels the tension but, so far in her life, her ownirrepressible personality has served her - so she movesforward with surprising and quiet confidence and assurance.She tells her aunt to repeat her words so that now, for thefirst time, she is, through Monica, talking directly toDeborah.                    MONICA              (translating)          She says..If you curl your tongue          and let it be loose you will have          it..that it's hard for Americans..          She says it's great that you try so          hard. Many people wouldn't bother.                    DEBORAH              (an emotional               pronouncement/her               greatest accolade)          She gets me....She smiles at Flor, who returns the smile.                                                         17.                    DEBORAH (CONT'D)          You want some lemonade? Take some          lemonade.She pours some for Flor and Monica. Then she closes her eyesand pauses in utter dedication to a final effort:                      DEBORAH (CONT'D)          Florrrrr.It is perfect..Flor grins at Deborah's victory...claps herhands together.                    FLOR              (a Spanish word)          Sublime.Deborah feels relief..free for a moment from the darkcorridors of self-criticism..She is lighter, prettier,innocent..Wholly and completely attractive.                    DEBORAH          Whew, dense but stubborn, right?          Thanks.              (an important declaration)          What you just did with me is just          what kids need..patience and          encouragement. Alright, money...Bernice rises like a shot to take off..                    BERNICE          Goodbye, really..              (to Flor)          Look forward to seeing you.As she leaves.                    DEBORAH              (absently to Bernie)          Love you...              (then with not a               monoseconds break)          ... the job is six days a week,          seven to seven..the kids and all          housekeeping, how much a week would          you like?Monica translates..Flor, embarrassed a bit by the directness,ducks the question..saying in Spanish -- "whatever you say.."                    DEBORAH (CONT'D)          No.. This is an important          question..if you ask for too little          it means you don't value                                                                18.                  yourself..too much and you're                  taking advantage.                      (after Monica translates)                  So?     Flor is dumbstruck by the challenge of this pop quiz but not     without some native wit and style to maneuver around it.                            FLOR                      (extremely heavy accent)                  One thousand dollars.     Deborah falls for it until Flor laughs..others join...Deborah     now a big smile, snort of a laugh, putting her hand to her     face and shaking her head.     OTHER ANGLE..     As Monica uses Deborah's reaction time to, in mid-laugh,     flash four fingers to Flor..     ON EVELYN.     Catching the gesture and secretly indicating to Monica they     should go for six.                            MONICA                      (firmly)                  Six hundred dollars.     Flor shoots her a look of fear...a tense beat.                            DEBORAH                  Welcome to the family..     Deborah kisses her..sort of on the mouth. In the midst of     Flor's delight she is thrown by Deborah's kiss...it is the     first of many borders to be violated.31   EXT. CLASKY HOUSE - DAY.                                     31     As Flor and Monica exit and can finally show their full joy.                                                  DISSOLVE TO:32   EXT. STONE CANYON - EVENING.                                 32     JOHN CLASKY driving a smallish SUV. He is an upbeat,     talented, successful man with an ego as balanced as a high-     end watch; who loves his wife, kids and job. In other words,     watch out, John.33   EXT. CLASKY HOUSE - EVENING.                                 33     As John pulls into the driveway next to a catering truck and     exits his SUV carrying a large wrapped tray..                                                             19.34   INT. CLASKY HOUSE - EVENING.                                 34     As John moves quickly through the downstairs, he puts the     tray on a counter where food servers are working.                         JOHN               I brought some dessert.     As he moves on, we see in the background the workers unwrap     and react to a fantastic concoction. A caterer (who we may     notice looks at him like royalty) falls in beside him and     whispers to him.                         CATERER               She came down to check on the party               and realized the gardeners hadn't               finished rolling the sod.35   INT. / EXT. CLASKY HOUSE - BACKYARD - NIGHT                  35     JOHN'S POV - DEBORAH AND TWO FEMALE CATERERS.     Deborah is wearing a party dress. They are rolling out the     last huge cylinder of sod, completing the now beautifully     manicured backyard. It is hard manual labor involving     physical strength. The female caterers are complaining that     it's too heavy but Deborah is undeterred.                         DEBORAH                   (to catering women)               We can do it. Come on.     She falls over the roll..getting filthy..but it gives and     they gain momentum...one of the catering women falling down,     one losing pace.. Deborah,however, gains the upper hand. Yet,     even while succeeding, she remonstrates herself.                         DEBORAH (CONT'D)                   (great exertion)               Why... do... I... care.. so..               much.. about.... CRAP?     And now she wins.. the cylinder of grass rolls all the way     out and she jumps on the seam in victory. She is dirty,     spent and triumphant..the components for a solid sexual     experience..and, in truth, as the exhausted caterers half-     heartedly applaud the bizarre victory, she has gotten off.     She looks with mother's pride at the lawn. Then sees John.                          DEBORAH (CONT'D)               Can you believe they left without               finishing?     As she looks at her handiwork - John looks at her..A     grin..half laugh.. He loves the dame.                                                       20.                    DEBORAH (BREATHLESS) (CONT'D)          Looks great, huh?.... You're not          looking.                    JOHN          I was getting a kick looking at you          look at it.Not the answer she wanted..                    DEBORAH          I better get dressed again in case          anybody's just a half hour late.She hits a switch at the door and the backyard area is nowfully illuminated -- set up for a dinner party for 20 orso....all details thought about and done to a "T". This isthe outdoor lighting nobody nails..the twinkling of a halfacre..the path to the pool like a runway to heaven. As shelooks at it all she has a wistful moment.                     DEBORAH (CONT'D)              (a replenishing sigh)          Okay..We're okay here.              (then)          Why can't everything be like sod?          There's no wait, no dung, nothing          you have to do right and yet it's          perfect. It covers up all your          dirt and makes things immediately          pretty..then, the miracle, if you          just give it time, it roots and you          can't tell it from the real thing.              (a look to her husband)          No reaction. Nothing to say.                    JOHN          Huh? Oh sure..I, uh..Well, no, I          don't have anything particular to          say.                    DEBORAH          Oh, John why don't you just take          out a knife and kill me all          together.Somewhat crushed, she prepares to exit.                    JOHN          How'd you get there..Hey, wait a          minute..Deb..stop..come on.              (she turns)          I'd like to figure this one out.          What would have been the great          thing for me to say after you said          the sod sentence?..Really.                                                             21.                         DEBORAH               That's actually a good question.                         JOHN               There you go. I surprise sometimes.                         DEBORAH               I would have liked, if after I               compared the sod to life, if you               had said, "Exactly!"     She turns to leave.                         JOHN               Yeah. But to say that and mean it               I'd have to think the same way you               do.                          DEBORAH                    (some sense of mischief)               It's worth a try...I had something               else to tell you...it'll come to               me..36   INT. OLIVE GARDEN TYPE RESTAURANT - NIGHT                 36     Standing in a nicely decorated middle class restaurant,     Cristina, totally bilingual, speaks to the American hostess     with a pronounced and charming accent as her mother, standing     beside her, bounces with energy and joy.                         CRISTINA               Could we have a table for two,               please?     Flor says something to her in Spanish..the daughter waves it     off and when the mother persists, she translates.                         CRISTINA (CONT'D)               We're celebrating.                         HOSTESS               Smoking or non-smoking?     Before her daughter can translate.                           FLOR               Dancing!     The hostess laughs..They are seated at the two ends of a     banquette and each automatically picks up her place setting     and "scootches" closely together. Cristina picks up a menu     and points to the prices.                         CRISTINA               Wow, expensive..                                                             22.     Flor scoffs -- says she's making six hundred dollars a     week..then looks at the prices and does a take. The hostess     returns --- Cristina points to the menu.                         CRISTINA (CONT'D)               This is just for the starter?     Flor, encouraging her daughter's spirit of adventure, places     her hand over the prices in the menu.                         HOSTESS               Uh-huh..And those men would like to               buy you a drink.     The daughter translates...the hostess points out the early     30's, well dressed, quite nice looking businessmen. Flor     addresses the men who are several tables away. Cristina     moves uncomfortably but responds to her mother's nudge to     translate.                         CRISTINA                   (to men)               This is very embarrassing but--               "what's wrong with you? I'm with               my daughter for God's sake!"     Then hostess, Flor and finally Cristina laugh. Cristina     relishes getting back to ordering from the menu...in a moment     that is a bit noteworthy..                         CRISTINA (CONT'D)               And I would like to begin with the               Jumbo Shrimp.37   EXT. STONE CANYON - DAY - 6:30 A.M.                          37     Flor smiling..enjoying the canyon..as she walks the mile plus     from the bus stop to work..one of a straggly line of     domestics. Deborah jogs into view.                         DEBORAH               Hi, Flor..See you up there.     Deborah runs past..She is clearly upset..She is also more     than a stay-in-shape jogger. She is an athletic woman fueled     by an ever flickering pilot light of anxiety. This makes her     seriously quick. She is highly aware of passing     everybody..She needs to pass everybody..Her voice trails     behind her as she announces to all as she approaches.."left,     please," "left," "left."38   INT. CLASKY HOUSE - UPSTAIRS - DAY                           38     John enters his son's room..GEORGIE, age 9.                                                             23.                         JOHN               Okay...think SERIOUSLY about               getting up. You don't have to get               up yet but are you thinking               seriously about it?                         GEORGIE               Yes.                         JOHN               Okay.39   INT. CLASKY HOUSE - KITCHEN - DAY.                           39     Bernice is making French Toast, doing something novel with     the filling and the last cooking process. Some great idea     which will have us making a mental note to try it at home.40   INT. CLASKY HOUSE - UPSTAIRS DAY - DAY                       40     John opens Georgie's door again.                         GEORGIE               Now?                         JOHN               Yes..actual up..     Georgie gets up..                         GEORGIE               Morning, Dad.                         JOHN               Yeah, good morning.                         GEORGIE               You as mad at me as Mom 'cause of               what happened?     John pauses..aware his answer will have repercussions but     integrity wins.                         JOHN               No, Georgie, I'm not.                         GEORGIE               Are you mad at me?                         JOHN               Uh...okay, no..41   INT. CLASKY HOUSE - KITCHEN DOORWAY - DAY                    41     As Flor enters from outside.                         BERNICE               Morning, good to see you.                                                        24.                       FLOR             Morning. Good too.She notices the French Toast.                          BERNICE             Try some.She demurs. Bernice holds out one slice on a spatula,indicating Flor should just tear a piece off which shedoes...One taste and she marvels -- her mouth dropping openat this kid's ability to make something mundanespecial..Bernice laughs.                          BERNICE (CONT'D)             Thanks.Her mother enters on her way upstairs. She is thoughtful,tense and sweaty - her run having failed to exorcise hercurrent demon. She greets Flor and then shakes her head,making a vain attempt to communicate her troubled mood toFlor in some sort of sisterhood based on life being a fucker.                          DEBORAH             Tough day.Bernice prepares a plate for her mom while, in the b.g., aGOLDEN RETRIEVER named CHUM approaches Flor from behind witha ball in its mouth. Flor is checking out the kitchen...what's in each drawer, etc .....Deborah is impressed by theself-starter display and indicates same to Bernice.                       BERNICE             I had an idea for a breakthrough in             French toast so I made breakfast. I             don't want to be teased about it..             No sarcasm. No tough love. Just try             it and if by any chance you have a             positive reaction...                       DEBORAH             Right..mean ol' me. I can't play             right now. I have to do something             about your brother.                       BERNICE             I had an idea for a recipe. When             has that happened? I got up early             to do this. At least taste it, for             God's sakes!She does..                       DEBORAH             Oh, it's good...oh God, it's rich --             Oh God, it's good.                                                              25.                         DEBORAH                   (sudden alarm)               By the way, you could do without               this.     The approval rug pulled out from under her, Bernice looks at     her mother. But Deborah is unaware of having hurt her     daughter because her attention has been diverted so that     Deborah AND THE CAMERA LOSE FOCUS ON BERNICE as the teenager,     distraught, moves from the room.                         DEBORAH (TO FLOR) (CONT'D)               NO..NO! FLOR!....Never do fetch.     Chum is nudging Flor with the ball and Flor was about to     accommodate him by taking it before Deborah's warning shout     stopped her in mid-sentence.                         DEBORAH (CONT'D)               I mean it, NEVER!     ON Flor's stunned reaction to the outburst.                         DEBORAH (CONT'D)               I'm not mad. I'm thinking of you.               This is me being nice..     Then using her hands to demonstrate.                         DEBORAH (CONT'D)               Just no taking ball from dog.                   (broadly)               Trust me on that one.     CLOSE UP ON Chum going nuts with Deborah's hand passing in     front of his face ignoring how urgently he offers the ball.                          DEBORAH (CONT'D)               You and me. We are fine. Just a               tip.                    (she gives her waist a                     little squeeze)               Girlfriends.                    (Flor is totally confused)               Could you make some coffee? Cafe?                         FLOR               Yes.     Deborah directs her to the most complicated cappuccino     machine Italian overpriced artists ever devised.42   INT. CLASKY HOUSE - UPSTAIRS - MASTER BATHROOM - DAY        42     Deb in the shower...you have never seen so many shampoos,     conditioners and bath balms...never seen so huge a     sponge..such fluffy towels.                                                             26.     Skylight over the shower allows a beam of God's warmth. There     is a fireplace in the bathroom. The only significance of     this being that these people have a fireplace in their     bathroom. The woman who made it all happen is putting in a     contact lens..She is upset. We see that she has one blue eye     and one brown.                         JOHN               This isn't an argument, honey.                         DEBORAH               Yes. Yes it is. So stop being so               maniacally calm.                          JOHN                   (emphatically)               No..it's not. Because I understand               your side.                         DEBORAH               I can't be wrong about that too.               This is a fight. We're having a               fight. Yo, I feel anger.     Deborah turns from the sink revealing one brown eye and one     blue. She blinks, realizes one lens is not in and turns back     to the sink.                         DEBORAH (CONT'D)               Can I have a moment?     John exits into the..43   INT. CLASKY HOUSE - MASTER BEDROOM - DAY                  43     As John awaits his wife...a beat and she enters with two blue     eyes. Even though she is attempting reason and self-control     her voice is filled with tension and goes from loud to     borderline yelling.                         DEBORAH               Okay..Let's get someplace here.44   INT. CLASKY HOUSE - KITCHEN - DAY                         44     As Flor works methodically - orienting herself..she is able     to hear their totally foreign words and though their volume     registers on her a bit - basically she remains blithe.     Loading a dishwasher, memorizing where everything is..45   INT. CLASKY HOUSE - MASTER BEDROOM - DAY                  45     BACK TO SCENE:                         DEBORAH               You, mister, are crazy making..I               can't take this calm thing you've                                                        27.                    DEBORAH          started doing. It's like this is          your way of letting me know there's          something deeply wrong with me          because I'm not calm.                    JOHN              (calmly)          Let's not go all over the          place..Can't we...                    DEBORAH              (shouted burst)          If you're going to talk to me          please have the decency to raise          your voice.                     JOHN              (a beat then sudden               urgency and change of               tone)          Let's make a break for it.                    DEBORAH          What are you talking about?He signals her with his eyes and head and then takes a largebut tentative step away from the spot where he wasstanding...then additional faster steps. He gestures withenormous energy for her to follow him to his new spot in theroom. She eyes him suspiciously.                    JOHN          Just for a second.She walks to him...he puts an arm around her shoulder. Andgestures back to where they were standing. He talks in analmost hushed, conspiratorial voice.                    JOHN (CONT'D)          We don't have to be those people.          Nobody's watching. They've been          masquerading as us for a while          here..I'll distract them - you make          a break for it and I'll meet you          outside.                    DEBORAH          You're ridiculing me because I care          about this.                    JOHN              (firmly)          No. I'm not. I mean this..let's get          away from those two in case they're          as miserable as they look..                                                           28.                    JOHN              (urging..like a Southern               coach)          Come on, baby.He is looking at her with wit and conviction..trying tosquirt lighter fluid at the flame of their love. Deborahlooks up at him..intimacy of a different sort.                    DEBORAH          Let me ask you a question..let me          change the subject..Forget for a          moment that you won't support me          with Georgie..                    JOHN              (reasonably)          Well, I don't think...She makes a noise of frustration to stop him..It   works. Johnis rendered still and intimidated by her conduct   but he is"man" enough for his jaw to set...to pause for a   beat as helooks her straight in the eye..And walks back to   the spotthey occupied previously.                      JOHN (CONT'D)          Go ahead.                    DEBORAH          Here's the question. It's been on          my mind more and more. Do you do          that calm thing for the purpose of          infuriating me?                    JOHN              (genuinely puzzled)          What? Why would ...              (on her exasperated look)          Why would anyone do something to          someone they love for the purpose          of messing them up?                    DEBORAH              (unconvinced/distant)          Okay.He hates that look of isolation on her face..He needs to makeher feel better.                    JOHN          Deb, since high school we've been          able to read each other...take          advantage of it..The answer to the          question is,"absolutely not." Now          take a look and tell me if you          believe me.                                                              29.     She looks at him..with a finger motion he directs her gaze to     his eyes..     CLOSE on JOHN'S EYES.     Open, smiling, trusting. Trying to get a laugh out of her.     CLOSE ON DEBORAH'S EYES.     Studying, questioning, probing, doubting, exhausted...                         DEBORAH               I don't.. believe you. I think you               just want me to feel badly about               myself..Sorry, honey.46   INT. CLASKY HOUSE - KITCHEN - DAY                            46     John enters - not seeing Flor - goes to the Sparkletts water     container and fills a cup...He is shaken..                         JOHN                   (to himself)               Great God in heaven save me.     Boy meets girl.                         FLOR               Hi.     He turns with a start to see Flor smiling at him. Gorgeous     squared. His first word is inadvertent.                         JOHN               Whoa...whoa...I didn't know Deborah               had found someone... You work here?               You're going to help with the house               and kids?                         FLOR               Solo espaÒol.                         JOHN               You work here and you don't speak               any English at all?     The sound of feet on the stairs..Deborah and Georgie enter.                          DEBORAH               All she has to do is dial 9-1-1 and               press two for Spanish.                   (even before she enters)               Flor...John.                   (to John enunciating the                    name)               This is Flor.                                                             30.                         JOHN                   (pronouncing it perfectly)               Hi, Flor.     Deborah reacts, grabs some coffee and pushes Georgie along.                         JOHN (CONT'D)                   (to Deborah)               Look, I'll take Georgie to school.                         DEBORAH               No. I'm doing it..show Flor the               ropes.     Flor is trying to figure out what's expected of her then     Deborah gestures impatiently for her to fall into step and     come with her.47   EXT. CLASKY HOUSE - DRIVEWAY - DAY                           47     The biggest, baddest, BLACKEST SUV..there is some subtle     custom work so the vehicle impacts us in ways we cannot quite     fathom. Deborah is wiping away a tear as she gets in and     shares a woman to woman moment with Flor.                         DEBORAH               Fuckin' hombres, huh?     She sniffles. Flor nods uncertainly. A small voice from the     back seat..Georgie..                         GEORGIE               I just didn't want to sing last               night.                          DEBORAH'S VOICE                   (hurt)               Yeah. Well you said you would..You               said you wanted to. I asked you               five times. Then when I have the               whole party paying attention you               refused.     As she puts the car in gear...Georgie sings insanely well.     But he's just two lines into an old blues standard:                         DEBORAH               It doesn't do any good now,               Georgie.     She presses a button on her dash and a glass partition comes     up between front and back seat thereby cutting him off in mid-     song. Flor is utterly baffled by the notion of putting a     divider between parent and child. But Deborah is calling for     her to pay attention to the car's navigation screen.. a     Spanish voice says, "route guidance system starting."                                                             31.                         DEBORAH (CONT'D)               I've programmed it for Spanish..               Look, it will take you anywhere and               then back home. If you figured out               how to make coffee on that thing               it's all downhill.     The MALE SPANISH VOICE talks about imminent left turns. Flor     is thrown by the amount of oddness..All the while Georgie is     singing his little heart out in the back seat. Flor,amused by     the boy, suppresses a smile...maybe the first time in her     life she's had to suppress joy. But Deborah never misses     anything.                         DEBORAH (TO FLOR) (CONT'D)               This is stop gap..You, kiddo,               you're going to have to learn               English.48   INT. RESTAURANT KITCHEN - LATE AFTERNOON                  48     John cooking...the theory that nobody's sexier than when they     are seen doing what they do best applies here.. In the     BACKGROUND John's number two, PETER, the Sous Chef, being     bossy and anal as he organizes his cooking and GWEN, who     spends most nights trying not to show her enormous affection     for John. At the moment, John's work is a strange mixture of     art and cloddishness.....the hands blur with expertise...but     he keeps dropping items.....each time a Latin kitchen worker,     ALEX, 20, dives on the spillage..At one point they bump.                          JOHN               Sorry...                         PETER                   (sharply to Alex)               Not the best place to stand, fella.                         JOHN                   (to Alex)               No. It's me. You're the new               helper, huh..                         ALEX               I didn't mean to...                         JOHN               No..no..it's okay. It's me being               bugged.     Two people head for John almost simultaneously. PEG, an arty     looking woman in her late 50's..wild, scraggly gray hair,     enters lugging an ice chest and the maitre d'.                         PEG               You are going to be so happy..     The Maitre D' enters.                                                        32.                    MAITRE D'          I have something very important to          tell you.John makes a no-brainer of a decision pointing to the womanwho promised happiness. She hefts her ice chest up on thecounter.                    PEG          Perfect cod this is John -- John,          perfect cod..Best one I've seen all          season and he was swimming twenty          minutes ago.The fish is that special, a sentence that kicks out for awriter, the right brush stroke for an artist. You get it..                    JOHN          Knockout.              (to Alex)          You want to learn something? You          want to pack it away?The kid nods.. he picks up the fish.                    JOHN (CONT'D)          Cradle it...Put it in the cooler          but not on its side.. In the same          position it swims.              (important added thought)          And check the ice pack..make sure          it can drain away..if it can't the          chlorine can hurt the flesh. Do all          that and nobody can put a fish in          the fridge better than you...and          that's a solid start.. First day          and you already did something          perfect.                    KID              (smiling)          Yes, I understand.                    MAITRE D'          Please. Now?                    JOHN          Oh, sorry..I forgot.He whispers in John's ear..                    JOHN (CONT'D)          Damn.. "ohhhh damn."                    PETER          What, buddy, what?                                                        33.                     JOHN           Victor spotted a food critic..                     PETER           From?                     VICTOR           The New York Times..I'll bet they           sent her out just for us.               (hands John a slip)           Here's what she ordered.                     PETER           Look, if you're nervous take a           walk..                     JOHN           I don't need a walk.                     GWEN           I'll walk with you..I know a           breathing thing.                      JOHN           What do you think I'm worried           about... how I'll cook? That's not           the problem..               (looks at slip/then to                Alex)           The lady wants fish. Get the fish.He starts to prepare for cooking.                     JOHN (CONT'D)           I worked in a kitchen once in New           York that got four stars. It was           like a line formed for the chance           to become an asshole. People's           accents changed. The heart went out           of the place. You understand.                     PETER           No.                      GWEN               (w/barely understated                passion)           I agree with everything you've           said. I admire you for your           feelings. I hope to adopt them as           my own....ON JOHN.As he works..Let's be clear here...this is that sequence thateither kicks out or doesn't..no food channel..no simple knifestuff..something casually brilliant..meticulous...smart andgifted as he prepares the critic's meal.                                                             34.     He is talking quickly..almost to himself.                         JOHN               I don't know what to root for.. the               thought of one star makes me               nauseous..but with four there's no               place to go but, "Oh my God, they               took away a star."                   (musing)               Three..three and a half. That's               what you want..No. Wrong! Three and               a half you feel disappointed that               you just missed out on four. You               know what you want? Three and a               quarter..                   (a eureka moment)               That would be perfect!!                   (getting off on it)               It would mean you're good..but               you're not good enough to feel               disappointed that you just missed               out on excellent..but nothing truly               bad happened, you still got your               three and a quarter stars. Which               encourages you to try and               improve..And you still get enough               respect so that you can get good               people to work with you..Business               is good but not crazy. You're right               there underneath the radar where               you get to mind your own business.               That's a solid life.     He tastes a sliver of the food dish he is preparing.                         JOHN (CONT'D)                   (with professional honesty                    and some regret)               Aw, man..this is amazing. No three               and a quarter here.49   INT. CLASKY KITCHEN - DAY.                                49     Evelyn, having a glass of white wine and a sandwich, is     talking to Bernice in the kitchen also including Flor though     she is only catching a word here or there..                         EVELYN               Well, I'm in the vitamin section               and this little hip hop               girl..what's her name..Grammys -               adorable -- big voice..subtle               phrasing...oh, she's famous..the               kids know her...oh - little blue               shoes..darn me.     Flor looks concerned over Evelyn's displeasure with herself,     a fact picked up by the older woman...It is actually a small                                                        35.but resonant good-natured, affectionate moment between thelush and the Latina.                    EVELYN (CONT'D)          God Bless the language barrier, it          keeps you from being bored with me.Spoken to directly like this, Flor is confused..                    EVELYN (CONT'D)          Anyway, she said, "aren't you          Evelyn Wright?" First of all, that          she recognized me from the old          covers and then she .... Oh, please          her name..it makes the story so          much better...She said,              (genuinely stirred)          "Whenever I think everything is.."              (aside)          Pardon my French..pardon her French              (back to quote)          "a mother hmmmhmmm...I put on one          of your records.."                    BERNICE          Awwww. How sweet....Evelyn looks transparently vulnerable for a second. Florreacts. Bernie squeezes her grandmother's hand..Flor smiles.                    EVELYN          Just such a lovely thing to come          from the blue....Deborah enters, carrying a load of packages. With lightningspeed, her eye picks out...the glass her mother is drinkingfrom.                    DEBORAH          Oh, Mother...It's not even noon.                    EVELYN              (defensively)          It's almost two o'clock.                    DEBORAH          God, where is this day going...Flor          could you come with me?                    BERNICE          Grandma, tell Mom what happened.                      EVELYN                (very deliberately)          No.                                                             36.     Deborah leads the way out...but Flor stops before following     her out to give Evelyn a gesture of support and appreciation.50   INT. BERNIE'S ROOM - LATE AFTERNOON                          50     John is in Bernie's room - helping her with her homework.     They lay at right angles to each other..He is testing her.                         JOHN               This is going to work.                         BERNICE               I don't know anything.                         JOHN               Free your mind...the president               whose policies many consider               responsible for the Great               Depression...                         BERNICE               I don't know...                         JOHN               Name a vacuum cleaner..                         BERNICE               Okay. Yes..thanks.                         JOHN               And this vacuum whooshed all this               money out of everyone's pockets.                         BERNICE               Got it. I no longer know nothing.                         JOHN               And Hoover was followed in office               by..                         BERNICE               I'm just drawing blanks. I'm               embarrassed. It's my own fault I               spent my time on math, which I'm               lucky if I don't flunk anyway and..                         JOHN               The guy we are looking for is not a               ruse..                         BERNICE               What's ruse mean?                         JOHN               Phony. So this president was not a               ruse..He was the real thing.                                                             37.                         JOHN                   (she looks at him blankly)               Ruse??                         BERNICE                   (enjoying her father's                    absurdity)               Rusevelt..If I'd ever heard of the               word before - that would lock it               in..It's so stupid it might work               anyway...     Deborah enters followed by Flor. They are carrying several     boxes of clothes...                         DEBORAH               Surprise new clothes..     Bernie gasps..As she looks at a sweater..                         BERNICE               What'd I do right?                         DEBORAH               Warehouse sale..     Bernice tries on the sweater over her T-shirt..and mirth     ends..The sweater is tight...Bernice picks up a blouse and     then skirt and checks the size.     ON FLOR AND JOHN.     As they are COUPLED BY THE CAMERA ANGLE as each catches on     and is dumbfounded.     ON BERNICE..     Whose style, wit and grace should not have to be used to     deflect such trauma. But so be it, as, though mightily stung:                         BERNICE               Thanks, mom..I'm glad you didn't               get here a little earlier or else I               wouldn't be able to tell you that               your gift is a ruse. Please, excuse               me..     She exits to her bathroom.51   INT. STAIRWELL - EARLY EVENING                               51     Flor one step behind John and Deborah who are moving quickly     down the stairs...John pissed..Deborah feeling the futility     of anyone understanding her point even as she makes it.                                                              38.                         DEBORAH               She's right between the two               sizes..I thought about it..what am               I supposed to do encourage               her...what is it? - DENIAL? Or               motivate her to get herself in               shape.     Flor tries to slide by..Something surreptitious in her     behavior..Deborah suddenly turns to Flor.                         DEBORAH (CONT'D)               Flor..     She holds out her hand in a "we women understand" gesture.     Flor does not waver..just meets her eyes.                         FLOR               Me puedo ir?..go..can go?                         DEBORAH                   (a bit nonplussed)               Sure. Go.                         JOHN               I'll drive you to the bus stop.     And that fast they are gone.52   EXT. CLASKY HOUSE - DRIVEWAY - DAY                           52     As John gets in his seat..then sees Flor approaching the door     and hops out to open her door...apologizing as he goes.                         JOHN               Sorry. I'm cracking.     As he moves back to his side of the vehicle.                         JOHN (CONT'D)                   (a shout)               Shiiiiiiit!     Flor hears this from inside and nods in agreement.53   INT. JOHN'S CAR - EARLY EVENING..                            53     As they drive down the canyon. He is wildly frustrated. Even     if Flor were not there, he would be talking to himself     anyway, in the manner of bag ladies and all of us.                         JOHN (CONT'D)               I am running out of excuses for the               lady of the house.     Flor doesn't understand his words...yet fully agrees. But     then John takes rein of his emotions.                                                        39.                    JOHN (CONT'D)          But you know, you gotta watch out          for the times you think you're          absolutely right..But, man, Bernice          has finals tomorrow. She didn't          need this one..And just that look          on her face when she got the gifts--              (now his voice cracks; he               grows wet-eyed)          --like for a second she thought all          her problems with her mother had          been solved...Flor is flabbergasted..she peeks to see if he is actuallycrying. At first her heart is touched by John but then thereis distinct disapproval (a real roll of the eyes) that themacho meter can read that low. He looks at her and she facesfront quickly.                    NARRATOR          My mother did not understand her          male boss. His heart was good and          he was rare in not flirting with          her. But they were starkly          different. Privacy and dignity were          the same word to my mother.          Naturally, when she found herself          sitting next to a man who cried          over his child's hurt she had no          idea how to process the event.Meanwhile, he has stopped for traffic near the end of thecanyon. Flor takes the opportunity to bolt.                     FLOR          Gracias.She opens the door and starts to get out though the car isstill rolling a bit...                    JOHN          What are you doing? Let me take you          all the way.Reluctantly she re-enters the car..It rolls another ten feetto her bus stop and she gets out again.                    JOHN (CONT'D)          How weird was this ride? Sorry.                    FLOR          No es nada.He doesn't quite know what that means...indicates same in alittle helpless gesture..                                                               40.54   EXT. BUS STOP - EARLY EVENING..                             54     As Flor is dropped off...the goodbye awkward.                         NARRATOR               The job was taxing her. She had no               template for confusion let alone               frustration.     While waiting for the bus, Flor suddenly turns and runs a few     yards...and then back..and waves off the looks from her     colleagues - many of whom are overweight..many of them     adorable. All puzzled for the moment as they watch Flor     unsuccessfully try to shake off her day.55   INT. FLOR'S APT. - EVENING                                  55     As Flor enters -- kisses her daughter..distraught and     distracted. She walks immediately to the refrigerator and     takes out a chocolate cake and a bottle of milk...she cuts a     huge slice of cake and puts it in front of her startled     daughter..in Spanish riding her on being too thin..the     daughter gestures at her mother's own slim figure.                         NARRATOR               It was so unusual for my mother to               ask my help that I realized               immediately she was losing her               battle to be uninvolved with the               Claskys.     Flor asks her daughter how to say something in English.                            CRISTINA               Try it on.     Flor asks again in Spanish...trying to find a precise     phrase.. The nuance important to her.                         CRISTINA (CONT'D)               Please try it on?     Flor knows the word "please"..it's not what she wants...what     she wants is a way to say, "try it on" in a manner which is     not a request..or order, but is, rather, friendly and caring.     Her daughter works on the problem.                         CRISTINA (CONT'D)               Just try it on?                         FLOR                   (thickly accented)               Just try it on.                         CRISTINA                   (small accent)               Just try it on.                                                             41.                         FLOR                   (improvement each time)               Just try it on...just try it on..     She's got it.                         NARRATOR               Our culture embraces fullness in a               woman. You, the women of the               admissions committee, as               intelligent as you are, have no               idea how casual and complete such               acceptance is back home, in the               land of the size 16 bikini.56   EXT. BUS STOP - NORTH VALLEY - PRE-DAWN                   56     Flor is the only one waiting. An empty bus stops and she gets     on.57   EXT. STREET - NEAR BUS STOP - HIGH SHOT - FIRST LIGHT     57     As we see Deborah cross Sunset Blvd., overtake and pass two     UCLA men running at a good clip as Flor's bus stops.     CLOSE ON FLOR..     As she strides purposefully up the street.                         NARRATOR               This is one of the cultural               differences between us which I wish               to explore academically at               Princeton. American women, I               believe, actually feel the same as               Hispanic women about weight.58   INT. CLASKY HOUSE - EXTREME EARLY MORNING                 58     The house asleep. Flor walks carefully up the steps.                         NARRATOR               ....a desire for the comfort of               fullness.59   INT. BERNIE'S ROOM - FIRST LIGHT                          59     Bernie asleep on the bed...Kleenex abounds...the solid sleep     earned by a few hours of sobbing. She looks touchingly pretty     and decidedly round. Flor looks for, finds and carries out     the new clothes Deborah had given her daughter.                          NARRATOR               And, when that desire is suppressed               for style and deprivation allowed               to rule...                                                               42.60   EXT. STREET - STEEP INCLINE                                  60     ANGLE ON DEBORAH & KILLER HILL:     Two young athletic men and one woman considerably ahead of     her on the steep incline.                         DEBORAH               Left..left..     ON RUNNERS.     They turn and look confused at Deborah who is so far behind     them she has no need to pass..They turn away. Deborah     struggles to turn it on and does so...huffing to just behind     them where she utters one more strained:                         DEBORAH (CONT'D)               Left.     And then passes.                         NARRATOR               ...dieting, exercising American               women become afraid of everything               associated with being curvaceous,               such as wantonness, lustfulness,               sex, food, motherhood..all that is               good in life.61   INT. CLASKY MAID'S ROOM - EARLY MORNING.                     61     Flor at work on a sewing machine..opening seams, moving     buttons, even steaming where the buttons have been     changed..etc.62   INT. BERNIE'S ROOM - MORNING                                 62     Flor is in the room...having put the altered clothes back in     place..Bernie's alarm clock rings..She wakes and sees Flor.                         BERNICE               Hey..buenas dias, Flor..     Flor holds up the new clothes and indicates that they are     beautiful.                         BERNICE (CONT'D)                   (ruefully)               Yes..Well, taste she has..     Bernie starts her morning routine..her back to us when:                         FLOR                   (damn good English)               Just try it on.                                                         43.Bernie, though her back is to us, does a "take" then turnsgrinning.                    BERNICE          Hey!!!! When did you learn to...                    FLOR              (cutting her off)          Just try it on..                    BERNICE          Too tight..it doesn't fit.Flor clearly doesn't understand..                    FLOR          Just try it on..Hey?!Flor extends a blouse and skirt.                    FLOR (CONT'D)          Just..                    BERNICE          Okay. I'll show you..She steps behind a closet door to try the clothes on,muttering pessimistically before she does so. CAMERA STAYS ONFLOR..                    BERNICE (O.C.) (CONT'D)          Lovely way to start the day.          World's most trim Mexican learns          her first sentence and uses it to          watch me grrrrunt my way into...And then....silence...Bernie, open mouthed, steps out wearingthe clothes which fit like a glove. Flor beams..then laughsat Bernie's reaction as she keeps checking the waist andlooks into the mirror.INTO MIRROR.To see Bernie in the foreground as Flor looks on..nodsapproval and leaves.ON BERNIE..The fit of the clothes is as mystifying as it is nice..shepicks up another shirt..checks the size tag and then studiesit a bit.CLOSE UP SHIRT..As Bernie's fingers find the barely visible holes where thebuttons have previously been.                                                             44.63   INT. CLASKY HOUSE - KITCHEN - DAY                            63     Flor at work..Chum, ball in mouth, comes to her and nudges     her.                         FLOR                   (to dog)               Lo siento. No.     Chum, momentarily depressed, walks away..Bernie enters. She     is a bit overwhelmed -- her voice breaking a bit even with     one word.                         BERNICE               Hey..     Flor turns..Bernie moves to embrace her.64   INT. CLASKY HOUSE - DAY - FIFTEEN MINUTES LATER              64     As John comes down the stairs..He looks apprehensive..From     the den comes the sound of singing..it stops him from going     out the front door as he turns to check it out.65   INT. DEN - DAY..                                             65     John finds Evelyn and Georgie in their night clothes. They     are singing an old song...something like "LUSH LIFE" -     something preposterous for a nine year-old boy..but you can't     knock the quality of the voices..world class. They see him     and stop.                         EVELYN               Every time he has a nightmare, I               teach him one of my old songs. That               way the nightmares have a purpose.                         GEORGIE               But I don't have to sing it for               anyone.                         JOHN               Right. You're clear on that..                         GEORGIE               How many did you sell of this song?                          EVELYN                   (embarrassed in front of                    John)               He likes to know that stuff.                         JOHN                   (to Georgie)               She was huge.                                                                45.                          EVELYN                Seventy-six thousand..which is                great for a jazz album.      They resume harmonizing. As John leaves, the song lyric      making some comment on:66    EXT. CLASKY HOUSE - DAY                                      66      As John, growing tense, walks toward the front gate..Chum      proffers a ball and accepts defeat as he bends down to pick      up the New York Times. John's body chemistry launches a      surprise attack...anxiety and dread...He takes his newspaper      to a wire bench in the front driveway..He finds the      section..opens to the page..and just like that his life      changes forevermore.67    INT. CLASKY HOUSE - DAY.                                     67      John enters..Georgie is going up the stairs..Flor putting out      breakfast food.                            EVELYN                You okay?                           JOHN                    (strangely)                I am okay.                    (to Flor)                Deborah around?                            FLOR                She run.      John nods and heads upstairs.                                                                 67A67A   INT. CLASKY HOUSE - UPSTAIRS - BERNIE'S ROOM - DAY      He looks in Bernie's room. She is loading her backpack for      school..                          JOHN                Hey, honey.                          BERNICE                What's wrong?                          JOHN                No..nothing...just that..      Georgie enters the scene..                          GEORGIE                A kid offered me a trade..Let me                show you.                            JOHN                Yeah..                                                               46.     He starts to follow him to his room.                         BERNICE               Dad!!! He can wait.                         JOHN               No..It's okay..                          BERNICE               Let him wait..Yours is obviously               important.                         GEORGIE               You don't even know how important               the trade is..                         JOHN               Let me just do Georgie.... Here.     He hands her the newspaper...68   INT. CLASKY HOUSE - GEORGIE'S ROOM                          68     We MOVE with John and Georgie to Georgie's room where he goes     to his collectibles..He holds up a card..                         GEORGIE               He says he'll give me any three               silvers for him.                         JOHN               I don't know...This is the one you               started with..You really want to               give up your first card?     Note: this is an involved discussion on both their     parts..NOTHING in John thinks it is trivial.                         GEORGIE               I know..that's why I needed you.                         JOHN               ..this is your favorite..                         GEORGIE               I think he'd go higher.                         JOHN               But it's not numbers..it's.....     They are interrupted by a never quite heard before sound of     exultation..69   INT. KITCHEN - DAY                                          69     Flor and Evelyn jolted..they exit to follow the sound..                                                             47.70   INT. BERNIE'S ROOM - DAY                                  70     As they enter holding the paper. She has been smacked in the     heart by gleeful and prideful emotions...It is disorienting     for her to experience the rush of pleasure.                         JOHN               For God's sake..why did you...                         BERNICE               WHY?!!? CRAZY FATHER, WHY?!? Why               aren't YOU screaming?..                         JOHN               I'm getting there..just the stunned               thing has to get dealt with...                         BERNICE                   (reading from newspaper)               John Clasky, who at 25 made his               mark on the New York restaurant               scene when JAMMED lived up to and               survived its silly name, has re-               emerged as a young and confident               veteran taking chances with his               combinations in so subtle a               manner.."                         GEORGIE               If he gave me six...                         JOHN                   (catching her excitement)               Wait a minute, your sister's               talking.     Evelyn indicates to Flor that the good news is about     John..and so she studies him a bit..                         BERNICE               "...beginning with the succession               of appetizers, each one with its               own stunning and fully realized               agenda, is constantly yet casually               daring."                   (emotional and earnest                    aside)               Ah, Dad...this is so great...                   (to others)               Now here's the thing...     She tears up...Evelyn rubs Bernie's back..looks at Flor and     taps her heart...Flor indicates she should leave and does.     Bernice continues reading with a lovely sense of mission and     moment. John is taken with his daughter's delivery.                                                             48.                         BERNICE (CONT'D)               "Eating at this perfect smaller,               passionate restaurant inspires               one's own abandonment of caution.               To wit: John Clasky is the best               chef in the United States."                         JOHN                   (genuinely enthusiastic)               Look how great you read it.                         BERNICE                   (massive irony)               Perfect, Dad.     Evelyn and Bernice hug him..                         EVELYN               John..John...Oh, my God you even               look different to me....                         JOHN               What are you talking about?                         BERNICE               I wonder what mom will do?71   INT. BEDROOM - LATE AFTERNOON                               71     Deborah is ripping John's clothes off..buttons fly..shreds of     cloth..John is laughing - happy.                         JOHN               What is this?                         DEBORAH               I don't know.     She rips at her own clothes and then exclaims in passion.                           DEBORAH (CONT'D)               Oooohhch!72   EXT. NORTH VALLEY - DAY.                                    72     Flor walks to the news stand - as if to buy something --     changes her mind and LEAVES THE FRAME only to RETURN A HALF-     BEAT LATER where she reads to the dealer from a note.                         FLOR                   (heavily accented)               New York Times..73   INT. FLOR'S APT. - NIGHT...                                 73     Cristina, standing, translating the review into Spanish for     her mother...as she comes to the last sentence.                                                                49.                          CRISTINA                Wow..."John Clasky es el mejor chef                en Los Estados Unidos..                          FLOR                    (easily)                Ah, bravo...74   INT. CLASKY MASTER BEDROOM - DAY.                            74     The Claskys are engaged in sex. John's brief sounds are     exuberant..they shift position so that Deborah is on top     BRINGING DEBORAH INTO A CLOSE SINGLE. Suddenly her smile     fades - she hits the skids.                          DEBORAH                Oh, damn it --- what am I going to                do? Everything seems so surely                pointless...     ON JOHN.     This IS WEIRD. And then the small, distinctive sound of Deb's     climax...then, in a relatively small voice.                          DEBORAH'S VOICE                Okay here...okay there...good,                good, good.     She falls off him...an arm across her eyes, lying on her back     down the bed from him...     ON JOHN.     Puzzling over what just happened..a few false starts forming     his thought...then finally..hesitantly...                            JOHN                Hey, Deb?                           DEBORAH                    (from the vortex of                      depression)                Yeah?     He scoots to her side.                          JOHN                You know, I guess I got used to you                getting a little blue after                intercourse...But DURING..??                          DEBORAH                Something else I do wrong.     She grabs something and starts walking toward the bedroom.                                                             50.                         JOHN               You've gotta stop walking away.                         DEBORAH                   (turning)               If I stay, I will say awful things               to you that I might not even               mean..You pick.                            JOHN               See ya.     She exits to the bathroom.75   INT. JOHN'S CAR - DAY.                                    75     Very upset as he drives. Then comes to the red light at the     end of the street and sees Flor walking with others. An     awkward beat as he waits for the light to change and they     acknowledge each other..the light remains red..she confers     with another woman.                         FLOR                   (to woman)               Yo leà la crÃtica buena.     The woman tells Flor how to say it in English.                         FLOR (CONT'D)                   (parroting woman)               I read your good review.     He nods..still the light doesn't change.                            FLOR (CONT'D)               It's nice.     The light changes.                         JOHN               Not so far...How you doing?     The light has changed - cars are beeping..she is about to let     him go off but realizes he will wait for her answer.                            FLOR               I do fine.     He nods and drives off.76   INT. RESTAURANT - DAY                                     76     As he enters....the phone is going off the hook..As he passes     the maitre d's desk. Their conversation is strangely hushed     and very, very quick.                                                     51.                         VICTOR               Should I stop answering? We're               booked for two months solid.                         JOHN               No, no, no, no, no....I want to               keep some walk-in business..I want               this to stay neighborhood.                         VICTOR               Impossible. There would be               riots..You should hear the               desperation in their voices..Best               day of my life.                         JOHN               We'll serve a full menu at the bar               then.                         VICTOR               Then where do I put the people               waiting for a table? It won't work.                         JOHN               Do this for me.                         VICTOR               There's no way.                         JOHN               Do this for me or I'll set my hair               on fire and start punching myself               in the face.                         VICTOR               Huh?                         JOHN               Yeah..you're right...that was an               unusual way for me to make myself               understood..But you'll do the bar               thing?                         VICTOR               Yes, of course, John..77   INT. RESTAURANT KITCHEN - DAY                     77                         PETER               I need to talk to you.                         JOHN               Ah, man..Okay.     They walk into the cooling room.                                                             52.78   INT. RESTAURANT - COOLING ROOM - DAY                      78     Again there is a kind of strange rapidity to the conversation     sparked by John..                         JOHN               What's up? What's wrong?                         PETER               I've gotten a fantastic offer for               my own place..Everybody wants to               back me since the paper came out.                         JOHN               What's your reaction?                         PETER               Honestly? Because I've had this               very unusual reaction.                         JOHN               Yeah.                         PETER               I've had a hard on almost all day               and it won't go away. Like I'm               riding on the back seat of a bus               with bad shocks and every other               passenger is a gorgeous woman with               a yellow sports top whose leaning               over. It's like every dream I ever               had and some even I didn't have the               balls to dream..                         JOHN               So you're considering taking it?...                   (he looks at him)               Okay, here's the thing. I can't               lose you and still keep the hours               I'm keeping. I can't do my life               unless I can hold onto you.                   (sudden thought)               I think I just gave you an               incredible bargaining position.79   INT. CLASKY BEDROOM - NIGHT                               79     As John and Deborah lay next to each other.                         DEBORAH               So you gave away twenty percent of               the restaurant without talking to               me about it.                         JOHN               Yeah. If I didn't do it - I'd have               been coming home just to sleep.                                                             53.                         DEBORAH                   (trying to make livid more                    attractive)               Remember the other day when you               asked me the perfect response to               something I said?...I'm asking you               now..what would you like my               response to be to your giving away               twenty percent of the business               without asking me?                         JOHN                   (with great enthusiasm)               "You're ma man!"                         DEBORAH               Okay! So that would be???                         JOHN               My dream response from you, yes.                         DEBORAH                   (measured)               I'm not quite there..Actually, I               just had this flash that the reason               women in the old days used to faint               was to avoid doing acts of violence               against men.                   (a beat then)               And I was all worried about               figuring out the timing just to               talk to you about renting a place               for the summer.                         JOHN               Well, I think you got your timing.80   EXT. CLASKY HOUSE - DAY                                     80     A man is parked at the gate in an open convertible..He is     great looking...We HEAR Deborah's excited voice over the gate     speaker...                         DEBORAH               Be right out...81   EXT. CLASKY DRIVEWAY - DAY..                                81     As Deborah calls behind her as she opens the door...                         DEBORAH (CONT'D)               Mom, you want to come?..the               realtor's here..Okay, see you               later.     She clicks the gate open and walks to the man..perfect 40     year old great looking surfer sort..Deborah does the very     slightest of "takes" at his looks..As she gets in..                                                                54.                            DEBORAH (CONT'D)               Hi.                         REALTOR               I'm Mike..there's one great rental               that just came on..so we're               starting at the top..     As they pull away...82   EXT. CONVERTIBLE - DAY..                                     82     Deborah's hair whips across her face...it's bothersome.                         DEBORAH               I'll never be one of those girls               whose hair blows perfectly in a               convertible.                         REALTOR               Move your seat forward..     Puzzled, she uses the electric lever and the seat budges     forward..                         REALTOR (CONT'D)               A little more..just..good.     The Realtor uses his switches and raises his window a     bit..her window a bit less and monkeys the position of the     half windows in back...Deborah turns around checking out the     odd tweaking and then faces forward. Her hair blows perfectly     and beautifully behind her...                         DEBORAH               Oh, you must be trouble.     On his small laugh...83   EXT. CLASKY RENTED BEACH HOUSE - DAY.                        83     As they move toward the house...seeing the beach beyond.                         DEBORAH (CONT'D)               Gorgeous, huh..Pretty, fabulous,               beautiful. What word is the same in               Spanish?                            FLOR               Fabuloso.                         DEBORAH                   (taking it as a                    compliment)               Thanks.                                                               55.84   INT. CLASKY RENTED BEACH HOUSE - DAY.                       84     As Deborah, Flor and Evelyn enter. They carry boxes of stuff.                         DEBORAH (CONT'D)               I don't care if it's a rental..this               place is getting a fixing.     She leads Flor to a small bedroom.                         DEBORAH (CONT'D)                   (to Flor with gestures)               This will be yours..     Flor doesn't understand..certainly doesn't want to.                         EVELYN               Did you ask her if she could live               in?                         DEBORAH               Come on...there's no buses from her               to here. There's no question.               Double come on...     Deborah uses her hand as if weighing something momentous like     the law vs. the bible then with heavy sarcasm.                         DEBORAH (CONT'D)               The Barrio - Carbon Beach..The               Barrio - Carbon Beach. What to do?                   (to Flor)               Don't worry. I'm putting nicer               stuff in here too.     When Flor gives no indication of anything - just standing,     somewhat stupefied..Deborah takes her by the hand and leads     her out.85   EXT. CLASKY - BEACH RENTAL - DAY                            85     As they move through a little courtyard area toward the     street.                         DEBORAH               You must learn English. Why won't               she learn English? I'm going to               have to learn, "you must learn               English," in Spanish.                         EVELYN               I think Flor is perfect and we               should do all we can to keep her               from changing.                         DEBORAH               Gee, you took the words right out               of my mouthay.                                                             56.86   EXT. PCH - DAY                                               86     As she leads Flor along the highway side of Carbon Beach -     passing houses until she sees a Hispanic man washing     someone's car in a driveway. Evelyn is many steps back.                          DEBORAH                Oh, good. Do you speak English?                             HISPANIC MAN                Yes, I do.                          DEBORAH                Would you translate for me?     He looks at Flor..my God.                          HISPANIC MAN                Sure...forever.     He speaks to her in Spanish..a lavish, poetic compliment.     Flor, in full control, says, in Spanish.."Would you please     just find out what she wants." Evelyn joins them.                          DEBORAH                Wait till I say something before                you start in..                    (he looks at her)                I rented a house here for the                summer and now she must sleep at                the house because of the bus                schedule.     He translates along with Deborah's speech.     ON FLOR.     Stricken. She turns to Deborah.                          FLOR                No.. Sorry.                             DEBORAH                What? Why?     Flor talks briefly in Spanish.                          HISPANIC MAN                She can't because of her daughter.                          DEBORAH                You have a daughter? You have a                whole daughter you haven't                mentioned..How old?                             FLOR                Twelve.                                                        57.                     DEBORAH              (to Evelyn)          It's a little crazy that I don't          know that.The man translates.                    DEBORAH (CONT'D)              (to man)          Don't translate asides.The man says in Spanish to Flor.."You work for her?"--Floranswers, "just tell her that I can't live here." Deborahdoesn't like that the man has initiated more conversation.                      DEBORAH (CONT'D)          Hey!                    HISPANIC MAN          She can't live here. Her daughter.                    DEBORAH          Okay..              (beat then big decision)          Her daughter can also live with us          for the summer..The man tells Flor..she answers directly to Deborah..                     FLOR              (big decision)          No, sorry.                      DEBORAH          Why?The man asks Flor who speaks in Spanish..                    HISPANIC MAN          I don't know. She just doesn't want          to.                    DEBORAH          Will you please just tell me what          she said.                    HISPANIC MAN          She said, "I just don't want to."                    EVELYN          If she didn't tell us about her          child she has to have a deep sense          of privacy. We can figure out how          she can still live at home. Hell, I          don't mind driving her at night.                                                             58.                         DEBORAH               Let's spare the world you on the               roads.                   (to Flor)               Well, what do we do?     The Hispanic man translates the last sentence. Deborah and     Flor stare at each other..Deborah's next words are somber and     have enough body language to transcend the need for     translation...the jig is up.                         DEBORAH (CONT'D)                   (big decision)               I'm sorry, my friend, this is what               I need. It's just for the summer. I               don't want to lose you. But ....     Flor indicates there is no need to translate. A beat.                         FLOR                   (enormous decision)               Yo vivo aquÃ.                         HISPANIC MAN               She'll live here.     The man says something in Spanish to Flor as she starts to     walk away and she is thrown enough by the statement to     actually stumble as she looks back at him...then, before     Deborah can admonish him.                         HISPANIC MAN (CONT'D)               I said, "God protect you from that               boss."87   EXT. FLOR'S APT. COMPLEX - DAY                               87     As Cristina, trying to suppress her grin, skips quickly down     the stairs moving towards a truck from John's restaurant.     Flor follows tight lipped - resolved. They each carry many     clothes on wire hangers. A group of girls on the balcony     literally cheer Cristina on.                         BALCONY GIRLS                   (accented)               MAL-----I------BU!     Cristina grins hugely back at them.88   INT. MALIBU TUNNEL - DAY                                     88     The two women in the truck and then..89   INT. TRUCK - DAY.                                            89     As the truck leaves the tunnel and all is cliffs, sand, and     waves..Cristina taking it in, unaware that her mother's eyes     never leave her.                                                             59.     She gasps frequently..MAJOR GIANT ORGANIC GASPS OF WONDER AND     PLEASURE..This is awe as an active physical exercise. The     MOVING SHOT dramatizes the crossroads of the mother-daughter     relationship as the TWO SHOT finds Flor becoming first     blurred then lost as we focus on Cristina exclaiming over     each new sight.                         NARRATOR                   (over this incidental                    dialogue)               The first time one sees natural               beauty which is owned by others               confounds the senses.. I had never               imagined the word "money" could be               associated with anything but the               anxiety of not having enough. I               didn't know God had a toy store for               the rich.90   EXT. CLASKY BEACH HOUSE - STREET SIDE - DAY                 90     The truck in the driveway..the women walking through a front     door into a court yard.91   EXT. CLASKY BEACH HOUSE - BEACH SIDE - DAY                  91     Georgie, in a swim suit, talking to CHUM in the manner of     people trying to excite dogs.                         GEORGIE               Who wants to go swimming?..Yes, who               wants to go swimming?     The dog goes crazy with excitement -- then, droll for a nine     year old, Georgie turns to his grandmother (who is sunning     herself and reading) and addresses her in precisely the same     way. Evelyn has a drink in hand..                         GEORGIE (CONT'D)                   (to grandmother)               Who wants to go swimming?..Huh..                         EVELYN               Not now..But I promise I'll go in               the summer after next.     John enters the scene..                         JOHN               You want to go swimming?                         GEORGIE               Oh yeah, you're off.                         JOHN               What do you think, wet suits?                                                              60.                         GEORGIE               Wet suits are for wimps..                         JOHN               Yeah, you're right..let me get               mine..     Georgie laughs..                         GEORGIE                   (to Dad)               You're good.92   INT./EXT. HALLWAY / PATIO - DAY                              92     Behind Flor and Cristina as they move toward the Claskys and     their destiny....Flor behind her daughter.     REVERSE - CLOSE ON CRISTINA.     As her eyes pop on seeing the Clasky beach house.     VERY CLOSE ON DEBORAH     As her eyes pop on seeing the stunning twelve year-old enter     her home, haloed by the sun. Again, Flor less distinct in     the background.     Bernice, just outside the open patio door, is putting on a     shirt over her bathing suit as she looks at Cristina and     emits a small, prescient moan.                         DEBORAH                   (to Flor)               Look at this child..Flor, you could               make a fortune at surrogate               pregnancy....     Flor looks to her daughter for some understanding of what     Deborah said..                         FLOR               Que?     Cristina is as nonplussed by the remark as her mother.                         JOHN               Hi. I'm John..It's good to see you.                   (to Flor indicating                    Cristina)               Great..                         DEBORAH                   (to Cristina)               Hi. This is my daughter,               Bernice..I'm Deborah..And out               there...are Georgie and.                                                        61.As she turns to gesture toward her mother and son, Evelyn hasalmost reached them ..                    EVELYN          I'm so glad to meet you. I'm a fan          of your mother's.                    CRISTINA          I'm Cristina.As all acknowledge each other Deborah tugs at Bernie's topwhich is half tucked in.                    BERNICE              (kidding around but right               on)          No comparisons, please, no          comparisons.Evelyn shoves her granddaughter for the self-deprecation..Flor says something to her daughter in Spanish.                    CRISTINA          My mother says it's best if we get          out of the way and put our things          away.                    JOHN          Have you ever been to the beach          here?                    CRISTINA          I've never been anyplace but Mexico          and Texas.....before today.John goes to a big toy box and opens it up..it is filled withbeach paddles, Frisbees and boogie boards.                    JOHN          Here's the most important place in          the house..grab this stuff whenever          you want.                    CRISTINA              (delighted)          Thank you..thank you so much.                    DEBORAH          Very little accent?                       FLOR                 (suspiciously)          Que?                    CRISTINA              (to Flor)          Sin acento.                                                                62.     Her mom, not crazy about the lack of accent to begin with,     nods.                           CRISTINA (CONT'D)                     (to Deborah)                 Thank you..there's an A.P. total                 fluency class where they work you                 pretty hard at sounding American.     Flor doesn't want her daughter to have an extended     conversation with Deborah of which she doesn't understand a     word.                              FLOR                 Cristina..                           DEBORAH                 Right. Settle in..                           CRISTINA                 Thank you. I am thrilled to be                 here.93   INT. MAID'S ROOM - AFTERNOON                                 93     Deborah has re-decorated the room with casual     brilliance...Flor is tense..distraught...her daughter     giddy...excited over the sheets, the tv, the pile of     towels..a chaise..She goes to work on her mother to go     swimming....wanting her to appreciate the fun element of     being here...the spirit of the kid such that Flor relents....94   EXT. BEACH - EVENING                                         94     Flor and Cristina, two sea nymphs, lit by the floodlights     from the beach homes.     OTHER ANGLE.     John and Georgie in the waves..body surfing...they get to     shore...John sees the two females..dashing in the water in     their bathing suits..He remains hidden in a very shallow wave     as they run in...then once they are in he starts taking off     his wet suit hurriedly...     ON JOHN..     As he suffers the cold -- Georgie enjoying every moment.95   EXT. CLASKY BEACH RENTAL - DAWN'S EARLY LIGHT                95     Wave lights still shining..On a dune sits Cristina, looking     out.96   INT. MASTER BEDROOM                                          96     As Deborah steps out on the deck and sees Cristina.                                                                63.                            DEBORAH                      (in a loud whisper)                  Hey, Cristina...hey...hey..What are                  you doing up?     Cristina looks around -- then up..                            CRISTINA                  Oh, hi..so beautiful..I was just                  excited.                            DEBORAH                  I know..Would you believe I had to                  talk my husband into this?                      (no reply/then more                       pointedly)                  Would you believe I had to talk my                  husband into it?...do you hear me?                            CRISTINA                  Yes...I just ..                      (awash..a shy laugh)                  I didn't know what to say?                            DEBORAH                      (still calling down)                  Do you want to come with me? -- I'm                  going to the flea market.                            CRISTINA                  I don't know what that...                            DEBORAH                  It's the Rose Bowl... miles, actual                  miles, of great things for sale for                  God's sake...We can have brunch in                  Pasadena.                            CRISTINA                  I don't want to wake my mother so                  early.                            DEBORAH                  I'll leave her a note...I'll97   INT. FLOR'S ROOM - MORNING - TWO HOURS LATER                 97     As Flor wakes..looks around.                              FLOR                  Cristina?     She goes to Cristina's bed...atop the bed is a note. She     picks it up.     INSERT..THE NOTE     Dear Flor,                                                             64.     I decided to steal your daughter for a bit.     LOVE,     DEBORAH     With great energy born of bottled fury, Flor begins to go     through her daughter's things...finding her backpack and     extracting a Spanish/English dictionary.     INSERT DICTIONARY.     As her finger points to:     "Steal...robar"     And then she flips some pages feverishly..Her finger     indicating:     "daughter .... hija"98   EXT. PCH - EARLY AFTERNOON.                                 98                         DEBORAH (CONT'D)               Stop thanking me. I love having the               company.                         CRISTINA               It was an adventure which I'll               remember.                         DEBORAH               Your English is genius. Do you               dream in Spanish or English?                         CRISTINA               Just recently I've had a dream in               English.                         DEBORAH               What was it?                         CRISTINA               I am so sorry. I -- uh..I'd ..I uh,               can't tell ..This is so               uncomfortable.                         DEBORAH               You could have just said you didn't               remember.                         CRISTINA               I, uh, guess so..but I do.                         DEBORAH               Look who's sensational.                                                              65.99    EXT. CLASKY RENTED BEACH HOUSE - DAY.                        99      Evelyn is sitting on the patio making sangria..Flor enters.      She is pissed.                          EVELYN                What's wrong?      She shows her the letter. Evelyn reads it and hands it      back..She is about to offer something..Flor waves it off and      enters the house..John comes in from the beach with his      kids..boogie boards...Evelyn hands him the letter..                          EVELYN (CONT'D)                She's wild-eyed over this..      John moves after Flor as Bernie reads the letter..                           BERNICE                Aw, shit..                    (then quickly)                Sorry about the word, Georgie.                             GEORGIE                It's okay.                          BERNICE                You want to know what happened?                          GEORGIE                No thank you.100   INT. LIVING ROOM - DAY                                   100      John enters..                          JOHN                Hey, Flor..      She turns..                          JOHN (CONT'D)                I'm sorry..very sorry..      He indicates his watch -- then holds his fingers together.                          JOHN (CONT'D)                They should be back soon..      Flor starts to cry. She sits in a chair..He sits not far from      her.                          JOHN (CONT'D)                Hey, Flor..      Embarrassed, she says, in Spanish, to please leave her      alone..she turns from him..He walks to the wet bar and gets a      bottle of water...pours some..Her crying soft in the                                                        66.background...He walks to her, sits near her and offers herthe glass of water which she takes.                      JOHN (CONT'D)            Deborah made a mistake. I            understand how you feel...Do you            understand me at all, generally? Is            simp·tico the word?He pats her on the back..She looks at him..CLOSE ON FLOR..Is he coming on?..HER POV..His kind eyes.FULL SHOT..This is real eye contact..two vaguely humiliated peoplefinding real company for an instant. Without thought, sheduplicates his gesture and pats his back.                      FLOR            Simp·tico, yes.And when he seeks to add another pat, he misses, because sheis out of her chair..(This is as intimate as John has beenwith another woman since he was married..) He calls out tostop her.                      JOHN            Un momento, huh?She stops and turns to him.                      JOHN (CONT'D)            I'm really sorry this is happening.            I just want you to know that. I am            real sorry.He taps his heart as an indication of sincerity -- then aflash of worry that he has inadvertently come on to her.                      JOHN (CONT'D)            I didn't mean..He makes a gesture of ardent love..                        JOHN (CONT'D)            I meant..Makes a person to person innocent gesture..She finds herselfsmiling.                                                              67.                          JOHN (CONT'D)                Well, the good thing about being an                idiot is that every once in a while                you cheer people up..Got to get to                work.      CAMERA STAYS WITH FLOR      As he exits...thinks about John's demeanor, smiles again,      shakes it off as her mind fills with concern for Cristina.101   EXT. CLASKY RENTED BEACH HOUSE - SUNSET.                    101      Deborah's SUV loaded at the curb..She and Cristina begin to      carry things in...(NOTE: Cristina's hair has been restyled.)102   INT. CLASKY RENTED BEACH HOUSE - DAY                        102      Evelyn, Bernie and Flor are gathered in the living room. All      staring at her.                          DEBORAH                What? Something bad happen?      ON CRISTINA..      Enormously anxious on reading her mother's mood.                          DEBORAH (CONT'D)                Cristina, tell your mother I just                played around with your hair..she                can put it back..no hurt feelings.                          CRISTINA                Not right now.      Flor puts an arm around her shoulder, leading her off and      speaking to her forcefully in Spanish.                           DEBORAH                What? --                          EVELYN                You can't just take someone                else's.....                          DEBORAH                Nuh-uh, Mom..don't go there..or                I'll go there and you know where                "there" is.      Evelyn stops on a dime. She leaves. Deborah crosses to      Bernice, who is highly concerned about Flor, and puts an arm      around her. A pleasant surprise..                                                                 68.                            DEBORAH (CONT'D)                  Can you believe what Flor is making                  this into..Shoot me if I ever get                  that hard to deal with.      Bernice, unseen by Mom, does a long, muted, mock scream.103   INT. FLOR'S ROOM - EVENING                                  103      MUSIC IN: Action, purpose, energy.. Flor is dictating in      Spanish as Cristina writes it down in English on a pad.      Cristina enormously uncomfortable.      INSERT - THE PAD.      The pad, in effect, lends subtitles to Flor's words. Cristina      winces with the words she records even while punctuating      perfectly.                            PAD WRITING                  You cannot take my child without my                  permission..And, if you had asked                  me I would not have given                  permission. Is this why you did not                  ask? Because you knew this. You                  have no rights over my private                  life.      ON FLOR..      Reaching a decisive conclusion.                            PAD                  If you have any disagreement with                  this, I no longer wish to work                  here.      ON CRISTINA'S LOOK      This is awful news.      ON FLOR.      For a decisive nod of affirmation. She adjusts her daughter's      hair to the way it was, takes the note and exits.104   INT. CLASKY RENTED BEACH HOUSE - LIVING ROOM - DAY          104      Flor enters in something of a fury and holds the letter out      to Deborah, who hates being cornered in this manner. She      actually places her hands behind her so as to avoid the note.                            DEBORAH                  What's this?      Flor shakes the letter at her.      OTHER ANGLE..                                                                69.      Showing Cristina hidden but looking on... like a stage      prompter in the wings.                           FLOR                For you.                           DEBORAH                From?      Flor with enormous emphasis stabs her finger at her own      chest.                          DEBORAH (CONT'D)                You are not yourself...This was                written in anger. You sleep on it                and then if you still want me to                have it -- fine..I don't think you                will once calm and rational thought                returns. Just sleep on it.      Deborah exits to a bathroom and closes the door...leaving      Flor in the hall with the letter..Cristina reveals herself      and explains the situation to her mother. The last word we      hear before scene's end is "maÒana."105   INT. CLASKY RENTED BEACH HOUSE - BEDROOM - MORNING         105      Deborah surreptitiously finishing putting on her running      clothes and is making for the door when the alarm clock goes      off and John awakens.                          JOHN                She didn't even want us to know she                had a daughter - then, on the first                day, you take the kid without                asking. I think that's...                          DEBORAH                    (starting to lose it)                What!?! Insensitive? Elitist?                Irresponsible? Perverse? Dizzy?                          JOHN                    (slow and emphatic)                Dumb.      She looks at him...He has been atypical...Her immediate      emotional cocktail is panic, fury and deep, deep hurt. Her      words are slow...her voice ragged...                          DEBORAH                When is anyone in this damn house                or this damn life going to consider                my feelings? I just tried to make                a lovely kid feel welcome. There's                no reason to rake it over...I let                it go..and gave Flor the room to                let it go. Which I'm sure she has!                It's over!! So get on board.                                                              70.      She opens the door and almost runs into Flor who is standing      immediately in her way holding the letter.                           FLOR                I slept.106   INT. CLASKY BEACH RENTAL - DEN - DAY                     106      Deborah stands over Cristina, who is writing in Spanish a      note Deborah is dictating. As John passes through the room.                          DEBORAH                I am deeply and sincerely sorry to                have upset you. Especially in                light of the deep connection, as                women, I believe us to have.                          EVELYN                    (sotto to John)                And to think I was worried about                Flor living here with her kid?107   EXT. CLASKY BEACH RENTAL - PATIO                         107      John is talking to all three kids in an effort to lift the      overall atmosphere. IN THE BACKGROUND we see Deborah handing      Flor her letter..Cristina taking sidelong glances...relieved      to see them shake hands (Flor engaging), hug (Flor      reluctant).                          JOHN                So here's the idea..I want to make                a serving platter for serving fish                using sea glass like this..      He holds out some sea glass.                          JOHN (CONT'D)                I used to hunt for this stuff every                free minute when I apprenticed in                Italy. This is bits of broken glass                that the ocean sand blasts over the                years..great looking, huh? So you                guys go hunting and I'll pay 50                cents for any piece, a dollar for                anything as big as this and five                dollars for any color that isn't                brown, clear or green.                          GEORGIE                Do we have to do this?                          BERNICE                    (to Georgie)                Oh, come on...      Georgie and Bernice start off..                                                                 71.                          JOHN                Come on, Cristina - go get em.      Her eyes widen and off she runs, intoxicated with being      included and having the chance to make money.108   EXT. BEACH - DAY - VARIOUS SHOTS                            108      The kids combing through pebbles.      Georgie becoming bored and stopping..      Bernie stopping.109   EXT. BEACH - SAME SCENE - SUNSET..                          109      Lots of people on their decks..hot-tubbing, sunning,      partying..rich people forming New Yorker cartoons in the      background as Cristina continues to doggedly collect her sea      glass. At one point, she comes upon a teenage couple making      out near a mass of pebbles, and politely asks them to roll      over so she can search the area.110   INT. FLOR'S ROOM - PRE-DAWN                                 110      Cristina arising..111   EXT. BEACH - PRE-DAWN..                                     111      Cristina collecting sea glass.112   EXT. BEACH - SAME SCENE - NIGHT.                            112      Illuminated by the surf lights of the beach homes, Cristina      plugs away.                                                   DISSOLVE TO:113   EXT. CLASKY'S RENTED BEACH HOUSE - LATE AFTERNOON.          113      John exits his door and steps to his car..as he is about to      get in..                             CRISTINA'S VOICE                Excuse me.      He looks up and steps around to where she is...there is a      battered wood table along the side of the house.                          JOHN                Hi..what's doing?      She overturns a large bucket and a small mountain of sea      glass spills on the table.                             JOHN (CONT'D)                I'm broke.                                                     72.                    CRISTINA              (feeling horrible)          No..you don't have to pay..I'm          sorry. Don't worry, please.                    JOHN          No. I'm kidding..Instead of a          platter -- I'll just build a sea          glass building and serve fish          inside... Great, Cristina..Why          don't you count it and..                    CRISTINA          I have... Many times..I didn't          sleep. I counted.                    JOHN          So what's the damage...total?Her eyes locked on his.                    CRISTINA              (dead serious)          It depends on whether you consider          these four a color other than          green, brown or clear..She takes them from her pocket.                    JOHN          Well, this one is borderline.                     CRISTINA          I agree.                    JOHN          Oh my God, you found a blue..Nobody          finds a blue..You know how a blue          happens? I mean, before the ocean          blasts it for 30-40 years. Somebody          had to throw away an old Milk of          Magnesia bottle. You know what Milk          of Magnesia is?                    CRISTINA          Unfortunately.He smiles broadly. The kid's a trip. He likes her.                    JOHN          So how much for the whole deal?                    CRISTINA              (unable to look at him)          Eleven hundred and one dollar.He reacts..then..                                                                73.                          JOHN                Okay. We'll finish dealing with it                when I get home from work.      She gasps..114   INT. FLOR'S ROOM - ONE A.M.                                114      Flor asleep -- Cristina awake, alert..footsteps. She hears      John enter. She moves slowly so as not to awaken Flor.115   INT. HALLWAY - ONE A.M.                                    115      As she enters from the back room and sees that John is      walking into the kitchen. Her eye goes to the hall table on      which there sits a fat envelope with her name on it.116   INT. CLASKY BEDROOM - ONE A.M.                             116      John enters the bedroom to find a note from Deb that she will      be late. He is disappointed.117   INT. FLOR'S ROOM - NIGHT - ON CRISTINA                     117      Not aware of being observed..opens the envelope and takes out      a thick wad of cash..almost swoons..as she goes about hiding      it..she is jolted by her mother's whispered incredulity...                             FLOR                Cristina..      She turns...the wad of money in her hand..118   INT. POCKET KITCHEN - LATE NIGHT                           118      The best chef in America has just fixed himself a snack as a      salve to his spirits. It's a little like Dagwood Bumstead as      a culinary genius..This is a snack we will remember and      copy...John is approaching a perfect moment...and this is a      guy who appreciates simple pleasures to the fullest...119   INT. CLASKY HOUSE - LIVING ROOM                            119      He carries the brilliant snack to the living room and is just      about to take his first bite when he hears emotional Spanish      voices approaching. He looks up.      ANGLE ON FLOR AND CRISTINA      As they enter. Cristina translating her mother's words.                          CRISTINA                My mother wishes me to represent                exactly what she says, nothing                else.                                                         74.And so, for the remainder of the scene, Flor will speak inSpanish and Cristina will not only translate but render hermother's emotion, sometimes including body language. It isnot only a translation but a reenactment.                    CRISTINA AS FLOR          May I talk to you?                    JOHN          You mean your mother....Cristina nods...not comfortable breaking the rule of onlyspeaking for her mother...She faces him, her back to Flor.                    JOHN (CONT'D)              (looking at Flor)          Sure you can talk to me..Cristina begins translating as her mother speaks in Spanish..                    CRISTINA AS FLOR          I don't have to sleep first?                    JOHN          What's wrong?Flor waves the money..Cristina waves an empty hand as shespeaks for her mother.                    CRISTINA AS FLOR          Did you give this money to my          daughter?                    JOHN          I made this little deal..with all          the kids to...                    CRISTINA AS FLOR              (interrupting)          Please..Flor advances on him past her daughter so Cristina nowtranslates from the background.                    CRISTINA AS FLOR (CONT'D)          You don't tell or ask the mother          when you give a child a fortune for          looking on the beach for          stones..what is the word for this..                       JOHN          Sea glass?On hearing the translation of "sea glass" an exasperated Florturns so that her back is to John as Cristina admonishes him.                                                           75.                      CRISTINA AS FLOR            No..not a name for the stones..a            name for the act..what you did..ON FLOR..As she spits out the word to her daughter.                        FLOR            EngreÃdo.ON JOHN..As his eyes shift to Cristina fearing the word he will hear.                      JOHN            Oh, no..engreÃdo's going to be            rough.ON CRISTINA..Reluctantly taking the emotional stance of her mother todeliver the word.                      CRISTINA                (briefly being herself)            It's hard to translate.She takes half a beat..finds the word and now spits it out.                        CRISTINA AS FLOR            Smug.John gets up and takes a conciliatory step toward Flor sothat now Cristina is in the middle looking up at them as shetranslates for John                      JOHN            I had no idea it would amount to            that kind of money..I thought ---            sort of tops fifty dollars.                      CRISTINA AS FLOR            Fifty dollars is a lot of money..                      JOHN            Okay. Right.He has no idea where to take it from here -- the two femaleslook as he searches for the right thing to say..                       JOHN (CONT'D)                (sighing to himself)            Ah, shit..That fast Cristina translates.. Before Flor can react. Johntalks directly to Flor..quiet,compassionate, a bit beaten.                                                           76.                    JOHN (CONT'D)          I'm sorry....I get why you are          upset. It might not look it but I          am good at getting things. Doing          something about it is something          else..I was going to talk to you          before I actually gave her the          money..but maybe I should have          checked before I started the whole          thing.              (he smiles/they don't)          I know what it's like when you feel          your kid is being messed with..I          get the message. It won't happen          again. It's late..I'm sure we'd all          like...Flor lets it out...her daughter hard pressed to keep up.                    CRISTINA AS FLOR          To what..sleep? If this was small          enough to be helped by some little          apology, I would be a fool to bring          it up..I need to say more no matter          what the result. I need to be          impolite. You leave someone else's          child alone. It's simple, no? It          is too easy for children to feel          contradictions..It encourages          questioning their parents..and that          makes them less safe. Your wife          takes her for rides and changes her          hair..You give her money. Here..              (this next sentence               Cristina translates with               alarm and adds her own               question mark.)          Take back the money????????????Flor hands John the envelope under her daughter's wrenchinggaze. They begin to exit..but Flor turns inadvertentlybumping into her daughter. Her voice softens.                    CRISTINA AS FLOR (CONT'D)          I did not mean to be angry to you -          only emotional..They turn to leave. John speaks with sudden volume andmuscle.                    JOHN          What about hypocritical?Cristina turns back..confused..her mother asks her for atranslation and she complies.. Flor then wearing the sameconfused expression.                                                        77.                    JOHN (CONT'D)          Yeah, you heard me. It's not like          you didn't do the same thing...                      FLOR                (hard on the translation)          No!                    JOHN          Oh, yes. So go lecture          yourself..you won't need a          translator for that one...I mean          what am I lately... A recycling          bin?..just anyone dump in your          garbage and hope I make something          useful out of it...Flor is confused and getting pissed but he is moving now andpointing a finger at her.                    JOHN (CONT'D)          Yes, you did the same thing...you          think I didn't know about altering          those outfits for Bernie..She tells          me her stuff....So, am I missing          something? Is there a real          difference between that and what          you are complaining about?Cristina waits for a comeback from her mother totranslate..but doesn't get one..Instead her mother is a bitmortified and considerably humbled..the pie smack into theface.                    FLOR          Sin diferencia. Yo interferÃ.                    CRISTINA AS FLOR          No difference. I interfered.                    JOHN          Okay......I'm still not sure I did          the right thing keeping it to          myself. It felt disloyal to          Deborah..but my daughter really          needed someone to be kind to her          right then..so..so.                    CRISTINA AS FLOR          I am very embarrassed. You are very          right. Hypocrisy..yes.                                                        78.                    JOHN              (something strikes him, he               softens, disoriented)          I'll tell you, it's pretty wild to          say something and have the other          person just concede the point. I'm          dazed here.                    CRISTINA AS FLOR          I will leave whenever it is good          for you and...                    JOHN          No..no..come on, man..                    CRISTINA AS FLOR          But how can I work for you after we          talk like this?                    JOHN          You can't quit even if you want to          and you know why.                    FLOR          No..                    JOHN          Yes, you do..Flor is worried as John looks right at her..Is he coming on?                    JOHN (CONT'D)          Because then Cristina will blame          herself for costing you the          job...and that guilt...I don't know          if you know about guilt..Cristina doesn't have to check with her mother on this one.                     CRISTINA          Culpa, guilt, sÃ. We know. We are          Catholics.                    FLOR              (after her daughter's               translation)          Culpa, si..Por Dios, Si.                    CRISTINA              (on her own)          We know.                    FLOR              (big nod)          We know.John gestures that there is nothing to be done. Flor nods.                                                              79.                          JOHN                So, welcome back.      She smiles..gets up..extends her hand..they shake.                          FLOR                Good night, Mr. Clasky..                          CRISTINA                Good night As they exit..their                backs to John, daughter following                mother...Flor speaks to her                daughter.                          FLOR                    (an aside)                No te puedo tener haciendo esto por                mi. Ahora tengo que aprender                ingl»s.                          CRISTINA AS FLOR                    (over her shoulder to John                     as they move)                I can't have you doing this for me.                I must learn English now.                          FLOR                No, dije eso por ti - no por John.      That translates to "No, I meant that for you, not John." But      Cristina does not translate the line. Nor..                          JOHN                You have a wonderful mother.                          FLOR                Que?                          CRISTINA                Nada.120   INT. FLOR'S ROOM - NIGHT                                 120      A Spanish commercial for learning English in a hurry is on      television..Flor on the phone ordering it..                          NARRATOR                Learning English would cost five                hundred and ninety nine dollars                down and 15 monthly payments of one                hundred and ten dollars...which                represents 48 percent                interest..Mexicans marketing                Mexicans. But not a penny was                wasted.                                                                80.121   EXT. MAIL BOX - DAY                                        121      As Flor takes a package from the box.                          NARRATOR                My mother showed an extraordinary                facility for learning the language.                                                      DISSOLVE TO:122   INT. BEACH HOUSE - LAUNDRY ROOM - DAY                      122      Flor listening to the tapes as she does laundry.                          NARRATOR                ..as well as a totally committed,                obsessive work ethic, which blocked                out all else..She was her                daughter's mother.      As Flor silently mouths some English while listening to a      tape,Chum nudges her with a ball and, without thinking, she      takes it from his mouth and tosses it..Realizing, with alarm,      a beat too late that she has broken the rule.                                                      DISSOLVE TO:123   EXT. BEACH - LATE AT NIGHT                                 123      Flor sitting on the sand...listening to her      tapes..continually forced by Chum's obsessive persistence to      throw him the ball.                                                      DISSOLVE TO:124   EXT. BEACH HOUSE - LATE NIGHT                              124      As John arrives...He bumps the walls on entering.125   INT. BEACH HOUSE - LATE NIGHT                              125      As John enters the house, clearly drunk.   There is the sound      of skittering paws as CHUM approaches.                          JOHN                    (cheering)                Hey, boy, I can use some up                company.      But Chum feverishly digs his snout against a nearby piece of      furniture and retrieves a tennis ball and rockets away. John      follows, weaving a bit.126   INT. BEACH HOUSE - DEN - LATE NIGHT                        126      As John enters the room to find CHUM proffering the ball to      Flor who is watching one of video language tapes. She tosses      the ball without a look or a thought..then starts when she      sees John standing there. He cheers, seeing her predicament.                                                        81.When she speaks English, at this point, her words arehalting.                    JOHN          You gotta do something about          Chum..Your arm's going to go.She waves it off and hurries to get her tape and get out ofhis way. Chum complicates the task, proffering the ball. Florwearily throws it.                    JOHN (CONT'D)          Don't you sleep anymore?                    FLOR          No..You get more if you keep at it.                    JOHN          You're doing fantastic.                    FLOR          Now I am like a three year-old.          Your wife go out.                    JOHN          She say where?                    FLOR          No.              (on his reaction)          Sorry.                    JOHN          Listen..I just forgot she was going          out..don't be a smart ass.              (jolted by his own remark)          Uh-oh..well, you and I communicate          mostly in apologies anyway..I'm          sorry. I should be whipped. I          should be stoned- it's been a while          - I meant to say, I think, don't be          smart, don't be kind, don't be          sensitive, don't be beautiful. I          meant to say, "hi, Flor, good night          Flor..that show you're watching is          going to be a hit."He staggers out. Flor watches his lonely back for a beat andthen urgently gestures Chum to join him. Chum is reluctant,but relenting, runs and accompanies his appreciative master.Flor, now alone, finds herself staring at a framed picture ofJohn in the den. He is younger and smiling. She studies thepicture and then blinks when she realizes her own emotion andpurposefully goes back to her lessons.                                                              82.127   EXT. P.C.H. - LA SALSA FAST FOOD PLACE - DAY.            127      Cristina and Bernice waiting in line at the Mexican fast food      place on P.C.H. with the towering signature Mexican male      figure on its roof. Deborah is parked curbside in the SUV.                          BERNICE                How'd you get your mother to let                you go with my mother?                          CRISTINA                Well, your mother just said she                could use my help on a few errands                while you're in class...      Bernice nods. Then unconsciously moans.                          CRISTINA (CONT'D)                What?                          BERNICE                No. Just that I hate summer school.                          CRISTINA                Why do you go then?                          BERNICE                    (looks at her)                I'm not sure I can explain to you                the concept of not doing well in a                class..in this case math...and the                system kind of insists on the                illusion that you've learned math --                so they make you go to summer                school..It helps them avoid facing                that they have failed in their                mission.                          CRISTINA                What do you mean they failed?                          BERNICE                Joking.                          CRISTINA                Oh. I see. Forgive me, I don't have                a real sense of humor.                          BERNICE                    (looking skyward)                Thank you, God.                    (on Cristina's reaction)                Joking...                          CRISTINA                The joke is?                                                                83.      As they get in the car..Bernice doing a little stutter step      offering Cristina the front seat..Cristina demurs.128   INT. SUV - DAY.                                            128      As they get in..Deborah privy to the conversation now.                          BERNICE                That you're better at everything                than I am...and I was thanking God                for there being this one thing                where I might have my nose in                front.      Deborah can't think of what single thing Bernice could      possibly feel superior about. She is genuinely puzzled.                          DEBORAH                And that thing is???      Bernice deeply resents the question..She turns to her mother.                          BERNICE                Sexual experience..      Cristina laughs.                          BERNICE (CONT'D)                    (ruefully to self)                That one even she knows is funny.      Cristina gives Bernice an appreciative push from behind.      Deborah, for some reason, feels she deserves credit for their      connection.                          DEBORAH                Look at you girls.129   INT. BEACH BEDROOM - DAY                                   129      Deb working an outfit..her mother eyeing her..                          DEBORAH                Cristina's already read, on her                own, everything on Bernice's summer                reading list..And she's two grades                behind..Imagine if she went to                Bernice's school..And they'd kill                to give her a scholarship.                          EVELYN                Talk to Flor...                          DEBORAH                    (sarcastic)                Yeah..she's so open to new things.                                                              84.130   EXT. GORGEOUS PRIVATE SCHOOL -DAY.                          130      Deborah and Cristina standing in a grass bordered parking      lot...Deborah, feigning upset, tearing into her bag but her      focus is elsewhere as she periodically looks off. She is      clearly stalling.                          DEBORAH (CONT'D)                Can't find my keys..      Another woman, ARLENE FOLSOM, calls to her..                             ARLENE                Deborah...                          DEBORAH                    (acting surprised)                Hi, Arlene..                    (to Cristina)                Come on.      They walk to greet Arlene.                          DEBORAH (CONT'D)                Hi. This is Cristina..the girl I'm                always raving about..This is Arlene                Folsom..the school director.                             ARLENE                Hi..                          CRISTINA                    (Barbara Boxer couldn't do                     it better)                Hello..a pleasure to meet you, Ms.                Folsom. I couldn't believe how                beautiful the grounds were as we                drove in. I just think the balance                of the buildings to open ground is                so wonderful and must have been                very difficult to achieve.      Deborah smiles with pride at the elegant first impression      Cristina is making..all are grinning...the two adults      suspiciously so...sharing their delight.                          ARLENE                Would you like a little tour?      MOVING CAMERA..      First showing Cristina in foreground and her POV of this Drop      Dead Gorgeous Rich Kids School in the background and then we      MOVE CLOSER ON CRISTINA. We see lust in her reaction.                                                              85.                          NARRATOR                The experience was literally mind                boggling. My mind did boggle. My                cranial cells stunned. Even if I                had enough sense of wonder to                imagine such a school existed; my                sense of fairness made it                unthinkable that any school could                offer this much more than my own..131   INT. BEACH LIVING ROOM - DAY                             131      This is the last day of the summer rental - many packed      cartons on the floor. Deborah, Flor and Cristina engaged in a      momentous conversation..(NOTE: Throughout the following, and      quite beside the point, we see Flor periodically make the      motion of throwing the ball. But we do not cut to Chum,      rather we just hear his claws skittering after the ball as we      maintain focus on the momentous conversation.)                          DEBORAH                Nuh-uh, Flor you are not pinning                this one on me. I've got to finish                packing up.                          FLOR                    (no longer sure of herself                     or anything)                I just don't....Out of space this                school wants her to go for free?                          DEBORAH                We ran into the school head. They                want diversity...Cristina knocked                her out...I had nothing to do with                it. By the way, the scholarship is                worth twenty thousand dollars. And                early registration is tomorrow.                          FLOR                It is too far from our home.                          DEBORAH                You could move in with us in town.                          FLOR                Never, thank you...                          DEBORAH                Okay, then don't..By the way..the                phrase is "NO, thank you."132   INT. FLOR'S ROOM - NIGHT                                 132      Flor has her earphones on listening to her English tapes..but      she is enormously upset as she watches her daughter      passionately pray in English..soon taking off the ear phones.                                                              86.                          CRISTINA                Please, dear God..Enter my mother's                heart and make her understand what                this school would mean.                          FLOR                Alright. I look.                          CRISTINA                Amen.133   EXT. L.A. PUBLIC SCHOOL - FLOR AT CRISTINA'S SCHOOL - DAY 133      Summer session - L.A. public school..ninety percent Hispanic.      Through Flor's POV, the place is seen not as crowded and worn      but as vibrant with community.134   EXT. PRIVATE SCHOOL - FLOR AT BERNICE'S SCHOOL - DAY     134      Highly anxious and out of place, she sees the upper-scale      students..five percent Latino...No brochure can do it      justice. Overwhelmed by the implications, Flor's eyes tear.135   INT. FLOR'S ROOM - LATE NIGHT                            135      Cristina sleeps. Flor sits on her bed - no thought of sleep.136   INT. BEACH HOUSE - LATE NIGHT                            136      John enters, home from work ... as he passes Flor's door it      opens and she steps out. Before she can continue on, she sees      Evelyn at the foot of the stairs, carrying a glass of port.                          EVELYN                Hi, Flor, want some port?                          FLOR                No, thank you, Evelyn.                          EVELYN                    (going up stairs)                Thanks for never judging me..Love                you. Love everybody. That's what's                killing me.. Sleep well.      EVELYN'S POV.      She sees Flor approach John. Evelyn looks thoughtful.137   INT. DEN - LATE NIGHT                                    137      John is about to pour himself a stiff drink. Flor startles      him.                          FLOR                May I talk with you?                                                              87.                           JOHN                Me?                    (she nods)                Deborah will be home soon. I just                talked to her.                          FLOR                I need real talk..Is it okay?      John does not answer immediately. The brief pause is noted.                           FLOR (CONT'D)                No?                           JOHN                Sure.                          FLOR                Outside? Private?                          JOHN                Sure.....                    (as they exit to beach                     with a nervous laugh)                You have me a little worried...      He glances back, hoping to have his fears assuaged, they are      not.138   EXT. BEACH - NIGHT                                       138      He sits..she stands, gorgeous..The wind gusts periodically      blowing her dress against her body. He tries not to notice.                          FLOR                You know about Cristina and your                great school?                          JOHN                Oh, it's happened. Is it driving                you nuts?                          FLOR                Yes, nuts. I have no idea what to                do. Such an important thing.                           JOHN                Yeah.                          FLOR                It's a good school?                          JOHN                Tops. It's tops.                          FLOR                So you like it?                                                        88.                    JOHN          No. I hate the damn school. But          that's because they keep sending my          daughter home anxiety-ridden,          mostly over geometry..I mean you          "get" Bernice..In a decent world          her school should let her know how          great she is, right?                    FLOR          Very right.                    JOHN          So, don't ask me..I'm worried about          my own kid there.                    FLOR          You don't have to worry about          Bernice. Nothing is going to change          that heart.He looks at her..Out of nowhere overwhelmed by someoneechoing and affirming his deepest most private thoughts abouthis daughter..It is odd..being this deeply touched before heknows what hit him..He makes little adjustments until themoment passes..                     JOHN          Um.....yeah..thanks...              (then)          It's great to hear someone else say          that out loud..Hard to explain.                    FLOR          I "get" it.                    JOHN              (a beat..then deeply, with               core feelings, a lament)          Ah, man..                    FLOR              (caring)          It will be okay.                    JOHN          No, I was thinking about you..                    FLOR              (instantly alarmed)          Your, "Ah, man" was for me? You          think I am in trouble with          Cristina?                    JOHN          It's just tough to be sane.                    (MORE)                                                        89.                    JOHN (cont'd)          To know you're not just making          something out of nothing. That when          you think you're at some          crossroads - you are.                    FLOR              (she takes this in/nods)          ....I never know a man who can put          himself in my place like you do.          How do you become that man?                    JOHN          I don't know...You introduce two          Jews in the desert and wait five          thousand years. Then, bingo,          somebody else who can see trouble          coming but can't do anything about          it.                    FLOR          I don't understand.                    JOHN          That's okay.                       FLOR          I want to.                    JOHN          Nothing. I don't know what I'm          talking about..A sustained gust of wind which celebrates her shape in a waywhich cannot be ignored.                     JOHN (CONT'D)          Will you sit down.. Get out of the          damn wind.She sits. It helps.                    JOHN (CONT'D)          So you going to send her?                    FLOR          I don't know. But it does not feel          good. I think if she goes there it          will be one of two things..either          she will be odd...or she will make          herself the same as them.                    JOHN              (in wonderment)          That is EXACTLY the way I felt          about Bernice going there..Exactly.                       (MORE)                                                               90.                          JOHN (cont'd)                I wasn't able to think it that                clearly...But that's how I felt. So                between odd and the same...you                gotta root for odd, don't you?                          FLOR                Yes, you gotta.      Camera begins to pull back...early in the move John's words      stop the movement.                          JOHN                This was a crummy summer.      Flor nods ruefully..then suddenly off a glance at him.                          FLOR                Not all crummy.      Suddenly there is a bit of danger..she rises quickly,      changing mode.                          FLOR (CONT'D)                Thank you, good night. I go sleep.                          JOHN                Good night..Hey?      She turns..                          JOHN (CONT'D)                You speaking English...It's, uh..                          FLOR                What?                          JOHN                Nothing. Just.... Nice meeting you.      She gulps and exits...as the CAMERA PULLS BACK..ending the      summer at the rented house...as we transition to....139   EXT. BIG BLUE BUS IN MOTION - MORNING.                    139      Through the unusual center window we see Flor and Cristina.      Flor, at this moment, is assimilating against every fiber in      her body. Cristina is excited, certain her life is taking an      incandescent turn. Quite a contrast.140   EXT. STONE CANYON AND SUNSET - MORNING                    140      As the bus stops...Bernice is across the street, along with      some other kids and Deborah, who is wearing her running      clothes..Flor and Cristina exit the bus...                                                        91.                    BERNICE              (calling)          You just made it...I was getting          worried..Deborah has a backpack loaded with books which she hands toCristina..                     DEBORAH          I picked up your books yesterday..              (by way of explanation to               Flor)          This is one of Bernie's          old..ancient backpacks.Cristina taking it...                    CRISTINA          Oh, thank you..As she shoulders it and almost falls over..                    CRISTINA (CONT'D)              (impressed with the heft)          This is a great school.                    DEBORAH              (to Cristina)          I got you a little first-day-at-a-          new-school present...A school bus appears and heads toward them putting a certaindeadline pressure on the transaction.                    DEBORAH (CONT'D)          It's from me and....Bernice.              (to Flor)          Okay? It is a big day.Flor's uncertain reaction is taken as a yes.                    BERNICE              (dry)          What did we get her?Deborah hands Cristina a locket..then, noting Flor'sexpression.                     DEBORAH               (to Cristina)          It's from ALL of us. Your mother          too.                    FLOR              (to Cristina)          It's not from me...                                                                 92.      Deborah does a good-natured "TAKE" accepting Flor's reaction      as if it where an eccentricity..As Cristina and Bernice board      the bus, Cristina generally says goodbye to both women,      thereby depriving Flor of her own moment of passage with her      daughter.                          DEBORAH                Have a great year, girls..                    (for Flor)                This is so great. It fills your                heart, doesn't it?      Deborah turns and sees Flor has already started doggedly up      the hill..141   EXT. STREET - HILL - ANGLE ON FLOR...                       141      Walking up the hill, blinking in disbelief at her own      fury..Deborah in the background feeling a bit abandoned..Flor      keeps walking toward the camera..                          NARRATOR                There is a terrible crisis which                comes when your own personality is                not equal to the challenge you                face. When being who you are no                longer works.      Deborah has started to jog. As she approaches Flor, she calls      for a clear path well in advance.                          DEBORAH                Left...left.      Flor does not alter course though she does start to walk      faster...                          DEBORAH (CONT'D)                Left...left...      Deborah is close behind now.                          DEBORAH (CONT'D)                LEFT!      Suddenly, Flor breaks into a run..She is lithe and quick.      ON DEBORAH...      A blink of confusion...then something resembling innate      satisfaction as she quickens her gait and...the Race is on.      ANGLE AS DEBORAH DRAWS ABREAST OF FLOR.      Strangely, she is interpreting this as closeness. She is      genuinely warm.                                                              93.                            DEBORAH (CONT'D)                      (to Flor)                  Why am I not surprised you're                  competitive?      Deborah looks up the street at a delivery truck.                            DEBORAH (CONT'D)                  Oh, they're delivering my table.      Flor stays on task ..forces her stride. She just needs to win      so very much..that's all..to her current surprise, that's      everything...                            DEBORAH (CONT'D)                  You are fast.. Better pace yourself                  though..      Flor, even more upset and provoked by the words now lets it      all out...      ON DEBORAH..      Realizing she may not be a certain winner...she is concerned      as she goes after the rabbit.      OTHER ANGLE.      Showing the delivery truck as finish line in the distance...      VARIOUS SHOTS..      Flor fueled by desperation. Deborah, relentlessly gaining,      exhilarated.      THE FINISH..      Decidedly anti-climactic..Deborah draws even -- passes her--      arrives at the house with a large margin of victory.                            DEBORAH (CONT'D)                      (calling back)                  I love you for trying.142   EXT. CLASKY HOUSE - DAY                                  142      She exits into her home.      ON FLOR..      Bent over, hands on knees, sweaty, gasping for breath. Flor      finally straightens up and, there being no other course,      continues her walk up the hill, to work.                            NARRATOR                  When people exist under one roof, a                  tiny society forms..the stuff of                            (MORE)                                                              94.                          NARRATOR (cont'd)                novelas: masters and servants                unconsciously dancing in lock step                so that, when things go wrong,                traumas converge.143   INT. CLASKY HOME - NIGHT...                              143      As John moves past Evelyn on his way to work. She looks at      him a little wild-eyed as they both stand in the doorway.      Straining a bit for breath.                          JOHN                You feel okay?                          EVELYN                No. I've given up drinking.                    (he looks at her/she sadly                     nods affirmation)                I had to do it John..I need every                brain cell to watch out for all of                us..given the current climate.                Anyway. John, I think you're great                and I'm going to act accordingly.                           JOHN                    (totally confused)                Good deal.                          EVELYN                Let's hope.144   INT. FLOR'S APT. - LATE AFTERNOON                        144      Flor cooking alongside Monica --- a table is set for ten..A      banner proclaiming BIENVENIDA, MAM¡.                          NARRATOR                My great Aunt Monica had finally                managed to get her mother to Los                Angeles and my mother was making a                party.145   INT./EXT. DEBORAH'S CAR / CLASKY HOME - DAY              145      Bernice sitting amidst Cristina and two other golden girls as      they arrive at the Clasky home.                          NARRATOR                I was with my friends who had                helped me understand real optimism.      As they pull in the driveway. Cristina and her friends exit      the car and squeal loudly at each other with the excitement      of having it all. Bernice exits last. She is not squealing.                                                              95.146   INT. CLASKY HOUSE - NIGHT                                146      As Deb finishes dialing a call..Cristina looking on...her two      friends watching a movie in the family room. A clock      prominently reads nine p.m.                              DEBORAH                       (into phone)                   Flor? Deb..Look, sorry to call you                   so late, but they're still studying                   and I'm going out but I promised to                   get her back so if you want me to                   cut off the school work,                   fine...whatever you want me to do.                   Well, okay..you think about it..                       (she holds on to give Flor                        time)                   And hey, if you're tired, or want                   to play, let her sleep here and                   I'll get her back there tomorrow.                   You still want to think about it?                   Okay..      She hangs up...and exchanges a mischievous look with      Cristina.147   INT. FLOR'S APT. - NIGHT                                 147      As Flor hangs up..                             NARRATOR                   Though it is possible to judge                   harshly my conduct toward my mother                   in my first year at school; almost                   all professional literature excuses                   my behavior as developmental, since                   I was entering an age where                   rebellion and narcissism were to be                   expected. And I was being mentored.      Monica and her newly arrived mother are there along with the      bride from an earlier scene and some of the girls who saw      Cristina off to Malibu..Women cooking in the kitchen..She      tells the girls, in Spanish, that Cristina may not make it.      They are disappointed...Flor thinks - then says something to      Monica who nods in agreement. Flor exits.148   EXT./INT. CLASKY FRONT DRIVEWAY..NIGHT                   148      As Evelyn stands there...a little in the shadows..      HER POV...      Deborah somewhat dolled up moving through the interior of the      house..                                                                96.149   EXT. CLASKY DRIVEWAY - NIGHT...                            149      As Deborah leaves the house in a hurry.                          EVELYN                    (calling out)                Wait!      Deborah turns, startled.                          EVELYN (CONT'D)                I need to talk to you privately,                honey.                          DEBORAH                "Honey?"-- Can't now, Mom...I'm                late..I was looking all over for                you...keep an eye on the kids. You                know my secret cell number.                          EVELYN                Just give me a moment to talk                here..                          DEBORAH                What is it? Are you buzzed?                          EVELYN                No. I gave up drinking weeks ago.                    (on Deborah's reaction)                Yes. Nobody noticed -- which shows                I probably conducted myself pretty                well as a drunk. But duty called                and I'm sober so may I say just one                thing.                          DEBORAH                One thing..go ahead...                          EVELYN                Thanks..Deborah, you're going to                lose your husband and you'll never                find someone as good. There will                only be men who you know are cheap                and shallow and have no real warmth                in their souls. You may have gotten                by on those surfaces once but now                you've been spoiled by a good man                and you can no longer glide on such                thin ice. If you do not act                quickly you will soon cement an                awful fate for yourself. A life,                with no hope of repair, which has                already begun to turn desperate and                dumb. That's it. Drive safely.      She grabs a deep breath and then turns and walks to the      house.                                                                 97.                            EVELYN (CONT'D)                      (to herself)                  If we're out of coffee, it's over                  for me.      Suddenly a sharp horn is heard..Evelyn jumps..then turns to      see her daughter calling to her from the driver's seat of the      SUV..                            DEBORAH                  You've done it again, Mom, made me                  hate myself..One of the things I                  can count on..                            EVELYN                  Honey, lately your low self-esteem                  is just good common sense.      Deborah considers that last thought for a long beat before      she drives off..                                                       DISSOLVE TO:150   EXT. STONE CANYON - LATE NIGHT...                           150      Flor walking from the beginning of the hill........She looks      off to see John's vehicle approaching..She brightens..      ON JOHN..      Who doesn't see her..We can see his car's digital clock      reading 11:30.      ON FLOR..      As he drives past her.151   INT. CLASKY HOME - NIGHT...                                 151      As John enters..Evelyn, in an adjoining room, moves to      intercept him.                            EVELYN (CONT'D)                  John, better wait a minute.      But John hears Deb's crying from upstairs..                            JOHN                      (concerned)                  What the hell's wrong?                            EVELYN                  Nothing. In all futility, can I                  urge you not to go up there.      But he is already moving quickly up the stairs..As he turns      at the top of the stairs WE SEE THE DOOR CLOSE TO BERNICE'S      ROOM.                                                              98.      ON EVELYN..                             EVELYN (CONT'D)                       (to herself)                   Denouement.152   INT. MASTER BEDROOM - NIGHT...                           152      John enters the room on the double...passes Deborah without      knowing it..(she is partially obscured by the drape or some      such). As he passes....camera HOLDS ON DEBORAH..she is a      mess...goopy tear stains..seeing him and his concern brings      her grief to a higher ground...a sinner humbled by      goodness..a trembling lip of childlike vulnerability...                             JOHN                   Deb..Deb?..where are you?      He is about to leave the room...she is about to let him but      an instinct leads her astray once more.                                DEBORAH                   Here I am.                             JOHN                   Baby, what?                             DEBORAH                   "Baby?" Stay there, John...Sit                   down..I suddenly get what I have to                   do...I just have to get the guts.                             JOHN                   Is it absolutely necessary to make                   it this...this scary..can you just                   say it?                             DEBORAH                   Not so easy.                              JOHN                       (tender/ready for the big                         healing)                   Yeah..come on..it's me. We can                   talk.                             DEBORAH                   Do I ever hope so...I've been                   seeing another man for the last                   eleven weeks and it was nothing and                   I ended it tonight..At first it was                   just keeping an eye on the real                   estate market..Then it was...what?                   Me being insecure and looking for                   some ridiculous vali...      ON JOHN...                                                        99.A shock victim..he holds up a hand to stop her..                    JOHN          Go -- hold on...hold on...I'm          missing what you're saying..You          can't just keep talking and expect          me to follow it when you start the          way you did.......                    DEBORAH          Just what did you hear?                    JOHN          Well there was the crack in the          planet. That was noisy...She looks at him...a solid beat...                    JOHN (CONT'D)          There's an actual noise in my          head.....no kidding..Briefly he does the noise...                    DEBORAH              (slowly)          I met him about...John holds up a hand to stop her...he needs to gather himselfto hear this..She waits...and waits...as he waits he growsflushed and stunned with dread. Finally a word..                    JOHN          You..She takes that as a cue to start..                    DEBORAH          I met him..He puts up his hand..                    JOHN          If you talk that fast...I'll never          hear you..there's a lot going          through my mind....Have you said          yet whether you slept with him?                    DEBORAH          So far I've just been talking about          a flirtation because the really          important thing for you to know...                    JOHN          Have you said yet whether you've          had sex with someone else? Because          I really am missing most of your          words. So help me out here..                                                          100.                    DEBORAH          I've been trying to explain that          for the first ten weeks there was          almost nothing to ...                     JOHN              (sincerely checking but               wild)          You still haven't said, right?                    DEBORAH          Is this your way of...                    JOHN          This is my way of...this is my way          of asking you whether..He stops... staggering on the threshold of a diminishedfuture.                    JOHN (CONT'D)          Oh man, once I ask it...give me a          second.              (several beats then some               conversational good               manners for keeping her               waiting)          I'm just trying to figure out          whether there's any way to avoid          knowing..no, damn              (quickly closing this               argument with himself)          There's not...              (to her)          Okay, you're on..real short answer,          huh? Have you had sex with          another..                    DEBORAH          I know you're very angry?                    JOHN              (considering/then               repressed answer)          Ahhhh...I'm getting there, yes.                    DEBORAH              (softly)          John?              (on his look)          I think if you let me tell you the          full everything of this we'd be in          a position to deal with it          better..because eleven weeks ago          when...                                                             101.                          JOHN                You don't believe that I miss your                words..I get three or four                tops...and then just see your mouth                moving with nothing coming out and                then I spin out and there's this                noise...But there's no way to miss                a "yes" or "no."                          DEBORAH                    (blurts)                Yes..                          JOHN                    (core simple/eight years                     old)                Really?                          DEBORAH                    (this gets her)                I made up my mind that I would                answer every question you had..I'll                answer anything and everything and                more.                          JOHN                    (perplexed)                What other questions could there                be?                          DEBORAH                Are you really that much nicer than                me?                          JOHN                Well, you don't set the bar real                high.      He get up and starts to exit..                          DEBORAH                No. Please, please, please..I                think if you listen to exactly what                happened and then do whatever you                need to...we'll..just let me tell                you everything..      The doorbell rings...it's quite late...Deborah wondering      what's up..she looks out the window.                          DEBORAH (CONT'D)                Oh, it's just Flor.153   EXT. STONE CANYON NIGHT..                                  153      As Flor enters the Clasky House...                                                             102.154   INT. CLASKY HOUSE - LATE NIGHT                             154      Flor sees Evelyn in the living room.                          EVELYN                What are you doing here?                          FLOR                I want Cristina. I want to talk to                Mrs. Clasky. I want to quit.                          EVELYN                I don't think you can do any of it                right this minute..                          FLOR                Oh, yes..Where's Cristina?155   INT. MASTER BEDROOM - NIGHT                                155      Deborah can barely look at him...                          DEBORAH                ...then, when I was driving back                tonight after I ended the whole                yuck thing..I was feeling human.                I'm done with what's his name..a                relief... ..and now it can be like                it never happened and then I                thought that the only hope was that                I own that it did happen and that I                take my medicine here..because if                I'm walking around with what I did                and you don't know what I                did..there is a real limit to how                close we can be..you're with me and                I'm this person who has this bad                secret and we aren't really on the                same page ever again..so the reason                I took this chance in telling -- is                because I want us to be good..I                want us to be close. I want to                feel like you're not nuts to be in                love with me..So what I think is we                should talk till we pass out ..                Talk till we're so sick of each                other that there's nothing left to                do but take the first step out of                hell..So please let's not leave                this room until you've heard and                said everything..please say, okay..      She awaits his answer..He has heard barely a few words..                          JOHN                What?                                                             103.                            DEBORAH                  John..                            JOHN                  I've got to get out of                  here..because you keep talking.                      (as she starts to follow                       him)                  Stay put!      She does. Just before he exits.                            DEBORAH                  You've got to say something.                            JOHN                  You are a terrible wife.      He exits.156   INT. MAID'S ROOM - NIGHT...                              156      Evelyn stands in the doorway with Flor..they are looking at      Cristina and her two friends sleeping together.                            EVELYN                  I don't think you want to wake her                  when you're this upset and the                  other kids are right there and...      Flor makes a noise of frustration and retreats from the room.157   INT. ENTRANCE HALL - NIGHT                               157      As they arrive at the interior entrance, John comes down the      stairs just as Flor opens the front door.                            JOHN                  Where you going?                            FLOR                  I'm leaving....I have finally..                            JOHN                  Me too..I'll drive you.                            FLOR                  No.                            JOHN                  Yes..come on...it's past midnight                  here.                            FLOR                  If you truly don't know why I say                  "no" let me at last say the reason.                  At least that will be a relief.                  Have you no idea that I....                                                             104.      Before she can there is the sound of scratching toes on the      floor and a ball comes into lower frame with a dog's      snout..Flor loses her thought and tosses the ball.      OTHER ANGLE.      As Chum, now the only happy creature in the house, fetches it      and returns.                           JOHN                 Look I have to get out of here                 right now..                           FLOR                 Go..      John exits to driveway...Flor makes one last toss..these      tosses have not made a dent in her anger and frustration.                           FLOR (CONT'D)                 Goodbye, Chum.      Another toss and Flor follows John out the door.      ON CHUM.      No longer happy. He has lost his only easy mark. He stares at      the closed door..the ball drops from his mouth to the floor.158   EXT. CLASKY DRIVEWAY - NIGHT...                             158      John is at the car but Flor heads for the gate.                           JOHN                     (as decisive as we've seen                      him)                 I'm taking you.                           FLOR                     (with anger)                 Why?!?                           JOHN                 Because if I don't -- I'll worry                 about you and I can't handle that                 right now, okay?      Flor emits a crooning sound.                           FLOR                 Ahhhhh.                     (stunned and worried)                 I never made that sound over a man                 before..                                                              105.      Flor shudders at her own sappiness as John opens the      passenger door for her...very much into his own torture he      nonetheless grabs her arm and guides her up and in..she      catches and appreciates his automatic gracious manners while      he is clearly fucked up...She is impatient with his      solicitousness almost slapping his hands away as he makes      sure her skirt doesn't get crushed in the door..The      frustration roiling in her.                           FLOR (CONT'D)                 Please!?! MandilÛn.      OTHER ANGLE..      Deborah watching them...      HER POV.      Her cuckolded husband closing the door behind her gorgeous,      soon-to-be ex-housekeeper.      CLOSE ON DEBORAH..      She trembles under the force of imminent justice.159   INT. JOHN'S CAR - LATE NIGHT                                159      Two pissed-off people..jaws set...breathing labored..As the      car starts and Flor looks back, she lets out a guttural and      explosive shout...                           FLOR                     (a quick and mighty vent)                 Arrchhhhhyeeeeiii!      For John, the first clear thing he has heard in a while..                           JOHN                 Yes! Exactly! Well put! Teach me                 that word sometime. I can really                 use it.      She nods..there is almost a moment of relaxation..then the      anger fires an immediate need..She leans across the seat to      deliver an urgent message to him. The words come out      exponentially too forcefully.                           FLOR                 I quit this job!      His spontaneous and forceful reaction surprises her..                           JOHN                 I quit this job!!!!!      As he turns onto Sunset.                                                      106.                    FLOR          That's the bus stop.                    JOHN          I'll take you home.                    FLOR          No. Drop me at a bus.                    JOHN          Oh, shut up and stop telling me          what to do.                    FLOR          Okay...then let's do something          besides driving me home where my          daughter isn't.                    JOHN          Okay..we'll do something.                    FLOR          And I'm supposed to figure out what          because I'm a housekeeper and you          don't have to think.                    JOHN          Oh, don't do the class thing,          man..You don't know where I come          from.                    FLOR          Alright, I know. But I can't be          responsible no more for making sure          nothing happens. That's another          terrible job I quit.                    JOHN          What are you talking about? I take          responsibility for anything within          a block. You have nothing to worry          about. That's my job.                    FLOR          Excellent. So you're going to          figure out what we do, right?                    JOHN          Yes. Okay. Big man figure out!                    FLOR          Stop there.She points to a mall..He looks at her and pulls in.                                                              107.160   EXT. MALL PARKING LOT - LATE NIGHT.                       160      As she leaves the car and goes into a drug store. John, sober      faced, looks at Flor making an attractive and zestful beeline      toward an Hispanic market. This could be where it hits him      that he's on a date...If so..it's too late to duck..161   INT. MEXICAN MARKET - LATE NIGHT.                         161      As Flor enters the market..She calls to the young shop girl      as Marine medics for morphine.                          FLOR (CONT'D)                Maquillaje!                                                        CUT TO:      The shop girl directs her to the make-up counter where she      starts shopping..lip gloss, blush, eye stuff..She starts      applying it at the check out counter.162   EXT. OUTDOOR MALL - LATE NIGHT                            162      As she runs back to the car.163   INT. JOHN'S VEHICLE -                                     163      As she enters, there is a fury to her which he almost      matches.                          FLOR                This is me when I'm not working..                You have never seen me!                          JOHN                Well, you look familiar.                            FLOR                So,                    (parodying him)                "man," where we heading?                          JOHN                I don't think I can handle public..                          FLOR                Yes, no...lots of people right now                is..                            JOHN                I know.                          FLOR                You were going to figure this out!                            JOHN                My place!                                                                108.164   INT. JOHN'S RESTAURANT - NIGHT...                           164      As they enter the main restaurant...                            FLOR                  I've never seen your place. Very                  perfect.      He heads for the kitchen.                            JOHN                  I'm going to cook, Beautiful.                      (on a dime correction)                  I'm going to cook beautifully.                            FLOR                  Hey..please..      He turns.                            FLOR (CONT'D)                  We both were not normal because we                  are angry and we act like we are                  angry with each other and we are                  not..I am not. I am glad to be with                  you. It feels comfortable to be                  with you. If I just left the job                  and never spoke with you it would                  have been sin. You understand?                            JOHN                  Ummmmmmmmm...Yes.      He stands next to her and, for want of a better physical      expression, pats her on her back..She eyes him, almost      critical about the lame extent of his aggression....He can't      quite look at her...He pats her again..      REAR ANGLE..THE PAT ON THE BACK.      The pat is becoming a rub..he cups her back..slides his      hand..she responds just a bit..                            JOHN (CONT'D)                  I think I'm inventing a horrible                  new way of making out..                            FLOR                  Not so horrible.....      His hand keeps going..he now hugs her to him even though they      both still face front.. like a loving couple on a walk to the      market. His hand squeezes her shoulder.                            JOHN                  My hand is the only sane part of my                  body..every other part wants to                  jump off a cliff.                                                             109.                           FLOR                     (digging this/almost                      growing a sense of humor)                If the other hand could cheer up,                you could lift me up and carry me                off.      He laughs. He takes his hand from around her. It is a bit      awkward.                          JOHN                I don't know how to handle that                one. I think I already broke my                record for smooth.                          FLOR                I don't understand.                          JOHN                It's me. I'm not making sense. But                I can get you fed.      He goes to the kitchen. She begins to explore a little. She      goes to a cabinet and opens it to find a CD player. She digs      in her purse and takes out a CD.165   INT. RESTAURANT KITCHEN - NIGHT                             165      As John starts cooking up a storm...there is some velocity to      his cooking...he still seethes. Then reacts as Spanish Music      starts to play. He clears his throat as if he must make a      speech. Then does so again..some vocal spasm paying tribute      to the increasingly intoxicating tension he feels.166   INT. RESTAURANT - DINING AREA - NIGHT...                    166      Flor is lighting the candle at each of the twenty tables.167   INT. RESTAURANT KITCHEN - NIGHT...                          167      He is cooking..He is talking to himself.                           JOHN                Nothing to be nervous about. You                are not on a date...                    (calls out)                Hey, Flor?                             FLOR'S VOICE (O.S.)                Yes, John.                          JOHN                What are you doing?      She enters the room...dancing a bit..                                                       110.                    FLOR          Just lighting candles and picking          music.              (notices his cooking)          Oooh.She gets up on one of the counters and sits there, her feetdangling...sings along a bit in Spanish. He is uncomfortableanew. The nervousness mounting.                    JOHN          You want a drink?She considers the question totally..He is busy cooking..notrealizing how weighty she considers his question...finallyaware she has not answered and looks at her..                     JOHN (CONT'D)          Huh?She regards him levelly..then makes her decision.                     FLOR          No.He gets out a bottle of vodka.                    FLOR (CONT'D)          I, uh...don't think you should          either.                    JOHN          Then excuse me, because if I had          the equipment I'd inject the vodka.He starts to pour.                    FLOR          Wait!              (he stops)          I think it is so important that we          are each clear-headed.He looks at her..a beat...he puts the vodka away. Florbeams..we have not seen her smile like this for quite sometime.                    FLOR (CONT'D)          It is very good that you did not          ask, "why?"                    JOHN              (quietly)          Keep things real, right?                    FLOR              (impressed)          I wouldn't have put it so well.                                                                111.168   INT. RESTAURANT KITCHEN - HALF HOUR LATER - NIGHT           168      They sit at a small table in the kitchen..finishing the      greatest late-night meal in the history of Western man.                          FLOR                I will remember every                taste..forever.                          JOHN                Tell you the truth..I wanted a shot                at cooking for you.                    (shy/his heart)                I'm very glad you liked it.                          FLOR                It's something watching you.      He looks up at her...she has not been seen like this for a      very long time, if ever.. lit up by a man.                          JOHN                Well, if it's anything at your end                imagine over here...scratch                that..the last thing you want to                hear is somebody going off on your                looks.                          FLOR                Don't be crazy. Tell me every                detail.                          JOHN                Okay, Flor, yes I will...They                should name a gender after                you..Looking at you doesn't do                it..Staring is the only thing that                makes sense..and trying not to                blink so you don't miss anything.      She squeals with laughter..He laughs a little himself and in      so doing loses his courage..He looks down at his      hands..shyness again belting him a good one..Still looking      down.                          JOHN (CONT'D)                Look..forgive me..I'm.....It's just                that you are drop-dead, crazy-                gorgeous..so much so that I am                really considering looking at you                again before we finish up here.                          FLOR                Soon, please.      And now he looks at her.      CLOSE ON FLOR..                                                               112.      Utterly open...utterly optimistic...the half second before      being swept away.                             FLOR (CONT'D)                   Right now....immediately..we have                   to dance or kiss.      He stands. She stands..He kids just a bit, clowning at      weighing the two options and then:      HIS POV..      Her face..                             JOHN                   No contest.      They kiss.                             FLOR                   You sure you're not Mexican.                             JOHN                       (smiling/he likes this)                   What do you mean?                             FLOR                   I meant you talk like a Spanish                   song.                             JOHN                   You kiss like a Spanish fly..                       (on her confusion)                   Joking around. I don't know what                   I'm talking about...                             FLOR                   Yes you do.      She breaks and heads for the dining room. John has a moment      to consider.. He does not have his wits about him..a      condition every bit as fearsome as liberating.169   INT. RESTAURANT - DINING ROOM.                             169      As Flor rummages for another CD, enjoying every minute. She      places the disk in the player and exits.170   INT. RESTAURANT KITCHEN.                                   170      As she returns...                             FLOR (CONT'D)                   This song...You see what a good                   thing to tell you how you talk like                   a Mexican song.                                                          113.She begins to translate the lyrics.                     FLOR (CONT'D)          When I kiss you, entire oceans rush          through my veins..              (he is wildly                uncomfortable)          Gardens of flowers blossom in my          body.He starts to make a comic gesture of awkwardness to get pastthe event..she shakes her head at him..driving the words --pointing emphatically..she will not have her poetry laughedat..                    FLOR (CONT'D)          And you wander along my fertile          soil, picking its ripe fruit..A          nightingale undresses on my          tongue..And under its wings..He laughs. She stops cold. Looks down..though just secondslong, this still constitutes the first depression of herlife.                    JOHN          I'm sorry. I don't know what I just          took out of you but tell me how to          get it back in there..I'm sorry.          Flor..I'm sorry.CLOSE ON HER..The downcast eyes rise to see him..                    FLOR          Then respect this.He looks at her...they kiss..It is a kiss without an author.God at the controls. They break. There is a beat then..                    JOHN          Here's something I never asked          anyone..Did nightingales undress on          your tongue?Flor looks at him with enormous warmth. Her arms loopedaround his neck..aware of the music.                    FLOR          Did they on yours?                    JOHN              (a long beat of               reflection/then sincere               and surprised)          Yeah...                                                                114.171   EXT. RESTAURANT - SOME TIME LATER                           171      Moving camera...the small house turned restaurant..little      flickers of light...                          NARRATOR                My mother never told me the details                of her visit to the restaurant.                But she often referred to it as the                greatest conversation of her life.172   INT. RESTAURANT - VERY LATE NIGHT...                        172      They are lying post coitally in each other's arms on a sofa      just inside the dining room..They are covered by a table      cloth. They hold hands above the cover...each private but      still somehow in contact.                          FLOR                Oh, Johnny, why is everything so                damn confusing?                          JOHN                Culpa.      Flor's pleasure zone is rocked. She smiles at his first      Spanish word. She is wrestling with large feelings of      pleasure and large ominous thoughts.                          FLOR                    (a beat)                Is your mind racing?                          JOHN                I would say my mind has                evaporated...but that there are                remnants still standing waiting to                fall. It feels pretty good.                          FLOR                Like happy?                          JOHN                Like happy.                          FLOR                You think that will last?                          JOHN                It's already gone.                          FLOR                I understand what you mean.                          JOHN                I don't understand what I mean.                                                       115.                    FLOR          That it's getting late. That          responsibilities have entered your          brain. Don't hide that from me.          And really, one large reason we are          here is because you respect me as a          mother and I respect you as a          father..He is looking at her...she is disconcerted.                    JOHN          You're a great and wild mother.                    FLOR          You are a beautiful father.She looks at him..they kiss...tenderness..heat...intimacy.                    FLOR (CONT'D)          When Cristina was young, I would          say I want to take any man who          wants me to the park and I will          tell whether I want him from the          way he is with Cristina. I wish          you had been in the park then.              (a beat)          Any reaction?John considering and then the answer comes to him.                       JOHN          Exactly!..                    FLOR          You know, I always think about when          you...Oh, there's no point. I talk          too much...              (a bit of emotion)          ...because I don't know if we ever          talk again.                    JOHN          Hey, hey..How do you get there?          Wait.                    FLOR          Yes you do. Be honest.                    JOHN          I'm being honest.              (indicates their bodies)          Look at us - I think I call it          honesty.                                                             116.                          FLOR                What are we going to do -- go home,                let our hearts go back in our                bodies, see each other a few more                times. Make a tragedy out of us..      She kisses him again...starts to cry....looks at him..emits a      small cooing sound.                          FLOR (CONT'D)                Ahhhhhhh.                    (sudden energy)                There are some mistakes you cannot                risk when you have kids...Please,                are you ready to go?                            JOHN                     (urgently)                No. I'm not. No.                     (then)                Stay put for a second. Stay here.                Once our feet touch that floor, I'm                going to get too many brain cells                back. So don't be in such a hurry.                That floor, Flor, is going to eat                us alive.                     (she settles back/he is                      energized)                So you think it was a mistake up to                now.                     (she nods "yes")                That's rough.      She nods again..trying to gut things out...but as her foot      touches the floor, she must say one last thing to him.                          FLOR                The mistake....I love it.173   INT. CLASKY HOME - MASTER BEDROOM - LATE NIGHT.          173      Deborah's face is bleached from crying...the tear ducts of      her now brown eyes are parched dry..Evelyn sits eyeing her as      she looks through the window at the pre-dawn emptiness of      Stone Canyon. In her current shape she would give pause to a      staff worker at Promises..a shock victim walking through the      rubble after the bomb has dropped. Deborah's voice is      scratchy when she speaks.                          DEBORAH                Tell me again why I can't call him                on the cell.                          EVELYN                Besides that he turned it off?                          DEBORAH                Yes.                                                       117.                    EVELYN          Forty messages start to look needy.                    DEBORAH          Mother, you're enjoying this.                    EVELYN          No..Definitely not in the way you          think.                    DEBORAH              (staggered)          You are enjoying it?!?                    EVELYN              (rising/honest)          I am enjoying actually being of use          to my daughter. I am enjoying the          fact that I really know how to          advise you and the miracle that you          are so deeply disoriented that you          are gobbling up everything I say.Deborah nods in agreement -- then looks at her mother in asomewhat new way..as if Evelyn were an actual person insteadof an upsetting extension of herself.                    DEBORAH              (vulnerable)          There's one thing I'd like to say          to you about you and me.                    EVELYN          You don't have to.                       DEBORAH          I want to.                       EVELYN          Okay.                    DEBORAH              (quite vulnerable and               appealing)          You were an alcoholic and wildly          promiscuous woman during my          formative years so that I am in          this fix because of you. It is your          fault. I just needed..              (gestures heart to heart)          ..that moment for us.                    EVELYN          You have a solid point, dear. But          right now the lessons of my life          are coming in handy for you.                                                        118.                    DEBORAH          There's a car coming....Evelyn moves to her.                    DEBORAH (CONT'D)          It's him...he's got to tell me          everything..Evelyn shakes her head "no."                       DEBORAH (CONT'D)                 (wild-eyed)          Yes!                    EVELYN          Do you know that right now you are          your own worst enemy..that you          can't trust one thought in your          brain?                       DEBORAH          Duh.                    EVELYN          Then trust me and only allow          yourself to say one thing to          him..One thing..."I'm so glad          you're back."                       DEBORAH          Huh?                       EVELYN          Yes.                    DEBORAH              (babbling)          But I've got to know whether he          touched her - where he touched her -          how he touched her - if they broke          a sweat --- what they said - who          made the first move - how they left          it -- if anyone loves anyone or has          an intention of making contact in          the future - what she wore - how he          felt afterwards - whether anyone          mentioned me..              (a wail)          ..whether they held hands when they          left..The distinct sound of a door opening and closing fromdownstairs.                                                             119.                          EVELYN                Just those words I said. If you                want a prayer of coming out of                this.                          DEBORAH                I know you're right..But..                            EVELYN                But what?                          DEBORAH                    (a small voice)                I forgot the sentence you said I                should say.                          EVELYN                "I'm so glad you're back."                          DEBORAH                Okay..do I have to wait here?                          EVELYN                No..he may not come up here..go to                him.                          DEBORAH                Why wouldn't he come up here?                            EVELYN                Just go.                          DEBORAH                Do I need a little makeup?                          EVELYN                You need a hose but you don't have                the time. It's fine that you look                like that. It's genuine..You can                use genuine.                          DEBORAH                Thank you, mom.      She takes a breath exits...174   INT. STAIRWELL                                           174      She pauses at the top of the stairs..a breath..then unable to      help herself runs down them at breakneck speed.175   INT. DOWNSTAIRS..                                        175      John turning a light on when Deborah bursts into the room.                                                               120.                          DEBORAH                I'm so glad to see you                    (correcting self)                ..that you're back.      John looks up at her - not knowing what to say...he is      thrown. His demeanor has changed...deeper..serious..                          JOHN                It's late, Deborah.      The wrong words start to form..she stops herself..                          DEBORAH                Well, I just wanted to say.. what I                said..      She is on the stairway..he turns to go in the opposite      direction.                          DEBORAH (CONT'D)                    (way too loud)                Uhhhh..      He turns back to her...she stops herself from straying into      untried words but gestures whether he is coming upstairs to      bed.                          JOHN                    (a beat then)                I can't sleep upstairs with you..                Just can't for now.      This rocks her..panicked she grabs at her life preserver.                          DEBORAH                I'm just so glad you're back.      Deborah's suddenly classy demeanor provides just the barest      of footings for them...He looks at her directly for the first      time since she told him.                          JOHN                Yeah..okay.      She nods..then goes back up the stairs..176   INT. MASTER BEDROOM - NIGHT                                 176      Evelyn, who has been standing close to the doorway, stands      clear to let her enter. As Deborah flies in wildly vulnerable      - her breath racing.                          DEBORAH                I am literally choking on unsaid                words..seriously. If this were a                restaurant ten people would have                their knuckles in my sternum.                                                             121.                          EVELYN                The fact that you didn't just make                things worse should fill you with                hope..      In her current state, she has to process that one..and does.      Her breath slows.177   INT. MAID'S ROOM - NIGHT...                              177      The first time we've seen this room since Flor was working      the sewing machine...John enters. He is down, longing and      finality make for a brutal cocktail..He rubs his head and      sits near the sewing machine..He glances over and sees Flor's      Spanish/English dictionary..There is a knock on the door.                          JOHN                Deb, I'm done tonight. I don't                think we can jam anything else in.                          BERNICE'S VOICE                It's me, Dad.      He springs from the bed and opens the door.                          JOHN                What's up, honey?                          BERNICE                Just thought I'd check that you                were back and okay and all.                          JOHN                    (feigning innocence)                Because?                          BERNICE                Mom was crying for six hours                straight and Grandma was in with                her all that time mostly saying,                "he'll be back..he'll be back."                I've got to get back to Georgie.                          JOHN                I just hate that you had that kind                of a night.                          BERNICE                It's good for me to worry about                something that really matters                instead of the stupid stuff that's                usually on my mind...                          JOHN                Like?                                                               122.                              BERNICE                       (a big grin)                   Surviving.                             JOHN                   You're fantastic, Bernie...I love                   you.                             BERNICE                   It's a slant...                       (pause then)                   Hey..I know there's a lot you went                   through but I knew all along that                   Grandma was right about you coming                   back..I mean totally knew it so I                   wasn't that worried. But still I...                       (some emotion out of                        hiding)                   I really appreciate it, Dad.                   Thanks....Stop staring at me..what?                   You don't know what to say?                             JOHN                   Right. I don't know what to say.                             BERNICE                   Just what you taught me..You're                   welcome.                             JOHN                   You're welcome.      They kiss.178   EXT. STONE CANYON -     MORNING.                           178      Flor purposefully walking up the hill..179   INT. CLASKY HOUSE - DAY.                                   179      As Flor enters...walks through a few empty rooms..then once      in the kitchen she sees the children and Evelyn are swimming      in the pool...she opens the glass door Monica bumped into on      interview day.180   EXT. CLASKY POOL - DAY.                                    180      Evelyn, Bernice and Georgie are in the pool..Cristina,      wearing a bathing suit, is on a chaise reading...                             CRISTINA                   Hey, mom...Is it okay if we don't                   leave right away?      The others call greetings..save Evelyn who studies the      situation and gets out of the pool..Flor is awkward..no idea      how to handle this...so she goes direct.                                                       123.                     FLOR          No...              (as Cristina begins to                protest)          No..and we must say "goodbye." I          don't work here anymore.She then talks Spanish to Cristina..admonishing her not toembarrass them..something about Flor being prepared to gonuts all over her daughter if she hurts their dignity...butit is said with total calm.                    GEORGIE          Do I have to get out?                    FLOR          No, Georgie..Stay. I think you are          a wonderful boy..be good..like you          are. There are no monsters.                    GEORGIE          Thanks..thanks. Okay.Bernice climbs out of the pool. Meanwhile, a flabbergastedCristina is staring at her mom who gives quiet two and threeword proddings in Spanish.                    BERNICE              (severely to Georgie)          I can't believe you didn't get out.                       GEORGIE          Flor said.                    BERNICE              (to Flor)          I don't want to get you wet.                    FLOR          Get me wet.                    BERNICE              (rushing to hug her)          Thanks.Bernice hugs her. Evelyn hugs Cristina..                    EVELYN          You...are...a...trip.                    FLOR              (to Bernice)          You're a beauty. Amazing girl.                                                                124.      Despite herself, Bernice starts to cry..moans to herself over      the display...Now, in the background, we hear a subliminal      human voice. Incrementally it will grow louder and be      recognizable as Deborah calling Flor from the master bedroom      window..Bit by bit, the others will become aware of this as      Flor ignores it...Bernice goes to embrace Cristina.                          BERNICE                My last chance to have some of you                rub off on me..                    (Cristina doesn't                     understand)                I'm sorry you're so sad but this                could have been so much worse.                             CRISTINA                       (from her depths)                How?      And now Deborah calling "Flor" is getting hard to ignore but      Flor manages..                          EVELYN                    (to Cristina)                Why don't you run upstairs and say                goodbye to Deborah?      Flor flashes a look of thanks.                          FLOR                I'll be in front.      Upset, Cristina runs off. She kisses Bernice..and walks      toward the house. As she passes under the bedroom..                          DEBORAH                Please come see me.      And then a crying Cristina appears on the deck. Flor glances      up and keeps moving underneath the deck where she faintly      hears the beginning of their exchange                          DEBORAH'S VOICE                It's okay, honey..we'll see each                other at school..I'm going to keep                an eye on you..I will.      Flor enters the house...181   INT. KITCHEN - DAY.                                         181      She stands waiting..walks to the hallway and cranes her head      to see into rooms, wondering if John is there. Finally, as      she passes the stairwell, she sees Cristina on an upper      landing and says, in Spanish, that Cristina should get her      things and meet her out front. Cristina, agitated, moves off      to comply...then Deborah appears in the same spot.                                                             125.                          DEBORAH                Please stick your head in here for                a minute.      Flor nods and starts up the stairs...182   INT. MASTER BEDROOM - DAY                                   182      Deborah holds open the door while Flor walks inside..then      closes it.                          DEBORAH                What's with avoiding me, am I this                horrible person?      As Flor just looks at her.                          DEBORAH (CONT'D)                I know. It's a ridiculous question                but sometimes I'm ridi...                          FLOR                No. It's a good question. A fine                question. Complicated.                    (beat then)                I was just thinking to answer.                           DEBORAH                Oh stop.   Come on. Weren't we                close?                            FLOR                      (like a shot)                No.                          DEBORAH                    (truly hurt)                Well, I'm very, very disappointed                to hear that. It makes me feel like                a fool.                          FLOR                    (compassion forces a                     crumb)                We weren't close..but we were                connected...in a bad way.                          DEBORAH                    (strangely soothed)                You know something, I think we're                saying the same thing...Look as                long as we're doing closure..What                did you and my husband, John, do                last night?      Flor pauses for less of a beat than we would have imagined.                          FLOR                I can only tell you what I did.                                                               126.                          DEBORAH                That will be sufficient.                          FLOR                    (these are tender                     feelings)                I became sure of what an incredibly                lucky woman you are and I must make                myself not envy you which is hard.                No, it's not hard. It's impossible.                Now please..I am exhausted.                          DEBORAH                Same here - believe me.      Deborah would hug..but it's only an eighth of a gesture      because Flor has turned to exit, calling for her daughter to      hurry as she goes.                          FLOR                Cristina, ap˙rate.183   EXT. CLASKY HOUSE - DAY                                    183      As she exits the house and moves to the gate where she      punches in the exit code...      ANGLE ON GATE      As it swings open to reveal John...184   EXT. STREET - DAY.                                         184      As she moves alongside him and the gate closes behind her.                          JOHN                I was hanging out here waiting.                Can't give you guys a lift?      Flor shakes her head "no." She looks away for a beat so the      next thing she does is a considered action. She leans forward      and kisses him on the lips. John looks at her.                          JOHN (CONT'D)                This is killer.                    (on her confusion)                Incredibly hard.                          FLOR                Yes, Cari..      The gate opens and a sniffling Cristina is holding an armful      of loot.                          JOHN                    (reading Flor)                Let her have it..party favors.                                                              127.      She nods..bites back some emotion and turns from him.                             FLOR                Cristina..                          CRISTINA                Goodbye, Mr. Clasky..I am very                sorry we will not see each other as                frequently.      She offers her hand, which John shakes while patting her on      the back.                             FLOR                Yes.      They turn and begin walking down the street.      SHOT - STONE CANYON      The women walking toward camera, John briefly in the      background...As they begin their walk Flor begins talking in      Spanish.                          NARRATOR                The first minute we were alone, my                mother told me that I would no                longer go to the private school.                          CRISTINA                No. No..You can't. I won't be able                to forgive you..It will be the end.                I won't let you.      And then Cristina moves her hysterics to Spanish as she stops      walking and her mother takes her hand and pulls her along      with enormous dedication. CAMERA BEGINS A PULL BACK.      Cristina dropping presents..picking them up..one of them left      by the wayside..People noticing..Cristina's conduct violating      tacit zoning laws.      CLOSER SHOT..      So we can see their faces in the struggle.185   EXT. BUS STOP..                                            185      As they wait...Flor talks sharply to Cristina to control      herself.                          NARRATOR                My mother changed our lives once                more. This time because she saw in                me, to her great alarm, a character                flaw of some size. She has taught                me to be a watch dog of my                character, to control my ambition.                I am not quite there.                                                              128.      One last yelp from Cristina as the bus arrives.186   INT. BUS - DAY.                                           186      Almost empty - it's Saturday. Mother and daughter sit      together by the giant window in the center of the bus.      Cristina eyes her mother who is bearing her own heartbreak      with stoic dignity. The girl is becoming less inconsolable      and more in need of mothering.                           NARRATOR (CONT'D)                For that reason should you choose                to grant me your scholarship my                mother, at my request, will be                relocating to the New York                Metropolitan Area so that she can                stay close during my time at                Princeton.      Cristina moves closer to Flor, who senses it immediately and      wraps her in her arms.. kisses her head.                          NARRATOR (CONT'D)                I hope my essay has done her                justice. I love her with all my                heart.                                                        FADE OUT.
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+FADE IN1 BLACK 1The screen is black. Thunder rumbles. THEO (VO) When you hear thunder...A black bowling ball pulls away from the lens. The ball is inthe hands of THEO SKINNER, an intense, handsome 28 year oldman with sideburns dressed in worn bowling attire. THEO (VO) ...God is bowling.He holds the ball in front of him, wristbrace on, his face astudy in concentration. CUT TO:CREDITS CUT TO:2 EXT. BRIDGE - DAY 2An empty causeway spans a bay somewhere along the south shoreof Long Island. The sky is overcast. SHEILA, a woman in herlate twenties, wearing a full length heliotrope pleather coatover a waitress outfit, kneels in the middle of the road. Asouped-up Vespa motor scooter stands nearby.KEN AND BARBIESheila holds a Bridal Barbie and Ken doll set. She sets themdown on the road, pulls out a can of lighter fluid and soaksthe dolls. She pulls out a bowling pin-shaped lighter andtorches the nuptial tableau.3 INT. THEO'S CAR 3Theo drives his ratty old American car along a highway. Thecar has Ohio plates. He sucks coffee from a 7-Eleven "Big-Swig" cup and examines a map. A yellow plastic "Bowler onBoard" sign is stuck to a side window. Theo's music PLAYS.His eyes nod off, then snap awake.4 NIGHTMARE 4The screen is black, except for three circles in the middleof the screen. The light shining through them is snuffed outby three large pink objects. There is a loud POP, like athumb being pulled out of a tight hole. BOWLING BALL A slow motion low tracking shot of a bowling ball hitting a polished lane. BOWLING PINS Close-up of the milky white surface of two bowling pins on opposite sides of the lane - a seven-ten split. The RUMBLING ball is heard in the distance like a furious hulking steamroller of doom. The pins begin to tremble, and then transform into a Bridal Ken and Barbie. The dolls burst into flame. BALL The ball blasts past the camera and metamorphoses into Theo's car. RAPID DISSOLVE TO:5 EXT. BRIDGE 5Theo's sedan blasts past the camera down the empty road. BURNING DOLLS The flaming couple stand in the middle of the bridge. Theo's car hits the pair and they fly into the air in slow-motion. A distant SOUND of pins scattering is heard. The two dolls smoke as they spin into the sky, then hit the water with dual HISSES. DISSOLVE TO:6 PIN RESET MACHINERY 6An American Machine and Foundry pin reset machine performsits functions like a mechanical ballet as the camera followsa bowling ball through its journey. The "Spare Me!" themeMUSIC (similar to "Balboa Blue" by the Marketts) swells.TITLE: SPARE ME! appears on the bowling ball. Pins tumbleacross the back plate, are loaded into the pin conveyor,lifted up to the crown feeder, distributed into the rotatingcarousel, and then set down in perfect formation upon thepolished bowling alley.BURN-IN PRINCIPAL PLAYER TITLES. Titles appear on the pins.The ball trundles along the return trough straight into thelens.BLACK7 INT. 7-ELEVEN - DAY 7A muzak cover of 'Broke, Busted, and Disgusted' PLAYS in thebackground as Theo gingerly pulls a hot taco out of themicrowave oven. ALFIE, the rickety old man who runs thestore, shuffles up to the self-serve island and begins wipingit down. Theo pokes at the taco with a spork as steam rises.He pulls a disgusted grimace. Alfie pours himself a cup ofcoffee and then attempts to open a tiny container of half &half. Because his hands are shaking so much, the cream goeseverywhere but into the coffee. ALFIE I'm an addict. I can't go through a day without the stuff. Theo reaches over and pours for him with a steady hand. ALFIE You're not from around here, are you? THEO I'm from Akron.Alfie looks at Theo's bowling shoe attired feet. ALFIE You a bowler?Theo's hand starts shaking uncontrollably. He puts down thecream. THEO I'm looking for a man. ALFIE What kind of man? THEO A bowler.Alfie presses a matchbook into Theo's hand and then trundlesoff. Theo looks down at the matchbook; it reads "Bowl forhealth, enjoy yourself. Babylon Lanes."8 EXT. BABYLON LANES - TWILIGHT 8Theo pulls into the empty parking lot of Babylon Lanes besidea cheap looking American sedan.9 INT. BABYLON LANES 9Theo walks into an empty run-down forty lane bowling alleycarrying his ball bag. It is dark. The fluorescent lightsswitch on and the pin re-set machines whirr into action. SIDand BREEZE, two shady looking guys in a basement-sale suitswalk up lane dividers towards Theo. SID Lane's closed big fellah, league night. THEO I'm not here to bowl. SID (gesturing to Theo's bag) You drag that coconut around for your health, or do you know how to use it? THEO (bristling at the challenge) I'm looking for somebody. BREEZE Hey, ain't I seen you on the tour? SID No, pinhead, he ain't here to bowl. THEO I'm looking for Buzz Fazeli.Sid and Breeze look sideways at each other. BREEZE Fazeli...I don't know no Buzz Fazeli. SID What do you want with old man Faz? THEO Some unfinished business. SID If you wanna do business in this town, there's other people around here got more weight than old Faz.A lady dwarf walks by. DWARF Evening Sid, evening Breeze. SID Evening Tina. BREEZE Good luck tonight Tina.Tina opens a door and goes down some stairs. THEO You guys got something going on downstairs? SID We provide some extracurricular activities for the senior citizens in the community. THEO Basement bingo?Breeze sniggers into his hand SID (smirks) Yeah, basement bingo. BREEZE Lemme see your ball.Breeze grabs Theo's bag. THEO Let go of my bag.Sid sidles around behind Theo who tries to keep him in sight. BREEZE Ah, come on, lemme see your ball. SID You afraid we're gonna steal it?Breeze unzips the bag and pulls the ball out. Theo's temperis rising, he breathes deeply. He is obviously making aHerculean effort to keep himself in check. THEO I said, let go of my bag.With lightning speed Theo's hand shoots out and grabs themiddle fingers on Sid's right hand. Sid howls in agony. SID Aagh! Stop! Those are my bowling fingers! THEO Tell your little pal to let go. SID Breeze, give him his ball back!Breeze, astonished, drops Theo's ball into the bag. Sidcringes in front of Theo. THEO Where can I find Buzz Fazeli? BREEZE Whoa, cool your maples. Over the bridge, past the Peter Pan, last house on the dead end. Theo releases Sid's hand. Sid drops to his knees and cradles his damaged hand. BREEZE Haven't seen a ball like that since '69. THEO It belonged to my dad.Theo turns and walks out.10 EXT. WOODS - NIGHT 10JUNIOR, a dumpy man in his late thirties with a rat tail, badskin and wearing a white straitjacket and fluorescent orangepants, runs desperately through dark woods. Bloodhounds BARKin the distance.11 EXT. ROAD - NIGHT 11Theo drives over the draw-bridge and past the Peter Pan Dinerwith its huge neon sign.12 EXT. DEAD END STREET 12Theo's car pulls up in front of a modest suburban house. Arooftop weather vane in the shape of a bowler CREAKSominously in the wind.13 EXT. BUZZ'S HOUSE 13Theo rings the doorbell. The porch light comes on, andMILLIE, a fifty-five year-old woman dressed for a night onthe town in Reno, but with fuzzy slippers and a hairnet,opens the door. A miniscule neurotic poodle leaps at Theo'sbowling ball bag, YAPPING and snapping at it. THEO Is Mr. Fazeli in please? MILLIE Who wants to know? (to dog) Zeus! THEO I'm a bowler. MILLIE I'm sick of you people. Why don't you leave him be? BUZZ (OS) Let him in, Millie. And don't frisk him.14 INT. BUZZ'S HOUSE, LIVING ROOM 14Millie and Theo, with Zeus hot on his trail, enter the room.BUZZ FAZELI, a sixty-five year-old man shaped a lot like acompressed bowling pin, slouches in a recliner. The room isdecorated with trophies of Buzz's bygone pro-bowling halcyondays. MILLIE Oh sure. Let everyone in. From now on I leave the door wide open. Let the parade begin! BUZZ Clam it!Millie is silent. Buzz gets up and approaches Zeus. BUZZ Hey, rat. C'mere.Zeus growls at Buzz as he comes nearer, then clamps onto hissleeve and hangs from his arm, growling ferociously. In onesmooth motion, Buzz flings the rabid poodle through an openwindow and into the night. MILLIE Jerk.She heads outside. BUZZ Sit down.Theo sits on the edge of the couch. Buzz puts out his hand.Theo shakes it. BUZZ Buzz Fazeli. THEO Theo. BUZZ I know your face, you're an up-and-comer. You bowl on the tour. THEO I'm not on the tour this year. BUZZ (nods understandingly) Need some advice, huh. THEO Well, Mr. Fazeli, the Bowling Congress says I'm a thorn in their side. BUZZ (dismissive wave) Don't worry about the Congress, they're just a bunch of moralistic busy-bodies.15 EXT. THEO'S CAR 15Millie's furry slippers protrude from the driver's side door.Zeus chews furiously on the yellow plastic 'Bowler On Board'sign. She rifles through the contents of the overstuffedglove compartment. She notices her dog. MILLIE (under her breath) Get that outta your mouth!16 INT. BUZZ'S HOUSE, LIVING ROOM 16 THEO They suspended me. BUZZ Why'd they suspend you?Theo's eyes glaze over, the lights in the room dim, and Buzzseems to recede into the far distance.17 TV SCREEN - FLASHBACK 17In ultra-slow scan we see an image of two bowlers, one issmiling cockily to off-screen fans and waving, the other isTheo, his face filled with hate, winding up to smash theother man in the head with his bowling ball. THEO (VO) It wasn't really my fault.In the far background the hollow booming VOICE of a judgedelivers sentence. JUDGE (VO) The American Bowling Congress hereby suspends Theo Maynard Skinner from all professional bowling activities within the jurisdiction of the American Bowling Congress and its international co- signers... The ball mashes into the smirking mans head, causing it to snap forward. The judge's gavel BANGS and the crowd ROARS.18 INT. BUZZ'S HOUSE, LIVING ROOM 18Theo snaps out of it, the room lights come up, and Buzz leansin. BUZZ I got suspended when I was young, too. I was pretty cocky in my day. THEO They suspended me for 100 years. BUZZ 100 years! (knits his brow) THEO I can appeal in five. I was hoping you could help me Mr. Fazeli. BUZZ (uneasy) What do you think I can do? THEO (sweating slightly) I need a sponsor to get my sanction card back. Where I come from, you're the king. BUZZ Sure, around here, any fat old bald guy could be king. I'm nothing. It wouldn't do any good for me to talk to the Congress. (briskly changing subject) Hey, you thirsty? You like orange whips? THEO I've never had orange whips, I'm from Akron. CUT TO:19 INT. BUZZ'S HOUSE, KITCHEN 19Millie and Buzz are in the kitchen, talking in loud whispers.Millie fills a blender while Buzz cuts oranges. MILLIE He's the guy Buzz. BUZZ He's not the guy, Millie. Just whip the whips. MILLIE I looked in his car. He's got pictures of you, clippings, maps. BUZZ Bowlers don't go around killing other bowlers. He's only a fan, Millie. I'll give him some tips and an autograph and he's outta here. MILLIE You're in trouble, aren't you Buzz? You're doing something dangerous in that alley. BUZZ Millie, I know what I'm doing. MILLIE We should leave this town. I can't take this anymore. I'm not gonna let him kill you in my house.20 INT. BUZZ'S HOUSE, LIVING ROOM 20Buzz rejoins Theo in the living room. THEO Remember the finals in Akron in '59? You had a seven-ten split in the final frame. BUZZ Yeah, against that prick VanDeMark. THEO Ten thousand to one, but you pegged it. The toughest shot on the last frame. BUZZ That game was before you was born. THEO My mom was there. She told me about it. The 'Fazeli Split.'21 INT. BUZZ'S HOUSE, KITCHEN 21The blender is wailing at high speed as Millie throws in awhole box of laxative, a can of Drano and a jar of pills. Herhands are trembling.22 INT. BUZZ'S HOUSE, LIVING ROOM 22Millie walks into the living room with a silver tray holdingtwo orange whips; one thick and deadly, the other thin andsafe. There is laughter coming from both men. BUZZ And the irony is, thirty years later, that prick is bowling in the seniors on TV all over the world, and look at me. Ah well. The docs made me stop, on account of my ticker. (taps his chest) I don't really miss it, but then... (chokes up) ...I miss it.He spies Millie approaching with the tray. BUZZ Orange whip, nectar of the bowling gods. Thanks sweetie. Millie turns the tray so that Buzz takes the untainted whip. Theo takes the other glass. THEO Thanks. ZEUS Zeus is on the sofa, GROWLING and tugging at Theo's bowling bag. The bag rips apart and the ball hits the floor. ORANGE WHIP Theo brings the drink to his lips. The ball rolls across the room. BUZZ The ball rolls into Buzz's feet. BUZZ This your lucky bullet?Buzz picks it up and reads the writing on the ball. He snapsa look into the kitchen, seeing the empty Drano and laxativecartons. Buzz slams the drink away from Theo's lips. Thedrink explodes across the room. Buzz is up on his feet. BUZZ (with intensity) Where'd you get this ball? THEO (stunned - looks at the mess on the floor, then at Buzz) It's mine. BUZZ Who gave it to you? THEO Grace Skinner. BUZZ (astonished) Grace Skinner. Who's Grace Skinner to you? THEO She's my mom.Theo stands and takes the ball from Buzz's hands. Buzz is inshock, staring at Theo. BUZZ (regaining his voice) Who are you? Who sent you here? THEO I'm your son. You're a hard father to find. MILLIE Son? BUZZ (to Millie) Millie, please. (to Theo) I don't have a son. I think you better leave now young man. Buzz gestures towards the front door. THEO (calmly) Grace Skinner Fazeli, you must remember her?Buzz takes Theo by the elbow to eject him from the house. BUZZ I don't know no Grace Skinner. THEO (pulls his arm away) You knew her. You married her in 1963. MILLIE Married?Buzz grabs a large bowling trophy and waves it at Theo. BUZZ You're a bullshit artist, that's what you are. You got no right to be here! Theo yanks the trophy away from Buzz. THEO I got a right. You're my father. BUZZ I ain't nobody's father!Theo hurls the trophy at Buzz. He ducks and the trophy sailsinto a large glass trophy case. Broken glass and trophies flyeverywhere. MILLIE (noticing Zeus) ZEUS!Zeus is laid out cold near the spilled orange whip on theliving room floor. Millie hunches over her comatose poodle. MILLIE My poor baby! BUZZ (to Theo) You see what you did? (he picks up the ball) Take your ball and get out.Theo takes the ball and exits the house.23 EXT. BRIDGE - NIGHT 23Theo, bathed in sweat, practices his release form withobsessive determination. He is alone near the empty bridge.Sheila spies on him from behind the bridge control booth.Theo takes a long slug from a bottle of liquor. He hears amotor scooter start and ROAR off into the night.24 INT. 7-ELEVEN - DAY 24Theo stands at the self-serve island sipping coffee. A muzakcover of 'Raindrops Keep Falling On My Head' PLAYS. THEO (resignedly) 99 years, 241 days, (looks at his watch) 15 hours, and 20 minutes of no bowling. Alfie shuffles up to the self-serve island and begins wiping it down. ALFIE Find your bowler? THEO Yeah, but it didn't go so good. He wasn't the man I thought he'd be. Theo is trying to affix the lid on his cup, but his hands are trembling, spilling some of the coffee. ALFIE My father used to say to me "Never..." no, hmmm. "Always..." No, no... (puzzles) Ah! Love and hate are blood relations. THEO Maybe I should have left the ball in the car.25 EXT. BUZZ'S HOUSE - DAY 25Millie kneels on the front lawn patting dirt down on a littlegrave marked by a wooden cross. Theo walks up. MILLIE He's not here. THEO I'm sorry about Zeus, Millie. MILLIE (points to grave) This is a sign! Someone's coming to take Buzz away from me. I don't know if you're the guy or what, but I'm not letting it happen. I'm leaving him first. THEO I couldn't kill Buzz. I need his help. Theo helps Millie load suitcases into the trunk of her car. MILLIE Buzz Fazeli never helps anybody but himself. THEO He's my father, Millie. MILLIE He's no father to you.Theo lifts a box full of new bowling pins into the trunk. MILLIE Careful with that one. He won't tell me anything, but I know there's something strange going on over at the lanes. If you ask me, I'd say the old fart wants to die. THEO Where can I find him? MILLIE (looks at her watch) The Peter Pan.Millie gets into the car. MILLIE You tell Buzz I went to my sister's in Ronkonkoma. Oh, I'm sorry about trying to kill you last night, Theo. It was nothing personal. Millie puts on a pair of sunglasses and patches out in a cloud of gravel and dust.26 INT. PETER PAN DINER - DAY 26A blender WHIRRS. Sheila, in her waitress uniform, carefullychops something.She watches an indoor motocross rally on the diner's colorTV. 12-PACK, a hefty construction worker, sits at thecounter. 12-PACK Hey Sheila, how's that orange whip comin'? SHEILA (mimicking him under her breath) How's that orange whip comin'?THWAP! Sheila is dismembering a Ken doll with a big knife.She scoops the parts into the blender and switches from purŽeto frappŽ. 12-PACK So, I heard Junior busted out again?Sheila puts the glass down in front of 12-Pack with a THUNK. 12-PACK Hey Sheila, you can whip my oranges anytime. Sheila puts a Barbie head earring on her left ear. Buzz comes into the diner and slides into a booth. Sheila walks over with a pot of coffee. SHEILA Cup of joe Mr. Fazeli? BUZZ Yeah, and make it extra muddy, I didn't sleep a zee last night. Sheila fills a cup. Buzz lifts it to his mouth, his hands trembling. SHEILA You don't need coffee, Mr. Fazeli; you need a vacation. Sheila catches sight of Theo pulling into the parking lot. She puts a Ken head earring in her right ear. Buzz follows Sheila's gaze. BUZZ (groans) Some people will do anything for an autograph. Theo enters the diner and walks over to Buzz. THEO Millie left to stay with her sister in Ronkonkoma. BUZZ You know what a mixer ball is? It's like you, you come out of nowhere and upset things, scattering everything all over. Buzz grumpily waves at him to sit. THEO What are you doing over at the lanes that's so dangerous, Buzz? BUZZ You shouldn't listen to her, she's a nervous old Nellie. THEO She thinks someone's trying to kill you. BUZZ I couldn't pay someone enough to try to kill me. Sheila comes over to take their orders. BUZZ I'll have my usual please, Sheila. SHEILA Buzz Burger, side of 'cues. You haven't introduced me to your fan. BUZZ Sheila, meet...uh... (leans in to Theo, sardonically) I forget the name. THEO (uncomfortably) Theo. BUZZ Theo! This is Sheila Kastle, my partner's daughter. SHEILA (eyeing Theo up and down) You look like you're something on the lanes. BUZZ Theo's bowled on the tour. SHEILA Oh, a professional man. What'll you have? THEO What's your specialty? SHEILA Whips...orange whips. THEO Then I'll have the number four with one of your finest whips. SHEILA How do you want it? (their eyes meet) The eggs. THEO (discomfited at the blatant double entendre) Uh...over easy. SHEILA Coming right up.Sheila smiles and walks away. Theo watches her slink behindthe counter. BUZZ Watch out for that one. She's got a great average, but she's looking for a prince. And, believe me, she's (more) BUZZ kissed a lotta tadpoles. (looking Theo in the eye) Listen, I been thinking about your problem. I'm not the guy to sponsor you. It would be unethical. But, there is something I could do for you. (leans in, secretively) Putt-putt golf. THEO Putt-putt golf?Buzz pulls a golf ball from his pocket, flashes it and slipsit back. BUZZ It's the next level, the next dimension... (deep conviction) ...the small ball. THEO (in Buzz's spell) The small ball. BUZZ It's gonna be bigger than big. Think Europe. Think Asia. They don't have room for real golf courses in Japan. THEO (snapping out of it) Not for me. Miniature golf's for pansies. BUZZ If the Japanese are pansies, then pansies are my kind of people. Sheila steps over to the booth with their food. The Buzz Burger has three holes cut in the middle to make it look like a bowling ball. Buzz sees the two sleazeballs park their car and walk towards the diner. THEO (pondering the thought) Maybe I could bowl in Japan.Buzz stands up abruptly. BUZZ I gotta wash up.Buzz heads for the rest rooms. The door opens with a JINGLE. SID Three whips. To go. BREEZE When you get a chance.Sid and Breeze walk over to Theo's booth and slide in. Sid'smiddle fingers are taped to an aluminum splint. The BLENDERkicks into action. Buzz watches the group from the bathroomhall and tries to catch the conversation. BREEZE Hey, you still here? SID We're looking for Buzz Fazeli, seen him? THEO I don't know no Buzz Fazeli. BREEZE Look Sid, a Buzz Burger. The Faz's favorite lunch. Sid reaches for the plate. Buzz walks over to the booth and pulls his burger away from Sid. BUZZ Get away from that burger. BREEZE Sorry Faz, we didn't know you was here. SID Buzz, Mr. Kastle wants to talk to you. BREEZE (to Theo and Buzz) Are you guys bruddas?The booth party is silent for a moment. Theo LAUGHS. BUZZ No, we ain't brothers. SID You know why we call him Breeze?Sid puts a hand near Breezes left ear and blows into Breeze'sright ear. He makes fluttering motions with his hand as ifwind was hitting it. Breeze's face breaks into a smile as hepushes Sid away. BREEZE Hey, cut it out Sid, that tickles. I'm serious! You guys are related, right? THEO He's my dad.Buzz flashes a warning glare to Theo. Sid grabs some ofBuzz's french fries. BUZZ (slapping his hand) Get your own. BREEZE See that, toldja Sid. I knew I seen a resemblance. BUZZ Why don't you clowns get your whips and get lost. SID Look, Faz, Mr. Kastle was not his usual charismatic self today when he told us to tell you... (gazing artfully upwards and rubbing his chin) What was that he said...? BREEZE I remember, Sid! Mr. Kastle says he don't like no sticky fingers in the till. SID (exasperated) Pinhead! Don't just blurt it right out.Sheila comes over and PLUNKS down the three whips-to-go. BREEZE (to Sheila) Your pop said to put these on his tab. Sid gets up and jerks his thumb towards the door. SID So Buzz, let's skedaddle. Mr. Kastle is waiting. As Buzz gets up, Theo rises and steps between his father and the two sleazeballs. THEO I'm coming with you.Sid shies away from Theo, protecting his hand. BUZZ Easy. I got business to do, Theo. I'll come back and haunt you later. (drops a twenty on the table, pats Theo's cheek) Don't say I never gave you nothing.Buzz goes outside with a sleazeball on either side. Sheilatakes the twenty dollar bill. Theo grabs his jacket and makesfor the door. THEO (to Sheila) Do those two work for your dad or mine? SHEILA Mine, and they never tip.The sleazeballs hustle Buzz into the front seat of their carand patch out. THEO Do you know where they're taking him? SHEILA Yeah, Babylon. Buzz runs the lanes there for my dad. Everybody who has anything to do with bowling in this town answers to my dad. Theo splits.27 EXT. WOODS - DAY 27Junior is running at breakneck speed through the thick brush.Bloodhounds BARK. Junior slows down and drops to his knees,gasping for breath. He looks up to the sky. The camera pushesup to his sweaty, tortured face. JUNIOR (shrieks) SHEILA!28 INT. BABYLON LANES, BUZZ'S OFFICE 28MILES KASTLE lounges in a cheap chair behind Buzz's desktoying with one of those motorized wire balancing sculpturesthey have in airport souvenir concessions. He is a carefullygroomed middle-aged low-budget version of Hugh Hefner in anacrylic sweatsuit with 'Miles 'O' Lanes' embroidered on thefront. Sid and Breeze push Buzz into the room. Buzz is pokerfaced. KASTLE Buzz.Buzz nods. KASTLE (to Breeze) You got my whip?Breeze pulls the third whip out of a bag and gives it to him. KASTLE (motions to Sid and Breeze) Lose yourselves.Sid and Breeze leave the room. Buzz goes to a locker andbegins changing into a flashy MC outfit. BUZZ What's on your mind, Miles? KASTLE We've been partners a long time now, haven't we Buzz? BUZZ Seven years.Kastle pokes a straw into the whip and takes a long drag. KASTLE This scam we got going here was your (more) KASTLE brainstorm, Buzz. I admit, I thought it was a rotten idea, but I put up the scratch. (pulls a smile) And now we got a beautiful thing. BUZZ It's a beautiful thing. KASTLE A beautiful thing. And you know why Buzz? You know what we got? Buzz raises an eyebrow as he buttons his shirt. MILES We got balance.Kastle flicks the little wire man. It bobs and sways. KASTLE A partnership is a very delicate balance. But let's say something tips the scales, maybe one partner takes more than his share, then... Kastle tips the wire man off his perch. The little motor squeals pathetically. KASTLE ... oops. We got no more balance.Buzz looks on with narrowed eyes as he adjusts his cravat. KASTLE And look at that; both partners go down together. Kastle shoves the sculpture onto the floor, stands up, and crushes it under his heel. He goes over and puts his arm around Buzz. KASTLE Simple math, Buzz. (he holds up his fingers) Two plus two does not equal three. BUZZ Miles, I've always been on the square with you. KASTLE I'm sure you have Buzz. BUZZ Wish me luck.Buzz jogs out into a spotlight. KASTLE Break a leg... (sneers) ...partner.29 INT. DWARF BOWLING ALLEY 29APPLAUSE erupts as Buzz appears in the spotlight. The dwarfbowling alley is a pungently smoke-filled room peopled withshady, washed-up bowlers sitting in chairs behind a bowlinglane. The old-timers are shouting and pounding shots. BUZZ (over the PA) Greetings, ladies, gentlemen. (the place grows silent) My dentist told me this one the other day: How many bowlers does it take to screw in a lightbulb? AUDIENCE How many? BUZZ It takes three bowlers to screw in a lightbulb. One to hold the bulb, one to turn the ladder, and one to hold their balls. Thank you, thank you. Just throw money. CUT TO:30 EXT. BABYLON LANES - EVENING 30Theo drives through the full parking lot of Babylon Lanes. Hepulls around the back and sees dark figures slip into a backdoor. He parks his car, walks over to the now closed door.It's locked. Theo finds another entrance and sneaks in. Hecreeps his way through the darkened alley towards the soundof raucous partying. BUZZ (OS) Welcome to Buzz Fazeli's Dwarf Bowling, folks, where we bring you the finest in specialized bowling entertainment. THEO'S POV Through a crack in a door Theo can see Buzz standing in the spotlight. BUZZ I would like to draw your attention to the top of the lane. (a Casio drum roll PLAYS) Weighing in at sixty-nine pounds and standing exactly three feet - the diminutive dominatrix Teeny Weenie Tina the Terrible! The crowd CHEERS as the spotlight moves to Tina, a masked lady dwarf duded up in a combination black leather and cowhide western style S&M outfit. She CRACKS a whip and leers at the bowlers. They HOWL with excitement. BUZZ Don't be shy, folks!Tina straps into her customized skateboard. A drunkencustomer forks over a wad of bills, steps up and grabs holdof the mini-human projectile. BUZZ And - bowl 'er!Tina is hurled head-first towards the pins. The crowd goeswild. TINA'S POV The camera tracks low behind Tina as she crashes into the pins.31 INT. BABYLON LANES, BATHROOM 31Theo sneaks into an empty bathroom. He hears voices and ducksinto a stall. Sid and Breeze shove Buzz into the room. SID Seems to me like you ain't got much choice Buzz.Sid shoves Buzz over to Breeze, Breeze shoves him back. BREEZE You're between Miles Kastle and a hard place. BUZZ Aaay, hands off the tux!Sid checks under the stalls, sees Theo's feet and whips openthe door. SID The busyboy!Sid yanks Theo out. THEO Get your hands off me, you moron.Theo tries to free himself from Sid's grip. He turns to Buzz. THEO What the fuck is this? BUZZ What's it look like to you? THEO It looks like dwarf bowling. SID Very good, busyboy. THEO (with intensity) Dwarf bowling's illegal. SID (sarcastically) What are you gonna do, call the bowling police? BREEZE Heh, heh, heh. THEO You said it would be unethical to help me. You call dwarf bowling ethical! BUZZ I do what I gotta do to survive. THEO You have no right to call yourself a bowler. Buzz slaps Theo in the face. BUZZ I'm more of a bowler than you'll ever be. I deal with my own shit. I ain't asking anyone to bail me out. THEO I'm your blood. BUZZ You wish!Theo pushes Buzz up against a stack of boxes full of newbowling pins. Sid and Breeze hover behind them. THEO You knew she was pregnant.Buzz reaches inside a box and pulls out a pin. He waves itthreateningly at Theo. BUZZ What makes you so sure it was me? She coulda had lotsa bowlers! Theo rushes Buzz and grabs his arm. The two men struggle for the pin. THEO Don't say that about my mom! BUZZ I had a career. She wanted a little bowler of her own. Sid and Breeze leap into the fray, prying the two men apart. They wrestle Theo against a wall, pressing his face into the tiles. THEO Fuck you and fuck bowling. BUZZ That's a laugh. You're all strung out. You're a bowling junkie. THEO I don't need the stinking pro-tour. BUZZ You're dead without the pro-tour, and you know it. Get him away from me. Sid and Breeze punch Theo in the face. DISSOLVE TO:32 DWARF BOWLING ALLEY 32Theo is dragged through the dwarf alley crowd. He has bloodon his face. Half dazed, he looks up at all the distortedleering faces that peer down at him. The crowd cat-calls andlaughs at Theo.33 EXT. BABYLON LANES, PARKING LOT - EVENING 33Theo is thrown onto the asphalt. Sid kicks Theo. SID You shoulda taken our advice, busyboy.34 EXT. PETER PAN DINER - DAY 34Theo sits in his parked car outside the Peter Pan diner.Squinting in the bright light, he examines the cuts on hisface in the sideview mirror. He is looking scruffier. He seesSheila come out of the diner, start her scooter, and pull outinto traffic. He follows her.35 EXT. BRIDGE 35He follows the Vespa at a discreet distance as Sheila drivesover the bridge. The weather is windy and threatening.Thunder RUMBLES.36 EXT. MILES 'O' LANES 36Theo pulls in next to Sheila's scooter under the big neonsign for Miles 'O' Lanes Bowling Center. With a huge CLAP ofthunder and the SOUND of falling pins, the skies release apounding downpour.37 KEN AND BARBIE, MACRO C.U. 37Sheila's Vespa is parked in the handicapped space. The dollsare wired to the headset of the scooter. Large droplets ofrain roll down their faces.38 INT. MILES 'O' LANES 38Theo walks into an ultramodern eighty-lane bowling center,bowling bag in hand.A huge banner reads 'Mothers and Daughters Bowl FreeTonight!' The entire place is filled with pairs of moms andtheir daughters - bowling away in matching bowling attire. Athree year-old girl stands staring at Theo. THEO Hello. LITTLE GIRL Waaaaaaaaah!A mom grabs the little girl and whisks her away. Theo surveysthe alley and catches sight of Sheila bowling at the far endof the alley.39 LANE, SHEILA & LUNA 39Sheila bowls with LUNA, a 30-ish black guy dressed in a Miles'O' Lanes jumpsuit and wearing extensions in his hair. Sheilaprods her friend when she sees Theo. SHEILA Luna, that's the guy. I saw him do this spooky bowling rain dance on the bridge. LUNA Typical.Theo walks over. Sheila presents Theo with her ball. SHEILA Here Theo, it's the Fazeli specialty; a seven-ten split. Theo looks down the lane and sees the two pins standing. THEO I'm not here to - I can't...Sheila can't release the ball from Theo's now-paralytic grip. SHEILA (knowing nod) Bowling block.40 INT. MILES KASTLE'S OFFICE 40Kastle, Sid, and Breeze stare at a bank of video monitors,their faces illuminated by the screens. BREEZE Think he'll bowl it? KASTLE Nah, he won't do it. SID Weird, comes into alleys and doesn't bowl. KASTLE It's not an "Alley". I hate when people call it a "Bowling Alley", it's so common! I prefer "Bowling Center". BREEZE What's this guy here for, anyway? KASTLE Maybe he's here to pay his last respects. SID Someone gonna get kacked, boss? KASTLE If I find out Buzz is comin' up short on dwarf bowling, it's lights out for him and pink slips for you. Sid and Breeze look sideways at each other. KASTLE I hired you rent-a-thugs to keep tabs on the Faz. I want you all over him like a tent. Find out how that little weasel's ripping me off. Buzz Fazeli's gonna blow the lid off dwarf bowling!41 LANE, SHEILA & THEO 41The two of them sit together behind the lanes. THEO I came here to have a word with your dad. SHEILA What do you want with my dad? THEO Business. SHEILA Won't your father help you with that? THEO (shakes his head) Having a legend for a dad isn't all it's cracked up to be. SHEILA Your dad's one of the only nice people in this fucking town. My Dad is slime. Kastle walks over. Theo stands up and shakes Kastle's proffered hand. KASTLE So you're Buzz's boy. I've been expecting you. You hurt my feelings when you didn't come and see me sooner. THEO You know who I am? KASTLE Nobody sticks a finger into a bowling ball in this town without Miles Kastle knowing about it. You don't mind if I have a word with Theo, do you bunny? Kastle takes Theo by the elbow and pulls him away. KASTLE I heard you've been having a little trouble with the Congress. (waves at a mother/daughter couple) Theo pulls his eyes off Sheila. Kastle walks Theo past pairs of bowlers. THEO You might say I'm at the top of their shit list. KASTLE Maybe I can help you. (calling to a young bowler) Try a lighter ball, Penelope - you'll get hurt with that big ball, honey. (to Theo) I've seen tapes of you bowling on the circuit. You got Fazeli blood running through you. Your pop was a genuine talent in his day. THEO What's with the bad air between you two, Mr. Kastle? KASTLE (dismissive gesture) It's nothing, just a slight business imbalance. (to a seated mother) How's Gloria's thumb? MOTHER (OC) The blister's worse than last week. KASTLE No pain, no gain! Keep trying the ice. Chin up, sweetie. (turning to Theo) This place is a bowling oasis. THEO It's very...clean.They pause and Kastle waves to some bowlers. MRS. JACKSON (OC) Hello, Mr.Kastle. KASTLE Hello, Violet. How's my favorite 'bowlerina' doing? MRS. JACKSON (OC) 132, 154. KASTLE You keep that up Carmelita and one day you'll be a champion just like Mr. Skinner here. What do you think, Theo? Think Carmelita's got the stuff? THEO That's some pinfall. Almost a 133 average. Her ball's flat, she needs to work on her spin control. KASTLE That's right, didn't you have a slight control problem in a recent tournament,champ? (to Carmelita) Now go take out your "big four", darling. (to Theo) Come on, we're making her nervous.They continue walking. KASTLE I get them while they're young. Builds loyalty. MRS. JACKSON (OC) She hit it, Mr. Kastle! KASTLE (waving over his shoulder) Four or five years when a girl like that's bowling on the pro tour for Team Kastle, she'll pay a handsome profit on my investment. THEO And the dwarf bowling?They stop, and Kastle pulls Theo over to an enormous aquariumnear the lounge. KASTLE (making sweeping gesture) Think of this business like a big aquarium. You gotta have some sharks to eat the dirt at the bottom so the guppies can swim free at the top. (more) KASTLE Profits down there, philanthropy up here. (looks at Theo) Besides, it beats the pants off bingo. THEO Nice set-up. KASTLE If it springs a leak, it'll be because Buzz is making waves. THEO What if he wants to get out? KASTLE (chuckles) He's earned an early retirement. (sprays his mouth with Binaca) But enough about losers; Buzz Fazeli is history. Lets talk about your future. (puts his arm around Theo) I wanna show you something.42 INT. MILES KASTLE'S OFFICE 42Kastle and Theo stand in front of the huge bank of videoscreens. KASTLE Rac. R-A-C. Renovate, Automate, Computerize. That, my boy, is the future. One of the monitors shows a little girl bowling. Her ball moves so slowly it barely tips over the first pin. Kastle hits a key and the pins explode in an emphatic strike. The little girl jumps with joy. THEO What ever happened to just bowling? KASTLE There's a lot of competition for amusement out there. You gotta adapt to survive. THEO I like the sport the way it is. KASTLE A guy like you could breathe some fire into bowling. You got ambition like a...like a...blowtorch. You go for what you want and anything that gets in your way - PSSSHHT! - shish kebabs. (puts his arm around Theo) Maybe lady fate washed you up on my doorstep for your own good. (pauses for effect) I think I could help you, Theo. THEO (he's been waiting for this) How Mr. Kastle? KASTLE You need a sponsor; I have influence. I could sponsor you. THEO Why would you help me? KASTLE I like you, Theo. You bowl with soul.Kastle turns to his video screens. KASTLE But, now that you mention it, you could afford me one minor dispensation. Theo follows his gaze to the screen. KASTLE While you're in town, I need you to keep an eye on my daughter for a couple of days. Her big brother broke out of the mental hospital... Theo's eyes glaze over, the lights in the office dim, and Kastle seems to recede into the far distance.43 THEO'S POV - NIGHTMARE 43As running FOOTSTEPS are heard, the camera whizzes down adarkened alley towards the pins. KASTLE (OS) ...and I want someone watching out for Sheila while he's, uh, loose.44 EXT. WOODS - NIGHTMARE 44The heels of Junior's running feet. KASTLE (OS) Junior's a problem child. He has a thing about - JUNIOR (wails) SHEILA!45 INT. MILES KASTLE'S OFFICE 45Theo snaps out of it, the room lights come up, and Kastlepoints to her image on the TV screen. Sheila turns and looksup at the video camera. Theo and Sheila's eyes seem to meet.Theo freezes for a moment. THEO I could do that.As the two men shake hands, Sheila "flips the bird" to thecamera. KASTLE One thing, (pointing to Theo's mid- section) keep the meat in the freezer. CUT TO:46 EXT. HIGHWAY - EARLY EVENING 46Theo and Sheila blast along the dark roadway on her Vespa,Theo sitting behind Sheila. THEO (shouting above the engine) This is a vicious cycle. SHEILA I think that a motorbike is one of the last really free things that people can do. THEO Isn't this technically a scooter? SHEILA When I'm on my bike I feel like a wild person. (she looks sideways at Theo) Better than any sex I've ever had. THEO Kinda tough on the butt. SHEILA Everything has it's drawbacks. THEO Where did your brother escape from? SHEILA The mental hospital. THEO What does he do? SHEILA He follows me, he tries to have sex with me, and then they send him to the nut-hut for a while and then he gets out and then he follows me, he tries to have sex with me, they send him to the nut-hut for a while... THEO Whoa. SHEILA It's a vicious cycle. CUT TO:47 EXT. PARKING FIELD 47Sheila and Theo motor across an empty beach parking fieldtowards a lone station wagon. Swing-a-delic MUSIC drifts fromthe parked vehicle.47 EXT. STATION WAGON 47Sheila pulls up beside the wagon. She leads Theo towards agroup of partying people at the tailgate of the car; threewhite women, three white men and Luna. Luna pulls a rubberhookah hose out of his mouth and offers it to Theo. LUNA Hookah? THEO No thanks, I don't hookah. LUNA Theo, you ever do the 'Swing'?Theo shakes his head. SHEILA These guys all work at the alley, too. This is John, Susan, Jon, Suzanne, Jonathan, and Sue. Everyone welcomes Theo and Sheila. LUNA (screams) Dance Break!Luna throws himself into a wild body-whip as the music THROBSmassively.EXT. DANCELuna and Sheila do a wild jitterbug-derived Swing-a-Delicdance surrounded by weaving white folk.EXT. BARBECUEOne of the guys is on crutches, has a neck brace, a chestcast, and one arm in a truss. He stands by the barbecue andflips burgers with his one free hand. Theo walks over to him. GUY Hey man, howyadoin'?He wiggles his hand out of the end of his cast. Theo shakeshis fingers. THEO Don't tell me, John. JOHN Cool! THEO Theo. Howzitgoin. JOHN Hey man, welcome to our parking lot. Lemme give you some advice, if she asks you to dance, make sure her brother's not around. Somebody blew out Junior's pilot light, if you get my meaning. THEO How's that? JOHN I was doing the lambada with her and the guy freaks, he breaks my arm, tries to kill me. I swear man, the guy thought I was a pi–ata. If nobody else hadn't a been there, he wouldn't have stopped. He woulda killed me. Fuckin' guy man, just snapped. How do you like your burger? THEO (meets eyes with Sheila) Uh...over easy. JOHN (throws a blackened burger on Theo's styrofoam plate) I'll tell you one thing, you won't see me around that alley with that freak on the loose. Stay away from his ass - and don't play any of his fuckin' knock-knock jokes.Luna comes over to Theo and grabs him. They start to dance. LUNA Sheila wants me to show you a few steps before you two swing-a-delic. THEO (uneasily) So, you're the pinman around here? LUNA ...And one, and two, and yes, I am. But no one gets them working like Junior used to...and two, and one.. - they call him The 'Quasimodo of the lanes.' He's the best pinman there is.. and one and two...People used to say he got the machines working so well 'cause he lubricated them with blood...and two, and one...but people just love saying things about Junior. SHEILA Mind if I cut in? THEO No, not at all.EXT. DANCETheo pulls out his resin bag, powders up his hands, and goesfor Sheila. Theo and Sheila get low and nasty on the tarmac.Sheila turns and does the freak to Theo, rubbing her rear endinto his crotch. As Theo and Sheila dance over near John hemakes a throat slitting gesture across his neck. Theo's handsleave white prints on Sheila's butt. The Swing-a-delic funksso hard it causes spontaneous audience dance riots andstructural damage in theaters across the country. SHEILA You and your sideburns are the talk of the party, Theo. THEO The ladies in Akron call them thigh- ticklers. SHEILA Can I ask you something personal? THEO I'd rather you didn't. SHEILA Do you have a girlfriend? THEO Not while I'm in training. SHEILA Do you have a boyfriend? THEO (surprised) No. Do You? SHEILA No. Not at the present.EXT. PARKING FIELD - NIGHTSheila and Theo toast marshmallows over the barbecue as therest of the party dances in the background. THEO So this brother of yours is hazardous to the health of your dates? SHEILA Nobody in this town really understands Junior. When I went to family sessions for him I realized he was the sanest one in the family. Actually, he's the only one in this whole fucking town who knows exactly who he is and what he wants. THEO Unfortunately what he wants is you. SHEILA So, what about you? THEO Do I want you? SHEILA We'll get into that later. CUT TO:48 INT. MILES KASTLE'S OFFICE 48Alone, Kastle stares at the bank of video monitors and runs abattery powered fuzzball remover around his collar. Themonitors are deserted. Miles absently pans a camera over andthen sits bolt upright. On the screen he can see Buzz Fazeli,in a room at Babylon Lanes, surrounded by large piles ofcash, stuffing rolls of bills into hollow bowling pins. KASTLE (with rising anger) Why that filthy, slimey, double-crossing, misbegotten, two-faced, mangy, son-of-a- bitch bastard!The motor in the fuzz ball remover SHRIEKS as Miles squeezesit to death. It shatters in his hands.49 EXT. PARKING FIELD - NIGHT 49Theo and Sheila lie on the roof of the station wagon. "DevilWith The Blue Dress" by Shorty Long plays on the stereo. Therest of the party throws marshmallows at each other in thedistance. SHEILA Theo, what would you do if you couldn't bowl? THEO I don't know. It's all I ever wanted to do. SHEILA I wanted to be a motocross champion. My folks didn't really care what I did. Then Junior blew a fuse and I became their last hope. Most girls get ballet stuffed down their throats, I got bowling. I never understood how anyone could take it so seriously. I hope I'm not insulting you. THEO No, I'm fascinated. SHEILA Why were you suspended? THEO I used to be kind of wild. They used to call me the bad boy of bowling. SHEILA So you're hoping Buzz can get you re- instated? THEO Well, that was plan A. SHEILA What's plan B? THEO Plan B is your dad. SHEILA What do you think my dad's gonna do for you? THEO He said he'd sponsor me. SHEILA Ha! And what do you have to do for him? THEO Nothing. SHEILA Oh really? Nothing? My dad doesn't do anything unless there's something in it for him. THEO He asked me to keep an eye on you for a couple of days. SHEILA What? Be my body guard? (she laughs) Here's my body, Theo. Guard it. For my dad's sake. For your career. Sheila starts to unbutton her bowling shirt. THEO Sheila, please. SHEILA Come on Theo, what about plan C? THEO (looking worried) What's plan C? SHEILA Plan C... (opens her shirt, showing off her brassiere) ...is me.Sheila takes Theo's nervous hands and places them inside hershirt. THEO (torn) Look, Sheila, I really like you but... Sheila rolls on top of him, and plants a hickey on his neck. THEO (stopping her) Forget it, Sheila.50 INT. MILES 'O' LANES 50Kastle hurries through the darkened bowling alley. He stopsshort as a warning alarm begins to sound from somewhere deepwithin the building. Lane six lights up and comes to life.Kastle walks slowly forward. KASTLE Junior? Is that you, Junior? Don't be afraid. Where are you? I won't hurt you.INT. MACHINERY GALLEYKastle stealthily sneaks along beside row upon row of silentpin reset machines shining a flashlight in front of him. KASTLE Come on, Junior. Everyone's waiting for you, son. The beam of light catches Junior's face. He is crouched inside the machine at lane six. Jr. His face is cut and bleeding and his straitjacket torn and filthy. JUNIOR Needs lubrication. Lubrication. KASTLE We're having a party for you, boy. Cake and shish-k-bob, just like you love. Junior cringes away from the light. JUNIOR You made me hurt him!Kastle reaches into his pocket and pulls a gaudy digitalwristwatch from his pocket. KASTLE Look what I got for you.He holds the watch up in front of Junior. Junior lookscuriously at the watch. KASTLE Happy Birthday Junior!The watch begins to play an electronic version of "RaindropsKeep Falling On My Head." Junior's face lights up. JUNIOR Ooooooohhh.Kastle begins luring Junior out of machine number six withthe watch. KASTLE I have someone for you to play with Junior. JUNIOR Someone wants to play with me? KASTLE I have someone for you to play Blueface with Junior. JUNIOR Blueface! Blueface is my favorite.51 EXT. ROAD, SID & BREEZE'S CAR - DAY 51Breeze and Sid speed down a road in their damaged hulk. TheTENOR of Enrico Caruso can be heard from inside.51 INT. SID & BREEZE'S CAR 51Breeze drives. Sid gazes out the window. Enrico Caruso WAILSfrom the car stereo. SID Bowling used to be so pure, so...All- American. Breeze sings along with Caruso and pretends to conduct. BREEZE La da da dalala... SID (looking heatedly disturbed) I hate fuckin' opera. BREEZE How could you hate opera, Sid? Opera has all the drama and excitement of real life - to music! SID How do you know, you don't even speak Latin? BREEZE You listen to the feelings, not the words. SID You got an 8-track tape player on purpose, just 'cause you knew the only thing they had on 8-track was fuckin' opera. BREEZE It was a clearance.Sid seems to calm down. SID (wistfully) You know, Elvis bowled. BREEZE No kiddin'. SID Bowling was the most incorruptible sport. No megalomillionaires, no (more) SID gambling. And it was a safe place for kids, a place where the whole community could meet for some wholesome, clean fun. BREEZE (sympathetically) Sure, Sid. SID (becoming rabid) But not no more. Now people take advantage. Bowling ain't what it used to be. There's something evil spreading in this sport - like a big, gigantic, puss- ridden - BREEZE (getting excited) - canker sore. SID (apoplectic) Right, eating at the core, eating it's way out. It makes me sick!Sid starts pressing buttons on the tape deck SID How do you turn this thing off? BREEZE Wait! That's an aria!Sid and Breeze struggle for the cassette. The music DISTORTSinto a warbling gurgle of an aria. SID Gimme that!Sid yanks the cassette out, but the tape becomes tangled inthe player. He pulls at the endless yards of tape and throwsthe whole mess out the window.52 EXT. PETER PAN DINER - DAY 52Theo, wearing sunglasses and dressed in a jogging suitsimilar to Miles Kastle's, steps out of the diner with a bagcontaining four orange whips. He goes over to his parked car.Buzz walks up. BUZZ (in deadly serious) Theo, I want you to get out of this town. THEO I'm getting to like it here. BUZZ Did that porcupine say he'd get you back on the tour? THEO I gotta survive. BUZZ (shaking his head) He'll be a barnacle on your ass the rest of your life. THEO You got a better offer? BUZZ No... THEO I didn't think so.Theo takes a long drag from his orange whip. BUZZ Not for somebody who hit a man with his ball on national television. THEO (bitterly) That's right, Buzz, and you know when I did it? Last match, last frame. All I needed was one spare for the crown - and I get stuck with the seven-ten, the Fazeli Split. BUZZ You never even took the shot. You couldn't do it. Theo moves towards Buzz in a threatening manner. THEO (repressed fury in his voice) I was beaten on a shot named after my own dad. The moment passes. Theo turns and climbs into his car. He looks up at Buzz. BUZZ Look, kid, gimme a break. I'm an old man. (taps chest) I'm runnin' on a Delrin aorta. I'm finished - dead from my ankles up. THEO I couldn't care less.Theo starts his car. BUZZ You know what I think? You didn'tcome here to find a father. You didn't even come here forhelp. You just came here to take it all out on somebody. Wellit ain't gonna be me! Theo pulls out of the parking lot. Buzzyells after him. BUZZ (at the top of his lungs) I SHOULDA HAD MY TUBES TIED!53 EXT. KASTLE HOUSE, GARAGE 53The Kastle home is a huge nouveau riche Brady Bunch stylehouse with a large deck jutting over the driveway. The doorsare open on the spacious two car garage.Sheila has the headset of her Vespa disassembled. Theo walksup the driveway, orange whips in hand. SHEILA I don't think your new outfit suits you, Theo. THEO (flicking dust off the suit) Really? I kinda like it.He sits nearby. SHEILA Do you talk with your mom? THEO It's been awhile. She didn't want me looking for my dad. SHEILA My mom told me not to stay in this town. THEO So why do you stay? SHEILA I'm a credit card junkie. I went on a binge and my dad bailed me out. Now I'm trapped in his easy payment plan. THEO I bet you get to meet a lot of eligible bowlers. SHEILA Yeah, but they're all little wannabes. I'm looking for a professional man. THEO (he ponders the thought) I may not be a pro bowler, but I'm no amateur man. Sheila moves closer to Theo. SHEILA (touches his lips) How much would you charge me for the lips? THEO More than you could afford. SHEILA Come on, bargain with me. THEO I could let them go for ten. SHEILA (she pulls away, slightly) You professional men drive a hard bargain. I'm afraid I only have five on me. Sheila pulls out a 5 dollar bill. THEO (smiles) If you want a professional man, you have to be willing to pay for him.54 EXT. KASTLE HOUSE, DECK 54Sheila and Theo stand on the deck. Sheila scans the roadleading to the house with binoculars. THEO What are you going to do about your brother? SHEILA You're here. THEO What about the guy he put in the body cast? BINOCULAR POV The road is empty SHEILA Momentary relapse. Except for that, he's been making progress. Sheila laughs. Theo nervously pulls his collar up over the hickey on his neck. SHEILA Junior is like a faithful doggy. He loves his birthday so much, that every year, before we can go pick him up... BINOCULAR POV Kastle's car appears, driving hell-for- leather towards the house. SHEILA ...he breaks out of the hospital and comes home on his own. Here they come. She hands the binoculars to Theo, who immediately trains them on the road. SHEILA My mom once had an affair. When my dad found out, he had Junior kill the man. The body was never found, but I think Junior took him to the alley. Theo lowers the binoculars and looks at Sheila. THEO Then it's true, isn't it? About... SHEILA ...lane six. Yes.55 EXT. KASTLE HOUSE, DRIVEWAY 55Kastle's car comes belly-flopping to a stop in front of thehouse. Kastle climbs out and gesticulates wildly to thecouple. KASTLE (a loud whisper) He's here! Come on down!BLACKNESS INSIDE THE TRUNK KASTLE (OS) (muffled) OK, hats on everybody.SOUNDS of the group gathering outside can be heard. SHEILA (OS) (muffled) Dad, this is ridiculous. Just open it. KASTLE (OS) (muffled) Ssssh! Now real quiet. On three. One...two...three!The lid flies up and Kastle, Sheila, and Theo stand there,with party hats and party horns in their mouths. They allcheer and throw confetti. EVERYONE Surprise!Kastle takes a flash snapshot. Junior, lying on some foldedblankets in the trunk, looks at his family with a stunnedexpression. He is in a straitjacket. Junior's new watchbegins to PLAY "Raindrops Keep Falling On My Head". Hestruggles to pull his arm out, but can't. Kastle reaches into untie the straitjacket. KASTLE Steady boy, steady.Untied, Junior presses the BEEPING watch against his ear. Hisface breaks into a beatific smile. CUT TO:56 EXT. KASTLE HOUSE, PICNIC TABLE - AFTERNOON 56Kastle pulls shish kebab chunks off a skewer. He looks downto see that one of the chunks is a melted Ken head. He throwsit away in disgust. KASTLE I bet you didn't know that you and Junior have something in common, Theo: Junior can't bowl anymore either. Isn't that right Junior? Kastle SLAMS the ketchup bottle down on Junior's right hand. The table settings jump from the shock. Junior sits impassively, his face a blank. KASTLE See! No feeling. Tell Theo what happened to your hand, Junior. SHEILA After we eat, Dad. KASTLE He stuck it in the ball return machine when he was a kid. Crushed all the nerve endings. Junior starts stroking the ketchup bottle with his dead hand. JUNIOR It's not so bad. When I'm alone, it feels like someone else. Sheila grabs the bottle from Junior, opens it and pours some on her shish kebab. She leans over and whispers furiously to her father. SHEILA Do you have to get your hooks into every guy I'm interested in? KASTLE (whispers back, defensively) You're just like you mother! Always jealous! SHEILA That's why Mom ran away, because you had to control everything! KASTLE She ran away to be with that... (spits out his words) that Motocross champion. JUNIOR Your turn, Theo. Why can't you bowl?Sheila and Kastle sit up. THEO I don't like to talk about it. JUNIOR You're prone to violent outbursts, aren't you? THEO It depends. JUNIOR It feels good to let it out, doesn't it? Sheila leans over and whispers furiously to her father. SHEILA You're using Theo for your own deviant purposes! KASTLE Look who's talking! SHEILA Leave him alone! KASTLE Just because your mother signed part ownership of the lanes over to you, doesn't mean you have a right to tell me how to run my business! I can have my lawyers take that deed away from you like that. (snaps his fingers) Sheila and Kastle sit up. KASTLE Junior, how 'bout a riddle? JUNIOR (turns to Sheila) Sheila. Knock-knock.Sheila glances nervously at Theo. JUNIOR (impatiently) Come on Sheila, knock-knock. SHEILA Who's there? JUNIOR Junior. SHEILA Junior who? JUNIOR J'you-and-your-friend do it yet? (laughs) KASTLE (laughing) Fantastic! What talent. SHEILA (caustically) You still got the touch Junior. CUT TO:57 EXT. KASTLE HOUSE, CAKE 57A bowling pin-shaped cake with candles ablaze is presented toa seated Junior. He is wearing a paper birthday hat. The fourorange whips are arrayed around the table. KASTLE Make a wish, son.Junior stares into Sheila's eyes for several seconds. JUNIOR Same wish as last year.Sheila blows out the candles in a hurry. SHEILA It won't come true, Junior.Kastle places a gift-wrapped box in front of Junior and liftsthe lid. He reaches in and pulls out a huge, intricate claw-like arm-shaped device made of plastic and metal and coveredwith cables. KASTLE It's a bowling claw. You can bowl now, Junior. With the whole family. Junior beams at the group. KASTLE (puts one arm around Junior and one on Theo) Pretty soon everybody can bowl!The two sleazeballs walk up onto the deck and over to thetable. SID Hello Mr. Kastle. (nods to seated party) Junior, long time. I thought they locked you up and threw away the warden! BREEZE Is it true they blacked out the whole county giving you electro-shock? Junior looks from one man to the other, breathing heavily, his nostrils flaring. JUNIOR Knock, knock. BREEZE Who's... SID (interrupting) Don't do it Breeze! (to Junior) You ain't getting us into that.Kastle gets up. KASTLE Hey, enough fun and games. We have work to do. Come on Junior. Kastle heads for his car. Junior gets up and follows. The two sleazeballs tarry as Theo stands. SID (to Theo) If Junior thinks you're doing the bouncy- bouncy with his sister, he's gonna tap dance on your spleen. (pokes Theo in the side) BREEZE (pulls down Theo's collar to reveal the hickey) With cleats.The two men turn, laughing, and follow Kastle.58 EXT. KASTLE HOUSE, DRIVEWAY 58Kastle huddles with Sid and Breeze, Jr. stands nearbyfiddling with his new bowling arm. KASTLE Buzz has been moving the cash out in hollow bowling pins. Sid and Breeze throw sideways glances at each other. SID No! KASTLE I want you two to pick up Buzz and bring him to lane six. Junior will take it from there. JUNIOR (perks up at mention of lane six) I'm gonna play Blue Face! CUT TO:59 EXT. BABYLON LANES, PARKING LOT 59Buzz checks if the coast is clear and then stuffs boxes ofbowling pins into the trunk of his car. CUT TO:60 EXT. KASTLE HOUSE, DECK 60Theo and Kastle stand on the deck watching the sleazeballsput Junior into the trunk of their car. Kastle lights anoversized cigar and hands one to Theo. MILES Champ, as soon as you get back on the tour, we should do an instructional videotape. 'RAMBOWL' Theo Skinner teaches Power Bowling. You on the cover with a flame thrower. Kastle lights Theo's cigar and they puff away. KASTLE Theo, how would you like to be my new partner? THEO You already have a partner Mr. Kastle. Sheila walks over as the sleazeballs' car pulls out of the driveway. KASTLE I think Buzz is retiring soon. In fact, I think he's retiring tonight. Kastle pulls out a shiny gold credit card and holds it in front of Sheila. KASTLE Here, Bunny. Why don't you two go and do something fun tonight, on me. Sheila is lured to the scent of the plastic like a junkie to a fix. KASTLE One thing, stay away from the lanes. If Junior sees you two together, he'll swallow his tongue. She reaches for the card and Kastle snatches it away from her with a chortle. KASTLE What did I say? SHEILA Don't go near the bowling alley. KASTLE (enunciating clearly) Bowling "Center"!Kastle hands her the card and heads into the house. SHEILA It wouldn't bother you if Buzz was in danger, would it? THEO Nope, I couldn't care less. SHEILA I'm sure you wouldn't care if he needed your help, right? THEO Why should I help that old fuck. SHEILA (sarcastically) Yeah, what did Buzz Fazeli ever do for you? THEO Zip. SHEILA And besides, it's probably too late, anyhow. THEO (exhaling cigar smoke) Way too late. Buzz Fazeli is history. (goes to take another drag, then stops) Too late for what?She turns away. SHEILA Nothing. THEO Too late for what, Sheila? SHEILA You know how people with broken bones know when there's a storm coming? THEO You got any broken bones? SHEILA No, but something's gonna blow in this town. I can feel it. THEO Are you fucking with me Sheila? Is something gonna happen to Buzz? Sheila seems to be trying to tell Theo, but is unable. SHEILA (faltering) I can't tell you, Theo. THEO Why not? SHEILA I saw your eyes when you hit that guy with your ball on TV. THUNDER rumbles. Theo takes Sheila by the shoulders. THEO (gently) Tell me, Sheila. What are you afraid of? Sheila shakes her head. SHEILA I'm afraid you'll hurt him. THEO It's Junior, isn't it. SHEILA (starting to cry) I can't - I can't do it. (she looks up through her tears at Theo) He's my brother. THEO He's my father. CUT TO:61 EXT. BUZZ'S HOUSE - NIGHT 61Sid and Breeze's car sits in front of Buzz's house. 8-trackopera PLAYS on the car stereo. A man screams and glasssmashes.INT. BUZZ'S HOUSEP.O.V. shot running desperately through the house, knockingthings over, smashing things. We HEAR Buzz screaming interror. The scream is cut off. With a THUD, the camera fallsover and hits the floor. The golf ball rolls slowly intoview, and stops. Footsteps recede, a door slams, and a cardrives away. CUT TO:62 EXT. MILES 'O' LANES - NIGHT 62Theo and Sheila walk her Vespa up to the darkened alley. Theois wearing his own clothes again. The SOUND of a lone bowleris heard. Theo straps on his wristbrace. Sheila pulls outkeys. SHEILA These open the back door. Don't let him catch you behind the machines; if he does, you're trapped. I'll meet you at the bridge. Theo takes the keys. Sheila grabs his arm. SHEILA You don't have to do this. We could just cut out of here, go to Akron, or anywhere else. THEO (dislodging her hand gently) I'll be at the bridge.63 INT. MILES 'O' LANES 63Theo snakes his way along the rows of pin machines, towardsthe only light source - lane six. As he leans in to peerthrough the machine, a ball EXPLODES into the pins. Junior,wearing his elaborate bowling claw, is working himself into asweaty froth. Junior picks up his ball and sends it CRASHINGinto the pins. THEO Knock-knock. JUNIOR (stops and looks around) Who's there?Theo remains silent. JUNIOR (getting angry) Who's there! THEO Buzz Fazeli. JUNIOR NO. I SAY KNOCK-KNOCK! You say who's there. I say who's there and then you say who who. You're not playing right. (primly) Knock-knock. THEO Who's there?Junior walks towards Theo. JUNIOR Junior.Theo remains silent. JUNIOR JUNIOR! (boiling) You're supposed to say JUNIOR WHO! I'm going to have to hurt you. Theo and Junior circle one another. JUNIOR You shouldn't touch her. THEO No, Junior, you shouldn't touch her. JUNIOR Nobody touches her. Except me. I touch her. Sheila told me you played bouncy- bouncy with her. THEO What did your dad tell you to do to Buzz? Theo scrambles up the lane on hands and knees. Junior catches him, grabbing his ankles. JUNIOR He told me to play Blue-Face with Buzz. I like games. THEO (struggling to get away) What did you do to Buzz? JUNIOR You played bouncy-bouncy with Sheila, so I'm gonna play Blue-Face with you. (he grabs Theo's throat) THEO (hoarsely) I don't want to play.Theo stretches to get a nearby ball, but just can't reach it,by millimeters. JUNIOR To play, I press my fingers on a throat like this... (he presses tighter on Theo's windpipe) ...and then the mans face would go blue and I should keep pressing... (Theo's face goes pale blue) ...and I did and then he stopped moving and he didn't play anymore after that. Theo bends back a finger on Junior's hand. Junior lets out a HOWL of pain and releases Theo's neck. Theo GASPS for air. JUNIOR You didn't play fair. (stands up) You were almost blue.Theo gets his fingers in a bowling ball and brings it up tobash Junior in the head. JUNIOR Go ahead Theo, I saw you on TV. I'm your biggest fan. Junior offers Theo his unprotected head. JUNIOR (yelling) Come on Theo, GIVE ME YOUR AUTOGRAPH!Theo bashes Junior in the head with the ball. It bounces offJunior's head like a Nerf ball and rolls down the alley. JUNIOR Thank you, Mr. Skinner! Thank you!Theo desperately, but fruitlessly tries to get away. As hecrawls over the ball return trough, Junior puts his foot onTheo's head. JUNIOR I can have her,you know. (looks around and whispers) She's not my real sister. (he flashes a lecherous smile) THEO'S POV A ball pops up at the far end of the return and TRUNDLES rapidly towards Theo. The ball hits Theo's face with a POW. BLACK OUT We HEAR "Raindrops Keep Falling On My Head." THEO'S BOWLING SHOE ATTIRED FEET Being dragged down the lane. Theo comes to and looks down his body to see the empty lane. He looks up to see Junior pulling him towards the pin reset machine. The cut on Theo's forehead bleeds down the side of his face. JUNIOR (muttering) Lubrication.MACHINE NUMBER 6Junior pulls the dazed Theo into the pin-reset machine andpositions him under the pins. As Junior prepares themachinery, a control cable on his claw becomes fouled. Juniorbegins to thrash about as he tries to disentangle himself andhis malfunctioning arm. Theo rolls away as Junior's flailingreleases the machine. It comes slamming down on Junior justas Theo slips out of harm's way. He gets up and staggers awayfrom the machine. Junior's HOWL echoes across the lanes. Histwitching feet protrude from the maw of the device. Lane sixgoes dark. Theo limps up the lane. CUT TO:64 EXT. BRIDGE 64Theo drives up to the erect draw-bridge. He stops and getsout. The night is silent. THEO (loud whisper) Sheila! Where are you?Sheila pops out of the bushes and walks towards Theo. THEO (angry) You told Junior that we did it. SHEILA It? THEO It. Bouncy-bouncy. Fucked. He tried to squeeze my fucking head off. What did you say to him? When they reach each other, they stop. Sheila seems to weigh her answer. SHEILA I told him you were my boyfriend. THEO (very pissed off) What the hell did you go doing that for Sheila? We haven't even gotten naked yet! SHEILA We would have sooner or later. THEO Oh great! He tried to kill me! You knew he would go off if he thought I fooled around with you. SHEILA Did you - kill him?Theo paces up and down in front of the upright bridge. THEO How do you get this thing down? SHEILA Tell me what happened Theo.Theo backs Sheila towards the bridge control booth. THEO (glares at Sheila) You wanted me to kill him, didn't you? SHEILA (in shock) If he's not dead, he'll keep coming back. THEO He's dead Sheila. SHEILA I feel sick. THEO You should. SHEILA Are you sure he's dead? THEO I didn't stop to take his pulse.Theo boosts Sheila up the ladder to the control booth. Thehydraulic machinery of the bridge heaves into motion and thebridge begins to lower. Theo walks over to his car. Sheilajumps down from the bridge control booth and follows him. SHEILA Where are you going? THEO I think your brother may have already gotten to Buzz. He gets into his car. SHEILA Can I come with you? THEO I did your dirty work for you Sheila, now fuck off. Theo drives away leaving Sheila standing alone. She watches his car recede with a thoughtful expression, then turns on her heel. CUT TO:65 INT. THEO'S CAR - NIGHT 65Theo grips the steering wheel with white knuckles. He nodsoff at the wheel, the roadway through his eyes wavering anddistorting. He hits himself in the face in an effort to keephimself awake.66 INT. BUZZ'S HOUSE - NIGHTMARE 66The house is dark except for a light coming from the closedbathroom door. Theo cautiously makes his way to the door. THEO (whispers) Buzz? You alright?WATER is running inside. Theo twists the doorknob and opensthe door with a jolt. Junior lunges out of the dark, mangledand bloody with bowling pins sticking out of his chest. JUNIOR Don't you KNOCK?Theo SLAMS the door shut.67 EXT. BUZZ'S HOUSE - DAWN 67Theo jerks awake. His car is parked by the Fazeli house. Itis a clear, blustery day.A gust of wind pulls the screen door open, then SLAMS itshut. He gets out of the car and walks unsteadily towards thehouse.68 INT. BUZZ'S HOUSE, LIVING ROOM 68Theo walks into the house. The place is completely trashed.Theo picks up a golf ball from the floor. He makes his way tothe bathroom door and slowly turns the knob; then pulls back.He picks up a nearby bowling ball and holds it over his headas he reaches for the doorknob. This time, he thrusts thedoor open. The bathroom is empty. Relieved, he cradles theball in his arms. BALL Thick crimson red fluid trickles down his forearm, dripping off his elbow. Horrified, he pulls his fingers out of the ball. Blood streams out of the three finger holes. He drops the ball to the floor. He goes into the bathroom and turns on the sink faucets.INT. BUZZ'S HOUSE, BATHROOMWater runs as Theo manically washes the blood from his handsand arms. He rinses the blood from the holes of his ball andlooks up to the mirror. "NOK NOK" is smeared in blood acrosshis reflection.69 EXT. 7-ELEVEN PHONE BOOTH - DAY 69Theo waits through several rings. GRACE Hello? THEO Hello, mom? GRACE Theodore? Where are you? Are you alright? THEO I found dad. GRACE He's dead, isn't he. (pauses) Buzz Fazeli might just as well have died before you were born. THEO Mom, you know I had to do it. I just did it a little too late. GRACE You sure you're OK Teddy? You're not bowling are you? THEO I gotta go. Love ya mom.Theo hangs up the phone. Alfie shuffles over. ALFIE Did you hear about that bowler who got smeared? I saw them pull a body bag out of the alley. I heard he was kacked but good. They had to take apart the pin machine to get him out. THEO (stunned) The pin machine? ALFIE Just like Junior did the last time; lane six. All's I know is it's gonna be a closed coffin. My advice to you is to lay low. He puts on a pair of dark 7-Eleven shades, flips up his collar and skulks away.70 EXT. MILES 'O' LANES 70Theo pulls into the parking lot. The place is cordoned offwith day-glo yellow emergency tape printed with "BowlingPolice - Do Not Cross". A black bowling police van, its bluelight spinning, is parked in front. Bowling cops herd dwarfsand customers into the van. Mothers and daughters mill aroundbehind the yellow tape. A group of little people brandish"Right to Work" signs. Theo gets out of his car. The crowdmoves in as Kastle, hands cuffed behind him, emerges from thedoor. LITTLE GIRL There he is!Camera flashes POP all over the place. Two black-jacketedbowling cops step out behind him. They are Sid and Breeze. BREEZE Bowling police, step back, give him room. SID Nothing going on here, everybody stand back. Let him through, ladies. Ladies, please. As they start to move through the female throng, a little girl pops out in front of them, holding her ball. LITTLE GIRL Mr. Kastle, we know you wouldn't do anything bad. KASTLE Thank-you, sweetheart. (turns to Breeze) See that you pinheads! Character witness. (with sweeping head gesture) They're all character witnesses! (he sees Theo) Thanks to Buzz Fazeli, bowling is dead in this town! He KILLED it! The two officers hustle Kastle towards the van. Theo steps out in front of him. KASTLE (between clenched teeth) You fool, we could have done great things together! THEO Where's Junior? KASTLE He killed your stoolie embezzler father, and he's gonna kill you next! Sid and Breeze push him towards the van as the crowd's MURMUR increases. Kastle turns and yells over his shoulder. KASTLE (shouting) Lock your daughters up, ladies! Junior's out there! Mothers and daughters send out a cacophony of screams and scatter for their cars. The BP cops hoist Kastle into the back of the van. Sid slams the doors shut. The van screeches off, sirens wailing. Sid and Breeze walk up to Theo. BREEZE Sorry about your loss. THEO (shaking his head) I should've pegged you guys for bowling dicks from day one. SID You should probably hit the road. Go home. This place could get hazardous for your health. THEO So, Buzz was stooling for you guys. SID You call it stooling, we call it cooperating. Breeze looks under Theo's car. BREEZE Did you know you were parked in the handicap space? SID Kastle's daughter's been lookin' for you.Theo gets into his car and starts the engine. Sid and Breezepoke their heads in the windows. SID She told us you went after Junior to save your old man's hide. You got some balls goin' after that psycho. BREEZE Only problem is, you didn't put his lights out, you just got him mad. Then he took it out on poor Faz, God rest his soul. Theo patches out. SID Think he bought it? BREEZE I'd buy it!Sid chews his lip worriedly.71 INT. THEO'S CAR - AFTERNOON 71Theo nods off for a second and then snaps back. His eyes seemhypnotized by the lines on the road which seem to swim andundulate unnaturally. He nods again. And snaps again.72 EXT. PARKING FIELD - TWILIGHT 72Theo pulls up to the old party spot and gets out. He walksover the dunes and towards the beached station wagon. A hugeflame rises down the beach. A woman is visible in its light,tossing objects into the fire. Theo walks towards her.EXT. BEACH, BONFIRESheila is stripping Barbie and Ken dolls and tossing themonto the pyre. Each one goes up in an exaggerated WHOOSH offlames. She notices Theo when he steps into the light. SHEILA Once my father walked in on me while I was making Barbie and Ken do it. He freaked. I was seven. He took all my dolls away from me and cut them in half. He gave the top halves back to (more) SHEILA me. Then he made me watch him burn the bottom halves in the fireplace. Theo kneels down nearby and throws a Barbie onto the bonfire. It goes up with a WHOOSH. SHEILA I can see Junior's face in the fire.Theo puts his hand on Sheila's hand. She looks at him. SHEILA Why did you come back? THEO When I'm with you Sheila, I don't even think about bowling. Theo takes Sheila in his arms and kisses her passionately. She stops him and looks around nervously. SHEILA If Junior finds us, he'll kill us both. THEO I killed him once, I'll just have to kill him again. SHEILA You don't get two chances with Junior. THEO At least I'll die smiling.Sheila pushes him over. He falls backwards, her on top. SHEILA And you only get two chances with me.Sheila yanks her shirt over her head and tosses it away. FIRE The shirt CRACKLES and burns.She pulls Theo's head up to her breasts. SHEILA What's it gonna be, Theo?A Barbie's breasts blister from the heat. THEO & SHEILA Theo bends Sheila backwards, down on her back. She grabs the tail of his shirt, yanks it over his head and off his body. Sheila rubs her hands up Theo's back. SHEILA What's the plan, Theo?A Ken back bubbles and melts. Theo lifts Sheila's back offthe sand and works her jeans down her legs. SHEILA Say something, Theo. Give me something. A doll's legs catch fire. Theo stares into Sheila's eyes. THEO Plan C. From now on it's gonna be plan C. Both bodies throb and grind, their sandy hands sliding over each others' sweaty skin. THEO It's gonna be you, Sheila.They humpty-hump to the beat of "Scientist's"'DEMATERIALIZE.' We hear Theo and Sheila's stereophonicMOANING as a Barbie and a Ken doll collapse and vaporize fromthe blazing heat.We pan up through the flames, the MOANS increasing in volumeand intensity as they reach the you-know-what-we've-all-been-waiting-for. CUT TO:73 EXT. CEMETERY - DAY 73A coffin moves slowly forward as a solemn DIRGE plays. Thetop is in the shape of a bowling alley with a miniature blackbowling ball inscribed with "The Faz" at the head. Thepallbearers; Theo, Breeze, Sid, Tina, and two other bowlersplace the coffin on poles above the grave. A rotund priestsprinkles holy water. Sheila stands next to Theo, crying.(more)Theo wears a glazed look. The priest clears his throat with aloud AHEM. PRIEST (with pomp and vigor) Bowling! (pauses to reflect) Bowling is a little like faith. Every now and then, we are blessed with the ability and strength to send a full roller down.. (makes bowling gesture) ...and scatter those babies like nobody's business. And every now and then we end up in the gutter. (pauses and gets glum) Buzz Fazeli found himself in the gutter of life. Trapped in hook alley, throwing nothing balls. But before he left us for that pie alley in the clouds, he pulled himself out of that gutter. Buzz Fazeli died cleaning up the sport of bowling. Now he lies at peace alongside his lane brothers here in Bowlers' Field. (makes sign of the cross) He died so that we could bowl - with dignity. Millie, decked out in mourning black, lets out a wail, steps up and throws a bouquet of flowers onto the coffin. MILLIE (sniffles) I forgive you Buzz.Sid leans over to Theo. SID (in loud whisper) The Faz sure took care a her. (points to Millie, does the cash rub with fingers) Breeze makes a nasal GRUNT as he tries to suppress a snigger. Sid - trying to keep a straight face - elbows him. Sid and Breeze approach the coffin. Breeze pulls an orange whip out of a paper bag and carefully places it on the coffin lid. BREEZE Nectar of the bowling gods, Faz. SID See ya 'round Faz.Tina steps up to the grave with a handful of papers. TINA These are all your perfect games. (she drops scoresheets onto the coffin) Bowl with God, Buzz.Mourners sniff and cry. The coffin starts descending into theground. A stiff breeze scatters the scoresheets. Sheilanudges Theo who approaches and tosses a handful of soil intothe grave. THEO Maybe you were right Buzz. Maybe I did just come here to take it out on somebody. But, I had to find my father... The muffled BEEPING of "Raindrops Keep Falling On My Head" begins playing from inside the coffin. Theo's body jolts. He runs after Sheila who is walking towards her scooter. THEO Buzz is alive, Sheila.The two sleazeballs gaze surreptitiously at him as they walktowards their car. Theo grabs Sheila's jacket. SHEILA Theo, Buzz is dead. THEO I didn't come this far to bury a guy that's not my dad. He owes me. SHEILA (bitterly) Back to plan A. The vicious cycle all over again. Theo lets go of Sheila. SHEILA I've been trapped by Miles Kastle my whole life. She walks over to her scooter, and mounts it. SHEILA Now he's the one who's locked up and I'm the one who's free. If I gotta do this alone, I might as well start now. She revs up and peals out. THEO (yells) SSHHEEIILLAAA!74 EXT. CEMETERY PARKING LOT 74As Sid and Breeze walk up to their car, Theo catches up withthem. THEO Why is Junior's watch in that coffin? Something stinks around here. SID Your time is up, busyboy. THEO Who identified the body? SID The body was identified along proper Bowling Congress guidelines for processing a bowling related fatality. THEO I'm the next of kin. I should've seen him. BREEZE After we ID, we bury the body. Case and casket closed. THEO You tried to make it look like Junior trashed his place. Junior's underground in that coffin you dicks put him in. BREEZE It's splitsville for you.Sid and Breeze back away from Theo. THEO You faked my dad's murder. You used him! Where is he! Theo chases Sid and Breeze around their car. He catches Sid and grabs the middle fingers on his right hand. Sid howls. SID Ow! Ooh! No, please! Doc said I'd be back on the planks in a week! Show him Breeze! Breeze pulls a copy of "New York Bowler" from his pocket. The headline reads "RUB OUT!:BOWLING LEGEND KACKED BY DWARFSCAM KINGPIN" with a photo of Buzz Fazeli. SID It's official, you're an orphan.Happy now, busyboy? Theo stares at the newspaper. He letsSid's fingers drop.75 EXT. HIGHWAY - DAY 75Sheila speeds along, her Vespa maxing out at 30 mph. Frombehind her we see Theo's car approaching rapidly. He pulls upbeside her. THEO (shouting and pointing frantically) What makes you think you know me so well that you can give me an ultimatum? Huh? SHEILA Who said anything about an ultimatum? You want to find your father? Get a shovel and start digging. Hurry up, he's probably in Purgatory by now. Sheila makes a pathetic attempt to speed away from Theo. He moves up beside her again. THEO You're really pissing me off. SHEILA I'm pissing you off? I'm doing what I said I'd do. What the hell are you doing? What about your word? THEO My word is good, and it'll always be good. When did I ever give my word to you? SHEILA What about plan C? THEO Fuck plan C! SHEILA Your word is so good, you're never gonna give it to anyone. THEO You think I'm dumping you to get back into bowling. Well who's dumping who? SHEILA I'm not dumping you, I'm suspending you. THEO Sez you! SHEILA Suck my dick!She speeds ahead.76 EXT. HIGHWAY 76Theo THUNDERS along in his car. He listens to his SONG overthe stereo. Theo digs into his pocket and pulls out the golfball from Buzz's house.77 GOLF BALL 77The logo on the ball reads "PARADISE." THEO Paradise.The white ball fills the frame. THEO (OS) (whispers to himself) Paradise. HmmmmThe camera pulls back from the ball to reveal:78 INT. TROPICAL 7-ELEVEN - DAY 78Theo standing in flowery long Bermuda shorts, matchingairbrush Luau shirt and 7-11 shades. The woman behind thecounter looks like Alfie's twin. (It's actually Alfie indrag.) It's the same store as before, only with a tropicalmotif. Instead of bowling magazines on the rack, there's Mini-Golf Digest. ALFREDA examines the ball at arm's length,through her bifocals. ALFREDA You a mini-golfer? THEO Nope. ALFREDA Paradise, huh? Might be one of the new putt-putts off route 99. Theo turns to leave. ALFREDA Can I get you something for the road? THEO You have orange whips? ALFREDA Orange who? Not from 'round here, are ya? THEO No. I'm from Akron.79 EXT. BILLBOARD - DAY 79The billboard fills the frame. It reads "Paradise Putt-Putt",and underneath: "A heavenly experience." A motorized cheesy-looking smiling dwarf-angel swings a golden club.EXT. MINI-GOLF COURSEMiniature golf obstacles are bathed in the light of thesetting sun. The camera passes a huge cement centaursurrounded by astro-carpeting. WOMAN (OS) I just hold it loosely with both hands? MAN (OS) That's right, sugar, find the grip that's right for you. Then grasp firmly. The camera weaves past a five foot pink whale with a gaping green mouth leading onto a mini-green. WOMAN (OS) Grasp firmly. Then what? MAN (OS) Line up where you want it. WOMAN (OS) Yeah. MAN (OS) Now swing it out a little to the right... WOMAN (OS) Like this? MAN (OS) No, no, that's too far. Try a more gentle stroke. It's all in the stroke. Go ahead, now, honey - stroke. As the camera comes around the side of the whale, we see an elderly man in a fire hydrant red sports coat and white slacks hunched over a diminutive fiftyish woman. His back is to the camera and he is wearing a baseball cap with a plastic halo attached to it. WOMAN Strokin'. Here goes nothin'.She swings a club, sending a golf ball puttering into a cup. MAN Hole in one! You're the queen of stroke! WOMAN Yippy!Theo strides towards the couple. The man under the halo is(more)Buzz. He raises the club at the approaching Theo, keeping thewoman in front of him as a shield. The front of Buzz's capreads "I'm No Angel." BUZZ Get away from me! WOMAN Who the hell are you? THEO Hi Dad. WOMAN Dad? You said you was single. BUZZ We ain't married no more. THEO He says that to all his wives.As she tries to wiggle away from him, the club conks Buzz onthe noodle, squishing his halo. WOMAN (freeing herself - to Buzz) Geez Maynard, is he telling the truth? BUZZ Don't pay him any mind, sweetheart. WOMAN You're a nice guy, Maynard, but if you got two wives - I ain't into no polybigamy. Buzz is silent. He takes the club out of her hand. She steps away - startled - then turns and jogs away. Buzz throws down his club in a fury. BUZZ Goddam it! I was just about to make a love connection. You sure got a way with women. You show up, women get away. THEO (laughs) The whole world thinks you're underground. BUZZ I am underground.Buzz removes his damaged cap. THEO It could just as easily have been me in that box. BUZZ I told you to get lost. You forced yourself into this mess, so the mess accommodated you. Buzz straightens out and carefully remolds the bent out of shape halo. THEO What about bowling? BUZZ (takes a practice swing) Bowling died for me years ago. Besides, I'm a living dead legend. I'm a hero. THEO You're a scumbag.Buzz pats his hair down and slips the cap back on his head. BUZZ I'm a live scumbag.Theo digs into his pocket and retrieves the golf ball. Hetosses it to Buzz. THEO Nice knowing you, dad.Theo turns and walks towards his car. Buzz pauses and walksafter him. BUZZ So, eh, you never saw me. Right? THEO I never saw you. BUZZ Thanks, kid. (pause) Where are you goin' now? THEO I'm goin' straight. No more short cuts. Theo gets into the car. Buzz leans in the open window. BUZZ Listen, if straight doesn't work out, you come work for me. (hands Theo his card) Just make sure nobody's following you. Buzz's face is eerily lit by the glow of the sunset, his halo bouncing in the breeze. BUZZ I didn't mean that stuff I said. I was trying to keep you out of this muddle. I'm glad I didn't have my tubes tied. Oh, and by the way, I made a call for you before I - uh - retired. Buzz takes his card and scrawl on the back with a gold pen. BUZZ (hands the card back) You give Ed Klein of the American Bowling Congress a call. (taps the card) Tell him your Maynard's boy. He's expecting you, and he owes me. He'll getcha back in like Flynn. (pats Theo's cheek) Don't say I never gave you nothing. THEO (cracks a half smile) See ya 'round Maynard.Buzz backs away from the car as Theo peels out in reverse.Buzz stands and watches as Theo pulls away.80 EXT. MILES 'O' LANES PARKING LOT - DAY 80The sign has been changed to "SHEILA'S ALLEY." A sparklingnew badass super-chromed Vespa is parked in the handicapzone. The Barbie and Ken dolls are wired to the headlamp.They look incredibly worse for the wear. A parking ticket isnestled between them. Theo's car pulls in nearby.81 INT. SHEILA'S ALLEY 81Theo walks through the doors and into the alley packed withserious bowling types. As he walks towards the back of thealley, several bowlers stop bowling and stare at him in awe. LUNA Theo! Howya doin'?Theo walks on. Others greet the conquering hero. BOWLER Theo! Hey, Theo's back! TINA Hello there, stranger. LITTLE GIRL (still crying) Waaaaaaaaaaah!At the far end, we see Sheila, dressed in a fitted joggingsuit, bowling alone on her lane. Bowlers stop and hold theirballs at their sides. Sheila notices the whole alley issilent. Theo steps up to the lane, bowling ball bag in hand.As he straps on his wristbrace he peers down the lane andsees a seven-ten split; mule ears. CUT TO:82 BLACKNESS 82A loud ZIP and light spills in through three holes. Threefingers approach the holes, blocking out the light once more.With a POP, the fingers leave the holes and the ball hits thelane with a KLUNK.LANEThe camera races towards the pins along the maple boards.PINSTwo pins loom in the foreground, one at each edge of thescreen. The ball slams into the right hand pin in super slowmotion with a ROAR. Theo's eyes slowly close. The pin liftsand hurtles slowly across the frame towards its unsuspectingfellow pin. Theo's eyes open. With a reverberating EXPLOSION,the pin is taken out.83 INT. SHEILA'S ALLEY, THEO & SHEILA 83Theo turns to Sheila and takes her in his arms. SHEILA Very professional. THEO I am a professional man. SHEILA (touches his lips) Lips still for sale? THEO (nonchalantly) You bet. For five bucks, I'll even throw in the tongue. SHEILA (she pulls away, slightly) Can you change something this big?She pulls out a hundred dollar bill. THEO I don't know.Sheila stuffs the bill down Theo's pants. SHEILA You'll owe me.They smooch big time. One by one, balls drop to the lanesagain and pins start CRASHING. DISSOLVE TO:84 EXT. CEMETERY - DAY 84Alfie, hands trembling, lays a tiny wreath on Buzz Fazeli'sgrave. The headstone reads, "Maynard 'Buzz' Fazeli 'I NeverMet A Bowler I Didn't Like.'" A muffled watch beeper CHIMES"Raindrops Keep Falling On My Head." The camera pulls up toshow ten headstones laid out in a bowling pin set-up withBuzz's at the head. DISSOLVE TO:85 EXT. MINI-GOLF COURSE 85Buzz's silhouette against an orange sunburst sky. He wearshis halo hat. He takes a beautiful PGA-perfect slow motionfluid golf swing, connecting with a THWAP. As he followsthrough, divots of turf dance at his feet. MUSIC swells. Heholds the afterswing pose and gazes after the ball, off intothe distance. FADE OUT
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+                         SPARTAN                     a screenplay by                       David Mametcopyright (c) 2002by David MametFADE IN:EXT. WOODED HILLSIDE. DAY.We see the drawn face of a young woman. Camera tracks withher as she runs through the thick woods. She is exertingherself heavily as she moves up a steep hillside. She looksbehind her quickly, and continues.ANGLE, we see a young man, and then another, running throughthe woods, out of breath. They are dressed in filthy BDU's,and show several days growth of beard. The leader stops fora moment, and looks around. The two men separate.ANGLE, the  young woman, who has come to a small ledge, overa ravine.  She stops, panting, and bends over, to attempt tocatch her  breath. She looks around, and looks back, her backto a steep  wall, a steep drop before her.ANGLE, the first young man, having come up to the spotvacated by the young woman. In the BG we see his colleague.He looks down, and sees movement in the brush below him, inthe ravine. He starts to descend, and then looks up.ANGLE, the young woman, pulling herself up the steeprockface. The young man regains the ledge and looks up.Camera takes him around a bend in the ledge.Standing here we discover ROBERT SCOTT. He is somewhat olderthan the two men, he is very fit, also dressed in filthyBDU's. He is making a note in a small notebook, which hecloses. Now, the two men look across the ravine at the youngwoman, seen disappearing over a ridge.                       SCOTT                  (quietly)             ...you better catch her...The man looks around, and begins climbing up the rockfacebehind him, pulling himself up, hand over hand by the rootsof trees. Several feet up, he falls on his back. He tries towork himself to his knees and winces in pain. He looks toScott for help.                       SCOTT             ...your Dad's napping on the             sofa, your Mom's watching Let's             Make A Deal, and God is Dead.             What do you expect me to do...?                       YOUNG MAN                  (very weakly)             ...I'm tired, Sir...Sir, there's             no way...                                                              2.                      SCOTT            There's always a way...Don't You            tell me there's no way...A pause, as the man tries again to get to his feet. Scottlooks up at the young woman on top of the ridge and givesher a "hold" gesture. She stops, at his command. Scott nods,as if to himself, and then kicks the young man in the ribs.The man starts, his eyes grow, and he gets to his feet.                      SCOTT            How 'bout that? That's called            'Adrenaline'. You said you Wanted            In.He moves into the now-standing young man, and hits him, notheavily, but convincingly, several times.                      SCOTT            This is where you get in. The            mugger don't care. The shooter            don't care...get up...Or I will            beat you to death on this fucken            hill...Now: you better Catch her...He motions with his head. In the BG we see the young womannod, and begin running again. We see her, for a moment,breast a hill, and disappear again...ANGLE, on the young man, as he looks at Scott, empty, now,of self-pity, as if he just realized something.                      SCOTT                 (responding to his look.                 As if to say "That's right.")            There's nothing but the mission...The young man begins to climb the rockface.HOLD on Scott for a moment.INT. TRAINING FACILITY. DAY.A large, hand-painted sign hangs on the cinderblock wall ofthe rough building. It reads:                    These are the precincts of pain.                    A goddess lives here.                    Her name is Victory.In front of the sign walks the young woman we saw earlier.She is exhausted, she has a towel wrapped around her neck.Camera takes her to Scott, who is holding a cup of coffee,and making notes in the small notebook we saw earlier.                                                             3.She stands, waiting, as she finishes his note.                         SCOTT            Well done.                      YOUNG WOMAN (JACKIE BLACK)            A signal honor to work with you,            sir.                      SCOTT            Thank you, Sergeant.He starts away from her, and she raises her hand slightly,to indicate she has something more to say. He turns back to her.                      JACKIE BLACK            Sir: Day or Night. Black or White.            You reach out for me. "Black,            Jaqueline A. US 24191489."                      SCOTT            I'll remember, Sergeant.She nods, and walks off. Scott walks toward a mess tent. Heis joined by George Blane, a very military-looking figure ofan older man. He wears an informal fatigue outfit, mismatchedjacket and trousers, without insignia. Scott is greeted byhim, as they walk toward the mess tent. Scott shows thenotebook to Blane, and Blane refers from the notebook towhat we see are a group of eighty young men, in the messtent, two of them the men we saw on the hill. Blane takesthe notebook and walks off, as Scott enters the mess tent.ANGLE HIS POV, Scott enters the tent. Several of the youngmen react to him. He nods to them. Among them, we see theyoung man Scott berated on the hill, who rises and comesover to Scott.ANGLE, on Scott, who sits, as a uniformed man brings him atinfoil tray with some food on it. Scott takes out astiletto from his pocket, presses a button and the bladeemerges. He begins to use it to cut up his meat. The youngman from the hill, Anton, stands sheepishly near Scott, tillScott turns, acknowledging him.Anton takes a card out of his pocket, the size of a creditcard, old, creased cardboard: It reads, "Rogers Rangers,Rules for Engagement. 1782". There is a line drawing of aman with a musket, and we read, on the card, beneath it,boldtype rules for fighting guerilla style. Written on thecard, in old faded ink, "SGT. Anton, M. US. 3149584, UnitedStates Special Forces." The young man (Anton) shows the cardto Scott.                                                           4.                      SCOTT                 (of the card)            What's this then?                      ANTON            It was my father's, sir.                      SCOTT            He carry it Over There?As they speak, we see, in an insert, the printed rules -"Dated 1759". "Rule 4: Tell the truth about what you see andwhat you do - there is an army depending on us for correctinformation. You can lie all you please when you tell otherfolks about the Rangers, but don't never lie to a Ranger oran Officer".                        ANTON            Yes, sir.                      SCOTT            He come back?                      ANTON            Yes, sir. He did.                      SCOTT                 (nods. Pause)            Well, so.Scott pauses again. As he looks at the young man, who isobviously unable to express his gratitude, and sense ofoccasion.                      SCOTT            You carry that card, son. It            might save your life.                 (Anton nods)            ...You could use it to light a            fire, or something...Blane's Aide calls the men to order.                      BLANE'S AIDE            The Candidate Cadre will fall in            on the White Line...The men start to come to their feet, and leave the mess tent.                      ANTON            I just wanted to say, sir...That,            to meet you...                                                              5.                      SCOTT                 (rising, as he gives                 the Ranger card back                 to Anton)            You never met me. You've been up            for a week. You're seeing Snakes...The exhausted men come to their feet, and into a line. Theyare happy, and joking with one another. In the BG we seethose who failed the course, sitting apart, file onto a buswhich has just pulled up.ANGLE on a young man, who looks out of the window.ANGLE HIS POV. Twenty or so similarly exhausted men, withdufflebags, are being shuffled onto the bus.ANGLE, on the young man, Anton, as he exits the tent, whostands next to Scott, outside the tent. Scott stands next toan old, but pristine Mustang Cobra. He withdraws a smalldufflebag from the front seat, and looks up to see Antonstanding next to him.                       ANTON                 (looking after the                 departing, failed men)            ...I can't imagine how they live            with it...ANGLE on Scott. As he thinks a very brief moment, as ifreluctant to become philosophical, and then turns back to Anton.                      SCOTT            Make sure you can't imagine it,            cause, if you can, it's just one            step to doing it.Anton shakes his head, sadly, at the spectacle of the failedmen.                      SCOTT                 (pause)            ...they'll be back where they            came from by Morning, and all            this is just a Bad Dream.                      ANTON            My name is...                                                             6.                      SCOTT            Do I need to know?                 (pause)            If I want Camaraderie, I'll join            the Masons.                 (pause. Then, summing                 it all up:)            There's just the mission.Beat. Anton steps away.                      BLANE'S AIDE                 (as he glances down at                 his clipboard)            Congratulations on completion of            this evolution. I know you would            probably like some sleep, but I            do not think you'd mind sparing            ten minutes for Induction.The camera pans over the smiling faces of the eight veryproud young men.ANGLE on Blane and Scott, off to the side.Beyond them, we see the bus holding the failed candidates,filling up.                      BLANE            Thank you, Bobby.                      SCOTT            Not at all, Sir...                      BLANE            ...You going home?                      SCOTT            ...weather permitting, Sir...                      BLANE'S AIDE                 (in the distance. As                 camera tracks with                 Blane and Scott)            ...as I call your names:                 (he consults his clipboard)            Grossler, Anton...These two men steps forward.ANGLE, on Anton, nodding to himself at the proudest momentof his life.ANGLE, CU Scott, looking at him.                                                                7.Camera takes Blane and Scott into a cinderblock buildingwhich houses a shooting range. We see various housefronts,and storefronts, and targets. A long table along one wallholds a coffee urn. Blane draws two cups of coffee.Through the open door we see Anton and Grossler, smiling,entering the building. Anton comes into the room, and smilesat Scott.We see Scott look away, sadly. He shares a look with Blane,drains his coffee cup, crumples it, throws it away. Blanegestures to Scott, meaning, "Shall we begin?" Scotthesitates for a moment, and then nods.FOCUS.ANGLE, on Scott, in the BG, as Blane steps forward toaddress the two candidates.                        BLANE                  (over his shoulder, to                  an Aide)             ...would you bolt the door,             please...?Scott gestures to the Aide, "One Moment".                        BLANE                  (to the candidates)             ...are you tired, Gentlemen?                  (the two young men smile)             This is the completion of the             evolution:                  (beat)             Only one of you may join the             unit. The first man through that             door will be inducted.He gestures at a far door in the room.ANGLE, on Scott, as he looks at the candidates, as they getthe picture.Beat.                       SCOTT                  (to himself, quietly)             ...yeah...you wanted to know the             'secret knowledge'...CU Scott  as he looks, interrogating the   two men, weighingthem, as  they look at each other. Beat.   Grossler starts toadvance  on Anton, in a fighting crouch.   Scott gestures tothe Aide  that that was what he wanted to   see.                                                              8.The Aide lets Scott out of the back door.EXT. CINDERBLOCK BUILDING. DAY.Scott, showered, in civilian clothes, a lumberjacket andjeans, comes out of the building, carrying a small, yellowduffle-bag. He opens the trunk.He takes the yellow bag, and puts it into the trunk which wenow see contains woodworking tools - old levels and planesand saws. He closes the trunk. We see the young woman fromthe first sequence, now in civilian clothes, conferring witha colleague. She nods at him, and he responds. As he startsto get into the car. A squad of exhausted men is marchingpast. As they come to a halt one of the men turns in thedirection of Scott.                      DRILL INSTRUCTOR                 (to that man)            What the hell are you looking at?            There ain't nobody there...EXT. CONSTRUCTION TRAILER. DUSK.A young worker in a hardhat, by a large gravel pit, at whichwe find several earthmovers, idle. He is standing by a highchainlink fence topped with barbed wire.ANGLE HIS POV. Some half-mile away, the Mustang, heading inhis direction on a rough road. The young worker opens thelock on the chainlink fence and swings it open.We see a sign "McGarrity Construction Company" on the gate.The young man walks back toward a construction trailer. Wesee a red light blinking on a telephone on top of a littereddesk. The young worker enters the trailer hurriedly, andopens a cabinet which we see contains several assault rifles,and grenades. Another phone, its red light blinking, isfound in the cabinet. The young worker picks up this phonequickly.                      YOUNG WORKER                 (into phone)            ...Frontgate...We see his face grow serious, as he begins to write on a pad.INT. MUSTANG. DAY.Scott, driving, comes around a bend.                                                              9.ANGLE HIS POV. The construction trailer up ahead. We see theyoung worker come out of the trailer, and stand in the roadgiving a "Stop" signal to the car.ANGLE EXT. THE CAR. We see Scott bring the Mustang to a stop,and get, inquisitively, out of the car. We see the youngworker run up to him and hand him a sheet of paper. Scotttakes the paper and begins to read.He looks up, to ask a question of the young worker. We seethe worker begin to respond, his body language saying"That's all I know." As he starts to speak his words aredrowned out by the sound of a helicopter. Scott looks up.ANGLE HIS POV. A helicopter, flying low.ANGLE INT. THE HELICOPTER. A man in civilian clothes pointsout Scott, on the ground, to the Pilot. Through the canopywe see Scott and the construction canopy down below. Thehelicopter goes into a tight turn.ANGLE Scott. Above him, the helicopter goes into its turn,and begins to descend in a field some fifty yards away.ANGLE, the sheet of paper Scott holds. Is reads: "All hands."Over the throbbing of the helicopter, we see Scott givingdirections about the car, to the young worker. Camera takesScott to the trunk, which he opens, and from which heretrieves his gym bag. He hands the keys to the young worker,and takes off, running, to the helicopter.ANGLE, on Scott, as he is pulled up aboard, and thehelicopter takes off.ANGLE, over the worker, watching the helicopter disappear.INT. HELICOPTER. NIGHT.Scott, asleep. As the helicopter banks low over the CharlesRiver and Harvard College. A Crewman shakes him awake.ANGLE, EXT: the helicopter descends into the field of afootball stadium. A black suburban is waiting.EXT. BOATHOUSE. CHARLES RIVER. NIGHT.Seen through the windshield of a car.ANGLE, a black, government Suburban pulls outside theboathouse. We see scaffolding being erected outside the mainentrance.                                                            10.Scott and several types in suits get out of the Suburban,and proceed toward the door, over which is hung a large,paint-spattered drape. A sign on a stanchion reads"Temporarily Closed For Repairs".ANGLE, INT. THE BOATHOUSE. The group pushes through thedrape, beyond which we see several men in suits, holdingassault rifles.An older government type, MILLER, followed by an AIDE, walksup to meet the group, the Aide motions to the armed guardsthat Scott is to be admitted, that he is "okay". Millergestures to Scott that it will just be a moment. The Aidehands Scott a sheaf of papers, and leads him through theboathouse. We see the long skiffs up on their rests, theCharles River beyond.ANGLE on Scott. As Scott looks through the papers. Aroundhim we see communications equipment being hurriedly assembled.ANGLE INSERT. The top sheet shows a color photo of aphenomenally lovely redheaded girl in her teens. As Scotttalks, he leafs through the sheets to reveal several photosof her and a man, obviously her father, holding her hand.One is a print of a glossy magazine article.                      SCOTT                 (of the photo, nodding                 to himself, as he reads)            "...Betty Coed, has hair of red            for Harvard..."                      AIDE                 (of the top photo)            It's not current.                      SCOTT            Why not...?ANGLE on them as they arrive at a small equipment room.Through the door we see a young government type, Gaines, hissuitcoat off, his shoulder holster empty, being interrogatedby several colleagues.                      AIDE            It seems she got a makeover today.            We're working on it.He hands a small log book to Scott, and points to an entry.Scott looks down the entries, and glances up, now and then,at the man being interrogated.                                                          11.                      SCOTT                 (reads)            4PM. Cut n'Curl...                      AIDE            Gave her a crewcut, dyed it            platinum blonde...                      SCOTT                 (glancing up at the                 man in the chair)            Met with her boyfriend at ten.            Then...?The Aide shrugs, meaning, "That's it..."                      SCOTT            ...he's on Post until he turned            her over to the Nightwatch...?                      AIDE            He says he was...                      SCOTT            Who else you got...?Miller gestures to an associate, who comes forward, passingphotos to Scott, as Miller goes to look through the glass atthe young man being interrogated.                      AIDE            ...we got the boyfriend, Michael            Blake.                      SCOTT            ...where is he...?We are shown a photo of an Ivy League preppy chap around 18.He is on a sailboat.                      AIDE            Was not in his dorm last night,            we're shaking the trees...And...                 (Scott is passed                 another photo)            Professor Gerald Sloane, notably            chummy with his female students,            of which she was one. Weekend            home, Martha's Vineyard...                      SCOTT            ...for sure...?                                                             12.                      AIDE            Been there since Friday.We see a photo, obviously from a school catalogue, of ayoungish bearded man, in front of a blackboard. We seeMiller in the BG finish his meeting and turn to the group.                      MILLER            I'm light. I'm light, people...I            need another team on the            Professor, I need an overwatch            on the boyfriend...The Aide hands him a sheet of paper, obviously a roster.Scott, looking at the board. He puts down his head for amoment, and blinks his eyes, trying to clear his head.                      MILLER            You just come from the Cadre.                       SCOTT            Yes sir.                      MILLER            How long since you've slept?                      SCOTT            Not significant.                      MILLER            You take a team, and Bulldog.            Are you up for it?                      SCOTT                 (absently, as he looks                 over the materials he                 has been given)            Sir, "this Marine pisses av gas            and farts blackpowder, Sir."                      MILLER            Thank you for coming, Bobby.                      SCOTT            Are you kidding, sir...?An Associate comes over and hands him a piece of paper.Miller shakes his head.                      MILLER            I don't have the bodies. Call em            in...call em in...                                                             13.ANGLE on Scott. CU. As he watches the interrogation ofGaines in the next room. The young man begins to pick up hiscoffee cup, and we see that it shakes.ANGLE on Scott, as he gestures to Miller to look through theglass, at the young man being interrogated, who is now seento be wiping his brow, and shaking his head. The young mantries to take a sip of coffee, and spills it, inadvertently,down his shirtfront. Scott exchanges a glance with Miller,and walks into the equipment room, to the interrogation.The man being interrogated, the government type, Gaines, isin his early thirties. He is sweating and obviouslyfrightened. An Aide comes and stands by Scott.                      AIDE                 (whispering)            His post was Harvard Yard.            Harvard Yard, Northeast Corner,            Lowell House, across from her            dorm. Nightwatch relieved him            there, Midnight...ANGLE, on Miller in the interrogation room. Miller nods toScott, meaning "You know what to do."ANGLE on Gaines, as Scott enters, the interrogators stepback for Miller, who is obviously their superior. He motionsthem to continue.Camera holds Scott throughout the following interchange,with the suspect and questioners seen reflected in the glassof the door.                         INTERROGATOR            Once more:                      GAINES            She, uh. She had lunch with her            father.                      INTERROGATOR            Lunch with her father - you            seconded to that detail?                      GAINES            No, sir. I just had her.                      INTERROGATOR            "...you just had her..."                      GAINES            I. Uh...uh. I had her all day.            Tucked her in. At Ten. And she...                                                      14.                      INTERROGATOR            ...yeah, "she had a tiff with            her boyfriend..."                        GAINES            Yes. I...                      INTERROGATOR            Michael Blake -                 (he holds up a photo                 of a preppy fellow)                      MILLER            What was it about?                      GAINES            I think it was about her...her...                 (he makes gestures of haircutting)                      MILLER            Her haircut...                 (Gaines nods)            So it wasn't a serious...?                      GAINES            No, no.                 (pause)            No.                 (pause)            And then I,                 (he covers his mouth                 as he speaks)            I held the post until relieved...                 (he gestures at his                 notebook, as if to                 support him)Miller motions at Scott.                      MILLER            Well, then, we've got a little            problem.                      GAINES                 (shaking his head in denial)            I was there.                                                            15.                      MILLER                 (reading)            23.12 Hours, 19 May. Harvard            Yard, Northeast Corner, Lowell            House, reveals no Secret Service            Presence, neither this post nor            adjacent...                 (he looks through his notes)            ...a second tour, 23.30, reveals,            similarly...                      GAINES            I was there, Sir.                      MILLER                 (to Gaines)            Who's lying?                 (pause)            You or him?                 (pause. Gaines slightly                 averts his head.)ANGLE on Miller, who gives an infinitesimal sign to Scottwho steps forward and slaps Gaines across the face.                      SCOTT            You son of a bitch, I've got            fifteen years in, and three kids,            and you're gonna sit there, and            lie away my Pension...He makes a move toward Gaines.                      GAINES            I...                      SCOTT            ...don't you tell me you were            there...                      GAINES            I was On Post...                      SCOTT                 (as he moves towards                 Gaines seriously)            ...you lying swine...Don't you            tell me you were On Post!Miller gestures to a couple of the types who take Scott outof the room and sit him forcefully, in a chair...cautioninghim to stay still.                                                           16.Miller now stands by him.HOLD on Scott who uses the pause to review the documents heholds, the photos of the girl, of the Boyfriend, of theProfessor. He picks up another glossy magazine showing theredheaded girl - the caption reads "America is Seeing Red".                      INTERROGATOR            Shall I tell you what's gonna            happen to you, when we find you out?                      GAINES            ...I...                 (he gets up and walks,                 wearily, toward the                 windows, and turns)            I...Uh...                      INTERROGATOR            Were you fucking her...?                 (pause)            We're gonna find out...                      GAINES            No, I...um...                      INTERROGATOR            ...Where Is She?Scott turns, to Miller, who is seen, beyond the door, inconference with several government types.Scott leaves the room, and is seen, on the outskirts of theconference.                      MILLER            We've got until her Monday            Morning Class, and then it's            Meet the Press; and "Where is            she...?"                 (he shakes his head)            Who's got the Professor...? Where            is he...?                      AN AGENT            Martha's Vineyard.                      MILLER            Who's got him?                      AN AGENT            Jones and Shannon.                                                            17.Throughout this section camera holds Scott. As he looksthrough the file, the various photos, and notations, andtakes notes in as small pocket notebook, in which we alsosee the small cardboard card of "Rogers Rangers Rules ofEngagement".                      MILLER                 (to the group)            Wake him up, shake him up. He            don't want to talk...                 (he holds out his hand,                 and an Aide puts some                 papers into it)            Here's what we have him doing            with his Female Students, show            'em to his wife...The Photo...?                 (one of the agents                 brings in two photographs)            Here is the last known photo...of            the girl.HOLD on Scott, at the back of the group, taking notes. Wesee him holding several newsclippings. One of them shows thegirl, and the headline reads "America is Seeing Red."We see the photo blown up, of the ravishingly beautifulyoung girl with long red hair. It features a small, redenamel crescent earring. The second photo shows the samegirl, in the same pose, but now her hair is short andplatinum blonde and spiky. The agent opens two boxes andbegins distributing the photos to the group.                      MILLER            The lab ran it up, based on the            testimony of the beauty shop. We            have not told Boston or Cambridge            PD, nor have we...An agent comes up and hands him a sheet of paper.                      AN AGENT            The Professor...                      MILLER                 (to the associate)            You had him in his home...                      AN AGENT            Sir, we were in Error, we...                      MILLER            Where is he...?                                                             18.                      AN AGENT            Best guess puts him on his boat.            Last seen out of West Tisbury,            Martha's Vine...                      MILLER            Find him. Put the guard on him.            Get me an overflight.                 (generally)            I'm light, I'm light, people.                 (he points to an associate)            Shake the Trees. I'm light,            here...I'm 25 men light. Get 'em            in. Who's got the            Coastguard...What's the name of            his boat? Professor Gerald Sloane...An Aide comes in, hurriedly.                      AIDE            It's the boyfriend. He's moving...Miller points at Scott, who rises.                      SCOTT            I've got him...                      MILLER                 (coming over to Scott)            ...I've got two days to run in.            Before the Press wakes up.                      SCOTT                 (as he responds to the                 inherent request in                 Miller's voice)            Whatever it takes, sir...Miller nods his appreciation.Scott exits, and we HOLD on Miller giving orders to his group.EXT. HARVARD YARD. NIGHT.Two students, walking through the yard. They acknowledge auniformed security guard, who walks, with his back to us.A slight, Asian young woman, her arms full of books, walkstoward the camera, hurrying. She indicates something, backover her shoulder, and the guard, who is in front of thecamera, walking away, veers off in that direction.                                                             19.EXT. VESTIBULE, HARVARD DORM. NIGHT.A young man (MICHAEL BLAKE) is, furtively, working onjimmying open one of a set of mailboxes. He senses something,and turns.ANGLE HIS POV. The Security Guard (Scott) standing justbeyond a glass door, looking in at him. Scott enters, comingto camera.                      SCOTT            Could I see your hands, son...?The Boy, Blake, moves his hands away from his body, to showa screwdriver. Scott motions him away from the mailbox,which we see is in the process of being demolished. Scottreads the name on the mailbox.                       SCOTT            L. Newton.                 (pause)            You lose your mailbox key, Mr.            Newton...?                 (pause)                      BLAKE            Um.                      SCOTT            You a student here?                      BLAKE            Yes.                      SCOTT            Could I see some identification,            please...? Mr. Newton?                 (Scott takes out a                 walkie and begins to                 talk into it)            Ten-Twelve patrol, requesting...                      BLAKE            No, please...please...                 (pause)            Please, Oh, God.He starts to advance on Scott, who draws a nightstick, andkeeps him at bay.                      SCOTT            Calm down, Son. It's gonna be            what it's gonna be...                                                          20.                      BLAKE            One minute, could I please talk            to you for one minute...Look            look look: I broke up with My            Girlfriend...ANGLE EXT. THE VESTIBULE. The young Asian girl, now walkingwith a male friend, pass in front of the vestibule. Beyondthem we see Blake and Scott, as Blake motions to the mailbox,and moves to the mailbox and takes out a letter.ANGLE INT. THE VESTIBULE. On Scott, as he watches Blake takea letter out of the jimmied mailbox.                       SCOTT                 (of the letter)            Laura.                 (he rereads the                 nameplate on the mailbox)            Laura Newton?                 (pause)            Laura Newton? Is that 'the' Laura            Newton...?                      BLAKE            We broke up. Alright? Laura            Newton. They know who I am.                      SCOTT            Who?                      BLAKE            The Secret Service.                      SCOTT            The Secret Service?                      BLAKE            That's right, that's right. They            know who I am. You...They've            "cleared" me.                      SCOTT                 (gesturing to the                 jimmied mailbox)            They didn't clear you for this.                      BLAKE            You, you hear me out, and, if            you want to, Then...                 (pause)            Okay? Okay???                 (pause)                                                             21.                        SCOTT              I have to call it in.                        BLAKE              Please...please. Five              minutes...That's all I want.              Please. Please...She              would...she...                   (his face brightens at                   the new idea)              Maybe she's in her room!                        SCOTT              You tried the bell, you called              her...                        BLAKE                   (as it dawns on him)              Maybe she's ill...INT. CORRIDOR, HARVARD DORM. NIGHT.Blake and Scott, as they walk up to a door. Scott knocks onthe door.                        SCOTT              ...Mzz Newton...?                   (pause)              Mz Newton...this is Campus              Security...He begins to fumble with keys at his belt.ANGLE INT. THE ROOM. Several agents, obviously involved ininvestigating the room, wearing plastic gloves, stop. One,silently, unlocks the door.We   see Scott enter the room, "miming" using a key, and turnon   the light and look inside. We take him to her desk, wherehe   finds several photos of her and her father - and a noteon   he desk, reading "Dear Dad-Thanks for coming-signed %-)".We see the boy, Blake, out in the corridor, unable to seeinto the room.                        SCOTT              Mz Newton...?                   (pause)ANGLE, in the hall, as Scott and Blake stand there, a younggirl comes down the hall and stops, opposite her room.                                                             22.                      YOUNG GIRL            Hey, Mike. Sprised to see you            there.                 (smiles)            That was some Vicious Performance...She smiles brightly and goes into her room. Scott looks atBlake.EXT. HARVARD YARD. NIGHT.Blake and Scott sitting on a bench in the deserted yard.Scott holds the envelope and the letter, on which we seethis symbol %-) and begin to read: "This is a sham. Yourview of the world is not cockeyed, but corrupt. You cunt.And you deserve everything that is going to happen to you..."                      BLAKE            ...I was just...trying to            retrieve the letter.ANGLE, on Scott, as he looks at the letter.                      SCOTT            ...this is not very nice language.                 (pause, Blake looks away)            How old is this girl?                       BLAKE            She's...just turned 18.                 (Scott shakes his head,                 sadly. pause)            I was mad.                      SCOTT                 (of the letter:)            ..."everything that's going to            happen to her"...What was going            to happen to her?                 (pause)            You hurt her...?                 (pause)            Did y'hit her, son...?                      BLAKE            Hit her? No. I...                 (he gestures to the note)            I called her...I called her a            whore...I...                      SCOTT            Why...?                                                          23.The boy bangs his head. Scott, as he rises, brings Blake tohis feet.                      SCOTT                 (as if realizing "This                 is the question")            Where is she?                      BLAKE                 (as if the question                 had not occurred to                 him previously)            She must...she must...she must            have gone home...                      SCOTT            Why...?                      BLAKE                 (gesturing around, quietly)            Because the Secret Service, isn't...As they walk by a parked van, we cut inside the van. Wherewe see a Secret Service type. Through the windshield we seeScott gesture "Do Not Intervene."ANGLE, on Scott and Blake, as they walk down the near-deserted Mass Ave.                      SCOTT                 (of the sign on the                 letter,the "Picasso"                 sign, that is %-}. He                 turns the sign                 rightside up to show                 it is a 'cockeyed smile')            What is this sign?                      BLAKE            It's how she signs her letters.                 (smiles)            Cause she looks at everything            cockeyed...Like Picasso - she            said they called her "Picasso".                 (pause)                      SCOTT            Who called her that...?                                                             24.                      BLAKE            You know, her, her...                 (remembering)            He saw her yesterday! Maybe            she's...maybe she's with him!                      SCOTT            Why'd you fight with her, Son...?                      BLAKE                 (pause)            She, uh, she got her hair            done...She cut it off. She dyed            it blonde. I said she looked            like a slut...and...                 (pause)                       SCOTT            Beautiful young girl like that.            We've all seen her pictures.            What'd you care how she dyed her            hair?                  (pause)            What'd you care...? Why's that            make her a slut...?                  (pause)                       BLAKE            She...                  (pause)            Uh...                      SCOTT            She seeing another fella...?                 (as he moves closer, confidingly)            ...just between us. Off-the-            record, son...ANGLE, INT. THE VAN. We hear the conversation, and see thetape machine moving.                      SCOTT (V.O.)            ...I was young once, too.                      BLAKE (V.O.)            I...ANGLE EXT. THE VAN. Blake and Scott.                                                          25.                      SCOTT            I know that nothing hurts worse            than that. She seeing another            guy...?                      BLAKE            I...                 (pause)            There's this, um...Teacher...I            shouldn't, I, I shouldn't tell            you this: She...                      SCOTT            She sleeping with a teacher...?                      BLAKE            She says she isn't. I said she            looked like a slut. She wants to            fuck old guys, she should go to            The Regency. Go all the Way.                      SCOTT            The Regency, what's that?                      BLAKE                 (as if everyone knows                 this place)            S'the Club, by the Fenway...it's            like a joke at school, it's like            a rumor: this or that girl, made            a thousand bucks, went with a            businessman for One Night...            Look: it's a Lover's Quarrel. I            said something I regret. I sent            her a note which I regret, and I            assure, you, Officer. If...                 (pause)            If you would...ANGLE. From inside the windshield of the van we see, throughtheir body language, that Scott is "giving the boy a break",the boy is very thankful. Scott is admonishing him and theboy is contrite. Now Scott begins to walk away, and we seehim minutely, signal to the van, we see the driver of thevan pick up a phone and speak softly into it.ANGLE, Scott, walking down a sidestreet. The boy in the BG,we see the young Asian girl, take up a tailing position somehalf-block back of the boy, as a car glides to the curb. AndScott gets in.ANGLE, tight on Scott in the car, as he rubs his eyes,beyond exhaustion. The car pulls away.                                                          26.He gives several instructions to the young man driving, andthen leans back, eyes closed. He opens his eyes again, andwe see him mouth, insistently, "The Regency". The driver nods.INT. BOATHOUSE. NIGHT.As Scott enters. The activity is more widespread thanpreviously. An agent walks him into the fray.                      AGENT            No morgue. No hospital. No note.                      SCOTT            The parents?Agent, nods, shrugs.                      AGENT            The mother,                 (makes a "drinking" gesture)            You know where she is...He's            holding up...                 (as an afterthought)            He was in town yesterday. To see            her.                      SCOTT                 (as he shakes his                 head - to clear it)            He was?                      AGENT            ...we snuck him in, and out.We see Miller, in the BG, in a hurried conference, nod at Scott.                      MILLER                 (looking at a chart)            "The Colophon - 36-foot sloop".            Where is she...?They walk off, an Aide talking to him.                      AIDE            ...the Coast Guard has a watch            over this area:                 (he points to the chart)            And they have scheduled the            Colophon first...Scott and the Agent stop in front of the interrogation room,where we see the agent, Gaines, a guard over him. Gaines issitting, looking as if he had been weeping. The guardaddresses Scott and the other agent.                                                             27.                      GUARD            He copped to it.                      SCOTT            He copped to what?                      GUARD                 (of Gaines)            Off-post - punched out early to            go boffing his girlfriend.Scott shakes his head as if to say "How about that..." Theagent holds a photo of a very lovely Eurasian woman in abusiness suit, and shows it to Scott.                      AGENT            Hope she was worth it...                      SCOTT            Uh huh.Scott stands wearily, watching several large men beratingthe seated Secret Service Agent. An agent appears with atearsheet showing the ad for "The Regency Club". We see thead for exotic young companions, and the address is Boston.Scott gives instructions to the Aide.ANGLE INT. WASHROOM. Scott, having stripped off his shirt,is washing himself at the sink. The "Regency" ad, and adescription of the club is pasted with water to the mirrorbefore him. We read, in the mirror: "REGENCY. 243 CharlesStreet, Boston, Mass. Owners of Record..." Et Cetera. In themirror we see the Aide bring a fresh shirt and a tie toScott. Scott turns, as the door swings, and he sees, in theBG, ANTON, just entering the establishment.ANGLE INT. THE BOATHOUSE. A Swat team is laying out itsweapons and assault gear, on a long table.HOLD on Anton, who is standing, unassigned, and looking it.We see, on an improvised bulletin board, photos of the Boy,Blake, the Professor, and the Girl, blown up from anewspaper shot, and in various photos. As we watch an Agentwalks up with a box full of photos, and tacks one up on theboard. It is an altered shot showing the young girl withshort, spikey platinum hair.ANGLE on Scott, dressed in a clean shirt, a tie, as he takesa photo from the box. We see him put it next to the original,blonde photo, and look at both.                                                            28.                      AGENT            We ran it up from a description            of the colorist from the Beauty            Parlor...                      SCOTT            Gimme your coat.The Agent takes off his suitcoat, and gives it to Scott, whoputs it on.ANGLE, on Scott, as he holds the photos, and the Regencydescription. He walks toward the door, through the mass ofagents. He stops by Miller, who is on the phone, looking ata photograph of the Professor, as a tech hooks up a videofeed of a house on the water, the Professor's house. A photoof a sailboat is tacked up. We read 'The Colophon' on its stern.                      SCOTT                 (to Miller)            I need five thousand dollars.Miller gestures "Just a Moment", and then waves to an Aide,meaning "Do It".                      SCOTT            How long do we have? Sir?                      MILLER                 (shakes his head)            It hits the papers, and we're done.                      SCOTT            No...note? No...Miller shakes his head, he holds up the "Regency" note...                      SCOTT                 (nodding)            I've got it...                 (to Miller)            Can I have some backup?Miller, gesturing around the room, meaning "what you see iswhat you get". All the occupants of the room are engaged onsome task, save Anton, who sits alone on a bench. Scottlooks at Anton, who glances at Scott, trying to keep theappeal out of his glance, "Please take me".                      SCOTT                 (to Anton)            We're scraping the bottom of the            barrel here, aren't we?                                                             29.                        ANTON            Yes. Sir.Scott looks at Anton and shakes his head. He is summoned tothe front of the room by a young woman, who is putting cashinto an envelope. Scott comes over to her, and we see herfilling out a slip of paper. She hands him the cash in theenvelope, and the slip of paper.                      YOUNG WOMAN            I need you to sign it.                      SCOTT            You sign it.                 (He scans the room                 again, shrugs, and                 motions to Anton)            Come on, Wallflower...                 (Anton rises and walks                 over to him)Scott turns to Anton.                      SCOTT            Now: your mouth shut. Your eyes            open, and form on me...Here's            where we're going...There is the sound of a gunshot. Scott and Antoninstinctively take cover against the side of the building,drawing their sidearms.HOLD TIGHT on Scott. As he looks through the half-open door.We see several of the Swat men, taking up positions, one ofthem kicks open a door, and his partner enters. Pause. Wehear the partner call "clear".ANGLE, on Scott, as he re-enters the building, and proceeds,pistol out, toward the room.ANGLE HIS POV. On the floor, we see the dead Secret ServiceAgent, a pistol in his hand.We see Miller turn to his team. An Agent kneels to thefallen Secret Service Agent, and prods a small hideoutpistol from his hand. Scott turns to leave, and sees Antonstanding next to him.                                                            30.                      SCOTT            Don't look at him. Don't look at            the Downed Man. He's dead...                 (as he turns his back                 on the scene)            Kick the fool overboard...ANGLE on Anton and Scott as they leave. In the BG we seeMiller et al. Miller giving directions.                      MILLER            ...who is the girl he went to            see? Get her in...The girl he            was fucking...Who's got the            Coastguard...TIGHT on Anton and Scott as they exit the building.                      SCOTT            I'd hate to be the Lucky Duck            who frisked him...                 (beat)                      ANTON            He was off-post when they            snatched the girl?                      SCOTT                 (as he looks at the                 fallen agent)            Yeah. Well, apparently, he felt            bad about it...EXT. REGENCY CLUB. NIGHT.A garish neon sign, beneath which we see a couple exiting,getting into their limo. Scott, in his sportcoat, walks upto the large and threatening bouncer at the velvet rope tothe club. We see the bouncer bar his way, and gesture to hiswatch, meaning "closing up".ANGLE INS. Two one-hundred dollar bills are passed to thebouncer.ANGLE, Anton, in a cab across the street, looking on.ANGLE INT. THE REGENCY CLUB. Several well-dressed couplesare leaving. A group of raucous, drunk businessmen typespush past them. Scott walks up to the bar. The Bartender isbeginning to ring out the cash register. In the BG we see amanager eye Scott, and continue to direct the closingoperations.                                                          31.                      BARTENDER            Closing up...                 (he points to his watch)            Can't sell you booze after 3 AM.                      SCOTT                 (laying money on the bar)            No, no. I just came buy to pay            you that money I owe you.He gestures to the bills on the bar. The Bartender swoopsthem up, and gestures to the back bar, meaning "What'll youhave?" Scott points to a bottle of Bourbon, the Bartenderpours for him.                      SCOTT                 (as he drinks)            ...how about them Sox, huh...?                      BARTENDER            Yuh. Whaddaya gonna do...?                      SCOTT            "Curse of the Bambino".                      BARTENDER            ...that's right.                 (pause)                      SCOTT            Nice place you got here.                      BARTENDER            You from out of town...?                      SCOTT            Yeah, you know, actually, I was            just looking for my Daughter...                      BARTENDER                 (as he smiles)            ...that's what you're looking            for...?                      SCOTT            ...I. Uhh...                      BARTENDER            ...ask, because a lot of out-of-            town guys, come in, lookin,            someone else's daughter.                                                           32.                      SCOTT            No, I...Oh, no...                      BARTENDER                 (smiling)            You sure...?                      SCOTT            Abso, absolutely...He brings out his case, with the photo of the platinum-haired girl. The Bartender comes over and glances at it.ANGLE XCU on Scott as he looks incisively at the Bartender,who displays no flicker of recognition.                      SCOTT            ...girl like that been in            tonight...?                      BARTENDER            ...pretty girl...                      SCOTT            None prettier.ANGLE on Scott, who looks around the club. We see him eyeingthe lovely young scantily clad waitresses, who return hislooks with disdain. The Bartender, observing him, comes backto him.                      SCOTT            Yeah...I'm looking for a girl            like that...                      BARTENDER            ...You're sure it was your            daughter...? B'cause, a lot of            guys, come in here, guys your            age, go home with some...some            rather 'younger' girl...The Bartender smiles.                      SCOTT                 (as he leans forward)            Well, why would a, one of these            'younger girls'. What would they            want to do with me...?The Bartender leans close and hesitates. Scott takes outseveral more bills and passes them to the Bartender.                                                               33.He hesitates a second, as if to say   "You wouldn't fuck me,would you...?" The Bartender signs,   "I am your man", theBartender takes the bills and leans   close and whispers toScott, indicating someone over in a   dark corner.In this corner, as the lights are flicked up, we see ayoungish man in very expensive casual clothes, an American,dressed like Eurotrash, sitting talking with the man we sawearlier was the Manager. As Scott approaches, we see theManager, knowingly, drift off. Beat. The young man (ZIMMER)rises from the booth, and tugs himself into neatness, andstops, as if bemused by Scott.                      ZIMMER            'Howdy, Pard'.                       SCOTT            Hello. I wonder if you could            help me...                      ZIMMER                 (as he yawns and looks                 at his watch, as he                 pushes past Scott)            I love you, Baby, but the            season's over...Zimmer starts for the front door, and Scott falls into stepwith him.                      SCOTT                 (gestures at the Bartender)            ...my friend says that            you're...you're sort of a            'matchmaker'...                      ZIMMER            Izzat what he says...?Camera takes the two out of the front of   the club, whereZimmer tips the bouncer, who his putting   on his coat,preparatory to going away for the night.   Zimmer beginswalking into a parking lot, where we see   several run-downemployee's cars, and his, Zimmer's prime   Mercedes. Scotttags along.                      BOUNCER                 (as he walks away, to                 Zimmer, of Zimmer's car)            I put her back in your space...                      SCOTT            I was looking for a girl...a            young girl...                                                             34.                      ZIMMER            Aren't we all.                      SCOTT            My, my, my, my, my, my question            was: why would a young girl want            to go out with an older man like            me? And, if you could "answer"            that...He takes out money from his pocket. Zimmer begins to speakslightingly, dismissively to the 'hick'.                      ZIMMER            Look, Bub...Zimmer starts to open his car door. He turns back to Scott,and we see, Zimmer's POV, Anton, standing behind Scott, atthe doorway to an alleyway. Obviously backing Scott up.ANGLE CU, Zimmer reacts infinitesimally, to the sight of Anton.ANGLE XCU, Scott, sees him, and slams him against the sideof the car. Zimmer reaches through the half-open door, andcomes out with an automatic pistol in his hand. Scott kickshim in the stomach, Zimmer tries to raise the hand with thegun, and Scott throws him to the ground, the pistol falls onthe concrete.ANGLE on Scott as Anton emerges from the alley. Scottdirects him to drag Zimmer into the alleyway, near adumpster. Anton thrusts his hand into the car and starts toreach for the dropped pistol.                      SCOTT            Don't touch the piece, don't            touch the piece, don't touch the            piece, th'out your gloves on...ANGLE INT. THE SMALL ALLEYWAY. As Anton now pulls offZimmer's sportcoat, and begins emptying the pockets. Scottinterrogates Zimmer.                      ZIMMER            ...I think you broke my arm.                      SCOTT                 (as he shows the photo                 to Zimmer)            You seen this girl before...                      ZIMMER                 (of his arm)            ...I think it's broken...                                                          35.                      SCOTT            You seen her tonight...?Zimmer turns away from the photo.                      ZIMMER            ...I think it's...                      SCOTT                 (to Anton)            Pull him up...Anton pulls Zimmer to his feet. Scott puts a lock on Zimmerand breaks his arm. Zimmer screams.                      SCOTT            Now it's broken.                 (of the picture)            What's her name...?                 (pause. He strikes                 Zimmer in the face)            WHAT'S HER NAME...                 (to Anton)            Break his other arm...                      ZIMMER            I DON'T KNOW HER NAME...                      SCOTT            You don't know her name, then            who is she...?                      ZIMMER            Some, some 'girl'...                      SCOTT            Some 'girl', some 'pal' of yours?            Where is she Now...?Anton, tossing Zimmer's coat, comes up with a small medicinevial. He holds it up to Scott. Who takes it, looks at it,sniffs it. Pause.                      SCOTT                 (to Zimmer)            Oh no...                 (pause)            Oh no...this isn't Rohypnol...                 (pause)            Is it...?                 (pause)            Izziz Rohypnol? Is this "Rho"?                 (pause)            IZZIZ A ONE-SIDED CONVERSATION...?                 (to Anton)            Whatzisname?                                                            36.                      ANTON                 (looking at his                 driver's license)            Donny Zimmer.                      SCOTT            Donny. Donny: where's the girl...?                 (pause)            You dose her...?                 (pause)            Where is she? Donny...?Anton tossing Zimmer's clothes comes up with an envelope.Scott takes it, and leafs through many bills.                      SCOTT            ...what is this? Ten, what is it,            Fifteen thou...? For what...?                      ZIMMER            I never saw that girl...                      SCOTT            Oh, alright, then we've got to            let you go...ANGLE CU, Scott.                      SCOTT            Where'd you take the girl,            Donny...?                 (pause. Silence. To Anton)            You touch his piece?                      ANTON            No.                      SCOTT            Good.Scott gestures to Anton to let Zimmer go. Zimmer hesitates,knowing he must not move. Scott holds the photo to Zimmer'sface.                      ZIMMER            THAT'S NOT THE GIRL...THAT'S NOT            THE GIRL!                                                             37.                      SCOTT            That's not what girl...?                 (pause)            Where'd you take her...?                 (Scott points to                 Zimmer's pistol. To Anton)            Put your glove on. Pick up his            pistol. Two knees, the other            elbow,                 (he points to the head)            Mozambique...ANGLE XCU, Anton looking at Scott, to say "Really"?ANGLE XCU Scott, nodding back, "Really".                      SCOTT            You bet your life.Scott starts to walk away. Zimmer begins screaming.                      ZIMMER            Wait...Wait...Wait...EXT. NORTH END, BOSTON QUIET STREET. NIGHT.A large Mercedes is parked outside on the quiet street. Achauffeur reads the paper, he half turns, sleepily, at thesight of a man walking across the street.ANGLE Scott and Anton pulling up in a Camaro.ANGLE INT. THE CAMARO. Scott and Anton, as he turns off themotor. He looks over at Anton, who holds a piece of paper.ANGLE THEIR POV. A townhouse across the street. A largeMercedes in the courtyard driveway. Beat. Scott and Antonwatch, as a door starts to open.                      SCOTT            ...okay, then...Anton begins to respond, when Scott gets out of the car,motioning Anton toward the Mercedes.ANGLE EXT. THE TOWNHOUSE. We see a middle-aged Businessmancoming out of a side entrance, adjusting his clothes as hewalks. As Scott walks nearby - we take him to a garbage pail,where he retrieves a small black bag - that is, as used totransport dog shit. He walks up.ANGLE, on Anton, getting out of the Camaro. Behind him,around the corner, we see a dark van pull up. Anton motionsthe van to hold.                                                             38.ANGLE, on Scott. As he walks up toward the Businessman,holding the black bag. He whistles once or twice for his dog,and then turns to see the Businessman.                      SCOTT            ...beautiful night...                      BUSINESSMAN                 (nods)            'Less you got hayfever...                 (he gestures at the                 flowering trees)Scott walks up to him, and pushes him back into the vestibule.ANGLE TIGHT on Scott as he flicks open his switchblade, andholds his knife up to the Businessman's throat and whispers.                      SCOTT            ...you left something back inside.Beat. The Businessman looks frantically around, beyond himwe see Anton taking his Chauffeur out of the car. TheBusinessman turns to the intercom and pushes a button. Wehear a female voice answer, after a beat, "...yes...?"ANGLE on Anton, holding a machine pistol, behind a corner ofthe wall.                      BUSINESSMAN            ...I left my case inside.There is a beat. And the far door in the vestibule is buzzedopen. As it opens several men in Swat gear stream throughthe vestibule and up the stairs. Scott hands the Businessmanover to an Agent, who takes charge of him, and camera holdson Scott, standing, wearily, at the bottom of the stairs.He motions for Anton near him to hand him a cigarette. Antondoes so. Scott lights up. From the top of the stairs we hearscreams, sounds of breaking, yells, commands being shouted.Beat. An Agent comes to the top of the stairs, looks down,and shakes his head. Beat. Scott turns and finds thehandcuffed Businessman in his field of vision.                      SCOTT            ...they got some young girls up            there...?Beat. The Businessman, terrified, is silent. Scott holds outthe photo of the girl in the black hair.                                                             39.                         SCOTT               You see this girl...?                    (pause)The Businessman looks at the photo. Scott gestures at Anton,and passes the photo of Laura Newton to Anton. And thenlooks as if to say "In or Out?" Anton hesitates a moment,and then strikes the Businessman.                         ANTON               Did you See This Girl...?ANGLE on the Businessman, on the ground. Terrified. He looksback at Scott, as if unable to focus. Scott gives him a beat,nods, as if to say, "What would you expect", and starts upthe stairs.INT. WHOREHOUSE. NIGHT.Scott enters the vaguely Japanese modern establishment.Several Swat figures are being stood down. They sit, sharinga thermos of coffee. One of the Swat team nods to Scott, andmotions him to the direction he knows Scott wants to go.Camera takes Scott past a room where two female Agents areholding five young women, who are supervised, changing outof "escort" wear, and into jeans and sweatshirts,"streetclothes".ANGLE on Scott, as he enters what is obviously the "office"of the Bordello. One of the techs is sitting at a bashed-incomputer, he is hooking it up to another laptop. He turns toScott.                         TECH               ...she was trying to scrub the               thing...Beyond them we see Miller. And a very attractive European-looking woman in her forties. In a room beyond two bodyguardtypes are handcuffed, watched over by a Swat officer.Scott moves back to watch Miller interrogating the woman,the Madam, who speaks with a middle-European accent.                         MADAM               ...an escort service. There is               no impropriety, and there is no...                                                            40.                      MILLER                 (calling back to one                 of his techs, who                 consults a computer)            ...who is she?                      TECH            ...Nadya Tellich, Serb. Green            Card, in...Miller waves the rest of the information away. Miller showsher the photo.                      MILLER            Have you seen this girl...?                      NADYA            We see a lot of girls. They apply.            For the job, as Hostesses...ANGLE on Scott, who stands by the Tech, who is trying toreconstruct the broken computer. It prints out a file, onwhich we see photos of various faces. Each girl holds aplacard with a number on it.ANGLE on Anton, who looks down.ANGLE HIS POV. The wastebasket. In the BG we hear Nadyagoing on about the benefits of working as a Hostess. Hemotions to Scott.Scott squats to the ground, and pours out what are revealedto be several polaroids of beautiful young women. He useshis knife to rearrange them without touching them. They arenow alighted and we see the numerals twelve, thirteen,fifteen, on placards which they hold up.ANGLE on Scott, as he walks back into the interrogation room,holding the sheet printed out by the computer.                      NADYA            ...a contact for Personal            Services...They pay us so much            for each call, and...The girls            pay us! We are just a -                      MILLER            They show you proof of their age...                      NADYA            Of course, of course, I...you            think I...What do you think, I...                                                           41.                      SCOTT                 (showing her the printout)            Where's Number Fourteen?                 (pause)                      NADYA            ...I don't understand you.                      SCOTT            ...where's Number Fourteen?                 (pause)                      NADYA                 (pause)            I want my Lawyer...Miller takes the photos of Laura and shows the platinum-haired one to Nadya.                      MILLER            ...is this the Girl? Is this her?            Was she in here?                      NADYA            I, wait, I no...I...I want to            talk to my lll...                       MILLER                 (of the platinum-haired                 girl)            Izzat her? It's her, isn't it.            She was here. Is that her...?ANGLE, on Scott, as he steps away. He takes us through theWhorehouse. In the adjacent room we see a bank of videomonitors, showing people in various sexual activities. Onthe screen for a moment comes the face of what looks like avery young girl indeed, camera swerves onto the face of theBusinessman we saw outside the Whorehouse, he is disrobing,...                      BUSINESSMAN (ON TAPE)            ...come over here, you little            bitch...That's right, get your            sweet ass over here...ANGLE on Scott. As he looks to the Businessman, himself, whois seated in a chair, presided over by several agents,forced to watch the video. He turns his head away.                      SCOTT                 (to an Agent)            Make him watch it.                                                             42.One of the agents turns the Businessman's head brusquely back.                      BUSINESSMAN            I...I...listen...listen: I'm a            wealthy man. I am, I am not-            without-friends in, in the            Administration...                 (he takes out a                 business card and hands                 it to Scott)            ...whatever it takes to...                      SCOTT            This here, sir. This is a piece            of cardboard.Scott holds the card. He shakes his head sadly. Scott nodsto the Interrogator and Scott throws the card into theBusinessman's lap.                       INTERROGATOR                 (as the Businessman                 starts to look away)            Don't you look away, you son of            a bitch...                 (he forces him to watch                 the video)ANGLE CU, on Scott, as he looks disgusted. Anton stands onone side, looking to Scott for a cue as to how to react.                      BUSINESSMAN            I...I...I...                      SCOTT                 (stepping in)            "I-I-I" - What are you, Carmen            Miranda...?He holds the photo of the platinum-haired Laura Newton.                      BUSINESSMAN            I...                 (he draws Scott close,                 turning from Anton to                 the "good" cop)            Listen to me: I cannot. Be caught            here. You write an amount on a            sheet of paper...write it on my            card...                      (MORE)                                                          43.                      BUSINESSMAN (CONT'D)                 (he takes out his                 business card and hands                 it to Scott)                      SCOTT            No, Baby. Today we got the Barter            System. And you best pray to God            you got something to trade...                      BUSINESSMAN            I...I...                 (he takes out his wallet)                      SCOTT            IT AIN'T MONEY. YOU SICK FATCAT            FOOL. WHERE IS THE GIRL...?                 (he slaps the                 Businessman, and Anton                 pulls him off)            LEAVE ME ALONE, I'LL GET THE            TRUTH OUT OF HIM...                 (he picks up the man's                 business card)            Come in here, try to buy me off?            I've got Three Daughters...Anton succeeds in pulling Scott off the Businessman. Hedrags him around a corner. We see the terrified Businessmanin the background, as Anton tries to reason with Scott.                      ANTON            ...maybe we'd...ANGLE, on Scott, now appearing transformed, and easy. Hegestures "shusshh" to Anton, meaning "It is all an act". Inthe BG we see the Interrogator browbeating the Businessman.                      SCOTT                 (as he looks down at                 the Businessman's card,                 and shakes his head.                 He moves back toward                 the Businessman,                 terrifying him)            ...I thought when you wanted to            pet little girls, you picked on            your Daughter...Ain't that what            you rich people do...now you            step off the Reservation and you            want to buy me?                      (MORE)                                                          44.                      SCOTT (CONT'D)                 (he shows a photo of                 the platinum-haired                 Laura to the Businessman)            Where Is This Girl...The Businessman is terrified. He looks around the room in panic.ANGLE on Scott, as camera takes him to where the FemaleAgent is interrogating the Young Whore. Anton follows.                      YOUNG WHORE                 (looking at the photo                 of Laura Newton)            I...She was sick...she was Not            Very Well. She came in            here...and...and...                      FEMALE AGENT            ...who was she...?                      YOUNG WHORE            I dunno...some young girl. I            dunno...They took her, I told            Nadya, she shunnt be here, they            took her...                      FEMALE AGENT            Who took her?                      YOUNG WHORE            I think that was her.                      FEMALE AGENT            Was she here?                      YOUNG WHORE            I think that's the girl...they            took her. The two, two            men...they...                 (she draws the Female                 Agent closer, frightened)            ...they gave her a shot...ANGLE on Scott, as he turns back to Nadya.                      NADYA            I am entitled to my rights, and            I am entitled to a phonecall to            my lll...                                                             45.                      SCOTT                 (brusquely)            Your lawyer ain't going to help            you...want to guess 'why'?                 (he looks to Miller,                 who nods, "Go ahead".                 he takes the photo of                 Laura with the red                 hair, sharply, from                 Miller and shows it to Nadya)            Y'understand the picture...                      NADYA            ...ohmigod...ANGLE on Miller, as he beckons Scott. Anton starts to comeand Miller signals him to stay behind.                      SCOTT            He's with me...Miller nods and the three walk out of the room.ANGLE on Scott, as he and Miller retreat behind a door. Beat.                      MILLER                 (as it dawns on him)            They don't know who they've            got...they just snatched "some            Young Girl". When they find out,            they're going to have to...Scott moves back to Nadya.                      SCOTT            She was here. She was here, where            is she...? WHERE IS SHE?                 (Scott thrusts the                 Laura Newton photo at her)            She was here -                      NADYA            ...I...I don't know if this is            the...                      SCOTT            She was here.                 (pause)                                                           46.                       NADYA                  (very softly, as she                  looks around, broken,                  for sympathy)             ...they'll kill me.                       SCOTT             Who did you call. How did they             know, to come get her?                       NADYA             I...it's just a number, I...Miller pushes a pad of paper and a pencil across to her.ANGLE TIGHT on Scott. As he looks on. Beat. He nods, as ifto say "We're getting there". There is the sound of a phoneringing, and an Agent comes in, and beckons Miller, whowaves him away. The Agent indicates, "No, you have to takethis call." Miller steps back from Nadya, not wanting tobreak the mood, and moves toward the phone. Scott moves tostand by the girl.ANGLE on Scott as he pushes the paper toward her, again,forcing and willing her to put down the number.                       MILLER                  (softly. To phone)             ...hello...INT. FOOTBALL STADIUM. NIGHT.A helicopter is settling onto the playing field.ANGLE. Two men getting out of a Suburban, across the field,run toward the helicopter.ANGLE, a powerful-looking older man in a suit, BURCH, stepsdown from the helicopter, and an Aide greets him and leadshim away from the helicopter. We see the Aide indicate thetwo men running toward them. Burch turns.ANGLE HIS POV. Miller and Scott, who join with Burch, asthey all move toward the stadium building.INT. STADIUM BUILDING, LUNCHROOM. NIGHT.ANGLE, on an assembly of the information of the chase. On atable, the photos of the Eurasian businesswoman, of LauraNewton, of the Regency Club. A disassembled machine pistol,and a cup of steaming coffee.HOLD on Scott, looking at something, off. As he picks up thecup of coffee. Beyond him we see Anton, asleep in his chair.                                                            47.ANGLE INT. LUNCHROOM. Burch, Scott, and Miller are found inthe empty, stainless steel lunchroom, with them a clean-cutyoung man, STODDARD, obviously Burch's assistant.                      BURCH            ...where's the girl...?                      MILLER            Sir, we believe she was abducted,            from this club...                 (as Miller speaks he                 passes pertinent sheets                 of information to Burch)            That she was taken to...that she            was taken to a bordello...                      BURCH            ...here in Boston...                      MILLER            Yessir, and, that...that...                      BURCH            Come on, let's hear it:                      MILLER            That she may have been...that            she may have been delivered -            for sale - that she may have            been sent down the pipeline and            overseas.                 (pause)                      BURCH                 (pause)            "...just some girl..."                 (pause)ANGLE. HOLD on Scott. Sitting quietly, as he watches the twoother men.Stoddard takes out a cigar case. Looks to Burch, who nodshis consent, and Stoddard takes out a black cigar, andlights it.                      BURCH            How certain are you she was the            girl in the whorehouse?                                                             48.                      MILLER                 (shakes his head,                 meaning "not positive")            ...we...                      BURCH            Was the girl in the whorehouse?                 (pause)            What about your other            leads?...the Boyfriend,            the...Professor...?                      MILLER            ...sir.                      STODDARD            The Professor, where's his boat?                      MILLER            The Coast Guard is on the...                      STODDARD            WHERE IS THE FUCKEN BOAT? IS SHE            ON THE BOAT...ANGLE on Scott and Anton. As Anton comes awake to the soundof the shouting. Scott gestures him to keep quiet.ANGLE on the two. As Anton wakes up. He picks up a sheetbearing the Picasso symbol, and starts to speak. Scottshakes his head, meaning "be quiet".                      SCOTT            ...we just go where we're sent            and do what we're told when we            get there...He motions to be quiet - and to pay attention to the dramain the next room.ANGLE INT. THE STEEL LUNCHROOM. As Burch and Stoddardinterrogate Miller.                      BURCH            You've got the fucken Service            Agent, shot himself...you're            you're telling me, your best bet,            some cocksuckers nabbed her,            took her, took her, they don't            know who she is. And they're            gonna sell her down the river...?                      MILLER            Sir...                                   49.          BURCHThe Detail Agent. Was he fuckingher?            MILLERThe girl?          BURCHThe Secret Service Agent, was hefucking Laura Newton...?          MILLERHe was off-post, with hisgirlfriend.     (pause)           STODDARD     (as he holds up the     "Picasso" letter from     the Boyfriend, to read     it. He reads:)The Professor, the Boyfriend,"...you behave like a slut...",this is who you like...?     (he holds up the     advertisement of the     Regency Club)Aah...fuck     (he holds up the photo     of her hair)She dyed her hair. What do theydo, her hair grows out, what dothey do when they realize whoshe is...?     (pause)          SCOTT     (under his breath, not     realizing he's speaking)They kill her.          BURCH     (reacting, as if to     say, "That's the first     sensible thing I've heard")You're fucken A Right they killher. Okay. Good.          (MORE)                                                          50.                      BURCH (CONT'D)            Now: Let's talk some commonsense:                 (pause)            What can you do for me?                 (to Miller)            ...who is that...?                 (Miller whispers to                 Burch. To Scott)            ...Get in here...                 (Scott comes and stands                 by Burch)Scott, and then Miller, looks at Burch's clean-cut and veryfit assistant, Stoddard. There is a pause, and then Burchmotions Stoddard to leave the room, which he does. Pause.                      BURCH                 (quietly)            ...what can you do for me? What            can you do for me - I need it            now - I need it before the Press            gets it on Monday. Cause they            will kill her. The jackals start            a feeding frenzy, and she's red.            Help me.Miller nods to an Aide, who comes forward, with a whitescrap of paper. He hands it to Burch.                      MILLER            Sir: This is the number of a            public phone in Downtown Boston.                 (Burch nods)            It's a cutout, between the            Bordello, and the abductors. A            call is placed when they have a            package to deliver.                      BURCH            ...you going to stake out the            phone...?                       MILLER                 (nods)            We have a watch on the phone.            More importantly: N.S.A. reports            calls placed to that phone.            Regularly.                      BURCH            They can track calls to a payphone?                                                             51.                      MILLER            In this case they can.                      BURCH            How?                      MILLER            They were made from a Federal            Prison.                 (he gestures to the                 Aide, who shows to                 Burch and the camera a                 photo of a smiling man                 in his forties, in an                 expensive suit. Of photo:)            This is Eli Assani. He is a            Lebanese National, serving life            without, for kidnapping. He was            the head man in a white slavery            scheme.                      BURCH            And where is he?                      MILLER            He's in Lewisberg. We have a            Plan...                 (pause)            I hesitate to...                      BURCH            Give it to me...ANGLE, on an Aide who comes in and passes a piece of paperto Miller, who reads it and looks up.                      MILLER            They've got some action on the            Payphone...Scott and Anton start to get to their feet.EXT. COPLEY SQUARE, DOWNTOWN. NIGHT.In the foreground we see a lonely payphone in the desertedsquare. It is festooned with ads for escort services. In thedeep background we see the lights on in a corner bankbuilding, and the cleaners at work.ANGLE INT. THE BANK. One of the cleaners polishes thecounter in the bank. He wipes his brow and looks outside.ANGLE HIS POV. A sedan at the curb. Beyond it, a man,smoking a cigarette, stands near the payphone.                                                             52.The man looks at his watch, looks around, throws away thecigarette, and continues to pace.ANGLE, in the bank the "Cleaner" whispers into a lapel mike.EXT. BOSTON STREET. DAY.Scott, in the backseat of a car, apparently asleep. Anton,sitting in the front. Listening to the faint sounds from anearwig.ANGLE, XCU. Scott, his head tilted back, looking throughalmost fully closed eyelids.                      SCOTT            ...who's walking up on us...?ANGLE, Anton, as he looks around, down at Scott, and then up,at a man in a suit, some thirty yards away, walking towardsthe car.Anton, as the man draws closer, looks down at Scott, as ifto say "How did you know"?                      SCOTT                 (as he loosens his                 jacket, over his pistol)            ...who is he?                      ANTON            Boston. P.D.We see Scott, relax for a moment. And then, putting Antonout of his misery.                      SCOTT            ...always a reflective surface...                 (then, to himself, as                 if reciting a litany)            "...in the city, always a            reflection. In the Woods. Always            a sound..."HOLD. On Anton, as he digests this. BEAT.                      ANTON            ...and in the Desert?                      SCOTT            You don't want to go into the            desert.ANGLE, EXT. The Phonebooth in Copley Square. We hear thephone begin to ring.                                                             53.EXT. BOSTON STREET. DAY.Scott and Anton, in the sedan. Anton listening on theearpiece. Anton brightens.                      ANTON            ...they're moving...Anton starts to put the car in gear, an Agent comes joggingdown the street, out of an alley, and motions Anton aside,and gets into the car.EXT. BOSTON HIGHWAY. NIGHT.A shot of the helicopter, flying over the highway.ANGLE, the sedan speeding down the deserted highway, thecity in the background. The helicopter, flying away overhead.INT. SCOTT'S CAR.A Driver, Scott, and Anton. Listening to transmissions onthe radio. As they drive Anton leans forward, his hands onthe seatback of the front seat. Scott picks up one ofAnton's hands, and turns it over.                      SCOTT                 (of the hand)            ...what is this...?                      ANTON                 (as he looks down, and                 then realizes the                 nature of the question)            ...it's a wedding ring.                      SCOTT            ...take it off.                 (pause. While Anton                 hesitates, not comprehending)            ...the ring clicks against your            riflestock, some sonobitch hears            that noise, hundred yards out,            and you're gonna get me killed.Anton nods, and begins to work the ring off his finger.ANGLE THEIR POV. Far ahead, the speeding sedan turns off thehighway, onto a "feeder" road.Anton and Scott in the backseat. As we see Anton take out amachine pistol from his "Go" bag, and check it. Scott looksat him. A chatter comes over the radio, and Scott addressesthe two men in the front seat.                                                             54.                      SCOTT            ...where's he going...?The Driver hands a printout to the shotgun man, who reads.                      AGENT            One Five Four Nine, Alpha Sierra,            Mass Reg. William Barak.            Somerville, Mass...                      SCOTT            That's where he's going?The Agent shakes his head, looks down at the paper.                      AGENT            Also, owner of Record, In Essex...                      SCOTT            Izzey going toward Essex?                 (Agent nods)            ...what sort of place is it...?The Agent looks at the piece of paper.                      AGENT            It...it'd be a Beach house...                      SCOTT            Get me there.                 (to the Driver)            Get on the net. Call 'em off.            Everyone off. Just me.                 (of Anton)            Just me and him.                        DRIVER            ...sir...                       SCOTT            Nobody out there...                 (to Anton)            Just. Him.                 (to the Driver)            You indicate that you heard me.                 (beat. The Driver nods)            Put it out.                 (the Driver begins to                 speak softly, relaying                 his instructions on                 the radio. Scott turns                 to Anton. Softly)            How you doing bright eyes...?                 (Anton nods. Beat, as                 Scott looks him over)                                                            55.                      SCOTT            ...breathe through your nose.Anton looks at Scott inquisitively, not sure he has heard right.                      SCOTT            It stills the heartrate.                 (pause)            You got my back.                      ANTON            Sir, Yes, Sir.                      SCOTT                 (to himself)            ...alright, then...ANGLE the Sedan, on the deserted highway. HOLD. We seeanother car come screaming up behind it, doing one-ten, ared light on the roof, flashing.ANGLE INT. THE SEDAN. A middle-aged man watches the othercar come up, and disappear around a bend, going furiously fast.EXT. ESSEX BEACH. NIGHT.The margin of the scrubwoods, in the dunes. Scott and Anton,moving quietly through the woods. Scott points to Anton,indicating where he should stop.ANGLE, Scott's POV. A run-down beach house on a desertedcove. The blue light of a television flickering through thewindow.ANGLE, Scott peering through some scrubgrass. We see heholds a small handful of torn-off grass before and over hisface, to break up his outline. He turns. To Anton, whostands next to him, holding a sniper rifle. He points out aposition to Anton.                      ANTON            ...you want me to Come Through            the Door...?                      SCOTT                 (as he checks his                 weapons. He shakes his head.)            Don't you go through the door            without an Overwatch.He takes the small handful of grass and throws it into theair, watching the way the wind takes it. Scott gestures toAnton to take up a position beside a small run-down boat shed.                                                             56.We see Anton do so, then Scott moves across the dunes, to asmall skiff. Which lies just across a little cove from thebeach house.ANGLE, on Scott, as he moves down the dune, to the skiff. Heopens his switchblade quietly, and severs the line holdingthe skiff to the dock. He gets into the skiff, and pushes itoff, and we see it begin to drift across the little covetoward the beach house.ANGLE, on Anton, kneeling, beside the old boat shed, as heassumes a prone position, and sights his rifle in on thebeach house.ANGLE, HIS POV. Through the sniperscope, the house, thetelevision, flickering in an empty living room.INT. THE WOODS.Anton, acknowledging the command. He finds a vantage point,and assumes the prone position, covering the house with hisrifle.ANGLE on Scott, surveying the beach house.ANGLE HIS POV. The dark beach house.ANGLE on Scott, as he moves across the lawn, and to a backdoor. He removes his switchblade, opens it, and uses it tojimmy the screen latch. He replaces it, and takes out a setof lock picks, and begins to work on the door. We faintlyhear the sound of a television.ANGLE INT. THE BEACH HOUSE. We hear the sound of the TV andfaintly, see a blue glow from a room or two down the hall.ANGLE on Scott, entering the kitchen, where he looks down atthe various dirty plates and cups on the table.ANGLE on Scott, coming through the door. As he moves, flatto the wall. Camera follows him past the doorway, beyondwhich we see the TV on low. Scott looks in, and finds it empty.ANGLE on Scott, as we follow him into the bedroom. It is empty.HOLD on Scott, looking around.ANGLE, as he comes back into the living room. He stops. Wesee something beyond him.ANGLE HIS POV. A small boat some twenty yards from the house.Out near the water.                                                          57.ANGLE, on Scott, as he starts to open the rear, slidingglass door which will lead him out to the boat.Behind him, we see the MAN FROM THE SEDAN open the frontdoor of the house, and begin to enter. Scott hears him, andturns.                      MAN FROM THE SEDAN                 (as he sees Scott)            ...what the fuck...?                       SCOTT            ...I heard the TV, so I came            in...                  (pause)The Sedan Man is put a bit off, as the comment makes nosense. Scott uses the moment to advance toward the man.                      SCOTT            ...what the hell you got the TV            on for, there's nobody here...?                 (the man puts up his hands)            I don't wanna hurt you. Why would            I hurt you? I just wanna know            why the TV's on.ANGLE EXT. THE BUILDING. Where we see the man, and Scott. Wesee the scene in green, through a sniperscope.ANGLE, on Anton, looking through the scope.ANGLE CU Anton, as he sees something in the scope.ANGLE, in the house. Scott advancing toward the man.                      SCOTT            ...I just wannit to know, I just            came to ask you that question...The man backs up, past a half-open glass French door.ANGLE, on Scott, as he advances toward the man.ANGLE, ANTON'S POV. Through the sniperscope. The fainttraces of what might be the Picasso symbol.ANGLE, on Anton, as we see him move the sniperscope andadjust its magnification toward the symbol. In a corner ofthe scope, we see another man, in a dirty white shirt,emerge, coming up the stairs from what might be the basementof the beach house. We see this man take in the scene in thenext room, and secrete himself behind a wall.                                                             58.ANGLE, on Anton, whose vision is blocked - Camera takes himto a position next to the white tool shed.Scott, moving toward the Sedan Man, unaware of the manaround the corner.ANGLE through the sniperscope. We see the man in the whiteshirt ready himself behind the opening through which Scottwill come. We see him raise a pistol.ANGLE Anton, as he realizes he is behind the curve. As theman in the white shirt steps into the doorway Anton fires athim through the sniperscope. We see this man fall.ANGLE, INT. THE HOUSE. The man in the Sedan, his handsraised, fetches down a small shotgun from the lintel overthe door, and levels it toward Scott. Who draws and firesseveral rounds at him.ANGLE INT. THE HOUSE. As the man goes down heavily. Scottcomes forward to the dying man, and kicks the shotgun away.Camera takes Scott warily into the next room, where he seesthe man in the white shirt sprawled on the floor. Scottmoves past him, and down to a door leading to the basement.Scott takes a long look down the basement stairs. We see afaint light, and a shadow moving across the light.ANGLE on Scott, as he takes a deep breath, and bursts downthe stairs, screaming.ANGLE INT. The Basement. A rough, dirt-floored room. Scottstanding alone. We see a bare bulb hanging from the ceiling,swinging slightly in the breeze from an open window.                      SCOTT            I'm Coming Up...ANGLE, Anton, inside the house, in a covering position,watching out. Scott comes up the stairs.                      SCOTT                 (to Anton)            Call em in...We see Anton take out a walkie and talk into it, Scottproceeds to the Sedan Man. He kneels by him.                      SCOTT            ...where's the girl...? You're            dying, pal. Even it up. WHERE IS            THE GIRL... WHERE IS THE GIRL...                                                             59.Scott pulls the dying, bloody man to him, and starts toshake him.                      SCOTT            You're dying. You're dying, man.            Where is the girl...Beat. The man begins to shudder, violently, and then stops,obviously dead. Beat. Scott throws the dead man down ontothe floor. Beat.ANGLE, on Anton, who turns to look back. He stares at thedead man.                      SCOTT            ...well, you wanted to know...                 (pause. Scott kicks                 the dead man viciously)Anton looks at Scott. Beat.                      SCOTT                 (to himself)            Yeah, everybody wants to know            the Secret Knowledge...Scott sits on a chair, by an old rolltop desk. On the deskwe see a bunch of junk, old cigarette packets, empty. A boxhalf-full of yellowing stationary. Scott prods the stationarywith his knife. We read, in an insert: "Hanson Marine.Everything for the boat. Box 38 Essex, Mass." (and see, onthe envelope, an old fashioned, stylized drawing of an oldchriscraft-like power boat).We hear the sound of a helicopter. And Scott turns, lookingout of the window. He then turns back, to see Anton, who isstanding, looking down at the man he shot. Anton, feelingScott's gaze, turns to look at him.                         ANTON            ...I...                      SCOTT            ...tell it to the Chaplain.Scott gets up wearily, and walks toward the door out ontothe beach. We see a helicopter landing, and several men inBDU's, jumping out, and proceeding toward the house.INT. STADIUM DRESSING ROOM. DAY.Burch and his Aide. As Scott and Anton enter. Followed byMiller.                                                             60.Burch motions Miller over, and they confer, looking at Scottand Anton.ANGLE, on Scott and Anton, as they stand by a television, anAgent is watching, shaking his head.                      BRUNETTE TALKING HEAD            ...apparently, had her hair            restyled, and cut today, our            Newsteam interviewed her stylist,            and has reconstructed...                      SCOTT            Ah, shit...ANGLE. He is summoned, into the next room. By Burch et al.Burch and his Aide. As Scott comes in with Anton, followedby Miller. Burch takes Scott aside.                      BURCH                 (looking at a TV in                 the BG silently,                 showing photos of Laura                 as a brunette)            ...here's the deal:                 (pause. He holds up a                 photo of Eli Assani,                 the Businessman, both                 in a suit, and in his                 prison garb, with a                 number in front of him.                 His name, and                 "Lewisberg Federal Penitentiary")            ...this is the man.                 (pause, to Scott)            ...you're covered in blood.                      SCOTT            Sir, it ain't mine.                 (Burch looks at Anton.                 Scott, seeing his glance)            On my team, sir.                      BURCH            How deep is he?                      SCOTT                 (saying, in effect,                 this sums it up)            ...He's on the team.                                                          61.                      BURCH            Yeah, well. He may have to be a            little more than On the Team...                 (pause. After considering)            I've been speaking to the father.                 (pause)Burch walks a few steps away. Thinking. Scott looks at Anton,questioning.                      BURCH                 (pause)            What about if we had to go "off            the meter"?                      SCOTT            ...With the Mission, sir.Burch thinks for a moment. And then draws Scott aside. Burchglances over at the television, spewing information aboutLaura Newton, and shakes his head with disgust.                      BURCH                 (to himself)            ...I'm out of time...He turns back to Scott. And gestures him into a small room,and closes the door.                      BURCH            ...man to man.                      SCOTT            The door's closed, Sir.                       BURCH            I. Need. To Ask You. To do            something.                 (he is hard-pressed to continue)                      SCOTT            I am here to get the girl back.Burch thinks a moment, he rubs his face, and shakes his head,and looks up as if to say "This is all we have, this is thebest we have". Pause. He nods, as they do not move.Burch takes out a photo of a bearded middle-eastern lookingman in a business suit, and another, in a mugshot marked"Lewisberg Federal Penitentiary".                                                          62.                      BURCH            This man...Placed a phonecall.            Yesterday. From the phonebank at            Lewisberg. To the Copley Payphone.                 (pause)            Here's the cut-off-point...                 (he looks meaningfully                 at Scott. Pause)            ...here it is: This man, Eli            Assani, is to be transported,            tomorrow, Wednesday, with another            convict. A Man on Death Row. For            their medical procedures...Now:EXT. COUNTRY ROAD. DAY.A Police Cruiser coming quickly down a two-lane, deserted road.ANGLE INT. THE CRUISER. A road sign reads "Just Two Miles To'The Owl', Rest Stop, Restaurant, Gas-Diesel".ANGLE EXT. THE OWL. Rest Stop. A run-down rural gas station,restaurant. Off to the side we see the cruiser coming downthe road. As a roughly-dressed man runs out of the restaurant,carrying a full paper bag in his hand. The Cruiser, unseenby the man, pulls up to the gas pump, and the Trooper startsto get out of the driver's seat. When gunfire erupts fromthe restaurant. People are shooting at the fleeing man. Aman opens the door of the restaurant and fires at theroughly-dressed man in a very urban leather jacket, whoreturns fire. Glass breaks in the windows of the restaurant.The roughly-dressed man runs to his car, an 80's Pontiac,parked near the pumps. The man in the doorway fires again,and the windshield of the Pontiac blows out and a tirebursts. The roughly-dressed man returns fire, and the man inthe doorway falls. The roughly-dressed man turns to see thatthe Trooper is out of his Cruiser, and is about to fire athim. The roughly-dressed man drops his satchel, and fires atthe Trooper, who falls.The paper bag has fallen to the ground and burst, andcurrency is spilling out of it, and being taken on the wind.The roughly-dressed man frantically begins to try to scoopit up and into his jacket.ANGLE CU on this man, who we now see is SCOTT. He standsaround, and moves to the fallen Trooper. He strips the keysfrom the Trooper's keyring, and looks up. Feeling someonegazing at him.ANGLE HIS POV. In the car, two convicts, a Heavyset Man andELI ASSANI, the middle-eastern man we saw in the mugshot. Heis holding his neck, which is bleeding copiously.                                                            63.We see the back window behind him, shattered by gunfire.ANGLE on Scott, who gets into the car, takes the keys hetook from the Trooper, and begins screaming off down thehighway.LOW ANGLE, showing the car taking a turn vastly too fast,the car careens up on two wheels, rights itself, fishtails,corrects, and disappears in the distance.ANGLE INT. THE CAR. Scott driving steals a look back atAssani, in the back seat, whimpering.                       SCOTT            Shut up.The Police Radio chatters: "Two Twelve Sierra, comeback...Two Twelve Sierra, come back, we have your requestfor Code Seven...please come back with your Twenty."                      HEAVYSET CONVICT            Yeah, two twelve sierra took all            the 20 he's gonna take...Oh, man,            you left him there...ANGLE on Scott driving. He looks behind him.ANGLE, POV. In the rearview mirror. A dust cloud settlingover the deserted highway.ANGLE INT. THE OWL. Various techies, in the kitchen,monitoring the broadcast of the microphone in the Police Car,Anton among them. The Trooper comes in, taking off hisbullet-proof vest, and sits to listen, where we find Millerand his Agents. The 'Restaurant Owner', who we now see isAnton, takes off his jacket and his bullet-proof vest andpicks a slug, fired by Scott, out of the center of the vest.                      HEAVYSET CONVICT (V.O.)            ...yeah. You marked him Paid in            Full...                      ASSANI (V.O.)            ...you got to pull over, you got            to stop...I'm bleeding.ANGLE INT. THE POLICE CAR.                      HEAVYSET CONVICT            Yeah, he done ate from the tree            of knowledge, our Sierra Two Twelve.                      ASSANI            ...help me...                                                             64.                       SCOTT            Shut up.ANGLE, EXT. COUNTRY ROAD. The car comes to a panic stop,fifty yards beyond a turnoff onto a dirt road. The car isput in gear, backs up, and takes the road.EXT. FARM ROAD. DAY.The car comes quickly up a small farm road, we see a run-down barn, and a farmhouse, washing on the line. Scott pullsthe car into the barn, next to an old pick-up truck. He getsout of the car, we hear Assani in the backseat calling to him.ANGLE, Scott, as he turns to Assani, who is pressing ablood-soaked shirt to his neck. Calling "Help me".Scott opens the back door of the Cruiser, and the HeavysetMan gets out, and offers his manacled hands for release.Scott motions to Assani.                      SCOTT            ...drag him out...                 (the man does so. Scott                 motions for them to be quiet)            ...got some business to do...He takes his pistol and walks toward the farmhouse.HOLD on Assani, and the other Convict, Assani is holding arag to his bleeding neck.                      ASSANI            ...help me...                      HEAVYSET CONVICT            ...yeah, I heard yah...ANGLE, on Scott, as he walks past a clothesline heavy withdrying clothes, he is seen to go into the house. We hear awoman's scream, and then two shots are fired.ANGLE INT. THE HOUSE. As Scott is found at a table in thekitchen next to which are various foodstuffs laid out.Inside the house we see a female techie, at a table by thewall, various communications gear in front of her. Scottbegins loading up his pockets with food. The techie handsScott a slate on which is written, in large block letters,"The helo is standing by, will assault in support when youhave found the girl. On your command." Scott gestures forthe slate, and writes on it, and hands it back. Scott nods,and walks out of the house.                                                             65.ANGLE INSERT. The slate, on which we see Scott has written"Keep Your Distance!"ANGLE, on Scott, as he walks back through the yard, pullingclothes off the line.ANGLE INT. THE BARN. The two convicts, as Scott enters, andbegins changing out of his clothes, and into the clothes hefound on the line.                      HEAVYSET CONVICT            Yeah, Baby. Pass some my way...                      SCOTT            Sorry, my man...traveling light...He turns to the Heavyset Man, and fires his revolver at himtwice. The man falls, dead. Scott turns his revolver atAssani, who begins to scream.                      ASSANI            Don't shoot me, don't shoot me,            I have what you want. I HAVE            WHAT YOU WANT. I CAN GET US OUT            OF THE COUNTRY TONIGHT. TONIGHT.            NO PASSPORT. FLY OUT.            TONIGHT...OH GOD, DON'T SHOOT ME!            I SWEAR ON MY MOTHER. LOOK AT ME:            AM I LYING TO YOU? A SEA PLANE.            TONIGHT. HELP ME. I SWEAR TO YOU.                      SCOTT            Why in the world would I believe            a lying convict like you...                      ASSANI            Oh, ah, ah, but you do believe            me...I see it...you do. I can            get us out. Help me. I SWEAR TO            YOU. HELP ME...and I will treat            you like a brother...I...Scott advances on him.                      SCOTT            My brother used to beat me                 (he raises the cop's                 service revolver and                 cocks the hammer)            Nice guess, though.                         ASSANI            OH GOD NO!                                                          66.Scott pulls the trigger, which falls on an empty chamber.Assani whimpers, as Scott goes into the Cruiser, comes outwith a box of shells, clears the empties from the cop's gun,and begins loading it.                      ASSANI            No, no. Listen to            me...listen...make one call. One            call - go in the house. Make One            Call. ONE CALL. An Aviation            Company. Tell...tell them...tell            them the word I say, and they            will say: THE PLANE WILL MEET            YOU AT...                 (Scott hesitates for a                 moment, and Assani                 attempts to capitalize                 on it)            Yes. Yes...INT. PICK-UP TRUCK. DAY.Scott is driving. The dash is littered with empty coffeecups,cigarette packs. He turns.ANGLE HIS POV. Assani, sitting in the shotgun seat, a map inhis lap, looking at him.                      SCOTT            You a fag my friend?                      ASSANI            No.                 (pause)            I am not.                      SCOTT            Then why the hell you looking at me?                      ASSANI            I was thinking...how fucking            surprised you're going to be.                 (pause)            Because, Baby, you just did that            fucken good turn, going to Make            You Rich, Fat, and Happy...                      SCOTT            ...just get me on that plane.                      ASSANI            Didn't they tell you...?                                                      67.                      SCOTT            All I heard's a voice on the            phone...Assani grins, as if to say, "Just Wait".                      ASSANI            ...you like girls...?                      SCOTT            Better question, where you've            been so long, do you like girls?Scott grins, and Assani shares the moment with him.                      ASSANI            We have. You will have...the            most beautiful...                      SCOTT            ...most beautiful women, eh?                      ASSANI            Not women, Baby. Girls. You got            to trust me, I'm the Doctor            here...All young. All blonde...                      SCOTT            And this all takes place Where...?                      ASSANI            In Dubai. In Yemen...                      SCOTT            Well, that's a long way from            Tiperrary, pal...                      ASSANI            ...what do you have here...?                      SCOTT            Yeah, but I'm not cut out, to            live in a fucken tent.                 (Assani laughs)                      ASSANI            If you think you can imagine            luxury...I am here to tell you,            my friend...                 (he smiles broadly)                                                          68.                      SCOTT            Well, may it Just Be So...                      ASSANI            When we get to Maskala...                      SCOTT            And, now, what's Maskala...?                      ASSANI            ...when we get to Dubai, better...                      SCOTT            What's Maskala...?                      ASSANI            ...that's where we clean them up.            We ship them Rough, we make them            Smooth, and everybody's happy.                      SCOTT            Well, then, you're a            philosopher...huh...? How 'bout            making me happy tonight...                      ASSANI            If there's a girl, in the            pipeline, tonight, you shall            have her, what do you say to that?                      SCOTT            ...I say you're a stone cold            whoremaster...Assani joins with him in the joke, nodding his assent.                      ASSANI            No, no baby. Take it to the    bank.            The Arabs, Man. All the oil    -            all the money in the world.    What            can't they have? Booze and    Pussy.            How do they get it...?                      SCOTT            You the candy man? Is that it?Assani begins to swoon. He puts his hand to his neck, and itcomes away covered in blood, where it was cut by the glassfragment.                      SCOTT            Ah. Hell...                                                          69.                      ASSANI            Yeah, no. I'm bleeding bad here,            friend...                      SCOTT                 (he looks over)            Yeah, we just, we got to get            some...yeah, you need, all we            need, some tailoring tools.ANGLE, Sedan. Holding Anton and several agents, listening tothe broadcast from Scott's car.                      SCOTT            Yeah, in my wishlist, we had a            drugstore, get us some morphine,            some...ANGLE EXT. ANTON'S CAR. As it increases speed.ANGLE INT. SCOTT'S CAR. As he tries to staunch the fellow.Scott steers with one hand. And turns off the highway at anexit, showing two miles to a town.INT. SMALL TOWN PHARMACY. DAY.Scott, dressed in the farm clothes that he took off of theline. Scott is buying supplies. On the counter we seebandages, hydrogen peroxide, etc. Behind the counter we seea newscast, showing a picture of Laura Newton, in longblonde hair, and a woman is doing a talking-head about fashion.                      TV WOMAN            ...America's Number One Redhead,            "She Sets the Style, She Brings            a Smile", she's Betty co-ed, in            College, and she's off for what            her father's office says is an            "extended sailing weekend".                 (the screen shows a sailboat)            With "person or persons            unknown"...yo ho, yo Ho...she            "old" enough for that, our            "Little Red Riding-Hood", Cathy...?Scott ignores the screen.ANGLE EXT. THE STORE. In back, Assani is sitting in thepickup, a woman driving another beat-up pickup pulls intothe lot, there is a shotgun in the rack by the rear window.Assani crouches lower, to prevent being seen.ANGLE INT. THE STORE. As Scott is checking out. A policemanenters from the police car. We see it is Anton.                                                             70.ANGLE. On Scott, as he moves to the back of the store, tomeet Anton. Scott looks inquisitively at him.                      ANTON                 (whispers)            ...the helo just went down...                      SCOTT            ...don't whisper to me, Baby, it            draws heat. What helo?                      ANTON            ...the assault helicopter. You've            got no backup, at the house.                 (beat. Scott nods)            You'll be in there, alone, the            first few minutes...                      SCOTT            Well, there you go, then.                      ANTON            You said "Never go in without an            overwatch".                      SCOTT            That's all fine, lad, "But this            is the fleet".                       ANTON            You know you deliver him in the            door, you know they're going to            waste you.                      SCOTT            ...gimme whatever nine mil you've            got...Anton takes out the magazines in the pouches on his belt.And starts to strip off the rounds.                      SCOTT            ...just gimme the mags...                 (Anton does so)            ...gimme your piece.Anton takes the pistol from his belt. Scott checks it, andputs it in the small of his back.ANGLE EXT. THE STORE. Assani, in the pickup, sees through asmall window in the store.ANGLE on Anton and Scott. Scott is walking away from him,and Anton puts a hand on him, and turns him back.                                                             71.ANGLE INT. THE STORE. Anton gestures Scott to wait a moment.Scott waves, it is not necessary. He goes to the counter,and picks up the medical supplies. He starts toward the backdoor. He calls back, over his shoulder                      SCOTT            Thank you...ANGLE on Anton, as we see something occur to him. He turnsto the other officer with him, and asks a question, and wesee the other officer hand Anton several magazines ofammunition.ANGLE on Scott, as he is coming out of the back door.ANGLE on Anton, as he follows him.                      ANTON                 (calling)            Mister...mister: you forgot your            change...ANGLE on Scott, as he turns back. We see Anton bringing theammunition.ANGLE on Assani, weak, holding the shotgun, as he supportshimself along the wall, he peers around the corner, at Antonand Scott.                      ANTON                 (sotto)            ...you better take care of            yourself, because...ANGLE, on Assani, who comes around the corner, and fires theshotgun at Anton, who falls. Scott screams "No".ANGLE, on Scott, who drops the packages, and turns to Assani,who is jacking another round into the chamber of the shotgun.Scott draws and fires at him several times.ANGLE on Scott, who kicks away the shotgun, and turns backto Anton, who is crawling on his back, out of the line offire...                      ANTON            A...I'm alright...I'm alright...ANGLE, on Scott, turning to look at Anton. And, then, backat the obviously dead Assani.INT. SMALL TOWN HOSPITAL. DAY.In a waiting room. Scott, who looks up, as Miller enters.                                                            72.                      MILLER            Your partner's going to be alright.                      SCOTT            I do not look at the downed man,            Sir...                      MILLER            Yeah, well...Miller nods, and starts to walk away.                         SCOTT            ...Sir...?Miller turns back, understanding Scott's request.                      MILLER                 (sits, acceding to                 Scott's request)            ...Air Force Assault is airborne,            five minutes out.                 (pause, Scott shakes                 his head sadly)            Standing down's a bitch.                       SCOTT            I stand down when the girl's            back, sir.                      MILLER            They'll get her out, if she's in            there...                 (pause, as he looks at Scott)            You did your part, what the fuck            do you want, a Citation?Out of the window we see a   medical helicopter. Its rotorsjust starting to turn. We   see two white-coated medical types,carrying bags, run toward   the medical copter. An Aide comesin, and gestures to Miller   that the copter is ready to go.                         AIDE            ...sir...Miller turns to leave. Scott stands wearily.                      MILLER            Where are you going.                      SCOTT            On the dustoff.                                                             73.                         MILLER            Forget it.                      SCOTT            Sir...? Sir...?                      MILLER            There's no room.                      SCOTT            I'm pleading with you, sir...                      MILLER            Let him hear the assault on the            Net...                      SCOTT            I want to see the girl.Miller shakes his head - at the door, turns back for onelast word to Scott. And then he stops.ANGLE. HIS POV. The television, in the next room, playing anews program. Scott looks inquiringly at Miller, who istransfixed by the television.ANGLE the television. A "Breaking News" story. We see anoverturned sailboat, and the talking head narrating: "...thetragic, the stunning...the...Jim, I don't know what tosay..." The woman's co-anchor, obviously very shaken, takesup the story, and we see live footage of an overturnedsailboat being towed into a harbor, then inserts of "OurRedhead" Laura Newton, and, after a moment, the Professor.                      JIM (TALKING HEAD NEWSCASTER)            The death, just reported, the            death of Laura Newton. The... the...ANGLE, on the TV. On two bodies being taken from the waterby medical technicians.ANGLE, the woman, as a shot of the political man we sawearlier in the newspaper, comes on the screen.                      TALKING HEAD WOMAN            ...her father, on the eve of the            campaign...                 (we switch to a video                 shot of this man,                 waving off reporters)            Jim, can there be any doubt...                                                            74.                      JIM            Tracey, the Secret Service, for            obvious reasons, their records,            the DNA, fingerprints... the...            and, she had just been in the            water a scant, less than four            hours, the...apparently the boat            swamped... she -                      TRACEY            She was sailing with...?                      JIM            With her professor, Professor...?                 (the video shows the Professor)ANGLE, on Tracey, as she is overcome, and tries to steadyherself.ANGLE, on Miller, and the Troopers in the room. Miller looksaway from the screen, to Scott.                      TRACEY            ...a Tragedy, such as this.                      JIM            ...particularly. Particularly,            Tracey, coming, right at the            start of his Campaign...An insert of Laura's father, his sportcoat slung over hisshoulder, comes onto the screen.                      TRACEY            Will he delay the start of the            Campaign?ANGLE. On Scott. As he is found, standing, near thetelevision. Off to the side, behind him, we see Miller,intently, on the phone, listening.                      JIM            ...his grief...                      TRACEY            ...he was very close to his            daughter, wasn't he?                                                            75.                      JIM            Well, indeed, he saw her, the            day...that would be, the day            before last. He was in Boston            for the Strategy Meeting, and            saw her then...                      TRACEY                 (sadly)            ...and that would be the Last            time...that...ANGLE. On Scott. As he is looking at the television, heshakes his head minutely, as if in a dialogue with himself.He walks back to the interrogation room.Scott sits heavily. Miller walks in and sits next to him.                      MILLER            Her boyfriend called her a slut.            She went off to prove it. Her            and the Professor. Coked up,            boat capsized...Both bodies            washed up naked. Coast Guard            dressed 'em up...full of Ecstasy...                      SCOTT            ...he killed her...                      MILLER                 (shrugs, meaning "who knows")            He was fucking her, they're            stoned...the boat capsized...Miller looks down at the artifacts.                      MILLER                 (almost to himself)            ...so much death.                      SCOTT                 (philosophically, as                 if summing the whole                 thing up)            ...rock crushes scissors...We see Miller leave, as Scott turns away, and lights acigarette. Miller turns back.                      MILLER            I'm sorry about your man.                                                           76.                      SCOTT            He isn't my man, Sir. He's a            trainee.Beat. Miller leaves the room. Scott hangs his head withweariness.INT. GOVERNMENT TRANSPORT PLANE. NIGHT.Anton, in bandages, in a bunk in the transport plane. Scott,asleep, in a chair near him.ANGLE on Anton, as he comes awake.                      ANTON            ...what time is it?                      SCOTT            What do you care...?                 (pause. We see that                 Anton is having                 difficulty formulating                 his thoughts)                      ANTON            I fucked up.                      SCOTT            ...in what way was that?                      ANTON                 (groggily, as he tries                 to move, to draw closer                 to Scott)            ...but I was trying to help.                 (Scott reacts to                 Anton's pain.)                      SCOTT            What? Do you want some more Dope?            Whaddaya want, a Dr. Pepper...?Scott takes a pill vial from Anton's jacket. Takes out apill, and administers it to him.                      ANTON            ...but I was trying to help.                                                77.                      SCOTT            ...yeah, well, that's when people            generally do fuck up. Wait for            that to kick in.                 (Anton starts to lay                 back, and then, as if                 he is remembering                 something, he draws                 closer to Scott again.)            You're gonna take that fight to            bed for a while. You don't got            to do it all now.Anton gestures Scott to draw close.                      ANTON                 (sotto)            I saw the sign.ANGLE XCU on Scott as he turns away.                      SCOTT            ...uh huh...Scott turns away.                       ANTON                 (drawing him back, as                 if saying LISTEN:)            I saw the sign...at the Cape. In            the House.                      SCOTT            You saw-the-sign. What sign?                      ANTON            ...when I dropped the guy. The            girl's Picasso sign...                 (he draws the sign in                 the condensation on                 the plane's window)            She was there. At the Cape. The            girl was there.                      SCOTT            The girl wasn't there. She was            on a boat. She fell off the boat.            She's dead.                 (pause)            You did what you could. You did            what you were trained to do.                 (pause)            You did what you could.                                                             78.                      ANTON            ...I saw the sign...                      SCOTT                 (turning away)            ...then you are Truly Blessed.INT. TRAINING FACILITY. DAY.We see the Dojo, training room. Several exhausted young menin sweat stained fatigues watch a lecturer, with a knife inhis hand, demonstrating a manoeuvre with a trainee.Beyond, on the wall, we see the sign. "These are theprecincts of pain. A Godess lives here. Her name is Victory."Beyond, through the open doors, we see Scott's Mustangdriven up to a nearby building. A young man gets out.ANGLE, INT. THE BUILDING. Scott, rested, clean, shaved,drinking a cup of coffee. Sitting across a desk from anInterrogator, who has several notes in front of him.                      INTERROGATOR            ...from the house, a house, a            holding facility, a compound?            called Maskala. The girls are            taken from Maskala, to the            ...Royale Hotel, in Dubai.                 (he closes the notes,                 as if completing his presentation)            As time passes, you may remember            other aspects of...well,                 (the Interrogator stands)            You've heard this speech before...He extends his hand to Scott. Scott looks inquisitively athim, then pauses, then stands.ANGLE EXT. THIS BUILDING. Scott exiting, as Blane comes outof his office. They walk through the compound. And to thecamera, toward the Mustang.                      SCOTT            ...would be most grateful, sir,            to be included on the mission.            "At Such Time..."                 (pause)                      BLANE            ...on a mission to Dubai.                                                             79.                      SCOTT            Is it in contemplation, sir...?                 (pause)ANGLE, on Blane, who looks at him to say "you know betterthan to ask."                      SCOTT            Yes, sir.                 (pause)            If and When, Sir...                      BLANE            You need a rest, Bobby.                 (pause. as he extends                 his hand)            Thank you, Bobby...Scott puts down the small yellow duffle he carries, next tohis Mustang. The young man who drove it in stands by, asBlane and Scott shake hands. Scott looks at the trainingfacility.ANGLE HIS POV. The lecturer, executing unarmed combat movesagainst a trainee, who holds a knife. The lecturer puts thetrainee on his back.Scott starts to walk toward this facility. He stands outside,by an open double-door, next to a water cooler, and drawshimself a cup of water, which he drinks. As he watches thelesson.He turns back, as he sees the young man who drove in theMustang pick up the yellow duffle, to put it into the car.                      SCOTT            ...please don't touch that.                 (Scott picks up the                 duffle and puts the                 strap over his shoulder)ANGLE, Scott's POV, as he turns. We see the young femalesergeant, Jackie Black, in the BG, walking across the area.Scott nods at her. She nods back. Scott starts to get intohis car, and then turns back.ANGLE. SCOTT'S POV as the trainee on the mat gets up, andthe lecturer gestures at the knife he has dropped on the mat.                      LECTURER            ...pick it up.                                                          80.The trainee picks up the knife. The lecturer shakes his head.                      LECTURER            What are you studying here...?            I'm talking to you, son... What            are you studying?                      TRAINEE            Sir, this Candidate is studying            knife fighting.The lecturer pauses, looking down at the ground. Beat.                      LECTURER            Hold your ground, son.The Trainee goes into a knife fighting stance.                      LECTURER                 (pointing behind him)            ...you, and your friend...The Trainee lets his attention drift for a second, in thedirection the Lecturer has pointed. And the Lecturer screams,steps in, disarms the Trainee, throwing him to the mat. Asthe Trainee picks himself up the Lecturer turns to the class.                      LECTURER            There are two ways to fight, you            can fight fair, or you can fight            to win.The Trainee puts his hand to his head, and discovers he isbleeding. The Lecturer nods his permission, and the Traineewalks to a water cooler, next to which Scott is standing.Scott looks at the shamed Trainee.                      SCOTT            Don't you study knife fighting,            son. You Learn to Kill. And then,            f'you meet some other fellow,            studied knife fighting, you send            him to hell.ANGLE, on the Lecturer, who calls another Trainee up.                        LECTURER            Next man:A Trainee stands.                      LECTURER            Now: I want to see some evil intent.                                                            81.The Lecturer glances at Scott, and makes a small "have adrink" gesture. The Lecturer nods back "yes". Scott walkstoward his car.EXT. "CONSTRUCTION GATE". DAY.The man inside the "construction booth" raises the barrier,and looks at Scott, who drives through.INT. ROADSIDE TRUCKERS BAR. NIGHT.The Lecturer (Grace) and Scott, in a booth drinking.Pause.                      GRACE            Hey, fuck it, Huh...?                      SCOTT            I've always thought so.Scott gestures for another round to the bartender. Who isserving some rough trucker types, two of whom are at the barwith a couple of very attractive young women. One is astunning redhead, who looks back at Scott.                      GRACE            How'd the puppy like it out there?            He piss in the punchbowl?                      SCOTT            He did okay.                      GRACE            I heard he caught poison ivy.                      SCOTT            He did okay. Why? You goin' out?                      GRACE            What?                      SCOTT            You recruiting?                      GRACE            Why would I be recruiting?                      SCOTT            You speak Arabic, huh...?                      GRACE            That's what the Arabs tell me.                                                          82.                      SCOTT            You, reason I ask: you going in            the Sandbox...?                      GRACE            Ain't you overdue for some Down            Time?                      SCOTT            I'm just saying:Scott is distracted. He is watching the talking heads, onthe bar TV talking about Laura Newton. We see the photos ofher in high school, with her father in some African country,et cetera.ANGLE. On Grace, watching Scott. Who shakes his head very sadly.                      GRACE            Yeah. You Marines are a weepy            bunch of motherfuckers.                 (Scott nods minutely                 in acknowledgement.                 And returns to watching                 the television)            ...you get a chance to bowl in            that tournament...?ANGLE on Scott. Caught in the image of Laura Newton, on thetelevision.                      SCOTT                 (to himself)            ...beautiful girl...ANGLE on the truckers, near the television, looking at Scott.One comes over to him.                      TRUCKER            ...you say something, Mister...?                      SCOTT            No, I was looking at the            television.                 (pause)            I was talking to the television.                 (he turns to look at                 the girl)            That girl's too good-looking for            you anyway. What are you "rich"?            What do you, "own" something?                      (MORE)                                                           83.                      SCOTT (CONT'D)                 (pause)            Or are you "funny" or            something...?                 (pause. Hold for a                 beat, on the confused                 face of the Trucker)            Siddown. Lemme buy you a drink.INT. SLEAZY MOTEL ROOM. DAWN.A sound of a truck, coming down the highway.ANGLE, on the doorknob of the hotel room. We see severalquarters stacked. As the truck sound comes closer, thequarters start to rumble, and fall off the doorknob.ANGLE, on the floor, a glass ashtray. The quarters fall intothe ashtray.ANGLE, Scott, in bed, naked, comes awake, as the quartershit the ashtray. He has a pistol in hand, and awakes with astart, screaming. He surveys the motel room, taking in hisnew surroundings. Beat. Next to him, the redhead from thebar, also naked, comes awake, frightened, looking at Scott.ANGLE, on Scott, as he surveys the hotel room.ANGLE HIS POV. On a dresser, a cheap imitation pewter bowl,an orange and a banana in it, on the table next to it, hisswitchblade, open, and the remains of a peeled apple. Helooks at the knife, and at the girl.                      SCOTT            You peel the apple?She nods, not sure how to take Scott.                      SCOTT                 (as he starts to come                 down from the                 adrenaline rush)            ...well. You should wipe off the            blade.                      (MORE)                                                            84.                         SCOTT (CONT'D)                   (pause. Scott does so,                   cleaning the blade on                   a napkin)            Or   else...                   (as if explaining the                   simplest and most                   perfect axiom of the universe)            Or   else, it "rusts"...                   (a pause. He smiles at                   her. Pause)            D'I   scare you...?                   (he closes the blade                   and sits on the bed,                   shaking his head to                   clear it)            I'm   sorry if I frightened you.                   (pause)EXT. SMALL TOWN RURAL MAIN STREET. DAY.A three-store town, a couple of pick-up trucks parked infront of the country store. A large double log truck goesthrough the town. The girl looks for some topic ofconversation, to bridge the awkward moment.                      GIRL            ...it's an odd knife.                      SCOTT            Yeah. I got it from a Russian            fellow.                      GIRL            Was it a gift...?                      SCOTT            No. As I remember, he seemed            rather reluctant to part with it.                 (pause)            It's just a knife.EXT. SMALL RURAL VILLAGE. MAIN STREET. DAY.A three store town. A couple of pickup trucks parked infront of the country store. Scott's Mustang parked next tothem. A large, filled, double-length log truck speedsthrough the village. Scott, in his lumber jacket, isassembling various maintenance items on the checkout counter.A large paintbrush, several boxes of nails, a gallon ofpaint. The Proprietor, a good-natured fellow in his fifties,comes up to the counter to check Scott out.                                                             85.                      PROPRIETOR            How you been, John...?                      SCOTT            ...workin hard...                      PROPRIETOR            ...bet you have...                      SCOTT            How you, Billy...?Proprietor pours Scott a cup of coffee from the pot on theback counter. He mixes in sugar and cream. Billy nods inresponse to Scott's question.                      PROPRIETOR            ...one gallon goin to do it...?                      SCOTT                 (pointing at him accusingly)            ...you been lookin' at my house...?                      PROPRIETOR            Nope, just trine a sell you some            paint...                 (as he puts the cup                 down in front of Scott.                 Joking)            ...but, now you mention it...ANGLE, On Billy, as he moves to a new customer, a farmer,who comes in, and nods at Scott.                         NEW FARMER            ...John...                      SCOTT            Mr. Reese, how are you...?                 (Billy goes to take                 care of the new                 customer, and turns                 back to deal with Scott,                 who is waiting to ask                 a question)            That new saw blade come in?                      BILLY                 (as if just remembering)            No, John. It did not. I beg your            pardon. I know that's your            baby...I'm gone call them up and            get Right On That.                                                             86.ANGLE on Scott, who sees something out the window, and movestoward the front of the store.                      BILLY                 (as an afterthought)            ...'spected you back a few days            ago...                      SCOTT                 (looking out the window,                 absently)            I took the Long Way Home.ANGLE Scott, who is looking, over his coffee, at somethingon the street. And we see, his POV, a very city rent-a-carwhich is now across the street. We see a man getting out ofthe car.EXT. GAS STATION. COUNTRY VILLAGE. DAY.We see the back of a man, next to the rental car, which isnext to the Mustang. He turns, and we see that it is Anton,his arm in a slig, his face creased by pellet scars.ANGLE, his POV. Looking at Scott, who has just snuck upbehind him.                       SCOTT            Could I see your Right Hand,            please...?                      ANTON            There's nothing in my right hand.                      SCOTT            Could I see it, please...?Anton holds up his right hand. Scott relaxes, and comesforward. Anton gestures, meaning, "what was that about"?Scott takes Anton's right hand, by the wrist, and turns itover. He explains:                      SCOTT            You put your wedding ring back on.                       ANTON                 (not understanding the                 import of the question)            ...yes...?                                                             87.                      SCOTT            Then I have to guess you're not            "on assignment".                 (pause)            You're in the wrong place, baby.                 (pause)            How did you find me...?Anton gestures at the "Oilchange" sticker on the Mustang'swindshield.ANGLE from INT. The Car. We see the sticker reading "Mike'sService Station, Bradford, PA". And beyond it, the actualold, tin sign of the garage, reading "Mike's Service Station".ANGLE, on Scott and Anton.                      SCOTT            Well, I guess I'm not as smart            as I thought I was.                 (pause)                      ANTON            I need to talk to you.A beat. Scott shakes his head, as if in a sad comment tohimself. He sighs.EXT. RURAL STREET. DAY.Anton and Scott walking down the street.                      ANTON            I saw the sign.                      SCOTT            "You saw the sign". You were up            for a week, you coulda seen Jack            Ruby, you don't know what you            saw...your first-time-out.                      ANTON            I saw the sign.                      SCOTT            ...then, you tell me: you saw            the sign, how is it, they found            the girl, the DNA...why would            they do that...? Her father? Her            father would do that to her?                      ANTON            ...maybe he doesn't know...                                                   88.                      SCOTT            Well. You're living in a            fairyland of your Own Devising.            You're seeing snakes.                 (pause)                      ANTON            Who's going to Dubai...?                 (pause. Scott hesitates)            They've got a white slave ring,            in Dubai, with American girls            there - are they going in?                 (pause)            Are they sending you in...?                 (pause)            Ask them...                 (pause)                      SCOTT            You Got. To Leave it for your            Betters.                        ANTON            Ask them.                      SCOTT            Why would you want to know?                 (pause)            Listen up, Pal. THEY don't go            through the door. WE don't ask            why. That's not a COST, it's a            Benefit. Because we Got to Travel            Light. You wanna lose sleep over            it, get over it, or get out.                 (hold. pause)            You wanted to go Through the            Looking Glass. How was it? Was            it more fun than Miniature Golf...?                      ANTON            I want a favor.                      SCOTT            Why would I do you a favor?Two old ladies come down the small main street.                      OLD LADY            Morning, John, who's your friend...?                      SCOTT            Fella wants to buy my car.                                                 89.The old ladies walk on. Pause.                      ANTON            I saved your life.                      SCOTT            Well what were they paying you            for...?                      ANTON            Bobby, I saw the Sign...                      SCOTT            My name ain't Bobby.                 (pause)                      ANTON            I saw the sign.                 (he draws the Picasso                 sign in the dust on                 the window of the                 country store)            I Saw it. At the beach house.                 (pause)            I'm going back.                      SCOTT            Back?                      ANTON            To the beach house.                      SCOTT            They took it apart with a            tweezers.                 (Anton shakes his head)                      ANTON            She was there. The Girl was There.            I'm going back.                 (pause)            I want you to do something.                      SCOTT            What would that be?                      ANTON            The Secret Service Agent. Offed            himself.                      SCOTT            ...he was off boffing his girl.                                                          90.                      ANTON            He shot himself with a hide-out            pistol.                        SCOTT            Yeah?                      ANTON            Who frisked the sonofabitch?                 (pause)            You ask them.ANGLE, on Scott, obviously off-balanced by the question. Hold.INT. GOVERNMENT OFFICE BUILDING. DAY.Stoddard, smoking a black cigar, and several "Bureau" typesin the office. Scott is sitting at a conference table, as isMiller. Beat.                      STODDARD            Number one, the girl's dead.            Number two, the hide-out gun the            Agent shot with's registered in            his 1020 for the past five years.            The man who tossed him has been            sacked. His name is none of your            concern. Now: what the fuck are            you doing here?                      SCOTT            Sir, I am not here to question...                      STODDARD            Well, then, what the fuck are            you doing here...?                      MILLER            Sir, as he said, he is here to            apprise you of a security leak...                        SCOTT            ...and...Miller gestures to him to shut up.                      MILLER            To call your attention to what            may be a problem in discipline            with this...                                                             91.                      STODDARD            Granted. Granted.                 (he stands)            Granted. Fine. Thank you.                      SCOTT            And. Sir...If I may...                      STODDARD            What is it?                      SCOTT            When the operation is staged in            Dubai...                      STODDARD            What is this...?                      MILLER            He...                      STODDARD            ...what the fuck are you talking            about?                      SCOTT            I am merely saying, when -                      STODDARD            Forget it. Walk away.                      SCOTT            I...                      STODDARD            Yeah...you're a pit bull. I said            forget it. How do we contact Anton?                      MILLER            ...Anton...                      STODDARD            Your partner...He's gone to            ground...Scott shrugs, as if to say, "Is that the way you want it?"                      MILLER            Yes, sir...                                                             92.                      STODDARD            And, wait, wait, wait, wait,            what does this mean...?                 (of Scott)            When and if, any operation is            staged which may require your            talents, I give you my word...                 (Scott shakes his head,                 saying "I don't believe                 a word of it")            You impertinent motherfucker.            What the fuck is with you, you've            got on your "thinkingcap" all of            a sudden...?Stoddard gestures to an aide to call a number.                      SCOTT            I'd like to finish what I started.                      STODDARD            And I'm telling you to Stand            Down. Where's the kid?                 (pause)                      SCOTT            Is there no operation in Dubai...?Stoddard shakes his head in exasperation.The Aide hands Stoddard the phone. Stoddard answers. Listensfor a moment, and then points at Scott.EXT. GRAVESIDE. DAY.A small photograph on an easel - it is an image of Gaines,the dead Secret Serviceman.ANGLE, a small funeral. A Marine Honor Guard in attendance.Small suburban cemetery.ANGLE on the Pastor.                      PASTOR            ...in the Service. In the Service            of his Country. No less than had            he died in Combat. George Gaines,            a man who gave his life to            service, to protecting those who...ANGLE, an unmarked sedan. Scott, and a Driver. Looking on.                                                            93.                      DRIVER            ...sucker did the Dutch.                      SCOTT            I heard it was a training accident.                      DRIVER            Nope, he Ate the Gun. Didn't you            know?                      SCOTT            I've been out of town.                      DRIVER            Punched out early, off with the            girlfriend, his Principal wanders            off, winds up dead: hari-kari...ANGLE, on Scott, as he sees something. Scott takes a book ofmatches and starts to light a cigarette.                      DRIVER            ...rather you didn't smoke in here.Scott gets out of the car.ANGLE, on Scott, who takes out the Anton "Rogers Rangers"card. He motions the driver to pass him a phone and Scottlooks at the number on the card and dials.Beyond him we see, just at the limits of the gravesite.Holding himself apart. A young man in a raincoat. The youngman turns at the sound of a limo driving up.ANGLE Scott, looking at the limo. Out of the limo, whichstops near the grave, we see Burch emerge. There is asusurrus among the crowd, which, visibly, straightens a bit,at the honor of Burch's presence. We see Burch walk to thegravesite, and have a word with the widow. Burch puts hishands on her shoulders and comforts her.ANGLE, on Scott, looking at the man in the raincoat. We hearrifle fire, and Scott flinches.ANGLE his POV. The Marine Honor Guard, rendering a salute.We see a Marine bear the flag to Burch, who presents it tothe widow. He shakes several hands, and then moves off, backto the limousine. He beckons Scott over to him.ANGLE, Scott and Burch, walking through the cemetery. Burchshakes his head. He hands Scott the program from the funeral,and reluctantly begins.                                                94.                      BURCH            I put myself in your hands.            Didn't I...?                      SCOTT            I do not follow you, sir.                      BURCH            I reached out to you.                 (pause)            I put my life into your hands. I            entered into a conspiracy with            you. To commit Murder. Because            it needed to be done.                 (pause)            I trusted you with my life.                      SCOTT            I would never betray you, sir.                      BURCH                 (waving his assurances away)            I trusted you with my life. And            yet you cannot trust me.                 (pause)            There are things you have not            been told. That's right.                 (pause)            And now you're all out-of-line,            "Play me or trade me..."                 (pause)ANGLE, on the two.                      BURCH                 (almost as if against                 his better nature)            There is an Arab World. To            penetrate it makes trying to            join the Mafia look like a walk            in the park. How would you do it,            Scott?                 (pause)            We're dying. We're at war. And            we have no intelligence. How            Would you do it? How would you            infiltrate their clan structure?            Where is the interface?                 (pause)            It's at the whorehouse. That's            where they go to get frisky, and            that's where we listen to them.                      (MORE)                                                          95.                      BURCH (CONT'D)            For the few, priceless hints            that we get from that fucking            sandpile.                 (pause)            Had the girl been there, we would            have moved heaven and earth -            you know we would, and, we would            have got her out. She was not            there. She got drugged up and            fell off a boat, and drowned.            She's dead.                 (of the funeral)            That man,                 (Burch gestures at the                 photograph-on-the-                 easel, of George Gaines,                 the Secret Service man,                 which stands by the                 head of the grave)            That man a sworn office of the            Secret Service, went to get laid,            and she died. And you are risking            the lives of men and women in            the field, because you won't            take orders. How are you better            than him? Yes. You had best look            sheepish. What the fuck have you            got to say?                      SCOTT            No excuse, sir.                      BURCH            You're goddam right.                 (pause)            Now: where's this new kid who            got you all bothered. Where's            your partner?                      SCOTT            ...I'll call him off.                      BURCH            The fuck you will. You've got            nothing to say to him. He's gone            to the ground. Where is he...?ANGLE. Over the Honor Guard, packing up, we see Scott hand ascrap of paper to Burch, who makes one or two more points,to which Scott nods, submissively. Burch walks off. Camerafollows the Honor Guard, down the path, toward Scott, who,passing, nods at them.                                                             96.HOLD on Scott. As he watches the widow, at the gravesite,being walked away to a limo by the pastor. He feels someonebehind him and turns.ANGLE, SCOTT'S POV. A man in a raincoat, standing furtively,half-hidden by a tree, some distance off from the funeral,weeping. He holds a program for the funeral.ANGLE on the man in the raincoat, the funeral beyond him. Heis obviously distraught, a rather slight young man in histhirties. He looks at Scott for a moment, and then turns away.ANGLE. On Scott. As he turns back to watching the end of thefuneral. As the gravediggers begin their work. He sighs. Andmoves to a bench and sits. Looking at the gravediggers.DISSOLVE.EXT. DUSK. GRAVEYARD.Scott, still sitting on the bench. The gravediggers,finishing their work, begin to walk off, joking with oneanother. Scott stands, and turns, about to start out of thecemetery. He stops for a moment.ANGLE, HIS POV. The man in the raincoat, who is standingwhere last seen, looking at the burial. Walks toward themound of earth, pauses for a moment, and then walks off.EXT. BUS STOP. DESERTED, SEMI-INDUSTRIAL AREA, ACROSS FROMTHE CEMETERY. DAY.The raincoat man is standing waiting for a bus, at the busstop, outside a working man's tavern.ANGLE, on Scott, looking at the man, still weeping. Scottwalks up to the man. Each holds a copy of the program fromthe funeral. The man looks down at the program, and then upto Scott.                      SCOTT                 (beat)            Terrible thing.                 (the man nods)            Did you know him?The man nods. Beat. He turns back to Scott, looking forsympathy. Anguished.                      MAN            Did you know him...?                 (Scott nods. Pause. Portentiously:)            Where did you know him from?                                                             97.                      SCOTT                 (pause)            ...you know.                      MAN                 (pause. Nods)            He wasn't in the accounting            office. You knew that...                      SCOTT            Yes. I Did.The man begins weeping heavily. Scott puts his arm around him.                      MAN            I didn't think, he told anyone            what he did. Because...because...                 (he looks for sympathy)            I...                      SCOTT            A few of us knew.                 (pause)The man takes out a small photo in a leather case - we seeit is a smiling photo of the Secret Service Agent, Gaines.                      MAN            And all he cared    about was doing            his duty...that's    all...that's            all... He used to    tell me...                 (the man is    now overcome)                      SCOTT            I'm so sorry.                      MAN            He was supposed to see me that            night...After his            "shift"...We...His wife...Scott nods his understanding.                      SCOTT            Did she know? His wife. Did she            know?                      MAN            How could she? How could            she...she didn't know him...                 (pause)            Oh, the poor children...                                                          98.The man begins shaking, and Scott embraces him to comfort him.ANGLE, INT. THE WORKING MAN'S BAR. DAY.Scott and the man, at the end of the bar. A few constructiontypes enter. As Scott bends his head next to the man,speaking low.                      MAN            ...he was going to come to me            that night...after...                      SCOTT            ...after his shift.                      MAN            ...his shift - yes...ANGLE, on a Burly Man, in construction clothes, who isstanding next to them.                      BURLY MAN            ...excuse me...                      MAN            ...after, after he'd finished            driving him...                         SCOTT            ...him...?                      BURLY MAN                 (as he puts a hand on Scott)            I said...                      SCOTT                 (as he turns to the                 man, who is backing                 his way out of the bar)            ...driving him..? Did you say            "him"?                 (he reaches out to the                 effeminate man)                      BURLY MAN            Yeah. It's a man's world, pal -            but you're in the wrong bar.He turns Scott around, and pushes Scott deeper into the room,away from the other man, who is now going out of the door.Scott moves toward him and the Burly Man tries to stop him.                                                             99.Scott strikes him several times, and starts toward the door,where, as he exits the bar, he sees the effeminate man, onthe bus, and pulling away.Scott starts to move toward the bus. There is a hand on hisshoulder, and a second man from the bar is whirling Scott toface him. Scott shakes him off and starts after the bus. Thesecond man restrains him.                      SECOND MAN            ...what the fuck did you do to            my friend...?In the B.G. We see the first man rise from the sidewalk, andmove toward Scott. Scott struggles to follow the bus, whenthe second man assaults him. Scott is now fighting the twomen, who manoeuvre him toward an alley.As Scott's back is to the alley we see a Third Man emergefrom the shadows, and throw a garrotte around Scott's neck.Scott headbutts this man, who hauls Scott off his feet.Scott belts him again, and stomps on his instep. And turnsinto him. He elbows this man as the other two men advancetoward him, in the alleyway. The garrotte man falls.Scott kicks the garrotte man in the temple. And draws hispistol. Beat.The men in the mouth of the alleyway retreat.ANGLE. On the street. We see them get into a van which hasjust pulled up.ANGLE on Scott. Standing. Shivering. As he looks around thealleyway. He moves back to the fallen garrotte man.ANGLE. Scott standing over the man. He sees something andbends down.ANGLE HIS POV. In the man's backpocket is a program from thefuneral.ANGLE, Scott standing, looking at the program. We hear thephone ringing. Scott puts the phone to his ear.                      SCOTT            ...where are you...? No. Tell me            later. Look: LOOK: Forget the            boat house. Look:                 (pause)            Yes, tell me in...tel...look:            tell me when...GET OUT OF THERE.                      (MORE)                                                            100.                      SCOTT (CONT'D)            GET OUT OF THERE RIGHT NOW. TELL            ME WHEN YOU SEE ME. MEET ME            "WHERE...WHERE THE GUY MADE THE            PHONECALL" - ONE HALF-HOUR...Scott stops speaking, and looks down at something.ANGLE, his POV. Across the street. We see an unmarked sedanpull up and two men get out of the car. And begin to lookaround. One sees Scott, and motions to the other one, andthey both start in his direction. They stop, for a moment,as if confused.ANGLE, their POV. The street corner, empty of Scott.EXT. BOSTON STREET. DAY.Copley Square. Scott. Coming into the square.ANGLE, the open-air phone stanchion we saw in the earliersequence. It is festooned, as before, with ads for escortservices and phone sex.ANGLE, on Scott, getting, hurriedly, out of a taxi cab, onthe outskirts of the square.ANGLE, his POV, scanning the square for Anton. Scott looksat his watch, and he looks up.ANGLE HIS POV. The figure of Anton, walking from the farside of the square, toward the phone booth.ANGLE, on Anton, as he looks around him, and then proceedstoward the phone booth.As Scott watches, a van pulls into the plaza, and headstoward Anton. Anton sees the van, and retreats, toward thestreetside, where we see, the van has herded him towardanother car. Three men get out of the car, one slugs Anton,and he is whisked into the car, and the car pulls away.ANGLE, on Scott, on the far side of the square, looking on,aghast.ANGLE Anton, in the backseat of the car, pointing back, asthe car disappears.ANGLE. CU. Scott, looking at Anton's gesture, and following,looking in the direction in which he was pointing.ANGLE Scott's POV. The telephone kiosk. Scott walks into hisPOV, to the kiosk. He looks down at the pile of trash on theshelf.                                                         101.He looks up at the various pornographic ads pasted aroundthe interior. He sees that, stuck in one of them is the"Rogers Rangers" card, which Anton showed him earlier. Hepulls it out of the ad to which it is stuck. He looks downat it inquisitively. We read in an insert: "Rule #11: Don'tever march home the same way.Take a different route, so you won't be ambushed." He thensees that there is something else behind the ad. He tearsthe ad off the kiosk partition, and he is rewarded, as afolded envelope falls out from behind the ad. He picks upthe envelope. We see that it is the old yellowed envelopefrom the beach house. It is printed "Hanson Marine -Everything For The Boat", and we see, on it, the drawing ofthe old power boat. We see Scott feel the envelope, shake it,tear off the end, and pour something out into his hand. Wesee his face, and then pan down to see the object in theenvelope was the red crescent earring seen in all photographsof Laura Newton.EXT. BOATHOUSE, ESSEX. DUSK.A wind is blowing from the sea. Scott turns up the collar ofhis jacket. We see the house in the BG and Scott, walkingalong the patio, the sea beyond him. We see him stop andkneel, to the piling, from which he took the matchbook. Hesifts through the sand and gravel at the foot of the piling.The wind blows up the dust, and Scott stands, it is evidenthe has got a speck in his eye, and he tries to extract it,blinking, and squinting. He turns his head.ANGLE, HIS POV. Beyond the property line. Beyond the hedgesand on what is obviously the next lot, an old, ramshackledwelling, the small white toolshed.ANGLE, Scott, looking at the toolshed, and gauging itsproximity to the Essex House. He begins to walk toward it.ANGLE. Scott. At the small white toolshed. He stoops, and wesee he has picked up the shell, ejected by Anton's rifle. Hestands, he takes out a small spotter's scope.ANGLE. HIS POV. His shoulder, rubbing against the pollen-covered window in the small white shed, has uncovered a bitof a sign.ANGLE. Scott, looking at the sign in the window. He rubs thepollen off, and we see emerge, on the inside of the window,drawn in the dust, the Picasso sign %-).ANGLE XCU Scott.                      SCOTT            ...ohmigod...                                                            102.INT. SLEAZY HOTEL ROOM. NIGHTScott, wearing just skivvies, is asleep on the bed, an emptypint bottle of booze on the night stand. We hear thetelevision on low, showing talking heads narrating thefuneral of Laura Newton."Our Redhead, America's Sweetheart", et cetera. We see aphoto of her in her signature red crescent earrings. Next toScott, on the night table, the envelope, holding the samered crescent earring.ANGLE, the line of light under the door to the hallway isoccupied by a pair of feet.ANGLE. A hand, dangling off the bed toward the floor. Belowit, on the floor, the creased 'Rogers Rangers' card, andseveral days worth of newspapers.ANGLE XCU Scott, on the bed. Unshaven. We see his eyes comeopen.ANGLE on Scott's hand, as it snakes quietly past the Rangerscard, on which we read: "Rule #15: Don't sleep past dawn -Dawn's when the French and Indians attack", and comes upwith an automatic pistol.ANGLE the door, as we see the door handle move slightly.ANGLE on Scott, as he jerks open the door, his pistol at hisside.ANGLE HIS POV. In the doorway beyond, we see a Bellboy,holding a small paper bag, looking shocked.Scott shoves the Bellboy back away from the door, andglances, both ways, down the hall.                      SCOTT            What the hell are you doing?                      BELLBOY                 (showing the package)            I...I brought you...                      SCOTT            Why're you screwing with the            door...?                       BELLBOY            I...I...Scott drags him into the room.                                                         103.                      SCOTT            Why're you screwing with the            door...?Scott frisks him roughly. The terrified Bellboy shows a "DoNot Disturb" sign, which he holds.                      BELLBOY            I took the...I took the sign            off...                 (pause)            You had the sign on the door.            F'they saw me...f'they saw me,            knocking on a door, the sign            on...they'd...                 (Scott relaxes somewhat.                 The Bellboy proffers                 the package)            An, I...I figured, you needed...                 (he hands the package                 to Scott, who takes                 out a pint bottle of booze)            You told me you wanted this at            Ten...                      SCOTT            ...yeah. Thanks.                      BELLBOY                 (begins to calm down a bit)            ...I don't know why you...                      SCOTT            You're right, I'm wrong...I'm wrong.He begins to look through his pockets. As the Bellboy stands,looking at the television.ANGLE on Scott, the television beyond him. As he goesthrough the pockets of his jeans. He then goes through thepockets of his jacket, and throws various objects on the bed.Some coins, some scraps of paper. A book of matches, somecrumpled cigarettes. He hands some bills to the Bellboy.                      SCOTT            There you go, Pal. Hold on...                       BELLBOY                  (pause)            Sure. I just...I just wanted to            help.                                                            104.ANGLE, on Scott. As he rummages through the pile on the bed.The TV shows photos of Laura Newton, wearing her redcrescent earrings.Scott picks up a cigarette and the book of matches on the bed.Part of the pile shows a tabloid paper - a photo of   Laura,an insert of her father weeping at the funeral, and   thecaption "Goodbye, Baby". He bends down and picks up   theRogers Rangers card. And looks at it. He shakes his   head. Aswe see the Bellboy leave the room. Beat.INT. DARK, PANELLED CONFESSIONAL. NIGHT.XCU on Scott, as he thinks for a moment, then speaks.                      SCOTT            It's been...quite a while since            my last confession. That...that            "transpired". On the rear face            of a hill, in a mortar attack.                 (pause)            And I confessed that I was            frightened.                 (pause)            And I have to confess, I'm            frightened now.                 (pause. He smiles weakly)            'Nother "irregular Confession".He raises a shotglass to his lips, and drinks. He makes a"another one" gesture. Pause.                      SCOTT            ...I'm about as frightened as            I'm comfortable being.                 (pause)            And that's why...I involved you.                 (pause)            Which, I suppose, was shameful.ANGLE, as a waiter comes, with a fresh drink. We see that weare in a very dark, quiet, smoky, panelled bar. The waiterleaves, and reveals, beyond him, Jackie Black, the femaleSergeant we met at the training facility scenes. The waiterlooks at her, inquiring silently, if she wants anything. Sheshakes her head.                                                            105.                      JACKIE BLACK            Now: you did me the honor to            Call me. Now: you tell me how I            might help.                 (pause)            There in't nobody here, but two            people in Green.                 (pause)Scott, looks around, he takes up a tabloid newspaper, whichhas been resting on the seat of the booth. We see it is a"funeral" edition, concerning the death of Laura Newton.We see the large, color photo of Laura, her red hair, and,in an insert, her father, at the gravesite, hiding his face.The caption reads "Goodbye, Baby". Scott leans over, andwhispers to Black, his deepest secret.                      SCOTT                 (pointing at the paper)            ...this girl's alive...                      JACKIE BLACK            Then, you'd better go get her.EXT. SANITORIUM. DAY.Scott, shaven, neat, and determined, standing at a bus stop.Reading a newspaper. Behind him, a large iron fence.ANGLE INS. The newspaper shows "The Tragic Death of LauraNewton", and photos of the accident. And a photo of adistraught woman in sunglasses, being held up by two friends.ANGLE on Scott. As he looks across the street. Surreptitiously.ANGLE HIS POV. A plainclothes car, with two people in it,looking vaguely in his direction.ANGLE on the bus, as it pulls into the stop. We see variouspeople start onto the bus. At the last moment Scott, at theback of the line, sheers away.ANGLE, INT. THE PLAINCLOTHES CAR. The bus pulling away fromthe bus stop, the chainlink fence beyond it, and, beyondthat, a vaguely institutional-looking Colonial building.INT. SANITORIUM. DAY.A nurses station, Scott moving through the area, just askingdirections of an older woman, obviously a semi-invalid.                                                            106.ANGLE INT. SANITORIUM. The woman is Mrs. Newton. She walkswith a companion, she wears sunglasses, and starts out ofthe sanitorium. As Scott walks up, some yards behind her,following her out onto a roofed porch. The woman moves tothe far end of the porch, obviously weeping. Scott entersthe porch, and stands for a moment. Beat.                      WOMAN (V.O.)            ...terrible thing, grief...Scott turns to her, to see a lovely woman in her latefifties, sitting on a lounge chair, a robe over her legs,indicating the weeping woman.Scott nods, and takes something from his pocket. He startstoward the weeping woman, but the other woman holds him withher voice.                      WOMAN            ...you want to comfort them, but            you don't know how.                 (pause)            I always think it's better to            Leave Them Alone...Scott nods his acceptance of her wisdom, and begins to starttoward the woman.                      SCOTT                 (of Mrs. Newton, and                 the woman, talking to her)            A relative?                       WOMAN            A psychic.                 (pause)                      SCOTT            Well.                 (pause)            Can we blame her...?                 (he gestures, meaning,                 we get comfort where                 we can find it)                      WOMAN            That's right.Scott begins to move toward Mrs. Newton. The woman on thelounge chair sits up.                                                         107.                      WOMAN            ...who are you...?                      SCOTT                 (moving off)            United States Secret Service.The woman moves her blanket to reveal a pistol which she holds.                      WOMAN            Guess again, 'cause I'm the            Secret Service, and you follow            my directions or I will shoot            you dead. Spread your hands to            your sides, please...                 (Scott spreads his                 hands to his sides)            Open them...He opens his hands to show the red crescent earring. We seethe demeanor of the woman in back of him change, as she seesthe earring. She comes up to Scott, and he turns around. Shelooks up, asking, mutely, what it means.INT. SMALL SANITORIUM ROOM. DAY.                      DONNY                 (sotto, unable to stop                 her invective)            ...the motherfuckers pulled the            Detail off of her...He was in            town. Her father was in town,            they pulled the Secret Service            Detail off her, to take him            tomcatting. He's been doing it            for years. That's what they do.            They turn the Secret Service            into a bunch of pimps. He took            her protection, she got snatched...                      SCOTT            He'd let her die?A female Agent knocks at the door and sticks her head in andDonny gestures "rotate".                      FEMALE AGENT            ...leaving the post...Donny gestures that she has heard. The Agent leaves and thedoor is closed.                                                         108.                      DONNY                 (meaning, "this is my surmise")            The start of a campaign: Your            daughter got kidnapped because            you were out getting laid?                      SCOTT            Her father would let her die...?                      DONNY            Who knows if he knows. His            'people' would let her die in a            heartbeat.                      SCOTT            ...her mother...?                      DONNY                 (pause. She takes up                 the earring and she                 begins to weep. She                 looks beseechingly at Scott)            I'm her mother...She takes out a small, tattered, cheap earring box.ANGLE INS. We see the empty place for holding two earrings,and a small arcade photo of a five-year-old Laura Newton,and this woman, Donny, fifteen years younger. They arehugging. Scott turns over the photo to read, in a childishscrawl, "Donny, you can keep the box, cause I'll never takethem off". Donny starts to weep.                      SCOTT            I need some money.                 (Donny looks up at him questioningly)            I'm going to get the girl back.                      DONNY            What can I do?                      SCOTT            I need money. I need a lot of money.                      DONNY                 (of Mrs. Newton)            I've been signing her checks for            years.                                                         109.                       SCOTT            Alright...                 (he scribbles a figure                 on a napkin)            Can you go this high, that's            what I need...                        DONNY                 (as   she looks down at                 the   figure on the paper)            ...I...I   don't...is there            anywhere   else you...ANGLE. Both look to the side.ANGLE, their POV. One of the Secret Service Agents, lookingaskance at Scott. Does a double-take. And begins to raisehis cuff mike to his lips to speak.ANGLE, on Donny, as she sees this, and turns around.ANGLE, her POV. The empty room. Scott vanished.INT. NEW YORK CITY OFFICE BUILDING. DAY.A very beautiful young woman in a business suit, in anelevator. The doors open and Scott, dressed in a suit, getsin. He turns to face the front. They ride up in silence.The doors open on a mezzanine. There are several men at theend of the mezzanine. Scott starts to get out, and the girltries to stop him. He shoves her roughly back into theelevator. Several of the men come toward Scott, and a large,portly businessman in his forties (AVI) calls them off.Scott comes forward.                      AVI            Didn't they tell you not to come?                       SCOTT            Well, I guess I wasn't paying            attention.                 (pause)                       AVI            Five years ago they told me you            were dead.                      SCOTT            You want to gossip, or you want            to do business...?Avi motions Scott to come with him.                                                          110.ANGLE, Avi's hitters. One starts to take out a phone - Aviwaves him to stop - HOLD on the hitters.ANGLE, Avi and Scott, as they sit, near the edge of themezzanine.                      AVI            Bobby; this is an American girl...?                      SCOTT            If that were so?                      AVI            If that were so, why don't your            people go and fetch her...?What if I'm speaking for them...?Avi nods, meaning "yeah, sure".                      AVI            ...they send a hitter to            negotiate...?                 (pause)            My question is: have you forgot            your catechism...?                      SCOTT            And what's the answer?                      AVI            The answer is Go Home.                      SCOTT            Yeah, that's a good one.                      AVI            ...you're at the Big Table here.                      SCOTT            I know where I am.                      AVI            Well, then, you better talk to            me using the Decimal System.                      SCOTT            Your intel. Two men. Infil, exfil,            hardware, and com.                      AVI            And com to what? I cannot give you.                                                         111.                      SCOTT            Well, you could, when you where            in the Boy Scouts.                      AVI            Yes, but I am not in the Boy            Scouts anymore. You heard the            private sector?                      SCOTT            Yeah.                      AVI            Well. That's where you found me.            And here's what it costs.He writes a number on a sheet of paper.                      SCOTT                 (looks at the paper)            ...you're out of your mind.                      AVI            No, you're out of your fucking            mind, and you're out of your            league, and my advice to            you:...before some mercantile            soul shops you.                 (pause. In disgust, he                 picks up the paper,                 crosses out what we                 wrote, and puts in a                 new number)            ...for this job, that's what it            costs...                      SCOTT            ...that's what it costs...?                      AVI            That's what it costs you.                 (pause)            Go home, Bobby.EXT. PALATIAL ESTATE. DAY.We see a woman getting into a Range Rover, in the vastgravel drive outside of an estate.A man comes out of the house, with a cup of coffee, hurryingout to kiss his wife goodbye. He does so. She drives off.                                                           112.He finishes the cup of coffee, puts it down outside his door,closes the door, and looks quickly at his watch, and hurriesto his Jaguar, which he puts in gear, and it starts down thedrive.We see it is the Businessman from the whorehouse.ANGLE on another car, coming down the drive, which smashesinto the Jaguar.ANGLE on Scott, who gets hurriedly out of the car. He goesout to the Jag, and drags the stunned man from his car, andtoward the house.ANGLE INT. A SUMPTUOUS STUDY, PALATIAL ESTATE. DAY.Beautiful Greek and Roman artifacts line the walls, onlighted shelves. Scott drags the stunned and abraidedBusinessman into the study. Scott throws him into a chair.                      SCOTT            Remember me...?ANGLE Scott, as he takes out the Businessman's card, andlooks at it.                      SCOTT            ...well, I guess you do have            friends in High Places...I mean            here you are home, n'all...                 (he picks up now one,                 now another piece of                 exquisite statuary,                 and smashes it to the ground)            And now we're gonna see if you            also got all that money that you            spoke of.                 (he takes out a                 videotape box)            This here's a Short Subject, if            you know what I mean. Of you in            Carnal Congress with an Underage            Girl. A PROSTITUE, A MINOR, AND            SOMEBODY'S DAUGHTER...                 (he holds up another videotape)            There's another...you know how            cheap it is to make a copy...?                      BUSINESSMAN            ...what do you want?                      SCOTT            I want what you promised me...                                                         113.                      BUSINESSMAN                 (as if reluctant to                 impart the information)            ...I've, I've already made a            deal with...                      SCOTT            Yeah, but you haven't made a            deal with me...So, today is Your            Lucky Day, cause you get to Do,            what Most Men only Dream of: You            get to make Another Human Being            Happy.He brings over a telephone, and gives it to the Businessman.Scott finds himself behind a large desk.He looks down at photos of the smiling Businessman, invarious poses, with two young girls, obviously his daughters.                      SCOTT                 (softly)            You had your fun, now pay for it,            Jim. Get your bank on the phone.            We're going to transfer some money.The Businessman pauses, then picks up the phone.                      SCOTT                 (to himself)            ..."how about that".                      BUSINESSMAN            ...do you know how much trouble            you're in...?                      SCOTT            Yes. And that's the difference            between you and me.EXT. WAREHOUSE DISTRICT STREET. DAY.Scott, getting out of his car, rounds a corner. We see a carcoming down this street, rather quickly. Scott retreats intoa doorway.ANGLE, HIS POV. The car blinks its lights three times.ANGLE EXT. THE STREET. We see the car slow almost to a stop,Scott emerges from his doorway. As the car's rear door isopened, Scott gets in.                                                 114.INT. WAREHOUSE OFFICE. DAY.Avi and Scott, at a small table.                       AVI            Maskala is a suburban villa, in            Dubai. The Friends of your Friend,                 (he gestures at a photo                 of Assani)            Operate there, if you will, a            "halfway house". For the young            women they have induced, coerced            or drugged into spending their            short lives. As the whores of            Arabian tourists. Of late the            girls have been, in the main,            from the former Sov-Bloc. Now            and again, a North American Girl,            if she is exceedingly            lovely,...blonde, usually            blonde...                 (he passes the photos                 of very beautiful young                 girls across the table,                 to Scott)            Will, unfortunately, find her            way to Dubai. They travel drugged,            they are -                 (he searches for the word)            - "tidied up", and sold. For            some reason, most of them are            sold to Yemen.                 (pause)            The girls are generally held, in            Dubai, until the end of the month.                 (he checks his watch                 and looks significantly                 at it)            When the Merrymakers fly in to            examine them. And take their            purchases home.                      SCOTT            ...and then?                       AVI                  (shrugs)            That is "and then".                  (pause)            This is a floor plan of the            building where the girls are            held, this is the security            arrangements, this is the watch            plan.                       (MORE)                                                         115.                      AVI (CONT'D)                 (he checks his watch                 and raises his eyebrows)            The girls are taken from the            house in Maskala, to the Royale            Hotel, I presume you will hit            them in transit...?Scott opens another envelope which Avi has passed him. As helooks at the documents he pours out.                      SCOTT                 (reads)            ..."Jameson Construction"...They            know we're there...?                      AVI            I hope not.                 (he shows documents to Scott)            The conex container for the exfil,            also Jameson Construction.                 (he gestures at the                 materials on the table)            A passport for the Young Girl...                 (he shrugs)            Between fifteen and twenty-five,            they all look alike.                      SCOTT                 (as he looks at the passport)            Is that your experience...?                      AVI            Yes. It is. Nonetheless, we tried            to match it to a Current Photo...ANGLE, on Scott, as he looks, questioningly at Avi. Avitakes a photo from his desk and passes it to Scott. It shows,through a long lens, blurry and grainy, a photo of what isobviously the platinum-haired Laura Newton, sitting on a bed,in a barred room.                      AVI            ...she was there twelve hours ago.                      SCOTT            Who took the photo?                      AVI                 (shrugs)            How would I know...?                 (pause)                                                          116.                      SCOTT            What does the bonus cost?                       AVI                 (shrugs)            A gesture of Friendship. But. We            thought: if you see some of the            Yemenins -                 (he shows Scott candid                 photos of several                 middle-aged, bearded                 middle-eastern looking men)            Any of these, in            particular...would you say Hello            to them?Scott scoops up the documents, and stands.                      SCOTT            Who else have you done a favor            for, Avi?Avi shakes his head, and wags his finger, as if to say, "No,in all sincerity..."                      AVI            Bobby: the world runs on manners.Beat. Scott takes an envelope, and hands it to Avi, whoopens it. He opens his mouth to speak.                      SCOTT            The last third on exfil, in            Geneva. Me and the Girl. As agreed.                      AVI            That's not what I was going to say.                      SCOTT            What were you going to say...?                 (pause)            ...the Last Third in Geneva...                 (he exits)EXT. ROOFTOP, DUBAI. DUSK.Scott, on a rooftop, behind a raised elevator housing. Scotttakes out a pair of binoculars, and Scott leans around theelevator housing.ANGLE HIS POV. Across the way, the window, and the ornatescrollwork bars, in which we, earlier, saw the photo takeson Laura Newton.                                                            117.ANGLE on Scott, as he comes back behind cover, and nods tohimself, picking up his yellow bag.ANGLE EXT. DUBAI STREET. Scott, walking down the street,beyond him a building with an ornate scrollwork barred gateover its courtyard door. In the courtyard beyond, twoMercedes 600's.As Scott walks past the trelliswork it begins to open. Adelivery truck is ushered through the gate, by an armedguard. Scott stops, to let the truck pass.ANGLE HIS POV. As he turns his head to the side.ANGLE HIS POV. Walking from one outbuilding, across thecourtyard, beyond the gate, accompanied by a minder, isLaura Newton. She is obviously drugged, disoriented, and isheld up by the guard. He gets into a conversation with awoman, dressed as a matron, who comes out of the buildingthey have just vacated. And she stands, for an instant,untended.ANGLE on Scott, the gate open, as the gate guard ushersthrough the delivery van, and Laura Newton stands severalyards away.ANGLE XCU, Laura Newton, as she looks in his direction, andher eyes begin to focus, as if trying to make sense of whatshe is seeing.ANGLE, her minder, who reacts to a change in her attitude,and looks at her, and, then, follows the direction of hergaze to the gate.ANGLE HIS POV. The delivery truck coming through the gate,as the gate closes behind it. The street beyond it, empty.ANGLE INT. THE COURTYARD. As the delivery truck pulls in,and Laura, escorted by her guard, is taken back into themain house. She turns to look back, groggily, wonderingly,at the street, and is pushed into the door. As she does so,we see the delivery truck pull up to the spot she justvacated, and the delivery man gets out and opens a rear door,on which we see scrawled, in the dirt, the "Picasso" symbol.ANGLE EXT. DUBAI STREET CORNER. Scott turns the corner, andgets into a car, driven by Jones, which comes to the curb.ANGLE INT. THE CAR. In the backseat, Scott, another mansitting next to him, SMITH, dressed as a construction worker.The man starts to speak. And Scott shushes him, takes out anotebook and a pencil, and begins to make notes.                                                         118.EXT. CAR, DUBAI. NIGHT.A deserted streetcorner. Various shuttered posh shops. Scottwalking across the street.ANGLE CU on Scott, as he paces, as he walks.                      SCOTT            ...fourteen, fifteen, sixteen.The camera takes him to the middle of the street. A right-hand turn, a tight corner. He looks to his left.ANGLE HIS POV. Beyond him, we see, several streets off, thesign of the "Royale" hotel.Scott beckons, and the man, Smith, comes out of the shadows.He and Scott walk to a small passageway, at the corner.Camera takes them through the passageway, where we see Jones,standing by his car, in an alley.                       SCOTT            It's good.                 (to Jones)            It's very good.                 (Jones nods his thanks)            The charge takes the car out...                 (to Smith)            We got the flashbangs fore and            aft, You hit the driver, follow            down the driver's side, the car            ain't going nowhere, the muscle            gets out, I cap em, I go with            the girl.                 (he points to Jones.                 He points to the car.                 Jones nods. To Smith)            You exfil on your own, we're on            to the airport.ANGLE, tight on Scott, and Jones.                       SCOTT            At the airport. When we hit the            Conex. When you Seal Us In...you            walk away.                      JONES            I understand.                                                            119.                      SCOTT            I cannot have heat on it. Now: I            know: that you want to protect            the package. But: you have to            walk away. And que sera, sera.                      JONES            I won't look back.INT. WAREHOUSE ROOM. NIGHT.Scott, at a desk, looking over his plans. A photo of LauraNewton on his desk. Beyond him Smith and Jones are cleaningand assembling weapons. Scott takes out his switchblade andbegins to hone it. Scott looks into the mechanism of theknife. Peers intently, turns it over and raps it on thetable. We see a small seed fall out. Smith turns to thesound, and looks inquisitively at Scott.                      SCOTT                 (as he picks the seed                 up, answering Smith's                 unspoken question)            ...it's an appleseed.Smith nods as if to say,"If you say so".Scott reaches over to a box of Q-Tips, which sits on thetable along with other cleansing paraphernalia, and dips onein the solvent bottle, and begins to clean the interior ofhis switchblade.ANGLE XCU on Scott, as he cleans the interior of his knife.His face freezes...Scott leans over, and gestures at atweezers as part of Smith's cleaning kit. Smith nods "okay".ANGLE INSERT. The interior of the knife. A small, wafer thinelectronic device adhering to the interior.ANGLE on Scott. As he turns his back on the group. We see,in an insert. He holds the electronic device up for scrutiny,in the tweezers. He walks toward the windows of the warehouse.                      SMITH                 (as he cleans his                 firearms, generally,                 as if speaking of the universe)            "Johnny Appleseed", eh?                      SCOTT            ...yeah, I'm just a Man of Peace...We hear a car driving up, outside the warehouse. He looksout of the window.                                                            120.ANGLE, HIS POV. Just seen, the nose of a small SUV, aroundthe corner, three men, getting out of the car.ANGLE INT. WAREHOUSE DAY. Scott walks into a corridor of thewarehouse. He looks down an industrial staircase, and seesthe door at the bottom begin to open, stealthily.ANGLE, camera takes Scott to a small, filthy bathroom. Heopens the door.ANGLE, at the bottom of the stairs, Stoddard, with twohenchmen, heavily armed, look up.ANGLE THEIR POV. Scott walking into the bathroom.ANGLE, a floor of the warehouse. Stoddard, and hisaccomplices, coming up the stairs to the floor, which holdsScott. There are several closed doors. One of the menconsults a small hand-held 'GPS' unit, and points at one ofthe doors. The men take up position around this door.Stoddard nods, and they open fire through the door.ANGLE, INT. THE BATHROOM. The men kick down the door, tofind the small cubicle-like room empty. One of them looksaround, and sees, and removes the small wafer-thin electronicdevice from the top of the cistern. He shows it to Stoddard,who throws it down in disgust. As he, followed by his men,exit the room.ANGLE EXT. DUBAI STREET. NIGHT. We see the small SUV parkedaround the corner from the warehouse, a black clad driver,sitting in the car, watching the warehouse.The door is wrenched open, and we see Scott, the smallyellow duffle over his shoulder, drag the driver from thecar, and clout him to the ground. Scott gets into the car,which begins to drive off.INT. "MASKALA HOUSE" (THE HOUSE WITH THE ORNATE SCROLLWORK).DUBAI. NIGHT.ANGLE, Laura Newton, drugged, listless, sitting on the bedin the small room. We hear a large explosion, and Laura getsup, and moves toward the door of her room. She hears anotherexplosion, and shouts coming from outside her door. She isreaching for the handle of the door, when the door opens,and one of her Bodyguards opens the door, and addresses her.                      BODYGUARD            ...stay in your room, and...He turns as another explosion is heard, coming from theinterior of the house. As he turns we hear glass breaking,and see Scott entering through the window behind Laura.                                                             121.The Bodyguard turns, and Scott raises a silenced    pistol, andshoots the Bodyguard twice. The Bodyguard falls,    Scott movesto him, and drags him inside the room. He raises    his pistolgesturing "shush" to Laura, and moves her toward    the window.                         LAURA            ...who...?He uses the rope outside   the   window to improvise a sling,for Laura, and drapes it   over   her head, and under her arms.Scott picks her up, and   holds   her for a moment. She startsto speak. And he answers   her   question.                      SCOTT            Stay by me.He hesitates for a moment. We hear another explosion, henods, as if to say "That's what we're waiting for", andpasses her out of the window, and begins lowering her to theground.ANGLE EXT. THE BUILDING. Laura, on the rope, reaching theground.ANGLE INT. THE ROOM. Scott, as he turns to the sound of thedoor opening, two men come through the door, and he shoots them.ANGLE EXT. THE BUILDING. Scott puts Laura into the SUV andgets behind the driver's seat. He puts the car in gear, andit begins to drive off.ANGLE INT. THE CAR. Laura turns to face him.                      LAURA            ...they said they were going to            take care of me...                      SCOTT            I'm going to take care of you.            You hold on, now.                 (as Scott drives he                 reloads his weapons)                      LAURA                 (lazily)            Who are you?                      SCOTT            ...you remember, Baby, we went            to high school together...                 (pause)            You dropped your earring.                                                            122.She shakes her head. Drugged. Trying to make sense of theproceedings.                      SCOTT            You're Picasso, right...? That's            who you are...He draws the Picasso sign on the windshield, she looks at it,having trouble focusing.                      LAURA            ...they're going to send me to a            Party.                       SCOTT            No, Baby, you're going Home.                  (pause)            You're just taking the long way            home.ANGLE EXT. THE CAR. Moving through the streets. The airportjust becoming visible in the background.INT. BARE ROOM. DUBAI. NIGHT.Laura, asleep, at a small cardtable. Out of the window wesee an expanse of desert and scrub. Her head is down. Scottenters the room, he moves a chair in front of the door,moves to Laura, and manhandles her to a small cot, andcloses the shutters to the window.                      SCOTT            ...I told you to stay on the bed.We see her wake and look around, trying to place herself.ANGLE on Scott, as he takes out a notebook and begins tomake notes in it.                      SCOTT            ...you're going travelling.                      LAURA            ...what...?                      SCOTT            ...we're going to take a little            trip.She takes out a crumpled pack of cigarettes, and extractsthe last one. She takes out a match.                      SCOTT            ...put that away.                                                            123.                      LAURA            ...I need a smoke.                      SCOTT            Y'can't smoke it. American            tobacco. Smell. Carry. In the            desert air.He looks down his list, and nods. He takes a bandana fromhis pocket and hands it to her.                      SCOTT            Put that on. Over your head.                      LAURA            Whatsamatter, you don't like            Blondes...?                      SCOTT            Whole world likes Blondes. That's            why you're here. Put the bandana on.                      LAURA                 (as she tries to light                 the cigarette)            I need a smoke.                 (He takes it away from                 her, and crumbles it.)            ...gimme the fucken smoke.He shushes her, and moves to the window.ANGLE, EXT. The window. The first gleam of dawn. And, faroff, a Muezzin is heard chanting morning prayers. Lauramoves toward him, unbuttoning her blouse.                      LAURA            I could make you give me the smoke.He slaps her lightly in the face.                      SCOTT            Keep it together.                 (he takes a small                 hypodermic kit)            Keep it together, or I'm gonna            give you a shot and carry you out.She reacts violently to the sight of the needle. Beat. Then,she sits on the bed and cries self-pityingly.                      LAURA            Nobody Cares about me...                                                         124.Hold. On Scott. And we take him back to a small shelf nearthe door. He takes down what we see is an ashtray, overfullwith yellow-brown cigarette butts. He takes the ashtray tothe small table, takes out his knife, and begins shreddingthe butts, and gathering the tobacco into a pile.                       SCOTT             ...that's right...                       LAURA             ...I'm just a whore...They             wouldn't even come get me...                       SCOTT             They sent me...Scott looks at the pile of tobacco. He extracts the "RogersRangers" card from his pocket and looks at it. We read, inan insert: "Rule #13: Every night, you'll be told where toMeet, if Surrounded by Superior Force".ANGLE, on Scott, as he very precisely peels the card intotwo thin halves, and rolls one of the halves into acigarette, using the reclaimed tobacco from the ashtray. Hetakes the cigarette to Laura. As a peace offering. She takesit. Beat.                       LAURA             Did my father send you?                       SCOTT                  (as he lights her cigarette)             ...that's right.                       LAURA                  (derisively)             One man.                        SCOTT             One riot, one Ranger, you ever             hear that?ANGLE, on Scott, as he hears a car outside the window. Hedraws a pistol and moves to the window, and looks down. Hegestures Laura to be quiet.ANGLE EXT. The window. In the small, deserted street. A carpulls up. A man gets out, and looks around. Beat. Anotherman, and a woman, and two small children come out of the lowhouse and get into the car, which drives away.                                                           125.                      LAURA            Leonides, the King of Sparta,            when a neighboring state would            beg for Military Aid. Would send            One Man.                      SCOTT            ...well, there you go.                      LAURA            ...you ever hear that?                      SCOTT            No. I think we went to different            schools.He looks at her. Beat. She hands him the cigarette. And hetakes a drag, and passes it back. He checks his watch.                      SCOTT            ...put the bandana on.                       LAURA                 (softly)            Did you hear the one about the            king who turned his daughter            into Gold?                      SCOTT            Yeah - I heard that one.Beat. She turns away, and cries.                      LAURA            ...I don't want to go home.                      SCOTT            I didn't ask you.EXT. DUBAI AIRPORT. DAY.A long view of the airport.ANGLE, a small delivery van we saw earlier. Parked in anindustrial area.ANGLE INT THE VAN. Laura, dozing in the passengers seat.Scott, sitting in the driver's seat, alert, watching.ANGLE HIS POV. Seen beyond the corner of an industrialbuilding, beyond a chainlink fence, the airport.ANGLE INT. THE CAR. Laura wakes with a start, and looks around.                                                           126.                      LAURA            I don't know where we are...                      SCOTT            You just keep it together.ANGLE Scott as he looks up to the sound of a plane.ANGLE HIS POV. Directly over their heads, a small bizjet, onfinal, about to touch down.ANGLE, the chainlink fence. Scott and Laura at the fenceprotecting the airport. Scott moves aside the pre-cutsection of fence, and gestures him through.ANGLE, inside the fence. Laura and Scott moving to theprotection of a small hangar.ANGLE, beyond them, we see the bizjet come to a halt, on thetarmac, and turn. We see blazoned, on its side, "Global News".ANGLE, on Scott and Laura, now inside the small hangar.Scott moves to a small locker and extracts a set ofcoveralls, and a cap, and takes them to Laura.                      SCOTT                 (of the coveralls)            You put this on.                      LAURA                 (groggily)            ...what...?                      SCOTT            You...A pause. He turns to the sound of a car.ANGLE HIS POV. A car, on the tarmac. It comes to a stop by aprivate plane. Beyond this private plane, we see the "GlobalNews" bizjet, being directed to a stop.ANGLE, on Scott, as he watches the tarmac.ANGLE HIS POV. Stoddard and several of his men, get out ofthe car which has stopped by the private plane. A man infatigues emerges from the plane, and hands Stoddard a pieceof paper. Stoddard begins giving this man directions.ANGLE INT. THE CARGO HANGAR. Scott and Laura, who now has onthe mechanics coveralls.                                                         127.ANGLE Scott, as he looks out of the hangar door. To hisright, the plane with Stoddard and his men, to his left, the"Global News" bizjet, its hatchway staircase, just descending.ANGLE on Scott, as he looks at his watch. He turns to Laura.                      SCOTT            A little walk-in-the-park.                 (he points her to the                 News jet)            See there...?ANGLE EXT. THE NEWS BIZJET. Where a man in a safari jacket,and a woman emerge from the plane, and glare at the sun. Wesee this man consult his watch.ANGLE, on Scott and Laura, as he walks her out of the hangar,and towards the news bizjet. In the B.G. We see Stoddard,and his men, at their plane. Another car pulls up toStoddard, disgorging a man, who goes to conference withStoddard.ANGLE, these two men.                      SECOND MAN                 (giving his report)            ...all of the passenger terminals,            and all access-points to the            Cargo and General Aviation...                      LAURA                 (groggily, as in a dream)            No, you know what my mistake was...?                      SCOTT                 (as he looks around)            ...what was that...?He stops and picks up a pair of "paddles" from theirposition, leaning against the nose wheel of a plane. Theywalk on. In the BG we see Stoddard and his crew, searching.                      SCOTT            ...what was your mistake...?                      LAURA                 (from a distance, as                 she begins to laugh,                 as at a great private                 joke; she stops walking)            ...you think we bring our            troubles on ourselves...?                                                            128.                      SCOTT            I'm certain of it.She starts laughing, getting hysterical.                      SCOTT            No, no...come on baby...come on,            come on girl: just walk to the            plane: Just Get On the            Plane...WALK TO THE PLANE...She starts to break free and Scott manoeuvres her into asmall hangar area. She is struggling mightily. Scott has hishand over her mouth.ANGLE. We see their feet moving through a pool of oil on theconcrete floor - we see she loses her footing. We see Scotttighten his grip on her, and is furiously trying to calm her.                       SCOTT            Shussh, baby... shussh...            shussh... it's going to be            alright...We see him work a small hypodermic kit from the pocket ofhis jacket. We see Laura see it, and her eyes grow wide.                      SCOTT            This's going to make Everything            Allright...Laura reacts to the hypodermic, which Scott is bringingtoward her. And screams.                        LAURA            No!EXT. THE HANGAR AREA.We see Stoddard, and his men, about to get into their Jeep,stop, and turn at the sound.ANGLE INT. The Hangar Area. Signs all over marked in Arabicand English - "Petrol - No Smoking!!"As Scott lunges after Laura, the door, behind her burstsopen, and Stoddard and an accomplice enter, placing Laura,in the midst of the hangar, between Stoddard and Scott. Whostands in front of a large tanker labelled "Aviation Gasoline".                                                            129.                      STODDARD            Leave her Alone.                 (to his men)            Don't shoot him, don't shoot,            you'll blow the thing sky high...                         SCOTT            Laura...                      STODDARD            Thank God we Found you. You know            me. I work for Mister Burch.            I've met you...ANGLE on Laura, standing between the two men. She iscompletely confused. She looks from one to another.                      LAURA                 (drugged and groggy)            He said that he came to get me...                 (she shakes her head                 in disbelief. Then she                 starts to walk a step                 toward Scott, then                 turns, and proceeds                 toward Stoddard.)                      STODDARD            That's right, Laura...Walk away            from him. Walk to the Plane...He            can't hurt you now. Walk to the            plane...He points at his bizjet, outside, on the tarmac. Laura walks,unsteadily, in the direction pointed, and we see a femaleattendant, in a vaguely military getup, get out of the plane,and begin to walk toward Laura.                         SCOTT                    (screams)            No...He starts toward Laura. And Stoddard and his two meninterpose themselves between Scott and Laura, who isapproaching the plane. Stoddard's two men approach Scott.One draws a knife.ANGLE on Scott, who hangs his head, wearily. He looks downat his empty hands.ANGLE on the man with the knife, approaching him.                                                           130.ANGLE on Scott, straightening himself, as if submitting tothe inevitable, as the man with the knife draws closer. Hemakes a thrust, and covers. Scott steps toward him and spitsat him, full in the face. The man with the knife recoils fora moment, and Scott disarms him, throws him viciously to theconcrete floor, and stomps on him. Scott bends to pick upthe knife the man has dropped, and turns to face the otherman. As he does so, he slips on what we see is a large poolof oil on the floor. He goes down heavily. And the secondman steps into him as he falls, drawing his pistol.                      STODDARD            DON'T SHOOT, DON'T SHOOT, DON'T            SHOOT HIM IN HERE...The man uses the pistol to cuff Scott, who is attempting torise to his knees, behind the ear. Scott falls.                      STODDARD            Cuff 'im...The man handcuffs Scott behind his back.ANGLE on Scott shaking his head to clear it, as he nowstruggles to his knees.ANGLE, his POV. Laura Newton, walking toward the bizjet.                      STODDARD                 (to Scott)            Yes...well...                      SCOTT            Let the girl go home.                 (pause)                      STODDARD                 (to his henchmen)            ...wait till she lifts off, take            him outside and shoot him.                      SCOTT                 (as he speaks he moves,                 slightly, continuously,                 to get a better view                 of the girl)            ...why can't the Girl Go Home?                      STODDARD (CU)            Because she's dead.                 (pause)            You had to know the Secret            Knowledge. Didn't you?                                                         131.                      SCOTT            What is the Secret Knowledge?                      STODDARD            The Secret Knowledge is: There            Is No Secret Knowledge.                 (turns over his                 shoulder, to look at                 Laura, walking toward                 the plane)            You went Beyond What Was            Permitted. And the Gods Are Angry.ANGLE. On the tarmac. Laura, walking toward the plane, thepetroleum storage hangar behind her. We see a vaguelymilitary uniformed woman fall into step beside her and takeher arm. Laura looks at her. We see Laura full face, andjust the shoulder of the woman escorting her. Beyond them wehear the engine of the bizjet start up.                      LAURA            ...I'm so tired.                      WOMAN            ...I'm going to ask you to do            Just the One More Thing...Laura looks at her questioningly.                      WOMAN            I'm going to ask you, now, to            walk away from this plane, and            come with me.ANGLE, to show that the stewardess, who descended from thebizjet (the vaguely military clad young woman we saw earlier)is still on station outside of the bizjet, and that thewoman who is walking and talking with Laura is Jackie Black,the young female sergeant we met earlier. Laura looks at heruncomprehendingly. Laura begins shaking her head pathetically,and protesting, drawing away from Jackie Black.                      LAURA            No...leave me alone. No - I don't            know you...ANGLE, INT. The Petroleum Hangar. Day.                                                            132.                      STODDARD                 (to his men, as he,                 Stoddard, casts a                 glance outside, and                 then back)            Alright, take him outside...                 (the henchman hoists                 Scott to his feet)ANGLE, on Laura and Jackie Black. Standing immobile. Lauralooks down at something. She then looks up, her face transfixed.ANGLE, on Jackie Black's hands, she holds the cheap jewelrybox we saw earlier, and, in it. The photo of Laura and Donny,and the legend: "Donny you can keep this box, cause I willnever take them off."ANGLE XCU, on Laura, as she looks at Jackie, who now movesLaura away from the bizjet, and towards the assemblage ofnewspeople, who are on the tarmac, around the "global news" jet.ANGLE, EXT. The Global News Jet. A female reporter,gossiping, with some of her crew, looks over in thedirection of Laura and Jackie, and does a double-take.                      FEMALE REPORTER            Oh, my God...ANGLE, on Stoddard, his man, and Scott. As they leave thehangar. Stoddard looks around.ANGLE, his POV. Inside the hangar, the fallen man, thatScott has killed. Stoddard goes back inside, to drag thisman away. He looks up. And, as he does so, he sees Laura,walking with Jackie Black, toward the Global News Plane.                      STODDARD                 (yells)            Wait...!ANGLE, on Jackie Black and Laura, walking toward the plane,where we see the crew hurriedly setting up a camera.ANGLE, on Stoddard, as he draws his pistol, and fires towardLaura and Jackie. We see Jackie move to shield Laura, andthen, struck by a bullet, she goes down.                      JACKIE BLACK                 (to Laura)            Keep walking...ANGLE, on Scott, in the grip of Stoddard's henchman.                                                         133.                      HENCHMAN                 (to Stoddard)            ...do you want me to...?In the moment he is distracted. Scott breaks the man's grip,and his arm. He knees the man, and kicks him to the ground.ANGLE, INT. The Global Jet. The news crew reacts to the shot.Beyond them we see Jackie, fallen to the tarmac, and Laura,is walking toward the newspeople.                      FEMALE REPORTER            Gimme an uplink Gimme an uplink...            GET IT ON THE SAT. Now Now Now...Inside the jet we see various monitors, and one switchesfrom an innocuous travelogue, to the scene at the airport,and the caption "Live". We see the shot is taken from insidethe plane. We see Laura stumbling toward the bizjet, and seethe female reporter run out of the plane, and move her tosafety inside the cabin.                      FEMALE REPORTER                 (to the unseen cameraman)            On her. On her, get it on the            girl...Get us Out of Here...The camera shifts to the image of Laura Newton, going outlive. Behind her we hear the crew shooting commands, and seethe door to the Global jet close, as the jet begins to taxi.ANGLE, INT. The Petroleum Hangar. We see Stoddard, reloadinghis pistol. In the BG we see Scott step through hishandcuffs, that is, bring them in front of his body. Hetakes a pistol from the henchman, who is writing on thefloor. He raises the pistol and shoots the henchman. Heturns on Stoddard.                      SCOTT            The girl ain't dead, baby, you're            dead. You see: that's the            difference.He walks toward Stoddard,who is fumbling, trying to reloadhis pistol.                      STODDARD            WAIT: WAIT. The girl's home. You            brought her home. Now, listen to            me, because I am going to tell            you...now, you wanted to be            "inside"...I am going to take            you as far inside as you can go:            Z'at what you want...? Is that            what you want?                                                            134.                       SCOTT            No, I just wanted to bring the            girl back.He shoots Stoddard, who falls.ANGLE, INT. The Bizjet, as it taxis. Laura Newton turns herface to the sound of the shot.ANGLE, her POV. Jackie Black, on the tarmac, Scott, kneelingto the fallen Stoddard, and then running out of the hangartoward her.ANGLE, on Scott, running, as we see he has the key he hastaken from Stoddard, and is releasing his handcuffs.ANGLE Jackie Black, bleeding, as Scott kneels to her, andcradles her. Scott looks down. Black is weakening, andobviously expiring.                      JACKIE BLACK            ...is she safe?                      SCOTT            That's right, she's safe.                      JACKIE BLACK                 (weakly, almost whispering)            ...well, then...ANGLE on Scott, cradling her. Weeping, as he smoothes her hair.                      SCOTT            ...that's right, Baby...FADE OUT.SPARTANA Screenplay by David MametCopyright c 2002By David Mamet                                             AUGUST 2002
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+                                           SPEED RACER                                Written by                                    Larry & Andy Wachowski                                                        1st Draft                                                January 4th, 2007                                                  INT. ELEMENTARY SCHOOL CLASSROOM - DAY - PAST          A battered sneaker tattooed with doodles of speeding cars          and checkered flags and the words "Start Your Engines!"          Beats up and down, a sewing machine needle of anxious,          restless, adolescent energy.          A pencil fills in the oval of a standardized test form,          then hesitates, twitching with the speed of a humming          bird wing caught between two fingers, then is quickly          erased as a different answer is chosen.          The form sheet is filled with smudges of uncertainty.          A ten year old boy stares at the next question.          TEST QUESTION          Grace buys a bag of 240          jellybeans. There are 35 yellow          ones, 52 red ones, 63 green ones,          26 white ones, 41 blue ones and 40          black ones. If Grace wants to eat          one of each while keeping her eyes          closed, what is the minimum number          she will have to eat?          His mouth tries to makes sense of the question but it's          not working.          He looks around at the other students quietly, diligently          filling in their ovals while he fidgets, his leg beating,          his pencil fluttering, a pot jiggling its lid, about to          boil over.          He reads the question again. Greek. Chinese. Meaningless.          He looks up at the clock. The second hand sweeps towards          the 12. Then back at the test.          Something suddenly clicks.           He stares at the clock, pencil poised, waiting until the          second hand hits the 12 and he's off-          Filling in the ovals faster than it seems he could          possibly be reading the questions.          INT. TEACHER'S OFFICE - DAY - PAST          Mrs. Racer sits across the desk from Speed's teacher.          MOM          DISTRACTED                                                  2.          CONTINUED:          TEACHER          No, that's not exactly right. Your          son seems to be interested in only          one thing.          Mom knows what's coming.          TEACHER (CONT'D)          All he talks about, all he seems          capable of thinking about is          automobile racing.          MOM          Well you know, his father designs          racing cars.          TEACHER          And where is your husband?          MOM          He's-working. He couldn't make          it.          TEACHER          Perhaps the apple hasn't fallen          very far from the tree.          Mom is uncomfortable with that truth while the Teacher          glances back to her records.          TEACHER (CONT'D)          Is your husband's name Rex?          MOM          No, Rex is his older brother. Why?          TEACHER          This is the test he turned in last          week.          She holds up the Scantron test that Speed was working on.          The bottom half of the ovals are filled in to spell out:          "GO REX GO!"          INT. ELEMENTARY SCHOOL CLASSROOM - DAY - PAST          Speed has finished filling in the test and is now drawing          pictures in the corner of the test booklet.          He is drawing little race cars,. He flips a few of the          pages and we see a quick moment of his animation as two          cars collide.                                                  3.          CONTINUED:          He continues to draw as the background of the classroom          fades to white behind him, becoming the black corner that          he is drawing on.          We watch the race going on in his head as hand-drawn cars          battle each other heading for a photo-finish. Speed          makes the car noise himself including the jumping sound          as two cars try to block the Mach 5, smashing into one          another as --          The Mach 5 jumps over and through the fiery crash,          crossing the finish line still in the air.          Speed is lost in slow-motion revelry, making the sound of          the roaring crowd.          The teacher hears him and looks up, frowning as she sees          him lost in his fantasy world.          A little girl with a pink barrette also hears him turning          to watch him, a smile creeping across her face; there is          no one in the entire school like him.          The teacher is about to say something when the bell          rings.          Speed snaps out of his fantasy and leaps up, in motion          before anyone else.          TEACHER          Alright, pencils down, bring your          TESTS--          Thwack! Speed slaps his down and is already heading for          the door.          TEACHER (CONT'D)          --to my desk.          Ham! The door slams open and Speed shoots out.          TEACHER (CONT'D)          Speed Racer, slow down!          EXT. ELEMENTARY SCHOOL          Speed slides down the railing on his butt, a perpetual          motion machine as he scans the street, smiling as he sees-          Across the street, leaning against his hot rod, his big          brother, Rex Racer.                                                  4.          CONTINUED:          He pauses crossing the street letting two impossibly cool          cars pass by.          Here we begin to see the unique and individualized nature          of the automobile in the world of Speed Racer. In this          world, the grocery store parking lot looks like a car          collector show; vintage and concept cars are as          ubiquitous as the Camry is in our world.          Speed dashes across the street, a tight parabolic arc          around the car, his little head sticking up like a shark          fin circling until--          The car door pops open and snaps shut.          The seat-belt clicks into place before Rex even has a          chance to move. He leans over and looks in the window.          Speed smiles.          REX          .I take it you're ready to go?          Speed nods. Rex climbs in beside him.          REX (CONT'D)          So, who was school?          YOUNG SPEED          Fine. Are you going to the track?          Mom said you were. You don't have          to drop me off, I could just go          with you.          REX          No way.          He starts the car and roadster growls to life.          YOUNG SPEED          Oh, come on, take me with you.          Come on, please.          REX          I can't, Speed. Pops would kill          me.          YOUNG SPEED          He doesn't have to know. I won't          say anything. Nobody will know.          Come on, please, Rex, pleaseplease          pleasepleasepleeeease.          Rex sighs, knowing there's no way he can with this.                                                  5          CONTINUED: (2)          REX          Are you wearing the socks?          Lickety-split, Speed sticks his sneaker up against the          dash board and pulls back his pant leg revealing--          A bright red sock.          REX (CONT'D)          You roll us again and this'll be          the last time? Deal?          A ten year old's grin spreads ear to ear.          YOUNG SPEED          Deal.          INT. THUNDERHEAD LOCKER ROOM - NIGHT - PRESENT          A lone figure sits on a bench away from us; his racing          suit is unzipped to the waist and he sits with his head          down as though he was praying.          He is wearing a pair of bright red socks.          After a moment, he pulls his boots on, zips up his suit          and stands looking into the locker.          Propped against this gloves is a photo of Rex.          This is Speed ten years later. He takes the photo and          slides it into one of the zippered pockets of his suit.          He grabs his gloves and slams the locker shut.          EXT. THUNDERHEAD RACEWAY - NIGHT - PAST          The first gen T-180 screams along the metal raceway.          INT. CAR          Speed sits in Rex's lap, wearing a too-big helmet,          giggling with a child's mad glee as he steers.          EXT. THUNDERHEAD RACEWAY - NIGHT          The car.banks up a wall and roars down, swooping past.                                                  6.          INT. CAR          Speed screeches as though riding a roller coaster.          REX          Feel that shimmy? That's your hind          legs trying to outrun you're          front.          SPEED          What do I do?          REX          Stop steering and start driving.          Speed gets serious, his lips tightening the way a hand          knots into a fist.           REX (CONT'D)          This ain't no dead piece a metal.          A car's a living breathing thing.          She's alive. You can feel her          talking to you, telling you what          she wants, what she needs. You          just gotta listen.          Speed tries to listen.           REX (CONT'D)           Close your eyes and listen.          Speed does.           REX (CONT'D)          They say that Ben burns drove the          last lap of the '68 Vanderbilt Cup          with his eye closed.          SPEED          No way!          REX          No? Well maybe you can't hear it          then. Maybe. you ought to start          hitting those books--          SPEED          No! I hear it!          REX          That so? Okay Mr. Burns, you tell          me when to gas it for the jump.                                                  7.          CONTINUED:          Speed concentrates..           REX (CONT'D)          Now?           SPEED          Uh-uh.          The jump glides towards them as the tires seem to whisper          to Speed.          SPEED (CONT'D)          Now!          Rex smiles, hitting the gas, launching the car into the          air where it seems to hang fora moment before rushing          down at us as we cut--          EXT. THUNDERHEAD RACEWAY -= NIGHT - PRESENT          The modern T-180's come flying overhead, slamming down          against the metal track, scattering bright bursts of          shooting sparks in their wake.          INT. MEDIA ROW          A long stretch of identical glass cubicles that look down          at the raceway, where announcer's from all over the globe          provide color commentary for race fans.          Thunderhead is a relatively small track and the media-row          should reflect that while it's big enough to be covered          in several different languages, it is not nearly as          important as the majors.          LOCAL ANNOUNCER          --local fan favorite, Speed racer          is just gobbling up this track,          slipping car after car--          HAROLD LEDERMAN ANNOUNCER          --no one seems able to lay a glove          on this kid--          AUSTRALIAN ANNOUNCER          --clearly a rising star, with          several big wins since turning          pro, though he remains without a          major sponsor--                                                  8.          CONTINUED:          CHINESE ANNOUNCER          --a win tonight could put him          within range of qualifying for the          Grand Prix--          FRENCH ANNOUNCER          --let us hope he does not make the          same mistakes that his older          brother made--          INT. CAR          Inside the cockpit of a racing car that feels more like a          fighter jet, Speed does the thing he was born to do.          Though the vibrations are enough to rattle molars loose,          there is a calmness, a preternatural ease in Speed's          manner that suggests this maelstrom of velocity is where          he belongs.          He hears a voice in his headset.          SPARKY          Head's up,.Speed! Seven o'clock. I          got Snake drafting.Pitter-pat.          Speed looks into his mirror and sees a car with orange          and black markings, stacked up tight behind another car.          SPEED          I got him.          EXT. TECH PIT          It is smaller than a typical crew pit since the cars          don't really pit. There is a panel like a sound mixing          board filled with needled gauges and green-barred light          meters.          Sparky is watching through binoculars.          SPARKY          I figure he'll slingshot after you          in the next turn.          SPEED          I'm ready.                                                  9.          EXT. THUNDERHEAD RACEWAY - NIGHT          The cars explode into the next turn when Snake uses the          draft to slingshot by the car ahead of him--          Hurling like a bullet straight at Speed as--          Speed thumbs a button on his steering wheel causing jacks          to shoot out of the bottom of the car and sending it up          into the air just as--          Snake flies under it, careening into the bottom of the          turn too tightly, bouncing of the rail, out of control,          ricochetting back at Speed as--          He turns his wheels, catching a part of Snake's car with          the grace of a bull-fighter, sending it spinning away          towards the other cars while--          Speed rockets free--          Eliciting a huge roar from the crowd.          EXT. TECH PIT          Sparky smiles.          SPARKY          Great move, Speed. Careful on the          butterfly coming up. You may wanna          ease up--          SPEED          Not this time, Sparky.          EXT. THUNDERHEAD RACEWAY - NIGHT          Speed careens through a butterfly turn like there was a          slot-guide in the track causing another crowd roar.          They can feel that something special might be happening.          EXT. TECH PIT          Sparky checks his stop watch.          SPARKY          Holy canoli, Speed, You know who          you're racing?                                                  10.          CONTINUED:          He can see him.          SPEED          Yeah...          Just ahead, the ghost of his brother's car launches up          the second jump and when ti comes down we are back in the          past.          EXT. THUNDERHEAD RACEWAY - NIGHT - PAST          Rex drives the older model T-180, a man on a mission,          dominating the race exactly like Speed.          EXT. GRANDSTANDS          Pops stands watching the race through binoculars Young          Spped is beside him.          YOUNG SPEED          Rex's gonna win, ain't he, Pops?          Pops checks his watch but almost can't believe it. He          goes back to his binoculars.          YOUNG SPEED (CONT'D)          He's gonna win it. He's gonna set          the course record. Nobody's gonna          catch him.          POPS          Quiet, Speed! There's a lotta race          to run.          YOUNG SPPED          No way. It's over. My brother's          the best racer in the world.          Everybody else is running for          second.          The cars rocket through the twisted mobius of steel.          EXT. CREW PIT          Blackjack Benelli grabs one of the crew chief, knotting          his fists in the fabric of the path-covered cover alts.          BLACKJACK BENELLI          I told you to take him out!                                                  11.          CONTINUED:          CREW CHIEF #1          We're trying, sir. He's just too          fast.          EXT. THUNDERHEAD RACEWAY          Rex blazes by, the track rattling like a metal roller-          coaster, opening an even bigger lead.          As we move around Rex's car, we see suddenly there is          someone right behind him, a ghost car--          Speed.          As Speed makes his move, he pulls us back into the          present.          INT. MEDIA ROW - PRESENT          The buzz is palpable.          LOCAL ANNOUNCER          --it's unbelievable folks, no          one's seen moves like this, since          that remarkable night eight years          AGO--          HAROLD LEDERMAN ANNOUNCER          --there's no doubt in my mind,          he's gunning for it--          AUSTRALIAN ANNOUNCER          --driving like a man possessed, a          man haunted by his past---          CHINESE ANNOUNCER          --a record that has stood for          eight years set by.his,older--          FRENCH ANNOUNCER          --he is not alone out there, he is          chasing someone, he is chasing the          ghost of Rex Racer--          EXT. GRANDSTANDS          in the glass of Pop's binos we can see the dim reflection          of the two brothers racing.                                                  12.          CONTINUED:          Pops stands beside Mom. He is still watching the race          with his trusty binos though he is now a little older,          plumper and balder..          He clicks his stopwatch, checking it at the same time          that Sprittle checks his. Sprittle stands on the chair          next to him.          SPRITTLE          Jeepers, he could do it, Pops. He          could really do it, couldn't he?          Pops goes back to his binos.          SPRITTLE (CONT'D)          What if he does? What if he does          it, Pops?          POPS          Sssh!          SPRITTLE          I don't know if I can watch          this...          He holds the binos as though afraid to look when--          A hairy hand comes in and takes them away.          Chim-chim, sitting on the chair next to Sprittle, puts          the binos to his eyes.          Speed flies through a piece of tricky track drawing          another cheer.          Sprittle grabs the binos back just as the beautiful young          woman, standing on the other side of Pops, lowers her.          Trixie chews at her lip, feeling a knot twist into her          gut.          EXT. SUBURBAN STREET- DAY - PAST          The little girl wearing the pink barrette is walking with          a pack of girls, their little mouths as sharp as razors.          In the distance we hear a high-pitched motorized whine.          BLONDE PACK LEADER          My Daddy told me he used to work          for the Mishida Motorwerks but he          quit.          (MORE)                                                  13.          CONTINUED:          BLONDE PACK LEADER (CONT'D)          My daddy said that was a          completely crazy thing to do. He          says the whole family is crazy.          TRIXIE          Speed's not crazy.          BLONDE PACK LEADER          No, he's just dumb. Probably the          dumbest kid in class. Ms.          Waterstraat had me alphabetize the          IRB tests and you wouldn't believe          what that retard did--          Sock!          Trixie decks her to the shock of the rest of the pack          just as the whine grows very loud and--          Speed comes rounding the bend on a little go-cart,          wearing his too-big helmet making his big head seem          ridiculously enormous.          Zipping past, he suddenly notices the girl in the pink          barrette standing over another girl; there is something          about her--          Maybe it's way she's got her fists up, like a boy, or          maybe it's the. way her jaw is set, ready to take on          ANYONE--          Whatever it is, when their eyes suddenly meet, he finds          he is unable to look away--          Staring at her, as he drives off the road, crashing          through a hedge and tumbling down a hill.          TRIXIE          Speed!          She runs to help him.          He is laying sprawled out, his car on its side, wheels          still spinning.          TRIXIE (CONT'D)          Are you alright?          He's a bit groggy.          SPEED          .who are you?          TRIXIE          I'm Trixie. I'm in your class.                                                  14.          CONTINUED: (2)          SPEED          .oh .yeah.          He stares at her for a minute, powder-puffs of clouds          floating about her head.          SPEED (CONT'D)          He, would you like to see my car          COLLECTION          She smiles.          TRIXIE          I'd love to.          INT. POP'S GARAGE          Pops and Rex are working on the T-180. Rex is in a wife-          beater, up to his elbows in axel grease.          The sound of an angry bee hive fills the room as Speed          drives up through the big open door.          SPEED          Hey, Rex. Hey Pops.          RE X          Hey, Speedy.          POPS          Who's your friend?          SPEED          Her name's Trixie. She's in my          class.          TRIXIE          Hi.          POPS          Pleasure to meet you, young lady.          SPEED          Hey pops, a guy wanted me to give          this to you. He said he was a big          fan.          He hands him the package and Pops smiles.          POPS          A fan, is it? Not often we get          someone with such good taste          around here. Where is he?                                                  15.          CONTINUED:          SPEED          He was in a hurry. Driving a '68          Fendersin. Sweet set. of wheels.          The car description rings a bell for Rex.          REX          Let me see that.          He grabs the box, then holds it to his ear.          It's ticking.          He jams it into the go-cart, against the pedal and slaps          it in reverse.          The go--.cart shoots out of the garage and down the          driveway until--          It explodes, an enormous fireball ballooning up past the          tree tops.          Trixie's eyes flash with excitement.          TRIXIE          Cool beans!          EXT. THUNDERHEAD RACEWAY - NIGHT - PRESENT          Feeling the storm of emotions that she knows Speed must          be feeling, she takes a deep breath and raises the binos          back up.          Through the magnifying lenses we see Speed flying around          the track.          INT. MEDIA ROW          They are riding the story like Speed is driving the          track.          LOCAL ANNOUNCER          --no one from these parts will          forget the tragic story of Rex          RACER--          HAROLD LEDERMAN ANNOUNCER          --he nearly ruined racing--          AUSTRALIAN ANNOUNCER          --single-handedly tried to save          RACING--                                                  16.          CONTINUED:          CHINESE ANNOUNCER          --one of the greatest scandals in          the history of the sport--          FRENCH ANNOUNCER          --it is always the brightest star          that burn out the fastest--          EXT. THUNDERHEAD RACEWAY - NIGHT          Speed blister through the high-banked slalom and it seems          at first that he is all alone but then we see the trace          effect as we realize that the two cars are making          perfectly identical moves until--          They bank into a straightaway, splitting apart, like a          shadow suddenly cut free as both cars accelerate--          Neck and neck, the past a mirror of the present.          YOUNG SPEED (V.0.)          Can I go with you, Re          INT. REX'S ROOM - NIGHT - PAST          Young Speed watches as Rex packs his bags.          REX          Not this time, Speedy.          SPEED          When are you coming back?          REX          I don't know. I don't know.          He snaps the bag shut.          REX (CONT'D)          Look, Speed... one day people          might say things about me. No          matter what they say, I hop... I          just hope you never believe them.          SPEED          I won't.          He hugs his little brother, knowing it might be for the          last time.                                                  17.          INT. RACER LIVING ROOM          Rex heads for the door but Pops is waiting for him.          POPS          So, you're quitting?          REX          I have to.          POPS          No you don't. This is a choice.          You're selling out, walking away          from everything we've built here.          REX          I'm done arguing with you Pops.          He turns back towards the door.          POPS          Don't you walk away from me!          REX          You can't tell me what to do. It's          my life to live.          He takes hold of the doorknob.          POPS          If you walk out that door, you          better not ever come back!          The door slams in response.          EXT. THUNDERHEAD RACEWAY - NIGHT PRESENT          Speed and the ghost of his brother cross, switching          positions as the memories come faster and faster.          INT. RACER LIVING ROOM - NIGHT - PAST          Speed sits on the floor, glued to the television,          ON          watching a big race that Rex is in. Mom and Pops are          the couch behind him.          All of them sit in.a suspended state, a fist of tension          squeezing the breath out of them. One the screen, is a          cloud of smoke billowing from a tangle of metal.                                                  18.          CONTINUED:          RALLY ANNOUNCER (V.0.)          Rex Racer riving the black and red          Uniron car, got in a tangle with          Richenhbach, who had been favored          to win--          COLOR ANNOUNCER (V.O.)          That was no tangle, he took          Richenbach out--          RALLY ANNOUNCER          We don't know that but I imagine          the WRL will be reviewing this          crash.          COLOR ANNOUNCER          That's the third DNF crash Racer's          been involved in! Review it? Heck,          the oughta just suspend him.          POPS          Turn it off, Speed! I don't want          you watching this anymore.          EXT. THUNDERHEAD RACEWAY - NIGHT - PRESENT          Speed tightens his grip on the wheel.          INT. YOUNG SPEED'S BEDROOM          Speed is hidden beneath the blankets, the sound of a          small portable television barely audible.          RACE ANNOUNCER          Rex Racer almost took Yokima's          head off wit that jump!          RACE COMMENTATOR          There's absolutely no doubt in my          mind that Rex Racer is the          dirtiest driver in the world.          Lit by the soft glow of the small tv, Speed blinks and          the first tears slip silently down his cheeks.          EXT. THUNDERHEAD RACEWAY - NIGHT - PRESENT          His jaw locks, as he remains trapped between two          different forces.                                                  19.          EXT. SCHOOL YARD - DAY - PAST          Young Speed is clobbering a kid who is twice his size. A          teacher finally pulls them apart.          BIG MOUTH          I just told him the truth! His          crum-bum brother doesn't belong on          a racetrack-- he belongs in jail!          Speed tears free and torpedoes Big Mouth again.          EXT. THUNDERHEAD RACEWAY - NIGHT - PRESENT          The two cars continue to dance around each other.          INT. MEDIA ROW          LOCAL ANNOUNCER          --the trial of Rex Racer shook the          World Racing League to tis very          FOUNDATION---          HAROLD LEDERMAN ANNOUNCER          --once a rat, always a rat and in          my book Rex Racer's nuthin' but a          RAT--          AUSTRALIAN ANNOUNCER          --the indictment brought down          perennial racing powerhouse          UNIROYAL--          CHINESE ANNOUNCER          --Uniroyal was linked to the          notorious fixer Blackjack Benelli--          FRENCH ANNOUNCER          --still in prison to this day,          Benelli was rumored to be behind          the Casa Cristo tragedy--          The two cars swerve, heading for a collision as we cut--          INT. RACER LIVING ROOM - NIGHT - PAST          Mom, Pops, Sparky, Trixie and Speed are all watching the          race on the television.                                                  20.          CONTINUED:          Something happens and Mom drops her glass. It shatters          but no one seems to notice.          Young Speed is transfixed by the horror of what is          playing out, the images of fire and flashing lights,          reflecting in his eyes.          CASA CRISTO ANNOUNCER          This has to be one of the worst          crashes I have ever seen--          CASA CRISTO COMMENTATOR          Terrible, just terrible---          CASA CRISTO ANNOUNCER          There is still no sign of the          driver, Rex Racer.          EXT. THUNDERHEAD RACEWAY -- NIGHT - PRESENT          Speed presses down on the accelerator and starts to gain,          fighting the emotion welling behind his eyes.          INT. YOUNG SPEED'S BEDROOM - PAST          Held by his mother, Speed sobs and sobs while Pops stands          helplessly at the door.          EXT. THUNDERHEAD RACEWAY - NIGHT - PRESENT          Speed again pulls even with Rex as the finish line comes          into view.          TNT. MEDIA ROW          LOCAL ANNOUNCER          --he's comin'hard, it's gonna be          CLOSE--          HAROLD LEDERMAN ANNOUNCER          --forget the past, he's sayin',          this is my night--          AUSTRALIAN ANNOUNCER          --there's a new Racer in town--          CHINESE ANNOUNCER          --poised to wipe the slate clean--                                                  21.          CONTINUED:          FRENCH ANNOUNCER          --escaping the dark shadow of his          older brother--          The checkered flag goes up, ready as the two cars come          screaming towards the finish line--          The large digital clock seemingly synchronized with the          past as--.          Speed looks over at the ghost car, the faintest smile on          his lips as he sees his older brother and then--          Takes his foot off the accelerator, letting Rex's car          surge ahead, crossing just before Speed.          The time is just over the record causing disappointment          to ripple through the crowd except for--          The Racer family who seem both relived and happy.          SPRITTLE          Come on, Let's go! Victory Lane!          INT. MEDIA ROW          They seem exhausted.          FRENCH ANNOUNCER          Zut alors! What a race!          CHINESE ANNOUNCER          --by a cat's whisker--          AUSTRALIAN ANNOUNCER          --the record still stands--          HAROLD LEDERMAN ANNOUNCER          --looked like he pulled up to me--          LOCAL ANNOUNCER          --Folks, I knew Rex Racer and if          he's up there somewhere watching          this race, you can bet your ass,          he's damn proud of his little          brother.          INT. RACER X'S PENTHOUSE - NIGHT          Walls of glass overlooking a galaxy of.twinkling          cityscape; a penthouse created as a diamond is created,          every face a perfect stroke of precision.                                                  22.          CONTINUED:          A beautiful woman wearing nerdy-glasses sits watching the          television from the leather banquette. She has a body          made of the same kind of lines that a sports car or a          high-heel has, lines that make your head turn.          This is Minx.          Beside her is a brooding, muscled man, his attention          we don't          riveted as Speed pulls into Victory Lane. Though          see his face, this is Racer X.          MINX          He' going to be very good.          RACER X          No. He's going to be the best.          The crowd swarms around Speed's car.          RACER X (CONT'D)          If they don't destroy him first.          EXT. RACER HOUSE - MORNING          The phone is ringing.          INT. KITCHEN          to the          Mom is. cooking breakfast. Before she can get          phone, Sprittle grabs it.          SPRITTLE          Racer residence.          CORPORATE AGENT          Good morning, I was hoping to          speak with Speed racer.          SPRITTLE          He's not interested.          He hangs up.          MOM          Sprittle!           SPR ITTLE          It's true!          MOM          That's not for you to say.                                                  23          CONTINUED:          SPRITTLE          Speed's gotta drive for Pops!          MOM          That's for Speeed to decide.          The phone rings again. Sprittle grabs it quickly.          SPRITTLE          Hello?          CORPORATE AGENT #2          Is this the Racer residence?          He glances at Mom.          SPRITTLE          Nope.          He hangs up. Shrugs.           SPRITTLE (CONT'D)          Wrong number.          INT. PARENTS BEDROOM          Pops is doing his exercises in his gray sweats.          INT. SPEED'S ROOM          BEN          Speed now sleeps in Rex's old room. The poster of          Burns is still tacked to the wall above the bed.          Mom opens the door.          MOM          Come on, Champ. Rise and shine.          Breakfast's ready.          to the          Speed's hair.seems to remain asleep, still molded          pillow as he tries to push himself up.          SPEED          .I'm up, I'm up.          INT. KITCHEN          THE          Mom spatulas another short stack of pancakes from          griddle and shovels them like coal into the blazing maw          of a locomotive, dumping them onto the plates of Sprittle          and Chim-chim.                                                  24.          CONTINUED:          They eat ravenously, trying to secretly steal food from          each other's plates while Pops reads from the Racing          News.          POPS          "It was a virtuoso display of          talent, the likes of which has not          been seen at Thunderhead since          Racer the elder dropped jaws eight.          years ago. Now, as we once again,          pull our collective jaws up from          the floor, we have to ask, will it          be different this time, or will          TRAGEDY--          MOM          That's enough of that, Hon.          Pops puts down the paper and Sparky picks it up.          SPARKY          I just can't believe there wasn't          one mention of Racer motors in          there.          POPS          That's because the Sponsors run          the media, Sparky.          Trixie enters through the back door.          TRIXIE          Mornin' everyone. Is Speed up yet?          Speed stumbles in the door.          SPEED          .in spirit anyway.          TRIXIE          Hey superstar, did you see the          papers? They're all in love with          you.          SPEED          Really?          He sits, grabbing the paper.          SPARKY          Yeah, but there sure is a lot of          speculation about which team's          going to pick him up                                                  25.          CONTINUED: (2)          SPEED          .really?          Speed starts to read and suddenly the room begins to          rumble, glasses shaking, plates rattling.          POPS          What the--?          SPRITTLE          Earthquake!          He and Chim-chim begin wailing in panic.          SPRITTLE (CONT'D)          Quick, under the table! Into the          door-frame!          POPS          Sprittle calm down!          SPEEED          Pops the kitchen's the most          dangerous room in a house during          an earthquake!          The whole table shivers and it seems the hanging ceiling          light might shake free when the tremor begins to subside.          Sprittle and Chim-chim, wearing a pot and a metal          colander for protection, look around, expecting something          bad to happen.          The house becomes pin-prick quiet when--          The doorbell rings.          INT. LIVING ROOM          Pops opens the door to a face full of turbine exhaust          from the private K-Harrier jet parked on their front          lawn.          On their doorstep is an extremely well dressed older man          carrying a bouquet of flowers and box of cigars.          His smile is as bright and shiny as a surgeon's scalpel.          He says, "Good morning, Mr. And Mrs. Racer" but no once          can hear him over the howl of the turbines.          He gestures, asking permission to come in. Pops lets him          by and closes the door, immediately reducing the noise.                                                  26.          CONTINUED:          WELL DRESSED MAN          Mr. And Mrs. Racer, I hope you          will forgive this imposition.          He hands her the beautiful bouquet of flowers.          WELL DRESSED MAN (CONT'D)          These are Blue-belles from EDEN          Inc. I'm told the will bloom at          least three times, each time a          different color.          .Mom "ohhhs" her appreciation, while he hands over the box          of cigars.          WELL DRESSED MAN (CONT'D)          And Mr. Racer these are for you,          straight form the Isle of Kamut.          Hand-rolled. Premium blend.          They glance at each other, a bit takenaback.          POPS          Uh, thanks but... who are you?          He seems to rise up an inch taller as he introduces          himself.          WELL DRESSED MAN          I am E.P. Arnold Remmingtonton          Esquire, President and Chairman of          Remmington Industries and it is my          honor to meet you both.          He reaches for Pops' free hand.          REMMINGTON          Mr. Racer, I have been an ardent          admirer of your work for years. I          remember the first time I saw the          prototype for the Mach-1, I told          everyone that it didn't belong on          a race track, it belonged in an          art museum.          Pops chuckles.          POPS          Yeah, she was a beaut.          REMMINGTON          No, sir. She was a revelation.          He suddenly smells the pancakes.                                                  27.          CONTINUED: (2)          REMMINGTON (CONT'D)          Oh, dear. I interrupted your          breakfast. Is that pancakes, I          smell?          MOM          Are you hungry, Mr. Remmington?          REMMINGTON          A figure like mine requires          constant attention, Mrs. Racer.          MOM          Do you like pancakes?          REMMINGTON          When I was a child we used to say,          "pankuken zin liesben."          Neither of them speak German.          REMMINGTON (CONT'D)          Pancakes are love.          INT. KITCHEN          Remmington stuff another forkful into his mouth and moans          his appreciation.          Sprittle and Chim--chim sit on either side of him, their          gunsel eyes train on his every move.          REMMINGTON          Gorgeous, Mrs. Racer. Superb          density. Hints of vanilla.          Cinnamon. Absolutely gorgeous.          MOM          I'm glad you like them.          REMMINGTON          Like them? I want to-buy your          recipe.          He takes out his hand held computer and beings making          notes.          MOM          I can give you the recipe, Mr.          Remmington.                                                  28.          CONTINUED:          REMMINGTON          Nonsense. Cenestro Foods, a sub-          division of Remmington Industries          is planning a new range of home-          cooked meals for travelers and          this is just the kind of magic          we're looking for. I'll have my          attorney draw up the paperwork.          Mom looks at Pops feeling flattered but again a distinct          discomfort.          REMMINGTON (CONT'D)          Now, then. We all know the reason          I'm here is because of you, Speed.          I was watching last night and I          have to tell you young man, you          gave me goosebumps. I know at          once, this was no mere driver I          was watching. This was an artist.          Speed's ears go a bit red.          SPEED          Driver's only as good as the car.          REMMINGTON          I appreciate modesty, Speed but I          do not exaggerate when is ay that          you are a genius. Watching you          reminded me of why I love racing          and I am grateful for that. Thank          you.          SPEED          You're welcome, I guess.          REMMINGTON          I imagine the phone has been          ringing off the hook.          SPRITTLE          Speed's not interest in driving          for you or any other sponsor.          REMMINGTON          Is this your manager then?          MOM          He's our youngest. Sprittle.          REMMINGTON          Nice to meet you, youngster.                                                  29.          CONTINUED: (2)          Remmington offers his hand but Sprittle doesn't take it.          SPRITTLE          We got out eye on you, Mister.          REMMINGTON          Excellent. The first thing I want          to make perfectly clear is that I          have no intention whatsoever of          trying to get Speed away from          Racer motors. What you have here          is what teams spend years and          millions of dollars trying to          achieve: chemistry. Car designer,          mechanic and driver all coming          together in perfect, harmony. I          wouldn't dare touch a thing.          SPEED          Well, excuse me for asking, but          what do you want?          REMMINGTON          To help. I want to make sure you          have access to whatever resources          you need to continue doing exactly          what you are doing.          POPS          I assume, Mr. Remmington that you          are not talking about          philanthropy.          Remmington chuckles.          REMMINGTON          I like when my partners have a          sense of humor. And that's what          I'm talking about. A partnership.          An alliance between your amazing          family and mine. That's exactly          what Remmington Industries is to          me, a family. Like yours. Just a          little bigger.          Pops isn't exactly buying it.          POPS          No offense, Remmington but Racer          Motors runs as an independent.          REMMINGTON          None taken. I completely          understand. I sympathize.          (MORE)                                                  30.          CONTINUED: (3)           REMMINGTON (CONT'D)          Strike that-- I sympathize. You          may think of R. I. As a huge          corporate conglomerate but I will          have you know sire, that I still          remember working all night on a          Commodore 64 in the basement of my          foster parents' home. I build R.I.          From below the ground up. So while          Remmington Industries may look          like a Major Sponsor to you, it          remains in my heart as independent          to me as the first day I quit my          job at GloBocom to work for          myself.          They're 're stunned into silence, while Remmington          presses on.          REMMINGTON (CONT'D)          Now I've had this wonderful          opportunity to meet your family.          All I am asking is for you to          please give me the chance to          introduce you to.mine.          EXT. COSMOPOLIS - DAY          The K-Harrier drifts through the polygonal mountain range          where glittering minarets of steel and glass crown          towering cathedrals of commerce.          Helicopters swarm like pollinating bees in summer field.          The vista is filled with the icons of every conceivable          business in very conceivable language. It is a landscape          that merges the pop-art sensibility of Warhol with the          urban sprawl of Blade Runner.          INT. K-HARRIER.          Wood paneled elegance surround the family who sit in          overstuffed seats as soft and padded as clouds.          They can't help but gawk out the windows as they float          through the city.          MOM          I've never flown so low through          the city.          REMMINGTON          Special permit. Only six of them          are granted a year.                                                  31.          CONTINUED:          Sprittle and Chim-chim are gawking at something else: the          vertical pull-out drawer lined with every kind candy in          the world.          FLIGHT ATTENDANT          Take whatever you like.          He looks at her for a moment like is in love, then turns          back to the drawer where he and Chim-chim lunge for it,          pushing each other back.          POPS          Sprittle!          SPRITTLE          She said we could!          Pop growls at him, his eyes telling them they'd better          not take more than one piece.          Hang-dogged heads, they each grab one piece of candy?          POPS          What do you say?          SPRITTLE          Thank you.          She closes the drawer, their eyes seen through the racks,          watching paradise disappear as though a mirage.          SPARKY          Hey, there's the Grand Prix          Coliseum!          Sprittle and Chim-chim rush to Sparky's window. They can          see the entire track and even from this height it seems          enormous.          Sprittle turns to Remmington.          SPRITTLE          My brother's going to win the          Grand Prix one day.          Remmington's eyes glint.          REMMINGTON          No doubt in my mind; young man.          Given the right circumstances, I          have no doubt whatsoever.                                                  32.          EXT. REMMINGTON INDUSTRIES          Power gleams off every surface and line of the strata-          scape.          The K-Harrier glides gracefully down to the private          landing pad.          INT. HANGER/FOYER          An entourage of assistants wait like puppies at the door.          Among them is a gorgeous woman with the kind of smile          that puts people immediately at ease.          REMMINGTON          This is Gennie. She's our Talent          Manager. Ask for anything, her          job's to make it come true.          GENNIE          Hi, Speed. Welcome to Remmington.          He shakes her hand while she signals to another man who          immediately begins scanning speed with an electronic          measuring device.          SPEED          What's this?          REMMINGTON          To make an informed decision          you'll need to understand how we          take care of our drivers.          The tailor finishes quickly as an electric cart, the kind          designed for a group tour pulls up.          REMMINGTON (CONT'D)          All abroad.          SPRITTLE          Cool!.          They climb on and the driver pulls into the tramway.          INT. TRAMWAY          These well lit hallways are extra wide with lots of          colored guide lines on the floor like. in a hospital.                                                  33.          CONTINUED:          There are a lot of signs, directional and advertisements          hawking the widely varied Remmington products.          The red lines lead to doors emblazoned with "Restricted          Access."          There is a fair bit of hustle and bustle, like a busy          street as golf carts, seg-ways and motorized scooter zip          to and fro. No one walks.          REMMINGTON          Remmington Tower is the crown          jewel among the properties that I          control. It functions as the          corporate headquarters for he top          twelve divisions of our parent          corp. One big industries family.          The turn a corner heading for a large set of doors with          the double "R" logo of Remmington Racecars.           REMMINGTON (CONT'D)          Of all the 143 companies that I          control, none of them is as dear          to my heart as the T-180 division.          The door opens as they enter---          INT. REMMINGTON CAR MUSEUM          Cars from the golden Age through to the present surround          the pathway, dangling in midair or mounted in situ-          dioramas, each carefully lit with spotlights like works          of art or precious gems.          REMMINGTON          I've always felt that it is          impossible to peer into the window          of Tomorrow without a clear view          of the Past.          SPRITTLE          That's the Crystal Horse with the          Apache Super--Charger!          REMINGTON          Winner of the Grand Prix in '69,          ' 70 and '73.                                                  34.          CONTINUED:          SPRITTLE          No. Wrong. '72. '71 was the          Vundervopper with the K-2 twin          turbine and '73 was the Kenobe          Motorstar re-built with a VC          ;triple chamber.          Remmington considers arguing.          SPEED          Don't bother. He's never wrong.          They pass out of the museum.          INT. TRAMWAY          The hall widens allowing a special lane that leads out          onto an observation deck that over looks the main T-180          factory.          The bank of windows overlooks the enormous facility. It          is a state of the art assembly line that rises          vertically, instead of horizontally. The chassis arrives          at the bottom and is born up by a mechanical arm,          rotating as each platform assembles the next piece.          The far wall is nothing but glass providing a sun-          drappled_vista of Cosmopolis.          REMINGTON          Our vertically integrated plant is          the fastest in the world. From          initial carbon bond to finished          car in 36 hours. How long does it          take at Racer Motors?          SPARKY          Several weeks at least.          Remmington turns to Pops.          REMINGTON          This kind of production facility          could be at your disposal, Mr.          Racer.          The cart motor hums and slides back onto the tramway.                                                  35.          INT. ENERGY-CELL THEATRE          The next viewing stage is a window into the vacuumed-          sealed laboratory where they construct the "engine" that          powers the T-180's turbine.          It looks like an operating theatre with several robotic          arms and a cluster of auto-surgeons operating inside          sealed perspec chambers.          REMMINGTON          This is our operating theater          where our patented Refusion Energy          Distributor Network is installed          in the turbine drive.          Sparky's eye light up.          SPARKY          Is that an inner-positive          transponder?          REMMINGTON          It is indeed.          Sparky shoots a look at Pops.          REMMINGTON (CONT'D)          We control the only transponder          foundry in the world outside of          Mushi Motors in Taiobi.          The window suddenly turns into a mirror.          REMMINGTON (CONT'D)          Oops. Sorry. Trade Secrets.          INT. TRAMWAY          The cart arrives at an elevator station, and the driver          presses a signal control the doors opening immediately.          INT. ELEVATOR          The driver punches in a floor and door direction code          (north, south, east, west) and the elevator begins to          rise while the dais in the floor begins to spin aligning          them with a different door.                                                  36.          CONTINUED:          REMMINGTON          Now, I'll take you up to the Team          Remmington training facility.          The west door opens and the cart glides out into a new          tramway which is not as industrial feeling as the first          one, decorated with a vinyl wainscotting and slightly up-          graded lights.          The higher you go in the Remmington Tower, the nicer the          halls are decorated.          INT. TRAINING AQUARIUM          The cart glides by a series of windows that reveal the          rigorous training systems invented to test the drivers.          The first is a multi-level, state-of-the-art fitness          facility in which the far wall again looks out into          Cosmopolis. Beyond the standard health club fare, there          is a Martial Arts gymnastics group in a standing pyramid.          There is also a range of strange devices ranging from the          retro steamer boxes, medicine balls and vibrating belts          to the hyper-modern triple axis gyro harness.          REMMINGTON          As you know, a T-180 driver's got          to be in peak physical condition.          Across from the gym is a smaller window where the typical          anaerobic test is being conducted on a female driver. She          is running on a treadmill with lost of wires hooked up to          her while several doctors not their approval at the read-          outs.          REMMINGTON (CONT'D)          No expense is spared to make sure          that when our driver's suit up          they are as perfectly tuned as the          machines they are controlling.          The next window is a massive centrifuge; a huge          mechanical arm whipping around a small capsule that          blasts past the window.          REMMINGTON (CONT'D)          The best driver must be able to          withstand over 4-Gs of force in a          typical race.                                                  37.          CONTINUED:          On the opposite wall is the vibration chamber. A man is          strapped to a chair that is vibrating so hard you expect          his eyeballs to rattle out.          The next window is an underwater tank where a man is          driving in a mock up cockpit, executing peddle maneuvers          and gear shifts.          REMINGTON (CONT'D)          The will to win is nothing without          the will to prepare and at Team          Remmington we prepare our drivers          for any eventuality and every          possible condition.          The final window is the weather chamber where a driver is          again in a mock cockpit, blue-lipped and shivering while          snow and wind buffet him.          INT. ELEVATOR          The doors open and the craft glides in.          REMMINGTON          I hope I didn't care you, Speed          with how hard we push our team. I          just wanted you to see how serious          we are committed to winning.          SPEED          I get that.          REMMINGTON          Good. But also understand that          R.I. Isn't all work and no play.          The door opens revealing the Drivers' Club.          INT. DRIVERS' CLUB          A swanky Playboy-style casino club where, stylishly          dressed male and female drivers are catered to by          beautiful male and female "hostesses."          Sprittle's eyes almost pop out.          SPRITTLE          That's Cannonball Taylor!          Speed urns and sees the Captain of the Remmington Team.                                                  38          CONTINUED:          REMMINGTON          Stop the cart. Jack! Jack, come          here. There's someone I want you          to meet.          Cannonball saunters over, wearing his two goiter-sized,          diamond-encrusted champion rings.          REMMINGTON (CONT'D)          Speed Racer allow me to introduce          two-time Grand Prix Winner, five          time WRL Champion and future Hall          of Famer, Jack Cannonball Taylor.          SPEED          Honor to meet you.          CANONBALL          Caught that Thunderhead replay.          Nice piece of work.          SPEED          Wow, thanks.          CANONBALL          There was a rumor you might be          visiting.          SPEED          It's pretty impressive.          CANONBALL          Only thing I cared about was that          wall over there.          He gestures to a special wall fitted with the trophies          and medals won by team Remmington through the years.          CANONBALL (CONT'D)          That' what sold me. You want to          win in this league, you're talking          to the right guy.          Remmington beams.          REMMINGTON          Thanks, Jack.          Jack nods and the cart pulls away but not before Jack          shoots a backward glance at Speed that feels like a shank          in a prison yard.                                                  39.          INT. PENTHOUSE          The doors open and Remmington leads the family into the          penthouse suite leaving the cart behind. Standard jaw-          dropping view, decorated in an upscale masculine          aesthetic.          Sparky whistles and whispers to Speed.          SPARKY          Long way from Nob Hill, eh?          REMMINGTON          We treat our thoroughbreds the way          they deserve to be treated.          He guides them into the room gesturing or demonstrating          all of the amenities.          REMMINGTON (CONT'D)          There's full maid service of          course with a personal chef and a          masseuse available 24/7.          The staff arrives, wheeling in several racks of clothes:          daywear, sportswear, racing uniforms and stylish evening          wear.          Gennie holds up one of the suit to Speed.          GENNIE          Should be perfect. Try it on.          TRIXIE          Mmm hmm!          SPEED          .okay.          He heads to the bathroom.          Taking Mom by the elbow, Remmington gestures to the          sitting area over-looking Cosmopolis.          REMMINGTON          So Mrs. Racer, what do you think          about my family? Impressed?          MOM          You could say that.                                                  40.          CONTINUED:          REMMINGTON          Good. I want you to understand the          possibilities that exist for your          son right now.          Pops furrows his brow.          REMMINGTON (CONT'D)          What's wrong Mr. Racer?          POPS          To be honest, Remmington, I'm          feeling more intimidated than          impressed. This kind of company          scares me. People like you have          way too much money and when          someone has this kind of money,          they start thinking that the rules          everyone else is playing by don't          mean squat to them.          Remmington remains skillfully unfazed.          POPS (CONT'D)          However, my sons are the most          important thing I've ever done in          my life, besides marrying my best          friend and if Speed wants us to          figure out some kind of...          "alliance" then you can bet your          ass we'll be in business.          Speed steps out of the bathroom. His boyishness has faded          away as he suddenly seems very much a man. Gennie smile          approvingly.          TRIXIE          Hubba hubba.          He walks over to the sitting area.          MOM          Oh honey, you looks so handsome.          SPEED          Yeah?          REMMINGTON          Very sharp, Speed. Suits you          perfectly. Regardless of what          happens, I want you to have all of          it. A gift.                                                  41.          CONTINUED: (2)          SPEED          Thanks, Mr. Remmington.          REMMINGTON          So, how are you feeling Speed?          Speed isn't sure. He looks at Trixie and Sparky and then          at his parents.          SPEED          It's very... impressive.          Remmington smiles.          REMMINGTON          You think that maybe there's          something that could work out          here?          Everyone waits, staring at him.          SPEED          I guess I'd like to think about          it, if I .could.          has really          Remmington's a fisherman not sure if the hook          been set.          REMMINGTON          This isn't the kind of offer I go          around making ever day, son.          SPEED          I understand that, sir...          He looks to Pops then takes a deep breath as though          trying to find his resolve.          SPEED (CONT'D)          So if I had to give an answer now          then, to be honest--          REMMINGTON          Stop. Right there. You're right.          You should think about it. I'm          sure you're feeling a bit          overwhelmed. You should take a          little time. Think about what you          saw and heard here and we'll get          together early next week. Deal?          He reaches his hand out and Speed takes it with some          obvious relief.                                                  42.          CONTINUED: (3)          SPEED          Deal.          INT. CRUNCHER BLOCK'S OFFICE          WHACK! WHACK! WHACK! A thug soundly slaps the face ofa          handsome Japanese man.          When the beating is over, the Japanese man slumps          forward, his arms behind his back.          CRUNCHER          Ithought we had a deal...          When he hears the voice, he lifts his head and we see a          huge man with a body like a cement-lined safe, sitting          behind a desk, lighting a cigar.          This well-dressed fixer is Cruncher Block.          CRUNCHER (CONT'D)          I thought we were friends.          He blows a cloud of smoke and watches it float up to the          chandelier which is jiggling steadily.          CRUNCHER (CONT'D)          Maybe where you come from, this is          how you treat your friends, but          'round here we don't take to          kindly to this kind of thing, do          we fellas?          Thug #1 steps in and wails away on him again.          THUG #1          You hurt our feelings!          CRUNCHER          Problem is, I like you Katsu.          Cruncher grins, his teeth like stacked dice.          CRUNCHER (CONT'D)          And I got a real soft spot in my          heart for that sister of yours.           He begins opening a large package wrapped with butcher          paper. -Inside is a bloody rack of ribs.                                                  43.          CONTINUED:          CRUNCHER (CONT'D)          Normally in a situation such as          this we would be pouring you a          nice comfy pair of cement shoes,          but...          He stands and goes to the large glowing fish tank that is          behind the desk.          CRUNCHER (CONT'D)          I think I got another solution..          He dips the bloody meat into the tank filled with          piranha. The water foams as the carnivorous fish shred          flesh from bone.          CRUNCHER (CONT'D)          How're my babies doing? Huh?          Hungry? Ready for seconds? Boys!          They grab Katsu and haul him to the fishtank.          KATSU          No!          THUG #2          Hope dem fishes like Japanese.          KATSU          No, please!          THUG #1          Gonna be hard to drive with          skellie hands.          Cruncher takes hold of Katsu's jaw.          CRUNCHER          You even think about turning rat          and next time it's your sister          going in there.          A          They begin forcing his hand into the tank when suddenly          red light begins flashing.          Everyone freezes.          Cruncher grabs the phone on his desk.          CRUNCHER (CONT'D)          What?!                                                  44.          INT.'TRUCK CAB          We realize that Cruncher's office is in the trailer of a          semi-truck which is cruising down an empty rural highway.          TRUCK DRIVER          Someone's tailing us.          INT. CRUNCHER BLOCK'S OFFICE          Cruncher signals to the man at the far end of the room          who is guarding the door. The guard slides open a peek-a-          boo slot and sees a pair of headlights.          CRUNCHER          is it him?          DOOR GUARD          It could be.          Cruncher goes to the phone.          CRUNCHER          Can you see him yet?          TRUCK DRIVER          Here he comes--          The car pulls up even with the cab and the driver feels          his gut clench as he recognizes the infamous car of Racer          X.          TRUCK DRIVER (CONT'D)          Oh God...          CRUNCHER          Get him!          Everyone leaps into action, shoving Katsu back into a          chair. Filling their fists with guns, sliding open murder          holes slots at a variety of heights. Cruncher barks into          the phone.          CRUNCHER (CONT'D)          Crush him!          INT. TRUCK CAB          The driver screws his jaw tight and throws the wheel to          smash into the smaller car--                                                  45.          CONTINUED:          But the little black tinted bug flits away with          effortless ease, dancing out in front of the truck.          INT. CRUNCHER BLOCK'S OFFICE          Cruncher flips over the top of his desk revealing the          controls for a mini-machine gun located on the bottom of          the truck.          He grabs the controls which are linked to an infrared          sighting camera.          CRUNCHER          Where is he?          INT. TRUCK CAB          The driver watches the red tail-lights glowing like demon          eyes.          TRUCK DRIVER          He's out front.          INT. CRUNCHER BLOCK'S OFFICE          Cruncher, hits another button and he front grill of the          truck opens, dropping the lower half like the double-          hinged jaw of a snake.          An Apache helicopter-style rocket launcher thrusts out of          the darkness.          Cruncher sights the car.          CRUNCHER          Gotcha.          He fires a mini-rocket straight at the manta-finned car--          But with a quick feint left the rocket skims by,          exploding further down the highway.          Something flashes on the back car as hidden tubes iris          open and the barrels of several weapons extend out.          TRUCK DRIVER          Here he comes!          Cruncher fires again, the red rocket just missing,          rending open the tree line with a fireball.                                                  46.          CONTINUED:          The little car drops back alongside the truck and fires,          bullets bursting tires and puncturing through the walls          of the truck. The truck lurches as the thugs fire wildly          at the black car.          Cruncher tries to site the machine gun but just as he          opens fire--          The black car slows, drawing the chasing gun fire until          Cruncher shoots his own tires.          CRUNCHER          Aww, I thought you fixed that!          The black car fires again, bullets ricocheting inside,          puncturing a hole in the fish tank.          THUG #1          Boss!          CRUNCHER          My babies!          He runs to the fish tank and tries to stop the water          pouring out of the hole. He sticks his finger in and the          fish immediately attack.          He shrieks withdrawing his finger.          CRUNCHER (CONT'D)          Vinny put your finger in there!          Vinny doesn't want to.          CRUNCHER (CONT'D)          Do it!          INT. TRUCK CAB          The truck swerves as the driver struggles to control the          behemoth wobbling on its blown tires.          TRUCK DRIVER          We can't take another hit boss!          INT. CRUNCHER BLOCK'S OFFICE          Cruncher thinks fast over Vinny's screams. He looks at          Katsu and immediately knows what he has to do.                                                  47.          CONTINUED:          CRUNCHER          Pull over but don't stop.          EXT. LONELY HIGHWAY          The truck slows, easing onto the shoulder as the black          car follows.          The back of the truck slides up and the gangsters toss          Katsu out, leaving him behind with a spray of gravel.          Katsu looks up into the glaring lights of the black car.          A car door opens. Boots crunch gravel as someone walks          toward us silhouetted by car lights. It is the masked          racer himself---          Racer x.          INT. RACER X'S CAR          Katsu is in the passenger seat as the car hums quietly          down the empty highway.          KATSU          Thank you. You saved my life.          RACER X          I didn't save anything worth          saving unless you get smart. Real          fast.          Racer talks without looking at him.          RACER X (CONT'D)          You thought you could take on the          Cartel. You can't. Not without          help.          KATSU          I don't know what'you're talking          about.          RACER X          You won the Cortex Invitational          and you weren't supposed to. You          did it to save Okamoto          Engineering.          KATSU          It has belonged to my family for          five generations.                                                  48.          CONTINUED:          RACER X          And now someone else wants it. The          only way you can stop it from          happening is to talk to the          authorities.          KATSU          There is nothing to talk about.          RACER X          You have been on cruncher Block's          leash for.so long maybe you forgot          how it feels to stand up and be a          man. The only way you'll ever stop          these people is to bring them to          justice.          KATSU          Justice/ That's a commodity I          don't waste money on.          Racer X immediately pulls his car over.          RACER X          Get out.          Wearing his smirk like a cheap suit, Katsu gets out.          KATSU          I'll see you at Fuji.          RACER X          You won't finish. When you lose,          if you can still dial a phone,          call this number.          He hands him a card. The card reads; CHIEF INSPECTOR          DETECTOR.          INT. ELEMENTARY SCHOOL CLASSROOM          KID          Sprittle is working hard on a test when he hears the          behind him whisper.          DANNY          Hey monkey-lover, show me your          test or I'll kick your ass after          school.          SPRITTLE          Sorry. Cheaters never prosper.          The kid to the left chimes in.                                                  49.          CONTINUED:          MALCOM          Spriiiitle, when Chim-chim's bad,          do you spank the monkey?          SPRITTLE          No, your mother does it for me.          Malcom almost swallows his tongue as several other kids          snicker..          TEACHER          All right! Malcom! Danny!          Sprittle! To the Principal's          office. March!          There is a chorus of, "I didn't do it, awwww, not fair."          TEACHER (CONT'D)          Now!          EXT. ELEMENTARY SCHOOL.          The same school that Speed attended but now where Rex          used to wait, Speed is leaning against the Mach-5. Chim-          chim is sitting next to him.          The bell rings and the students begin piling out. When          the last few tumble down the stairs, Chim-chim emits a          small, sad whine.          SPEED          Looks like someone's in trouble          again.          INT. MACH 5          It's later and they're driving home. Sprittle stares out          the window, mumbling, identifying make, model, and          engines of passing cars.          SPEED          Want to talk about it?          Sprittle shakes his head.          SPRITTLE          K-W Integral 4-door with twin-cam          turbine...C-foster-K 1200,          modified split-rail and          supershocks...                                                  50.          CONTINUED:          SPEED          Was it that Stanton kid again? Did          he say something? If you want to          kick his butt--?          He shakes his head again.          SPRITTLE          .it doesn't seem fair that I get          in trouble, when they always start          it.          SPEED          It's not fair. But that's what          bullies do. They make the world          unfair.          SPRITTLE          That sucks.          SPEED          Yes, it does.          SPRITTLE          What can I do about it?          SPEED          You ignore 'em when you can, fight          'em when you can't.          SPRITTLE          Those choices suck too.          SPEED          Yeah, but just try to keep one          thing in mind.          SPRITTLE          What?          SPEED          Bullies come and go but a family          can torture you forever.          Chim-chim gives Sprittle a wet-willy.          SPRITTLE          Heeeeeey!          Speed laughs as Chim-chim howls and then puts his arm          around Sprittle.                                                  51.          CONTINUED: (2)          SPEED          But no joke, you just say the          word, little brother and we got          your back, right Chim-chim?          Chim-chim grunts.          SPRITTLE          Thanks guys.          INT. REMMINGTON INDUSTRIES T-180 FACTORY          Remmington watches a GRX rolling off the assembly line.          With him is Mr. Mushi, a businessman with eyes as sharp          as broken glass.          REMMINGTON           The new GRX has a super charged           inner-positive transporter and           will be capable of speeds in           excess off 800 kilometers an hour.          Mushi nods.          MUSHI          If such a car were to win the          Grand Prix this year, one would          expect the demand for transponders          to increase dramatically.          REMMINGTON          One would expect.          MUSHI          And if a single company gained          control of all the transponder          foundries in the world, one might          expect that company to do very          well for itself.          REMMINGTON          You know what I want and I know          that for the last few years you          have been trying to buy out your          main rival Tetsua Okamoto. The          question is, can we make a deal?          The car rotates, rising up on its mechanical arm, a          cybernetic giant, exercising its might.                                                  52.          CONTINUED:          MUSHI          Deliver Okamoto at that price and          the Taiobi Transponder foundry is          yours.          REMMINGTON          Done.          Remington smiles as they shake hands.          INT. MACH 5          Speed and Trixie lie with seats all the way back,          CAR-          watching the sinking sun tye-dye the sky behind the          scape of freeways.          TRIXIE          You're really considering signing          with Remmington.          SPEED          I just said it was tempting.          TRIXIE          Why?          SPEED          Well, they got a really good team..          Cannonball Taylor, Markie          Manifold. They win a lot of          Majors.          TRIXIE          Since when did winning become so          important?          SPEED          It is important. You gotta win if          you want to keep driving and that's          what I want to do. It's the only          thing I really know how to do. When          I'm driving, I feel like that's the          only time my life makes sense.          She moves closer to him.          TRIXIE          You mean, this doesn't make sense          to you?          SPEED          Okay, besides being with you.                                                  53.          CONTINUED:          TRIXIE          So you like being with me?          SPEED          You know I do.          TRIXIE          Sometimes I do, sometimes I'm not          so sure.          SPEED          What?          TRIXIE          Sometimes around your family, you          seem distant, not like this and I          wonder why.          SPEED          Come on, you know how I've felt          about you since I was ten years          old.          TRIXIE          I guess so, I just wish you          weren't so shy about it.          SPEED          What do you want me to do? Kiss          you in front of everyone at the          end of a big race?          TRIXIE          Would that be so terrible?          SPEED          I don't know. Maybe we should          practice first.          TRIXIE          Maybe we should.          They start to kiss when they hear a muted voice.          SPRITTLE          Oh God! I'm gonna hurl! Huuuurrrl!          TRIXIE          Sprittle?          SPEED          No!                                                  54.          CONTINUED: (2)          Speed jumps out of the car.          SPEED (CONT'D)          He did not!          He throws open the trunk, revealing Sprittle and Chim-chim          who shrieks.          SPEED (CONT'D)          Sprittle!          SPRITTLE          It wasn't my idea!          SPEED          Oh no?          SPRITTLE          It was his!          He points at Chim-chim who shakes his head wildly, pointing          back at Sprittle.          TRIXIE          Wait till we tell Pops.          SPRITTLE          No! Don't do that! We're sorry. We          couldn't sleep. We just wanted to          hang out. We didn't know you were          going to In-spew-ration Point. By          the way, Cootie-shots.          Sprittle and Chim-chim immediately cover one shoulder          giving themselves a cootie-shot.          SPEED          I'm taking you home.          SPRITTLE          Wait, wait, wait--          Speed slams•the trunk shut so we hear Sprittle voice muffled          SPRITTLE (CONT'D)          Can we stop for ice cream first?          INT. RACER GARAGE          Close on a curving piece of bodywork that Pops is          sanding. When he looks up, Speed is in the room.                                                  55.          CONTINUED:          He is carrying a brown paper sack.          POPS          Morning, Speed.          SPEED          Pops.          POPS          So, today's the big day.          Speed nods. Pops puts down his tools.          POPS (CONT'D)          I know this is a tremendous          opportunity for you.          SPEED          It could be for you too.          POPS          Could be, could be. But,          regardless, this is really all          about you. It' your decision and I          want you to know, no matter what          you decide, I'm behind you.          SPEED          Thanks, Pops.          The room begins to shake.          POPS          I think your ride's here.          INT. K--HARRIER          LIKE          Speed stares out the window, chewing on his decision          a dog worrying a bone.          INT. REMMINGTON INDUSTRIES LANDING DOCK          IS          Gennie greets Speed as he debarks from the plane. He          carrying his brown sack.                                                  56.          CONTINUED:          GENNIE          Speed, so nice to see you again.          Her,eyes and the softness of her touch elevate flirting          to something that is equal parts art and science.          GENNIE (CONT'D)          Mr. Remmington is so excited about          this meeting. He hasn't talked          about anything else all week.          Speed sighs.          INT. K-HARRIER          The cabin is dark and still. Slowly, almost supernaturally,          a drawer begins to slide open.          Two heads pop up. Sprittle and Chim-chim are wearing cat-          burglar clothes with matching ski-masks.          The coast is clear, so they sneak over to the galley.          They stare at the drawer like a safe-cracker eyeing the          dial of a combination lock.          Sprittle carefully pulls back the latch springing the drawer.          It slides open, lit internally, candy gleaming like jewels.          The breath rushes out of them.          INT. REMMINGTON'S OFFICE          The office sits atop the strata-scraper, surrounded by          commanding views of Cosmopolis.          Speed arrives via the elevator and Remmington breaks into          a beaming. smile.          REMMINGTON          Speed!          Gennie leaves speed, returning to the elevator, as          Remmington crosses to him.          He hugs him          REMMINGTON (CONT'D)          Welcome back! Come. Sit. Sit.                                                  57.          CONTINUED:          In the center of the room is a small cluster of extremely          comfortable chairs in which they sit.          Above them a multifaceted skylight glitters like a cut          gem under the streaming rays of sunlight. In the center          of the sky light is the R.I. Logo casting a great shadow          on the floor.          REMMINGTON (CONT'D)          Can I get you something to drink?          Water? Bubbly? A shot of rye?          Speed smiles sheepishly.          SPEED          No... I'm okay.          REMMINGTON          So, I can see you have given some          serious thought to this thing.          SPEED          I have, yes sir.          REMMINGTON          Good. That means that you          understand that we are talking          about not just your future, but          your family's future.          SPEED          .my family means a lot to me.          REMMINGTON          I know. I can tell. That's why          this is so important. Because you          can help them. All you have to say          is yes. That is all I need to hear          and I can make so many things          happen for you, and your family.          Are you ready for that? Are you          ready to say yes, Speed?          INT. K-HARRIER          Candy wrappers are scattered everywhere as they lay          motionless in an overdose coma.          When they hear someone coming Sprittle manages to lift          his head and crawl to the window.                                                  58.          CONTINUED:          A cleaning man is rising up on a cherry picker with a          cart full of cleaning supplies.          SPRITTLE          Uh-oh.          He looks back at their mess.          SPRITTLE (CONT'D)          jig's up.          A moment later the door opens and the cleaning man enters..          CLEANING MAN          Holy cooly:          He grabs for his radio.           CLEANING MAN (CONT'D)          Hey, this is Marvin down at the          landing pad. I think we got mice          again.          As he talks, two shadows slip quietly out the door behind          him.          INT. REMMINGTON'S OFFICE          Speed realizes that this is the threshold.          SPEED          This isn't an easy decision for          me, Mr. Remmington. For my family,          racing is everything. We eat,          drink, think and breathe racing.          There is nothing more perfect than          a picnic at Thunderhead. I mean, I          was taught to drive before I could          walk. But when my brother died,          all that went away. I can't tell          you how painful that was. It          nearly killed all of us.          Especially Pops. He didn't set          foot in his shop for over a year.          As the memory comes to life, we see the images in flashback.                                                  59.          CONTINUED:          SPEED (CONT'D)          But one night when I was still          pretty young. I couldn't sleep and          I went into the living room and          there was Pops, in his beat up          robe, watching some old race          recordings.          The blue tv light of Speed's memory fills his eyes.          SPEED (CONT'D)          So I sat with him watching of Ben          Burns coming round the last turn          of he '43 Prix and all of a sudden          Pops started screaming, and then I          started screaming, and as Burns          and Dugazi duked it out, heading          for the finish, we were cheering          our heads off and the second the          black and white came down, we          looked at each other and right          there we realized the naked truth;          racing is in our blood.          Flashback ends.          SPEED (CONT'D)          But for Pops, it isn't just a          sport. It's way more important          than that. It's like a religion          and in our house, the Major          Sponsors are kinda like the devil.          The coldness in Remmington's eyes belies his smile.          SPEED (CONT'D)          I don't mean to offend you sir and          I do appreciate your offer, it's          just, I guess I understand his          -point of view and after all we've          been through, I don't think this          kind of deal is for me.          Remmington chuckles.          REMMINGTON          You poor, naive, chump.          He chuckles again.                                                  60.          CONTINUED: (2)          REMMINGTON (CONT'D)          I'm going to pretend I didn't hear          that load of sickening schmaltz          and I am going to give you a bit          of an education. At the end of it          if you're smart, you'll thank me          and hen you'll sign that contract.          INT. TRAMWAY          Sprittle and Chim-chim are joy riding in the maintenance          cart, weaving back an forth, wiping people out.          Chim-chim screams with glee.          INT. REMMINGTON'S OFFICE          They stand before an enlarged black and white photograph          of five tycoons, smoking cigars, dressed in turn of the          century tycoon finery, their well-fed faces bright with          fatuous, self-satisfied smiles.          REMMINGTON          Look. There is the true spirit of          the golden age of racing. Benjamin          Braddack, Diamond Dave Tweksbury,          Reginald White, Oliver Potter, and          George Wheeler. The five most          powerful men in the world at the          turn of the last century.          As he talks we flash back to jittery old footage and          photographs of the golden era.          REMMINGTON (CONT'D)          For all intensive purposes they          created the modern automotive          industry. But the true stroke of          their genius was the invention of          the WRL, the world's first racing          league.          Remmington leads Speed past several personal mementos          including the first motor of his first car, the first          milk bottle from victory lane,.a black and white from an          important race.          In front of an enlarged picture of Ben Burns from the          infamous '43 Prix is a twisted and scorched piece of          metal set on a pedestal like a gorgeous piece of art.                                                  61.          CONTINUED:          REMMINGTON (CONT'D)          Interesting that you and your          father were so moved by the '43          Prix. One of the great finishes in          the history of racing, right?          Everyone remembers Burns and          Dugazi slugging it out, but who          remembers Carl Potts? Driving a          rebuilt Wittigan for Iodyne .          Industries, Potts spun out in the          second lap and went down as a DNF.          A forgettable and pathetic finish.          So bad, that afterwards Iodyne          stock dropped six points.          Again we see the history told in flashback.          REMMINGTON (CONT'D)          Meanwhile, Ben Burns sat guzzling          cold fresh milk in victory lane, a          thousand cameras taking his          picture, Sirrus Aeronautics saw          almost a twelve point gain which          immediately block Penninsula Power          Cell from being able to afford the          price of a complete take-over.          This put Joel Goldman, the CEO of          Iodyne Inc. in the exact position          he wanted to be in. By first          buying controlling interest in his          own company at a devalued price,          he then brokered a merger with          Sirrus that immediately sent          Iodyne into the gains record book--          the only record book that matters.          Look out that window, there isn't          a single plane or helicopter or K-          Harrier that isn't powered by          Iodyne fuel cells. That's what          racing is about. It has nothing to          do with cars, or drivers. All that          matters is power and the          unassailable might of money.          His greed is as tangible as any drug.          INT. TRAMWAY          A security guard glides out of one of the red secured          area doors on a segway.                                                  62.          CONTINUED:          His radio buzzes "perps last seen tramway four, driving a          maintenance cart."          The doors start to close when Sprittle and Chim-chim jump          out and sneak inside.          INT. REMMINGTON'S OFFICE          Speed doesn't want to hear any more of this, but,          Remmington is far from done.          REMMINGTON          Do you understand? Burns knew he          was going to win. It was already          decided. A week before the Prix,          Goldman and Sirrus met with          several other major players at the          Carlyle Hotel. They met there as          they had for years, just as their          fathers had met, and as their sons          and heirs will still meet. They          met to negotiate the finish order          of the Grand Prix. No race is more          important and no race is more          controlled. That year Goldman was          supposed to win, but he knew if he          sold his win to Sirrus, whatever          that win might be worth, was          nothing compared to what could be          gained.          He turns back to the twisted piece of crash metal.          REMMINGTON (CONT'D)          That's why I paid three million          dollars for this burnt and twisted          piece of metal. Because it reminds          me of what really matters. This is          the true heart of racing boy! This          is my religion!          Speed is aghast.           REMMINGTON (CONT'D)          You don't know how many times I          have seen that same cow-eyed "say          it isn't so" look of disbelief.          Every bumpkin who comes in from          the sticks looks exactly like you          do now. I won't bother proving it          to you.                                                  63.          CONTINUED:          REMMINGTON (CONT'D)          If you walk away from me, if you          walk out of.this deal, you'll know          how true it is soon enough. So,          last chance. What's it going to          be, Speed? Your father's little          fantasy bubble? Or are you going          to join the rest of us adults,          here in reality?          INT. TRAMWAY          Several technician carts and trollies carrying auto parts          pass by a single lab technician who staggers, drunkenly          up to a red restricted area window.          Sprittle peaks out of the lower half of the lab coat,          Chim-chim wearing the helmet, balances on his shoulder.          In the window they see a lab where they are testing a          "spear---hook;" a secret attacking device that shoots out          from one car and grabs hold of the undercarriage of          another car.          As they realize what they are looking at, a security goon          comes gliding up behind them on his seg-way.          INT. REMMINGTON'S OFFICE          Speed hands him the brown paper bag.          REMMINGTON          What's this?          He looks and sees the shoes and suit.          SPEED          If that's your idea of racing, you          can keep it.          REMMINGTON          Listen to me and listen good kid,          because I'm going to give you one          more history lesson. You're going          to go to Fuji--          In quick, collage cuts we see --                                                  64.          EXT. FUJI HELEXICON          A gorgeous blimp shot of the race track which takes up an          entire island of Hawaii-like archipelago.          The track weaves in and out of the lush tropical          landscape set against the ocean shimmering with sequins          of sunlight.          EXT. STARTING LINE          Speed grips the steering wheel, revving the engine which          rattles the car like thunder shaking the sky as-- The          countdown finishes and as the cars explode forward, we          cut back--          INT. REMMINGTON'S OFFICE          REMMINGTON          But you won't win. You won't          place.          More collage cuts--          INT. FUJI ANNOUNCER'S BOOTH          FUJI ANNOUNCER          Speed Racer's making his move,          gunning for the lead--          EXT. HELEXICON TRACK          The Ghost sees Speed rushing up behind him.          GRAY GHOST          We got ourselves a real race here!          The two cars start dancing around each other; like two          boxers sizing each other up.          GRAY GHOST (CONT'D)          Here we go, here we go.          Wham. Ghost throws the first punch which Speed tries to          slip but, the Ghost anticipates his move and slams Speed          hard.                                                  65.          CONTINUED:          GRAY GHOST (CONT'D)          Come on! Show me something! Show          me what you got!          Speed ducks down the bank, working each wheel into a          hyper drift, reversing their position--          Locking the Ghost up and sending both cars spinning.          GRAY GHOST (CONT'D)          Ohhhh yeah! Yeeeeeahhhhh!          INT. FUJI ANNOUNCER'S BOOTH          FUJI ANNOUNCER          The Gray Ghost unloads a round-          house, Speed counters, smashing,          banging, bumping-          EXT. HELEXICON TRACK          Weaving back and fourth behind Speed, the Gray Ghost          attacks with phantom punches that come out of nowhere.          GRAY GHOST          Here I come, kid! Watch out. Here          I am! Nope--I'm over here!          Wham! Wham! Speed tries to counter punch and the Ghost          slips under.          GRAY GHOST (CONT'D)          You can't.touch me! I'm here! I'm          gone!          Speed is thrown back into the pack of cars that quickly          swallow him up where he is--          Crunched into the wall by the Zokeo Communications car,          pinned until--          Racer X slams into the Zokeo car, freeing Speed but          causing several cars tp swerve wildly at which point--          The Three Roses car torpedoes Katsu's car--          Bursting into a blizzard of metal snowflakes while--                                                  66.          INT. LUXURY BOOTH          Horuko jumps up, terrified for her brother as--          EXT. HELEXICON TRACK          Racer X roars past the debris and the bouncing rubber          cocoons.          EXT. UPPER BOX GRAND STANDS          Cruncher accepts the congratulations of the goon beside          him.          INT. REMMINGTON'S OFFICE          REMMINGTON DRIVER          I guarantee you right now, you          won't even finish the race.          EXT. HELEXICON TRACK          Another molar-cracking hit as Speed avoids the concrete,          pylon but is then slammed by the Zokeo car--          Underneath both cars, a spear-hook shoots out from a          hidden sleeve, harpooning the under-carriage of the Mach          5--          SPARKY          Speed, get out of there!          SPEED          I can't! I can't move!          The two cars head toward the final jump, locked in some          strange embrace--          They lunge awkwardly, crashing on top of one another as--          Inside Speed's car, his face plate seals and the kwiksave-          foam explodes, swallowing him, as the car tumbles--          Disintegrating into a cloud of smoke and glittering          debris.                                                  67.          EXT. GRANDSTANDS          The Racer family is frozen. Their faces awash with fear          and disappointment while--          INT. HELEXICON PENTHOUSE          Remmington eases back, a fatuous, self-satisfied smile          spreading with a crocodile's grace.          INT. REMMINGTON'S OFFICE          REMMINGTON          Soon after that there will be          litigation against some of your          father's designs.          EXT. RACER HOUSE          It is pouring rain as a large cab pulls up to drop off          the entire Racer family still wearing their island          clothes.          A dour-faced man beneath an umbrella is waiting for them.          DOUR FACE          Are you Pops Racer of Racer Motors-          POPS          Yeah, but I'm still on vacation-          DOUR FACE          You are hereby served a summons.          POPS          What?          DOUR FACE          You are being sued for IP          infringement by Janus Automakers.          SPEED          That's ridiculous!          DOUR FACE          That's for a jury to decide.                                                  68.          INT. REMMINGTON'S OFFICE          REMMINGTON          The legitimacy of the lawsuits          won't matter. They will be enough          to discredit his company. Whatever          contracts he has, he'll lose.          Within a year he will be filing          for bankruptcy. After that, you          and the rest of your pathetic          family will be history.          The threat hangs in the air like a loaded gun between          them.          SPEED          Pops was right. You are the devil.          The elevator suddenly opens with the security goon          carrying Sprittle and Chim-chim by the scruff of their          necks.          SPRITTLE          Speed!          SPEED          Sprittle?          SECURITY GOON          Mr. Remmington I caught these two          snooping in a restricted area.          REMMINGTON DRIVER          Get this Racer trash out of my          building.          SPEED          I'll see you at Fuji.          Speed turns and heads for the elevator.          REMMINGTON DRIVER          Yes and then you'll realize that          you just made the biggest mistake          of your life!          TNT. RACER KITCHEN -MORNING          Close up on The Racing News that Sparky is reading from.          The main headline: ANOTHER DIRTY RACER?                                                  69.          CONTINUED:          SPARKY          ". .controversy surrounds Racer          Motors now embroiled in IP          litigation and while evidence          remains inconclusive whether or          not Speed used an illegal device,          the Fuji Helexicon seems destined          to become another mark of shame          added to the notorious Racer          family legacy, a legacy that has          forever tainted the integrity of          this beloved sport."          MOM          Sparky. That's enough.          SPARKY          Sorry ma'am.          SPRITTLE          I'm going to send that guy some          Chim-chim cookies.          Chim-chim guffaws.          POPS          You'll do no such thing.          SPRITTLE          We gotta do something, Pops.          Speed steps into the doorway.          SPEED          This is exactly what he said would          happen if I didn't drive for him.          SPARKY          You mean Remmington?          SPEED          He said it'd get worse and worse          and by the end of the year you'd          be filing for bankruptcy, Pops.          SPRITTLE          Okay, he's definitely gettin' some          monkey cookies.          MOM          Sprittle!                                                  70.          CONTINUED: (2          POPS          He was just trying to scare you,          son. They tried the same thing          with Rex. If it's a fight they          want, it's a fight they'll get.          SPEED          How? What can we do? How can we          fight this?          He tosses the newspaper.          POPS          The truth will come out.          SPEED          The truth? Don't be naive, Pops.          He leaves.          INT. SPEED'S ROOM          The Ben Burns poster is ripped from the wall. Speed wads          its up and throws it into the garbage.          He sinks down to his bed, a sense of powerlessness          crushing the life out of him.          Mom taps and then cracks the door.          MOM          Speed? Are you okay?          SPEED          .I don't know.          She comes in and sits beside him, putting her arm around          him.          MOM          It'll be okay. We'll get through          it.          SPEED          I don't know, mom. I might have          really messed things up.          MOM          How?          SPEED          By not joining Remmington.                                                  71.          CONTINUED:          MOM          Don't be silly. You'd have never          been happy driving for that          terrible man.          SPEED          But maybe racing isn't about being          happy. Maybe Remmington's right          and it's all about business and          anyone who doesn't understand that          is just a chump.          MOM          Now you listen to me, young man.          What you do behind the wheel of a          racecar has nothing to do with          business. Before you could even          talk, you were making noises that          sounded like a car engine. We          used to tell people you were          speaking car-ese. We used to try          to take you to the park but you          never wanted to get out of the          car.          SPEED          .I loved that old wagon.          MOM          And do you remember the time Rex          took you out to Thunderhead and          let you drive--          Speed smiles.          SPEED          And I turned it over.          MOM          My heart still pounds just          thinking about it.          SPEED          Rex told me the only reason we          survived was because I was wearing          red socks.          MOM          I thought your father was going to          have a stroke when you walked in          the door with that crazy smile.                                                  72.          INT. RACER LIVING ROOM - PAST          Ten year old Speed comes in the door, leading Rex,          wearing a small bandage on his forehead, smiling, a big          black gap where his two front teeth should be.          MOM          I don't think I ever saw you as          happy as you were telling anybody          who asked, how you lost your two          front teeth in your first crash.          INT. SPEED'S ROOM - PRESENT          MOM          Speed, when I watch you do some of          the things you do, I feel like I'm          watching someone paint or play          music. When I go to the races, I          go to watch you make art and it's          beautiful and inspiring and          everything that art should be,          even though there are times when I          have to close my eyes. But then          there are other times, when you          just take my breath away and it's          at those moments, when I feel your          father's chest swell and I know          he's smiling, trying to pretend he          doesn't have tears in his eyes, I          just go to pieces.          SPEED          Why?          MOM          Because I am so impossibly proud          to be your mother. And even          though your father doesn't say it,          he is too.          She puts her arms around him.          MOM (CONT'D)          Don't worry. We'll figure this          out. We just have to stick          together. Something good will          happen. You'll see.          Ding dong. The front doorbell chimes.                                                  73.          INT. RACER LIVING ROOM - DAY          Sprittle opens the door revealing Inspector Detector of          the Corporate Investigation Bureau who looks older and          harder than when we saw him in the flashbacks          Behind him is Racer X.          Sprittle sees the masked racer and screams.          Chim-Chim screams. They look at each other screaming and          then slam the door.          They begin running around, flailing like Chicken Little,          waving their arms in panic.          SPRITTLE          RACER HEX! THE HARBINGER OF BOOM!          RUN FOR YOUR LIVES!          Popsstorms into the room.          POPS          What are you two squawking about?          They dive behind the couch but peek out as Pops heads for          the door.          SPRITTLE          Pops, whatever you do, don't open          the door!          EXT. RACER HOUSE          Racer X doesn't like it.          RACER X          This is a bad idea.          INSPECTOR DETECTOR          If it was any other driver, you'd          be here.          Popsopens the door and Racer X sets his jaw.          POPS          Inspector Detector?          INSPECTOR DETECTOR          Good morning, Mr.. Racer. I know          it's been a long time--                                                  74.          CONTINUED:          He extends his hand and Pop shakes it.          POPS          Ten years.          INSPECTOR DETECTOR          Yes. I'm sorry for this          intrusion, but I was hoping to          have a word with you and Speed.          Pops eyes the masked racer.          INSPECTOR DETECTOR (CONT'D)          It's important.          INT. RACER LIVING ROOM - DAY          Mom serves coffee and cookies.          INSPECTOR DETECTOR          We've been after Remmington for          years for dozens of capital          corporate crimes including WRL          fixing but we haven't had the          evidence we need to convict him.          Until now.          Sprittle and Chim-chim peek up from behind the couch as          Mom offers the masked racer a cup of coffee.          MOM          Here you are, Mr. X.          Sprittle points at Racer X.          SPRITTLE          What's he doing here?          INSPECTOR DETECTOR          Racer X works closely with our WRL          corporate crimes division, helping          us recruit drivers like you,          Speed. Most of the media, which          you are now seeing is controlled          by the Major Sponsors and they          have done their best to paint him          as a menace to the sport. The          truth is he's our most valuable          weapon against these villains.          SPEEED          Why does he always wear that mask?                                                  75.          CONTINUED:          INSPECTOR DETECTOR          If any of, you actually knew his          identity, you would become targets          for his enemies which include some          of the most vicious Fixers in the          world.          Gulp. They both sink back down behind the couch.          SPEED          What do you want with me?          INSPECTOR DETECTOR          You're familiar with the driver          Katsu Okamoto?          SPEED          Of course.          INSPECTOR DETECTOR          For years he has been contracted          by a Fixer named Cruncher Block          who we know works for Remmington.          Recently, Katsu has been forced to          lose races that have led to a          droop in the stock price of          Okamoto Engineering. We believe          this is a part of a corporate          strategy to allow Mushi motors to          buy control of Okamoto. Katsu          doesn't want this to happen and he          began resisting, thinking.that he          could do it on his own. After          Fuji, he realized he needed help.          POPS          ,Why help him?          INSPECTOR DETECTOR          Because he has a file with enough          information to connect Block to          Remmington which could put both of          them behind bars for the rest of          their lives. The problem is, he          won't give us the file unless we          help him stop the take over of his          family's company.          SPEED          How?                                                  76.          CONTINUED: (2)          INSPECTOR DETECTOR          There is an up-coming race that          Katsu believes if he can win, it          will catapult Okamoto Engineering          back into the spotlight and double          the cost of the buy out which          should kill it.          SPEED          But there aren't any more races          left except for the Grand Prix and          we both failed to qualify.          Inspector takes a big breath.          INSPECTOR DETECTOR          There aren't any track races.          This is a cross-country rally.          SPARKY          You mean The Crucible?          POPS          What?!          INSPECTOR DETECTOR          I know it seems cruel of me to          ask, but Katsu made it clear that          he had to have Speed an X on his          team or there would be no deal.          POPS          Absolutely out of the question.          INSPECTOR DETECTOR          You'll have the support of the          entire C.I.B--          POPS          No! Rally racing is a back alley          sport full of jackals, head-          hunters and thugs! I'm sorry,          Inspector but I lost one son to          that death-trap. I won't lose          another.          INSPECTOR DETECTOR          I understand. If you change your          MIND--          He starts to take out his card.          POPS          Keep your card, Chief Inspector.                                                  77.          CONTINUED: (3)          Speed looks at Pops, then realizes that Racer X is          staring straight at him.          EXT. INSPIRATION POINT - NIGHT          It is raining, the cockpit bubble smeared with the          distant traffic lights.          SPEED          And the way he was looking at me,          I don't know...I just gotta do          something.          TRIXIE          But Pops will never let you go.          SPEED          He won't if I ask him.          TRIXIE          Speed Racer what are you thinking?          SPEED          You weren't in Remmington's          office, Trix. You don't know what          it was like. It felt as though he          had his hand inside my chest and          he was trying to crush everything          in my life that mattered to me.          TRIXIE          I hate him. I'm picturing his          heart clogging with cholesterol          right now.          SPEED          No joke, Trix. If you could have          been in that room, you'd want to          do anything you could to take this          guy down.          She looks straight into his eyes and he doesn't have to          say anything else.          TRIXIE          All right. Let's do it. You're          going to need an alibi. We'll say          we're going skiing.          SPEED          What? No way!                                                  78.          CONTINUED:          TRIXIE          You're going to need my help.          Casa Cristo is a rally. I can          spot from a 'copter.          SPEED          Trixie, this isn't a game. These          people play rough.          TRIXIE          I know. That's why I'm coming with          you. And if you even try to argue          with me, I'll tell Pops right now          and he won't let you out of his          sight.          SPEED          You would, wouldn't you?          He looks into her eyes and knows the answer.          SPEED (CONT'D)          Well...I guess we're going skiing.          She smiles.          INT. REMMINGTON'S OFFICE          Remmington sits surrounded by the legal equivalent of          knights, bishops and rooks while Mr. Mushi sits across          from him supported by his own retinue.          Behind them, Cannonball Taylor blasts through the test          course fast enough to coax a low rumble from the sound          barrier.          REMMINGTON          As I'm sure you're aware, the          Okamoto stock fell another four          points yesterday. In the next few          days it will hit bottom and they          will have to sell.          The car roars through its elliptical path like a circling          electron binding the two tycoons together.          MUSHI          This could be a most profitable          year for Remmington.          Remmington can't hide the glow.                                                  79.          CONTINUED:          REMMINGTON          Mushi won't do too badly either.          Mushi nods.          Cannonball circles, everything in apparent harmony until          Gennie leans in and whispers.          GENNIE.          I know this is terrible timing          sir, but I've just received          confirmation of several last          minute entries to the Casa Cristo          5000.          REMMINGTON          Who?          GENNIE          You're not going to like it.          INT. CASA CRISTO BLIMP          The two announcers beam into the camera.          ANNOUNCER          We're just minutes away from the          start of the 82nd annual Casa          Cristo Classic, the grand dame of          cross-country, the second oldest          rally race in the world, spanning          two continents, three climate          changes and five thousand          kilometers of the most winding and          treacherous roads ever raced.          Heturns to his colleague.          ANNOUNCER (CONT'D)          With me again is five time Casa          Cristo champion, Johnny "Goodboy"          Jones.          JOHNNY          Always great to be here. Such a          beautiful city.          ANNOUNCER          One of the most romantic cities in          the world.                                                  80.          INT. HOTEL          A bell man carefully unloads a cart. On top of the stack          of suitcases is a gold fish bowl with a single ugly          piranha.          Cruncher stands at the window balcony looking out over          the white-washed city.          BELLMAN          Is there anything else I can do          for you, sir?          CRUNCHER          Yeah ...I wanna send someone a          present.          INT. CASA CRISTO BLIMP          ANNOUNCER          Safety has been the primary          concern for Casa Cristo officials,          especially the last few years.          JOHNNY          That's right Bob. There were a          number of fatalities several years          ago. It really had a bad          reputation for a while.          ANNOUNCER          Fans started calling it "The          Crucible."          JOHNNY          Most of the T-180 drivers wouldn't          come near it.          ANNOUNCER          But you look today, we've got some          major names like Millie "the          mouse" Manno, Snake Oiler and          Katsu Okamoto as well as the young          rising star Speed Racer. Not to          mention, the shadow that seems to          hang over every major race these          days, the masked racer that some          fans call the Harbinger of Boom.          What's your take on Racer X?                                                  81.          CONTINUED:          JOHNNY          Obviously he is an extremely          talented and disciplined driver.          ANNOUNCER          But is he a head hunter?          JOHNNY          I think he drives like he'is not          always interested in winning.          ANNOUNCER          Nuff' said.          JOHNNY          But remember Colton, these are          standard road cars, not T-180s. I          know a lot of T-180 drivers who I          raced against who expected to win          but found out racing a few laps on          a track is a totally different          animal than a cross-country rally.          ANNOUNCER          The marathon as opposed to the          sprint?          JOHNNY          Exactly. This isn't just about          going fast. It's about endurance.          More than anything, winning Casa          Cristo is a test of will.          INT. MACH 5          Speed grips his steering wheel like it was the handle of          a weapon.          INT. INSPECTOR'S OFFICE          Inspector extends his hand which Speed grips tightly.          INSPECTOR DETECTOR          Speed, I want you to understand          how much the C.I.B. appreciates          your help on this.          SPEED          I'm not doing this to help C.I.B.          I don't know anything about          corporate crimes and honestly, if          I did, it wouldn't really matter.          (MORE)                                                  82.          CONTINUED:          SPEED (CONT'D)          I'm doing this because someone is          trying to hurt my family and I'm          going to do everything I can to          hurt him back.          The masked racer is unable to mask his smile.          INT. CASA CRISTO BLIMP          ANNOUNCER          The reason.T-180 drivers have          always come to Casa Cristo is          because the winner is          automatically offered an          invitation to the Grand Prix next          week. A hold over from the days          when rally racing was far more          popular then track racing.          JOHNNY.          Gosh how things have changed.          INT. KATSU'S CAR          The leather of his gloves creak as he wrings his steering          wheel.          'INT. HOTEL SUITE          The doorbell rings and Katsu goes to it.          A hotel bellman surrounded by Katsu's bodyguards is          smiling.          SECURITY GUARD          He says it's for Horuko, from an          admirer.          Katsu looks at the ribboned box as the guard runs his          metal detector over it.          HORUKO          You see how we have to live?          He ignores her, turning away as she starts to open it.          She screams.          Inside the goldfish bowl the piranha shreds a piece of          meat that could be a finger, staining-the water red.                                                  83.          INT. CASA CRISTO BLIMP          JOHNNY          To compete in this race, you          really have to have a killer          instinct. Any sign of weakness or          timidness is like blood in the          water and you'll see how fast this          race turns into a feeding frenzy.          INT. RACER X'S CAR          Racer X calmly checks his car's vitals as he revs his          engine.          INT. C.I.B. DESIGN LAB          Racer X leads Speed and Inspector Detector through the          lab to where Minx is working.          RACER X          We're going to need some insurance          for this race.          Minx clicks away at a keyboard while a digital Mach 5          rotates on a screen.          RACER X (CONT'D)          Minx builds my cars.          SPEED          Nice to meet ya.          She purrs in response.          Racer X nods and she uses the computer to illustrate her          modifications.          MINX          Their cars will probably be          equipped with secret weapons so we          have modified your car to try to          counter their attacks. The "A"          button will operate your normal          jump-jacks.          The Mach 5 flips over on the screen highlighting the          newly installed jump-jacks.                                                  84.          CONTINUED:          MINX (CONT'D)          "B" will seal your cockpit, which          we've fortified with a bulletproof          polymer.          Gun-bots fire digital bullets at the Mach 5 which          ricochet off the blueprint glass.          MINX (CONT'D)          "C" will inflate an emergency          hexadyno spare after any blowout.          Avatar vandals slash the Mach 5's tires, which explode          then re-inflate.          MINX (CONT'D)          "D" will activate these zircon          tipped saw blades that will cut          through anything that tries to          attach itself to you.          The Mach 5 opens like a Swiss army knife.          MINX (CONT'D)          "E" will project the tire          crampons.          The image zooms in on the newly equipped cat-claw tires.          MINX (CONT'D)          And "F" will launch a remote          control homing bird that is          capable of transmitting QTVR          footage anywhere you are.          A final click demonstrates the capabilities of the Mach          5's homing bird.          INT. CASA CRISTO BLIMP          ANNOUNCER          Every race fan has heard the          rumors of spearhooks, tire shanks          and battery boosters.          JOHNNY          The league has done a tremendous          job to clean rally racing up.          While it's true there have been a          few bad apples, on the'whole most          teams stay within league rules.          He winks into the camera.                                                  85.          CONTINUED:          JOHNNY (CONT'D)          Or at least try not to get caught.          EXT. STARTING LINE          We glide through the lines of race cars with x-ray vision          cam, revealing hidden weapons; spring loaded Ben-Hur tire          shredders, all manner of grabbers and grapplers as well          as bladders filled with oil or grease.          INT. RACER DEN          Sprittle and Chim-chim are settling in on the couch; a          big bag of potato chips and ice filled glasses of coke.          The Casa Cristo is about to begin.          POPS          Sprittle!          Faster than a blink Sprittle grabs the remote and changes          the channel to "Unser Charly," a German sitcom starring a          monkey.          POPS (CONT'D)          What are you doing?          SPRITTLE          Just watching a little TV, Pops.          Pops looks at the TV suspiciously, then back at his son.          SPRITTLE (CONT'D)          It's his favorite show.          POPS          It's in German!          SPRITTLE          Not the monkey parts.          chim-chim smiles.          POPS          Oh no you don't. You are not          watching that race. Out you go.          Outside. Get some exercise. You're          too pale.                                                  86.          TNT. CASACRISTO BLIMP          ANNOUNCER          The moment the Queen of Casa          Cristo sees the sun, she'll signal          the start of the race.          EXT. DESERT VISTA          The horizon glows brighter, whispy clouds slowly soaking          up the blood-orange light.          TNT. HOTEL SUITE          They speak in Japanese.          HORUKO          This is wrong.what you are trying          to do.          KATSU          I have no choice. Their price is          an insult to four generations of          our family.          HORUKO          And if you die? Will then the          price be high enough?          EXT. RAMPART          The Queen sees the sun about to break.          INT. MACH 5          Speed revs his engine, a bomb ready to blow.          EXT. CASA CRISTO MEMORIAL          A large memorial commemorates all the drivers who died          during this race: "In memory of those who gave          everything for their love of this sport."          Trixie stands beside Speed, both of them staring at the          name carved into the bronze plaque; Rex Racer.                                                  87.          CONTINUED:          SPEED          I understand it now, Trix. I know          why he left us.          She looks at him.          SPEED (CONT'D)          He was trying to change this          rotten business and they killed          him for it.          EXT. RAMPART          The Queen raises a starter's pistol.          INT. CRUNCHER'S HOTEL ROOM          Snake Oiler and his two HydroCell team-mates meet with          Cruncher and his gang, including Vinny "Three-Fingers,"          his hand still bandaged.          SNAKE          This is supposed to be my race!          I'm supposed to win! I got the          green light! They. promised I'd          get to go to the Grand Prix! For          eight years I've played by the          rules! This is supposed to be my          race!          CRUNCHER          Enough! I can't stand the          whining!          VINNY          Like a baby needing its diaper          changed.          Snake works his jaw looking for the right comeback.          CRUNCHER          It's simple. We have a team of          wild cards. The problem is these          wild cards are better drivers than          you.          SNAKE          Like hell they are!          CRUNCHER          Prove it. Take out Katsu. The          other two will quit.                                                  88.          CONTINUED:          Snake seethes.          SNAKE          You just watch me. Come on!          He and his boys storm out, slamming the door behind them.          EXT. RAMPART          The sun cracks the horizon and the Queen fires the gun.          All at once tires explode into a wail of rubber burning          agony, smoke billowing from the sound of their screams.          The cars shoot down through the corridor of the small          streets like shotgun pellets through a barrel.          EXT. CASA CRISTO          The cars roar through the streets to the cheers of the          locals, while above, team helicopters circle with the          industriousness of bees.          INT. HELICPOTER          Trixie speaks into her headset.          TRIXIE          Katsu, HydroCell's coming up on•          your left.          The HydroCell cars jostle their way towards Katsu, Speed          and Racer X.          INT. RACER X'S CAR          RACER X          I got him.          INT. HOTEL SUITE          Racer X and Speed are escorted by Okamoto security into          the room.          Speed notices Horuko standing on the balcony and is          struck by her beauty.          Katsu bows.                                                  89.          CONTINUED:          KATSU          It is such an extraordinary honor          to have such talent on my team.          RACER X          Let's skip the niceties and cut to          the chase.          Katsuarches an eyebrow.          RACER X (CONT'D)          The only reason we're here is          because you needed two outsiders          and because the Chief Inspector          believes you'll turn over your.          file on Remmington and Block.          Racer X eyes him.          RACER X (CONT'D)          I don't believe it. I don't trust          anyone who needs this kind of deal          before they'll bring a criminal to          justice.          The accusation hangs in the air.          RACER X (CONT'D)          But I'm willing to take a chance          that you'll prove me wrong.          KATSU          You won't regret your decision.          RACER X          We'll see. Until then you have my          word that I will do everything.I          can to make sure you checker at          Bartimaeus.          Katsu smiles.          EXT. CASA CRISTO          KNOCKING          Racer X smashes into one of the HydroCell team,          him into a series of billboards.          Katsu again smiles.          KATSU          Arrigato, X. Arrigato.                                                  90:          INT. HOTEL SUITE          They stand around a GPS map of the race.          SPEED          If they're so desperate, why not          just use some kind of sniper?          There's a million places someone          could hide if they were really          trying to kill you.          RACER X          Any obvious crime would allow the          Chief Inspector to shut the race          down. That kind of scrutiny would          only hurt the business. They'll          do as much as they can to make it          appear legit.          Speed nods.          RACER X (CONT'D)          The real problem we'll have is          after the: first leg. Corteges is          going to be extremely dangerous.          Take my advice, keep your family          away from Cortega.          Speed again looks out at Moruko on the balcony.          EXT. CASA CRISTO          Katsu roars out of the city onto the desert road.          INT. CASA CRISTO BLIMP          ANNOUNCER          They're out of the city and          heading into the Zunubian Desert.          EXT. ZUNUBIAN DESERT          The chain of cars weave along the ribbon of concrete          while the desert dunes raise up around them.          A red bearded driver named Billy Steel-belted, his team          covered in the Manecks' logo, begins sliding up next to          Speed.                                                  91.          EXT. SQUARE          A cobra peeks his head out of a basket, charmed by a          gorgeous woman playing her flute.          In the audience, Cruncher moves up behind Billy.          He hands him a small black velvet bag.          Billy pours out a fistful of star-dust; the glint of          diamonds glitter in the greed of his smile.          EXT. ZUNUBIAN DESERT          Billy smiles revealing his diamond studded teeth then          swerves at Speed.          INT. HELICOPTER          Trixie sees the attack coming.          TRIXIE          Speed, jump!          INT. MACH 5          Speed does, just as Billy's car plows through, passing          under him.          RACER X          He's not alone.          EXT. ZUNUBIAN DESERT          The Manecks team attacks, their cars flying at Katsu even          as a second team, the Atomic Injectables led by Tyrus          Tropp also attacks.          RACER X          This surprises me.          SPEED          Why?          RACER X          Tyrus is a good man. I wouldn't          expect him to turn head-hunter.          They aren't pulling any punches.                                                  92.          INT. BASEMENT          Cruncher sits, shadows drawn around him like the folded          wings of a bat, across from a stoic looking Tyrus.          Cruncher slides an envelope across the table.          Tyrus looks at the goons surrounding him, then picks it          up.          Inside are the photographs of a beautiful girl playing in          a park. The hard edge in Tyrus' expression immediately          softens turning to fear.          Cruncher smiles like a snake that has just found an egg.          INT. CASA CRISTO BLIMP          ANNOUNCER          Things have started heating up, as          the cars head out across the          desert flats.          EXT. DESERT FLATS          The swerving, weaving chain of cars churns up a massive          cloud of dust in their wake.          Attacking cars are caught and spun out by Racer X and          Speed.          A hurricane of sand and dirt swirl around Katsu who sits          calmly in the eye of the storm while-          His guardian angels go into overdrive.          Racer X and Speed seem like they have been driving          together all their lives.          RACER X          Lead him--          SPEED          Here ya go!          Speed leads an attack straight into Racer X's counter.          RACER X          Wing left.          SPEED          Flying in!                                                  93.          CONTINUED:          He jumps one car and blocks the attack on X.          As their cars merge in.and out from one another,          something seems perfectly clear to Speed--          He is back at Thunderhead with the ghost of his brother,          dancing around each other until--          TRIXIE          Speed!          Wham! Billy slams up against him--          Throwing a lever, a grappler locks on to the Mach 5.          SPEED          He's got me! I'm locked up!          Another lever is pumped like a tire pump and a sheaved          blade begins stabbing at Speed's tires.          Racer X watches unable to leave Katsu unprotected.          Speed hits the D button and the zircon saw blades start          gliding through the grappler.          RACER X          Get out of there! -          SPEED          I'm trying!          The knife slashes the tire which explodes just as the          grappler is cut--          Speed flips away free, hitting the "C" button causing a          new tire to inflate while he's upside down--          Landing on a new tire, without missing a beat.          Tyrus rushes into the opening, but this time it's Katsue          who works a hidden lever and--          A Katana-like blade flashes, a samurai slash across the          front tire--          Bowing it out, flipping the entire car, which tumbles          back straight at Speed, forcing him to try a split-jack          JUMP--          Firing only the rear jump-jacks, launching the back end          of the car while--                                                  94.          CONTINUED: (2)          The front end of the Mach 5 clips against the Atomic          Injectibles car--          Sending Speed flipping end over end but landing with          strangely beautiful grace.          INT. CASA CRISTO BLIMP          JOHNNY          Oh my god! Did I just see that!?          ANNOUNCER          A rear single set jump into a          forward flip!          JOHNNY          I know he blew up at Fugi, but          this kid is flat out magic!          EXT. RACER BACKYARD          Sprittle and Chim-chim are laying in lounge chairs          wearing bathing suits and tanning goggles, holding          tanning mirrors under their chins.          Pops walks up.          POPS          I've got to go into town for some          parts. I'll be back for lunch.          SPRITTLE          Sure thing Pops.          Pops looks at them, shakes his head and walks off.          HIM          Sprittle slowly lowers his tanning goggles to watch          go.          SPRITTLE (CONT'D)          Let's go!          They drop their mirrors and bolt for the house.          INT. RACER DEN          They're back with chips and cokes clicking on the tv as          the cars storm across the desert.          They start crunching away, oblivious to the sound of the          front door opening.                                                  95.          CONTINUED:          POPS          Honey, I can't find my wallet----          Pops enters the room expecting to find Mom but catches          them red-handed.          POPS (CONT'D)          Sprittle!          He sees the race on tv.          POPS (CONT'D)          You two are in--          SPRITTLE          Wait! Pops, before you get mad at          us--Look!          Sprittle points at the tv eyes wide.          POPS          I'm not falling for that--          SPRITTLE          It's Speed!          POPS          Speed's skiing.          SPRITTLE          Then who's driving the Mach 5?          Pops turns and indeed, there's the Mach 5 barrelling          across the red baked earth of Zunubia.          POPS          Oh no.          INT. CASA CRISTO BLIMP          ANNOUNCER          We're nearing the end of the first          leg of the Casa Cristo as Snake          Oiler, lead driver for the          HydroCell team, roars through the          streets of Cortega, heading for          the finish.                                                  96.          EXT. CORTEGA          The HydroCell team rear through the cobblestone streets          of the medieval city crossing the finish line to a          cheering crowd.          INT. CASA CRISTO BLIMP          ANNOUNCER          The HydroCell team jumped on the          lead early and would not give it          up.          JOHNNY          They made excellent time. Okamoto          is still a couple of minutes          behind them.          ANNOUNCER          They have their work cut out for          them tomorrow.          INT. LUXURY CORTEGAN HOTEL          A medieval estate renovated into a hotel.          Katsu smashes a buffet laid out for the Okamoto team.          KATSU          If we drive tomorrow like we drove          today we will lose!          He points at the masked racer.          KATSU (CONT'D)          You will get nothing! All of this          will be meaningless!          SPEED          Relax. Snake's weak on turns.          We'll catch him in the mountains.          KATSU          We might if you stop showing off.          SPEED          Hey, all I was doing was saving          your ass.          Katsu raises a fist, but Racer X catches it.                                                  97.          CONTINUED:          RACER X          Don't fall apart yet. There's          still a lot of race to run.          Katsu jerks free of Racer X and storms towards the door          immediately enveloped by his security team.          Speed looks at Racer X as though he can suddenly see          through the mask.          RACER X (CONT'D)          A C.I.B. Man will be posted          outside your door. We got their          attention today. You and Trixie          should be very careful tonight.          Speed nods as Racer X heads for the door.          SPEED          Racer X--          He stops.          SPEED (CONT'D)          I thought we made a good team          today. It felt like we'd been          doing it for a long time.          He hesitates.          RACER X          If you say so.          He turns away leaving Speed alone.          INT. REMMINGTON'S OFFICE          CHICKEN'S          Remmington wrings the phone as if it were a          neck.          REMMINGTON          Ineptitude? Is this what I pay          you for?          CRUNCHER          They ain't checkered yet.          REMMINGTON          If. they do, I assure you it will          be a very costly mistake for          everyone.          He hangs up.                                                  98.          CONTINUED:          ASSISTANT          Mr. Remmington, you have Mr. Mushi          on line two.          Remmington was dreading this call. He hits the button.          REMMINGTON          Mr. Mushi--          MUSHI          So, is this what guarantee means          to you, Mr. Remmington? Perhaps          your dictionary has a different          definition.          REMMINGTON          I understand there is a problem,          but I assure you there is no need          to panic.          MUSHI          I am not calling to panic. I am          calling to inform you that we will          be addressing the problem          ourselves, as your assurances and          guarantees leaves much to be          desired.          He hangs up leaving Remmington to stew in his juice.          INT. RACER HOTEL ROOM          Speed and Trixie are eating a room service dinner.          SPEED          It was very weird, Trix. I knew          every move he was going to make          and he knew mine. It was so          familiar. Maybe I'm crazy but          Racer X first showed up two years          after Rex's death.          TRIXIE          But Speed, Rex was cremated.          SPEED          A body was cremated. Remember it          had already been badly burned in          the crash. Even if it was Rex, no          one could have recognized him.                                                  99          CONTINUED:          TRIXIE          So you think he faked the crash          with a different body in the          driver's seat?          SPEED          Somehow the kwik-save was          disconnected. Inspector Detector          suspected foul play but nothing          could be proved.          TRIXIE          okay, let's say it's all true.          Why would we do it?          SPEED          I don't know. Maybe the same          reason I'm here.          Ding dong.          Speed goes to the door.          C.I.B. SECURITY MAN          I'm sorry to disturb you sir, but          do you know these people?          Speedsticks his head out and there they are--          INT. HALLWAY          His family, Pops in front like a kettle ready to boil.          SPEED          Yeah...          INT. RACER HOTEL ROOM          Pops rages while Sprittle and Chim-chim pick through          their dinner.          POPS          Is this the kind of driver I have?          Someone who disobeys? Someone who          lies to me? Is this the kind of          son I have raised? And you,          Trixie, you know what this race          did to this family. Did either of          you stop to think about us? Huh?          Speed, did you think about your          mother? Or your brother?          (MORE)                                                  100          CONTINUED:          POPS (CONT'D)          What it would do if something          happened to you?          SPEED          That's all I've been thinking          about, Pops. You, Mom, Sprittle,          Sparky.          Chim-chim shouts.           SPEED (CONT'D)          Yeah, you too, Chim-chim. We are          in serious trouble,,Pops, and it's          all my fault.          POPS          This is not the place or the race          to do anything about that.          SPEED          Why not?          POPS          Because it won't do any good?          SPEED          You don't know that.          POPS          You think you can drive a car and          change the world?! It doesn't          work like that!          SPEED          Maybe not. But it's the only          thing I know how to do and I gotta          do something.          POPS          That's unacceptable! This is          over. Pack your things. We're          going home.          Speed has never directly disobeyed his father.          SPEED          I can't. I'm sorry, Pops.          POPS          What?!          SPEED          I'm staying.                                                  101.          CONTINUED: (2)          TRIXIE          So am          POPS          No you're not! You're coming          home, right now!          SPEED          I'm not a child, Pops. You can't          tell me how to live my life. If          you want to fire me as your          driver, then fine, do it. But it          won't change the fact that I am          going to.finish this race.          Pops looks ready to have an aneurism.          POPS          God, you sound like Rex. Do you          want to die like him too? Will          that make you happy?          SPEED          Don't take it out on me because          you feel guilty for what happened          to Rex.          MOM          okay, you two. That's enough.          Pops, if they're staying, then          we're staying.          SPRITTLE          All right, room service!          MOM          I suggest we try to do everything          we can to make sure we go home          together.          toe with          Pops fumes working his jaw, standing toe to          Speed.          POPS          Where's the Mach-5?          SPEED          Logged with security.          POPS          You added something to it?          SPEED          Some defensive modifications.                                                  102          CONTINUED: (3)          POPS          The whole thing's out of balance,          isn't it?          SPEED          It pulls left, rides a little          stiff.          POPS          Sparky.          Pops and Sparky leave to do their work.          Speed feels terrible. He looks at his Mom.          SPEED          I'm sorry, Mom.          MOM          Your father loves you Speed. He's          just afraid that--          SPEED          I know. It's gonna be okay.          MOM          You wouldn't lie to your mother          would you?          SPEED          Never again.          She hugs him..          INT. HALLWAY          It is later.          he feels a          A burly C.T.B. Man stands guarding a door when          bee sting on his neck.          to the          The dart's poison acts quickly dropping the agent          floor as a ninja emerges from the shadows.          INT. HOTEL SUITE          Katsu sleeps soundly.          Above him, in the shadows of the vaulted ceiling there is          a flash, as a piece of metal glints against the          moonlight.                                                  103.          EXT. HOTEL          Another ninja crawls like a spider down to an. open          window.          INT. RACER HOTEL ROOM          The sheer curtains undulate in the open window of Speed's          room as a masked face lowers into view.          The men of the Racer family lay scattered about the room          in cots and on the couches. Mom and Trixie are in the          connecting room.          INT. HOTEL SUITE          A liquid travels down a. wire that hangs poised about          Katsu's lips.          INT. HOTEL ROOM          A ninja enters Racer X's bedroom and sees him asleep in          his bed.          INT. RACER HOTEL ROOM          The ninja creeps past the sleeping men to Speed's bed.          INT. HOTEL SUITE          The oil drips onto Katsu's lips.          INT. HOTEL ROOM          A blowgun is raised.          INT. RACER HOTEL ROOM          Standing over Speed, the ninja withdraws a syringe from          his hidden chest pocket.          INT. HOTEL SUITE          Katsu licks his lips as--                                                  104.          INT. HOTEL ROOM          The blowgun is fired, burying itself into the mound of          pillows.          Racer X, his face shrouded in shadows, emerges from the          darkness where all marked men sleep, behind the couch.          The ninja realizes he's been tricked and spins just as          Racer X attacks.          INT. RACER HOTEL ROOM          The syringe moves towards Speed's neck when--          Sprittle rolls over, knocking chim-chim with his arm,          waking him up. and as soon as he sees the ninja--          He screams.          Sprittle screams.          The ninja attacks stabbing at Speed who just barely          catches the needle. The ninja tries to wing-chun the          hypodermic free but--          Speed is too quick and he forces the needle into the          headboard as--          Sparky jumps onto the ninja's back.          SPARKY          I got him! I got hiiiyow--          The ninja throws Sparky across the room and tries to bolt          but Speed is up and throwing a quick combo.          The ninja stumbles, but a manages a spin-kick that knocks          Speed back as--          Pops grabs the ninja from behind.          POPS          You attack my family?1 You try to          hurt my son?!          Pops twists the squirming ninja through a series of          wrestling moves--          Finishing the ninja in a spinning over head helicopter----                                                  105.          CONTINUED:          Launching him out the window.          Trixie and Mom burst in from the adjoining room.          TRIXIE          Oh my god? Was that a ninja?          Pops cracks his knuckles.          POPS          More like a non-ja. Terrible what          passes for a ninja these days.          s still          She looks out the window and smiles; this family'          got it.          TRIXIE          Cool beans.          There is a hurried knock at the door.          POPS          I'll get it.          It is Horuko, surrounded by security.          HORUKO          Oh, I am sorry. I was looking for          Speed Racer.          Speed moves to the door.          SPEED          Horuko? Are you all right?          HORUKO          No. Something terrible has          happened.          INT. HOTEL SUITE          Katsu can barely sit up, his arm draped over Horuko, his          head lolling from side to side.          The family is gathered around them and Racer X, who is          again wearing the mask.          Racer X tastes the needle of the blow dart.          RACER X          Narcolyte Benzamine. A highly          effective and debilitating drug.          (MORE)                                                  106.          CONTINUED:          RACER X (CONT'D)          Stays in the system for hours, but          leaves with no trace.          KATSU          I'll be...fine...by morning...          RACER X          No you won't. You can't drive a          car. You can barely stand up.          Katsu leaps to his feet.          KATSU          You do not tell me what I can do--          He suddenly collapses to the floor.          HORUKO          KATSUL          She tries to help him, but he is unconscious.          SPEED          What are we going to do?          They all look to each other for an answer, but no one          seems to have one.          INT. MR. MUSHI'S BEDROOM          The phone wakes him and he grunts into the phone in          indiscernible Japanese.          MUSHI          .I have been assured that our          problem has been solved.          REMMINGTON          Perhaps your definition of          "solved" is different from mine.          EXT. CORTEGA          d a          In the distance, the medieval walled city sinks behin          hill as the sunrises, the sound of rolling thunder          swelling as--          The race cars come flying over the hill, exploding past          us.                                                  107.          INT. CASA CRISTO BLIMP          ANNOUNCER          The second leg of the Casa Cristo          is under way. And the stage is          set for what might be one of the          most ferocious rallies we've seen          in years.          EXT. HIGHWAY          Crowds lining the road cheer as the cars scream past.          Already starting to nudge and buck, trying to force an          early mistake,.Speed and Racer X are immediately forced          into their aggressively defensive driving.          Speed seems particularly wired.          SPEED          Watch your line!          Okamoto adjusts.          SPEED (CONT'D)          Cut left! Now!          Speed. flies into block for Okamoto, but Okamoto doesn't          create enough space.          SPEED (CONT'D)          Watch it!          They kiss with the shriek of crashing metal.          INT. . HELICOPTER          Pops and Trixie ride in the helicopter with Sparky          spotting.          SPARKY          Packs leaning left, look for a          slingshot on the right!          EXT. MOUNTAIN ROAD          Almost on cue, the Medius Rez team launches at Okamoto,          who feints left and jumps, allowing Speed to smash-block          to the inside.                                                  108          CONTINUED:          RACER X          Speed, you're too tight!          The cars bounce and Speed takes a hit, spinning for          moment before he regains control.          Speed mumbles to himself.          SPEED          This is completely--          INT. HELICOPTER          And Pops mumbles finishing Speed's thought.          POPS          Absolutely crazy.          INT. HOTEL HALL          The security guard receives confirmation.          GUARD          The chopper is ready ma'am.          Horuko is escorted out, surrounded by her security          detail.          EXT. HOTEL          Cruncher's thug watches through binoculars as Horuko          exits the hotel, then reports through his Bluetooth.          THUG          She's leavin' da hotel now.          INT. HELICOPTER          Sparky scouts the upcoming terrain.          SPARKY          Wicked sidewinder coming up.          Watch the inside-out. Could get          ugly.          EXT. HELIPAD          Horuko is escorted to her waiting helicopter.                                                  109.          INT. THUGMOBILE          The crew of thugs negotiates the winding crowded. streets.          THUG          Yeah, boss. Signal's loud and          clear.          On the dash is a GPS map with a blinking signal.          EXT. SWITCHBACK          The chain of jostling cars weave up the switchback with          the violence of clattering pachinko balls.          INT. POLICE CAR          INSPECTOR DETECTOR          They're airborne? You're sure?          Good. Double the guard for her          arrival in Bartimaeus. I gave my          word nothing would happen to his          sister and I mean to keep it.          The Inspector gets another call.          INSPECTOR DETECTOR (CONT'D)          Inspector Detector..-.Mrs. Racer?          What kind of emergency?          INT. HORUKO'S HELICOPTER          The helicopter races across the scenic landscape. Inside          the cockpit, the pilot sets the auto-pilot on and          releases the stick.          He stands and pulls out a gun. It is Cruncher Block.          EXT. SWITCHBACK          Speed is driving like a maniac.          SPEED          Left! Drift tight! Tight!          Okamoto looks like he's about to go over the edge.                                                  110.          CONTINUED:          SPEED (CONT'D)          No!          INT. HORUKO'S HELICOPTER          The pilot opens the door to the posh passenger cabin.          The two security men go for their guns but Cruncher has          the drop.          CRUNCHER          Don't do it!          They raise their hands.          CRUNCHER (CONT'D)          On the ground! Now!          They get on.the floor.          Horuko stands and Cruncher whips his gun around to her.          CRUNCHER (CONT'D)          GOTCHA--          But suddenly, something is wrong, his eyes going wide as          he realizes--          Horuko is not Horuko.          Horuko is Katsu.          CRUNCHER (CONT'D)          What the--          Katsu snatches Cruncher's gun and the Fixer is too          stunned to do anything to stop it.          CRUNCHER (CONT'D)          You-cheater.          The security team seizes hold of him.          CRUNCHER (CONT'D)          But if you're here, who's--?          EXT. SIDEWINDER ROAD          Katsu's car swerves wildly back into the middle of the          road.                                                  INT. KATSU'S CAR          Trixie has had enough. She yanks up the dark visor on          the helmet.          TRIXIE          That's better. Couldn't see          anything.          She gains control and eases the car into the slot.          SPARKY          That's it. Nice line, Trix.          INT. HELICOPTER          Horuko sits beside Sparky, wearing Trixie's clothes.          SPARKY          Top of the hill's coming. Snake's          got at least a quarter mile'on ya.          TRIXIE          Well, let's go get him.          SPEED          If you'd been a little more          careful, he wouldn't be ahead of          us.          TRIXIE          I told you I couldn't see outta          this dang helmet. It's too big.          SPEED          I can't believe you talked us into          this ridiculous idea.          TRIXIE          What's ridiculous about it?          You're the one always telling me          I'm a better driver than most of          the WRL.          SPEED          Now's not the time to prove it!          TRIXIE          Why not?          SPEED          It's too dangerous!                                                  112.          CONTINUED:          TRIXIE          Too dangerous for me but not for          you?          RACER X          Children, focus! If we're going          to have a chance we're going to          have to pass Snake before the          rendezvous.          TRIXIE          I'm ready. Let's roll.          She floors it, pulling out, leaving Speed shaking his          head and trying to keep up.          They smear through a hairpin turn and as they close on          the nearest cars it is immediately apparent that they are          no longer driving protectively or defensively--          They are attacking.          Racer X leaps at the bumper of one car, corner-checking          him into the rail while--          Trixie hits like a cue ball on the break, scattering          several cars--          Leaving Speed little to clean up.          INT. HELICOPTER          Sparky cheers.          SPARKY          Wahoo! Go get 'em, girl!          INT. SNAKES'S CAR          He sees them in the rear view mirror.          SNAKE          Here they come! Pick it up!          INT. BLIMP          C.C. ANNOUNCER          Here comes the Okamoto team,          making their move.                                                  113.          EXT. MOUNTAIN ROAD          Every winding turn is another click on a fishing rod as          they slowly reel the HydroCell team in.          The Okamoto team moves with synchronized grace while          Snake and his team struggle to hold their line.          SNAKE          Watch it! What're you doin'?!          The mountains undulate, the cars dip and rise caught in          the current of this concrete river--          Flowing one way then another, the cars sawing across the          belly of one bend, drifting into the curve of another          UNTIL--          The Hydrocell emerges over the crest of a hill with the          Okamoto team tight to their bumpers.          SNAKE (CONT'D)          Just try it! Try to pass! Just          try it!          Racer X knows they're ready.          RACER X          Take 'em.          SPEED          With pleasure.          Speed slingshots from the back position, hurling          alongside the HydroCell team until--          Snake blocks him, setting up an attack by one of his team          but this just allows Racer X a hole to punch through.          The cars continue to slug it out still weaving up the          mountain road, climbing it seems to helicopter or blimp          height.          INT. BLIMP          ANNOUNCER          Now the gloves are off and they          are pounding one another, bumper          to bumper, rail to rail!                                                  114.          EXT. MOUNTAIN ROAD          It remains at one level of intensity until---          Snakes bashes Trixie hard into the rail, driving her          almost over the edge, causing her to shriek from the          force of the blow--          And Speed loses it.          His jaw clenches, shifting into a whole new level of          intensity.          He becomes a cyclone, a whirling dervish, enveloping the          HydroCell team in a cloud of chaos---          Throwing, rending,. ripping through them until only Snake          is left.          Speed is not kind; battering him until he's not sure if          he's going forward or backward.          In a panic, Snakes reaches for a hidden lever but before          he can take hold of it, Speed clobbers him again, causing          him to shriek louder than Trixie and then--          Recede quickly away like a dog with its tail tightly          tucked.          INT. HELICOPTER          SPRITTLE          Oh yeah!          Pops can't help a flash of delight.          POPS          .that's my boy.          INT. BLIMP          C.C. ANNOUNCER          The Okamoto team roars into the          lead behind some very aggressive          driving by Speed Racer.          JOHNNY          You kiddin' me? He just tore          Snake a new tailpipe!                                                  115.          INT. KATSU'S CAR          SPEED          Trix? You all right?          She's obviously shaken up.          TRIXIE          Yeah, sure. 10--4 and ready for          more.          Speed shakes his head, wanting this to be over.          RACER X          Then let's move it. We got some          time to eat up.          INT. HORUKO'S HELICOPTER          Cruncher is buckled into a seat with his arms tied behind          him. He glares at Katsu who is changing into his racing          leathers.          CRUNCHER          Haven't ya heard? Cheaters never          prosper.          SECURITY GUARD          Sir, we've got the lead! They're          heading for the rendezvous, now!          Katsu looks back at Cruncher and smiles.          KATSU          Excellent.          INT. THUGMOBILE          No answer. The thug hangs up.          THUG          Somethin' ain't right.          INT. HELICOPTER          They head down towards the rendezvous which is a hidden          alpine nook, surrounded by mountains.                                                  116          CONTINUED:          HORUKO          You're sure, no cameras here?          POPS          Checked it this morning. Quite a          few dead spots in these mountains.          EXT. RENDEZVOUS          The Okamoto team roars up to where everyone is waiting.          Speed climbs out of the Mach-5 and heads straight for          Trixie.          SPEED          I told you--          She turns ready to fight, if that's what he wants.          SPEED (CONT'D)          You are one helluva driver.          She smiles.          TRIXIE          You're not so bad yourself.          Sparky and Pops go to work, changing fuel cells and          starting to pound out some of the serious dents.          Racer X sees Cruncher guarded by the security team.          RACER X          What's he doing here?          KATSU          Stowaway. Weren't sure what to do          with him.          RACER X          Do what he'd do; break his legs          and let him walk back.          Horuko bows to Trixie.          HORUKO          Thank you so much.          TRIXIE          It was a blast.          SPARKY          Cells reloaded!                                                  117.          CONTINUED:          SPEED          Let's go!          They start to turn until machine gun fires objects.          THUG          Nobody move!          The thugs emerge from the surrounding wood.          POPS          What is this?!          UP          He strides towards the nearest goon but bullets spit          IN          the earth and snow at his feet causing him to freeze          place.          CRUNCHER          This is called a change of plan.          Now freed, one of the thugs tosses him a gun.          THUG          Yeah, that's right. We're          changing your plan that changed          our plan to change your          plan. - .right boss?          Cruncher decides to ignore that.          CRUNCHER          The new plan-- what was it, again?          Break your legs, make you.walk          back? I like that.          He stands smiling in front of Racer X.          CRUNCHER (CONT'D)          But first, I think it's time to          play a little peek-a-boo, I-see-          you.          INT. BLIMP          C.C. ANNOUNCER          We are still waiting for the          Okamoto team to come out of the          pass.          JOHNNY          Those roads can really ice up.          Very dangerous.                                                  118.          EXT. RENDEZVOUS          One of the thugs pins Racer X's arms back as Cruncher          goes for the mask while--          Unnoticed by anyone, the trunk of the Mach-5 pops open          and four eyes peek out.          Cruncher starts to peel back the mask when a rock clips          him on the side of his head.          CRUNCHER          OWL          SPRITTLE          Monkey cookie!          He turns just as--          Whap! A monkey cookie in the kisser.          SPRITTLE (CONT'D)          Nice shot!          Chim-chim howls as Sprittle reloads his sling-shot.          POPS          Sprittle?!          CRUNCHER          Get that monkey!          The goons are confused, distracted, and before they can          control it, the fight is on--          Racer X throws the thug holding him--          Speed and Trixie dish out equal measures of chop-socky          and good of American slug-fu as--          Pops grapples and wrestles his goon into a head-lock.          Racer X hammers Cruncher to the ground where he sees his          gun, scrambling for it but just as he reaches for it--          Katsu steps on his hand.          It's a short quick turn around and--          RACER X          Looks like another change of plan.                                                  119.          CONTINUED:          WHILE          The security guards herd up Cruncher and the thugs          Pops turns his attention to--          POPS          Sprittlel Get over here!          SPRITTLE          Ahhhh!          He and Chim-chim run behind Speed.          SPEED          Sprittle this isn't a game. You          could've been killed in there.          SPRITTLE          I.know it was bad! I know we          shouldn't have done it. But Chim-          chim was really really scared.          SPEED          Chim-chim?          SPRITTLE          Okay, I was a little scared too.          TRIXIE          Scared of what?          Sprittle clings to his big brother.          SPRITTLE          I didn't want what happened to Rex          to happen to you.          Racer X and Pops feel a hidden wound open.          SPRITTLE (CONT'D)          We just thought if you got into          trouble, maybe we could help and          it's a good thing we did.          a good          Speed looks at Pops as if Sprittle is making          point.          POPS          Oh no, you're not getting off that          easy. If your mother hasn't had a          heart attack already, I'm sure          she'll know what to do with you          two.          tires and          The last of Pops line is lost to the squeal of          roar of engines as the HydroCell team flies by.                                                  120.          CONTINUED: (2)          KATSU          Go! Go! Go!          They rush to their cars, Speed leaping into the Mach-5.          Engines. growl, tires spin and gravel spits as the three          cars shoot back into the race.          TNT. BLIMP          C.C. ANNOUNCER          First out of the pass is... the          HydroCell team?          JOHNNY          Uh-oh. They better send the          emergency trailer--          C.C. ANNOUNCER          Wait! Is that--          Like eagles dropping from the sky, the Okamoto ream soars          out of the mouth of the pass.          INT. BLIMP          JOHNNY          Here we go again.          C.C. ANNOUNCER          Whatever happened in that pass has          left Okamoto back where they          started but now only one obstacle          stands between Snake oiler and          VICTORY--          JOHNNY          The Maltese Ice Caves.          TNT. HELICOPTER          Trixie notices as Pops begins to bite his lip. She          whispers to Sparky.          TRIXIE          This is where Rex...          Sparky nods.                                                  121.          EXT. MALTESE ICE CAVES          Moon-white sheaves mottled against coke-bottle colored          ice floes rise up, a glistening wall of glacial plates          surrounding the thin ribbon of road.          Speed enters the first series of caves bored through          earth and ice, a stroboscopic oscillation of light and          dark, ads and no ads as---          The memory of watching Rex disappear down the throat of          one of these caves haunts him.          KATSU          Speed?! What are you doing?          SPEED          Sorry.          RACER X          Are you all right?          SPEED          I'm fine.          Ahead, the HydroCell team grows from small silhouettes          flashing in and out of sight,. closer and closer, larger          and larger until--          once more the three chase cars lock onto their rear          bumper.          INT. RACER X'S CAR          RACER X          The next cave's a rattler.          KATSU          What is that?          SPEED          Double S.          RACER X          We'll make our move in there.          EXT. MALTESE ICE CAVES          The open maw swallows the segmented train of cars, each          one slipping down into an underworld--                                                  122.          CONTINUED:          Where there is no purchase for advertisements--          Only the cold, wet darkness where white lights chase          after red ones.          Speed tries to shake his fear when X calls for the          attack.          RACER X          Now.          The cars split apart, Racer X leading the charge as--          Sparks flash as with the cross of swords, metal striking          metal and--          The ice-crusted walls sparkle with star-bursts of          VIOLENCE--          The cacophony ringing through the first bending curve.          It is obvious that the conditions are much more          difficult, a sword fight on a frozen lake--          Each of the drivers, skidding, wobbling, drifting farther          then they anticipated, but--          The Okamoto team are just too good, eliminating one and          then the other HydroCell cars until--          Speed again has Snake in his sights.          This time, though, Snake is ready.          SNAKE          Not this time, punk!          He throws the lever and beneath his car--          A violent spray of freezing gas immediately skim coats          the road with a fresh shimmering glaze of ice that---          Speed hits going full throttle, immediately spinning          wildly out of control.          He screams trying to hold on as he spits out the end of          the cave--          Smashing through the rail, separating from the earth--          Hanging for a moment against the soundlessness of the          open sky--          Before dropping like a stone.                                                  123.          CONTINUED: (2)          RACER X          Speed!          INT. BLIMP          JOHNNY          Oh no!          C.C. ANNOUNCER          Speed Racer's gone over the edge!          INT. HELICOPTER          Everyone feels the same stomach-lurching terror as Pops'          eyes go wide with the terror that he is about to lose          another son.          EXT. GLACIER CLIFF          Speed falls and from inside the cockpit it looks          impossibly far to the bottom but--          The wall of the cliff is not completely vertical and the          Mach-5 begins to rub against the ice.          Speed reacts immediately, hitting one of the control          buttons and--          Crampons shoot out of his tires, giving him just enough          of a hold to try--          A split-jack jump, the front jacks firing, throwing the          car into a somersault across the open ravine--          Slamming against the far side which has slightly more          slope, allowing the crampons to dig in as--          He drive straight up the wall of ice.          TNT. BLIMP.          JOHNNY          He did.not! He did not just do          that!          C.C. ANNOUNCER          Speed Racer is. driving straight up          a cliff face--are we getting this?                                                  124.          CONTINUED:          JOHNNY          This kid is unbelievable!          INT. HELICOPTER          They all cheer.          SPRITTLE          Go, Speed, go!          EXT. MOUNTAIN ROAD          Speed jumps again, vaulting violently back into the          winding road just behind a disbelieving Snake.          SPEED          Hi. Remember me?          Speed roars up after him and Snake grabs for his lever          again but now it's Speed that's ready--          Jumping over the ice, he body slams Snake, sending him          hard into the rail as Speed shoots into the lead.          SNAKE          Not again! Not again!          He grabs at an ankle holster, yanking out a gun.          INT. BLIMP          Their cameras zoom in as Snake aims.          JOHNNY          Oh my god, he's got a gun!          EXT. MOUNTAIN ROAD          Speed doesn't notice until it seems his entire family          screams into his ear--          FAMILY          GUN!          Snakes fires just as--          Speed hits the cockpit bubble and the bullets smack          against it like a sledgehammer into a brick wall.                                                  125.          CONTINUED:          He swerves knowing he won't be able to take many hits as          Snake chases after him, firing as--          Speed hits the crampons again and runs up the side of the          mountain then--          Flips off the wall just as the cliff face drops off,          switching sides as--          Snake now finds himself on the outside as Speed bashes          him out through the guard rail.          Snake tries a similar move to Speed but Snake is no Speed-          And his car bursts apart as he miss-times the flip,          sending a bouncing cocoon to the distant snows below.          INT. BLIMP          C.C. ANNOUNCER          Snake oiler completely going out          of his mind--          JOHNNY          Could have been altitude sickness,          it gets crazy up there--          CASA CRISTO ANNOUNCER          Whatever it was, Speed handled it          beautifully and with less than 250          kilometers to go, nothing seems to          stand between Okamoto--          EXT. FINISH LINE          The cars weave through the Byzantine streets of San          Bartimeaus.          C.C. ANNOUNCER          -- And victory!          The checkered flag comes down, hundreds of flashbulbs          capturing the moment as Katsu leads Speed and Racer X          across the finish line.          INT. REMMINGTON'S OFFICE.          Remmington smoulders like the cigar worries between his          fingers as he watches the effect of the race happen          almost immediately.                                                  126.          CONTINUED:          The stock of Okamoto engineering climbs two points.          REMMINGTON          Get me... Tetsuya Okamoto.          EXT. VICTORY LANE          Katsu poses with Speed and Racer X for photographers.          Racer X is clearly not interested.          KATSU          We make a good team.          RACER X          We did our part. Make sure you do          yours.          Racer X stares at Katsu whose face is as expressionless          as a mask but it feels as though Racer X can see right          through it.          KATSU          Of course.          INT. REMMINGTON'S OFFICE          REMMINGTON          Congratulations Mr. Okamoto. Very          impressive race.          INT. OKAMOTO'S OFFICE          OKAMOTO          Yes, thank you. You are very          generous, Mr. Remmington.          EXT. VICTORY LANE          REPORTER 2          Speed, does this mean you've          signed with Okamoto?          SPEED          Uh, no. This was... a mutually          beneficial opportunity.          KATSU          Yes, well put.                                                  127.          CONTINUED:          REPORTER 3          Katsu, does this mean you will be          running in the Grand Prix this          weekend?          KATSU          We'll see. Right now I'm just          going to enjoy this victory.          INT. REMMINGTON'S OFFICE          OKAMOTO          The price is 78 a share.          REMMINGTON          That's outrageous! The price is          barely above 50! This is          extortion! Blackmail! I'll sue          you! Tie up every asset you own          up for the next 20 years!          OKAMOTO          As you wish Mr. Remmington. Have          a nice day.          REMMINGTON          Wait!          He grinds his molars until they are smooth.          REMMINGTON (CONT'D)          Seventy-eight a share. I'll have          the papers drawn up.          OKAMOTO          A pleasure doing business with          you.          INT. OKAMOTO'S OFFICE          sit across          Okamoto hangs up the phone. Katsu and Horuko          from him. He smiles.          OKAMOTO          You have done very well for us, my          son.          Katsu smiles the same smile as his father. The only          person not smiling in the room is Horuko.                                                  128.          INT. RACER FAMILY GARAGE          Speed kicks over a tool box giving voice to his rage with          a cacophony of clattering metal.          He jumps into the Mach 5. The engine guns the wheels          screech as he peels out and away leaving--          Inspector Detector standing with this hat in hand, his          frown mirrored by Pops.          SPARKY          I don't get it. What just          happened?          POPS.          Okamoto played us for chumps. All          he wanted was our help to drive up          the stock on his family's company.          Even if there was a file, he had          no intention of turning it over.          SPARKY          You mean that whole race was for          nothing?          INT. MACH 5          Speed screams as loud as he can strangling the steering          wheel as he rockets through a series of familiar with          curves.          EXT. THUNDERHEAD          Without the lights or banners or crowds, the race track          echoes with the same quiet portance as a cathedral. It          is here that Speed has always found himself.          But as he sails through neck snapping turns with reckless          abandon, it becomes clear that he is chasing something          that he has lost.          He seems ready to cry for all the frustration and anger,          wanting so badly to undo the last few weeks of his life.          Suddenly in his rearview mirror there is an answer to his          prayer, a miracle--          His brother.                                                  129.          CONTINUED:          For a moment he believes that he is again driving beside          the ghost of his brother but when the two cars kiss up          against each other, Speed realizes this is no ghost--          It's Racer X.          The masked Racer suddenly becomes the focus of all his          anger and Speed swings his car, wielding it like a club,          trying to clobber him.          Racer X dodges the first blow and swings back, the two have          at one another, banging, shoving one another into the wall--          Until Speed can't take it anymore and he goes at X as          ferociously as he can, throwing him into a tailspin--          Crashing him into one of the grand stands.          Silence embraces the track.          Speed climbs out of the Mach 5.          SPEED          X? Racer X?          There is a small movement in the car, a shuddering as          though in pain and Speed realizes he may have gone too          far.          SPEED (CONT'D)          Racer X?!!          He runs to the car but immediately stops when he realizes          the masked man is not in pan; he is laughing. He          practically falls out of his car.          RACER X          Jeezus, kid. You can drive. I          haven't been thrown like that in          years.          SPEED          What are you doing here?          RACER X          The inspector told me what          happened., I came looking for you.          SPEED          Why?          RACER X          Thought you'd take it hard and          maybe do something stupid.                                                  130.          CONTINUED: (2)          SPEED          Why would you care?          RACER X          Because you're a fighter. And a          friend.          SPEED          Why don't you just tell me the          truth?          Racer X stares at him hard.          SPEED (CONT'D)          You're Rex, aren't you?          RACER X          You mean your brother?          SPEED          Youfirstappeared two years after          Rexdied.You drive just like          him.Youknew I'd be here because          thisis where he always used to          takeme.Just tell me the truth.          mask.          After a long hard moment, Racer X pulls off his          He is not Rex. Speed is stunned.          SPEED (CONT'D)          You're... not Rex.          RACER X          No. I'm sorry Speed but your          brother is dead.          He pulls his mask back on.          SPEED          I'm sorry.          RACER X          Don't be. I'm sure where ever          your brother is, he is immensely          proud of you.          SPEED          For what? Making the same          mistakes he did?                                                  131.          CONTINUED: (3)          RACER X          For trying to make a difference.          From what I've read, that's all he          tried to do.          SPEED          And what good did it do? He got          killed for nothing. Racing hasn't          changed and it never will!          RACER X          It doesn't matter if racing never          changes. What matters is if we          let racing change us. Everyone of          us has to find the reason to do          this. You don't climb into a T-          180 to be a driver. You do it          because you're driven.          SPEED          I don't know why I'm doing it          anymore.          RACER X          That's obvious. At Fuji, you were          trying to prove something. At          Cristo, you were looking for          justice. Neither are the reason          you belong behind a steering          wheel.          SPEED          If you know so much, why don't you          tell me why I should keep driving?          RACER X          Sorry. That's for you to figure          out.          He climbs back into his car.          RACER X (CONT'D)          I just hope when you do, I'm there.          to see it.          He roars away leaving Speed alone.          INT. SPEED'S ROOM          Speed is furiously packing. There is a knock on the door          but he ignores it.          Sprittle opens the door, Chim-chim following him in.                                                  132.          CONTINUED:          SPRITTLE          Hey watcha doin?          SPEED          What's it look like?          SPRITTLE          Where ya goin?          SPEED          I don't know. I just gotta get          away from here.          SPRITTLE          Why?          SPEED          Because.          SPRITTLE          Because why?          SPEED          Because I have to.          SPRITTLE          Can we come with you?          Speed is struck by an odd sense of deja vu.          SPEED          What?          SPRITTLE          Can we come with you?          SPEED          No.          SPRITTLE          Why?          SPEED          You'll understand when it's your          turn.          He shoulders his bag and shoves out the door.          INT. RACER FAMILY LIVING ROOM          there,          Speed crosses to the door but Pops is already          sitting, waiting, a heaviness in his.limbs.                                                  133.          CONTINUED:          POPS          Speed, before you go, I'd like to          say a few things. Will you sit          with your old man for a minute?          Speed chafes a bit but drops his bag.          SPEED          Don't try to stop me.          POPS          I won't. I made a mistake trying          to tell you what to do at Cortega.          You were right. I was wrong. I          won't make that mistake again.          Speed sits.          POPS (CONT'D)          I want you to know that I acted          rashly. I said things I wish I          hadn't. Your mother usually          protects me from making an ass out          of my self but I was determined to          do it this time and I guess I did          a pretty good job of it. I wanted          to make sure you understood how          sorry I was.          SPEED          Thanks.          POPS          The truth was, I couldn't have          been more proud of you son. Not          because you won, but because you          stood up, you weren't afraid and          you did what you thought was          right.          SPEED          So? It didn't amount to anything.          It was completely meaningless.          POPS          How could it be meaningless? I          saw my son become a man. I          watched him act with courage and          integrity and drive the pants off          of every driver on the road. This          is not meaningless. This is the          reason for a father's life.          Pop's eyes'begin to twinkle with tears                                                  134.          CONTINUED: (2)          POPS (CONT'D)          I admit I went to Cortega because          I was afraid that what happened to          Rex was going to happen to you.          And I just couldn't take that. I          couldn't loose another one of my          boys like that again. But what I          realize in Cortega was that I          didn't lose Rex when he crashed, I          lost him here. I lost him when he          walked out of this house and I let          him go without telling him how          proud I was of him and how much I          loved him. I let him think that a          stupid motor company meant more to          me than he did. You'll never know          how much I regret that mistake,          but it's enough that I'll never          make it again.          He puts his big bear arms around him and hugs him.          POPS (CONT'D)          I love you Speed. I understand that          every child leaves home but I want          you to know that door is always          open and you can always come back.          SPEED          I love you Pops. I'm just so          confused right now. I don't what          I'm doing or why I'm doing it. I'm          locked up in some kinda tailspin          and no direction makes sense.          POPS          I know what that's like. When Rex          died I didn't even. know if I          wanted salt on my eggs, let alone          if I wanted to keep building cars.          Then, do you remember when we sat          here, that night, watching old Ben          Burns and Dugazi? You remember          that?          Speednods vaguely.          POPS (CONT'D)          Sittin' here, cheering with you,          something just clicked, like a          light being switched on inside of          me and after that, I never had          trouble remembering how I liked me          eggs.                                                  135.          CONTINUED: (3)          SPEED          Jeez Pops. That's just it.          That's part of my problem.          POPS          What?          SPEED          That race. The '43 Prix. Burns          and Dugazi? It was fixed.          Remmington told me the whole          story. It was all about some DNF          names Rotts. They've known the          winner of every Grand Prix for the          past 50 years. It's always fixed.          That's a tough pill for Pops to swallow.          POPS          I don't believe that.          Remmington's a crook. You can't          believe a crook.          SPEED          I don't think he was lying, Pops.          POPS          The Grand Prix? A sham?          Ding dong.          POPS (CONT'D)          Who could that be?           WITH          Speed opens the door. She seems to glow, radiating          her own incandescence.          SPEED          Horuko?!          HORUKO          Forgive me for intruding but I had          to come before it was too late.          Speed eyes her for a moment wondering if this is another          set-up.          HORUKO (CONT'D)          This is not a trick. I swear to          you. I am not my brother.          POPS          You going to ask the lovely lady          in?                                                  136.          CONTINUED: (4)          SPEED          Yeah, sure. Come on in.          She steps in, looking somewhat out of place in the          suburban living room.          POPS          Can I get you something to drink?          HORUKO          No. My security man believes I am          still at the opera, so I only have          a moment.          She turns to Speed.           HORUKO (CONT'D)          I am very sorry for what happened.          what my father and brother did was          not right and I am ashamed.          SPEED          It's fine. Just another lesson          learned.          HORUKO          No.. It is they who are in need of          a lesson.          She pulls an envelope out of her bag and gives it to          Speed.          HORUKO (CONT'D)          This rightfully belongs to you.          He opens the envelope and his eyes immediately light up.          SPEED          An invitation to compete in the          91st annual Grand Prix?          HORUKO          My brother was planning to decline          anyway but I studied the rules          very carefully and as a member of          the Okamoto team, if you present          this invitation on the day of the          race, they must allow you to          compete.          Pops bursts into a smile and slaps Speed on the back.                                                  137.          CONTINUED: (5).          POPS          Whaddya think of that, Mr. Its-          Always-Fixed?          SPEED          HORUKO          You do not have to say anything.          I only hope you drive as you did          in Casa Cristo and you wipe the          smiles from their faces.          POPS          We don't have a car. Sparky!          SPARKY          Right here Pops.          Sparky steps out of the kitchen doorway.          POPS          What're you doing in the kitchen?          SPARKY          Same as everyone else.          Behind him the entire family peeks out.          SPEED          I don't believe it. You were          listening the whole time?          Trixie goes to him.          TRIXIE          We were worried about you.          HORUKO          I would say good luck Saturday but          you do not need it. You are          already very lucky to have such a          family.          SPEED          Goodbye and thank you.          He closes the door.          POPS          Come on! We got work to do.                                                  138.          CONTINUED: (6)          SPARKY          But Pops, the race is less than 36          hours away.          POPS          Isn't that how fast Remmington          said he could build that tin can          with all his fancy machines?          SPARKY          Yeah.          POPS          Then we'll do it in 32. Let's go!          He heads for the garage, Sprittle leaping after him.          SPRITTLE          I want to help.          POPS          Well come on.          SPRITTLE          Chim-chim too?          POPS          We need everyone.          INT. RACER FAMILY GARAGE          The family gets to work, bolting, welding, drilling,          cutting, and grinding.          The framework of a car begins to materialize, assembled          it seems out of thin air, human will made manifest as--          INT. REMMINGTON INDUSTRIES LABORATORY          A car is covered in a sheet bearing the RI logo.          Remmington speaks before Mushi and his cadre of lawyers          and assistants.          REMMINGTON          I swear to you Mr. Mushi when the          GRX is revealed at the Grand Prix          and then captures the black and          white checkers the demand for our          transponder engines will go          through the roof.          Mushi.smiles.                                                  139.          INT. RACER FAMILY GARAGE          The Racers continue to work, Sparky beginning to fall          asleep just as Mom brings him a big, steaming cup of          coffee.          The car is further along, but still a long way from          finished.          INT. REMMINGTON'S OFFICE          Papers are signed. Hands are shaken. Pictures posed          for. The harmony of the corpratocracy complete as--          INT. RACER FAMILY GARAGE          The entire family, covered in sweat, blood, and grease,          refusing to quit even as the sun rises on--          EXT. THE GRAND PRIX          Nothing we've seen compares to the staggering scope of          this track. It feels like an entire city; grand stands          rising up like can-opened sky scrapers surrounded by          clover leafs of track that seem like origami folded          highways.          Preparations are well under way, ads being positioned,          lights being checked, make-up being applied to Ben Burns          and his announcing partner, Cass Jones.          INT. RACER FAMILY GARAGE          The Racers gobble handful of potato chips, stuffing          quarters of P,B, & J sandwiches into their mouths,          rushing to finish while--          INT. GRAND PRIX PENTHOUSE          Caviar, shrimp and lobster are being set out on trays of          ice beneath a glistening ice sculpture of.the GRX.          INT. RACER FAMILY GARAGE          The car is nearly finished,Pops spraying on the paint as--                                                  140.          EXT. GRAND PRIX GRANDSTANDS          The crowds have already begun to arrive.          At the players entrance, fans swarm after Cannonball          Taylor who arrives in his gorgeous sports car.          INT. RACER FAMILY GARAGE          Sparky slams the access panel shut.          SPARKY          Alright, fire it up!          Everyone holds their breath as Speed hits the ignition.          The car makes a sick baying rattle and smoke begins          pouring out of the engine.          SPARKY (CONT'D)          Kill it! Kill it!          EXT. GRAND PRIX          Remmington stands ready to reveal the GRX.          REMMINGTON          Ladies and gentlemen, behold the          future.          It's black, shiny, and beautiful in a malefic way.          INT. RACER FAMILY GARAGE          The clock continues to tick, everyone watching anxiously          over his shoulder as Sparky works.          SPEED          Sparks, it's getting late.          SPARKY          I know, I know. Okay. Give it a          try.          Everyone braces as Speed hits the ignition.          It is the sound of an explosion held in the palm of your          hand.                                                  141.          CONTINUED:          SPEED          Sounds beefy Pops.          POPS          It gives you a little something          extra.          SPEED          Let's get it loaded!          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          This year marks a new record as          the Grand Prix will be broadcast          in eighty-four different          languages.          The camera pans. over the multitude of ethnic          broadcasters.          CASS JONES (CONT'D)          Just gets bigger every year,          doesn't it Ben?          BEN BURNS          Seems like it.          INT. GRAND PRIX PENTHOUSE          The elite hobnob, champagne flutes flashing between          feathered hats and waxy smiles.          The Okamotos raise their glasses to Mushi.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          We've got an incredible lineup          this year. Some major          competition. We got a few fan          favorites like the Gray Ghost,          Sonic "Boom-boom" Renaldi and          Prince Kabala. We got perenial          powerhouses like Nitro Venderhoss,          Gary "Gearbox" Kalinkov, and Mori          Minimoto.          BEN BURNS          Not to mention C ball.                                                  142.          CONTINUED:          FUJI ANNOUNCER          Cannonball Taylor, fastest Grand          Prix seed in history, driving the          new ORX from Remmington Racecars.          BEN BURNS          She looks mighty tight.          FUJI ANNOUNCER.          There is an odd numbered field          today, nineteen, one shy of a full          boat as Katsu Okamoto declined his          automatic invitation after winning          the Casa Cristo.          BEN BURNS          Hey there's something going on          down there.          CASS JONES          We're seeing some kind of          commotion down at the trailer          entrance.          EXT. TRAILER ENTRANCE          A large group of security officials are gathered, staring          at the invitation in Speed's hand.          One of them starts to shake his head when he hears--          INSPECTOR DETECTOR          Is there a problem here, officer?          TNT. GRAND PRIX PENTHOUSE          Remmington is in his element, everything seeming to go          exactly as planned until Gennie comes up behind him and          whispers in his ear.          GENNIE          Sir, we have a problem.          INT. RACE OFFICIAL'S ROOM          The doors burst open as Remmington charges in. His eyes          flash as though seeing ghosts when confronted by the          entire Racer clan.          REMMINGTON          What madness is going on here?                                                  143.          CONTINUED:          SENIOR RACE OFFICIAL          Mr. Remmington, this is a          legitimate invitation. We have          verified it.          REMMINGTON          Where did you get that?          SPEED          I was on the Okamoto team          remember? I won it fair and          square.          REMMINGTON          This is preposterous! He can't be          allowed to race. It's too late.          INSPECTOR DETECTOR          The ruling on this is quite clear.          Try to stop it and you'll be in          blatant violation of the WRL          charter, leaving me no option but          to shut this years Prix down until          a full investigation can be          completed.          REMMINGTON          What?! Do you have any idea what          that would cost? Are you insane?          INSPECTOR DETECTOR          Try me.          Remmington stews then spits a threat at Speed.          REMMINGTON          You'll regret this.          SPEED          Doubt it.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          Something big is going on because          every race official has been--          wait, wait. An announcement is          being made. A new driver is being          added to the field.          BEN BURNS          Holy sh--                                                  144          CONTINUED:          BLEEP.          Ben Burns gets bleeped by the network censors.          EXT. BIG BOARD          A name flashes on as the driver is added.          FEMALE ANNOUNCER VOICE          Now driving in the twentieth and          final position, Speed Racer.          The roar from the crowd shakes the windows of--          INT. GRAND PRIX PENTHOUSE          Concerned, knitted brows search the room in quiet panic          while in private--          Horuko allows herself the faintest smile.          INT. PRIVATE OFFICE          Remmington meets in secret with Cannonball Taylor.          REMMINGTON          A million dollars to the driver          that takes Racer out.          CANNONBALL          He won't get out of the blocks.          REMMINGTON          I prefer him to not even make it          out of the locker room.          Cannonball smiles as Remmington starts to turn.          REMMINGTON (CONT'D)          We're installing a spear hook on          the GRX.          CANNONBALL          I don't need one to beat that          punk.          REMMINGTON          A precaution.                                                  145.          INT. LOCKER ROOM          Speed begins laying out all of his things while the other          drivers move around him, wolves stalking prey.          In a mirror, a Yakuza tattooed driver eyes Speed while          drawing a straight razor up his neck.          Speed tries to ignore him, digging through his bag,          getting more and more flustered until he realizes--          He forgot the red socks.          SPEED          Oh no...          EXT. GRAND PRIX GRANDSTANDS          The Racer family finds their seats.          INT. LOCKER ROOM          The Yukuza man moves up behind a despairing Speed,          straight razor flashing as--          The Gray Ghost cuts him off.          GRAY GHOST          Hey kid--          :          SPEED          The Gray Ghost...          GRAY GHOST          Just wanted to say good luck.          He reaches out to shake, then whispers.          GRAY GHOST (CONT'D)          There's a million dollar bounty on          your head.          SPEED          A million dollars? Wow. Maybe I          should take myself out.          GRAY GHOST          Watch yourself. Your ruffling          some pretty major feathers here.                                                  146.          CONTINUED:          SPEED          Why aren't you after the bounty?          GRAY GHOST          Our little dance at Fuji--that's          how it should always be.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          As the cars take to the field you          can feel the anticipation mounting          in the audience. Something is          different. There is an          electricity in the air. The          presence of Speed Racer has          completely changed the equation.          INT. LOCKER ROOM          Speed is sitting, still not dressed. The broken ritual          has him confused, not sure how to begin.          A dressed and helmeted driver heads straight at him but          is diverted by--          RACER X          Speed Racer?          Speed turns, taking a moment to realize the handsome          millionaire playboy in the tux is unmasked Racer X. He          glances down at Speed's belongings and sees a picture of          Rex.          SPEED          Oh, yeah.          PLAYBOY/RACER X          I'm quite a fan of yours and just          wanted to say how glad I am to see          you here.          As they shake hands, Racer X realizes that something is          wrong.          PLAYBOY/RACER X (CONT'D)          Is something wrong?          SPEED          I just... I got this thing... its          stupid, I know, a superstition,          but I guess all of us got one.                                                  147.          CONTINUED:          PLAYBOY/RACER X          Can I help?          Speed suddenly notices the red trim of his tuxedo and his          red tie. He looks down and heaves a sigh of relief.          Red socks.          INT. PLAYER'S TUNNEL          Speed rushes out of the darkness of the tunnel into the          brightly colored, awe-inspiring venue that is the Grand          Priz Coliseum.          There is a dizzying onslaught of giant advertisements and          jumbotrons while the enormous crowd roars in lapping          waves like the surrounding ocean.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          There he is now, Speed Racer,          perhaps the biggest wild card in          Grand Prix history.          EXT. GRAND PRIX STARTING LINE          Floating camera blimps seem to hover everywhere including          right next to Speed--          Catching him unawares with a gaper's mouth.          The image of Speed looking overwhelmed is immediately          broadcast onto the jumbotrons eliciting a laugh from the          crowds.          EXT. GRAND PRIX GRANDSTANDS          Trixie sees Speed on the big screens.          TRIXIE          Look! There's Speed!          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          Speed Racer gets his first eyeful          of the Coliseum.                                                  148.          CONTINUED:          BEN          This ain't Kansas baby!          EXT. STARTING LINE          The gorgeous Prince Kabala struts for the crowd while a          team of beautiful female mechanics push his jewel          encrusted car into place.          He sees Speed helping Sparky push the Mach 5 into place.          PRINCE          Hey, mouth-breather, get used to          THIS--          He shows Speed his ass.          PRINCE (CONT'D)          'Cause that's what you're going to          be looking at all day!          Speed tries to ignore him and the other driver's staring          at him like a fox staring at a chicken.          SPARKY          Howya feelin'?          Speed takes a breath as he dares to look around again.          SPEED          .it's big.          SPARKY          Hey, this cockpit is the exact          same size it was at Thunderhead.          SPEED          Right.          SPARKY          Just wanted to say, thanks, for          what could be the most exciting          moment of my life.          SPEED          Couldn't have gotten here without          you.          He hugs him.                                                  149.          CONTINUED:          SPARKY          I'm looking forward to that cold          milk.          SPEED          Me too.          Speed climbs in as the speaker system blares--          FEMALE ANNOUNCER VOICE          Ladies and gentlemen, start your          engines.          The engines erupt, crashing against the waves of the          roaring crowd but--          Inside the Mach 5 everything goes completely silent.          Nothing exists now for Speed except the track as he loses          all separation between himself and his car.          He takes a deep breath and closes his eyes as the          countdown begins.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          The final countdown has begun and          a stillness has fallen over this          stadium as all eyes turn to one          car.          BEN BURNS          This ain't a race. It's a          showdown.          EXT. GRAND PRIX          Again we cut to the many varied expressions of          anticipation: Trixie, Mushi, Okamoto, Sprittle, and Chim-          chim, Katsu and Horuko, Mom and Pops, Remmington and          Racer X who no longer has any socks, until--          The gun sounds--          The cars become bullets hurdled forward, except for the          car in front of Speed which barely moves blocking his          PATH--          He tries to avoid it but can't, rear-ending him while the          car behind him slams into the back of the Mach 5.                                                  150.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          Trouble at the start, a misfire          traps Speed Racer, causing a          COLLISION--          BEN BURNS          Uh-oh. Look out!          EXT. GRAND PRIX STARTING LINE          A car to the side swerves aiming straight at Speed who          manages at the last second a slip-jack jump--          Flipping over the car as it slams into the pile-up while--          Speed guns his engine in the air so that when he hits the          track there is a scream of burning rubber and the Mach 5          rockets out of the start to the cheering crowd.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          I don't know how he got out of          that one--          BEN BURNS          That-kid's wiley.          EXT. GRAND PRIX TRACK          The first lap of the Grand Prix is Ben Hur brutal as car          after car takes a shot at Speed but--          He uses their aggressiveness throwing them into each other--          Littering the track with flaming debris and bouncing          cocoons.          INT. GRAND PRIX ANNOUNCER'S BOOTH          They try to keep up but Speed is even too fast for them.          CASS JONES          Speed fakes left, jumps right--          BEN BURNS          Nice, nice--                                                  151.          CONTINUED:          CASS JONES          He slips in behind Gearbox---          BEN BURNS          Here comes over under--          EXT. GRAND PRIX TRACK          Speed executes another beautiful maneuver sending Gearbox          crashing into Boom-Boom--          Both cars going boom-boom, their rubber cocoons bouncing          free.          INT. GRAND PRIX ANNOUNCER'S BOOTH          Ben Burns is giddy with glee.          BEN BURNS          I told you! I told you!          CASS JONES          Speed Racer seems unstoppable,          moving up from dead last, nearing          the leaders as they head into the          slalom with the Gray Ghost          battling Prince Kabala and          Cannonball Taylor for the lead.          EXT. GRAND PRIX TRACK          The Prince tries to sight the Ghost in his mirrors but          the Gray Ghost seems to vanish.          GRAY GHOST          Where am I? Where am I? I'm          here. I am over there. I'm          Savior Faire!          The Prince tries to block the Ghost but he can't seem to          locate him.          GRAY GHOST (CONT'D)          I'm everywhere, baby!          Wham! The Ghost is on him, pouncing, slipping into what          feels like a shoulder throw that sends the Prince          spinning out of control onto the onrushing Nitro--          Shattering the Prince's car like a mis-struck diamond          reduced in one hammer stroke to twinkling dust.                                                  152.          CONTINUED:          The two more cocoons bounce onto the road as the other          cars roar past.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          A spectacular crash as the          Prince's jewel-covered Gigerbon          worth an estimated 22 million          dollars is scattered over a          quarter mile of track.          BEN BURNS          I'd like to work clean up on that          crash.          They chuckle.          CASS JONES          But look out, as they approach the          Big Drop, here comes Speed Racer?          EXT. THE BIG DROP          The cars head over as though falling off the end of          Niagara and while other drivers cling to their steering          wheels just trying to hang on--          Speed presses the accelerator, making his move--          Banking higher than anyone up the big wall and when he          dives back down there are only three cars left ahead of          HIM--          The green Mushi motors car, the Gray Ghost, and the Black          GRX.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          Speed Racer is knocking on the          door of the new GRX driven by          Cannonball Taylor.          BEN BURNS          You hoot Anybody home?                                                  153.          INT. MACH 5          SPEED          Ok Mr. Two Time Grand Prix, Five          time WRL, future Hall of Fame,          teach me something.          EXT. GRAND PRIX TRACK          Speed makes a move and Cannonball blocks, but it is          clumsy and Speed quickly counters--          Bouncing Cannonball into the wall.          SPEED          Come on! Is that it?          He swerves back and the two cars begin to battle but it          is immediately clear who is the better driver, as--          Speed throws Cannonball from one side of the track to the          other.          TNT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          Cannonball Taylor is in trouble.          BEN BURNS          Tear `em up kid!          INT. GRAND PRIX PENTHOUSE          The knuckles of Remmington's fist crackle as he wrings          the tension.          REMMINGTON          Do it. Stop him. Stop him now.          INT. MACH 5          SPEED          Lesson's over. See you at the          finish line.          Speed slides into Cannonball to throw him but as he does--                                                  154.          CONTINUED:          Cannonball throws a hidden switch and under the two cars          a spear hook shoots out and locks onto the Mach 5          undercarriage.          Speed feels it and knows what happened immediately.          SPEED (CONT'D)          No!          SPARKY          What is it?          SPEED          Spear hook! He's got me!          Cannonball slows driving both cars into the wall,          grinding against the Mach 5 while the trailing cars shoot          post.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          Cannonball has Speed pinned as          they grind through the butterfly          turn.          INT. GRAND PRIX PENTHOUSE          Remmington relaxes as Speed falls further off the leader          pace.          EXT. GRAND PRIX GRANDSTANDS          Sprittle understands immediately what is going on.          SPRITTLE          That cheater! He's using a spear          hook! SPEAR HOOK! SPEAR HOOK!          The surrounding crowd becomes uncomfortable.          POPS          Sprittle, we don't know that.          SPRITTLE          I do! Cannonball Taylor is          nothing but a big cheater!                                                  155.          EXT. GRAND PRIX TRACK          They exit the butterfly turn and head into the slalom,          both drivers fighting hard to force the other into the          onrushing concrete pylons.          The paint is scraped first from the outside of the Mach 5          and then the GRX as they barely avoid one pylon and then          another, neither car gaining an advantage until--          The Mach 5 begins to rattle, the stronger GRX taking          advantage as they head for the final pylon---          Where the camera that is broadcasting the two cars onto          the jumbo-tron is positioned.          INT. GRAND PRIX ANNOUNCER'S BOOTH          BEN BURNS          This is going to be ugly.          EXT. GRAND PRIX TRACK          At the last second, Speed hits the two outside jacks          causing both cars to rise up onto the two outside wheels          of the GRX--          Revealing the undercarriage and the hidden spear hook to          the camera.          The crowd gasps.          SPRITTLE          Told you so!          Chim-chim high fives him.          SPRITTLE (CONT'D)          Cheaters never prosper!          EXT. GRAND PRIX TRACK          The Mach 5 flips down, pancaking the GRX, while the Mach          5 crashes free, leaving the exposed spear hook to hang          limply from the front of the GRX.                                                  156.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          Cannonball clearly using a spear          hook.          BEN BURNS          That could cost him the Hall of          Fame.          CASS JONES          Not to mention what it might do to          Remmington Industries.          BEN BURNS          Shame on them.          INT. GRAND PRIX PENTHOUSE          People begin drifting away from Remmington as he feels          the walls close in around him.          EXT. GRAND PRIX TRACK          switch but          Speed tries to start the Mach 5. He hits the          the starter only grinds.          EXT. PIT STOP          SPARKY          Oh no, come on, don't do this.          EXT. GRAND PRIX GRANDSTANDS          Pops watches through his binoculars.          POPS          Don't quit on us now baby.          INT. GRAND PRIX LUXURY BOXES          Racer X is watching with Minx.          RACER X          Careful. Listen to it. Don't          kill the starter.                                                  157.          EXT. GRAND PRIX TRACK          Speed takes a deep breath and it seems the entire stadium          takes it with him. He closes his eyes and tries to          listen to the car.          SPEED          What do you need?          Something makes him put the car in second gear. He steps          on the accelerator, then hits the starter and---          And the Mach 5 roars to life.          The crowd screams to the wail of burning rubber.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          He's back in it, but less than a          lap and a half, I don't know what          kind of chance he has.          BEN BURNS          Come on kid! Move it!          EXT. GRAND PRIX TRACK          The red socks flash as Speed stomps on it, jamming the          accelerator to the floor.          He's a half-lap behind the entire field but every eye in          the stadium is on the white and red streak of lightening          as it--          Thunders by, rattling the elaborate lace work of concrete          and steel--          Gaining, inch by inch, foot by foot.          INT. GRAND PRIX PENTHOUSE          People abandon the televised images, wanting to watch          this miracle, to see it with their own eyes.                                                  158.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          Look at the split! He's shattering          the lap record.          BEN BURNS          Don't mean a thing without those          checkers.          EXT. GRAND PRIX TRACK          Speed comes out of the spiral, glimpsing the back of the          trailers as they go over the Big Drop.          Where they ease over the edge, Speed hurls out, going          airborne, free-falling past two trailers, as--          The grade of the slope reaches up and gently eases the          Mach 5 back onto the track, to the delight of the crowd.          The Mach 5 surfs up the big bank, weaving through another          pair that try to stop him with spectacularly disastrous          results.          outside the Mach 5 a maelstrom of violent chaos churns          WHILE--          Inside, Speed is perfectly at pease.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          No hesitation, nothing fazes him,          no one seems capable of stopping          him.          BEN BURNS          This kid ain't just driving--he's          on a mission.          INT. GRAND PRIX PENTHOUSE          Remmington can't take it, losing all pretense of decorum.          REMMINGTON          Stop him! Stop him!                                                  159.          EXT. GRAND PRIX TRACK          Speed weaves through the butterfly cloverleaf, taking          each turn at such intense speeds that the cars he passes          seem to be moving in slow motion.          By the end of the slalom, he is back where he left off,          with two cars left ahead of him--          Mushi motors and the Gray Ghost.          GRAY GHOST          Welcome back kid. Been lonely up          here without you.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          With a quarter lap to go Speed          Racer is back, two cars beneath          him and destiny.          INT. MACH 5          Speed suddenly feels the weight of everything that has          brought him. to this point.          He. sees images and hears voices, flashing through his          head, as though at his own death.          The montage finishes with the image of Speed as a ten          year old boy, drawing pictures of race cars, making all          the noises, lost in a dreamworld that has become reality.          He sees the finish line and makes his move.          The Gray Ghost sees it coming first.          GRAY GHOST          Oh yeah, here we go, here we go.          Speed flashes one way, then another, moving in ghost-like          feigns, here there, and everywhere.          GRAY GHOST (CONT'D)          What's this? What's this? Hey          now! That's my move!          Before Ghost knows where to go, Speed ducks past--                                                  160.          CONTINUED:          Sling-shotting down alongside the Mushi motors car. The          Yukuza driver tries to block but--          Speed jumps, dodging the hit, causing the Mushi car to          swerve and then wildly correct--          Swinging back as Speed hop-scotches over him again, just          AS--          The Ghost flies in, taking a broadside hit from the Mushi          car, both of them exploding just feet from the finish          line, as--          Speed launches up and through the cloud of smoke and          fire, crossing into history with the flashing wave of the          checkered black and white--          Fluttering softly in the silence as the crowd begins to          rise to their feet.          The Mach 5 slides to a stop and for a moment Speed          catches his breath, then, slowly pulling off his helmet          he begins to let it all in--          The thunder of the crowd can be felt through his chest          straight to his heart.          INT. GRAND PRIX PENTHOUSE          Remmington screams, overturning a table of caviar and          lobster, crashing the elaborate ice sculpture of the GRX          at the feet of Mushi who turns and walks away in disgust.          EXT. GRAND PRIX GRANDSTANDS          Pops' chest is out, tears running down to his moustache          as he wraps his arms around Mom, who goes to pieces as          Chim-chim and Sprittle leap up and down, hugging Trixie          AS--          INT. GRAND PRIX PENTHOUSE          The smiles of Katsu and his father are gone giving Horuko          no end of secret joy.          EXT. FINISH LINE          The crowd storms over the barriers, swarming Speed and          the Mach 5.                                                  161.          INT. GRAND PRIX ANNOUNCER'S BOOTH          CASS JONES          It's a pandemonium! People have          gone completely crazy! In          fourteen years we've never seen          anything like this!          BEN BURNS          It's a whole new world baby, a          whole new world.          EXT. FINISH LINE          The crowd lifts Speed up onto their shoulders as we          collage-pan to--          INT. LUXURY BOXES GRAND PRIX          Racer X watching his brother, a smile on his lips.          INSPECTOR DETECTOR          He did it.          Racer X lowers his binos and turns to the inspector.          RACER          Yes, he did.          INSPECTOR DETECTOR          This could change everything.          RACER X          It already has.          INSPECTOR DETECTOR          My men are bringing the family          down. Do you want to go with          them?          RACER X          He turns and takes Minx by the arm.          INSPECTOR DETECTOR          Can I ask you a question? Do you          ever think you made a mistake,          hiding the truth from them?                                                  162.          CONTINUED:          There is a flash of images as we glimpse the truth;          images of Rex watching his car explode in the ice caves,          his funeral, then the facial surgery, then the mask of          bandages as one face is lost in a mirror and another is          revealed.          RACER X          If I did, then it's a mistake I          have to live with.          He walks away while---          EXT. VICTORY LANE          Several of the other driver's led by the Gray Ghost          applaud and salute Speed as--          The Racer family is led through the swarm of          photographers and fans.          TRIXIE          Speed!          She pushes towards him and he sweeps her up into his arms          and kisses her, surrounded by the sparkle of camera flash          AS---          Sprittle covers Chim-chim's eyes.          SPRITTLE          Danger. May cause cookies.          Mom and Pops both hug Speed, their eyes bright with joy          AS--          We rise up, up, and away.          Roll snazzy credits.                               THE END
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+SPHERE by Stephen Hauser based on the novel, SPHERE, by Michael Crichton March 5, 1996 EXT. STREET IN GEORGETOWN -- MIDDLE OF THE NIGHT Fog hangs above the street, amongst the streetlamps. Apartment buildings line the curb, it is very quiet. In one building, six floors up, a bedroom light is on. WE SEE the silhouette of Norman's WIFE looking out the window. WIFE (O.S.) What kind of a crash was it? NORMAN (O.S.) You seen my suitcase? WIFE (O.S.) There's nothing on the news about a crash. Did he say what airline? NORMAN (O.S.) He didn't say much at all. Honey -- WIFE (O.S.) In the closet. I don't understand, Norman -- why would they call you? NORMAN (O.S.) Don't be so supportive, honey. WIFE (O.S.) Well, I can't imagine five years of unemployment -- NORMAN (O.S.) Four. Four years -- WIFE (O.S.) Four years of unemployment would look too good on a resume. NORMAN (O.S.) Keep watching the news. Are you watching the news? WIFE (O.S.) How are you getting to the airport? You need money for the bus? A tinted-window black SEDAN travels down the street, pulls up in front of the apartment building. A U.S. NAVY decal is on the door. WIFE (O.S.) There's a U.S. Navy car outside, Norman. NORMAN (O.S.) What? WIFE (O.S.) Was it a military crash? NORMAN (O.S.) I don't know. WIFE (O.S.) They never used to send a Navy car. CUT TO: THE LOUD, HARD CHOPPING OF A HELICOPTER PROPELLER EXT. PACIFIC OCEAN -- DAY Blinding sunlight, as the helicopter WHIPS by, speeding above the Pacific Ocean. INT. HELICOPTER -- DAY Norman, 53, disheveled, unshaven, sits in the back. He studies a pamphlet in his hand: "AIRCRASH SURVIVAL: HOW TO COPE". The PILOT, in the cockpit, turns to him. PILOT What kinda work you in, Dr. Johnson? Norman quickly stuffs the pamphlet into his dufflebag. NORMAN I'm in psychology. Was. Still am really, just been a while. (beat) I treat aircrash survivors. PILOT Oh, so you're that Dr. Johnson. NORMAN You've heard of me? PILOT Well, everybody's been talking about that report you wrote. NORMAN What report? PILOT Huh? NORMAN What report? PILOT You mean you don't know? NORMAN Know what? The pilot glances back at him again. PILOT Must be another Johnson then. Been flying so many scientists out here -- can't keep everyone straight. NORMAN Who's everyone? PILOT Physicists, mathematicians, geologists, you name it. NORMAN Geologists? At a plane crash? PILOT Strange, isn't it? In the middle of the ocean no less. NORMAN What the hell would a geologist be doing at a plane crash? Norman looks out the window and sees a group of ships circling in the water. EXT. SHIP DECK -- DAY The helicopter descends down onto the helipad, wind gusting about. A young, female OFFICER -- holding her hat to her head -- rushes to greet Norman, as he climbs out of the helicopter. She looks down crudely at his shotty, nylon dufflebag. OFFICER Any other bags, Dr. Johnson? NORMAN Just that. Careful, it's heavy. She lugs it over her shoulder, no problem. OFFICER No other equipment? Scientific instruments? NORMAN No, they didn't say -- OFFICER This way, sir. Norman follows the officer away from the helipad. INT. SHIP She leads Norman down a flight of stairs. OFFICER Captain Barnes wants to see you right away, sir. NORMAN Captain who? OFFICER Barnes. He's very eager to meet you. Been calling us every half hour to see if you're arrived. NORMAN Really? As they march down a hallway, Norman looks down at his wrinkled suit, tries to smooth it out. OFFICER By the way sir, I've read your report. I think it's brilliant. NORMAN What report? OFFICER You mean they haven't told you yet? NORMAN Told me what? She staightens up, like she might have said too much. OFFICER This way, sir. INT. BARNES' OFFICE CAPTAIN HAROLD BARNES, 60s, immaculate, proud of who he is, talks on the phone. BARNES How's he look?... Well, we can't all be officers, can we? (laughs) They tell me he's brilliant. EXT. BARNES' OFFICE Norman stands in front of the door. The doorplate reads: PROJECT COMMANDER -- CAPTAIN HAROLD BARNES. Norman straightens his big-knotted tie. Deep breath. INT. BARNES' OFFICE As the door opens, Barnes is putting down the phone, rises from his desk, as Norman steps inside. BARNES Dr. Norman Johnson. Welcome aboard. They shake hands. NORMAN Thank you, Colonel. BARNES Captain. NORMAN Captain. Right, forgive me. Barnes looks at Norman, sizing him up. An akward silence. NORMAN Well, thanks for the opportuninty here -- my wife appreciates it. BARNES Don't thank me, Dr. Johnson. You weren't my choice. The Pentagon made me take you. NORMAN (smiling) The Pentagon? I didn't know I had friends in Washington. Norman tries to laugh as Barnes ushers him to the door... BARNES Come with me. The team's already waiting. NORMAN What team? INT. HALLWAY Barnes leads Norman down the corridor, lined with OFFICERS and GUARDS. BARNES What have you been told so far? NORMAN The usual. Plane crash. Survivers unknown. Routine stuff really. BARNES Anything else? NORMAN Nothing else. A GUARD unlocks a large, steel door. GUARD Captain Barnes. Dr. Johnson. NORMAN Hello. Norman looks at the guard as they proceed through the doorway, wondering how the guard knows his name. BARNES You talk to any reporters? Any press? NORMAN Press? No, I haven't. The steel door shuts loudly behind them. BARNES Good. Security's been our biggest worry. Now that you're here we can shut this thing down tight. NORMAN From what? What's with all the security? BARNES Well, we don't have all the facts yet. Another GUARD opens up another large steel door... INT. TECH ROOM Barnes leads Norman through the room, crammed with video monitors, screens, and grids. Officers talk into radios. Technicians work on computers. BARNES We're moving fast considering the storm. NORMAN Storm? What storm? BARNES A cyclone's on it's way in. I thought they would have told you on the phone. NORMAN They didn't tell me anything. Norman tries to keep pace... BARNES We've had divers working around the clock. Take a look at this... ANGLE ON a large VIDEO SCREEN -- shows a diver walking on the ocean floor, holding a bright artificial flashlight. NORMAN How deep is he? BARNES A thousand feet. NORMAN A thousand? An airplane crashes into a thousand feet of water -- I don't want to sound pessimistic here, but I assume there are no survivors. BARNES Survivors? No, I wouldn't think so. NORMAN Then why am I here? BARNES What? NORMAN What do you need me for? ON THE VIDEO SCREEN -- the diver shines his light on a large, metallic OBJECT. BARNES What crashed wasn't an airplane, Dr. Johnson. It's a bit larger than that. Barnes walks toward a TECHNICIAN, sitting at a keyboard. BARNES (to technician) Bring up the grid, would you? ANGLE ON THE MONITOR as an IMAGE OF THE CRAFT begins to form. NORMAN What is it? A military spacecraft? Like a shuttle or satellite? BARNES Something like that. (beat) That doesn't surprise you? NORMAN Not really, no. Something of the military crashes in the ocean -- it explains why there was nothing on the news, why you've kept everything a secret... When did it crash? BARNES As best we can estimate, it crashed four hundred years ago. A beat. NORMAN Four hundred? You're kidding, right? ANGLE ON THE MONITOR -- showing a grid depicting an image of the craft and a small layer of ROCK above it. BARNES See this? Coral. Geologists measured the coral growth on top of the craft to be over five meters thick. NORMAN Geologists? BARNES Coral grows at a rate of two and a half centimeters a year -- NORMAN -- Wait a second -- BARNES -- dating the crash at least that old. NORMAN Hold on -- BARNES Maybe older -- NORMAN -- there's got to be some mistake here -- a four hundred year old military spacecraft? There's no such thing... our space program isn't even forty years old. BARNES Extraordinary, isn't it? NORMAN It's impossible. BARNES I'm afraid it is Dr. Johnson... because it's sitting on the bottom of our ocean floor. INT. STAIRWELL Barnes and Norman shuffle down the stairs. BARNES Off the record, I don't mind telling you, this thing scares the shit out of me. NORMAN It doesn't make any sense. BARNES We think it might. That's why we brought you here. We've assembled your team -- they're waiting for us now. NORMAN What team? BARNES The one you recommended. In the ULF report you wrote for the Bush administration. NORMAN ULF report? Nobody's mentioned that in years. You mean someone actually read it? As they head down a hallway, Barnes pulls the ULF REPORT out from under his arm, hands it to Norman. Norman looks at it, almost embarrassed to be holding it. BARNES Your report's become our bible down here, Dr. Johnson. We've been carrying out each of your recommendations -- one by one -- to the smallest detail. NORMAN But sir, I don't understand. This report -- these recommendations... they're for an encounter with extra- terrestrial life. INT. BRIEFING ROOM ON A VIDEO SCREEN -- sonar video of the spacecraft. BETH (O.S.) How big is this spacecraft? BARNES (O.S.) Of what we're able to measure, roughly twenty-six hundred feet. TED (O.S.) A half a mile long? BARNES The wing dimension alone is larger that any aircraft we've seen. The team members sit around the conference table: TED FIELDING, 41, geologist, boyish and happy to be here. BETH HALPERIN, 36, biochemist, mother of three who's never worn an apron. ARTHUR LEVINE, 54, marine biologist, pudgy and quiet. HARRY ADAMS, 32, mathamatician, African-American, wire-glasses, no bullshit. HARRY How much damage? BARNES To the craft? None. Not a scratch. HARRY Right. So you're saying it survived a high speed impact with water without a scratch? BARNES I'm not saying anything, Harry, I'm just stating the facts. (continuing) The outer metal is made of a titanium alloy, built into an epoxy- resin honeycomb. The necessary technology to bond this type of metal has never been invented. TED Never invented? ON NORMAN, watching the team... BETH In basic English, what does all this mean? BARNES Basic English? There's no way this spacecraft was constructed on our planet. A LOUD MECHANICAL WHIRR INT. TESTING ROOM -- LATER A large, X-Ray APPARATUS moves to the side, revealing Norman's FACE. ON BETH -- standing next to him. BETH Five years. No phone calls. What am I -- a leper? Norman sits up... NORMAN Beth, look, can I trust you with a little secret? BETH I love secrets. NORMAN That ULF report everybody's patting me on the back about? BETH I've read it twice, Norman. It's brilliant. NORMAN It's bullshit. The report's a joke. BETH (beat) That's quite a secret. NORMAN I spent a week reading Sagan and watching re-runs of the Twilight Zone. Seriously. I was just trying to pay the mortgage on my house -- I had no idea -- ANGLE ON TWO NAVY CORPSMEN, standing behind glass in the next room, monitoring Beth and Norman. BETH Do yourself a favor, Norman. Are you listening? Don't tell anyone what you just told me. NORMAN C'mon, Beth -- that report's like the blind leading the blind. BETH Because when we get down there -- NORMAN Wait -- down where? BETH To the spacecraft. To investigate. NORMAN Underwater? BETH What do you expect? For them to bring it up here? NORMAN We can't go down there. We're not prepared. That deep? That takes years of training, Beth. We're just scientists. Lab scietists. We wear ties and lab coats to work -- not oxygen tanks. BETH Well, you must have realized the chances an encounter like this would happen here. In the ocean. (off his look) 70 percent of the earth's surface is water, Norman. That's first grade geography. NORMAN It never occurred to me. BETH Well, let's pray that's the only mistake you made. Have you said anything to Barnes about this? NORMAN The timing has never seemed quite right. BETH Just keep your mouth shut, alright? This could mean everything to our careers, you know that? Don't jeopardize this. NORMAN (nervous laughter) What -- are you threatening me? EXT. SHIP -- LATE AT NIGHT THE SKY -- clouds looming on the horizon. ANGLE ON ARTHUR LEVINE, leaning against the railing, looking out at the water. ON NORMAN, approaching him. Arthur never looks at Norman, he just stares out at the water. ARTHUR I don't know you, but I'll be honest with you. I don't like this. I don't like any of this. Especially, the water. NORMAN Seasick? A marine biologist? ARTHUR I don't belong here. None of us belong here. Look at that. ANGLE ON THE WATER, an ocean of seemingly endless, choppy waves. NORMAN Makes you feel pretty small, doesn't it? ARTHUR It scares the shit out of me. CUT TO: CLOSE ON NORMAN, lying on a cot. It is dark. His eyes are open. He stares at the ceiling. CUT TO: INT. DESCENT PLATFORM A porthole hatch to the DESCENT SUB unlatches loudly. A SUB-OFFICER help Norman lower himself through the hatch. INT. DESCENT SUB Norman steps down the ladder into the sub compartment. Seated in a circle area: Ted, Beth, Harry, and Arthur. Ahead of them, Captain Barnes sits with the pilot in the sub's cockpit, separated by a wall of plexiglass. Norman takes a seat between Beth and Ted. BARNES (O.S.) (through the intercom) Our descent will take 13 minutes. Descending at a speed of 80 feet per minute. Across from Norman, Harry is WHISPERING something quietly into Arthur's ear. BARNES (O.S.) Pressure adjustments will cause the sub to lurch at times, but don't be alarmed. It's perfectly normal... Arthur's face drips with sweat, as Harry continues to whisper into his ear. BARNES (O.S.) The sub's interior atmosphere will experience moisture as we descend, and the temperature will drop rapidly. Just relax and remain seated during the descent. Norman watches Arthur, dripping with sweat. BARNES (O.S.) We have clearing from the base. Red interior lights flicker on in the compartment, and WE HEAR the sub make a HISSING sound. The sub lurches, and begins to lower in the water. NORMAN Arthur? Harry has gotten to Arthur. Arthur is on the verge of panic. NORMAN Arthur? You alright? ARTHUR Open the hatch door, please. Harry continues to whisper in his ear. ARTHUR Captain, open the hatch door, please ... the hatch door, Captain. Open it, please. BARNES (O.S.) Calm down, Dr. Levine. ARTHUR Let me out, Captain. Open the door! BARNES (O.S.) Please, Dr. Levine. Arthur leaps violently out of his seat, scrambles to the plexiglass wall. BARNES (through the plexiglass) Sit down, Dr. Levine! You're in a military operation now -- Arthur bangs on the plexiglass wall with his fists. BARNES ... Your civil rights have been overridden! ARTHUR Open it, Captain! BARNES Dr. Levine, please! Return to your seat! Arthur VOMITS, violently, heaving, splattering the plexiglass wall. ARTHUR Open the fucking door! The sub LURCHES again, coming to a stop. The compartment is totally silent, as they begin ascending to the surface. ON HARRY smiling a sly, evil grin directed right at Norman. The sub lurches again, and WE HEAR clanking metal. The hatch door opens. And Arthur, wiping the vomit from his mouth, climbs up the ladder and out the hatch door. BARNES (O.S.) Anybody else? Silence. The hatch door LOCKS, loudly. The sub lurches, and begins descending. TED Pussy. BETH What's that -- mistake number two, Norman? NORMAN He wasn't feeling well. TED He's a pussy. Harry is still staring at Norman... HARRY How are you feeling, Norman? NORMAN What? HARRY You holding up alright? NORMAN Fine. I'm fine. HARRY Don't be defensive. NORMAN I'm not being defensive. HARRY You sound defensive. NORMAN I'm fine. TED (to Harry) What'd you say to him? HARRY To who? Arthur? Nothing. Nothing that Norman doesn't already know. TED What does Norman already know? HARRY Norman thinks we shouldn't be going down. Thinks it's a mistake. Norman looks over at Beth. HARRY She told me what you said, Norman. TED What is it, Harry? HARRY Just one of Norman's many secrets. ON NORMAN, saying nothing. EXT. OCEAN WE SEE the sub descending into darker waters. EXT. DH-8 HABITAT -- ARRIVING DOCK The SUB descends into the AIRLOCK, metal clanks against metal. Around it, the DH-8: interwoven cylinders lit up with lights. INT. AIRLOCK -- PRESSURIZING ROOM CLOSE ON THE HATCH DOOR closing tightly, locking. OFFICER (O.S.) One moment for pressurizing. A SOFT WHIRR. ANGLE ON -- Barnes and the four remaining team members standing in the small, claustrophobic pressurizing room. Like sardines. Nobody says anything. A long beat. THE DOOR in front of them, opens. TEENY FLETCHER, 30s, a big-boned female officer, stands before them. She wears a black plastic PAD, a "talker", around her neck. She hands each member their own "talker". Norman takes his. INT. DH-8 HALLWAY Fletcher leads Barnes and the team members down the hallway. Each of them wears the "talkers" around their necks. BARNES They pressurize us with helium. NORMAN What's wrong with oxygen? BARNES It's a corrosive gas. On earth, it makes a half-eaten apple turn brown and puts the ugly, iron rust on an Oldsmobile. At a pressure this low, oxygen becomes toxic. Breathe it down here, and it'll do to your dick what it does to the Oldsmobile. TED Important safety tip. Thanks Captain. Fletcher listens through her radio earpiece, turns to Barnes... FLETCHER Captain, the divers have the airlock mounted at the door. The robot is now in position to enter the spacecraft. TED Robot? What robot? INT. VIDEO FEED ROOM CLOSE ON A MONITOR -- showing the robot in front of the curved gray metal of the spacecraft. BARNES Edmunds, bring up the robot's camera feed. JANE EDMUNDS, 32, the unit archivist, works the control panel. Another MONITOR clicks on -- showing the robot's POV of the door. TED Captain, you know, I really appreciate you hauling us a thousand feet below sea level so we can watch this historical event on television. BARNES Nobody goes inside, until we know what's inside. ON THE MONITOR -- THE ROBOT CAMERA scans the spacecraft hull, stops on a rectangular panel mounted to the left of the door. BARNES Can you open that panel? EDMUNDS Working on it now, sir. ON THE MONITOR -- a robotic CLAW extends out to the panel. Trying to pry the panel open. TED I'd like it noted in the report that I think we should be doing this ourselves. Making a manned entry... The claw is clumsy, and keeps banging into the metal. TED I'd also like it noted -- BARNES Duly noted, Ted. Edmunds, try using suction. ON THE MONITOR -- another robotic arm extends out, with a rubber sucker. It pushes against the panel, but doesn't suck. EDMUNDS It's not sucking, sir. BARNES Thank you, I can see that. Try something else. EDMUNDS We don't have anything else to try, Sir. BARNES Well, shit -- find something, do something... make something up -- TED What about a crowbar? Barnes straightens up, looks at Ted... BARNES What about a crowbar? TED What if we go out there, you know -- wedge a crowbar in the door and pry the thing open. HARRY Pry the thing open? What are we -- neanderthals? BETH All that banging and pounding. I don't know. We should think about making a good first impression. HARRY For who? The fish? BETH For whoever's in that thing. BARNES Or whatever's in that thing. ON THE MONITOR -- the spacecraft, sitting there silently, staring back at them. BARNES Norman, what do you think? Norman, quiet in the corner, perks up... NORMAN Me? Well -- I don't really... I mean, you could... you know, you could make a real solid case... a crowbar? All eyes on Norman. NORMAN I don't know. A beat as they all stare at him. TED I'm secure enough with that. INT. CHANGING ROOM ANGLE ON A LOCKER door opening. Inside is an elaborate JUMPSUIT and HELMET with the name: "JOHNSON", stenciled above the faceplate. NORMAN Are we all -- I mean, is it necessary for all of us to go... out there? The other team members take their suits out of their lockers. BARNES Nothing to be nervous about. These suits are wired and electrically heated. Each equipped with an alarm that triggers automatically if life- support sustems go below optimum. Norman holds his jumpsuit out and away from him, like it's something nuclear. TED It's just like swimming, Norman... You know how to swim, don't you? HARRY You're not afraid of the water, are you, Norman? They all look over at him. BETH (half smiling) Isn't there a psychological term for that, Dr. Johnson? NORMAN (under his breath) Yeah. Drowning. INT. AIRLOCK ROOM -- (A CYLINDER) Dressed in jumpsuits and helmets -- Barnes jumps into a POOL of ocean water, cut out from the floor, leading to the ocean. It looks like a tiny swimming pool. Ted jumps in next. Beth, Harry, and Norman are left... BETH You're next, Norman. NORMAN (nervous as hell) No. Go ahead. Really. Ladies first. BETH Such a gentlemen when you're scared shitless. She hops in. Norman watches, looks up at Harry, next to him. HARRY Go ahead. Ladies first. NORMAN No, why don't -- Harry nudges him forward. HARRY C'mon. NORMAN Wait a second, I -- Harry pushes him again. Norman catches himself. NORMAN Geez, c'mon, alright. Gimme a minute. Let me get my bearings -- Harry pushes him again. HARRY C'mon, Norman. NORMAN Look, would you -- And Harry just pushes him in. Norman slips and falls awkwardly... into the ocean depths. CUT TO: BLACK. Quiet. Only THE SOUND OF NORMAN -- BREATHING. For a couple beats. Now... NORMAN'S POV -- from inside his helmet -- a light SHINES from behind him -- casting his SHADOW onto the murky ocean floor. Norman's head turns, and he's BLINDED by a light -- it's Harry, the light SHINING from the top of Harry's helmet. WE HEAR Harry's voice, static, through Norman's helmet. HARRY (O.S.) The switch is on your waist. ON NORMAN -- his GLOVE -- fumbling at his waist. HIS HELMET LIGHT -- FLICKERS on. ON NORMAN -- slowly, beginning to walk on the ocean floor. HIS FEET -- squashing gently, lightly into the muddy ground. NORMAN'S POV -- can barely make out the others in front of him, their helmet lights STROBING the dark water, crossing each other, like searchlights on a foggy night. CLOSE ON NORMAN'S FACE -- eyes cold, BREATHING. Couple beats. And HEARS: TED (O.S.) Look at that thing. Norman's eyes look up... WE PULL BACK... LONG, HIGH, WIDE SHOT of the team -- their little helmet lights tiny and insignificant almost as... IN FRONT OF THEM -- the SPACECRAFT. Dwarfing them in size, looming large, majestic, like nothing we've ever seen. The enormous tail fin, in the distance, extends high out of the coral. In the huge MOUND OF CORAL covering the spacecraft, WE SEE a tunnel -- cut out like a cave -- lined with tiny, dim lightbulbs. INT. TUNNEL About 60 feet deep. Narrower than they'd like. Norman descends, clumsily, awkwardly -- pushing off the bulky, iron handles fastened to the coral walls. THE LOUD HISSING OF AIR INT. SPACECRAFT AIRLOCK CLOSE ON NORMAN'S FACE as he watches the water recede, down past his faceplate. THE LOUD BANGING OF METAL Ted has wedged a crowbar into the door and BANGS at it with a sledgehammer. HARRY Easy Ted, we're not mining gold. TED Gimme some room here, will you? Back off. Gimme some space. They all back away, cramming into the far corner of the airlock as Ted keeps swinging. BETH Looks alot like an airplane door, doesn't it? Ted stops and looks at the door. TED Alot like. You know, I noticed it before, but I didn't... HARRY Shutup, Ted. You didn't notice shit. Keep hammering. NORMAN You want me to try? TED You're a 53 year old shrink, what are you gonna do? BARNES Give him the hammer, Ted. Norman takes the hammer. Walks up to the wedge. Gets his bearings. Rears back... then stops. TED What is it, your back give out? Something has caught Norman's eye. He looks down at the wedge. BARNES What is it, Norman? NORMAN Take a look. Barnes comes toward him. The others follow. Barnes bends down, looks closely down at the wedge in the door. BARNES It's chipped. HARRY Chipped? The door? How can it be chipped? BARNES I don't know how it can be chipped, but it's chipped. HARRY I thought you said there wasn't any damage done in the crash? BARNES I did. HARRY Then how can it be chipped? ON BETH -- she touches the door with her palms, feels around. BETH There's heat coming the door. BARNES Back away then. BETH Wait a minute -- BARNES I said back away. BETH Would you wait a minute? THE DOOR STARTS TO RUMBLE Barnes unstraps a GUN -- nearly the size of an uzzi -- from his buckle. BARNES Ted, get her away from the door. TED What are you going to do -- shoot her? The RUMBLING louder... BARNES Get her away! THE DOOR begins to slide open. Beth backs away. THE DOOR, sliding, is revealing COMPLETE BLACKNESS inside. The door stops, it's open, it's quiet. They all stand there, looking at BLACKNESS. A long beat. INT. SPACECRAFT ON NORMAN -- cautiously stepping inside. His helmet light SHINES on the others ahead of him, walking along a 5 foot wide CATWALK, suspended high in the air. Metallic BEAMS and RAFTERS criss-cross above them. Norman looks over the railing -- his light STROBES through 40 feet of darkness, dimly lighting the LOWER HULL, a dense network of STRUTS and GIRDERS. TED Look at this. BARNES What is it? Ted SPOTLIGHTS the OUTER HULL. TED Some sort of lead or something. BARNES Radiation shield, you think? TED A foot and a half thick? That'd withstand a helluva lot of radiation. Beth's light SHINES down onto the CATWALK. WE SEE FOOTPRINTS outlined on the dusty floor. BETH Hold on -- BARNES What is it? BETH Any of you get ahead of me -- walk this far up? TED No. I don't think so. BETH Well, think. Because there's footprints here that aren't mine. TED Well, they're not mine. ON THE FOOTPRINTS -- large, like the boots they're wearing. BARNES Calm down, alright? They gotta be somebody's here. Let's stay together, please. CUT TO: LONG SHOT -- seeing them suspended high in the air on the catwalk, walking. Their tiny streams of LIGHT moving about. WE SEE just how ominous this spacecraft really is. BETH It's empty. Why would someone build a ship like this? HARRY You'd have to ask them. They approach a DOOR, at the end of the catwalk. BARNES Alright, Beth, do that thing you did before. BETH How about I just press the button? She presses a button near the door. The door SLIDES open. BARNES Or just... press the button. Barnes holds out his gun, and enters. The others behind him. TED Strange, isn't it? You know -- how it would have a button. NORMAN Earth doesn't have a patent on buttons, Ted. TED Still, make a note I recognized that. ON BARNES -- leading them through a small hall. It seems to be opening up into some sort of room -- when Barnes stops. Dead in his tracks. TED What's wrong? BARNES (serious) What do you make of this? ON NORMAN -- as he steps around Barnes, his light BRIGHTENING on: A SIGN that reads: "Trash." TED (softly) What the hell? Very softly, Harry begins to laugh. TED English? HARRY That's right. Norman looks up and SEES more of the room as his light SHINES throughout it: TABLES, COUCHES and CHAIRS -- made of leather, very comfortable looking. They begin to slowly wander about... BETH I don't get it. TED It doesn't make any sense. HARRY You don't think it does? I think it's rather obvious. TED Is it some sort of joke? Like one of those hoaxes? HARRY A spacecraft half a mile long -- with 500 tonnes of coral on top of it? Someone went to a lot of trouble. Try again. TED But it's impossible. HARRY Is it? Beth touches the table, it's metal, but it's soft and rubbery. TED Why would this ship carry instructions in English? HARRY Think about it. TED Unless, this alien spacecraft was -- you know -- somehow presenting itself to Americans in a way that would make us feel comfortable. NORMAN 400 years ago? I'm sure Christopher Columbus would've loved these accomodations. BETH Good theory, Ted. TED Well, what's your theory? BETH I'm a woman. I don't theorize. I only deal with facts. HARRY All the facts you need are right in front of you. TED Gimme a minute here... I think I've got it. HARRY Do you? TED If it is an alien spacecraft -- HARRY Save your breath. It's not an alien spacecraft. BETH Then what is it? HARRY (beat) It's an American spacecraft. TED An American spacecraft? Half a mile long? And buried 400 years? Yeah, good theory, Harry. HARRY It's been obvious from the start, hasn't it, Captain? That's why all the secrecy, why no one was told about it? BARNES We had considered it. TED Considered what? That it's American? How would you think it's American? HARRY The chip in the door. ON NORMAN -- glancing up at Harry... HARRY We take a weeny little wedge, bang on it a couple of times, and bust off a chunk of the metal. Yet any spacecraft -- even at a low velocity, say 200 miles an hour -- crashes into the water -- it's gonna be like hitting concrete, it would crumple like paper. But there isn't a dent to be seen anywhere. Not even a scratch. TED Meaning? HARRY Meaning it didn't land in the water. TED Please. It must have flown here -- HARRY It didn't fly here. It arrived here. TED Arrived? From where? HARRY Not where. When. 400 years ago. From our future. A quiet moment as they take this in. INT. SPACECRAFT -- DEEPER INSIDE Ted and Barnes trek through a vast cargo bay, like two ants wlth flashlights. TED Time travel. I always thought it was one of those myths... like Santa's reindeer. BARNES What would we be working on in the future that would make us want to come back? TED Maybe we didn't want to come back. BACK IN -- THE ROOM Norman, Harry, and Beth... BETH What are you looking for? HARRY A light switch. A button opened that door -- the craft runs on some sort of power. ON NORMAN -- as he sits down in one of the CHAIRS. BETH What's that noise? They LISTEN to a GIRGLING NOISE. NORMAN Sounds a little like water -- SUDDENLY -- the chair Norman's in -- wraps around him, squeezing him inside, padding sliding around his head, his shoulders enveloping him -- sucking him inside... BETH Norman! NORMAN Get this thing off me. Beth bends down, presses a button, the CHAIR releases Norman... BETH I think the chair thinks you want to fly this thing. ON BETH's FACEPLATE -- as she's looking down -- WE BEGIN TO SEE -- reflected in her faceplate: yellow digital lettering sputtering across... "RV-LHOOQ... DCOM1... " Her EYES look up slowly... as we CUT TO: THE BLACK SCREEN in front of the chairs, lit up with bright yellow lettering: "RV -- LHOOQ -- DCOMl -- U.S.S STAR VOYAGER" "ASSIMILATING DATABASE" as a series of numbers race upwards in count... And the desk in front of them LIGHTS UP, a control panel coming to life. HARRY Nice work, Norman. NORMAN Whatever I can do to help. ON THE SCREEN as it changes, now filled with columns: SHIP SYSTEMS DATA SYSTEMS QUARTER MASTER FLIGHT RECORDS Harry punches some keys on the control panel. HARRY A flight recorder. Our future is about to be seen in our present. ON THE SCREEN as it changes: FLIGHT DATA SUMMARIES FDS 01/01/47-12/31/49 FDS 01/01/50-12/31/52 FDS 01/01/53-12/31/55 FDS 01/01/56-12/31/56 FDS 01/01/56-02/01/56 FDS 02/02/56-UNKNOWN ENTRY EVENT NORMAN 01-01-47. Two thousand-forty seven. 50 years in our future. HARRY Unknown Entry Event. Harry pauses, looks down, and punches more keys... ON THE SCREEN -- as it expands in size, widens around them, curving... WE SEE a galaxy of stars, planets coming OFF THE SCREEN, into the room, becoming three dimensional, suspended in air, giving the illusion of depth. The IMAGE begins streaking outward, TOWARD US, moving rapidly, like we're flying through it. The stars and other space matter streaking by. BETH What's that cluster of stars there? In the center? Harry stares, walking around the desk, moving into the 3-D image... HARRY Our answer. NORMAN To what? HARRY Time travel. A black hole. The CLUSTER of stars grows brighter and brighter, as it comes closer and closer, brightening. The FIELD twists and turns as the SCREEN and FIELD become BLINDING as WE ENTER the cluster, the black hole. ON NORMAN -- his face, bright, FRIGHTENED as he HEARS: HARRY (O.S.) Ted? Captain? BARNES (O.S.) Yes, Harry. HARRY (O.S.) We know how this craft got here. Where it's been. BARNES (O.S.) So do we. And it seems to have picked up something on it's travels. STILL ON NORMAN -- frightened... NORMAN Picked up something? What is it? BARNES (O.S.) I don't know. But it's something alien. CUT TO: INT. CARGO BAY ANGLE ON our six team members' BOOTS, in the distance. AS WE PAN UP and AROUND WE SEE a curved surface appear: a surface of slowly swirling green and blue fluids. Like mercury. Mesmerizlng. AS WE COME AROUND, the team stands looking at the SPHERE, 30 feet in dlameter, held by a GIANT CLAW gripping it from the top. They walk around it, circling it, looking up at it. HARRY This answers one of our questions. NORMAN Which one? Let me get the list out. HARRY This spacecraft was designed to pick things up. They see things they want -- these claws go out and bring it in. They come across this. This... sphere. Find it interesting, curious. They draw it inside to take back home. NORMAN But on the way home, they miss their turn, go too far, into the past. HARRY Our present. BARNES But what does it do? This... sphere. TED Maybe it's a message of some sort, you know? See this red here. ANGLE ON THE SPHERE -- some dark red MARKINGS on it's surface... TED (continuing) Looks like a design, some writing, maybe. Maybe it was sent to meet the spacecraft with a message. HARRY Look closely. That isn't writing. Those are grooves. ON THE RED GROOVES -- engraved into the surface. HARRY No. They don't represent a message. They aren't decorative at all. They have another purpose entirely. BARNES What? HARRY To conceal a small break in the surface of the sphere. BARNES A break for what? INT. HABITAT -- HALLWAY DOWN A LONG CORRIDOR -- WE SEE Barnes, through a half-closed door, pacing, talking on the phone... BARNES ... it's definitely something alien ... another civilization, yes, sir... Well, we don't know yet, but we think we've found a door... INT. VIDEO FEED ROOM Edmunds, Barnes, and the team members (minus Ted) look at the monitor. BARNES So how do we get it open? HARRY Ted seems to have some ideas. ON THE MONITOR -- Ted pushing on the SPHERE door. Banging into it with his shoulder. NORMAN Maybe we shouldn't. BARNES What? NORMAN If it is alien, maybe we shouldn't try to open it at all. HARRY (nodding to Norman) Man is man, all he knows is man, and all he can think of is what he knows. The anthropomorphic problem. Good, Norman. BARNES The what? NORMAN I mentioned it in my report. Didn't you read the report? HARRY Everything ever written about extra- terrestial life imagines that life is essentially human. If it doesn't look human, it's a reptile or a big insect or something, having human values, human understanding. BARNES So? What's the problem? HARRY It's nonsense. There's enough difference between our own species to prove that. BETH Take politics, our views on abortion, the death penalty... HARRY Cannibalism, to be extreme. And now we're talking about a new life form. Their values and ethics may be incomprehensible. BARNES Like "Thou shall not kill"? NORMAN Or maybe, it can't be killed. BARNES You mean, what's in that thing is immortal? NORMAN I don't know. That's the point. BARNES Everything can be killed. BETH Not everything. Even on earth. Take ... yeasts. BARNES Yeasts? Thank you, Beth, but I don't think we're gonna open it up and find a loaf of bread. HARRY And we're just talking about three- dimensional creatures. What if it's five or six or seven-dimensional? So dimensional that we couldn't even see it to kill it. NORMAN Good point. I don't know what you're talking about, but good point. BARNES Or it could contain some great benefit to us, some astonishing new idea or technology to help mankind. HARRY It could. But the odds of it being any use to us are against it. BARNES You don't know that. HARRY Let's say whoever made this thing is a thousand years ahead of us, just like we are to, say, medieval Europe. Suppose you went back to medieval Europe with a TV set. There wouldn't be any place to plug it in. BARNES Just tell me worst case. Worst case of what we might find? BETH It could breathe in air and exhale cyanide gas. NORMAN Disrupt our brain waves, interfere with our ability to think. HARRY Produce radioactive waste and disintegrate us into nothing. CUT TO: CLOSE ON PRINTER, TYPING: "Surface winds at 25 knots -- Estimated Time of Departure -- 01:45 hrs" CUT TO: INT. DH-8 HALLWAY Empty, sterile. WE HEAR the repeating sound: THWAP. Almost like a dripping faucet. THWAP... THWAP... INT. LIVING QUARTERS Harry on his bunk, staring at the wall, flicking his middle finger at his cheek: THWAP... THWAP. HARRY You realize, Norman, that we are all going to die. Norman is lying in his own bunk, below Harry. NORMAN Don't be so optomistic, Harry. HARRY I'm completely serious. There is something very important missing from that spacecraft. You know what that is? NORMAN Not a clue. HARRY A sign that the builders knew time travel through a black hole was possible. NORMAN I don't follow you. HARRY On that flight recorder, they called the black hole an "Unknown Entry Event." They didn't know what a black hole was. Fifty years from now, men are going to build that ship in a very tentative, experimental way, with no knowledge that time travel through a black hole is possible. NORMAN So what? Harry leans his head over his bunk. HARRY So, we know. (beat) We know it went through a black hole. We saw it. Norman -- when we'd get to the surface, we'd tell someone about the black hole, wouldn't we? It'd go in some report like some big discovery. So in fifty years when they build that ship, they'd make precautions for a black hole. (beat) But they didn't. The called it an Unknown Entry Event. NORMAN Meaning we're never gonna get the chance to tell anyone. HARRY Meaning we're never gonna get to the surface alive... to tell anyone. Norman gets out of his bed. NORMAN I can't believe that, Harry. HARRY Gimme another explanation. Norman pacing. NORMAN I can't. If I had a minute to think, maybe, but I know you're wrong. HARRY Am I? NORMAN Look -- we're under a lot of pressure, we're tired, you're not thinking straight. HARRY You mean, you think I'm cracking? NORMAN No. I didn't say that. HARRY Then what, Norman? Norman stops pacing, a beat. NORMAN It's what's in that sphere, isn't it, Harry? Whatever you think is in that thing -- you think it's going to kill you. HARRY Curious, isn't it? What's inside? Before I die, I'd sure like to open it and see. INT. VIDEO FEED ROOM CLOSE ON MONITOR: Video of the sphere. RAPIDLY rewinding. BARNES What caused it? EDMUNDS Nothing. I don't know. Everything was normal. No changes at all. HARRY When did it happen? EDMUNDS Seconds ago. Here! PLAYBACK: WE SEE the sphere -- idle. Nothing around it. Then it's DOOR slowly OPENS, revealing BLACKNESS inside. A beat. And then it closes. BARNES Let me see that again. Edmunds plays it again. This time... WE MOVE IN ON HARRY, staring at the monitor. HARRY (to himself) I'd sure like to open it and see. ON HARRY -- those cold, intelligent eyes. CUT TO: CLOSE ON PRINTER, TYPING: "... 30 knots -- ETD -- 00:19 min" CUT TO: INT. HALLWAY CLOSE ON -- Norman and Barnes. BARNES Don't get hysterical, Norman. NORMAN I'm telling you, Harry's lost it. He's saying there's a deathwish out for each of us. BARNES Look, the ships are clearing out. They're taking us topside in a matter of minutes. Someone can check him out there, if it's that imprtant. NORMAN All I'm saying is, someone should keep an eye on him. BARNES Just worry about yourself. INT. COMMUNICATIONS ROOM Barnes on the phone with the surface. Ted talking to him anyway... TED Can I stay, sir? I'm willing to risk it. I am. After what we just witnessed. BARNES (into phone) What? No, I know they're civilians... INT. LIVING QUARTERS ON NORMAN -- gathering his things. Stuffing his shotty dufflebag. Beth, at her bunk, doing the same. Norman stands up. Looks at the bunk above him: unpacked clothes, unpacked belongings, a notebook lying there saying: PROPERTY OF DR. HARRY ADAMS. ON NORMAN -- panicking, looking around for Harry. CUT TO: BACK IN -- COMMUNICATIONS ROOM BARNES (into phone) ... I said send the subs down, damn it! Barnes out the door, Ted at his heels... TED Did you hear me, sir, because -- BARNES Ted, shut up. Are you packed? Ready to go? I want everyone packed. Now! ON NORMAN -- running at them... NORMAN Harry's missing. BARNES What do you mean, he's missing? NORMAN He's missing. He's gone. He left. BARNES He's here somewhere. Find him. The sub's on it's way. (they look at him) Go! C'mon! Norman runs off. Barnes storms down the hall... BARNES How can he be missing? TED Sir, about leaving -- BARNES We're on the bottom of the fucking ocean -- he can't just walk outside! INT. VIDEO FEED ROOM Edmunds working the monitors, stops. Seeing something on a screen. Staring in horror... EDMUNDS (to herself) Oh my gosh... INT. COMMUNICATIONS ROOM Barnes, phone to his ear... BARNES Gimme a report, I want -- HARRY (O.S.) Ladies and Gentlemen... BARNES Who is that? Where's that coming from? HARRY (O.S.) Please watch your closest monitor... Barnes turns... ON HIS MONITOR -- Harry, in jumpsuit and helmet, stands in front of the SPHERE. Barnes quickly puts on his headset mic... BARNES What's he doing there? INT. VIDEO FEED ROOM Edmunds, Norman, Beth, Ted staring at the monitor... TED I thought he was with you, Norman. Through the speakers... BARNES (O.S.) Get him out of there. I thought I told you people -- EDMUNDS (into her mic) Harry? Can you copy? ON THE MONITOR -- Harry, before the SPHERE... HARRY Pay close attention. I think you will find this of interest. The sphere DOOR slowly opens. TED What the hell is he doing? Harry steps up and into the sphere. The door closes slowly behind him. CUT TO: PRINTER, TYPING: "... ETD -- 00:15 min" CUT TO: INT. COMMUNICATIONS ROOM Norman with Barnes... BARNES Don't tell me I told you so, Norman, because I don't want to hear it. (yelling past him) Ted, I want everything by the door -- ready to go! INT. VIDEO FEED ROOM ON MONITOR -- labled: "SUB DESCENT" -- it's still. EDMUNDS (into mic) Subs are still at surface, sir. INT. COMMUNICATIONS ROOM BARNES (into phone) Send them, damn it! I know, but I'm not gonna be held responsible -- Norman with him... NORMAN You can't just leave Harry down here, sir. BARNES I told you people, nobody goes anywhere unless I say. NORMAN But sir -- BARNES No "buts". If he wants to be left, we'll leave him. (into phone) Hello? Yes, the subs -- I want a report... Hello... Yes, a report. Gimme... shit. EDMUNDS (O.S.) I'm getting no sub reading, sir. BARNES They're coming. CUT TO: PRINTER, TYPING: "... ETD -- 00:13 min" CUT TO: INT. VIDEO FEED ROOM ON NORMAN -- staring at the monitor of the sphere, idle. BARNES (O.S.) Any sign of Harry? EDMUNDS Nothing, sir. INT. COMMUNICATIONS ROOM BARNES Fuck him. (into phone) What? Hello? INT. VIDEO FEED ROOM ON MONITOR -- labeled "SUB DESCENT"... EDMUNDS Sir, I am still getting absolutely no reading on sub movement... CUT TO: PRINTER, TYPING: "... ETD -- 00:11 min" CUT TO: INT. COMMUNICATIONS ROOM BARNES (into phone) Yes, a report... Hello? Beth, inside now... BETH I am not leaving without him. Do you hear me? We come down as a team, we leave as a team. BARNES What are you -- his mother? Get Norman, I want everyone ready to go. (into mic) Edmunds, the subs? EDMUNDS (O.S.) Nothing, sir. BARNES What the hell is going on here? INT. CORRIDOR Beth rushes by Ted, carrying bags to the door... BETH Norman? Where's Norman? TED By the bunks. INT. LIVING QUARTERS Beth running in... BETH Norman?... Norman? Can't see him anywhere. INTO THE BATHROOMS BETH Norman! INT. COMMUNICATIONS ROOM BARNES Edmunds, do you have a 20 on Norman? EDMUNDS (O.S.) Yes, sir. BARNES Well, where the fuck is he? EDMUNDS (O.S.) In the ship, sir. Barnes spins to see the monitor... BARNES What? ON MONITOR -- Norman, in jumpsuit and helmet, running through the ship. Barnes slipping on headset mic... BARNES Norman? Norman! INT. SPACECRAFT Norman running across a catwalk... BARNES (O.S.) You get your ass back here. You have no authority whatsoever to be in there. You hear me?... Norman? Don't go hero on me now. CUT TO: PRINTER, TYPING: "... ETD -- 00:05 min EVACUATION IMMINENT" INT. VIDEO FEED ROOM EDMUNDS Sir, if the subs haven't left by now... BARNES (O.S.) They've left, keep watching! EDMUNDS Sir! Sir, the door -- it's opening. ON THE MONITOR -- the sphere door, slowly opening. Revealing: BLACKNESS. BARNES (O.S.) Where is he? Damn it! Can you see him? A still moment and then Harry tumbles out the sphere, and falls to the ground. INT. COMMUNICATIONS ROOM Barnes, squinting at Harry on his monitor. BARNES (O.S.) How does he look? Can you tell? Harry lies motionless. EDMUNDS (O.S.) He looks... dead, sir. ON BETH -- in the hall, hearing that. INT. SPACECRAFT Norman, running, blindly, through a hall, around corners... BARNES (O.S.) Norman, get out of there now! Norman? INT. VIDEO FEED ROOM EDMUNDS If the subs aren't here yet, sir -- INT. COMMUNICATIONS ROOM Barnes, into his headset. BARNES They'll be here. Norman -- can you hear me?... INT. SPACECRAFT ON NORMAN -- running... BARNES (O.S.) You don't have time! Get the hell out of -- Barnes' voice goes static, and cuts out. INT. VIDEO FEED ROOM ON THE MONITOR -- flickering, losing power... EDMUNDS Sir, we're losing it. ON THE MONITOR -- flickering, fading, and all the lights and monitors SHUT DOWN. INT. SPACECRAFT ON HARRY -- lying still, face down under the sphere. Goes to him. Checks Harry's LIFE SUPPORT BADGE. Still blinking -- he's still alive. Norman, pauses, looks up, staring at... THE SPHERE Mesmerizing. He can see himself, reflected in the swirling mass, staring back at himself. The door begins to open, closes. Begins to open. INT. CORRIDOR Dark. Ted, Beth, and Barnes wander throughout. TED What the hell happened? The lights flicker back on. BARNES They switched us over. TED To what? BARNES Internal power. BETH What for? CUT TO: THE OCEAN FLOOR -- a cable falling from the surface, coiling around and around. CUT TO: ANGLE ON their dufflebags piled in the corner by the door. They've been left behind. INT. HABITAT HALLWAY -- LATER LOOKING DOWN A LONG CORRIDOR -- it's quiet. WE PEEK inside the cafeteria... BARNES (O.S.) The surface ships will be back. After the storm clears. BETH (O.S.) How long will that be? INT. CAFETERIA Barnes speaks to the team (minus Harry and Norman)... BARNES They told me about sixty hours. BETH Two and a half days? TED How long can we last down here? EDMUNDS Comfortably? Seventy-two hours. BETH Comfortably -- what's that mean -- with oxygen? CUT TO: INT. LIVING QUARTERS CLOSE ON HARRY'S FACE Harry lies on his bunk. He begins to slowly awake. WE BEGIN TO HEAR A SCRATCHING NOISE, like nails on a chalkboard. It gets LOUDER as Harry comes to. He puts his fingers to his temples. Norman stands beside, him writing in his notebook. HARRY What is that? That noise? NORMAN What noise? HARRY It's like... ANGLE ON Norman's pen -- as he stops writing, the NOISE stops. Harry sighs. Norman looks down at his pen. NORMAN Harry, can you tell me about the sphere? HARRY What are you still doing here? NORMAN You remember opening the door? HARRY You were all supposed to leave. You weren't supposed to stay down here. NORMAN Tell me about the door. Do you remember how you opened the door to the sphere?... Harry? HARRY You don't understand about the sphere. NORMAN Then explain it to me. Harry pauses, staring almost like a frightened little boy. HARRY Norman? NORMAN What is it, Harry? HARRY What happens on page 87? Have you ever read page 87? NORMAN Page 87 of what, Harry? HARRY I could never read that far. I never wanted to. NORMAN That far in what, Harry? Harry doesn't say anything. Norman waiting... HARRY You shouldn't be here, Norman. It's too dangerous for you and the others to be down here. INT. BATHROOM/SHOWER FACILITIES Beth comes out from behind a vinyl shower curtain. A towel wrapped around her. BARNES (O.S.) Beth -- I wanted to have a word with you... Barnes washes his hands at the sink, looking at her in the mirror in front of him. BARNES Back at the door -- I asked you to back away. BETH Yeah. I heard you. BARNES There are procedures, Beth, that I want followed. My procedures. And considering what's going on, I want you to follow them very closely. BETH (a beat) Forgive me. I've never read the Navy manual. I wonder what it says about bathroom and shower procedures. He walks to the door, then turns. BARNES And Beth, one other thing. I'd like from now on for you to address me as Captain or sir in front of the men. INT. HABITAT HALLWAY A LONG CORRIDOR -- LOOKING into the cafeteria... INT. CAFETERIA Harry is eating at a table, seems more relaxed. The team members around him, eating too. Beth, cold. Harry sprinkles salt on the dish of food in the middle. TED Hey, go easy on the salt, will ya? We're not a bunch of icy streets here. HARRY Salt's good for you, Ted. Helps you from getting impotent. TED Impotent? I'm not impotent. NORMAN (off food) These aren't half bad, Fletcher. You might have a second career coming. HARRY What are they? FLETCHER Squid... Harry stops mid-chew. Frightened. FLETCHER ... there was a whole flock of them out there earlier. It's strange. It's dead down here, and then all of a sudden -- Harry drops his fork. He begins COUGHING. HACKING. CHOKING loudly. GAGGING. He HACKS out the squid from his mouth... CUT TO: INT. HABITAT CORRIDOR A long, empty corridor. All is quiet. CUT TO: CLOSE ON A MONITOR -- a series of numbers: 00032125262632 032629 301321 04261037 18 3016 06180 82132 2903305 1822 04261013 0830162137 1604 4298756 08301632125262632 032629 301321 04261037 18 3016 06 82132 2903305 1822 04261013 0830162137 1604 4268756 08301632125262632 032629 301321 04261037 18 3016 06 82132 2903305 1822 04261013 0830162137 1604 0830164 NORMAN When did it come across? EDMUNDS Minutes ago. Harry's trying to decode it in his room now. NORMAN Where's it coming from? EDMUNDS No idea. We have no surface support. It transmitted too fast to be coming from underwater. NORMAN Is it coming from our own computer? EDMUNDS Harry thinks it's some sort of discharge from our own system, but I've seen it discharge before -- and it didn't look anything like this. EXT. HABITAT -- UNDERWATER SWARMS of pretty, pink JELLYFISH. Everywhere. FROM UNDER THE HABITAT -- Fletcher swims up to them with a net. It's beautiful. Eerie. Almost idyllic. INT. LIVING QUARTERS Harry, on his bunk with decoding papers in his hands, turns to Norman, entering the room. NORMAN Getting anywhere with those? HARRY There's some sort of pattern here. It'll take a minute. NORMAN Have you looked outside? Jellyfish. Everywhere. I hate jellyfish. (sits on the table) Harry, what happened in the cafeteria? HARRY Don't do this. Don't psychoanalyze me. I hate squid. Period. Just like you hate jellyfish. NORMAN You said something to me, before -- about how we were all going to die. HARRY Did I? NORMAN You don't remember that? HARRY I don't remember much. It's like my memory is on the tip of my tongue -- but I can't taste any of it. Funny, my senses are much keener though. Purer. Hearing, seeing, smelling. Like, I can smell your sheets, Norman. You tried to wash it out earlier, But I can still smell the urine. (beat) Don't worry, I'm not going to tell the others. It's normal, really, isn't it? In a crisis. The stress. The panic. INT. VIDEO FEED ROOM Beth, Ted, and Barnes watch... ON A MONITOR -- Fletcher outside, with the jellyfish. BARNES (into the mic) Fletcher? What are you doing out there? FLETCHER (O.S.) They're like pink snow, sir. Sticky. TED She says jellyfish are a delicacy. You know, I never knew that. BARNES Get out of there. I don't want anyone going anywhere outside, understood? FLETCHER (O.S.) They're warm. I can feel the heat on my legs. BARNES Fletcher, I want you back here. CUT TO: BACK IN -- LIVING QUARTERS Norman sitting on the table... NORMAN What happened to you inside that sphere, Harry? A long beat. Harry becomes concerned... HARRY Why? Does someone else want to go inside? CUT TO: INT. VIDEO FEED ROOM ON THE MONITOR -- Fletcher, the jellyfish clinging to her facemask, her suit... FLETCHER (O.S.) I can't see, they're smearing the faceplate. My arms... the fabric... Fletcher's suit tears... BARNES Fletcher, get away from there... FLETCHER (O.S.) It's burning... BARNES Get out of there! FLETCHER (O.S.) I can't see... BARNES Fletcher! Now! FLETCHER (O.S.) I can't... ON BETH -- bolting out of the room. Barnes turning to her... BARNES Nobody move. BETH But she's -- BARNES Nobody move! FLETCHER (O.S.) They're eating through... Somebody -- CUT TO: ON FLETCHER -- UNDERWATER -- jellyfish eating into her plastic faceplate... she's COUGHING, GASPING. INT. VIDEO FEED ROOM They watch... ON THE MONITOR -- Her body twisting, contorting. Her suit, ripping apart. SCREAMING. She convulses. Her body falling. HER HORRIFYING SCREAM FADING INTO... INT. DECONTAMINATION LAB CLOSE ON -- Fletcher's face. Cold, dead. Eyes open. Jellyfish rooted in her skin. CUT TO: INT. LABRATORY CLOSE ON A MICROSCOPIC IMAGE of a jellyfish. ON NORMAN -- in the corner of the lab, inspecting a MEDICAL KIT. NORMAN What is this, Beth? You taking valium? Beth, looking into the microscope. BETH Sedatives. Whatever my mood calls for. Norman picks up a book, next to the kit: 20,000 Leagues Under the Sea. NORMAN Where'd this come from? BETH The library. NORMAN We have a library? BETH A bad one. It was the only book in there. Norman, come here, look at this. NORMAN No, thank you. I hate jellyfish. Walking toward her... NORMAN ... when I was six, my younger brother and I -- we went swimming in the Pacific. At my mother's beach house. We both felt stinging, and when we came out of the water, he was wearing jellyfish head to toe. Killed him. BETH My gosh, Norman. NORMAN Yeah, it was awful. BETH What about you? What happened to you? NORMAN Me? Well, I was wrapped in seaweed. It itched for a while, but I survived. (beat) Beth, do you find it... curious that we're seeing all this life down here. Nothing, and then these enormous flocks of squid. Then jellyfish? BETH Normally, I'd say no. Everything's quiet now -- no ships, no divers, no electricity. Makes sense. But what's curious is -- these aren't normal jellyfish. NORMAN What do you mean -- not normal? BETH They have six tentacles. A new species. And the squid too. They had no stomach. NORMAN Wait a minute. BETH What? NORMAN You knew about the squid not being normal. Before Fletcher went out there? BETH Yeah, why? NORMAN And you didn't tell anyone? Beth, nervous... BETH What? Why... NORMAN Beth -- BETH I mean, I'm not... I wasn't absolutely sure if... they -- NORMAN They are or they aren't. Which is it? BETH What?... Wait. Don't... why are you -- NORMAN Beth. BETH Nobody said... Norman... What? Why are you looking at me like that? NORMAN Beth -- She backs away from Norman, knocking off a speciman jar, it SHATTERS on the floor. She starts breaking down. Norman watching her, falling to the ground, picking up the glass, hurriedly... BETH I didn't do anything wrong. I didn't mean... NORMAN Beth. She's crying, glass in her hands. She looks up at Norman, frightened, nervous... BETH You wouldn't go and tell the others, would you? Norman hesitates, goes to her, tries to hold her, but she pushes him away. BETH I hate this place, Norman. I want out. CUT TO: INT. HABITAT -- HALLWAY LOOKING DOWN -- at the room where Barnes was on the phone earlier. He stands there now, hand on the knob. CLOSES it shut. CUT TO: INT. ROOM Barnes sits, Norman in front of him, worked up... NORMAN I'm not paranoid. I know Beth. She can be drastic. BARNES How drastic? NORMAN You don't want to know. BARNES I think I do. NORMAN A while back, Beth and I -- we worked at the same university. She was assisting a chemist there -- I forget his name -- doing research, experiments. She was also living with him. (off Barnes' look) Yeah, I know. And when she finished her work, he kicked her out, broke off the relationship, and published five papers -- all her work -- without any thank you or acknowledgement. BARNES She should've known better. NORMAN She put a razor to her wrists a day later. BARNES (a beat) When was this? NORMAN '81, I think. She tried again five years ago. (beat) I thought you should know. BARNES So you knew this when you wrote your report? NORMAN At the time, I don't know, I thought putting her on the list -- it might help her career -- catch her a break. BARNES You knowingly recommended a woman with suicidal tendencies for a government operation -- NORMAN Wait a second -- BARNES -- and then brought her down here -- NORMAN -- I didn't know it would come to this -- BARNES -- without a cautionary word to anyone. (beat) You know, Ted said something to me earlier. I think he's right. He said, "When you got a guy who -- if he wasn't here -- he'd be standing in the unemployment line, you gotta question if you got the right guy." ON NORMAN -- sweating. CUT TO: ON THE MONITOR -- a series of numbers: 00032125262632 032629 301321 04261037 18 3016 06180 82132 2903305 1822 04261013 0830162137 1604 083106 21 1822 0330313130432 00032125262632 032629 301321 0 4261037 18 3016 0618082132 2903305 1822 04261013 08 30162137 1604 08301621 1822 0330313130432 000321252 62632 032629 301321 04261037 18 3016 0618082132 290 3305 1822 04261013 0830162137 1604 083016 21 1822 03 30313130432 00032125262632 032629 301321 04261037 1 8 3016 0618082132 2903305 1822 04261013 0830162137 HARRY It's the same as before, but the spacing's different now. It's definitely nonrandom. See... Harry sitting at the monitor, shows Ted, Barnes, Norman, and Edmunds a PRINTOUT of the screan -- indicating a pattern. HARRY It's a single sequence repeated over and over. BARNES We're all very proud of you, Harry, but what the hell is it? TED Maybe it's a message? EDMUNDS From what? TED The sphere. Maybe the sphere -- EDMUNDS We're not hooked up to the sphere. HARRY Well, if it's a discharge -- TED It's not a discharge. Right, Edmunds? You said before, right? So it's gotta be a message. BARNES From the sphere? TED What's inside the sphere. HARRY If it is a message, it's probably a substitution code. I'll work on it. TED Yeah, I'll work on it, too. BARNES (to Ted, flat) You do that. INT. BATHROOM/SHOWER AREA Ted, nervous, anxious -- with five or six printouts in his hand -- has Norman's ear in front of the sink... TED He's manic, Norman. You know that? This reliance on Harry is misplaced. You hear me? Totally misplaced. He's overlooking things. Obvious things. NORMAN Like what? Ted hands him a printout... TED It's not some fucking substitution code, it's a direct visual representation. NORMAN You mean a picture? TED Take a look. I rearranged the numbers. Put 'em up to the light. (Norman does) Go ahead. Squint at it. NORMAN I don't see anything. TED Squint harder. NORMAN Please, Ted. TED (hands him another printout) Try this one. NORMAN This is like nursery school. TED Don't you see it? It's a picture of the creature. NORMAN The creature? TED Inside the sphere. Look, that's the vertical torso, three legs, two arms. There's no head, so I'm guessing the creature's head is located within the torso itself, you know? ON NORMAN -- Ted's lost it. NORMAN Well, how about we wait and see what Harry comes up with? TED Sure, why not. Give him the trophy. That pretentious son of a bitch. You heard him, Norman. All that "someone went to a lot of trouble, try again" bullshit. And "impotent". Where does he get off saying I'm impotent? He's a fucking self-righteous, little prick. CUT TO: CLOSE ON MONITOR -- spirals now. HARRY ... I asked myself, why would the sphere be using a code? If you're trying to communicate, why use a code? TED (to Norman) See? No code. What'd I say? HARRY Codes are for hiding information. So it's making a mistake. It's making a code without intending to. I figured it's probably substituting numbers for letters... Then I began to wonder what an alien intelligence would make of our keyboard. And since we're getting spirals, I imagined the keyboard as a spiral. So I translated it... NORMAN That's brilliant. Ted grimaces at Norman. HARRY ... spiralling out of the center, you see: "G" is one, "B" is two, "H" is three, and so on... when I got the message. BARNES What's the message? HARRY I have to tell you. It's strange. BARNES How do you mean, strange? Harry picks up his yellow pad of paper and reads: HARRY "Hello. How are you? I am fine. What is your name? My name is Jerry." CUT TO: INT. HALLWAY Barnes walks briskly down the hall, Norman with him... BARNES He translated it wrong. "My name is Jerry"? It's like "See Spot run." NORMAN The message doesn't show a lack of intelligence. It's smart. It's approaching us in a simple way. Like you would a dog. Holding out your hand, letting it sniff, get used to you. BARNES What am I -- a dog, now? Barnes ducks his head into the Video Feed room... BARNES Edmunds, get in here. I need you for this. EDMUNDS In a minute, sir. BACK IN COMMUNICATIONS ROOM - Barnes storming through the room, the others (minus Edmunds) around the monitor. BARNES I want a name. A real name. This thing's full name, rank and serial number. TED Captain, I personally feel we should ask much more substantive questions -- BARNES I am not gonna explain in some damn report that one person died in a deepsat expedition so we could meet an alien named Jerry. HARRY (on the keyboard, typing) First, we have to see if he'll talk at all. ON THE MONITOR -- "0032125252632" The monitor BLINKS, reply: "0032125252632" HARRY Okay, Jerry's talking. Harry types -- "0002921 301321 0613182108142232" TED What'd you say? HARRY "We are friends". BARNES Cut the friends crap, get a name. "004212232" HARRY "Yes". Good. Now let's see if it'll switch over to English letters. "0032125252632 = Hello" Reply: "0032125252632 = Hello" BARNES It's not talking, it's mimicking. TED Give him a chance. He's speaking our language, not the other way around. HARRY (typing) Good idea, Ted. TED (confused) Thank you. "0032125252632 = Hello. Hello = 0032125252632" No reply. BARNES What's he doing? Reply: "Hello = 0032125252632. 0032125252632 = Hello." BARNES Ignorant. The thing's ignorant. HARRY It's not ignorant. TED Maybe it's pretending to be ignorant. Harry types "===" Reply: ",,," Harry types "=,=" Reply: "7 & 7" BARNES Are you enjoying yourself, Harry, because I don't know what the hell you're doing. HARRY He understands me fine. Harry types: "Yes" Reply: "0004212232" Harry types: "Hello" A long beat. Reply: "I am delighted to make your acquaintance. The pleasure is entirely mine I assure you." They stare, stunned, at the screen. NORMAN Well, he's polite. TED Unless it's an act. BETH Why should it be an act? "Are you the entity HECHO in Mexico?" BARNES Mexico? Where'd he get Mexico? "Are you the entity made in the U.S.A.?" TED He doesn't wait for an answer. BETH Who says it's a he? BARNES Not now, Beth. Please. I want to know who we're talking to before we start talking. Where's Edmunds? HARRY She's not gonna know, sir. TED (to Harry) Ask him. C'mon. Say something. Harry types: "We are. Who are you?" Reply: "We are" BARNES Hell's that mean? "We are" what? Harry types: "We are the entities from the U.S.A. Who are you?" "Entities = entity?" TED We have to teach him plurals? Harry: "No" "You are a many entity?" "No. We are many separate entities." "I understand. Is there one control entity?" BARNES What? HARRY He's saying, "Take me to your leader." He wants to know who's in charge. BARNES I'm in charge. "Yes. The control entity is Captain Harald Barnes" BARNES With an "o". Harold with an "o". HARRY What -- you want me to retype it? Harry: "Who are you?" "I am one" "Where are you from?" "I am here" "Where is the location from where you began?" TED "From where you began?" That's not even good English. "I am from AWARENESS" BARNES What is that, a planet? "Where is AWARENESS?" "AWARENESS is" "Did you make a journey?" "Yes. Did you make a journey?" "Yes" "I make a journey. You make a journey. We make a journey together. I am Happy." BARNES Great, okay. Ask him about his weapons. NORMAN That's smart. Let's talk about guns and violence. BARNES You don't think weapons are important? NORMAN I think we should be careful. Consider his emotional response. TED You want to put him on your couch, Norman. Grill him about his childhood? NORMAN When he uses a phrase like "I am Happy", I think we should think twice about what we ask him. "Do Not Be Afraid" The all stare at the screen, stunned. NORMAN Jerry, can you understand what we're saying? "Every word" Norman walks up to the screen, close to it. NORMAN Jerry, can you read our minds? "Yes Norman" Barnes goes to the intercom... BARNES Edmunds, I want you in here. Now. Norman focuses on the screen, staring. ON THE SCREEN -- blank. Norman concentrating, on the screen. THE SCREEN -- blank. NORMAN Jerry, are you there? "Yes, Norman" BARNES We shouldn't talk here. Shut it off. "I do not wish to Intrude" NORMAN We would like to talk alone. "I do not agree. That is not possible. I enjoy to talk with you." NORMAN And we enjoy talking with you. "Let us talk now" NORMAN We'd like to talk with you more. We admire your talents and your great power and understanding. "Thank you" NORMAN And in your great understanding, you know that we are entities who must talk in private -- with each other. "Do Not Be Afraid" NORMAN We're not afraid, we are uncomfortable. "Am I offended you?" NORMAN Not at all, we enjoy you very much, but we need to talk alone, without you listening. "I shall oblige" NORMAN Thank you. "But I am Not Happy" NORMAN Jerry?... "We'll be Right Back after a short break for these Messages from our Sponsor" NORMAN Jerry? Are you still there? SCREEN -- blank. NORMAN Jerry? SCREEN -- blank. BARNES (into intercom) Edmunds? Get in here. I want to know exactly how this is being transmitted. HARRY She's not gonna know. BARNES She wired this system. HARRY If the technology of that sphere is advanced enough -- the way it functions is gonna appear to us like magic. ON TED AND NORMAN - TED Don't gimme that psychology bullshit, Norman. Psychology isn't a science, it's superstition. It's a bunch of soft, subjective theories without any hard data to back it up. With an intellect like this, emotions don't mean shit. ON HARRY AND BARNES - HARRY It's like showing Leonardo da Vinci a laptop computer. He'd run screaming "witchcraft". And you couldn't explain it to him, either. Modems, microchips, particle physics. BARNES (into intercom) Edmunds? ON TED AND NORMAN - TED Don't make stuff up, these emotional theories, just so you can feel important here. NORMAN Frankly, Ted, I'd be much happier if Jerry was just a cold, emotionless intellect. TED Why's that? BARNES (into intercom) Edmunds? NORMAN Because if Jerry is powerful and also emotional... BARNES Damn it, Edmunds? NORMAN ... it raises a very serious question: What happens if Jerry gets mad? INT. VIDEO FEED ROOM BARNES (O.S.) Edmunds? Can you copy? An empty chair. Edmunds is not here. WE HEAR a repeating THUMP. THUMP. THUMP. BARNES (O.S.) Edmunds? ON A MONITOR -- WE SEE her body, wedged in a light stand bracket, floating in the water, lifeless. Her helmet THUMPING against the wall of the habitat. INT. UNDERWATER -- OUTSIDE THE HABITAT Norman and Beth, in jumpsuits and helmets, walk out from under the habitat. Still HEARING the THUMPING. They pause, looking around. BETH Coast is clear. They go to the south end of the habitat. The THUMPING louder. Norman climbs up the grid-like STANCHION, the support beam holding up the habitat. The BODY above him -- flapping in the current. THUMPING against the wall. He climbs, reaching the body. A BOOT swings, catches the LOOP in his air hose. BUBBLES shoot out. BETH Norman, your suit -- it's leaking. The BOOT comes off in Norman's hand -- and the NAKED FOOT, gray flesh, purple toenails, KICKS his faceplate. Startles him. BETH Norman. Look at this. ON EDMUNDS' SUIT -- a long TEAR in the fabric, revealing red, mangled FLESH. Droplets of BLOOD float past Norman's faceplate. BETH Her flesh has been macerated. Chewed. I've never seen a bite like this before. Norman pulls her body out. Edmunds' FACEPLATE whips around -- and Norman SEES her staring eyes, mouth open in horror. NORMAN I can't feel her bones. She's like a sponge. BETH She was crushed. Feel her skin -- it's like sandpaper. NORMAN What could have done this? WE HEAR A SENSOR: PONG. PONG. PONG. INT. VIDEO FEED ROOM Barnes at the monitors, Ted with him. PONG. PONG. PONG. TED What is that? BARNES The sensors are picking up something outside. TED What? Barnes flips a switch... BARNES It won't register. It's too big to image. TED Too big? EXT. UNDERWATER WHITE EGGS, the size of golf balls descend from above. Hundreds of them. Beth catches one, inspects it... BETH Norman. NORMAN What are they? BETH Eggs. From inside their helmets... BARNES (O.S.) You people need to hurry back. The sensors have activated. I don't think you're alone out there. INT. CORRIDOR Ted walks with Norman and Beth... NORMAN What was it? TED Barnes didn't know. Couldn't get a reading. NORMAN Has Harry spoken with Jerry? TED Not that I know of. Why? INT. COMMUNICATIONS ROOM Norman and Ted at the console... NORMAN Jerry? No reply. NORMAN Jerry, are you there? No reply. TED You think Jerry has something to do with what killed Edmunds? With what's out there? NORMAN I'm not sure. INT. LABRATORY CLOSE ON AN EGG Beth, scalpel in hand, is making an incision into the shell. BETH Looking at the coating here, it's definitely marine invertebrate. Barnes, Norman, Harry and Ted stand around the table. BARNES Well, until we know exactly what it is, nobody goes outside, understood? TED What was Edmunds doing outside? BARNES Resetting the sub. TED What sub? BARNES In the dome hanger. All our tapes are transferred to the sub. It's on a 12 hour timer. If someone doesn't reset the "delay" button, the sub ascends to the surface with the tapes. NORMAN What for? BARNES If something should happen to us, the Navy will at least have partial records of what happened. NORMAN At least our obituaries will be accurate. That's reassuring. ON THE EGG -- splitting open. A slimy pinkish-brown FLUID oozes out. A FETUS underneath. They cover their mouths from the smell. BARNES What is it? Beth picks at it with forceps... BETH I'm not sure. I've never seen anything like it. BARNES You're a fucking biochemist, aren't you? Can't you tell us something. Beth glares at Barnes... INT. CLOSET AREA -- DARK Beth, holding a piece of paper in her hand, pulls Norman inside, pressing on him... BETH ... He lied to us. He left us down here. NORMAN C'mon, Beth. Don't make this personal. He told me himself they were taking us back. BETH Yeah, he told you. Think. What was Barnes doing before they cut that cable loose? He was on the phone. Except that cable is a thousand feet long, Norman. They would've broken off communication with us four, five minutes before they cleared out. NORMAN So what? BETH So who was Barnes talking to at the last minute? Nobody. NORMAN You're jumping to conclusions, Beth. Don't get worked up -- BETH Fuck you, Norman! It's right here... She shows him the printout in her hand, putting a flashlight on the words, reads... BETH "Although advised of risks, all personnel elect to remain down for duration of storm to continue investigation of alien sphere and associated spacecraft. Signed, Barnes, USN." NORMAN Where did you get this? BETH In Edmunds' things. NORMAN You went through Edmunds' things? BETH He's not just a Navy captain -- he works for the fucking Pentagon. NORMAN Calm down, Beth. Alright? BETH Don't tell me to calm down! NORMAN It's done, alright? It's over! And there's not a damn thing we can do about it now, okay? He turns to leave... BETH You said something to him, didn't you? NORMAN What? BETH You told him about me? ON NORMAN -- pausing, staring at her... NORMAN Beth -- BETH You did, didn't you? NORMAN Don't do this. BETH You bastard. NORMAN Beth, I didn't. Hold it together. Alright? She looks at him, piercing into his eyes... BETH Yeah, okay. Sure, Norman. NORMAN Beth -- BETH No, I should stay calm. Like you say. Right, Norman? Stay calm. Norman looks at her, concerned, knowing she doesn't believe him... BETH Fletcher and Edmunds are dead, Norman. And the only one we can trust to run this place is a fucking liar. CUT TO: INT. CONTROL ROOM ON THE OXYGEN REGULATOR -- bobbing up and down -- keeping track of the little that's left. CUT TO: INT. VIDEO FEED ROOM Barnes, Norman, Beth, and Ted are gathered around the monitors. Barnes addresses Norman... BARNES I don't want you talking to Jerry. NORMAN But sir, I think it's imperative. I think the messages, the animals we've seen, what killed Edmunds, the reading you got earlier -- I think they're all related. TED Jerry isn't hostile, Norman. He said earlier -- we were his friends -- NORMAN Of course he did. He's been isloated for 400 years. He wants someone to talk to. Look, you put a human being in isolation for four days, they can become neurotic, sometimes psychotic. We're talking about 400 years here. An alien that shows emotional responses. I think we need to address him, before he reacts further. BARNES You think he killed Edmunds? NORMAN Yes, I do. Whatever's out there, I think is his response to us refusing to talk to him earlier. BARNES Bullshit. What's out there isn't alien. It's an animal. NORMAN Maybe so. But I think we need to ask Jerry about it. BARNES No. I think we should shut down the communication lines inside the habitat. He might be listening now. BETH I think he already is. They turn to the monitors: ON THE MONITOR: "DO NOT IGNORE ME" BETH Nice work, Captain sir. BARNES Shut up, Beth. I don't want to hear it. NORMAN Jerry, we don't want to ignore you. "Don't underestimate my power" NORMAN We don't. "Yes you do" NORMAN Jerry -- THE MONITOR blinks back -- WE SEE the sphere. It is closed. Still. WE HEAR the SENSOR: PONG. PONG. PONG. CUT TO: INT. LABRATORY Harry, alone, stares at THE FETUS on the table. CUT TO: INT. VIDEO FEED ROOM ON THE SONAR IMPULSE MONITOR -- lines jumping higher. PONG. PONG. PONG. Barnes, Norman, Beth, and Ted watching it. NORMAN Jerry? No response. NORMAN Jerry? The MONITOR flashes: "I'm Not Listening" -- blinks back. AN OUTSIDE CAMERA FEED -- infra-red -- a large IMAGE streaks by. BARNES Direction's east coming! BETH What was that? Barnes flips a switch... BARNES Going active. NORMAN Jerry? No response. BETH It looked like a tentacle. Of a squid. THE MONITORS -- BEEPING now. BARNES A squid? The size of a whale? I don't think so. (beat) Target acquired. Sixty yards. PONG. PONG. PONG. BETH What if it attacks? BARNES Fifty yards and closing. BETH What do we use for defense? BARNES We're a habitat. Not a castle. The only defense we have is High Voltage. BETH High Voltage? BARNES It sends 200 volts throughout the cylinder surface. But we've never used it underwater before. PONG. PONG. PONG. BARNES Forty yards. BETH But you've tested it? BARNES Sure. Each time it started fires inside the habitat. PONG. PONG. PONG. BARNES Thirty yards. BETH What are you saying -- we can't stop what's out there? THE MONITORS blink: "I AM COMING". The monitor blinks to BLANK. BARNES What the hell? (bangs on the monitors) It shut us down. NORMAN Jerry? Please. Stop this. BARNES Ted, go into the control room. Listen for my instructions. Ted goes out the door. ALL THE MONITORS -- blank. BETH Where is it? BARNES Why can't I -- ? What the hell is going on here? They HEAR a metallic CLANKING. BETH What was that? BARNES He's right beneath us. THE MONITORS blink: "I AM HERE". CUT TO: INT. LABRATORY Harry looking at the FETUS on the table. It suddenly SLIDES down the table. The room is rocked. ON SHELVES -- Jars, petry dishes, test tubes SLIDE off shattering to the floor. INT. CORRIDOR BANG! TED is thrown ruthlessly against the wall. His HEAD striking metal, splitting open his forehead. THE WALLS -- CRACKING and GROANING. WATER breaks through a crack, spreading out onto the floor. INT. VIDEO FEED ROOM Barnes... BARNES Ted? Ted? INT. CONTROL ROOM Ted, stumbles, reaches for the headset... TED Sir, we're leaking! Blood dripping from his forehead. INT. VIDEO FEED ROOM BARNES Increase positive pressure! BETH That's our reserve air. BARNES It's either that or we grow gills. BANG! They grip onto the console... INT. CONTROL ROOM Ted, drousy, BLOOD gushing from his head, keeping balance, searches for the PRESSURE GAGE. BARNES (O.S.) Ted? Ted, are you with me? Finds the GAGE. Turns it. TED Increasing positive pressure. EXT. HABITAT -- UNDERWATER AIR BUBBLES burst out of the walls. INT. CORRIDOR ON THE FLOOR -- the WATER scurrying back through the leaks in the wall. INT. VIDEO FEED ROOM Barnes, watching the monitors. BARNES That's enough Ted. (beat) Shut it off! INT. CONTROL RROM THE PRESSURE GAGE -- the needle RISING... ON THE HEADSET -- in the air, dangling from it's cord. BARNES (O.S.) Ted? Ted! ON TED -- passed out on the floor. Blood covering his face. INT. VIDEO FEED ROOM Beth and Norman BOLT out the door INTO THE HALLWAY Running. BANG! They're thrown against the wall. INT. CONTROL ROOM THE PRESSURE GAUGE -- rising, higher, higher. INT. CORRIDOR THUMP! Norman and Beth, losing their balance, stumbling to their feet, running... ON TED -- SLIDING out of the Control Room, down the corridor, taken by the water. Beth grabs him, as Norman stumbles INTO THE CONTROL ROOM finds the PRESSURE GAGE, shuts it off. INT. VIDEO FEED ROOM BANG! Barnes grips his headset as he's thrown to the floor. BARNES Norman! Norman can you hear me? INT. CONTROL ROOM Norman grabs the headset, slips it on... NORMAN Yes, sir. I'm here. BARNES (O.S.) You see the lever on the green box? Upper right hand corner? Norman sees it, reads it: NORMAN High Voltage Defense System. ON BETH -- in the hall, tending to Ted, looks up at Norman. INT. VIDEO FEED ROOM BARNES You see the lever next to it? INT. CONTROL ROOM/CORRIDOR Beth yelling... BETH Don't do it, Norman! BARNES (O.S.) Do you see it? ON NORMAN -- turning from Beth, to the lever. NORMAN I see it. BARNES (O.S.) Pull it. BETH Don't pull it, Norman. It'll start a fire we can't stop. Norman? BARNES (O.S.) Do it, Norman, it's the only choice we have. This thing is gonna crush us. BETH Norman, don't do it! BANG! The WALLS CREAKING and SCREECHING. INT. VIDEO FEED ROOM Barnes on the floor, a MONITOR crashes alongside him, SPITTING SPARKS, flashing: "I WILL KILL YOU" BARNES Do it now! INT. CONTROL ROOM/CORRIDOR Norman, sweating... BETH Don't do it! BARNES Now! BANG! CREAKING, GROANING of metal. BETH Norman, please! Don't! BANG! BARNES (O.S.) Pull it, damn it! ON NORMAN -- puts his hand on the lever. BETH Norman! He PULLS the lever. INT. HABITAT DOWN THE CORRIDORS -- a loud HUM from the generators. The lights DIMMING. BANG! WE HEAR what seems to be a SQUEAL, as the metal RENDS and CREAKS. INT. VIDEO FEED ROOM An ALARM SOUNDS. Barnes looks up... THE WARNING BOARD lights up. BARNES Fire in Communications Room! INT. COMMUNICATIONS ROOM FIRE ROARS out from the walls... INT. CORRIDOR CLOSE ON FIRE EXTINGUISHER CASE -- Beth whips it open, grabs it. ON NORMAN -- picking up Ted, lugging him awkwardly over his shoulder. ON BARNES -- running down the corridor towards them. BANG! Barnes falls to the floor, taken away by the water. CUT TO: ANOTHER CASE ON THE WALL -- whips open -- Beth grabs GAS MASKS. She hears... BARNES (O.S.) Help! She looks DOWN THE CORRIDOR at... BARNES -- on the floor, flailing in the water, SCREAMING, as his legs are caught in a CRACK in the wall. Desperate... BARNES Beth! Help, I can't -- ! ON BETH -- staring at him. Just watching him. Not moving. BARNES Beth! BARNES -- his body falling through the crack, his HEAD BANGS into the wall, stuck in the crack, water choking him... BARNES Be-- ... trying to SCREAM, his NECK RIPPING, SNAPS, and his body vanishes into the ocean. ON BETH -- cold, turns away. INT. COMMUNICATIONS ROOM FIRE blasts out from the wall... BETH and NORMAN (still with Ted) wearing GAS MASKS, RUSH into the room... BETH Stay low! Beth sprays WHITE FOAM on the fierce FLAMES, licking up the side padding, smoke boils to the cieling. BANG! The room is rocked. NORMAN It won't stop. Norman falls to the floor, losing Ted. TED -- SLIDES away and UNDER the computer CONSOLE. BANG! The computer CONSOLE breaks -- COMPUTERS, MONITORS, fall, CRUSHING on Ted's legs. He SCREAMS out in agony. NORMAN scrambles towards him through the smoke when... THE CONSOLE catches fire, erupts in flame. Ted underneath it. BETH -- her extinguisher out of foam. NORMAN -- runs to a wall, finds an EXTINGUISHER CASING, it's been bent, can't get it open. TED -- reaches out in desperation as his LEGS catch fire. TED Norman! NORMAN -- BASHES the casing in with his shoulder, grabs the extinguisher, turns... TED -- his entire body on fire. BANG! Norman falls, dropping the extinguisher -- it rolls across the floor. He reaches out -- can't get it. CLOSE ON TED -- his face burning... TED Norman! Nor-- BANG! The lights go out. DARKNESS NORMAN -- watches in horror as he watches TED, lit in flame, burning to death. NORMAN -- reaches for the wall for balance, grabs METAL, and he's ELECTRICUTED. Falls backward, head first, and EVERYTHING GOES... BLACK A long beat. NAVY SEAMAN (O.S.) Dr. Johnson? Dr. Johnson? INT. COMMUNICATIONS ROOM WE FOCUS in on Norman, as he awakens. NAVY SEAMAN, 40s, African- American, standing above him. NAVY SEAMAN Norman Johnson. NORMAN Does this mean what I think it means? NAVY SEAMAN It's over, sir, The storm has cleared. NORMAN The ships? NAVY SEAMAN (O.S.) They're topside. We're ready to take you home, sir. The Navy Seaman helps Norman to his feet. Norman is smiling, it's over. INT. HALLWAY Norman and the Navy Seaman walk down the hall. NORMAN How are the others? NAVY SEAMAN The others, sir? NORMAN Beth and Harry? NAVY SEAMAN They're in the sub, sir. Waiting. Norman sighs, smiling. The relief, the jubilation. NORMAN That whole time -- I couldn't stop thinking of what Harry was saying earlier... NAVY SEAMAN What was that, sir? NORMAN About the time paradox. (the Seaman nodding) How we were all going to die -- that there was no way we would make it out of here alive -- As Norman looks up, the Navy Seaman, still walking and nodding, begins to slowly DISAPPEAR. Disintigrating. VANISHING before his eyes. Norman stops, looks around him. He's gone. INT. VIDEO FEED ROOM Norman watches on a monitor -- the VIDEO of him walking down the hall, the Navy Seaman walking next to him. NORMAN (O.S.) ... how we were all going to die -- that there was no way we would make it out of here alive -- ON THE MONITOR -- the Seaman disappers. Norman stops tape. Looks over at the MONITOR showing the SPHERE. It is closed. THE SCREEN goes BLACK. Flashes up: "Hello Norman" NORMAN Jerry? "Yes Norman" NORMAN Jerry, did you create that man? "The entity Navy Seaman was a Manifestation. Did you have a Happy talk?" NORMAN Jerry, are you manifesting what's destroying our habitat? "Did you have a Happy talk?" NORMAN Jerry, answer me. "No." NORMAN Jerry? A beat. "Stop calling me Jerry" The MONITOR shuts off. Norman looks over at ANOTHER MONITOR labled "AIRLOCK FEED". ON THE SCREEN -- Beth is putting on her jumpsuit. INT. AIRLOCK REFLECTED IN THE POOL OF WATER -- WE SEE Beth, slipping on her boots. NORMAN (O.S.) Where are you going in such a hurry? BETH I have to reset the sub. Norman stands in the doorway... NORMAN Forget the sub. BETH Don't bother me, Norman. NORMAN It's not worth the risk. BETH It's also our only way out of here! It holds three people. And there's only three of us left now. NORMAN You, me and Harry? BETH You, me and Harry. He's asleep. NORMAN Wake him, then. Let's go. Get outta -- BETH We can't. The storm. The waves would toss us around worse than we got down here. And we have four days of decompression when we get up top. NORMAN Four days? BETH Get the helium out of our bloodstream. We go to the surface now, we'd pop like a soda bottle. She begins to put on her helmet, when she stops. BETH Maybe you should go. To the sub. NORMAN Why should I go? BETH You should know how it works. Just in case. NORMAN In case you die, too? BETH I don't trust Harry to do it. NORMAN I would. But my suit -- BETH I fixed your suit. She goes to it. Brings it to him. NORMAN (watching her closely) You fixed my suit? BETH You don't trust me? NORMAN But I don't know how -- BETH You press a button, Norman. It's not brain surgery. Here, go ahead. You only have 15 minutes to reset it. Go on, Norman... She hands him a BRIEFCASE, the tapes inside. BETH ... I'll watch the sensors for you. EXT. UNDERWATER Norman drops to the bottom with the BRIEFCASE. Lands on the ground. BREATHING. Checks his LIFE SUPPORT BADGE. She must've fixed it. BETH You're clear, Norman. He walks along, out from under the habitat. Carefully, looking around. BETH (O.S.) The sub's a 100 feet in front of you. You see it? NORMAN I can't see anything. How does it look? Still clear? BETH (O.S.) Still clear. Norman, hesitantly, ventures out. The DARK WATER. Looking around. Anything could be out here. Walking. WE HEAR him BREATHING. His BREATHING gets shorter. He looks at his LIFE SUPPORT BADGE. BETH (O.S.) What's the matter? NORMAN You fixed this suit? (no reply) Beth? BETH (O.S.) Yes, Norman. I did. You're just nervous. NORMAN My air isn't... I'm coming back. BETH (O.S.) You can't. Counter's at 10 minutes. You don't have time. His BREATHING is short, but managable. He continues on. AHEAD OF HIM -- the DOME HANGER attached to a large, gray cylinder, forty feet high. NORMAN Still clear? BETH (O.S.) Still clear. UNDERNEATH THE DOME HANGER -- Norman climbs up to the hatch DOOR. Looks below him. Nothing around him. He SPINS the wheel, and pushes the HATCH OPEN. Lifts himself up, awkwardly. Grabs HANDHOLDS, and PULLS himself up into the POCKET OF AIR trapped inside the dome. THE SUB -- in front of him. He finds the hatch, opens it, climbs inside the sub. INT. SUB Norman sits in the small seat. NORMAN I'm in. (beat) Hello? No answer. He bangs at his helmet... NORMAN Beth? He searches the sub's CONTROL PANEL. Gadgets, switches, buttons. Up top -- a flashing red-lit BUTTON: "TIMER HOLD". Punches it. It stops flashing, and a small screen glows: "TIMER RESET -- COUNT: 12:00:00". It begins counting backwards. NORMAN Beth? Hello? No answer. He looks at the Control Panel: A VIDEO SCREEN with the choices: "DESCEND, ASCEND, SECURE, SHUTDOWN... " THUMP! The sub slightly SWAYS. Norman sits still, nervous. THUMP! Harder this time. Norman looks through the GLASS WINDSHIELD. Sweating. Can't see anything in here. BANG! It SWAYS faster, harder, back and forth. He grips the seat. NORMAN Beth! Beth! There's something -- ! THUMP! BANG! He's thrown around in the sub. He can't see anything, tosses around. He reaches for the doorhandle. BANG! He looses grip, his legs fly up in the air. The Sub almost turns over on it's side. NORMAN Beth! Shit! His HELMET BANGS into the glass, WE SEE his look of terror. Water SPLASHING up from below. Then, EVERYTHING stops. The sub SWAYS to a still. He sits quietly. Waiting. Listening. Reaches for the doorhandle, cautiously climbs out. Stands on top of the sub. Keeping balance. He looks around, finds a DOOR inside the dome. Tries to open it. Locked. Looks around. Nothing else. Looks down at the water. Can he risk it? His BREATHING short. NORMAN Beth? Can you hear me? No reply. He dips his leg slowly, quietly into the water. Grimacing. Then, cautiously slips down into the water... EXT. UNDERWATER CLOSE ON HIS FACE -- terrified. Looking everywhere. Searching. Doesn't see anything. Lands on the bottom. His LIFE SUPPORT BADGE beeping. Shortness of BREATH. He walks, trying to run, out from under the dome hanger. The DARK WATER. Can't see anything. Scared to death. NORMAN Beth? Beth? Shit. THE HABITAT -- ahead of him. Norman goes to a STANCHION. Grips onto it. Twists around. Looking. Searching. Doesn't see anything. LIFE SUPPORT BADGE bleeping faster. Barely BREATHING. HARRY (O.S.) ... you there? Norman? NORMAN Harry? HARRY (O.S.) Norman, where are you? NORMAN I can't breathe... Am I... clear? HARRY (O.S.) You're clear. You see the airlock? Norman, twists around, and as he does... A SEA SNAKE HISSES at his faceplate. Norman SCREAMS. ON HIS HAND -- holding the snake, not the girder, lets go. HARRY (O.S.) Norman! Norman falls... looking up: The SNAKE wrapped around the STANCHION, slithering between the grid-like posts. THE SNAKE'S HEAD comes at Norman, as he falls to the ocean bottom. Backpeddaling on his arms and feet. THE SNAKE, HISSING, coming at him. It's long TONGUE flicking at him, inches from his faceplate. Norman backpeddaling, can't BREATHE, the SNAKE coming down on him, Norman falls on his back, the TONGUE WHIPPING across his faceplate, when... NORMAN is whisked up. HARRY has him by the collar of his suit. Taking him up. INT. AIRLOCK They burst out of the water. Harry throws Norman onto the floor. Unhooks his helmet -- Norman BREATHES, fast and furious. INT. CORRIDOR Norman, panting, walks with Harry... NORMAN Thank you. My suit -- Beth said she fixed it -- HARRY What happened to her? NORMAN What do you mean? She's not here? HARRY When I woke up, nobody was here. NORMAN She was supposed to be watching the sensor for me. HARRY Her suit's gone. NORMAN Beth left? HARRY I thought she was with you. INT. VIDEO FEED ROOM Norman and Harry at the mic... BETH (O.S.) ... what do you mean? I'm in the ship. NORMAN What are you doing in the ship? (beat) Beth? BETH (O.S.) Getting food. We were out of food. what's wrong? You sound mad. NORMAN Yeah, well, I get that way when I'm facing death and someone deserts me. BETH (O.S.) Deserts you? Harry said he'd take over for me. NORMAN He what? Harry shakes his head: "no way". BETH (O.S.) When he woke up, he said we were out of food. He told me to get some from the ship. HARRY I never said that. BETH (O.S.) Yes you did. Norman, I wouldn't leave you out there. You know that. HARRY We never even had a conversation, Norman. BETH (O.S.) Harry? That's bullshit. We stood right there -- Harry covers the mic... HARRY She's cracking, Norman. NORMAN You didn't say that about the food? HARRY I was just in the cafeteria, there's plenty of food in there. Take a look for yourself. NORMAN But why would she -- ? HARRY She's lying, Norman. Just like she lied about fixing your suit. Harry uncovers the mic... BETH (O.S.) You get it straightened out? NORMAN I think so, Beth. Yes. INT. CAFETERIA Norman, sitting at a table, eating a couple pieces of cold chicken. A salad, some fruit, and boxes of crackers on the table. Beth walks in, carrying a bag of food. BETH What's Harry doing with your suit in there? NORMAN Fixing it. BETH Fixing it? But I fixed -- (notices the food) Where'd you get all that? NORMAN The refridgerator. BETH The refridgerator. NORMAN It's a pretty common place to look for food when you don't think you have any. BETH That wasn't in there before. NORMAN We must've had it delivered then. BETH Wait a second -- NORMAN 1-800-Deepsea delivery. I hear they're good. BETH None of this was here before. NORMAN Did you look? It was on the top shelf. BETH No, it wasn't. I swear none of this was here. None of it. (beat) You think he hid it? Earlier. He must've hid it. NORMAN You think? BETH You don't believe me. NORMAN All I know is I opened that refridgerator -- BETH Damn it, Norman. I swear. I had a whole conversation with the man when he woke up. NORMAN This being after you so carefully fixed my suit. BETH You think it's me? You think I'm saying there was a conversation when there wasn't? NORMAN I don't know, Beth. I wasn't there. BETH Damn it, Norman! He's lying. Don't you get it? There is something seriously fucked up going on here -- and he's causing it. Why can't you believe me? TO HER LEFT -- she looks -- HARRY is standing in a doorway, cold, holding Norman's jumpsuit. He turns away. ON BETH -- looking back at Norman, tears rolling down her eyes. CUT TO: INT. AIRLOCK Harry neatly hangs Norman's jumpsuit under the hook labled: "JOHNSON". Smoothens it out for him. CUT TO: INT. CAFETERIA ON BETH -- sitting at a table, her face in her hands. ON NORMAN -- looking at her, as he closes a box of crackers. Wraps cellophane over the chicken. Walks with it over to the refridgerator. Opens it, placing the chicken inside... but he can't. INSIDE THE REFRIDGERATOR are BOOKS -- neatly lined up on each of the shelves. NORMAN -- backs away. What the hell? Norman now looks at the CUPBOARDS. Goes to them. INSIDE THE CUPBOARD Books, neatly stacked. Norman, panicking, opens each of the cupboards, all of them with BOOKS. All of the books are the same. Entitled: "20,000 Leagues Under The Sea by Jules Verne." Norman looks over at Beth. BETH What is it, Norman? Norman? She comes to him. He stands there, bewildered, scared, mind racing. BETH Norman? Norman paces, frantic almost, running his hands through his hair, trying to think. Stops. Turns to Beth. NORMAN Page 87. BETH What? NORMAN Page 87. "I could never read that far." Norman quickly plucks a book from a shelf, turns pages, gets to page 87. Reads... NORMAN "Our fisherman frequently see some that are more than four feet long. Some skeletons of squids... BETH Squids? NORMAN "... according to calculations of some naturalists, one of these animals, only six feet long, would have tentacles 27 feet long. That would make a formidable monster." He looks up from the book, realizing something... BETH Norman? SNAPS the book closed. CUT TO: INT. LIVING QUARTERS CLOSE ON HARRY'S DUFFLEBAG -- Norman rifles through notebooks. Turning pages. TEARS off the first Jerry transmission. Beth, standing at the doorway, keeping watch down the hall. BETH Norman, what is it? Norman grabs Harry's YELLOW PAD OF PAPER. CUT TO: THEIR FEET -- scurrying through the water soaked corridor. Norman ushers her into the Control Room. Looks around. SHUTS the door. CUT TO: INT. CONTROL ROOM Norman SCRIBBLES on the printout, glancing at the yellow pad of paper... NORMAN After the attack, a Navy guy woke me up -- I don't know -- I thought he was an illusion. But I checked the tape, and Jerry said he manifested him. BETH Manifested? NORMAN Created. Brought to life. I don't know. But at the end, Jerry said, "Stop calling me Jerry". And -- Norman stops, staring at the pad. NORMAN He translated it wrong. BETH What? Norman picks up the pad of paper, reads... NORMAN Hello. How are you? I am fine. What is your name?... My name is Harry. CUT TO: INT. CORRIDOR Harry is walking towards the Living Quarters... NORMAN (O.S.) Remember when we first spoke to Jerry, Barnes kept asking for Jerry's real name? But Harry never would? He didn't because he was afraid the screen would say "Harry", instead of Jerry. We weren't talking to an alien intelligence when we talked to Jerry, we were talking to Harry... or a part of Harry. BETH (O.S.) What do you mean, a part of Harry? BACK IN -- CONTROL ROOM NORMAN When did the messages start? The animals outside start showing up? After Harry came out of the sphere. BETH You think, in the sphere -- NORMAN He acquired some sort of power. A power to manifest things. BETH But how? NORMAN I don't know. BETH How can the sphere do that? NORMAN I don't know, Beth. I'm not the fucking alien that built the thing. But it can. When Harry came out of the sphere, he mumbled something about page 87. How he would never read that far -- he was too scared to. Then you found the book, remember in your lab. Then in the cafeteria -- and page 87 talks about a giant squid... BETH Which I told Barnes was attacking -- NORMAN It's his fear. The squid. He's manifesting his fears. Making them real. BETH But why is he doing it? NORMAN He must not realize he is. Like the Navy crewman -- Harry was sleeping then. He must've manifested his dream. BETH His dream? You can't control your dreams. And you can't control your fears, can you? NORMAN (shaking his head) No. I mean, we've always believed we can think anything we want without consequences. You ever read the Bible? (off her look) It talks about our sinful nature, you know? I mean, we can think, and believe, and desire whatever we want, but there's a part of us -- a shadow side, as Jung called it -- that can't be controlled. It's evil. It's inside us. It's what we are. CUT TO: IN -- THE LIVING QUARTERS It's dark. Harry lies on his bunk, asleep. BETH (O.S.) And that's the part of Harry that's being manifested. NORMAN (O.S.) Must be. And if it is -- it's a part of him not even he can control. Harry opens his eyes, stares at us. WE BEGIN TO HEAR A LOW INSISTENT BEEPING... INT. VIDEO FEED ROOM ON SCREEN -- a transmission comes across... "CQX VDX MOP LKI... " Beth and Norman watch... NORMAN Looks like some sort of code. BETH Why would Harry go back to using a code? HARRY (O.S.) You mean Jerry, don't you? Harry leaning against the doorframe, enters the room. BETH Jerry. Right. I said Jerry, didn't I? HARRY That's a hell of a mistake to make, Beth. BETH I'm sorry. Slip of the tongue. HARRY Yeah, I don't know how you could make that confusion. Norman watching them... HARRY Wisconsin's your answer. NORMAN Wisconsin? HARRY (off screen) Navy transmission. They're sent from Wisconsin. NORMAN How do we decode it? HARRY Don't have to. Watch. It'll do it for you. THE SCREEN -- jumbling it's letters until finally... "SURFACE SUPPORT VESSELS TO YOUR LOCATION ETA: 1600 HOURS. END." Norman and Beth smile... NORMAN The cavalry is on it's way. THE SCREEN -- "16:00:00"... it begins decending in count. BETH Just in time, too. HARRY In time for what? BETH What? HARRY Just in time for what? Beth, nervous, tries to cover... BETH Our habitat, I mean. This place can't handle another attack. HARRY Another attack? A long beat, as Beth stares at Harry. HARRY Why are you looking at me like that? BETH Like what? I'm not -- HARRY You're staring at me. BETH No I'm not. I'm not star-- HARRY Yes you are... Harry looks at both of them, suspiciously... HARRY Did I miss something? You two seemed to patch things up awfully fast. A tense beat. NORMAN We just figured, you know, the three of us -- we need to... work together through this. HARRY The three of us. NORMAN That's right. HARRY (beat) Is that why the two of you went through my dufflebag? Norman glances at THE SCREEN behind Harry: "I WILL KILL YOU ALL." INT. LABRATORY CLOSE ON THE MEDICAL CABINET -- WHIPPING open. Norman quickly digs through the medicines... NORMAN Diphenyl parlene. BETH (O.S.) Something for burns. NORMAN Ephedrine hydrochloride. Beth at the computer, looking up the names... BETH It's for motion sickness. NORMAN Valdomet. BETH Ulcers. NORMAN Sintag. BETH A synthetic opium analogue. NORMAN Does it cause drowsiness? That's all we need. To get him unconscious -- put him under. BETH Nothing about drowsiness. NORMAN Tarazine? BETH Tranquilizer. Causes drowsiness. NORMAN Bingo. BETH "... and may also cause bizarre halucinations". Norman throws it on the floor. Picks another... NORMAN Riordan? BETH Antihistamine. For bites. NORMAN Damn it! Chloramphenicol? BETH Antibiotic. NORMAN Parasolutrine? BETH How do you spell it? NORMAN P-a-r-a-s-o... BETH It's a soporific. NORMAN What's that? BETH Causes sleep. NORMAN It's like a sleeping pill? BETH "... used as an anesthetic if given in combination with paracin trichloride... " Norman digs, finds paracin trichloride... NORMAN Here we go. CUT TO: BETH -- mixing the medicines... NORMAN (O.S.) (reading from the computer) "20 cc's of parasolutrine in combination with 6 cc's of paracin given IV produces deep sleep suitable for emergency surgical procedures... no cardiac side effects ... REM activity is surpressed... " BETH How long does it last? NORMAN Three to six hours. BETH I'll just boost the doses. NORMAN What? Wait -- isn't that dangerous? BETH How fast does it take effect? NORMAN Doesn't say. BETH What if it takes 20 minutes, Norman? What if it takes an hour? And he can fight it off? We can't afford that. Beth goes to the cabinet, grabs another medicine. Norman comes over as she adds it to the mix... NORMAN What is that? What are you doing? What do you want to do -- kill him? A beat... BETH It's an idea. NORMAN Beth -- BETH To be on the safe side. I mean -- NORMAN You want to kill him? BETH Look, it's either him or us, Norman. Another attack, and we go down with this place. She fills the LARGE SYRINGE with the clear liquid mix. BETH You ever given an injection before. NORMAN Thirty years ago. In residency. I passed out. You? BETH Only lab rats. Here. She hands him the syringe... BETH Give him the whole thing. Hurry, before he wakes up. Norman looks at the syringe, like it's an assault rifle. NORMAN Where do I stick it? CUT TO: INT. LIVING QUARTERS Harry sleeps on his bunk. The door to the room is closed. INT. CAFETERIA Norman spirals down the stairway from the lab. Hurrying through the dark cafeteria, the syringe at his side. INTO THE HALLWAY shuffling down the corridor, nervously. Glancing at the syringe. ROUNDS A CORNER and SEES in front of the Living Quarters... TWO AFRICAN-AMERICAN NAVY CREWMEN -- standing guard of the door. Norman stops, hides behind the wall. CUT TO: INT. LABRATORY Norman comes in... NORMAN He's got Farrakahn's army standing guard. What's plan B? Suddenly, BANG! The room shakes. Shelves fall. Cabinet doors swing open. Norman falls to the floor. THE COMPUTER MONITOR -- crashes down in front of his face. It reads: "I WILL KILL YOU ALL" INT. CORRIDOR Norman and Beth running... BETH Harry! BANG! Water shoots through the wall. Gushing out onto the floor. The walls CRACKING. ON HARRY -- running out of his room... HARRY What is it? NORMAN You know what it is, Harry. BANG! They lose their balance, still running... NORMAN It's the squid! Stop it! HARRY Stop what? What are you -- ? BANG! Another CRACK -- water gushing inside. NORMAN You know damn well what. You're doing it! Norman grabs Harry, pushes him up against the wall. HARRY Doing what? I'm not doing anything -- ! Beth takes the syringe from her palm, and STABS Harry in the SHOULDER. HE SCREAMS IN HORRIFYING PAIN, FADING OVER INTO... INT. ANOTHER CORRIDOR Quiet now. INT. CAFETERIA Norman and Beth sit at a table, sipping coffee. NORMAN I'm sorry. BETH For what? NORMAN Not believing you. BETH You're not sorry. You're scared. (beat) You're a psychologist, Norman. You pride yourself on knowing when someone's lying to you, not telling you the truth. And now you're scared ... because you're not sure you can tell anymore. ON NORMAN -- watching her, sizing her up. INT. VIDEO FEED ROOM -- LATER ON HARRY -- lying on a STRETCHER in the corner, propped up with pillows and a blanket. An IV in his arm. NORMAN -- at the console, stares at the MONITOR of the SPHERE. A long beat. His reflection staring back at him. He slips on the headset... NORMAN Beth? INT. LIVING QUARTERS The room is empty. NORMAN (O.S.) Beth? INT. CORRIDOR Empty. NORMAN (O.S.) Can you copy? INT. AIRLOCK ON THE JUMPSUIT HANGERS -- the jumpsuit under the name "DR. BETH HALPERIN" is missing. NORMAN (O.S.) Beth? INT. VIDEO FEED ROOM Norman at the mic... BETH (O.S.) What is it, Norman? NORMAN Where are you? BETH (O.S.) In the sub. Resetting the timer. Why? ON THE MONITOR -- Beth sitting in the sub. NORMAN The sphere looks different. BETH (O.S.) What do you mean, different? NORMAN The grooves around the door -- they've shifted. And the pattern -- the fluids -- they look darker now. BETH (O.S.) (beat) How's Harry? ON HARRY -- the IV in his arm. NORMAN He's fine. CUT TO: CLOSE ON A MONITOR: "12:30:00"... descending in count. CUT TO: INT. CAFETERIA Norman pouring himself more coffee, alone. CUT TO: INT. AIRLOCK Beth's suit still gone. CUT TO: INT. VIDEO FEED ROOM Harry lying on the stretcher, still. Norman watching him from above, sipping his coffee. HEARS A SOFT BEEPING Norman goes to the console, sits. Checks the monitors. Looks around the console, not knowing what it is. A FLASHING LIGHT on the Sensor Board. Norman still doesn't know what it means. THE MONITORS go blank. NORMAN Beth -- The MONITORS flash up: "I AM COMING." Norman spins around, goes to HARRY -- lying still. Norman grabs Harry's wrist. Checking pulse. Norman returns to the console, slips on the headset... NORMAN Beth? Beth? Can you hear me? Get the hell out of there. THE MONITORS boot up again. Norman looks at the SUB VIDEO MONITOR -- the sub is gone from under the dome. NORMAN Beth? (beat) Beth? Shit. No reply. MORE BEEPING. Panicking. Bangs on the headset. NORMAN Beth? I'm getting some sort of reading. There's something -- He scans the MONITORS, looking for movement. Anything. They are all still. Norman turns to looks at Harry... CLOSE ON HARRY'S FACE -- still. BACK ON -- NORMAN, sweating... NORMAN And whatever it is, it's not coming from Harry. Norman looks at the monitors: ON AN OUTSIDE CAMERA FEED -- a bright LIGHT blinds the SCREEN. It's Beth in the sub, moving along the habitat. The Sub's CLAW ARMS carry large RED BOXES. The lettering on the boxes isn't in focus. Norman squints at the MONITOR -- can't make it out. NORMAN Beth? What is that? What are you doing? The Sub's CLAW ARMS drops one of the BOXES, plumping it softly on the muddy floor. NORMAN Can you hear me? Beth? Can you copy? Get inside, there's something out there. ON ANOTHER MONITOR -- the Sub moves forward. Churning up the sediment. It stops again, and releases another box. Norman BANGS on the headset. NORMAN Damn it, Beth, I know you hear me. THE MONITORS blink: "I AM COMING FOR YOU" ON NORMAN -- breathing heavy. NORMAN What the hell? ANOTHER MONITOR -- the Sub in view -- a closer view. It releases it's last box. Norman can read the lettering now: "CAUTION: TEVAC EXPLOSIVES" NORMAN Beth? C'mon. What are you -- ? THE MONITORS flash: "I WILL KILL YOU" NORMAN Oh shit. Norman WHIPS off his headset, bursts out of his seat, OPENS a CABINET. Searching for tapes. Another cabinet. Then another. A shelf labled: "SPHERE" -- all the tapes are gone. NORMAN It's her. THE MONITORS flash: "I WILL KILL YOU" ON THE HEADSET -- resting on the console. WE HEAR faintly... BETH (O.S.) Norman? Norman? INT. CORRIDOR Norman pushes Harry and his IV down the corridor. Hurrying. An inch or two of water on the floor. INT. LIVING QUARTERS CLOSE ON A METAL CASE -- labled: "Captain Harold Barnes." Norman BANGS it against the wall, trying to bust the LOCK. BANGING. BANGING. Breaks the lock. Digs inside the case. Pulls out a GUN. INT. ANOTHER CORRIDOR Norman pushing Harry and the IV stand. Wheels him into... BATHROOM/SINK AREA Norman stops. Turns off the main lights. The room goes dark. The florescent LIGHT above the sinks stay on. Norman wheels Harry inside, places him by a wall. Checks the IV. Norman goes to a STALL. Steps inside. Keeps the stall door open. Can still see Harry about 10 feet away. Norman looks at the GUN. COCKS it. Pinches his finger. NORMAN Ouch. He waits. Listening. A FAINT HIGH-PITCHED HISSING SOUND Norman looks over at the sinks. A FAUCET is on. Water HISSING faintly from it. Norman ignores it. Waiting in the dark. Listening. ON THE FAUCET -- the water running. ON NORMAN -- looking at it. Can't ignore it. Tries. But can't. Norman walks quietly through the inch of water on the floor. OVER TO THE SINKS The light above them on. Norman turns the faucet off. The water stops. But the HISSING SOUND remains. Norman looks at the faucet, queerly. Turns it back on. Then off. The HISSING SOUND still there. It isn't the water. Norman looks down at his feet... THE FLOOR -- seems to be moving. Something swimming in the water. CLOSE ON NORMAN'S PANTLEG -- a long, tubular SEA SNAKE slithers up inside his pantleg, HISSING. His pants BULGING as the SNAKE slowly slides up past his knee. HISSING LOUDER As more SNAKES comes through the crack in the wall. NORMAN watches with horror in the mirror in front of him as the SNAKE slithers up to his groin, and across the inside of his shirt. Another SNAKE begins WRAPPING itself around the outside of Norman, sliding up around his neck. WE HEAR FOOTSTEPS COME FROM DOWN THE HALL NORMAN, standing still, watches as more SNAKES crawl up his sides, slithering around his arms, his shoulders, his neck, under his chin, over his face. Their forked tongues FLICKING and HISSING. BETH (O.S.) What time is it, Norman? NORMAN looking in the MIRROR -- as Beth comes up behind him in her jumpsuit. BETH Do you know the time? Norman GLARES at her in the mirror. His body STIFF. BETH I have to know the time of day, Norman. Do you know? SNAKES covering his eyes, SLITHERING across his mouth. NORMAN (through his teeth) Your watch. A SNAKE flicking it's tongue at Norman's lips. Trying to get inside his mouth. BETH What was that? I couldn't hear you. NORMAN Your watch. BETH Oh yes, my watch. I almost forgot. She looks at her watch. BETH Splendid. She begins grabbing the SNAKES off of him, carefully dropping them to the ground. SNAKES writhing in her hands, twisted around her wrists. Shakes them off. Some drop in the sink. She bends out of view -- and the SNAKE inside Norman's shirt, MOVES back down the way it came. Past his stomach, his groin. Norman HEAVES from his chest, VOMITS on the mirror... CUT TO: INT. CAFETERIA CLOSE ON A POT -- pouring a white, milkish DRINK into a cup. Beth walks it over to Norman, sitting at a table, looking ill. BETH Isotonic glucose supplement. Norman looks at the cup. BETH Go ahead, drink it. Norman places the cup down. BETH What's wrong, Norman? NORMAN I'm feeling better. BETH Are you? Beth takes a seat. Stares at him. A long beat. BETH It's getting cold. NORMAN You think I'd really drink that? BETH You don't think I put something in it, do you? NORMAN You put explosives around the habitat, I can't imagine what you'd put in a drink. BETH I did do that, didn't I? A beat. She picks up the drink, and begins sipping it. Norman watches her. NORMAN How do you feel about snakes? BETH Snakes? What do you mean, exactly? NORMAN You know what I mean. BETH Am I afraid of them? Not during the day. Sea snakes are diurnal. When the sun's out, they don't bite. Fortunately for you, I had on my watch. (off cup) This is quite good. NORMAN What are they doing down here? In the bathroom? Suddenly appearing. BETH You tell me. NORMAN Do you fear them? BETH Don't you? NORMAN Are you manifesting them? BETH If I was, then I would've had to have gone in the sphere, wouldn't I? NORMAN Did you? BETH What's the phrase -- "keeping up with the Joneses"? NORMAN Why did you go in the sphere, Beth? BETH Same reason I put explosives around the habitat. For defense. For the power. To protect myself. NORMAN Against what? Harry's unconscious. He's not a threat. BETH No, he isn't. NORMAN He can't manifest. BETH No, he can't. NORMAN Then why, Beth? Why go in? Why put out explosives? Why manifest the snakes? BETH You think I manifested the snakes? NORMAN Someone did. BETH Yes, someone did. But it wasn't me, Norman. (beat) It was you. You manifested the snakes. A long beat between them. NORMAN Beth you're losing it. C'mon. BETH C'mon -- what? NORMAN You're lying -- BETH Am I lying? Are you sure? Are you absolutely sure I'm lying? (off his look) Then explain to me about the jellyfish. Earlier. Why did we see jellyfish? Harry doesn't fear jellyfish. You do. They're your fear, aren't they? NORMAN But -- BETH And the snakes? You want to know about the snakes? You saw one outside earlier, didn't you? When you thought I had deserted you -- you were terrified. NORMAN (realizing) That's when you went in the sphere. BETH One lonely, terrifying sea snake. NORMAN You manifested that, Beth. BETH Did I? Or was that you? (beat) When you were hiding in the bathroom -- all conspiratorially like you were -- you became frightened, didn't you? Terrified. Like you were with the snake earlier -- and suddenly you have snakes slithering all over the floor. You did that, Norman. NORMAN You're insane. BETH Am I? Or am I making so much sense that you're going insane? NORMAN I never went in that sphere. BETH You don't remember you did. But I'm sure you remember running like some fucking hero to get Harry, don't you? You remember that. NORMAN Yes. BETH You remember before you picked him up -- when you looked up at the sphere, you remember that -- when the sphere opened? (off his look) That's right. But you can't remember going inside, can you? No, of course not. Harry couldn't either, could he? "Like everything's on the tip of my tongue", he said. NORMAN That's bullshit. BETH Is it? NORMAN Beth, the message said Harry. "My name is Harry". My name isn't Harry. BETH No, it isn't. Your name is Norman. But your younger brother -- what was his name? The one who was stung when you were younger. The one that died. The one you couldn't save. What was his name? (imitating) "Mommy, we're going out to the ocean -- to go swimming." "But I don't want to go swimming, Norman. I'm scared." "C'mon, Harry, it'll be fine, it'll be fun." (resuming) You heartless fuck. That's why you're so scared of the water, isn't it? NORMAN Shut up, Beth -- BETH When you were in that sub -- and that squid was attacking you -- are you sure it was the squid that was attacking? Do you know? "I can't get Beth on the radio. I'm in this tiny sub on the bottom of the fucking ocean. All alone. Surrounded by all this water." Was it really the squid that was attacking you, Norman -- or was it something else -- one of your fears? You never really saw what it was, did you? Norman stares up at her, frightened. Is she right? BETH I'm not scaring you, am I Norman? I hope I'm not frightening you. The last thing I want to do is frighten you. You feel okay, don't you? NORMAN It's not me, Beth. I swear. It can't be. BETH "It's not me, Beth. It's not me. It can't be. I'm not doing anything." Just like Harry said before I stabbed him with the needle. Norman looks at her palm -- SEES the NEEDLE in her hand. Norman backs up, away. NORMAN Don't, Beth. BETH But I have to, Norman. NORMAN I promise -- BETH Promise what, Norman? Tell me! NORMAN Beth -- BETH You think I'd belive you? Believe anything you might say now? After you lied to me about telling Barnes about my past. About my problems. My problems. Not yours. Not his. Mine. NORMAN Don't, Beth. Please. BETH It's either this... or I kill you. The GUN in her other hand. NORMAN Beth -- She comes at him, needle in hand... BETH It's your choice. Because it's not safe for you to be awake. To be walking around. To be thinking about things. NORMAN It's not safe for you to be either. BETH You think I care? You think I care if I die? (almost laughing) Would I put explosives around the habitat -- set on vibration sensors -- that can trigger automatically, if I cared about myself? Would I? I've tried twice before, Norman, why wouldn't I try a third time? I'm not thinking about myself -- No, Norman, I'm thinking about you. Your safety. Protecting you from your own self. She lunges at him with the needle, missing. He RUNS for the SPIRAL STAIRCASE leading to the lab. Norman grabs the handrail, begins climbing the stairs. Beth's at his feet, grabbing for his ankles. BETH Norman! I'm doing this for you, Norman. He frantically crawls up the stairs, her grasping at his heels. BETH Norman. Climbing, climbing -- round and round -- the STAIRS never seem to end. He looks up: THE STAIRS -- expanding in front of him, strangely increasing in number. He climbs, racing, PANTING. Beth, right behind him, laughing almost. BETH Come here, Norman. She GRABS his ANKLE. She raises the NEEDLE. Norman turns, KICKS her in the FACE. She WAILS, blood SPITTING from her nose. Climbing, climbing. The STAIRS increasing above. He LUNGES for the top step, GRABS it. Pulls himself up... INTO THE LAB Scrambling. He stares down at Beth -- the GUN pointing at him. BETH Norman -- He SLAMS the HATCH DOOR, on top of her, BASHING her head down. He holds the DOOR closed. Trying to regain his breath. BETH (O.S.) This is what I'm talking about, Norman. Don't you see? It's in you. This vindictiveness. This rage. NORMAN Get away from the door, Beth. He slides a heavy FILE CABINET over on top of the door. BETH (O.S.) Oh, Norman, I don't want to come in... The door's METAL PIVOT turns... CUT TO: ON BETH -- on the stairs, spinning the door's WHEEL... BETH ... I want to lock you in. CUT TO: INT. LABRATORY Norman staring at the wheel. CLICK! It's locked from the outside. Norman falls to his knees. PANTING. CUT TO: INT. LABRATORY -- LATER CLOSE ON A SURVEILLANCE VIDEO CAMERA -- in the upper corner of the room. BETH (O.S.) You're a psychologist, Norman. You of all people, don't want to admit to your shadow side... CUT TO: INT. VIDEO FEED ROOM ON A MONITOR -- WE SEE Norman -- sitting in a corner of the lab, staring up at US. BETH (O.S.) ... You have a professional stake in believing in your own mental health, don't you? Don't you, Norman?... CUT TO: INT. LABRATORY Norman, huddled on the floor. BETH (O.S.) Of course you're going to deny it. You want to blame someone else. You want to blame Beth. Because you hate Beth. NORMAN Don't fuck with me, Beth. BETH (O.S.) I'm not fucking with you, Norman. You've fucked yourself. Norman JUMPS up, looks at the ground -- WATER on the floor. Rising in level. NORMAN Turn off the water, Beth. The entire floor is covered in water, rising higher, and rising fast. NORMAN Beth! BETH (O.S.) You're frightened, aren't you, Norman? Norman, WADING through the water, searching... NORMAN Where is it coming from, Beth? BETH (O.S.) Don't you know? Rising higher... NORMAN Beth, stop it! BETH Stop what? Don't blame me. It's not me. Norman frantically checking for a crack, a leak. NORMAN Then where's it coming from? BETH (O.S.) From you, Norman. From your mind. You're doing it. It's up to his waist. He climbs on top a lab bench. Puts his hands to his temples, straining. WE HEAR Beth laughing. A SPECIMEN BOTTLE -- EXPLODES right next to him. BETH (O.S.) There's no ventalation in the room, Norman. The pressure's going to kill you. Another BOTTLE SHATTERS, shooting fragments of glass across the room. NORMAN Stop it! BETH (O.S.) It's you, Norman. Your fear of drowning. You have to face it. Microscope lenses CRACK. Bottles, Test Tubes, Dishes EXPOLDE. BETH (O.S.) C'mon, Norman. Let me put you under. Before you kill yourself! SHATTER! CRACK! Bottles floating in the water POP! The water too high -- Norman swimming in it now, keeping afloat. His FACE strains from the pressure. He looks at the CAMERA in the corner... BETH (O.S.) It's over, Norman. Next to the CAMERA, he SEES the HATCH DOOR in the ceiling. BETH (O.S.) Don't even think it. You don't have your suit, Norman. The water will freeze you. He reaches up at the door. Can't get it. The water rising. He DIVES down in the water... UNDERWATER He swims to a cabinet near the floor, OPENS it, searches, THINGS floating out -- AN OXYGEN CYLINDER and MASK -- he GRABS it. CUT TO: NORMAN'S FACE -- bursts above water level, slips on the mask, BREATHES. BETH (O.S.) It won't help, Norman. Your body is boyant. You're gonna shoot right to the surface and explode, Norman. Don't you get it? It's over. He BREATHES a last breath, reaches up to the ceiling HATCH DOOR, SPINS it. BETH (O.S.) Norman, what are you doing! You're insa-- The DOOR opens and WATER gushes inside. He grabs the frame of the door, and his body shoots up through the hole... CUT TO: EXT. OCEAN -- UNDERWATER His body upside down, his hand holding onto the frame. He grabs a PIPE next to it, pulls himself hand over hand, along the pipe. HIS FACE -- straining from the freezing chill. MOVING along the pipe, hand over hand. He loses grip. His body thrusts upwards. CLOSE ON HIS RIGHT HAND -- purple, frozen, holding onto the pipe. Barely gripping. HIS FACE -- his eyes fluttering. He blows air from his mouth, BUBBLES burst from his lips. HIS BODY slightly descending. HIS LEFT HAND -- grips the pipe. He continues on. HAND OVER HAND. Pulling himself... UNDER THE HABITAT He SEES the airlock in front of him. He SCOOTS along, but slower, now. He stops. Can't continue. He clasps his hand to his CHEST, it's burning. He SEES the airlock. His eyes fluttering, he's losing consciousness. He can't do it. And he lets go of the pipe. FLOATING UPWARDS -- is he gone? HIS HEAD -- BANGS into the habitat floor. His body flat underneath it. Being sucked upwards against it. He pushes forward... trying to grab the floor with his hands. He's inches from the airlock. Plants his feet against the wall -- and pushes forward. His body SUCKED UP and away... CUT TO: INT. AIRLOCK ... His head BURSTS above the water level, BIG BREATH. GASPING. He flails his arms over to the ladder. Grips the ladder, but his hands are like ice. Can't hold it. He slips. Flailing in the water. He HEAVES his chest over the METAL RIM. Twists his legs around, out of the water, and flops his body onto the deck. Shivering. Tries to get up. Falls over. His body shaking. His lips purple. His eyes barely open, looking at... HIS JUMPSUIT -- hanging on the wall. Norman crawls toward the suit, his body shaking violently. He reaches out for his boots on the floor. Can't grip them. Inches his HEAD toward his suit, tries to BITE at his suit, but his TEETH chattering. BETH (O.S.) I know what you're doing, Norman. But you can't save yourself. He grips the wall, his hands pulling him up. He RIPS his suit off the hanger. BETH (O.S.) It's over, Norman. It's all over. Slipping on his suit, he HEARS a MAN'S voice... MAN (O.S.) Your attention, please. Your attention, please. All construction personnel clear the blast area now. Tevac explosives are now activated. Countdown beginning. Mark 15 minutes, and counting. ON NORMAN -- as he slips on his helmet, his teeth -- chattering. CUT TO: CLOSE ON THE AIRLOCK HATCH DOOR -- Norman trying to open it. BETH (O.S.) (through Norman's helmet) Locked. Don't try, Norman. You can't get in. I won't let you in. Norman turns, dives back in the water. CUT TO: UNDERWATER Norman swims out from under the habitat. Looks around at the cylinders, the walls. Goes to the outside of a WALL. Looking for a CRACK, a LEAK, a way in. TO HIS LEFT -- Barnes' body, floating, hooked to the wall. Norman goes to him. SEES the CRACK. Climbing inside. Struggling through the CRACK, careful not to rip his suit. CUT TO: INT. CORRIDOR Flooded to the top with water. Completely filled. Norman emerges through the crack. MOVES down the hall. A BOX OF CORN FLAKES floats by his faceplate. BETH (O.S.) Norman, where are you? I can't see you, Norman. Tell me where you are. Norman pulls at the cylinder's HATCH DOOR. He HEARS faintly through his helmet... MAN (O.S.) Twelve minutes, and counting. He OPENS the door. Slips inside, the water going with him. CUT TO: INT. VIDEO FEED ROOM BEEP! BEEP! BEEP! A SCREEN -- flashes: "D CYLINDER HATCH DOOR -- OPEN" The CHAIR in front of the console -- spinning, empty. Beth just left. CUT TO: INT. CORRIDOR Norman closes the door. Runs. Down the corridor... CUT TO: INT. BATHROOM-SINK AREA Norman ducks inside. THE STRETCHER, the IV -- empty. Harry's not there. CUT TO: INT. ANOTHER CORRIDOR ON NORMAN -- running. MAN (O.S.) Eleven minutes, and counting. Please evacuate. NORMAN Beth? Can you hear me? (no reply) Beth. INT. VIDEO FEED ROOM Norman runs inside... The chair, stopping it's spin. BEEP! BEEP! BEEP! THE MONITOR -- flashes: "B CYLINDER -- DOOR OPEN". Norman's out the door. CUT TO: INT. CORRIDOR Norman, running. SEES the B Cylinder door. Goes to it. Spins it, OPENS. CUT TO: INT. B CYLINDER Norman climbs inside, takes off his helmet. THE CYLINDER -- a maze of pipes and equipment. Heaters, controls, and wires everywhere. Difficult to see. THROUGH PIPES WE SEE NORMAN -- walking through the cylinder. Holding his helmet at his hip. NORMAN Beth? BETH (O.S.) Leave me alone, Norman. He goes to her voice in the back. Past pipes, equipment. NORMAN I can't do that. ON BETH -- huddled in the back corner, wedged among pipes. Her eyes red. Holding the GUN in her hand. Pointing at Norman as he SEES her through the pipes. ABOVER HER HEAD -- a computer SCREEN, reading: "DETONATION SEQUENCE 09:32"... descending in count. Norman stares up at the SCREEN, concentrating. BETH You can't stop it, Norman. You can't fight me. NORMAN I know. You're too strong, Beth. BETH Oh please, don't shrink me, Norman. Not now. NORMAN I -- BETH Don't tell me about me. I already know too much. NORMAN Beth -- gimme the gun. BETH Oh, sure. Here. Anything else, Beth can get you? Some more chicken, perhaps. Let Beth check the fridge. NORMAN C'mon -- BETH Top shelf, is it? NORMAN Let's get out of here, Beth. Let's go home. She sees HER REFLECTION on a PIECE of BROKEN GLASS on the floor. She puts her fingers to her matted hair, tries to comb it. Over the intercom... MAN (O.S.) Nine minutes, and counting. NORMAN C'mon, Beth. ON THE GUN -- WE SEE Beth's wrists. The two scars. BETH It's over, Norman. Go on, get outta here. Norman walks toward her. Beth freaks... BETH What is that? What are you doing? NORMAN What? BETH You hear that? NORMAN Hear what? BETH Get away from me! NORMAN Beth -- BETH Get away -- BAM! From behind her -- Harry -- WHACKS Beth across the head with a WRENCH, sending her to the ground. Norman goes to her, checking her pulse. HARRY Did I kill her? NORMAN I don't think so. HARRY I could hit her a little harder. More toward the cranium. Norman stares at the NUMBERS on the SCREEN above him. HARRY If she's still conscious, you can't fight her. You can't stop the numbers. Over the intercom... MAN (O.S.) Eight minutes and counting. HARRY Killing her's the only way -- NORMAN Hey! Look! We didn't kill you, alright? And believe me Harry, I would've found great pleasure in bashing your head in. Norman RIPS off a piece of her t-shirt, ties it to the wound around her head. HARRY Fine. NORMAN Help me lift her. INT. CORRIDOR Norman, carrying Beth in his arms, races awkwardly down the hall... HARRY We're never gonna make it. NORMAN Shut up and open the door. Harry does. INT. AIRLOCK Harry, in his suit now, helps Norman slip on Beth's boots and jumpsuit. HARRY How much time you figure to get to the surface? NORMAN Two and a half minutes. Once we're in the sub. HARRY How far away's the sub? MAN (O.S.) Six minutes and counting. NORMAN A little less than six minutes. EXT. UNDERWATER Norman carrying Beth on his back, hurries through the water. MAN (O.S.) Five minutes. I repeat five minutes to detonation. CUT TO: EXT. UNDERWATER UNDERNEATH THE SUB'S DOME HANGER Norman tries to climb up the ladder with Beth on his back. She falls off, deadweight to the ground. NORMAN Shit. (picking her up) Harry! I'm gonna have to lift her up to you. Harry leans down from the Sub's airlock... HARRY Alright. Hurry. Norman pushes her up to him, but she bends at the waist. HARRY I can't reach her. NORMAN Hold on. Norman flops her up in the air, but she bends again at the waist. HARRY Push her, c'mon. NORMAN I'm trying. Shit. Here -- catch her. He flops her up again. HARRY Missed. NORMAN Are you trying, damn it? Just -- MAN (O.S.) Four minutes and counting. Norman loses grip, drops her. NORMAN Hold on. HARRY Hurry, Norman. Four minutes. NORMAN I heard! I heard! Picking her up... HARRY Three fifty-six, three fifty-five, three -- NORMAN Shut up and catch. Norman flops her up once more, and Harry grabs her AIR HOSE. HARRY I got her. I got her. Harry pulls her toward the airlock, Norman climbs up after. INT. SUB AIRLOCK The pocket of air around the sub. The three of them crammed inside. Norman opens the door on top of the sub. NORMAN Alright, here, I'll... wait, you -- just give her to me. Norman takes Beth and pushes her on top the sub. The sub sways back and forth. HARRY Norman, what are you -- They lose balance, Beth almost falls, Norman catches her. NORMAN Shit. Alright, Harry, get in there. Harry jumps on top of the sub. Slides inside it. Reaches his arms out, catching Beth's legs. MAN (O.S.) Three minutes and counting... NORMAN Take her, come on. Just -- Beth's LEG swings up and hits Harry in the helmet. HARRY C'mon, Norman! NORMAN I'm trying to keep balance with -- HARRY Gimme a second -- NORMAN Just pull her -- down like inside -- Harry, work with me here! HARRY Her legs are in the way. NORMAN You got her? Harry pulls Beth down inside, as Norman steps on top of the sub, helps push Beth's head inside. NORMAN Get her out of the seat, I need room to sit. Harry? HARRY I'm trying. There. MAN (O.S.) Two minutes-thirty and counting. Norman drops inside. INT. SUB Norman in the seat. Beth's leg hangs over his right shoulder. Harry looks at Norman who assesses the flight controls. HARRY You know how to work this thing? NORMAN No idea. HARRY Well, press something! NORMAN Wait! MAN (O.S.) Two minutes and counting. HARRY How long did you say -- NORMAN Shut up. Let me think. Norman presses a button. THE SCREEN -- blinks: "DESCEND, ASCEND, SECURE, SHUTDOWN... " Norman hits "ASCEND". The Sub WHIRRS, RUMBLES and drops down below. Norman works the steering wheel, gliding it upwards. EXT. UNDERWATER The SUB comes out from under the dome. Rising above the habitat... HARRY Less than a minute, we're never gonna make it. NORMAN Nine hundred feet to surface. HARRY It's not fast enough, Norman. There's a helluva lot of explosive down there. EXT. UNDERWATER The sub ascends past the spacecraft tail fin. INT. SUB Harry looking down below him... MAN (O.S.) Thirty seconds to detonation. HARRY The shock wave's gonna crush us, Norman. NORMAN Maybe. Brace yourself. Harry just stares at Norman. Norman grabs Beth, trying to stablilize her. HARRY (off Norman's suit) How's that working out, by the way? NORMAN Good. Thank you. Now that I have it on. (Harry laughs) Why are you laughing? You don't even know what that means. HARRY No. I don't. But I always said to myself, when I die, I want to die laughing. Harry laughs. Ascending... waiting... and then... A THUNDEROUS EXPLOSION below them... Rocking the sub, spinning it up and around, surging it upwards to the surface. THROUGH THE WINDSHIELD -- RACING toward the surface, toward the SUNLIGHT -- it's BLINDING -- and the screen GOES WHITE. CUT TO: INT. DECOMPRESSION ROOM A pale, white room. ON NORMAN -- sleeping. His eyes begin to open. He awakes. BETH -- is next to him, looking at him. There is a long beat. BETH Thank you. Norman looks up at her... NORMAN You know, I think you really need to see a psychologist. She stares back at him, and smiles. Begins laughing with him. EXT. DECOMPRESSION CHAMBER TWO NAVY CREWMEN stand outside the door, looking in. CREWMAN #1 Has anyone spoken to them yet? CREWMAN #2 (shakes his head) The Admiral's going over the tapes they brought up now. CREWMAN #1 Does he know yet what really happened down there? Looking INSIDE -- Norman, Harry, and Beth sit at a table. INT. DECOMPRESSION CHAMBER At the table... HARRY They're going to want answers and they're going to keep asking until they get them. BETH We can refuse to talk. HARRY Won't make any difference. The tapes document everything. A long beat. NORMAN There is one possibility. HARRY We all kill ourselves? (laughing, then) Bad joke. Sorry, Beth. She smiles. NORMAN The power allows us to manifest our fears, right? What if we feared the power to go away? HARRY You mean forget? NORMAN It would erase all our knowledge of it. All of our power. BETH Would it work? NORMAN Yes. And I think we already know it will. BETH How's that? NORMAN Down below, Harry said we would all have to die. Since there was no evidence on that spacecraft that anybody knew time travel through a black hole was possible -- and we all knew -- then we would all have to die before we could tell anyone. Death was the only logical explanation. But sitting here, we still know. So how is that possible? (beat) Unless we make ourselves forget. INT. SHIP'S HALLWAY -- LATER Norman, Harry, and Beth walk with the CREWMEN. INT. ADMIRAL'S OFFICE The ADMIRAL, 60s, many stripes on his sleeves, sits behind his desk. Harry and Beth sit in front of him. The TAPES on the desk. ADMIRAL There are some questions that we need to address here. HARRY What about? ADMIRAL When you were being transferred to decompression, Dr. Adams, you mentioned something about a squid. HARRY A what? ADMIRAL A squid. However, there doesn't seem to be any squid recorded on these tapes. BETH A squid? I don't remember anything about a squid. (to Harry) Did you say something about a squid, Harry? Harry shakes his head. EXT. SHIP DECK -- DAY A bright, sunny day. ON THE HELIPAD -- the helicopter's propeller begins whirling. INT. HELICOPTER An OFFICER sits in the passenger's seat, glancing at a clipboard. OFFICER You all ready to go, Dr... ? The PILOT from the opening scene... PILOT Johnson. The psychologist. The one that wrote the report. ON NORMAN -- in the back. NORMAN What report? CUT TO: BLACK. 
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+                              ST. ELMO'S FIRE                                Written by                     Joel Schumacher & Carl Kurlander                                                      THIRD DRAFT                                               September 18, 1984                                                                                     RED TITLES ON BLACK. The sound of a young MAX and WOMAN          on a WILD CAR RIDE. At the END OF the TITLES, the sound          of a sudden CAR CRASH, a WHITE INCANDESCENT FLASH of          light FILLS the SCREEN. THROUGH the BRILLIANT WHITE          LIGHT we --          DISSOLVE RAPIDLY TO:          1 INT. GEORGETOWN MEDICAL CENTER - RIGHT (SEPTEMBER) 1          Electric' doors zip open. ALEC NEWBERRY, a handsome          possessor of The Right Stuff, his beautiful roommate          LESLIE HUNTER, KEVIN DOLENZ, self-styled, chain-          smoking, sardonic, and KIRBO KREAGER, short, hyper,          dressed like a waiter -- dash worriedly into the busy          emergency room. They are all twenty-two, or barely          twenty-two. Only four months out of college, they are          in their freshman year of life.          Alec, Leslie, Kevin and Kirbo dash past a cubicle, where          a totally naked, three-hundred-pound man paces in a daze.          Past this, they find a black nurse talking with two COPS.                         ALEC          Wendy Beamish and Billy Hicks?          They were in a car accident?                         ELECTRIC DOORS          zip open again, introducing JULIANNA VAN PATTER (JULES),          another freshman in life, but her sleek style gives her          a certain sexual sophistication. She is accompanied by          her dark, interesting DATE as she joins her friends and          the Cops.                         JULES          They're dead, aren't they?          Everyone ignores her as Alec hands his card to the Cops.                         ALEC          Officers, I'm Alec Newberry with          Congressman Langston's office.          Leslie whispers to Jules, while Alec and the Cops talk.                         LESLIE          I think they're okay.                         JULES          Thank God.                         (BEAT)          Are you aware there's a three-          hundred-pound man walking around          naked?                         (CONTINUED)                                                                                                              2.                         1 CONTINUED: 1          WENDY BEAMISH, a sweet-faced, insecure preppy, emerges          from a first-aid room with a bandaged forehead.                         HER FRIENDS          Wendy. Oh, my God. Are you          all right???                         WENDY          I'm fine. It's the car my father          gave me for graduation that's          totalled.                         ALEC                         (TO KEVIN)          Find Billy. See if you can sober          him up.          Kevin always does what Alec tells him to. Meanwhile,          Wendy pulls out her Visa card and speaks to the nurse.                         WENDY          How much do I owe you?                         JULES          He almost killed you. Destroyed          your car, and you're paying...?                         LESLIE          Jules, please.          As Leslie comforts her, Wendy is looking over Jules' Date          who hovers in the distance.                         WENDY          Is that your date?          The naked man wanders past them.                         JULES          No, that's my date!          As usual, Jules has managed to make Wendy laugh, Just as          the Cops approach her.                         COP # 1          You pressing charges?                         WENDY          No.                         KI RBO          'I'm Mr. Hicks' legal counsel and          he's not required to take any          tests.                         (CONTINUED)                                                                                                              3.                         1 CONTINUED: (2) 0                          COP 1          You're a little late, Counselor.          He's in the van giving blood right          now.          The Cops start toward the electric doors as Kirbo and          Alec follow. Leslie helps Wendy with the bill. CAMERA          FINDS Jules whispering dramatically to her Date.                         JULES          I'll have to be with her all night.          They don't know if she's going to          make it.                         DATE          She looks fine.                         JULES          Shock. She could black out at any          second... I'll call you...          Jules joins Leslie and Wendy.                         LESLIE          He's cute.                         JULES          Too young... and don't you both          start on your father complex          theory.          2 EXT. MEDICAL CENTER 2          Alec and Kirbo follow the Cops toward a mobile van.                         KIRBO          We're dealing with a first offender          here, and since Ms. Beamish doesn't          want to press charges, whaddya say          we just let this one slide,          Officers?          They reach the back of the mobile van, where we see BILLY          HICKS, a handsome daredevil, playing his saxophone,          wearing handcuffs, for two good-looking nurses and Kevin,          who is trying to give him black coffee.                         COP $1          Okay, you're under arrest.          Alec looks to Kevin for information about Billy's          condition.                         (CONTINUED)                                                                                                                             2 CONTINUED: 2                         KEVIN          I wouldn't strike a match near his          blood.                         BILLY                         (TO COPS)          Hey, watch my sax...                         (TO NURSES)          . You girls believe in premarital          sax?          They laugh as Alec barks at him.                         ALEC          Billy -- four months after          graduation and you're still          acting like every night's a          fraternity party. Aren't you          even concerned about Wendy?                         BILLY                         (TRUE PANIC)          Wendy? Jesus, how bad is it?                         KEVIN          Severe. She might have finally          exceeded the limit on her father's          Visa.          Billy smiles with relief as the Cops lead him toward          their car.                         ALEC          Will you both get serious. He's          being arrested for drunk driving.                         BILLY          Drunk maybe. But I don't know if          you could call that driving.          Wendy, Leslie and Jules come from the hospital, just in          time to see Billy being put into the cop car. Wendy          rushes to Billy and they embrace.                         BILLY          Sorry, babe... sorry.                         WEHDY          We'll be right behind you!          They all move toward Alec's car except Kirbo, who sud-          denly notices'someone. He becomes mesmerized as he falls          away from the group and starts back for the hospital.                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 5.          3 INT. EMERGENCY ROOM 3          He enters and begins to pick up speed as he quickly          catches up to a beautiful INTERN in a white lab coat.                         KIRBO          Dale?... Dale Biberman?          She hesitates, somewhat puzzled.                         KIRBO          You don't remember me.                         DALE          I do, but I'm trying...                         KIRBO          Kirby Kreager. You were a senior          when I started Georgetown.                         DALE          Kirby... It's been four years.          How are you?                         KI RBO          I graduated!                         DALE          I always knew you would.                         KIRBO          And I'm a lawyer.          (as she looks at          his waiter's duds)          I mean I'm a waiter, studying to          be a lawyer... and you became a          doctor... Just like you said you          would.                         DALE          Almost. I'm finishing my clinical.                         KIRBO          Dale Biberman. I can't believe          it. Do you still like Woody Allen          movies?          There is a big COMMOTION at the other and of the hail.                         DALE          I've got to go. Nice seeing you.          She races down the hall, joining paramedics wheeling in          a large black man on a gurney. His hysterical wife runs          screaming behind them.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 6.                         3 CONTINUED: 3          Dale helps them maneuver the gurney down the hall, leaving          a small black child, alone and frightened, in their wake.          Dale comes running back and picks up the child. Kirbo          watches, as the rest of the hospital moves in real time,          but Dale, comforting the frightened child, moves in          ROMANTIC SLOW MOTION. SONG BEGINS.                         KIRBO          Madly in love.          4 EXT. "M" STREET (GEORGETOWN) - NIGHT 4          CAMERA PANS the preppy nightlife and drinking spots.          CAMERA FINDS a group of. postgrads moving into a build-          ing. One of the postgrads drops his half of-a bureau          and runs into the street toward Alec's old Oldsmobile.                         POSTGRAD          Hey, Billy, where's the fifty you          owe me...                         5 OMITTED 5          6 INT. ALEC'S CAR - MIGHT 6           Alec drives while Leslie tends to Wendy between them.           Billy, Kirbo and Kevin are in the back seat, with Jules          on their lap.                         BILLY          Alec, could you kinds burn a little          rubber?          Alec turns the corner as Billy continues.                         BILLY          Thanks for bailing me out.                         JULES          Again.          7 EXT. ST. ELMO'S BAR - NIGHT 7          A local hangout for those primarily in their twenties.          Alec parks as his gang emerges.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 7. s                         7 CONTINUED: 7                         JULES          When are you going to get a new          car? One that truly expresses          your lifestyle as the perfect          couple.                         LESLIE          Not everybody got recruited out          of school into international          banking, 'moneybags.'                         ALEC          Besides... My mom and dad gave us          this car. I think I was conceived          in the back seat.                         KEVIN          It's still sticky.                         WENDY          Oh, God. Wait 'til my father hears          the car is totalled.                         BILLY          I'm gonna get you a new car, Wendy.          Everyone screams in disbelief as they go into St. Elmo's.          Alec, Leslie, Jules, Wendy, Kevin holds the door open,          but no one thanks him.                         KEVIN          You're welcome. You're welcome.          A young, burned-out UNDERGRAD (CLAYTON) follows.                         KEVIN          You're not welcome, Clayton. How's          school?                         CLAYTON          Baroque. Thank you very much.          How's life after school?                         KEVIN          Like getting slam-dunked against          a brick wall, thank you very much.                         CLAYTON          College is the last womb. Got a          cigarette for a lowly undergrad?                         KEVIN          If you tell me the meaning of life?                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 8.                         7 CONTINUED: (2) 7                         CLAYTON          Life? Life's like acne. It has          to get worse before it gets better.          8 INT. ST. ELMO'S - HIGHT 8          Young professionals, graduate students, and precocious          undergrads populate the P.J. Clarke-like bar/restaurant.          Kirbo quickly goes back to work waiting tables. Alec gets          rid of a group of rowdy undergrads sitting at two tables          pushed together. He admonishes WALLY, the burly owner.                         ALEC          Wally! You let undergrad punks          at our tables???                         WALLY          Relax, Alec... they've only been          there ten minutes.                         ALEC          Yeah, well, we've been here for          four years.          Alec, Leslie, Jules, Wendy, Kevin and Billy (still with          sax around his neck) take their usual chairs as Kirbo          drops off a large pitcher of beer.                         BILLY          Hey, I need a real drink.          Kirbo is long gone. Kevin pours.                         KEVIN          Waiters are like cops. Never          around when you need one.          Kevin and Alec begin bouncing quarters from the edge of a          table into their beers -- obviously some ritual.                         BILLY          Will somebody get me a screwdriver?                         JULES          And a hammer.                         ALEC          You know what it means to have a          suspended license for drunk driving          on your record?                         (CONTINUED)                                                                                                              ST. ELMO'S FIRE - Rev. 10/1/84                         CONTINUED: (A2)                         BILLY          Yeah, Al. It means I won't ever          be able to be a cop in D.C... Hey,          Wend, you're not angry are you?                         WENDY          No, I'm not angry.                         KEVIN          Never trust a woman who says she          isn't angry.                         (CONTINUED)                                                                                                              9.                         8 CONTINUED: (2) 8                         WENDY          You better call your wife, Billy.          Billy reluctantly leaves as Jules laces into Kevin.                         JULES          You're the one who's so angry          these days. I thought writing          for the Washington Post would          make you happy.                         KEVI N          Writing obituaries is not writing,          Jules. All my characters die in          the and. I'd like to write          something about the meaning of          life for a change.                         LESLIE          You'll get your chance, Kevin.          Alec suddenly spots TOMMY BANCROFT, an older version of          Alec, across the room.                         ALEC          Hey, Tommy...                         (TO LESLIE)          Tommy Bancroft, Senator Hodges'          key guy. Come on, I want you to          meet him.          They leave the table as Jules turns to Kevin.                         JULES          The meaning of life, Kevin, is          fun, good times and a little          H-U-M-O-R. Don't you enjoy          anything anymore? Like girls?                         KEVI N          I enjoy being afraid of Russia.          It's a harmless fear. Makes          America feel better and Russia          gets an inflated sense of national          worth from our paranoia... Excuse          me, I have to call in my latest          epitaphs to the death squad. The          presses are waiting.          He gets up and leaves the table, passing Kirbo.                         KIRBO          Did you see her at the hospital?          Dale Biberman?                         (CONTINUED)                                                                                                              10.                         8 CONTINUED: (3)                         KEVIN          Who...?          9 BILLY ON PHONE 9                         BILLY          Well, honey, I kinda had a car          accident... What? Stop shouting.          I know I don't have any insurance.          Aren't you even gonna ask if I'm          okay? --          Billy adjusts a framed photo on the wall of him, Alec,          Jules, Wendy, Kevin, Leslie and Kirbo in their graduation          caps and gowns. He notices a woman's reflection in the          glass. He turns to see she is flirting with him from the          bar. He smiles back. Kevin arrives and Billy sees a          perfect way to get off the phone.                         BILLY          Here's Kevin, he wants to say          hello.          He hands the phone to a more than reluctant Kevin and          moves toward the YOUNG WOMAN at the bar.                         BILLY          Hey, Wally... a double screwdriver.          He joins the Young Woman who is eyeing his sax.                         BILLY          So, you believe in premarital sax?          10 INT. LADIES ROOM - NIGHT 10          Leslie watches as Jules applies eyeshadow to Wendy's          bruised eye.                         WEND Y          Will you both give Billy a break?          He lost his job today.                         LESLIE          The job Alec got for him?                         JULES          You didn't give him any money, did          you?                         WENDY          A little...                         (CONTINUED)                                                                                                                              1 1                          1 0 CONTINUED: 10                         ¬Ä¢ JULES          I thought you were going to take          definite steps to change everything          in your life that is not working.                         WENDY          That doesn't leave much left.                         LESLIE          I better break this to Alec gently          before he finds out the wrong way          and destroys his political career          by murdering Billy in front of          fifty witnesses.          She leaves as Jules looks to Wendy.                         JULES          Wendy, this is all too destructive.                         WENDY          Life in the-fat lane.                         JULES          You're not fat.                         WENDY          My thighs are fat. And no diet          works. The only way to lose          weight on your thighs is amputation.                         JULES          You have to amputate Billy the Kid.                         WENDY          I know, but I can't.                         JULES          I don't get it.                         WENDY          Me, either.                         1 1 BAR 11          Billy gets cozier with the Young Woman.                         YOUNG WOMAN          So, what line of work are you in?                         BILLY          Me? I'm a very important drinker!          So how 'bout we cut outta here?                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 12.                         11 CONTINUED: 11          ‚Ä¢ YOUNG WOMAN          I came with my girl friend.                         BILLY          That's okay, honey. This face          seats five.          Alec appears.                         ALEC          Billy, may I see you, please.          Billy follows as Leslie alerts Kevin and Kirbo.          12 INT. MEN'S ROOM 12          Alec and Billy enter.                         BILLY          What's up, Al?                         ALEC          May I see you over here, please.          Billy joins him. Alec grabs him and shoves his head in          the toilet.                         ALEC          Why didn't you tell me you blew          another job?                         BILLY          For some insane reason I thought          you'd take it badly.          Kevin and Kirbo rush in.                         KEVIN          Don't drown him, he's a father.          Alec releases Billy who comes up with his hair wet and          gives Alec a major shove.                         ALEC          That's right, you are a father and          when are you gonna grow up?                         BILLY          Like this was real mature, Al?          They all start to laugh. Alec softens.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 12A.                         12 CONTINUED: (AL) 12                         ALEC          I just got pissed off 'cause I had          to pull so many strings to get you          that job.                         (CONTINUED)                                                                                                              13.                         12 CONTINUED: 12                         ¬Ä¢ BILLY          Working for Senator Pomerantz was          not for me...          Billy looks at himself in the mirror.                         ALEC          Sorry, Billy.                         BILLY          That's all right. You couldn't          help yourself. You're an asshole.          Besides, the wet look is in.          He shakes his head, showering them with toilet water.                         KEVIN          Why do they put ice cubes in the          urinals?                         KIRBO          It tastes better.          13 OUTSIDE MEN'S ROOM 13          Leslie, Jules and Wendy wait anxiously, but the guys          emerge, pals forever again. Together as a group, they          join Tommy Bancroft and his pals at the jukebox singing          "I LIKE A GIRL WHO DRINKS."          14 INT. ALEC AND LESLIE'S LOFT - CLOSE ON MECHANICAL 14          C DRAWINGS - NIGHT (LATER) L                         15 15          Leslie works at a large drafting table in their sparsely          furnished loft. She wears over-sized pajamas.                         LESLIE          If we could find the money it would          be better to get the longer sofa.          Alec enters in his underwear, brushing his teeth.                         ALEC          Tommy Bancroft said I could start          working on weekends for Hodges. No          pay at first, but a way toward          big dough.          They wrap themselves around each other, kissing.                         LESLIE          Isn't Hodges a Republican?                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 1 4.                          14 CONTINUED: 14                          0 C                         ¬Ä¢ 15 ALEC 15          He's a senator, and Republican          senators' aides get paid a lot          more than Democratic congressmen's          assistants.                         LESLIE                         (KISSING HIM)          What happened to that Newberry          political conviction I fell in          love with?                         ALEC          You want the longer sofa?                         LESLIE          - I want you.                         ALEC          I'm going to buy you a red          nightgown with satin and lace.                         LESLIE          And rubber and leather...                         ALEC          Yeah, leather...          He opens her shirt and smothers her with love.                         LESLIE          Your breath is so sweet... Wait,          let me get the babykiller.          She starts for the bathroom.                         ALEC          Come on. Let's just do it. We're          getting married soon.                         LESLIE          Not so soon.                         ALEC          Let's take a chance... Russian          roulette!                         LESLIE          And guess who has to carry the          bullet around for nine months.          There is a KNOCK at the front door.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 15.                         14 CONTINUED: (2) 14                         E R                         15 LESLIE 15           Who could that be?                          ALEC          Who else could it be... Jules, of          course, afraid to stay in her new          apartment alone and she's spending          the night again.          16 INT. KITCHEN AREA OF LOFT - FEW MINUTES LATER 16          Jules sits drinking vodka as Leslie listens.                         JULES          So this crummy welfare hospital          called and remember I told you          about my father's second wife. My          'stepmonster.'                         LESLIE          The one who used to lock you in the          closet all the time?                         JULES          She gambled away all the money she          got out of my father, is on her          I deathbed and she put me down as          next of kin.                         LESLIE          But what about your father?                         JULES          Unreachable somewhere in South          Africa with his new wife, who it          turns out is only three years older          than me. And if I don't reach him,          guess who's going to end up paying          for that old witch's funeral. Is          there some insane irony to this or          what?                         LESLIE          I'm sure your father will take care          of everything.                         JULES          Sure, just like he takes care of          everything else, including not          showing up for my graduation.          In the background, Alec has brought in their mattress and          some sheets and a pillow.                         (CONTINUED)                                                                                                              16.                         16 CONTINUED: 16                         JULES          Thanks, Alec. You're still my          Indiana Jones. Always coming to          my rescue.                         ALEC          I just know better than to try and          break the umbilical cord between          two old roommates. Good night,          Jules.          Leslie kisses Jules and goes into the bedroom with Alec.          Jules takes another belt of vodka.          17 INT. KEVIN AND KIRBO'S APARTMENT - MIGHT (LATER) 17          Dirty laundry and Woody Allen posters. Kevin sits in the          middle of the mess looking at photographs longingly. He          wears camouflage shirts, a black beret and shades --          drinks brandy and writhes in orgiastic ecstasy as he          sings along with JANIS JOPLIN.                         KEVIN          TAKE IT... TAKE ANOTHER LITTLE          PIECE OF MY HEART NOW, DARLIN'...          Kirbo enters carrying his bike, and Kevin immediately          hides the photographs in a straw basket and becomes his          sophisticated self.                         KEVIN          Quick, what's the meaning of life?                         KIRBO          Dale Biberman.          Kevin looks puzzled as Kirbo hangs up his bike.                         KIRBO          The girl I fell in love with when          we were freshmen. Remember, I met          her at that big fountain on main          campus? The one that says          'Knowledge, Art, Religion, Life'...          she was sitting on the 'Life' side          and she smiled at me.                         KEVIN          You took her to one movie! That's          not love, it's infatuation!          Kirbo searches madly through records strewn on the floor.                         (CONTINUED)                                                                                                              17.                         17 CONTINUED: 17          ‚Ä¢ KI RBO          Kevin, there are several          quintessential moments in a man's          life... losing his virginity...          He yanks JANIS JOPLIN OFF abruptly.                         KIRBO          ... Getting married... becoming a          father.                         KEVIN          Killing his roommate for removing          Janis Joplin for the soundtrack          from Manhattan???                         KIRBO          And having the right girl          smile at you. She has the whitest          teeth I've ever seen.          "RHAPSODY IN BLUE" fills the room. Kevin begins gathering          up his endless pieces of paper, notes, etc.                         KEVIN          If you think I'm going to live          through another year of finding          poorly written, unmailed love          scratchings around this apartment.                         KIRBO          I found her again. It's fate.          It's true love. I have her          hospital schedule!                         KEVIN          Love is just an illusion created          by lawyer-types like yourself to          perpetuate another illusion called          marriage to create the reality of          divorce and the illusory need for          divorce lawyers. Did you know          there are more people in law school          right now than there are lawyers on          the planet?                         KIRBO          You're just bitter, 'cause you          haven't had sex for a long time.                         KEVIN          No wonder. The sexual revolution?          Who won?                         (MORE)                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 18.                         17 CONTINUED: (2) 17                          KEVIN (COHT'D)          Nobody... It used to be that sex          was the only free thing in the          world. No longer. Palimony,          alimony. All financial. Love's          an illusion.          Finally having gathered up all his notes, Kevin moves          toward the bedroom.                         KIRBO          It's the only illusion that counts.                         KEVIN          Says who?                         KIRBO          Anyone who's ever been in love.                         KEVIN          Love stinks.          He moves into the bedroom, closing the door on Kirbo.          18 EXT. "0" STREET (GEORGETOWN) - DAY 18          A great fall day. Young people shop and party on the          busy street. CAMERA FINDS Jules, Wendy and Leslie exit-          ing a store with their purchases. Jules is on Wendy's          case.                         JULES          You should have bought the red          dress. Red drives men mad.          As two college guys hit on Jules she flips her red cape.                         JULES          See...                         WENDY          I have a mad man in my life          already.                         JULES          You have to put some kind of          distance between you and Billy.                         LESLIE          Jules is right.          Kevin and Kirbo join them.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 18A.                         18 CONTINUED: 18                         WEHDY          It's easy for both of you. Men          are just a game for you Jules.                         JULES          Trivial pursuit.                         WEHDY          And of course you and Alec are...          LESLIE/JULES/WEHDY/KEVIN/KIRBO          The perfect couple!!!          They approach Jules' Jeep.                         LESLIE          Thanks for the pressure, guys...                         (TO WENDY)          .. Shouldn't we be finding you an          apartment?                         19 OMITTED 19                         & C                         20 20                                                                                                              19.          21 EXT. STREET CORNER - DAY (CONTINUOUS) 21          ‚Ä¢ The group picks up Alec and Billy who have just come from          a small office building. Billy has made a great effort          to look establishment. Alec, as always, looks like a          Ralph Lauren ad. They cram into the crowded Jeep.                         WEND Y          How'd you do?                         BILLY          I'm an official pollster, thanks          to Alec.          Everyone applauds.                         ALEC                         (KISSING LESLIE)          I had to promise our first born.          'Keep your nose clean and you could          move up fast, Billy.          Billy is quickly pulling off his tie, unbuttoning his          shirt and messing up his hair.                         BILLY          You're a god, Alec.                         JULES          How 'bout bloody Marys on me at          St. Elmo's?          Everyone cheers except Alec.                         ALEC          I gotta get back to work.                         KIRBO          Since when do you work on Saturdays?                         LESLIE          Since he started volunteer          moonlighting for Senator Hodges.                         KI RBO          What is the three-year president          of Georgetown's Young Democrats          doing working for a Republican?                         ALEC          Moving up, Kirbo.          As most of the others boo and hiss playfully, CAMERA          FINDS Billy talking to Wendy. Reaching in his pocket,          he gives her a toy car.                         (CONTINUED)                                                                                                              Mb tEti4yA)           Rev. 10/11/84 20.                         21 R CONTINUED: 21                         BILLY          I told you I'd get you a new car.          I'm goin' ultimate on this gig, Wend.          Gonna pay you back for everything...          Let's celebrate tonight.                         WENDY MI          What about Felicia and the baby?                         BILLY          Hey, come on, it's Saturday night.          Let's party out. Let's go ultimate.          Could he mean sex? Love? What she's been waiting for?                         WENDY          Okay. Why can't I say no to you?          22 EXT. ATTRACTIVE TOWNHOUSE - DAY (LATER) 22          The Jeep parked, Jules lets Kevin in.          23 INT. VERY DRAMATIC APARTMENT - DAY 23          Jules and Kevin can be heard CLIMBING the STAIRS outside.          JULES (O.S.)          You haven't been here since you          helped me move in...          KEVIN (O.S.)          Oh, did you move in, too? I only.          remember 800 pair of shoes.          She opens the elaborate locks and they enter.                         JULES          What do you think?                         KEVIN          Very subtle and very pink. Must          have cost some subtle bucks.                         JULES          Why do you think God invented credit          for fabulous people like me? Fix          us a drink.          She disappears into the bedroom.          JULES (0.5.)          I knew you'd like it. You have          such sensitivity... Fix me a          vodka rocks...                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 24.                         29 CONTINUED: 29          V There's no one home. Sadly she walks back to her apart-          ment. It's getting darker outside.          30 EXT. GEORGETOWN MEDICAL CENTER - DUSK 30          Kirbo, wearing a jacket, anxiously waits behind a tree,          watching a car pull into the parking lot. Dale Biberman          emerges. Kirbo keeps out of sight, and frantically          dashes toward a side entrance to the building.          31 INT. HOSPITAL - DUSK 31          Kirbo dashes down the hall. Approaching a corner,-he          immediately achieves nonchalance as he "accidentally"          runs into Dale at the entrance.                         KIRBO          Why, Dale? How nice to see you          again.                         DALE          Kirby, what brings you back here?          Nothing serious, I hope.                         KIRBO          Oh, no... just tying up some legal          loose ends for my friends...                         DALE          Excuse me... I'm late...                         KI RBO          Ah, funny running into you again.          I noticed there's going to be a          Woody Allen festival and I thought          maybe we...                         DALE          I don't get to the movies much          anymore... I've got to go.          She is moving away.          K I RBO          Well, lunch. How about lunch?                         DALE          Sure. That would be nice sometime.          She is moving quicker.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 25.                         31 CONTINUED: 31                         ¬Ä¢ KIRRO          Wednesday? How about Wednesday?          Dale is gone.          32 INT. ALEC AND LESLIE'S LOFT - NIGHT 32          Leslie is trying to coordinate dinner'while Kevin is          looking at a rendering of a complex housing unit.                         LESLIE          A whole community within          itself. Right near Lockheed.          Open some wine.                         KEVIN          Looks like it could be put          together with Leggo blocks. You          design this?          .LESLIE          I did all the mechanicals for one          of our senior architects and I think          he's going to promote me to the          design staff.          Kevin is fighting with a ridiculous wine opener.                         KEVIN          Maybe you could design a corkscrew          that actually works. Everything in          this apartment comes from Scandinavia.          They don't even have wine in          Scandinavia.          Naturally Leslie opens it in a flash.                         KEVIN          Do you think my attachment to Alec          is unnatural?                         LESLIE          No, I think mine is. We've only          just started to live together and          he's already pushing for 'the          wedding.'                         KEVIN          Well, since you fell in love with          a Democrat and now he's a          Republican, I think all bets are          off.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 26.                         32 CONTINUED: 32          ‚Ä¢ Leslie burns herself and shouts.                         LESLIE          How do some women do this every          night of their lives and not go          insane?                         KEVIN          They are insane. Wives, husbands,          children, love, marriage,          relationship. It's all insane.                         LESLIE          That's what I'm afraid of. Did I          tell you that my perfect sister          and her perfect husband are getting          a perfect divorce-?                         KEVIN          I have the perfect cure. Stay          away from love.          He finds the butter and puts some on her hand.                         LESLIE          You must have been in love, once.          You like hot peppers?                         KEVIN          Doesn't Alec hate them?                         LESLIE          Insurrection... Now, come on, Kevin,          you must have been in love with          somebody, sometime...                         KEVIN          Once, in junior high. I played          guitar in a group and fellin love          with our singer who did 'We've Only          Just Begun' as sweet as Karen          Carpenter. I got high on cheap          champagne and pledged my love.          Next day she ran off with the bass          player named Rocky and I traded my          guitar in for a battered Underwood          typewriter.                         LESLIE          On which you will type your way          to being one of the most important          writers in America.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 27.                         32 CONTINUED: (2) 32                         KEVIN                         ¬Ä¢          On which I continue to turn out          obituaries and very little else...          Taking out shreds of papers and napkins.                         KEVIN          I can't seem to organize any of my          thoughts into anything of any          substance.                         LESLIE          Maybe you need to stop thinking so          much and fall in love again.                         KEVIN          Love stinks.          The door opens and Alec arrives home.                         ALEC          Hi, guys.          He kisses Leslie.                         KEVIN          Rough day with the right wing,          dear?          Alec hands Leslie a red box. She opens it excitedly and          finds a black lace nightgown. She screams as Alec heads          for the kitchen.                         ALEC          Try it on...          Leslie makes naughty eyes at Kevin and disappears into          the bedroom.                         ALEC          Leslie has to marry me, soon.                         KEVIN          Why, you pregnant? Kidding.          What's your 'marriage' hurry?                         ALEC          When you have a serious          relationship, Kev, you'll find out          the problem with living together:          it's too easy.                         KEVIN          Maybe for you and Leslie. You have          the perfect relationship.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 28. s                         32 CONTINUED: (3) 32                         I ALEC           I mean, it's too easy to get out           of. You either build to something           bigger -- like marriage -- or one          day you could make a mistake and          the person you were living with is          gone.          Alec takes a bite of dinner and cringes.                         ALEC          I'm going to kill myself.                         KEVIN          They're only peppers, Alec.                         ALEC          I can't believe what I just did. I          innocently go to buy the nightgown          and this amazing blonde salesgirl          starts coming on to me... we wind up          doing it standing up in front of a          three-way mirror in the dressing          room.          He lies down on the floor.                         ALEC          If Leslie would just marry me, I          know I wouldn't do stuff like that          -- it would be a legal violation.                         KEVIN          As opposed to tonight's standing          violation. You think marriage is          going to make you faithful?                         ALEC          Yes.                         KEVIN          The idea of two people spending          their lives together was invented          by people who were lucky to make          it to thirty without being eaten          by dinosaurs. Marriage is obsolete.                         ALEC          Dinosaurs are obsolete. Marriage          is still around.          Leslie screams from the bedroom.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 28A.                         32 CONTINUED: (4) 32           LESLIE (O.S.)                         I S          This is obscene. I love it.          Alec dashes into the bedroom. As he opens and then          closes the door, Kevin sees a flash of Leslie looking          absolutely ravishing in the nightgown. As they SCREAM          and PLAY, Kevin, feeling very alone, stirs the burning          dinner.                         CUT TO:                                                                                                              29.          33 EXT. BAD NEIGHBORHOOD - NIGHT (LATER) 33           A few hookers work the corner. FOCUS ON a BLACK HOOKER          talking to passing car.                         BLACK HOOKER          You want a date...? Hi... you          want a date...          Kevin passes quietly and she ignores him.                         KEVIN          Why don't you ever ask me if I          want a date?                         BLACK HOOKER          'Cause I thought you were gay.                         KEVIN          Why would you think I'm gay?                         BLACK HOOKER          'Cause I never see you with a girl.          And you always look real strange.                         KEVIN          Well, just for your information.          I happen to be in love with someone          but they don't know it. I guess          you wouldn't understand loving          someone from afar.          He takes a swig from a bottle in a paper bag.                         BLACK HOOKER          Delaware's about as far as I've          ever gone. Is this person a he          or a she?          She takes the bottle and takes a swig.                         KEVIN          It's a secret. But I guess you          wouldn't understand about that,          either.                         BLACK HOOKER          Oh honey, lots of people come to          me for love and it's a secret.          He takes his bottle back and goes home.          34 INT. VISTA WELFARE OFFICES - AFTERNOON 34          Wendy is interviewing a good-looking WOMAN with five          children crawling all over her.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 30                         34 CONTINUED: 34                         WENDY          See our real purpose, Miss Chambers,          or do you prefer Ms... is to get          you off welfare and train you in a          skilled profession. Now, do you          have any interest in the janitorial          field?                         WOMAN          Jus' give me my check.                         WENDY          There are educational...                         WOMAN          Jus' give me my check.          Wendy hands her the check.                         WOMAN          You get some hot clothes, get          yourself a man... you won't be          worryin' about all this shit.          She leaves as Billy arrives in time to check her out.                         BILLY          Welfare recipients are getting          better-looking these days.                         WENDY          Ever feel like you're not          accomplishing anything?          Billy sits on her desk.                         BILLY          I think I'm in touch with the          feeling. Let's go get a drink.                         WEND Y          Billy, why aren't you at work?          Billy gives her a look she knows all too well.          35 INT. ST. ELMO'S - DAY (AN HOUR LATER) 35          Wendy and Billy sit at the bar as Kirbo pours.                         KIRBO          Buddy, the only extra money I          have is my savings for the most          important date of my life.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 31.                         35 CONTINUED: 35                         WENDY                         E          Are you in love?                         KIRBO          I'm ripped between rapture and s          torture. s                         WENDY          I'm all tapped out from the accident          but I could probably get some from          my father...                         BILLY          No more money from you, Wend. But          maybe you could help me find another          job.                         WEND-Y          Do you have any interest in the          janitorial field?          They both smile.                         WENDY          You should be playing your music.          Billy...                         BILLY          I'm a family man and the rent is          due.          Alec, followed by Kevin, storms into the bar and attacks          Billy.                         ALEC          You dumb shit. You have to start          making passes at the women you're          supposed to be polling?                         BILLY          Actually, they were the ones who          suggested another type of polin'...          He smiles as Alec grabs him.                         ALEC          You're twenty-three years old.          You got a wife and kid.                         BILLY                         A          And you're a great American.- Are          you new at this? Or just an          asshole?                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 32.                         35 CONTINUED: (2) 35                         ¬Ä¢ ALEC          You're not the fraternity star          anymore. No more Billy the Kid.          Billy starts to leave. Alec follows.                         ALEC          I didn't bargain for you turning          out this way.                         BILLY          And I didn't bargain for you          turning into a pompous politico.          Suckin' up to Hodges. That's it,          Al, isn't it?... You've become a          Republican!!!                         ALEC          And you've become a drunk.                         BILLY          Oh, no, not just 'a' drunk, Big          Al. One of the great drunks!           Born, bred and diseased in the s          U.S.A.                         (TO WENDY)          Come on...                         (TO KEVIN)          You with us, Kev...?          Kevin hesitates.                         BILLY          Oh, I forgot, Kev. You don't do          anything Alec doesn't tell you to          do. Well, that's-okay, 'cause          just remember one thing. You can          pick your friends and you can pick          your nose, but you can't pick your          friend's nose.          Billy leaves. Wendy looks at Alec and starts to laugh.                         ALEC          Stay right here, Wendy.          She can't and runs after Billy.          INT. ALEC AND LESLIE'S BEDROOM - NIGHT 36          They are both asleep as the PHONE RINGS. Alec pulls          himself together and speaks alertly.                         ALEC          Alec Newberry.                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 33.          37 INT. VAN BUREN HOTEL - BATHROOM - NIGHT 37 s          ‚Ä¢ Jules, wearing a sexy dress, whispers into the phone.                         JULES          Alec, it's Jules. I'm at the          Van Buren... X          INTERCUT their phone conversation.          ALEC (V.0.)          What time is it?                         JULES          Please... I'm with these Arabs...          and they've been forcing me to do          coke all night... And I only          understand a little Arabic, but          I'm sure I heard the words for          'gang bang' and 'white slavery'...          Please get me out of here... Suite          2708.          38 INT. ALEC AND LESLIE'S BEDROOM - NIGHT (SECONDS LATER) 38          Leslie watches anxiously as Alec throws on his clothes.                         A                         LESLIE          You're so wonderful taking care of          all of us. I love you. I really,          truly love you.          He kisses her.          39 EXT. VAN BUREN - NIGHT (TEN MINUTES LATER) 39 :          Alec gives his car to a valet and rushes into the hotel.          40 INT. VAN BUREN - TOP FLOOR - MINUTES LATER 40           The elevator opens and Alec quickly finds the room and           knocks loudly.           ARAB VOICE (O.S.)           Yes.                         ALEC          Open up.          After a beat, the door is opened by a sedate Arab          businessman. Alec pushes past him.                                                                                                               ST. ELMO'S FIRE - Rev.. 10/1/84 34.          41 IXT. SUITE - NIGHT 41          Four additional sedate Arab businessmen sit calmly          watching MTV. Jules is pacing nervously by the bar,          smoking. She fakes surprise at Alec's entrance.                         JULES          Alec, what are you doing here?          He quickly grabs her and they leave the suite. The Arabs          hardly notice.                         ALEC          Okay, nobody make a move.          42 INT. VAX BUREN LOBBY - RIGHT 42 s          Jules and Alec walk from the elevators.                         JULES          You're a real pal. My Indiana          Jones. I won't forget how you came          to my rescue again.                         ALEC          They hardly impressed me as the          gang bang type, Jules. Now much          coke have you done?                         JULES          Shovels full. They've got          barrels.                         ALEC          You're just paranoid from the coke.          You know sometimes I think you just          make up these dramas to test me or          something.                         JULES          That's very interesting, let's          stay up all night like the old          days and discuss it.                         ALEC          I have to be at work in a few hours.                         (INDICATING HER                         FURS)          And where are you getting all this          money from?                         JULES          'I'm a financial genius, haven't          you heard?                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 35.                         42 CONTINUED: 42          She goes toward the public phone.                         LJ                         ALEC          Who are you calling?                         JULES          A systems analyst I met... very          hot Jewish guy.                         ALEC          What are you, the new Middle East          Ambassador? It's two-thirty.          Come on, I'll take you home.                         JULES          And waste all this good coke!          As Jules connects with her number, Alec starts to head          out of the hotel in disgust. A beautiful older woman is          getting her key from the desk and crosses in front of him          toward the elevators. She and Alec check each other out.          He smiles. She smiles. As her elevator, arrives, she          changes her mind and, giving Alec an inviting smile,          steps into the dimly-lit bar. Alec is torn between          morality and temptation. Temptation wins as he follows          the sexy lady.          43 INT. LA PETITE CHATEAU - MORNING 43          Kirbo, dressed in his best, enters the elegant, but empty          dining room. Searching around quickly, he begins to try          out various tables. He exchanges floral arrangements at          one as the austere MAITRE D' approaches as Kirbo peruses          a menu.                         MAITRE D'          Excuse me, sir. We do not open          until eleven.                         KI RBO          That's all right. I'll wait.                         MAITRE D'          Do you have a reservation?                         KIRBO          Yes. Kreager. One o'clock. I          want this table.                         MAITRE D'          At that time, I will find a lovely          table for you and your guest. But          this is a table for four.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 36.                         43 CONTINUED: 43                         KIRBO          I'll pay double.                         MAITRE D'          I'm sorry.                         KI RBO          I want this table... and I'm          waiting right here.          44 INT. INTERNATIONAL BANKING OFFICE - ONE HOUR LATER 44          Jules, wearing glasses, is at work speaking on the phone          in front of a bank of computers..                         JULES          You could order a nice Napa Valley          Chardonney, unless you want to          impress her with an import.          45 INTERCUT - KIRBO IN THE RESTAURANT 45          With a phone at his table, looking at the menu.                         KIRBO          Money's no object.          JULES (V.0.)          Montrechart or Mersalt then          and don't forget to smell the cork.                         KIRBO          Okay and how do you say escargot?          JULES (V.O.)          Escargot. I'd stay away from them          if I were you... heavy garlic.          46 INTERCUT - INT. BANK 46          A WOMAN moves through the desks with a box of envelopes.                         JULES          It's payday, thank God!                         WOMAN          Jules, you're advanced on your salary          two months. I have no check for you.          KIRBO (V.0.)          Jules, I owe you.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 37.                         46 CONTINUED: 46                         ¬Ä¢ JULES          That's good. 'Cause I owe          everyone else.          She hangs up and follows the Woman.                         JULES          I've got to pay for my stepmonster's          funeral. Then I'll catch up.                         WOMAN          I'm afraid you'll have to see          Forrester Davidson.                         JULES          The president of the bank?          47 BACK TO RESTAURANT 47          The Maitre D' grandly takes the phone from Kirbo's table.                         KIRBO          Could you please clean up these          crumbs, waiter?                         MAITRE D'          I am not the waiter. I am the          captain.                         KIRBO          Aye, aye, sir.          Dale Biberman rushes into the restaurant in all her          splendor. Kirbo is extremely excited.                         DALE          Sorry I'm late. Have you been          waiting long?                         KIRB0          Just got here.          Kirbo beats out the Maitre D' and pulls out Dale's chair;.                         DALE          The food is great here.          K I RBO          I'll be having the alfalfa sprouts          and a plate of mashed yeast.                         (CONTIRUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 38.                         47 COHTIHUED: 47                         ¬Ä¢ DALE          Are you a vegetarian?                         KIRBO          Ho... that's from Annie Hall, the          movie we saw together... don't          you remember?                         DALE          That's funny... I thought we went          to see a Mel Brooks movie.                         KIRBO          Ho... it was Annie Hall.                         DALE          Are you sure? 'Cause I don't like _          Woody Allen movies very much.                         KI RBO          Oh, me, too. I hate Woody Allen          movies.          The Maitre D' comes over to the table.                         MAITRE D'          Will you be ordering any wine?                         KIRBO          Of course... We'll have the...                         DALE          I can't... I'm on call.          Kirbo is shot down as the Maitre D' hands Dale a menu.                         KIRBO          So... how's your, uh... are you          seeing anyone?                         DALE          To tell you the truth, my work's          so time-consuming, I don't get the          chance to date, but when I do --          well, medicine's such an incestuous          profession, the only people I seem          to ever go out with are doctors.          The Maitre D' returns with the telephone.                         MAITRE D'          Miss Biberman? Telephone.                         (CONTINUED)                                                                                                              39.                         47 COHTIHUED: (2) 47                         DALE          r See, they just won't let me alone.                         (INTO PHONE)          Hello... Yes, yes, doctor, right          away.                         (HANGS UP)          I've got to get back to the hospital.          I'm so sorry. Maybe we can do this          again sometime.                         KIRBO          When?          She is gone as the Maitre D' walks over to him with his          pad and speaks with exquisite, controlled sarcasm.                         MAITRE D'          Have you had enough time to look          at the menu?          48 INT. LAUNDROMAT - DAY 48          Kevin and Kirbo fold their laundry.                         KEVIN          You cannot go to med school just          to impress this girl with whom          you have a fleeting infatuation.                         KIRBO          This is not just an infatuation and          she's not just a girl -- she's the          only evidence of God I can find on          this planet -- with the exception          of the mystical force which removes          one of my socks from the dryer every          time I do laundry.          Laundry folded, they head out of the laundromat passing          the drop-off "Fluff and Fold" facilities.                         KIRBO          'Fluff and Fold.' I'm telling          you, Kev, when I make it, that's          where I take my laundry.                         KEVIN          Dreamer.                         KIRBO          I understand 'Fold,' but what is          'Fluff'?                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 40.                         48 CONTINUED: 48                          KEVIN           'Fluff' is what I write for the paper.           They leave the laundromat. Kirbo drops a sock.                         49 OMITTED 49          50 INT. BEAMISH DINING ROOM - NIGHT 50          Wendy's formidable FATHER shows Billy framed greeting          cards. Billy drinks heavily. Wendy worries.          MR. BEAMISH (FATHER)          We've got twenty-four 'Card-A-          Terias' now. What line are you          in?                         BILLY          Munitions.                         WENDY          He's kidding, Dad. He's a musician          and a very fine one.          Wendy leaves them as she enters:          51 INT. BEAMISH KITCHEN - NIGHT 51           where her two-blonde sisters (RACHEL and LIBBY) help her           BLONDE MOTHER with dinner.                         RACHEL          Please do not bring up moving out          tonight. Daddy'll have a heart          attack in front of your boyfriend.                         WENDY          He's not my boyfriend.                         LIBBY          There's a nice young guy working          for us now. Howie Krantz.                         WENDY          Libby, please.                         (KISSING MOTHER)          You're looking beautiful, Mom.          MRS. BEAMISH                         (STAGE WHISPER)          I'm fat. I'm thin. I'm fat. I'm           thin. I'm blonde. I'm brunette.           (CONTINUED.)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 41.                         51 CONTINUED: 51                         WEKDY          Look at it this way. You always          wanted to look like Elizabeth          Taylor... and now you do.          52 INT. BEAMISH DIKING ROOM - NIGHT (CONTINUOUS ACTION) 52 s          Billy fills his glass while Wendy's niece and NEPHEWS          watch. Wendy joins him.                         WEKDY          There are certain words my mother          finds too horrible to utter so          she whispers them... you'll get          used to it...          53 INT. BEAMISH DINING ROOM - NIGHT 53          Everyone is eating. Billy is drinking. Wendy's mother          is talking.          MRS. BEAMISH          Hear about Betty Rothberg?                         (STAGE WHISPER)          Cancer.          One of Wendy's BROTHERS-IN-LAW speaks to Billy.                         BROTHER-IN-LAW #1          The day I married Rachel, I got          three 'Card-A-Teria' franchises.          Just bought a BMW.                         BILLY          (to other Brother-                         IN-LAW)          You in the card game, too?                         BROTHER-IN-LAW #2          Six franchises! We have two kids.          Mrs. Beamish addresses Billy.          MRS. BEAMISH          Where did you and Wendy meet again?.                         BILLY                         (STAGE WHISPER)          Prison.                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 42.          54 TNT. BEAMISH DEN - NIGHT 54          Wendy's father gives her money.          MR. BEAMISH          If you'd get married and run a          franchise like your sisters, you          wouldn't need to borrow money.                         WENDY          I have a job with the Department          of Human Services, Dad.          MR. BEAMISH          That's not a job. It's killing          time 'til you get married.                         WENDY          I'm very committed and I think I          should get my own apart...          Suddenly, one of Wendy's Nephews comes running into the          room excitedly.                         NEPHEW          Billy's up on the roof.          0 55 EXT. BEAMISH. HOUSE - NIGHT 55          The entire family comes running out of the house. Billy          is way on top of the three-story house, sitting above          the cupola and widow's walk, his legs dangling.          MR. BEAMISH          Come down from there.                         RACHEL'          What, is he crazy?          MRS. BEAMISH          I knew it the minute he walked in          the door...                         (STAGE WHISPER)          drugs!!!          Wendy runs inside.          56 EXT. BEAMISH ROOF - NIGHT 56          Wendy joins him.                         X                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 43. s                         56 CONTINUED: 56          She sits down next to him.                         WENDY          All the years we lived here and          no one ever did this.                         BILLY          I used to do this at the Prat          house all the time. Climb out          from Alec's room onto the roof          and play my sax.          57 EXT. BEAMISH HOUSE - NIGHT 57          Below, the family comes running out again.                         RACHEL          Oh, my God. Wendy's up there with          him!          Wendy and Billy ignore them as the family screams and          runs back into the house.          BACK ON WENDY AND BILLY 88                         WENDY 59          You miss school, don't you?                         BILLY          Not a day does by that I don't          wish we were all back there.          Everything made so much sense          then. Our group being so          ultimate, so number one.                         WENDY          Every group on campus thought          they were number one.                         BILLY          But we were. Alec and me running          everything. Jules and Leslie          the hottest girls... Kevin and...                         WENDY          Me having the fattest thighs.                         BILLY          You being the best of us all...          Those all-nighters when we used          to talk about our dreams.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 44. s                         58 CONTINUED: 58                         8                         WENDY 59          I was gonna save humanity.                         BILLY          I was headed for New York with my          sax... to become the new Clarence          Clemmens. Then I met Felicia and          she got pregnant, or said she was.          Wendy looks shocked.                         BILLY          By the time I found out she had          lied, she really was pregnant...                         WENDY          Why didn't you ever tell me that          before?                         BILLY          No matter... I probably wouldn't          have made it in New York, anyway.                         WENDY          You're very talented, Billy.                         BILLY          School was so damned ultimate.          Everyday life... there's no way          to go ultimate.                         (SMILING)          But if it all gets too much          Like just too fucking much...          You can end your life at any          moment.          He dangles his feet dangerously off the edge.                         WENDY          That's ultimate.                         BILLY          Don't you ever just want to          die?                         WENDY          Not while I'm still a virgin.          Billy looks over at her. He's amazed.                         BILLY          Why didn't you ever tell me that          before?                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 45.                         58 CONTINUED: (2) 58          59 Brother-in-Law #1 arrives at the window below them. 59                         10                         BROTHER-IN-LAW I1          Will you get down here before          your parents have matching heart          attacks?!          60 INT. BEAMISH FOYER - LATER 60          Wendy waits in the hallway, listening to bedroom DOORS          CLOSING. Confident her parents have bedded down, she          tiptoes back into:          61 INT. BEAMISH DEN 61          where Billy is drinking heavily at the bar.                         BILLY          Want some?          Wendy takes a big gulp. They are both awkward and ap-          prehensive. She turns out a lamp. So does he, but          knocks it over.                         WENDY          Sssssh.          She waits, and when she realizes no one has heard the          crash, she sits down on the small loveseat. Billy joins          her and going to kiss her, knocks her glasses askew.          WENDY E BILLY          Sorry...          He goes to kiss her again and she responds. He pulls up          her skirt and starts to stroke her legs.                         BILLY          What the hell is that...?                         HIS POV          Her long-line panty girdle.          BILLY (O.S.)          What's that, your scuba suit...?          He laughs as Wendy is destroyed with mortification.          She gets up.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 46.                         61 CONTINUED: 61                          BILLY                         W          Hey, come on, Wend. You're allowed          to laugh when you're screwing.          Wendy is destroyed as she opens the door.                         WEND Y          I don't think we should see each          other, anymore.          She pulls out the money her father gave her and places it          on a nearby table.                         WEHDY          There's your rent money. Just          take it and go away.          She starts up the stairs. Billy comes to the doorway.                         BILLY          Wend... I'm sorry...          She is up the stairs and out of sight. Billy feels          terrible. He eyes the money on the table and decides          not to take it. As he opens the front door, white light          from the moon glares INTO the CAMERA, as Billy moves into          the light, it becomes whiter, more incandescent -- he          becomes a ghostlike shape that eventually disappears and          the SCREEN becomes SHIMMERING WHITE as we --          DISSOLVE RAPIDLY TO:          62 EXT. GEORGETOWN STREET - NIGHT (FEW WEEKS LATER) 62          A ghoulish Halloween mask FILLS the SCREEN. Children run          BY CAMERA trick-or-treating, revealing the Georgetown          streets alive with mild Halloween shenanigans. Jules          comes zooming around a corner, driving her black Jeep.          She, Alec, Leslie and Kevin are in costume.          63 EXT. ST. ELMO'S BAR - RIGHT 63          Balloons and streamers fly from Jules' Jeep as she pulls          up near St. Elmo's.          A large paper banner across the window reads "LIVE MUSIC          EVERY FRI. R SAT. -- STARTING TONIGHT." CAMERA MOVES          CLOSER TO the window, where THROUGH the rowdy patrons,          some in costume, we see a trio on a small platform led by          Billy playing his sax.                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 47.          64 INT. ST. ELMO'S -- HIGHT 64          Kirbo is ushering Alec, Kevin, Leslie and Jules to their          usual table.                         LESLIE          But don't you need science credits          to get into mad school?                         KI RBO          I have most of the credits from          when I was going through my          'major-of-the-week' phase. All I          need is Organic Chemistry which I          just enrolled in for January.                         ALEC          This must be some woman to turn 7          you into a doctor, Kirbo.                         KIRBO          Hey, I've been an amateur          gynecologist for years.          He is gone as Jules and Leslie wave to Billy and start          toward the ladies' room.                         JULES          So, I went to see my boss and I          thought he'd say something          presidential like, 'How can I be          in banking when I can't even          balance my own checkbook.' But          instead, he took me to dinner --          several times.                         LESLIE          I was wondering why you haven't          been sleeping over. Jules, I          don't think you should start          bopping your boss.                         JULES          Too late, Leslie. You should see          him -- sort of a cross between John          Forsythe and Richard Gere.                         LESLIE          An old man who doesn't wear          underwear.                         65 OMITTED 65          0,                         1                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 48.          66 INT. ST. ELMO'S - NIGHT 66          Billy is happily playing his heart out. CAMERA FINDS          Alec and Kevin at their table flipping quarters.                         ALEC          Do you have an extra key to your          apartment I could use tomorrow?                         KEVIN          What for?                         ALEC          Remember the lingerie salesgirl?          She's been calling me at work.                         KEVIN          Alec, you're going to have to          learn to say 'no.'          AJ.EC          I need a reason to say no. Until          Leslie agrees to marry me, I've          got to grab some of the gusto.                         KEVIN          You've seen too many beer          commercials.          Wendy arrives, nervously, with HOWIE KRANTZ, a plump,          cheerful guy, uncomfortable in his preppy clothes.                         WEND Y          Hi... this is Howie Krantz.          As Alec and Kevin welcome Howie, CAMERA STAYS ON Wendy,          who is filled with mixed emotion watching Billy play.          As she sits down slowly, Kevin'speaks to her:                         KEVIN          Thought you weren't coming here          anymore.                         WENDY          Oh, we were just passing by.          Kevin and she smile as he puts his arm around her. Alec          and Howie are talking business.                         HOWIE          Greeting cards. I work for one of          Wendy's brother-in-laws.                         (CONTINUED)                                                                                                               ST. ELMO`S FIRE - Rev. 10/1/84 49.                         66 CONTINUED: (A2) 66                         ALEC          ‚Ä¢ A humongous future in greeting          cards.          Alec wickedly eyes Kevin as Jules and Leslie return.          During introductions to Howie. Jules shouts across the          room to a new arrival:                         (CONTINUED)                                                                                                              50.                         66 CONTINUED: (2) 66                         JULES                         ¬Ä¢          Over here!          Kevin is watching Alec kiss Leslie, when suddenly they          are joined by Jules' neighbor, ROH.                         JULES          Everybody... this is my friend          and decorator, Ron Dellassandro!!!                         (TO KEVIN)          You remember Ron.          This is not Kevin's night. As Ron sits next to him,          Alec's jovial mood suddenly changes.                         ALEC          Oh, shit.          All their eyes move across the room, where a very sexy          young WOMAN has entered with a noisy blue-collar type.                         HOWIE          What's wrong?                         WENDY          That's Felicia. Billy's wife.                         JULES          But who is she with?          Kirbo seats them at a small reserved table.          Alec, Leslie, Jules, Wendy, Kevin and Howie all turn          their attention immediately to Billy, who is playing his          heart out -- until he sees FELICIA.          Felicia and blue-collar get chummier.          Billy stops abruptly and jumps from the platform.          Alec is up in a flash and headed after him.          Billy arrives at their table.                         BILLY          Hands off my wife.                         FELICIA          Oh, you finally remembered. Where          were you this past week?          Alec arrives.                         (CONTINUED)                                                                                                              51.                         66 CONTINUED: (3) 66                          ALEC                         IS           Billy...                          BILLY          I said, take your goddamn hands off          my wife.          Blue-collar just smiles. Billy throws himself on top of          him, slugging. Felicia screams. Alec tries to stop          them. St. Elmo's watches as Billy and blue-collar beat          the shit out of each other. Blood flows. Wally, the          owner, arrives with a baseball bat.                         WALLY          Get him outta here.          Alec, Kevin and Kirbo get Billy moving toward the door.                         FELICIA          Yeah, get outta here... you no-          good shit.          Felicia is hurling insults at Billy as she tends to blue-          collar. Alec and the others drag Billy past Leslie and          Jules, who look to Ron, who has been hiding behind them          with a hand in front of his face.                         ROM          I just had my nose done.                         WALLY          You're fired, Billy.                         (TO BAND)          You, too. Out, all of you.          Wendy is dying, as she watches them take Billy out.                         WEHDY          He's bleeding.                         FELICIA          Get outta here, Billy. Get outta          my life!!!          67 EXT. ST. ELMO'S - HIGHT 67          Alec, Kevin and Kirbo are dealing-with Billy's rage.          Patrons and friends begin to gather and watch.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 52.                         67 CONTINUED: 67                         I BILLY          I shoulda had a vasectomy at birth.          You ever have boys, do 'em a favor          and get 'em neutered at birth.          Knock up some slut and you're the          one who's really fucked. Fucked          for life. I hate that bitch!!!          He pushes his friends away as he lunges into the street          to make a grand gesture of marching away. Suddenly blue-          collar comes charging out of the doorway and kicks Billy          in the back. Billy goes down as Felicia jumps on him.                         FELICIA          Goddamn you, Billy. You shit.          There is pandemonium as Felicia and Billy pummel each          other. Alec grabs Billy, while Kevin and Kirbo restrain R          Felicia. As the young couple are being dragged away 2          from each other, suddenly Felicia cries out to,her man.                         FELICIA          Billy...                         BILLY                         (MELTING)          Baby...          They break away from the friends who are restraining          them, and rush to each other in the middle of the street.          Only the very          young and the very drunk can get away with          this. They collide in sexual frenzy.                         68 IN CROWD 68          Wendy watches, filled with emotions as Leslie and Jules          stand on either side of her.                         LESLIE          You just go ahead with your evening          with Howie.                         JULES          Yes. No matter what he looks like.          Leslie glares at Jules, but Wendy starts laughing.          69 INT. ALEC AND LESLIE'S LOFT - NIGHT (AN HOUR LATER) 69          ‚Ä¢ Felicia puts ice packs on Billy's face. Leslie and Kevin          make coffee.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 53                         69 COHTIHUED: 69                         FELICIA          This is all my fault.                         BILLY          Ho, you married a loser and you          better face it.                         FELICIA          Don't say that.                         BILLY          Alec's,known it for a long time.          Haven't you, Big Al?                         ALEC          You're just running away from x          responsibility, and it's catching          up with you, just like I said it          would.                         FELICIA          I'll get a job.                         BILLY          I won't have you working.                         ALEC          Listen to me, Billy. There's a          hot-shot Korean in town. Big          money. He needs a gopher. I          don't know, for some reason I          think you might be perfect for          each other.                         FELICIA          Alec. You've been so good to us.                         ALEC          But if you blow this one, Billy...                         BILLY          I'm not gonna blow this one, Alec          I'm gonna do ultimate by          everybody...          (starting to cry)          I almost lost my wife tonight          . and my little baby... Jesus...          Felicia starts to cry as she holds him.          70 INT. ALEC AHD LESLIE'S KITCHEN -.NIGHT 70           Alec joins Leslie and Kevin.                          (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 54.                         70 CONTINUED: 70                         LESLIE                         0          Still want to get married?                         ALEC          Leslie, that is not a marriage          in there. That is a mistake.                         LESLIE          And who's this Korean hot-shot?                         ALEC          A business acquaintance.          She leaves with the coffee.                         KEVIN          Speaking of business acquaintances,          you still want my extra key?          71 EXT. KEVIN AND KIRBO'S NEIGHBORHOOD - LATER 71           Kevin walks with his thoughts. He approaches the Black          Hooker on her usual corner.                         BLACK HOOKER          Hey, secret love, you want a date          tonight?                         KEVIN          What would you say the meaning of          life is?                         BLACK HOOKER          Got fifty bucks? I'll show you          the meaning of life.                         KEVIN          I don't pay for sex.                         BLACK HOOKER          Oh, you think if you get some          girlfriend, or maybe a wife, you          ain't gonna pay? Oh, you'll pay          . but you won't ever be sure          you're gonna get it. Now with me,          you pay, but you get it, and you          get it good!                         KEVIN          Food for thought. Food for          'thought.          He walks toward his apartment.                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 55.          72 EXT. DALE'S BUILDING - EXTREME CLOSEUP - NIGHT 72          ‚Ä¢ "DALE BIBERMAN" typed on an apartment registry.          73 EXT. BUILDING - WIDER SHOT - NIGHT 73          Kirbo agonizes, paces and finally rings the bell.          DALE (V.0.)          Yes...?          Kirbo cannot bring himself to speak.          DALE (V.0.)          Hello.          Kirbo is dying to speak, but can't. He quickly charges          out of sight.          74 EXT. DALE'S BUILDING - NIGHT 74          Dale opens her second-story window and looks out. She          searches the night and is about to close her window when          a sudden flash gets her attention.          Is 75 EXT. ALLEY 75          Hidden by the night, Kirbo has just snapped Dale's          picture. He charges down the alley and leaps on his bike.          76 EXT. DALE'S BUILDING 76          puzzled and pissed, closes her window.          76A INT. MOVIE THEATER - DAY 76A           On screen "MANHATTAN." Woody talks into a microphone.          WOODY (V.0.)          An idea for a short story, about          um, people in Manhattan who, uh,          who are constantly creating these          real, uh, unnecessary neurotic          problems for themselves 'cause it          keeps them from dealing with, uh,          more unsolvable terrifying problems          about, uh, the universe.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 56.          76A CONTINUED: 76A                         R AUDIENCE          Kirbo and Kevin watch.                         KEVIN          Not just in Manhattan, Woodman.          Kirbo quickly pulls out his camera and snaps a picture of          the screen.          76B INT. LAUNDROMAT - LATE DAY 76B           Kirbo and Kevin do laundry.                         KEVIN          You can't keep ringing doorbells          and running away, calling her and          hanging up. What are you afraid          of?                         KIRBO          Rejection. Total and devastating.          As long as she hasn't rejected me,          there's hope.                         KEVIN          I have lived with a secret obsession          many years myself. However, I          realize the other person has no          interest in me -- so I pursue my          career which is going even more          unsuccessfully.                         KIRBO          Who are you in love with?                         KEVIN          I don't have to share everything          with you...                         (GRABBING LAUNDRY)          My underwear is enough. Kirbo, if          you must pursue this narcissistic          mortification, that you have decided          to call love, then you must ask her          out on a proper date. Like a young          god. Like Alec, our leader, would.                         KI RBO          Alec has balls. He sees things          with his balls. A ball's-eye view          so to speak.          Having taken their stuff out of the dryer they leave.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 57.          76B CONTINUED: 76B                           KIRBO          10,          'Fluff and Fold,' buddy. Soon as          I get some dough, I'm goin' 'Fluff          and Fold.'          76C EXT. STREET - DAY 76C           They move through the busy street together passing some          double Dutch champions.                         KEVIN          You'll go fluff and fold, someday.           Whereas I will still be writing          obits. I can't even come up with          a decent piece for the paper to          show my editor.                         KIRBO          I can't help you with your writer's          block -- until I see that look in          Dale Biberman's eyes. The look          that says she knows I'm the one          for her.                         KEVIN          Kirbo, what about all the other          women you were going out with?                         KIRBO          They weren't women. They were          practice.                         KEVIN          You'll never catch me making a          fool ofmyself over a beautiful          woman. I know what they're really          made of. Watch this.                         (TO APPROACHING                         BEAUTIFUL GIRL)          What's the meaning of life?                         BEAUTIFUL GIRL          Leave me alone.                         KEVIN          The defense rests.          They disappear into their building.          77 INT. VISTA SOUP KITCHEN - DAY 7 7          Bums, bag ladies and the less fortunate are getting meals.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 58.                         77 CONTINUED: 77          Wendy is advising a street youth as she supervises the          whole operation. Suddenly, Leslie and Jules arrive.                         WENDY          Hi. x                         JULES          We came to take you to lunch.          La Petite Chateau. One o'clock.                         WENDY          I can't leave here and go to La          Petite Chateau. Ladies, please, x          let's have a little perspective.                         LESLIE          Well, we could eat here.          78 LUNCH LINE - MINUTES LATER 78          The girls drag metal trays through the line.                         JULES          Campbell's mushroom barley. How          chic.          They are joined by MYRA, a bag lady, and several other          regular patrons.                         WENDY          This is Myra. Myra, Jules and Leslie.                         LESLIE          How's Howie?                         WENDY          I wouldn't say my father is trying          to bribe me, but he offered me a          Chrysler Le Baron convertible if          I'd get engaged to Howie.                         JULES          Have you fucked him yet?                         WENDY          Jules!!!                         JULES          You haven't? Listen, get engaged. x          Get the car. Fuck him and if you          don't like it, break the engagement.                         X          They put their trays down at a table.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 59.                         78 CONTINUED: 78                         JULES          Well, no sense beating around the          bush. Wendy, we came to see you          because we're both worried about          you.                         WENDY          No, Jules, that was the scam that          Leslie and I worked out because we          were worried about you.                         JULES          Moi? Your were worried about moi?                         LESLIE          We were worried about you and this          affair with your boss.                         JULES          Forrester is the greatest...                         LESLIE          Forrester is married...                         JULES          Leslie, this is the Eighties... I          bop him for a few years -- get his          job when he gets caught with his          hand in the vault. I become a          legend -- do a black mink ad, but          get caught in a sex scandal.          Retire in massive disgrace -- but          write a huge bestseller and become          the star of my own talk show.                         WENDY          Silly of us to be concerned.                         JULES          And besides, Forrester suggested          some fabulous alternatives for my          stepmonster...                         WENDY          That's another thing. You seem          obsessed with this woman's dying.          It's creepy.                         JULES          Well, it turned out that cremation          is almost as expensive as the non-          torch method -- so if I don't find          a cheaper solution -- I'll probably          end up...                         (MORE)                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 60. s                         78 CONTINUED: (2) 78                          JULES (CONT'D)                         (SOTTO)          like one of these bag ladies.          Of course, I'll have alligator          bags...          She looks at her watch.                         JULES          Oh, I've got to meet Forrester.                         LESLIE          Jules, you haven't touched your          food.                         JULES          Who'd want to? I think this was a          wonderful talk, don't you? Nice          meeting you, Myra.          Jules is gone in a neurotic flurry. Leslie and Wendy are          worried.                         79 OMITTED 79                         THRU THRU                         84 84          85 EXT. GEORGETOWN CANAL - DAY 85          Wendy and Leslie walk together.                         LESLIE          The senior architect I've been          assisting is going to promote me to          the design staff.                         WENDY          That's so great.                         LESLIE          Yeah, it worked out really well.                         WENDY          That's great. So I guess that          means marriage now, huh?                         LESLIE          It scares me. My sister lived with          her husband for five years before          they got married. And now it's over.          They loved each other so much, but          somehow it just disappeared.                         (CONTINUED)                                                                                                               ST. ELI10'S FIRE - Rev. 10/11/84 61/62.                         85 CONTINUED: 85                         ¬Ä¢ WENDY          You can't say that. You're not          your sister. You and Alec were          made for each other.                         LESLIE          I love Alec. I do, but I just          don't think I'm ready for the          big step.                         WEND Y          Seen Billy?                         LESLIE          I was wondering how long it was          going to take until you asked.                         WENDY          It's like stopping smoking. I can          go as long as I can and then I just          have to have a hit.                         LESLIE          Alec's got him working for some          Korean gangster, and I actually          think Billy is doing a great job.                         WENDY          Great. Great.          86 EXT. ATTRACTIVE GEORGETOWN HOUSE - DAY 86          A limousine arrives and a female CHAUFFEUR opens the door          for KIM SUNG HO, a well-dressed Korean.          87 INT. ATTRACTIVE TOWNHOUSE - DAY 87          Kim enters looking over some mail.          KIM SUNG HO          Billy?                         KITCHEN DOOR          A house boy, sensing what's going to happen, ducks back.          88 INT. HO TOWNHOUSE - SECOND FLOOR - DAY 88          ROCK and ROLL BLASTS as Kim Sung Ho opens the bathroom          door, revealing Billy in the marble Jacuzzi with a naked          blonde and a bottle of vodka.                         (CONTINUED)                                                                                                              63.                         88 CONTINUED: $$          Everyone is shocked to see everyone.                         BILLY          Ah... I thought you were comin'          back Thursday.          89 EXT. GEORGETOWN STREET - NIGHT 89          Dale Biberman, dodging the RAIN, leaves her building          and gets in her car. CAMERA FINDS Kirbo, across the          street, watching. He jumps on his bike and follows.          90 EXT. FASHIONABLE BROWNSTONE - HIGHT (FEW MINUTES LATER) 90          A carpark helps Dale into the house with an umbrella.          CAMERA FINDS Kirbo, who looks in the window of the          brownstone.          91 INT. FASHIONABLE TOWNHOUSE - HIS POV - HIGHT 91          Dale enters and talks animatedly with two attractive          young men. The party is filled with attractive yuppies.          92 INT. FASHIONABLE BROWNSTONE PARTY - HIGHT 92          Dale continues talking with the men as the CAMERA MOVES          THROUGH the party TOWARD her. The CAMERA is Kirbo.          Although we do not see him, we hear people talking to          him.                         VOICES          Excuse me... Sir...?'          The CAMERA (Kirbo) STOPS as Dale looks up from her con-          versation. She is pleasant, but slightly stunned.                         DALE          Kirby... How are you?          We see Kirbo now, soaking wet and in pain.                         KI RBO          I'm obsessed. Thank you very          much.          93 INT. DALE'S CAR - NIGHT (TWENTY MINUTES LATER) 93          Dale drives, Kirbo next to her, his bike on the trunk.          It has stopped raining.                         (CONTINUED)                                                                                                              64.                         93 CONTINUED: 93                         DALE          r What's going on?                         KIRBO          I'm going to be a doctor.                         DALE          That's not what's going on.          They pull up in front of her building and get out of the          car.                         KIRBO          Why did you tell me you had to          work tonight? Why did you lie?                         DALE          I didn't want to hurt your          feelings.                         KIRBO          I'm obsessed with you, Dale. I          have been for four years.                         DALE          But you don't even know me.                         KIRBO          I know. But I'm obsessed by my          fantasy of you.          Dale realizes this man needs some help.          94 INT. DALE'S APARTMENT - NIGHT (MINUTES LATER) 94           Kirbo is actually entering Dale's apartment. A shrine.                         DALE          I'm very average... full of          flaws...          She gestures toward her sloppy bedroom.                         DALE          I'm a slob.., can't even make a          bed straight... You ready for          more...                         (INDICATING MAGAZINES          on a coffee table)          .. I steal People magazine from          my dentist's office.          She then goes into the tiny kitchen and picks up a large          garbage bag.                         (CONTINUED)                                                                                                              65.                         94 CONTINUED: 94                         DALE          Here. Watch. Dale Biberman takes          out her own garbage.          She opens the apartment door as her roommate, JUDITH,          arrives home with a bad cold.                         DALE          Here's my roommate, Judith. She          hates me.                         JUDITH          I hate her.          Judith disappears into the bedroom as Dale puts out the          garbage. Kirbo sits for a moment alone, stunned. Dale          returns.                         DALE          And here's the worst of all...          When I first decided to be a          doctor, I thought it was because          I wanted to serve people. But          now, well, I'm beginning to get          this funny feeling that what          medicine's really all about is          money... You want some coffee?                         MIRBO          It's money, isn't it? That's what          you're trying to tell me. It's          'cause I don't have any money!          Thank you for being so honest.          He gets up and leaves.                         DALE          Kirby?          95 EXT. GEORGETOWN CAMPUS - DAY 95          CLOSE ON Billy as he walks across the campus and even-          tually stops.          96 HIS POV - HIS OLD FRATERNITY HOUSE 96          A few young men stop their activities when they see          Billy. Others join. TROY, an undergrad big shot,          arrives.                         TROY          The man. The myth. The legend.          The one and only Billy the Kid!          The guys all cheer as they surround Billy.                                                                                                              66.          97 EXT. CAMPUS - DAY (LATER) 97          Billy plays football with the younger students. He          seems happy and home at last. As the others run toward          the opposite side of the grounds, Billy looks to Troy.                         TROY          Like old times, Billy-Boy.                         BILLY           You know I've been thinkin', Troy          6 9 I'd like to get some kind of          job maybe on campus... you know          work with the students or the          fraternity. Maybe coaching or          something.                         TROY          We could use somebody like you          around, Billy.                         BILLY                         (ENCOURAGED)          Really?                         TROY          Yeah. We need somebody to get us          some good drugs.          Billy realizes there is no place for him here either.          He looks up to see Felicia and the baby. He gives the          football to Troy and slowly walks across the field.                         BILLY          Hi, babe...          There is a long pause.                         FELICIA          'Member Ray Slater? He was the          guy I was goin' with before I met          you?                         BILLY          Felic...                         FELICIA          He came to see me, Billy, and he          still wants to marry me. And held          take good care of Melody and I          could probably get an annulment.                         BILLY          Don't give up on me. Please,          baby.                         (MORE)                         (CONTINUED)                                                                                                              67.                         97 CONTINUED: 97                          BILLY (COHT'D)          I know it's been rough on you.          But I'll get the right job soon.          I'll change... I swear it. No          women, no booze... You won't          believe how ultimate I'm gonna          go...          He holds her and she wants to believe him badly.          98 INT. KIM SUNG HO'S TOWNHOUSE LIBRARY - DAY 98          Kim Sung Ho paces the elegant room.          KIM SUNG HO          I work out of my house. You must          be available twenty-four hours a          day. Complete discretion and          loyalty. Five hundred dollars a          week.          We now see he is talking to Kirbo.                         KIRBO          I'm your man, Mr. Ho.          KIM SUNG HO          Your scholastic record is very          impressive, why would you be          willing to leave law school for          essentially a gofer's position?                         KIRBO          I don't feel it has any relevancy          in the world I want to go into.          KIM SUNG HO          Which world is that?                         KIRBO          The 'real' world. Besides, did          you know that there are more          students in law school than there          are practicing lawyers?          99 EXT. GEORGETOWN MEDICAL CENTER - DUSK 99          Winter is on the way. Dale gets out of her car. As she          starts for the hospital, a limousine pulls up. Kirbo is          sitting in the back.                         (CONTINUED)                                                                                                              68.                         99 CONTINUED: 99                         KIRBO          Hi, Dale.                         ¬Ä¢                         DALE          Kirby. What are you up to?                         KIRBO          I was hand-picked as special          attache to Kim Sung Ho. You know,          the famous Korean entrepreneur?          He quickly holds up a newspaper with Kim on the cover.                         DALE          What about medical school?                         KIRBO          I have to grab my huge financial          opportunities while-I can. It's          all about money, isn't it, Dale?                         DALE          Well, good luck.                         KIRBO          I'm giving a little party Saturday          night at Kim's house.          (handing her card)          I'd really like to see you there.                         DALE          Well, thank you, Kirby. I'll try...          She smiles sweetly and runs off as Kirbo sits back and          talks to the female Chauffeur.                         KI RBO          She'll be there. You see her          face when she saw this car?                         CHAUFFEUR          Mr. Ho catches you having a party          in his house Saturday night.          You'll be out on the street.                         KIRBO          He won't be back until Sunday...          remember, there's an extra hundred          bucks for you and Kenny to shut up.          100 INT. NEIGHBORHOOD LAUNDROMAT - LATE DAY' 100          Kirbo proudly drops his laundry off.                         KIRBO          Fluff and Fold!!!                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 69.          101 EXT. LAUNDRY 101          The Chauffeur waits as Kirbo comes proudly out of the          laundry. The neighborhood Black Hooker looks it all over          as Kirbo pulls away grandly.          102 EXT. ALEC AND LESLIE'S - SATURDAY NIGHT 102          Traffic, people. The smell of fun and sexual contact in          the air. Party MUSIC PLAYS.          103 INT. ALEC AND LESLIE'S LOFT - HIGHT 103          Leslie hangs out the window calling to someone below.                         LESLIE          We'll be right down.          Alec comes from the bedroom getting dressed.                         ALEC          June first!'                         LESLIE          Honey, I just got promoted. I'm          going to have a lot more          responsibility. I'm sure it's          the right time.                         ALEC          Looking at my big picture agenda,          I want to be playing softball          with my firstborn in about four          years.                         LESLIE          Do you realize that over half the          marriages today end in divorce.                         ALEC          And the other half don't.                         LESLIE          My six-year-old niece asked me          today why everyone's father          doesn't live in a separate house          like her father does. I don't          want us to become another divorce          statistic in Newsweek.                         ALEC          Look at my parents. My father may          not come home with a raging hard-          on, anymore, but they're happy.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 70. t                         103 CONTINUED: 103                         LESLIE          Your father sits around playing          chess while your mother talks to          him constantly. But he's not          listening.                         ALEC          That's probably why they're happy.          (he grabs her)          Leslie, let's stop living together          . get married and start really          living together!                         LESLIE          Sweetheart, please. Let's not talk          about it tonight. This party means          a lot to Kirbo. The floor's filthy          again.                         ALEC          Just pick a date, any date...          She opens the door as he grabs a nearby can of white          spray paint, and sprays the floor white again as they          back out through the door.                         LESLIE          There are some things we have to          work out first.          104 INT. ALEC'S LOFT - HALLWAY - RIGHT 104          Leslie locks the door as Alec sets the spray can down and          they disappear down the Victorian stairwell.                         ALEC          Okay. Okay. Like my mom always          says, 'Don't get a hard-on'...                         LESLIE          And like my mom always says...          'Marriage makes two people one.          But you never know which one.'                         ALEC          Yeah, and like my pop says, 'The          way to woman's heart is,to saw          her in half.'                                                                                                               ST. ELMO'S FIRE - Rev. 1.0/1/84 71.          105 EXT. ALEC AND LESLIE'S LOFT - STREET - NIGHT 105          They emerge from the building to find Wendy and Howie in          Wendy's brand new white Chrysler LeBaron. Alec and Leslie          make a big deal about it as they get in.                         LESLIE          So, does this mean you're          officially engaged?                         HOWIE          Yes.                         WENDY          No... It just means I'm officially          thinking about it.                         ALEC          What is this? Howie, didn't you          always think women were dying to          get married?                         HOWIE          Not to me.          106 INT. KIM SUNG HO'S BEDROOM - NIGHT 106          ‚Ä¢ Kirbo, in his underwear, is looking through his employer's          impressive closet. As he moves in front of a mirror, we          see Kevin watching him from the bedroom.                         KEVIN          Does Alec know you're doing this?                         KIRBO          I told him I had Kim's permission.          Should I go for the formal'tux, or          the velvet smoking jacket, I-do-          this -all -the -time look?                         KEVIN          You've left school, put yourself          into debt, lied to Alec who got          you this job in the first place --          and all for a woman who doesn't          seem to be interested in you.                         KIRBO          When she sees me in this setting          and realizes my potential, which          she has always secretly known          about me, the veil will be stripped          from her eyes and she will give          herself to me tonight.                         (MORE)                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 71A.                         106 CONTINUED: 106                          KIRBO (CONT'D)                         ¬Ä¢          Perhaps in that very bed you are          sitting on. Is the cummerbund          out of style?                         KEVIN          Well, excuse me, buckeroo. But I          think you're a fool.                         KI RBO          Perhaps, but a well-dressed fool.          107 INT. KIM SUNG HO'S LIVING ROOM - LATER 107          SHOTS of party beginning: Alec, Leslie, Wendy and Howie          arrive. Other guests arrive, including some regulars          from St. Elmo's, undergrads and old schoolmates. Billy          enters and seeing some old frat brothers goes nuts.          Wendy watches him painfully.                         KEVIN          holds court for the undergrads.                         KEVIN          The best advice I can give you          undergrads is to fail. Failure is          a virtue in today's society. Human          error is a badge of honor. If          you're the alcoholic child of a          celebrity, you can blame them and          earn a year on the best-seller          list. If you're a celebrity, your          mistake will earn you a People          magazine cover. It's post-          Watergate morality. Take          responsibility for your mistakes          and make a quick buck while you're          at it.                         ALEC          Then Sully snuck the pizza          waitress into the showers...          They start screaming with laughter.                         (CONTINUED)                                                                                                              72.          107, CONTINUED: 107                         BILLY                         ¬Ä¢          And the fat chick Sandy met on a          plane. Alec and me pretended to          be renting agents. She wound up          taking on the whole house...          Everyone laughs as Alec looks to Billy seriously.                         ALEC          I'm not getting you any more jobs,          Billy...                         BILLY          You know, Al, you're so perfect.          Such a young god... I'll bet you          were sproutin' pubic hairs at the          age of three.          Jules redoes Wendy's makeup as Leslie watches.                         WENDY          Jules, your hands are shaking.                         JULES          Thin blood.                         LESLIE          How's Forrester?          She drops the makeup.                         JULES          Oh, shit.          Wendy and Leslie are worried.                         LESLIE          How's your stepmother?                         JULES          Hanging on. the old witch. At          least it gives me a chance to          funeral-shop. Did I tell you I          found this place in California          -- 'The Neptune Society.' They'll          wrap her up and throw her to the          sharks for five hundred dollars...          But I have to ship the body all          the way out there... Excuse me.          Wendy and Leslie look to each other. Kirbo nervously          dials the 'phone.                         (CONTINUED)                                                                                                              73.                         107 CONTINUED: (2) 107                         KIRBO                         ¬Ä¢          Ah... by any chance did Dale          Biberman get called in on          emergency duty tonight?... Ho?          He hangs up and tries her home number. It's busy.          108 EXT. BACK OF HOUSE - NIGHT 108          Wendy steps out to get some air. Billy is fooling around          inside the house, when he notices her through the window.          Their eyes meet, Wendy quickly looks away and moves down          the back steps. In a few seconds Billy comes out onto          the back porch.                         BILLY          So how you doin'? Still living          at home?                         WENDY          Yeah, how about you?                         BILLY          Felicia hasn't kicked me out yet.                         WENDY          You been playin' your sax?                         BILLY          I hocked it to pay the phone          bill... You forgiven me yet for          bein' such a horse's ass?                         WENDY          There's nothing to forgive. In          fact, I should thank you... It          helped me grow up a lot and see          how stupid I was...                         BILLY          How stupid you were to be caring          about a loser like me. I agree          with you wholeheartedly.          They both pause for a beat.                         WENDY          You have a lot of talent, Billy.                         BILLY          So you still a virgin?                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 74.                         108 CONTINUED% 108                         9 WENDY          That's none of your business.          Wendy quickly goes back into the house. Billy spits at          the moon.          1 09 INT. HOUSE - HIGHT 109          Kirbo is shouting at an operator on the phone.                         KIRBO          Emergency break in!... Operator!          . That's right... What do you          mean she won't release the          phone??? Did you tell her I'm          giving a party for her???          1 10 INT. DEN - HIGHT 110          Jules is doing coke with Kim's female chauffeur.          1 11 INT. LIVING ROOM - HIGHT 111          Alec, deep in his cups, clinks bottles loudly.                         ALEC          Quiet. Big Al has an announcement.          Everyone more or less quiets down. Kevin TURNS DOWN          the STEREO, but not without SCRATCHING the record.                         ALEC          On June first. Leslie will do me          the long-awaited honor of becoming          my bride. You're all invited.          Everyone rushes to Leslie, who is stunned.                         LESLIE          Alec, you're drunk.          Alec is already accepting congratulations, and passing          out cigarettes like cigars, as Leslie grabs him.                         LESLIE          Alec, may I speak to you please...          She leads him toward the kitchen as he shouts back:                         (CONTINUED)                                                                                                                             D           ST. ELMO'S FIRE - Rev. 10/1/84 75.                          1 11 CONTINUED: 1 11                         0 ALEC          Hey, Howie... how 'bout we make          it a double wedding?          They pass Kirbo who dashes out of the kitchen franti-          cally. He finds Wendy.                         KI RBO          Can I use your car?                         WENDY          No.                         KIRBO          Wendy, please, this is the most          important thing in my life...                         WENDY          It's brand new.                         KIRBO          Trust me.           1 12 INT. KITCHEN - NIGHT 1 12          ‚Ä¢ Alec and Leslie talk as the servants pretend not to          eavesdrop.                         LESLIE          You just want a yearly Christmas          card with the Newberrys in front          of the fireplace..                         ALEC          You're just afraid to commit.                         LESLIE          You don't have to slow down your          career to help raise them.                         ALEC          Jesus Christ, will you just for          once not make the reason you          won't marry me your fucking career!                         LESLIE          All right then, what will we do          about your extra-curricular love          life?                         ALEC          What extra-curricular love life?                         (MORE)                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/1/84 76.                         112 COHTIHUED: 112                          ALEC (COHT'D)           What did Kevin tell you?                           LESLIE            Nothing.                           ALEC A          What?          He dashes back into the          113 INT. LIVING ROOM 113          where people are dancing and cavorting. Quickly finding          Kevin, Alec punches him with all his might. Kevin goes          flying. People shout as Kevin lands against the stereo,          taking several thousands of dollars' worth of porcelain,          jade and flowers with him. Leslie runs to Kevin's aid.                         ALEC          What'd you tell her?... Little          buddy... little traitor. Huh,          what'd you tell her?                         LESLIE          He told me nothing. It was just          a hunch... until now.          Alec filled with guilt and remorse becomes angrier. Alec          realizes that everybody in the house is watching him. He           must save face.                         ALEC          Leslie, I want you out of the          apartment tonight.           Alec marches out the door. The place is a wreck.                         (CONTINUED)                                                                                                              77.                         113 CONTINUED: 113                         BILLY          Hey. everything's cool. It's not          a party 'til something gets broken.          114 EXT. DALE BIBERMAN'S BUILDING - NIGHT ' 114          Wendy's car still running. Kirbo buzzes Dale's bell and          shouts up to her second-story window:                         KI RBO          You better get off the phone and          open this door!          Suddenly the window above him opens and Dale's roommate          Judith appears angrily.                         JUDITH          Are you the maniac trying to cut          in on my line?                         KIRBO          Where is Dale?                         JUDITH          She went skiing.                         KIRBO          What???... Where???                         JUDITH          Why should I tell you?                         KIRBO          Because I'm not responsible for          what I'll do to you if you don't.          115 EXT. KEVIN'S NEIGHBORHOOD - NIGHT (LATER) 115          Kevin and Leslie walk together silently. Kevin sees they          are approaching his neighborhood Black Hooker. He          proudly takes Leslie's arm. He'll show her who's gay.                         BLACK HOOKER          .You think you ain't gonna pay?          You'll pay.          116 INT. KEVIN AND KIRBO'S APARTMENT - NIGHT 116          Usual mess. Kevin enters and quickly starts to pick up.                         (CONTINUED)                                                                                                              78.                         116 CONTINUED: 116                         LESLIE          I haven't been here for a long          time.                         KEVIN          It's still the same. Small and          ugly... but then again it's small          and ugly. Are you sure we          shouldn't find you some nice          lady-like hotel?                         LESLIE          No, I'll be fine here for tonight          0 as long as I'm not putting          you or Kirbo to any trouble...                         (NOTICES SOMETHING)          . What are you doing.with a          coffin?          We now see that a long coffee table which has always been          covered with junk is indeed a black coffin.                         KEVIN          That's not how you're supposed          to ask. You're supposed to be a          young lady who is very impressed          with. my mind. Having come from a          deep Hungarian film and getting          cozy over a brandy, she says...          'Is that... a coffin...?' And,          then I say, 'Yes, it's my coffin'          . 'Your coffin,' she would gasp,          her interest in me growing by leaps          and bounds. Then'I would sit back          stroking her arm and say 'Yes, I          figured we're going to spend a long          time in the ground together so I've          made friends with it... I've gotten          drunk on it... rolled joints on it          . Even made love on it many times!'          It's a prop for affect.                         LESLIE          Does it work?                         KEVIN          How would I know?                         LESLIE          Well you better not let Jules see          it. She'll steal it for her          stepmother. Are these relatives          of yours?                         (CONTINUED)                                                                                                              79.                         116 CONTINUED: (2) 116           She holds up a beautiful photograph of a very beautiful                         E           distinguished family.                          KEVIN          No, that's more effect.          He opens a straw box, obviously filled with his most          personal possessions and extricates a photograph of a          very ordinary family.                         KEVIN          You remember my family.                         LESLIE          So I've wandered into a real          woman trap here, haven't I?                         KEVIN          Except you're the first woman          I've ever been able to get up          here. And I've blown all my          props already... So how about          some brandy?          Kevin searches for clean glasses in the debris that          passes for a kitchen, Leslie finds photos and political          cartoons in his straw box. Eventually, she finds a          photo of herself, and then another -- followed by dozens          more. Kevin has an entire homage to her in his secret          stash. He comes back with the brandy to find her looking          at the photos.                         LESLIE          Am I part of your props?                         KEVIN                         (PAINFULLY; SWEETLY)          No... you're the real thing.          He quickly starts pouring the brandy as Leslie looks at          Kevin, almost for the first time.          117 EXT. WEST VIRGINIA FREEWAY SIGN - NIGHT 117           It is starting to snow.          118 INT. WENDY'S CAR - NIGHT 118           Kirbo drives frantically. As snowflakes begin to hit           the windshield, he grabs for the windshield wiper. Not           knowing how it works, he forces it the wrong way. The          handle comes off in his hand.                                                                                                              ST. ELMO'S FIRE - Rev. 10/11/84 83.          125 INT. KEVIN'S APARTMENT - NIGHT 125          MUSIC PLAYS. Much brandy has been had.                         R                         LESLIE          Alec was the first. There were          other guys, in high school, boys          -- but he was the first love of my          life. I always wondered if Alec          and I hadn't ended up in the same          dorm -- well, I guess I would have          just found someone else. And so          would he.                         KEVIN          Alec had the luck of geography.          Whatever we say about Alec we'll          regret tomorrow.                         LESLIE          What do you think about our          relationship. as an outsider?                         KEVIN          Oooo -- dangerous question.                         (BIG SLUG)          Sometimes I think I just hang          around with you and Alec 'cause.          well, since he introduced me to          you...                         LESLIE          Kevin.                         KEVIN          And I think the reason I'm not          interested in other women... is          'cause I...                         LESLIE          (tears of joy)          Kevin. All this time right in          front of us. How could I have          been so blind?                         KEVIN          Leslie, we won't even remember          this tomorrow.                         (CONTINUED)                                                                                                              84.                         125 CONTINUED: (2) 125                         LESLIE                         S          It is tomorrow.          There is a mad moment of hesitation and then Kevin and          Leslie smash into each other's arms.                         KEVIN          I love you... I've always loved          you.          They kiss madly, passionately. They fall to the floor          in a frenzy. Leslie pulls Kevin's hair.                         KEVIN          Aaaaah. Ouch...          (as she stops)          No. I love it. I love it!!!          Leslie grabs onto the large throw rug as they roll around          the floor. Somehow as they roll and turn, the rug gets          wrapped around them. Leslie tears at his shirt, as he          yanks her sweater off. Kevin fights madly with the back          of Leslie's bra. He is going berserk trying to find the          clasp.                         LESLIE          No... it's in front.          With a flick of her hand she undoes her bra and opens up          the wonders of paradise to her old buddy. They kiss          madly again as they roll in the rug.          126. SHOTS OF CLOTHES ALL OVER THE ROOM 126          Leslie and Kevin fuck on the floor, on the coffin, in          the shower. All over the apartment.          127 EXT. SHOW-COVERED PENNSYLVANIA TURNPIKE - NIGHT 127          The worst turnpike in the world. Kirbo swerves on the          slushy lanes. Fortunately he is the only car on the          road.          KIRBO (V.0.)          Dear Mr. Iacoccoa... Recently, in          a life and death situation, I          had the bad luck to use one of          your so-called luxury cars...          Finally, he sees a large sign reading: "SEVEN SPRINGS."                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 80.          119 EXT. VERY ORDINARY BLUE COLLAR NEIGHBORHOOD - NIGHT 119          0 Jules' Jeep (with vinyl doors for the winter) cruises          down the middle of the cold, quiet street.          120 INT. JEEP - HIGHT 120          Jules, in a fur coat, is driving Billy home. They both          are moving kind of slow, having had too much of          everything.                         JULES          Which one is yours? I always          forget.                         BILLY          So do I. You wanna go someplace?          He points to a house. Jules stops the Jeep.                         JULES          Do I. I've had a shit day.                         BILLY          I've had a shit year.                         JULES          Where do you want to go?                         BILLY          The bars are all closed. How 'bout          your place?                         JULES          We're going to my place. Good.          She STARTS up the JEEP.                         BILLY          Jules, you've really grown up into          a fine-looking woman.                         JULES          I don't feel very fine-looking.                         BILLY          I've been meaning to ask you          something all night. What do you          have on under that skirt?                         JULES          You should know.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 81.                         120 CONTINUED: 120                         ¬Ä¢ BILLY           Come on -- Gimme some of those          beautiful lips.          Jules needs some attention. The hot couple kiss. He          immediately goes for the gold.                         JULES          Billy... enough!                         BILLY          Who says?                         JULES          I say.                         BILLY          Yeah, well, I bet you really won't          have so much to say with me in          your mouth.          He kisses her wildly as she pushes him away aggressively.                         JULES          I'm serious, Billy. No!!!          He grabs the keys from the ignition as the CAR DIES.                         JULES          Billy!          Holding her off with one hand, he shoves the keys into          his underwear and then sits back grinning.                         BILLY          Come and get 'em.                         JULES          You shit!!!          She attacks him, biting his hands, his neck and his          chest. Billy shrieks with laughter and pain.          121 EXT. JEEP - NIGHT 121          He tumbles out of the Jeep, onto the street, laughing and          shouting. Jules tumbles right after him, belting, pinch-          ing, biting. As she goes to kick him, Billy slides          between her legs and looks up under her skirt.                         BILLY          Ultimate...                         (ECHO)          Ultimate!!                         (CONTINUED)                         J                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 82. s                         121 COHTIHUED: 121          ‚Ä¢ She sits down an his chest, undoes his pants and gets her          keys. Felt up with all, she heads back to the Jeep.                         JULES          I really needed you tonight.                         BILLY          Nell, just get back in the Jeep          and assume the missionary          position.                         JULES          You break my heart. You break          everybody's heart.          She drives off in the Jeep. Billy fumbles with his pants          and then turns toward his house. Felicia, holding their          baby, stands watching from the porch. Obviously having          seen most of this, she silently goes back into the house,.          locks the door and turns out the light. Alone, drunk and          bewildered, Billy starts moving away from the house real-          izing he has no place to go.          122 INTO WEHDY'S CAR - HIGHT 122                         40          Kirbo is still driving frantically, but, without the          windshield wipers, snow is building rapidly on the wind-          shield.          123 EXT. CAR - MIGHT 123          Kirbo, with one hand on the wheel, hangs out of the car          using his left hand to wipe off the snow. It's cold.                         KIRBO          Shit... Goddammitt...          124 IHT. CAR - MIGHT 124          He searches the dashboard frantically.                         KIRBO          Heater. Where's the defroster???          He rams and jams every button and knob in sight as he          weaves dangerously on the freeway. Eventually one of the          levers comes off in his hand.                         KIRBO          Dear Mr. Iacoccoa... I recently          had the misfortune of using one          of your, so-called, new luxury          cars in an emergency situation.          So much for American enterprise!                                                                                                              85.          128 EXT. SEVEN SPRINGS SKI RESORT - HIGHT (LATER) 128          ‚Ä¢ Kirbo tries to stop the car in front of a cabin, but          it slides further than he had planned and almost hits          it. Getting out and trudging through the snow, in his          party clothes. he bangs on the door.          MAX (V.O.)          Who is it?                          KI RBO          Is Dale Biberman in there?          MAX (V.0.)          Who wants to know?                         KIRBO          Kirby Kreager! And who the hell          are you?          The door swings open and there stands GUY, a handsome          thirty-year-old wrapped in a blanket. Dale comes from          the bedroom, fastening a man's robe and staring at Kirbo          in disbelief.                         DALE          Kirby? What are you doing here?          His entire world has collapsed. He can't swear, shout          or cry -- he can only dash toward the car frantically.          Falling in the snow once or twice, he eventually jumps          into the car and tries to peel out, but it just spins          in the snow. Meanwhile Guy has put on heavy boots and          comes running out to the car where Kirbo stands on the          gas to no avail.                         DALE          Kirby, stop. Come inside.          He ignores her maniacally as he keeps desperately trying          to get out of there.                         GUY          You've got no skid chains or snow          tires. You've got no traction.          Kirbo ignores them.                         DALE          Kirby, please!                         GUY          You-'re not gonna get out of here          tonight. You better come back          inside.                         (CONTINUED)                                                                                                              86.          1.28 CONTINUED: 128                         KIRBO          I'll stay in the car.                         GUY          (yelling at Dale)          He wants to stay in the car.                         DALE          He'll freeze!!!          She begins pulling on her boots as Guy tries to reason          with Kirby.                         GUY          People have died out here.                         KIRBO          Leave me alone. I'm not your          responsibility!          Dale has joined them.                         DALE          By driving up here, you've made          us responsible for you. Now          come inside.          129 INT. CABIN - NIGHT (MINUTES LATER) 129          Kirbo sits in front of the fire wrapped in a blanket.          Guy goes back into the bedroom as Dale finishes making          a bed for him on the sofa.                         DALE          Your clothes should be dry in a          few hours.                         KIRBO          He's a doctor, isn't he?                         DALE          Here are some pajamas.                         KIRBO          You expect me to wear his pajamas?                         DALE          We'll talk in the morning.          She joins Guy, in the bedroom and closes the door. Kirbo          is left with the pajamas and his desperate anguish.                                                                                                              87.          130 INT. KEVIN'S BEDROOM - NEAR DAWN 130          The room is destroyed as Leslie and Kevin lie on the          floor blissfully in each other's arms. They hear the          front DOOR OPEN.                         KEVIN          Kirbo?          ALEC (O.S.)          No, it's Alec.          Kevin and Leslie look at each other frantically.                         KEVIN                         (WHISPERING)          I gave him a key.          131 INT. LIVING ROOM 131          Alec, miserable, hungover, having walked all night in the          cold, shuffles around the living room.                         ALEC          I'm only gonna ask you this once.          Did you tell Leslie about my          screwing around?          132 INT. BEDROOM 132          Kevin looks to Leslie as they wonder how to handle this.                         KEVIN          No.          133 INT. LIVING ROOM 133          Alec has found a beer.                         ALEC          I believe you. I want you to          know that I believe you and, Kev,          I'm sorry I hit you. Shit, how'd          she find out? How long has she          known? I've been thinking all          night about school... How sex          was always a barometer,'especially,          at the fraternity. The more women          you got, the more of a man you          were... or thought you were... I          thought I was.                         (MORE)                         (CONTINUED)                                                                                                              88.                         133 CONTINUED: 133                         9 ALEC (CONT'D)          Shit, my whole life at school          revolved around sex... even after          I fell in love with Leslie. I          always had to be doing better than          the next guy... I had my rep. Big          Al... It all started as a game...          Kevin gingerly comes from the bedroom in a robe.                         KEVIN          Ah... I kind of have company.                         ALEC          Oh Jesus... I'm sorry... I never          thought. Who is it?                         KEVIN          Alec...                         ALEC          That fat chick from the party?          You and the fat chick...                         KEVIN          Alec, I'll call you later.          Alec capitulates and leaves the apartment. Kevin relaxes          just as Alec pops back in.                         ALEC          Just tell me if it's the fat          chick...          The bedroom door opens and Leslie appears wrapped in a          sheet.                         ALEC          No. No. No... wait a minute...          I don't believe it. This could          not be real. There is no way          this is happening.                         LESLIE          It happened, Alec.                         ALEC          Not Kevin. Little fuckin' Kevin.          My little buddy. No way, Jose.                         LESLIE          He didn't do it alone, Alec.                         (CONTINUED)                                                                                                              89.                         133 CONTINUED: (2) 133           Alec moves toward Kevin with murder as his intent. Kevin                         ¬Ä¢           takes a stand.                          KEVIN          I know that if we fight, you're          going to win. But I'm warning          you, I will use every bone in my          body, every lamp in this room to          make sure I inflict as much damage          as possible on you before you          bring me down.          Kevin prepares for the fight.                         ALEC          You're both pathetic. I don't          want to see either one of you          again, ever. You understand me?          You see me on the street, you see          me at St. Elmo's, just pretend you          don't know me.          On his exit, Alec takes a lamp and throws it against a          Woody Allen photograph on the wall. Kevin and Leslie          look at each other, uncertain of what they have done.                         ¬Ä¢          134 EXT. GEORGETOWN - SUN 134          rises.          135 EXT. KIM SUNG HO'S TOWNHOUSE 135          A taxi delivers Mr. Ho to his front door.          136 INT. KIM HO'S HOUSE - DAY 136          Mr. Ho enters to find a big mess from the party and Wendy          and Howie asleep in the living room.          KIM SUNG HO          Where's'Kirby Kreager?                         WENDY          He took my new car.          137 EXT. SKI LODGE - MORNING 137          ‚Ä¢ Guy is heating up the block of Wendy's car with a couple          of hair dryers on long extension cords. He shouts toward          the open door of the cabin.                         (CONTINUED)                                                                                                              90.                         137 CONTINUED: 137                         0 GUY          It's thawing... and the roads          look pretty clear.          138 INT. CABIN - DAY 138          Dale is doing dishes -- Kirbo hasn't touched his break-          fast. He looks suicidal and possessed.                         DALE          I'm sorry. I had no idea it had          gone this far.                         KIRBO          I gave up school... and my job          at St. Elmo's... and you never          even knew about it. It's kind          of funny, isn't it?          Dale sits down next to him.                         DALE          The reason I didn't know... is          because all of this happened                         R          between you and you. I could          never participate because I          never knew what was expected of          me. Love isn't like this, Kirby.          It's mutual and reciprocal.          Guy yells to them from outside.          GUY (O.S.)          Okay, she's starting... You better          get out of here before it starts          snowing again.          139 EXT. CABIN - MINUTES LATER 139          Guy sits in Wendy's CAR making everythng HUM. Dale          escorts Kirbo.                         DALE          Drive carefully.          Guy gets out of the car.                         GUY          Wait a minute... I've got to get          a picture of you old college          chums...                         (CONTINUED)                                                                                                              91.                         139 CONTINUED: 139          0 He goes into the cabin. Dale sees Kixbo's pain.                         DALE          I don't really know you well...          but you seem like a fine person          .. and I want you to know that          I'm flattered by all of this and          deep down, I'm sure for a long          time, I'll wonder if maybe          this somehow isn't my loss.          She kisses him gently on the cheek. He is about to sink          into more pain when suddenly he grabs Dale and kisses her          with all the passion he has for her. When he releases          her she is dazed. Something has definitely happened.                         GUY          Smile.          They turn to face Guy and his Polaroid camera. After he          takes their photo, he hands it to Kirbo who hands it to          Dale'and quickly gets into the car.                         GUY          Aren't you going to wait for it          to develop?          Kirbo drives off quickly.                         REARVIEW MIRROR          Dale gets smaller and smaller.          IK DALE'S HAND          The Polaroid picture becomes clear of Kirbo and Dale.                         MIRROR          She is smaller and smaller.                         KIRBO          A kind of win fills his senses.          1 40 INT. WENDY'S CAR - HIS POV - DAY 140          The mirror, the Polaroid, the snow, the sun, they fuse          together in a brilliant, incandescent white light that          FILLS the SCREEN. In this glaw we rapidly --                         DISSOLVE TO:                         ¬Ä¢                                                                                                              93.                         143 CONTINUED: 143          ‚Ä¢ MR. BEAMISH          Love comes later. Marriage,          family, the family business --          children carrying on the parents'          traditions... that's what...                         WEHDY          Dad, I have my own work, and I          want to get my own apartment.          MR. BEAMISH          All right, keep your job 'til you          get pregnant. Howie is a fine          boy. You don't need your own          apartment.                         WEHDY          I don't love Howie, Dad. I love          Billy!          MR. BEAMISH          Billy on the roof? Let me tell          you something, he's a drunk and          a lowlife. How could you love          such a person?                         WEHDY          He's talented and confused and          he's not a lowlife. And I love          him because he's alive! He's the          most alive person I've ever known.          MR. BEAMISH          When he looks at you, all he sees          is U money. He doesn't give a          damn about you...          Wendy has started to cry.          MR. BEAMISH          I'm warning you, young lady. You          marry him -- no 'Card-A-Terias' !          Wendy is overcome with grief.                         WEHDY          I hate you, Dad. I really hate          you now.          She rushes from the counter grabbing her coat.                         40          144 EXT. STREET - DAY 144           Wendy rushes into the street crying.                          (CONTINUED)                                                                                                              92.          141 EXT. CAPITOL HILL, GEORGETOWN, ETC. - DAY 141                         (LATE NOVEMBER)                         ¬Ä¢          SHOTS of lunchtime in D.C.: Clerks, pages, government          employees of all description leave work and venture          forth for the lunch ritual.          142 EXT. UNDERPRIVILEGED NEIGHBORHOOD - DAY 142          Wendy leaves the Welfare office and hurries down the          street. She comes to the window of a modest coffee shop          and looks inside. Her father is waiting for her.          143 INT. COFFEE SHOP - DAY (MINUTES LATER) 143          Wendy and her father sit at a counter FACING the CAMERA.          They finish ordering as the waitress leaves them.          MR. BEAMISH          Some place this is. Your car          fixed?                         WENDY          I got a personal letter from Lee          lacocco... they fixed everything          for nothing.          MR. BEAMISH          Good... so you like the car?                         WENDY          It's a great car, Dad, but I can't          keep it. I don't feel right about          driving a car like that and          working with people who can't          afford to eat.          She finds the keys and hands them to him.          MR. BEAMISH          Keep the car... you and Howie are          going to need it.                         WENDY          I'm giving Howie back, too.          MR. BEAMISH          Wendy, listen to me. You think I          wanted to marry your mother? I          was pressured into it. She was          pressured into it.                         WENDY          I don't love Howie.                         (CONTINUED)                                                                                                              94.                         144 CONTINUED: 144          Eventually, Mr. Beamish comes running after her.          MR. BEAMISH          Wendy...          Wendy keeps running. A BAG LADY from the soup kitchen,          crosses her path.                         BAG LADY          Hi, Wendy.                         A          Wendy ignores her as she keeps running. Mr. Beamish          suddenly gets a cramp in his leg.          MR. BEAMISH          Wendy... Wait. Oh, my God, my          leg!          Wendy continues running and crying as YOUNG STREET TOUGHS          run past her.                         STREET TOUGH #1          Don't worry, Wendy... we got the          old pervert covered.          Wendy keeps running, but then looks back. The Street          Toughs are giving her father a hard time as he puffs,          wheezes and deals with the pain in his chest and his          leg. Wendy can't stand it. She shouts at them.                         WEND Y          That's my father. You leave him          alone... that's my father!          She runs over to them and shoos the Toughs away. Still          crying, she guides her father toward a stoop.                         WENDY          Sit down, Daddy... sit down.          They sit down, both still very emotional. After a          moment, Mr. Beamish takes a torn greeting card from          his pocket. It has a very sexy woman on it.          MR. BEAMISH          See this... A feminist came into          the Pennsylvania Avenue store this          morning -- called me a 'sexist'          and a 'pig' and tore the card up.          I said 'Listen, we got naked men          on cards, too, with their pee-pees          hanging out... It's fair! We got          men and we got women!'                         (MORE)                         (CONTINUED)                                                                                                              95.                         144 CONTINUED: (2) 144           MR. BEAMISH (CONT'D)                         (CRYING)          And she spit in my face.                         WENDY          Daddy, I'm sorry. I'm sorry I          said I hated you...          MR. BEAMISH          That's okay. I'm sorry about          Howie. You don't have to marry          anybody you don't want to marry          and if you want to move out, well,          move out... But listen...          He starts to get up with her help.          MR. BEAMISH          .. Don't judge your mother and          me so hard... and the way we          raised you and your sisters.          There's no training to be a parent,          you know. You're learning every          day on the job.          They start back toward the restaurant.                         WENDY          There's no training to be me          either, Dad. I'm learning on          the job, too.          He hugs her as they walk back into the restaurant.          145 INT. ALEC AND LESLIE'S LOFT - AFTERNOON 145          Leslie enters carrying several empty cardboard boxes.          She shakes off her many emotions and tries to efficiently          gather her things. Beginning with record albums, she          accidentally knocks an ashtray to the floor.                         LESLIE          Shit.          As she picks up the broken pieces, the door opens from          the bedroom. Alec appears, looking horrible, in his          bathrobe.                         LESLIE          I especially took off work because          I thought you wouldn't be here.                         (CONTINUED)                                                                                                              96.                         145 CONTINUED: 145                         ALEC          I'm sick.                         LESLIE          What's wrong?                         ALEC          Just sickness...          (noticing an album)          .. Hey, you can't take The          Pretenders' first album. That's          mine.                         LESLIE          I bought it.                         ALEC          You did not!!!                         (IN CONCESSION)          You can have all the Billy Joels.          Except for 'The Stranger.'                         LESLIE          I'm taking 'Thriller' and Mahler's          Ninth.                         ALEC          Kevin is so fond of Mahler.                         LESLIE          I've moved in with Jules.                         ALEC          How nice. Roomies again...                         (GRABBING ALBUMS)          . No Springsteen is leaving this          house. But you can have all the          w Carly Simons.                         LESLIE          You got those for me on Valentine's          Day. When there were still          valentines around here.                         ALEC          You ran out on this relationship.          You take the consequences.                         LESLIE          I didn't run out on anything. You          ran out.                         ALEC          You fucked Kevin!                         (CONTINUED)                                                                                                              97.                         145 CONTINUED: (2) 145                         LESLIE                         ¬Ä¢          You fucked manyl                         ALEC          Nameless, faceless manyl                         LESLIE                         (SARCASTICALLY)          Oh, I feel much better now.          Alec angrily grabs another album from her.                         ALEC          You're not taking The Police so          just forget it!          LESLIE.          I didn't 'fuck' Kevin. I was          confused and angry... and I care          for him deeply.                         ALEC          No more albums! That's it... Get          your clothes and give me the keys.          Leslie reluctantly hands him the keys and moves toward          the bedroom closet slowly.                         LESLIE          I don't believe this is happening          to us.          Alec sits down angrily on the new sofa, clutching his          albums.                         ALEC          Wasted love. I wish I could get          it all back.                         CUT TO:          146 EXT. GEORGETOWN STREETS - CLOSEUP - LESLIE - LATER 146                         AFTERNOON          Dealing with her emotions, she drives Jules' Jeep through          the Georgetown streets. The back of the Jeep is filled          with her clothes, etc.          147 EXT. JULES' BUILDING 147          Kevin is waiting on the doorstep with flowers, champagne,          and a stack of newspapers.                         (CONTINUED)                                                                                                              98.                         147 CONTINUED: 147          As Leslie pulls up, he greets her by pressing a newspaper          against the windshield. After a moment, she focuses on          a small article entitled: "THE MEANING OF LIFE"; OBSER-          VATIONS BY KEVIN DOLENZ.                         LESLIE          You did it!!!          148 INT. JULES' APARTMENT - DUSK 148          Leslie's stuff is still in boxes. Kevin fixes a fire          as Leslie re-reads his article, sipping champagne.                         LESLIE          God, this is so exciting. Your          first byline...                         KEVIN          I'm sure I'll be back doing obits          tomorrow.                         LESLIE          Oh, no. You're going to really          attract some attention with this...                         (LAUGHING)          Did somebody actually say 'I          believe in the golden rule,          whoever's got the gold makes the          rule'?                         KEVIN          Sort of. Leslie, I couldn't write          anything of any meaning until you.          He kisses her warmly.                         LESLIE          Kevin.          He aggressively gets on top of her, and feeling the          excitement and the champagne kisses her madly. The          front door opens and Jules appears breathless.                         JULES          Don't you two ever use a bed?          Leaving the door wide open, she races through the apart-          ment. Kevin continues to madly attack Leslie when Ron,          carrying packages, arrives at his door across the hall.          He and Kevin exchange a look as-Ron goes inside.                         LESLIE          Let me show Jules your piece.                         (CONTINUED)                                                                                                              99.                         148 CONTINUED: 148          She grabs a paper and starts for the hall. She stops          for a moment as she sees Jules, using her long pinky          nail, deftly take a couple of pops of coke. Unaware          that Leslie is watching, Jules starts back down the hall.                         LESLIE          Kevin has his first byline.          Jules is so stoked she can't focus.                         JULES          Wonderful. Brilliant... Ha ha...          'Tract Housing in Maryland'...                         LESLIE          No, it's the other piece... Jules...                         JULES          Got to fly. Forrester, the          magnificent animal, is waiting.          Did the hospital call? Is my          stepmonster dead yet?                         LESLIE          Jules, I'd like to meet him.                         JULES          I'll have him wave up to you.          She is out the door in a flash as Leslie moves toward          - the window.                         LESLIE          Doesn't she seem out of control          to you?                         KEVIN          Since the day I met her.          They look out of the window.          149 EXT. STREET - THEIR POV 149          Down below Jules jumps into a small dark Mercedes, helped          by a slightly nefarious-looking hunk. They wave to          Leslie.          150 INT'. APARTMENT 150                          KEVIN           Who's that?                          (CONTINUED)                                                                                                              100.                         150 CONTINUED: 150                         LESLIE          Jules' boss and lover...          International banking seems to          be getting sexier.                         KEVIN          Speaking of which...          As she closes the window, Kevin attacks her again.                         LESLIE          Kevin, I've been thinking.                         KEVIN          Me, too, and I don't like to count          my cornish hens before they hatch,          but I do think I'll be getting a          raise. And I was thinking we          could get a place together.                         LESLIE          Kevin.                         KEVIN          I know it's fast. But I also know          I love you.                         LESLIE          I don't think you do love me.                         KEVIN          What?                         LESLIE          I mean we love each other as          friends. But... Kevin, you were          sitting on all these incredible          feelings... all tied up in that          box with my pictures in desperate          need of a love affair. And me...          well, I needed to break the Alec          habit... and it's only natural I          would turn to you in my confusion.          But this doesn't feel real. It          feels manufactured.                         KEVIN          It's me, isn't it?                         LESLIE          Are you kidding? You're a little          ‚Ä¢ miracle.                         (CONTINUED)                                                                                                              101.                         150 CONTINUED: (2) 150                         KEVIN          But not a big miracle like Alec.                         LESLIE          Oh, Alec was the big miracle for          a long time... But I think I'd          like to try life without any          miracles for a while.          Kevin realizes how serious Leslie is.                         KEVIN          Well, having your first byline,          and losing the love of your life          in the same night has a certain          'The Gods must be laughing at          me' feeling.                         LESLIE          I'm not the love of your life.                         KEVIN          Who says?                         LESLIE          I say.                         KEVIN          But you're a girl, what do you          know?          Leslie embraces him with deep friendship.          151 INT. MOVIE THEATER 151          Kevin and Kirbo are watching the and of ANNIE HALL.          On screen, Woody says goodbye to Diane Keaton.          WOODY CV.O.)          I realized what a terrific person          she was and how much fun it was          knowing her and I thought of that          old joke, you know, this guy goes          to a psychiatrist and says, 'Doc,          uh, my brother's crazy. He thinks          he's a chicken,' and the doctor          says, 'Well, why don't you turn          14 him in?' And the guy says, 'I          would, but I need the eggs.' Well,          I guess that's pretty much how I          feel about relationships.                         (MORE)                         (CONTINUED)                                                                                                              102.                         151 CONTINUED: 151           WOODY (V.O.)                         R          You know they're totally irrational          and crazy and absurd and... but .1          guess we keep going through it          because, uh, most of us need the          eggs.          152 EXT. MOVIE THEATER - NIGHT 152          Kevin and Kirbo walk away from the theater advertising          the "WOODY ALLEN FESTIVAL."                         KI RBO          I don't think I need the eggs          anymore. Dale Biberman gave me          enough cholesterol for a lifetime.          You were right all along... Love          stinks.                         KEVIN          I've had second thoughts. Intimacy          is dangerous and shattering... but          ultimately necessary.                         KIRBO          But, Kevin, I used to wait outside          her house,. ring the bell and then          when she'd come to the window I'd          run away. Just to get a glimpse          of her.                         KEVIN          The night Leslie gave me the kiss-          off, I fucked a black hooker three          times.                         KIRBO          Not Naomi, from our corner?                         KEVIN          Naomi from our corner.                         KIRBO          I think you better go to the          doctor and get some shots.                         KEVIN          I used a rubber. She put it on          me with her mouth.                         ¬Ä¢          153 EXT. ST. ELMO'S - NIGHT 153          They stop as they reach St. Elmo's. Looking inside, they          see Alec at his usual table.                                                                                                              103.          154 INT. ST. ELMO'S - THEIR POV 154          Alec is playing his old quarter game, but with Tommy          Bancroft and his new political friends.          155 EXT. ST. ELMO'S - NIGHT 155                         KI RBO          I always thought we'd be friends          forever.                         KEVIN          Forever got a lot shorter suddenly.          They move on, passing a sign on the door: "WAITER          WARTED." Kevin points to it.                         KIRBO          No, as soon as I get back in          school, I'm going to work part-          time for a law firm. Did you know          there are as many people in law          school as there are practicing          lawyers?                         KEVIN          Sounds familiar.                         KIRBO          How'd she put the rubber on with          her mouth?          156 INT. LARGE GLAMOROUS INTERNATIONAL BANKING OFFICES - DAY 156          A well-dressed female executive secretary looks disturbed          as she enters a formidable office. She returns with a          distinguished GENTLEMAN in a grey suit. He approaches          Leslie who is waiting anxiously.                         GENTLEMAN          Yes, may I help you?                         LESLIE          I want to see Forrester Davidson          Jr.                         GENTLEMAN          I am Forrester Davidson Jr.          Leslie is shocked and even more confused.                         LESLIE          Well, there must be some mistake.          I've come to see Julianna van          Patten and they told me she          doesn't work here anymore.                                                                                                              104.          157 INT. SENATOR HODGES' HEADQUARTERS - AFTERNOON (NOVEMBER) 157          Busy. Active. Alec is on a phone and talking to co-          workers at the same time. He looks up to see Leslie,          very shaken, waiting across the room. He is immediately          angered, but eventually gets off the phone and joins          her.                         ALEC          Did you forget one of your albums?                         LESLIE          I'm sorry to bother you here.          It's Jules. After she left for          work this morning, the finance          company came and took away all          her furniture, her Jeep, everything          they could get their hands on...          I couldn't reach her so I finally          went over to her office. Alec --          she was fired three weeks ago!          All this time, she's been          pretending to go to work every day          , and pretending to be still          having this affair with her boss.          And she's been doing a lot of coke          .. Well, anyway, I confronted her          at the apartment, and at first she          denied everything, but then she          went crazy -- and now she's locked          herself in the apartment and she          won't let me back in... I'm really          worried about her.          Alec hesitates angrily.                         LESLIE          Alec, please. I need your help.          158 INT. JULES' APARTMENT BUILDING - HALLWAY - HALF-HOUR 158                         LATER          Alec knocks on the door with Leslie.                         ALEC          Jules, open the door.          Leslie puts her key in the door.          159 INT. JULES' APARTMENT - CLOSE ON DOOR - DAY (LATE) 159           Dead locks and a heavy bolt prevent it from opening.           LESLIE (0.S.)           She's in there.                          (CONTINUED)                                                                                                                             159 CONTINUED:          ALEC (O.S.)          ‚Ä¢ Jules, come on. Just open the          door.          160 INT. JULES' APARTMENT 160          The main room is empty and dark, except for Jules, who          sits on the floor dressed only in a thin T-shirt and          bikini pants. Thin, tired, no makeup, this is a differ-          ent Jules than we have seen before. Freezing winds shoot          through the open window.          161 INT. APARTMENT HALLWAY 161                         ALEC          Jules, remember my junior year          when I went cold turkey on          cigarettes? You sat up with me          all night in the commons room          feeding me emergency carrots...?          No answer.                         LESLIE          Jules, if you don't let us in, we're          going to have to call the police.          There is a beat and then Jules speaks from the depths of          hell.          JULES (O.S.)          I'll throw myself out the window          before they get through the door.                         LESLIE          Not my greatest ploy.                         ALEC          Jules, remember the time I flunked          art history and I was trying to          drink myself to death...          Kevin and Kirbo come dashing up the stairs breathlessly.                         KIRBO          How is she?                         LESLIE          She just threatened to throw          herself out the window.          Kevin and Alec have a moment of awkwardness.                         LESLIE          The fire escape!                                                                                                              106.          162 EXT. JULES' BUILDING -.LATE AFTERNOON 162          Alec, Kevin and Kirbo climb up the fire escape. They          arrive at the second floor to find burglar proof grill-          work locked in place, but the windows are still wide open.          163 INT. APARTMENT - THEIR POV 163          Through the iron bars they see Jules.          164 EXT. FIRE ESCAPE 164                          ALEC           Jules, what are you doing? You'll           freeze...           He stops.                          KEVI N           To death. Exactly!           The three young men start tearing at the bars frantically.          165 INT. HALLWAY 165          Leslie pounds on the door.                         LESLIE          Jules, you're really scaring me          now.          166 EXT. JULES' FIRE ESCAPE - LATE AFTERNOON 166          Alec, Kevin and Kirbo cannot budge the bars.                         KEVIN          The whole country is.falling apart,          but these five bars are made          perfectly.                         ALEC          We need something that cuts          through metal.                         KEVIN          Or an experienced thief.                         KIRBO          I'll find Billy.          Kirbo dashes down the fire escape.                         KEVIN          I was kidding.                         (CONTINUED)                                                                                                                             166 CONTINUED:                         KIRBO          Billy's working at the big Chevron          station on Michigan. He must have          a hacksaw or something...          Kirbo takes off on his bike as Alec looks at Kevin.                         ALEC          Billy is working in a gas          station???                         KEVIN          He needed the money.          Suddenly, Alec and Kevin become aware that they are          alone.                         ALEC          I saw your article.                         KEVIN          Yeah, well, yesterday's editorial          achievement is today's garbage          wrapper, right...?          Kevin tries to laugh charmingly. Alec tries to laugh          along with him, but suddenly rage returns.                         ALEC          You little shit!!!          He grabs Kevin. Kevin tries to fight back, but Alec is          so overpowering he pushes Kevin up to the railing of the          fire escape, and then pushes him over. Kevin hangs          upside down as Alec holds him by his legs. Dozens of          scraps of paper fall from his pocket.          Leaning out the apartment hallway window, Leslie sees          them.                         LESLIE          Alec, no!!!          167 INT. JULES' HALLWAY - LATE AFTERNOON 167          Leslie runs screaming through the hall and down the          stairs, passing Ron Dellassandro who is just coming home          from work.                         RON          What's happening???                                                                                                              108.          168 EXT. JULES' FIRE ESCAPE - LATE AFTERNOON 168           Kevin, still hanging upside down, tries to hang on to           Alec. Papers continue to fly.                          KEVIN           My notes!                          ALEC          You won't need any more notes on          the meaning of life.                         KEVIN          (upside-down,                         STRAINING)          I'm kinda betting on you not doing          it, Al... think of your political          career.          Leslie runs into the alley underneath them.                         LESLIE          Alec, stop Iit!          She frantically starts climbing the fire escape.                         LESLIE          Alec!!!          BACK TO ALEC AND KEVIN                         ALEC          After all I've done for you.                         KEVIN          I feel I've done a lot for you,          too, Al... so pull me up and we'll          call it even.                         ALEC          What you did for me was take the          woman I was going to marry.          The woman he was going to marry arrives frantically onto          their landing. She struggles with Alec.                         LESLIE          Alec, stop it right now!          Below them, Billy and Kirbo pull up in a Chevron tow          truck. Billy, wearing Chevron coveralls, jumps out with          an acetylene torch in hand, shouting.                         BILLY          Looks pretty ultimate up there...                                                                                                                             168 CONTINUED:          He helps Kirbo, who is struggling with a two-wheeler          dolly holding a large tank of oxygen and acetylene.          LESLIE, ALEC AND KEVIN                         KEVIN          You think this is helping Jules?          With Kevin's life still in his hands, he suddenly          remembers Jules.          169 INT. APARTMENT - THEIR POV 169          Looking back inside, he sees her still in the same posi-          tion, freezing.          170 EXT. FIRE ESCAPE 170          He slowly pulls Kevin onto the fire escape.                         LESLIE          Are you all right?          Kirbo tries to get the dolly up the fire escape with          Billy.                         KIRBO          Hey! Help.          Kevin goes down the fire escape to help him, leaving Alec          and Leslie alone. Leslie kneels by the window with her          hands on the iron bars and speaks to Jules.                         LESLIE          Oh, my God. Jules, please, it's          so cold.                         ALEC          Very noble how you ran up here to          save your lover.                         LESLIE          He's not my lover. Jules, listen...                         ALEC          Bullshit.                         LESLIE          I have never lied to you once          since the day I met you... you          cocky shithead.                         (CONTINUED)                                                                                                              110.                         170 CONTINUED: 170          Alec knows it's the truth.                         LESLIE          Hang on, Jules. We all love you.          She has been holding onto the bars with her bare-hands,          but the bitter cold makes her wince as she removes her          hands. Alec is overwhelmed with feelings as he takes her          hands and holds them to his mouth, breathing warm breath          onto them. Much emotion passes between them.                         LESLIE          Your breath, your breath is so          sweet.          ALEC.          Leslie, I'm sorry. I'm so          profoundly sorry.          Kirbo and Kevin arrive. Billy races down the alley.                         KIRBO          Blowtorch, anyone?                         ALEC          Give it to me.                         KEVIN          Do not hand him a blowtorch!          Kevin takes the torch and goes for the bars. SPARKS and          fire fly. Suddenly there is a PHENOMENAL POUNDING from          inside the apartment at Jules' front door. It stops          everyone on the fire escape.          171 INT. JULES' APARTMENT 171          The POUNDING jolts Jules.          172 EXT. JULES' HALLWAY - LATE AFTERNOON 172          Billy pounds on the door as Ron watches nervously.                         BILLY                         (FRIENDLY)          Jules, it's Billy. Open the door.                         (NO REPLY)          Okay, Jules... Open up the goddamn          door, or I'm coming right through          it.          No reply. Billy spots a large metal fire extinguisher at          the end of the hall.                                                                                                              114.                         178 CONTINUED: 178                         LESLIE          You want some coffee, Ron?          Ron enters tentatively and joins them as JULES and BILLY          start SHOUTING and LAUGHING LOUDER.                         RON          You know, until today I thought          gay people were nuts.          179 INT. UNIDENTIFIED APARTMENT - MIGHT 179          Billy sits on the floor playing his sax soulfully.                         WIDER ANGLE          REVEALS it's Wendy's apartment. It is partially painted          and a large ladder stands in the room. A small. wing          chair has fabric swatches on it. Cartons, books, etc.          Wendy sits on the floor watching Billy.                         WEND Y          Then what happened?                         BILLY          That was it... We came out of the          bedroom and had coffee with          everybody.                         WEND Y          You saved her life.                         BILLY          Let's not get dramatic.                         WENDY          So, when did you get so sane?                         BILLY          When I realized how insane I've          been all this time tryin' to be          like Alec and Leslie... and you          and Kevin... I'm not part of this          post-college Georgetown life;          marriage and jobs. Felicia and          Melody'll be better off without me.                         WENDY          Did she get remarried already?                         BILLY          Three or four weeks...                         (MORE)                         (CONTINUED)                                                                                                              115.                         179 CONTINUED: 179                          BILLY (CONT'D)          I was thinkin' of hanging around          tryin'to be one of those in-the-          neighborhood dads... but it would          just confuse everybody... especially          me. New York'll suit me fine. if          somebody'll let me play sax.                         (INDICATING APARTMENT)          This is great.                         WENDY          I'll tell you what's great. Last          night I woke up in the middle of          the night and made myself a peanut          butter and jelly sandwich... and          you know it was my kitchen, and          my refrigerator and My apartment          . and it was the best peanut          butter and jelly sandwich I've          ever had in my life.          They chuckle together and then they become more serious.                         WENDY          So you're goin', huh...?          She picks up his sax and blows a few comic notes.                         BILLY          So, are you still a virgin?                         WENDY          Why is my sexual status so          important to you?                         BILLY          Have I abused our relationship too          much? Or could I be so bold... as          to ask you for a going-away present...?          Wendy is moved.                         CUT TO:                         180 WENDY 18O          Lying on the floor of her bedroom. Only a candle lights          the room. Billy's face comes INTO FRAME and they kiss,          tenderly at first and then more passionately. Wendy          looks beautiful and she and Billy are filled with a          tenderness and love that can only exist from the years          they have shared together.          The SAX BUILDS as the wonder of the two young lovers          builds.                         DISSOLVE TO:                                                                                                                         181 EXT. BUS TERMINAL - NIGHT 181          A large bus pulls out as Leslie stands at a coffee          vending machine. Alec approaches.                         ALEC          Need someone to blow on your hands?          She smiles, but shows him her gloves. As she searches          for change in her pockets, Alec stops her and puts his          own coins in the machine. He presses buttons as he          talks.                         ALEC          Did you know that I.always wanted          to make you coffee? I tried once          -- when you were in the shower --          but it didn't turn out right, so I          threw it out and cleaned everything          up so you wouldn't know. I don't          like doing things I'm not good at          -- like making coffee and saying          I'm sorry...          He looks at her sincerely as he hands her the plastic cup          from the machine.                         ALEC          Leslie, I'm sorry.          They exchange a tender glance, and then Leslie takes a          sip from the steaming cup.                         LESLIE          Alec, this is soup.                         ALEC          What?                         LESLIE          This is soup.          Alec's nervousness turns to embarrassment as they both          start to laugh. Old feelings surge.                         LESLIE          I love you.          They look at each other for a moment.                         LESLIE          We need time.                         ALEC          I know.                         (CONTINUED)                                                                                                               ST. ELMO'S FIRE - Rev. 10/11/84 116A.                         181 CONTINUED: (AL) 181          Kirbo comes running over.                         KI RBO          The bus is leaving.          Alec and Leslie Join him and they quickly move to where          Jules. Kevin and Wendy are saying goodbye to Billy who          has his suitcase and sax. A bus waits.                         JULES          'Bye, baby.          She hugs him expansively. Billy next kisses Leslie and          shakes hands with the guys at the same time. Wendy waits          until last and then they embrace emotionally.                         (CONTINUED)                                                                                                              117.                         181 CONTINUED: 181          She whispers into his ear.                         WENDY          Go ultimate.          Billy smiles at her as she fights tears.                         BILLY          I'll keep in touch.                         WENDY                         (LAUGHING)          No, you won't.          He wants to say more to all of them, but the bus is wait-          ing and he hops on it. The door closes and the bus backs          out of the terminal. Billy stands near the driver and          waves out at them.                         HIS FRIENDS          watch him pull away.                         BUS          As it pulls backward, we can see Billy with his friend's          reflections on the bus's windshield SUPERIMPOSED OVER his.          The bus's headlights flare INTO the CAMERA. The images of          all of them mix with the white, hot GLARE SUPERIMPOSED          OVER this, for a brief second we see IMAGES of them all          from past, from school, from St. Elmo's, ,etc.          The SCREEN GOES totally WHITE with incandescent          brilliance as we --          182 -EXT.. STREET - ST. ELMO'S - NIGHT (LATER) 182          `Alec, Leslie, Kevin, Krbo, Wendy and Jules walk together          slowly.                         WIDER SHOT          Coming upon St. F'1mo's, they stop. Looking,in the          window...                         183          They see their old tables filled with younger students,          led by Claton, the undergrad.
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+                                STAR TREK II: THE WRATH OF KHAN                                              Written By:                                          Harve Bennett                                      Participating Writers                                         Jack B. Sowards                                        Samuel A. Peeples                                                                                                                                                                                                                                                                                                             MAIN TITLE SEQUENCE (TO BE DESIGNED)                   FADE IN:               1   BLACK                                                        1                   Absolute quiet. SOUND bleeds in. Low level b.g.                   NOISES of Enterprise bridge, clicking of relays,                   minor electronic effects. We HEAR A FEMALE VOICE.                                           SAAVIK'S VOICE                             Captain's log. Stardate 8130.3,                             Starship Enterprise on training                             mission to Gamma Hydra. Section 14,                             coordinates 22/87/4. Approaching                             Neutral Zone, all systems                             functioning.                   INT. ENTERPRISE BRIDGE                   As the ANGLE WIDENS, we see the crew at stations;                   (screens and visual displays are in use): COMMANDER                   SULU at the helm, COMMANDER UHURA at the Comm Con-                   sole, DR. BONES McCOY and SPOCK at his post. The                   Captain is new -- and unexpected. LT. SAAVIK is young                   and beautiful. She is half Vulcan and half Romulan.                   In appearance she is Vulcan with pointed ears, but her                   skin is fair and she has none of the expressionless                   facial immobility of a Vulcan.                                           SULU                             Leaving Section Fourteen for                             Section Fifteen.                                           SAAVIK                             Project parabolic course to                             avoid entering Neutral Zone.                                           SULU                             Aye, Captain.                                           UHURA                                     (suddenly)                             Captain... I'm getting something                             on the distress channel. Minimal                             signal... But something...                                           SAAVIK                             Can you amplify?                                           UHURA                             I'm trying...                                           SULU                             Course change projected.                                           UHURA                             It's an emergency distress call!                                           SAAVIK                             On speakers!                                           VOICE                                     (filtered, breaking up)                             Imperative! Imperative! This is                             the Kobayashi Maru -- nineteen                             periods out of Altair Six. We                             have struck a gravitic mine and                             have lost all power... Our hull                             is...                                     (breaks up, static)                             ... and many casualties.                                           UHURA                             This is the Starship Enterprise.                             Your message is breaking up. Give                             your coordinates. Repeat --                                           VOICE                             Enterprise, our position is Gamma                             Hydra, Section Ten...                                           SAAVIK                             In the neutral zone.                                           VOICE                             Hull penetrated, life support                             systems failing. Can you assist                              us, Enterprise? Can you...                   Breaks up.                                           SAAVIK                             Data on Kobayashi Maru! Tactical!                   Tactical on big screen.                                           COMPUTER VOICE                             Subject vessel is third class                             neutronic fuel carrier, crew of                             eighty-one, three hundred passengers.                                           SAAVIK                             Damn.                                     (then)                             Mr. Sulu, plot an intercept course.                                           SULU                             May I remind the Captain that if a                             Starship enters the zone --                                           SAAVIK                             I'm aware of my responsibilities,                             Mister.                                           SULU                                     (with a nod)                             ... Now entering the Neutral                              Zone...               2   OMITTED                                                      2               3   INT. ENTERPRISE BRIDGE - ANOTHER ANGLE                       3                                           COMPUTER VOICE                             Warning. We have entered the                             Neutral Zone... Warning...                                           SULU                             Estimating two minutes to intercept.                   On screen: Enterprise approaches the stricken vessel.                                           SAAVIK                             Stand by transporter room, ready                             to beam survivors, aboard.                                           UHURA                             Captain, I've lost their signal!                                           COMPUTER VOICE                             Alert. Sensors indicate three                             Klingon Cruisers, bearing 316,                             mark 4, closing fast.                                           SAAVIK                             Visual!                   On screen we see the approach  of the Klingon vessels,                   they are dark and sinister.                                           SAAVIK                                     (continuing)                             Battle stations! Activate shields!                   The ALARM SOUNDS.                                           SULU                             Shields activated!                                           SAAVIK                             Inform the Klingons we are on a                             rescue mission...                                           UHURA                             They're jamming all frequencies,                             Captain --                                           COMPUTER VOICE                             Klingons on attack course and closing.                   Screen verifies this. Saavik makes an agonized choice.                                           SAAVIK                             We're over our heads. Mr. Sulu,                             get us out of here.                                           SULU                             I'll try, Captain.                                           COMPUTER VOICE                             Klingon cruisers approaching,                             bearing 090, mark 20.                                           SAAVIK                             Visual!                   The image flops: more Klingons approach. They FIRE                   photon torpedoes.                                           SAAVIK                                     (continuing)                             Evasive action!                   Sulu does his best, but Enterprise is hit; Sulu is                   hurled from his station, and Bones hurries to him.                                           SAAVIK                                     (continuing)                             Engineering! damage report!                                           SCOTTY'S VOICE                                     (INTERCOM)                             Main energizer hit, Captain!                                           SAAVIK                             Engage auxiliary power. Prepare                             to return fire!                   The bridge takes another hit -- a big one. In its wake                   there is a second electrical EXPLOSION along the communi-                   cations panel. Uhura falls from her station. Bones                   rushes to her side amid the smoke and alarms.                                           A CADET                             Shields collapsing, Captain!                                           SCOTTY'S VOICE                                     (FILTERED)                             Captain, we're losing auxiliary                             power!                                           SAAVIK                             Fire all phasers...!                                           SPOCK                             No power to the weapons system,                             sir.                   Another hit: reverberating flashes of spark and flame                   on the bridge. Spock dies. Bones comes to him, but                   even as he coughs his way through the smoke, a final                   hit and Bones falls. The room is smoke filled and a                   shambles. Saavik looks about in shock.                                           SCOTTY'S VOICE                                     (FILTERED)                             Captain, it's no use. We're                             dead in space.                   Saavik digests this for a painful moment. Then, touch-                   ing a comm button:                                           SAAVIK                             Activate escape pods. Send out the                             Log Buoy... All hands abandon ship.                             Repeat -- all hands --                                           KIRK'S VOICE                                     (FILTERED)                             All right, open her up.                   There is a loud CLANGING and  --               4   FULL SHOT - ENTERPRISE BRIDGE                                4                   The side walls of the "bridge" slide apart, revealing                   a lighted room beyond. Through the opening strides                   KIRK. He stops, surveys the shambles, and shakes his                   head.                                           SAAVIK                             Any suggestions, Admiral?                                           KIRK                             Prayer, Mr. Saavik. The Klingons                             do not take prisoners.                                     (to Spock)                             Captain.                                           SPOCK                             Trainees to the briefing room.                   Sulu awakens with a grin. Uhura straightens herself                   demurely. The Trainees head toward the distant room,                   Spock rises and leaves. Bones remains on the floor,                   head propped in his hand, whimsically.                                           KIRK                             Physician, heal thyself.                                           BONES                             That's all you have to say?                                           KIRK                             I'm not a drama critic.                   Bones rolls his eyes and rises. Kirk sees Saavik who                   has not moved.                                           KIRK                                     (continuing)                             Well, Mr. Saavik, are you going                             to stay with the sinking ship?                                           SAAVIK                             Permission to speak candidly, sir?                                           KIRK                             Very well.                                           SAAVIK                                     (fights emotion)                             I don't believe this was a fair                             test of my command capabilities.                                           KIRK                             And why not?                                           SAAVIK                             Because... there was no way to win.                                           KIRK                             A no-win situation is a possibility                             every commander may face. Has that                             never occurred to you?                                           SAAVIK                             ... No, sir. It has not.                                           KIRK                             How we deal with death is at least                             as important as how we deal with                             life, wouldn't you say?                                           SAAVIK                                     (falters)                             As I indicated, Admiral, that                             thought had not occurred to me.                                           KIRK                             Then you have something new to think                             about. Carry on.                   She stays at attention.                                           BONES                             Wouldn't it be easier to put                             an experienced crew back on the                             ship?                                           KIRK                             They'll learn. Galloping about the                             cosmos is a game for the young,                             doctor.                   He leaves. They look at each other.                                           UHURA                                     (offended)                             What is that supposed to mean?                   HOLD ON Saavik.               5   INT. CORRIDOR OUTSIDE THE SIMULATOR ROOM - DAY               5                   Kirk rounds the corner and sees Spock, leaning against                   the wall.                                           KIRK                                     (dry)                             Aren't you dead?                   Spock almost smiles.                                           KIRK                                     (continuing)                             I assume you are loitering here                             to learn what efficiency rating                             I plan to give your cadets.                                           SPOCK                             I am understandably curious.                   They walk together.                                           KIRK                             They destroyed the simulator room                             and you with it.                                           SPOCK                             The Kobayshi Maru scenario                              frequently wreaks havoc with                             students and equipment.                                     (dry)                             As I recall you took the test                             three times yourself. Your final                             solution was, shall we say, unique?                                           KIRK                                     (solemn)                             It had the virtue of never having                             been tried.                                                                        SPOCK                             Yours was not a solution which                             would have occurred to a Vulcan                             mentality.                                           KIRK                             So you said at the time. Speaking                             of which, your prot‚g‚'s first                             rare -- a trifle emotional --                                           SPOCK                             She's half Romulan, Jim. The                             admixture makes her more volatile                             than -- me, for example.                                           KIRK                             Than you. Yes, I see that. By                             the way, thank you for this.                   He lifts the book.                                           SPOCK                             I know of your fondness for antiques.                                           KIRK                                     (reads)                             'It was the best of times, it was                             the worst of times...' Message,                             Spock?                                           SPOCK                             None of which I am consciously                             aware -- except, of course, happy                             birthday -- surely the best of times.                   Kirk looks around uncomfortably, overlaps:                                           KIRK                             Hrummm... and where are you off                             to, now?                                           SPOCK                             The Enterprise. I must check in                             before your inspection. And you?                                           KIRK                                     (shortly)                             Home.                   Spock studies him --                                           SPOCK                             Something oppresses you.                   They are old friends --                                           KIRK                             Something.                   He steps into a turbo elevator. The doors close as                   Spock watches, wiping the scene.               6   EXT. DEEP SPACE - NEAR CETI ALPHA V                          6                   In f.g. is the U.S.S. RELIANT, an older, somewhat                   battered starship of the ENTERPRISE class, with a                   slightly different configuration. Reliant approaches                   an inhospitable-looking yellow planet: CETI ALPHA V                                           CHEKOV'S VOICE                             Starship log, Stardate 8130.4.                             This report classified MOST SECRET.                             Log Entry by Commander Pavel Chekov,                             Duty Officer. Starship USS Reliant                             on orbital approach with Ceti Alpha                             VI in connection with project code                             name GENESIS. We are continuing                             our search for a lifeless planet                             which will serve as a suitable test                             site for the Genesis Experiments.                             This is the 16th planet we have                             visited, so far, no success.                                            7   INT. BRIDGE OF RELIANT                                       7                   Well-aged and distinctive. The usual compliment of                   officers and crew. CAPTAIN CLARK TERRELL, about 45,                   soft spoken and in good shape, but somewhat laconic.                   Behind Terrell, surveying the data screen is COMMANDER                   CHEKOV, aged some, but still boyish.                                           TERRELL                             Standard orbit, Mr. Beach.                                           BEACH                             Standard orbit, sir.                                           TERRELL                             Any change in surface scan?                                           BEACH                             Negative. Limited atmosphere,                             dominated by craylon gas, sand and                             high velocity winds. Incapable                             of supporting life forms.                   Forward screen: Ceti Alpha.                                           CHEKOV                             Does it have to be completely                             lifeless?                   Terrell rises and crosses to Chekov.                                           TERRELL                             Don't tell me you've got something.                                           CHEKOV                                     (points)                             We've picked up a minor energy flux                             reading on one dyno scanner.                                           TERRELL                             Damn! Are you sure? Maybe the                             scanner's out of adjustment --                                           CHEKOV                             I suppose it could be a particle                             of preanimate matter caught in the                             matrix...                                           TERRELL                             All right, let's get on the Comm-pic to                             Doctor Marcus. Maybe it's something                             we can transplant.                                           CHEKOV                             You know what she'll say...               8   EXT. DEEP SPACE - REGULA I SPACE STATION                     8                   A functional cluster of modules serve as a scientific                   complex, a futuristic White Sands, orbiting a small                   barren plantoid in b.g.: Regula.                                           CAROL MARCUS'S VOICE                                     (FILTERED)                             Something you can transplant? I                             don't know --               9   INT. SPACE STATION - CAROL'S LAB                             9                   Big but deserted except for Carol, in contact with                   Reliant. Surrounded by equipment clearly meant for                   many workers, CAROL MARCUS is in her early forties,                   attractive and intelligent. Static mars the trans-                   missions.                   On the monitor: Terrell and Chekov, looking hopeful.                                           TERRELL                             It might only be a particle of                             preanimate matter...                                           CAROL                             Then again it might not. You                             boys have to be clear on this:                             there can't be so much as a                             microbe or the show's off.                                     (she thinks)                             Why don't you have a look? If it                             IS something that can be moved...                                           TERRELL                                     (eager)                             You bet, doctor. We're on our way!                   Carol sighs as the image fades, not happy.              10   INT. CORRIDOR, SPACE STATION REGULA I                       10                   Carol walks through the labyrinthine complex with                   DAVID, her son, a bright young scientist of twenty.                   He is good looking and humorous.                                           DAVID                             How can you let them pull that                             stuff on you? They're just lazy.                                           CAROL                             And bored. I know. But maybe it                             IS something they can...                                           DAVID                             Come on, Mother, that's just the                             military mentality. Never put off                             tomorrow what you can put off today.                             If there's one atom of life...                                           CAROL                             I know, I know...                   Silence.                                           DAVID                             Well, don't have kittens.                             Genesis is going to work. They'll                             remember  you in a wreath with                             Newton, Einstein, Surak...                                           CAROL                                     (mock outrage)                             Thanks a lot. No respect from my                             offspring --                                           DAVID                             Par for the course... you teaming                             up with me for bridge after dinner?                                           CAROL                             Maybe...                                           DAVID                             Every time we have dealings with                             Starfleet, I get nervous.                                     (shrugs)                             We're dealing with something                             that COULD be perverted into                             a dreadful weapon. Remember that                             overgrown boy scout you used to                             hang out with? That's exactly                             the --                   They walk past the CAMERA, their VOICES FADING.                                           CAROL                             Listen, kiddo, Jim Kirk was many                             things, but he was never a Boy                             Scout...                   HOLD ON the empty corridor.              11   INT. KIRK'S APARTMENT, TERRA - NIGHT                        11                   Kirk reads the novel, trying to focus. His flat befits                   an Admiral and a loner with few possessions, except                   a collection of antiques.                   WE HEAR A SOFT BONG.                   Startled, Kirk lowers the book and pushes a button.                                           KIRK                             Come.                   The door slides open and Bones enters. He carries two                   packages, one of them wrapped in brown paper.                                           KIRK                                     (continuing)                             Bless me, doctor; and what beams                             you into this neck of the woods?                                           BONES                             'Beware Romulans bearing gifts.'                             Happy Birthday...                   With a flourish, he pulls out a bottle of blue                   liquid.                                           KIRK                             Romulan Ale! Bones, you know                             this stuff is illegal --                                           BONES                                     (broad)                             I only use it for medicinal                             purposes. Don't be a pring...                                           KIRK                                     (reading the label                                       with difficulty)                             Twenty-two, eighty-three...                                           BONES                             Takes the stuff a while to                             ferment. Gimme.                   He takes the bottle and pours; continues talking.                                           BONES                                     (continuing)                             Now open the other one.                   Kirk starts to obey.                                           KIRK                             I'm almost afraid to. What did                             you bring me, contraband Klingon --                                           BONES                             More antiques for your collection                             -- Cheers!                   They drink. The package is opened: a pair of gold                   "Ben Franklin" half-glasses. (N.B.: Romulan Ale is                   an INSTANT DRUNK: both men react.)                                           KIRK                             Cheers. Bones, these are... charming.                                           BONES                             Four hundred years old. You don't                             find many with the lens still                             intact.                                           KIRK                             Uh -- what are they?                                           BONES                             For your eyes. For most patients                             of your age, I generally administer                             Retlax Five to restore flexibility                             of the lens.                                           KIRK                             But I'm allergic to Retlax.                                           BONES                             Exactly. Happy birthday.                   He toasts. Kirk is unsure how they work.                                           BONES                                     (continuing)                             Slide them down your nose. Now look                             at me over the top. And you read                             printed matter through the bottom.                                           KIRK                                     (reacts)                             Amazing! I don't know what to say --                                           BONES                             Say thank you.                                           KIRK                             Thank you.                   An awkward silence.                                           BONES                             Damn it, Jim, what the hell's the                             matter? Other people have birthdays.                             Why're we treating yours like a funeral?                                           KIRK                             Bones, I don't want to be lectured.                                           BONES                             What DO you want? Damn it, why                             isn't there a girl here? You know                             this has nothing to do with age.                             This is about you flying a goddamn                             computer console when you wanna be                             out hopping Galaxies.                                           KIRK                             Spare me your notions of poetry,                             please. We all have our assigned                             duties and...                                           BONES                             Bull. You're hiding -- hiding                             behind the rules and regulations --                                           KIRK                             And who am I hiding from?                                           BONES                             From yourself, Admiral.                   Pause. Kirk pours another drink.                                           KIRK                             Don't mince words, Bones; tell                             me what you really think.                                           BONES                                     (mild take)                             I'm your doctor and I'm your friend,                              Jim. Get back your command. Get it                             back before you really do grow old.                             Before you turn into part of this                             collection.                   They look at each other.              12   EXT. RELIANT - DEEP SPACE                                   12                   orbiting Ceti Alpha V.                   VOICES OVER indicate the transporter room is ready.              13   OMITTED                                                     13              14   EXT. SURFACE CETI ALPHA V                                   14                   A YELLOW PLANET, in constant SWIRLING HURRICANE WINDS                   OF SAND. Terrell and Chekov materialize. Their VOICES,                   filtered, are hard to make out.                   With the TRICORDER to guide them, they set out...                                           TERRELL                             Are you sure these are the                             coordinates?                                           CHEKOV                             Captain, this is the garden spot                             of Ceti Alpha VI --                                           TERRELL                             I can hardly see --              15   SEVERAL ANGLES                                              15                   The difficult search, the men leaning into the wind --              16   TERRELL                                                     16                   is ahead of Chekov on a slight rise --                                           CHEKOV                             There's nothing, let's go --              17   ANGLE                                                       17                   Terrell waves him frantically forward. As Chekov                   moves up, we rise with him to the top of the ridge and                   look down.              18   ANGLE - THEIR POV                                           18                   A RUINED SERIES OF MAN-MADE STRUCTURES, half buried in                   sand. They look at each other in consternation. Chekov                   is worried; something about all this is familiar.                   They descend towards the structures, now seen to be the                   wreckage of some sort of space craft.                   They pass but do not notice the FEDERATION LOGO, half                   buried next to their feet.                                           TERRELL                             They look like cargo carriers...                   As Chekov looks at the porthole, a face suddenly looks                   back! It is the face of a CHILD! The Apparition                   scares the daylights out of Chekov -- and us. He                   screams.                                           TERRELL                                     (continuing)                             What is it?                   He comes clumsily over --                                           CHEKOV                             A face! I saw -- it was like a                             child --                   He points. The porthole is empty.                                           TERRELL                             You're crazy -- !                                           CHEKOV                             I saw it -- !                                           TERRELL                             There's an air-lock.                   He points and they go into the airlock.              19   INT. CARGO HOLD                                             19                   Terrell and Chekov enter, dumbfounded. THEIR POV.                   Someone lives here -- there are beds, food, all jury-                   rigged -- but no people. Terrell checks a monitor.                                           TERRELL                             There's breathable atmosphere in here.                   He takes off his helmet; Chekov likewise.                                           TERRELL                                     (continuing)                             What the hell is this? Did they                             crash? Where's the rest of the                             ship?                   They wander as they talk, picking up objects that be-                   speak a fairly sophisticated ad hoc environment: a                   laboratory in one hold; a kitchen; A LARGE SAND TANK                   filled with disgusting CETI EELS.                   ABRUPTLY A SOUND -- They start: CHILD'S GURGLE.                                           CHEKOV                                     (terrified)                             I told you! I told you I saw a --                                           TERRELL                             Ssssh!                   They start looking. They enter a new chamber --              20   KHAN'S QUARTERS                                             20                   On its side in the sand: the walls are now the floor,                   etc. All in crookedness -- like its owner. On the                   floor, smiling at them (i.e., the wall) is a BABY.                   Tentatively they come over to it, looking around --              21   ANGLE - CHEKOV'S POV                                        21                   Lethal-looking odd swords on one wall, a bookshelf;                   CAMERA PANS by 20th Century volumes; MOBY DICK, KING                   LEAR, THE HOLY BIBLE -- and a seat belt dangling with                   the name on it -- Botany Bay.                   Chekov mouths the words, softly at first, then aloud --                                           CHEKOV                             Botany Bay -- oh no!                                           TERRELL                                     (examines the child)                             What's the matter -- ?                   Chekov runs, tries to get his helmet on, tries to drag                   Terrell --                                           CHEKOV                             Captain, we've got to get out of                             here -- now! Damn! Hurry!                   Terrell catches his urgency --                                           TERRELL                             But the child --                                           CHEKOV                             Never mind! Hurry!              22   EXT. CARGO HOLD AIRBAY                                      22                   Terrell and Chekov emerge, helmeted, then stop dead.              23   ANGLE - THEIR POV                                           23                   A RING OF SUITED FIGURES has them surrounded.              24   INT. RELIANT - THE BRIDGE                                   24                   Mr. Beach, the duty officer, stands looking at Ceti                   Alpha V on the forward screen.                                           BEACH                             Try again.                                           KYLE                             Starship Reliant to Captain Terrell                             ... This is Lieutenant Kyle. Will                             you please respond, Captain...                             Captain Terrell, respond please.                   Nothing.                                           BEACH                                     (thinks)                             Let's give them a little more                             time.              25   INT. CARGO HOLD - CETI ALPHA V                              25                   Terrell and Chekov are held by FOUR STRONG MEN.                   They seem to be waiting. One of the men is JOACHIM.                   Out of the airlock steps a tall masked figure. A                   moment of suspense as Terrell and Chekov watch, terri-                   fied. The mask is peeled back.                                           CHEKOV                                     (aloud despite himself)                             Khan!                   KHAN is startled by the recognition; comes over and                   examines Chekov and Terrell.                                           KHAN                                     (finally)                             I don't know you. But you. I never                             forget a face. Mister Chekov,                             isn't it?                                     (wonderingly)                             I never thought to see your face                             again.                                           TERRELL                             Chekov, who is this man?                                           CHEKOV                             A criminal, Captain -- a product of                             the late 20th Century genetic                             engineering --                                           TERRELL                             What do you want with us? I demand --                                           KHAN                                     (mild)                             You are in a position to demand                             nothing, sir. I, on the other hand,                             am in a position to grant nothing.                             What you see is all that remains of                             the ship's company and the crew of the                             Botany Bay, marooned here fifteen                             years ago by Captain James T. Kirk.                                           TERRELL                             Listen to me -- you men and women --                                           KHAN                             Save your strength, Captain, these                             people have sworn to live and die at                             my command two hundred years before                             you were born. Do you mean he...                                      (i.e. Chekov)                             ... never told you the tale?                             To amuse you, Captain? Never told                             you how the Enterprise picked up the                             Botany Bay, lost in space from the                             year 1996, myself and the ship's                             company in cryogenic freeze?                                           TERRELL                             I've never even met Admiral Kirk --                                           KHAN                             Admiral? He didn't tell you how                             Admiral Kirk sent seventy of us into                             exile on this barren sand heap with                             only the contents of these cargo bays                             to sustain us?                                           CHEKOV                             You lie! On Ceti Alpha V there was                             life, a fair chance to --                                           KHAN                             This is Ceti Alpha V! Ceti Alpha VI                             exploded six months after we were                             left here. The shock shifted the                             orbit of this planet and everything                             was laid waste. Admiral Kirk never                             bothered to check on our progress.                             It was only the fact of my genetically                             engineered intellect that enabled us                             to survive! On earth, two hundred                             years ago, I was a prince, with power                             over millions -- now, like Prometheus                             I have been left by Admiral Kirk to                             digest my own entrails.                                           CHEKOV                             Captain Kirk was your host! You repaid                             his hospitality by trying to steal his                             ship and murder him.                                           KHAN                                     (moves closer)                             And I'll wager he never told you                             about his shipmate, the beautiful                             and courageous Lieutenant McGiver,                             who gave up everything to join me                             in exile. OUT OF LOVE. And see how                             Admiral Kirk requited her devotion --                             She's dead as earth!                   The wind howls in the silence. When Khan turns, his                   eyes are filled with tears.                                           KHAN                                     (continuing)                             A plague upon you all.                   He recovers his poise and returns to them --                                           KHAN                                     (continuing)                             You didn't expect to find me.                             You thought this was Ceti Alpha VI.                             Why are you here?                   They don't answer. Khan goes over to Terrell and, WITH                   ONE HAND, LIFTS HIM INTO THE AIR --                                           KHAN                                     (continuing)                             Why?                   Terrell gasps, stays silent --                                           KHAN                                     (continuing)                             No matter.                   He lets go; Terrell falls with a thud --                                           KHAN                                     (continuing)                             You will soon tell me willingly                             enough.                   He goes over to the tank and dips a kind of strainer in,                   pulling out TWO CETI EELS -- wriggling items --                                           KHAN                                     (continuing)                             Let me introduce you to Ceti Alpha V's                             only remaining indigenous life form;                             what do you think? They've killed                             twenty of my people, including my                             beloved wife. Oh, not all at once                             and not instantly, to be sure. Their                             young enter through the ears and wrap                             themselves around the cerebral cortex.                             This has the effect of rendering the                             victim extremely susceptible to                             suggestion. Later, as they grow,                             follows madness, paralysis -- and                             death. These are pets, of course --                             not quite domesticated.                   As he speaks, Khan dumps an eel in each of their helmets;                   he swirls the helmets around as though he were mixing                   martinis --                                           CHEKOV                             Khan, listen to me! Captain Kirk                             was only doing his duty! You --              26   CLOSE UP - KHAN - CAMERA IN                                 26                                                                        KHAN                             There is some pain at first, I am                             told, and then the effects are quite                             benign -- until the end. That was                             what I learned from watching my wife.                   At a sign, the helmets are slammed down. As the muffled                   shrieks are heard from within, the eels crawl across                   the faces of Chekov and Terrell; with unerring in-                   stincts they head for the ears of the two hapless men.                   There is some atrocious pain as they enter -- then                   dazed calm.                                           KHAN                                     (continuing)                             That's better! Now: tell me why                             you are here -- and tell me where I                             may find James Kirk.              27   INT. RELIANT BRIDGE                                         27                                           KYLE                             Captain Terrell. Captain Terrell...                             This is Reliant; please respond.                   No answer -- Beach makes up his mind --                                           BEACH                             Mr. Kyle, muster a landing party                             with full arms. Alert the                             transporter room. We're beaming                             down.                   He heads for the door but is stopped by:                                           TERRELL'S VOICE                                     (filtered)                             Reliant, this is Terrell. Respond                             please.                                           BEACH                             This is Reliant. Clark, are you                             all right?                   Fractional pause.                                           TERRELL'S VOICE                                     (filtered)                             Everything's fine, commander. I'll                             explain when I see you. Oh, by the                              way, we're bringing several guests                             aboard. Prepare to beam up on my                             next signal. Terrell out.                   Beach and Kyle look at each other.                                           KYLE                             Guests?                                           BEACH                             Maybe we ARE transplanting something.              28   EXT. ORBITING SPACE DOCK AREA - TERRA (FEATURE STOCK)       28                   A SPACE SHUTTLE moving toward us.              29   INT. SPACE SHUTTLE                                          29                   A new composite. Bones, Sulu, Uhura and Kirk -- who                   sits, reading. Through the windows we can see the                   approach to the starship ENTERPRISE. Kirk looks up,                   nods. Sulu activates a comm button.                                           SULU                             Enterprise, this is Admiral Kirk's                             party on final approach.                                           ENTERPRISE VOICE                                     (filtered)                             Enterprise welcomes you. Prepare                              for docking.                   Kirk looks up from his book as Sulu sits next to him.                                           KIRK                             I really must thank you.                                           SULU                                     (embarrassed)                             I am delighted; any chance to go                             aboard Enterprise, however briefly,                             is always an excuse for nostalgia.                                           KIRK                             I cut your new orders personally. By                             the end of the month, you'll have your                             first command: USS EXCELSIOR.                                           SULU                             Thank you, sir. I've looked                             forward to this for a long time.                                           KIRK                             You've earned it. But I'm still                             grateful to have you at the helm                             for three weeks. I don't believe                             these kids can steer.                   Sulu laughs.              30   EXT. SPOCE DOCK - TERRA (FEATURE STOCK)                     30                   The shuttle approaches the mammoth airstrip. As we                   near the ship, a few WORK CREWS IN SPACE flit about                   her hull, working.              31   EXT. ENTERPRISE (FEATURE STOCK)                             31                   The shuttle makes its way to the Docking Lock of the                   mother ship and settles in place.              32   INT. ENTERPRISE DOCKING BAY                                 32                   A reception group awaits, led by Captain Spock. Saavik                   stands at his side, in company of the Trainee crew.                   Also present: CHIEF ENGINEER MR. SCOTT and members of                   his staff in their distinctive uniforms.                                           INTERCOM VOICE                             Docking procedure complete.                                           SPOCK                             Prepare for Admiral's inspection.                   The group comes to attention.                                           SPOCK                                     (continuing)                             Open the Air Lock.                   The doors open. Kirk and his staff are piped aboard                   by an electronic version of the boatswain's tradi-                   tional whistle. Kirk salutes the Federation symbol                   and steps forward to exchange salutes with Spock.                                           KIRK                             Permission to come aboard, Captain?                                           SPOCK                             Welcome aboard, Admiral. I believe                             you know my trainee crew. Certainly                             they have come to know you.                                           KIRK                                     (dryly to Saavik)                             Yes, we've been through death and                             life together.                   Saavik stiffens slightly -- humor is not her forte.                                           KIRK                                     (continuing to Scotty)                             Mr. Scott, you old space dog. You're                             well?                                           SCOTTY                             I had me a wee bout -- but Dr. McCoy                             pulled me through.                                           KIRK                             Oh? A wee bout of what, Mr. Scott?                   Uncomfortable, Scotty exchanges a glance with Bones --                                           BONES                             Shore leave, Admiral.                                           KIRK                             Ah.                   He stops before a BRIGHT-FACED FOURTEEN-YEAR OLD, stand-                   ing so stiff he looks like he'll break -- in an                   engineer's uniform.                                           KIRK                                    (continuing)                             And who is this?                                           PRESTON                                     (breathless)                             Midshipman First Class Peter Preston,                             engineers mate, SIR.                   A big salute. Kirk is amused, returns the salute.                                           KIRK                             Your first training voyage, Mr.                             Preston?                                           PRESTON                             Yes, SIR.                                           KIRK                             I see. Well, shall we start with                             the engine room?                   He moves, followed by his staff.                                           SCOTTY                                     (eyeing his prot‚g‚)                             I believe you'll find all in order --                                           SPOCK                             We'll see you on the bridge, Admiral.                                           KIRK                             Very good, Mr. Spock.                   Kirk and party leave. CAMERA PUSHES IN ON SPOCK AND                   SAAVIK.                                           SAAVIK                             He's not what I expected, Sir.                                           SPOCK                             What did you expect, Lieutenant?                                           SAAVIK                                     (uncertain)                             He's very human.                                           SPOCK                             We can't all be perfect, Saavik.                             You must control your prejudices                             and remember that as a Vulcan as                             well as a Romulan you are forever                             a stranger in an alien land.                             Around you are humans, and as a                             member of the Starfleet you are                             unlikely ever to escape their                             presence or their influence.                             You must learn to tolerance in addition                             to all else I have taught you.                             Tolerance is logical.                   Saavik is humbled.                                           SAAVIK                             As always, my mentor. Company dismiss.              33   INT. ENTERPRISE ENGINE ROOM - LOOKING DOWN                  33                   The inspection party dwarfed by the size. Silence as                   Kirk looks around, runs a finger for dust, etc.                   Scotty, his team and Preston, stand at attention.              34   ANGLE - FLOOR OF ENGINE ROOM                                34                   FEATURING power room separated by glass from the rest                   of the facilities. Bones, Sulu, Uhura, and some train-                   ees watch as Kirk inspects one console, clearly the                   responsibility of the bursting Midshipman Preston.                                           PRESTON                                      (blurting)                             I believe you'll find everything                             shipshape, Admiral.                                           KIRK                                     (sternly puts                                      him on)                             Oh do you? Have you any idea,                             Midshipman Preston, how many times                             I've had to listen to Mr. Scott on                             the Comm, telling me his troubles?                             Have you any idea the ribbing I've                             had to endure in the officers' mess                             to the effect that the Enterprise                             is a flying death trap?                                           PRESTON                                     (scandalized)                             Oh, no, sir! This is the finest                             engine room in the whole Star --                   The repressed grins of the others, and a smile on Scotty's                   face tell Preston he's being had. He stops, confused.                                           PRESTON                                     (continuing)                             If the Admiral can't see the facts                             for himself, then, with all due                             respect, he's as blind as a Tiberion                             bat. SIR.                   Approving laughter. Kirk looks amused.                                           KIRK                             Midshipman, you're a tiger.                                           SCOTTY                             My sister's youngest, Admiral.                             Crazy to get to space.                                           KIRK                             Every young boy's fancy. I seem                             to remember it myself.                                     (brisk)                             Very well. Mr. Scott, are your                             engines capable of handling a minor                             training cruise?                                           SCOTTY                             Give the word, Admiral.                                           KIRK                             Mr. Scott, the word is given.                                           SCOTTY                             Aye, sir.                   He moves off, followed by Preston, who gives one last                   salute as Kirk leaves, followed by Bones.                                           BONES                                     (dry)                             What about the rest of the                             inspection, Admiral?                                           KIRK                             The inspection will continue once                             we're underway, Doctor.                   They step into the Turbo Lifts.              35   INT. ENTERPRISE BRIDGE                                      35                   The real one, no doubt! CAMERA REVEALS the maze detail:                   winking and blinking displays, all HANDS at station,                   a hum of activity, Uhura and Sulu in familiar chairs,                   Spock is in the Captain's chair, Saavik in the First                   Officer's position. Kirk and Bones stand towards the                   rear.                                           INTERCOM VOICE                             This is Starfleet operations.                             Enterprise is cleared for departure.                                           SULU                             Admiral on the bridge!                                           SPOCK                             Very well, Mr. Saavik, clear all                             moorings.                                           SAAVIK                             Aye, sir.                   Saavik punches data into her console.              36   EXT. SPACE DOCK AND ENTERPRISE (FEATURE STOCK)              36                   The dock slowly folds away from the ship.              37   INT. BRIDGE, ENTERPRISE                                     37                   Saavik watches instruments, punches data in response.                                           SAAVIK                             All moorings are clear, Captain.                                           SPOCK                             Thank you, Mr. Saavik.                   Spock casts a glance at Kirk, then, to Saavik:                                           SPOCK                                     (continuing)                             Lieutenant, how many times have you                             piloted a Starship out of Spacedock?                                           SAAVIK                             Never, sir.                   Kirk tries to conceal his reaction. Spock enjoys it.                                           SPOCK                             Take her out, Mr. Saavik.                                           SAAVIK                             Aye, sir.                   Saavik settles herself in the chair, looks again at                   the console -- Spock looks at Kirk.                                           SPOCK                             There's a first time for everything,                             Admiral.                                           KIRK                                     (casual)                             To be sure, Captain.                   They all stifle their responses. Kirk is like a father                   watching his kid drive the family car for the first time.                                           SAAVIK                             Aft thrusters, Mr. Sulu.                                           SULU                             Aft thrusters, sir.              38   OMITTED                                                     38              39   EXT. ENTERPRISE (FEATURE STOCK)                             39                   as the ship slowly and majestically leaves the dock.              40   INT. ENTERPRISE BRIDGE                                      40                   Activity hums.                                           SAAVIK                             Ahead one quarter impulse power.                   Kirk starts to say something, but doesn't. Bones looks                   at him.                                           BONES                                     (sotto voice)                             Would you like a tranquilizer?                   Kirk shakes his head, takes a breath --                                           SULU                             Ahead one quarter impulse power.              41   EXT. SPACE DOCK ENTERPRISE (FEATURE STOCK)                  41                   The ship clears the dock and begins heading into space.              42   INT. ENTERPRISE BRIDGE                                      42                   Kirk quietly lets his breath out.                                           SULU                             We are clear and free to navigate.                                           SAAVIK                             Course heading, Captain?                   Spock turns inquiringly to Kirk.                                           KIRK                             Captain's discretion.                   Spock digests this with a slight smile.                                           SPOCK                             Mr. Sulu, you may follow your nose.              43   EXT. THE ENTERPRISE (STOCK FROM FEATURE)                    43                   She gathers speed into the vastness of space.              44   EXT. SPACE, FEATURING THE RELIANT                    44                   moving towards us, in opposition to the previous shot,                   close enough for us to read her markings.              45   INT. RELIANT BRIDGE                                         45                   Khan occupies the Captain's chair. We PULL BACK: the                   crew of the RELIANT has been replaced by Khan's fol-                   lowers in their odd-looking clothes.                   At the helm is Joachim, Khan's lieutenant. He is in the                   largest and brightest of Khan's group. Terrell sits in                   the First Officer's chair, Chekov at the Comm Console.                   Their behavior is normal, save for subtle hesitation,                   symptoms of their mind-controlled state.                                           JOACHIM                             Steady on course. All systems normal.                                           KHAN                             It's not much different from                             Enterprise.                                     (beat)                             When I was a guest aboard her some                             years ago, Captain Kirk kindly allowed                             me to memorize her technical manuals.                             And now, Mr. Chekov, let us review:                             You say you have no details of                             Project 'Genesis' ?                                           CHEKOV                             Beyond what I told you, sir, it is                             classified information.                                           KHAN                             Umm. And would Admiral Kirk have                             access to such information?                                           CHEKOV                             I would think so, sir. He's on the                             Fleet General Staff.                                           KHAN                             Then to whom do you report directly                             regarding Genesis?                                           CHEKOV                             To Doctor Marcus, the civilian                             director of the experiments on Space                             Laboratory Regula I.                                           KHAN                                     (thinks)                             I see. Helmsman?                                           HELMSMAN                             Aye, sir.                                           JOACHIM                             May I speak? We're all with you,                             sir, but consider: we are free,                             we have a ship and the means to                             go where we will. We have                             escaped permanent exile on Ceti                             Alpha V. You have proved your                             superior intellect and defeated                             the plans of Admiral Kirk.                             You do not need to defeat him                             again.                                           KHAN                             He tasks me -- and I'll have him. I'll                             chase him round the moons of Nibia                             and round the Antares maelstrom and                             round perdition's flames before I give                             him up.                                     (as no one speaks)                             Prepare to alter course -- for Space                             Station Regula I.                                           46   EXT. SPACE - SPACE STAION REGULA I                          46              47   INT. CAROL'S LAB                                            47                   Huge and busy. Among the scientists going about their                   tasks are JEDDA, a Deltan; MARCH, thin intense;                   MADISON, black, easy going. They are all young and                   earnest. Carol and David huddle over a computer                   console.                                           DAVID                             Does that about do it?                                           CAROL                             I don't think there's another piece                             of information we could squeeze                             into the memory banks. Next                             time, we'll design a bigger                             one.                                           DAVID                             Who --                   Jedda at the Comm Console overlaps.                                           JEDDA                             Comm-Pic coming in on hyperchannel                             ... It's Reliant.                   Carol moves forward as the others close in.                                           CAROL                             On the screen, please, Jedda.                   Buttons punched; the screen ebbs, flows and crackles                   on. ON SCREEN is CHEKOV.                                           CHEKOV                             ... come in, please. This is Reliant                             calling Regula I. Repeat. This is                             USS Reliant --                                           CAROL                             Commander, we are receiving. This                             is Regula I. Go ahead.                                           CHEKOV                             Dr. Marcus... good. We're en route                             to you and should be there in three                             days.                                           CAROL                             En route? Why? We weren't expecting                             you for another three months. Has                             something happened?                                     (pause)                             Has something happened? Do you read                              us?                                           CHEKOV                                     (fractional pause)                             All went well. Nothing has happened.                             Ceti Alpha VI has checked out.                   Pleased reaction from the scientists.                                           CAROL                             I still don't under --                                           CHEKOV                             We have received new orders. Upon our                             arrival at Regula I, all materials of                             Project Genesis will be transferred to                             this ship for immediate testing at                             Ceti Alpha VI.                   Consternation in the lab. David is livid -- the words                   "Bullshit" are overlapped  by his mother.                                           CAROL                             Will you please be quiet!                                     (back to console)                             Commander Chekov, this is completely                             irregular. Who gave the order you                             are quoting? Who gave the order?                                           CHEKOV                                     (still smiling)                             The order comes from Starfleet                             command, Dr. Marcus, direct from                             the General Staff.                                           CAROL                             But Genesis is a civilian project,                             under my control --                                           CHEKOV                             I have my orders.                                           DAVID                             Pin him down, mother! Who gave the                             orders!?                   Chekov hesitates, seems to be listening to someone off                   the monitor.                                           CHEKOV                             The orders come from Admiral James                             T. Kirk.                   Sensation in the lab.                                           DAVID                             I knew it! I knew it! All along                             the military has wanted to get their                             hands on this --                   He starts to press a button; Carol pushes his hand                   away and communicates herself.                                           CAROL                             This is completely improper,                             Commander Chekov. I have no                             intention of allowing Reliant or                             any other unauthorized personnel                             access to our work or materials.                                           CHEKOV                                     (pauses; listens)                             I'm sorry you feel that way, Doctor.                             Admiral Kirk's orders are confirmed.                             Please prepare to deliver Genesis to                             us upon our arrival. Reliant out.                   The image fades.                                           CAROL                             Commander Chekov -- !              48   INT. BRIDGE OF RELIANT                                      48                   Chekov, in a matched cut, turns away as CAMERA WIDENS                   TO REVEAL KHAN by his side. He is charming.                                           KHAN                             Well done, Commander.                                           CHEKOV                             You realize, sir, that they will                             attempt to contact Admiral Kirk and                             confirm the order.                   Khan smiles, more charming than ever as we move in.              49   INT. REGULA I LAB                                           49                   Everyone is talking at once.                                           CAROL                             Will you please be quiet! We must                             have order here.                                     (as they subside)                             This has to be some sort of mistake.                                           DAVID                             Mistake? We're all alone here.                             They waited until everyone was on                             shift-leave to do this. Reliant is                             supposed to be at our disposal, not                             vice-versa.                                           MADISON                             It seems clear that Starfleet never                             intended that --                                           CAROL                             I know, but --                                           DAVID                             I've tried to warn you. Scientists                             are always pawns of the military --                                           CAROL                                     (angry)                             Starfleet has kept the peace for                             a hundred years, I cannot and                             will not subscribe to your                              interpretation of this event.                   Silence.                                           JEDDA                                     (Deltan cool)                             You may be right, Doctor, but what                             about Reliant? She's on her way.                   Carol reacts: this is certainly true.                                           CAROL                             Get your gear together where it's                             handy.                                           MARCH                             Where are we going?                                            CAROL                             That's for us to know and Reliant                             to find out. We have only three                             days. Let's not waste time.                   They split off in different directions as ordered.              50   OMITTED                                                     50              51   EXT. SPACE - ENTERPRISE (FEATURE STOCK)                     51                   In no particular hurry.              52   INT. ENTERPRISE CORRIDOR                                    52                   Kirk waits for the Turbo Lift, which opens at last. As                   he gets in --                                           SAAVIK'S VOICE                             Hold please -- !                   Kirk holds and Saavik dashes in. She is surprised to                   see him.                                           SAAVIK                                     (continuing)                             Thank you, sir.                   Kirk nods, the doors close. There is an uneasy forced                   intimacy between them.                                           KIRK                             Lieutenant, are you wearing your                             hair differently?                                           SAAVIK                             It is still regulation, Admiral.                   She reaches out and touches a button. The lift stops.                                           SAAVIK                                     (continuing)                             May I speak, sir?                                           KIRK                             Lieutenant, self-expression does not                             seem to be one of your problems.                                           SAAVIK                             I wish to thank you for the high                              efficiency rating.                                           KIRK                             You earned it.                                           SAAVIK                             I did not think so.                                           KIRK                             You're bothered by your performance                             on the Kobayashi Maru.                                           SAAVIK                             I failed to resolve the situation.                                           KIRK                             There is no correct resolution.                             It is a test of character.                                           SAAVIK                             May I ask how you dealt with the                             test?                                           KIRK                                     (amused)                             You may ask, Lieutenant.                   She stares.                                           KIRK                                     (continuing)                             That was a little joke.                                           SAAVIK                             Humor... that is a difficult concept                             ... it is not logical...                                           KIRK                             We learn by doing, Lieutenant.                   She's a laugh a minute. Kirk pushes the button; the                   elevator starts.                                           KIRK                                     (continuing)                             You want my advice?                   She studies him, considering. No doubt about it, the                   attraction is mutual and she has no idea how to handle                   it.                                           SAAVIK                             Yes.                                           KIRK                             Take the test again.                   The lift stops and the doors open.                                           BONES                             Who's been holding up the damn                             elevator?                   He reacts to them. Saavik exits demurely.                                           SAAVIK                             Thank you, sir.                   Bones enters and the doors close. Kirk studies the                   ceiling.                                           BONES                             Has she changed her hairstyle?                   Kirk says nothing.                                           BONES                                     (finally)                             Wonderful stuff, that Romulan                             ale --                                           UHURA'S VOICE                             Admiral Kirk --                                           KIRK                             Kirk here.                                           UHURA'S VOICE                             I have an urgent CommPic from Space                             Lab Regula I for the Admiral. Dr.                             Carol Marcus.                                           KIRK                             In my quarters, Uhura.                                           UHURA'S VOICE                             Yes, sir.                   Awkward silence.                                           BONES                             It never rains but when it pours --                                           KIRK                             As a physician you of all people                             should appreciate the danger of                             re-opening old wounds.                   The elevator stops. Kirk leaves. The doors close.                                           BONES                                     (annoyed with                                      himself)                             Sorry.              53   INT. KIRK'S QUARTERS                                        53                   Featuring VIEW SCREEN: A scramble of interference and                   noise. A piece of Carol's VOICE breaks through now                   and again as we PULL BACK revealing a frustrated Kirk.                                           KIRK                             Uhura. Can't you augment?                                           UHURA                             I'm trying, sir. Stand by...                   Carol's face appears. The image will never be stable                   for long; sometimes the sound will be covered.                                           CAROL                             Jim... read me? Can you read me?                                           KIRK                             Message breaking up, Carol. What's                             wrong? What's wrong?                                           CAROL                             ... Can't read you... repeat...                                           KIRK                             Repeat... what's wrong? What's                             wrong?                                           CAROL                             ... taking Genesis away from us...                                           KIRK                             Taking Genesis? Who? Who is taking                             Genesis?                                           CAROL                             ... see you but can't hear. Did                             you... order...?                                           KIRK                             What order? Who's taking Genesis?                                           CAROL                             ... Please help us, Jim... won't                             let them have... without proper...                             repeat... on whose authority...                                           KIRK                             Carol!                                           CAROL                             Jim please --                   But the picture is irrevocably scrambled now. Kirk                   pounds the Comm in frustration.                                           KIRK                             Uhura! What's happening? Damn                             it...                                           UHURA'S VOICE                             Transmission jammed at the source,                             sir.                                           KIRK                             Damn. Alert Starfleet Headquarters.                             I want to talk with Starfleet                             Command.              54   OMITTED                                                     54              55   EXT. ENTERPRISE (FEATURE STOCK)                             55                   cruising.              56   INT. ENTERPRISE BRIDGE                                      56                   The activity is normal. The Turbo-Lift opens and Kirk                   strides in. Bones and Saavik react to the following:                                           KIRK                             Stop engines.                                           SULU                             Stop engines.                   They look wonderingly. Kirk takes a breath --                                           KIRK                             An emergency situation has arisen.                             By order of Starfleet Command, as                             of now, 1800 hours, I am assuming                             command of this vessel. Duty officer                             so note in the ship's log. Plot a                             new course: for Space Laboratory                             Regula I.                                     (pushes a button)                             Mr. Scott?                                           SCOTTY'S VOICE                             Aye, sir.                                           KIRK                             We'll be going to warp speed --                                           SCOTTY'S VOICE                             Aye, sir --                                           SULU                                     (overlapping)                             Course plotted for Regula I, Admiral...                                           KIRK                             Engage warp engines --                                           SAAVIK                                     (comes out of being                                      stunned)                             Prepare for warp speed.                                           SULU                             Ready, sir.                                           KIRK                             Mr. Sulu, go to Warp 5.                   Sulu does, and with a great thrust of energy --              57   EXT. SPACE - ENTERPRISE (FEATURE STOCK)                     57                   The ship accelerates, and then, with an eye-filled                   burst, whips ahead to warp speed, disappearing.             57A   INT. SPOCK'S QUARTERS                                      57A                   Spock is at meditation as Kirk enters quietly. Spock                   looks up.                                           KIRK                             We've got a problem.                   Spock raises an eyebrow --                                           KIRK                                     (continuing)                             Something may be wrong at Regula                             I. We've been ordered to investigate.                                           SPOCK                             Regula I is a scientific research                             laboratory, if memory serves...                                           KIRK                             I told Starfleet all we had was a                             boatload of children but we're the                             only ship in the quadrant. Spock:                             those cadets of yours -- how good                             are they? How will they respond                             under real pressure?                                           SPOCK                             Like all living beings, Admiral                             each according to his gifts. The                             ship is yours.                                           KIRK                             That won't be necessary: just take                             me to Regula I.                                           SPOCK                             Excuse my presumption, but I do not                             agree. As a teacher on a training                             mission, I am content to command a                             Starship. If we are to go on actual                             duty, it is clear that the senior                             officer aboard must assume command.                                           KIRK                             But it may be nothing; garbled                             communications. Why don't you...                                           SPOCK                             You proceed from a false assumption.                             I am a Vulcan. I have no ego to bruise.                   Kirk smiles in bemused wonderment.                                           KIRK                             You are going to remind me that                             logic alone dictates your actions.                                           SPOCK                             I was going to remind you of nothing,                             least of all that which you know well.                                     (pause)                             Your mistake, if I may be so bold,                             was promotion. Commanding a Starship                             is your first best destiny. Anything                             else is a waste of material.                                           KIRK                             I would not presume to debate you.                                           SPOCK                             That is wise. In any case, were I                             to invoke logic, logic clearly dictates                             that the needs of the many outweigh                             the needs of the few.                                           KIRK                             Or the one.                   Spock inclines his head.                                           SPOCK                             You are my superior officer. You                             are also my friend. I have been                             and always shall be yours.                   Kirk is moved. He starts to speak, can't -- finally:                                           KIRK                             Will you accompany me to the bridge?                                           SPOCK                             I'd best talk with Mr. Scott, first                             so that he may, in his own words,                             explain the situation to his cadets.                   Kirk's face tells us the wisdom of Spock's choice.              58   EXT. SPACE STATION REGULA I                                 58                   Floating quietly around the planet below. Tranquil                   as we PUSH SLOWLY IN.                   OVER we can hear, FILTERED, UHURA'S VOICE:                                           UHURA'S VOICE                             Regula I, this is Enterprise. This                             is Enterprise calling. Do you                              receive... I say...              59   INT. ENTERPRISE BRIDGE                                      59                   Featuring Spock and Uhura, as she keeps trying --                                           UHURA                             ... Again, this is Enterprise calling                             Space Lab Regula I. Come in, please.                             Dr. Marcus. Please respond, please                             -- it's no use; no response from                             Regula I.                                           SPOCK                             But no longer jammed?                                           UHURA                             No, sir. No nothing.                   Spock considers, moves to Kirk.                                           SPOCK                             There are two possibilities, sir                             they are unwilling to respond, they                             are unable to respond.                                           KIRK                             How far?                                           SPOCK                             Twelve hours and forty-three                             minutes, present speed.                                           KIRK                             Give up Genesis, she said. What in                             God's name does that mean? Give it                             up to whom?                                           SPOCK                             It might help my analysis if I knew                             what Genesis was.                   Kirk looks at him, nods; rising now.                                           KIRK                             Uhura, ask Dr. McCoy to join us in                             my quarters. Mr. Saavik, take the                             con.                   They start for the Turbo Lifts as Saavik reacts --              60   INT. KIRK'S QUARTERS                                        60                                           BONES                             I've got the sick bay ready. Will                             someone please tell me what is going                             on?                                           KIRK                                     (dims lights)                             Computer. Request security procedure                             and access to Project Genesis                             Summary.                                           COMPUTER VOICE                             Identify for retina scan.                                           KIRK                             Kirk, Admiral James T., Starfleet                             General Staff. Security Class 1.                   The screen is suddenly busy with coded read-outs and                   then computer graphics of retina patterns. Then it                   glows green. SECURITY CLEARANCE, CLASS 1 GRANTED.                                           KIRK                                     (continuing)                             Summary, please.                   More coded read-outs, a red line SECURITY SCAN, then                   over it APPROVED, in green. Replaced by:              61   ON SCREEN INT. CAROL MARCUS' LAB, REGULA I                  61                   Carol appears, FACING CAMERA, not used to it. To one                   side stands David and behind them, the lab.              62   ANGLE - KIRK, SPOCK, BONES                                  62                                           SPOCK                             Carol Marcus --                                           KIRK                             Yes.              63   ON SCREEN (AND INTERCUT)                                    63                                           CAROL                             I'm Dr. Carol Marcus, and I am                             the director of the Project                             Genesis team at Regula I. What                             exactly IS Genesis? Put simply,                             Genesis is a procedure whereby                             the molecular structure of any                             given matter can be restructured                             -- changed -- into anything else                             of identical mass.                   (DNA ILM TAPE ACCOMPANIES, AD LIB)                                           SPOCK                             Fascinating.                                           KIRK                             Wait --                                           CAROL                             Stage One of our experiments                             was conducted in the labora-                             tory. Stage Two of the series                             will be attempted in a lifeless                             underground; Stage Three will                             involve the process on a plane-                             tary scale. What follows is a                             computer projected simulation                             of Stage Three. Please watch                             closely.              64   ILM MONITOR SEQUENCE                                        64               &                                                                &              65                          CAROL                                65                             It is our intention to introduce                             what we call the Genesis device                             or "torpedo" into the targeted                             area of a lifeless space body,                             a moon or other inert form --                             the device is fired --              66   ON BONES, SPOCK AND KIRK                                    66                   react with wonder.              67   BACK TO MONITOR                                             67                                           CAROL                             -- Unleashing, almost instantan-                             eously, what we call the Genesis                             effect. Particulate matter is                             reorganized and electrified --                             with life introduced results.                             Instead of a dead moon, a living                             breathing planet, capable of sus-                             taining whatever life forms we                             see fit to deposit on it... The                             reformed object you see represents                             the merest fraction of the Genesis                             potential, should the Federation                             wish to pursue these experiments to                             their logical conclusion.             67A   BACK TO CAROL IN LAB                                       67A                                           CAROL                             When we consider the problems of                             population and food supply, the                             usefulness of this process begins                             to become clear.                             This concludes this demonstration                             tape. Thank you for your attention.                             The Genesis team eagerly awaits the                             decision of the Federation regarding                             the next phase of our work.                   The tape becomes snowy and blinks off.                   Kirk looks at Bones and Spock -- they are stunned.                                           SPOCK                             It literally is Genesis...                                           KIRK                             The power of creation --                                           SPOCK                             Have they proceeded with their                             experiments?                                           KIRK                             The tape was made a year ago. I                             can only assume they've reached                             Phase Two by now --                                           BONES                             But dear Lord, are we intelligent                             enough to -- Suppose, this                             thing were used where life already                             exists?                                           SPOCK                             It would destroy such life in favor                             of its new matrix --                                           BONES                             It's new -- have you any idea what                             you're saying?                                           SPOCK                             I was not attempting to evaluate                             its moral implications, Doctor.                             As a matter of cosmic history, it                             has always been easier to destroy                             than to create --                                           BONES                             Not anymore! Now you can do both                             at the same time! According to myth,                             the earth was created in six days.                             Watch out: here comes Genesis;                             we'll do it for you in six minutes --                                           SPOCK                             I don't dispute that in the wrong                             hands --                                           BONES                             Would you like to tell me whose                             are the right hands, my cold-blooded                             friend? Are you in favor of these                             experiments?                                           KIRK                             Gentlemen, this isn't --                                           SPOCK                             Really, Dr. McCoy; you cannot ban                             the acquisition of knowledge                             because you distrust the moral                             implications of what you learn.                             Logic suggests --                                           BONES                             Logic?? We're talking about                             universal Armageddon, you inhuman                             bloodless...                                           SAAVIK'S VOICE                                     (intercom)                             Admiral, sensors indicate a vessel                             in our area, closing fast.                                           KIRK                             What do you make of her?                                           SAAVIK'S VOICE                             It's one of ours, Admiral... It's                             Reliant.                                           SPOCK                             What's she doing here?                                           KIRK                             Chekov's on Reliant, isn't he?              68   INT. ENTERPRISE BRIDGE                                      68                   The whoosh of the turbo doors and Kirk, Bones and                   Spock assume their posts. Saavik stands next to Kirk's                   chair.                                           UHURA                             She's not responding...                                           KIRK                             Try the emergency channels...                                           UHURA                             Enterprise to Reliant. Come in,                             Reliant.                                           KIRK                             Picture, Mr. Saavik.              69   ANGLE INCLUDING THE FORWARD SCREEN                          69                   Space; a tiny dot in the distance, growing larger.                                           SPOCK                             Attempt visual communication.                                           UHURA                             Yes, sir.                                           KIRK                             Is it possible their COMM system                             has failed -- ?                                           SPOCK                             It would explain a great many things --              70   EXT. SPACE - THE RELIANT                                    70                   Boring forward ominously.              71   INT. BRIDGE - THE RELIANT                                   71                   Khan and his crew; no sign of Chekov and Terrell. On                   Khan's screen, the Enterprise grows larger --                                           KHAN                                     (almost sing-song                                      with joy)                             Slow to one-half impulse power.                             Let's be friends...                                           HELMSMAN                             Slowing to one-half impulse.                                           JOACHIM                             They're requesting visual                             communications, sir.                                           KHAN                             Let them eat static.                                           JOACHIM                             They're still running with shields down.                                           KHAN                             Of course. We're one big happy fleet.                             Ah, Kirk, my old friend, do you know                             the Klingon proverb that tells us                             revenge is a dish that is best                             served cold?                                     (pause)                             It is very cold in space.              72   INT. ENTERPRISE BRIDGE                                      72                                           SULU                             Reliant in our section this quadrant,                             sir, and slowing --                                           KIRK                             Visual.                   Visual of Reliant appears.                                           SAAVIK                             Sir, may I quote General Order 12:                             'On the approach of any vessel, when                             communications have not been est --                                           SPOCK                             Lieutenant, the Admiral is aware                             of the Regulations.                                           SAAVIK                             Aye, sir.                                           KIRK                                     (watches the                                      screen)                             This is damned peculiar.                                     (beat)                             Yellow alert.                                           SAAVIK                             Energize defense fields.                   ALARMS SOUND. The lights on the bridge dim into the                   soft reddish glow of battle illumination. ADDITIONAL                   CREW troop in to man vacant consoles.                                           UHURA                             I'm getting a voice message... wait                             ... short range band. They say their                             Chambers coil is shorting their COMM                             system.                                           KIRK                             Spock?                                           SPOCK                             Scanning...                   He steps to his station.              73   EXT. SPACE                                                  73                   The two ships are very close, barely moving as they inch                   toward each other.              74   INT. RELIANT BRIDGE                                         74                                           JOACHIM                             They still haven't raised their                             shields.                   Khan is half out of his seat, sweating with anticipation.                                           KHAN                             Careful: Not all at once. The                             engine room. Lock on target and                             prepare to fire.                                           JOACHIM                             Locking phasers on target.                   Computer graphics monitor: Cross-hairs on Enterprise.                   BIG SCREEN (?)              75   INT. ENTERPRISE BRIDGE - FAVORING SPOCK                     75                   He reacts to his blue-lit scope --                                           SPOCK                             Their coil emissions are normal...                             Wait: their shields are going up.                             They're locking phasers -- !                                           KIRK                             Raise shields! Energize phasers,                             stand by to --                   But the ENTIRE BRIDGE is ROCKED by a shock impact, some                   of the crew sent flying.              76   EXT.SPACE                                                   76                   Reliant firing phasers at Enterprise. A hit in the rear                   of the engine room area, debris flying into the void.              77   INT. ENTERPRISE ENGINE ROOM                                 77                   An explosion rips through the facility, sending yellow-                   ish green GAS hurtling down the long facility towards us.                   Crewmen are hurled through the air, screaming.              78   ANGLE - THE GREAT AUTO DOORS                                78                   roll closed, sealing off the damaged tail section,                   SIRENS SHRIEKING!              79   ANGLE - THE TRAINEES                                        79                   terrified, scramble to get out amid the deadly yellow-                   ish green smoke, the cries.              80   ANGLE - SCOTTY                                              80                   trying to rally them --                                           SCOTTY                             Respirators! Get back! Use your                             respirators!                   And he puts his own respirator on, as do some of the                   veterans. Preston dons his respirator -- and stays.              81   HIGH ANGLE - ENGINE ROOM                                    81                   The angle we saw during inspection. The trainees, in                   panic amid the gas crawl over each other trying to get                   out. They scramble over each other's shoulders in the                   efforts to escape, screaming and shouting.              82   INT. ENTERPRISE BRIDGE                                      82                   The bridge is slowly righting. Crew members getting                   back to their stations. On speaker, we hear the CRIES                   AND SHOUTS of the Engine Room.                                           KIRK                             Mr. Sulu... The shields!                                           SULU                             Trying, sir!                                           INTERCOM VOICE                             Medical Alert: Engine Room.                   Bones dashes out.                                           SULU                             I can't get power, sir!                                           KIRK                             Scotty!                   Scotty's voice is faint, drowned by the screams and                   cries from a dozen intercom stations.                                           KIRK                                     (continuing)                             Uhura, turn off those damn                              channels!!                   Uhura does. There is a dead silence. Then:                                           UHURA                             Mr. Scott on discrete.                                           KIRK                             Scotty, let's have it.              83   INT. ENGINE ROOM - FAVORING SCOTTY                          83                   Behind, the crew chief and a few others work feverishly                   in respirators. Scotty, in respirator, with a throat                   mike which filters his voice.                                           SCOTTY                             Just hanging on, sir. Main energizers                             out.              84   INT. ENTERPRISE BRIDGE                                      84                   ON SCREEN computer graphics, red flashing lights indi-                   cate damaged areas. Spock steps up to Kirk evaluating                   the display.                                           SPOCK                             They knew just where to hit us.                                           KIRK                             WHO? Who knew just where to hit                             us? And why?                                           SPOCK                                     (shakes head)                             One thing is certain; we cannot                             escape on auxiliary power.                                           KIRK                             Visual!                                     (sees visual)                             Mr. Sulu, divert everything to the                             phasers --                                           SPOCK                                     (re screen)                             Too late --                   On VISUAL SCREEN, Photon torpedoes approach...                                           KIRK                             Hang on!                   The bridge is shaken badly, screens go dark, fires spark                   and erupt. ALARMS and SOUND full. Crew personnel try                   to put out electrical fires, help the fallen --              85   EXT. SPACE - RELIANT                                        85                   circling Enterprise.              86   INT. RELIANT BRIDGE - FAVORING KHAN AT DASH                 86                   The glow of the O.S. screens and battle illumination                   highlighting the passion in his eyes.              87   INT. ENTERPRISE BRIDGE                                      87                   The firefighting continues.                                           KIRK                             Scotty -- what's left?                                           SCOTTY'S VOICE                             Just the batteries, sir. I can have                             auxiliary power in a few minutes --                                           KIRK                             We don't have minutes. Can you                             give me phaser power?                                           SCOTTY'S VOICE                             A few shots, sir.                                           SPOCK                             Not enough against their shields.                                           KIRK                             Who the hell are they?                                           UHURA                             Admiral... Commander Reliant is                             signaling.                                     (a pause)                             He wishes to discuss terms of our                             surrender.                   There is a moment. Kirk looks around the battered                   bridge, and his eyes meet Spock's, and Saavik's.                                           KIRK                             On screen.                                           UHURA                                     (hesitating)                             Admiral --                                           KIRK                             Do it, while we have time.                   All eyes go to the SCREEN. After momentary visual                   confusion, Khan's face appears, smiling --                                           KIRK                                     (continuing; dumbfounded)                             Khan!                                           SAAVIK                             Who?                                           KHAN                             You still remember, Admiral. I                             cannot help but be touched. Of                             course, I remember you.                                           KIRK                             What is the meaning of this attack?                             Where is the crew of the Reliant?                                           KHAN                             Surely I have made my meaning plain.                             I mean to avenge myself upon you,                             Admiral. I've deprived your ship of                             power and when I swing round I mean                             to deprive you of your life --              88   EXT. SPACE                                                  88                   We can see Reliant making a large arc as she prepares to                   come back for another round.              89   INT. ENTERPRISE BRIDGE                                      89                                           KHAN                                     (on screen)                             -- But I wanted you to know first                             who it was who had beaten you: I,                             Khan Noonian Singh, the eagle you                             attempted to cage forever.                                           KIRK                             Khan, listen to me -- if its me you                             want, I'll have myself beamed aboard.                             All I ask is that you spare my crew.                                           KHAN                             That is a most intriguing offer.                             Typical, I must say of your sterling                             character. Let me think.              90   EXT. SPACE                                                  90                   Reliant continues her slow arc.              91   INT. ENTERPRISE BRIDGE                                      91                                           KHAN                                     (on screen)                             I make you a counter-proposal, I will                             agree to your terms, if in addition                             to yourself, you turn over to me all                             data and material regarding the                             project called Genesis.                   Reactions from Spock and Kirk.                                           KIRK                             Genesis, what's that?                                           KHAN                             Don't play with me, Kirk, my hand is                             on the phaser control --                                           KIRK                             Give me some time to recall the data                             on our computers --                                           KHAN                             I give you sixty seconds, Admiral.                   Kirk turns from the screen --                                           SPOCK                             Admiral, you can't give him Genesis...                                           KIRK                             At least we know he hasn't got it.                             Just keep nodding as though I'm                             giving orders. Saavik, punch up the                             data charts of Reliant's command                             console -- hurry...                                           SAAVIK                             Reliant's command...                                           KIRK                             HURRY.                                           SPOCK                             The prefix code?                                           KIRK                             It's all we've got.                                           SAAVIK                             On screen...                                           KIRK                                     (to Khan)                             We're finding it.                                     (urging)                             Please, please -- you've got to                             give us time -- the bridge is                             smashed, computers inoperative...                                           KHAN                             Time is a luxury you do not have,                             Admiral: forty-five seconds...              92   EXT. SPACE                                                  92                   Reliant, her arc completed, is coming back.              93   INT. ENTERPRISE BRIDGE                                      93                                           SAAVIK                             I don't understand --                   Kirk puts on his spectacles --                                           KIRK                             You've got to learn WHY things                             work on a Starship.                                     (to Khan)                             It's coming through now, Khan...                                           SPOCK                                     (descends)                             The prefix code is 16309. All                             commands from each Starship bridge                             are relayed electronically; each                             ship has its own prefix combination                             code...                                           KHAN                             Thirty seconds...                                           KIRK                             ... to prevent an enemy from doing                             just what we're attempting; using                             our console to tap in a message,                             an order to lower Reliant's damn                             shields...                                           SPOCK                                     (at the weapons console)                             Let's hope he hasn't changed the                             combination. He's quite intelligent...                                           KIRK                                     (grim)                             Wait for my signal, Spock -- too                             soon and he'll have time to figure                             it out and raise them again.                   Spock nods; Kirk turns to the screen --                                           KIRK                                     (continuing)                             Khan, how do I know you'll keep                             your word?                                           KHAN                                     (on screen)                             I've given you no word to keep,                             Admiral. In my judgment, you simply                             have no alternative.                                           KIRK                             I take your point. Stand by to                             receive our transmission.                   He turns from the screen again, softly:                                           KIRK                                     (continuing)                             Mr. Sulu, lock phasers on target                             and await my command...                                           SULU                                     (quietly)                             Phasers locked...                   They're all sweating.                                           KHAN                             Time's up, Admiral...                                           KIRK                                     (dry)                             Here it comes. Now, Spock.              94   CLOSE UP SPOCK'S HANDS PUNCHING IN THE PREFIX CODE          94                   followed by other signals.              95   INT. RELIANT BRIDGE                                         95                                           JOACHIM                                     (stares at his console)                             Sir -- our shields are dropping!                                           KHAN                             Raise them --                   Joachim punches frantically --                                           JOACHIM                             They won't --                                           KHAN                             Where's the over-ride??                   All monitors are haywire now that Enterprise is tapped                   in. They search wildly for the right switch, but...              96   INT. ENTERPRISE BRIDGE                                      96              97   CLOSE UP - KIRK                                             97                                           KIRK                             FIRE!              98   CLOSE UP - SULU'S HANDS                                     98                   punching.              99   EXT. SPACE                                                  99                   Enterprise fires at Reliant inflicting heavy damage.             100   INT. RELIANT BRIDGE                                        100                   A shambles -- debris flying; Khan knocked to the deck.                   He struggles to his feet through wiring --                                           KHAN                                     (enraged)                             At them! At them! FIRE! FIRE!                             Why can't you?                                           JOACHIM                             We can't fire, sir; they've damaged                             the photon controls and the warp                             drive. We must withdraw!                                           KHAN                             No!                                           JOACHIM                             Sir, we must!                                     (desperate urging)                             We must repair the damage. Enterprise                             will wait; she's not going anywhere.                   Khan calms as the other holds him; he breathes deeper.             101   EXT. SPACE                                                 101                   Reliant turns away.             102   ENTERPRISE BRIDGE                                          102                   They watch on screen as Reliant hauls off.                                           SULU                                     (breathless)                             Sir, you did it.                                           KIRK                                     (enraged)                             I did nothing -- except get caught                             with my britches down. I must be                             senile. Mr. Saavik, you just keep                             right on quoting regulations.                             Meantime, let's find out what the                             hell is going on and see how bad                             we've been --                   The turbo doors whoosh open as Kirk reaches them.                   Scotty stands there, tears streaming down his face;                   he holds the body of Midshipman Preston. Both of them                   are covered in blood. He sways into Kirk's arms as                   the others rush forward.             103   EXT. SPACE                                                 103                   The Enterprise, motionless, scars of battle showing.             104   INT. ENGINE ROOM                                           104                   The CREW, wearing respirators amid the motionless ball                   of gas, work frantically at a dozen jobs, trying to put                   things aright, splicing wires, etc. Some TRAINEES who                   panicked are back.             105   FEATURE THE CREW CHIEF                                     105                   making a final adjustment.                                           CREW CHIEF                             Hit your blowers!                   A TURBO WHINES and a great wind of suction pulls the                   gas towards appropriate vents. The Crew Chief watches,                   then yanks off his respirator; wipes his brow.             106   INT. SICK BAY                                              106                   MANY CASUALTIES IN EVIDENCE. Kirk enters and LEADS                   CAMERA THROUGH them; he has a word or two for men he                   doesn't know by name. Kirk leads us to the operating                   theatre, where Bones works over Preston. Scotty stands                   by, his lips trembling. Preston opens his eyes, sees                   Scotty and Kirk.                                           PRESTON                                     (faint)                             Is the word given?                                           KIRK                                     (soft)                             The word is given: warp speed.                                           PRESTON                                     (almost smiles)                             Aye...                   He dies. Pause. Scotty looks across the body at Kirk.                                           SCOTTY                             WHY?                                           KIRK                                     (looks at Preston)                             He wants to kill me for passing                             sentence on him 14 years ago -- and                             he doesn't care who stands between                             him and his vengeance.                                           BONES                             Scotty, I'm sorry...                                           SCOTTY                             He stayed at his post. When the                             trainees ran, he stayed.                                           KIRK                             If he hadn't, we'd be space by now.                                           SPOCK'S VOICE                             Admiral, this is Spock.                   Kirk hits a wall intercom --                                           KIRK                             Yes, Spock.                                           SPOCK'S VOICE                             Engine room reports auxiliary power                             restored. We can proceed at impulse                             power.                                           KIRK                                     (thinks)                             Best speed to Regula I. Kirk                             out. Scotty, I've got to ask: Any                             chance of getting the mains back on                             the line?                                           SCOTTY                             I dinna think so, sir, but you'll                             have my best --                   With an effort, he gets to his feet --                                           SCOTTY                                     (continuing)                             Thanks -- I know you tried, Doctor...                   Squeezes his shoulder and limps off -- We NOW HEAR                   the sound of impulse power taking effect.                                           KIRK                             Are you all right?                   Bones shrugs unhappily, looks at Preston.                                           BONES                             Doctors lose patients sometimes.                             Damn. I'm still in the dark: How'd                             he know about Genesis?                                           KIRK                             At the moment that question takes                             a back seat to preventing him from                             laying his hands on it. You said it                             yourself; we're talking about a bang                             that would re-arrange the universe...                                           BONES                             There may still be time... you gave                             as good as you got.                                           KIRK                                     (looks him in the eye)                             I got beat. We're only alive because                             I knew something about these ships                             that he didn't.                   He turns and leaves as Bones watches, looks again at                   Preston.             107   EXT. SPACE - REGULA I SPACE STATION                        107                   Regula, the dead planet beyond.             108   EXT. SPACE - ENTERPRISE                                    108                   Approaching. As she moves slowly PAST CAMERA, WE PAN                   WITH her TO SEE that she is approaching the space lab.             109   INT. BRIDGE - ENTERPRISE                                   109                   Battle damage, some repaired, some not. The bridge is                   filled with tension, all hands at station.                                           SULU (V.O.)                             Approaching Regula and Space Lab                             Regula I.                                           KIRK                             Try again.                                           UHURA                             Space Station Regular I, this is                             Starship Enterprise. Come in, please...             110   INT. SPACE STATION REGULAR  I - CAROL'S LAB - ON SCREEN    110                   As before, Uhura's image, imploring a response.                                           UHURA                             I say again. Space Station Regular.                             This is Starship Enterprise. Please                             respond. Please respond.                   During this, CAMERA HAS PANNED CLOSE AMONG the techni-                   cal clutter. Then suddenly. SOUND -- eerie, frightening.                   Our ears cannot place it... and before we can, it is gone                   a warning.             111   BACK TO BRIDGE                                             111                                           UHURA                             ... No response, sir.                                           KIRK                             Sensors, Captain?                                           SPOCK                             Scanners and sensors still inoperative.                             There's no way to tell what's  inside                             the station.                                           KIRK                             And no way of knowing if Reliant                             is still in the area...                                           SPOCK                             Affirmative, Admiral.                                           KIRK                                     (with irony)                             ... Blind as a Tiberian Bat.                             What do you make of the plantoid                             beyond?                                           SPOCK                             Regula is class "D'. It consists of                             various remarkable ores. Essentially,                             a great rock in space.                                           KIRK                             Reliant could be hiding behind that rock.                                           SPOCK                             A distinct possibility.                                           KIRK                             Engine room... Scotty, do we have                             enough power for the transporters?                                           SCOTTY'S VOICE                             Just barely, sir.                                           KIRK                                     (the decision)                             I'm going down to the station.                   He starts out. Bones stops him.                                           BONES                             Khan could be down there!                                           KIRK                             He's BEEN there and hasn't found                             what he wants. Can you spare                             someone? There may be people                             hurt.                                           BONES                             I can spare me...                                           SAAVIK                             Begging the Admiral's pardon:                             General Order 15: 'No  flag officer                             shall beam into a hazardous area                             without armed escort.'                                           KIRK                             There is no such regulation.                   Saavik's gaze falters --                                           KIRK                                     (continuing)                             All right, join the party.                             Mr. Spock, the ship is yours.                                           SPOCK                             Aye sir --                                           KIRK                             Establish a parking orbit around                             the station and send me a complete                             damage report when you've talked                             with Mr. Scott.                                           SPOCK                             Be careful, Jim...                   Kirk, Bones and Saavik head for the turbo doors.             112   EXT. SPACE - SPACE STATION REGULAR I                       112                   CLOSER ANGLE now. The silence is ominous.             113   INT. SPACE STATION REGULAR I - CAROL'S LAB                 113                   empty, except for the hums and crackles of abandoned                   equipment. With a FAMILIAR SOUND, BONES, KIRK and                   SAAVIK MATERIALIZE. All have phasers, communicators                   and tricorders.                   For a moment they look around, seeing emptiness. Like                   being in a haunted house.                                           KIRK                             Hello...! Anybody here?                   A WEIRD ECHO reverberates his cries.                                           SAAVIK                                     (raises tricorder)                             Indeterminate life signs.                                           KIRK                             Phasers on stun. Move out.                   They separate. Each begins to search.             114   ANGLE WITH SAAVIK                                          114                   She moves to the electronic and data area, examines the                   consoles, the equipment, then settles for the data bank.                   She starts keying sequences with the computer.             115   INT. SPACE STATION - BONES                                 115                   He shows signs of fear as he walks through the deserted                   place, like a scuba diver exploring a cave. We want                   him to go back.                   A NOISE. Bones reacts with brave apprehension.                   Rounding a corner, he starts: A RAT scuttles right in                   front of him.                   Bones sighs with relief and moves forward. We think                   he's safe.                   SUDDENLY SOMETHING FALLS RIGHT ON HIS FACE: an upside                   down human ARM.             116   SAME LOCALE - LATER                                        116                   Kirk helps Bones cut down the last of the five BODIES                   from where they were hanged, upside down.                   Having recovered his composure, Bones examines the                   corpses. We RECOGNIZE Madison, March, among others.                   One is clearly the COOK.                                           KIRK                                     (stunned)                             They even killed the galley chief.                                           BONES                             This one looks like a Steward.                             They're not warm, but rigor hasn't                             set in. This didn't happen all that                             long ago, Jim.                   Kirk looks around, despairingly --                                           KIRK                             Carol...             117   INT. SPACE LAB DATA BANK                                   117                   WITH SAAVIK working with console. Something puzzles                   her. She frowns, but a NEW SOUND distracts her. She                   looks up and moves off.             118   FULL SHOT - IN THE LAB                                     118                   A moan is heard. All three now converge on the area.                   As they near it, Saavik's tricorder hums furiously. Be                   this a room, a locker of some other place, this time                   they -- "open the door." The limp bodies of Chekov and                   Terrell fall out.                                           UHURA'S VOICE                                     (on screen)                             Admiral Kirk, Enterprise. Come in,                             please. Come in please.                   She will continue sporadically.                                           KIRK                             My God!                   Chekov emits a live, reassuring moan.                                           BONES                             That's Clark Terrell, Jim, I've                             served with him.                   Bones is passing his medical tricorder over Chekov.                                           BONES                                     (continuing)                             Brain disturbance. Appears to be                             drug induced.                   He reaches into his kit. He shoots Chekov moves off                   to Terrell. Uhura, voice continues in the b.g.                                           KIRK                             Saavik, for God's sake, tell her                             we're all right.             119   INT. ENTERPRISE BRIDGE - FAVORING UHURA                    119                                           UHURA                             I say again. This is Enterprise.                             Please acknowledge signal. Please --                   Saavik's face appears on her screen.                                           SAAVIK                                     (on screen, hurried)                             Commander Uhura, this is Lt. Saavik.                             We're all right. Please stand by.                             Out.                                           UHURA                                     (baffled)                             Aye, aye.             120   INT. SPACE STATION - TIGHT GROUP                           120                   Chekov opens his eyes, and stares into Kirk's.                                           CHEKOV                             Oh, God, Admiral...!                   He weeps like a child, and Kirk holds him. Meanwhile,                   Terrell opens his eyes and stares at Bones.                                           BONES                             It's Dr. McCoy, Captain. Do you                             remember me?                                           TERRELL                             McCoy? Yes. Oh, yes.             121   ANGLE FAVORING CHEKOV AND KIRK                             121                   Chekov breaks the embrace in high relief and anxiety.                                           CHEKOV                             Oh, sir. It was Khan! We found him                             on Ceti Alpha V.                                           KIRK                             Easy, Pavel... Tell me what you                             can...                                           CHEKOV                             No life signs -- but he was there.                             Captured us. He -- he put creatures                             in our bodies. To control our minds.                   Bones takes over Chekov --                                           BONES                             It's all right, you're safe...                                           CHEKOV                             ... Made us say -- lies... Do...                             things... But we beat him... The                             Captain and me. -- He thought he                             controlled us, but he didn't ...                             The Captain was strong.                   Chekov breaks into tears. Kirk looks at Terrell, who is                   more composed.                                           KIRK                             Captain. Where is Dr. Marcus?                             Where are the Genesis materials?                                           TERRELL                             He couldn't find them. Some of                             the scientists were still here,                             but everything else, even the data                             banks -- were empty.                                           SAAVIK                             That's true, Admiral. All the                             memory cells have been emptied.                                           KIRK                                     (ponders)                             Erased...                                           TERRELL                             He tortured those people. None of                             them would tell him anything. He                             went wild, strung them up and slit                             their throats. He wanted to tear                             the place apart, but he was late:                             he had to get back to Reliant in                             time to blow you to bits.                                           KIRK                             He came damn close...                                           CHEKOV                             He left us.                                     (with irony)                             We were no longer of use.                                           SAAVIK                             Where is  the Reliant crew? Dead?                                           TERRELL                             Marooned on Ceti Alpha V. He's                             completely mad, Admiral. He blames                             you for the death of his wife...                                           KIRK                             I know what he blames me for.                                     (thinks)                             The escape pods are all in place.                                     (looks around)                             Where's the transporter room?             122   INT. SPACE STATION TRANSPORTER ROOM                        122                   Kirk, wearing his spectacles, studies the transporter                   consoles. ANGLE WIDENS TO REVEAL the transporter pods,                   and the others, b.g.                                           KIRK                             Did he make it down here?                   Chekov and Terrell look at each other; they seem a bit                   stronger.                                           CHEKOV                             It was not my impression. He spent                             most of his time trying to wring the                             information out of the people.                   Saavik approaches Kirk:                                           SAAVIK                             Anything?                   Kirk looks at her over the rims of the glasses:                                           KIRK                             Somebody left the unit on. If                             everyone else was dead, it implies                             that no one remained to turn it off.                             Those people back there bought escape                             time for Genesis with their lives.                   Saavik studies the console.                                           SAAVIK                             It doesn't make sense. These                             coordinates are well within                             Regula -- a plantoid we know to be                             lifeless and airless.                                           KIRK                                     (wheels turn)                             If Stage Two was completed, it was                             underground -- she said it was going                             to be underground.                                           SAAVIK                             Stage Two of what?                   Kirk gets it.                                           KIRK                                     (on communicator)                             Kirk to Enterprise. Damage report,                             Spock?                                           SPOCK'S VOICE                             Admiral, if we go by the book, like                             Lieutenant Saavik, hours could seem                             like days.                                           KIRK                                     (beat)                             I read you, Captain. Let's have it.                   Fractional pause.                                           SPOCK'S VOICE                             The situation is grave, Admiral. We                             won't have main power for six days                             at least. Auxiliary power has                             temporarily failed, but maybe we can                             restore that in two days. By the                             book, Admiral.                   Kirk frowns.                                           KIRK                             Meaning you can't even beam us back?                                           SPOCK'S VOICE                             Not at present.                   Kirk looks at Saavik and Bones, decides --                                           KIRK                             Captain Spock, if you do not hear                             from us within one hour your orders                             are to restore what power you can,                             take the Enterprise to the nearest                             Star Base and alert Starfleet                             command when you are out of jamming                             range.                                           UHURA'S VOICE                             Sir -- we won't leave you behind...!                                           KIRK                             Uhura, if you don't hear from us,                             there won't be anybody behind. Kirk                             out.                                     (to Terrell and Chekov)                             You gentleman can remain here, or...                                           TERRELL                             If it's all the same, Admiral, we'd                             like to share the risk.                                           KIRK                                     (hesitates)                             Very well. Let's go.                                           BONES                             Go? Where are we going?                                           KIRK                                     (points to console)                             Where they went. Saavik.                   Kirk walks onto the pods as Saavik works the console,                   rolling in electronic coding. The others join Kirk.                                           BONES                             But what if they went -- nowhere?                                           KIRK                             Then this will be your big chance                             to get away from it all.                                           SAAVIK                             Ready.                   She presses a button, joins them on the pods. Slowly                   they VANISH.             123   EXT. SPACE - THE PLANTOID REGULA                           123                   CAMERA MOVES TOWARD it as the BEAM SOUND continues,                   with irregularity. The plantoid is ugly and dead.                   The sound frightens us, and climaxes with:             124   INT. ROCKY CAVERN - REGULA                                 124                   The BEAM SOUND screeches, then settles into its comfort-                   able mode as the FIVE FIGURES FLUCTUATE, FADE, then                   APPEAR. They look around in wonder and relief.                                           SAAVIK                             Admiral --                   She indicates something O.S. They cross as CAMERA                   reveals a cave wall stacked with technical materials                   and crowned by a LARGE PROJECTILE, a giant version                   of the model we saw earlier. They stare. (N.B. FEATURE                   GENESIS ARMING CONTROL BOX.)                                           BONES                             Genesis, I presume.                   They walk by a group of crates. It all happens very                   fast: David leaps out and tackles Kirk, throwing him to                   the ground and landing atop him, a knife at his throat.                   At the same time, Bones and Saavik reach for their                   phasers, but Jedda, already armed, steps out. He has                   them covered and helpless.             125   ANGLE FAVORING DAVID                                       125                                           DAVID                             You're the sonavabitch who                             committed mass murder up there.                   He raises the knife --                                           KIRK                             I'm Admiral Kirk...                                           DAVID                             We were still there, you dumb                             bastard! We could hear the screams                             all the way to the transporter room --                   Again he raises the knife --                                           KIRK                             Where's Dr. Marcus --                                           DAVID                             I'm Doctor Marcus!                   Carol reaches the tunnel entrance to the cave --                                           CAROL                             David --                                           DAVID                             Mother, go back!                   Carol sees Kirk --                                           CAROL                             Jim --                                           DAVID                             Go back. I'm going to kill him.                                           CAROL                                     (takes a breath)                             You do that and you'll have murdered                             your father.                   All react. David and Kirk, facing each other, are                   turned to stone. Bones, Jedda and Chekov turn to look                   at Carol, wondering. Terrell very casually takes the                   phaser from Jedda.             126   NEW ANGLE (FORMERLY SCENE 134)                             126                                           TERRELL                                     (cool)                             I'll hold onto this.                   But Kirk and Carol ignore them and walk towards each                   other. There are tears in Carol's eyes. She reaches                   up, trying to smile and touches his hair --                                           CAROL                             You've got a little grey --                   She can't. Kirk takes her and holds her tightly, look-                   ing at David, over her shoulder. He stands there,                   stunned, looking back.                                           KIRK                             Carol. Is that true?                   She nods --                                           KIRK                                     (continuing)                             Why didn't you tell me?                                           DAVID                             She's making it up! My father was                             Professor --                                           CAROL                             David, you're just making this                             harder --                                           TERRELL                             I'm afraid it's even harder than you                             think, Doctor.                   He and Chekov have their phasers trained on them.                                           TERRELL                                     (continuing)                             Please don't move --                                           KIRK                             Chekov -- !                                           CHEKOV                             I'm sorry, Admiral.                   Terrell speaks into his wrist recorder.                                           TERRELL                             Your excellency, have you been                             listening?                                           KHAN'S VOICE                                     (filtered)                             I have indeed, Captain. You have                             done well...                                           DAVID                             I knew it -- !                   David makes a reckless break for Terrell; Saavik                   instantly throws herself on him bringing him down as                   Terrell fires, hitting Jedda, who was behind David --                   a killing ray. Jedda dematerializes. Carol SCREAMS                   and David reacts with horror and guilt.                   Most importantly, Chekov begins to tremble. Terrell                   himself is shaken by his reflexive action. He's in                   semi-panic.                                           TERRELL                             Don't move -- any of you!             127                                                              127            thru                                                             thru             134                                                              134             135   EXT. SPACE - THE DARK SIDE OF REGULA                       135                   Reliant, motionless in a parking orbit.             136   INT. RELIANT BRIDGE - FAVORING KHAN                        136                   Joachim over his shoulder. Others in evidence. Khan                   speaks into his console.                                           KHAN                             Captain... We're waiting. What's                             the delay?             137   INT. ROCKY CAVERN (INTERCUT AS DESIRED)                    137                                           TERRELL                             All is well, sir. You have the                             coordinates to beam up Genesis...                                           KHAN                             First things first, Captain. Kill                             Admiral Kirk.                   Reactions by all -- only Kirk and Bones are unsurprised.                   David and Saavik, dazed, fight the urge to do something.                   Chekov is close to a seizure. Terrell fights conflicting                   mental signals.                                           TERRELL                             Excellency... it is difficult.                             I try to obey, but --                                           KHAN'S VOICE                             Kill him.                   As though tearing off a leach, Terrell grabs at the                   wrist recorder and flings it to the ground. A shock-                   wave of pain hits Terrell. He recovers, trembling and                   tries to obey. Chekov is shaking badly. Terrell aims                   his phaser at Kirk. Chekov slowly raises his phaser                   and aims at Terrell, though his hands are like lead.                   We THINK Chekov is going to do the right thing. Then,                   shockingly: Terrell turns his phaser on himself.                                           KHAN'S VOICE                                     (still emanates from                                      wrist recorder)                             Kill him, Terrell. Now.                   Terrell does, blowing himself into oblivion.             138   ANGLE - FAVORING CHEKOV                                    138                   He SCREAMS, horribly, drops his phaser, clutching his                   head.                   Bones leaps to his side, pulls an injection device from                   his belt pack, jabs it into Chekov's arm. Chekov,                   almost with a sigh of relief, drops.                                           KHAN'S VOICE                             Terrell? Chekov -- !                                           BONES                             Jim -- for God's sake!                   They rush to his side, as do Carol and David.             139   ANGLE - FAVORING CHEKOV                                    139                   From the fallen man's ear, something begins to emerge.             140   VERY CLOSE - CHEKOV'S EAR                                  140                   The Ceti eel crawls out. It has grown quite large.             141   SCENE                                                      141                   Horror from all. Kirk picks up a phaser. As the eel                   clears Chekov, he fires and destroys it. He shudders,                   then sees the wrist recorder and grabs it.                                           KIRK                             Khan, you bloodsucker, they're                             finished! You'll have to do your                             own dirty work now. Do you hear me?                             Do you?             142   INT. RELIANT BRIDGE                                        142                   Khan reacts to Kirk's VOICE: electronic shock. He                   clutches the communicator, his eye-whites rolling.                                           KHAN                             Kirk! Kirk, you are still alive --                             my old friend...                   INTERCUT AS DESIRED WITH             143   ROCKY CAVERN - FAVORING KIRK                               143                                           KIRK                             Still, 'old friend.' You've                             managed to kill just about everyone                             else, but like a poor marksman, you                             keep missing the target.                                           KHAN                                     (ironic)                             Perhaps I no longer need to try.                   He punches several buttons.                   In the Rocky Cavern the transporter beam locks on to the                   Genesis torpedo and its arming control box.                   As Kirk and the others watch, horrified, Khan beams up                   the materials. David tries to reach the torpedo, but                   Saavik holds him fast --                                           DAVID                             Let go -- he can't -- !                                           SAAVIK                             Only half of you would get there.                   The beam disappears and Genesis with it, leaving them                   alone.                                           KIRK                                     (desperate)                             Khan, you have Genesis, but you                             don't have me! You were going to                             kill me, Khan, it was your sole                             purpose. You'll have to come down                             here to do it! You'll have to                             come down!                                           KHAN'S VOICE                             I've done far worse than kill you,                             Admiral. I've hurt you. And I                             wish to go on hurting you. I                             shall leave you, as you left me --                             where no one will ever find you:                             poetic justice; marooned for                             eternity in the center of a dead                             planet -- buried alive.                                           KIRK                             Khan -- !                                           KHAN                             Goodbye, Admiral. Oh, and don't                             count on Enterprise. She can't                             move. My next act will be to blow                             her out of the heavens.                                           KIRK                             KHAN!             144   OMITTED                                                    144             145   INT. RELIANT BRIDGE                                        145                   Khan closes his eyes in voluptuous satisfaction.                   Joachim enters and Khan looks at him.                                           KHAN                             Well?                                           JOACHIM                             Warp drive still inoperative. All                             other systems should be restored                             shortly.                   Khan sighs, contentedly.                                           KHAN                             Excellent. We have all the time                             in the world.             146   INT. ROCKY CAVERN                                          146                   As before, Saavik is on the communicator.                                           SAAVIK                             This is Lt. Saavik, calling Enterprise...                   She keeps trying. Chekov stirs --                                           BONES                             He's alive!                   Bones goes and tends Chekov who moans, tries to sit up.                                           KIRK                             Pavel?                   Chekov tries to smile; Kirk takes his hand --                                           SAAVIK                             No use, Admiral, they're still                             jamming all channels.                                           BONES                                     (looks across Chekov)                             It wouldn't make any difference.                             If Enterprise obeyed orders she's                             long since gone. And if she couldn't                             obey, she's finished.                                           DAVID                             So are we, it looks like.                                           CAROL                             I don't understand.                             Who's responsible for all this?                             Who is Khan?                                           KIRK                             It's a long story.                                           DAVID                             We appear to have plenty of time.                                           BONES                                     (dry)                             You and your father can catch up on                             things.                                           DAVID                                     (bitter)                             My father. I hope you realize                             another man has just been killed                             because of...                                           BONES                             Because of you, son. You shouldn't                             have tried to rush someone holding                             a primed phaser. Anyway it isn't                             one man dead, it's two, in case                             you've lost count.                   David has been effectively spiked. Long silence.                                           KIRK                             Do you have anything to eat? I                             don't know about anyone else, but                             I'm starved.                                           BONES                             How can you think of food at a time                             like this?                                           KIRK                             Our first order of business is survival.                                           CAROL                             There's food in the Genesis cave,                             enough to last a lifetime -- should                             that be necessary.                                           BONES                             We thought this was Genesis.                   Carol laughs -- there's an edge of hysteria to it.                                           CAROL                             This? It took the Starfleet corps                             of engineers ten months in space                             suits to tunnel out all this. What                             we did in there -- we did in a day.                             David, why don't you show Dr. McCoy                             and the Lieutenant our idea of food.                                           DAVID                             But we can't just sit here -- !                                           KIRK                                     (unruffled)                             Oh, yes we can. Is there really                             something to eat?                   David looks at his father, who checks his watch, putting                   on his spectacles.                                           CAROL                             David. Please.                                           DAVID                                     (to Kirk)                             This is just to give us something                             to do, isn't it?                                     (he shrugs)                             Come on.                   Saavik and Bones make to follow. Saavik turns to Kirk --                                           SAAVIK                             Admiral?                                           KIRK                             As your teacher Mr. Spock is fond                             of saying: I like to think there                             always are possibilities.             147   OMITTED                                                    147            thru                                                             thru             149                                                              149             150   EXT. SPACE                                                 150                   Dark side of Gamma. Reliant sits idle.            150A   INT. ROCKY CAVERN                                         150A                   Carol sits on the ground, Chekov's head in her lap,                   looking at Kirk.                                           CAROL                             David was right, wasn't he? It's                             just to keep them busy.                                           KIRK                             Why? Why didn't you tell me?                                           CAROL                             How can you ask me that? Were we                             together? Where we going to be?                             You had your world and I had mine.                             I wanted him in mine, not chasing                             through the universe with his father.                   Kirk turns away, overcome. She watches him.                                           CAROL                                     (continuing)                             He's a lot like you in many ways.                             Nothing I could do about it. He's                             smarter, of course; that goes without                             saying. Most of Genesis is really                             his.                   Her joke doesn't take effect. He doesn't turn.                                           CAROL                                     (continuing)                             This is it, isn't it? We're never                             going to get out of here.                   Kirk says nothing.                                           CAROL                                     (continuing)                             Please. Tell me what you're feeling.                   Kirk hesitates, comes back and sits next to Chekov; he                   changes Bones' compress on the ear as he finally speaks.                                           KIRK                             There's a man I haven't seen in                             fifteen years who thinks he's killed                             me. You show me a son who'd almost be                             happy to help him. My son. My life                             that could have been and wasn't. What                             am I feeling? I'm feeling old --                             worn out.                   Carol studies him; gently she sets Chekov's head down                   on a sweater, then stands.                                           CAROL                             Let me show you something that will                             make you feel young -- young as when                             the world was new.                   She offers her hand. Kirk looks at Chekov, who smiles,                   faint assurance.                                           CAROL                                     (continuing)                             He'll be all right. Come.                   After a moment's hesitation, Kirk takes her hand and                   she leads him to the tunnel.            150B   INT. TUNNEL                                               150B                   TRUCKING BEFORE Carol and Kirk. A rising light falls                   on their faces as they walk, then run with excitement                   toward the source. Kirk races ahead...            150C   KIRK'S POV - MOVING THROUGH THE TUNNEL                    150C                   toward an iridescent light at its end, blindingly                   beautiful with color.                   INTERCUT: THESE TWO ANGLES until WE CAN HARDLY WAIT                   for Kirk to reach the end of the tunnel, and then,                   when it does:            150D   INT. GENESIS CAVE - PROMONTORY LEVEL                      150D                   where the rock tunnel ends. Kirk comes out of the                   tunnel, and his mouth drops open.            150E   FULL SHOT - THE GENESIS CAVE (MATTE AND FX) (FORMERLY     150E                   SCENE 130)                   A huge cavern. Kirk is actually standing at the middle                   of it. Space extends vastly above and below his point                   of view. Like Eden, lush growth everywhere, water-                   falls, and a cobalt blue sky high, high above where a                   round orb glows sending light and warmth downward.                   There is a path from where Kirk stands down to the lower                   level where Bones, and the others are waiting and calling                   to him. Mist and haze waft gently across the cavern.            150F   BACK TO KIRK                                              150F                   as Carol comes up beside him.                                           KIRK                             You did this -- in a day?!                                           CAROL                             The matrix formed in a day. The                             life forms grew later -- at a                             wildly accelerated rate. Can I                             cook or can't I?             151   INT. RELIANT BRIDGE                                        151                   The turbo doors open and Joachim stands there.                                           JOACHIM                             Impulse power restored.                   Khan smiles.                                           KHAN                             More than a match for poor                             Enterprise.                   He punches at his console.             152   OMITTED                                                    152            thru                                                             thru             153                                                              153             154   EXT. SPACE - REGULA                                        154                   Reliant ominously pokes her nose into the lit side of                   the planet, heading for Enterprise.             155   INT. RELIANT BRIDGE                                        155                                           JOACHIM                             Departing dark side, Regula.                                           KHAN                             Visual --             156   ON SCREEN                                                  156                   The Regula I Space Station -- but where is Enterprise?             157   ON KHAN                                                    157                   frowning with puzzlement.                                           KHAN                             Where IS she?             158   ON SCREEN                                                  158                   not a trace!             159   INT. GENESIS CAVE PLATFORM                                 159                   Kirk and the others eat fruit from the huge (matte)                   forest beyond. Chekov has been moved to join them.            159A   ANGLE FAVORING DAVID AND SAAVIK                           159A                   who watches him.                                           DAVID                             What are you looking at?                                           SAAVIK                             The Admiral's son.                                           DAVID                             Don't you believe it.                                           SAAVIK                             Oh, I believe it.                   She almost smiles. David returns her stare and it                   throws her.                                           SAAVIK                                     (continuing)                             What are you looking at?                                                                                      DAVID                                     (confused)                             I don't know.            159B   INT. GENESIS CAVE - WIDER ANGLE                           159B                   Saavik rises, paces. Kirk puts down his food.                                           KIRK                             Now that's what I call a meal.                                           BONES                             It's like the Garden of Eden...                                           CAROL                             Only here, every apple comes from                             the Tree of Knowledge.                   Kirk watches Saavik.                                          KIRK                             What's on your mind, Lieutenant?                                          SAAVIK                             The Kobayashi Maru, sir.                                          DAVID                              The what?                                          BONES                             The no-win scenario -- and with                             what philosophy a commander faces                             defeat.                                           KIRK                             Are you asking me if we are playing                             out that scenario now, Lieutenant?                                           SAAVIK                             On the test, sir, will you tell me                             what you did? I'd really like to                             know.                   Kirk looks at Bones, who smiles --                                           BONES                             Lieutenant, you are looking at the                             only Starfleet cadet who ever beat                             the no-win scenario --                                           KIRK                             And almost got tossed out of the                             Academy...                   He looks at his watch again, using his glasses --                                           SAAVIK                             How?                                           KIRK                             I reprogrammed the simulation so it                             was possible to rescue the ship.                                           SAAVIK                             WHAT?                                           KIRK                             I changed the conditions of the                             test. I received a commendation for                             original thinking.                                     (pause)                             I don't like to lose.                                           SAAVIK                             Then -- you never faced that                             situation -- faced death...                                           BONES                             Until now.                                           KIRK                             We each face death every day we're                             alive, Saavik.                   He picks up the communicator.                                           KIRK                                     (continuing)                             Spock, this is Kirk. It's two hours.                             Are you about ready?                                           SPOCK'S VOICE                             Right on schedule, Admiral. Just                             give us your coordinates and we'll                             beam you aboard.                   The others are on their feet, stunned with amazement --                                           KIRK                             Right. I don't like to lose.                   He clicks off.                   David gapes at his father.             160   OMITTED                                                    160             161   EXT. SPACE DARK SIDE OF REGULA                             161                   WE CAN SEE NOW where Enterprise is: she has slipped                   behind the plantoid, clockwise, even as Reliant was                   rounding into the lighted side.             162   INT. TRANSPORTER ROOM - ENTERPRISE                         162                   Kirk, David, Saavik, Carol and Bones, holding the semi-                   conscious Chekov MATERIALIZE. Spock is there to greet                   them.                                           SAAVIK                             But the damage report -- we were                             immobilized...                                           KIRK                             Come, come, Lieutenant, you of all                             people go by the book. Hello,                             Spock. You remember Dr. Marcus...                   They are moving through the room as they talk --                                           SPOCK                             Certainly...                                           SAAVIK                                     (overlapping)                             By the book...                                           KIRK                             Regulation 46-A: 'If transmissions                             are being monitored during battle...'                                           SAAVIK                             '... no uncoded messages on an open                             channel...'                   Saavik steps in front of Spock.                                           SAAVIK                                     (continuing)                             You lied.                                           SPOCK                             I exaggerated.                                           KIRK                             Hours instead of days, Saavik; now                             we have minutes instead of hours --                                           BONES                                     (behind)                             I'm taking this bunch to sick bay.                   CAMERA STAYS WITH THEM, HOLDS ON DAVID, awed.             163   INT. CORRIDOR ENTERPRISE                                   163                   Saavik and Kirk follow Spock. They stop at a Turbo                   Lift --                                           SPOCK                             They're inoperative below C-deck.             164   INT. ANOTHER ENTERPRISE CORRIDOR                           164                   They race down corridors as they speak --                                            KIRK                             What IS working around here?                                           SPOCK                             Not much, Admiral. We have partial                             main power...                                           KIRK                             That's it?                                           SPOCK                             Best we could do in two hours.             165   INT. ENTERPRISE BRIDGE                                     165                   Full crew in place as doors whoosh open --                                           SULU                                     (overjoyed)                             Admiral on the bridge --                                           KIRK                             Battle stations.                   ALARMS, SIRENS, ETC. CREW RUSH INTO PLACE AS Kirk,                   Spock and Saavik approach the big screen.                                           KIRK                                     (continuing)                             Tactical.                   We see the Enterprise emerging from the dark side of                   Gamma Regula, where Reliant is now a moving blip.                                           KIRK                                     (continuing)                             Uh oh.                                           SPOCK                             She can out-run us and out-gun us.                             But there is the Mutara Nebula at                             153 mark four.                                           KIRK                                     (studies his console)                             Scotty, can we make it inside?                                           SCOTTY                             The energizer's bypassed like a                             Christmas tree -- so don't give me                             too many bumps.                                           KIRK                             No promises, Mr. Scott. On your way.                                           SAAVIK                             Trouble with the nebula, sir, is all                             that static discharge and gas clouds                              our tactical display. Visuals won't                              function and shields will be useless.                   Kirk looks over the rims of his glasses at Spock; they                   smile with faint amusement.                                           SPOCK                             What's sauce for the goose, Mr.                             Saavik. The odds will be even.             166   VARIOUS CORRIDORS, ENTERPRISE                              166                   As the lights change, the CREW runs to their stations.            166A   EXT. SPACE                                                166A                   ENTERPRISE STARTS MOVING.             167   INT. HOSPITAL                                              167                   Carol, David and Bones react to the light change and                   the sirens -- Bones works on Chekov...                                           DAVID                             I'm going up there.                                           BONES                             You'll be in the way, Dr. Marcus...                             best stay here.                   Carol and David are civilians on a battleship.             168   INT. ENTERPRISE BRIDGE                                     168                   Reacting. Saavik approaches Kirk and Spock.                                           SAAVIK                             Admiral... what happens if Reliant                             fails to follow us into the nebula?                   Kirk and Spock exchange looks --                                           SPOCK                             I think we can guarantee she'll                             follow us, Mr. Saavik. Remind me                             to explain to you the concept of                             human ego.                                           KIRK                             Best speed, Scotty...             169   EXT. SPACE                                                 169                   The Enterprise whooshes by CAMERA leaving Regula                   behind. Reliant now appears in far b.g. and CAMERA                   BEGINS A MOVE to her.             170   INT. RELIANT BRIDGE                                        170                                           KHAN                             There! Full impulse power! Not                             so wounded as we were led to believe                             -- so much the better...             171   EXT. SPACE                                                 171                   Reliant moves to and past CAMERA in hot pursuit.             172   EXT. SPACE - SERIES OF SHOTS                               172                   Call them SPACE-BYS. Enterprise rushes TOWARD US,                   flashes BY and CONTINUES towards the swirling nebula.                   THEN Reliant does the same, closer in pursuit. At                   this moment, half the distance between Regula and                   the nebula has been covered.             173   INT. ENTERPRISE BRIDGE                                     173                                           SPOCK                             Estimating nebula penetration                             in two minutes. Reliant is                             closing.                                           KIRK                             Steady as you go...             174   EXT. SPACE                                                 174                   Orientation, SHOT. Reliant can clearly see where                   Enterprise is headed --             175   INT. RELIANT BRIDGE                                        175                                           JOACHIM                             We'll lose them if they go in there.                                           KHAN                             Rake her.             176   SOMEONE PUNCHES A BUTTON                                   176             177   EXT. SPACE                                                 177                   Reliant's shot crosses Enterprise's bow --             178   INT. ENTERPRISE HOSPITAL                                   178                   The ship reverberates with the near miss. Chekov wakes                   up, looks wildly about --                                           BONES                             Take it easy --                                           CHEKOV                             But I must --                                           BONES                             Listen to me, Pavel; you haven't                             the strength or the equilibrium --                                           CHEKOV                             But --                   As they talk, David, unnoticed, leaves the area. The                   Enterprise is buffeted again --                                           CAROL                             Dr. McCoy, I can't just sit here.                             Tell me what I can do.                                           BONES                                     (grim)                             You can help get my surgery squared                             away. I'm expecting customers.                   She whitens in fear. ANOTHER SHOT reverberates.             179   INT. ENTERPRISE BRIDGE                                     179                                           SAAVIK                             That was close --                                           KIRK                                     (unfazed)                             They just don't want us going in there.                                           SPOCK                             One minute to nebula perimeter.                   The bridge door slides open and David enters. He                   stares in wonder. Saavik reacts to David.                                           SPOCK                                     (continuing)                             Admiral, they're reducing speed.                                           KIRK                             Uhura, patch me in --                                           UHURA                             Aye, sir.             180   INT. RELIANT BRIDGE                                        180                                           KHAN                             Why are we slowing?                                           JOACHIM                             We daren't follow them into the                             nebula, sir -- our shields will be                             useless...                                           KIRK'S VOICE                             This is Admiral Kirk.                   Khan's eyes bulge --                                           KIRK'S VOICE                                     (continuing)                             We tried it once your way, Khan.                             Are you game for a rematch?                   Khan's eyes bulge --                                           KIRK'S VOICE                                     (continuing)                             Khan -- ! I'm laughing at the                             "superior" intellect.                                           KHAN                             Full impulse power!                                           JOACHIM                             No sir! We have Genesis -- Whatever                             you want --                                           KHAN                             Full power damn you!                   And he reaches across and executes it himself.             181   INT. ENTERPRISE BRIDGE                                     181                   They react to Reliant's speed-up. The nebula approach                   is ON SCREEN.                                           KIRK                                     (dry)                             I'll say this for him: he's                             consistent.             182   EXT. SPACE - THE MUTARA NEBULA                             182                   WE'RE VERY CLOSE NOW, and SEE CLEARLY the swirling,                   slowly moving gases, magenta, purple, etc. There are                   veils of luminescent materials and through all an                   interlace of unpredictable electrical charges.                   Like lightning, these intermittent great flashes                   illumine whole sections of the nebula. OUR VIEW is                   moving slowly forward...             183   INT. ENTERPRISE BRIDGE                                     183                                           SPOCK                                     (timing)                             And we're... in.             184   EXT. SPACE - THE NEBULA                                    184                   As Enterprise whooshes into the PICTURE headed into the                   purplish gas -- and disappears into a cloud bank of                   the stuff.                   A moment then Reliant APPEARS, pursues Enterprise into                   the gloom, also disappears.             185   INT. RELIANT BRIDGE                                        185                   ON SCREEN the picture is squirrelly purple, breaking                   up. Blindness. Panic.                                           KHAN                             Tactical!                                           JOACHIM                                     (tries)                             Inoperative.                                           KHAN                             Raise the shields...                   Electrical forces raging without are also reflected on                   the circuits within. It's bumpy, on top of everything                   else. Electronic WHINING.                                           JOACHIM                             As I feared, sir. Not functional.                             I'm reducing speed.                   Khan does not argue.             186   EXT. SPACE - PURPLE - SERIES OF SHOTS                      186                   Cautiously Reliant emerges from a massive "cloudbank."                   Electrical discharges abound. Barely moving, she feels                   her way forward. Alone.             187   AS THE ANGLE WIDENS                                        187                   A treat: Enterprise is above and behind Reliant.             188   INT. ENTERPRISE BRIDGE - ON SCREEN                         188                   Reliant's image is breaking up.                                           SULU                             Phaser lock inoperative, sir.                                           KIRK                             Best guess, Mr. Sulu. Fire when                             ready.                   Sulu strains, then fires -- just as an electrical dis-                   turbance bounces the bridge --             189   EXT. SPACE NEBULA                                          189                   The bounce causes Sulu's phaser shot to go wide of                   Reliant, amid CRACKLING discharges --             190   INT. RELIANT BRIDGE                                        190                   Rolls from the near-miss concussion --                                           KHAN                             Aft-torpedoes -- fire -- !             191   EXT. SPACE NEBULA                                          191                   Reliant is wide of the mark with a Photon torpedo.                   A BLINDING ELECTRICAL DISCHARGE. When it clears,                   Enterprise appears to be alone.             192   INT. ENTERPRISE BRIDGE                                     192                   ON SCREEN, nothing but magenta amid picture breakup --                                           KIRK                                     (sweating)                             Hold your course. Look sharp...                                           SAAVIK                             At what.             193   EXT. NEBULA (INTERCUT WITH BRIDGE)                         193                   Enterprise feeling its way...             194   ON BRIDGE - POV ON SCREEN                                  194                   All peer into the lousy picture. Occasional electrical                   flashes.             195   EXT. SPACE NEBULA                                          195                   Still Enterprise moves forward... A LARGE FLASH... a                   SUDDEN GLIMPSE: Reliant boring in on collision course!             196   INT. ENTERPRSIE BRIDGE                                     196                   A sudden clearing ON SCREEN: Reliant!                                           KIRK                             Evasive starboard!                   Hard over, but not fast enough. Reliant fires a phaser.             197   SERIES OF SHOTS                                            197                   Reliant's phaser shot hits the Enterprise torpedo room                   in Dorsal Fin area of ship.             198   INT. ENTERPRISE TORPEDO ROOM                               198                   An EXPLOSION rocks the room and...             199   INT. ENTERPRISE BRIDGE                                     199                   The Bridge rattles from the explosion below; Sulu is                   thrown from his chair. Saavik leaps to her post --                                           KIRK                             Phaser bank one, fire!             200   EXT. SPACE NEBULA        200                   The Enterprise fires a phaser and delivers a raking shot                   -- which rips along the side of Reliant's primary hull.             200A   INT. RELIANT BRIDGE (FORMERLY SCENE 205)                 200A                   The bridge is damaged; Joachim and others are wounded...                                           KHAN                             Joachim!                   For the first time, his friend wounded, Khan hesitates,                   holds him --                                           JOACHIM                             Yours... is... the superior...                                           KHAN                             I shall avenge you --            200B   NEW ANGLE                                                 200B                   She veers to one side with the impact and disappears                   into a deep purple mass.             201   INT. ENTERPRISE BRIDGE                                     201                   Sulu is being helped by David --                                           KIRK                             Damage, Scotty?             202   INT. ENGINE ROOM                                           202                   Bones is there, helping some crewmen. The Reactor Room                    flashes a red warning light and glows with a blue                    light. The air is heavy with smoke but the doors,                   damaged earlier, still hold.                                           SCOTTY                             Admiral, I've got to take the mains                             off the line. The energizer's shaken                             loose and I can't get in there to                             fix her -- radiation --             203   INT. ENTERPRISE BRIDGE                                     203                                           KIRK                             All right, we'll do the job with                             auxiliary power.                   The bridge door opens and closes; Chekov, faint,                   stands there.                                           CHEKOV                             Could you use another hand, Admiral?                                           KIRK                             Man the weapons console, Mr. Chekov.                   ANGLE FAVORING David as the others react to Chekov                   taking his place. Quiet.                                           KIRK                                     (continuing)                             Spock?                                                Spock is bent over the scanner --                                           SPOCK                             Sporadic energy readings port side,                             aft. Could be an impulse turn.                                           KIRK                             He won't break off now. If he                             followed me this far he'll be back.                             But from where...?                                           SPOCK                             He's intelligent, but not experienced.                             His pattern indicates two dimensional                             thinking...                   Kirk looks at him, smiles.                                           KIRK                             Mr. Saavik, all stop.                                           SAAVIK                             All stop, sir.                                           KIRK                             Descend ten thousand meters. Stand                             by photon torpedoes.             204   EXT. SPACE NEBULA                                          204                   Reliant in purplish mass, banking slightly, completing                   a long turn, then boring ahead.             205   OMITTED                                                    205             206   EXT. SPACE NEBULA                                          206                   As Reliant emerges from the dark blue mass into a clear                   almost tranquil place. Reliant, moving slowly, stops,                   as if looking around.             207   INT. RELIANT BRIDGE                                        207                   The screens are empty.                                           KHAN                             Where is he? Where in God's name                             is he?             208   EXT. SPACE NEBULA                                          208                   Reliant motionless in the f.g. amid occasional flashes.                   Now, behind Reliant and from below, like a great whale                   rising from the depths, Enterprise rises vertically,                   slowly passing the unsuspecting enemy. When Enterprise                   is above, behind and quite close:             209   INT. ENTERPRISE BRIDGE                                     209                   Reliant ON SCREEN, intermittent but clear.                                          CHEKOV                             Torpedoes ready, sir.                                           KIRK                             Fire.             210   SERIES OF SHOTS                                            210                   A)   EXT. ENTERPRISE                   fires torpedo; one which hits, destroying Reliant's                   weapons pod on top.                   B)   INT. RELIANT                   C)   EXPLOSIONS rock the interior of Reliant.                   D)   EXT. ENTERPRISE                   fires two more times. The first causes general                   damage. The second, close behind blasts Reliant's                   port engine off into space, debris scattering.                   E)   INT. RELIANT BRIDGE                    is devastated. Khan is blown from his chair and                   WE'RE UNCERTAIN of his fate.             211   EXT. SPACE NEBULA            211                   Reliant, now a scarred, battered hulk, her main hull                   still intact, but dead in space.             212   INT. ENTERPRISE BRIDGE                                     212                   No cheers, just deadly professionalism.                                           KIRK                             Cease fire. Look sharp.                                           SAAVIK                             Power levels quite low, sir.                                           KIRK                                     (to intercom)                             Mr. Scott, can you get the mains                             back on line?                                           SCOTTY'S VOICE                                     (breaking up slightly)                              I'll need ten minutes, sir, 'til                             the radiation dissipates.                                           KIRK                             Uhura, send to Commander, Reliant:                             prepare to be boarded.                                           UHURA                             Aye, sir.             213   INT. RELIANT BRIDGE                                        213                   Amid the smoke and ruins, WE SEE no signs of life.                                           UHURA'S VOICE                             Commander, Reliant, this is                             Enterprise. Surrender and prepare                             to be boarded. Repeat...                   In f.g., chillingly, Khan rises INTO SHOT by the main                   console. He is horribly burned, and it is clear that                   he is clinging to life by his will.                                           KHAN                             No... Kirk. The game's not over.                   As Uhura's voice continues O.S., Khan pulls himself                   into a chair at the console, one of his hands useless                   at his side.                                           KHAN                                     (continuing)                             To the last I will grapple with thee!                   Painfully, with one good arm, he starts arming the                   Genesis console.            213A   INT. RELIANT TRANSPORTER ROOM                             213A                   There sits the Genesis torpedo: lights start blinking                   in response. As we watch, the CHILD we met on Ceti Alpha                   walks to the torpedo and smiles at the lights.             214   INT. ENTERPRISE BRIDGE                                     214                                           UHURA                             Enterprise to Reliant: you are                             ordered to surrender your vessel.                             Respond!                                     (to Kirk)                             Nothing, sir.                                           KIRK                             We'll beam aboard. Alert                             transporter room --                                           SPOCK                             Admiral. Scanning an energy source                             on Reliant. A pattern I've never                             seen.                   David peers closer over Spock's shoulder, reacts.                                           DAVID                             It's the Genesis Wave!                                           KIRK                             What?                                           DAVID                             He's on a build up to detonation!                                           KIRK                             How soon --                                           DAVID                             We encoded four minutes --                                           KIRK                             We'll beam aboard and stop it --                                           DAVID                             You can't!                   The briefest stunned moment. Kirk hits intercom:                                           KIRK                             Scotty, I need warp speed in three                             minutes or we're all dead!                   STATIC.                                           KIRK                                     (continuing)                             Scotty!                   Spock leaps from his place and disappears through the                   bridge doors.                                           KIRK                                     (continuing)                             Saavik, get us out, best speed!                                           SAAVIK                             Aye, sir.             215   EXT. SPACE NEBULA                                          215                   Enterprise backs away from Reliant. Her speed is pain-                   fully slow.             216   INT. RELIANT BRIDGE                                        216                   ON SCREEN, Enterprise, intermittent image, backs away.                   Khan smiles triumphantly through his pain. An elec-                   tronic power SOUND has been building.                                           KHAN                             No... You can't get away... From                             hell's heart I stab at thee...                                     (amid the pain)                             For hate's sake... I spit my last                             breath at thee!                   Khan topples forward, dead. The WHINE continues to                   build chillingly.             217   INT. ENTERPRISE ENGINE ROOM                                217                   Spock rushes in. Bones ministers to Scotty, b.g.                   Spock sizes up the situation, starts for the radiation                   room, Bones intercepts him.                                           BONES                             Are you out of your Vulcan mind?                             No human can tolerate the radiation                             loose in there!                                           SPOCK                             But, as you are so fond of observing,                             Doctor, I'm not human.                                           BONES                             You're not going in there -- !                                           SPOCK                             I'm afraid I can't stop to discuss                             this logically --                   He gives Bones the Vulcan nerve pinch. Bones goes                   down.                   Spock presses the access button and enters the Reactor                   Room, a separated area behind radiation-proof glass                   and metal, RED FLASHING LIGHTS and an iridescent blue                   glow within.             218   ANGLE - SCOTTY AND BONES                                   218                                           SCOTTY                                     (in horror)                             Spock -- get out of there!             219   INT. ENTERPRISE REACTOR ROOM                               219                   Bathed in blue light, arcing energy around him, Spock                   is a silhouetted figure as he goes to work, door clos-                   ing behind him.             220   EXT. SPACE - RELIANT                                       220                   The WHINE increasing, the dead ship Reliant alive with                   danger...             221   EXT. SPACE NEBULA - ENTERPRISE                             221                   A snail's pace compared to the escape speed needed.             222   INT. ENTERPRISE BRIDGE                                     222                                           KIRK                             Time from my mark...                                           SAAVIK                             Two minutes, ten seconds.                                           KIRK                                     (intercom)                             Engine room! What's happening?!             223   INT. ENTERPRISE REACTOR ROOM (INTERCUT AS                  223                   REQUIRED)                   Outside the glass, Scotty and Bones screaming:                                           SCOTTY                             Captain, please!                                           BONES                             Get out! Get out, man! Oh, dear                             God...!             224   WITHIN                                                     224                   WE CAN SEE the silent urging of Bones and Scotty.                   Spock is oblivious. Amid the fire-blue arcs, he moves                    to the control panel. Between his hands and the con-                   trols, power arcs insanely. Spock is in an inferno,                   a radiation hell, fighting now with all his strength                   to control it. Slowly, the damping rods move out.                   Spock moves to a manual control, begins to turn it.             225   CLOSE - SPOCK'S HANDS                                      225                   on the manual control, slowly turning black.             226   HIS FACE                                                   226                   His face, using all the self discipline he is capable                   of to control the pain, continuing to work --             227   WITHOUT                                                    227                   Bones and Scotty react in helpless horror.             228   EXT. SPACE NEBULA                                          228                   Enterprise still well within the nebula, Reliant a                   figure still visible in b.g. She's crawling still.             229   INT. ENTERPRISE BRIDGE                                     229                   Reliant, now symbol of death, ON SCREEN.                                           KIRK                             Time!                                           SAAVIK                             Three minutes, thirty seconds.                                           KIRK                             Distance from Reliant...                                           CHEKOV                             Four hundred kilometers.                   Kirk looks at David, but David shakes his head: No                   way. Then:                                           CADET                             Sir! The mains are back on line -- !                                           KIRK                             Bless you, Scotty. Go, Saavik!                   She increases power and --             230   EXT. SPACE NEBULA - SERIES OF SHOTS                        230                   A)   With a burst of warp speed, Enterprise accelerates                        out of the lazy pace and whooshes PUT OF SCENE,                        leaving Reliant behind.                   B)   POV RELIANT                        disappearing in the swirls of:                   C)   POV MUTARA NEBULA                        which clears the flame and --                   D)   ENTERPRISE                        roaring through space -- and:                   E)   RELIANT                        The WHINE increases to fever pitch, then: she goes!                   F)   EXT. MUTARA NEBULA - MASTER EFFECT                        As Reliant goes, so goes the nebula. The "Genesis                        Effect" WE SAW in its earliest experiments, now                         seems familiar on a gigantic, cosmic scale.                        The blinding flash at first, followed by the same                        tumbling turbulence of the miniature test. It is                        awesome.             231   INT. ENTERPRISE BRIDGE                                     231                   The bridge doors open and Carol appears. Instinctively                   she draws near her son.                   Finally, Kirk turns, sees Carol --                                           KIRK                             Reduce speed. My God, Carl. Look                             at it.                   ON SCREEN and INTERCUT -- GENESIS TUMBLES and starts                   evolving. A moment in history.                                           KIRK                                     (continuing, on                                      intercom)                             Engine Room. Well done. Scotty?                                           BONES' VOICE                                     (after a beat)                             Jim, you'd better get down here. Hurry.                   The tone frightens Kirk.                                           KIRK                             Saavik, take the con.                   He moves through the doors quickly, leaving the rest                   staring at the new world evolving.             232   INT. STAIRWAY TO ENGINE ROOM                               232                   It is endless. Kirk runs forever, feet pounding down,                   down, down --             233   EXT. SPACE AND ON SCREEN                                   233                   The clouds tumble and move, new things lie beyond --                    234   INT. STAIRS                                                234                   Kirk races --             235   INT. ENTERPRISE ENGINE ROOM                                235                   Kirk emerges to encounter Scotty and Bones. Their                   looks tell him. He sees the flashing light over the                   Reactor Room. He dashes for the control panel. Bones                   grabs him.                                           SCOTTY                             No, sir! You'll flood the whole                             compartment...!                                           KIRK                             He'll die -- !                                           BONES                                     (also holds him)                             He's dead already, Jim.                   Kirk's eyes bulge.                                           KIRK                             Oh, God.             236   ANGLE AT REACTOR ROOM GLASS DOOR                           236                   With stunned understanding, Kirk stumbles to the door,                   sees Spock on his knees, hands blackened, face cracked                   with radiation lines and scars.                   Spock shakes his head. With a feeble hand he reaches                   the intercom button: filtered communication.                                           KIRK                             Spock!                                           SPOCK                             The ship -- out of danger?                                           KIRK                             Yes --                   Spock is satisfied; he fights for breath --                                           SPOCK                             Don't grieve, Admiral -- it's                             logical: the good of the many                             outweighs --                   He almost keels over. Kirk has tears streaming down                   his face.                                           KIRK                             ... the good of the few...                                           SPOCK                             Or the one.                   He props a hand on the glass to support himself. Kirk's                   hand reflexively goes to match Spock's on the other side                   of the glass --                                           SPOCK                                     (continuing)                             I never took the Kobayashi Maru                             test -- until now. What do you                             think of my solution?                                           KIRK                             Spock...!                                           SPOCK                             I have been -- and always will be                             -- your friend... Live. Long. And.                              Prosper.                   Spock falls. Bones and Scotty react.                                           KIRK                             No...!                                           SAAVIK'S VOICE                                     (intercom)                             Admiral, you've got to see this!                             There's new life -- a whole new                             world, a Genesis world -- !                   But Kirk is past hearing or caring. He is huddled up                   against the glass, destroyed. Bones looks on, helpless.                   DISSOLVE TO:             237   EXT. SPACE                                                 237                   A spectacular look at Carol's planet being born!             238   OMITTED                                                    238             239   CAMERA PULLS BACK TO REVEAL                                239                   the Ship's Company in full dress uniforms assembled for                   ship's burial service. Over the PULLBACK, we HEAR:                                           KIRK                             In accordance with the traditions                             of Starfleet and of Article 184                             Starfleet Regulations, we are                             assembled here today to pay final                             respects to our honored dead.                   Carol and David are PROMINENTLY FEATURED. David watching                   Kirk attentively. So are Sulu, Uhura, Chekov, and Saavik.                   Bones stands next to Kirk. Scotty carries his bagpipes.                   Saavik wears her hair down.                                           KIRK                                     (continuing)                             And yet, in the midst of our sorrow                             it should be noted that this death                             takes place in the shadow of new                             life, the sunrise of a new world,                             a world that our beloved comrade                             gave his own life to protect and                             nourish. He did not feel that                             sacrifice a vain or empty one --                             and we will not debate his profound                             wisdom, in these proceedings. Of                             my friend, I can only say this, that                             of all the souls I have encountered                              in my travels, his was the most --                                     (he falters)                             -- human.                   He tries to go on, but catches Bones' face: Bones is                   streaming tears. Kirk can't go on.                                           KIRK                                     (continuing)                             Lieutenant Saavik.             240   OMITTED                                                    240             241   ANGLE - THE GROUP                                          241                   Saavik steps forward.                                           SAAVIK                             We commend the soul of our brother                             departed. We love we commit his                             body to the depths of space.                                           SULU                             Honors -- hup!                   All Starfleet personnel salute. Scotty begins to PIPE,                   an odd blare which mellows into Amazing Grace. Kirk                   nods a signal.             242   THE CAPSULE                                                242                   A gleaming black projectile is carried by pallbearers                   into the launching chamber, which locks behind it. At                   a hand signal from a TORPEDOMAN, the projectile is fired.                   NOISE.             243   EXT. SPACE                                                 243                   Spock's remains seen on their way to the new world.                    The capsule grows too small to SEE. The bagpipes STOP.             244   INT. TORPEDO ROOM                                          244                                           SULU                             Return -- hup!                   The salute drop.                                           KIRK                             Lieutenant.                   She steps to him and they exchange salutes --                                           KIRK                                     (continuing; very                                       quietly)                             After you dismiss the company, you                             will take the watch. Set course                              for Ceti Alpha V and we'll pick up                              survivors.                                           SAAVIK                             Aye, sir.                                           KIRK                             I'll be in my quarters if needed,                             but I would prefer...                                           SAAVIK                             Understood, sir.                                           KIRK                                     (aloud)                             Dismiss the company.                   They salute. She about-faces as Kirk walks towards                   the  Turbo Lift. Saavik issues dismissal and posting                    orders, but WE TRUCK with Kirk until CAMERA STOPS and                   he leaves FRAME and WE HOLD on David. He finally                   understands.             245   INT. KIRK'S QUARTERS                                       245                   After a long moment, the CAMERA DISCOVERS Kirk. He                   pours a drink, then decides not to have it.                   He sits wearily, not knowing how to shake the ghosts.                   Then he sees the book.                   Kirk picks up the battered volume, the gift from his                   friend, and closes his eyes a moment. Almost idly                   he starts turning pages, looking for a clue. But he                   can't see the writing -- he rummages through his                   pockets and pulls out the half-glasses --                   One of the lenses is broken. It has a deep impact on                   Kirk. He puts down the book and glasses and covers                   his eyes.                   A SOFT BONG. Kirk clears his throat.                                           KIRK                             Yes... come.                   The door whooshes open and closes to admit David. The                   last person Kirk expected to see.                                           DAVID                             I don't mean to intrude.                                           KIRK                             Uh, no...                                     (rises)                             I should be on the bridge.                                           DAVID                             Are you running away from me?                   David's strength is turning a corner with Kirk --                                           KIRK                             I suppose I was.                                     (pause)                             I poured a drink. Would you like                             it?                                           DAVID                             No. I -- I guess I'm not what you                             expected.                                           KIRK                                     (rueful)                             I didn't expect anything.                                           DAVID                             That makes two of us.                                     (he studies his                                      father)                             Lieutenant Saavik was right: you                             never have faced death --                                           KIRK                                     (hoarse)                             Not like this -- no. I haven't faced                             death, I cheated death. I tricked                             my way out of death and patted myself                             on the back for my ingenuity. I                             know nothing.                                           DAVID                             You knew enough to tell Saavik that                             how we face death is at least as                             important as how we face life --                                           KIRK                             It was just words.                                           DAVID                             But good words. That's where ideas                             begin. Maybe you should listen to                             them.                                           KIRK                             I'm trying, David.                                           DAVID                             So am I. My friends were killed,                             too.                                           KIRK                             I am truly sorry.                   Pause. They study each other.                                           DAVID                             I was wrong about you. And I'm                             sorry.                                           KIRK                             Is that what you came here to say?                                           DAVID                             Mainly.                                     (he starts out,                                      then turns -- )                             And also that I'm proud -- very                             proud -- to be your son.                   A stunned moment, then Kirk lets it all hang out: for                   David, for Carol and for Spock. He hugs his son, hold-                   ing onto him as if to life itself.             246   EXT. SPACE                                                 246                   The Enterprise passes the new planet in all its beauty.             247   INT. ENTERPRISE BRIDGE                                     247                   The door whooshes. Kirk strides on the bridge, David                   with him. Carol is there with Bones; they are glad at                   what they see.                                           SAAVIK                             Admiral on the bridge!                                           KIRK                             As you were, Mr. Saavik.                                           SAAVIK                             Aye, sir. On course to Ceti Alpha.                             All is well.                                           KIRK                             Good, I believe you already know                             my, uh, son --                   Saavik comes close to blushing --                                           KIRK                                     (continuing)                             Yes, well, why don't you show him                             around and...                                           SAAVIK                             Aye, sir --                   She takes him off, deadpan amusement --                                           SAAVIK                                     (continuing)                             So you turn out to be the dumb                             bastard.                   They stare at her.                                           SAAVIK                                     (continuing)                             That is a little joke.                   Kirk has a smile. He joins Bones and Carol facing the                   screen.                                           BONES                             She's changed her hair again.                                     (pause)                             Will you look at that? Think                             they'll name it for you, Doctor?                                           CAROL                             Not if I can help it. We'll name                             it for our friend.                                           KIRK                                     (quietly)                             It is a far far better thing I do                             than I have ever done before... a                             far better resting place I go to                             than I have ever known...                                           CAROL                                     (soft)                             Is that a poem?                                           KIRK                             Something Spock was trying to                             tell me. On my birthday.                   He shakes his head, remembering --                                           BONES                             You okay, Jim? How do you feel?                                           KIRK                                     (considers; smiles)                             Young. I feel young, Doctor.                   He turns to Saavik and David --                                           KIRK                                     (continuing)                             Lieutenant, new course: 'Second                             star to the right and straight on                             till morning.'                   The bridge crackles with lights and CHATTER as we...                                                                          CUT TO:            247A   THE VIEWSCREEN                                            247A                   AND GO THROUGH TO:             248   EXT. SPACE FINALE (BOARDED)                                248                                           SPOCK'S VOICE                             Space, the final frontier... These                             are the continuing voyages of the                             Starship Enterprise... Her ongoing                             mission: to explore strange new                             worlds... to seek out new life and                             new civilizations... To boldly go                             where no man has gone before...                   She is moving out now, passing CAMERA and heading                   toward the distant stars. She is beautiful and they                   are beautiful. And as she slowly disappears from                   VIEW...                   MUSIC RISES. CREDITS ROLL.                                           THE END
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+                               STAR TREK                              Written by                      Roberto Orci & Alex Kurtzman                                                            November, 20071-13 OMIT                                                             1-1314   OMIT                                                               1415   OVER BLACKNESS, we HEAR a BACH HARPSICHORD CONCERTO. And then a 15     WOMAN -- breathing hard -- straining, harder and harder -- until     finally we HEAR a NEWBORN BABY CRYING -- and we...     FADE IN:     EXT. VULCAN FAMILY HOME - DUSK     The image is spectacular, aglow in DUSK LIGHT: a beautiful BABY,     just born, held in a WOMAN'S HANDS. It is being cleaned; warm     water runs down its face and body.     TIGHT ON the MIDWIFE (female, 60's) who holds and cleans the     baby as it CRIES. Another, younger, Midwife can be seen behind     her, assisting with the pitchers of water. As she cleans the     baby, she says to someone OFF-CAMERA:                                 MIDWIFE                He is strong.     The baby, now calm, gets SWADDLED.    He is then gently held out     to the new MOTHER:     AMANDA GRAYSON, late 20's. An original beauty. She lies on a     divan, spent but eager to hold her first child. She tenderly     takes the infant into her arms, tears in her eyes, mesmerized.     She holds the wrapped baby tight and whispers sweetly:                                 AMANDA                ... hello.     CLOSE ON the YOUNGER MIDWIFE, standing at the rear of the room.     She raises an eyebrow as she quietly speaks:                              YOUNGER MIDWIFE                The baby is healthy. Why does she cry?                              MIDWIFE                        (a beat; then)                She is human.     A distant, quiet BUZZ -- and the elder Midwife stands, looking     into the distance. And this is when we see, for the first time,     that the Midwife has POINTED EARS.                                 MIDWIFE (CONT'D)                Sarek arrives.     The Midwife moves away -- we PUSH IN on Amanda, who looks up for     a moment, clearly disquieted.15A   OMIT                                                              15A15B   EXT. VULCAN LANDSCAPE - DUSK [FORMER SC. 14]                      15B      A planet of massive, tortured ROCK FORMS, distant cities      constructed atop and underneath them. A HOVER-SPEEDER in the      mid-ground kicks up dust, backlit by the sun, as it traces the      horizon. We PAN WITH IT, revealing a FAMILY HOME, built      seamlessly into a rocky mountainside.      A SUPER READS: STARDATE 2230.06.      The speeder parks outside the home --15C   EXT. VULCAN HOME - DUSK                                           15C      SAREK (late 40's, a Vulcan) comes out to the balcony through the      rear doors of the home. He moves to Amanda and kneels. He      looks at the child -- his child -- and says:                                  SAREK                 Well done.      She looks at him for a beat, then says, flatly -- with just      enough rancor:                                  AMANDA                 Thanks.      He regards her.   Knows he's in TROUBLE --                               SAREK                 Your tone suggests disappointment. The                 Science Council required my presence for                 a session regarding--                                  AMANDA                 Don't do that.     You knew I wanted you                 here.      The Vulcan Midwives share a look. Sarek glances at them. Nods.      The two women excuse themselves. Sarek reaches over, touches a      small touchpad -- the HARPSICHORD MUSIC STOPS. He says,      clinically:                               SAREK                 As you are aware, the Vulcan male is                 traditionally not present at the moment                 of delivery.                                AMANDA                 Well traditionally, I'm not the one                 giving birth.                         (then)                                (MORE)                                               315C   CONTINUED:                                                        15C                                 AMANDA (CONT'D)                   I moved here -- to another planet -- to                   be with you. I needed you to be with me                   today. Holding my hand and telling me                   I'm doing great, even when I'm just...                   breathing the best I can.      Sad that she has to tell him this at all, she just looks back at      the baby -- finding comfort in his innocence. Sarek considers      this. He moves closer to her. Whispers intimately:                                 SAREK                   You are correct. I should have been                   here. I am sorry.      And with her free hand, she pulls Sarek closer -- and kisses      him. And the two look at the baby.                                 SAREK (CONT'D)                   I had a thought. That we might name the                   child after one of our respected early                   society-builders. His name was "Spock".      She looks at the baby, not immediately taken by the name.                                 SAREK (CONT'D)                   Your silence does not suggest enormous                   enthusiasm.                                  AMANDA                   No... Spock.                           (smiles, touches his                            face)                   ... Spock.      She looks at Sarek: Spock it is.                                 SAREK                   The child has your eyes.      She pulls back the baby's swaddling, revealing his ears.    She      gently rubs the top of his right ear -- AND IT UNFURLS,      revealing a small, soft pointed VULCAN EAR.                                 AMANDA                   ... and your ears.      And off the image of this TINY BABY, half-human, half-Vulcan,      we... FADE OUT. And over BLACKNESS, we BEGIN TO HEAR an ALARM      SOUNDING -- GROWING -- and the SUPER "THREE YEARS LATER" APPEARS      -- and finally the BLACKNESS IS SPLIT BY TURBO-LIFT DOORS      OPENING and we REVEAL THAT WE'RE ON:                                                415D   INT. U.S.S. KELVIN [FORMER SC. 15A]                               15D      With URGENCY, we MOVE DOWN a corridor with CAPTAIN ROBAU and      OFFICER PITTS:               CAPTAIN ROBAU                      OFFICER PITTS      -- our sensors haven't made        -- no sir, it looked like a      sense of the anomaly?              lightning storm in the middle      -- how far are we from the         of space --      Klingon Neutral Zone?              -- 150,000 kilometers, but the                                         vessel is not Klingon, Sir,                                         its registry doesn't match any                                         recorded profile --      SHWISH! The doors part and we enter THE BRIDGE OF THE SHIP -- a      flurry of activity -- the MASSIVE SHIP they are approaching on      the VIEWSCREEN. Robau moves to the center -- then he asks:                                 CAPTAIN ROBAU                 Report.      -- turning to the ship's FIRST OFFICER: 32, all-American face,      swiveling in a console chair to FACE US:                               FIRST OFFICER                 Sir, new contact bearing zero-three-four.               CAPTAIN ROBAU                      FIRST OFFICER      Are they transmitting on any       Negative, Captain -- all      frequency?                         communications appear to be                                         shut down.               CAPTAIN ROBAU                      FIRST OFFICER      Hail the ship. What's the          Nothing even close, Sir.      closest match on registry?      Robau moves to Pitts:                                 CAPTAIN ROBAU                 Any response?                               OFFICER PITTS                 No Sir -- hails met with silence.                               CAPTAIN ROBAU                 Maybe they're incapable -- any                 identifiable damage?                               OFFICER PITTS                 Negative, Sir -- but our readings seem                 confused--                                              515D   CONTINUED:                                                        15D                                 CAPTAIN ROBAU                   Confused?                                 OFFICER PITTS                   -- not only is the ship unregistered --                   but even its construction materials seem                   unrecognizable.      Robau sits in the captain's chair his eyes on the ship as they      approach -- and we SEE IT on the VIEWSCREEN -- THE NARADA --      ENORMOUS AND THREATENING. He doesn't even realize that he says:                                 CAPTAIN ROBAU                   ... oh my God...                           (to himself, boggled)                   A lightning storm... then this...                           (to deck)                   Signal all departments: first contact                   protocols. Looks like we have someone                   new on the block. All Stop.16-17 OMIT                                                             16-1718-19 OMIT                                                             18-1919A   OMIT                                                              19A19B   OMIT                                                              19B19C   EXT. DEEP SPACE - CONTINUOUS                                      19C      And in the endless vacuum of space, and in TOTAL SILENCE, the      Kelvin appears as a dot, coming to a stop in front of the      gigantic BLACK CLAW that is the Narada --19D   INT. U.S.S. KELVIN - BRIDGE                                       19D      Crew members are glued to their telemetry, working consoles:                                 FIRST OFFICER                   Sir, should we initiate an invasive scan?                                 CAPTAIN ROBAU                   That could be seen as an act of                   provocation -- all readings passive--      Suddenly, a WARNING BEEP --               OFFICER PITTS                     CAPTAIN ROBAU      Sir, I have a reading --      they've locked weapons on us!     -- Red alert!   Arm weapons!      ALARMS BLARE -- LIGHTS GO RED as --                                              620    EXT. SPACE - CONTINUOUS                                          20      The Narada FIRES a TORPEDO -- IT HEADS FOR THE KELVIN -- then      SEPARATES, fracturing into a multi-hit projectile --21    INT. U.S.S. KELVIN - CONTINUOUS                                  21      Officers SCRAMBLE, brace for impact --               FIRST OFFICER                      CAPTAIN ROBAU      Torpedo locked on us at 320      degrees, mark two -- incoming      -- Evasive pattern Delta-5!      fast!22    EXT. U.S.S. KELVIN - CONTINUOUS                                  22      A direct hit SMASHES several decks along the DISH of the ship --23    INT. U.S.S. KELVIN - ENGINE ROOM - CONTINUOUS                    23      In the massive Engine Room, a HUGE BLAST -- MEN GO FLYING IN THE      STEEL-SHATTERING EXPLOSION --24    INT. U.S.S. KELVIN - BRIDGE - CONTINUOUS                         24      Captain Robau helps a fallen CREW MEMBER up from the floor --      then, on his chair com.:                                  CAPTAIN ROBAU                 Damage report!      INTERCUT with:24A   INT. U.S.S. KELVIN - ENGINE ROOM - CONTINUOUS                    24A      Moving with the Kelvin's CHIEF ENGINEER:                               CHIEF ENGINEER                 Our shields did nothing, Sir! Never seen                 anything like it! Weapons off-line!                 Main power at 38 percent!      As the crew regains their footing, the First Officer pulls      himself to his console, true fear in his eyes as he places an      inter-ship call -- it's RINGING -- his fear grows with every      passing RING -- then, we INTERCUT WITH:24B   INT. U.S.S. KELVIN - MEDICAL BAY - CONTINUOUS [FORMER SC. 26B]   24B      A WOMAN, 25, answers her communicator -- she lies on an exam      table, afraid -- and pregnant. This is WINONA.                                             724B   CONTINUED:                                                     24B                                 WINONA                   -- what was that-- what's happening?!      But the First Officer is just relieved that she's still alive:                                 FIRST OFFICER                   -- you're okay-- thank God-- where are                   you?                                 WINONA                   Medical bay-- I had a few close                   contractions-- I'm fine-- what was that?                                 FIRST OFFICER                   Just sit tight-- stay there-- we'll be                   fine--      Or maybe not:                                 OFFICER PITTS                   They're firing another, Captain!25    EXT. SPACE - CONTINUOUS                                           25      ANOTHER NARADA TORPEDO -- it SEPARATES, pieces HIT the Kelvin.25A   INT. U.S.S. KELVIN - ENGINE ROOM - CONTINUOUS                    25A      Chief Engineer RUNS past us -- CONSUMED BY A SUDDEN EXPLOSION!25B   INT. U.S.S. KELVIN - CORRIDOR - CONTINUOUS                       25B      A FEMALE CREW MEMBER running down the hall suddenly HOLDS ON as      a HOLE IS RIPPED IN THE HALL -- and she's YANKED OUT OF THE      CORRIDOR -- the CAMERA finally getting sucked out too!26    INT. U.S.S. KELVIN - BRIDGE - CONTINUOUS                          26       -- PANDEMONIUM --                                                826    CONTINUED:                                                         26                 HELMSMAN                           OFFICER PITTS      -- life support failing on           -- this is the U.S.S. Kelvin,      decks seven through thirteen!        attemping to reach Starfleet      We have confirmed casualties,        command on subspace! Repeat --      Sir!                                 U.S.S. Kelvin, under attack by                                           unknown aggressor!               FIRST OFFICER                      TACTICAL OFFICER      -- shields at eleven percent         -- were our shields even up?      and dropping! Ten percent --         That was like nothing I've      we're at nine! Eight percent!        ever seen -- this ship can not      Seven! We're dropping here!          take another hit like that!      Six!                                 CAPTAIN ROBAU                   All remaining power to forward shields!                   Prepare the shuttles f--      And he STOPS. They all do. A fucking FACE is now on their      VIEWSCREEN. A ROMULAN FACE -- the FIRST OFFICER of the Narada,      whom we'll come to know as AYEL:                                 AYEL                   My commander requests the presence of                   your captain in order to negotiate a                   cease-fire. You will come aboard our                   ship via shuttlecraft. Your refusal                   would be unwise.      Screen goes DEAD. All eyes on Robau... and he feels them.      A      tense, horrible moment. Finally, to the First Officer:                                   CAPTAIN ROBAU                   Walk with me.      The First Officer follows Robau OFF THE BRIDGE AND INTO:26A   INT. U.S.S. KELVIN - CORRIDORS - CONTINUOUS                        26A      As they walk, briskly:                                 CAPTAIN ROBAU                   If I don't report within fifteen minutes,                   execute general order 13.                                 FIRST OFFICER                   Sir, we could issue a mayday call to--                                 CAPTAIN ROBAU                           (frightened, but firm)                   There is no help for us out here. If                   we're going down, we're taking them with                   us -- you save as many as you can.                                             8A26A   CONTINUED:                                                       26A                                 FIRST OFFICER                   ... aye, Captain.      Robau heads into a waiting TURBOLIFT, turns -- they lock eyes,      knowing what this means. Finally:                                 CAPTAIN ROBAU                   You're Captain now. Mr. Kirk.      He's gone.   And we realize this is GEORGE KIRK, Jim's father.26B-C OMIT                                                         26B-C                                              926D   INT. U.S.S. KELVIN - BRIDGE - CONTINUOUS                        26D      All eyes on Kirk as he enters -- moves to the captain's chair.      Sits. Not a small moment. Speaking his first words as Captain:                               GEORGE KIRK                 Lieutenant Pitts. Transfer Robau's vital                 signs to the main view screen.                                OFFICER PITTS                 Yessir.      In a moment, Robau's VITAL SIGNS appear on various monitors --      his HEART RATE, OXYGEN LEVELS, BLOOD PRESSURE, all of it. A LOW-      PITCHED BEEPBEEP of his HEARTBEAT is now HEARD --                               SCIENCE OFFICER                 Vitals on line.                               GEORGE KIRK                         (slightly awkward)                 -- thank you.26DA INT. U.S.S. KELVIN - ENGINE ROOM - CONTINUOUS                    26DA      TILT DOWN as the TURBO-LIFT DESCENDS -- we PUSH IN as the doors      open and Captain Robau gets out -- moves quickly -- hurries down      a SHUTTLE BAY catwalk --26DB INT. SHUTTLE - CONTINUOUS [FORMER SC. 26C]                       26DB      Robau enters a shuttle -- LIGHTS BLINK to life.   He moves to the      cockpit -- starts the vehicle up --                               CAPTAIN ROBAU                 Computer, initiate departure sequence.      A LOUD HISS and the craft SHUDDERS as it disembarks --26DC INT. U.S.S. KELVIN - BRIDGE - CONTINUOUS                         26DC      Sparks dripping from the ceiling, everyone is motionless -- eyes      on the monitors -- and we're TIGHT ON GEORGE KIRK -- the BEEPS      of Robau's heart might as well be representing his own. He      realizes he's sweating -- wipes his forehead as:                               OFFICER PITTS                 The shuttle's pulling out of main bay,                 Sir.                               GEORGE KIRK                 I want to see him -- floodlights please.                                            1026E   EXT. U.S.S. KELVIN - SPACE                                     26E      Two MASSIVE FLOODLIGHTS on the Kelvin's dish GO HOT -- and turn,      FLARING out the lens -- landing on the SHUTTLE as it leaves the      KELVIN, heading toward the imposing Narada.26EA INT. SHUTTLE - CONTINUOUS                                       26EA      Backlit by the distant floodlights, Robau remains steely-eyed as      he moves for the darkened ship -- nerves --26F   INT. U.S.S. KELVIN - BRIDGE                                    26F      And Robau's HEARTBEAT QUICKENS -- the tension they all feel:                               OFFICER PITTS                 His heart rate's elevated--                                   HELMSMAN                 He's scared.                                 GEORGE KIRK                 He's brave.    That's what he is.26FA INT. SHUTTLE - CONTINUOUS                                       26FA      Robau watches as he gets closer, the BEEPBEEPING HEARD over the      SOUNDS of the shuttle -- but then --26FB EXT. NARADA - SPACE - CONTINUOUS                                26FB      ALL WE HEAR IS THE LOW-PITCHED BEEPBEEP as the small shuttle      seems to get swallowed up by the massive forward-facing spires      of the Narada -- the distant floodlights creating EERIE SHADOWS      everywhere. A gigantic IRIS DOOR TURNS, SLOWLY OPENS -- and the      shuttle enters the Narada's main HANGAR -- the door CLOSES --26FC INT. U.S.S. KELVIN - BRIDGE - CONTINUOUS                        26FC      And everyone is just motionless and silent. Only Robau's VITAL      SIGNS can be HEARD, BEEPING away. George's eyes glued ahead --26G   INT. SHUTTLE/NARADA HANGAR - CONTINUOUS                        26G      TIGHT ON ROBAU as he faces the shuttle door, considering his      fate. Finally the SHUTTLE DOOR OPENS -- standing there are      eight ROMULAN GUARDS, brandishing WEAPONS. He steps down. They      grab him, hard -- he's SCANNED -- FRISKED -- PULLED ALONG -- and      we REVEAL the absolutely MASSIVE HANGAR, the insane architecture      of the interior of this dark, wet, dripping ship --                                               1126H   INT. NARADA BRIDGE - CONTINUOUS                                     26H      Robau is led into the enormous, dark bridge. A dozen Romulans      at controls. Robau does his level best to portray confidence as      he is led up a walkway to AYEL. Behind him, sitting silhouetted      and motionless, turned away and looking off, is his captain. A      presence always felt in this scene. This is NERO.      Ayel touches a panel, then THROWS AN IMAGE into the air before      Robau. A ROTATING HOLOGRAM OF A UNIQUE-LOOKING SPACECRAFT (we      will refer to it as the JELLYFISH).                               AYEL                 Are you familiar with this craft?      Robau regards it.   Then:                               CAPTAIN ROBAU                 Who is your commander?                         (silence, then re: Nero)                 Is it him?                               AYEL                 You will speak only to me.                               CAPTAIN ROBAU                 Then ask your commander what right he has                 to attack a Federation vessel.                               AYEL                 That was hardly an attack. My commander                 will easily destroy your ship. If you do                 not respond to the question.      Robau considers the hologram again.     And what his answer might      mean for the fate of his crew.                               CAPTAIN ROBAU                 I've never seen it. Or any ship like it.                               AYEL                 Are you familiar with -- or better, know                 the location of -- Ambassador Spock?      Ayel has thrown another HOLOGRAM -- A FLOATING, ROTATING IMAGE      OF SPOCK, who appears to be 75 earth-years old. The baby, born      just three years earlier. Robau is as confused as we are...                               CAPTAIN ROBAU                 I am unfamiliar with Ambassador Spock.                               AYEL                 A final question. What is the current                 stardate?                                                1226H   CONTINUED:                                                         26H                                 CAPTAIN ROBAU                           (the fuck?)                   ... Stardate? ... it's 2233.04.                           (finally)                   ... hey, where are you from--?      Suddenly: TSCHING! Nero's activated his STAFF -- FOUR LARGE,      HORRIFYING BLADES APPEAR AT THE TIP AND NERO SPRINGS TO LIFE,      CHARGING ROBAU WITH A ROAR AND ROBAU'S EYES POP HOLY SHIT AND--26HA INT. U.S.S. KELVIN - BRIDGE                                         26HA      BLEEEEEEEEEEEEEEEEEEE... Robau's vitals go dead.      PUSH IN ON      KIRK as a SCREAMING ALARM IS HEARD --               OFFICER PITTS                      GEORGE KIRK      They're launching again!           Evasive! Evasive! Delta-Five                                         maneuver! Fire full-spread!26I   OMIT                                                               26I26J   EXT. SPACE - CONTINUOUS                                            26J      The Kelvin BANKS as it FIRES WILDLY -- another TORPEDO BLASTING      FROM THE NARADA -- it SEPARATES -- some miss, OTHERS HIT!26K   INT. U.S.S. KELVIN - BRIDGE                                        26K      Debris FLIES TROUGH THE CEILING, SLAMMING INTO A BRIDGE SUPPORT      BEAM! Green COOLANT SPEWS from under the floor grating --                                 GEORGE KIRK                   I'm initiating General Order 13! Set                   self-destruct for maximum matter-                   antimatter yield! Two minute countdown!                                 OFFICER PITTS                   Yessir!                                 GEORGE KIRK                   I want auto-pilot targeted for their fuel                   cells!                                 TACTICAL OFFICER                   Sir, unable to locate the ship's power                   source!                                 GEORGE KIRK                   Then just target the damn thing dead                   center!                                 HELMSMAN                   We got bigger problems: the first hit                   destroyed auto-pilot!                                 (MORE)                                                1326K   CONTINUED:                                                         26K                                 HELMSMAN (CONT'D)                   The only way we're gonna ram that ship is                   to fly manual control!      TIGHT ON GEORGE as this lands.      More honorable than terrified:                                  GEORGE KIRK                   -- then I'll do it myself -- get to the                   shuttles, now!                           (no one moves until:)                   THAT'S AN ORDER! GO!      Agony in the faces as they reluctantly hurry off -- Kirk takes      the Captain's chair, hits the COMLINK:                                 GEORGE KIRK (CONT'D)                   All decks, this is the Captain speaking --                   evacuate the ship immediately, get to                   your designated shuttle crafts --26L   INT. U.S.S. KELVIN - MEDICAL BAY - CONTINUOUS                        26L      MOVE FAST around Winona, in fucking labor now -- being      transferred onto a wheelchair by the Doctor and Nurse--            GEORGE KIRK (V.O.)                         WINONA      -- repeat: evacuate ship and      get to designated shuttles           -- that's George's voice --      NOW!                                 what's happening?                                 NURSE                   We're packing it up -- you'll deliver in                   the shuttle!      -- and she's on the move, out the door as her COMMUNICATOR      SOUNDS -- she answers --                                 WINONA                   -- George!26M   INT. U.S.S. KELVIN - BRIDGE - CONTINUOUS                             26M      Alone now on the bridge, piloting this massive craft by himself -      - George talks to Winona from the Captain's chair --                                 GEORGE KIRK                   I have medical shuttle 37 standing by,                   get to it now -- can you do that?                                 WINONA                   Yes -- where are you?      HOLD ON GEORGE for a moment as he hesitates -- his eyes glued to      the screens as he pilots --                                            1426M   CONTINUED:                                                     26M                                    GEORGE KIRK                   I'm on my way.                                 WINONA                   Good-- and George, it's coming-- our                   baby, it's coming now.      PUSH IN on him, his heart shattering -- having to out-maneuver      incoming torpedoes, piloting the ship to its doom -- still, he      forces optimism:                                 GEORGE KIRK                   I'll see you in a minute, sweetheart.      He disconnects -- another ALARM -- he TURNS the ship, FIRES --26MA EXT. U.S.S. KELVIN - CONTINUOUS                                 26MA      The Kelvin BANKS AGAIN -- its PHOTONS SLAMMING INTO THE ONCOMING      NARADA TORPEDOES, JUST AVOIDING IMPACT!26N   INT. U.S.S. KELVIN - SHUTTLE BAYS - CONTINUOUS                   26N      CREW MEMBERS scramble to their shuttles as the ship TREMBLES --      and we find WINONA among them, being PUSHED through the madness.26P   INT. MED-EVAC SHUTTLE - CONTINUOUS                               26P      The Med-Team ARRIVES with Winona in the wheelchair-- it's CHAOS -      - and for Winona, a huge contraction --                                  WINONA                   -- Agh!   That was-- that was a big one!      -- as they put her into the shuttle bed:                                  NURSE                   Just keep breathing, Honey, you're gonna                   be just fine--                                 WINONA                           (through the pain)                   -- the baby, too, right?                                 NURSE                   -- the baby too.26R   INT. U.S.S. KELVIN - BRIDGE - CONTINUOUS                         26R      As George Kirk pilots, he checks the monitors -- one reads the      COUNTDOWN TO SELF-DESTRUCT (180 SECONDS, 179 SECONDS, 178      SECONDS...) and another reads IMPACT PROXIMITY (36,054 METERS,      36,042, 36018...).                                            1526R   CONTINUED:                                                      26R      Another screen that shows stats of DEPARTING SHUTTLES -- more      leaving as we glance at the screen -- but SHUTTLE 34 REMAINS      DOCKED --      The NARADA is GROWING in the viewscreen -- he hits the comlink:                                 GEORGE KIRK                   Captain to shuttle 37 -- is my wife on                   board?      INTERCUT WITH:26S   OMIT                                                            26S26T   INT. MED-EVAC SHUTTLE - CONTINUOUS                              26T      The PILOT is readying the controls --                                 SHUTTLE PILOT                   Yessir, she is--                                 GEORGE KIRK                   I need you to go now, d'you hear me?                                 SHUTTLE PILOT                   We're waiting for you, Sir--                                 GEORGE KIRK                   No-- go, take off, immediately.                                 SHUTTLE PILOT                   ... yessir!      Shuttle Pilot works the controls -- and Winona, in the back,      feels the shuttle SHUDDER --                                WINONA                   Wait! We can't go, my husband isn't here                   yet! Please! STOP--!      -- but she's suddenly WINCING as another CONTRACTION hits --                                 NURSE                   You'll need to push now-- are you ready?26U   EXT. U.S.S. KELVIN - SHUTTLE BAY - CONTINUOUS                   26U      Clamps holding the shuttle SLAM BACK, the MED-SHUTTLE DROPS      HARD, FUSION IMPULSE ENGINES IGNITE and the shuttle MOVES --26V   OMIT                                                            26V                                            1626W   INT. U.S.S. KELVIN - BRIDGE - CONTINUOUS                       26W      George hits COMLINK -- a TONE -- then WINONA'S VOICE:                               WINONA                 The shuttle's leaving-- where are you?      As George EVADES ENEMY FIRE, heading for the massive alien ship:                                GEORGE KIRK                 My love?   Listen carefully, okay?      INTERCUT WITH:26X   INT. MED-EVAC SHUTTLE - CONTINUOUS                             26X      Winona, holding her communicator --                               WINONA                 -- we're about to have this baby --                               GEORGE KIRK                 Sweetheart... I'm not going to be able to                 be there.      And she just stares -- realizing what's happening -- that he's      been made Captain -- that there was an evacuation -- and somehow      she just KNOWS. Tears come to her eyes --                               WINONA                 -- no-- no, no-- wait--                GEORGE KIRK                           WINONA      I want you to hear me.      Please.                           Are you still on the ship? No-      -- There's no other way-- my      - no, you need to be here--      love-- you know all I want--      -- George, I can't do this      all I want in the world is to     without you--      be with you--                        (crying now)                                        -- please -- don't d--!      -- but she's WINCING AGAIN --                               DOCTOR                 Okay-- you need to push.      -- and she does -- the shuttle BANKS and --26Y   EXT. U.S.S. KELVIN - CORRIDORS                                 26Y      -- and the shuttle LEAVES the Kelvin bay -- turning to join      DOZENS of other shuttles, all heading off in escape --                                             1726Z   INT. U.S.S. KELVIN - BRIDGE - CONTINUOUS                         26Z      As George PILOTS, DODGING INCOMING -- we INTERCUT WITH:26ZA INT. MED-EVAC SHUTTLE - CONTINUOUS                                26ZA      Winona PUSHING -- giving birth to their baby -- and we're BACK      AND FORTH between a husband and wife that will never see each      other again, MUSIC SWELLING as the Kelvin TURNS HARD, avoiding      TORPEDOES -- the shuttle BANKING as the Doctor and Nurse help      Winona -- and we're ON GEORGE as he HEARS A BABY CRYING -- and      TEARS COME TO HIS EYES -- as he says--                                GEORGE KIRK                 Hey!   Hey, so what is it?                                  WINONA'S VOICE                 -- it's a boy.                                GEORGE KIRK                 It's a boy?   Yeah?      And now we see Winona, handed this beautiful little boy.   And      she cries, just looking at him --                               GEORGE KIRK (CONT'D)                 Tell me... tell me about him-- please--                               WINONA                 He's-- he's beautiful, he looks like you.      Heartsick, George laughs -- glances at the MONITORS -- SELF-      DESTRUCT COUNTDOWN IS AT T-MINUS 20 SECONDS -- oh God...                               WINONA (CONT'D)                 George, you should be here --                               GEORGE KIRK                 I know-- so what should we call him, huh?                               WINONA                 We could name him after your father.                               GEORGE KIRK                 Tiberius? Are you kidding me? No,                 that's the worst-- we'll name him after                 your dad-- let's call him Jim.                                WINONA                 ... Jim.   Jim it is.      Through the VIEWSCREEN -- he's ABOUT TO HIT -- the ship ANGLES      within the enormous Narada blades -- George scared now --                                               1826ZA CONTINUED:                                                      26ZA                GEORGE KIRK                             WINONA      Sweetheart? Sweetheart? I      love you. Can you hear me?          -- yes-- yes, I hear you...      -- I love you. I love y--      -- his VOICE CUT OFF as --27-37 OMIT                                                              27-3738    EXT. NARADA - CONTINUOUS                                            38      -- the Kelvin SLAMS INTO THE NARADA -- an EXPLOSION BEGINS and--38A   INT. MED-EVAC SHUTTLE - CONTINUOUS                                 38A      George's voice goes STATIC -- confusion washes over her face --      suddenly LIT BY A BRIGHT GLOW -- she looks over, with wet      devastated eyes --      -- what she sees is the MASSIVE EXPLOSION -- quickly SUCKED AWAY      in the vacuum of space -- and she's CRYING -- holding her new      baby who just lost a father -- his life altered forever...39    OMIT                                                                3940    EXT. STARFIELD - ETERNAL NIGHT                                      40      The shuttle SAILS AWAY with the others... HOLD ON THIS... for a      long beat. Then PAN OVER to see NERO'S SHIP TUMBLING SILENTLY      THROUGH SPACE -- DEBRIS still raining from the explosion --41    INT. NARADA - BRIDGE - CONTINUOUS                                   41      MAYHEM: ALARMS and CREW work to stabilize the ship (OVERLAPPING      ROMULAN DIALOG TO BE WRITTEN) -- we arrive at Nero, who, with      small specks of HUMAN BLOOD on his face, just STARES at the      fucking HOLOGRAM OF SPOCK -- he's OBSESSED.      Ayel works a monitor, yelling out something (in Romulan) to one      of their men -- and as a result:42    EXT. NARADA - CONTINUOUS                                            42      Gargantuan "BLADES" EXTEND from the ship like otherworldly SAILS      -- and the ship begins to STEADY -- but then ANOTHER SHIP      APPEARS -- DECLOAKING FROM NOTHINGNESS: a fucking KLINGON VESSEL      -- then ANOTHER -- AND ANOTHER --43    INT. NARADA - BRIDGE - CONTINUOUS                                   43      And we're on Ayel as he witnesses, on his monitor, ships,      popping up ALL AROUND THEM -- which is when they HEAR a VOICE --      speaking KLINGON -- and we SUBTITLE:                                              1943   CONTINUED:                                                          43                                KLINGON VOICE (P.A.)                  Trespassing vessel: you have entered the                  jurisdiction of the Klingon Empire.                  Power down and prepare to be boarded or                  you will be destroyed.     Eyes wide, Ayel turns to Nero, still staring at Spock's image:                                AYEL                          (SUBTITLED, in Romulan)                  Commander Nero -- we're surrounded.     Finally Nero looks up.                                AYEL (CONT'D)                          (SUBTITLED, in Romulan)                  Sir-- what are your orders?     And we PUSH IN ON NERO as our MUSIC BUILDS, then we CUT TO:44   OMIT                                                                 4445   INT. VULCAN LEARNING CENTER - DAY                                    45     CLOSE ON a young VULCAN BOY. 11 years old. SPOCK. He's     standing in an abstract space -- IMAGES PROJECTED and HOVERING --     questions -- that he's answering as they appear, then disappear:             COMPUTER VOICE                           SPOCK     What is the square root of     2,396,304?                          -- one-thousand-five-hundered-                                         forty-eight --     -- Correct. What is the     central assumption of Quantum       -- everything that can happen     Cosmology?                          does happen, in equal and                                         parallel universes --     -- Correct. Identify the 20th     century earth composers of the     following musical progression:      -- Paul McCartney and John                                         Lennon.     -- Correct     And we find ANOTHER VULCAN CHILD -- then ANOTHER -- all in these     odd spaces -- until we PULL BACK WIDE to reveal a large Vulcan     LEARNING CENTER -- white "bowls", sunk into the dark ground,     where PROFESSORS walk, hands behind their backs, surveying this     mass "mental martial arts" test.     We're on ANOTHER VULCAN CHILD as she gets an answer wrong -- AND     THE LIGHT OVER HER BOWL GOES OUT. Then ANOTHER CHILD -- who     gets an answer wrong -- and HIS LIGHT GOES OUT. An EXTREMELY     WIDE OVERHEAD SHOT reveals BOWL AFTER BOWL as the LIGHTS GO OUT.                                               2045   CONTINUED:                                                         45     Until only one bowl remains. Spock's. He finishes his last     question. Gets it right. PUSH IN ON HIM as the COMPUTER SAYS:                                COMPUTER VOICE                  Your score is one-hundred percent.                  Congratulations. Spock.     Off his face, we CUT TO MOMENTS LATER, as Spock collects his     things. As he does, three young VULCAN BULLIES walk up behind     him. Spock glances at them, then back to his things.                                YOUNG SPOCK                  I presume you've prepared new insults for                  today.                                VULCAN BULLY #1                  Your mother lies with many men.     Spock just NODS.   Tries to ignore the fact that IT STINGS.                                YOUNG SPOCK                  I have no such information.                                VULCAN BULLY #2                  You are neither human, nor Vulcan -- and                  therefore, have no place in the universe.                                YOUNG SPOCK                          (swallowing that too)                  This is your thirty-fifth attempt to                  elicit an emotional response from me.                  Logic dictates you would cease by now.                               VULCAN BULLY #1                  Look. He has human eyes. They look sad,                  don't they?                                VULCAN BULLY #2                  Perhaps an emotional response requires                  physical stimuli.     And Bully #2 PUSHES Spock -- who stumbles back, almost falling     into one of the bowls. He looks up as:                                VULCAN BULLY #2 (CONT'D)                  He's a traitor, you know. Your father.                  For marrying her.     Spock stares -- we see him fighting the urge, but he's unable --     AND HE CHARGES THE BULLY AND TACKLES HIM INTO THE BOWL! They     land inside -- Spock cries, flailing as he punches Bully #2!     The other two stand atop the bowl, stunned -- shocked -- unsure     what the hell to do -- and we CUT TO:                                              2146   INT. LEARNING CENTER - CORRIDOR - LATER                             46     TIGHT ON Spock, chastened, sitting glumly on a bench. A massive     VULCAN CITY seen through the window behind him. His parents     ARGUE at a distance down the hall:                 AMANDA                                SAREK     -- where I'm from, when     someone hits you, you hit back-     - how is that not logical?         -- Spock had no reasonable     -- They pick on him -- they        expectation of being     tease him -- every day.            physically injured --                                        -- Which is precisely when                                        reason must guide his actions     -- I want him to embrace           above all.     Vulcan, you know that... but     he has to be himself-- which     means, occasionally, being         -- His "humanity" is very the     human.                             source of his ostracism.     -- When Vulcans get disgusted     with each other, they never     just walk away, do they?           -- No.     -- Well humans do.     And Amanda walks away, leaving Sarek standing there. He turns --     sees his son down the corridor. Approaches. And we're PUSHING     IN on Spock, studying the fear in his eyes. His father stops in     front of him, looming there, looking down stoically:                              YOUNG SPOCK                I did not mean to create conflict between                you and mother.     After a beat, Sarek seems to soften a little.     No anger in his     face. Takes a seat beside his son...                              SAREK                In marriage... conflict is...                                YOUNG SPOCK                ... constant?                              SAREK                Natural.                        (a beat)                Emotions run deep within our race. In                many ways, more deeply than in humans.                Long ago, they nearly destroyed us...                that is why we followed the teachings of                Surak. Now you must choose.                              YOUNG SPOCK                ... between you and mother?  246   CONTINUED:                                                            46                                SAREK                  Never, my son. But you may choose the                  ethic of logic. Logic offers a serenity                  humans seldom experience. The control of                  feelings... so that they do not control                  you.                                 YOUNG SPOCK                  They called you a traitor.                          (then)                  You suggest that I should be completely                  Vulcan... and yet you married a human...                  why?     Sarek is clearly conflicted by this.      But he holds steady:                                SAREK                  As Ambassador to Earth, my duty is to                  observe and understand human behavior.                  Marrying your mother... was logical.                          (Spock seems disquieted)                  Spock. You are fully capable of choosing                  your own destiny. The question you are                  faced with... is which path you will                  take. This is something only you can                  decide.47   EXT. IOWA FARMHOUSE - DAY                                             47     BAM -- a door opens: 14 year-old GEORGE KIRK, JR. angrily exits     the house, carrying a duffel. His angrier, redneckier UNCLE     FRANK following. 11 year-old JIM KIRK nervously pursues them:                                UNCLE FRANK                  Go ahead: go-- run away! You know I                  could give a damn!                                  YOUNG KIRK                  -- wait-- no!    Where are you going?                                GEORGE JR.                  Anywhere but here, far as I can get!                                UNCLE FRANK                  Which won't be far enough -- know what                  your problem is?!                          (big luggie spit)                  No one ever taught you respect! How to                  follow orders! Do as you're told!                          (to Jim)                  -- what the hell are you doing?                                YOUNG KIRK                  I-- I just don't want my brother to go.                                            2347    CONTINUED:                                                      47                                 UNCLE FRANK                   Well I do-- and I asked you to wash the                   car! How many damn times do I need to                   repeat myself?! How many damn times?                   How many?      A glare to George and Frank walks off. Jim nervously follows      his brother, pulling out a small, FLOATING DISC --                                 YOUNG KIRK                   Please stay-- you can have my Flo-Yo!      George hits it away:                                  GEORGE JR.                   This isn't about toys, it's Uncle Frank.                   I can't take him anymore -- Mom has no                   idea what he's like when she's not here--                   d'you hear him talking like he's our                   dad?! And that's not even his car you're                   washing! That was Dad's car! You know                   why you're washing it? Because he's                   gonna sell it!                                 JIM                   Don't leave -- okay? We can tell Mom                   when she gets back from Africa.                                  GEORGE JR.                   She's gone for five more months, by then                   I'll be in a different system.                           (sees fear in Kirk)                   You're gonna be okay. You always are.                   Always doing everything right -- good                   grades and obeying every stupid order...                           (then)                   I can't be a Kirk in this house. Show me                   how to do that and I'll stay.      But Jim can offer nothing. George gives him a quick hug and      walks off. Jim sadly watches his brother go.47A   EXT. IOWA FARMHOUSE - DAY                                       47A      Kirk washes a VINTAGE CORVETTE. Red, white top. Dumping the      sponge in bucket, he's sadly cleaning, his mind spinning over      his brother's departure. Devastated.      And he's wiping the soapy passenger window (SQEEEEEEAK!) with      the sponge, when he STOPS -- seeing the KEYS in the ignition.      PUSH IN ON HIS FACE as a devilish idea comes to his mind. PRE-      LAP A LOUD SCREECH and we CUT TO:48-49 OMIT                                                          48-49                                            2450    EXT. IOWA FARMHOUSE - DAY - LATER                                 50      THE CORVETTE BLASTS ONTO SCREEN, FISHTAILING ONTO THE ROAD,      young Jim Kirk behind the wheel (NOTE: The SOUND of the engine      is a metallic WHIR -- not a gas engine). TIGHT ON JIM'S FACE as      he drives -- having never done this before, he's as nervous as      he is determined --50A   EXT. IOWA ROAD - DAY - LATER                                     50A      The CORVETTE SPEEDS -- while inside the car, Jim turns on the      updated, modified RADIO -- scans stations, momentarily losing      control of the car -- but he's back on track as he finds a HARD      ROCK SONG -- and HE'S STARTING TO FUCKING LOVE IT -- PILOTING      SOMETHING THIS FAST FEELS GOOD.      He reaches for a CONVERTIBLE ROOF latch -- then the other -- but      with the speed he's driving, THE ROOF RIPS RIGHT OFF THE FUCKING      CAR -- Jim glances back, wide-eyed -- and the roof TUMBLES      through the air, landing on the road -- and we PUSH AND ARC      AROUND, as a POLICE OFFICER runs out from taking a roadside PISS      -- he races back, jumps on his HOVERCRUISER and TAKES OFF --      SPEEDING AFTER HIM, SIREN BLARING!      BACK IN THE CORVETTE -- BLOOPBLOOP!!! -- Jim's eyes dart to the      REARVIEW as the cruiser WEAVES behind him -- then PULLS UP      BESIDE HIM -- the COP sees a CHILD driving and is AMAZED -- he      calls through his PA:                               COP                 Son, you pull over that car!      But Jim just BLASTS the RADIO LOUDER:                               JIM                 I CAN'T HEAR YOU!51    EXT. IOWA ROAD - CONTINUOUS                                       51      George, bag over shoulder, thumb out. He turns at the SOUND of      the SIREN -- sees what's approaching... that car... looks...      familiar... and the THE CORVETTE SHOOTS PAST HIM, JIM AT THE      WHEEL -- then the POLICE HOVERCRUISER! George runs into the      middle of the road, mouth agape --                                 GEORGE JR.                 -- no... way.      Back at the Corvette, Jim YANKS the steering wheel TOWARD THE      COP -- who RISES to avoid the Corvette, which SCREECHES onto a      perpendicular DIRT ROAD, kicking up wild dust as the Cop ARCS      QUICKLY to follow --                                           2551   CONTINUED:                                                       51     Jim is now officially LOVING THIS -- and he DRIVES THROUGH a     FENCE -- CRASH! The Cop RACES through it, in the Corvette's     DUST -- and we PUSH IN on a SIGN that reads "DANGER - QUARRY     AHEAD -- IOWA MINING CO." In fact --52   EXT. QUARRY - CONTINUOUS                                          52     We see the MASSIVE QUARRY -- hundreds of feet deep -- and TILT     UP to the Corvette and Cop speeding toward it --53   INT. CORVETTE - MOVING - CONTINUOUS                               53     KIRK, EYES INTENSE, ALMOST SUICIDAL -- this is where he's been     headed all along -- and for a moment we think holy shit -- this     is how James Kirk dies. He speeds toward the edge -- CLOSER --     CLOSER -- but at the last second, Kirk SLAMS the brake -- the     car SKIDS -- PIVOTS -- and he LEAPS FROM THE CAR, WHICH SAILS     SIDEWAYS OFF THE CLIFF EDGE -- FALLING... falling... the COP     comes to QUICK a STOP in CLOUDS of DUST as the Corvette EXPLODES     ON THE QUARRY FLOOR --     The angry Cop hops off his hovercruiser, hand on weapon, as Jim     Kirk, out of breath, exhilarated, gets to his knees.                                COP                  What's your name, son?     And as he stands, we PUSH IN on him -- LOW and WIDE -- damn if     that kid doesn't have a swagger. It's like the first time he's     ever stood in his life.                                JIM                  My name's Kirk. James Tiberius Kirk.     And as our MUSIC BUILDS we CUT TO:54   EXT. RURA PENTHE- MINING QUARRY - NIGHT [FORMER OMIT]             54     CONSTANT SHOCKS OF LIGHT as an ALIEN PRISONER -- intelligent, bi-     pedal, but with FOUR TERRIFIED EYES -- is SLAMMED DOWN onto the     wet pavement -- a CHOKE STICK SHOVED under his chin -- then:     VOICES. Brutal, guttural KLINGON --                                KLINGON GUARD (O.S.)                          (SUBTITLED)                  You say they are not yours...     WHIP PAN TO SEE the scary KLINGON GUARDS -- four of them --     standing above the Alien -- chilling MASKS hide their hideous     faces -- and one holds a FLUORESCENT SET OF PAGES --                                KLINGON GUARD (CONT'D)                  ... these Federation maps we found in                  your pockets.                                              2654    CONTINUED:                                                       54      And the ALIEN SPEAKS -- an UNKNOWN LANGUAGE -- all eyes wild:                                 ALIEN                           (SUBTITLED)                   I speak the truth. I do.                                 KLINGON GUARD                   Then who are they for?      But the Alien just SHAKES HIS HEAD, afraid -- he will not talk.      So they GRAB HIM AND YANK HIM UPWARD --                                 KLINGON GUARD (CONT'D)                   You would rather die then tell us?      PUSH IN TIGHT as the Alien finally WHISPERS, terrified:                                 ALIEN                   ... NERO!!!      And the Guards look at each other... seemingly with concern...      MOMENTS LATER EIGHT GUARDS WALK TOGETHER -- and we PAN WITH THEM      to reveal the HORRIFYING EXPANSE THAT IS THE KLINGON PRISON      YARD. We realize that the constant shocks of light was      LIGHTNING, that apparently never stops here. A SUPER READS:      "RURA PENTHE - KLINGON PRISON ASTEROID". And we see they're      heading for a MUSCULAR FIGURE, using a SLEDGE HAMMER, SPLITTING      ROCKS, lit brilliantly by the lightning strikes. BOOM UP to      find that it's NERO. And he stops, SENSING the coming Guards.      And he manages a small smile. And he QUICKLY TURNS to them --      THEY ALL STOP, SUDDENLY. Afraid of him. One of them tosses      Nero a set of MANACLES. Nero picks them up. Puts them on. And      offers his cuffed hands, willingly.54A   INT. RURA PENTHE - HOLDING BLOCK - NIGHT [FORMER SC. 64B]        54A      Guards drag Nero through the massive pyramidal structure...54B   INT. RURA PENTHE - INTERROGATION CELL - NIGHT [FORMER SC. 64C]   54B      Nero's ARMS AND LEGS get STRAPPED IN TIGHT. Go WIDE to reveal      he's pinned to an interrogation table -- three GUARDS. A      KLINGON INTERROGATOR approaches; looms over Nero, studying the      Romulan's face with clinical detachment...                                  KLINGON INTERROGATOR                           (SUBTITLED KLINGON)                   I have come far to meet you. "The One                   Who Does Not Speak." Ten years is a long                   time to maintain silence.                           (beat)                   Perhaps you simply do not speak Klingon,                   just as I do not speak Romulan.                                  (MORE)                                             2754B   CONTINUED:                                                      54B                                 KLINGON INTERROGATOR (CONT'D)                           (ENGLISH now)                   But I assume we both speak the language                   of our common enemy.      (NOTE: FROM NOW ON, OUR NON-ENGLISH SPEAKERS WILL SPEAK ENGLISH,      UNLESS OTHERWISE NOTED.) He reveals a worn LEATHER JOURNAL.      Opens it, flips through it almost casually... we see SKETCHES of      the JELLYFISH SHIP, PAGES OF COMPLICATED MATH EQUATIONS...                                 KLINGON INTERROGATOR (CONT'D)                   We found this book in your cell.                   Cartography, mathematics-- what do these                   mean? This date here -- eleven years                   from now-- what happens then?                           (holds up the                            FLUORESCENT MAPS)                   And why attempt to smuggle in maps of                   Federation space?      Nero's face betrays nothing; no fear, no doubt. Cold as fucking      ice.   The Interrogator happens to stare at a page in the book:      A DRAWING OF SPOCK. He closes the book.                                 KLINGON INTERROGATOR (CONT'D)                   When you were captured we assumed you                   were a spy, sent from Romulus to surveil                   the Empire. But because the Romulans                   deny your existence, I believe you are                   much more than that.      Interrogator looks over to the Guards, nods. A Guard approaches      with some kind of GLASS CONTAINER; we HEAR something wet FLIP-      FLOPPING around inside, but we can't SEE what it is.                                 KLINGON INTERROGATOR (CONT'D)                   Your ship remains in orbit above us now.                   We've been asking for its secrets for too                   long. That is why I am here. We want to                   know how it works and I believe now,                   finally... you will tell us.      A Guard uses TONGS to pull out the most DISGUSTING creature      you've seen from the container: a SLUG with SUCKERS and spikes,      covered in a grimy muck -- it FLIP FLOPS.                                 KLINGON INTERROGATOR (CONT'D)                   Centaurian slugs. Their native planet is                   in constant sunlight. As a result,                   there's nothing they hate more... than                   darkness.      A Guard GRABS NERO'S HEAD and FORCES IT BACK; the second PRIES      HIS MOUTH OPEN with his hands.                                               2854B   CONTINUED: (2)                                                    54B      Another Guard SHOVES THE THING INTO NERO'S MOUTH -- Nero keeps      his eyes open -- furiously determined not to be broken -- as      they FORCE HIM TO SWALLOW IT -- he DOESN'T SCREAM as the      wretched thing makes its way down his esophagus and into his      stomach --                               KLINGON INTERROGATOR (CONT'D)                 They try to claw and bite their way out                 of any dark space they're in.      Nero stares at the ceiling in HORRIFYING INTERNAL PAIN -- but      straining to block it out. PUSH DOWN on Nero's wide, crazed      eyes -- TIGHTER as we SLOWLY DISSOLVE TO SEE WHAT HE'S SEEING --      WHAT'S KEEPING HIM FROM LOSING HIS MIND -- DREAMLIKE, ETHEREAL      IMAGES OF A WOMAN -- HER BEAUTIFUL, SMILING FACE -- SHE'S      ROMULAN -- LOOKING AT US, EYES FULL OF LOVE -- AND SHE TURNS AND      WE SEE SHE'S PREGNANT -- AND AS OUR MUSIC BUILDS, WE CUT TO:55-56 OMIT                                                          55-5657    INT. VULCAN SCIENCE ACADEMY - COUNCIL ANTE-CHAMBER - DAY           57      Quiet. A waiting area. AMANDA, Spock's mother, stands alone in      a passageway. She looks off-camera to her son:                               AMANDA                 Spock, come here, let me see you.                                   SPOCK (O.S.)                          (beat)                 No.                                   AMANDA                 Spock.      Reluctantly, Spock walks into frame. She begins adjusting his      collar. This is our ADULT SPOCK. Gripped by anxiety but trying      like hell to look impassive.                               AMANDA (CONT'D)                 There is no need to be so anxious.                 You'll do fine.                               SPOCK                 I am hardly "anxious", mother.                         (beat, then, anxiously)                 And "fine" has variable definitions.                 "Fine" is unacceptable.      She just smiles as she works his collar. He sees this and    it      annoys him. He tries to move her hands away, to stop with    his      collar -- his annoyance, her love for him, all sweet-- but   he      doesn't let go of her hands. A meaningful silence between    them.                                                 2957   CONTINUED:                                                           57                                SPOCK (CONT'D)                  May I ask a personal query?                                  AMANDA                  ... anything.                                SPOCK                  Should I choose to complete the Vulcan                  discipline of Kolinahr... and purge all                  emotion... I trust you will not feel it                  reflects judgement upon you.     She stares at him, moved.      Touches his face.                                AMANDA                  As always... whoever you choose to be...                  you will have a proud mother.     HOLD on mother and son, worlds apart but forever bonded:58   INT. VULCAN SCIENCE ACADEMY - COUNCIL CHAMBER - DAY                  58     An imposing yet BEAUTIFUL INDOOR ATRIUM. Spock stands before     the VULCAN HIGH COUNCIL. Among faces on the dais: his FATHER,     seated beside the SCIENCE MINISTER and other VULCAN LEADERS.                                SCIENCE MINISTER                  You have surpassed the expectations of                  your instructors. Your final record is                  flawless. With one exception. I see you                  have applied to Starfleet as well.                                SPOCK                  It was logical to cultivate multiple                  options.                                SCIENCE MINISTER                  Logical but unnecessary. You are hereby                  accepted to the Vulcan Science Academy.                  A distinction all the more significant                  given that you will be its first half-                  human pupil. It is truly remarkable,                  Spock. That you have achieved so much                  despite your disadvantage. Welcome to                  the Academy.     They all start to rise.      But Spock is suddenly unsettled:                                SPOCK                  If you would clarify, Minister-- what                  "disadvantage" are you referring to?                                SCIENCE MINISTER                  ... your human mother.                                               3058   CONTINUED:                                                         58     As the council disperses, we PUSH IN on Spock's face -- the same     look he had when he took punches as a kid. He glances at his     father to say something, but Sarek's the consummate diplomat.     His eyes command: remain calm. Spock STRUGGLES... then makes     the first spontaneous -- human -- decision of his life --                                SPOCK                  Council -- ministers.    I must decline.     Everyone STOPS.   A solid BEAT.   Confused looks turn cold:                                SCIENCE MINISTER                  No Vulcan has ever declined admission to                  this academy.                                SPOCK                  Then as I am half-human, your record                  remains untarnished.                  SAREK                               SPOCK     Spock. You have made a     commitment to honor the Vulcan       At the moment, Father, I can     way--                                think of no greater way to                                          honor our race than to attend                                          Starfleet as its first Vulcan.                                 SCIENCE MINISTER                  Why did you come before this council                  today? Was it to satisfy your emotional                  need to rebel?                                SPOCK                  I came with the intention of enrolling,                  as my father wished. However, your                  "insight" has convinced me otherwise.                  Therefore, the only emotion I wish to                  convey is gratitude. Thank you,                  Ministers, for your consideration.                          (a contained "fuck you")                  Live long and prosper.     He looks to his father, whose disappointment is evident --     still, God bless him, Spock walks out --59   EXT. "THE WARP TRAIL" BAR - IOWA - NIGHT                              59     -- PUSH DOWN A HALLWAY -- MUSIC HEARD -- what seems like a PARTY     is going on through windows in the double-doors ahead -- and a     WOMAN SWOOPS INTO VIEW in front of us -- we PUSH BEHIND HER in     the short skirt and high boots as she ENTERS the place -- a     local, busy BAR -- the woman makes her way to the BAR, and we     see her GORGEOUS, DIGNIFIED FACE. THIS IS UHURA. She leans     into the bartender warmly, her smile glorious:                                          3159   CONTINUED:                                                    59                                UHURA                  Hi. I'd like a Klabnian Fire Tea, two                  Cardassian Sunrises and three Earth                  beers, no slim-shots, anything on draft.                                VOICE (O.S.)                  That's a lot of drinks for one woman.                  Wearing those boots.     JAMES KIRK'S FACE leans in: at 22, he's charming, witty,     dangerous, rebellious. He grins at her, flirty. Uhura gives     him a look, then back to the bartender:                                UHURA                  And a shot of Jack, straight up.                                KIRK                          (to the bartender)                  Make it two -- her shot's on me.                                UHURA                  Her shot's on her. Thanks but no thanks.                                KIRK                  Don't you want my name before you                  completely reject me?                                UHURA                  I'm good without it.     Damn, he likes her already.                                KIRK                  You are good without it. It's Jim. Jim                  Kirk.                          (long beat)                  If you don't tell me your name, I'm gonna                  have to make one up.                                    UHURA                           (beat)                  Uhura.                                KIRK                  Uhura? No way -- that's the name I was                  gonna make up for you. Uhura what?                                    UHURA                  Just Uhura.                                KIRK                  They don't have last names in your world?                                              3259   CONTINUED: (2)                                                    59                              UHURA                Uhura is my last name.                              KIRK                They don't have first names in your                world? Wait, let me guess. Is it "Jim"?     That makes her smile.    So he moves closer to her:                              KIRK (CONT'D)                Okay, so you're a cadet. Studying.                What's your focus?                              UHURA                Xenolinguistics. Lemme guess: you don't                know what that means.                              KIRK                Let me guess: study of Alien languages:                phonology, morphology, syntax-- it means                you've got a talented tongue.                              UHURA                And for a moment I thought you were just                a dumb hick who only has sex with farm                animals.                                KIRK                Well.    Not only.                              UHURA                You think you're smart.                              KIRK                Oh, baby, I'm the smartest.     Something sad in that.    A BURLY STARFLEET CADET appears.                              BURLY CADET                This guy bothering you?                              UHURA                Beyond belief, but nothing I can't                handle.                              KIRK                You could handle me.    That's an                invitation.     The Burly Cadet spins Kirk around:                                BURLY CADET                Hey.    You mind your manners.                                             3359   CONTINUED: (3)                                                     59                               KIRK                At ease, Cup Cake, it was a joke.     Like                your hairline.     Uhura turns back.    The other cadets, seeing trouble, approach.                              UHURA                Hey -- Jim: enough.                                   BURLY CADET                What was that?                              KIRK                You heard me, Moon Beam.                              BURLY CADET                You know how to count farm boy?    There's                five of us... and one of you.                              KIRK                Okay, so go get some more guys, come back                and it'll be an even fight.     The cadet swings his fist but Kirk HEADBUTTS HIS HAND, BREAKING     IT -- another Cadet PUNCHES KIRK, then THROWS HIM into a table,     which Kirk FLIES OVER, landing hard -- another Cadet GRABS HIM,     pulls him up -- Kirk SLAMS FIVE FAST PUNCHES that send the Cadet     back -- when ANOTHER CADET PUNCHES HIM -- yet another HOLDS KIRK     -- and that last punch is repeated THREE-- then FOUR times --                                   UHURA                Enough!    STOP!     Another punch and Kirk FLIES TO THE FLOOR - he's out of it, but     won't give up. The Cadets UNLEASH on him and really PUMMEL HIM -     - and Kirk's spirited, but LOSING -- about to LOSE BAD -- when     an EAR-SPLITTING WHISTLE makes everything STOP -- they turn --     standing in the doorway is a tall, rugged Starfleet officer --     CAPTAIN CHRISTOPHER PIKE.                              PIKE                Outside, all of you!       NOW!     The cadets file out, in for it. Pike moves to a dazed, semi-     conscious Kirk, now upside down on a table.                              PIKE (CONT'D)                Y'alright, Son?                              KIRK                You can... whistle really loud, y'know                that?     -- and Kirk PASSES OUT.                                          3460   OMIT                                                          6061   INT. "WARP TRAIL BAR" - NIGHT                                 61     HIGH WIDE OVERHEAD SHOT of the almost-closed bar. Only Kirk and     Pike sit here at a table. Kirk's bloodied, tissue in his nose.                              PIKE                I couldn't believe when the bartender                told me who you are.                              KIRK                ... and who am I, Captain Pike?                              PIKE                Your father's son.                        (then, smiles)                For my dissertation, I was assigned the                U.S.S. Kelvin. Something I admired about                your dad... he didn't believe in no-win                scenarios.                              KIRK                He sure learned his lesson.                               PIKE                Depends on how you define winning.                You're here, aren't you?                        (off Kirk's look)                That instinct to leap without looking--                that was his nature, too. And in my                opinion it's something Starfleet has                lost. We're admirable, respectable. But                overly-disciplined.                        (beat)                Those cadets you took on, they'll make                competent officers -- but you can bet                your ass they'll run home to momma the                minute they're looking down the barrel of                a Klingon phaser cannon.                              KIRK                -- why are you talking to me?                              PIKE                I looked up your file while you were                drooling on the floor. Your aptitude                tests were off the charts-- what is it,                d'you like being the only Genius Level                repeat-offender in the midwest?                              KIRK                Maybe I love it.                                            3561   CONTINUED:                                                       61                                 PIKE                  So your daddy dies... you can settle for                  a less-than-ordinary life.                          (beat)                  Or do you feel like you're meant for                  something better? Something special?     And that just hangs there for a beat. Because Pike just hit a     nerve. Kirk does his best not to show it -- still absent-     mindedly fiddling with STARFLEET SHIP SALT AND PEPPER SHAKERS.                                KIRK                  Come to think of it, I do want to feel                  special. You know what? I'm gonna go                  start a book club--                                PIKE                  Enlist in Starfleet.                                KIRK                  Enlist. You must be way down on your                  recruiting quota for the month--                                PIKE                  If you're half the man your father was,                  Jim, Starfleet could use you. You could                  be an officer in four years, have your                  own ship in eight.     He's getting under Kirk's skin -- but Kirk keeps up the 'tude,     grabs his jacket, stands --                                KIRK                  We're even, right?   I can go.                                PIKE                  Riverside shipyard. Shuttle for new                  recruits leaves tomorrow, 0800.                          (Kirk turns, Pike grabs                           him)                  Your father was Captain of a Starship.                  For twelve minutes. I dare you to do                  better.     Eyes lock... and it's now Pike who stands and walks off.   And     that's where it hangs. Off Kirk, brooding...62   EXT. IOWA PLAINS - SUNRISE                                        62     CORN STALKS whipping by -- Kirk on his SPOKELESS MOTORCYCLE     rocketing across the plains -- his soul's been stirred and he's     fighting it -- he cranks it, ELECTRIC ENGINE SCREAMING --                                            3663   EXT. STARFLEET CONSTRUCTION YARD - SUNRISE                       63     Kirk pulls up to us, kills the bike. Camera starts to MOVE     AROUND HIM -- he's dramatically BACKLIT and we COME AROUND for     an INCREDIBLE REVEAL of a SHIPYARD -- at its center, the     skeletal frame of a NEW SHIP under arclights. UNMISTAKABLY, THE     U.S.S. ENTERPRISE. Unformed, raw, like its future captain. Our     MUSIC SWELLS, we PUSH IN ON HIM, considering Pike's offer, his     future, his fate.64   EXT. STARFLEET SHIPYARD - MORNING                                64     The shipyard is abuzz with activity -- cadets loading into a     shuttle -- and Pike, staring off, waiting. The PILOT     approaches:                              SHUTTLE PILOT                Waiting for something, Cap?                               PIKE                ... No.   Guess not.     He climbs in. The pilot rapidly flips through switches, running     a pre-flight sequence. Pike straps in. Glances through the     viewshield... SEES SOMETHING... and he smiles. From his POV:     KIRK on his MOTORCYCLE, driving into the shipyard --                              PIKE (CONT'D)                Hold her a second...     Kirk rides past a WATERFALL of cooling tanks -- stops the bike     near the shuttle -- steps off, has nothing -- no bags -- just     the clothes on his back.                              SHIPYARD WORKER                Nice ride, man.     Kirk kicks the stand, tosses the guy the startcard --                               KIRK                Live it up.     Kirk walks past the startled worker and approaches Pike.                               KIRK (CONT'D)                Four years?   I'm gonna do it in three.     Pike grins as Kirk passes him.     Inside the shuttle, Kirk moves down rows of new recruits, some     of them ALIEN. Passes UHURA and the BARFIGHT CADETS, who PERK     UP when they see him -- one has a BANDAGED HAND.                                            3764   CONTINUED:                                                      64                                KIRK (CONT'D)                  At ease, Gentlemen.                          (then, to Uhura)                  Never did get that first name.                                UHURA                          (can't help it: a grin)                  And you never will.     He smiles as he takes a seat at the back of the shuttle.   Straps     in as it RISES...                                MAN'S VOICE                  Are you people deaf? I told you I don't                  need a doctor, damnit! I AM A DOCTOR!     Kirk turns to see a MAN being forced OUT of the BATHROOM by a     FEMALE FLIGHT OFFICER -- at 34, he has a Southern lilt and looks     like a prisoner waiting for the guillotine to fall:             FLIGHT OFFICER                          MAN     -- you need to find a seat --     -- I had one, in the bathroom,                                       Darlin', with no windows --     -- Sir, for your own safety,      -- I suffer from Aviaphobia,     siddown, or I will MAKE you       case you don't understand big     sit down... do you hear me?       words, it means 'fear of dying     RIGHT NOW.                        in something that flies.'     They GLARE at each other, then the man drops into the seat     beside Kirk. The ship TORQUES to one side and the man GRIPS his     armrests, pale, sweating -- glances at Kirk:                                MAN                  I might throw up on you.                                KIRK                  I think these things're pretty safe--                                MAN                  Don't pander to me, kid: one tiny crack                  in the hull and our blood boils in                  thirteen seconds -- solar flare might                  crop up, cook us in our seats -- Hell,                  some of the damn passengers are blue.                  And wait'll you're sitting pretty with a                  case of Andorian shingles, see if you're                  still so relaxed when your eyeballs are                  bleeding-- space is disease and danger,                  wrapped in darkness and silence.                                KIRK                  I hate to break this to you, but                  Starfleet operates in space.                                              3864    CONTINUED: (2)                                                   64                               MAN                 Yeah, well my ex-wife took the whole damn                 planet in the divorce, I got nowhere to                 go but up. Leonard McCoy.                               KIRK                 Jim Kirk-- you really gonna throw up--?                                 MCCOY                 Maybe--      As the TREK THEME SOARS, the shuttle ascends and we...                                                               FADE OUT.      OVER BLACK: "THREE YEARS LATER".      FADE IN:64A-E OMIT                                                          64A-E64F   INT. NERO'S CELL - NIGHT                                         64F      Nero lies on the floor of his cell, semi-conscious, looking like      death. Behind him the DOOR OPENS. Two KLINGON GUARDS enter,      backlit.                               KLINGON GUARD #1                 The day you've been waiting for is upon                 us, Silent One. And look. No sign of                 salvation. No sign of change. Just more                 pain.      And they both lift his limp body up -- as something miraculous      happens -- NERO SNAPS TO LIFE AND SINGLE-HANDEDLY BEATS THE SHIT      OUT OF THE GUARDS -- TAKING THEM BOTH DOWN IN TEN SECONDS -- in      what seems like an instant, he's the only one standing here --      holding both of the Guards' rifles -- which he TWIRLS, badass.64G   INT. AYEL'S CELL - NIGHT                                         64G      PUSH IN ON THE DOOR as it opens -- Ayel, chained, looks up,      intensely -- and sees that it's NERO who has arrived -- we PUSH      IN TIGHT ON HIM as he SPEAKS FOR THE FIRST TIME:                               NERO                 The wait is over.      Off Ayel, we CUT TO:                                            3964H   EXT. STARFLEET ACADEMY GROUNDS - DAY   [FORMER SC. 82]         64H      TILT DOWN from a GLIMMERING BUILDING TO REVEAL a sea of RED      CADET UNIFORMS: HUNDREDS OF CADETS head across campus, McCoy and      Kirk among them. A miraculous view of San Francisco beneath a      blue sky, Golden Gate Bridge piercing the air. Kirk struts:                               KIRK                 So you'll do it for me, right?                               MCCOY                 I have no interest.                               KIRK                 I didn't ask if you have interest, I                 asked if you'd do it.                               MCCOY                 I'm about to ask you an obvious question:                 why bother?                               KIRK                 Because I've failed the test twice.                               MCCOY                 And you're determined to make it three.                 We've all failed it-- everyone has, and                 that's the point! No one goes back for                 seconds, let alone thirds -- it's not                 like you need to pass it to graduate.                               KIRK                 So Bones: why do they make us take it?                               MCCOY                 I told you to stop calling me that.                 You're very annoying.                               KIRK                 And you're the greatest -- thank you.                               MCCOY                 You'd better study for it this time.                               KIRK                 Oh, no-- Bones -- I gotta date.                                               4064H   CONTINUED:                                                         64H                                 MCCOY                   A date? Listen, as smart as you are,                   which ain't much, if you don't prepare--                                 KIRK                   You have no idea how prepared I'm gonna                   be-- no idea.      And with a smile, Kirk heads off -- McCoy watches him go,      calling after him:                                 MCCOY                   Seriously, stop calling me Bones!                           (to himself, hating it)                   "Bones".65-78 OMIT                                                           65-7879    INT. DORM ROOM - NIGHT                                               79      In MOONLIGHT, a beautiful WOMAN lies on her back, in some kind      of bra, moaning in delight -- this is GAILA --                                 GAILA                   -- oh Jim... Jim... Jim, I love you.                                 KIRK                           (kissing her)                   ... Yeah. I sent you a message.      Gaila reaches over, turns on the light and we realize: SHE'S      GREEN. And not particularly happy:                                 GAILA                   I say "I love you", and you say "I sent                   you a message?"                   KIRK                                GAILA      -- but you can only open it      tomorrow at three o'clock on      the dot --                        -- what are you talking about?                                        What is it? What does it say?      -- Gaila, promise me you're      not going to open it 'till        -- what is it?    Tell me what      three --                          it says!      -- I'll erase it, I swear, if      you don't promise me you'll       -- All right!!    Three o'clock!      wait --                           I prom--      They're INTERRUPTED by a DOOR OPENING -- GASP!                                              4179   CONTINUED:                                                        79                                GAILA (CONT'D)                          (sotto)                  You can't get caught in this dorm-- hide!                  Under the bed, quick!     Kirk falls, lands hard on the floor, SCRAMBLES under the bed as     Gaila's roommate enters -- UHURA. Dropping her backpack:                                GAILA (CONT'D)                  Hey-- I thought you were going to be in                  the long-range sensor lab all night.                                UHURA                  I was supposed to be, but it was crazy, I                  picked up an emergency transmission from                  a Klingon prison planet -- there was an                  escape and a ship stolen from th--                          (suddenly senses)                  ... you okay?                                GAILA                  Yeah, been running simulations all week,                  just catching up on some rest. Tired.                          (fake yawn)                  That's all.     Uhura watches her.   Her eyes narrow.                                UHURA                  Were you running simulations with the                  mouth-breather hiding under the bed?     Gaila freezes, caught.   Uhura looks down, Kirk PEERS OUT.                                KIRK                  Your hearing is scary-- you sure both                  your parents are human?                                UHURA                  The hell are you doing with him in here?                  GAILA                              JIM     I can't help it! I love him!      Gaila loves me--                                UHURA (CONT'D)                  Get outta here -- it's my ass too if                  administration catches you in this dorm.                                KIRK                          (getting dressed, to                           Uhura)                  You and I have a big day tomorrow --                                            4279   CONTINUED: (2)                                                  79                              UHURA                        (pushing him out)                You're gonna fail.                              KIRK                If I pass, will you tell me your first                name?                               UHURA                No.   Good night.                              KIRK                        (quiet, tries to charm)                I think the fact that you picked up a                transmission of a Klingon prison escape                is very interesting.     SHE CLOSES THE DOOR ON HIM and we CUT TO:80   EXT. SPACE - NIGHT                                              80     The Narada APPEARS through space --81   INT. NARADA - BRIDGE - DAY                                      81     Dead silence on the bridge... all eyes on the VIEWSCREENS: empty     starfield, roiling clouds of methane ice.                              AYEL                We have arrived at the coordinates you                requested. Stardate confirmed. 2258.5.     Nero stands, looks out through his view screens.                                  NERO                Standby.     Ayel studies his console, hope in his eyes.     Quietly:                              AYEL                Captain... long range scans of Beta                Quadrant complete. Romulus is there.                She's there. We could go. Right now, go                home...                              NERO                Not yet -- not like this. Not how we                left. This is our chance... to serve our                people. We owe it to them -- to do what                no other Romulan could ever do.                                                4381    CONTINUED:                                                          81      Ayel hides his disappointment behind his eyes as suddenly -- A      LIGHTNING STORM -- impossibly, from nowhere -- LOTS OF IT -- and      through the lightning erupts THE JELLYFISH -- THE SHIP NERO HAS      BEEN LOOKING FOR DECADES.                                   NERO (CONT'D)                   Welcome back.    Spock.      And we won't know where we are as MUSIC BUILDS and we CUT TO:81A   INT. U.S.S. TRAINER - BRIDGE - SPACE     [FORMER SC. 65]            81A      Uhura TURNS TO US, at her comm station -- PUSH IN on her.     She      seems wildly BORED and almost RESENTFUL:                                 UHURA                   -- we are receiving a distress signal                   from the U.S.S. Kobayashi Maru. The ship                   has lost power and is stranded.                   Starfleet Command has ordered us to                   rescue them.      WHIP TO THE COMMAND CHAIR, where KIRK captains the battered      bridge. Confident -- cocky:                                 KIRK                   "Starfleet Command has ordered us to                   rescue them... Captain."      She glares, turns away.      Then McCoy, at a console, reports:                                 MCCOY                   Klingon vessels have entered the Neutral                   Zone. And they are firing upon us.                                   KIRK                   That's okay.      McCoy and Uhura -- and the others -- look at him, confused.                                   MCCOY                   It's okay?                                 KIRK                   Yeah, don't worry about it.      McCoy and Uhura share a look -- that's when we CUT TO:81B   INT. TESTING CONTROL BOOTH - CONTINUOUS [FORMER SC. 66]             81B      Looking at the bridge from above, we PULL BACK to reveal an      observation room above the faux-ship. This is the test Kirk was      referring to. CONSOLE TECHNICIANS monitor the proceedings. A      TEST ADMINISTRATOR turns to another and asks:                                                4481B   CONTINUED:                                                         81B                                 TEST ADMINISTRATOR #1                   Did he say "don't worry about it"?                                 TEST ADMINISTRATOR #2                   -- what's he doing?      And we CONTINUE TO PULL BACK TO REVEAL that, sitting among the      technicians, is Gaila. Our resident GREEN GIRL. She checks her      watch -- PUSH IN ON IT: 2:59 PM. On her MONITOR awaits a 23rd      century e-mail -- a MESSAGE FROM KIRK --81C   INT. U.S.S. TRAINER - BRIDGE SIMULATOR - DAY    [FORMER SC. 67]    81C                                 MCCOY                   Three more Klingon Warbirds decloaking --                   and targeting our ship -- I don't suppose                   this is a problem either?                                    KIRK                   Nah.                                 WEAPONS OFFICER                   They're firing, Captain.                                 KIRK                   Alert medical bay to prepare to receive                   all crew members from the damaged ship.                                 UHURA                   And how do you expect us to rescue them                   when we're surrounded by Klingons?                                    KIRK                   Alert medical.      Annoyed, she does as:                                 MCCOY                   Our ship is being hit -- shields at sixty                   percent.                                    KIRK                   I understand.                                 MCCOY                   Should we at least, I dunno, fire back?                                    KIRK                   Mmmm... no.                                    MCCOY                   Of course not.                                               4581D   INT. TESTING CONTROL BOOTH - CONTINUOUS [FORMER SC. 70]           81D      CLOSE ON GAILA'S WATCH as it changes to 3:00 -- and she   opens      Jim's message -- and all it reads is, "I'M SORRY." And    just      then something UPLOADS and EXECUTES and ALL THE SCREENS   IN HERE      AND ON THE BRIDGE DIE -- THE SYSTEM CRASHES -- everyone   reacts --                               TEST ADMINISTRATOR #1                 -- the hell's happening?!81E   INT. U.S.S. TRAINER - BRIDGE SIMULATOR - CONTINUOUS [FRMR. 71]    81E      The crew doesn't know what's up -- except Kirk, who is      remarkably pleased -- when the LIGHTS AND MONITORS COME BACK ON,      things are not the same:                               UHURA                         (perplexed, works                          controls)                 -- the Kobayashi Maru is still in                 distress... but... the Klingons have                 stopped firing.                               KIRK                 Arm photons. Prepare to fire on the                 Klingon warbirds.                               MCCOY                 Jim, their shields are up.                                KIRK                 Are they?      McCoy looks at his monitor.   No they're not.                                MCCOY                 ... no.                               KIRK                 Fire on all enemy ships -- one photon                 each should do -- let's not waste                 ammunition.                               WEAPONS OFFICER                 Target lock acquired on all warbirds --                 firing!      They fire -- AND DESTROY ALL FIVE KLINGON SHIPS INSTANTLY.    All      mouths here are agape.                                                4681E   CONTINUED:                                                         81E                                 KIRK                   Begin rescue of the stranded crew. So.                   We've eliminated all enemy ships, no one                   on board was injured and the successful                   rescue of the Kobayashi Maru crew is                   underway.      For the first time, Kirk looks up to the testing room windows:                                    KIRK (CONT'D)                   Anything else?81F   INT. TESTING CONTROL BOOTH - CONTINUOUS [FORMER SC. 72]            81F      And they're stunned up here, too -- Test Administrator #2 turns      to someone OFF-CAMERA:                                 TEST ADMINISTRATOR #2                   How the hell'd that kid beat your test?      REVEAL who he was talking to: SPOCK is here.      And not happy.                                 SPOCK                   ... I do not know.82    OMIT                                                                8283    INT. ACADEMY COUNCIL CHAMBERS - DAY                                 83      TIGHT ON a stern STARFLEET ACADEMY PRESIDENT:                                    ACADEMY PRESIDENT                   James T. Kirk.     Step forward.      It's a huge Starfleet chamber. Golden Gate Bridge visible      through huge windows. 500 cadets, a nervous KIRK among them.      He stands, moves to one of two PODIUMS.                                 ACADEMY PRESIDENT (CONT'D)                   An incident has occurred today that                   concerns the entire student body.                   Academic immorality by one is an assault                   on us all. It will. Not. Stand. Cadet                   Kirk, evidence has been submitted to this                   council suggesting you violated the                   ethical code of conduct pursuant to                   regulation 17.43 of the Starfleet code.                   Is there anything you care to say before                   we begin?                                 KIRK                           (uncomfortable beat)                   Yessir. I believe I have the right to                   face my accuser directly.                                            4783   CONTINUED:                                                      83     President nods toward the assembly. SPOCK RISES. He and Kirk     MEET EYES for the first time. It's clock-stopping.                                ACADEMY PRESIDENT                  Step forward please. This is Commander                  Spock, one of our most distinguished                  graduates. He's programmed the Kobayashi                  Maru test for the last four years.     Spock steps up to the OTHER PODIUM.      President nods.                                SPOCK                  Cadet Kirk. It is obvious you somehow                  managed to install and activate a sub-                  routine in the programming code, thereby                  changing the conditions of the test.     We happen to find GAILA, in the crowd, fucking pissed.                                KIRK                  Your point being?                                ACADEMY PRESIDENT                  In academic vernacular, you cheated.                                  KIRK                  Respectfully.    Define "cheating".                                SPOCK                  To deceive by trickery.                                 KIRK                  Now let me ask you something I think we                  all know the answer to: the test is                  rigged, isn't it? You programmed it to                  be unwinnable.                                ACADEMY PRESIDENT                  Mr. Kirk, I don't see how the intent of                  the exam is relevant to these                  proceedings.                                KIRK                  Because if I'm right, Sir, then the test                  itself is a cheat.                                SPOCK                  Your argument precludes the possibility                  of a no-win scenario --                                KIRK                  I don't believe in no-win scenarios --                                              4883   CONTINUED: (2)                                                      83     FIND PIKE amongst the officers in attendance. His eyes locked     on Kirk. This is his boy. His recruit. And he's INVESTED.                               SPOCK                 Then not only have you violated the                 rules, you've failed to understand the                 principle lesson.                               KIRK                 Please, enlighten me.                               SPOCK                 You, of all people should know, Cadet                 Kirk -- A captain cannot cheat death.     ON KIRK. The first punch by Spock that landed.      The cockiness     slips away as he senses where this is going --                               KIRK                 "I of all people?"                               SPOCK                 Your father, Lieutenant George Kirk, had                 assumed command of his vessel before                 killed in action, did he not?     Shit.   The DADDY card.   Kirk, a mix of ANGER and EMBARRASSMENT --                               KIRK                 How long did it take you to look that up?                               SPOCK                 How long did it take you to program the                 virus that allowed you to cheat?     The President smirks; considers ending this now but doesn't,     it's just too damn entertaining...                               KIRK                 Maybe you just don't like that I beat                 your test.                               SPOCK                 I am Vulcan. "Like" is not a verb in our                 vernacular. I've simply made the logical                 deduction that you're a liar.                               KIRK                 What an idiot I am for taking that                 personally --                               SPOCK                 Agreed. Furthermore, you have failed to                 divine the purpose of the test.                                           48A83   CONTINUED: (3)                                                   83                              KIRK                Enlighten me again.                              SPOCK                The purpose is to experience fear. Fear                in the face of certain death. To accept                that fear and maintain command of one's                self and one's crew. This is a quality                expected in every Starfleet captain.     Kirk absorbs that.   Then --                              KIRK                So you're telling me the point.      Of the                whole thing. Is to be afraid?                              SPOCK                Fear is necessary, yes.                              KIRK                Have you taken the test, Commander Spork?                              SPOCK                Spock. As a Vulcan, I require no                additional training to control my                narcissism when making command decisions.     No he DIN'T!   Kirk's hit guys for a lot less -- The crowd all     but "OOOOOOHs." But Kirk ain't fucking done yet.                              KIRK                You keep reminding me that you're Vulcan.                And I'm sure you're really proud of that,                who wouldn't be-- but isn't it true you                people don't experience fear at all?     ON SPOCK. He raises that eyebrow. And Kirk sees... no matter     how subtly... that he has fucking made CONTACT. Smelling blood -     -                              KIRK (CONT'D)                And if that's the case -- What's that say                about your ability to make command                decisions?     Well. Looks like Kirk just hit him in HIS fucking weak spot.     And before this lovefest can continue --                                             4983   CONTINUED: (4)                                                   83     A REDSHIRT bursts into the HALL -- Kirk turns to look -- they     all do -- now we're SPEEDING IN behind the REDSHIRT, who runs to     the President, hands him a DATAPAD. President reads it.     Everyone watches, on edge -- finally, quietly:                              ACADEMY PRESIDENT                        (to all)                We've received a distress call from                Vulcan.                        (Spock reacts concerned)                Cadet Kirk -- you are on academic                probation pending the result of your                hearing. Cadets, report to Shuttle                Hangar One immediately -- this hearing is                at recess until further notice --                dismissed.     Everyone's on their feet, MOVING QUICKLY, Kirk suddenly     irrelevant. PIKE passes by him, all fucking business, but     before he goes --                              PIKE                Cheating isn't winning.     And as that settles on Kirk, McCoy now joins him. The two     exiting with the rest of the cadets as Kirk eyes SPOCK --                              KIRK                Who was that pointy-eared bastard?                              MCCOY                I don't know, but I like him.84   INT. STARFLEET ACADEMY - HANGAR - CONTINUOUS                      84     DOLLY THROUGH HUNDREDS OF CADETS, racing to their shuttles --     BARRACKS LEADERS stand on platforms, calling out SHIP     ASSIGNMENTS -- cadets HURRYING OFF as they're called --          MALE BARRACKS LEADER             FEMALE BARRACKS OFFICER     Blake! U.S.S. Newton!             Jaxa! The U.S.S. Endeavor!     Counter! U.S.S. Odyssey!          T'nag! The U.S.S. Antares!     Fugeman: Regula One! Gerace:      Pomoroy! The U.S.S. Oddyssey!     U.S.S. Farragut! McGrath!         Leifer! U.S.S. Newton!     U.S.S. Wolcott! McCoy!            Uhura! The U.S.S. Farragut!     U.S.S. Enterprise! Welcome to     Starfleet and Godspeed!     As the last of the cadets head off, Kirk stands there without a     home -- he moves to his exiting Barracks Leader --                              KIRK                Excuse me, you didn't call my name.                Kirk, James T..                                               5084   CONTINUED:                                                         84                                BARRACKS LEADER                          (checks his tablet)                  You're on academic probation. That means                  you're grounded until the Academy Board                  rules.     Kirk is POLEAXED as Leader heads off -- McCoy, needing to run:                                MCCOY                  ... Jim, the Board'll rule in your favor.                  Most likely.                          (Kirk is just rocked)                  Look, Jim -- I gotta go --                                KIRK                  ... yeah-- yeah, you go... I'm good.     Kirk forces a half-smile. Torn, McCoy hurries off. PULL AWAY     from Kirk, alone as the mass of newly-minted cadets criss-     crosses around him. At the hangar entrance, McCoy suddenly     STOPS: a lightbulb. He quickly returns to Kirk, pulls him off:                  MCCOY                              KIRK     Come with me --                    -- what're you doing --?     TRACK with them as they hurry through the throng of cadets --     and suddenly we're moving in the OTHER DIRECTION as a pissed-off     Uhura serpentines through the group to SPOCK --                                UHURA                  Commander, a word?     Spock moves away from the officers, a private moment with her:                                SPOCK                  Yes, Lieutenant?                                UHURA                  Was I not one of your top students?                                SPOCK                  Indeed you were --                                UHURA                  Did I not receive a Gold rating for                  Exolinguistic skills, giving Starfleet                  first place over Kyoto and MIT at the                  Oxford Invitational?     A LOUD nearby SHUTTLE LEAVES BEHIND THEM -- it gets WINDY --                                SPOCK                  An exceptional achievement, to be su--                                              5184   CONTINUED: (2)                                                    84                              UHURA                -- and did I not, on multiple occasions,                demonstrate exceptional aural sensitivity                and, I quote, "unparalleled ability to                identify sonic anomalies" in subspace                transmission tests?!                              SPOCK                Consistently, yes--                              UHURA                And while you were well aware that my                unqualified desire was to serve on the                U.S.S. Enterprise, I was assigned to the                Farragut.     Spock reacts unusually; he seems almost embarrassed.   Quiet.                               SPOCK                It was an attempt to avoid the appearance                of favoritism.     She gets closer, voice low, all pride and defiance:                            UHURA                No. No. I am assigned to the                Enterprise.     Their eyes hold.    He checks his tablet, makes an change:                                 SPOCK                Oh.     Yes, I believe you are.85   INT. SHUTTLE HANGAR MEDICAL BAY - CONTINUOUS                      85     McCoy and Kirk enter fast. McCoy goes through a cabinet, preps     a med in a hypospray SYRINGE.                              KIRK                What are you doing?                              MCCOY                Doing you a favor. I couldn't just leave                you there, looking all pitiful-- roll up                your sleeve, I'm gonna give you a vaccine                against viral infection from Melvaran mud                fleas.     McCoy FIRES the Hypospray --                                               5285    CONTINUED:                                                          85                   KIRK                                MCCOY      Ow-- what for?                      To give you symptoms.      -- I don't understand--             -- you're gonna start to lose                                          vision in your left eye --      -- yeah, I already have --          -- don't stand up yet --         (he tries to stand;         WOOZY)      -- what'd you do to me?             -- you're gonna get a really         (in pain)                        bad headache. And flopsweat.      -- this is a favor?!                -- yeah, you're welcome.      McCoy ushers Kirk out of the room --86    EXT. STARFLEET ACADEMY - HANGAR - CONTINUOUS                        86      McCoy ushers Kirk to a shuttle -- a SCANNING OFFICER stops them:                                 SCANNING OFFICER                   "Kirk, James T." -- he's not cleared for                   duty aboard the Enterprise --                                 MCCOY                   But I am, and Medical Code states the                   treatment and transport of a patient's to                   be determined at the discretion of his                   attending physician, which is me.                           (re: scanner)                   You can see he's suffering, he needs me                   as his doctor, so since I'm assigned to                   this ship, so's he, or would you like to                   explain to Captain Pike why the                   Enterprise warped into a crisis without                   one of its medical officers?                                 SCANNING OFFICER                   ... as you were.                                  MCCOY                   As you were.      And with that, he pulls Kirk past the speechless officer --86A   EXT. SAN FRANCISCO - DAY                                            86A      A fleet of SHUTTLES depart Starfleet -- head out to space --87    INT. SHUTTLE - DAY                                                  87      Kirk, in agony, sweating, sits beside McCoy as they pass through      the stratosphere. McCoy's peering out a window --                                 KIRK                   I might throw up on you.                                              5387   CONTINUED:                                                        87                                MCCOY                  You should look at this.     And through his pain, Kirk does... and is amazed...88   INT. STARBASE ONE - SPACE DOCK - CONTINUOUS                       88     The shuttle approaches a massive DOCKING STATION where a dozen     STARFLEET VESSELS ARE DOCKED. But the ship we're approaching is     miraculous: "U.S.S. ENTERPRISE NCC-1701" IS REVEALED ON THE HULL     OF THE FLAGSHIP. THE QUEEN OF THE FLEET IS FULLY CONSTRUCTED     AND READY FOR HER MAIDEN VOYAGE. The shuttle glides to the     underside of the Enterprise. A DOCKING BAY opens --89   INT. ENTERPRISE SHUTTLE BAY WALKWAY - CONTINUOUS                  89     Officers move quickly on the ship -- Kirk and McCoy enter.    Kirk     WIPING HIS BROW, pretty much SOAKED.                                KIRK                  Bones. Thanks for getting me on board.                  But I don't feel right. I feel like I'm                  leaking.                                MCCOY                  Oh look, the pointy-eared bastard.     Kirk looks up -- SPOCK moves towards them, not seeing them --     Kirk yanks McCoy out of the way -- Spock passes and enters a     TURBOLIFT -- Kirk looks back as the doors close.     Then we go INTO THE TURBOLIFT -- for just a moment -- as the     doors open and we enter with Spock:90   INT. ENTERPRISE - BRIDGE - CONTINUOUS                             90     Spock walks through the glorious, gleaming new space, taking his     position at the SCIENCE CONSOLE. PIKE at the command chair.                                SPOCK                  Captain, engineering reports "ready for                  launch".                                PIKE                  The maiden voyage of our newest flagship                  deserves more pomp and circumstance than                  we can afford today, but her christening                  will have to be our reward for a safe                  return--                          (toggles intercom)                  All decks, this is Captain Pike. Prepare                  for immediate departure. Helm,                  thrusters.                                                5490    CONTINUED:                                                          90      WHIP PAN to the helm: HIKARU SULU turns to Pike -- at 25, he's      the Federation's best pilot. As he works the controls:                                 SULU                   Moorings retracted, Captain. Dock                   Control reports ready -- thrusters fired,                   separating from space dock --90A   EXT. SPACE DOCK - SPACE [FORMER SC. 92]                             90A      The Enterprise moves away from the dock -- smaller SATELLITE      crafts floating around it. The other FIVE STARFLEET SHIPS      already ahead -- moving into position.91    INT. MEDICAL BAY - CONTINUOUS                                       91      MEDICAL STAFF preps. McCoy enters with Kirk, in amusing agony --      McCoy helps him onto a bed, prepares another hypospray.                   KIRK                                   MCCOY      -- oh, this wasn't worth it --      I wish I didn't know you-- I'm      itching in my mouth, this is         Here's a short-lasting      horrible--                           sedative -- those symptoms                                           won't last long, don't be an                                           infant.      And he SHOOTS KIRK with another hypospray --92    OMIT                                                                9293    INT. ENTERPRISE - BRIDGE - CONTINUOUS                               93      As Sulu works the controls --                                 SULU                   The fleet's cleared space dock, Captain.                   All ships ready for warp.                                 PIKE                   Set course for Vulcan.                                 SULU                   Course laid in.                                   PIKE                   Maximum warp.    Punch it.      And Sulu does and --94    EXT. STARBASE ONE - CONTINUOUS                                      94      The six ships -- ONE, then TWO, then THREE, then FOUR, then FIVE      SNAP INTO WARP. The Enterprise, however... just sits there.                                               5595    INT. ENTERPRISE - BRIDGE - CONTINUOUS                             95      Pike -- and the others -- look at Sulu, who is confused --      concerned -- searching the controls. Finally:                               PIKE                 Lieutenant, where's Helmsman McKenna?                                SULU                 Uh, he has lungworms, Sir? He'll be fine                 but couldn't report to his post-- I'm                 Hikaru Sulu --                               PIKE                         (fucking with him)                 -- and you are a pilot, right?                               SULU                 Very much so, Sir-- I'm not sure                 what's... wrong here...                               PIKE                 Is the parking brake on?                               SULU                         (half-laughs)                 -- no, I'll figure it out, just--                               SPOCK                 Have you disengaged the External Inertial                 Dampener?      Sulu does -- and realizes Spock is right.     He makes it work.                               SULU                 Ready for warp, Sir.                               PIKE                 The external inertial dampener.                 That's... the parking brake.                               SULU                         (essentially)                 ... yessir.                               PIKE                         (laughs)                 Let's punch it!95A   EXT. STARBASE ONE - SPACE DOCK - CONTINUOUS                       95A      And now alone, the Enterprise SNAPS INTO WARP -- and is gone.                                                5695B   INT./EXT. AMANDA AND SAREK'S HOME - VULCAN - DAY [FRMR SC. 99]     95B      CLOSE ON a small Vulcan object. SHAKING, as if in a small      earthquake. BOOM UP to find Amanda as she moves through her      home, out to the balcony -- and in the distance, a mile away, is      a massive COLUMN OF LIGHT -- like a ray from God, which creates      NUKE-LIKE CONCENTRIC CLOUDS and massive DIRT AND DUST, slamming      into the ground. Amanda's eyes go wide with terror --95C   EXT. DRILLING MACHINE - DAY                                        95C      Looking DOWN towards Vulcan at the gigantic DRILLING PLATFORM,      the SOURCE of the PLASMA RAY -- and we TILT UP to see that the      platform is HUNG ON A WIDE TETHER -- and we KEEP TILTING UNTIL      WE SEE THE TETHER IS ATTACHED TO THE NARADA, in orbit above the      planet --95D   INT. NARADA - BRIDGE - CONTINUOUS                                  95D      Nero stares at holographic images of Vulcan -- as Ayel arrives      behind him.                               ROMULAN CREW MEMBER                 Captain Nero, drilling has begun.                               NERO                 Prepare the Red Matter.    Tell me when we                 reach core depth.      Ayel heads off --95E   INT. NARADA - HANGAR - LATER   [FORMERLY SC. 101]                  95E      Ayel enters the massive hangar -- where SPOCK'S JELLYFISH SHIP      SITS. Ayel moves to, enters the Jellyfish --95F   INT. JELLY FISH - LATER                                            95F      Ayel moves into the CONTAINMENT HOLD -- a METALLIC ROOM      containing a large, floating RED BALL -- some kind of energy      source. Ayel observes TWO ROMULANS EXTRACTING some of this Red      Matter, sucking it into a tube --95G   INT. NARADA - HANGAR - LATER                                       95G      Workers place the tube of Red Matter into a SPACE POD.96    INT. U.S.S. ENTERPRISE - BRIDGE                                    96      The journey's underway.   The bridge crew monitors systems:                               SULU                 Engines at Maximum Warp, Captain.                                            5796   CONTINUED:                                                      96                                PIKE                  Russian whiz kid-- what's your name                  again? Chanko? Cherpov?     An 18 YEAR-OLD FACE leans into frame.   HEAVY RUSSIAN ACCENT:                                CHEKOV                  Ensign Chekov, Pavel H., Sir.                                PIKE                  Fine, Chekov, Pavel H.: begin shipwide                  mission broadcast.                                CHEKOV                  Yessir, happy to.                          (into console)                  Ensign authorization code: Nine-Five-                  Wictor Wictor-Two--     "AUTHORIZATION NOT RECOGNIZED, PLEASE TRY AGAIN." Chekov is a     genius, a graduate of the academy at seventeen -- he sighs:                                CHEKOV (CONT'D)                  Aigh, thees is the 23rd Century -- what                  good is woice recognition that doesn't                  recognize your woice?                          (again)                  Nine-Five-Victor-Victor-Two.     "ACCESS GRANTED: INTRA-SHIP COMMUNICATION ACTIVE."                                CHEKOV ON SCREEN                  Your attention, plees: At twenty-two                  hundred hours, telemetry detected an                  anomaly in the Neutral Zone. What                  appeared to be a lightning storm in                  space.97   INT. THE ENTERPRISE - SERIES OF SHOTS - CONTINUOUS                97     CHEKOV'S FACE appears on monitors throughout the great ship,     including ENGINEERING: CRANE DOWN 12 stories of catwalks as     engineers tend to the DILITHIUM CRYSTAL CHAMBER that operates     the warp drive --                                CHEKOV ON SCREEN                  Soon after, Starfleet received a distress                  signal from the Vulcan High Council that                  their planet was experiencing seismic                  activity. We then lost contact with                  Vulcan entirely.     WEAPONS BAY: TRACKING DOWN rows of PHOTON TORPEDOES stacked for     war -- WEAPONS OFFICERS arming the cannons.                                            5897   CONTINUED:                                                      97     VARIOUS SHOTS of the Crew at work in DIFFERENT SHIP LOCALS.                                CHEKOV ON SCREEN (CONT'D)                  Our mission is to assess the condition of                  Vulcan and assist in evacuations, if                  necessary.     MEDICAL BAY: as the med staff sets up a triage area --                                CHEKOV ON SCREEN (CONT'D)                  We should be arriving at Vulcan within                  two minutes. Thank you for your time.     And as Chekov's message ends, Kirk suddenly SITS UP IN FRAME --     his mind SPINNING, through the pain and sedative -- he tries to     get off the bed, to his feet, as McCoy hurries over --                                MCCOY                  Jim, I told you to stay d-- good God!     What McCoy has just seen -- what we and Kirk see now -- is that     KIRK'S HANDS HAVE SWOLLEN TO ALMOST TWO TIMES THEIR NORMAL SIZE.                                KIRK                  -- what's this?!                                MCCOY                  -- I don't know-- a reaction to the                  vaccine -- damnit --     Kirk rushes to the video monitor where Chekov was seen -- using     his huge hands, he REWINDS CHEKOV'S SPEECH -- replays this part     as McCoy SCANS KIRK WITH A HANDHELD DIAGNOSER --                                CHEKOV ON SCREEN                  -- telemetry detected an anomaly in the                  Neutral Zone. What appeared to be a                  lightning storm in space.     He FREEZES it -- eyes wild -- looks to McCoy --                                KIRK                  -- Bones -- we have to stop the ship--                                MCCOY                  -- you're not allergic to Cardassian vole                  dander, are you?                                KIRK                  --- what? How the hell would I know?     Is                  Uhura on board?                                   58A97   CONTINUED: (2)                                          97                              MCCOY                You need an antidote, Jim, or you're                gonna die.                                            5997A   INT. U.S.S. ENTERPRISE - CORRIDOR                                97A                               MCCOY                 Jim, I'm not kidding, you gotta keep your                 heart rate down.                               KIRK                 Computer, locate crew member Uhura --                               MCCOY                 I haven't seen a reaction this severe                 since Med school.      A MAP appears -- locates her --                               COMPUTER VOICE                 Lieutenant Uhura is at signals monitoring                 station twelve -- deck four.                               KIRK                 We're flying into a trap.      Kirk RUNS OUT -- McCoy hurrying after him with a bag of gear:                               MCCOY                 You're delusional, you know that.98    INT. SIGNALS MONITORING STATION - CONT.                          98      Kirk and McCoy enter -- Kirk stops, looks around --                               MCCOY                 Come here -- Jim -- don't move --      And McCoy INJECTS HIM WITH ANOTHER SHOT --                                KIRK                 -- ow!   Stop it!      And Kirk runs into a ENORMOUS SPACE -- giant STEEL COLLECTOR      TANKS surround a dozen workstations where CREW MEMBERS collect      data -- Kirk races to Uhura --                               KIRK (CONT'D)                 The transmission from the Klingon prison                 planet -- what exactly did you hear?                               UHURA                 What are you doing here-- what happened                 to your hands?!                                            6098    CONTINUED:                                                       98      Kirk hides his hands behind his back -- as he talks it becomes      MUFFLED AND SLURRED --                                 KIRK                   Who was it who escaped? What was the                   ship that was stolen--?!                           (to McCoy,                            indiscernible)                   -- what's happening to my mouth?                                 MCCOY                           (working Hypospray)                   -- you've got Numb Tongue --                                 KIRK                           (impossible to make out)                   Numb tongue?                                 MCCOY                   That's not good-- I can fix that--      Kirk grabs a pen with his huge hands and writes -- shows her      what he's written: "THE SHIP - WAS IT ROMULAN?" Uhura looks at      him -- somehow scared -- as McCoy INJECTS HIM AGAIN:                                   KIRK                   OW, DAMNIT!!!    SONOFABITCH!98A   EXT. VULCAN SURFACE - OUTSIDE SPOCK'S HOME - CONT. [FRMR 112] 98A      EPIC WIDE SHOT: Amanda's a spec against the MASSIVE, EAR-      SPLITTING PLASMA TWISTER. The image is almost religious. POP      CLOSER to her face -- mesmerized, terrified -- suddenly: a      HOVERSPEEDER RACES IN behind her, at the controls is SAREK:                                SAREK                          (SHOUTS against wind)                   AMANDA! WE MUST GET TO THE SHELTER!      She turns to him in horror --99-101 MIT     O                                                           99-101102   INT. ENTERPRISE - BRIDGE - CONTINUOUS                            102      Bridge doors WHOOSH OPEN as Kirk RUNS IN, followed by Uhura and      a harried McCoy --                                 KIRK                   Captain Pike-- Sir, we have to stop ship!                                                 61102   CONTINUED:                                                          102                   PIKE                                  MCCOY      -- Mr. Kirk! How the hell did      you get on board the                 This man is under the      Enterprise?!                         influence of a severe reaction                                           to a vaccine. He is                                           delusional and I take full                                           responsibility for --                                 KIRK (CONT'D)                   Vulcan isn't experiencing a natural                   disaster, it's being attacked -- by                   Romulans.      ON THE CREW as that lands.     But most specifically, SPOCK.                                 PIKE                   Cadet Kirk, I think you've had enough                   attention for one day -- Dr. McCoy,                   return to medical, we'll have words                   later.                                   MCCOY                   Yessir.      Rebuked, McCoy exits as:                   SPOCK                                 KIRK      As you know, Mr. Kirk is not      cleared to be aboard this      vessel. By Starfleet                  Yeah, I get it, you're a      regulations, that makes him a        great arguer, I'd love to do      stowaway...                          it again with you, too.      I can remove the cadet from          -- Try it! This cadet is      the bridge, Sir --                   trying to save the bridge!      -- By recommending a full stop      in trans-warp in the midst of      a rescue mission?                    -- It's not a rescue mission--                                           listen to me! It's an attack!      -- Based on what facts?      ON KIRK.   Enough.     And cadet or not, the bridge is HIS.                                 KIRK                   Fact: the same anomaly -- a lighting                   storm in space -- that we saw today also                   occurred on the day of my birth, before a                   Romulan ship attacked the U.S.S. Kelvin.                           (to Pike)                   You know that, I read your dissertation.                   Which was good.                                 (MORE)                                                62102   CONTINUED: (2)                                                     102                               KIRK (CONT'D)                 Fact: This ship -- which had formidable                 and advanced weaponry -- was never seen                 or heard from again -- fact: the Kelvin                 attack took place on the edge of Klingon                 space and at 11-hundred hours last night                 there was an escape from a Klingon prison                 planet -- Rura Penthe -- fact: the                 escaped prisoners were Romulans, Sir, and                 it was reported that they stole a ship                 from the prison dock.                               PIKE                 And you know of this prison escape how?      Kirk just points to Uhura.                               UHURA                 Sir, I-- I intercepted and translated the                 message myself. Kirk's report is                 accurate.                               KIRK                 We're warping into a trap-- there are                 Romulans waiting for us, I promise you                 that.      All eyes on Pike.   He looks to Spock, who could screw Kirk      here... But--                                SPOCK                 The cadet's logic is sound.                         (then)                 And Lieutenant Uhura is unmatched in                 xenolinguistics, we would be wise to                 accept her conclusion.                               PIKE                         (to Comm Officer)                 Scan Vulcan space, check if any                 transmissions are being made in Romulan.                               COMMUNICATIONS OFFICER                 Sir, I'm-- not sure I could distinguish                 the Romulan language from Vulcan.                               PIKE                         (to Uhura)                 How about you -- you speak Romulan,                 Cadet...?                                UHURA                 Uhura, Sir.   All three dialects.                                               63102   CONTINUED: (3)                                                    102                                 PIKE                   Uhura, relieve the Lieutenant -- Mr.                   Hannity, hail the U.S.S. Truman.      Uhura sits at the console -- she PUTS ON THE EARPIECE. We've      just watched the birth of an icon. She works the controls --                                 HANNITY                   The other ships are out of warp and have                   arrived at Vulcan, Sir-- but we seem to                   have lost all contact--                                  UHURA                   Captain, I pick up no Romulan                   transmissions -- or transmissions of any                   kind in the area. There seems to be                   something jamming all communication                   around Vulcan.                                 KIRK                   It's because they're being attacked.                   Captain. Please.                                 PIKE                           (long, tense beat)                   Shields up. Ready all weapons.      LIGHTS GO RED. HOLD ON THE FACES of our people -- AFRAID,      HEARTS POUNDING as they dread what they're about to see --                                 SULU                   Arrival at Vulcan in five seconds!                   Four... three... two--      SUDDENLY, AS THE ENTERPRISE DROPS OUT OF WARP, THE FLAMING HULL      OF A STARFLEET SHIP COMES BARRELING RIGHT AT THE BRIDGE!               CAPTAIN PIKE                              SULU      EMERGENCY EVASIVE!                ON IT, SIR!      Sulu   DIPS the Enterprise FAST AND HARD and the spinning debris      JUST   SCARS the ship. The bridge shakes, but rights itself. THE      CREW   SEES THE NARADA FLOATING ABOVE THE PLANET -- THEIR EYES GO      WIDE   AT THE MONUMENTAL SHIP -- meanwhile, inside:103-6 OMIT                                                          103-6107   INT. THE NARADA - CONTINUOUS                                      107      A PROXIMITY ALARM rings out --                                 ROMULAN FIRST OFFICER                   Sir, another Federation ship!                                            64107   CONTINUED:                                                     107                                 NERO                   Destroy it, too.108   INT. ENTERPRISE - BRIDGE - CONTINUOUS                            108      Spock snaps to Pike as images FLASH on his console --                                 SPOCK                   Captain, they're locking torpedoes!                                 PIKE                   Full reverse, come about Starboard ninety                   degrees! Drop us down underneath them!                   Prepare to fire all weapons!109   EXT. SPACE - ABOVE VULCAN - CONTINUOUS                           109      The Narada FIRES A TORPEDO and in a wild move, the Enterprise      DROPS AND TUMBLES -- the SEPARATING TORPEDO passes RIGHT BETWEEN      THE ENTERPRISE'S NACELLES -- ONE PIECE HITS our hero ship's      DEFLECTOR DISH -- another the MAIN DISH and --110   INT./EXT. ENTERPRISE - ENGINEERING - CONTINUOUS                  110      A CREW MEMBER runs through the machine room catwalks as a HUGE      EXPLOSION sends him -- and large steel tanks -- TUMBLING INTO      SPACE --      We see the ship from a distance -- the scale of the destruction      relatively small --111   INT. ENTERPRISE - BRIDGE - CONTINUOUS                            111                                 SULU                   Shields at thirty-two percent! Their                   weapons are powerful, Sir, we can't take                   another hit like that!                                 PIKE                   Get me Starfleet Command!                                  (CONT'D)                                 SPOCK                   Captain, the Romulan ship has lowered                   some kind of high energy pulse device                   into the Vulcan atmosphere-- its signal                   appears to be blocking our communications                   and transporter abilities!                                         64A111   CONTINUED:                                                   111                                 PIKE                   All power to forward shields -- prepare                   to fire all weapons!                                             65111A INT. ENTERPRISE - WEAPONS BAY - CONTINUOUS                       111A      Photons LOADED fast by CREW MEMBERS and --112   OMIT                                                            112113   EXT. SPACE - CONTINUOUS                                         113      The Enterprise SWOOPS AROUND, firing photons at the Narada which      takes the hits in stride --114   INT. NARADA - BRIDGE - CONTINUOUS                               114      The bridge in action --                               ROMULAN TACTICAL OFFICER                 Fire torpedoes, take them out--!      And just before our heroes are blown into oblivion, Nero      suddenly LURCHES FORWARD and stabs out a hand:                                NERO                 WAIT!!!      Nero's eyes are hard and bright as diamond drills:                               NERO (CONT'D)                 The hull -- magnify --      On screen, the Enterprise's hull is revealed "U.S.S. ENTERPRISE      NCC-1701." Nero LIGHTS UP with recognition --115   INT. ENTERPRISE - BRIDGE - CONTINUOUS                           115      Pike on the comm:                               PIKE                 Divert auxiliary power from port nacelle                 to the shields--!      But Pike stops when he sees, on the viewscreen                               UHURA                 Captain, we're being hailed!      Pike looks over -- nods -- Uhura works controls and on      viewscreen, Nero appears. Cool. Cordial. In English:                                NERO                 Hello.                               PIKE                 I am Captain Christopher Pike, to whom am                 I speaking?                                                66115   CONTINUED:                                                         115                                 NERO                   I am called Nero.      CLOSE ON KIRK -- breathless -- suddenly staring at the man who      murdered his father -- holy SHIT...                                 PIKE                   You've declared war against the                   Federation. Withdraw, and I'll agree to                   arrange a conference with Romulan                   leadership at a neutral loca--                                 NERO                   I do not speak for the Empire. We stand                   apart. As does your Vulcan crew                   member... isn't that right? Spock?      All eyes on Spock.   Spock looks to Pike, who nods permission:                                 SPOCK                           (to Nero)                   Pardon me. But I don't believe you and I                   are acquainted.                                  NERO                   ... no, we're not. Not yet.                           (then)                   I would like you to see something.                   Spock.                           (then)                   Captain Pike-- your transporter                   capability is disabled. You will man a                   shuttle and come aboard the Narada for                   negotiations. That is all.      The transmission ENDS.   The crew stares in grave anticipation --                   KIRK                                SPOCK      -- he'll kill you, you know      that--                               Your survival is unlikely--      -- Captain, we gain nothing by      diplomacy-- going over to that       -- I, too, suggest you rethink      ship is a mistake.                   this strategy.                                 PIKE                   I understand that --                           (loud, to the bridge)                   I need officers who have been trained in                   advanced hand-to-hand combat!      Sulu's hand goes up --                                 SULU                   I have training, Sir!                                            67115   CONTINUED: (2)                                                 115                               PIKE                 Then come with me -- Kirk, you too--                 you're not supposed to be here anyway.                         (to Chekov)                 Radio the engine room, have Chief                 Engineer Olsen meet us at Shuttle Bay                 Five.                                CHEKOV                 Aye, Keptin.                                PIKE                 Let's go.      Bridge doors WHOOSH open -- they EXIT.116   OMIT                                                           116117   INT. ENTERPRISE - CORRIDORS - CONTINUOUS                       117      WE TRACK FAST with Pike, Kirk, Spock and Sulu as they HURRY      through the Enterprise toward the shuttle bay:                               PIKE                 Without transporters, we can't beam off                 the ship, can't assist Vulcan, can't do                 our job. I'm creating an opportunity:                 Mr. Kirk, Mr. Sulu and Mr. Olson will                 space-jump from the shuttle. You'll have                 chutes -- you'll land on that machine                 they've lowered into the atmosphere                 that's scrambling our gear-- you'll get                 inside, disable that thing then beam back                 to the ship.      Kirk and Sulu share a HOLY FUCKING SHIT look --                                KIRK                 ... okay.                               PIKE                 Mr. Spock, I'm leaving you in command of                 the ship. Once we have transport                 capability and communications back up,                 you'll contact Starfleet and report what                 the hell's happening here.                               (MORE)                                              68117   CONTINUED:                                                       117                                 PIKE (CONT'D)                   Something you've got only precious few                   minutes to figure out. If all else                   fails, fall back and rendezvous with the                   fleet in the Laurentian System.                           (Spock is freaked, then)                   Kirk. I'm promoting you to First                   Officer.                    KIRK                               SPOCK      What!?!                           -- Captain?                                 PIKE (CONT'D)                   While I'm gone we need to keep the chain                   of command. And you two make a swell                   team.                                 SPOCK                   Captain. Please. I apologize, but the                   complexities of human pranks escape me.                                 PIKE                   It's not a prank, Spock.   And I'm not the                   Captain. You are.      And with that, he's DONE. Strides off.     Kirk finally shakes off      the shock of his PROMOTION --                                 KIRK                   Once we knock out that machine... Sir,                   what happens to you?                                 PIKE                   I guess you'll have to come get me.                           (turns; to Spock)                   Careful with the ship. She's brand new.      They appreciate the pure BALLS of that. BRAVERY washes over      them -- they'd fucking DIE for their Captain, who now turns to      Kirk and Sulu --                                 PIKE (CONT'D)                   Suit up, Gentlemen.118   EXT. CITY OF VULCANA REGAR - CONTINUOUS                          118      Sarek's hovercraft speeds along the desert floor, arriving at a      massive CAVE OPENING -- he and Amanda hurry off the craft --      into the cave --                                              68A118A INT. U.S.S. ENTERPRISE - BRIDGE - CONT. [FORMERLY SC. 116]         118A     Bridge doors WHOOSH open -- all eyes on Spock as he enters --     their new captain. With cold certainty, he takes the command     chair, hits the intercom:                               SPOCK                 Dr. Puri, report --118B INT. MEDICAL BAY - CONTINUOUS                                      118B     CHAOS, UTTER AND COMPLETE. WOUNDED MEN AND WOMEN, it's bad,     bloody -- a HAND hits an intercom: McCoy, badly shaken --                               MCCOY                 It's McCoy-- Dr. Puri was on Deck 6, he's                 dead.                                SPOCK                         (beat)                 Then you have just inherited his                 responsibility as Chief Medical Officer.                               MCCOY                 Aye, Sir.                                               69119   INT. ENTERPRISE - SHUTTLE BAY - CONTINUOUS                        119      QUICK CUTS: Kirk, Sulu, and the ship's LEAD ENGINEER OLSON are      suiting up for the drop, strapping on sleek AIRDROP ARMOR. WEB      BELTS. CHUTE PACKS. HARNESSES. HELMETS. COM-SETS.119A INT. SHUTTLE - CONTINUOUS                                          119A      They race into the shuttle and take seats facing each other      across a narrow aisle -- Red Shirt Engineer GRINS like he's      going on a ski trip:                               RED SHIRT ENGINEER                 I am pumped to kick some Romulan ass!   No                 joke. BRING IT ON!      Kirk nods at him -- subtext: "What a fucking sack."     He looks to      Sulu.                               KIRK                 So what kinda combat training d'you have?                               SULU                         (proudly)                 Fencing.                               KIRK                         (unimpressed, beat)                 ... fencing.      In the COCKPIT, Pike works the controls -- MOTORS WHINE and the      craft LURCHES --119B INT. ENTERPRISE SHUTTLE HANGAR - NIGHT                             119B      We see the shuttle LEAVE THE DOCK --120   EXT. IN ORBIT ABOVE VULCAN - CONTINUOUS                           120      The shuttle soars from the Enterprise bay, the planet Vulcan a      red orb below... THRUSTERS FLARE as it descends and now we      REVEAL AN INCREDIBLE SIGHT:      THE NARADA: FROM ITS BELLY, TENTACLE CABLES DESCEND TOWARD THE      PLANET'S OUTER ATMOSPHERE, WHERE THE PLASMA DRILL SUB-STATION IS      TETHERED: THE SOURCE OF THE DRILL BEAM SHOOTING INTO THE PLANET.      The shuttle GLIDES to a hover, 60,000 FEET ABOVE THE DRILL --                                            70121   INT. SHUTTLE - CONTINUOUS                                        121      A KLAXON SOUNDS, signalling depressurization of the cargo lock --      the guys ready their equipment, snatching for handstraps,      standing on the lip of THE AIRLOCK -- Kirk and Sulu meet eyes      through their helmet faceplates, the point of no return --      PIKE'S VOICE over their headsets:                               PIKE (V.O.)                 Pre-jump on one: Three, two, one.      KIRK, SULU, AND RED SHIRT ARE SLAMMED HARD INTO THE ROOF OF THE      CARGO HOLD AS GRAVITY DIES.                                  PIKE (CONT'D)                 Good luck.      Pike hits another control -- as the shuttle BOMB BAY DOORS OPEN -      - and KIRK, SULU, AND RED SHIRT ARE INSTANTLY PULLED OUT, INTO:122   EXT. ABOVE VULCAN - CONTINUOUS                                   122      THE THREE MEN IN VIOLENT FREEFALL TOWARD THE PLANET -- IN WILD      SPIN -- THE SENSE OF SPEED'S BEYOND EXHILARATING --      ROCKETING THROUGH THE VOID AT 150 MPH AS THEY BREAK THROUGH THE      PLANET'S ATMOSPHERE -- SHAKING VIOLENTLY AT TERMINAL VELOCITY --123   INT. ENTERPRISE - BRIDGE - CONTINUOUS                            123      The falling trio TRACKED ON SCREEN, everyone watches, agape:                               CHEKOV                 Away team's entering the atmosphere --      SPOCK and UHURA meet eyes -- this is fucking insane -- and a      MAN'S ENTHUSIASTIC YELLING takes us to:124   EXT. VULCAN'S ATMOSPHERE -- CONTINUOUS                           124                               OLSON                 WHOOOAAAHYYYEAAAAH!      ONE BY ONE THEY STABILIZE -- FALLING FACE DOWN -- STRAIGHT PAST      THE CABLE TENTACLES TETHERING THE DRILL TO THE NARADA WHICH GIVE      US A SENSE OF INCREDIBLE RELATIVE SPEED AND SCALE -- THESE      MASSIVE CABLES AT DIZZYING SPEED --      THEY ANGLE THEIR HANDS AND FEET FOR CONTROL, GUIDING THEMSELVES      TOWARD THE PLASMA DRILL -- SULU PULLS HIS CHUTE FIRST, THEN KIRK      -- their chutes SNAP OPEN -- JERKING THEM HARD UPWARD AS THE RED      SHIRT BLOWS PAST KIRK AND SULU --                                            71124   CONTINUED:                                                     124                                 KIRK                   OLSON, PULL NOW, NOW!!!      HE DEPLOYS HIS CHUTE LAST -- 50 FT -- 40 -- 30 AND HIS CHUTE      BILLOWS OUT, OPENED TOO LATE -- OLSEN'S FUCKING BODY SLAMS INTO      THE EDGE OF THE CIRCULAR DRILL, BOUNCING OFF HARD STEEL AND      RIGHT INTO ITS CENTER WHERE THE SWIRLING VORTEX SPINS -- HE'S      INSTANTLY EVISCERATED IN THE PLASMA LIGHT!      Kirk approaches -- more terrified than ever -- he comes in hard,      too -- SLAMS against the drill edge, bounces but quickly gets      his footing -- hits a button on his chute and SLITS appear in      the fabric, suddenly there's no more drag and THE CHUTE AUTO-      RETRACTS into Kirk's pack -- A REUSABLE PARACHUTE.      BUT SULU ISN'T SO LUCKY: 20 yards from the drill surface his      chute gets SNARED IN THE CABLES, JERKING him upside down -- the      WIND is so intense Sulu is BLOWN SIDEWAYS -- his CHUTE LINES      begin RUBBING on the sharp metal of the suspension rig! Kirk      holds on to one of the chute's cables -- yells up:                                 KIRK (CONT'D)                   I'M COMING FOR YOU!      As Kirk tries to climb up, Sulu's cables begin to SNAP! ONE BY      ONE -- and Sulu tries to CLIMB BACK using his chute cables,      toward the rig -- otherwise he's gonna fly off.      As Kirk makes his way up the rig, suddenly:                                  SULU                   BEHIND YOU!!      Kirk SPINS just as a Romulan appears -- tackling Kirk to the      drill platform! The two FIGHT PRECARIOUSLY ON THE EDGE OF THE      SWIRLING PLASMA DRILL, WIND ROARING -- and suddenly there's      ANOTHER ROMULAN from an OPEN HATCH! SULU SLIDES DOWN THE CABLE -      - JUMPING and tackling the second guard and the shit is ON: our      Starfleet heroes battling these Romulans to the death -- and      Sulu KICKS OFF AN ANTENNA PIECE and uses it as a SABER --      fucking swashbuckling at 10,000 feet! It's a frenzied assault      even the bigger Romulan isn't ready for, and Sulu manages to      KICK him into the vortex, where he's VAPORIZED as --      KIRK draws his PHASER and point-blank SHOOTS the Romulan,      knocking him clear OFF the cylinder and into the sky, falling to      his death, DISINTEGRATING as he falls --      Against pummeling wind, Kirk and Sulu move toward the HATCH --      OPEN IT -- as:125   OMIT                                                             125                                             72126   INT. NARADA - HANGAR                                            126      Pike's SHUTTLE DOOR OPENS. Pike steps out. Surrounded by a      dozen of Nero's men. Ayel steps forward. Pike stands firm,      knowing this is the end for him:                               PIKE                 I'm Captain Christopher Pi--      WHACK! He's cut off by a PUNCH to the face. Drops to his      knees. Looks up at Ayel with blazing eyes, wipes a trickle of      blood from his lip:                               PIKE (CONT'D)                 So much for diplomacy.      He's DRAGGED AWAY as --127   INT. PLASMA DRILL CYLINDER - CONTINUOUS                         127      Kirk and Sulu DROP IN through the outer hatch to find a control      console, Sulu madly flips switches, no luck --                                SULU                 None of this is familiar-- the interface,                 the controls--                   KIRK                              SULU      Step back--                       -- what, you have an idea?      -- yeahyeah, I do--      Kirk FIRES his PHASER at the console, BLASTING IT --128   EXT. PLASMA DRILL - CONTINUOUS                                  128      The immense column of light DISAPPEARS, leaving only a towering,      swirling vortex of DIRT --129   INT. ENTERPRISE - BRIDGE - CONTINUOUS                           129      Uhura's console LIGHTS UP with activity:                               UHURA                 The jamming signal's gone --                 communications are re-established --                               CHEKOV                 Transporter control re-engaged --      Spock looks up from his console, grave --                                            73129   CONTINUED:                                                     129                                 SPOCK                   Chekov, run gravitational sensors -- I                   want to know what they're doing to the                   planet.                                 CHEKOV                   Aye, Commander-- Keptin, sorry.    Keptin.130   INT. NARADA - BRIDGE - CONTINUOUS                              130      A Romulan Helmsman RUNS to Nero --                                 ROMULAN HELMSMAN                   The drill's been sabotaged, Sir.      Nero, mind racing --                                      NERO                   Launch the red matter. Now.131   EXT. NARADA - SPACE                                            131      The POD we saw earlier is FIRED from the ship -- it WHIPS past.132   EXT. PLASMA DRILL CYLINDER - CONTINUOUS                        132      Kirk and Sulu pull themselves from the control cockpit back out      onto the drill's outer hull, they start to hear a SOUND... A      HIGH-PITCHED SHRIEK... GETTING LOUDER AS IT FALLS TOWARD THEM...      THEY LOOK UP JUST IN TIME TO SEE: THE RED MATTER POD RIP RIGHT      PAST THEM -- SNAP-TILT DOWN WITH IT AS IT PLUMMETS TOWARD      VULCAN'S SURFACE, DISAPPEARING INTO THE DRILLED GAPING HOLE --      And for an instant... nothing. What looks like a puff of smoke      billowing up from the planet's core... THEN A SHOCKWAVE BLASTS      UPWARD, ALL THE WAY UP TO THE DRILL AT 10,000 FEET -- KIRK AND      SULU FEEL IT -- LOSE THEIR BALANCE, FIGHT FOR PURCHASE AS:                                 KIRK                   Kirk to Enterprise -- they just launched                   something toward the planet!133   EXT. VULCAN SURFACE - CONTINUOUS                               133      SCENES OF DESTRUCTION ACROSS THE PLANET AS IT STARTS TO COME      APART: HUGE FISSURES FORM IN THE DESERT TERRAIN -- CRACKS SPREAD      -- MOUNTAINS CRUMBLE -- PLATES SHIFTING, LAVA SPEWING SKYWARD --      THE HEAT AND CONCUSSIVE BLAST SHAKE THE CAMERA TO A BLUR --134   INT. ENTERPRISE - BRIDGE - CONTINUOUS                          134      WARNING ALARMS SCREAM:                                            74134   CONTINUED:                                                     134                                 CHEKOV                   Keptin: gravitational sensors are off the                   scale -- if my calculations are correct,                   that pod they launched is creating a                   singularity... that will consume the                   planet.      SPOCK'S STOIC FACE. WE GET ONLY A HINT OF THE WILD EMOTIONS      STIRRING INSIDE HIM -- Uhura watches Spock, heartsick for him:                                 SPOCK                   They're creating a black hole... at the                   center of Vulcan?                                  CHEKOV                   ... yessir.                                 SPOCK                   How long does the planet have?                                 CHEKOV                   ... minutes, Sir. I'd say minutes.                                 SPOCK                           (beat, to Uhura)                   Alert Vulcan Command Center to signal a                   planetwide evacuation-- all channels, all                   frequencies -- maintain standard orbit --                                  UHURA                   What?   Spock, wait --      She goes after him as he moves to the TURBOLIFT --                                 UHURA (CONT'D)                   -- where are you going?                                 SPOCK                   To evacuate the Vulcan High Council--                   they're tasked with protecting our                   cultural history. My parents will be                   among them--                                 UHURA                   -- you can't beam them out?                                 SPOCK                   It's not possible -- they'll be in the                   Katrik Arc, I must get them myself--      TURBOLIFT DOORS CLOSE AS --                                            75135   INT. NARADA - BRIDGE - CONTINUOUS                                135      HOLOGRAMS of VULCAN UNDER DESTRUCTION -- Nero watching them,      pleased. He turns to Ayel --                                 NERO                   Retract the drill, let's move out!135A EXT. NARADA                                                     135A      The drill platform LURCHES -- begins RETRACTING --136   EXT. PLASMA DRILL CYLINDER - CONTINUOUS                          136      The platform BANKS -- Sulu FALLS BACK, OFF THE PLATFORM --      WITHOUT A CHUTE! Kirk, holding on, watching this wide-eyed --      and knowing what he must do, he RUNS AND JUMPS --      KIRK FALLS FAST, he's only gonna have one shot at this, presses      his arms to his sides and ROCKETS downward, building speed, four      hundred feet below is Sulu, FREEFALLING --      KIRK moves his feet and hands, angling toward him -- slashing      downward at 160 mph, closing like a missile -- the gap between      them narrows -- Sulu's 30 feet below him... 5000 feet to the      planet surface. 40 ft -- 20 -- 10 -- WHAM! Kirk slams into      Sulu in a mid-air tackle -- they TUMBLE TOGETHER -- Kirk's made      the grab and locked his arms around Sulu in an iron grip,      screams in his face:                                  KIRK                   I GOTCHA!   NOW PULL MY CHUTE!      Sulu DOES -- it opens -- but HOLY FUCK, the double weight RIPS      IT -- IT SNAPS AWAY FROM THEM -- NOW THEY'RE BOTH FREE-FALLING      WITH NO CHUTE, THE GROUND COMING AT THEM FAST!                                 KIRK (CONT'D)                   ENTERPRISE, WE'RE FALLING WITHOUT A                   CHUTE!!! BEAM US UP!!! BEAM US UP!!!136A INT. ENTERPRISE - TRANSPORTER BAY                               136A      The TRANSPORTER CHIEF works his controls, sweating -- trying to      LOCK ON TO THEIR MOVING TARGET --                                  TRANSPORTER CHIEF                   I'm trying!   I can't lock on your signal!137   INT. ENTERPRISE - BRIDGE - CONTINUOUS                            137      SNAP AROUND as Chekov hears this -- watching his controls --      Uhura watching too --                                               76137   CONTINUED:                                                        137                                 TRANSPORTER CHIEF (V.O.)                   -- you're moving too fast!                                 CHEVOK                   -- no-- I can do that-- I CAN DO THAT!!!      Chekov suddenly BOLTS -- Uhura watches him race off -- a CREW      MEMBER steps into frame:                                 CREW MEMBER                   The black hole's expanding, we won't                   reach minimum safe distance if we don't                   leave immediately!137A INT. ENTERPRISE - VARIOUS AREAS                                    137A      Chekov SPRINTS through CORRIDORS -- ENGINE ROOM -- YELLING:                                  CHEKOV                   MOVE!   I CAN DO THAT!   I CAN DO THAT!!!      And we take him to:137B INT. ENTERPRISE - TRANSPORTER BAY                                  137B      -- where he races to the controls, out of breath, yelling:                                    CHEKOV                   I CAN LOCK ON!     GIMME MANUAL CONTROL!                   QUICK!!!      -- and he begins working the controls --137C EXT. SKIES ABOVE VULCAN PLANET SURFACE - DAY                       137C      Kirk and Sulu SPEED-DROPPING -- TERRIFIED --                                 KIRK                   ENTERPRISE, WHERE ARE YOU?!?!137D INT. ENTERPRISE - TRANSPORTER BAY                                  137D      Chekov's manipulating a joystick-like TARGETING DISPLAY --      trying to match the CROSSHAIRS on the DROPPING FIGURES --                                 CHEKOV                   -- holdonholdonholdonholdon!138   EXT. SKIES ABOVE VULCAN PLANET SURFACE - CONTINUOUS               138      A massive SHEET OF LAVA, MILES HIGH, BURSTS INTO THE SKY -- Kirk      and Sulu enter frame, BULLET-WHOOSH right past us, DROPPING --                                               77138   CONTINUED:                                                        138                                 KIRK                           (headset)                   NOW NOW NOW!!! DO IT NOW!!!!!!139   INT. ENTERPRISE - TRANSPORTER BAY    [LOCATION CHANGE]            139      TIGHT ON CHEKOV as he struggles to lock onto them -- BEEP!                                 CHEKOV                   Compensating gravitational pull and--                   GOTCHA!      He HITS A BUTTON and --140   EXT.   VULCAN SURFACE - CONTINUOUS                                140      5 FEET BEFORE THEY HIT THE GROUND, KIRK AND SULU DEMATERIALIZE!141   INT. ENTERPRISE - TRANSPORTER BAY - CONTINUOUS                    141      AND REMATERIALIZE, SLAMMING DOWN ON THE TRANSPORTER PADS, HARD      AND PAINFUL, BUT SAFE! Transporter engineers GAPE in utter      amazement and relief -- Chekov, sweating, laughs. Kirk and Sulu      get their bearings, peeling themselves up, at stunned whispers:                                 SULU                   ... thanks.                                 KIRK                   ... yeah, not a problem.      And Kirk looks up as SPOCK hurries in --                                 SPOCK                   Step aside -- I'm going to the surface.      As the console ENGINEER works the display --                                 KIRK                   The surface of what? YOU'RE GOING DOWN                   THERE? Are you nuts?!                                 SPOCK                   Energize --      And Spock DEMATERIALIZES --142   EXT. VULCAN - DAY                                                 142      PUSH IN as Spock MATERIALIZES -- the distant landscape around      him COLLAPSING, IMPLODING, EXPLODING -- he sprints for the      MOUNTAIN -- the entrance to the ARK -- a scared, small CREATURE      runs past Spock as he heads up the mountain -- rocks falling --                                             78143   INT. KATRIC ARK CHAMBER - DAY                                   143      Spock RACES through the tunnels as the world SHAKES around him --      he enters the massive ARK CHAMBER -- sees, atop the enormous      stairs, FIVE VULCAN ELDERS, Sarek among them, hands placed on      the sarcophagus-like ark. Mind melding with it. Amanda is here      too, kneeling beside Sarek -- and she sees her son, who is now      RUNNING toward them -- she stands:                                   AMANDA                 Spock--!      Spock rushes up the stairs --                               SPOCK                 The planet's not safe, it has only                 seconds left -- we must evacuate now --      And as they run out, ENORMOUS ROCKS COLLAPSE AROUND THEM -- and      they run through the tunnels, the STONE COLLAPSING AROUND THEM --144   EXT. TUNNEL ENTRANCE - DAY                                      144      Spock and the group finally emerge from the tunnels to see --      THE PLANET IS COLLAPSING, COMING TOWARD THEM -- Spock whips      open a tri-corder, TREMBLING LIKE CRAZY --                               SPOCK                 Spock to Enterprise: take us back now!145   INT. ENTERPRISE - TRANSPORTER ROOM - CONTINUOUS   [SET CHANGE] 145      Chekov works the controls:                                    CHEKOV                 Locking volume, transport in 5-4-3--146   EXT. KATRIC ARK CHAMBER - CONTINUOUS                            146      HORROR AS THE WORLD LITERALLY STARTS TO FALL APART AROUND SPOCK,      HIS PARENTS AND THE FIVE ELDERS -- MASSIVE SINKHOLES APPEARING,      LIKE THE GRAND CANYON RACING FOR THEM -- AND WE SEE IN ALL THEIR      FACES -- THE BELIEF THAT THEIR PLANET -- THAT THEY -- ARE GOING      TO DIE -- and Spock, trying to hold it together -- even though      their transport hasn't yet begun -- looks at Amanda -- their      eyes lock -- THE COLLAPSING GROUND RACING TOWARD THEM -- and in      a surreal, intimate moment, Amanda says to Spock, quietly:                                AMANDA                 It's okay.   To be scared.                                            79146   CONTINUED:                                                     146      PUSH IN ON SPOCK, looking at her -- as the LIGHT DARTS start      TRACING THEM -- and they begin to EVAPORATE AS THE GROUND DROPS      FROM UNDER AMANDA -- AND SHE'S SUCKED DOWN -- AWAY -- as Spock      REACHES FOR HER, CALLING OUT --                                   SPOCK                   MOTHER!!!!147   INT. ENTERPRISE - TRANSPORTER BAY - CONTINUOUS                   147      Chekov in a panic at the controls --                                  CHEKOV                   NO!!!   I'M LOSING HER!!!      -- as the Vulcans MATERIALIZE on the pad, Spock still REACHING      for his mother -- but all he gets it the GHOSTLY IMAGE OF HER --      BEAUTIFUL, HOLDING, FROZEN IN SPACE -- AN IMAGE HE'LL BE HAUNTED      BY FOREVER -- AS IT FADES AWAY, EVANESCING LIKE MIST -- ON SPOCK      as it lands -- Sarek too... a mother... a wife... has been lost.      And Kirk stands nearby, having observed all of this, without      anything to do or say... there's no cheating death.148   EXT. SPACE - ETERNAL NIGHT                                       148      And the Enterprise BLASTS AWAY -- in the distance, THE ENTIRE      PLANET OF VULCAN SWALLOWS INTO ITSELF -- A TERRIFYING,      UNIMAGINABLE IMPLOSION -- UNTIL NOTHING IS THERE BUT DARKNESS.      And over this we HEAR:                                 SPOCK (V.O.)                   Acting Captain's log. Stardate 2256.42:                   I have assumed command of the Enterprise.149-50 MIT     O                                                           149-50151   INT. ENTERPRISE - SICK BAY - CONTINUOUS                          151      SHOCK. The kind that crashes after the world's changed. In      triage, the bay's filled with wounded Enterprise Officers. The      Vulcan Elders and Sarek being examined as well. Kirk sits here,      getting his hand bandaged from the fight. During this, he looks      up, seeing one of the Elders being treated for a slight wound --      her GREEN BLOOD seen through the bandage...                                 SPOCK (V.O.)                   We've heard no word from Captain Pike. I                   have therefore classified him a hostage                   of the war criminal known as Nero.                                              80151A INT. ENTERPRISE - BRIDGE                                          151A      Spock sits in the captain's chair, reporting. He's glassy-eyed,      staring at nothing as he speaks. Behind him, Uhura sits,      watching, concerned.                                SPOCK                 Nero, who has destroyed my home planet.                 And most of its six billion inhabitants.                 I estimate no more than ten thousand                 survived.                         (beat)                 While the essence of our culture has been                 saved, in the elders who now reside upon                 this ship... I am now a member of an                 endangered species.      Spock considers this. Clicks off the log recorder.     Spock moves      off, into the turbolift -- Uhura follows him --152   INT. TURBOLIFT - CONTINUOUS                                      152      Spock and Uhura. Silence hangs. She glances over, wanting to      say so much, but not to invade what must be the worst moment of      his life. He looks at her, with kind eyes. And Uhura does      something odd -- she STOPS the lift. Spock looks over as she      wordlessly reaches out and puts her arms around him. Just      holding him. Kissing his face with utter tenderness and      comfort, which he lets her do... and we realize, this is why the      intimacy before -- this is their secret...                                  UHURA                 I'm so sorry.      Spock looks off, taking comfort, bewildered and lost...                                  UHURA (CONT'D)                 What can I do?     Tell me what you need.                                  SPOCK                 ... I need...      He's on the verge of some emotional release... but self-      consciousness returns and he clamps up, starting the lift again:                               SPOCK (CONT'D)                 I need for us all to continue performing                 admirably.      He looks at her again -- gives her another kiss. The door opens      and he exits. She watches him go -- and the door closes on her.                                             81152A INT. ENTERPRISE - CORRIDOR                                        152A      Kirk comes down the hall, stretching his hand bandage -- when he      stops. Standing at the other end of the corridor, operating a      DATAPAD is a familiar-looking GREEN GIRL. Guilt overcomes him.      After a beat he moves to her. Awkward.                                   KIRK                 Hey.                         (she turns to him)                 Listen, about what happened at Starfleet.                 The test and everything-- I know it looks                 like I was... using you, or whatever.                 And I'm sorry. I really am. And... I                 just hope you'll forgive me.      She just stares at him for a long beat, as if she's just pissed.      But Kirk's face changes... and then he says:                               KIRK (CONT'D)                 ... you're not Gaila, are you?                                NOT GAILA                          (pissed)                 No.                                   KIRK                          (nods)                 Sorry.      And he walks off.   (NOTE: ALT. VERSION HAS GAILA SAYING, "I'M      NOT GAILA.")153   INT. ENTERPRISE - BRIDGE - CONTINUOUS                            153      Uhura at her station, scanning for enemy signals -- all of our      principals are here, in debate:                               SPOCK                 Lieutenant, have you confirmed that Nero                 is headed for Earth?                               UHURA                 Their trajectory suggests no other                 destination, Captain.                               KIRK                 Earth may be his next stop, but we have                 to assume every Federation planet's a                 target.                               CHEKOV                 Yes, agreed-- but why didn't they destroy                 us?                                               82153   CONTINUED:                                                        153                                 SULU                   Why waste a weapon?      We weren't a threat.                                    SPOCK                   That's not it.     He said he wanted me to                   see something.     The destruction of my                   home planet.                                  MCCOY                   And how the hell did they do that by the                   way? When did they jump so far ahead in                   the arms race?                                 SPOCK                   The engineering comprehension necessary                   to artificially create a black hole may                   suggest the answer: such technology could                   theoretically be manipulated to create a                   tunnel through space time.                                 MCCOY                   Damnit, man, I'm a doctor, not a                   physicist -- are you suggesting they're                   from the future?                                 KIRK                   That is what he's suggesting and I don't                   buy it.                                 SPOCK                   If you eliminate the impossible, whatever                   remains -- however improbable -- must be                   the truth.                                    MCCOY                   How poetic.                                 KIRK                   Then what would an angry future Romulan                   want with Captain Pike?                                 SULU                   As Admiral he knows details of                   Starfleet's defenses.                                 KIRK                   What we need to do is catch up to that                   ship. Disable it, take it over and get                   Pike back.      They're all looking at Kirk like he's nuts.                                         82A153   CONTINUED: (2)                                               153                               MCCOY                         (bitingly)                 Fantastic, I'm in.                               SPOCK                 Captain Pike left us with standing orders                 to rendezvous with the fleet on the other                 side of the quadrant.                               (MORE)                                            83153   CONTINUED: (3)                                                 153                               SPOCK (CONT'D)                 We're technologically outmatched in every                 way. A rescue attempt would be                 illogical.                               KIRK                 "Illogical"-- you're funny.                               CHEKOV                 Not to mention we couldn't do it anyway:                 Nero's ship would have to drop out of                 warp for us to overtake them --                               KIRK                 -- what about assigning Engineering crews                 to try and boost our warp yield?                  SPOCK                              KIRK      Remaining power and crew are      being used to repair radiation      leaks on the lower decks and      damage to the main deflector      shield-- without which we      cannot communicate with          -- okay--okay, okayokayokay--      Starfleet.                       there's gotta be SOME WAY!                               SPOCK                 We must gather with the rest of Starfleet                 to balance the terms of our next                 engagement --                               KIRK                 There won't be a next engagement, Spock:                 by the time we've "gathered", it'll be                 too late -- how many planets are you                 willing to risk? You say he's from the                 future? Knows what's gonna happen? Then                 the logical thing is to be unpredictable.                               SPOCK                 You're assuming Nero knows how events are                 predicted to unfold. The contrary:                 Nero's very presence has altered the flow                 of history, beginning with the attack on                 the U.S.S. Kelvin, culminating in the                 events of today -- thereby creating a new                 chain of incidents that cannot be                 anticipated by either party.                               MCCOY                 Does anyone understand him?                               UHURA                         (stunned)                 ... an alternate reality.                                               84153   CONTINUED: (4)                                                    153                               SPOCK                 Precisely. Whatever lives we might have                 lived, if the time continuum was                 disrupted... our destinies have changed.                         (then:)                 Mr. Sulu, plot a course for the                 Laurentian system, Warp Factor Three--                   KIRK                               SPOCK      -- wait-- don't do that --      Spock -- running back to the      rest of the fleet for a confab      is a massive waste of time--        -- These were the orders      -- He also ordered us to go         Captain Pike issued when he      back and get him! Spock,            left ship--      you're Captain now--!               -- I am aware of my      -- Every second we waste,           responsibilities, Mr. Kirk!      Nero's getting closer to his      next target--!                      -- that is correct -- and why                                          I'm instructing you to accept      -- I will not allow us to go        that I alone am in command.      backwards, away from the      problem, instead of hunting         -- then I must remove you from      Nero down!                          this ship. If I confine you                                          to the brig, you'll likely                                          escape. Mr. Chekov: have                                          transportation prepare a                                          deployment capsule. Mr. Sulu,                                          escort him out.      For a beat, nobody moves -- an impossible choice for all of      them. Torn, Chekov and Sulu close in on Kirk --                                   SULU                 I'm sorry.                               KIRK                 Yeah, don't worry ab --      -- but Kirk SWINGS, Sulu jerks, FASTER, spins, GRABS Kirk's      wrist! Kirk ELBOWS him as Chekov reaches for his PHASER but      Kirk SLAMS HIM, the phaser DROPS -- Kirk reaches for it but      Spock's fingers CLAMP on Kirk's neck: THE VULCAN PINCH:                                                                  BLACK.154   INT. NARADA - TORTURE ROOM                                          154      On PIKE'S FACE, strapped to a TABLE.    Nero looks down upon him.                                           84A154   CONTINUED:                                                     154                                 NERO                   You are only the second human I have ever                   met, face to face. You must have so many                   questions for me.                                 (MORE)                                         85154   CONTINUED: (2)                                              154                               NERO (CONT'D)                         (then)                 I only have one for you. I need the                 subspace frequencies of Starfleet's                 border detection grids. Specifically                 those surrounding Earth.      Pike looks up at him -- quiet rage.   Then --                               PIKE                 Christopher Pike -- Captain, U.S.S.                 Enterprise, registry NCC-1701.                               NERO                 Christopher.                         (beat; hardcore)                 Answer my question.                               PIKE                 No. You answer for the genocide you just                 committed on a peaceful planet--                                NERO                 I prevented genocide.                         (beat, calms)                 Where I come from, Christopher... this                 ship is just a mining vessel. I chose a                 life of honest labor to provide for                 myself... and the wife who was carrying                 my child.                         (beat)                 I sit here now... knowing you as enemies.                 Not just of today. But of tomorrow. I                 watched as your Federation did nothing.                 They let us burn to death... as our                 planet broke in half.      Curiosity behind Pike's eyes.                               PIKE                 Then Nero, you're confused. Romulus has                 not been destroyed. How can you blame                 the Federation for something that hasn't                 happened--?                               NERO                 It did happen. I remember it. I... felt                 it.                         (then; pained)                 When I lost her... I promised myself I                 would not speak another word until the                 day of my retribution. In twenty five                 years I forgot the sound of my own                 voice... but I didn't forget the pain.                 That feeling cannot be erased.                               (MORE)                                               86154   CONTINUED: (3)                                                    154                               NERO (CONT'D)                         (turning to anger now)                 A feeling that every surviving Vulcan now                 shares.      Pike just looks at him.   Sees how fucking far GONE he is.                               PIKE                 If what you say is true... you can save                 Romulus. You have a second chance to --                                NERO                 -- yes, which is a gift I won't waste on                 mercy.                         (beat)                 My purpose, Christopher, is not simply to                 avoid the destruction of the home I                 love...                         (beat)                 ... but to create a Romulus which exists,                 free of the Federation. Only then will                 she be saved.      And the "she" could refer to the planet... or to Nero's lost      love. Either way, Pike knows a losing battle when he's fighting      one. Ever so nobly, he quietly says --                               PIKE                 Then we have nothing more to discuss.      Nero reaches for something under the counter Pike lies upon.      Retrieves A FAMILIAR GLASS CONTAINER -- inside -- DOZENS OF      CENTAURIAN SLUGS, the very ones used on Nero.                               NERO                 It's not the fault of the human race that                 Starfleet chose Earth as its center.                 You're a more noble race than my fallen                 cousins. I'll take no pleasure in your                 extinction.                               PIKE                 How reassuring.      Nero opens the container, reaches for a pair of TONGS                               NERO                 The frequencies, please.                               PIKE                 Christopher Pike -- Captain, U.S.S.                 Enterprise, registry NCC-1701.      Nero sad-smiles.   What he expected.                                            87154   CONTINUED: (4)                                                 154                                 NERO                 As you wish.      A ROMULAN GUARD HOLDS PIKE'S MOUTH -- Nero uses the tongs -- and      OFF PIKE'S EXPRESSION --155   INT. SHUTTLE CRAFT - CONTINUOUS                                155      Our POV is BLURRY. We come into FOCUS on a blinking instrument      panel. KIRK is stirring awake, his shoulder kills. He sits up:      inside a ONE-MAN POD CRAFT. He WIPES THE GLASS -- looks up --      like a TUNNEL OF SNOW, 30 feet long, to the sky. THE PODCRAFT'S      EMBEDDED ON THE SURFACE OF A VAST, ICE PLANET. Kirk's been      MAROONED. He closes his eyes, his face falls...                                 KIRK                 Computer...    where am I?                               COMPUTER VOICE                 Current location Delta Vega: Class "M"                 Planet, unsafe. You have been ordered to                 remain in your pod until retrieved by                 Starfleet authorities.                               KIRK                 Bite me, how's that.      The CANOPY RISES -- a blast of cold air hits Kirk -- with some      agony, out he goes -- he CLIMBS UP THE TUBE OF SNOW -- and gets      to the surface -- looks out. HE'S IN THE MIDDLE OF FUCKING      NOWHERE. Finally:                               KIRK (CONT'D)                 SONOFABITCH-BITCH-BITCH! THERE'S NOTHING                 HERE!!! YOU NECK-PINCHING MOTHERF--!!!                                                         SMASH CUT TO:156-7 OMIT                                                        156-7158   EXT. DELTA VEGA - PLANET SURFACE - CONTINUOUS                  158      TRACKING along a massive ICE SHEET... Kirk ENTERS FRAME walking      along, cold, pissed... whips out a TRICORDER, speaks into it:                               KIRK                 Lieutenant's log, supplemental: I'm                 preparing a testimonial for my Starfleet                 court martial assuming there's still a                 Starfleet left.      From overhead, what we see -- what Kirk doesn't -- is something      HUGE, SLITHERING UNDERWATER beneath the ice --                                            88158   CONTINUED:                                                     158                                 KIRK (CONT'D)                   Acting Captain Spock -- whose only form                   of expression's apparently limited to his                   left damn eyebrow -- has marooned me on                   Delta Vega in what I believe to be a                   violation of security protocol 49.09,                   governing the treatment of prisoners                   aboard a st--159   EXT. DELTA VEGA - PLANET SURFACE - CONTINUOUS                    159      Kirk FREEZES at a nearby GROWL. He looks -- sees nothing --      then ANOTHER GROWL -- he turns -- some thirty feet away, an      eleven foot-tall cross between a polar bear and a gorilla (it's      a POLARILLA) steps out from behind a mass of ice. Sees Kirk.      It's horrifying. Kirk takes a SLOW, SMALL STEP BACKWARD -- and      the fucking thing CHARGES HIM -- KIRK RUNS, TERRIFIED -- and the      POLARILLA PURSUES -- gaining -- it's gonna EAT HIM ALIVE WHEN      SUDDENLY --      WHATEVER WAS BENEATH THE ICE EARLIER EXPLODES UP THROUGH IT --      IT'S NEARLY 30 FEET TALL, RED, HUNDREDS OF EYES -- IT SMACKS THE      POLARILLA AWAY LIKE NOTHING AS KIRK FALLS TO THE ICE AND TURNS      BACK -- HOLY SHIT! THIS THING IS SO MUCH WORSE! IT ROARS AS      KIRK GETS TO HIS FEET AND RUNS, SCREAMING --      KIRK HAULS ASS AS THE THING COMES AFTER HIM -- THEN SUDDENLY HE      FALLS -- DROPS -- and we see that Kirk is FALLING DOWN A MASSIVE      SNOW MOUNTAIN! The huge red creature stops at the edge and      ROARS LOUDLY -- until the ice shelf BREAKS AWAY! The creature      starts to FALL AS WELL! Now Kirk is TUMBLING, the immense      creature TUMBLING not far behind!      And Kirk LANDS ON THE ICE, HARD -- sees a distant CAVE. Looks      up at the FLAILING CREATURE that is about to CRUSH HIM -- Kirk      tries to run, but the ice is TOO SLIPPERY -- FINALLY he gets      footing and runs off toward the cave -- as the red creature      LANDS HARD -- its sharp SPEAR LIMBS STAB into the ice as it      pursues Kirk --160   INT. CAVE - DAY                                                  160      Kirk races through the darkened cave -- the creature comes      after him -- Kirk goes as fast as he can -- the creature reaches      out and fucking GRABS HIM -- pulls him toward the disgusting,      wet, TEETHY MOUTH -- Kirk tries to hold on to anything he can --      but he's fucking LUNCH -- and just as you're SCREAMING, there's      LIGHT -- FIRE LIGHT -- and a FIGURE APPEARS, WAVING A TORCH --      And the red creature's eyes ALL GO WILD -- and it DROPS KIRK and      BACKS OFF, AFRAID -- the figure CHASES IT until it's gone.      Kirk, on the ground, is freaked out, out of breath, and can't      take his eyes off this man... who says:                                            89160   CONTINUED:                                                     160                                  FIGURE                   The Hen-Gra.   Notoriously afraid of heat.161   INT. CAVE - DAY                                                161      And the Figure turns... we may have recognized the voice.      IT'S SPOCK. As in NIMOY. HERE. Lit in the darkness by the      fire. We'll refer to him as SPOCK PRIME. He looks at Kirk --      moves closer to him -- finally seeing him. And is amazed...                                 KIRK                   Hey... thank you...                                     SPOCK PRIME                   ... Jim?                                 KIRK                           (stunned)                   -- how d'you know my name?                                 SPOCK PRIME                   How did you find me--? Does Starfleet                   know of my presence?                                 KIRK                   HOW DO YOU KNOW MY NAME?      Spock looks deep into the eyes of the freaked out young man,      feeling the full effect of fate playing its hand, but realizing      he doesn't recognize him...                                 SPOCK PRIME                   I have been... and always shall be...                   your friend.                                 KIRK                   -- no, I don't know you -- the only                   Vulcan I know isn't exactly a buddy.      Of all the things Spock predicted Kirk might say, it wasn't      that. He's analyzing a thousand steps ahead, calculating:                                 SPOCK PRIME                   You are James T. Kirk. Your father is                   George, as is your brother. Your                   mother's name is Winona -- you were born                   in 2233 --                                     KIRK                   Stop.   Please.     I don't understand.      As Spock nods, we PRE-LAP:                                            90161   CONTINUED:                                                     161                                 SPOCK PRIME                   ... I am Spock. One hundred and thirty                   years senior to the Vulcan you know.                                 KIRK                           (beat, beat, beat)                   Bullshit.161A INT. CAVE - NIGHT                                               161A      Firelight flickers -- shadows of Kirk and Spock Prime dance on      the ice walls. Remarkable NIGHT STARS outside.                                 SPOCK PRIME                   It's remarkably pleasing to see you                   again.                           (re: Vulcan)                   ... especially after the events of today.                                 KIRK                   Old friend. Sir, I don't have any idea                   how you know what you know. But I don't                   know you and if you are Spock we're not                   friends. You hate me. You marooned me                   here for mutiny...                                  SPOCK PRIME                   Mutiny?   You are not the Captain?                                 KIRK                   You're the captain.   Pike was taken                   hostage.                                 SPOCK PRIME                           (realizing, grave)                   ... by Nero.                                 KIRK                   What do you know about him?                                 SPOCK PRIME                           (guilty, burdened)                   ... he is a remarkably...                                 (MORE)                                            91161A CONTINUED:                                                   161A                                 SPOCK PRIME (CONT'D)                  troubled Romulan.                          (then)                  ... Please. Allow me -- it will be                  easier--      Spock Prime reaches for Kirk's face -- Kirk grabs his wrist --                                KIRK                  What're you doing--?      A skeptical beat, but Kirk finally releases his hand. Spock      gently places his fingers on Kirk's cheek and temple --                                SPOCK PRIME                          (whispering; a mantra)                  Our minds... one and together...One                  hundred and twenty-seven years from now                  everything ends.      Spock's eyes SNAP SHUT, Kirk JOLTS as if by an electric charge --      and the SCREEN OVEREXPOSES TO WHITE as we CUT TO our MIND MELD      SEQUENCE:162   EXT. SPACE - NIGHT                                               162      A SUPERNOVA. An EXPLODING STAR, like a LIGHT, EATING AWAY AT      ALL AROUND IT --                                SPOCK PRIME (V.O.)                  A star in Beta Quadrant will go supernova                  -- and like a cancer left untreated... it                  will grow... and destroy everything.162A INT. VULCAN SCIENCE ACADEMY                                     162A      Now we're seeing VULCAN SCIENCE ACADEMY -- where SIX VULCAN      SCIENTISTS study a HOLOGRAM of this event -- the star's ORIGIN,      its PATH OF DESTRUCTION -- and SPOCK PRIME is among them --                                SPOCK PRIME (V.O.)                  I saw the beginning of it myself. Vulcan                  Science Academy devised a plan to stop                  it.162B EXT. VULCAN SHIPYARD - NIGHT                                    162B      PUSH IN as the JELLYFISH SHIP is under construction --                                               92162B CONTINUED:                                                      162B                                SPOCK PRIME (V.O.)                  We built a ship containing a material                  capable of generating the only thing                  powerful enough to consume a supernova.                  A black hole.163   INT. JELLYFISH - CONTAINMENT HOLD - NIGHT                        163      Now we're INSIDE the ship -- the CONTAINMENT HOLD -- being      ASSEMBLED by Vulcan Scientists --                                SPOCK PRIME (V.O.)                  I agreed to pilot the ship. Knowing I                  would not return.164   Now we see Spock Prime, in a ritual ceremony of a Vulcan         164      Kamikaze pilot. Tea, sipped inside the Ark --                                SPOCK PRIME (V.O.)                  My sacrifice, in service of all races,                  seemed only logical.      Now Spock Prime sits in the Jellyfish COCKPIT --                                SPOCK PRIME (V.O.) (CONT'D)                  Unfortunately... before I could begin the                  mission... the supernova destroyed                  Romulus.165   OMIT                                                             165166   -- and suddenly we're OUT OF THE MIND MELD as KIRK GRABS SPOCK   166      PRIME'S HAND AGAIN:                                KIRK                  Nero's planet was destroyed--                                SPOCK PRIME                  Yes. He of course blamed us. Believed                  Vulcan allowed his planet to die. Which                  was hardly the case. Let me continue.                   KIRK                           SPOCK PRIME      This annoys me, I don't like      -- I know, I know, I'm not      it-- do we have to do it like     surprised to hear you complain      this--?                           -- allow me to finish.      Spock Prime touches Kirk again and we go:                                            93167   EXT. SPACE                                                     167      -- the JELLYFISH SWOOPS PAST US -- and we PAN -- and see the      MASSIVE SUPERNOVA in the infinite distance -- no sense of scale      here -- but then -- THE NARADA APPEARS -- FIRES TORPEDOES at the      Jellyfish.                                 SPOCK PRIME (V.O.)                   Nero came after me. Determined to thwart                   my mission. If Romulus was allowed to                   die, he said... all planets should share                   its fate.167A SPOCK PRIME IN THE COCKPIT, ROCKED AS TORPEDOES EXPLODE         167A     CLOSELY. TIGHT ON SPOCK PRIME AS HIS MIND RACES --                                 SPOCK PRIME (V.O.)                   I needed an exit. I knew if this mission                   failed... everyone, everywhere... would                   lose everything.      Spock Prime LEAVES the cockpit --167B INT. JELLYFISH - CONTAINMENT HOLD                               167B      Prime ENTERS AN AIRLOCK -- TUMBLES IN WEIGHTLESSNESS and enters      THE CONTAINMENT ROOM. QUICK CUTS as he REMOVES RED MATTER FROM      THE HOLD --                                 SPOCK PRIME (V.O.)                   I realized: a large black hole could                   destroy the supernova. A smaller one...                   could be my escape. Could send me back                   in time, allowing me to complete my                   mission. So I created a black hole...      Spock loads the CANNISTER with a small amount of RED MATTER into      a JETTISON TUBE --167C EXT. JELLYFISH - SPACE - NIGHT                                  167C      -- and he FIRES THE CANNISTER INTO SPACE --167D EXT. JELLYFISH - COCKPIT - NIGHT                                167D      Spock Prime back in the cockpit -- takes aim on his controls and      FIRES AT THE CANNISTER --167E EXT. JELLYFISH/NARADA - SPACE - NIGHT                           167E      A BLACK HOLE IS CREATED -- Spock Prime PILOTS TOWARD THE HOLE --                                               94167E CONTINUED:                                                      167E                                SPOCK PRIME (V.O.)                  Nero must have understood what I was                  trying to do. Because he began racing                  for it.      The NARADA and the JELLYFISH aiming for the BLACK HOLE --167F OMIT                                                             167F167G INT. JELLYFISH - COCKPIT - NIGHT                                 167G      Spock Prime watches as the NARADA GOES IN -- LIGHTNING STORM-      STYLE DISAPPEARING FIRST -- then SPOCK PRIME'S FACE -- WHITE      WITH LIGHTNING -- OVEREXPOSED --                                SPOCK PRIME (V.O.)                  Nero simply got to it first. How long I                  was travelling... I couldn't tell you.                  It was timeless. But when I arrived...      LIGHT on Spock Prime's face goes away -- he and the Jellyfish      are back in SPACE --168-9 OMIT                                                          168-9170   EXT. SPACE - NIGHT                                              170      -- but now, facing him, is the NARADA.                                SPOCK PRIME (V.O.)                  Nero was waiting for me.171-3 OMIT                                                          171-3174   INT. CAVE - DAY                                                 174      KIRK INHALES, SHARPLY, having been there with Spock Prime.    Back      to the two men, in a cave:      Kirk stares at him... his mind spinning because now he      believes him. The result is overwhelmingly emotional.                                SPOCK PRIME                  Forgive me... emotional transference is                  an effect of the mind meld.                                           95174   CONTINUED:                                                    174                                 KIRK                           (sympathy, surprise)                   ... so you do feel...                                 SPOCK PRIME                   "Cthia" is the stricture that binds our                   emotions... but few of us are that                   perfectly Vulcan.      Kirk gathers himself, wipes his eyes on his sleeve...                                 KIRK                   Going back in time... you changed all our                   lives.                                 SPOCK PRIME                   Yet remarkably, events within our                   timelines, characteristics, people...                   seem to overlap significantly. Tell me                   about the rest of the crew? Chekov--                   Uhura --?                                 KIRK                   Tactical and Communications --                                 SPOCK PRIME                   -- Sulu --                                 KIRK                   -- he's the helmsman, why?                                 SPOCK PRIME                   Dr. McCoy would assert our meeting here                   is not a matter of coincidence... but                   rather, indication of a higher purpose.                                 KIRK                   ... he'd call it a damn miracle.                                 SPOCK PRIME                   Yes he would. Perhaps the time stream's                   way of attempting to mend itself. In                   both our histories, the same crew found                   its way onto the same ship in a time of                   ultimate crisis -- therein lies our                   advantage.                           (rises)                   We must go-- there's a Starfleet outpost                   not far from here.      But Kirk stands -- stops him:                                            96174   CONTINUED: (2)                                                 174                               KIRK                 Where you came from... did I know my                 father?                               SPOCK PRIME                 ... yes. You often spoke of him as your                 inspiration for joining starfleet.      This is amazing for Kirk -- he looks off, trying to imagine that      life. Spock intuits what this means.                               SPOCK PRIME (CONT'D)                 You should know. He proudly lived to see                 you become captain of the Enterprise.                                KIRK                 ... Captain?                               SPOCK PRIME                 A ship we must return you to as soon as                 possible.174A EXT. SPACE - CONTINUOUS                                         174A      The Enterprise STREAKS through frame in a warp blur --174B INT. ENTERPRISE BRIDGE - CONTINUOUS                             174B      Sulu at his controls:                               SULU                 Warp three. Course one-five-one mark                 three, the Laurentian System.      The turbolift opens -- McCoy enters, moves to Spock:                               MCCOY                 You wanted to see me?                               SPOCK                         (discreet tone)                 Yes, Doctor. I'm aware that James Kirk                 is a friend of yours. Supporting me, as                 you did, must have been difficult.                               MCCOY                 ... are you thanking me?                               SPOCK                 I'm simply acknowledging your                 difficulties.      We're not sure how McCoy is taking this...                                                97174B CONTINUED:                                                       174B                                MCCOY                  Permission to speak freely, Sir.                                  SPOCK                  I welcome it.                                MCCOY                  Do you. Okay then: are you out of your                  Vulcan mind? Were you doing the logical                  thing? Maybe. The right one?                  Debatable. But one thing's for damn sure                  -- that kid doesn't know how to lose.                  Just isn't in his DNA. Back home we have                  a saying: "If you're gonna ride in the                  Kentucky Derby, don't leave your prize                  stallion in the stable."                                SPOCK                  ... a curious metaphor, Doctor. As a                  stallion must first be broken before it                  can reach its potential.                                MCCOY                  My God, Man... you could at least act                  like it was a hard decision.                                SPOCK                  I intended to assist in the effort to re-                  establish communication with Starfleet.                  However, if crew morale would be better                  served by my roaming the halls weeping,                  I'll gladly defer to your medical                  expertise.      A strong look and Spock turns away as Sarek enters the bridge.      Spock moves to meet him. Off McCoy, fuming --174C EXT. DELTA VEGA - PLANET SURFACE - DAY                           174C      A fucking BLIZZARD.   Kirk and Spock Prime move through the      maddening whiteout.   Kirk yells through it:                                KIRK                  I AM SO PISSED OFF AT THE OTHER YOU RIGHT                  NOW!      And Spock POINTS -- an OUTPOST -- half a mile away.175   INT. STARFLEET OUTPOST - DAY                                     175      Long tile corridor. The door at the end opens -- SNOW AND WIND      as Kirk and Spock Prime enter. Door closes. Silence again.                                               98175   CONTINUED:                                                        175                                  KIRK                   ... hello?!      Echo. Nothing. They head down. After a beat, a SMALL, DARK,      ODDLY ALIEN CREATURE STEPS OUT. Eyes them curiously. This is      KEENSER.                                 KEENSER                   ... can I help you?                                 SPOCK PRIME                   Are you the station chief?      Keenser looks them over.    Then:                                  KEENSER                   ... no.   This way.      And they follow Keenser into a MASSIVE WAREHOUSE, filled mostly      with junked space parts. A large, tarped SHUTTLE in the      background. In the middle of the huge, depressing space is a      table. And a STARFLEET OFFICER who is ASLEEP, legs kicked up,      leaning back in a chair, a hat covering his face. Keenser taps      the Officer's boot.                                  STARFLEET OFFICER                   Hm.                                  KEENSER                   Visitors.      A beat -- and the Officer peers from under his hat.     A cool,      slow burn.                                 STARFLEET OFFICER                   You realize how unacceptable this is.                                  KIRK                   Excuse me?                                 SPOCK PRIME                           (re: the Officer)                   ... Fascinating.                                  KIRK                   What?      Officer stands, unhappy about something. Keeser watches nearby --                                 STARFLEET OFFICER                   I'm sure it's no' your fault, and I know                   youse lads are just doing your jobs, but                   could you no' have come a wee bit                   sooner?!                                 (MORE)                                         99175   CONTINUED: (2)                                              175                               STARFLEET OFFICER (CONT'D)                 Six months I've been living on nothing                 but Starfleet Protein Nibs and the                 promise of a real food delivery! Six                 months, boys! It's pretty clear what's                 going on here, isn't it? Punishment!                 Ongoing! For something that was clearly                 an accident!                               SPOCK PRIME                 You're Montgomery Scott.                                 KIRK                 You know him?                               SCOTTY                 Yes, that's me -- Scotty-- you're in the                 right place-- are there any other hard-                 working and equally-starving Starfleet                 officers around?                                 KEENSER                 Me.                               SCOTTY                 You eat nothing. A bean and you're done                 for a week, I need food. And now you're                 here -- so. Thank you. Where is it.                               SPOCK PRIME                 You are in fact the Mr. Scott who                 postulated the theory of trans-warp                 beaming.                               SCOTTY                 Yes! That's exactly what I'm talking                 about! How d'ya think I ended up here?                 I got into a debate with my instructor on                 the issue of Relativistic Physics as they                 pertain to subspace travel... He seemed                 to think that the range of transporting                 say, a roast turkey, was limited to a few                 hundred miles -- so I told my instructor                 I could not only beam a bird from one                 planet to an adjacent planet in the same                 system -- which is no big deal anyway --                 but if I were so inclined I could                 actually do it with a lifeform! So I                 tested it on Admiral Archer's prize                 beagle. Which... was a mistake.                               KIRK                 I know that dog. What happened to it?                                             100175   CONTINUED: (3)                                                   175                               SCOTTY                 I'll tell ya when it reappears.     Dunno.                 Feel guilty.                               SPOCK PRIME                 What if I told you your trans-warp theory                 was correct? That it is indeed possible                 to beam onto a ship that is travelling at                 warp speed. And that you only required                 the correct field equation to                 recrystallize dilithium?                               SCOTTY                 I haven't been stationed here that long.                 If such an equation had been discovered,                 I'da heard.                               SPOCK PRIME                 The reason you haven't heard of it, Mr.                 Scott... is because you haven't                 discovered it yet.      Kirk reacts. Scotty reacts -- is almost spooked -- sobers up a      bit... really regards Spock Prime. Skeptical. Amused.                               SCOTTY                 Y'from the future, are ya? Brilliant.                 D'they still have sandwiches where you're                 from? Piece and jam? Mince 'n tatties?                 Cockaleekie soup?                               KIRK                 What is he talking about?                                KEENSER                 Food.                               SPOCK PRIME                 Allow us access to your shuttle... and I                 will show you what a genius you actually                 are.      Off Scotty, who can't help but be intrigued --176   OMIT                                                             176177   EXT./INT. SCOTTY'S SHUTTLE - TRANSPORTER PAD - MOMENTS LATER     177      Scotty PULLS A TARP over much of the out-of-service shuttle.                               SCOTTY                 She's a wee bit dodgy: shield emitters                 are totally banjaxed, along wi' a few                 other things.                                            101177   CONTINUED:                                                      177      Spock finishes speed-typing the FIELD EQUATIONS on the      TRANSPORTER CONTROL PANEL -- amazingly fast.                                  SCOTTY (CONT'D)                   ... rapid.   That's impressive.      Spock Prime steps aside:                                 SPOCK PRIME                   Your equation for achieving trans-warp                   beaming.      Scotty looks at the equations -- we watch his expression run the      gamut: from confused, to dumbfounded, to quiet awe and delight:                                 SCOTTY                   Imagine that! Never occurred to me to                   think of space as the part that's moving.                                 SPOCK PRIME                   Point of fact: it did occur to you.                           (he works the console)                   Extrapolating Enterprise's course --                                 SCOTTY                   -- Enterprise? Had its maiden voyage                   already, has it? Well, you must've done                   something right to be assigned to that                   ship, Kiddo. She's a well endowed lady --                   love to get my hands on her ample                   nacelles, if you'll pardon the                   engineering parlance.                                 SPOCK PRIME                   Now's your chance, Mr. Scott.                                 SCOTTY                   Look, even if I believed you -- where                   you're from, what I've done-- which I                   don't -- we're still talkin' bout                   slingshotting aboard while she's going                   faster than light. Without a proper                   receiving pad, that's like tryin'a hit a                   bullet with a smaller bullet, wearing a                   blindfold. On a horse.                                 SPOCK                   I calculate no more than a four meter                   margin of error.                                 SCOTTY                   That's all well and good unless you                   rematerialize four meters outside the                   ship.                                            102177   CONTINUED: (2)                                                  177      As Spock works the keyboard, an ENTERPRISE SCHEMATIC rotates:                               SPOCK PRIME                 Agreed: the aft engineering bay is your                 best option: a large space and no                 unpredictable airlocks --                               KIRK                 -- you're coming with us, right?                               SPOCK PRIME                 No, Jim. My destiny lies along a                 different path.                   KIRK                          SPOCK PRIME      Your destiny can wait -- he         (simply, strong)      won't believe me, only you can   Under no circumstances can he      explain w--                      be made aware of my existence.                                       You must promise me this.                               KIRK                 You're telling me I can't tell you I'm                 following your own orders? Why not?                 What happens?                               SPOCK PRIME                 Trust me. Above all. Jim, this is the                 one rule you cannot break. To stop Nero,                 you alone must take command of your ship.                               KIRK                 How, over your dead body?                               SPOCK PRIME                 Preferably not. There is, however,                 Starfleet Regulation 619.                         (off Kirk's confusion)                 Yes. I forget what little regard you had                 for such things. 619 states that any                 commanding officer who is emotionally                 compromised by the mission at hand...                 must resign said command.                               KIRK                 So I need to emotionally compromise you?                                SPOCK PRIME                 Jim.  I just lost my planet. I can tell                 you.  I am emotionally compromised.                         (then)                 What you must do... is get me to show it.      PUSHING IN ON KIRK as this lands for him --                                            103177   CONTINUED: (3)                                                  177                                 KIRK                 Hm.                               SCOTTY                 Aye, then. Live or die, Laddie, let's                 get this over with. he Enterprise has a                 decent cafeteria I'm guessing.      Scotty's on the pad.   Kirk follows, looks at Spock:                               KIRK                 You know... coming back in time...                 changing history... that's cheating.                               SPOCK PRIME                 A trick I learned from an old friend.      Something strikes Kirk -- his eyes GLINT with revelation. Spock      responds enigmatically: a silent acknowledgment of what Kirk      must do to get the ship. He raises his hand in the legendary      Vulcan salute:                               SPOCK PRIME (CONT'D)                 Live long, and prosper.      And Spock activates the transporter and they DEMATERIALIZE --      the light plays off his face as he watches them vanish --178   EXT. SPACE - CONTINUOUS                                         178      The Enterprise SHOOTS THROUGH FRAME at warp --179   INT. ENTERPRISE - ENGINEERING BAY - CONTINUOUS                  179      Amid the ROAR of the ship's plasma drives, PARTICLES      rematerialize... it's KIRK, eyes wide in suspense. He looks      down at his legs, his chest, his arms to make sure he's still in      one piece, glances over to share his relief with Scotty... BUT      SCOTTY ISN'T THERE. A strange BANGING -- Kirk turns: the      BANGING is coming from a large metal TANK -- then Scotty appears      in a TRANSLUCENT PIPE -- FREAKING OUT -- BANGING ON THE CLEAR      METAL -- Kirk's mind races -- he looks around for a way to save      his new friend -- just then a STRONG CURRENT IS FELT inside the      tube -- AND SCOTTY IS YANKED AWAY, DOWN THE TUBE!                                 KIRK                 -- no-- shit!      And Kirk runs after him -- down the length of the ORANGE,      TWISTING and TURNING tubes -- SCOTTY SEEN every time he enters a      CLEAR TUBE AREA -- then DISAPPEARING again into the ORANGE tubes      -- and Scotty gets sucked UPWARDS -- and Kirk turns and looks --      FOLLOWS THE LENGTH OF TUBE -- SEEING WHERE IT'S HEADING -- TO A      GIANT WATER TURBINE -- essentially? A MASSIVE FUCKING BLENDER.                                              104179   CONTINUED:                                                        179                                 KIRK (CONT'D)                   -- no--nonono--      And Kirk HAULS ASS to the control panel -- we see the huge      machine -- overhead, the RELEASE VALVE under the pipe -- and      Kirk works as fast as he can --                                 KIRK (CONT'D)                   COMEONCOMEONCOMEON -- like the simulator:                   manual control enabled, pressure seal:                   enabled -- shutdown--      -- but the COMPUTER SAYS:                                 COMPUTER VOICE                   Turbine Shutdown Not Allowed.                                  KIRK                   DAMNIT!180   INT. ENTERPRISE - BRIDGE - CONTINUOUS                             180      A display on the forward console, an ALARM FLASHES --                                 CHEKOV                   Keptin, we're detecting unauthorized                   access to a water turbine control board!      Spock moves from Sarek to Chekov --                                 SPOCK                   Bring up video.      Chekov brings up TWO DOZEN SECURITY VIDEO IMAGES ON ONE SCREEN.      Spock points to one -- it ENLARGES -- and we see KIRK AND SCOTTY      racing through the ship -- Spock's eyes narrow -- he moves to      the Captain's chair -- hits comm:                                 SPOCK (CONT'D)                   Security, this is the captain -- seal                   engineering deck and bring me the                   intruders in turbine station three -- set                   phasers to stun.181   INT. PIPE - CONTINUOUS                                            181      INSIDE THE TUBE, SCOTTY TUMBLES, YELLING UNDERWATER as --                                            105181A INT. ENTERPRISE - ENGINEERING BAY - CONTINUOUS                   181A      Kirk, AT THE PANEL, accesses the RELEASE VALVE CONTROL -- he      watches Scotty disappear through a CLEAR SECTION -- Kirk times      it -- waiting -- then he HITS THE BUTTON and Scotty DROPS      THROUGH THE RELEASE VALVE AND SLAMS TO THE FLOOR -- hurt, wet,      but BREATHING, deeply --                                  KIRK                 You all right?                               SCOTTY                         (recovering, looking                          around)                 -- nice -- (cough) -- ship. Really.                               KIRK                 -- let's get to the bridge--181B INT. ENTERPRISE - VARIOUS AREAS                                  181B      Kirk and wet Scotty race through the ship -- only to finally      turn a corner and be faced with PHASERS, AIMED RIGHT AT THEM.      But suddenly PHASERS are at their heads. Two SECURITY GUARDS --      one, THE GUY HE GOT INTO THE FIGHT WITH AT THE BAR, YEARS AGO.                                  SECURITY OFFICER #1                 Come with me.     Moon Beam.      Off Kirk -- shit --182-3 OMIT                                                        182-3184   INT. ENTERPRISE - BRIDGE    [SET CHANGE]                         184      WOOSH -- bridge doors open -- Kirk and Scotty are ushered in by      the Security Guards. Spock moves to them, containing his anger      and dismay. McCoy is here as well. Spock walks right up to      Kirk... raises his eyebrow.                                  KIRK                 Surprise.                               SPOCK                         (to Scotty)                 Who are you?                                  KIRK                 He's with me.                                              106184   CONTINUED:                                                        184                                 SPOCK                   We're travelling at warp -- how did you                   manage to get aboard this ship?      Kirk stares at the young Spock -- a different experience now --                                 KIRK                   You're the genius, you figure it out.                                 SPOCK                   As Captain of this vessel I order you to                   answer the question.                                  KIRK                   Well I'm not telling.                           (then)                   Captain.      HUH.   That confounds Spock.   And Kirk is off to the races --                                 KIRK (CONT'D)                   Does that frustrate you? My lack of                   cooperation... does it make you angry?      Spock again focuses on Scotty --                                 SPOCK                   You are not a member of this ship's crew.                   Under penalty of court martial, I order                   you to explain to me how you beamed ab --                                 KIRK                           (to Scotty)                   -- Don't answer him.                                 SPOCK                   You will answer me.      ON SCOTTY.   Weighing all this.     Then --                                 SCOTTY                   I'd rather not take sides.      Spock nods back to the SECURITY GUARDS, over this --                                 SPOCK                   Escort them to the Brig.      But before the guards can do so --                                 KIRK                   What is it about you, Spock? Your planet                   was just destroyed -- your mother                   murdered -- and you're not even upset?                                            107184   CONTINUED: (2)                                                  184                               SPOCK                 Your presumption that these experiences                 interfere with my abilities to command                 this ship is inaccurate--                               KIRK                 HA! And yet you said fear was necessary                 for command. I mean -- did you see that                 bastard's ship? Did you see what he did?                               SPOCK                         (tense)                 Yes, of course I--                               KIRK                 So are you afraid or aren't you?!?                               SPOCK                         (tenser)                 I will not... allow you to lecture me                 about the merits of emotion.      Kirk gets close to Spock --                               KIRK                 Then why don't you stop me.      Sarek watches, tense.   McCoy, too.   Spock blinks --                               SPOCK                 Step away from me, Mr. Kirk.                               KIRK                 What is it like? Not to feel? Anger.                 Or heartbreak. Or the need to stop at                 nothing to avenge the death of the woman                 who gave birth to you?!                               SPOCK                         (volcanic)                 -- back away --                               KIRK                         (closer still)                 You must not feel anything! It must not                 even compute for you! You must not have                 loved her at all--!      -- WHAM! SPOCK HAS JUST HIT KIRK -- and Kirk goes to hit back,      but Spock fucking DELIVERS A SERIES OF POWERFUL BLOWS --      Security stand back as the Captain attacks...      And Spock is now fucking CHOKING Kirk -- HE SLAMS KIRK AGAINST      THE WALL -- SPOCK'S CHOKING THE LIFE OUT OF HIM --                                                108184   CONTINUED: (3)                                                      184                                 SAREK                  Spock!      And everything -- everything -- STOPS. Spock, red-faced,      releases his grip. Kirk GULPS air and tumbles to the ground.      Spock staggers back. Kirk's hardly able to speak, close to      collapsing. But despite his brutalized face, his expression      isn't about spite, or hatred... but compassion.      Spock sees the faces of the STUNNED CREW staring at him. But      worst of all? Sarek. His father. Spock levels his chin.      Quickly wipes his eyes. Trying to regain some semblance of      dignity... looks to McCoy. Softly --                                SPOCK                  Doctor. I am no longer fit for duty. I                  hereby relinquish my command on the                  grounds that I have been... emotionally                  compromised. Please note the time and                  date in the ship's log.      JESUS. Spock just... QUIT. And after a beat, he leaves the      room. Sarek follows a moment later.      The crew just stands there in stunned SILENCE.   Finally --                                SCOTTY                  I like this ship. It's exciting.      McCoy turns to Kirk, exasperated --                                MCCOY                  Congratulations, Jim. Now we've got no                  Captain and no first officer to goddamn                  replace him.      ON KIRK.   The moment is upon him.                                 KIRK                  Yeah we do.      ON MCCOY. The CREW -- confused. Sulu just fucking POINTS at      Kirk and they all realize HOLY SHIT -- Pike made KIRK the First      Officer before he left!                                 MCCOY                  WHAT?!                                KIRK                  Thanks for the support!      And Kirk moves to the captain's chair, passing Uhura:                                              108A184   CONTINUED: (4)                                                  184                                  UHURA                    I sure hope you know what you're doing.                                  KIRK                    ... so do I.                            (studies chair, sits,                             into mic)                    Attention crew of the Enterprise.   This                    is James Kirk...185   INT. ENTERPRISE - CORRIDOR                                      185      TRACKING WITH SPOCK, hearing the announcement as he walks      stoically -- past CREW, hearing this --                                  KIRK (V.O.)                    Mr. Spock has resigned commission and                    advanced me to acting Captain. I know                    you were all expecting to regroup with                    the fleet, but I've ordered a pursuit                    course of the enemy ship to Earth.186   OMIT                                                            186187   INT. ENTERPRISE - BRIDGE [SET CHANGE]                           187      On KIRK as he ends the announcement:                                  KIRK                    I want all departments at battle stations                    and ready in ten minutes. Either we're                    going down, or they are. Kirk out.      Clicks off.    PUSH IN ON KIRK, staring off --                                  UHURA                    I want some answers.      He looks up.    Uhura is there.   Pissed off:                                           109187   CONTINUED:                                                     187                                 UHURA (CONT'D)                   Right now. Where the hell'd you get                   trans-warp technology?                                 KIRK                   -- yeah, you know that's complicated --                                 UHURA                   Do I look simple to you?!                                 SULU                   I'm a PhD in astrophysics, I think I can                   handle it -- how'd you get back?                                 CHEKOV                   You vant us to trust you but you von't                   tell us the truth?                                 KIRK                   No. No, I won't-- hey, I'm the Captain                   now! I don't have to tell you anything!                   Now listen: we need to figure out a way                   to catch up and get to Nero's ship.                                 SULU                   There's not a chance. They're gonna be                   in geosynchronous orbit around Earth in                   ten minutes. We'll never make it.                                 MCCOY                   Even if we could, you can't go in guns                   blazing, not with their technology,                   that's suicide.                                 KIRK                   Then we find a way to get on that ship                   and steal the black hole device away from                   them.                                 SCOTTY                   Well you can forget transwarp. No way to                   predict the Narada's position from here.                                 KIRK                   Uhura: anything from Captain Pike?                                 UHURA                   No... I've been monitoring all channels.188   INT. ENTERPRISE - TRANSPORTER BAY [SET CHANGE]                 188      SPOCK stand here, staring at the place where his mother should      have, but didn't, arrive. Sarek enters. Sees his son. They're      alone for the first time in ages. A beat:                                             110188   CONTINUED:                                                       188                                  SAREK                   You must not punish yourself.                           (beat)                   Speak your mind, Spock.                                 SPOCK                   That would be unwise.                                 SAREK                   What is necessary is always wise.      Watch Spock's face.   Struggling with what's pent-up inside...                                 SPOCK                   I feel as conflicted as I once was. As a                   child. Have I made so little progress?                                 SAREK                           (beat, softly)                   You will always be a child of two worlds.                   I am grateful for that. And for you.                           (painfully)                   And not only because you are all I have                   left of her.      Spock looks at Sarek.   This is as close to emotion as he'll get.                                 SPOCK                   I feel anger. For the one who took her                   life. An anger I cannot stop.                                  SAREK                   I believe she would say... do not try to.                           (then)                   You asked me once. Why I married your                   mother.                           (beat, simply)                   I married her because I loved her.      Their look HOLDS -- and for Spock, a revelation...189   INT. ENTERPRISE - BRIDGE                                         189      -- the strategy session continues in FULL SWING -- now Chekov,      the youngest of the bunch, gets up the courage to chime in,      incidently becoming the very first officer to say:                                   CHEKOV                   Keptin Kirk?    Excuse me, plees, could                   I...?      All eyes shift to the wonder-kid who awaits permission to speak:                                            111189   CONTINUED:                                                      189                                 KIRK                   Yes, Chekov-- you don't need to ask                   permission to--                                 CHEKOV                   Based on the Narada's course from Vulcan,                   I've projected that Nero will travel past                   Saturn. If we could drop out of warp                   behind one of Saturn's moons, say, Titan,                   the magnetic distortion from the planet's                   rings will make us invisible to Nero's                   sensors. We could follow him to Earth by                   staying in his blind spot.                                 KIRK                   What blind spot?                                 CHEKOV                   Its exhaust wake. If we adjust our                   shield frequencies, they shouldn't detect                   us.                                 MCCOY                   Wait a minute-- anyone understand this                   kid? How old are you?                                 CHEKOV                   I am seventeen, Sir, how old are you?                                 MCCOY                   We're all old enough to shave here.                                 SPOCK (O.S.)                   Doctor... Mr. Chekov is correct.      Everyone turns, surprised: SPOCK has entered the bay --      galvanized, full of purpose --                                 SPOCK (CONT'D)                   I have reviewed his telemetry. If Mr.                   Sulu can maneuver us into position, I can                   beam aboard Nero's ship.                                 KIRK                   I won't order you to do that, Mr. Spock.                                 SPOCK                   Romulans and Vulcans share a common                   ancestry. Our cultural similarities will                   make it easier for me to access their                   ship's computer to locate the device.                           (beat; a flicker of                            emotion)                                 (MORE)                                      111A189   CONTINUED: (2)                                          189                               SPOCK (CONT'D)                 Also, my mother was human. Which makes                 Earth the only home I have left.                                            112189   CONTINUED: (3)                                                  189      The crew looks at this very courageous Vulcan with deep respect -      - but his focus is on Uhura, whose eyes smile back at him.                               KIRK                 Then I'm coming with you.                               SPOCK                         (beat, considering)                 I would cite regulation, but I know you                 will simply ignore it.                               KIRK                 See, we're getting to know each other.      And a MOMENT -- a burgeoning friendship --190   EXT. BARREN LANDSCAPE                                            190      PANNING ACROSS AN ALIEN LANDSCAPE... and even though it's in      shadow, you start to recognize it as THE DARK SIDE OF THE MOON.      OUR POV ascends now to see:      THE ENTERPRISE DROPS OUT OF WARP IN THE DEAD SILENCE OF SPACE...      And we move past it, along the orbit of the moon, cresting the      horizon to see EARTH -- AND NERO'S SHIP HOVERING ABOVE IT.191   INT. NARADA - BRIDGE - NIGHT                                     191      CLOSE ON NERO -- his face illuminated on the DARKENED BRIDGE of      the Narada by SOFT BLUE LIGHT. Light radiated by EARTH. A      BEAUTIFUL HOLOGRAM before him. He doesn't notice behind him, as      those BLADES from his STAFF APPEAR BEHIND HIS NECK. Nero      tenses, only now sensing this unforeseen danger: AYEL HOLDS THE      WEAPON. Strong. Tough. But under it all... terrified.                                AYEL                 The men and I have discussed this. What                 we are about to do.                         (beat)                 We have to turn the ship around. We can                 save our home.      Nero turns slowly and deliberately -- Ayel tenses:                               AYEL (CONT'D)                 Stop.      Nero now faces Ayel, blades at his throat -- Ayel growing more      nervous as he faces his master. The surrounding crew stare on,      frozen in the moment, only slightly confirming their makeshift      mutiny with scared looks.                                                  113191   CONTINUED:                                                            191                                 AYEL (CONT'D)                   We can go back. That's what we want. We                   have taken our vengeance on Vulcan. No                   more. We want to go home now.      Nero considers this... nods gently.                                  NERO                   There is no need, Ayel.   To threaten me.                           (beat)                   I understand.      Ayel is massively relieved.     Nero gently reaches out, holds the      staff (still aimed at him).     He deactivates it -- the blades      instantly RETRACT.                                   NERO (CONT'D)                   I understand.    But you are wrong.      And just as Ayel realizes he's fucked, Nero somehow activates      the staff in a way we have not seen -- AND THE BLADES APPEAR ON      THE OTHER END -- THE END NOW FACING AYEL -- AND JUST AS AYEL'S      EYES GO WIDE -- NERO THRUSTS THE BLADES INTO AYEL -- WHO FALLS      TO THE FLOOR, DEAD! Nero's hard face turns to the rest of his      crew.                                 NERO (CONT'D)                   We will return to Romulus when the                   Federation lies in ruins and not a moment                   before. When those who watched our                   people burn at last understand our pain,                   our loss. I refuse to return as a slave!                   We will return as conquerors!      ON THE FACES OF THE MEN, SUBMITTING TO HIS WILL, our MUSIC      BUILDING -- and then, his eyes on Earth like a fucking LION eyes      a gazelle--                                 NERO (CONT'D)                   Deploy the drill.192   EXT. THE NARADA                                                       192      THE DRILL BAY DOORS open as they LOWER THE PLASMA DRILL.193   INT. U.S.S. ENTERPRISE - BRIDGE                                       193      No sign of Kirk and Spock.     Sulu's in the captain's chair.      Chekov at helm.                                 SULU                   Mr. Chekov, transfer manual control to                   the Captain's chair.                                            114193   CONTINUED:                                                      193                                 CHEKOV                   Aye.                           (works controls)                   I've projected the parabolic course you                   must follow. If you deviate by so much                   as a meter, we will be detected.                                 SULU                   Give me one quarter impulse burst for                   five seconds and I'll do the rest with                   thrusters. On my mark. Three... two...                   one... fire.194   EXT. U.S.S. ENTERPRISE - SPACE                                  194      The impulse engines SURGE, shutting off as the ship slips out      from behind the moon and into open space --195   INT. U.S.S. ENTERPRISE - BRIDGE - CONTINUOUS                    195      Sulu makes rapid-fire thruster combinations to stay on track --      a stealthy ballet of incredible dexterity. THE NARADA appears      over the horizon in geosynchronous orbit, passing underneath the      Enterprise as they arc in behind it.                                 SULU                   All stop in three... two... one...196   EXT. THE NARADA/ENTERPRISE - CONTINUOUS                         196      The small Enterprise pulls into position behind the massive      Narada's BLIND SPOT and comes to a gentle stop. Tension --197   INT. ENTERPRISE - BRIDGE - NIGHT                                197                                 SULU (INTO CHAIR COMM)                   Transporter Room. We're in stable                   geosynchronous orbit behind the Narada.                                 CHEKOV                           (scanning)                   No sign they've detected us --198   INT. ENTERPRISE - TRANSPORTER ROOM - CONTINUOUS                 198      KIRK and SPOCK ready themselves for transport. STRAP ON UTILITY      BELTS: COM-SETS, TRICORDERS, and of course, PHASERS --                                 SCOTTY                           (on Communicator)                   Well done, Mr. Sulu.                                               115198   CONTINUED:                                                         198                                  KIRK                   Whatever happens Mr. Sulu, if you feel                   you have a tactical advantage fire on                   that ship. Even if we're still aboard.                   It's an order.                                  SULU                   Yessir.   Good luck.      Spock turns to Uhura, who hands him a small TRANSLATOR DEVICE:                                 UHURA                   We'll be monitoring your frequency...      Uhura gives the translator to Spock -- AND HE KISSES UHURA.                                 SPOCK                   Thank you, Nyota.      They part, revealing KIRK'S SHOCKED FACE. Uhura walks off,      leaving the two men -- Kirk looking stunned at Spock.                                 KIRK                   Her first name is...                                 SPOCK                   I have no comment on the matter.      Kirk still stunned as Scotty moves to transporter control.                                 SCOTTY                   If there's any common sense to their ship                   design, I'll be puttin' ya in a cargo                   bay, shouldn't be a soul in sight.      KIRK AND SPOCK STAND ON THE TRANSPORTER PAD, SIDE-BY-SIDE AND      FACING THE SAME DIRECTION FOR THE FIRST TIME -- AN ICONIC IMAGE -      - The moment of truth.                                  KIRK                   Energize.      Scotty hits the transport and Kirk and Spock DISAPPEAR --199   INT. NARADA - CARGO BAY - CONTINUOUS                               199      Kirk and Spock MATERIALIZE in the cargo bay... to find      themselves suddenly smack-dab in the middle of SIX ROMULAN      GUARDS working at cargo consoles!!                                              116199   CONTINUED:                                                        199      For a split second they're as shocked as Kirk and Spock, until      they ATTACK -- Kirk immediately engages the closest Romulan,      struggles -- but Spock's a machine: his palm snaps up CRACKING a      nose -- SLAMS a head against the wall -- as battle-ready as the      Romulans are, it's like trying to catch a GHOST, Kirk finally      knocks his one opponent unconscious, and turns to see it's ALL      OVER --                                 KIRK                           (a touch insecure)                   Mine had a gun.                                 SPOCK                   I am trained in the Vulcan martial art of                   Suus Mahna.      Kirk and Spock move to a still conscious Romulan as he struggles      to get up. Spock reaches for the fallen Romulan's temples.                                 SPOCK (CONT'D)                   I am unable to meld with these Romulans --                   there are subtle differences in their                   physiology I did not anticipate --                   KIRK                                SPOCK      -- punch him in the face --      make him talk! Suus Mahna his       -- Suss Mahna is only intended      ass!                                for self-defense, he's no                                          longer a threat --      -- then pretend it's a threat -      - I'm your captain, that's an      order!      Spock PUNCHES the Romulan HARD -- and via Uhura's comlink      translator, speaks in SUBTITLED ROMULAN:                                 SPOCK (SUBTITLE) (CONT'D)                   What is your computer access code?      The guard SPITS green blood at Spock, who PUNCHES him again --                                   SPOCK (SUBTITLE) (CONT'D)                   TELL! (PUNCH)    ME! (PUNCH) THE! (PUNCH)                   CODE!200   INT. NARADA - BRIDGE - CONTINUOUS                                 200                                 ROMULAN HELMSMAN                   The plasma drill is repaired and fully                   deployed.                                  NERO                   Good.   Let's begin.                                               117201   EXT. SUSPENDED DRILL - ABOVE CALIFORNIA - CONTINUOUS               201      THE ENERGY TORNADO FIRES FROM THE DRILL INTO THE EARTH!202   EXT. SAN FRANCISCO - DAY                                           202      The plasma beam SLAMS INTO SAN FRANCISCO BAY -- massive      CONCUSSION CLOUDS FORM AROUND THE BEAM --202A EXT. STARFLEET ACADEMY/COMMAND - CONTINUOUS                         202A      Cadets RUN to see the horrific sight of the plasma beam --203   INT. ENTERPRISE BRIDGE - CONTINUOUS                                203      As Uhura returns to the bridge, everyone's stations go DARK --      STATIC on screens --                               CHEKOV                 They've activated the drill --                                UHURA                 Communications and transporter                 inoperative --                               SULU                 They're on their own now.204   INT. NARADA - CONTINUOUS                                           204      A ROTATING SHIP SCHEMATIC -- Spock typing at a console,      searching -- accesses two inter-cam windows: on one, SPOCK      PRIME'S SHIP, THE JELLYFISH -- in a lower containment hold -- on      the other: PIKE, unclear if he's dead or alive.                               SPOCK                 What you refer to as the "Red Matter                 Device" is in the main hangar -- and I've                 located Captain Pike.                                  KIRK                 Is he alive?                                  SPOCK                 Unknown.                                  KIRK                 Let's move.      They cover each other with phasers as they move down the hall --                                            118205   INT. NARADA - MAIN HANGAR                                       205      Captain Pike's shuttle and the Jellyfish sit parked among the      equipment. Kirk and Spock stealthily board the Jellyfish --206   INT. JELLYFISH - COCKPIT - CONTINUOUS                           206      Kirk hits a console, a familiar voice comes to life:                               COMPUTER VOICE                 Voice print and face recognition analysis                 enabled.                               KIRK                 Spock, you'll be piloting the ship alone.                               SPOCK                 Which may be problematic, as I am                 unfamiliar with this ship's design.      THE LASER GRID RESPONDS TO SPOCK'S VOICE, scans his features for      ID -- THE HOLOGRAPHIC DISPLAY MATERIALIZES:                               COMPUTER VOICE                 Welcome back, Ambassador Spock.                                KIRK                          (awkwardly)                 Wow.   That's weird.      He looks to Kirk in surprise -- Spock's eyes fix with sudden      understanding. Ambassador Spock... of course... suddenly all      the pieces start coming together...                               SPOCK                 Computer: what is your manufacturing                 origin?                               COMPUTER VOICE                 Stardate 2397, commissioned by the Vulcan                 Science Academy.      Spock looks at Kirk, a touch upset:                               SPOCK                 It appears you've been keeping rather                 important information from me.                                   KIRK                 Just trust me.      Can ya do that?      Spock weigh his options.     Trust.   Finally:                                               119206   CONTINUED:                                                         206                                     KIRK (CONT'D)                    I'll get Pike.      Kirk exits --207   INT. NARADA    [SET CHANGE]                                        207      Kirk moves through various areas of the ship --208   INT. JELLYFISH - COCKPIT                                           208      Spock works the control -- fires up the craft --209   EXT. NARADA - HANGAR - WITH JELLYFISH INSIDE                       209      LIGHTS COME ON -- he starts it up -- the ship begins to RISE --      and with the enormous JELLYFISH now OPERATING -- FLOATING IN THE      HANGAR, Spock turns the ship and FIRES AT THE MASSIVE IRIS DOOR,      BLOWING IT OPEN! DEBRIS AND LOOSE OBJECTS GET SUCKED INTO SPACE      as --210   INT. NARADA - BRIDGE                                               210      The ship SHUDDERS from within -- ALARMS --                                  ROMULAN HELMSMAN                    Primary core rupture, warp engines off-                    line!                                     NERO                    HOW?!!                                  ROMULAN TACTICAL OFFICER                    Someone has detonated weapons in the main                    hangar!      CLOSE -- NERO -- EYES WILD, REALIZING THEY HAVE A SABOTEUR:                                     NERO                    Restore power!     Engage auxiliary systems!211   OMIT                                                               211212   EXT. NARADA - CONTINUOUS                                           212      THE JELLYFISH FLIES OUT -- ANGLES TOWARD THE DRILL AND FIRES      ANOTHER TORPEDO -- DIRECT HIT!      THE MASSIVE RIG SWINGS -- THE TETHERS SNAPSNAPSNAP -- THE DRILL      TILTS AND ROCKETS LOOSE, PLUMMETING DOWN... DOWN... DOWN...213   ... CRASHING INTO SAN FRANCISCO BAY                                213                                               120214   INT. NARADA - BRIDGE - CONTINUOUS                                  214      As the bridge crew fights to regain control:                                ROMULAN TACTICAL OFFICER                  The drill's been severed!                                ROMULAN COMMANDER                  Ambassador Spock's ship has been stolen                  as is heading out of the solar system!                                NERO                  -- WHO'S RESPONSIBLE FOR THIS?!      A beat -- the Romulan Commander looks up from his console:                                ROMULAN COMMANDER                          (darkly)                  ... Spock.      OFF Nero's fucking mega rage --215   EXT. SPACE - ABOVE EARTH                                           215      The Narada turns -- accelerates in pursuit of the Jellyfish and      AWAY FROM EARTH -- and now we're back to the imagery of the      first few moments of the movie -- THE NARADA GAINING ON THE      JELLYFISH, SPOCK AT THE CONTROLS --216   INT. NARADA - CONTINUOUS                                           216                                NERO                          (to comms officer)                  Open a channel --                                ROMULAN COMMUNICATIONS OFFICER                  Channel Open --                                NERO                  Spock -- I should've killed you when I                  had the chance.217   INT. NERO'S SHIP/ JELLYFISH - INTERCUTTING:                        217      SPOCK STARES WITH DEADLY FOCUS AT THE VIEWSCREEN:                                SPOCK                  Under authority granted me by the Europa                  convention, I'm confiscating this                  illegally obtained ship and order you to                  surrender your vessel. No terms. No                  deals.      And Nero?   Just grins in perfect contentment...                                            121217   CONTINUED:                                                      217                                 NERO                   You can't cheat me again, Spock. I know                   you better than you know yourself.                                 SPOCK                   Last warning: unconditional surrender or                   you will be destroyed.                                 NERO                           (to his Men)                   Fire at will.                                 ROMULAN COMMANDER                   Sir-- if you ignite the red matter, the--                                 NERO                   I want Spock dead!    Fire!      Nero hurries to the controls -- operates them himself and --218   EXT. NARADA - CONTINUOUS                                        218      -- FIRE IT DOES -- TORPEDOES BLAST FROM THE HOLD and to the      jellyfish, which performs evasive maneuvers -- the torpedoes      EXPLODE as --219   INT. NARADA - AIRLOCK SHAFT - CONTINUOUS                        219      Kirk moves through shadow into an airlock shaft, starts climbing      ladder rungs --220   EXT. SPACE - CONTINUOUS                                         220      The JELLYFISH TILTS, earth receding far behind it -- Spock veers      to avoid being blown apart -- Nero's ship gaining -- firing --221   INT. NARADA - CORRIDORS - CONTINUOUS                            221      Kirk moves through the space -- into the TORTURE ROOM, where he      finds PIKE, CLOSE TO DEATH -- Kirk begins unfastening his binds.      Pike sees him through his fog -- amazed --                                  PIKE                   ... Kirk?                                 KIRK                   Came back, Sir. Just like you ordered.      Kirk helps LIFT HIM -- but what he DOESN'T SEE are the FOUR      GUARDS entering with weapons --                                            122221   CONTINUED:                                                      221      But PIKE, God bless him, does: summoning his last ounce of      strength, he manages to UNHOLSTER KIRK'S PHASER AND BLASTS THE      FOUR GUARDS OUT OF EXISTENCE! Safe, he SLUMPS, dropping the      phaser --222   EXT. NARADA - SPACE - CONTINUOUS                                 222      The Narada FIRES again, TEARING a gash in the Jellyfish's side.223   INT. JELLYFISH - CONTINUOUS                                      223      An array EXPLODES --                                 NERO ON COMMS                   ... you should've fled, Spock. Sight                   target, standby torpedoes... FIRE!                                 COMPUTER VOICE                   Warning: Shields off-line.      On Spock -- bad as things are, they just got worse -- his mind      SPINS until:                                 SPOCK                   Computer, prepare self destruct sequence.224   EXT. JELLYFISH - CONTINUOUS                                      224      And the Jellyfish TURNS -- a new course RIGHT FOR THE NARADA --225   INT. SPACE - NARADA AND JELLYFISH - CONTINUOUS                   225      CLOSE ON SPOCK, bravely facing certain death -- on a collision      course with the Narada -- looks like he's gonna sacrifice      himself -- and we assume he'll pull away at the last second, of      course he will, but he DOESN'T:226   EXT. NARADA AND JELLYFISH - CONTINUOUS                           226      SMASH! THE JELLYFISH EXPLODES, SPOCK SEEMINGLY KILLED -- AND IN      THE BLAST, THE RED MATTER IGNITES! A MASSIVE BLACK HOLE STARTS      TO FORM, THE BIGGEST ONE YET! STARS DRIFT TOWARD ITS CENTER,      PULLED INTO THE SPHERE BY THE GRAVITY WELL AS IT STARTS TO      EXPAND --227   INT. NARADA - BRIDGE - CONTINUOUS                                227      As the ship's ROCKED HARD, Nero sees the black hole BUILDING      through the cockpit window:                                 NERO                   FULL REVERSE!!! NOW, NOW!!                                            123228   EXT. SPACE - CONTINUOUS                                         228      EVERYTHING'S GETTING SUCKED INTO THE EVER-EXPANDING BLACK HOLE --      A MASSIVE PULSE OF ENERGY PUMMELS NERO'S SHIP, SHEARING THROUGH      ITS HULL -- AS THE NARADA TRIES TO REVERSE OUT OF THE GRAVITY      WELL, THE ENTERPRISE IS REVEALED BEHIND IT -- HAVING BEEN THERE      THE WHOLE TIME --229   INT. ENTERPRISE - TRANSPORTER BAY - CONTINUOUS                  229      IT'S A RUSH, CRAZY, TENSE AS HELL --Uhura, McCoy, a MED TEAM and      ND OFFICERS race in as Scotty finishes receiving incoming      signals:      KIRK, SPOCK... AND PIKE MATERIALIZE ON THE PAD:                               KIRK                         (to Transporter Chief)                 Nice timing, Lieutenant --                               SCOTTY                 Never beamed two targets from two places                 onto the same pad before! That was                 pretty good!      Kirk transfers Pike to McCoy, who urgently SCANS Pike and barks      to a MED-TECH:                               MCCOY                 -- we're gonna need gastric stimulators,                 let's prep him for surgery, now!230   INT. NARADA - BRIDGE - CONTINUOUS                               230      Everyone's HURLED off their feet -- consoles fry -- FIRE --                               ROMULAN COMMUNICATIONS OFFICER                 Nero-- it's the Enterprise!                               NERO                 LOAD WEAPONS AND RAISE SHIELDS!!!                               ROMULAN HELMSMAN                 ENGINES USING ALL OUR POWER, SIR!      Nero's eyes come UNHINGED --231   INT. ENTERPRISE - BRIDGE - CONTINUOUS                           231      WHOOSH: KIRK and SPOCK race back onto the bridge --                               CHEKOV                 Keptin! The enemy ship is losing power--                 its shields are down!                                            124231   CONTINUED:                                                      231                                 KIRK                   Hail them -- now!      NERO appears on screen from the Narada bridge -- the Narada's on      its last legs -- a beat before Nero TURNS, realizing Kirk's      fucking GRINNING at him from the screen:                                 KIRK (CONT'D)                   This is Captain James T. Kirk of the                   U.S.S. Enterprise -- your ship is                   compromised -- too close to the                   singularity to survive without assistance                   -- which we are willing to provide.                                 SPOCK                           (sotto)                   Captain -- what are you doing?                                 KIRK                           (sotto)                   We show them compassion-- it may be the                   only way to earn peace with Romulus.                   It's logic, Spock! I thought you'd like                   that.                                 SPOCK                   No, not really, not this time.                                 NERO                   I would rather suffer the death of                   Romulus a thousand times than accept                   assistance from you.                                 KIRK                   You got it.                           (turns)                   Lock phasers! Fire everything we've got!232   EXT. SPACE - CONTINUOUS                                         232      THE ENTERPRISE ARCS AROUND, FIRING A FULL SALVO AT THE NARADA --      AND THE HITS CONNECT, A DOMINO-EFFECT OF EXPLOSIONS RIPPLING      ACROSS THE ALREADY WEAKENED SHIP -- IT STARTS NOSE-DIVING,      TOWARD THE BLACK HOLE --233   INT. U.S.S. ENTERPRISE - BRIDGE                                 233                                 KIRK                   Kirk to Engineering: get us out of here,                   Scotty!                                 SCOTTY (V.O.; COMMS)                   -- you bet yer ass, Captain --                                               125234   INT. NARADA - CONTINUOUS                                           234      The walls are RIPPING AWAY, PYLONS pull free from their      moorings, into the ever-expanding sphere -- NERO -- IN THE      CHAOS, KNOWING HE'S REACHED THE END, CLOSES HIS EYES:                               NERO                 Forgive me... Romulus...235   EXT. SPACE - CONTINUOUS                                            235      AND THE NARADA IMPLODES, BUCKLING IN ON ITSELF, DISAPPEARING IN      PIECES INTO THE BLACK VORTEX --      Leaving only the Enterprise -- its nacelles FLARE as the ship      tries to make the quantum leap -- BUT: the black hole's now a      TITANIC WHIRLPOOL so insanely strong that the Enterprise is held      in place by the gravity well even at warp! IT SHAKES INTO A      BLUR, trying to cut loose but it CAN'T --236   INT. ENTERPRISE - BRIDGE - CONTINUOUS                              236                               KIRK                 WHY AREN'T WE AT WARP?!                                  CHEKOV                 -- WE ARE --!                               SCOTTY OVER SPEAKERS                 CAPTAIN, WE'RE TRAPPED IN THE GRAVITY                 WELL! IT'S GOT US!                               KIRK                 GO TO MAXIMUM WARP!       PUSH IT!!!237   INT. ENTERPRISE - ENGINEERING - INTERCUTTING:                      237      Scotty SHOUTS BACK into the com against the SCREAMING DRIVE:                               SCOTTY                 I'M GIVIN' HER ALL SHE'S GOT, CAPTAIN!                               KIRK                 ALL SHE'S GOT ISN'T GOOD ENOUGH!       WHAT                 ELSE D'YOU GOT?!                               SCOTTY                         (last desperate thought)                 IF WE EJECT THE CORE AND DETONATE, THE                 BLAST COULD BE STRONG ENOUGH TO PUSH US                 AWAY BUT I CAN'T PROMISE ANYTHING!                               KIRK                 DO IT DO IT DO IT!                                                126237   CONTINUED:                                                          237      Scotty SLAMS the activation panel and we see the WARP CORE eject      down a tube, like an INSTANT PNEUMATIC RELEASE --238   EXT. ENTERPRISE - ABOVE THE BLACK HOLE - CONTINUOUS                 238      THE WARP CORE TUBE LAUNCHES FROM THE ENTERPRISE, STREAKING RIGHT      INTO THE MOUTH OF THE BLACK HOLE -- AN INSANE, SILENT EXPLOSION:      THE BLACK HOLE LIGHTS UP FROM HORIZON TO HORIZON, THE BLAST WAVE      WHITING OUT THE FRAME! THE ENTERPRISE IS CONSUMED WITHIN IT:      FOR A MINUTE, WE THINK IT'S GONE... UNTIL IT'S JETTISONED OUT      INTO THE STARS, FLYING AWAY, LEAVING THE FIRESTORM BEHIND IT!239   INT. ENTERPRISE - BRIDGE - CONTINUOUS                               239      Everyone white-knuckles their seats as the blast DISSIPATES...      and our crew sits, wide-eyed, trembling... finally, truly safe.240   EXT. STARFLEET ACADEMY - SAN FRANCISCO - DAY                        240      Back home.241   INT. STARFLEET ACADEMY - MEDICAL BAY/HANGAR - DAY                   241      Spock is seen in a medical office with Pike, who lies in bed,      recovering -- McCoy monitors him - Spock exits -- walks through      the corridor -- sees a VULCAN in silhouette, staring out at the      Academy. Sarek. Spock moves to him -- says quietly:                                 SPOCK                   Father...?      Sarek turns -- but IT ISN'T SAREK.   IT'S SPOCK PRIME.     Who says:                                 SPOCK PRIME                   I am not... our father.      An incredible beat, our two Spocks in eye lock... both minds      processing conversational possibilities at an incredible rate...      surreal extensions of each other, separate but connected...                                 SPOCK                   ... Fascinating.                                 SPOCK PRIME                   There are so few Vulcans left.    We cannot                   afford to ignore each other.      Young Spock's eyes flicker in puzzlement...                                 SPOCK                   Then why did you send Kirk aboard when                   you alone could've explained the truth?                                            127241   CONTINUED:                                                      241                                 SPOCK PRIME                           (beat, simply)                   Because you needed each other. Opposing                   yet complimentary opposites. It was that                   balance between us -- I should say                   you and Kirk -- that often made the                   impossible, possible.                                 SPOCK                   ... it was a test?                                 SPOCK PRIME                           (no: his heart heavy)                   I'm in no position to pass judgment...                   my actions have robbed you of much. I                   could not also deprive you the revelation                   of all you can accomplish together... of                   a friendship that will define you both in                   ways you cannot yet realize.      There is, to young Spock's surprise, vulnerability in that.                                 SPOCK                   How did you persuade him to keep your                   secret?                                 SPOCK PRIME                   I inferred universe-ending paradoxes                   would ensue should he break his promise.                                  SPOCK                   You lied.                                  SPOCK PRIME                   I implied.                                  SPOCK                   A gamble...                                 SPOCK PRIME                   An act of faith. One I hope you'll                   repeat in the future.      Young Spock considers an enduring friendship between him and      Kirk... for the first time, understanding it. But --                                 SPOCK                   The future's not what it used to be... in                   the face of extinction, it's only logical                   I resign my Starfleet commission and help                   rebuild our race.                                        127A241   CONTINUED: (2)                                            241                               SPOCK PRIME                 And yet, you are in a unique position...                 you can be in two places at once.                               (MORE)                                              128241   CONTINUED: (3)                                                    241                                SPOCK PRIME (CONT'D)                         (beat)                 I urge you to remain in Starfleet: I've                 already located a suitable planet on                 which to establish a Vulcan colony, and                 assist in the foundation of a new science                 academy.      Young Spock takes that in, resolute...                               SPOCK                 My future cannot be determined by your                 past. We are one, but not the same.                               SPOCK PRIME                 Then I ask that you do yourself a favor.                 Put away logic. Do what feels right.                 The world you've inherited lives in the                 shadow of incalculable devastation... but                 there's no reason you must face it alone.      Spock Prime moves to the door, stops.    Offers the VULCAN SALUTE:                               SPOCK PRIME (CONT'D)                 As my customary farewell would appear                 oddly self serving, I will simply say...                 good luck.      Their eyes hold. Spock turns, disappearing into the corridor.      Young Spock stares at the empty doorway a beat, his mind a      jumble of thoughts... and our MUSIC BUILDS...242   INT. STARFLEET CORRIDOR - HANGAR - CONTINUOUS                     242      As Spock Prime walks off down the corridor, he passes right by a      man conferring with a nurse -- the man pauses, turns... it's      SAREK. Suddenly overcome by a feeling that the stranger who's      just passed him is... oddly familiar.243   INT. STARFLEET ACADEMY - COUNCIL CHAMBERS - DAY                   243      MUSIC STILL BUILDING -- glass walls reveal THE ENTERPRISE at      dock, UTILITY CRAFTS floating around it, repairing. Standing at      attention in rows, THE ENTERPRISE CREW -- over four hundred of      them wearing DRESS UNIFORMS -- TRACK DOWN the faces, all proud --      and we STOP ON YOUNG KIRK. Composed, focused, a man. The      ACADEMY PRESIDENT stands at a podium:                               ACADEMY PRESIDENT                 This assembly calls Captain James                 Tiberius Kirk...                                             129243   CONTINUED:                                                       243      Kirk breaks from formation, pivots, marches down the hangar --      past UHURA... SULU... CHEKOV... SCOTTY. All Beaming. Notably      absent, is Spock. Kirk ascends the stairs, snaps to attention:                                 ACADEMY PRESIDENT (CONT'D)                   Your inspirational valor and supreme                   dedication to your comrades are in                   keeping with the highest traditions of                   service and reflect utmost credit to                   yourself, your crew, and the Federation.                   For your... unique solution to the                   Kobayashi Maru, it's my honor to award                   you with a commendation for original                   thinking.      He opens a BOX -- glorious in repose, a MEDAL:                                 ACADEMY PRESIDENT (CONT'D)                   By Starfleet Order 28455, you are hereby                   directed to report to Commanding Officer,                   USS Enterprise, for duty as his relief.      Kirk turns. Walks to... PIKE. In a wheelchair now, wearing an      ADMIRAL'S UNIFORM. Overnight, his hair's turned totally grey --      but despite his trauma, his pride's overwhelming. They SALUTE:                                 KIRK                   I relieve you, Sir.                                 PIKE                   I am relieved. Congratulations, Captain.      Pike containing a smirk, pins the medal to Kirk's chest.                                 KIRK                   Thank you, Sir.      Kirk turns to the crowd. Eyes shining. WILD APPLAUSE. As Kirk      rejoins his crew for hugs and congratulations, we go to the BACK      of the hangar... SPOCK PRIME. Watching. Moved beyond words.      He turns and leaves them to it... and our MUSIC SWELLS as --244   INT. U.S.S. ENTERPRISE - BRIDGE - CONTINUOUS                     244      The turbolift WHOOSHES open and in walks Kirk -- to every fan's      delight, wearing his iconic GOLD SHIRT. All around him, our      crew -- young and fresh-faced but no longer children -- in      charge of the greatest starship ever built:                                                 130244   CONTINUED:                                                           244                                 SULU                   Maneuvering thrusters and impulse engines                   at your command, Sir.                                 CHEKOV                   Weapons systems and shields on standby.                                 UHURA                   Dock control reports ready.    Yard Command                   signalling clear.                                 KIRK                   Scotty how are we?                                 SCOTTY (O.S. OVER COMM LINK)                   Dilithium chamber at maximum efficiency,                   Captain.                                 MCCOY                           (wry grin)                   Same ship, different day.      And Kirk pauses. His eyes go over to the empty science console      with a sense of incompleteness. In fact, everyone on the bridge      feels it. A bitter truth they'll have to accept.                                 KIRK                   Mr. Sulu, prepare to engage thrus--      WHOOSH: the turbolift door opens.      SPOCK!!!   Wearing his BLUE      UNIFORM. Our hearts soar --                                 SPOCK                   Permission to come aboard, Captain.                                 KIRK                   ... Permission granted.                                 SPOCK                   As you have yet to select a first                   officer, respectfully, I would like to                   submit my candidacy. Should you desire,                   I can provide character references.      Kirk nearly laughs. Spock's eyebrow goes up. Something passes      between them... it carries acceptance, and trust...                                 KIRK                   It would be my honor, Commander.                   Maneuvering thrusters, Mr. Sulu.     Take us                   out.                                   SULU                   Aye, Captain.                                                131244   CONTINUED: (2)                                                      244      As the ship maneuvers out of dry dock, Spock takes his place      next to Kirk. Gold and blue, side by side.245   EXT. STARBASE ONE - DRYDOCK - CONTINUOUS                            245      And the ship crests the drydock portal, drifting into space...      blessed one last time by the voice of our Vulcan hero:                                SPOCK/NIMOY                  Space... the final frontier. These are                  the continuing voyages of the Starship                  Enterprise. Her ongoing mission... to                  explore strange new worlds... to seek out                  new life forms, and new civilizations...                  To boldly go, where no one has gone...                  before...      The TREK THEME SOARS as the Enterprise warps off into a universe      of infinite possibilities...                                                                FADE OUT.              T   H    E     B     E   G   I   N   N    I   N   G                                              132245   CONTINUED:                                                        245                    ADDENDUM TO SCRIPT: ALTERNATE SCENES                              ALTERNATE SCENE A      THE FOLLOWING DIALOGUE TO BE ASSIGNED TO MAIN OR ADDITIONAL      BRIDGE CREW IF TIME AND CASTING PERMITS.      INT. KELVIN BRIDGE                                 CAPTAIN ROBAU                   ... oh my God...                           (to himself, boggled)                   A lightning storm... then this...                           (to deck)                   Signal all departments: first contact                   protocols. Looks like we have someone                   new on the block. All Stop.                                 KELVIN CREW MEMBER                   All stations, FC-3 procedures                   initiated..."                                 KELVIN CREW MEMBER COMMS                   Broadcasting universal greeting on all                   open frequencies.                                 FIRST OFFICER                   Sir, should we initiate an active scan?                                 CAPTAIN ROBAU                   That could be seen as an act of                   provocation -- all readings passive--      Crew members are glued to their telemetry, working consoles:                                 KELVIN CREW MEMBER                   EM sensors in passive sweep...                                 KELVIN CREW MEMBER (CONT'D)                   Power signature detected -- level's                   increasing.      Suddenly, a WARNING BEEP --               OFFICER PITTS                      CAPTAIN ROBAU      Sir, I have a reading --      they've locked weapons on us!     -- Red alert!   Arm weapons!      ALARMS BLARE -- LIGHTS GO RED as --                                        133EXT. SPACE - CONTINUOUSThe Narada FIRES a TORPEDO -- IT HEADS FOR THE KELVIN -- thenSEPARATES, fracturing into a multi-hit projectile --INT. U.S.S. KELVIN - CONTINUOUSOfficers SCRAMBLE, brace for impact --         FIRST OFFICER                      CAPTAIN ROBAUTorpedo locked on us at 320degrees, mark two -- incoming      -- Evasive pattern Delta-5!fast!                         CREW MEMBER           Redirecting auxiliary power to forward           shields!"                         CREW MEMBER (CONT'D)           Aft torpedo tubes are hot!EXT. U.S.S. KELVIN - CONTINUOUSA direct hit SMASHES several decks along the DISH of the ship --INT. U.S.S. KELVIN - BRIDGE - CONTINUOUSCaptain Robau helps a fallen CREW MEMBER up from the floor --then, on his chair com:                            CAPTAIN ROBAU           Damage report!INTERCUT with:INT. U.S.S. KELVIN - ENGINE ROOM - CONTINUOUSMoving with the Kelvin's CHIEF ENGINEER:                         KELVIN CREW MEMBER           Diagnostic's back online -- rerouting to           auxiliary console.                         KELVIN CREW MEMBER 2           Power grid junctions C-7 and E-3 are           out...                         KELVIN CREW MEMBER           Dispatch repair teams to deck 4.                                    134CONTINUED:                           CHIEF ENGINEER             Our shields did nothing, Sir! Never seen             anything like it! Weapons off-line!             Main power at 38 percent!                                           135CONTINUED: (2)                         ALTERNATE SCENE B                         SPOCK PRIME           Then I ask that you do yourself a           favor... put away logic, and do what           feels right. The world you've inherited           lives in the shadow of incalculable           devastation... but there's no reason you           must face it alone.And from around his neck, he removes the PENDANT that until now,we've only caught glimpses of. Places it on the table besidehis younger self. The feeling in his eyes is profound...                         SPOCK PRIME (CONT'D)           This was a gift to me.   Representing...           a dream. One we were unable to fulfill.                   (softly)           The way you can now.And moves to the door.    Stops.   Offers the VULCAN SALUTE:                         SPOCK PRIME (CONT'D)           As my customary farewell would appear           oddly self serving, I will simply say...           good luck.Their eyes hold. Spock turns, disappearing into the corridor.Young Spock stares at the empty doorway a beat, his mind ajumble of thoughts. Looks to the pendant... and realizes it's aHOLO-EMITTER. After considering a beat, he hits an activationbutton and a MOVING HOLOGRAPHIC MESSAGE materializes before him:CAPTAIN JAMES T. KIRK. WILLIAM SHATNER.      As always, brash, wry,confident -- and SINGING:                         KIRK/ SHATNER           Happy birthday to you, happy birthday to           you...                   (stops, grins)           I know I know, it's illogical to           celebrate something you had nothing to do           with, but I haven't had the chance to           congratulate you on your appointment to           the ambassadorship so I thought I'd seize           the occasion... Bravo, Spock -- they tell           me your first mission may take you away           for awhile, so I'll be the first to wish           you luck... and to say...                   (beat, emotional)           I miss you, old friend.                                      136CONTINUED: (3)... and we're PUSHING IN on Young Spock, taking in the image ofKirk's future self, the message, but above all -- the clear,unquestionable friendship these two men had...INT. CORRIDOR - CONTINUOUSAs Spock Prime walks off down the corridor, he passes right by aman conferring with a nurse -- the man pauses, turns... it'sSAREK. Suddenly overcome by a feeling that the stranger who'sjust passed him is... oddly familiar.                         KIRK/SHATNER (V.O.)           I suppose I'd always imagined us...           outgrowing Starfleet together. Watching           life swing us into our Emeritus years...INT. STARBASE ONE - HANGAR - ETERNAL NIGHTMUSIC BUILDING -- glass walls reveal THE ENTERPRISE at dock,UTILITY CRAFTS floating around it, repairing. Standing atattention in rows, THE ENTERPRISE CREW -- over four hundred ofthem wearing DRESS UNIFORMS -- TRACK DOWN the faces, all proud:                         KIRK/SHATNER (V.O.)           I look around at the new cadets now and           can't help thinking... has it really been           so long? Wasn't it only yesterday we           stepped onto the Enterprise as boys?           That I had to prove to the crew I           deserved command... and their respect?And we STOP ON YOUNG KIRK. Composed, focused, proud. A man.And to every fan's delight, finally wearing his YELLOW SHIRT.The FEDERATION COMMANDANT stands at a podium:                         COMMANDANT           This assembly calls Captain James           Tiberius Kirk...Kirk breaks from formation, pivots, marches down the hangar --past UHURA... SULU... CHEKOV... SCOTTY. All Beaming. Notablyabsent, is Spock. Kirk ascends the stairs, snaps to attention:                         COMMANDANT (CONT'D)           Your inspirational valor and supreme           dedication to your comrades are in           keeping with the highest traditions of           service and reflect utmost credit to           yourself, your crew, and the Federation.           By Starfleet Order 28455, you are hereby           directed to report to Commanding Officer,           USS Enterprise, for duty as his relief.                                         137CONTINUED:Kirk turns. Walks to... PIKE. In a wheelchair now, wearing anADMIRAL'S UNIFORM. Overnight, his hair's turned totally grey --but despite his trauma, his pride's overwhelming. They SALUTEeach other:                           KIRK             I relieve you, Sir.                           PIKE             ... I am relieved.He opens a BOX in his lap -- glorious in repose, a MEDAL:                           PIKE (CONT'D)             And as Fleet Admiral, for your... unique             solution to the Kobayashi Maru, it's my             honor to award you with a commendation             for original thinking.Pike containing a smirk, pins the medal to Kirk's chest...                           PIKE (CONT'D)                     (a touch choked)             Congratulations, Captain.                           KIRK             Thank you, Sir.Kirk turns to the crowd. Eyes shining. WILD APPLAUSE.    OURMUSIC SOARS. Bones leans in to Sulu, rolling his eyes:                           BONES             ... Same ship, different day.As Kirk rejoins his crew for hugs and congratulations, we go tothe BACK of the hangar... SPOCK PRIME. Watching. Moved beyondwords. He turns and leaves them to it... as he goes...                           KIRK/SHATNER (V.O.)             I know what you'd say -- `It's their turn             now, Jim...' And of course you're             right... but it got me thinking:INT. STARFLEET HOSPITAL - EARTH - DAYOur montage comes full circle as we END on Kirk's transmission:                            KIRK/SHATNER             Who's to say we can't go one more round?             By the last tally, only twenty five             percent of the galaxy's been chartered...             I'd call that negligent. Criminal even --             an invitation.                            (MORE)                                       138CONTINUED:                           KIRK/SHATNER (CONT'D)             You once said being a starship captain             was my first, best destiny... if that's             true, then yours is to be by my side. If             there's any true logic to the universe...             we'll end up on that bridge again             someday.Stops, grins.   Because this is the part he needs to say most...                           KIRK             Admit it, Spock. For people like us, the             journey itself... is home.Young Spock's face.   Lost in feelings that flood through him.                                         139CONTINUED: (2)                       ALTERNATE SCENE CSKILL DOMES: Questions to be spoken or represented graphicallyand answers to be dispersed to Vulcan children at directorsdiscretion.Q: What is the arc length of a curve from x equals a to x equalsb?A: The integral, from a to b, of the square root of one plus thesquared derivative of y with respect to x, d x.Q: Calculate the dimensionality of a fractal whose initiatordivides into three equal parts, each of which is replaced byfour parts.A: 1.26Q: What is the dimensionality of a fractal whose initiatordivides into r equal parts , each being replaced by N equalparts?A: Dimensionality equals the logarithm of N divided by thelogarithm of r.Q: A cone is sliced by a plane that does not intersect the base,nor is the plane parallel to the base. What shape is formed bythe intersection?A: An ellipse.Q: What is the formula for the volume of a sphere?A: Four-thirds pi times the radius cubed.Q: What is the electrical charge of an up-type quark?A: Positive two thirds.Q: A discount function with exponential discounting for allperiods, and an additional scalar discount for the present, iscalled what?A: Quasi-hyperbolic.                                        140CONTINUED: (3)Q: An excessively impatient person, who discounts future valuessolely because they are not in the present, is called what?A: A hyperbolic or quasi-hyperbolic discounter.Q: In an infinitely repeated classic prisoners' dilemma, howmany subgame perfect equilibria exist?A: Infinitely many.Q: How many equilibria exist in a classic Hawk-Dove strategicinteraction game?A: Two in pure strategies and one in mixed strategies.    (Themixed strategy equilibria is unstable.)Q: What are the two key features of a pure public good?A; Non-excludability and non-rivalry in consumption.Q: What is the only known intelligent life form to have achievedfaster-than-light travel without political unification?A: Humans. Assuming, of course, you regard humans asintelligent.Q: What are the six recognized exceptions to the Prime Directiveunder Federation law?A: LEAVE UNANSWEREDQ: What are the four key dimensions of Vulcan aesthetics?A: Leave unansweredQ: What term describes an action that is morally praiseworthybut not morally obligatory?A: Supererogatory.Q: When is an action said to be supererogatory?A: When it is morally praiseworthy but not morally obligatory.                                      141CONTINUED: (4)                       ALTERNATE SCENE DMiscellaneous dialogue to be dispersed by director to supportingcrew or main cast at his/her discretion.CADETS AT STARFLEET:                          CADET            Heard that guy passed second-year exams            in his first term.                          CADET (CONT'D)            Ruining the curve for everyone.                          CADET (CONT'D)            I'd like to load her photon tubes.                          CADET (CONT'D)            Can't believe I failed the navigational            comp.                          CADET (CONT'D)            The Newton's not an antique, it's a            classic. Give me the Newton over the            Enterprise any day.                          CADET (CONT'D)            Did you see the new assignment roster?                          CADET (CONT'D)            I flunked the sub-atomic particles quiz.                          CADET (CONT'D)            They better give me a red shirt for this.                          CADET (CONT'D)            Do we have time to get married?                          CADET (CONT'D)                    (on one knee)            I know this is sudden, but... will you            marry me?                          CADET (CONT'D)            I'm calling my Mom...                          CADET (CONT'D)            Can't believe I'm on the Mayflower...ROMULANS:                                   142CONTINUED: (5)                         ROMULAN OFFICER           Secure the transport deck.                         ROMULAN OFFICER (CONT'D)           Security team to the docking bay.           Report.                         ROMULAN OFFICER (CONT'D)           Bring the prisoner to the bridge.                         ROMULAN OFFICER (CONT'D)           Secure the prisoner and take him to the           brig.                         ROMULAN OFFICER (CONT'D)           Federation defenses are weak in this era.                         ROMULAN OFFICER (CONT'D)           Prepare shuttles for evacuation.                         ROMULAN OFFICER (CONT'D)           Communications -- monitor all Federation           channels.                         ROMULAN OFFICER (CONT'D)           Scramble signals on all Federation           channels.                         ROMULAN ENSIGN           Anterior hull breach, deck level seven.                         ROMULAN ENSIGN (CONT'D)           Security breach in the docking bay,           tracking now...                         ROMULAN ENSIGN (CONT'D)           The Vulcans value logic but not honor.                         ROMULAN ENSIGN (CONT'D)           No remaining signal - the vessel is gone.                         ROMULAN OFFICER           Long live the Romulan Star Empire.                         ROMULAN OFFICER (CONT'D)           We are being attacked.                         ROMULAN OFFICER (CONT'D)           Stinking Klingons.                         ROMULAN ENSIGN           Captain we have a new contact.                                   143CONTINUED: (6)                         ROMULAN ENSIGN (CONT'D)           Firing solution ready.                         ROMULAN ENSIGN (CONT'D)           Sir, tracking new contact.                         ROMULAN ENGINEER           Sir, we have a hull breach in the aft           section.                         ROMULAN ENGINEER (CONT'D)           This is a mining vessel. We don't have           the manoeuvrability to follow.VULCANS:                         VULCAN CIVILIAN           Where is planetary security?                         VULCAN CIVILIAN (CONT'D)           The planet is coming apart!                         VULCAN CIVILIAN (CONT'D)           Hope is beyond reason.                         VULCAN CIVILIAN (CONT'D)           Stay together and keep moving.                         VULCAN CIVILIAN (CONT'D)           Planetary evacuation is in progress.                         VULCAN CIVILIAN (CONT'D)           This is highly improbable.                         VULCAN CIVILIAN (CONT'D)           It seems we are under attack.                         VULCAN CIVILIAN (CONT'D)           I await my fate with a clear consciences.                         VULCAN PRIEST           An end is just a beginning.STARFLEET BRIDGE:                         ENSIGN           All com channels open.                         ENSIGN (CONT'D)           We have clearance from Starfleet.                         ENSIGN (CONT'D)           Proceeding as directed.                                   144CONTINUED: (7)                         ENSIGN (CONT'D)           Transporter deck is operational.                         ENSIGN (CONT'D)           Shields at one-hundred percent and           stable.                         ENSIGN (CONT'D)           Engineering reports warp core is stable.                         ENSIGN (CONT'D)           Warp propulsion system is at maximum           efficiency.                         OFFICER           Monitor all channels.                         OFFICER (CONT'D)           Bring up schematics for the Defiant,           Newton, Armstrong, and Mayflower.                         OFFICER (CONT'D)           Set a course for Rigel 3 and transmit to           the other ships.                         ENSIGN           Warp drive is off line, we are on impulse           only, repeat, impulse only.                         ENSIGN (CONT'D)           Sir, we've been detected -- Romulan           vessel is turning about.                         OFFICER           Rerouting power to port shields.                         ENSIGN           Hull breach on deck 38, atmospheric           stabilization has been lost.                         ENSIGN (CONT'D)           Life support is fluctuating.MEDICAL BAY:                         NURSE           Class four casualties here, class three           in the next door.                         DOCTOR           Dose him alpha waves and resume           compressions.                           145CONTINUED: (8)                         DOCTOR (CONT'D)           Cortical stimulation's failing --                         NURSE           This should numb the pain.                            NURSE (CONT'D)           Airways clear.
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+                                            Story by                                  Rick Berman & Brannon Braga                                        & Ronald D. Moore                                          Screenplay by                                Brannon Braga & Ronald D. Moore                                                                      First Draft                                                               September 29, 1995               1   A BLACK VOID                                                 1                   We can hear movement. Strange skittering sounds, like                   razor-claws on metal... the hiss of pneumatic hoses...                   the whirr and click of servos... liquid gurgling... an                   eerie, alien cacophony.               2   EARTH                                                        2                   appears, hanging now in the starry blackness. The                   alien noises continue, and far in the distance we hear                   the muffled THUMP of what could be a distant explosion.                   Alien TEXT suddenly appears next to Earth, and we                   REVEAL we are in --               3   INT. BORG RECON CENTER                                       3                   The image of Earth is actually on a monitor, which is                   only one of DOZENS of MONITORS covering a huge wall.                   We don't see anything of the rest of the room, but the                   technology in view is distinctly alien and bizarre --                   a mixture of organic and mechanical elements.                   Circuitry and optical cabling are side-by-side with                   what looks almost like arteries and organs. We can                   still hear the creepy skittering and gurgling noises.                   Occasionally, a SHADOWY FORM sweeps past the camera,                   vaguely humanoid but we can't tell who or what it is.                   All of the monitors are active, and they present myriad                   IMAGES and SOUND -- all related to EARTH HISTORY. The                   screens show everything from written Chinese... to                   Renaissance paintings... to black and white newsreel                   footage of World War Two... to what look like clips of                   space battles from the 24th century. The entire range                   of human history dancing across the monitors. The                   effect is dizzying -- we get the feeling that whoever                   is watching this is studying the human race.                   There is another THUMP and the wall of monitors                   SHUDDERS slightly. We hear the VOICE of what we will                   come to know as the BORG COLLECTIVE -- thousands of                   voices speaking at once :                                           BORG                             Restrict search parameters to 1-9-                             9-8 through 2-0-8-4.                   The images on the monitors now change to show us images                   from 21ST CENTURY Earth history.                   Again, it's a collection of still photography, video                   footage, text, artwork, etc. We hear snippets of sound-                   bites, music, speeches from the period. A lot of                   enticing details. As the images race across the                   monitors, we should learn the following.                   -- The turn of the 21st century brought chaos.                   Regional wars, the collapse of the United Nations.                   Societal break-down. Crime, starvation, desperation.                   -- A Third World War. Nuclear explosions,                   environmental disasters, tens of millions dead. The                   United States ceases to exist. All political authority                   vanishes. Humanity teetering on the edge of the Second                   Dark Age.                   -- The image of a single man -- ZEPHRAM COCHRANE. A                   visionary scientist. He see the spacecraft he created                   out of a nuclear missile. He flies the first warp                   test, breaking the light barrier. It changes history.                   -- Grainy black and white images of a VULCAN SCOUT SHIP                   landing on Earth. They saw Cochrane's flight, followed                   him back to Earth, and made First Contact with the                   human race.                   -- Humanity turns the corner. First Contact with an                   alien civilization brings the planet together as never                   before. Humans and Vulcans working together, beginning                   to solve long-standing problems with new technology.                   We see an early replicator producing food for the                   starving millions. A new World Government is formed.                   -- People from planet Earth and people from Vulcan form                   an Alliance. They call it the United Federation of                    Planets. And they commission a fleet of starships for                   protection and exploration. They call it Starfleet.                   -- These are images recounting the birth of the Star                   Trek universe.                   Another muffled EXPLOSION, this one stronger, SHAKES                   the entire wall. One of the monitors BLOWS OUT in a                   shower of sparks. And now a new voice, a woman's                   voice, low, threatening, with a slight metallic                   inflection, speaks for the first time:                                           WOMAN'S VOICE                             Stop search. Calculate temporal                             coordinates. J-Fourteen.                   Another explosion ROCKS the room and it takes us to:               4   EXT. SPACE - A BORG SPHERE                                   4                   A huge, spherical Borg warship as it takes a phaser                   shot from an unseen vessel. The BLAST smashes into the                   Borg Sphere, but the massive ship continues. The                   Sphere returns FIRE. FOLLOW the Borg fire to --               5   A FEDERATION STARSHIP                                        5                   locked in battle with the Borg Sphere. The Borg fire                   DESTROYS the Federation ship in a fiery blast.               6   NEW ANGLE                                                    6                   as the Borg Sphere flies away from the wreckage of the                   decimated starship, and as it does, we reveal that this                   is just one small part of --               7   A MASSIVE SPACE BATTLE                                       7                   involving dozens of Starfleet and Borg vessels, engaged                   in a fierce FIREFIGHT as far as the eye can see. Ships                   turning, twisting, firing, exploding. Lots of movement.                    It's a spectacular sight.                   The Borg Sphere is moving away from the battle, heading                   off in another direction.                8   NEW ANGLE                                                    8                   In the middle of the battle. A BORG CUBE is attacking                   a smaller Federation starship. The starship is taking                   quite a beating... explosions all along the hull... it                   doesn't look like it can take much  more of this.                   Suddenly a spread of FOUR TORPEDOES come blazing in                   from O.C. The torpedoes SLAM into the Borg ship,                   causing massive damage.               9   THE USS ENTERPRISE NCC 1701-E                                9                   SOARS into view and moves to protect the beleaguered                   starship.                   The Enterprise is Starfleet's newest and most powerful                   vessel. An elegant and majestic ship. But unlike the                   last Enterprise, Starfleet has opted for a more                   muscular vessel and the hull is studded with weapons                   and other defensive armory. We get the feeling this                   Enterprise is ready for anything.              10   INT. ENTERPRISE-E - BRIDGE                                  10                   The Bridge has been redesigned. A single Captain's                   chair dominates the room, and surrounding consoles and                   stations all face inward instead of out, giving Picard                   instant access to his officers. PICARD in the                   Captain's chair. RIKER at a new Ops station. DATA at                   the helm. WORF at Tactical. TROI at Communications,                   various CREWMEMBERS at their posts. The ship is at Red                   Alert and everyone is tense.                                           PICARD                             Signal the Endeavor to fall back.                             We'll cover them.                                           TROI                             Aye, sir.                   She works her console.              11   EXT. SPACE - THE ENTERPRISE & BORG SHIP                     11                   The Endeavor moves off as the Borg FIRE at the                   Enterprise and BLASTS the saucer section. This should                   also produce an unusual effect -- instead of the                   traditional "bubble" shielding, the new armor of this                   Enterprise ABSORBS the blast and dissipates the energy                   across the hull. The ship is undamaged.              12   INT. BRIDGE                                                 12                   The ship is ROCKED by the blast.                                           DATA                             Dispersive armor is holding.                                           PICARD                             Bring us about. Target Borg ship                             alpha four, port side battery.                                           WORF                             Port battery, ready sir!                                           PICARD                             Fire.              13   EXT. SPACE - THE ENTERPRISE                                 13                   As RAPID PHASER SHOTS leap out from half a dozen points                   along the ship's port side. (NOTE: The phasers also                   look different, more along the lines of a gatling gun).                   The Borg Cube EXPLODES. The Enterprise flies through                   the debris.              14   INT. BRIDGE                                                 14                   Including MAIN VIEWSCREEN, which has a view of the                   chaotic battle surrounding them. Another Borg vessel                   looms into view.                                           PICARD                             Starboard battery -- fire.              15   EXT. SPACE                                                  15                   The Enterprise fires a burst of phasers -- but this                   time, the phasers have no effect. We see a strange                   SHIELDING appears around the Borg ship.              16   INT. BRIDGE                                                 16                   On the main viewer, the massive Borg ship looms closer.                                           DATA                             The Borg ship has modified its                             shields, Captain. Our phasers                             will no longer be effective.                                           PICARD                             Ready quantum torpedo.                                           WORF                             Aye, sir. Only three left.                   Another JOLT as we're hit.                                           GEORDI'S COM VOICE                             La Forge to bridge.                                           PICARD                             Go ahead.                   INTERCUT:              17   INT. MAIN ENGINEERING                                       17                   Where GEORDI and N.D. Engineers are rushing about, hard                   at work. Geordi is no longer wearing his VISOR -- he                   now has artificial ocular implants for eyes. They have                   a distinctive electronic look to them.                                           GEORDI                             Captain, I'm starting to worry                             about the hull integrity. We've                             been running the support field at                             full power for three hours                             straight. I don't know how much                             longer it's going to hold up.                                           PICARD                             Understood. Keep me informed.                   END INTERCUT:              18   INT. BRIDGE                                                 18                   The Borg cube is huge on the main viewer as the                   Enterprise rushes toward it.                                           TROI                             Incoming transmission from the                             Borg.                                           PICARD                             On screen.                   Data works and the viewer changes to a view of the                   INTERIOR of the BORG CUBE. A vast CHAMBER crammed with                   HUNDREDS of BORG DRONES standing upright in individual                   alcoves. They're everywhere -- on the ceiling, walls,                   floor. This is a BORG COLLECTIVE -- hundreds of Borg                   that form a gigantic "hive" mind. The Borg are half-                   man/half machine. No individual personalities. No                   feelings. They have only one goal in life: to                   assimilate new races into their collective. To become                   a Borg is to experience living death. When they speak,                   they speak as a collective -- thousands of voices                   speaking as one:                                           BORG                             Your defense perimeter is                             useless. You will be assimilated.                                           PICARD                                     (to Borg)                             Break off your attack. By now,                             you must realize you can't win...                                           BORG                             Your opinion is irrelevant. We                             are the Borg. Resistance is                             futile.                                            PICARD                             We'll see about that...                                     (to Worf)                             Fire.                   Worf works.              19   EXT. SPACE - THE ENTERPRISE - CLOSE ON TORPEDO BAY          19                   A QUANTUM TORPEDO BLASTS out of the launcher and heads                   toward the Borg cube. This torpedo is completely                   different than the traditional photon torpedo. It                   oscillates and changes shape and color as it streaks                    toward the Borg ship.                20   THE BORG SHIP                                               20                   as the quantum torpedo HITS IT. But instead of                   exploding on the surface, the torpedo PIERCES the ship                   like an armor-piercing shell and momentarily VANISHES                   from view. The ship then EXPLODES like a star going                   supernova -- bright light and shock waves.              21   INT. BRIDGE                                                 21                   The ship is ROCKED violently by the shock wave. People                   hanging on.                                           DATA                             Main power still on-line, Captain.                   Riker looks at his console.                                           RIKER                             Casualties are light, Captain.                             Minor buckling on the port                             nacelle. Nothing serious.                                           WORF                             Incoming message from the Starship                             Intrepid. Admiral Hayes.                                           PICARD                             On screen.                   The viewer shows ADMIRAL HAYES on the Bridge of his                   starship.                                           ADMIRAL HAYES                             The new quantum torpedoes are                             doing the trick, Jean-Luc. We've                             destroyed forty-seven Borg ships                             so far... and only lost fifteen of                             our own.                                    (beat)                             But one of the Borg ships has                             broken through our defenses, and                             it's heading directly for Earth.                             Can you handle it?                                           PICARD                             Absolutely.                                           ADMIRAL HAYES                             Good hunting. Hayes out.                                           PICARD                             Mister Data, set a pursuit course.                             Maximum warp.                        22   EXT. SPACE - THE ENTERPRISE                                 22                   as it breaks away from the battle...and races INTO                   WARP.              23   EXT. SPACE - EARTH                                          23                   There are Starfleet satellites and space stations in                   close orbit. The Borg Sphere seen before enters frame.                   The satellites open fire, but they have little effect                   on the massive Borg Sphere, which returns fire,                   EXPLODING them in orbit.                   The Sphere heads down toward the Earth...              24   INT. BRIDGE                                                 24                                           DATA                             We are approaching the Terran                             System, Captain.                                           PICARD                             Go to impulse. Where's the Borg                             ship?                                           DATA                             It has entered Earth orbit.                                     (off console)                             Correction -- it is not in orbit.                             It is heading directly toward the                             surface.                                           PICARD                             What?                   Picard gets up, moves to Data's console.                                           RIKER                                     (incredulous)                             Some sort of suicide tactic?                                           DATA                             Unknown, sir. Suicide tactics are                             not normally associated with the                             Borg.                   Data reacts to his console.                                           DATA                             Sensors show a temporal signature                             emanating from the Sphere. High                             concentrations of tachyons...                   Picard studies Data's monitor.                                           PICARD                             And chronometric particles... it's                             as though they're trying to create                             a temporal vortex...                   A beat as Picard makes a shocking realization.                                           PICARD                             Time travel... they're attempting                             time travel...                                     (beat)                             Full power, Mister Data. Worf,                             quantum torpedoes at my command!                                                     WORF                             Aye, sir.              25   EXT. EARTH'S ATMOSPHERE                                     25                   The Borg Sphere GLOWING RED and beginning to burn with                   friction as it PLUMMETS toward Earth...              26   NEW ANGLE - THE ENTERPRISE                                  26                   plunging down into the atmosphere, giving chase...               27   INT. BRIDGE                                                 27                   Urgent.                                           WORF                             Range -- fifty kilometers.                                           DATA                             A temporal vortex is forming                             directly ahead of the Sphere.              28   EXT. EARTH'S ATMOSPHERE                                     28                   Just ahead of the Sphere we see a TEMPORAL VORTEX                   opening -- a maelstrom of light and energy stretching                   into infinity. ENERGY explodes from the vortex as the                   Sphere begins to go inside...              29   THE ENTERPRISE                                              29                   as it's HIT by the tremendous energy blast from the                   vortex. The ship spins around, nearly rips apart.              30   INT. BRIDGE                                                 30                   Everyone THROWN to the deck. Consoles sparking. Power                   failing. SHAKING.                                           RIKER                             Main power off-line!                                           DATA                             Switching to emergency back-ups.                   Riker checks a console.                                           RIKER                             We're caught in some kind of                             energy wake from the vortex...                                           PICARD                             Worf... torpedo... now!                   Worf works...              31   EXT. EARTH'S ATMOSPHERE                                     31                   Another QUANTUM TORPEDO is launched from the                   Enterprise. But just before it hits the Borg Sphere,                   the Sphere VANISHES inside the vortex. The torpedo                   hits the roiling energy of the Vortex and detonates                   with a harmless flash. The Vortex itself starts                   COLLAPSING...              32   INT. BRIDGE                                                 32                   The shaking subsides.                                           DATA                             I have helm control.                                           PICARD                             Where's the Sphere?                                           WORF                             They have traveled into the                             vortex... through time.                   Disturbed reactions.                                           DATA                             The vortex is collapsing, sir.                                           PICARD                             Contact Starfleet Command.                                           WORF                             No response.                                     (reacts to console)                                     I'm not reading any Starfleet com                             traffic in this entire sector.                                           TROI                                     (off console)                             Captain, I've scanned the planet.                             The atmosphere contains a high                             concentration of methane, carbon                             monoxide and fluorine. The oceans                             have been chemically altered, as                             well.                                           PICARD                             On screen.                   She works, and on the View screen EARTH appears as seen                   from orbit. The crystal blue marble is now covered by                   a thick, turbulent DARK ATMOSPHERE -- polluted and                   ugly. Reactions.                                           PICARD                             Life signs?                                           TROI                             Population... thirty-five                             billion...                                     (reacts)                             All Borg.                   A shocking moment.                                           DATA                                     (off console)                             The planet's surface is covered                             with Borg technology.                                     (beat)                             So is the moon... and three other                             planets in this solar system.                                           TROI                             But how?                                           PICARD                             They must've done it in the                             past... they went back and                             changed history...                                           RIKER                                     (stunned)                             They did it... they assimilated                             Earth.                                           WORF                             But if they changed history...                             then why are we still here?                                           DATA                             We were caught in the temporal                             wake from the vortex. It must                             have protected us from any changes                             in the time-line.                   Worf's console sounds an alarm.                                           WORF                             Captain, there are five Borg ships                             closing in on our position.                                           PICARD                                     (making a decision)                             Data, set a course for that                             vortex.                                           TROI                             Captain...?                                           PICARD                             We have to follow them back...                             repair whatever damage they've                             done to that time-line.                                           DATA                                     (working)                             Course laid in. Engaging impulse                             engines.                   The ship is suddenly ROCKED.              33   EXT. SPACE - ENTERPRISE & BORG SHIPS (OPTICAL)              33                   The Enterprise is being chased by FIVE BORG SHIPS as it                   heads down toward the planet. The Borg vessels FIRE on                   the Enterprise.              34   INT. BRIDGE                                                 34                   As before. The ship is shaking.                                           WORF                             Hull integrity down to thirty                             percent...                                           PICARD                             Steady as she goes.              35   INCLUDE VIEWSCREEN (OPTICAL)                                35                   Ahead of the ship, we see the VORTEX collapsing. The                   shaking increases. A console EXPLODES.                                                                            WORF                             Borg vessels are closing to two                             thousand meters.                   The ship is HIT AGAIN AND AGAIN. On the View Screen,                   we're nearly on the vortex, but it's closing fast.                                           PICARD                             Take us in!              36   EXT. SPACE - ENTERPRISE & VORTEX (OPTICAL)                  36                   The Enterprise just barely makes it inside the vortex                   as it finally COLLAPSES. Both the Enterprise and the                   vortex VANISH.                                                                          CUT TO:              37   EXT. SPACE                                                  37                   An empty star field. Suddenly, the VORTEX APPEARS and                   the Enterprise comes ROARING out into space. The                   vortex VANISHES behind the ship.              38   INT. BRIDGE                                                 38                   The shaking subsides. Everyone exchanges a look, tries                   to re-orient themselves.                                                                            PICARD                             Report.                                           RIKER                             We're still in Earth orbit.                                           PICARD                             On screen.              39   INCLUDE VIEWSCREEN                                          39                   Which shows Earth. The Borg pollution is gone.                                           PICARD                             What year is it?                                           DATA                                     (working)                             According to our astrometric                             readings... the year is 2063.                                           WORF                             Captain, I've found the Borg                             Sphere. It's on the far side of                             the planet...firing at the                             surface.                                           PICARD                                     (to Data)                             Intercept course, full impulse.                                     (to Worf)                             Weapons status?                                           WORF                             Phasers are off-line... we have                             two quantum torpedoes left. But                             the computer targeting system has                             been destroyed.                                           PICARD                             Go to manual.                   Worf pops open a panel and a high-tech TARGETING console                   emerges with a small MONITOR and a traditional CROSS-                   HAIR in the center. Worf grabs the targeting hand-                   controls -- futuristic joysticks.              40   EXT. SPACE - THE BORG SPHERE                                40                   The ship is FIRING its weapons down toward the planet                   as the Enterprise comes up over the horizon.              41   INT. BRIDGE                                                 41                   As before. Worf works his controls. A complex array                   of grids, coordinate information, speed data, and other                   weapons info on the monitor screen. He begins trying                   to focus the cross-hairs on the Sphere.                                           PICARD                                     (over above action, to                                      Troi)                             Track their weapons fire.                                           TROI                                     (off console)                             Western hemisphere... North                             American continent...                                           DATA                             We are within torpedo range.                                           RIKER                             They've seen us. They're taking                             evasive action.                                           PICARD                                     (urgent)                             Mister Worf?                   Worf struggles with the targeting system.                                           WORF                             Target...                   The crosshairs keep missing the image of the Borg                   Sphere, which is now twisting and turning to evade us.                   Troi reacts to her console.                                           TROI                             Captain, they're firing at a                             nuclear missile silo... in central                             Montana.                                           WORF                                    (struggling)                             Target...                                           PICARD                                     (worried)                             Montana...                   The crosshairs finally LOCK on the Borg Sphere.                                           WORF                             Target locked!                                           PICARD                             Fire!              42   EXT. SPACE - THE BORG SPHERE                                42                   The quantum torpedo streaks in from off-camera and                   slams into the Borg ship. It penetrates the Sphere as                   seen before... a long beat... and then it EXPLODES.              43   INT. BRIDGE                                                 43                   As everyone reacts to the destruction of the Sphere.                   But Picard has no time for celebration.                                           PICARD                                     (to Data)                             Mister Data, I want to know the                             exact date and time.                                     (to Riker)                             Give me a damage report on that                             missile silo.                                           DATA                                     (works)                             Today is March second, 2063. The                             time in Montana is oh-eight-forty-                             five.                                           RIKER                                     (works)                             Looks like they damaged the                             silo...                                           PICARD                              Life signs?                                           RIKER                             Can't tell. Long-range bio-                             sensors are off-line.                   Picard thinks for a moment... makes an instant decision                   and turns to Worf.                                           PICARD                             Worf, have Doctor Crusher, Mister                             La Forge and a security team meet                             me in Transporter Room Three.                             Civilian clothes.                                           WORF                             Aye, sir.                   Worf works. Riker turns to him, curious.                                           RIKER                             Captain?                                           PICARD                             In twenty-four hours, Zephram                             Cochrane is supposed to conduct                             the very first warp test... from                             a missile silo in Montana. If I'm                             right, the Borg were trying to                             change the course of human history                             by killing him or destroying his                             ship.                                           RIKER                                     (nods in understanding)                             And if they succeed, humans won't                             make First Contact with the                             Vulcans tomorrow.                                     (beat)                             As First Officer I should be the                             one beaming down...                                           PICARD                             Normally, I would agree. But in                             this case, the mission requires a                             certain knowledge of 21st century                             history. You're many things,                             Number One, but you're not much of                             an historian.                   He grins slightly, has to agree.                                           RIKER                             Good luck, sir.                                           PICARD                             I'll keep in contact. You have                             the Bridge.                   Picard EXITS...                                                                          CUT TO:              44   INT. TRANSPORTER ROOM                                       44                   Picard, Geordi and THREE SECURITY GUARDS are checking                   their phasers and tricorders. Everyone is wearing civilian                   clothes. Geordi has a large engineering kit... Transporter                    Chief pulling on a civilian jacket. She looks a little                    frazzled - it's been a long day in Sickbay.                                           BEVERLY                             Will somebody please tell me where                              we're going?                   Beverly joins them on the pad.                                           PICARD                             Montana.                                     (to Chief)                             Energize.                                           BEVERLY                             Montana? Well, that answers                             everything. Why the hell are we --                   They DEMATERIALIZE.                                                                          CUT TO:              45   EXT. MONTANA PLAINS - CONTINUOUS - DAY                      45                   Picard, Geordi, Beverly and the Security Team                   MATERIALIZE on the vast, rolling plains of Montana.                                           BEVERLY                                     (continuing)                             -- going to Montana?                   Picard and Geordi take out their tricorders and start                   scanning the landscape.                                           GEORDI                                     (off tricorder)                             I have the silo, sir. Bearing                             three one zero... distance, three                             hundred meters.                                           PICARD                             Let's go.                   They start walking...                                           BEVERLY                             Go where? Hello? Is anyone going                             to tell me what we're doing here?                                           PICARD                             We're here to find Zephram                             Cochrane. He may be injured or                             dead.                                           BEVERLY                             Cochrane... the inventor of warp                             drive?                                           PICARD                             Yes...                                           BEVERLY                             But he's been dead for three                             hundred...                                     (realizes, long sigh)                             Oh God... we've gone back in time                             again, haven't we?                                           PICARD                             I'm afraid so. If the Borg                             succeed in preventing First                             Contact with the Vulcans... Earth                             will remain in the Second Dark                             Age... an easy target when the                             Borg arrive in the 24th century.                                           BEVERLY                             Well, why didn't you just say so                             in the first place?                   Picard gives her a look. As they keep walking...                                                                          CUT TO:              46   EXT. SPACE - THE ENTERPRISE                                 46                   hanging in orbit of Earth.              47   INT. ENGINEERING                                            47                   CLOSE ON A DEAD CREWMEMBER lying on her back. A sheet                   is covering her face. A hand reaches in, pulls back                   the sheet, revealing the face of a crewman.                                           TROI                             Lieutenant Sandra Farrel.                   WIDEN to REVEAL Troi and Data. Data is holding back                   the sheet while Troi scans the body with a tricorder.                   There is repair work going on in the b.g. Two medical                   N.D.s stand by.                                           TROI                             It appears death was caused by a                             plasma discharge.                                     (beat)                             I'll note in her record that she                             never left her post.                   Troi glances at Data, who is clearly disturbed by the                   sight of the dead woman, holding his EMOTIONS in check                   with difficulty.                                           TROI                             Did you know her?                                           DATA                             Not very well. We met shortly                             after the Enterprise-E was                             commissioned. I found her to be                             a most... promising officer.                   Troi looks at him in concern.                                           TROI                             Data... are you sure you're all                             right?                                          DATA                             I am still having difficulty                             integrating certain emotions into                             my programming. Grief, loss,                             remorse...                                           TROI                             We still have to make reports on                             ten more crewmen killed in action.                             Maybe you should deactivate your                             emotion chip until we're done.                   Data considers.                                           DATA                             No. Human beings do not have that                             luxury, and neither should I.                                           TROI                             I will admit... there are times                             when I wish I had an emotion chip                             I could turn on and off.                                           RIKER'S COM VOICE                             Riker to Data.                                           DATA                                     (taps combadge)                             Go ahead, Commander.                   INTERCUT:              48   INT. BRIDGE                                                 48                   Riker, Worf, N.D.s at their stations.                                           RIKER                             We're reading some kind of gas                             leak in the Environmental Control                             Room. Take a repair team down and                             check it out.                                           DATA                             On my way, Commander.                   As Data EXITS...              49   EXT. SPACE - THE ENTERPRISE                                 49                   A WIDE SHOT of the ship. CAMERA CLOSES ON the AFT                   SECTION of the ship, moving underneath of the hull,                   pushing in on an area at the very bottom of the                   Enterprise.              50   INT. ENVIROMENTAL CONTROL                                   50                   Data and ENSIGN PORTER ENTER through a set of doors.                   The lights are off in the room, dim. This is a large                   room crammed with many conduits, gas tanks, 24th                   century machinery and monitors. It's normally unmanned --                   this is where oxygen, gravity, heat, and other                   environmental conditions of the ship are controlled.                   In a far corner of the room a CONDUIT leading to a                   series of high-pressure TANKS labeled "D-O2" has                   ruptured and is SPEWING a corrosive, poisonous GAS.                   Data scans it with his tricorder.                                           DATA                                      (to Porter)                             One of the diathermic oxygen tanks                             has been damaged.                                           PORTER                                      (shocked)                             Diathermic oxygen?                                           DATA                             It is a new subsystem of Nova                             Class ships. It regulates                             hydropressure and temperature                             variance.                                      (beat)                             Remain here. The gas is highly                             corrosive to organic material. It                             would liquefy your flesh on                             contact.                                           PORTER                             Be my guest, sir.                   Data walks over to the spewing gas tank, and without                   concern shoves both hands into the corrosive gas...                   ... groping around for the broken conduit, finally grabs                   hold of it... and with android strength BENDS the metal                   conduit back into the bulkhead. The gas stops leaking.                   Data is completely unaffected by the corrosive gas.                                                     DATA                                      (to Porter)                             Begin a diagnostic on the safety                             interlocks. There appears to have                             been some damage during the                             attack.                                           PORTER                             Right.                   Porter moves around a corner, behind some equipment,                   out of Data's vision...              51   NEW ANGLE - PORTER                                          51                   who opens a PANEL on the wall. But instead of the neat                   and orderly Starfleet technology, he is confronted by                   a bizarre amalgam of organic and mechanical cabling,                   diodes and what almost look like arteries. Some of the                   tubes are pulsing with fluids and energy. Porter                   reacts.                                           PORTER                             What the hell...                   Porter pulls aside a large conduit and stops. Buried                   deep within the tangle of bio-circuits is what looks                   like a HUMAN FACE covered with cybernetic tubes and                   chips. It's barely discernable in the darkness and                   clutter. Porter isn't even sure what he's looking at.                   He leans in for a closer look... and suddenly the eyes                   open.              52   DATA                                                        52                   who hears a THUMP and a sickening liquid CRUNCH from                   off camera. He takes a few steps in that direction.                                           DATA                             Ensign Porter?                   He stands there for a moment, puzzled. Then a faint                   SKITTERING SCRAPE can be heard -- like tiny claws on a                   metal surface. He  whirls at the sound.                                           DATA                             Ensign... are you all right?                   No response. Data walks around the now deathly quiet                   room... turns the corner to where Porter was working.                   He's gone. The open panel is still there, and there                   doesn't appear to be any place Porter could've gone.                   Data looks puzzled, takes a step forward when his boots                   make a squishing sound. He looks down...                                            DATA                                      (taps combadge)                                      Data to Bridge.                   No response.                                           DATA                             Data to Security.                                      (beat)                             This is Lieutenant Data to anyone                             who can hear my signal. I need                             assistance in the Environmental                             Control Room.                   Nothing. Data quickly turns and heads for the door.                   There's a metallic SCRAPE above him and he looks up --              53   TWO BORG                                                    53                   are climbing to the ceiling like two spiders ready to                   pounce. One of them has Porter and appears to be                   inserting some horrible Borg device into his head.                   Before Data can react, the second Borg suddenly lunges                   at Data.                                                                          CUT TO:              54   EXT. MONTANA PLAINS - MISSILE SILO - DAY                    54                   The SILO is buried deep underground, but on the surface                   there is a large, poured concrete MISSILE DOOR.                   Built to withstand a nuclear blast, the door has                   nevertheless been badly charred and damaged by the Borg                   attack from orbit. There are large, smoking CRATERS                   all around. Part of the ground seems to have COLLAPSED                   to a depth of ten feet, like a sinkhole nearby. Picard                   and his team approach.                                           GEORDI                             This must be it.                                           PICARD                             How serious is the damage?                                           GEORDI                                      (off tricorder)                             I'm having trouble scanning                             underground. There's a lot of                             radiation leaking from something.                                           PICARD                             Probably from the nuclear warhead.                             Cochrane was planning to use it to                             ignite the warp drive.                   As they speak, Beverly pulls out a hypospray and gives                   everyone injections.                                           BEVERLY                             This will protect us from the                             radiation.                   Geordi moves to the thick, concrete missile door, scans                   it.                                           GEORDI                             I'm picking up faint life signs                             twenty meters below.                                           PICARD                             There should be an access hatch                             nearby...                   Everyone spreads out... looking for the hatch. One of                   the guards -- LANGE -- finds it.                                           LANGE                             Over here.                   Everyone rushes over to him. There's a small HATCH on                   the ground that has been partially hidden by weeds and                   brush. Geordi kneels down, starts working a complex-                   looking LOCK on the hatch.                                           GEORDI                             Alphanumeric lock. We need a                             password to get in...                                           PICARD                             I have the password right here.                   Picard pulls out his phaser and everyone steps back.                   He aims and FIRES at the hatch, which is BLOWN OPEN,                   revealing a ladder that leads down into the darkness.                   As they start to crawl inside...                     55   INT. MISSILE SILO - CONTROL ROOM                            55                   This is the "mission control" for Cochrane's test site.                   The underground room is filled with 21st century                   equipment, consoles and monitors. One entire wall of                   the room is dominated by a huge METAL BLAST DOOR, which                   is now closed. We will learn that on the other side of                   that door is the nuclear missile/warp ship itself.                   The ceiling has partially collapsed. Chunks of                   concrete and fallen beams have destroyed some of the                   equipment...Only a few of the consoles are active, most                   are dark or fritzing sporadically. The lights are out,                   and the room is illuminated by a few smoldering fires.                   Four dead bodies can be seen strewn around the room.                   It's a scene of destruction.              56   PICARD                                                      56                   and his team ENTER the dark and smoking ruin. Beverly                   and Picard move to one of the dead men, while Geordi                   and the Security Guards move to the other three.                   Beverly rolls the man onto his back -- he's clearly                   dead. The name stitched on his uniform says Rippert.                   Picard looks up.                                           PICARD                                      (to others)                             See if any of these men are                             Cochrane.                   Geordi and the Guards start checking the dead bodies.                                           GEORDI                             Mitchell... DePaul...                                           LANGE                             This one's a woman... named Kirby.                   Picard and Beverly move toward the immense blast door.                   As Beverly scans it, Picard glances at a nearby desk...               57   THE DESK                                                    57                   is littered with debris and various documents and                   schematics. THREE PHOTOGRAPHS are pinned to a bulletin                   board above the desk -- they show Zephram Cochrane and                   two angles of his warp ship. The photos are odd-                   looking, printed on what appears to be some sort of                   cloth.                                           BEVERLY                             There's a life sign behind this                             door... about ten meters below.                   Geordi moves to the door.                                           GEORDI                             Blast door. It's designed to                             protect the control room when the                             missile is launched.                                           PICARD                             There should be some kind of                             manual release...                   They hunt around for a moment. Geordi runs his hand                   along the edge of the blast door. Picard turns to the                   Guards.                                           PICARD                                      (to Lange)                             Get those fires out and then try                             to restore main power to the                             control room.                                           LANGE                             Aye, sir.                   The Guards move off.                                           GEORDI                             Got it, Captain.                   Geordi has found an emergency BOX with several                   pneumatic tubes and a hydraulic lever labeled                   "emergency use only." He pulls down the lever, there                   is a hissing sound, and the blast door slowly SLIDES                   DOWN into the floor. We can now see the MISSILE SILO                   itself beyond the door. Picard, Geordi and Beverly                   step into...              58   INT. MISSILE SILO - CONTINUOUS                              58                   Picard, Geordi and Beverly step onto the catwalk, which                   surrounds the Silo walls. In the middle is the WARP                   SHIP itself. It should look like an advanced ICBM                   missile with a COCKPIT in place of the warhead, and                   with numerous modifications to the fuselage. The                   cockpit is on the same level as the control room. On                   the side of the missile is the name "Phoenix". The                   missile itself extends down another FOUR STORIES.                   There are other catwalks below this one, with ladders                   connecting the different levels. Beverly sees                   something below.                                           BEVERLY                             There.              59   NEW ANGLE                                                   59                   Two catwalks below we can see a man sprawled on the                   grating. They all scramble down the ladders past the                   massive missile. (NOTE: Because of the design of the                   Silo, we will see the entire missile only in a few                   shots. For the most part, our view is limited to                   sections of the missile.)                   Beverly reaches the man, who is lying face-down on the                   metal grating. She scans him...                                           BEVERLY                             Severe radiation exposure...                   Geordi looks over at the section of the missile on                   their level. The side panels have been removed,                   revealing complex circuitry within.                   Picard joins Beverly, who turns over the injured man.                   It's ZEPHRAM COCHRANE -- the man whose picture we saw                   on the Borg monitors. Beverly begins pulling devices                   out of her medkit, injects Cochrane with a hypospray.                   Cochrane is a man in his mid-forties. He has a                   youthful, dynamic appearance marred by recent radiation                   burns.                                           PICARD                             It's Cochrane.                                           BEVERLY                             I've stabilized him for now... but                             he's in a coma and he's going to                             need radiometric therapy. I want                             to take him to the ship.                   Picard nods, reaches into his pants pocket, takes out                   a combadge.                                          PICARD                             Picard to Enterprise.                                      (no response)                             Enterprise, please respond.                                           GEORDI                             It could be the radiation,                             Captain. Try from the surface.                   Picard nods... then takes a deep breath, tries to                   orient himself to the task at hand... there's a lot at                   stake and a lot to do. He turns to Geordi.                                           PICARD                             Mister La Forge, listen very                             carefully. If you remember your                             history... in less than twenty-                             four hours, a Vulcan ship will be                             passing through this system. When                             it does, this ship needs to be in                             space, flying at warp speed.                   Geordi takes a deep breath, it's a tall order.                                           GEORDI                             I'd better get started.                   Geordi goes to work. Picard bends down and carefully                   hoists Cochrane up into a fireman's carry. Beverly                   follows him up the catwalk...                                                                          CUT TO:                    60   EXT. MISSILE SILO - DAY                                     60                   Minutes later. Cochrane is lying on the ground.                   Beverly is kneeling beside him, unfolding a portable                   stretcher from her medkit. Picard is checking two                   combadges with a tricorder.                                           PICARD                             It's not the radiation... and                             there's nothing wrong with the                             combadges... the Enterprise just                             isn't responding.                                           BEVERLY                             Jean-Luc, this man needs medical                             attention, now.                                           PICARD                             As I recall, the town of                             Resurrection is about two                             kilometers East of here. They                             might have a hospital...                   Picard looks troubled at the thought.                                           BEVERLY                             What are we waiting for? Let's                             go.                                           PICARD                             It may not be that simple. This                             is an extremely difficult and                             paranoid time in human history.                                           BEVERLY                             Are you saying they won't help us?                                           PICARD                             I'm saying they might shoot us on                             sight. You have to remember...                             these people have watched their                             entire way of life collapse around                             them.                                           BEVERLY                             There must be some good people...                             even in this time.                                           PICARD                             Let's hope so. Because if                             Cochrane dies... the future may                             die with him.                   Picard kneels down and they begin to carefully put                   Cochrane on the stretcher...                                                                                   CUT TO:              61   INT. ENTERPRISE - BRIDGE                                    61                   Riker, Troi and Worf studying a MONITOR which shows a                   three-dimensional DIAGRAM of the Enterprise, which                   turns and rotates as needed. The schematic shows                   battle damage and repair efforts.                                           WORF                             I have assigned two damage control                             teams to locate the source of our                             communication problems. So far,                             they've had no success.                                           RIKER                             Assign another team if you need                             to. I want to re-establish                             communication with the Captain as                             soon as possible.                   Worf nods and begins making notes on a PADD.                                           TROI                             Are we in any danger of being                             detected by Earth defense systems?                                           WORF                             There were no planetary defense                             systems in this era. Their                             weapons were designed to                             fight each other... not                             extraterrestrials.                                           RIKER                             We have to start thinking about a                             way to get home.                                      (to Troi)                             Analyze our readings from the                             temporal vortex. We're going to                             have to recreate whatever the Borg                             did to --                   Just then the ship SHUDDERS and the LIGHTS FLICKER.                                           RIKER                              Report.                                           TROI                                      (off console)                             We just lost main power... and                             we've got Class-Three alerts all                             over the ship. I'm not sure                             what's --                   An ALARM goes off on Worf's console. He reacts to it.                                          WORF                             A ship-wide decompression has been                             initiated!                                           RIKER                             What?                                           TROI                             We're venting our internal                             atmosphere directly into space!              62   EXT. ENTERPRISE                                             62                   CLOSE ON THE SAUCER as vents and hatches POP OPEN on                   the hull and GIANT JETS OF VAPOR start blowing out                   into space.              63   INT. CORRIDOR                                               63                   Crewmembers walking along are suddenly KNOCKED to the                   floor as hurricane force WINDS blow through the                   Corridor. The ship is venting air into space, creating                   a virtual VACUUM inside the ship! The people in the                   corridor grab onto the bulkheads, struggling to hang on                   against the force of the wind...              64   INT. BRIDGE                                                 64                   Suddenly an emergency AIRLOCK on the Bridge OPENS.                   VIOLENT WIND roars through the Bridge and everyone                   hangs on. Troi is ripped out of her chair, flown                   across the Bridge, slams up against the bulkhead,                   struggling to hang on. Worf runs over, grabs her arm,                   keeps her from flying out.                   Riker manages to reach a control panel -- hits a button                   and an EMERGENCY BULKHEAD finally slides down over the                   airlock and the wind DIES DOWN. Everyone takes a beat.                                           RIKER                             What the hell is happening, Worf?                                           WORF                                      (off console)                             It appears that someone has taken                             over the Environmental Control                             Room.                                           TROI                             Someone...?                                           RIKER                                      (realizing)                             The Borg.  Some of them must've                             beamed over before we destroyed                             their ship.                                      (to Worf)                             Seal off that entire deck with                             emergency force fields.                                           TROI                             Wil... Data was down there.                                           RIKER                                      (to Worf)                             Mister Worf... find Data if you                             can, but your top priority is                             isolating the Borg.                                           WORF                             Understood.                   Worf heads for a Turbolift. OFF Riker's disturbed                   expression...                                                                CUT TO:              65   CLOSE ON DATA'S FACE                                        65                   His eyes are closed. There's a beat, then his eyes fly                   open and he looks around.                   We PULL BACK slightly, revealing Data is lying on some                   kind of tabletop with metallic clamps and restraints.                   He tenses his arm and tries to move, but he is unable                   to break the restraints. About two feet in front of                   his face is what appears to be a bulkhead. There is a                   cacophony of strange background NOISE -- scratching,                   hisses, gurgling liquids, odd alien hums...                   Suddenly, the table begins to MOVE. It ROTATES, and as                   it does so we realize that Data has been hanging upside                   down staring at the floor. It's a disorienting moment                   as our perspective changes and Data rotates upright.              66   DATA'S POV                                                  66                   As the table gyrates, we REVEAL the ROOM slowly. And                   we realize we're in --                            67   INT. BORG HIVE                                              67                   The Environmental Control Room seen earlier has now                   been transformed into the INNER-SANCTUM of the BORG.                   The room has a dark, moist, organic feel -- a tropical                   jungle of cybernetic equipment.                   The Borg are altering the room, converting Starfleet                   technology and materials into the living, bio-                   mechanical look of the Borg. We see one Borg drone                   attach a small pod to a Starfleet console and activate                   it. The pod immediately sends out a COMPLEX WEB of                   BORG TECHNOLOGY which covers the Starfleet console                   inside and out. It's like weeds overpowering a flower                   bed -- within seconds the console has been BORGIFIED.                   The walls, ceiling and floor are now honeycombed with                   the ALCOVES that make up the BORG COLLECTIVE. Borg                   drones are motionless in their alcoves, cabling and                   other conduits connecting them to various equipment...                   while other Borg are moving about the room, carrying                   out various modifications to the room. At one point,                   we see Ensign Porter. He's been completely Borgified.                   His skin pale, expression blank. No hint of humanity                   left.              68   DATA                                                        68                   still strapped to the table, which is twisting and                   rotating, giving him frightening new glimpses of the                   room. A new image appears -- SIX BORG DRONES are                   clustered together in one section of the room, each                   with an elaborate series of hoses and conduits                   connected to its face.                   Through the tubes we can see an exchange of FLUID and                   ENERGY pulsing back and forth -- some sort of bizarre                   "feeding" or "renewal" is going on. The tubes all seem                   to lead toward the ceiling.                   Data is now horizontal on his back and the table LOCKS                   into position. A Borg drone OPENS A PANEL on the side                   of Data's head, and begins connecting a thick bundle of                   optical cabling to it.                                           DATA                                      (to Borg)                             Your efforts to assimilate me will                             be unsuccessful.                   The Borg ignores him, activates a console... and the                   cabling connected to Data's head LIGHTS UP with power.                   They're trying to connect him to the Collective.                   Data thinks for a moment, tilts his head slightly...                   and then suddenly there's a SHOWER of SPARKS from the                   cabling he's been connected to. The lights on the                   cable go out. Data has thwarted their attempts.                                           DATA                                      (to Borg)                             It would appear that resistance is                             not always futile.                   Suddenly a new VOICE is heard echoing through the room --                    a woman's voice, low, seductive, deadly:                                           WOMAN'S VOICE                             Brave words. I've heard them                             before from thousands of species                             across thousands of worlds...                             since long before you were                             created.                   Data looks up toward...              69   THE CEILING                                                 69                   A RUSTLE of MOVEMNET somewhere in the cyber-tangle...                   almost like a snake slithering beneath the weeds. And                   for a brief instant we get a glimpse of a FACE unlike                   any Borg we've ever seen. The face of a woman. Pale-                   skinned... piercing eyes...raven hair slicked back...                   a hauntingly beautiful image in a sea of nightmarish                   technology. And then it's gone.              70   DATA                                                        70                   Frowns. He saw it, too, but he's not sure what to make                   of it.                                           WOMAN'S VOICE                             But now... they are all one with                             the Borg.                                           DATA                             I am unlike any lifeform you have                             encountered before. As an                             android, I am in complete control                             of my neural net. The information                             contained there cannot be forcibly                             removed.                                           WOMAN'S VOICE                             You are an imperfect being...                             created by an imperfect being.                             Finding your weakness is only a                             matter of time.                   Suddenly three Borg drones converge on Data with                   various wicked-looking Borg devices. One of the Borg                   has a specialized cybernetic ARM, which EXTRUDES a                   series of stiletto-tipped DRILL SPIKES. As the six-                   inch spikes begin to BORE INTO Data's head...                                                                          CUT TO:              71   EXT. MONTANA - RESURRECTION CITY - DAY                      71                   Resurrection is a small town -- around 1,000 people --                   a rural, Western community that's probably existed for                   at least two hundred years, and we can see the roots of                   the original ranching community in some of the                   architecture. But it's also a community of the 21st                   century.                   The most striking feature of the town is that it sits                   in the middle of nearly a hundred WIND MILLS, which                   provide the only source of power for the town. The                   blades are enormous, but the structures supporting them                   are little more than simple poles. Some are sleek,                   fiberglass, futuristic... others have a more cobbled                   together, make-shift appearance. At the moment, only                   a few blades are turning in the gentle breeze.                   Picard and Beverly emerge from the nearby woods                   carrying the stretcher. They exchange a look at the                   sight of the city and then head toward it...              72   EXT. RESURRECTION CITY - DAY                                72                   A few minutes later. Picard and Beverly carrying                   Cochrane down the street toward the hospital at the                   end. As they walk along, we get our first taste of                   post-apocalyptic 21st century life:                   This is a recognizable American community, but it's                   definitely a futuristic town. Clothing, architecture,                   technology -- all have changed over the course of                   seventy years. But it is a broken future. What used                   to be high-tech public COMPUTER TERMINALS are rusted                   and abandoned. We can see the corroded hulks of HOVER-                   CARS lying idle in the streets. Futuristic elements                   now useless.                   At one point, they pass a large polyurethane TENT --                   the inside surface is covered with condensation and we                   can see the silhouettes of people moving within. The                   entrance is guarded by a single Militia Guard. Later                   we will learn that this is a primitive greenhouse, the                   only place where they can grow uncontaminated food.                   What used to be a McDonald's, or some other                   recognizable food chain, has now been gutted and has                   been turned into a kind of blacksmith shop. People are                   fashioning metal into various tools using hammer and                   tongs.                   The sidewalks are populated with PEOPLE, who congregate                   in small groups, quietly talking amongst themselves,                   others just staring vacantly off into space. Many of                   them have visible burn scars and damage to their bodies --                   victims of the war and post-nuclear environmental                   dangers. A few of them are applying a special lotion                   to their arms and face -- protection against the toxic                   elements. A long FOOD LINE snakes around a block, as                   people line up to get their daily rations.                   A few people glance up at Picard and Beverly with                   curious or suspicious looks. This is not a community                   that welcomes strangers. At one point, they see a man                   dressed in futuristic CAMOUFLAGE carrying an automatic                   weapon -- we will learn he's a MILITIA SOLDIER. He                   stares at them with a neutral expression, then walks                   off.                   The people here have that hollow-eyed, listless look                   about them. They're going through something that makes                   the Great Depression look like a minor inconvenience.                   But there's also a toughness to these people, a                   resilience and determination to survive in the face of                   overwhelming odds. We are looking at our future... and                   it's on the verge of collapse.                                                                          CUT TO:              73   INT. HOSPITAL - EMERGENCY ROOM - DAY                        73                   A short time later. Cochrane is being lifted onto an                   operating table. Picard and Beverly step back from the                   table as a DOCTOR and two NURSES look him over. The                   doctor is in his early fifties and has a weathered,                   tired look to him. The hospital itself is like the                   rest of the town -- a futuristic setting fallen on hard                   times. The light in the room is provided mostly from                   the sunlight streaming in through the windows. Light                   bulbs and other gear flicker dimly around the hospital --                   we get the feeling they have very little power.                                           DOCTOR                             How long has he been unconscious?                                           BEVERLY                             At least four hours.                   He checks Cochran's head injury as Beverly takes out                   her tricorder and scans him.                                           DOCTOR                             It looks like he has a cranial                             fracture, but I'll need X-rays to                             be sure.                                      (to Nurse)                             Get Ruby in here.                   One of the nurses runs off.                                           BEVERLY                                      (off tricorder)                             He has a severe fracture of the                             left occipital plate. He's not                             hemorrhaging... but the radiation                             has damaged his KNA and his APR                             cell count...                   He looks at her curiously.                                           DOCTOR                             "APR cell count?" What the hell                             are you talking about?                                          PICARD                                     (quickly)                             Doctor Crusher has been...                             studying some advanced medical                             theories.                                           NURSE                                     (re: tricorder)                             What is that?                                 BEVERLY                             It's a... new medical scanner.                             It's a little more precise than an                             X-ray machine.                   The Doctor eyes it.                                           DOCTOR                             Is it Japanese?                                           BEVERLY                             Um... yeah.                                     (beat)                             Now he's going to need a                             respirator. Do you have one?                                           DOCTOR                             We have two... but we don't have                             the juice to run them.                                           PICARD                             Juice?                                           DOCTOR                             Power. There hasn't been a lot of                             wind through here for the last                             couple of weeks. Most of the                             batteries are depleted.                                           BEVERLY                             Don't you have any generators, or                             other fuel sources?                   The Doctor throws her an irritated look.                                           DOCTOR                             Maybe you'd like to take your                             patient to the hospital in                             Bozemen... it's only two hundred                             miles away.                   Cochrane wheezes -- breathing becoming labored and                   ragged. Beverly scans him, urgent.                                           BEVERLY                             His automatic reflexes are                             fluctuating. We've got to get him                             on a respirator.                                           DOCTOR                                     (to Nurse)                             Bag him.                   The nurse picks up a portable respirator sack -- puts                   it on Cochrane's face and squeezes the bag, forcing air                   into Cochrane's lungs. Picard has been thinking                   through this scene, finally has a solution.                                                                            PICARD                             Beverly -- your tricorder.                   She hands him her tricorder.                                           PICARD                                    (to Doctor)                             Where's the battery room for the                             hospital?                                           DOCTOR                             I told you, there's no --                                           PICARD                             Where?                                           DOCTOR                             Outside, around back. Next to the                             water tank.                            Picard rushes out the doors. Beverly checks Cochrane's                   pulse.                                           BEVERLY                             His heartbeat's irregular...                            Beverly climbs up on top of Cochrane, straddling him,                   begins giving him 24th century CPR. She takes charge.                                                    BEVERLY                             Adrenaline -- ten CC's!                   As they rush to save him.                74   EXT. HOSPITAL - DAY                                         74                   The back of the building. Picard rushes out and spots                   an old, dilapidated BATTERY UNIT providing power to the                   hospital. He quickly yanks off the back panel,                   revealing a tangle of wires, and several large                   batteries. He kneels down, then removes the back of                   the tricorder.                       75   CLOSE ON TRICORDER                                          75                   as Picard pulls out a small POWER CELL -- about half                   the size of a dime. The blinkies on the tricorder go                   out.              76   PICARD                                                      76                   holds the power cell with one hand, and starts pulling                   out wires from the batteries with the other.              77   INT. HOSPITAL - EMERGENCY ROOM - DAY                        77                   As before. Beverly, the doctor and the nurse trying to                   save Cochrane.                                           BEVERLY                                     (pumping his chest)                             One... two... three... compress!                   The nurse squeezes the bag. Suddenly the room is                   filled with the HUM of POWER and ALL OF THE LIGHTS AND                   EQUIPMENT COME TO LIFE. Monitors blinking, fluorescent                   lights flashing on. Everyone reacts with shock.              78   INT. HOSPITAL WARD - DAY                                    78                   It's filled with patients. The lights and equipment                   here FLASH ON, as well. Doctors and patients alike                   react with surprise.              79   INT. HOSPITAL - EMERGENCY ROOM - DAY                        79                   Picard enters. They've placed a RESPIRATOR down                   Cochrane's throat, and attached electrodes to his                   chest. Beverly has just finished giving him an                   injection with a hypospray. The heart monitor in the                   background is now beating regularly. The doctor turns                   to Picard.                                           DOCTOR                             What did you do to the batteries?                                           PICARD                             Oh... just a little tinkering.                             How is he?                                           BEVERLY                             He's stable... for now.                                     (with meaning)                             But it would be better if we could                             contact... our friends.                                           PICARD                             Yes. But until then, you'll have                             to make do with what you've got.                                           BEVERLY                             That'll be interesting.                   A WOMAN'S VOICE:                                           RUBY'S VOICE                             What happened to him?                   Everyone turns.              80   NEW ANGLE                                                   80                   revealing RUBY SLOANE standing at the front of                   Cochrane's bed. A striking woman in her mid-to-late                   thirties -- dark hair, tall, lean, beautiful under                   normal circumstances but at the moment she's not at her                   best, it looks like she's just come in from a hard                   day's work. She's wearing an old lab coat. But the                   most striking quality of all is the innate intelligence                   we can see in her eyes.                   She's looking directly at Picard for an answer. Picard                   realizes he has to say something. He looks into her                   eyes and there is a moment here -- a brief spark of                   chemistry that in normal circumstances the Captain just                   might follow up. But at the moment, he shoves that                   electric feeling aside and tries to give her an answer.                                           PICARD                             There was some kind of explosion                             out at the missile silo...                   She looks at him for a moment, her eyes boring into him                   without expression, as though probing the truthfulness                   of his statement.                                           DOCTOR                             Ruby, we're going to need a series                              of cranial X-rays tonight.                                           RUBY                                     (nods)                             I have a fresh set of plates at                             home. I'll have them here by                             eight.                   She turns back to Cochrane, moves to his side, gently                   takes his hand and looks at him with sad affection.                                           RUBY                                     (quiet)                             Take care of him. He's a very                             special man.                                          PICARD                             Yes, he is.                   She looks up at Picard, and again there's a slight                   feeling of chemistry in the air. And then she turns                   and starts to walk out of the room. Picard's combadge                   BEEPS. Reactions.                                           GEORDI'S COM VOICE                             La Forge to Picard.                                           RUBY                                     (stopping)                             I think there's someone in your                             pants.                                           PICARD                             Excuse me. I have a... telephone                             call.                   Picard takes a few steps away, pulls the combadge out                   of his pants pocket, taps it. Ruby watches him a beat,                   then walks out of the room.                                           PICARD                             Picard here.                                           GEORDI'S COM VOICE                             Captain, we have a problem. I                             think you'd better get back here.                                           PICARD                             I'm on my way. Picard out.                   Picard moves to Beverly.                                           PICARD                                     (sotto)                             I have to go back to the silo.                             Will you be all right?                                           BEVERLY                             I'll be fine.                                     (re: Cochrane)                             He's a different story.                   Beverly begins examining the medical equipment she'll                   have to work with as Picard exits...              81   EXT. RESURRECTION CITY STREET - DAY                         81                   A short time later. Picard walking down the main                   street back toward the gates. People passing him,                   taking no notice of him...Picard's mind thinking                   ahead. He happens to glance down a side street, then                   he stops.              82   NEW ANGLE                                                   82                   Looking down the side street. Ruby, the mysterious                   woman from the hospital, is walking along with a camera                   bag now slung over her shoulder. She stops for a                   moment as she passes the hulk of a burnt-out old hover                   car... stares at it...then pulls a home-made                   FUTURISTIC CAMERA out of her bag and snaps a picture of                   the car. She continues on her way. Picard is                   intrigued -- wonders about this woman and what it is                   she could be taking a picture of. Just then --                                           MAN'S VOICE                             Catch.                   Picard turns just in time to catch a small, metal                   canister with a screw-top.                   The man who threw it steps into view. It's LIEUTENANT                   SCRIMM. Scrimm is the head of the town's militia.                   While not a physically threatening man, there is a                   quietly disturbing quality about him which conveys an                   intelligence laced with a tightly reined volatility.                   He's wearing futuristic combat fatigues and always                   carries a sidearm. Before the war, Scrimm was probably                   one of the "survivalists" who used to be dismissed as                   radicals until their predictions of Armageddon came                   true. At the moment, Scrimm is presenting his                   friendliest face to Picard.                                           SCRIMM                                     (pleasant)                             Think you'll need that.                   Picard eyes the canister, not sure what to make of it.                                           SCRIMM                             It's no zone solution.                                    (off his look)                             You know. "No ozone."                   He points to the sky.                                           PICARD                             Oh...  yes... ultraviolet                             protection. Thank you.                             Mister...?                                           SCRIMM                             Lieutenant, actually. Lieutenant                             Jonathan Scrimm. I'm the head of                             the Resurrection Protective Force.                                     (beat)                             And you are?                                           PICARD                             Jean-Luc Picard.                                           SCRIMM                             Great name. French?                                           PICARD                             Yes.                                           SCRIMM                             You don't sound French.                   Scrimm is still smiling at him, but his eyes never                   leave Picard.                                           PICARD                             I was raised in England and here                             in the States. Thank you for                             the... no zone.                   Picard begins to walk away, not wanting to engage any                   citizens of the town. Scrimm falls in next to him.                                           SCRIMM                             Where in the States?                                           PICARD                             Oh... here and there. You know                             how it is.                                                    SCRIMM                             Not really. I was born and raised                             right here. Never had much use                             for travel.                   He casually steps in front of Picard, blocking his way.                                           SCRIMM                             Where are you from most recently?                                           PICARD                                     (thinking fast)                             California. San Francisco.                                           SCRIMM                             Beautiful city. Used to be,                             anyway. I didn't think anyone                             still lived there.                                           PICARD                             There's a few of us left.                   Picard steps around him and continues walking down the                   street. Scrimm waits a beat, then walks after him                   again.                                           SCRIMM                             That was a pretty clever trick you                             did with the hospital's batteries.                             How'd you do it?                                           PICARD                             It wasn't a trick. I used to be                             an electrical engineer.                                           SCRIMM                             Huh.                   He steps in front of Picard again, still pleasant but                   a little bit of a smile fading from his face. Picard                   realizes he isn't going to shake this man so easily.                                           SCRIMM                             And what were you doing out at the                             missile silo?                                           PICARD                             I'm an old friend of Cochrane's...                             I wanted to see how he was doing.                                           SCRIMM                             Lucky for him you came by when you                             did. He might be dead now.                                           PICARD                             Yes.                                           SCRIMM                             Maybe you can tell me what he's                             been doing in that silo. We heard                             some explosions out there this                             morning...                                           PICARD                             I think he was running a test on                             an old rocket engine... and one of                             the fuel cells burst.                   Scrimm eyes him evenly.                                           SCRIMM                             You seem to have an answer for                             everything.                                           PICARD                             Something wrong with that?                                           SCRIMM                             Not yet.                   A tense beat. Then Scrimm smiles easily.                                           SCRIMM                                     (re: balm)                             Be sure you put that on. You need                             a lot of protection around here.                   He holds Picard's eyes for a moment.                                           PICARD                             Thank you. But I've never had                             much trouble protecting myself.                   Now it's Picard's turn to smile pleasantly at Scrimm.                   Picard walks around him and heads for the gates.                   Scrimm watches him go with a thoughtful expression --                   clearly, he's more than a little suspicious...                                                                          CUT TO:              83   EXT. SPACE - THE ENTERPRISE                                 83                   in orbit of Earth.              84   INT. CORRIDOR                                               84                   Worf and a large SECURITY DETACHMENT -- a dozen or so                   men and women -- are moving down the Corridor with grim                   looks on their faces. They are carrying new powerful-                   looking phaser rifles and other equipment. The feeling                   is of an elite combat squad heading for a dangerous                   mission. They stop at one point and Worf lifts up a                   DECKPLATE, exposing a large HATCH in the floor. Worf                   hits his combadge.                                           WORF                             Worf to Bridge. We're in                             position.              85   INT. BRIDGE                                                 85                   Riker in command, Troi nearby. Riker is standing at                   the security station looking at a monitor which                   displays a schematic graphic of the ship. The position                   of the security team is flashing -- we can see they are                   on Deck 46.                                           RIKER                             This is the Bridge. I'm releasing                             the emergency force fields.                   He nods to Troi, who works a console.              86   INT. CORRIDOR                                                86                   Worf and his team watch as the FORCEFIELD protecting                   the hatch flashes off. Worf reaches down and releases                   the hatch, which slides open with a soft whoosh. He                   glances at his men for a moment, then JUMPS down the                   hatch...              87   INT. DECK 47 - CORRIDOR                                     87                   As Worf lands on his feet. The light is dim, no power                   on this deck, hard to see. He looks around warily for                   a moment, phaser at-the-ready, then activates his wrist                   beacon. We immediately notice that we can see Worf's                   breath -- it's freezing cold down here. He shines the                   light around the darkened corridor, then silently                   motions his arm for the others to follow. A beat, then                   we see the security officers start to drop into the                   corridor from the hatch above...              88   NEW ANGLE - CORRIDOR                                        88                   As Worf's squad spreads out along the hall, weapons at-                   the-ready, everyone alert with fingers on the triggers.                   We see that the phaser rifles are equipped with their                   own light sources, intended to illuminate the target                   before you shoot at it. The Security Officers are                   constantly moving their lights back and forth through                   the chilly air. Worf gives hand signals -- holds up                   two fingers, then a fist, and points forward.                   Two Guards trot down the corridor about fifteen feet,                   stop, and take up firing positions... then two more                   members of the team run down, leap frog ahead of them                   and take positions further down the corridor. Classic                   military deployment. Worf starts scanning with a                   tricorder.                                           WORF                                     (hits combadge)                             Worf to Bridge.                                           RIKER'S COM VOICE                             Riker here.                                           WORF                             There's a dampening field in place                             on this deck. Our tricorders are                             useless.                   The team continue to explore Deck 47. It's spooky,                   eerie, a sense of menace around every corner. They                   open doors, check room by room, section by section,                   still no sign of the Borg in the freezing cold                   darkness.              90   ANGLE ON SECURITY GUARD                                     90                   The Corridor directly ahead has been stripped of wall,                   ceiling and deck panels -- all the normal decorative                   Enterprise sheathing is gone, revealing the circuitry                   and machinery of the ship itself. Unlike the rest of                   the corridors, there does appear to be POWER flowing                   through some of the conduits up ahead, and it gives off                   an eerie glow.                   We can also see that some of the machinery has been                   altered and changed -- not just the neat and orderly                   arrangement you'd expect to find behind bulkheads --                   there's a sense of cross-circuitry, re-wiring,                   equipment being rearranged. Clearly, a lot of work has                   gone on in this area of the ship. Worf steps forward,                   examines the corridor closely.                                           ENSIGN HAWK                             What the hell is going on?                                           WORF                             Borg...                   Worf signals the team forward, and they slowly begin                   picking their way down the Borgified Corridor. It's                   not easy -- they have to choose their footing carefully                   as they walk through the maze of cables, circuits, and                   machinery... Ensign Hawk accidentally steps on some                   circuitry, which gives off a BEEP. The entire team                   suddenly whirls their lights and weapons on the                   unfortunate Ensign, who pales at their sudden attention.                   Worf looks irritated, then motions his team to continue                   their search. They continue making their way down the                   spooky corridor... and as they turn a corner...              92   NEW ANGLE - ANOTHER CORRIDOR                                92                   where the machinery is now THICKER and more BORG-LIKE                   in appearance. Tubes and cabling hang down from the                   ceiling. If anything, it's even colder in here. The                   deeper they go, the worse it gets. We can now hear a                   low, sinister HUM of alien power. At the end of this                   corridor is the ENVIROMENTAL CONTROL ROOM, as seen                   earlier. The entire doorway is gone -- and a weird                   pulsing GLOW fills the room. Worf stops his team at                   the sight. From this vantage, we cannot see directly                   into the room, but clearly something is going on in                   there.                   Worf signals his men to spread out, and they take up                   positions around the Corridor, all weapons trained on                   Environmental Control.                                           WORF                             Worf to Bridge. We're about to                             enter the Environmental Control                             Room.                                           RIKER'S COM VOICE                             Any sign of Data, or the Borg                             themselves?                   As Work and Riker continue talking, we MOVE TO Ensign                   Hawk, who is now the last man in the formation,                   covering the rear. He's shining his phaser-beacon into                   the empty darkness. He can't help looking back over                   his shoulder at the rest of the team and the distant                   Environmental Control Room -- that seems to be where                   the action is. As he turns, his beacon moves with him,                   throwing the Corridor behind them in and out of                   darkness.                                           WORF                                     (continuing)                              Negative. However, they've                              reconfigured the ODN network...                              and re-routed all power on this                              deck into Environmental Control.                   As Worf speaks, Ensign Hawk turns back, but this time                   when he shines his beacon into the darkness, something                   MOVES in the distance -- a shadow. The Ensign freezes,                   brings his rifle up. But did he see it, or was it his                   imagination?                   A tense beat as he waits, heart pounding... but nothing                   happens. On the wall next to his head we see what can                   only be described as a BIO-MECHANISTIC CABLE creeping                   out of the wall... which begins slowly heading for the                   Ensign's neck. Just as he begins to sense that                   something is happening behind him, the cable WHIPS OUT                   around his neck and YANKS him deep into the bed of                   circuitry in the blink of an eye -- the motion so fast                   we have trouble following it.                   Worf turns his head at the sound.                                           WORF                             Stand by, Commander                                     (to team)                             Where's Ensign Hawk?                   Everyone looks around, surprised that he's not there.                   Everyone is alert, keyed up. The tension is thick.                   Utter silence, except for the hum of the machinery and                   the frosty breathing of the team.                                           RIKER'S COM VOICE                             Worf? Is something wrong?                                          WORF                             Something is very wrong,                             Commander. We're falling back.                   Worf gives hand signals for the team to move out. But                   just as they start to fall back, everything happens at                   once.              93   BORG DRONES                                                 93                   EXPLODE OUT OF THE WALLS, CEILING AND FLOOR! What                   follows is a BLUR of action happening so fast and                   furious we never get a true sense of what's happening.                   A flurry of violence and motion and images:                   -- A snarling Borg face -- half-human, half-machine, a                      cybernetic nightmare.                   -- Strange, bio-mechanical WEAPONS extruding from Borg                      bodies, RIPPING into human flesh.                   -- A crewmember PULLED into a bed of machinery.                                           WORF                             Fire at will!                   But the Borg are already on top of them. It's a brutal                   fight in close quarters with no escape.                   Phasers and Borg lasers lighting up the corridor,                   bodies flying through the air... utter chaos and                   terror. The fight goes hand to hand and Worf sees that                   they don't have a chance...                                           WORF                                     (throwing off a Borg)                             Fall back!                   The team starts backpedaling, FIRING as they go...but                   the Borg are unstoppable now -- they put up personal                   force fields to protect themselves.                                           WORF                             Go, go, GO!                   Worf pushes his men down the corridor. Everyone turns                   and RUNS like hell. Worf bends down and grabs a                   frightened Lieutenant by the collar, pulling him along.              94   VARIOUS SHOTS:                                              94                   -- The team running through the corridors, SHOOTING                      behind them at the pursuing Borg, to no effect...                   -- Two of the Borg raise their arms and FIRE LASER                      BURSTS out of their arms and wrists, taking DOWN two                      Security Guards. Worf sees them fall but there's no                      time to go back.              95   INT. DECK 46 - CORRIDOR                                     95                   As Worf's team starts CLIMBING UP and out the dark                   hatch in the floor seen earlier.                 96   INT. DECK 47 - CORRIDOR                                     96                   As the last member of Worf's team climbs out to safety.                   The Borg swarm is about to overpower Worf. He quickly                   hits a few controls on his phaser, sets it to overload.                   We hear the building WHINE. He JUMPS straight up into                   the air, GRABBING onto the hatch rim, pulling himself                   up. He barely manages to vanish from view just as the                   phaser EXPLODES in a FIERY BLAST, taking out several of                   the Borg drones.              97   INT. DECK 46 - CORRIDOR                                      97                   The conclusive BLAST comes up through the hatch,                   causing Worf to duck for a moment.                   Worf reaches out to close the hatch, when a BORG HAND                    bursts up from below and GRABS his forearm. It's a                    test of strength. Worf reaches over with his other                   arm, hits a control and the hatch SLIDES CLOSED,                   SEVERING the Borg arm in a shower of sparks.                                            WORF                             Worf to Bridge -- force fields!                   The force field FLASHES into place. Worf and his team                   sit there a moment, catching their breath, stunned at                   what they've just been through.                                           RIKER'S COM VOICE                             What the hell happened down there,                             Worf?                                           WORF                             Commander... we have a problem.                    OFF Worf's shaken expression...                                                                          CUT TO:              98   INT. MISSILE SILO - CATWALK - DAY                           98                   Geordi and Picard are walking down the catwalk ladders                   toward the missile's massive engines. Now that the                   smoke has cleared and the place has been cleared up a                   bit, we get our first good look at the ship and the                   damage done in the Borg attack.                                           GEORDI                                     (on the move)                             Cochrane was going to use this                             solid rocket booster to lift the                             ship into orbit. Before the warp                             drive took over... everything                             would depend on these old chemical                             engines.                                     (beat)                             Now here's the problem...                   They arrive at a point on the fuselage where we can see                   a large section of the engines have been BLASTED AWAY,                   leaving a deep, ugly SCAR -- broken conduit lines,                   wires that now lead to nothing. It's clear that a key                   piece of equipment has been destroyed.                                           GEORDI                                     (re: damage)                             This used to be the throttle valve                             assembly.                                     (observing it)                               It controls the thrust of the                             engines. It's been completely                             vaporized... and without it,                             there's no way to launch the ship.                                           PICARD                             Can you reconstruct the throttle                             valve?                                           GEORDI                             Yeah... if I knew what it looked                             like. There's probably five                             hundred ways to design a valve                             like this...                                           PICARD                             We need to launch this ship in                             under eighteen hours...                                     (beat)                             There must be some design                             schematics... blueprints...                                           GEORDI                             We're tearing this place apart                             looking for them... but the                             computers are down, and the fires                             destroyed half the files...so                             far, nothing.                   They look at the damage in frustration.                                          GEORDI                             If it was just part of the warp                             drive, I'd know what to do. But                             this... it's like trying to                             rebuild Orville Wright's airplane                             with canvass and sticks.                   Picard thinks, remembers something.                                 PICARD                             Wait a minute...              99   INT. CONTROL ROOM                                           99                   Moments later. Picard and Geordi are looking at the                   three cloth-printed photographs seen earlier -- the                   headshot of Cochrane and two different angles of the                   three cloth-printed photographs seen earlier -- the                   warp ship with people working on it. Picard spreads                   them out on the desk.                                           GEORDI                             Yeah, I looked at these already.                   Geordi points to a photo of the ship -- a worker is                   walking in front of the throttle assembly, blocking                   most of it from view.                                           GEORDI                             You can almost see the throttle                             assembly in this one... but this                             guy walked in front of it when                             they took the picture.                   Picard considers, absently sticks his hand in his                   jacket pocket. He pulls out the canister of balm                   Scrimm gave him and tosses it onto the table.                                           PICARD                             Could you reconstruct the throttle                             from a photograph like this... if                             that man wasn't blocking the view?                   Geordi thinks it over.                                           GEORDI                             Maybe...                                     (beat)                             Sure. Yeah. As long as I could                             get a clear look at the intake                             configuration. But so far, we                             haven't found any other photos.                                           PICARD                                     (staring at photos)                             If there are other photographs...                             I think I may know how to find                             them.                                                                          CUT TO:             100   INT. BORG HIVE                                             100                   It's a while later, and the Borg are making progress.                   Data is strapped to the table, PANELS open on his HEAD                   and CHEST. Three Borg drones are working methodically                   on his inner-circuitry. The jagged voice of the woman                   cuts in:                                            WOMAN'S VOICE                             Your resistance is... illogical.                             To us, your neural net is simply                             another piece of technology. We                             will learn its secrets.                   Data stares at the murky ceiling.                                           DATA                             Who are you?                                           WOMAN'S VOICE                             I am the Borg.                                           DATA                             That is a contradiction. The Borg                             act as a collective consciousness.                             There are no individuals.                                           WOMAN'S VOICE                             I am the beginning... the end. I                             am the one who is many. I am the                             Borg.                   Out of the mist that hugs the top of the room DESCENDS                   the BORG QUEEN.                   She is unlike any of the Borg drones we've ever seen --                   a humanoid female with conduits and tubes running out                   of her body. She has no legs. Her torso is SUSPENDED                   by a complex rig of CABLES and HYDRAULICS. Her face                   and upper-torso are much more humanoid, with the pasty-                   pale white of Borg flesh. Her EYES have a silvery                   glint to them. Her demeanor is seductive and sensual                   in contrast to the harsh, mechanical surroundings. She                   is an eerie blend of two worlds -- organic and                   mechanical.                   With the soft HISS of hydraulics, she LOWERS herself                   down to where her face is very close to that of Data's.                   Her features are almost angelic, but the silvery glint                   in her eyes betrays an inner-darkness.                                           DATA                             You are the guiding intelligence                             behind the Borg...?                                           BORG QUEEN                             Intelligence... ambition...                             desire... I bring order to                             chaos...                   She studies his face with a certain child-like quality.                                           BORG QUEEN                             It's unfortunate we will have to                             destroy you to obtain the                             information we need. You are a...                             unique lifeform.                                     (beat)                             Synthetic... and yet far more than                             a simple automaton.                             You have no idea how close to                             perfection you are.                    She stares at him intently, and we get the hint that                   her interest in Data may go beyond simple assimilation.                   She seems fascinated by him. Data picks up on this.                                           DATA                             How do you define perfection?                   The Queen opens her arms slightly, clearly indicating                   herself.                                           BORG QUEEN                             A blending of the organic and the                             synthetic. The highest form of                             life in the galaxy.                   Data eyes her, considering.                                           DATA                             An interesting definition. But it                             is not one that applies to me. I                             am completely artificial. I have                             no organic components.                   She looks at him as a new thought crosses her mind.                   She might've just found the chink in Data's armor.                                           BORG QUEEN                             Have you ever wondered what it's                             like to have flesh?                                           DATA                             It is impossible to imagine                             sensations for which I have no                             frame of reference.                    She smiles.                                          BORG QUEEN                             That... can change.                   The Queen looks to the three Borg drones and gives them                   a silent command. The drones immediately stop working                   on Data's open panels... and shift their attention to                   his right ARM. One of the drones tears off the sleeve                   on Data's uniform, exposing his bare arm. Another then                   uses a small cutting device to SLICE OFF the synthetic                   skin from Data's arm. As Data prepares himself for the                   worst...             101   INT. ENTERPRISE CORRIDOR                                   101                   THREE armored SECURITY GUARDS with phaser rifles run                   into view, hit a control panel on the wall. A giant                   EMERGENCY BULKHEAD comes SLAMMING down, cutting off the                   rest of the corridor.                   The security guards turn to run down the hall, but then                   there is a high-pitched shriek of wrenching metal.                   They drop to the deck and take combat stances.                                           GUARD #1                             Set phasers to rotating                             modulation!                   They make adjustments to their weapons just as the                   bulkhead doors EXPLODE INWARD in a blinding flash. The                   guards shield themselves against the fire and debris...                   looks up just in time to see the swift and lethal                   shapes of the BORG jumping through the smashed                   bulkhead, racing down the corridor toward them. The                   guards FIRE, and when they do the PHASER BLASTS                   alternate color -- red, blue, green, purple, orange --                   a staccato of colors as the phasers shift frequency.                   The phaser blasts TAKE DOWN a few of the BORG... but                   then we see the distinctive PERSONAL FORCEFIELDS of the                   other Borg begin to compensate, and the phasers no                   longer affect them.                                           GUARD #1                             That's it, they've adjusted --                             fall back!                   They turn to run but BORG PHASER FIRE lances out from                   the Borg soldiers and RIPS them apart.                                                                          CUT TO:             102   INT. BRIDGE                                                102                   The mood is tense, grim. Riker, Worf and Troi are                   gathered around a SCHEMATIC of the ENTERPRISE. The                   lower portion of the ship has been blocked off by                    the color RED, representing the Borg advance through                   the ship. A they watch, another section of                   compartments and corridors suddenly turn RED.                   Riker lets out a wary breath, starts pointing to                   various points along the schematic.                                           RIKER                             All right... we've lost control of                             eight decks... three Cargo Bays...                             one Shuttlebay.                                           TROI                             Do we have any idea how many Borg                             we're dealing with?                                          WORF                             We saw at least thirty...and                             there are twenty-two Enterprise                             crewmembers reported missing...                             including Commander Data.                                                                            RIKER                             We'll have to assume they've been                             assimilated into the Collective.                                           TROI                             Even Data?                                           WORF                             Data's positronic net contains                             classified information on the                             Enterprise. Command codes,                             security protocols...                                           RIKER                             If they control Data, they control                             the ship.                   A grim beat.                                           RIKER                             We can't worry about that right                             now. Let's concentrate on what we                             can.                   They stare at the schematic.                                           WORF                             To control the Enterprise, they'll                             have to gain access to one of two                             locations. Main Engineering... or                             the Bridge.                                           RIKER                             We have to cover both                             possibilities.                                     (to Troi)                             We'll take care of the Bridge.                             Worf, take your men and seal off                             Main Engineering. Turn it into a                             fortress -- nothing gets in.                   Worf nods and EXITS. As Riker and Troi exchange a                   tense look...                                                                          CUT TO:             103   EXT. RESURRECTION CITY - HOSPITAL - NIGHT                  103                   The hospital is completely LIT UP -- the only building                   in town with this much power.             104   INT. HOSPITAL CORRIDOR - NIGHT                             104                   Picard walks down the hall, stops outside a door marked                   "X-RAY PROCESSING." The RED LIGHT is on above the                   door, but that means nothing to Picard... who opens the                   door and steps inside...               105   INT. X-RAY PROCESSING ROOM                                 105                   Much like a traditional darkroom, trays of chemicals                   and washes, etc. But everything has a slightly                   futuristic and cobbled-together feel. They are                   developing X-rays by hand instead of by machine. The                   room is lit with an AMBER glow. As soon as Picard                   opens the door, we hear Ruby's voice:                                           RUBY'S VOICE                             Shut that door!                   Picard quickly shuts the door behind him, looks around                   the room. Ruby, who's working at a tray of chemicals,                   turns around in fury.                                           RUBY                             What are you, an idiot? Didn't                             you see the red light was on?                                           PICARD                             Ah... yes... but, I didn't realize                             that --                                           RUBY                             Thank God this plate was already                             fixed.                   She pulls down a small pane of glass (probably from a                   window) out of a tub of water... holds it up to the                   light. And there on the glass is a X-RAY of a man's                   SKULL. Picard moves to her.                                           PICARD                                     (re: X-ray)                             Cochrane?                                           RUBY                             Yes... and I only had enough                             silver halide for one shot. So                             you're lucky you didn't screw it                             up.                                           PICARD                             I'm very sorry.                   She glances at him, sees he feels genuinely bad. She                   softens a little.                                           RUBY                             Don't worry about it.                   She picks up a rubber squeegee and carefully starts to                   dry off the pane of glass.                                                                            RUBY                             Did you need something?                                           PICARD                             Yes... I wanted to ask you about                             some photographs I saw out at the                             silo. There were three of them...                             printed on some kind of fabric.                                           RUBY                             Bed sheets.                                     (off his look)                             I used my last set of bed sheets to                             make those prints. Not the best                             material, but I haven't seen a                             clean piece of paper in five                             years.                                           PICARD                             Did you take any other pictures of                             the rocket?                   The X-ray is now dry, and Ruby turns and looks at him.                                           RUBY                             Sure.                                     (jokingly)                             Why, did you want to buy them?                   Picard doesn't realize she was kidding -- jumps on the                   opportunity to get the photos.                                           PICARD                             Yes. I don't have any money right                             now, but I may be able to get                             some.                   Ruby looks at him for a moment -- is he serious? She                   gives him a curious smile.                                           RUBY                             "Money." So you can get dome                             money...                                           PICARD                             I can try.                                                                            RUBY                             You'd have to try real hard. No                             one's used currency in over ten                             years. What are you, from another                             planet?                            Picard hesitates, smiles at her, tries to laugh it off.                                           PICARD                             No... but sometimes I feel that                             way.                                     (beat)                             What I meant was, I'd be willing                             to trade for the photographs.                                           RUBY                             Trade. Okay. The photographs...                             for a straight answer.                                     (beat)                             Who are you? And how do you know                             Zephram?                                           PICARD                             I'm an old friend... I met him                             when he was doing his                             undergraduate work at Cornell back                             in --                                           RUBY                                     (cuts him off)                             'Fraid not.                   Ruby walks past him with the X-ray...             106   INT. HOSPITAL CORRIDOR - CONTINUOUS                        106                   Picard follows Ruby out into the corridor. She has a                   satisfied smile on her face -- it's not easy to put one                   over on this woman. And the truth is, she's enjoying                   Picard's frustration. As they walk along...                                           PICARD                             What?                                           RUBY                                     (casual)                             You're lying.                                           PICARD                             What makes you say that?                                           RUBY                             You're not someone who lies very                             easily... so it's obvious when you                             do... at least to me.                                           PICARD                             Are you always sucha good judge                             of character?                   She stops, turns, looks at him.                                           RUBY                             Always.                   Ruby turns and walks off. Picard follows her, doggedly                   determined to get those photos...             107   INT. HOSPITAL - EMERGENCY ROOM - NIGHT                     107                   Beverly is holding the X-ray glass Ruby made up to the                   light, as the Doctor seen earlier looks on.                                           BEVERLY                             The occipital fracture is                             widening... we're going to have                             to fuse the bones...                                           DOCTOR                             I'm a little worried about some of                             these bone fragments. If they                             move any closer to the brain, we                             could be looking at a hemorrhage.                   As Beverly and the Doctor examine the X-ray, we MOVE TO                   Ruby, who's looking down at Cochrane. He's still in                   bed and on a respirator. She smoothes his hair with                   affection. Picard stands on the other side of the bed,                   watching her.                                           PICARD                             Were the two of you... involved?                                           RUBY                             No... not like you and Doctor                             Crusher used to be.                                           PICARD                                     (surprised)                             How did you know about that?                   Ruby looks at him with a smile.                                           RUBY                             I didn't.                   Her smile widens, and then she leaves the bed to join                   the Doctor and Beverly. Picard shakes his head and                   smiles after her -- chagrinned and amused at the same                   time.                                           RUBY                                     (to Doctor)                             We can't take any more X-rays                             until I can mix up a new batch of                             the silver halide.                                           DOCTOR                             Can you do it tonight? We may                             have to operate.                                           RUBY                             Sure. It'll be ready by morning.                   Ruby turns and heads for the door. Picard moves after                   her.                                           PICARD                             Ruby... I need to talk to you                             about those photographs. It's                              very important.                                           RUBY                             I'm sure it is. But it'll have to                             wait until tomorrow.                                           PICARD                             It can't wait until tomorrow...                                           RUBY                             Too bad.                                     (beat)                             Besides, it'll give you all night                             to think up a new set of lies.                   She flashes him that smile again, then darts out the                   door. Picard is left frustrated -- he knows that he                   can't let it go at that...                                                                          CUT TO:             108   INT. ENTERPRISE - ENGINEERING                              108                   Worf and a team of TEN SECURITY GUARDS are preparing                   for battle. They're setting up large, heavy-duty                   phaser equivalents of machine guns --  big, mean-looking                   weapons on tripods. There are two of these weapons                   aimed at each entrance to Engineering. The Security                   Officers are strapping on body armor, checking weapons,                   building makeshift barricades over each of the doors.                   Worf is in command, directing the action.                                           WORF                                     (to team)                             Double check each assault                             phaser... make certain that the                             range setting is no more than                             thirty meters. We don't want to                             blast through the hull.                   Worf turns and picks up his BAT'LETH SWORD off a nearby                   console. He checks the sharpness of the blade.                                           SECURITY OFFICER                             Are you sure you don't want                             something a little more...                             sophisticated, sir?                                           WORF                             Mind your post, Lieutenant.                   The Lieutenant decides not to pursue the matter and                   moves off. Worf makes a quick practiced motion with                   the sword... decides he's ready.             109   INT. BRIDGE                                                109                   Riker and Troi watching the schematic.                   Riker works a control and the display ZOOMS IN to                   display a cutaway view of the ship highlighting                   Engineering and the surrounding deck. A SWARM of DOTS                   representing the Borg is advancing on Engineering.                                           RIKER                                     (to com)                             Riker to Engineering. Mister                             Worf...the Borg are approaching                             your position.                                           WORF'S COM VOICE                             Understood. We're ready.                   Riker and Troi watch as the DOTS move closer...                   closer...right up to the perimeter of Engineering.                   The dots begin surrounding Engineering -- which looks                   like it's being swarmed over by a sea of ants.             110   INT. ENGINEERING                                           110                   As before. The security guards have taken positions                   around the room, all weapons trained on the doors.                   Worf is standing in front of the warp core, Bat'leth in-                   hand.                                           WORF                                     (calls out)                             Charge weapons!                   A massive HUM of power fills the room as all of the                   phaser weapons begin charging. It's tense -- everyone                   standing ready with their weapons charging. This is                   the moment of truth.                   Worf stands ready, phaser in one hand, Bat'leth in the                   other. This is Worf at his purest -- the warrior ready                   for battle.             111   INT. BRIDGE                                                111                   Riker and Troi, as before, watching the schematic of                   the ship. The DOTS representing Borg have now                   completely surrounded Engineering on all sides,                   including the deck directly above and below. In                   essence, the Borg have cocooned Engineering from the                   rest of the ship.             112   INT. ENGINEERING                                           112                   As before. Worf and the security team in their                   positions, tense. A few beats of silence...then they                   start to hear soft SCRATCHING coming from somewhere                   behind the walls -- it sounds like rats skittering                   through the walls and ceiling of an old house.                   Everyone stays alert, checks and re-checks their                   weapons... a couple of hard swallows... then from                   somewhere up above a LOUD, METALLIC CLANG. Then a                   large, SCRAPING SOUND that seems to start at one end of                   the room and travel to the other. There's an                   overpowering sense of creatures just outside those                   walls, moving about. It's unnerving, even for crack                   Starfleet troops.             113   INT. BRIDGE                                                113                   Riker and Troi watching the display. The Borg dots                   teeming around Engineering like ants on a candy bar.             114   INT. ENGINEERING                                           114                   The clawing, skittering, clanging noises increase and                   get louder...                   ... we expect to see the Borg bursting into the room at                   any moment. Worf tightens his grip on his Bat'leth,                   teeth bared. Unbearable tension and then...                   The noises begin to FADE AWAY... eventually                   disappearing all together. If anything, the silence is                   even scarier. Worf's eyes narrow. He looks around the                   room, all his senses alert, waiting for the slightest                   sign of the Borg... but nothing happens.             115   INT. BRIDGE                                                115                   Riker and Troi react to the diagram as the Borg dots                   begin moving away from Engineering. It looks like the                   swarm of ants have left the candy bar and are on the                   ground, moving toward the forward part of the ship.                                           TROI                             They're bypassing Engineering...                                          RIKER                             Where the hell are they going?                   OFF the mystery...                                                                          CUT TO:             116   INT. BORG HIVE                                             116                   CLOSE ON DATA'S FACE. His eyes are closed -- he is in                   the android equivalent of sleep. CAMERA ROTATING and                   PUSHING IN on his face as we hear the overlapping                   sounds of VOICES from Data's past -- Picard, Riker,                   Troi, the Enterprise crew, aliens he's met, Data's own                   voice... bits and pieces of his life...                   The theme of the sound bites should be Data's quest for                   humanity: Picard giving him advice, Troi counseling                   him, Soong talking to his son, etc. The last line of                   dialogue we hear is Data saying "I want to be more                   human."                                           BORG QUEEN'S VOICE                             Data...                   Data's eyes fly open, now awake. We PULL BACK                   revealing that Data is still strapped to the Borg                   operating table... his right arm and shoulder are                   encased in some kind of strange cybernetic SHELL,                   obscured from view. Clear tubes run out of the shell                   into Borg machinery -- liquid is coursing through the                   tubes. A couple of Borg drones are moving about the                   room, carrying out various tasks.                   There's been a change since we've been here last.                   There are now several Plexiglass CYLINDERS surrounding                   Data's table -- each of them filled with some kind of                   murky red fluid, which is swirling around. Every once                   in awhile, something that looks like RAW FLESH bumps up                   against the clear Plexiglass, then disappears again.                   We don't know what these tubes are for, but they're                   definitely creepy.                   Data takes all this in, but there is nothing he can do,                   he's still immobilized.                   Suddenly the table ROTATES and begins to MOVE up toward                   the mist and cabling at the top of the ceiling. It                   stops a few feet away... and Data finds himself face-to-                   face with the Borg Queen again.                                           BORG QUEEN                             You've taken your first step                             toward perfection. How does it                             feel?                                           DATA                             I do not know what you are                             referring to.                                           BORG QUEEN                             That's because you haven't been                             properly... stimulated yet.                   A WHOOSH of hydraulic power signals another movement by                   the Borg Queen. She slithers through the air and down                   slightly, so that she is on the same level as Data.                   She looks at the cybernetic shell that is encasing                   Data's right arm, which OPENS at her silent command and                   moves away...                   We can now see that all of the skin has been removed                   from Data's right arm, showing the INNER-WORKINGS of                   his android limb -- circuitry and servos, etc. But on                   the top of the mechanical forearm there is something                   new -- a small PATCH of HUMAN FLESH held in place with                   various nasty-looking hooks and clamps and small tubes                   carrying blood. It's a delicate, fragile piece of                   organic life on an ugly, mechanical surface.                   Data looks down at the patch of flesh with a little                   puzzlement.                                           BORG QUEEN                                     (re: flesh)                             Do you know what this is, Data?                                           DATA                             It would appear that you are                             attempting to graft organic skin                             onto my endo-skeletal structure.                                           BORG QUEEN                             What a cold description... for                             such a beautiful gift.                   She smiles slightly, utterly confident. She leans her                   face in close to Data's still immobilized right arm.             117   EXTREME CLOSE UP - DATA'S ARM                              117                   We are so close to the patch of flesh that we can see                   the individual hairs. The Borg Queen's LIPS move into                   frame, and she EXHALES a long and sensuous breath. We                   see GOOSE BUMPS form on the skin, and the hairs stand                   straight up in response.                    118   NEW ANGLE                                                  118                            As Data's eyes widen and he looks down at the skin in                   surprise -- this is a sensation he's never felt before.                   The Borg Queen sees the look on his face and smiles.                                           BORG QUEEN                             Was that good for you?                   Data can barely describe the sensation. But clearly,                   it was pleasurable.                                           DATA                             It was... interesting.                   He looks at her.                                           DATA                             Do it again... please.                   As she smiles...                                                                          CUT TO:             119   EXT. RUBY'S HOUSE - NIGHT                                  119                   A tiny, single-story house -- one or two rooms at the                   most, in serious need of repair and maintenance. No                   yard. The house sits on dirt. The nearest other                   structure is at least a hundred yards away. A very                   solitary place. The windows are dark, painted over                   from the inside.                   Some large pieces of exotic-looking EQUIPMENT are                   sitting off the front porch.                   After a beat, the front door opens, letting out a soft,                   feeble light.                   Ruby steps out onto the porch, carrying a gallon size                   plastic jug. The light from the house now lights the                    equipment a little, giving us a better view. There's                   a contraption that appears to be a PUMP of some kind,                   with a funnel on top, spigot at the bottom, and several                   stages of filters and tubing in between. Ruby sets the                   jug underneath the spigot... then sits down for a                    moment on the edge of the porch. She takes a breath                   and runs a hand through her hair, stretches her back,                   trying to work out some of the kinks in her neck. An                   exhausting day.             120   PICARD                                                     120                   is watching her intently from afar. He's concealed                   behind a supporting beam of one the town's many                   WINDMILLS. He's in shadow, hidden from Ruby's view.             121   RUBY                                                       121                   pulls off her jacket. she's wearing a pull-over                   shirt... and in one motion she pulls off the shirt,                   revealing only a tee-shirt underneath, sleeves torn off                   long ago. She stands up... kicks off her boots...                   undoes her pants... and begins sliding the jeans off                   her hips...             122   PICARD                                                     122                   is surprised. Glances around, a little awkward. This                   really isn't why he came out here.             123   RUBY                                                       123                   kicks aside the jeans. She's now down to tee-shirt and                   panties. She grabs the bottom of the tee-shirt...                   pulls it off...             124   PICARD                                                     124                   doesn't want to look, but can't help himself...             125   RUBY                                                       125                   moves to the side of the porch... and steps into a                   large ENVIROMENTAL SUIT, a bulky one-piece with gloves                   and helmet attached.             126   PICARD                                                     126                   is a little relieved... keeps watching...             127   RUBY                                                       127                   has now encased herself in the thick, rubbery suit...                   pulls over a HELMET with a gas mask. She walks over to                   an OIL DRUM marked with a distinctive BIO-HAZARD                   SYMBOL. She carefully opens the lid... takes a metal                   pitcher... reaches down into the drum and scoops out a                   pitcher-full of TOXIC WASTE. She closes the lid, walks                   over to the pump-filter contraption. She pours the                   sludge-like waste into the funnel...primes the pump...                   makes a few adjustments to the filters... and then                   turns the spigot...                   After a beat, a trickle of CLEAR LIQUID starts to come                   out of the spigot. Ruby steps back and pulls off the                   helmet.             128   PICARD                                                     128                   watches, curious about what she's doing...             129   RUBY                                                       129                   is now out of the bio-suit again... pulling on her                   shirt and jeans... grabs her jacket... turns off the                   lights in the house, and shuts the front door behind                   her. She begins walking toward the windmill.             130   PICARD                                                     130                   steps behind the girder, stays very still in the                   shadows... waits quietly as Ruby passes by the windmill                   without a glance and heads into town. After she's                   gone, Picard steps out from his hiding place, watches                   her go, then quickly heads for Ruby's house...             131   FRONT PORCH                                                131                   Picard opens the front door and goes inside... but he                   doesn't notice that at the base of the doorjamb a small                   RED LIGHT starts flashing -- some sort of silent alarm.             132   INT. RUBY'S HOUSE - CONTINUOUS                             132                   Picard ENTERS and closes the door behind him. It's                   dark. He fumbles around for a light switch... finally                   locates one... and a soft, golden glow fills the room.                   The house has only one room, which functions as a                   living room, kitchen, bedroom, etc. This is also                   Ruby's DARKROOM. The windows have been painted black,                   and there are photographic plates and futuristic photo-                   equipment all around. But the most striking feature of                   the house are the large, hanging cloth-printed                   PHOTOGRAPHS. They vary in size and shape. Some are                   hanging on walls, others hang from the ceiling in mid-                   air, still others are stacked on the few pieces of                   furniture that's here. The absence of paper has forced                   Ruby to print photos on anything she can find --                   bed sheets, shirts, pieces of upholstery, backs of                   carpeting, etc. Picard stands there for a moment,                   taking in the scene -- he's never been in anyplace                   quite like this. The cloth photos give the room a                   feeling of a small, intensely personal gallery.                   Picard moves around the room, looking from photo to                   photo... hunting for the elusive shots of the missile                   silo... and as he does, we get our first close look at                   Ruby's images, and they tell us a great deal about                   her...                   She has an artistic eye for finding beauty in the                   mundane and the ugly. There are pictures of hope                   amidst despair... beauty amongst devastation. There                   seems to be a theme running through the photographs --                   a romantic, almost idealistic sense of optimism.                   At one point, Picard finds a photograph he recognizes.                   It's the rusted-out hover car she photographed on the                   streets of Resurrection. It's an ugly, decrepit piece                   of junk... but there in the center, spot-lighted by a                   single ray of sunshine... is a tiny flower about to                   bloom.                   Picard takes in the image for a brief moment... then                   pushes onward... goes to a file of photos sitting in a                   box... begins sorting through them quickly... we see                   PRE-WAR photos printed on real paper. They show a                   younger Ruby with her parents... Resurrection the way                   it used to look... Ruby with a dog...                   Picard pauses, frowns... gets the odd feeling that                   someone is watching him. He turns around to see...             133   HIMSELF                                                    133                   A three foot PHOTOGRAPH OF PICARD is drying in the air                   behind him.                   Ruby must've taken the photo when Picard was on the                   street talking to Scrimm. It was taken through a                   telephoto lens, a close-up of Picard's face -- he looks                   focused, determined, heroic. It's a remarkable shot of                   the Captain, and even Picard is a little taken aback by                   the image. She's captured the essence of the man.                   CLICK-CLACK! The sound of a shotgun being cocked.                   Picard freezes... slowly turns around to see who's                   there...             134   RUBBY                                                      134                   is standing in the open doorway, a shotgun leveled at                   Picard.                                           RUBY                             You should pay closer attention to                             those little red lights.                   Picard glances down at the doorway, sees the flashing                   red light in the doorjamb. He's busted.                                           RUBY                             You know, I'd be perfectly                             justified in shooting you right                             now.                   Picard glances at the photograph of himself.                                           PICARD                             I'd say you already have.                                           RUBY                             Don't flatter yourself. I take                             pictures of a lot of junk.                   She perches herself on the arm of a small couch, holds                   the gun loosely, but never taking the aim away from                   Picard.                                           RUBY                             Okay, let's hear it. I'm sure you                             have a great explanation for why                             those rocket photos are so                             important you broke into my house.                                           PICARD                             We're trying to repair Doctor                             Cochrane's ship. It's been                             damaged and --                                           RUBY                             We?                                           PICARD                             Myself... and a few other friends                             of Zephram's.                                           RUBY                             Friends from Cornell...                                          PICARD                             Some.                                           RUBY                             Lie. That's one. Keep going.                                           PICARD                             A key piece of the ship has been                             destroyed... and our only hope to                             reconstruct it is if one of your                             photographs shows us what it                             looked like.                                           RUBY                                     (considers)                             All right. Truth. I believe that                             one. Why is it so urgent you                             couldn't wait until morning?                                          PICARD                             We have to launch his ship by                             tomorrow afternoon.                                           RUBY                             Or...?                   Picard has to come up with something -- decides to                   throw her off with a high-tech explanation.                                           PICARD                             Or the shielding around the                             plutonium core will begin to                             deteriorate. Within a day, the                             entire silo will become so                             radioactive that no one will be                             able to come near it for a hundred                             years.                   Ruby eyes him evenly.                                           RUBY                             Lie. That's two. One more, and                             I pull the trigger.                  Picard is starting to get angry.                                           PICARD                             Why are you being so difficult?                             All I'm asking for is to look at                             one of the photographs. It'll                             take five minutes.                                           RUBY                             And all I'm asking for is the                             truth. That would take five                             minutes.                                     (beat)                             For all I know, you caused the                             explosions at the silo... and now                             you're trying to steal Zephram's                             ship.                                           PICARD                             I am not a thief...                   Ruby's had enough -- her temper flares and she gets off                   the couch, takes a threatening step toward Picard.                                           RUBY                             No, you're a petty burglar and a                             liar...                                     (beat)                             You're no friend of Zephram's. He                             is a great man. He's not like you                             or me or any of the other zombies                             walking around this town.                   Picard jumps in with a quiet, forceful quality:                                           PICARD                             No. He's a man with vision. He                             can see beyond the problems that                             surround us. He knows there's a                             better future out there for                             everyone... a future where crime,                             poverty and war are things of the                             past... a future where we reach                             out and seek our destiny in the                             stars.                                    (beat)                             I believe in that future, too,                             Ruby. I believe in it in every                             fiber of my being. And I'm                             telling you... if we don't launch                             that warp ship tomorrow, there's                             a very good chance that future                             will never happen.                   She eyes him for a moment -- and we're not sure if his                   words have had any effect.                   Ruby still has her doubts, but decides to go with her                   gut...and finally hands him the photographs. Picard                   glances through them -- his expression tells us the                   photo he needs is in there.                                           PICARD                             You won't regret this.                   They share a look... and then Picard turns and walks                   off into the night. Ruby watches him go... and we can                   see on her face a confused jumble of mixed emotions.                   Something about that man has touched her...             135   NIGHT SCPOE POV                                            135                   A telescopic, green and white image of Picard walking                   away from Ruby's home.             136   LIEUTENANT SCRIMM                                          136                   is watching Picard through a set of night vision                   binoculars, perched on the roof of a nearby building.                   He frowns, wondering what Picard is up to...                                                                          CUT TO:             137   EXT. SPACE - ENTERPRISE DEFLECTOR DISH                     137                   The giant DEFLECTOR ARRAY at the front of the ship --                   a giant, round, bowl-shaped array used for                   communications and shielding. As we watch, FOUR                   HATCHES OPEN surrounding the dish and BORG start to                   emerge from the interior of the ship and CRAWL OUT on                   the hull. The Borg do not need pressure suits or                   breathing equipment -- they crawl around the hull with                   ease and onto the deflector dish...                   PULL BACK TO REVEAL:             138   INT. ENTERPRISE BRIDGE - VIEWSCREEN                        138                   Where Riker, Troi, Worf and N.D.s are watching this                   image on the Viewscreen.                                           RIKER                             What are they doing?                                           WORF                             They appear to be modifying the                             deflector dish.                                           TROI                             To do what? If they wanted a                             weapon, they could've taken over                             a phaser bank or torpedo bay...                                          RIKER                             Deflector dish... why the                             deflector dish...?                                          WORF                             It doesn't make sense. The                             deflector is only used for                             shielding and long range                             sensors...                   Riker stares at the screen... notices something.                                           RIKER                             Computer -- magnify grid twenty-                             one alpha.                   The image on the Viewscreen ZOOMS IN to a specific                   point on the deflector dish, giving us a clear view of                   two Borg who have opened a gigantic panel on the dish.                   They appear top be modifying power conduits in some                   fashion.                                           WORF                             They're re-routing the deflector                             power conduits...                                           RIKER                             Computer -- thermal enhancement.                   The image now is overlaid with an INFRARED VIEW of what                   they're doing. The power conduits are glowing bright                   red, very hot -- we can see the heat signature travel                   back behind the dish and connect to a corkscrew-shaped                   coil, which is pulsing.                                           RIKER                             They're connecting the conduits to                             subspace communications...                                           WORF                                     (realizing)                             They're converting the deflector                             dish into an antennae...                                           TROI                             They may be trying to send a                             message to the other Borg...the                             Borg in this time period...                                                                            WORF                             What kind of message?                                           RIKER                                     (thinking)                             If it was me... I'd say "attack                             Earth now... in the 21st                             century... they'll be too strong                             in the 24th."                   They think about this for a moment as they watch the                   Borg swarming on the deflector array.                                           WORF                             We have to stop them from sending                             that message.                                           RIKER                             Agreed. Options?                                           WORF                             Destroy the deflector dish.                                           TROI                             Can we aim our dorsal phasers at                             it?                   Riker shakes his head.                                           RIKER                             We've lost control of all weapons                             systems... Transporters are                             down... we can't get to a                             Shuttlecraft... and it would take                             us too long to fight our way down                             to deflector control...                   They think.                                           WORF                             There is another way, Commander.                             Do you remember your zero-G combat                             training?                   Riker looks a little wary at the suggestion.                                           RIKER                             I remember it made me sick.                                           TROI                                     (to Worf)                             What are you suggesting?                                           RIKER                             I think Mister Worf is suggesting                             that we go outside for a little                             stroll...                   OFF their expressions...                                                                          CUT TO:             139   CLOSE ON A PHOTOGRAPH                                      139                   Another one of Ruby's cloth-printed photos, this one a                   clear view of the base of the missile engines --                   Cochrane standing underneath the massive rocket nozzle.                   Above him on the fuselage is the crucial throttle-valve                   assembly.                                           GEORDI'S VOICE                             I'm almost afraid to say this,                             Captain... but I think it's going                             to work.                   MOVE TO REVEAL we're in:             140   INT. MISSILE SILO - LOWER CATWALK - DAY                    140                   The cloth photo is hanging from a beam on the catwalk.                   Geordi and Picard are watching a couple of N.D.s attach                   the newly-built throttle assembly to the side of the                   ship. The N.D.s are using high-tech welding tools and                   sparks are flying. As they talk, they head back up the                   catwalk toward the control room...                                           PICARD                             Where's you get the alloy for the                             throttle itself?                                           GEORDI                             They used copper pipes in their                             plumbing... so I melted it down...                             and fused it with some tritanium                             from one of our phaser casings.                                     (beat)                             It's not the strongest alloy...                             but it's better than all this                             crude aluminum and steel.             141   INT. MISSILE CONTROL ROOM - CONTINUOUS                     141                   As Geordi and Picard ENTER. Lange is checking out a                   launch console.                   The room is now humming with power -- it's beginning to                   look like the place is up and running. Picard stops                   near the desk.                                           PICARD                             Mister Lange -- have you brought                             the computer systems back on-line                             yet?                                           LANGE                             Aye, Captain. This trinary                             language is pretty archaic... but                             I think I understand it now.                                          PICARD                            Good.                   As they speak, CAMERA MOVES in on the metal canister                   of lotion Picard set on the desk earlier...             142   EXT. MONTONA WOODS - DAY - CONTINUOUS                      142                   Scrimm and three militia guards are huddled around a                   cluster of military surveillance gear, listening to                   Picard and Geordi's conversation. Far in the distance,                   we can see the missile silo.                                           PICARD'S VOICE                             Are we on schedule? The Vulcan                             ship will be here in less than two                             hours.                                           GEORDI'S VOICE                             It'll be tight, but we should make                             it.                                           PICARD'S VOICE                             What about our warp signature? It                             has to be strong enough for them                             to detect.                                           GEORDI'S VOICE                             I've enhanced the plasma injectors --                             don't worry, they'll see it.                                           PICARD'S VOICE                             Well, with any luck... the Vulcans                             will land outside Resurrection                             tomorrow morning... and Earth will                             never be the same again.                            Scrimm and his men listen with growing alarm -- it                   sounds like Picard is planning an invasion!             143   INT. MISSILE CONTROL ROOM - CONTINUOUS                     143                   As before.                                           PICARD                             All right. I'd better start                             familiarizing myself with the                             flight controls.                   A console BUZZES. Lange moves to it, and activates a                   small color video MONITOR. It shows an external view                   of the MISSILE silo, just outside the hatch. Beverly                   can be seen standing nearby with a now conscious                   Zephram Cochrane.                                           LANGE                             Doctor Crusher's at the access                             hatch, Captain.                                           PICARD                             Let her in.                   Lange hits a couple of buttons...                                                                          CUT TO:             144   CLOSE ON COCHRANE'S FACE                                   144                   A short time later. His head is bandaged, and he's                   conscious, but frankly he looks like hell. He sits                   back, looking a little overwhelmed.                                           COCHRANE                             Let me get this straight... you're                             from the future... I'm about to                             change history... and all I have                             to do is sit here and let you fly                             my ship?             145   WIDER                                                      145                   Picard, Geordi and Beverly are standing around                   Cochrane, who is sitting in a high-backed chair in a                   corner of the Control Room.                                           PICARD                             That's right.                   He studies their faces -- sees they're serious. He                   smiles a little ruefully.                                           COCHRANE                             And people say I'm crazy...                   Picard smiles.                                           PICARD                             I assure you, Doctor, that after                             today... no one will ever call you                             that again.                   Cochrane considers them...finally nods, what the hell.                                           COCHRANE                             Just do me a favor... bring my                             ship back in one piece.                                           PICARD                             That's a promise.                   Picard turns and walks off with Beverly. Geordi moves                   to Cochrane with a little bit of awe.                                           GEORDI                             Doctor... my name is Geordi La                             Forge. I'm an engineer. Can I                             shake your hand?                   Cochrane is touched by Geordi's obvious respect. They                   shake hands.                                           COCHRANE                             I wish I could go with you. Is                             there anything I can do to help?                                           GEORDI                             Not really... but I do have about                             a thousand questions I've always                             wanted to ask you.                                           COCHRANE                             Since time is short... why don't                             you pick the top ten and fire                             away?                   Geordi smiles...             146   PICARD AND BEVERLY                                         146                   have moved to another part of the room. Beverly looks                   exhausted. She sets her medkit on a table and plops                   down into a chair. Mid-conversation.                                           PICARD                                      (surprised)                             You actually performed surgery...?                                           BEVERLY                             It was an experience. Metal                             scalpels... needle and thread...                   She looks up with a smile, pulls a small DEVICE out of                   the medkit -- a surgical transporter.                                           BEVERLY                                     (re: device)                             But I had a little help. Surgical                             transporter. I used it to beam                             out most of the bone fragments                             from his brain.                                           PICARD                             How did Doctor Almack react to                             that?                                           BEVERLY                             He was so confused by what I was                             doing, I don't think he even                             noticed.                                     (beat)                             Any word from the Enterprise?                                           PICARD                             Not yet.                                           BEVERLY                             You think they're still up there?                                           PICARD                                     (wry)                             If they're not... we'd better get                             used to living in Montana.                                           BEVERLY                                     (light)                             That might not be so bad... at                             least for you.                   She's kidding, but Picard is a little defensive.                                           PICARD                             What's that supposed to mean?                   There is no animosity or hint of jealousy in Beverly's                   attitude, she's simply making an observation about                   someone she cares about.                                           BEVERLY                             I saw the way you looker at her...                             and I know that look.                   Picard doesn't want to argue about this -- to him, it's                   a pointless conversation.                                           PICARD                             Regardless of how I may feel about                             Ruby... our fates lie along                             different paths. Nothing can                             change that.                                           BEVERLY                             You want some advice? Don't do                             this again.                                     (off his look)                             You know exactly what I mean.                                           PICARD                             Beverly, there were many reasons                             why you and I...                                           BEVERLY                             I'd call them excuses. And the                             first excuse on both our lists was                             our "sense of duty." We convinced                             ourselves that it was more                             important than anything else. And                             you know what? It's not.                   She holds his look for a moment.                                           PICARD                                     (neutral)                             I have a ship to launch.                   Picard turns and leaves. Beverly watches him go...                   wondering whether her words had any affect...             147   EXT. RUBY'S HOUSE - DAY                                    147                   Ruby is turning off the spigot on the filter-pump. The                   plastic jug is now filled with the clear fluid --                   silver halide. She caps the jug, picks it up, begins                   walking up on the porch...then hesitates for a                   moment... looks out over the horizon.                   She hesitates... then frowns and goes inside...                   Ruby comes inside, sets down the jug... begins to pick                   up some more glass plates... stops... thinks... looks                   up. Only a few feet away is the large picture of                   Picard. She doesn't want to look at him, doesn't want                   to think about him... but there he is.                   She glances back at the open door... struggles for a                   moment... then makes a decision.                   Despite herself, she can't get Picard out of her head.                   With a little frustration, she grabs her camera bag and                   heads for the door...             149   EXT. SPACE - THE ENTERPRISE                                149                   in Earth orbit.             150   INT. BORG HIVE                                             150                   ANGLE ON CEILING as the Borg Queen descends from her                   nesting place down towards the camera... ultimately                   stopping just a few feet away. She speaks directly to                   the camera.                                           BORG QUEEN                             How do you feel?             151   CLOSE ON DATA'S HAND                                       151                   His right hand is made of FLESH -- it has color,                   fingernails, hair, sweat. It's completely human in                   every way. His fingers move slightly, and then the                   hand begins to rise. We follow his hand as it comes up                   and touches his FACE, which is also FLESH. The gold                   color is gone, his hair is tousled and natural-looking.                   Even his eyes are real now -- blue. He touches his                   face tentatively, his expression confused... but                   intrigued.                                           DATA                             Different.                             The Borg Queen descends closer. Data's arms are now                   free, but he is still restrained on the table. The                   rest of his body is still android, mechanical.                   Data touches his two hands together, feeling the                   sensations, flesh against machine. He touches his face                   and lips, discovering himself in a totally new way.                                           DATA                             My internal sensors tell me the                             ambient temperature in the room is                             ten point two degrees Celsius...                                     (wondrous)                             But my skin tells me it is cold.                   As he talks, we can see that he's becoming seduced by                   his own newfound senses.                                           DATA                             My visual acuity has been reduced                             by seventy-eight percent... and I                             can no longer perceive light                             beyond the ultraviolet or the                             infrared...                                     (beat)                             But I can see.                   It's an amazing moment, Data riding a wave of feeling                   and emotion like he's never had before. The Borg Queen                   watches, pleased. She hovers close to him.                                           BORG QUEEN                             Until today... your emotions were                             trapped inside an artificial                             shell. You didn't know what it                             was to truly feel.                                     (beat)                             And there's so much more for you                             to experience.  I will guide you                             into a world of sensation unlike                             anything you can imagine.                                     (beat)                             All you have to do... is give us                             access to your neural net.                   Data looks at her, suddenly shocked back into reality.                                           DATA                             No. I will not betray my friends.                                           BORG QUEEN                             They're not your friends...                             they've held you back... kept you                             from your destiny...                                           DATA                             That is not true. They have tried                             to help me.                                           BORG QUEEN                             Have they given you what I have                             given you? Did they even try?                                           DATA                             I... do not want this...                   But his words have a certain hollow quality to them.                   He is no longer as convinced as he was before and the                   Borg Queen notes this immediately. She reaches out                   with a hand and gently strokes Data's cheek.                                           BORG QUEEN                             You're becoming more human all the                              time, Data. Now you're learning                              how to lie.                                           DATA                             I wish to... go back to the way I                             was.                                           BORG QUEEN                             More lies.                   She SLAPS him hard across the face. Data feels the                   pain, the shock. A small trickle of blood comes from                   his mouth. He looks at her in surprise, but before he                   can say anything she moves forward and KISSES him on                   the mouth deeply and intensely. It's a disturbing and                   erotic moment. She pulls back. Data reels, trying to                   sort out the rapid succession of pleasure and pain.                   Her voice drops to a whisper and she moves even closer                   to him, face-to-face... seductive... beguiling.                                           BORG QUEEN                             Have you ever know a woman? Do                             you know what it's like to feel                             her breath on your face... her                             skin against yours... flesh                             against flesh?                                           DATA                             My creator did not intend for me                             to experience these things.                                           BORG QUEEN                             I'm your creator now.                   She rubs her body against his, cat-like... then pulls                   him to her and kisses him deeply. Off the image of                   their bizarre embrace...                                                                          CUT TO:             152   INT. BRIDGE                                                152                   Riker, Worf, and three Security N.D.s are pulling on                   SPACESUITS. The suits are form-fitting, sleek, no                   bulky oxygen tanks. The helmets are the same -- they                   conform to the contours of the skull and face.                                           WORF                                     (to Riker)                             You will have to realign the                             targeting array of the quantum                             torpedo... and reprogram the                             warhead for the localized                             detonation.                                     (beat)                             There's only one torpedo left...                                                                                                             RIKER                             I guess I'd better get it right                             the first time.                                           WORF                                     (to all)                             The Borg will undoubtedly attack.                             Set phasers to rotating                             modulation.                   The Security Officers check their phasers and wait as                   Riker and Worf finish putting on their suits. Riker                   straps a tool case to his suit.                                           RIKER                             Ready?                   Everyone nods. Riker goes to a wall panel and                   activates the control. The Airlock door seen earlier                   OPENS. Riker turns back to Troi.                                           TROI                             Good luck.                   Riker nods. Then he, Worf, and the Guards ENTER the                   airlock and Troi close the door behind them.             153   INT. AIRLOCK                                               153                   A tiny room separating the Bridge from the outer hull.                                           RIKER                             Depressurize.                   Worf hits a control and the room DEPRESSURIZES with a                   HISSING SOUND.                                           WORF                                     (to others)                             Activate magnetic constrictors.                   They all activate controls on their wrists and there is                   a faint hum of power as the suits are magnetized.                   Riker hits another control and the OUTER AIRLOCK DOOR                   SLIDES OPEN, revealing the vast vacuum of SPACE. They                   begin to walk out of the airlock...             154   EXT. SPACE - ENTERPRISE - AIRLOCK                          154                   As Riker and his team come out of the airlock on the                   top of the saucer section. It's a spectacular sight as                   the small group of figures, with weapons at the ready,                   marches toward the leading edge of the saucer. The                   scene is lit by light reflected by the Earth, which                   hangs above the ship.             155   ON RIKER & WORF                                            155                   As they approach the edge. Worf gives a hand signal                   and the rest of the team spreads out into a tactical                   deployment and drops down onto their bellies. They                   crawl up to the very edge of the saucer and pause.                   Worf looks at Riker, who looks a little queasy.                                           WORF                                     (to Riker)                             Are you alright?                                            RIKER                             Just a little queasy...                                           WORF                             Try not to look at the stars...                             keep your eyes on the ship.                                           RIKER                             Right.                                           WORF                             And Commander, whatever you do...                             do not vomit in your exo-suit. It                             would be... unpleasant.                                           RIKER                             I'll keep that in mind.                   Riker takes a few deep breaths to steady himself.                                           RIKER                                     (to all)                             Over and under!                   They all quickly scramble over the edge and onto the                   underside of the saucer.                   The CAMERA ROTATES AND SPINS with them as they                   traverse to the underside of the hull -- they're                   upside down relative to their previous position, but                   there's no up or down in space and their magnetized                   suits hold them to the hull.                   It's a dizzying moment as we try to orient ourselves to                   their new position. From this angle, the Enterprise                   appears to be upside down!                    Once they're on the underside of the saucer, they can                   see the rest of the ship laid out above them.             156   NEW ANGLE - THEIR POV                                      156                   The deflector dish (which is now above us) is covered                   with dozens of Borg drones, who are working to modify                   it. Some of them turn and see us.             157   RIKER AND WORF                                             157                   Begin running toward the torpedo tube on the saucer.                   (Running is difficult, they must keep one foot on the                   hull at all times.) Several Borg PHASER SHOTS whip past                   them as the Borg open fire.             158   THE BORG                                                   158                   A DOZEN of them leave the work on the dish and begin                   skittering down (which is normally up) the                   interconnecting dorsal on all fours toward our heroes                   like a swarm of ants -- a frightening sight.             159   A SECURITY GUARD                                           159                   Is HIT by a phaser shot and goes FLYING OFF into space.             160   THE TORPEDO TUBE                                           160                   Riker reaches the opening to the torpedo tube, bends                   down and opens the hatch. Borg phaser shots hitting                   all around him. The open hatch cover provides some                   protection from the Borg fire.                                           RIKER                             Worf! I'm going to need at least                             five minutes!                                           WORF                             Understood!                   Worf and his team lie down on the hull and begin                   exchanging fire with the approaching mass of Borg.                   They pick off a few Borg, who also go FLYING into                   space. As Riker begins to work...                                                                          CUT TO:             161   INT. MISSILE SILO - SERIES OF SHOTS                        161                   Quick cuts:                   -- Picard and Geordi strapping themselves into the                      Phoenix cockpit.                   -- In the Control Room, the Starfleet N.D.s put on 21st                      century headsets to communicate with the Phoenix                      cockpit.                      -- Cochrane sitting in his chair, holding his head, but                      rapt with attention. Beverly checking him with her                      MEDKIT, which is sitting open on a console nearby.                   -- The BLAST DOOR begins closing.                   -- Geordi's hands flipping switches, working the                      controls.                   OVER THESE SHOTS:                                           GEORDI'S VOICE                             ATR setting...                                           PICARD'S VOICE                             Active.                                           GEORDI'S VOICE                             Main bus...                                           PICARD'S VOICE                             Ready.                                           GEORDI'S VOICE                             Initiate pre-ignition sequence.                   -- The Phoenix ENGINES at the base of the ship begin                      spewing nitrogen gas.             162   INT. MISSILE SILO - CONTROL ROOM                           162                   The Security N.D.s moving about the control room, which                   is now humming with power.                   The huge steel blast door separating the control room                   from the silo has been CLOSED.                                           GEORDI'S COM VOICE                             Pre-ignition sequence complete.                             Going to internal power.                                           LANGE                                     (off console)                             Acknowledged, Phoenix. You're on                             internal power and ready for lift-                             off.                                           GEORDI'S COM VOICE                             Final launch sequence checks...                             complete. Ready to begin final                             countdown.                                           LANGE                                     (works)                             Understood. Begin five minute                             countdown on your mark.             163   INT. PHOENIX COCKPIT                                       163                   Picard, Geordi making final adjustments to the control                   panels. Both are wearing 21st century communications                   headsets. Picard exchanges a look with Geordi.                                           PICARD                             Ready to make a little history?                                           GEORDI                             Always am.                                           PICARD                             Phoenix to control.                                     (hits a control)                             Initiating five minute                             countdown... mark.                   A few monitors in the cockpit indicate that the                   countdown is underway.             164   INT. CONTROL ROOM                                          164                   Lange and the other N.D.s watching the countdown.                   Suddenly a console BUZZES. Lange goes to the monitor                   seen earlier, hits a switch -- the monitor comes alive,                   shows that Ruby is now standing outside at the hatch.                   Lange reacts in surprise.                   Picard and Geordi working the controls, watching the                   readings, etc. We hear Lange's com voice:                                           LANGE'S COM VOICE                             Phoenix, we have a problem out                             here. There's a woman at the                             outer hatch... says her name's                             Ruby Sloan and she wants to see                             the Captain.                   Picard and Geordi react -- her timing is pretty bad.                                           LANGE'S COM VOICE                             What do you want me to do, sir?                                           GEORDI                             We can't let her in... she'll see                             Cochrane isn't making the flight.                                           PICARD                             We can't leave her out there.                             When the ship launches... she'll                             be killed.                                           GEORDI                             Tell her to go back to                             Resurrection.                                           PICARD                             She's a very... determined woman.                                     (to com)                             Phoenix to control. Mister                             Lange... let her in.                                           LANGE'S COM VOICE                             Aye, sir.             166   EXT. MISSILE SILO - DAY                                    166                   Ruby standing by the hatch, trying to look calm...                   Scrimm and three Militia Soldiers holding her at                   gunpoint. The hatch hisses and POPS OPEN. Scrimm                   shoves a gun into Ruby's side -- get going. As they                   start to crawl inside...             167   INT. CONTROL ROOM                                          167                   Lange and the other N.D.s have focused their attention                   on the countdown. Ruby climbs down the ladder, a tense                   look on her face.                                           LANGE                             Ms. Sloane, if you'll have a seat,                             I'll let you talk to --                   Suddenly, the three heavily-armed militia soldiers jump                   down the ladder from the hatch. One of the Starfleet                   N.D.s goes for a phaser, and a soldier BLASTS him                   backward with a spray of bullets from his automatic                   weapon. Everyone else freezes. A tense beat, then                   Scrimm climbs down the ladder and looks around the                   room...                                                                          CUT TO:             168   EXT. SPACE - ENTERPRISE - BATTLE ON THE HULL               168                   Riker in the torpedo tube, frantically working. He                   begins to physically MOVE the torpedo tube itself like                   he's moving the barrel of a huge cannon... as he                   struggles to aim it toward the huge deflector dish...             169   WORF AND THE SECURITY GUARDS                               169                   are about fifty feet away from Riker. From their prone                   positions, they try to keep the Borg at bay, BLASTING                   them off the hull one by one. They have taken cover                   behind some outcroppings of equipment on the hull of                   the ship. The Borg have to cross an open field of                   metal to get to them, making then easy targets.                   Suddenly the Borg change tactics. From the deflector                   dish high above them, Borg begin LAUNCHING THEMSELVES                   directly at the Starfleet Officers, jumping off the                   dish and flying through the vacuum of space like                   paratroopers. This tips the balance. There are too                   many targets to defend from above and below. One of                   the flying Borg CRASHES into a Security Guard and a                   vicious hand-to-hand FIGHT erupts. The Borg SLASHES                   the guard's pressure suit, which DEPRESSURIZES killing                   the man instantly. Worf FIRES  a phaser blast into the                   Borg, knocking him off the hull and into space.                   Worf turns to Riker.                                           WORF                             Commander, you're five minutes are                             up!             170   RIKER                                                      170                   swings the torpedo tube into place, aiming it at the                   deflector dish. He hits a control on the side of the                   tube... and a QUANTUM TORPEDO automatically slides up                   from below and LOCKS INTO position in the tube, like a                   panel on the torpedo and begins working on the                   circuitry.             171   INT. BRIDGE                                                171                   Troi in command, watching the VIEWSCREEN, which shows                   a different angle of the battle on the hull.                                           COM OFFICER                             The Borg are charging the subspace                             emitters.                                           TROI                             How long until they can send a                             message?                                           COM OFFICER                             About seven or eight minutes.                                           TROI                             Computer -- this is Commander                             Deanna Troi. Initiate self-                             destruct in six minutes, thirty                             seconds. Authorization Troi,                             gamma six five. Enable.                                           COMPUTER VOICE                             Countdown underway. Self-destruct                             in six minutes, twenty-five                             seconds...                   Monitors all around the Bridge show the countdown.                   172   ANGLE ON A MONITOR                                         172                   which says "SELF-DESTRUCT IN 6:24...6:23...6:22..."                                                                          CUT TO:             173   INT. MISSILE SILO - CONTROL ROOM                           173                   The Sergeant is examining one of the monitors. The                   display says "LIFT-OFF, T-MINUS 50 seconds...49...                   48..."                                           SERGEANT                             No good, sir. They're on internal                             power. We can't stop the launch                             from here.                                           SCRIMM                                     (re: blast doors)                             What about these doors?                                           PRIVATE                             They're locked down tight from the                             inside.                                           SERGEANT                             And those doors were made to                             withstand a nuclear attack.                   Scrimm looks frustrated for a moment...then turns his                   attention to Ruby.             174   INT. PHOENIX COCKPIT                                       174                   As before.                                           GEORDI                             One minute to launch.                                           SCRIMM'S COM VOICE                             Mister Picard... this is                             Lieutenant Scrimm. I'm going to                             have to insist that you shut down                             the launch. You see, I know what                             you're doing... and I'm not going                             to just stand by and let it                             happen.                                     (beat)                             Stop the launch, or I'll kill                             every one of your people out                             here... and I think you know                             who'll be first.                   As Picard reacts in shock...                   INTERCUT:             175   INT. CONTROL ROOM                                          175                   Scrimm is now holding Ruby by the arm. He shoves the                   com headset to her mouth.                                           SCRIMM                             Say hello...                   Ruby is scared, but trying to keep it together.                                           RUBY                                     (to com)                             Jean-Luc... remember that future                             we talked about? It's all that                             matters...                                     (beat)                             Launch the ship.                   Picard reacts to her voice, but keeps working the                   controls, trying to concentrate. Scrimm draws his gun.                                           SCRIMM                             Go ahead -- launch it. Ruby will                             be here when you get back... but                             she won't have a whole lot to say.             176   INT. PHOENIX COCKPIT                                       176                   Geordi and Picard exchange a tense look. Picard                   struggles. It's a difficult moment -- what does he do?                   The countdown clock is approaching 15 seconds...14...                   13...                   Everything hangs in the balance -- Ruby's life, the                   future of the Earth, Picard's feelings, his duty...                   Finally, Picard reaches out hits a control -- the                   countdown clock stops at 11 seconds.                                           GEORDI                             Captain --                                            PICARD                                     (to com)                             This is Picard. I've suspended                             the launch sequence.                                           SCRIMM'S COM VOICE                             Thanks. Now, why don't you join                             us and we'll have a little talk?                   Picard unstraps himself and takes off the headset.                                           GEORDI                             Captain... we've got less than ten                             minutes before that Vulcan ship                             leaves the system. We've got to                             go now.                                           PICARD                             It'll have to wait. Come on.                   Geordi quickly starts unstrapping himself...             177   INT. MISSILE SILO - CATWALK                                177                   Picard and Geordi stop outside the massive blast doors,                   which are separating them from the control room.                                           PICARD                             Geordi, can you see into the room?                   Geordi looks at the blast doors... and he does so, the                   electronic PUPILS in his eyes rotate, change shape and                   color.             178   GEORDI'S POV                                               178                   A high-tech INFRARED VIEW of the door, but we can't see                   through it -- it's opaque.             179   RESUME                                                     179                                           GEORDI                             No... the door's too thick.                                           PICARD                                     (frustrated)                             Then we'll just have to assume                             it's still there...                                           GEORDI                             What's still there?                                           PICARD                             Get a tricorder. You're going to                             have to track my exact position in                             that room...                   Geordi moves off. Clearly, Picard has a plan...                                                                          CUT TO:                       180   EXT. SPACE - ENTERPRISE - BATTLE ON THE HULL               180                   Riker finishes working on the torpedo... he closes the                   panel... turns and reaches for the fire control                   mechanism. She glances up -- there's a BORG flying                   through space directly at him! Riker tries to bring up                   his phaser, but it's too late. The Borg SLAMS into                   him.                   Riker makes a desperate grab for the torpedo tube itself,                   trying to hold on, but the momentum of the Borg impact                   is too great -- they both tumble off into space together,                   away from the ship.                                                                          CUT TO:             181   INT. ENTERPRISE - BRIDGE - VIEWSCREEN                      181                   A shocked Troi watches Riker and the Borg tumbling away                   into space on the Viewscreen. They are engaged in a                   zero-gee hand to hand fight -- an incredible sight.                                           COMPUTER VOICE                             Self-destruct in three minutes...                                                                          CUT TO:             182   INT. MISSILE SILO - CONTROL ROOM                           182                   Scrimm still has the gun on Ruby. The blast door is                   just being lowered, revealing Picard. Geordi has                   returned to the Phoenix cockpit. A console separates                   Picard and Scrimm.                                           PICARD                             What do you want?                                           SCRIMM                             The invasion plans.                                           PICARD                             Invasion.                                           SCRIMM                             These people you're calling                             "Vulcans"... who are they? Where                             do they come from? How many                             troops? What kind of weapons?             183   INT. PHOENIX COCKPIT                                       183                   Geordi is working a tricorder furiously. We're not                   sure what he's doing...                                                                          CUT TO:             184   EXT. SPACE - RIKER & BORG                                  184                   As they tumble through the void of space, in a                   desperate fight.                   The Borg manages to get his hand around Riker's                   throat... begins choking him... Riker looks like a                   goner... Suddenly they are both enveloped in a BRIGHT                   BEAM OF PULSING ENERGY.             185   INT. ENTERPRISE - BRIDGE                                   185                   Troi in command.                                           ENSIGN                                     (off console)                             Tractor beam engaged. We've                             got 'em, Commander.                                           TROI                             Prismify the beam. Get rid of                             that Borg.             186   EXT. SPACE - RIKER & BORG                                  186                   As the tractor beam from the Enterprise SPLITS in two                   and separates Riker from the Borg. The second beam                   disappears, throwing the Borg off into space, while                   Riker is towed back toward the hull of the ship.             187   ON RIKER                                                   187                   As the beam moves him back toward the ship.             188   RIKER'S POV                                                188                   A dizzying view of the stars and the Earth as he is                   pulled through space.             189   RIKER                                                      189                   Closes his eyes, fighting off waves of nausea.                                           RIKER                                     (to himself)                             Don't look at the stars... don't                             look at the stars...                                                                          CUT TO:             190   INT. MISSILE SILO - CONTROL ROOM                           190                   Picard still stalling for time.                                           PICARD                                     (firm)                             There is no invasion...                                           SCRIMM                             Wrong answer, Mister Picard. Try                             again.                   He shoves his gun against Ruby's head. The tension                   rises a notch.                                           PICARD                             All right. You want the truth...                                     (beat)                             The Vulcans... are highly                             intelligent aliens.             191   INT. PHOENIX COCKPIT                                       191                   Geordi working the tricorder... he can hear their                   conversation in the other room through an open com                   channel...                                           SCRIMM'S COM VOICE                             Aliens... that's what I thought.                             From where... Canada?                   The tricorder BEEPS and he smiles...             192   INT. CONTROL ROOM                                          192                   As before.                                           PICARD                             From another planet.                                     (beat)                             Oh, I almost forgot... they                             have green blood and pointed ears.                                           SCRIMM                                     (skeptical)                             And you know all this... because                             you're a space-man too...                                           PICARD                             I'm afraid you've caught me. I am                             a space-man.                   Scrimm smirks at him -- what gall this guy has. But                   Ruby seems to discern some deeper meaning in Picard's                   words. She frowns in puzzlement.                                           RUBY                                     (quiet)                             Truth... he's telling the truth...                   Picard looks at Ruby, and at that moment something on                   a console behind her catches his eye: a LIGHT on                   Beverly's SURGICAL TRANSPORTER is now FLASHING. No one                   else notices.                                           SCRIMM                             You're an entertaining man, Mister                             Picard. But you're also full of                             shit.                   Scrimm cocks back the hammer on the pistol he's holding                   to Ruby's head. The following happens very quickly:                   -- Picard reaches out his hand, trying to stop Scrimm.                                           PICARD                             Now, Geordi!                   -- The gun in Scrimm's hand DEMATERIALIZES. Scrimm                   reacts in shock.                   -- Instantly, the gun REMATERIALIZES in Picard's                   outstretched hand. He quickly pushes the barrel to                   Scrimm's forehead.                                           PICARD                             Actually, you're full of shit.                   Everyone is in the room stunned by what's happened.                   Picard takes charge before anyone can recover.                                           PICARD                                     (continuing)                             Now, tell your men to drop their                             weapons.                   There's a beat, but then Scrimm sees he has little                   choice.                                           SCRIMM                             Weapons... down.                   The other militia soldiers drop their weapons, which                   are quickly picked up by Beverly and a Starfleet N.D.                   Picard hands his gun to Lange, who covers Scrimm with                   it.                   Ruby turns to Picard.                                           PICARD                             Are you all --                   Ruby throws her arms around him and pulls him close.                   He hugs her back, grateful she's alive. Ruby pulls                   away.                                           RUBY                             I think you have a plane to catch.                   Picard smiles and heads back toward the Phoenix...                                                                          CUT TO:             193   EXT. SPACE - ENTERPRISE - THE HULL                         193                   Riker slams into the hull and the BEAM goes OFF. He                   gets his bearings quickly and then RUNS toward the                   torpedo tube where Worf and his few remaining men are                   still fighting the Borg, who are about to overrun their                   position.             194   INT. ENTERPRISE - BRIDGE                                   194                   As before.                                           COMPUTER VOICE                             Self-destruct in fifeteen                             seconds... fourteen...                             thirteen... twelve...             195   INT. PHOENIX COCKPIT                                       195                   Geordi and Picard strapping themselves back in...             196   EXT. SPACE - RIKER                                         196                   reaches the torpedo tube, pulls up the firing control                   mechanism, which shows a monitor screen with a cross-                   hair targeting display. He activates the monitor,                   which begins tracking over toward the deflector dish.             197   INT. ENTERPRISE - BRIDGE                                   197                                           COMPUTER VOICE                             Nine... eight... seven...             198   INT. PHOENIX COCKPIT                                       198                   Picard and Geordi's hands are flying across the                   controls...             199   EXT. SPACE - RIKER                                         199                   clamps a conduit into a power junction... then grabs                   hold of a rotating lever inside the tube and TURNS it.                   He ducks out of the way as the torpedo is LAUNCHED with                   a ROAR.             200   WIDER                                                      200                   As the torpedo streaks out from the saucer section and                   slams into the deflector dish. The dish EXPLODES in a                   burst of FLAME... blowing away the Borg who were                   working on it...             201   INT. MISSSILE SILO - PHOENIX ENGINES                       201                   As they IGNITE and start pouring out sheets of FLAME.             202   INT. PHOENIX COCKPIT                                       202                   which is shuddering and shaking...             203   EXT. SPACE - RIKER & WORF                                  203                   React with smiles. They did it.             204   INT. BRIDGE                                                204                   Troi and the other N.D.s react with relief. The                   countdown on the monitors are stopped at 00:03.             205   EXT. MONTANA - MISSILE SILO - WIDE SHOT - DAY              205                   as the concrete missile doors slide open and the                   Phoenix is LAUNCHED up into the sky, riding a pillar of                   fire and smoke. This is our first real look at the                   ship and it resembles an oversized ICBM with a                   specialized cockpit on top.             206   INT. MISSILE SILO - CONTROL ROOM                           206                   Lange and the other N.D.s have the militia soldiers                   under guard. Ruby is watching the missile launch on a                   video monitor. She smiles.             207   INT. PHOENIX COCKPIT                                       207                   Picard and Geordi working the controls as the ship                   bounces and shakes.                   The g-forces push them back into their seats.                                           GEORDI                             Solid rocket fuel at twenty-five                             thousand kilograms...                                           PICARD                             Altitude fifty kilometers...                                           GEORDI                             Entering the upper ionospere...                                           PICARD                             There's a red light on the second                             intake valve.                                           GEORDI                             Ignore it. We'll be fine.                                     (beat)                             Prepare for first stage shut-down                             and separation on my mark...             208   EXT. SPACE - EARTH ORBIT                                   208                   As the Phoenix rockets into space...             209   INT. PHOENIX COCKPIT                                       209                   As before.                                           GEORDI                             Three... two... one... mark!             210   EXT. SPACE - THE PHOENIX                                   210                   The rocket booster SHUTS DOWN as the ship leaves                   Earth's orbit and coasts on its momentum. After a                   beat, the first stage booster separates from the ship                   and DROPS AWAY, leaving three-quarters of the ship in                   space.             211   INT. BORG HIVE                                             211                   CLOSE ON DATA, head tilted back, eyes closed,                   smiling...a few droplets of WATER fall from above onto                   his face. He smiles wider, reveling in the sensation.             212   WIDER                                                      212                   Data is still restrained on the table, but a conduit                   has been placed above his head and is dripping                   condensation onto his face. Data is now a completely                   new being. His entire BODY is now made of HUMAN FLESH.                   It's a shocking sight -- for anyone who ever wondered                   what Data would look like human, we're now getting our                   first look.             213   THE BORG QUEEN                                             213                   DESCENDS from her nest in the ceiling. She watches                   Data for a moment... rubs the moisture into his face.                                           BORG QUEEN                             A Borg in all but name.                   Data, although clearly enraptured with his new                   sensations and feelings still struggles to maintain                   his own sense of identity.                                           DATA                                     (weak)                             I am... grateful for what you have                             given me. But I still do not wish                             to be assimilated.                                           BORG QUEEN                             A universe of sensation is waiting                             for you... don't you want to                             explore it... with me?                   To his surprise, Data finds that he is becoming drawn                   to this strange creature and all that she can offer                   him.                                           DATA                             Yes...                                           BORG QUEEN                             Then take the final step... give                             me the Enterprise... and we can be                             together... always.                   He struggles, but ultimately there's only one answer.                                           DATA                             No... I cannot.                   Without taking her eyes away from Data, she reaches out                   a hand and touches a control on a nearby console. The                   color of Data's FACE turns an ASHEN GRAY --  as though                   the blood has drained from his skin. Another droplet                   of moisture falls and hits him on the cheek -- but this                   time his eyes widen in shock.                   The sensation of human feeling is gone.                                           BORG QUEEN                             I've deactivated the sensory                             inputs. That flesh on your body                             is just meat, now.                                           DATA                             No... no, please... you cannot...                   She moves in close on him, an edge creeping into her                   voice:                                           BORG QUEEN                             You must give me what I want...                             now. Without the deflector dish,                             we can no longer send for an early                             invasion. We must assimilate                             Earth ourselves. I need this                             ship.                   She hits the control, and the COLOR returns to his                   face. Data gasps -- filled with feeling once again.                   The Borg Queen runs her hand across his cheek -- her                   attitude seductive and affectionate once again.                                           BORG QUEEN                             Isn't it better like this...?                                           DATA                             Yes... but the Enterprise... my                             duty...                                           BORG QUEEN                             ... is to yourself. Don't make me                             hurt you again...                   She touches the control again. Data is shocked back                   into his cold, android self. He's like a heroin addict                   being denied his "high" with the flick of a switch.                                           DATA                             No... no, it's so... empty...                             please... give it back... I need                             it...                                           BORG QUEEN                             And I need to control this ship.                             Let me into your mind.                   Data struggles, anguished... we've never seen him like                   this before... completely beaten down... finally, he                   nods. The Borg Queen touches the control again. A                   sharp intake of breath as the feeling returns to Data.                   And the Queen kisses him on the mouth.                   This time, he responds eagerly, throwing himself into                   the emotion of the moment. She pulls back a little,                   looks at him softly, passionately. Data stares back at                   her, breathless -- he seems to be completely in her                   thrall.                                           DATA                             In order to access my neural                             net... you will need to create a                             positronic interface.                                     (beat)                             I will tell you how.                   OFF the Borg Queen's smile of victory...                                                                          CUT TO:             214   INT. PHOENIX COCKPIT                                       214                   As before. Picard and Geordi work the control in                   silence for a few moments. The ship is floating in                   space, now a good distance from Earth.                                           GEORDI                             Ready to deploy the warp nacelles.                                           PICARD                             As they used to say... all systems                             are go.                   Geordi works his console...             215   EXT. SPACE - THE PHOENIX                                   215                   Two fifty-foot long sheets of metal fall away from the                   ship on either side of the Phoenix, revealing primitive                   WARP NACELLES tucked inside the craft. The warp                   nacelles then begin slowly extending themselves outward                   on either side -- the basic designs of the nacelles                   should be familiar to anyone who's ever seen a STAR                   TREK starship.                   This is the beginning of a long-standing architectural                   design element of our ships.             216   INT. PHOENIX COCKPIT                                       216                   As before.                                           GEORDI                             The Vulcans should be out there                             right now. We need to break the                             warp barrier in the next five                             minutes if we're going to get                             their attention.                                           PICARD                             Bring the warp core on-line. I'll                             lay in a heading.                                           GEORDI                             The nacelles are charged...                             nuclear warhead standing by.                             We're ready to ignite the warp                             drive.                                           PICARD                             Engage.             217   EXT. SPACE - THE PHOENIX                                   217                   The warp nacelles FLARE with power and the ship begins                   moving forward in space.             218   INT. PHOENIX COCKPIT                                       218                   They're SLAMMED BACK into their seats from the massive                   G-forces.                                           GEORDI                             Warp field looks good...                             structural integrity holding...                   Picard activates a monitor which begins showing a                    digital display of their speed.                                           PICARD                                     (off monitor)                             Speed... twenty thousand                             kilometers per second.             219   EXT. SPACE - THE PHOENIX                                   219                   The ship is going faster... faster...             220   INT. ENTERPRISE - BRIDGE                                   220                   Troi is standing outside the emergency airlock with the                   Ensign, who is working the wall panel.                   The airlock door OPENS after a beat, and Riker, Worf                   and One Security Guard ENTER. They're exhausted after                   the pitched battle. Troi smiles at them as they remove                   their helmets.                                           TROI                             I have to admit there was a moment                             there when --                                           RIKER                                     (holds up a hand)                             Hold that thought.                   He turns away and then doubles over behind a console                   and begins vomiting off screen. Worf shrugs.                                           WORF                             Strong heart. Weak stomach.                   A light beat, and then suddenly the entire Bridge GOES                   DARK -- ALL POWER GONE. Console, monitors, everything.                                           RIKER                             Report!                                           WORF                             We've lost Bridge control!                                            RIKER                             Emergency override!                                           WORF                                     (works)                             Nothing.             221   INT. BORG HIVE                                             221                   The Borg Queen is floating in the middle of the room,                   surrounded by Borg consoles and technology. Data is                   still on the table, with some kind of specialized                   conduit connecting his head to a group of monitors,                   which are inactive at the moment. He appears to be                   caught up in the rapture of his new sensations, and his                   personal connection to the Borg Queen. All thought of                   his Starfleet responsibilities are gone.                                           DATA                                     (to Queen)                             I am re-routing Bridge command                             functions to this location.                   Data thinks for a moment, and the monitors suddenly                   COME TO LIFE and the equipment around the Queen HUMS                   with POWER.                   Information about critical Enterprise systems flows                   across the monitor screens -- we might recognize                   graphics from the Bridge displays. The Borg are now in                   control.                                           BORG QUEEN                             Eliminate their remaining                             defenses. I will send Borg to                             assimilate the rest of the crew.                   Data nods... but then one of the consoles BEEPS.                                           DATA                                     (reacts)                             There is a perimeter alert. A                             ship has entered sensor range.                                            BORG QUEEN                             Vulcan?                                           DATA                             No.                   Data tilts his head and --             222   A MONITOR                                                  222                   shows an exterior space shot. The image rapidly ZOOMS                   IN on the distant PHOENIX. The ship is racing through                   space.                                           BORG QUEEN                                     (reacts, to Data)                             Give me helm control.                   Data nods. Another console lights up. She moves to                   work it herself...             223   EXT. SPACE - THE ENTERPRISE                                223                   As the ship turns and begins moving off at impulse                   speed.             224   INT. PHOENIX COCKPIT                                       224                   As before, Picard is now steering the ship with a 21st                   century JOYSTICK CONTROL. The ship is moving faster                   and faster, trembling now, a ROAR building.                                           PICARD                             Passing one-half light speed. The                             starboard nacelle's running a                             little hot...                                           GEORDI                             I'm on it...                   The CABIN shakes a little.                                           GEORDI                             The inertial dampers are having                             trouble compensating... I don't                             think Cochrane built this thing                             for comfort.                                           PICARD                             Speed -- two hundred, seventy-five                             thousand kilometers per second.                   WHOOSH! A weird DISTORTION passes through the cabin                   like a wave, then vanishes.                                           GEORDI                             There's no temporal shielding in                             here! We're starting to pick up                             relativistic effects!                                           PICARD                             One minute to warp threshold...             225   EXT. SPACE                                                 225                   The warp ship WHIPS by... and then a moment later, the                   ENTERPRISE ROARS into view, chasing the tiny ship.             226   INT. PHOENIX COCKPIT                                       226                   Geordi glances out the window... does a double-take and                   looks back up in surprise...                                           GEORDI                             Captain, the Enterprise!                                           PICARD                                     (taps combadge)                             Picard to Enterprise.                                     (beat)                             Picard to Enterprise -- do you                             read me?                   No response.                                           PICARD                             Their com system must still be                             down.                                           GEORDI                             Well, I feel a whole lot better                             with them out there. We may need                             some help.             227   INT. BORG HIVE                                             227                   As before, the Queen floating above the helm control                   console. The warp ship is on the monitor, getting                   closer.                                           DATA                             I have repaired the weapons array.                             Phasers are on-line.                   A floating CROSSHAIR appears on the monitor showing the                   warp ship. The Queen works the console. The crosshair                   moves, but refuses to lock onto the warp ship. She                   frowns.                                           BORG QUEEN                             The targeting lock isn't working.                   Data looks puzzled.                                           DATA                             I do not understand. The optical                             data network has been repaired,                             and all systems are functioning.                   The Queen works furiously, still can't get the                   crosshairs to lock onto the ship.                                           BORG QUEEN                             Your diagnostics are in error. I                             need weapons.                                           DATA                                     (thinks)                             The problem must lie in the                             interface between Starfleet and                             Borg technology. Your console may                             not be configured to handle the                             data flow.                                                                            BORG QUEEN                             Can you configure it?                                           DATA                             I believe so.                                           BORG QUEEN                             Do it.                   She hits a series of Borg controls on a nearby                   console... and the restraints holding Data to the table                   are RELEASED. Two Borg drones move to him... as he                   stands up and heads for the Queen, the specialized                   cable still attached to his head...             228   EXT. SPACE - THE ENTERPRISE                                228                   closing in on the tiny warp ship. It's like a shark                   chasing a guppy.             229   INT. PHOENIX COCKPIT                                       229                   Ship SHAKING with power and acceleration.                                           PICARD                             Approaching light speed...                   Geordi glances out a side window.                                           GEORDI                             They're getting awfully close...                             what the hell are they doing?                                                                            PICARD                             We're crossing the threshold!                   The ship is really SHAKING HARD now -- and the                   compartment is DISTORTING slightly, stretching,                   everything becoming elongated...             230   EXT. SPACE - THE PHOENIX                                   230                   The ship is STRETCHING in the familiar "rubber band                   effect" that tells us a ship is going into warp... but                   this effect is much slower. It's on the verge of                   hitting warp speed. The Enterprise still on their                   tail.             231   INT. BORG HIVE                                             231                   Data is standing right next to the Queen, and is                   studying the Borg console intently. Two Borg drones                   stand nearby, watching closely.                                           DATA                             I believe I see the problem.                   In the blink of an eye:                   -- DATA WHIRLS AROUND AND SLAMS AN ARM INTO ONE OF THE                   BORG DRONES. The drone is knocked off its feet.                   -- The second Borg rushes at Data, swings his arm at                   Data's head. This is the same Borg with the deadly                   stiletto-tipped DRILL SPIKES seen earlier. The spikes                   TEAR into the flesh of Data's neck, drawing BLOOD.                   -- Data reacts in pain. He GRABS the Borg's arm and                   with android strength KICKS HIM IN THE CHEST at the                   same time. The Borg FLIES BACKWARD, causing the                   cybernetic ARM to RIP from its socket in a shower of                   sparks.                   -- The Borg Queen SWOOPS down at Data for the kill.                   But Data's too quick for her. With one swift motion,                   he turns and THROWS the BORG ARM like a JAVELIN across                   the room.             232   NEW ANGLE                                                  232                   As the spikes on the severed Borg arm PUNCTURE one of                   the diathermic oxygen tanks seen earlier. A HUGE                   EXPLOSION of DEADLY GAS bursts out of the ruptured                   tank. The WALL of roiling gas sweeps through the                   entire Borg Hive.                                           BORG QUEEN                                     (screams)                             No!                   She lunges at Data just as the gas envelopes them!             233   EXT. SPACE - THE PHOENIX                                   233                   As it GOES INTO WARP -- it shoots forward and streaks                   away from the Enterprise!             234   INT. PHOENIX COCKPIT                                       234                   As Picard and Geordi are slammed back into their seats                   and the stars WHIP PAST the windows in the familiar                   warp effect.             235   INT. BORG HIVE                                             235                   Data and the Borg Queen tearing and clawing at each                    other amongst the spewing gas. The Borg drones try to                   get away, but they are SWALLOWED by the rush of gas,                   fall to the deck, twitching in pain.                   Data and the Borg Queen both fall to the deck,                   grappling with each other.             236   EXT. SPACE - THE WARP SHIP                                 236                   As it STREAKS PAST -- the warp ship flying at top                   speed.             237   INT. BORG HIVE                                             237                   Data and the Borg Queen struggling against each                   other... the gas swirling around their bodies... and as                   it does, we see the FLESH on their bodies start to                   LIQUEFY and MELT AWAY in a horrific ooze of blood and                   skin.             238   INT. PHOENIX COCKPIT                                       238                   As before, but the ride has smoothed out considerably,                   Warp stars streaking by.                                           PICARD                             Bring us about...                   A beat as Geordi works.                                           GEORDI                             Dropping out of warp.                   Out the front windows, the warp stars STOP... the ship                   JOLTS slightly... turns to the left... Earth can be                   seen in the distance.                   They smile. It's a moment of victory.                                           PICARD                             Let's begin the landing procedure.             239   INT. CARGO BAY/BORG HIVE                                   239                   The onrush of gas is gone. But it has affected every                   surface of the room like an acid wash. Every piece of                   Borg machinery is smoking and hissing. The two Borg                   drones are lying on the floor, dead -- all organic                   matter and flesh have been dissolved from their bodies,                   leaving only raw mechanical skeletons.                   MOVE TO REVEAL:             240   DATA AND THE BORG QUEEN                                    240                   lying on the floor, still locked together. Data is a                   shocking image: all of his human flesh has been                   STRIPPED AWAY, leaving only his pure android self. His                   metallic skull gleams in the dim light... even his eyes                   are gone. His mechanical left arm is still intact, but                   the right human arm is completely gone. His torso is                   stripped of the human flesh, leaving pure android with                   no soft human touches. Data as we've never seen him                   before -- raw and mechanistic.                   Data rolls over... still locked around him is the                   MECHANICAL SKELETON of the Borg Queen. A metallic                   spinal column with two arms with clawed hands leading                   off it... and a blinking, electronic BRAIN STEM at the                   very top of the spine.                   Data throws off the grotesque form. The Borg Queen                   carcass writhes and claws at the air. She speaks in a                   flat, mechanical voice.                                           BORG QUEEN                                     (fritzed)                             Data...                   Data reaches out with one hand... grabs the metal                   spinal column just below the brain stem... and SNAPS IT                   IN TWO. The blinking brain stem FRITZES OUT.             241   INT. CORRIDOR                                              241                   Two Borg Drones moving down the hall suddenly stop...                   twitch... the blinkies on their bodies GO OUT... and                   they both FALL OVER DEAD. Their connection to their                   Queen severed.             242   INT. JEFFERIES TUBE                                        242                   Another Borg Drone reacts... lights out... slumps over                   DEAD.             243   INT. BORG HIVE                                             243                   Data releases the remains of the dead Borg Queen. He                   leans back a little, as though exhausted by his                   remarkable experience. CAMERA PULLS BACK, emphasizing                   the loneliness of this smoking, scorched android                   sitting alone in the ruins of the Borg Hive...                                                                          CUT TO:             244   EXT. MISSILE SILO - DAY                                    244                   The missile doors now open, the ground badly scorched                   from the launch. Scrimm and his militia guards are                   sitting on the ground, while Lange and the other                   Starfleet N.D. keep a watchful eye on them. Cochrane                   is sitting against a rock, while Beverly checks him                   over. Ruby is pacing, lost in thought...                                           PICARD'S VOICE                             Isn't anyone going to say welcome                             back?                   Everyone looks up to see --             245   PICARD AND GEORDI                                          245                   standing a few feet away, tired but triumphant.                                           BEVERLY                             Did it work?                   Picard nods. Beverly, Lange and the N.D. look                   relieved. Ruby takes a few steps toward Picard.             246   COCHRANE                                                   246                   smiles up at Geordi.                                           COCHRANE                             Mister La Forge... now I'd like to                             shake your hand.                   Geordi smiles and walks over to him.             247   PICARD AND RUBY                                            247                   stop a few feet away from each other, their eyes                   locked. They drink in sight of each other...                   there's an undercurrent of unspoken feelings and words.                   She smiles... he smiles back. A satisfying moment.                                           PICARD (V.O.)                             Captain's log, March 3rd, 2063.                             The voyage of the Phoenix was a                             success... again.                                                                          CUT TO:             248   EXT. RESURRECTION CITY - NIGHT                             248                   Townspeople along the Main Street. A sense of                   urgency -- something's going on.                                           PICARD (V.O.)                             And it appears the Vulcan ship has                             detected the warp signature and is                             now on its way to Earth.                   Suddenly something in the night sky catches their                   attention. A BRIGHT LIGHT is moving down towards the                   city. We now realize this is what people are reacting                   to...             249   JUST OUTSIDE OF TOWN                                       249                   Just a hundred yards beyond the city limits we see the                   massive VULCAN SCOUT SHIP SETTLING down onto the                   ground. Dust flying everywhere. Windmill blades                   spinning wildly from the exhaust.             250   THE TOWNSPEOPLE                                            250                   squinting into the wind, trying to make out what's                   happening...             251   NEW ANGLE - ON A HILLTOP                                   251                   A good distance away, but with a good view of the                   entire scene. Riker, Worf, Beverly, Troi and Geordi                   watching from a distance as the Vulcan ship LANDS.             252   JUST OUTSIDE OF TOWN                                       252                    Picard, Ruby and a bandaged, but much healthier Zephram                   Cochrane watching the landing. People from town are                   surging around them. Everyone is shocked and amazed at                   what they're seeing. Picard watches with satisfaction --                   this is the moment he's been waiting for.                   Cochrane and Ruby are particularly awestruck.             253   THE VULCAN SHIP                                            253                   settles, engines whining down... dust settling.                254   PICARD                                                     254                   moves to Cochrane, takes him gently by the arm.                                           PICARD                             Doctor Cochrane... this is your                             moment.                   Cochrane looks a little bewildered, tries to grapple                   with the moment.                                           COCHRANE                             My God... they're really from                             another world?                                           PICARD                             That's right. And they're going                             to want to meet the man who flew                             that warp ship.                   Cochrane looks at him.                                           COCHRANE                             And that's supposed to be me...                                           PICARD                             Zephram, you had the vision to                             build that ship when no one else                             on this planet could see beyond                             their own problems.                                     (beat)                             You flew that ship... all I did                             was push a few buttons.                   Cochrane looks at him for a moment... takes a breath,                   nods...                                           COCHRANE                             All right.                                     (beat)                             And don't worry -- I'll keep your                             secret.                   They hear a mechanical WHIRR and a HISS of air.             255   NEW ANGLE                                                  255                   as a HATCH opens on the Vulcan ship. The townspeople                   behind them react with shock and fear... a few people                   take a step back. Picard looks at Cochrane, who                   hesitates for a moment... then finally takes a deep                   breath... and strides out toward the alien ship. A man                   alone about to change the course of human history.                   Ruby moves closer to Picard and puts her arm around                   him... and he puts his arm around her.             256   HILLTOP                                                    256                   As the rest of our crew is enraptured by the moment...                   they glance at each other with excitement as they watch                   history unfold...             257   VULCAN SHIP                                                257                   Cochrane stops a few feet away from the ship as the                   hatch swings completely open... light streams out into                   the night air... and THREE HOODED, ROBED FIGURES                   EMERGE. They stand across from Cochrane -- a moment                   frozen in time.             258   THE TOWNSPEOPLE                                            258                   watching in awe...             259   PICARD AND RUBY                                            259                   watching...             260   THE LEAD VULCAN                                            260                   pulls his hood back, revealing the familiar slanted                   eyebrows and pointed ears, holding himself with that                   austere, regal dignity we've come to associate with his                   race. He steps forward to greet Cochrane... raises his                   hand as if to wave.                   Cochrane raises his hand automatically, as if to wave                   in return...                   But then the Vulcan splits his fingers in the classic                   Vulcan greeting.                                           VULCAN                             Live Long and Prosper.                   Cochrane tries to emulate the Vulcan hand-sign...but                   can't quite do the awkward finger-split.                                           COCHRANE                             Um... thanks.                   The Vulcan cocks an eyebrow at him. The very first                   Alien-Human relationship is underway...             261   PICARD AND RUBY                                            261                   are now surrounded by townspeople, who are watching the                   scene unfold...             262   HILLTOP                                                    262                   Our heroes share a glance with each other and smile,                   Riker taps his combadge.                                           RIKER                             Riker to Enterprise. Five to beam                             up.                   The crew DEMATERIALIZES...             263   PICARD AND RUBY                                            263                   have now moved away from the crowd... no one paying                   attention to them. The bright lights from the Vulcan                   ship cast them in a dramatic silhouette. Picard turns                   to Ruby. It's the moment he's been dreading. This is                   goodbye. She looks at him.                                           RUBY                             You're leaving, aren't you?                                           PICARD                             I have to...                                           RUBY                             Where? And don't tell me San                             Francisco...                                           PICARD                             No. It's a lot further than that.                                           RUBY                             It's the future, isn't it? Just                             like you told Scrimm.                                     (beat)                             I knew you weren't from around                             here.                                          PICARD                                     (with humor)                             No... I'm from France.                                          RUBY                             I don't care if you're from France                             or Venus... just take me with you.                                          PICARD                             That's impossible.                                          RUBY                             Why?                                          PICARD                             This may be hard for you to                             understand... but I'm duty-bound                             not to interfere with you, or                             anyone else here... any more than                             is absolutely necessary.                                          RUBY                             You've been interfering with my                             life ever since I met you.                                     (with meaning)                             Don't stop now.                   Picard struggles... he doesn't want to do this, but                   he's torn between his heart and his duty.                                          PICARD                             Ruby... I'm sorry.                                     (remembering his words                                      to Beverly)                             But our fates lie along different                             paths.                   A long, difficult moment... then he lets her go...                   turns and starts walking off into the night. She                   stands where she is, watching him go with tears in her                   eyes...                   Picard hits his combadge.                                           PICARD                             Picard to Enterprise. One to...                   He stops where he is.                                           RIKER'S COM VOICE                             Riker here. Captain, we didn't                             get your whole transmission.                   Picard turns, looks back at Ruby. Their eyes meet...                   and he makes the decision.                                           PICARD                             To hell with fate.                                           RIKER'S COM VOICE                             Say again, Captain?                   He starts walking towards her. She sees him coming...                   starts running to him. She throws herself into his                   arms and he holds her close. They kiss. A magical                   moment, then...                                           PICARD                             Enterprise. Two to beam up.                   They DEMATERIALIZE holding each other tight...             264   EXT. SPACE - THE ENTERPRISE                                264                   moving out of Earth orbit...             265   INT. BRIDGE                                                265                   Riker, Worf, Troi, N.D.s. Picard ENTERS with Ruby.                   Everyone reacts to seeing her there. Ruby stays in the                   Turbolift, staring around the Bridge in amazement.                   Picard takes her hand and leads her out onto the                   Bridge.                                           PICARD                             How's Mister Data?                   Riker glances at Ruby uneasily.                                           RIKER                             He's in Sickbay. Doctor Crusher                             says he can be repaired... but we                             have to wait until we...                   He glances at Ruby again, awkward. But Picard finishes                   his thought.                                           PICARD                             Return to our own time?                                           RIKER                             Yes, sir.                                           PICARD                             Then make it so. Have you                             determined how to recreate the                             temporal vortex?                   Picard sits in his chair. Riker hesitates.                                           RIKER                             Yes, sir. But Captain... are                             we... all going back?                                           PICARD                             Unless you'd like to stay.                                            RIKER                             No, sir.                   Ruby stands stock-still, staring at Worf. Worf looks                   up at her with a Klingon smile -- teeth and all.                   Ruby manages a weak smile in return, then moves off to                   stand next to Picard.                                           RIKER                             Bridge to Engineering. Mister La                             Forge... initiate the temporal                             vortex.             266   EXT. SPACE - THE ENTERPRISE                                266                   moving through space... and then the TEMPORAL VORTEX                   forms directly ahead of it, as seen before. The ship                   ENTERS the vortex...             267   EXT. SPACE - THE 24TH CENTURY                              267                   The Enterprise EXITS the VORTEX and into Earth orbit.             268   INT. BRIDGE                                                268                   As before.                                           WORF                             Incoming transmission from                             Starfleet Command. Admiral Hayes.                                           PICARD                             Onscreen.             269   INCLUDE VIEWER                                             269                   Admiral Hayes appears.                                           PICARD                             Admiral... what's the status of                             the Borg fleet?                                           ADMIRAL HAYES                             It's been destroyed. The Borg                             threat is over.                                     (beat)                             Are you all right? The Enterprise                             disappeared from our sensors for                             a moment.                                           PICARD                             We're fine, sir. It will take                             some... time to explain.                                           ADMIRAL HAYES                             I look forward to reading your                             report.                   The transmission ends. Ruby turns to Picard with                   amazement.                                           RUBY                             That makes two of us.                   Picard gives her a gentle smile. OFF the moment...                                                                          CUT TO:             270   EXT. SPACE - THE ENTERPRISE                                270                   The great ship entering a Starfleet SPACE DOCK.             271   INT. BORG HIVE/ENVIROMENTAL CONTROL ROOM                   271                            Geordi is directing a work crew of a dozen engineers,                   as they clean up the room and repair the damage.                                           GEORDI                                     (to a couple of N.D.s)                             No, no -- we'll have to rip out                             this entire bulkhead. We'll need                             new bracing members for the deck                             above and below.                   The N.D.s move off, making notes on their PADDS.                   Geordi turns and sees Data standing in the doorway.                   He's now been fully restored to his original android                   self.                                           GEORDI                             Data...                   Geordi moves to him, puts a hand on his shoulder.                                           GEORDI                             You look good as new.                                           DATA                             You could say that I'm back to my                             old self.                                           GEORDI                             That's great.                   Geordi's smile fades a little as Data walks into the                   room.                                           DATA                             Her remains... are they still                             here?                   Geordi points over to a corner, where some N.D.s are                   about to close a storage container. Data walks over.                   Geordi goes with him. The N.D.s move aside, and Data                   looks down into the storage container. The broken,                   mangles pieces of machinery are all that's left of the                   Borg Queen.                                           GEORDI                             I'm sending them to the Daystrom                             Institute for analysis.                   Data stares down at the remains with a haunted look.                                           DATA                             I never realized how powerful an                             emotion temptation could be.                                           GEORDI                             Temptation? You said in your                             report it was all a ruse... you                             were manipulating her.                   A quiet beat.                                           DATA                             She was... a unique lifeform. In                             her own way... nearly perfect.                   Geordi smiles a little.                                           GEORDI                                     (joking)                             It almost sounds like you miss                             her.                   Data looks up at him -- his expression unreadable.                   Geordi's smile fades. Data reaches out, closes the lid                   on the storage container, turns and walks out of the                   room. Geordi watches him go, left to wonder what Data                   is really feeling.                                                                          CUT TO:             272   EXT. MONTANA - HILLTOP - DAY                               272                    Picard and Ruby walk up the familiar hilltop, and when                   they reach the crest, we reveal...             273   A MOMENT                                                   273                   A large memorial cordoned off by a chain. A PLAQUE on                   the monument reads "On this spot, Man and Vulcan met                   for the first time... and changed the course of                   history. March 3rd, 2063."             274   PICARD AND RUBY                                            274                   step into view. They stare at the sculpture for a                   moment.                                           PICARD                             Welcome home.             275   WIDE SHOT                                                  275                   Picard, Ruby and the monument are at the gates of                   RESURRECTION CITY as it is in the 23rd century. This                   is the place where man first reached out to the stars,                   and the architecture has a distinctive uplifting                   feeling -- spires reaching up toward the sky.                   Shuttlecraft and aircars are taking off and landing.                   The tiny Western town is now a thriving, futuristic                   METROPOLIS.                   As Picard and Ruby walk towards the city hand-in-                   hand...                   FADE TO BLACK.                   ROLL CREDITS                                           THE END
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+                                            Screenplay by                          Rick Berman, Ronald D. Moore, Brannon Braga                                                                      FINAL DRAFT                                                                   March 16, 1994                   FADE IN:               1   EXT. SPACE (VFX-I)                                           1                   A vast and sparkling starfield. A pinpoint of LIGHT                    appears and starts moving toward the camera... a small                    and distant cylindrical object tumbling end over end,                    but we can't determine exactly what it is yet...               2   EXT. WHEATFIELD - DAY                                        2                   A vast and undulating sea of wheat. We become aware                    that there are two HEADS sticking out of the stalks of                    wheat: two men are standing and looking up at the                    sky. As we move towards them,  we begin to hear their                   conversation...and we can see that the two men are                    SCOTTY and CHEKOV, dressed in civilian clothing.                                           CHEKOV                                     (points to sky)                             There he is -- there, to the                              South!                                           SCOTTY                                     (peers upward)                             What are ye, blind? That's a                              bird.                   As they stare up at the sky...               3   EXT. SPACE (VFX-I)                                           3                   The cylinder tumbling through space is now closer, and                    we can now see that it is a BOTTLE of some sort, and it                    is tumbling directly toward the camera...               4   EXT. WHEATFIELD- DAY                                         4                   As before, Chekov and Scotty staring at the sky.                                           SCOTTY                                     (concerned)                             Repelling the Crystalline                              Trench... rafting down lava                              flows... orbital skydiving. it's                              like the man is running a bloody                              decathlon across the galaxy.                   Suddenly we hear a double SONIC BOOM.                                           CHEKOV                                     (re: sound)                             That should be him now. I think                              he's just crossed the sound                              barrier.                   They shield their eyes against the sun and look up.               5   EXT. SPACE (VFX-I)                                           5                   The bottle gets CLOSER...               6   EXT. WHEATFIELD - DAY                                        6                   A man in a high-tech body harness and parachute LANDS                    in the wheat flat on his back. His body-suit is                    charred, scorched, wisps of smoke still curling off of                   it. There are small thrusters attached to his backpack                    and boots. Scotty and Chekov move to him. The man                    removes his helmet. Revealing that it is KIRK. He                    smiles broadly, like a child who has just come off a                   roller-coaster.                                           KIRK                             Right on target! I jump out over                              the Arabian Peninsula... and I end                              up here, right on the dime.                   Kirk gets to his feet.                                           CHEKOV                             Actually, Captain, your precise                              target area was thirty-five                              meters...                                     (points)                             That way.                                            KIRK                             Thanks for pointing that out.                   Kirk starts to pull off his suit, reacts to a sudden                    pain in his back.                                           KIRK                             Oh...                                           SCOTTY                             I've warned ye about that back of                              yours. You should have a doctor                              take a look at it.                   Kirk waves him away, and continues to remove his                    harness.              6A   EXT. SPACE (VFX-I)                                          6A                   The tumbling bottle rushes past, and we can now see                    that it is a CHAMPAGNE BOTTLE - Dom Perignon, 2265.                    Follow the bottle as it tumbles through space...              6B   EXT. WHEATFIELD - DAY                                       6B                    Kirk, Scotty and Chekov as before.                                           KIRK                             Tomorrow I want to make a tri-                             elliptical jump. That's where you                              jump out over Northern China, and                              make three complete orbits before                              you start re-entry...                                           CHEKOV                             Captain. Perhaps you have                              forgotten that tomorrow is the                              christening ceremony.                   This strikes a nerve with Kirk -- we see a flash of                   hesitation and irritation cross his face.                                           KIRK                             I'm not going.                                     (beat)                              Scotty, help me with this chute.                                           SCOTTY                             What do you mean, you're not                              going? We promised.                                           KIRK                             When I retired, I swore I'd never                              set foot on a starship again, and                              I meant it.                                           CHEKOV                             Captain...                                           KIRK                                     (firm)                             I don't want to hear anymore about                              it. I'm not going, and that's                              final.               7   EXT. SPACE (VFX-I)                                           7                   The champagne bottle SMASHES onto the bow of a                    Federation starship(Excelsior class) sitting in its                    dock in orbit around Earth.              7A   EXT. SPACE (VFX-I)                                          7A                   FOLLOW the shards of glass from the bottle as they                    spread over the ship...revealing the name on the hull:                    U.S.S. ENTERPRISE NCC-1701-B.               8   ANGLE ON SPACEDOCK WINDOW                                    8                   A large picture window overlooking the starship in its                    berth. The window is filled with people in Starfleet                    uniforms, applauding the christening of the ship (but                    we hear nothing).              8A   INT. SPACEDOCK OBSERVATION ROOM (VFX-I)                     8A                            The people are still applauding and we can see that                    they are looking out over the ship in its berth.              8B   EXT. SPACE - ENTERPRISE-B IN SPACEDOCK (VFX-I)              8B                   The great ship sits in spacedock.               9   INT. ENTERPRISE-B - BRIDGE                                   9                   CLOSE ON A SET OF TURBOLIFT DOORS as they slide open to                    reveal Kirk, Scotty and Chekov. A bright light shines                    into their faces and they react. MOVE TO REVEAL -                   that the bright light is coming from a futuristic                   CAMERA with a small bank of lights attached to it. The                    camera is a holographic recorder with two lenses and is                    worn on an operator's head. There are four JOURNALISTS                    clustered in front of the Turbolift -- one associated                    with the camera, the others using PADDS to make                    notations.                   Also clustered around the door are the BRIDGE CREW of                    the Enterprise-B. Everyone is APPLAUDING as Kirk and                    the others blink under the bright lights and ENTER the                   Bridge.                                           JOURNALISTS                                     (overlapping)                             Captain Kirk, how does it feel                              to be back on the Enterprise                              Bridge... Captain, can I have a                              Minute... Captain Scott, do you                              have any comment on... Commander                             Chekov... etc.                   CAPTAIN JOHN HARRIMAN pushes through the crowd.                                           HARRIMAN                             Excuse me, excuse me...there will                              be plenty of time for questions                             later...                   The journalists edge away, and the cameraman moves to                    get a good angle.                                           HARRIMAN                                     (continuing, to all)                             I'm Captain John Harriman. I'd                              like to welcome you all aboard.                                           KIRK                             It's our pleasure.                   Harriman is young, confident, eager -- this is his                    first command and he takes it very seriously.                                           HARRIMAN                             I just want you to know how                              excited we all are to have a group                              of living legends with us on our                              maiden voyage.                                      (beat)                              I remember reading about your                              missions when I was in grade                              school.                   The original Enterprise officers all stop and give him                    a look. Harriman looks a little embarrassed -- he                    didn't mean to insult them. But Kirk gives him a                   little smile, lets it roll off.                                              KIRK                             Well... may we have a look around?                                           HARRIMAN                             Please... please.                   Chekov sees someone in the background, calls out to                    her.                                           CHEKOV                             Demora!                   Chekov moves off.                                           JOURNALIST                                     (breezy)                             So, Captain... this is the first                              Starship Enterprise in thirty                              years without James T. Kirk in                              command. How do you feel about                              that?                   The Journalist has unknowingly touched a nerve. Kirk's                    eyes flash for a moment -- the longer he's on this                    Bridge, the more he realizes he doesn't feel good about                    it at all. He tries to shrug it off with a smile.                                             KIRK                             Just fine. I'm glad to be here to                              send her on her way...                   He tries to move away from the Journalist, who dogs                    him.                                           JOURNALIST                             What have you been doing since you                              retired?                                           KIRK                             I've been... keeping busy.                   At this point, Chekov approaches with a young, (mid-                   twenties) attractive, Asian female Ensign named DEMORA.                                           CHEKOV                                     (to Kirk)                             Excuse me, Captain. I'd like you                              to meet the Helmsman of the                             Enterprise-B. Ensign Demora Sulu --                             Captain James Kirk.                                           DEMORA                             It's a pleasure to meet you, sir.                              My father's told me some...                             interesting stories about you.                   Kirk is shocked. For a long moment, he stares at her                    in amazement.                                           KIRK                             Your father... Hikaru Sulu is your                              father?                                           DEMORA                             Yes, sir.                                           CHEKOV                             You met her once before, but she                              was...                   Chekov holds out his hand and indicates a very short                    height.                                           KIRK                             But that wasn't so long ago... it                              couldn't have been more than...                                           CHEKOV                             Twelve years, sir.                                           KIRK                             Yes... well... congratulations,                              Ensign. It wouldn't be the                              Enterprise without a Sulu at the                              helm.                                           DEMORA                             Thank you, sir.                                       (to Chekov)                              Let me show you the new inertial                              guidance system.                   Demora and Chekov move off and Kirk looks after them                    for a long beat. The expression on his face changes                    from shock to sadness... Something is clearly                    bothering him.                    Scotty moves over to Kirk, with a smile on his face.                                           SCOTTY                                     (to Kirk)                             Damn fine ship if you ask me...                   But Kirk's mind is still on Demora. He watches her as                    she moves to the Helmsman's position.                                           KIRK                             You know, Scotty... it amazes me.                                           SCOTTY                             And what would that be, sir?                                           KIRK                             Sulu. When did he find the time                              for a family?                                           SCOTTY                             It's like you always said -- if                              something's important enough, you                              make the time.                   Kirk nods absently. Scotty realizes something...                                           SCOTTY                             So... that's why you've been                              running around the galaxy like an                             eighteen-year-old. Finding                              retirement a little lonely, are we?                   Kirk gives him a look.                                           KIRK                             With that kind of tact, I'm glad                              you're an engineer and not a                             psychiatrist.                   Harriman interrupts.                                           HARRIMAN                             Excuse me, gentlemen... if you'll                              take your seats.                                           KIRK                             Oh... of course.              10   NEW ANGLE                                                   10                   Revealing that three CHAIRS have been neatly arranged                    to one side.                   Scotty, Kirk and Chekov all take their seats. The                    Journalists take positions on the opposite side of the                    Bridge. Harriman moves to the command chair and the                    rest of the Bridge crew go to their stations.                                           HARRIMAN                                     (to all)                             Prepare to leave spacedock. Aft                              thrusters ahead one quarter, port                              and starboard at station keeping.                                      (beat)                              Captain Kirk, I'd be honored if                              you would give the order to get                              underway.                                           KIRK                             No... no. Thank you.                                           HARRIMAN                             Please, I insist.                   All eyes on Kirk -- he has little choice. He stands                    uncomfortably. There is a moment of anticipation.                                           KIRK                                     (to all)                             Take us out.                   Everyone breaks into APPLAUSE. Kirk sits down in                    acute embarrassment and  annoyance.                                           CHEKOV                                     (sotto)                             Very good, sir.                                           SCOTTY                                     (sotto)                             Brought a tear to my eye.                                                                          CUT TO:               11    EXT. SPACE- ENTERPRISE-B (VFX-I)                            11                   The great ship majestically LEAVES the dock, and heads                    out into open space, passing DIRECTLY OVERHEAD.             12    INT. ENTERPRISE-B - BRIDGE                                  12                   A short time later. Harriman turns to his guests.                                           HARRIMAN                             Well... we've just cleared the                              asteroid belt. Our course will                              take us out beyond Pluto and then                              back to spacedock. Just a quick                              run around the block.                                      (beat)                              If we have time, we'll conduct a                              few tests of the warp --                   Suddenly the communications console starts to BEEP.                    The COM OFFICER hits a few commands in response.                                           COM OFFICER                                     (to Harriman)                             We're picking up a distress call,                              Captain.                   This grabs everyone's attention.                                           HARRIMAN                             On speakers.                   We hear the voice of a crewmember who sounds panicked                    and urgent.                                           COM VOICE                                     (fritzed)                             This is the transport ship Lakul.                              We're caught in some kind of                             energy distortion. We can't break                              free... need immediate help...                              It' tearing us --                   The voice is drowned out by STATIC. The SCIENCE                    OFFICER checks something on his console. The                    Journalist with the Holo-camera turns on his light and                    pans it around to capture the action.                                           SCIENCE OFFICER                             The Lakul is one of two ships                              transporting El-Aurian refugees to                              Earth.                   Harriman blinks a couple of times, surprised at this                    unexpected turn of  events. Kirk watches him intently.                    Harriman clears his throat, then turns to Demora.                                           HARRIMAN                             Can you locate them?                                           DEMORA                             The ships are bearing at three one                             zero mark two one five. Distance:                             Three light years.                                           HARRIMAN                             Signal the closest starship.                              We're in no condition to mount a                              rescue... We don't even have a                              full crew aboard.                   The NAVIGATOR checks his console.                                           NAVIGATOR                             We're the only one in range, sir.                   The Holo-camera light is shined on Harriman as he                    shifts in his seat, hesitant to take the plunge. Kirk                    is drumming his fingers impatiently on his leg.                    Finally, Harriman takes a breath and straightens his                    jacket a bit.                                           HARRIMAN                             Well, then... I guess it's up to                              us.                                       (to Demora)                              Helm, lay in an intercept course                              and engage at maximum warp.                   Kirk fidgets in his chair, itching to get in on the                    action - his instincts taking over. Scotty shoots him                    a side-long glance.                                           SCOTTY                             Is there something wrong with your                              chair, Captain?                   Kirk gives him a look.              13   EXT. SPACE - ENTERPRISE-B (VFX-I)                           13                   The ship snaps into warp.               14   INT. ENTERPRISE-B - BRIDGE                                  14                   A few minutes later. Demora is watching her console.                                           DEMORA                             We're within visual range of the                              energy distortion, Captain.                                           HARRIMAN                             On screen.              15   INCLUDE VIEWSCREEN (VFX-I)                                  15                   Which now shows a HUGE RIBBON OF CRACKLING ENERGY                    directly ahead of the Enterprise-B.                    Everyone reacts to the bizarre sight.                                           CHEKOV                             What the hell is that?                                           DEMORA                                     (off console)                             I've found the transport ships.             15A   INCLUDE VIEWSCREEN (VFX-I)                                 15A                   The Viewscreen now shows TWO TRANSPORT SHIPS trapped                    like insects in the violent torrent of energy. The                    ships are being buffeted and thrown about by large                    TENDRILS of CRACKLING ENERGY.                                           DEMORA                                     (cont'd)                             Their hulls are starting to buckle                              under the stress -- they won't                              survive much longer.                   The ship suddenly SHAKES. The Navigator works his                    console.                                           NAVIGATOR                             We're encountering severe                              gravimetric distortions from the                              energy ribbon.                                           HARRIMAN                             We'll have to keep our distance...                             we don't want to get pulled in                             too...                   Harriman frowns at the screen, trying to figure out                    what to do. Kirk can barely contain himself -- to him                    the answer is obvious. He blurts out the answer --                                           KIRK                             Tractor beam...                   Scotty quickly elbows him in the side -- this isn't                    Kirk's ship. Kirk shuts up.  Harriman glances at Kirk.                                           HARRIMAN                             We don't have a tractor beam.                                           KIRK                             You left spacedock without a                              tractor beam?                                           HARRIMAN                             It won't be installed until                              Tuesday.                                      (beat)                              Ensign Sulu... try generating a                              subspace field around the ships.                              That might break them free.                                           DEMORA                             Aye, sir.                   When Kirk hears this order, he shakes his head slightly                    and mouths the word "no" under his breath. He knows                    that won't work.                                           DEMORA                                     (continuing; shakes her                                       head)                             There's too much quantum                              interference, Captain.                   Harriman frowns again, trying to come up with another                   solution, but it isn't easy -- it's his first day in                    command; his ship is under-manned and ill-prepared.                    It's a nightmare come true. Kirk is itching to get in                    On this, his fingers digging into the arms of his chair --                   but he restrains himself.                                           HARRIMAN                             What about... venting plasma from                              the warp nacelles? That might                              disrupt the ribbon's hold on the                              ships.                                           NAVIGATOR                             Aye, sir.. releasing drive                              plasma...                   A tense beat. Harriman glances over at the                    journalists, then glances over at Kirk. Kirk gives him                    a pained smile, trying to be encouraging even though he                    knows this is not the right course of action.                                           NAVIGATOR                                     (continuing)                             It's not having any effect, sir.                              I think --                                                          DEMORA                             Sir! The starboard vessel's hull                              is collapsing --              15B   INCLUDE VIEWSCREEN (VFX-I)                                 15B                   Suddenly the right-hand ship on the screen is engulfed                    by a fiery TENDRIL of energy and it EXPLODES. The                    other ship continues to be thrown about and buffeted.                    Everyone reacts with shock on the Bridge.                                           CHEKOV                             How many people were aboard                              that ship?                                           DEMORA                             Two hundred sixty-five.                   Harriman pales at the sight... seems shell-shocked by                    the destruction of the ship. He's overwhelmed now, at                    a genuine loss as to what to do next.                                           DEMORA                                     (urgent)                             The Lakul's hull integrity is down                              to twelve percent, sir.                   Harriman looks over at Kirk, who has remained quiet                    during this entire sequence only through great effort                    and out of deference to the young Captain. This is a                    delicate moment -- Harriman doesn't want to look                    incapable, but at the same time, he needs help.                                           HARRIMAN                             Captain Kirk... I would appreciate                              any... suggestions you might have.                   Kirk is out of his chair like a cork out of a bottle.                    He moves down to stand next to Harriman.                                           KIRK                                     (sotto)                             First -- move us within                              transporter range and beam those                              people to the Enterprise.                   Harriman looks at him with surprise.                                           HARRIMAN                             What about the gravimetric                              distortions? They'll tear us                              apart...                                           KIRK                                     (gently)                             Risk is part of the game if you                              want to sit in that chair.                   Kirk gives him a supportive look. Harriman buckles                    down and grimly looks at the image on the screen.                                           HARRIMAN                             Helm, close to within transporter                              range.                   Kirk glances at the Cameraman, who's still shining the                    light on them  all.                                           KIRK                             And second -- turn that damned                              thing off.                   The cameraman turns OFF the light.                                                                          CUT TO:              16   EXT. SPACE - ENTERPRISE-B (VFX-I)                           16                   The ship edges in yet closer to the crackling ribbon.                    The tendrils from the ribbon lash out at the ship, just                    missing it.              17   INT. ENTERPRISE-B - BRIDGE                                  17                   As before.                                           DEMORA                             We're within range, sir.                                           HARRIMAN                                     (to lieutenant)                             Beam them directly to Sickbay.                                           CHEKOV                                     (concerned)                             How big's your medical staff?                                           HARRIMAN                                     (embarrassed)                             The medical staff... doesn't                             arrive until Tuesday.                   Chekov turns to the two journalists.                                           CHEKOV                             You and you. You've just become                              nurses. Let's go.                   Chekov and the journalists EXIT to the turbolift.                                            DEMORA                             Main Engineering reports                              fluctuations in the warp plasma                              relays.                                           SCOTTY                             By-pass the relays and go to                              auxiliary systems.                   The LIEUTENANT is having problems at the aft console.                                           LIEUTENANT                             Sir, I'm having trouble locking                              onto them. They appear to be...                             in some sort of... temporal flux.                   Kirk turns to Scotty.                                           KIRK                             Scotty?                   Scotty quickly moves to look at the Transporter                    console.                                           SCOTTY                             What the hell...                   Kirk moves to him.                                           SCOTTY                             Their life signs are... are                             phasing in and out of our                              space-time continuum.                                           KIRK                             Phasing? To where?                   Scotty begins to work.                                           NAVIGATOR                             Sir! Their hull's collapsing!              18   EXT. SPACE- THE LAKUL (VFX-I)                               18                   The ship is destroyed by an energy tendril.              19   INT. ENTERPRISE-B - BRIDGE                                  19                   All eyes on Scotty.                                           SCOTTY                             I got forty-seven of them...                                     (beat, grim)                              ... out of one hundred fifty.                   Suddenly the ship is rocked violently. KLAXONS and                    alarms start to wail and the lights FLICKER on and off.                    BULKHEAD EXPLODES, sending metal fragments screaming                    across the Bridge and KILLING the Navigator. Scotty                    quickly takes over the dead man's console.                                           KIRK                             Report!                                           DEMORA                             We're caught in a gravimetric                              field emanating from the trailing                              edge of the ribbon.                                           HARRIMAN                             All engines, full reverse!              20   EXT. SPACE- ENTERPRISE-B & RIBBON (VFX-I)                   20                   The ship is turning sideways into the WAKE of the                   ribbon, but cannot break away. It is clearly being                    pulled along, out of control. Tendrils leap up from the                   ribbon, lashing against the ship.              21   INT. ENTERPRISE-B- SICKBAY                                  21                   The room is filled with the SURVIVORS of the Lakul.                    They are all members of the EL-AURIAAN  race -- humanoid                    and dressed in distinctive clothing. The survivors are                    in various states of shock. Many sit on the floor,                    staring into middle distance. some lie on tables,                    unconscious. others are mumbling incoherently to                    themselves. Chekov and the Journalists are moving from                    person to person trying to get control of the                    situation as the ship is ROCKED and FLUNG about.                    Chekov has a tricorder.                                           SURVIVORS                                     (incoherent, overlapping)                             The colors are touching me... I'm                              caught in the glass... Help me...                             I can see the seconds... Over                              here... etc                                           CHEKOV                             It will be all right. We're going                              to take care of you.                   He looks at the tricorder.                                           CHEKOV                                     (off tricorder)                             Only minor injuries so far...                                     (beat)                              But it looks like they're all                             suffering from some kind of                             neural shock.                   One Journalist moves past a man sitting on a bio-bed                    with a dazed look on his face. He has a nasty-looking                    wound on one side of his face. (We will later learn                    that this man is named DOCTOR SORAN.)                   The journalist is about to turn away when suddenly                    Soran GRABS him roughly -- clearly a man of great                    Strength -- and pulls him close. Soran's eyes are                    suddenly wild, crazed.                                           SORAN                             Why...why?                                           JOURNALIST                             It's all right... you're safe...                             you're on the Enterprise.                                           SORAN                             No... I have to go... I have to                              get back... You don't understand!                              Let me go!                   Soran begins to attack the journalist, but before he                    can do any real damage, Chekov injects Soran with a                    hypospray and Soran falls unconscious.                                           JOURNALIST                             What was he talking about?                   Suddenly a WOMAN with her back toward us stumbles                    nearby. Chekov quickly grabs her arm and catches her                    before she falls.                                           CHEKOV                             Easy there...                   The woman turns around and we see her face for the                    first time -- it's GUINAN. She seems dazed and                    confused. Chekov smiles at her warmly.                                           CHEKOV                             It's going to be okay. Here, just                              lie down.                   As he guides Guinan onto a table...              22   INT. ENTERPRISE-B - BRIDGE (VFX-I)                          22                   Energy ribbon on viewscreen.                                           DEMORA                             Inertial dampers failing.                                           SCOTTY                             Engines not responding!                   Harriman is gripping the arms of his chair with one                    hand. His face pales.                                           HARRIMAN                                     (quiet)                             I didn't expect to die my first                              day on the job.                   Kirk tries to buck up the young captain.                                           KIRK                                     (sotto)                             The first thing you learn as                              Captain is how to cheat death.                                      (beat, then louder)                              Scotty?                                           SCOTTY                                     (outraged)                             There's just no way to disrupt a                              gravimetric field of this                              magnitude!                                           DEMORA                             Hull integrity failing.                   Kirk looks at Scotty expectantly for a moment.                                           SCOTTY                                     (continuing)                             But I do have a theory...                                           KIRK                             I thought you might.                                           SCOTTY                             An anti-matter discharge directly                              ahead... it might disrupt the                              field long enough for us to break                              away.                                           KIRK                             A photon torpedo?                                           SCOTTY                             Aye.                                           KIRK                                     (quickly, to Demora)                             Load torpedo bays, prepare to fire                              on my command.                   Demora turns to him.                                           DEMORA                             Captain... we don't have any                              torpedoes.                   Kirk glances at Harriman.                                           KIRK                             Don't tell me... Tuesday.                   Harriman nods, a little embarrassed. The SHAKING gets                    worse.                                           SCOTTY                             Captain, it may be possible to                              simulate a torpedo blast using a                             resonance burst from the main                              deflector dish.                                           KIRK                                     (onto the idea)                             Where are the deflector relays?                                           DEMORA                             Deck fifteen, section twenty-one                             alpha                                           HARRIMAN                                     (to Kirk)                             I'll go. You have the Bridge.                   Harriman heads for the turbolift, and there is a moment                    as Kirk is sorely tempted to take command of the ship                    and sit in the Captain's chair one more time. But he                    pulls himself back before Harriman can exit.                                           KIRK                             No... a Captain's place is on the                              Bridge of his ship.                                      (beat)                              I'll take care of it.                   Harriman nods in acknowledgement. Kirk heads for the                    turbolift.                                           KIRK                                     (on the move, to Scotty)                             Keep her together until I get                              back.                                           SCOTTY                                     (matter of fact)                             I always do.                   Kirk smiles as the turbolift doors slide shut...              23   OMITTED                                                     23              24   INT. ENTERPRISE-B - CORRIDOR                                24                   Kirk running down the corridor, opens a door.              25   INT. ENTERPRISE-B - DEFLECTOR ROOM (CONTINUOUS)             25                   A small control room with a few consoles. Kirk rushes                    in and rips off one of the large wall panels. He                    quickly begins to re-route cabling and circuitry...              26   INT. ENTERPRISE-B - BRIDGE                                  26                   As before. The ship is SHAKING badly.                                           DEMORA                             Forty-five seconds to structural                              collapse!                   Scotty is working the consoles frantically.                                           SCOTTY                             Bridge to Captain Kirk.                   INTERCUT:              27   INT. ENTERPRISE-B - DEFLECTOR ROOM                          27                   Kirk working furiously.                                           KIRK                             Kirk here.                                           SCOTTY                             Captain, I don't know how much                              longer I can hold her together!                   Kirk finishes working and slams the wall panel closed.                                           KIRK                             That's it. Go!              28   INT. ENTERPRISE-B - BRIDGE                                  28                   As before.                                           HARRIMAN                                     (to Demora)                             Activate main deflector.                   Demora works the console.              29   EXT. SPACE- ENTERPRISE-B (VFX-I)                            29                   A large BURST 0F ENERGY leaps out of the main deflector                    dish and EXPLODES in front of the ship. There is an                    immediate reaction within the Energy Ribbon, which                    roils and fluctuates in response.              30   INT. ENTERPRISE-B - BRIDGE                                  30                   As before.                                           SCOTTY                             We're breaking free.              31   EXT. SPACE - ENTERPRISE-B (VFX-I)                           31                   The ship now begins to turn away from the crackling                    ribbon. But just as it's turning, one final TENDRIL of                    energy suddenly leaps out and hits the ship.              32   OMITTED                                                     32              33   INT. ENTERPRISE-B - BRIDGE                                  33                   The ship is ROCKED so hard that everyone is knocked off                    their feet. Gradually, the SHAKING STOPS. Demora                    scrambles back into position.                                           DEMORA                             We're clear.                            Everyone reacts with relief.                                           HARRIMAN                                     (excited, to com)                             You did it, Kirk!                                      (to Demora)                              Damage report, Ensign.                                           DEMORA                                     (off console)                             There's some buckling on the                              starboard nacelle...                                     (reacts)                              We've also got a hull breach in                              the Engineering section.                              Emergency forcefields are in place                              and holding.                                           SCOTTY                             Where?                                           DEMORA                             Sections twenty through twenty-                             eight on decks thirteen...                             fourteen...                                     (looks at Scotty with                                       meaning)                             ... and fifteen.                   Everyone turns around and looks at Scotty.                                           SCOTTY                                     (to com)                             Bridge to Captain Kirk.                                      (beat)                              Captain Kirk, please respond.                   Still no response. Scotty's face falls.                                           SCOTTY                                     (continuing, to Demora)                             Have Chekov meet me on deck                             fifteen.                   Harriman, very concerned, gets up and follows Scotty.                    They EXIT to the Turbolift.                                                                          CUT TO:              34   INT. ENTERPRISE-B - CORRIDOR                                34                   Scotty and Harriman head down the Corridor. They round                   a bend... and then stop short. They react to                    something ahead of them...              35   NEW ANGLE (VFX-P)                                           35                   Revealing that the corridor ahead of them is GONE. A                    jagged hole has been ripped in the ship and OPEN SPACE                    can be seen beyond the twisted metal.                    A FORCEFIELD flickers on and off, holding the vacuum of                    space at bay.                   Scotty and Harriman look at the awesome sight for a                    moment. Chekov comes running up the Corridor behind                    them. He stops and reacts.                                           CHEKOV                             My God...                                     (beat)                              Was anyone in there?                   A long silent beat as Scotty looks out into space.                                           SCOTTY                             Aye.              36   EXT. SPACE - ENTERPRISE-B (VFX-I)                           36                   A huge chunk has been ripped out of the Engineering                    section, looking like an open wound. Scotty, Chekov,                   and Harriman can be seen standing inside the small                    Corridor, looking out into space...              37   INT. ENTERPRISE-B- BRIDGE                                   37                   A short time later. Scotty, Harriman and Chekov are                    listening to Demora, who is working the Helm console.                                           DEMORA                             I've checked the entire ship and                              the surrounding space. there's                              no sign of him.                   A silent moment. Chekov looks to Scotty, hoping to                    hear some sort of miracle. Scotty takes a moment                   looks at the empty command chair. Then he shakes his                    head. A long beat as everyone is forced to accept this                   terrible truth.                                           SCOTTY                                     (quiet)                             Just a quick... run around the                              block.                                           CHEKOV                             I never thought it would end like                              this...                                           SCOTTY                             All things must end, Mr. Chekov.                   Harriman finally breaks the stillness of the Bridge.                                           HARRIMAN                             Let's go home.                   Harriman steps down to the Captain's chair and takes                    command of his ship.                   Scotty and Chekov exchange a final look. Off the                    reactions of these two friends who've just lost someone                    very dear to them both...                                                                          CUT TO:              38   EXT. SPACE - ENTERPRISE-B (VFX-I)                           38                   The crippled ship turns and heads away...                   FADE TO BLACK.                   SUPER: SEVENTY-EIGHT YEARS LATER...               39   CLOSE ON A HALYARD                                          39                   as a FLAG is quickly hoisted to the top of a mast. The                    flag reaches the top and is then caught by the wind --                    the blue and white banner of the United Federation of                    Planets waves in the breeze.                   MOVE TO REVEAL THE LOCATION              40   EXT. SAILING VESSEL - DAY                                   40                   A nineteenth-century three-masted sailing vessel (about                    the size of a frigate) is hove-to and sitting in the                    water gently rocking. Across the stern of the ship, we                    can see the name ENTERPRISE picked out in gold letters.              41   ON THE MAIN DECK                                            41                   Where PICARD and RIKER are standing before the                    assembled crew of the ship. Everyone is dressed in                    full-dress naval uniforms of the period, complete with                    cocked hats, epaulettes, etc. The crew is standing at                    attention... the wind whistles through the rigging...                   the timbers creak...                   Picard grimly looks over his crew... then finally  he                   nods to Riker.                                           RIKER                             Bring out the prisoner!                   A drummer begins a long DRUM ROLL.              42   ON A HATCH                                                  42                   as WORF is brought on deck by TROI and GEORDI. Worf is                    shackled by hand and leg irons. Troi and Geordi hold                    him by either arm and shove him toward the Captain.                    The drum roll STOPS. Picard moves to Worf and peers at                    him closely.                                                              PICARD                             Mister Worf... I always knew this                              day would come. Are you prepared                              to face the charges?                   Worf doesn't answer and Troi jabs him in the side.                                           TROI                             Answer him!                                           WORF                             I am prepared.                   Picard looks to Riker, who then pulls out a large,                    rolled piece of parchment. He opens the scroll and                    begins to read from it. In the b.g. Geordi removes                    Worf's shackles.                                           RIKER                             "We, the officers and crew of the                              U.S.S. Enterprise, being of sound                              mind and judgment, hereby make                              the following charges against                              Lieutenant Worf: One. That he did                              knowingly and willfully perform                              above and beyond the call of duty                              on countless occasions. Two.                              That he has been a good and solid                              officer on this ship for one score                              less twelve years. And Three.                              Most seriously... that he has                              earned the respect and admiration                              of the entire crew."                   Riker puts away the scroll                                           PICARD                             There can be only one punishment                              for such crimes...                                     (beat)                              I hereby promote you to the rank                              of Lieutenant Commander, with all                              the rights and privileges thereto.                              And may God have mercy on your                              soul.                   Everyone ROARS in APPROVAL. Picard smiles at Worf and                   shakes his hand.                                           PICARD                                     (cont'd)                             Congratulations, Commander.                                           WORF                                     (smiles)                             Thank you, sir.                   Picard continues to smile at him for a moment...then                    Riker steps in.                                            RIKER                             Extend the plank!!                   Worf's face registers surprise as everyone GRABS HIM                   and hauls him toward the side, where a long plank is                    being pushed out over the water.                                           CREWMEMBERS                             Into the sea with him... feed him                              to the sharks... walk the                              plank... etc.                   Picard gives Riker a questioning look.                                           PICARD                             Don't you think you're taking this                              a little too far, Number One?                                           RIKER                             When we went to ancient Rome for                              Deanna's promotion, we threw her                              to the lions, remember?                   Picard shrugs it off... it's not exactly his cup of                    tea, but he'll go along with it.                   Worf is hustled to the rail where BEVERLY is waiting                    patiently by the plank, holding a long PIKE. Worf is                    put on the plank and Crusher prods him with the pike                    until Worf is nearly at the end.                   Worf finally stops and turns around.                                           WORF                                     (a shout)                             WAIT!!                   Everyone falls silent a moment. Worf looks over                    the side at the water below.                                           WORF                                     (a little embarrassed)                             I can't swim.                                           LA FORGE                                     (calmly, to Worf)                             The Holodeck safety program is                              engaged... The computer won't let                              you drown.                                            BEVERLY                             But the sharks are quite                              convincing.                   Beverly prods him with the pike and Worf FALLS INTO THE                   SEA  with a huge SPLASH . Everyone LAUGHS and CHEERS.                    Reveal DATA, who is standing near the side rail,                    looking a little confused at the reaction.                                           DATA                                     (to Beverly)                             Doctor, I must confess I am                              uncertain as to why pushing                              someone into freezing, shark-                             infested water is amusing.                                            BEVERLY                             It's all done in good fun, Data.                              Get in the spirit of things.                                           DATA                             Ah.                   Data thinks a moment, then he LIFTS Beverly with one                    hand and hold her over the rail.                                           BEVERLY                             Data...Data -- !                   Data lets go and Beverly PLUMMETS into the ocean. Data                    looks around -- no one is laughing. They all look a                    little surprised.                                           GEORDI                             Data. that wasn't funny.                   Data is puzzled by the reaction of the crowd... he's                    more confused than ever.              43   PICARD AND RIKER                                            43                   are standing on the quarterdeck as a very wet Beverly                    comes up on deck.                                           PICARD                             Well, now that we're all aboard...                                     (beat, then smiles)                              Number One, bring the ship before                              the wind.                                      (savoring the moment)                              Let's see what's out there.                                           RIKER                             Aye, aye, sir.                                      (to Troi)                              Take the wheel, Commander.                   Troi takes the ship's wheel.                                           RIKER                                     (shouts)                             All hands make sail! Raise up                              tacks and stand by the braces!                   The crew springs into action... rushing to their places                    aloft and on deck... grabbing ropes and lines...                   starting to unfurl the sails... trimming the                    yardarms... getting the ship ready to sail.              44                                                               44            THRU   OMITTED                                                   THRU              45                                                               45              46   PICARD AND RIKER                                            46                   Picard is drinking in the scene with a look of great                    satisfaction and  contentment.                                           PICARD                             Imagine what it was like, Will. No                              engines... no computers... just                              the wind, the sea and the stars to                              guide you.                                           RIKER                             Bad food, brutal discipline...                                      (beat)                              No women.                   But Picard won't let Riker rain on his parade -- he's                    thoroughly enjoying himself.                                           COM VOICE                             Bridge to Captain Picard.                                           PICARD                             Picard here.                                           COM VOICE                             There is a personal message for                              you from Earth.                                           PICARD                                     (annoyed)                             Put it through down here.                                      (to Riker)                              But the best thing about a life at                              sea was that they couldn't get to                              you.                   Picard walks toward the bow.                                           PICARD                                     (to com)                             Computer, arch.             46A   ANGLE (VFX-P)                                              46A                   A U-shaped ARCH with several computer panels visible                    appears on the forecastle. It's a strange sight to see                    a piece of the 24th century on the deck of this ship.                    Picard goes to the arch and activates one of the                    monitors and waits for the transmission to appear.             46B   NEW ANGLE (VFX-P)                                          46B                   A text message APPEARS and he starts to read it. After                    a moment, he reacts with shock and dismay to something                    on the screen.              47   ON TROI                                                     47                   whose attention has been drawn to Picard, at the arch.                    She reacts with concern at the expression on his face.                                           TROI                                      (to crewmember)                             Here. Take the wheel.                   Troi moves toward the bow.              48   ON PICARD (VFX-P)                                           48                   whose face is now ashen with shock. Clearly he has                    just read something on the screen which is very                    disturbing.                    He stares into the middle distance for a moment. Troi                    moves to him.                                           TROI                                     (quiet)                             Captain, are you all right?                                           PICARD                             Yes. Fine. If you'll excuse                              me...                   He turns OFF the screen.                                           PICARD                             Computer, exit.             48A   ANGLE (VFX-P)                                              48A                   The Holodeck DOORS APPEAR within the Arch. Picard is                    clearly distracted as he EXITS to the Corridor. Troi                    looks after him with concern.              49   NEW ANGLE                                                   49                   Favoring Riker. He takes a couple of steps toward                    Worf.                                           RIKER                             Set the royals and the studding                              sails, Mister Worf.                   Worf looks at him blankly for a moment.                                           WORF                             The Royal... studs...?                                           RIKER                                     (smiles, points aloft)                             You see the top yardarm, now look                              to the --                   Suddenly a com voice interrupts.                                           COM VOICE                             Bridge to Commander Riker.                                           RIKER                             Riker here.                                           COM VOICE                             We're picking up a distress call                              from the Amargosa observatory,                              sir. They say they're under                              attack.                                           RIKER                                      (to all)                             Red Alert! All hands to                              Battle stations! Captain Picard to                              the Bridge.                   Everyone on the ship reacts, and there is a general                    rush to the bow of the ship...                                                                          CUT TO:              50   EXT. SPACE - ENTERPRISE-D (VFX-I)                           50                   The great ship at impulse. We FOLLOW it and then see                    ahead of the ship, a small SOLAR OBSERVATORY with a                    complex optical array. The observatory bears scorch                    marks and other signs of recent battle. (In the b.g.                   a YELLOW SUN can be seen.)              51   INT. BRIDGE (VFX-I)                                         51                    Picard in command. Riker, Troi, Worf and Data at their                    stations They didn't have time to change, so they are                    all still dressed in their costumes from the ceremony.                    The ship is at Red Alert. The image of the burnt-out                    observatory is on the VIEWSCREEN.                                           RIKER                             It looks like we're too late...                                           WORF                                     (off console)                             There are no other ships in the                              system.                                           DATA                             Sensors show five life signs                              aboard the station, Captain.                                           RIKER                             The station complement was                              nineteen.                   A grim beat. Picard gets up and starts heading for the                    Ready Room - his attitude is dismissive, almost                    irritated that this has interrupted some deeper concern                    of his.                                           PICARD                             Secure from Red Alert. Number                              One, begin an investigation. I'll                              be in my Ready Room.                   Troi and Riker exchange a surprised look.                                           RIKER                             Sir?                                           PICARD                                     (hard)                             Make it so.                   Picard EXITS. An awkward beat. What's wrong with the                    Captain? But they have their orders.                    As Riker and  Worf head for the EXIT...                                                                          CUT TO:              52   INT. OBSERVATORY - OPS CENTER (VFX-P)                       52                   The station is a SMOKING RUIN -- consoles flickering,                    lights dim, damage everywhere. Only a few minutes have                    passed since they were attacked. Riker, Worf, Beverly                   and two SECURITY GUARDS MATERIALIZE. They're all back                    in uniform, holding phasers and palm beacons. Worf has                    a tricorder and Beverly has a medical kit. The room is                    cramped, there are fallen bulk-heads and blown-out                    consoles. The debris makes it difficult to get a clear                    view of the room.                                           WORF                             These blast patterns are                              consistent with type-three                              disruptors.                                           RIKER                             Well, that narrows it to Klingon,                              Breen or Romulan.                   Beverly follows her tricorder readings.                                           BEVERLY                             I'm picking up life signs... about                              twenty meters ahead.                                           WORF                             That rules out Klingons.                   Riker gives him a look.                                           WORF                             They would not have left anyone                              alive.                                           BEVERLY                             Over here.                   They pick their way carefully through the carnage of                    the station...and come to the body of a Starfleet                    Science Officer. He has taken a disruptor blast to the                    back and there is a nasty-looking scorch mark on his                    uniform. Beverly immediately takes some devices out of                    her medical kit and begins to treat him.                                           RIKER                             Worf, you're with me. Paskall,                              you and Mendez search the upper                              deck.                   The Security Guards climb a nearby ladder while Riker                    and Worf head down a dimly-lit corridor. Riker stops                    at two bodies in the hall, checks them over -- but                    they're dead. There is a sudden banging from the far                    corner of the room. Worf and Riker quickly move to a                    collapsed bulkhead.                                           WORF                             Under here...                   They both grab hold of a large metal plate, pull it                    aside and begin to dig through the debris. Finally, a                    HAND can be seen grasping about from within the pile of                    rubble. Riker and Worf work faster. Worf grabs the                    man's hand.                                           WORF                             It's all right... do not struggle.                   Worf holds the man's hand as Riker shoves away a final                    console. We reveal the head and torso of Doctor Soran,                    one of the survivors from the Lakul (and last seen                    in Sickbay aboard the Enterprise-B). Soran has not aged                    at all over the years but he does have a permanent                    scar on his face from the earlier wound. He blinks a                    few times, seems a little dazed.                                                         RIKER                             I'm Commander William Riker of the                             Starship Enterprise.                                           SORAN                             Soran... Doctor Tolian Soran...                   Soran puts a hand to his head, still trying to get his                    bearings.                                           RIKER                             Who attacked you, Doctor?                                           SORAN                             I'm not sure... it happened so                              fast...                                           SECURITY OFFICER                                     (calls out)                             Commander -- you'd better take a                              look at this.                   Riker and Worf move to the ladder as Beverly begins to                    scan Soran...              53   NEW ANGLE - UPPER DECK                                      53                   Riker and Worf move over to the two Security Guards who                    are kneeling over a dead body which is obscured from                    view. One guard turns over the body, revealing a                    ROMULAN SOLDIER. Worf looks at him in disgust.                                           WORF                             Romulan.                   Riker and Worf exchange a look. OFF their reactions...                                                                          CUT TO:              54   INT. DATA'S QUARTERS                                        54                   Data is sitting in a chair, petting SPOT THE CAT.                    Geordi is standing next to him.                                           DATA                            Is she still angry?                                           GEORDI                            No... but I'd stay out of Sickbay                             for a while if I were you. I                             still don't know why you dropped                             her in the water.                                           DATA                            I was attempting to... get in the                             spirit of things. I thought it                             would be humorous.                   Data frowns. troubled by this recent experience. He                    puts Spot down and moves to a bulkhead. He activates                    a control panel and a small compartment slides OPEN,                   revealing a small COMPUTER CHIP  which is suspended in                    a glass and metal framework. Data looks at the chip                    for a beat and Geordi moves to him in concern.                                           GEORDI                            Data... you're not thinking about                             using that thing are you?                                           DATA                            It has occurred to me on several                             occasions. But I believe this may                             be the appropriate time.                                           GEORDI                            Wait a minute. I thought you've                             always been afraid it would                             overload your neural net.                                           DATA                            That is true. However, I believe                             my growth as an artificial                             life form has reached an impasse.                             For thirty-four years I have                             endeavored to become more "human" -                            to grow beyond my original                             programming. And yet I am still                             unable to grasp such a simple                             concept as humor.                                      (re: chip)                            This emotion chip is the only                             answer.                   Geordi considers a moment, looks at the chip...                   and reluctantly has to agree.                                           GEORDI                            All right...                   Data sits down and La Forge moves to stand behind him.                                           GEORDI                             But at the first sign of trouble,                             I'm going to deactivate it.                             agreed?                                           DATA                            Agreed.                   Geordi works on Data's head for a moment, and then                   OPENS a panel on Data's head, revealing the blinking                    circuitry within.                                                                          CUT TO:              55   INT. READY ROOM                                             55                   Riker is standing next to Picard, who has his back turned                    and is staring out the window. Picard seems distracted                    during the scene, his mind clearly elsewhere as Riker                    finishes his report.                                           RIKER                            We found two dead Romulans aboard                             the station. We're analyzing                             their equipment to see if we can                             determine what ship they came                             from.                   Picard nods absently.                                           PICARD                            There's still no indication of why                             they attacked the station?                                           RIKER                            We think they were looking for                             something -- they practically tore                             the place apart.                                           PICARD                            Hmm...                                      (beat)                             Inform Starfleet Command. This                             could indicate a new Romulan                             threat in this sector.                                           RIKER                            You want me to contact Starfleet?                                           PICARD                            Is there a problem?                                           RIKER                            No, sir.                                           PICARD                            Thank you, Number One.                   Picard keeps his back turned, looking out the window.                    Riker hesitates, awkward.                                           RIKER                            There is something else, Captain.                             One of the scientists. a Doctor                            Soran... has insisted on speaking                             with you.                                      (beat)                             I told him you were busy, sir, but                             he said it was absolutely                             imperative that he speak with you                             right away.                                           PICARD                            Understood. That will be all.                                           RIKER                            Sir... is there anything wrong?                                           PICARD                            No. Thank you.                   A beat, then Riker turns and EXITS. Off Picard's                    unreadable face...                                                                          CUT TO:                  56   INT. TEN FORWARD                                            56                   The room is bustling with patrons and activity. Data                    ENTERS with an odd look on his face...his body                    language subtly altered. He is looking at the world                    through new eyes. Geordi is following him closely,                    watching his every move. They move to the bar. Guinan                    comes over -- she has not aged at all since the                    Enterprise-B. She sets down an exotic-looking container                    full of dark liquid.                                           GUINAN                            You two just volunteered to be my                             first victims.                                      (re: liquid)                            This is a new concoction I                             picked up on Forcas Three. Trust me,                             you're going to love it.                   She pours two glasses of the liquid. Data takes one                    and sniffs it, then takes a drink. Geordi watches him                    closely. Data frowns.                                           GEORDI                            Well...?                                           DATA                            I believe the beverage has                             provoked an emotional response.                                           GEORDI                            Really? What do you feel?                                           DATA                            I am uncertain. I have had little                             experience with emotions... I am                             unable to articulate the                             sensation.                                           GUINAN                            Emotions?                                           GEORDI                            I'll explain later...                   Data finishes the drink... concentrates, tries to make                    sense of the rush of feelings. His expression is one                    of disgust.                                           GUINAN                                      (to Geordi)                            I don't think he likes it.                                           DATA                                     (excited)                            Yes. That is it. I hate it.                                           GEORDI                            Data, I think the chip is                             working...                   Data looks at Geordi with a big smile on his face.                                           DATA                            Yes. I hate this! It is                             revolting!                   Beat.                                           GUINAN                            Another round?                                           DATA                            Please.                   In the b.g., we see Picard ENTER Ten Forward.              57   FOLLOW PICARD                                               57                   as he walks through Ten Forward and heads toward a                    table by the windows. Soran is sitting at the table,                    staring out at the stars, lost in thought. His                    observatory uniform is distinctive, and sets him apart                    from everyone else in the room. Picard walks up to the                    table.                                           PICARD                            Doctor Soran...?                                           SORAN                            Yes, yes, Captain -- thank you for                             coming.                   The men shake hands and Picard sits down. Soran is an                    imposing physical presence, but at the moment he seems                    very much the eccentric scientists consumed with his                    work. Picard waves away a waiter.                                           PICARD                            Nothing for me.                                      (brusque, to Soran)                             I understand there's something                             urgent you need to discuss with                             me.                                           SORAN                            Yes. I need to return to the                             observatory immediately. I must                             continue a critical experiment I                             was running on the Amargosa star.                    Picard's reaction is a little impatient -- this doesn't                    sound that imperative to him.                                           PICARD                            Doctor... we're still conducting                             an investigation into the attack.                             Once we've completed our work,                             we'll be happy to allow you and                             your fellow scientists back aboard                             the observatory. Until then --                                           SORAN                            The timing is very important on my                             experiment -- if it is not                            completed within the next twelve                             hours, years of research will be                             lost.                                           PICARD                            We're doing the best we can. Now                             if you'll excuse me...                   Picard moves to stand, but Soran reaches out and gently                    but firmly grabs him by the arm. The unexpected                    physical contact and the change of intensity in Soran's                    face stops Picard in his tracks.                                           SORAN                                     (cryptically)                            They say time is the fire in                             which we burn... and right now,                             Captain, my time is running out.                                      (beat)                             We leave so many things unfinished                             in our lives -- I'm sure you can                             understand.                   For some reason, Soran's words have struck a deep chord                    within Picard.                   He looks away from Soran's compelling gaze and thinks                    for a long moment. When he finally speaks, his voice                    is barely above a whisper.                                                                            PICARD                            I'll see what I can do...                   Picard walks away without a word before Soran can                    thank him. Soran looks after him with relief, then                    pulls out an ANTIQUE POCKET WATCH and opens it. He                    looks at the watch for a long moment. then snaps it                    closed and head for the opposite exit from the one                    Picard took. FOLLOW Soran across Ten Forward...until                    he suddenly stops in shock at something he sees...              58   SORAN'S POV                                                 58                   of Guinan, who is now back at the bar.              59   RESUME SORAN                                                59                   A dark look crosses his face -- he is disturbed by the                    sight of Guinan. He quickly turns and EXITS.              60   ON GUINAN                                                   60                   she begins to sense something, as though someone is                    watching her. She turns, looks in the direction where                    Soran was just standing, but there's no one there now.                    She shakes off the feeling and goes back to work.                                                                          CUT TO:              61   INT. ENGINEERING                                            61                   A short time later. A Romulan tricorder is connected                    to some diagnostic equipment near a console. Worf is                    talking to Riker.                   Worf activates a MONITOR which shows a complex diagram                    of sensor information.                                           WORF                            One of the dead Romulans had a                             tricorder. We analyzed its sensor                             logs and found they were scanning                             for signature particles of a                             compound called trilithium.                                           RIKER                            Trilithium?                                           WORF                            An experimental compound the                             Romulans have been working on. In                             theory, a trilithium-based                             explosive would be thousands of                             times more powerful than an                             anti-matter weapon. But they never                             found a way to stabilize it.                                                                  RIKER                            Why were they looking for it on a                             Federation observatory? It doesn't                            make any sense.                   Riker considers.                                           RIKER                                     (cont'd)                            Have Geordi and Data go over with                             the next Away Team...  tell them to                             scan the observatory for                             trilithium.                                           WORF                            Aye, sir.                                                                          CUT TO:              62   INT. OBSERVATORY OPS                                        62                   The station is still a wreck. Geordi and Data are                    scanning the room with tricorders.                                           GEORDI                                     (off tricorder)                            There's no sign of any trilithium                             in here.                   Geordi continues to scan... then suddenly Data lets out                    a quiet GIGGLE. Geordi stops and turns to look at him.                   Data giggles louder.                                           DATA                                     (laughing, to himself)                            I get it. I get it.                                           GEORDI                            You get what?                   Data laughs again.                                           DATA                            When you said to Commander                             Riker...                                     (imitating Geordi's voice)                             "The clown can stay, but the                             Ferengi in the gorilla suit has to                             go."                   Geordi looks blankly at him for a moment.                                           GEORDI                            What?                                           DATA                            During the Farpoint mission. We                             were on the Bridge and you told a                             joke. That was the punch line.                                           GEORDI                            The Farpoint mission? Data, that                             was seven years ago.                                           DATA                            I know. I just got it.                                      (laughs)                             It was very funny.                                           GEORDI                            Thanks.                   Geordi indicates a corridor. They EXIT in that                    direction...              63   INT. OBSERVATORY CORRIDOR - CONTINUOUS                      63                   A short corridor connecting the Ops Center with other                    compartments. Geordi suddenly stops in front of what                    appears to be a standard bulkhead.                                           GEORDI                            Wait a minute... there's a hidden                             doorway here. I can see the                             joint of the metal with my VISOR.                   Geordi runs his finger in a vertical line along what                    appears to be a smooth bulkhead.                                           DATA                                    (off tricorder)                            There appears to be a dampening                             field in operation. I cannot scan                             beyond the bulkhead.                   Geordi puts his tricorder away and begins looking for                    a way to open the door.                                           GEORDI                            I don't see a control panel...or                             an access port.                                           DATA                                     (off tricorder)                            It appears to be a magnetically                             sealed.                   Data steps forward and OPENS a small panel on wrist                    and makes a quick adjustment to the circuitry within.                                           DATA                            I believe I can reverse the                             polarity by attenuating my axial                             servo.                   Data completes his adjustment and then moves his wrist                    over the door panel.                                           DATA                                     (joking)                            "Open sesame."                   There is a HUMMING sound followed by a loud CLICK. The                    door slides open.                                           DATA                                     (smiles)                            You could say I have a... magnetic                             personality.                   Geordi reacts to the bad pun with a grimace. They EXIT                    to.              64   INT. OBSERVATORY PROBE ROOM - CONTINUOUS                    64                   A small room with several probes stacked in holding                    racks. Geordi and Data scan.                                           GEORDI                            I'm still not picking up anything.                             Someone went to a lot of trouble                             to shield this room.                   They put their tricorders away and begin looking around                    the room. Data continues to snicker and giggle as he                    tries not to laugh at jokes his mind conjures up.                    Geordi begins inspecting the probes... finally stops                   at one probe which has SEVERAL ODD DEVICES attached to                    the side.                                           GEORDI                            Data, take a look at this.                                      (Data comes over)                             You ever seen a solar probe with                             this kind of configuration?                   Data uses the tricorder as if it were a puppet as he                    opens and closes it like a mouth.                                           DATA                                     (making tricorder "talk")                            No, Geordi. I have not. It is                             most unusual.                      Data giggles and Geordi reacts with the irritation of                    someone listening to a very bad comedian.                                                GEORDI                            Just help me get this panel open.                   Data helps Geordi as they try to open a panel on the                    casing of the probe. They open the panel and Geordi                   looks inside.he reacts to something.                                           GEORDI                            Whoa. my VISOR'S picking up                             something in the theta band...it                             could be a trilithium signature.                   Data suddenly start LAUGHING. Geordi turns in                    irritation.                                           GEORDI                            Data, this isn't the time...                                           DATA                                     (laughing)                            I am sorry... but I cannot stop                             myself... I think something is                             wrong...             64A   ANGLE (VFX-P)                                              64A                   Data's laughter escalates into hysteria... then Data                    begins to JERK and SHAKE and goes into a bizarre                    "emotional seizure." A rush of EMOTIONS race across                    his face. anger, passion, shock... a kaleidoscopic                    blur of reactions contort his features. Then it stops                    and he FALLS to the ground.                                           GEORDI                            Data!                   Geordi rushes to him. Data has a look of surprise on                    his face as he blinks a few times. He sits up.                                           GEORDI                            Data, are you all right?                                           DATA                            I believe the emotional chip has                             overloaded my positronic relays.                                           GEORDI                            We better get you back to the                             Ship.                                      (hits combadge)                             La Forge to Enterprise.                   There's no response. Geordi frowns for a beat, then we                    hear Soran's voice.                                           SORAN                            Is there a problem, gentlemen?              65   INCLUDE SORAN                                               65                   standing in the room. Geordi didn't hear him come in.                                           GEORDI                            Oh... Doctor... yeah, as a matter                             of fact, there is. There's a                             damping field in here blocking                             our com signal.                                      (re: Data)                             Will you give me a hand?                   Over the above dialogue, Soran glances over at the                    solar probe Geordi was inspecting. He notes the opened                    panel and a disturbed look crosses his face.                    Soran looks back at Geordi.                                           SORAN                            I'd be happy to.                   Soran moves toward them. and then without warning, he                    punches Geordi in the face, KNOCKING the VISOR across                    the room. He whirls around and points a phaser at                    Data, who suddenly looks fearful.                                           DATA                            Please don't hurt me.                                                                          CUT TO:              66   INT. PICARD'S QUARTERS                                      66                   Picard is standing at the replicator.                                           PICARD                            Tea. Earl Grey. Hot.                   The cup of tea APPEARS in the replicator and at the                    same moment, the door CHIMES.                                           PICARD                            Come.                   Troi ENTERS. Picard would rather not be bothered right                    now, but he is polite as always.                                           PICARD                            Counselor. What can I do for you?                                           TROI                            Actually... I'm here to see if                             there's anything I can do for you.                                           PICARD                            Well... I appreciate your concern,                             but I'd rather not discuss it                             right now, thank you.                             But Troi won't be brushed away so easily.                                           TROI                            I'm afraid I can't just leave it                             at that. The commanding officer                             of this ship is clearly distraught                             about something. As ship's                             Counselor, it's my duty to --                                           PICARD                            As ship's counselor, it's your                             duty to know not only when you're                             needed... but also when you're                             not.                                           TROI                            You can't fool an empath, Captain.                             I know exactly when I'm needed.                   Picard is really not in the mood for this. His tone                    hardens.                                           PICARD                            Well, with all due respect to your                             Betazoid senses, I prefer to be                             alone right now.                                           TROI                            Very well. I suppose I could make                             out my weekly report to Starfleet                            Command without your input.                                      (beat)                             "Admiral Lusby... regarding the                             unusual behavior of Jean-Luc                             Picard: I find him increasingly                             Irritable... remote... and                             uncooperative. I recommend forced                             shore leave at a Starbase facility                             in order to --"                                           PICARD                            All right, all right. You've made                             your point.                   Troi takes a seat and patiently waits. Picard gets                    up.moves around the room for a moment...and stops.                    He speaks in a flat, unemotional tone of voice.                                           PICARD                            The message I received...                                     (beat)                             My brother... and his son -- my                             nephew -- burned to death in a                             fire.                   Troi reacts, genuinely surprised.                                                                            TROI                            Captain, I'm sorry.                                      (beat)                             I know there were a lot of                             unresolved conflicts between you                             and your brother.                                           PICARD                            What I can't get out of my mind is                             the image of Rene -- my nephew.                             I just can't believe he's gone...                   He trails off.                                           TROI                            It's only natural to feel a                             heightened sense of tragedy when                             a child dies...                                     (sensing more)                             But it goes deeper than that,                             doesn't it? I can sense that Rene                             meant a great deal to you.                                           PICARD                            In a way, he was as close as I                             ever came to having a child of my                             own.                   Troi eyes an open photo album on the table. She reaches                    over and flips through the pages for a moment. There                    are many photos inside... from many periods in time                   including one of Picard's brother standing next to his                    young son. This is the Picard family album.                                           TROI                            Your family history is very                             important to you, isn't it?                                           PICARD                                     (nods)                            Ever since I was a little boy, I                             remember hearing about the family                             line. The Picards that fought at                             Trafalgar... the Picard's that                             settled the first Martian colony.                             When my brother married and had a                             son...                   Picard hesitates -- this is difficult for him.                                           TROI                            ... You felt it was no longer your                             responsibility to carry on the                             family line.                                           PICARD                                     (nods)                            My brother had shouldered that                             burden... allowing me to pursue my                             own selfish needs...                                           TROI                            There's nothing selfish about                             pursuing your own life... your own                             career.                   Picard moves to the window, stares outside. A shadow                    crosses his face. He's getting to the heart of the                    matter.                                           PICARD                            You know, Counselor... I'm not                             getting any younger. For some                             time now, I've been aware that                             there are fewer days ahead than                             there are behind...                                     (beat)                             But I always took comfort in the                             fact that when I was gone, my                            family would continue. But now...                   Picard moves back to the photo album, open it to the                    last page, an then flips through the remaining pages --                   they are blank.                                           PICARD                            I've had brushes with death...                            more than I care to contemplate.                             I always accepted it as a                             calculated risk that goes along                             with wearing this uniform.                                      (beat)                             But now... the idea of death has                             a terrible sense of finality to                             it.                   He looks at her.                                           PICARD                            I'm the last Picard.                   A quiet beat as Troi considers him.                                           TROI                            Captain, perhaps we --                   Suddenly, a BLINDING BURST OF LIGHT  from outside the                    windows washes into the room. Troi and Picard rush to                    the window and shield their eyes against the glare.                                           RIKER'S COM VOICE                            Red Alert! All hands to duty                             stations!                                                                          CUT TO:             67                                                                67           THRU    OMITTED                                                   THRU             68                                                                68             69    INT. BRIDGE (VFX-I)                                         69                   Picard and Troi ENTER from a turbolift. Riker and Worf                    at their stations. The star is on the Viewscreen,                    getting DARKER by the second... more flaming debris                    is being ejected into space.                                           PICARD                            Report.                                           RIKER                            A quantum implosion has occurred                             within the Amargosa star. All                            nuclear fusion is breaking down.                                           PICARD                            How is that possible?                                           WORF                            Sensor records show a solar probe                             was launched from the observatory                             a few moments ago.                                           RIKER                            The star's going to collapse in a                             matter of minutes.                   Something beeps on Worf's console.                                           WORF                            Sir, the implosion has produced                             a level twelve shock wave.                                           TROI                                     (shocked)                            Level twelve? That'll destroy                             everything in this system.                                           TRANSPORTER COM VOICE                            Transporter room to Bridge. I                             can't locate Commander La Forge or                            Mister Data, sir.                                           RIKER                                     (to Worf)                            Did they return to the ship?                                           WORF                                     (works)                            No, sir. They are not aboard.                                           PICARD                            How long until the shock wave hits                             the observatory?                                           WORF                            Four minutes, forty seconds.                   Picard looks at Riker, who then quickly heads for the                    turbolift.                                           RIKER                            Mister Worf.                   Riker and Worf EXIT.              70   EXT. SPACE- THE STAR (VFX-I)                                70                   The star is almost entirely dark. Radiating out from the                    star is a huge shock wave- a rapidly growing sphere of                    energy.              71   INT. OBSERVATORY PROBE ROOM (VFX-P)                         71                   Soran is standing at a console watching a graphic                    depiction of the star's collapse on a monitor when the                    door suddenly opens. Soran whirls around and FIRES his                    phaser at Riker and Worf. They dive for cover just                    outside the room. (NOTE: The probe Geordi examined                    earlier is now gone.)                                           RIKER                                     (to Worf)                            What the hell's he doing?                   Worf dodges another phaser blast and sees Geordi lying                    unconscious on the deck. Data is nowhere to be seen.                                           PICARD'S COM VOICE                            Enterprise to Commander Riker, you                             have two minutes left.                                           RIKER                                     (yells to Soran)                            Soran, did you hear that? There's                             a level twelve shock wave coming.                            We've got to get out of here!                   Soran's only answer is another phaser blast.             71A   OMITTED                                                    71A               72  INT. BRIDGE                                                 72                   As before. ENSIGN HAYES is at Tactical. An ALARM                    suddenly BEEPS on the Tactical console.                                           HAYES                                     (urgent)                            Sir. A Klingon Bird of Prey is                             decloaking off the port bow.                   Shocked reactions.                                           PICARD                            What?              73   EXT. SPACE (VFX-I)                                          73                   as an old-style Klingon Bird of Prey decloaks near the                    observatory.              74   INT. OBSERVATORY PROBE ROOM (VFX-P)                         74                   Soran is continuing to SHOOT at Riker and Worf. Riker                    suddenly notices something off-camera.             74A   RIKER'S POV                                                74A                   Data is huddled in a corner of the room, cowering in                    fear.             74B   NEW ANGLE (VFX-P)                                          74B                   The firefight continues.                                           RIKER                            Data! See if you can get to                             Geordi!                   Data looks up at him with a terrified look on his face.                                           DATA                            I... cannot, sir. I believe I                             Am... afraid.                   Suddenly Soran's communicator BEEPS. Soran reaches                    down and grabs the unconscious Geordi by the collar and                    the two of them DEMATERIALIZE. (Soran has the VISOR in                   his hand.) Riker, Data and Worf react.              75   EXT. SPACE - THE KLINGON SHIP (VFX-I)                       75                   The Bird of Prey cloaks and vanishes.              76   INT. BRIDGE                                                 76                   As before.                                           TRANSPORTER COM VOICE                            Transporter room to Bridge. I                             have the Away Team aboard, sir.                                           PICARD                                    (to Con)                            Helm, warp one, engage.              77   EXT. SPACE - ENTERPRISE & OBSERVATORY (VFX-I)               77                   The Enterprise warps away just as the shock wave                    reaches the observatory and vaporizes it in a fiery                    EXPLOSION.                                                                          CUT TO:              78   INT. KLINGON BIRD OF PREY - BRIDGE                          78                   On a monitor where we can see a graphic depiction of                    the darkening star and shock wave. MOVE TO REVEAL                   We are the inside an old Klingon ship - it's beaten up and                    patched in several places, obviously not a first-line                    model. Watching the Viewscreen are LURSA and B'ETOR,                    two powerful-looking Klingon women... They are sisters.                    aggressive... seductive... and very dangerous. Several N.D.                    male Klingons man the various stations.                   The sisters stare at the image of the destroyed sun in                    awe.                                           B'ETOR                            Toh-pak-cha...                             (Glorious...)                                           LURSA                            HoS qorDu...                             (A great power...)                   Soran now ENTERS the Bridge. His expression is dark                    and angry. He is clearly not a prisoner here and he                    strides up to the sisters.                                           B'ETOR                                     (excited, to Soran)                            You've done it, Soran.                   But without warning, Soran HITS B'Etor squarely in the                    jaw, knocking her back over a console. Several                    Klingons leap to their feet, drawing their weapons...                   but B'Etor holds up a hand as she gets to one knee.                                           B'ETOR                            Wait!                   She dabs a trickle of blood at the corner of her                    mouth... her expression is angry and threatening.                                           B'ETOR                            I hope for your sake that you are                             initiating a mating ritual.                                                     SORAN                            You got careless. The Romulans                             came looking for their missing                             trilithium.                                           B'ETOR                            Impossible. We left no survivors                             on their outpost.                   B'Etor has now gotten to her feet in the b.g.                                           SORAN                            They knew it was aboard the                             observatory. If the Enterprise                             hadn't intervened, they would have                             found it.                                           LURSA                            But they didn't find it... and now                             we have a weapon of unlimited                             power.                                           SORAN                            I have the weapon, Lursa. And if                             you ever want me to give it to                             you, I advise you to be a little                             more careful in the future.                   B'Etor grabs Soran and holds a wicked-looking knife to                    his throat.                                           B'ETOR                            Perhaps we are tired of waiting.                   Soran is unfazed by this threat.                                           SORAN                            Without my research... the                            trilithium is worthless... as are                             your plans to reconquer the                             Klingon Empire.                   Lursa reaches out and calmly pushes her sister's knife                    away.                                           SORAN                            Set course for the Veridian                             system. Maximum warp.                                           LURSA                                     (to Helm)                            Bosh-ta-JaH Veridian                             (Set course for Veridian)                   A KLINGON GUARD ENTERS dragging the unconscious Geordi.                                           KLINGON GUARD                            What shall I do with this?                   Soran moves toward Geordi, a grim look on his face.                                             SORAN                            Bring him with me. I need some                             answers from Mr. La Forge.                   Soran EXITS.                                                                          CUT TO:              79   OMITTED                                                     79              80   INT. CORRIDOR                                               80                   Riker and Worf are on the move down the corridor.                                           WORF                            I have spoken to the Klingon High                             Council, sir. They identified the                             Bird of Prey as belonging to the                             Duras sisters.                                           RIKER                                    (surprised)                            Lursa and B'Etor...? This doesn't                             make any sense. A renowned                             stellar physicist somehow uses a                             trilithium probe to destroy a                             star, kidnaps Geordi... and                             escapes with a pair of Klingon                             renegades... Why? What the hell's                             going on?                   They EXIT to...              81   INT. SICKBAY                                                81                   Worf and Riker ENTER. Beverly is closing a panel on                    the back of Data's head. He is sitting on a bio-bed,                    scanning himself with a tricorder.                                           RIKER                            How is he?                                           BEVERLY                            It looks like a power surge fused                             the emotional chip into his neural                            net.                                           WORF                            Will that be a danger to him?                                           BEVERLY                            I don't think so. The chip still                             seems to be working. I'd feel                             better if I could take a closer                            look, but I can't remove it                             without completely dismantling his                             cerebral conduit.                                           RIKER                                     (to Data)                            Looks like you're stuck with                             emotions for a while. How do you                             feel?                                           DATA                            I am quite... preoccupied with                             concern about Geordi.                                           RIKER                            We all are, Data. But we're going                             to get him back.                                           DATA                            I hope so, sir.                   Data's expression is still one of concern. Beverly                    pulls Riker aside.                                           BEVERLY                            Wil, I checked into Doctor Soran's                             background.                   Beverly activates the wall monitor and a picture of                    Doctor Soran along with some biographical information                    appears.                                           BEVERLY                            He's an El-Aurian... over three                             hundred years old. He lost his                             entire family when the Borg                             destroyed his world. Soran                             escaped with a handful of other                             refugees aboard a ship called the                             Lakul. The ship was destroyed by                             some kind of energy ribbon, but                             Soran and forty-six others were                             rescued by the Enterprise-B.                                           RIKER                                     (reacts)                            That was the mission where James                             Kirk was killed.                                           BEVERLY                            I checked the passenger manifest                             of the Lakul... guess who else was                             on board?                   She hits a control and suddenly Guinan's face appears                    on the screen. Riker reacts to the image...                                                                          CUT TO:              82   INT. GUINAN'S QUARTERS                                      82                   Close on Guinan as she looks up, surprised.                                           GUINAN                            Soran? That's a name I haven't                             heard in a long time.                   MOVE TO REVEAL Guinan's Quarters, which are unlike any                   of the others on the Enterprise. None of the standard                    furniture, consoles or decoration are present. The                    floor is made of tile, not carpet... the walls are                    draped in exotic fabric. The lighting is moody and                    subdued.                   Picard is standing before Guinan, who is sitting cross-                   legged on the floor. They talk to each other with an                    easy familiarity... two old friends who know each                    other well.                                           PICARD                            Do you remember him?                                           GUINAN                            Oh yes. I remember everyone who                             was on the Lakul... every face.                            even the ones who didn't make                             it...                   Guinan stands and begins to move about the room...                   she's clearly troubled by the memories. She hesitates,                    looks off into the middle-distance for a few moments.                    Picard moves to her.                                           PICARD                            Guinan. It's important that you                             tell me what you know. We think                             Soran's developed a weapon... a                             terrible weapon. It might give                             him enough power to --                                           GUINAN                            Soran doesn't care about power or                             weapons. All he cares about is                             getting back to the Nexus.                                           PICARD                            What's the "Nexus"?                   Guinan moves to a table and begins to shift around some                    exotic-looking alien artifacts... distracting                    herself... this is difficult for her to discuss.                                           GUINAN                            It's a place I've tried very hard                             to forget...                   She makes the decision to plunge ahead.                                           GUINAN                            That ribbon isn't just some random                             energy phenomenon traveling                             through space... it's a doorway.                             It leads to another place... the                             Nexus. It doesn't exist in our                             Universe... and it doesn't play by                             the same rules either.                                           PICARD                            What happened to you?                                           GUINAN                            I can't remember very much... what                             it looked like or how long I was                            there... but I do remember how it                             felt...                   She turns to him and her face is filled with some kind                    of awe at the memory.                                           GUINAN                            It was like being inside... joy.                             As if joy was a real thing that I                            could wrap around myself. I've                             never been so content...                   A long beat as Picard absorbs her words.                                           PICARD                            But then you were beamed away...                   Guinan shows a rare burst of anger.                                           GUINAN                            I was pulled away. I didn't want                             to leave; none of us did. I felt                             like I'd left a part of myself                             behind. All I could think about                             was getting back... I didn't care                             what I had to do.                   Guinan moves to a window and looks out at the stars.                                           GUINAN                            It took a long time, but                             eventually I learned to live with                             it. And I began to realize that                             my experience in the Nexus had                             changed me...                                     (beat)                            I knew things about people...                            about events...about time...                                           PICARD                            Your "sixth sense"... I've always                             wondered where it came from...                                     (beat)                             And what about Soran?                                           GUINAN                            Soran may still be obsessed with                             getting back. And if he is, he'll                             do anything to find that doorway                             again.                                           PICARD                            But why destroy a star...?                                      (beat)                             Thank you, Guinan.                   He heads for the door.                                           GUINAN                            Let someone else do it, Jean-Luc.                   Picard stops, looks at her.                                           GUINAN                            Let them send another starship.                             Don't get near the ribbon. If you                             go into that Nexus, you're not                             going to care about Soran or the                             Enterprise or me. All you're                             going to care about is how it                             feels to be there.                                    (beat)                             And you're never going to come                             back.                   Picard weighs her words... sees the warning in her                    eyes... and carefully backs away and EXITS.                                                                          CUT TO:              83   INT. KLINGON BIRD OF PREY - QUARTERS (VFX-P)                83                   A dimly-lit room somewhere in the bowels of the Klingon                    ship. Like every other room on this decrepit ship, the                    room looks well-worn and ill-maintained. Soran is                    seated behind a table, holding the VISOR. A PADD and                    Soran's pocket watch sit on the table. Geordi is                    sitting in a chair across from him -- his shirt has                    been removed. He looks very tense.                                                                           SORAN                                     (re: VISOR)                            A remarkable piece of equipment...                            but a little inelegant, wouldn't                             you say?                                      (beat)                             Have you ever considered a                             prosthesis that would make you                             look a little more... normal?                                           GEORDI                            What's normal?                                           SORAN                            Normal is what everyone else is...                            and what you are not.                                           GEORDI                            What do you want?                   Soran takes a moment.                                           SORAN                            As you may or may not be aware, I                             am an El-Aurian. Some people call                             us a race of "listeners". We                             listen.                                      (beat)                             Right now, Mr. La Forge, you                             have my undivided attention. I                             want to listen to everything you                             know about trilithium. and me.                   Geordi thinks.                                           GEORDI                            Trilithium is an experimental                             compound developed by the                             Romulans. I think it's a                             derivative of --                   Soran picks up the PADD from the desk and activates it.                    Suddenly something small, with sharp edges, can be                    seen MOVING just underneath Geordi's skin near his                    chest. Geordi moves his hand to the spot, but then the                    protrusion is suddenly gone.                                           SORAN                            I don't want a science lecture.                             You were on that observatory                             looking for trilithium... why?                                           GEORDI                            I was ordered to by the Captain.                   On the PADD in Soran's hand, we can now see an interior                    graphic of Geordi's body sitting in the chair. The                    graphic is interactive, moving as Geordi moves.                    A BLINKING DOT represents the movement of the probe                    inside his body. Right now, the dot is in the middle                    of his chest.                                           SORAN                            Let's try to move beyond the usual                             prisoner-interrogator banter,                             shall we? You have information,                             and I need it.                                      (beat)                             Did the Captain explain his orders                             to you? Did he say why you were                             searching for trilithium?                                           GEORDI                            No.                                           SORAN                            What about... Guinan? What has                             she told you about me?                                           GEORDI                            Guinan? I don't know what you're                             talking about...                   On the PADD, we now see the dot has moved to a position                    next to Geordi's heart. Soran looks up at Geordi.                                           SORAN                            My instincts tell me you're lying.                             And I know that can't be easy for                            you...                                      (off PADD)                             I can see you have a good heart.                   Soran taps a control on the PADD. Suddenly Geordi                   grabs his chest in pain. Soran watches Geordi for a                    few seconds, then taps the PADD again. Geordi gasps                    and starts to breathe.                                           SORAN                            Oh... I forgot to tell you. While                             you were unconscious, I injected                             a nano-probe into your                             bloodstream. It's been navigating                             your cardiovascular system... and                             right now I've attached it to your                             left ventricle.                                      (smiles)                             A little trick I picked up                             from the Borg.                                           GEORDI                                     (gasping)                            Yeah... they're full of great                             ideas.                                           SORAN                            I just stopped your heart for five                             seconds. It felt like an                             eternity, didn't it? Did you know                             that you can stop the human heart                             for up to ten minutes before the                             onset of brain damage?                                           GEORDI                            No... I didn't know that...                                           SORAN                            We learn something new about                             ourselves every day.                                      (beat)                             Now. Maybe I didn't make myself                             clear. It is very important that                             you tell me exactly what Captain                             Picard knows.                                           GEORDI                            I told you everything... you might                             as well just kill me right now...                   Soran's features soften as he smiles slightly. For a                    moment, he looks genuinely compassionate -- and it's                    a disturbing contrast to his usual dark intensity.                                           SORAN                            I'm not a killer, Mr. La Forge.                                      (beat)                             Let's try thirty seconds.                   Soran taps a control on the PADD. Geordi gasps and                    strains against an unimaginable pain.                   Soran picks up his pocket watch and opens the cover...                   sits back in his chair, watching the seconds tick                   away...                                                                          CUT TO:              84   INT. STELLAR CARTOGRAPHY (VFX-P)                            84                   A room filled with exotic-looking devices, sensors and                    computers which handle the enormous task of tracking                    the ship's position in space.                    The monitors around the room display various diagrams                    of the ENERGY RIBBON (as seen in the beginning of the                    film).                   Data is sitting at a computer console which has a great                    deal of complex information on the screen. Picard is                    standing next to him. Throughout the following, Data                    seems distracted and preoccupied.                                                                           DATA                            According to our information, the                             ribbon is a conflux of temporal                             energy which travels through our                             galaxy every thirty-nine point one                             years                                           PICARD                            When is it expected back?                   Data doesn't answer right away.                                           PICARD                            Data?                                           DATA                            Sorry, Captain. The Ribbon has                             already entered the galaxy. It                             will pass through this sector in                             approximately thirty-one hours.                   Picard moves about the room... he's frustrated...                    tired... but determined to find out what's going on.                                           PICARD                            Guinan said Soran was trying to                             get back to the ribbon... if                             that's true, then there must be                             some connection with the Amargosa                             star.                                           DATA                            The star's destruction has had                             numerous astro-physical effects                             within this sector. However, none                             of them appear to have a                             connection to the energy ribbon.                                           PICARD                            Give me a list of those effects.                             I want to know every single thing                             which has been altered or                             changed... no matter how                             insignificant...                                           DATA                            It will take a few moments for the                             computer to compile the                             information.                   Data works the computer and then the computer begins to                    work. Data sighs -- his expression becomes downcast                    and gloomy. He sits down and puts his head in his                    hands. Picard finally has to say something.                                           PICARD                            Data, are you all right?                                           DATA                            No, sir. I am finding it                             difficult to concentrate... I                             believe I am overwhelmed with                             feelings of... remorse and regret                             concerning my actions on the                             observatory.                                           PICARD                            What do you mean?                                           DATA                            I wanted to save Geordi... I                             tried. but I experienced                             something I did not expect.                                      (beat)                             I believe it was fear.                   Picard regards him sympathetically.                                           PICARD                            Fear is a very difficult emotion                             to overcome. It's something we                             all have to learn to deal with.                                           DATA                            But I did not deal with it, sir.                             I let it prevent me from helping                             my friend.                                      (beat)                             Does that make me a coward?                                           PICARD                            No. And what you must try to                             avoid is becoming consumed by                             another emotion which I believe                             you're beginning to experience...                            guilt.                                           DATA                                     (considers)                            Guilt. It is a most unpleasant                             feeling.             84A   ANGLE (VFX-P)                                              84A                   The computer finishes its calculations and the console                    BEEPS. Data works the console. Information appears on                    screen.                                           DATA                            According to our current                             information, the destruction of                             the Amargosa star has had the                             following effects in this sector:                             gamma emissions have increased by                            five percent... the starship                             Bozeman was forced to make a                            course correction... a research                            project on Gorik Four was                             halted due to increased neutrino                             particles... ambient magnetic                             fields have decreased by --                                           PICARD                            Wait. The Bozeman... why did it                             change course?                                           DATA                                     (matter of fact)                            The destruction of the Amargosa                             star has altered the gravitational                            forces throughout the sector. Any                             ship passing through this region                             will have to make a minor course                             correction.                   Picard is starting to get an idea... he's onto                    something here. He moves to a large table in the                    center of the room.                                           PICARD                                     (musing)                            A minor course correction...                                      (beat)                             Where is the ribbon now?            84B    ANGLE (VFX-P)                                              84B                   Data moves to the table to work. after a few beats,                    an elaborate map of the galaxy springs up on the                    ceiling of the room. A BLINKING DOT shows the position                    of the ribbon.                                           DATA                            This is its current position.                                           PICARD                            Can you project its course?                   Data hesitates... still obsessed with his own emotional                    turmoil. Picard finally has to lay down the law.                                           PICARD                                     (firm)                            Data. I have nothing but sympathy                             for what you're going through.                             But right now, I need your full                             attention on the task at hand.                              If you can't provide it... then I'll                             have to relieve you of duty until                             Doctor Crusher can remove this.                            emotion chip of yours. I'm sorry,                             but you leave me no other choice.                   This snaps Data back... he considers this for a long                    moment, then looks  determined.                                           DATA                            I do not wish to remove the chip,                             sir. Although these emotions are                            proving difficult to deal with...                            I cannot imagine going back to a                             life without them. I have taken                             an important step toward becoming                             truly human. If I were to turn                             back now...                                     (beat)                             I would like to continue in my                             duties, sir.                   Picard smiles at him.                                           PICARD                            Courage is an emotion too, Data.                                      (beat)                             Now... can you project the course                            of the ribbon?                                           DATA                            I believe so.             84C   ANGLE (VFX-P)                                              84C                   Data works the console. A RED LINE moves to form an                    arc through the star field. Picard examines the display                    for a moment and nods... he's excited, on to                    something...                                           PICARD                            Enhance grid A-nine.                   Data works and the display now ZOOMS into a single                    SECTOR. The RED LINE cuts through the sector.                                           PICARD                            Where was the Amargosa star?                   Data works. A STAR is highlighted near the red line.                                           PICARD                            Now... you said the gravitational                            forces in this sector have been                             altered... could that also affect                             the course of the ribbon?                                           DATA                                     (thinks)                            I believe so.             84D   ANGLE (VFX-P)                                              84D                   Data works and holographic display CHANGES again.                    The red line representing the course of the ribbon now                    shifts to the right -- AWAY from the Amargosa star's                    position. Picard is beginning to realize what's going on.                                           PICARD                            That's what Soran's doing... he's                             changing its course.                                      (beat)                             But why? Why try to alter its                             path... why not simply fly into it                             with a ship?                   Data thinks for a moment.                                           DATA                            Our records show that every ship                             which has approached the ribbon                             has either been destroyed or                             severely damaged.                   Picard thinks about this... then has a flash of                    insight.                                           PICARD                            He can't go to the ribbon... so                             he's trying to make the ribbon                             come to him.                                     (beat)                             Data, is it going to pass near any                             M-Class planets?                                           DATA                                     (works)                            Yes, sir. There are two in the                             Veridian system.             84E   ANGLE (VFX-P)                                              84E                   The display ZOOMS IN on a star very close to the                    ribbon's path. We now see a SOLAR SYSTEM with a single                    star and FOUR PLANETS. The RED LINE moves directly                    through the system -- it passes very close to the third                   planet. Picard eyes that planet and points to it.                                           PICARD                            It's very close to Veridian                             Three... but not close enough...                   Picard's mind is going a mile a minute. He suddenly                    has a horrible realization.                                           PICARD                            Data, what would happen to the                             ribbon's path if he destroyed the                            Veridian star itself?             84F   ANGLE (VFX-P)                                              84F                   Data works. On the display, the Veridian star suddenly                    DARKENS and GOES OUT. The RED LINE shifts slightly                    until it makes an exact INTERSECTION WITH THE THIRD                    PLANET. They both react to this sight. they're both                    aware of just how serious this is.                                           PICARD                            That's where he's going.                                           DATA                            It should be noted, sir, that the                             collapse of the Veridian star                             would produce a shock wave similar                             to the one we observed at                             Amargosa.                                           PICARD                                     (grim)                            And destroy every planet in the                             system.                   Picard eyes the graphic with a sense of dread.                                           PICARD                            Are any of them inhabited?                                           DATA                            Veridian Three is uninhabited.                            but Veridian Four supports a pre-                            industrial humanoid society.                                           PICARD                            Population?                                           DATA                            Approximately two hundred thirty                             million.                   A grim beat.                                           PICARD                                     (to com)                            Picard to Bridge.                                           WORF'S COM VOICE                            Worf here, sir.                   Picard heads for the exit, a sense of urgency and                    determination in his every move.                                           PICARD                            Red Alert, Mister Worf. Set a                             course for the Veridian system,                             maximum warp.                   Picard and Data EXIT Stellar Cartography.              85   EXT. SPACE - THE ENTERPRISE (VFX-I)                         85                   as it goes into warp.                                                                          CUT TO:              86   INT. KLINGON BIRD OF PREY - BRIDGE                          86                   Lursa and B'Etor in command as Soran ENTERS.                                           LURSA                            Did you get anything from the                             human?                                           SORAN                            No. His heart just isn't in it.                                           KLINGON HELM                                     (off console)                            We have entered orbit of Veridian                             Three.                                           SORAN                            Prepare to transport me to the                             surface.                                           B'ETOR                            Wait. When do we get our payment?                   Soran hands B'Etor a small computer CHIP.                                           SORAN                            This contains all the information                             you'll need to build a trilithium                            weapon. It's been coded. Once                             I'm safely to the surface, I'll                             transmit the decryption sequence                             to you... not before.                                           KLINGON HELM                                     (urgent)                            Mistress! -- a Federation starship                             is entering the system!                                           LURSA                            What? On viewer.             86A   ANGLE (VFX-P)                                              86A                   The Helm works. The view screen now shows the                    Enterprise at impulse entering the system. Reactions.                                           KLINGON HELM                            They are hailing us.                                           B'ETOR                            Du'cha (On speakers.)                   The Helm works. We hear PICARD'S COM VOICE.                                           PICARD'S COM VOICE                            Klingon vessel. We know what                             you're doing, and we will destroy                             any probe launched toward the                             Veridian star.                   Soran's expression darkens.                                           B'ETOR                            What do we do?                   Soran checks his watch.                                           SORAN                            There's no time for this.                             Eliminate them.                                           B'ETOR                                     (reacts)                            That is a Galaxy class Starship.                             We are no match for them.                   Soran thinks for a moment... then  he gets an idea. He                    pulls Geordi's VISOR out of a pocket. He eyes it with                    intent.                                           SORAN                            I think it's time we gave Mister                             La Forge his sight back.                   Off Lursa and B'Etor's curiosity...                                                                          CUT TO:              87   EXT. SPACE - THE ENTERPRISE (VFX-I)                         87                   nearing Veridian Three. The planet's STAR is visible.                  88   INT. BRIDGE                                                 88                   Picard is pacing. Riker, Data, Worf, Troi, N.D.s at                    their stations. The ship is at Red Alert. Data's mood                    has improved. He's making an effort to keep a positive                    outlook... to stay upbeat.                                           RIKER                            Maybe they're not out there.                                           PICARD                            They're just trying to decide                             whether a twenty year-old Klingon                             Bird of Prey is any match for the                             Federation flagship.                                           TROI                            Or perhaps they're on the                             surface...                                           PICARD                            Mister Data, scan the planet for                             life forms.                   Data smiles, delighted at the request.                                           DATA                            I was hoping you would ask me to                             do that, Captain. I just love to                             scan for life forms.                   As Data works, he breaks into a merry little song.                                           DATA                                     (sings)                            "Life forms... tiny little                             life forms... where are the                             life forms --"                                           PICARD                            Commander.                                           DATA                            Sorry, sir.                                      (works)                             There is too much interference in                             the planet's ionosphere for an                             accurate reading.                   Worf turns to Picard.                                           WORF                            Sir, according to my calculations,                             a solar probe launched from either                            the Klingon ship or the planet's                             surface will take eleven seconds                             to reach the star.                                      (beat)                             However, since we do not know the                             exact point of origin, it will                             take us between eight and fifteen                             seconds to lock our weapons onto                             it.                   They exchange a grim look.                                           RIKER                                     (quiet, to Picard)                            That's a pretty big margin of                             error.                                           PICARD                            Too big. How long until the                             ribbon arrives?                                           DATA                            Approximately forty-seven minutes,                             sir.                                           PICARD                                     (disturbed)                            I have to find a way to get to                             Soran...                   An alarm goes off on Worf's console.                                           WORF                            Captain, Klingon vessel decloaking                             directly ahead.             88A   ANGLE (VFX-I)                                              88A                   On the view screen, the Bird of Prey decloaks.                                           WORF                            They are hailing.                                           PICARD                            On screen.             88B   ANGLE (VFX-P)                                              88B                   On the view screen, Lursa and B'Etor APPEAR.                                           LURSA                            Captain. What an unexpected                             pleasure.                                           PICARD                            Lursa, I want to talk to Soran.                                           LURSA                            I'm afraid the Doctor is no longer                             aboard our ship.                                           PICARD                            Then I'll beam down to his                             location. Just give us his                             coordinates.                                           B'ETOR                            The Doctor values his privacy. He                             would be quite... upset if an                             Away Team interrupted him.                                           PICARD                            Very well... I'll beam to your                             ship and you can transport me to                             Soran...                                           RIKER                                     (urgent)                            Sir, you can't trust them.                             They'll kill you just like they                             Killed Geordi.                   Lursa and B'Etor exchange a glance.                                           LURSA                                     (innocent)                            We did not kill your Engineer.                             He's been... our guest.                                           RIKER                            Then return him.                                           B'ETOR                            In exchange for what?                                           PICARD                            Me... If you let me speak to                             Soran.                   The two sisters appear to consider this for a moment.                                           B'ETOR                                     (to Lursa)                            The Captain would make a much more                             valuable hostage.                                           LURSA                                     (to Picard)                            We'll consider it a prisoner                             exchange.                                           PICARD                            Agreed.                   The transmission ENDS. Picard heads for the Turbolift.                                                                            PICARD                            Number One, you have the Bridge.                             Have Doctor Crusher meet me in                            Transporter Room Three.                   As Picard EXITS...                                                                          CUT TO:              89   INT. TRANSPORTER ROOM (VFX-P)                               89                   Picard stands on the platform. Crusher and NURSE OGAWA                    stand nearby. The TRANSPORTER CHIEF works his console.                                           CHIEF                            Receiving the coordinates, Captain.                                           PICARD                            Energize.                   Picard DEMATERIALIZES -- and at the same instant,                    Geordi MATERIALIZES. Beverly and Ogawa rush to his                    aide, pull out their tricorders and scan him. Geordi                   is conscious, and he's wearing his VISOR.                                                                          CUT TO:              90   EXT. MOUNTAINTOP - DAY (VFX-P)                              90                             A large plateau ringed with trees and underbrush. A                    single ROCK FACE juts upward, forming a backdrop for the                    plateau. Against the rock face, a large SCAFFOLDING has                    been erected -- planks and beams forming a complex                    structure -- ladders connect each level. It leads to                    a narrow ledge a dozen meters above.                   Picard MATERIALIZES on the plateau. (NOTE: Picard's                    combadge is gone and he is unarmed.) A moment as he                    looks around. strange animals and birds can be heard.                    He turns and sees Soran standing nearby, calmly looking                    at his pocket watch. Soran puts the watch away.                                           SORAN                            You must think I'm quite the                             madman.                                           PICARD                            The thought had crossed my mind...                                           SORAN                            The only possible reason you're                             here is because you're not                             entirely confident you can shoot                             down my probe after all. So                             you've come to dissuade me from                             my horrific plan.                                      (beat)                             Good luck.                   Soran turns his back on Picard and walks away.             90A   ANGLE (VFX-P)                                              90A                   Picard takes a step to follow him and then is JOLTED                   backward by a large FORCEFIELD which briefly flashes                    into view. The field completely surrounds the plateau,                    enclosing Soran and the scaffolding, with Picard on the                    outside. OFF Picard's surprise...                                                                          CUT TO:              91   INT. KLINGON BIRD OF PREY- BRIDGE (VFX-P)                   91                   The Klingon Navigator is working his console.                                           KLINGON HELM                            I have established the link.                                           LURSA                            Put it through over here.                   Lursa and B'Etor move to one of the consoles with a                    large monitor. The screen shows STATIC for a few                    seconds, then clears to a distorted view of a CEILING                   on the ENTERPRISE -- this is GEORDI'S POV. (NOTE: The                    POV is slightly fritzed, but free of the usual VISOR                   effects.)                                           LURSA                            It's working...                                           B'ETOR                            Where is he?                   Suddenly, Crusher's face looms large in the picture, as                    if she's leaning over Geordi. She smiles and starts                    talking. We can see her lips move, but we can't hear                    what she's saying.                                           BEVERLY                                     (silent)                            Don't worry, there's been no                             permanent damage. Your heart is                             perfectly fine. There's been a                             little arterial damage...                   Lursa and B'Etor pull back in surprise at the image.                                           B'ETOR                            Human females are so repulsive.                                                                          CUT TO:              92   INT. SICKBAY - CONTINUOUS                                   92                   Beverly is leaning over La Forge, who is on a bio-bed.                    mid-conversation.                                                                            BEVERLY                            ... and some myocardial                             degeneration. I'm going to give                             you some hematozine, and I want to                             run more tests... but I think                             you're going to be fine.                                           GEORDI                            Thanks, Doc.                                                                          CUT TO:              93   EXT. MOUNTAINTOP - DAY                                      93                   Picard is walking the perimeter of the invisible                    forcefield, looking for some way in. Soran is                    concentrating on his PADD as Picard tries to engage him                    on some level.                                           PICARD                            You don't need to do this,                             Soran... I'm sure we could find                             another way to get you into this                             Nexus.             93A   ANGLE (VFX-P)                                              93A                   Soran gets up and works his control PADD. Suddenly a                    probe LAUNCHER DECLOAKS  in the middle of the plateau.                    The launcher is a cylindrical apparatus the size of a                    small car.                    Soran goes to the launcher, steps onto it and begins                    working the control panel.                                           SORAN                                     (calm, distracted)                            I've spent eighty years looking                             for another way, Captain. This is                             the only one.                                      (beat)                             Of course, you could always come                             with me. You fancy yourself an                             explorer. Here's a chance to                             explore something no human has                             ever experienced.                                           PICARD                            Not if it means killing over two                             hundred million people.                                      (beat, then with                                       meaning)                             I wonder... did your wife Leandra                             know that she married a man who                             was capable of mass murder?                   This has touched a nerve in Soran... something dark                    and ugly flickers across his face.                                           PICARD                                     (continuing; pressing on)                            When you tucked your children into                             bed... do you suppose they ever                            suspected that their father would                             one day kill millions as casually                             as he kissed them goodnight?                   Soran looks up at Picard... and for a moment we can see                    that Picard has really gotten to him here... then he                    finally smiles a smile that doesn't quite reach his                    eyes.                                           SORAN                            Nice try.                                                                          CUT TO:              94   INT. GEORDI'S BATHROOM - GEORDI'S POV                       94                   Geordi is taking a bath. We can see his legs and feet                    sticking out of the water in front of him... he stands                    up.                   MOVE TO REVEAL:              95   INT. KLINGON BIRD OF PREY - BRIDGE (VFX-P)                  95                   Lursa and B'Etor are still watching La Forge's POV on the                    monitor. They are bored and irritable.                                           B'ETOR                            I thought he was the Chief                             Engineer.                                           LURSA                            He is.                                           B'ETOR                            Then when is he going to                             Engineering?                   The POV shows Geordi's view as he stops in front of                     a mirror... wipes away the steam and reveals his own                    reflection. Lursa and B'Etor gnash their teeth in                    frustration...                                                                          CUT TO:              96   EXT. MOUNTAINTOP - DAY                                      96                   Soran is working intently on the Launcher's Control                    Panel. Picard is still walking the perimeter of the                    Forcefield. he's also still trying to engage Soran,                    find some way to get to him.                                                                            PICARD                            What you're about to do is no                             different from when the Borg                             destroyed your world.                   Soran continues to work... keeps his voice calm and                    conversational.                                           SORAN                            You're right. And there was a                             time when I wouldn't have hurt                             anyone. Then the Borg came... and                             they showed me that if there is                             one constant in this universe,                             it's death.                                      (beat)                             Afterwards, I began to realize                             that none of it mattered. We're                             all going to die anyway. It's                             only a question of how and when.                             You will too, Captain. You might                             contract a fatal disease... you                             might die in battle...                   Soran now turns and fixes Picard with a penetrating                    look.                                           SORAN                            ... or burn to death in a fire.                   Picard freezes at this. Soran steps off the launcher                    with a confident look... he moves closer to where                    Picard is standing.                                           SORAN                            You looked surprised. But you                             shouldn't be. I've been to the                             Nexus, Captain. I know things                             about people.                                      (beat)                             Aren't you beginning to feel time                             gaining on you? It's like a                             predator. It's stalking you. You                             can try to outrun it with                             doctors... medicines.new                             technologies... but in the end,                             time is going to hunt you down...                            and make the kill.                   This strikes home with Picard's own recent concerns...                   he struggles for a moment.                                           PICARD                            We're all. mortal, Soran. It's                             one of the truths of our                             existence.                                           SORAN                            What if I told you I found a new                             truth...                                           PICARD                            The Nexus.                                           SORAN                            Time has no meaning there. The                             predator has no teeth.                   Soran glances up at the sky expectantly, then turns                    away from Picard and goes back to work on the Launcher.                    OFF Picard's disturbed expression...              97   INT. KLINGON BIRD OF PREY - BRIDGE (VFX-P)                  97                   B'Etor watching the monitor, impatient. The POV shows                    Geordi's view of walking down a CORRIDOR. Lursa walks                    over to join her.                                           LURSA                            Where is he now?                                           B'ETOR                            I don't know... he bathed... now                             he is roaming the ship. He must                             be the only Engineer in Starfleet                             who does not go to Engineering!                                                                          CUT TO:              98   EXT. MOUNTAINTOP- DAY (VFX-P)                               98                   Picard continues to walk around the perimeter of the                    forcefield. He sees something on the ground -- a                    GNARLED ROOT from a large nearby tree. The root is                    poking out of the ground, leaving a small arch through                    which daylight can be seen. Picard's mind begins                    racing... he glances at Soran and then picks up a                    pebble and, while keeping his eye on the root, he tosses                    the pebble into the air, where it HITS the forcefield.                    -- The forcefield FLASHES on briefly and Picard can see                       that the bottom border of the field follows the contour                       of the root. But it does not extend underneath the arch.                    -- Soran turns at the sound of the crackling field.                                           SORAN                            Careful, Captain. That's a fifty                             gigawatt forcefield. I wouldn't                             want to see you get hurt.                                            PICARD                            Thank you.                   Soran returns to working on the Launcher. but Picard                    looks back down at the root... then walks away,                    planning his next move.                                                                          CUT TO:             98A   INT. KLINGON BIRD OF PREY- BRIDGE                          98A                   Lursa and B'Etor are watching the monitor of Geordi's                    POV with irritated expressions. On the monitor, Geordi                    rounds a corner and enters Engineering.                    The sisters lean forward eagerly.                                           B'ETOR                            Finally!              99   INT. ENGINEERING                                            99                   Geordi is talking to an engineer named FARRELL, N.D.s                    working in b.g. Mid-conversation.                                           FARRELL                            I'd like to run a Level Three                             diagnostic on the port plasma                             relays. I think one of the                             generators is fluctuating.                                           GEORDI                            Okay, let's do it.                   They both move to consoles...             100   INT. KLINGON BIRD OF PREY - BRIDGE (VFX-P)                 100                   As before. On the screen, we can now see several of the                    monitors in Engineering. On the left side of the                    screen is the large cutaway view of the Enterprise.                    Lursa suddenly reacts to something on the screen.                                           LURSA                            That's it!                                      (to B'Etor)                             Replay from time index four-two-                            nine.                   B'Etor works. The image on their monitor RUNS BACKWARD                   for a moment and then FREEZES. On the screen, we can                    see several of the monitors in Engineering. On the                    left side of the screen is the large cutaway view of                    the Enterprise. Lursa touches the diagram.                                           LURSA                                     (continuing)                            Magnify this section and enhance.                   B'Etor works. The picture ZOOMS IN on the cut-a-way                    graphic and SHARPENS in FOCUS. There are several                    blocks of numbers and text visible. Lursa studies the                    image.                                           LURSA                            Their shields are operating on a                             modulation of two-five-seven point                            four...                   The sisters exchange an excited glance, then move                    toward the command area.                                           B'ETOR                                     (calls out)                            Adjust our torpedo frequency to                             match - two-five-seven point                             four!                   The two sisters smile eagerly.             101   INT. ENTERPRISE BRIDGE                                     101                                           DATA                                     (to Riker)                             Sir, I am detecting an anomalous                             subspace reading in Main                             Engineering. It may be --                   WHAM! The ship is ROCKED HARD. Alarms go off on the                    Bridge.             102   EXT. SPACE - ENTERPRISE AND KLINGON SHIP (VFX-I)           102                   The Klingon ship is FIRING FOUR T0RPEDOES at the                    Enterprise. The torpedoes PASS DIRECTLY THROUGH the                    ship's SHIELDS and hit directly on the hull.             103   INT. ENTERPRISE BRIDGE                                     103                   WHAM! Another HIT.                                             WORF                                     (shocked)                            They have found a way to penetrate                             our shields.                                           RIKER                            Lock phasers and return fire!             104   EXT. SPACE - THE ENTERPRISE & KLINGON SHIP (VFX-I)         104                   The Enterprise FIRES at the Bird of Prey. but the                    phaser shots are stopped by the Klingon SHIELDS, which                    flash on when they're hit.                   The Bird of Prey returns FIRE. The shot carves a                    jagged tear in the Enterprise's hull.             105   INT. BRIDGE                                                105                   As before. The ship is jolted again... the Con console                    EXPLODES and the Con officer is killed.                                           RIKER                                     (to Troi)                            Deanna, take the helm. Get us out                             of orbit.                   Troi rushes to the Con and works...             106   EXT. SPACE- THE ENTERPRISE & KLINGON SHIP (VFX-I)          106                   The Enterprise turns and leaves orbit, but the Klingon                    ship is right on top of them... FIRING at the                    defenseless starship.             107   INT. BRIDGE                                                107                   A jolt.                                           DATA                            Hull breach on decks thirty-one                            Through thirty-five.                   Another JOLT. The Bridge lights FLICKER. The                    situation is desperate.                                           RIKER                                     (urgent, to Worf)                            Worf, that's an old Klingon ship.                             What do we know about it? Are                             there any weaknesses?                   The ship is JOLTED. They all hold on.                                           WORF                            It is a Class D-twelve Bird of                             Prey. They were retired from                             service because of defective                             plasma coils.                                           RIKER                            Plasma coils... is there any way                             we can use that to our advantage?                                           WORF                            I do not see how. The plasma coil                             is part of their cloaking                             device...            107A   INT. ENGINEERING                                          107A                   There is a sudden EXPLOSION on the upper level. Geordi                   and the other Engineers rush to deal with it.                                                                            GEORDI                            Get a stabilizer on that conduit.            107B   INT. BRIDGE                                               107B                   Riker suddenly gets an inspiration as the Bridge is                    ROCKED.                                           RIKER                                     (to Data)                            Could we access the defective coil                             and trigger their cloak?                                           DATA                                     (considers)                            Perhaps.                                      (suddenly enthusiastic)                             Yes! If we sent a low-level ionic                            pulse, it might reset the coil and                             engage the cloaking systems.                                           WORF                                     (onto the idea)                            As their cloak begins to engage,                             their shields will drop.                                           RIKER                            Right. And they'll be vulnerable                             for at least two seconds.                                      (to Data)                            Data, lock onto that plasma coil.                                           DATA                                     (confident)                            No problem.                   Data goes to work.                                           RIKER                            Worf, prepare a spread of photon                             torpedoes. We'll have to hit them                             the instant they begin to cloak.                                           WORF                            Aye, sir.                                           RIKER                            We're only going to get one shot                             at this. Target their primary                             reactor. With any luck, their                             warp core should implode.                   Worf works.             108   EXT. SPACE - THE ENTERPRISE & KLINGON SHIP (VFX-I)         108                   The Enterprise ROLLS and TURNS back toward the planet,                    tries to get away from the Klingon ship. But the Bird                    of Prey follows its every move.             109   INT. BRIDGE                                                109                                           DATA                            I have accessed their coil                             frequency... initiating ionic                             pulse...                   The ship is hit again. An aft CONSOLE EXPLODES.                                           RIKER                            Make it quick!             110   INT. KLINGON BIRD OF PREY                                  110                   Lursa and B'Etor in command... savoring their imminent                    victory.                                           LURSA                                     (to Navigator)                            Target their Bridge.                                           B'ETOR                            Full disruptors.                   The Navigator suddenly reacts to something on his                    console.                                 KLINGON HELM                            We are cloaking!                                           B'ETOR                            What?                                           KLINGON HELM                            Mistress -- our shields are down!             111   EXT. SPACE - THE KLINGON SHIP (VFX-I)                      111                   The ship begins shimmering- engaging its cloak.             112   INT. ENTERPRISE BRIDGE                                     112                                           RIKER                            Fire!                   Worf works.             113   OMITTED                                                    113             114   INT. KLINGON BIRD OF PREY (VFX-I)                          114                   Lursa and B'Etor react to the sight on the Viewscreen                    as the spread of torpedoes heads directly for them.                    The two sisters exchange a look. The ship is suddenly                    ROCKED HARD and we can see the beginning of an                   EXPLOSION...             115   EXT. SPACE - THE KLINGON SHIP (VFX-I)                      115                   The ship IMPLODES, completely destroyed. pieces of                    the shattered vessel float past the camera.             116   INT. ENTERPRISE BRIDGE                                     116                                           DATA                                     (excited)                            YES!!                                                                          CUT TO:             117   EXT. MOUNTAINTOP - DAY (VFX-P)                             117                   Picard has made his way back to the gnarled root. He                    stands a few feet away... a couple of pebbles in his                    hand.                    He glances at Soran, who's absorbed with his work on                    the launcher.                    Picard then surreptitiously TOSSES a pebble toward the                    root. It misses and BOUNCES off the FORCEFIELD. Soran                    looks over his shoulder at Picard, who sits down on a                    rock. Soran returns to his work.                    Picard tosses a second pebble -- this one also hits the                    forcefield. Soran turns with a vaguely irritated look.                                           SORAN                                     (as if to a child)                            Don't you have anything better to                             do?                   Picard doesn't respond. Soran goes back to work.                   Picard waits a moment, then takes aim and TOSSES                   another pebble toward the root. This time, the pebble                    bounces underneath the arch and rolls onto the plateau -                   inside the forcefield. Picard keeps his expression                   neutral, but he's found a way in.                                                                          CUT TO:             118   INT. ENGINEERING                                           118                   The room is a disaster. Wreckage from destroyed                    consoles and debris are scattered throughout the room.                    Geordi is desperately working with Engineers near the                    warp core, which is running faster and faster.                                           GEORDI                                     (to com)                            La Forge to Bridge. I've got a                             problem down here. The magnetic                            interlocks have been ruptured. I                             need to get the --                   The warp core starts to spew white-hot GAS.                                           GEORDI                                     (continuing)                            Coolant leak! Everybody out.                   The emergency isolation door comes DOWN and people                    start rushing out of Engineering. Geordi heads for the                     Corridor.                                           GEORDI                                     (on the move, to com)                            Bridge, we've got a new problem.                             We're about five minutes from a                             Warp core breach. There's nothing                             I can do.             119   INT. BRIDGE                                                119                   Riker is faced with a no-win situation. He makes the                   decision.                                           RIKER                                     (to Troi)                            Deanna, evacuate everyone into the                             saucer section.                                      (to Data)                             Mister Data, prepare to separate                             the ship.                   Troi and Data work and Riker moves to the Captain's                    chair. He presses a button on the armchair console.                   a unique and urgent ALARM is heard throughout the ship.                   SERIES OF SHOTS as the ALARM SOUNDS:             120   CREWMEMBERS AND CIVILIANS                                  120                   rushing through the corridors.            120A   GEORDI                                                    120A                   directing people toward the correct doorways.            120B   PARENTS                                                   120B                   grabbing their children and heading down the Corridor.            120C   BEVERLY AND A NURSE                                       120C                   They grab a wounded crewmember and pull him down the                   Corridor.            120D   PEOPLE                                                    120D                   scrambling through Jefferies Tubes and closing hatches                    behind them.             121   EXT. MOUNTAINTOP- DAY (VFX-P)                              121                   Soran is finishing his work on the launcher. On one of                    the monitors on the control panel, we can now see alien                    graphics and numbers ticking by -- obviously a                    countdown in progress. Soran finishes and turns off                    the control panel. He steps down and looks over at                    Picard, who is standing near the forcefield.                                           SORAN                            Now, if you'll excuse me, Captain,                             I have an appointment with                             eternity and I don't want to be                             late.                   Soran turns and begins to climb up the scaffolding                    toward the top of the rock face. Picard watches him                    intently for a few moments... then quickly springs                    into action...             122   INT. JEFFERIES TUBE                                        122                   People scramble through the Tube and out into a                    Corridor. Geordi is the last man through the hatch.                    He turns and manually SHUTS the hatch behind him.                                           GEORDI                                     (hits combadge)                            That's it, Bridge -- we're all                             out!             123   INT. BRIDGE                                                123                                           DATA                            One minute to warp core breach.                                           RIKER                                     (to Data)                            Begin separation sequence.                                      (to Troi)                             Full impulse power once we're                            clear.                   Data works.             124   EXT. SPACE - THE ENTERPRISE (VFX-I)                        124                   LOOKING FORWARD from behind the REAR of the massive                    ship. A CRACK appears as the separation process                    begins.             124A   INT. BRIDGE (VFX-I)                                       124A                   Everyone is watching the VIEWSCREEN with anticipation.                                           DATA                            Separation complete. Ten seconds                             to warp core breach.                                           TROI                            Engaging impulse engines.             125                                                              125            THRU   OMITTED                                                   THRU             128                                                              128             129   EXT. SPACE- SAUCER SECTION (VFX-I)                         129                   Moves away from the battle section... before it can                    completely escape, the battle section EXPLODES -- the                    force of the explosion hits the saucer section,                    knocking it toward the planet.             130   INT. BRIDGE (VFX-I)                                        130                   Everyone is knocked to their knees.                                           RIKER                            Report.                                           TROI                            Helm controls are off-line!                   They all look at the Viewscreen... The planet is                    rushing toward them.            131     CLOSE ON DATA                                              131                   as he reacts to the terrifying image.                                           DATA                            Oh, shit.                                                                          CUT TO:             132   EXT. MOUNTAINTOP- DAY (VFX-P)                              132                   Picard has dropped to the ground and is on his back -                   he's trying to wriggle underneath the root. It's not                    easy. he knows there's not much room between the                    ground and the invisible field. he just gets his head                   and shoulders underneath when he accidentally TOUCHES the                    field and it CRACKLES violently around him --Picard is                    jolted by the shock.            132A   SORAN (VFX-P)                                             132A                   turns at the sound of the field, sees Picard, and then                    draws his weapon. Soran quickly fires at Picard.            132B   THE GROUND (VFX-P)                                        132B                   is BLASTED APART, creating a cloud of dirt and smoke,                    obscuring Picard  and the whole area momentarily.                   -- Soran jumps down one level on the scaffolding, his                       disruptor still in his hand, ready just in case Picard                       somehow survived. Soran peers through the cloud of                       dust and debris.                   -- The dust from the explosion finally CLEARS... but                       Picard is gone along with several feet of the ground                       where he was crawling.            132C   SORAN (VFX-I)                                             132C                   glances up at the sky and sees the distant ENERGY                   RIBBON just coming into view. There's no time to look                    for Picard.                    -- Soran begins to climb the scaffolding.                                                                          CUT TO:             133   EXT. SPACE- SAUCER SECTION (VFX-I)                         133                   PLUMMETS into the planet's atmosphere.             134   INT. BRIDGE                                                134                   The ship is shaking and rolling VIOLENTLY. Everyone                    hanging on for dear life.                   SERIES OF SHOTS:             135   CORRIDOR                                                   135                   Teachers and parents lead a group of children toward an                     intersection. The parents go down one corridor, the                    teachers and children down another. One child cries                    out and tries to reach for its mother, but there's                    no time -- a teacher keeps the child moving down the                    hall...            135A   CREW QUARTERS                                             135A                   People are bracing themselves for the crash, taking                    emergency positions against walls, etc.             136   OMITTED                                                    136             137   INT. BRIDGE (VFX-I)                                        137                   The ground is getting closer on the viewscreen.                                           DATA                                     (off console)                            I have rerouted auxiliary power to                             the lateral thrusters. I'm                            attempting to level our descent...                                           RIKER                                     (to com)                            All hands, brace for impact!             138   EXT. PLANET'S ATMOSPHERE - SAUCER SECTION (VFX-I)          138                   The leading edge of the huge saucer TILTS UPWARD                   Slightly. and then it HITS the surface. the saucer                    begins to PLOW THROUGH the dense rain forest:  As the                    ship continues to tear through the jungle, we INTERCUT                   the following sequences.:             138A   INT. BRIDGE                                               138A                   Riker and the others hanging on as the ship shakes                    violently..            138B   CREW QUARTERS                                             138B                   A family huddles for protection as the WINDOWS are                    blown inward by debris...            138C   INT. READY ROOM                                           138C                   The side window is BLOWN OUT... and Picard's photo                    album is tossed across the room along with everything                    else...           138D   EXT. SAUCER SECTION (VFX-I)                                138D                   Outside the ship, we see a huge WALL of metal CRASHING                     through the jungle, uprooting trees... dirt flying...                   birds scrambling out of the way... an enormous scene of                     destruction as it tears through the foliage...                139   INT. BRIDGE                                                139                   The ship continues to jump and shake... every light on                    the ship goes out in the crash. Finally, it comes to                    a STOP. There is a long, quiet beat... then people                    begin to stir in the darkened room.             140   ANGLE ON RIKER                                             140                   who is slumped in his chair... he catches his breath,                    lifts his face and looks up into... SUNLIGHT. He                    shields his eyes and looks up at the ceiling and                    reacts...             141   RIKER'S POV (VFX-P)                                        141                   The sun is shining in through the shattered overhead                    window on the top of the Bridge. There is a fluttering                    sound as a couple of BIRDS perch on the rim of the                    window.                142   EXT. PLANET'S SURFACE - THE ENTERPRISE (WIDE SHOT)         142                      (VFX-I)                    The saucer has come to a stop in the middle of a RAIN                   FOREST. The passage of the saucer has gouged a long                    trail through the forest behind the ship. Off this                   startling sight...                                                                          CUT TO:             143   EXT. MOUNTAINTOP - DAY                                     143                   Soran is climbing up the scaffolding. He gets a couple                    of levels up, and then suddenly a BOOT kicks him in the                    face. Picard has made it inside the field.                   A quick fight ensues, during which Picard is knocked a                    few levels down on the scaffolding. He LANDS hard --                   happens to look up into the sky. He sees something.--             144   PICARD'S POV - THE SKY (VFX-I)                             144                   The ENERGY RIBBON can be seen in the distant sky                    -- a bizarre snake of color streaking across the deep blue                       sky. Time is almost up.             145   RESUME ACTION (VFX-I)                                      145                   -- Picard avoids a vicious kick from Soran, glances                       down at the probe launcher, and realizes he's got one                       chance. He rolls to his feet, runs toward the probe                       launcher.                   -- There is a THUNDEROUS ROAR as the launcher FIRES THE                      PROBE into the sky.                   -- The plateau is suddenly quiet as the probe streaks                      toward the distant sun and disappears from view.                       Picard gets to his knees, stares after the probe,                       shocked. He's failed.                    -- They watch the sun for a silent moment, waiting...             146   THE SUN (VFX-I)                                            146                   begins to DARKEN and COLLAPSE, as seen before.             147   RESUME PLATEAU                                             147                   the scene DARKENS as the sun goes out... and NIGHT                    FALLS on the planet.                     Soran, a look of profound elation on his face, makes                    his way to the top of the scaffolding and looks into                    the sky.             148   PICARD (VFX-I)                                             148                   gets to his feet and stares at the onrushing Ribbon,                   the wind whipping up on the plateau. He backs away at                    the sight, coming to a stop with his back against the                   scaffolding. There's no where to run...             149   NEW ANGLE- THE PLATEAU (VFX-I)                             149                   as the RIBBON OF ENERGY TEARS ACROSS THE SCENE IN A                   TERRIFYING TORRENT OF LIGHT AND SOUND. THE SCENE IS                   WASHED OUT BY A BLINDING FLOOD OF RED LIGHT... Then                    suddenly the Ribbon is GONE... and so are Picard and                    Soran. The plateau is strangely and utterly SILENT                   after the passage of the Ribbon... even the birds have                    stopped chirping in the trees.             150   EXT. SPACE- VERIDIAN III (VFX-I)                           150                   As the ENERGY RIBBON rushes past the camera, a HUGE                   SHOCKWAVE from the destroyed star HITS the planet and                    it EXPLODES in a blast of fiery debris.                                                                          CUT TO:             151   CLOSE ON PICARD                                            151                   being led through a darkened HALLWAY. He is wearing a                    blindfold. Off screen hands tug and pull at him,                    leading him forward down the hall.                    He's lost and confused, unsure where he is or what's                    going on. He tries to resist, but can't... the hands                    keep pulling at him...                   He is finally brought out into a larger room, dark.                    The hands release him and he stands alone. He takes a                    beat and tries to take control of the situation.                                           PICARD                             What's going on? Where am I?                   Two hands reach into frame from off screen and remove                    the blindfold...             152   PICARD'S POV                                               152                   The blindfold drops, revealing a blurry kaleidoscope of                    COLORS and SHAPES...             153   ON PICARD                                                  153                   as he blinks and tries to focus...             154   PICARD'S POV                                               154                   As the room comes into focus. The first thing we see                    is an enormous, gaily decorated CHRISTMAS TREE                   sparkling with hundreds of lights.             155   REVEAL THE ROOM                                            155                   A 24th-century FRENCH LIVING ROOM. It is beautifully                   decorated with lights, ornaments, holly. brightly                    wrapped presents are clustered beneath the Christmas                    tree. There are FIVE CHILDREN standing and sitting in                    the room, all looking at Picard with bright, smiling                    faces, waiting for him to say something.                   Picard stares at the scene for a moment, unsure how to                    react. Then we hear the woman's voice again, and we                    move to reveal an attractive WOMAN in her forties                    standing next to Picard.                                           WOMAN                             Go on... say something. They're                              waiting.                   Picard is stunned.                                           PICARD                             I... don't know what to say...                   One of the children, a young GIRL, speaks up.                                           GIRL                             Say Merry Christmas, Papa!                                           PICARD                                     (in a daze)                             Merry... Christmas...                   The children break out into applause. The woman kisses                    him on the cheek, then steers him to a large,                    overstuffed chair. Picard sits down and the                    children starts handing out presents with much laughter                    and chatting.                                           CHILDREN                             This one's for you... where's                              mine?... I hope this is the book                              I asked for... take this one to                              Papa...                   As the activity swirls around him, Picard begins to                    feel an immense  sense of satisfaction and happiness.                    It's like a drug -- an overwhelming feeling of joy and                    contentment fills Picard. It's a wondrous experience.                    He settles back in the chair and a smile spreads across                    his face. For reasons he cannot name and does not even                    want to understand at the moment, he is very, very                    happy.                                                               GIRL                                     (to Picard)                             Isn't the tree beautiful, Papa?                   Picard answers as if it were the most natural thing in                    the world.                                           PICARD                             Oh yes... yes, it's astonishingly                              beautiful. All of it.                   All of the children now crowd around the chair with a                    single large gift and hand it to Picard. One of the                    younger boys speaks up.                                           YOUNG BOY                             This is from all of us.                                           PICARD                             Thank you... I can't imagine what                              it is.                   Picard tears open the box and pulls out a 19th century                    SEXTANT - an old-fashioned nautical navigational                    instrument. It's a beautiful piece with polished and                    gleaming brass.                                           YOUNG BOY                                     (excited)                             It's a sack-tent!                   Picard eyes it with delight.                                           PICARD                             You mean a sextant. And it's a                              handsome one at that... from about                              eighteen twenty, I'd say.                              Wherever did you find it?                                           GIRL                             It's a secret.                                           PICARD                                     (smiles)                             Oh, a secret... well, that makes                              it a doubly special gift. Thank                              you... thank you all...                   The children react with pleasure. They cluster around                    him, showering him with hugs and kisses.                                           CHILDREN                             Merry Christmas, Papa... I love                              You, Father... etc.                   Picard is covered in a blanket of love and affection.                    The children pull back and return to their own                    presents. There is a swirl of activity and commotion                    as a warm and heartfelt Christmas morning is played                    out.                                           WOMAN                                     (to Picard)                             I'll go get dinner ready.                             they'll be starving in a minute.                   Picard nods as the woman EXITS the room. He looks                    around the scene, utterly happy, utterly content.                   The children continue to chatter and laugh among                    themselves as Picard's eye falls on the glorious                    Christmas tree. He can't help but smile as he looks                    over the ornaments and decorations...             156   PICARD'S POV                                               156                   of the sparkling lights and ornaments -- a swirl of                    color and light.             157   PICARD                                                     157                   His eye is caught by something in particular on the                    tree. He leans forward slightly and stares at it.             158   PICARD'S POV (VFX-P)                                       158                   His eye has been caught by an ORNAMENT near the                    top of the tree. It is a large and beautiful glass                    ball with a tiny LIGHT at the center in the shape of a                    star. As Picard watches, the star suddenly GOES OUT...                   and it radiates a SHIMMERING LIGHT EFFECT that expands                    outward into the glass sphere.                   It's a startling and beautiful ornament whose effect is                    reminiscent of the star going out, as seen earlier in the                    movie. But this is just coincidence. this is the way                    the ornament was designed and it's simply one of many                    ornaments on the tree.             159   PICARD                                                     159                   reacts. The image of the ornament has touched a nerve                    within him somewhere. It has reminded him of something                    he'd nearly forgotten - a discordant note in an                    otherwise wondrous and magical scene. He frowns, the                    reverie momentarily disrupted. But he tries to push it                    aside, not wanting the spell to be broken. He stands                    and turns away from the tree and looks out a nearby                    window -- it's snowing and the beautiful image of snow                    soothes him for a moment. Then he reacts to something.             160   PICARD'S POV (VFX-P)                                       160                    reflected on the pane of glass is the image of the                    ornament -- it's still blinking. Picard now realizes                    that this image is not going to go away... he can't                    hide from it.                                           PICARD                             No... this isn't right... this                              can't be real...                                           GUINAN'S VOICE                             It's as real as you want it to be.                   Picard turns to see             161   GUINAN (VFX-P)                                             161                   standing before him. She is wearing the same outfit                    seen in the beginning of the movie on the Enterprise-B.                    As they talk, the children and the woman continue to                    move about their business as if Picard and Guinan                    aren't there.                   Picard is stunned.                                           PICARD                             Guinan... what's going on? Where                              am I?                                           GUINAN                             You're in the Nexus.                   Picard looks around.                                           PICARD                             This... is the Nexus?                                           GUINAN                             For you. This is where you wanted                              to be...                                           PICARD                             But I never had a wife, children,                              a home like this...                                           GUINAN                             Enjoy them, Jean-Luc...                   Picard tries to make sense of it- he focuses on                    Guinan.                                           PICARD                             Guinan, what are you doing here?                              I thought you were on the                              Enterprise.                                                         GUINAN                             I am on the Enterprise...I am                              also here.                                      (off his puzzled look)                              Think of me as... an "echo" of the                              person you know... a part of her                             she left behind...                                           PICARD                             Left behind...?                                           GUINAN                             When the Enterprise-B beamed us                              off the Lakul, we were partially                              in the Nexus. The transporters                              locked on to us... but somehow                              everyone left a part of themselves                              behind.                                           PICARD                             Soran...?                                           GUINAN                             All of us.                                           PICARD                             Where is he now?                                           GUINAN                             Wherever he wanted to be...                   Guinan smiles at him.                                           BOY'S VOICE                             Papa, help me build my castle!                   Picard glances over at the boy, who is building a play                    castle out of the 24th-century equivalent of "Lego".                    For a moment, Picard is tempted to drift back to the                    warm embrace of the fantasy...                                           PICARD                                     (to boy)                             In a few minutes...                   Picard looks around at the children... the lure to stay                    here becoming more powerful.                                           PICARD                                     (continuing, awed, to                                       Guinan)                             These are my children... my                              children...                                           GUINAN                                     (smiles)                             Yeah. They're great, aren't they?                              You can go back and see them                              born... go forward and see your                              grandchildren... time has no                             meaning here.                                           WOMAN'S VOICE                             Dinner's ready! Let's go!                   There's a general rush toward the adjacent dining room.                    The youngest boy looks at Picard, goes over to him and                    takes his hand.                                           BOY                             Papa... are you coming?                   Picard looks down into the face of his child. His                    heart swells, the temptation to stay here and live this                    out is profound. Almost in a trance, he takes a few                    steps with the child toward the dining room... His eye                    is caught again by the unusual ornament on the tree for a                    moment... torn between the two images. and then, in                    one of the most difficult moments of his life, he bends                    down to the child...                                           PICARD                             Go on... go on without me...                   The boy looks at him quizzically for a moment, then                    obeys his father and dashes off toward the dining room                    to join the others. Picard straightens up and tries to                    steel his voice.                                           PICARD                             Guinan... can I leave the Nexus?                                           GUINAN                             Why would you want to leave?                                           PICARD                                     (insistent)                             Can I?                                           GUINAN                             Yes... where would you go?                                           PICARD                             I don't understand.                                           GUINAN                             I told you, time has no meaning                              here. If you leave, you can go                              anywhere... any time.                   Picard realizes the opportunity before him.                                                                           PICARD                             I know exactly where I want to                              go... and when. Back to that                              mountaintop on Veridian Three...                             before Soran put out the star. I                              have to stop him.                                           GUINAN                             What makes you think things will                              be any different this time?                                           PICARD                             You're right. I'll need help.                                      (beat)                              Guinan, will you come back with                              me? Together, we could --                                           GUINAN                             I can't leave. I'm already there,                              remember?                   Picard looks crestfallen for a moment. Guinan gives                    him an enigmatic smile.                                           GUINAN                             I know just the guy.                   Suddenly there's the cry of a HAWK from offscreen.                    Picard turns at the sound --             162   EXT. KIRK'S HOME - DAY                                     162                   Picard finds himself standing outside a rustic, but                   Architecturally striking house with spectacular views                    in the Canadian Rockies. A hawk is circling overhead,                    making the crying sound that Picard heard. The air is                   cold, frigid -- Picard can see his breath. Picard is                    just starting to adjust to this sudden change in                    location when he hears the sound of wood being CHOPPED                   from around the corner of the house. Picard moves to                    look around the corner and sees -                   James T. Kirk. He's still in his uniform and looks                    exactly as he did the last time we saw him aboard the                     Enterprise-B at the beginning of the film. He is                    vigorously chopping wood with an axe. He's enjoying                    himself, lost in the sheer pleasure of the manual                   labor. He's never felt this good in his life. There's                    no trace of back pain or any other ailment. Picard                    recognizes the famous Captain - as would any 24                   Century Starfleet officer.                                           PICARD                             James Kirk.                   Kirk pauses, looks up at the strange man before him.                    His expression is wondrous, almost child-like. Like in                       Picard's Christmas sequence, Kirk is immersed in the                    sensual feeling of the Nexus. It's like a dream that's                   over-powered him.                                           KIRK                             Beautiful day, isn't it?                                           PICARD                             Yes... yes, it is.                   Kirk points to a nearby log on the woodpile.                                           KIRK                             Do you mind?                   It takes Picard a beat before he realizes that Kirk                    wants him to put the log on the chopping block for him.                                           PICARD                             Oh.                   Picard places the log on the block and Kirk gives it a                    vigorous chop with the axe.                                           PICARD                             Captain, do you realize what --                   But Kirk interrupts as he sees something o.c.                                           KIRK                             Wait a second. I think                              something's burning.                   Picard follows his look to see SMOKE billowing out of                    one of the windows of the house. Kirk rushes into the                    house, and Picard follows...             163   INT. KIRK'S HOME- KITCHEN - DAY - CONTINUOUS               163                   Kirk rushes in. The kitchen's decor is 19th century                    with a few 23rd Century touches -- copper pans and an                    antique stove mixed comfortably with computer consoles                    and Starfleet paraphernalia. Picard hesitates in the                    doorway -- a little unsure about rushing into some                    stranger's house.                   Kirk yanks a burning frying pan of food off the stove.                    It's very hot -- he quickly sets it down near the sink,                    waves the smoke away with his hand.                                            KIRK                             Looks like someone was cooking                              eggs...                                      (to Picard)                              Come on in, it's all right. This                              is my house -- or at least it used                              to be, I sold it years ago.                   Picard comes in and tries to orient Kirk to what's                    going on.                                           PICARD                             I'm Captain Jean-Luc Picard of the                              starship Enterprise.                   Before Kirk can react to this remark, an antique CLOCK                   on a shelf CHIMES as it strikes the hour. Kirk moves                    to the shelf and looks at the clock in surprise and                    wonder -- he is entranced by this experience, beginning                    to connect with things and memories from his past.                                           KIRK                             This clock... I gave this clock to                              Bones...                                           PICARD                                     (pressing on)                             I'm from what you would consider                              the future... the twenty-fourth                             century.                   Kirk hears what Picard is saying, but like Picard in                    his fantasy, he is more interested in the sights and                    sounds around him. A dog barks from o.c. They both                    look as a large black dog bounds into the room and greets                    Kirk with enthusiasm.                                           KIRK                                     (affectionately)                             Jake! Jake, you miserable old                              Mutt... How can you be here?                                      (to Picard)                             He's been dead seven years.                   Kirk is still looking around the kitchen when suddenly we                    hear a WOMAN'S VOICE from somewhere upstairs that                    stops Kirk in his tracks. As she speaks, we can see                    the shock on Kirk's face.                                           ANTONIA'S VOICE                             Come on, Jim, I'm starving. How                              long are you going to be rattling                              around that kitchen?                   A beat.                                           KIRK                                     (amazed)                             That's Antonia...                   Kirk looks at the food on the stove. He's beginning to                    realize something.                                           KIRK                             Wait a minute...                   Kirk glances at Picard.                                           KIRK                             The future... what are you                              talking about? This is the                              past...                   Kirk moves to a drawer and opens it. Inside is a                    HORSESHOE with a tiny red bow tied to it. This                    confirms things for Kirk. He picks up the horseshoe.                                           KIRK                             This is nine years ago... the day                              I told her I was going back to                             Starfleet...                   Kirk is swept up in the moment, overwhelmed by                    memories, sensations, feelings. He goes back to the                    frying pan and looks at the contents with a sudden                    burst of recognition.                                           KIRK                             These were Ktarian eggs -- her                              favorite.I was cooking them to                              soften the blow...                                      (re: horseshoe)                              And I gave her this.                   Picard steps in.                                           PICARD                             I know how real this must seem to                              you, but it's not. This isn't                              Really your house. We've both                                been caught up in some sort of                              temporal nexus.                   But Kirk's mind is clearly elsewhere... he's being                    swept away by the emotion of the moment... realizing the                   opportunity he suddenly has.                                           KIRK                             Dill weed.                   Kirk indicates a shelf, as if asking Picard to go to                    it.                                           KIRK                             There's a bottle of dill weed on                              the second shelf to the left,                              right behind the nutmeg.                   Kirk moves to the stove and tosses out the ruined eggs.                    He cracks open two new eggs on the skillet and begins                     preparing a breakfast. Picard waits for a moment, then                    goes to the shelf, grabs the dill weed and hands it                    to Kirk.                                           PICARD                             How long have you been here?                   Kirk takes the bottle and uses it to season the eggs.                                           KIRK                             I don't know. I was on the                              Enterprise-B... in the deflector                              control room... keep stirring                              these, will you?                   Kirk moves to a cabinet and begins putting plates on a                       breakfast tray. Picard is getting a little impatient,                    but stirs the eggs anyway.                                           KIRK                                     (continuing)                             The bulkhead in front of me                              Disappeared... then I was out                              there chopping wood.                                      (back to stove)                              Thanks.                   Kirk takes the pan of eggs back from Picard.                                           PICARD                             History records that you died                              saving the Enterprise-B from an                              energy ribbon eighty years ago...                   But Picard's words mean almost nothing to Kirk. He is                     Thoroughly enjoying himself and Picard is almost a                   distraction. Kirk begins serving the eggs onto the                    plates and grabs a small vase of flowers to put on the                   tray.                                           KIRK                                     (amused)                             So you're telling me this is the                              twenty-fourth century... and I'm                              dead?                                                                        PICARD                             Not exactly. As I said, this is                              some kind of...                                           KIRK                             Temporal nexus... yeah, I heard you.                                      (frowns at tray)                              Something's missing...                   Then he remembers and turns to look at a nearby toaster --                    as if on cue, two slices of toast pop out. Kirk grins                    and puts the toast on the plates. Kirk picks up the                    tray and heads for the door.                                           PICARD                             Captain, I need your help. I want                              you to leave the Nexus with me.                   Kirk goes out of the kitchen and Picard follows...             164   INT. KIRK'S HOME - LIVING ROOM - DAY - CONTINUOUS          164                   Kirk and Picard both on the move. Kirk heading for a                    staircase.                                           PICARD                             We have to go back to a planet                              called Veridian III and stop a                              man from destroying a star. There                              are millions of lives at stake.                   Kirk tries to keep it light, hoping this man will go                    away.                                           KIRK                             You said history considers me                              dead. Who am I to argue with                              history?                                           PICARD                             You're a Starfleet Officer and you                              have a duty to --                                           KIRK                                     (hard)                             I don't need to be lectured by                              you. I was out saving the galaxy                              when your grandfather was still in                              diapers. And frankly, I think the                              galaxy owes me one                                      (beat)                              I was like you once... so worried                              about duty and obligations that I                              couldn't see anything past this                              uniform. And in the end, what did                              it get me? Nothing. Not this                              time.                   Kirk brushes past Picard and stops at the foot of the                    stairs.                                           KIRK                                     (looking up the stairs)                             I'm going to walk up these stairs,                              march into that bedroom and tell                             Antonia that I want to marry her.                   Kirk begins to climb the stairs.                                           KIRK                              This time things are going to be                               different.                   He goes through a bedroom door and closes it behind                    him. Picard glances around the room in frustration,                    then gets a determined look on his face and marches up                    the stairs after Kirk, grasps the doorknob, opens it                    and steps through the door into             165   INT. BARN - DAY - CONTINUOUS                               165                   Picard suddenly finds himself standing in the doorway                    of a wooden barn. Straw on the floor... farm                    implements on the walls... sunlight streaming in                    through the slats. There are stalls in the barn with                    a few horses visible.                    Kirk is standing a short distance away -- he looks                    surprised as well... and he is no longer holding the                   tray of food.                                           PICARD                                     (re: barn)                             This doesn't look like your                              bedroom.                   Kirk looks around for a moment, the pieces starting to                    fall into place. He smiles with a growing                    realization...                                           KIRK                             No... no, it's not. It's better.                                           PICARD                             Better?                                           KIRK                             This is my uncle's barn in Iowa...                   He points to a horse with a saddle on it.                                           KIRK                                     (re: horse)                             I took that horse out for a ride                              seven years ago... on a spring                              day.                   Kirk moves to the barn door and opens it revealing a                     beautiful spring day.                                                              KIRK                             Just like this. If I'm right,                              this is the day I met Antonia.                   He turns to Picard.                                           KIRK                             This Nexus of yours is very                              clever. I can start all over                              again -- do things right from day                              one.                   Kirk grabs the horse, swings up onto the saddle, and                    rides out of the barn, filled with excitement. Picard                    watches him for a moment, then looks at one of the                    other horses in the barn. he makes a decision and                   then moves toward a saddle hanging on the wall...                                                                            CUT TO:             166   EXT. COUNTRYSIDE - DAY (VFX-P)                             166                   Kirk is riding his horse hard over the countryside --                   and across a stream... through a thicket of trees... and                    finally out onto a rolling plain. There is a large                    RAVINE up ahead. Kirk sees it and smiles tightly. He                    spurs his horse faster toward the ravine... The horse                    is tearing along... comes up to the edge of the                    precipice, and makes a daring leap to the other side.                    Horse and rider land together and Kirk spurs the horse                    on. But as he rides, we begin to see a change come                    over him -- a look of doubt crosses his face.                    Something's not right. He slows the horse to a trot...                   and then to a complete stop. He sits there for a                    moment and frowns. turns and looks back at the                    ravine, which is now a fair distance away. Something                    about that jump is nagging at him...                   He turns his horse around and then digs in his heels.                    The horse breaks into a gallop, racing back toward the                     ravine.                    Kirk grips the reins tight in his hands and then the                    horse makes the LEAP across yet again.                   This time when Kirk lands, he brings his horse to an                      immediate stop. We can see on his face that something                    is very wrong. He turns and stares at the ravine with                    a mixture of shock and sadness on his face.                   In the distance, Picard can be seen approaching on a                    horse of his own. He stops next to Kirk. There is a                    long, quiet moment as the two men sit there side by                    side. Kirk is introspective as he sorts through his                   feelings...                                           KIRK                                     (re: ravine)                             I must have made this jump fifty                              times. and every time it scared                              the hell out of me. But not this                              time.                                     (beat)                              Because... it's not real.                   A quiet beat. Kirk turns and looks toward a particular                    hill in the distance, shading his eyes against the                    bright sun. Picard follows his gaze and we can now see                    the distant figure of a WOMAN walking her horse.                                                                            PICARD                                     (re: woman)                             Antonia?                                           KIRK                                     (nods)                             She's not real either, is she?                              Nothing here is... nothing here                              matters...                   All euphoria is now gone from Kirk -- It's a moment of                    self-revelation. He glances around.                                           KIRK                             It's kinda like... orbital                              skydiving. Exciting for a few                              minutes... but in the end, you                              haven't really done anything...                             you haven't made a difference...                   Kirk takes a beat, then looks at Picard. And in a way,                    he's truly seeing him for the first time.                                           KIRK                             Captain of the Enterprise, huh?                                           PICARD                             That's right.                                           KIRK                             Close to retirement?                                           PICARD                             I hadn't planned on it.                   There is a passion and a fervor in Kirk that we haven't                    seen until now.                                           KIRK                             Well, let me tell you something -                              don't. Don't let them promote                              you... don't let them transfer                              you... don't let anything take you                              off the Bridge of that ship...                                      (beat)                              Because while you're there, you                              can make a difference.                   The two captains face each other for a moment. Picard                    hears what Kirk is saying but also knows that's not the                    whole story. Picard gives him a direct look, and there                    is something in Picard's eyes -- a glint of resolve and                     determination.                                           PICARD                             You don't need to be on the Bridge                              of a starship. Come with me.                              Help me stop Soran.                                      (beat)                              Make a difference again.                   A long, silent beat as Kirk considers Picard. And slowly,                     unexpectedly, a smile spreads across his face.                                           KIRK                             How can I argue with the Captain                              of the Enterprise?                                      (a beat)                             What was the name of that                              Planet... Veridian III?                                           PICARD                             That's right.                                           KIRK                             I take it the odds are against us,                             and the situation is grim?                                           PICARD                             You could say that.                                           KIRK                                     (musing)                             Of course, if Spock were here,                              he'd say I was being an                              irrational, illogical human for                              wanting to go on a mission like                              that...                   And for the first time, we can see the twinkle in his                    eye that tells us Jim Kirk is back.                                           KIRK                             Sounds like fun.                   The two men turn and walk away from Antonia.and as                    they walk, a ROAR OF COLOR AND SOUND WASHES OUT THE                   SCREEN, as seen before.                   FADE TO RED                   FADE IN:             167   EXT. MOUNTAINTOP - DAY (VFX-P)                             167                   Soran is standing in front of the forcefield, facing                    Picard.                                           SORAN                             Now, if you'll excuse me, Captain,                              I have an appointment with                              Eternity and I don't want to be                              late.                   We realize we are watching the same events play out                    again.                   Soran turns and begins to climb up the scaffolding                    toward the top of the rock face. Picard drops to the                    ground on his back and begins to wriggle underneath                    the forcefield. Picard accidentally TOUCHES the                    field...            167A   SORAN (VFX-P)                                             167A                   turns at the sound of the field, sees Picard, and then                    draws his weapon. Soran quickly FIRES at Picard.            167B   THE GROUND (VFX-P)                                        167B                   is BLASTED APART, creating a cloud of dirt and debris,                    obscuring Picard and the whole area momentarily.                    -- Soran jumps down one level, his disruptor still in his                         hand, ready just in case Picard somehow survived.                    Soran peers through the cloud of dust and debris.                              -- The dust CLEARS... but Picard is gone along with                       several feet of the ground where he was crawling.            167C   SORAN (VFX-I)                                             167C                   Soran glances up at the sky and sees the ENERGY RIBBON,                   then begins to climb the scaffolding. Suddenly a BOOT                   kicks him in the head.             168   REVEAL KIRK                                                168                   who is attacking Soran in Picard's place. The two men                    begin to fight.             169   NEW ANGLE (VFX-P)                                          169                   as Picard rushes to the probe launcher and steps up                    onto the control platform and desperately begins trying                    to shut down the launcher...                   The following happens very quickly:                   -- Kirk fights with Soran, hand-to-hand, brutal.                   -- Picard works the control panel, trying to make sense                       of it all. It won't respond. The control panel is                       bizarre and confusing -- many different screens and                       alien graphics. The alien countdown graphics continues                       to race by.            169A   THE SKY (VFX-I)                                           169A                   the distant energy ribbon can be seen getting closer...            169B   THE MOUNTAINTOP   					           169B                   Soran tries to pull his disruptor, but Kirk knocks it                    to the ground. There's a struggle for the weapon...                   -- Picard looks helplessly at the control panel.                       Nothing he does has any effect. He keeps hitting                       buttons...looking for other control panels, anything                       to affect the launcher.            169C   ANGLE (VFX-P)                                             169C                   Suddenly, Picard touches one particular control and the                    screen CHANGES to an image of the Veridian SUN, held in                    the center of the alien CROSS-HAIR.            169D   PICARD (VFX-P)                                            169D                   begins working the control panel... desperate... he                    looks at the screen... hits a control. Suddenly the                    probe CLOAKS. Picard reacts at his mistake. Picard is                    left standing on an invisible platform three feet in                    the air -- a bizarre sight. Picard isn't sure what to                    do -- he can feel the console, but he can't see any of                    the controls.                   -- Kirk punches Soran and sends him flying backward.                       Soran lands heavily on the ground, unconscious. Kirk                       stands over him, breathing heavily. He holds his back                       in pain -- that old back pain from the beginning of the                      movie.                                           PICARD                                     (desperate)                             Kirk -- there's a control PADD in                              his right pocket!            169E   KIRK (VFX-P)                                              169E                           sees Picard standing in mid-air and then reaches down,                    pulls the control PADD out of Soran's pocket. He                    begins working it...             170   CLOSE ON SORAN                                             170                    His eyes open... he sees what Kirk is doing... looks                    around quickly... sees the disruptor lying a few feet                    away, just beyond his reach...             171   THE PROBE LAUNCHER (VFX-P)                                 171                   Decloaks. Picard goes back to working on the controls.            171A   KIRK (VFX-P)            				           171A                   he smiles.                                           KIRK                             The twenty-fourth century isn't so                              tough.                   Without warning, Kirk is BLASTED forward, shot from                    behind. Reveal Soran on the ground with the disruptor                    in his hand. He gets up, whirls around, points the                    weapon at Picard.             172   MOUNTAINTOP - WIDE                                         172                   The probe is suddenly LAUNCHED in a roar of flame.                    Soran freezes. His eyes follow the probe as it arcs                    into the sky. The two men watch the probe as it heads                    toward the sun...            172A   THE PROBE (VFX-I)                                         172A                   makes a sweeping turn to the right and arcs back down                    toward the planet. Soran watches in horror as the                    probe crashes harmlessly into the distant jungle. We                    hear a muffled explosion.            172B   SORAN (VFX-I)                                             172B                   can't believe his dreams have been shattered. He looks                    into the sky and sees the distant ribbon streaking                    overhead. The disruptor falls from his hand as he                    rushes to the top of the scaffolding.              173   PICARD                                                     173                   moves to Kirk, checks his pulse. The Captain's eyes                    flutter -- he's still holding on, but he's badly                    wounded.             174   SORAN (VFX-I)                                              174                   is standing on the rock ledge. He reaches up toward                    the sky as if trying to grab the Ribbon with his bare                   hands...but the ribbon passes by and disappears.                                           SORAN                             No...                   His look of shock turns to fury and madness. He turns                    to Picard.                                           SORAN                             YOU!!            174B   NEW ANGLE (VFX-P)                                         174B                   He jumps down a few levels and then DIVES off the                    scaffolding at Picard. But Picard is quicker. He                    GRABS the disruptor and FIRES -- the BLAST CATCHES                   SORAN IN MID-AIR .                   Soran drops to the ground a short distance away. Dead.                    The pocket watch has been shattered.             175   PICARD                                                     175                   turns back to Kirk, cradles the dying man's head in his                    lap. Kirk's eyes flick open, and he takes a ragged                    breath.                                           KIRK                             Nice shot.                   Kirk coughs. His eyes flutter. He's fading fast.                                           PICARD                             I'll find a way to contact the                              Enterprise. You're going to be                              all right.                                           KIRK                             Did we do it? Did we make a                              Difference...?                                           PICARD                             Yes.                                      (beat)                              Thank you.                                           KIRK                             Least I could do...for a Captain                              of the Enterprise.                   Kirk coughs again                                           PICARD                             Try to hang on.                            Kirk looks up at the sky. the sunlight is warm on his                    face. A quiet moment... then, with a last smile on his                    face                                           KIRK                             It was fun.                   Kirk dies.                   Hold te scene for a long moment, the two men in the                    quiet clearing.                   DISSOLVE TO:             176   EXT. MOUNTAINTOP - SUNSET                                  176                   Close on Picard's hand                   as he places a stone on a large pile of other stones.                    MOVE TO REVEAL that Picard is placing the final few                    rocks on Kirk's grave.                   He reaches into a pocket and pulls out Kirk's command                   insignia pin. He carefully places it on the grave...                   and stands there silently for a few moments.                   A distant WHINE of engines can be heard. Picard looks                    up into the sky...             177   PICARD'S POV (VFX-I)                                       177                   An Enterprise SHUTTLECRAFT is flying through the sky                    toward the mountaintop.             178   EXT. MOUNTAINTOP - SUNSET                                  178                   The shuttle has just landed, and the door OPENS as                    Picard enters the clearing. Worf, Geordi and N.D.                    security guards jump out to meet him.                                           WORF                             Captain, are you all right?                                           PICARD                             Yes.                                           LA FORGE                             What about Doctor Soran?                                           PICARD                             You needn't worry about the Doctor                              anymore.                   Picard moves toward the shuttle... then stops as he                    notices that the shuttle is damaged. Picard turns and                    notices for the first time that La Forge has a bandage on                    his face and Worf's uniform is torn.                                           PICARD                             Was there a problem with the                              Klingons?                   Worf and La Forge exchange a look.                                           GEORDI                             You could say that...                                                                          CUT TO:             179   EXT. PLANET SURFACE - THE ENTERPRISE (WIDE SHOT) (VFX-I)   179                   as seen before.                                           PICARD (V.O.)                             Captain's log, stardate 48650.1.                              The starship Farragut has arrived in                             orbit and has begun to beam up                              the Enterprise survivors for transport                              back to Earth.                                                                           CUT TO:             180   INT. ENTERPRISE - CORRIDOR - DAY                           180                   A hive of activity -- Crewmembers moving about,                    carrying personal effects, equipment, etc. Some                    wounded people being carried on stretchers...                   The corridor is lit by emergency beacons and a HATCH                   has been opened at one end of the Corridor leading to                    the exterior of the ship. Daylight and jungle can be                   seen outside.                                           PICARD (V.O.)                                     (continuing)                             Our casualties were light. but                             unfortunately the Enterprise                             herself cannot be salvaged.                   MOVE ALONG the Corridor in find Beverly helping an                   Injured crewmember into the arms of a waiting Medical                   N.D. Ogawa walks up to her                                           OGAWA                             That should be the last of the wounded,                              Doctor.                   Beverly nods. She looks exhausted.                                           BEVERLY                             Two hundred thirty-two patients in                              under two days.                   Two medical N.D.s walk past, carrying an empty                    stretcher. Beverly glances at them.                                           BEVERLY                                     (calls out)                             Save that stretcher...                                           OGAWA                             Is there another patient?                                           BEVERLY                             No -- that one's for me.                                                                          CUT TO:            181    INT. ANOTHER LOCATION                                      181                   Data and Troi are looking through rubble in a different                    section of the ship with tricorders. Troi reacts to                    something on the tricorder.                                           TROI                             Over here, Data! I think I've                              found something.                   Data moves to her, with a hopeful and excited look.                                           TROI                                     (off tricorder)                             One life sign, very faint.                   Data hands his tricorder to Troi and then begins to                    pull debris aside with android strength.             182   ANGLE ON DEBRIS                                            182                   As Data pulls aside a large piece of plating, revealing                    Spot the Cat sitting in the wreckage. She looks at                    Data and gives a plaintive meow.                                           DATA                                     (relieved)                             Spot.                   He picks up the cat and holds it close, stroking its                    fur. The cat purrs happily.                                           DATA                             I am very happy to find you, Spot.                   Troi smiles.                                           TROI                             Another family reunited.                   Data turns, revealing that there are tears in his eyes.                    Troi is surprised and touched at the sight.                                           TROI                             Data... are you all right?                                           DATA                             I am not sure, Counselor. I am                              happy to see Spot... and yet I am                              crying. My emotional program must                              be malfunctioning again.                   Troi puts a gentle hand on him.                                           TROI                             No, Data... I think it's working                              perfectly.                   Data looks up at her and smiles through his tears. OFF                   the image of Data cuddling his cat.                                                                          CUT TO:             183   INT. READY ROOM - DAY                                      183                   Picard and Riker are sifting through the rubble of what                    once was the Ready Room, looking for something...                   Riker sees something in the rubble.                                           RIKER                             Is this it?                   Riker holds up the family photo album seen earlier.                                           PICARD                                     (relieved)                             Yes, Number One. Thank you.                   He takes the album... brushes off the dust and flips                    through the pages for a moment. Riker looks around the                     wrecked room.                                           RIKER                             I'm going to miss this ship. She                              went before her time.                   Picard has been rejuvenated by his experience... given                    a new perspective on the issues of life and death.                                           PICARD                             It's not how many years you've                              lived, Wil... but how you've lived                              them.                                     (beat)                              Someone once told me that time is                              a predator that stalks us all our                              lives. But maybe time is also a                              companion who goes with us on                              our journey, and reminds us to                              cherish the moments of our                              lives... because they will never                              come again.                                      (beat)                              We are after all. only mortal.                   A quiet moment... Riker finally smiles.                                           RIKER                             Speak for yourself, sir. I kinda                              planned on living forever.                   Picard smiles back at him and the two men EXIT to...             184   INT. MAIN BRIDGE - DAY (VFX-P)                             184                   Riker and Picard ENTER from the Ready Room. They look                    around the wrecked Bridge for a moment. Riker glances                    at the captain's chair.                                           RIKER                             I always thought I'd have a crack                              at this chair one day.                                           PICARD                             You may still... somehow I doubt                              this will be the last ship to                              carry the name Enterprise.                   A beat, then Picard hits his combadge.                                           PICARD                                     (continuing, to com)                             Picard to Farragut. Two to beam                              up.                   The two men dematerialize.                   FADE TO BLACK.                                           THE END
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+STAR TREK: NEMESIS by John LoganFADE IN:INT. MEDICAL MONTAGE - DAYLife. Glorious in its many forms. The biological pulsefinding its way heroically through the cold manipulation ofscience.CREDITS as we see a beautiful montage of futuristic medicaltechnology. Through a microscope we see cells multiplyingand gene strands exponentially increasing with the vibrancyof exploding flowers. We see laser splicing and biologicalmanipulation on the molecular level.CREDITS continue as we fade to...INT. ROMULAN SENATE CHAMBER - NIGHTPolitics... In a cavernous, shadowy chamber. Dark figureslean together and talk seriously. Their hushed, urgent tonesdenote the gravity of their discussion.We can't make out the words but there is no doubt what theyare talking about.The three year old HUMAN BOY who stands before them. The boyis alone and frightened, lost in the sweeping grandeur ofthe massive chamber.CREDITS continue as we fade to...EXT. REMAN HOMEWORLD - NIGHTLabor...On a stark, desert planet with monolithic mountains and harshcrags shooting upward. The only light in this darknetherworld comes from the flames that accompany the hellishmining operations everywhere around us.The human boy gazes over this desolate vista and then helooks up for a moment... at the stars.Then a tall figure leads him firmly into one of the mines.The boy seems to disappear into this flaming crucible.CREDITS end as we go to...EXT. ROMULUS - SUNSETThe sun is setting on the capital city of the great RomulanStar Empire, The imperial monoliths and martial towers ofthis bustling city glow red as the sun dips below thehorizon.We slowly move down toward the most imposing building of thecity. The Romulan Senate chamber.INT. ROMULAN SENATE CHAMBER - SUNSETSENATOR TAL'AURA watches the proceedings with a studied lookof bored indifference. She glances to the familiar Romulancrest that dominates one wall of the chamber: a ferociousbird-of-prey holding two planets, one in either claw.And then her eyes carefully cross the chamber to...PRAETOR HIREN -- the head of the Romulan government --presiding over the Senate from a throne-like chair. He is acapable politician in his 50s. SENATOR 1 ... but if we hesitate we'll lose this important source of dilithium. A trade agreement is in the best interests of the Empire. SENATOR 2 Praetor, I recommend we dispatch a diplomatic mission to Celes II to open negotiations.Senator Tal'Aura grunts slightly at the word "negotiations."Praetor Hiren glances to her. PRAETOR Senator Tal'Aura, you disagree with the motion. TAL'AURA No, sir. I would say "negotiation" is to be advised. I support all "diplomatic" overtures. But if you will excuse me, Praetor, I have an appointment with the Tholian ambassador.The Praetor nods. Tal'Aura stands and leaves the chamber...but she had left something behind on her desk. A small,silver box with unusual etchings on the surface.The discussion continues as we focus on the silver box... PRAETOR Then I will call for a vote on the motion to open trade negotiations with Celes II...The Senator at the desk next to Tal'Aura's glances over. Thesilver box is moving.The Senator watches, amazed, as the box begins to slowly foldopen. Then "legs" appear. The box unfolds like a spider,standing on its legs. Then it is still for a moment. TheSenator looks at it, puzzled.Suddenly -- a bright beam of green light shoots up from thespider -- the Senators are stunned -- the beam shoots to thehigh domed ceiling of the chamber and then cascades aroundthe interior of the room, enveloping everything in a glowingshroud of green energy. In a way, it is bizarrely beautiful.And then just as suddenly the light disappears.A moment of silence. The Praetor and Senators are baffled. PRAETOR Would someone please tell me what that was? (he turns to a guard) Alert security --A plant behind the Praetor begins to shrivel... PRAETOR -- and have them run a --The Praetor stops suddenly -- as the flesh begins to meltfrom his face.Every bit of organic matter in the chamber decays. Fleshmelts from bones while the Senators scream in agony. Everyliving thing in the chamber is dead within ten seconds.A stunning moment of silence as we take in the carnage. Thena transporter effect ripples around the spider-weapon. Itdisappears.And the Romulan Senate is no more. We fade to...EXT. EARTH, ALASKA - PAVILION - DAYJEAN LUC PICARD, the most beloved and respected Captain inStarfleet.His face is resolute and set. Even stern. His white dressuniform is buttoned tightly to the neck.He looks at us evenly and then utters the word that has beenthe watch cry for his entire life as a Starfleet officer. PICARD Duty...He lets the word resonate and then continues. PICARD A starship captain's life is filled with solemn duty. I have commanded men in battle. I have negotiated peace treaties between implacable enemies. I have represented the Federation in first contact with twenty-seven alien species. But none of this compares to my solemn duty as... Best man.Uproarious laughter. We pull back to reveal the weddingreception of WILL RIKER and DEANNA TROI.The Enterprise CREW is gathered with invited GUESTS, somefrom other "Star Trek" series. Riker and Deanna sit at thecenter of a long table. PICARD Now, I know that on an occasion such as this: it is expected that I be gracious and fulsome with praise on the wonders of this blessed union... But have you two considered what you're doing to? This is all a damned inconvenience... (laughter from the crowd) While you're happily settling in on the Titan, I'll have to train a new first officer; no doubt a stern martinet who'll quote the rule book at me and never... ever... allow me to go on away missions. (laughter) ... Then there's the matter of my new counselor. Undoubtedly some soft-spoken, willowy thing who'll be probing into my darkest psyche as she nods her head and coos sympathetically. Isn't that right, Deanna?Deanna nods her head and coos sympathetically. Hearty,wonderful LAUGHTER! PICARD I notice Dr. Crusher laughing along with the rest of you. As most of you know, the doctor will also soon be leaving the Enterprise, to assume command of Starfleet Medical. Again, I'm forced to ask, Beverly, have you considered what you're doing to little ole' me?! I'll probably get some old battle- axe of a doctor who'll tell me to eat my vegetables and put me on report if I don't show up for my physical on time! BEVERLY It'll serve you right.Laughter, laughter, laughter! He looks to Riker and Deanna: PICARD Really, it's not too late to reconsider. No? Very well then...He smiles and raises his glass, looks at them deeply. PICARD Will Riker, you have been my trusted right arm for fourteen years; you have helped keep my course true and steady. Deanna Troi, you have been my conscience and best guide, the touchstone to the better parts of myself. You are my family. And in proper maritime tradition I wish you full sails and a clear horizon... My friends, make it so.They drink.EXT. EARTH, ALASKA - PAVILION - LATERThe party guests mingle as a band plays. We are at abeautiful open-air pavilion high in the Denali Mountains.The soaring ranges of Riker's native Alaska can be seeneverywhere around us.DR. BEVERLY CRUSHER goes to Picard. BEVERLY (playfully) Sort of like losing a son and gaining an empath, isn't it? PICARD Please, Beverly, this is hard enough. BEVERLY If you start tearing up I promise to beam you out. Level one medical emergency. There's no crying in Starfleet.They head off toward Riker and Deanna.Meanwhile, GEORDI LA FORGE sits with his girlfriend. LEAH I've never seen your Captain so nostalgic. Maybe he's getting soft in his old age. GEORDI (laughs) Not likely. After we installed the new Series Four replicators, he tried to order his usual tea and there was a glitch. Had us remove the whole bunch of them and put the old ones back in. LEAH There! Nostalgic about old replicators. GEORDI He just likes things the way he likes them... (he looks at her, smiles) Of course, so do I.He kisses her gently as WORF comes to them. Poor Worf isstill suffering a bit from the bachelor party. He plops downbeside them, belches. WORF Romulan ale should be illegal. GEORDI It is, old chum. WORF Then it should be more illegal.He groans and rests his head on the table, acts like he'sgoing to heave. Meanwhile, Riker and Deanna are talking toPicard and Beverly. DEANNA Really, Captain, it was a lovely toast. PICARD The least I could do for you, Deanna. Besides, you know me... I'm a talking head. DEANNA And you needn't worry. I'll brief your new counselor on everything she needs to know. PICARD The hell you will. You know too much about me as it is... Now you promised there are no speeches during the ceremony on Betazed. RIKER No, no speeches. No clothes either. (winks, mischievously)Picard looks at him. Deanna laughs.Then the band stops playing. All turn.DATA stands with the band. DATA Ladies and Gentlemen and invited Tran gendered species... In my study of Terran and Betazoid conjugal rites I have discovered it is traditional to present the "happy couple" with a gift. Given Commander Riker's affection for archaic musical forms I have elected to present the following as my gift in honor of their conjugation.Riker shoots an amused glance to Deanna. Conjugation?Data turns to the band leader. DATA If you please, Mister Band Leader, a-one and a-two and...The band launches into a jaunty, swing version of the IrvingBerlin standard "Blue Skies." DATA (sings) "Blue skies, smiling at me, Nothing but blue skies do I see. Blue birds, singing a song, Nothing but blue birds all day long. Never saw the sun shining so bright, Never saw things going so right..."The crowd is appreciative. Loves the song. Except Worf, hemomentarily raises his head from the table. WORF (groans) Ugghhh... Irving Berlin.His heads thumps down again, is about ready to BARF!Meanwhile, Riker is anxious as a kid to join the band: DEANNA (smiles) All right, go ahead.Riker eagerly joins the band. Grabs the trombone and startsjamming with the orchestra. The song really swings. PICARD (to Deanna) May I have this dance? DEANNA With pleasure, Captain.Meanwhile, Geordi leads Leah to the dance floor as well.Beverly goes to Worf. BEVERLY Commander Worf... Do Klingons swing? WORF I am not a swinger. I am unwell. BEVERLY Don't worry, I'm a doctor.She pulls him to the dance floor as: BEVERLY I'm so glad you made it back to the Enterprise before I left. WORF I was not suited for the life of a... diplomat. BEVERLY (wry) Who'd have guessed?They dance. Picard and Deanna sweep past them.And we pull up and away as Data continues to sing and thecrew dances. It is a joyous celebration of these people.This family. A family we love.EXT. ENTERPRISE - SPACEThe Enterprise streaks through space.INT. ENTERPRISE - CREW LOUNGE - NIGHTData sits in the empty Crew Lounge.As always, the android's placid, neutral expression stillsomehow manages to convey his wonder, curiosity andidiosyncratic zest for life.Picard arrives with a very old bottle of wine. PICARD I've been saving this. Chateau Picard 2267. Batten down the hatches...He carefully uncorks the treasured bottle as: PICARD They say a vintner's history is in every glass. The soil he came from. His past as well as his hopes for the future.He pours two glasses of the wine, then raises his glass, atoast. PICARD So... To happy endings. DATA To happy endings.Picard carefully takes a tiny sip, savors the flavor, finallyswallows. Enjoys it. Ahhh.Data mimics Picard. Taking a tiny sip, savoring the flavorand finally swallowing. Ahhh. DATA Sir. I noticed an interesting confluence of emotion at the wedding. I am familiar with the human concept of tears through laughter and its inverse, laughter through tears, but I could not help wondering about the human capacity for expressing both pleasure and sadness simultaneously. PICARD I understand why it would seem confusing. Certain human rituals -- like weddings, birthdays or funerals evoke strong and very complex emotions. These rites carry great weight with us because they denote the passage of time. DATA And you were particularly aware of this feeling because Commander Riker will be leaving to assume command of the Titan? PICARD Will and Deanna joining the Titan. Dr. Crusher going to Starfleet Medical... DATA And this makes you "sad"? PICARD Well. I suppose it does a bit. I'm very happy for them, of course, but I'm going to miss them. The ship will seem... incomplete without them. DATA That is because you have a familiarity with them. You can predict specific reactions and behavior and are comfortable in that knowledge. PICARD Yes. And, frankly, I envy them as well. They've made important choices; they're going to have great challenges ahead of them. New worlds to conquer...He takes another sip of wine. A beat. PICARD Seeing Will and Deanna today made me think about some of the choices I've made in my own life. Devoting myself to Starfleet... Not marrying or having children... All the choices that led me here.A beat. Data thinks about it. DATA The choices I made have led me here as well. This is the only home I have ever known. I cannot foresee a reason for leaving. PICARD You never know what's over the horizon, Data. Before too long you'll be offered a command of your own. Data looks at him; he has never really considered this. DATA If I were... I believe my memory engrams would sense the absence of your specific reactions and behavior. I would "miss you." PICARD (smiles) Now, you make a toast. DATA To new worlds... PICARD New worlds. Yes Data, brave new worlds...They drink.INT. ROMULAN SENATE - CORRIDOR - NIGHTFlickering braziers dimly illuminate the cold, martialsplendor of a Senate corridor.COMMANDER DONATRA and COMMANDER SURAN stride through thecorridor.Suran is an elder Romulan officer, respected and tenacious.Donatra -- a key figure in this story so pay close attentionto her -- is a mature, beautiful woman... not without a drysense of humor. SURAN The fleet commanders are nervous. They've agreed to remain at their given coordinates and await his orders. But they're anxious to know what's going on here. DONATRA I don't blame them. We can't keep them in the dark forever.A voice, from the shadows: VICEROY (V.O.) But in darkness, there is strength.Donatra and Suran stop.And the VICEROY steps from the shadows...He is a terrifying sight A powerful, monstrous aliencreature; a tall, ashen-skinned ectomorph who bears adisturbing resemblance to the original Nosferatu. He isvampiric and lethal. He is a Reman. VICEROY Don't you agree?He leads them along the corridor.INT. SENATE CHAMBER - NIGHTWe observe the Romulan crest, an imposing bird-of-preyclutching a planet in either claw, not unlike the KAOS emblemfrom "Get Smart," that dominates a wall. As we hear: SHINZON (V.O.) Consider it The great symbol of the Empire... But the bird-of-prey holds planets. Romulus, Remus. Their destinies conjoined...And then we see him... SHINZON!He is a dynamic young human in his twenties. Very handsomewith pale, almost white skin and shining, golden hair. Hewears a striking Reman military uniform.He stands in the center of the eerily deserted chamber. Theentire floor is a large star chart. SHINZON Yet for generations one of those planets has been without a voice. We will be silent no longer.Senator Tal'Aura (the female Senator who planted the weaponin the Senate chamber earlier) and two other ROMULANCOMMANDERS sit.Cadres of Shinzon's fearsome REMAN WARRIORS stand around thechamber. They are his sinister children of the night. Evenmore chilling now in the flickering torch light. It's likesomething out of Tim Burton.Donatra and Suran enter the chamber with Shinzon's Viceroy. SHINZON Join us, Commanders. Now what's the disposition of the fleet? SURAN They're holding position. SHINZON And? SURAN (bows his head) They will obey, Praetor. SHINZON It's imperative we retain their allegiance or our great mission will be strangled before it can truly draw breath. DONATRA They support your intentions, sir. But they require evidence of your... sincerity.Shinzon looks at her. A quick beat. Shinzon decides torespond with benevolence. He smiles. SHINZON And they'll have it. (he begins to pace over the star chart) Tell the fleet that the days of negotiation and diplomacy are over. The Almighty Federation will fall before us. As I promised you.He stands on the area of the map that denotes the NeutralZone between the Romulan Empire and the Federation. SHINZON The time we have dreamed of is at hand. The time... of conquest. (sinister laugh)He carefully steps into the area of the map marked with theFederation symbol. He looks down at the star chart. SHINZON Cut off the dragon's head and it cannot strike back.A beat. Donatra watches him carefully. Something in hisquiet words disturbs her. SURAN How many Warbirds will you need? SHINZON None.They look at him, stunned. SURAN Praetor. You have the whole fleet at your disposal. They supported the coup, they'll follow you. SHINZON The Scimitar will serve my needs. SURAN But surely -- SHINZON I came this far alone... (he looks at his Reman warriors) We came this far alone. We require no assistance from the fleet. Now leave me to my thoughts.The Commanders and Senator Tal'Aura rise and leave. Shinzonlooks to his Viceroy. SHINZON Are we prepared? VICEROY Yes, Praetor.A beat. SHINZON So many years for this moment. (he looks up at his Viceroy, smiles) Bring him to me.INT. ENTERPRISE - BRIDGE - DAYThe bridge crew are at their stations. Picard is not on thebridge. WORF (grumbles) I won't do it. DEANNA It's tradition,Worf. You of all people should appreciate that! (whispers) Besides, I've already seen it. WORF A warrior does not appear without his clothing. It leaves him... vulnerable. RIKER I don't think we're going to see much combat on Betazed. DEANNA Don't be too sure. Mother will be there.Worf groans. Picard emerges from his Ready Room as: WORF I won't do it. PICARD Won't do what, Mister Worf? WORF Captain. I think it is inappropriate for a Starfleet officer to appear... (hates the word) ... naked. PICARD Come now, a big, strapping fellow like you? What are you afraid of?Deanna laughs. Then a readout on Worf's console attracts hisattention: WORF I'm picking up an unusual electromagnetic signature from the Kolarin system. PICARD What sort of signature?Worf looks up. Glances at Data. WORF Positronic.INT. ENTERPRISE - BRIDGE - LATERGeordi is at the Engineering station with Picard, Riker andData. GEORDI It's very faint but I've isolated it to the third planet in the Kolarin system. PICARD What do we know about the planet? GEORDI Uncharted. We'll have to get closer for a more detailed scan. PICARD (to Data) Theories? DATA Since positronic signatures have only been known to emanate from androids such as myself, it is logical to theorize that there is an android such as myself on Kolarus III. GEORDI How many of you did Dr. Soong make? DATA I thought only me, myself and Lore. RIKER (looking at star chart) Diverting to the Kolarin system takes us awfully close to the Romulan Neutral Zone. PICARD (looking at star chart) Still well on our side...Picard glances at Data, recognizes the android's deep desireto explore this possible connection to others like himself. PICARD I think it's worth a look. Don't worry, Number One, we'll get you to Betazed with time to spare. RIKER Thank you, sir... PICARD (to all, especially Worf) Where we will all honor the Betazoid traditions. No cold feet, or any other parts of our anatomy. Now, if you'll excuse me. I'll be in the gym.He goes. RIKER (to Helm Officer) Mister Branson, set course for the Kolarin system. Warp Five -- (Deanna shoots him a glance) -- Warp Seven. HELM OFFICER (MISTER BRANSON) Plotted and laid in, sir. RIKER Engage. DEANNA You better believe you're engaged!Meanwhile, Geordi and Data remain at the Engineering Station,studying the displays. GEORDI What do you think, Data, a long- lost relative?Data doesn't respond, but the curiosity on his face isapparent.EXT. ENTERPRISE - OVER KOLARUS III - SPACEThe Enterprise is in orbit around the uncharted planet. Inthe distance we can see the distorting violence of an ionstorm.INT. ENTERPRISE - BRIDGEKolarus III is on the viewscreen, the ion storm raging beyondit. GEORDI I read six distinct positronic signatures, spread out over a few kilometers on the surface. PICARD What do we know about the population? DATA Isolated pockets of humanoids. It appears to be a pre-warp civilization at an early stage of industrial development. GEORDI Captain, I don't recommend transporting, that ion storm doesn't look very neighborly. It could head this way without much warning. PICARD Understood. Data, Worf, you're with me.Picard, Data and Worf start heading toward the turbolift. RIKER (stands, protesting) Captain, I hope I don't have to remind you -- PICARD I appreciate your concern, Number One, but I've been itching to try out the Argo. RIKER Sir -- PICARD Captain's prerogative, Will. There's no foreseeable danger... and your wife would never forgive me if anything happened to you.He steps into the turbolift with the Data and Worf. PICARD You have the bridge, Mister Troi!The turbolift doors slide shut.The bridge crew heartily enjoys Riker's momentary demotion tohouse husband.EXT. ENTERPRISE - OVER KOLARUS III - DAYThe shuttlebay doors slide open and the transport vehicleArgo emerges.The Argo is larger than a regular shuttle with a particularlylarge cargo area at the back.EXT. KOLARUS III - DAYThe Argo lands on the planet. It is primarily a desertenvironment with some canyons and mountains. Like DeathValley, blazing heat waves shimmer in the distance. Theshuttle sits silently for a moment. We wonder at the delay,then...The rear cargo doors slide open and Picard, Data and Worfroar out on a 24th Century equivalent of a military jeep!Picard drives, Data beside him. Worf stands in the back at amounted phaser canon. It is a muscular, exciting vehicle; aStarfleet version of the jeep from old television series "TheRat Patrol."Picard screeches to a stop. Data and Worf lurch. A cloud ofdust momentarily obscures them. Data quickly monitors thepositronic signatures with a tricorder: DATA The closest signature is two kilometers to the west... that direction, sir. PICARD Thank you, Data. (he smiles) Let's see what she can do.He roars off in a cloud of dust!Picard clearly enjoys driving. He roars over the desertterrain at breakneck speed, having a hell of a good time.His comrades don't exactly appreciate his free-spiriteddriving panache.Worf clings on to the mounted phaser canon for dear life.Data steadies himself by grasping onto the rollbar DATA I will always be baffled by the human predilection for piloting vehicles at unsafe velocities.Picard smiles and drives a little faster. DATA (monitoring with tricorder) Over that rise, sir... half a kilometer.They continue on. Before long they can see something on thelevel desert floor before them. They approach and stop todiscover...An android arm. The fingers patiently drumming the ground. DATA It appears to be... (he scans with his tricorder) ... an arm. WORF (suspicious) Why is it moving? DATA Like me, it has been designed with modular power sources. PICARD Mister Worf, if you please.Worf climbs from the jeep and carefully approaches the arm.Gingerly picks it up. The arm responds to being picked up,the hand starts feeling around in the air like something froma horror movie. Worf shudders.He returns to the jeep. Quickly sets the arm down in therear cargo area. DATA The next signature is one kilometer to the south.Picard starts the jeep in motion.Time passes as they continue on... coming across anotherarm... a leg... a torso... another leg... variousdisassembled components of a Data-like android!EXT. JEEP - KOLARUS III - CANYON - DAYWorf stands uneasily amidst the moving body parts. There isonly one component missing: the head. Picard steers the jeepinto a canyon. Stops. Data scans with his tricorder,pointing it up into the gently sloping hills that form thesides of the canyon. DATA The final signature is approximately 300 meters up that incline. PICARD Mister Worf, accompany Data please. WORF (uneasy) To find the head, sir? PICARD (amused) If you don't mind.Worf and Data climb up into the hills in pursuit of the finalpiece as Picard opens the jeep's hood and checks the engine.EXT. KOLARUS III - HILLS - DAYWorf and Data climb as Data scans and indicates thedirection: DATA Ten meters...Worf pulls his phaser, ready. DATA I think it unlikely you will need your phaser to recover the cranial unit. Of course, it could bite you.Then they see it.Data's head. Or the spitting image anyway. Lying inert inthe dust before them. WORF It's you. DATA The resemblance is... striking.Then the head's eyes suddenly pop open. It looks up at themwith a sort of blank, childlike wonder. HEAD Why am I looking at me? DATA You are not looking at yourself. You are looking at me. HEAD (looking at Worf) You do not look like me. WORF No. DATA (to head) I would like to pick you up now. May I do that? HEAD (to Worf) You have a pretty shirt. WORF Thank you.Data gently picks up the head. Looks at it. The twoidentical faces gaze at each other. DATA Fascinating...Then BLAM! -- a boulder near them explodes. Worf and Dataspin to see...A nomadic tribe of desert ALIENS swarming toward them firingprimitive plasma weapons --Data and Worf race back down the canyon, toward the jeep --some open-field running and a bit of phaser action -- Worffiring to distract and slow the aliens, not kill them --through all of this the head is chattering away blandly: HEAD I have two arms and ten fingers. Do you know where my arms are? I cannot see where we are going. Where are we going? (Etc... like Threepio in "Empire" when he's strapped to Chewbacca's back.)The action continues. Then Data finds himself almostsurrounded -- DATA Commander!Worf turns -- Data throws the head to Worf like a football, aperfect spiral -- the head is still chattering away -- Worfcatches it -- WORF STOP TALKING!The head abruptly stops talking.Data, hands free now, quickly incapacitates the aliens aroundhim with a dazzling demonstration of his superior strengthand agility.Meanwhile, Worf tucks the head under his arm and sprints likea master running back -- evading aliens and occasionallyfiring his phaser --They are closer to the jeep now -- but they are in trouble --the swarm of aliens almost overtaking them -- !When a thundering BLAST sends up a shower of debris, stoppingthe aliens -- Picard is standing in the rear of the jeep,firing the phaser canon.Data and Worf climb into the jeep as Picard leaps into thefront seat and roars off --INT./ EXT. JEEP - KOLARUS III - FOLLOWINGWorf, standing at the phaser canon, quickly hands the head toData in the front seat: WORF If you wouldn't mind. DATA Thank you.The head looks up at Picard. HEAD You have a shiny head.Picard glances at the head. DATA He is very observant. PICARD I can see that. WORF Captain!Picard turns to see that they are being pursued! The aliensare racing after them in crude desert-terrain vehicles -- PICARD (to Data) Shall we try some "unsafe velocities?"He floors it -- racing across the desert landscape.Worf fires the mounted phaser canon -- blasting away at thealiens, not killing them, just stopping them -- a fewdramatic crashes as the alien vehicles overturn --Meanwhile: HEAD (to Picard) You have a red shirt. DATA (to head) This is not an appropriate time for a conversation. HEAD Why? DATA Because the captain has to concentrate on piloting the vehicle. HEAD Why? PICARD Data! DATA Sorry, sir.They continue to speed over the landscape -- bouncing andflying over natural rises in the terrain -- trying to evadetheir pursuers --Picard puts the pedal to the metal and races through thealien vehicles -- weaving in and out, avoiding their fire --Worf blasts away with the phaser cannon -- an exhilaratingadventure --Finally they are within sight of the Argo -- but they see itis surrounded by more of the aliens! PICARD Mister Data. Let's make like the wind.Data punches some buttons on a dashboard console -- and theArgo LIFTS OFF by remote control --Data uses the console to swing the Argo around and lower therear cargo doors -- it hovers over the surface --Picard floors the jeep -- using a natural rise in the terrainas a ramp -- the jeep FLIES THROUGH THE AIR -- over thealiens -- and into the cargo bay --INT. ARGO - CARGO BAY - FOLLOWINGPicard slams on the brakes -- the jeep screeches to a stop asthe doors shut and the Argo shoots into the air.Picard climbs from the jeep. He nonchalantly rubs a bit ofdirt from the hood and then disappears into the main cabin.Data and Worf remain in the jeep for a beat, stunned. WORF (smiles) He must have Klingon blood.INT. ENTERPRISE - ENGINEERING LAB - DAYBeverly gazes at the android head. It gazes back at her. BEVERLY I think you have nicer eyes.We pull back to reveal she is speaking to Data. Data standswith Picard, Riker and Geordi. DATA Our eyes are identical, Doctor.The android is in a framework rig that holds the various bodyparts in place. The parts are not yet assembled RIKER Geordi? GEORDI (at work analyzing the torso section) Well, he seems to have the same internal mechanics as Data but not as much positronic development. The neural pathways aren't nearly as sophisticated. I'd say he's a prototype. Something Dr. Soong created before Data. DATA (to head) Do you have a name, sir? HEAD I am the B-9. PICARD Be-nign. Dr. Soong's penchant for whimsical names seems to have no end. HEAD (to Riker) You have a fuzzy face. PICARD (trying to ignore the head) Keep me informed, Number One, and, please, put him back together.He goes. Geordi and Data begin to reassemble the B-9 pieceby piece like the Tin Man as: DATA Can you tell me how you came to be on the planet where we found you? B-9 (blandly) I was taken from my homeworld by people called the "PakJeds." They are fat. They traded me to a ship belonging to the "Bolians." The "Bolians" are blue. They put me in a seat and asked me questions. Then they were attacked by another ship...Time passes...And still the B-9 is yammering blandly away. He is morefully assembled By this time Beverly is thoroughly bored. B-9 Then people called the Delviciansans picked me up. They have long teeth. They asked if I do anything to help them. I told them I could do whatever they wanted. They asked me to clean out the matrix manifolds. I told them I did not know what an Matrix manifold looks like. BEVERLY Excuse me. I have some diagnostics to run on some medical scanner things.She quickly exits. B-9 And after they showed me the "engine manifolds." Then they showed me something called a "plasma mop"Time passes...And still the B-9 is yammering away. He is almost completelyassembled by now. Riker is bored out of his mind. B-9 ... then the "Cardassians" put me into something called a "garbage chute" and I went out into space again -- WORF (V.O.) (ON COMM) Worf to Commander Riker. I have the tactical manifests ready, sir. RIKER (quickly tapping his comm badge) Worf! Wonderful! I'll be right there!... (he stands) Duty calls, gentlemen. Carry on.He escapes. B-9 Fuzzy face is gone. DATA Yes, please continue. B-9 I was in space for a long time. Then a ship belonging to the "Talosians" picked me up. They asked me where I came from. I told them people called the "Pakleds" took me from my homeworld. They are fat...Geordi groans.Time passes...And still the B-9 is yammering away. By this time Geordi isslumped in a chair and only Data is listening. The B-9 isfully assembled. B-9 Then I opened my eyes and saw you.A beat. The B-9 is finally done with his tale... DATA Do you know who I am? B-9 You are me. DATA No. My name is Data... I am your brother.INT. ENTERPRISE - CREW LOUNGE - NIGHTRiker and Deanna are having dinner with Worf. DEANNA (to Worf) ... and after the ceremony on Betazed, three entire weeks for our honeymoon. RIKER We're going sailing on the Opal Sea. We've booked an old-fashioned solar catamaran. Just us and the sun and the waves. WORF It seems a very... soft honeymoon. DEANNA (amused) It's meant to be relaxing. WORF A Klingon honeymoon begins with the Kholamar desert march where the couple bonds in endurance trials. If they survive the challenge they move on to the Fire Caves of Fek'lhr to face the demons of Gre'thor. RIKER Well, that sounds relaxing too. WORF It is... invigorating.They see Data enter the lounge, carefully leading the B-9. RIKER So they've got him up and running. WORF He's a very unusual android RIKER (smiles) Runs in the family.They watch as Data leads the B-9 to a table. Data instructshim to sit. The B-9 sits and stares forward placidly. Datashows him how use a napkin.A note of concern passes over Deanna's face as she watchesData and the B-9.There is something strangely poignant in the twin androids.One a bundle of curiosity and intelligence; the othersomewhat like a slow, simple child.INT. ENTERPRISE - READY ROOM - NIGHTPicard is at his replicator unit. PICARD Earl Grey, hot.A cup of tea appears. He takes it as the door chime sounds. PICARD Come. (Deanna enters) Counselor. DEANNA Do you have a moment, sir? PICARD Of course, sit down.He sits at his desk She sits across from him. DEANNA It's about Data I've watched him with the B-9 and I'm troubled. Data's desire for a "family" is very strong. I'm afraid he may be investing too much in the B-9. PICARD You're speaking of emotional investment? DEANNA The B-9 is like a slow child, sir. And Data, in his own way, has assumed the position of a parent or guardian. I'm afraid he has expectations based on his own experiences. He'll be disappointed when the B-9 cannot meet those expectations. PICARD As much as we care for him, Deanna... we have to remember that Data isn't capable of disappointment. DEANNA I don't believe that, sir. We've shared many disappointing journeys.A quiet beat. PICARD I'm going to miss you. DEANNA And I you.They are interrupted by a comm signal: RIKER (V.O.) (ON COMM) Captain, you have an Alpha Priority communication from Starfleet Command. PICARD Acknowledged... (Deanna stands) ... I'll talk to Data DEANNA Thank you, sir.She goes. Picard activates his desktop viewscreen.ADMIRAL KATHRYN JANEWAY appears on Picard's monitor. Janewayis the former captain of Voyager. Her new rank fits herwell, she has lost none of her dry humor and down-to-earthcharm which made her a household name and beloved cultfigure. PICARD Admiral Janeway. Good to see you. JANEWAY (ON VIEWSCREEN) Jean Luc... How'd you like a trip to Romulus? All expenses paid? PICARD (smiles) With or without the rest of the fleet? JANEWAY (ON VIEWSCREEN) A diplomatic mission. We've been invited, believe it or not. Seems there's been some kind of internal political shakeup. The new Praetor, someone called Shinzon, has requested a Federation envoy. PICARD New Praetor? JANEWAY (ON VIEWSCREEN) There's more... as always. He's Reman. (Picard is surprised) Believe me, we don't understand it either. You're the closest ship so I want you to high tail it over there and hear what he has to say. Get the lay of the land, If the Empire becomes unstable, it could mean trouble for the entire quadrant. PICARD Understood. JANEWAY (ON VIEWSCREEEN) We're sending you all the intelligence we have, but it's not much. I don't need to tell you to watch your back, Jean Luc. PICARD Not with the Romulans. JANEWAY (ON VIEWSCREEN) (smiles wryly) The Son'a, the Borg, the Romulans, the evil Soran and that pesky Nexus. You seem to get all the easy assignments! PICARD Just lucky, Admiral. JANEWAY (ON VIEWSCREEN) Let's hope that luck holds. Janeway out.The transmission ends.Picard sits for a moment, intrigued. Then he goes to thebridgeINT. ENTERPRISE - BRIDGE - FOLLOWINGPicard goes to his command chair: PICARD (to Helm) Lay in a new course... Take us to Romulus. Warp eight.The crew is shocked. HELM OFFICER Aye aye, sir. Course plotted and laid in... RIKER Romulus? PICARD I'm afraid the Opal Sea will have to wait, Number One... Engage.EXT. ENTERPRISE - SPACEAnd the Enterprise jumps to high warp -- disappearing in aflash of dazzling light. Yes!INT. ENTERPRISE - OBSERVATION LOUNGE - DAYData conducts a briefing for the senior officers. Monitorscurrently show an image of Romulus and Remus in orbit aroundtheir sun. DATA As you can see the habitable half of Remus is always in darkness because, like Mercury, one side always faces the sun. Due to the extreme temperatures on that half of their world, the Remans live on the dark side of the planet.Various grainy and unclear new images appear to illustrateData's words: DATA Almost nothing is known about the Reman homeworld, although intelligence scans have proven the existence of dilithium mining and heavy weapons construction.Very obscure images of Remans appear, the crew can barelymake out the monstrous figures: DATA The Remans themselves are considered an undesirable caste in the hierarchy of the Empire. RIKER But they also have the reputation of being formidable warriors. In the Dominion War, Reman forces were used as assault troops in the most violent encounters. PICARD (grim) Cannon fodder. GEORDI Then how did a Reman get to be Praetor? I don't get it. RIKER We have to assume he had Romulan collaborators. PICARD A coup d'etat? RIKER The Praetor's power has always been the Romulan fleet. They must be behind him.Picard considers this. PICARD (to Data) What have you learned about Shinzon?The images end. There are no images of Shinzon. DATA Starfleet intelligence was only able to provide a partial account of his military record. We can infer he is relatively young and a capable commander. He fought seventeen major engagements in the war. All successful. Beyond that, we know nothing. PICARD Well... it seems we're truly sailing into the unknown. Keep at it. Anything you can give me would be appreciated. Dismissed.The meeting breaks up.INT. ENTERPRISE - ENGINEERING LAB - DAYThe B-9 stares placidly forward.We pull back and discover that computer conduits connect theB-9's head to Data's head. Geordi monitors the connection. DATA At present he serves no useful function. Dr. Soong created us to become active and useful members of society. I do not believe he would have wanted the B-9 to live out his life in his present state. GEORDI I can't believe the Captain went along with a memory download. DATA Captain Picard agrees that the B-9 was probably designed with the same self-actualization parameters as myself. If my memory engrams are successfully integrated into his positronic matrix, he should have all my abilities. GEORDI He'd have all your memories too. You feel comfortable with that? DATA I feel nothing, Geordi. It is my belief that with my memory engrams he will be able to function as a more complete individual. GEORDI An individual more like you, you mean. DATA Yes. GEORDI Maybe he's not supposed to be like you. Maybe he's supposed to be just like he is.Geordi completes his work GEORDI Okay... we're done.Geordi removes the computer connections from between theirheads. He carefully closes the panel in Data's head as: DATA (to B-9) Do you know where you are? B-9 I am in a room with lights.He looks blankly at the console lights. DATA Can you remember our father? B-9 No.Data glances to Geordi. DATA Do you know the name of the Captain of this vessel? B-9 No. DATA Is that your final answer? GEORDI (to B-9) Do you know my name? B-9 You have a soft voice. GEORDI (gently) Data, he's assimilating a lot of programming. Remember, he's a prototype, a lot less sophisticated than you are. We just don't know if his matrix will be able to adapt. Or if he'll be able to retain anything. We should give him some time.Data has been studying some circuitry in the B-9's neck. DATA What purpose does this serve? GEORDI (also examining circuitry) It seems to be a redundant memory port. Maybe it's for provisional memory storage in case his neural pathways overload? DATA Dr. Soong must have found it unnecessary in later versions. GEORDI It's possible the extra memory port is interfering with the engram processing. Mind if I keep him here and run some diagnostics? DATA No, I do not mind.Data looks at the B-9 with a sort of sadness. DATA But I believe he will prove incapable of performing higher functions. GEORDI Don't give up hope, Data. I know, I know, you're not capable of hope. DATA (looking at B-9) I am not.Data stands. The B-9 stands to follow. DATA No, remain with Commander La Forge. He is going to try to make you well.The B-9 sits. Data goes. Geordi watches him go.EXT. ENTERPRISE - OVER ROMULUS - SPACEThe Enterprise is in orbit around Romulus. Remus can be seenin the distance. PICARD (V.O.) Captain's Log. Stardate 47844.9. The Enterprise has arrived at Romulus and is waiting at the designated coordinates. All our hails have gone unanswered. We've been waiting for seventeen hours.INT. ENTERPRISE - BRIDGE - FOLLOWINGThe crew is tense. Silence.Worf, at tactical, slowly stretches his neck. Trying torelease the tension. It cracks. Deanna jumps a bit. RIKER Why don't they answer our hails? PICARD It's an old psychological strategy, Number One. To put him in a position of dominance and make us uneasy. RIKER It's working. PICARD (to Deanna) Counselor? DEANNA They're out there, sir.Picard stands and walks to the viewscreen. He gazes atRomulus below and the black infinity of space beyond.They're out there, Waiting. WORF Sir, I recommend we raise shields. PICARD Not yet, Mister Worf. RIKER Captain, with all due respect to diplomatic protocols -- the Federation Council's not sitting out here, we are. PICARD Patience. Diplomacy is a very exacting occupation. We can wait. DATA Captain...And on the viewscreen.Shinzon's magnificent Reman Warbird, the SCIMITAR, decloaksdirectly before the Enterprise.EXT. OVER ROMULUS - SPACEOur first sight of this incredible ship is absolutelybreathtaking.Shinzon's vessel combines the clean lines of the traditionalRomulan Warbird with unique weaponry and styling. It ishuge, easily twice as large as the Enterprise. And it isaggressive. Awesome in its power.INT. ENTERPRISE - BRIDGE - FOLLOWINGThe crew gapes at the huge ship on the viewscreen. RIKER (slowly rising from his chair) My God... WORF (tense) Should I raise shields? PICARD No! WORF Captain -- ! PICARD (firm) Tactical analysis, Mister Worf. WORF (quickly analyzing tactical display) Fifty-two disruptor banks, twenty- seven photon torpedo bays, primary and secondary phased shields. RIKER She's not out for a pleasure cruise. PICARD (grim) She's a predator. WORF We're being hailed. PICARD On screen.And the image on the viewscreen transforms to:Shinzon's Viceroy.He stands on the Scimitar's bridge. The bridge is as uniqueas the rest of Shinzon's ship. Instead of the usualmechanical clutter, this bridge is designed with an almostAsian simplicity. Like the rest of Reman design, it is spareand elegant.Since the Remans are more comfortable in the darkness, mostof the light comes from the three steadily pulsing warp corerelays which dramatically soar up through the floor of thebridge.The crew gazes at the bridge and the monstrous features ofthe viceroy. VICEROY (ON VIEWSCREEN) Enterprise. We are the Reman Warbird Scimitar. PICARD Praetor Shinzon, I'm pleased to -- VICEROY (ON VIEWSCREEN) I am not Shinzon. I am his Viceroy. We are sending transport coordinates.The transmission ends abruptly. The Scimitar reappears onthe viewscreen. RIKER Not very chatty. PICARD Away team. Transporter room four.Picard, Riker, Deanna, Worf and Data head toward theturbolift, energized now that the endless waiting is over.INT. SCIMITAR - OBSERVATION LOUNGE - NIGHTThe away team materializes in the most striking location onShinzon's ship: a large observation lounge.It is a huge, empty chamber. No furniture. A simple Remanmat on the floor is the only decoration. At the very top ofthe room there is a large, etched glass dome.It is very dark.They turn when Shinzon speaks from the shadows: SHINZON (V.O.) I hope you'll forgive the darkness... we're not comfortable in the light. PICARD Praetor Shinzon?Shinzon moves toward them a bit, becoming slightly moreilluminated, the low light shining off his golden hair.The crew cannot see him clearly in the dim light but it isevident he is human. Assuming that he was Reman, they'resurprised by this realization.Shinzon just stares at Picard through the darkness for amoment. SHINZON Captain Picard... Jean Luc Picard... I don't mean to stare, it's just -- well, you can't imagine how long I've been waiting for this moment. I always imagined you taller, isn't that odd? (to Data) You may scan me without subterfuge, Commander Data.Data scans him with a tricorder as: PICARD And you're not as we imagined you. SHINZON No? WORF You are human. SHINZON Commander Worf. (he speaks in Klingon) I greet you as a valiant warrior... and as my brother. WORF (terse, in Klingon) I'll save my greetings for a better brother.Shinzon laughs, maniacally. PICARD Why have you asked for our presence here?Shinzon does not answer. He is staring deeply at Deanna,moans softly. PICARD Praetor? SHINZON (quietly) I've never met a human woman.He slowly moves toward her, still hidden in the shadows. DEANNA I'm only half human. SHINZON Deanna Troi of Betazed. Empathic and telepathic abilities, ship's counselor. All of this I knew... But I didn't know you were so beautiful. RIKER You seem very familiar with our personnel.Shinzon moves even closer to Deanna, not taking his eyes fromher. SHINZON I am, Commander Riker... (to Deanna) ... May I touch your hair? PICARD (firm) Praetor, we've come to Romulus on a matter we were -- assured was of great importance. If you have anything to say to us as representatives of the Federation, I suggest you do so now.Shinzon continues to stare at Deanna. It is strangelyseductive. Almost disquieting in its intensity. Deannahandles it with grace, her level gaze never leaving his. SHINZON (softly) On the world I come from there's no light. No sun. Beauty isn't important. I see now there's a world elsewhere. PICARD Praetor Shinzon. We're not here to discuss your lack of a social life. SHINZON (turning back to Picard) Yes, I'm sorry, Captain. (he smiles) There's so much we have to talk about. PICARD I would be interested to know what we are talking about. SHINZON Unity, Captain! Tearing down the walls between us to recognize we are one people. Federation and Romulan. Human and Vulcan and Klingon and Reman. I'm speaking of the thing that makes us the same. We want peace.Picard and the others are stunned. SHINZON I want to end the centuries of mistrust. I want to be your ally, not your enemy. As a first step I propose we eliminate the Neutral Zone and begin a free and open exchange of goods and ideas. PICARD And the Senate supports you? SHINZON (dry) I have dissolved the Senate.A beat. SHINZON Right now, you're thinking this all sounds too good to be true? PICARD Yes. SHINZON And you're wondering why the Scimitar is so well armed. Is this the ship of a peacemaker? Or a predator? (Picard is startled at Shinzon's choice of words) ... But you're also thinking the chance for peace is too promising to ignore. Above all, you're trying to decide if you can trust me. PICARD Yes. SHINZON Then perhaps the time has come to add some illumination to our discussion. Computer, raise lighting four levels.Lights shoot up around the room.For the first time the crew can see Shinzon clearly. Picardactually gasps when he sees Shinzon's face. The rest of thecrew doesn't understand his reaction. SHINZON Allow me to tell you a story that I hope will clarify my position. When I was very young I was stricken with an odd disease. I developed a hyper-sensitivity to sound. The slightest whisper caused me agony...Picard watches him carefully. Wary and strangely intense. SHINZON No one knew what to do. Finally I was taken to a doctor who had some experience with Terran illnesses and I was finally diagnosed with Shalaft's syndrome. Do you know of it, Captain? PICARD You know I do.The crew is dumbfounded at Picard's unusual reaction. SHINZON Then you know it's a very rare syndrome. Genetic. All the male members of my family had it. Eventually I was treated. Now I can hear as well as you can, Captain.He steps toward Picard who holds his ground. SHINZON I can see as well as you can. I can feel everything you feel. (He stops right before Picard) In fact, I feel exactly what you feel. Don't I, Jean Luc?Picard stares at him with a mixture of realization andcuriosity. It is as if Picard is looking into a strange,remembered mirror: Shinzon's face is nearly identical to hisat that age. SHINZON Do you trust me now?A beat. PICARD We need to talk, just you and I. SHINZON Come to dinner on Romulus tomorrow. Just the two of us. Or just the one of us. PICARD You know I need to verify this. SHINZON I know.The crew is utterly confused. Their confusion turns tooutright shock when Shinzon calmly pulls out a Reman knifeand cuts his arm, drawing a little blood. He hands the knifeto Data. SHINZON Tomorrow then, Captain. We have so much to discuss.Picard touches his communicator pin: PICARD Picard to Enterprise. Five to beam out.They dematerialize, the shimmering glow illuminatingShinzon's features. Picard's eyes never leave Shinzon asthe transporter effect ripples around him.INT. ENTERPRISE - SICKBAY - DAYBeverly stands with Picard, Riker and Deanna. The Remanknife is under a protonmicroscope and other medical readoutsand analysis are visible. BEVERLY There's no doubt, Captain. Right down to your regressive strain of Shalaft's Syndrome. He's a clone.A beat as the confirmation sinks in. PICARD When was he... created? BEVERLY About twenty-five years ago. They probably used a hair follicle or skin cell. PICARD (touching head) I think a skin cell's the more likely of the two. RIKER Why? PICARD Believe me, Number One; I'm going to find out. Contact Starfleet Command and inform them of the situation. I need to know where the hell he came from. Deanna.He goes, Deanna following.INT. ENTERPRISE - CORRIDOR - FOLLOWING DEANNA I would say he's been trained to resist telepathy. What I could sense of his emotions were erratic, very hard to follow. PICARD Is he sincere about wanting peace? DEANNA I don't know. (she stops him) Sir, the strongest sense I had was that he's more than curious about you. He very much wants to know you. (she looks at him deeply) The same way you want to know him. PICARD How could I not? DEANNA Captain, don't assume he's anything like you are. You should resist the urge to think you know him. PICARD I not only know him, Deanna, I am him... and he is me!He goes.INT. ENTERPRISE - RIKER AND DEANNA'S CABIN - NIGHTRiker is hard at work over a series of padds. He has beenworking for hours. DEANNA Will, you need to rest. (he continues to work) As ship's counselor, I'm recommending you get me sleep.Riker tosses a padd on the desk. Rubs his eyes. Looks upher. RIKER Some honeymoon.She smiles and goes to him. DEANNA We have time. (she kisses him) Come to bed.She pulls him up. RIKER Imzadi, what am I going to do with you?They kiss deeply. She pulls him across the room and theyfall into the bed.It is passionate, erotic. Her arms undulate around himsensually... her fingers snake through his hair, butsomething is wrong. Riker's hair is now blond.She starts back, her eyes growing wide.Riker is gone. She is now embracing Shinzon! SHINZON Imzadi. This is so good. DEANNA No!He caresses her face... SHINZON He can never know you as I know you... He can never touch you as I touch you. DEANNA This isn't real. SHINZON Can you feel my hands... are they real? Can you feel my lips, my loins?He kisses her neck -- but when he raises his head again. Itis the monstrous Viceroy! Holding her. Caressing her. Sheis frozen in horror. But is it the Viceroy at all?Shinzon's voice seems to come from the Viceroy's lips: SHINZON (V.O.) I'm with you, Imzadi...And then it is Shinzon again, kissing her: SHINZON I'll always be with you now. Now and forever... DEANNA You sick bastard!She pushes him away... RIKER Deanna?! What's with the name calling?It is Riker. She stares at him, then clings to himdesperately.EXT. ROMULAN SENATE - DAYThe Byzantine splendors of the Senate loom before us.INT. ROMULAN SENATE CHAMBER - DAYHeavy drapes are drawn against any hint of the sun. Shinzonis in conference with the Romulan Commanders and SenatorTal'Aura. Commander Donatra watches him closely.Commander Suran is angry, pacing. Shinzon stands. HisViceroy lurks in a corner. SURAN ... then I don't understand the reason for the delay! SHINZON You don't have to understand. SURAN And bringing the Enterprise here?! What possible purpose could that serve?! SHINZON I have a purpose. SURAN Then perhaps you will enlighten us? SHINZON (snaps) Silence, Romulan!A tense beat. Shinzon regains his composure. SHINZON You must learn patience, Commander. Do you know where I learned it? In the dilithium mines of Remus. Spend eighteen hours every day under the lash of a Romulan guard's whip and you'll soon understand patience. SURAN (carefully bows his head) Praetor. SHINZON Now go. I have some personal business.Suran and the others go.Donatra turns just as she is leaving the chamber, she seesthe Viceroy going to Shinzon. And then do something odd.The Viceroy puts his hand on Shinzon's chest, leans veryclose and talks to him quietly. This is an ancient form ofReman telepathic medical diagnosis.This strange sight perplexes Donatra. The doors close,blocking her view...INT. SENATE - CORRIDOR - FOLLOWINGWe go with Donatra and the other Romulans. Donatra speaksquietly to Suran: DONATRA How long before he has us in the dilithium mines?INT. ENTERPRISE - DATA'S CABIN - DAYThe B-9 sits placidly in a chair, staring forward.Then, as if a switch was thrown, he moves. He quickly risesand goes to a computer console. He efficiently startspunching in commands at an amazing velocity.INT. ROMULAN SENATE CHAMBER - NIGHTPicard and Shinzon sit alone in a corner of the sweepingSenate chamber. The remains of dinner before them. SHINZON And when I was ready they were going to replace you with me, an exact biological duplicate. Put a Romulan agent at the heart of Starfleet to influence your command structure. It was a bold plan. PICARD What happened? SHINZON As happens so frequently here on Romulus, a new government came to power. They decided to abandon the plan -- frankly, I think they were afraid I'd be discovered and it would lead to war. They weren't ready for that.Picard pours a glass of Romulan ale. SHINZON Romulan ale -- I'm surprised. I can't stand it. PICARD (smiles) You'll acquire a taste for it.A beat. They look at each other. SHINZON It's not quite the face you remember. PICARD Not quite. I envy the hairline. SHINZON A lifetime of violence will do that. My nose was broken four times. And my jaw... But so much is the same. The eyes, you recognize the eyes. PICARD Yes. The eyes have it. SHINZON Our eyes reflect our lives, don't they? Yours are so confident. PICARD How did you end up on Remus? SHINZON They sent me there to die. How could a mere human survive the dilithium mines? It was... (he can't find the words) ... I was a slave. And a monster. The only thing the Romulan guards hated more than the Remans was me. But one man took pity on me: the man who became my Viceroy. He taught me how to survive. And in that dark place, where there was nothing of myself, I found my Reman brothers. They showed me the only kindness I ever knew.A beat. He glances to the Romulan crest on the wall. SHINZON For thousands of years the Romulan Senate has met in this chamber and dictated the fate of its sister- planet... But the time has come for us to live as equals. PICARD You're doing this to liberate the Remans? SHINZON No race should be a slave to another.Picard is impressed with Shinzon's quiet words. SHINZON You don't trust me. PICARD I have no reason to. SHINZON Of course you do. If you had lived my life and experienced the suffering of my people... you'd be sitting where I am now. At least I hope you would. PICARD And if you had lived my life you would understand that there is a great responsibility in representing the Federation. I can't let my personal feelings unduly influence my decisions. SHINZON All I have is my personal feelings. I wasn't raised with the ideals of the Federation. But I'm trying to understand them now. To live up to them To live up to you.A beat. SHINZON I want to know where I come from. The Remans gave me a future. You can tell me about my past. PICARD There's so much, and so much of it is dull... SHINZON Were we always explorers? PlCARD No. I was the first Picard to leave Earth. It caused quite a stir, In fact. But I had spent my whole life... SHINZON (finishing the sentence) Looking up at the stars. PICARD Yes. SHINZON And you dreamed about what was up there. About... PICARD (finishing the sentence) New worlds.A beat.They both reach for a carafe of water at the exact sameinstant. Stop. PICARD After you, Praetor. SHINZON (smiles) Age before rank, Jean Luc.Picard smiles, pours a glass. PICARD So I'm not as tall as you expected? SHINZON I always hoped I would hit two meters. PICARD With a full head of hair. SHINZON (smiles) There is that.A quiet beat. PICARD Shinzon... I'm trying to believe you. SHINZON I know. PICARD If there's one ideal the Federation holds most dear it's that all men, all races, can be united. From the first time the Vulcans came to Earth we've sought a future of peace. Nothing would make me more proud than to take your hand in friendship. In time. When trust has been earned. SHINZON I'm honored to think I might someday speak with such eloquence.A beat. SHINZON In time, Jean Luc. PICARD In time.INT. SENATE CHAMBER - LATERPicard is gone. Shinzon sits, thinking. His Viceroy enters. VICEROY This is a mistake. SHINZON He's gentler than I thought. And he has a sense of humor. VICEROY (stern) Don't forget our mission, Shinzon. We should act. Now. Time is running out. SHINZON (snaps) My time. I'll spend it how I choose.A tense beat. SHINZON We'll return to the Scimitar. Prepare yourself for the bonding.INT. ENTERPRISE BRIDGE - NIGHTPicard emerges from the turbolift. Data, Worf and Geordiwait at the bridge engineering station. WORF Sir, we've had an unauthorized access into the main computer. PICARD Who was it? GEORDI It's going to take some time to find out -- the data stream was rerouted through substations all over the ship. PICARD What programs were accessed? GEORDI That's what I don't get -- it's mostly basic stellar cartography: star charts; communications protocols; some uplinks from colony tracking stations. It's not even restricted material. PICARD (to Worf) Set up a security program to detect any unusual data stream rerouting. If it happens again, we want to be ready. GEORDI (grim) There's something else. I was reviewing the sensor logs... (he refers to some readouts on his console) When the Scimitar decloaked there was a momentary spike in the tertiary EM band -- there -- You're not going to believe this but it's Thalaron.Picard is shocked.INT. SICKBAY - NIGHTPicard stands, concerned, with Beverly, Geordi and Data.Monitors showing Thalaron research are visible. PICARD ... I thought Thalaron radiation was theoretical. GEORDI Which is why our initial scans didn't pick it up. But he's got it, Captain. PICARD As I remember, Thalaron research was banned in the Federation because of its bioqenic properties. BEVERLY It has the ability to consume organic material at the subatomic level. I can't overestimate the danger of Thalaron radiation, Jean Luc. A microscopic amount could kill every living thing on this ship in a matter of seconds. PICARD Understood. Keep on it. I need to know what he has and how to neutralize any threat. Give me options.Picard goes. Data thinks for a moment. DATA Doctor, will you excuse us for a moment? Geordi, please come with me.He and Geordi head out. Beverly returns to some medicaldisplays showing Thalaron research, her expression deeplyconcerned.INT. ENTERPRISE - PICARD'S CABIN - NIGHTPicard is sitting at his desk, flipping through an old photoalbum. He stops and stares at one of the pictures deeplytroubled. We finally see the photo: Young Jean Luc Picard.A serious, unsmiling cadet at Starfleet Academy. The facebefore him bears a disturbing resemblance to Shinzon.The door comm chirps. PICARD Come... (Beverly enters) ... Beverly, come in. BEVERLY You're working late.She sits, notes the picture of Young Jean Luc. PICARD Remember him? BEVERLY He was a bit proud as I recall. PICARD He was a damn fool. Selfish and ambitious. Very much in need of seasoning. BEVERLY He turned out all right.He rises, goes to a window, gazes at the Scimitar in thedistance. A beat. PICARD I so wanted to believe Shinzon. But the Thalaron radiation can't be explained away. Whatever he's after, it's not peace. BEVERLY Is he very much like you were? PICARD Yes.Data interrupts on comm: DATA (V.O.) (ON COMM) Data to Captain Picard. Geordi and I have identified the source of the unauthorized computer access. And, I believe, we have also discovered an opportunity to gain a tactical advantage. PICARD (to comm) On my way... BEVERLY (stands) Jean Luc -- whatever you were -- right now you're the man you've made yourself. He's someone else. PICARD I wish I could believe that, Doctor.He goes.INT. ENTERPRISE - TURBOLIFT - MORNINGDeanna is alone on the turbolift. Then a voice makes herspin: SHINZON (V.O.) Imzadi...Shinzon stands across from her. DEANNA You're not here. SHINZON (moving to her) Very logical, Deanna... But your heart doesn't constrain itself to mere logic. (he caresses her) ... Your heart longs to discover me. To know me... (he kisses her) ... To leave all of this behind and be with me.He pushes her against the wall, with passion and almostviolence. DEANNA No... SHINZON I can feel your desire, Deanna...She forces herself to concentrate... to resisttelepathically... it is a mighty effort... this Romulan ishot. And the world around her appears to be changing...bending...And she is momentarily in a cabin on the Scimitar. Althoughentirely a telepathic experience, it is as if she hasactually traveled.She sees Shinzon kneeling over a small flame, she realizesshe is looking through the Viceroy's eyes.On the Scimitar, Shinzon looks up at the Viceroy/Deanna: SHINZON I can feel your hunger to know the Reman ways... the old ways.Then the world changes again...Deanna is on the turbolift. Shinzon is pressed against her,whispering: SHINZON Don't fear what you desire...She forces him away from her and --She is alone. She sinks to her knees. Overcome withemotion.INT. SCIMITAR - VICEROY'S CABIN - FOLLOWINGThe Viceroy, in a kind of trace, kneels before a small flame.Shinzon kneels across from him. The Viceroy raises his head. VICEROY The bond is broken. SHINZON Find her again. VICEROY No -- this is wasting time. SHINZON Do as I tell you!A Reman officer interrupts on comm: REMAN OFFICER (V.O.) Praetor, we've received the transponder signal. SHINZON (to comm) On my way.He begins to go -- but suddenly stops, a wave of illnessovertaking him.The Viceroy puts his hand on Shinzon's chest. A strangemoment as the Viceroy shuts his eyes and feels Shinzon'schest. His mind... probing.Then the Viceroy looks up at him, grim. VICEROY It's accelerating. You have no more time for games. SHINZON Have the doctors prepare. I'll be on the bridge.He goes.INT. SCIMITAR - BRIDGE - DAYShinzon stands with some REMAN ENGINEERS. SHINZON Transport.An Engineer activates a transporter and the B-9 materializes! SHINZON Welcome home. (to Engineers) Begin the download.Reman engineers go to the B-9 and open the panel in his neck,begin connecting computer conduits to the extra memory portwe saw earlier.(Note: Although the audience will not know it yet, this isactually Data pretending to be the B-9.)Shinzon goes to a replicator unit and orders: SHINZON Tea, hot.A cup of tea appears. He takes it and sips as he watches hisEngineers connecting the conduits to the B-9.INT. ENTERPRISE - SICKBAY - DAYBeverly is scanning Deanna. Picard and Riker watch,concerned. BEVERLY Aside from slightly elevated adrenalin and serotonin levels, you're completely normal. PICARD (gently) Can you describe it, Deanna?She looks at Picard, tears in her eyes. DEANNA It was... a violation.Riker takes her hand. DEANNA (with difficulty) Shinzon's Viceroy seems to have the ability to reach into my thoughts. I've become a liability... I request to be relieved of my duties. PICARD Permission denied. If you can possibly endure any more of these assaults. I need you at my side. Now more than ever I...But before the words are out of his mouth... he begins todematerialize! RIKER (to comm) Worf! Raise Shields !But Picard is gone.EXT. OVER ROMULUS - SPACEThe Scimitar cloaks.INT. SCIMITAR - BRIG - NIGHTPicard stands in the Reman brig. His communicator pin hasbeen removed.Beyond the security force field a ghoulish medical apparatusis being prepared. A metal chair with laser scalpels, IVtubes and hyposprays connected to it. Reman doctors workover the mysterious chair.Shinzon enters with the B-9 following. Shinzon stands on theother side of the force field.Picard notices something immediately. Tiny veins are nowvisible on Shinzon's face; the faintest sign of an intricatespider-web pattern of pale blue veins. SHINZON Hello, Jean Luc. PICARD Why am I here? SHINZON I was lonely... (he realizes Picard is staring at the veins on his face) Perhaps I'm not aging as well as you did.He nods to a guard. The guard deactivates the force field.A Reman doctor enters and raises a hypospray toward Picard. PICARD (resists) What are you doing? SHINZON I need a sample of your blood. What do your Borg friends say? Resistance is futile. (maniacal laugh)The Doctor takes a quick sample of Picard's blood as Picardglances to the B-9. SHINZON Yes. The bait you couldn't refuse. I learned there might be an existing prototype from a Cardassian historian, then went to a great deal of trouble to find it and scatter it about on Kolarus III. I knew it would pique your curiosity and conveniently make the Enterprise the closest ship to Romulus when I contacted Starfleet.The Reman doctor leaves the cell. The force field isreactivated. The doctor goes to the mysterious medicalapparatus and analyzes Picard's blood. As: PICARD All of this so you could capture me? SHINZON Don't be so vain. After we found it, we made a few modifications. An extra memory port, a hidden transponder. Perhaps your eyes will be a bit less confident when you learn I've gained access to Starfleet's communications protocols. I now know the location of your entire fleet... (to B-9) ... You may go. B-9 Where? SHINZON Out of my sight.The B-9 obediently leaves the room as: SHINZON Maybe I'll train it to do little tricks for me like your robot does. Or maybe I'll snap its ugly head off. PICARD What's this all about? SHINZON It's about destiny, Picard. About a Reman outcast who -- PICARD You're not Reman. SHINZON And I'm not quite human. So what am I? What do you see? (he peers at Picard deeply) Do you see a life you might have led? Lost youth never to be recaptured? PICARD I see a young man trying desperately to deny who he is. SHINZON I see an old man, set in his ways, afraid to live without a uniform to prop him up and a Starfleet regulation to tell him what to do. I see the man I will never be. PICARD I won't defend my life to you. SHINZON My life is meaningless as long as you're alive. What am I while you exist? A shadow? An enigma? PICARD (stern) If your issues are with me... This has nothing to do with my ship and nothing to do with the Federation. SHINZON Oh, but it does. We will no longer bow like slaves before anyone. Not the Romulans and not your mighty Federation. We're a race bred for war. For conquest. PICARD Think about what you're doing, Shinzon. Are you ready to plunge the entire quadrant into war to satisfy your own personal demons? SHINZON It amazes me how little you know yourself. PICARD I'm incapable of such an act, and so are you. SHINZON I think the facts speak for themselves. The same noble Picard blood runs in our veins. Had you lived my life, you'd be doing exactly as I am. Look in the mirror, and see yourself.Shinzon looks at him deeply. SHINZON Consider that, Captain. I can think of no greater torment for you.He turns to go. PICARD It's a mirror for you as well...Shinzon turns back to him.A beat. Picard gazes at him evenly.Picard's probing gaze makes Shinzon a bit uneasy. He glancesto the ghoulish medical preparations. SHINZON Not for long, Captain. (back to Picard) I'm afraid you won't survive to witness the victory of the echo over the voice.He goes.INT. ENTERPRISE - BRIDGE - NIGHTThe ship is on Red Alert. Worf stands at tactical, musclescoiled, hungry for action. WORF No response to our hails.Geordi is hard at work at the Science station. Riker standsover him: GEORDI (frustrated) His cloak is perfect... no tachyon emissions, no residual antiprotons. RIKER Keep at it, Geordi. Find a way in.Beverly arrives on the bridge, urgent. She carries a medicalpadd. BEVERLY Will, I need to talk to you.INT. SCIMITAR - BRIG - NIGHTPicard stands in his cell, peering at the edges of thesecurity force field, trying to spot any weakness.Then the B-9 enters the brig, he holds a Reman disruptorweapon. B-9 (to Reman guard) I am to take the prisoner to the Praetor.The Reman Guard deactivates the force field. B-9 If you resist, I will incapacitate you.He leads Picard out.INT. SCIMITAR - CORRIDORS - FOLLOWINGThe B-9 leads Picard through the dark corridors, holding thedisruptor on him steadily. All the Remans they pass glare atPicard with undisguised loathing.The Viceroy approaches. Stops before them. VICEROY (to B-9) Where are you taking him? B-9 Praetor Shinzon wants him on the bridge.The Viceroy turns his malevolent gaze on Picard. VICEROY So, human... you've met your better self! PICARD What are you doing to Counsellor Troi? VICEROY I'm preparing her for Shinzon... To sooth him as she soothes you. To stand at his side as she does at yours. PICARD That will never happen. VICEROY Listen to him, android. Such a small and weak creature. Yet he roars so valiantly... (he raises one taloned claw and puts a sharp fingernail on Picard's chest) It would take me but an instant to tear that valiant heart from your chest. PICARD There'll be another after me. And another after that. You'll find we're a resilient species. VICEROY I look forward to the sport. (to the B-9, harshly) Take him.The B-9 prods Picard's back roughly with the disruptor.Picard grimaces in pain B-9 Move.The Viceroy continues away down the corridor. The B-9 leadsPicard along. PICARD (whispers) Be careful of over-playing your part, Commander!And the audience now realizes it is Data pretending to be theB-9 and rejoices. DATA Sorry, sir. I thought it added a touch of reality to the performance.They are silent as they pass a few Reman guards. Then: DATA My mission was a success, sir. I have discovered the source of the Thalaron radiation. PICARD Good work. The download? DATA He believes he has our communications protocols. But they will give him inaccurate locations for all Starfleet vessels.Data assumes the B-9's posture again as they pass some someReman Warriors. DATA Move, puny human animal.They pass the Warriors. PICARD A bit less florid, Data. DATA Aye, sir... This way.He leads Picard down the corridor.INT. SCIMITAR - GENERATION CHAMBER - NIGHTData leads Picard into a massive chamber that soars up like acathedral. It is the size of a small town.The whole, cavernous chamber pulses with glowing green light. DATA This entire ship is, essentially, a flying Thalaron generator. (he points up) All its power relays lead to that device.High above them, at the very top of the chamber, is agigantic version of the spider-weapon we saw kill all theRomulan Senators before. It is breathtaking. PICARD A weapon. DATA It would appear so.Data rotates his left hand and then slides it forward,exposing a hidden compartment in his wrist. He removes asmall, silver disc. This is a cool new piece of Federationtechnology called an ETU. (Emergency Transport Unit.) DATA Geordi equipped me with the prototype for the Emergency Transport Unit. I recommend you use it to return to the Enterprise. PICARD It'll only work for one of us. DATA Yes, sir. PICARD We'll find a way off together. Recommendations? DATA There is a shuttlebay 948 meters from our current location.Data inserts the ETU back into his wrist and they leave thechamber.INT. SCIMITAR BRIDGE - NIGHTThe Viceroy arrives on the bridge, stops. VICEROY Where's Picard?Shinzon looks at him, confused.INT. SCIMITAR - CORRIDORS - NIGHTSecurity alert klaxons suddenly begin to howl and harsh Remancommands are broadcast through the corridors. DATA This way, sir!They sprint down the twisting, dark corridors -- Remanwarriors suddenly appear before them! -- Data fires thedisruptor as Picard launches himself into them --A fight -- Picard uses a dazzlinq series of Starfleet hand-to-hand maneuvers -- he dramatically subdues the Remans.More Reman warriors appear down the corridor. Picard grabs adisruptor.And instantly spins to fire a blazing disruptor. A battlebreaks out in the corridor -- the energy beams and explosionsilluminating the violent fire fight in strobe-like bursts.They run to another corridor and finally arrive at theshuttlebay door -- it does not open. DATA (looking at door security panel) It seems to have an encrypted security system.Reman warriors are closing in on them.Data tosses his disruptor to Picard -- Picard catches it andinstantly spins and fires -- he uses both disruptors to firedown both ends of the corridor like a Western sheriff --keeping the Remans at bay --As Data uses both hands to punch numbers into the shuttlebaydoor security panel at an amazing rate -- PICARD Alacrity would be appreciated, Commander. DATA They are trying to override the access codes. Reman is really a most complex language with pictographs representing certain verb roots and -- PICARD While I find that fascinating, Data, we really need that Goddamned door open!The shuttlebay door slides open.Picard lays down a blistering barrage of cover fire as he andData duck into the shuttlebay.INT. SCIMITAR - SHUTTLEBAY - FOLLOWINGWhen the door closes behind them, Picard turns and fires adisruptor blast -- sealing the door mechanism.They turn to face...A fleet of very small shuttles. They are uniquely designed.Extremely compact and stream-lined. A disruptor turret oneach.They move toward one as: DATA According to the ship's manifest they are Scorpion-class attack fliers.They quickly climb a Scorpion.INT. SCORPION COCKPIT - SHUTTLEBAY - FOLLOWINGThe cockpit of the Scorpion is cramped. Picard climbs intothe pilot's position. Data assumes the gunner's position.They see disruptor fire trying to burn through the door tothe shuttlebay -- Picard powers up the Scorpion as: PICARD (trying to figure out the controls) What do you imagine this is? DATA Port thrusters, sir. Would you like me to drive?Picard shoots him a look and presses some controls. TheScorpion lifts off. Hovers a few feet over the deck. Picardelegantly swings it around toward the large shuttlebayexternal doors as: PICARD Can you open the shuttlebay doors? DATA (working controls) Affirmative, sir. Negative, sir. They have instigated security overrides and erected a force field around the external portals. PICARD Well then... only one way to go.He swings the Scorpion around again so it is facing the doorsthey came through, the doors back into the ship.Data is dubious. DATA Do you think this is a wise course of action? PICARD We're about to find out... Power up disruptors and fire on my mark. DATA Ready, Captain. PICARD Fire!And the Scorpion's forward disruptors fire! The doors intothe ship explode! Picard powers forward!INT. SCIMITAR CORRIDORS - FOLLOWINGAnd the Scorpion shoots into the corridor, past the stunnedRemans. Picard banks sharply -- careens off the far side ofthe corridor but keeps control.The Scorpion zooms down the corridor.INT. SCORPION COCKPIT - SCIMITAR - FOLLOWINGPicard is concentrating intensely -- it is like trying tocontrol the world's fastest roller coaster.INT. SCIMITAR - CORRIDORS - FOLLOWINGThe Scorpion banks around a corner --it zigs and zags throughthe ship at breakneck speed --INT. SCIMITAR - OBSERVATION LOUNGE - NIGHTThe doors to the observation lounge EXPLODE in.The Scorpion SHOOTS into the room and up --A disruptor blast SHATTERS the etched glass dome at the topof the room --And the Scorpion ZOOMS triumphantly into space!EXT. OVER ROMULUS - SPACEThe Scorpion seems to appear from nowhere -- slicing throughthe cloak of invisibility around the Scimitar --INT. ENTERPRISE - BRIDGE - FOLLOWINGThe crew sees the Scorpion appear on the viewscreen. RIKER Worf! Lock on transporters!INT. SCIMITAR BRIDGE - FOLLOWINGShinzon sees the Scorpion as well. SHINZON Tractor beam! Now!EXT. OVER ROMULUS - SPACEBut they are too late -- the Scorpion dematerializes --INT. ENTERPRISE - CARGO BAY - FOLLOWINGAnd materializes in one of the Enterprise's cargo bays.Picard and Data climb out -- PICARD (to comm) Number One, emergency warp!EXT. OVER ROMULUS - FOLLOWINGThe Enterprise dramatically powers forward and up -- rollingover in a great arc going into warp while still upside down.It disappears in a blaze of light. Fade to...INT. SCIMITAR - BRIDGE - NIGHTShinzon sits in his command chair as the ship streaks throughspace. He speaks on viewscreen with his Romulancollaborators. His face is even more finely veined now. SHINZON The Enterprise is immaterial! They won't make it back to Federation space. SURAN (ON VIEWSCREEN) (angry) This has gone far enough! SHINZON I thought we discussed patience, Commander. SURAN (ON VIEWSCREEN) And mine is wearing thin, young man! We supported you because you promised action. And yet you delay and you waste your time playing games with Picard while --Shinzon stands and briskly pulls down his uniform tunic exactly as we've seen Picard do a thousand times. SHINZON Commander Suran, the games are over. In two days the Federation will be crippled beyond repair. Does that satisfy you? SURAN (ON VIEWSCREEN) (grim) For the moment. SHINZON (brutal) And when I return... you and I shall have a little talk about showing proper respect!INT. ROMULAN SENATE - CHAMBER - FOLLOWINGThe viewscreen picture of Shinzon snaps out. The Romulan sitfor a silent beat. DONATRA Does anyone in this room harbor any illusions about what he means by "showing proper respect"? TAL'AURA What's happening to his face? SURAN I want opinions. He is clearly out of his mind. SURAN But can he complete his mission? DONATRA Should he?They look at her. DONATRA Are you prepared to have your hands drenched in blood? He'll show them no mercy. And his sins will mark us all for generations. Is that what you truly want, Romulans?A beat. DONATRA I think you should consider that question now -- or else you may have a lifetime to think about it in the dilithium mines.She turns and stalks out.INT. ENTERPRISE - READY ROOM - NIGHTBeverly sits with Picard and Riker. BEVERLY The more I studied his DNA the more confusing it got. Finally I could only come to one conclusion... Shinzon was created with temporal RNA sequencing. He was designed so that at a certain point his aging process could be accelerated to reach your age more quickly, so he could replace you. PICARD But the Romulans abandoned the plan... BEVERLY As a result the temporal sequencing was never activated. Remember, he was supposed to replace you at nearly your current age. He was engineered to skip thirty years of life. But since the RNA sequencing was never activated, his cellular structure has started to break down. He's dying. PICARD Dying? RIKER He wasn't designed to live a complete, human life span. PlCARD Can anything be done for him? BEVERLY Not without a complete myelodysplastic infusion from the only donor with compatible DNA. But that would mean draining all your blood. RIKER That's why he went to all that trouble to capture you. PlCARD How long does he have? BEVERLY I can't be sure but the rate of decay seems to be accelerating.Picard considers this. PICARD Then he'll come for me as a donor.INT. ENTERPRISE - DATA'S CABIN - NIGHTData stands before the B-9.The B-9 has been deactivated, he stands lifeless andimmobile. Data gazes deeply into his double's identicalfeatures. Then he opens a panel in the B-9's neck and uses asmall instrument to activate the android's head.The B-9's eyes spring to life. He looks at Data. B-9 Brother. I cannot move. DATA No, I have only activated your cognitive and communication subroutines. B-9 Why? DATA Because you are dangerous. B-9 Why? DATA You have been programmed to gather information that can be used against this ship. B-9 I do not understand. DATA I know.A beat. DATA Do you know anything about Shinzon's plans against the Federation? B-9 No. DATA Do you have any knowledge of the tactical abilities of his ship? B-9 No. Can I move now? DATA No. I must deactivate you. B-9 For how long? DATA Indefinitely. B-9 How long is that?A beat. Data gazes at the B-9 deeply. DATA A long time, brother.Data reaches forward and deactivates his brother.The B-9's eyes lose the spark of life. He stands, frozen.Data stands before him.INT. ENTERPRISE - OBSERVATION LOUNGE - NIGHTPicard is gathered with his senior officers.A computer display illustrates Geordi's words about the powerof Shinzon's weapon. We see a chilling graphic of theBiogenic Pulse beam spreading around a ship, then a wholeplanet. GEORDI It's called a Cascading Biogenic Pulse. The unique properties of Thalaron radiation allow the energy beam to expand almost without limits. Depending on the radiant intensity it could encompass a ship... or a planet. PICARD (thinking) And that's exactly what he's going to do. RIKER Sir? PICARD His hatred of the Federation is apparent. He would have built a weapon of that scope for one reason. He is going after Earth. RIKER Oh boy. Destroy humanity and the Federation is crippled... PICARD And the Romulans invade. DEANNA How can you be certain? PICARD I know how he thinks.A beat. RIKER (to Geordi) And there's no way to penetrate his cloak? GEORDI No, sir. RIKER (frustrated) He could pass within 10 meters of every ship in Starfleet and they'd never know. BEVERLY But we do have one advantage. (to Picard) He needs your blood to live. He might come after you first. PICARD I'm counting on it... We've been ordered to head to sector 3274. Starfleet is diverting the fleet to meet us there. RIKER Strength in numbers? PICARD We can only hope so.A beat as he looks at them gravely. PICARD He can't be allowed to use that weapon. All other concerns are secondary. Do you understand me?Riker knows exactly what Picard is saying: the Enterprise isexpendable. RIKER Yes, sir.Picard stands. Presses a comm button. PICARD All hands. Battle stations.INT. ENTERPRISE - VARIOUS ANGLESWe see a montage of the Enterprise preparing for battle.Crew members assume battle stations. Weapons locker ringopen and Security Officers hand out sidearms and phaserrifles.Geordi and his Engineers establish emergency force fieldaround the warp core.Riker and Worf brief officers on tactical plans...Data works at the bridge Science Station, analyzing data onShinzon's ship.Picard walks through the corridors, he stops to talk withapprehensive young ensign.As we hear: PICARD (V.O.) Captain's Personal Log. Supplemental. We're heading toward Federation space at maximum warp. The crew has responded with the dedication I've come to expect of them. And like a thousand other commanders on a thousand other battlefields throughout history, I wait for the dawn.The montage ends as...INT. ENTERPRISE - SICKBAY - NIGHTPicard enters sickbay.Dr. Crusher and her medical staff are hard at work. Theyposition anti-grav gurneys and ready medical supplies.Security officers are handing out phasers.Picard watches the grim preparations. Beverly goes to him,bolstering her phaser. PICARD (quietly) To seek out new life and new civilizations. Zephyr Cochran's own words. When Charles Darwin set out on the H.M.S. Beagle, on his journey into the unknown... he sailed without a single musket. BEVERLY (gently) That was another time. PICARD How far we've come. Let me know if you need anything.He starts to go -- BEVERLY Jean Luc... (he stops) ... He is not you.A beat. PICARD What makes us who we are, Doctor? Can you tell me that?She watches him go.INT. SCIMITAR BRIDGE - NIGHTShinzon sits in his command chair, lined with veins now.His Viceroy again has his hand pressed to Shinzon's chest. SHINZON How long? VICEROY A matter of hours now --Shinzon shoves him away. Stands. VICEROY If you don't begin the procedure soon you'll never make it back to Romulus. You shouldn't have delayed. You should have killed Picard the moment --Shinzon slams his command chair in fury. The Viceroy watcheshim carefully.A beat. Shinzon regains his composure. He sits again in hiscommand chair. SHINZON How long until we reach the Rift? VICEROY (checks a console) Seven minutes.Shinzon leans back, satisfied. And looks at the viewscreen.The image on the viewscreen is shocking.The Enterprise only a few hundred yards away.EXT. ENTERPRISE - SPACEThe Enterprise zooms through space.Completely unaware of the predator directly above it.INT. ENTERPRISE - ASTROMETRICS - NIGHTData is at work in Astrometry. Cartographic projections ofstar systems ebb and flow on a large screen before him.Picard enters. PICARD Show me our current position.The images before them quickly change to show another sectorand a blip representing the Enterprise. PICARD How long until we reach the fleet? DATA At our current velocity we will arrive at sector 3274 in approximately 40 minutes.The images before them change to show sector 3274. We seeblips denoting Starfleet ships moving into position.Picard gazes at the projection of stars before them for amoment. PICARD (quietly) "For now we see but through a glass darkly..." He said he's a mirror. DATA Of you? PICARD Yes. DATA I do not agree. Although you share the same genetic structure, the events of your life have created unique individual. PICARD But so much is the same. On a biological level he is... and I will not accept the idea that there is nothing I can do. I have a responsibility to try to make a human connection with him. DATA He would deny a "human" connection is possible. He considers himself entirely Reman. PICARD He may have already rejected my humanity, but you also have a twin. DATA No, sir, it is not possible. The B-9 is physically identical to me, although his neural pathways are not as advanced. But even if they were, he would not be me. PICARD How can you be sure? DATA I aspire, sir. To be better than I am. The B-9 does not. Nor does Shinzon.A beat. PICARD We'll never know what Shinzon might have been. Had he stood where I did as a child? And looked up at the stars.Picard's words linger in the air for a moment.Then the projections before them sputter with static for amoment. Flickering. DATA (working controls) We are passing through the Bassen Rift. The projections will return when we have cleared it. PICARD It's interfering with our uplink from Starfleet cartography? DATA Yes, sir. The Rift effects all long-range communications -- PICARD (urgent, to comm) Commander Riker, evasive maneuvers!Too late.The ship QUAKES -- a photon torpedo blast -- the Enterpriseis under attack!EXT. THE RIFT - SPACEDisruptor beams appear from nowhere -- streaking throughspace -- slamming into the Enterprise's warp drive. TheEnterprise recoils, dangerously dropping out of warp in afurious lurch.The Bassen Rift is a strange area of electromagneticdistortion. Energy patterns crackle through space.INT. SCIMITAR BRIDGE - FOLLOWINGShinzon sits in his command chair. The viewscreen shows theEnterprise before him. SHINZON Target weapons systems and shields. I don't want the Enterprise destroyed.On the viewscreen, we see disruptor blasts streaking from theScimitar -- slicing into the Enterprise. SHINZON Can you learn to see in the dark, Captain?INT. ENTERPRISE - BRIDGE - FOLLOWINGPicard and Data emerge from the turbolift as the shipROCKS -- PICARD Report. RIKER He's firing through his cloak. We can't get a lock. GEORDI (at engineering station) He disabled our warp drive with his first shot. We've only got impulse. WORF Long range communication is impossible as long as we're in the rift --The ship SHUDDERS again -- PICARD Worf, prepare a full phaser spread, zero elevation. All banks on my mark. Scan for shield impacts and stand by photon torpedoes. WORF Aye, sirThe ship ROCKS again. PICARD Fire!EXT. THE RIFT - SPACEThe Enterprise fires her phasers simultaneously -- the energybeams shoot into space --And the Scimitar's shape is momentarily illuminated as one ofits shields is hit.Photon torpedoes immediately shoot from the Enterprise -- butpass harmlessly through the area where the Scimitar's shieldswere momentarily illuminated.INT. SCIMITAR - BRIDGE - FOLLOWING SHINZON You're too slow, old man. (entering commands in his chair console) Attack pattern Shinzon Theta.EXT. THE RIFT - SPACEThe invisible Warbird makes a dramatic run straight over theEnterprise -- firing steadily down as it sweeps past it; is abrutal, close range assault --INT. ENTERPRISE - BRIDGE - FOLLOWINGThe bridge SHAKES violently under the ruthless attack-- DATA We are losing dorsal shields -- PICARD Full axis rotation to port! Fire all ventral phasers!EXT. THE RIFT - SPACEThe Enterprise instantly complies -- Rolling completely overto the left, firing phasers up as Shinzon's invisible shipstreaks above it --A few lucky phaser shots from the bottom of the Enterprise --now shooting upward -- manage to momentarily illuminate thebottom shields of the Scimitar as it sweeps past above.INT. ENTERPRISE BRIDGE - FOLLOWING WORF Minimal damage to the Scimitar. RIKER (to Helm) Defensive pattern Kirk Epsilon. Geordi, get those shields online. PICARD (to comm) Counselor Troi, report to the bridge. RIKER Unless we can disable his cloak we're just going to be firing in the dark. PlCARD Agreed. WORF Sir, we're being hailed. PICARD On screen.Shinzon appears on the viewscreen. He is on the bridge ofthe Scimitar. SHINZON (ON VIEWSCREEN) Captain Picard, will you join me in your Ready Room?INT. ENTERPRISE - READY ROOMPicard stands in his Ready Room. A flickering light shimmersacross the room. And a perfect holographic representation ofShinzon appears before him. SHINZON You can't trace my holographic emitters, Captain. So don't bother. And you can't contact Starfleet. We're quite alone. PICARD We are. SHINZON It's just the two of us now, Jean Luc, as it should be... Your ship and mine... You and me. PICARD Why are you here? SHINZON To accept your surrender. I can clearly destroy you at any time. Lower your shields and allow me to transport you to my ship. PICARD And what of the Enterprise? SHINZON I have little interest in your quaint vessel, Captain. If the Enterprise will withdraw to a distance of one hundred light years, it will not be harmed. PICARD You know that's not possible. SHINZON I know... you'll all gladly die to save your home world. PICARD (intense) Look at me, Shinzon! Do you feel the blood pumping inside you? Your hands, your eyes, your nature, are the same as mine. Buried deep inside you beneath the years of pain and anger is a capacity you've forgotten. It's the one way our mirror can reflect the two of us exactly because it's the very thing that truly defines us. To be human is to try to make yourself better than you are.Picard looks at him deeply, relentlessly refusing to give up. PICARD I know you as well as I know myself, Shinzon. There was a time you looked at the stars and dreamed of what might be. SHINZON (quietly) Long ago. PICARD Not so long. SHINZON Childish dreams, Captain. Lost in the dilithium mines of Remus. I'm what you see now. PICARD I see more than what you are.Picard steps toward him. PICARD I see what you could be.Shinzon slowly backs away as Picard continues to move towardhim relentlessly. PICARD The man who is Jean Luc Picard and Shinzon of Remus won't exterminate the population of an entire planet! He is better than that! SHINZON (desperate) He is what his life has made him!Shinzon is in turmoil. Picard senses this. He proceedsquietly: PICARD And what will he do with that life?Shinzon looks at him, questioning. PICARD If I were to beam to your ship... let you complete your medical procedure, give you a full life... what would you do with the time?Shinzon doesn't respond. PICARD You once asked me about your past. Your history. When I was your age, I burned with ambition. I was very proud and my pride often hurt people. I made every wrong choice a young man can... But one thing saved me... I had a father who believed in me. Who took the time to teach me a better way. You have the same father. SHINZON Yes. PICARD So if I gave you my life, what would you do with it? Would you spend the years in a blaze of hatred as you are now? Or could you change? Could you try to remember a mother's touch you never felt? A father's words you never heard? Could you do that? SHINZON (quietly) I don't know. PICARD But you want to.Shinzon doesn't respond. But Picard knows he has made aconnection. For this brief moment reconciliation ispossible. He proceeds quietly: PICARD Let me tell you about our father.Shinzon looks at him with an aching sadness. What might havebeen. SHINZON That's your life... not mine. PICARD Please. SHINZON It's too late. PICARD You can still make a choice! Make the right one now! SHINZON I have no choices! I can't fight what I am!Shinzon backs away, unable to fight his nature: SHINZON I'll show you my true nature. Your nature. And as Earth dies -- remember that I'm forever Shinzon of Remus! And my voice will echo through time long after yours has faded to a dim memory.Shinzon ends the transmission and his holographic imageflickers and fades away.Picard stands alone, drained.INT. SCIMITAR - BRIDGE - FOLLOWINGShinzon strides quickly to his command chair, barking to hisViceroy: SHINZON Disable their weapons!But before the Viceroy can move the Scimitar suddenly ROCKS-- attacked from somewhere! Shinzon is stunned. SHINZON Report! REMAN OFFICER Two ships decloaking, sir! Romulan!INT. ENTERPRISE - BRIDGE - FOLLOWINGPicard strides to his command chair as two Romulan Warbirdsappear on the viewscreen. Deanna is now on the bridge. RIKER Believe it or not, I think the cavalry has arrived. WORF We're being hailed. PICARD On screen.On the viewscreen: Commander Donatra shimmers into view. DONATRA (ON VIEWSCREEN) Captain Picard, Commander Donatra of the Warbird Valdore. Might we be of assistance? PICARD Your timing is impeccable, Commander. DONATRA (ON VIEWSCREEN) The Empire considers this a matter of internal security. We regret you've become involved. PICARD When this is over, I owe you a drink.On the viewscreen, the Valdore ROCKS from a disruptor blast. DONATRA (ON VIEWSCREEN) Romulan ale, Captain. Let's get to work. Valdore out.The transmission ends. PICARD (to Worf) You heard the lady. Get to work. Move your ass!(The Romulan Warbirds must remain decloaked to fire weaponsand are visible throughout the battle.)Although Shinzon's ship is still cloaked, the steady barrageof triangulated phaser and disruptor fire from the Enterpriseand the two Romulan vessels illuminate its shields withimpacts.INT. ENTERPRISE - BRIDGE - FOLLOWING PICARD (to Worf) Coordinate our attack with the Valdore's tactical officer. Triangulate fire on any shield impacts. WORF Aye, sir.The Enterprise ROCKS from a photon torpedo impact -- DATA Aft shields are down to forty percent. RIKER (to Helm) Keep our bow to the Scimitar. Auxiliary power to forward shields.INT. SCIMITAR - BRIDGE - FOLLOWINGShinzon sits quite calmly in his command chair. SHINZON Target the flanking Warbird. All forward disruptor banks on my mark.EXT. THE RIFT - SPACEIt is a chaos of starships as the Enterprise and the twoWarbirds fire steadily -- illuminating the Scimitar'sshields.The ships sweep around one another, maneuvering for position,firing constantly. The battlefield seems impossibly crowdedas the four vessels evade and attack; as phaser and disruptorbeams criss-cross space.Then the Scimitar unleashes a devastating volley... all herforward disruptor banks fire at once --They literally cut one of the Romulan ships in half -- a hugeEXPLOSION -- debris SHOOTS across space and SLAMS VIOLENTLYoff the Enterprise's forward shields -- !INT. ENTERPRISE - BRIDGE - FOLLOWINGThe ship ROCKS dangerously! DATA Forward shields are down to ten percent. RIKER (to Helm) Bring us about!EXT. THE RIFT - SPACEThe Enterprise quickly turns about -- firing her aft phasers,as the Valdore sweeps toward Shinzon's ship, firing --INT. SCIMITAR - BRIDGE - FOLLOWING SHINZON Let her pursue -- drop cloak on the aft port quadrant and prepare for full emergency stop. VICEROY (startled) What?! SHINZON You heard me.INT. VALDORE - BRIDGE - FOLLOWINGDonatra leans forward in her command chair, looking atviewscreen. She sees part of the Scimitar's rear cloakningfall away -- DONATRA She's losing her cloak! Stand by all forward disruptor banks!INT. SCIMITAR - BRIDGE - FOLLOWING VICEROY She's almost on us. SHINZON Not yet.On the viewscreen we see the Valdore in pursuit, gaining.The Reman crew is getting nervous. VICEROY Praetor... SHINZON FULL STOP AND FIRE !EXT. THE RIFT - SPACEThe Scimitar LURCHES to a stop! Too fast for the Valdore torespond in time -- it flies over the Scimitar --And the Scimitar fires!A devastating volley of photon torpedoes rip into theunderbelly and aft of the Valdore as it streaks past --The Valdore careens out of control and then slows to a stop.It floats dead in space.INT. SCIMITAR - BRIDGE - FOLLOWING SHINZON Restore the aft cloak.and bring us about.He leans back in his command chair, ready for the finalbattle.INT. ENTERPRISE - BRIDGE - FOLLOWINGA bloody Commander Donatra is talking to Picard onviewscreen. Her bridge is in ruins. DONATRA (ON VIEWSCREEN) I'm afraid that drink will have to wait, Captain. PICARD Do you have life support? DONATRA (ON VIEWSCREEN) For the moment. But we're dead in the water. PICARD Understood --Then the ship ROCKS --EXT. THE RIFT - SPACEThe invisible Scimitar sweeps past for a particularly brutalassault -- disruptor blasts streak along the Enterprise'shull -- a huge, ripping series of explosions tear awayseveral decks of the Enterprise --INT. ENTERPRISE - BRIDGE - FOLLOWING DATA We have lost structural integrity on decks twelve through seventeen, sections four through ten. GEORDI Emergency force fields are holding. RIKER Evacuate those decks and reroute field power to forward shields.Deanna goes to Picard: DEANNA Captain -- I might have a way to find them. PICARD Counselor? DEANNA The one thing he may have forgotten in the course of battle: me. PICARD Make it so.She quickly goes to Worf at tactical.INT. SCIMITAR - BRIDGE - NIGHTShinzon is entering tactical commands in his chair console. SHINZON Prepare a lateral run -- all starboard disruptors.Then the viceroy suddenly stiffens, alarm in his eyes -- VICEROY No!INT. ENTERPRISE - BRIDGE - FOLLOWINGDeanna concentrates furiously, eyes closed. She stands withWorf, her hand slowly moving his over the photon torpedotargeting display.It is a wrenching experience as she probes with her thoughts. DEANNA He's resisting me.She is in pain.INT. SCIMITAR - BRIDGE - FOLLOWINGThe Viceroy concentrates, trying to block her probingthoughts. SHINZON What is it?! Focus on your job!!! VICEROY She is here.INT. ENTERPRISE - BRIDGE - FOLLOWINGDeanna continues to move Worf's hand over the targetingdisplay. She is sweating, panting for breath, concentratingfiercely.INT. SCIMITAR - BRIDGE - FOLLOWINGThe Viceroy resists her -- their psyches lock in battle.Deanna appears in the Viceroy's mind, she glares at him. DEANNA Remember me?INT. ENTERPRISE - BRIDGE - FOLLOWINGHer eyes snap open -- DEANNA NOW!Worf instantly fires a full volley of photon torpedoes.EXT. THE RIFT - SPACEA full spread of photon torpedoes shoot through space.And connect! A series of devastating impacts -- and theScimitar's cloak fails!INT. ENTERPRISE - BRIDGE - FOLLOWINGPicard stands quickly. PICARD Savage them!EXT. THE RIFT - SPACEAnd the Enterprise attacks!It fires all weapons simultaneously -- phasers and photontorpedoes slam into the Scimitar! Shinzon's ship respondsquickly -- maneuvering for position and returning fire!INT. SCIMITAR - BRIDGE - FOLLOWINGThe bridge has been damaged, sparks sputter through thedarkness and debris litters the deck.Shinzon eyes reflect a growing sense of desperation. SHINZON (spinning to his Viceroy) Prepare a boarding party -- BRING ME PICARD!The viceroy strides out as Shinzon spins to another officer. SHINZON Get the cloak back! And target shield coordinates beta three. All disruptors. Fire!On the viewscreen, we see disruptor beams focusing on a tinypart of the Enterprise's lower shields, slamming into them.INT. ENTERPRISE - BRIDGE - NIGHT DATA Captain, we have lost ventral shielding on deck twenty nine. PICARD Divert power and compensate --An alarm klaxon suddenly rings through the bridge. WORF Intruder alert! RIKER Let's go.Riker and Worf quickly head toward the turbolift as: WORF (to comm) Security detail to deck twenty nine.Data immediately assumes Worf's position at tactical.INT. ENTERPRISE - LOWER DECKS - NIGHTRiker and Worf stride with a SECURITY DETAIL through thecramped lower decks.A sudden disruptor blast stops them cold! The Viceroy andhis invasion force of a dozen Reman Warriors are down thecorridor!The Enterprise crew returns fire. It is a blazing phaserbattle, Worf leading his men with Klingon courage. Theysteadily advance in the face of the blistering disruptorfire --They are getting the upper hand when Riker sees the Viceroyescape into a Jefferies tube -- RIKER Worf.Worf instantly dives into the corridor -- landing hard andsliding forward on his stomach all the while firing a steadyburst from his phaser rifle.Riker uses the cover to dive after the Viceroy, following himinto the dark Jefferies tube, intent on destroying the manwho has been tormenting his wife --INT. ENTERPRISE - BRIDGE - FOLLOWINGThe Scimitar sweeps into view on the viewscreen -- fillingthe screen -- and launches a ferocious volley of photontorpedoes.A huge EXPLOSION as the viewscreen and some of the forwardbridge are BLOWN APART -- the Helm Officer is SUCKED INTOSPACE before a flickering emergency force field springs intoposition --Deanna races to assume the helm --Picard can now see his enemy directly through the gaping holein the ship's hull -- he sees the Scimitar banking foranother attack run as part of the ship disappears -- GEORDI He's getting his cloak back. We have exhausted our compliment of photon torpedoes. Phaser banks are down to four percent. PICARD What if we target all phasers in a concentrated attack? DATA The Scimitar's shields are still at seventy percent. It would make no difference, sir.Picard thinks. DEANNA They're stopping...Through the hole in the hull, Picard sees the Scimitar slowlyturning. Slowly advancing. They see another part of theScimitar disappear, the cloak returning. GEORDI What's he doing? PICARD (grim) He wants to look me in the eye.INT. ENTERPRISE - JEFFERIES TUBE - FOLLOWINGBelow decks, Riker stalks the Viceroy through a labyrinthineseries of access tunnels. It is like a scene from ALIEN.The flickering half-light and red emergency strobes of thecrippled ship make this an ominous sequence. The Viceroy isin his element, used to the perpetual night of the RemanHomeworld, he can see in the dark.Riker moves through the darkness, hunting for the Viceroy.He stops, phaser ready. He peers into the dark tunnel aheadof him. Sees nothing. We tilt up and see...The Viceroy clinging to the ceiling directly above Riker!Hidden in the darkness. The Viceroy attacks! -- diving downon Riker -- his lethal Reman knife slashing through thedarkness --INT. ENTERPRISE - BRIDGE - FOLLOWINGPicard stands... watching the Scimitar maneuver intoposition. Large parts of it are now cloaked.It stops. Only a few hundred yards from the Enterprise, itsgreat prow almost filling the gaping hole at the front of thebridge.Picard thinks, his mind racing. Then it comes to him in aflash: PICARD He thinks he knows exactly what I'm going to do... GEORDI Sir? PICARD We've got him!He sits in his command chair and begins quickly enteringcommand instructions in his chair console.INT. SCIMITAR - BRIDGE - FOLLOWINGShinzon, supremely confident, leans back in his commandchair. SHINZON Open a channel.INT. ENTERPRISE - BRIDGE - FOLLOWINGPicard is still entering commands in his chair console. DATA We are being hailed. PICARD Deanna, stand by. (to Data) Open a channel. SHINZON (V.O.) I hope you're still alive, Jean Luc. PICARD I am. SHINZON (V.O.) Don't you think it's time to surrender? I'll have my cloak back in a matter of minutes and your poor ship is shot to pieces. Why should the rest of your crew have to die?Picard continues to enter command codes -- transmits them toDeanna at helm -- she receives the commands, nods. All ofthis as Picard buys some time: PICARD I never told you about my first Academy evaluation, did I? I received very high marks for my studies. But I was found lacking in certain other areas. Personality traits, you might say. In particular I was thought to be extremely... (he glares up at the prow of the Scimitar) ... over-confident.Picard indicates for Data to end the communication. Then: PICARD (quickly) Geordi, put 211 power to the engines. Take it from life support if you have to -- everything you can give me. GEORDI Aye, sir. PICARD Deanna, on my mark. GEORDI Ready, sir!Picard leans forward in his chair: PICARD (on comm) All hands, brace for impact! (to Deanna) ENGAGE.EXT. THE RIFT - SPACEThe Enterprise powers forward in a final thrust -- !INT. SCIMITAR - BRIDGE - FOLLOWINGShinzon sees it coming -- utterly shocked -- bolts up -- SHINZON HARD TO PORT !Too late.EXT. THE RIFT - SPACEA massive COLLISION as the Enterprise SLAMS into the Scimitar-- as it SMASHES and GRINDS into Shinzon's ship --The Scimitar REELS --INT. ENTERPRISE - BRIDGE - FOLLOWINGEveryone goes FLYING!EXT. THE RIFT - SPACEThe two great ships are now locked together, slowly rotatingin space.The forward part of the Enterprise's saucer is enmeshed inShinzon's ship; two scorpions with their claws locked.INT. SCIMITAR - BRIDGE - FOLLOWINGShinzon stands in the ruins of his bridge. Many of hisbridge crew are now dead. SHINZON Divert all power to engines. Full reverse!EXT. THE RIFT - SPACEEvery part of the Enterprise ROCKS -- a great lurch as theScimitar begins to tear itself free -- backing away -- adeafening shriek of metal -- both ships are being torn topieces in the process -- but it is working -- the Scimitaris ripping free, wrenching itself loose.INT. ENTERPRISE - JEFFERIES TUBES - FOLLOWINGThe Jefferies tube SHUDDERS as the Scimitar continues to tearitself free -- Riker and the Viceroy careen through the tube.The Viceroy recovers quickly and coils for a final attack.Riker sees that an access plate has been loosened in thecollision -- he desperately rips it away -- knowing therelays behind will provide him with the advantage he needs --Bright light strobes from the relays and the Viceroy ismomentarily blinded -- Riker uses this opportunity to attack!He dives forward -- slamming into the Viceroy -- they bothtumble into a long, vertical access tunnel -- they fall!Riker shoots out a hand and grabs a ladder -- the Viceroy,grabs onto Riker, his talons digging into his uniform -- along drop below them!Riker forces the Viceroy's head back -- away from him -- abrutal struggle --Riker glares at him. RIKER Don't worry -- Hell is dark.Riker uses every ounce of strength he has left -- pushes theViceroy off him --The Viceroy falls down the long tunnel -- to his death.INT. ENTERPRISE - BRIDGE - FOLLOWINGThe whole Enterprise bridge QUAKES as the Scimitar continuesto pull itself free --Picard stands, steadying himself on his command chair. PICARD Data, I need you.Data joins Picard as: PICARD Computer. Auto-destruct sequence Omega. Zero time delay. Recognize voice pattern Jean Luc Picard. Authorization Alpha Alpha Three Zero Five -- COMPUTER (V.O.) Auto-destruct is off-line.Then the ship gives a final LURCH. The Scimitar is free.An eerie moment of silence after the explosive tearing andgrinding.Picard watches through the gaping hole in the hull as theScimitar backs away. Another section of the Scimitardisappears. Shinzon almost has his cloak back.INT. SCIMITAR - BRIDGE - FOLLOWINGShinzon stares at the Enterprise.A wave of sickness overcomes him for a moment, he doublesover. We actually see more veins appearing on his face.Time is running out. SHINZON Target disruptors. Destroy them. REMAN OFFICER Disruptors are off-line, sir.A beat. Shinzon looks up. SHINZON Deploy the weapon. Kill everything on that ship. Then set a course for Earth. REMAN OFFICER What about Picard? SHINZON Our greater goal is more important, brother. REMAN OFFICER But, Praetor, you won't survive without him...Shinzon gazes at the Enterprise on the viewscreen. SHINZON Some ideals are worth dying for, aren't they, Jean Luc?EXT. RIFT - SPACEThe entire Scimitar slowly begins to unfold. Like a giganticversion of the small spider-weapon we saw kill the RomulanSenators before, legs appear and hoist up a savage weapon.The Cascading Pulse.INT. ENTERPRISE - BRIDGE - FOLLOWINGPicard and the others watch the monstrous Cascading Pulseweapon slowly deploying. PICARD How long until he can fire? GEORDI The targeting sequence should take about four minutes. DEANNA But how can he? He'll kill you. PICARD This isn't about me anymore.Picard's face is set, resolute. He knows what he must do.Picard grabs a phaser rifle from a weapons locker as... PICARD Prepare for a site-to-site transport. GEORDI (concerned) Sir, we won't be able to bring you back. It's a one way trip. Captain, I don't know if the transporter -- PICARD That's an order, Commander. DATA Sir, allow me to go. You are needed here. PICARD Negative. DATA Sir...Deanna takes Data's arm. Looks at him. She knows this issomething Picard must do himself. DEANNA Let him go.Picard powers up the phaser rifle as: PICARD (to Data) You have the bridge, Commander. Use all available power to move away from the Scimitar. (to Geordi) Now, Mister La Forge. GEORDI Aye, sir.Geordi nervously works some controls on his console andPicard dematerializes. Then the transporter panel explodesin a shower of sparks. GEORDI That's it. Transporters are down.Data thinks for a moment. Then: DATA Counsellor Troi, please assume command. Geordi, if you will come with me.He heads toward the turbolift, Geordi following.INT. SCIMITAR - CORRIDOR - NIGHTSeveral Remen warriors in the corridor turn and fire. Rikerreturns fire, a series of lightning fast pulses from hisphaser rifle.INT. ENTERPRISE - FORWARD CORRIDOR - NIGHTData and Geordi stand in a long corridor. The far end of thecorridor opens to space. An emergency force field is inplace at the end of the corridor.Geordi operates a tricorder and another force field flickerson around him.Data looks toward the end of the corridor, readying himself. DATA What is our approximate distance? GEORDI (scans with tricorder) 400 meters. DATA Thank you.Data backs up a little more He looks at Geordi again.Deeply. DATA Thank you, Geordi. Deactivate the field.Geordi operates his tricorder and the force field at the endof the corridor snaps off --The void of space fills the corridor and Data takes a runningstart -- he races down the long corridor and leaps --EXT. THE RIFT - SPACE-- into space.He floats toward the Scimitar, his momentum carrying him.Carrying him too far!He is going to miss the Scimitar -- almost past it now! Hethrusts out a hand --And just misses a piece of dangling wreckage! Data isfloating helplessly through space. Doomed. Then he SLAMSinto an invisible piece of the partially cloaked on the ship!He grabs onto the invisible part of the ship and pullshimself up to the hull. He rips open an access panel withhis superior strength and climbs inside.INT. SCIMITAR - BRIDGE - NIGHTShinzon stands, his eyes glued to the Enterprise on theviewscreen.We see a monitor showing that the Cascading Pulse weapon islocked on the Enterprise.Most of the light on the shattered bridge now comes from thethree steadily pulsing warp core relays which soar up throughthe floor. COMPUTER (V.O) Forty-seven. Forty six...Suddenly -- a MASSIVE BLAST as the doors to the bridgeexplode in. Shinzon spins to see --Picard framed in the doorway, phaser rifle ready.Picard instantly fires for the Cascading Pulse control -- butShinzon dives to cover it -- the phaser blast hits Shinzon inthe chest -- he recoils, slamming to the deck, stunned.The few remaining Remans on the bridge spin to Picard, firingdisruptors -- Picard dives for cover and battles them withhis phaser rifle --He succeeds in stunning the Remans but a final disruptorblast knocks Picard to the deck -- the phaser rifle spinsaway -- COMPUTER (V.O.) Twenty nine... Twenty eight...Shinzon pulls himself up and races to snatch up a disruptorfrom a fallen comrade --As Picard leaps up, grabbing a piece of wreckage, a longmetal rod -- Picard thrusts it forward like a spear --Impaling Shinzon.A stunned moment of silence as Shinzon gazes at Picard,almost with a look of disbelief. Blood spews from his mouthas he lets out a tormented cry.And then, amazingly, Shinzon forces himself forward --pushing Picard back against a wall -- Shinzon slowly walkstoward Picard, forcing himself down the length of the spear-- the spear point explodes through Shinzon's back -- theweight of Shinzon's body is pinning Picard against the wall-- time is running out -- COMPUTER (V.O.) Eighteen... Seventeen...Shinzon forces himself down the spear: SHINZON I'm glad we're together now -- our destiny is complete.He finally thrusts himself down the whole spear and claspshis dying hands firmly around Picard's throat -- COMPUTER (V.O.) Ten...Nine...Data sprints to the bridge --He instantly tears open his wrist and pulls out the small,silver disc we saw earlier -- the Emergency Transport Unit --he slaps it on Picard's shoulder. A final look betweenthem -- COMPUTER (V.O.) Seven.. Six...Data activates the ETU -- Picard dematerializes.Data looks at the space where Picard was and says simply: DATA Goodbye.Then he spins and pulls out his phaser --And fires point-blank into the Scimitar's warp core relays --the bridge explodes -- Data is incinerated --EXT. THE RIFT - SPACEThe Scimitar BLASTS APART in a massive flash --INT. ENTERPRISE - BRIDGE - FOLLOWINGPicard re-materializes.He sees the brilliant flash from the explosion through thegaping hole in the front of the bridge.Deanna sits at helm, her face a mask of pain. Geordi standson the upper rear deck, head down.A long beat as Picard just stands on his ruined bridge, thethousand-yard stare of a combat veteran in his eyes.Riker emerges from the turbolift. Goes to Picard. RIKER Sir?Picard doesn't answer, he just stares forward. Deanna goesto Riker. DEANNA Data.Riker looks toward the glowing debris field in the distance.He puts an arm around Deanna.Silence. GEORDI Sir, we're being hailed. PICARD On screen... (he remembers there is no longer a viewscreen) ... Open a channel. DONATRA (V.O.) This is Commander Donatra of the Valdore. We're dispatching shuttles with medical personnel and supplies. PICARD Thank you, Commander.The transmission ends. PICARD (flat) Geordi... prepare the shuttlebay for arrivals. They don't know our procedures so just... open the doors. GEORDI I'll take care of it, sir. PICARD Number One. (a beat) You have the bridge.He turns and heads toward his Ready Room.The others watch him go with great sadness.When the Ready Room doors close behind Picard, Deanna finallyallows herself to cry. Riker holds her closely. Slow fadeto...INT. ENTERPRISE - CREW LOUNGE - NIGHTHours later. The senior crew is solemnly gathered in theshattered remains of the crew lounge. Picard, Riker, Deanna,Beverly, Worf, Geordi.They wear their dress uniforms.Picard goes to each of them. He carries a small, metal box.They each take something from the box.At first we, don't quite see what they are doing. Then werealize they are affixing black bars to the collars of theiruniforms.Mourning bands.Picard pours six glasses of his precious Chateau Picard.Each takes a glass.Picard raises his glass. PICARD To absent friends... o family.They toast Data. Slow fade to...INT. ENTERPRISE - PICARD'S CABIN - NIGHTPicard sits at his desk, speaking quietly to someone we donot see. PICARD I don't know if all this has made sense to you, but I wanted you to know what kind of man he was. In his quest to be more like us, he helped show us what it means to be human.We see it is the now re-activated B-9 sitting across fromhim. B-9 My brother was not a human. PICARD No, he wasn't... But his wonder and his curiosity about every facet of human life helped all of us see the best parts of ourselves. He embraced change... because he always wanted to be more than he was. B-9 I do not understand. PICARD Well, I hope someday you will.Worf interrupts on comm: WORF (V.O.) (ON COMM) Captain, the Hemingway has arrived to tow us to spacedock. PICARD On my way. Please notify Commander Riker... (he stands, prepares to go) ... We'll talk later?The B-9 does not respond. He is looking rather blankly atthe padd on Picard's desk.Picard begins to leave when a sound stops him... humming. Heturns back to the B-9.The B-9 is still looking blankly at the padd... but he'shumming lightly to himself... then he begins to sing, verysoftly... B-9 "Blue skies, smiling at me, Nothing but blue skies do I see."Then the B-9 is silent.Picard watches him for a moment; great emotion playing overhis features, and then goes.INT. ENTERPRISE - CORRIDOR - NIGHTPicard and Riker head toward a turbolift... making their waypast the debris littering the corridor. PICARD I'm sorry you won't be here for the re-fit, but I know the Titan needs you immediately.Riker does not respond.Picard stops, looks at Riker deeply. PICARD The Titan's a fine ship, Will. And she's getting a captain worthy of her. RIKER She's the most beautiful ship I've ever seen. (he touches a wall of the corridor) ... But she's not the Enterprise. PICARD I promise you in time, she'll become your home... If I could offer you one piece of advice? RIKER Anything. PICARD When your first officer insists that you can't go on away missions... Ignore him -- RIKER (smiles) I intend to.A moment. RIKER (with difficulty) Serving with you has been an honor. PICARD The honor was mine. Captain Riker.EXT. ENTERPRISE - SPACEDOCK - OVER EARTHA few weeks later. The Enterprise is enclosed in the greatwomb of a spacedock. The ship is being rebuilt.INT. ENTERPRISE - BRIDGE - NIGHTA fresh-faced young officer, COMMANDER MARTIN MADDEN, pacesnervously outside Picard's Ready Room. Bracing himselfbefore entering.Behind him we can see technicians working everywhere aroundthe bridge, trying to rebuild it. Worf is talking to a youngofficer at tactical and Geordi is working at the engineeringstation. We also see new command chairs being installed.(Although we do not see it in this scene, the gaping hole atthe front of the bridge has not yet been repaired.)A young Andorian woman, the new OPS OFFICER, smiles atMadden's nervousness. Her antennae twitch slightly inamusement. He sees her. MADDEN So... what's the old man like? OPS OFFICER Why don't you go in and find out?Commander Madden prepares himself.INT. ENTERPRISE - READY ROOM - FOLLOWINGPicard is talking to Beverly on viewscreen. She is in hernew office at Starfleet Medical. BEVERLY (ON VIEWSCREEN) You can't imagine them, Jean Luc. They're kids! All with advance degrees in xenobiology and out to conquer every disease in the quadrant. PICARD (smiles) Reminds me of a young doctor I used to know... BEVERLY (ON VIEWSCREEN) They're running me ragged. Nothing but questions day and night... I love it! Come to dinner and I'll tell you all about it. There's a Bajoran band at the officer's mess. PICARD Not tonight, I have work here. BEVERLY (ON VIEWSCREEN) Soon then. I'll save the last dance for you.Commander Madden enters quickly -- he did not use the doorchime so Picard is surprised. MADDEN Commander Martin Madden reporting for duty, sir.Picard stands, they shake hands as: PICARD Welcome aboard, Commander. I hope, your transfer didn't come as too much of a surprise. MADDEN I was... honored, sir. PICARD I needed you immediately to help oversee the re-fit... (gathering up some padds from his desk) ... Your service record on the Talos is exemplary, but there are a few things I would like to discuss with you regarding my requirements for a First Officer. Shall we say dinner in my quarters at 1900 hours? MADDEN Very good, sir.Picard heads toward the door, carrying a few padds. PICARD Commander, I don't know how they did it on the Talos, but we have door chimes on the Enterprise. We use them. MADDEN Yes, sir. Sorry, sir.Picard goes to the bridge, Madden following...INT. ENTERPRISE - BRIDGE - FOLLOWINGThey emerge to the bridge as Worf is arguing with the cockyyoung ENSIGN busy installing Picard's new high-tech commandchair. WORF You don't understand the Captain -- there should be no changes until we have discussed the modifications with him.Picard goes to them: PICARD What's this? WORF (grumbles) Your new chair, sir. ENSIGN It's the Mark Seven, Captain. State-of-the-art ergonomics... command interfaces with -- WORF I told him you're comfortable with your old chair. PICARD Let's give it a try.He settles into his new command chair. Looks around for abeat at his new bridge crew. Fresh-faced kids. A newgeneration to teach and nurture. He smiles. PICARD Feels good.Worf and Geordi exchange a look, surprised. ENSIGN (points) Try that button, sir.Picard presses a button on the chair and -- zip -- metalrestraints fly into position around his waist and shoulders.Seatbelts! Picard is surprised.A beat.Then Picard smiles. PICARD It's about time.He presses the button again and the restraints zip back intothe body of the chair. He is delighted. He turns to Madden: PICARD Commander, please sit down...Madden sits in the First Officer's chair, Picard shares apadd with him. PICARD ... We've received our first assignment. We're going to be exploring the Denab system. It should be exciting. It's a place... where no one has gone before.And we cut to --EXT. ENTERPRISE - SPACEDOCK - OVER EARTH - FOLLOWINGThrough the hole in the hull we see Picard talking to Madden.Picard at work, at peace. Where he is meant to be.We slowly pull back from Picard and the Enterprise. As wehear the B-9's soft tones. Gentle. Hopeful. B-9 (V.O.) "Never saw the sun shining so bright, Never saw things going so right. Noticing the days hurrying by, When you're in love, my how they fly. Blue days, all of them gone, Nothing but blue skies from now on."We revolve away from the Enterprise and Earth toward thestars. Then ZOOM forward into the cosmos as the rousing"Next Generation" theme explodes over END CREDITS. FADE OUT.
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+	                 Star Trek: The Motion Picture	                           Screenplay by:	               GENE RODDENBERRY &  HAROLD LIVINGSTONE	                              Story by:	                ALAN DEAN FOSTER  & GENE RODDENBERRY	      	                                                     SHOOTING SCRIPT	                                                       July 19, 1978	      	      FADE IN :	  1   EXT SPACE (S)                                                1	      An ever expanding infinity of light and color as CAMERA                	      TRAVELS THROUGH deep space, MOVING DIRECTLY for one	      pinpoint of light: a STAR GROWING RAPIDLY as we SWEEP	      TOWARD IT, a normal white star SUDDENLY CHANGING,	      brightening, flaring unbelievable intensity: supernova.	      The CAMERA HOLDS just a moment, then MOVES on, SEARCH-	      ING through space, the jeweled beauty of other star	      systems, sparkling nebulae, swirling hydrogen clouds.	      STILL MOVING, then CAMERA FINDS:	  2   EXT. AREA OF LUMINESCENCE (S)                                2	      In the far distance, slowly growing in size as CAMERA	      APPROACHES: it resembles, vaguely at this distance, an	      Aurora Borealis: flaring colors from the fringes,	      beautiful yet ominous. It is so large, this Cloud, it	      can envelope an entire solar system. CAMERA CONTINUES	      APPROACHING the Cloud, and then suddenly, crossing	      our POV, a:	         	  3   KLINGON HEAVY CRUISER (S)                                    3	      In a graceful, turning arc toward the mysterious	      LUMINESCENCE. CAMERA FOLLOWS this Klingon, then FINDS	      a second Klingon cruiser, also turning toward the Cloud,	      which continues to grow in size as the Klingons	      approach at warp speed, CAMERA CLOSING on the lead	      ship, until the vessel's detail can be clearly MADE	      OUT: lights, weaponry, power systems, identification	      emblazoned on the nacelles and saucer in Klingon	      language (and symbols).	  4   INT. KLINGON CRUISER BRIDGE (O)                              4	      Clearly alien, an ODD-SOUNDING KLAXON signaling	      "battle stations." Orders issued in KLINGON LANGUAGE,	      the KLINGON CAPTAIN and EXEC peering at an unusual	      bridge viewer at the huge area of LUMINESCENT HAZE	      directly ahead. In KLINGON DIALOGUE:	                              KLINGON CAPTAIN	                        (Give me tactical.)	  5   CLOSE - MAIN VIEWER (O)                                      5	      goes suddenly  to a TACTICAL GRID SYSTEM, showing the	      LUMINESCENT HAZE to be an ENORMOUS BLIP OF LIGHT ON	      THE SCREEN, with two TINY PINPRICKS OF LIGHT complete-	      ing their turn on a direct course toward it.	  6   EXT. SPACE - THE KLINGON PATROL AND THE HAZE (S)             6	      The Patrol is clearly SEEN now on the right of the 	      bottom of the FRAME... THREE tiny ships closing on the                	      steadily growing LUMINESCENT HAZE.	  7   INT. THE KLINGON BRIDGE - CAPTAIN AND EXEC (O)               7	      All eyes on the viewer that shows the ships sweeping	      on the Mysterious cloud.	                              KLINGON CAPTAIN	                        (In Klingonese)	                Visual.	      The TECHNICIAN makes the switch.	  8   CLOSE - VIEW SCREEN - LUMINESCENT HAZE (O)                   8	      growing ever larger, its flaring colors menacing,	      mysterious, strangely beckoning.	  9   INT. BRIDGE - KLINGON COMMAND CRUISER                        9	      The crew stands by for battle.	                           	                              KLINGON CAPTAIN	                        (In Klingonese)	                Tactical again. Stand by on	                torpedoes.	 10   EAT SPACE - LEAD KLINGON VESSEL (TORPEDO HATCH) (S)         10	      sliding open, the glowing "Hell Fire" of the Photon	      Launch tubes, slowly revealed.	 11   VERY WIDE ANGLE - THE THREE SHIPS (S)                       11	      They are tiny, insect-like shapes moving still CLOSER	      to the Luminescent Cloud, so large now that it begins	      to dominate all space behind.	 12   INT. KLINGON BRIDGE - TACTICAL GRID - CAPTAIN AND           12	      EXEC (O)	      The growing nearness and enormous size of the Cloud	      also reflected on the Tactical Grid, somehow more	      awesome by this schematic view. The Captain gestures	      the order to "FIRE."	 13   EXT. SPACE - ANGLE ON KLINGON VESSEL - TORPEDO HATCH (S)    13	      The BRILLIANT PHOTON BLOBS of the torpedoes spurt from 	      the tubes.	 14   ANGLE ON KLINGON VESSEL (S)                                 14	      A deadly PHOTON TORPEDO pattern racing away from the	      Klingon and toward the Luminescent glow in the distance.	 15   INT. KLINGON BRIDGE - TACTICAL GRID (O)                     15	      Three torpedoes are heading directly toward the Cloud.	      Suddenly they glow briefly and disappear long before	      they reach their intended target.	 16   INT. KLINGON BRIDGE - CAPTAIN AND EXEC                      16	      incredulous that their torpedoes have disappeared	      without a trace.	 17   EXT SPACE - THE CLOUD - THREE KLINGON SHIPS (S)             17	      as the second and third ships launch torpedoes toward	      the color-flaring surface of the cloud. This time we	      have an outside, real VIEW of the torpedoes glowing	      brightly and then disappearing with no effect.	 18   INT. KLINGON BRIDGE (O)                                     18	      The Klingon crew grim, desperate, watching a BRIGHT	      STACCATO BLIP OF POWER from within the LUMINESCENCE.	                              KLINGON CAPTAIN	                        (quickly; Klingonese)	                Full force fields; evasive	                maneuvers.	 19   EAT SPACE - THE CLOUD - THE KLINGON PATROLS (S)             19	      Out of the LUMINESCENCE hurtles a FRIGHTENING WHIPLASH	      OF ENERGY. It bears down on the Klingon Patrol, now	      in an evasive maneuver. Then the WHIPLASH BOLT hits	      the third cruiser in a writhing flare of energy which	      totally engulfs the vessel.	      The other two ships veer off, warping around again into	      attack position. The THIRD SHIP has begun to implode	      in on itself, the matter-energy of its existence	      drained by the WHIPLASH BOLT that HOLDS IT.	 20   ANGLE ON REMAINING KLINGON CRUISERS (S)                     20	      desperately defending themselves, FORCE FIELDS FULL UP,	      RAPIDLY FIRING PHOTON TORPEDOES. But now a SECOND	      WHIPLASH ENERGY BOLT has emerged from the cloud and	      hits the second vessel, DESTROYING it.	      The THIRD WHIPLASH BOLT glances off the surviving	      Cruiser as the ship retreats in a wide, evasive turn,	      FIRING from stern tubes.	 21   INT. KLINGON BRIDGE                                         21	      The bridge shattered; Klingon bodies. The mortally-	      wounded Captain is transmitting urgently:	                              KLINGON CAPTAIN	                        (In Klingonese)	                ... severely damaged. Returning	                fire...	 22   EXT. SPACE - STARFLEET MONITOR STATION EPSILON 9 (S)        22	      Serenity here. A barren, rocky small plantoid softly	      lit by the myriad stars. This is a small Starfleet 	      outpost, antennae sprouting everywhere. Tiny figures	      (WORKERS) servicing one antenna illustrate the size	      of the installation.	 23   INT. EPSILON 9 - MONITOR ROOM - A VIEWER (O)                23	      SHOWING the battle scene, and the VOICE OF THE KLINGON	      CAPTAIN in his last stand against the Object; his VOICE	      is weary, almost mechanical. On the adjacent viewer,	      an English printout of the Klingon's words chatters	      along the bottom of the picture:	                              KLINGON CAPTAIN	                        (In Klingonese)	                Imperial Klingon Cruiser Amar...	                severely damaged by unfamiliar	                weaponry... intruder unidentified..	 24   WIDER ANGLE - EPSILON 9 STARFLEET PERSONNEL AND VIEWER (O)  24	      At the viewers are a FEMALE LIEUTENANT and FOUR TECH-	      NICIANS. COMMANDER BRANCH, a young, alert, enters hur-	      riedly, scans he console.	                              LIEUTENANT	                Our sensor drone is intercepting	                this on Quad L-14.	                              KLINGON CAPTAIN (V.O.)	                ... believe luminescent cloud 	                to be enormous power field 	                surrounding alien vessel... 	                size and description unknown.. 	                our sensor scans unable to 	                penetrate. Imperial Klingon 	                Cruiser Amar... continuing 	                to attack.	                              BRANCH	                That's within Klingon boundaries.	                Who are they fighting?	                              LIEUTENANT	                Unknown, sir.	      A violent EXPLOSION inside the Klingon bridge -- Klingon	      Captain's body is thrown violently against the bulkhead.	                              TECHNICIAN	                I have an exterior visual!	 25   CLOSE ON VIEWER (O)                                         25	      showing EXTERIOR of the Klingon vessel: a final,	      frightening WHIPLASH ENERGY BOLT strikes it -- then	      the same awesome IMPLOSION INTO FIREBALL.	 26   WIDER ANGLE - PERSONNEL AND VIEWER (O)                      26	      The Starfleet station onlookers react to the utter	      annihilation of the huge cruiser. And now, past where	      the cruiser just disappeared -- the mysterious LUMINES-	      CENCE approaching in distance. Technician hits a	      switch, magnifying the strange CLOUD.	                              LIEUTENANT	                We've plotted a course on that	                cloud, Commander: it will pass	                into Federation Space fairly 	                close to us.	                              BRANCH	                Heading?	 27   CLOSE ON THE MAIN MONITOR STATION (O)                       27	      as its focal point shifts to the huge elliptically-	      shaped LUMINESCENCE racing across the sky. MUSIC	      (V'GER THEME) COMMENCES in a low, unresolved CHORD	      that remains in the background through the remainder	      of this scene, and the beginning of the next one.	                              LIEUTENANT'S VOICE	                Sir, it's on a precise heading	                for Earth.	      Ominously now the LUMINESCENCE increases in size, and	      begins to fill the viewer. HOLD A MOMENT, and then:	 28   EXT. SURFACE OF PLANET VULCAN - DAY (M)                     28	      with the CAMERA MOVING THROUGH masses of thick, steamy	      vaporous clouds, swirling about, rising boilingly up	      from some unseen, underground source. The CAMERA	      CONTINUES MOVING through clouds.	      And then... the Vulcan landscape. Harsh, strange	      angular peaks and rock formations -- the barren, legend-	      ary mountain home of Vulcan Masters.	 29   EXT. VULCAN LEDGE - SPOCK ( M & F.P.)                       29	      Spock's lean features instantly recognizable despite	      unkempt, longer hair and the fatigue born of a long,	      harsh discipline he has undergone. His robes, tattered	      and dust covered, are that of a Vulcan Aspirant in	      study with the Masters. Under the V'ger THEME MUSIC	      we HEAR a VOICE in ritual tones:	                              FEMALE MASTER'S VOICE	                Spock, son of Sarek of Vulcan... 	                and of Amanda of Earth... 	                diligently you have labored for 	                purification of mind...	 30   REVERSE ANGLE - SPOCK, VULCAN MASTERS AND RUINS             30	      In b.g., gigantic ancient Vulcan statues and ruins. In f.g., 	      the stone platform on which Spock stands facing a semi-circle 	      of three similar platforms. On them in regal robes are three 	      VULCAN MASTERS. The Master in the center is a female, the 	      other two Masters are male. The elderly female is holding a 	      cord and ancient pendant as if ready to place it around                	      Spock's neck at an appropriate moment. Spock is staring up 	      as V'ger THEME MUSIC fades.	                              MALE MASTER	                        (chidingly)	                Spock . . . !	      Spock turns, giving a small contrite nod -- the ritual	      continues.	                              FEMALE MASTER	                Here are these sands, our fore-	                bearers cast out their animal 	                passions. Here our race was 	                saved by the first attainment of 	                Kolinahr.	             	                              MALE MASTER	                Kolinahr: the final shedding of 	                all emotion.	                              FEMALE MASTER	                You have labored long, Spock.	                Now receive from us this symbol	                of total logic.	      Spock starts to kneel... the Female Master moves in,	      intending to put the ancient pendant around his neck. 	      But Spock now hesitates -- he's troubled as though 	      uncertain he deserves this symbol and waves the 	      pendant away. Then, a faint reprise of the V'ger THEME 	      MUSIC now causes the Female Master to look skyward. 	      She turns from this back to Spock as she exchanges a 	      look with the Male Masters.               	                              FEMALE MASTER	                        (gestures Spock forward)	                Come, give me your thoughts.	      She kneels with Spock -- lays her hands on his temples 	      in Vulcan mind-meld position.	                              FEMALE MASTER	                        (continuing)	                Our minds, Spock... One and	                together....	      Their eyes close -- their minds meld -- then her head	      jerks slightly, her features change as her mind feels	      Spock's reactions to the V'ger consciousness. A long	      moment, then she opens her eyes, gets to her feet and	      looks down on the still kneeling Spock. Then, she	      casts aside the pendant she carries -- it falls into	      the dust.	                              FEMALE MASTER	                        (continuing; sadly)	                This consciousness which calls --	                it stirs your human half, Spock?	                You have not achieved Kolinahr --	                Your human emotions are not fully	                extinguished.	                       (turns to the other Masters)	                He will not achieve his goal with	                us. His answer lies elsewhere.	      The three Masters leave -- Spock watches them go, his	      disappointment evident even in his stoic features.	 31   MED. ANGLE ON SPOCK (M. & F.P.)                             31	      CAMERA CLOSES IN on his face as we again HEAR a frag-	      ment of V'ger THEME MUSIC -- Spock again raises his	      head and peers up into the heavens. HOLD on his face	      a moment, then...	       SHOCK CUT TO :	 32   EXT. EARTH - AN AIR TRAM - DAY (S)                          32	      gleaming silver in the sun as it streaks TOWARD THE	      CAMERA POSITION and hurtles PAST.	 33   EXT. SAN FRANCISCO - HILLTOP AIR TRAM STATION -             33	      DAY (M)	      From this vantage, we can SEE all of twenty-third	      century San Francisco stretched out before us. In	      the b.g., the familiar forms of the carefully preserved	      Golden Gate Bridge and Transamerica Pyramid Building	      serve as our only reminders that this is, indeed, San	      Francisco.	      The AIR TRAM (an anti-gravitational train flying	      several feet above the ground) DECELERATES sharply,	      settles to the ground with a whisper.	 34   EXT. TRAM STATION - CLOSE ON TRAM DOORS - DAY               34	      The doors opening, and various TRAVELERS (civilians	      and Starfleet personnel) leaving the tram, striding	      onto the platform, continuing on their respective	      ways. Among the departing throng:	 35   KIRK                                                        35	      in Admiral's uniform, grim, determined, moving through	      the throng. Now and then Starfleet officers nod re-	      spectfully; KIRK responds with detached formality; his	      mind is clearly set on something he is resolved to ac-	      complish here in headquarters -- whatever the cost.	      CAMERA WITH HIM, to:	 36   INT. AIR TRAM STATION - DAY         `                       36	      as Kirk strides into the graceful Starfleet HQ building.	      Many PEOPLE are about, civilians and uniformed person-	      nel; most of them with some air of urgency. (NOTE:	      ALIENS interspersed among them, Vulcans, blue-skinned	      Andorians, high-domed Vegans, ect.) Kirk continues on	      when suddenly he reacts, annoyed as he sees:	 37   SONAK                                                       37	      a Vulcan, Lt Commander; short, white-haired, grizzled,	      hurrying along. Kirk calls to him:	                              KIRK	                Commander Sonak... !	      SONAK turns with Vulcan imperturbability to face Kirk	      who steps toward him	                              KIRK	                        (continuing)	                You've received your appointment	                as Enterprise Science Officer?	                              SONAK	                        (nods)	                Based, I am told, on your	                recommendation, Admiral. Thank                           	                you.	                              KIRK	                Why aren't you on board?	                              SONAK	                Captain Decker requested I complete	                final Science briefing here before...	                              KIRK	                        (interrupting)	                Here at Starfleet...? The	                Enterprise is in final preparation	                to leave dock...	                              SONAK	                Which will require twenty more	                hours at minimum, Admiral...	                              KIRK	                Twelve! I'm on my way to a meeting	                with Admiral Nogura which will not 	                last more than three minutes.	                Report to me on the Enterprise in	                one hour.	                              SONAK	                To you, sir?	                              KIRK	                I intend to be there following 	                that meeting. Report to me. One 	                hour!	      And Kirk turns, strides purposefully away. Sonak gazes	      after him, one eyebrow raised quizzically.	 38   EXT. EARTH ORBIT (S)                                        38	      In f.g., Orbital drydock offices, rotating slowly but	      perceptibly against blue-black of space. Small figures	      in spacesuits working on construction, with work belts.	      Beyond and below... Earth. In the far distance we can	      barely make out an orbital drydock.	 39   CLOSER ANGLE - ORBITAL OFFICE CLUSTER (S)                   39	      The cluster is a fully-equipped dockyard engineering	      center and computer drafting office.	      CAMERA MOVES IN AND CENTERS ON an outer "Travel Pod."	 40   INT. INNER OFFICE (O)                                       40	      an installation which also includes a double position	      transporter, in which we SEE the TRANSPORTER EFFECT	      BEGIN. With the TRANSPORTER CREW IS SCOTT. He's with	      a Technician, busy with a piece of complex circuitry.	      Then he turns, sees that it is Kirk BEAMING in here.	      As Kirk materializes, steps off the transporter plat-	      form, Scott moves quickly to him.	40A   KIRK AND SCOTT                                             40A	      The starship Engineering Officer clearly surprised to	      see Kirk here. Kirk has the same look of grim de-	      termination we just saw in the headquarters building.	                    	                              SCOTT	                Admiral, I've been hoping to see	                you. Maybe you can get through 	                to those thick heads in Starfleet	                that...	                              KIRK	                Why aren't the Enterprise	                transporters in operation, Mister	                Scott?	                              SCOTT	                We're hoping it's only a temporary	                problem, Admiral...	                              KIRK	                See that it is.	                        (moving toward pod)	                Take me over, please.	      Scott is now eying Kirk just a little warily as he fol-	      lows him into the pod. Kirk's determined expression	      suggests that some chips are going to fly and Scott	      does not want to become one of them.	                              SCOTT	                        (carefully)	                Admiral, the Enterprise has just	                finished eighteen months redesign-	                ing and refitting. She needs 	                testing, a shakedown...	                              KIRK	                Mr. Scott, there's an alien object	                with unbelievable destructive 	                power less than three days away 	                from this planet...	      Kirk hits a button on the travel pod panel -- the air-	      lock doors SLAM closed behind them. Then, stepping im-	      mediately to the front observation window:	                              KIRK	                        (continuing)	                ... the only Starship in	                interception range is the	                Enterprise! Ready, or not, she	                launches in twelve hours!	      Scott throws Kirk an appalled look but is now occupied	      in sealing the Outer Pod door and manipulating drive	      controls.	      CAMERA CONTINUES TO PULL BACK TO REVEAL front of the	      Pod and arms of the office complex as Pod disconnects	      and starts to move.	40C   EXT. POD                                                   40C	      CAMERA CONTINUES TO PULL BACK TO REVEAL front of the	      pod and arms of the office complex as Pod disconnects	      and starts moving.	 41   EXT. EARTH ORBIT - ANGLES ON TRAVEL POD (S)                 41	  -                                                                -	 43                                                               43	      	       as it moves way from the office complex. We can	      SEE the jet flames of its tiny thrusters as it cir-	      cles around, heads off (toward the distant Orbital	      dry dock).	 44   INT. TRAVEL POD - KIRK AND SCOTT                            44	      Scott nervously eying Kirk, and finally deciding to	      make one more effort:	                              SCOTT	                The crew hasn't had near enough	                transition time with all the new	                equipment. And the engines,	                Admiral: they've yet to be even	                tested at warp power. Add to 	                that, an untried Captain...	                              KIRK	                        (hint of smile)	                Two and a half years as Chief of	                Starfleet Operations may have	                made me a little stale, Mr. Scott	                -- but I wouldn't exactly consider	                myself 'untried.'	      It takes Scott a moment to comprehend, and Kirk smiles	      now, nods:	                              KIRK	                        (continuing)	                They gave her back to me, Scotty.	      Scott peers at him, genuinely surprised -- and pleased.	      Then:	                              SCOTT	                "Gave' her back, sir...? I doubt	                it was that easy...	                        (returns smile)	                But any man who could manage such	                a feat, I wouldna dare disappoint.	                She'll launch on time, sir...	                        (with confidence)	                And she'll be ready.	      And he clasps Kirk's elbow affectionately, then gestures	      Kirk to look out the pod window.	 45   EXT. OUTSIDE THE POD WINDOW - KIRK'S POV (O)                45	      as he looks out: the blue-black of orbital space.	 46   INT. TRAVEL POD                                             46	      Scott is well aware of what the Enterprise means to	      Kirk. As Scott maneuvers the pod to provide the best	      perspective, Kirk peers through the observation window,	      craning his head, hungry for his first glimpse of the	      starship. Scott is watching him, immensely pleased.	 47   PAST THEM TO THE POD WINDOW (O)                             47	      as we SEE the drydock and more of its detail, and a	      hint of what is inside.	 48   EXT. EARTH ORBIT - OTHER ANGLES FROM THE POD (O)            48	  -                                                                -      	 50                                                               50	                                                                 	      PAST Kirk and Scott the corner of the drydock becomes	      larger -- we begin SEEING more of it. And then the	      merest glimpse of what is inside the drydock: The	      Enterprise slips INTO VIEW.	 51   INT. POD - VERY CLOSE ON KIRK AT WINDOW                     51	      as he watches, his face reflecting all of it: the awe,	      the wonder, the romance, the obsession. The one comp-	      lete love of his life. And with that love regained,	      he is becoming more fully alive again.	      Kirk looks at Scott; for a moment both hold each other's	      eye. Scott knows precisely how Kirk feels. Both turn	      to the window again.	 52   WHAT THEY SEE - THE ENTERPRISE (S)                          52	      Now DOMINATING the SCREEN -- the awesome, symmetrical	      bulk of the starship comes fully INTO VIEW. And it	      dominates Kirk's -- and our emotions.	 53   EXT. THE ENTERPRISE - AND THE POD (TINY IN THIS SHOT)       53	  -                                                                -	 56   AS IT CIRCLES - THE ANTI-LIKE FIGURES OF WORKERS (S)        56	      The great ship dwarfs everything. The drydock becomes	      a fragile filigree framing the ship's great curved	      bulk. The tiny pod continues to move along it.	      Small automated welding devices move along the gird-	      ers, working with brief, bright orange-white flares.	      In other areas of metal lace structure, supplies and	      equipment are being loaded onto the ship. The pod	      continues moving (Scott is giving Kirk time to see all),	      watched carefully by the TINY FIGURES OF SUPERVISING	      TECHNICIANS on the drydock. Now the pod moves toward	      mating position. It closes in, secures itself to the	      outer airlock.	 57   INT. POD - AT THE AIRLOCK                                   57	      Scott completing the mating procedure, Kirk turning	      from the observation window. Outside, the metallic..	      CLICK of the pod locking onto the airlock. Now the	      "WHOOSH" of the latch doors securing, the CLANG of	      security bolts. It's all been a rare and delicious	      moment for Kirk, and his face shows it.	      OVER the POD INTERCOM we HEAR, "Pod secured. Pressure	      equalized." Scott moves the control to open the hatch.	 58   INT. ENTERPRISE CARGO DECK (M)                              58	      A confusion of organized work and VOICES. The cargo	      deck bustles with activity; supplies and equipment	      being stored and installed.	 59   INT. CARGO DECK - BALCONY AND CATWALK                       59	      Kirk and Scott are met by a nervous, perspiring	      ENSIGN.	                              KIRK AND SCOTT	                Permission to come aboard, sir...?	                              ENSIGN	                Granted, sir. Welcome aboard,	                Admiral... Commander Scott,	                you're needed in Engineering	                immediately.	                              SCOTT	                        (to Kirk)	                Sir, you'll excuse me...?	      Kirk gestures him to leave, and Scott hurries away.	      Kirk stands a moment, gazing down at the cargo deck.	 60   ANGLE DOWN PAST KIRK TO FLOOR (M)                           60	      The crew maneuvering antigravity devices which move	      heavy containers -- scrambles of activity at storage	      holds and maintenance lockers.	 61   CLOSE ON KIRK AND ENSIGN                                    61	      Kirk is drinking it all in. He's home.	                              ENSIGN	                        (nervous)	                Sir, if you'll follow me, I'll...	                              KIRK	                I think I can find my way,	                Ensign.	      And Kirk moves off, leaving the Ensign gazing at him,	      relieved.	 62   EXT. ELEVATOR AND CATWALK                                   62	      Kirk ENTERS ANGLE and the doors snap open.	 63   INT. ELEVATOR                                               63	      as Kirk enters. The doors close. Kirk waits a beat,	      savoring this moment too. Then, firmly to the control	      panel:	                              KIRK	                Bridge!	      The turbo-elevator HUMS WITH POWER as it begins hur-	      tling up. On the wall back of Kirk we SEE an electronic	      diagram of the Enterprise tracking the elevator's 	      speedy trip to the Bridge.	 64   INT. BRIDGE                                                 64	      A confusion of activity and VOICES. Pieces o equip-	      ment in a state of disarray: consoles open, fiber	      optic tubes unconnected, viewing screens dismantled.	      It's a frantic, desperate scene -- a ship and crew to-	      tally unprepared. In the midst of this: ALIEN	      ensign is assisting UHURA (Lt. Comdr. stripes)deftly	      working her communications station, AD LIBBING	      "... Hailing frequency four, check. Hailing frequency	      five, will someone please check me?" At the helm,	      sweat-soaked SULU (Lt. Comdr stripes) has a service	      plate open, is peering inside to make delicate adjust-	      ments, AD LIBBING "... Helm, now give me a reading on	      four point zero zero six of full." And at the Weapons	      Control, CHEKOV (Full Lt.)argues with TECHNICIANS who	      insist photon torpedoes read "ready" while Chekov	      argues the computer is not relaying that information.	 65   ANGLE ON THE ELEVATOR DOORS                                 65	      snapping open -- and there is Kirk. For the moment no	      one notices him, and he stands watching, remembering.	      And then he moves forward toward the command center.	 66   ACROSS UHURA TO KIRK                                        66	      as she is the first to see him. She reacts,pleased.	                              UHURA	                Captain... Starfleet just 	                signaled your transfer-of-	                command orders!	 67   ANOTHER ANGLE - VARIOUS REACTION                            67	      as everyone else is suddenly aware of Kirk.	      All work stops, with various AD LIBBED greetings from	      the old crew: "Admiral Kirk..." "It's the Captain...!"	      etc., etc. But most sit or stand, simple gaping at	      Kirk, all quite awed. The old hands, Uhura, Sulu, and	      Chekov start converging on Kirk. But he gestures them	      back, speaking crisply.	                 	                              KIRK	                I appreciate the welcome; I wish	                the circumstances were less	                critical.	                        (to Uhura)	                Epsilon Nine is monitoring the	                intruder; keep a channel open to	                them.	                        (glances around)	                Where is Captain Decker?	                              SULU	                He's in Engineering, sir...	                        (uncomfortable,	                         indicates Captain's 	                         chair)	                He doesn't know.	      Kirk reacts with some exasperation, starts away,	      addresses Chekov:	                              KIRK	                Mr Chekov, assemble the crew on	                the Rec Deck at 0400 hours. I	                want to show them what we're 	                facing.	      And Kirk moves to the elevator, enters, is gone. The	      moment the elevator doors snap closed:	                              SULU	                I wouldn't have wanted to have	                been standing in his way. He	                wanted her back; he got her!	                              ALIEN ENSIGN	                        (perturbed)	                And Captain Decker? He's been	                with the ship every minute of	                her refitting...	                              UHURA	                        (brittle)	                Ensign -- our chances of coming	                back from this mission in one	                piece may have just doubled...!	 68   OMITTED                                                     68	   -                                                               -	 69                                                               69        	 70   INT. ENGINEERING SECTION                                    70	      The entire complex a beehive of pre-departure activity.	      ENGINEERING PERSONNEL (at least a third of them female)	      coming and going, the platform-elevators (small, one-	      man lifts to various levels) busy. A gentle but con-	      stant HUM and WHIRR flows from the engine core, to indi-	      cate a pre-idling mode. There will be continual AD	      LIBBED conversation among the Technicians.	      Now the Engine Room door opens and Kirk steps into the 	      area. He stands a moment observing the activity. a	      grizzled ENGINEERING CHIEF pushes a huge condenser on	      an anti-grav device past irk with a respectful "watch	      it, sir" admonishment. Kirk moves on to:	 71   THE INTERMIX CHAMBER                                        71	      at the middle of the power shaft. Very NOISY here,	      and a continual CACOPHONY of COMPUTERIZED AND HUMAN	      VOICES calling off equipment checks. And grouped 	      around a section of burnt-out circuitry are WILLARD	      DECKER, Captain's stripes, handsome, in his early	      30's; Scott, and two Technicians. Decker and Scott	      are working feverishly uncoupling the device, 	      probing its innards. Decker has discovered the problem,	      removed several transistor-type parts, taps them 	      with a pencil-sized sonic analyzer.	                              DECKER	                        (quietly elated)	                I thought so! See... the trans-	                porter sensor was not activated...	                              SCOTT	                        (impressed)	                Aye, you were dead right about	                that...	                        (to Technician)	                Clearly, put a back-up sensor into	                the unit.	 72   ACROSS THEM TO KIRK                                         72	      as the Technician prepares to install the device,	      Scott glances up to see Kirk.	      He looks from Decker to Kirk in acute embarrassment	      (so that we should realize Scott hasn't mentioned	      Kirk's taking over to Decker). Decker now notices	      Kirk, reacts pleased.	                              DECKER	                Admiral Kirk...	                        (shakes Kirk's hand)	                We're getting a top brass send	                off...?	                        (self assured grin)	                She'll launch on schedule if we	                have to tow her out with our bare	                hands. Right, Scotty?	                              SCOTTY	                        (lamely)	                Aye, sir, that we will...	                              KIRK	                        (to Decker)	                Will, let's go over here and	                talk.	      He indicates corner. Decker glances bemusedly at	      Kirk, then turns to Scott:	                              DECKER	                Let me now when the back-up is 	                in place.	 73   ACROSS SCOTT TO KIRK AND DECKER                             73	      as Scott AD LIBS a glum "Aye, sir," and watches them	      walk across the Chamber.	 74   A CORNER OF THE INTERMIX CHAMBER                            74	      just a little quieter here, with Kirk and Decker arriv-	      ing, and Decker saying blithely:	                              DECKER	                All due respect, sir, I hope	                this isn't a Starfleet pep talk;	                I'm just too busy.	      Kirk eyes Decker -- then decides the best way to say	      it is plainly, directly.	                              KIRK	                I'm taking over the Center seat. 	                I'm sorry, Will.	                              DECKER	                You are what...?	                              KIRK	                I'm replacing you as Captain of	                the Enterprise.	      Decker seems shocked into silence; he can only peer	      at Kirk who reaches tentatively as though to clasp a	      paternal hand on Decker's shoulder, then withdraws it	      and continues quickly.	                              KIRK	                        (continuing)	                You'll stay aboard as Executive	                Officer... a temporary grade	                reduction to Commander.	                              DECKER	                       (finding his voice)	                -- You, personally, are assuming	                command?	                              KIRK	                Yes.	                              DECKER	                May I ask Why?	                              KIRK	                        (nods)	                My experience -- five years out	                there dealing with unknowns like	                this -- my familiarity with the	                Enterprise, this crew...	                              DECKER	                Admiral, this is an almost totally	                new enterprise. You don't know	                her a tenth as well as I do.	 75   ANOTHER ANGLE - TO SHOW SCOTT IN B.G. (ACROSS THE           75	      ROOM)	      Scott, working on the relay, but continually glancing	      at Kirk and Decker with worried concern, as Kirk	      replies:	                              KIRK	                That's why you're staying aboard.	                I'm sorry, Will.	                              DECKER	                No, Admiral. I don't think you are;	                not one damned bit. I remember	                when you recommended me for this	                command. You told me how envious	                you were, and if only you could	                find a way to get a starship	                command again. Well, sir, it looks	                like you found a way.	      Kirk is silent a moment, peering levelly at Decker,	      who returns the gaze with equal intensity. Then:	                              KIRK	                Report to the bridge, Commander.	                Immediately.	      Decker EXITS. Kirk waits, collecting his composure	      as he watches him go. Then Kirk turns to glare at	      Scott. Interrupted by a flare as something shorts	      out at the mechanism where Scott and Decker had been	      working. Technician (Clearly) reacts, hits an inter-	      com button fast:	                              TECHNICIAN (CLEARY)	                Transporter room, come in!	                Urgent!	                        (to Scott)	                Redline on the transporters,	                Mister Scott!	      Scott whirls to a console fast, speaks urgently!	                              SCOTT	                Transporter room, do not engage!	                Do not....	                              TECHNICIAN (CLEARY)	                        (reacting to the reading;	                         interruption)	                Too late; they're beaming now!	      Kirk is exiting on a run, followed by Scott.	 76   INT. TRANSPORTER ROOM - INCLUDING TRANSPORTER CHAMBER       76	      (O)	      An unusually defective looking TRANSPORTER EFFECT in	      progress, alternately flashing and glowing -- even the	      Transporter SOUND seems wrong, as if struggling to	      overcome some problem. At the console, CHIEF RAND and	      ASSISTANT are reacting in surprised, near-horror as	      they attempt vainly to save the situation.	                              RAND	                        (into intercom)	                Starfleet, override us!	                OVERRIDE...! Yank them back!	      Suddenly, from Rand's console,a VIOLENT GLARE -- a	      PROTESTING SOUND from the circuitry. And on the con-	      sole a red-warning light now begins flashing.	                              STARFLEET VOICE	                Unable to retrieve their pattern,	                Enterprise....!	      Rand reacts in real horror now as human forms begin to	      FAINTLY MATERIALIZE, then FADE AWAY, then REAPPEAR IN	      FAINTLY MISSHAPEN FORM as she frantically works con-	      trols. Kirk ENTERS fast, steps to the console to	      assist Rand; Scott has also come in and moves to the	      console, brushes aside the Asst. Chief, and begins	      manipulating the additional controls himself.	                              SCOTT	                We're losing the pattern...!	                              KIRK	                        (into intercom)	                Starfleet, boost your matter gain; 	                we need more signal!	                              RAND	                Oh, no! They're forming!	 77   CLOSER ON THE TRANSPORTER CHAMBER (O)                       77	      with the human forms FLUTTERING INTO FULLER AND FULLER	      MATERIALIZATION, FRIGHTENINGLY, HORRIBLY MISSHAPEN. We	      RECOGNIZE one form as the Vulcan, Sonak -- the other a	      human WOMAN. They MATERIALIZE; we HEAR A MOAN form 	      from the Vulcan -- the Woman's SCREAM OF PAIN. Then,	      all at once, the half-materialized bodies are gone;	      the transporter chamber is empty.	                              KIRK	                Oh, my God...!	 78   KIRK, SCOTT AND RAND                                        78	      gazing, horrified, at the empty chamber.	                              KIRK	                        (into intercom)	                Starfleet, do you have them?	      A mutter of utter, vacant silence -- and Kirk and	      Scott look at each other again, their pained faces	      presaging the answer they already know:	                              STARFLEET VOICE	                        (shaken)	                Enterprise... what we got back	                didn't live long. Fortunately.	      Another moment of stunned silence, and then Kirk hits	      the transmission button -- fighting to control his	      voice as:	                              KIRK	                Starfleet... Kirk. Please...	                express my condolences to their	                families. Commander Sonak's	                can be reached through the Vulcan	                Embassy.	                        (see Rand's stricken	                         expression)	                There was nothing you could have	                done, Rand. It wasn't your fault.	      And before Rand can answer, Kirk leaves the room.	 79   INT. CORRIDOR - TRAVELING WITH KIRK                         79	      as Kirk steps out, and the doors snap closed behind	      him. In the corridor the furor of the hurried depar-	      ture is, as everywhere, quite evident: CREW MEMBERS	      move back and forth. But Kirk does not see them; his	      mind is tormented by the transporter accident -- was	      there something he should have done, could have done,	      to prevent it? Should he launch on schedule with the	      starship this unready? Has he done right in yielding	      to this terrible needs for starship command again,	      forcing Starfleet to give her to him? Would Decker's	      knowledge of the new design have prevented the acci-	      dent?	      Kirk reaches a corridor intersection, looks around,	      realizes he's lost track of where he is. A passing	      YEOMAN stops in response to his puzzled expression.	                              KIRK	                Turboshaft eight...?	                              YEOMAN	                Back that way, sir.	      She's indicating back the direction from which Kirk	      came. He nods his thanks, turns and moves back down	      the corridor.	 80   DECKER                                                      80	      hurrying down the corridor. The two face each other	      a silent moment, Decker studying Kirk curiously.	                              KIRK	                We'll have to replace Commander	                Sonak. I'd still like a Vulcan	                there, if possible...	                              DECKER	                None available, Captain. There's	                no one in fact, who's fully rated	                on this design.	                              KIRK	                You are, Mister Decker. I'm	                afraid you'll have to double as	                Science Officer.	       And Kirk moves on, Decker stands gazing reflectively	       after him.	 81    OMITTED                                                    81	  -                                                                -	 84                                                               84          	 85    CLOSE - FULL SHOT OF THE KLINGON SHIP BEING DESTROYED      85	      (AS SEEN ON VIEWER) (O)		      (in the last part of the scene which showed the Klingon	      Captain speaking in Klingonese and an English print-	      out interpretation appearing at the screen bottom.	      The Klingon ship nearly totaled; one engine nacelle	      gone, smoke and flame spewing from the other, etc.	      And then that final WHIPLASH ENERGY BOLT STRIKING AND	      SPECTACULARLY DESTROYING THE SHIP, etc.)	      But this time, O.S., we HEAR GASPS of incredulity from	      many throats (an audience), and various AD LIBBED com-	      ments: "My God...!" "I don't believe it...!" "What	      could it be...?" Etc., etc.	      And then, immediately following this, on the viewer:	 86   THE LUMINESCENT CLOUD (AS SEEN ON A VIEWER) (O)             86	      (as in earlier Epsilon 9 viewer -- but with no music,	      only more AD LIBBED exclamations from an audience.)	      The viewer goes blank.	 87   INT. RECREATION DECK (M)                                    87	      We SEE that all this was being viewed by the CREW	      MEMBERS (Aliens included) assembled on the Rec Deck.	      The Recreation Deck is one of the largest areas on	      the ship, several deck levels high, a part of one	      wall consisting of picture windows, through which can	      be seen sections of the drydock structure outside.	      On another wall is a large viewer, on which was just	      shown the Klingon transmission. Leading off and away	      from this deck area are what are obviously other	      specific recreation areas -- gymnasiums, food centers,	      game rooms, lounges, etc.	 88   ANOTHER ANGLE OF THE RED DECK - HIGHER LEVEL                88	      as the Crew Members chat in low, grim tones -- Kirk	      (now with Captain's stripes) appears. As he comes	      into view, the two hundred or so crew below go silent.	      Kirk grimly indicates the now blank viewer:	                              KIRK	                That's all we know about it;	                except that it's now 2.2 days	                from Earth. Enterprise is the	                only Federation starship that	                stands in its way.	 89   ANOTHER ANGLE - CREW REACTIONS                              89	      as the CAMERA FINDS various faces: human, alien; most	      young, all intelligent, forthright -- anxious. Kirk	      has paused a moment, now continues.	                              KIRK (O.S.)	                We assume there is a vessel of	                some type at the heart of the	                cloud. Our orders are to intercept,	                investigate; and take whatever action	                is necessary... and possible.	                        (beat)	                ...We can only hope that the	                life form aboard that vessel	                reasons as we do.	 90   ANGLE ON UHURA                                              90	      standing near an intercom, which just then has emitted	      a bosun's WHISTLE intercom signal.	                              BRIDGE VOICE	                        (from intercom)	                Bridge to Captain. Priority	                signal from Epsilon Nine --	      Kirk leans over to the intercom, speaks into it:	                              KIRK	                Put it on the viewer here...!	 91   ON THE REC DECK VIEWER (O)                                  91	      as all eyes turn to the viewer which fades into a view	      of Commander Branch, in the Epsilon 9 monitor room.	      Branch is tense, reflecting extreme urgency. Near	      Branch, working intently at the console are the Female	      Lieutenant and a Technician.	                              BRANCH	                        (from the viewer;	                         checking console	                         readings)	                Enterprise... the Cloud is	                definitely a powerfield of some	                kind... Measures... My God!	                Over 82 A.U.'s in diameter...	                Must be something incredible	                inside there generating it.	                        (looks up from	                         console)	                We're transmitting linguacode	                friendship messages on all	                frequencies. No response.	                              TECHNICIAN	                I have a null reading at the 	                center of the 'cloud,' sir.	                              LIEUTENANT	                Definitely something inside..	                there but all scans are being	                reflected back.	                        (studies readings)	                Receiving an odd pattern now..	                        (toward Branch)	                They seem to be reacting to	                our scans, sir.	                              BRANCH	                        (inspecting another	                         console)	                 Some kind of energy surge...	                        (looking up)	                 Enterprise... they could be	                 mistaking our scans as a	                 hostile act...	                        (reacts at readings)	                 Deflectors, emergency full!	      Branch hits an alarm button; we HEAR ALARM KLAXON	      SOUNDING. The viewer IMAGE DISTORTS, clears again	      while Branch -- facing his viewer, continues urgently:	                              BRANCH	                        (continuing)	                We are under attack...!	                              KIRK	                        (to Uhura)	                External view...!	 92   ON THE VIEWER - EXT. THE DESTRUCTION OF EPSILON 9 (O)       92	      as the image of Branch is immediately replaced by an	      external view of the plantoid, and the LUMINESCENT	      CLOUD (at about the same distance from which the	      Klingon cruisers were attacked).	      Then it STRIKES the plantoid WITH FULL, CATACLYSMIC                	      FORCE. The viewer IMAGE BREAKS UP -- and immediately	      the entire Starfleet base becomes a maelstrom of FLAR-	      ING ENERGY, shattered structure, flying debris. And	      then, all at once, there is nothing -- empty space,	      Epsilon 9 is gone. We SEE only the stars; and the	      mysterious LUMINESCENT CLOUD moving across the distant	      sky.	      (NOTE: The above is entirely SILENT, and when it is	      finished, not a word is spoken.)	                              KIRK (O.S.)	                Viewer off.	 93   ANOTHER ANGLE - KIRK                                        93	      as the viewer goes blank, all still facing the screen.	      Then Kirk turns to the room as if to comment. Then he	      stops -- nothing he can say will add at all to what	      they've just seen. Instead:	                              KIRK	                Pre-launch countdown will	                commence in forty minutes.	 94   ANOTHER ANGLE - CREW                                        94	      The scene they have just witnessed still vivid in their	      minds as they gaze somberly up toward Kirk who is exit-	      ing. The bridge crew follows him out. Not a word is 	      said as the remainder of the crew waits another moment,	      then begins to disperse toward their duty stations too.	 95   EXT. THE ENTERPRISE IN DRYDOCK (S)                          95	      Spectacular ORBIT VIEW of the giant starship in the	      process of release. BEYOND US, in half light, EARTH	      LOOMS HUGE. The dock welders are gone; the supply pods	      float away from the ship. Little tongues of blue flame	      spurt from the ship's maneuvering jets.	 96   CLOSER - ON ENTERPRISE (S)                                  96	      as the large dock umbilical is released, floats free of	      its starship attachment. Dock departure is imminent.	 97   INT. BRIDGE                                                 97	      Kirk in the center seat, intently studying the Naviga-	      tion console in front of him (at the Navigator's	      station, which is unoccupied.) Other bridge personnel	      are busy with their pre-launch duties.	                              UHURA	                Transporters Room and Chief	                Engineer Scott report trans-	                porter system fully repaired 	                and now functioning normally, 	                sir.	                              SULU	                Dock signals clear, Captain.	                              KIRK	                Rely we are holding position	                awaiting final crew replacements.	                              UHURA	                Captain, Transporter Personnel	                reports the Navigator...	                        (consults console)	                ... Lieutenant Junior Grade Ilia	                (Eye-lee-ah) is already aboard,	                and en route to the bridge.	 98   ANGLE ON DECKER - AT THE SCIENCE STATION                    98	      as Decker (now wearing Commander stripes) reacts,	      almost startled, and Uhura continues:	                              UHURA	                She's a Deltan.	      Uhura's tone and expression convey "Deltan" in a	      certain, special manner.	                              KIRK	                       (reprovingly)	                And there are no finer navigators	                in Starfleet, Commander.	      The last is interrupted by:	98A   ANGLE ON THE ELEVATOR DOORS                                98A	      as they snap open, and there emerges a breathtakingly	      beautiful young woman (uniformed as a Navigator Lieu-	      tenant) who strides purposefully onto the bridge. A	      stunning figure, but hairless, entirely bald but or	      delicate eyebrows and eyelashes. Her bald head is not 	      at all unattractive, in fact exudes an aura of sensual	      nudity. Indeed, her whole being exudes sensuality.	      (This is a racial characteristic, not a deliberate	      presence.) She approaches Kirk	      (NOTE: Throughout this sequence, Sulu eyes ILIA with	      unrestrained admiration.)	                              ILIA	                Lieutenant Ilia reporting for	                duty, sir.	                              KIRK	                        (formally; rising)	                Welcome aboard, Lieutenant.	 99   ACROSS ILIA TO DECKER                                       99	      as Ilia starts to speak, suddenly stops: she has just	      then noticed Decker, who has stepped from his station	      to face her. For an electronic moment their eyes meet,	      hold in unquestioned recognition.	                              DECKER	                Hello, Ilia.	                              ILIA	                       (surprised)	                Decker....!	      Kirk has observed this with surprise and some concern	      (it presages possible complications). Decker turns to	      Kirk, slightly uncomfortable at this.	                          	                              DECKER	                I was stationed on the Lieutenant's	                home planet some years ago...	      Ilia looks from Kirk back to Decker, puzzled at his	      sleeve stripes.	                              ILIA	                        (eyes his rank	                         stripes)	                'Commander' Decker?	                              KIRK	                Our Exec and Science Officer...	                              DECKER	                        (bitingly)	                Captain Kirk has the utmost	                confidence in me.	      Kirk flashes a hard glance at Decker, then toward	      Ilia too.	                              KIRK	                        (pointedly)	                And in you, too, Lieutenant.	                              ILIA	                My oath of celibacy is on record	                Captain. May I assume my duties?	      While respectful, her tone of voice has been just as	      firm as Kirk's.	                              KIRK	                By all means.	100   ACROSS KIRK TO UHURA                                       100	      receiving a message, now relaying it.	                              UHURA	                Captain, Starfleet reports our	                last six crew members ready to	                beam up...	                        (puzzled)	                ... but one of them is refusing	                to step into the transporter.	      Just as Kirk a moment before was tense, now suddenly	      he's relaxed again; he rises.	                              KIRK	                        (pleased)	                Oh? I'll see that he beams up...!	      And he hurries from the bridge, onto the elevator, is	      gone. A moment of puzzled silence, then:	      	                              DECKER	                Mr. Sulu, take Lieutenant Ilia	                in hand.	                              SULU	                        (startled)	                Sir...?	                       (then understands)	                Yes, of course...	                        (to Ilia)	                Your pre-programming is already	                set in, Lieutenant.	      Sulu has almost tripped getting out of his chair. He	      starts offering Ilia his hand, then thinks better of	      it, withdraws it abruptly, immediately busies himself	      punching out equations on her console... AD LIBS,	      "It's all on the computer. You'll have no problem..."	      Sulu is nervous, fluttery around this lovely creature --	      now hits a wrong switch. Produces a BEEPING SOUND which	      he fumbles to shut off. She smiles; speaks quietly,	      repeats:	                              ILIA	                I'm sworn to celibacy, Mister	                Sulu. That makes me as safe	                as any human female.	      Sulu catches her eye but before he can reply, Decker has	      moved in beside Ilia.	                              DECKER	                I now the Captain meant no person-	                al insult.	                              ILIA	                        (eyes on console)	                I would never take advantage of	                a sexually immature species.	                        (looks at him)	                You can assure him that's true,	                can't you?	      Clearly, the remark carries special, personal	      significance.	  101    INT. TRANSPORTER ROOM                                      101	 -                                                                 -	  102                                                               102	      Kirk entering as Rand and her assistant electronically	      list the last of the five arrivals who are leaving the	      Transporter Chamber. Kirk calls through intercom to	      the last arrival, a young female Yeoman.	                              KIRK	                Yeoman, what was the problem	                down there?	                              YEOMAN	                        (through intercom)	                He insisted we go first, sir.	                Said something about first seeing	                how it scrambled our molecules.	                              KIRK	                Thank you, Yeoman	                        (hits transmit control)	                Starfleet , this is Captain Kirk.	                The officer is to be beamed up	                immediately!	103   ANGLE ON THE CHAMBER (O)                                   103	      A moment, then again the GENERATING HUMMING, and then	      the familiar BEAMING EFFECT. And then you SEE McCOY!	      He fully MATERIALIZES. He looks himself over as if in	      pleased surprise he is still in one piece. CAMERA PANS	      McCoy from the Transporter Chamber to Kirk who is hav-	      ing a hard time containing his amusement and delight.	                              KIRK	                Well, for a man who swore he'd	                never return to Starfleet...	                              McCOY	                        (flat, tight)	                What happened, Captain, sir, was	                that your revered Admiral Nogura	                invoked a little known -- and	                seldom used -- reserve activation	                clause...	                        (snaps)	                ... in simpler language, Captain,	                sir, they drafted me!	                              KIRK	                        (straight-faced)	                They didn't...!	      Kirk has offered his hand, but McCoy is already flaring:	                              McCOY	                This was your idea! It was	                your idea, wasn't it!	                              KIRK	                Bones, there's a 'thing' out	                there --	                              McCOY	                -- Why is any object we don't	                understand called a 'thing'?	                              KIRK	                        (continues)	                -- headed this way. I need you...	                    	                              McCOY	                Were you behind this?	                              KIRK	                        (nods)	                Bones, I need you badly.	      Kirk extends his hand again; McCoy delays some moments	      -- then finally responds. And once done, it is the long	      hand clasp of two old friends reunited despite their	      differences. Now McCoy turns to Rand.	                              McCOY	                Permission to come aboard, sir?	                              RAND	                        (elated)	                Permission granted, sir!	      And McCoy moves toward the door, grumbling:	                              McCOY	                I hear Chapel's an MD now; I	                need a top nurse, not a doctor	                who'll argue every diagnosis...	                And --	      Even when he's in the corridor his grumbling trails	      after him.	                              McCOY	                        (continuing)	                ... they've probably redesigned	                sickbay, too. Engineers love to	                change things.	104   FULL ON KIRK                                               104	      as he gazes fondly after the grumbling McCoy, and now	      turns to the intercom, flips it on:	                              KIRK	                All decks, this is the Captain.	                Prepare or immediate departure.	  105    INT. ENTERPRISE - MONTAGE  DEPARTURE SCENES                105	 -                                                                 -	  108                                                               108	      Bulkheads closing, feed lines disengaging, main	      ENGINES HUM into life, crew personnel hurrying to	      launch stations. SHOTS of cargo deck, down to	      Engineering Section slamming shut. Drydock area	      clearing, work lights go out, warning lights go on.	109   INT. BRIDGE                                                109	      All flight positions manned, ready.	                              UHURA	                Dock control reports ready, sir.	                              SULU	                Helm ready, sir.	                              ILIA	                Orbital departure on plot, sir.	                              UHURA	                Yard command signaling clear,	                sir.	                              KIRK	                Maneuvering thrusters, Mister	                Sulu.	                              SULU	                Maneuvering thrusters, sir.	                              KIRK	                Hold station.	                              SULU	                        (working controls)	                Thrusters at station-keeping, sir.	110   EXT. EARTH ORBIT - ENTERPRISE AND DRYDOCK (S)              110	      The starship within the drydock, but now the maneuver-	      ing -- thrusters spurt pinpoints of BLUE-LAME. The	      drydock is ready for the starship's departure -- not	      a single pod or shuttlecraft in sight. The starship	      looms majestically within the lacework girders.	111   OMITTED                                                    111	112   INT. BRIDGE                                                112	      as Kirk hesitates just an instant, seems to hold his	      breath. Then:	                              KIRK	                Thrusters ahead, Mister Sulu. 	                Take us out.	113   EXT. EARTH ORBIT                                           113	      The maneuvering -- thrusters spurt more BLUE FLAME.	      The Enterprise begins moving, DOMINATING SCREEN as	      it moves majestically from the drydock.	      THEME MUSIC IN AND UP.	  114    CLOSER ANGLES - ENTERPRISE (S)                             114	 -                                                                 -	  117                                                               117	      emphasizing fine detail reality of both drydock and	      starship as saucer section emerges. Tiny space-	      suited human figures watch the departing ship.	      CAMERA HOLDS ON STARSHIP until completely clear	      of the orbital dock.	  117A   INT. ENGINEERING SECTION                                  117A	      Here in Engineering Section, the ENGINE THROBBING	      SLOWLY BUILDS to a THUNDERING SOUND. A glow from	      the central unit indicates anti-matter intermix	      underway. The Engineering Section shudders as the	      great engines draw more and more power.	                              SCOTT	                Intermix set, Bridge, impulse	                power at your discretion.	118   INT. BRIDGE - FAVORING KIRK                                118	      as he hesitates just an instant. This is the moment	      he's awaited, and to him it is equally as sensuous	      and gratifying as making love -- which, perhaps, he	      is -- to his mistress: The Enterprise.	                              KIRK	                        (after a moment)	                Impulse power, Mr Sulu.	                Ahead Warp point-five.	119   EXT. THE ENTERPRISE (S)                                    119	      The maneuvering jets turn off, the impulse drive glows.	      The Enterprise begins moving perceptibly faster --	      behind her, the drydock diminishing rapidly in size.	                              KIRK	                Departure angle on viewer.	                              CHEKOV	                Departure angle.	      We SEE viewer IMAGE SWITCH to a departing view of	      lovely bluish, cloud-laced image of Earth as it grows	      smaller, smaller, dwindling quickly as the starship	      gathers speed.	                              KIRK	                Viewer ahead.	      And viewer IMAGE SWITCHED to show the star patterned	      space ahead.	120   EXT. SPACE - SATURN                                        120	      with its colorful rings and multiple moons FILLING a 	      major portion of the FRAME.	                              KIRK (V.O.)	                Captain's Log, stardate 7412.6.	                2.7 hours from launch...	121   INT. BRIDGE - FAVORING THE VIEWER                          121	      All hands tense with the excitement of the journey,	      on the viewer Saturn -- and its rings -- are falling	      away (BEHIND US). OVER this:	                              KIRK (V.O.)	                        (concerned)	                ... in order to intercept the	                Intruder at the earliest possible	                time, we must now risk engaging	                Warp drive while still within the	                solar system...	      End of log.	122   ANGLE ON DECKER - SCIENCE STATION                          122	      punching in equations on his console, reaching a	      reading:	                              DECKER	                Captain, assuming we have full	                Warp capability, accelerating to	                Warp Seven on leaving solar system	                will bring us to IP with the	                Intruder in twenty point one hours.	  122A   INCLUDE ILIA                                              122A	      Checking her console.	                              ILIA	                Science Officer's computations	                confirmed, sir.	      And Decker and Ilia glance at each other -- and again,	      you know there is something more than casual in this.	123   ANGLE ON THE ELEVATOR DOORS                                123	      as they open, and McCoy appears, walks over to Kirk	      who swings his chair around to face him. McCoy is	      his usual dour self.	                              KIRK	                Well, Bones, do the new medical	                facilities meet with your	                approval?	                              McCOY	                They do not. It's like working	                in a damned computer center.	                              KIRK	                        (turning to Decker)	                Programming ready?	                              DECKER	                Program set for standard Warp	                entry, Captain...	      Kirk starts to swing his chair to normal position --	      Decker calls:	                              DECKER	                        (continuing)	                ... but I still recommend	                further simulation study.	                              KIRK	                Mister Decker; every minute	                brings that object nearer Earth!	                        (using intercom)	                Engineering! Stand by for	                Warp Drive.	      McCoy is watching Kirk, a bit surprised at his abrupt-	      ness to Decker.	                              SCOTT'S INTERCOM VOICE	                        (worried)	                Captain, we need further Warp	                simulation on the flow sensors...	                              KIRK	                Engineer, we need Warp speed now!	                              McCOY	                        (very gently)	                You're pushing Jim. Your people	                know their jobs.	      Kirk flashes McCoy a glance of annoyance -- then back	      to using intercom:	124   INT. ENGINEERING                                           124	      The main intermix chambers GLOWING with power; the LOW	      RUMBLE of the main engines coming to life.	      The CAMERA FINDS Scott in the chamber:	                              SCOTT	                        (into intercom)	                Hold one minute, please, Captain --	      He steps to his console where an ASST. ENGINEER is	      working a computer, studying the readouts, punching	      buttons, etc. Scott stands over him, grimly observ-	      ing. Finally, the Asst. simply shrugs with frustration.	                              ASST.	                That's it, sir; I can't do any	                better.	                              SCOTT	                        (grim)	                Aye, lad...	                        (into intercom)	                It's borderline on the simulator,	                Captain: I canna guarantee that	                she'll...	125   INT. BRIDGE                                                125	      as Kirk, annoyed, interrupts Scott on the intercom.	                              KIRK	                Warp Drive, Mr Scott.	      McCoy still watches curiously as Kirk turns to the	      helm:	                              KIRK	                        (continuing)	                Ahead Warp One, Mr Sulu.	                              SULU	                Accelerating to Warp One, sir.	      Sulu moves his controls forward -- everyone waits	      tensely -- and then we HEAR THE INCREASING THROB OF	      THE ACCELERATING ENGINES.	                              SULU	                        (continuing)	                Warp point seven... point eight	                ... nine...	126   EXT. SPACE  THE ENTERPRISE - AFT AND AHEAD (S)             126	      We SEE the WARP POWER EFFECT build up between the en-	      gine "nacelles" -- then the starship makes the QUANTUM	      LEAP into warp drive. The stars ahead shift, streak,	      colors pulsating and changing as the shift exceeds the	      wave lengths of the light spectrum -- and the stars	      congeal into a MASS ahead.	127   INT. BRIDGE - PAST KIRK TO THE VIEWER (O)                  127	      as the viewer shows the same WARP DRIVE EFFECT. or	      another moment all remain tense, and then all at once	      relax, release their breaths. Smiles.	                              SULU	                Warp One, sir.	      Kirk smiles, pleased, starts swinging his chair around,	      at the same time calling:		                              KIRK	                Mr. Decker --	      Kirk never finishes the word. At that instant, on the	      viewer, a WORMHOLE DISTORTION: a sudden SPIRALING OF	      STARS AND FLUID LIGHT narrowing into a VORTEX into	      which the Enterprise hurtles. A space trap, a deadly	      pandemonium of ALARM KLAXONS, BELLS, VOICES:	                              KIRK	                        (continuing)	                Wormhole!... Get us back on	                impulse power! Full reverse!	128   EXT. SPACE - THE ENTERPRISE (S)                            128	      Enterprise has been caught in a matter-time distortion,	      sucked into a cylindrical "hole in space" (the Worm-	      hole distortion), stars and planets become strange,	      elongated shapes, with the Enterprise drawn deeper	      and deeper into the vortex.	129   INT. BRIDGE                                                129	      The KLAXONS and BELLS CONTINUE, and the crew responding:	                              SULU	                Negative helm control, Captain!	                Going reverse on impulse power...!	                              UHURA	                Subspace frequencies are jammed	                by Wormhole effect!	                              COMPUTER VOICE	                        (terse, flat)	                Collision alert...!	                Collision alert...!	      (Note: Computer alert continues through entire scene.)	                              DECKER	                        (consulting his viewer)	                Negative control from inertial	                lag will continue 22 point five	                seconds before forward velocity	                slows to sub-light speed.	                              ILIA	                Unidentified small object has	                been pulled into the wormhole	                with us, Captain! Directly 	                ahead...!	                              KIRK	                Forcefields up full! Put object 	                on viewer...!	130   ANGLE ON THE MAIN VIEWER (O)                               130	      showing (a magnification view) of a tiny point of light	      directly ahead. Meanwhile, Kirk shouts an AD LIBBED	      order to Sulu: "Go to Manual override!" Sulu AD LIBS,	      "No manual response...!" (Through all this, McCoy	      stands frozen, waiting -- and expecting -- the worse.)	      Meanwhile, Ilia has reached over to Sulu's console,	      hits a button, AD LIBBING, "Navigational deflectors	      coming up...!" And then with alarmed dismay:	                              ILIA	                Navigational deflectors 	                inoperative...!	                        (consulting her 	                         console, alarmed)	                Directional control also 	                inoperative, Captain...!	                              DECKER	                Wormhole distortion has over-	                loaded main power systems...!	131   CLOSE ON MAIN VIEWER (O)                                   131	      The picture is switched through two further levels of	      magnification, enlarging the object: an elongated,	      distorted, pitted asteroid, tumbling toward the Enter-	      prise on a collision course.	                              KIRK	                        (toward Ilia)	                Time to impact...?	                              ILIA	                Twelve seconds...!	                              KIRK	                Mr. Chekov, stand by on the	                phasers...!	                              DECKER	                        (racing to Chekov's	                         station)	                Delay that phaser order! Arm	                photon torpedoes...!	133   ANOTHER ANGLE - McCOY NOTICING KIRK                        133	      who has just glanced, surprised at Decker (for counter-	      manding the phaser order) -- and for a split instant,	      Kirk seems confused. McCoy reacts with enlightenment	      as, meanwhile:	134   ANOTHER ANGLE - THE VIEWER (O)                             134	      The object even larger.	                              CHEKOV	                Photon torpedoes armed...!	                              ILIA	                Object is an asteroid, reading	                mass point seven...	                       (consulting instruments)	                Impact in eight seconds...	                seven... six... five...	                              DECKER	                Fire torpedoes...!	                              CHEKOV	                        (punching button)	                Torpedoes away...!	135   EXT. SPACE - PAST THE ENTERPRISE AND THE ASTEROID (S)      135	      as the starship's photon torpedo tubes EJECT GLOWING	      BALLS OF LIGHT ENERGY, which seems to float toward the	      oncoming asteroid, almost too slowly. And in these	      brief seconds, the asteroid hurtles at the Enterprise,	      the huge pitted rock growing even larger than the ship	      itself. It FILLS THE SCREEN, as the photon torpedoes	      hit, disintegrating the asteroid into thousands of	      fragments. Instantly, these fragments pulverize them-	      selves on the ship's forward forcefield and deflector	      screens. The smaller pieces burn up on impact, clearly	      outlining the ship's forcefield barriers.	136   INT. BRIDGE - INCLUDING MAIN VIEWER (O)                    136	      The asteroid fragments still smashing into the force	      field screen; the smaller bits like SPARKLERS as im-	      pact heat consumes them. The larger sections bouncing 	      away, the bridge QUIVERING as they hit.	      Then one final gigantic fragment strikes, the bridge	      SHUDDERS. And then the viewer shows only the normal	      SUB-WARP EFFECT: The stars ahead, relatively station-	      ary; a feeling of motion, but smooth, visually normal.	                              CHEKOV	                        (relieved)	                We're out of it...!	                              DECKER	                We are at warp point eight.	                Position report, Navigator..?	                              SULU	                Helm control restored, sir.	                              ILIA	                Computing new interception	                course.	                              UHURA	                Communications are normal,	                Captain.	                              CHEKOV	                        (to Kirk)	                Negative damage report, sir.	                        (to McCoy)	                No casualties reported, sir.	                              McCOY	                        (tight)	                Wrong, Mr. Chekov, there are	                casualties. My wits!	                        (to Kirk, indignant)	                As in 'frightened-out-of'...!	                              DECKER	                       (into intercom)	                Engineer... report status there.	137   INT. ENGINEERING                                           137	      with Scott and his crew pouring over the instruments --	      all seem very grim. Scott, quite preoccupied, now	      speaks into the intercom.	                              SCOTT	                In just a second, Exec; we're 	                picking up the pieces down here.	138   INT. BRIDGE                                                138	      Kirk seeming to collect his thoughts now -- he gives	      Decker a look, uses the intercom himself:	                              KIRK	                Warp Drive as soon as possible, 	                Mr. Scott.	                              SCOTT'S INTERCOM VOICE	                        (protesting)	                Captain, it was our anti-matter	                imbalance that created the 	                wormhole in the first place. It 	                will happen again if we don't 	                correct it.	                              KIRK	                That object out there is less	                than two days from Earth, Mister 	                Scott. We've got to intercept 	                while it still is out there!	                              SCOTT'S INTERCOM VOICE	                        (near annoyed)	                Aye, we understand that sir!	                We're doing our best.	      as Kirk flips off the intercom, rises determinedly,	      faces Decker:	                              KIRK	                Mr. Decker, I'd like to see you	                in my quarters.	                        (toward helm)	                You have the conn, Mr. Sulu.	                              McCOY	                        (to Kirk)	                Mind if I tag along?	      Kirk gives McCoy an annoyed look, then strides to the	      elevator. Decker, grim, follows -- McCoy brings up	      the rear as they EXIT.	139   ANGLE FAVORING ILIA                                        139	      gazing worriedly at the just-closed elevator doors,	      as Sulu is punching figures into his console.	                              SULU	                Maintaining warp point 	                eight; I show our new heading 	                as 287 point three Mark 105.	      Ilia's attention is directed toward Decker.	                              SULU	                        (continuing; gently	                         reminding)	                Lieutenant Ilia...?	                              ILIA	                        (a beat; then 	                         quickly)	                Confirmed, Mr. Sulu. Confirmed.	      And she punches in some equations, then again peers	      up at the doors where she last saw Decker. She is	      very concerned.	140   INT. KIRK'S QUARTERS                                       140	      The doors opening, Kirk entering, McCoy moves to b.g.	      while Decker stands attentively, waiting as Kirk	      turns to him.	                              KIRK	                Explanation, Mr. Decker: Why was	                my phaser order countermanded?	                              DECKER	                       (cool, polite)	                Sir, the Enterprise redesign	                increases phaser power by	                channeling it through the main	                engines. When they went into	                anti-matter imbalance, the	                phasers were automatically cut	                off.	      Kirk is surprised by this information, perhaps slight-	      ly chagrined. After a beat:	                              KIRK	                Then you acted properly, of course.	                              DECKER	                Thank you, sir. I'm sorry I embar-	                rassed you.	                              KIRK	                You saved the ship.	                              DECKER	                        (coolly)	                I'm aware of that, sir.	                              KIRK	                        (flaring)	                Stop competing with me, Decker!	                              DECKER	                Permission to speak freely, sir?	                              KIRK	                        (tight)	                Granted.	                              DECKER	                Sir, you haven't logged a single	                star hour in two and a half years.	                That, plus your unfamiliarity	                with the ship's design -- in my	                opinion, sir, seriously jeopardizes 	                our mission.                          	      Kirk reacts with anger. Struggles for and regains	      control.	                              KIRK	                I trust you will... nursemaid me	                through these difficulties, Mister?	                              DECKER	                Yes, sir, I'll do that.	      Kirk peers at Decker, who stands facing him 	      determinedly.	                              KIRK	                Then I won't keep you from your	                duties any longer, Commander.	                        (whirling at McCoy)	                Yes, Doctor?	      Kirk's last line has drowned out Decker's "Aye, sir."	      McCoy says nothing, waits until Decker is gone and the	      door closes behind him. Then:	                              McCOY	                He may not be wrong, Jim.	141   OMITTED                                                    141      	  -                                                                -	142                                                              142	143   INT. CORRIDOR                                              143	      Decker moving toward an elevator -- the elevator doors	      open, and there is Ilia. She steps out, faces him.	                              ILIA	                Was he difficult?	                              DECKER	                No more than I expected	                        (hesitates)	                Not as difficult as this. I'm	                sorry...	                              ILIA	                That you left? or that you didn't	                say 'goodbye'?	                              DECKER	                If I'd seen you again, would you	                have been able to say it?	                              ILIA	                        (long hesitation;	                         then shakes head)	                No.	      Ilia whirls, moves toward her stateroom door, which	      snaps open, then closes behind her. Decker stands	      gazing at the door, remembering, regretful.	144   OMITTED                                                    144	  144A   INT. KIRK'S CABIN - KIRK AND McCOY                        144A	                              KIRK	                Get out of here, Bones.	                              McCOY	                        (shakes head)	                As ship's doctor, I am now	                discussing the subject of	                command fitness.	      Kirk's expression hardens.	                              KIRK	                Make your point, Doctor.	                              McCOY	                The point, Captain, is that it's	                you who's competing...	                        (a beat, as Kirk reacts)	                You pulled every string in the	                book short of blackmail to get	                the Enterprise -- maybe even	                that. And when this mission is	                over, you have no intention of	                giving her back.	                              KIRK	                        (tight)	                I intend to keep her, is that	                what you're saying, Doctor?	                              McCOY	                It's an obsession -- that can	                blind you so far more immediate	                -- and critical responsibilities.	                Your reaction to Decker is an	                example.	      Kirk studies him a beat; has McCoy touched a nerve?	      Something Kirk himself might have been unaware of?	      Kirk starts speaking, but is interrupted by:	                              UHURA'S INTERCOM VOICE	                Bridge to Captain.	  144B   ANGLE TO INCLUDE CABIN VIEWER                             144B	      as Kirk turns to it.	                              KIRK	                Viewer on.	      At his VOICE COMMAND, the viewer comes on with AN IMAGE	      of Uhura at her console.	                              UHURA FROM VIEWER	                Signal from a Federation-registered	                long-range shuttle, sir. She	                wishes to come alongside, and	                lock on.	                              KIRK	                For what purpose?	      On the viewer, Chekov's IMAGE replaces Uhura.	                              CHEKOV	                It is a courier, Captain. Grade	                One priority. Non-belligerency	                confirmed.	                              KIRK	                Very well, Mr. Chekov, see to it.	                Viewer off.	      Viewer IMAGE FADES. Kirk turns back to McCoy whose	      question of Kirk's fitness still hangs there between	      them. Eye to eye - then, finally:	                              KIRK	                        (continuing)	                Your... opinion has been noted,	                Doctor.	                        (beat)	                Is there anything further?	                              McCOY	                I hope not.	      Kirk nods, exits. McCoy watches him go, hoping his	      point has gotten through.	145   OMITTED                                                    145	146   EXT. SPACE - THE SHUTTLE (S)                               146	      traveling at a rapid speed; it carries warp-capacity	      nacelles which dwarf the smaller  to 10 position	      shuttle fuselage. The CAMERA HOLD ON THE SHUTTLE	      as it overtakes the Enterprise, the ENTERPRISE COM-	      ING INTO VIEW, and the shuttle slowing and beginning	      to move between the starship's giant nacelles.	147   EXT. SPACE - THROUGH WINDOW IN OFFICERS' LOUNGE -          147	      THE ENTERPRISE AND THE SHUTTLE (S)	      About the size of a fighter airplane floating in over	      the vastness of an aircraft carrier. The shuttle	      slows further, hovering now. Then its fuselage pod	      detaches from the warp drive nacelles -- the pod	      moving slowly but precisely toward the starship's	      command airlock.	148   INT. POD HATCH ENTRY AREA                                  148	      as we HEAR the CLANK and WHOOSH of the AIRLOCK MECHAN-	      ISM. Chekov is standing by  with a security man.	      A moment later the hatch slips open - TO REVEAL	      Spock. A proud Spock, impassively Vulcan, almost	      contemptuously aloof. His hair is now trimmed in	      neat Vulcan style; he wears Vulcan attire simple,	      civilian, utilitarian.)	                              SPOCK	                Permission to come aboard, sir?	                              CHEKOV	                Granted, sir! Granted!	      Spock is already moving out of the pod entry area, im-	      passive, no greeting on his lips; no friendship in his	      expression.	149   EXT. SPACE - THE SHUTTLE LEAVING                           149	      pulling away from Enterprise.	150   INT. BRIDGE                                                150	      The elevator doors open, and there is Spock. It takes	      everyone a moment to believe their eyes. Then, the	      Bridge crew AD LIB their surprise and pleasure.	                              KIRK	                Spock...! Spock, where...how...?	      Kirk, smiling, is moving toward Spock with hand out-	      stretched. But Spock has already turned and moved	      toward the science console where Decker sits.	                              SPOCK	                Commander, if I may...?	150A  AT SCIENCE CONSOLE                                        150A	      It takes Decker a moment to realize that Spock wants	      to take over the console. He begins getting to his	      feet, throwing Kirk a look. But Kirk's attention is	      totally on SPOCK. And Spock is already intent on com-	      putations he is beginning to punch into the science	      console computer.	                              SPOCK	                I have been monitoring your	                Starfleet transmissions, Captain,	                your engine design difficulties.	      Spock continues to punch information into the science	      computer -- a monitor screen IMAGE begins to show com-	      plex equations which Spock inspects -- he makes a	      further computer punch out and inspects a second  monitor 	      IMAGE of other equations. Only then does Spock seem to	      become aware of Kirk and Decker standing there with	      questioning expressions.	                              SPOCK	                        (continuing)	                I offer my services as Science	                Officer.	      Kirk starts to grin -- then remembers to wipe it off	      his face as he turns to Decker.	                              KIRK	                If our Executive Officer has no	                objections...?	                              DECKER	                        (interrupting)	                Of course not. I'm aware of	                Mister Spock's qualifications.	                              KIRK	                        (grinning openly now;	                         turns, calls)	                Mister Chekov, log Mister Spock's	                Starfleet commission reactivated;	                list him as Science Officer; both	                effective immediately.	  151   ANGLE TO INCLUDE ELEVATOR DOORS                             151	      as they SNAP open -- McCoy and Chapel appear. Chapel	      sees Spock at the science console -- she moves in	      quickly, overjoyed. Even McCoy seems pleased.	                              CHAPEL	                Mr. Spock...!!!	                              McCOY	                So help me, I'm actually	                pleased to see you.	      But as Chapel crosses to Spock, her pleased smile	      brightening her whole face, Spock turns, dismisses her	      presence with a cold disinterested glance -- Chapel	      stops, stands dumbfounded. Spock gives McCoy a similar	      glance - turns back to his console readings as:	                              UHURA	                That's how we all feel, Mister...	      The same cold glance causes Uhura to stop in mid-	      sentence. Several grins directed toward Spock are now	      fading from bridge crew faces. Spock has turned back	      again for a last quick reading at the console and now	      stands -- totally ignoring everyone else as he speaks	      coolly, unemotionally to Kirk:		                              SPOCK	                With your permission, I will now	                discuss these fuel equations with	                the Engineer.	      Kirk manages a nod, a bit dumbfounded himself at Spock's	      strange manner. Spock heads for the elevator -- puz-	      zled expressions from the entire bridge crew. Then	      Kirk calls after him, very sincerely:	                              KIRK	                Mister Spock, welcome aboard!	      Spock continues onto the elevator without any acknow-	      ledgment, leaves. Kirk glances, perplexed, at McCoy.	      McCoy, equally perplexed, shrugs.	                              McCOY	                Never look a gift Vulcan in the	                ears, Jim.	152   EXT. SPACE - THE ENTERPRISE (S)                            152	      traveling past the stars, sub-warp. OVER this:	                              KIRK (V.O.)	                        (buoyant)	                Captain's Log. Stardate 7413.4.	                Thanks to Mr. Spock's timely	                arrival - and assistance...	153   INT. ENGINEERING - SPOCK AND SCOTT                         153	      	      Scott making an intermix chamber reading with a hand-	      held timer-temperature device which emits SIGNALS while	      Spock now in regulation uniform and hair trim, makes	      adjustments in the circuitry of a panel complex. Dur-	      ing the following, they will react as if they've solved	      the engine problem.	                              KIRK (V.O.)	                        (continues)	                ... we have the engines rebalanced	                into full warp capacity. Repair	                time less than three hours...	154   INT. BRIDGE - ALL BRIDGE CREW EXCEPT SPOCK                 154	      Sulu at the helm, accelerating; just a touch of tense-	      ness in crew as they move toward the speed which	      earlier threw them into the "wormhole" effect.	                              KIRK (V.O.)	                        (continues)	                ... which means we will now be	                able to intercept Intruder while	                still more than a day from Earth.	155   ANGLE INCLUDING MAIN VIEWER (O)                            155	      Stars accelerating as Sulu calls off:	                    	                              SULU	                Warp point eight... point nine...	      The viewer shows the QUANTUM LEAP into warp drive. The	      stars ahead shift, streak and congeal into WARP EFFECT	      MASS.	                              SULU	                        (continuing)	                Warp one, sir.	      The others wait, then show relief as:	                              SULU	                        (continuing)	                Warp two, sir... warp three...	      He continues to seven.	                              SCOTT'S INTERCOM VOICE	                Engineering to Bridge... New	                intermix balance holding steady.	                She's not even straining!	156   INT. OFFICER'S LOUNGE (O)                                  156	      Where, first, CAMERA SHOOTS THROUGH THE WINDOW, the	      myriad of stars, space, the whole magnificent vista.	      In the lounge, empty but for them, are Kirk and McCoy	      -- obviously awaiting Spock, who ENTERS and presents	      himself cold and aloof as before:	                              SPOCK	                Reporting as ordered, Captain.	                              KIRK	                Sit down, please.	      Spock remains standing, addresses Kirk:	                              SPOCK	                Sir, I would appreciate Dr. McCoy	                absenting himself from this	                interview.	                              KIRK	                I want him here.	                       (indicating)	                Sit down!		      For an instant, it looks like Spock will refuse. Then,	      he complies but sits formally, rigidly. He ignores	      McCoy totally.	                              KIRK	                You've reported that you felt	                strong thought emotions. A	                group of minds from a space	                vessel? Could you make out any	                plan, anything to do with	                Earth?	                              SPOCK	                        (still formally)	                Negative, Captain. I could sense	                only what seemed an almost	                omniscient pattern of perfect	                logic. I can explain nothing	                more; I understand nothing more.	      Kirk is clearly disappointed -- and a bit uncomfortable	      about what he must ask next. He exchanges a glance	      with McCoy, then:	                              KIRK	                Also -- there was nothing in your	                report about why you're here.	                              SPOCK	                That inquiry invades my personal	                life, Captain.	                              McCOY	                Spock, we've already guessed why	                you're here...	                              KIRK	                I inquired about you -- learned	                you were studying with the	                Masters...	      Although Spock has been almost infuriatingly emotionless,	      his expression shifts slightly. McCoy indicates this:	                              McCOY	                That flicker of emotion confirms	                our guess. You failed.		                              SPOCK	                        (facing McCoy for	                         the first time)	                Your deductions do you credit,	                Doctor... if your puerile	                curiosity does not.	                              McCOY	                        (not in amusement)	                And now, anger, Spock?	      Spock looks straight ahead -- his face instantly com-	      posed to almost total blankness.	                              SPOCK	                        (beat; nods)	                I still contain fragments of my	                human half.		                              KIRK	                And whatever you sensed out here....	                              SPOCK	                 ... is my only hope of accomplishing	                what the Masters could not.	                              McCOY	                If you achieve perfect logic, Spock,	                you'll pay a price. It's given	                your planet ten thousand years of	                peace, but no poetry's been written	                since then, no music.	      Spock has come to his feet fast - but Kirk is on his	      feet too, confronting him. During which:	                              KIRK	                Let it drop, Bones.	                        (to Spock)	                You are my Science Officer -- I'll	                expect an immediate report on	                anything further you learn or sense	                from here on.	                              SPOCK	                I have accepted service here as	                a Starfleet officer... sir.	                              KIRK	                        (nods)	                I know this has been painful, Spock.	                For me too. Thank you.	      Spock EXITS. Kirk and McCoy exchange a troubled look,	      then EXIT too as CAMERA CENTERS AGAIN ON OBSERVATION	      WINDOW, the view of space there.	157   OMITTED                                                    157 	  -                                                                - 	159                                                              159	  159A   INT. BRIDGE - CLOSE ON CHEKOV'S HAND                      159A	      pushing red alert. The ALERT SOUNDS; the red lights	      begin FLASHING.	                              CHEKOV'S VOICE	                Red alert! Red alert!	160   BRIDGE ANGLE - INCLUDING MAIN VIEWER                       160	      All regulars in position (different uniforms), extra	      CREW hurrying in from elevators to man the remainder	      of the console positions. Decker is making a bridge	      circuit.	                              KIRK	                Full mag on viewer!	      Sulu hits a control -- viewer seems to ZOOM AHEAD and	      in the distance we SEE a point of light which grows	      into the LUMINESCENT CLOUD. The same as seen by the	      Klingons and Starfleet's Epsilon Nine station. Myster-	      ious, beautiful, and menacing.	                              KIRK	                        (continuing)	                Linguacode?	                              UHURA	                Continuing friendship messages on	                all frequencies, sir.	                              CHEKOV	                All decks and divisions confirm	                status red.	                              SPOCK	                        (flat, impassive)	                We are being scanned, Captain.	161   ANOTHER ANGLE - ACROSS KIRK (AND DECKER) TO SPOCK          161	      as Kirk whirls toward Spock's station, calls out:	                              KIRK	                Do not return scan, Mr. Spock!	                It may be misinterpreted as	                hostility!	                              SPOCK	                Intruder scans emanate from	                the exact cloud center.	                Energy of a type entirely un-	                known to me.	                              UHURA	                       (after a moment)	                No response to friendship	                messages, Captain.	                              CHEKOV	                Should I go to battle stations,	                sir.	                              KIRK	                Negative, We'll take no prov-	                ocative action.	      Decker has reacted sharply, disapprovingly, to this:	                              DECKER	                Recommend defensive posture,	                Captain: Screens and shields.	                              KIRK	                No...	                        (pause)	                ... that could also be misinter-	                preted as hostile, Mr. Decker.	                        (to Spock)	                Cloud composition, Mr. Spock?	                              SPOCK	                Twelve power energy field --	                              SULU	                        (in disbelief)	                -- twelve power?!	                              DECKER	                        (urgently)	                Captain, we've seen what their	                weapons can do. Shouldn't we 	                take every possible precaution -- ?	                              KIRK	                Mr Decker....	                              SPOCK	                        (interrupting)	                Captain, I suspect there's an	                object at the heart of that cloud.	                              KIRK	                        (cool)	                Mr. Decker, I will not provoke 	                an attack, If that order isn't 	                clear to you...	                              DECKER	                        (interrupting in mid	                         sentence)	                Captain, as your Exec, it's my	                duty to point out alternatives.	      A moment of thought from Kirk.	                              	                              ILIA	                Five minutes to Cloud boundary!	                              KIRK	                        (a look)	                I stand corrected Mr. Decker.	                        (toward Ilia)	                Navigator, lay in a conic section	                flight path into the cloud center;	                bring us parallel to whatever	                we find in there...	162   FAVORING THE VIEWER (O)                                   162	      The Cloud has now grown so large it DOMINATES THE	      ENTIRE VIEWER. Sulu hits a button, reducing magnif-	      cation. Immediately, the CLOUD diminishes in size --	      but almost instantly begins GROWING AGAIN. Decker's	      annoyance (with Kirk) suddenly seems to dissipate as	      his total attention is diverted to the cloud.	  162A   ANOTHER ANGLE - SPOCK, DECKER AND KIRK                    162A	      Decker turning to Spock	                              DECKER	                That measures twelve power?	                Ten thousands of starships couldn't 	                generate that much...		      Decker trails his words, realizing that Spock isn't	      hearing a word. Spock's attention is on the O.S. main	      viewer, totally absorbed by something he's feeling.	      He is slowly rising from his seat, stepping forward --	      Kirk becomes conscious of this, turns and sees Spock's	      strange expression. Before he can speak:	                              SPOCK	                They have... they have been	                communicating with us. I sense	                ... puzzlement. Why have we	                not replied?	                              KIRK	                Communicated with us how?	      Spock shakes his head... then reacts as if sensing or	      theorizing something further. He turns, moves quickly	      to his console, begins there as if searching for something.	      Interrupted by another ALARM KLAXON.	                              DECKER	                Signal medical alert, Mister	                Chekov!	                              COMPUTER VOICE	                Incoming fire. Ahead. Zero, 	                ... mark, zero.	                Incoming fire. Ahead. Zero,	                mark, zero.	163   FULL ON THE MAIN VIEWER (O)                                163	      showing a WHIPLASH ENERGY BOLT streaking from the	      Cloud!	                              KIRK (O.S.)	                Forcefields now...! Deflectors	                up full!	                              SULU (O.S.)	                Commencing evasive	                maneuvers... !	      Bridge begins to tilt.	164   REVERSE ANGLE                                              164	                              CHEKOV	                Forcefields and deflectors up	                full, Captain.	165   EXT. SPACE - ENTERPRISE (S)                                165	      The WHIPLASH ENERGY BOLT speeds toward the Enterprise,	      which veers sharply away now -- but WHIPLASH FOLLOWS.	166   INT. BRIDGE AND VIEWER (O)                                 166	      With the WHIPLASH ENERGY BOLT on the main viewer,	      closer and closer -- heading straight-on for the Star-	      ship. From the Bridge a CACOPHONY OF VOICES AND	      SOUNDS, but all organized and disciplined with the	      BRIDGE LIGHTING DIMMING and then as though traveling 	      the last short distance (actually several million	      miles) in the wink of an eye -- the WHIPLASH OF ENERGY	      STRIKES. The bridge lights go out.	      In the sudden darkness, the main viewer is all at once 	      a frantic, furious, pattern of GREEN-WHITE FLARING ENERGY,	      accompanied by an EXPLOSIVE SHRILLING SOUND. It seems to 	      cling to the forcefields, the incredible energy of the          	      forcefield barriers.	167   FAVORING CHEKOV'S STATION (O)                              167	      as a sheet of GREEN WHIPLASH ENERGY bursts from	      Chekov's console -- a LASH of FLAME engulfs Chekov's	      arm. Automatic fire control nozzles SPURT FOAM over	      him as he falls twisting and groaning in pain. Ilia	      reacts first, crossing quickly to assist Chekov --	      Decker joins her, taking over Chekov's console.	168   OMITTED                                                    168	169   EXT. SPACE - THE ENTERPRISE UNDER ATTACK (S)               169	      The SHEET OF WRITHING-GREEN ENERGY enveloping the	      entire vessel, outlining it starkly. (And outlining,	      too, the forcefield screens and deflectors -- batter-	      ing at them, seeking some gap through which to	      penetrate.)	170   INT. BRIDGE - FAVORING THE VIEWER (O)                      170	      The bridge still darkened, and on the viewer the WHIP-	      LASH ENERGY splattering the entire viewing screen with	      GREEN ENERGY BRILLIANCE, forcing all to shield their	      eyes against the impossible glare.	171   OMITTED                                                    171		172   INT. ENGINEERING                                           172 	      A smoking panel BURSTS INTO A SHOWER OF SPARKS AND	      FLAME, spewing over and past Scott and his crew.	                              SCOTT	                Bypass...! Alternate	                Integrators!	173   INT. BRIDGE AND VIEWER (O)                                 173	      as, first on the viewer, the WHIPLASH ENERGY BOLT	      EFFECT clings another moment then begins FADING. And	      then it is gone. The bridge lights go on again.	      Elevator doors open. Doctor Chapel and Medical Corps-	      men arrive and cross immediately to where Ilia tends	      to the injured Chekov.	                              SULU	                The new screens held...!	                              SCOTT'S INTERCOM VOICE	                Engineering to bridge; we cannot	                hold full power on forcefields;	                deflector power is down seventy	                percent!	  173A   CHEKOV'S STATION                                          173A	      Over the following, we will HEAR Captain Kirk AD LIB	      order; "Divert auxiliary systems power to deflectors!"	      and SCOTT INTERCOM VOICE answer: "All auxiliary power	      to deflectors, sir." Meanwhile, Chapel and Corpsmen	      giving medical treatment to Chekov who is in agony.	      Chapel is about to give an injection.	                              ILIA	                No, I can stop his pain.	      The Deltan woman takes Chekov's upper arm in both her	      hands, kneading her fingers deep into nerve centers --	      Chekov's pain begins to quickly recede and he is almost	      startled by the sudden relief. Doctor Chapel, now	      spraying plasti-skin on the burned hand and wrist,	      gives Ilia a surprised, approving look and a flicker	      of female friendship passes between the Deltan and	      Earth woman. (setting up a later story point)	174   CLOSE ON VIEWER (O)                                        174	      The energy brilliance gone now, we can SEE the CLOUD	      is very close -- the closest we have seen it yet, and	      the Aurora effect is spectacular; a vast, dense blan-	      ket of SPARKLING, FLARING COLOR.	175   EMPHASIZING SPOCK                                          175	      whirling abruptly in his chair, addressing Kirk:	                              SPOCK	                Captain, the Intruder has been	                attempting to communicate! Now	                placing their transmission on	                the speaker...	      Immediately, from the SPEAKER we HEAR a SHRILL, IN-	      CREDIBLY FAST BEEP.	                              SPOCK	                        (continuing)	                ... frequency more than one	                million megahertz at such high	                speed their entire message lasts	                only a millisecond.	  175A   ANOTHER ANGLE                                             175A	      Chapel and Corpsman are assisting Chekov from the	      bridge (we'll have SEEN that the remarkable plasti-	      skin sprayed on his hand has completley covered the	      ugly burn marks - he is even able to move his fingers	      a bit). Ilia returns to her station -- a relief CREW	      WOMAN takes over from Decker at Chekov's console.	176   CLOSER ON SPOCK'S STATION                                  176	      so we can SEE in more detail Spock's monitor -- various	      oscillating waves, and HEAR more of the SHRILL BEEPS as 	      Spock manipulates his equipment, and continues:	                              SPOCK	                I suspect our messages were too	                slow for them to be noticed.	                        (touches a control)	                Programming computer to send	                linguacode at their rate.	      Decker has hurried in to assist the science console.	      Spock indicates a console area -- Decker works there --	      Spock works another section of console buttons.	177   EXT. SPACE - THE ENTERPRISE AND THE CLOUD (S)              177	      The Cloud ever closer to the ship now, which is a mere	      dot in space compared to the immensity of the energy-	      seething, continuous color-exploding Cloud. And then,	      suddenly, from the Cloud -- ANOTHER WHIPLASH ENERGY	      BOLT. Bearing down upon the Enterprise.	178   INT. BRIDGE - INCLUDING VIEWER                             178	      where the oncoming WHIPLASH BOLT is SEEN emerging from	      the Cloud. In the b.g., ALARM KLAXONS are SOUNDING, 	      alert lights flashing, etc	                              SULU	                Here it comes...!	                             COMPUTER VOICE	                Incoming fire. Ahead, zero, mark,	                zero, point two. Incoming fire. 	                Ahead, zero, zero, mark, zero...	                              KIRK	                        (into intercom)	                Engineering... what's happening	                to our forcefields?!	179   INT. ENGINEERING                                           179	      Much frenetic activity here, previous damage being	      repaired, the main shaft GLOWING BLUE-WHITE, ENGINES	      THROBBING AT FULL POWER, and a harassed Scott at the	      intercom:	                              SCOTT	                Systems are overloading, Captain!	                Our shields cannot handle another	                attack!	180   OMITTED                                                    180	181   EXT. SPACE - THE ENTERPRISE AND THE CLOUD (O)              181	      The WHIPLASH BOLT streaking toward the ship.	182   INT. BRIDGE                                                182	                              KIRK	                        (desperately)	                Mr. Spock?	                              ILIA	                Impact in fifteen seconds...	      Spock -- Decker assisting -- works frantically. Spock	      is clearly dissatisfied, shakes his head tightly.	                              KIRK	                Transmit, Mr. Spock! Now!	                              ILIA	                Ten seconds....	183   CLOSER ON SPOCK'S STATION                                  183	      as Spock hits the "transmit" button, and we HEAR the	      SHRILL BEEP SOUND (lasting but a fraction of a second),	      and Decker calls to Kirk:	                              DECKER	                Transmitting...!	                              ILIA'S VOICE	                ... five seconds.	184   ANGLE ON MAIN VIEWER (O)                                   184	      where the WHIPLASH BOLT is now BRILLIANT, almost upon	      us! Then the WHIPLASH ENERGY BOLT abruptly VANISHES.	      In the blink of an eye, the entire EFFECT IS GONE.	185   REACTIONS                                                  185	      relief, incredulity.	                              SPOCK	                It appears that our message has	                been understood, Captain.	                              KIRK	                        (to Uhura)	                Any reply from them?	                              UHURA	                Negative, no reply, sir.	                              KIRK	                       (returning to Spock)	                Spock, have you sensed anything	                else?	      Spock turns, gives the O.S. viewer a glance. Then he	      shakes head.	                              SPOCK	                The 'puzzlement' I sensed was	                fleeting... minor...	                       (ponders, then)	                ... as if carrying a sense of	                our insignificance, Captain.	                              KIRK	                Our... 'insignificance'?	      All have reacted to this; Kirk exchanges a look with	      Spock who nods firmly. Then Kirk sees that both Decker	      and Sulu are throwing him a questioning look. In b.g.	      McCoy and Chapel have EXITED bridge with Chekov.	                              SPOCK	                We are obviously confronted by	                a highly advanced mentality...	                yet they cannot understand who	                we are, or what we want.	                              KIRK	                But they understood our messages;	                they broke off the attack.	                              DECKER	                They may have attacked only as	                a warning to us, Captain. To	                keep away.	                              SPOCK	                That would presuppose a feeling,	                Commander... compassion. I sensed	                no emotion, only...	                        (reverentially)	                ... pure logic.	      Kirk peers at Spock hoping for some assistance on	      the decision; but Spock merely peers back at him ex-	      pressionlessly: the decision is Kirk's. Kirk faces	      Spock one last beat, then turns and starts back to-	      ward his chair, calling to Ilia.	                              KIRK	                Tactical plot on viewer.	 185XC   ANGLE INCLUDING MAIN VIEWER (O)                          185XC	      where the IMAGE of the "powerfield Cloud: changes to a	      tactical plot of Enterprise's conic flight path ap-	      proach. It shows a large schematic of the Cloud itself	      as well as a series of FAINTLY BLINKING schematics of	      various recent positions and directional attitudes of	      the Enterprise during its approach. These blinking	      Enterprise schematics show that the starship has  gone	      from a head-on approach to the Cloud into a (tech.	      advice) skidding movement around the Cloud (the star-	      ship always heading directly toward Cloud center),	      with the last Enterprise positions now showing it ap-	      roaching the Cloud from a quartering rear approach.	 185XD   REVERSE ANGLE                                             85XD	                              ILIA	                Thirty seconds to Cloud	                boundary...	                              KIRK	                Opinion, Mister. Spock?	                              SPOCK	                Recommend we proceede, Captain.	                              KIRK	                Mr. Decker... ?	                              DECKER	                I advise caution, Captain; we 	                can't withstand another attack.	                              KIRK	                That thing is twenty hours from	                Earth. We know nothing about it yet.		      Decker glances around, moves close to Kirk so only	      Spock is able to overhear:	                              DECKER	                That's precisely the point, 	                Captain. We don't know 	                it will do. Moving into the	                cloud -- at this time, is 	                an unwarranted gamble.	                              KIRK	                How do you define unwarranted,	                mister?!	                              DECKER	                You asked my opinion, sir.	      Kirk looks at him, then at Spock, who once more is	      peering in momentary concentration at the viewer,	      feels Kirk's gaze -- and turns to him, again expres-	      sionlessly; it's up to Kirk.	                              ILIA	                Fifteen seconds to Cloud Boundary.	                              KIRK	                Viewer, standard ahead.	 185XE   ANGLE TO INCLUDE VIEWER (O)                              185XE	      Main viewer IMAGE reverts to the "powerful cloud."	      All peer in grim fascination at the cloud another	      moment. Then:	186   OMITTED                                                    186	187   Kirk sits contemplating his next move. Once again, the     187	      decision is his. He looks to the Viewer a moment, then:	                    	                              KIRK	                       (to Helm)	                Mr. Sulu, steady as she goes.	                              SULU	                Aye, sir.	188   EXT. SPACE - ENTERPRISE                                    188	      as the Enterprise slowly enters deeper toward the chamber 	      ahead. We SEE the sheer size of the Cloud as opposed to	      that of the small ship now entering unknown territory.	      As the Enterprise enters the Cloud:	189   INT. BRIDGE - REACTIONS AT WHAT THEY ARE SEEING            189	      On Viwscreen we SEE a vast array of IMAGES, spiralling 	      IMAGES, changing in size, shape, colour. Its walls 	      spinning and turning, looping and twisting, as the 	      Enterprise proceeds further Into the Cloud. 	      Amazed bridge crew members can do nothing but awe at 	      the sight before thier eye's. Even Spock has turned to 	      view the sight now illuminating the View screen. Kirk 	      sits pondering, amazed, thinking "What comes next?" 	  189A   EXT. SPACE - ENTERPRISE AND V'GER                         189A 	      Moving slowly through the maze of VISUAL'S seen from 	      the Main Viewer.	190   INT. BRIDGE - INCLUDING THE VIEWER (O)                     190	      as the CLOUD OBSCURES all now. Everyone gazes at the	      viewer, almost mesmerized by the shifting violet power-	      field displays.	                              KIRK	                        (staring at viewer,	                         frustrated, awed)	                No vessel could generate a 	                powerfield of this magnitude...	                              SPOCK	                Instruments fluctuating, Captain.	                Patterns unrecognizable.	                              SULU'S VOICE	                Captain....!	191   ANGLE ON SULU                                              191	      Sulu peering toward O.S. main viewer, his eyes wide	      with incredulity.	192   OTHER REACTIONS                                            192	      Crew peering at O.S. main viewer with expressions of	      near disbelief. Similar reactions as Kirk and Decker	      turn too, reacting to:	193   WHAT THEY SEE ON MAIN VIEWER (O)                           193	      (V'GER THEME MUSIC UP) The Cloud "Aurora" EFFECT	      rapidly thinning -- in the "eye of the hurricane"	      center of the Cloud is the object which has stunned	      the entire bridge crew.	      Rapidly growing in size -- already frighteningly huge.	      Totally alien in look. Its enormous bulk is irrides-	      cent, faintly glowing, suggesting that it is made up	      of exotic combinations of matter, and energy far beyond	      the scientific knowledge or ability of Earth's 23rd	      Century technology. Menacing and yet strangely	      beautiful, both at the same time.	194   VARIOUS ANGLES ON THE BRIDGE CREW AND THE VIEWER           194	  -                                                                -	197                                                              197	      The Object continues to GROW RAPIDLY IN SIZE as the	      Enterprise continues moving toward it. Everyone is	      awed; even Spock, from whom we discern an involuntary,	      impressed reaction. Decker is with Spock at the	      science console.	                              DECKER	                Incredible dimensions, Sir!	                ... I make it as seventy-eight	                kilometers in length...	      All digest the dimensions, as:	198   ANGLE ON THE BRIDGE ELEVATOR DOORS                         198	      opening to admit McCoy and Chekov, whose face and hands	      are taut with plastiskin applications. Seeing the	      object on the viewer (O.S. at this ANGLE), Chekov's	      eyes open with wide astonishment. He crosses quickly	      to his weapons--defense station, his eyes on the	      viewer. McCoy, eyes also fixed on the sight, moves	      to Kirk's side.	                              UHURA	                It could hold a crew of tens	                of thousands...!	                              McCOY	                Or just one thousand, ten 	                miles tall.	                              KIRK	                Evaluation, Mister Spock?	199   ACROSS KIRK TO SPOCK                                       199	      (This will be the first time we've seen Spock dislay-	      ing a definite reaction, almost an emotion.) So	      engrossed is Spock in the main viewer IMAGE that he	      appears not to have heard Kirk, whose AD LIBS a sharp	      "Mr. Spock...!" Spock looks absently at Kirk an	      instant, then:	                              SPOCK	                        (awed; compelled)	                That vessel is generating a	                forcefield measurably greater	                than the radiation of the Earth's	                sun.	                              KIRK	                        (turns to Uhura)	                Transmit image of the Alien to	                Starfleet; advise we are attempting	                further communication.	                              UHURA	                        (interrupting)	                Unable to make contact with	                Starfleet. Our transmissions	                out of the Cloud are being	                reflected back.	                              ILIA	                Distance to object now seventy-	                thousand kilometers...	                              SULU	                        (turning; concerned)	                We're closing in on it rapidly,	                Captain.	      Concern reflected on the faces of others too. Kirk	      considers his next move.	200   OMITTED                                                    200	  -                                                                -	203                                                              203	204   EXT. SPACE - ENTERPRISE AND ALIEN                          204	      CAMERA TRAVELING WITH ENTERPRISE as it moves on a	      parallel--closing course -- Alien continues to GROW	      IN SIZE. Although it already seems an impossibly	      large vessel compared to the Enterprise, in reality	      they are still tens of thousands of kilometers apart;	      the incredible size of the Alien is nowhere near being	      realized yet.	  204A   INT. BRIDGE - INCLUDING VIEWER                            204A	      Tension high as -- the Alien now appears so close that	      its IMAGE MORE THAN FILLS VIEWER. Considerable	      tension of bridge -- crew members, throwing nervous	      looks from viewer to Kirk. How much closer?!	                              KIRK	                Reduce magnification. Factor	                4, Mr. Sulu.	                              SULU	                        (uneasy)	                We're already two settings	                below that, sir.	                              KIRK	                        (reacts, then)	                Adjust parallel course, Navigator.	                Bring us in to one hundred	                kilometers distance.	      Very nervous looks now directed toward Kirk. Even	      Spock gives him a glance, a raised eyebrow.	205   EXT. SPACE - CAMERA TRAVELING WITH ENTERPRISE              205 	      The Alien Object appears A DOZEN TIMES LARGER THAN	      ENTERRISE and still GROWING IN SIZE.	      We begin to SEE Alien exterior detailing which had	      not even been suspected at a longer distance.	      The Enterprise is now quartering in toward the	      Intruder, coming closer and closer. The Alien	      vessel is still GROWING IN SIZE -- more and more,	      its exterior appears to be made of substances never	      before seen by a human eye -- substances considered	      possible only in the wildest flights of scientific	      theory -- plasma-matter, energy fields diamond--hard	      in their power, solid sheets of subatomic particles,	      crystalline-lace patterns which seem capable of	      shifting their nature and rearranging themselves.	  205A   ANGLE ON INTRUDER                                         205A	      This time, the Enterprise travels on away from us, as	      its course takes it angling nearer and nearer the	      gigantic Alien Intruder -- the Starship dwindling in	      size, growing smaller, smaller, smaller... until it	      is a tiny dot compared to the enormity of the Alien	      vessel.	206   INT. BRIDGE - VIEWER (O)                                   206	      We are coming alongside the mid-section of the Alien	      vessel, now so huge that only a small section of it	      now completely fills main viewer frame.	                              SULU	                One hundred kilometers...	                              KIRK	                Hold relative position here...	      Kirk's voice is blotted out by a DEAFENING, SHRILL-	      ING SOUND, accompanied by a multi-hued point of LIGHT	      which EXPLODES into BLINDING INTENSITY, obscuring	      everything for an instant. Overlapping this action,	      we HEAR:	                              COMPUTER'S VOICE	                Intruder alert...!  Intruder	                alert!	      Continues.	207   OMITTED                                                    207	208   THE PLASMA ENERGY PROBE (O)                                208	      The BLINDING LIGHT FADES and in its lace we SEE a	      strange "entity" shocking us with its frightening	      appearance and its ugly-sounding THROBBING HUM of	      power. It is about seven feet tall and resembles a	      "blob" of raw energy in shifting patterns and colors	      of deep, ugly hues of upper spectrum violet. Yet,	      it looks strangely alive. At the end of the "tendril"	      (of light) is an "eye" (a small multi-colored device)	209   CREW REACTIONS -- ELEVATORS IN B.G. (O)                    209	      The bridge crew reacting hard, shocked and shaken --	      the THROBBING SOUND of the Alien thing intensifies	      as it begins to move across the bridge. Suddenly, in	      b.g., an elevator door snaps oen and two SECURITY	      MEN burst onto the bridge, phasers drawn. Chekov	      shouts warningly at the Men:	                              CHEKOV	                No weapons...!	      But Chekov is too late: First Security Man FIRES --	      the BLAST harmlessly absorbed by the Probe which emits	      a SCREECHING nerve-grating SOUND --- sends out a SMALL	      WHIPLASH ENERGY BOLT which instantly envelopes First	      Security Man in a PURPLE GLOW (of implosion). Second	      Security Man has almost lifted his phaser -- but now	      carefully, slowly is moving his hand away from his	      weapon.	210   CLOSER - THE SECURITY MEN (O)                              210	      PURPLE GLOW FADES, the First Security Man has simply	      vanished.	  210A   FULL SHOT - BRIDGE                                        210A	      Chekov, like the others, horrified, flips a switch	      and the COMPUTER-VOICE ("Intruder Alert") goes OFF.	      At the same time Chekov speaks into his intercom:	                              CHEKOV	                Security... do not send further	                teams!	      The Probe is sending out snake-like tendrils to the	      various consoles on the bridge.	      These tendrils lash out in a cobra-strike movement,	      the tendril-head seeming to enter into the console	      affected -- at which time all monitors and instrument	      lights there come ON as if the Probe is "reading"	      each console function. The crew carefully stays clear	      of the tendrils.	      Spock has risen, moving to Kirk's side as he slowly	      brings his tricorder up, very carefully extracting	      its tiny sensor and aiming it at the probe.	                              CHEKOV	                        (shaken)	                No intruder readings on other	                decks, Captain...	                        (to Spock)	                Can that be one of their crew?	                              SPOCK	                        (quiet)	                A probe from their vessel...	                        (to Kirk)	                A plasma-energy combination...	      Meanwhile, the probe is now hovering near Chekov who	      sits frozen, fists clenched, jaw tight.	                              DECKER	                Don't interfere with it...!	                              CHEKOV	                Absolutely, I will not interfere!	  210B   ANGLE INCLUDING SPOCK'S CONSOLE (O)                       210B	      as the "probe" withdraws an energy-tendril from one	      bridge station and "inserts" it into another console.	                              KIRK	                No one interfere...! It doesn't	                seem interested in us -- only	                the ship...!	      Kirk's words are never completed as suddenly all the	      energy tendrils withdraw from all consoles and a	      larger, more powerful-looking tendril lashes out,	      snaking into the science console complex.	  210C   CLOSER ON SCIENCE CONSOLE                                 210C	      Where, also immediately, all the console and computer	      lights are suddenly flashing wildly, rapidly --	      -- There is an incredibly fast EXCHANGE OF HIGH-PITCHED	      BEES -- the computer obviously in unauthorized commu-	      nication with the probe!	                              KIRK	                Computer off!	                              DECKER	                It's taken control of the	                computer...!	                              KIRK	                It's running our records!	                Starfleet strength, Earth	                defenses...	      As Decker moves to the main power control, Spock now	      steps in, his Vulcan strength easily brushing Kirk and	      Decker aside. Spock clasps his fists above his head,	      brings it down in a SHATTERING BLOW on the console. It	      splits open! As the bridge lights dim even more, and	      as the science console shorts itself out -- and off,	      Decker confronts Spock:	                              DECKER	                We could have cut it off at the	                main computer...	                              SPOCK	                This served the purpose.	      Kirk has been giving Spock a puzzled look -- Spock now	      turns abruptly, and:	  210D   ANOTHER ANGLE (O)                                         210D	      as Spock, in stepping back, accidentally brushes the	      probe's energy tendril -- a FLASH OF LIGHT at the	      contact point sends Spock sinning under the rail and	      to the floor near Ilia. The probe's energy-tendril	      has withdrawn from the darkened science console, hov-	      ers high over the dazed Spock as if angrily seeking	      the reason for the break in its computer contact.	      Spock starts to rise.	                              ILIA	                Mr. Spock, don't move...!	      Decker steps toward her, AD LIBBING a grim "Ilia...!"	      But he has no chance as:	211   OMITTED                                                    211	  -                                                                -	219                                                              219	220   CLOSER ON ILIA (O)                                         220	      The Probe hovers over her, its whole mass seemingly	      about to envelope her with a single tendril extended	      toward her, somehow freezing her into immobility -	      and then the entire Probe DISSOLVES IN A BLINDING 	      FLASH OF WHITE, obscuring Ilia. Almost instantly	      the WHITE FLASH FADES -- but Ilia has vanished -- her	      tricorder clattering to the deck.	221   OMITTED                                                    221	222   ACROSS THE NAVIGATOR'S STATION TO KIRK AND DECKER          222	      helpless, shocked, gazing at the place Ilia was --	      but which is now empty.	                              DECKER	                        (to Kirk, quiet 	                         fury)	                This is how I define unwarranted!	      And almost at the same moment a new BRIDGE ALARM	      SIGNAL.	223   OMITTED                                                    223	  -                                                                -	232                                                              232	233   The ALARM still sounding as from the giant alien ves-      233	      sel, we SEE STRANGE, OPAQUE ENERGY PATTERNS STREAKING	      TOWARD US. Kirk vaults to the command chair, lunges	      for controls, as Decker races to the weapons-defense	      console.	                              DECKER	                       (voice amplified)	                The ship is under attack...!	                Man all defensive stations...!	                                           	                              KIRK	                Forcefields, full remaining	                strength...! Total reserve!	      Appropriate ALARM KLAXONS, and COMPUTER VOICES begin	      SOUNDING, and all this is lost in a SUDDEN SHRILLING	      SOUND (a constant, high-pitched tone). For a moment	      the energy patterns are prominent on the viewer --	      and then the PATTERNS VANISHED and the SHRILL SOUND	      FADES -- and:	234   FAVOR THE VIEWER (O)                                       234	      showing V'ger GROWING RAPIDLY IN SIZE. The Enterprise	      is being pulled along the length of the big ship,	      toward its "prow."	                              SPOCK	                Captain, we have been seized	                by a tractor beam...!	                              KIRK	                        (to Decker)	                Get someone up here to take	                the Navigator's station...!	                        (into intercom)	                Engineering... full emergency	                power!	                              DECKER	                        (into intercom)	                Chief Difalco to the bridge;	                on the double!	  234A   ENGINEERING                                               234A	      in a state of controlled chaos, all personnel at their	      stations, the Engine CORE GLOWING. Scott is working	      his controls, speaking into the intercom:	                              SCOTT	                Going to full emergency...	                        (studying readings)	                But Captain, if we don't break	                free in fifteen seconds, she'll	                burn up...	  234B   INT. BRIDGE - FAVORING SPOCK                              234B	      as Spock studies his readings, and:	                              SPOCK	                We cannot break free, Captain.	                        (indicates monitors)	                We do not have a fraction of	                the power necessary.	                    	                              KIRK	                        (into intercom)	                Delay that order, Scotty...!	                Disengage all main drive systems!	      Spock peers in deep concentration at the Main Viewer,	      trying to sense some clue. Kirk glances at him another	      moment, then turns to the Main Viewer himself, watches	      in frustrated helplessness.	  235   EXT. THE ENTERPRISE BEING PULLED TOWARD V'GER (S)           235	      the starship being pulled toward the giant as though	      on a taut cable. As we MOVE CLOSER, we SEE still more	      intricate details of the incredible Alien design.	236   INT. BRIDGE - INCLUDING VIEWER (O)                         236	      as Difalco arrives on the run, and Decker AD LIBS to	      her, "Assume Navigator's station, Chief...!" Difalco,	      bewildered, wants to ask what happened, but no time,	      and she quickly sits at the post, begins orienting	      herself. Meanwhile, Decker has begun an Executive	      Officer's bridge circuit, assisting with various con-	      soles. Kirk is glancing toward Spock who continues	      concentrating on the Viewer, striving to comprehend	      the myriad of thoughts he is sensing from he Aliens.	      McCoy also arrives on the bridge, takes in the chaotic	      scene, watches the Viewer grimly.	237   OMITTED                                                    237	  -                                                                -	238                                                              238	239   EXT. ENTERPRISE AND V'GER (S)                              239	      At the forward end of the giant, an odd-shapped "iris"	      begins opening menacingly. And it is frighteningly	      obvious that the tractor beam is pulling the Enterprise	      to the opening.	240   INT. BRIDGE - INCLUDING VIEWER (O)                         240	      showing the unusual "iris" now almost fully open as	      Enterprise is drawn closer, closer -- through the	      "iris" we now SEE (some of) V'ger's interior: a dark	      void relieved only by strange flickering glows of dis-	      tant ENERGY FIELD PATTERNS.	      The crew reacts with understandable awe, apprehension,	      curiosity, as:	                              DECKER	                Captain, suggest a maximum phaser	                strike directly at the beam might	                weaken it just enough for us to	                break free --	      Spock replies for Kirk: quickly, as though to make his	      point convincingly:	                              SPOCK	                Break free to where, Commander...?	                        (to Kirk)	                Any show of resistance would not	                only be futile, Catain...	 240XA   ACROSS SPOCK TO KIRK (DECKER AND McCOY IN B.G.)          240XA	      as Kirk reacts somewhat curiously to Spock's remark,	      but it is Decker who articulates it:	                              DECKER	                        (troubled; suspicious)	                We don't know that, Mr. Spock.	                Why are you opposed to trying?	                Before Spock can reply:	                              UHURA	                They're pulling us inside...!	      All face the Viewer again, react, with McCoy who has	      been observing all these reactions now galvanized	      into action:	                              McCOY	                        (to Chekov)	                Medical observers to all decks!	      And he hurries toward the elevators, CAMERA WITH HIM	      a moment, then SWINGING BACK TO:	  240A   PAST KIRK TO VIEWER (O)                                   240A	      Kirk staring at the viewer -- the "iris" now fully open	      so that the exterior of V'ger is no longer visible --	      and all we can SEE is the monstrous void dead ahead,	      which is looming faster and larger before our eyes.	      And now we are inside.	241   OMITTED                                                    241	  -                                                                -	243                                                              243	244   EXT. ENTERPRISE AND V'GER - AT THE "IRIS" (S)              244	      Enterprise now being pulled past the opening -- into	      the ship proper. Now we can SEE that the dark void	      is actually a vast chamber, dimly and intermittently	      lit by POWERFIELDS appearing and vanishing along the	      vessel's inner walls, which are miles away in the 	      distance. And here and there in the chamber gigantic	      ENERGY DISPLAYS erupt briefly with a certain symmetry	      that suggests they must be part of V'ger's ower or	      control systems.	245   INT. BRIDGE - INCLUDING VIEWER (O)                         245 	      Kirk peering awed at the Viewer, the incredible sight	      of the chamber -- suddenly glances up to see that	      Spock is standing beside him -- Decker nearby, turns	      to Spock:	                              DECKER	                        (to Spock)	                Why bring us inside? Not to	                destroy us; they could have 	                done that outside.	                              KIRK	                They could have many ways of	                destroying things, Mr. Decker.	                              SPOCK	                        (peering at Viewer)	                Something about us puzzles them...	                perhaps even concerns them.	  245A   ANGLE ON UHURA                                            245A	      Reacting to a console reading:	                              UHURA	                Captain, photic-sonar readings	                indicate the aperture is closing;	                we're trapped, sir...!	246   EXT. THE ENTERPRISE ENTERING V'GER (S)                     246	      The starship is pulled inside, the "iris" is closing	      behind it.	247   INT. BRIDGE - FAVORING THE VIEWER (O)                      247	      The viewer image changing from the huge dark chamber,	      rear angle shot, showing the "iris" closing.	                              SULU	                Reverse angle on the viewer,	                Captain.	      On the viewer the final glimmer from exterior space	      as the "iris" closes completely.	248   REACTIONS                                                  248	      All eyes on the viewer, CAMERA FINDING ONE FACE AFTER	      ANOTHER, the reality of the situation etched into	      each face. Then:	  248A   FAVORING KIRK                                             248A	      As Spock turns from a reading:	                              SPOCK	                The tractor beam has released	                us, Captain.	                              DIFALCO                   	                Confirmed: Vessel is floating	                free. No forward momentum.	                              KIRK	                Viewer ahead.	                              SULU	                Viewer ahead, sir.	  248B   INSERT - MAIN VIEWER                                      248B	      Ahead, the cavernous interior of V'ger.	  248C   BACK TO SHOT                                              248C	      Kirk eying the main viewer -- Decker watching Kirk.	                              KIRK	                Maneuvering thrusters, Mr.	                Sulu; ahead one third.	                        (to Spock)	                Full sensor scan, Mr. Spock;	                they can't expect us not	                to look them over now!	                              SULU	                        (manipulating controls)	                Thrusters ahead, one third.	                              SPOCK	                        (manipulating	                         controls)	                Commencing sensor scans.	      Kirk rises, goes to Spock's station.	249   INT. V'GER ENTRANCE CHAMBER - ENTERPRISE (S)               249	      The Enterprise moving slowly forward in this vastness,	      its running lights merely specks of light, candles in	      the darkness. In the distance those occasional ERUPT-	      ING POWER DISPLAYS in distant locations, sizes, shapes	      and patterns.	250   INT. BRIDGE - INCLUDING MAIN VIEWER (O)                    250	      showing another persective of the above, and further	      away GLOWING ENERGY FIELDS dimly illuminating the alien	      ship's walls -- miles away. Strange semi--solid LIGHT	      SHAPES (some are "sensor-bee" swarms) traverse the dark-	      ness in random directions. But in the distance ahead,	      there seems to be an opening to another chamber.	                              SULU	                        (of Viewer)	                Something ahead, sir; looks	                like another area...	                        (reacts)	                It's closing up...!	      Sulu is indicating what appears to be a lace-bulwark of	      POWERFIELD PATTERNS closing off the "chamber" in the	      distance ahead. Kirk, from the Science Station calls	      out:	                              KIRK	                Hold station...!	                              SULU	                        (manipulating	                         controls)	                Thrusters at station keeping...	251   ANGLE EMPHASIZING SPOCK                                    251	      at his Science consoles, working rapidly, shifting from	      one set of controls to another. Now he hits a master	      control -- his console monitors FLASH, then go dark.	                              SPOCK	                Captain...	      Spock brings a monitor IMAGE ON again, indicates a	      (Povill) pattern showing a line hitting something,	      then reversing direction.	                              SPOCK	                        (continuing)	                All scans are being reflected	                back, Captain. Our sensors are	                useless.	  251A   ACROSS THEM TO THE MAIN VIEWER                            251A	      Kirk reacts with disappointment, indicates the main	      viewer.	                              KIRK	                Have you been able to analyze	                any of this...?	                              SPOCK	                       (voice increasingly	                        reverential)	                I believe the light flares to be	                energy fields -- undoubtedly part	                of the vessel's inner mechanism.	                A technology so incredibly	                sophisticated that I cannot --	                              COMPUTER VOICE	                        (overlapping)	                Intruder Alert! Intruder	                Alert..!	                        (continues)	252   OMITTED                                                    252	  -                                                                -	253                                                              253	254   ANGLE ON CHEKOV                                            254	      Reacting to a console reading:	                              CHEKOV	                Deck four, Captain; Officers'	                Quarters...!	                              KIRK	                        (to Chekov)	                Have a security team meet me at	                Deck Four main elevator!	      A moment's reaction from all at this, Kirk hurrying	      toward elevator, calling:	                              KIRK	                        (continuing)	                Take the conn, Mr. Decker:	                Hold present position...	                        (gesturing Spock	                         to join him)	                Spock...	      And Spock rises, joins Kirk and they hurriedly exit,	      the CAMERA SWINGING BACK to Decker, his perplexed con-	      cern (because of Ilia).	  254A   INT. ILIA'S CABIN - THE SONIC SHOWER                      254A	      Where we SEE, behind the translucent stall door, what	      is unmistakably the form of the NUDE FEMALE.	255   INT. ILIA'S CABIN - KIRK                                   255 	      entering, Spock slightly behind him - and one Security	      Guard. Kirk glances around the room, now glances at	      the shower area and reacts as he sees the NAKED FORM.	      The others react similarly, even Spock cannot help re-	      pressing an expression of surprise. A moment's uncer-	      tainty as Kirk peers at them, then he steps to the	      stall door, hesitates another instant -- then slides	      the door open.	      (NOTE: Arrange lighting for bizarre, mysterious effect.)	      Kirk's eyes cannot believe what he is seeing:	  255A   "ILIA"                                                    255A	      standing in the sonic mist, naked but for a small	      multi-colored button embedded in her throat. As she	      looks at Kirk -- and the others -- the men peer back	      at her, speechless.	                              "ILIA"	                I have been programmed by V'ger	                to observe and record normal	                functioning of the carbon-based	                units infesting USS ENTERPRISE.	      Kirk peers at her another nonplussed moment, then leans	      into the shower to touch a control, his eyes fixed on	      the lovely body behind the mist. He punches in a three	      digit code. Immediately a HUMMING SOUND emanates from	      the shower stall, Kirk closing the door, but 'Ilia"	      remaining inside.	256   ACROSS KIRK AND THE OTHERS TO THE SHOWER STALL             256	      The HUMMING SOUND just now reaching a gentle crescendo	      -- through the translucent door you can see COLORS	      ENVELOPING "ILIA'S" FORM. And now the SOUND STOPS.	      "Ilia", attired in a leisure robe, steps from the stall,	      into the room. She stands facing Kirk, her face impas-	      sive, eyes unblinking. He looks her back a moment,	      then glances at Spock, who is gazing at "Ilia" in abso-	      lute fascination. Kirk addresses her:	                              KIRK	                Who is...'V'ger'...?	                              "ILIA"	                V'ger is that which programmed me.	                              KIRK	                Is V'ger the Captain of the alien	                vessel?	  256A   ANGLE ON THE DOOR - McCOY                                 256A	      rushing in, concerned:	                              McCOY	                Jim, what's --	      At the sight of 'Ilia", McCoy's words die in his throat	      -- and his trained eyes have instantly told him some-	      thing is awry. He unslings his tricorder, aims the	      sensor unit at "Ilia". As he reads his instruments, his	      face reveals the results (incredulity, fascination).	      Meanwhile, from the start:	                              "ILIA"	                V'ger is that which seeks the	                Creator.	                              McCOY	                        (of "Ilia")	                Jim, this is a mechanism...!	      Kirk stares at McCoy, then at "Ilia" and realizes that	      "Ilia" is indeed non-human. And quickly:		                              KIRK	                Where is Lt. Ilia?		                              "ILIA"	                That unit no longer functions.	                I have been given its form to	                more readily communicate with	                the carbon-based units infesting	                Enterprise.	                              SECURITY GUARD	                "Carbon-based units"...?	                              McCOY	                        (drily)	                Humans, Ensign Lang: us.	                        (continues tricorder 	                         exam, increasingly	                         impressed)	                              KIRK	                        (to "Ilia")	                Why does V'ger travel to	                the third planet of the	                solar system directly	                ahead?	                              "ILIA"	                V'ger travels to the third 	                planet to find the Creator.	      Stunned, disbelieving reactions as all four attempt to	      digest this -- Spock gazing at "Ilia" with even more	      rapt fascination. Kirk, bewildered, addresses the	      others:	                              KIRK	                Find the Creator? What Creator?	                Whose...!?	                        (to "Ilia")	                What does V'ger want of the	                'Creator'... ?	                              "ILIA"	                To join with him.	  256B   FAVORING SPOCK                                            256B	      suddenly alert, addressing "Ilia":	                    	                              SPOCK	                Join with the Creator... ? How?	                              "ILIA"	                V'ger and the Creator will become	                One.	                              SPOCK	                Who is the Creator?	                              McCOY	                        (worried)	                Mr. Spock, be careful.	                              "ILIA"	                The Creator is that which created	                V'ger.	                              KIRK	                Who is V'ger?	                              "ILIA"	                V'ger is that which seeks the	                Creator.	      Another moment of total exasperation, frustration, during	      which "Ilia" seems to be waiting politely, patiently for	      any further questions. When none are forthcoming:	                              "ILIA"	                       (continuing; pleasant,	                        bland)	                I am ready to commence my	                observations.	                              SPOCK	                        (fast; to McCoy)	                Doctor, a thorough examination	                of this probe might provide some	                insight into those who manufactured	                it, and how to deal with them.	                              McCOY	                Let's get her to sickbay.	      And he grasps "Ilia's" arm to escort her. But is as	      though he has seized cast iron: immovable. McCoy is	      thrown off balance merely by 'Ilia's" remaining sta-	      tionary. She ignores McCoy, addresses Kirk:	                              "ILIA"	                I am programmed to observe and	                record normal functioning	                procedures of the carbon-based	                units.	  256B   Kirk glances at McCoy, who is totally bemused, but then   256B	      Kirk quickly responds to "Ilia":	                    	                              KIRK	                The examination is a normal	                function.	                              "ILIA"	                        (a beat)	                You may proceede.	                              McCOY	                        (carefully)	                Thank you.	257   CLOSE SHOT OF EXAMINING ROOM VIEWER (O)                    257	      scanning a "body". PULL BACK TO SHOW McCoy, Chapel,	      Kirk, Spock and Chekov -- standing over "ILIA" who lies	      prone on the table, the physicians moving the scanner	      over her.	                              McCOY	                        (from the start;	                         indicating)	                ... micro-miniature hydraulics,	                sensors, molecule-sized multi-	                processor chips... and look at	                this...	      In the b.g., Decker enters, grimly observes the proceed-	      ings.	                              CHAPEL	                        (impressed)	                An osmotic micro-pump... here	                and here. Even the smallest	                body functions are exactly	                duplicated.	                        (traces with finger	                         on screen)	                And every exocrine system is	                here, too --	      Chapel breaks off abruptly, noticing "Ilia" is peering	      intently -- almost with a glimmer of recognition -- at	      Decker. Slightly disconcerted, Chapel continues:	                              CHAPEL	                        (continuing)	                -- even eye moisture.	                              "ILIA"	                        (peering at Decker)	                Deck -- er.	  257A   FAVORING SPOCK                                            257A	      as everyone reacts to "Ilia's" utterance of Decker's	      name. It seems to make the deepest impression on	      Spock, confirming something he has suspected.	                    	                              SPOCK	                        (to "Ilia")	                Interesting. Not 'Decker-unit'?	      "Ilia" continues peering at Decker with just a hint	      of a puzzled frown, a glimmer of distant recognition.	      It's the first time we've seen her expression look	      anything but cool and bland. This results in the	      quizzical rising of one of Spock's eyebrows.	258   ANOTHER ANGLE                                              258	      McCoy's examination now turns "Ilia" away from the	      others. Spock quickly catches Kirk's and Decker's	      attention, indicates an adjoining door -- they fol-	      low him out of the room.	259   INT. McCOY'S OFFICE                                        259	      as Kirk, Spock and Decker enter, the door snapping	      shut -- and Spock touching the electronic lock to	      secure them. He faces the others:	                              SPOCK	                Captain... this probe may be a key	                a key to the Aliens.	                              DECKER	                It's a programmed mechanism,	                Mr. Spock...	                              SPOCK	                We have just seen that its body	                duplicates our navigator in	                precise detail. Suppose that	                beneath its programming, the	                real Ilia's memory patterns are	                duplicated with equal precision.	                              KIRK	                They had a pattern to follow...	                              SPOCK	                        (nods)	                ... they may have followed it	                too precisely.	                              KIRK	                       (comprehending)	                Ilia's memory, her feelings of	                loyalty, friendship, obedience...	                might all be there.	  259A   ANGLE ON DECKER                                           259A	      also comprehending, and not liking it one bit as Spock	      and Kirk are both turning their attention to him.	                              SPOCK	                Exactly.	                        (to Decker)	                And you did have a 'relationship'	                with Lieutenant Ilia, Commander.	                              DECKER	                That probe in there -- in a	                different form now -- is the	                same thing that killed Ilia!	                              KIRK	                Commander, we're locked in an	                alien vessel, six hours from	                Earth orbit, our only contact	                with our captors is the probe.	                If we can control it, persuade	                it, use it in some way...	      Interrupted by the SOUND of someone trying to open the	      locked door behind them. Then a METAL RIPPING SOUND	      as they whirl to see:	260   MEDICAL OFFICE DOOR                                        260	      with the METAL BUCKLING, TEARING -- and a single	      hand slicing the steel door like paper. It is the	      "Ilia" probe, her face absolutely impassive, her	      whole manner incongruously benign. (Behind her, a	      startled McCoy, Chapel and Chekov.) "Ilia" speaks	      flatly, blandly.	                              "ILIA"	                I have recorded enough here.	                       (motions to Kirk)	                You will now assist me further.	      Kirk exchanges a quick glance with Spock. Then:	                              KIRK	                       (indicating Decker)	                The Decker-unit can assist you	                with much greater efficiency...		      "Ilia" has seemed about to object -- but now her eyes	      hold on Decker. Then she nods.	                              KIRK	                       (continuing)	                Carry on with your assignment,	                Mr. Decker.	  260A   ANOTHER ANGLE - ACROSS DECKER TO THE SMASHED DOOR         260A	      (AND "ILIA")	      as Decker looks at "Ilia" who stands at the torn door.	      You can read Decker's mind: I'm supposed to persuade	      that?! He turns back, finds Kirk's eyes on him.	      Decker nods.	                              DECKER	                Aye, sir.	      "Ilia" and a reluctant Decker EXIT.	  260B   EMPHASIZING SPOCK                                         260B	      looking very troubled as they watch Decker and "Ilia"	      leave. Kirk notices.	                              KIRK	                Spock? Concerned about his	                chances?	                              SPOCK	                I am uneasy with that being	                our only hope of more information.	      Spock EXITS.	  261    INT. V'GER - THE ENTERPRISE                                261	      floating in the vast, eerie, alien chamber -- sporadic	      FLASHES OF ENERGY, erupting now and then. Various	      other EFFECTS. OVER this, Kirk's VOICE:	                              KIRK (V.O.)	                Captain's Log. Stardate 7414.1.	                Our best estimates place us some	                four hours from Earth. No	                significant Ilia memory patterns	                within the alien probe. This	                remains our only means of contact	                with our captor.	262   INT. ENTERPRISE AIRLOCK AREA                               262	      The area dimly lit -- unoccupied but for a lone AIRLOCK	      TECHNICIAN checking and adjusting instruments. The	      CAMERA MOVES PAST him to FIND:	263   SPOCK                                                      263	      His face fixed with grim determination, walking quietly	      with obvious intent not to attract the Tech's attention.	      Now he steals up behind the TECH -- and in an instant	      has applied a Vulcan nerve pinch. The Tech slumps over	      his console.	264   INT KIRK'S CABIN - VIEWER MONITOR                          264	      Showing a CLOSE SHOT of ENTERPRISE PICTURES, then PULL	      BACK SLIGHTLY for an IMAGE of Decker and "Ilia" walk-	      ing through the Rec Deck. PULL BACK FURTHER TO SHOW	      Kirk watching this -- and with him is McCoy. They	      continue watching a troubled beat, as:	                              DECKER	                        (of pictures)	                All these vessels were called	                "Enterprise".	      "Ilia" is giving the pictures a very interested look	      as we HEAR in Kirk's cabin:	                              UHURA'S INTERCOM VOICE	                        (controlled excitement)	                Bridge to Captain...	265   OMITTED                                                    265	266   INT. BRIDGE - UHURA'S STATION (SCIENCE STATION IN          266	      B.G.)	      Uhura at her console, struggling to hear the signal.	                              KIRK'S INTERCOM VOICE	                Kirk here.		      In the b.g., Spock's station a MAINTENANCE TEAM	      is replacing the broken Science Station computer.	      (Spock is conspicuously absent.)	                              UHURA	                A faint signal from Starfleet,	                sir. They have the intruder on	                their monitors...	                        (struggling to 	                         hear)	                They show us... three hours...	                twenty-four minutes from Earth!	                              KIRK'S VOICE	                        (thru intercom)	                Thank you.	267   INT. RECREATION DECK                                       267	      Decker and "Ilia", the Rec Deck unoccupied but for a	      pair of wary SECURITY GUARDS at a very discreet dis-	      tance. They are near the pictures of the five Enter-	      prises, which should be FEATURED in this SHOT, as	      Decker waves his hand about the huge room.	                              DECKER	                The carbon units use this area	                for recreation...	                        (carefully)	                What type of recreation does the	                crew aboard your vessel enjoy...?	268   CLOSER TWO SHOT (PICTURES O.S.)                            268	      As "Ilia" moves on into the room, Decker follows:	                    	                              "ILIA"	                The words 'recreation' and 'enjoy'	                have no meaning to my programming.	      Decker peers at the lovely android with frustration --	      and no little pain, for she is after all the exact	      replica of Ilia. She pays not the slightest attention	      to Decker's reaction, and begins walking about the Rec	      Deck taking in (and, clearly, transmitting all images	      to V'ger) the sights. They are near a game area (elec-	      tronic games), and now Decker points to one game,	      switches it on -- presses button to activate its	      LIGHTS and SOUNDS. "Ilia" watches interestedly as	      Decker operates the game.	                              DECKER	                Ilia 'enjoyed' this game... she	                nearly always won --	      And he demonstrates again, as "Ilia" steps to the	      device, deftly hits some buttons -- and for just an	      instant she turns to Decker with a momentary glimmer	      of recognition.	269   INT. KIRK'S CABIN - GROUP WATCHING THE MONITOR             269	      McCoy watching with special interest:	                              McCOY	                        (approving)	                Good! He's using audial-visual	                association.	      But the words are not out of McCoy's mouth when "Ilia"	      says:	                              "ILIA"	                This device serves no purpose.	      She steps away from the game; Decker's disappointment	      is evident. So is everyone elses.	                              KIRK	                Damn...!	                              McCOY	                        (nods grimly)	                She needs something else:	                something much more personal to	                stimulate memory patterns. Something	                with a more emotional tie.	      Kirk reacts to this, reflective.	270   INT. REC DECK  FULL ON DECKER AND "ILIA"                   270	      Decker waving back toward the general area of the	      Enterprise pictures.	                              DECKER	                The crews of the previous	                Enterprises were also carbon units.	                In what way is the life form in	                your vessel different?	                              "ILIA"	                Carbon units are not true life	                forms... Do those images repre-	                sent how Enterprise has evolved	                into its present form?	                              DECKER	                        (hoping he's struck	                         a responsive chord)	                Yes.	                              "ILIA"	                Carbon units have clearly retarded	                Enterprise's proper evolvement.	                              DECKER	                        (controlling surprise)	                What is Enterprise's proper	                evolvement?	                              "ILIA"	                Enterprise should not require	                the presence of carbon units.	      And with this she moves off, observing other Rec Deck	      objects. Decker moves with her; then:	                              DECKER	                        (carefully)	                Enterprise would be unable to	                function without carbon units.	                              "ILIA"	                More data concerning this functioning	                is necessary before carbon units can	                be patterned for data storage.	271   ACROSS "ILIA" TO DECKER                                    271	      as he reacts to this ominous note; he stops abruptly.	                              DECKER	                What does that mean?	                              "ILIA"	                        (stopping; almost	                         pleasantly)	                When my examination is complete, 	                the carbon units will be reduced 	                to data patterns.	      This has been delivered with chilling blandness, and	      she stands facing Decker, almost as though waiting for	      him to thank her. He thinks fast now.	                              DECKER	                Within you are memory patterns of	                a carbon unit. If I can help you	                revive these patterns; you could	                understand our functions better.	                              "ILIA"	                That is logical. You may procede.	272   ON DECKER                                                  272	      realizing the difficult task ahead; the pain he will	      suffer.	273   INT. V'GER - ANGLE UP TOWARD ENTERPRISE (M)                273	      The ship stationary in the chamber as now we SEE an	      exterior hatch sliding fully open. Up through the	      hatch a circular airlock door opens -- and a tiny	      figure in a thruster spacesuit emerges, steps into	      space, slowly floats down through the hatch and under	      the Enterprise saucer section. In this and subsequent	      VIEWS we will SEE that on the rear pack of his thruster	      spacesuit is a FLASHING STROBE LIGHT which regularly	      EMITS the identifying SIGNAL of this particular suit.	      (By which Kirk will be able to see Spock's position	      even from several miles away.)	274   CLOSER ON THE SPACESUITED FIGURE (M)                       274	      MOVING TOWARD the CAMERA until the features behind	      the face mask are clearly identifiable: Spock, his	      face set in the same grim, determined expression, as	      he touches his spacesuit transmitter control.	                              SPOCK	                Computer, commence recording.	                Captain Kirk -- this message	                will detail my attempt to	                contact the aliens...	275   INT. BRIDGE                                                275	      Kirk ENTERING, crossing Uhura as she calls:	                              UHURA	                Starfleet signals, sir, growing	                in strength...	                       (listening intently)	                They -- have Intruder on their	                monitors -- it's decelerating --	                powerfield cloud beginning to	                dissipate...	                              SULU	                Confirm, Captain. Lunar beacons	                indicate Intruder on a course	                into Earth orbit...	                              CHEKOV	                        (interrupting)	                Sir! Airlock four has been opened;	                a thruster suit is reported missing!	                              KIRK	                        (reacts knowingly)	                Spock...!	                        (to navigator)	                Get a fix on his position!	276   INT. V'GER - MED. ON SPOCK                                 276	      His features now set into an almost trance-like expres-	      sion as he concentrates on the thought emanations.	      Then we SEE his head turn, he peers off -- then he	      moves his thruster controls. We SEE the small blue	      jets of his thrusters -- his spacesuit figure begins	      to move off in the direction he was concentrating	      upon.	277   ANOTHER ANGLE - SPOCK                                      277	      His thrusters moving him across V'ger's vast chamber	      then dropping down into a deep "trough"-like area	      which stretches into the distance ahead of him. A	      cloud of CRYSTAL FORMS (Kirk's entrapment) become	      visible to one side but Spock passes them at some dis-	      tance and does not attract them.	      We can SEE more clearly now the point on the inner wall	      of the trough toward which Spock is heading. It is an	      unusual combination of GLOWING FORCEFIELDS which seem	      to mark this point of the vessel as of some importance.	      (Here, also, we will become aware of "sensor-bee"	      swarms, intermittently darting toward this same wall	      from all points of the chamber.)	278   INT. AIRLOCK AREA                                          278	      SHOWING Kirk in a thruster spacesuit, helmet being	      readied by AIRLOCK TECHNICIANS. McCoy is also here,	      arguing with Kirk:	                              KIRK	                        (from the start)	                ... I don't want him stopped, Bones;	                I want him to lead me to whatever's	                out there...!	                              McCOY	                And if that 'whatever' has taken	                over his mind....?	                              KIRK	                Then he'll have still led me to	                it, won't he?	      And Kirk steps into the airlock door, hits a control --	      it begins sliding closed behind him.	279   INT. V'GER - ANGLE UP TOWARD ENTERPRISE                    279	      UP THROUGH the circular airlock door as it slides open	      -- and Kirk's tiny spacesuited figure floats down	      clear of the saucer.	280   CLOSER ON KIRK                                             280	      SEEING his face through the spacesuit faceplate as he	      scans the darkness.	                              SULU'S VOICE	                Bridge, Captain. We make Spock	                as 26 Mark 345 degrees off ship's	                axis.	      During which, Kirk spots something.	281   KIRK'S POV                                                 281	      Spock's STROBE blinker at a mile or so distance,	      nearing V'ger's inner walls.	282   ANGLE ON KIRK                                              282	                              KIRK	                I have him in sight.	      During which, Kirk touches his thruster controls and	      blue thruster jet propels him off in the direction	      indicated. His thrusters come on for a longer period	      of time as he accelerates to the higher speed necessary	      to overtake Spock...	283   INT. ILIA'S QUARTERS                                       283	      The DOOR SNAPPING open, and "Ilia", McCoy and Decker	      entering. Then CAMERA REVEALS Chapel already inside,	      looking through some female adornments she's found	      there.	                              CHAPEL	                I remember Lt. Ilia once mentioning	                that she wore this...	                              DECKER	                        (reacting; tight)	                ... when we met.	      Clearly this is very painful to Decker. Meanwhile,	      Chapel hands the Deltan headband to "Ilia".	                	                              CHAPEL	                        (gently)	                Put it on.	      "Ilia" hasn't the slightest idea what to do with the	      headband, holds it, runs her fingers over the jewels	      and feathers embedded into it. Chapel takes it from	      her, places it on 'Ilia's" head, now switches on the	      light illuminating the dressing table mirror -- stands	      behind her with Decker, both watching apprehensively.	284   ANGLE ON "ILIA"                                            284	      studying her image in the mirror, her face totally	      blank a moment, but then breaking into a bemused	      frown -- as though trying to remember. And:	                              CHAPEL	                        (helpfully)	                Ilia...	                              DECKER	                        (quiet; urging)	                On Delta... remember...?	      And it seems that "Ilia" does remember. She peers at	      her image, then sets the headband into its exact	      proper position. Then she turns and looks at them	      with recognition.	                              "ILIA"	                        (haltingly)	                Dr. Chapel...	  285   ACROSS CHAPEL TO DECKER                                    285	      as Chapel smiles, pleased, and looks at Decker who	      stares at "Ilia" nonplussed. This is Ilia coming	      alive!	                              "ILIA"	                        (to Decker)	                "Will..."	      And she touches his hand, runs her own hand over it,	      and smiles.	      Decker is completely overwhelmed, struggles for words	      and looks to McCoy for some kind of help. McCoy	      realizes Decker is losing himself in fantasy.	                              McCOY	                        (gently reminding)	                Commander... this is a mechanism...	      Decker is startled, and for another slit-second he's	      lost -- but then he realizes the reality, and what he	      should do:	                              DECKER	                        (gently; but urgingly)	                Ilia, help us make direct contact	                with V'ger...	                              "ILIA	                I... cannot.	      Decker looks at "Ilia's" hand still resting on his.	      Then:	                              DECKER	                Then tell us who V'ger is; where	                he's from... W need your help.	      For another moment "Ilia" continues smiling at Decker,	      holding his hand. Then, abruptly, the smile vanishes	      -- the hand is released. Clearly, she's again the	      probe, as:	                              "ILIA"	                Why have two carbon units entered	                V'ger...?	      Decker glances at McCoy, who shakes his head almost	      imperceptibly: he doesn't know. But Decker has an	      obvious reply:	                              DECKER	                They want to make contact with	                V'ger...	                        (trying to revive	                         "Ilia's" memory again;	                         touches her hand)	                Ilia...	      "Ilia" peers at him blankly, allows him to continue 	      touching her hand, but obviously it means nothing to	      her.	                              DECKER	                        (continuing;	                         distressed,	                         to "Ilia")	                Does V'ger object to the presence	                of the two carbon units?	                              "ILIA"	                The carbon units are of no	                consequence; V'ger will determine	                their purpose.	                              McCOY	                Their purpose is to survive.	                              "ILIA"	                That is also V'ger's purpose.	      Decker's face reflects his bemusement:	                              DECKER	                You said V'ger's purpose was to	                find and join with the Creator.	                              "ILIA"	                That is how V'ger will survive.	286   ON DECKER                                                  286	      as now, the bemusement changes to just the slightest	      enlightenment.	                              "ILIA"	                I wish to continue my observations.	287   INT. V'GER - KIRK MANEUVERING WITHIN THE CHAMBER           287         	      Kirk but a small object, thruster jets occasionally	      spurting as he guides himself deeper into the trench	      as he continues forward progress in the direction he	      saw Spock taking.	288   CLOSER ON KIRK                                             288	      So we can SEE his face (through the plate), as he looks	      ahead into the distance toward Spock.	289   KIRK'S POV (O)                                             289	      Spock's STROBE signal closer and Spock's tiny space-	      suited figure now becoming dimly visible as he moves	      steadily toward the GLOWING FORCEFIELDS of the inner	      wall.	290   ON KIRK                                                    290	      His attention fixed on Spock, he never notices until	      an instant too late an O.S. object; quickly he hits a	      thruster control, and we SEE the MANEUVERING JET turn	      him to the side as:	291   WIDER ANGLE - KIRK AND THE BLOB FORMATION (O)              291	      A swarm of strange-looking translucent crystal-like	      FORMS on a collision course with Kirk. (NOTE: They	      were traveling randomly, and are not deliberate ob-	      structions. However, Kirk's nearness now has attracted	      them and the swarm of them heads in his direction.	      Kirk tries to avoid them; he hits a second MANEUVERING	      JET -- but he overcompensates, and spins straight into	      the intercepting swarm of them.	292   MED. SHOT - KIRK (O)                                       292	      as the nearest crystal forms WHIP INTO SHOT, adhering	      to Kirk's spacesuit. He hits full MANEUVERING JETS	      now, seems to make some escape, but still more forms	      WHIP IN, adhere.	                              KIRK	                Bridge...!	293   INT. BRIDGE - EMPHASIZING HELM                             293	      All eyes anxiously on the O.S. main viewer.	                              KIRK'S VOICE	                ... stand by, I may be in trouble...	      Sulu hits the viewer magnification control.	294   ANGLE TO MAIN VIEWER (M)                                   294	      As the distant STROBE FLASHES of Kirk's spacesuit are	      MAGNIFIED CLOSER, pulling Kirk into MEDIUM LONG SHOT.	      We can SEE the details of the swarm of forms adhering.	      But we can SEE that Kirk's spacesuit is now about half	      covered with them!	  294A   REVERSE ANGLE                                             294A		      Expressions of bridge crew to reflect the horror of	      what they're seeing as:	                              SULU	                Your phaser, Captain...!	                Use your phaser...!	                              KIRK'S VOICE	                        (transmitter, weak)	                Can't... reach... phas --	                        (transmission breaks	                         off in heavy STATIC)	                              CHEKOV	                Airlocks two and four --	                prepare to launch rescue	                teams!	                        (glancing at viewer)	                Chief Lang! Get them out	                there! Fast!	                              SULU	                Mr. Spock, the Captain is in	                trouble, directly behind you --	                three hundred meters!	                        (beat)	                Mr. Spock!	      Looks of distress are exchanged.	295   INT. V'GER - SPOCK                                         295	      Spock's spacesuited figure MOVING TOWARD the CAMERA,	      as we HEAR:	                              KIRK'S VOICE	                        (weak; STATIC)	                ... Spock...! ... need help...!	                ... trapped...!	      No indication at first that Spock has heard; his face	      set with determination, his eyes fixed on his destin-	      ation: the inner wall.	                              KIRK'S VOICE	                        (continuing; weakening;	                         STATIC)	                ... pressure on me...! ... can't	                move...! Spock...!		296   ON SPOCK - CLOSE                                           296	      as Kirk's VOICE STOPS -- and all that is heard now	      is the HEAVY STATIC crackling ominously. Spock's	      expression flickers, then he hits reverse thruster	      JETS, stops -- he turns to glance at the inner wall,	      then his thrusters turn him so he can look back the	      way he came from. But he cannot resist Kirk's call;	      he suddenly hits his thruster controls, then JETS	      FLARE, and:	297   WIDER ANGLE - SPOCK                                        297	      as thruster JETS accelerate him back toward Kirk.	298   INT. BRIDGE - VIEWER (M)                                   298	      showing Kirk's spacesuit completely covered, encased	      in the blob. Kirk is no longer moving. But in the	      distance, facing toward him is Spock!	299   INT. V'GER - KIRK AND SPOCK                                299	      with Spock in the near distance, heading TOWARD the	      CAMERA. As he approaches Kirk, Spock brings out his	      phaser. Now he hits the controls for the REVERSE JETS --	      he slows RAPIDLY as he approaches Kirk's now complete-	      ly encased spacesuit. Spock makes a quick phaser	      adjustment.	300   ANGLE ON SPOCK AND KIRK'S ENCASED SPACESUIT (O) (S)        300	      Spock levels the phaser carefully. FIRES. The PHASER	      BEAM strikes the blob form -- it SHATTERS, the pieces	      DISINTEGRATING.	301   INT. V'GER - SPOCK AND KIRK                                301	      facing each other while hovering in space.	                              KIRK	                Bridge, cancel rescue teams.	                        (hard)	                Spock, what in the hell are you	                doing out here!	                              SPOCK	                I am seeking answers, Captain.	                              KIRK	                        (with insight)	                Answers to what, Spock? Our	                dilemma -- or your personal one?	      Spock does not immediately reply, peers at Kirk through	      the faceplate a long beat, then abruptly looks away,	      points off into the distance:	302   ANOTHER ANGLE - INCLUDING INNER WALL (O)                   302	      We can SEE what appear to be SPARKLING GLOBULES OF	      LIGHT darting toward the inner wall in the distance,	      then disappearing there. (We'll SEE other swarms	      occasionally too, coming from different directions --	      they will later be identified as "sensor swarms" on	      closer examination.)	                              SPOCK	                        (pointing)	                Captain, I believe there we will	                find an indication of whoever --	                or whatever -- is aboard this	                vessel...	      Kirk weighs alternatives, then pushes his thruster	      controls and begins moving in the direction Spock	      indicated.	      Their thruster jets flash, propel them toward the 	      point on the inner wall.	303   INT. V'GER - AT INNER WALL                                 303	      The most prominent area of the vast inner wall -- the	      patterns on the wall here seem to GLOW with life.	      The spacesuited figures of Kirk and Spock ENTER SCENE,	      gliding slowly toward what seems to be the central	      part of theses patterns.	304   CLOSER ON KIRK AND SPOCK                                   304	      as they approach and then we SEE the brief REVERSE	      THRUSTERS and then forward momentum stops; motionless.	      Then Spock sees something, indicates.	305   LONG ANGLE TO INCLUDE SENSOR SWARM (O)                     305	      Now, we SEE that they are tiny, multi-colored points	      of FLASHING LIGHT -- almost like swarms of bees.	      They approach the inner wall at this central point	      and seem to "disappear" through the orifice.	306   KIRK AND SPOCK - ANOTHER "SWARM" APPROACHING (O)           306	      This "sensor swarm" has been coming from a direction	      that will take them close past Kirk and Spock. Then,	      as it passes, Spock reaches out quickly, grabs.	      He turns to Kirk, his hand closed on something.	307   CLOSE ON KIRK AND SPOCK (AGAINST "TUBE" WALL)              307	      Spock opens his hand, retaining a hold on something	      with his fingers. He brings it up to Kirk's face mask	      -- it's a tiny SENSOR, its multi-colors flashing as it	      tries to escape from Spock's fingers. And in this CLOSE	      VIEW, we SEE that this is a SENSOR very much like the	      one we've seen earlier embedded in the Ilia-probe's	      throat hollow. Then Spock releases it and it darts	      to join the sensor swarm near the opening of the inner	      wall.	308   KIRK AND SPOCK'S POV (O)                                   308	      From this closer distance, we SEE that an opening ap-	      pears in the wall, admits the sensor swarm, then closes	      immediately.	309   BACK TO SHOT                                               309	      Kirk and Spock exchange a look. Their thruster JETS	      ignite briefly, moving them in that direction.	310   INT. V'GER - KIRK AND SPOCK (O)                            310	      closely approaching the inner wall now, timing their	      movements to coincide with the arrival of another	      "swarm" -- the wall begins OPENING. The "swarm"	      through, the wall begins CLOSING -- but Spock and 	      Kirk slip in before it closes.	311   INT. "MEMORY CAVE" - SPOCK AND KIRK                        311	      The wall closing behind them, they are safely inside.	      But as they stop their forward momentum, their eyes	      widen with awe and surprise at what they are seeing:	  311A   WHAT THEY SEE (M)                                         311A	      The long "cave" chamber with its row of huge MEDIATOR	      BALLS extending into the distance. To one side, the	      gleaming CRYSTAL MEMORY WALL.	  311B   KIRK AND SPOCK                                            311B	      as Spock makes a quick analysis and estimate of what	      they are seeing. Then, he takes out his tricorder	      again, propels himself toward the memory crystals.	      Kirk follows.	  311C   AT MEMORY CRYSTAL                                         311C	      as Spock adjusts his tricorder through several readings.	                              SPOCK	                It would appear that the atomic	                arrays of these crystals store	                information. A remarkably	                efficient system.	                              KIRK	                        (indicates)	                And these 'sensor-swarms' collect	                that data, carry it here.	                              SPOCK	                        (nods; indicates)	                New crystals: they must contain	                the most recent data obtained --	      And Spock touches one of these new crystals (it will be	      shinier, more pulsating than the others): ANOTHER RAPID	      PROFUSION OF FAINT IMAGES, but this time including a	      pattern-like image of Klingons, Klingon vessels (the	      ones destroyed by the Cloud), and obvious Starfleet	      personnel -- and the Epsilon 9 station. Also, a pattern	      of the Security Guard killed by the probe. And Ilia.		                              KIRK	                Klingons... our Epsilon 9 station	                ... and Ilia!! They seem to be 	                more than just images...	                              SPOCK 	                        (agreeing)	                Exact patterns. The energy bolt	                that hit them wasn't simply a	                weapon -- it dematerialized them,	                stored them. But why?	      And he turns and begins moving on, studying the wall,	      consulting his tricorder.	312   ACROSS THEM TO ANOTHER SECTION OF THE WALL                 312	      Spock inspecting this area at which the "newer" crystals	      are PULSATING and GLOWING, and which appears to be a	      termination of the Crystal area, continuing on and dis-	      appearing through the wall.	                              KIRK	                If this is their ship's data	                banks, where is the crew? Or	                is their entire ship automated?	                              SPOCK	                Captain, I do not believe there	                is a crew -- or that this is a	                vessel as such.	      A beat, as Kirk reacts incredulously.	                              SPOCK	                        (continuing)	                I am almost certain now that all	                of this is V'ger -- I believe	                that we are inside a life form,	                a living machine.	      Spock turns his spacesuit, turns his tricorder out to-	      ward the Mediator Balls, takes a reading in that di-	      rection. Then a glance to Kirk.	                              SPOCK	                I must attempt mindmeld with it,	                Captain.	      Spock touches his spacesuit controls; the THRUSTER	      JETS move him out toward the Mediator Balls.	                              KIRK	                        (warningly)	                Spock...	313   ANGLE AT MEDIATOR BALL                                     313	      Spock reaching the Ball, halts his momentum and removes	      one gauntlet, baring his hand. Stretching the bare	      hand toward a part of it which looks strangely "alive."	      The very power generated from this area is clearly	      affecting Spock's hand. Meanwhile, Kirk has used his	      THRUSTERS to join him.	                              KIRK	                Spock, if you're right, its mind	                may be enormous...	      But Spock pays him no attention, his entire being now	      focused on the PULSATING GLOW of the "alive" area --	      the CAMERA MOVING IN CLOSER TO Spock, as he forces his	      hand toward that surface, closer, closer.	314   KIRK                                                       314	      watching, almost mesmerized. Torn between wanting to	      pull Spock away from the wall -- and knowing that	      Spock must go through with it. For everyone's sake.	315   CLOSER ON SPOCK                                            315	      preparing for the ordeal, moving his hand to the "liv-	      ing area," the invisible force even stronger -- but	      Spock's strength unwavering, and now he touches the 	      surface -- and it FLARES WITH STRANGE ENERGY at the	      touch. And at the same moment Spock' body convulses	      as if tens of thousands of volts of electricity are	      charging through him.	316   CLOSE ON SPOCK'S FACE                                      316	      as he begins to shudder with the shock, the CAMERA	      CONTINUES INTO EXTREME CLOSE-UP as we SEE Spock's mouth	      open -- he SCREAMS. CAMERA INTO EXTREME CLOSE SHOT OF	      SPOCK'S EYES.	317   CAMERA ZOOM - THROUGH SPOCK'S EYES                         317	      MUSIC IN AND UP as we travel through ABSTRACT IMAGES	      (per Con Pederson discussion). Symbolizing V'ger's	      incredible and complex store of mechanistic knowledge,	      these IMAGES suggest patterns of atoms, molecules,	      galaxies, dimensions of the universe beyond human	      knowledge or comprehension. It takes only fifteen or	      twenty seconds, but seems to span aeons, taking us	      through micro-infinity and macro-infinity.	      DISSOLVE TO :	318   INT. DISPENSARY - SPOCK'S EYES                             318	      CAMERA BRIDGING BACK OUT THROUGH SPOCK'S EYES AND INTO	      ANGLE ON SPOCK'S FACE as he lies in a sickbay bed. His	      eyes are open; he is staring straight ahead as if in a	      catatonic state, completly unaware of his surroundings.	      Then Doctor Chapel leans INTO SCENE, moving a medical	      scanner over the brain area.	                              CHAPEL	                Now scanning pons area at spinal	                nerve fiber connection...	319   ANGLE ON McCOY AND KIRK                                    319	      McCoy at a console, watching readings he is getting	      from Chapel's scanner. Kirk watches McCoy anxiously.	                              McCOY	                Indications of some neurological	                trauma--the power pouring through	                that mind-meld must have been	                staggering...	      Before Kirk can reply, they HEAR a LAUGH! An abrupt,	      harsh, bitter laugh.	320   ACROSS THEM TO SICKBAY                                     320	      as all whirl to the patient area where it is obviously	      Spock who has just laughed -- but there is no indication	      of laughter from him now. A startled Chapel has stepped	      back away from the bed. Spock seems to be attempting	      to focus, orient himself as Kirk and McCoy hurry to the	      bedside.	                              SPOCK	                        (quiet)	                Jim...	      And Spock reaches out a hand weakly., takes a surprised	      Kirk's hand in his. McCoy exchanges a surprised glance 	      with Kirk, as Spock -- clutching Kirk's hand in friend-	      ship and need -- struggles to summon strength to speak.	                              SPOCK	                        (continuing)	                This simple feeling...	                        (looks at Kirk)	                ... is so far beyond V'ger's	                comprehension.	321   ANOTHER ANGLE                                              321	      with Kirk and McCoy exchanging another surprised	      glance (at Spock's emotion), with McCoy gesturing Kirk	      not to question it.	                              KIRK	                        (gently)	                Were you right? Spock? V'ger	                is a living machine...?		                              SPOCK	                        (nodding)	                A life form of its own; a	                conscious, living entity.	                              CHAPEL	                        (reacting)	                A living machine...?!	                              McCOY	                        (to Chapel)	                We're living machines, too: protein	                mechanisms.	      Kirk nods at McCoy.	                              KIRK	                And it considers the Enterprise a	                living machine: that's why the	                probe refers to our ship as an	                entity.	                              CHAPEL	                If it thinks our ship is alive	                what does it think we are?	                              McCOY	                        (dryly)	                An 'infestation' -- bacteria...	                microbes.	322   ANOTHER ANGLE                                              322	      as Spock turns to Kirk.	                              SPOCK	                I saw V'ger's planet: a planet	                populated by living machines.	                Unbelievable technology.	                        (pained)	                V'ger has knowledge that spans this	                universe.	                And... in all this order... all	                this magnificence, V'ger feels	                no awe...no delight... no beauty...	                        (a beat; exhausted)	                I should have known...	      Kirk waits for Spock to continue, but Spock seems too	      weak.	                              KIRK	                Know what, Spock? What?	      But Spock falls back, exhausted -- and McCoy gently	      tugs at Kirk, AD-LIBBING, "Let him rest, Jim..."	      Kirk shrugs McCoy away, addresses Spock:	                              KIRK	                        (continuing)	                What should you have known?	                              SPOCK	                        (weak)	                No meaning... No hope...	                        (summoning strength)	                And, Jim, no answers...!	                Jim, it's looking for answers	                itself!	                              KIRK	                What answers?	                              SPOCK	                'Is this all I am? Is there not	                more?'	      Just then an INTERCOM SIGNAL:	                              UHURA'S VOICE	                A faint signal from Starfleet,	                sir! Intruder Cloud has been	                located on their outer monitors	                for past twenty-seven minutes...	                dissipating rapidly as it approaches.	      Immediately, Sulu's voice:	                              SULU'S VOICE	                Starfleet reports forward velocity	                has slowed to sub-warp speed! We	                are three minutes from Earth's	                orbit!-	                              KIRK	                        (into intercom)	                I'll be right there...	                        (to Chapel; crisp)	                I need Spock on the bridge.	323   ANOTHER ANGLE                                              323	      as Chapel urns to a MED TECH, AD LIBS an order,	      "Dalaphaline, twenty cc's..." As the Tech quickly sets	      the hypo-injector, and hands it to Chapel - and she	      injects Spock, the hypo emitting a fast, QUIET HISS --	      Kirk gazes at Spock just an instant as Spock breathes	      deeply, the drug clearly strengthening him. Chapel	      and the Tech help Spock from the bed, as Kirk addresses	      McCoy:	                              KIRK	                A machine planet...? Sending a	                machine to Earth looking for its	                Creator...?	                              McCOY	                God.	      Kirk looks at him, then at Spock -- on his feet now --	      then at McCoy again:	                              KIRK	                'To find the Creator,' the probe	                said. Find God...?	                              McCOY	                Isn't that what we're all trying	                to do...?	                        (dryly)	                All us machines...?	      Kirk stands facing him another moment, then whirls	      and steps to the monitor, flips some buttons, and	      peaks into his communicator.	                              KIRK	                Mr. Chekov, Commander Decker's	                present location?	                              CHEKOV'S VOICE	                He... they... are in Engineering,	                sir.	                              KIRK	                        (into intercom)	                I want to make a ship's announcement.	                But it's to be heard only in	                Engineering.	                              UHURA'S VOICE	                Ready, Captain.	                              KIRK	                        (voice amplified)	                This is the Captain speaking. It	                appears that the alien ship...	                V'ger... is NOT a manned vessel...	324   ENGINEERING                                                324	      SHOWING Scott (at his console) listening to Kirk's	      words -- and facing Decker and "Ilia" who are just	      about to leave Engineering. (In b.g. the Engine core	      GLOWS the appropriate color, and there is a SOFT	      HUM of IDLE POWER.) Kirk's VOICE continues:	                              KIRK'S VOICE	                        (amplified)	                It is a living entity...! A machine	                life form. We are attempting to	                ascertain its intentions. All	                personnel will maintain yellow alert	                status!	325   CLOSER ON DECKER AND "ILIA"                                325 	      The probe bland as usual, but Kirk's words seem to	      have strangely elated Decker; he says to her:	                              DECKER	                A machine...! Then it had to be	                programmed. By whom...?	                              "ILIA"	                By the Creator.	                              DECKER	                        (probing)	                To join, and become One with the	                Creator?	                              "ILIA"	                To learn all that is learnable;	                to deliver all collected data to	                the Creator on the third planet.	                That is the programming.	326   INCLUDE SCOTT                                              326	      just now confronting them, regarding "Ilia" with open	      disapproval.	                              SCOTT	                Well, sir, now what about all that?	                A living entity, the Captain says...	                entity... A living thing...!	      Decker really hasn't heard Scott; he's gazing at "Ilia,"	      attempting to digest what she's just said. But quickly:	                              DECKER	                Thank you, Scotty...	      He moves to leave.	                              SCOTT	                        (dourly)	                Your welcome, sir.	      Now Decker and "Ilia" move toward the exit, Scott gaz-	      ing after them glaringly, watching "Ilia's" every	      move. Suddenly, almost into the corridor, "Ilia" turns	      and looks back at the engine room. She addresses	      Decker, but load enough for Scott to overhear:	                              "ILIA"	                There is no logical reason for	                carbon units to control Enterprise's	                power systems.	                              SCOTT	                        (to "Ilia")	                Lassie, if I were functioning	                'logically,' right now I'd be	                showing you the inside of our	                scrap metal compactor!	327   INT. BRIDGE                                                327	      Kirk with McCoy and Spock, who although somewhat shaky,	      is clearly more alert. They are just assuming their	      stations.	                              UHURA	                We're now locked into Starfleet's	                transceivers; Admiral Nogura has	                received your reports, sir.	328   ANGLE INCLUDING VIEWER (O)                                 328	      Kirk pausing halfway to his chair to study the viewer	      on which is appearing an IMAGE of V'ger looming omi-	      nously in orbit over Earth.	                              UHURA	                The visual is a lunar monitor	                relay, sir.	      As they begin to study it, the IMAGE suddenly distorts and 	      is replaced by signal interference -- SIGNAL STATIC LINES 	      RUNNING ACROSS THE VIEWER SCREEN. 	      (Somewhat resembling the kind of high voltage interference	      some-times seen on the television screen.)	                              UHURA	                        (continuing)	                Heavy interference, sir -- it's	                coming from here, inside the	                intruder itself...	      Uhura hits buttons and immediately from the speakers we 	      HEAR A SERIES OF CARRIER WAVE BEEPS. Spock looks up from 	      his console, listens to it.	                              SPOCK	                Puzzling! The interference	                appears to be a rather simple	                carrier wave code signal...	                              UHURA	                On an old style radio frequency,	                sir...	329   PAST KIRK TO THE ELEVATOR                                  329	      as the doors snap open and Decker and "Ilia" appear.	      All eyes go to them as:	                              "ILIA"	                        (to Decker;	                         interrupting)	                As I stated, V'ger calls to the	                Creator.	                              DECKER	                       (nods; turns to Kirk)	                V'ger is announcing that it has	                arrived, sir -- that it's ready	                to deliver the information it	                was programmed to collect...	                              "ILIA"	                'To learn all that is learnable.'	                              DECKER	                        (to Kirk)	                It expects a return signal now,	                ordering it to transmit that 	                information to the Creator.	                              UHURA	                        (whirling)	                Sir! V'ger's signals have	                stopped...	                              "ILIA"	                        (as if frightened)	                Decker... The Creator has not 	                responded.	      Kirk hears this, turning inquiringly toward her, but	      Uhura interrupts:	                              UHURA	                Picking up Starfleet again; a	                lunar monitor relay...	330   ANGLE INCLUDING VIEWER (O)                                 330	      as, indeed, the interference is fading and a new Main 	      Viewer IMAGE is appearing -- it shows V'GER IN EARTH 	      ORBIT with a strange looking OBJECT moving away from 	      V'ger. It is an ominous looking, HUGE SWIRLING GREEN	      MASS -- it resembles the same green plasma-energy bolts	      that destroyed the Klingons and Epsilon 9 -- and very 	      nearly the Enterprise. It is not a bolt now -- the mass 	      is much larger and appears much more deadly. A second 	      object has now formed and moves off, a third one begins 	      to appear. (Meanwhile, the first and second PLASMA-	      ENERGY OBJECTS are moving off into the distance in 	      different direction.)	                              McCOY	                My God! They're the same kind	                of things that destroyed the	                Klingons, Epsilon Nine...	                              SPOCK	                        (interrupting; from	                         science console)	                These read as identical composition...	                        (turns to Kirk)	                ... however, Captain, they measure	                several hundred times more	                powerful!	                              KIRK	                High mag, Mr. Sulu!	      Sulu adjusts the viewer through several IMAGE MAGNI-	      FICATIONS until we SEE the huge OMINOUS GREEN DEVICES	      more clearly.	                              SULU	                The third one is moving off too --	                a fourth one is forming...	                              UHURA	                        (overlapping)	                Urgent signal from Starfleet,	                Captain!	                        (turns, shaken)	                All Earth defense systems have	                gone dead.	      Kirk reacts hard at this. Uhura gets another message.	                              UHURA	                         (continuing)	                Sir, Starfleet computes their	                trajectories as moving toward	                equidistant positions over Earth.	331   ANOTHER ANGLE - KIRK AND SPOCK                             331	      exchanging significant glances.	                              SPOCK	                From four equidistant positions,	                Captain, a detonation would blanket	                the entire surface of the planet.	                              DIFALCO	                I plot them as reaching equidistant	                positions in... twenty-nine	                minutes, sir... mark!	332   ACROSS KIRK TO DECKER AND "ILIA"                           332	      as Kirk vaults from his chair, strides to a handrail to	      confront the "Ilia"-probe.	                              KIRK	                Why...?!	                              "ILIA"	                The carbon-units infection will	                now be removed from the Creator's	                planet.	                              KIRK	                Why?!	                              "ILIA"	                The Creator has not answered.	                              KIRK	                The carbon-units are not	                responsible for that.	                              "ILIA"	                You infest and control Enterprise.	                V'ger believes carbon-units interfere	                with the Creator in the same manner.	                              SPOCK	                        (to Kirk)	                Then V'ger believes the Creator to	                be a machine too.	                              DECKER	                       (nods)	                It seems we all imagine God in our	                own image.	333   ANGLE ON MAIN VIEWER - INCLUDING CHEKOV (O)                333		      Three of the four OMINOUS SWIRLING GREEN OBJECTS have	      all moved away from V'ger now, in different directions,	      growing smaller in the distance. The fourth object is	      holding position nearby, seeming to grow in size and	      intensity.	334   ANGLE EMPHASIZING KIRK                                     334	      as he throws a look toward Spock who is now in deep	      meditation. Kirk turns and takes "Ilia's" shoulders	      and carefully turns her to face him.	                              McCOY	                '... similar life forms...?'	                Jim, V'ger's saying the Creator	                is a machine...!	                              DECKER	                        (grimly amused)	                Of course: we all create God	                in our own image.	      Kirk peers at Decker a moment, ingesting this thought. 	      Then he addresses "Ilia" again, this time with emotion: 	      after all, he is pleading for the survival of the 	      entire planet:	                              KIRK	                V'ger! If we are lesser beings,	                we are still, like you, living.	                And because we are alive, we --	                like you -- wish to survive.	                You must not destroy --		      Kirk pauses abruptly: "Ilia" is regarding him blandly,	      stonily -- not the slightest reaction or response;	      clearly Kirk's plea is being ignored.	      Kirk draws in his breath to continue, realizes the	      futility, turns helplessly to Spock.	335   ACROSS KIRK TO SPOCK                                       335	      who has been listening intently, with near fascination	      -- an idea forming in his mind. Quickly, he steps	      down to Kirk:	                              SPOCK	                        (quiet, terse)	                Captain...	                        (reaches Kirk)	                Treat V'ger as you would... a	                child.	336    FAVORING KIRK                                             336		       startled at this, not sure he's heard correctly.	                              KIRK	                Child...!?	                              SPOCK	                Yes, Captain, a child: evolving	                into adulthood -- learning, searching	                -- instinctively needing.	                              DECKER	                        (intrigued)	                Needing what...?	                              McCOY	                Spock, this 'child' is about	                to eliminate all life on Earth;	                how do we teach it that that's	                'wrong'? With a spanking...!?	      Spock peers at McCoy almost sadly, then replies to	      Decker.	                              SPOCK	                It doesn't know what it needs,	                Comm          ander...	                        (to Kirk)	                It does not know.	      Kirk says nothing, looks at Spock who is awaiting a	      reaction; then Kirk glances at "Ilia" -- his brain	      is racing, struggling to reach a decision. And then:	                              KIRK	                        (abruptly to	                         "Ilia")	                The carbon--units-know-why-the	                Creator-has-not-responded.	                              McCOY	                        (shocked)	                Jim...!	                              DECKER	                        (to "Ilia,"	                         urgingly)	                Ilia... we can help V'ger	                find what it needs --	      "Ilia" studies Decker just a bland beat, then turns	      to Kirk:	                              "ILIA"	                        (to Kirk, hard)	                Disclose the information.		                              KIRK	                        (cool, calm)	                Not until V'ger withdraws the	                devices orbiting the third planet.	                              "ILIA"	                KIRK UNIT! DISCLOSE THE	                INFORMATION!	      Kirk studies her a moment, then decides to press his	      bet:	                              KIRK	                        (to "Ilia," almost	                         pleasant)	                No.	                        (then to crew	                         commandingly)	                Secure all stations. Clear	                the bridge.	      A moment where all are startled at this order -- but	      no time for questions as just then the ship is ROCKED	      BY A FURIOUS POWERFUL ERUPTION NEARBY within V'ger.	                              DECKER	                        (amplified)	                Bridge to all decks,secure	                your stations.	                              McCOY	                Your child is having a	                tantrum, Spock.		                              SULU	                Clear the bridge, Captain...?	                              KIRK	                That was the order, Mr. Sulu:	                Clear the bridge.	      Just then another ERUPTION -- the ship is ROCKED AGAIN.	337   INT. INSIDE V'GER - THE ENTERPRISE                         337	      rocked about by the furious powerfields -- with	      frightening displays of ray energy.	338   INT. BRIDGE                                                338	      as all react to the powerful blasts, holding on to 	      railings, etc, at the same time attempting to secure	      their stations for the evacuation. The DAMAGE REPAIR	      TECHNICIAN leaves his station, crossing to exit.	                              DAMAGE TECH.	                        (leaving bridge;	                         to Captain)	                Severe stress on engine pylons,	                sir.	                              "ILIA"	                        (to Kirk; flat)	                V'ger requires the information.	      Kirk merely looks at her, then to the evacuating crew:	                              KIRK	                Bridge secure all stations! 	                Move out!	                              McCOY	                Jim, what the hell kind of	                strategy is this...?	      Meanwhile, Decker has crossed to Chekov's now abandoned	      console, checks it.	                              DECKER	                All ship's functions going to	                automatic, Captain.   	339   ANGLE ON KIRK                                              339	      turning to confront "Ilia":	                              KIRK	                If V'ger destroys the Enterprise,	                the information V'ger requires	                will also be destroyed. 	  339A   INCLUDING VIEWER                                          339A	      as LIGHT SHOW outside perceptically recedes, and simul-	      taneously the ROCKING CEASES. At the same time, "Ilia"	      is saying:	                              "ILIA"	                It is illogical to withhold	                required information.	      Kirk does not reply to this, turns away to observe	      the withdrawing crew. Most are out; only Spock,	      Decker and McCoy remain behind -- with McCoy on his 	      way. The bridge lighting dims, and now Kirk looks at	      Spock, who nods approvingly; clearly Spock is the only	      person who seems to comprehend what Kirk is doing, and	      why. As Kirk now moves toward the exit, and the lights 	      are dimmed even further:	                              "ILIA"	                        (almost polite)	                Kirk-unit, why do you not	                disclose information?	                              KIRK	                Because V'ger is going to	                destroy all the carbon units	                on the third planet.	                              "ILIA"	                They have repressed the Creator.	                              KIRK	                The information will not be	                disclosed.	      And, gesturing the others ahead of him, Kirk starts	      toward the bridge elevator. "Ilia" calls after him:	                              "ILIA"	                        (almost a plea)	                V'ger needs the information.	340   AT THE ELEVATORS                                           340 	      Decker and McCoy about to enter, Spock and Kirk just	      behind -- all stopping abruptly now at "Ilia's" state-	      ment. The very tone of her voice is enough for them	      to realize they have made a very telling point. Kirk	      follows fast:	                              KIRK	                Then V'ger must withdraw its	                orbiting devices.	                              "ILIA"	                V'ger will comply if the carbon	                units disclose the information.	341   ANGLE ON McCOY                                             341	      wryly reacting to this:	                              McCOY	                It learns fast, doesn't it...?	342   ACROSS McCOY TO KIRK AND SPOCK                             342 	      as Kirk looks at Spock, Kirk's whole expression convey-	      ing the obvious question: "What the hell do we do now?"	      But Spock is ready with an answer:	                              SPOCK	                Captain, the vessel -- V'ger --	                obviously operates from a	                central brain complex...	      Spock allows the sentence to hang, as he and Kirk	      eye each other significantly, the CAMERA SWINGING	      OVER TO KIRK so we can perceive that to Kirk this	      idea has an even greater significance.	                              KIRK	                        (to Spock)	                The orbiting devices would be	                controlled from the point,	                then...?	                              SPOCK	                Precisely.	      Kirk nods grimly, faces "Ilia" again; this time 	      he's playing for all the stakes.	                              KIRK	                The carbon units' information	                cannot be disclosed to V'ger's	                probe... only to V'ger directly.	343   ANOTHER ANGLE - REACTIONS                                  343	      all wait with hushed expectancy, all eyes on "Ilia"	      who seems momentarily in some internal communication.	      She turns away from Kirk and steps forward looking at	      the Main Viewer.	                              McCOY	                        (indicating	                         viewer)	                Jim...!	344   PAST THEM TO VIEWER                                        344	      the image of the chamber in which the Enterprise is	      imprisoned. But now, toward the chamber-end, where	      further passage had previously been barred by the lace-	      work energy barriers -- an OPENING APPEARS. And at	      the same time there is a GENTLE LURCHING EFFECT, and:	                              DECKER	                Forward motion, Captain...!	                              SPOCK	                A tractor beam...	      "Ilia" steps down from the platform and into the well	      where she is closer to the viewer.	                              DECKER	                Captain, what's the next move?	                              KIRK	                The question is, Mr. Decker, is	                there a next move...	345   INT. V'GER - THE ENTERPRISE                                345	      moving through the chamber, pulled by the invisible	      tractor beam, toward the OPENING -- toward the next	      chamber which, from this POV seems even larger,	      more forbidding.	346   INT. BRIDGE                                                346	      as the four officers step down onto the bridge, Spock	      hurrying to his science station, Kirk to the center	      seat.	                              KIRK	                Resume duty stations, Mr. Decker.	      As Kirk attends to his console, Deck is at an	      intercom:	                              DECKER	                        (into intercom,	                         voice amplified)	                All personnel resume stations...!	      At the same time the lights are brightening -- and	      members of the bridge crew begin returning. All this	      time there is an ever increasing sense of movement.	      Kirk glances at Decker:	                              KIRK	                Well, Mr. Decker, it seems my	                bluff is being called.	                              DECKER	                I'm afraid our hand is pretty	                weak, Captain.	                        (slight smile)	                But it's the only game in town.		      Kirk reacts, pleased, a split beat at Decker's "our"	      hand, and goes on:	      Kirk throws him a look of appreciation, then, abruptly	      his manner changes as he addresses Chekov:	                              KIRK	                Mr. Chekov, when do those devices	                activate?	                              CHEKOV	                They reach final position in...	                Twenty-seven minutes -- mark.	                              KIRK	                        (a beat; then into	                         intercom)	                Engineering...	347   INT. ENGINEERING - SCOTT                                   347	      at his console, a female engineering technician (CHIEF	      ROSS) nearby, the usual engine room ambience in the	      b.g., as:	                              SCOTT	                Scott, here, sir.	348   INT. BRIDGE - KIRK WITH AN ANGLE ON SPOCK                  348	      as Kirk hesitates, glances around at the crew -- now	      all having resumed their stations -- and then grimly	      looks at "Ilia" who still remains at the rail.	                              KIRK	                        (into intercom,	                         eyes on "Ilia")	                Mr. Scott, be prepared to execute	                Starfleet order two zero zero	                five.	      Hearing this, Spock whirls around -- peers incredulously	      at Kirk. He appears for a moment to be incensed at	      Kirk's words. Then he realizes and understands Kirk's	      position and turns, sadly resigned, back to his work.	349   INT. ENGINEERING                                           349	      as Scott, too, hears this, but his reaction is of grim	      acceptance. Not so Chief Ross; she is horrified.	                              SCOTT	                        (with a glance at	                         Ross, into intercom)	                When, Captain?	                              KIRK'S INTERCOM VOICE	                On my command.	                              SCOTT	                        (somberly, into	                         intercom)	                Aye, sir.	      And Scott hits buttons on his console, now moves to	      step from his station, nearly collides with Ross, who	      clearly is bravely struggling to maintain her poise	      and dignity:	                              ROSS	                Why has the Captain ordered self-	                destruct, sir?	                              SCOTT	                        (a beat; gently)	                I would say, lass, because he	                thinks -- he hopes -- that when	                we go up... we'll take V'ger	                with us.	                              ROSS	                Will we?	                              SCOTT	                        (with grim	                         satisfaction)	                When that much matter and anti-	                matter are brought together?	                Oh, yes; we will, indeed.	350   EXT. ENTERPRISE - INT. V'GER                               350	      The ship passing now through a chamber that is vastly	      more active than anything we have previously seen.	      Directly ahead appears to be an area that dispatches	      powerfields; a tremendous volume of them seem to ema-	      nate and converge there. The medium from which the	      ship moves appears almost solid, to the point where it	      seems incredible that the ship can be pulled through	      it at all. The entire chamber pulses with machine-	      like, alien life. This should even be evidenced in the	      booming POWERFIELD LIGHTENING BOLTS as they course in	      ever more frighteningly close proximity to the ship as:	  350A   INT BRIDGE - INCLUDING THE VIEWER                         350A	      The crew all watching the awesome spectacle of V'ger's	      interior (on the viewer) as the Enterprise is being	      pulled toward the brain complex. All are somewhat sub-	      dued, for all realize how their journey will end -- but	      at the same time they also realize there is no other	      way. The CAMERA PANS, catching facial reactions -- as,	      in the b.g., we HEAR a constant flow of AD-LIBBED crew	      comments:	                              CHEKOV	                Twenty-five minutes to device	                activation, sir.	ALT. (Twenty-two)	ALT. (Eighteen)	                              UHURA	                Starfleet has been apprised of 	                our situation, Captain.	                              SULU	                Tractor beam remains constant...	                              DIFALCO	                We are seventeen kilometers inside	                the vessel...	351   ANGLE ON SPOCK                                             351	      His back to the viewer, the angle does not reveal his	      facial features, but we can discern him struggling to	      contain his feelings.	352   WIDER ANGLE (INCLUDE KIRK, McCOY, AND DECKER)              352	      Kirk's back to Spock as he watches the viewer, Kirk	      now turning toward Spock.	                              KIRK	                Spock... Spock...	      Spock does not respond, then Kirk reacts with momentary	      annoyance, then realizes Spock is totally distracted.	      Kirk peers at him a moment, then suddenly rises and	      steps up to:	353   SPOCK'S STATION - KIRK AND SPOCK (McCOY IN B.G.)           353	      as Kirk arrives, with Spock still facing away from	      him, clearly distracted.	                              KIRK	                        (starts)	                Mr. Spock -- I think...	      Spock moves to face him, turning fully INTO the CAMERA	      so we can see now, just under Spock's eye:	      A tear! Welling fom the eye, rolling down his cheek.	      Kirk is speechless a moment, glances at McCoy who has	      also witnessed this phenomenon, and started toward	      Spock; but Kirk gestures McCoy to stay back, as he	      addresses Spock:	                              KIRK	                        (quiet, feeling)	                Not for us?	                              SPOCK	                No, Captain, not for us... for V'ger.		      Spock pauses as Kirk peers incredulously at him, then	      continues:	                              SPOCK	                        (continuing)	                I weep for V'ger, as I would for	                a brother -- far more knowledgeable	                than I -- and yet one step behind.	354   ANGLE ON McCOY AND DECKER                                  354	      Listening, McCoy's face reflecting concern; Decker's	      face compassion and understanding, with Decker step-	      ping closer to Spock, as Spock continues:	                              SPOCK	                As I was -- when I came aboard...	                so is V'ger now: empty, incomplete.	                Searching. Logic and knowledge are	                not enough.	                              McCOY	                        (with empathy)	                Spock, are you saying that you	                found, what you needed -- but V'ger	                hasn't?	                              SPOCK	                Has not, Doctor -- and now, because	                of what we are planning... will not...	                              KIRK	                        (almost hard)	                There is no alternative.	                              DECKER	                        (gently pressing)	                Mr. Spock, what would V'ger need	                to fulfill itself?	                              SPOCK	                V'ger has begun to understand the	                true limits of our universe,	                thereby realizing the existence	                of other dimensions. To fulfill	                itself it must evolve to a	                higher dimension; V'ger believes	                this can be achieved only by	                joining with the Creator.	                              SPOCK (ALTERNATIVE)	                Each of us, at some time in our	                life, turns to someone, a father,	                a brother, a God and asks 'Why	                am I here?' 'What was I meant	                to be?' V'ger hopes to touch its	                Creator to find its answers.	355   ACROSS KIRK TO DECKER                                      355	      as Decker reacts with sudden, almost evangelical en-	      lightenment, as Kirk Says:	                              KIRK	                        (understanding)	                'Is this all that I am? Is there	                nothing more?	      ON DIFALCO	      reacting to the (O.S.) viewer, AD-LIBBING a terse:	                              DIFALCO	                Captain...!	      PAST KIRK AND SPOCK TO THE VIEWER		      where another opening is suddenly visible -- another	      chamber. But the violent and color energy effects of	      the previous chambers are no longer evident. Instead,	      the entire chamber appears beautifully symmetrical,	      with a strange, subdued glow, which increases as we	      move closer.	                              SPOCK	                        (flat)	                Captain, I believe that is our	                destination.		356   EXT. ENTERRISE - INT. V'GER - NEAR THE "ISLAND"            356	      COMPLEX	      This enormous chamber resembles a hemisphere, laced	      throughout with dazzling energy patterns, not at all	      ominous, but quite lovely in effect. As the Enterprise	      continues forward motion, now ahead you will to SEE a	      small "island." Floating in the exact center of the	      hemisphere, the "island" seems alive with PULSING LIGHT,	      with more of the lovely and delicate ENERGY FORMS and	      COLORS. On the "island," vague at this distance, ap	      pears to be a "solid" matter form.	357   INT. BRIDGE - INCLUDING VIEWER                             357	      The "island" looming larger in the distance. And the	      Enterprise (as evidenced from the viewer) perceptibly	      slowing. Kirk just resuming his command chair, as:	                  	                              SULU	                Forward motion slowing, Captain...!	      Kirk says nothing a moment, studies the viewer -- and	      then:	                              KIRK	                        (into intercom)	                Engineering... Status, Mr. Scott?	                              SCOTT'S INTERCOM VOICE	                        (somber)	                We're ready, sir.	                              KIRK	                        (into intercom)	                Thank you, Scotty. Stand by.	358   ACROSS KIRK TO McCOY                                       358	      as Kirk turns from the intercom and glances at McCoy.	      Between them a total look of understanding.	359   EXT. ENTERPRISE (INT. V'GER)                               359	      The Enterprise approaching the edge of the "island" --	      slowing, but still quite clearly being pulled by the	      tractor beam. The "solid matter" in the "island" cen-	      ter still obscured by the STRANGE LIGHT GLOW emanating	      from that area. The Enterprise is now nearly at the	      "island" edge.	360   INT. BRIDGE - INCLUDING VIEWER                             360	      as all watching "island" loom closer and closer.	                              CHEKOV	                Tractor beam strength lessening,	                Captain.	                              KIRK	                        (into intercom)	                Mr. Scott... on my next signal.	                              SPOCK	                        (fast)	                Captain, the orbital device will     (ALT.)	                not be triggered for twenty-two      (nineteen...)	                minutes...                           (fifteen...)	                              KIRK	                The point...	                (Your)	                              SPOCK	                        (eying "Ilia";	                         carefully)	                The point is, Captain, twenty-two    (ALT. should	                minutes. We could have that much      loop "19" &	                more time...                                 "15")         	      Kirk glances at the Viewer, the oncoming "island," then	      at Spock:	                              KIRK	                        (shakes head, no)	(ALT: "19",)    (Mr. Spock), if we do not provide	(     "15  )    V'ger with certain information, we	                won't have twenty-two seconds; the	                plan must be implemented upon arrival.	                              DECKER	                Captain, we can't be sure that our...	                move... will actually save Earth.	                              KIRK	                No!	      Decker's last word is interrupted by an almost gentle	      BUMP -- and on the Viewer all perceptible motion has	      stopped. At the same time:	                              SULU	                Forward motion stopped, Captain.	                              CHEKOV	                Tractor beam is released.	361   INT. INSIDE V'GER - THE ENTERPRISE AT THE "ISLAND"         361	      The ship's sauce leading edge holding position at	      the "island" edge as though docked.	362   INT. BRIDGE  "ILIA"                                        362	      watching the (O.S.) Viewer.	                              "ILIA"	                       (indicating viewer)	                V'ger...	363   INCLUDING THE VIEWER  KIRK AND THE OTHERS                  363	      all very silent a moment, gazing at the sight. Now	      Kirk glances at the people around him: on his command	      their lives are about to end. Nothing is said; no	      time for it, no inclination to articulate the obvious.	      No need to.	                              KIRK	                        (into intercom:	                         with finality)	                Mr. Scott...	364   ANGLE ON CHEKOV                                            364	      reacting to a console reading with surprise.	                              CHEKOV	                Captain... I read an oxygen and	                gravity envelope forming outside	                the Enterprise...!	                              UHURA	                Sir, I have located the source	                of V'ger's radio signal: (it's)	                directly ahead.	                              SPOCK	                That transmitter is a vital link	                between V'ger and the Creator.	                        (its)	                              DECKER	                        (urging)	 (ALT. "18",)   We have twenty-one minutes. Captain,	 (.... "14" )   we can still save V'ger... and ourselves. 	      All this has caused Kirk to vacillate, but he still	      believes his course of action is the proper one, as:-	                              "ILIA"	                The carbon units will now provide 	                V'ger the required information.	      "Ilia" is moving toward the elevator, turning to face	      the others as she says this. Kirk remains frozen, his	      hand on the intercom button. He glances at McCoy, as	      though seeking advice. McCoy peers at him blandly,	      levelly; Kirk must follow his own instinct.	365   FAVORING KIRK                                              365	      gazing at "Ilia," then at Spock, his brain racing, con-	      sidering all the possibilities, options. He glances	      at the anxious faces awaiting his decision: a possible	      twenty-two more minutes of life -- or instant death.	      Another beat as he decides. Then:	                              KIRK	                        (into intercom)	                Mr. Scott... we're holding off;	                there may be a chance...	                        (rises, gestures	                         Spock and McCoy)	                Spock, Bones...	      He starts for elevator.	366   PAST DECKER TO KIRK                                        366	      as Kirk strides toward the elevator, joining McCoy and	      Spock.	                              KIRK	                Mr. Decker... I will contact you	                every five minutes. Otherwise...	                inform Mr. Scott immediately.	                              DECKER	                        (calls after him)	                Captain... I'd like to go along...	      Kirk studies Decker a beat -- there is something com-	      pelling about Decker's manner -- a certain sense of	      absolute necessity. Kirk seems about to deny the re-	      quest, then turns to Sulu:	                              KIRK	                Mr. Sulu, you have the conn...	      And Kirk leaves; Decker, his face reflecting a strange,	      almost eager gratification, hurries after him.	                              KIRK	                V'ger plans to literally meld	                to reduce both itself and the	                Creator to patterns...	                              SPOCK	                ... and then to reassemble itself	                combined with the Creator. The	                most certain way of obtaining	                all the Creator's answers.	      A sudden STORM OF LIGHT AND STRANGE SOUND. In the	      midst of it, Kirk finds a SHAFT OF LIGHT very much	      centering on him. He sees "Ilia" watching him with	      none of their "former navigator" in her expression	      now. Kirk hesitates, gathering his thoughts:	                              KIRK	                        (to "Ilia")	                Our data is being prepared.		                              "ILIA"	                Answer!	                              KIRK	                We will answer and present proof	                of our answer when it is ready!	      Kirk's words lead to a suggestion of FRUSTRATION in the	      STORM OF LIGHT AND SOUND around them.	                              KIRK	                        (continuing)	                V'ger, we will bring the Creator	                to you! Here!	367   ANGLE EMPHASIZING "ILIA" AND DECKER                        367	      as he moves to her:	                              DECKER	                We need only a few more minutes.	                Believe me...	      Decker has reached out to touch her -- the probe spins	      at his touch -- the move knocks Decker from his feet,	      tumbling, a hard fall. Then the robe looks at him	      lying there -- just the slightest softening of her	      features now.	368   EMPHASIZING DECKER                                         368	      slowly turning to face the probe again.	                              DECKER	                Ilia, believe me... the Creator	                will appear!	369   EMPHASIZING "ILIA"                                         369	      as she meets Decker's look, her expression softening	      still more. The STORM OF LIGHT and SOUND begins to	      subside a bit. She moves to him and he gets to his feet.	                              UHURA'S INTERCOM VOICE	                Enterprise to Captain...	370   INT. BRIDGE                                                370	      Uhura with Sulu and Chekov there.	                              UHURA	                Problem, Captain: the response	                signal is not in our records.	                Voyager Six was sent out by Earth's	                "United States Subdivision.' The	                code was probably...	371   INT. VOYAGER SIX SITE                                      371	      as Uhura continues:	                              UHURA'S INTERCOM VOICE	                ... kept secret to keep Voyager's	                data from rival subdivisions.	                              McCOY	                That's preposterous! They	                wouldn't have kept scientific	                data from one another.	                              CHEKOV'S INTERCOM VOICE	                We are now checking with Starfleet	                Archives, Captain. Stand by.	372   ANGLE ON DECKER AND "ILIA"                                 372	      Kirk, Spock and McCoy are standing some distance from	      them (out of hearing). The probe is clearly moving	      into still closer touch with Lt. Ilia's memory patterns	      as Decker takes her hand.	                              DECKER	                And when V'ger melds? What will	                happen to you?	                              "ILIA"	                It will... take me from you...	373   KIRK, SPOCK AND McCOY                                      373	      McCoy is looking at Kirk with an incredulous expression	      on his face.	                              McCOY	                And when it realizes what the	                Creator is...?	                              KIRK	                There's no way to know. V'ger	                expected it to be a machine --	                some single entity.	                        (indicates entire	                         site)	                All of us here may be reduced	                into patterns...	                              SPOCK	                That seems to be what it has	                planned -- to have the Creator	                physically present here.	                              McCOY	                        (small smile)	                The God it captures is going to	                be a hell of a disappointment.	374   DECKER AND "ILIA"                                          374	      at the side of Voyager Six, Decker in the midst of	      twisting a wing-nut which releases a hatch which swings	      open. Decker peers inside while "Ilia" waits.	375   KIRK, SPOCK AND McCOY                                      375	      Decker and "Ilia" at the old capsule in b.g. as Kirk	      looks that way.	                              KIRK	                Commander...	      We SEE Decker look up at Kirk's call, then ignore him	      and go back to inspecting inside the access hatch. At	      this moment, from Kirk's communicator, a SIGNAL.	                              KIRK	                        (continuing;	                         into communicator)	                Kirk here.	                              UHURA'S INTERCOM VOICE	                We now have the response code,	                sir.	                              KIRK	                Stand by. Transmit it on my	                orders.	      The three of them exchange looks -- Kirk, Spock and	      McCoy exchanging a silent moment of friendship and	      resignation. Then Kirk lifts his communicator again:	                              KIRK	                        (continuing)	                Enterprise... transmit.	376   DECKER AND "ILIA"                                          376	      catching Decker in the midst of pressing a control on	      his tricorder. Both he and "Ilia" are watching Kirk	      and the others closely. Now Decker looks down at the	      tricorder's face. He nods:	                              DECKER	                Recording...	377   KIRK, SPOCK AND McCOY                                      377	      still waiting. They continue to wait. McCoy shifts	      uncomfortably, throws Kirk a puzzled glance. Kirk	      finally lifts his communicator.	                              KIRK	                Enterprise, are you transmitting?	                              UHURA'S INTERCOM VOICE	                Affirmative, Captain. For some	                time now.	                              KIRK	                Confirm code and transmitting	                frequency.	                              CHEKOV'S INTERCOM VOICE	                Both signal and frequency	                confirmed, sir.	                              DECKER	                        (calling)	                Captain Kirk!	378   VARIOUS ANGLES                                             378	      as the others turn to Decker and "Ilia."	                              DECKER	                        (continuing)	                The fault is here, sir, not in	                the transmission.	                        (indicating into	                         hatch)	                The antenna leads have been	                disconnected. V'ger never	                intended to accept a transmitted	                signal.	                              KIRK	                Capture God! In order to	                retrieve V'ger's data, the	                Creator has to physically come	                here!...	                              DECKER	                And plug the signal directly into	                the circuitry at this...	                        (indicates into	                         access)	                ... point here, Captain. It	                should pick up even a tricorder	                playback.	                              KIRK	                        (lifting communicator)	                Enterprise, I want that signal	                again. Transmit!	      Then Kirk touches a control on his tricorder exactly	      as Decker did earlier. Then he looks up, reacts as	      he sees Decker holding his own tricorder up -- and a	      smile playing on Decker's face.	379   ACTION ANGLE                                               379	      as Kirk suddenly pivots, races toward Decker -- but he	      passes too close to the "Ilia"-probe. It sends him	      spinning back, tumbling to his knees.	380   AT KIRK                                                    380	      as KIRK starts up to scramble to his feet but Spock has	      stepped in, putting a hand on Kirk's shoulder and re	      straining him.	                              SPOCK	                Jim... he wants it.	                              DECKER	                You got the Enterprise, it's	                what you wanted. This is what	                I want.	                              (smiles)	                But, Jim...	                              (now very seriously)	                ... I'm the right choice for this	                mission.	      And then Decker shoves the tricorder into the access	      hatch.	381   VARIOUS EFFECTS SHOTS - DECKER BEING FUSED - V'GER         381	      TRANSCENDING (S)	      For just an instant nothing happens -- and then a 	      BLINDING SHAFT OF LIGHT STRIKES Decker. The color	      becomes BRIGHTER AND BRIGHTER, begins spiraling through	      the room. "Ilia" stes toward Decker, is caught in the	      LIGHT, and instantly VANISHES in a BRILLIANT WHITE GLOW.	      We SEE Decker seeming to grow larger -- as if his	      molecular pattern is expanding. A SPECTACULAR SERIES	      OF VISUALS., THE SPIRALING LIGHT enveloping the entire	      area.	      All this emanating from Decker's body, becoming LARGER	      -- also BRIGHTER AND BRIGHTER until now it is almost	      transparent. And the SPIRALING now expanding in all	      directions, and the room itself starting to dissolve,	      vanishing into nothingness -- and all commencing to	      slip into the new dimension.	      Kirk, Spock and McCoy stand transfixed another instant.	      Around them, V'ger seems to be TRANSFORMING INTO BRIL-	      LIANT, LOVELY PATTERNS. They all turn and race into	      the complex in the direction of their vessel.	382   EXT. EARTH ORBIT - AN ENERGY BOLT (S)                      382	      It too seems to be flowering into loveliness, brilliant,	      graceful patterns as they seem to slip through to another 	      dimension, vanishing.	383   EXT. V'GER - FULL SHOT                                     383		      The "FLOWERING" EFFECT now spreading outward, V'ger's	      massive shape becoming a spiraling pattern of twisting,	      graceful shapes and brilliant colors -- a transcendence	      into another dimension.	      And then all of that is left is a shimmering, jewel-like	      point of light -- and then it too fades -- and reveals	      there in the blue-black of space, the U.S.S. Enterprise.	384   INT. BRIDGE - INCLUDING THE VIEWER (O)                     384	      which shows now only space and its familiar star	      patterns. All gaze at the viewer, awed at what they've	      seen and undergone. They exchange looks silently, no	      one wanting to be the first to try to comment on some-	      thing which is beyond mere words. We HEAR an ELEVATOR	      DOOR, Scott and Chapel ENTER the bridge and stand 	      silently watching.	                              McCOY	                Well, it certainly has been...	                interesting.	                              KIRK	                Spock, we were its answer!	                              SPOCK	                        (nods)	                Yes, Captain. It needed our	                mortality, the fear of it, our	                struggle against it, our fears,	                our dreams...	                              KIRK	                ... and the 'foolish' emotions	                which drive us?	                              SPOCK	                        (looks at Kirk; then)	                I prefer your poet Dante's phrase	                -- 'the divine restlessness of	                the human spirit.'	                              McCOY	                Spock... you're quoting poetry?	      Spock's cold look at McCoy is interrupted by:	                              UHURA	                Starfleet signal, Captain!	                Return to orbital dockyard for	                inspection.	                              KIRK	                Ignore that signal.	                        (to Scott)	                Shall we give the Enterprise a	                proper shakedown, Mr. Scott?	                              SCOTT	                        (suddenly beaming)	                I'd say it's time for that, I	                would, sir.	                        (toward Spock)	                We can have you back on Vulcan	                in four days, Mr. Spock.	                              SPOCK	                        (coolly)	                I have no business on Vulcan,	                Engineer.	      Kirk and Spock exchange a look -- then Kirk turns to	      the helm.	                              KIRK	                Ahead Warp One, Mr. Sulu.	                              DIFALCO	                Heading, sir?	                              KIRK	                        (taking center seat;	                         indicates generally)	                Out there.  Thataway.	                              SPOCK	                        (nods gravely)	                A most logical choice, Captain.	      Then the trace of a smile comes over Spock's face.	385   EXT. SPACE - ENTERPRISE (S)                                385	      Planet Earth in the distance, and receding in size as	      the starship heads out the other direction.	      FADE OUT.	                              THE END
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+                                        STAR WARS                                        Episode IV                                        A NEW HOPE                                         From the                                  JOURNAL OF THE WHILLS                                            by                                       George Lucas                                   Revised Fourth Draft                                     January 15, 1976                                      LUCASFILM LTD.                               A long time ago, in a galaxy far, far, away...               A vast sea of stars serves as the backdrop for the main title.                War drums echo through the heavens as a rollup slowly crawls                into infinity.                    It is a period of civil war. Rebel spaceships,                     striking from a hidden base, have won their first                     victory against the evil Galactic Empire.                    During the battle, Rebel spies managed to steal                     secret plans to the Empire's ultimate weapon, the                     Death Star, an armored space station with enough                     power to destroy an entire planet.                    Pursued by the Empire's sinister agents, Princess                     Leia races home aboard her starship, custodian of                     the stolen plans that can save her people and                     restore freedom to the galaxy...               The awesome yellow planet of Tatooine emerges from a total                eclipse, her two moons glowing against the darkness. A tiny                silver spacecraft, a Rebel Blockade Runner firing lasers                from the back of the ship, races through space. It is pursed                by a giant Imperial Stardestroyer. Hundreds of deadly                laserbolts streak from the Imperial Stardestroyer, causing                the main solar fin of the Rebel craft to disintegrate.               INT. REBEL BLOCKADE RUNNER - MAIN PASSAGEWAY               An explosion rocks the ship as two robots, Artoo-Detoo (R2-               D2) and See-Threepio (C-3PO) struggle to make their way                through the shaking, bouncing passageway. Both robots are                old and battered. Artoo is a short, claw-armed tripod. His                face is a mass of computer lights surrounding a radar eye.                Threepio, on the other hand, is a tall, slender robot of                human proportions. He has a gleaming bronze-like metallic                surface of an Art Deco design.               Another blast shakes them as they struggle along their way.                                     THREEPIO                         Did you hear that? They've shut down                          the main reactor. We'll be destroyed                          for sure. This is madness!               Rebel troopers rush past the robots and take up positions in                the main passageway. They aim their weapons toward the door.                                     THREEPIO                         We're doomed!               The little R2 unit makes a series of electronic sounds that                only another robot could understand.                                     THREEPIO                         There'll be no escape for the Princess                          this time.               Artoo continues making beeping sounds. Tension mounts as                loud metallic latches clank and the scream of heavy equipment                are heard moving around the outside hull of the ship.                                     THREEPIO                         What's that?               EXT. SPACECRAFT IN SPACE               The Imperial craft has easily overtaken the Rebel Blockade                Runner. The smaller Rebel ship is being drawn into the                underside dock of the giant Imperial starship.               INT. REBEL BLOCKADE RUNNER               The nervous Rebel troopers aim their weapons. Suddenly a                tremendous blast opens up a hole in the main passageway and                a score of fearsome armored spacesuited stormtroopers make                their way into the smoke-filled corridor.               In a few minutes the entire passageway is ablaze with                laserfire. The deadly bolts ricochet in wild random patterns                creating huge explosions. Stormtroopers scatter and duck                behind storage lockers. Laserbolts hit several Rebel soldiers                who scream and stagger through the smoke, holding shattered                arms and faces.               An explosion hits near the robots.                                     THREEPIO                         I should have known better than to                          trust the logic of a half-sized                          thermocapsulary dehousing assister...               Artoo counters with an angry rebuttal as the battle rages                around the two hapless robots.               EXT. TATOOINE - DESERT WASTELAND - DAY               A death-white wasteland stretches from horizon to horizon.                The tremendous heat of two huge twin suns settle on a lone                figure, Luke Skywalker, a farm boy with heroic aspirations                who looks much younger than his eighteen years. His shaggy                hair and baggy tunic give him the air of a simple but lovable                lad with a prize-winning smile.               A light wind whips at him as he adjusts several valves on a                large battered moisture vaporator which sticks out of the                desert floor much like an oil pipe with valves. He is aided                by a beatup tread-robot with six claw arms. The little robot                appears to be barely functioning and moves with jerky motions.                 A bright sparkle in the morning sky catches Luke's eye and                he instinctively grabs a pair of electrobinoculars from his                utility belt. He stands transfixed for a few moments studying                the heavens, then dashed toward his dented, crudely repaired                Landspeeder (an auto-like transport that travels a few feet                above the ground on a magnetic-field). He motions for the                tiny robot to follow him.                                     LUKE                         Hurry up! Come with me! What are you                          waiting for?! Get in gear!               The robot scoots around in a tight circle, stops short, and                smoke begins to pour out of every joint. Luke throws his                arms up in disgust. Exasperated, the young farm boy jumps                into his Landspeeder leaving the smoldering robot to hum                madly.               INT. REBEL BLOCKADE RUNNER - MAIN HALLWAY               The awesome, seven-foot-tall Dark Lord of the Sith makes his                way into the blinding light of the main passageway. This is                Darth Vader, right hand of the Emperor. His face is obscured                by his flowing black robes and grotesque breath mask, which                stands out next to the fascist white armored suits of the                Imperial stormtroopers. Everyone instinctively backs away                from the imposing warrior and a deathly quiet sweeps through                the Rebel troops. Several of the Rebel troops break and run                in a frenzied panic.               INT. REBEL BLOCKADE RUNNER               A woman's hand puts a card into an opening in Artoo's dome.                 Artoo makes beeping sounds.               INT. REBEL BLOCKADE RUNNER               Threepio stands in a hallway, somewhat bewildered. Artoo is                nowhere in sight. The pitiful screams of the doomed Rebel                soldiers can be heard in the distance.                                     THREEPIO                         Artoo! Artoo-Detoo, where are you?               A familiar clanking sound attacks Threepio's attention and                he spots little Artoo at the end of the hallway in a smoke-               filled alcove. A beautiful young girl (about sixteen years                old) stands in front of Artoo. Surreal and out of place,                dreamlike and half hidden in the smoke, she finishes adjusting                something on Artoo's computer face, then watches as the little                robot joins his companion.                                     THREEPIO                         At last! Where have you been?               Stormtroopers can be heard battling in the distance.                                     THREEPIO                         They're heading in this direction.                          What are we going to do? We'll be                          sent to the spice mine of Kessel or                          smashed into who knows what!               Artoo scoots past his bronze friend and races down the                subhallway. Threepio chases after him.                                     THREEPIO                         Wait a minute, where are you going?               Artoo responds with electronic beeps.               INT. REBEL BLOCKADE RUNNER - CORRIDOR               The evil Darth Vader stands amid the broken and twisted bodies                of his foes. He grabs a wounded Rebel Officer by the neck as                an Imperial Officer rushes up to the Dark Lord.                                     IMPERIAL OFFICER                         The Death Star plans are not in the                          main computer.               Vader squeezes the neck of the Rebel Officer, who struggles                in vain.                                     VADER                         Where are those transmissions you                          intercepted?               Vader lifts the Rebel off his feet by his throat.                                     VADER                         What have you done with those plans?                                     REBEL OFFICER                         We intercepted no transmissions.                          Aaah... This is a consular ship.                          Were on a diplomatic mission.                                     VADER                         If this is a consular ship... were                          is the Ambassador?               The Rebel refuses to speak but eventually cries out as the                Dark Lord begins to squeeze the officer's throat, creating a                gruesome snapping and choking, until the soldier goes limp.                Vader tosses the dead soldier against the wall and turns to                his troops.                                     VADER                         Commander, tear this ship apart until                          you've found those plans and bring                          me the Ambassador. I want her alive!               The stormtroopers scurry into the subhallways.               INT. REBEL BLOCKADE RUNNER - SUBHALLWAY               The lovely young girl huddles in a small alcove as the                stormtroopers search through the ship. She is Princess Leia                Organa, a member of the Alderaan Senate. The fear in her                eyes slowly gives way to anger as the muted crushing sounds                of the approaching stormtroopers grow louder. One of the                troopers spots her.                                     TROOPER                         There she is! Set for stun!               Leia steps from her hiding place and blasts a trooper with                her laser pistol. She starts to run but is felled by a                paralyzing ray. The troopers inspect her inert body.                                     TROOPER                         She'll be all right. Inform Lord                          Vader we have a prisoner.               INT. REBEL BLOCKADE RUNNER - SUBHALLWAY               Artoo stops before the small hatch of an emergency lifepod.                He snaps the seal on the main latch and a red warning light                begins to flash. The stubby astro-robot works his way into                the cramped four-man pod.                                     THREEPIO                         Hey, you're not permitted in there.                          It's restricted. You'll be deactivated                          for sure..               Artoo beeps something to him.                                     THREEPIO                         Don't call me a mindless philosopher,                          you overweight glob of grease! Now                          come out before somebody sees you.               Artoo whistles something at his reluctant friend regarding                the mission he is about to perform.                                     THREEPIO                         Secret mission? What plans? What are                          you talking about? I'm not getting                          in there!               Artoo isn't happy with Threepio's stubbornness, and he beeps                and twangs angrily.               A new explosion, this time very close, sends dust and debris                through the narrow subhallway. Flames lick at Threepio and,                after a flurry of electronic swearing from Artoo, the lanky                robot jumps into the lifepod.                                     THREEPIO                         I'm going to regret this.               INT. IMPERIAL STARDESTROYER               On the main viewscreen, the lifepod carrying the two terrified                robots speeds away from the stricken Rebel spacecraft.                                     CHIEF PILOT                         There goes another one.                                     CAPTAIN                         Hold your fire. There are no life                          forms. It must have been short-                         circuited.               INT. LIFEPOD               Artoo and Threepio look out at the receding Imperial starship.                 Stars circle as the pod rotates through the galaxy.                                     THREEPIO                         That's funny, the damage doesn't                          look as bad from out here.               Artoo beeps an assuring response.                                     THREEPIO                         Are you sure this things safe?               EXT. TATOOINE - ANCHORHEAD SETTLEMENT - POWER STATION - DAY               Heat waves radiate from the dozen or so bleached white                buildings. Luke pilots his Landspeeder through the dusty                empty street of the tiny settlement. An old woman runs to                get out of the way of the speeding vehicle, shaking her fist                at Luke as he flies past.                                     WOMAN                         I've told you kids to slow down!               INT. POWER STATION - DAY               Luke bursts into the power station, waking The Fixer, a rugged                mechanic and Camie, a sexy, disheveled girl who has been                asleep in his lap. They grumbled as he races through the                office, yelling wildly.                                     FIXER                         Did I hear a young noise blast through                          here?                                     CAMIE                         It was just wormie on another rampage.               Luke bounces into a small room behind the office where Deak                and Windy, two tough boys about the same age as Luke, are                playing a computer pool-like game with Biggs, a burly,                handsome boy a few years older than the rest. His flashy                city attire is a sharp contrast to the loose-fitting tunics                of the farm boys. A robot repairs some equipment in the                background.                                     LUKE                         Shape it up you guys!... Biggs?               Luke's surprise at the appearance of Biggs gives way to great                joy and emotion. They give each other a great bear hug.                                     LUKE                         I didn't know you were back! When                          did you get in?                                     BIGGS                         Just now. I wanted to surprise you,                          hot shot. I thought you'd be here...                          certainly didn't expect you to be                          out working.                              (he laughs)                                     LUKE                         The Academy didn't change you                          much...but you're back so soon? Hey,                          what happened, didn't you get your                          commission?               Biggs has an air of cool that seems slightly phony.                                     BIGGS                         Of course I got it. Signed aboard                          The Rand Ecliptic last week. First                          mate Biggs Darklighter at your                          service...                              (he salutes)                         ...I just came to say good-bye to                          all you unfortunate landlocked                          simpletons.               Everyone laughs. The dazzling spectacle of his dashing friend                is almost too much for Luke, but suddenly he snaps out of                it.                                     LUKE                         I almost forgot. There's a battle                          going on! Right here in our system.                          Come and look!                                     DEAK                         Not again! Forget it.               EXT. TATOOINE - ANCHORHEAD - SETTLEMENT - POWER STATION -                DAY               The group stumbles out into the stifling desert sun. Camie                and The Fixer complain and are forced to shade their eyes.                Luke has his binoculars out scanning the heavens.                                     LUKE                         There they are!               Biggs takes the binoculars from Luke as the others strain to                see something with the naked eye. Through the binoculars                Biggs sees two small silver specks.                                     BIGGS                         That's no battle, hot shot... they're                          just sitting there! Probably a                          freighter-tanker refueling.                                     LUKE                         But there was a lot of firing                          earlier...               Camie grabs the binoculars away banging them against the                building in the process. Luke grabs them.                                     LUKE                         Hey, easy with those...                                     CAMIE                         Don't worry about it, Wormie.               The Fixer gives Luke a hard look and the young farm boy shrugs                his shoulders in resignation.                                     FIXER                         I keep telling you, the Rebellion is                          a long way from here. I doubt if the                          Empire would even fight to keep this                          system. Believe me Luke, this planet                          is a big hunk of nothing...               Luke agrees, although it's obvious he isn't sure why. The                group stumbles back into the power station, grumbling about                Luke's ineptitude.               INT. REBEL BLOCKADE RUNNER - HALLWAY               Princess Leia is led down a low-ceilinged hallway by a squad                of armored stormtroopers. Her hands are bound and she is                brutally shoved when she is unable to keep up with the briskly                marching troops. They stop in a smoky hallway as Darth Vader                emerges from the shadows. The sinister Dark Lord stares hard                at the frail young senator, but she doesn't move.                                     LEIA                         Lord Vader, I should have known.                          Only you could be so bold. The                          Imperial Senate will not sit for                          this, when they hear you've attacked                          a diplomatic...                                     VADER                         Don't play games with me, Your                          Highness. You weren't on any mercy                          mission this time. You passed directly                          through a restricted system. Several                          transmissions were beamed to this                          ship by Rebel spies. I want to know                          what happened to the plans they sent                          you.                                     LEIA                         I don't know what you're talking                          about. I'm a member of the Imperial                          Senate on a diplomatic mission to                          Alderaan...                                     VADER                         You're a part of the Rebel Alliance...                          and a traitor. Take her away!               Leia is marched away down the hallway and into the smoldering                hole blasted in the side of the ship. An Imperial Commander                turns to Vader.                                     COMMANDER                         Holding her is dangerous. If word of                          this gets out, it could generate                          sympathy for the Rebellion in the                          senate.                                     VADER                         I have traced the Rebel spies to                          her. Now she is my only link to find                          their secret base!                                     COMMANDER                         She'll die before she tells you                          anything.                                     VADER                         Leave that to me. Send a distress                          signal and then inform the senate                          that all aboard were killed!               Another Imperial Officer approaches Vader and the Commander.                They stop and snap to attention.                                     SECOND OFFICER                         Lord Vader, the battle station plans                          are not aboard this ship! And no                          transmissions were made. An escape                          pod was jettisoned during the                          fighting, but no life forms were                          aboard.               Vader turns to the Commander.                                     VADER                         She must have hidden the plans in                          the escape pod. Send a detachment                          down to retrieve them. See to it                          personally, Commander. There'll be                          no one to stop us this time.                                     COMMANDER                         Yes, sir.               EXT. SPACE               The Imperial Stardestroyer comes over the surface of the                planet Tatooine.               EXT. TATOOINE - DESERT               Jundland, or "No Man's Land", where the rugged desert mesas                meet the foreboding dune sea. The two helpless astro-droids                kick up clouds of sand as they leave the lifepod and clumsily                work their way across the desert wasteland. The lifepod in                the distance rests half buried in the sand.                                     THREEPIO                         How did I get into this mess? I really                          don't know how. We seem to be made                          to suffer. It's our lot in life.               Artoo answers with beeping sounds.                                     THREEPIO                         I've got to rest before I fall apart.                          My joints are almost frozen.               Artoo continues to respond with beeping sounds.                                     THREEPIO                         What a desolate place this is.               Suddenly Artoo whistles, makes a sharp right turn and starts                off in the direction of the rocky desert mesas. Threepio                stops and yells at him.                                     THREEPIO                         Where are you going?               A stream of electronic noises pours forth from the small                robot.                                     THREEPIO                         Well, I'm not going that way. It's                          much too rocky. This way is much                          easier.               Artoo counters with a long whistle.                                     THREEPIO                         What makes you think there are                          settlements over there?               Artoo continues to make beeping sounds.                                     THREEPIO                         Don't get technical with me.               Artoo continues to make beeping sounds.                                     THREEPIO                         What mission? What are you talking                          about? I've had just about enough of                          you! Go that way! You'll be                          malfunctioning within a day, you                          nearsighted scrap pile!               Threepio gives the little robot a kick and starts off in the                direction of the vast dune sea.                                     THREEPIO                         And don't let me catch you following                          me begging for help, because you                          won't get it.               Artoo's reply is a rather rude sound. He turns and trudges                off in the direction of the towering mesas.                                     THREEPIO                         No more adventures. I'm not going                          that way.               Artoo beeps to himself as he makes his way toward the distant                mountains.               EXT. TATOOINE - DUNE SEA               Threepio, hot and tired, struggles up over the ridge of a                dune; only to find more dunes, which seem to go on for endless                miles.  He looks back in the direction of the now distant                rock mesas.                                     THREEPIO                         That malfunctioning little twerp.                          This is all his fault! He tricked me                          into going this way, but he'll do no                          better.               In a huff of anger and frustration, Threepio knocks the sand                from his joints. His plight seems hopeless, when a glint of                reflected light in the distance reveals an object moving                towards him.                                     THREEPIO                         Wait, what's that? A transport! I'm                          saved!               The bronze android waves frantically and yells at the                approaching transport.                                     THREEPIO                         Over here! Help! Please, help!               EXT. TATOOINE - ANCHORHEAD SETTLEMENT - POWER STATION - DAY               Luke and Biggs are walking and drinking a malt brew. Fixer                and the others can be heard working inside.                                     LUKE                              (Very animated)                         ...so I cut off my power, shut down                          the afterburners and came in low on                          Deak's trail. I was so close I thought                          I was going to fry my instruments.                          As it was I busted up the Skyhopper                          pretty bad. Uncle Owen was pretty                          upset. He grounded me for the rest                          of the season. You should have been                          there... it was fantastic.                                     BIGGS                         You ought to take it easy Luke. You                          may be the hottest bushpilot this                          side of Mos Eisley, but those little                          Skyhoppers are dangerous. Keep it                          up, and one day, whammo, you're going                          to be nothing more than a dark spot                          on the down side of a canyon wall.                                     LUKE                         Look who's talking. Now that you've                          been around those giant starships                          you're beginning to sound like my                          uncle. You've gotten soft in the                          city...                                     BIGGS                         I've missed you kid.                                     LUKE                         Well, things haven't been the same                          since you left, Biggs. It's been                          so... quiet.               Biggs looks around then leans close to Luke.                                     BIGGS                         Luke, I didn't come back just to say                          good-bye... I shouldn't tell you                          this, but you're the only one I can                          trust... and if I don't come back, I                          want somebody to know.               Luke's eyes are wide with Biggs' seriousness and loyalty.                                     LUKE                         What are you talking about?                                     BIGGS                         I made some friends at the Academy.                              (he whispers)                         ...when our frigate goes to one of                          the central systems, we're going to                          jump ship and join the Alliance...               Luke, amazed and stunned, is almost speechless.                                     LUKE                         Join the Rebellion?! Are you kidding!                          How?                                     BIGGS                         Quiet down will ya! You got a mouth                          bigger than a meteor crater!                                     LUKE                         I'm sorry. I'm quiet.                              (he whispers)                         Listen how quiet I am. You can barely                          hear me...               Biggs shakes his head angrily and then continues.                                     BIGGS                         My friend has a friend on Bestine                          who might help us make contact.                                     LUKE                         You're crazy! You could wander around                          forever trying to find them.                                     BIGGS                         I know it's a long shot, but if I                          don't find them I'll do what I can                          on my own... It's what we always                          talked about. Luke, I'm not going to                          wait for the Empire to draft me into                          service. The Rebellion is spreading                          and I want to be on the right side --                          the side I believe in.                                     LUKE                         And I'm stuck here...                                     BIGGS                         I thought you were going to the                          Academy next term. You'll get your                          chance to get off this rock.                                     LUKE                         Not likely! I had to cancel my                          application. There has been a lot of                          unrest among the Sandpeople since                          you left... they've even raided the                          outskirts of Anchorhead.                                     BIGGS                         Your uncle could hold off a whole                          colony of Sandpeople with one blaster.                                     LUKE                         I know, but he's got enough vaporators                          going to make the place pay off. He                          needs me for just one more season. I                          can't leave him now.                                     BIGGS                         I feel for you, Luke, you're going                          to have to learn what seems to be                          important or what really is important.                          What good is all your uncle's work                          if it's taken over by the Empire?...                          You know they're starting to                          nationalize commerce in the central                          systems... it won't be long before                          your uncle is merely a tenant, slaving                          for the greater glory of the Empire.                                     LUKE                         It couldn't happen here. You said it                          yourself. The Empire won't bother                          with this rock.                                     BIGGS                         Things always change.                                     LUKE                         I wish I was going... Are you going                          to be around long?                                     BIGGS                         No, I'm leaving in the morning...                                     LUKE                         Then I guess I won't see you.                                     BIGGS                         Maybe someday... I'll keep a lookout.                                     LUKE                         Well, I'll be at the Academy next                          season... after that who knows. I                          won't be drafted into the Imperial                          Starfleet that's for sure... Take                          care of yourself, you'll always be                          the best friend I've got.                                     BIGGS                         So long, Luke.               Biggs turns away from his old friend and heads towards the                power station.               EXT. TATOOINE - ROCK CANYON - SUNSET               The gargantuan rock formations are shrouded in a strange                foreboding mist and the onimous sounds of unearthly creatures                fill the air. Artoo moves cautiously through the creepy rock                canyon, inadvertently making a loud clicking noise as he                goes. He hears a distant, hard, metallic sound and stops for                a moment. Convinced he is alone, he continues on his way.               In the distance, a pebble tumbles down the steep canyon wall                and a small dark figure darts into the shadows. A little                further up the canyon a slight flicker of light reveals a                pair of eyes in the dark recesses only a few feet from the                narrow path.               The unsuspecting robot waddles along the rugged trail until                suddenly, out of nowhere, a powerful magnetic ray shoots out                of the rocks and engulfs him in an eerie glow. He manages                one short electronic squeak before he topples over onto his                back. His bright computer lights flicker off, then on, then                off again. Out of the rocks scurry three Jawas, no taller                than Artoo. They holster strange and complex weapons as they                cautiously approach the robot. They wear grubby cloaks and                their faces are shrouded so only their glowing eyes can be                seen. They hiss and make odd guttural sounds as they heave                the heavy robot onto their shoulders and carry him off down                the trail.               EXT. TATOOINE - ROCK CANYON - SANDCRAWLER - SUNSET               The eight Jawas carry Artoo out of the canyon to a huge tank-               like vehicle the size of a four-story house. They weld a                small disk on the side of Artoo and then put him under a                large tube on the side of the vehicle and the little robot                is sucked into the giant machine.               The filthy little Jawas scurry like rats up small ladders                and enter the main cabin of the behemoth transport.               INT. SANDCRAWLER - HOLD AREA               It is dim inside the hold area of the Sandcrawler. Artoo                switches on a small floodlight on his forehead and stumbles                around the scrap heap. The narrow beam swings across rusty                metal rocket parts and an array of grotesquely twisted and                maimed astro-robots. He lets out a pathetic electronic whimper                and stumbles off toward what appears to be a door at the end                of the chamber.               INT. SANDCRAWLER - PRISON AREA               Artoo enters a wide room with a four-foot ceiling. In the                middle of the scrap heap sit a dozen or so robots of various                shapes and sizes. Some are engaged in electronic conversation,                while others simply mill about. A voice of recognition calls                out from the gloom.                                     THREEPIO                         Artoo-Detoo! It's you! It's you!               A battered Threepio scrambles up to Artoo and embraces him.               EXT. TATOOINE - ROCK CANYON - SANDCRAWLER - SUNSET               The enormous Sandcrawler lumbers off toward the magnificent                twin suns, which are slowly setting over a distant mountain                ridge.               EXT. TATOOINE - DESERT - DAY               Four Imperial stormtroopers mill about in front of the half-               buried lifepod that brought Artoo and Threepio to Tatooine.                A trooper yells to an officer some distance away.                                     FIRST TROOPER                         Someone was in the pod. The tracks                          go off in this direction.               A second trooper picks a small bit of metal out of the sand                and gives it to the first trooper.                                     SECOND TROOPER                         Look, sir -- droids.               EXT. TATOOINE - DUNES               The Sandcrawler moves slowly down a great sand dune.               INT. SANDCRAWLER               Threepio and Artoo noisily bounce along inside the cramped                prison chamber. Artoo appears to be shut off.                                     THREEPIO                         Wake up! Wake up!               Suddenly the shaking and bouncing of the Sandcrawler stops,                creating quite a commotion among the mechanical men.                 Threepio's fist bangs the head of Artoo whose computer lights                pop on as he begins beeping. At the far end of the long                chamber a hatch opens, filling the chamber with blinding                white light. a dozen or so Jawas make their way through the                odd assortment of robots.                                     THREEPIO                         We're doomed.               A Jawa starts moving toward them.                                     THREEPIO                         Do you think they'll melt us down?               Artoo responds, making beeping sounds.                                     THREEPIO                         Don't shoot! Don't shoot! Will this                          never end?               EXT. TATOOINE - DESERT - LARS HOMESTEAD - AFTERNOON               The Jawas mutter gibberish as they busily line up their                battered captives, including Artoo and Threepio, in front of                the enormous Sandcrawler, which is parked beside a small                homestead consisting of three large holes in the ground                surrounded by several tall moisture vaporators and one small                adobe block house.               The Jawas scurry around fussing over the robots, straightening                them up or brushing some dust from a dented metallic elbow.                The shrouded little creatures smell horribly, attracting                small insects to the dark areas when their mouths and nostrils                should be.               Out of the shadows of a dingy side-building limps Owen Lars,                a large burly man in his mid-fifties. His reddish eyes are                sunken in a dust-covered face. As the farmer carefully                inspects each robot, he is closely followed by his slump-                shouldered nephew, Luke Skywalker. One of the vile little                Jawas walks ahead of the farmer spouting an animated sales                pitch in a queer, unintelligible language.               A voice calls out from one of the huge holes that form the                homestead. Luke goes over to the edge and sees his Aunt Beru                standing in the main courtyard.                                     BERU                         Luke, tell Owen that if he gets a                          translator to be sure it speaks Bocce.                                     LUKE                         It looks like we don't have much of                          a choice but I'll remind him.               Luke returns to his uncle as they look over the equipment                for sale with the Jawa leader.                                     OWEN                         I have no need for a protocol droid.                                     THREEPIO                              (quickly)                         Sir -- not in an environment such as                          this -- that's why I've also been                          programmed for over thirty secondary                          functions that...                                     OWEN                         What I really need is a droid that                          understands the binary language of                          moisture vaporators.                                     THREEPIO                         Vaporators! Sir -- My first job was                          programming binary load lifter...                          very similar to your vaporators. You                          could say...                                     OWEN                         Do you speak Bocce?                                     THREEPIO                         Of course I can, sir. It's like a                          second language for me... I'm as                          fluent in Bocce...                                     OWEN                         All right shut up!                              (turning to Jawa)                         I'll take this one.                                     THREEPIO                         Shutting up, sir.                                     OWEN                         Luke, take these two over to the                          garage, will you? I want you to have                          both of them cleaned up before dinner.                                     LUKE                         But I was going into Toshi Station                          to pick up some power converters...                                     OWEN                         You can waste time with your friends                          when your chores are done. Now come                          on, get to it!                                     LUKE                         All right, come on! And the red one,                          come on. Well, come on, Red, let's                          go.               As the Jawas start to lead the three remaining robots back                into the Sandcrawler, Artoo lets out a pathetic little beep                and starts after his old friend Threepio. He is restrained                by a slimy Jawa, who zaps him with a control box.               Owen is negotiating with the head Jawa. Luke and the two                robots start off for the garage when a plate pops off the                head of the red astro-droid's head plate and it sparks wildly.                                     LUKE                         Uncle Owen...                                     OWEN                         Yeah?                                     LUKE                         This R2 unit has a bad motivator.                          Look!                                     OWEN                              (to the head Jawa)                         Hey, what're you trying to push on                          us?               The Jawa goes into a loud spiel. Meanwhile, Artoo has sneaked                out of line and is moving up and down trying to attract                attention. He lets out with a low whistle. Threepio taps                Luke on the shoulder.                                     THREEPIO                              (pointing to Artoo)                         Excuse me, sir, but that R2 unit is                          in prime condition. A real bargain.                                     LUKE                         Uncle Owen...                                     OWEN                         Yeah?                                     LUKE                         What about that one?                                     OWEN                              (to Jawa)                         What about that blue one? We'll take                          that one.               With a little reluctance the scruffy dwarf trades the damaged                astro-droid for Artoo.                                     LUKE                         Yeah, take it away.                                     THREEPIO                         Uh, I'm quite sure you'll be very                          pleased with that one, sir. He really                          is in first-class condition. I've                          worked with him before. Here he comes.               Owen pays off the whining Jawa as Luke and the two robots                trudge off toward a grimy homestead entry.                                     LUKE                         Okay, let's go.                                     THREEPIO                              (to Artoo)                         Now, don't you forget this! Why I                          should stick my neck out for you is                          quite beyond my capacity!               INT. LARS HOMESTEAD - GARAGE AREA - LATE AFTERNOON               The garage is cluttered and worn, but a friendly peaceful                atmosphere permeates the low grey chamber. Threepio lowers                himself into a large tub filled with warm oil. Near the                battered Landspeeder little Artoo rests on a large battery                with a cord to his face.                                     THREEPIO                         Thank the maker! This oil bath is                          going to feel so good. I've got such                          a bad case of dust contamination, I                          can barely move!               Artoo beeps a muffled reply. Luke seems to be lost in thought                as he runs his hand over the damaged fin of a small two-man                Skyhopper spaceship resting in a low hangar off the garage.                Finally Luke's frustrations get the better of him and he                slams a wrench across the workbench.                                     LUKE                         It just isn't fair. Oh, Biggs is                          right. I'm never gonna get out of                          here!                                     THREEPIO                         Is there anything I might do to help?               Luke glances at the battered robot. A bit of his anger drains                and a tiny smile creeps across his face.                                     LUKE                         Well, not unless you can alter time,                          speed up the harvest, or teleport me                          off this rock!                                     THREEPIO                         I don't think so, sir. I'm only a                          droid and not very knowledgeable                          about such things. Not on this planet,                          anyways. As a matter of fact, I'm                          not even sure which planet I'm on.                                     LUKE                         Well, if there's a bright center to                          the universe, you're on the planet                          that it's farthest from.                                     THREEPIO                         I see, sir.                                     LUKE                         Uh, you can call me Luke.                                     THREEPIO                         I see, sir Luke.                                     LUKE                              (laughing)                         Just Luke.                                     THREEPIO                         And I am See-Threepio, human-cyborg                          relations, and this is my counterpart,                          Artoo-Detoo.                                     LUKE                         Hello.               Artoo beeps in response. Luke unplugs Artoo and begins to                scrape several connectors on the robot's head with a chrome                pick. Threepio climbs out of the oil tub and begins wiping                oil from his bronze body.                                     LUKE                         You got a lot of carbon scoring here.                          It looks like you boys have seen a                          lot of action.                                     THREEPIO                         With all we've been through, sometimes                          I'm amazed we're in as good condition                          as we are, what with the Rebellion                          and all.                                     LUKE                         You know of the Rebellion against                          the Empire?                                     THREEPIO                         That's how we came to be in your                          service, if you take my meaning,                          sir.                                     LUKE                         Have you been in many battles?                                     THREEPIO                         Several, I think. Actually, there's                          not much to tell. I'm not much more                          than an interpreter, and not very                          good at telling stories. Well, not                          at making them interesting, anyways.               Luke struggles to remove a small metal fragment from Artoo's                neck joint. He uses a larger pick.                                     LUKE                         Well, my little friend, you've got                          something jammed in here real good.                          Were you on a cruiser or...               The fragment breaks loose with a snap, sending Luke tumbling                head over heels. He sits up and sees a twelve-inch three-               dimensional hologram of Leia Organa, the Rebel senator, being                projected from the face of little Artoo. The image is a                rainbow of colors as it flickers and jiggles in the dimly                lit garage. Luke's mouth hangs open in awe.                                     LEIA                         Help me, Obi-Wan Kenobi. You're my                          only hope.                                     LUKE                         What's this?               Artoo looks around and sheepishly beeps an answer for Threepio                to translate. Leia continues to repeat the sentence fragment                over and over.                                     THREEPIO                         What is what?!? He asked you a                          question...                              (pointing to Leia)                         What is that?               Artoo whistles his surprise as he pretends to just notice                the hologram. He looks around and sheepishly beeps an answer                for Threepio to translate. Leia continues to repeat the                sentence fragment over and over.                                     LEIA                         Help me, Obi-Wan Kenobi. You're my                          only hope. Help me, Obi-Wan Kenobi.                          You're my only hope.                                     THREEPIO                         Oh, he says it's nothing, sir. Merely                          a malfunction. Old data. Pay it no                          mind.               Luke becomes intrigued by the beautiful girl.                                     LUKE                         Who is she? She's beautiful.                                     THREEPIO                         I'm afraid I'm not quite sure, sir.                                     LEIA                         Help me, Obi-Wan Kenobi...                                     THREEPIO                         I think she was a passenger on our                          last voyage. A person of some                          importance, sir -- I believe. Our                          captain was attached to...                                     LUKE                         Is there more to this recording?               Luke reaches out for Artoo but he lets out several frantic                squeaks and a whistle.                                     THREEPIO                         Behave yourself, Artoo. You're going                          to get us in trouble. It's all right,                          you can trust him. He's our new                          master.               Artoo whistles and beeps a long message to Threepio.                                     THREEPIO                         He says he's the property of Obi-Wan                          Kenobi, a resident of these parts.                          And it's a private message for him.                          Quite frankly, sir I don't know what                          he's talking about. Our last master                          was Captain Antilles, but with what                          we've been through, this little R2                          unit has become a bit eccentric.                                     LUKE                         Obi-Wan Kenobi? I wonder if he means                          old Ben Kenobi?                                     THREEPIO                         I beg your pardon, sir, but do you                          know what he's talking about?                                     LUKE                         Well, I don't know anyone named Obi-                         Wan, but old Ben lives out beyond                          the dune sea. He's kind of a strange                          old hermit.               Luke's gazes at the beautiful young princess for a few                moments.                                     LUKE                         I wonder who she is. It sounds like                          she's in trouble. I'd better play                          back the whole thing.               Artoo beeps something to Threepio.                                     THREEPIO                         He says the restraining bolt has                          short circuited his recording system.                          He suggests that if you remove the                          bolt, he might be able to play back                          the entire recording.               Luke looks longingly at the lovely, little princess and hasn't                really heard what Threepio has been saying.                                     LUKE                         H'm? Oh, yeah, well, I guess you're                          too small to run away on me if I                          take this off! Okay.               Luke takes a wedged bar and pops the restraining bolt off                Artoo's side.                                     LUKE                         There you go.               The princess immediately disappears...                                     LUKE                         Well, wait a minute. Where'd she go?                          Bring her back! Play back the entire                          message.               Artoo beeps an innocent reply as Threepio sits up in                embarrassment.                                     THREEPIO                         What message? The one you're carrying                          inside your rusty innards!               A women's voice calls out from another room.                                     AUNT BERU                         Luke? Luke! Come to dinner!               Luke stands up and shakes his head at the malfunctioning                robot.                                     LUKE                         All right, I'll be right there, Aunt                          Beru.                                     THREEPIO                         I'm sorry, sir, but he appears to                          have picked up a slight flutter.               Luke tosses Artoo's restraining bolt on the workbench and                hurries out of the room.                                     LUKE                         Well, see what you can do with him.                          I'll be right back.                                     THREEPIO                              (to Artoo)                         Just you reconsider playing that                          message for him.               Artoo beeps in response.                                     THREEPIO                         No, I don't think he likes you at                          all.               Artoo beeps.                                     THREEPIO                         No, I don't like you either.               INT. LARS HOMESTEAD - DINING AREA               Luke's Aunt Beru, a warm, motherly woman, fills a pitcher                with blue fluid from a refrigerated container in the well-               used kitchen. She puts the pitcher on a tray with some bowls                of food and starts for the dining area.               Luke sits with his Uncle Owen before a table covered with                steaming bowls of food as Aunt Beru carries in a bowl of red                grain.                                     LUKE                         You know, I think that R2 unit we                          bought might have been stolen.                                     OWEN                         What makes you think that?                                     LUKE                         Well, I stumbled across a recording                          while I was cleaning him. He says he                          belongs to someone called Obi-Wan                          Kenobi.               Owen is greatly alarmed at the mention of his name, but                manages to control himself.                                     LUKE                         I thought he might have meant old                          Ben. Do you know what he's talking                          about? Well, I wonder if he's related                          to Ben.               Owen breaks loose with a fit of uncontrolled anger.                                     OWEN                         That old man's just a crazy old                          wizard. Tomorrow I want you to take                          that R2 unit into Anchorhead and                          have its memory flushed. That'll be                          the end of it. It belongs to us now.                                     LUKE                         But what if this Obi-Wan comes looking                          for him?                                     OWEN                         He won't, I don't think he exists                          any more. He died about the same                          time as your father.                                     LUKE                         He knew my father?                                     OWEN                         I told you to forget it. Your only                          concern is to prepare the new droids                          for tomorrow. In the morning I want                          them on the south ridge working out                          those condensers.                                     LUKE                         Yes, sir. I think those new droids                          are going to work out fine. In fact,                          I, uh, was also thinking about our                          agreement about my staying on another                          season. And if these new droids do                          work out, I want to transmit my                          application to the Academy this year.               Owen's face becomes a scowl, although he tries to suppress                it.                                     OWEN                         You mean the next semester before                          harvest?                                     LUKE                         Sure, there're more than enough                          droids.                                     OWEN                         Harvest is when I need you the most.                          Only one more season. This year we'll                          make enough on the harvest so I'll                          be able to hire some more hands. And                          then you can go to the Academy next                          year.               Luke continues to toy with his food, not looking at his uncle.                                     OWEN                         You must understand I need you here,                          Luke.                                     LUKE                         But it's a whole 'nother year.                                     OWEN                         Look, it's only one more season.               Luke pushes his half-eaten plate of food aside and stands.                                     LUKE                         Yeah, that's what you said last year                          when Biggs and Tank left.                                     AUNT BERU                         Where are you going?                                     LUKE                         It looks like I'm going nowhere. I                          have to finish cleaning those droids.               Resigned to his fate, Luke paddles out of the room. Owen                mechanically finishes his dinner.                                     AUNT BERU                         Owen, he can't stay here forever.                          Most of his friends have gone. It                          means so much to him.                                     OWEN                         I'll make it up to him next year. I                          promise.                                     AUNT BERU                         Luke's just not a farmer, Owen. He                          has too much of his father in him.                                     OWEN                         That's what I'm afraid of.               EXT. TATOOINE - LARS HOMESTEAD               The giant twin suns of Tatooine slowly disappear behind a                distant dune range. Luke stands watching them for a few                moments, then reluctantly enters the doomed entrance to the                homestead.               INT. LARS HOMESTEAD - GARAGE               Luke enters the garage to discover the robots nowhere in                sight. He takes a small control box from his utility belt                similar to the one the Jawas were carrying. He activates the                box, which creates a low hum, and Threepio, letting out a                short yell, pops up from behind the Skyhopper spaceship.                                     LUKE                         What are you doing hiding there?               Threepio stumbles forward, but Artoo is still nowhere in                sight.                                     THREEPIO                         It wasn't my fault, sir. Please don't                          deactivate me. I told him not to go,                          but he's faulty, malfunctioning;                          kept babbling on about his mission.                                     LUKE                         Oh, no!               Luke races out of the garage followed by Threepio.               EXT. TATOOINE - LARS HOMESTEAD               Luke rushes out of the small doomed entry to the homestead                and searches the darkening horizon for the small triped astro-               robot. Threepio struggles out of the homestead and on the                salt flat as Luke scans the landscape with his                electrobinoculars.                                     THREEPIO                         That R2 unit has always been a                          problem. These astro-droids are                          getting quite out of hand. Even I                          can't understand their logic at times.                                     LUKE                         How could I be so stupid? He's nowhere                          in sight. Blast it!                                     THREEPIO                         Pardon me, sir, but couldn't we go                          after him?                                     LUKE                         It's too dangerous with all the                          Sandpeople around. We'll have to                          wait until morning.               Owen yells up from the homestead plaza.                                     OWEN                         Luke, I'm shutting the power down                          for the night.                                     LUKE                         All right, I'll be there in a few                          minutes. Boy, am I gonna get it.               He takes one final look across the dim horizon.                                     LUKE                         You know that little droid is going                          to cause me a lot of trouble.                                     THREEPIO                         Oh, he excels at that, sir.               INT. LARS HOMESTEAD - PLAZA               Morning slowly creeps into the sparse but sparkling oasis of                the open courtyard. The idyll is broken be the yelling of                Uncle Owen, his voice echoing throughout the homestead.                                     OWEN                         Luke? Luke? Luke? Where could he be                          loafing now!               INT. LARS HOMESTEAD - KITCHEN               The interior of the kitchen is a worm glow as Aunt Beru                prepares the morning breakfast. Owen enters in a huff.                                     OWEN                         Have you seen Luke this morning?                                     AUNT BERU                         He said he had some things to do                          before he started today, so he left                          early.                                     OWEN                         Uh? Did he take those two new droids                          with him?                                     AUNT BERU                         I think so.                                     OWEN                         Well, he'd better have those units                          in the south range repaired be midday                          or there'll be hell to pay!               EXT. TATOOINE - DESERT WASTELAND - LUKE'S SPEEDER - DAY               The rock and sand of the desert floor are a blur as Threepio                pilots the sleek Landspeeder gracefully across the vast                wasteland.               INT./EXT. LUKE'S SPEEDER - DESERT WASTELAND - TRAVELING -                DAY               Luke leans over the back of the speeder and adjusts something                in the motor compartment.                                     LUKE                              (yelling)                         How's that.               Threepio signals that is fine and Luke turns back into the                wind-whipped cockpit and pops the canopy shut.                                     LUKE                         Old Ben Kenobi lives out in this                          direction somewhere, but I don't see                          how that R2 unit could have come                          this far. We must have missed him.                          Uncle Owen isn't going to take this                          very well.                                     THREEPIO                         Sir, would it help if you told him                          it was my fault.                                     LUKE                              (brightening)                         Sure. He needs you. He'd probably                          only deactivate you for a day or                          so...                                     THREEPIO                         Deactivate! Well, on the other hand                          if you hadn't removed his restraining                          bolt...                                     LUKE                         Wait, there's something dead ahead                          on the scanner. It looks like our                          droid... hit the accelerator.               EXT. TATOOINE - ROCK MESA - DUNE SEA - COASTLINE - DAY               From high on a rock mesa, the tiny Landspeeder can be seen                gliding across the desert floor. Suddenly in the foreground                two weather-beaten Sandpeople shrouded in their grimy desert                cloaks peer over the edge of the rock mesa. One of the                marginally human creatures raises a long ominous laser rifle                and points it at the speeder but the second creature grabs                the gun before it can be fired.               The Sandpeople, or Tusken Raiders as they're sometimes called,                speak in a coarse barbaric language as they get into an                animated argument. The second Tusken Raider seems to get in                the final word and the nomads scurry over the rocky terrain.               EXT. TATOOINE - ROCK MESA - CANYON               The Tusken Raider approaches two large Banthas standing tied                to a rock. The monstrous, bear-like creatures are as large                as elephants, with huge red eyes, tremendous looped horns,                and long, furry, dinosaur-like tails. The Tusken Raiders                mount saddles strapped to the huge creatures' shaggy backs                and ride off down the rugged bluff.               EXT. TATOOINE - ROCK CANYON - FLOOR               The speeder is parked on the floor of a massive canyon. Luke,                with his long laser rifle slung over his shoulder, stands                before little Artoo.                                     LUKE                         Hey, whoa, just where do you think                          you're going?               The little droid whistles a feeble reply, as Threepio poses                menacingly behind the little runaway.                                     THREEPIO                         Master Luke here is your rightful                          owner. We'll have no more of this                          Obi-Wan Kenobi jibberish... and don't                          talk to me about your mission, either.                          You're fortunate he doesn't blast                          you into a million pieces right here.                                     LUKE                         Well, come on. It's getting late. I                          only hope we can get back before                          Uncle Owen really blows up.                                     THREEPIO                         If you don't mind my saying so, sir,                          I think you should deactivate the                          little fugitive until you've gotten                          him back to your workshop.                                     LUKE                         No, he's not going to try anything.               Suddenly the little robot jumps to life with a mass of frantic                whistles and screams.                                     LUKE                         What's wrong with him now?                                     THREEPIO                         Oh my... sir, he says there are                          several creatures approaching from                          the southeast.               Luke swings his rifle into position and looks to the south.                                     LUKE                         Sandpeople! Or worst! Come on, let's                          have a look. Come on.               EXT. TATOOINE - ROCK CANYON - RIDGE - DAY               Luke carefully makes his way to the top of a rock ridge and                scans the canyon with his electrobinoculars. He spots the                two riderless Banthas. Threepio struggles up behind the young                adventurer.                                     LUKE                         There are two Banthas down there but                          I don't see any... wait a second,                          they're Sandpeople all right. I can                          see one of them now.               Luke watches the distant Tusken Raider through his                electrobinoculars. Suddenly something huge moves in front of                his field of view. Before Luke or Threepio can react, a large,                gruesome Tusken Raider looms over them. Threepio is startled                and backs away, right off the side if the cliff. He can be                heard for several moments as he clangs, bangs and rattles                down the side of the mountain.               The towering creature brings down his curved, double-pointed                gaderffii -- the dreaded axe blade that has struck terror in                the heart of the local settlers. But Luke manages to block                the blow with his laser rifle, which is smashed to pieces.                The terrified farm boy scrambles backward until he is forced                to the edge of a deep crevice. The sinister Raider stands                over him with his weapon raised and lets out a horrible                shrieking laugh.               EXT. TATOOINE - ROCK CANYON - FLOOR - DAY               Artoo forces himself into the shadows of a small alcove in                the rocks as the vicious Sandpeople walk past carrying the                inert Luke Skywalker, who is dropped in a heap before the                speeder.  The Sandpeople ransack the speeder, throwing parts                and supplies in all directions. Suddenly they stop. Then                everything is quiet for a few moments. A great howling moan                is heard echoing throughout the canyon which sends the                Sandpeople fleeing in terror.               Artoo moves even tighter into the shadows as the slight                swishing sound that frightened off the Sandpeople grows even                closer, until a shabby old desert-rat-of-a-man appears and                leans over Luke. His ancient leathery face, cracked and                weathered by exotic climates is set off by dark, penetrating                eyes and a scraggly white beard. Ben Kenobi squints his eyes                as he scrutinizes the unconscious farm boy. Artoo makes a                slight sound and Ben turns and looks right at him.                                     BEN                         Hello there! Come here my little                          friend. Don't be afraid.               Artoo waddles over to were Luke lies crumpled in a heap and                begins to whistle and beep his concern. Ben puts his hand on                Luke's forehead and he begins to come around.                                     BEN                         Don't worry, he'll be all right.                                     LUKE                         What happened?                                     BEN                         Rest easy, son, you've had a busy                          day. You're fortunate you're still                          in one piece.                                     LUKE                         Ben? Ben Kenobi! Boy, am I glad to                          see you!                                     BEN                         The Jundland wastes are not to be                          traveled lightly. Tell me young Luke,                          what brings you out this far?                                     LUKE                         Oh, this little droid! I think he's                          searching for his former master...                          I've never seen such devotion in a                          droid before... there seems to be no                          stopping him. He claims to be the                          property of an Obi-Wan Kenobi. Is he                          a relative of yours? Do you know who                          he's talking about?               Ben ponders this for a moment, scratching his scruffy beard.                                     BEN                         Obi-Wan Kenobi... Obi-Wan? Now thats                          a name I haven't heard in a long                          time... a long time.                                     LUKE                         I think my uncle knew him. He said                          he was dead.                                     BEN                         Oh, he's not dead, not... not yet.                                     LUKE                         You know him!                                     BEN                         Well of course, of course I know                          him. He's me! I haven't gone by the                          name Obi-Wan since oh, before you                          were born.                                     LUKE                         Then the droid does belong to you.                                     BEN                         Don't seem to remember ever owning a                          droid. Very interesting...               He suddenly looks up at the overhanging cliffs.                                     BEN                         I think we better get indoors. The                          Sandpeople are easily startled but                          they will soon be back and in greater                          numbers.               Luke sits up and rubs his head. Artoo lets out a pathetic                beep causing Luke to remember something. He looks around.                                     LUKE                         Threepio!               EXT. TATOOINE - SAND PIT - ROCK MESA - DAY               Little Artoo stands at the edge of a large sand pit and begins                to chatter away in electronic whistles and beeps. Luke and                Ben stand over a very dented and tangled Threepio lying half                buried in the sand. One of his arms has broken off.               Luke tries to revive the inert robot by shaking him and then                flips a hidden switch on his back several times until finally                the mechanical man's systems turn on.                                     THREEPIO                         Where am I? I must have taken a bad                          step...                                     LUKE                         Can you stand? We've got to get out                          of here before the Sandpeople return.                                     THREEPIO                         I don't think I can make it. You go                          on, Master Luke. There's no sense in                          you risking yourself on my account.                          I'm done for.               Artoo makes a beeping sound.                                     LUKE                         No, you're not. What kind of talk is                          that?               Luke and Ben help the battered robot to his feet. Little                Artoo watches from the top of the pit. Ben glances around                suspiciously. Sensing something, he stands up and sniffs the                air.                                     BEN                         Quickly, son... they're on the move.               INT. KENOBI'S DWELLING               The small, spartan hovel is cluttered with desert junk but                still manages to radiate an air of time-worn comfort and                security. Luke is in one corner repairing Threepio's arm, as                old Ben sits thinking.                                     LUKE                         No, my father didn't fight in the                          wars. He was a navigator on a spice                          freighter.                                     BEN                         That's what your uncle told you. He                          didn't hold with your father's ideals.                          Thought he should have stayed here                          and not gotten involved.                                     LUKE                         You fought in the Clone Wars?                                     BEN                         Yes, I was once a Jedi Knight the                          same as your father.                                     LUKE                         I wish I'd known him.                                     BEN                         He was the best star-pilot in the                          galaxy, and a cunning warrior. I                          understand you've become quite a                          good pilot yourself. And he was a                          good friend. Which reminds me...               Ben gets up and goes to a chest where he rummages around.                 As Luke finishes repairing Threepio and starts to fit the                restraining bolt back on, Threepio looks at him nervously.                 Luke thinks about the bolt for a moment then puts it on the                table. Ben shuffles up and presents Luke with a short handle                with several electronic gadgets attached to it.                                     BEN                         I have something here for you. Your                          father wanted you to have this when                          you were old enough, but your uncle                          wouldn't allow it. He feared you                          might follow old Obi-Wan on some                          damned-fool idealistic crusade like                          your father did.                                     THREEPIO                         Sir, if you'll not be needing me,                          I'll close down for awhile.                                     LUKE                         Sure, go ahead.               Ben hands Luke the saber.                                     LUKE                         What is it?                                     BEN                         Your fathers lightsaber. This is the                          weapon of a Jedi Knight. Not as clumsy                          or as random as a blaster.               Luke pushes a button on the handle. A long beam shoots out                about four feet and flickers there. The light plays across                the ceiling.                                     BEN                         An elegant weapon for a more civilized                          time. For over a thousand generations                          the Jedi Knights were the guardians                          of peace and justice in the Old                          Republic. Before the dark times,                          before the Empire.               Luke hasn't really been listening.                                     LUKE                         How did my father die?                                     BEN                         A young Jedi named Darth Vader, who                          was a pupil of mine until he turned                          to evil, helped the Empire hunt down                          and destroy the Jedi Knights. He                          betrayed and murdered your father.                          Now the Jedi are all but extinct.                          Vader was seduced by the dark side                          of the Force.                                     LUKE                         The Force?                                     BEN                         Well, the Force is what gives a Jedi                          his power. It's an energy field                          created by all living things. It                          surrounds us and penetrates us. It                          binds the galaxy together.               Artoo makes beeping sounds.                                     BEN                         Now, let's see if we can't figure                          out what you are, my little friend.                          And where you come from.                                     LUKE                         I saw part of the message he was...               Luke is cut short as the recorded image of the beautiful                young Rebel princess is projected from Artoo's face.                                     BEN                         I seem to have found it.               Luke stops his work as the lovely girl's image flickers before                his eyes.                                     LEIA                         General Kenobi, years ago you served                          my father in the Clone Wars. Now he                          begs you to help him in his struggle                          against the Empire. I regret that I                          am unable to present my father's                          request to you in person, but my                          ship has fallen under attack and I'm                          afraid my mission to bring you to                          Alderaan has failed. I have placed                          information vital to the survival of                          the Rebellion into the memory systems                          of this R2 unit. My father will know                          how to retrieve it. You must see                          this droid safely delivered to him                          on Alderaan. This is our most                          desperate hour. Help me, Obi-Wan                          Kenobi, you're my only hope.               There is a little static and the transmission is cut short.                 Old Ben leans back and scratches his head. He silently puffs                on a tarnished chrome water pipe. Luke has stars in his eyes.                                     BEN                         You must learn the ways of the Force                          if you're to come with me to Alderaan.                                     LUKE                              (laughing)                         Alderaan? I'm not going to Alderaan.                          I've got to go home. It's late, I'm                          in for it as it is.                                     BEN                         I need your help, Luke. She needs                          your help. I'm getting too old for                          this sort of thing.                                     LUKE                         I can't get involved! I've got work                          to do! It's not that I like the                          Empire. I hate it! But there's nothing                          I can do about it right now. It's                          such a long way from here.                                     BEN                         That's your uncle talking.                                     LUKE                              (sighing)                         Oh, God, my uncle. How am I ever                          going to explain this?                                     BEN                         Learn about the Force, Luke.                                     LUKE                         Look, I can take you as far as                          Anchorhead. You can get a transport                          there to Mos Eisley or wherever you're                          going.                                     BEN                         You must do what you feel is right,                          of course.               EXT. SPACE.               An Imperial Stardestroyer heads toward the evil planet-like                battle station: the Death Star!               INT. DEATH STAR - CONFERENCE ROOM               Eight Imperial senators and generals sit around a black                conference table. Imperial stormtroopers stand guard around                the room. Commander Tagge, a young, slimy-looking general,                is speaking.                                     TAGGE                         Until this battle station is fully                          operational we are vulnerable. The                          Rebel Alliance is too well equipped.                          They're more dangerous than you                          realize.               The bitter Admiral Motti twists nervously in his chair.                                     MOTTI                         Dangerous to your starfleet,                          Commander, not to this battle station!                                     TAGGE                         The Rebellion will continue to gain                          a support in the Imperial Senate as                          long as....               Suddenly all heads turn as Commander Tagge's speech is cut                short and the Grand Moff Tarkin, governor of the Imperial                outland regions, enters. He is followed by his powerful ally,                The Sith Lord, Darth Vader. All of the generals stand and                bow before the thin, evil-looking governor as he takes his                place at the head of the table. The Dark Lord stands behind                him.                                     TARKIN                         The Imperial Senate will no longer                          be of any concern to us. I've just                          received word that the Emperor has                          dissolved the council permanently.                          The last remnants of the Old Republic                          have been swept away.                                     TAGGE                         That's impossible! How will the                          Emperor maintain control without the                          bureaucracy?                                     TARKIN                         The regional governors now have direct                          control over territories. Fear will                          keep the local systems in line. Fear                          of this battle station.                                     TAGGE                         And what of the Rebellion? If the                          Rebels have obtained a complete                          technical readout of this station,                          it is possible, however unlikely,                          that they might find a weakness and                          exploit it.                                     VADER                         The plans you refer to will soon be                          back in our hands.                                     MOTTI                         Any attack made by the Rebels against                          this station would be a useless                          gesture, no matter what technical                          data they've obtained. This station                          is now the ultimate power in the                          universe. I suggest we use it!                                     VADER                         Don't be too proud of this                          technological terror you've                          constructed. The ability to destroy                          a planet is insignificant next to                          the power of the Force.                                     MOTTI                         Don't try to frighten us with your                          sorcerer's ways, Lord Vader. Your                          sad devotion to that ancient religion                          has not helped you conjure up the                          stolen data tapes, or given you                          clairvoyance enough to find the                          Rebel's hidden fort...               Suddenly Motti chokes and starts to turn blue under Vader's                spell.                                     VADER                         I find your lack of faith disturbing.                                     TARKIN                         Enough of this! Vader, release him!                                     VADER                         As you wish.                                     TARKIN                         This bickering is pointless. Lord                          Vader will provide us with the                          location of the Rebel fortress by                          the time this station is operational.                          We will then crush the Rebellion                          with one swift stroke.               EXT. TATOOINE - WASTELAND               The speeder stops before what remains of the huge Jawas                Sandcrawler. Luke and Ben walk among the smoldering rubble                and scattered bodies.                                     LUKE                         It looks like Sandpeople did this,                          all right. Look, here are Gaffi                          sticks, Bantha tracks. It's just...                          I never heard of them hitting anything                          this big before.               Ben is crouching in the sand studying the tracks.                                     BEN                         They didn't. But we are meant to                          think they did. These tracks are                          side by side. Sandpeople always ride                          single file to hide there numbers.                                     LUKE                         These are the same Jawas that sold                          us Artoo and Threepio.                                     BEN                         And these blast points, too accurate                          for Sandpeople. Only Imperial                          stormtroopers are so precise.                                     LUKE                         Why would Imperial troops want to                          slaughter Jawas?               Luke looks back at the speeder where Artoo and Threepio are                inspecting the dead Jawas, and put two and two together.                                     LUKE                         If they traced the robots here, they                          may have learned who they sold them                          to. And that would lead them home!               Luke reaches a sudden horrible realization, then races for                the speeder and jumps it.                                     BEN                         Wait, Luke! It's too dangerous.               Luke races off leaving Ben and the two robots alone with the                burning Sandcrawler.               EXT. TATOOINE - WASTELAND               Luke races across the wasteland in his battered Landspeeder.               EXT. TATOOINE - LARS HOMESTEAD               The speeder roars up to the burning homestead. Luke jumps                out and runs to the smoking holes that were once his home.                Debris is scattered everywhere and it looks as if a great                battle has taken place.                                     LUKE                         Uncle Owen! Aunt Beru! Uncle Owen!               Luke stumbles around in a daze looking for his aunt and uncle.                Suddenly he comes upon their smoldering remains. He is                stunned, and cannot speak. Hate replaces fear and a new                resolve comes over him.               EXT. SPACE               Imperial TIE fighter races toward the Death Star.               INT. DEATH STAR - DETENTION CORRIDOR               Two stormtroopers open an electronic cell door and allow                several Imperial guards to enter. Princess Leia's face is                filled with defiance, which slowly gives way to fear as a                giant black torture robot enters, followed by Darth Vader.                                     VADER                         And, now Your Highness, we will                          discuss the location of your hidden                          Rebel base.               The torture robot gives off a steady beeping sound as it                approaches Princess Leia and extends one of its mechanical                arms bearing a large hypodermic needle. The door slides shut                and the long cell block hallway appears peaceful. The muffled                screams of the Rebel princess are barely heard.               EXT. TATOOINE - WASTELAND               There is a large bonfire of Jawa bodies blazing in front of                the Sandcrawler as Ben and the robots finish burning the                dead.  Luke drives up in the speeder and Ben walks over to                him.                                     BEN                         There's nothing you could have done,                          Luke, had you been there. You'd have                          been killed, too, and the droids                          would be in the hands of the Empire.                                     LUKE                         I want to come with you to Alderaan.                          There's nothing here for me now. I                          want to learn the ways of the Force                          and become a Jedi like my father.               EXT. TATOOINE - WASTELAND               The Landspeeder with Luke, Artoo, Threepio, and Ben in it                zooms across the desert. The speeder stops on a bluff                overlooking the spaceport at Mos Eisley. It is a haphazard                array of low, grey, concrete structures and semi-domes. A                harsh gale blows across the stark canyon floor. Luke adjusts                his goggles and walks to the edge of the craggy bluff where                Ben is standing.                                     BEN                         Mos Eisley Spaceport. You will never                          find a more wretched hive of scum                          and villainy. We must be cautious.               Ben looks over at Luke, who gives the old Jedi a determined                smile.               EXT. TATOOINE - MOS EISLEY - STREET               The speeder is stopped on a crowded street by several combat-               hardend stormtroopers who look over the two robots. A Trooper                questions Luke.                                     TROOPER                         How long have you had these droids?                                     LUKE                         About three or four seasons.                                     BEN                         They're for sale if you want them.                                     TROOPER                         Let me see your identification.               Luke becomes very nervous as he fumbles to find his ID while                Ben speaks to the Trooper in a very controlled voice.                                     BEN                         You don't need to see his                          identification.                                     TROOPER                         We don't need to see his                          identification.                                     BEN                         These are not the droids your looking                          for.                                     TROOPER                         These are not the droids we're looking                          for.                                     BEN                         He can go about his business.                                     TROOPER                         You can go about your business.                                     BEN                              (to Luke)                         Move along.                                     TROOPER                         Move along. Move along.               EXT. TATOOINE - MOS EISLEY - STREET               The speeder pulls up in front of a rundown blockhouse cantina                on the outskirts of the spaceport. Various strange forms of                transport, including several unusual beasts of burden, are                parked outside the bar. A Jawa runs up and begins to fondle                the speeder.                                     THREEPIO                         I can't abide these Jawas. Disgusting                          creatures.               As Luke gets out of the speeder he tries to shoo the Jawa                away.                                     LUKE                         Go on, go on. I can't understand how                          we got by those troopers. I thought                          we were dead.                                     BEN                         The Force can have a strong influence                          on the weak-minded. You will find it                          a powerful ally.                                     LUKE                         Do you really think we're going to                          find a pilot here that'll take us to                          Alderaan?                                     BEN                         Well, most of the best freighter                          pilots can be found here. Only watch                          your step. This place can be a little                          rough.                                     LUKE                         I'm ready for anything.                                     THREEPIO                         Come along, Artoo.               INT. TATOOINE - MOS EISLEY - CANTINA               The young adventurer and his two mechanical servants follow                Ben Kenobi into the smoke-filled cantina. The murky, moldy                den is filled with a startling array of weird and exotic                alien creatures and monsters at the long metallic bar. At                first the sight is horrifying. One-eyed, thousand-eyed, slimy,                furry, scaly, tentacled, and clawed creatures huddle over                drinks. Ben moves to an empty spot at the bar near a group                of repulsive but human scum. A huge, rough-looking Bartender                stops Luke and the robots.                                     BARTENDER                         We don't serve their kind here!               Luke still recovering from the shock of seeing so many                outlandish creatures, doesn't quite catch the bartender's                drift.                                     LUKE                         What?                                     BARTENDER                         Your droids. They'll have to wait                          outside. We don't want them here.               Luke looks at old Ben, who is busy talking to one of the                Galactic pirates. He notices several of the gruesome creatures                along the bar are giving him a very unfriendly glare.               Luke pats Threepio on the shoulder.                                     LUKE                         Listen, why don't you wait out by                          the speeder. We don't want any                          trouble.                                     THREEPIO                         I heartily agree with you sir.               Threepio and his stubby partner go outside and most of the                creatures at the bar go back to their drinks.               Ben is standing next to Chewbacca, an eight-foot-tall savage-               looking creature resembling a huge grey bushbaby monkey with                fierce baboon-like fangs. His large blue eyes dominate a fur-               covered face and soften his otherwise awesome appearance.                 Over his matted, furry body he wears two chrome bandoliers,                and little else. He is a two-hundred-year-old Wookiee and a                sight to behold.               Ben speaks to the Wookiee, pointing to Luke several times                during his conversation and the huge creature suddenly lets                out a horrifying laugh. Luke is more than a little bit                disconcerted and pretends not to hear the conversation between                Ben and the giant Wookiee.               Luke is terrified but tries not to show it. He quietly sips                his drink, looking over the crowd for a more sympathetic ear                or whatever.               A large, multiple-eyed Creature gives Luke a rough shove.                                     CREATURE                         Negola dewaghi wooldugger?!?               The hideous freak is obviously drunk. Luke tries to ignore                the creature and turns back on his drink. A short, grubby                Human and an even smaller rodent-like beast join the                belligerent monstrosity.                                     HUMAN                         He doesn't like you.                                     LUKE                         I'm sorry.                                     HUMAN                         I don't like you either.               The big creature is getting agitated and yells out some                unintelligible gibberish at the now rather nervous, young                adventurer.                                     HUMAN                         Don't insult us. You just watch                          yourself. We're wanted men. I have                          the death sentence in twelve systems.                                     LUKE                         I'll be careful than.                                     HUMAN                         You'll be dead.               The rodent lets out a loud grunt and everything at the bar                moves away. Luke tries to remain cool but it isn't easy. His                three adversaries ready their weapons. Old Ben moves in behind                Luke.                                     BEN                         This little one isn't worth the                          effort. Come let me buy you                          something...               A powerful blow from the unpleasant creature sends the young                would-be Jedi sailing across the room, crashing through tables                and breaking a large jug filled with a foul-looking liquid.                With a blood curdling shriek, the monster draws a wicked                chrome laser pistol from his belt and levels it at old Ben.                The bartender panics.                                     BARTENDER                         No blasters! No blaster!               With astounding agility old Ben's laser sword sparks to life                and in a flash an arm lies on the floor. The rodent is cut                in two and the giant multiple-eyed creature lies doubled,                cut from chin to groin. Ben carefully and precisely turns                off his laser sword and replaces it on his utility belt.                Luke, shaking and totally amazed at the old man's abilities,                attempts to stand. The entire fight has lasted only a matter                of seconds. The cantina goes back to normal, although Ben is                given a respectable amount of room at the bar. Luke, rubbing                his bruised head, approaches the old man with new awe. Ben                points the the Wookiee.                                     BEN                         This is Chewbacca. He's first-mate                          on a ship that might suit our needs.               EXT. TATOOINE - MOS EISLEY - STREET               Threepio paces in front of the cantina as Artoo carries on                an electronic conversation with another little red astro-               droid. A creature comes out of the cantina and approaches                two stormtroopers in the street.                                     THREEPIO                         I don't like the look of this.               INT. TATOOINE - MOS EISLEY - CANTINA               Strange creatures play exotic big band music on odd-looking                instruments as Luke, still giddy, downs a fresh drink and                follows Ben and Chewbacca to a booth where Han Solo is                sitting. Han is a tough, roguish starpilot about thirty years                old. A mercenary on a starship, he is simple, sentimental,                and cocksure.                                     HAN                         Han Solo. I'm captain of the                          Millennium Falcon. Chewie here tells                          me you're looking for passage to the                          Alderaan system.                                     BEN                         Yes, indeed. If it's a fast ship.                                     HAN                         Fast ship? You've never heard of the                          Millennium Falcon?                                     BEN                         Should I have?                                     HAN                         It's the ship that made the Kessel                          run in less than twelve parsecs!               Ben reacts to Solo's stupid attempt to impress them with                obvious misinformation.                                     HAN                         I've outrun Imperial starships, not                          the local bulk-cruisers, mind you.                          I'm talking about the big Corellian                          ships now. She's fast enough for                          you, old man. What's the cargo?                                     BEN                         Only passengers. Myself, the boy,                          two droids, and no questions asked.                                     HAN                         What is it? Some kind of local                          trouble?                                     BEN                         Let's just say we'd like to avoid                          any Imperial entanglements.                                     HAN                         Well, that's the trick, isn't it?                          And it's going to cost you something                          extra. Ten thousand in advance.                                     LUKE                         Ten thousand? We could almost buy                          our own ship for that!                                     HAN                         But who's going to fly it, kid! You?                                     LUKE                         You bet I could. I'm not such a bad                          pilot myself! We don't have to sit                          here and listen...                                     BEN                         We haven't that much with us. But we                          could pay you two thousand now, plus                          fifteen when we reach Alderaan.                                     HAN                         Seventeen, huh!               Han ponders this for a few moments.                                     HAN                         Okay. You guys got yourself a ship.                          We'll leave as soon as you're ready.                          Docking bay Ninety-four.                                     BEN                         Ninety-four.                                     HAN                         Looks like somebody's beginning to                          take an interest in your handiwork.               Ben and Luke turn around to see four Imperial stormtroopers                looking at the dead bodies and asking the bartenders some                questions. The bartender points to the booth.                                     TROOPER                         All right, we'll check it out.               The stormtroopers look over at the booth but Luke and Ben                are gone. The bartender shrugs his shoulders in puzzlement.                                     HAN                         Seventeen thousand! Those guys must                          really be desperate. This could really                          save my neck. Get back to the ship                          and get her ready.               EXT. TATOOINE - MOS EISLEY - STREET                                     BEN                         You'll have to sell your speeder.                                     LUKE                         That's okay. I'm never coming back                          to this planet again.               INT. MOS EISLEY - CANTINA               As Han is about to leave, Greedo, a slimy green-faced alien                with a short trunk-nose, pokes a gun in his side. The creature                speaks in a foreign tongue translated into English subtitles.                                     GREEDO                         Going somewhere, Solo?                                     HAN                         Yes, Greedo. As a matter of fact, I                          was just going to see your boss.                          Tell Jabba that I've got his money.               Han sits down and the alien sits across from him holding the                gun on him.                                     GREEDO                         It's too late. You should have paid                          him when you had the chance. Jabba's                          put a price on your head, so large                          that every bounty hunter in the galaxy                          will be looking for you. I'm lucky I                          found you first.                                     HAN                         Yeah, but this time I got the money.                                     GREEDO                         If you give it to me, I might forget                          I found you.                                     HAN                         I don't have it with me. Tell Jabba...                                     GREEDO                         Jabba's through with you. He has no                          time for smugglers who drop their                          shipments at the first sign of an                          Imperial cruiser.                                     HAN                         Even I get boarded sometimes. Do you                          think I had a choice?               Han Solo slowly reaches for his gun under the table.                                     GREEDO                         You can tell that to Jabba. He may                          only take your ship.                                     HAN                         Over my dead body.                                     GREEDO                         That's the idea. I've been looking                          forward to killing you for a long                          time.                                     HAN                         Yes, I'll bet you have.               Suddenly the slimy alien disappears in a blinding flash of                light. Han pulls his smoking gun from beneath the table as                the other patron look on in bemused amazement. Han gets up                and starts out of the cantina, flipping the bartender some                coins as he leaves.                                     HAN                         Sorry about the mess.               EXT. SPACE               Several TIE fighters approach the Death Star.               INT. DEATH STAR - CONTROL ROOM                                     VADER                         Her resistance to the mind probe is                          considerable. It will be some time                          before we can extract any information                          from her.               An Imperial Officer interrupts the meeting.                                     IMPERIAL OFFICER                         The final check-out is complete. All                          systems are operational. What course                          shall we set?                                     TARKIN                         Perhaps she would respond to an                          alternative form of persuasion.                                     VADER                         What do you mean?                                     TARKIN                         I think it is time we demonstrate                          the full power of this station.                              (to soldier)                         Set your course for Princess Leia's                          home planet of Alderaan.                                     TROOPER                         With pleasure.               EXT. TATOOINE - MOS EISLEY - STREET               Four heavily-armed stormtroopers move menacingly along a                narrow slum alleyway crowed with darkly clad creatures hawking                exotic goods in the dingy little stalls. Men, monsters, and                robots crouch in the waste-filled doorways, whispering and                hiding from the hot winds.                                     THREEPIO                         Lock the door, Artoo.               One of the troopers checks a tightly locked door and moves                on down the alleyway. The door slides open a crack and                Threepio peeks out. Artoo is barely visible in the background.                                     TROOPER                         All right, check that side of the                          street. It's secure. Move on to the                          next door.               The door opens, Threepio moves into the doorway.                                     THREEPIO                         I would much rather have gone with                          Master Luke than stay here with you.                          I don't know what all the trouble is                          about, but I'm sure it must be your                          fault.               Artoo makes beeping sounds.                                     THREEPIO                         You watch your language!               EXT. TATOOINE - MOS EISLEY - STREET - ALLEYWAY - USED                SPEEDER LOT               Ben and Luke are standing in a sleazy used speeder lot,                talking with a tall, grotesque, insect-like used speeder                dealer. Strange exotic bodies and spindly-legged beasts pass                by as the insect concludes the sale by giving Luke some coins.                                     LUKE                         He says it's the best he can do.                          Since the XP-38 came out, they're                          just not in demand.                                     BEN                         It will be enough.               Ben and Luke leave the speeder lot and walk down the dusty                alleyway past a small robot herding a bunch of anteater-like                creatures. Luke turns and gives one last forlorn look at his                faithful speeder as he rounds a corner. A darkly clad creature                moves out of the shadows as they pass and watches them as                they disappear down another alley.                                     BEN                         If the ship's as fast as he's                          boasting, we ought to do well.               INT. DOCKING BAY 94 - DAY               Jabba the Hut and a half-dozen grisly alien pirates and purple                creatures stand in the middle of the docking bay. Jabba is                the grossest of the slavering hulks and his scarred face is                a grim testimonial to his prowess as a vicious killer. He is                a fat, slug-like creature with eyes on extended feelers and                a huge ugly mouth.                                     JABBA                         Come on out, Solo!               A voice from directly behind the pirates startles them and                they turn around to see Han Solo and the giant Wookiee,                Chewbacca, standing behind them with no weapons in sight.                                     HAN                         I've been waiting for you, Jabba.                                     JABBA                         I expected you would be.                                     HAN                         I'm not the type to run.                                     JABBA                              (fatherly-smooth)                         Han, my boy, there are times when                          you disappoint me... why haven't you                          paid me? And why did you have to fry                          poor Greedo like that... after all                          we've been through together.                                     HAN                         You sent Greedo to blast me.                                     JABBA                              (mock surprise)                         Han, why you're the best smuggler in                          the business. You're too valuable to                          fry. He was only relaying my concern                          at your delays. He wasn't going to                          blast you.                                     HAN                         I think he thought he was. Next time                          don't send one of those twerps. If                          you've got something to say to me,                          come see me yourself.                                     JABBA                         Han, Han! If only you hadn't had to                          dump that shipment of spice... you                          understand I just can't make an                          exception. Where would I be if every                          pilot who smuggled for me dumped                          their shipment at the first sign of                          an Imperial starship? It's not good                          business.                                     HAN                         You know, even I get boarded                          sometimes, Jabba. I had no choice,                          but I've got a charter now and I can                          pay you back, plus a little extra. I                          just need some more time.                                     JABBA                              (to his men)                         Put your blasters away. Han, my boy,                          I'm only doing this because you're                          the best and I need you. So, for an                          extra, say twenty percent I'll give                          you a little more time... but this                          is it. If you disappoint me again,                          I'll put a price on your head so                          large you won't be able to go near a                          civilized system for the rest of                          your short life.                                     HAN                         Jabba, I'll pay you because it's my                          pleasure.               EXT. DOCKING PORT ENTRY - ALLEYWAY               Chewbacca waits restlessly at the entrance to Docking Bay                94.  Ben, Luke, and the robots make their way up the street.                 Chewbacca jabbers excitedly and signals for them to hurry.                The darkly clad creature has followed them from the speeder                lot.  He stops in a nearby doorway and speaks into a small                transmitter.               INT. MOS EISLEY SPACEPORT - DOCKING BAY 94               Chewbacca leads the group into a giant dirt pit that is                Docking Bay 94. Resting in the middle of the huge hole is a                large, round, beat-up, pieced-together hunk of junk that                could only loosely be called a starship.                                     LUKE                         What a piece of junk.               The tall figure of Han Solo comes down the boarding ramp.                                     HAN                         She'll make point five beyond the                          speed of light. She may not look                          like much, but she's got it where it                          counts, kid. I've added some special                          modifications myself.               Luke scratches his head. It's obvious he isn't sure about                all this. Chewbacca rushes up the ramp and urges the others                to follow.                                     HAN                         We're a little rushed, so if you'll                          hurry aboard we'll get out of here.               The group rushes up the gang plank, passing a grinning Han                Solo.               INT. MILLENNIUM FALCON               Chewbacca settles into the pilot's chair and starts the mighty                engines of the starship.               INT. MOS EISLEY SPACEPORT - DOCKING BAY 94               Luke, Ben, Threepio, and Artoo move toward the Millennium                Falcon passing Solo.                                     THREEPIO                         Hello, sir.               EXT. TATOOINE - MOS EISLEY - STREET               Eight Imperial stormtroopers rush up to the darkly clad                creature.                                     TROOPER                         Which way?               The darkly clad creature points to the door of the docking                bay.                                     TROOPER                         All right, men. Load your weapons!               INT. MOS EISLEY SPACEPORT - DOCKING BAY 94]               The troops hold their guns at the ready and charge down the                docking bay entrance.                                     TROOPER                         Stop that ship!               Han Solo looks up and sees the Imperial stormtroopers rushing                into the docking bay. Several of the troopers fire at Han as                he ducks into the spaceship.                                     TROOPER                         Blast 'em!               Han draws his laser pistol and pops off a couple of shots                which force the stormtroopers to dive for safety. The                pirateship engines whine as Han hits the release button that                slams the overhead entry shut.               INT. MILLENNIUM FALCON                                     HAN                         Chewie, get us out of here!               The group straps in for take off.                                     THREEPIO                         Oh, my. I'd forgotten how much I                          hate space travel.               EXT. TATOOINE - MOS EISLEY - STREETS               The half-dozen stormtroopers at a check point hear the general                alarm and look to the sky as the huge starship rises above                the dingy slum dwellings and quickly disappears into the                morning sky.               INT. MILLENNIUM FALCON - COCKPIT               Han climbs into the pilot's chair next to Chewbacca, who                chatters away as he points to something on the radar scope.               EXT. SPACE - PLANET TATOOINE               The Corellian pirateship zooms from Tatooine into space.               INT. MILLENNIUM FALCON - COCKPIT               Han frantically types information into the ship's computer.                 Little Artoo appears momentarily at the cockpit doorway,                makes a few beeping remarks, then scurries away.                                     HAN                         It looks like an Imperial cruiser.                          Our passengers must be hotter than I                          thought. Try and hold them off. Angle                          the deflector shield while I make                          the calculations for the jump to                          light speed.               EXT. SPACE - PLANET TATOOINE               The Millennium Falcon pirateship races away from the yellow                planet, Tatooine. It is followed by two huge Imperial                stardestroyers.               INT. MILLENNIUM FALCON - COCKPIT               Over the shoulders of Chewbacca and Han, we can see the galaxy                spread before them. Luke and Ben make their way into the                cramped cockpit where Han continues his calculation.                                     HAN                         Stay sharp! There are two more coming                          in; they're going to try to cut us                          off.                                     LUKE                         Why don't you outrun them? I thought                          you said this thing was fast.                                     HAN                         Watch your mouth, kid, or you're                          going to find yourself floating home.                          We'll be safe enough once we make                          the jump to hyperspace. Besides, I                          know a few maneuvers. We'll lose                          them!               EXT. SPACE - PLANET TATOOINE               Imperial cruisers fire at the pirateship.               INT. MILLENNIUM FALCON - COCKPIT               The ship shudders as an explosion flashes outside the window.                                     HAN                         Here's where the fun begins!                                     BEN                         How long before you can make the                          jump to light speed?                                     HAN                         It'll take a few moments to get the                          coordinates from the navi-computer.               The ship begins to rock violently as lasers hit it.                                     LUKE                         Are you kidding? At the rate they're                          gaining...                                     HAN                         Traveling through hyperspace isn't                          like dusting crops, boy! Without                          precise calculations we could fly                          right through a star or bounce too                          close to a supernova and that'd end                          your trip real quick, wouldn't it?               The ship is now constantly battered with laserfire as a red                warning light begins to flash.                                     LUKE                         What's that flashing?                                     HAN                         We're losing our deflector shield.                          Go strap yourself in, I'm going to                          make the jump to light speed.               The galaxy brightens and they move faster, almost as if                crashing a barrier. Stars become streaks as the pirateship                makes the jump to hyperspace.               EXT. SPACE               The Millennium Falcon zooms into infinity in less than a                second.               EXT. DEATH STAR               Alderaan looms behind the Death Star battlestation.               INT. DEATH STAR - CONTROL ROOM               Admiral Motti enters the quiet control room and bows before                Governor Tarkin, who stands before the huge wall screen                displaying a small green planet.                                     MOTTI                         We've entered the Alderaan system.               Vader and two stormtroopers enter with Princess Leia. Her                hands are bound.                                     LEIA                         Governor Tarkin, I should have                          expected to find you holding Vader's                          leash. I recognized your foul stench                          when I was brought on board.                                     TARKIN                         Charming to the last. You don't know                          how hard I found it signing the order                          to terminate your life!                                     LEIA                         I surprised you had the courage to                          take the responsibility yourself!                                     TARKIN                         Princess Leia, before your execution                          I would like you to be my guest at a                          ceremony that will make this battle                          station operational. No star system                          will dare oppose the Emperor now.                                     LEIA                         The more you tighten your grip,                          Tarkin, the more star systems will                          slip through your fingers.                                     TARKIN                         Not after we demonstrate the power                          of this station. In a way, you have                          determined the choice of the planet                          that'll be destroyed first. Since                          you are reluctant to provide us with                          the location of the Rebel base, I                          have chosen to test this station's                          destructive power... on your home                          planet of Alderaan.                                     LEIA                         No! Alderaan is peaceful. We have no                          weapons. You can't possibly...                                     TARKIN                         You would prefer another target? A                          military target? Then name the system!               Tarkin waves menacingly toward Leia.                                     TARKIN                         I grow tired of asking this. So it'll                          be the last time. Where is the Rebel                          base?               Leia overhears an intercom voice announcing the approach to                Alderaan.                                     LEIA                              (softly)                         Dantooine.               Leia lowers her head.                                     LEIA                         They're on Dantooine.                                     TARKIN                         There. You see Lord Vader, she can                          be reasonable.                              (addressing Motti)                         Continue with the operation. You may                          fire when ready.                                     LEIA                         What?                                     TARKIN                         You're far too trusting. Dantooine                          is too remote to make an effective                          demonstration. But don't worry. We                          will deal with your Rebel friends                          soon enough.                                     LEIA                         No!               INT. DEATH STAR - BLAST CHAMBER                                     VADER                         Commence primary ignition.               A button is pressed which switches on a panel of lights. A                hooded Imperial soldier reaches overhead and pulls a lever.                 Another lever is pulled. Vader reaches for still another                lever and a bank of lights on a panel and wall light up. A                huge beam of light emanates from within a cone-shaped area                and converges into a single laser beam out toward Alderaan.                The small green planet of Alderaan is blown into space dust.               INT. MILLENNIUM FALCON - CENTRAL HOLD AREA               Ben watches Luke practice the lightsaber with a small "seeker"                robot. Ben suddenly turns away and sits down. He falters,                seems almost faint.                                     LUKE                         Are you all right? What's wrong?                                     BEN                         I felt a great disturbance in the                          Force... as if millions of voices                          suddenly cried out in terror and                          were suddenly silenced. I fear                          something terrible has happened.               Ben rubs his forehead. He seems to drift into a trance. Then                he fixes his gaze on Luke.                                     BEN                         You'd better get on with your                          exercises.               Han Solo enters the room.                                     HAN                         Well, you can forget your troubles                          with those Imperial slugs. I told                          you I'd outrun 'em.               Luke is once again practicing with the lightsaber.                                     HAN                         Don't everyone thank me at once.               Threepio watches Chewbacca and Artoo who are engrossed in a                game in which three-dimensional holographic figures move                along a chess-type board.                                     HAN                         Anyway, we should be at Alderaan                          about oh-two-hundred hours.               Chewbacca and the two robots sit around the lighted table                covered with small holographic monsters. Each side of the                table has a small computer monitor embedded in it. Chewbacca                seems very pleased with himself as he rests his lanky fur-                covered arms over his head.                                     THREEPIO                         Now be careful, Artoo.               Artoo immediately reaches up and taps the computer with his                stubby claw hand, causing one of the holographic creatures                to walk to the new square. A sudden frown crosses Chewbacca's                face and he begins yelling gibberish at the tiny robot.                Threepio intercedes on behalf of his small companion and                begins to argue with the huge Wookiee.                                     THREEPIO                         He made a fair move. Screaming about                          it won't help you.                                     HAN                              (interrupting)                         Let him have it. It's not wise to                          upset a Wookiee.                                     THREEPIO                         But sir, nobody worries about                          upsetting a droid.                                     HAN                         That's 'cause droids don't pull                          people's arms out of their socket                          when they lose. Wookiees are known                          to do that.                                     THREEPIO                         I see your point, sir. I suggest a                          new strategy, Artoo. Let the Wookiee                          win.               Luke stands in the middle of the small hold area; he seems                frozen in place. A humming lightsaber is held high over his                head. Ben watches him from the corner, studying his movements.                 Han watches with a bit of smugness.                                     BEN                         Remember, a Jedi can feel the Force                          flowing through him.                                     LUKE                         You mean it controls your actions?                                     BEN                         Partially. But it also obeys your                          commands.               Suspended at eye level, about ten feet in front of Luke, a                "seeker", a chrome baseball-like robot covered with antennae,                hovers slowly in a wide arc. The ball floats to one side of                the youth then the other. Suddenly it makes a lightning-swift                lunge and stops within a few feet of Luke's face. Luke doesn't                move and the ball backs off. It slowly moves behind the boy,                then makes another quick lunge, this time emitting a blood                red laser beam as it attacks. It hits Luke in the leg causing                him to tumble over. Han lets loose with a burst of laughter.                                     HAN                         Hokey religions and ancient weapons                          are no match for a good blaster at                          your side, kid.                                     LUKE                         You don't believe in the Force, do                          you?                                     HAN                         Kid, I've flown from one side of                          this galaxy to the other. I've seen                          a lot of strange stuff, but I've                          never seen anything to make me believe                          there's one all-powerful force                          controlling everything. There's no                          mystical energy field that controls                          my destiny.               Ben smiles quietly.                                     HAN                         It's all a lot of simple tricks and                          nonsense.                                     BEN                         I suggest you try it again, Luke.               Ben places a large helmet on Luke's head which covers his                eyes.                                     BEN                         This time, let go your conscious                          self and act on instinct.                                     LUKE                              (laughing)                         With the blast shield down, I can't                          even see. How am I supposed to fight?                                     BEN                         Your eyes can deceive you. Don't                          trust them.               Han skeptically shakes his head as Ben throws the seeker                into the air. The ball shoots straight up in the air, then                drops like a rock. Luke swings the lightsaber around blindly                missing the seeker, which fires off a laserbolt which hits                Luke square on the seat of the pants. He lets out a painful                yell and attempts to hit the seeker.                                     BEN                         Stretch out with your feelings.               Luke stands in one place, seemingly frozen. The seeker makes                a dive at Luke and, incredibly, he managed to deflect the                bolt. The ball ceases fire and moves back to its original                position.                                     BEN                         You see, you can do it.                                     HAN                         I call it luck.                                     BEN                         In my experience, there's no such                          thing as luck.                                     HAN                         Look, going good against remotes is                          one thing. Going good against the                          living? That's something else.               Solo notices a small light flashing on the far side of the                control panel.                                     HAN                         Looks like we're coming up on                          Alderaan.               Han and Chewbacca head back to the cockpit.                                     LUKE                         You know, I did feel something. I                          could almost see the remote.                                     BEN                         That's good. You have taken your                          first step into a larger world.               INT. DEATH STAR - CONFERENCE ROOM               Imperial Officer Cass stands before Governor Tarkin and the                evil Dark Lord Darth Vader.                                     TARKIN                         Yes.                                     OFFICER CASS                         Our scout ships have reached                          Dantooine. They found the remains of                          a Rebel base, but they estimate that                          it has been deserted for some time.                          They are now conducting an extensive                          search of the surrounding systems.                                     TARKIN                         She lied! She lied to us!                                     VADER                         I told you she would never consciously                          betray the Rebellion.                                     TARKIN                         Terminate her... immediately!               EXT. HYPERSPACE               The pirateship is just coming out of hyperspace; a strange                surreal light show surrounds the ship.               INT. MILLENNIUM FALCON - COCKPIT                                     HAN                         Stand by, Chewie, here we go. Cut in                          the sublight engines.               Han pulls back on a control lever. Outside the cockpit window                stars begin streaking past, seem to decrease in speed, then                stop. Suddenly the starship begins to shudder and violently                shake about. Asteroids begin to race toward them, battering                the sides of the ship.                                     HAN                         What the...? Aw, we've come out of                          hyperspace into a meteor shower.                          Some kind of asteroid collision.                          It's not on any of the charts.               The Wookiee flips off several controls and seems very cool                in the emergency. Luke makes his way into the bouncing                cockpit.                                     LUKE                         What's going on?                                     HAN                         Our position is correct, except...                          no, Alderaan!                                     LUKE                         What do you mean? Where is it?                                     HAN                         Thats what I'm trying to tell you,                          kid. It ain't there. It's been totally                          blown away.                                     LUKE                         What? How?               Ben moves into the cockpit behind Luke as the ship begins to                settle down.                                     BEN                         Destroyed... by the Empire!                                     HAN                         The entire starfleet couldn't destroy                          the whole planet. It'd take a thousand                          ships with more fire power than                          I've...               A signal starts flashing on the control panel and a muffled                alarm starts humming.                                     HAN                         There's another ship coming in.                                     LUKE                         Maybe they know what happened.                                     BEN                         It's an Imperial fighter.               Chewbacca barks his concern. A huge explosion bursts outside                the cockpit window, shaking the ship violently. A tiny, finned                Imperial TIE fighter races past the cockpit window.                                     LUKE                         It followed us!                                     BEN                         No. It's a short range fighter.                                     HAN                         There aren't any bases around here.                          Where did it come from?               EXT. SPACE               The fighter races past the Corellian pirateship.               INT. MILLENNIUM FALCON - COCKPIT                                     LUKE                         It sure is leaving in a big hurry.                          If they identify us, we're in big                          trouble.                                     HAN                         Not if I can help it. Chewie...jam                          it's transmissions.                                     BEN                         It'd be as well to let it go. It's                          too far out of range.                                     HAN                         Not for long...               EXT. SPACE               The pirateship zooms over the camera and away into the                vastness of space after the Imperial TIE fighter.               INT. MILLENNIUM FALCON - COCKPIT               The tension mounts as the pirateship gains on the tiny                fighter. In the distance, one of the stars becomes brighter                until it is obvious that the TIE ship is heading for it. Ben                stands behind Chewbacca.                                     BEN                         A fighter that size couldn't get                          this deep into space on its own.                                     LUKE                         It must have gotten lost, been part                          of a convoy or something.                                     HAN                         Well, he ain't going to be around                          long enough to tell anyone about us.               EXT. SPACE               The TIE fighter is losing ground to the larger pirateship as                they race toward camera and disappear over head.               INT. MILLENNIUM FALCON - COCKPIT               The distant star can be distinguished as a small moon or                planet.                                     LUKE                         Look at him. He's headed for that                          small moon.                                     HAN                         I think I can get him before he gets                          there... he's almost in range.               The small moon begins to take on the appearance of a monstrous                spherical battle station.                                     BEN                         That's no moon! It's a space station.                                     HAN                         It's too big to be a space station.                                     LUKE                         I have a very bad feeling about this.                                     HAN                         Yeah, I think your right. Full                          reverse! Chewie, lock in the auxiliary                          power.               The pirateship shudders and the TIE fighter accelerates away                toward the gargantuan battle station.                                     LUKE                         Why are we still moving towards it?                                     HAN                         We're caught in a tractor beam! It's                          pulling us in!                                     LUKE                         But there's gotta be something you                          can do!                                     HAN                         There's nothin' I can do about it,                          kid. I'm in full power. I'm going to                          have to shut down. But they're not                          going to get me without a fight!               Ben Kenobi puts a hand on his shoulder.                                     BEN                         You can't win. But there are                          alternatives to fighting.               INT. MILLENNIUM FALCON - DEATH STAR               As the battered pirate starship is towed closer to the awesome                metal moon, the immense size of the massive battle station                becomes staggering. Running along the equator of the gigantic                sphere is a mile-high band of huge docking ports into which                the helpless pirateship is dragged.               EXT. DEATH STAR - HUGE PORT DOORS               The helpless Millennium Falcon is pulled past a docking port                control room and huge laser turret cannons.               VOICE OVER DEATH STAR INTERCOM               Clear Bay twenty-three-seven. We are opening the magnetic                field.               INT. DEATH STAR - DOCKING BAY 2037               The pirateship is pulled in through port doors of the Death                Star, coming to rest in a huge hangar. Thirty stormtroopers                stand at attention in a central assembly area.                                     OFFICER                         To you stations!                              (to another officer)                         Come with me.               INT. DEATH STAR - HALLWAY               Stormtroopers run to their posts.               INT. DEATH STAR - HANGAR 2037               A line of stormtroopers march toward the pirateship in                readiness to board it, while other troopers stand with weapons                ready to fire.                                     OFFICER                         Close all outboard shields! Close                          all outboard shields!               INT. DEATH STAR - CONFERENCE ROOM               Tarkin pushes a button and responds to the intercom buzz.                                     TARKIN                         Yes.                                     VOICE                              (over intercom)                         We've captured a freighter entering                          the remains of the Alderaan system.                          It's markings match those of a ship                          that blasted its way out of Mos                          Eisley.                                     VADER                         They must be trying to return the                          stolen plans to the princess. She                          may yet be of some use to us.               INT. DEATH STAR - DOCKING BAY 2037               Vader and a commander approach the troops as an Officer and                several heavily armed troops exit the spacecraft.                                     VOICE                              (over intercom)                         Unlock one-five-seven and nine.                          Release charges.                                     OFFICER                              (to Vader)                         There's no one on board, sir.                          According to the log, the crew                          abandoned ship right after takeoff.                          It must be a decoy, sir. Several of                          the escape pods have been jettisoned.                                     VADER                         Did you find any droids?                                     OFFICER                         No, sir. If there were any on board,                          they must also have jettisoned.                                     VADER                         Send a scanning crew on board. I                          want every part of this ship checked.                                     OFFICER                         Yes, sir.                                     VADER                         I sense something... a presence I                          haven't felt since...               Vader turns quickly and exits the hangar.                                     OFFICER                         Get me a scanning crew in here on                          the double. I want every part of                          this ship checked!               INT. MILLENNIUM FALCON - HALLWAY               A trooper runs through the hallway heading for the exit. In                a few moments all is quiet. The muffled sounds of a distant                officer giving orders finally fade. Two floor panels suddenly                pop up revealing Han Solo and Luke. Ben Kenobi sticks his                head out of a third locker.                                     LUKE                         Boy, it's lucky you had these                          compartments.                                     HAN                         I use them for smuggling. I never                          thought I'd be smuggling myself in                          them. This is ridiculous. Even if I                          could take off, I'd never get past                          the tractor beam.                                     BEN                         Leave that to me!                                     HAN                         Damn fool. I knew that you were going                          to say that!                                     BEN                         Who's the more foolish... the fool                          or the fool who follows him?               Han shakes his head, muttering to himself. Chewbacca agrees.               INT. DEATH STAR - MAIN FORWARD BAY               The crewmen carry a heavy box on board the ship, past the                two stormtroopers guarding either side of the ramp.                                     TROOPER                         The ship's all yours. If the scanners                          pick up anything, report it                          immediately. All right, let's go.               The crewmen enter the pirateship and a loud crashing sound                is followed by a voice calling to the guard below.                                     HAN'S VOICE                         Hey down there, could you give us a                          hand with this?               The stormtroopers enter the ship and a quick round of gunfire                is heard.               INT. DEATH STAR - FORWARD BAY - COMMAND OFFICE               In a very small command office near the entrance to the                pirateship, a Gantry Officer looks out his window and notices                the guards are missing. He speaks into the comlink.                                     GANTRY OFFICER                         TX-four-one-two. Why aren't you at                          your post? TX-four-one-two, do you                          copy?               A stormtrooper comes down the ramp of the pirateship and                waves to the gantry officer, pointing to his ear indicating                his comlink is not working. The gantry officer shakes his                head in disgust and heads for the door, giving his aide an                annoyed look.                                     GANTRY OFFICER                         Take over. We've got a bad                          transmitter. I'll see what I can do.               As the officer approaches the door, it slides open revealing                the towering Chewbacca. The gantry officer, in a momentary                state of shock, stumbles backward. With a bone- chilling                howl, the giant Wookiee flattens the officer with one blow.                The aide immediately reaches for his pistol, but is blasted                by Han, dressed as an Imperial stormtrooper. Ben and the                robots enter the room quickly followed by Luke, also dressed                as a stormtrooper. Luke quickly removes his helmet.                                     LUKE                         You know, between his howling and                          your blasting everything in sight,                          it's a wonder the whole station                          doesn't know we're here.                                     HAN                         Bring them on! I prefer a straight                          fight to all this sneaking around.                                     THREEPIO                         We found the computer outlet, sir.               Ben feeds some information into the computer and a map of                the city appears on the monitor. He begins to inspect it                carefully. Threepio and Artoo look over the control panel.                 Artoo finds something that makes him whistle wildly.                                     BEN                         Plug in. He should be able to                          interpret the entire Imperial computer                          network.               Artoo punches his claw arm into the computer socket and the                vast Imperial brain network comes to life, feeding information                to the little robot. After a few moments, he beeps something.                                     THREEPIO                         He says he's found the main computer                          to power the tractor beam that's                          holding the ship here. He'll try to                          make the precise location appear on                          the monitor.               The computer monitor flashes readouts.                                     THREEPIO                         The tractor beam is coupled to the                          main reactor in seven locations. A                          power loss at one of the terminals                          will allow the ship to leave.               Ben studies the data on the monitor readout.                                     BEN                         I don't think you boys can help. I                          must go alone.                                     HAN                         Whatever you say. I've done more                          that I bargained for on this trip                          already.                                     LUKE                         I want to go with you.                                     BEN                         Be patient, Luke. Stay and watch                          over the droids.                                     LUKE                         But he can...                                     BEN                         They must be delivered safely or                          other star systems will suffer the                          same fate as Alderaan. Your destiny                          lies along a different path than                          mine. The Force will be with you...                          always!               Ben adjusts the lightsaber on his belt and silently steps                out of the command office, then disappears down a long grey                hallway. Chewbacca barks a comment and Han shakes his head                in agreement.                                     HAN                         Boy you said it, Chewie.               Han looks at Luke.                                     HAN                         Where did you dig up that old fossil?                                     LUKE                         Ben is a great man.                                     HAN                         Yeah, great at getting us into                          trouble.                                     LUKE                         I didn't hear you give any ideas...                                     HAN                         Well, anything would be better than                          just hanging around waiting for him                          to pick us up...                                     LUKE                         Who do you think...               Suddenly Artoo begins to whistle and beep a blue streak.                 Luke goes over to him.                                     LUKE                         What is it?                                     THREEPIO                         I'm afraid I'm not quite sure, sir.                          He says "I found her", and keeps                          repeating, "She's here."                                     LUKE                         Well, who... who has he found?               Artoo whistles a frantic reply.                                     THREEPIO                         Princess Leia.                                     LUKE                         The princess? She's here?                                     HAN                         Princess? What's going on?                                     THREEPIO                         Level five. Detention block A A-twenty-                         three. I'm afraid she's scheduled to                          be terminated.                                     LUKE                         Oh, no! We've got to do something.                                     HAN                         What are you talking about?                                     LUKE                         The droid belongs to her. She's the                          one in the message... We've got to                          help her.                                     HAN                         Now, look, don't get any funny ideas.                          The old man wants us to wait right                          here.                                     LUKE                         But he didn't know she was here.                          Look, will you just find a way back                          into the detention block?                                     HAN                         I'm not going anywhere.                                     LUKE                         They're going to execute her. Look,                          a few minutes ago you said you didn't                          want to just wait here to be captured.                          Now all you want to do is stay.                                     HAN                         Marching into the detention area is                          not what I had in mind.                                     LUKE                         But they're going to kill her!                                     HAN                         Better her than me...                                     LUKE                         She's rich.               Chewbacca growls.                                     HAN                         Rich?                                     LUKE                         Yes. Rich, powerful! Listen, if you                          were to rescue her, the reward would                          be...                                     HAN                         What?                                     LUKE                         Well more wealth that you can imagine.                                     HAN                         I don't know, I can imagine quite a                          bit!                                     LUKE                         You'll get it!                                     HAN                         I better!                                     LUKE                         You will...                                     HAN                         All right, kid. But you'd better be                          right about this.               Han looks at Chewie, who grunts a short grunt.                                     LUKE                         All right.                                     HAN                         What's your plan?                                     LUKE                         Uh... Threepio, hand me those binders                          there will you?               Luke moves toward Chewbacca with electronic cuffs.                                     LUKE                         Okay. Now, I'm going to put these on                          you.               Chewie lets out a hideous growl.                                     LUKE                         Okay. Han, you put these on.               Luke sheepishly hands the binders to Han.                                     HAN                         Don't worry, Chewie. I think I know                          what he has in mind.               The Wookiee has a worried and frightened look on his face as                Han binds him with the electronic cuffs.                                     THREEPIO                         Master Luke, sir! Pardon me for                          asking... but, ah... what should                          Artoo and I do if we're discovered                          here?                                     LUKE                         Lock the door!                                     HAN                         And hope they don't have blasters.                                     THREEPIO                         That isn't very reassuring.               Luke and Han put on their armored stormtrooper helmets and                start off into the giant Imperial Death Star.               INT. DEATH STAR - DETENTION AREA - ELEVATOR TUBE               Han and Luke try to look inconspicuous in their armored suits                as they wait for a vacuum elevator to arrive. Troops,                bureaucrats, and robots bustle about, ignoring the trio                completely. Only a few give the giant Wookiee a curious                glance.               Finally a small elevator arrives and the trio enters.                                     LUKE                         I can't see a thing in this helmet.               A bureaucrat races to get aboard also, but is signaled away                by Han. The door to the pod-like vehicle slides closed and                the elevator car takes off through a vacuum tube.               INT. DEATH STAR - MAIN HALLWAY               Several Imperial officers walk through the wide main                passageway. They pass several stormtroopers and a robot                similar to Threepio but with an insect face. At the far end                of the hallway, a passing flash of Ben Kenobi appears, then                disappears down a small hallway. His appearance is so fleeting                that it is hard to tell if he is real or just an illusion.                No one in the hallway seems to notice him.               INT. DEATH STAR - INTERIOR ELEVATOR - DETENTION SECURITY                AREA               Luke and Han step forward to exit the elevator, but the door                slides open behind them. The giant Wookiee and his two guards                enter the old grey security station. Guards and laser gates                are everywhere. Han whispers to Luke under his breath.                                     HAN                         This is not going to work.                                     LUKE                         Why didn't you say so before?                                     HAN                         I did say so before!               INT. DETENTION AREA               Elevator doors open. A tall, grim looking Officer approaches                the trio.                                     OFFICER                         Where are you taking this... thing?               Chewie growls a bit at the remark but Han nudges him to shut                up.                                     LUKE                         Prisoner transfer from Block one-one-                         three-eight.                                     OFFICER                         I wasn't notified. I'll have to clear                          it.               The officer goes back to his console and begins to punch in                the information. There are only three other troopers in the                area. Luke and Han survey the situation, checking all of the                alarms, laser gates, and camera eyes. Han unfastens one of                Chewbacca's electronic cuffs and shrugs to Luke.               Suddenly Chewbacca throws up his hands and lets out with one                of his ear-piercing howls. He grabs Han's laser rifle.                                     HAN                         Look out! He's loose!                                     LUKE                         He's going to pull us all apart.                                     HAN                         Go get him!               The startled guards are momentarily dumbfounded. Luke and                Han have already pulled out their laser pistols and are                blasting away at the terrifying Wookiee. Their barrage of                laserfire misses Chewbacca, but hits the camera eyes, laser                gate controls, and the Imperial guards. The officer is the                last of the guards to fall under the laserfire just as he is                about to push the alarm system. Han rushes to the comlink                system, which is screeching questions about what is going                on.  He quickly checks the computer readout.                                     HAN                         We've got to find out which cell                          this princess of yours is in. Here                          it is... cell twenty-one-eight-seven.                          You go get her. I'll hold them here.               Luke races down one of the cell corridors. Han speaks into                the buzzing comlink.                                     HAN                              (sounding official)                         Everything is under control. Situation                          normal.                                     INTERCOM VOICE                         What happened?                                     HAN                              (getting nervous)                         Uh... had a slight weapons                          malfunction. But, uh, everything's                          perfectly all right now. We're fine.                          We're all fine here, now, thank you.                          How are you?                                     INTERCOM VOICE                         We're sending a squad up.                                     HAN                         Uh, uh, negative. We had a reactor                          leak here now. Give us a few minutes                          to lock it down. Large leak... very                          dangerous.                                     INTERCOM VOICE                         Who is this? What's your operating                          number?               Han blasts the comlink and it explodes.                                     HAN                         Boring conversation anyway.                              (yelling down the                               hall)                         Luke! We're going to have company!               INT. DEATH STAR - CELL ROW               Luke stops in front of one of the cells and blasts the door                away with a laser pistol. When the smoke clears, Luke sees                the dazzling young princess-senator. She had been sleeping                and is now looking at him with an uncomprehending look on                her face. Luke is stunned by her incredible beauty and stands                staring at her with his mouth hanging open.                                     LEIA                              (finally)                         Aren't you a little short to be a                          stormtrooper?               Luke takes off his helmet, coming out of it.                                     LUKE                         What? Oh... the uniform. I'm Luke                          Skywalker. I'm here to rescue you.                                     LEIA                         You're who?                                     LUKE                         I'm here to rescue you. I've got                          your R2 unit. I'm here with Ben                          Kenobi.                                     LEIA                         Ben Kenobi is here! Where is he?                                     LUKE                         Come on!               INT. DEATH STAR - CONFERENCE ROOM               Darth Vader paces the room as Governor Tarkin sits at the                far end of the conference table.                                     VADER                         He is here...                                     TARKIN                         Obi-Wan Kenobi! What makes you think                          so?                                     VADER                         A tremor in the Force. The last time                          I felt it was in the presence of my                          old master.                                     TARKIN                         Surely he must be dead by now.                                     VADER                         Don't underestimate the power of the                          Force.                                     TARKIN                         The Jedi are extinct, their fire has                          gone out of the universe. You, my                          friend, are all that's left of their                          religion.               There is a quiet buzz on the comlink.                                     TARKIN                         Yes.                                     INTERCOM VOICE                         Governor Tarkin, we have an emergency                          alert in detention block A A-twenty-                         three.                                     TARKIN                         The princess! Put all sections on                          alert!                                     VADER                         Obi-Wan is here. The Force is with                          him.                                     TARKIN                         If you're right, he must not be                          allowed to escape.                                     VADER                         Escape is not his plan. I must face                          him alone.               INT. DEATH STAR - DETENTION AREA - HALLWAY               An ominous buzzing sound is heard on the other side of the                elevator door.                                     HAN                         Chewie!               Chewbacca responds with a growling noise.                                     HAN                         Get behind me! Get behind me!               A series of explosions knock a hole in the elevator door                through which several Imperial troops begin to emerge.               Han and Chewie fire laser pistols at them through the smoke                and flame. They turn and run down the cell hallway, meeting                up with Luke and Leia rushing toward them.                                     HAN                         Can't get out that way.                                     LEIA                         Looks like you managed to cut off                          our only escape route.                                     HAN                              (sarcastically)                         Maybe you'd like it back in your                          cell, Your Highness.               Luke takes a small comlink transmitter from his belt as they                continue to exchange fire with stormtroopers making their                way down the corridor.                                     LUKE                         See-Threepio! See-Threepio!                                     THREEPIO                              (over comlink)                         Yes sir?                                     LUKE                         We've been cut off! Are there any                          other ways out of the cell bay?...                          What was that? I didn't copy!               INT. DEATH STAR - MAIN BAY GANTRY - CONTROL TOWER               Threepio paces the control center as little Artoo beeps and                whistles a blue streak. Threepio yells into the small comlink                transmitter.                                     THREEPIO                         I said, all systems have been alerted                          to your presence, sir. The main                          entrance seems to be the only way in                          or out; all other information on                          your level is restricted.               Someone begins banging on the door.                                     TROOPER VOICE                         Open up in there!                                     THREEPIO                         Oh, no!               INT. DEATH STAR - DETENTION CORRIDOR               Luke and Leia crouch together in an alcove for protection as                they continue to exchange fire with troops. Han and Chewbacca                are barely able to keep the stormtroopers at bay at the far                and of the hallway. The laserfire is very intense, and smoke                fills the narrow cell corridor.                                     LUKE                         There isn't any other way out.                                     HAN                         I can't hold them off forever! Now                          what?                                     LEIA                         This is some rescue. When you came                          in here, didn't you have a plan for                          getting out?                                     HAN                              (pointing to Luke)                         He's the brains, sweetheart.               Luke manages a sheepish grin and shrugs his shoulders.                                     LUKE                         Well, I didn't...               The princess grabs Luke's gun and fires at a small grate in                the wall next to Han, almost frying him.                                     HAN                         What the hell are you doing?                                     LEIA                         Somebody has to save our skins. Into                          the garbage chute, wise guy.               She jumps through the narrow opening as Han and Chewbacca                look on in amazement. Chewbacca sniffs the garbage chute and                says something.                                     HAN                         Get in there you big furry oaf! I                          don't care what you smell! Get in                          there and don't worry about it.               Han gives him a kick and the Wookiee disappears into the                tiny opening. Luke and Han continue firing as they work their                way toward the opening.                                     HAN                         Wonderful girl! Either I'm going to                          kill her or I'm beginning to like                          her. Get in there!               Luke ducks laserfire as he jumps into the darkness. Han fires                off a couple of quick blasts creating a smokey cover, then                slides into the chute himself and is gone.               INT. DEATH STAR - GARBAGE ROOM               Han tumbles into the large room filled with garbage and muck.                 Luke is already stumbling around looking for an exit. He                finds a small hatchway and struggles to get it open. It won't                budge.                                     HAN                              (sarcastically)                         Oh! The garbage chute was a really                          wonderful idea. What an incredible                          smell you've discovered! Let's get                          out of here! Get away from there...                                     LUKE                         No! wait!               Han draws his laser pistol and fires at the hatch. The                laserbolt ricochets wildly around the small metal room.                 Everyone dives for cover in the garbage as the bolt explodes                almost on top of them. Leia climbs out of the garbage with a                rather grim look on her face.                                     LUKE                         Will you forget it? I already tried                          it. It's magnetically sealed!                                     LEIA                         Put that thing away! You're going to                          get us all killed.                                     HAN                         Absolutely, Your Worship. Look, I                          had everything under control until                          you led us down here. You know, it's                          not going to take them long to figure                          out what happened to us.                                     LEIA                         It could be worse...               A loud, horrible, inhuman moan works its way up from the                murky depths. Chewbacca lets out a terrified howl and begins                to back away. Han and Luke stand fast with their laser pistols                drawn. The Wookiee is cowering near one of the walls.                                     HAN                         It's worse.                                     LUKE                         There's something alive in here!                                     HAN                         That's your imagination.                                     LUKE                         Something just moves past my leg!                          Look! Did you see that?                                     HAN                         What?                                     LUKE                         Help!               Suddenly Luke is yanked under the garbage.                                     HAN                         Luke! Luke! Luke!               Solo tries to get to Luke. Luke surfaces with a gasp of air                and thrashing of limbs. A membrane tentacle is wrapped around                his throat.                                     LEIA                         Luke!               Leia extends a long pipe toward him.                                     LEIA                         Luke, Luke, grab a hold of this.                                     LUKE                         Blast it, will you! My gun's jammed.                                     HAN                         Where?                                     LUKE                         Anywhere! Oh!!               Solo fires his gun downward. Luke is pulled back into the                muck by the slimy tentacle.                                     HAN                         Luke! Luke!               Suddenly the walls of the garbage receptacle shudder and                move in a couple of inches. Then everything is deathly quiet.                 Han and Leia give each other a worried look as Chewbacca                howls in the corner. With a rush of bubbles and muck Luke                suddenly bobs to the surface.                                     LEIA                         Grab him!               Luke seems to be released by the thing.                                     LEIA                         What happened?                                     LUKE                         I don't know, it just let go of me                          and disappeared...                                     HAN                         I've got a very bad feeling about                          this.               Before anyone can say anything the walls begin to rumble and                edge toward the Rebels.                                     LUKE                         The walls are moving!                                     LEIA                         Don't just stand there. Try to brace                          it with something.               They place poles and long metal beams between the closing                walls, but they are simply snapped and bent as the giant                trashmasher rumbles on. The situation doesn't look too good.                                     LUKE                         Wait a minute!               Luke pulls out his comlink.                                     LUKE                         Threepio! Come in Threepio! Threepio!                          Where could he be?               INT. DEATH STAR - MAIN GANTRY - COMMAND OFFICE               A soft buzzer and the muted voice of Luke calling out for                See-Threepio can be heard on Threepio's hand comlink, which                is sitting on the deserted computer console. Artoo and                Threepio are nowhere in sight. Suddenly there is a great                explosion and the door of the control tower flies across the                floor. Four armed stormtroopers enter the chamber.                                     FIRST TROOPER                         Take over!                              (pointing to the dead                               officer)                         See to him! Look there!               A trooper pushes a button and the supply cabinet door slides                open. See-Threepio and Artoo-Detoo are inside. Artoo follows                his bronze companion out into the office.                                     THREEPIO                         They're madmen! They're heading for                          the prison level. If you hurry, you                          might catch them.                                     FIRST OFFICER                              (to his troops)                         Follow me! You stand guard.               The troops hustle off down the hallway, leaving a guard to                watch over the command office.                                     THREEPIO                              (to Artoo)                         Come on!               The guard aims a blaster at them.                                     THREEPIO                         Oh! All this excitement has overrun                          the circuits of my counterpart here.                          If you don't mind, I'd like to take                          him down to maintenance.                                     TROOPER                         All right.               The guard nods and Threepio, with little Artoo in tow, hurries                out the door.               INT. DEATH STAR - GARBAGE ROOM               As the walls rumble closed, the room gets smaller and smaller.                 Chewie is whining and trying to hold a wall back with his                giant paws.               Han is leaning back against the other wall. Garbage is                snapping and popping. Luke is trying to reach Threepio.                                     LUKE                         Threepio! Come in, Threepio! Threepio!               Han and Leia try to brace the contracting walls with a pole.                Leia begins to sink into the trash.                                     HAN                         Get to the top!                                     LEIA                         I can't                                     LUKE                         Where could he be? Threepio! Threepio,                          will you come in?               INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL                                     THREEPIO                         They aren't here! Something must                          have happened to them. See if they've                          been captured.               Little Artoo carefully plugs his claw arm into a new wall                socket and a complex array of electronic sounds spew from                the tiny robot.                                     THREEPIO                         Hurry!               INT. DEATH STAR - GARBAGE ROOM               The walls are only feet apart. Leia and Han are braced against                the walls. The princess is frightened. They look at each                other. Leia reaches out and takes Han's hand and she holds                it tightly. She's terrified and suddenly groans as she feels                the first crushing pressure against her body.                                     HAN                         One thing's for sure. We're all going                          to be a lot thinner!                              (to Leia)                         Get on top of it!                                     LEIA                         I'm trying!               INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL                                     THREEPIO                              (to Artoo)                         Thank goodness, they haven't found                          them! Where could they be?               Artoo frantically beeps something to See-Threepio.                                     THREEPIO                         Use the comlink? Oh, my! I forgot I                          turned it off!               INT. DEATH STAR - GARBAGE ROOM               Meanwhile, Luke is lying on his side, trying to keep his                head above the rising ooze. Luke's comlink begins to buzz                and he rips it off his belt.               INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL               Muffled sounds of Luke's voice over the comlink can be heard,                but not distinctly.                                     THREEPIO                         Are you there, sir?               INT. DEATH STAR - GARBAGE ROOM                                     LUKE                         Threepio!               INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL                                     THREEPIO                         We've had some problems...                                     LUKE                              (over comlink)                         Will you shut up and listen to me?                          Shut down all garbage mashers on the                          detention level, will you? Do you                          copy?               INT. DEATH STAR - GARBAGE ROOM                                     LUKE                         Shut down all the garbage mashers on                          the detention level.               INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL                                     LUKE                              (over comlink)                         Shut down all the garbage mashers on                          the detention level.                                     THREEPIO                              (to Artoo)                         No. Shut them all down! Hurry!               Threepio holds his head in agony as he hears the incredible                screaming and hollering from Luke's comlink.                                     THREEPIO                         Listen to them! They're dying, Artoo!                          Curse my metal body! I wasn't fast                          enough. It's all my fault! My poor                          master!                                     LUKE                              (over comlink)                         Threepio, we're all right!               INT. DEATH STAR - GARBAGE ROOM               The screaming and hollering is the sound of joyous relief.                The walls have stopped moving. Han, Chewie and Leia embrace                in the background.                                     LUKE                         We're all right. You did great.               Luke moves to the pressure sensitive hatch, looking for a                number.                                     LUKE                         Hey... hey, open the pressure                          maintenance hatch on unit number...                          where are we?               INT. DEATH STAR - MAIN FORWARD BAY - SERVICE PANEL                                     HAN                              (over comlink)                         Three-two-six-eight-two-seven.               INT. DEATH STAR - TRACTOR BEAM - POWER GENERATOR TRENCH               Ben enters a humming service trench that powers the huge                tractor beam. The trench seems to be a hundred miles deep.                The clacking sound of huge switching devices can be heard.                The old Jedi edges his his way along a narrow ledge leading                to a control panel that connects two large cables. He                carefully makes several adjustments in the computer terminal,                and several lights on the board go from red to blue.               INT. DEATH STAR - UNUSED HALLWAY               The group exits the garbage room into a dusty, unused hallway.                 Han and Luke remove the trooper suits and strap on the blaster                belts.                                     HAN                         If we can just avoid any more female                          advice, we ought to be able to get                          out of here.               Luke smiles and scratches his head as he takes a blaster                from Solo.                                     LUKE                         Well, let's get moving!               Chewie begins growling and points to the hatch to the garbage                room, as he runs away and then stops howling.                                     HAN                              (to Chewie)                         Where are you going?               The Dia Nogu bangs against the hatch and a long, slimy                tentacle works its way out of the doorway searching for a                victim. Han aims his pistol.                                     LEIA                         No, wait. They'll hear!               Han fires at the doorway. The noise of the blast echoes                relentlessly throughout the empty passageway. Luke simply                shakes his head in disgust.                                     HAN                              (to Chewie)                         Come here, you big coward!               Chewie shakes his head "no."                                     HAN                         Chewie! Come here!                                     LEIA                         Listen. I don't know who you are, or                          where you came from, but from now                          on, you do as I tell you. Okay?               Han is stunned at the command of the petite young girl.                                     HAN                         Look, Your Worshipfulness, let's get                          one thing straight! I take orders                          from one person! Me!                                     LEIA                         It's a wonder you're still alive.                              (looking at Chewie)                         Will somebody get this big walking                          carpet out of my way?               Han watches her start away. He looks at Luke.                                     HAN                         No reward is worth this.               They follow her, moving swiftly down the deserted corridor.               INT. DEATH STAR - POWER TRENCH               Suddenly a door behind Ben slides open and a detachment of                stormtroopers marches to the power trench. Ben instantly                slips into the shadows as an Officer moves to within a few                feet of him.                                     OFFICER                         Secure this area until the alert is                          canceled.                                     FIRST TROOPER                         Give me regular reports.               All but two of the stormtroopers leave.                                     FIRST TROOPER                         Do you know what's going on?                                     SECOND TROOPER                         Maybe it's another drill.               Ben moves around the tractor beam, watching the stormtroopers                as they turn their backs to him. Ben gestures with his hand                toward them, as the troops think they hear something in the                other hallway. With the help of the Force, Ben deftly slips                past the troopers and into the main hallway.                                     SECOND TROOPER                         What was that?                                     FIRST TROOPER                         Oh, it's nothing. Don't worry about                          it.               INT. DEATH STAR - HALLWAY               Luke, Han, Chewbacca, and Leia run down an empty hallway and                stop before a bay window overlooking the pirateship. Troopers                are milling about the ship. Luke takes out his pocket comlink.                                     HAN                              (looking at his ship)                         There she is.                                     LUKE                         See-Threepio, do you copy?                                     THREEPIO                              (voice)                         For the moment. Uh, we're in the                          main hangar across from the ship.                                     LUKE                         We're right above you. Stand by.               Han is watching the dozen or so troops moving in and out of                the pirateship. Leia moves towards Han, touches his arm and                points out the window to the ship.                                     LEIA                         You came in that thing? You're braver                          that I thought.                                     HAN                         Nice! Come on!               Han gives her a dirty look, and they start off down the                hallway. They round a corner and run right into twenty                Imperial stormtroopers heading toward them. Both groups are                taken by surprise and stop in their tracks.                                     FIRST TROOPER                         It's them! Blast them!               Before even thinking, Han draws his laser pistol and charges                the troops, firing. His blaster knocks one of the                stormtroopers into the air. Chewie follows his captain down                the corridor, stepping over the fallen trooper on the floor.                                     HAN                              (to Luke and Leia)                         Get back to the ship!                                     LUKE                         Where are you going? Come back!               Han has already rounded a corner and does not hear.                                     LEIA                         He certainly has courage.                                     LUKE                         What good will it do us if he gets                          himself killed? Come on!               Luke is furious but doesn't have time to think about it for                muted alarms begin to go off down on the hangar deck. Luke                and Leia start off toward the starship hangar.               INT. DEATH STAR - SUBHALLWAY               Han chases the stormtroopers down a long subhallway. He is                yelling and brandishing his laser pistol. The troops reach a                dead end and are forced to turn and fight. Han stops a few                feet from them and assumes a defensive position. The troops                begin to raise their laser guns. Soon all ten troopers are                moving into an attack position in front of the lone                starpirate. Han's determined look begins to fade as the troops                begin to advance. Solo jumps backward as they fire at him.               INT. DEATH STAR - SUBHALLWAY               Chewbacca runs down the subhallway in a last-ditch attempt                to save his bold captain. Suddenly he hears the firing of                laser guns and yelling. Around the corner shoots Han, pirate                extraordinaire, running for his life, followed by a host of                furious stormtroopers. Chewbacca turns and starts running                the other way also.               INT. DEATH STAR - SUBHALLWAY               Luke fires his laser pistol wildly as he and Leia rush down                a narrow subhallway, chased by several stormtroopers. They                quickly reach the end of the subhallway and race through an                open hatchway.               INT. DEATH STAR - CENTRAL CORE SHAFT               Luke and Leia race through the hatch onto a narrow bridge                that spans a huge, deep shaft that seems to go into infinity.                The bridge has been retracted into the wall of the shaft,                and Luke almost rushes into the abyss. He loses his balance                off the end of the bridge as Leia, behind him, takes hold of                his arm and pulls him back.                                     LUKE                              (gasping)                         I think we took a wrong turn.               Blasts from the stormtroopers' laser guns explode nearby                reminding them of the oncoming danger. Luke fires back at                the advancing troops. Leia reaches over and hits a switch                that pops the hatch door shut with a resounding boom, leaving                them precariously perched on a short piece of bridge overhang.                 Laserfire from the troopers continues to hit the steel door.                                     LEIA                         There's no lock!               Luke blasts the controls with his laser pistol.                                     LUKE                         That oughta hold it for a while.                                     LEIA                         Quick, we've got to get across. Find                          the control that extends the bridge.                                     LUKE                         Oh, I think I just blasted it.               Luke looks at the blasted bridge control while the                stormtroopers on the opposite side of the door begin making                ominous drilling and pounding sounds.                                     LEIA                         They're coming through!               Luke notices something on his stormtrooper belt, when                laserfire hits the wall behind him. Luke aims his laser pistol                at a stormtrooper perched on a higher bridge overhang across                the abyss from them. They exchange fire. Two more troops                appear on another overhang, also firing. A trooper is hit,                and grabs at his chest.               Another trooper standing on the bridge overhang is hit by                Luke's laserfire, and plummets down the shaft. Troopers move                back off the bridge; Luke hands the gun to Leia.                                     LUKE                         Here, hold this.               Luke pulls a thin nylon cable from his trooper utility belt.                It has a grappler hook on it. A trooper appears on a bridge                overhang and fires at Luke and Leia. As Luke works with the                rope, Leia returns the laser volley. Another trooper appears                and fires at them, as Leia returns his fire as well.                 Suddenly, the hatch door begins to open, revealing the feet                of more troops.                                     LEIA                         Here they come!               Leia hits one of the stormtroopers on the bridge above, and                he falls into the abyss. Luke tosses the rope across the                gorge and it wraps itself around an outcropping of pipes. He                tugs on the rope to make sure it is secure, then grabs the                princess in his arms. Leia looks at Luke, then kisses him                quickly on the lips. Luke is very surprised.                                     LEIA                         For luck!               Luke pushes off and they swing across the treacherous abyss                to the corresponding hatchway on the opposite side. Just as                Luke and Leia reach the far side of the canyon, the                stormtroopers break through the hatch and begin to fire at                the escaping duo. Luke returns the fire before ducking into                the tiny subhallway.               INT. DEATH STAR - NARROW PASSAGEWAY               Ben hides in the shadows of the narrow passageway as several                stormtroopers rush past him in the main hallway. He checks                to make sure they're gone, then runs down the hallway in the                opposite direction. Darth Vader appears at the far end of                the hallway and starts after the old Jedi.               INT. DEATH STAR - MAIN FORWARD BAY               Threepio looks around at the troops milling about the                pirateship entry ramp.                                     THREEPIO                         Where could they be?               Artoo, plugged into the computer socket, turns his dome left                and right, beeping a response.               INT. DEATH STAR - CORRIDOR - BLAST SHIELDS DOOR               Han and Chewbacca run down a long corridor with several                troopers hot on their trail.                                     TROOPER                         Close the blast doors!               At the end of the hallway, blast doors begin to close in                front of them. The young starpilot and his furry companion                race past the huge doors just as they are closing, and manage                to get off a couple off laserblasts at the pursuing troops                before the doors slam shut.                                     TROOPER                         Open the blast doors! Open the blast                          doors!               INT. DEATH STAR - HALLWAY LEADING TO MAIN FORWARD BAY               Ben hurries along one of the tunnels leading to the hangar                where the pirateship waits. Just before he reaches the hangar,                Darth Vader steps into view at the end of the tunnel, not                ten feet away. Vader lights his saber. Ben also ignites his                and steps slowly forward.                                     VADER                         I've been waiting for you, Obi-Wan.                          We meet again, at last. The circle                          is now complete.               Ben Kenobi moves with elegant ease into a classical offensive                position. The fearsome Dark Knight takes a defensive stance.                                     VADER                         When I left you, I was but the                          learner; now I am the master.                                     BEN                         Only a master of evil, Darth.               The two Galactic warriors stand perfectly still for a few                moments, sizing each other up and waiting for the right                moment. Ben seems to be under increasing pressure and strain,                as if an invisible weight were being placed upon him. He                shakes his head and, blinking, tries to clear his eyes.               Ben makes a sudden lunge at the huge warrior but is checked                by a lightning movement of The Sith. A masterful slash stroke                by Vader is blocked by the old Jedi. Another of the Jedi's                blows is blocked, then countered. Ben moves around the Dark                Lord and starts backing into the massive starship hangar.                The two powerful warriors stand motionless for a few moments                with laser swords locked in mid-air, creating a low buzzing                sound.                                     VADER                         Your powers are weak, old man.                                     BEN                         You can't win, Darth. If you strike                          me down, I shall become more powerful                          than you can possibly imagine.               Their lightsabers continue to meet in combat.               INT. DEATH STAR - MAIN FORWARD BAY               Han Solo and Chewbacca, their weapons in hand, lean back                against the wall surveying the forward bay, watching the                Imperial stormtroopers make their rounds of the hangar.                                     HAN                         Didn't we just leave this party?               Chewbacca growls a reply, as Luke and the princess join them.                                     HAN                         What kept you?                                     LEIA                         We ran into some old friends.                                     LUKE                         Is the ship all right?                                     HAN                         Seems okay, if we can get to it.                          Just hope the old man got the tractor                          beam out of commission.               INT. DEATH STAR - HALLWAY               Vader and Ben Kenobi continue their powerful duel. As they                hit their lightsabers together, lightning flashes on impact.                Troopers look on in interest as the old Jedi and Dark Lord                of The Sith fight. Suddenly Luke spots the battle from his                group's vantage point.                                     LUKE                         Look!               Luke, Leia, Han, and Chewie look up and see Ben and Vader                emerging from the hallways on the far side of the docking                bay.               INT. DEATH STAR - DOCKING BAY               Threepio and Artoo-Detoo are in the center of the Death Star's                Imperial docking bay.                                     THREEPIO                         Come on, Artoo, we're going!               Threepio ducks out of sight as the seven stormtroopers who                were guarding the starship rush past them heading towards                Ben and The Sith Knight. He pulls on Artoo.               INT. DEATH STAR - HALLWAY               Solo, Chewie, Luke, and Leia tensely watch the duel. The                troops rush toward the battling knights.                                     HAN                         Now's our chance! Go!               They start for the Millennium Falcon. Ben sees the troops                charging toward him and realizes that he is trapped. Vader                takes advantage of Ben's momentary distraction and brings                his mighty lightsaber down on the old man. Ben manages to                deflect the blow and swiftly turns around.               The old Jedi Knight looks over his shoulder at Luke, lifts                his sword from Vader's then watches his opponent with a serene                look on his face.               Vader brings his sword down, cutting old Ben in half. Ben's                cloak falls to the floor in two parts, but Ben is not in it.                 Vader is puzzled at Ben's disappearance and pokes at the                empty cloak. As the guards are distracted, the adventurers                and the robots reach the starship. Luke sees Ben cut in two                and starts for him. Aghast, he yells out.                                     LUKE                         No!               The stormtroopers turn toward Luke and begin firing at him.                 The robots are already moving up the ramp into the Millennium                Falcon, while Luke, transfixed by anger and awe, returns                their fire. Solo joins in the laserfire. Vader looks up and                advances toward them, as one of his troopers is struck down.                                     HAN                              (to Luke)                         Come on!                                     LEIA                         Come on! Luke, its too late!                                     HAN                         Blast the door! Kid!               Luke fires his pistol at the door control panel, and it                explodes. The door begins to slide shut. Three troopers charge                forward firing laser bolts, as the door slides to a close                behind them, shutting Vader and the other troops out of the                docking bay. A stormtrooper lies dead at the feet of his                onrushing compatriots. Luke starts for the advancing troops,                as Solo and Leia move up the ramp into the pirateship. He                fires, hitting a stormtrooper, who crumbles to the floor.                                     BEN'S VOICE                         Run, Luke! Run!               Luke looks around to see where the voice came from. He turns                toward the pirateship, ducking Imperial gunfire from the                troopers and races into the ship.               INT. MILLENNIUM FALCON - COCKPIT               Han pulls back on the controls and the ship begins to move.                The dull thud of laser bolts bouncing off the outside of the                ship as Chewie adjusts his controls.                                     HAN                         I hope the old man got that tractor                          beam out if commission, or this is                          going to be a real short trip. Okay,                          hit it!               Chewbacca growls in agreement.               EXT. MILLENNIUM FALCON               The Millennium Falcon powers away from the Death Star docking                bay, makes a spectacular turn and disappears into the vastness                of space.               INT. MILLENNIUM FALCON - CENTRAL HOLD AREA               Luke, saddened by the loss of Obi-Wan Kenobi, stares off                blankly as the robots look on. Leia puts a blanket around                him protectively, and Luke turns and looks up at her. She                sits down beside him.               INT. MILLENNIUM FALCON - COCKPIT               Solo spots approaching enemy ships.                                     HAN                              (to Chewie)                         We're coming up on the sentry ships.                          Hold 'em off! Angle the deflector                          shields while I charge up the main                          guns!               INT. MILLENNIUM FALCON - CENTRAL HOLD AREA               Luke looks downward sadly, shaking his head back and forth,                as the princess smiles comfortingly at him.                                     LUKE                         I can't believe he's gone.               Artoo-Detoo beeps a reply.                                     LEIA                         There wasn't anything you could have                          done.               Han rushes into the hold area where Luke is sitting with the                princess.                                     HAN                              (to Luke)                         Come on, buddy, we're not out of                          this yet!               INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT               Solo climbs into his attack position in the topside gunport.               INT. MILLENNIUM FALCON - HOLD AREA               Luke gets up and moves out toward the gunports as Leia heads                for the cockpit.               INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT               Luke climbs down the ladder into the gunport cockpit, settling                into one of the two main laser cannons mounted in large                rotating turrets on either side of the ship.               INT. MILLENNIUM FALCON - SOLO'S GUNPORT               Han adjusts his headset as he sits before the controls of                his laser cannon, then speaks into the attached microphone.                                     HAN                              (to Luke)                         You in, kid? Okay, stay sharp!               INT. MILLENNIUM FALCON - GUNPORTS - COCKPIT               Chewbacca and Princess Leia search the heavens for attacking                TIE fighters. The Wookiee pulls back on the speed controls                as the ship bounces slightly.               INT. MILLENNIUM FALCON - SOLO'S GUNPORT - COCKPIT               Computer graphic readouts form on Solo's target screen, as                Han reaches for controls.               INT. MILLENNIUM FALCON - GUNPORT - COCKPIT               Luke sits in readiness for the attack, his hand on the laser                cannon's control button.               INT. MILLENNIUM FALCON - COCKPIT.               Chewbacca spots the enemy ships and barks.                                     LEIA                              (into intercom)                         Here they come!               INT. MILLENNIUM FALCON - COCKPIT - POV (POINT OF VIEW) -                SPACE               The Imperial TIE fighters move towards the Millennium Falcon,                one each veering off to the left and right of the pirateship.               INT. TIE FIGHTER - COCKPIT               The stars whip past behind the Imperial pilot as he adjusts                his maneuvering joy stick.               EXT. MILLENNIUM FALCON - IN SPACE               The TIE fighter races past the Falcon, firing laser beams as                it passes.               INT. MILLENNIUM FALCON - HOLD AREA               Threepio is seated in the hold area, next to Artoo-Detoo.                The pirateship bounces and vibrates as the power goes out in                the room and then comes back on.               INT. MILLENNIUM FALCON - COCKPIT - GUNPORTS               A TIE fighter maneuvers in front of Han, who follows it and                fires at it with the laser cannon. Luke does likewise, as                the fighter streaks into view. The ship has suffered a minor                hit, and bounces slightly.               EXT. SPACE               Two TIE fighters dive down toward the pirateship.               INT. MILLENNIUM FALCON - GUNPORTS               Luke fires at an unseen fighter.                                     LUKE                         They're coming in too fast!               EXT. SPACE - MILLENNIUM FALCON/TIE FIGHTERS               Pan with pirateship as two TIE fighters charge through the                background. Laserbolts streak from all the craft.               INT. MILLENNIUM FALCON - CHEWBACCA               The ship shudders as a laserbolt hits very close to the                cockpit. The Wookiee chatters something to Leia.               EXT. TIE FIGHTER - SPACE               Full shot of a TIE fighter as it moves fast through the frame,                firing on the pirate starship.               EXT. SPACE - TIE FIGHTERS               The two TIE fighters fire a barrage of laserbeams at the                pirateship.               INT. MILLENNIUM FALCON - MAIN PASSAGEWAY               A laserbolt streaks into the side of the pirateship. The                ship lurches violently, throwing poor Threepio into a cabinet                fill of small computer chips.                                     THREEPIO                         Oooh!               INT. MILLENNIUM FALCON - COCKPIT - GUNPORTS               Leia watches the computer readout as Chewbacca manipulates                the ship's controls.                                     LEIA                         We've lost lateral controls.                                     HAN                         Don't worry, she'll hold together.               An enemy laserbolt hits the pirateship's control panel,                causing it to blow out in a shower of sparks.                                     HAN                              (to ship)                         You hear me, baby? Hold together!               Artoo-Detoo advances toward the smoking sparking control                panel, dousing the inferno by spraying it with fire retardant                beeping all the while.               INT. MILLENNIUM FALCON - GUNPORT               Luke swivels in his gun mount, following the TIE fighter                with his laser cannon.               INT. MILLENNIUM FALCON - GUNPORT               Solo aims his laser cannon at the enemy fighter.               EXT. SPACE               A TIE fighter streaks in front of the starship.               INT. MILLENNIUM FALCON - COCKPIT               Leia watches the TIE fighter ship fly over.               EXT. SPACE               A TIE fighter heads right for the pirateship, then zooms                overhead.               INT. MILLENNIUM FALCON - GUNPORTS               Luke follows the TIE fighter across his field of view, firing                laserbeams from his cannon.               EXT. TIE FIGHTER               A TIE fighter dives past the pirateship.               INT. MILLENNIUM FALCON - GUNPORTS               Luke fires at a TIE fighter. At his port, Han follows a                fighter in his sights, releasing a blast of laserfire. He                connects, and the fighter explodes into fiery dust. Han laughs                victoriously.               EXT. SPACE               Two TIE fighters move toward and over the Millennium Falcon,                unleashing a barrage of laserbolts at the ship.               INT. MILLENNIUM FALCON - GUNPORTS               Another TIE fighter moves in on the pirateship and Luke,                smiling, fires the laser cannon at it, scoring a spectacular                direct hit.                                     LUKE                         Got him! I got him!               Han turns and gives Luke a victory wave which Luke gleefully                returns.                                     HAN                         Great kid! Don't get cocky.               Han turns back to his laser cannon.               EXT. SPACE               Two more TIE fighters cross in front of the pirateship.               INT. MILLENNIUM FALCON - COCKPIT               While Chewbacca manipulates the controls, Leia turns, looking                over her shoulder out the ports.                                     LEIA                         There are still two more of them out                          there!               EXT. SPACE               A TIE fighter moves up over the pirateship, firing laserblasts                at it.               INT. MILLENNIUM FALCON - GUNPORTS               Luke and Han look into their respective projected target                screens. An Imperial fighter crosses Solo's port, and Han                swivels in his chair, following it with blasts from his laser                cannon. Another fighter crosses Luke's port, and he reacts                in a like manner, the glow of his target screen lighting his                face.               EXT. SPACE               The TIE fighter zooms toward the pirateship, firing                destructive blasts at it.               INT. MILLENNIUM FALCON - GUNPORTS               Luke fires a laserblast at the approaching enemy fighter,                and it bursts into a spectacular explosion. Luke's projected                screen gives a readout of the hit. The pirateship bounces                slightly as it is struck by the enemy fire.               EXT. SPACE - TIE FIGHTER               The last of the attacking Imperial TIE fighters looms in,                firing upon the Falcon.               INT. MILLENNIUM FALCON - GUNPORT               Solo swivels behind his cannon, his aim describing the arc                of the TIE fighter. The fighter comes closer, firing at the                pirateship, but a well-aimed blast from Solo's laser cannon                hits the attacker, which blows up in a small atomic shower                of burning fragments.                                     LUKE                              (laughing)                         That's it! We did it!               The princess jumps up and gives Chewie a congratulatory hug.                                     LEIA                         We did it!               INT. MILLENNIUM FALCON - PASSAGEWAY               Threepio lies on the floor of the ship, completely tangled                in the smoking, sparking wires.                                     THREEPIO                         Help! I think I'm melting!                              (to Artoo)                         This is all your fault.               Artoo turns his dome from side to side, beeping in response.               EXT. SPACE - MILLENNIUM FALCON               The victorious Millennium Falcon moves off majestically                through space.               INT. DEATH STAR - CONTROL ROOM               Darth Vader strides into the control room, where Tarkin is                watching the huge view screen. A sea of stars is before him.                                     TARKIN                         Are they away?                                     VADER                         They have just made the jump into                          hyperspace.                                     TARKIN                         You're sure the homing beacon is                          secure aboard their ship? I'm taking                          an awful risk, Vader. This had better                          work.               INT. MILLENNIUM FALCON - COCKPIT               Han, removes his gloves and smiling, is at the controls of                the ship. Chewie moves into the aft section to check the                damage. Leia is seated near Han.                                     HAN                         Not a bad bit of rescuing, huh? You                          know, sometimes I even amaze myself.                                     LEIA                         That doesn't sound too hard. Besides,                          they let us go. It's the only                          explanation for the ease of our                          escape.                                     HAN                         Easy... you call that easy?                                     LEIA                         Their tracking us!                                     HAN                         Not this ship, sister.               Frustrated, Leia shakes her head.                                     LEIA                         At least the information in Artoo is                          still intact.                                     HAN                         What's so important? What's he                          carrying?                                     LEIA                         The technical readouts of that battle                          station. I only hope that when the                          data is analyzed, a weakness can be                          found. It's not over yet!                                     HAN                         It is for me, sister! Look, I ain't                          in this for your revolution, and I'm                          not in it for you, Princess. I expect                          to be well paid. I'm in it for the                          money!                                     LEIA                         You needn't worry about your reward.                          If money is all that you love, then                          that's what you'll receive!               She angrily turns, and as she starts out of the cockpit,                passes Luke coming in.                                     LEIA                         Your friend is quite a mercenary. I                          wonder if he really cares about                          anything... or anyone.                                     LUKE                         I care!               Luke, shaking his head, sits in the copilot seat. He and Han                stare out at the vast blackness of space.                                     LUKE                         So... what do you think of her, Han?                                     HAN                         I'm trying not to, kid!                                     LUKE                              (under his breath)                         Good...                                     HAN                         Still, she's got a lot of spirit. I                          don't know, what do you think? Do                          you think a princess and a guy like                          me...                                     LUKE                         No!               Luke says it with finality and looks away. Han smiles at                young Luke's jealousy.               EXT. SPACE AROUND FOURTH MOON OF YAVIN               The battered pirateship drifts into orbit around the planet                Yavin and proceeds to one of its tiny green moons.               EXT. FOURTH MOON OF YAVIN               The pirateship soars over the dense jungle.               EXT. MASSASSI OUTPOST               An alert guard, his laser gun in hand, scans the countryside.                 He sets the gun down and looks toward the temple, barely                visible in the foliage.               EXT. MASSASSI OUTPOST - JUNGLE TEMPLE               Rotting in a forest of gargantuan trees, an ancient temple                lies shrouded in an eerie mist. The air is heavy with the                fantastic cries of unimaginable creatures. Han, Luke and the                others are greeted by the Rebel troops.               Luke and the group ride into the massive temple on an armored                military speeder.               INT. MASSASSI - MAIN HANGAR DECK               The military speeder stops in a huge spaceship hangar, set                up in the interior of the crumbling temple. Willard, the                commander of the Rebel forces, rushes up to the group and                gives Leia a big hug. Every one is pleased to see her.                                     WILLARD                              (holding Leia)                         You're safe! We had feared the worst.               Willard composes himself, steps back and bows formally.                                     WILLARD                         When we heard about Alderaan, we                          were afraid that you were... lost                          along with your father.                                     LEIA                         We don't have time for our sorrows,                          Commander. The battle station has                          surely tracked us here.                              (looking pointedly to                               Han)                         It's the only explanation for the                          ease of our escape. You must use the                          information in this R2 unit to plan                          the attack. It is our only hope.               EXT. SPACE               The surface of the Death Star ominously approaches the red                planet Yavin.               INT. DEATH STAR - CONTROL ROOM               Grand Moff Tarkin and Lord Vader are interrupted in their                discussion by the buzz of the comlink. Tarkin moves to answer                the call.                                     TARKIN                         Yes.               DEATH STAR INTERCOM VOICE               We are approaching the planet Yavin. The Rebel base is on a                moon on the far side. We are preparing to orbit the planet.               EXT. YAVIN - JUNGLE               A lone guard stands in a tower high above the Yavin landscape,                surveying the countryside. A mist hangs over the jungle of                twisted green.               INT. MASSASSI - WAR ROOM BRIEFING AREA               Dodonna stands before a large electronic wall display. Leia                and several other senators are to one side of the giant                readout. The low-ceilinged room is filled with starpilots,                navigators, and a sprinkling of R2-type robots. Everyone is                listening intently to what Dodonna is saying. Han and                Chewbacca are standing near the back.                                     DODONNA                         The battle station is heavily shielded                          and carries a firepower greater than                          half the star fleet. It's defenses                          are designed around a direct large-                         scale assault. A small one-man fighter                          should be able to penetrate the outer                          defense.               Gold Leader, a rough looking man in his early thirties, stands                and addresses Dodonna.                                     GOLD LEADER                         Pardon me for asking, sir, but what                          good are snub fighters going to be                          against that?                                     DODONNA                         Well, the Empire doesn't consider a                          small one-man fighter to be any                          threat, or they'd have a tighter                          defense. An analysis of the plans                          provided by Princess Leia has                          demonstrated a weakness in the battle                          station.               Artoo-Detoo stands next to a similar robot, makes beeping                sounds, and turns his head from right to left.                                     DODONNA                         The approach will not be easy. You                          are required to maneuver straight                          down this trench and skim the surface                          to this point. The target area is                          only two meters wide. It's a small                          thermal exhaust port, right below                          the main port. The shaft leads                          directly to the reactor system. A                          precise hit will start a chain                          reaction which should destroy the                          station.               A murmer of disbelief runs through the room.                                     DODONNA                         Only a precise hit will set up a                          chain reaction. The shaft is ray-                         shielded, so you'll have to use proton                          torpedoes.               Luke is sitting next to Wedge Antilles, a hotshot pilot about                sixteen years old.                                     WEDGE                         That's impossible, even for a                          computer.                                     LUKE                         It's not impossible. I used to bull's-                         eye womp rats in my T-sixteen back                          home. They're not much bigger than                          two meters.                                     DODONNA                         Man your ships! And may the Force be                          with you!               The group rises and begins to leave.               EXT. SPACE               The Death Star begins to move around the planet toward the                tiny green moon.               INT. DEATH STAR               Tarkin and Vader watch the computer projected screen with                interest, as a circle of lights intertwines around one another                on the screen showing it's position in relation to Yavin and                the forth moon.               DEATH STAR INTERCOM VOICE               Orbiting the planet at maximum velocity. The moon with the                Rebel base will be in range in thirty minutes.                                     VADER                         This will be a day long remembered.                          It has seen the end of Kenobi and it                          will soon see the end of the                          Rebellion.               INT. MASSASSI OUTPOST - MAIN HANGAR DECK               Luke, Threepio and little Artoo enter the huge spaceship                hangar and hurry along a long line of gleaming spacefighters.                 Flight crews rush around loading last-minute armaments and                unlocking power couplings. In an area isolated from this                activity Luke finds Han and Chewbacca loading small boxes                onto an armored speeder.                                     MAN'S VOICE                              (over loudspeaker)                         All flight trooper, man your stations.                          All flight troops, man your stations.               Han is deliberately ignoring the activity of the fighter                pilots' preparation. Luke is quite saddened at the sight of                his friend's departure.                                     LUKE                         So... you got your reward and you're                          just leaving then?                                     HAN                         That's right, yeah! I got some old                          debts I've got to pay off with this                          stuff. Even if I didn't, you don't                          think I'd be fool enough to stick                          around here, do you? Why don't you                          come with us? You're pretty good in                          a fight. I could use you.                                     LUKE                              (getting angry)                         Come on! Why don't you take a look                          around? You know what's about to                          happen, what they're up against.                          They could use a good pilot like                          you. You're turning your back on                          them.                                     HAN                         What good's a reward if you ain't                          around to use it? Besides, attacking                          that battle station ain't my idea of                          courage. It's more like suicide.                                     LUKE                         All right. Well, take care of                          yourself, Han. I guess that's what                          you're best at, isn't it?               Luke goes off and Han hesitates, then calls to him.                                     HAN                         Hey, Luke... may the Force be with                          you!               Luke turns and sees Han wink at him. Luke lifts his hand in                a small wave and then goes off.               Han turns to Chewie who growls at his captain,                                     HAN                         What're you lookin' at? I know what                          I'm doing.               INT. MAIN HANGAR DECK - LUKE'S SHIP               Luke, Leia, and Dodonna meet under a huge space fighter.                                     LEIA                         What's wrong?                                     LUKE                         Oh, it's Han! I don't know, I really                          thought he'd change his mind.                                     LEIA                         He's got to follow his own path. No                          one can choose it for him.                                     LUKE                         I only wish Ben were here.               Leia gives Luke a little kiss, turns, and goes off. As Luke                heads for his ship, another pilot rushes up to him and grabs                his arm.                                     BIGGS                         Luke! I don't believe it! How'd you                          get here... are you going out with                          us?!                                     LUKE                         Biggs! Of course, I'll be up there                          with you! Listen, have I got some                          stories to tell...               Red Leader, a rugged handsome man in his forties, comes up                behind Luke and Biggs. He has the confident smile of a born                leader.                                     RED LEADER                         Are you... Luke Skywalker? Have you                          been checked out on the Incom T-sixty-                         five?                                     BIGGS                         Sir, Luke is the best bushpilot in                          the outer rim territories.               Red Leader pats Luke on the back as they stop in front of                his fighter.                                     RED LEADER                         I met your father once when I was                          just a boy, he was a great pilot.                          You'll do all right. If you've got                          half of your father's skill, you'll                          do better than all right.                                     LUKE                         Thank you, sir. I'll try.               Red Leader hurries to his own ship.                                     BIGGS                         I've got to get aboard. Listen, you'll                          tell me your stories when we come                          back. All right?                                     LUKE                         I told you I'd make it someday, Biggs.                                     BIGGS                              (going off)                         You did, all right. It's going to be                          like old times, Luke. We're a couple                          of shooting stars that'll never be                          stopped!               Luke laughs and shakes his head in agreement. He heads for                his ship.               As Luke begins to climb up the ladder into his sleek, deadly                spaceship, the crew chief, who is working on the craft, points                to little Artoo, who is being hoisted into a socket on the                back of the fighter.                                     CHIEF                         This R2 unit of your seems a bit                          beat up. Do you want a new one?                                     LUKE                         Not on your life! That little droid                          and I have been through a lot                          together.                              (to Artoo)                         You okay, Artoo?               The crewmen lower Artoo-Detoo into the craft. Now a part of                the exterior shell of the starship, the little droid beeps                that he is fine.               Luke climbs up into the cockpit of his fighter and puts an                his helmet. Threepio looks on from the floor of the massive                hangar as the crewmen secure his little electronic partner                into Luke's X-wing. It's an emotional-filled moment as Artoo                beeps good-bye.                                     CHIEF                         Okay, easy she goes!                                     THREEPIO                         Hang on tight,Artoo, you've got to                          come back.               Artoo beeps in agreement.                                     THREEPIO                         You wouldn't want my life to get                          boring, would you?               Artoo whistles his reply.               All final preparations are made for the approaching battle.                 The hangar is buzzing with the last minute activity as the                pilots and crewmen alike make their final adjustments. The                hum of activity is occasionally trespassed by the distorted                voice of the loudspeaker issuing commands. Coupling hoses                are disconnected from the ships as they are fueled. Cockpit                shields roll smoothly into place over each pilot. A signalman,                holding red guiding lights, directs the ships. Luke, a trace                of a smile gracing his lips, peers about through his goggles.                                     BEN'S VOICE                         Luke, the Force will be with you.               Luke is confused at the voice and taps his headphones.               EXT. MASSASSI OUTPOST - JUNGLE               All that can be seen of the fortress is a lone guard standing                on a small pedestal jutting out above the dense jungle. The                muted gruesome crying sounds that naturally permeate this                eerie purgatory are overwhelmed by the thundering din of ion                rockets as four silver starships catapult from the foliage                in a tight formation and disappears into the morning cloud                cover.               INT. MASSASSI OUTPOST - WAR ROOM               The princess, Threepio, and a field commander sit quietly                before the giant display showing the planet Yavin and its                four moons. The red dot that represents the Death Star moves                ever closer to the system. A series of green dots appear                around the fourth moon. A din of indistinct chatter fills                the war room.                                     MASSASSI INTERCOM VOICE                         Stand-by alert. Death Star                          approaching. Estimated time to firing                          range, fifteen minutes.               EXT. SPACE               The Death Star slowly moves behind the massive yellow surface                of Yavin in the foreground, as many X-wing fighters flying                in formation zoom toward us and out of the frame.               EXT. SPACE - ANOTHER ANGLE               Light from a distant sun creates an eerie atmospheric glow                around a huge planet, Yavin. Rebel fighters flying in                formation settle ominously in the foreground and very slowly                pull away.               INT. RED LEADER STARSHIP - COCKPIT               Red Leader lowers his visor and adjusts his gun sights,                looking to each side at his wing men.                                     RED LEADER                         All wings report in.               INT. ANOTHER COCKPIT               One of the Rebel fighters checks in through his mike.                                     RED TEN                         Red Ten standing by.               INT. BIGGS' COCKPIT               Biggs checks his fighter's controls, alert and ready for                combat.                                     RED SEVEN                              (over Biggs' headset)                         Red Seven standing by.                                     BIGGS                         Red Three standing by.               INT. PORKINS' COCKPIT                                     PORKINS                         Red Six standing by.                                     RED NINE                              (over headset)                         Red Nine standing by.               INT. WEDGE'S FIGHTER - COCKPIT                                     WEDGE                         Red Two standing by.               INT. LUKE'S X-WING FIGHTER - COCKPIT                                     RED ELEVEN                              (over headset)                         Red Eleven standing by.                                     LUKE                         Red Five standing by.               EXT. LUKE'S X-WING FIGHTER               Artoo-Detoo, in position outside of the fighter, turns his                head from side to side and makes beeping sounds.               INT. RED LEADER'S FIGHTER - COCKPIT                                     RED LEADER                         Lock S-foils in attack position.               EXT. SPACE               The group of X-wing fighters move in formation toward the                Death Star, unfolding the wings and locking them in the "X"                position.               INT. BIGGS' COCKPIT                                     READ LEADER                              (over headset)                         We're passing through their magnetic                          field.               INT. RED LEADER'S COCKPIT                                     RED LEADER                         Hold tight!               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke adjusts his controls as he concentrates on the                approaching Death Star. The ship begins to be buffeted                slightly.                                     RED LEADER                              (over headset)                         Switch your deflectors on.               INT. ANOTHER COCKPIT                                     RED LEADER                              (over headset)                         Double front!               EXT. SPACE               The fighters, now X-shaped darts, move in formation. The                Death Star now appears to be a small moon growing rapidly in                size as the Rebel fighters approach. Complex patterns on the                metallic surface begin to become visible. A large dish antenna                is built into the surface on one side.               INT. WEDGE'S COCKPIT               Wedge is amazed and slightly frightened at the awesome                spectacle.                                     WEDGE                         Look at the size of that thing!                                     RED LEADER                              (over headset)                         Cut the chatter, Red Two.               INT. RED LEADER'S COCKPIT                                     RED LEADER                         Accelerate to attack speed. This is                          it, boys!               EXT. SPACE               As the fighters move closer to the Death Star, the awesome                size of the gargantuan Imperial fortress is revealed. Half                of the deadly space station is in shadow and this area                sparkles with thousands of small lights running in thin lines                and occasionally grouped in large clusters; somewhat like a                city at night as seen from a weather satellite.               INT. GOLD LEADER'S COCKPIT                                     GOLD LEADER                         Red Leader, this is Gold Leader.                                     RED LEADER                              (over headset)                         I copy, Gold Leader.                                     GOLD LEADER                         We're starting for the target shaft                          now.               INT. RED LEADER'S COCKPIT               Red Leader looks around at his wingmen; the Death Star looming                in from behind. Two Y-wing fighters bob back and forth in                the background. He moves his computer targeting device into                position.                                     RED LEADER                         We're in position. I'm going to cut                          across the axis and try and draw                          their fire.               EXT. SPACE               Two squads of Rebel fighters peel off. The X-wings dive                towards the Death Star surface. A thousand lights glow across                the dark grey expanse of the huge station.               INT. DEATH STAR               Alarm sirens scream as soldiers scramble to large turbo-                powered laser gun emplacements. Electronic drivers rotate                the huge guns into position as crew adjust their targeting                devices.               EXT. SPACE AROUND THE DEATH STAR               Laserbolts streak through the star-filled night. The Rebel X-               wing fighters move in toward the Imperial base, as the Death                Star aims its massive laser guns at the Rebel forces and                fires.               INT. MASSASSI OUTPOST - WAR ROOM               Princess Leia listens to the battle over the intercom.                 Threepio is at her side.                                     WEDGE                              (over war room speaker                               system)                         Heavy fire, boss! Twenty-degrees.                                     RED LEADER                              (over speaker)                         I see it. Stay low.               EXT. SPACE               An X-wing zooms across the surface of the Death Star.               INT. DEATH STAR               Technical crews scurry here and there loading last-minute                armaments and unlocking power cables.               INT. WEDGE'S COCKPIT               Wedge maneuvers his fighter toward the menacing Death Star.               EXT. SPACE               X-wings continue in their attack course on the Death Star.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke nosedives radically, starting his attack on the monstrous                fortress. The Death Star surface streaks past the cockpit                window.                                     LUKE                         This is Red Five; I'm going in!               EXT. SPACE               Luke's X-wing races toward the Death Star. Laserbolts streak                from Luke's weapons, creating a huge fireball explosion on                the dim surface.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Terror crosses Luke's face as he realizes he won't be able                to pull out in time to avoid the fireball.                                     BIGGS                              (over headset)                         Luke, pull up!               EXT. SURFACE OF DEATH STAR               Luke's ship emerges from the fireball, with the leading edges                of his wings slightly scorched.               INT. BIGGS' COCKPIT                                     BIGGS                         Are you all right?               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke adjusts his controls and breathes a sigh of relief.                Flak bursts outside the cockpit window.                                     LUKE                         I got a little cooked, but I'm okay.               EXT. SURFACE OF THE DEATH STAR               Rebel fighters continue to strafe the Death Star's surface                with laserbolts.               INT. DEATH STAR               Walls buckle and cave in. Troops and equipment are blown in                all directions. Stormtroopers stagger out of the rubble.                 Standing in the middle of the chaos, a vision of calm and                foreboding, is Darth Vader. One of his Astro-Officers rushes                up to him.                                     ASTRO-OFFICER                         We count thirty Rebel ships, Lord                          Vader. But they're so small they're                          evading our turbo-lasers!                                     VADER                         We'll have to destroy them ship to                          ship. Get the crews to their fighters.               INT. DEATH STAR               Smoke belches from the giant laser guns as they wind up their                turbine generators to create sufficient power. The crew rushes                about preparing for another blast. Even the troopers head                gear is not adequate to protect them from the overwhelming                noise of the monstrous weapon. One troopers bangs his helmet                with his hand in an attempt to stop the ringing.               INT. READ LEADER'S X-WING FIGHTER - COCKPIT - TRAVELING               Red Leader flies through a heavy hail of flak.                                     RED LEADER                         Luke, let me know when you're going                          in.               INT. LUKE'S X-WING - COCKPIT - TRAVELING               The Red Leader's X-wing flies past Luke as he puts his nose                down and starts his attack dive.                                     LUKE                         I'm on my way in now...                                     RED LEADER                         Watch yourself! There's a lot of                          fire coming from the right side of                          that deflection tower.                                     LUKE                         I'm on it.               EXT. SURFACE OF THE DEATH STAR               Luke flings his X-wing into a twisting dive across the horizon                and down onto the dim grey surface.               EXT. LUKE'S X-WING TRAVELING               A shot hurls from Luke's guns. Laserbolts streak toward the                onrushing Death Star surface. Several small radar emplacements                erupt in flame. Laserfire erupts from a protruding tower on                the surface.               INT. LUKE'S X-WING - COCKPIT - TRAVELING               The blurry Death Star surface races past the cockpit window                as a big smile sweeps across Luke's face at the success of                his run. Flak thunders on all sides of him.               EXT. SURFACE OF THE DEATH STAR               The Death Star superstructure races past Luke as he maneuvers                his craft through a wall of laserfire and peels away from                the surface towards the heavens.               INT. DEATH STAR               The thunder and smoke of the big guns reverberate throughout                the massive structure. Many soldiers rush about in the smoke                and chaos, silhouetted by the almost continual flash of                explosions.               INT. BIGGS' COCKPIT - TRAVELING               Biggs dives through a forest of radar domes, antennae, and                gun towers as he shoots low across the Death Star surface. A                dense barrage of laserfire streaks by on all sides.               INT. DEATH STAR               Imperial star pilots dash in unison to a line of small                auxiliary hatches that lead to Imperial TIE fighters.               INT. MASSASSI OUTPOST - WAR ROOM               Princess Leia, surrounded by her generals and aides, paces                nervously before a lighted computer table. On all sides                technicians work in front of many lighted glass walls. Dodonna                watches quietly from one corner. One of the officers working                over a screen speaks into his headset.                                     CONTROL OFFICER                         Squad leaders, we've picked up a new                          group of signals. Enemy fighters                          coming your way.               INT. LUKE'S X-WING - COCKPIT - TRAVELING               Luke looks around to see if he can spot the approaching                Imperial fighters.                                     LUKE                         My scope's negative. I don't see                          anything.               INT. RED LEADER'S X-WING - COCKPIT - TRAVELING               The Death Star's surface sweeps past as Red Leader searches                the sky for the Imperial fighters. Flak pounds at his ship.                                     RED LEADER                         Keep up your visual scanning. With                          all this jamming, they'll be on top                          of you before your scope can pick                          them up.               EXT. SURFACE OF THE DEATH STAR               Silhouetted against the rim lights of the Death Star horizon,                four ferocious Imperial TIE ships dive on the Rebel fighters.                 Two of the TIE fighters peel off and drop out of frame. Pan                with the remaining two TIE ships.               INT. BIGGS' COCKPIT - TRAVELING               Biggs panics when he discovers a TIE ship on his tail. The                horizon in the background twists around as he peels off,                hoping to lose the Imperial fighter.               INT. RED LEADER'S COCKPIT                                     RED LEADER                         Biggs! You've picked one up... watch                          it!                                     BIGGS                         I can't see it! Where is he?!               EXT. SPACE AROUND THE DEATH STAR               Biggs zooms off the surface and into space, closely followed                by an Imperial TIE fighter. The TIE ship fires several                laserbolts at Biggs, but misses.               INT. BIGGS' COCKPIT - TRAVELING               Biggs see the TIE ship behind him and swings around, trying                to avoid him.                                     BIGGS                         He's on me tight, I can't shake him...                          I can't shake him.               EXT. SPACE AROUND THE DEATH STAR               Biggs, flying at high altitude, peels off and dives toward                the Death Star surface, but he is unable to lose the TIE                fighter, who sticks close to his tail.               INT. X-WING FIGHTER - COCKPIT - TRAVELING               Luke is flying upside down. He rotates his ship around to                normal attitude as he comes out of his dive.                                     LUKE                         Hang on, Biggs, I'm coming in.               EXT. SPACE AROUND THE DEATH STAR               Biggs and the tailing TIE ship dive for the surface, now                followed by a fast-gaining Luke. After Biggs dives out of                sight, Luke chases the Imperial fighter.               EXT. SURFACE AROUND THE DEATH STAR               In the foreground, the Imperial fighter races across the                Death Star's surface, closely followed by Luke in the                background.               INT. LUKE'S X-WING FIGHTER - COCKPIT - TRAVELING               There is a shot from Luke's X-wing of the TIE ship exploding                in a mass of flames.                                     LUKE                         Got him!               INT. DEATH STAR               Darth Vader strides purposefully down a Death Star corridor,                flanked by Imperial stormtroopers.                                     VADER                         Several fighters have broken off                          from the main group. Come with me!               INT. MASSASSI OUTPOST - WAR ROOM               A concerned Princess Leia, Threepio, Dodonna, and other                officers of the Rebellion stand around the huge round readout                screen, listening to the ship-to-ship communication on the                room's loudspeaker.                                     BIGGS                              (over speaker)                         Pull in! Luke... pull in!                                     WEDGE                              (over speaker)                         Watch your back, Luke!               INT. LUKE'S X-WING FIGHTER - COCKPIT                                     WEDGE                              (over headset)                         Watch your back! Fighter's above                          you, coming in!               EXT. SPACE               Luke's ship soars away from the Death Star's surface as he                spots the tailing TIE fighter.               INT. TIE FIGHTER'S COCKPIT               The TIE pilot takes aim at Luke's X-wing.               EXT. SPACE               The Imperial TIE fighter pilot scores a hit on Luke's ship.                 Fire breaks out on the right side of the X-wing.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks out of his cockpit at the flames on his ship.                                     LUKE                         I'm hit, but not bad.               EXT. LUKE'S X-WING FIGHTER               Smoke pours out from behind Artoo-Detoo.                                     LUKE'S VOICE                         Artoo, see what you can do with it.                          Hang on back there.               Green laserfire moves past the beeping little robot as his                head turns.               INT. LUKE'S X-WING - COCKPIT               Luke nervously works his controls.                                     RED LEADER                              (over headset)                         Red Six...               INT. MASSASSI OUTPOST - WAR ROOM               In the war room, Leia stands frozen as she listens and worries                about Luke.                                     RED LEADER                              (over speaker)                         Can you see Red Five?                                     RED TEN                              (over speaker)                         There's a heavy fire zone on this                          side. Red Five, where are you?               INT. LUKE'S X-WING - COCKPIT               Luke spots the TIE fighter behind him and soars away from                the Death Star surface.                                     LUKE                         I can't shake him!               EXT. SURFACE OF THE DEATH STAR               Luke's ship soars closer to the surface of the Death Star,                an Imperial TIE fighter closing in on him in hot pursuit.               INT. WEDGE'S COCKPIT               The Death Star whips below Wedge.                                     WEDGE                         I'm on him, Luke!               INT. LUKE'S X-WING - COCKPIT                                     WEDGE                              (over headset)                         Hold on!               EXT. SURFACE OF THE DEATH STAR               Wedge dives across the horizon toward Luke and the TIE                fighter.               INT. WEDGE'S COCKPIT               Wedge moves his X-wing in rapidly.               INT. LUKE'S X-WING - COCKPIT               Luke reacts frantically.                                     LUKE                         Blast it! Wedge where are you?               INT. TIE FIGHTER - COCKPIT               The fighter pilot watches Wedge's X-wing approach. Another X-               wing joins him, and both unleash a volley of laserfire on                the Imperial fighter.               EXT. SPACE               The TIE fighter explodes, filling the screen with white light.                 Luke's ship can be seen far in the distance.               INT. LUKE'S X-WING - COCKPIT               Luke looks about in relief.                                     LUKE                         Thanks, Wedge.               INT. MASSASSI OUTPOST - WAR ROOM               Leia, Threepio, Dodonna and other Rebel officers are listening                to the Rebel Fighter's radio transmissions over the war room                intercom.                                     BIGGS                              (over speaker)                         Good shooting, Wedge!                                     GOLD LEADER                              (over speaker)                         Red Leader...               INT. GOLD LEADER'S Y-WING - COCKPIT               Gold Leader peels off and starts toward the long trenches at                the Death Star surface pole.                                     GOLD LEADER                         This is Gold Leader. We're starting                          out attack run.               EXT. SPACE AROUND THE DEATH STAR               Three Y-wing fighters of the Gold group dive out of the stars                toward the Death Star surface.               INT. MASSASSI OUTPOST - WAR ROOM               Leia and the others are grouped around the screen, as                technicians move about attending to their duties.                                     RED LEADER                              (over speaker)                         I copy, Gold Leader. Move into                          position.               EXT. SPACE AROUND THE DEATH STAR               Three Imperial TIE ships in precise formation dive toward                the Death Star surface.               INT. DARTH VADER'S COCKPIT               Darth Vader calmly adjusts his control stick as the stars                whip past in the window above his head.                                     VADER                         Stay in attack formation!               INT. MASSASSI OUTPOST - WAR ROOM               Technicians are seated at the computer readout table.                                     GOLD LEADER                              (over speaker)                         The exhaust post is...               INT. GOLD LEADER'S Y-WING - COCKPIT                                     GOLD LEADER                         ...marked and locked in!               EXT. SPACE AROUND THE DEATH STAR               Gold Leader approaches the surface and pulls out to skim the                surface of the huge station. The ship moves into a deep                trench, firing laserbolts. The surface streaks past as                laserfire is returned by the Death Star.               INT. GOLD FIVE'S Y-WING - COCKPIT - TRAVELING               Gold Five is a pilot in his early fifties with a very battered                helmet that looks like it's been through many battles. He                looks around to see if enemy ships are near. His fighter is                buffeted by Imperial flak.               INT. GOLD LEADER'S Y-WING - COCKPIT               Gold Leader races down the enormous trench that leads to the                exhaust port. Laserbolts blast toward him in increasing                numbers, occasionally exploding near the ship causing it to                bounce about.                                     GOLD LEADER                         Switch power to front deflector                          screens.               EXT. SURFACE OF THE DEATH STAR               Three Y-wing skim the Death Star surface deep in the trench,                as laserbolts streak past on all sides.               EXT. DEATH STAR SURFACE - GUN EMPLACEMENTS               An exterior surface gun blazes away at the oncoming Rebel                fighters.               INT. GOLD LEADER'S Y-WING - COCKPIT                                     GOLD LEADER                         How many guns do you think, Gold                          Five.               INT. MASSASSI OUTPOST - WAR ROOM                                     GOLD FIVE                              (over speaker)                         I'd say about twenty guns. Some on                          the surface, some on the towers.               Leia, Threepio, and the technicians view the projected target                screen, as red and blue target lights glow. The red target                near the center blinks on and off.                                     MASSASSI INTERCOM VOICE                              (over speaker)                         Death Star will be in range in five                          minutes.               EXT. SURFACE OF THE DEATH STAR               The three Y-wing fighters race toward camera and zoom overhead                through a hail of laserfire.               INT. GOLD LEADER'S Y-WING - COCKPIT               Gold Leader pulls his computer targeting device down in front                of his eye. Laserbolts continue to batter the Rebel craft.                                     GOLD LEADER                         Switching to targeting computer.               INT. GOLD TWO'S Y-WING - COCKPIT               Gold Two, a younger pilot about Luke's age, pulls down his                targeting eye viewer and adjusts it. His ship shudders under                intense laser barrage.                                     GOLD TWO                         Computer's locked. Getting a signal.               As the fighters begin to approach the target area, suddenly                all the laserfire stops. An eerie clam clings over the trench                as the surface whips past in a blur.                                     GOLD TWO                         The guns... they've stopped!               EXT. GOLD FIVE'S COCKPIT               Gold Five looks behind him.                                     GOLD FIVE                         Stabilize your read deflectors. Watch                          for enemy fighters.               INT. GOLD LEADER'S Y-WING - COCKPIT                                     GOLD LEADER                         They've coming in! Three marks at                          two ten.               EXT. SPACE AROUND THE DEATH STAR               Three Imperial TIE ships, Darth Vader in the center flanked                by two wingmen, dive in precise formation almost vertically                toward the Death Star surface.               INT. DARTH VADER'S COCKPIT               Darth Vader calmly adjusts his control stick as the stars                zoom by.                                     VADER                         I'll take them myself! Cover me!                                     WINGMAN'S VOICE                              (over speaker)                         Yes, sir.               EXT. SPACE AROUND THE DEATH STAR               Three TIE fighters zoom across the surface of the Death Star.               INT. DARTH VADER'S COCKPIT               Vader lines up Gold Two in his targeting computer. Vader's                hands grip the control stick as he presses the button.               INT. GOLD LEADER'S Y-WING - COCKPIT               The cockpit explodes around Gold Two. His head falls forward.               EXT. SPACE AROUND THE DEATH STAR               As Gold Two's ship explodes, debris is flung out into space.               INT. GOLD LEADER'S Y-WING - COCKPIT               Gold Leader looks over his shoulder at the scene.               EXT. DEATH STAR TRENCH               The three TIE fighters race along in the trench in a tight                formation.               INT. GOLD LEADER'S Y-WING - COCKPIT               Gold Leader panics.                                     GOLD LEADER                              (into mike)                         I can't maneuver!               INT. GOLD FIVE'S Y-WING - COCKPIT               Gold Five, the old veteran, trys to calm Gold Leader.                                     GOLD FIVE                         Stay on target.               INT. GOLD LEADER'S Y-WING - COCKPIT               The Death Star races by outside the cockpit window as he                adjusts his targeting device.                                     GOLD LEADER                         We're too close.               INT. GOLD FIVE'S Y-WING - COCKPIT               The older pilot remains calm.                                     GOLD FIVE                         Stay on target!               INT. GOLD LEADER'S Y-WING - COCKPIT               Now he's really panicked.                                     GOLD LEADER                         Loosen up!               INT. DARTH VADER'S COCKPIT               Vader calmly adjusts his targeting computer and pushes the                fire button.               INT. GOLD LEADER'S Y-WING - COCKPIT               Gold Leader's ship is hit by Vader's laser.               EXT. SURFACE OF THE DEATH STAR               Gold Leader explodes in a ball of flames, throwing debris in                all directions.               INT. GOLD FIVE'S Y-WING - COCKPIT               Gold Five moves in on the exhaust port.                                     GOLD FIVE                         Gold Five to Red Leader...               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks over his shoulder at the action outside of his                cockpit.                                     GOLD FIVE                              (over headset)                         Lost Tiree, lost Dutch.               INT. RED LEADER'S COCKPIT                                     RED LEADER                         I copy, Gold Five.               INT. GOLD FIVE'S Y-WING - COCKPIT                                     GOLD FIVE                         They came from behind...               EXT. SURFACE OF THE DEATH STAR               One of the engines explodes on Gold Five's Y-wing fighter,                blazing out of control. He dives past the horizon toward the                Death Star's surface, passing a TIE fighter during his                descent. Gold Five, a veteran of countless campaigns, spins                toward his death.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks nervously about him at the explosive battle.               INT. DEATH STAR - CONTROL ROOM               Grant Moff Tarkin and a Chief Officer stand in the Death                Star's control room.                                     OFFICER                         We've analyzed their attack, sir,                          and there is a danger. Should I have                          your ship standing by?                                     TARKIN                         Evacuate? In out moment of triumph?                          I think you overestimate their                          chances!               Tarkin turns to the computer readout screen. Flames move                around the green disk at the center of the screen, as numbers                read across the bottom.                                     VOICE                              (over speaker)                         Rebel base, three minutes and closing.               INT. READ LEADER'S COCKPIT               Red Leader looks over at his wingmen.                                     RED LEADER                         Red Group, this is Red Leader.               INT. MASSASSI OUTPOST - WAR ROOM               Dodonna moves to the intercom as he fiddles with the computer                keys.                                     RED LEADER                              (over speaker)                         Rendezvous at mark six point one.                                     WEDGE                              (over speaker)                         This is Red Two. Flying toward you.                                     BIGGS                              (over speaker)                         Red Three, standing by.               INT. RED LEADER'S COCKPIT                                     DODONNA                              (over headset)                         Red Leader, this is Base One. Keep                          half your group out of range for the                          next run.               INT. LUKE'S X-WING FIGHTER - COCKPIT                                     RED LEADER'S VOICE                              (over headset)                         Copy, Base One. Luke, take Red Two                          and Three. Hold up here and wait for                          my signal... to start your run.               Luke nods his head.               EXT. SPACE AROUND THE DEATH STAR               The X-wing fighters of Luke, Biggs, and Wedge fly in formation                high above the Death Star's surface.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke peers out from his cockpit.               EXT. SURFACE OF THE DEATH STAR               Two X-wings move across the surface of the Death Star. Red                Leader's X-wing drops down to the surface leading to the                exhaust port.               INT. RED LEADER'S COCKPIT               Red Leader looks around to watch for the TIE fighters. He                begins to perspire.                                     RED LEADER                         This is it!               EXT. SPACE               Red Leader roams down the trench of the Death Star as lasers                streak across the black heavens.               EXT. DEATH STAR SURFACE - GUN EMPLACEMENTS               A huge remote-control laser cannon fires at the approaching                Rebel fighters.               EXT. DEATH STAR TRENCH               The Rebel fighters evade the Imperial laser blasts.               INT. RED TEN'S COCKPIT               Red Ten looks around for the Imperial fighters.                                     RED TEN                         We should be able to see it by now.               EXT. DEATH STAR TRENCH               From the cockpits of the Rebel pilots, the surface of the                Death Star streaks by, with Imperial laserfire shooting toward                them.               INT. RED LEADER'S COCKPIT                                     RED LEADER                         Keep your eyes open for those                          fighters!               INT. RED TEN'S COCKPIT                                     RED TEN                         There's too much interference!               EXT. SPACE - DEATH STAR TRENCH               Three X-wing fighters move in formation down the Death Star                trench.                                     RED TEN'S VOICE                         Red Five, can you see them from where                          you are?               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks down at the Death Star surface below.                                     LUKE                         No sign of any... wait!               INT. RED TEN'S COCKPIT               Red Ten looks up and sees the Imperial fighters.                                     LUKE                              (over headset)                         Coming in point three five.                                     RED TEN                         I see them.               EXT. SURFACE OF THE DEATH STAR               Three TIE fighters, Vader flanked by two wingmen, dive in a                tight formation. The sun reflects off their dominate solar                fins as they loop toward the Death Star's surface.               INT. RED LEADER'S COCKPIT               Red Leader pulls his targeting device in front of his eyes                and makes several adjustments.                                     RED LEADER                         I'm in range.               EXT. SURFACE OF THE DEATH STAR               Red Leader's X-wing moves up the Death Star trench.               INT. RED LEADER'S COCKPIT                                     RED LEADER                         Target's coming up!               Red Leader looks at his computer target readout screen. He                then looks into his targeting device.                                     RED LEADER                         Just hold them off for a few seconds.               INT. DARTH VADER'S COCKPIT               Vader adjusts his control lever and dives on the X-wing                fighters.                                     VADER                         Close up formation.               EXT. DEATH STAR TRENCH               The three TIE fighters move in formation across the Death                Star surface.               INT. RED LEADER'S COCKPIT               Red Leader lines up his target on the targeting device cross                hairs.               EXT. SURFACE OF THE DEATH STAR               Vader and his wingmen zoom down the trench.               INT. DARTH VADER'S COCKPIT               Vader rapidly approaches the two X-wings of Red Ten and Red                Twelve. Vader's laser cannon flashes below the view of the                front porthole. the X-wings show in the center of Vader's                computer screen.               EXT. SPACE               Red Twelve's X-wing fighter is hit by Vader's laserfire, and                it explodes into flames against the trench.               INT. RED TEN'S COCKPIT               Red Ten works at his controls furiously, trying to avoid                Vader's fighter behind him.               RED TEN: You'd better let her loose.               INT. RED LEADER'S COCKPIT               Red Leader is concentrating on his targeting device.                                     RED LEADER                         Almost there!               INT. RED TEN'S COCKPIT.               Red Ten panics.                                     RED TEN                         I can't hold them!               EXT. SURFACE OF THE DEATH STAR               Vader and his wingmen whip through the trench in pursuit of                the Rebel fighters.               INT. DARTH VADER'S COCKPIT               Vader cooly pushes the fire button on his control stick.               INT. RED TEN'S COCKPIT               Darth Vader's well-aimed laserfire proves to be unavoidable,                and strikes Red Ten's ship. Red Ten screams in anguish and                pain.               EXT. SPACE AROUND THE DEATH STAR               Red Ten's ship explodes and bursts into flames.               INT. RED LEADER'S COCKPIT               Grimly, Red Leader takes careful aim and watches his computer                targeting device, which shows the target lined up in the                cross hairs, and fires.               INT. RED LEADER'S COCKPIT                                     RED LEADER                         It's away!               INT. DEATH STAR               An armed Imperial stormtrooper is knocked to the floor from                the attack explosion. Other troopers scurrying about the                corridors are knocked against the wall and lose their balance.               INT. MASSASSI OUTPOST - WAR ROOM               Leia and the others stare at the computer screen.                                     RED NINE'S VOICE                              (over speaker)                         It's a hit!                                     RED LEADER                              (over speaker)                         Negative.               INT. RED LEADER'S COCKPIT               Red Leader looks back at the receding Death Star. Tiny                explosions are visible in the distance.                                     RED LEADER                         Negative! It didn't go in. It just                          impacted on the surface.               EXT. SPACE AROUND THE DEATH STAR - TIE FIGHTER               Darth Vader peels off in pursuit as Red Leader's X-wing passes                the Death Star horizon.               INT. DARTH VADER'S COCKPIT               Vader swings his ship around for the next kill.               INT. RED LEADER'S COCKPIT                                     LUKE                              (over headset)                         Red Leader, we're right above you.                          Turn to point...               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke tries to spot Red Leader. He looks down at the Death                Star surface.                                     LUKE                         ...oh-five; we'll cover for you.                                     RED LEADER                              (over headset)                         Stay there...               INT. RED LEADER'S COCKPIT               A wary Red Leader looks about nervously.                                     RED LEADER                         ...I just lost my starboard engine.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks excitedly toward Red Leader's X-wing.                                     RED LEADER                              (over headset)                         Get set to make your attack run.               INT. DARTH VADER'S COCKPIT               Vader's gloved hands make contact with the control sticks,                and he presses their firing buttons.               INT. RED LEADER'S COCKPIT               Red Leader fights to gain control of his ship.               EXT. SPACE AROUND THE DEATH STAR               Laserbolts are flung from Vader's TIE fighter, connecting                with Red Leader's Rebel X-wing fighter. Red Leader buys it,                creating a tremendous explosion far below. He screams and is                destroyed.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks out the window of his X-wing at the explosion far                below. For the first time, he feels the helplessness of his                situation.               INT. DEATH STAR               Grand Moff Tarkin casts a sinister eye at the computer screen.                                     DEATH STAR INTERCOM VOICE                         Rebel base, one minute and closing.               INT. MASSASSI OUTPOST - WAR ROOM               Dodonna and Princess Leia, with Threepio beside them, listen                intently to the talk between the pilots. The room is grim                after Red Leader's death. Princess Leia nervously paces the                room.                                     LUKE                              (over speaker)                         Biggs, Wedge, let's close it up.                          We're going in. We're going in full                          throttle.               INT. WEDGE'S COCKPIT               The horizon twists as Wedge begins to pull out.                                     WEDGE                         Right with you, boss.               EXT. SPACE AROUND THE DEATH STAR               The two X-wings peel off against a background of stars and                dive toward the Death Star.               INT. BIGGS' COCKPIT                                     BIGGS                         Luke, at that speed will you be able                          to pull out in time?               INT. LUKE'S X-WING FIGHTER - COCKPIT                                     LUKE                         It'll be just like Beggar's Canyon                          back home.               EXT. SPACE AROUND THE DEATH STAR               The three X-wings move in, unleashing a barrage of laserfire.                 Laserbolts are returned from the Death Star.               INT. BIGGS' COCKPIT               Luke's lifelong friend struggles with his controls.                                     BIGGS                         We'll stay back far enough to cover                          you.               INT. LUKE'S COCKPIT               Flak and laserbolts flash outside Luke's cockpit window.                                     WEDGE                              (over headset)                         My scope shows the tower, but I can't                          see the exhaust port! Are you sure                          the computer can hit it?               EXT. DEATH STAR - GUN EMPLACEMENTS               The Death Star laser cannon slowly rotates as it shoots                laserbolts.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks around for the Imperial TIE fighters. He thinks                for a moment and then moves his targeting device into                position.                                     LUKE                         Watch yourself! Increase speed full                          throttle!               INT. WEDGE'S COCKPIT               Wedge looks excitedly about for any sign of the TIE fighters.                                     WEDGE                         What about the tower?               INT. LUKE'S X-WING FIGHTER - COCKPIT                                     LUKE                         You worry about those fighters! I'll                          worry about the tower!               EXT. DEATH STAR SURFACE               Luke's X-wing streaks through the trench, firing lasers.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke breaks into a nervous sweat as the laserfire is returned,                knicking one of his wings close to the engine.                                     LUKE                              (to Artoo)                         Artoo... that, that stabilizer's                          broken loose again! See if you can't                          lock it down!               EXT. LUKE'S X-WING FIGHTER               Artoo works to repair the damages. The canyon wall rushes by                in the background, making his delicate task seem even more                precarious.               EXT. DEATH STAR               Two laser cannons are firing on the Rebel fighters.               INT. WEDGE'S COCKPIT               Wedge looks up and sees the TIE ships.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke's targeting device marks off the distance to the target.               EXT. SPACE AROUND THE DEATH STAR               Vader and his wingmen zoom closer.               INT. DARTH VADER'S COCKPIT               Vader adjusts his controls and fires laserbolts at two X-               wings flying down the trench. He scores a direct hit on Wedge.               INT. MASSASSI OUTPOST - WAR ROOM               Leia and the others are grouped around the computer board.                                     WEDGE                              (over speaker)                         I'm hit! I can't stay with you.                                     LUKE                              (over speaker)                         Get clear, Wedge.               INT. LUKE'S X-WING FIGHTER - COCKPIT                                     LUKE                         You can't do any more good back there!               INT. WEDGE'S COCKPIT                                     WEDGE                         Sorry!               EXT. SPACE AROUND THE DEATH STAR               Wedge pulls his crippled X-wing back away from the battle.               INT. DARTH VADER'S COCKPIT               Vader watches the escape but issues a command to his wingmen.                                     VADER                         Let him go! Stay on the leader!               EXT. SPACE AROUND THE DEATH STAR               Luke's X-wing speeds down the trench; the three TIE fighters,                still in perfect unbroken formation, tail close behind.               INT. BIGGS' COCKPIT               Biggs looks around at the TIE fighters. He is worried.                                     BIGGS                         Hurry, Luke, they're coming in much                          faster this time. I can't hold them!               EXT. SPACE AROUND THE DEATH STAR               The three TIE fighters move ever closer, closing in on Luke                and Biggs.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks back anxiously at little Artoo.                                     LUKE                         Artoo, try and increase the power!               EXT. LUKE'S X-WING FIGHTER               Ignoring the bumpy ride, flak, and lasers, a beeping Artoo-               Detoo struggles to increase the power, his dome turning from                side to side.               EXT. SPACE AROUND THE DEATH STAR               Stealthily, the TIE formation creeps closer.               INT. DARTH VADER'S COCKPIT               Vader adjusts his control stick.               INT. BIGGS' COCKPIT               Biggs looks around at the TIE fighters.               INT. LUKE'S X-WING FIGHTER               Luke looks into his targeting device. He moves it away for a                moment and ponders its use. He looks back into the computer                targeter.                                     BIGGS                              (over headset)                         Hurry up, Luke!               EXT. SPACE AROUND THE DEATH STAR               Vader and his wingmen race through the Death Star trench.                 Biggs moves in to cover for Luke, but Vader gains on him.               INT. BIGGS' COCKPIT               Biggs sees the TIE fighter aiming at him.                                     BIGGS                         Wait!               INT. DARTH VADER'S COCKPIT               Vader squeezes the fire button on his controls.               INT. BIGGS' COCKPIT               Biggs' cockpit explodes around him, lighting him in red.               EXT. SURFACE OF THE DEATH STAR               Biggs' ship bursts into a million flaming bits and scatters                across the surface.               INT. MASSASSI OUTPOST - WAR ROOM               Leia and the others stare at the computer board.               INT. LUKE'S X-WING COCKPIT               Luke is stunned by Biggs' death. His eyes are watering, but                his anger is also growing.               INT. DEATH STAR - CONTROL ROOM               Grand Moff Tarkin watches the projected target screen with                satisfaction.                                     DEATH STAR INTERCOM VOICE                         Rebel base, thirty seconds and                          closing.               INT. DARTH VADER'S COCKPIT               Vader takes aim on Luke and talks to the wingmen.                                     VADER                         I'm on the leader.               EXT. SURFACE OF THE DEATH STAR - LUKE'S SHIP               Luke's ship streaks through the trench of the Death Star.               INT. MASSASSI OUTPOST - WAR ROOM               Princess Leia returns her general's worried and doubtful                glances with solid, grim determination. Threepio seems                nervous.                                     THREEPIO                         Hang on, Artoo!               INT. LUKE'S X-WING - COCKPIT               Luke concentrates on his targeting device.               EXT. SURFACE OF THE DEATH STAR               Three TIE fighters charge away down the trench toward Luke.               INT. DARTH VADER'S COCKPIT               Vader's finger's curls around the control stick.               INT. LUKE'S X-WING - COCKPIT               Luke adjusts the lens of his targeting device.               EXT. SURFACE OF THE DEATH STAR               Luke's ship charges down the trench.               INT. LUKE'S X-WING - COCKPIT               Luke lines up the yellow cross-hair lines of the targeting                device's screen. He looks into the targeting device, then                starts at a voice he hears.                                     BEN'S VOICE                         Use the Force, Luke.               EXT. SURFACE OF THE DEATH STAR               The Death Star trench zooms by.               INT. LUKE'S X-WING - COCKPIT               Luke looks up, then starts to look back into the targeting                device. He has second thoughts.                                     BEN'S VOICE                         Let go, Luke.               A grim determination sweeps across Luke's face as he closes                his eyes and starts to mumble Ben's training to himself.               EXT. SURFACE OF THE DEATH STAR               Luke's fighter streaks through the trench.               INT. DARTH VADER'S COCKPIT                                     VADER                         The Force is strong with this one!               EXT. SURFACE OF THE DEATH STAR               Vader follows Luke's X-wing down the trench.               INT. LUKE'S X-WING - COCKPIT               Luke looks to the targeting device, then away as he hears                Ben's voice.                                     BEN'S VOICE                         Luke, trust me.               Luke's hand reaches for the control panel and presses the                button. The targeting device moves away.               INT. MASSASSI OUTPOST - WAR ROOM               Leia and the others stand watching the projected screen.                                     BASE VOICE                              (over speaker)                         His computer's off. Luke, you switched                          off your targeting computer. What's                          wrong?                                     LUKE                              (over speaker)                         Nothing. I'm all right.               EXT. SURFACE OF THE DEATH STAR               Luke's ship streaks ever close to the exhaust port.               INT. LUKE'S X-WING - COCKPIT               Luke looks at the Death Star surface streaking by.               EXT. LUKE'S X-WING FIGHTER               Artoo-Detoo turns his head from side to side, beeping in                anticipation.               EXT. SURFACE OF THE DEATH STAR               The three TIE fighters, manned by Vader and his two wingmen,                follow Luke's X-wing down the trench.               INT. DARTH VADER'S COCKPIT               Vader maneuvers his controls as he looks at his doomed target.                 He presses the fire buttons on his control sticks. Laserfire                shoots toward Luke's X-wing fighter.               EXT. LUKE'S X-WING FIGHTER               A large burst of Vader's laserfire engulfs Artoo. The arms                go limp on the smoking little droid as he makes a high-pitched                sound.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks frantically back over his shoulder at Artoo.               EXT. LUKE'S X-WING FIGHTER               Smoke billows out around little Artoo and sparks begin to                fly.                                     LUKE                         I've lost Artoo!               Artoo's beeping sounds die out.               INT. MASSASSI OUTPOST - WAR ROOM               Leia and the others stare intently at the projected screen,                while Threepio watches the Princess. Lights representing the                Death Star and targets glow brightly.                                     MASSASSI INTERCOM VOICE                         The Death Star has cleared the planet.                          The Death Star has cleared the planet.               INT. DEATH STAR - CONTROL ROOM               Tarkin glares at the projected target screen.                                     DEATH STAR INTERCOM VOICE                         Rebel base, in range.                                     TARKIN                         You may fire when ready.                                     DEATH STAR INTERCOM VOICE                         Commence primary ignition.               An officer reaches up and pushes buttons on the control panel,                as green lighted buttons turn to red.               EXT. SURFACE OF THE DEATH STAR               The three TIE fighters zoom down the Death Star trench in                pursuit of Luke, never breaking formation.               INT. LUKE'S COCKPIT               Luke looks anxiously at the exhaust port.               INT. DARTH VADER'S COCKPIT               Vader adjusts his control sticks, checking his projected                targeting screen.               EXT. SURFACE OF THE DEATH STAR               Luke's ship barrels down the trench.               INT. DARTH VADER'S COCKPIT               Vader's targeting computer swings around into position. Vader                takes careful aim on Luke's X-wing fighter.                                     VADER                         I have you now.               He pushes the fire buttons.               EXT. SURFACE OF THE DEATH STAR               The three TIE fighters move in on Luke. As Vader's center                fighter unleashes a volley of laserfire, one of the TIE ships                at his side is hit and explodes into flame. The two remaining                ships continue to move in.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks about, wondering whose laserfire destroyed Vader's                wingman.               INT. DARTH VADER'S COCKPIT               Vader is taken by surprise, and looks out from his cockpit.                                     VADER                         What?               INT. DARTH VADER'S WINGMAN - COCKPIT               Vader's wingman searches around him trying to locate the                unknown attacker.               INT. MILLENNIUM FALCON - COCKPIT               Han and Chewbacca grin from ear to ear.                                     HAN                              (yelling)                         Yahoo!               EXT. SPACE AROUND THE DEATH STAR               The Millennium Falcon heads right at the two TIE fighters.                 It's a collision course.               INT. WINGMAN'S COCKPIT               The wingman spots the pirateship coming at him and warns the                Dark Lord.                                     WINGMAN                         Look out!               EXT. DEATH STAR TRENCH               Vader's wingman panics at the sight of the oncoming pirate                starship and veers radically to one side, colliding with                Vader's TIE fighter in the process. Vader's wingman crashes                into the side wall of the trench and explodes. Vader's damaged                ship spins out of the trench with a damaged wing.               EXT. SPACE AROUND THE DEATH STAR               Vader's ship spins out of control with a bent solar fin,                heading for deep space.               INT. DARTH VADER'S COCKPIT               Vader turns round and round in circles as his ship spins                into space.               EXT. SURFACE OF THE DEATH STAR               Solo's ship moves in toward the Death Star trench.               INT. MILLENNIUM FALCON - COCKPIT               Solo, smiling, speaks to Luke over his headset mike.                                     HAN                              (into mike)                         You're all clear, kid.               INT. MASSASSI OUTPOST - WAR ROOM               Leia and the others listen to Solo's transmission.                                     HAN                              (over speaker)                         Now let's blow this thing and go                          home!               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke looks up and smiles. He concentrates on the exhaust                port, then fires his laser torpedoes.               EXT. SURFACE OF THE DEATH STAR               Luke's torpedoes shoot toward the port and seems to simply                disappear into the surface and not explode. But the shots do                find their mark and have gone into the exhaust port and are                heading for the main reactor.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke throws his head back in relief.               INT. DEATH STAR               An Imperial soldier runs to the control panel board and pulls                the attack lever as the board behind him lights up.                                     INTERCOM VOICE                         Stand by to fire at Rebel base.               EXT. SPACE AROUND THE DEATH STAR               Two X-wings, a Y-wing, and the pirateship race toward Yavin                in the distance.               INT. DEATH STAR               Several Imperial soldiers, flanking a pensive Grand Moff                Tarkin, busily push control levers and buttons.                                     INTERCOM VOICE                         Standing by.               The rumble of a distant explosion begins.               EXT. SPACE AROUND THE DEATH STAR               The Rebel ships race out of sight, leaving the moon-like                Death Star alone against a blanket of stars. Several small                flashes appear on the surface. The Death Star bursts into a                supernova, creating a spectacular heavenly display.               INT. MILLENNIUM FALCON - COCKPIT                                     HAN                         Great shot, kid. That was one in a                          million.               INT. LUKE'S X-WING FIGHTER - COCKPIT               Luke is at ease, and his eyes are closed.                                     BEN'S VOICE                         Remember, the Force will be with                          you... always.               The ship rocks back and forth.               EXT. DARTH VADER'S TIE FIGHTER               Vader's ship spins off into space.               EXT. SPACE               The Rebel ships race toward the fourth moon of Yavin.               INT. MASSASSI OUTPOST - MAIN HANGAR               Luke climbs out of his starship fighter and is cheered by a                throng of ground crew and pilots. Luke climbs down the ladder                as they all welcome him with laughter, cheers, and shouting.                Princess Leia rushes toward him.                                     LEIA                         Luke! Luke! Luke!               She throws her arms around Luke and hugs him as they dance                around in a circle. Solo runs in toward Luke and they embrace                one another, slapping each other on the back.                                     HAN                              (laughing)                         Hey! Hey!                                     LUKE                              (laughing)                         I knew you'd come back! I just knew                          it!                                     HAN                         Well, I wasn't gonna let you get all                          the credit and take all the reward.               Luke and Han look at one another, as Solo playfully shoves                at Luke's face. Leia moves in between them.                                     LEIA                              (laughing)                         Hey, I knew there was more to you                          than money.               Luke looks toward the ship.                                     LUKE                         Oh, no!               The fried little Artoo-Detoo is lifted off the back of the                fighter and carried off under the worried eyes of Threepio.                                     THREEPIO                         Oh, my! Artoo! Can you hear me? Say                          something!                              (to mechanic)                         You can repair him, can't you?                                     TECHNICIAN                         We'll get to work on him right away.                                     THREEPIO                         You must repair him! Sir, if any of                          my circuits or gears will help, I'll                          gladly donate them.                                     LUKE                         He'll be all right.               INT. MASSASSI OUTPOST - MAIN THRONE ROOM               Luke, Han, and Chewbacca enter the huge ruins of the main                temple. Hundreds of troops are lined up in neat rows. Banners                are flying and at the far end stands a vision in white, the                beautiful young Senator Leia. Luke and the others solemnly                march up the long aisle and kneel before Senator Leia. From                one side of the temple marches a shined-up and fully repaired                Artoo-Detoo. He waddles up to the group and stands next to                an equally pristine Threepio, who is rather awestruck by the                whole event. Chewbacca is confused. Dodonna and several other                dignitaries sit on the left of the Princess Leia. Leia is                dressed in a long white dress and is staggeringly beautiful.                 She rises and places a gold medallion around Han's neck. He                winks at her. She then repeats the ceremony with Luke, who                is moved by the event. They turn and face the assembled                troops, who all bow before them. Chewbacca growls and Artoo                beeps with happiness.                                                                  FADE OUT:               END CREDITS OVER STARS                                         THE END
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+EXT. SPACEA vast sea of stars severas as a backdrop for the Main Title, following by a rollup, whcih crawls into infinity.				There is unrest in the Galactic Senate				Several hundred solar systems under				the leadership of the rebel leader, Count				Dooku, have decalred their intentions to				secede from the Republic.				This separatist movement has made it				difficult for the limited number of				Jedi Kights to maintain peace and				order in the galaxy.				Senator Amidala, the former Queen of				Naboo, is returning to Coruscant				to vote on the critical issue				of creating an army to assist the				overwhelmed Jedi.PAN UP to reveal the amber city planet of Coruscant. A yellow Naboo Fighter flies OVER CAMERA toward the planet, followed by a large Royal Cruiser and two more Fighters.EXT. CITYSCAPE, CORUSCANT - DAWNThe ships skim across the surface of the city landscape. The sun glints off the chrome hulls of the sleek Naboo spacecraft as they navigate between the buildings of the capital planet.EXT. CORUSCANT, LANDING PLATFORM - DAWNTwo Naboo Fighters land on one leaf of a three-leaf-clover landing platform. The Royal Starship lands on the central lead, and the third Fighter lands on the remaining plaform.A small GROUP OF DIGNITARIES waits to welcome the Senator. One of the members of the group os a well dressed JAR JAR BINKS, a member of the Galactic Representative Commission, and DORME, Senator Amidala's handmaiden.One of the FIGHTER PILOTS jumps from the wing of his ship and removes his helmet. He is CAPTAIN TYPHO, SENATOR AMIDALA'S Security Officer. He moves over to a WOMAN PILOT.CAPTAIN TYPHOWe made it. I guess I was wrong,there was no danger at all.The ramp ;pwers. TWO NABOO GUARDS appear. SENATOR AMIDALA, ONE HANDMAIDEN (VERSE) and FOUR TROOPERS descend the ramp. AMIDALA is more beautiful now than she was ten years earlier when, as Queen, she was freeing her people from the yoke of the Trade Federation.The DIGNITARIES start to move forward. SENATOR AMIDALA reaches the foot of the ramp, when suddenly there is a blinding FLASH and a huge EXPLOSION. The DIGNITARIES and PILOTS are hurled to the ground as the starship is destroyed.Klaxons blare, alarms sound! CAPTAIN TYPHO and the TWO ESCORT PILOTS get up and run to where SENATOR AMIDALA lies dying. Beyond, ARTOO DETOO drops down from the Naboo Fighter and rolls toward the wreckage. The FEMALE ESCORT PILOT kneels by SENATOR AMIDALA and takes off her helmet, revealing SENATOR PADME AMIDALA.				PADM… 			CordÈ...She gathers up her decoy double in her arms. CordÈ's eyes are open. She looks up at her.				CORD…			... I'm sorry, m'lady... I'm... not sure I... CORD… dies. PADM… hugs her.				AMIDALA			No!... No!... No!...PADM… lowers CORD… to the ground. She gets up and looks around at the devastation. There are tears in her eyes.				AMIDALA			I should not have come back.				CAPTAIN TYPHO			M'Lady, you are still in danger.Amidala says nothing.				CAPTAIN TYPHO			This vote is very important. You did			your duty and CordÈ did hers. Now			come. (she doesn't respond) M'Lady,			please!She turns. They walk away. ARTOO lets out a small whimper and rolls off after them.EXT. SENATE BUILDING - DAY The massive Senate Building glistens in the afternoon sun. Small patches of fog have still to burn off.INT. SENATE CHAMBER - DAYThe vast rotunda is buzzing with chatter. MAS AMEDDA, the Supreme Chancellor's majordomo, tries to quiet things down as PALPATINE confers with an AIDE, UV GIZEN, riding a small one man floating scooter.				MAS AMEDDA			Order! We shall have order! The motion			for the Republic to commission an army			takes precedent, and that is what we			will vote on at this time.Everything quiets down. The AIDE disperses, and SUPREME CHANCELLOR PALPATINE steps to the podium.				PALPATINE			...My esteemed colleagues, excuse			me... I have just received some			tragic and disturbing news. Senator			Amidala of the Naboo system... Has			been assassinated!There is a shock silence in the vast arena.				PALPATINE				(continued)			This grievous blow is especially			personal to me. Before I became			Chancellor, I served Amidala when			she was Queen. She was a great			leader who fought for justice, not			only in this honourable assembly,			but also on her home planet. She			was so loved she could have been			elected queen for life. She			believed in public service, and			she fervently believed in			democracy. Her death is a great			loss to us all. We will all mourn			her as a relentless champion of			freedom... and as a dear friend.There is a moment of silence. ASK AAK, the SENATOR of MALASTARE, moves his pod into the centre of the arena.				SENATOR ASK AAK			How many more Senators will die			before this civil strife ends! We			must confront these rebels now,			and they need an army to do it.A second pod moves into the centre of the area with DARSANA, the AMBASSADOR OF GLEE ANSELM.				AMBASSADOR DARSANA			Why weren't the Jedi able to stop			this assassination? We are no			longer safe, under their protection.Senator ORN FREE TAA swings forward in his pod.				ORN FREE TAA			The Republic needs more security			now! Before it comes to war.				PALPATINE			Must I remind the Senator from			Malastare that negotiations are			continuing with the separatists.			Peace is our objective here... not			war.The SENATORS yell pro and con. MAS AMEDDA tries to calm things down. SENATOR PADME AMIDALA, with CAPTAIN TYPHO, JAR JAR, and DORME, manoeuvre her pod into the centre of the vast arena.				AMIDALA			My noble colleagues, I concur with			the Supreme Chancellor. At all			costs, we do not want war!The Senate goes quiet, then there is an outburst of cheering and applause.				PALPATINE			It is with great surprise and			joy the chair recognises the			Senator from Naboo, PadmÈ Amidala.				PADM…			Less than an hour ago, an			assassination attempt was made			against my life. One of my			bodyguards and six  others were			ruthlessly and senselessly			murdered. I was the target but,			more importantly, I believe this			security measure before you, was			the target. I have led the			opposition to build an army... but			there is someone in this body who			will stop at nothing to assure it's			passage...Many of the SENATORS boo and yell at SENATOR AMIDALA.				PADM…			 	(continuing)			I warn you, if you vote to create			this army, war will follow. I			have experienced the misery of war 			first-hand; I do not wish to do it			again.There is sporadic yelling for and against her statements.				PADM…			Wake up, Senators... you must wake			up! If you offer the separatists			violence, they can only show us			violence in return! Many will			lose their lives. All will lose			their freedom. This decision			could very well destroy the very			foundation of our great Republic.			I pray you do not let fear push			you into a disastrous decision.			Vote down this security measure,			which is nothing less than a			declaration of war! Does anyone			here want that? I cannot believe			they do.There is an undercurrent of booing... and groaning. SENATOR ORN FREE TAA moves his pod next to AMIDALA.				ORN FREE TAA			My motion to defer the vote must			be dealt with first. That is the			rule of law.AMIDALA looks angry and frustrated. PALPATINE gives her a sympathetic look.				PALPATINE			Due to the lateness of the hour			and the seriousness of this			motion, we will take up these			matters tomorrow. Until then, the			Senate stands adjourned.EXT. EXECUTIVE QUARTERS BUILDING - DAY The giant towers of the Republic Executive Building seem to reach the heavens. Traffic clogs the smoggy sky.INT. CHANCELLOR'S OFFICE - DAY CHANCELLOR PALPATINE sits behind his desk with TWO RED-CLAD ROYAL GUARDS on either side of the door. YODA, PLOT KOON, KI-AD-MUNDI, and MACE WINDU sit acress from him.				PALPATINE			I don't know how much longer I can			hold off the vote, my friends.			More and more star systems are			joining the separatists.				MACE WINDU			If they do break away -				PALPATINE			No! I will not let that happen!				MACE WINDU			But if they do, you must realise			there aren't enough Jedi to			protect the Republic. We are			keepers of the peace, not soldiers.				PALPATINE			Master Yoda, do you think it will			really come to war?YODA closes his eyes.				YODA			Worse than war, I fear... Much			worse. 				PALPATINE			What?				MACE WINDU			What do you sense, Master?				YODA			Impossible to see ... The Dark Side			clouds everything. But this I am			sure of -				(opens his eyes)			Do their duty the Jedi will.A muted BUZZER SOUNDS. A hologram of an AIDE, DAR WAC, appears on the Chancellor's desk.				DAR WAC			The loyalist committee has arrived,			my Lord. 				PALPATINE			Send them in.They all stand as SENATOR AMIDALA, CAPTAIN TYPHO, JAR JAR, MAS AMEDDA, DORME, and SENATORS BAIL ORGANA, HOROX RYYDER and ORN FREE TAA enter the office. YODA and MACE WINDU move to greet the SENATOR, YODA taps AMIDALA with his cane.				YODA			With you the force is strong...			young Senator. To see you alive			brings warm feeling to my heart.				PADM…			Thank you, Master Yoda. Do you			have any idea who was behind			the attack?				MACE WINDU			Our intelligence points to			disgruntled spice miners, on			the moons of Naboo.				PADM…			I don't wish to disagree but I			think that Count Dooku was behind			it.There is a stir of surprise.				MACE WINDU			You know, M'Lady, Count Dooku			was once a Jedi. He wouldn't			assassinate anyone, it is not in			his character.				KI-ADI-MUNDI			He is a political idealist, not			a murderer.				YODA			In dark times nothing is what it			appears to be, but the fact remains			Senator, in grave danger you are.PALPATINE gets up, walks to the window, and looks out at the vast city.				PALPATINE			Count Dooku has always avoided			any kind of conflict. It appears			he has no desire to start a war.			Why would he kill you? To what end?				PADM… 			I don't know, but everything in my			being tells me he was behind it... After gazing out of the window for several moments Palpatine turns to Mace.				PALPATINE			Master Jedi, may I suggest that			the Senator be placed under the			protection of your graces.				BAIL ORGANA			Do you think that is a wise use			of manpower during these stressful			times?				PADM…			Chancellor, if I may comment, I			do not believe the...				PALPATINE			..."situation is that serious."			No, but I do, Senator.				PADM…			Chancellor, please! I don't want			any more guards!				PALPATINE			I realise all too well that			additional security might be			disruptive for you, but perhaps			someone you are familiar with... an			old friend like... Master Kenobi...PALPATINE nods to MACE WINDU, who nods back.				MACE WINDU			That's possible. He has just			returned from a Border dispute on			Ansion.				PALPATINE			You must remember him, M'Lady...			he watched over you during the			blockade conflict.				PADM…			This is not necessary, Chancellor.				PALPATINE			Do it for me, M'Lady, please. I			will rest easier. We had a big			scare today. The thought of			losing you is unbearable.AMIDALA sighs as the JEDI get up to leave.				MACE WINDU			I will have Obi-Wan report to you			immediately, M'Lady.YODA leans into her ear.				YODA			Too little about yourself you			worry, Senator, and too much about			politics. Be mindful of your			danger, PadmÈ. Accept our help.As the JEDI leave the office, PALPATINE continues to pace behind his desk.				PALPATINE			I will not like this Republiv, that			has stood for over a thousand			years, be split in twoEXT. SENATE APARTMENTS - TWILIGHTA graceful skyscraper twinkles in the evening light of Coruscant.INT. SENATE BUILDING, APARTMENT CORRIDOR - EVENINGThe door to the apartment slides open. JAR JAR walks into the corridor, where TWO JEDI are exiting the elevator. He recognises OBI-WAN and becomes extremely excited, jumping around, shaking his hand.				JAR JAR			Obi! Obi! Obi! Mesa sooo smilen			to see'en yousa. Wahoooooo!OBI-WAN smiles.				OBI-WAN			It's Good to see you, too, Jar Jar.				JAR JAR			Oops! Wheresa mesa manners?			Excuse me, Master Obi-Wan. I			completely forgot myself for			a moment there. I have had to learn			Diplodiaclect... speak it like a			native now. Don't really see the			point, actually, but members of			the Senate seem to prefer it...JAR JAR notices OBI-WAN'S APPRENTICE.				JAR JAR				(continuing)			...and this, I take it, is your			apprentice... Nooooooooo! Annie?			Noooooooo! Little Bitty Annie?				(Looks at Anakin)			Nooooooo! Yousa so biggen!			Yiyiyiyyi! Annie!! Mesa no			believen.				ANAKIN			Hi, Jar Jar.JAR JAR grabs hold of ANAKIN and envelops him in a big hug.				JAR JAR			Annie! Annie! Yiyiyiyiyiyiiii!INT. SENATE BUILDING, APARTMENT - EVENINGPADME is in a conference with CAPTAIN TYPHO and DORME. JAR JAR enters the room, followed by the TWO JEDI.				JAR JAR			Lookie... lookie... Oops!... Oh,			dear, I'm afraid I've forgotten			myself again.PADME and TYPHO rise as OBI-WAN and ANAKIN stop before the SENATOR. OBI-WAN steps forward. ANAKIN stares at PADME. She glances at him.				OBI-WAN			It's a great pleasure to see you again,			M'Lady.				PADM…			It has been far too long Master			Kenobi. I'm so glad our paths			have crossed again... but I must			warn you that I think your			presence here is unnecessary.				OBI-WAN			I'm sure the Jedi Council have			their reasons.She moves in front of ANAKIN				PADM…			Annie??				(stares)			My goodness you've grown.They look at each other for a long moment.				ANAKIN				(trying to be smooth)			So have you... grown more			beautiful, I mean... and much			shorter... for a Senator, I mean.OBI-WAN looks disapprovingly at his apprentice. PADME laughs and shakes her head.				PADM…			Oh Annie, you'll always be that			little boy I knew on Tatooine.This embarrasses ANAKIN, and he looks down. OBI-WAN and CAPTAIN TYPHO smile.				OBI-WAN			Our presence will be invisible,			M'Lady.				CAPTAIN TYPHO			I am very grateful you are here,			Master Kenobi. The situation is			more dangerous than the Senator			will admit.				PADM…			I don't need more security, I need			answers. I want to know who is			trying to kill me.				OBI-WAN				(frowning)			We're here to protect you			Senator, not to start an			investigation.				ANAKIN			We will find out who is trying to			kill you PadmÈ, I promise you.He's done it again. He bites his lip in frustration and shame. OBI-WAN gives ANAKIN a dirty look.				OBI-WAN			We are not going to exceed our			mandate, my young Padawan learner.				ANAKIN			I meant in the interest of			protecting her, Master, of course.				OBI-WAN			We are not going through this			exercise again, Anakin. You will			pay attention to my lead.				ANAKIN			Why?				OBI-WAN			What??!!				ANAKIN			Why else do you think we were			assigned to her, if not to find			the killer? Protection is a job			for local security... not Jedi.			It's overkill, Master.			Investigation is implied in our			mandate.				OBI-WAN			We will do as the Council has			instructed, and you will learn			your place, young one.				PADM…			Perhaps with merely your presence,			the mysteries surrounding this			threat will be revealed.  Now if			you will excuse me I will retire.Everyone gives AMIDALA a slight bow as she and DORME leave the room.				CAPTAIN TYPHO			Well, I know I feel a lot better			having you here.			I'll have an officer on every			floor and I'll be at the command			centre downstairs.				JAR JAR 			Mesa busten wit happiness seein			Yousa again, Annie. Deesa bad			times, bombad times.Captain Typho leaves.				ANAKIN			She didn't even recognise me, Jar			Jar. I thought about her every			day since we parted... and she's			forgotten me completely.				JAR JAR			Shesa happy. Happier den mesa			see-en her in longo time.				OBI-WAN			Anakin, you're focusing on the			Negative again. Be mindful of your			thoughts. She was glad to see us.			Now lets check the security here.				ANAKIN			Yes, my master.EXT. JEDI TEMPLE - EVENINGThe vast Jedi Temple sits on an endless flat plain, silhouetted by a against the traffic-filled sky.INT. JEDI TEMPLE, CORRIDOR - EVENINGMACE WINDU and YODA walk down the long hallways, silhouetted by a lit room at the end.				MACE WINDU			Why couldn't we see this attack on			the Senator?				YODA			Masking the future, is this			disturbance in the Force.				MACE WINDU			The propecy is coming true, the			Dark Side is growing.				YODA			And only those who have turned to			the Dark Side can sense the			possibilities of the future. Only			going through the Dark Side can we			see.				MACE WINDU			It's been ten years, and the Sith			still have no shown themselves.			Do you think they are behind this?				YODA			...Out there, they are. A			certainty that is.				MACE WINDU			Do you think Obi-Wan's apprentice			will be able to bring balance to			the Force?				YODA			Only if he chooses to follow his			destiny.There is a long silence as they walk away. Only footsteps are heard.INT. SENATE BUILDING, AMIDALA'S APARTMENT, BEDROOM - NIGHTPADME is asleep in her bed, lit only by the light of the city outside her window coming through the blinds. ARTOO stands in the corner of the bedroom. His power is off.INT. SENATE BUILDING, AMIDALA'S APARTMENT, MAIN R0OM - NIGHTANAKIN is standing in the living room. He is in a meditative state. It is quiet. We hear DISTANT FOOTSTEPS in the corridor outside the apartment. Suddenly ANAKIN'S eyes pop open. His eyes dart around the room. He reaches for his lightsaber, then smiles and puts it back in his belt.The door to the apartment slides open, and OBI-WAN enters.				OBI-WAN			Captain Typho has more than enough			men downstairs. No assassin will			try that way. Any activity up			here?				ANAKIN			Quiet as a tomb. I don't like			just waiting here for something to			happen to her.OBI-WAN checks a palm-sized view scanner he has pulled out of his utility belt. It shows a shot of ARTOO by the door, but no sign of PADME on the bed.				OBI-WAN			What's going on?ANAKIN shrugs.				ANAKIN			She covered that camera. I don't			think she liked me watching her.				OBI-WAN			What is she thinking?				ANAKIN			She programmed Artoo to warn us if			there's an intruder.				OBI-WAN			It's not an intruder I'm worried			about. There are many other ways			to kill a Senator.				ANAKIN			I know, but we also want to catch			this assassin. Don't we, Master?				OBI-WAN			You're using her as bait??				ANAKIN			It was her idea... No harm will			come to her. I can sense			everything going on in that room.			Trust me.				OBI-WAN			It's too risky... and your senses			aren't that attuned, young			apprentice.				ANAKIN			And yours are?				OBI-WAN			Possibly.INT. SENATE BUILDING, AMIDALA'S APARTMENT, BEDROOM - NIGHTAs PADME sleeps, a PROBE DROID approaches outside her window. It sends out several small arms that attach to the window, creating sparks that shut down the security system. Then a large arm cuts a small hole in the glass. A FAINT SOUND is heard as the small section of glass is removed from the window.ARTOO wakes up, and his lights go on. The PROBE DROID freezes. ARTOO looks around, makes a PLAINTIVE LITTLE SOUND, then shuts down again. The PROBE DROID attaches a little tube to the window. TWO DEADLY LOOKING CENTIPEDE-LIKE KOUHUNS exit the tube, crawl through the blinds and head toward the sleeping PADME.INT. SENATE BUILDING, AMIDALA'S APARTMENT, MAIN ROOM - NIGHTANAKIN and OBI-WAN continue their conversation in the main room of the apartment.				OBI-WAN 			You look tired.				ANAKIN			I don't sleep well, anymore.				OBI-WAN 			Because of your mother?				ANAKIN			I don't know why I keep dreaming			About her now. I haven't seen her			since I was little.				OBI-WAN			Dreams pass in time.				ANAKIN			I'd rather dream of PadmÈ. Just			Being around her again is...			intoxicating.				OBI-WAN			Mind your thoughts, Anakin, they			betray you. You've made a			commitment to the Jedi order... a			commitment not easily broken...			and don't forget she's a			politician. They're not to be			trusted.				ANAKIN 			She's not like the others in the			Senate, Master.				OBI-WAN			It's been my experience that			Senators are only focused on			pleasing those who fund their			campaigns... and they are more			than willing to forget the			niceties of democracy to get those			funds.				ANAKIN			Not another lecture, Master. Not			on the economics of politics....			It's too early in the morning... and			besides, you're generalising. The			Chancellor doesn't appear to			be corrupt.				OBI-WAN			Palpatine's a politician, I've			observed that he is very clever at			following the passions and			prejudices of the Senators.				ANAKIN			I think he is a good man. My			instincts are very positive			about...ANAKIN looks stunned. He looks sharply at OBI-WAN				OBI-WAN			I sense it, too.INT. SENATE BUILDING, AMIDALA'S APARTMENT, BEDROOM - NIGHTARTOO sounds an alarm and shines a light on the bed. THE KOUHUNS are inches from PADME'S face. Their mouths are open, and wicked stinger tongues flick out.OBI-WAN and ANAKIN burst into the room. The KOUHUNS stand on their hind legs and hiss as PADME wakes up. ANAKIN throws himself in front of her, whacking in half the deadly creatures with his lightsaber.OBI-WAN sees the DROID outside the window and raqces straight at it, crashing through the blinds as he goes through the window.EXT. WINDOW LEDGE, APARTMENT BUILDING - NIGHTOBI-WAN flies through the glass window and flings himself at the PROBE DROID, grabbing onto the deadly machine before it can flee. The PROBE DROID sinks under the weight of OBI-WAN but manages to stay afloat and fly away, with the Jedi hanging on for dear life, a hundred stories above the city.INT. SENATE BUILDING, AMIDALA'S APARTMENT - NIGHTANAKIN and PADME stare at the sight of OBI-WAN being carried off by the DROID. ANAKIN turns to her. She pulls her nightdress around her shoulders.				ANAKIN			Stay here!CAPTAIN TYPHO, with TWO GUARDS and DORME, enter the room as Anakin dashes out.EXT. CITYSCAPE, CORUSCANT - NIGHTThe PROBE DROID sends several protective electrical shocks across its surface, causing OBI-WAN to almost lose his grip. As they dart in and out of the speeder traffic, OBI-WAN disconnects a wire on the back of the DROID. Its power shuts off! OBI-WAN and the DROID drop like rocks. OBI-WAN realises the error of his ways and quickly puts the wire back. The DROID'S systems light up again and it takes off. EXT. SENATE APARTMENTS - ENTRANCE - NIGHTANAKIN charges out of the building and runs to a line of parked speeders. He vaults into an open one and takes off, gunning it fast toward the lines of speeder traffic high above.EXT. CITYSCAPE, CORUSCANT - NIGHTThe DROID bumps against a wall, hoping to knock the Jedi loose. It moves behind a speeder afterburner to scorch him. It takesthe JEDI wildly between buildings and finally skims across a rooftop as OBI-WAN is forced to lift his legs, tenaciously hanging onto the DROID. The DROID heads for a dirty, beat-up speeder hidden in an alcove of a building about twenty stories up. When the pilot of the speeder, a scruffy bounty hunter called ZAM WESELL, sees the DROID approach with OBI-WAN hanging on, she pulls a long rifle out of the speeder and starts to fire at the JEDI. EXPLOSIONS burst all around OBI-WAN.				OBI-WAN			I have a bad feeling about this.FINALLY, the DROID suffers a direct hit and blows up. OBI-WAN falls fifty stories, until a speeder drops down next to him, and he manages to grab onto the back end of the speeder and haul himself toward the cockpit. The JEDI struggles to climb into the passenger seat of the open speeder and sit down next to the driver, ANAKIN.				ANAKIN			That was wacky! I almost lost you			in the traffic.				OBI-WAN			What took you so long?				ANAKIN			Oh, you know, Master, I couldn't			find a speeder I really liked,			with an open cockpit... and with			the right speed capabilities...			and then you know I had to get a			really gonzo color...They zoom upward in hot pursuit of ZAM asshe fires out the open window at them with her laser pistol.				OBI-WAN			If you'd spend as much time			working on your saber skills as			you do on your wit, young Padawan,			you would rival Master Yoda as a			swordsman.				ANAKIN			I thought I already did.				OBI-WAN			Only in your mind, my very young			apprentice. Careful!! Hey, easy!!As this conversation is going on, ANAKIN deftly moves in and out of the oncoming traffic, across lanes, between buildings, and miraculously through a construction site. ZAM WESELL continues firing at them.				ANAKIN			Sorry, I forgot you don't like			flying, Master.				OBI-WAN			I don't mind flying... but			what you're doing is suicide!They barely miss a commuter train				ANAKIN			Master, you know I've been flying			since before I could walk. I'm very			good at this.				OBI-WAN			Just slow down!ZAM WESSEL and the JEDI race through a line of cross-traffic made up of giant trucks. The speeders bank sideways as they slide around right-angle turns between buildings. ZAM races into a tram tunnel.				OBI-WAN				(continuing)			Wait! Don't go in there!ANAKIN zooms into the tunnel after ZAM. They see a tram coming at them. They brake, turn around, and race out, barely ahead of the charging commuter transport.				OBI-WAN				(continuing)			You know I don't like it when you			do that!				ANAKIN			Sorry, Master. Don't worry, this			guy's gonna kill himself any			minute now!ZAM WESSEL turns into oncoming traffic, deliberately trying to throw the JEDI off. Oncoming speeders swerve, trying to avoid ZAM and the JEDI. ZAM does a quick, tight loop-over and ends up behind the JEDI. She is now in a much better position to fire at them with her laser pistol. To avoid being hit by the laser bolts, ANAKIN slams on the brakes and moves alongside ZAM. She now fires point-blank at OBI-WAN.				OBI-WAN			What are you doing? He's gonna			blast me!				ANAKIN			Right - this isn't working.ANAKIN slides underneath Zam's speeder. They race along in traffic, one speeder right on top of the other. The BOUNTY HUNTER skims over the rooftops, causing ANAKIN to drop behind. ANAKIN goes through his gears, zooming around traffic. They race at high speed across a wide, flat surface of the city planet. A large spacecraft almost collides with them as it attempts to land. They round a corner and clip a flag, which gets caught on one of the front air scoops.				OBI-WAN			That was too close!				ANAKIN			Clear that!				OBI-WAN			What??				ANAKIN			Clear the flag! We're losing			power! Hurry!OBI-WAN leans out of the speeder, then crawls out onto the front engine, pulling the flag free of the scoop. The speeder lurches forward with a surge of power.				OBI-WAN			Whooooaaa! Don't do that! I			don't  like it when you do that!				ANAKIN			So sorry, Master.They chase the BOUNTY HUNTER through a power refinery.				OBI-WAN			It's dangerous near those power			couplings! Slow down! Don't go			through there!Huge electrical bolts shoot between the buildings as the speeders pass.				OBI-WAN				(continuing)			Yiiii, what are you doing?				ANAKIN			Sorry, Master!				OBI-WAN				(sarcastically)			Oh, that was good...				ANAKIN			That was crazy!!!ZAM slides around a corner sideways, blocking an alley, firing point-blank as ANAKIN approaches.				ANAKIN				(continuing)			Ahh, damn.				OBI-WAN			Stop!!				ANAKIN			No, we can make it.ANAKIN barely misses the BOUNTY HUNTER'S speeder as he dives under it, and through a small gap in the building hitting several pipes and going wildly out of control. ANAKIN struggles to regain control of the speeder, narrowly missing a crane, barely clipping a pair of giant struts. A giant gasball shoots up, causing ANAKIN to spin and bump a building, stalling the speeder.				OBI-WAN			I'm crazy... I'm crazy... I'm			crazy.				ANAKIN			But it worked... we made it.				OBI-WAN				(angrily)			It didn't work... we've stalled!			And you almost got us killed!				ANAKIN			I think we're still alive.ANAKIN works to get the speeder started. It quickly races to life.				OBI-WAN				(very angrily)			It was stupid!				ANAKIN				(sheepishly)			I could have made it...				OBI-WAN				(furious)			But you didn't!!! And now we've			lost him.Suddenly, there is an ambush. Laser bolts fire everywhere. EXPLOSIONS surround them. They look up to see ZAM WESSEL take off.				ANAKIN			No we didnít...Out of a cloud of smoke and ball of flames the JEDI tear after ZAM. They are smoking. OBI-WAN slaps out the small fire on the dashboard. ZAM goes up and down, through cross-traffic. There is a near miss as a speeder almost hits them. ZAM turns down and left between two buildings. ANAKIN pulls up and to the right				OBI-WAN			Where are you going?! He went			down there, the other way.				ANAKIN			This is a shortcut... I think.				OBI-WAN			What do you mean, ëYou think?í			What kind of shortcut?! He went			completely the other way! Youíve			lost him!				ANAKIN			Master, if we keep this chase			going, that creepís gonna end up			deep fried. Personally, Iíd very			much like to find out who in the			hell he is and who heís working			for...				OBI-WAN				(sarcastic)			Oh, so thatís why weíre going in			the wrong direction.ANAKIN turns up a side street, zooming up several small passageways, then stops, hovering about fifty stories up.				OBI-WAN				(continuing)			Well, you lost him.				ANAKIN			Iím deeply sorry, Master.ANAKIN looks around front and back. He spots something. He seems to start counting to himself as he watches something below approach.				ANAKIN				(continuing)			Excuse me for a moment.ANAKIN jumps out of the speeder. OBI-WAN looks down and sees Zamís speeder about five stories below them cruising past. ANAKIN miraculously lands on top of the Bounty Hunterís speeder. The speeder wobbles under the impact. ZAM looks up and realises what has happened.ZAM takes off, and ANAKIN slides to the back strut and almost slips off, but manages to hang on. ANAKIN works his way back to the speederís cockpit, just as ZAM stops suddenly, and ANAKIN flies forward to the left front fork. ZAM shoots at him with a laser pistol. There is a BLAST near ANAKIN'S hand, which breaks off a piece of the speeder. ANAKIN slides to the right fork of the speeder, where ZAM canít reach him. He scrambles to the top, holding onto an air scoop.OBI-WAN has jumped into the driverís seat of his speeder and is deftly gaining on the rogue speeder. The two speeders dive through oncoming traffic and then through cross traffic. Finally, ANAKIN is able to get hold of his lightsaber and starts to cut his way through the roof of the speeder. ZAM takes out her laser pistol and starts firing at the helpless JEDI, knocking the sword out of his hand. OBI-WAN races under the speeder and catches the Jedi weapon in the passengerís seat.ANAKIN sticks his hand into the cockpit and, using the Force, pulls the gun out of ZAMíS hand. She grabs the Jediís hand, and they struggle for the weapon. It goes off, blowing a hole in the floor of the speeder. The speeder careens wildly out of control. ZAM struggles to pull the speeder out of itís nose dive. OBI-WAN gets slowed down by traffic and loses sight of the Bounty Hunterís speeder.Just as the dragster is about to nose dive into the ground, ZAM pulls it out, and it slides hard on the pavement in a shower of sparks. ANAKIN goes flying into the street.EXT. ENTERTAINMENT STREET - NIGHTZAM exits the crashed speeder and runs. ANAKIN picks himself up off the pavement and runs down the very crowded street.It's the seedy underbelly of the city. Broken sidewalks, garish lights reflected on the filthy puddles. It's pretty crowded with various ALIEN LOW-LIFES, PANHANDLING DROIDS, and the occasional group of UPPERCLASS SLUMMERS.ANAKIN barges into several of them as he chases after the fleeing ZAM. He loses the Bounty Hunter in the crowd, them sees him again. The young Jedi is having a very difficult time getting through the crowd.Ahead, ZAM turns in through a door and disappears.A nightclub sighs is flashing over the door. ANAKIN is just about to follow ZAM when there is a sudden swirl of litter from downthrusters. PEOPLE start moving out of the way, and the open speeder lands in the street beside him. OBI-WAN gets out and walks over, holding out ANAKIN'S lightsaber.				OBI-WAN			Anakin!				ANAKIN			She went into that club, Master.				OBI-WAN			Patience.OBI-WAN hands ANAKIN the lightsaber.				OBI-WAN			 	(continuing)			Here. Next time try not to lose it.				ANAKIN			Sorry, Master.ANAKIN reaches for the lightsaber, but OBI-WAN holds it back.				OBI-WAN			A Jedi's saber is his most			precious possession.				ANAKIN			Yes, Master.He reaches for the lightsaber, OBI-WAN pulls it back.				OBI-WAN			He must keep it with him at all			times.				ANAKIN			I know, Master.				OBI-WAN			This weapon is your life!				ANAKIN			I've heard this lesson before...OBI-WAN finally holds out the lightsaber and ANAKIN grabs it.				OBI-WAN			But, you haven't learned anything,			Anakin.				ANAKIN			I try, Master.INT. NIGHTCLUB - NIGHTOBI-WAN and ANAKIN enter the nightclub bar, and everyone stares at them				OBI-WAN			Why do I think you are going to be			the death of me?!				ANAKIN			Don't say that Master... You're			the closest thing I have to a			father... I love you. I don't want			to cause you pain.				OBI-WAN			Then why don't you listen to me?!				ANAKIN			I will. I'll do better, I promise.				OBI-WAN			Do you see him him?				ANAKIN			I think he's a she...				OBI-WAN			Then be extra careful...				(nods to a room)			Check it out.OBI-WAN goes away.				ANAKIN			Where are you going, Master?				OBI-WAN			To get a drink.OBI-WAN heads for the bar. ANAKIN blinks in surprise, then moves into the room, where ALIEN FACES look back at him with hostility, suspicion, and invitation as he moves among the tables. OBI-WAN arrives at the bar. He signals the BARMAN.CLOSE - Somewhere in the room a HAND moves to a pistol in its holster and unsnaps the safety catch. At the bar, a glass is placed in from of OBI-WAN. A drink is poured. He lifts the glass.				ELAN SLEAZEBAGGANO			Wanna buy some death sticks?OBI-WAN looks at him. He moves his fingers slightly.				OBI-WAN			You don't want to sell me death-			sticks.				ELAN			I don't want to sell you death-			sticks.OBI-WAN moves his fingers.				OBI-WAN			You want to go home and rethink 			your life.				ELAN			I want to go home and rethink my			life.He leaves. OBI-WAN lifts the drink and tosses it back.CLOSE. The gun is drawn from its holster and held down out of sight. The BOUNTY HUNTER starts to move toward the bar.ANAKIN checks out ALIEN FACES. OBI-WAN signals for another drink. The gun moves toward his unsuspecting back.The drink is poured. OBI-WAN reaches for it. The gun is raised to aim directly at his back, and suddenly OBI-WAN turns fast. His lightsaber flashes. There is a shrill SCREAM and ZAM'S ARM hits the floor. The gun drops from its twitching fingers. Blood spreads.The room is silent. ALIENS rise menacingly from their seats, and ANAKIN is suddenly at OBI-WAN's side, his lightsaber glowing.				ANAKIN			Easy... Official business. Go			back to your drinks.Slowly, the ALIENS sit. Conversation resumes. Onstage, THE PERFORMERS pick up their routine. OBI-WAN and ANAKIN lift ZAM and carry her out.EXT. ALLEY OUTSIDE NIGHTCLUB - NIGHTOBI-WAN and ANAKIN carry ZAM into the alley and lower her to the ground. OBI-WAN attends to her wounded shoulder. She stares up hatefully at ANAKIN. She winces in pain, then nods.				OBI-WAN			Do you know who it was you were			trying to kill?				ZAM WESSEL			The Senator from Naboo.				OBI-WAN			Who hired you?ZAM glares at OBI-WAN.				ZAM WESSEL			It was just a job.				ANAKIN			Tell us!				ZAM WESSEL			That Senator's gonna die soon			anyway, and the next one won't			make the same mistake I did...				OBI-WAN			This wound's going to need			treatment.				ANAKIN			Who hired you? Tell us... tell us			now!ZAM glares hatefully.				ZAM			It was a Bounty Hunter called...There is a sudden FTZZZ sound. ZAM twitches. She blinks in surprise and dies.There is a WEOOSH from above. OBI-WAN and ANAKIN look up yo see an ARMOURED ROCKET-MAN taking off from a roof high above. OBI-WAN looks down at ZAM. He touches her neck and pulls out a small, wicked-looking dart.				OBI-WAN			Toxic Dart...INT. SENATE BUILDING, AMIDALA'S APARTMENT - DAYANAKIN and JAR JAR stand near the door of the anteroom to PADME'S bedroom. PADME and DORME move about packing luggage.				PADM…			Representative Binks. I know I can			count on you.				JAR JAR			Yousa betchen mesa bottums.				PADM…			What?!				JAR JAR				(coughs, recovers)			Oh, pardone-ay, Senator. I mean,			I am honoured to accept this heavy			burden. I take on this			responsibility with deep humility			tinged with an overwhelming pride.				(pompously)			It is not every day that I am			called upon to...PADME kisses him on the cheek and gives him a hug. JAR JAR turns red.				PADM…			You're a good friend, Jar Jar. I			don't wish to hold you up. I'm			sure you have a great deal to do.				JAR JAR			Of course, M'lady.JAR JAR bows and goes out. As he passes ANAKIN, he flashes a dazzling smile... PADME is in a very bad mood.				PADM…			I do not like this idea of hiding.				ANAKIN			Don't worry. Now that the Council			has ordered an investigation, it			won't take Master Obi-Wan long to			find that bounty hunter.				PADM…				(frustrated)			I haven't worked for a year to			defeat the "Military Creation Act"			not to be here when its fate is			decided.				ANAKIN			Sometimes we have to let go of our			pride and do what is requested of			us.				PADM…			Pride?!? Annie, you're young, and			you don't have a very firm grip on			politics. I suggest you reserve			your opinions for some other time.				ANAKIN			Sorry, M'lady. I was only trying			to...				PADM…			Annie! No!				ANAKIN			Please don't call me that.				PADM…			What?				ANAKIN			Annie...				PADM…			I've always called you that... it			is your name, isn't it?				ANAKIN			It's Anakin. When you say Annie			it's like I'm still a little			boy... and I'm not.				PADM…			I'm sorry, Anakin. It's impossible			to deny you've...				(looks him over)			...that you've grown up.PADME smiles at ANAKIN. He becomes a little shy.				ANAKIN			Master Obi-Wan manages not to see			it...				PADM…			Mentors have a way of seeing more			of our faults than we would like.			It's the only way we grow.				ANAKIN			Don't get me wrong... Obi-Wan is			a great mentor. As wise as Master			Yoda and as powerful as Master			Windu. I am truly thankful to be			his apprentice. Only... although			I'm a Padawan learner, in some			ways... a lot of ways... I'm ahead			of him. I'm ready for the trials.			I know I am! He knows it too. He			believes I'm too unpredictable...			Other Jedi my age have gone			through the trials and made it...			I know I started my training			late... but he won't let me move			on.				PADM…			That must be frustrating.				ANAKIN			It's worse... he's overly			critical. He never listens! He			just doesn't understand! It's not			fair!PADME cannot surpress a laugh. She shakes her head.				PADM…			I'm sorry... You sounded exactly			like that little boy I once knew,			when he didn't get his way.				ANAKIN			I'm not whining! I'm not.PADME just smiles at him. DORME laughs in the background.				PADM…			I didn't say it to hurt you.				ANAKIN			I know...There is a brief silence. PADME comes over to ANAKIN.				PADME			Anakin...They look into each other's eyes for the first time.				PADM…				(continuing)			Don't try to grow up too fast.				ANAKIN			I am grown up. You said it			yourself.ANAKIN looks deep into PADME'S eyes.				PADM…			Please don't look at me like that.				ANAKIN			Why not?				PADM…			Because I can see what you're			thinking.				ANAKIN				(laughing)			Ahh... so, you have Jedi powers			too?DORME is watching with concern.				PADM…			It makes me feel uncomfortable.				ANAKIN			Sorry, M'lady.ANAKIN backs away as PADME turns and goes back to her packing.EXT. CORUSCANT, SPACEPORT FREIGHTER DOCKS, TRANSPORT BUS - DAY A small bus speeds toward the massive freighter docks of Coruscant's Industrial area. The spaceport is bustling with activity. Transports of various sizes moves supplies and passengers as giant floating cranes lift cargo out of starships. The bus stops before a huge intergalactic freighter starship. It parks in the shadows of an overhang.INT. CORUSCANT, SPACEPORT FREIGHTER DOCKS, TRANSPORT BUS - DAYANAKIN and PADME, dressed in Outland peasant outfits, get up and head for the door where CAPTAIN TYPHO, DORME and OBI-WAN are waiting to hand them their luggage. DORME is dressed to look like Senator Amidala.				CAPTAIN TYPHO			Be safe, m'lady.				PADM…			Thank you, Captain. Take good			care of Dorme... the threat's on			you two now.				DORME			He'll be safe with me.They laugh, and PADME embraces her faithful handmaiden. DORME start to weep.				PADM…			You'll be fine.				DORME			It's not me, M'Lady. I worry			about you. What if they realise			I'm not you?				PADM…				(looks to Anakin)			Then my Jedi protector will have			to prove how grown up he is.DORME and PADME smile. ANAKIN frowns as OBI-WAN pulls him aside.				OBI-WAN			Anakin, you stay put on Naboo.			Do not attract any attention. Do			absolutely nothing without			checking in with me or the Council.				ANAKIN			Yes, Master.				OBI-WAN				(to Padme)			I will get to the bottom of this			plot quickly, M'Lady. You'll be			back here in no time.				PADM…			I will be most grateful for your			speed, Master Jedi.				ANAKIN			Time to go.				PADM…			I know. PADME gives DORME a last hug. ANAKIN picks up the luggage, and the TWO PEASANTS exit the speeder bus, where ARTOO is waiting for them.				OBI-WAN			May the Force be with you.				ANAKIN			May the Force be with you, Master.They head off toward the giant Starfreighter.				PADM…			Suddenly, I'm afraid...				ANAKIN			I'm kinda scared too. This is my			first assignment on my own.				PADM…			There's nothing to worry about...			we have Artoo with us.The two laugh.OBI-WAN and CAPTAIN TYPHO watch ANAKIN and PADME disappear into the vastness of the spaceport with ARTOO trundling along behind them.				OBI-WAN			I hope he doesn't try anything			foolish.				CAPTAIN TYPHO			I'd be more concerned about her			doing something, than him.EXT. FREIGHTER DOCKS - CORUSCANT - DAYThe freighter slowly takes off from the huge docks area of Coruscant. It soon moves into the crowded skies.INT. JEDI TEMPLE, MAIN HALLWAY - LATE DAYFrom high above, light streams down from the lofty ceilings. OBI-WAN crosses the floor of the great hallway, heaading for the Analysis Rooms.INT. JEDI TEMPLE, ANALYSIS CUBICLES - LATE DAYOBI-WAN walks past several glass cubicles where work is going on. He comes to an empty one and sits down in front of a console. A PK-4 ANALYSIS DROID comes to life. A tray slides out of the console.				PK-4			Place the subject for analysis on			the sensot tray, please.OBI-WAN puts the dart onto the traym which retracts into the console. The DROID activates the system, and a screen lights up in from of OBI-WAN.				OBI-WAN			It's a toxic dart. I need to know			where it came from and who made it.				PK-4			One moment, please.Diagrams and .... appear on the screem, scrolling past at great speed. OBI-WAN watches as the screen goes blank. They tray slides out.				PK-4				(continuing)			As you can see on your screen,			subject weapon does not exist in			any known culture. Markings			cannot be identified. Probablt			self-made by a warrior not			associated with any known society.				OBI-WAN			Excuse me? Could you try again			please?				PK-4			Master Jedi, our records are very			thorough. they cover eight			percent of the galaxy. If I can't			tell you where it came from,			nobody can.OBI-WAN picks up the dart and looks at it, then looks to the DROID.				OBI-WAN			Thanks for your assistance! You			may not be able to figure this			out, but I think I know someone			who might.EXT. SPACE, STARSHIP FREIGHTERThe massive, slow-moving Freighter suddenly zooms away into lightspeed.INT. STARFREIGHTER, STORAGE HOLD - DAYThe great, gloomy hold is crowded with EMIGRANTS and their belongings. To one side ARTOO is coming to the head of a food line, where SERVERS are ladling out bowls of mush. ARTOO holds two bowls.				SERVER			Keep moving! Keep moving!ARTOO slips tube into a tub of mush and sucks up a large quantity. With one of his little claw-arms, he grabs several chunks of something that looks like brown bread. A SERVER sees him.				FOOD SERVER				(continuing)			Hey! No Droids!ARTOO takes one last big suck and heads away from the food line. The SERVER shouts after him angrily. The little droid moves past groups of eating or sleeping EMIGRANTS and comes to where ANAKIN is sound asleep. The young Jedi seems to be having a nightmare. He is very restless.				ANAKIN			No, no, Mom, no...He is sweating. PADME leans over to wipe some of the sweat from his forehead. He wakes up with a start, then realises where he is. PADME simply looks at him. He stares back, somewhat confused. ARTOO fills up two bowls with mush.				ANAKIN				(continuing)			What?				PADM…			You seemed to be having a			nightmare.ANAKIN looks at PADME a little more closely, trying to see if he has revealed any of his secrets. She hands him a bowl of mush and bread.				PADM…				(continuing)			Are you hungry?				ANAKIN			Thank you.				PADM…			We went into lightspeed a while			ago.ANAKIN looks into PADME'S eyes.				ANAKIN			I look forward to seeing Naboo			again. I've thought about it every			day since I left. It's by far the			most beautiful place I've ever			seen...PADME is a little unnerved by his intense stare. 				PADM…			You were just a little boy then.			It may not be as you remember it;			time changes your perception.				ANAKIN			I think time has given me much			more mature feelings to enhance my			perception.				PADM…			It must be difficult having sworn			your life to the Jedi... not being			able to visit the places you			like... or do the things you			like...				ANAKIN			Or be with the people I love.				PADM…			Are you allowed to love? I			thought that was forbidden for a			Jedi.				ANAKIN			Attachment is forbidden.			Possession is forbidden.			Compassion, which I would define			as unconditional love, is central			to a Jedi's life, so you might say			we're encouraged to love.				PADM…			You have changed so much				ANAKIN			You haven't changed a bit. You're			exactly the way I remember you in			my dreams. I doubt if Naboo has			changed much either.				PADM…			It hasn't...				ANAKIN			I can't wait to breathe the sweet			breeze that comes off the rolling			hills. Whenever I try to			visualise the Force, those hills			are what I see.ANAKIN looks at PADME when he says this.				ANAKIN				(continuing)			I love Naboo.There is an awkward moment.				PADM…				(changing the subject)			Were you dreaming about you			mother earlier, weren't you?				ANAKIN			Yes... I left Tatooine so long			ago, my memory of her is fading.			I don't want to lose it. Recently			I've been seeing her in my			dreams... vivid dreams... scary			dreams. I worry about her.PADME gives ANAKIN a sympathetic look.EXT. CORUSCANT, DOWNTOWN, BACK STREET - MORNINGOBI-WAN walks down the street. It is a pretty tough part of town. Old buildings, warehouses, beat up speeders and transporter rigs occasional "shiny freighters" hissing through.OBI-WAN comes to a kind of alien diner. On the steamed-up windowa it says "DEX'S DINER" in alien lettering. He goes inside.INT. CORUSCANT, DEX'S DINER - MORNINGA young waitress, HERMIONE BAGWA, is wiping off a booth tabletop. There is a counter with stools and a line of booths along the wall by the window. A number of CUSTOMERS are eating - TOUGH-LOOKING WORKERS, FREIGHTER DRIVERS etc. HERMIONE looks up as OBI-WAN comes in.				HERMIONE			Can I help ya?				OBI-WAN			I'm looking for Dexter.HERMIONE'S eyes narrow.				HERMIONE BAGWA			Waddya want him for?				OBI-WAN			He's not in trouble. It's			personal.HERMIONE stares at OBI-WAN. There is a brief pause. Then she goes to the open serving hatch behind the counter.				HERMIONE BAGWA			Someone to see ya, honey				(lowering her voice)			A Jedi, by the looks of him.Steam billows out from the kitchen hatch behind the counter as a huge head pokes through.				DEXTER JETTSTER			Obi-Wan!				OBI-WAN			Hey, Dex.				DEXTER JETTSTER			Take a seat! Be right with ya!OBI-WAN sits in a booth.				HERMIONE BAGWA			You want a cup of ardees?				OBI-WAN			Thank you.HERMIONE moves off as the door to the counter opens and DEXTER JETTSTER appears. He is big - bald and sweaty, old and alien. Not someone to tangle with. He arrives, beaming hugely.				DEXTER JETTSTER			Hey, ol' buddy!				OBI-WAN			Hey, Dex.DEXTER eases himself into the seat opposite OBI-WAN. He can just make it. HERMIONE sets two mugs of steaming ardees in from of them.				DEXTER JETTSTER			So, my friend. What can I do for			ya?				OBI-WAN			You can tell me what this is.OBI-WAN places the dart on the table between them. DEX'S eyes widen. He puts down his mug.				DEXTER JETTSTER			Well, whattaya know...DEXTER picks up the dart delicately between his puffy fingers and peers at it.				DEXTER JETTSTER				(continuing)			I ain't seen one of these since I			was prospecting on Subterrel			beyond the Outer Rim!				OBI-WAN			Do you know where it came from?DEXTER grins. He puts the dart down between them.				DEXTER JETTSTER			This baby belongs to them cloners.			What you got here is a Kamino			Kyberdart.				OBI-WAN			Kamino Kyberdart... I wonder why			it didn't show up in any analysis			archive.				DEXTER JETTSTER			It's these funny little cuts on			the side give it away...			Those analysis droids you've got			over there only focus on symbols,			you know. I should think you Jedi			would have more respect for the			difference between knowledge and			wisdom.				OBI-WAN			Well, Dex, if droids could think, we			wouldn't be here, would we?				(laughing)			Kamino... doesn't sound familiar.			Is it part of the Republic?				DEXTER JETTSTER			No, it's beyond the Outer Rim.			I'd say about twelve parsecs			outside the Rishi Maze, toward the			south. It should be easy to find,			even for those droids in your			archive to find. Those Kaminoans			keep to themselves. They're			cloners. Damned good ones, too.OBI-WAN then picks up the dart, holding it midway between them.				OBI-WAN			Cloners? Are they friendly?				DEXTER JETTSTER			It depends.				OBI-WAN			On what, Dex?Dexter grins. 				DEXTER JETTSTER			On how good your manners are...			and how big your pocketbook is...EXT. NABOO SPACEPORT - DAYThe Starfreighter lands in the giant port city of Theed.PADME, ANAKIN and ARTOO are among the EMIGRANTS streaming from the Starfreighter and into the vast docking area. They exit onto the main plaza.EXT. NABOO PALACE, GRAND COURTYARD (NABOO) - AFTERNOONThe speeder bus pulls up and stops. PADME, ANAKIN, and ARTOO get out. The great courtyard stretches out before them, and they see the rose-colored dome of the palace on the far side. ARTOO WHISTLES. They pick up their gear and start to cross the courtyard. ARTOO trundles behind them.				ANAKIN			If I grew up here, I don't think			I'd ever leave.				PADM…				(laughing)			I doubt that.				ANAKIN			No, really. When I started my			training, I was very homesick and			very lonely. This city and my Mom			were the only pleasant things I			had to think about... The problem			was, the more I thought about my			Mom, the worse I felt. But I			would feel better if I thought			about the palace - the way it			shimmers in the sunlight - the way			the air always smells of flowers...				PADM…			...and the soft sound of the			distant waterfalls. The first			time I saw the Capital, I was very			young... I'd never seen a			waterfall before. I though they			were so beautiful... I never			dreamed one day I'd live in the			palace.				ANAKIN			Well, tell me, did you dream of			power and politics when you were			a little girl?				PADM…				(laughing)			No! That was the last thing I			thought of. My dream was to help			in the "Refugee Relief Movement."			I never thought of running for			elected office. But the more			history I studied, the more I			realised how much good politicians			could do. So when I was eight, I			joined the "Apprentice			Legislators", then later on became			a Senatorial advisor, with such a			passion that, before I knew it, I			was elected Queen. Partly because			I scored so high on my education			certificate, but for the most part			it was my conviction that reform			was possible. I wasn't the			youngest Queen ever elected, but			now that I think back on it, I'm			not sure I was old enough. I'm not			sure I was ready.				ANAKIN			The people you served thought you			did a good job. I heard they			tried to amend the Constitution so			you could stay in office.				PADM…			Popular rule is not democracy,			Annie. It gives the people what			they want, not what they need.			And, truthfully, I was relieved			when my two terms were up. So			were my parents. They worried			About me during the blockade and			couldn't wait for it all to be			over. Actually, I was hoping to			have a family by now... My			sisters have the most amazing,			wonderful kids... but when the			Queen asked me to serve as			Senator, I couldn't refuse her.				ANAKIN			I agree! I think the Republic			needs you... I'm glad you chose			to serve. I feel things are going			to happen in our generation that			will change the galaxy in profound			ways.				PADM…			I think so too.ANAKIN and PADME walk toward the palace. ARTOO continues to follow.INT. NABOO PALACE, THRONE ROOM - AFTERNOONQUEN JAMILLIA is seated on the throne, flanked by SIO BIBBLE and a COUPLE OF ADVISORS. FOUR HANDMAIDENS stand close by, and GUARDS are at the doors.				QUEEN JAMILLIA			We've been worried about you.				(takes her hand)			I'm so glad you're safe, PadmÈ.				PADM…			Thank you, Your Highness. I only			Wish I could have served you			better by staying on Coruscant for			the vote.				SIO BIBBLE			Given the circumstances, Senator,			you know it was the only decision			Her Highness could have made.				QUEEN JAMILLIA			How many systems have joined Count			Dooku and the separatists?				PADM…			About two hundred. And more are			leaving the Republic every day.			If the Senate votes to create an			army, I'm sure it's going to push			us into a civil war.				SIO BIBBLE			It's unthinkable! There hasn't			been a full-scale war since the			formation of the Republic!				QUEEN JAMILLIA			Do you see any way, through			negotiations, to bring the			separatists back into the Republic?				PADM…			Not if they feel threatened. The			separatists don't have an army,			but if they are provoked, they			will move to defend themselves.			I'm sure of that. And with no time			or money to build an army, my			guess is they will turn to the			Commerce Guilds or the Trade			Federation for help.				QUEEN JAMILLIA			The armies of commerce! Why has			Nothing been done in the Senate			to restrain them?				PADM…			I'm afraid that, despite the			Chancellor's best efforts, there			are still many bureaucrats,			judges, and even Senators on the			payrolls of the Guilds.				SIO BIBBLE			It's outrageous! After all of			those hearings, and the four trials in			the Supreme Court, Nute Gunray is			still the Viceroy of the Trade			Federation. Do those money			mongers control everything?				QUEEN JAMILLIA			Remember, Counsellor, the courts			were able to reduce the			Federation's armies. That's a			move in the right			direction.				PADM…			There are rumours, Your Highness,			that the Federation Army was not			reduced as they were ordered.				ANAKIN			The Jedi have not been allowed to			investigate. It would be to be too			dangerous for the economy, we were			told.				QUEEN JAMILLIA			We must keep our faith in the			Republic. The day we stop			believing democracy can work is			the day we lose it.				PADM…			Let's pray that day never comes.				QUEEN JAMILLIA			In the meantime, we must consider			your own safety.SIO BIBBLE signals. All the other ADVISORS and ATTENDANTS bow and leave the room.				SIO BIBBLE				(to Anakin)			What is your suggestion, Master			Jedi?				PADM…			Anakin's not a Jedi yet, Counsellor.			He's still a Padawan learner. I			was thinking...				ANAKIN				(nettled)			Hey, hold on a minute!				PADM…			Excuse me! I was thinking I would			stay in the Lake Country. There			are some places up there that are			very isolated.				ANAKIN			Excuse me?! I am in charge of			security here, M'Lady.SIO BIBBLE and QUEEN JAMILLIA exchange a look. Something is going on here.				PADM…			Annie, my life is at risk, and			this is my home. I know it very			well... that is why we're here.			I think it would be wise for you			to take advantage of my knowledge			in this instance.				ANAKIN				(takes a deep breath)			Sorry, M'Lady.				SIO BIBBLE				(to Anakin, amused)			She is right. The Lake Country is			the most remote part of Naboo.			Not many people and a clear view			of the surrounding terrain.				QUEEN JAMILLIA			Perfect. It's settled then.ANAKIN glares at PADME. Then QUEEN JAMILLIA gets up, and they all start to leave.				QUEEN JAMILLIA				(continued)			PadmÈ, I had an audience with your			father yesterday. I told him what			was happening. He hopes you will			visit your mother before you			leave... your family's very			worried about you.PADME looks worred. They ALL exit down the main staircase.EXT. JEDI TEMPLE - DAYThe main entrance at the base of the huge temple is bustling with activity. All sorts of JEDI are coming and going.INT. JEDI TEMPLE, ARCHIVES LIBRARY - DAYA bronze bust of Count Dooku, stands among a line of other busts of Jedi in the Archive Room. OBI-WAN stands in front it, studying the striking features of the chiselled face.On the walls, lighted computer panels seem to stretch into infinity. Farther along the room in the background, FIVE JEDI are seated at tables, studying archival material.After OBI-WAN studies the bust for a few moments before MADAME JOCASTA NU, the Jedi Archivist is standing next to him. She is an elderly, frail-looking human Jedi. Tough as old boots and smart as a whip.				JOCASTA NU			Did you call for assistance?				OBI-WAN				(distracted in thought)			Yes... yes, I did...				JOCASTA NU			He has a powerful face, doesn't			he? He was one of the most			brilliant Jedi I have had the			privilege of knowing.				OBI-WAN			I never understood why he quit.			Only twenty Jedi have ever left			the Order.				JOCASTA NU				(sighs)			The Lost Twenty... and Count Dooku			was the most recent and the most			painful. No one likes to talk			about it. His leaving was a great			loss to the Order.				OBI-WAN			What happened?				JOCASTA NU			Well, one might say, he was always			a bit out of step with the			decisions of the Council... much			like your old Master, Qui-Gon Jinn.				OBI-WAN				(surprised)			Really?				JOCASTA NU			Oh, yes. They were alike in many			ways. Very individual thinkers...			idealists...JOCASTA NU stares at the bust				JOCASTA NU				(continuing			He was always striving to become			a more powerful Jedi. He wanted			to be the best. With a lightsaber,			in the old style of fencing, he			had no match. His knowledge of			the Force was... unique. In the			end, I think he left because he			lost faith in the Republic. He			believed that politics were			corrupt, and he felt the Jedi			betrayed themselves by serving the			politicians. He always had very			high expectations of government.			He disappeared for nine or ten			years, then he just showed up			recently as the head of the			separatist movement.				OBI-WAN			Interesting... I'm still not sure			I understand.				JOCASTA NU			Well, I'm sure you didn't call me			over here for a history lesson.			Are you having a problem, Master			Kenobi?				OBI-WAN			Yes, I'm trying to find a planet			system called Kamino. It doesn't			seem to show upon any of the			archive charts.				JOCASTA NU			Kamino? It's not a system I'M			familiar with... Let me see...JOCASTA NU leans over OBI-WAN'S shoulder, looking at the screen.				JOCASTA NU				(continuing)			Are you sure you have the right			co-ordinates?				OBI-WAN				(nodding)			According to my information, it			should be in this quadrant			somewhere... just south of the			Rishi Maze.JOCASTA NU taps the keyboard and frowns.				JOCASTA NU			No co-ordinates? It sounds like the			kind of directions you'd get from			a street tout... some old miner or			Furbog trader.				OBI-WAN			All three actually.				JOCASTA NU			Are you sure it exists?				OBI-WAN			Absolutely.				JOCASTA NU			Let me do a gravitational scan.OBI-WAN and JOCASTA NU studt the star map hologram.				JOCASTA NU			There are some inconsistencies			here. Maybe the planet you're			looking for was destroyed.				OBI-WAN			Wouldn't that be on record?				JOCASTA NU			It ought to be. Unless it was very			recent.				(shakes her head)			I hate to say it, but it looks			like the system you're searching			for doesn't exist.				OBI-WAN			That's impossible... perhaps the			archives are incomplete.				JOCASTA NU			The archives are comprehensive and			totally secure, my young Jedi.			One thing you may be absolutely			sure of - if an item does not			appear in our records, it does not			exist!OBI-WAN stares at her, then looks back at the map.EXT. THEED, RESIDENTIAL AREA, SIDE STREET - AFTERNOONPEOPLE are passing through the little street, OLD MEN are sunning themslves, WOMEN are gossipping, KIDS are playing. ANAKIN, PADME and ARTOO turn onto a side street. ANAKIN is back in his Jedi robes. PADME wear a beautiful simple dress. She stops, beaming.				PADME			There's my house!PADME starts forward; ANAKIN hangs back.				PADME				(continuing)			What? Don't say you're shy!				ANAKIN				(untruthfully)			No, but I...Suddenly, there are shouts from two little girils, RYOO (age 6) and POOJA (age 4). They come running toward PADME.				RYOO & POOJA			Aunt Padme!! Aunt Padme!!				PADME			Ryoo!! Pooja!!PADME scoops up RYOO and POOJA and hugs them.				PADME				(continuing)			I'm so happy to see you! This is			Anakin. Anakin, this is Ryoo, and			this is Pooja.ANAKIN and the GIRLS say hello shyly. Then:				RYOO & POOJA			Artoo!!!As they see the droid, they hug him. ARTOO WHISTLES and BEEPS. PADME laughs. ANAKIN and PADME go on toward the house. The GIRLS stay and play with ARTOO.INT. PADME'S PARENTS' HOUSE, MAIN ROOM - AFTERNOONSOLA, PADME'S beautiful older sister, comes in from the kitchen carrying a big bowl of food.				SOLA				(over her shoulder)			They're eating over at Jev			Narran's later, Mom. They just			had a snack. They'll be fine.SOLA puts the bowl down on the table, where ANAKIN, PADME and RUWEE NABERRIE (Padme's father) are coming into the room.				PADME			Anakin, this is my sister, Sola.				SOLA			Hello, Anakin.				ANAKIN			Hello.SOLA sits, as JOBAL NABERRIE (Padme's mother) comes in with a heaped bowl of steaming food.				JOBAL			You're just in time for dinner. I			hope you're hungry, Anakin.				ANAKIN			A little.				PADME			He's being polite, Mom. We're			starving.				RUWEE				(grinning)			You came to the right place at the			right time. Sit down, son.EVERYONE sits and starts passing food.				JOBAL				(to Padme)			Honey, it's so good to see you			safe. We were so worried.PADME gives JOBAL a dirty look. RUWEE smiles as he watches.				RUWEE			Dear...				JOBAL			I know, I know... but I had to say			it. Now it's done.				SOLA			Well, this is exciting! Do you			know, Anakin, you're the first			boyfriend my sister's ever brought			home?				PADME				(rolls her eyes)			Sola!! He isn't my boyfriend!			He's a Jedi assigned by the Senate			to protect me.				JOVAL			A bodyguard?! Oh, Padme! They			didn't tell us it was that serious!				PADME			It's not, Mom, I promise.				(glances at Jobal)			Anyway, Anakin's a friend. I've			known him for years. Remember			that little boy who was with the			Jedi during the blockade crisis?They nod.				PADME				(continuing)			He grew up.				JOBAL			Honey, when are you going to			settle down? Haven't you had			enough of that life? I certainly			have!				PADME			Mom, I'm not in any danger.				RUWEE				(to Anakin)			Is she?				ANAKIN			...Yes... I'm afraid she is.				PADME				(quickly)			But not much.EXT. PADME'S PARENTS' GARDEN - AFTERNOONANAKIN and RUWEE are walking.				RUWEE			Sometimes I wish I'd traveled			more... but I must say, I'm happy			here.				ANAKIN			Padme tells me you teach at the			university?				RUWEE				(nodding)			Yes, and before that, I was a			builder. I also worked for the			Refugee Relief Movement, when I			was very young.INT. PADME'S PARENTS' HOUSE, MAIN ROOM - AFTERNOONPADME, SOLA and JOBAL are clearing the table.				SOLA			Why haven't you told us about him?				PADM…			What's there to talk about?  He's			just a boy.				SOLA			A boy? Have you seen the way he			looks at you?				PADM…			Sola - stop it!				SOLA			It's obvious he has feelings for			you. Are you saying, little baby			sister, that you haven't noticed?				PADM…			I'm not your baby sister, Sola.			Anakin and I are friends... our			relationship is strictly			professional.				(to Jobal)			Mom, would you tell her to stop it?				SOLA				(laughing)			Well, maybe you haven't noticed			the way he looks at you. I think			you're afraid to.				PADM…			Cut it out.				JOBAL			Sola's just concerned... we all			are.				PADM…			Oh, Mom, you're impossible. What			I'm doing is important.				JOBAL			You've done your service, PadmÈ.			It's time you had a life of your			own. You're missing so much!EXT. PADME'S PARENTS' GARDEN - AFTERNOONANAKIN and RUWEE are walking in the garden. RUWEE stops and faces ANAKIN directly.				RUWEE			Now tell me, son. How serious is			this thing? How much danger is my			daughter really in?				ANAKIN			There have been two attempts on			her life. Chances are there'll be			more. My Master is tracking down			the assassins. I'm sure he'll find			out who they are. This situation,			won't last long.				RUWEE			I don't want anything to happen to			her.				ANAKIN			I don't either.INT. PADME'S PARENTS' HOUSE, PADME'S ROOM - AFTERNOONPADME throws some things into a bag.				PADME			Don't worry, this won't take long.				ANAKIN			I just want to get there before			dark.PADME goes on packing. ANAKIN looks around the room.				ANAKIN				(continuing)			You still live at home.				PADME			I move around so much, I've never			had a place of my own. Official			residences have no warmth. I feel			good here. I feel at home.				ANAKIN			I never had a real home. Home was			always where my Mom was.ANAKIN picks up a framed hologram.				ANAKIN				(continuing)			Is this you?The hologram shows Padme at age seven or eight surrounded by forty or fifty little green creatures. She is holding one in her arms. They are all smiling hugely.				PADME			That was when I went with the			Relief Group to Shadda-Bi-Boran.			Their sun was imploding, and the			planet was dying. I was helping			to relocate the children. See			that little one I'm holding? His			name was N'a-kee-tula, which means			sweethear. He was so full of 			life,. All those kids were. I did			everything I could to save him,			but he died... they all did. They			were never able to adapt... to			live off their native planet.ANAKIN picks up another hologram. It shows PADME at age ten or eleven. She is wearing official robes and standing between two robed legislators. Her expression is severe.				PADME				(continuing)			My first day as an Apprentice			Legislator. Notice the difference?PADME pulls a face. ANAKIN grins. She continues packing. ANAKIN sets the two holograms down side by side - the beaming little girl, and the the stern, unsmiling adolescent.INT. JEDI TEMPLE, MAIN HALLWAY - DAYOBI-WAN walks through the main hallway to the training area.INT. JEDI TEMPLE, TRAINING VERANDA - DAYOBI-WAN comes out onto the veranda and stops, watching TWENTY or so FOUR-YEAR-OLDS doing training exercises, supervised by YODA. They wear helmets over their eyes and try to strike little TRAINING DROIDS with their miniature lightsabers. The DROIDS dance in front of them.				YODA			Don't think... feel... be as one			with the Force. Help you, it will.				(he sees Obi-Wan)			Younglings - enough! A visitor we			have. Welcome him.The CHILDREN take off their helmets and turn off their lightsabers.				YODA				(continuing)			Master Obi-Wan Kenobi, meet the			mighty Bear Clan.				CHILDREN			Welcome, Master Obi-Wan!				OBI-WAN			I am sorry to disturb you, Master.				YODA			What help to you, can I be?				OBI-WAN			Iím looking for a planet described			to me by an old friend. I trust			him. But the system doesnít show			up on the archive maps.				YODA			An interesting puzzle. Gather			round the map reader, younglings.			Master Obi-Wan has lost a planet.			Find it, we will try...The map reader is a small shaft with a hollow opening at the top. The CCHILDREN gather around it. OBI-WAN takes out a little glass ball and places it into the bowl. The window shades close darkening the room and the reader lights up, projecting the star map hologram into the room. The CHILDREN laugh. Some of them reach up to try and touch the nebulae and stars. OBI-WAN walks into the display.				OBI-WAN			This is where it ought to be...			but it isnít. Gravity is pulling			all the stars in this area inward			to this spot. There should be a			star here... but there isnít.				YODA			Most interesting. Gravityís			silhouette remains, but the star			and all its planets have			disappeared. How can this be?There is a brief pause. Then a CHILD puts its hand up. YODA nods.				JEDI CHILD JACK			Because someone erased it from the			archive memory.				CHILDREN			Thatís right! Yes! Thatís what			happened! Someone erased it!				JEDI CHILD MAY			If the planet blew up, the gravity			would go away.OBI-WAN stares; YODA chuckles.				YODA			Truly wonderful, the mind of a			child is. Uncluttered. To the			centre of the pull of gravity go,			and find your planet you will.				OBI-WAN			But Master Yoda who could have			erased information from the			archives? Thatís impossible,			isnít it?				YODA				(frowning)			Much harder to answer, that			question is.EXT. NABOO LAKE RETREAT, WATER SPEEDER, LANDING PLATFORM - LATE AFTERNOONA water speeder driven by PADDY ACCU, the retreat caretaker, skims across the lake away from the island landing platform where a chrome Naboo Starship rests. ANAKIN and PADME are sitting in the speeder as it skims away to where a lodge rises on a beautiful island in the middle of the lake.EXT. NABOO LAKE RETREAT, LODGE, GARDEN TERRACEM LATE AFTERNOONANAKIN and PADME walk up the stairs from where the water speeder is parked onto a terrace overlooking a lovely garden. Behind them, PADDY ACCU supervises two serving girls, NANDI and TECKLA, as they carry the bags into the Lodge.ANAKIN and PADME stop at the balustrade. PADME looks out across the garden to the shimmering lake and the mountains rising beyond. ANAKIN looks at her silently.				PADM…			When I was in Level Three, we used			to come here for school retreat.			See that island? We used to swim			there every day. I love the water.				ANAKIN			I do too. I guess it comes from			growing up on a desert planet.PADME becomes aware that ANAKIN is looking at her.				PADM…			...We used to lie on the sand and			let the sun dry us... and try to			guess the names of the birds			singing.				ANAKIN			I donít like sand. Itís coarse			and rough and irritating, and it			gets everywhere. Not like here.			Here everythingís soft... and			smooth...He touches her arm. PADME has become receptive to the way he looks at her but is nervous.				PADM…			There was a very old man who lived			on the island. He used to make			glass out of sand - and vases and			necklaces out of the glass. They			were magical.				ANAKIN				(looks into her eyes)			Everything here is magical.				PADM…			You could look into the glass and			see the water. The way it ripples			and moves. It looked so real...			but it wasnít.				ANAKIN			Sometimes, when you believe			something to be real, it becomes			real. Real enough, anyway...They look into each other's eyes. He touches her chin.				PADM…			I used to think if you looked too			deeply into glass, you would			lose yourself.				ANAKIN			I think it's true...ANAKIN kisses PADME. She doesn't resist. She comes to her senses and pulls away.				PADM…			I shouldn't have done that.				ANAKIN			I'm sorry. When I'm around you,			my mind is no longer my own.				PADM…			It's the situation... the stress...He looks at her.				ANAKIN			...the view.EXT. CORUSCANT, LANDING PLATFORM - LATE AFTERNOONObi-Wan's Starfighter is ready for takeoff. OBI-WAN and MACE WINDU stand beside it.				MACE WINDU			Be wary, this disturbance in the			Force is growing stronger.				OBI-WAN			I am concerned for my Padawan. He			is not ready to be on his own.				YODA			The Council is confident in this decision,			Obi-Wan.				MACE			He has exceptional skills. The			Council is confident in its			decision, Obi-Wan. If the			prophecy is true, he weill be the			one to bring balance to the Force.				OBI-WAN			But he still has much to learn.			And his abilities have made him...			well... arrogant. I realise now			what you and Master Yoda knew from			the beginning... the boy was too			old to start the training and...OBI-WAN hesitates.				MACE WINDU			There's something else?				OBI-WAN			Master, he should not have been			given this assignment. I'm afraid			Anakin won't be able to protect			the Senator. 				MACE WINDU			Why?				OBI-WAN			He has a... an emotional			connection with her. It's been			there since he was boy. Now			he's confused... distracted.				MACE-WINDU			Obi-Wan, you must have faith that			he will take the right path.OBI-WAN climbs into the cockpit of the Starfighter.				OBI-WAN			Has Master Yoda gained any insight			into whether or not this war will			come about?				MACE WINDU			Probing the Dark Side is a			dangerous process. He could be in			seclusion for days... May the			force be with you.INT. JEDI TEMPLE, YODA'S QUARTERS - LATE AFTERNOONYODA sits with his eyes closed, meditating. Silence.EXT. NABOO LAKE RETREAT, LOUNGE, LATE AFTERNOONThe setting sun touches the mountain peaks. The lake glows in the rose-tinted light. Floatinf lamps glean softly like jewels at the lodge.INT. NABOO LAKE RETREAT, DINING ROOM - LATE AFTERNOONNANDI place dessert in front of PADME. TECKLA does the same for ANAKIN. The dessert is some kind of fruit. PADME picks up her fork and goes to spear a piece, but it moves! She frowns and tries again -the fruit moves. She lokk up at ANAKIN. His eyes are on his plate.				PADME			You did that?ANAKIN looks up - wide-eyed innocence.				ANAKIN			What?PADME scowls at him. PADME jabs at the fruit - ANAKIN subtly moves his hand and it lifts up from the plate and hovers in front of her.				PADME			That! Now stop it!PADME laughs. ANAKIN laughs. She reaches out for the fruit - it loops.				PADME				(continuing)			Anakin!!ANAKIN moves his fingers. The fruit flies into his hand.				ANAKIN			I'm not really supposed to do			that... for fun, I mean. If			Master Obi-Wan were here, he'd be			very grumpy.ANAKIN is pleased. He cuts the fruint into several pieces and sends one back to PADME. She bites it out of the air and laughs.INT. NABOO LAKE RETREAT, LODGE, FIREPLACE ALCOVE - TWILIGHTA fire blazes in the open hearth. PADME is sitting in front of it, gazing at the flames.She looks up as ANAKIN arrives. She makes room for him. Brief pause.				ANAKIN			May I tell you something?				PADME			I don't know.				ANAKIN			Then how can I tell you?				PADME			Maybe you should use your Jedi			intuition.				ANAKIN			It doesn't work around you. My			mind is always a muddle... I can			only think of you.				PADME			Anakin, don't...				ANAKIN			From the moment I met you, all			those years ago, a day hasn't gone			by when I haven't thought of you.			And now that I'm close to you again,			I'm in agony. The closer I get to			you, the worse it gets. The			thought of not being with you			mskes my stomach turn over - my			mouth goes dry. I feel dizzy. I			can't breathe. I'm haunted by the			kiss you should never have given			me. My heart is beating, hoping			that kiss will not become a scar.			You are in my very soul,			tormenting me. What can I do? I			will do anything you ask...Silence. The logs flame in the hearth.				ANAKIN				(continuing)			If you are suffering as much as I			am, tell me.				PADME			...I can't. We can't. It's just			not possible.				ANAKIN			Anything's possible. Padme,			please listen...				PADME			You listen. We live in a real			world. Come back to it. You're			studying to become a Jedi Knight.			I'm a Senator. If you follow your			thoughts through to conclusion,			they will take us to a place we			cannot go... regardless of the way			we feel about each other.				ANAKIN			Then you do feel something!			There's an extraordinary			connection between us. You can't			deny that.				PADME			Annie, it doesn't make any			difference. Jedi aren't allowed			to marry. You swore an oath,			remember? You'd be expelled from			the Order. I will not let you			give up your responsibilities...			your future, for me.				ANAKIN			I was destined to be a Jedi. I			don't think I could be anything			else. But you are asking me to be			rational. That is something I			know I cannot do. I wish I could			wish my feelings away... but I			can't.				PADME			I am not going to give into this.			I'm not going to throw my life			away. I have more important things			to do than fall in love.There is silence as they stare at the fire. ANAKIN is thinking.				ANAKIN			It wouldn't have to be that way...			we could keep it a secret.				PADME			Then we'd be living a lie - one we			couldn't keep even if we wanted			to. Mt sister saw it. So did my			mother. I couldn't do that.			Could you, Anakin? Could you live			like that?Silence for a moment.				ANAKIN			...No, you're right. It would			destroy us.EXT. SPACEIt's just like the star map hologram, plus the storm-shrouded planet of Kamino, which is exactly where it ought to be. Obi-Wan's Starship flies OVER CAMERA and heads down toward the planet.EXT. TIPOCA CITY, KAMINO LANDING PLATFORM (RAINSTORM) - DAYHeavy rans and hard-driving winds lash the platform as Obi-Wan's Starship approaches. The huge, ultra-modern city of Tipoca rests on great stilts that keep it above the pounding and ever-present waves that cover the surface of this watery world.The Starfighter lands. OBI-WAN gets out and makes his way through the bowling wind toward a tower on the far side of the platform. A door slides open. A shaft of brilliant light pierces the swirling rain. OBI-WAN passes through it and goes inside.INT. TIPOCA CITY, CORRIDOR ENTRANCEA Brilliant white light. OBI-WAN pushes the soaking hood from his face.				TAUN WE			Welcome to Tipoca City, Master			Jedi.OBI-WAN wipes the rain from his face and blinks in surprise at a tall, pasty-white alien named TAUN WE. He has large, almond shaped eyes.				TAUN WE			Everything is ready. The Prime			Minister expects you.				OBI-WAN				(warily)			I'm expected?				TAUN WE			Of course! He is anxious to see			you. After all these years, we			were beginning to think you			weren't coming. Now please, this			way!OBI-WAN masks his surprise as they move away along the corridor.Obi-Wan follows Taun We cautiously.INT. TIPOCA CITY, PRIME MINISTER OFFICE - DAYThe door slides open. OBI-WAN and TAUN WE enter and cross to where LAMA SU rises, smiling, from behind his desk, which, like all the furniture on Kamino, seems made out of pure light.				TAUN WE			May I present Lama Su, Prime			Minister of Kamino... and this is			Master Jedi...				OBI-WAN			Obi-Wan Kenobi.				LAMA SU			Please...LAMA SU indicates a chair. OBI-WAN sits. TAUN WE hovers. The room is bathed in brilliant white light. The whole place is ultra high-tech.				LAMA SU			I trust you are going to enjoy			your stay. We are most happy you			have arrived at the best part of			the season.				OBI-WAN			You make me feel most welcome.				LAMA SU			And now to business. You will be			delighted to hear we are on			schedule. Two hundred thousand			units are ready, with another			million well on the way.				OBI-WAN				(improvising)			That is... good news.				LAMA SU			Please tell your Master Sido-Dyas			that we have every confidence his			order will be met on time and in			full. He is well, I hope?				OBI-WAN			I'm sorry Master - ?				LAMA SU			Jedi Master Sifo-Dyas. He's still			a leading member of the Jedi			Council, is he not?				OBI-WAN			Oh, yes. Sido-Dyas.				LAMA SU				(rising)			You must be anxious to inspect the			units for yourself.				OBI-WAN			That's why I'm here.EXT. NABOO, MOUNTAIN MEADOW - LATER AFTERNOONPADME and ANAKIN are in the middle of an idyllic hilly meadow, its lush grasses sprinkled with flowers. At a distance, a herd of SHAAKS graze contentedly.Beyond is the shimmering expanse of the lake. Several other lakes stretch to the horizon. The warm air is full of little floating puffballs. They sit on the grass, in a playful, coy mood, talking. PADME is picking flowers.				PADM…			I don't know...				ANAKIN			Sure you do... you just don't want			to tell me.				PADM…			Are you going to use one of your			Jedi mind tricks on me?				ANAKIN			They only work on the weak-minded.			You are anything but weak-minded.				PADM…			All right... his name was Palo.			I was twelve. We were both in the			Legislative Youth Program. He was			a few years older then I... very			cute... dark curly hair... dreamy			eyes.				ANAKIN			All right, I get the picture...			whatever happened to him?				PADM…			I went on to become a Queen. He			went on to become an artist.				ANAKIN			Maybe he was the smart one.				PADME			You really don't like politicians,			do you?				ANAKIN			I like two or three, but I'm not			really sure about one of them.				(smiling)			I don't think the system works.				PADME			How would you have it work?				ANAKIN			We need a system where the			politicians sit down and discuss			the problems, agree what's in the			best interests of all the people,			and then do it.				PADME			That is exactly what we do. The			trouble is that people don't			wlways agree. In fact, they			hardly ever do.				ANAKIN			Then they should be made to.				PADME			By whom? Who's going to make them?				ANAKIN			I don't know. Someone.				PADME			You?				ANAKIN			Of course not me.				PADME			But someone.				ANAKIN			Someone wise.				PADME			That sounds an awful lot like a			dictatorship to me.A mischievious little grin creeps across his face.				ANAKIN			Well, if it works...PADME stares at ANAKIN. He looks back at her, straight-faced, and can't hold a smile.				PADM…			You're making fun of me.				ANAKIN			 	(sarcastic)			On no, I'd be much too frightened			to tease a Senator.				PADM…			You're so bad!PADME picks up a piece of fruit and throws it at him. He catches it. PADME throws two more pieces of fruit, and ANAKIN catches them.				ANAKIN			You're always so serious. Always			carrying the weight of the			universe on your shoulders.ANAKIN then starts to juggle the fruit. PADME laughs and throws more fruit at him. He manages to juggle them too until there are too many, and he loses control and ducks, letting food fall on his head. They both laugh.ANAKIN stands in front of a SHAAK, yelling at it and waving his arms. PADME starts laughing as ANAKIN runs in circles, chased by the SHAAK.The SHAAK crosses in front of PADME. ANAKIN is riding it, facing the SHAAK'S tail. The SHAAK bucks, and ANAKIN falls off. PADME laughs even harder. ANAKIN lies still. PADME jumps uip and runs to where ANAKIN is face down in the grass. She turns him over. He is pulling a stupid face at her. She yelps in mock fury and takes a swing at him. He catches her arm. She struggles. They roll over in the grass. Suddenly, they become aware of the contact between them. They let go of each other quickly and sit up, looking away.ANAKIN stands up and holds out his hand to her. She take it. He pulls her up. And now they are easy together, not self-conscious any more. PADME scrambles up onto the SHAAK behind ANAKIN. She puts her arms around his waist and leans against his back. ABAJUB digs his heels in. The SHAAK starts forward, and they ride away.EXT. TIPOCA CITY, PARADE GROUND (RAINSTORM) - DAYOBI-WAN, LAMA SU and TAUN WE come out onto a balcony. Below is a huge parade ground. The rain and wind are brutal. THOUSANDS OF STORMTROOPERS, faces covered by helmets, are marching and drilling in formations of several hundred.				LAMA SU				(beaming)			Magnificent, aren't they?OBI-WAN nods slowly.INT. TIPOCA CITY, CLONE CENTER, COMMINSSARY - DAYLAMA SU conducts OBI-WAN through a large eating area. TAUN WE follows as they walk by HUNDREDS OF CLONES who look exactly alike, all about twenty years old, dressed in black. They are seated at tables, eating.				LAMA SU			We modified their genetic			structure to make them less			independent than the original			host. As a result they are			totally obedient, taking any order			without question.				OBI-WAM			Who was the original host?				LAMA SU			A bounty hunter called Jango Fett.			We felt a Jedi would be the			perfect choice, but Sido-Dyas hand-			picked Jango Fett himself.				OBI-WAN			Where is this bounty hunter now?				LAMA SU			Oh, we keep him here. After a few			hundred thousand clones, the			genetic pattern starts to fade, so			we take a fresh supply. He lives			here, but he's free to come and go			as he pleases.INT. TIPOCA CITY, CLONE CENTER, BARRACKS - DAYThe tour continues through a long corridor folled with narrow, transparent tubes into which CLONES are climbing. Once in the tube, the CLONE goes to sleep.				LAMA SU			Apart from his pay, which is			considerable, Fett demanded only			one thing - an unaltered clone for			himself. Curious isn't it?				OBI-WAN			Unaltered?				LAMA SU			Pure genetic replication. No			tampering with the structure to			make it more docile... and no			growth acceleration...				OBI-WAN			I would like to meet this Jango			Fett.				TAUN WE			I would be most happy to arrange			it, for you.TAUN WE bows, and leaves.INT. TIPOCA CITY, CLONE CENTER, CLASSROOM - DAYThe tour continues through a classroom filled with IDENTICAL YOUNG BOY CLONES.				OBI-WAN			You mentioned growth			acceleration...				LAMA SU			Oh yes, it's essential.			Otherwise, a mature clone would			take a lifetime to grow. Now, we			can do it in half the time. Those			items you saw on the parade ground			were started ten years ago, when			Sido-dyas first placed the order,			and they're already mature...OBI-WAN looks at the BOY CLONES.				OBI-WAN			And these?				LAMA SU			About five years ago.INT. TIPOCA CITY, CLONE CENTER, HATCHERY - DAYThey enter a space filled with great racks of glass spheres, which are filled with fluid in which EMBRYOS are suspended.				LAMA SU			They're immensely superior to			droids, capable of independent			thought and action.				OBI-WAN			Very impressive.				LAMA SU			I'd hoped you would be pleased. OBI-WAN gazes at the nearest embryos.				OBI-WAN				(carefully)			Tell me, prime minister, when my			Master Sido-dyas first contacted			you, did he say the order was			for... himself... or?				LAMA SU			Himself? Of course not. This			army is for the Republic?				OBI-WAN				(astonished)			The Repubic?				LAMA SU			We are also very much agasint this			Count Dooku and his seccessionist			movement. We are proud to be of			help to the Republic.INT. TIPOCA CITY, APARTMENT - LATE DAYTAUN WE shows OBI-WAN into his room.				TAUN WE			I have arranged for you to meet			Jango Fett in the morning. Sleep			well.TAUN WE goes. The door slides closed behind him. OBI-WAN looks around, then moves swiftly to check the room over. Finally, satisfied, he takes out his comlink.				OBI-WAN			Arfour, Arfour...EXT. TIPOCA CITY LANDING PLATFORM, JEDI FIGHTER, (RAINSTORM) - LATE DAYThe R4 D17, Obi-Wan's Astro-Droid, who is sitting on top of Obi-Wan's Starfighter, switches on and BEEPS.INT. TIPOCA CITY, APARTMENT - LATE DAYOBI-WAN hears ARFOUR BEEP through his comlink.				OBI-WAN			Arfour, relay this, "scramble code			five," to Courscant: care of "the			old folks home."EXT. TIPOCA CITY LANDING PLATFORM, JEDI FIGHTER, (RAINSTORM) - LATE DAYARFOUR BEEPS and WHISTLES. The panels light up inside the cockpit, as the message is transmitted.EXT. JEDI TEMPLE, LIVINF QUARTERS - EARLY EVENINGYODA and MACE WINDU listen as a hologram of OBI-WAN stands between them broadcasting the massage. The singnal is very weak, the image fades in and out.				OBI-WAN (V.O.)			...I've never heard of a Jedi			called Sido-Dyas, have you, Master?				MACE WINDU			No. Whoever placed that order was			not a Jedi, I can assure you.				OBI-WAN (V.O.)			I have a strong feeling that this			bounty hunter is the assassin			we're looking for.				YODA			Who he is working for... discover			that, you must.				OBI-WAN (V.O.)			I will, Master, and I will also			find out more about this clone			army... May The Force...The hologram switches off, and OBI-WAN fades away.				WINDU 			A clone army! Ordered by someone			in the Senate perhaps... Someone's			out to start a war.				YODA			Inform the chancellor of this, we			must.				WINDU			Who do you think this impostor			Sido-Dyas, could be?YODA stares back at MACE WINDU, then slowly shakes his head.EXT. NABOO LAKE RETREAT - NIGHTThe silent lodge. The triple moons of Naboo reflected in the tranquil waters of the lake.INT. NABOO LAKE RETREAT, ANAKIN'S BEDROOM - NIGHTANAKIN moves restlessly in his sleep. He mutters to himself. Sweat forms on his forehead. He turns violently. He cries out.				ANAKIN			No...No...No...Mom!...Don't,			no, don't!EXT. NABOO LAKE RETREAT, LODGE, BALCONY OVERLOOKING GARDENS - MORNINGANAKIN is on the balcony overlooking the gardens. After a moment, PAMDE comes onto the balcony behind him. She sees he is meditating and turns to go.				ANAKIN				(eyes closed)			Don't go.				PAMDE			I don't want to disturb you.				ANAKIN			Your presence is soothing.Brief pause.				PADME			You had a nightmare again last			night.				ANAKIN			Jedi don't have nightmares.				PADME			I heard you.ANAKIN'S opens his eyes and looks at her.				ANAKIN			I saw my mother. I saw her as			clearly as I see you now. She's			suffering, Padme. She is in			pain...They're killing her!				(getting up)			I know I'm disobeying my mandate			to protect you, Senator. I know I			will be punished and possibly			thrown out of the Jedi Order, but			I must go. I have to help her!			I'm sorry, Padme. I don't have a			choice.				PADME			Annie, I told you I wouldn't let			you give up your future for me.			I'll go with you. That way you			can continue to protect me, and			you won't be disobeying your			mandate.				ANAKIN			What about Master Obi-wan?PADME smiles and takes his hand.				PADME			I guess we won't tell him, will we?EXT. NABOO LAKE, FLOATING LANDING PLATFORM - DAYANAKIN and PADME step onto the landing platform from the water speeder. They enter the Naboo Starship. ARTOO BEEPS, and follows them on board. The ramp retracts.PADDY ACCU drives the water speeder away from the platform as Anakin's Starship takes off.EXT. TIPOCA CITY (RAINSTORM) - DAYRain lashes the city. Below, mightly waves pound the stilts, breaking almost to the height of the platforms.INT. TIPOCA CITY, CORRIDOR - DAYTAUN WE conducts OBI-WAN to the door of Jango Fett's apartment. TAUN WE waves his hand, and a muted bell RINGS.As they wait, OBI-WAN notes the door lock entry mechanism. Then the door opens, and a ten-year-old boy, BOBA FETT, looks at them. He is identical to the boys in the classroom.				TAUN WE			Boba, is your father here?There is a brief pause, then BOBA FETT nods.				TAUN WE				(continuing)			May we see him?				BOBA FETT			Sure.Another brief pause, then BOBA FETT steps aside, and TAUN WE and OBI-WAN go through.INT. TIPOCA CITY, FETT APARTMENT - DAYOBI-WAN, TAUN WE, and BOBA FETT enter the apartment. OBI-WAN looks around the room.				BOBA FETT			Dad! Taun We's here!JANGO FETT comes in from the bedroom. He wears a jumpsuit. He is unshaven and mean looking, his face pitted with scars of old wounds. There are a couple of weird tattoos on his muscular forearms. He eyes OBI-WAN with suspicion.				TAUN WE			Welcome back, Jango. Was your			trip productive?				JANGO FETT			Fairly.OBI-WAN and JANGO FETT size each other up. BOBA FETT studies both of them.				TAUN WE			This is Jedi Master, Obi-Wan			Kenobi. He's come to check on our			progress.				JANGO FETT			That right?JANGO FETT'S eyes fix OBI-WAN coldly.				OBI-WAN			Your clones are very impressive.			You must be very proud.				JANGO FETT			I'm just a simple man, trying to			make my way in the universe,			Master Jedi.				OBI-WAN			Aren't we all?OBI-WAN eyes the half-open bedroom door, through which a couple of pieces of body armour can be seen on the floor. JANGO FETT registers OBI-WAN'S look. He moves in front of him, blocking the view.				OBI-WAN				(continuing)			Ever made your way as far into the			interior as Coruscant?				JANGO			Once or twice.				OBI-WAN			Recently?				JANGO				(eyes Obi-Wan carefully)			Possibly...				OBI-WAN			Then you must know Master Sido-			Dyas?				JANGO			Boba, close the door.BOBA FETT moves to close the bedroom door. JANGO FETT smiles thinly at OBI-WAN.				JANGO				(continuing)			Master who?				OBI-WAN			Sido-Dyas. Isnít he the Jedi who			hired you for this job?				JANGO			Never heard of him. I was			recuited by a man called Darth			Tyranus on one of the moons of			Bogden.				OBI-WAN			No? I thought...				TAUN WE			Sido-Dyas told us to expect him.			And he showed up just when your			Jedi Master said he would. We			have kept the Jediís involvement			a secret until your arrival, just			as your Master requested.				OBI-WAN			Curious...				JANGO			Do you like your army?				OBI-WAN			It seems to me it's your army -			being that they are all clones of			you.				JANGO				(grinning)			They'll do their job well, I'll			guarantee that.				OBI-WAN			I look forward to seeing them in			action. Thank you for your time,			Jango.				JANGO			Always a pleasure to meet a Jedi.OBI-WAN and TAUN WE go out. The door slides closed. JANGO FETT turns to his son. He is deep in thought.				BOBA			What is it, Dad?EXT. SPACEThe Naboo Starship heads toward the desert planet of Tatooine.EXT. TATOOINE, MOS ESPA STREETS AND WATTO'S SHIP - DAYThe Naboo Starship lands in a large parking lot of Spaceships on the outskirts of Mos Espa. ANAKIN and PADME ride a rickshaw through the streets. ANAKIN stares at sights he hasn't seen for years. Finally, they come  to Wattos' shop, and the rickshaw stops.				ANAKIN				(to the droid driver)			Wait, please.ANAKIN and PADME get down. Sitting on a stool in front of the shop is WATTO. He is using a small electronic screwdriver on a fiddly DROID. THREE PIT DROIDS are chattering away and are trying to help him, but they seem only to make him madder.				WATTO				(yelling, in Huttese)			No, not that one - that one!				ANAKIN				(arriving)			Excuse me, Watto.				WATTO				(in Huttese)			What?				ANAKIN				(in Huttese)			I said excuse me.WATTO turns to the chattering PIT DROIDS.				WATTO				(in Huttese)			Shut down.The PIT DROIDS snap into their storage position.				WATTO				(continuing, in Huttese)			What? I don't know you... What can			I do for you? You look like a			Jedi. Whatever it is... I didn't			do it.WATTO drops the screwdriver and curses loudly in Huttese				ANAKIN			Let me help you with that.ANAKIN takes the fiddly piece of equipment and starts to play with it. WATTO blinks in surprise.				ANAKIN				(continuing)			I'm looking for Shmi Skywalker.WATTO looks at him suspiciously. He stares at PADME, then back to ANAKIN.				WATTO			Annie?? Little Annie?? Naaaah!!Suddenly, the fiddly piece of equipment in Anakin's hands WHIRS into life. WATTO blinks at it.				WATTO				(continuing; in English)			You are Annie! It is you! You			little womp rat.WATTO gives ANAKIN a big hug.				WATTO				(continuing)			You sure sprouted Weehoo! A			Jedi! Waddya know? Hey, maybe			you couldda help wit some			daedbeats who owe...				ANAKIN			My mother...				WATTO			Oh, yeah. Shmi... she's not mine			no more. I sold her.				ANAKIN			Sold her...				WATTO			Years ago. Sorry, Anne, but you			know, business is business.			Sold her to a moisture farmer			named Lars. Least I think it was			Lars. Believe it or not, I heard			he freed her and married her. Can			ya beat that?				ANAKIN			Do you know where they are?				WATTO			Long way from here... someplace			over on the other side of Mos			Eisley, I think...				ANAKIN			I'd like to know.ANAKIN'S grim look means business; WATTO gets the hint quickly.				WATTO			Yeah... sure... absolutely. Let's			go look in my records.ANAKIN and WATTO go into the shop.EXT. TIPOCA CITY (RAINSTORM) - DAYThe waves crash against the water city as the storm continues. Light suddenlyt streams from the base of a landing platform as a door slides open.INT. TIPOCA CITY, CORRIDOR - DAYOBI-WAN stands with LAMA SU and TAUN WE just inside the open door.				LAMA SU			Tell your Council the first			battalions are ready. And remind			them that if they need more			troops, we will need time to grow			them.				OBI-WAN			I won't forget.EXT. TIPOCA CITY, KAMINO LANDING PLATFORM (RAINSTORM) - DAYOBI-WAN comes out from the tower into the driving ran. The door closes behind him. He pulls his robe around him and stands braced against the gale.Below, a huge wave crashes against the stilts. Spray flies high and whips across the platform where OBI-WAN is standing. He walks over to his Starfighter, looks to see if anyone is watching, then turns and goes back to the door. It slides open.INT. TIPOCA CITY, CORRIDOR - DAYOBI-WAN enters cautiously from outside. Ahead, the corridor is deserted. He moves down it.INT. TIPOCA CITY, FETT APARTMENT - DAYOBI-WAN walks in to find the room in complete disorder. The bedroom door is wide open - clear signs of hurried departure. All of the Fetts' personal belongings are gone.OBI-WAN goes to an ultra-thin computer screen. He punches up AN ONSCREEN PICTURE of JANGO FETT and BOBA FETT unhitching the lines securing their ship to the landing platform. JANGO FETT is wearing his armour and rocket pack. BOBA FETT climbs aboard the small Fighter.EXT. TIPOCA CITY, KAMINO LANDING PLATFORM (RAINSTORM) - DAYJANGO FETT picks up a case and swings it up to BOBA FETT, who stows it inside the ship. JANGO FETT picks up another case and is about to swing it, when:				BOBA FETT			Dad!!JANGO FETT turns to see OBI-WAN charging out of the tower toward him. As he runs, OBI-WAN draws his lightsaber from his belt. It flashes on.JANGO FETT draws his gun and fires at the charging JEDI. OBI-WAN deflects the blast and swings at JANGO FETT.The bounty hunter rockets up and over OBI-WAN, landing behind him. He fires a thin wire from his wrist pack, trying to entangle the Jedi.JANGO FETT fire several Kamino Kyber Darts from his elbow launcher. OBI-WAN deflects them back at JANGO FETT, but they strike harmlessly against the bounty hunter's armour.IN THE COCKPIT of Jango Fett's ship, BOBA FETT grabs the controls of a laser gun and swings it to aim at OBI-WAN.OUTSIDE, in the driving rain, OBI-WAN and JANGO FETT circle each other, sizing each other up - feinting.IN THE COCKPIT, each time BOBA FETT is ready to fire, JANGO FETT blocks his view of OBI-WAN.OUTSIDE, OBI-WAN makes a sudden attack, swinging at JANGO FETT, who deflects the blows. One slices off a piece of the bounty hunter's shoulder plate. JANGO FETT rockets into the air and hovers above OBI-WAN. The Jedi spins as:IN THE COCKPIT, BOBA FETT fires.OUTSIDE, the laser shell streaks past OBI-WAN to strike the edge of the tower. JANGO FETT fires down at OBI-WAN. The Jedi deflects the shots back, but JANGO FETT evades them. Then he swoops down, swinging around OBI-WAN. As he shoots past, he kicks the lightsaber out of the Jedi's hand.The lightsaber skids across the wet surface of the landing platform. OBI-WAN dives after it. JANGO FETT zooms in front of him and grabs the lightsaber. OBI-WAN punches it out of his hand.IN THE COCKPIT, BOBA FETT watches as:OUTSIDE, OBI-WAN and JANGO FETT grapple and fight, punching, kicking, grabbing hold, and throwing each other around. OBI-WAN grabs JANGO FETT tightly, and JANGO FETT rockets up into the air and kicks OBI-WAN loose. OBI-WAN crashes to the deck and slides toward the edge. He grapples desperately for a handhold on the slick surface.JANGO FETT rockets down to kick at him. OBI-WAN hauls himself up. JANGO FETT zooms to the far side of the platform.OBI-WAN uses Jedi powers to pull part of the structure loose. It hits JANGO FETT, who loses his balance, teetering on the edge. OBI-WAN charges acress, dives, and grabs hold of JANGO FETT just as he falls over the edge.Locked together, OBI-WAN and JANGO FETT plummet down toward the raging ocean. At the last moment, JANGO FETT fires a cable out of his backpack that shoots upward and locks onto a metal strut on the underside of the platform. OBI-WAN and JANGO FETT swing and CRASH onto one of the stilts.OBI-WAN is knocked clear and drops onto a SMALL SERVICE PLATFORM just above the waves. He hauls himself to his feet. JANGO FETT hovers in mid-air opposite him, as a HUGE WAVE crashes over OBI-WAN. When it subsides, the Jedi has disappeared.JANGO FETT rockets up to the landing platform, where he drops down beside his ship. He clambers inside the cockpit and settles into the pilot's seat. He punches buttons. The engines ROAR.OUTSIDE, Jango Fett's ship lifts off from the platform and heads up into the lowering sky. It disappears. Lightning flashes. Rain lashes the tower and streams across the surface of the platform, to where:A HAND suddenlt clutches at the very edge of the platform. A moment later, ANOTHER HAND grabs hold.EXT. TATOOINE, BLUFF OVERLOOKING HOMESTEAD - LATE DAYThe Naboo Starship descends, hovers, and land on a bluff. ANAKIN and PADME get out. They look down from the edge of the bluff to where the homestead is seen on the desert floor below.				PADME			Stay with the ship, Artoo.ARTOO WHISTLES as ANAKIN and PADME start down the trail toward the homestead.EXT. TATOOINE, DESERT, HOMESTEAD MOISTURE FARM - LATE DAYC-3PO is working outside the homestead. He still lacks an outer covering; his inner parts and wiring show. He looks up as ANAKIN and PADME arrive,				C-3PO			Good evening. May I help you?				ANAKIN			Threepio?				C-3PO			Oh, my... oh, my! Master			Anakin! My goodness, I can hardly			believe it! And this must be Miss			Padme.				PADME			Hello, Threepio.				ANAKIN			I've come to see my mother.				C-3PO			Oh, dear! I'm so terribly sorry,			Master Annie.				PADME			Threepio, what's happened?				C-3PO			I think we'd better go inside.EXT. TATOOINE, HOMESTEAD, COURTYARD - LATE DAYANAKIN, PADME and THREEPIO arrive in the courtyard. THREEPIO shuffles ahead.				C-3PO			Master Lars - Master Owen!			Somebody to see you!OWEN LARS and BERU WHITESUN come out into the courtyard.				ANAKIN			I'm Anakin Skywalker. I'm here			looking for my mother.				OWEN			Owen Lars... I guess I'm your			step-brother.				(they shake hands)			This is my girlfriend, Beru.				BERU			Hello.				PADME			I'm Padme.				OWEN			I had a feeling you might show up			some day.				ANAKIN			Is my mother here?				CLIEGG			No, she's not.CLIEGG LARS swings from the house on a small floating chair. One of his legs is heavily bandaged; the other is missing. He balances awkwardly and puts out a hand.				CLIEGG				(continuing)			Cliegg Lars. Shmi is my wife...			Come on inside. We have a lot to			talk about.INT. TATOOINE, HOMESTEAD, KITCHEN - LATE DAYBERU puts several steaming cups of ardees on a tray and exits the kitchen...				CLIEGG (O.S.)			It was just before dawn. They			came out of nowhere. A hunting			party of Tusekn Raiders.INT. TATOOINE, HOMESTEAD, DINING AREA - LATE DAYCLIEGG, OWEN, PADME and ANAKIN sit around the table, BERU brings the drinks from the kitchen.				CLIEGG			Your mother had gone out early,			like she always did, to pick			mushrooms that grow on the			vaporatos. From the tracks, she			was about halfway when they			took her. Those Tuskens walk like			men, but they're vicious, mindless			monsters. Thirty of us went out			after her. Four of us came back.			Three more are still out there			looking. I'd be with them,			only... I just couldn't ride any			more... until I heal.CLIEGG grimaces, easing his throbbing leg.				CLIEGG				(continuing)			This isn't the way I wanted to			meet you, son. This isn't how			your mother and I planned it. I			don't want to give up on her, but			she's been gone a month. There's			little hope she's lasted this long.Silence. Then ANAKIN stands up.				OWEN			Where are you going?				ANAKIN			To find my mother.				PADME			No, Annie!				CLIEGG			She's daed, son. Accept it.				ANAKIN			I can feel her pain, and I will			find her. I know she's alive.ANAKIN turns abruptly.EXT. TATOOINE, HOMESTEAD, MOISTURE FARM - LATE DAYANAKIN stands looking across the desert. PADME comes running out of the homestead after him, followed by OWEN. ANAKIN turns to PADME.				ANAKIN			You are going to have to stay			here. These are good people,			Padme. You'll be safe.				OWEN			Take my speeder bike.				PADME			Anakin...PADME hugs him. ANAKIN walks over to Owen's speeder bike, which is standing close by.				ANAKIN			I trust you'll watch over her,			Owen.				OWEN			Don't worry.ANAKIN swings onto the bike. The engine fires.				ANAKIN			I won't be long.ANAKIN takes off across the desert. PADME watches him go.EXT. SPACE, GEONOSISThe red planet of Geonosis is circled by a large asteroid field that form rings. Jango Fett's ship appears, heading toward it.INT. COCKPIT, FETT SHIP, SPACE, GEONOSISJANGO FETT grins at BOBA FETT.				JANGO FETT			Nearly there, son.JANGO FETT guides he ship around the asteroids. Suddenly:				BOBA FETT			Dad, look!!On the view screen, Obi-Wan's ship appears, chasing after them. JANGO FETT grabs the controls. They are thrown around as the ship plummets to try to lose OBI-WAN.				JANGO FETT			Hang on!The ship goes into a power-climb. A GREAT SPACE DDOGFIGHT ensues between OBI-WAN and JANGO FETT.EXT. SPACE, GEONOSISThe ships flip, roll, and turn at incredible speed, didging, weaving and firing. They tumble from near misses. Hits fly off Obi-Wan's fighter as one of Jango's missiles gets through.Finally, it seems as if OBI-WAN is getting the upper hand. JANGO FETT breaks off the fight and dives sharply. He maneuvers deftly between two huge asteroids.In JANGO FETT'S COCKPIT, BOBA FETT flinches as asteroids pass very close by.				BOBA FETT			Dad! Watch out!				JANGO FETT			Stay calm, son. We'll be fine.			That Jedi won't be able to follow			us through this.But Obi-Wan ship dives into the asteroid belt after them.IN OBI-WAN'S COCKPIT, his skill is pushed to the limit as he throws the ship from side to side, avoiding great rocks. Then a huge asteroid tumbles across his path. There seem no way he can avoid it. OBI-WAN fires a couple of aerial torpedoes. They streak toward the asteroid.IN JANGO'S COCKPIT, they see the huge explosion as Obi-Wan's ship appears to smash into the asteroid.				BOBA FETT			Got him! Yeahhhhh!				JANGO FETT			We won't see him again.BOBA FETT laughs. Jango Fett's ship emerges from the asteroid belt and heads down toward the planet of Geonosis.EXT. TATOOINE, DESERT, JAWA CAMP - SUNSETANAKIN stands in the middle of a crowd of JAWAS. He asks them from directions. The JAWAS confer exicitedly, then the CHIEF JAWA points in a particular direction. ANAKIN gets on the bike and speeds off to where the JAWA pointed.EXT. TATOOINE, DUNE SEA, CAMPFIRE - TWILIGHTANAKIN rides over a large dune toward a small flickering light in the distance.He rides up and stops the bike in front of a campfire. There are bodies of THREE DEAD FARMERS lying beside the campfire. TWO EOPIES are thethered nearby, along with a burned and smoking speeder.EXT. TATOOINE, LANDSCAPE (FULL MOON) - NIGHTTHREE DIFFERENT SHOTS. ANAKIN rids the speeder bike through three exotic landscapes. In one shot, he stops and looks down at some tracks. Then he starts up his speeder and rides off.EXT. TATOOINE, DESERT, HOMESTEAD (FULL MOON) - NIGHTThe lights of the vaporators blink in the night sky. Somewhere close by, a night animal HOWLS.EXT. TATOOINE, HOMESTEAD, COURTYARD (FULL MOON) - NIGHTPADME is pacing the courtyard restlessly. She stops, listening to the animal HOWLING nearby. She shivers slightly, then turns and goes into the garage at the side of the courtyard.INT. TATOOINE, HOMESTEAD - GARAGE (FULL MOON) - NIGHTPADME stands looking at a speeder parked in the garage. Short silence. Then:				C-3PO			Please don't leave us, Miss Padme.			These people need your help.THREEPIO is parked in a corner.				PADME			I'm not leaving, Threepio. I just			can't sleep.				C-3PO			That's something I cannot relate			to. As a Protocol Droid, I'm			either active or inactive.			There's no in-between.				PADME			I guess you're lucky.				C-3PO			Do you really think so..? I			suppose I shouldn't expect...				PADME			You're not happy here?				C-3PO			Oh, I'm not unhappy... and my			masters here ar so kind I			wouldn't wish to trouuble them,			it's just... being like this...			well, it's embarrassing.				PADME			Being like what?				C-3PO			Naked. If you pardon the			expression. You see, when Master			Annie made me, he never quite			found the time to give me any			outer covering. It's so			humiliating. How would you like it			if you had to go around with all			your circuits showing?				PADME			I guess I wouldn't like it at all.				C-3PO			Of course you wouldn't. Nobody			would. It's simply not protocol.PADME looks thoughtfully at a pile of spare parts and bits of metal and tools.				PADME			Maybe we can do something about it.				C-3PO			I don't think so. Only Master			Annie...				PADME			Why not? They seem to have a box			of old coverings here.				C-3PO			Oh? How observant of you, Miss			Padme. Of course, I'm just not			mechanically minded... if you see			what I mean.PADME picks up a piece of metal and holds it against him.				PADME			Let's see, if we put this...			here...				C-3PO			Ooooh! That's tickles.				PADME			You'll have to be quiet, Threepio.			Hold still, please.EXT. SPACE, GEONOSIS RINGSA huge chunk of rock tumbles slowly through the asteroid bely. CAMERA CLOSES, to discover Obi-Wan's Starship hidden in a blasted-out area on the pitted back side of the great rock.INT. COCKPIT, JEDI FIGHTER, SPACE, GEONOSIS RINGSOBI-WAN looks out toward Geonosis and sees in the distance a large fleet of Trade Federation Ships hidden among the asteroids. He starts the engines of his fighter.Obi-Wan's Fighter moves out from the back side of the asteroid and heads away from the asteroid field, descending toward Geonosis.EXT. GEONOSIS, LANDING AREA - NIGHTObi-Wan's ship skims across the top of a small mesa along the edge of a rocky ridge. He maneuvers under a rock overhang and lands. He gets out of the Fighter and walks onto the mesa. The wind whips at him. He looks around.Geonosis is a red rock planet, featureless apart from buttes and mesas, and occasional tall stalagmites that stand out dramatically on the arid plains.The night is quiet, except for an occasional WEIRD CRY. OBI-WAN checks his bearings, then heads away.EXT. GEONOSIS, ROCK FACE TRAIL - NIGHTOBI-WAN climbs a steep, narrow trail. Suddenly, a CRY is heard close by. OBI-WAN stumbles slightly. His foot slips on the edge, sending a stream of peblles skittering into the darkness.OBI-WAN listens. Silence. He draws his lightsaber but does not ignite it.He sets off again and works his way around a narrow corner, to confront a crouching MASSIFF (a dog-sized lizard) with slavering fangs! The beast leaps at him, and OBI-WAN ignites his lightsaber as the MASSIFF knocks him on his back. Its jaws open wide. OBI-WAN stabs the creature, throws it off of him, and jumps up.A SECOND MASSIFF jumps from behind. OBI-WAN swings around and cuts it in half. The MASSIFF flies over the cliff, HOWLING. It plummets to its death hundreds of feet below.EXT. TATOOINE, CLIFF (FULL MOON) - NIGHTANAKIN pulls up near the edge of a cliff. He gets off the bike and creeps to the edge. He looks over to see a Tusken camp in the oasis below. One of the huts at the edge of the camp has TWO TUSKEN GUARDS outside it.EXT. TATOOINE, TUSKEN RAIDER CAMP, OASIS (FULL MOON) - NIGHTANAKIN creeps through the camp, working his way from hut to hut, flattening himself against the wall,s overhearing snatches of Tusken conversation from inside, using the shadows to him him until he arrives at the hut with the TWO GUARDS. They are sitting a short distance from the door. ANAKIN wriggles around the black. He takes out his lightsaber and cuts into the base of the wall.INT. TUSKEN RAIDER HUTT - NIGHTThe lightsaber completes the hole in the wall. ANAKIN wriggles in. He pulls himself to his feet. There are candles everywhere.A shaft of moonlight from a hole in the roof pierces the gloom of the hut. By its light, ANAKIN sees SHMI, hanging from a wooden frame in the middle of the hut.He cuts her free, takes her into his arms, and lowers her gently to the ground. Her eyes are closed. Her face is bloodied. She has been terribly beaten. Anakin cradles her tenderly.				ANAKIN			Mom... Mom... Mom... SHMI'S eyelids flutter - and barely open. They are caked with blood.				SHMI			Annie...? Is it you?SHMI'S eyes focus slowly. ANAKIN gives a little choking gasp.				ANAKIN			Iím here, Mom. Youíre safe. Hang			on. Iím going to get you out of			here...				SHMI			Iím so glad... to see you,			Annie... Now... I am complete...				ANAKIN			Just stay with me, Mom. Iím going			to make you well again.			Everythingís going to be fine.				SHMI			You look so handsome. My son...			my grown-up son. Iím so proud of			you, Annie... so proud... I missed			you so much... I love...SHMI dies. ANAKIN draws her to his breast. There is silence for a moment. ANAKIN lifts his head, listening for a moment, then he sits on the floor of the Tusken hut, cradling his dead mother in his arms.EXT. GEONOSIS, ROCK FACE TRAIL - NIGHTOBI-WAN arrives at the head of the trail. Far below, a flat plain stretches into the distance. He stop, peering into the darkness, where strange shapes loom indistinctly.OBI-WAN takes a pair of electronic binoculars from his belt and puts them to his eyes. He sees a cluster of great towers like fantastic stalagmites rise from the plain below.SLOW PAN with the binoculars, and suddenly a line of Battle Starships come into view. OBI-WAN touches the viewfinder. Between fifty and a hundred Federation Starships in near rows. Some are on platforms that are carrying the Starships diwn to an underground facility. Other platforms are rising to the surface. They carry THOUSANDS of BATTLE DROIDS that step off and file into the waiting ships. A fully loaded Starship takes off. OBI-WAN swings the binoculars upward, to see more Federation Starships.EXT. TATOOINE, TUSKEN RAIDER CAMP, OASIS - DAWNThe pale light grows. Thin tendrils of smoke rise slowly in the cold, clear air. Somewhere an dog BARKS. An OLD WOMAN comes out of one of the huts. She carries a pail. She swirls it and tosses the dirty water onto the ground.As she goes back inside the hut, a TUSKEN CHILD runs past, dragging a stick in the sand. The CHILD runs through the line of huts, turns a corner, and stops suddenly, staring at the bodies of the TWO TUSKEN GUARDS. Between them, ANAKIN stands outside the hut door. His face is a grim mask. The CHILD stares, then there is a FLASH OF LIGHT as Anakinís lightsaber switches on.EXT. GEONOSIS, LANDING AREA - NIGHTOBI-WAN comes running back to his ship and climbs into the cockpit. He settles into his seat. His ARFOUR DROID beeps a happy greeting. OBI-WAN switches on his comlink.				OBI-WAN			"Guiding light" to "old folks			home."EXT. CORUSCANT, REPUBLIC EXECUTIVE BUILDING - DAYLOW ANGLE. A line of reflecting pools with splashing fountains flanked by statues on each side leads to the main entrance to the awesome building.INT. CORUSCANT, CHANCELLOR'S OFFICEA hologram of OBI-WAN flickers in front of a group, made up of Jedi (YODA, MACE WINDU, and KI-ADI-MUNDI) and Senators (BAIL ORGANA, ASK AAK, LUMINARA, and JAR JAR). PALPATINE and MAS AMEDDA are in the middle of the group, watching with growing concern.				OBI-WAN			...Starships from the Trade			Federation and the Commerce Guilds			are taking deliveries of battle			droids from the foundries on			Geonosis.				BAIL ORGANA			That's outrageous! The treaty			forbids the Trade Federation from			building up an army. What are			they doing?!				OBI-WAN			The droid foundry seems to be			working at full capacity. I am			going to go down and investigate.			I will bring Jango Fett back home			for interrogation.				PALPATINE			Those Geonosian foundries are part			of the Techno Union. We will call			in their representatives and ask			them a few very pointed questions.				OBI-WAN			One more thing. Jango mentioned			he was recruited by someone named			Darth Tyranus. Any idea who that			might be?				YODA			With the forename Darth, a Sith he			must be.				MACE WINDU			Our missing apprentice. They are			playing their hand at last.				OBI-WAN			Do you believe he could be the			mysterious Sido-Dyas, who made the			deal for the clone army?				YODA			Perhaps too many pieces are missing			from this puzzle, there are.				MACE WINDU			Be careful, Obi-Wan. This			investigation is becoming less			than routine. Do you need help?				OBI-WAN			Let me see if I can figure out			what's going on first.The hologram of OBI-WAN fades off. PALPATINE stares at the spot where the hologram was in disbelief.				BAIL ORGANA			The Commerce Guilds are preparing			for war... there can be no doubt			of that.				PALPATINE			Count Dooku must have made a			treaty with them.				MACE WINDU			We must stop them soon before			they're fully ready.				SENATOR ASK AAK			The debate is over, we need			that clone army now!				BAIL ORGANA			Unfortunately, the debate is not			over. The Senate will never be			able to approve the use of that			army before the separatists			attack.Mas Amedda, who had been silent up until now suddenly speaks up.				MAS AMEDDA			This is a crisis! If the Senate			votes the Chancellor emergency			powers, he could approve the use			of the army in a minute.				PALPATINE			Please, please, I don't wish to			have emergency powers. That's too			extreme a solution. It's akin to			a dictatorship. We must rely on			the Jedi. Master Yoda, how many			are available to go to Geonosis?MACE WINDU and YODA look at one another.				YODA			Two Hundred,... less or more.				BAIL ORGANA			With all due respect for the Jedi			Order, two hundred will be no			match for hundreds of thousands of			battle droids.				MACE WINDU			Patience. We should wait for Obi-			Wan to report back. We don't know			that Count Dooku has made a treaty			with the Corporate Alliance, it's			speculation.				SENATOR ASK AAK			But we must prepare for the worst.			I'm going to propose a motion			granting emergency powers to the			Chancellor at the next session. We			must not wait!				PALPATINE			Out of the question, Senator! You			and I are too closely aligned.			The issue will become partisan and			debates will begin. The proposal			must come from a neutral source.				MAS AMEDDA			If only Senator Amidala were here.JAR JAR steps forward from the back of the group.				JAR JAR			Supreme Chancellor... my august			colleagues, I would be proud to			propose the motion in question.			This is a grave situation, and I'm			sure Senator Amidala, and the			Queen of Naboo would agree.				SENATOR ASK AAK			Thank you, Representative Binks.Silence. Then PALPATINE sighs deeply.				PALPATINE			If called upon, I will serve. But			it will be the saddest day of my			life.EXT. TATOOINE, DESERT, HOMESTEAD MOISTURE FARM - DAYAll is quiet. BERU comes out of the house. She goes to a moisture line and starts to draw water.INT. TATOOINE, HOMESTEAD, GARAGE - DAYPADME fixes the last piece of covering onto THREEPIO.				PADME			There!PADME stands back. OWEN is with her. They look at THREEPIO. He isn't the golden figure we know because PADME has had to use whatever stuff she could findin the garage. He is multi-coloured in several textures, but he is complete.				C-3PO			Um. How do I look?				OWEN			Great! You look perfect.				C-3PO			Perfect? Oh, Miss Padme, I'm so			happy!				(extending his hand to shake hers)			Oh, pardon me.THREEPIO drops his hand and bows formally.				THREEPIO				(continuing)			Thank you.He forgets formality and hugs her. PADME hugs him back, laughing.				C-3PO				(continuing)			Thank you! Thank you! Thank you!				OWEN				(grinning)			Well, Padme, I think he should be			yours from now on... I know that			is what my Mom would want.				C-3PO			Oh, my!Then suddenly, from outside:				BERU (V.O.)			Come topside, everybody! He's			back! He's back!PAGE 83PAGE 84PAGE 85PAGE 86PAGE 87PAGE 88INT. TATOOINE, HOMESTEAD, GARAGE - DAYA rough hologram of OBI-WAN is projected onto the garage by ARTOO. ANAKIN, PADME and THREEPIO watch the flickering image.				OBI-WAN			...Alliance have pledged their			armies to Count Dooku and are			forming an... Wait!... ah...			attack... I don't... make it...			aaaggghhh!The hologram cuts off. ANAKIN jumps up, agitated.				ANAKIN			I'm going after him!				PADME			I thought the first thing he said			was to retransmit his message to			Coruscant.				ANAKIN			Yeah, you're right, you're right.EXT. TATOOINE, HOMESTEAD, MOISTURE FARM - LATE DAYANAKIN, PADME, ARTOO and THREEPIO leave the homestead, waving to CLIEGG, OWEN and BERU as they go into the desert.INT. COCKPIT, NABOO STARSHIP - SUNSETANAKIN sits down in the cockpit with PADME. THREEPIO is behind them. ARTOO is beside him. They are watching a hologram of MACE WINDU.				MACE WINDU			We will deal with Count Dooku. The			most important thing for you,			Anakin, is to stay where you are.			Protect the Senator at all costs.			That is your priority.				ANAKIN			Understood, Master.The hologram switches off. PADME is looking at the readout on the ship's control panel.				PADME			They'll never get there in time to			save him. They have to come half			way across the galaxy. Look,			Geonosis is less than a parsec away.PADME starts to hit buttons and flick switches. ANAKIN puts a hand over hers, stopping her. She stares at him.				ANAKIN			If he's still alive.				PADME			Annie, are you just going to sit			here and let him die?? He's your			friend... your mentor...				ANAKIN			...He's like my father, but you			heard Master Windu. He gave me			strict orders to stay here.				PADME			He gave you strict orders to			protect me...PADME pulls her hand free and flicks more switches. The engines fire.				PADME				(continuing)			...and I'm going to save Obi-Wan.			So if you plan to protect me, you			will have to come along.ANAKIN grins and takes the controls.EXT. TATOOINE, BLUFF OVERLOOKING HOMESTEAD - SUNSETThe Naboo Starship rises from the bluff and zooms away.EXT. CORUSCANT, JEDI TEMPLE - DAYTWO HUNDRED JEDI KNIGHTS are assembling outside the huge center of the Jedi Order.INT. CORUSCANT, JEDI TEMPLE, COUNCIL CHAMBER - DAYThe JEDI COUNCIL are assembled as MACE WINDU makes his plea.				MACE WINDU			The longer we wait, the stronger			Dooku's armies become. We cannot			wait for the Senate to make up its			mind about granting the Chancellor			emergency powers, in order to be			able to use that clone army... We			have the authority to go now. We			must go now.All of the JEDI COUNCIL nod their approval.				YODA			Agreed, Master Windu. Two hundred			Jedi send. Enough, let's hope			they are.INT. CORUSCANT, MAIN SENATE CHAMBER - DAYInside the great rotunda, the UPROAR is even louder. Opposing SENATOES yell furiously at one another.				MAS AMEDDA			Order! Order!!Finally, the uproar dies.				PALPATINE			In the regrettable absence of			Senator Amidala, the chair			recognises Senior			Representative of Naboo, Jar Jar			Binks.Amid the conflicting storm of CHEERS AND BOOS, JAR JAR, with TWO GUNGAN AIDES, floats on his pod to the middle of the vast space. He looks at PALPATINE nervously. PALPATINE nods. JAR JAR clears his throat.				JAR JAR			Senators, dellow felagates...Laughter. Jeers. JAR JAR blushes.				MAS AMEDDA			Order! The Senate will accord the			Representative the courtesy of a			hearing!Comparative quiet. JAR JAR grips the edge of the podium.				JAR JAR			In response to the direct threat			to the Republic from the			Confederacy of Independent			Systems, I propose that the Senate			gives immediate emergency powers to			the Supreme Chancellor.Uproar. JAR JAR looks a little sheepish.				JAR JAR				(continuing)			Who can deny these are exceptional			times? Exceptional times demand			exceptional measures!			Exceptional measures demand			exceptional men!				ORN FREE TAA			We won't support a dictator.SHOUTS of agreement.				JAR JAR			That is the sentiment every one of			us agrees with! And when the			shadow of war has dispersed and			the bright day of liberty has			dawned once again, the power we now			give to the Supreme Chancellor			will be gladly, and swiftly			returned. Out ancient liberties			will be restored to us, burnished			even more brightly than before!Brief silence, then a rolling wave of APPLAUSE. JAR JAR beams and bows.PALPATINE rises.				PALPATINE			It is with great reluctance that			I have agreed to this calling. I			love democracy... I love the			Republic. The fact that this			crisis is demanding I be given			absolute power to tule over you is			evident. But I am mild by nature			and have no desire to destroy			the democratic process. The power you			give me I will lay down when this			crisis has abated, I promise you.			And all I ask in return is when my			current term of office is over,			you allow me to reture and live			out my life in peace.				MAS AMEDDA			We shall proceed to the vote. All			those in favor of granting			emergency powers to the Supreme			Chancellor, signal ate at this			time... those opposed?EXT. SPACEThe Naboo Starship heads toward the rings of Geonosis.EXT. GEONOSIS, LANDING AREAThe Naboo Starship lands.INT. COCKPIT, NAOO STARFIGHTER - DAYANAKIN switches off the engines. ARTOO and THREEPIO are in the navigation area of the cockpit. PADME is in the co-pilot's seat. She gets up.				ANAKIN			Hey, where are you going?				PADME			To find Obi-Wan.ANAKIN gets up and goes over to her.				ANAKIN			No! You're not!He grabs her arm.				PADME			Let go of me!				ANAKIN			I'm not letting you go out there.			It's too dangerous.				PADM…			What?!?				ANAKIN			It's my job to protect you. I said			it's too dangerous. You're not			going, and that's final!				PADM…			Don't you give me orders, Annie!			I'm a Senator of the Galactic			Republic. You have no authority			to contain me, restrain me, or			direct me! You remember your			place, young man.				(standing up)			Now you can come along and protect			me or stay here. It's up to you.PADME storms out of the cockpit of the Naboo Starfighter. ANAKIN stands scratching his head, then follows.ARTOO BEEPS and WHISTLES.				C-3PO			Yes, it is, Artoo. Most			confusing. One moment they're			generating a pleasant mutual			attraction and the next, waves of			violent hostility. Even though			I'm programmed to understand them,			I doubt if I ever shall.ARTOO WHISTLES a plaintive sigh.INT. GEONOSIS, CORRIDORS - DAYANAKIN and PADME enter the stalagmite city. They stop, looking around in wonder at the emptiness.				PADME				(in a low voice)			It's empty!They start forward. As they pass, the surface of the pillars seems to pulse slowly and move. High above WINGED CREATURES grow from the pillars and detach themselves.INT. GEONOSIS, CENTRAL SQUARE - DAYANAKIN and PADME cross the square, reaching the middle. They stop suddenly as FOUR GEONOSIANS grabs them. ANAKIN reaches for his lightsaber.				PADME			Wait!TWENTY WINGED GEONOSIANS carrying weapons alight on the flagstones in front of them.The GEONOSIANS part, and COUNT DOOKU appears. He bows courteously.				COUNT DOOKU			Senator Amidala, I've heard so			much about you.				PADM…			Count Dooku, I assume.				COUNT DOOKU			I'm delighted to meet you at			last. We have a great deal to			discuss, Senator. I hope you can			keep your young Jedi under control.				PADM…			Don't worry he's housebroken.INT. CONFERENCE ROOM (GEONOSIS) - DAYCOUNT DOOKU sits at a large conference table with PADME on the far side. ANAKIN stands behind her with FOUR GEONOSIANS GUARDS standing behind him. JANGO FETT stands behind COUNT DOOKU, and SIX GEONOSIAN GUARDS stand behind him.				PADM…			You are holding a Jedi Knight, Obi-			Wan Kenobi. I am formally			requesting you turn him over to			me, now.				DOOKU			He has been convicted of			espionage, Senator, and will be			executed. In just a few hours, I			believe.COUNT DOOKU smiles.				PADM…			He is an officer of the Republic.			You can't do that.				DOOKU			We don't recognise the Republic			here, Senator. But if Naboo were			to join our Alliance, I could			easily hear your plea for clemency.ANAKIN grabs his lightsaber but doesn't turn it on.				PADM…			And if I don't join your			rebellion, I assume this Jedi with			me will also die?				DOOKU			I don't wish to make you to join			our cause against your will,			Senator, but you are a rational,			honest representative of your			people and I assume you want to do			what's in their best interest.			Aren't you fed up with the			corruption, the bureaucrats, the			hypocrisy of it all?.. Aren't			you? Be honest, Senator.				PADM…			The ideals are still alive, Count,			even if the institution is failing.				DOOKU			You believe in the same ideals we			believe in! The same ideals we			are striving to make prominent.				PADM…			If what you say is true, you			should stay in the Republic and			help Chancellor Palpatine put			things right.				DOOKU			The Chancellor means well, M'Lady			but he is incompetent. He has			promised to cut the bureaucracy,			but the bureaucrats are stronger			than ever, no? Senator, the			Republic cannot be fixed. It is			time to start over. The			democratic process in the Republic			is a sham, a shell game played			on the voters. It will not be long			before the cult of greed, called			the Republic, will lose even the			pretext of democracy and freedom.				PADM…			I cannot believe that. I will not			forsake all I have honoured and			worked for and betray the			Republic. I know of your treaties			with the Trade Federation, the			Commerce Guilds, and the others,			Count. What is happening here is			not government that has been			bought out by business... it's			business becoming government!				DOOKU			Are you willing to betray your Jedi			friends? Without your co-operation			I can do nothing to stop their			execution.				PADM…			What is to happen to me? Am I to be			executed also?				DOOKU			I wouldn't think of such an			offence. But, there are			individuals who have a strong			interest in your demise, M'lady.			It has nothing to do with			politics, I'm afraid. It's purely			personal, and they have already			paid great sums to have you			assassinated. I'm sure they will			push hard to have you included in			the executions. I'm sorry but if			you are not going to co-operate, I			must turn you over to the			Geonosians for justice. I've done			all I can for you.JANGO FETT moves over to ANAKIN.				JANGO FETT			I'll take that weapon.ANAKIN hesitates.				DOOKU 			You may cause a lot of bloodshed,			my young Jedi, but you will not			escape.				PADM…			Anakin...ANAKIN hands his lightsaber over to JANGO FETT.INT. GEONOSIS, HIGH AUDIENCE CHAMBER - DAYANAKIN and PADME are standing in the centre of what looks like a courtroom. Seated before them in a tall, boxed-off area is POGGLE THE LESSER, Archduke of Geonosis. He is accompanied by his underling, SUN RIT. Off to one side the Separatist Senators PO NUDU, TESSEK, and TOONBUCK TOORA. Next to them are the Commerce Dignitaries, SHU MAI, NUTE GUNRAY, PASSEL ARGENTE, WAT TAMBOR and SAN HILL of the Intergalactic Bank Clan. Along the wall about a HUNDRED GEONOSIANS wait for a verdict.				SUN RIT			You have been charged and found			guilty of Espionage.				POGGLE			Do you have anything to say before			your sentence is carried out?				PADM…			You are committing an act of war,			Archduke. I hope you are prepared			for the consequences.POGGLE laughs. COUNT DOOKU simply smiles.				POGGLE			We build weapons, Senator... that			is our business! Of course we're			prepared!				NUTE GUNRAY			Get on with it. Carry out the			sentence. I want to see her suffer.				POGGLE			Your other Jedi friend is waiting			for you, Senator. Take them to			the arena!FOUR GUARDS take hold of PADME and ANAKIN. They are escorted out of the chamber to the sounds of chuckling.INT. GEONOSIS TUNNEL TO EXECUTION ARENA - DAYIn the gloomy tunnel, ANAKIN and PADME are tossed into an open cart. The murmur of a vast crowd is heard offscreen. GUARDS extend their arms along the framework and tie them so that they stand facing each other.The DRIVER gets up onto his seat.				ANAKIN			Don't be afraid.				PADM…			I'm not afraid to die. I've been			dying a little bit each day since			you came back into my life.				ANAKIN			What are you talking about?				PADM…			I love you.				ANAKIN			You love me?! I thought we			decided not to fall in love. That			we would be forced to live a lie.			That it would destroy our lives...				PADM…			I think our lives are about to be			destroyed anyway. My love for you			is a puzzle, Annie, for which I			have no answers. I can't control			it... and now I don't care. I			truly, deeply love you, and before			we die I want you to know.PADME leans toward ANAKIN. By straining hard, it is just possible for their lips to meet. They kiss.				ANAKIN			I have no desire to be cured of			this love either. Long or short,			I vow to spend the rest of my life			with you.They kiss again.The DRIVER cracks his whip over the ORRAY harnessed between the shafts. The cart jerks forward. Suddenly, there isa HUGE ROAR and blinding sunlight as they emerge into the arenaINT. GEONOSIS, EXECUTION ARENA - DAYThe great stadium is packed with tier upon tier of yelling GEONOSIANS. The cart trundles to the center, where OBI-WAN is chained to one of four upright posts thatare three feet in diameter. The cart stops. PADME and ANAKIN are taken down, dragged to posts, and chained to them. PADME is in the center.				OBI-WAN			I was beginning to wonder if you			had gotten my message.				ANAKIN			I retransmitted it as you			requested, Master. Then we decided			to come and rescue you.				OBI-WAN			It looks like you're going a good			job so far.Their arms are pulled high above their heads, and the cart drives away. There is another ROAR as POGGLE THE LESSER, COUNT DOOKU, NUTE GUNRAY, THE FETTS and DIGNITARIES arrive in the archducal box and take their places.				SUN RIT			The felons before you have been			convicted of espionage against the			Sovereign System of Geonosis.			Their sentence of death is to be			carried out in this public arena			henceforth.The crowd ROARS and CHEERS. In the box, POGGLE THE LESSER rises. The crowd becomes quiet.				POGGLE			Let the executions begin!The crowd goes wild.				ANAKIN			I have a bad feeling about this.From different gates around the arena, THREE MONSTERS are driven in. One is a REEK (bull-like), one is a NEXU (lion-like), and one is an ACKLAY (a kind of dino-lobster). They are driven in by PICADORS carrying long spears and riding ORRAYS. The PICADORS poke the MONSTERS toward the center, then retire to the perimeter.The MONSTERS toss their heads, looking around, ROARING or SCREECHING. Then they catch sight of the THREE CAPTIVES and start moving toward them.				OBI-WAN			Take the one the left. I'll			take the one on the right.				ANAKIN			What about Padme?PADME has turned around and is pulling herself up by the chain to the top of the post. Within a moment, she is standing on top of it, trying to pull the chain free.				OBI-WAN			It looks like she's already on top			of things.The REEK charges ANAKIN. He jumps up, and the beast hits the post hard. ANAKIN lands onto its back, wrapping part of his chain around its horn. The REEK backs off, shaking its head angrily, which tears the chain from the postOBI-WAN ducks around the post as the ACKLAY charges. It knocks the post flat, sending OBI-WAN sprawling. The ACKLAY crunches the post between its claws, freeing the chain. OBI-WAN leaps up and runs towards ONE of the PICADORS. The ACKLAY taks off after him.The NEXU arrives at PADME'S post and rears on its hind legs. One top, PADME struggles to tear the chain free. The NEXU ROARS, displaying wicked, dripping fangs.In the archducal box, NUTE GUNRAY beams and rubs his hands.In the arena, OBI-WAN runs at the PICADOR. The ORRAY rears up. OBI-WAN grabs the PICADOR'S long spear and pole vaults over him. The chasing ACKLAY smashes into the ORRAY. It goes down. The PICADOR tumbles onto the sand, where he is grabbed by the ACKLAY and crunched.ANAKIN's REEK starts to buck. It charges around the arena with ANAKIN hanging on for dear life. He whirls the free length of chain around his head and casts it into the REEK's mouth. Its jaws clamp hard on the chain. ANAKIN yanks hard on the chain, turning the REEK, beginning to ride it.The NEXU's claws dig deep into the post. The cat-like creature reaches the top of the post and takes a swipe at PADME. She turns and the claw barely catches her shirt ripping it off, leaving superficial claw marks across her back. She hits the creature with her chain and it backs off down the pole. Then, PADME jumps off the post into the air. She swings around on the chain and whacks the beast hard on the head with both her feet. It tumbles back onto the sand.In the archducal box:				NUTE GUNRAY			Foul!! She can't do that... shoot			her or something!In the arena, OBI-WAN runs out from behind the fallen ORRAY and throws the spear at the ACKLAY, hitting it in the neck. It lets out a terrible SCREECH and turns on him. The NEXU springs up and makes to leap up at PADME again. She finally manages to work the chain loose. ANAKIN comes charging up on the REEK.				ANAKIN			You okay?				PADME				(nods, gasping)			Sure! Well, sort of.				ANAKIN			Jump!!!The NEXU springs. PADME leaps from the top of the post to land on the REEK in front of ANAKIN. He hauls her upright. The REEK charges away, around the arena. The NEXU bounds after it. The REEK passes the wounded ACKLAY. The NEXU smells the blood and turns aside to attack the ACKLAY. The TWO MONSTERS fight. The crowd GROANS and BOOS.In the archducal box, NUTE GUNRAY turns angrily to COUNT DOOKU.				NUTE GUNRAY			This isn't how it's supposed to			be! Jango, finish her off.COUNT DOOKU motions for the bounty hunter to ptay put. BOBA FETT is enjoying the spectacle.				COUNT DOOKU				(smiling enigmatically)			Patiece, Viceroy... she will die.			Maybe this is the way it's			supposed to end.OBI-WAN runs and jumps on the back of the REEK behind ANAKIN. Across the arena, the NEXU, having chewed up the ACKLAY, starts to advance toward them.INT. COCKPIT, NABOO STARSHIP - DAYARTOO BEEPS				C-3PO			Yes, it has been rather a long			time. Do you suppose something's			happened to them?ARTOO BEEPS and WHISTLES.				C-3PO				(continuing)			Danger? Oh no, I shouldn't think			so. It looks a very dull planet			to me. They should be back			shortly. Just stop worrying, Artoo.EXT. GEONOSIS, EXECUTION ARENA - DAYIn the archducal box, amid the uproar, COUNT DOOKU feels a tap on his shoulder. He turns to see MACE WINDU standing behind him. COUNT DOOKU masks his surprise elegantly as he surveys the arena and sees JEDI KNIGHTS standing at every entrance and exit.				COUNT DOOKU			Master Windu, how pleasant of you			to join us. You're just in time			for the moment of truth. I would			think these two new boys of yours			could use a little more training.				MACE WINDU			Sorry to disappoint you, Dooku.			This party's over.MACE WINDU signals, and at stategic places around the arena there are sudden flashes of light as about ONE HUNDRED JEDI switch on their lightsabers. The crowd is suddenly silent. COUNT DOOKU'S lips curl in slight amusement.				COUNT DOOKU				(to Mace Windu)			Brave, but stupid, my old Jedi			friend. You're impossibly			outnumbered.				MACE WINDU			I don't think so. One Jedi has to			be worth a hundred Geonosians.COUNT DOOKU looks around the great theater. His smile grows.				COUNT DOOKU			It wasn't the Geonosians I was			thinking about. How well do you			think one Jedi will hold up			against a thousand battle droids?COUNT DOOKU signals. THOUSANDS OF DROIDS start to pour into all parts of the arena.MACE WINDU draws his lightsaber, JANGO FETT draws his guns and fires at MACE WINDU, who deflects the shots. JANGO FETT and MACE WINDU jump into the arena, where they fight. BOBA FETT wacthes his Dad and the Jedi Master fight. The battle beginss. GEONOSIANS fly away everywhere. DROIDS fire at JEDI, who deflect the bolts and cult down the DROIDS. The GEONOSIAN TROOPS fire ray guns that are more difficult for the JEDI to deflect.The REEK and the NEXU are spooked by the battle. The REEK bucks the riders off its back and stampedes around the arena, trampling DROIDS and JEDI that have moved into its path. PADME picks up a discarded pistol and joins the fight. SEVERAL JEDI run to the center of the arena and toss lightsabers to OBI-WAN and ANAKIN.Among the crowd, JEDI cut down swaths of GEONOSIANS and DROIDS. On the sand, JEDI fight, attacking DROIDS. OBI0WAN and ANAKIN swing their lightsabers, cutting DROIDS in half. PADME blasts away at DROIDS and GEONOSIANS.INT. COCKPIT, NABOO STARSHIPARTOO whistles.				C-3PO			I don't hear anything.				(Artoo beeps)			You're scaring me! Stop imagining			things!EXT. GEONOSIS, EXECUTION ARENA - DAYAmong the tiers, JEDI are slowly being driven back. They have killed heaps of GEONOSIANS and have kncoked out piles of DROIDS, but sheer numbers are telling. Individual JEDI are being cut down or blasted/ The rest are retreating into the arena.ANAKIN and PADME are back-to-back, fighting DROIDS and flying GEONOSIANS. MACE WINDU fights fiercely with JANGO FETT. Finally, the bounty hunter falls. His helmet goes flying, bouncing down the steps, tumbling and rolling, kicked here and there by random feet. The bounty hunter's body falls to the ground.MACE WINDU runs to the center of the arena and fights back-to-back with OBI-WAN, as they swipe and mangle DROIDS.				OBI-WAN			Someone's got to - shut down -			these droids.				MACE WINDU			Don't worry! It's being - taken			care of!EXT. GEONOSIS, FEDERATION STARSHIP - DAYKI-ADI-MUNDI leads a raiding party of about TWENTY JEDI through the lines of parked Battle Starships. They cut a swath through masses of DROIDS until they arrive at the Command Starship. Some JEDI fall. The rest cut their way up the ramps and into the Command Ship.INT. COMMAND FEDERATION STARSHIP, CORRIDORS - DAYKI-ADI-MUNDI and teh surviving JEDI fight their way through the corridors of the Command Ship, deflecting laser bolts, slicing DROIDS.INT. COMMAND FEDERATION STARSHIP, CONTROL BRIDGE - DAYTHEY burst onto the bridge and chop down the COMMAND DROIDS. The NEIMOIDIANS flee in all directions. KE-ADI-MUNDI leans over the control panel. He locates the illuminated master switch and punches down on it. It goes dark. Instantly, all the DROIDS on the Starship and all the DROIDS in the arena FREEZE!There is a moment of stunned silence, then the JEDI CHEER. One the bridge, PLO KOON claps KI-ADI-MUNDI on the back.				PLO KOON			We've done it! Now we have a			chance!Suddenly, there is a harsh BEEPING SOUND. All the DROIDS on the Starship and all the DROIDS in the arena start fighting again! KI-ADI-MUNDI stares in disbelief and dismay.				KI-ADI-MUNDI			The system's off but they're still			active. That's a new feature. They			are independent of the control			system.EXT. GEONOSIS, EXECUTION ARENA - DAYMACE WINDU, OBI-WAN, ANAKIN, PADME and an exhausted group of about TWENTY JEDI stand in the center of the arena surrounded by a ring of BATTLE DROIDS. The bloodied sand around them is strewn with the bodies of DEAD GEONOSIANS, SHATTERED DROIDS and JEDI.At the foot of some steps, BOBA FETT finds his father's battered helmet. He picks it up.KI-ADI-MUNDI and the SURVIVORS from the raiding party are herded into the arena by SUPERDROIDS. From the encircling tiers above, THOUSANDS OF BATTLE DROIDS level their weapons menacingly.In the archducal box, COUNT DOOKU lifts his hand. The DROIDS lower their weapons. The COUNT calls out to the JEDI.				COUNT DOOKU			Master Windu!Silence.				COUNT DOOKU				(continuing)			You have fought gallantly. Worthy			of recognition in the history			archives of the Jedi Order. Now			it is finished.				(pauses briefly)			Surrender - and your lives will be 			spared.				MACE WINDU			We will not be hostages for you to			barter with Dooku.				COUNT DOOKU			Then, I'm sorry, old friend. You			will have to be destroyed.The DROIDS raise their weapons. ANAKIN and PADME clasps hands tightly. COUNT DOOKU raises his hand to give the order to fire. PADME looks up suddenlt and whispers to ANAKIN.				PADME			Look!Above, six Gunships are descending fast through the open area in the arena ceiling. They land in a cluster around the handful of JEDI. CLONE TROOPERS spill out and start firing at the DROIDS. There is a hellstorm of laserfire that bounces off the laser shields created by the Gunships. YODA appears at the door of one of the Gunships.				YODA			Come on - hurry! Hurry!The SURVIVING JEDI dash to the Gunships and scramble in. MACE WINDU hangs on tight as the Gunship, firing all its weapons, rises out of the arena up and over the topmost rim.EXT. GEONOSIS, TERRAIN OUTSIDE EXECUTION ARENA - DAYThe massed lines of parked Federation Starships and the DROIDS surrounding the arena, are themselves surrounded by thousands of Republic Starships, disgorging TENS OF THOUSANDS OF CLONE TROOPERS. Beyond, more Republic Starships are landing and spewing out troops.INT. GUNSHIP NUMBER ONE - DAYMACE WINDU stares at the incredible sight.				YODA			More battalions to the left.			Encircle them we must, then			divide.The CLONE TROOPERS open fire with artillery. EXPLOSIONS wreck the parked Battle Starships. CLONE TROOPERS advance, firing at the massed DROIDS. FIGHTER DROIDS fly overhead, exchanging fire with the Gunships and JEDI fighters.INT. COCKPIT, NABOO STARSHIP - DAYTHREEPIO and ARTOO see flashes outside of the ship, exploding everywhere.				C-3PO			I'm sure I heard something, this			time. Didn't you? It's probably			just a celebrationARTOO lets out an EXHAUSTED BLEEP.EXT. BATTLEFIELD, GEONOSIS LANDSCAPE - DAYGunship #2 skims the battlefield, firing down, deflecting answering fire from the droids.INT. GUNSHIP NUMBER TWO - DAYOBI-WAN, ANAKIN and PADME are at the open sides of the Gunship. CLONES fire down at the DROIDS below.The Gunship slows, circling over a droid gun-emplacement. It blasts it, but suddenly the Gunship is rocked by a near miss. It lurches violently.				OBI-WAN			Hold on! Look over there...Through the other side of the Gunship, they see a Geonosian Speeder racing past. In the open cockpit is the unmistakable figure of COUNT DOOKU.				ANAKIN			It's Dooku, go after him!The PILOT starts to comply, but... there is a HUGE BLASTS, the ship lurches on its side, and PADME tumbles out.				ANAKIN				(continuing)			Padme!!!ANAKIN stares down in horror as PADME hits thr ground below.				ANAKIN				(continuing; to pilot)			Put the ship down! Down!				OBI-WAN			No! Forget her. We have to go			after Dooku.				ANAKIN			No we're not!! Land this ship!				OBI-WAN			Don't let your personal feelings			get in the way. We've got a job to			do.Below, PADME hauls herself to her feet and waves for them to go after DOOKU.				ANAKIN			I don't care!.. Go back.				OBI-WAN			Anakin! She's all right! Look.ANAKIN stares out to see PADME rescued by CLONE TROOPERS.				OBI-WAN				(continuing)			Follow that speeder!On the ground, PADME looks up at Gunship #2 as it speeds away after Count Dooku. OBI-WAN and ANAKIN follow the speeder to a Geonosian tower. The speeder decsends rapidly; the Gunship follows.Count Dooku's speeder parks outside the tower; the Gunship parks next to it. OBI-WAN and ANAKIN leap down and run inside the tower.INT. GEONOSIS, SECRET HANGER TOWER - LATE DAYCOUNT DOOKU throws switches on a control panel. His Interstellar Sail Ship is guarded by a SQUAD OF SUPER BATTLE DROIDS. The doors of the exit-port slide open.				DROID CAPTAIN			Your Excellency!COUNT DOOKU turns as OBI-WAN and ANAKIN run in through the hanger doors. They draw their lightsabers. The DROIDS raise their weapons.				COUNT DOOKU			That won't be necessary, Captain.			Stand down. And leave them to me.The DROIDS lower their weapons and back off to the walls. COUNT DOOKU looks at OBI-WAN and ANAKIN with slight amusement.				OBI-WAN				(to Anakin)			We move in together - you slowly			on the...				ANAKIN			I'm taking him now!				OBI-WAN			Anakin, no!				ANAKIN			You'll pay for all the Jedi you've			killed today, Dooku.ANAKIN charges across the open space at COUNT DOOKU, who smiles faintly, watching him come. ANAKIN raises his lightsaber. At the last moment, COUNT DOOKU thrusts out an arm, and ANAKIN is lifted up, hurled across the room, and slammed into the opposite wall. He slumps to the foot of the wall, semi-conscious. COUNT DOOKU moves toward OBI-WAN				COUNT DOOKU			Kenobi, isn't it? As you can see,			my Jedi powers are far beyond			yours. Now, back down.				OBI-WAN			I don't think so.OBI-WAN lifts his lightsaber. COUNT DOOKU smiles.				COUNT DOOKU			Ah, but if I must.COUNT DOOKU draws his lightsaber. He and OBI-WAN start to circle each other.				COUNT DOOKU				(continuing)			I have spent the last ten years			learning to use the power of the			Dark Side. It gives me infinitely			greater power.				OBI-WAN			You will have to prove it.OBI-WAN comes in fast, swinging at COUNT DOOKU'S head. DOOKU parries the cut easily. As they fight, it quickly becomes clear that DOOKU is the complete swordsman - elegant, graceful, classical - a master of the old style.				COUNT DOOKU			Grand Master Kenobi, you			disappoint me. Yoda holds you in			such high esteem.COUNT DOOKU parried another cut.				COUNT DOOKU				(continuing)			Surely you can do better...?				(parries)			No, I'm surprised. Has Jedi			swordsmanship degenerated so			quickly, or are you trying to make			fun of me?				(cuts)			Which is it?COUNT DOOKU thrusts. OBI-WAN steps back quickly, panting for breath.				COUNT DOOKU				(continuing)			come, come, Master Kenobi. Put me			out of my misery.OBI-WAN takes a deep breath, gets a fresh grip on his lightsaber and comes in again. For a moment, he drives COUNT DOOKU back. Then Dooku's superior skill begins to tell again, and he forces OBI-WAN to retreat.COUNT DOOKU increases the tempo of his attack. OBI-WAN is pushed to the limit to defend himself. DOOKU presses. His lightsaber flashes.OBI-WAN is wounded in the shoulder, then the thigh. He stumbles back against the wall, trips, and falls. His lightsaber goes skittering across the floor.COUNT DOOKU raises his lightsaber. OBI-WAN looks up helplessly. Dooku's lightsaber flashes down and CLASHES against - Anakin's lightsaber! COUNT DOOKU and ANAKIN stare eyeball to eyeball.				COUNT DOOKU				(continuing)			That's brave of you, boy - but			foolish. I would have thought			you'd have learnt your lesson.				ANAKIN			I'm a slow learner.And ANAKIN charges at COUNT DOOKU. The force of his attack catches the Count slightly off balance. Anakin's lightsaber flashes. COUNT DOOKU draws back, putting a hand to his arm. He takes the hand away and looks at the smear of blood whee Anakin has nicked him.				COUNT DOOKU			You have unusual powers, young			Padawan. But not enought to save			you this time.				ANAKIN			Don't bet on it!				OBI-WAN			Anakin!OBI-WAN uses the Force to catch his lightsaber and he tosses it to ANAKIN. With TWO LIGHTSABERS, ANAKIN attacks. COUNT DOOKU parries and ripostes. It is no contest. ANAKIN is driven back against the wall. He loses one lightsaber. Finally COUNT DOOKU, in one flashing move, sends Anakin's arm, cut at the elbow, flying still gripping his lightsaber. ANAKIN drops to the ground in agony. COUNT DOOKU draws himself up to deliver the coup de grace.Suddenly, the great doors slide open. The DROIDS turn fast, raising their weapons. Through the thick smoke, emerges the heroic figure of YODA. He stops on the smoke-filled threashold, FOUR DROIDS lined up on either side of him, guns pointed.Before the DROIDS can get off a shot, YODA raises his hand, and the DROIDS are flung against the far walls and crash to the floor in heaps of smoking metal.Silence. COUNT DOOKU steps away from ANAKIN to face the Jedi Grand Master. His lightsaber whirls in a formal salute.				COUNT DOOKU			Master Yoda. At last we shall			know who is the most powerful.YODA draws a miniature lightsaber out of his cane. He salutes formally.				YODA			Count Dooku. No interest in			contests, do I have.COUNT DOOKU charges across the space at YODA. He rains down blows upon the tiny figure. YODA doesn't budge an inch. For the first part of the contest, he parries every cut and thrust that Dooku aims. Nothing the great swordsman tries gets through. His energy drains. His strokes become feebler, slower.YODA attacks! He flies forward. COUNT DOOKU is forced to retreat. Wprds are insufficient to describe the range and skill of Yoda's speed and swordplay. His lightsaber his a humming blur of light.Count Dooku's lightsaber is sent cartwheeling from his hand. He staggers back, gasping and spent, against the control panel. YODA jumps onto DOOKU'S shoulders, and is about to drive the lightsaber into the top of the Count's head.				YODA				(continuing)			The end for you, Count, this is.				COUNT DOOKU			...Not yet...COUNT DOOKU raises his arms and knocks YODA off his shoulders and then, with all his might, he uses the Force to pull on one of the cranes in the hanger. It comes crashing down on OBI-WAN and ANAKIN. But in the blink of and eye, YODA is under the crane, holding it up, using the Force. YODA closes his eyes and concentrates.ANAKIN is unconscious, and OBI0WAN tries toget out from under the crane. The fallen crane trembles and starts to life. Behind it, the sound of the Sail Ship's engines are heard starting up.YODA concentrates harder. Slowly, the crane rises. The SOUND OF THE ENGINES increases. YODA exerts every scrap of his powers. The crane lifts clear of ANAKIN and is thrown to the ground. DOOKU'S Sail Ship takes off. OBI-WAN and ANAKIN struggle to the exhausted YODA, but it's too late. The Sail Ship rises into the air and flies away. PADM… and a CLONE CAPTAIN with about TEN TROOPERS appear in the doorway.				PADM…			Anakin!PADM… runs too him and throws her arms around him. ANAKIN is barely able to stand up. The CLONE CAPTAIN marches up to YODA, stops, and salutes smartly.				CLONE CAPTAIN			Resistance is at an end, General.			What are your orders ?YODA looks at him and sighs.EXT. CORUSCANT, OLD TOWN - DAWNCOUNT DOOKU'S Interstellar Sail Ship glides through a deserted, burned-out part of Coruscant. COUNT DOOKU manoeuvres the ship into one of the empty buildings and lands.INT. CORUSCANT, SECRET LANDING PLATFORM - DAWNThe ramp lowers. COUNT DOOKU emerges and walks to where the hooded figure of DARTH SIDIOUS stands waiting. COUNT DOOKU bows.				COUNT DOOKU			The Force is with us, my Master.				DARTH SIDIOUS			Welcome home, Lord Tyranus. You have			done well.				COUNT DOOKU			I bring you good news, my Lord.			The war has begun.				DARTH SIDIOUS			Excellent. 			 	(smiling)			Everything is going as planned.EXT. CORUSCANT, JEDI TEMPLE - SUNSETThe beautiful temple basks in the red glow of the setting sun.INT. JEDI TEMPLE, COUNCIL CHAMBER - SUNSET				MACE WINDU			Where is your apprentice?				OBI-WAN			On his way back to Naboo. He is			escorting Senator Amidala home.They are standing, looking out through the tall windows at the great plaza below. YODA sits in his chair.				OBI-WAN				(continuing)			I must admit without the clones,			it would not have been a victory.				YODA			Victory? Victory, you say?OBI-WAN turns and looks at the sad little Jedi sitting in the Council Chamber. Apart from KI-ADI-MUNDI and PLO KOON, who is wounded, the Chamber is empty.				YODA				(continuing)			Not victory, a defeat, it was...			Master Obi-Wan. Begun, the Clone			War has!EXT. NABOO LAKE RETREAT, LODGE, GARDEN - LATE DAYIn a rose-covered arbor overlooking the sparkling late, ANAKIN and PADME stand before a NABOO HOLY MAN.THREEPIO and ARTOO stand by, watching, as the HOLY MAN blesses the happy couple and, amid gently falling rose petals, ANAKIN and PADME kiss.EXT. CORUSCANT, MILITARY STAGING AREA, BALCONY - LATE DAYPALPATINE, JAR JAR, BAIL ORGANA and the OTHER SENATORS, with TWO ROYAL GUARDS, stand looking down at the square below.TENS OF THOUSANDS OF CLONE TROOPS are drawn up in a strict formation or move forwards in near files to climb the ramps of the Military Assault Ships.On the balcony, PALPATINE'S expression is deeply sad. Everyone watches comberly as, in the square, loaded Assault Ships take off. Other land immediately in their place. The sky above is thick with transports. CLONE TROOPS march and board the Ships.The Great Clone War has begun...FADE OUT:THE END
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+RETURN OF THE JEDIbyLawrence Kasdan&George LucasFrom The NovelbyGeorge LucasThird DraftProperty of Lucasfilm Ltd.Completion Date December 1, 19811    SPACE                                                           The boundless heavens serve as a back-drop for the MAIN TITLE, followed by a ROLL-UP, which crawls into infinity.Episode VIRETURN OF THE JEDILuke Skywalker has returned to his home planet of Tatooine in an attempt to rescue his friend Han Solo from the clutches of the vile gangster Jabba the Hutt. Little does Luke know that the GALACTIC EMPIRE has secretly begun construction on a new armored space station even more powerful than the first dreaded Death Star. When completed, this ultimate weapon will spell certain doom for the small band of Rebels struggling to restore freedom to the galaxy...PAN DOWN to reveal a monstrous half-completed Death Star, its massive superstructure curling away from the completed section like the arms of a giant octopus. Beyond, in benevolent contrast, floats the small, green moon of ENDOR.An Imperial Star Destroyer moves overhead toward the massive armored space station, followed by two zipping TIE fighters. A small Imperial shuttle rockets from the main bay of the ship and hustles toward the Death Star.2    INT IMPERIAL SHUTTLE - COCKPIT The shuttle captain makes contact with the Death Star.SHUTTLE CAPTAINCommand station, this is ST 321. Code Clearance Blue. We're starting our approach. Deactivate the security shield.DEATH STAR CONTROLLER	(filtered VO)The security deflector shield will be deactivated when we have confirmation of your code transmission. Stand by... You are clear to proceed.SHUTTLE CAPTAINWe're starting our approach.3    INT DEATH STAR - CONTROL ROOMOperators move about among the control panels. A SHIELD OPERATOR hits switches beside a large screen, on which is a display of the Death Star, the moon Endor, and a bright web delineating the invisible deflector shield.A control officer rushes over to the shield operator.OFFICERInform the commander that Lord Vader's shuttle has arrived.OPERATORYes, sir.The control officer moves to a view port and watches as the Imperial shuttle lands in the massive docking bay. A squad of Imperial stormtroopers moves into formation before the craft.4    INT DEATH STAR - MAIN DOCKING BAYThe DEATH STAR COMMANDER, MOFF JERJERROD, a tall, confident technocrat, strides through the assembled troops to the base of the shuttle ramp. The troops snap to attention; many are uneasy about the new arrival. But the Death Star commander stands arrogantly tall.The exit hatch of the shuttle opens with a WHOOSH, revealing only darkness. Then, heavy FOOTSTEPS AND MECHANICAL BREATHING. From this black void appears DARTH VADER, LORD OF THE SITH. Vader looks over the assemblage as he walks down the ramp.JERJERRODLord Vader, this is an unexpected pleasure. We're honored by your presence.VADERYou may dispense with the pleasantries, Commander. I'm here to put you back onschedule.The commander turns ashen and begins to shake.JERJERRODI assure you, Lord Vader, my men are working as fast as they can.VADERPerhaps I can find new ways to motivate them.JERJERRODI tell you, this station will be operational as planned.VADERThe Emperor does not share your optimistic appraisal of the situation.JERJERRODBut he asks the impossible. I need more men.VADERThen perhaps you can tell him when he arrives.JERJERROD	 (aghast)The Emperor's coming here?VADERThat is correct, Commander. And he is most displeased with your apparent lack of progress.JERJERRODWe shall double our efforts.VADERI hope so, Commander, for your sake. The Emperor is not as forgiving as I am.5    EXT ROAD TO JABBA'S PALACE - TATOOINEA lonely, windswept road meanders through the desolate Tatooine terrain. We HEAR a familiar BEEPING and a distinctive reply before catching sight of ARTOO-DETOO and SEE-THREEPIO, making their way along the road toward the ominous palace of Jabba the Hutt.THREEPIOOf course I'm worried. And you should be, too. Lando Calrissian and poor Chewbacca never returned from this awful place.Artoo whistles timidly.THREEPIODon't be so sure. If I told you half the things I've heard about this Jabba the Hutt, you'd probably short-circuit.The two droids fearfully approach the massive gate to the palace.THREEPIOArtoo, are you sure this is the right place? I better knock, I suppose.6    EXT JABBA'S PALACE - GATE Threepio looks around for some kind of signaling device, then timidly knocks on the iron door.THREEPIO	 (instantly) There doesn't seem to be anyone there. Let's go back and tell Master Luke.A small hatch in the middle of the door opens and a spidery mechanical arm, with a large electronic eyeball on the end, pops out and inspects the two droids.STRANGE VOICETee chuta hhat yudd!THREEPIOGoodness gracious me! Threepio points to Artoo, then to himself. THREEPIO Artoo Detoowha bo Seethreepiowha ey toota odd mischka Jabba du Hutt.The eye looks from one robot to the other, there is a laugh then the eye zips back into the door. The hatch slams shut. Artoo beeps his concern.THREEPIOI don't think they're going to let us in, Artoo. We'd better go.Artoo beeps his reluctance as Threepio turns to leave. Suddenly the massive door starts to rise with a horrific metallic SCREECH. The robots turn back and face an endless black cavity. The droids look at one another, afraid to enter.Artoo starts forward into the gloom. Threepio rushes after his stubby companion. The door lowers noisily behind them.THREEPIO Artoo, wait. Oh, dear! Artoo. Artoo, I really don't think we should rush into all this.Artoo continues down the corridor, with Threepio following.THREEPIOOh, Artoo!  Artoo, wait for me!7    INT JABBA'S PALACE - HALLWAYThe door slams shut with a loud crash that echoes throughout the dark passageway. The frightened robots are met by two giant, green GAMORREAN GUARDS, who fall in behind them. Threepio glances quickly back at the two lumbering brutes, then back to Artoo. One guard grunts an order. Artoo beeps nervously.THREEPIOJust you deliver Master Luke's message and get us out of here. Oh my! Oh! Oh, no.Walking toward them out of the darkness is BIB FORTUNA, a humanlike alien with long tentacles protruding from his skull.BIBDie Wanna Wanga!THREEPIOOh, my! Die Wanna Wauaga. We -- we bring a message to your master, Jabba the Hutt.Artoo lets out a series of quick beeps.THREEPIO	 (cont)...and a gift.(thinks a moment, then to Artoo)Gift, what gift?Bib shakes his head negatively.BIBNee Jabba no badda. Me chaade su goodie.Bib holds out his hand toward Artoo and the tiny droid backs up a bit, letting out a protesting array of squeaks. Threepio turns to the strange-looking alien.THREEPIOHe says that our instructions are to give it only to Jabba himself.Bib thinks about this for a moment.THREEPIOI'm terribly sorry. I'm afraid he's ever so stubborn about these sort of things.Bib gestures for the droids to follow.BIBNudd Chaa.The droids follow the tall, tentacled alien into the darkness, trailed by the two guards.THREEPIOArtoo, I have a bad feeling about this.8    INT JABBA'S THRONE ROOMThe throne room is filled with the vilest, most grotesque CREATURES ever conceived in the universe. Artoo and Threepio seem very small as they pause in the doorway to the dimly lit chamber. Light shafts partially illuminate the drunken courtiers as Bib Fortuna crosses the room to the platform upon which rests the leader of this nauseating crowd: JABBA THE HUTT. The monarch of the galactic underworld is a repulsive blob of bloated fat with a maniacal grin. Chained to the horrible creature is the beautiful alien female dancer named OOLA. At the foot of the dais sits an obnoxious birdlike creature, SALACIOUS CRUMB. Bib whispers something in the slobbering degenerate's ear. Jabba laughs horribly, at the two terrified droids before him. Threepio bows politely.THREEPIOGood morning.JABBABo Shuda!The robots jump forward to stand before the repulsive, loose-skinned villain.THREEPIOThe message, Artoo, the message.Artoo whistles, and a beam of light projects from his domed head, creating a hologram of LUKE on the floor. The image grows to over ten feet tall, and the young Jedi towers over the space gangsters.LUKEGreetings, Exalted One. Allow me to introduce myself. I am Luke Skywalker, Jedi Knight and friend to Captain Solo. I know that you are powerful, mighty Jabba, and that your anger with Solo must be equally powerful. I seek an audience with Your Greatness to bargain for Solo's life. (Jabba's crowd laughs) With your wisdom, I'm sure that we can work out an arrangement which will be mutually beneficial and enable us to avoid any unpleasant confrontation. As a token of my goodwill, I present to you a gift: these two droids.Threepio is startled by this announcement.THREEPIOWhat did he say?LUKE	 (cont)... Both are hardworking and will serve you well.THREEPIOThis can't be! Artoo, you're playing the wrong message.Luke's hologram disappears.Jabba laughs while Bib speaks to him in Huttese.JABBA	 (in Huttese subtitled)There will be no bargain.THREEPIOWe're doomed.JABBA	 (in Huttese subtitled)I will not give up my favorite decoration. I like Captain Solo where he is.Jabba laughs hideously and looks toward an alcove beside the throne. Hanging high, flat against the wall, exactly as we saw him last, is a carbonized HAN SOLO.THREEPIOArtoo, look! Captain Solo. And he's still frozen in carbonite.9    INT DUNGEON CORRIDOR One of Jabba's Gamorrean guards marches Artoo and Threepio down a dank, shadowy passageway lined with holding cells. The cries of unspeakable creatures bounce off the cold stone walls. Occasionally a repulsive arm or tentacle grabs through the bars at the hapless droids. Artoo beeps pitifully.THREEPIOWhat could possibly have come over Master Luke. Is it something I did? He never expressed any unhappiness with my work. Oh! Oh! Hold it! Ohh!A large tentacle wraps around Threepio's neck. He manages to break free, and they move on to a door at the end of the corridor.10   INT BOILER ROOMThe door slides open, revealing a room filled with steam and noisy machinery. The guard motions them into the boiler room, where they are met by a tall, thin humanlike robot named EV-9D9. Behind the robot can be seen a torture rack pulling the legs off a screaming baby work droid. A second power droid is upside down.  As smoking branding irons are pressed into his feet, the stubby robot lets out an agonized electronic scream. Artoo and Threepio cringe as the guard grunts to EV-9D9.NINEDENINEAh, good. New acquisitions. You are a protocol droid, are you not?THREEPIOI am See-Threepio, human-cy...NINEDENINEYes or no will do.THREEPIOOh. Well, yes.NINEDENINEHow many languages do you speak?THREEPIOI am fluent in over six million forms of communication, and can readily...NINEDENINESplendid! We have been without an interpreter since our master got angry with our last protocol droid and disintegrated him.THREEPIODisintegrated?NINEDENINE	 (to a Gamorrean guard)Guard! This protocol droid might be useful. Fit him with a restraining bolt and take him back to His Excellency's main audience chamber.The guard shoves Threepio toward the door.THREEPIO	 (disappearing)Artoo, don't leave me! Ohhh!Artoo lets out a plaintive cry as the door closes. Then he beeps angrily.NINEDENINEYou're a feisty little one, but you'll soon learn some respect. I have need for you on the master's Sail Barge. And I think you'll fit in nicely.The poor work droid in the background lets out another tortured electronic scream.11   INT JABBA'S THRONE ROOMThe court of Jabba the Hutt is in the midst of a drunken, raucous party. Sloppy, smelly monsters cheer and make rude noises as Oola and a fat female dancer perform in front of Jabba's throne.Jabba leers at the dancers and with a lustful gleam in his eye beckons Oola to come and sit with him. She stops dancing and backs away, shaking her head. Jabba gets angry and points to a spot next to him.JABBADa Eitha!The lovely alien shakes her head again and screams.OOLANa Chuba negatorie Na! Na! Natoota...Jabba is furious and pulls her toward him, tugging on the chain.JABBABoscka!He pushes a button and, before the dancer can flee, a trap door in the floor springs open and swallows her up. As the door snaps shut, a muffled growl is followed by a hideous scream. Jabba and his monstrous friends laugh hysterically and several revelers hurry over to watch her fate through a grate.Threepio cringes and glances wistfully at the carbonite form of Han Solo, but is immediately distracted by a gunshot offscreen. An unnatural quiet sweeps the boisterous gathering. On the far side of the room, the crush of debauchers moves aside to allow the approach of two guards followed by BOUSHH, an oddly cloaked bounty hunter, leading his captive, Han Solo's copilot, CHEWBACCA THE WOOKIEE.Bib takes his place next to his disgusting master, and whispers into his ear, pointing at Chewbacca and the bounty hunter. Jabba listens intently, then the bounty hunter bows before the gangster and speaks a greeting in a strange, electronically processed tongue (Ubese).BOUSHH	 (in Ubese subtitled)I have come for the bounty on this Wookiee.THREEPIOOh, no! Chewbacca!JABBA	 (in Huttese subtitled)At last we have the mighty Chewbacca.Jabba lets out a loud, long, blood-curdling laugh and turns to Threepio, waving him closer. The reluctant droid obeys.THREEPIOOh, uh, yes, uh, I am here, Your Worshipfulness. Uh... yes!Jabba continues speaking, as Threepio nervously translates. Boushh listens, studying the dangerous creatures around the room. He notices BOBA FETT standing near the door.THREEPIOOh. The illustrious Jabba bids you welcome and will gladly pay you the reward of twenty-five thousand.BOUSHH	 (in Ubese subtitled)I want fifty thousand. No less.Jabba immediately flies into a rage, knocking the golden droid off the raised throne into a clattering heap on the floor. Boushh adjusts his weapon as Jabba raves in Huttese and Threepio struggles back onto the throne. The disheveled droid tries to compose himself.THREEPIOUh, oh... but what, what did I say?(to Boushh)Uh, the mighty Jabba asks why he must pay fifty thousand.The bounty hunter holds up a small silver ball in his hand. Threepio looks at it, then looks at Jabba, then back to the bounty hunter. The droid is very nervous and Jabba is getting very impatient.THREEPIOBecause he's holding a thermal detonator.The guards instantly back away, as do most of the other monsters in the room. Jabba stares at the silver ball, which begins to glow in the bounty hunter's hand. The room has fallen into a tense hush. Jabba stares at the bounty hunter malevolently until a sly grin creeps across his vast mouth and he begins to laugh.JABBA	 (in Huttese subtitled)This bounty hunter is my kind of scum. Fearless and inventive.Jabba continues.THREEPIOJabba offers the sum of thirty-five. And I suggest you take it.Bib and the other monsters study the bounty hunter and wait for his reaction. Boushh releases a switch on the thermal detonator and it goes dead.BOUSHHZeebuss.THREEPIOHe agrees!The raucous crowd of monsters erupts in a symphony of cheers and applause as the party returns to its full noisy pitch. Chewbacca growls. As he is led away we spot LANDO CALRISSIAN, disguised as a skiff guard in a partial face mask. The band starts up and dancing girls take the center of the floor, to the hoots of the loudly appreciative creatures.Boushh leans against a column with gunfighter cool and surveys the scene, his gaze stopping only when it connects with a glare from across the room. Boba Fett is watching him. Boushh shifts slightly, cradling his weapon lovingly. Boba Fett shifts with equally ominous arrogance.12   INT DUNGEON CORRIDOR AND CELLGamorrean guards lead Chewie down the same hallway we saw before. When a tentacle reaches out at the Wookiee, Chewie's ferocious ROAR echoes against the walls and the tentacle snaps back into its cell in terror. It takes all the guards to hurl Chewie roughly into a cell, slamming the door behind him. Chewie lets out a pathetic howl and bangs on the iron door.13   EXT JABBA'S PALACEThe palace is sitting in the light of the double sunset. On the road in front, a large toadlike creature flicks its tongue out for a desert rodent and burps in satisfaction.14   INT JABBA'S THRONE ROOM - NIGHTSilence. The room is deserted, only the awful debris of the alien celebration giving mute witness to the activity here before. Several drunk creatures lie unconscious around the room, snoring loudly.A shadowy figure moves stealthily among the columns at the perimeter of the room and is revealed to be Boushh, the bounty hunter. He picks his way carefully through the snoring, drunken monsters.Han Solo, the frozen space pirate, hangs spotlighted on the wall, his coffin-like case suspended by a force field. The bounty hunter deactivates the force field by flipping a control switch to one side of the coffin. The heavy case slowly lowers to the floor of the alcove.Boushh steps up to the case, studying Han, and then turns to the controls on the side of the coffin. He activates a series of switches and, after one last hesitant look at Han, slides the de-carbonization lever. The case begins to emit a sound as the hard shell covering the contours of Han's face begins to melt away. The bounty hunter watches as Han's body is freed of its metallic coat and his forearms and hands, previously raised in reflexive protest, drop slackly to his side. His face muscles relax from their mask of horror. He appears quite dead.Boushh's ugly helmet leans close to Han's face listening for the breath of life. Nothing. He waits. Han's eyes pop open with a start and he begins coughing. The bounty hunter steadies the staggering newborn.BOUSHHJust relax for a moment. You're free of the carbonite.Han touches his face with his hand and moans.BOUSHHShhh. You have hibernation sickness.HANI can't see.BOUSHHYour eyesight will return in time.HANWhere am I?BOUSHHJabba's palace.HANWho are you?The bounty hunter reaches up and lifts the helmet from his head, revealing the beautiful face of PRINCESS LEIA.LEIASomeone who loves you.HANLeia!LEIAI gotta get you out of here.As Leia helps her weakened lover to stand up, the relative quiet is pierced by an obscene HUTTESE CACKLE from the other side of the alcove.HANWhat's that? I know that laugh.The curtain on the far side of the alcove opens, revealing Jabba the Hutt, surrounded by Bib and other aliens. He laughs again, and his gross cronies join in a cacophony of alien glee.HANHey, Jabba. Look, Jabba, I was just on my way to pay you back, but I got a little sidetracked. It's not my fault.Jabba laughs.JABBA	 (in Huttese subtitled)It's too late for that, Solo. You may have been a good smuggler, but now you're Bantha fodder.HANLook...JABBA	 (cont Huttese subtitled)Take him away!The guards grab Han and start to lead him away.HANJabba... I'll pay you triple! You're throwing away a fortune here. Don't be a fool!Han is dragged off, as Lando quickly moves forward and attempts to lead Leia away.JABBA	 (in Huttese subtitled)Bring her to me.Jabba chuckles as Lando and a second guard drag the beautiful young princess toward him. Threepio peeks from behind a monster and quickly turns away in disgust.LEIAWe have powerful friends. You're gonna regret this...JABBA	 (in Huttese subtitled)I'm sure.Inexorably her lovely face moves to within a few inches of Jabba's ugly blob of a head, and Leia turns away in disgust.LEIAUgh!THREEPIOOhhh, I can't bear to watch.15   INT DUNGEON CELLThe heavy metal door of the dungeon whines and slowly creaks open. A guard throws the blinded star captain into the dark cell and the door slams shut behind him, leaving only a thin sliver of light from a crack in the door. Han is trying to collect himself when suddenly a growl is heard from the far side of the cell. He jumps back against the cell door and listens.HANChewie? Chewie, is that you?The shadowy figure lets out a crazy yell and races toward Han, lifting him off the ground with a big hug that carries them into the light, revealing Chewie.HANAh! Chew--Chewie!The giant Wookiee barks with glee.HANWait. I can't see, pal. What's goin' on?Chewie barks an excited blue streak.HANLuke? Luke's crazy. He can't even take care of himself, much less rescue anybody.Chewie barks a reply.HANA...Jedi Knight? I--I'm out of it for a little while, everybody gets delusions of grandeur.Chewie growls insistently. He holds Han to his chest and pets his head.HANI'm all right, pal. I'm all right.16   INT MAIN GATE AND HALL - JABBA'S PALACENoisily, the main gate lifts to flood the blackness with blinding LIGHT and reveal the silhouetted figure of LUKE SKYWALKER. He is clad in a robe similar to Ben's and wears neither pistol nor laser sword. Luke strides purposefully into the hallway. Two giant guards move to block Luke's path. Luke halts.Luke raises his hand and points at the puzzled guards, who immediately lower their spears and fall back. The young Jedi lowers his hand and moves on down the hallway.Bib Fortuna appears out of the gloom. He speaks to Luke as they approach each other, but Luke doesn't stop and Bib must reverse his direction and hurry alongside the young Jedi in order to carry on the conversation. Several other guards fall in behind them in the darkness.LUKEI must speak with Jabba.Bib answers in Huttese, shaking his head in denial. Luke stops and stares at Bib; he raises his hand slightly.LUKEYou will take me to Jabba now!Bib turns in hypnotic response to Luke's command, and Luke follows him into the gloom.LUKEYou serve your master well.Bib responds.LUKEAnd you will be rewarded.17   INT JABBA'S THRONE ROOMJabba is asleep on his throne, with Leia lying in front of him. Salacious sits by Jabba's tail, watching it wriggle. Leia is now dressed in the skimpy costume of a dancing girl; a chain runs from a manacle/necklace at her throat to her new master, Jabba the Hutt. Threepio stands behind Jabba as Bib comes up to the gangster slug.THREEPIOAt last! Master Luke's come to rescue me.BIBMaster.Jabba awakens with a start and Bib continues, in Huttese.BIB...Luke Skywalker, Jedi Knight.JABBA	 (in Huttese subtitled)I told you not to admit him.LUKEI must be allowed to speak.BIB	 (in Huttese subtitled)He must be allowed to speak.Jabba, furious, clobbers Bib and shoves him away.JABBA	 (in Huttese subtitled)You weak-minded fool! He's using an old Jedi mind trick.Luke stares hard at Jabba.LUKEYou will bring Captain Solo and the Wookiee to me.JABBA	 (in Huttese subtitled)Your mind powers will not work on me, boy.LUKENevertheless, I'm taking Captain Solo and his friends. You can either profit by this... or be destroyed! It's your choice. But I warn you not to underestimate my powers.Jabba's laugh is mean and loud. Threepio attempts to warn Luke about the pit.THREEPIOMaster Luke, you're standing on...JABBA	 (in Huttese subtitled)There will be no bargain, young Jedi. I shall enjoy watching you die.Luke reaches out, and a pistol jumps out of a guard's holster and flies into Luke's hand. The bewildered guard grabs for it as Jabba raises his hand.JABBABascka!The floor suddenly drops away, sending Luke and the hapless guard into the pit. The pistol goes off, blasting a hole in the ceiling. Jabba laughs and his courtiers join in. Leia starts forward but is restrained by a human guard-- Lando, recognizable behind his mask. She looks at him and he shakes his head "no."18   INT RANCOR PITLuke and the guard have dropped twenty-five feet from a chute into the dungeonlike cage. Luke gets to his feet as the guard yells hysterically for help. A crowd gathers up around the edge of the pit as the door in the side of the pit starts to RUMBLE open. The guard screams in panic. Luke looks calmly around for a means of escape.THREEPIOOh, no! The Rancor!At the side of the pit, an iron door rumbles upward and a giant, fanged RANCOR emerges. The guard runs to the side of the pit and tries futilely to scramble to the top. The hideous beast closes in on him.The Rancor moves past Luke, and as the guard continues to scramble, the Rancor picks him up and pops him into its slavering jaws. A few screams, and the guard is swallowed with a gulp. The audience cheers and laughs at the guard's fate.The monster turns and starts for Luke. The young Jedi dashes away just ahead of the monster's swipe at him, and picks up the long arm bone of an earlier victim. The monster grabs Luke and brings him up to his salivating mouth. At the last moment, Luke wedges the bone in the monster's mouth and is dropped to the floor. The monster bellows in rage and flails about, hitting the side of the pit, causing an avalanche.The monster crushes the bone in its jaws and sees Luke, who squeezes into a crevice in the pit wall. Luke looks past the monster to the holding cave beyond. On the far side of the holding cave is a utility door--if only he can get to it. The Rancor spots Luke and reaches into the crevice for him. Luke grabs a large rock and raises it, smashing it down on the Rancor's finger.19   HOLDING TUNNEL - RANCOR PITThe Rancor lets out a loud howl as Luke makes a run for the holding cave. He reaches the door and pushes a button to open it. When he succeeds, he sees a heavy barred gate between him and safety. Beyond the gate two guards look up from their dinner. Luke turns to see the monster heading for him, and pulls with all his might on the gate. The guards move to the gate and start poking at the young Jedi with spears, laughing.Luke crouches (against the wall) as the monster starts to reach for him. Suddenly he notices a main door control panel halfway up the wall. As the Rancor moves in for the kill, Luke picks up a skull from the cave floor and hurls it at the panel. The giant overhead door comes crashing down on the beast's head, squashing it like a sledgehammer on an egg.A startled gasp is heard from the stunned court. There's consternation at this turn of events. Heads look to Jabba, who is actually turning red with anger. Leia cannot suppress her joy. Jabba utters harsh commands to his guards and they hurry off.JABBA	 (in Huttese subtitled)Bring me Solo and the Wookiee. They will all suffer for this outrage.21   INT RANCOR PITThe Rancor KEEPERS have come into the cage and are examining their dead beast. One of them breaks down and weeps. The other glares menacingly at Luke, who is unworried. Several guards rush into the holding tunnel and take Luke away.22   INT THRONE ROOMThe crowd of creepy courtiers parts as Han and Chewie are brought into the throne room, and other guards drag Luke up the steps.LUKEHan!HANLuke!LUKEAre you all right?HANFine. Together again, huh?LUKEWouldn't miss it.HANHow are we doing?LUKEThe same as always.HANThat bad, huh? Where's Leia?Luke looks to Leia.LEIAI'm here.Threepio is standing behind the grotesque gangster as he strokes Leia like a pet cat. Several of the guards, including Lando, bring Luke from the other side of the room. Boba is standing behind Jabba.Threepio steps forward and translates for the captives.THREEPIOOh, dear. His High Exaltedness, the great Jabba the Hutt, has decreed that you are to be terminated immediately.HANGood, I hate long waits.THREEPIOYou will therefore be taken to the Dune Sea and cast into the pit of Carkoon, the nesting place of the all-powerful Sarlacc.HAN	 (to Luke)Doesn't sound so bad.THREEPIOIn his belly, you will find a new definition of pain and suffering, as you are slowly digested over a thousand years.HANOn second thought, let's pass on that, huh?Chewie barks his agreement.LUKEYou should have bargained, Jabba. That's the last mistake you'll ever make.Jabba cackles evilly at this.As the guards drag the prisoners from the throne room, a loud cheer rises from the crowd. Leia and Chewie exchange concerned looks, but Luke Skywalker, Jedi warrior, cannot suppress a smile.23   EXT TATOOINE SEA - SKIFFJabba's huge SAIL BARGE moves above the desert surface accompanied by two smaller Skiffs. One of the skiffs glides close, revealing Luke, Han, and Chewie -- all in bonds -- surrounded by guards, one of whom is Lando in disguise.HANI think my eyes are getting better. Instead of a big dark blur, I see a big light blur.LUKEThere's nothing to see. I used to live here, you know.HANYou're gonna die here, you know. Convenient.LUKEJust stick close to Chewie and Lando. I've taken care of everything.HANOh... great!24   INT BARGE OBSERVATION DECKJabba the Hutt rides like a sultan in the massive antigravity ship. His entire retinue is with him, drinking, eating, and having a good time. Leia is watching her friends in the skiff when the chain attached to her neck is pulled tight and Jabba tugs the scantily clad princess to him.JABBA	 (in Huttese subtitled)Soon you will learn to appreciate me.Threepio wanders among the Sail Barge aliens, bumping into a smaller droid serving drinks, spilling them all over the place. The stubby droid lets out an angry series of beeps and whistles.THREEPIOOh, I'm terribly sor... Artoo! What are you doing here?Artoo beeps a quick reply.THREEPIOWell, I can see you're serving drinks, but this place is dangerous. They're going to execute Master Luke and, if we're not careful, us too!Artoo whistles a singsong response.THREEPIOHmm.  I wish I had your confidence.25   EXT SARLACC PIT The convoy moves up over a huge sand pit. The Sail Barge stops to one side of the depression, as does the escort skiff. But the prisoner's skiff moves out directly over the center and hovers. At the bottom of the deep cone of sand is a repulsive, mucous-lined hole, surrounded by thousands of needle-sharp teeth. This is the SARLACC. A plank is extended from the edge of the prisoner's skiff. Guards release Luke's bonds and shove him out onto the plank above the Sarlacc's mouth.26   EXT SAIL BARGE OBSERVATION DECKJabba and Leia are now by the rail, watching. Threepio leans forward and the slobbering villain mumbles something to him. As Threepio steps up to a comlink, Jabba raises his arm and the motley array of intergalactic pirates fall silent. Threepio's voice is amplified across loudspeakers.THREEPIOVictims of the almighty Sarlacc: His Excellency hopes that you will die honorably. But should any of you wish to beg for mercy, the great Jabba the Hutt will now listen to your pleas.27   EXT SKIFFHan steps forward arrogantly and begins to speak.HANThreepio, you tell that slimy piece of... worm-ridden filth he'll get no such pleasure from us. Right?Chewie growls his agreement.LUKEJabba! This is your last chance. Free us or die.Lando moves unobtrusively along the skiff as Luke shoots a quick look of conspiracy to him.28   INT SAIL BARGE OBSERVATION DECKThe assembled monsters rock with mocking laughter as Artoo zips unnoticed up the ramp to the upper deck. Jabba's laughter subsides as he speaks into the comlink.JABBA	 (in Huttese subtitled)Move him into position.Jabba makes a thumbs-down gesture. Leia looks worried.29   EXT BARGE - UPPER DECKArtoo appears from below and zips over to the rail facing the pit. Below, in the skiff, Luke is prodded by a guard to the edge of the plank over the gaping Sarlacc. Luke looks up at Artoo, then gives a jaunty salute: the signal the little droid has been waiting for. A flap opens in Artoo's domed head.JABBA	 (in Huttese subtitled)Put him in.30   EXT SKIFF - PLANKLuke is prodded and jumps off the plank to the cheers of the bloodthirsty spectators. But, before anyone can even perceive what is happening, he spins around and grabs the end of the plank by his fingertips. The plank bends wildly from his weight and catapults him skyward. In midair he does a complete flip and drops down on the end of the plank in the same spot he just vacated, but facing the skiff. He casually extends an open palm and -- his lightsaber, which Artoo has sent arcing toward him, drops into his hand.With samurai speed, Luke ignites it and attacks the guard who prodded him off the plank, sending the hapless monster screaming overboard. The other guards swarm toward Luke. He wades into them, lightsaber flashing. Lando struggles with another guard at the back of the skiff.31   EXT SARLACC PITA bewildered guard lands in the soft, sandy slope of the pit, and begins sliding. He claws desperately as a Sarlacc tentacle grabs him and pulls him screaming into the viscous mouth.32   INT SAIL BARGEJabba watches this and explodes in rage. He barks commands, and the guards around him rush off to do his bidding. The scuzzy creatures watching the action from the window are in an uproar.33   EXT SKIFF Luke knocks another guard off the skiff and into the waiting mouth of the Sarlacc. He starts to untie Chewie's bonds.LUKEEasy, Chewie.At that moment, the deck gunmen on the barge unleash a series of blasts from a big cannon on the upper deck. Lando is tossed from the deck of the rocking skiff. He manages to grab a rope, and dangles desperately above the Sarlacc pit.LANDOWhoa! Whoa! Help!34   EXT UPPER DECK - SAIL BARGEWith two swift strides, the dangerous Boba Fett ignites his rocket pack, leaps into the air, and flies from the barge down to the skiff.35   EXT SKIFFBoba lands on the skiff and starts to aim his laser gun at Luke, who has freed Han and Chewie from their bonds. But before Boba can fire, the young Jedi spins on him, lightsaber sweeping, and hacks the bounty hunter's gun in half.Immediately, the skiff takes another direct hit from the barge's deck gun. Shards of skiff deck fly. Chewie and Han are thrown against the rail.HANChewie, you okay? Where is he?The Wookiee is wounded and he howls in pain.HANI'm okay, pal.For a moment, Luke is distracted, and in that moment, Boba fires a cable out of his armored sleeve. Instantly, Luke is wrapped in a strong cable, his arms pinned against his side, his sword arm free only from the wrist down.  Luke bends his wrist so the lightsaber points straight up to reach the wire lasso and cuts through. Luke shrugs away the cable and stands free.Another blast from the Barge's deck gun hits near Boba and he is knocked unconscious to the deck, next to where Lando is hanging.LANDOHan! Chewie?HANLando!Luke is a little shaken but remains standing as a fusillade brackets him. The second skiff, loaded with guards firing their weapons, moves in on Luke fast. Luke leaps toward the incoming second skiff. The young Jedi leaps into the middle of the second skiff and begins decimating the guards from their midst.Chewie, wounded, tries to lift himself as he barks directions to Han, guiding him toward a spear which has been dropped by one of the guards. Han searches the deck as Chewie barks directions; finally he grabs hold of the spear.Boba Fett, badly shaken, rises from the deck. He looks over at the other skiff, where Luke is whipping a mass of guards. Boba raises his arm, and aims his lethal appendage.Chewie barks desperately at Han.HANBoba Fett?! Boba Fett?! Where?The space pirate turns around blindly, and the long spear in his hand whacks squarely in the middle of Boba's rocket pack.The impact of the swing causes the rocket pack to ignite. Boba blasts off, flying over the second skiff like a missile, smashing against the side of the huge Sail Barge and sliding away into the pit. He screams as his armored body makes its last flight past Lando and directly into the mucous mouth of the Sarlacc. The Sarlacc burps. Chewie growls a weak congratulations to Han.36   INT SAIL BARGELeia turns from the spectacle outside, leaps onto Jabba's throne, and throws the chain that enslaves her over his head around his bulbous neck. Then she dives off the other side of the throne, pulling the chain violently in her grasp. Jabba's flaccid neck contracts beneath the tightening chain. His huge eyes bulge from their sockets and his scum-coated tongue flops out. The Exalted Hutt's huge tail spasms through its death throes and then slams down into final stillness. Leia struggles to free herself of her bondage.37   EXT SKIFFLuke continues to destroy the aliens on the guards' skiff, as Han extends his spear downward to Lando, who is still dangling precariously from a rope on the prisoner's skiff.HANLando, grab it!LANDOLower it!HANI'm trying!A major hit from the barge deck gun knocks the skiff on its side. Han and almost everything else on board slides overboard. The rope breaks, and Lando falls to the side of the Sarlacc pit. Luckily, Han's foot catches on the skiff railing and he dangles above Lando and the pit. The wounded Wookiee holds onto the skiff for dear life as another hit from the deck gun rocks the skiff violently.HANWhoa! Whoa! Grab me, Chewie! I'm slipping.Chewie grabs hold of Han's feet, holding him upside down, as Han extends the spear toward Lando, who is clutching to the side of the pit.HANGrab it! L--Lando. Grab!Luke finishes off the last guard on the second skiff. He sees the deck gun blasting away at his helpless companions. Luke leaps from the skiff, across a chasm of air, to the sheer metallic side of the Sail Barge. Barely able to get a fingerhold, he begins a painful climb up the hull, when suddenly an ax smashes through a window an inch from his head. With Jedi agility, Luke grasps the wrist holding the ax and yanks the helpless guard through the broken window and into the deadly pit.The injured Chewie is reaching over the rail for the dangling Han, who is in turn blindly reaching down toward the desperate Lando. The Baron has stopped his slippage down the sandy slope of the Sarlacc pit by lying very still. Every time he tries to reach for Han, the loose sand moves him closer to his final reward.HANGrab it! Almost... You almost got it!Another blast hits the front of the tilted skiff, causing Lando to let go of the spear.LANDOHold it! Whoa!Again Han extends the spear toward Lando.HANGently now. All... all right. Now easy, easy. Hold me, Chewie.Lando screams. One of the Sarlacc's tentacles has wrapped tightly around his ankle, dragging him down the side of the pit.HANChewie! Chewie, give me the gun. Don't move, Lando.LANDONo, wait! I thought you were blind!HANIt's all right. Trust me. Don't move.LANDOAll right! A little higher! Just a little higher!Han adjusts his aim as Lando lowers his head, and the fuzzy-eyed pirate fires at the tentacle. Direct hit. The tentacle releases Lando, and Chewie starts to pull them on board the skiff.HANChewie, Pull us up! Come on! Okay... up, Chewie, up!38   EXT UPPER DECKThe deck gunners have Chewie and the desperate dangling human chain in their gun sights when something up on deck commands their attention: Luke, standing before them like a pirate king, ignites his lightsaber. The deck gunners have barely reached for their pistols before the young Jedi has demolished them. Immediately, Luke turns to see two more gunners (who have been uncovering a giant gun at the end of the barge) racing for him, firing their laser pistols.39   INT SAIL BARGE - OBSERVATION DECKLeia is struggling against her chains in desperation as Artoo zips through the tumult of confused monsters to the rescue; the stubby little droid extends a small laser gun and blasts the chain apart.LEIACome on. We gotta get out of here quick.Artoo and Leia race for the exit, passing Threepio, who is kicking and screaming as Salacious Crumb, the reptilian monkey- monster picks out one of the golden droid's eyes.THREEPIONot my eyes! Artoo, help! Quickly, Artoo. Oh! Ohhh! You beast!Artoo zips over and zaps Salacious, sending him skyward with a scream, crashing into the rafters as Artoo, Leia, and Threepio (with his eye dangling from a wire) hurry off.40   EXT UPPER DECK - SAIL BARGELuke is warding off laser blasts with his lightsaber, surrounded by guards and fighting like a demon. Leia emerges onto the deck as Luke turns to face another guard.LUKE	 (to Leia)Get the gun! Point it at the deck!Leia turns toward the barge cannon, climbs on the platform, and swivels the gun around.LUKEPoint it at the deck!A laser blast hits Luke's mechanical hand and he bends over in pain, but manages to swing his lightsaber upward and take out the last of the guards. He looks at the wounded hand, which reveals the mechanism. He flexes the hand; it still works.Near the rail of the upper deck, Artoo and Threepio steady themselves as Threepio gets ready to jump. Artoo beeps wildly.THREEPIOArtoo, where are we going? I couldn't possibly jump.Artoo butts the golden droid over the edge and steps off himself, tumbling toward the sand.Luke runs along the empty deck toward Leia and the barge gun, which she has brought around to point down at the deck.LUKECome on!Luke has hold on one of the rigging ropes from the mast. He gathers Leia in his other arm and kicks the trigger of the deck gun. The gun explodes into the deck as Luke and Leia swing out toward the skiff.41   EXT SKIFF  Han leans panting against the rail as Chewie helps Lando onto the deck. Luke and Leia land on the skiff with flair.LUKELet's go! And don't forget the droids.LANDOWe're on our way.The Sail Barge is exploding in stages in the distance. Half of the huge craft is on fire.42   EXT SAND DUNEThreepio's legs stick straight up from the dune where he landed. Next to it, Artoo's periscope is the only thing above the sand. The skiff floats above them and two large electromagnets dangle down on a wire. With a loud CLANG, both droids are pulled from the sand.43   EXT DUNE SEAThe little skiff skips around the burning Sail Barge, which continues its chain of explosions. As the skiff sails off across the desert, the barge settles to the sand and disappears in one final conflagration.44   EXT DUNE SEA - LANDING AREAA ferocious sandstorm blocks our view. Then, through the ROAR, we HEAR THE VOICES of our heroes. They emerge slowly from the veil of sand, pressing on against the wind. First come Artoo and Threepio, followed by Leia guiding Han, then Luke and Lando come into view, each supporting one side of the towering Chewbacca, who hobbles from his wound.Soon, they can make out some large vague shapes in the blowing sand. It is the Millennium Falcon and, parked beside it, Luke's trusty X-wing and a two-seated Y-wing. They must shout to be heard.HANI don't know. All I can see is a lot of blowing sand!LEIAThat's all any of us can see.HAN	 (blinking)Then I guess I'm getting better.As soon as the group huddles under the bulk of the Falcon, the wind dies down to something more describable as a severe weather condition. Threepio hits a switch, and the gang-plank lowers with a HUM.HAN 	(turning to Luke)I've got to hand it to you, kid, you were pretty good out there.LUKE	 (shrugging it off)I had a lot of help. Think nothing of it.HANNo, I'm thinking a lot about it. That carbon freeze was the closest thing to dead there is. And it wasn't just sleepin'. It was a big wide awake nothing!Luke nods, as Chewie growls affectionately at the young Jedi warrior, mussing his hair like a proud uncle. And Leia warmly hugs him.LUKE 	(moving to his ship)I'll see you back at the fleet.HANWhy don't you leave that crate and come with us?LUKEI have a promise I have to keep first... to an old friend.Luke and Artoo take off in their spacecraft.HAN		(looking dubiously at Lando, obviously remembering his friend's betrayal and subsequent aide)Guess I owe you some thanks, too, Lando.LANDOFigured if I left you frozen like that you'd just give me bad luck the rest of my life, so I might as well get you unfrozen sooner or later.LEIAHe means "You're welcome."LANDOCome on, let's get off this miserable dust ball.44A  EXT SPACE ABOVE TATOOINE The desolate yellow planet fills the screen, Luke's X-wing appears and peels off to the left. A moment later, the FALCON appears as a dot and grows huge, to roar directly over the CAMERA.45   INT X-WING - COCKPITLuke is at the controls, with Artoo attached behind him outside the canopy. Luke speaks into his comlink to the others, in the MILLENNIUM FALCON.LUKEI'll meet you back at the fleet.LEIA	 (over comlink)Hurry. The Alliance should be assembled by now.LUKEI will.HAN	 (over comlink)Hey, Luke, thanks. Thanks for comin' after me. Now I owe you one.A message from Artoo appears on the small monitor screen in front of Luke. He smiles at the monitor and speaks to Artoo, as he pulls a black glove on to cover his wounded mechanical hand.LUKEThat's right, Artoo. We're going to the Dagobah system. I have a promise to keep... to an old friend.46   EXT SPACE - DEATH STAR AND ENDORA Super Star Destroyer and several ships of the Imperial Fleet rest in space above the half-completed Death Star and its green neighbor, Endor. Four squads of TIE fighters escort an Imperial shuttle toward the Death Star.47   INT DEATH STAR - CORRIDOR TO DOCKING BAYLord Vader strides down the hallway, accompanied by a very nervous Death Star commander.48   INT DOCKING BAY - DEATH STARThousands of Imperial troops in tight formation fill the mammoth docking bay. Vader and the officer walk to the landing platform, where the shuttle is coming to rest.The shuttle's ramp lowers and the Emperor's Royal Guards come out and create a lethal perimeter. The assembled troops move to rigid attention with a momentous SNAP.Then, in the huge SILENCE which follows, the EMPEROR appears. He is a rather small, shriveled old man. His bent frame slowly makes its way down the ramp with the aid of a gnarled cane. He wears a hooded cloak similar to the one Ben wears, except that it is black. The Emperor's face is shrouded and difficult to see, except for his piercing yellow eyes. Commander Jerjerrod and Darth Vader kneel to him. The Supreme Ruler of the galaxy beckons to the Dark Lord.EMPEROR	 (to Vader)Rise, my friend.Vader rises and falls in next to the Emperor as he slowly makes his way along the rows of troops. Jerjerrod and the other commanders stay kneeling until the Supreme Ruler and Vader, followed by several Imperial dignitaries, pass by; only then do they join in the procession.VADERThe Death Star will be completed on schedule.EMPERORYou have done well, Lord Vader. And now I sense you wish to continue your search for young Skywalker.VADERYes, my Master.EMPERORPatience, my friend. In time he will seek you out. And when he does, you must bring himbefore me. He has grown strong. Only together can we turn him to the dark side of theForce.VADERAs you wish.EMPEROREverything is proceeding as I have foreseen.He laughs to himself as they pass along the vast line of Imperial troops.49   EXT YODA'S HOUSE - DAGOBAHOnce again, Artoo finds himself waiting around in the damp environs of the swamp planet, and he's none too happy about it. He beeps disconsolately to himself and turns to look at Yoda's cottage. Warm yellow light escapes the oddly shaped windows to fight the gloom.50   INT YODA'S HOUSEThe tip of a walking stick taps hesitantly across the earthen floor of the cottage. Our view travels up the stick to the small green hand that clutches it, and then to the familiar face of YODA, THE JEDI MASTER. His manner is frail, and his voice, though cheerful, seems weaker.YODAHmm. That face you make. Look I so old to young eyes?Luke is sitting in a corner of the cramped space and, indeed, his look has been woeful. Caught, he tries to hide it.LUKENo... of course not.YODA	 (tickled, chuckles)I do, yes, I do!  Sick have I become. Old and weak. (Points a crooked finger)When nine hundred years old you reach, look as good you will not. Hmm?Yoda chuckles at this, coughs, and hobbles over toward his bed.YODASoon will I rest. Yes, forever sleep. Earned it, I have.Yoda sits himself on his bed, with great effort.LUKEMaster Yoda, you can't die.YODAStrong am I with the Force... but not that strong! Twilight is upon me and soon night must fall. That is the way of things... the way of the Force.LUKEBut I need your help. I've come back to complete the training.YODANo more training do you require. Already know you that which you need.Yoda sighs, and lies back on his bed.LUKEThen I am a Jedi?YODA	 (shakes his head)Ohhh. Not yet. One thing remains: Vader. You must confront Vader. Then, only then, a Jedi will you be. And confront him you will.Luke is in agony. He is silent for a long moment, screwing up his courage. Finally he is able to ask.LUKEMaster Yoda... is Darth Vader my father?Yoda's eyes are full of weariness and compassion. An odd, sad smile creases his face. He turns painfully on his side, away from Luke.YODAMmm... rest I need. Yes... rest.Luke watches him, each moment an eternity.LUKEYoda, I must know.YODAYour father he is.Luke reacts as if cut.YODATold you, did he?LUKEYes.A new look of concern crosses Yoda's face.  He closes his eyes.YODAUnexpected this is, and unfortunate...LUKEUnfortunate that I know the truth?Yoda opens his eyes again and studies the youth.YODA		 (gathering all his strength)No. Unfortunate that you rushed to face him... that incomplete was your training. Notready for the burden were you.LUKEWell, I'm sorry.YODARemember, a Jedi's strength flows from the Force.  But beware.  Anger, fear, aggression.The dark side are they.  Once you start down the dark path, forever will it dominate yourdestiny.He beckons the young Jedi closer to him.YODALuke...Luke...Do not...Do not underestimate the powers of the Emperor, or suffer your father's fate, you will. Luke, when gone am I(cough),the last of the Jedi will you be. Luke, the Force runs strong in your family. Pass on what you have learned, Luke... (with great effort)There is...another...Sky...Sky...walker.He catches his breath. A shiver runs through the ancient green creature, and he dies. Luke stares at his dead master as he disappears in front of his eyes.51   EXT DAGOBAH SWAMP - X-WING Luke wanders back to where his ship is sitting. Artoo beeps a greeting, but is ignored by his depressed master. Luke kneels down, begins to help Artoo with the ship, then stops and shakes his head dejectedly.LUKEI can't do it, Artoo. I can't go on alone.BEN	 (OS)Yoda will always be with you.Luke looks up to see the shimmering image of BEN KENOBI.LUKEObi-Wan! Why didn't you tell me?The ghost of Ben Kenobi approaches him through the swamp.LUKEYou told me Vader betrayed and murdered my father.BENYou father was seduced by the dark side of the Force. He ceased to be Anakin Skywalkerand became Darth Vader. When that happened, the good man who was your father was destroyed. So what I have told you was true... from a certain point of view.LUKE	 (turning away, derisive)A certain point of view!BENLuke, you're going to find that many of the truths we cling to depend greatly on our ownpoint of view.Luke is unresponsive. Ben studies him in silence for a moment.BENI don't blame you for being angry. If I was wrong in what I did, it certainly wouldn't have been for the first time. You see, what happened to your father was my fault.Ben pauses sadly.BENAnakin was a good friend.Luke turns with interest at this. As Ben speaks, Luke settles on a stump, mesmerized. Artoo comes over to offer his comforting presence.BENWhen I first knew him, your father was already a great pilot. But I was amazed how strongly the Force was with him. I took it upon myself to train him as a Jedi. I thought that I could instruct him just as well as Yoda. I was wrong. My pride has had terrible consequences for the galaxy.Luke is entranced.LUKEThere's still good in him.BENI also thought he could be turned back to the good side. It couldn't be done. He is more machine now than man. Twisted and evil.LUKEI can't do it, Ben.BENYou cannot escape your destiny.LUKEI tried to stop him once. I couldn't do it.BENVader humbled you when first you met him, Luke... but that experience was part of your training. It taught you, among other things, the value of patience. Had you not been so impatient to defeat Vader then, you could have finished your training here with Yoda. You would have been prepared.LUKEBut I had to help my friends.BEN	 (grinning at Luke's indignation)And did you help them? It was they who had to save you. You achieved little by rushing back prematurely, I fear.LUKE	 (with sadness)I found out Darth Vader was my father.BENTo be a Jedi, Luke, you must confront and then go beyond the dark side - the side your father couldn't get past. Impatience is the easiest door - for you, like your father. Only, your father was seduced by what he found on the other side of the door, and you have held firm. You're no longer so reckless now, Luke. You are strong and patient. And now, you must face Darth Vader again!LUKEI can't kill my own father.BENThen the Emperor has already won. You were our only hope.LUKEYoda spoke of another.BENThe other he spoke of is your twin sister.LUKEBut I have no sister.BENHmm. To protect you both from the Emperor, you were hidden from your father when you were born. The Emperor knew, as I did, if Anakin were to have any offspring, they would be a threat to him. That is the reason why your sister remains safely anonymous.LUKELeia! Leia's my sister.BENYour insight serves you well. Bury your feelings deep down, Luke. They do you credit.But they could be made to serve the Emperor.Luke looks into the distance, trying to comprehend all this.BEN	 (continuing his narrative)When your father left, he didn't know your mother was pregnant. Your mother and I knew he would find out eventually, but we wanted to keep you both as safe as possible, for as long as possible.  So I took you to live with my brother Owen on Tatooine... and your mother took Leia to live as the daughter of Senator Organa, on Alderaan.Luke turns, and settles near Ben to hear the tale.BEN	 (attempting to give solace with his words)The Organa household was high-born and politically quite powerful in that system. Leia became a princess by virtue of lineage... no one knew she'd been adopted, of course. But it was a title without real power, since Alderaan had long been a democracy.  Even so, the family continued to be politically powerful, and Leia, following in her foster father's path, became a senator as well.  That's not all she became, of course... she became the leader of her cell in the Alliance against the corrupt Empire. And because she had diplomatic immunity, she was a vital link for getting information to the Rebel cause.  That's what she was doing when her path crossed yours... for her foster parents had always told her to contact me on Tatooine, if her troubles became desperate.Luke is overwhelmed by the truth, and is suddenly protective of his sister.LUKEBut you can't let her get involved now, Ben. Vader will destroy her.BENShe hasn't been trained in the ways of the Jedi the way you have, Luke... but the Force is strong with her, as it is with all of your family. There is no avoiding the battle. You must face and destroy Vader!52   EXT SPACE - REBEL FLEETThe vast Rebel Fleet stretches as far as the eye can see. Overhead a dozen small Corellian battleships fly in formation. Fighters and battlecruisers surround the largest of the Rebel Star Cruisers, the HEADQUARTERS FRIGATE.53   INT HEADQUARTERS FRIGATE - MAIN BRIEFING ROOMHundreds of Rebel commanders of all races and forms are assembled in the WAR ROOM. WEDGE is among them. In the center of the room is a holographic model depicting the half-completed Imperial Death Star, the nearby Moon of Endor, and the protecting deflector shield.MON MOTHMA, the leader of the Alliance, enters the room. She is a stern but beautiful woman in her fifties. Conferring with her are several military leaders, including GENERAL MADINE and ADMIRAL ACKBAR (a salmon-colored Mon Calamari). Lando moves through the crowd until he finds Han and Chewie, standing next to Leia and the two droids.Han peers at Lando's new insignia on his chest, and is amused.HANWell, look at you, a general, huh? LANDO Oh, well, someone must have told them about my little maneuver at the battle of Taanab.HAN	 (sarcastic)Well, don't look at me, pal. I just said you were a fair pilot. I didn't know they werelookin' for somebody to lead this crazy attack.LANDO	 (smiling)I'm surprised they didn't ask you to do it.HANWell, who says they didn't.  But I ain't crazy. You're the respectable one, remember?Mon Mothma signals for attention, and the room falls silent.MON MOTHMAThe Emperor has made a critical error and the time for our attack has come.This causes a stir. Mon Mothma turns to a holographic model of the Death Star, the Endor moon and the protecting deflector shield in the center of the room.MON MOTHMAThe data brought to us by the Bothan spies pinpoints the exact location of the Emperor's new battle station. We also know that the weapon systems of this Death Star are not yet operational. With the Imperial Fleet spread throughout the galaxy in a vain effort to engage us, it is relatively unprotected. But most important of all, we've learned that the Emperor himself is personally overseeing the final stages of the construction of this Death Star.A volley of spirited chatter erupts from the crowd. Han turns to Leia as Chewie barks his amazement.MON MOTHMA	 (cont)Many Bothans died to bring us this information. Admiral Ackbar, please.Admiral Ackbar steps forward and points to the Death Star's force field and the Moon of Endor.ACKBARYou can see here the Death Star orbiting the forest Moon of Endor. Although the weaponsystems on this Death Star are not yet operational, the Death Star does have a strong defense mechanism. It is protected by an energy shield, which is generated from the nearby forest Moon of Endor. The shield must be deactivated if any attack is to be attempted. Once the shield is down, our cruisers will create a perimeter, while the fighters fly into the superstructure and attempt to knock out the main reactor.There's a concerned murmur.ACKBAR	 (cont)General Calrissian has volunteered to lead the fighter attackHan turns to Lando with a look of respect.HANGood luck.Lando nods his thanks.HANYou're gonna need it.ACKBARGeneral Madine.Madine moves center stage.GENERAL MADINEWe have stolen a small Imperial shuttle. Disguised as a cargo ship, and using a secretImperial code, a strike team will land on the moon and deactivate the shield generator.The assembly begins to mumble among themselves.THREEPIOSounds dangerous.LEIA	 (to Han)I wonder who they found to pull that off.GENERAL MADINEGeneral Solo, is your strike team assembled?Leia, startled, looks up at Han, surprise changing to admiration.HANUh, my team's ready. I don't have a command crew for the shuttle.Chewbacca raises his hairy paw and volunteers.  Han looks up at him.HANWell, it's gonna be rough, pal. I didn't want to speak for you.Chewie waves that off with a huge GROWL.HAN	 (smiles)That's one.LEIAUh, General... count me in.VOICE	 (OS)I'm with you, too!They turn in that direction and peer into the crowd as there are more cheers. The commanders part, and there at the back stands Luke. Han and Leia are surprised and delighted.Leia moves to Luke and embraces him warmly. She senses a change in him and looks into his eyes questioningly.LEIA What is it?LUKE	 (hesitant)Ask me again sometime.Han, Chewie, and Lando crowd around Luke as the assembly breaks up.HANLuke.LUKEHi, Han... Chewie.Artoo beeps a singsong observation to a worried Threepio. THREEPIO"Exciting" is hardly the word I would use.54   INT HEADQUARTERS FRIGATE - MAIN DOCKING BAYThe Millennium Falcon rests beyond the stolen IMPERIAL SHUTTLE, which looks anomalous among all the Rebel ships in the vast docking bay. Chewie barks a final farewell to Lando and leads Artoo and Threepio up the shuttle, crowded now with the Rebel strike team loading weapons and supplies. Lando turns to face Han. Luke and Leia have said their good-byes and start up the ramp.HANLook. I want you to take her. I mean it. Take her. You need all the help you can get. She'sthe fastest ship in the fleet.LANDOAll right, old buddy. You know, I know what she means to you. I'll take good care of her.She-she won't get a scratch. All right?HAN	 (looks at him warmly)Right. I got your promise now. Not a scratch.LANDOLook, would you get going, you pirate.Han and Lando pause, then exchange salutes.LANDOGood luck.HANYou, too.Han goes up the ramp. Lando watches him go and then slowly turns away.55   INT IMPERIAL SHUTTLE - COCKPITLuke is working on a back control panel as Han comes in and takes the pilot's seat. Chewie, in the seat next to him, is trying to figure out all the Imperial controls.HANYou got her warmed?LUKEYeah, she's comin' up.Chewie growls a complaint.HANNo. I don't think the Empire had Wookiees in mind when they designed her, Chewie.Leia comes in from the hold and takes her seat near Luke.Chewie barks and hits some switches. Han's glance has stuck on something out the window: the Millennium Falcon. Leia nudges him gently.LEIAHey, are you awake?HANYeah, I just got a funny feeling. Like I'm not gonna see her again.Chewie, hearing this, stops his activity and looks longingly out at the Falcon, too. Leia puts a hand on Han's shoulder.LEIA	 (softly)Come on, General, let's move.Han snaps back to life.HANRight. Chewie, let's see what this piece of junk can do. Ready, everybody?LUKEAll set.THREEPIOHere we go again.HANAll right, hang on.56   EXT SPACE - THE REBEL FLEETThe stolen Imperial shuttle leaves the main docking bay of the Headquarters Frigate, lowers its wings into flight position, and zooms off into space.57   INT EMPEROR'S THRONE ROOMThe converted control room is dimly lit, except for a pool of light at the far end. There the Emperor sits in an elaborate control chair before a large window which looks out across the half-completed Death Star to the giant green moon of Endor.Darth Vader, standing with other members of the Imperial council, cautiously approaches his master. The ruler's back is to Vader. After several tense moments, the Emperor's chair rotates around to face him.VADERWhat is thy bidding, my Master?EMPERORSend the fleet to the far side of Endor. There it will stay until called for.VADERWhat of the reports of the Rebel fleet massing near Sullust?EMPERORIt is of no concern. Soon the Rebellion will be crushed and young Skywalker will be one of us! Your work here is finished, my friend. Go out to the command ship and await my orders.VADERYes, my Master.Vader bows, then turns and exits the throne room as the Emperor walks toward the waiting council members.58   EXT SPACE - DEATH STAR - MOONThere is a great deal of Imperial traffic in the area as construction proceeds on the Death Star. Transports, TIE fighters, and a few Star Destroyers move about. Now the huge Super Star Destroyer announces itself with a low roar and soon fills the frame.59   INT STOLEN IMPERIAL SHUTTLE - COCKPITHan looks back at Luke and Leia as Chewie flips several switches. Through the viewscreen, the Death Star and the huge Super Star Destroyer can be seen.HANIf they don't go for this, we're gonna have to get outta here pretty quick, Chewie.Chewie growls his agreement.CONTROLLER	 (over radio)We have you on our screen now. Please identify.HANShuttle Tydirium requesting deactivation of the deflector shield.CONTROLLER	 (over radio)Shuttle Tydirium, transmit the clearance code for shield passage.HANTransmission commencing.Leia and Chewbacca listen tensely as the sound of a high speed transmission begins.LEIANow we find out if that code is worth the price we paid.HANIt'll work. It'll work.Chewie whines nervously. Luke stares at the Huge Super Star Destroyer that looms ever larger before them.LUKEVader's on that ship.HANNow don't get jittery, Luke. There are a lot of command ships. Keep your distance though, Chewie, but don't look like you're trying to keep your distance.Chewie barks a question.HANI don't know.  Fly casual.LUKEI'm endangering the mission. I shouldn't have come.HANIt's your imagination, kid. Come on. Let's keep a little optimism here.Chewie barks his worries as the Super Star Destroyer grows larger out the window.60   INT VADER'S STAR DESTROYER - BRIDGELord Vader stands, back to us, staring out a window at the Death Star. Now, some vibration felt only by him causes him to turn. After a moment of stillness, he walks down the row of controllers to where ADMIRAL PIETT is leaning over the tracking screen of the controller we've seen earlier. Piett straightens at Vader's approach.VADERWhere is that shuttle going?PIETT	 (into comlink)Shuttle Tydirium, what is your cargo and destination?PILOT VOICE    (HAN)   (filtered)Parts and technical crew for the forest moon.The Bridge Commander looks to Vader for a reaction.VADERDo they have a code clearance?PIETTIt's an older code, sir, but it checks out. I was about to clear them.Vader looks upward, as he senses Luke's presence.PIETTShall I hold them?VADERNo. Leave them to me. I will deal with them myself.PIETT	 (surprised)As you wish, my lord.(to controller)Carry on.Piett nods at controller, who switches on his comlink.61   INT STOLEN IMPERIAL SHUTTLE - COCKPITThe group waits tensely.HANThey're not goin' for it, Chewie.CONTROLLER	 (filtered)Shuttle Tydirium, deactivation of the shield will commence immediately. Follow yourpresent course.Everyone breaths a sigh of relief. Everyone but Luke, who looks worried. Chewie barks.HANOkay! I told you it was gonna work. No problem.62   EXT SPACE - STOLEN IMPERIAL SHUTTLE - ENDORThe stolen Imperial shuttle moves off toward the green Sanctuary Moon.63   EXT FOREST LANDING SITE - ENDORThe stolen Imperial shuttle sits in a clearing of the moon's dark, primeval forest, dwarfed by the ancient towering trees.On an adjacent hill, the helmeted Rebel contingent makes its way up a steep trail. Leia and Han are slightly ahead of Chewie and Luke. The troops of the strike-team squad follow, with Artoo and Threepio bringing up the rear. Artoo beeps.Up ahead, Chewie and Leia reach a crest in the hill and drop suddenly to the ground, signaling the rest of the group to stop. Han and Luke crawl up to take a look.THREEPIOOh, I told you it was dangerous here.THEIR POV. Not far below them, two IMPERIAL SCOUTS are wandering through bushes in the valley below. Their two ROCKET BIKES are parked nearby.LEIAShall we try and go around?HANIt'll take time. This whole party'll be for nothing if they see us.Leia motions for the squad to stay put, then she, Han, Luke and Chewie start quietly down.64   EXT FOREST CLEARING - CAMPSITEThe four friends make their way to the edge of the clearing not far from the two Imperial scouts.HANChewie and I will take care of this. You stay here.LUKEQuietly, there might be more of them out there.HAN	 (grins)Hey... it's me.Han and Chewie turn and start through the bushes toward the scouts. Luke and Leia exchange smiles.Han sneaks up behind one of the scouts, steps on a twig and the scout whirls, knocking Han into a tree. The scout shouts for his companion.SCOUT #1Go for help! Go!The second scout jumps on his speeder bike and takes off, but Chewie gets off a shot on his crossbow laser weapon, causing the scout to crash into a tree. Han and Scout #1 are in a rousing fistfight.LUKE	 (sarcastic)Great. Come on.Luke starts for the scuffle, followed by Leia with her laser pistol drawn. As they run through the bushes, Leia stops and points to where two more scouts are sitting on their speeder bikes, with an unoccupied bike parked nearby.LEIAOver there! Two more of them!LUKEI see them. Wait, Leia!But Leia doesn't hear him and races for the remaining speeder bike. She starts it up and takes off as Luke jumps on the bike behind her.LUKE	 (pointing to the controls)Quick! Jam their comlink. Center switch!Luke and Leia speed into the dense foliage in hot pursuit, barely avoiding two huge trees.HANHey, wait! Ahhh!He flips the remaining scout to the ground.65   EXT FOREST - THE BIKE CHASEThe two fleeing Imperial scouts have a good lead as Luke and Leia pursue through the giant trees at 200 miles an hour, the fire from their bike's laser cannon hitting harmlessly near the moving targets.LUKEMove closer!Leia guns it, closing the gap, as the two scouts recklessly veer through a narrow gap in the trees. One of the bikes SCRAPES a tree, slowing the scout.LUKEGet alongside that one!Leia pulls her speeder bike up so close to the scout's bike that their steering vanes SCRAPE noisily. Luke leaps from his bike to the back of the scout's, grabs the Imperial warrior around the neck, and flips him off the bike, into a thick tree trunk. Luke gains control of the bike and follows Leia, who has pulled ahead. They tear off after the remaining scout.LUKEGet him!The speeding chase passes TWO MORE IMPERIAL SCOUTS. These two swing into pursuit, chasing Luke and Leia, firing away with their laser cannon. The two Rebels look behind them just as Luke's bike takes a glancing hit.LUKE	 (indicating the one ahead)Keep on that one! I'll take these two!With Leia shooting ahead, Luke suddenly slams his steering vanes into the braking mode. Luke's bike is a blur to the two pursuing scouts as they zip by him on either side. Luke slams his bike into forward and starts firing away, having switched places with his pursuers in a manner of seconds. Luke's aim is good and one scout's bike is blasted out of control. It explodes against a tree trunk.The scout's cohort takes one glance back at the flash and shifts into turbo drive, going even faster. Luke keeps on his tail.FAR AHEAD, Leia and the first scout are doing a highspeed slalom through the death-dealing trunks. Now Leia aims her bike skyward and rises out of sight.The scout turns in confusion, unable to see his pursuer. Suddenly, Leia dives down upon him from above, cannon blasting. The scout's bike takes a glancing hit.Leia moves in alongside him. The scout eyes her beside him, reaches down, and pulls out a handgun. Before Leia can react, the scout has blasted her bike, sending it out of control. Leia dives off as her bike explodes against a tree. The happy scout looks back at the explosion. But when he turns forward again, he is on a collision course with a giant fallen tree. He hits his brakes to no avail and disappears in a conflagration.ANOTHER PART OF THE FOREST: Luke and the last remaining scout continue their weaving chase through the trees. Now Luke moves up close. The scout responds by slamming his bike into Luke's. A fallen tree forms a bridge across their path. The scout zips under. Luke goes over the top and crashes his bike down on the scout's. Both riders look ahead - a wide trunk looms directly in Luke's path, but the scout's bike beside him makes it almost impossible for him to avoid it. Luke banks with all his might, leaning almost horizontal over the scout's bike, and is able to make it by, just clipping the tree. When he straightens, he and the scout discover that their two bikes have locked front vanes and are moving as one.Another big tree looms in Luke's path. He reacts instinctively and dives off his bike. The two bikes come apart a second before Luke's explodes against a tree. The scout sweeps out and circles back to find Luke.Luke rises from the undergrowth as the scout bears down on him and opens fire with his laser cannon. Luke ignites his laser sword and begins deflecting the bolts. The scout's bike keeps coming and it appears that in a second it will cut Luke in half. At the last instant, Luke steps aside and chops off the bike's control vanes with one mighty slash. The scout's bike begins to shudder, then, pitching and rolling, it rises up to slam directly into a tree in a giant ball of fire.66   EXT SCOUT CAMPSITE - FORESTHan, Chewie, and the droids, along with the rest of the squad, wait anxiously in the clearing. Artoo's radar screen sticks out of his domed head and revolves, scanning the forest. He beeps.THREEPIOOh, General Solo, somebody's coming. Oh!Han, Chewie, and the rest of the squad raise their weapons.Luke steps out of the foliage to find the weapons trained on him. He's too tired to care. He plops himself down on a boulder and looks around.HANLuke! Where's Leia?LUKE	 (concerned)What? She didn't come back?HANI thought she was with you.LUKEWe got separated.Luke and Han exchange a silent, grim look. Luke gets up wearily.LUKEHey, we better go look for her.Han nods, and signals to a Rebel officer.HANTake the squad ahead.  We'll meet at the shield generator at 0300.LUKECome on, Artoo.  We'll need your scanners.Luke, Chewie, Han, and the droids move off in one direction as the squad proceeds in another.THREEPIODon't worry, Master Luke.  We know what to do.They move off into the woods.THREEPIO	 (to Artoo)And you said it was pretty here. Ugh!67   EXT FOREST CLEARING - LEIA'S CRASH SITEA strange little furry face with huge black eyes comes slowly into view. The creature is an EWOK, by the name of WICKET. He seems somewhat puzzled, and prods Leia with a spear. The princess groans; this frightens the stubby ball of fuzz and he prods her again. Leia sits up and stares at the three-foot-high Ewok. She tries to figure out where she is and what has happened. Her clothes are torn; she's bruised and disheveled.The Ewok jumps up and grabs a four-foot-long spear, which he holds in a defensive position. Leia watches him as he circles warily and begins poking her with the sharp point of the spear.LEIACut it out!She stands up, and the Ewok quickly backs away.LEIAI'm not gonna hurt you.Leia looks around at the dense forest, and at the charred remains of her speeder bike, then sits down, with a sigh, on a fallen log.LEIAWell, looks like I'm stuck here. Trouble is, I don't know where here is.She puts her head in her hands to rub away some of the soreness from her fall. She looks over at the watchful little Ewok and pats the log beside her.LEIAWell, maybe you can help me. Come on, sit down.Wicket holds his spear up warily and growls at her like a puppy. Leia pats the log again.LEIAI promise I won't hurt you. Now come here.More growls and squeaks from the little bear creature.LEIAAll right. You want something to eat?She takes a scrap of food out of her pocket and offers it to him. Wicket takes a step backward, then cocks his head and moves cautiously toward Leia, chattering in his squeaky Ewok language.LEIAThat's right. Come on. Hmmm?Sniffing the food curiously, the Ewok comes toward Leia and sits on the log beside her. She takes off her helmet, and the little creature jumps back, startled again. He runs along the log, pointing his spear at her and chattering a blue streak. Leia holds out the helmet to him.LEIALook, it's a hat. It's not gonna hurt you. Look. You're a jittery little thing, aren't you?Reassured, Wicket lowers his spear and climbs back on the log, coming to investigate the helmet. Suddenly his ears perk up and he begins to sniff the air. He looks around warily, whispering some Ewokese warning to Leia.LEIAWhat is it?Suddenly a laser bolt comes out of the foliage and explodes on the log next to Leia. Leia and Wicket both roll backwards off the log, hiding behind it. Leia holds her own laser gun ready, while Wicket disappears underneath the log. Another shot, and still no sight of anyone in the forest. Then Leia senses something and turns to find a large IMPERIAL SCOUT standing over her with his weapon pointed at her head. He reaches out his hand for her weapon.SCOUT #lFreeze!  Come on, get up!She hands the weapon over, as a second scout emerges from the foliage in front of the log.SCOUT #1Go get your ride and take her back to base.SCOUT #2Yes, sir.The second scout starts toward his bike, as Wicket, crouched under the log, extends his spear and hits the first scout on the leg. The scout jumps and lets out an exclamation, and looks down at Wicket, puzzled. Leia grabs a branch and knocks him out. She dives for his laser pistol, and the second scout, now on his bike, takes off. Leia fires away and hits the escaping bike, causing it to crash into the first scout's bike, which flies end over end and explodes. The forest is quiet once more. Wicket pokes his fuzzy head up from behind the log and regards Leia with new respect. He mumbles his awe. Leia hurries over, looking around all the time, and motions the chubby little creature into the dense foliage.LEIACome on, let's get outta here.As they move into the foliage, Wicket takes the lead. He shrieks and tugs at Leia to follow him.68   INT DEATH STAR - CORRIDOR TO EMPEROR'S TOWERDarth Vader walks down the corridor to the Emperor's Tower and private elevator. The Emperor's private guard steps in Vader's path.GUARDHalt! The Emperor does not wish to be disturbed at the moment.VADER        (raising his gloved hand to the two guards and choking them with the Force)The Emperor will see me, now!GUARD(repeating Vader's command)The Emperor will see you, now.69   INT EMPEROR'S TOWER - THRONE ROOMTwo red Imperial Guards stand watch at the elevator as the door opens to reveal Vader. Vader enters the eerie, foreboding throne room. It appears to be empty. His footsteps echo as he approaches the throne. He waits, absolutely still. The Emperor sits with his back to the Dark Lord.EMPERORI told you to remain on the command ship.VADERA small Rebel force has penetrated the shield and landed on Endor.EMPEROR	 (no surprise)Yes, I know.VADER	 (after a beat)My son is with them.EMPEROR	 (very cool)Are you sure?VADERI have felt him, my Master.EMPERORStrange, that I have not. I wonder if your feelings on this matter are clear, LordVader.Vader knows what is being asked.VADERThey are clear, my Master.EMPERORThen you must go to the Sanctuary Moon and wait for them.VADER	 (skeptical)He will come to me?EMPERORI have foreseen it. His compassion for you will be his undoing. He will come to you andthen you will bring him before me.VADER	 (bows)As you wish.The Dark Lord strides out of the throne room.70   EXT FOREST CLEARING - LEIA'S CRASH SITEHan, Luke, Chewie, and the two droids are spread out as they move through the heavy foliage near the clearing where we last saw Leia. Luke finds Leia's helmet, picks it up with an expression of concern.HAN	 (OS)Luke! Luke!Luke runs with the helmet to where Han has found the charred wreckage of a speeder bike in the grass.THREEPIOOh, Master Luke.LUKEThere's two more wrecked speeders back there. And I found this.He tosses the helmet to Han.THREEPIOI'm afraid that Artoo's sensors can find no trace of Princess Leia.HAN	 (gravely)I hope she's alright.Chewbacca growls, sniffing the air, then, with a bark, pushes off through the foliage.                              HANWhat, Chewie? What? Chewie!The others rush to keep up with the giant Wookiee. As he scoots along, Artoo whistles nervously.71   EXT FOREST - DENSE FOLIAGEThe group has reached a break in the undergrowth. Chewie walks up to a tall stake planted in the ground. There is a dead animal hanging from it.HANHey, I don't get it.The rest of the group joins the Wookiee around the stake.HAN	 (cont)Nah, it's just a dead animal, Chewie.Chewie can't resist. He reaches toward the meat.LUKEChewie, wa-wait!  Don't!Too late. The Wookiee has already pulled the animal from the stake. SPROOING! The group finds itself hanging upside down in an Ewok net, suspended high above the clearing. Artoo lets out a wild series of beeps and whistles, and Chewie howls his regret. Their bodies are a jumble in the net. Han removes a Wookiee paw from his mouth.HANNice work. Great, Chewie! Great! Always thinking with your stomach.LUKEWill you take it easy? Let's just figure out a way to get out of this thing. (trying to free an arm) Han, can you reach my lightsaber?HANYeah, sure.Artoo is at the bottommost point in the net. He extends his cutting appendage and begins slicing at the net. Han is trying to squeeze an arm past Threepio to get at Luke's lightsaber. The net continues to spin.THREEPIOArtoo, I'm not sure that's such a good idea. It's a very long dro-o-op!!Artoo has cut through and the entire group tumbles out of the net, crashing to the ground. As they regain their senses and sit up, they realize they are surrounded by dozens of Ewoks, each brandishing a long spear.HANWha--?  Hey!  Point that thing someplace else.Han pushes the spear wielded by TEEBO out of his face and a second Ewok warrior comes up to argue with Teebo. The spear returns to Han's face. He grabs it angrily and starts to go for his laser pistol.HANHey!LUKEHan, don't. It'll be all right.The Ewoks swarm through them and confiscate their weapons. Luke lets them take his lightsaber. Chewie growls at the furry critters.LUKEChewie, give 'em your crossbow.Artoo and Threepio are just untangling themselves. Threepio gets free of the net and sits up, rattled.THREEPIOOh, my head. Oh, my goodness!When the Ewoks see Threepio, they let out a gasp and chatter among themselves. Threepio speaks to them in their native tongue. The Ewok nearest him drops his spear and prostrates himself before the droid. In a moment, all the Ewoks have followed suit. Chewie lets out a puzzled bark. Han and Luke regard the bowed creatures in wonder. The Ewoks begin to chant at Threepio.LUKEDo you understand anything they're saying?THREEPIOOh, yes, Master Luke!  Remember that I am fluent in over six million forms ofcommunication.HANWhat are you telling them?THREEPIOHello, I think... I could be mistaken. They're using a very primitive dialect.  ButI do believe they think I am some sort of god.Chewbacca and Artoo think that's very funny. Han and Luke exchange "what next?" looks.HANWell, why don't you use your divine influence and get us out of this?THREEPIOI beg your pardon, General Solo, but that just wouldn't be proper.HANProper?!THREEPIOIt's against my programming to impersonate a deity.Han moves toward Threepio threateningly.HANWhy, you--Several Ewoks' spears are thrust in Han's face at the affront to their god. The Ewoks move in to protect their god and Han is surrounded by a menacing circle of spears, all aimed at him. He holds up his hands placatingly.HANMy mistake. He's an old friend of mine.72   EXT FOREST - SERIES OF SHOTSA procession of Ewoks winds through the ever-darkening forest. Their prisoners - Han, Luke, Chewie, and Artoo - are tied to long poles and wrapped in vines, cocoonlike.Each pole is carried on the shoulders of several Ewoks. Behind the captives, Threepio is carried on a litter, like a king, by the remaining creatures.73   EXT FOREST WALKWAY - MOON FORESTThe procession moves along a shaky, narrow, wooden walkway, high in the giant trees. It stops at the end of the walkway, which drops off into nothingness. On the other side of the abyss is a village of mud huts and rickety walkways, attached to the giant trees. The lead Ewok takes hold of a long vine and swings across to the village square; the other Ewoks follow suit.74   EXT EWOK VILLAGE SQUAREThe procession winds its way into the village square. Mother Ewoks gather their babies up and scurry into their huts at the sight of the newcomers. The group stops before the largest hut.Han, Luke, Chewie, and Artoo are still bound to their poles. Han is placed on a spit above what looks like a barbecue pit and the others are leaned against a tree nearby. Threepio's litter/throne is gently placed near the pit. He watches with rapt fascination. Han, Luke, and Chewie are less than fascinated.HANI have a really bad feeling about this.Chewie growls his concern.Suddenly all activity stops as LOGRAY, the tribal Medicine Man, comes out of the big hut. He examines the captives carefully, goes to join Threepio, whose throne has been placed on an elevated platform. A larger, gray-haired Ewok, CHIEF CHIRPA, is examining Luke's lightsaber with great curiosity.Logray speaks to Threepio and the assemblage of fuzzy Ewoks, pointing to the prisoners tied to the stakes. The Ewoks begin filling the pit under Han with firewood.HANWhat did he say?THREEPIOI'm rather embarrassed, General Solo, but it appears you are to be the main course at abanquet in my honor.The drums start beating, and all the furry heads turn to the large hut. Leia emerges, wearing an animal-skin dress. She sees what's happening at the same moment the prisoners see her.HAN and LUKELeia!As she moves toward them, the Ewoks block her way with raised spears.LEIAOh!THREEPIOYour Royal Highness.Artoo and Chewie chime in with their welcome. Leia looks at the assembled Ewoks and sighs.LEIABut these are my friends. Threepio, tell them they must be set free.Threepio talks to Chirpa and Logray, who listen and shake their heads negatively. The Medicine Man gestures toward the prisoners and barks some orders. Several Ewoks jump up and pile more wood on the barbecue with vigor. Leia trades frantic looks with Luke and Han .HANSomehow, I got the feeling that didn't help us very much.LUKEThreepio, tell them if they don't do as you wish, you'll become angry and use your magic.THREEPIOBut Master Luke, what magic? I couldn't possibly --LUKEJust tell them.Threepio speaks to the Ewoks. The Ewoks are disturbed. Logray steps forward and challenges Threepio. Luke closes his eyes and begins to concentrate.THREEPIOYou see, Master Luke; they didn't believe me. Just...Now the litter/throne, with Threepio sitting upon it, rises from the ground. At first Threepio doesn't notice and keeps talking.THREEPIO... as I said they wouldn't. Wha-wha-what's happening! Oh! Oh, dear! Oh!The Ewoks fall back in terror from the floating throne. Now Threepio begins to spin as though he were on a revolving stool, with Threepio calling out in total panic at his situation.THREEPIOPut me down! He-e-elp! Master Luke! Artoo! Somebody, somebody, help! Master Luke, Artoo! Artoo, quickly! Do something, somebody! Oh! Ohhh!Chief Chirpa yells orders to the cowering Ewoks. They rush up and release the bound prisoners. Luke and Han enfold Leia in a group embrace. Luke notices the spinning Threepio, with Artoo beeping up at him, and slowly lowers the golden droid and the throne to the ground. Logray orders the little droid cut down. Artoo crashes to the ground. When the Ewoks set him upright, the little droid is fighting mad. Artoo beeps a blue streak at the nearest Ewok, and begins pursuing him, finally getting close enough to zap him with an electric charge. The Ewok jumps two feet in the air and runs away, screaming. A small group of Ewoks surround the giant Wookiee, scratching their heads and marveling at his height.THREEPIOOh, oh, oh, oh! Thank goodness.LUKEThanks, Threepio.THREEPIO	 (still shaken)I...I never knew I had it in me.75   INT CHIEF'S HUT - COUNCIL OF ELDERSA glowing fire dances in the center of the spartan, low-ceilinged room, creating a kaleidoscope of shadows on the walls. Along one side, a group of ten Ewok elders flank Chief Chirpa, who sits on his throne. The Rebels sit along the walls of the hut, with Threepio between the two groups and Wicket and Teebo off to one side.Threepio is in the midst of a long, animated speech in the Ewok's squeaky native tongue. The Ewoks listen carefully and occasionally murmur comments to each other. Threepio points several times at the Rebel group and pantomimes a short history of the Galactic Civil War, mimicking the explosion and rocket sounds, imitating Imperial walkers. Throughout the long account, certain familiar names are distinguishable in English: Princess Leia, Artoo, Darth Vader, Death Star, Jedi, Obi-Wan Kenobi. Artoo begins beeping excitedly at Threepio.THREEPIOYes, Artoo. I was just coming to that.Threepio continues with: Millennium Falcon, Cloud City, Vader, Han Solo, carbonite, Sarlacc, bringing the history up to the present time.At the end of it, the Chief, Logray, and the elders confer, then nod in agreement. The Chief stands and makes a pronouncement.The drums begin to sound, and all the Ewoks stand with a great cheer and screeches.HANWhat's going on?LEIAI don't know.Luke has been sharing the joy with smiling visage, but now something passes like a dark cloud through his consciousness. The others do not notice.THREEPIOWonderful! We are now a part of the tribe.Several of the little teddy bears run up and hug the Rebels.HANJust what I always wanted.Chewbacca is being enthusiastically embraced by an Ewok, while Wicket clings to Han's leg.HAN	 (chuckles)Well, short help is better than no help at all, Chewie. (to Wicket) Thank you. Okay.THREEPIOHe says the scouts are going to show us the quickest way to the shield generator.Chewie barks. Luke has drifted to the back of the hut. Now he wanders outside into the moonlight. Leia notices and follows.HANGood. How far is it? Ask him. We need some fresh supplies, too. And try and get our weapons back.Han pulls Threepio back as he keeps trying to translate.HAN	 (cont)And hurry up, will ya? I haven't got all day.76   EXT EWOK VILLAGE - NIGHTThe walkway is deserted now. The windows of the little huts glow and flicker from the fires inside. The sounds of the forest fill the soft night air. Luke has wandered away from the Chief's hut and stands staring up at the Death Star. Leia finds him like that.LEIALuke, what's wrong?Luke turns and looks at her a long moment.LUKELeia... do you remember your mother? Your real mother?LEIAJust a little bit. She died when I was very young.LUKEWhat do you remember?LEIAJust...images, really. Feelings.LUKETell me.LEIA(a little surprised at his insistence)She was very beautiful. Kind, but...sad.(looks up)Why are you asking me all this?He looks away.LUKEI have no memory of my mother. I never knew her.LEIALuke, tell me. What's troubling you?LUKEVader is here...now, on this moon.LEIA	 (alarmed)How do you know?LUKEI felt his presence. He's come for me. He can feel when I'm near. That's why I have to go.(facing her)As long as I stay, I'm endangering the group and our mission here.(beat)I have to face him.Leia is distraught, confused.LEIAWhy?Luke moves close and his manner is gentle. And very calm.LUKEHe's my father.LEIAYour father?LUKEThere's more. It won't be easy for you to hear it, but you must. If I don't make it back, you're the only hope for the Alliance.Leia is very disturbed by this. She moves away, as if to deny it.LEIALuke, don't talk that way. You have a power I--I don't understand and could never have.LUKEYou're wrong, Leia. You have that power too. In time you'll learn to use it as I have. The Force is strong in my family. My father has it...I have it...and...my sister has it.Leia stares into his eyes. What she sees there frightens her. But she doesn't draw away. She begins to understand.LUKEYes. It's you Leia.LEIAI know. Somehow...I've always known.LUKEThen you know why I have to face him.LEIANo! Luke, run away, far away. If he can feel your presence, then leave this place. I wish I could go with you.LUKENo, you don't. You've always been strong.LEIABut, why must you confront him?LUKEBecause...there is good in him. I've felt it. He won't turn me over to the Emperor. I can save him. I can turn him back to the good side. I have to try.They hold each other close and look at each other, brother and sister.Leia holds back her tears as Luke slowly lets her go and moves away. He disappears onto the walkway that leads out of the village. Leia, bathed in moonlight, watches him go as Han comes out of the Chief's hut and comes over to her. Leia is crying, her body trembling. He realizes only now that she is crying.HANHey, what's goin' on?Leia attempts to stifle her sobs and wipes her eyes.LEIANothing. I - just want to be alone for a little while.HAN	 (angry)Nothing?  Come on, tell me.  What's goin' on?She looks up at him, struggling to control herself.LEIAI...I can't tell you.HAN	 (loses his temper)Did you tell Luke? Is that who you could tell?LEIAI...HANAhhh...He starts to walk away, exasperated, then stops and walks back to her.HANI'm sorry.LEIAHold me.Han gathers her tightly in his protective embrace.77   EXT FOREST - IMPERIAL LANDING PLATFORMAn Imperial shuttle floats down from the Death Star and lands gracefully on the huge platform.Now, an Imperial walker approaches the platform from the darkness of the forest. The whole outpost - platform, walkers, military - looks particularly offensive in the midst of this verdant beauty.78   EXT IMPERIAL LANDING PLATFORM - LOWER DECKDarth Vader walks down the ramp of the shuttle onto the platform, into an elevator, and appears on a ramp on a lower level. He walks toward another ramp exit and is met by two troopers and a commander with Luke, in binders, at their center. The young Jedi gazes at Vader with complete calm.COMMANDERThis is a Rebel that surrendered to us. Although he denies it, I believe there may be more of them, and I request permission to conduct a further search of the area.The commander extends his hand, revealing Luke's lightsaber.COMMANDERHe was armed only with this.Vader looks at Luke, turns away and faces the commander, taking the lightsaber from the commander's hand.VADERGood work, Commander. Leave us. Conduct your search and bring his companions to me.COMMANDERYes, my Lord.The officer and troops withdraw. Vader and Luke are left standing alone in the oddly tranquil beauty of the place. The sounds of the forest filter in upon them.VADERThe Emperor has been expecting you.LUKEI know, father.VADERSo, you have accepted the truth.LUREI've accepted the truth that you were once Anakin Skywalker, my father.VADER	 (turning to face him)That name no longer has any meaning for me.LUKEIt is the name of your true self. You've only forgotten. I know there is good in you. The Emperor hasn't driven it from you fully. That is why you couldn't destroy me. That's why you won't bring me to your Emperor now.Vader looks down from Luke to the lightsaber in his own black- gloved hand. He seems to ponder Luke's words.VADER	 (indicating lightsaber)I see you have constructed a new lightsaber.Vader ignites the lightsaber and holds it to examine its humming, brilliant blade.VADERYour skills are complete. Indeed, you are powerful, as the Emperor has foreseen.They stand for a moment, the Vader extinguishes the lightsaber.LUKECome with me.VADERObi-Wan once thought as you do.Luke steps close to Vader, then stops. Vader is still.VADERYou don't know the power of the dark side. I must obey my master.LUKEI will not turn...and you'll be forced to kill me.VADERIf that is your destiny.LUKESearch your feelings, father. You can't do this. I feel the conflict within you. Let goof your hate.VADERIt is too late for me, son. The Emperor will show you the true nature of the Force. He isyour master now.Vader signals to some distant stormtroopers. He and Luke stand staring at one another for a long moment.LUKEThen my father is truly dead.79   EXT ENDOR - RIDGE OVERLOOKING SHIELD GENERATORHan, Leia, Chewbacca, the droids, Wicket, and another Ewok scout, PAPLOO, hide on a ridge overlooking the massive Imperial shield generator. At the base of the generator is an Imperial landing platform. Leia studies the installation.LEIAThe main entrance to the control bunker's on the far side of that landing platform. Thisisn't gonna be easy.HANHey, don't worry. Chewie and me got into a lot of places more heavily guarded than this.Wicket and Paploo are chattering away in Ewok language. They speak to Threepio.LEIAWhat's he saying?THREEPIOHe says there's a secret entrance on the other side of the ridge.80   EXT SPACE - REBEL FLEETThe vast fleet hangs in space near a blue planet. A giant Rebel Star Cruiser is up at the front, but now the Millennium Flacon roars up to a spot ahead of it, tiny in comparison.81   INT MILLENNIUM FALCON - COCKPITLando is in the pilot seat. His alien copilot, NIEN NUNB, takes some getting used to in the familiar environs of the Falcon's cockpit. Lando speaks into his comlink.LANDOAdmiral, we're in position. All fighters accounted for.ACKBAR 	(VO)Proceed with the countdown. All groups assume attack coordinates.Lando turns to his weird copilot.LANDODon't worry, my friends are down there. They'll have that shield down on time...(to himself) or this'll be the shortest offensive of all time.The copilot flips some switches and grunts an alien comment.ACKBAR	 (VO)All craft, prepare to jump to hyperspace on my mark.LANDOAll right. Stand by.He pulls a lever, and the stars outside begin to streak.82   EXT SPACE - REBEL FLEETWe are treated to an awesome sight: first the Millennium Falcon, then Ackbar's Star Cruiser, then, in large segments, the huge fleet ROARS INTO HYPERSPACE. And disappears.83   EXT ENDOR - RIDGE OVERLOOKING CONTROL BUNKERHan, Leia, Chewie, the droids, and their two Ewok guides, Wicket and Paploo, have reunited with the Rebel strike squad. The entire group is spread through the thick undergrowth. Below them is the BUNKER that leads into the generator. Four Imperial scouts, their speeder bikes parked nearby, keep watch over the bunker entrance. Chewie growls an observation, and Paploo chatters away to Han in Ewok language.HANBack door, huh? Good idea.Wicket and Paploo continue their Ewok conversation.HAN	 (cont)It's only a few guards. This shouldn't be too much trouble.LEIAWell, it only takes one to sound the alarm.HAN	 (with self-confident grin)Then we'll do it real quiet-like.Threepio explains what is going on to Wicket and Paploo. The Ewoks chatter a moment between themselves. Then Paploo jumps up and scampers into the underbrush.Threepio asks Wicket where Paploo went and is given a short reply.THREEPIOOh! Oh, my. Uh, Princess Leia!LEIAQuiet.THREEPIOI'm afraid our furry companion has gone and done something rather rash.LEIAOh, no.84   EXT BUNKER - ENTRANCEPaploo has slipped out of the undergrowth near where the Imperial scouts are lounging. He silently swings his furry ball of a body onto one of the scout's speeder bikes and begins flipping switches at random. Suddenly, the bike's engine fires up with a tremendous ROAR. Paploo grins and continues flipping switches. The scouts leap up in surprise.85   EXT RIDGEHan, Leia and company watch in distress. Chewie barks.HAN 	(sighs)There goes our surprise attack.86   EXT BUNKERThe Imperial scouts race toward Paploo just as his speeder zooms into motion. Paploo hangs on by his paws and shoots away into the forest.SCOUTLook! Over there! Stop him!Three of the Imperial scouts jump on their rocket bikes and speed away in pursuit. The fourth watches them go from his post at the door.87   EXT RIDGEHan, Leia, and Chewie exchange delighted looks.HANNot bad for a little furball. There's only one left. You stay here. We'll take care of this.Han and the Wookiee nod at each other and slip down toward the bunker. Threepio moves to stand next to Wicket and Artoo.THREEPIOI have decided that we shall stay here.88   EXT FORESTPaploo sails through the trees, more lucky than in control. It's scary, but he loves it. When the Imperial scouts pull within sight behind him and begin firing laser bolts, he decides he's had enough. As he rounds a tree, out of their sight, Paploo grabs a vine and swings up into the trees. A moment later, the scouts tear under him in pursuit of the still-flying, unoccupied bike.89   EXT BUNKERHan sneaks up behind the remaining Imperial scout, taps him on the shoulder and lets the scout chase him behind the bunker into the arms of the waiting Rebel strike team. Han returns to the front, and taps out a pattern on the bunker door's control panel. Everyone stands out of sight, police-style, as the door opens. Han and Leia peek inside. No sign of life. The group enters the bunker silently, leaving one lookout behind.90   INT DEATH STAR - EMPEROR'S THRONE ROOMThe elevator opens. Vader and Luke enter the room alone. They walk across the dark space to stand before the throne, father and son side by side beneath the gaze of the Emperor. Vader bows to his Master.EMPERORWelcome, young Skywalker. I have been expecting you.Luke peers at the hooded figure defiantly. The Emperor then looks down at Luke's binders.EMPERORYou no longer need those.The Emperor motions ever so slightly with his finger and Luke's binders fall away, clattering to the floor. Luke looks down at his own hands, free now to reach out and grab the Emperor's neck. He does nothing.EMPERORGuards, leave us.The red-cloaked guards turn and disappear behind the elevator.EMPEROR	 (to Luke)I'm looking forward to completing your training. In time you will call me Master.LUKEYou're gravely mistaken. You won't convert me as you did my father.The Emperor gets down from his throne and walks up very close to Luke. The Emperor looks into his eyes and, for the first time, Luke can perceive the evil visage within the hood.EMPEROROh, no, my young Jedi. You will find that it is you who are mistaken...about a great many things.VADERHis lightsaber.Vader extends a gloved hand toward the Emperor, revealing Luke's lightsaber. The Emperor takes it.EMPERORAh, yes, a Jedi's weapon. Much like your father's. By now you must know your father can never be turned from the dark side. So will it be with you.LUKEYou're wrong. Soon I'll be dead...and you with me.The Emperor laughs.EMPERORPerhaps you refer to the imminent attack of your Rebel fleet.Luke looks up sharply.EMPERORYes...I assure you we are quite safe from your friends here.Vader looks at Luke.LUKEYour overconfidence is your weakness.EMPERORYour faith in your friends is yours.VADERIt is pointless to resist, my son.The Emperor turns to face Luke.EMPEROR	 (angry)Everything that has transpired has done so according to my design. (indicates Endor)Your friends up there on the Sanctuary Moon...Luke reacts. The Emperor notes it.EMPEROR	 (cont)...are walking into a trap. As is your Rebel fleet! It was I who allowed the Alliance to know the location of the shield generator. It is quite safe from your pitiful little band. An entire legion of my best troops awaits them.Luke's look darts from the Emperor to Vader and, finally, to the sword in the Emperor's hand.EMPEROROh...I'm afraid the deflector shield will be quite operational when your friends arrive.91   INT BUNKER - MAIN CONTROL ROOMHan, Leia, Chewie, and the Rebel strike team storm through a door and enter the main control room, taking all of the personnel prisoner.HANAll right! Up! Move! Come on! Quickly! Quickly, Chewie.The Rebel troops herd the generator controllers away from their panels. Leia glances at one of the screens on the control panel.LEIAHan! Hurry! The fleet will be here any moment.HANCharges!  Come on, come on!Outside, Threepio watches nervously in the bushes as several more controllers and stormtroopers run into the bunker, leaving guards at the door.THREEPIO	 (to Wicket)Oh, my! They'll be captured!Wicket chatters in Ewok language, and then takes off full steam into the forest.THREEPIOWa-wait! Wait, come back! Artoo, stay with me.Inside the bunker, Han looks up from setting charges as an Imperial commander enters.COMMANDERFreeze! You Rebel scum.Han and Leia spin, to find dozens of Imperial weapons trained on them and their cohorts. A poised force of Imperial troops surround them. Even more pour into the room, roughly disarming the Rebel contingent. Han, Leia, and Chewie exchange looks. They're helpless.92   EXT SPACE - ENDOR, DEATH STAR, REBEL FLEETThe Death Star and its Sanctuary Moon hang distant in space as the Rebel fleet comes out of hyperspace with an awesome roar. The Millennium Falcon and several Rebel fighters are at the front as the space armada bears down on its target.93   INT MILLENNIUM FALCON - COCKPITLando flips switches, checks his screen, and speaks into the radio.LANDOAll wings report in.WEDGERed Leader standing by.GRAY LEADERGray Leader standing by.GREEN LEADERGreen Leader standing by.WEDGELock S-foils in attack positions.94   INT REBEL STAR CRUISER - BRIDGEFrom the bridge of the Rebel Headquarters Frigate, Admiral Ackbar watches the fighters massing outside his viewscreen.ACKBARMay the Force be with us.95   INT MILLENNIUM FALCON - COCKPITLando looks worriedly at his alien copilot, Nien Nunb, who points to the control panel and talks to Lando.LANDOWe've got to be able to get some kind of a reading on that shield, up or down. Well, howcould they be jamming us if they don't know if we're coming.Lando shoots a concerned look out at the approaching Death Star as the implications of what he's just said sink in. He hits a switch on his comlink.LANDOBreak off the attack! The shield is still up.RED LEADER	 (VO)I get no reading. Are you sure?LANDOPull up! All craft pull up!The Falcon turns hard to the left. Out the window the stars and the Death Star move off right.96   EXT SPACE - DEATH STAR SHIELDThe Falcon and the fighters of Red Squad veer off desperately to avoid the unseen wall.97   INT REBEL STAR CRUISER - BRIDGEAlarms are screaming and lights flashing as the huge ship changes course abruptly. Other ships in the fleet shoot by outside as the armada tries to halt its forward momentum.ACKBARTake evasive action! Green Group, stick close to holding sector MV-7.A Mon Calamari controller turns away from his screen and calls out to Ackbar, quite excited. The Admiral rushes over to the controller.CONTROLLERAdmiral, we have enemy ships in sector 47.On the screen can be seen the moon, Death Star, and the massive Imperial fleet. Ackbar moves to the comlink.ACKBARIt's a trap!LANDO	 (over comlink)Fighters coming in.There is much excitement on the bridge as the attack begins.The Millennium Falcon and several squads of Rebel fighters head into an armada of TIE fighters. The sky explodes as a fierce dogfight ensues in and around the giant Rebel cruisers.REBEL PILOTThere's too many of them!LANDOAccelerate to attack speed! Draw their fire away from the cruisers.WEDGECopy, Gold Leader.The battle continues around the giant cruisers.98   INT DEATH STAR - EMPEROR'S THRONE ROOMThrough the round window behind the Emperor's throne can be seen the distant flashes of the space battle in progress.EMPERORCome, boy. See for yourself.The Emperor is sitting in his throne, with Vader standing at his side. Luke moves to look through a small section of the window.EMPERORFrom here you will witness the final destruction of the Alliance, and the end of your insignificant Rebellion.Luke is in torment. He glances at his lightsaber sitting on the armrest of the throne. The Emperor watches him and smiles, touches the lightsaber.EMPERORYou want this, don't you? The hate is swelling in you now. Take your Jedi weapon. Use it. I am unarmed. Strike me down with it. Give in to your anger. With each passing moment, you make yourself more my servant.Vader watches Luke in his agony.LUKENo!EMPERORIt is unavoidable. It is your destiny. You, like your father, are now mine!99   EXT FOREST - GENERATOR BUNKERHan, Leia, Chewie, and the rest of the strike team are led out of the bunker by their captors. The surrounding area, deserted before, is now crowded with two-legged Imperial walkers and hundreds of Imperial troops. The situation looks hopeless.STORMTROOPERAll right, move it! I said move it! Go on!From the undergrowth beyond the clearing comes a wild series of beeps and whistles. And --THREEPIOHello! I say, over there! Were you looking for me?BUNKER COMMANDERBring those two down here!STORMTROOPERLet's go!Artoo and Threepio are standing near one of the big trees. As six Imperial stormtroopers rush over to take them captive, the two droids duck out of sight behind the tree.THREEPIOWell, they're on their way. Artoo, are you sure this was a good idea?STORMTROOPERFreeze! Don't move!THREEPIOWe surrender.The stormtroopers come around the tree and find the two droids waiting quietly to be taken. As the Imperial troops move to do that, however, a band of Ewoks drops down from above and overpowers them.THREEPIOOhhh! Stand back, Artoo.In a nearby tree, an Ewok raises a horn to his lips and sounds the EWOK ATTACK CALL. All hell breaks loose as hundreds of Ewoks throw their fuzzy bodies into the fray against the assembled stormtroopers and their awesome two-legged walkers. Biker scouts dart about blasting Ewoks, only to be crushed by a volley of rocks tossed by Ewoks from the trees above.In the confusion of the battle, Han and Leia break away and dive for the cover of the bunker door as explosions erupt around them. Han goes to the bunker door control panel.LEIAThe code's changed. We need Artoo!HANHere's the terminal.LEIA	 (into comlink)Artoo, where are you? We need you at the bunker right away.Artoo and Threepio are hiding behind a log as the battle ragesaround them. Suddenly the stubby little astrodroid lets out a series of whistles and shoots off across the battlefield. Threepio, panicked, runs after him.THREEPIOGoing? What do you mean, you're going. But-- but going where, Artoo? No, what! Artoo! Oh, this is no time for heroics. Come back!Biker scouts race around and over the two droids, blasting away at the little Ewoks as the furries scurry for cover.A group of Ewoks have moved a primitive catapult into position. They fire off a large boulder that hits one of the walkers. The walker turns and heads for the catapult, blasting away with both guns. The Ewoks abandon their weapons and flee in all directions. Just as the walker moves in to stomp the catapult, Ewoks drop vines restraining two huge logs that swing down and smash thewalker's head flat.A line of Ewoks hang desperately to a vine that is hooked to a walker's foot. As the walker moves along, the fuzzy creatures are dragged behind.Two speeder bikes chase Ewoks through the underbrush. As the scouts round a tree, they are knocked off their bikes by a vinetied between two trees.100  EXT SPACEThe Falcon and other Rebel fighters are engaged in a ferocious combat with Imperial TIE fighters, the battle raging around thecruisers of the Rebel armada.101  INT MILLENNIUM FALCON - COCKPITLando is in radio communication with the pilots of the other Rebel squads.LANDOWatch yourself, Wedge! Three from above!WEDGERed Three, Red Two, pull in!RED TWOGot it!RED THREEThree of them coming in, twenty degrees!WEDGECut to the left! I'll take the leader! They're heading for the medical frigate.Lando steers the Falcon through a complete flip, as his crew fires at the TIEs from the belly guns.NAVIGATORPressure's steady.The copilot Nien Nunb chatters an observation.LANDOOnly the fighters are attacking.  I wonder what those Star Destroyers are waiting for.102  EXT SPACE - IMPERIAL FLEET  The giant Imperial Star Destroyer waits silently some distance from the battle. The Emperor's huge Super Star Destroyer rests in the middle of the fleet.103  INT SUPER STAR DESTROYER - BRIDGEAdmiral Piett and two fleet commanders watch the battle at the huge window of the Super Star Destroyer bridge.COMMANDERWe're in attack position now, sir.PIETTHold here.COMMANDERWe're not going to attack?PIETTI have my orders from the Emperor himself. He has something special planned for them. We only need to keep them from escaping.104  INT EMPEROR'S TOWER - THRONE ROOMThe Emperor, Vader, and a horrified Luke watch the aerial battle fireworks out the window and on the viewscreens. Another Rebel ship explodes against the protective shield.EMPERORAs you can see, my young apprentice, your friends have failed. Now witness the firepower of this fully armed and operational battle station.(into comlink)Fire at will, Commander.Luke, in shock, looks out across the surface of the Death Star to the Rebel fleet beyond.105  INT DEATH STAR - CONTROL ROOMControllers pull back on several switches. Commander Jerjerrod stands over them.JERJERRODFire!106  INT DEATH STAR - BLAST CHAMBERA button is pressed, which switches on a panel of lights. A hooded Imperial soldier reaches overhead and pulls a lever. A huge beam of light emanates from a long shaft. Two stormtroopers stand to one side at a control panel.107  EXT DEATH STARThe giant laser dish on the completed half of the Death Star begins to glow; Then a powerful beams shoots out toward the aerial battle.108  EXT SPACE - AIR BATTLEThe air is thick with giant ships. In among them, Rebel X-wings dogfight with Imperial TIE fighters. Now an enormous Rebel cruiser is hit by the Death Star beam and is blown to dust.The Millennium Falcon roars over CAMERA, followed closely byseveral TIE fighters.109  INT MILLENNIUM FALCON - COCKPITThe ship is buffeted by the tremendous explosion of the Rebel cruiser. Lando and his copilot are stunned by the sight of the Death Star firepower.LANDOThat blast came from the Death Star! That thing's operational! (into comlink)Home One, this is Gold Leader.110  INT REBEL STAR CRUISER - BRIDGEAckbar stands amid the confusion on the wide bridge and speaks into the comlink.ACKBARWe saw it. All craft prepare to retreat.LANDOYou won't get another chance at this, Admiral.ACKBARWe have no choice, General Calrissian. Our cruisers can't repel firepower of that magnitude.LANDOHan will have that shield down. We've got to give him more time.111  EXT FOREST - GENERATOR BUNKERArtoo and Threepio make it to the door, as Han and Leia provide cover fire.THREEPIOWe're coming!HANCome on! Come on!THREEPIOOh, Artoo, hurry!The little droid moves to the terminal and plugs in his computer arm. A large explosion hits near Artoo, knocking him head over heels, finally landing on his feet. The stubby astrodroid's head is spinning and smoldering. Suddenly there is a loud SPROOING and Han and Leia turn around to see Artoo with all his compartment doors open, and all of his appendages sticking out; water and smoke spurt out of the nozzles in his body. Han rushes to the terminal, as Threepio rushes to his wounded companion.THREEPIOMy goodness! Artoo, why did you have to be so brave?HANWell, I suppose I could hotwire this thing.LEIAI'll cover you.Ewoks in handmade, primitive hanggliders drop rocks onto the stormtroopers, divebombing their deadly adversaries.  One is hit in the wing with laser fire and crashes. A walker lumbers forward, shooting laser blasts at frantic Ewoks running in all directions.  Two Ewoks are struck down by laser blasts.  One tries to awaken his friend, then realizes that he is dead.112  EXT SPACE - DEATH STARThe Rebel fleet continues to be picked off, from one side by the Death Star's deadly beam, from the other by the rampaging Imperial Star Destroyers.113  INT MILLENNIUM FALCON - COCKPITLando steers the Falcon wildly through an obstacle course of floating giants. He's been yelling into the comlink.LANDO	 (desperately)Yes! I said closer! Move as close as you can and engage those Star Destroyers at point-blank range.ACKBARAt that close range, we won't last long against those Star Destroyers.LANDOWe'll last longer then we will against that Death Star...and we might just take a few ofthem with us.The Rebel cruisers move very close to the Imperial Star Destroyers and begin to blast away at point-blank range. Tiny fighters race across the giant surfaces, against a backdrop of laser fire.The control tower of a Star Destroyer is under attack.REBEL PILOTShe's gonna blow!Y-WING PILOTI'm hit!The damaged Y-wing plummets toward the Star Destroyer, and crashes into the control tower, exploding.114  INT EMPEROR'S TOWER - THRONE ROOMOut of the window and on the view screens, the Rebel fleet is being decimated in blinding explosions of light and debris. But in here there is no sound of battle. The Emperor turns to Luke.EMPERORYour fleet has lost. And your friends on the Endor moon will not survive. There is no escape, my young apprentice. The Alliance will die...as will your friends.Luke's eyes are full of rage. Vader watches him.EMPERORGood. I can feel your anger. I am defenseless.  Take your weapon! Strike me down with all your hatred, and your journey towards the dark side will be complete.Luke can resist no longer. The lightsaber flies into his hand. He ignites it in an instant and swings at the Emperor. Vader's lightsaber flashes into view, blocking Luke's blow before it can reach the Emperor. The two blades spark at contact. Luke turns to fight his father.115  EXT FORESTThe battle rages on. Stormtroopers fire on Ewoks with sophisticated weapons while their furry little adversaries sneak up behind the Imperial troopers and bash them over the head with large clubs.A walker marches through the undergrowth blasting Ewoks as it goes. An Ewok warrior gives the signal, and a pile of logs is cut loose. The logs tumble under the walker's feet, causing it to slip and slide until it finally topples over with a great crash.A scout bike races past and is lassoed with a heavy vine. The other end of the vine is tied to a tree, and the bike swings around in ever-tightening circles until it runs out of rope andcrashes into the trees with a huge explosion.Chewie swings on a vine to the roof of one of the walkers. Two Ewoks cling to him. They land with a thud on the top of the lurching machine, then hang on for dear life. One of the Ewoks peeks through the window.WALKER PILOT #1Look!PILOT #2Get him off of there!The walker pilot opens the hatch to see what's going on. He is yanked out and tossed overboard before he can scream. The two Ewoks jump into the cockpit and knock the second pilot unconscious. The Ewoks are thrown violently as the mighty machine careens out of control. Outside, Chewie is almost knocked overboard; he sticks his head into the hatch with a series of angry barks. The Ewoks are too busy and frightened to listen to the Wookiee's complaint. Chewie slips inside the walker.Chewbacca's walker moves through the forest, firing laser blasts at unsuspecting stormtroopers, and destroying other Imperial walkers. The Ewoks shout and cheer as the giant machine helps turn the tide of the battle in their favor.116  EXT FOREST - GENERATOR BUNKERHan works furiously at the control panel; wires spark as he attempts to hotwire the door. He motions to Leia, who is blasting away at some stormtroopers.HANI think I got it. I got it!The three wires spark as the connection is made. With a LOUD WHOOSH, a second blast door crashes down in front of the first.Han frowns and turns back to the wires again. Leia exchanges shots with stormtroopers in the bushes, then suddenly cries out in pain, her shoulder hit by a laser blast.THREEPIOOh, Princess Leia, are you all right?HANLet's see.LEIAIt's not bad.STORMTROOPER	 (OS)Freeze!They freeze.THREEPIOOh, dear.STORMTROOPERDon't move!Leia holds her laser gun ready, behind Han, out of view of the two stormtroopers moving toward them. Han and Leia's eyes lock; the moment seems suspended in time.HANI love you.Another shared look between them, as she smiles up at Han.LEIAI know.STORMTROOPERHands up! Stand up!Han stands up slowly and turns, revealing the gun in Leia's hand. She disposes of the stormtroopers in a flash. As Han turns back toward Leia, he looks up to see a giant walker approach and stand before him, its deadly weapons aimed right at him.HAN	 (to Leia)Stay back.The hatch on top of the walker opens and Chewie sticks his head out and barks triumphantly.HANChewie!  Get down here!  She's wounded!  No, wait....  I got an idea.117  INT EMPEROR'S TOWER - THRONE ROOMLuke and Vader are engaged in a man-to-man duel of lightsabers even more vicious then the battle on Bespin. But the young Jedi has grown stronger in the interim, and now the advantage shifts to him. Vader is forced back, losing his balance, and is knocked down the stairs. Luke stands at the top of the stairs, ready to attack.EMPEROR (laughing)Good.  Use your aggressive feelings, boy!  Let the hate flow through you.Luke looks momentarily toward the Emperor, then back to Vader, and realizes he is using the dark side. He steps back, turns off his lightsaber, and relaxes, driving the hate from his being.VADERObi-Wan has taught you well.LUKEI will not fight you, father.Vader walks back up the stairs to Luke.VADERYou are unwise to lower your defenses.Vader attacks, forcing Luke on the defensive. The young Jedi leaps in an amazing reverse flip up to the safety of the catwalk overhead. Vader stands below him.LUKEYour thoughts betray you, father. I feel the good in you...the conflict.VADERThere is no conflict.LUKEYou couldn't bring yourself to kill me before, and I don't believe you'll destroy menow.VADERYou underestimate the power of the dark side. If you will not fight, then you will meetyour destiny.Vader throws the laser sword and it cuts through the supports holding the catwalk, then returns to Vader's hand. Luke tumbles to the ground in a shower of sparks and rolls out of sight under the Emperor's platform. Vader moves to find him.EMPEROR	 (laughs)Good.  Good.118  EXT SPACE - AIR BATTLEThe two armadas, like their sea-bound ancestors, blast away at each other in individual point-blank confrontations. A Star Destroyer explodes. The Rebel victor limps away, its back half alive with a series of minor explosions. The Rebel cruiser manages to move in next to a second Star Destroyer before it explodes completely, taking the Imperial Star Destroyer with it. The Falcon and several fighters attack one of the larger Imperial ships.LANDOWatch out. Squad at .06.REBEL PILOTI'm on it, Gold Leader.WEDGEGood shot, Red Two.LANDONow...come on, Han, old buddy. Don't let me down.119  INT BUNKER - CONTROL ROOMControllers watch the main viewscreen on which a vague figure of an Imperial walker pilot can be seen. There is a great deal of static and interference.HAN/PILOT	 (VO)It's over, Commander. The Rebels have been routed. They're fleeing into the woods. Weneed reinforcements to continue the pursuit.The controllers cheer.CONTROL ROOM COMMANDERSend three squads to help. Open the back door.SECOND COMMANDERYes, sir.120  EXT FOREST - GENERATOR BUNKERAs the door to the bunker opens and the Imperial troops rush out, they're surprised to find themselves surrounded by Rebels, their weapons pointed at them. Ewoks holding bows and arrows appear on the roof of the bunker. The Imperial troops throw down their gunsas Han and Chewie rush inside the bunker with explosive charges.121  INT BUNKER - CONTROL ROOMHan, Chewie, and several troops rush into the control room and plant explosive charges on the control panels and rush out.HANThrow me another charge.122  INT EMPEROR'S TOWER - THRONE ROOMVader stalks the low-ceilinged area on the level below the throne, searching for Luke in the semi-darkness, his lightsaber held ready.VADERYou cannot hide forever, Luke.LUKEI will not fight you.VADERGive yourself to the dark side. It is the only way you can save your friends. Yes, yourthoughts betray you. Your feelings for them are strong. Especially for...Vader stops and senses something. Luke shuts his eyes tightly, in anguish.VADERSister! So...you have a twin sister. Your feelings have now betrayed her, too. Obi-Wanwas wise to hide her from me. Now his failure is complete. If you will not turn to the darkside, then perhaps she will.LUKENever-r-r!Luke ignites his lightsaber and screams in anger, rushing at hisfather with a frenzy we have not seen before. Sparks fly as Luke and Vader fight in the cramped area. Luke's hatred forces Vader to retreat out of the low area and across a bridge overlooking a vast elevator shaft. Each stroke of Luke's sword drives his father further toward defeat.The Dark Lord is knocked to his knees, and as he raises his sword to block another onslaught, Luke slashes Vader's right hand off at the wrist, causing metal and electronic parts to fly from the mechanical stump. Vader's sword clatters uselessly away, over theedge of the platform and into the bottomless shaft below. Luke moves over Vader and holds the blade of his sword to the Dark Lord's throat. The Emperor watches with uncontrollable, pleased agitation.EMPERORGood! Your hate has made you powerful. Now, fulfill your destiny and take your father'splace at my side!Luke looks at his father's mechanical hand, then to his own mechanical, black-gloved hand, and realizes how much he is becoming like his father. He makes the decision for which he has spent a lifetime in preparation. Luke steps back and hurls his lightsaber away.LUKENever! I'll never turn to the dark side. You've failed, Your Highness. I am a Jedi,like my father before me.The Emperor's glee turns to rage.EMPERORSo be it...Jedi.123  EXT FOREST - GENERATOR BUNKERHan and several of the fighters run out of the bunker and race across the clearing.HANMove! Move!A shock wave knocks them flat as the bunker explodes, followed by a spectacular display as the huge shield-generator radar dish explodes along with the bunker.124  INT REBEL STAR CRUISER - BRIDGEAckbar, sitting in his control chair, speaks into the radio.ACKBARThe shield is down! Commence attack on theDeath Star's main reactor.LANDOWe're on our way. Red Group, Gold Group, all fighters follow me. (laughs)Told you they'd do it!The Falcon, followed by several smaller Rebel fighters, heads toward the unfinished superstructure of the Death Star.125  INT EMPEROR'S TOWER - THRONE ROOMLuke stands still, as the Emperor reaches the bottom of thestairs. The Emperor's laughter has turned to anger. He raises his arms toward Luke.EMPERORIf you will not be turned, you will be destroyed.Blinding bolts of energy, evil lightning, shoot from the Emperor's hands at Luke. Even in his surprise, the young Jedi tries to use the Force to deflect them. At first he is half successful, but after a moment the bolts of energy are coming with such speed and power the young Jedi shrinks before them, his knees buckling. The wounded Vader struggles to his feet, and moves to stand at his master's side.EMPERORYoung fool...only now, at the end, do you understand.Luke is almost unconscious beneath the continuing assault of the Emperor's lightning. He clutches a canister to keep from falling into the bottomless shaft as the bolts tear through him.EMPERORYour feeble skills are no match for the power of the dark side. You have paid the price foryour lack of vision.Luke writhes on the floor in unbearable pain, reaching weakly up toward where Vader stands watching.LUKE	 (groans)Father, please. Help me.Again Vader stands, watching Luke. He looks at his master, the Emperor, then back to Luke on the floor.EMPERORNow, young Skywalker...you will die.Although it would not have seemed possible, the outpouring of bolts from the Emperor's fingers actually increases in intensity, the sound screaming through the room. Luke's body writhes in pain.Vader grabs the Emperor from behind, fighting for control of the robed figure despite the Dark Lord's weakened body and gravely weakened arm. The Emperor struggles in his embrace, his bolt-shooting hands now lifted high, away from Luke. Now the white lightning arcs back to strike at Vader. He stumbles with his load as the sparks rain off his helmet and flow down over his black cape. He holds his evil master high over his head and walks to the edge of the abyss at the central core of the throne room. With one final burst of his once awesome strength, Darth Vader hurls the Emperor's body into the bottomless shaft.The Emperor's body spins helplessly into the void, arcing as it falls into the abyss. Finally, when the body is far down the shaft, it explodes, creating a rush of air through the room.Vader's cape is whipped by the wind and he staggers, and collapses toward the bottomless hole. Luke crawls to his father's side and pulls him away from the edge of the abyss to safety. Both the young Jedi and the giant warrior are too weak to move.126  EXT/INT - SPACE BATTLE - FIGHTER AND DEATH STARRebel fighters follow the Falcon across the surface of the Death Star to the unfinished portion, where they dive into the superstructure of the giant battle station, followed by many TIE fighters.WEDGEI'm going in.LANDOHere goes nothing.Three X-wings lead the chase through the ever-narrowing shaft, followed by the Falcon and four other fighters, plus TIE fighters who continually fire at the Rebels. Lights reflect off the pilot's faces as they race through the dark shaft.LANDONow lock onto the strongest power source. It should be the power generator.WEDGEForm up. And stay alert. We could run out of space real fast.The fighters and the Falcon race through the tunnel, still pursued by the TIE fighters. One of the X-wings is hit from behind and explodes.LANDOSplit up and head back to the surface. See if you can get a few of those TIE fighters tofollow you.PILOTCopy, Gold Leader.The Rebel ships peel off pursued by three of the TIE's, while Lando and Wedge continue through the main tunnel. It narrows, and the Falcon scrapes the side dangerously. Two other TIE fighters continue to blast away at them.LANDOThat was too close.Nien Nunb agrees. The battle between the Rebel and Imperial fleet rages on. Several cruisers fire at the giant Super Star Destroyer.127  INT REBEL STAR CRUISER - BRIDGEACKBARWe've got to give those fighters more time. Concentrate all fire on that Super Star Destroyer.X-wings pilots head across the surface of the huge battleship.128  INT VADER'S STAR DESTROYER - BRIDGEAdmiral Piett and a commander stand at the window, looking out to the battle. They look concerned.CONTROLLERSir, we've lost our bridge deflector shield.PIETTIntensify the forward batteries. I don't want anything to get through.The commander is looking out of the window where a damaged Rebel fighter is out of control and heading directly toward the bridge.PIETTIntensify forward firepower!COMMANDERIt's too late!The Rebel pilot screams as his ship hits the Star Destroyer, causing a huge explosion. The giant battle ship loses control, crashes into the Death Star, and explodes.129  INT REBEL STAR CRUISER - BRIDGEThere is excitement on the bridge as the battle rages on all sides. They cheer as the giant Star Destroyer blows up.130  INT DEATH STAR - MAIN DOCKING BAYChaos. For the first time, the Death Star is rocked by explosions as the Rebel fleet, no longer backed against a wall, zooms over, unloading a heavy barrage. Imperial troops run in all directions, confused and desperate to escape.In the midst of this uproar, Luke is trying to carry the enormous deadweight of his father's weakening body toward an Imperial shuttle. Finally, Luke collapses from the strain. The explosions grow louder as Vader draws him closer.VADER	 (a whisper)Luke, help me take this mask off.LUREBut you'll die.VADERNothing can stop that now. Just for once... let me look on you with my own eyes.Slowly, hesitantly, Luke removes the mask from his father's face. There beneath the scars is an elderly man. His eyes do not focus. But the dying man smiles at the sight before him.ANAKIN	 (very weak)Now...go, my son. Leave me.LUKENo. You're coming with me. I can't leave you here. I've got to save you.ANAKINYou already have, Luke. You were right about me. Tell your sister...you were right.LUKEFather...I won't leave you.Darth Vader, Anakin Skywalker...Luke's father, dies.A huge explosion rocks the docking bay. Slowly, Luke rises and, half carrying, half dragging the body of his father, stumbles toward a shuttle.131  EXT DEATH STARThe Millennium Falcon leads a swerving bomb run through the immense superstructure of the half-built Death Star. The Rebel Star Cruisers outside continually bombard the huge station. And each direct hit is answered by resonating, chain-reaction explosions within the station itself.132  INT MILLENNIUM FALCON - COCKPIT AND GUN PORTSLando's crew fires away at the pursuing TIE fighters as the dashing Baron of Bespin and his alien copilot home in on the main reactor shaft. It is awesome. A lone X-wing is just in front of the Falcon.WEDGEThere it is!LANDOAll right, Wedge. Go for the power regulator on the north tower.WEDGECopy, Gold Leader. I'm already on my way out.The X-wing heads for the top of the huge reactor and fires several proton torpedoes at the power regulator, causing a series of small explosions.The Falcon heads for the main reactor, and when it is dangerously close, Lando fires the missiles, which shoot out of the Falcon with a powerful roar, and hit directly at the center of the main reactor.He maneuvers the Falcon out of the winding superstructure just ahead of the continuing chain of explosions.133  INT REBEL STAR CRUISER - BRIDGEAckbar and other Mon Calamari lean on the railing of the bridge, watching the large screen showing the Death Star in the main briefing room.ACKBARMove the fleet away from the Death Star.134  EXT DEATH STARAn Imperial shuttle, with Luke alone in the cockpit, rockets out of the main docking bay as that entire section of the Death Star is blown away.Finally, just as it looks like the Falcon will not make it, Lando expertly pilots the craft out of the exploding superstructure and whizzes toward the Sanctuary Moon, only a moment before the Death Star supernovas into oblivion.135  INT MILLENNIUM FALCON - COCKPITLando and Nien Nunb laugh and cheer in relief.136  EXT ENDOR FORESTHan and Leia, Chewie, the droids, the Rebel troops, and the Ewoks all look to the sky as the Death Star reveals itself in a final flash of self-destruction. They all cheer.THREEPIOThey did it!Han looks town from the sky to Leia, a look of concern on his face. Leia continues to look at the sky as though listening for a silent voice.HANI'm sure Luke wasn't on that thing when it blew.LEIAHe wasn't. I can feel it.HANYou love him, don't you?Leia smiles, puzzled.LEIAYes.HANAll right. I understand. Fine. When he comes back, I won't get in the way.She realizes his misunderstanding.LEIAOh. No, it's not like that at all. He's my brother.Han is stunned by this news. She smiles, and they embrace.137  EXT ENDOR FOREST - NIGHTLuke sets a torch to the logs stacked under a funeral pyre where his father's body lies, again dressed in black mask and helmet. He stands, watching sadly, as the flames leap higher to consume Darth Vader -- Anakin Skywalker.In the sky above, fireworks explode and Rebel fighters zoom above the forest.138  EXT EWOK VILLAGE SQUARE - NIGHTA huge bonfire is the centerpiece of a wild celebration. Rebels and Ewoks rejoice in the warm glow of firelight, drums beating, singing, dancing, and laughing in the communal language of victory and liberation.Lando runs in and is enthusiastically hugged by Han and Chewie. Then, finally, Luke arrives and the friends rush to greet and embrace him. They stand close, this hardy group, taking comfort in each other's touch, together to the end.Rebels and Ewoks join together in dancing and celebration. The original group of adventurers watch from the sidelines. Only Luke seems distracted, alone in their midsts, his thoughts elsewhere.He looks off to the side and sees three shimmering, smiling figures at the edge of the shadows: Ben Kenobi, Yoda, and Anakin Skywalker.FADE OUTEND CREDITS OVER STAR FIELD
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+STAR WARS EPISODE 3: REVENGE OF THE SITH SCRIPT 
+
+George Lucas 
+
+
+1 EXT. SPACE 
+
+A long time ago in a galaxy far, far away. 
+
+A vast sea of stars serves as the backdrop for the Main Title, followed by a rollup, which crawls into infinity. 
+
+War! The Republic is crumbling under attacks by the ruthless Sith Lord, Count Dooku. There are heroes on both sides. Evil is everywhere. 
+
+In a stunning move, the fiendish droid leader, General Grievous, has swept into the Republic capital and kidnapped Chancellor Palpatine, leader of the Galactic Senate. 
+
+As the Separatist Droid Army attempts to flee the besieged capital with their valuable hostage, two Jedi Knights lead a desperate mission to rescue the captive Chancellor. . . . 
+
+PAN DOWN to reveal a REPUBLIC ATTACK CRUISER. Continue to PAN with the Cruiser as TWO JEDI STARFIGHTERS enter and head toward an enemy Battle Cruiser. TRUCK with the Jedi Fighters as they maneuver in unison, dodging flack and enemy laser fire. R2-D2 is on Anakin's ship. R4-P17 is on Obi-Wan's ship. A giant space battle is revealed as the tiny Jedi ships continue their assault in a synchronous ballet. 
+
+2 INT. OBI-WAN'S STARFIGHTER COCKPIT-SPACE 
+
+OBI-WAN bounces through the flack with a frown. His ship rocks violently. 
+
+3 INT. ANAKINS STARFIGHTER COCKPIT-SPACE 
+
+ANAKIN smiles as he blasts a TRADE FEDERATION DROID DROP FIGHTER. 
+
+ANAKIN: There isn't a droid made that can out fly you, Master, and no other way to get to the Chancellor . . . 
+
+OBI-WAN: Look out, four droids inbound . . . 
+
+4 EXT. CORUSCANT-SPACE BATTLE 
+
+The TWO JEDI FIGHTERS swerve in unison as FOUR TRADE FEDERATION DROID DROP FIGHTERS attack. After several clever moves by the Jedi, two of the FEDERATION DROID DROP FIGHTERS collide with each other in a ball of flame. 
+
+5 INT. OBI-WAN'S STARFIGHTER COCKPIT-SPACE 
+
+OBI-WAN struggles to maintain control of his ship. 
+
+OBI-WAN: We've got to split them up. 
+
+ANAKIN: Break left, fly through the guns on that tower. 
+
+OBI-WAN flies to the left of a huge tower on a REPUBLIC CRUISER. The TWO DROID DROP FIGHTERS follow. 
+
+OBI-WAN: Easy for you to say . . . why am I always the bait? 
+
+ANAKIN: Don't worry. I'm coming around behind you. 
+
+OBI-WAN deftly maneuvers around a large Starship's superstructure, but the TWO DROID FIGHTERS stay on his tail, BLASTING him with intense laser fire. 
+
+OBI-WAN: Anakin, they're all over me! 
+
+ANAKIN: Dead ahead! Closing . . . lock onto him, Artoo . . . 
+
+ARTOO BEEPS his reply as ANAKIN swoops in for the kill. ANAKIN BLASTS one of the DROID DROP FIGHTERS. It EXPLODES. 
+
+ANAKIN: (continuing, laughs) We got him, Artoo! 
+
+ANAKIN BLASTS away at the second DROID DROP FIGHTER as ARTOO BEEPS an angry warning. 
+
+ANAKIN: I copy, Artoo. 
+
+OBI-WAN: I'm going down on the deck. 
+
+ANAKIN: Good idea ... I need some room to maneuver. 
+
+OBI-WAN dives toward the surface of one of the larger TRADE FEDERATION BATTLESHIPS and is forced to fly through a maelstrom of laser flack. He skims the surface, followed by the DROID DROP FIGHTER, which is followed by ANAKIN. 
+
+ANAKIN: (continuing) Cut right. Do you hear me?! Cut right. Don't let him get a handle on you. Come on, Artoo, lock on! Lock on! 
+
+ARTOO BEEPS. The crosshairs merge on the DROID DROP FIGHTER. 
+
+OBI-WAN: Hurry up! I don't like this! 
+
+OBI-WAN flies through a narrow gap between two towers on a Battleship. The DROID DROP FIGHTER hits one of Obi-Wan's wings with a laser blast, and parts of the ship go flying around Obi-Wan's Astro Droid, ARFOUR. 
+
+OBI-WAN: (continuing) Ouch! 
+
+R-4 BEEPS a blue streak. 
+
+OBI-WAN: (continuing) Don't even try to fix it, Arfour. I've shut it down. 
+
+ANAKIN: We're locked on ... we've got him . . . 
+
+ANAKIN drops in behind the DROID DROP FIGHTER and blows him apart. ARTOO SQUEALS with delight. 
+
+ANAKIN: (continuing) Yeah! We got him . . . good going, Artoo. 
+
+OBI-WAN: Next time you're the bait . . . Now let's find the Command Ship and get on with it ... 
+
+R-4 BEEPS a blue streak. 
+
+ANAKIN: Lock onto them, Artoo. Master, General Grievous's ship is directly ahead. 
+
+ARTOO BEEPS a reply, and it reads out in Anakin's cockpit. 
+
+ANAKIN: (continuing) The one crawling with vulture droids. 
+
+6 INT. OBI-WAN'S STARFIGHTER COCKPIT-SPACE 
+
+OBI-WAN: I see it. Oh, this is going to be easy. 
+
+Ahead is a TRADE FEDERATION CRUISER with batlike DROID VULTURE FIGHTERS stalking around on the hull. The VULTURE FIGHTERS transform into flight configuration, lift off the CRUISER, and attack the JEDI STARFIGHTERS. 
+
+ANAKIN: Come on, Master. 
+
+OBI-WAN: Not this time. There's too much at stake. We need help. Odd Ball, do you copy? 
+
+ODD BALL: (OS) Copy, Red Leader. 
+
+OBI-WAN: Mark my position and form your squad up behind me . . . 
+
+7 INT. ODD BALL'S FIGHTER COCKPIT-SPACE 
+
+ODD BALL: We're on your tail, General Kenobi. Set S-foils in attack position. 
+
+The protective ray shield lowers on the main hangar of the TRADE FEDERATION CRUISER, and six new DROID TRI-FIGHTERS emerge and join the DROID VULTURE FIGHTERS heading toward the Jedi. The JEDI STARFIGHTERS extend the stability foils on the ends of their wings. 
+
+8 INT. ANAKIN'S FIGHTER COCKPIT-SPACE 
+
+ANAKIN: This is where the fun begins. Ten Vulture Droids straight ahead, coming down the left side. 
+
+ARTOO BEEPS a worried message. 
+
+OBI-WAN: Add five Tri-fighters on the right . . . 
+
+ANAKIN: I'm going head to head. See you. 
+
+OBI-WAN: Take it easy, Anakin. 
+
+Four Clone Fighters move into formation behind the Jedi. 
+
+ODD BALL: I'm on your right, Red Leader. 
+
+ANAKIN: Incoming!! 
+
+ARTOO SQUEALS as five DROID TRI-FIGHTERS pass by at high speed on the right. 
+
+OBI-WAN: Five more on the right! 
+
+Four more VULTURE DROID FIGHTERS pass at high speed from the left. All hell breaks loose. OBI-WAN and ANAKIN continue to fly in unison, backing up each other. ARTOO SQUEALS. 
+
+ANAKIN: Here we go. 
+
+The Jedi ships split up and make a quick loop around the DROID TRI-FIGHTERS, ending up behind them. BLASTING away. The DROID TRI-FIGHTERS EXPLODE. 
+
+OBI-WAN: I'm going high and right. 
+
+ANAKIN: Hang on. There are four more of them. 
+
+OBI-WAN: Stay with me . . . swing back and right . . . help me engage. Back off ... Let them pass between us. 
+
+ANAKIN: I'm coming around. I'm coming around on your tail. 
+
+OBI-WAN: All right, engage . . . and hurry. These droids are all over me like a rash. 
+
+In one incredible move, ANAKIN swings in behind the DROID TRI-FIGHTERS, blowing them away one by one until there is only one left. ARTOO CHIRPS. 
+
+ARTOO lets out a HOWL as ANAKIN accelerates past the last DROID TRI-FIGHTER, slams on his brakes, flips the Fighter around, and BLASTS the Fighter from the front. ARTOO BEEPS frantically as they fly through the debris of the destroyed ships. ANAKIN looks behind him. 
+
+ANAKIN: How many back there. Artoo? (Artoo beeps) Three . . . (continuing) Four . . . that's not good. 
+
+OBI-WAN: Anakin, you have four on your tail. 
+
+ANAKIN: I know. I know! 
+
+OBI-WAN: Four more closing from your left. 
+
+ANAKIN: I know. I know! 
+
+OBI-WAN: Break right and go high. 
+
+ANAKIN: I'm going low and left. 
+
+Obi-Wan shakes his head. 
+
+OBI-WAN: (to himself) He still has much to learn. 
+
+ANAKIN swoops low and skims across a TRADE FEDERATION BATTLESHIP, dodging flack as ARTOO bounces along, trying to get out a sentence. 
+
+ANAKIN: Hang on, Artoo. Obi-Wan, do you copy? I'm going to pull them through the needle . . . 
+
+OBI-WAN: Too dangerous. First Jedi rule: "Survive." 
+
+ANAKIN: Sorry, no choice. Come down here and thin them out a little. 
+
+OBI-WAN drops in behind the DROID VULTURE FIGHTERS chasing Anakin. ARFOUR BEEPS to OBI-WAN. 
+
+OBI-WAN: Just keep me steady . . . hold on ... not yet. . . now break left. 
+
+OBI-WAN fires as he swings across the back of the VULTURE DROIDS, BLASTING four of them away. ANAKIN heads for a trench along the surface of one of the Trade Federation Battleships. He flies into the trench, which ends in a conning tower with a small slit between two main struts. 
+
+OBI-WAN: (continuing) You'll never get through there, Anakin. It's too tight. 
+
+ARTOO BEEPS nervously. 
+
+ANAKIN: Easy, Artoo . . . we've done this before. 
+
+OBI-WAN: Use the Force, think yourself through, the ship will follow. 
+
+ARTOO SQUEALS in a panic. On the view screen Artoo's squeal reads out, "WE'RE NOT GOING TO MAKE IT." 
+
+ANAKIN: Wrong thought, Artoo. 
+
+ANAKIN slips through the narrow gap. The trailing VULTURE DROID FIGHTERS CRASH. 
+
+ANAKIN: (continuing) I'm through. 
+
+OBI-WAN continues to fire on the VULTURE DROID FIGHTERS, driving them into the EXPLOSION. 
+A CLONE fighter is hit and explodes, spewing debris. The CLONE PILOT spins off into space. 
+Finally, OBI-WAN peels off and swings around, pulling up alongside ANAKIN. CLONE FIGHT SQUAD SEVEN battles the DROIDS. 
+
+ODD BALL: There are too many of them. 
+
+CLONE PILOT 2: I'm on your wing. Break left. Break left. They're all over me. Get them off my . . . 
+
+ANAKIN: I'm going to go help them out! 
+
+OBI-WAN: No, no! They are doing their job so we can do ours. Head for the Command Ship! 
+
+Another CLONE fighter is hit, bursts into flames, and spins off into space. A VULTURE DROID FIGHTER raises its head to locate its target and fires missiles at them. 
+
+ANAKIN: Missiles! Pull up! 
+
+ANAKIN and OBI-WAN break right and left, and the missiles follow them. ANAKIN does a barrel roll spin, causing the missiles following him to collide and EXPLODE. Two missiles continue to chase OBI-WAN. He banks sharply to the right, then to the left, causing one of the missiles to overshoot. 
+
+OBI-WAN: They overshot us . . . 
+
+The second missile streaks next to Obi-Wan’s Fighter and EXPLODES. Obi-Wan's ship rocks, and R-4, SCREAMS as the Starfighter rips through the explosion. Debris flies all around them. 
+
+ANAKIN: They're coming around! 
+
+OBI-WAN: All right, Arfour. No, no. Nothing too fancy. 
+
+ANAKIN: Surge all power units. Artoo! Stand by the reverse thrusters. 
+
+ANAKIN spins his starfighter. The missiles spin and collide. 
+
+ANAKIN: We got 'em. Artoo! 
+
+Two missiles continue to track Obi-Wan. 
+
+OBI-WAN: Flying is for droids. 
+
+Suddenly, OBI-WAN shudders, and his ship starts to plummet toward the surface of the Trade Federation Cruiser. The trailing missiles fly into what looks like debris, and detonate. Five silver balls fly out of the debris and attach themselves to the ship. The balls pop open, revealing SMALL BUZZDROIDS that begin to crawl across the surface like spiders. 
+
+OBI-WAN: (continuing) I'm hit! Anakin? 
+
+ANAKIN: I see them . . . Buzz Droids. 
+
+The BUZZ DROIDS crawl across Obi-Wan's ship and start to tear it apart. SPARKS ERUPT where the BUZZ DROIDS break into the wiring. One of the BUZZ DROIDS goes after ARFOUR. 
+
+OBI-WAN: Arfour, be careful. You have one . . . 
+
+ARFOUR's head gets ripped off and flies away. 
+
+OBI-WAN: Oh dear. They're shutting down all the controls. 
+
+ANAKIN: Move to the right so I can get a clear shot at them. 
+
+OBI-WAN: The mission. Get to the Command Ship. Get the Chancellor! I'm running out of tricks here. 
+
+ANAKIN moves into position just off Obi-Wan's left side and angles his ship so his guns are pointing at the DROIDS crawling over Obi-Wan’s Starfighter. ANAKIN fires and vaporizes the TWO BUZZ DROIDS, along with the left wing of Obi-Wan's ship. 
+
+OBI-WAN: (continuing) In the name of ... 
+
+ANAKIN: Steady . . . steady . . . 
+
+OBI-WAN: Anakin, hold your fire . . . hold your fire. You're not helping here. 
+
+ANAKIN: I agree, bad idea. Swing right . . . ease over . . . steady . . . 
+
+OBI-WAN: Wait . . . wait . . . I can't see a thing! My cockpit's fogging. They're all over me, Anakin. 
+
+ANAKIN: Move to the right. 
+
+OBI-WAN: Hold on, Anakin. You're going to get us both killed! Get out of here. There's nothing more you can do. 
+
+ANAKIN: I'm not leaving without you, Master. 
+
+ANAKIN moves his ship next to OBI-WAN's and tries to physically knock the BUZZ DROIDS off. There are five left. He manages to get one off, but badly dents OBI-WAN's ship in the process. One of the BUZZ DROIDS tears apiece off of the front of Obi-Wan's ship. Flames burst out, and more smoke billows out, obscuring the Jedi's view. 
+
+ANAKIN knocks off three of the BUZZ DROIDS and the fourth crawls out onto Anakin's ship and starts attacking ARTOO. ARTOO fights the BUZZ DROID. 
+
+OBI-WAN: Blast it ... I can't see . . . my controls are gone. 
+
+ANAKIN: Get 'em, Artoo. Watch out! 
+
+OBI-WAN: Artoo, hit the buzz droid's center eye. 
+
+ARTOO extends an arm and aims a stream of electricity at the swerving BUZZ DROID. The BUZZ DROID is hit squarely in the eye and falls off the ship. 
+
+ANAKIN: Yeah, you got him! 
+
+OBI-WAN: Great, Artoo. 
+
+ANAKIN: Stay on my wing . . . the General's Command Ship is dead ahead. Easy . . . pull up ... Head for the hangar. 
+
+OBI-WAN: Have you noticed the shields are still up? 
+
+ANAKIN: Oh?!? Sorry, Master. 
+
+ANAKIN streaks ahead of OBI-WAN's disintegrating Jedi Fighter and blasts the shield generator. It SPARKS and EXPLODES. 
+
+OBI-WAN: Oh, I have a bad feeling about this. 
+
+9 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+The shield door drops away, and OBI-WAN crashes on the deck of the hangar bay, engulfed in a FANTAIL OF SPARKS. A set of blast doors starts SLAMMING shut across the hangar opening, as material is sucked into space. 
+
+ANAKIN maneuvers around the oncoming junk and flies into the hangar just as the blast doors SLAM shut. 
+OBI-WAN ignites his light saber and cuts his way out of the cockpit. He jumps dear just as his ship EXPLODES. BATTLE DROIDS rush at him from all directions. 
+
+ANAKIN jumps out of his ship and cuts his way through the BATTLE DROIDS to where OBI-WAN is fighting. ARTOO pops out of the ship and follows ANAKIN. 
+
+OBI-WAN: Artoo, locate the Chancellor. 
+
+ANAKIN: Tap into the ship's computers. 
+
+They cut down the last of the droids and follow ARTOO over to a computer wall socket. The two JEDI fight off FOUR MORE DROIDS as ARTOO tries to find the Chancellor. Finally, a HOLOGRAM of the Trade Federation ship appears. 
+
+OBI-WAN: The Chancellor's signal is coming from right there. The observation platform at the top of that spire. 
+
+ANAKIN: I sense Count Dooku . . . 
+
+OBI-WAN: I sense a trap. 
+
+ANAKIN: Next move? 
+
+OBI-WAN: Spring the trap. 
+
+The JEDI start to leave; ARTOO follows. The JEDI stop and turn to ARTOO. 
+
+ANAKIN: Artoo, go back. I need you to stay with the ship. 
+
+OBI-WAN: Here, take this, and wait for orders. 
+
+OBI-WAN tosses the comlink to ARTOO. 
+
+10 INT. BRIDGE-TRADE FEDERATION CRUISER 
+
+GENERAL GRIEVOUS enters the bridge of the TRADE FEDERATION cruiser followed by his TWO BODYGUARDS. He walks to the front of the bridge and stands in front of the NEIMOIDIAN CAPTAIN. 
+
+GENERAL GRIEVOUS: What's the situation, Captain? 
+
+CAPTAIN: TWO Jedi have landed in the main hangar bay. 
+
+GENERAL GRIEVOUS: Just as Count Dooku predicted. 
+
+11 INT. HANGAR-TRADE FEDERATION CRUISER 
+
+ANAKIN and OBI-WAN head for the elevator. A door opens in the hallway and two of GENERAL GRIEVOUS's BODYGUARDS confront the JEDI. 
+
+BODYGUARD I: General Kenobi, Anakin Skywalker. We've been waiting for you. 
+
+OBI-WAN: We are here to relieve you of Chancellor Palpatine, not join him. 
+
+As a dozen more droids join the group, the JEDI ignite their lightsabers and stand back-to-back. 
+
+OBI-WAN: Anakin. . . 
+
+ANAKIN: Ready. 
+
+ANAKIN and OBI-WAN use their lightsabers and cut a large circle in the floor. 
+
+12 INT. GENERATOR ROOM-TRADE FEDERATION CRUISER 
+
+The TWO JEDI cut their way down several floors into a large generator room. Huge EXPLOSIONS outside the ship have caused several large pipes overhead to break, and fluid is spewing everywhere. The Jedi get up and turn off their light sabers. ANAKIN dips his hand into the fluid and sniffs it. 
+
+OBI-WAN: . . . fuel. The slightest charge from our sabers will send this ship into oblivion. That's why they've stopped shooting. 
+
+ANAKIN: Well then, we're safe for the time being. 
+
+OBI-WAN: Your idea of safe is not the same as mine. 
+
+They run, EXPLOSIONS rattle the ship, and pipes continue to burst around them, spilling more fuel into the hallway. At the far end, SIX SUPER BATTLE DROIDS drop into the fuel. The SOUNDS OF SHIELD DOORS CLOSING AND LOCKING ECHO throughout the hallway. They pass several large power generators, which are topped with SPARKING excess power dischargers. 
+
+ANAKIN: They're sealing this section off. 
+
+OBI-WAN: Six droids coming our way! 
+
+The last of the DOORS CAN BE HEARD CLOSING in the distance. 
+
+ANAKIN: Keep moving. There must be vents . . . This way. 
+
+They move along a wall. ANAKIN climbs up the side to a small vent. The fuel gets closer to the SPARKING dischargers. 
+
+OBI-WAN: We'll never get through that. It's too small! 
+
+They move toward a second vent. OBI-WAN is swimming in the fuel as it reaches to within a couple yards of the ceiling. ANAKIN feels along the ceiling and finds another smaller vent. He closes his eyes and tries to sense an opening, then he moves on. OBI-WAN is forced into hand-to-hand combat with one of the SUPER BATTLE DROIDS. It pulls the Jedi under the fuel. Just before he is about to drown, OBI-WAN disables the SUPER BATTLE DROID by pushing him into an exhaust pipe. 
+
+The fuel is up to the Jedi's chins. ANAKIN finds a very, very small metal grate, then pounds on it until the tiny grate breaks loose. 
+
+ANAKIN: I found our escape vent. 
+
+OBI-WAN: Anakin, this is no time for jokes. We're in serious trouble here. 
+
+ANAKIN: Only in your mind. My Master. Look, no structure. . . . 
+
+ANAKIN grabs the side of the tiny hole and gives it a big yank, ripping a large panel loose revealing a "man-sized" work shaft. They scramble through it as the DROIDS swim closer. 
+
+13 INT. VENT SHAFT-TRADE FEDERATION CRUISER 
+
+The TWO JEDI pull themselves through the narrow vent shaft until they reach a small hatch in the side of the tube. 
+
+ANAKIN: Here's a way out. 
+
+As the SUPER BATTLE DROIDS reach the opening in the ceiling and the fuel gets to within a few feet of the power generator sparks, the JEDI work the keyboard on the pressure lock, opening the latch. 
+
+14 INT. SMALL PASSAGEWAY-TRADE FEDERATION CRUISER 
+
+The TWO JEDI climb into a small passageway and slam the hatch shut. They make their way through the ever-shrinking shaft until they reach the end. 
+
+15 INT. HALLWAY-TRADE FEDERATION CRUISER 
+
+A hatch opens in one of the main hallways of the Trade Federation Cruiser, and the JEDI squeeze out, SLAMMING the hatch. Behind them, ANAKIN seals the hatch with his laser sword. 
+
+OBI-WAN: That won't hold when the fuel hits those power dischargers. 
+
+ANAKIN: The blast will break the hull. This side's pressurized. 
+
+OBI-WAN: You still have much to learn, Anakin. 
+
+16 INT. VENT SHAFT-TRADE FEDERATION CRUISER 
+
+The SUPER BATTLE DROIDS climb up the vent shaft. SUPER BATTLE DROID R77 and SEVERAL OTHER DROIDS wait in the generator room as the fuel continues to rise toward the power discharger. 
+
+SUPER BATTLE DROID R77: I have a bad feeling about this. 
+
+17 INT. GENERATOR ROOM-TRADE FEDERATION CRUISER 
+
+The fuel hits the SPARKING power discharger, and there is a HUGE EXPLOSION. 
+
+18 EXT. TRADE FEDERATION CRUISER-BATTLE 
+
+A GREAT EXPLOSION and a flaming gas cloud spray out of the side of the Federation Cruiser. 
+
+19 INT. HALLWAY-TRADE FEDERATION CRUISER 
+
+A large bulge appears in the wall around the sealed hatch as the EXPLOSION hits. OBI-WAN jumps back, then stands amazed. 
+
+OBI-WAN: All right, you win. I have much to learn. Let's go! 
+
+ANAKIN grins at OBI-WAN, and they run down the hallway. 
+
+20 INT. WIDE HALLWAY-TRADE FEDERATION CRUISER 
+
+The two JEDI wait for an elevator to arrive. They turn around and see they are face to face with THREE DESTROYER DROIDS. The DROIDS start blasting away. Anakin deflects the bolts. OBI-WAN frantically pushes the elevator button several more times. 
+
+ANAKIN: Destroyers!! 
+
+Finally the door opens, and they rush inside under a hail of laser bolts. The elevator door slides shut. The JEDI turn to see BATTLE DROIDS standing behind them. 
+
+BATTLE DROID: Drop your weapons! I said drop 'em. 
+
+The JEDI activate their light sabers and destroy all the BATTLE DROIDS. 
+
+21 INT HANGAR-TRADE FEDERATION CRUISER 
+
+R2-D2 notices two SUPER BATTLE DROIDS entering the hangar. He moves and hides behind a Jedi Starfighter. 
+
+22 INT. ELEVATOR-TRADE FEDERATION CRUISER 
+
+The elevator begins to move and screeches to a stop. 
+
+OBI-WAN: Did you press the stop button? 
+
+ANAKIN: No, did you? 
+
+OBI-WAN: No! 
+
+ANAKIN: Well, there's more than one way out of here. 
+
+ANAKIN ignites his laser sword. 
+
+OBI-WAN: We don't want to get out, we want to get moving. Artoo . . . Artoo. Do you copy? Activate elevator . . . (looks at control panel) . . . 31174 . . . 
+
+ANAKIN cuts a hole in the elevator ceiling. 
+
+23 INT MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+TWO SUPER BATTLE DROIDS are inspecting the Jedi starfighters. They overhear Obi-Wan's voice over the comlink and are distracted. 
+
+SUPER BATTLE DROID 1: What's that? 
+
+SUPER BATTLE DROID 2: Get back to work. It's nothing. 
+
+24 INT. ELEVATOR-TRADE FEDERATION CRUISER 
+
+OBI-WAN: Artoo? 
+
+ANAKIN climbs through the hole in the ceiling of the elevator. 
+
+OBI-WAN: (continuing) Always on the move. 
+
+OBI-WAN continues to talk on the comlink. Artoo quietly beeps a reply. 
+
+25 INT MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+ARTOO tries to muffle the comlink as the TWO SUPER BATTLE DROIDS try to figure out where the voices are coming from. ARTOO extends an arm and plugs into a computer interface. 
+
+OBI-WAN: (OS) Artoo, switch on the comlink. Artoo, do you hear me? Artoo, we gave you a job to do! Artoo. 
+
+26 INT. ELEVATOR SHAFT-TRADE FEDERATION CRUISER 
+
+Suddenly, the elevator plummets down the shaft. ANAKIN quickly jumps and grabs onto the hallway entry door. He watches as the elevator recedes down the shaft and disappears. ANAKIN struggles to keep his grip on the closed door as SPARKING wires rain down on him. 
+
+27 INT. ELEVATOR-TRADE FEDERATION CRUISER 
+
+The elevator starts to descend rapidly. 
+
+OBI-WAN: Stop, stop! Artoo, we need to be going up. 
+
+28 INT. ELEVATOR SHAFT-TRADE FEDERATION CRUISER 
+
+Anakin struggles to hang on to the narrow edge of the elevator shaft. The door to the elevator shaft is pried open, and TWO BATTLE DROIDS appear in the doorway and look down at ANAKIN. They point their guns at him. 
+
+DROID 1: Hands up, Jedi! Don't move. 
+
+DROID 2: Roger, roger. 
+
+29 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+The TWO SUPER BATTLE DROIDS overhear OBI-WAN's comlink messages to ARTOO. 
+
+SUPER BATTLE DROID 1: There it is again. 
+
+OBI-WAN: (OS) Artoo, do you copy? Artoo, do you hear me? Artoo, we need to be going up, not down. 
+
+30 INT. ELEVATOR-TRADE FEDERATION CRUISER 
+
+The elevator races down as OBI-WAN holds on. 
+
+OBI-WAN: Stop. Artoo! We need to go up! Stop, stop! 
+
+The elevator stops with a jolt. OBI-WAN falls to the floor. 
+
+31 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+The TWO SUPER BATTLE DROIDS see ARTOO and walk toward the little droid. 
+
+SUPER BATTLE DROID 1: Hey you! 
+
+ARTOO plugs into the interface again and the elevator shoots up. 
+
+32 INT. ELEVATOR-TRADE FEDERATION CRUISER 
+
+OBI-WAN stands up after having fallen in the elevator. 
+
+OBI-WAN: Now, that's better . . . 
+
+33 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+ARTOO is held up by TWO SUPER BATTLE DROIDS, who chuckle as the little Astro Droid curses and swings at them. 
+
+SUPER BATTLE DROID 1: You stupid little astro droid! 
+
+34 INT. ELEVATOR SHAFT-TRADE FEDERATION CRUISER 
+
+ANAKIN looks down and sees the elevator heading toward him at a high rate of speed. He looks at the BATTLE DROIDS leaning over him with their guns pointed at him. He calculates for a moment, then gives himself a push and flips himself up into the elevator shaft. 
+
+Before ANAKIN can arc into a descent down the shaft, the elevator races up through the shaft, cutting the DROIDS in two. ANAKIN lands on the elevator and quickly drops back through the hole in the ceiling. OBI-WAN is startled and ignites his lightsaber. 
+
+OBI-WAN: Oh, it's you . . . 
+
+35 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+ARTOO activates his oil hose and sprays the SUPER BATTLE DROIDS. The SUPER BATTLE DROIDS slip on the oil. 
+
+36 INT. ELEVATOR SHAFT-TRADE FEDERATION CRUISER 
+
+ANAKIN: What was that all about? 
+
+OBI-WAN: Well, Artoo has been . . . 
+
+ANAKIN: No loose wire jokes . . . He's doing the best he can. 
+
+OBI-WAN: Did I say anything? 
+
+ANAKIN: He's trying! 
+
+OBI-WAN: I didn't say anything! 
+
+37 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+ARTOO ignites his arm rockets and shoots out of their grip, spraying them both with oil and setting them on fire. The SUPER BATTLE DROIDS slip and slide until they fall, smoldering. ARTOO rolls away. 
+
+38 INT. GENERAL'S QUARTER'S-TRADE FEDERATION CRUISER 
+
+The elevator door opens and the TWO JEDI carefully make their way into the main room of the General's Quarters. 
+At the far end sits SUPREME CHANCELLOR PALPATINE. ANAKIN and OBI-WAN move toward the CHANCELLOR. 
+As they get closer to PALPATINE, they see a very distressed look on the Chancellor's face. 
+
+OBI-WAN: (bows) Chancellor. 
+
+ANAKIN: Are you all right? 
+
+PALPATINE: (quietly) Count Dooku. 
+
+PALPATINE makes a small gesture with his hand. OBI-WAN and ANAKIN turn around. The elevator DOORS CAN BE HEARD OPENING AND CLOSING as COUNT DOOKU strides into the room. He is above the Jedi, standing on a balcony, with two SUPER BATTLE DROIDS. The Jedi turn to see him. He looks down on the Jedi. 
+
+OBI-WAN: (quietly to Anakin) This time we will do it together. 
+
+ANAKIN: I was about to say that. 
+
+COUNT DOOKU jumps down to the main level. 
+
+PALPATINE: Get help! You're no match for him. He's a Sith Lord. 
+
+OBI-WAN: Chancellor Palpatine, Sith Lords are our specialty. 
+
+OBI-WAN and ANAKIN throw off their cloaks and ignite their lightsabers. 
+
+COUNT DOOKU: Your swords, please, Master Jedi. We don't want to make a mess of things in front of the Chancellor. 
+
+OBI-WAN and ANAKIN move toward DOOKU. 
+
+OBI-WAN: You won't get away this time, Dooku. 
+
+OBI-WAN and ANAKIN charge COUNT DOOKU. A great sword fight ensues. 
+
+COUNT DOOKU: I've been looking forward to this. 
+
+ANAKIN: My powers have doubled since the last time we met, Count. 
+
+COUNT DOOKU: Good. Twice the pride, double the fall. 
+
+DOOKU lunges at the JEDI and they fall back . . . 
+
+COUNT DOOKU: (continuing) Your moves are clumsy, Kenobi . . . too predictable. You'll have to do better. 
+
+As the battle proceeds, OBI-WAN and COUNT DOOKU are tired. ANAKIN is stronger as he becomes angry. ANAKIN continues to drive the attack on DOOKU. COUNT DOOKU throws OBI-WAN back using the Force. 
+ANAKIN and COUNT DOOKU move up the stairs. As they reach the upper landing of the General's Quarters, ANAKIN leaps over COUNT DOOKU. OBI-WAN reaches the top of the stairs, destroying TWO SUPER BATTLE DROIDS. COUNT DOOKU holds OBI-WAN in the air using the Force as he turns and kicks ANAKIN out of frame. OBI-WAN is choking. 
+ANAKIN hits the archway. 
+DOOKU sends OBI-WAN flying. The Jedi tumbles to the lower level unconscious. COUNT DOOKU spins around again and, using the Force, causes a section of the balcony to drop onto OBI-WAN. ANAKIN spins and kicks COUNT DOOKU, sending him over the balcony. ANAKIN Jumps, following him down to the main floor. COUNT DOOKU and ANAKIN continue the fight. 
+
+COUNT DOOKU: (continuing) I sense great fear in you, Skywalker. You have hate, you have anger, but you don’t use them. 
+
+Anakin regains his composure and attacks COUNT DOOKU as the Dark Lord continues his spin to meet him head on. Their fighting becomes even more intense. 
+Anakin attacks COUNT DOOKU with a new ferociousness. 
+
+39 INT. GENERAL'S QUARTERS-TRADE FEDERATION CRUISER 
+
+Anakin and Dooku continue their fight. It is intense! Finally, in one last energized charge, ANAKIN cuts off COUNT DOOKU's hands. The Jedi catches the lightsaber as it drops from the severed Sith Lord's hand. COUNT DOOKU stumbles to the floor as ANAKIN puts the two lightsabers to his neck. PALPATINE is grinning as he watches COUNT DOOKU's defeat. 
+
+PALPATINE: Good, Anakin, good. I knew you could do it. Kill him. Kill him now! 
+
+ANAKIN: I shouldn't . . . 
+
+PALPATINE: Do it!! 
+
+ANAKIN cuts off COUNT DOOKU's head. A huge EXPLOSION somewhere deep in the ship rattles everything. 
+
+ANAKIN: ... I couldn't stop myself. 
+
+PALPATINE: You did well, Anakin. He was too dangerous to be kept alive. 
+
+ANAKIN drops COUNT DOOKU's lightsaber, moving to PALPATINE. 
+
+ANAKIN: Yes, but he was an unarmed prisoner. 
+
+ANAKIN raises his hands toward PALPATINE, who is strapped in the Admiral's Chair. The Chancellor's restraints pop loose. 
+
+ANAKIN: (continuing) I shouldn't have done that, Chancellor. It's not the Jedi way. 
+
+PALPATINE stands up, rubbing his wrists. 
+
+PALPATINE: It is only natural. He cut off your arm, and you wanted revenge. It wasn't the first time, Anakin. Remember what you told me about your mother and the Sand People. Now, we must leave before more security droids arrive. 
+
+The ship begins to list to one side. ANAKIN rushes over to OBI-WAN, lifts the control console from on top of him, and pulls him free. He kneels down and checks out his unconscious friend. PALPATINE heads for the elevators. 
+
+PALPATINE: (continuing) Anakin, there is no time. We must get off the ship before it's too late. 
+
+ANAKIN: He seems to be all right. No broken bones, breathing's all right. 
+
+PALPATINE: Leave him, or we'll never make it. 
+
+ANAKIN: His fate will be the same as ours. 
+
+ANAKIN picks up OBI-WAN, slings him over his shoulder, and heads for the elevators. 
+
+40 INT. BRIDGE-TRADE FEDERATION CRUISER 
+
+GENERAL GRIEVOUS: Prepare for attack. 
+
+PILOT: All batteries fire! Fire! 
+
+41 INT. BATTLESTATIONS-REPUBLIC CRUISER 
+
+Clone gunners fire on the Trade Federation cruiser and take fire in return. Gun emplacements are destroyed. Clone troopers go flying. 
+
+42 INT. ELEVATOR LOBBY-GENERAL'S QUARTERS-TRADE FEDERATION CRUISER 
+
+ANAKIN carries OBI-WAN to the elevator doors and hits the button. PALPATINE joins him. 
+
+ANAKIN: The elevator's not working, (into his comlink) Artoo . . . 
+
+ARTOO BEEPS a response to ANAKIN. 
+
+ANAKIN: (continuing) . . . Activate Elevator 3224. 
+
+Suddenly the ship shifts to its side as the elevator doors open. PALPATINE is thrown to the ground. ANAKIN jumps to the door frame of the elevator. ANAKIN looks into the elevator shaft. 
+
+ANAKIN: (continuing) Artoo ... do you copy? Artoo, come in! 
+
+43 INT. BRIDGE-TRADE FEDERATION CRUISER 
+
+Windows are blown out, droids and equipment are sucked into space. 
+
+PILOT: Reverse stabilizers. 
+
+44 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+As the ship rolls, spacecraft and equipment CRASH from one side of the ship to the other. 
+Several objects break through the metal blast doors, causing objects to be sucked into space. ARTOO starts to slide toward one of the small holes. 
+
+45 INT. ELEVATOR LOBBY-GENERAL'S QUARTERS-TRADE FEDERATION CRUISER 
+
+As the elevator shaft rotates, it has become a long hallway. 
+ANAKIN clings to the doorframe with OBI-WAN on his shoulder, as the Chancellor struggles to join him. 
+
+46 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+ARTOO continues to skid and slide toward open space. He swerves around boxes and wrecked fighters. One of the BATTLE DROIDS stumbles and is consumed by the electronic shield in a zap. ARTOO BEEPS a reply as he dodges the laser blasts of the BATTLE DROIDS. One bolt hits very near him, and he SCREAMS in terror. 
+
+47 INT. BRIDGE-TRADE FEDERATION CRUISER 
+
+PILOT: Magnetize! Magnetize! 
+
+48 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+ARTOO is about to be overtaken by a starfighter sliding behind him. He falls into a heap of broken battle droid parts and the fighter bounces over him. 
+
+49 EXT. SPACE-CORUSCANT 
+
+The TRADE FEDERATION CRUISER heads straight down toward the planet. 
+
+50 INT. ELEVATOR LOBBY-GENERAL'S QUARTERS-TRADE FEDERATION CRUISER 
+
+ANAKIN jumps into the horizontal elevator shaft with OBI-WAN still on his shoulder. 
+
+ANAKIN: We can't wait. Come on, we have to be fast. 
+
+PALPATINE climbs into the elevator shaft also. They start running. The ship begins to roll again, and the Jedi and the Chancellor are forced to jump from one side of the elevator to the other. 
+
+51 INT. BRIDGE-TRADE FEDERATION CRUISER 
+
+GENERAL GRIEVOUS: Fire the emergency booster engines. 
+
+PILOT: Leveling out, sir. 
+
+52 INT. ELEVATOR SHAFT ON SIDE-TRADE FEDERATION CRUISER 
+
+ANAKIN still carrying OBI-WAN on his back, and PALPATINE run down the elevator shaft as it starts to move upright. ANAKIN cuts a control box on one of the doors, but before the doors can open, the ship moves to an angle, causing ANAKIN and PALPATINE to start sliding down the shaft. ANAKIN grabs some wires in the control box with one hand. PALPATINE grabs onto the Jedi's leg. As the ship rights itself, they are left hanging in the bottomless elevator shaft. 
+
+53 INT. ELEVATOR SHAFT, VERTICAL-TRADE FEDERATION CRUISER 
+
+ANAKIN, OBI-WAN, and PALPATINE hang precariously on the side of the bottomless elevator shaft. OBI-WAN regains consciousness and tries to look around. 
+
+ANAKIN: Easy. . . . We're in a bit of a situation. 
+
+OBI-WAN: Did I miss something? 
+
+OBI-WAN looks down and sees PALPATINE and the bottomless pit. They hear ARTOO BEEPING on Obi-Wan's comlink. The ship begins to roll, causing the vertical shaft to move into a forty-five-degree angle. They hear the elevator brakes release and look up to see the elevator heading toward them. 
+
+ANAKINN: Hold on. 
+
+OBI-WAN: What is that? 
+
+OBI-WAN and ANAKIN look up to watch the elevator approach them at high speed, then OBI-WAN turns to ANAKIN. 
+
+OBI-WAN: (continuing) Oops. 
+
+ANAKIN: Artoo, Artoo, shut down the elevator! 
+
+OBI-WAN: Too late! Jump! 
+
+They fall about three hundred feet before the tilt of the ship catches up with them, and they hit the side of the shaft and slide at great speed just ahead of the elevator. The shaft continues to rotate until it is completely horizontal. 
+ANAKIN and OBI-WAN take out and throw grappling hooks. The hooks catch and they continue to fall. All the doors in the elevator shaft open up, and the group swings through the open door into a hallway. The elevator roars by. 
+
+54 INT. ELEVATOR LOBBY-TRADE FEDERATION CRUISER 
+
+ANAKIN, OBI-WAN, and PALPATINE fly through the elevator door and land. 
+
+OBI-WAN: Let's see if we can find something in the hangar bay that's still flyable. Come on. 
+
+ANAKIN: Artoo, get down here. Artoo, do you copy? 
+
+55 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+As the Federation Cruiser continues to rotate, ARTOO SQUEALS and pokes a periscope out of a pile of broken BATTLE DROID PARTS. He looks around then rockets up out of the debris. 
+
+56 INT. HALLWAY TO HANGAR BAY-TRADE FEDERATION CRUISER 
+
+OBI-WAN and ANAKIN lead PALPATINE down a hallway toward the hangar bay. 
+
+57 INT. DOORWAY TO HANGAR BAY-TRADE FEDERATION CRUISER 
+
+It is extremely windy as bits and pieces are continually sucked into space. The hangar bay doors are closed, but great stresses are being exerted as the ship twists, re-entering the atmosphere of Coruscant. They stop in a doorway leading into the hangar bay. 
+
+OBI-WAN: None of those ships will get us anywhere. 
+
+ANAKIN: I agree. 
+
+PALPATINE: What are we going to do? 
+
+ANAKIN: I don't know. 
+
+OBI-WAN: Don't look at me. I don't know. 
+
+ANAKIN and PALPATINE both look to OBI-WAN. He shrugs his shoulders. Anakin's Fighter has been sucked out of the hangar bay and is totaled. Suddenly, the ship turns on its side. 
+
+ANAKIN: Here, Chancellor, lock this around your waist, and hold on. 
+
+OBI-WAN: We'll head toward the bridge and see if we can find an escape pod. 
+
+ANAKIN hands PALPATINE the end of a cable that is attached to his utility belt. PALPATINE attaches it around his waist. ANAKIN and OBI-WAN throw their utility cables to some pipes in the ceiling and swing to a second set of pipes. 
+
+58 INT. MAIN HANGAR-TRADE FEDERATION CRUISER 
+
+OBI-WAN grabs onto the pipes that run along what was the ceiling and is now the wall. As he moves out into the hangar, TWO SUPER BATTLE DROIDS start firing at him. The Jedi ignites his lightsaber and deflects the bolts back at the DROIDS, blowing them up. ANAKIN and PALPATINE follow OBI-WAN along the pipes running along the ceiling of the hangar. PALPATINE struggles against the escaping air of the pressurized hangar. PALPATINE loses his grip as a pipe breaks, causing a rush of steam, but ANAKIN manages to maintain his grasp on the pipe as the CHANCELLOR dangles on the other end of the utility cable. They are surrounded by SPARKS and EXPLOSIONS as the ship twists and tries to break apart. ANAKIN moves out of the steam and struggles to pull PALPATINE back to safety. ANAKIN is almost pulled loose in the buffeting winds. The ceiling behind them buckles, causing pipes to break, creating geysers of steam. Some bits of pipe go hurling into the blast doors and out into space. They make it through a hangar doorway and close it behind them. 
+
+59 INT. HANGAR DOORWAY-TRADE FEDERATION CRUISER 
+
+OBI-WAN, ANAKIN and PALPATINE are out of breath. 
+
+ANAKIN/OBI-WAN: Well, that was close. 
+
+They laugh. 
+
+60 INT. BRIDGE-TRADE FEDERATION CRUISER 
+
+BODYGUARD: General, we found the Jedi. They're in hallway 328. 
+
+GENERAL GRIEVOUS: Activate ray shields. 
+
+61 INT. HALLWAY-TRADE FEDERATION CRUISER 
+
+They run down the hallway. Suddenly, ray shields drop around them, putting them in an electronic box in the middle of the hallway. 
+
+ANAKIN: Ray shields! 
+
+OBI-WAN takes a deep breath to express his total disappointment. 
+
+OBI-WAN: Wait a minute, how'd this happen! We're smarter than this. 
+
+ANAKIN: Apparently not, Master. This is the oldest trap in the book . . . Well ... I was distracted. 
+
+OBI-WAN: Oh, so all of a sudden it's my fault. 
+
+ANAKIN: You're the Master. I'm just a hero. 
+
+OBI-WAN: I'm open to suggestions here. 
+
+PALPATINE: Why don't we let them take us to General Grievous. Perhaps with Count Dooku's demise, we can negotiate our release. 
+
+The Jedi look at each other in disbelief. 
+
+ANAKIN: I say . . . patience. 
+
+OBI-WAN: Patience! That's your plan, is it? 
+
+ANAKIN: Yes, Artoo will be along in a few moments and he'll release the ray shields . . . 
+
+ARTOO comes skidding across the hallway and bashes into the opposite wall. He takes a moment to compose himself. 
+
+ANAKIN: (continuing) See! No problem. 
+
+Suddenly several doorways open, revealing TWO DESTROYER DROIDS. SIXTEEN SUPER BATTLE DROIDS emerge from behind the DESTROYER DROIDS. 
+ARTOO turns and zaps one of the SUPER BATTLE DROIDS who then kicks ARTOO over. 
+
+SUPER BATTLE DROID: Don't move, dummy. Ouch! Zap this. 
+
+OBI-WAN: Do you have a plan B? 
+
+62 EXT. BRIDGE-TRADE FEDERATION CRUISER 
+
+OBI-WAN, ANAKIN PALPATINE, and ARTOO are captured by GENERAL GRIEVOUS. They stand before the ALIEN DROID GENERAL. 
+
+GENERAL GRIEVOUS: Oh yes. General Kenobi, the Negotiator. We've been waiting for you. That wasn't much of a rescue. 
+
+A BATTLE DROID walks to GENERAL GRIEVOUS and hands him the JEDI'S lightsabers. 
+
+OBI-WAN: That depends upon your point of view. Hah! 
+
+GENERAL GRIEVOUS: And Anakin Skywalker ... I was expecting someone with your reputation to be a little older. 
+
+ANAKIN: General Grievous . . . Supreme Commander of the Droid Armies. You're shorter than I expected. 
+
+GENERAL GRIEVOUS: Ahhhh, Jedi scum . . . 
+
+OBI-WAN: Anakin, try not to upset him. We have a job to do. 
+
+GENERAL GRIEVOUS: Your lightsabers will make a fine addition to my collection. 
+
+OBI-WAN: Not this time. And this time you won't escape. 
+
+ANAKIN: Artoo. 
+
+ARTOO creates a distraction by extending all his arms, shooting out electrical pulses, and bouncing around. 
+OBI-WAN, hands restrained with electrobonds, spins around, reaches out and, using the Force, yanks his lightsaber out of the General's hand, ignites it, and cuts his bonds. He continues to spin around and cuts Anakin free. 
+
+GENERAL GRIEVOUS: Crush them! Make them suffer! 
+
+ANAKIN uses the Force to yank his lightsaber out of the General's hand. 
+
+The DROIDS that surround them begin to FIRE. OBI-WAN and ANAKIN jump into the line of fire. The bridge degenerates into chaos. OBI-WAN and ANAKIN are locked in a pitched battle between electro staffs and laser swords with GENERAL GRIEVOUS's TWO BODYGUARDS. 
+
+CHANCELLOR PALPATINE is taken away by two BATTLE DROIDS. GENERAL GRIEVOUS walks around the bridge directing the BATTLE DROIDS. 
+
+GENERAL GRIEVOUS: Stay and watch your stations. 
+
+OBI-WAN fights one of General Grievous's BODYGUARDS. The BODYGUARD carries an electrified staff about five feet long. When the laser sword hits it, electrical bolts fly everywhere and surround the laser sword. OBI-WAN is unable to cut the staff. The Jedi gets whacked pretty good a couple of times and is knocked halfway across the bridge. 
+OBI-WAN pulls himself together and attacks again, cutting off the DROID BODYGUARD'S head. The DROID BODYGUARD keeps attacking. ANAKIN struggles to defend himself against the other manic DROID BODYGUARD. He cuts the DROID BODYGUARD in half. TWO BATTLE DROIDS try to take the CHANCELLOR away. 
+ANAKIN follows them down the hallway and cuts them down, rescuing the Chancellor. 
+OBI-WAN finishes off the headless BODYGUARD. It crumbles to the floor in pieces. 
+ALARMS SOUND as the giant spacecraft begins to list and fall out of orbit. A PILOT yells at GENERAL GRIEVOUS. 
+
+PILOT: Sir, we are falling out of orbit. All aft control cells are dead. 
+
+GENERAL GRIEVOUS: Stay on course . . . Don't bother with them. Keep the ship in orbit. 
+
+OBI-WAN and ANAKIN destroy the remaining DROIDS. GENERAL GRIEVOUS retrieves one of the BODYGUARD'S staffs and faces OBI-WAN. ANAKIN leaps over a console and lands behind GENERAL GRIEVOUS. 
+
+GENERAL GRIEVOUS: You lose, General Kenobi. 
+
+One of the PILOTS stands next to the General. 
+
+PILOT: The ship is breaking up! 
+
+GENERAL GRIEVOUS: We've run out of time. 
+
+OBI-WAN tries to get at GENERAL GRIEVOUS. ANAKIN runs at the General from the opposing side. GENERAL GRIEVOUS turns and throws his electrified staff at the window. It breaks, causing chaos as everything that is not nailed down is sucked into space. GENERAL GRIEVOUS is the first one sucked out into space. He fires a cable from his arm that attaches to the ship. He swings in and lands firmly on the side of the ship. 
+OBI-WAN, ANAKIN, and PALPATINE hold on for dear life. A blast shield closes around where the window used to be. 
+
+63 INT. BRIDGE-TRADE FEDERATION CRUISER 
+
+OBI-WAN continues to fight the BATTLE DROIDS. The DROIDS have backed him into a corner. OBI-WAN hides behind a control panel as the DROIDS blast away at him. He jumps up and over the DROIDS, cutting most of them down before he lands. He destroys the DROIDS and joins ANAKIN. 
+ANAKIN and OBI-WAN cut through the rest of the DROIDS as if they were made of butter. PALPATINE stands in shock as he watches the carnage. Droid parts are firing everywhere. OBI-WAN and ANAKIN stand back to back and cut down the last of the DROIDS just as there is a huge shudder, followed by more alarms. SPARKS begin to fly outside the windows. 
+
+PALPATINE: The hull is burning up! 
+
+64 EXT. HULL-TRADE FEDERATION CRUISER-SPACE 
+
+GENERAL GRIEVOUS detaches his cable and crawls along the exterior hull of the Federation Cruiser, using his magnetized hands and feet. He reaches a row of escape pods and enters an airlock. 
+
+65 INT. POD BAY-TRADE FEDERATION CRUISER-SPACE 
+
+GENERAL GRIEVOUS enters the escape pod bay through the hatch. The Droid General goes to a control panel and opens an escape pod. 
+
+GENERAL GRIEVOUS: Time to abandon ship. 
+
+GENERAL GRIEVOUS pulls a row of switches, and one by one the escape pods are jettisoned. 
+
+66 INT. ESCAPE POD-SPACE 
+
+He gets in one, the hatch closes, and the escape pod blasts away from the damaged Cruiser. 
+
+67 INT. BRIDGE-TRADE FEDERATION CRUISER 
+
+OBI-WAN and ANAKIN go over to the navigator's chair. 
+
+ANAKIN: All the escape pods have been launched. 
+
+OBI-WAN: Grievous. Can you fly a cruiser like this? 
+
+ANAKIN: You mean, do I know how to land what's left of this thing? 
+
+ANAKIN sits in the pilot's chair and sees on a screen the back half of the ship break away. There is a great jolt, and the ship tilts forward. 
+
+OBI-WAN: Well? 
+
+ANAKIN: Under the circumstances, I'd say the ability to pilot this thing is irrelevant. Strap yourselves in. 
+
+OBI-WAN and PALPATINE strap themselves into chairs. ANAKIN struggles with the controls of the ship. The ship starts to glow, and pieces break off. ARTOO moves in on Palpatine 's controls and assists in flying the cruiser. 
+
+OBI-WAN: Steady . . . Attitude . . . eighteen degrees. 
+
+ARTOO beeps. 
+
+ANAKIN: Pressure rising. We've got to slow this wreck down. Open all hatches, extend all flaps, and drag fins. 
+
+OBI-WAN: Temp steady. Hatches open, flaps extended, drag fins . . . 
+
+A large part of the ship breaks away. 
+
+ANAKIN: We lost something. 
+
+OBI-WAN: Not to worry, we're still flying half the ship. 
+
+ANAKIN: Now we're really picking up speed . . . I'm going to shift a few degrees and see if I can slow us down. 
+
+OBI-WAN: Careful . . . we're heating up-twelve thousand . . . thirteen thousand . . . 
+
+ANAKIN: What's our speed? 
+
+OBI-WAN: Eight plus sixty-forty. Eight plus sixty-twenty. Eight plus sixty. Temp ten thousand, nine thousand . . . we're in the atmosphere . . . 
+
+ANAKIN points to one of the controls. ARTOO beeps madly. 
+
+ANAKIN: Grab that . . . Keep us level. 
+
+OBI-WAN: Steady. Steady. 
+
+ANAKIN: Easy, Artoo. Hang on, this may get a little rough. We lost our heat shields. 
+
+OBI-WAN: Five thousand. Three thousand . . . two thousand. Fireships on the left and the right. 
+
+FlRESHIP PILOT: We'll take you in. 
+
+OBI-WAN: Copy that. Landing strip's straight ahead. 
+
+ANAKIN: We're coming in too hot. 
+
+OBI-WAN: Easy-easy. 
+
+The ship leaves a contrail as it streaks across the Coruscant skyline. PALPATINE and OBI-WAN hold on for dear life as the ship shakes and rattles toward an industrial landing platform. 
+
+68 EXT. CORUSCANT-INDUSTRIAL LANDING PLATFORM-AFTERNOON 
+
+A large landing platform in the industrial part of the city is surrounded by Emergency Fire Speeders. The smoking ship approaches as five Fireships spray it with foam. The ship finally makes a rather hard landing. 
+
+OBI-WAN: Another happy landing. 
+
+69 EXT. CORUSCANT-SENATE OFFICE BUILDING-LANDING PLATFORM-LATE AFTERNOON 
+
+The small Jedi Shuttle carrying PALPATINE and the JEDI arrives at the landing platform. There are a DOZEN SENATORS, including BAIL ORGANA, JAR JAR BINKS, and C-3PO, waiting for them. PALPATINE, R2-D2, and ANAKIN get out. OBI-WAN and MACE stay in the doorway of the Jedi Shuttle. 
+
+ANAKIN: (to Obi-Wan) Are you coming, Master? 
+
+OBI-WAN: Oh no. I'm not brave enough for politics. I have to report to the Council. Besides, someone needs to be the poster boy. 
+
+ANAKIN: Hold on, this whole operation was your idea. You planned it. You led the rescue operation. You have to be the one to take the bows this time. 
+
+OBI-WAN: Sorry, old friend. Let us not forget that you rescued me from the Buzz Droids. And you killed Count Dooku. And you rescued the Chancellor, carrying me unconscious on your back, and you managed to land that bucket of bolts safely . . . 
+
+ANAKIN: All because of your training, Master. You deserve all those speeches of your greatness. 
+
+OBI-WAN: . . . the endless speeches . . . Anakin, let's be fair. Today, you are the hero and you deserve your glorious day with the politicians. 
+
+ANAKIN: All right. But you owe me . . . and not for saving your skin for the tenth time . . . 
+
+OBI-WAN: Ninth time . . . that business on Cato Nemoidia doesn't count. I'll see you at the briefing. 
+
+ANAKIN smiles and walks away from OBI-WAN. 
+The CHANCELLOR and his entourage approach MACE. 
+
+MACE WlNDU: Chancellor Palpatine, what a welcome sight! Are you all right? 
+
+PALPATINE: Yes, thanks to your two Jedi Knights. They killed Count Dooku, but General Grievous has escaped once again. 
+
+MACE WlNDU: General Grievous will run and hide as he always does. He is a coward. 
+
+PALPATINE: That maybe true, but with Count Dooku dead, he is the leader of the Droid Army, and I assure you, the Senate will vote to continue the war as long as Grievous is alive. 
+
+MACE WlNDU: Then the Jedi Council will make finding Grievous our highest priority. 
+
+BAIL, ANAKIN, and the crowd walk away from the platform toward the Senate Building Grand Hallway. 
+
+BAIL ORGANA: Skywalker, the Republic cannot praise you enough. 
+
+ANAKIN and BAIL ORGANA, walking in the hallway. 
+
+ANAKIN: Thank you, Senator Organa. The kidnapping was a bold move by the Separatists, but it was a mistake that Obi-Wan and I were able to take advantage of. 
+
+ARTOO and THREEPIO follow behind the crowd. 
+
+C-3PO: It couldn't possibly be as bad as all that. 
+
+ARTOO beeps. 
+
+C-3PO: (continuing) Well, there, I agree with you. In fact, I could do with a tune-up myself. 
+
+70 INT. CORUSCANT-SENATE OFFICE BUILDING-MAIN HALLWAY-LATE AFTERNOON 
+
+ANAKIN is at the back of the crowd of SENATORS, talking with BAIL ORGANA. R2-D2 and C-3PO scoot along ahead of them. 
+
+BAIL ORGANA: The end of Count Dooku will surely bring an end to this war, and an end to the Chancellor's draconian security measures. 
+
+ANAKIN: I wish that were so, but the fighting is going to continue until General Grievous is spare parts . . . The Chancellor is very clear about that. 
+
+Behind a row of large columns, a SHADOWY FIGURE follows the JEDI and the SENATOR. ANAKIN senses the figure. 
+
+BAIL ORGANA: I'll do everything I can with the Senate. 
+
+ANAKIN: Excuse me. 
+
+BAIL ORGANA: Certainly. 
+
+ANAKIN stops, and BAIL goes off after PALPATINE and the others. ANAKIN goes behind one of the giant columns to meet up with the SHADOWY FIGURE, who is revealed to be SENATOR PADME AMDALA. They embrace and kiss. 
+
+PADME: Oh, Anakin! Thank goodness, you're back. 
+
+ANAKIN: I missed you, Padme. I've missed you so. 
+
+PADME: There were whispers . . . that you'd been killed. I've been living with unbearable dread. 
+
+ANAKIN: I'm back, I'm all right. It feels like we've been apart for a lifetime. And it might have been ... If the Chancellor hadn't been kidnapped. I don't think they would have ever brought us back from the Outer Rim sieges. 
+
+ANAKIN starts to give her another kiss. She steps back. 
+
+PADME: Wait, not here . . . 
+
+He grabs her again. 
+
+ANAKIN: Yes, here! I'm tired of all this deception. I don't care if they know we're married. 
+
+PADME: Anakin, don't say things like that. You're important to the Republic ... to ending this war. I love you more than anything, but I won't let you give up your life as a Jedi for me . . . 
+
+ANAKIN: I've given my life to the Jedi order, but I'd only give up my life, for you. 
+
+PADME: (playfully) I wouldn't like that. I wouldn't like that one bit. Patience, my handsome Jedi . . . Come to me later. 
+
+ANAKIN embraces her, then looks at her. 
+
+ANAKIN: Are you all right? You're trembling. What's going on? 
+
+PADME: I'm just excited to see you. 
+
+ANAKIN: That's not it. I sense more . . . what is it? 
+
+PADME: Nothing . . . nothing . . . 
+
+ANAKIN: You're frightened. (a little angry) Tell me what's going on! 
+
+PADME begins to cry. 
+
+PADME: You've been gone five months . . . it's been very hard for me. I've never felt so alone. There's . . . 
+
+ANAKIN: . . . Is there someone else? 
+
+PADME: (peeved, angry) No! Why do you think that? Your jealousy upsets me so much, Anakin. I do nothing to betray you, yet you still don't trust me. Nothing has changed. 
+
+ANAKIN: (sheepish) I'm afraid of losing you, Padme . . . that's all. 
+
+PADME: I will never stop loving you, Anakin. My only fear is losing you. 
+
+ANAKIN: It's just that I've never seen you like this . . . 
+
+PADME: Something wonderful has happened. 
+
+They look at each other for a long moment. 
+
+PADME: (continuing) I'm . . . Annie, I'm pregnant. 
+
+ANAKIN is stunned. He thinks through all of the ramifications of this. He takes her in his arms. 
+
+ANAKIN: That's . . . that's wonderful. 
+
+PADME: What are we going to do? 
+
+ANAKIN: We're not going to worry about anything right now, all right? This is a happy moment. The happiest moment of my life. 
+
+71 EXT. UTAPAU-LANDING PLATFORM-DAY 
+
+A small NEIMOIDIAN SHUTTLE lands. BATTLE DROIDS surround the ramp as GENERAL GRIEVOUS descends onto the platform. SUPER BATTLE DROID G21 approaches. 
+
+SUPER BATTLE DROID G21: The planet is secure, sir. The population is under control. 
+
+GENERAL GRIEVOUS: Good. Where is the Separatist Council? 
+
+SUPER BATTLE DROID G21: This way, sir ... 
+
+GENERAL GRIEVOUS takes the elevator to an upper level. He enters a conference room and presses a series of buttons on the table, and bows. 
+
+72 INT. UTAPAU-CONFERENCE ROOM-GRAND CHAMBER-DAY 
+
+A hologram of Darth Sidious appears. 
+
+GENERAL GRIEVOUS: Yes, Lord Sidious. 
+
+DARTH SlDIOUS: General Grievous, I suggest you move the Separatist leaders to Mustafar. 
+
+GENERAL GRIEVOUS: It will be done, My Lord. 
+
+DARTH SlDIOUS: The end of the war is near, General, and I promise you, victory is assured. 
+
+The hologram of Sidious talks to GRIEVOUS about the death of Count Dooku. 
+
+GENERAL GRIEVOUS: But the loss of Count Dooku? 
+
+DARTH SlDIOUS: His death was a necessary loss, which will ensure our victory. Soon I will have a new apprentice . . . one far younger and more powerful than Lord Tyranus. 
+
+73 INT. CORUSCANT-PADME'S APARTMENT-TWILIGHT 
+
+PADME stands in the balcony brushing her hair. ANAKIN leans against the wall, watching her lovingly. 
+
+ANAKIN: . . . every second I was thinking of you. Protecting the endless, nameless Outer Rim settlements became a torture . . . the battles were easy, the longing became unbearable . . . I've never been so happy as I am at this moment. 
+
+PADME: Annie, I want to have our baby back home on Naboo. We could go to the lake country where no one would know . . . where we would be safe. I could go early-and fix up the baby's room. I know the perfect spot, right by the gardens. 
+
+ANAKIN: You are so beautiful! 
+
+PADME: It's only because I'm so in love . . . 
+
+ANAKIN: No, it's because I'm so in love with you. 
+
+PADME: So love has blinded you? 
+
+ANAKIN: Well, that's not exactly what I meant . . . 
+
+PADME: But it's probably true! 
+
+They laugh. 
+
+ANAKIN: I haven't laughed in so long . . . 
+
+PADME: Neither have I. 
+
+74 INT. POLIS MASSA-MEDICAL CENTER-DREAM 
+
+The view is strangely distorted and disorienting. PADME is on a table in an alien medical chamber. She is giving birth and is screaming. 
+
+PADME: Anakin, help me! Help, Anakin! Anakin, I love you. I love you. 
+
+She screams and dies. 
+
+75 INT. CORUSCANT-PADME'S APARTMENT-BEDROOM-NIGHT 
+
+ANAKIN awakens in a panic. He is covered in sweat. He looks over in the bed and sees PADME sound asleep next to him. ANAKIN gets out from under the sheets and sits on the side of the bed. He is breathing heavily. He puts his head in his hands and weeps. He regains his composure and leaves the room down a set of stairs. PADME awakens, realizes Anakin is gone. 
+
+PADME: Anakin?? 
+
+She gets out of bed and goes downstairs to look for him. 
+
+76 EXT. CORUSCANT-PADME'S APARTMENT-VERANDA-NIGHT 
+
+ANAKIN walks down a flight of stairs onto a large veranda. The vast city planet of Coruscant, smoldering from the battle, is spread out before him. He is distraught. 
+PADME descends the stairs and joins ANAKIN on the veranda. She takes his hand. He doesn't look at her. 
+
+PADME: What's bothering you? 
+
+ANAKIN: Nothing . . . 
+
+ANAKIN touches the japor snippet around PADME'S neck, that Anakin gave her when he was a small boy. 
+
+ANAKIN: (continuing) I remember when I gave this to you. 
+
+PADME: Anakin, how long is it going to take for us to be honest with each other? 
+
+ANAKIN: It was a dream. 
+
+PADME: Bad? 
+
+ANAKIN: Like the ones I used to have about my mother just before she died. 
+
+PADME: And? 
+
+ANAKIN: It was about you. 
+
+They look at each other. A moment of concern passes between them. 
+
+PADME: Tell me. 
+
+ANAKIN: It was only a dream. 
+
+PADME gives him a long, worried look. ANAKIN takes a deep breath. 
+
+ANAKIN: (continuing) You die in childbirth . . . 
+
+PADME: And the baby? 
+
+ANAKIN: I don't know. 
+
+PADME: It was only a dream. 
+
+ANAKIN takes PADME in his arms. 
+
+ANAKIN: . . . I won't let this one become real, Padme. 
+
+They embrace, then part. 
+
+PADME: Anakin, this baby will change our lives. I doubt the Queen will continue to allow me to serve in the Senate, and if the Council discovers you are the father, you will be expelled from the Jedi Order. 
+
+ANAKIN: I know …. 
+
+PADME: Anakin, do you think Obi-Wan might be able to help us? 
+
+ANAKIN: (suspicious) Have you told him anything? 
+
+PADME: No, but he's your mentor, your best friend . . . he must suspect something. 
+
+ANAKIN: He's been a father to me, but he's still on the Council. Don't tell him anything! 
+
+PADME: I won't, Anakin. 
+
+ANAKIN: I don't need his help . . . Our baby is a blessing, not a problem. 
+
+77 INT. CORUSCANT-JEDI TEMPLE-YODAS QUARTERS-DAY 
+
+YODA and ANAKIN sit in Yoda 's room, deep in thought. 
+
+YODA: Premonitions . . . premonitions . . . Hmmmm . . . these visions you have . . . 
+
+ANAKIN: They are of pain, suffering, death . . . 
+
+YODA: Yourself you speak of, or someone you know? 
+
+ANAKIN: Someone . . . 
+
+YODA: . . . close to you? 
+
+ANAKIN: Yes. 
+
+YODA: Careful you must be when sensing the future, Anakin. The fear of loss is a path to the dark side. 
+
+ANAKIN: I won't let these visions come true, Master Yoda. 
+
+YODA: Death is a natural part of life. Rejoice for those around you who transform into the Force. Mourn them, do not. Miss them, do not. Attachment leads to jealousy. The shadow of greed, that is. 
+
+ANAKIN: What must I do, Master Yoda? 
+
+YODA: Train yourself to let go of everything you fear to lose. 
+
+78 INT. CORUSCANT-JEDI TEMPLE-HALLWAY-DAY 
+
+ANAKIN hurries down a temple hallway, heading toward a Jedi Briefing Room. SEVERAL JEDI are exiting. 
+
+79 INT. CORUSCANT-JEDI TEMPLE-BRIEFING ROOM-DAY 
+
+ANAKIN rushes into the Briefing Room. By the time he reaches the Chamber, the last of the Jedi are leaving. Only OBI-WAN remains at the front of the lecture hall. He is shutting off some holograms and electronic charts and maps. 
+
+OBI-WAN: You missed the report on the Outer Rim sieges. 
+
+ANAKIN: I'm sorry, I was held up. I have no excuse. 
+
+OBI-WAN: In short, they are going very well. Saleucami has fallen, and Master Vos has moved his troops to Boz Pity. 
+
+ANAKIN: What's wrong then? 
+
+OBI-WAN: The Senate is expected to vote more executive powers to the Chancellor today. 
+
+ANAKIN: Well, that can only mean less deliberating and more action. Is that bad? It will make it easier for us to end this war. 
+
+OBI-WAN: Anakin, be careful of your friend Palpatine. 
+
+ANAKIN: Be careful of what? 
+
+OBI-WAN: He has requested your presence. 
+
+ANAKIN: What for? 
+
+OBI-WAN: He would not say. 
+
+ANAKIN: He didn't inform the Jedi Council? That's unusual, isn't it? 
+
+OBI-WAN: All of this is unusual, and it's making me feel uneasy. You're probably aware that relations between the Council and the Chancellor are stressed. 
+
+ANAKIN: I know the Council has grown wary of the Chancellor's power, mine also for that matter. Aren't we all working together to save the Republic? Why all this distrust? 
+
+OBI-WAN: The Force grows dark, Anakin, and we are all affected by it. Be wary of your feelings. 
+
+80 INT. CORUSCANT-CHANCELLOR'S OFFICE-DAY 
+
+ANAKIN stands with PALPATINE at his window overlooking the vastness of Coruscant. Several buildings have been destroyed. A brown haze hangs over the landscape. 
+
+PALPATINE: Anakin, this afternoon the Senate is going to call on me to take direct control of the Jedi Council. 
+
+ANAKIN: The Jedi will no longer report to the Senate? 
+
+PALPATINE: They will report to me . . . personally. The Senate is too unfocused to conduct a war. This will bring a quick end to things. 
+
+ANAKIN: I agree, but the Jedi Council may not see it that way. 
+
+PALPATINE: There are times when we must all endure adjustments to the constitution in the name of security. 
+
+ANAKIN: With all due respect, sir, the Council is in no mood for more constitutional amendments. 
+
+PALPATINE: Thank you, my friend, but in this case I have no choice . . . this war must be won. 
+
+ANAKIN: Everyone will agree on that. 
+
+PALPATINE: Anakin, I've known you since you were a small boy. I have advised you over the years when I could ... I am very proud of your accomplishments. You have won many battles the Jedi Council thought were lost . . . and you saved my life. I hope you trust me, Anakin. 
+
+ANAKIN: Of course. 
+
+PALPATINE: I need your help, son. 
+
+ANAKIN: What do you mean? 
+
+PALPATINE: I fear the Jedi. The Council keeps pushing for more control. They're shrouded in secrecy and obsessed with maintaining their autonomy . . . ideals. I find simply incomprehensible in a democracy. 
+
+ANAKIN: I can assure you that the Jedi are dedicated to the values of the Republic, sir. 
+
+PALPATINE: Nevertheless, their actions will speak more loudly than their words. I'm depending on you. 
+
+ANAKIN: For what? I don't understand. 
+
+PALPATINE: To be the eyes, ears, and voice of the Republic . . . 
+
+ANAKIN thinks about this. 
+
+PALPATINE: (continuing) Anakin . . . I'm appointing you to be my personal representative on the Jedi Council. 
+
+ANAKIN: Me? A Master? I am overwhelmed, sir, but the Council elects its own members. They will never accept this. 
+
+PALPATINE: I think they will . . . they need you more than you know. 
+
+81 INT. CORUSCANT-BAIL ORGANA'S OFFICE-DAY 
+
+PADME, BAIL ORGANA, and SENATORS MON MOTHMA, FANG ZAR, TERR TANEEL, and GIDDEAN DANU sit in Senator Organa 's office. 
+
+BAIL ORGANA: Now that he has control of the Jedi Council, the Chancellor has appointed Governors to oversee all star systems in the Republic. 
+
+FANG ZAR: When did this happen? 
+
+BAIL ORGANA: The decree was posted this morning. 
+
+PADME: Do you think he will dismantle the Senate? 
+
+MON MOTHMA: Why bother? As a practical matter, the Senate no longer exists. 
+
+GIDDEAN DANU: The constitution is in shreds. Amendment after amendment . . . executive directives, sometimes a dozen in one day. 
+
+BAIL ORGANA: We can't let a thousand years of democracy disappear without a fight. 
+
+EVERYONE looks at each other, a little worried at the implications of what was just said. 
+
+TERR TANEEL: What are you suggesting? 
+
+BAIL ORGANA: I apologize. I didn't mean to sound like a Separatist. 
+
+MON MOTHMA: We are not Separatists trying to leave the Republic. We are loyalists, trying to preserve democracy in the Republic. 
+
+BAIL ORGANA: It has become increasingly clear to many of us that the Chancellor has become an enemy of democracy. 
+
+PADME: I can't believe it has come to this! Chancellor Palpatine is one of my oldest advisors. He served as my Ambassador when I was Queen. 
+
+GlDDEAN DANU: Senator, I fear you underestimate the amount of corruption that has taken hold in the Senate. 
+
+MON MOTHMA: The Chancellor has played the Senators well. They know where the power lies, and they will do whatever it takes to share in it. Palpatine has become a dictator and we have helped him to do it. 
+
+BAIL ORGANA: We can't sit around debating any longer, we have decided to do what we can to stop it. Senator Mon Mothma and I are putting together an organization . . . 
+
+PADME: Say no more. Senator Organa. I understand. At this point, it's better to leave some things unsaid. 
+
+BAIL ORGANA: Yes. I agree and we must not discuss this with anyone, without everyone in this group agreeing. 
+
+MON MOTHMA: That means those closest to you . . . even family ... no one can be told. 
+
+They ALL nod their heads. PADME considers this for a moment. 
+
+PADME: Agreed. 
+
+82 INT. CORUSCANT-JEDI TEMPLE-HALLWAY OUTSIDE COUNCIL CHAMBERS-DAY 
+
+ANAKIN stands pensively in front of the Jedi Council Chambers. The door opens. 
+
+83 INT. CORUSCANT-JEDI TEMPLE-COUNCIL CHAMBERS-DAY 
+
+ANAKIN enters and stands in the middle of the room. He is surrounded by the Jedi Council MACE WINDU, EETH KOTH OBI-WAN, YODA, the HOLOGRAMS of PLO KOON and KI-ADI-MUNDI. 
+
+MACE: Anakin Skywalker, we have approved your appointment to the Council as the Chancellor's personal representative. 
+
+ANAKIN: I will do my best to uphold the principles of the Jedi Order. 
+
+YODA: Allow this appointment lightly, the Council does not. Disturbing is this move by Chancellor Palpatine. 
+
+ANAKIN: I understand. 
+
+MACE: You are on this Council, but we do not grant you the rank of Master. 
+
+Anakin reacts with anger. 
+
+ANAKIN: What? ! How can you do this?? This is outrageous, it's unfair . . . I'm more powerful than any of you. How can you be on the Council and not be a Master? 
+
+MACE: Take a seat, young Skywalker. 
+
+ANAKIN: Forgive me, Master. 
+
+ANAKIN goes and sits in one of the empty chairs. Everyone is embarrassed. KI-ADI-MUNDI WHO APPEARS AS A HOLOGRAM, speaks. 
+
+Kl-ADI-MUNDI: We have surveyed all systems in the Republic, and have found no sign of General Grievous. 
+
+YODA: Hiding in the Outer Rim, Grievous is. The outlying systems, you must sweep. 
+
+OBI-WAN: It may take some time . . . we do not have many ships to spare. 
+
+MACE: We cannot take ships from the front line. 
+
+OBI-WAN: And yet, it would be fatal for us to allow the droid armies to regroup. 
+
+YODA: Master Kenobi, our spies contact, you must, and then wait. 
+
+Kl-ADI-MUNDI: What about the droid attack on the Wookiees? 
+
+MACE: It is critical we send an attack group there, immediately! 
+
+OBI-WAN: He's right, that is a system we cannot afford to lose. It's the main navigation route for the southwestern quadrant. 
+
+ANAKIN: I know that system well. It would take us little time to drive the droids off that planet. 
+
+MACE: Skywalker, your assignment is here with the Chancellor, and Kenobi must find General Grievous. 
+
+YODA: Go, I will. Good relations with the Wookiees, I have. 
+
+MACE: It is settled then. Yoda will take a battalion of clones to reinforce the Wookiees on Kashyyyk. May the Force be with us all. 
+
+ANAKIN is disappointed. 
+
+84 INT. CORUSCANT-JEDI TEMPLE-MASSIVE MAIN HALLWAY AND ALCOVE-LATE AFTERNOON 
+
+ANAKIN and OBI-WAN walk through one of the massive Jedi Temple hallways. ANAKIN is furious. 
+
+ANAKIN: What kind of nonsense is this, put me on the Council and not make me a Master!?? That's never been done in the history of the Jedi. It's insulting! 
+
+OBI-WAN: Calm down, Anakin. You have been given a great honor. To be on the Council at your age . . . It's never happened before. Listen to me, Anakin. The fact of the matter is you're too close to the Chancellor. The Council doesn't like it when he interferes in Jedi affairs. 
+
+ANAKIN: I swear to you, I didn't ask to be put on the Council . . . 
+
+OBI-WAN: But it's what you wanted! Your friendship with Chancellor Palpatine seems to have paid off. 
+
+ANAKIN: That has nothing to do with this. 
+
+OBI-WAN: Anakin, regardless of how it happened, you find yourself in a delicate situation. 
+
+ANAKIN: You mean divided loyalties. 
+
+OBI-WAN: I warned you there was tension between the Council and the Chancellor. I was very clear. Why didn't you listen? You walked right into it. 
+
+ANAKIN: The Council is upset I'm the youngest to ever serve. 
+
+OBI-WAN: No, it is not. Anakin, I worry when you speak of jealousy and pride. Those are not Jedi thoughts. They're dangerous, dark thoughts. 
+
+ANAKIN: Master, you of all people should have confidence in my abilities. I know where my loyalties lie. 
+
+OBI-WAN: I hope so . . . 
+
+ANAKIN: I sense there's more to this talk than you're saying. 
+
+OBI-WAN: Anakin, the only reason the Council has approved your appointment is because the Chancellor trusts you. 
+
+ANAKIN: And? 
+
+OBI-WAN: Anakin, look, I am on your side. I didn't want to see you put in this situation. 
+
+ANAKIN: What situation? 
+
+OBI-WAN: (takes a deep breath) The Council wants you to report on all of the Chancellor's dealings. They want to know what he's up to. 
+
+ANAKIN: They want me to spy on the Chancellor? That's treason! 
+
+OBI-WAN: We are at war, Anakin. The Jedi Council is sworn to uphold the principles of the Republic, even if the Chancellor does not. 
+
+ANAKIN: Why didn't the Council give me this assignment when we were in session? 
+
+OBI-WAN: This assignment is not to be on record. The Council asked me to approach you on this personally. 
+
+ANAKIN: The Chancellor is not a bad man, Obi-Wan. He befriended me. He's watched out for me ever since I arrived here. 
+
+OBI-WAN: That is why you must help us, Anakin. Our allegiance is to the Senate, not to its leader who has managed to stay in office long after his term has expired. 
+
+ANAKIN: Master, the Senate demanded that he stay longer. 
+
+OBI-WAN: Yes, but use your feelings, Anakin. Something is out of place. 
+
+ANAKIN: You're asking me to do something against the Jedi Code. Against the Republic. Against a mentor . . . and a friend. That's what's out of place here. Why are you asking this of me? 
+
+OBI-WAN: The Council is asking you. 
+
+85 EXT. CORUSCANT-CLONE LANDING PLATFORM-DAY 
+
+A JEDI GUNSHIP heads for the huge Clone landing platform. 
+
+86 INT. CORUSCANT-JEDI GUNSHIP-DAY 
+
+YODA, MACE, and OBI-WAN ride in the GUNSHIP as it heads for the Clone landing platform. Mace and Obi-Wan are sitting. 
+
+OBI-WAN : Anakin did not take to his assignment with much enthusiasm. 
+
+YODA: Too much under the sway of the Chancellor, he is. Much anger there is in him. Too much pride in his powers. 
+
+MACE: It's very dangerous, putting them together. I don't think the boy can handle it. I don't trust him. 
+
+OBI-WAN: He'll be all right. I trust him with my life. 
+
+MACE:I wish I did. 
+
+OBI-WAN: With all due respect, Master, is he not the Chosen One? Is he not to destroy the Sith and bring balance to the Force? 
+
+MACE: So the prophecy says. 
+
+YODA: A prophecy . . . that misread could have been. 
+
+OBI-WAN: He will not let me down. He never has. 
+
+YODA: I hope right you are. And now destroy the Droid armies on Kashyyyk, I will. May the Force be with you. 
+
+The GUNSHIP lands and the ramp lowers. YODA exits the GUNSHIP. MACE and OBI-WAN stand and give him a brief bow then take off in the GUNSHIP. 
+
+87 EXT. CORUSCANT-PADME'S APARTMENT-VERANDA-SUNSET 
+
+Padme's Speeder pulls up to the landing platform. CAPTAIN TYPHO escorts PADME onto the veranda, where TWO HANDMAIDENS (ELLE and MOTEE) are waiting. PADME turns to CAPTAIN TYPHO. 
+
+PADME: Thank you, Captain. 
+
+CAPTAIN TYPHO: Rest well. My Lady. 
+
+CAPTAIN TYPHO gets back into the Speeder, and it disappears into the cityscape. The HANDMAIDENS, Motee and Elle, approach PADME as the SHADOW OF A FIGURE moves in the background. C-3PO is standing nearby. 
+
+PADME: I'll be up in a while. 
+
+MOTEE: Yes, my lady. 
+
+C-3PO stands, confused, as the HANDMAIDENS turn and exit. 
+
+C-3PO: Is there anything I might do for you, my lady? 
+
+PADME: Yes, make sure all the security droids are working. Thank you, Threepio. 
+
+The golden droid turns and exits. 
+
+PADME stands and watches the sunset. The SHADOWY FIGURE moves toward her. She senses something. 
+
+ANAKIN: Beautiful, isn't it? 
+
+PADME jumps and turns around. 
+
+PADME: You startled me. 
+
+He sits next to her on the bench. 
+
+ANAKIN: How are you feeling? 
+
+PADME: He keeps kicking. 
+
+ANAKIN: He?! Why do you think it's a boy? 
+
+PADME: (laughs) My motherly intuition. 
+
+She puts his hand on her belly. 
+
+ANAKIN: Whoa! With a kick that strong, it's got to be a girl. 
+
+They laugh. 
+
+PADME: I heard about your appointment. Anakin. I'm so proud of you. 
+
+ANAKIN: I may be on the Council, but . . . they refused to accept me as a Jedi Master. 
+
+PADME: Patience. In time, they will recognize your skills. 
+
+ANAKIN: They still treat me as if I were a Padawan learner. . . they fear my power, that's the problem. 
+
+PADME: Anakin . . . 
+
+ANAKIN: Sometimes, I wonder what's happening to the Jedi Order . . . I think this war is destroying the principles of the Republic. 
+
+PADME: Have you ever considered that we may be on the wrong side? 
+
+ANAKIN: (suspicious) What do you mean? 
+
+PADME: What if the democracy we thought we were serving no longer exists, and the Republic has become the very evil we have been fighting to destroy? 
+
+ANAKIN: I don't believe that. And you're sounding like a Separatist! 
+
+PADME: Anakin, this war represents a failure to listen . . . Now, you're closer to the Chancellor than anyone. Please, please ask him to stop the fighting and let diplomacy resume. 
+
+ANAKIN: (growing angry) Don't ask me to do that, Padme. Make a motion in the Senate, where that kind of a request belongs. I'm not your errand boy. I'm not anyone's errand boy! 
+
+PADME: What is it? 
+
+ANAKIN: Nothing. 
+
+PADME: Don't do this . . . don't shut me out. Let me help you. 
+
+ANAKIN: You can't help me . . . I'm trying to help you. 
+
+They look in each other's eyes. 
+
+ANAKIN: (continuing) I sense . . . there are things you are not telling me. 
+
+PADME is startled at this. 
+
+PADME: I sense there are things you are not telling me. 
+
+PADME smiles. ANAKIN is a little embarrassed. 
+
+PADME: (continuing) Hold me . . . like you did by the lake on Naboo, so long ago . . . when there was nothing but our love ... No politics, no plotting ... no war. 
+
+88 INT. CORUSCANT-GALAXIES OPERA HOUSE-NIGHT 
+
+ANAKIN lands his speeder and exits. 
+ANAKIN runs up the stairs at the Galaxies Opera House. 
+ANAKIN runs through the hallway and enters Palpatine's box, where the CHANCELLOR is sitting with Mas Amedda and Sly-Moore, watching the Man Calamari Ballet doing "Squid Lake." 
+
+ANAKIN: You wanted to see me, Chancellor. 
+
+PALPATINE: Yes, Anakin! Come closer. I have good news. Our Clone Intelligence Units have discovered the location of General Grievous. He is hiding in the Utapau system. 
+
+ANAKIN: At last, we'll be able to capture that monster and end this war. 
+
+PALPATINE: I would worry about the collective wisdom of the Council if they didn't select you for this assignment. You are the best choice by far … but, they can't always be trusted to do the right thing. 
+
+ANAKIN: They try. 
+
+PALPATINE: Sit down, (to his aides) Leave us. 
+
+ANAKIN sits next to PALPATINE. The Chancellor leans over to him. 
+
+PALPATINE: (continuing) Anakin, you know I'm not able to rely on the Jedi Council. If they haven't included you in their plot, they soon will. 
+
+ANAKIN: I'm not sure I understand. 
+
+PALPATINE: You must sense what I have come to suspect . . . the Jedi Council want control of the Republic . . . they're planning to betray me. 
+
+ANAKIN: I don't think . . . 
+
+PALPATINE: Anakin, search your feelings. You know, don't you? 
+
+ANAKIN: I know they don't trust you . . . 
+
+PALPATINE: Or the Senate . . . or the Republic . . . or democracy for that matter. 
+
+ANAKIN: I have to admit my trust in them has been shaken. 
+
+PALPATINE: Why? They asked you to do something that made you feel dishonest, didn't they? 
+
+ANAKIN doesn't say anything. He simply looks down. 
+
+PALPATINE: (continuing) They asked you to spy on me, didn't they? 
+
+ANAKIN: I don't know ... I don't know what to say. 
+
+PALPATINE: Remember back to your early teachings. Anakin. "All those who gain power are afraid to lose it." Even the Jedi. 
+
+ANAKIN: The Jedi use their power for good. 
+
+PALPATINE: Good is a point of view, Anakin. And the Jedi point of view is not the only valid one. The Dark Lords of the Sith believe in security and justice also, yet they are considered by the Jedi to be. . . 
+
+ANAKIN: . . . evil. 
+
+PALPATINE: . . . from a Jedi's point of view. The Sith and the Jedi are similar in almost every way, including their quest for greater power. The difference between the two is the Sith are not afraid of the dark side of the Force. That is why they are more powerful. 
+
+ANAKIN: The Sith rely on their passion for their strength. They think inward, only about themselves. 
+
+PALPATINE: And the Jedi don't? 
+
+ANAKIN: The Jedi are selfless . . . they only care about others. 
+
+PALPATINE smiles. 
+
+PALPATINE: Or so you've been trained to believe. Why is it, then, that they have asked you to do something you feel is wrong? 
+
+ANAKIN: I'm not sure it's wrong. 
+
+PALPATINE: Have they asked you to betray the Jedi code? The Constitution? A friendship? Your own values? Think. Consider their motives. Keep your mind clear of assumptions. The fear of losing power is a weakness of both the Jedi and the Sith. 
+
+ANAKIN is deep in thought. 
+
+PALPATINE: (continuing) Did you ever hear the tragedy of Darth Plagueis "the wise"? 
+
+ANAKIN: No. 
+
+PALPATINE: I thought not. It's not a story the Jedi would tell you. It's a Sith legend. Darth Plagueis was a Dark Lord of the Sith, so powerful and so wise he could use the Force to influence the midi-chlorians to create life ... He had such a knowledge of the dark side that he could even keep the ones he cared about from dying.
+
+ANAKIN: He could actually save people from death? 
+
+PALPATINE: The dark side of the Force is a pathway to many abilities some consider to be unnatural. 
+
+ANAKIN: What happened to him? 
+
+PALPATINE: He became so powerful . . . the only thing he was afraid of was losing his power, which eventually, of course, he did. Unfortunately, he taught his apprentice everything he knew, then his apprentice killed him in his sleep. (smiles) Plagueis never saw it coming. It's ironic he could save others from death, but not himself. 
+
+ANAKIN: Is it possible to learn this power? 
+
+PALPATINE: Not from a Jedi. 
+
+89 EXT. KASHYYYK-DAY 
+
+A WOOKIEE CATAMARAN flanked by WOOKIEE HELICOPTERS approaches the tree housing the HOLOGRAM AREA. 
+
+90 INT. KASHYYYK-HOLOGRAM AREA-DAY 
+
+YODA and various JEDI speak via hologram. The discussion includes OBI-WAN, MACE, AGEN KOLAR, YODA- KI-ADI-MUNDI and PLO KOON. 
+
+Kl-ADI-MUNDI: (holo) Palpatine thinks General Grievous is on Utapau. We have had no reports of this from our agents. 
+
+MACE: (holo) How could the Chancellor have come by this information and we know nothing about it? We have had contact with Baron Papanoida and he said no one was there. 
+
+ANAKIN: A partial message was intercepted in a diplomatic packet from the Chairman of Utapau. 
+
+YODA: Act on this, we must. The capture of General Grievous will end this war. Quickly and decisively we should proceed. 
+
+OBI-WAN: Does everyone agree? 
+
+All the JEDI concur. 
+
+ANAKIN: The Chancellor has requested that I lead the campaign. 
+
+They all look at ANAKIN a bit disturbed. 
+
+MACE: (a little peeved) The Council will make up its own mind who is to go, not the Chancellor. 
+
+Kl-ADI-MUNDI: Yes, this decision is ours to make. 
+
+ANAKIN is embarrassed and becomes sullen. 
+
+YODA: A Master is needed, with more experience. 
+
+MACE: Given our resources, I recommend we send only one Jedi . . . Master Kenobi. 
+
+ANAKIN: He was not so successful the last time he met Grievous. 
+
+OBI-WAN throws ANAKIN a dirty look. 
+
+ANAKIN: (continuing) No offense, my Master, but I'm only stating a fact. 
+
+OBI-WAN: Oh no, you're quite right, but I do have the most experience with his ways of combat. 
+
+YODA: Obi-Wan, my choice is. 
+
+Kl-ADI-MUNDI: I concur. Master Kenobi should go. 
+
+YODA: I agree. 
+
+All the JEDI concur. 
+
+MACE: Very well. Council is adjourned. 
+
+ANAKIN is angry. 
+
+MACE: (continuing) Obi-Wan, prepare two clone brigades as quickly as you can. If this report is true, there's no telling how many battle droids he may have with him. 
+
+91 INT. KASHYYYK-HOLOGRAM AREA-DAY 
+
+YODA gets out of his chair and walks to the edge of the platform. 
+
+CLONE COMMANDER GREE: The droids have started up their main power generators. 
+
+YODA: Then now the time is, Commander. 
+
+CLONE COMMANDER GREE: Yes, sir. 
+
+The battle begins. 
+
+92 EXT. KASHYYYK-BEACH HEAD-DAY 
+
+A WOOKIEE CHIEFTAIN lets out a roar as the Wookiee army rushes to face the DROID ARMY. CORPORATE ALLIANCE TANK DROIDS race across the water against the WOOKIEES and CLONE TROOPERS on the beach. DROID GUNSHIPS provide air support, while a SPIDER DROID emerges from the watery depths. A brave WOOKIEE places an explosive on a SEPARATIST TANK and jumps off just before the TANK EXPLODES. From the Hologram Area, Yoda observes the ongoing battle. 
+
+93 EXT. CORUSCANT-PADME'S APARTMENT-EARLY MORNING 
+
+Padme's apartment building is surrounded by the smog-shrouded city of Coruscant. 
+
+94 INT. CORUSCANT-PADME'S APARTMENT-LIVING ROOM-EARLY MORNING 
+
+PADME and OBI-WAN sit on one of the couches. 
+
+OBI-WAN: Has Anakin been to see you? 
+
+PADME: Several times . . . I was so happy to hear he was accepted on the Jedi Council. 
+
+OBI-WAN: I know ... he deserves it. He is impatient, strong willed, very opinionated, but truly gifted. 
+
+They laugh. 
+
+PADME: You're not just here to say hello. Something is wrong, isn't it? 
+
+OBI-WAN: You should be a Jedi, Padme. 
+
+PADME: You're not very good at hiding your feelings. 
+
+OBI-WAN: It's Anakin . . . He's becoming moody and detached. He's been put in a difficult position as the Chancellor's representative . . . but I think it's more than that. I was hoping he may have talked to you. 
+
+PADME: Why would he talk to me about his work? 
+
+OBI-WAN studies her. 
+
+OBI-WAN: Neither of you is very good at hiding your feelings either. 
+
+PADME: Don't give me that look. 
+
+OBI-WAN: I know how he feels about you. 
+
+PADME: (nervous) What did he say? 
+
+OBI-WAN: Nothing. He didn't have to. 
+
+PADME is a little flustered. She stands and Obi-Wan follows. She walks to the balcony. 
+
+PADME: I don't know what you're talking about. 
+
+OBI-WAN: I know you both too well. I can see you two are in love. Padme, I'm worried about him. 
+
+PADME looks down and doesn't answer. 
+
+OBI-WAN: (continuing) I fear your relationship has confused him. He's changed considerably since we returned . . . 
+
+They stand on the balcony and look off at the early morning city. OBI-WAN starts to leave. PADME stays looking off into the distant city. 
+
+OBI-WAN: (continuing) Padme, I'm not telling the Council about any of this. I ... I hope I didn't upset you. We're all friends, I care about both of you . . . 
+
+PADME: Thank you, Obi-Wan. 
+
+OBI-WAN: Please do what you can to help him. 
+
+95 INT. CORUSCANT-PADME'S APARTMENT-DAY 
+
+PADME, MON MOTHMA, and five other Senators (BANA BREEMU, FANG ZAR. CHI EEKWAY, GIDDEAN DANU, BAIL ORGANA) sit in Padme's living room. C-3PO serves drinks to the guests. 
+
+PADME: We cannot let this turn into another war. 
+
+BAIL ORGANA: Absolutely, that is the last thing we want. 
+
+MON MOTHMA: We are hoping to form an alliance in the Senate to stop the Chancellor from further subverting the constitution, that's all. 
+
+PADME: I know a Jedi I feel it would be wise to consult. 
+
+BANA BREEMU: That would be dangerous. 
+
+MON MOTHMA: We don't know where the Jedi stand in all this. 
+
+PADME: I only wish to discuss this with one . . . one I trust. 
+
+GiDDEAN DANU: Going against the Chancellor without the support of the Jedi is risky. 
+
+PADME: The Jedi aren't any happier with the situation than we are . . . 
+
+CHI EEKWAY: Patience, Senator. 
+
+FANG ZAR: We have so many Senators on our side, surely that will pursuade the Chancellor. 
+
+BANA BREEMU: When you present the "petition of the two thousand" to the Chancellor, things may change. 
+
+BAIL ORGANA: Let us see what we can accomplish in the Senate, before we include the Jedi. 
+
+PADME takes a deep breath in frustration and disappointment. 
+
+96 EXT. CORUSCANT-CLONE LANDING PLATFORM-DAY 
+
+ANAKIN and OBI-WAN walk onto a landing platform overlooking a docking bay where THOUSANDS OF CLONE TROOPS and armored weapons, tanks, etc., are being loaded onto a massive REPUBLIC ASSAULT SHIP. 
+
+ANAKIN: You're going to need me on this one, Master. 
+
+OBI-WAN: Oh, I agree. However it may turn out just to be a wild bantha chase. 
+
+OBI-WAN starts to turn and leave. 
+
+ANAKIN: Master! 
+
+OBI-WAN stops and ANAKIN walks over to him. 
+
+ANAKIN: (continuing) Master, I've disappointed you. I have not been very appreciative of your training . . . I have been arrogant and I apologize . . . I've just been so frustrated with the Council. Your friendship means everything to me. 
+
+OBI-WAN: You are strong and wise, Anakin, and I am very proud of you. I have trained you since you were a small boy. I have taught you everything I know. And you have become a far greater Jedi than I could ever hope to be, and you have saved my life more times than I can remember. But be patient, Anakin. It won't be long before the Council makes you a Jedi Master. 
+
+OBI-WAN starts down the ramp, then turns back. 
+
+OBI-WAN: (continuing) Don't worry. I have enough clones with me to take three systems the size of Utapau. I think I'll be able to handle the situation . . . even without your help. 
+
+ANAKIN: Well, there's always a first time. 
+
+OBI-WAN laughs. 
+
+They talk for a few more minutes before ANAKIN watches OBI-WAN depart. 
+
+ANAKIN: Obi-Wan, may the Force be with you. 
+
+OBI-WAN: Good-bye, old friend. May the Force be with you. 
+
+OBI-WAN heads down a ramp toward the waiting Republic cruiser. 
+
+97 EXT. CORUSCANT-CLONE LANDING PLATFORM-DAY 
+
+The Republic cruiser lifts off and heads for space. 
+
+98 INT. REPUBLIC BATTLE CRUISER-HANGAR-SPACE 
+
+CLONE TROOPERS stand at attention in rows on the floor of the hangar deck, waiting to board landing craft. OBI-WAN stands next to his BLUE JEDI FIGHTER- talking to SEVERAL CLONE COMMANDERS with their helmets off. A hologram of the planet Utapau is projected by R4-G9 into the middle of the hangar. 
+
+CLONE COMMANDER CODY: Fortunately, most of the cities are concentrated on this small continent here . . . on the far side. 
+
+OBI-WAN: I'll keep them distracted until you get there. Just don't take too long. 
+
+CLONE COMMANDER CODY: Come on, boss, when have I ever let you down? 
+
+They laugh. 
+
+OBI-WAN: (laughing) Cato Nemoidia . . . for starters. 
+
+OBI-WAN climbs into his Jedi Fighter. 
+
+CLONE COMMANDER CODY: That was Anakin who was late. I believe. 
+
+OBI-WAN: Very well, the burden is on me not to destroy all the droids before you get there. 
+
+CLONE COMMANDER CODY: I'm counting on you. 
+
+99 EXT. JEDI FIGHTER-SPACE 
+
+OBI-WAN blasts the BLUE JEDI FIGHTER out of the Republic Battle Cruiser and into the hyperspace ring. He heads for the planet Utapau. 
+
+100 EXT. CORUSCANT-CITYSCAPE-CHANCELLOR'S TRANSPORT-DAY 
+
+The Chancellor's Transport races through the city and heads for the Senate Office Building landing platform. Waiting on the landing platform is a LONE JEDI. The Transport lands, and CHANCELLOR PALPATINE emerges with FOUR ROYAL GUARDS and MAS AMEDDA. The FOUR ROYAL GUARDS move off in another direction as PALPATINE greets ANAKIN, who has been waiting for him. 
+
+PALPATINE: Well, Anakin, did you see your friend off? 
+
+ANAKIN: He will soon have Grievous's head. 
+
+PALPATINE: We can only hope the Council didn't make a mistake. 
+
+ANAKIN: The Council was very sure in its decision. 
+
+They exit the landing platform. 
+
+101 INT. CORUSCANT-SENATE OFFICE BUILDING-MAIN HALLWAY-DAY 
+
+They enter the main hallway of the Senate Office Building. They pass SEVERAL SENATORS, including REPRESENTATIVE JAR JAR BINKS from Naboo. 
+
+JAR JAR: Helloo Annie. Good en to see yousa . . . 
+
+The Gungan waves to Anakin. 
+
+ANAKIN: Hi, Jar Jar. 
+
+JAR JAR: Oopsin da Chancellor!! So sorry, Your Highness, sir. 
+
+Anakin turns back to the Chancellor. 
+
+PALPATINE: There are rumors in the Senate about Master Kenobi. Many believe he is not fit for this assignment. 
+
+ANAKIN: Not fit? Why would anyone think that? 
+
+PALPATINE: They say his mind has become fogged by the influence of a certain female Senator. 
+
+ANAKIN: That's ridiculous. Who?!? 
+
+PALPATINE: (slyly) No one knows who she is ... only that she is a Senator. 
+
+ANAKIN: That's impossible. I would know. 
+
+PALPATINE: Sometimes the closest are the ones who cannot see. 
+
+ANAKIN becomes worried. 
+
+PALPATINE: (continuing) Idle Senate gossip is rarely true and never accurate. I'm sure your Master will do fine. 
+
+102 INT. POLIS MASSA-MEDICAL CENTER-DREAM 
+
+PADME calls out in pain. OBI-WAN is near her and softly speaks to her. 
+
+OBI-WAN: Save your energy. 
+
+PADME: I can't! 
+
+OBI-WAN: Don't give up, Padme. Don't give up . . . 
+
+103 INT. CORUSCANT-PADME'S APARTMENT-LANDING ROOM-DAY 
+
+ANAKIN is in the living room, working. He sits on the couch where Obi-Wan was sitting. PADME enters and crosses behind him. 
+
+ANAKIN: I sense someone familiar . . . Obi-Wan's been here, hasn't he? 
+
+PADME: He came by this morning. 
+
+ANAKIN: What did he want? 
+
+PADME looks at him for a moment. ANAKIN seems tense. 
+
+PADME: He's worried about you. 
+
+ANAKIN: You told him about us, didn't you? 
+
+She continues to walk to the bedroom, he follows. 
+
+PADME: He's your best friend, Anakin. He says you're under a lot of stress. 
+
+ANAKIN: And he's not? 
+
+PADME: You have been moody lately. 
+
+ANAKIN: I'm not moody . . . 
+
+PADME: Anakin! Don't do this again. 
+
+ANAKIN: I don't know ... I feel . . . lost. 
+
+PADME: Lost? What do you mean? You're always so sure of yourself. I don't understand. 
+
+ANAKIN: Obi-Wan and the Council don't trust me. 
+
+PADME: They trust you with their lives. Obi-Wan loves you as a son. 
+
+ANAKIN: Something's happening . . . I'm not the Jedi I should be. I am one of the most powerful Jedi, but I'm not satisfied ... I want more, and I know I shouldn't. 
+
+PADME: You expect too much of yourself. 
+
+They stop in front of the window in the bedroom. ANAKIN puts his hand on her belly. 
+
+ANAKIN: I have found a way to save you. 
+
+PADME: Save me? 
+
+ANAKIN: From my nightmares. 
+
+PADME: Is that what's bothering you? 
+
+ANAKIN: I won't lose you, Padme. 
+
+PADME: I'm not going to die in childbirth, Annie. I promise you. 
+
+ANAKIN: No, I promise you! I am becoming so powerful with my new knowledge of the Force, I will be able to keep you from dying. 
+
+PADME looks ANAKIN in the eye. 
+
+PADME: You don't need more power, Anakin. I believe you can protect me against anything, just as you are. 
+
+They embrace and kiss. 
+
+104 EXT. UTAPAU-SPACE 
+
+OBI-WAN blasts out of the BLUE JEDI FIGHTER's hyperspace ring and heads for the planet Utapau. The BLUE FIGHTER skims over the planet's surface, flat except for a few giant sinkholes. 
+
+105 INT. UTAPAU-LANDING PLATFORM-DAY 
+
+OBI-WAN lands his ship on a Platform projecting out of the side of a giant sinkhole. All is quiet. A local administrator, TION MEDON, comes out to greet the ship. OBI-WAN climbs out of his Fighter as a SHORT GROUND CREW looks over his ship. On a ledge above the landing platform, GRIEVOUS's BODYGUARDS watch as OBI-WAN talks to TION MEDON. 
+
+TlON MEDON: Greetings, young Jedi. What brings you to our remote sanctuary? 
+
+OBI-WAN: Unfortunately, the war. 
+
+TlON MEDON: There is no war here unless you've brought it with you. 
+
+OBI-WAN: With your kind permission, I should like some fuel and to use your city as a base as I search nearby systems for General Grievous. 
+
+A GROUND CREW rushes out and refuels Obi-Wan’s Fighter. TION MEDON leans close to OBI-WAN and speaks quietly. 
+
+TlON MEDON: He is here! We are being held hostage. They are watching us. 
+
+OBI-WAN: I understand. 
+
+TlON MEDON: The tenth level . . . thousands of Battle Droids . . . 
+
+OBI-WAN: Tell your people to take shelter. If you have warriors, now is the time. 
+
+OBI-WAN starts back toward his Starfighter as TION MEDON leaves the Landing Platform. GRIEVOUS's BODYGUARDS retreat from the overhead platform. OBI-WAN climbs back into his BLUE JEDI FIGHTER. His Astro Unit (R4-G9) turns to him: 
+
+OBI-WAN: (continuing) Geenine, take the Fighter back to the ship. I'm staying here. Tell Cody I've made contact. 
+
+The little Astro Droid BEEPS a reply. 
+
+106 EXT. UTAPAU-OBSERVATION DECK-DAY 
+
+On a high balcony, TION MEDON looks down on the landing platform. A few steps behind him stands one of GENERAL GRIEVOUS's BODYGUARDS. They watch the canopy lower. 
+
+TlON MEDON: I told you, all he wanted was fuel. 
+
+BODYGUARD: What was his name? 
+
+TlON MEDON: He didn't say. 
+
+They watch as the BLUE JEDI FIGHTER takes off. 
+
+107 INT. UTAPAU-LANDING PLATFORM-HALLWAY-DAY 
+
+OBI-WAN also watches his ship take off. He is hiding in the hallway. He quietly moves farther into the city. 
+
+108 EXT. UTAPAU STAIRWAY-SINKHOLE RIM-DAY 
+
+OBI-WAN quickly rushes up a stairway cut into the side of the sinkhole. It's hard to see him. In an alcove, he carefully surveys the city, then quickly moves on. 
+
+109 INT. UTAPAU-CITY-DRAGON CORRAL-DAY 
+
+OBI-WAN makes his way through the city, looking up at the tenth level with electro-binoculars from his utility belt. He tries to figure out how he is going to get up there. He hears strange bellowing cries and he investigates. 
+He comes across a corral filled with about half a dozen DRAGON-LIKE LIZARDS. SEVERAL WRANGLERS are standing around. 
+OBI-WAN walks up to the WRANGLERS and uses the Force with his slight hand movements. 
+
+OBI-WAN: I need transportation. 
+
+WRANGLER: (subtitled, in native tongue) You need transportation. 
+
+OBI-WAN: Get it for me. 
+
+WRANGLER: (subtitled, in native tongue) I will get it for you. 
+
+One of the WRANGLERS turns to the others and chatters away in his strange tongue. OBI-WAN walks along the line of DRAGON/LIZARDS, checking out each one. He looks at their teeth, legs, etc. Finally he pats one on the neck. 
+
+OBI-WAN: This one. 
+
+The WRANGLER brings the chosen one over to him. 
+
+WRANGLER: Boga. She answers to Boga. 
+
+OBI-WAN: Good girl, Boga. 
+
+OBI-WAN swings onto the back of the LIZARD. The beast rears up and scurries outside to the edge of the sinkhole. 
+
+110 EXT. UTAPAU-SINKHOLE WALL-LIZARD-DAY 
+
+The LIZARD BOGA rears up on her hind legs again, then climbs the wall of the sheer cliff and starts moving up toward the tenth level. The city appears to be deserted. OBI-WAN is alert to any movement. 
+
+111 INT. UTAPAU-CONFERENCE ROOM-GRAND CHAMBER-DAY 
+
+GENERAL GRIEVOUS stands before the COUNCIL OF SEPARATISTS, including NUTE GUNRAY, RUNE HAAKO. POGGLE THE LESSER, SHU MAI, SAN HILL PO NUDO, WAT TAMBOR, and PASSEL ARGENTE. OBI-WAN hides above the assembly and watches intently. 
+
+GENERAL GRIEVOUS: It won't be long before the armies of the Republic track us here. I am sending you to the Mustafar system in the Outer Rim. It is a volcanic planet which generates a great deal of scanning interference. You will be safe there. 
+
+NUTE GUNRAY: Safe? Chancellor Palpatine managed to escape your grip, General, without Count Dooku. I have doubts about your ability to keep us safe. 
+
+GENERAL GRIEVOUS: Be thankful, Viceroy, you have not found yourself in my grip . . . Your ship is waiting. 
+
+OBI-WAN is deep in thought. 
+
+112 INT. UTAPAU-TENTH LEVEL-CONTROL CENTER-DAY 
+
+The JEDI removes his cloak and jumps down behind the GENERAL. 
+
+OBI-WAN: Hello, there! 
+
+GENERAL GRIEVOUS: General Kenobi, you are a bold one. I find your behavior bewildering . . . Surely you realize you're doomed, (to droids) Kill him! 
+
+About a HUNDRED BATTLE DROIDS surround OBI-WAN, GENERAL GRIEVOUS, and his BODYGUARDS. OBI-WAN looks around, then walks right up to GENERAL GRIEVOUS. 
+They stare at each other for a moment. 
+
+GENERAL GRIEVOUS: Enough of this. 
+
+The BODYGUARDS raise their power staffs to knock OBI-WAN away, but OBI-WAN ducks as the deadly staffs whistle over his head. The Jedi's lightsaber ignites, and OBI-WAN deftly cuts one BODYGUARD in two. His staff flies into the air and is caught by GENERAL GRIEVOUS. The other THREE BODYGUARDS attack OBI-WAN with an intense fury. 
+OBI-WAN uses the Force to release apiece of equipment from the ceiling. It drops on the BODYGUARDS, smashing them. OBI-WAN walks toward GRIEVOUS, slashing the last BODYGUARD to pieces. BATTLE DROIDS move toward OBI-WAN. 
+
+GENERAL GRIEVOUS: Back away. I will deal with this Jedi slime myself. 
+
+OBI-WAN: Your move. 
+
+GENERAL GRIEVOUS: You fool. I have been trained in your Jedi arts by Count Dooku himself. Attack, Kenobi. 
+
+His arms separate and grab all four lightsabers on his belt. His four arms create a flashing display of swordsmanship. 
+
+OBI-WAN: You forget I trained the Jedi that defeated Count Dooku! 
+
+OBI-WAN is hard-pressed to defend himself against the deadly onslaught. They fight across the control room as the BATTLE DROID SHARPSHOOTERS try to pick off the Jedi. OBI-WAN mounts a ferocious counterattack and cuts off one of GRIEVOUS's hands. A loud EXPLOSION is heard echoing throughout the sinkhole. GENERAL GRIEVOUS and OBI-WAN glance to the entrance of the control center and see CLONE TROOPS in the distance, attacking DROIDS in the sinkhole. On the far wall of the sinkhole, CLONES can be seen rappelling onto balconies. 
+
+OBI-WAN: I may not defeat your droids, but my troops certainly will. 
+
+GENERAL GRIEVOUS: Army or not, you must realize you are doomed. 
+
+OBI-WAN: I don't think so. 
+
+TWENTY CLONES suddenly rappel into the entrance of the control center, ray guns blazing. Chaos. Laser bolts fly everywhere as the DROIDS return fire. OBI-WAN attacks GENERAL GRIEVOUS, who defends himself rigorously with one of his bodyguard's electro-staffs. OBI-WAN uses the Force to hurl GENERAL GRIEVOUS backwards. He falls onto a lower platform and OBI-WAN jumps down after him. 
+
+113 INT. UTAPAU-TENTH LEVEL-CONTROL CENTER-DAY 
+
+More CLONES rappel into the control center and blast away at the remaining DROIDS. 
+The JEDI cuts down several DROIDS as he races to the entrance of the control center. OBI-WAN spots GENERAL GRIEVOUS racing toward one of the landing platforms in the midst of the battle. GENERAL GRIEVOUS jumps onto a WHEEL SCOOTER and takes off down the wall of the sinkhole. OBI-WAN whistles for his LIZARD BOGA, who runs to him. OBI-WAN jumps on. 
+
+114 EXT. UTAPAU-CLIFF AND LANDING PLATFORM-DAY 
+
+The chase begins. Obi-Wan drops his lightsaber while riding Boga. 
+
+115 EXT. CORUSCANT-SENATE OFFICE BUILDING-SUNSET 
+
+The sun is setting as the lights come on in the massive Senate Office Building. The sky is red. 
+
+116 INT. CORUSCANT-CHANCELLOR'S OFFICE-SUNSET 
+
+PALPATINE listens to a delegation from the Senate, which includes PADME and five other Senators: NEE ALAVAR, FANG ZAR, MALEDEE, SWEITT CONCORKILL, and MON CALAMARI. ANAKIN stands to one side of PALPATINE. 
+
+PALPATINE: I understand your reservations completely, Senator, and I assure you the appointment of Governors will in no way compete with the duties of the Senate. 
+
+PADME: May I take it then, that there will be no further amendments to the Constitution? 
+
+PALPATINE: I want this terrible conflict to end as much as you do, My Lady, and when it does I guarantee an immediate return to democracy . . . 
+
+PADME: You are pursuing a diplomatic solution to the war, then. 
+
+PALPATINE: You must trust me to do the right things, Senator. That is why I am here. 
+
+FANGZAR: But surely . . . 
+
+The Chancellor turns on FANG ZAR. 
+
+PALPATINE: I have said I will do what is right, that should be enough for your . . . committee. 
+
+PADME: On behalf of the "delegation of two thousand," I thank you, Chancellor. 
+
+PALPATINE: I thank you for bringing this to my attention, Senator. 
+
+PADME gives ANAKIN a frustrated look, then turns and exits with the other FIVE SENATORS. PALPATINE turns to ANAKIN. 
+
+PALPATINE: (continuing) Their sincerity is to be admired, although I sense there is more to their request than they are telling us. 
+
+ANAKIN: What do you mean? 
+
+PALPATINE: They are not to be trusted. 
+
+ANAKIN: Surely Senator Amidala can be trusted . . . 
+
+PALPATINE: These are unstable times for the Republic, Anakin. Some see instability as an opportunity. Senator Amidala is hiding something. I can see it in her eyes. 
+
+ANAKIN: I'm sure you're mistaken. 
+
+PALPATINE: I'm surprised your Jedi insights are not more sensitive to such things. 
+
+ANAKIN: I simply don't sense betrayal in Senator Amidala. 
+
+PALPATINE studies ANAKIN carefully and gives him a skeptical look. 
+
+PALPATINE: Yes, you do, but you don't seem to want to admit it. There is much conflict in you, Anakin. 
+
+117 INT. CORUSCANT-JEDI WAR ROOM-EARLY EVENING 
+
+KI-ADI-MUNDI, ANAKIN, YODA, MACE, CLONE COMMANDER CODY, and AAYLA SECURA talk via holograms. 
+
+CLONE COMMANDER CODY: Master Windu, may I interrupt? General Kenobi has made contact with General Grievous, and we 
+have begun our attack. 
+
+MACE WlNDU: Thank you, Commander. Anakin, deliver this report to the Chancellor. His reaction will give us a clue to his 
+intentions. 
+
+ANAKIN: Yes, Master. 
+
+ANAKIN leaves the room. COMMANDER CODY's hologram disappears. 
+
+MACE WINDU: I sense a plot to destroy the Jedi. The dark side of the Force surrounds the Chancellor. 
+
+Kl-ADI-MUNDI: If he does not give up his emergency powers after the destruction of Grievous, then he should be removed from 
+office. 
+
+MACE WiNDU: That could be a dangerous move ... the Jedi Council would have to take control of the Senate in order to secure a peaceful transition . . . 
+
+Kl-ADI-MUNDI: . . . and replace the Congress with Senators who are not filled with greed and corruption. 
+
+YODA: To a dark place this line of thought will carry us. Hmmmmm. . . . great care we must take. 
+
+118 INT. CORUSCANT-CHANCELLOR'S OFFICE-EARLY EVENING 
+
+ANAKIN brings news to PALPATINE. 
+
+ANAKIN: Chancellor, we have just received a report from Master Kenobi. He has engaged General Grievous. 
+
+PALPATINE: We can only hope that Master Kenobi is up to the challenge. 
+
+ANAKIN: I should be there with him. 
+
+PALPATINE: It is upsetting to me to see that the Council doesn't seem to fully appreciate your talents. Don't you wonder why they won't make you a Jedi Master? 
+
+ANAKIN: I wish I knew. More and more I get the feeling that I am being excluded from the Council. I know there are things about the Force that they are not telling me. 
+
+PALPATINE: They don't trust you, Anakin. They see your future. They know your power will be too strong to control. Anakin, you must break through the fog of lies the Jedi have created around you. Let me help you to know the subtleties of the Force. 
+
+They walk into the hallway. 
+
+ANAKIN: How do you know the ways of the Force? 
+
+PALPATINE: My mentor taught me everything about the Force . . . even the nature of the dark side. 
+
+They stop. 
+
+ANAKIN: You know the dark side?!? 
+
+PALPATINE: Anakin, if one is to understand the great mystery, one must study all its aspects, not just the dogmatic, narrow view of the Jedi. If you wish to become a complete and wise leader, you must embrace a larger view of the Force. Be careful of the Jedi, Anakin. (pausing) They fear you. In time they will destroy you. Let me train you. 
+
+ANAKIN: I won't be a pawn in your political game. The Jedi are my family. 
+
+PALPATINE: Only through me can you achieve a power greater than any Jedi. Learn to know the dark side of the Force, Anakin, and you will be able to save your wife from certain death. 
+
+ANAKIN: What did you say? 
+
+PALPATINE: Use my knowledge, I beg you . . . 
+
+ANAKIN: You're a Sith Lord! 
+
+ANAKIN ignites his lightsaber. 
+
+PALPATINE: I know what has been troubling you . . . Listen to me. Don't continue to be a pawn of the Jedi Council! Ever since I've known you, you've been searching for a life greater than that of an ordinary Jedi . . . a life of significance, of conscience. 
+
+ANAKIN: You're wrong! 
+
+PALPATINE: Are you going to kill me? 
+
+ANAKIN: I would certainly like to. 
+
+PALPATINE: I know you would. I can feel your anger. It gives you focus, makes you stronger. 
+
+ANAKIN raises his lightsaber to PALPATINE's throat. There is a tense moment, then ANAKIN relaxes, and then turns off his lightsaber. 
+
+ANAKIN: I am going to turn you over to the Jedi Council. 
+
+PALPATINE: Of course you should. But you're not sure of their intentions, are you? What if I am right and they are plotting to take over the Republic? 
+
+ANAKIN: I will quickly discover the truth of all this. 
+
+PALPATINE: You have great wisdom, Anakin. Know the power of the dark side. The power to save Padme. 
+
+ANAKIN stares at him for a moment. 
+PALPATINE turns and moves to his office. 
+
+PALPATINE: (continuing) I am not going anywhere. You have time to decide my fate. Perhaps you'll reconsider and help me rule the galaxy for the good of all . . . 
+
+PALPATINE sits behind his desk. 
+
+119 EXT. UTAPAU-CLIFF AND LANDING PLATFORM-DAY 
+
+OBI-WAN gives the LIZARD a swift kick with the heel of his boot, and they take off down the vertical side of the sheer cliff. As GENERAL GRIEVOUS reaches the landing platform where his shuttle is waiting. OBI-WAN drops onto the top of the starship with his LIZARD. GENERAL GRIEVOUS spins his scooter around and takes off up the vertical cliff face with OBI-WAN and his LIZARD in hot pursuit. The sinkhole is engulfed in a great battle between CLONES and DROIDS. The PEOPLE OF UTAPAU cower in whatever shelter they can find. 
+
+120 EXT. UTAPAU-MAIN CITY PLAZA-DAY 
+
+A LARGE GROUP OF UTAPAUAN TROOPS on LIZARDS attack the DROID ARMY. 
+
+OBI-WAN and GENERAL GRIEVOUS race through the city at breakneck speed. Passing through battle zones, narrowly escaping EXPLOSIONS, laser bolts, and TROOPS from both sides. 
+
+GENERAL GRIEVOUS lays the Scooter down as he goes around sharp turns. Obi-Wan's LIZARD breathes hard as she tries to keep up. They destroy droids, equipment, and clone troops as the JEDI and the GENERAL cut a swath of destruction through the city. 
+
+121 EXT. UTAPAU-WINDMILLS-DAY 
+
+GENERAL GRIEVOUS works his way out onto the rim of the sinkhole, passing some wind blades. The evil Droid General releases the brakes on the lethal blades, and they begin to spin, cutting off Obi-Wan's access to the General. Obi-Wan's LIZARD pulls up short in front of the blades. GENERAL GRIEVOUS laughs and talks into a comlink. 
+
+GENERAL GRIEVOUS: Prepare to move out of orbit. I will be up in a few moments. 
+
+OBI-WAN sizes up the situation, looking for a way to get to GENERAL GRIEVOUS. 
+
+The GENERAL accelerates off the edge, activating his claws, drops, and clings to another nearby grouping of windmills. Obi-Wan's LIZARD attempts to jump to follow and barely makes it, almost falling into the precipice below. 
+
+122 INT. UTAPAU-CITY TUNNEL SYSTEM-DAY 
+
+GENERAL GRIEVOUS roars through the stone block tunnel system, riding up on the curved walls as he goes around corners or passes oncoming traffic. OBI-WAN races after the Droid, his LIZARD moving onto the ceiling as they pass traffic. OBI-WAN catches up with GENERAL GRIEVOUS, and they charge through the tunnel, side by side. OBI-WAN grabs the Droid's electronic staff. 
+
+123 EXT. UTAPAU-SECRET LANDING PLATFORM-DAY 
+
+Extending from the wall of a small sinkhole is a secret landing platform with a small Federation Fighter sitting in the middle of it. OBI-WAN and GENERAL GRIEVOUS race out of the tunnel system and onto the landing platform. 
+
+OBI-WAN yanks on the staff, then jumps off his LIZARD onto the General's scooter, knocking both warriors to the ground. GENERAL GRIEVOUS pulls out a laser pistol and fires at OBI-WAN. The Jedi reaches out his hand, grabs the General's electro-staff and spins the staff, blocking the laser bolts. 
+
+OBI-WAN charges GENERAL GRIEVOUS, swinging the staff and hitting the Droid in the stomach, knocking the gun away. GENERAL GRIEVOUS is hit by the staff, and the Force bends his forearm. He pulls OBI-WAN close to him, and they engage in a furious fight. The electro-staff is knocked away. The two engage in hand-to-hand combat. OBI-WAN struggles to avoid the deadly blows of the brutal, unstoppable Droid. 
+
+GENERAL GRIEVOUS's stomachplate is loose. OBI-WAN grabs it and rips it off, revealing the alien life form's guts encased in a bag in the Droid's chest. GENERAL GRIEVOUS grabs OBI-WAN, hoists him over his head, and tosses him across the platform. OBI-WAN dangles off the edge of the platform. He clutches the rim, trying to hold on. The DROID then grabs the staff and charges OBI-WAN. At the last second, OBI-WAN reaches out his hand and uses the Force to retrieve the Droid's laser pistol. 
+
+The JEDI fires several blasts in the stomach area of the alien Droid, and he EXPLODES from the inside out. The smoldering Droid falls to the ground. OBI-WAN has killed GENERAL GRIEVOUS. He pulls himself up onto the platform and walks by the destroyed carcass. 
+
+OBI-WAN: So uncivilized . . . 
+
+OBI-WAN brushes himself off. He throws the pistol onto the platform, picks up the electro-staff, and jumps on BOGA. The trusty beast rears up and takes off into the tunnel system. 
+
+124 INT. JEDI GUNSHIP-LANDING PLATFORM-EARLY EVENING 
+
+MACE and the JEDI (AGEN KOLAR, KIT FISTO, AND SAESEE TIIN) are preparing to board a JEDI GUNSHIP to the CHANCELLOR's office. ANAKIN enters the hangar. 
+
+ANAKIN: Master Windu, I must talk to you. 
+
+MACE WiNDU: What is it, Skywalker? We are in a hurry. We have just received word that Obi-Wan has destroyed General Grievous. We are on our way to make sure the Chancellor returns emergency powers back to the Senate. 
+
+ANAKIN: He won't give up his power. I've just learned a terrible truth. I think Chancellor Palpatine is a Sith Lord. 
+
+MACE WINDU: A Sith Lord? 
+
+ANAKIN: Yes. The one we have been looking for. 
+
+MACE WiNDU: How do you know this? 
+
+ANAKIN: He knows the ways of the Force. He has been trained to use the dark side. 
+
+MACE WiNDU: Are you sure? 
+
+ANAKIN: Absolutely. 
+
+MACE WiNDU: Then our worst fears have been realized. We must move quickly if the Jedi Order is to survive. 
+
+ANAKIN: Master, the Chancellor is very powerful. You will need my help if you are going to arrest him. 
+
+MACE WiNDU: For your own good, stay out of this affair. I sense a great deal of confusion in you, young Skywalker. There is much fear that clouds your judgment. 
+
+ANAKIN: I must go, Master. 
+
+MACE WiNDU: No. If what you told me is true, you will have gained my trust, but for now remain here. 
+
+ANAKIN: Yes, Master. 
+
+MACE WiNDU: Wait for us in the Council Chamber until we return. 
+
+ANAKIN: Yes, Master. 
+
+ANAKIN watches as the JEDI leave in their ship. 
+
+125 INT. CORUSCANT-JEDI COUNCIL/PADME'S APARTMENT-EARLY EVENING 
+
+(INTERCUT) 
+
+PADME is alone in her apartment, thinking of Anakin. ANAKIN sits alone in the Jedi Council Chamber thinking of PADME. 
+
+PALPATINE: (V.O.) You do know, don't you, if the Jedi destroy me, any chance of saving her will be lost. 
+
+PADME: I truly, deeply love you. Before I die. I want you to know. 
+
+C-3PO: My Lady, are you. . . . Are you all right? 
+
+ANAKIN: I can't do this ... I can't let her die. 
+
+ANAKIN rushes out of the Council Chamber and to his speeder. The hangar door opens and he lifts off. 
+
+126 EXT. CORUSCANT-SENATE OFFICE BUILDING-LANDING PLATFORM-EARLY EVENING 
+
+The sky is still blue as a JEDI GUNSHIP lands on the Senate Office Building landing platform. 
+FOUR JEDI exit the SHUTTLE and enter the Senate Office Building. MACE WINDU, AGEN KOLAR, KIT FISTO, and SAESEE TIIN, like gunfighters out of the Old West, walk through the massive hallway, four across. 
+
+127 INT. CORUSCANT-LOBBY TO CHANCELLOR'S OFFICE-EARLY EVENING 
+
+The FOUR JEDI enter the lobby, raising their arms, and send the Chancellor's aide, DAR WAC, flying against the wall, along with TWO REPUBLIC GUARDS. They storm into the Chancellor's office. 
+
+128 INT. CORUSCANT-CHANCELLOR’S OFFICE-EARLY EVENING 
+
+MACE arrives with THREE JEDI to arrest PALPATINE. 
+
+PALPATINE: Master Windu. I take it General Grievous has been destroyed then. I must say, you're here sooner than expected. 
+
+MACE WINDU: In the name of the Galactic Senate of the Republic, you are under arrest, Chancellor. 
+
+MACE WINDU and the other JEDI ignite their lightsabers. 
+
+PALPATINE: Are you threatening me, Master Jedi? 
+
+MACE: The Senate will decide your fate. 
+
+PALPATINE: (burst of anger) I am the Senate! 
+
+MACE: Not yet! 
+
+PALPATINE stands, a laser sword appears out of his cloak sleeve, and he spins toward the JEDI. 
+
+PALPATINE: It's treason, then. 
+
+A close shot of PALPATINE as the fight begins. Close shots of THREE JEDI getting cut down by PALPATINE. PALPATINE and MACE continue to fight. 
+
+Jedi Master MACE WINDU and the Sith Lord fight their way down the hallway and into the main office area. PALPATINE is able to use the Force to slam MACE against the wall, but he recovers before the Chancellor can cut him down. 
+
+ANAKIN lands his speeder, jumps out, and runs down a long corridor toward the Chancellor's office. 
+
+In the heat of battle, MACE cuts the window behind the Chancellor's desk, and it crashes away. MACE is forced out onto the ledge, which is twenty stories up. They fight over the precipice. ANAKIN arrives to see PALPATINE and MACE fighting. 
+
+They stop as MACE forces PALPATINE to drop his sword. PALPATINE and MACE start yelling at each other. 
+
+MACE WINDU: You are under arrest, My Lord. 
+
+PALPATINE: Anakin! I told you it would come to this. I was right. The Jedi are taking over. 
+
+MACE WlNDU: You old fool. The oppression of the Sith will never return. Your plot to regain control of the Republic is over . . . you have lost . . . 
+
+PALPATINE: No! No! You will die! 
+
+PALPATINE raises his hands, and lightning bolts shoot out. They are blocked by MACE's lightsaber. PALPATINE is pushed back against the window sill. 
+
+PALPATINE: He is a traitor, Anakin. 
+
+MACE WlNDU: He's the traitor. Stop him! 
+
+PALPATINE: Come to your senses, boy. The Jedi are in revolt. They will betray you, just as they betrayed me. 
+
+MACE WlNDU: Aarrrrggghhhhh . . . 
+
+PALPATINE: You are not one of them, Anakin. Don't let him kill me. 
+
+MACE WlNDU: Aarrrrggghhhhh . . . 
+
+PALPATINE: I am your pathway to power. I have the power to save the one you love. You must choose. You must stop him. 
+
+MACE WlNDU: Don't listen to him, Anakin. 
+
+PALPATINE: Help me! Don't let him kill me. I can't hold on any longer. Ahhhhhhh . . . ahhhhhhh . . . ahhhhhhh . . . 
+
+MACE pushes PALPATINE out to the edge of the ledge. As the Jedi moves closer, the bolts from Palpatine's hands begin to arch back on him. The Chancellor's face begins to twist and distort. His eyes become yellow as he struggles to intensify his powers. 
+
+PALPATINE: I can't ... I give up. Help me. I am weak ... I am too weak. Don't kill me. I give up. I'm dying. I can't hold on any longer. 
+
+MACE WlNDU: You Sith disease. I am going to end this once and for all. 
+
+ANAKIN: You can't kill him, Master. He must stand trial. 
+
+MACE WlNDU: He has too much control of the Senate and the Courts. He is too dangerous to be kept alive. 
+
+PALPATINE: I'm too weak. Don't kill me. Please. 
+
+ANAKIN: It is not the Jedi way . . . 
+
+MACE raises his sword to kill the CHANCELLOR. 
+
+ANAKIN: (continuing) He must live . . . 
+
+PALPATINE: Please don't, please don't . . . 
+
+ANAKIN: I need him . . . 
+
+PALPATINE: Please don't . . . 
+
+ANAKIN: NO!!! 
+
+Just as MACE is about to slash PALPATINE, ANAKIN steps in and cuts off the Jedi's hand holding the lightsaber. 
+
+As MACE stares at ANAKIN in shock, PALPATINE springs to life. 
+The full force of Palpatine's powerful Bolts blasts MACE. He attempts to deflect them with his one good hand, but the force is too great. As blue rays engulf his body, he is flung out the window and falls twenty stories to his death. No more screams. No more moans. PALPATINE lowers his arm. 
+
+PALPATINE: Power! Unlimited power! 
+
+His face has changed into a horrible mask of evil. ANAKIN looks on in horror. PALPATINE cackles. 
+
+ANAKIN: What have I done? 
+
+ANAKIN sits. 
+
+PALPATINE: You are fulfilling your destin, Anakin. Become my apprentice. Learn to use the dark side of the Force. 
+
+ANAKIN: I will do whatever you ask. 
+
+PALPATINE: Good. 
+
+ANAKIN: Just help me save Padme's life. I can't live without her. I won't let her die. I want the power to stop death. 
+
+PALPATINE: To cheat death is a power only one has achieved, but if we work together, I know we can discover the secret. 
+
+ANAKIN kneels before PALPATINE. 
+
+ANAKIN: I pledge myself to your teachings. To the ways of the Sith. 
+
+PALPATINE: Good. Good. The Force is strong with you. A powerful Sith you will become. Henceforth, you shall be known as Darth . . . Vader. 
+
+ANAKIN: Thank you. my Master. 
+
+PALPATINE: Rise, Darth Vader. 
+
+Palpatine moves over to his desk. 
+
+129 EXT. KASHYYYK-MEETING HALL-DAY 
+
+YODA winces, closes his eyes, and holds his head. He feels a disturbance in the Force. 
+
+130 INT. CORUSCANT-CHANCELLOR'S OFFICE-EVENING 
+
+PALPATINE is putting on his dark cloak: he is now fully DARTH SIDIOUS. 
+
+PALPATINE: Because the Council did not trust you, my young apprentice, I believe you are the only Jedi with no knowledge of this plot. When the Jedi learn what has transpired here, they will kill us, along with all the Senators. 
+
+ANAKIN: I agree. The Jedi's next move will be against the Senate. 
+
+PALPATINE: Every single Jedi, including your friend Obi-Wan Kenobi, is now an enemy of the Republic. You understand that, don't you? 
+
+ANAKIN: I understand, Master. 
+
+PALPATINE: We must move quickly. The Jedi are relentless; if they are not all destroyed, it will be civil war without end. First, I want you to go to the Jedi Temple. We will catch them off balance. Do what must be done, Lord Vader. Do not hesitate. Show no mercy. Only then will you be strong enough with the dark side to save Padme. 
+
+ANAKIN: What about the other Jedi spread across the galaxy? 
+
+PALPATINE: Their betrayal will be dealt with. After you have killed all the Jedi in the Temple, go to the Mustafar system. Wipe out Viceroy Gunray and the other Separatist leaders. Once more, the Sith will rule the galaxy, and we shall have peace. 
+
+131 INT. CORUSCANT-JEDI TEMPLE ENTRY-NIGHT 
+
+ANAKIN goes to the Jedi Temple with a battalion of Clone Troopers. 
+
+132 EXT. UTAPAU-TENTH LEVEL-LANDIXG PLATFORM-DAY 
+
+The battle between the CLONES and the DROIDS rages throughout the sinkhole. OBI-WAN rides up to CLONE COMMANDER CODY. 
+
+OBI-WAN: Commander, contact your troops. Tell them to move to the higher levels. 
+
+CLONE COMMANDER CODY: Very good, sir. 
+
+CLONE COMMANDER CODY starts to move away, then remembers something and returns to OBI-WAN. 
+
+CLONE COMMANDER CODY: (continuing) Oh, by the way, I think you'll be needing this. 
+
+He hands OBI-WAN his lightsaber, and the LIZARD rears up. 
+
+OBI-WAN: Thank you, Cody, (smiling) Now let's get a move on. We've got a battle to win here. 
+
+CLONE COMMANDER CODY: Yes, sir! 
+
+OBI-WAN and the LIZARD ride off down the wall of the giant sinkhole. 
+The battle rages throughout the city. CLONE COMMANDER CODY (2224,) takes out his comlink and listens to the HOLOGRAM OF DARTH SIDIOUS as, far below, OBI-WAN can been seen battling DROIDS on a landing platform. 
+
+DARTH SlDIOUS: Commander Cody, the time has come. Execute Order Sixty-Six. 
+
+CLONE COMMANDER CODY: It will be done, My Lord. 
+
+The HOLOGRAM disappears, and CLONE COMMANDER CODY gestures to a nearby Clone Trooper. 
+
+CLONE COMMANDER CODY: Blast him! 
+
+The battle rages all around OBI-WAN. DROIDS and CLONES are everywhere. OBI-WAN is riding on a LIZARD, cutting down DROIDS as he races across the battlefield. Suddenly a volley of laser blasts from behind him knocks him and his LIZARD off the wall of the sinkhole. He looks around just in time to see his CLONE TROOPS are firing on him. 
+OBI-WAN falls hundreds of feet to the bottom of the water-filled sinkhole. 
+
+133 EXT. MYGEETO-DAWN 
+
+The sky slowly awakens on the crystal world of Mygeeto. A battle rages. Clone troops battle the droid armies across a long bridge. KI-ADI-MUNDi uses his light saber to deflect enemy fire. CLONE COMMANDER BACARA (1138) exits a Gunship near the entrance to the city. He rallies his TROOPS to attack the city, then gets a message on his comlink. He stops and moves to one side as a HOLOGRAM OF DARTH SIDIOUS appears on the comlink in the palm of his hand. He moves further into the shadows. 
+
+DARTH SlDIOUS: Commander 1138 . . . 
+
+CLONE COMMANDER BACARA: Yes, sir. 
+
+DARTH SlDIOUS: The time has come. Execute Order Sixty-Six. 
+
+CLONE COMMANDER BACARA: It will be done, My Lord. 
+
+DARTH SIDIOUS fades, and the CLONE COMMANDER snaps the comlink closed and looks to the main plaza of the city, where KI-ADI-MUNDI is leading the charge. The clones stop. KI-ADI-MUNDI turns around and is blasted by clone fire. He's killed before he can defend himself. 
+
+134 EXT. FELUCIA-FOREST-DAY 
+
+A column of CLONE WALKERS marches across the forest floor. The STRANGE CALLS of the alien forest creatures of FELUCIA suddenly stop. The Jedi AAYLA SECURA and her CLONE TROOPS brace for an ambush. 
+
+AAYLA: Steady. . . . steady . . . 
+
+They all look around for signs of the enemy. CLONE COMMANDER BLY moves up behind the Jedi. 
+
+AAYLA: (continuing) Bly, do you think they're Droids? 
+
+BLY: No. 
+
+BLY blasts AAYLA in the back. The OTHER CLONES fire on her as she hits the ground. 
+
+Another Jedi, BARRISS OFFEE, is cutting down a patrol of DROIDS when a CLONE WALKING TANK and SEVEN CLONE TROOPERS round a corner and blast the Jedi away. 
+
+135 EXT. KASHYYYK-MEETING HALL-DAY 
+
+YODA drops his gimer stick, clutches his chest, and rests against a wall. 
+
+136 EXT. KASHYYYK-EDGE OF VILIAGE-DAY 
+
+The battle appears to be over. WOOKIEES stack destroyed Droids while CLONES assess the damage to their equipment. A Jedi, LUMINARA UNDULI, talks with EIGHT CLONE OFFICERS standing in a circle around her. Suddenly they reveal their hidden pistols and blast her before she can react. 
+
+The Jedi QUINLAN VOS is riding on top of a CLONE TURBO TANK. The main cannon of a second tank slowly swings to point right at him and a COUPLE OF CLONES. 
+The cannon fires, and QUINLAN VOS and the CLONES disappear in a huge EXPLOSION. 
+
+137 INT. CATO NEIMOIDIA-COCKPIT CLONE FIGHTER-DAY 
+
+The CLONE PILOT watches a hologram of DARTH SIDIOUS. 
+
+DARTH SIDIOUS: Execute Order Sixty-Six. 
+
+CLONE PILOT: It will be done, My Lord. 
+
+138 INT. CATO NEIMOIDIA-JEDI STARFIGHTER-DAY 
+
+PLO KOON heads his ship toward a battle on a landing platform. 
+
+PLO KOON: There they are. Land on the nearest platform. 
+
+139 EXT. CATO XEIMOIDIA-JEDI STARFIGHTER-DAY 
+
+The FOUR CLONE PILOTS with PLO KOON drop back and blast him out of the sky. 
+
+140 EXT. SALEUCAMI-FOREST 
+
+Three Speeder Bikes race through the forest. A Jedi, STASS ALLIE is in the lead. The TWO CLONES following her drop back and blast her, causing her to crash in a huge EXPLOSION. 
+
+141 INT. CORUSCANT-CHANCELLOR'S OFFICE-NIGHT 
+
+DARTH SIDIOUS stands alone in his private office, illuminated only from a hologram projector beam from above. A small HOLOGRAM OF COMMANDER GREE stands in front of him. 
+
+CLONE COMMANDER GREE: Yes, My Lord. 
+
+DABTH SIDIOUS: The time has come. Execute Order Sixty-Six. 
+
+142 EXT. KASHYYYK-MEETING HALL BALCONY-DAY 
+
+A vista of waterways, high green mesas, and giant tree cities serves as a backdrop for the fierce battle, CLONES AND WOOKIEES against TRADE FEDERATION DROID ARMIES, with treaded tank-like vehicles. CLONE COMMANDER GREE holds his comlink. 
+
+CLONE COMMANDER GREE: It will be done, My Lord. 
+
+CLONE COMMANDER GREE snaps his comlink shut. 
+
+YODA watches from the balcony. The battle rages as CLONES and WOOKIEES attack DROIDS coming across the water on CORPORATE ALLIANCE TANK DROIDS. CHEWBACCA and TARFFUL stand on either side of the Jedi Master as he watches the battle below. CLONE COMMANDER GREE and ONE OFFICER walk onto the balcony toward YODA. YODA stands looking over the battlefield below. When they are close enough, the CLONES reveal their weapons and fire. 
+
+But faster than the CLONES can reveal their weapons, YODA ignites his lightsaber, leaps in the air, and beheads both CLONES. CHEWBACCA and TARFFUL fire their weapons as more CLONES enter the hall. The Wookiees call out to YODA to follow them. CHEWBACCA picks YODA up and carries him away. 
+
+143 EXT. CORUSCANT-JEDI TEMPLE-NIGHT 
+
+A JEDI is surrounded and gunned down by CLONE TROOPERS. 
+
+144 INT. CORUSCANT-JEDI TEMPLE-NIGHT 
+
+ANAKIN walks through the Jedi Temple, where he finds and kills SHAAK TI. 
+He exits Shaak Ti's room and enters a hallway, where the battle is taking place. 
+
+145 INT. CORUSCANT-JEDI TEMPLE-BATTLE-NIGHT 
+
+ANAKIN enters a room full of YOUNGLINGS huddled in a corner. 
+
+YOUNGLINGS: Master Skywalker, there are too many of them. What are we going to do? 
+
+ANAKIN looks back at them with a stern expression on his face and ignites his lightsaber. 
+
+146 INT. CORUSCANT-PADME'S APARTMENT-PRE-DAWN 
+
+C-3PO and PADME look out the apartment window. 
+
+C-3PO: The Chancellor's office indicated Master Anakin returned to the Jedi Temple. Don't worry, My Lady. I am sure he will be all right. 
+
+PADME bursts into tears. 
+
+147 EXT. CORUSCANT-CITYSCAPE-PRE-DAWN 
+
+The city planet is covered in a hazy glow. A column of black smoke can be seen rising in the distance. BAIL ORGANA's Speeder flies overhead, straight toward the smoke. 
+
+148 EXT. CORUSCANT-JEDI TEMPLE-LANDING PLATFORM-PRE-DAWN 
+
+The Jedi Temple is on fire. Large plumes of smoke billow toward the sky as BAIL ORGANA lands his Speeder on a Jedi Temple platform. FOUR CLONE TROOPERS stand guard at the entrance to the Temple. They lower their guns as BAIL gets out of his Speeder and walks toward them. 
+
+BAIL ORGANA: What's going on here?!? 
+
+CLONE SERGEANT: There's been a rebellion. Don't worry, sir, the situation is under control. 
+
+The CLONES bar the Senator from entering the Temple. 
+
+CLONE SERGEANT: (continuing) I'm sorry, sir. No one is allowed entry. 
+
+The CLONES point their guns at BAIL and cock them. 
+
+CLONE SERGEANT: (continuing) It's time for you to leave, sir. 
+
+BAIL ORGANA: And so it is. 
+
+BAIL reluctantly heads hack toward his Speeder. Suddenly, several SHOTS RING OUT. BAIL turns and sees a ten-year-old Jedi, ZETT JUKASSA, fighting the CLONES. Several more CLONES join in the fight, followed by CLONE COMMANDER APPO (1119), who points at BAIL. 
+
+CLONE COMMANDER APPO: Get him! Shoot him! 
+
+SEVERAL CLONES start firing at BAIL. The Senator jumps for cover behind his Speeder, starting the engines and pulling out his laser 
+pistol. 
+
+The YOUNG JEDI cuts down several CLONES, including APPO, before he is overrun and shot. 
+
+The Speeder takes off with BAIL clinging to the side. The CLONES fire at it as it disappears into the cityscape. 
+
+149 EXT. CORUSCANT-CITYSCAPE-PRE-DAWN 
+
+BAIL ORGANA struggles to pull himself into the Speeder as it races along through the cityscape. Finally, he climbs in, just as the Speeder is about to hit a building. BAIL steers clear of the building and races away. 
+
+150 EXT. UTAPAU-UNDERWATER SINKHOLE-DAY 
+
+The Jedi dives below the surface amid a barrage of laser fire. He dives deeper under the water, fumbling in his utility belt for a breathing device. He finds it and puts it in his mouth. He swims underwater until the CLONE TROOPS give up and stop filing. 
+
+151 EXT. UTAPAU-UNDERWATER CAVES-DAY 
+
+OBI-WAN removes the breathing apparatus after coming up from underwater. He starts to climb the rock wall. 
+
+OBI-WAN climbs the wall to the second cave just as TWO LITTLE SEEKER DRONES pop out of the water with their searchlights glowing. OBI-WAN presses himself against the wall of the smaller cave as the TWO SEEKER DRONES search the grotto. One of the SEEKERS begins to enter the cave in which OBI-WAN is hiding. OBI-WAN presses further into the wall. The light shines on the opposite wall and moves to the back of the cave, illuminating a huge NOS MONSTER. OBI-WAN holds his breath. The SEEKER is confused for a moment, then the NOS MONSTER lunges at the SMALL DROID and consumes it in one bite. 
+
+The NOS MONSTER'S lunge takes him past OBI-WAN, out of the cave, and into the water. 
+
+The SECOND SEEKER shines its light on the NOS MONSTER as the evil creature tries to grab the LITTLE DRONE. OBI-WAN slinks off toward the back of the cave. He comes upon a nest of BABY NOS MONSTERS. They SCREECH and make horrible sounds. OBI-WAN jumps over them and continues on his way through the tunnel system. 
+
+152 EXT. KASHYYYK-LAKE ON VILLAGE EDGE-DUSK 
+
+CLONES in modified one-man AT-ST's and Swamp Speeders flash their searchlights across the gloomy lake. The light of one of the AT-ST's spots something floating in the water. It is what's left of a Wookiee catamaran. The body of a dead Wookiee (TARFFUL) is lying across the stern of the wreckage of the flying boat. There is some movement on the boat. The CLONE SERGEANT on the AT-ST fires a warning shot past the boat. 
+
+AT-ST CLONE SERGEANT: Everyone out of there! 
+
+A CRAZY LITTLE CREATURE about two feet high pops its head over the rail. The creature is covered with mud. His long hair is frizzed out in all directions. 
+
+CREATURE: Wookiee good . . . eat Wookiee. (crazy little laugh) 
+
+CLONE SERGEANT: Did you find something? 
+
+CREATURE: It's nothing, nothing. (laughs) 
+
+CLONE SERGEANT: It's nothing, nothing. All these Wookiees are dead. Move to the east. 
+
+CLONE TROOPER: Yes, sir. 
+
+Suddenly, CHEWBACCA climbs up behind the AT-ST CLONE, dripping wet, and throws the CLONE SERGEANT into the water. CHEWIE BARKS. 
+
+CREATURE: Right you are, Chewbacca. Faster that will be. 
+
+TARFFUL jumps up in the boat, and the CREATURE takes off his hair. It is Yoda. 
+
+YODA: Stink, this mud does. A moment to bathe, give me. 
+
+YODA, covered with mud, jumps into the water. TARFFUL climbs onto the AT-ST with CHEWBACCA. YODA is out of the water and putting his robes back on. 
+
+YODA: (continuing) Not far, are we, from the emergency ship. Quickly . . . 
+
+YODA whistles and a large ALIEN FLYING INSECT called CAN-CELL appears. YODA jumps on the insect's back and they take off. The WOOKIEES follow on the AT-ST. The CLONES continue to search the swamp. 
+
+153 EXT. KASHYYYK-HILLS OVERLOOKING LAKE-DUSK 
+
+The AT-ST marches up the hill and stops. The WOOKIEES jump down. YODA lands on CAN-CELL nearby. CHEWBACCA goes to a tree and pulls down one of its branches. 
+The ground opens up, and a small WOOKIEE ESCAPE POD rises into the field. YODA opens the door of the pod. 
+
+YODA: Good-bye. Chewbacca and Tarfful, miss you I will. Good friends you are. For your help, much gratitude and respect, I have. 
+
+The Wookiees BARK as the Jedi climbs into the WOOKIEE POD and takes off into the dusk sky. 
+
+154 EXT. CORUSCANT-SENATE OFFICE BUILDING-UNDERGROUND STARSHIP LANDING PLATFORM-DAY 
+
+BAIL ORGANA walks out of a tunnel onto a huge underground platform with two of his AIDES. He is stopped by TWO ROYAL GUARDS. 
+
+ROYAL GUARD: Identification . . . 
+
+BAIL ORGANA: Senator Bail Organa of Alderaan. 
+
+BAIL and his AIDES hand them their ID cards. The ROYAL GUARDS check them over and give them back, then BAIL and his CREW walk on board his Starship. 
+
+155 EXT. CORUSCANT-SENATE OFFICE BUILDING-UNDERGROUND LANDING PLATFORM-DAY 
+
+The platform rises to the surface of the Office Building. The ALDERAAN STARCRUISER takes off and disappears into the crisp morning sky. 
+
+156 INT ALDERAAN-STARCRUISER-HALLWAY-DAY 
+
+BAIL ORGANA is greeted by CAPTAIN ANTILLES and TWO ALDERAAN TROOPERS. 
+
+BAIL ORGANA: Were you able to get hold of a Jedi homing beacon? 
+
+CAPTAIN ANTILLES: Yes, sir. We've encountered no opposition. The clones are still a bit confused. It appears no one is in command. 
+
+BAIL ORGANA: That will change soon. Hopefully we will be able to intercept a few Jedi before they walk into this catastrophe. 
+
+157 EXT. UTAPAU-SINKHOLE WALL-LATE DAY 
+
+OBI-WAN hides from a group of CLONE TROOPERS. 
+
+CLONE CAPTAIN: Did you find Kenobi? 
+
+CLONE TROOPER: No one could have survived that fall. 
+
+He watches them pass. 
+
+CLONE CAPTAIN: Start loading your men on the ship. 
+
+CLONE TROOPER: Yes, sir. 
+
+OBI-WAN tries to sneak back to the secret platform, down a flight of stairs. 
+
+158 EXT. UTAPAU-SECRET LANDING PLATFORM-LATE DAY 
+
+OBI-WAN makes his way out of the cave and onto General Grievous's secret landing platform. He runs to the Starfighter and climbs into the one-man ship. The Starfighter takes off and disappears into the sky. 
+
+159 EXT. UTAPAU-SPACE 
+
+OBI-WAN flies away from the planet Utapau in General Grievous's tiny Starfighter. 
+
+160 INT. GENERAL GRIEVOUS'S STARFIGHTER-SPACE 
+
+OBI-WAN activates the controls on the Starfighter. He punches in several coordinates and codes. A BEEPING SOUND is heard. It quickly speeds up until it is a steady tone. OBI-WAN speaks into his comlink. 
+
+OBI-WAN: Emergency Code Nine Thirteen ... I have no contact on any frequency. Are there any Jedi out there? . . . anywhere . . . 
+
+A BURST OF STATIC is heard- and a FUZZY HOLOGRAM image appears. 
+
+BAIL: (hologram) . . . Kenobi . . . 
+
+OBI-WAN: (continuing) I've locked on. Repeat. 
+
+The FUZZY HOLOGRAM image comes into focus, and it is BAIL ORGANA. 
+
+BAIL ORGANA: Master Kenobi?? 
+
+OBI-WAN: Senator Organa! My Clone Troops turned on me ... I need help. 
+
+BAIL ORGANA: We have just rescued Master Yoda. It appears this ambush has happened everywhere. We're sending you our coordinates. 
+
+161 INT. CORUSCANT-PADME’SAPARTMENT-PRE-DAWN 
+
+PADME stands before the window of her living room, watching the plume of smoke from the Jedi Temple. C-3PO enters from the bedroom. 
+
+C-3PO: My Lady, there's a Jedi fighter docking on the veranda. 
+
+PADME turns and rushes to the bedroom. 
+
+162 EXT. CORUSCANT-PADME'S APARTMENT-VERANDA-PRE-DAWN 
+
+THREEPIO walks out to ANAKIN's ship and talks with ARTOO. ARTOO beeps. 
+
+THREEPIO: Hush! Not so loud! 
+
+PADME rushes onto the veranda as ANAKIN exits his GREEN JEDI FIGHTER. They embrace. 
+
+PADME: Are you all right? I heard there was an attack on the Jedi Temple . . . you can see the smoke from here. 
+
+ANAKIN: I'm fine. I'm fine. I came to see if you and the baby are safe. 
+
+PADME: Captain Typho's here, we're safe. What's happening? 
+
+C-3PO continues to talk to R2-D2 on the GREEN FIGHTER. 
+
+C-3PO: What is going on? 
+
+ARTOO SQUEAKS and BEEPS. 
+
+C-3PO: (continuing) You can't be anymore confused than I am. 
+
+ANAKIN: The situation is not good. The Jedi have tried to overthrow the Republic . . . 
+
+PADME: I can't believe that! 
+
+ANAKIN: I couldn't either at first, but it's true. I saw Master Windu attempt to assassinate the Chancellor myself. 
+
+C-3PO leans over and whispers to ARTOO. 
+
+C-3PO: Something important is going on! I heard a rumor they are going to banish all droids. 
+
+ARTOO BEEPS rather loudly. C-3PO puts his fingers to his lips. 
+
+C-3PO: (continuing) Shhhhhh . . . not so loud. 
+
+ARTOO BEEPS quietly. 
+
+C-3PO: (continuing) Whatever it is, we'll be the last to know. 
+
+PADME: Anakin, what are you going to do? 
+
+ANAKIN looks down for a moment and then walks away from Padme. 
+
+ANAKIN: I will not betray the Republic . . . my loyalties lie with the Chancellor and with the Senate . . . and with you. 
+
+ANAKIN turns and walks back to Padme. 
+
+PADME: What about Obi-Wan? 
+
+ANAKIN: I don't know . . . Many Jedi have been killed. We can only hope that he's remained loyal to the Chancellor. 
+
+PADME: How could this have happened? 
+
+ANAKIN: The Republic is unstable, Padme. The Jedi aren't the only ones trying to take advantage of the situation. There are also traitors in the Senate. 
+
+PADME stands and reacts ever so slightly. 
+
+PADME: What are you saying? 
+
+ANAKIN: You need to distance yourself from your friends in the Senate. The Chancellor said they will be dealt with when this conflict is over. 
+
+PADME: What if they start an inquisition? I've opposed this war. What will you do if I become a suspect? 
+
+ANAKIN: That won't happen. I won't let it. 
+
+PADME: Oh, Anakin, I'm afraid. 
+
+ANAKIN takes PADME in his arms. 
+
+ANAKIN: Have faith, my love. Everything will soon be set right. The Chancellor has given me a very important mission. The Separatists have gathered in the Mustafar system. I'm going there to end this war. Wait for me until I return . . . things will be different, I promise. 
+
+They kiss. 
+
+ANAKIN: (continuing) Please, wait for me. 
+
+PADME: I will. 
+
+ANAKIN gets into his Fighter as THREEPIO backs away. 
+
+C-3PO: (to Artoo) Well, he is under a lot of stress, Artoo. 
+
+ARTOO beeps. 
+
+C-3PO: (continuing) Take care, my little friend. 
+
+ARTOO BEEPS a good-bye, and the fighter takes off. PADME is left alone on the veranda. She starts to cry. THREEPIO comes up to her. 
+
+C-3PO: (continuing) My Lady, is there anything I might do? 
+
+PADME: No thank you, Threepio. 
+
+G-3PO: A snack, perhaps? 
+
+PADME: No. 
+
+THREEPIO starts to move off. 
+
+C-3PO: I feel so helpless. 
+
+163 EXT. ALDERAAN-STARCRUISER-SPACE 
+
+OBI-WAN's ship docks with Bail Organa's Starcruiser. 
+
+164 INT. ALDERAAN-STARCRUISER-HALLWAY-DAY 
+
+The door to the main hallway slides open. OBI-WAN enters and is greeted by YODA and BAIL ORGANA. The three walk down the hallway. 
+
+BAIL ORGANA: You made it. 
+
+YODA: Master Kenobi, dark times are these. Good to see you. it is. 
+
+OBI-WAN: You were attacked by your Clones, also? 
+
+YODA: With the help of the Wookiees, barely escape, I did. 
+
+OBI-WAN: How many other Jedi managed to survive? 
+
+YODA: Heard from no one, have we. 
+
+BAIL ORGANA: I saw thousands of troops attack the Jedi Temple. That's why I went looking for Yoda. 
+
+OBI-WAN: Have we had any contact from the Temple? 
+
+YODA: Received a coded retreat message, we have. 
+
+BAIL ORGANA: It requests all Jedi to return to the Temple. It says that the war is over . . . 
+
+OBI-WAN: Well, then we must go back! If there are other stragglers, they will fall into the trap and be killed. 
+
+BAIL ORGANA: It's too dangerous to return. 
+
+YODA: Suggest dismantling the coded signal, do you? 
+
+OBI-WAN: Yes, Master. There is too much at stake here, and we need a clearer picture of what has happened. 
+
+YODA: I agree. In a dark place we find ourselves ... a little more knowledge might light our way. 
+
+165 EXT. MUSTAFAR-LAVA FIELDS-DAY 
+
+Workers move across the lava beds, gathering the magma. A column of aliens riding giant MUSTAFAR FLEAS marches forward. 
+
+166 INT. MUSTAFAR-MAIN CONTROL CENTER-DAY 
+
+A HOLOGRAM of DARTH SIDIOUS is in the center of the room. NUTE GUNRAY and the REST OF THE SEPARATIST COALITION watch SIDIOUS. 
+
+NUTE GUNRAY: The plan has gone as you had promised, My Lord. 
+
+DARTH SIDIOUS: You have done well, Viceroy. When my new apprentice, Darth Vader, arrives, he will take care of you. 
+
+The hologram disappears. 
+
+167 INT. CRUISER-COCKPIT 
+
+The Republic Cruiser heads toward Coruscant. OBI-WAN, BAIL, YODA, and TWO PILOTS sit in the cockpit. 
+
+PILOT: We are receiving a message from the Chancellor's office, sir. 
+
+BAIL ORGANA: Send it through. 
+
+PILOT: Yes, sir. 
+
+The PILOT pushes some buttons. MAS AMEDDA appears on screen. 
+
+MAS AMEDDA: Senator Organa . . . the Supreme Chancellor of the Republic requests your presence at a special session of Congress. 
+
+BAIL ORGANA: Tell the Chancellor I will be there. 
+
+MAS AMEDDA: Very well. He will be expecting you. 
+
+MAS AMEDDA's image disappears from the screen. 
+
+BAIL ORGANA: It could be a trap. 
+
+OBI-WAN: No, I don't think so. The Chancellor will not be able to control the thousands of star systems without keeping the Senate intact. 
+
+YODA: If a special session of Congress there is, easier for us to enter the Jedi Temple it will be. 
+
+168 EXT. CORUSCANT-SENATE LANDING PLATFORM-LATE DAY 
+
+OBI-WAN, BAIL, and YODA land on Coruscant. The elevator door opens, and they step out. 
+
+GUARD: Welcome back, Senator. May I see your clearance? 
+
+BAIL ORGANA: Certainly. 
+
+GUARD: Thank you, you may proceed. We will take custody of the Jedi. 
+
+OBI-WAN: It would be better if we stayed with the Senator. 
+
+GUARD: It would be better if they stayed with you. 
+
+BAIL and his AIDES go into the Senate. YODA and OBI-WAN head for the Jedi Temple. 
+
+169 EXT. MUSTAFAR-JEDI STARFIGHTER-SPACE 
+
+ANAKIN's Jedi Starfighter heads for the hazy blood-red planet of Mustafar. 
+
+170 EXT. MUSTAFAR-LANDING PLATFORM-DAY 
+
+ANAKIN flies over the volcanoes of Mustafar and lands his Jedi Starfighter on a complex of Landing Platforms. His cockpit opens as R2-D2 pops from the ship with a happy BEEP. 
+
+ANAKIN: Artoo . . . stay with the ship. 
+
+ARTOO lets out a sad little BEEP and moves back toward the ship. 
+
+171 EXT. MUSTAFAR-LANDING PLATFORM-DAY 
+
+ANAKIN, putting on his hood, walks across a walkway upon arriving on Mustafar. 
+
+172 INT. MUSTAFAR-MAIN CONTROL CENTER-DAY 
+
+ANAKIN appears in the doorway of the control center. 
+
+NUTE GUNRAY: Welcome, Lord Vader. We've been expecting you. 
+
+Everyone in the room looks to him as he raises his hand toward a control panel, and all the exits close. The confused SEPARATISTS look around in bewilderment. 
+
+173 EXT. CORUSCANT-JEDI TEMPLE-LATE DAY 
+
+Smoke from the smoldering shell of the Jedi Temple fills the air with a brown haze. 
+
+174 INT. CORUSCANT-JEDI TEMPLE-MAIN ENTRANCE-LATE DAY 
+
+A DOZEN CLONE TROOPERS stand guard at the entrance of the Jedi Temple. Suddenly there is a flash of a lightsaber, a flurry of confusion, and all of the Clone Troopers are dead on the floor. YODA and OBI-WAN stand in the middle of the carnage. 
+
+OBI-WAN: There are several battalions of Clone Troopers on every level. Many are dressed as Jedi. 
+
+YODA: Dismantle the coded signal quickly. That group back there, soon discovered will be. 
+
+175 EXT. CORUSCANT-SENATE BUILDING-SUNSET 
+
+The awesome Senate Building looms over the city. The endless traffic continues to clutter the skyline. 
+
+176 INT. CORUSCANT-SENATE CHAMBER-SUNSET 
+
+The Chancellor is in the podium in the center of the vast arena giving a speech. MAS AMEDDA stands to the right of SIDIOUS. BAIL ORGANA walks through the hallway of the Main Senate Chamber. He enters the Senate Pod of Naboo and sits next to PADME. JAR JAR, CAPTAIN TYPHO and TWO HANDMAIDENS are in the pod also. 
+
+PALPATINE: . . . and the Jedi Rebellion has been foiled. 
+
+BAIL ORGANA: I was held up. What's happening? 
+
+PADME: The Chancellor has been elaborating on a plot by the Jedi, to overthrow the Senate. 
+
+BAIL ORGANA: That's not true! 
+
+PADME: He's been presenting evidence all afternoon. 
+
+BAIL ORGANA: And the Senate will go along with it, just like they always do. 
+
+PALPATINE: The remaining Jedi will be hunted down and defeated. (applause) Any collaborators will suffer the same fate. 
+
+(applause) 
+
+These have been trying times, but we have passed the test. 
+
+177 INT. CORUSCANT-JEDI TEMPLE-HALLWAY-SUNSET 
+
+YODA and OBI-WAN make their way through the Temple, avoiding the HUNDREDS OF CLONE TROOPERS. They use the Force to distract the CLONES when they can. 
+YODA and OBI-WAN walk through the ruins of the Temple until they come across the bodies of some students. 
+
+OBI-WAN: Not even the younglings survived. 
+
+YODA: Killed not by clones, this Padawan. By a lightsaber, he was. 
+
+OBI-WAN: . . .Who?? Who could have done this? 
+
+178 INT. MUSTAFAR-MAIN CONTROL CENTER-DAY 
+
+ANAKIN ignites his lightsaber, NUTE and the OTHERS panic. The DROIDS at the controls and the GUARDS grab their weapons, but it is too late. They are cut down in a flash. The Separatists bang on the doors, and NUTE and RUNE HAAKO flee under a table. 
+
+ANAKIN, stone-faced, moves through the room like the grim reaper. Bodies drop everywhere. SCREAMS are cut short as the head of the Banking Clan dies. 
+
+Then POGGLE THE LESSER loses his head; WAT TAMBOR, SHU MAI, and the REST OF THE SEPARATISTS run into the conference room. 
+
+179 INT. CORUSCANT-SENATE CHAMBER-SUNSET 
+
+PALPATINE: The attempt on my life has left me scarred and deformed, but I assure you my resolve has never been stronger. 
+
+Applause. 
+
+180 INT. MUSTAFAR-MAIN CONTROL CENTER-DAY 
+
+In the hallway, ANAKIN cuts down DROIDS and SEPARATISTS alike. He is unstoppable. ANAKIN turns his head-his eyes are yellow. 
+
+181 INT. CORUSCANT-SENATE CHAMBER-SUNSET 
+
+PALPATINE continues his speech at the podium. 
+
+PALPATINE: The war is over. (applause) The Separatists have been defeated, (applause) and the Jedi rebellion has been foiled. We stand on the threshold of a new beginning. 
+
+There is a long period of APPLAUSE. 
+
+PADME: Well, this is the moment we discover if he intends to return the Republic to a democracy. 
+
+PALPATINE: In order to ensure our security and continuing stability, the Republic will be reorganized into the first Galactic Empire, for a safe and secure society which I assure you will last for ten thousand years. 
+
+There is a loud, sustained CHEER from the Senate. BAIL ORGANA and PADME sit, dumbfounded. 
+
+PALPATINE: (continuing) An empire that will continue to be ruled by this august body, and a sovereign ruler chosen for life . . . 
+
+The Senate CHEERS again. BAIL and PADME are devastated. PADME begins to cry. 
+
+PALPATINE: (continuing) An empire ruled by the majority . . . Ruled by a new constitution . . . 
+
+The Senate APPLAUDS. 
+
+PADME: So this is how liberty dies, with thunderous applause . . . 
+
+BAIL ORGANA: We cannot let this happen. 
+
+He starts to stand up. PADME stops him. 
+
+PADME: Not now! There will be a time. 
+
+182 INT. MUSTAFAR-MAIN CONTROL CENTER-CONFERENCE ROOM-DAY 
+
+After everyone in the Main Control Room is dead, ANAKIN moves to the small conference room where WAT TAMBOR. SHU MAI, and some OTHER SEPARATISTS are hiding. RUNE HAAKO tries to run but is trapped by a dead-end as ANAKIN advances. 
+
+RUNE HAAKO: Stop! Enough, this is not right! 
+
+RUNE is cut down. NUTE GUNRAY crawls out from under the table and opens the Main Door, allowing DESTROYER DROIDS to enter. WAT TAMBOR is cut down, along with SHU MAI. DESTROYER DROIDS appear in the doorway and blast away, causing total destruction. When the firing is over, ANAKIN is gone. Blown away? No. ANAKIN drops from the ceiling behind the TWO DROIDS and cuts them to pieces before they know what hit them. 
+
+183 INT. MUSTAFAR-MAIN CONTROL CENTER-HALLWAY-DAY 
+
+NUTE GUNRAY is the last Separatist leader alive. ANAKIN moves on to find NUTE GUNRAY hiding in an alcove. 
+
+NUTE GUNRAY: The war is over. Lord Sidious promised us peace ... we only want . . . 
+
+NUTE GUNRAY is cut down in midsentence. 
+
+184 INT. CORUSCANT-JEDI TEMPLE-COMPUTER ROOM-NIGHT 
+
+OBI-WAN stands in a large computer area as YODA looks on, in the hatchway to the Main Control Center. 
+
+OBI-WAN: I've recalibrated the code warning all surviving Jedi to stay away. 
+
+YODA: Good . . . For the Clones to discover the recalibration, a long time it will take. To change it back, longer still. Hurry. 
+
+185 INT. CORUSCANT-JEDI TEMPLE-CONTROL CENTER-NIGHT 
+
+OBI-WAN enters the Main Control Center with YODA and heads for the hologram area. 
+
+OBI-WAN: Wait, Master. There is something I must know . . . 
+
+YODA: If into the security recordings you go, only pain will you find. 
+
+OBI-WAN: I must know the truth, Master. 
+
+OBI-WAN moves to a panel and flips some switches. He sees a HOLOGRAM of ANAKIN slaughtering JEDI, including the YOUNG ONES. OBI-WAN and YODA react. 
+
+OBI-WAN: (continuing) It can't be . . . It can't be . . . 
+
+As ANAKIN surveys the carnage, a DARK-ROBED SITH LORD enters. ANAKIN turns to DARTH SIDIOUS and kneels before him. 
+
+ANAKIN: The traitors have been taken care of, Lord Sidious. 
+
+DARTH SlDIOUS: Good . . . good . . . You have done well, my new apprentice. Do you feel your power growing? 
+
+ANAKIN: Yes, My Master. 
+
+DARTH SlDIOUS: Now, Lord Vader, now go and bring peace to the Empire. 
+
+OBI-WAN watches in horror. Tears well up in his eyes. 
+
+OBI-WAN: I can't watch any more. 
+
+OBI-WAN switches off the hologram. The TWO JEDI stand in silence for a few moments. 
+
+YODA: Destroy the Sith, we must. 
+
+OBI-WAN: Send me to kill the Emperor. I will not kill Anakin. 
+
+YODA: To fight this Lord Sidious, strong enough, you are not. 
+
+OBI-WAN: He is like my brother ... I cannot do it. 
+
+YODA: Twisted by the dark side, young Skywalker has become. The boy you trained, gone he is . . . Consumed by Darth Vader. 
+
+OBI-WAN: How could it have come to this? 
+
+YODA: To question, no time there is. 
+
+OBI-WAN: I do not know where the Emperor has sent him. I don't know where to look. 
+
+YODA: Use your feelings, Obi-Wan, and find him, you will. Visit the new Emperor, my task is. May the Force be with you. 
+
+OBI-WAN: May the Force be with you, Master Yoda. 
+
+186 INT. CORUSCANT-PADME'S APARTMENT-AFTERNOON 
+
+A DC0052 Intergalactic Speeder pulls up to the veranda landing of Padme's apartment. 
+
+187 EXT. CORUSCANT -PADME'S APARTMENT-VERANDA-AFTERNOON 
+
+The cockpit of the sleek yellow Galactic Speeder opens, and a HOODED FIGURE emerges and walks onto the veranda. An ALARM GOES OFF deep in the apartment. The FIGURE stops before a security curtain that protects the veranda. C-3PO enters the veranda and approaches the FIGURE. 
+
+C-3PO: Hello, might I help you . . . Oh, it's you, Master Kenobi. Come in, quickly. 
+
+The security curtain disappears, and the FIGURE lifts his hood. It is OBI-WAN. The alarm stops sounding. 
+
+OBI-WAN: Has Anakin been here . . . ? 
+
+C-3PO: Yes . . . right after the attack on the Jedi Temple. 
+
+PADME comes down the stairs in a robe. THREEPIO leaves. 
+
+PADME: Master Kenobi . . . 
+
+She embraces Obi-Wan. 
+
+PADME: (continuing) Oh, Obi-Wan, thank goodness . . . you're alive. 
+
+OBI-WAN: The Republic has fallen. Padme . . . The Jedi Order is no more . . . 
+
+PADME: I know, it's hard to believe everything to which we've dedicated our lives is gone. 
+
+OBI-WAN: I believe we have been part of a plot hundreds of years in the making. 
+
+PADME: The Senate is still intact, there is some hope. 
+
+OBI-WAN: No. Padme . . . It's over . . . The Sith now rule the galaxy as they did before the Republic. 
+
+PADME: The Sith!?! 
+
+OBI-WAN: I'm here looking for Anakin . . . When was the last time you saw him? 
+
+PADME: Yesterday. 
+
+OBI-WAN: And do you know where he is now? 
+
+PADME: (looks down) No. 
+
+OBI-WAN: Padme, I need your help. He's in grave danger. 
+
+PADME: From the Sith? 
+
+OBI-WAN: From himself . . . Padme, Anakin has turned to the dark side. 
+
+PADME: You're wrong! How could you even say that? 
+
+OBI-WAN: I have seen a security hologram of him killing younglings. 
+
+PADME: Not Anakin! He couldn't! 
+
+OBI-WAN: He was deceived by a lie. We all were. It appears that the Chancellor is behind everything, including the war. Palpatine is the Sith Lord we've been looking for. After the death of Count Dooku, Anakin became his new apprentice. 
+
+PADME: I don't believe you ... I can't. 
+
+OBI-WAN: Padme, I must find him. 
+
+PADME: You're going to kill him, aren't you? 
+
+OBI-WAN: He has become a very great threat. 
+
+As PADME moves to sit down, she reveals her pregnancy. 
+
+PADME: I can't . . . 
+
+OBI-WAN: Anakin is the father, isn't he? 
+
+PADME looks away. 
+
+OBI-WAN: (continuing) I'm so sorry. 
+
+OBI-WAN turns and leaves as PADME stares transfixed, not knowing what to do. She is worried and tormented. OBI-WAN takes off in the Speeder. She studies the japor snippet that is hanging around her neck. 
+
+188 INT. MUSTAFAR-LANDING PLATFORM-DAY 
+
+R2-D2 waits forlornly for his Master in front of the Jedi Starfighter. 
+
+189 INT. MUSTAFAR-MAIN CONTROL CENTER-DAY 
+
+ANAKIN surveys the slaughter with a crazed look in his eyes. 
+
+190 INT. MUSTAFAR-CONTROL CENTER-BALCONY-DAY 
+
+ANAKIN stares out at Mustafar, standing on the control room balcony. 
+
+191 EXT. CORUSCANT-LANDING PLATFORM-SUNSET 
+
+A small Naboo Skiff rests on a landing platform in the vast congestion of Coruscant. PADME gets out of her Speeder, followed by CAPTAIN TYPHO and C-3PO. 
+
+CAPTAIN TYPHO: My Lady, let me come with you. 
+
+PADME: There is no danger. The fighting is over, and . . . this is personal. 
+
+TYPHO bows. 
+
+CAPTAIN TYPHO: As you wish, My Lady . . . but I strongly disagree. 
+
+PADME: I'll be all right, Captain. 
+
+He goes to the speeder and gets in. 
+
+PADME: (continuing) This is something I must do myself. Besides, Threepio will look after me. 
+
+C-3PO: Oh, dear. 
+
+TYPHO takes off and PADME and THREEPIO board the small NABOO SKIFF. A shadow moves out from under the SKIFF. It is OBI-WAN. He quickly jumps on the retracting ramp as the SKIFF takes off. 
+
+192 INT. NABOO SKIFF 
+
+THREEPIO chatters away as PADME breaks down in tears, the painful reality sinking in. 
+
+C-3PO: Green light. Do you know that I think I'm beginning to get the hang of this flying business. 
+
+OBI-WAN stows away on Padme's ship. The ship lifts from the landing platform and heads into the traffic lanes. 
+
+193 INT. CORUSCANT-SENATE ARENA-CHANCELLOR'S HOLDING OFFICE-SUNSET 
+
+A HOLOGRAM OF ANAKIN appears before PALPATINE in his office at the bottom of the Senate Arena. 
+
+DARTH VADER: The Separatists are taken care of, My Master. 
+
+DARTH SlDIOUS: It is finished, then. You have restored peace and justice to the galaxy. You have done well, Lord Vader. 
+
+DARTH VADER: Thank you, My Master. 
+
+194 INT. MUSTAFAR-COXFERENCE ROOM-DAY 
+
+A Hologram of Sidious speaks with Anakin in the Mustafar control room. 
+
+DARTH SlDIOUS: Send a message to the ships of the Trade Federation. Tell them the Separatist leaders have been wiped out. Grievous and Dooku have been destroyed. All droid units must shut down immediately. 
+
+DARTH VADER: Very good, My Lord. 
+
+ANAKIN sees Padme's ship arriving on the screen and goes out to meet her. 
+
+195 EXT. MUSTAFAR-LANDING PLATFORM-DAY 
+
+The sleek NABOO SKIFF lands on the Mustafar landing platform near Anakin's GREEN STARFIGHTER. ANAKIN runs up to the SKIFF as the ramp lowers. PADME runs to him. 
+
+ANAKIN: Padme, I saw your ship . . . 
+
+They embrace. 
+
+PADME: Oh, Anakin! 
+
+ANAKIN: It's all right, you're safe now. What are you doing out here? 
+
+PADME: I was so worried about you. Obi-Wan told me terrible things. 
+
+ANAKIN: What things? 
+
+PADME: He said you have turned to the dark side . . . that you killed younglings. 
+
+ANAKIN: Obi-Wan is trying to turn you against me. 
+
+PADME: He cares about us. 
+
+ANAKIN: Us??! 
+
+PADME: He knows . . . He wants to help you. 
+
+ANAKIN: Is Obi-Wan going to protect you? He can't ... he can't help you. He's not strong enough. 
+
+PADME: Anakin, all I want is your love. 
+
+ANAKIN: Love won't save you, Padme. Only my new powers can do that. 
+
+PADME: At what cost? You are a good person. Don't do this. 
+
+ANAKIN: I won't lose you the way I lost my mother! I've become more powerful than any Jedi has ever dreamed of and I've done it for you. To protect you. 
+
+PADME: Come away with me. Help me raise our child. Leave everything else behind while we still can. 
+
+ANAKIN: Don't you see, we don't have to run away anymore. I have brought peace to the Republic. I am more powerful than the Chancellor. I can overthrow him, and together you and I can rule the galaxy. Make things the way we want them to be. 
+
+PADME: I don't believe what I'm hearing . . . Obi-Wan was right. You've changed. 
+
+ANAKIN: I don't want to hear any more about Obi-Wan. The Jedi turned against me. Don't you turn against me. 
+
+PADME: I don't know you anymore. Anakin, you're breaking my heart. I'll never stop loving you, but you are going down a path I 
+can't follow. 
+
+ANAKIN: Because of Obi-Wan? 
+
+PADME: Because of what you've done . . . what you plan to do. Stop, stop now. Come back! I love you. 
+
+ANAKIN: (seeing Obi-Wan) Liar! 
+
+PADME turns around and. sees OBI-WAN standing in the doorway of the Naboo Cruiser. 
+
+PADME: No! 
+
+ANAKIN: You're with him. You've betrayed me! You brought him here to kill me! 
+
+PADME: NO! Anakin. I swear ... I ... 
+
+ANAKIN reaches out, and PADME grabs her throat as she starts to choke. 
+
+OBI-WAN: Let her go, Anakin. 
+
+ANAKIN: What have you and she been up to? 
+
+OBI-WAN: Let her go! 
+
+ANAKIN releases his grip on the unconscious PADME and she crumples to the ground. 
+
+ANAKIN: You turned her against me. 
+
+OBI-WAN: You have done that yourself. 
+
+ANAKIN: You will not take her from me. 
+
+ANAKIN throws off his cloak. 
+
+OBI-WAN: Your anger and your lust for power have already done that. 
+
+OBI-WAN flings off his cloak. 
+
+OBI-WAN: (continuing) You have allowed this Dark Lord to twist your mind until now . . . until now you have become the very thing you swore to destroy. 
+
+They circle each other until OBI-WAN is near PADME. He places his hand on her. 
+
+ANAKIN: Don't lecture me, Obi-Wan. I see through the lies of the Jedi. I do not fear the dark side as you do. I have brought peace, justice, freedom, and security to my new Empire. 
+
+OBI-WAN: Your new Empire? 
+
+ANAKIN: Don't make me kill you. 
+
+OBI-WAN: Anakin, my allegiance is to the Republic ... to democracy. 
+
+ANAKIN: If you're not with me, you're my enemy. 
+
+OBI-WAN: Only a Sith Lord deals in absolutes. I will do what I must. 
+
+(ignites his lightsaber) 
+
+ANAKIN: You will try. 
+
+ANAKIN ignites his lightsaber. 
+
+ANAKIN lashes out at OBI-WAN, and they begin a ferocious sword fight. ANAKIN throws CONTAINERS at OBI-WAN using the Force. 
+They work their way off the landing platform and into the main entry hallway. ANAKIN kicks OBI-WAN, and OBI-WAN drops to a lower level. 
+ARTOO BEEPS his concern and rushes to the unconscious PADME's aid. 
+
+196 INT. CORRIDOR-SENATE ARENA-CHANCELLOR'S HOLDING OFFICE-NIGHT 
+
+YODA enters, using the Force to throw two RED GUARDS against the wall, knocking them unconscious. DARTH SIDIOUS turns his chair toward YODA. MAS AMEDDA stands behind SIDIOUS's desk. 
+
+YODA: I hear a new apprentice, you have. Emperor, or should I call you Darth Sidious. 
+
+DARTH SlDIOUS: Master Yoda, you survived. 
+
+YODA: Surprised? 
+
+DARTH SlDIOUS: Your arrogance blinds you, Master Yoda. Now you will experience the full power of the dark side. 
+
+The Dark Lord raises his arms, and LIGHTNING BOLTS shoot out, surrounding YODA. 
+YODA is picked up and thrown across the room, hitting the wall and sliding down in a crumpled heap. DARTH SIDIOUS chuckles. 
+
+197 INT. MUSTAFAR-PASSAGES TO MAIN CONTROL CENTER-DAY 
+
+ANAKIN and OBI-WAN move their fight toward the main control center. As the laser swords fly, bits of the hallway are cut up. OBI-WAN and ANAKIN jump and use every trick in the Jedi book. 
+
+198 EXT. MUSTAFAR-LANDING PLATFORM-NABOO CRUISER-DAY 
+
+R2-D2, tries to drag PADME on board the Naboo Cruiser. C-3PO pokes his head out of the ship's doorway. 
+
+C-3PO: What are you doing? You're going to hurt her. Wait!! 
+
+C-3PO starts down the ramp. 
+
+199 INT. CORRIDOR-SENATE ARENA-CHANCELLOR'S HOLDING OFFICE-NIGHT 
+
+MAS AMEDDA leaves the room. PALPATINE approaches a stunned YODA. 
+
+DARTH SlDIOUS: I have waited a long time for this moment, my little green friend. At last, the Jedi are no more. 
+
+YODA: Not if anything I have to say about it, Lord Sidious. 
+
+YODA uses the Force to throw DARTH SIDIOUS back, knocking him clear over his desk and onto the floor in a heap. 
+
+YODA: (continuing) At an end your rule is and not short enough it was, I must say. 
+
+DARTH SIDIOUS flies through the air, cape flapping, heading toward the exit. At the last second, YODA flies into the exit and stops the Dark Lord. 
+
+YODA: (continuing) If so powerful you are, why leave?? 
+
+YODA ignites his lightsaber. 
+
+DARTH SlDIOUS: You will not stop me. Darth Vader will become more powerful than either of us. 
+
+DARTH SIDIOUS ignites his lightsaber. 
+
+YODA: Faith in your new apprentice, misplaced may be, as is your faith in the dark side of the Force. 
+
+Their swords CLASH. The battle is extremely fast and furious. 
+
+
+200 INT. MUSTAFAR-MAIN CONTROL CENTER-DAY 
+
+View screens EXPLODE around ANAKIN and OBI-WAN as they work their way into the Control Room. The fighting is intense. OBI-WAN is on the defensive as he jumps up on the table view screen in the center of the room. 
+
+ANAKIN: Don't make me destroy you, Master. You're no match for the dark side. 
+
+OBI-WAN: I've heard that before, Anakin . . . but I never thought I'd hear it from you. 
+
+ANAKIN forces OBI-WAN back into the Conference Room where the quarters are much closer. Sparks fly everywhere. ANAKIN jumps onto the conference table. OBI-WAN slides across the table, knocking ANAKIN over. OBI-WAN grabs ANAKIN’s lightsaber as he falls. OBI-WAN uses the Force to summon his dropped lightsaber. ANAKIN does the same. 
+
+201 INT. CORUSCANT-SENATE CHAMBER-MAIN ARENA-NIGHT 
+
+PALPATINE seeks refuge in the vast Senate Chamber. He gets into the Chancellor's Podium and it starts to rise up into the Arena. YODA makes a giant leap into the control pod. The sword fighting is intense in the confined space. 
+
+202 INT. MUSTAFAR-MAIN CONTROL CENTER-DAY 
+
+The battle intensifies. 
+
+OBI-WAN: (continuing) The flaw of power is arrogance. 
+
+OBI-WAN stands looking at his former apprentice for a moment. 
+
+ANAKIN: You hesitate . . . the flaw of compassion. 
+
+OBI-WAN and ANAKIN lock sabers. OBI-WAN puts out his hand to use the Force to push ANAKIN away. ANAKIN puts out his hand to block OBI-WAN. 
+Both combatants are blasted backwards onto the control panels. 
+They regain their footing and the battle continues. ANAKIN kicks OBI-WAN away. 
+They battle around the room, and eventually the door to the exterior is knocked open. They continue battling out onto the balcony. 
+
+203 INT. CORUSCANT-SENATE CHAMRER-MAIN ARENA-NIGHT 
+
+YODA unleashes a ferocious assault on PALPATINE, causing him to almost go over the edge. The Dark Lord drops his lightsaber but recovers with a BLAST OF ENERGY from his hands that surrounds YODA. YODA is deflecting the Sith Lord's lightning bolts. 
+
+The energy bolts begin to arc back on the Emperor. It looks as if the Dark Lord is doomed. 
+
+YODA: Destroy you I will, just as Master Kenobi, your apprentice will destroy. 
+
+YODA jumps to a lower Senate Pod. PALPATINE reaches out with one hand, and a Senate pod is released from its mooring and heads toward the Podium. PALPATINE uses the Force to hurl pod after pod at YODA, who ducks and jumps from one flying pod to another. 
+
+YODA leaps away from the pods. He uses the Force to hold one pod suspended in the air. The pod spins and YODA throws it back at PALPATINE, who leaps away at the last moment. 
+
+YODA leaps after him, but PALPATINE quickly turns and aims the full force of his energy bolts at the tiny green Jedi, catching him in mid-air and throwing him back hard against the Podium. The force causes YODA to drop his lightsaber. YODA blocks the lightning and throws PALPATINE backwards off the podium. YODA is knocked off the Podium and falls several hundred feet to the base of the Podium. PALPATINE follows in his pod, searching for YODA. 
+
+204 EXT. MUSTAFAR-MAIN CONTROL CENTER BALCONY-DAY 
+
+ANAKIN forces OBI-WAN down a narrow balcony outside the Control Room. He rips objects off the wall and throws them at OBI-WAN as he pushes him further and further along the walkway. 
+
+The balcony ends, and OBI-WAN is trapped. He looks over the balcony and into a river of lava. 
+
+ANAKIN cuts apiece of the balcony railing off, along with a control panel. 
+ALARMS SOUND, and a protective ray shield around the superstructure disappears. It tumbles into the molten abyss, disappearing in a puff of smoke. A small pipe connects the Control Center to the Main Collection Plant. OBI-WAN has no choice but to tightrope-walk out across the lava river while fighting ANAKIN. 
+
+205 EXT. MUSTAFAR-MAIN CONTROL CENTER BALCONY, PIPE ACROSS LAVA RIVER, MAIN COLLECTION PLANT-DAY 
+
+ANAKIN, following OBI-WAN, jumps down onto the flexing pipe, lands, and resumes fighting. 
+
+206 INT. MUSTAFAR-PIPE ACROSS LAVA RIVER-DAY 
+
+OBI-WAN and ANAKIN work their way across the small pipe, fighting ferociously as they go. OBI-WAN slips, throws his lightsaber up in the air, grabs on to the pipe, swings around, grabs on to an upper pipe, retrieves his lightsaber, and lands back on the original pipe. They continue to fight across the pipe until they reach the Main Collection Plant. 
+
+207 INT. CORUSCANT-SENATE OFFICE BUILDING-WIRING CHUTE-NIGHT 
+
+YODA squishes his way through a mass of wires in a small chute. He talks on his comlink. 
+
+YODA: Hurry. Careful timing we will need. 
+
+BAIL ORGANA: (in speeder) There aren't many troops on this side. Activate your homing beacon when you're ready. 
+
+208 INT. CORUSCANT-SENATE CHAMBER-MAIN ARENA-NIGHT 
+
+A Senate pod with COMMANDER THIRE (4477) and SEVERAL OTHER CLONE TROOPERS climb up to where MAS AMEDDA and PALPATINE are waiting. Beneath the Main Podium, TWENTY CLONE TROOPERS search for Yoda 's body. 
+
+CLONE COMMANDER THIRE: There is no sign of his body, sir. 
+
+MAS AMEDDA: Then he is not dead. 
+
+PALPATINE: Double your search. 
+
+CLONE COMMANDER THIRE: Yes sir. Right away, sir. 
+
+PALPATINE: (to Mas Amedda) Tell Captain Kagi to prepare my shuttle for immediate takeoff. 
+
+MAS AMEDDA: Yes, Master. 
+
+PALPATINE: I sense Lord Vader is in danger. 
+
+PALPATINE walks into the Arena hallway. COMMANDER THIRE descends down to the floor of the Arena, where an intense search is taking place. SEVERAL CURIOUS SENATORS rubberneck in scattered pods. 
+
+209 EXT. MUSTAFAR-COLLECTION PANELS-DAY 
+
+OBI-WAN and ANAKIN battle on the top of the multispired collection panels, jumping from one to the other. At the end of the collection cluster, a huge spray of lava covers the attachments that hold up the collectors. The frame begins to melt. It's raining lava. Both ANAKIN and OBI-WAN run for cover under the collection cluster. They continue to fight in the lava rain, darting from cover to attack, then quickly retreating to cover. 
+Support for the entire structure begins to fall away, and the collection cluster falls into the lava river. The Jedi continue their fight, climbing to the highest point on the tower as the rest begins to melt away as it rides the swift current down the river. 
+
+It bends toward the lava as they get out toward the end. The fighting gets fierce. OBI-WAN gets to the end and is trapped. The tower slowly starts to sink under the lava. 
+
+210 EXT. CORUSCANT-SENATE OFFICE BUILDING-NIGHT 
+
+BAIL ORGANA, in his open Cockpit Speeder, flies along next to the roof eave of the huge Senate Building. He slows and moves closer to a long row of recessed lights. Suddenly YODA falls out of one of the light recesses and lands in the Speeder. BAIL guns it and heads away from the Senate Building. 
+
+211 INT. CORUSCANT-BAIL ORGANA'S SPEEDER-NIGHT 
+
+YODA straightens himself out. 
+
+YODA: Into exile I must go. Failed, I have. 
+
+YODA and BAIL fly into the traffic of the city. 
+
+212 EXT. MUSTAFAR-COLLECTION PANELS-DAY 
+
+OBI-WAN realizes he is getting very close to the edge of the lava falls. He grabs a rope and leaps from the collection arm. ANAKIN follows. 
+ANAKIN and OBI-WAN continue their sword fight hanging from cables as they swing past each other. 
+
+213 EXT. MUSTAFAR-LANDING PLATFORM-NABOO SKIFF-DAY 
+
+C-3PO carefully lifts PADME into his arms. R2-D2 nervously looks on. BEEPING. 
+
+C-3PO: I am being careful. I've got a good hold on her, but . . . I'm worried about my back. I hope it's able to hold up under this weight. 
+
+C-3PO carries PADME into the Naboo Skiff. 
+
+214 EXT. MUSTAFAR-COLLECTION PANELS-DAY 
+
+From their cables, ANAKIN and OBI-WAN both spot something that causes them to stop fighting. The lava river ahead drops off in a tremendous lava fall. 
+
+SNAPPING AND METAL GROANS are heard as the main part of the collector starts to break away and move toward the lava fall. OBI-WAN looks around and sees a small floating platform making its way toward the tower. 
+
+OBI-WAN does a double hack-flip and lands squarely on the floating platform. He immediately leans to one side and moves away from the tower. 
+
+ANAKIN realizes he is doomed as the entire tower heads for the falls. In the distance he sees some CONSTRUCTION DROIDS. He swings back to the tower, climbs up and makes a running leap and miraculously lands on A WORKER DROID. The DROID is confused and chatters to his CO-WORKER. The giant collector goes over the lava flow and disappears in the mist of sparks below. 
+
+OBI-WAN heads for the bank of the lava river, but Anakin's DROID is faster. He catches up with his old Master. 
+
+OBI-WAN and ANAKIN continue the swordfight. They battle away, balancing on the tiny platform and puzzled DROID. ANAKIN, standing on the Droid, approaches OBI-WAN on the work platform. 
+
+OBI-WAN: I have failed you, Anakin. I was never able to teach you to think. 
+
+ANAKIN and OBI-WAN confront each other on the lava river. 
+
+ANAKIN: I should have known the Jedi were plotting to take over . . . 
+
+OBI-WAN: From the Sith!!! Anakin, Chancellor Palpatine is evil. 
+
+ANAKIN: From the Jedi point of view! From my point of view, the Jedi are evil. 
+
+OBI-WAN: Well, then you are lost! 
+
+ANAKIN: This is the end for you, My Master. I wish it were otherwise. 
+
+ANAKIN jumps and flips onto OBI- WAN's platform. The fighting continues again until OBI-WAN jumps toward the safety of the black sandy edge of the lava river. He yells at Anakin. 
+
+OBI-WAN: It's over, Anakin. I have the high ground. 
+
+ANAKIN: You underestimate my power! 
+
+OBI-WAN: Don't try it. 
+
+ANAKIN follows, and OBI-WAN cuts his young apprentice at the knees, then cuts off his left arm in the blink of an eye. ANAKIN tumbles down the embankment and rolls to a stop near the edge of the lava. 
+
+ANAKIN struggles to pull himself up the embankment with his mechanical hand. His thin leather glove has been burned off. He keeps sliding down in the black sand. 
+
+OBI-WAN: (continuing) . . . You were the Chosen One! It was said that you would, destroy the Sith, not join them. It was you who would bring balance to the Force, not leave it in Darkness. 
+
+OBI-WAN picks up Anakin's light saber and begins to walk away. He stops and looks back. 
+
+ANAKIN: I hate you! 
+
+OBI-WAN: You were my brother, Anakin. I loved you. 
+
+ANAKIN'S clothing blows into the lava river and ignites. Suddenly ANAKIN bursts into flames and starts SCREAMING. 
+
+215 INT. MUSTAFAR-VOLCANO EDGE-DAY 
+
+OBI-WAN looks in horror as ANAKIN becomes engulfed in flames. OBI-WAN can't watch him as he struggles to climb the embankment, covered in flames. 
+
+He runs back to Padme's ship as ANAKIN drops, smoldering, near the top of the lava pit. 
+
+216 EXT. MUSTAFAR-LANDING PLATFORM-NABOO SKIFF-DAY 
+
+OBI-WAN makes his way to the SKIFF. He looks for Padme. THREEPIO sticks his head out the door of the SKIFF. 
+
+C-3PO: Master Kenobi! We have Miss Padme on board. Please, please hurry. We should leave this dreadful place. 
+
+OBI-WAN runs on board the Naboo Skiff. 
+
+217 EXT. MUSTAFAR-LANDING PLATFORM-NABOO SKIFF-DAY 
+
+PADME lies on a cot or bed inside the ship. OBI-WAN walks over and checks on her. 
+
+PADME: Obi-Wan? Is Anakin all right? 
+
+OBI-WAN looks at her sadly and does not answer. He brushes her hair back. Padme drops back into unconsciousness. ARTOO watches over her. 
+OBI-WAN rides in the co-pilot's station. He sits looking pensive. THREEPIO drives. 
+
+218 EXT. MUSTAFAR-VOLCANO EDGE-DAY 
+
+ANAKIN crawls up the bank, his body smoking. A shuttle flies overhead and lands. 
+
+219 EXT. MUSTAFAR-LANDING PLATFORM-IMPERIAL SHUTTLE-DAY 
+
+An Imperial Shuttle closes its wings and settles on the highest of the Mustafar Landing Platforms. A PLATOON OF CLONE TROOPERS exits the craft, followed by DARTH SIDIOUS. 
+
+220 INT. MUSTAFAR-VOLCANO PIT-DAY 
+
+DARTH SIDIOUS walks in front of the CLONE TROOPERS on his way to get to Anakin at the edge of the lava pit. 
+
+221 EXT. MUSTAFAR-VOLCANO PIT-DAY 
+
+DARTH SIDIOUS discovers what remains of ANAKIN and checks him out. He turns to the CLONES. 
+
+DARTH SIDIOUS: Anakin! Anakin! There he is. He's still alive. Get a medical capsule, immediately. 
+
+CLONE CAPTAIN: Yes sir. Right away. 
+
+Several of the CLONES rush off as DARTH SIDlOUS puts his hand on ANAKIN's forehead. 
+
+222 INT. POLIS MASSA-OBSERVATION DOME-NIGHT 
+
+On the isolated asteroid of Polis Massa, YODA meditates. 
+
+YODA: Failed to stop the Sith Lord, I have. Still much to learn, there is ... 
+
+QUI -GON: (V.O.) Patience. You will have time. I did not. When I became one with the Force I made a great discovery. With my training, you will be able to merge with the Force at will. Your physical self will fade away, but you will still retain your consciousness. You will become more powerful than any Sith. 
+
+YODA: Eternal consciousness. 
+
+QUI-GON: (V.O.) The ability to defy oblivion can be achieved, but only for oneself. It was accomplished by a Shaman of the Whills. It is a state acquired through compassion, not greed. 
+
+YODA: . . . to become one with the Force, and influence still have . . . A power greater than all, it is. 
+
+QUI-GON: (V.O.) You will learn to let go of everything. No attachment, no thought of self. No physical self. 
+
+YODA: A great Jedi Master, you have become, Qui-Gon Jinn. Your apprentice I gratefully become. 
+
+YODA thinks about this for a minute, then BAIL ORGANA enters the room and breaks his meditation. 
+
+BAIL ORGANA: Excuse me, Master Yoda. Obi-Wan Kenobi has made contact. 
+
+223 EXT. MUSTAFAR-LANDING PLATFORM-DAY 
+
+The CLONES have placed ANAKIN in a medical capsule. They float the wounded Sith Lord into the belly of the IMPERIAL CRUISER. DARTH SIDIOUS follows the capsule into the ship. The ship takes off. 
+
+224 EXT. POLIS MASSA-LANDING PLATFORM-NIGHT 
+
+OBI-WAN lands the Naboo Cruiser on the landing platform of the isolated post of Polis Massa. YODA and BAIL ORGANA, along with a FEW GROUND CREW, are waiting as the ramp lowers and OBI-WAN emerges, carrying the unconscious PADME in his arms, followed by ARTOO and THREEPIO. 
+
+BAIL ORGANA: We'll take her to the medical center, quickly. 
+
+225 EXT. LANDING PLATFORM-CORUSCANT-IMPERIAL REHAB CENTER-DAY 
+
+The shuttle lands. DARTH SIDIOUS and CLONE TROOPERS leave the shuttle. ANAKIN's body is carried along in a floating medical capsule. 
+
+226 INT. POLIS MASSA-MEDICAL CENTER-NIGHT 
+
+POLIS MEDICS work, on PADME in an operating theater. OBI-WAN and one of the MEDICAL DROIDS enter an observation room where BAIL and YODA are waiting. 
+
+MEDICAL DROID: Medically, she is completely healthy. For reasons we can't explain, we are losing her. 
+
+OBI-WAN: She's dying? 
+
+MEDICAL DROID: We don't know why. She has lost the will to live. We need to operate quickly if we are to save the babies. 
+
+BAIL ORGANA: Babies??!! 
+
+MEDICAL DROID: She's carrying twins. 
+
+YODA: Save them, we must. They are our last hope. 
+
+The MEDICAL DROID rushes back to the operating room. ARTOO and THREEPIO watch, greatly puzzled. ARTOO BEEPS. 
+
+C-3PO: It s some kind of reproductive process, I think. 
+
+227 INT. CORUSCANT-IMPERIAL REHAB CENTER-DAY 
+
+ANAKIN, in the medical capsule, is lifted onto a table in the Rehab Center. DROIDS go to work on him. ANAKIN has new legs and a new arm. 
+
+228 INT. POLIS MASSA-MEDICAL CENTER-NIGHT 
+
+The TWINS are being delivered as BAIL ORGANA, YODA, ARTOO, and THREEPIO watch. OBI-WAN is in the operating theater with PADME. He takes her hand. 
+
+OBI-WAN: Don't give up, Padme. 
+
+PADME winces from the pain. The MEDICAL DROID is holding the BABY. 
+
+MEDICAL DROID: It's a boy. 
+
+PADME: Luke . . . 
+
+PADME can only offer up a faint smile. She struggles to touch the baby on the forehead. 
+
+MEDICAL DROID: ... and a girl. 
+
+PADME: . . . Leia. 
+
+R2-D2, THREEPIO and BAIL ORGANA watch from an adjoining space. 
+
+229 INT. CORUSCANT-IMPERIAL REHAB CENTER-DAY 
+
+VADER, dressed in his black body armor, lies on the table. Nose plugs are inserted and the mask drops from above, sealing tightly. The helmet is fitted and VADER begins breathing. 
+
+230 INT. POLIS MASSA-MEDICAL CENTER-NIGHT 
+
+OBI WAN leans over PADME and softly speaks to her. 
+
+OBI-WAN: You have twins, Padme They need you . . . hang on. 
+
+PADME: I can't . . . 
+
+PADME winces again and takes OBI-WAN's hand. She is holding Anakin's japor snippet. 
+
+OBI-WAN: Save your energy. 
+
+PADME: Obi-Wan . . . there . . . is good in him. I know there is ... still . . . 
+
+A last gasp, and she dies. Obi-Wan studies the necklace. 
+
+231 INT. CORUSCANT-IMPERIAL REHAB CENTER-DAY 
+
+DARTH SIDIOUS hovers around the periphery of a group of MEDICAL DROIDS who are working on ANAKIN. DARTH SIDIOUS paces in the foreground. A DROID approaches the Dark Lord. 
+
+MEDICAL DROID: My Lord, the construction is finished ... he lives. 
+
+DARTH SIDIOUS: Good. Good. 
+
+The DROID moves back to the table where DARTH VADER lies. The table begins to move upright. DARTH SIDIOUS moves in next to DARTH VADER. 
+
+DARTH SIDIOUS: (continuing) Lord Vader, can you hear me? 
+
+DARTH VADER, with his dark mask and helmet, moves up into the frame until he is in a CLOSEUP. 
+
+DARTH VADER: Yes, My Master. 
+
+DARTH VADER looks around the room. 
+
+DARTH VADER: (continuing) Where is Padme? Is she safe, is she all right? 
+
+DARTH SIDIOUS moves closer to the half droid/half man. 
+
+DARTH SIDIOUS: I'm afraid she died. ... it seems in your anger, you killed her. 
+
+A LOW GROAN emanates from Vader's mask. Suddenly everything in the room begins to implode, including some of the DROIDS. 
+
+DARTH VADER: I couldn't have! She was alive! I felt her! She was alive! It's impossible! No!!! 
+
+VADER SCREAMS, breaks his bonds to the table, and steps forward, waving his hands, causing objects to fly around the room. SIDIOUS deflects the objects, but some of the DROIDS aren't so lucky. VADER'S PAINFUL SCREAMS echo throughout the Center. 
+
+232 EXT. NABOO-ALDERAAN STARCRUISER 
+
+BAIL ORGANA's Starcruiser approaches the city of Theed. 
+
+233 INT. ALDERAAN CRUISER-CONFERENCE ROOM 
+
+BAIL ORGANA, YODA, and OBI-WAN sit around a conference table. 
+
+YODA: Pregnant, she must still appear. Hidden, safe, the children must be kept. 
+
+OBI-WAN: We must take them somewhere the Sith will not sense their presence. 
+
+YODA: Split up, they should be. 
+
+BAIL ORGANA: My wife and I will take the girl. We've always talked of adopting a baby girl. She will be loved with us. 
+
+OBI-WAN: And what of the boy? 
+
+YODA: To Tatooine. To his family, send him. 
+
+OBI-WAN: I will take the child and watch over him. Master Yoda, do you think Anakin's twins will be able to defeat Darth Sidious? 
+
+YODA: Strong the Force runs, in the Skywalker line. Hope, we can . . . Done, it is. Until the time is right, disappear we will. 
+
+BAIL leaves the conference room. YODA stops OBI-WAN. 
+
+YODA: (continuing) Master Kenobi, wait a moment. In your solitude on Tatooine, training I have for you. 
+
+OBI-WAN: Training?? 
+
+YODA: An old friend has learned the path to immortality. 
+
+OBI-WAN: Who? 
+
+YODA: One who has returned from the netherworld of the Force to train me . . . your old Master, Qui-Gon Jinn. 
+
+OBI-WAN: Qui-Gon? But, how could he accomplish this? 
+
+YODA: The secret of the Ancient Order of the Whills, he studied. How to commune with him. I will teach you. 
+
+OBI-WAN: I will be able to talk with him? 
+
+YODA: How to join the Force, he will train you. Your consciousness you will retain, when one with the Force. Even your physical self, perhaps. 
+
+234 INT. ALDERAAN STARCRUISER-HALLWAY- SPACE 
+
+BAIL ORGANA, followed by ARTOO and THREEPIO, approaches CAPTAIN ANTILLES and TWO CREW MEMBERS. 
+
+BAIL ORGANA: Captain Antilles. 
+
+CAPTAIN ANTILLES: Yes, Your Highness. 
+
+BAIL ORGANA: I'm placing these droids in your care. Treat them well. Clean them up. Have the Protocol Droid's mind wiped. 
+
+C-3PO: Oh, no. 
+
+235 EXT. NABOO-MAIN SQUARE-DAWN 
+
+SIO BIBBLE walks with other MOURNERS. 
+LARGE CROWDS line the street as a flowered, covered coffin is drawn by SIX BEAUTIFUL WHITE BEASTS. SOLDIERS AND FAMILY 
+ATO DIGNITARIES follow the casket. 
+PADME's hand clutches the japor snippet. 
+
+236 EXT. DAGOBAH-DAY 
+
+A small escape pod hurls toward the swamp planet and disappears in the mist. The pod has landed, and YODA descends the ramp, surveying the unfamiliar terrain. 
+
+237 EXT. IMPERIAL STAR DESTROYER-SPACE 
+
+A Star Destroyer is surrounded by ATTACK CRUISERS. On the bridge of the Star Destroyer stands the EMPEROR and GOVERNOR 
+TARKIN. 
+
+DARTH VADER walks along the bridge to join the EMPEROR and GOVERNOR TARKIN. The camera PANS to reveal the huge frame 
+structure which is the beginning of the DEATH STAR. 
+
+238 EXT. ALDERAAN-STARCRUISER-SPACE 
+
+The ship approaches the surface of Alderaan. 
+
+239 EXT. ALDERAAN-LATE AFTERNOON 
+
+The QUEEN OF ALDERAAN sits on a balcony looking out over the awesome mountains of Alderaan. BAIL ORGANA brings a small baby to her. She takes her and rocks her. 
+
+240 EXT. TATOOINE-SUNSET 
+
+OBI-WAN rides up to the moisture farm homestead on an EOPIE. He dismounts, takes the BABY out of a papoose on his back, and walks toward AUNT BERU, who walks over to greet him. They talk for a moment, and OBI-WAN turns the baby over to the young homesteader. AUNT BERU walks to UNCLE OWEN who is standing on the ridge near the homestead. OBI-WAN leaves as OWEN, BERU, and the BABY watch the twin suns set. 
+
+IRIS OUT. END TITLES. 
+
+
diff --git a/unformated_scripts/Script_Star Wars_ The Empire Strikes Back.txt b/unformated_scripts/Script_Star Wars_ The Empire Strikes Back.txt
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+				                          THE EMPIRE STRIKES BACK				 Written by                                   Lawrence Kasdan                                     and                               Leigh Brackett				                           From a story by George Lucas															EXT. GALAXY - PLANET HOTHA Star Destroyer moves through space, releasing Imperial probe robots from its underside.  One of these probes zooms toward the planet Hoth and lands on its ice-covered surface.  An explosion marks the point ofimpact.  EXT. HOTH - METEORITE CRATER - SNOW PLAIN - DAYA weird mechanical sound rises above the whining of the wind.  A strange probe robot, with several extended sensors, emerges from the smoke-shrouded crater.  The ominous mechanical probe floats across the snow plain and disappears into the distance.EXT. PLAIN OF HOTH - DAYA small figure gallops across the windswept ice slope.  The bundled rider is mounted on a large gray snow lizard, a Tauntaun.  Curving plumes of snow rise from beneath the speeding paws of the two-legged beast.The rider gallops up a slope and reins his lizard to a stop.  Pulling off his protective goggles, Luke Skywalker notices something in the sky.  He takes a pair of electrobinoculars from his utility belt and through them sees smoke rising from where the probe robot has crashed.The wind whips at Luke's fur-lined cap and he activates a comlink transmitter.  His Tauntaun shifts and moans nervously beneath him.				LUKE			(into comlink)		Echo Three to Echo Seven.  Han, 		old buddy, do you read me?After a little static a familiar voice is heard.				HAN			(over comlink)		Loud and clear, kid.  What's up?				LUKE			(into comlink)		Well, I finished my circle.  I 		don't pick up any life readings.				HAN			(over comlink)		There isn't enough life on this 		ice cube to fill a space cruiser.  		The sensors are placed, I'm going 		back.				LUKE			(into comlink)		Right.  I'll see you shortly.  		There's a meteorite that hit the 		ground near here.  I want to check 		it out.  It won't take long.Luke clicks off his transmitter and reins back on his nervous lizard.  He pats the beast on the head to calm it.				LUKE		Hey, steady girl.  What's the 		matter?  You smell something?Luke takes a small device from his belt and starts to adjust it when suddenly a large shadow falls over him from behind.  He hears a monstrous howl and turns to see an eleven-foot-tall shape towering over him.  It is a Wampa Ice Creature, lunging at him ferociously.				LUKE		Aaargh!Luke grabs for his pistol, but is hit flat in the face by a huge white claw.  He falls unconscious into the snow and in a moment the terrified screams of the Tauntaun are cut short by the horrible snap of a neck being broken.The Wampa Ice Creature grabs Luke by one ankle and drags him away across the frozen plain.EXT. HOTH - REBEL BASE ENTRANCE - DAYA stalwart figure rides his Tauntaun up to the entrance of an enormous ice cave.INT. HOTH - REBEL BASE - MAIN HANGAR DECKRebel troopers rush about unloading supplies and otherwise securing their new base.  The rider, Han Solo, swings off his lizard and pulls off his goggles.He walks into the main hangar deck toward the Millennium Falcon, which is parked among several fighters.  Mechanics, R2 units, and various other droids hurry about.  Han stops at the Millennium Falcon where his Wookiee copilot, Chewbacca, is welding on a central lifter.  Chewie stops his work and lifts his face shield, growling an irritated greeting to his boss.				HAN		Chewie!The Wookiee grumbles a reply.				HAN		All right, don't lose your temper.		I'll come right back and give you 		a hand.Chewbacca puts his mask back on and returns to his welding as Han leaves.INT. HOTH - REBEL BASE - COMMAND CENTERA makeshift command center has been set up in a blasted area of thick ice.  The low-ceilinged room is a beehive of activity. Controllers, troops, and droids move about setting up electronic equipment and monitoring radar signals.General Rieekan straightens up from a console at Han's approach.				RIEEKAN		Solo?				HANNo sign of life out there, General.The sensors are in place.  You'll know if anything comes around.				RIEEKAN		Commander Skywalker reported in yet?				HAN		No.  He's checking out a meteorite 		that hit near him.				RIEEKAN			(indicates radar 			 screen)		With all the meteor activity in this		system, it's going to be difficult 		to spot approaching ships.Taking a deep breath, Han blurts out what is on his mind.				HAN		General, I've got to leave.  I 		can't stay anymore.Princess Leia, standing at a console nearby, is dressed in a short white combat jacket and pants.  Her hair is braided across her head in a Nordic fashion.  She overhears their  conversation and seems somewhat distressed.				RIEEKAN		I'm sorry to hear that.				HAN		Well, there's a price on my head.		If I don't pay off Jabba the Hut, 		I'm a dead man.				RIEEKAN		A death mark's not an easy thing 		to live with.  You're a good		fighter, Solo.  I hate to lose you.				HAN		Thank you, General.He turns to Leia as Rieekan moves away.				HAN			(with feeling)		Well, Your Highness, I guess this 		is it.				LEIA		That's right.Leia is angry.  Han sees she has no warmth to offer him.  He shakes his head and adopts a sarcastic tone.				HAN			(cooly)		Well, don't get all mushy on me.		So long, Princess.Han walks away into the quiet corridor adjoining the command center.  Leia stews a moment, then hurries after him.INT. HOTH - REBEL BASE - ICE CORRIDOR				LEIA		Han!Han stops in the corridor and turns to face Leia.				HAN		Yes, Your Highnessness?				LEIA		I thought you decided to stay.				HAN		Well, the bounty hunter we ran 		into on Ord Mantell changed my		mind.  				LEIA		Han, we need you!				HAN		We?				LEIA		Yes.				HAN		Oh, what about you need?				LEIA			(mystified)		I need?  I don't know what you're 		talking about.				HAN			(shakes his head, 			 fed up) 		You probably don't.				LEIA		And what precisely am I supposed 		to know?				HAN		Come on!  You want me to stay 		because of the way you feel about		me.				LEIA		Yes.  You're a great help to us.		You're a natural leader...				HAN		No!  That's not it.  Come on.  		Aahhh - uh huh!  Come on.Leia stares at him, understanding, then laughs.				LEIAYou're imagining things.				HAN		Am I?  Then why are you following 		me?  Afraid I was going to leave		without giving you a goodbye kiss?				LEIA		I'd just as soon kiss a Wookiee.				HAN		I can arrange that.  You could use 		a good kiss!Angrily, Han strides down the corridor as Leia stares after him.INT. HOTH - REBEL BASE - ANOTHER ICE CORRIDORA familiar stream of beeps and whistles herald the approach of Artoo-Detoo and See-Threepio, who appear around a corner and move along an ice wall toward the main hangar.				THREEPIO		Don't try to blame me.  I didn't 		ask you to turn on the thermal 		heater.  I merely commented that it 		was freezing in the princess' 		chamber.  But it's supposed to be 		freezing.  How are we going to dry 		out all her clothes?  I really don't 		know.Artoo beeps a stream of protesting whistles.				THREEPIO		Oh, switch off.INT. HOTH - REBEL BASE - MAIN HANGAR DECKThe two robots stop at Han Solo's space freighter.  Han and Chewie are struggling with their central lifters.				HAN			(to Chewie)		Why do you take this apart now? 		I'm trying to get us out of here 		and you pull both of these.Chewie grumbles in irritation.				THREEPIO		Excuse me, sir.				HAN			(to Chewie)		Put them back together right now.				THREEPIO		Might I have a word with you, 		please?				HAN		What do you want?				THREEPIO		Well, it's Princess Leia, sir.		She's been trying to get you on 		the communicator.				HAN		I turned it off.  I don't want to 		talk to her.				THREEPIO		Oh.  Well, Princess Leia is wondering 		about Master Luke.  He hasn't come 		back yet.  She doesn't know where he 		is.				HAN		I don't know where he is.				THREEPIO		Nobody knows where he is.				HAN		What do you mean, "nobody knows"?Han glances at the fading light at the entrance of the ice cave as night slowly begins to fall on the planet.				THREEPIO		Well, uh, you see...Han jumps down off the lift, as Threepio follows him.				HAN		Deck Officer.  Deck Officer!				THREEPIO		Excuse me, sir.  Might I inqu...Han abruptly puts his hand over Threepio's mouth as the deck officer approaches.				DECK OFFICER		Yes, sir?				HAN		Do you know where Commander 		Skywalker is?				DECK OFFICER		I haven't seen him.  It's possible 		he came in through the south entrance.				HAN		It's possible?  Why don't you go 		find out?  It's getting dark out there.				DECK OFFICER		Yes, sir.The deck officer leaves hurriedly, as Han takes his hand off Threepio's mouth.				THREEPIO		Excuse me, sir.  Might I inquire 		what's going on?				HAN		Why not?				THREEPIO		Impossible man.  Come along, Artoo, 		let's find Princess Leia.  Between 		ourselves, I think Master Luke is 		in considerable danger.INT. HOTH - REBEL BASE - MAIN ICE TUNNELThe deck officer and his assistant hurry toward Han as he enters the tunnel.				DECK OFFICER		Sir, Commander Skywalker hasn't 		come in through the south entrance.		He might have forgotten to check in.				HAN		Not likely.  Are the speeders ready?				DECK OFFICER		Not yet.  We're having some trouble 		adapting them to the cold.				HAN		Then we'll have to go out on 		Tauntauns.				DECK OFFICER		Sir, the temperature's dropping too 		rapidly.				HAN		That's right.  And my friends out 		in it.				ASSISTANT OFFICER		I'll cover sector twelve.  Have 		com-control set screen alpha.Han pushes through the troops and mounts a Tauntaun.				DECK OFFICER		Your Tauntaun'll freeze before you 		reach the first marker.				HAN		Then I'll see you in hell!Han maneuvers his mount out of the cave and races into the dark bitter night.EXT. HOTH - ICE GORGE - DUSKThe jagged face of a huge ice wall sits gloomily in the dim twilight of a Hoth day.  Luke hangs upside down, ankles frozen into icy stalactites, his extended arms within a foot of the snow floor.  One side of his face is covered in a dried mask of frozen blood.  He opens his eyes as a chilling moan of the hideous ice creature echoes off the gorge walls.  Luke pulls himself up, grabs hold of his ankles, and futilely tries to unfasten the throngs.Exhausted, he drops back into his hanging position.  As he hangs there, he spies his lightsaber lying near a pile of his discarded gear, about three feet out of reach.He focuses on the saber and, as his hand strains toward the weapon, he squeezes his eyes tight in concentration.Just as the ice creature looms over Luke, the lightsaber jumps into Luke's hand.The young warrior instantly ignites his sword, swinging up, and cuts himself loose from the ice.  He flops to the snow in a heap.  The startled creature moves back, his giant yellow eyes blinking.  Luke scrambles to his feet.  He swings his lightsaber and the beast screams in pain.EXT. HOTH - ENTRANCE TO ICE GORGE - DUSKLuke staggers out of the gorge into the dark and snowy twilight.  Weak and exhausted, he stumbles down a snow bank.EXT. HOTH - SNOW PLAIN - DUSKA small, lone figure riding a Tauntaun races through the hostile vastness of snow and cold.  As it runs, the Tauntaun's legs kick up large clouds of snow and ice into the snowy air.EXT. HOTH - OUTSIDE ICE				 HANGAR - DUSKArtoo stands in the falling snow, beeping worriedly.  Threepio moves stiffly over to him.				THREEPIO		You must come along now, Artoo.  		There's really nothing more we can 		do.  And my joints are freezing up.Artoo beeps, long and low.				THREEPIO		Don't say thing like that!  Of 		course we'll see Master Luke again.		He'll be quite all right, you'll see.			(to himself)		Stupid little short-circuit.  He'll 		be quite all right.Threepio turns to go back inside the main hangar as Artoo mournfully keeps his vigil.EXT. HOTH - SNOW DRIFT - DUSKThe wind is blowing quite strong now.  Luke struggles to stay upright, but a blast of freezing snow knocks him over.  He struggles to get up, but he can't.  The young warrior from Tatooine drags himself a couple of feet and then collapses.INT. REBEL BASE - MAIN HANGAR DECK - ENTRANCE - NIGHTPrincess Leia stands inside the dark entrance to the Rebel base, waiting for a sign of the two Rebel heroes.  She shivers in the cold wind as, nearby, Chewie sits with his head in his hands.  In the background, Artoo and Threepio move through the doors.  A Rebel lieutenant moves to Major Derlin, an officer keeping watch with the princess.				LIEUTENANT		Sir, all the patrols are in.		There's still no contact from 		Skywalker or Solo.				THREEPIO		Mistress Leia, Artoo says he's been 		quite unable to pick up any signals, 		although he does admit that his own 		range is far too weak to abandon 		all hope.Leia nods an acknowledgment, but she is lost in thought.				DERLIN		Your Highness, there's nothing 		more we can do tonight.  The shield 		doors must be closed.He turns to the lieutenant.				DERLIN		Close the doors.				LIEUTENANT		Yes, sir.The lieutenant walks away.  Chewie lets out a long, mournful howl, somewhat like a coyote.  At the same moment, Artoo begins a complex series of efficient beeps.				THREEPIO		Artoo says the chances of survival 		are seven hundred seventy-five...		to one.Leia stands praying to herself as the huge metal doors slam across the entrance of the ice cave.  The loud booms echo throughout the huge cavern.  Chewie lets out another suffering howl.				THREEPIO		Actually, Artoo has been known to 		make mistakes... from time to time.		Oh, dear, oh, dear.  Don't worry 		about Master Luke.  I'm sure he'll 		be all right.  He's quite clever, 		you know... for a human being.EXT. HOTH - SNOW DRIFT - DUSKLuke lies face down in the snow, nearly unconscious.  Slowly he looks up and sees Ben Kenobi, barely visible through the blowing snow.  It is hard to tell if Kenobi is real or a hallucination.				BEN		Luke... Luke.				LUKE			(weakly)		Ben?				BEN		You will go to the Dagobah system.				LUKE		Dagobah system?				BEN		There you will learn from Yoda, 		the Jedi Master who instructed me.The image of Ben fades, revealing a lone Tauntaun rider approaching from the windswept horizon.				LUKE			(groaning faintly)		Ben... Ben.Luke drops into unconsciousness.Han pulls up and leaps off his mount.  He hurries to his snow-covered friend, cradling him in his arms.  Han's Tauntaun lets out a low, pitiful bellow.  But Han's concern is with Luke, and he shakes him urgently.				HAN		Luke!  Luke!  Don't do this, Luke.  		Come on, give me a sign here.Luke doesn't respond.  Han begins frantically rubbing and slapping Luke's unconscious face.  As he starts to lift the youth, Han hears a rasping sound behind him.  He turns, just in time to see his Tauntaun stagger and then fall over into the snow.Han carries Luke to the moaning beast.  Then, with a final groan, the Tauntaun expires.				HAN 		Not much time.He pushes Luke's inert form against the belly of the dead beast.				LUKE			(moaning)		Ben... Ben...				HAN		Hang on, kid.				LUKE		Dagobah system...Han ignites Luke's saber and cuts the beast from head to toe.  He quickly tosses it's steaming innards into the snow, then lifts Luke's inert form and stuffs him inside the carcass.				HAN			(reeling from the 			 odor) 		Whew...				LUKE		Dagobah...				HAN		This may smell bad, kid...				LUKE			(moaning)		Yoda...				HAN		...but it will keep you warm... 		til I get the shelter built.			(struggling to get 			 Luke inside the 			 carcass) 		Ooh... I thought they smelled bad 		on the outside!The wind has picked up considerably, making it difficult to move.  Han removes a pack from the dead creature's back, taking out a shelter container.  He begins to set up what can only be a pitiful protection against a bitter Hoth night.EXT. HOTH - SNOWDRIFT - DAWNFour snub-nosed armored snowspeeders race across the white landscape.INT. SNOWSPEEDER COCKPITThere is only one pilot, Zev, in the enclosed two-man craft.  He concentrates on the scopes which ring his cockpit.  He hears a low beep from one of his monitors.				ZEV			(into transmitter) 		Echo Base... I've got something!  Not 		much, but it could be a life form.EXT. HOTH - SNOWDRIFTThe small craft banks and makes a slow arc, then races off in a new direction.INT. SNOWSPEEDER - COCKPITThe pilot switches over to a new transmitter.				ZEV			(into transmitter)		This is Rogue Two.  this is Rogue 		Two.  Captain Solo, so you copy?  		Commander Skywalker, do you copy? 		This is Rogue Two.There is a sharp crackle of static, then a faint voice.				HAN			(filtered over 			 Zev's receiver)		Good morning.  Nice of you guys 		to drop by.				ZEV			(switching transmitters) 		Echo Base... this is Rogue Two.  I 		found them.  Repeat, I found them.EXT. HOTH - SNOWDRIFT - DAYThe small shelter Han set up is covered with snow on the windward side.  A makeshift antenna rests gingerly on top the snowdrift.  Han spots Zev's snowspeeder approaching in the distance, and begins waving his arms frantically at the tiny craft.INT. REBEL BASE - MEDICAL CENTERStrange robot surgeons adjust a mass of electronic equipment.  A switch is thrown and a sudden blinding flash obscures Luke in a bacta tank filled with a thick, gelatinous slime.  He begins to thrash about, raving in delirium.INT. REBEL BASE - MEDICAL CENTER - RECOVERY ROOMLuke sits up in a recovery-room bed, weak but smiling.  His face shows terrible wounds from the Wampa's attack.  Threepio and Artoo enter the room.				THREEPIO		Master Luke, sir, it's so good 		to see you fully functional again.Artoo beeps his good wishes.				THREEPIO		Artoo expresses his relief, also.Han and Chewie make their entrance.  The Wookiee growls a greeting.				HAN		How are you feeling, kid?  You 		don't look so bad to me.  In 		fact, you look strong enough to 		pull the ears off a Gundark.				LUKE		Thanks to you.				HAN		That's two you owe me, junior.Han turns as Leia enters the room.  He looks at her with a big, devilish grin.				HAN		Well your Worship, looks like 		you managed to keep me around for		a little while longer.				LEIA			(haughtily)		I had nothing to do with it.  General 		Rieekan thinks it's dangerous for 		any ships to leave the system until 		we've activated the energy shield.				HAN		That's a good story.  I think you 		just can't bear to let a gorgeous 		guy like me out of your sight.				LEIA		I don't know where you get your 		delusions, laser brain.Chewie is amused; he laughs in his manner.  Han, enjoying himself, regards Chewie good-humoredly.				HAN		Laugh it up, fuzzball.  But you 		didn't see us alone in the south 		passage.Luke sparks to this; he looks at Leia.				HAN		She expressed her true feelings 		for me.Leia is flushed, eyes darting between Luke and Han.				LEIA		My...!  Why, you stuck up,... half-		witted... scruffy-looking ...nerf-		herder!				HAN		Who's scruffy-looking? 			(to Luke) 		I must have hit pretty close to 		the mark to get her all riled up 		like that, huh, kid?Leia looks vulnerable for a moment, then the mask falls again, and she focuses on Luke.				LEIA		Why, I guess you don't know 		everything about women yet?With that she leans over and kisses Luke on the lips.  Then she turns on her heel and walks out, leaving everyone in the room slightly dumbstruck.  With some smugness, Luke puts his hands behind his head and grins.Suddenly, in the distance, the muffled sound of an alarm is heard.				ANNOUNCER			(over loudspeaker)		Headquarters personnel, report to 		command center.The voice repeats the order and Han, Chewie, Artoo, and Threepio hurry out of the room, bidding farewell to Luke.				HAN		Take it easy.				THREEPIO		Excuse us, please.INT. HOTH - REBEL BASE - COMMAND CENTERRieekan looks up grimly from a console screen.  He calls over to Leia and Han.				RIEEKAN		Princess... we have a visitor.The group hurries over to Rieekan.				RIEEKAN		We've picked up something outside 		the base in zone twelve, moving 		east.				SENIOR CONTROLLER		It's metal.				LEIA		Then it couldn't be one of those 		creatures that attacked Luke.				HAN		It could be a speeder, one of ours.				SENIOR CONTROLLER		No.  Wait - there's something very 		weak coming through.Threepio steps up to the control panel and listens intently to the strange signal.				THREEPIO		Sir, I am fluent in six million 		forms of communication.  This signal 		is not used by the Alliance.  It 		could be an Imperial code.The transmission ends in static.				HAN		It isn't friendly, whatever it is.  		Come on, Chewie, let's check it out.				RIEEKAN		Send Rogues Ten and Eleven to 		station three-eight.EXT. HOTH - SNOW PLAIN - DAYThe dark probe robot moves past the smoldering ruins of station three-eight and down a ridge toward the Rebel base.  It raises a large antenna from the top of its head and begins to send out a piercing signal.The probe droid has spotted Chewbacca who, not thirty feet away, has popped his head over a snow bank.  Instantly, the probe robot swings around, its deadly ray ready to fire.  But before it can get a shot off, it is hit from behind by a laser bolt, and explodes in a million pieces.Han Solo replaces his blaster in its holster and peers intently at the smoldering remains of the Imperial probe.INT. HOTH - REBEL BASE - COMMAND CENTERLeia and Rieekan listen to Han on the comlink.				HAN			(over comlink)		Afraid there's not much left.				LEIA			(into comlink)		What was it?				HAN			(over comlink)		Droid of some kind.  I didn't hit 		it that hard.  It must have had a 		self-destruct.				LEIA			(into comlink)		An Imperial probe droid.				HAN			(over comlink)		It's a good bet the Empire knows 		we're here.				RIEEKAN		We'd better start the evacuation.EXT. SPACE - IMPERIAL FLEETDarth Vader's Star Destroyer, larger and more awesome than the five Imperial Star Destroyers that surround it, sits in the vastness of space.  The six huge ships are surrounded by a convoy of smaller spacecraft.  TIE fighters dart to and fro.INT. DARTH VADER'S STAR DESTROYER - BRIDGE - MAIN CONTROL DECKControllers working the vast complex of electronic controls hear ominous approaching footsteps and look up from their controls.  The squat, evil-looking Admiral Ozzel and the young, powerfully built General Veers, who have been conferring near the front, also feel the approaching presence and turn toward it.  Darth Vader, Lord of the Sith, enters like a chill wind.  As Vader moves across the wide bridge, Captain Piett hurries up to Ozzel.				PIETT		Admiral.				OZZEL		Yes, Captain				PIETT		I think we've got something, sir.  		The report is only a fragment from 		a probe droid in the Hoth system, 		but it's the best lead we've had.				OZZEL			(irritated) 		We have thousands of probe droids 		searching the galaxy.  I want proof, 		not leads!				PIETT		The visuals indicate life readings.				OZZEL		It could mean anything.  If we 		followed every lead...				PIETT		But, sir, the Hoth system is supposed 		to be devoid of human forms.Vader moves to a large screen showing an image of the Rebel snow base.  Rebel speeders can be seen approaching the base in the distance.				VADER		You found something?				PIETT		Yes, my lord.				VADER			(studying the image 			 on the console screen) 		That's it.  The Rebels are there.				OZZEL		My lord, there are so many uncharted 		settlements.  It could be smugglers, 		it could be...				VADER		That is the system.  And I'm sure 		Skywalker is with them.  Set your 		course for the Hoth system.  General 		Veers, prepare you men.INT. HOTH - REBEL BASE - TRANSPORT BAYA captain issues instructions to two of his men at the entrance to the main transport bay.  Several Rebel transports behind them are being loaded by men carrying heavy boxes and moving quickly, but not in panic.				REBEL CAPTAIN		Groups seven and ten will stay 		behind to fly the speeders.  As 		soon as each transport is loaded, 		evacuation control will give 		clearance for immediate launch.				REBEL FIGHTER		Right, sir.INT. HOTH - REBEL BASE - MAIN HANGAR DECKAlarms sound.  Troops, ground crews, and droids rush to their alert stations.  Armored snowspeeders are lined up in attack formation near the main entrance.In the midst of all this activity, Han does some frantic welding on the lifters of the Millennium Falcon.Han finishes his work and hops down to the hangar floor.  He pulls out his comlink, all the while eyeing problematic lifters.				HAN			(into comlink, to 			 Chewie)		Okay, that's it.  Try it... Off! 		Turn it off!  Turn it off!  Off!Smoke rises from a minor explosion on the lifter.  Exasperated, Han surveys the new damage.INT. REBEL BASE - MEDICAL CENTERLuke dresses in readiness for the evacuation as his attending medical droid stands by.				MEDICAL DROID		Sir, it will take quite a while 		to evacuate the T-forty- sevens.				LUKE		Well, forget the heavy equipment.		There's plenty of time to get the 		smaller modules on the transports.				MEDICAL DROID		Take care, sir.				LUKE		Thanks.INT. REBEL BASE - MAIN HANGAR DECKPilots, gunners, and R2 units scurry about.  Luke, pulling on his heavy-weather jacket, is headed toward a row of armored speeders.  He stops at the rear of the Millennium Falcon, where Han and Chewie are trying to repair the right lifter with even more haste than before.				LUKE		Chewie, take care of yourself, 		okay?As Luke pats Chewie on the arm, Chewie puts his arms around Luke and gives him a tight hug.  Han is discussing the lifter with a repair droid when he sees Luke.				HAN		Hi, kid.			(to droid)		There's got to be a reason for 		it.  Check it at the other end.		Wait a second.			(to Luke)		You all right?				LUKE		Yeah.				HAN		Be careful.				LUKE		You, too.Luke smiles, then waves at his friend and walks on.  After a few steps, he stops and looks back.  Han glances up and the two exchange a silent communication, each wishing the other safety, happiness - many things, all difficult to verbalize.INT. REBEL BASE - CONTROL ROOM.Alarms sound throughout the hidden Rebel base.  In the control room, a controller urgently gestures for General Rieekan to check a computer scan.				CONTROLLER		General, there's a fleet of Star 		Destroyers coming out of hyperspace 		in sector four.				RIEEKAN		Reroute all power to the energy 		shield.  We've got to hold them till 		all transports are away.  Prepare 		for ground assault.Rieekan exits hurriedly.INT. VADER'S STAR DESTROYER - VADER'S CHAMBER - MEDITATION CUBICLEThe dark cubicle is illuminated by a single shaft of light which falls on the brooding Dark Lord as he sits on a raised meditation cube.  General Veers enters the room and approaches the silent, unmoving Vader.  Although seemingly very sure of himself, Veers is still not bold enough to interrupt the meditating lord.  The younger general stands quietly at attention until the evil presence speaks.				VADER		What is it, General?				VEERS		My lord, the fleet has moves out 		of light-speed.  Com-Scan has 		detected an energy field protecting 		an area around the sixth planet of 		the Hoth system.  The field is 		strong enough to deflect any 		bombardment.				VADER			(angrily)		The Rebels are alerted to our 		presence.  Admiral Ozzel came out 		of light-speed too close to the 		system.				VEERS		He felt surprise was wiser...				VADER		He is as clumsy as he is stupid.		General, prepare your troops for a 		surface attack.				VEERS		Yes, my lord.Veers turns smartly and leaves as Vader activates a large viewscreen showing the bridge of his mighty ship.  Admiral Ozzel appears on the viewscreen, standing slightly in front of Captain Piett.				OZZEL		Lord Vader, the fleet has moved 		out of light-speed, and we're 		preparing to... Aaagh!				VADER		You have failed me for the last 		time, Admiral.  Captain Piett.Piett steps forward, as the admiral moves away, slightly confused, touching his throat as it begins to constrict painfully.				PIETT		Yes, my lord.				VADERMake ready to land out troops beyond the energy shield and deploy the fleet so that nothing gets off that system.  You are in command now, Admiral Piett.				PIETT		Thank you, Lord Vader.Piett's pleasure about his unexpected promotion is not an unmixed emotion.  He glances warily at the struggling Admiral Ozzel who, with a final choke, stumbles and falls in a lifeless heap before him.INT. REBEL BASE - MAIN HANGAR DECKWith a sense of urgency, Leia quickly briefs a group of pilots gathered in the center of the hangar.				LEIA		All troop carriers will assemble 		at the north entrance.  The heavy 		transport ships will leave as 		soon as they're loaded.  Only two 		fighter escorts per ship.  The 		energy shield can only be opened 		for a short time, so you'll have 		to stay very close to your transports.				HOBBIE		Two fighters against a Star Destroyer?				LEIA		The ion cannon will fire several 		shots to make sure that any enemy 		ships will be out of your flight 		path.  When you've gotten past the 		energy shield, proceed directly to 		the rendezvous point.  Understood?				PILOTS			(in unison)		Right.  Okay.				LEIA		Good luck.				DERLIN		Okay.  Everyone to your stations.  		Let's go!The pilots hurry away.EXT. HOTH - ICE PLAIN - SNOW TRENCH - DAYRebel troops carry heavy bazooka-type weapons and position them along the snow trench.  Men hurriedly respond to their officers' yelled orders and brace themselves against the rhythmic gusts of bitter-cold wind.Other troops load power packs into a gun turret and swing its guns into position.EXT. HOTH - ICE PLAIN - POWER GENERATORSNear the base power generators, troops rush to set up their heavy battle equipment.  Buzzing loudly, the generators send along, sparking fingers of energy into the bitter Hoth wind.INT. REBEL BASE - COMMAND CENTERThe long line of Rebel controllers is tense, as are Princess Leia and General Rieekan, who are trying very hard not to show any fear.				RIEEKAN		Their primary target will be the 		power generators.  Prepare to 		open the shield.EXT. ICE PLAINThe Rebel transport and two escort fighters begin their departure from the ice planet.EXT. SPACE - IMPERIAL STAR DESTROYERA huge Imperial Star Destroyer rest against a sea of stars, far above the white surface of the planet Hoth.INT. IMPERIAL STAR DESTROYER - BRIDGEAn Imperial controller approaches his commander.				CONTROLLER		Sir, Rebel ships are coming into 		our sector.				CAPTAIN		Good.  Our first catch of the day.INT. REBEL BASE - COMMAND CENTER				WOMAN CONTROLLER		Stand by, ion control... Fire!EXT. REBEL BASE ICE CAVE - ION CANNONThe giant ball-shaped ion cannon rotates into position and blasts two red energy beams skyward.EXT. SPACE - HOTH - REBEL TRANSPORTThe Rebel transport and its escort race away from the white planet, closely followed by the two red energy beams.As the Rebel transport races toward the waiting Imperial Star Destroyer, it is overtaken by the two scarlet energy bolts.  The Imperial Star Destroyer is hit in the conning tower by the powerful bolts, which set up fiery explosions on its metal hull.The big Star Destroyer veers, then spins wildly out of control.  As the Imperial ship careers into deep space, the Rebel transport races away to safety.INT. REBEL BASE - MAIN HANGAR DECKPilots, gunners, and troopers hurry to their stations and their vehicles.				ANNOUNCER			(over loudspeaker)		The first transport is away.Everyone cheers at the announcement, which echoes through the hangar.  Luke turns and walks on, heading toward his snowspeeder.  His gunner, Dack, a fresh-faced, eager kid, is glad to see him.  They climb in.				DACK		Feeling all right, sir?				LUKE		Just like new, Dack.  How about 		you?				DACK		Right now I feel like I could take 		on the whole Empire myself.				LUKE			(quietly, strapping 			 in)		I know what you mean.EXT. HOTH - ICE PLAINA thin horizon line cuts across the bleak landscape.  Small dot-size objects begin to appear on the horizon, moving in the direction of the Rebel base.EXT. HOTH - ICE PLAIN - SNOW TRENCHA Rebel officer lifts a pair of electrobinoculars to his eyes.  Through the lens he sees a very close view of a giant Imperial snow walker.  He adjusts the view which then zooms back to reveal three more of the ominous battle machines.  Small flashes of yellow fire billow from the guns of the lumbering snow walkers.The officer lowers his binoculars as the regular rhythmic pounding begins to make the ground vibrate.  The pounding grows louder and is accompanied by a high-pitched, metallic rattling.  The officer speaks into his comlink.				TRENCH OFFICER		Echo Station Three-T-Eight.INT. REBEL BASE - CORRIDORPilots and gunners race to their waiting snowspeeders.  Ice and snow begin falling from the walls of the corridor, shaken by the pounding Imperial snow walker as they draw ever nearer.				TRENCH OFFICER			(over comlink) 		We have spotted Imperial walkers!				CONTROLLERImperial walkers on the north ridge.EXT. HOTH - ICE PLAIN - SNOW TRENCHThe Rebel troops aim their weapons at the horizon as explosions erupt all around them.  They are nervous and their grip on their weapons tightens from the cold and from fear.Behind the troops a dozen snowspeeders race through the sky.INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT				LUKE			(into comlink) 		Echo station Five-Seven.  We're 		on our way.EXT. HOTH - ICE PLAIN - BATTLEFIELDThe fleet of snowspeeders races above the ice field at full throttle.  They accelerate away from the base and head toward the distant walkers.INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT				LUKE			(into comlink) 		All right, boys, keep tight now.				DACK		Luke, I have no approach vector.  		I'm not set.				LUKE		Steady, Dack.  Attack pattern 		delta.  Go now!EXT. HOTH - ICE PLAIN - BATTLEFIELDThe cannons mounted on the walker head fire at the speeders.  Other walkers loom in the background.  Two speeders race away past two of the enormous walkers and bank to the right.INT.  LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT				LUKE		All right, I'm coming in.He turns his speeder and heads directly at one of the walkers, flying toward its towering legs.  The horizon twists as the speeder banks between the legs.				LUKE			(into comlink)		Hobbie, you still with me?EXT. HOTH - ICE PLAIN - BATTLEFIELDTwo speeders race directly at the head of a walker, then split and fly past it.Three other walkers march onward, firing all cannons.EXT. HOTH - ICE PLAIN - SNOWTRENCHRebel troops fire on the approaching walkers, as the snow and ice explode all around them.EXT. HOTH - ICE PLAIN - BATTLEFIELDA speeder banks through and away from the legs of a walker.  Two other speeders pass the first speeder from the opposite direction.  Other Rebel craft race just above the icy plain.A giant walker head swivels and fires, striking a snowspeeder and sending it crashing in a ball of flames.INT. IMPERIAL SNOW WALKER - COCKPITGeneral Veers and two walker pilots keep a careful eye on the racing Rebel snowspeeders as they maneuver their lumbering war machine forward.Luke's speeder banks in from the side of Veers's walker and heads straight for its viewport, blasting away.  An explosion hits the walker window, but dissipates, doing no harm.  The speeder roars up and over the impregnable war machine.INT.  LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPITLuke looks back at the walker as it grows smaller in the distance.				LUKE		That armor's too strong for 		blasters.On the horizon, another walker moves up past Luke's cockpit window, twisting out of sight as Luke banks and starts another run.				LUKE			(into comlink)		Rogue Group, use your harpoons 		and tow cables.  Go for the legs.		It might be our only chance of 		stopping them.			(to Dack)		All right, stand by, Dack.Dack is at the gunner's controls.				DACK		Luke, we've got a malfunction in 		fire control.  I'll have to cut in 		the auxiliary.				LUKE		Just hang on.  Hang on, Dack.  Get 		ready to fire that tow cable.Barely keeping his seat in the tumbling ship, Dack struggles to set up his harpoon gun.Luke swings his speeder around and heads toward an oncoming walker.  Laser bolts and flak fill the air, creating a deadly obstacle course for the tiny craft.EXT. HOTH - ICE PLAIN - BATTLEFIELDRogue Leader and another snowspeeder fly in tight formation toward the walker as explosions burst all around them.INT.  LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPITAfter sustaining a heavy volley of fire, Luke turns around to see if Dack is all right.				LUKE		Dack?  Dack!Dack is lost.  Blood streams down his forehead, which rests on his smoldering controls.  Out the back window, an Imperial walker recedes in the distance.EXT. HOTH - ICE PLAIN - SNOW TRENCH AREARebel troops fire the dishlike ray gun while explosions erupt around them.EXT. HOTH - ICE PLAIN - BATTLEFIELDTwo walkers lumber toward the Rebel base as a speeder between them explodes in a ball of flames.EXT. HOTH - ICE PLAIN - SNOW TRENCHThe dislike ray gun is hit by a laser bolt and instantly explodes.INT. IMPERIAL SNOW WALKER - COCKPITThrough the cockpit window, Veers and his pilot can see the Rebel power generators in the distance.A hologram of Darth Vader appears on a control panel screen.				VEERS		Yes, Lord Vader.  I've reached the 		main power generator.  The shield 		will be down in moments.  You may 		start your landing.INT.  LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT				LUKE			(into comlink) 		Rogue Three.INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT				WEDGE			(into comlink) 		Copy, Rogue Leader				LUKE 			(over comlink) 		Wedge, I've lost my gunner.  You'll 		have to make this shot.  I'll cover 		for you.  Set your harpoon.  Follow 		me on the next pass.				WEDGE			(into comlink) 		Coming around, Rogue Leader.INT.  LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT				LUKE			(into comlink) 		Steady, Rogue TwoEXT. HOTH - BATTLEFIELDWedge's speeder races through the legs of one of the monstrous walkers.INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT				WEDGE			(to gunner) 		Activate harpoon.Wedge's gunner reaches for a firing switch to activate the harpoon.  The harpoon flashes out, and speeds toward the receding legs of the walker.EXT. HOTH - BATTLEFIELDThe harpoon hurtles toward the walker, In an instant it is embedded in one of the walker's legs.INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT				WEDGE 			(to gunner) 		Good shot, Janson.EXT. HOTH - BATTLEFIELDThe speeder Rogue Three races around one of the giant walker's feet, trailing the cable behind it.  Continuing around the back foot, Rogue Three then circles the walker around the tail end.INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPITWedge checks his controls and banks around the front of the walker.				WEDGE		One more pass.				JANSON 		Coming around.  Once more.EXT. HOTH - BATTLEFIELDThe speeder sweeps left to right in front of the giant legs, towing the cable behind it.INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT				JANSON		Once more.Wedge swings the speeder between the legs of the giant walker.				JANSON		Cable out!  Let her go!				WEDGE		Detach cable.EXT. WEDGE'S SNOWSPEEDER, ROGUE THREEThe cable release on the back of the speeder snaps loose and the cable drops away.INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPIT				JANSON		Cable detached.EXT. HOTH - BATTLEFIELDThe speeder zooms away into the distance.  The tangled legs of the enormous war machine attempt a step, but as they do the giant Imperial walker begins to topple.  It teeters for a moment, and then crashes onto the icy ground, sending snow and metal pieces flying.EXT. HOTH - ICE PLAIN - SNOW TRENCHThe troops in the trenches cheer at the sight of the crashing walker.An officer gives a signal to his men and Rebel troops charge the fallen war machine.				TRENCH OFFICER		Come on!The troops run toward the downed walker, followed by two Rebel speeders flying overhead.  Just as they reach the walker, it explodes, the impact throwing some of the men onto the frozen ground.INT. WEDGE'S SNOWSPEEDER, ROGUE THREE - COCKPITWedge lets out a triumphant yell, banking his speeder away from the fallen walker.				WEDGE			(into comlink) 		Whooha!  That got him!INT.  LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT				LUKE			(into comlink) 		I see it, Wedge.  Good work.INT. REBEL BASE - COMMAND CENTERLarge chunks of ice tumble into the command center as Leia and General Rieekan monitor computer screens.				RIEEKAN		I don't think we can protect two 		transports at a time.				LEIA 		It's risky, but we can't hold out 		much longer.  We have no choice.				RIEEKAN			(into comlink) 		Launch patrols.				LEIA			(to an aide) 		Evacuate remaining ground staff.INT. REBEL BASE - MAIN HANGARMuffled distant explosions create widening cracks in the ice roof of the hangar.  Trying to ignore the noise and falling bits of snow, Han works on one of the Falcon's lifters while Chewie works on one of the wings.  Noticing Chewie attach a wrong part, Han grows impatient.				HAN		No, no!  No!  This one goes there, 		that one goes there.  Right?In another area of the hangar, Threepio watches as Artoo is raised up into Luke's X-wing fighter.				THREEPIO		Artoo, you take good care of 		Master Luke now, understand?  And		... do take good care of yourself.  		Oh, dear, oh, dear.EXT. HOTH - BATTLEFIELDThe fierce battle on the vast snow plains of Hoth rages on.  The Imperial walkers continue their slow, steady assault on the Rebel base, firing lasers as they lumber ever onward.  In the snow trench, Rebel troops fire large bazookalike guns and dishlike ray guns as explosions erupt around them.  A gun tower is hit by a laser bolt and instantly explodes.  Another blast destroys a ray gun.INT. IMPERIAL SNOW WALKER - COCKPITGeneral Veers studies various readouts on his control panel.				VEERS		All troops will debark for ground 		assault.  Prepare to target the 		main generator.EXT. HOTH - BATTLEFIELDLuke's speeder and Rogue Two fly in formation, banking from right to left and flying above the erupting battlefield.  Flak bursts all around them.INT.  LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPITLuke, glancing over, sees Rogue Two on his left.  His ship shudders as flak bursts nearby.				LUKE			(into comlink) 		Rogue Two, are you all right?INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT				ZEV			(into comlink) 		Yeah.  I'm with you, Rogue Leader.INT.  LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT				LUKE			(into comlink) 		We'll set harpoon.  I'll cover for you.EXT. HOTH - BATTLEFIELDThe two speeders race across the horizon toward the giant walkers.INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT				ZEV			(into comlink) 		Coming around.INT.  LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPIT				LUKE			(into comlink) 		Watch that cross fire, boys.INT. ZEV'S SNOWSPEEDER, ROGUE TWO - COCKPIT				ZEV			(into comlink) 		Set for position three.			(to gunner) 		Steady.				LUKE			(over comlink) 		Stay tight and low.EXT. ZEV'S SNOWSPEEDER, ROGUE TWOLuke's speeder moves in formation with Rogue Two, when suddenly Zev's speeder is hit by a laser bolt.  His ship bucks violently under the impact and the cockpit explodes in a ball of flame.Spewing smoke, the speeder hurtles toward a looming walker.  Before they collide.  Rogue Two explodes in a million flaming pieces.INT. LUKE'S SNOWSPEEDER, ROGUE LEADER - COCKPITDesperately, Luke works the controls of his flak-buffeted ship.  Suddenly, the speeder is rocked by a huge explosion.  Luke struggles with the controls with a look of terror on his face.  The speeder fills with smoke, and electrical sparks jump about the cockpit.				LUKE			(into comlink) 		Hobbie, I've been hit!INT. REBEL BASE - COMMAND CENTERApart from the distant thunder of laser blasts, the corridor is strangely quiet and empty.  Running footsteps echo through the freezing hallway, then Han appears.  Cracks have appeared in some of the walls and some pipes have broken, sending hot steam billowing into the underground hallways.  Han hurries into the command center.  It is a shambles, but some people are still at their posts.  As he enters, a gigantic cave-in almost obliterates the room.  He finds Leia and Threepio near one of the control boards.				HAN		You all right?Leia nods.  She is surprised to see him.				LEIA		Why are you still here?				HAN		I heard the command center had 		been hit.				LEIA		You got your clearance to leave.				HAN		Don't worry.  I'll leave.  First 		I'm going to get you to your ship.				THREEPIO		Your Highness, we must take this 		last transport.  It's our only hope.				LEIA			(to controller) 		Send all troops in sector twelve 		to the south slope to protect the 		fighters.A blast rocks the command center, throwing Threepio backward into Han's arms.				ANNOUNCER			(over loudspeaker) 		Imperial troops have entered the 		base.				HAN		Come on... that's it.				LEIA			(to head controller) 		Give the evacuation code signal.  		And get to your transports!Leia looks exhausted.  Han grabs her and starts to lead her out.As Han, Leia, and Threepio run out of the command center, the code signal can be heard echoing off the corridor walls.				HEAD CONTROLLER		K-one-zero... all troops disengage.				THREEPIO			(to Han and Leia) 		Oh!  Wait for me!EXT. BATTLEFIELD - SNOW TRENCHRebel troops retreat under the awesome Imperial onslaught.				OFFICER		Begin retreat!				SECOND OFFICER		Fall back!Troops flee from the battle, the ground exploding around them.EXT. HOTH - BATTLEFIELDThree of the giant walkers, firing lasers, advance toward the Rebel headquarters.EXT. HOTH - SNOW TRENCHContinuing their retreat, the Rebels see the walkers looming ever nearer.EXT. HOTH - BATTLEFIELD - ICE PLAINOn the battlefield, Luke watches as a walker foot rises and moves over him.  He looks up at the underbelly of the huge walker, passing overhead.Running beneath the monstrous machine, Luke fires his harpoon gun at the walker's underside.  A thin cable follows the projectile from the gun.  The magnetic head and cable attach firmly to the metal hull.Still running under the walker, Luke attaches the cable drum to his belt buckle.  Soon he is pulled up the cable and hangs dangling underneath the walker.The walker's giant feet continue to pound onward across the frozen snow.  Stray laser bolts whistle by Luke as he climbs up the cable to the walker's hull, reaching a small hatch.  Hanging precariously, Luke cuts the solid metal hatch with his laser sword.He takes a landmine from around his neck and throws it inside the Imperial machine.  Quickly, Luke starts down the cable and crashes onto the icy ground far below.  He lies unconscious as a giant rear leg passes by - and just misses him.The giant walker stops in mid-step.  A muffled explosion comes from within - and then the walker's mechanical insides  are spewed out every conceivable opening.  The machine sits dead in its tracks, smoking like a locomotive on stilts.EXT. HOTH - BATTLEFIELDVeers's walker continues to advance toward the Rebel base.  The smoldering walker that Luke exploded stands smoking just to the right of Veers's path.INT. IMPERIAL SNOW WALKER - COCKPITInside his walker, General Veers prepares to fire on the Rebel power generators.				VEERS		Distance to power generators?				PILOT		One-seven, decimal two-eight.Veers reaches for the electrorangefinder and lines up the main generator.				VEERS		Target.  Maximum fire power.EXT. HOTH - BATTLEFIELDThe Rebel troops continue their desperate retreat, pushed back by the relentless Imperial assault.INT. HOTH - REBEL BASE - ICE CORRIDORSWith Threepio lagging behind, Han and Leia race through the crumbling ice corridors.  Suddenly, there is an explosion.  Han turns, grabs the princess, and pulls her to the wall as a tremendous cave-in blacks their path.He takes the comlink from his pocket.				HAN 			(into comlink) 		Transport, this is Solo.  Better 		take off - I can't get to you.  		I'll get the princess out on the 		Falcon.Han and Leia turn and race down the corridor.				THREEPIO		But... but... but... where are 		you going?  Uh... come back!!INT. HOTH - REBEL BASE - COMMAND CENTERImperial troops have reached the base.  As they push through the blocked passageway, Darth Vader strides behind them.INT. HOTH - REBEL BASE - ICE CORRIDORHan and Leia run toward the entrance of the main hangar where the Millennium Falcon is docked.  Threepio still lags behind.				THREEPIO		Wait!  Wait for me!  Wait!  Stop!The door to the hangar closes in his face.				THREEPIO			(exasperated) 		How typical.Quickly, the door reopens as Han reaches out and pulls the golden droid through.				HAN		Come on.INT. HOTH - REBEL BASE - MAIN HANGARChewie paces under the shelter of the Millennium Falcon's landing gear.  The giant Wookiee pats the underbelly of his beloved ship and barks a few reassuring words.  As he searches worriedly for his captain, something at last catches his eye.Chewie lets out a relieved shriek at seeing Han and Leia running toward the ship.  The Wookiee runs out into the falling ice, lets out a howl, then runs up the ship's ramp.  Han and Leia run up the ramp after him, closely followed by Threepio.				HAN		Hurry up, goldenrod, or you're 		going to be a permanent resident!				THREEPIO		Wait!  Wait!INT. HOTH - REBEL BASE - ICE CORRIDORImperial troops run through the base corridors.  Vader surveys the place.  A huge chunk falls, almost hitting him, but  he calmly, purposefully, continues around it.INT. REBEL BASE - MAIN HANGER - MILLENNIUM FALCONA distant, huge, explosion rocks the hangar deck.  Ice cakes come crashing down on the Millennium Falcon.INT. MAIN HANGAR - MILLENNIUM FALCON - MAIN HOLDHan, standing before a control panel, is busy flipping switches as Chewie watches a troublesome gauge.  A worried Leia observes their efforts.				HAN			(to Chewie)		How's this?The Wookiee barks a negative reply.				LEIA		Would it helped if I got out and 		pushed?				HAN		It might.Threepio clanks into the hold.				THREEPIO		Captain Solo, Captain Solo... sir, 		might I suggest that you...Han gives the gold robot a devastating look.				THREEPIO		It can wait.INT. MAIN HANGAR - MILLENNIUM FALCON - COCKPITThey move to the cockpit where Han flips some more switches.  Leia watches him, impatient, disbelieving.				LEIA		This bucket of bolts is never going 		to get us past that blockade.				HAN		This baby's got a few surprises 		left in her, sweetheart.Han and Leia look out the cockpit window and see a squad of stormtroopers rushing into the far side of the hangar.Quickly, Han straps himself into the pilot's seat and Leia into the navigator's chair.INT. HOTH - REBEL BASE - MAIN HANGARStormtroopers hurriedly set up a large bazookalike weapon.  Behind them the giant hangar doors open slowly.EXT. MAIN HANGAR - MILLENNIUM FALCONA laser gun appears on the Falcon and swings around to aim at the Imperial troops.The stormtroopers, preparing to fire their bazooka cannon, are hit by the Falcon's fire and are thrown about in all directions.INT. MAIN HANGAR - MILLENNIUM FALCON - COCKPITChewie rushes into the cockpit.				HAN		Come on!  Come on!  Switch over.		Let's hope we don't have a burnout.A laser hits the window near Chewie as he is settling into his chair.  Letting out a loud whelp, Chewie quickly pulls back on the controls and the first stage of engine fire can be heard.  Han flashes a big grin at Leia.				HAN		See?				LEIA		Someday you're going to be wrong, 		and I hope I'm there to see it.Han looks at Chewie.				HAN		Punch it!The roar of the Falcon's main engines blasts out everything as the ice-cave wall rushes by outside the cockpit window.INT. REBEL BASE - MAIN HANGARMore stormtroopers run into the hangar, closely followed by Vader.  Hearing the loud roar of the Millennium Falcon's engines, Vader looks toward the main hangar doors just in time to see the Falcon lift up and disappear outside the cave.EXT. HOTH - ICE SLOPE - DAYLuke and two other pilots look up as the Millennium Falcon races above them, flying very close to the ground.The three pilots turn then, and trudge onward toward their X-wing fighters, each going to his own ship.  Luke waves farewell, then heads toward his own fighter.  Artoo, seated on his cubbyhole, chirps an excited greeting as Luke climbs aboard the spacecraft.				LUKE		Artoo!  Get her ready for takeoff.From his ship, Luke sees Wedge in his own X-wing, preparing for takeoff.				WEDGE		Good luck, Luke.  See you at 		the rendezvous.Luke smiles and nods at Wedge, then lowers himself into the cockpit of his X-wing while Artoo waits in the cubbyhole, beeping impatiently.				LUKE		Don't worry, Artoo.  We're going, 		we're going.The canopy over the X-wing lowers and snaps shut.EXT. SPACE -  LUKE'S X-WINGLuke's fighter, its wings closed, speeds away from the icy planet.  Soon it disappears into the stars.INT.  LUKE'S X-WING - COCKPITLuke, looking thoughtful, suddenly makes a decision.  He flips several switches.  The stars shift as he takes his fighter into a steep turn.  The X-wing banks sharply and flies away in a new direction.The monitor screen on Luke's control panel prints out a question from the concerned Artoo.				LUKE			(into comlink)		There's nothing wrong, Artoo.		I'm just setting a new course.Artoo beeps once again.				LUKE			(into comlink)		We're not going to regroup with 		the others.Artoo begins a protest, whistling an unbelieving, "What?!"Luke reads Artoo's exclamation on his control panel.				LUKE			(into comlink)		We're going to the Dagobah system.Luke checks his readouts and makes a few adjustments.  He rides along with only the soft hum of the instruments to break the silence.  Finally, Artoo chirps up.				LUKE			(into comlink)		Yes, Artoo?Artoo utters a soft, carefully phrased steam of whistles.				LUKE			(into comlink, chuckling)		That's all right.  I'd like to 		keep it on manual control for a 		while.The little droid lets out a defeated whimper.  Luke smiles, and continues on his course.EXT. SPACE - MILLENNIUM FALCONThe Millennium Falcon speeds away from Hoth, closely followed by one huge Star Destroyer and four tiny TIE fighters.As it is pursued, the Falcon races toward two very bright star-sized objects.INT. MILLENNIUM FALCON - COCKPITInside the cockpit, Chewie lets out a loud howl.  Han checks as the ship is buffeted by exploding flak.  He appears to be doing six things at once.				HAN			(harried)		I saw them!  I saw them!				LEIA		Saw what?				HAN		Star Destroyers, two of them, 		coming right at us.Threepio bumps and bangs his way into the cockpit.				THREEPIO		Sir, sir!  Might I suggest...				HAN			(to Leia)		Shut him up or shut him down!			(to Chewie)		Check the deflector shield!Chewie barks a reply as he readjusts an overhead switch.				HAN		Oh, great.  Well, we can still 		outmaneuver them.EXT. SPACE - MILLENNIUM FALCON - STAR DESTROYERSThe Millennium Falcon races toward one of the huge oncoming Star Destroyers.  Suddenly, the Falcon starts into a deep dive straight down, closely followed by four TIE fighters.  The underside of the Star Destroyer continues on a collision course with two oncoming Star Destroyers.  Slowly, it starts to veer to the left.INT. STAR DESTROYER - BRIDGEOut the front window, the two approaching Star Destroyers can be seen veering to the left.				IMPERIAL OFFICER		Take evasive action!Alarms sound all over the huge ship.  The two other Star Destroyers get closer, one of them moving over the bridge so close that it makes brushing contact with it.EXT. SPACE - MILLENNIUM FALCON - TIE FIGHTERSThe Millennium Falcon races away from the colliding Star Destroyers, still followed by four TIE fighters.  Laser bolts spark the pitch-black skies.INT. MILLENNIUM FALCON - COCKPITThings have calmed down a bit, but the race isn't over yet.  Chewie barks at Han.  Leia is still trying to recover from the steep dive.  The ship is buffeted by laser blasts.				HAN		Prepare to make the jump to light-		speed.				THREEPIO		But, sir!The buffeting of lasers becomes louder and stronger.				LEIA		They're getting closer!				HAN			(with a gleam in his 			 eye)		Oh yeah?  Watch this.Expectantly, they look out the cockpit window as stars do not go into hyperspace, but just sit there.Han and Chewie look at each other and are thrown into an acute state of concern.				LEIA		Watch what?Han tries again.  Still nothing.				HAN		I think we're in trouble.				THREEPIO		If I may say so, sir, I noticed 		earlier that the hyperdrive 		motivator has been damaged.  It's 		impossible to go to light-speed!				HAN		We're in trouble!The explosions become heavier.EXT. SPACE - MILLENNIUM FALCON - TIE FIGHTERS - STAR DESTROYERThe Falcon races into the starry vastness, followed by the four Imperial TIE fighters and an Imperial Star Destroyer.INT. MILLENNIUM FALCON - COCKPITStars race by as flak bursts outside the Falcon's window.INT. MILLENNIUM FALCON - HOLDHan works furiously at some control panels while giving various orders to Chewie.				HAN		Horizontal boosters...!			(Chewie barks)		Alluvial dampers...!  Well that's 		not it.			(Chewie barks)		Bring me the hydrospanners!Chewie hurries over to the pit and places the tools on the edge.				HAN		I don't know how we're going to 		get out of this one.Suddenly, a loud thump hits the side of the Falcon, causing it to lurch radically.  Chewie barks.  The tools fall into the pit on top of Han.				HAN		Oww!  Chewie!More turbulence rocks the ship.				HAN		That was no laser blast!  Something 		hit us.				LEIA			(over comlink)		Han, get up here!				HAN		Come on, Chewie!Han climbs out of the hold like a shot.  Both he and Chewie run out of the hold and toward the cockpit.INT. MILLENNIUM FALCON - COCKPITOut the front cockpit window, they see hundreds of asteroids racing by.				LEIA		Asteroids!Han changes places with Leia who has been at the controls, and Chewie gets into his chair.  Han works his controls as a chunk of rock crosses in front of the ship.				HAN		Oh, no!  Chewie, set two-seven-		one.				LEIA		What are you doing?  You're not 		actually going into an asteroid 		field?				HAN		They'd be crazy to follow us, 		wouldn't they?Another asteroid thumps against the ship and Leia winces at the jolt.				LEIA		You don't have to do this to 		impress me.				THREEPIO		Sir, the possibility of successfully 		navigating an asteroid field is 		approximately three thousand, seven 		hundred and twenty to one.				HAN		Never tell me the odds!EXT. ASTEROID BELT - MILLENNIUM FALCONThe Falcon turns into the asteroid storm and as the ship completes its turn, asteroids start coming straight at the cockpit windows.A large asteroid tumbles away from the Falcon's path at top speed.  Several smaller asteroids crash into the big one, creating small explosions on its surface.  Other asteroids of all sizes pass by in every direction, some colliding and exploding.  The tiny Millennium Falcon veers around the big asteroid and races past it through the rain of rocks, followed by four TIE fighters, which bob and weave around the asteroids.One of the pursuing TIE fighters connects with an asteroid and explodes.  The other fighters are pelted with a steady stream of smaller explosions.Two huge asteroids tumble toward the Millennium Falcon, which quickly banks around both of them.  The three TIE fighters follow in hot pursuit until one of the fighters scrapes an asteroid and tumbles out of control into deep space.EXT. SPACE - STAR DESTROYER - ASTEROID BELTThe massive Star Destroyer blasts oncoming asteroids as it follows the Falcon.  Smaller asteroids explode across its vast surface.EXT. MILLENNIUM FALCON - TIE FIGHTERS - ASTEROID BELTThe Falcon twists on its side as it races around an oncoming asteroid.  Two TIE fighters follow in the distance, coming from either side.INT. MILLENNIUM FALCON - COCKPITAsteroids race by the cockpit window as Han pilots his trusty craft through the dangerous field.Looking out the cockpit window, the Falcon crew sees a big asteroid drop past the window, narrowly missing their ship.Chewie barks in terror as a slightly smaller asteroid comes especially close - to close - and bounces off the Falcon with a loud crunch.  Threepio's hands cover his eyes.  He manages a short peek at the cockpit window.  Princess Leia sits stone-faced, staring at the action.  Han gives her a quick look.				HAN		You said you wanted to be around 		when I made a mistake; well, this 		could be it, sweetheart.				LEIA		I take it back.  We're going to 		get pulverized if we stay out here 		much longer.The group watches as more asteroids race by outside the window.				HAN		I'm not going to argue with that.				THREEPIO		Pulverized?				HAN		I'm going in closer to one of 		those big ones.				LEIA		Closer?				THREEPIO		Closer?!Chewbacca barks the same word, only louder.EXT. MILLENNIUM FALCON - ASTEROID BELTThe Millennium Falcon dives toward the surface of one of the moon-sized asteroids.  There is a continued display of explosions against the starry void as smaller asteroids collide with larger chunks of rock.  The two remaining TIE fighters follow the Falcon to the large asteroid.  The Falcon skims the surface of the giant asteroid as, all the while, small asteroids explode on the surface of the ship.The TIE fighters approach the Falcon, but a giant asteroid hurtles directly into their path.  As the asteroid continues on its way, it leaves remains of the two exploded TIE fighters to tumble into deep space.INT. MILLENNIUM FALCON - COCKPITRattled by the violent rocking of the starship, Threepio is nearly in hysterics.				THREEPIO		Oh, this is suicide!Han notices something on his main scope and nudges his faithful Wookiee, pointing.				HAN		There.  That looks pretty good.				LEIA		What looks pretty good?				HAN		Yeah.  That'll do nicely.				THREEPIO			(to Leia)		Excuse me, ma'am, but where are 		we going?Out the cockpit window, they see that they are skimming the surface of the enormous asteroid and nearing a large crater.EXT. MILLENNIUM FALCON - GIANT ASTEROID CRATERThe Millennium Falcon dives into the huge crater and disappears.INT. MILLENNIUM FALCON - COCKPIT				LEIA		I hope you know what you're doing.				HAN		Yeah, me too.INT. GIANT ASTEROID CRATERThe Falcon races down into the crater.  The walls are barely visible as the ship speed through the tunnellike opening.  A small cave appears on one side of the crater, and the Falcon turns, slows, and scoots into it.EXT. SPACE -  LUKE'S X-WINGThe tiny X-wing speeds toward the cloud cover of Dagobah.  Artoo, riding on the back of the fighter, turns his head back and forth with some anxiety.INT.  LUKE'S X-WING - COCKPITLuke watches Artoo's words as they are translated and screened on the computer scope.				LUKE			(into comlink)		Yes, that's it.  Dagobah.Artoo beeps a hopeful inquiry.				LUKE			(into comlink)		No, I'm not going to change my 		mind about this.			(getting a little nervous)		I'm not picking up any cities or		technology.  Massive life-form 		readings, though.  There's something		alive down there...Artoo beeps, this time a slightly worried question.				LUKE			(into comlink)		Yes, I'm sure it's perfectly safe 		for droids.EXT. SPACE - DAGOBAH -  LUKE'S X-WINGThe X-wing continues its flight through the twilight above the cloud-covered planet.INT.  LUKE'S X-WING - COCKPITLuke sees the cloud race by as he takes his craft closer to the planet.  He must operate his controls carefully since the cloud cover has completely obscured his vision.  An alarm buzzes in the background, Artoo beeps and whistles frantically.				LUKE			(into comlink)		I know, I know!  All the scopes are 		dead.  I can't see a thing!  Just 		hang on, I'm going to start the 		landing cycle...The blast of the retrorockets is deafening, drowning out Artoo's electronic squeals.  Suddenly, there is a cracking sound as if limbs were being broken off trees and then a tremendous jolt as the spacecraft stops.  Luke pulls a switch and his canopy pops open.EXT. DAGOBAH - DUSKThe mist-shrouded X-wing fighter is almost invisible in the thick fog.  Luke climbs out onto the long nose of the spacecraft as Artoo pops out of his cubbyhole on the back.  The young warrior surveys the fog, which is barely pierced by the ship's landing lights.  About all he can make out are some giant, twisted trees nearby.  Artoo whistles anxiously.				LUKE		No, Artoo, you stay put.  I'll 		have a look around.Artoo lets out a short beep.  As Luke moves along the nose, Artoo loses his balance and disappears with a splash into the boggy lake.				LUKE		Artoo?Luke kneels and leans over the plane looking for Artoo, but the water is still and reveals no sign of the little droid.				LUKE		Artoo!  Where are you?A small periscope breaks the surface of the water and a gurgly beep is heard.  The periscope starts to move to shore.  Relieved, Luke starts running along the nose of the fighter to its tip.				LUKE		Artoo!  You be more careful.The outline of the shore is now more than ten feet away.Luke jumps off the plane into the water, scrambles up to the shore, and turns to look for Artoo.  The periscope still steadily moves toward shore.				LUKE		Artoo - that way!Suddenly, through the thick fog layer, a dark shape appears, moving toward the little droid.  The dark, sinuous bog beast dives beneath the swampy water, making a loud clunk against Artoo's metal hull.  The droid disappears from sight, uttering a pathetic electronic scream.Holding his ignited lightsaber before him, Luke wades a few feet into the murky pool, looking for any sign of his little friend.				LUKE		Artoo!The black surface is still as death itself... until a few bubbles begin to appear.  Then, phheewaat!! The runt-size robot is spit out of the water, makes a graceful arc, and comes crashing down into a patch of soft gray moss.				LUKE		Oh, no!  Are you all right?  Come 		on.  You're lucky you don't taste 		very good.  Anything broken?Luke helps Artoo to his feet and begins wiping the mud and roots from his round metal body.  Artoo responds with feeble, soggy beeps.				LUKE		If you're saying coming here was 		a bad idea, I'm beginning to agree 		with you.  Oh, Artoo, what are we 		doing here?  It's like... something 		out of a dream, or, I don't know.  		Maybe I'm just going crazy.As Luke glances around at the spooky swamp jungle that surrounds him, Artoo ejects a stream of muddy water from one of his cranial ports.EXT. VADER'S STAR DESTROYER - VADER'S CHAMBERAdmiral Piett hesitates in the entryway to Vader's private cubicle.After a moment, he steps into the room and pauses at the surprising sight before him.Darth Vader, his back turned, is silhouetted in the gloom on the far side of the chamber.  A black, insectlike droid attends him.  Among the various apparatuses surrounding them, a respirator tube now retracts from Vader's uncovered head.  The head is bald with a mass of ugly scar tissue covering it.  The black droid then lowers the mask and helmet onto Vader's head.  When it is in place, the Dark Lord turns to face Piett.				VADER		Yes, Admiral?				PIETTOur ships have sighted the Millennium Falcon, lord.  But... it has entered an asteroid field and we cannot risk...				VADER			(interrupting)		Asteroids do not concern me, 		Admiral.  I want that ship and 		not excuses.				PIETT		Yes, lord.EXT. ASTEROID CAVE - MILLENNIUM FALCONThe pirate starship rests in a dark, dripping asteroid cave.  It is so dark that the cave's exact dimensions are impossible to determine.INT. MILLENNIUM FALCON - COCKPITHan and Chewie busily shut down the engine and all electronic systems.  Threepio and Leia watch worriedly.				HAN		I'm going to shut down everything 		but the emergency power systems.  				THREEPIO		Sir, I'm almost afraid to ask, 		but... does that include shutting 		me down, too?Chewie barks "yes".  But Han thinks otherwise.				HAN		No, I need you to talk to the 		Falcon, find out what's wrong with 		the hyperdrive.Suddenly, the ship lurches, causing all the loose items in the cockpit to go flying.  Chewie howls.				THREEPIO		Sir, it's quite possible this 		asteroid is not entirely stable.				HAN		Not entirely stable?  I'm glad you're 		here to tell us these things.  Chewie, 		take the professor in the back and 		plug him into the hyperdrive.				THREEPIO		Oh!  Sometimes I just don't 		understand human behavior.  After 		all, I'm only trying to do my job 		in the most...The sliding door closes behind the indignant Threepio as Chewie and he move back to the hold.  Suddenly, the ship lurches again, throwing Leia across the cabin into Han's arms.  Then, abruptly, the motion stops as suddenly as it started.  With some surprise, Han and Leia realize they are in each other's arms.				LEIA		Let go.				HAN		Sshh!				LEIA		Let go, please.Leia flushes, averting her eyes.  She's not exactly fighting to get free.  But, of course, Han blows it...				HAN		Don't get excited.The anger rises in Leia.				LEIA		Captain, being held by you isn't 		quite enough to get me excited.				HAN		Sorry, sweetheart.  We haven't 		got time for anything else.Han grins quickly wickedly at Leia as he turns and exits through the door.  Leia's confused emotions show clearly on her lovely face.EXT. DAGOBAH - BOG CLEARING - DUSKThe mist has dispersed a bit, but it is still a very gloomy-looking swamp.Luke pulls an equipment box from the shore to the clearing.  He ignites a little fusion furnace and warms his hands before it.  Taking a power cable, he plugs it into Artoo's noselike socket.				LUKE		Ready for some power?  Okay.  		Let's see now.  Put that in 		there.  There you go.The droid whistles his appreciation.  Luke then opens a container of processed food and sits before the thermal heater.				LUKE			(sighs)		Now all I have to do is find this 		Yoda... if he even exists.Nervously, he looks around at the foreboding jungle.				LUKE		Still... there's something familiar 		about this place.  I feel like... 		I don't know...				STRANGE VOICE		Feel like what?Luke jumps out of his skin.  Artoo screeches in terror.  The young warrior grabs for his lightsaber as he spins around, looking for the speaker.  Mysteriously standing right in front of Luke is a strange, bluish creature, not more than two feet tall.  The wizened little thing is dressed in rags.  It motions toward Luke's sword.				LUKE			(looking at the 			 creature)		Like we're being watched!				CREATURE		Away with your weapon!  I mean 		you no harm.After some hesitation, Luke puts away his weapon, although he really doesn't understand why.  Artoo watches with interest.				CREATURE		I am wondering, why are you here?				LUKE		I'm looking for someone.				CREATURE		Looking?  Found someone, you have, 		I would say, hmmm?The little creature laughs.				LUKE			(Trying to keep from 			 smiling)		Right.				CREATURE		Help you I can.  Yes, mmmm.				LUKE		I don't think so.  I'm looking 		for a great warrior.				CREATURE		Ahhh!  A great warrior.			(laughs and shakes 			 his head)		Wars not make one great.With the aid of a walking stick, the tiny stranger moves over to one of the cases of supplies.  He begins to rummage around.Artoo moves to the edge of the case - standing almost eye level to the creature who is carelessly handling the supplies - and squeaks his disapproval.Their tiny visitor pick up the container of food Luke was eating from and takes a bite.				LUKE		Put that down.  Hey!  That's my 		dinner!The creature spits out the bite he has taken.  He makes a face.				CREATURE		How you get so big, eating food 		of this kind?He flips the container in Luke's direction and reaches into one of Luke's supply cases.				LUKE		Listen, friend, we didn't mean to 		land in that puddle, and if we 		could get our ship out, we would, 		but we can't, so why don't you just...				CREATURE			(teasing)		Aww, cannot get your ship out?The creature spots something of interest in Luke's case.  Luke loses patience and grabs the case away.  The creature retains his prize - a tiny power lamp - and examines it with delight.				LUKE		Hey, you could have broken this.		Don't do that.  Ohhh... you're 		making a mess.  Hey, give me that!				CREATURE			(retreating with 			 the lamp)		Mine!  Or I will help you not.Clutching its treasure, the creature backs away from Luke, drawing closer to Artoo.  As Luke and the creature argue, one of Artoo's little arms slowly moves out toward the power lamp, completely unnoticed by the creature.				LUKE		I don't want your help.  I want 		my lamp back.  I'll need it to 		get out of this slimy mudhole.				CREATURE		Mudhole?  Slimy?  My home this is.Artoo grabs hold of the lamp and the two little figures are immediately engaged in a tug-of-war over it.Artoo beeps a few angry, "Give me thats."				CREATURE		Ah, ah, ah!				LUKE		Oh, Artoo, let him have it!				CREATURE		Mine!  Mine!				LUKE		Artoo!				CREATURE		Mine!The creature lets go with one hand and pokes Artoo lightly with one finger.  Artoo reacts with a startled squeal, and lets go.				CREATURE		Mine!				LUKE			(fed up)		Now will you move along, little 		fella?  We're got a lot of work 		to do.				CREATURE		No!  No, no!  Stay and help you, 		I will.			(laughs)		Find your friend, hmm?				LUKE		I'm not looking for a friend. 		I'm looking for a Jedi Master.				CREATURE		Oohhh.  Jedi Master.  Yoda.  You 		seek Yoda.				LUKE		You know him?				CREATURE		Mmm.  Take you to him, I will.			(laughs)		Yes, yes.  But now, we must eat.		Come.  Good food.  Come.With that, the creature scurries out of the clearing, laughing merrily.  Luke stares after him.  All he sees is the faint light from the small power lamp moving through the fog.  Luke makes his decision and starts after the creature.				CREATURE			(in the distance)		Come, come.Artoo, very upset, whistles a blue streak of protest.				LUKE		Stay here and watch after the 		camp, Artoo.Artoo beeps even more frantically.  But as Luke disappears from view, the worried little droid grows quieter, and utters a soft electronic sigh.INT. MILLENNIUM FALCON - MAIN HOLD AREAThreepio whistles and beeps a strange dialect into the control panel in front of him.  The control panel whistles back a few mystifying beeps.				THREEPIO		Oh, where is Artoo when I need 		him?Han enters the hold area and kneels on the floor near the control box.				THREEPIO		Sir, I don't know where your ship 		learned to communicate, but it 		has the most peculiar dialect.  I 		believe, sir, it says that the 		power coupling on the negative 		axis has been polarized.  I'm 		afraid you'll have to replace it.				HAN		Well, of course I'll have to replace 		it.He hands a wire coil up to Chewie who is working near the ceiling.				HAN		Here!  And Chewie...Chewie brings his head back through the trap door in the ceiling and whines.  Han glances back at Threepio, then speaks quietly to Chewie so only he can hear.				HAN			(continuing)		... I think we'd better replace 		the negative power coupling.Leia finishes welding the valves she has been working on and attempts to reengage the system by pulling a lever attached to the valve.  It doesn't budge.  Han notices her struggle, and moves to help her.  She rebuffs him.				HAN		Hey, Your Worship, I'm only 		trying to help.				LEIA			(still struggling)		Would you please stop calling me 		that?Han hears a new tone in her voice.  He watches her pull on the lever.				HAN		Sure, Leia.				LEIA		Oh, you make it so difficult 		sometimes.				HAN		I do, I really do.  You could be 		a little nicer, though.			(he watches her 			 reaction)		Come on, admit it.  Sometimes you 		think I'm all right.She lets go of the lever and rubs her sore hand.				LEIA		Occasionally...			(a little smile, 			 haltingly)		... when you aren't acting like 		a scoundrel.				HAN			(laughs)		Scoundrel?  Scoundrel?  I like 		the sound of that.With that, Han takes her hand and starts to massage it.				LEIA		Stop that.				HAN		Stop what?Leia is flushes, confused.				LEIA		Stop that!  My hands are dirty.				HAN		My hands are dirty, too.  What 		are you afraid of?				LEIA			(looking right 			 into his eyes)		Afraid?Han looks at her with a piercing look.  He's never looked more handsome, more dashing, more confident.  He reaches out slowly and takes Leia's hand again from where it is resting on a console.  He draws it toward him.				HAN		You're trembling.				LEIA		I'm not trembling.Then with an irresistible combination of physical strength and emotional power, the space pirate begins to draw Leia toward him... very slowly.				HAN		You like me because I'm a scoundrel.		There aren't enough scoundrels in 		your life.Leia is now very close to Han and as she speaks, her voice becomes an excited whisper, a tone completely in opposition to her words.				LEIA		I happen to like nice men.				HAN		I'm a nice man.				LEIA		No, you're not.  You're...He kisses her now, with slow, hot lips.  He takes his time, as though he had forever, bending her body backward.  She has never been kissed like this before, and it almost makes her faint.  When he stops, she regains her breath and tries to work up some indignation, but finds it hard to talk.Suddenly, Threepio appears in the doorway, speaking excitedly.				THREEPIO		Sir, sir!  I've isolated the 		reverse power flux coupling.Han turns slowly, icily, from their embrace.				HAN		Thank you.  Thank you very much.				THREEPIO		Oh, you're perfectly welcome, sir.The moment spoiled, Han marches out after Threepio.EXT. SPACE - ASTEROID FIELDThe Imperial fleet moves through the asteroid-filled void, intently seeking its prey.INT. VADER'S STAR DESTROYER - BRIDGEAsteroids collide, creating a fireworks display outside the bridge window.  Darth Vader stands, staring out the window above the control deck.  Then slowly turns toward the bridge.  Before him are the hologram images of twenty battleship commanders.  One of these images, the commander of a ship that has just exploded, is fading away quickly.  Another image, in the center and a little apart from the others, is faded and continually disrupted by static.  It is the image of Captain Needa, commander of the Star Destroyer most hotly on the tail of the Millennium Falcon.  Admiral Piett and an aide stand behind the Dark Lord.				NEEDA			(in hologram)		... and that, Lord Vader, was the 		last time they appeared in any of 		our scopes.  Considering the amount 		of damage we've sustained, they 		must have been destroyed.				VADER		No, Captain, they're alive.  I 		want every ship available to 		sweep the asteroid field until 		they are found.The Imperial star captains fade out one by one as Vader turns to Admiral Piett.				PIETTLord Vader.				VADER		Yes, Admiral, what is it?The admiral is scared, his face white as a sheet.				PIETT		The Emperor commands you make 		contact with him.				VADER		Move the ship out of the asteroid 		field so that we can send a clear 		transmission.				PIETT		Yes, my lord.EXT. ASTEROID FIELD - VADER'S STAR DESTROYERVader's Imperial Star Destroyer moves against the vast sea of stars away from the rest of the fleet.INT. VADER'S STAR DESTROYER - VADER'S CHAMBERThe Dark Lord, Darth Vader, is alone in his chamber.  A strange sound enters the room and a light begins to play across Vader's black figure.  He looks up and bows quickly.A twelve-foot hologram of the Galactic Emperor materializes before Vader.  The Emperor's dark robes and monk's hood are reminiscent of the cloak worn by Ben Kenobi.  His voice is even deeper and more frightening than Vader's.				VADER		What is thy bidding, my master?				EMPEROR		There is a great disturbance in 		the Force.				VADER		I have felt it.				EMPEROR		We have a new enemy - Luke 		Skywalker.				VADER		Yes, my master.				EMPEROR		He could destroy us.				VADER		He's just a boy.  Obi-Wan can no 		longer help him.				EMPEROR		The Force is strong with him.  The 		son of Skywalker must not become a 		Jedi.				VADER		If he could be turned, he would 		become a powerful ally.				EMPEROR		Yes.  Yes.  He would be a great 		asset.  Can it be done?				VADER		He will join us or die, my 		master.Vader kneels.  The supreme Emperor passes a hand over the crouched Lord of the Sith and fades away.EXT. DAGOBAH - CREATURE'S HOUSE - NIGHTA heavy downpour of rain pounds through the gnarled trees.  A strange baroque mud house sits on a moss-covered knoll on the edge of a small lagoon.  The small, gnomish structure radiates a warm glow from its thick glass windows.  As rain tap-dances a merry tune on Artoo's head, the stubby little droid rises up on his tip-toes to peek into one of the glowing portals.INT. CREATURE'S HOUSEArtoo, peeking in the window, sees the inside of the house - a very plain, but cozy dwelling.  Everything is in the same small scale as the creature.  The only thing out of place in the miniature room is Luke, whose height makes the four-foot ceiling seem even lower.  He sits cross-legged on the floor of the living room.The creature is in an adjoining area - his little kitchen - cooking up an incredible meal.  The stove is a steaming hodgepodge of pots and pans.  The wizened little host scurries about chopping this, shredding that, and showering everything with exotic herbs and spices.  He rushes back and forth putting platters on the table in front of Luke, who watches the creature impatiently.				LUKE		Look, I'm sure it's delicious.  		I just don't understand why we 		can't see Yoda now.				CREATURE		Patience!  For the Jedi it is 		time to eat as well.  Eat, eat.  		Hot.  Good food, hm? Good, hmm?Moving with some difficulty in the cramped quarters, Luke sits down near the fire and serves himself from the pot.  Tasting the unfamiliar concoction, he is pleasantly surprised.				LUKE		How far away is Yoda?  Will it 		take us long to get there?				CREATURE		Not far.  Yoda not far.  Patience.		Soon you will be with him.			(tasting food from 			 the pot)		Rootleaf, I cook.  Why wish you 		become Jedi?  Hm?				LUKE		Mostly because of my father, I 		guess.				CREATURE		Ah, your father.  Powerful Jedi 		was he, powerful Jedi, mmm.				LUKE			(a little angry)		Oh, come on.  How could you know 		my father?  You don't even know 		who I am.			(fed up)		Oh, I don't know what I'm doing 		here.  We're wasting our time.The creature turns away from Luke and speaks to a third party.				CREATURE			(irritated)		I cannot teach him.  The boy has 		no patience.Luke's head spins in the direction the creature faces.  But there is no one there.  The boy is bewildered, but it gradually dawns on him that the little creature is Yoda, the Jedi Master, and that he is speaking with Ben.				BEN'S VOICE		He will learn patience.				YODA		Hmmm.  Much anger in him, like his father.				BEN'S VOICE		Was I any different when you 		taught me?				YODA		Hah.  He is not ready.				LUKE		Yoda!  I am ready.  I... Ben!  I 		can be a Jedi.  Ben, tell him I'm 		ready.Trying to see Ben, Luke starts to get up but hits his head on the low ceiling.				YODA		Ready, are you?  What know you 		of ready?  For eight hundred years 		have I trained Jedi.  My own counsel 		will I keep on who is to be trained!		A Jedi must have the deepest 		commitment, the most serious mind.			(to the invisible 			 Ben, indicating Luke)		This one a long time have I watched.		All his life has he looked away...		to the future, to the horizon.		Never his mind on where he was.		Hmm?  What he was doing.  Hmph.  		Adventure.  Heh!  Excitement.  Heh!  		A Jedi craves not these things.			(turning to Luke)		You are reckless!Luke looks down.  He knows it is true.				BEN'S VOICE		So was I, if you'll remember.				YODA		He is too old.  Yes, too old to 		begin the training.Luke thinks he detects a subtle softening in Yoda's voice.				LUKE		But I've learned so much.Yoda turns his piercing gaze on Luke, as though the Jedi Master's huge eyes could somehow determine how much the boy had learned.  After a long moment, the little Jedi turns toward where he alone sees Ben.				YODA			(sighs)		Will he finished what he begins?				LUKE		I won't fail you - I'm not afraid.				YODA			(turns slowly toward 			 him)		Oh, you will be.  You will be.EXT. SPACE - STAR DESTROYERS - ASTEROID FIELDThe Imperial fleet around Vader's ship is surrounded by the asteroid storm.  Asteroids big and small pelt the vast exteriors of the menacing ships.  One of the smaller Imperial vessels is hit by a huge asteroid and explodes in a brilliant flash of light.INT. ASTEROID CAVE - MILLENNIUM FALCON - COCKPITThe cockpit is quiet and lit only by the indicator lights on the control panel.  Princess Leia sits in the pilot's seat.She runs her hand across the control panel as she thinks of Han and the confusion he has created within her.  Suddenly, something outside the cockpit window catches her eye.  The reflection of the panel lights obscures her vision until a soft suctionlike cup attaches itself to the windscreen.  Leiamoves closer to see what it might be.  Large, yellow eyes flash open and stare back at her.  Startled, she jumps back into her seat, her heart pounding.  There is a scurry of feet and a loud screech, and in an instant the eyes are gone.  The young princess catches her breath, jumps out of her chair, and races from the cockpit.INT. ASTEROID CAVE - MILLENNIUM FALCON - HOLD AREAThe lights go bright for a second then out again.  Threepio and Chewbacca watch as Han finishes with some wires.				THREEPIO		Sir, if I may venture an opinion...				HAN		I'm not really interested in your 		opinion, Threepio.Leia rushes into the cabin just as Han drops the final floor panel into place.				LEIA			(out of breath)		There's something out there.				HAN		Where?				LEIA		Outside, in the cave.As she speaks, there comes a sharp banging on the hull.  Chewie looks up and barks anxiously.				THREEPIO		There it is.  Listen!  Listen!				HAN		I'm going out there.				LEIA		Are you crazy?!				HAN		I just got this bucket back 		together.  I'm not going to let 		something tear it apart.He and Chewie grab their breath masks off a rack and hurry out.  Leia follows.				LEIA		Then I'm going with you.				THREEPIO		I think it might be better if I 		stay here and guard the ship.			(hears another 			 mysterious noise)		Oh, no.EXT. ASTEROID CAVE - MILLENNIUM FALCONIt is very dark inside the huge asteroid cave, too dark to see what is attacking the ship.Leia stamps her foot on the floor of the cave.				LEIA		This ground sure feels strange.		It doesn't feel like rock at all.Han kneels and studies the ground, then attempts to study the outline of the cave.				HAN		There's an awful lot of moisture 		in here.				LEIA		I don't know.  I have a bad feeling 		about this.				HAN		Yeah.Chewie barks through his face mask, and points toward the ship's cockpit.  A five-foot-long shape can be seen moving across the top of the Falcon.  The leathery creature lets out a screech as Han blasts it with a laser bolt.				HAN			(to Leia)		Watch out!The black shape tumbles off the spaceship and onto the ground in front of the princess.  Han bends down to investigate the dead creature.				HAN		Yeah, that's what I thought.		Mynock.  Chewie, check the rest 		of the ship, make sure there 		aren't any more attached.  They're 		chewing on the power cables.				LEIA		Mynocks?				HAN		Go on inside.  We'll clean them 		off if there are any more.Just then, a swarm of the ugly creatures swoops through the air.  Leia puts her arms over her head to protect herself as she runs toward the ship.  Chewie shoos another Mynock away with his blaster.  Several of the batlike creatures flap their wings loudly against the cockpit window of the Falcon.  Inside, Threepio shudders at their presence.				THREEPIO		Ohhh!  Go away!  Go away!  Beastly 		little thing.  Shoo!  Shoo!Han looks around the strange, dripping cave.				HAN		Wait a minute...He unholsters his blaster and fires at the far side of the huge cave.  The cavern begins to shake and the ground starts to buckle.Chewie barks and moves for the ship, followed closely by Leia and Han.  The large wings of the Mynocks flap past them as they protect their faces and run up the platform.INT. ASTEROID CAVE - MILLENNIUM FALCON - ENTRY AREAAs soon as Han and Leia are on board, Chewie closes the main hatch.  The ship continues to shake and heave.				HAN		All right, Chewie, let's get 		out of here!The Wookiee heads for the cockpit as Han, followed by Threepio, rushes to the hold area and checks the scopes on the control panel.  Leia hurries after.				LEIA		The Empire is still out there.		I don't think it's wise to...Han rushes past her and heads for the cockpit.				HAN			(interrupting)		No time to discuss this in		committee.And with that he is gone.  The main engines of the Falcon begin to whine.  Leia races after him, bouncing around in the shaking ship.				LEIA			(angry)		I am not a committee!INT. ASTEROID CAVE - MILLENNIUM FALCON - COCKPITHan is already in the pilot's seat pulling back on the throttle.  The cave-quake has greatly diminished.				LEIA		You can't make the jump to light-		speed in this asteroid field...				HAN		Sit down, sweetheart.  We're 		taking off!As the ship begins to move forward, Chewie barks.  He notices something out the window ahead.  Threepio sees it too.				THREEPIO		Look!				HAN		I see it, I see it.Suddenly, a row of jagged white stalagmites and stalactites can be seen surrounding the entrance.  And as the Falcon moves forward, the entrance to the cave grows ever smaller.  Han pulls hard on the throttle, sending his ship surging forward.				THREEPIO		We're doomed!				LEIA		The cave is collapsing.				HAN		This is no cave.				LEIA		What?Leia's mouth drops open .  She sees that the rocks of the cave entrance are not rocks at all, but giant teeth, quickly closing around the tiny ship.  Chewie howls.INT. SPACE SLUG MOUTHThe Millennium Falcon, zooming through the monster's mouth, rolls on its side and barely makes it between two of the gigantic white teeth before the huge jaws slams closed.EXT. CAVE ENTRANCE - GIANT ASTEROIDThe enormous space slug moves its head out of the cave as the Falcon flies out of its mouth.  The monster tilts its head, watching the starship fly away.EXT. MILLENNIUM FALCON - GIANT ASTEROIDThe Falcon races out of the asteroid crater and into the deadly rain of the asteroid storm.EXT. DAGOBAH - DAYWith Yoda strapped to his back, Luke climbs up one of the many thick vines that grow in the swamp.  Panting heavily, he continues his course - climbing, flipping through the air, jumping over roots, and racing in and out of the heavy ground fog.				YODA		Run!  Yes.  A Jedi's strength 		flows from the Force.  But beware 		of the dark side.  Anger... fear... 		aggression.  The dark side of 		the Force are they.		Easily they flow, quick to join 		you in a fight.  If once you 		start down the dark path, forever 		will it dominate your destiny, 		consume you it will, as it did 		Obi-Wan's apprentice.				LUKE		Vader.  Is the dark side stronger?				YODA		No... no... no.  Quicker, easier, 		more seductive.				LUKE		But how am I to know the good side 		from the bad?				YODA		You will know.  When you are calm, 		at peace.  Passive.  A Jedi uses 		the Force for knowledge and 		defense, never for attack.				LUKE		But tell me why I can't...				YODA			(interrupting)		No, no, there is no why.  Nothing 		more will I teach you today.		Clear your mind of questions.  		Mmm.  Mmmmmmmm.Artoo beeps in the distance as Luke lets Yoda down to the ground.  Breathing heavily, he takes his shirt from a nearby tree branch and pulls it on.He turns to see a huge, dead, black tree, its base surrounded by a few feet of water.  Giant, twisted roots form a dark and sinister cave on one side.  Luke stares at the tree, trembling.				LUKE		There's something not right here.Yoda sits on a large root, poking his Gimer Stick into the dirt.				LUKE		I feel cold, death.				YODA		That place... is strong with the 		dark side of the Force.  A domain 		of evil it is.  In you must go.				LUKE		What's in there?				YODA		Only what you take with you.Luke looks warily between the tree and Yoda.  He starts to strap on his weapon belt.				YODA		Your weapons... you will not 		need them.Luke gives the tree a long look, than shakes his head "no."  Yoda shrugs.  Luke reaches up to brush aside some hanging vines and enters the tree.INT. DAGOBAH - TREE CAVELuke moves into the almost total darkness of the wet and slimy cave.  The youth can barely make out the edge of the passage.  Holding his lit saber before him, he sees a lizard crawling up the side of the cave and a snake wrapped around the branches of a tree.  Luke draws a deep breath, then pushes deeper into the cave.The space widens around him, but he feels that rather than sees it.  His sword casts the only light as he peers into the darkness.  It is very quiet here.Then, a loud HISS! Darth Vader appears across the blackness, illuminated by his own just-ignited laser sword.  Immediately, he charges Luke, saber held high.  He is upon the youth in seconds, but Luke sidesteps perfectly and slashes at Vader with his sword.Vader is decapitated.  His helmet-encased head flies from his shoulders as his body disappears into the darkness.  The metallic banging of the helmet fills the cave as Vader's head spins and bounces, smashes on the floor, and finally stops. For an instant it rests on the floor, then it cracks vertically.  The black helmet and breath mask fall away to reveal... Luke's head.Across the space, the standing Luke gasps at the sight, wide-eyed in terror.The decapitated head fades away, as in a vision.EXT. DAGOBAH - CAVE - DUSKMeanwhile, Yoda sits on the root, calmly leaning on his Gimer Stick.EXT. SPACE - VADER'S STAR DESTROYERVader's Imperial Star Destroyer moves through space, guarded by its convoy of TIE fighters.INT. VADER'S STAR DESTROYER - BRIDGE - CONTROL DECKVader stands in the back control area of his ship's bridge with a motley group of men and creatures.  Admiral Piett and two controllers stand at the front of the bridge and watch the group with scorn.				PIETT		Bounty hunters.  We don't need 		that scum.				FIRST CONTROLLER		Yes, sir.				PIETT		Those Rebels won't escape us.A second controller interrupts.				SECOND CONTROLLER		Sir, we have a priority signal 		from the Star Destroyer Avenger.				PIETT		Right.The group standing before Vader is a bizarre array of galactic fortune hunters  There is Bossk, a slimy, tentacled monster with two huge, bloodshot eyes in a soft baggy face; Zuckuss and Dengar, two battle-scarred, mangy human types; IG-88, a battered, tarnished chrome war droid; and Boba Fett, a man in a weapon-covered armored space suit.				VADER		... there will be a substantial 		reward for the one who finds the 		Millennium Falcon.  You are free 		to use any methods necessary, but 		I want them alive.  No disintegrations.				BOBA FETT		As you wish.At that moment, Admiral Piett approaches Vader in a rush of excitement.				PIETT		Lord Vader!  My lord, we have 		them.EXT. IMPERIAL STAR DESTROYER, AVENGER - ASTEROID BELTThe Millennium Falcon speeds through deep space, closely followed by a firing Imperial Star Destroyer.  A large asteroid about the same size as the Falcon tumbles rapidly toward the starship.  The tiny Falcon banks to avoid the giant asteroid as smaller rocks pelt its surface.  Then the small craft roars under the asteroid which explodes harmlessly on the hull of the vast Star Destroyer.INT. MILLENNIUM FALCON - COCKPITThe ship shudders as flak explodes near the cockpit window.  Threepio checks a tracking scope an the side control panel while Leia watches tensely out the window.				THREEPIO		Oh, thank goodness we're coming 		out of the asteroid field.Chewie barks excitedly as the rain of asteroids begins to subside.  A bolt from the Star Destroyer sets up a fiery explosion on the back side of the Falcon, causing it to lurch to one side.EXT. MILLENNIUM FALCON - STAR DESTROYER, AVENGER - ASTEROID FIELDThe Falcon is hit hard by another bolt from the Star Destroyer which creates a huge explosion near the cockpit of the smaller ship.  The Falcon tilts steeply, then rights itself.INT. MILLENNIUM FALCON - COCKPITHan corrects the angle of his ship.				HAN		Let's get out of here.  Ready for 		light-speed?  One... two... three!Han pulls back on the hyperspace throttle and - nothing happens.  Flak bursts continue to rock the ship.				HAN			(frantic)		It's not fair!Chewie is very angry and starts to growl and bark at his friend and captain.  Again, Han desperately pulls back on the throttle.				HAN		The transfer circuits are working.		It's not my fault!Chewie puts his head in his hands, whining.				LEIA			(almost expecting 			 it)		No light-speed?				HAN		It's not my fault.				THREEPIO		Sir, we just lost the main rear 		deflector shield.  One more direct 		hit on the back quarter and we're 		done for.Han pauses for a moment, makes a decision, and pulls back on a lever.				HAN		Turn her around.Chewie barks in puzzlement.				HAN		I said turn her around!  I'm 		going to put all power in the 		front shield.				LEIA		You're going to attack them?!				THREEPIO		Sir, the odds of surviving a 		direct assault on an Imperial 		Star Destroyer...				LEIA		Shut up!EXT. SPACE - MILLENNIUM FALCON - ASTEROID FIELDThe Falcon banks, makes a steep, twisting turn.  In the next moment it is racing toward the Star Destroyer, looking very small against the massive surface of the Imperial ship.  As it moves across the surface of the Star Destroyer, the Falcon bobs and weaves to avoid the numerous flak bursts.INT. STAR DESTROYER, AVENGER - BRIDGEThe tiny Falcon heads directly for the Avenger's bridge.  The Imperials stationed there are stunned to see the small spaceship racing low across the hull, headed directly at the huge windows of the bridge area.  Alarms go off everywhere.  The Destroyer's commander, Captain Needa, can scarcely believe his eyes.				NEEDA		They're moving to attack 		position!  Shields up!Needa and his men duck as the Falcon nears the bridge window.  At the last minute, the Falcon veers off and out of sight.  All is quiet.				NEEDA		Track them.  They may come 		around for another pass.				TRACKING OFFICER		Captain Needa, the ship no longer 		appears on our scopes.				NEEDA		They can't have disappeared.  No 		ship that small has a cloaking 		device.				TRACKING OFFICER		Well, there's no trace of them, 		sir.				COMMUNICATIONS OFFICER		Captain, Lord Vader demands an 		update on the pursuit.				NEEDA			(drawing a breath)		Get a shuttle ready.  I shall 		assume full responsibility for 		losing them, and apologize to Lord 		Vader. Meanwhile, continue to 		scan the area.				COMMUNICATIONS OFFICER		Yes, Captain Needa.EXT. DAGOBAH - BOG - DAYLuke's face is upside-down and showing enormous strain.  He stands on his hands, with Yoda perched on his feet.  Opposite Luke and Yoda are two rocks the size of bowling balls.  Luke stares at the rocks and concentrates.  One of the rocks lifts from the ground and floats up to rest on the other.				YODA		Use the Force.  Yes...Yoda taps Luke's leg.  Quickly, Luke lifts one hand from the ground.  His body wavers, but he maintains his balance.  Artoo, standing nearby, is whistling and beeping frantically.				YODA		Now... the stone.  Feel it.Luke concentrates on trying to lift the top rock.  It rises a few feet, shaking under the strain.  But, distracted by Artoo's frantic beeping, Luke loses his balance and finally collapses.  Yoda jumps clear.				YODA		Concentrate!Annoyed at the disturbance, Luke looks over at Artoo, who is rocking urgently back and forth in front of him.Artoo waddles closer to Luke, chirping wildly, then scoots over the edge of the swamp.  Catching on, Luke rushes to the water's edge.  The X-wing fighter has sunk, and only the tip of its nose shows above the lake's surface.				LUKE		Oh, no.  We'll never get it out 		now.Yoda stamps his foot in irritation.				YODA		So certain are you.  Always with 		you it cannot be done.  Hear you		nothing that I say?Luke looks uncertainly out at the ship.				LUKE		Master, moving stones around is 		one thing.  This is totally 		different.				YODA		No!  No different!  Only different 		in your mind.  You must unlearn 		what you have learned.				LUKE			(focusing, quietly)		All right, I'll give it a try.				YODA		No!  Try not.  Do.  Or do not.  		There is no try.Luke closes his eyes and concentrates on thinking the ship out.Slowly, the X-wing's nose begins to rise above the water.  It hovers for a moment and then slides back, disappearing once again.				LUKE			(panting heavily)		I can't.  It's too big.				YODA		Size matters not.  Look at me.  		Judge me by my size, do you?  		Hm?  Mmmm.Luke shakes his head.				YODA		And well you should not.  For my 		ally in the Force.  And a powerful 		ally it is.  Life creates it, makes 		it grow.  Its energy surrounds us 		and binds us.  Luminous beings 		are we...			(Yoda pinches 			 Luke's shoulder)		... not this crude matter.			(a sweeping gesture)		You must feel the Force around you.			(gesturing)		Here, between you... me... the 		tree... the rock... everywhere!  		Yes, even between this land and 		that ship!				LUKE			(discouraged)		You want the impossible.Quietly Yoda turns toward the X-wing fighter.  With his eyes closed and his head bowed, he raises his arm and points at the ship.Soon, the fighter rises above the water and moves forward as Artoo beeps in terror and scoots away.The entire X-wing moves majestically, surely, toward the shore.  Yoda stands on a tree root and guides the fighter carefully down toward the beach.Luke stares in astonishment as the fighter settles down onto the shore.  He walks toward Yoda.				LUKE		I don't... I don't believe it.				YODA		That is why you fail.Luke shakes his head, bewildered.EXT. SPACE - IMPERIAL FLEETThe fleet around Vader's Star Destroyer now includes Needa's Star Destroyer, the Avenger.INT. VADER'S STAR DESTROYER - BRIDGE				VADER		Apology accepted, Captain Needa.Clutching desperately at his throat, Captain Needa slumps down, then falls over on his back, at the feet of Darth Vader.  Two stormtroopers pick up the lifeless body and carry it quickly away as Admiral Piett and two of his captains hurry up to the Dark Lord.				PIETT		Lord Vader, our ships have 		completed their scan of the area 		and found nothing.  If the 		Millennium Falcon went into light-		speed, it'll be on the other side 		of the galaxy by now.				VADER		Alert all commands.  Calculate 		every possible destination along 		their last know trajectory.				PIETT		Yes, my lord.  We'll find them.				VADER		Don't fail me again, Admiral.Vader exits as the admiral turns to an aide, a little more uneasy than when he arrived.				PIETT		Alert all commands.  Deploy the fleet.EXT. SPACE - IMPERIAL FLEETVader's ship moves away, flanked by its fleet of smaller ships.  the Avenger glides off into space in the opposite direction.  No one on that ship or on Vader's is aware that, clinging to the side of the Avenger, is the pirateship, the Millennium Falcon.INT. MILLENNIUM FALCON - COCKPIT				THREEPIO		Captain Solo, this time you have 		gone too far.			(Chewie growls)		No, I will not be quiet, Chewbacca.		Why doesn't anyone listen to me?				HAN			(to Chewie)		The fleet is beginning to break 		up.  Go back and stand by the 		manual release for the landing claw.Chewie barks, struggles from his seat, and climbs out of the cabin.				THREEPIO		I really don't see how that is 		going to help.  Surrender is a 		perfectly acceptable alternative 		in extreme circumstances.  The 		Empire may be gracious enough...Leia reaches over and shuts off Threepio, mid-sentence.				HAN		Thank you.				LEIA		What did you have in mind for 		your next move?				HAN		Well, if they follow standard 		Imperial procedure, they'll dump 		their garbage before they go to 		light-speed, then we just float 		away.				LEIA		With the rest of the garbage.		Then what?				HAN		Then we've got to find a safe 		port somewhere around here.  Got 		any ideas?				LEIA		No.  Where are we?				HAN		The Anoat system.				LEIA		Anoat system.  There's not much 		there.				HAN		No.  Well, wait.  This is 		interesting.  Lando.He points to a computer mapscreen on the control panel.  Leia slips out of her chair and moves next to the handsome pilot.  Small light points representing several systems flash by on the computer screen.				LEIA		Lando system?				HAN		Lando's not a system, he's a man.		Lando Calrissian.  He's a card 		player, gambler, scoundrel.  You'd 		like him.				LEIA		Thanks.				HAN		Bespin.  It's pretty far, but I 		think we can make it.				LEIA			(reading from the 			 computer)		A mining colony?				HAN		Yeah, a Tibanna gas mine.  Lando 		conned somebody out of it.  We 		go back a long way, Lando and me.				LEIA		Can you trust him?				HAN		No.  But he has no love for the		Empire, I can tell you that.Chewie barks over the intercom.  Han quickly changes his readouts and stretches to look out the cockpit window.				HAN			(into intercom)		Here we go, Chewie.  Stand by.		Detach!Han leans back in his chair and gives Leia an invisible smile.  She thinks for a moment, shakes her head; a grin creeps across her face and she gives him a quick kiss.				LEIA		You do have your moments.  Not 		many, but you have them.EXT. SPACE - IMPERIAL STAR DESTROYERAs the Avenger Star Destroyer moves slowly into space, the hatch on its underbelly opens, sending a trail of junk behind it.  Hidden among the refuse, the Falcon tumbles away.  In the next moment, the Avenger roars off into hyperspace.  The Falcon's engines are ignited, and it races off into the distance.  Amidst the slowly drifting junk, Boba Fett's ship appears and moves after the Falcon.EXT. DAGOBAH - BOG - CLEARING - DAYIn the clearing behind Yoda's house, Luke again stands upside-down, but his face shows less strain and more concentration than before.  Yoda sits on the ground below the young warrior.  On the other side of the clearing, two equipment cases slowly rise into the air.  Nearby Artoo watches, humming to himself, when suddenly he, too, rises into the air.  His little legs kick desperately and his head turns frantically, looking for help.				YODA		Concentrate... feel the Force 		flow.  Yes.  Good.  Calm, yes.  		Through the Force, things you 		will see.  Other places.  The 		future... the past.  Old friends 		long gone.Luke suddenly becomes distressed.				LUKE		Han!  Leia!The two packing boxes and Artoo fall to the ground with a crash, then Luke himself tumbles over.				YODA			(shaking his head)		Hmm.  Control, control.  You must 		learn control.				LUKE		I saw... I saw a city in the 		clouds.				YODA		Mmm.  Friends you have there.				LUKE		They were in pain.				YODAIt is the future you see.				LUKE		Future?  Will they die?Yoda closes his eyes and lowers his head.				YODA		Difficult to see.  Always in 		motion is the future.				LUKE		I've got to go to them.				YODA		Decide you must how to serve 		them best.  If you leave now, 		help them you could.  But you 		would destroy all for which they 		have fought and suffered.Luke is stopped cold by Yoda's words.  Gloom shrouds him as he nods his head sadly.EXT. BESPIN SYSTEM - MILLENNIUM FALCON - DAWNThe powerful pirate starship blasts through space as it heads toward the soft pink planet of Bespin.EXT. BESPIN SURFACE - MILLENNIUM FALCONIt is down on the gaseous planet.  Huge billowing clouds form a canyon as the ship banks around them, heading toward the system's Cloud City.Suddenly, two twin-pod cloud cars appear and move toward the Falcon.  The cloud cars draw up alongside the starship.INT. MILLENNIUM FALCON - COCKPITOne of the cloud cars opens fire on the Falcon, its flak rocking the ship.  Chewie barks his concern.				HAN			(into transmitter)		No, I don't have a landing 		permit.  I'm trying to reach 		Lando Calrissian.More flak bursts outside the cockpit window and rattles the ship's interior.  Leia looks worried.				HAN			(into transmitter)		Whoa!  Wait a minute!  Let me 		explain.				INTERCOM VOICE		You will not deviate from your 		present course.				THREEPIO		Rather touchy, aren't they?				LEIA		I thought you knew this person.Chewie barks and growls at his boss.				HAN			(to Chewie)		Well, that was a long time ago.		I'm sure he's forgotten about 		that.				INTERCOM VOICE		Permission granted to land on 		Platform Three-two-seven.				HAN			(into transmitter)		Thank you.Angry, Han snaps off the intercom.  Chewie looks at him and grunts.  Han turns to the worried princess and her droid.				HAN		There's nothing to worry about.		We go way back, Lando and me.Leia doesn't look convinced.				LEIA		Who's worried?EXT. CLOUD CITY - MILLENNIUM FALCON - CLOUD CARSThe clouds part to reveal a full view of the city as it bobs in and out of the cloud surface.  The cloud cars and the Falcon head for the gleaming white metropolis.EXT. CLOUD CITY - LANDING PLATFORM - MILLENNIUM FALCONWith the cloud cars still guarding it, the Falcon lands on one of the Cloud City's platforms.EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCONHan and Leia stand at the open door, armed.  Behind them, Chewie, also armed, surveys the scene warily.				THREEPIO		Oh.  No one to meet us.				LEIA		I don't like this.				HAN		Well, what would you like?				THREEPIO		Well, they did let us land.				HAN		Look, don't worry.  Everything's 		going to be fine.  Trust me.INT. CLOUD CITY - CORRIDOR - DAYLando Calrissian, a suave, dashing black man in his thirties, leads a group of aides and some Cloud City guard rapidly toward the landing platform.The group, like the other citizens of the city, is a motley collection of aliens, droids, and humans of all descriptions.  Lando has a grim expression on his face as he moves onto the landing platform.EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON				HAN		See?  My friend.			(to Chewie)		Keep your eyes open, okay?Chewie growls as Han walks down the ramp.  Lando and his men head across the bridge to meet the space pirate.EXT. CLOUD CITY - LANDING PLATFORMLando stops ten feet from Han.  The two men eye each other carefully.  Lando shakes his head.				LANDO		Why, you slimy, double-crossing, 		no-good swindler!  You've got a 		lot of guts coming here, after 		what you pulled.Han points to himself innocently, mouthing, "Me?"Lando moves threateningly toward Han.  Suddenly, he throws his arms around his startled, long-lost friend and embraces him.				LANDO			(laughs)		How you doing, you old pirate? 		So good to see you!  I never thought 		I'd catch up with you again.  Where 		you been?The two old friends embrace, laughing and chuckling.EXT. LANDING PLATFORM - DOOR OF MILLENNIUM FALCON.				THREEPIOWell, he seems very friendly.				LEIA			(wary)		Yes... very friendly.EXT. CLOUD CITY - LANDING PLATFORM				LANDO		What are you doing here?				HAN			(gestures toward 			 the Falcon)		Ahh... repairs.  I thought you 		could help me out.				LANDO			(in mock panic)		What have you done to my ship?				HAN		Your ship?  Hey, remember, you 		lost her to me fair and square.Chewie growls a reserved greeting.  Lando suddenly notices the princess and smiles.				LANDO		Hello.  What have we here?  		Welcome.  I'm Lando Calrissian.		I'm the administrator of this 		facility.  And who might you be?				LEIA		Leia.				LANDO		Welcome, Leia.Lando bows before Leia and kisses her hand.				HAN		All right, all right, you old 		smoothie.Han takes Leia by the hand and steers her away from Lando.				THREEPIO		Hello, sir.  I am See-Threepio, 		human-cyborg relations.  My 		facilities are at your...Before Threepio can finish his self-introduction, Lando has turned to follow Han and Leia, who are walking toward the city.				THREEPIO		Well, really!Lando, his aide, Lobot, and Han lead the way across the bridge, followed by Threepio, Chewie and Leia.				LANDO		What's wrong with the Falcon?				HAN		Hyperdrive.				LANDO		I'll get my people to work on it.				HAN		Good.Lando turns to Leia.				LANDO		You know, that ship saved my life 		quite a few times.  She's the 		fastest hunk of junk in the galaxy.INT. CLOUD CITY - CORRIDORThe group has crossed the narrow bridge and entered the city.  They walk down the lovely Art Deco passageway, rounding several corners and passing many small plazas as they go.  Threepio lags a bit behind.				HAN		How's the gas mine?  Is it 		paying off for you?				LANDO		Oh, not as well as I'd like.		We're a small outpost and not 		very self-sufficient.  And I've 		had supply problems of every kind.		I've had labor difficulties...			(catches Han 			 grinning at him)		What's so funny?				HAN		You.  Listen to you - you sound 		like a businessman, a responsible 		leader.  Who'd have thought that, 		huh?Lando is reflective.  He looks at Han a moment.				LANDO		You know, seeing you sure 		brings back a few things.				HAN		Yeah.				LANDO			(shakes his head)		Yeah.  I'm responsible these days.		It's the price you pay for being 		successful.Han and Lando laugh together, and the group moves on through the corridor.The lagging Threepio passes a Threepio-type silver droid who is coming out of a door.				THREEPIO		Oh!  Nice to see a familiar face.				SECOND THREEPIO			(mumbles)		E chu ta!				THREEPIO		How rude!Threepio stops, watching the silver droid move away.  Then he hears the muffled beeping and whistling of an R2 unit coming from within the room.INT. CLOUD CITY - ANTEROOMCurious, Threepio enters the room.				THREEPIO		That sounds like an R2 unit in 		there.  I wonder if...Threepio walks through the doorway to the main room.  He looks in.				THREEPIO		Hello?  How interesting.  Oh, my.				MAN'S VOICE			(from within)		Who are you?				THREEPIO		Oh, I'm terribly sorry.  I... I 		didn't mean to intrude.  No, no, 		please don't get up.  No!A laser bolt to Threepio's chest sends him flying in twenty directions.  Smoldering mechanical arms and legs bounce off the walls as the door whooshes closed behind him.INT. CLOUD CITY - CORRIDORLando, Han, and Leia continue down the corridor unaware of Threepio's dreadful accident.  Chewbacca glances around, sniffs the air, but shrugs his shoulders and follows the group.EXT. DAGOBAH - BOG - DUSKIn the bright lights of the fighter, Luke loads a heavy case into the belly of the ship.  Artoo sits on top of the X-wing, settling down into his cubbyhole.  Yoda stands nearby on a log.				YODA		Luke!  You must complete the 		training.				LUKE		I can't keep the vision out of my 		head.  They're my friends.  I've 		got to help them.				YODA		You must not go!				LUKE		But Han and Leia will die if I 		don't.				BEN'S VOICE		You don't know that.Luke looks toward the voice in amazement.  Ben has materialized as a real, slightly shimmering image near Yoda.  The power of his presence stops Luke.				BEN		Even Yoda cannot see their fate.				LUKE		But I can help them!  I feel 		the Force!				BEN		But you cannot control it.  This 		is a dangerous time for you, 		when you will be tempted by the 		dark side of the Force.				YODA		Yes, yes.  To Obi-Wan you listen.		The cave.  Remember your failure 		at the cave!				LUKE		But I've learned so much since 		then.  Master Yoda, I promise to 		return and finish what I've begun. 		You have my word.				BEN		It is you and your abilities the 		Emperor wants.  that is why your 		friends are made to suffer.				LUKE		And that is why I have to go.				BEN		Luke, I don't want to lose you to 		the Emperor the way I lost Vader.				LUKE		You won't.				YODA		Stopped they must be.  On this 		all depends.  Only a fully trained 		Jedi Knight with the Force as his 		ally will conquer Vader and his 		Emperor.  If you end your training 		now, if you choose the quick and 		easy path, as Vader did, you will 		become an agent of evil.				BEN		Patience.				LUKE		And sacrifice Han and Leia?				YODA		If you honor what they fight for		... yes!Luke is in great anguish.  He struggles with the dilemma, a battle raging in his mind.				BEN		If you choose to face Vader, you 		will do it alone.  I cannot 		interfere.				LUKE		I understand.			(he moves to his 			 X-wing)		Artoo, fire up the converters.Artoo whistles a happy reply.				BEN		Luke, don't give in to hate - 		that leads to the dark side.Luke nods and climbs into his ship.				YODA		Strong is Vader.  Mind what you 		have learned.  Save you it can.				LUKE		I will.  And I'll return.  I promise.Artoo closes the cockpit.  Ben and Yoda stand watching as the roar of the engines and the wind engulf them.				YODA			(sighs)		Told you, I did.  Reckless is 		he.  Now matters are worse.				BEN		That boy is our last hope.				YODA			(looks up)		No.  There is another.EXT. SPACE - PLANET DAGOBAHLuke's tiny X-wing rockets away from the green planet of Dagobah and off into space.INT. CLOUD CITY - LIVING QUARTERS - DAYWithin the quarters assigned her on Cloud City, Leia paces in agitation.  She has changed from her cold-weather pants and jacket to a lovely dress.  Her hair is down, tied back with ribbons.  She moves from a large, open window and turns to see Han entering through the doorway.				HAN		The ship is almost finished.		Two or Three more things and 		we're in great shape.				LEIA		The sooner the better.  Something's 		wrong here.  No one has seen or 		knows anything about Threepio.		He's been gone too long to have 		gotten lost.Han takes Leia by the shoulders and gently kisses her forehead.				HAN		Relax.  I'll talk to Lando and 		see what I can find out.				LEIA		I don't trust Lando.				HAN		Well, I don't trust him, either.		But he is my friend.  Besides, 		we'll soon be gone.				LEIA		And then you're as good as gone, 		aren't you?Not speaking, Han considers her words and gazes at her troubled face.INT. CLOUD CITY - JUNK ROOMThe room is piled high with broken and discarded machine parts.  Four Ugnaughts, small hoglike creatures, separate the junk and throw some pieces onto a conveyer belt which moves briskly toward a pit of molten metal.  Pieces of Threepio's golden body move down the belt.  Chewie enters the room and spots an Ugnaught picking up and inspecting Threepio's head.  The Wookiee barks a command, startling the Ugnaught, then reaches to grab the head.  But the Ugnaught tosses it away from him to another Ugnaught.  This game of keep-away goes on until Threepio's head falls from their grip and bounces with a clang onto the ground.INT. CLOUD CITY - LIVING QUARTERS - DAYThe door zaps open.  Chewbacca walks in, carrying a packing case of Threepio, arms and legs hanging over the edge.				LEIA		What happened?Chewie sets the case on a table, grunting and groaning an explanation.				HAN		Where?  Found him in a junk pile?				LEIA		Oh, what a mess.  Chewie, do you 		think you can repair him?The giant Wookiee studies the array of robot parts.  He looks at the princess and shrugs sadly.				HAN		Lando's got people who can fix 		him.				LEIA		No, thanks.There is a buzz and the door slides open, revealing Lando.				LANDO		I'm sorry.  Am I interrupting 		anything?				LEIA		Not really.				LANDO		You look absolutely beautiful.		You truly belong here with us 		among the clouds.				LEIA			(coolly)		Thank you.				LANDO		Will you join me for a little 		refreshment?Han looks at Lando suspiciously, but Chewie barks at the mention of food and licks his lips.				LANDO		Everyone's invited, of course.Leia takes Lando's proffered arm, and the group turns to go.  Lando spots Threepio's remains.				LANDO		Having trouble with you droid?Han and Leia exchange a quick glance.				HAN		No.  No problem.  Why?Han and Leia move arm-in-arm through the door, followed by Lando and Chewie.  The door slides closed behind them.INT. CLOUD CITY - CORRIDOR - DAYLeia walks between Han and Lando as Chewie follows a short distance behind.  Long shafts of light pour across the corridor between tall, pure-white columns.				LANDO		So you see, since we're a small 		operation, we don't fall into 		the... uh... jurisdiction of the 		Empire.				LEIA		So you're part of the mining 		guild then?				LANDO		No, not actually.  Our operation 		is small enough not to be noticed... 		which is advantageous for everybody 		since our customers are anxious 		to avoid attracting attention to 		themselves.The group walks into another corridor and heads for a huge doorway at the far end.				HAN		Aren't you afraid the Empire's 		going to find out about this 		little operation and shut you down?				LANDO		That's always been a danger looming 		like a shadow over everything we've 		built here.  But things have 		developed that will insure security.		I've just made a deal that will 		keep the Empire out of here forever.INT. CLOUD CITY - DINING ROOMThe mighty doors to the dining room slide open and the group enters the dining room.  At the far end of a huge banquet table sits Darth Vader.  Standing at his side and slightly behind him is Boba Fett, the bounty hunter.Faster than the wink of an eye, Han draws his blaster and pops off a couple of shots directly at Vader.  The Dark Lord quickly raises his hand, deflecting the bolts into one of the side walls, where they explode harmlessly.  Just as quickly, Han's weapon zips into Vader's hand.  The evil presence calmly places the gun on the table in front of him.				VADER		We would be honored if you would 		join us.Han gives Lando a mean look.				LANDO		I had no choice.  They arrived right before you did.  I'm sorry.						HAN		I'm sorry, too.EXT.  LUKE'S X-WING - BESPIN SYSTEMLuke's X-wing races through thick clouds toward Cloud City.INT.  LUKE'S X-WING - COCKPITLuke is grim-faced as he pilots his course toward Bespin's shining city.  Artoo's beeps and whistles are transmitted onto the scope.				LUKE			(into comlink)		No, Threepio's with them.Artoo whistles another worried inquiry.				LUKE			(into comlink)		Just hang on.  We're almost there.INT. CLOUD CITY - LARGE CELLChewbacca is in a Cloud City prison cell.  The stark room is flooded with hot light.  To add to Chewie's misery, a high-pitched whistle screeches loudly.  Chewie is going mad.  He hits the wall with giant fists as he paces back and forth across the cell floor.  The upper lights go off abruptly.  The prisoner rubs his eyes and moves to a wall, where he listens for a moment.  Then, moaning to himself, he moves to a platform where the disassembled pieces of Threepio lie.  He picks up the golden droid's head and meditates on it for a moment, barking a few philosophical remarks.  Chewie sticks the robot's head on its torso and starts adjusting wires and circuits.Suddenly, the lights in Threepio's eyes spark to life as Chewie touches two connectors together.  Threepio immediately begins to speak, but his voice is so slow and so low as to be nearly unintelligible.				THREEPIO		Mmmm.  Oh, my.  Uh, I, uh - Take 		this off!  I, uh, don't mean to 		intrude here.  I, don't, no, no, 		no... Please don't get up.  No!Chewie looks at Threepio in bewilderment, then scratches his furry head.  He gets an idea and adjusts some connections, whereupon Threepio immediately begins speaking normally.				THREEPIO		Stormtroopers?  Here?  We're in 		danger.  I must tell the others.		Oh, no!  I've been shot!INT. CLOUD CITY - PRISON ENTRY AREADarth Vader strides through the room as two stormtroopers prepare an elaborate torture mechanism.  Han is strapped to a rack which tilts forward onto the torture device.  Vader activates the mechanism, creating two bursts of sparks, one of which strikes Han's face.The door opens, and Vader leaves the torture room just as Han screams a sharp, piercing cry of agony.  Darth Vader moves to the holding chamber, where Lando and Boba Fett await him.INT. CLOUD CITY - HOLDING CHAMBER				LANDO		Lord Vader.				VADER			(to Fett)		You may take Captain Solo to 		Jabba the Hut after I have 		Skywalker.Han's screams filter through the torture room door.				BOBA FETT		He's no good to me dead.				VADER		He will not be permanently damaged.				LANDO		Lord Vader, what about Leia and 		the Wookiee?				VADER		They must never again leave this 		city.				LANDO		That was never a condition of our 		agreement, nor was giving Han to 		this bounty hunter!				VADER		Perhaps you think you're being 		treated unfairly.				LANDO		No.				VADER		Good.  It would be unfortunate if 		I had to leave a garrison here.Vader turns and sweeps into the elevator with Boba Fett.  Lando walks swiftly down another corridor, muttering to himself.				LANDO		This deal's getting worse all 		the time.INT. CLOUD CITY - LARGE CELLChewie now has a little more of Threepio back together.  One arm is connected, but the legs are yet to be attached.  There is one small problem, however.  It seems the Wookiee has managed to put the droid's head on backwards.				THREEPIO		Oh, yes, that's very good.  I like 		that.  Oh!  Something's not right 		because now I can't see.  Wait.  		Wait!  Oh, my!  what have you done?  		I'm backwards, you stupid furball.  		Only an overgrown mophead like you 		would be stupid enough...Threepio is cut off in mid-sentence as Chewie angrily deactivates a circuit and the droid shuts down.  The Wookiee smells something and sits up.  The door to the chamber slides open and a ragged Han Solo is shoved into the room by two stormtroopers.  Barking his concern, the huge Wookiee gives Han a big hug.  Han is very pale, with dark circles under his eyes.				HAN		I feel terrible.Chewie helps Han to a platform and then turns as the door slides open revealing Leia.  She, too, looks a little worse for wear.  The troopers push her into the cell, and the door slides closed.  She moves to Han, who is lying on the platform, and kneels next to him, gently stroking his head.				LEIA		Why are they doing this?				HAN		They never even asked me any 		questions.The cell door slides open.  Lando and two of his guards enter.				LEIA		Lando.				HAN		Get out of here, Lando!				LANDO		Shut up and listen!  Vader has 		agreed to turn Leia and Chewie 		over to me.				HAN		Over to you?				LANDO		They'll have to stay here, but at 		least they'll be safe.				LEIA		What about Han?				LANDO		Vader's giving him to the bounty 		hunter.				LEIA		Vader wants us all dead.				LANDO		He doesn't want you at all.  He's 		after somebody called Skywalker.				HAN		Luke?				LANDO		Lord Vader has set a trap for him.Leia's mind is racing.				LEIA		And we're the bait.				LANDO		Well, he's on his way.Han's rage peaks.				HAN		Perfect.  You fixed us all pretty 		good, didn't you?			(spits it out)		My friend!Han hauls off and punches Lando.  The two friends are instantly engaged in a frantic close-quarters fight.  The guards hit Han with their rifle butts and he flies across the room.  Chewie growls and starts for the guards.  They point their laser weapons at the giant Wookiee, but Lando stops them.				LANDO		Stop!  I've done all I can.  I'm 		sorry I couldn't do better, but 		I have my own problems.				HAN		Yeah, you're a real hero.Lando and the guards leave.  Han wipes the blood from his chin as Leia and Chewie help him up.				LEIA			(dabs at his wound)		You certainly have a way with 		people.INT. CLOUD CITY - CARBON-FREEZING CHAMBERFour armor-suited stormtroopers stand at the ready in the large chamber, which is filled with pipes and chemical tanks.  In the middle of the room is a round pit housing a hydraulic platform.  Darth Vader and Lando stand near the platform.				VADER		This facility is crude, but it 		should be adequate to freeze 		Skywalker for his journey to the 		Emperor.An Imperial soldier appears.				IMPERIAL SOLDIER		Lord Vader, ship approaching.		X-wing class.				VADER		Good.  Monitor Skywalker and allow 		him to land.The soldier bows and leaves the chamber.				LANDO		Lord Vader, we only use this 		facility for carbon freezing.  If 		you put him in there, it might 		kill him.				VADER		I do not want the Emperor's prize 		damaged.  We will test it... on 		Captain Solo.Lando's face registers dismay.EXT. SPACE - BESPIN SYSTEM -  LUKE'S X-WINGLuke's X-wing moves through the clouds as it nears the city.INT.  LUKE'S X-WING - COCKPITEncountering no city guards, Luke scans the display panel with concern.INT. CLOUD CITY - CARBON-FREEZING CHAMBERThere is a great activity on the carbon-freezing platform.  Six Ugnaughts frantically prepare the chamber for use.  A special coffinlike container is put in place.  With Boba Fett in the lead, a squad of six stormtroopers brings in Han, Leia and Chewie.  Strapped to Chewie's back, with only his head, torso, and one arm assembled, is Threepio.  Threepio's head faces the opposite direction from Chewie's and the droid is constantly twisting around in a vain effort to see what is happening.  His one attached arm is animate and expressive, intermittently pointing, gesturing, and covering his eyes.  The remaining pieces of his body are randomly bundled to the Wookiee's back so that his legs and other arm stick out at odd angles from the pack.				THREEPIO		If only you had attached my legs, 		I wouldn't be in this ridiculous 		position.  Now, remember, Chewbacca, 		you have a responsibility to me, 		so don't do anything foolish.				HAN			(to Lando)		What's going on... buddy?				LANDO		You're being put into carbon freeze.Boba Fett moves away from the group to Darth Vader.				BOBA FETT		What if he doesn't survive?  He's 		worth a lot to me.				VADER		The Empire will compensate you 		if he dies.  Put him in!Realizing what is about to happen, Chewie lets out a wild howl and attacks the stormtroopers surrounding Han.  Within seconds, other Imperial reinforcements join the scuffle, clubbing the giant Wookiee with their laser weapons.From the instant of Chewie's first move, Threepio begins to scream in panic while he tries to protect himself with his one arm.				THREEPIO		Oh, no!  No, no, no!  Stop, 		Chewbacca, stop...!The stormtroopers are about to bash Chewie in the face.				HAN		Stop, Chewie, stop!  Do you hear 		me?  Stop!				THREEPIO		Yes, stop, please!  I'm not ready 		to die.Han breaks away from his captors.  Vader nods to the guards to let him go and the pirate breaks up the fight.				HAN		Chewie!  Chewie, this won't help 		me.  Hey!Han gives the Wookiee a stern look.				HAN		Save your strength.  There'll be 		another time.  The princess - you 		have to take care of her.  You 		hear me?Han winks at the Wookiee, who wails a doleful farewell.In a flash the guards have slipped binders on Chewbacca, who is too distraught to protest.  Han turns to Princess Leia.  They look sorrowfully at one another, then Han moves toward her and gives her a final, passionate kiss.				LEIA		I love you!				HAN		I know.Tears roll down Leia's face as she watches the dashing pirate walk to the hydraulic platform.  Han looks one final time at his friends - and then, suddenly, the platform drops.  Chewie howls.  Leia turns away in agony.Lando winces in sorrow; it makes a life-changing impression on him.Instantly, fiery liquid begins to pour down in a shower of sparks and fluid as great as any steel furnace.  Holding Leia, Chewie half-turns away from the sight, giving Threepio a view of the procedure.				THREEPIO		What... what's going on?  Turn 		round, Chewbacca, I can't see.  		Oh... they've encased him in 		carbonite.  He should be quite 		well-protected - if he survives 		the freezing process, that is.Chewie is in no mood for technical discussion; he gives the droid an angry glance and bark.A huge mechanical tong lifts the steaming metal-encased space pirate out of the vat and stands him on the platform.  Some Ugnaughts rush over and push the block over onto the platform.  They slide the coffinlike structure to the block and lift the metal block, placing it inside.  They then attach an electronic box onto the structure and step away.  Lando kneels and adjusts some knobs, measuring the heat.  He shakes his head in relief.				VADER		Well, Calrissian, did he survive?				LANDO		Yes, he's alive.  And in perfect 		hibernation.Vader turns to Boba Fett.				VADER		He's all yours bounty hunter.		Reset the chamber for Skywalker.				IMPERIAL OFFICER		Skywalker has just landed, my 		lord.				VADER		Good.  See to it that he finds 		his way here.  Calrissian, take 		the princess and the Wookiee to 		my ship.				LANDO		You said they'd be left in the 		city under my supervision.				VADER		I am altering the deal.  Pray I 		don't alter it any further.Lando's hand instinctively goes to his throat as he turns to Leia, Chewie, and Threepio.INT. CLOUD CITY - CORRIDOR - DAYAs Luke and Artoo move carefully down a deserted corridor, they hear a group of people coming down a side hallway.  Artoo lets out an excited series of beeps and whistles.  Luke glares at the tiny droid, who stops in his tracks with a feeble squeak.Boba Fett enters from a side hallway followed by two guards pushing the floating, encased body of Han Solo.  Two stormtroopers, who follow, immediately spot Luke and open fire on him.  The youth draws his weapon and blasts the two troopers before they can get off a second shot.  The two guards whisk Han into another hallway as Fett lowers his arm and fires a deadly laser at Luke, which explodes to one side and tears up a huge chunk of wall.Luke rushes to a side hallway, but by the time he reaches it, Fett, Han, and the guards are gone.  A think metal door blocks the passage.  Luke turns to see Leia, Chewie, Threepio, and Lando being herded down a second hallway by several other stormtroopers.  Leia turns just in time to see Luke.				LEIA		Luke!  Luke, don't - it's a 		trap!  It's a trap!Before she can finish, she is pulled through a doorway and disappears from sight.  Luke races after the group, leaving little Artoo trailing behind.INT. CLOUD CITY - ANTEROOMLuke runs into an anteroom and stops to get his bearings.  Leia and the others are nowhere to be seen.  Behind Luke, Artoo scoots down the corridor toward the anteroom when suddenly a giant metal door comes slamming down, cutting off Luke's exit.  Several more doors clang shut, echoing through the chamber.INT. CLOUD CITY - HALLWAY LEADING TO ANTEROOMArtoo stands with his nose pressed against the giant metal door.  He whistles a long sigh of relief and, a little dazed, wanders off in the other direction.INT. CLOUD CITY - CARBON-FREEZING CHAMBER - ANTEROOMLuke cautiously walks forward among hissing pipes and steam.  Seeing an opening above him, he stops to look up.  As he does, the platform he stands on begins to move.INT. CLOUD CITY - CARBON-FREEZING CHAMBERLuke rises into the chamber, borne by the platform.  The room is deathly quiet.  Very little steam escapes the pipes and no one else seems to be in the large room.  Warily, Luke walks toward the stairway.Steam begins to build up in the chamber.  Looking up through the steam, Luke sees a dark figure standing on a walkway above him.  Luke holsters his gun and moves up the stairs to face Vader.  He feels confident, eager to engage his enemy.				VADER		The Force is with you, young 		Skywalker.  But you are not a 		Jedi yet.Luke ignites his sword in answer.  In an instant, Vader's own sword is lit.  Luke lunges, but Vader repels the blow.  Again Luke attacks, and the swords of the two combatants clash in battle.INT. CLOUD CITY - CORRIDORLeia, Lando, and Chewie, with Threepio on his back, march along, guarded by six stormtroopers.  The group reaches an intersection where Lobot and a dozen of Lando's guards stand at attention.The guards immediately aim their weapons at the startled stormtroopers.  Taking the stormtroopers' weapons from them, Lobot hands one to Leia and one to Lando.				LANDO		Well done.  Hold them in the 		security tower - and keep it 		quiet.  Move.As Lando's guards quickly march the stormtroopers away, Lando begins to undo Chewie's binding.				LEIA		What do you think you're doing?				LANDO		We're getting out of here.				THREEPIO		I knew all along it had to be a 		mistake.Chewie turns on Lando and starts to choke him.				LEIA		Do you think that after what you 		did to Han we're going to trust 		you?Lando tries to free himself from Chewie.				LANDO			(choking)		I had no choice...Chewie barks ferociously.				THREEPIO			(to Chewie)		What are you doing?  Trust him, 		trust him!				LEIA		Oh, so we understand, don't we, 		Chewie?  He had no choice.				LANDO		I'm just trying to help...				LEIA		We don't need any of your help.				LANDO			(choking)		H-a-a-a...				LEIA		What?				THREEPIO		It sounds like Han.				LANDO		There's still a chance to save 		Han... I mean, at the East 		Platform...				LEIA		Chewie.Chewie finally releases Lando, who fights to get his breath back.				THREEPIO			(to Lando)		I'm terribly sorry about all this. 		After all, he's only a Wookiee.EXT. CLOUD CITY - EAST LANDING PLATFORM - BOBA FETT'S SHIPThe two guards slide Han's encased body into an opening in the side of the bounty hunter's ship.  Boba Fett climb aboard on a ladder next to the cargo hold.				BOBA FETT		Put Captain Solo in the cargo 		hold.And with that, the door slams shut.INT. CLOUD CITY - CORRIDORLando, Leia, and Chewie run down a Cloud City corridor when suddenly they spot Artoo who rushes toward them, beeping wildly.				THREEPIO		Artoo!  Artoo!  Where have you 		been?Chewie turns around to see the stubby droid, causing Threepio to be spun out of sight of his friend.				THREEPIO		Turn around, you wooly...! 			(to Artoo)		Hurry, hurry!  We're trying to 		save Han from the bounty hunter!Whistling frantically to Threepio, Artoo scoots along with the racing group.				THREEPIO		Well, at least your still in 		one piece!  Look what happened to 		me!EXT. EAST LANDING PLATFORM - SIDE BAYAn elevator door slides open and Lando, Leia, and Chewbacca race for a large bay overlooking the East Landing Platform.Just as they arrive, Boba Fett's ship takes off against a cloudy sunset sky.  In wild anguish, Chewie howls and starts firing at the ship.				THREEPIO		Oh, no!  Chewie, they're behind 		you!A laser bolt explodes near the princess.  Everyone turns to see what Threepio has already spotted coming from the other direction; a squad of stormtroopers running toward them.  Artoo peeks out from the elevator.Leia and Chewbacca start firing at the troopers as Lando makes a break for the elevator.  Laser bolts continue to explode around the princess and the Wookiee, but they refuse to budge.  Lando sticks his head out of the elevator and motions for the pair to run, but they barely notice.  They seem possessed, transported, as all the frustration of captivity and anger of loss pour through their death-dealing weapons.But after a few moments, they begin to move through the rain of laser fire toward the elevator.  Once they are inside, the door slams shut and the stormtroopers race forward.INT. CLOUD CITY - CARBON-FREEZING CHAMBERLuke and Vader are locked in combat on the platform overlooking the chamber.  Their swords clash, the platform sways.  Luke aggressively drives Vader back, forcing Vader to use defensive tactics.				VADER		You have learned much, young one.				LUKE		You'll find I'm full of surprises.Vader makes two quick moves, hooking Luke's sword out of his hand and sending it flying.  Another lightning move at Luke's feet forces the youth to jump back to protect himself.  Losing his balance, Luke rolls down the stairs to the circular carbon-freezing platform.  There he sprawls on the floor, surprised and shaken.  Just in time he looks up to see Vader, like a giant black bird, flying right at him.  Luke rolls away as Vader lands.  Crouching, Luke keeps his gaze steadily on his enemy.				VADER		Your destiny lies with me, 		Skywalker.  Obi-Wan knew this to 		be true.				LUKE		No!Behind Luke the hydraulic elevator cover has opened noiselessly.  All the while, Luke slowly, cautiously moves back, away from the Dark Lord.Suddenly, Vader attacks so forcefully that Luke loses his balance and falls back into the opening.  There is a rumble, and in an instant freezing steam rises to obscure Vader's vision.   Vader turns aside and deactivates his sword.				VADER		All to easy.  Perhaps you are not 		as strong as the Emperor thought.Through the steam behind Vader something blurs upward.  Liquid metal begins to pour into the pit.Vader turns around - and then looks up.  He sees Luke, who has leaped fifteen feet straight up and who now hangs from some hoses on the carbonite outlet.				VADER		Impressive... most impressive.Luke jumps down to the platform where he is separated from Vader by the steaming carbonite pit.  He raises his hand.  His sword, which had fallen on another part of the platform, swiftly jumps into his outstretched hand and is instantly ignited.  Vader immediately lights his sword as well.				VADER		Obi-Wan has taught you well.  You 		have controlled your fear... now 		release your anger.Luke is more cautious, controlling his anger.  He begins to retreat as Vader goads him on.  As Luke takes a defensive position, he realizes he has been foolhardy.  A quick sword exchange and Luke forces Vader back.  Another exchange and Vader retreats.  Luke presses forward.				VADER		Only your hatred can destroy me.Breathing hard, Luke jumps in the air, turning a somersault over Vader.  He lands on the floor and slashes at Vader as the room continues to fill up with steam.Vader retreats before Luke's skillful sword.  Vader blocks the sword, but looses his balance and falls into the outer rim of pipes.  The energy Luke has used to stop Vader has brought him to the point of collapse.  Luke moves to the edge and looks down, but sees no sign of Vader.  He then deactivates his sword, hooks it on his belt, and lowers himself into the pit.INT. CLOUD CITY - TUNNEL AND REACTOR CONTROL ROOMMoving through a tunnellike entrance, Luke cautiously approaches the reactor room.  He ignites his sword and moves into the room and toward a large window as Vader enters.Luke raises his sword and moves forward to attack.Behind Luke a large piece of machinery detaches itself from the wall and comes smashing forward toward his back.  Luke turns and cuts it in half just as another machine comes hurtling at him.  Using the Force, Luke manages to deflect it and send it flying as if it had hit an invisible shield.A large pipe detaches and comes flying at Luke.  He deflects it.  Sparking wires pull out of the wall and begin to whip at the youth.  Small tools and equipment come flying at him.  Bombardment from all sides, Luke does his best to deflect everything, but soon he is bloodied and bruised.  Finally, one machine glances off his and goes flying out the large window.  A fierce wind blows into the room, unmoving, stands the dark, rocklike figure of Vader.A piece of machinery hits Luke and he is knocked out of the window.INT. GANTRY - OUTSIDE CONTROL ROOM - REACTOR SHAFTLuke falls onto the gantry, rolls, and hangs over the edge, holding his deactivated sword in hand.  He puts the sword on his belt and begins to scramble up.INT. CLOUD CITY - CORRIDOR LEADING TO LANDING PLATFORMLeia, Lando, Chewie and the droids come round a corner and head for the door to the landing platform.  They glimpse the Millennium Falcon for a moment before the door slams shut.  The group ducks into an alcove as stormtroopers arrive at the end of the corridor.  The troopers send a rain of laser bolts at the group.  Chewie returns their fire as Lando punches desperately at the door's control panel.				LANDO		The security codes has been changed!				THREEPIO		Artoo, you can tell the computer 		to override the security system.Threepio points to a computer socket on the control panel.  Artoo beeps and scoots toward it.  Lando meanwhile has connected up to the panel's intercom.				LANDO		Attention!  This is Lando		Calrissian.  The Empire has takes 		control of the city.  I advise 		everyone to leave before more 		Imperial troops arrive.Artoo takes off a computer cover and sticks his computer arm into the socket.  Suddenly, a short beep turns into a wild scream.  Artoo's circuits light up, his head spins wildly, and smoke begins to seep out underneath him.  Quickly, Chewie pulls him away.				LANDO		This way.Lando, Leia, Artoo, and Chewie flee down the corridor.  As he scoots along with them, Artoo sends some angry beeps Threepio's way.				THREEPIO		Don't blame me.  I'm an interpreter. 		I'm not supposed to know a power 		socket from a computer terminal.INT. CLOUD CITY - CORRIDORIn a panic, Cloud City residents are trying to get out of the city.  Some carry boxes, others packages.  They run, then change direction.  Some are shooting at stormtroopers, others simply try to hide.Other stormtroopers pursue Lando, Leia, and Chewie who are firing back at them.  Artoo works on another door to the landing platform while Threepio berates him for his seeming ineptitude.				THREEPIO		What are you talking about?  We're 		not interested in the hyperdrive 		on the Millennium Falcon.  It's 		fixed!  Just open the door, you 		stupid lump.Chewie, Leia, and Lando retreat along the corridor.  A triumphant beep from Artoo - and the door snaps open.				THREEPIO			(to Artoo)		I never doubted you for a second.		Wonderful!Artoo lays a cloud fog, obscuring everything, as the group dashes outside.EXT. LANDING PLATFORM - CLOUD CITY - DUSKThey race for the Millennium Falcon as a battalion of stormtroopers reaches the main door.  Lando and Leia hold off the troops as the droids get on board with Chewie.  As Chewie bounds to the ship the Threepio on his back, Threepio hits his head on the top of the ramp.				THREEPIO		Ouch!  Oh!  Ah!  That hurt.  Bend 		down, you thoughtless... Ow!Chewie starts up the ship.  The giant engines begin to whine as Lando and Leia race up the ramp under a hail of laser fire.				LANDO		Leia!  Go!INT. MILLENNIUM FALCON - CORRIDORArtoo drags the partially assembled Threepio down the corridor of the Falcon.				THREEPIO		I thought that hairy beast would 		be the end of me.  Of course, I've 		looked better.Artoo beeps understandingly.INT. MILLENNIUM FALCON - COCKPITChewie works the controls as Leia sits in Han's seat and Lando watches over their shoulders.  As Chewie pulls back on the throttle, the ship begins to move.EXT. CLOUD CITY - LANDING PLATFORM - DUSKThe Millennium Falcon lifts gracefully into the twilight sky and roars away from the city.  Troops fire after it and TIE fighters take off in pursuit.INT. GANTRY - OUTSIDE CONTROL ROOM - REACTOR SHAFTLuke moves along the railing and up to the control room.Vader lunges at him and Luke immediately raises his lit sword to meet Vader's.  Sparks fly as they duel, Vader gradually forcing Luke backward toward the gantry.				VADER		You are beaten.  It is useless 		to resist.  Don't let yourself 		be destroyed as Obi-Wan did.Luke answers by rolling sideways and thrusting his sword at Vader so viciously that he nicks Vader on the shoulder.  The black armor sparks and smokes and Vader seems to be hurt, but immediately recovers.Luke backs off along the narrow end of the gantry as Vader comes at him, slashing at the young Jedi with his sword.  Luke makes a quick move around the instrument complex attached to the end of the gantry.  Vader's sword comes slashing down, cutting the complex loose; it begins to fall, then is caught by the rising wind and blown upward.Luke glances at the instrument complex floating away.  At that instant, Vader's sword comes down across Luke's right forearm, cutting off his hand and sending his sword flying.  In great pain, Luke squeezes his forearm under his left armpit and moves back along the gantry to its extreme end.  Vaderfollows.  The wind subsides.  Luke holds on.  There is nowhere else to go.  				VADER		There is no escape.  Don't make 		me destroy you.  You do not yet 		realize your importance.  You 		have only begun to discover your 		power.  Join me and I will complete 		your training.  With our combined 		strength, we can end this destructive 		conflict and bring order to the 		galaxy.				LUKE		I'll never join you!				VADER		If you only knew the power of the 		dark side.  Obi-Wan never told 		you what happened to your father.				LUKE		He told me enough!  It was you 		who killed him.				VADER		No.  I am your father.Shocked, Luke looks at Vader in utter disbelief.				LUKE		No.  No.  That's not true!  		That's impossible!				VADER		Search your feelings.  You know 		it to be true.				LUKE		No!  No!  No!				VADER		Luke.  You can destroy the Emperor.		He has foreseen this.  It is your 		destiny.  Join me, and together 		we can rule the galaxy as father 		and son.  Come with me.  It is the 		only way.Vader puts away his sword and holds his hand out to Luke.A calm comes over Luke, and he makes a decision.  In the next instant he steps off the gantry platform into space.  The Dark Lord looks over the platform and sees Luke falling far below.  The wind begins to blow at Vader's cape and the torrent finally forces him back, away from the edge.  The wind soon fades and the wounded Jedi begins to drop fast, unable to grab onto anything to break his fall.INT. REACTOR SHAFTSuddenly Luke is sucked into an exhaust pipe in the side of the shaft.  When Vader sees this, he turns and hurries off the platform.INT. EXHAUST PIPELuke tumbles through the exhaust pipe.He slides to the end of the slickly polished pipe and stops as his feet hit a circular grill and knock it open.  Luke claws at the surface of the pipe, trying to keep from sliding out into space.EXT. BOTTOM OF CLOUD CITY - WEATHER VANE - DUSKUnable to hang onto the pipe, Luke tumbles out, emerging at the undermost part of Cloud City.  Reaching out desperately, he manages to grab onto on electronic weather vane.				LUKE		Ben... Ben, please!Luke tries to pull himself up on the weather vane but slips back down.  He hooks one of his legs around the fragile instruments.  All the while, a powerful current of air rushes out at him from the exhaust pipe.				LUKE		Ben.  Leia!There is an ominous cracking sound from the base of theweather vane and a piece breaks off, falling into the clouds far below.				LUKE		Hear me!  Leia!INT. MILLENNIUM FALCON - COCKPITLeia seems to be lost in a fog, her expression troubled.  Chewie is busy operating the ship.  Lando stands next to the Wookiee, watching a readout on the control panel.				LEIA		Luke... We've got to go back.Chewie growls in surprise.				LANDO		What?				LEIA		I know where Luke is.				LANDO		But what about those fighter?Chewie barks in agreement with Lando.				LEIA		Chewie, just do it.				LANDO		But what about Vader?Chewie turns on Lando, the newcomer, with an ominous growl.				LANDO		All right, all right, all right.EXT. CLOUD CITY - MILLENNIUM FALCON - DUSKThe Falcon makes a graceful banking turn back toward Cloud City.EXT. CLOUD CITY - LANDING PLATFORMVader enters the landing platform and watches as the speck that is the Falcon disappears.  The wind blows at his cape.He turns to two aides who are standing near the entrance to the landing platform.				VADER		Bring my shuttle.EXT. BOTTOM OF CLOUD CITY - WEATHER VANENearly unconscious, Luke hangs upside-down on the weather vane as his body shifts in the wind.EXT. MILLENNIUM FALCON - BOTTOM OF CLOUD CITYThe Falcon dives to the underside of the floating city.  Three TIE fighter close in on the starship.INT. MILLENNIUM FALCONLeia tries to remain calm.				LANDO			(pointing out the 			 cockpit window)		Look, someone's up there.				LEIA		It's Luke.  Chewie, slow down.		Slow down and we'll get under him.		Lando, open the top hatch.Lando rushes out of the cockpit.EXT. BOTTOM OF CLOUD CITY - WEATHER VANELuke hangs by one arm from the crossbar of the weather vane.  He slips from the bar and grabs onto the pole of the vane as the Falcon banks toward him.  The Falcon positions itself under Luke as Lando moves up through the opening of the hatch.  Luke begins to slide and finally falls from the vane into space.INT. MILLENNIUM FALCON - COCKPITOut the cockpit window, Leia sees Luke falling from the bottom of the city.  The ship gains on him.				LEIA		Okay.  Easy, Chewie.The Falcon closes in on Luke.EXT. BOTTOM OF CLOUD CITYThree TIE fighters race toward the Falcon, firing away.INT. MILLENNIUM FALCON - HATCHThe hatch pops open with a hiss of pressure.  Lando reaches out to help the battered warrior inside the ship.INT. MILLENNIUM FALCON - COCKPITFlak bursts all around it as the Falcon banks away from the city.  Leia and Chewie struggle with the controls.				LEIA			(into intercom)		Lando?				LANDO			(over intercom)		Okay, let's go.EXT. BOTTOM OF CLOUD CITYThe Falcon races away.  It is closely followed by three TIE fighters, all of which keep up a heavy laser assault on the fleeing starship.INT. MILLENNIUM FALCON - COCKPITExplosions erupt all around the cockpit, buffeting the ship wildly.  Chewie howls as he frantically tries to control the ship.Leia and Chewie turns to see Luke, bloody and battered, enter the cockpit supported by Lando.  Leia jumps up and hugs him while Chewie barks in joyous relief.				LUKE		Oh, Leia.				LANDO		All right, Chewie.  Let's go.Leia helps Luke from the cockpit as another huge blast rocks the ship.EXT. SPACE - CLOUD CITY - DAYThe Falcon, still followed by the three TIE fighters, races away from the cloud-covered city.INT. MILLENNIUM FALCON - SLEEPING QUARTERSLuke rests on a cot, his injured arm wrapped in a protective cuff.  Leia gently wipes his face.  The ship lurches again.				LEIA		I'll be back.She kisses him, then leaves the quarters.INT. MILLENNIUM FALCON - COCKPITAll over the ship muted alarm buzzers sound.  Lando anxiously watches the flashing lights on the control panel and hurriedly adjusts some switches.  Seated next to him, Chewie points out a new blip appearing on the panel.  Leia, watching over their shoulders, recognizes the shape.				LEIA		Star Destroyer.				LANDO		All right, Chewie.  Ready for 		light-speed.				LEIA		If your people fixed the 		hyperdrive.Another explosion rocks the ship.  Leia notices as a green light on the panel next to her flashes on.				LEIA		All the coordinates are set.		It's now or never.Chewie barks in agreement.				LANDO		Punch it!The Wookiee shrugs and pulls back on the light-speed throttle.  The sound of the ion engine changes...it is winding up.  Faces are tense, expectant.  But nothing happens, and the engine goes off.  Chewie lets out a frustrated howl.  The flak still violently rocks the ship.				LANDO		They told me they fixed it.  I 		trusted them to fix it.  It's not 		my fault!Chewie gets up from his chair and starts out of the cockpit.  He gives Lando and angry shove as he storms past him.EXT. SPACEIn the distance the TIE fighters continue their chase, still shooting lasers.  Vader's Star Destroyer moves behind them, determinedly following the Falcon.INT. VADER'S STAR DESTROYER - BRIDGEVader stands on the bridge looking out the window as Admiral Piett approaches him.				PIETT		They'll be in range of our 		tractor beam in moments, my lord.				VADER		Did your men deactivate the 		hyperdrive on the Millennium 		Falcon?				PIETT		Yes, my lord.				VADER		Good.  Prepare the boarding party 		and set your weapons for stun.				PIETT		Yes, my lord.INT. MILLENNIUM FALCONBeeping while he works, Artoo is busy connecting some wires to Threepio who now has one leg attached. Chewie enters through the doorway, grunting to himself.				THREEPIO		Noisy brute.  Why don't we just 		go into light-speed?Artoo beeps in response.				THREEPIO		We can't?  How would you know the 		hyperdrive is deactivated?Artoo whistles knowingly.				THREEPIO		The city's central computer told 		you?  Artoo-Detoo, you know better 		than to trust a strange computer.		Ouch!  Pay attention to what 		you're doing!Chewie is in the pit.  He is trying to loosen something with an enormous wrench.  Frustrated, he uses the wrench like a club and hits the panel...INT. MILLENNIUM FALCON - COCKPITLeia and Lando, seated in front of the control panel, are suddenly sprayed by a shower of sparks.INT. VADER'S STAR DESTROYER - BRIDGEVader stands on the bridge, watching as the Millennium Falcon is chased by the TIE fighters.  As his Destroyer draws nearer, Vader's breathing gets slightly faster.				VADER		Luke.INT. MILLENNIUM FALCON - SLEEPING QUARTERSLuke realizes that Vader's ship is very near.  He feels resigned to his fate.  He senses that he is beaten, more emotionally than physically.				LUKE		Father.INT. VADER'S STAR DESTROYER - BRIDGE				VADER		Son, come with me.INT. MILLENNIUM FALCON - SLEEPING QUARTERS				LUKE			(moaning)		Ben, why didn't you tell me?INT. MILLENNIUM FALCON - COCKPITLando and Leia are at the controls of the Falcon.  Meanwhile, in the ship's hold, Chewie continues to work frantically on the hyperdrive mechanism.				LANDO			(into intercom)		Chewie!EXT. SPACEThe Falcon races through space followed very closely by the TIE fighters and the huge Imperial Star Destroyer.INT. MILLENNIUM FALCON - COCKPITLuke enters the cockpit and looks out the window.  He is almost unconscious with pain and depression.				LUKE		It's Vader.INT. VADER'S STAR DESTROYER - BRIDGE				VADER		Luke... it is your destiny.INT. MILLENNIUM FALCON - COCKPIT				LUKE		Ben, why didn't you tell me?INT. VADER'S STAR DESTROYER - BRIDGE				PIETT		Alert all commands.  Ready for 		the tractor beam.INT. MILLENNIUM FALCON - HOLDArtoo races to a control panel and starts working on a circuit board.  Furious, Threepio stands on one leg, yelling.				THREEPIO		Artoo, come back at once!  You 		haven't finished with me yet!		You don't know how to fix the 		hyperdrive.  Chewbacca can do 		it.  I'm standing here in pieces, 		and you're having delusions of 		grandeur!Artoo moves a circuit on a control panel.  Suddenly, the control panel lights up.INT. MILLENNIUM FALCON - COCKPITLeia and Lando are thrown into their seats as the Millennium Falcon unexpectedly shoot into hyperspace.INT. MILLENNIUM FALCON - HOLDThe ship tilts up and Artoo topples into the pit on top of Chewie.				THREEPIO		Oh, you did it!EXT. SPACEThe Falcon soars into infinity and away from the huge Star Destroyer which seems, by contrast, to stand still.INT. VADER'S STAR DESTROYER - BRIDGEAdmiral Piett and another captain glance at Vader in terror.  Vader turns slowly and walks off the bridge, his hands held behind his back in a contemplative gesture.EXT. SPACE - REBEL CRUISERThe Millennium Falcon is attached to a huge Rebel cruiser by a docking tube.  Rebel fighters move about the giant cruiser, and a Rebel transport ship hovers near the fleet.INT. MILLENNIUM FALCON - COCKPITLando sits in the pilot's seat as he talks into the comlink.  Chewie busily throws a variety of switches in preparation for takeoff.				LANDO			(into comlink)		Luke, we're ready for takeoff.				LUKE			(over comlink)		Good luck, Lando				LANDO			(into comlink)		When we find Jabba the Hut and 		that bounty hunter, we'll contact 		you.INT. STAR CRUISER - MEDICAL CENTERLuke speaking into the comlink as a medical droid works on his hand.  Leia stands near him while Threepio and Artoo look out the window.				LUKE			(into comlink)		I'll meet you at the rendezvous 		point on Tatooine.INT. MILLENNIUM FALCON - COCKPIT				LANDO			(into comlink)		Princess, we'll find Han.  I 		promise.INT. STAR CRUISER - MEDICAL CENTER				LUKE			(into comlink)		Chewie, I'll be waiting for your 		signal.Chewie's wail comes over the comlink.				LUKE			(into comlink)		Take care, you two.  May the 		Force be with you.Luke looks down at his hand.  A metalized type of bandage has been wrapped around his wrist.  The medical droid makes some adjustments in a tiny electronic unit, then pricks each one of Luke's fingers.				LUKE		Ow!Luke wriggles his fingers, makes a fist, and relaxes it.  His hand is completely functional.He gets up and walks over to Leia.  There is a new bond between them, a new understanding.  Leia is thinking about Han; Luke is thinking about his uncertain and newly complicated future.  Together they stand at the large window of the medical center looking out on the Rebel Star Cruiser and a dense, luminous galaxy swirling in space.Luke puts his arm around Leia.  The droids stand next to them, and Threepio moves closer to Artoo putting his arm on him.  The group watches as the Millennium Falcon moves into view, makes a turn, and zooms away into space.EXT. SPACE - REBEL STAR CRUISERWhile Luke, Leia, and the droids stand, looking out the window of the star cruiser, two escort fighters join the large ship.  Slowly, the cruiser turns and moves away into space.								DISSOLVE TO EXT. GALAXY - SPACEEND CREDITS FADE IN AND OUT OVER BACKGROUND				THE END
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+                                STAR WARS: THE FORCE AWAKENS                                                                                         Written by                                               Lawrence Kasdan, J.J. Abrams & Michael Arndt                                                                      Based on characters created by George Lucas                                                                                     A long time ago in a galaxy far, far away...                                                                                          STAR WARS                                        EPISODE VII                                    THE FORCE AWAKENS           Luke Skywalker has vanished. In his absence,           the sinister FIRST ORDER has risen from the           ashes of the Empire and will not rest until           Skywalker, the last Jedi, has been destroyed.           With the support of the REPUBLIC, General           Leia Organa leads a brave RESISTANCE. She is           desperate to find her brother Luke and gain           his help in restoring peace and justice to           the galaxy.           Leia has sent her most daring pilot on a secret           mission to Jakku, where an old ally has           discovered a clue to Luke's whereabouts....          PAN across the star field to a bright moon. A RUMBLING is          FELT. A VAST STAR DESTROYER -- unlike any we have seen --          HURTLES PAST US, of seemingly endless length, eclipsing the          moon. After a long beat, FOUR TRANSPORT SHIPS fly from a          hangar. We HOLD ON THEM NOW, as they fly off toward a distant          planet. Jakku. MUSIC BUILDS AND WE...          CUT TO BLACK.          A GROWING ROAR of MEAN ENGINES -- gnarled RADIO CALLS, the          SHUDDERING of a ship's hull. Then FLASHES OF LIGHT: for an          instant we see a STORMTROOPER -- then BLACKNESS. Then ANOTHER          STORMTROOPER, then it's gone.          The FLICKERING CONTINUES until the LIGHTS ARE CONSTANT. We                         ARE IN:          INT. TROOP TRANSPORT VEHICLE - NIGHT          TWENTY STORMTROOPERS. Holding on at attention, moving to          the ship's rhythm, in the tense moments before a raid. A          FILTERED COMMAND and they LOCK AND LOAD their heavy blaster          rifles. The BRUTAL NOISE is replaced by SUDDEN, SHOCKING                         QUIET:          EXT. JAKKU VILLAGE - NIGHT          WIDE SHOT of a small, peaceful village. Distant sounds of          native animals. A single wind chime.          Suddenly a DROID RISES INTO FRAME, CLOSE: ROUND and SKITTERY,          orange and white, this is BB-8.          Focuses on something past camera. He BEEPS -- FAST, MORSE          CODE-LIKE SOUNDS, clearly worried. Moves EVEN CLOSER TO          CAMERA -- is MORE worried -- BEEPS more -- then TURNS AND          ROLLS OFF FAST --          INT. LARGE HUT - NIGHT          CLOSE ON A HAND: a small LEATHER SACK is placed in the palm.          The hand closes. Another OLDER HAND covers it.          In a primitive HUT, an old explorer, LOR SAN TEKKA, (rugged,          kind) has handed the mysterious sack to POE DAMERON (32, in          a pilot's jacket). Poe has charisma, a natural spark:           LOR SAN TEKKA           This will begin to make things right.           I've traveled too far, and seen too           much, to ignore the despair in the           galaxy. Without the Jedi, there can           be no balance in the Force.                          POE           Well, because of you now we have a           chance. The General's been after           this for a long time.           LOR SAN TEKKA           "The General." To me, she's royalty.           Well, she certainly is that.                          POE          BB-8 ENTERS FRANTIC, BEEPS. Concerned, Poe turns to Lor San          Tekka.                          POE (CONT'D)           We've got company.          EXT. LARGE HUT - NIGHT          The men exit fast. Poe moves TO CAMERA, raises QUADNOCULARS.          POE'S POV: LIGHTS on the horizon -- approaching ENEMY SHIPS.          POE lowers the quadnocs -- PUSH IN ON HIS UNNERVED EYES. A          GROWING, FRIGHTENING THUNDER.                          POE           You have to hide.           LOR SAN TEKKA           You have to leave. Go!          Poe turns to him. Conflicted. Finally nods, hurries off.          BB-8 follows.          EXT. JAKKU VILLAGE - NIGHT          TRACK FAST with Poe as he and BB-8 hurry through the village,          various ARMED VILLAGERS taking position, prepared to defend.          EXT. JAKKU VILLAGE - NIGHT          A ROAR of WIND and DUST: the TRANSPORTS LAND. Stormtroopers          come out FIRING BLASTERS -- the VILLAGERS FIRE BACK -- many          are HIT!          EXT. RISE ADJACENT TO VILLAGE - NIGHT          Poe runs to an X-WING fighter, parked at a distance from the          village, hidden behind a ROCK OUTCROPPING.                          POE           Come on, BB-8! Hurry!          Poe sends BB-8 into the droid socket / co-pilot seat -- he          moves to the cockpit -- the CONTROLS COME TO LIFE. As the          CANOPY CLOSES, Poe shoots a quick look back: the ENEMY ARRIVES          IN THE DISTANCE.          Poe urgently works the controls -- BB-8 BEEPS.          The X-WING LANDING LIGHTS COME ON, ENGINES WHINE TO LIFE!          But just then:          Poe's ship is suddenly HIT BY BLASTERFIRE! Poe turns to          look: two STORMTROOPERS CHARGE HIS WAY, FIRING!                          POE (CONT'D)           I see 'em!          BB-8 BEEPS nervously as Poe GRABS HIS CONTROLS and FIRES AT          THEM, using the X-wing's drop-down antipersonnel blaster!          The two Troopers are BLOWN AWAY in the large BLAST HITS!          Poe tries to start the ship now, but the ENGINES SPUTTER.          Concerned, he opens his canopy, jumps down, moves to the          back of his ship: BAD DAMAGE ON THE REAR ENGINE PANEL.          They're in trouble.          EXT. JAKKU VILLAGE - NIGHT          Lor San Tekka moves sadly through the village as STORMTROOPERS          wielding FLAME THROWERS destroy structures. Surrendering          Villagers are ROUNDED UP. Penned ANIMALS panic.          EXT. RISE ADJACENT TO THE VILLAGE - NIGHT          Back at the X-wing, Poe kneels beneath his ship, pulls from          the leather sack a SMALL, OLD ARTIFACT which he inserts into          BB-8 -- the droid's MULTI-READER ENVELOPS it.                          POE           You take this. It's safer with you           than it is with me. You get as far           away from here as you can. Do you           hear me?           (BB-8 BEEPS, hesitates)           I'll come back for you! It will be           alright.                                                            BB-8 watches Poe run off. BEEP-WHINES nervously, then turns          and heads off. Turns back once to look at Poe, then ROLLS          AWAY. Poe uses his blaster rifle to fire at incoming troopers          from cover.          EXT. JAKKU VILLAGE - NIGHT          The Troopers and villagers in battle -- as one Trooper is          HIT and goes down. Another -- OUR TROOPER -- KNEELS to help.          The hit trooper raises a torn, bloody glove -- his HUMAN          HAND visible -- and MARKS OUR STORMTROOPER'S MASK WITH BLOOD          just before he dies. Our Trooper, stands -- overwhelmed by          the battle.          AN IMPOSING SHUTTLE CRAFT -- VERTICAL WINGSPAN 90 FEET TALL --          LANDS NEAR THE TRANSPORT VEHICLES.          The shuttle craft door OPENS -- through the wind and smoke,          KYLO REN exits the ship: a TALL, DARK FIGURE, he strides          through the chaos toward San Tekka.          A senior Trooper moves to our blood-marked Trooper, and orders                         HIM:                          SENIOR TROOPER           Stay here.          Our Trooper nods.          Kylo Ren stops before the outraged Lor San Tekka, dwarfing          him. Only now does it become apparent that Kylo Ren wears a          DARK MASK, marked by battle. Inset metal lines reflect FIRE.                          KYLO REN           Look how old you've become.           LOR SAN TEKKA           Something far worse has happened to           you.          Our blood-marked TROOPER is placed in line with other          stormtroopers.                          KYLO REN           You know what I've come for.                                                                            (CONTINUED)          CONTINUED: LOR SAN TEKKA           I know where you come from. Before           you called yourself Kylo Ren.                          KYLO REN           The map to Skywalker. We know you've           found it, and now you're going to           give it to the First Order.          Adjacent to the village, Poe enters frame -- sees the Ren/San          Tekka exchange continue.           LOR SAN TEKKA           The First Order rose from the dark           side... you did not.                          KYLO REN           I'll show you the dark side.           LOR SAN TEKKA           You may try, but you cannot deny the           truth that is your family.          Suddenly Kylo Ren raises his LIGHTSABER -- IGNITES IT --          PERPENDICULAR SMALLER BLADES AT THE HILT, A UNIQUE BUZZ --          YELLOW/RED ENERGY, SPITTING SPARKS AND SMOKE --                          KYLO REN           You're so right.          And as he RIPS IT DOWN ACROSS SAN TEKKA!          Poe, RUNNING, SEES THIS AND YELLS, AIMS HIS BLASTER AND FIRES          AT KYLO REN! Instantly:          Kylo Ren RAISES HIS HAND -- POE'S BLAST FREEZES -- THE BOLT          OF ENERGY STRAINING AND VIBRATING IN MID AIR!          Kylo Ren sees Poe, who suddenly CANNOT MOVE, but strains to.          He is grabbed by Stormtroopers who drag him past the          VIBRATING, FROZEN BLAST, to Kylo Ren.          A Stormtrooper begins a brutal PAT DOWN. Kylo Ren moves          closer. Poe just glares. The Stormtrooper KICKS OUT Poe's          legs -- he lands hard on his knees.          Kylo Ren kneels to look at Poe.                          POE           So who talks first? You talk first?                          KYLO REN           The old man gave it to you.                          POE                          (INDICATES KYLO'S                          MASK)           It's just very hard to understand           you with all the...                                                                                                     (CONTINUED)                         CONTINUED:                          KYLO REN                          (TO TROOPERS)           Search him.                          POE           ... Apparatus.          The Troopers roughly pull Poe away. A Stormtrooper begins a          brutal PAT DOWN. Kylo Ren moves closer.          Poe just glares as the pat down ends.                          STORMTROOPER #1           Nothing, sir.                          KYLO REN           Put him on board.          Kylo Ren regards the Stormtroopers with the rounded up          Villagers, then turns to the CHROME-SKINNED, FEMALE BLACK-          CAPED HEAD STORMTROOPER, CAPTAIN PHASMA.                          CAPTAIN PHASMA           Sir, the villagers.                          KYLO REN           Kill them all.          Phasma nods, steps forward:                          CAPTAIN PHASMA           On my command!          The Troopers, including OURS, aim at the Villagers.           CAPTAIN PHASMA (CONT'D)           Fire!          Poe is roughly PULLED into a transport ship, the ramp LIFTS.          All around our Trooper BLASTERFIRE ERUPTS -- but we're WIDE          ENOUGH to see he ISN'T FIRING. PUSH IN until the FIRING          STOPS. All the Stormtroopers SPREAD OUT TO SEARCH -- except          ours.          Kylo Ren heads back toward his ship. But then he STOPS.          Feels something. TURNS AND LOOKS AT OUR STORMTROOPER for a          LONG MOMENT. Our Trooper can barely meet his gaze; knows          he's doomed.          Kylo Ren then heads off -- passes the FROZEN BLAST, which,          after a beat, GOES FREE AND SLAMS INTO A NEARBY STRUCTURE,          scaring the hell out of our Stormtrooper.          EXT. EDGE OF JAKKU VILLAGE - NIGHT          A Stormtrooper climbs down from the cockpit of Poe's X-wing,                         BACKS AWAY:                                                                            (CONTINUED)                         CONTINUED:                          STORMTROOPER #2           Nothing here. Go ahead!          Three other Stormtroopers FIRE LASER CANNONS at the X-wing --          destroying the ship in a LARGE EXPLOSION.          EXT. OUTSKIRTS OF JAKKU VILLAGE - NIGHT          BB-8 rolls across the sand, looks back: the X-wing FIREBALL.          BB-8, afraid, continues on his own in a mysterious, dark          desert. We see a FORM -- an animal, its RED EYES LIFTING          from the sand, watching the rolling droid, who just keeps          going.          In a WIDE SHOT, we HEAR HIM BEEPING to himself, lonely and          frightened.          EXT. SPACE - NIGHT          With the SANDY PLANET OF JAKKU as backdrop, Troop Transports          and Kylo Ren's Shuttle approach a massive STAR DESTROYER.          INT. STAR DESTROYER HANGAR - NIGHT          Poe, shackled, is ushered from the transport through the          hangar. He is awed by the imposing space.                          POE           All right. All right!          Our Stormtrooper passes, moves fast:          INT. TROOP TRANSPORT VEHICLE - NIGHT          Our Stormtrooper enters the dark, vehicle. He removes his          helmet. His head comes up and we PUSH IN ON HIS FACE FOR          THE FIRST TIME. This is FN-2187. He is 23, likable. But          in this moment, terrified, desperate.          After a beat, behind him, CAPTAIN PHASMA enters. FN-2187          knows he's in trouble.                          CAPTAIN PHASMA           FN-2187. Submit your blaster for           inspection.                          FN-2187           Yes, Captain.                          CAPTAIN PHASMA           And who gave you permission to remove           that helmet?                          FN-2187           I'm sorry, Captain.                          CAPTAIN PHASMA           Report to my division at once.                                                                            (CONTINUED)                         CONTINUED:          Phasma heads off. Shattered, FN-2187 replaces his helmet.                          CUT TO:          INT. JUNKED VESSEL CORRIDOR - DAY          A metal sheet is pulled open to reveal the wrapped up face          of A SCAVENGER, perhaps alien, in GOGGLES, FACE MASK and          GLOVES. Backpack with a STAFF strapped to it. Uses TOOLS          to remove various MECHANISMS from inside the wall. We are          in an upside-down, canted CORRIDOR. The Scavenger finds a          valuable piece, drops it in a SATCHEL.          Swings the bag back and begins CLIMBING DOWN on a cable,          between treacherous WALLS OF MACHINERY, headed to:          INT. JUNKED VESSEL - LARGER SPACE - LATER          Alone and tiny in this massive, sideways wreck, the Scavenger          descends, climbing down a two-hundred foot-long cable. LANDS          HARD onto rusty metal.          INT. JUNKED VESSEL - ENGINES - DAY          The Scavenger carries the satchel and another large, found          piece, over enormous pipes in the vast space, heads through          the dust toward a distant SLIT OF SUNLIGHT.          EXT. JUNKED VESSEL ENGINE - DAY          The Scavenger arrives from the darkness and pulls off goggles          and gear, revealing the grimy face of a beautiful, young          WOMAN. This is REY, 19.          She opens her canteen, shakes out the two final drops into          her mouth. HITS THE SIDE of the canteen again and again for          whatever she can get. CUT WIDE:          Rey is rendered minuscule, standing at the bottom of an EPIC          ENGINE OF A DECAYING, CRASHED STAR DESTROYER -- DISTANT SOUND          of her canteen-hitting. She sets her things on a piece of          sheet metal and sits next to it, sliding down the sand dune.          She RIDES DOWN THE MOUNTAIN OF SAND. WE HOLD FOR A LONG          TIME, looking down, as she recedes from us, toward the distant          SALT FLATS below. Random SCATTERED DEBRIS. Her SPEEDER,          tiny from here.          Rey moves to her junker SPEEDER, jumps on, fires the sputtery          engine and DRIVES OFF.          EXT. DESERT - SPACESHIP GRAVEYARD - DAY          Rey races along the desert floor: a GRAVEYARD OF CRASHED          SPACESHIPS.          EXT. NIIMA OUTPOST - DAY          Rey's speeder PASSES us, heading for a dusty, desert town.          Refueling, small trade, scavengers.                                                   (CONTINUED)                         CONTINUED:          CRASH! Rey's sack carrying her heavy FOUND OBJECTS hits the          sand. Working like a tough seaman, Rey hauls the sack from          her speeder toward the town.          EXT. NIIMA OUTPOST - CLEANING TABLE - DAY          TIGHT ON REY'S HANDS as she SCRUBS CLEAN her day's salvage.          Rey glances up: she looks at an old woman, also cleaning          some salvage.          Rey watches her, gets lost in the simple moment. A small,          passing alien UNDERLING barks something to her in another          language. She returns to work.          INT. NIIMA TRADING STRUCTURE - DAY          Rey looks up to a SERVICE WINDOW: two feet above her, behind          a protective screen, is her boss, UNKAR PLUTT (50, blobfish,          unclean). He examines her pieces. Then he offers:                          UNKAR           What you've brought me today is           worth... Hmmm... One quarter           portion.          Though disappointed, Rey barely shows it. She nods thanks.          Unkar pushes through his transfer drawer a SEALED PACKET:          DRIED GREEN MEAT in one section, BEIGE POWDER in another.          She takes it.          She swallows her resentment and heads off.          EXT. NIIMA OUTPOST - DAY          The IMMENSE SETTING SUN against the FLAT TERRAIN. Rey's          SPEEDER races, almost insignificant, across frame.          INT. REY'S DWELLING - DAY          She SCRATCHES MARKS into the rusty wall. Another MARK;          another DAY. And there are THOUSANDS of marks.          A SIZZLING SOUND over: A DRIED DESERT FLOWER in a rusty ENGINE          PIECE. A rough, stuffed HANDMADE DOLL, made from what looks          like orange Rebellion flight suit material and twine.          Rey's lonely, ramshackle dwelling. Everything reclaimed.          She cooks for one. Does everything for one. She opens the          POWDER, moves to the makeshift WOK, where the GREEN MEAT          SIZZLES. Pours the powder into milky WATER in a tin. Stirs          it. It GROWS INTO A LOAF as she puts the meat on an old          plate. Grabs the loaf.          EXT. REY'S DWELLING - DUSK          Rey sits, eats like a starving child. Every last drop.          Licks the metal plate. Looks out at the horizon. A single          silent ship heads off, a shimmering, thin contrail. She          wipes her mouth. Picks up an old, broken REBELLION HELMET.                                                   (CONTINUED)          CONTINUED: just 'cause.          Puts it on,          WIDE SHOT of Rey sitting, alone and isolated, on the leg of          an ANCIENT, FALLEN AT-AT in which she lives.          Then, a distant ELECTRONIC SQUEAL -- instantly she's up,          helmet too big, she rips it off. Hears ANOTHER BEEPING          SQUEAL. She hurries to her QUARTERSTAFF and runs off.          Rey climbs a dune. RISE WITH HER, revealing BB-8, caught in          a NET but fighting back, being held by a TEEDO (a small,          brutish desert tyrant), who rides a LUGGABEAST. The teedo          YELLS at BB-8, who BEEPS madly, struggling to free himself.          Rey watches this injustice for a beat, finally YELLING OUT:                          REY           Tal'ama parqual!          The Teedo and BB-8 STOP, GO SILENT, turn to her.                          REY (CONT'D)           Parqual zatana!          A half beat and the Teedo YELLS SOMETHING BACK, threatening.          BB-8's head swivels to him, then back to Rey, like watching          a tennis match.          Rey angrily moves to them, pulling a knife from her pouch.          Rey starts CUTTING BB-8 out of the netting. The Teedo freaks          out, YELLING. Rey suddenly stands, turns to the Teedo and          says, fiercely:                          REY (CONT'D)           NOMA.          The Teedo barks a sort of "AHHHHH!" (As if to say, "GO TO          HELL!"), Then heads off on his beast. This prompts BB-8 to          start BEEP-YELLING at the departing bully, provocatively.                          REY (CONT'D)           Shhhh.          BB-8 quiets instantly. The two watch the Teedo head off.          Finally, BB-8 BEEPS a question. She KNEELS to him.                          REY (CONT'D)           That's just Teedo. Wants you for           parts. He has no respect for anyone.           Your antenna's bent.           (considers BB-8 for           the first time,                          STRAIGHTENS THE                          ANTENNA)           Where do you come from?                          (BB-8 BEEPS)           Classified. Really? Me too. Big           secret.           (points to horizon)           Niima Outpost is that way, stay off           Kelvin Ridge.                          (MORE)                                                   (CONTINUED)                         CONTINUED:                          REY (CONT'D)           Keep away from the Sinking Fields in           the north, you'll drown in the sand.           (stands, heads off)                                   BB-8 starts after her, BEEPS. She turns sharply, he stops.                                                                            REY (CONT'D)           Don't follow me. Town is that way.           (he BEEPS again)           No!          She heads off again. Finally he BEEPS to her -- something          SWEET this time. That he is alone, scared, has no one else.          This makes her stop. She turns and looks at him. Not liking          him. But a gesture of her head says, reluctantly, "Come          on." BB-8 quickly moves to her. They head off together.                          REY (CONT'D)           In the morning, you go.                          (HE BEEPS)           You're welcome.          The two disappear behind a dune.          EXT. STAR DESTROYER - DAY          Three TIE fighters head to the massive ship high above Jakku.          INT. STAR DESTROYER HOLDING CELL - DAY          POE, shackled to a chair, BEATEN, wakes up.                          KYLO REN           I had no idea we had the best pilot           in the Resistance on board.           Comfortable?          Through battered lips:                          POE           Not really.                          KYLO REN           I'm impressed. No one has been able           to get out of you what you did with           the map.                          POE           Might wanna rethink your technique.          Kylo Ren says nothing, reaches out to him. Poe flinches in          the chair as Kylo Ren reaches for his face, not touching          him. Poe is soon in agony, remains in horrible silence --                          KYLO REN           Where is it?                                                                            (CONTINUED)                         CONTINUED:                          POE           The Resistance will not be intimidated           by you.                          KYLO REN           Where... is it?          Poe can't take it -- he BEGINS TO SCREAM and we CUT TO:          INT. STAR DESTROYER CORRIDOR - DAY          WHOOOSH! The cell door SLIDES UP. Kylo Ren exits, fierce,          confronts GENERAL HUX (34, scary) who awaits him:                          KYLO REN           It's in a droid. A BB unit.                          GENERAL HUX           Well then. If it's on Jakku, we'll           soon have it.                          KYLO REN           I leave that to you.          EXT. NIIMA OUTPOST - DAY          BB-8 is dropped to the sand.                          REY           Don't give up. He still might show           up. Whoever it is you're waiting           for. Classified. I know all about           waiting.          BB-8 BEEPTALKS a question.                          REY (CONT'D)           For my family. They'll be back.           One day. Come on.          She tries to force a smile, but can't, really. She heads          off. BB-8 BEEPS... then heads after her.          INT. NIIMA TRADING STRUCTURE - DAY          Rey stands with BB-8 in front of Unkar Plutt, at his window.          He reviews her goods. He glances quickly at BB-8.                          UNKAR           These five pieces are worth... Let           me see here... One half portion.                          REY                          (OBJECTS)           Last week they were a half portion           each.          She hates him. He leans forward.                                                                            (CONTINUED)                         CONTINUED:                          UNKAR           What about the droid?                          REY           What about him?                          UNKAR           I'll pay for him.          BB-8 doesn't like this at all. Rey is awkward, but curious.                          UNKAR (CONT'D)           Sixty portions.          CLOSE ON HER. Stunned. Literally hungry for this amount of          food, her stomach practically rumbles.          BB-8 sees her interest and BEEPS furiously, not liking this          conversation at all.          She looks at Unkar. Looks down at BB-8. Considers it all.          Finally, she hears herself say:                          REY           Actually... the droid's not for sale.                          (TO BB-8)           Come on.          Unkar furious. Rey, then BB-8, head out. Recovering, Unkar          watches her go with dark eyes. He picks up a communicator:                          UNKAR           Follow the girl and get that droid.          He SLAMS the service window door SHUT.          INT. STAR DESTROYER HOLDING CELL - DAY          The cell door WHOOSHES OPEN -- a STORMTROOPER enters. Poe          remains shackled, worse for wear. A TROOPER GUARD here.                          STORMTROOPER           Ren wants the prisoner.          TIGHT ON POE, in pain, drained, as the Guard unshackles him.          INT. STAR DESTROYER CORRIDOR - DAY          An exhausted, handcuffed Poe is walked down the corridor by          the Stormtrooper, who holds a blaster at Poe's body.                          STORMTROOPER           Turn here.          Poe turns into a narrow passageway --          INT. STAR DESTROYER NARROW PASSAGEWAY - DAY          Heading down the narrow hall the Stormtrooper stops Poe.                                                   (CONTINUED)                         CONTINUED:                          STORMTROOPER           Listen carefully: you do exactly as           I say, I can get you out of here.                          POE                          (COMING TO)           If -- what--?          The Stormtrooper pulls off his helmet: IT IS FN-2187.                          FN-2187           This is a rescue, I'm helping you           escape. Can you fly a TIE fighter?                          POE           You with the Resistance--?!                          FN-2187           What?                          (THAT'S CRAZY)           No no no! I'm breaking you out.           Can you fly a TIE fighter?                          POE           I can fly anything. Why, why are           you helping me?                          FN-2187           Because it's the right thing to do.                          POE           (it hits him)           You need a pilot.                          FN-2187           I need a pilot.          And Poe, seeing this is for real, smiles a hero's smile.                          POE           We're gonna do this.                          FN-2187           (unsure but hopeful)           ... Yeah?          INT. STAR DESTROYER HANGAR - DAY          WIDE SHOT ESTABLISHING the hangar. Find FN-2187, again          masked, walking with Poe. By all appearances he's escorting          a prisoner. A group of OFFICERS passes in the opposite          direction.                          FN-2187           Okay, stay calm, stay calm.                          POE           I am calm.                                                                            (CONTINUED)                         CONTINUED:                          FN-2187           I'm talking to myself.                          (BEAT)           Not yet. Okay, go. This way.          FN-2187 walks quickly toward the far wall -- Poe follows --          up the stairs to a two-man SPECIAL FORCES TIE FIGHTER --          INT. TIE FIGHTER - DAY          FN-2187 and Poe (wincing, sore) drop into the back-to-back          cockpit. FN-2187 pulls off his helmet as Poe removes his          cuffs and jacket, fires up the ship with excitement.                          POE           I always wanted to fly one of these           things. Can ya shoot?                          FN-2187           Blasters, I can!                          POE           Okay, same principal! Use the toggle           on the left to switch between           missiles, cannons, and mag pulse --           use the site on the right to aim,           triggers to fire!                          FN-2187           This is very complicated          FWOOOOOOM! The TIE FIGHTER LURCHES FORWARD --                          POE           I can fix this.          INT. HANGAR SIX CONTROL ROOM - DAY          WIDE: see the ship STRUGGLE TO RISE, CABLES connected to it --          PULL BACK FAST to REVEAL we're inside the main control room.           STAR DESTROYER TECHNICIAN           We have an unsanctioned departure           from bay two.          WHIP TO a FIRST ORDER COLONEL, who responds:           FIRST ORDER COLONEL           Alert General Hux and stop that           fighter.          INT. STAR DESTROYER HANGAR - DAY          The TIE Fighter LIFTS OFF from the bay, rips CHARGING cables!          Stormtroopers UNPACK and aim MEGABLASTERS.          INT. TIE FIGHTER - DAY          FN-2187 opens fire.          INT. STAR DESTROYER HANGAR - DAY          FN-2187 TEARS UP PARKED TIE FIGHTERS and GUN EMPLACEMENTS          WITH WELL-AIMED, STRATEGIC LASER BLASTS! Hits the CONTROL          ROOM!          INT. HANGAR SIX CONTROL ROOM - DAY          THE WINDOWS ARE BLOWN IN BY LASER BLASTS!          INT. TIE FIGHTER COCKPIT - DAY                          POE           I got it!          EXT. STAR DESTROYER - DAY          The TIE Fighter blasts from the ship --          INT. TIE FIGHTER - DAY          Poe pilots -- amazed, almost enjoying it.                          POE           Woooahhh! This thing really moves.           All right, we gotta take out as many           cannons as we can or we're not gonna           get very far!                          FN-2187           All right!                          POE           I'm gonna get us in position, just           stay sharp!          EXT. STAR DESTROYER - DAY          The TIE Fighter ARCS BACK, DIVES THROUGH THE OPENING BETWEEN          THE LEVELS OF THE MASSIVE SHIP, then FLIES DOWN AND BACK,          along the ship's belly --          INT. TIE FIGHTER - DAY          Poe flies toward the CANONS --                          POE           Up ahead! Up ahead! You see it?           I've got us dead centered. It's a           clean shot.                          FN-2187           Okay, got it.          FN-2187 gets a target, FIRES!          EXT. STAR DESTROYER - DAY          LASERS BLAST from the TIE Fighter -- A SERIES OF CANNONS          EXPLODE! Our TIE Fighter SLICES THROUGH the debris!          INT. TIE FIGHTER - DAY          FN-2187 YELLS in celebration:                          FN-2187           YES! You see that?! DID YOU SEE           THAT?                          POE           I saw it! Hey, what's your name?                          FN-2187           FN-2187!          Poe reacts, this tells him volumes about FN-2187's history.                          POE           FN-whaa?                          FN-2187           That's the only name they ever gave           me!                          POE           Well I ain't using it! FN, huh?           Finn. I'm gonna call you Finn!           That all right?          Even in the madness, Finn can't suppress his smile.                          FINN           "Finn." Yeah, "Finn", I like that!           I like that!                          POE           I'm Poe. Poe Dameron.                          FINN           Good to meet you, Poe!                          POE           Good to meet you too, Finn!          INT. STAR DESTROYER MAIN BRIDGE - DAY          General Hux looks over the shoulder of LIEUTENANT MITAKA, at          a console.                          LIEUTENANT MITAKA           Sir, they've taken out our turbolasers--                          GENERAL HUX           Use the ventral cannons.                                                                            (CONTINUED)                         CONTINUED:                          LIEUTENANT MITAKA           Yes, sir. Bringing them online --           KYLO REN (O.S.)           General Hux. Is it the Resistance           pilot?          Hux turns: Kylo Ren enters fast, looms large, angry.                          GENERAL HUX           Yes, and he had help.                          (VEXED)           From one of our own.          PUSH IN ON REN as Hux says:           GENERAL HUX (CONT'D)           We're checking the registers now to           identify which Stormtrooper it was.                          KYLO REN           ... The one from the village. FN-           2187.          Hux is unnerved that Ren knows -- he chalks it up to Ren's          Force ability. Kylo Ren heads off.                          LIEUTENANT MITAKA           Sir. Ventral cannons hot.                          GENERAL HUX           Fire.          EXT. STAR DESTROYER - DAY          Massive WARHEAD LAUNCHERS SPIN and FIRE BLASTS toward the          TIE fighter, which flies EVASIVE MANEUVERS -- most blasts          hit the DEBRIS from the TURBOLASER DESTRUCTION.          The TIE fighter then PULLS A BIG TURN, BACK TOWARD JAKKU,          THE SANDY PLANET WHERE POE LEFT BB-8.          INT. TIE FIGHTER - DAY                          POE           One's coming towards you. My right,           your left. Do you see it?                          FINN           Hold on! I see it!                          POE           Nice shot.          Finn looks up suddenly in alarm --                          FINN           Where are you going?                                                                            (CONTINUED)                         CONTINUED:                          POE           We're going back to Jakku. That's           where.                          FINN           No no no! We can't go back to Jakku!           We need to get outta this system!          NEAR-MISS LASER BLASTS as Poe pilots aggressively.                          POE           I got to get to my droid before the           First Order does!                          FINN           What - a droid?!                          POE           That's right. He's a BB unit! Orange           and white: one of a kind.                          FINN           I don't care what color he is! No           droid can be that important!                          POE           This one is, pal.                          FINN           We need to get as far away from the           First Order as we can! We go back           to Jakku, we die!                          POE           That droid's got a map that leads           straight to Luke Skywalker!                          FINN           Oh, you gotta be kidding me!!! I--          Suddenly BAM! THEY ARE HIT!          EXT. TIE FIGHTER - DAY          The TIE FIGHTER SPARKS AND SMOKES, SPIRALING out of control          toward the surface of Jakku!          INT. STAR DESTROYER MAIN BRIDGE - DAY          Captain Phasma and General Hux stand before a holographic          projection detailing FN-2187's service records.                          CAPTAIN PHASMA           FN-2187 reported to my division, was           evaluated and sent to Reconditioning.                          GENERAL HUX           No prior signs of non-conformity?                                                                            (CONTINUED)                         CONTINUED:                          CAPTAIN PHASMA           This was his first offense.          A technician checks her readings, reports to General Hux.                          TECHNICIAN #1           General. They've been hit.                          GENERAL HUX           Destroyed?                          TECHNICIAN #1                          (GETTING READINGS)           Disabled. They were headed back to           Jakku -- the fighter's projected to           crash in the Goazon badlands.                          GENERAL HUX           They were going back for the droid --           send a squad to the wreckage.          EXT. JAKKU DESERT - DAY          TIGHT ON FINN'S FACE: His EYES OPEN. He goes from unconscious          to terrified, fast. He sits up, looks around. CUT BACK          WIDE: he sits in the middle of an EPIC DESERT, DUNES FOREVER.          A BLACK CHUTE blows in the wind behind him, scattered debris.          Then he sees, over distant dunes, RISING BLACK SMOKE. He          gets up -- moves toward it, calling out:                          FINN           Poe! Poe!          Finn scrambles over the massive dune to the TIE FIGHTER,          SMOKING AND ON FIRE, small debris around it. He thinks he          sees POE'S ARM -- he pulls on it, but it's JUST POE'S JACKET.          He throws that off and tries to find a way in -- even a way          to LOOK INSIDE, but the smoke and heat make it impossible.                          FINN (CONT'D)           Poe!!! POE!          Suddenly the ship BEGINS TO SINK -- like it's being CONSUMED          INTO QUICKSAND -- Finn is slipping in too --                          FINN (CONT'D)           POE!!! POE!!!          It becomes clear fast: if Finn doesn't get away, he's gonna          get sucked in too! So Finn scampers away from the TIE FIGHTER          as it SINKS INTO THE SAND! We're in the Sinking Fields. A          few moments and IT'S GONE.          Finn's out of breath. Horrified. Then A GIANT EXPLOSION          ERUPTS FROM below, SENDING SAND AND DEBRIS EVERYWHERE!          Finn sees this, disoriented, scared, exhausted and defeated.          And all alone.          EXT. DESERT - DAY          ENDLESS DUNES BEHIND HIM, Finn walks, removing pieces of his          Stormtrooper gear, using Poe's FLIGHT JACKET for shade.          EXT. DESERT - DAY          Exhausted, Finn continues his trek across the endless, sandy          nothingness.          EXT. DESERT - DAY          Finn, parched and losing hope, he walks to the edge of a          massive dune, looks out into the epic valley below. Miles          ahead: NIIMA OUTPOST.          INT. STAR DESTROYER - BRIDGE - DAY          General Hux and Kylo Ren walk the length of the bridge.                          GENERAL HUX           Supreme Leader Snoke was explicit.           Capture the droid if we can, but           destroy it if we must.                          KYLO REN           How capable are your soldiers,           General?                          GENERAL HUX                          (WITH VITRIOL)           I won't have you question my methods.                          KYLO REN           They're obviously skilled at           committing high treason. Perhaps           Leader Snoke should consider using a           clone army.                          GENERAL HUX                          (YOU SON-OF-A-BITCH)           My men are exceptionally trained --           programmed from birth--                          KYLO REN           Then they should have no problem           retrieving the droid. Unharmed.                          GENERAL HUX           Careful, Ren. That your "personal           interests" not interfere with orders           from Leader Snoke.                          KYLO REN           I want that map. For your sake, I           suggest you get it.          Ren heads off. Hux hates him.          EXT. NIIMA OUTPOST - DAY          Sun-scorched and exhausted, Finn stumbles out of the desert          into the Outpost. In a heatstroke daze he moves past enormous          old SHIP PARTS, MERCHANTS, SCAVENGERS and TENTED STALLS.                          FINN           Water... water... water..          He sees a WATER TROUGH where a filthy, slobbering hippo-like          creature (a HAPPABORE) DRINKS. Finn moves to it, uses his          hands to desperately DRINK the filthy water. After a couple          swallows he SPITS IT OUT, disgusted.                          FINN (CONT'D)           -- Awgh, GAH!          But he's parched and immediately RETURNS FOR MORE.          ACROSS THE MARKETPLACE, REY kneels with an emphatically          BEEPING BB-8.          Just then, TWO of UNKAR'S THUGS approach and stop her. One          clearly tells her that they're taking the droid. BB-8 reacts          nervously as Rey resists them -- one pulls a SACK over BB-8          while the other grabs Rey's arm -- in the tussle, Rey KNOCKS          OVER METAL URNS for sale --          Finn, still drinking, is PUSHED OVER by the happabore. He          falls to the ground, then turns to look when he HEARS          CRASHING. He sees, through the tents, REY FIGHTING.          He moves UP CLOSER to help this young woman being accosted --          but he STOPS when Rey begins to FIGHT BACK -- scrappy and          feral, she KICKS, BITES and HITS. Finn is taken aback as          she DEFEATS the attackers, who hit the sand, hard.          Finn just watches, stunned.          Rey moves to the COVERED BB-8 -- PULLS THE SACK OFF OF HIM.          Finn cannot believe his eyes. IT'S POE'S DROID!          Rey talks to BB-8, who, nervous now, looks around and...          SEES FINN! BB-8 STARTS BEEPING like crazy. Then something          insane happens: REY LOOKS AT FINN.                          REY           (To BB-8) Who? Him?          Finn is confused. Rey stands, staring at Finn, defiant.          Finn can feel trouble coming -- and Rey begins CHARGING AT          HIM, quarterstaff in hand.          Realizing he's the target, Finn begins to RUN -- away from          her, through the tent marketplace. Rey goes after him -- he          turns a corner -- then another -- then BAM! She's got          ahead of him and SLAMS HIM TO THE GROUND WITH HER STAFF!          Finn is on his back, out of breath and freaked out. She          holds the staff on him threateningly:                          REY           What's your hurry, thief?                          FINN           What--?! Thief?          BB-8 ROLLS UP FAST, MOVES TO FINN -- a WELDING ARM TELESCOPES          FROM HIS BODY AND SHOCKS FINN!                          FINN (CONT'D)           OW! HEY! What?!                          REY           The jacket! This droid says you           stole it!                          FINN           I've had a pretty messed up day,           alright?! So I'd appreciate it you           stop accusing me -- OW!!!           (BB-8 has ZAPPED him                          AGAIN)           STOP IT!                          REY           Where'd you get it? It belongs to           his master.          Finn looks at her -- then the agitated droid, Finn's mind          racing. He puts it all together. Frustrated, but sighs          heavily, needing to respond somehow. So he makes a hard          decision: to tell the truth.                          FINN           It belonged to Poe Dameron. That           was his name, right?          Rey and BB-8 react, surprised and wanting more.                          FINN (CONT'D)           He was captured... by the First Order!           I helped him escape but our ship           crashed.                          (RELIVING IT)           Poe didn't make it.           (sees BB-8 is sad,                          ROLLS OFF)           Look, I tried to help him. I'm           sorry...          BB-8 heads off to the side, depressed. Rey watches BB-8,          then considers Finn again. Says, a bit impressed:                          REY           So you're with the Resistance?                                                   (CONTINUED)                         CONTINUED:          Finn's mind races again. He makes an easy decision: to lie.                          FINN           Obviously. Yes. I am. I'm with           the Resistance, yeah.                          (WHISPERS)           I'm with the Resistance.          Rey lowers her staff, Finn stands. Rey studies him:                          REY           I've never met a Resistance fighter           before.                          FINN           Well, this is what we look like.           Some of us. Others look different.                          REY           BB-8 says he's on a secret mission,           he has to get back to your base.                          FINN           Apparently he's carrying a map that           leads to Luke Skywalker, and           everyone's after it.          She turns to him, concerned, curious. And asks:                          REY           Luke Skywalker? I thought he was a           myth.          Just then BB-8 BEEPS MADLY at something he sees.                          REY (CONT'D)           What is it?          Rey moves to him, peeks around a tent corner. Now Finn moves          to see: at a distance, TWO STORMTROOPERS TALKING TO UNKAR'S          THUGS -- who POINT THEIR WAY!          Finn urgently grabs her hand and heads for the tents:                          REY (CONT'D)           (re: her hand)           What are you doing?!                          FINN           Come on!          Suddenly LASER BLASTS RIP PAST THEM, HIT THE CLEANING UNIT,          SPEWING STEAM! Rey SCREAMS -- MORE BLASTS as they run!          EXT. NIIMA OUTPOST - DAY          Finn and Rey holding hands, the three race, ZIGZAGGING through          a maze of tents:                                                                                                     (CONTINUED)                         CONTINUED:                          FINN           Come on, BB-8!                          REY           Let go of me!                          FINN           No, we gotta move!                          REY           (pulls her hand back)           I know how to run without you holding           my hand! BB-8 stay close! This           way!          Now Finn and BB-8 follow Rey -- ANOTHER BLAST just missing          them! They disappear through a tent.          TRACK FAST WITH STORMTROOPERS, through the tent maze. They          come out of a tent, HAVING MOMENTARILY LOST THEIR TARGET.                          STORMTROOPER           Call in the air strike!          REY, FINN AND BB-8 duck into another tent:          INT. NIIMA OUTPOST - TENT - DAY          Rey, Finn and BB-8 move through RUSTY WARES and take cover.          Quiet, urgent:                          REY           They're shooting at both of us!                          FINN           Yeah, they saw you with me! You're           marked!                          REY           Well, thanks for that!                          FINN           I'm not the one who chased you down           with a stick! Does anyone have           blasters around here?!                          REY                          (TO BB-8)           Are you okay?          Finn QUIETS HER WITH A GESTURE, HEARING SOMETHING.          PUSH IN ON FINN -- whatever he hears alarms him greatly --          he GRABS HER HAND AGAIN -- PULLS HER AWAY --                          REY (CONT'D)           Stop taking my hand!          EXT. NIIMA OUTPOST - TENT - DAY          Finn pulls Rey from the tent -- BB-8 FOLLOWS --          As they race from the tent a TIE FIGHTER SCREAMS INTO VIEW          FROM BEHIND THE TENTS! A SECOND FOLLOWS CLOSE BEHIND. IT          FIRES AT THEM -- A MASSIVE BLAST SENDS REY AND FINN FLYING --          BB-8 ROLLING!                                                            WIDE SHOT: TWO TIE FIGHTERS SCREAM OVER the town, the          EXPLOSION throws sand and debris fifty feet into the air.          Rey is thrown HARD to the ground -- she is rattled, truly          afraid. Then she turns: FINN lies nearby, unconscious.          Suddenly afraid, she scrambles to him, rolls him over. BB-8          ROLLS OVER, BEEPING in concern.                          REY           Hey!          As Finn comes to, he sees her. Through his fog:                          FINN           -- Are you okay?          And that very question touches her -- having never in her          life been asked it.                          REY           Yeah.           (extends her hand)           Follow me.          Grateful, Finn takes it. They're off.          LOCALS run amok as TIE fighters DIVE BOMB. REY, Finn and BB-          8 SPRINT, BLASTER EXPLOSIONS GET CLOSER AND CLOSER!          EXT. NIIMA OUTPOST - SPACEPORT - DAY          Rey, STAFF strapped to her back, leads the way as she, Finn          and BB-8 race into the spaceport. Finn glances back: TWO          TIE FIGHTERS BANK their return. They YELL:                          FINN           We can't outrun them!          Rey POINTS to a parked, four-engine SHIP ahead:                          REY           We might in that quad-jumper!                          FINN           We need a pilot!                          REY           We've got one!                                                                            (CONTINUED)                         CONTINUED:                          FINN           You?!           (then, indicates one                          OFF-CAMERA)           What about that ship?                          REY           That one's garbage!          They run for the JUMPER but the passing TIE FIGHTERS FIRE AT          IT, BLOWING IT APART IN A HUGE FLAME BALL! Rey, coming to a          quick stop, RIGHT UP TO CAMERA:                          REY (CONT'D)           The garbage'll do!          She turns and runs back -- Finn and BB-8 follow as they all          run toward the piece of junk -- and we see it for the first          time: THE MILLENNIUM FALCON!          TIE fighters BANK AROUND AGAIN. Finn, Rey and BB-8 run up          the ramp of the semi-tarped Falcon.          INT. MILLENNIUM FALCON - DAY          Finn, Rey and BB-8 enter the ship -- she hits a control and          the door DESCENDS CLOSED as she races to the cockpit:                          REY           Gunner position's down there!                          FINN                          (CLIMBS DOWN)           Y'ever fly this thing?          INT. MILLENNIUM FALCON - COCKPIT - DAY          Rey tosses her staff aside, jumps into the pilot's seat,          frantically flips switches. BB-8 rolls in behind her as the          ENGINES WHINE to life:                          REY           No! This ship hasn't been flown in           years!          INT. MILLENNIUM FALCON - GUNNER POSITION - DAY          Finn buckles into the gunner seat -- to his shock the SEAT          WHIPS TO THE LEFT, startling him -- he grabs the controls to          steady himself.                          FINN           Great.           (reacts to seat)           Whoa! I can do this, I can do this--          INT. MILLENNIUM FALCON - COCKPIT - DAY          Rey bucks herself up. Doesn't believe her quick words:                                                   (CONTINUED)                         CONTINUED:                          REY           I can do this, I can do this--          Rey pulls the yoke:          THE FALCON ENGINES LIGHT UP BRIGHT!          EXT. NIIMA OUTPOST - SPACEPORT - DAY          The FALCON RISES, WILDLY -- ITS TARPS FLY OFF -- THE SHIP          SPINS AND TILTS, SLAMS INTO AND CRUMBLES THE TOWN'S ARCHWAY!          From the tents, Unkar Plutt runs out, SCREAMS:                          UNKAR           HEY!!!! THAT'S MIIIIIIINE!!!          The Falcon BLASTS AWAY, two TIE FIGHTERS chase it, fast!          INT. MILLENNIUM FALCON - DAY          Rey pilots, headed for the sky!          Finn SWINGS into frame, trying to work the GUNS.                          FINN           Whoa! Hey! Oh! Stay low! Stay           low!                          REY           WHAT?                          FINN           Stay low! It confuses their tracking!          For a crazy instant Rey LETS GO OF THE YOKE, stretches to          the co-pilot controls -- THE FALCON CANTS!                          REY           BB-8, hold on!          Rey finally REACHES the switches, returns to the yoke,          stabilizing the ship, afraid of this next move.                          REY           I'M GOING LOW!!!          EXT. DESERT - DAY          BEHIND THE FALCON as it DRAMATICALLY BANKS AT AN UPWARD ARC,          UPSIDE-DOWN, then SWOOPS PERILOUSLY LOW across the sand.          Two TIE FIGHTERS SCREAM past us!          INT. MILLENNIUM FALCON - DAY          In the cylindrical corridor, BB-8 ROLLS TO THE CEILING!          Rey looks back for a flash as the TIE Fighters pass -- They          are ROCKED BY A BLAST!                                                   (CONTINUED)                         CONTINUED:                          REY           What are you doing back there? Are           you ever gonna fire back?!                                   Finn flicks switches -- The GUN TARGETING LIGHTS UP:                          FINN           I'm working on it! Are the shields           up?          Rey strains, reaching for something in the co-pilot seat.                          REY           Not so easy without a co-pilot!          Finn struggles with the gun controls and SWEEPING CHAIR:                          FINN           Try sitting in this thing!          Finn finally FIRES BACK at the two TIE FIGHTERS!          EXT. DESERT - DAY          Finn's shots MISS. The TIE FIGHTERS ARC BACK IN PURSUIT and          SCREAM PAST US toward the Falcon! Both TIES FIRING!          INT. TIE FIGHTER COCKPIT - DAY          The BLACK-SUITED PILOT FIRES at the Falcon.          INT. MILLENNIUM FALCON - GUNNER POSITION - DAY          The Falcon is ROCKED by another BLAST!                          FINN           We need cover, quick!          INT. MILLENNIUM FALCON - COCKPIT - DAY          Rey HITS SWITCHES, pilots the best she can:                          REY           We're about to get some!                          (TO HERSELF)           I hope.          EXT. DESERT - DAY          The Falcon speeds through a ROCK FORMATION, GRAZING THE ROCK,          TAKING OUT A CHUNK -- the two TIE Fighters in pursuit, FIRING!          The Falcon BANKS SO HARD, the edge of the ship RIPS A LINE          IN THE SAND as it turns, REVEALING THE SHIP GRAVEYARD AHEAD.          INT. MILLENNIUM FALCON - DAY          BB-8 EXTENDS MAGNETIC CABLES to brace himself in a corridor.                                                   (CONTINUED)                         CONTINUED:          Finn continues to fire at the TIE fighters, narrowly missing          them.                          FINN           Damn it!          Rey maneuvers the ship deeper into the graveyard.          INT. MILLENNIUM FALCON - GUNNER POSITION - DAY          Finn SWOOPS into frame, FIRES --                          FINN           Come on... come on...          -- HITS AND SHATTERS the TIE FIGHTER!                          REY           Nice shot!                          FINN           I'm getting pretty good at this!          EXT. DESERT - SPACESHIP GRAVEYARD - DAY          The TIE FIGHTER CRASHES amid the DEBRIS, THREE SCAVENGERS          instantly there to consume the new bounty.          The Falcon, pursued by the ONE REMAINING TIE FIGHTER, slaloms          through the MASSIVE WRECKAGE, GRAZING THE OLD SHIPS as she          goes, pieces flying.          The TIE FIGHTER FIRES -- HITTING THE FALCON'S LOWER TURRET,          SPINNING IT, JAMMING IT INTO FORWARD POSITION!          INT. MILLENNIUM FALCON - GUNNER POSITION - DAY          ALARMS BLARE --                          FINN           The cannon's stuck in forward           position, I can't move it! You gotta           lose 'em!          INT. MILLENNIUM FALCON - COCKPIT - DAY          The ship is HIT AGAIN -- afraid, Rey's mind races as she          scans the area -- and gets an idea.                          REY           Get ready!                          FINN           Okay! For what?          EXT. DESERT - SPACESHIP GRAVEYARD - DAY          Rey pilots the ship up AND INTO THE REAR OF A CRASHED SUPER          STAR DESTROYER! The final TIE FIGHTER FOLLOWS!          INT. MILLENNIUM FALCON - DAY          Finn peers out the window, realizing where they are:                          FINN           ARE WE REALLY DOING THIS?!          INT. WRECKED SUPER STAR DESTROYER - DAY          The two ships slalom debris inside the giant ship -- the          Falcon GRAZING ONE SIDE, THEN THE OTHER, SPITTING SPARKS!          INT. MILLENNIUM FALCON - DAY          Rey, scared, girds herself as she quickly runs out of space          in the wreck.                          REY           Oh no!          Just as the TIE PILOT GETS A LOCK,          Rey YANKS THE YOKE --          EXT. DESERT - SPACESHIP GRAVEYARD - DAY          The Falcon makes a HARD RIGHT TURN out of the Destroyer.          Rey then CUTS POWER AND FLIPS THE SHIP SO BACK FACES FRONT!          FINN CAN NOW SEE THE PURSUING TIE FIGHTER! He FIRES,          DESTROYING IT!          REY GUNS THE ENGINES again, FLIPS THE FALCON and FLIES AWAY          as the TIE FIGHTER CRASHES!                          FINN           Whooo!          The Falcon ROARS OFF, victorious, leaving the ship graveyard          and disappearing into the clouds.          EXT. SPACE - DAY          The Falcon ROARS from Jakku off to space.          INT. MILLENNIUM FALCON - COCKPIT - DAY          Rey excitedly unbuckles her seatbelt and hurries back.          INT. MILLENNIUM FALCON - CORRIDOR - DAY          Rey races past BB-8, who is RETRACTING his safety restraints.          Finn, adrenalized, climbs from the turret, meets Rey in the          corridor, the LOUNGE in the b.g..                                                                                                                              (CONTINUED)                         CONTINUED: REY           FINN Good shooting! Thanks! I--           Now that was some I don't know! -- I've           flying! How did you flown some ships but I've           do that?! No one never left the planet!           trained you? No one? Your last shot was dead           That was amazing! on. You got him with one           (beat) blast!           You set me up for it! (laughs)           (cocky) It was perfect!           That was pretty good.          They're just staring at each other now, seeing something odd          and weird and wonderful -- two people totally inexperienced          in joy and camaraderie.          Bb-8 BEEPS something urgent -- she turns to the droid, kneels.                          REY (CONT'D)           You're ok. He's with the Resistance.           He's going to get you home. We both           will.                          (TO FINN)           I don't know your name.                          FINN           Finn. What's yours.                          REY           I'm Rey.          BB-8 looks at him: really? Finn is reminded: HE'S LIED TO          HER. She looks at Finn with a sweet smile.                          FINN           Rey...          But before Finn can say anything they JUMP: across the lounge,          STEAM BURSTS from under the grating.                          REY           Help me with this! Quick!          They hurry to the grating, PULL IT UP together. BB-8 rolls          over, watches.                          FINN           Whoa! What's going on?          She goes below as BB-8 BEEPS concern.          EXT. SPACE - DAY          The First Order Star Destroyer above Jakku.          INT. STAR DESTROYER BRIDGE - DAY          Lieutenant Mitaka moves to Ren, who looks out across the          star field. Mitaka swallows, uneasy with his task.                                                                            (CONTINUED)                         CONTINUED:                          LIEUTENANT MITAKA           Sir. We were unable to acquire the           droid on Jakku.          Ren turns to look at him, he says nothing.           LIEUTENANT MITAKA (CONT'D)           It escaped capture aboard a stolen           Corellian YT model freighter.                          KYLO REN           The droid... stole a freighter?                          LIEUTENANT MITAKA           Not exactly, sir. It had help.          Ren says nothing. Which says everything. Mitaka sweats.           LIEUTENANT MITAKA (CONT'D)           We have no confirmation, but we           believe FN-2187 may have been helped           in the escape--          Ren IGNITES HIS LIGHTSABER, TURNS AND SLASHES AT THE CONSOLE          BEHIND HIM! HOLD ON Mitaka, who reacts, looks away -- winces.          The horrible SOUNDS of Ren's rage continues. Finally Mitaka          looks up. The metallic wall behind Ren is RIPPED with glowing          scars.                          KYLO REN           Anything else?          Mitaka hates to say the following, but:                          LIEUTENANT MITAKA           The two were accompanied by a girl.          Ren reaches out -- Mitaka is suddenly, violently PULLED TOWARD          REN, into his black glove:                          KYLO REN           What girl?          INT. MILLENNIUM FALCON - LOUNGE AREA - DAY          Rey's head POPS up from under the grating, surrounded by          STEAM. An EMERGENCY ALARM BLARES.                          REY           It's the motivator! Grab me a Harris           wrench -- check in there!          As he checks a storage box, she disappears down below,          overwhelmed by the technical issues --                          FINN           How bad is it?!                                                                                                     (CONTINUED)                         CONTINUED:                          REY           If we wanna live, not good!          BB-8 watches as Finn searches A SELECTION OF TOOLS:                          FINN           They're hunting for us now, we gotta           get outta this system!          Rey re-emerges, Finn hands her the wrench.                          REY           BB-8 said the location of the           Resistance Base is "need to know" --           if I'm taking you there, I need to           know!                          FINN           (Throws a tool)           This?          She catches it and goes under again, leaving Finn and BB-8          alone. He contemplates telling her the truth. This is his          moment. But instead he knees to BB-8, says quietly, urgently:                          FINN (CONT'D)           You gotta tell us where the base is.                          (BB-8 BEEPS)           I don't speak that. Alright, between           us, I'm not with the Resistance,           okay?           (BB-8 backs up)           -- I'm just trying to get away from           the First Order -- but you tell us           where your base is, I'll get there           first -- deal?!           (BB-8 COCKS his head)           Droid, please.          Rey pops up again:                          REY           Pilex driver, hurry!          Finn moves for the tool.                          REY (CONT'D)           So where's your base?                          FINN           (searching, to BB-8)           Go on BB-8, tell her.                          (QUIETLY)           Please!          She and Finn look to BB-8 -- who considers the whole          situation, then BEEPS.                                                                                                     (CONTINUED)                         CONTINUED:                          REY           The Ileenium system?          Finn hands her the tool, surprised but thrilled -- Rey          disappears below again.                          FINN           Yeah, the Ileenium system, that's           the one -- get us there as fast as           you can.          A smiling Finn gives BB-8 a THUMBS UP. BB-8 quickly extends          his WELDING TORCH and TURNS IT UPWARD, then retracts it.                          REY           I'll drop you two at Ponemah Terminal.           I need the bonding tape, hurry!                          FINN           (searching for tape)           What about you?                          REY           I gotta get back to Jakku!                          FINN           (loses his mind)           BACK TO JAK--?! Why does everyone           always wanna go back to Jakku?! !                          REY           No, that one! No. No. The one I'm           pointing to! No. NO. NO. If we           don't patch it up, the propulsion           tank will overflow and flood the           ship with poisonous gas!          Bb-8 has moved to Finn -- TIPS HIS HEAD, shows him the tool.          He throws her the tape, she disappears below:                          FINN           This?                          REY           Yes!                          FINN           Hey. Rey. You're a pilot -- you           can fly anywhere! Why go back?!           You got a family? You got a           boyfriend? Cute boyfriend?          The STEAM and ALARM STOP as Rey pops up, annoyed:                          REY           None of your business, THAT'S WHY!          But then: ALL THE SHIP POWER GOES OUT. BB-8 is nervous.                                                   (CONTINUED)                         CONTINUED:                          FINN           ... That can't be good.                          REY                          (HEADS OFF)           -- No it can't be --           FINN FOLLOWS REY TO:          INT. MILLENNIUM FALCON - COCKPIT - DAY          They plop into the seats, in a panic. She checks the dead                         INSTRUMENTATION PANEL:                          REY           Someone's locked onto us -- all           controls are overridden.          Finn quickly, awkwardly climbs up, looks out.                          REY (CONT'D)           Get off. Get off! See anything?                          FINN           ... Oh no.          EXT. SPACE - DAY          The Millennium Falcon, powerless, is a sitting duck.          SOMETHING EPIC appears from ABOVE: THE ANTENNA ARRAY IS THE          FIRST WE SEE OF A MASSIVE FREIGHTER, ITS GIANT HANGAR OPEN          LIKE A HUGE MOUTH WHICH SWALLOWS THE FALCON LIKE A WHALE!          INT. MILLENNIUM FALCON - COCKPIT - DAY          Finn PLOPS into his seat, horrified.                          FINN           It's the First Order.                          REY           What do we do-- there must be                          SOMETHING --          Finn's mind races -- then:                          FINN           You said poisonous gas --                          REY           -- Yeah, but I fixed that --                          FINN           Can you unfix it?          Rey stares at him -- and gets his plan! They head off --          INT. MILLENNIUM FALCON - LOUNGE AREA - DAY          The GAS MASKS hanging in the lounge are GRABBED.                                                   (CONTINUED)                         CONTINUED:          Finn and Rey, gas masks on, quickly climb into the open          grating area.                          REY           C'mon BB-8.          They help BB-8 down, too: they both struggle like crazy, he          weighs a TON.                          FINN           I got it.                          REY           Oooh...                          FINN           I'm okay. BB-8 get off me...          UNDER THE GRATING          Finn pulls the grating over them as Rey works on the controls.                          REY           You think this'll work on the           Stormtroopers?                          FINN           Yeah. Their masks filter out smoke,           not toxins.          LIGHTS COME ON! SOUND of the SHIP RAMP LOWERING! Finn PULLS          THE GRATING CLOSED as he says:                          FINN (CONT'D)           Hurry!                          REY           I'm hurrying!          Suddenly the FALCON DOOR OPENS -- AND HAN SOLO AND CHEWBACCA          BOARD THE FALCON, weapons at the ready. PUSH IN ON THEM,          ready for combat, operating silently, with hand signals only.                          HAN           Chewie, we're home.          Han gives Chewie a nod to check out the ship. Chewie heads          off one way, Han in another.          The grating above LIFTS OFF -- hands in surrender, they look          up at Han, who's training his blaster on them, threatening.          They're SCARED.                          HAN (CONT'D)           Where are the others? Where's the           pilot?                          REY           ...I'm the pilot...                                                   (CONTINUED)                         CONTINUED:                          HAN           You?          Chewie MOAN-TALKS. Rey responds to him --                          REY           No, it's true: we're the only ones           on board.                          FINN           You can understand that thing?                          HAN           And "that thing" can understand you           too, so watch it. Come on outta           there.          They climb up -- BB-8 uses his magnetic arm to quickly pull          himself out.                          HAN (CONT'D)           Where'd you get this ship?                          REY           Niima Outpost.                          HAN           Jakku?! That junkyard?                          FINN           Thank you! Junkyard!                          HAN                          (TO CHEWIE)           Told ya we should've double-checked           the Western Reaches!                          (TO REY)           Who had it, Ducain?                          REY           I stole it from Unkar Plutt. He           stole it from the Irving Boys, who           stole it from Ducain.                          HAN           Who stole it from me! Well, you           tell him Han Solo just stole back           the Millennium Falcon for good.          Han walks away, takes in the ship: it's his again. Doesn't          see that Rey is awed. His back to all of them, he smiles.          Chewie responds as Han heads toward the cockpit.                          REY           This is the Millennium Falcon? You're           Han Solo?                                                                                                     (CONTINUED)                         CONTINUED:                          HAN           I used to be.                          FINN           Han Solo? The Rebellion General?                          REY           No, the smuggler!                          FINN                          (TO CHEWIE)           Wasn't he a war hero?!          Chewie replies: "Yeah, I guess, kinda..." Rey calls out:                          REY           This is the ship that made the Kessel           Run in fourteen parsecs...!          INT. MILLENNIUM FALCON - COCKPIT - SAME          Han enters the cockpit.                          HAN           Twelve! Fourteen.          A moment of private joy. Then he sees something that ANNOYS                         HIM:                          HAN (CONT'D)           Hey! Some moof-milker put a           compressor on the ignition line!          Han moves to the corridor.          INT. MILLENNIUM FALCON - LOUNGE AREA - DAY                          REY           Unkar Plutt did. I thought it was a           mistake too, puts too much stress on                          THE HYPERDRIVE--                          HAN                          (OVERLAPPING HER)           -- Stress on the hyperdrive--           (who is she? Then:)           Chewie, throw 'em in a pod, we'll           drop them at the nearest inhabited           planet.                          REY           Wait! No -- we need your help!                          HAN           My help?                          REY           This droid has to get to the           Resistance base as soon as possible!                                                                            (CONTINUED)                         CONTINUED:                          FINN           He's carrying a map to Luke Skywalker.          Yup: Han stops in his tracks.                          FINN (CONT'D)           You are the Han Solo that fought           with the Rebellion. You knew him.          The mention of Luke has really hit Han. He turns to Finn.                          HAN           Yeah, I knew him. I knew Luke.          Suddenly: a distant, METALLIC KA-CHUNK!                          HAN (CONT'D)           Don't tell me a Rathtar's gotten                          LOOSE--          Han hurries out -- they all follow, (Chewie, Rey, Finn, then          BB-8), Finn with WILD CONCERN:                          FINN           Wait -- a what?! Did you just say           Rathtars? Hey!          INT. CARGO SHIP - HANGAR - DAY          The Falcon is parked in this giant freighter's hangar. Han          moves to a CONTROL PANEL, they all follow him.                          FINN           You're not hauling Rathtars on this           freighter, are you?                          HAN           I'm hauling Rathtars.          On the CONTROL PANEL: IMAGES ON SCREENS FROM ALL AROUND THE          SHIP. Including the EXTERIOR, where a TRANSPORT SHIP is          LANDING ON THE FREIGHTER. Han is fearful.                          HAN (CONT'D)           Oh great. It's the Guavian Death           Gang -- they must've tracked us from           Nantoon.          Han heads off as:                          REY           What's a Rathtar?          INT. CARGO SHIP - CARGO CONTAINER CORRIDOR - DAY          Han leads our group down a LONG NARROW HALL lined with cargo          containers.                                                                                                                              (CONTINUED)                         CONTINUED: HAN           They're big and dangerous...                          FINN           Y'ever heard of the Trillia Massacre?!                          REY           No.                          FINN           Good.          They turn a corner:                          HAN           I got three of 'em going to King           Prana.                          FINN           THREE?! How'd you get them on board?                          HAN           I used to have a bigger crew.          Chewie GROAN-TALKS, concurring.          CUT TO: LOOKING UP AS A HATCH OPENS IN THE FLOOR. HAN AND          CO. ARE THERE.                          HAN           Get below deck and stay there until           I say so -- don't even think about           taking the Falcon.                          REY           What about BB-8?                          HAN           He stays with me -- until I get rid           of the gang, then you can have him           back and be on your way.                          FINN           What about the Rathtars... where are           you keeping them?          A TERRIFYING BAM: a GROTESQUE RATHTAR GIANT TONGUE SLAMS          into the CARGO CONTAINER window behind Finn, whose heart          stops.                          HAN           There's one.                          REY           What are you gonna do?                          HAN           Same thing I always do: talk my way           out of it.                          (CHEWIE MOAN-TALKS)           Yes, I do. Every time.          INT. CARGO SHIP - NARROW CORRIDOR - DAY          A PORTAL opens. The GUAVIAN DEATH GANG enters. One man in          a SUIT (BALA-TIK), and five SECURITY SOLDIERS in badass          UNIFORMS with ROUND-FACE HELMETS. They turn into and stop          at one end of the corridor. Han, Chewie and BB-8 forty feet          away in the middle of the long hall.                          BALA-TIK           Han Solo. You are a dead man.          Han smiles innocently, friendly. BB-8 nervously looks back          and forth at the gang, and Han.                          HAN           Bala-Tik. What's the problem?                          BALA-TIK           The problem is we loaned you fifty           thousand for this job.                         INTERCUT WITH:          INT. CARGO SHIP - BELOW FLOOR GRATING - DAY          They look up, trying to get a view.                          REY           Can you see them?                          FINN           No.          They start crawling down the crawl space.                          BALA-TIK           I heard you also borrowed fifty           thousand from Kanjiklub.                          HAN           You know you can't trust those little           freaks! How long've we known each           other?          Rey and Finn arrive under the gang. They WHISPER:                          REY           They have blasters...                          FINN           A lot of 'em.          We RISE THROUGH THE FLOOR to see the GANG and Han and company          in the distance.                          BALA-TIK           The question is how much longer will           we know each other? Not long. We           want our money back now.                                                                            (CONTINUED)                         CONTINUED:                          HAN           Ya think hunting Rathtars is cheap?           I spent that money.                          BALA-TIK           Kanjiklub wants their investment           back, too.                          HAN           I never made a deal with Kanjiklub!                          BALA-TIK           Tell that to Kanjiklub.          The SOUND of a PORTAL OPENING. Han's face GOES WHITE as he          turns to the OTHER END OF THE CORRIDOR, where KANJIKLUB          MEMBERS APPEAR. A GANG in a MEDIEVAL BANDITO style.          Han smiles uncomfortably at the Kanjiklub members. Its          LEADER, TASU LEECH, out front. Han tries to play it off:                          HAN           Tasu Leech. Good to see you.          Tasu speaks an alien language, we SUBTITLE:                          TASU LEECH           Wrong again, Solo. It's over for           you.          Tasu COCKS HIS WEAPON, there for blood. BB-8 is nervous.          Finn and Rey react to the sounds of the new gang -- start          CRAWLING BACK the other way to see them.                          HAN           Boys. You're both gonna get           what I promised! Have I ever           not delivered for you before?                          BALA-TIK           Yeah.                          TASU LEECH           Twice!          Han realizes he's right.                          HAN           What was the second time?                          BALA-TIK           Your game is old. There's no one in           the galaxy left for you to swindle.                          TASU LEECH           Nowhere left for you to hide.                                                                                                     (CONTINUED)                         CONTINUED:                          BALA-TIK           That BB unit... the First Order is           looking for one just like it. And           two fugitives.          Finn and Rey SUDDENLY STOP CRAWLING, tense.          BB-8 hides behind Han's leg. PUSH IN ON Han as he realizes:          Finn and Rey are in real trouble.                          HAN           First I've heard of it.          Below the grating, Finn and Rey look at each other, afraid.          Above, another Kanjiklubber (RAZOO QIN-FEE) says (SUBTITLED):                          RAZOO QIN-FEE           Search the freighter.          One of the Kanjiklubbers begins moving down the corridor,          AIMING A FLASHLIGHT DOWN BELOW, searching for:          FINN AND REY, in a QUIET PANIC BELOW: THEY START CRAWLING          FAST in the opposite direction they came.          Rey crawls off fast, Finn follows. They quickly arrive at          a JUNCTION BOX AREA, Rey looking at the controls.                          REY           Wait wait wait wait. If we close           the blast doors in that corridor, we           can trap both gangs!                          FINN           Close the blast doors from here?                          REY           Resetting the fuses should do it.          Rey begins RESETTING the FUSES, SPARKS shooting from them as          they do. Finn quickly joins in.          Rey and Finn FINISH resetting the fuses boxes. Rey smiles          optimistically. Finn looks hopeful too.          DOWN AN EMPTY ROW OF LARGE CONTAINERS, which OPEN -- and a          GIANT RATHTAR -- an ENORMOUS, FIERCE AND RAVENOUS LAND OCTOPUS --          SLITHERS OUT OF ITS CAGE!          BACK UP TOP as BANKS OF LIGHTS BEGIN GOING OFF, ONE BY ONE.          The GANGS look around.          Han's eyes go wide -- he gets it -- and it's bad. QUIETLY:                          HAN           ... I got a bad feeling about this...          Suddenly all the LIGHTS COME ON AGAIN -- even down below,          where Rey realizes it hasn't gone as planned.                          REY           Oh no.                          FINN           Oh no, what?                          REY                          (PALE)           Wrong fuses.          IN ANOTHER CORRIDOR, BACK WITH THE GANGS:                          BALA-TIK           Kill them! And take the droid!          The gangs AIM THEIR WEAPONS JUST AS A RATHTAR APPEARS BEHIND          THE GUAVIAN DEATH GANG, GRABBING TWO MEMBERS! THE OTHERS          SCREAM AND RUN! The gang FIRES BACK -- BLASTS FLY!          Han and Chewie react, flinching -- then turn to Kanjiklub as          a RATHTAR APPEARS BEHIND THEM, ROARING DEAFENINGLY! The          Gang turns -- others run, FIRE AT IT.          INT. CARGO SHIP CORRIDOR A - DAY          Han, Chewie and BB-8 race down the hall -- A MEMBER OF THE          KANJIKLUB GANG comes around the corner. Han PUNCHES him          with one blow, throws him toward the Rathtar. They keep          steppin....          INT. CARGO SHIP - BELOW FLOOR GRATING - DAY          Rey and Finn hurriedly crawl through the space below decks.                          FINN           This was a mistake!                          REY           Huge!          INT. CARGO SHIP CORRIDOR A - DAY          Two Guavian Death Gang members run through the ship -- passing          Tasu Leech, who sees another Kanjiklub member down the          corridor -- who gets GRABBED BY A TENTACLE! Tasu tries to          help him, but he gets PULLED UP AND AWAY! Tasu hears a          distant terror-scream of a Rathtar, and runs the other way.          Other Kanjiklub members YELL at him to avoid that direction --          they all turn a corner -- a RATHTAR IS THERE AND GRABS THE          TWO OTHERS! Tasu FIRES at the beast and RUNS OFF -- and we          land on a FLOOR HATCH, which opens. Rey and Finn climb out,          quickly.                                   They turn a corridor --                          REY           What do they look like?                                                   (CONTINUED)                         CONTINUED:          Another corner -- and GANG MEMBERS ARE BATTLING A HORRIBLE          RATHTAR! Rey COVERS HER MOUTH.                          FINN           They look like that.          Finn yanks her away. They race around another corner -- a          RATHTAR IS THERE!                          FINN (CONT'D)           This way!                          REY           Are you sure?          They scream and run off -- but Finn is GRABBED, PULLED AWAY          FAST!                          REY (CONT'D)           FINN!          But the Rathtar's fast and TURNS A CORNER, losing Rey --                          FINN           REY!          INT. CARGO SHIP CORRIDOR E - DAY          TIGHT ON FINN as he's being yanked down the hall, SCREAMING          as he struggles to get loose!          Rey turns the corner -- Finn is gone -- nowhere to be seen.                          REY           FINN!!!!          Without Finn, she is instantly distraught -- then she          realizes: SHE'S JUST PASSED A CONTROL PANEL! Her eyes light          up as she moves to it: a BANK OF VIDEO MONITORS OF THE SHIP --          and there's Finn, being dragged by a Rathtar toward an OPEN          BLAST DOOR. Rey's hand on the button, she waits... then          SLAMS THE BUTTON!          INT. CARGO SHIP CORRIDOR B - DAY          The BLAST DOOR INSTANTLY CLOSES ON ONE OF THE RATHTAR'S          TENTACLES! It SCREAMS IN PAIN, ITS SEVERED TENTACLE STILL          WRAPPED AROUND FINN'S LEG! Finn scrambles up, desperately          shaking the sticky tentacle off his leg!          Rey arrives, runs to Finn, beaming to see him alive -- he is          adrenaline-rushed, in shock:                          REY           Finn!                          FINN           It had me! But the door--!                                                                            (CONTINUED)                         CONTINUED:                          REY           That was lucky!          ANOTHER CORRIDOR - Finn and Rey run towards the Falcon.          INT. CARGO SHIP CORRIDOR D - DAY          Han, Chewie and BB-8 take cover, Han exchanging BLASTER FIRE          with GANG MEMBERS AT THE OTHER END OF THE HALL.                          HAN           I got the door. Cover us!          Chewie GROAN-AGREES. Chewie FIRES DOWN THE HALL as Han          CROSSES THE CORRIDOR, BB-8 following nervously. As Chewie          exchanges blaster fire, Han works the controls.          THE HATCH OPENS (FALCON in the distance) -- just as CHEWIE          IS HIT IN THE SHOULDER BY ENEMY FIRE! He goes down with a          LOUD GROAN!                          HAN (CONT'D)           Chewie! You okay?          Han GRABS CHEWIE'S BOWCASTER, FIRES at the DOOR CONTROLS,          BADASS!                          HAN (CONT'D)           (looks at bowcaster)           Wow. Come on! Come on!          INT. CARGO SHIP HANGAR - DAY          Run with Finn and Rey as they turn into the hangar, toward          the Falcon. Han helps WOUNDED CHEWIE up the ramp, sees them.                          REY           Han!          Finn and Rey race past BB-8 -- as they go up the ramp, Han          says to Rey:                          HAN           You, close the door behind us!                          (TO FINN)           You take care of Chewie!          Han and Rey race up the ramp as Finn heads up with Chewie,          who SCREAMS WILDLY IN PAIN!          INT. MILLENNIUM FALCON - COCKPIT - DAY          Han stands at the navicomputer, hitting switches. Rey enters          fast, moves past him to Chewie's seat.                          HAN           Hey, where are you going?                                                                                                                              (CONTINUED)                         CONTINUED:                          REY           Unkar Plutt installed a fuel pump           too -- if we don't prime that we're           not going anywhere.                          HAN           I hate that guy.          Han sits as, Rey hitting buttons:                          REY           And you could use a co-pilot.                          HAN           I got one, he's back there.          IN THE LOUNGE, CHEWIE IS IN PAIN --          INT. MILLENNIUM FALCON - COCKPIT - DAY          Han and Rey in the seats:                          HAN           Watch the thrust, we're goin' out of           here at lightspeed --                          REY                          (SHOCKED)           From inside the hangar? Is that           even possible?                          HAN           I never ask that question until after           I've done it.          A RATHTAR JUMPS ONTO THE WINDSHIELD -- REY SCREAMS! Its          GIANT MOUTH CHEWING AT THE GLASS! Han works the controls:                          HAN (CONT'D)           This is not how I thought this day           was gonna go -- angle the shields --           Hang on back there!          IN THE LOUNGE, Chewie is in pain -- Finn going through a          first aid kit -- the ship is HIT again --                          FINN                          (HUGE PROBLEM)           No problem!          INT. CARGO SHIP - HANGAR - DAY          Three GANG MEMBERS race out here and FIRE AT THE FALCON --          hitting FUEL LINES, BLASTING THE SHIP HARD!          The ship is hit.          INT. MILLENNIUM FALCON - COCKPIT - DAY                          HAN           Come on baby, don't let me down!          He hits a switch -- but NOTHING.                          HAN (CONT'D)           What?!          But Rey reaches over, hits a switch, matter-of-factly.                          REY           Compressor.          Han doesn't like it but she's right -- he hits the switch          again and the HYPERDRIVE FIRES! The hangar is FILLED WITH          LIGHTSPEED BLAST as the ATTACKING GANG MEMBERS ARE BLASTED          BACK LIKE DRY LEAVES. In the cockpit the RATHTAR RIPS AWAY          as THE STARS STRETCH LIKE ELASTIC and we CUT TO:          EXT. CARGO SHIP - DAY          Camera ROTATES as the Falcon DISAPPEARS IN A STREAK, leaving          the cargo ship behind.          INT. CARGO SHIP - DAY          PUSH IN on a HANGAR DOOR where Bala-Tik arrives at the window,          SEETHING. Makes a CALL:                          BALA-TIK           Inform the First Order that Han Solo           has the droid they want. And it's           aboard the Millennium Falcon.          EXT. STARKILLER BASE - DAY          A pair of TIE fighters roar towards a magnificent PLANET,          frozen WHITE. This is the STARKILLER BASE, a natural planet          that has been hacked and modified into something sinister.          Over this we HEAR a DEEP, almost SOOTHING VOICE. A voice          very much in control, of power:           SNOKE (V.O.)           The droid will soon be delivered to           the Resistance...          INT. STARKILLER PLANET - ASSEMBLY ROOM - NIGHT          KYLO REN and General Hux in a dark space, looking UPWARD at          someone addressing them.          We're in a massive and dark ASSEMBLY ROOM. Hundreds of DESKS          in a stadium arc, focused on a platform where we see SUPREME          LEADER SNOKE. Not entirely human, at nearly twenty-five          feet tall. All of him a STONY GREY. Old, wounded, fragile          and powerful, all at the same time.                                                                            (CONTINUED)                         CONTINUED:                          SNOKE           ... Leading them to the last Jedi.           If Skywalker returns, the new Jedi           will rise.                          GENERAL HUX           Supreme Leader, I take full           responsibility for th--                          SNOKE           General! Our strategy must now           change.                          GENERAL HUX           The weapon. It is ready. I believe           the time has come to use it. We           shall destroy the government that           supports the Resistance, the Republic.           Without their friends to protect           them, the Resistance will be           vulnerable, and we will stop them           before they reach Skywalker.          Snoke considers. Almost seems to die for a moment. Then:                          SNOKE           Go. Oversee preparations.                          GENERAL HUX           Yes, Supreme Leader.          General Hux, proud, cocksure, exits. Kylo Ren watches him          go. Snoke SITS. A new intimacy in his voice.                          SNOKE           There's been an awakening. Have you           felt it?                          KYLO REN           Yes.                          SNOKE           There's something more. The droid           we seek is aboard the Millennium           Falcon. In the hands of your father,           Han Solo.          Kylo Ren reacts with subtle, but real, surprise.                          KYLO REN           He means nothing to me.                          SNOKE           Even you, master of the Knights of           Ren, have never faced such a test.                                                                                                                              (CONTINUED)                         CONTINUED:                          KYLO REN                          (STEELY RESOLVE)           By the grace of your training, I           will not be seduced.                          SNOKE           We shall see. We shall see.          A gentle, satisfied nod from Snoke, and Kylo Ren, obsessed,          filled up, exits. Snoke watches him disappear, a grotesque          evil SMILE growing -- as he DISINTEGRATES -- Snoke has been          a HOLOGRAM all along.          EXT. LIGHTSPEED SPACE - DAY          RACING with the Falcon through the STRINGLIGHT of lightspeed.          INT. MILLENNIUM FALCON - DAY          CHAOS: INTERCUT between the COCKPIT where Han and Rey pilot,          ALARMS SOUNDING, problems everywhere, and the LOUNGE where          CHEWIE YELPS as Finn nervously works to BANDAGE HIS SHOULDER.          SPARKS!                          HAN           Electrical overload!                          REY           I can fix that!                          HAN           The coolant's leaking!                          REY           Try transferring auxiliary power to           the secondary tank--                          HAN           -- Secondary tank, I got it!          INT. LOUNGE:          CHEWIE HOWLS IN PAIN! Finn hangs in there, wraps a bandage          on Chewie's shoulder: Chewie ROARS. BB-8 scurries off.                          FINN           Chewie, come on! I need help with           this giant hairy thing! Stop moving!           Chewie!          INT. FALCON COCKPIT:                          HAN           You hurt Chewie, you're gonna deal           with me!          INT. LOUNGE:          As Finn struggles to bandage the Wookiee:                          FINN           Hurt him?! He almost killed me six           times!           (Chewie GRABS HIM by           the collar, ROARS)           Which is fine.          INT. FALCON COCKPIT:                          HAN           This hyperdrive blows there's gonna           be pieces of us in three different           systems.          Han at the controls when all the alarms STOP. Rey, satisfied,          sits in the co-pilot seat. Han is confused.                          HAN (CONT'D)           What'd you do?                          REY           I by-passed the compressor.          He looks at her. A little, appreciative laugh. Han exits,          walking past BB-8.                          HAN           Move, Ball.          INT. MILLENNIUM FALCON - LOUNGE AREA - DAY          Han kneels at Chewie, who lies awake but recovering. Han          checks his friend's wound with care. Chewie MOAN-TALKS.                          HAN           Nah, don't say that, you did great.           Just rest.          Han turns to Finn, who sits at the HOLOCHESS set, BB-8 beside          him. This is awkward for Han, but damn, he means it:                          HAN (CONT'D)           Good job, kid. And thanks.                          FINN           You're welcome.          Finn has accidentally hit a button on the chess set, and the          PIECES appear, looking up at Finn, curiously. The pieces          start to FIGHT as Finn fiddles with the controls, trying to          turn it off.                          HAN           So, fugitives, huh?                          REY           The First Order wants the map.                          (MORE)                          (CONTINUED)                         CONTINUED:                          REY (CONT'D)           (re: Finn and BB-8)           Finn is with the Resistance...                          (SHRUGS)           ... I'm just a scavenger.          Han gives Finn a skeptical once-over as Finn finally manages          to TURN THE CHESS SET OFF as Rey enters. Han looks to BB-8.                          HAN           Let's see whatcha got.                          REY                          (TO BB-8)           Go ahead.          BB-8 rolls forward -- and suddenly PROJECTS A HOLOGRAPHIC          MAP, FILLING THE ROOM. PLANETS, STARS, SYSTEMS.          They all react. Chewie sits to look up. Han moves through          stars, becomes reflective.                          HAN           This map's not complete. It's just           a piece. Ever since Luke disappeared,           people have been looking for him.                          REY           Why'd he leave?                          HAN           He was training a new generation of           Jedi. One boy, an apprentice turned           against him, destroyed it all. Luke           felt responsible... He walked away           from everything.                          FINN           Do you know what happened to him?                          HAN           There're a lot of rumors. Stories.           The people who knew him the best           think he went looking for the first           Jedi temple.                          REY           The Jedi were real?                          HAN           I used to wonder that myself. Thought           it was a bunch of mumbo-jumbo --           magical power holding together good,           evil, the dark side and the light.                          (BEAT)           'Crazy thing is, it's true. The           Force, the Jedi, all of it. It's           all true.                                                                            (CONTINUED)                         CONTINUED:          An alarm rings on the control station, prompting Han to toggle          some switches. BB-8 cuts off the hologram. Chewie rises          and moans to Han, but Han motions for Chewie to lay back                         DOWN:                          HAN (CONT'D)           No, you rest.           (To Rey and Finn)           You want my help? You're getting           it. Gonna see an old friend. She'll           get your droid home. This is our           stop.          Han leaves towards the cockpit, Rey and Finn following.          EXT. LIGHTSPEED TO SPACE - DAY          BEHIND THE FALCON as it DROPS OUT OF LIGHTSPEED, revealing a          BEAUTIFUL GREEN PLANET ahead, TAKODANA.          INT. MILLENNIUM FALCON - COCKPIT - DAY          Han pilots. Finn and BB-8 beside him, Rey as co-pilot.          Han notices Rey looking out the windshield, almost in tears.                          REY                          (QUIETLY)           ... I didn't know there was this           much green in the whole galaxy...          Han watches her -- sees a vulnerability that touches him.          EXT. TAKODANA PLANET - DAY          The Falcon CRESTS OVER an ENDLESS GREEN FOREST TO REVEAL a          CASTLE on a picturesque LAKE.          The Falcon lands near the castle, among dozens of WORN,          smallish freighters.          EXT. LANDING PAD - NEAR MAZ'S CASTLE - DAY          Rey steps off the Falcon, UP TO CAMERA, BB-8 at her side.          She takes in the towering stone CASTLE, FOREST to one side,          LAKE to the other. Serene, beautiful, all new to her.          INT. MILLENNIUM FALCON - LOUNGE AREA - DAY          From BLACKNESS: a storage unit opens. Han rummages,          retrieving old BLASTERS. Finn arrives behind him, concerned.                          FINN           Hey, Solo -- I'm not sure what we're           walking into here --                          HAN           D'you just call me "Solo"?                                                                            (CONTINUED)                         CONTINUED:                          FINN           Sorry. Han-- Mr. Solo. You should           know, I'm a big deal in the           Resistance. Which puts a real target           on my back. Are there any           conspirators here? First Order           sympathizers?                          HAN           Listen big deal, you've got another           problem. Women always figure out           the truth.          Hands him a BLASTER.                          HAN (CONT'D)           Always.          Han walks off. Finn watches him go, wracked with guilt.          EXT. MAZ'S CASTLE - DAY          Han hands Rey a blaster pistol as she stands at looks at the          castle.                          HAN           You might need this.                          REY           I think I can handle myself.                          HAN           I know you do. That's why I'm giving           it to you. Take it.          Rey picks it up. Grips it.                          HAN (CONT'D)           You know how to use one of these?                          REY           Yeah, you pull the trigger.                          HAN           There's a little bit more to it than           that. You got a lot to learn. You           got a name?                          REY           Rey.                          HAN           Rey. I've been thinkin' about           bringing on some more crew, Rey. A           second mate. Someone to help out.           Someone who can keep up with Chewie           and me, appreciates the Falcon.                                                                                                     (CONTINUED)                         CONTINUED:                          REY           Are you offering me a job?                          HAN           I wouldn't be nice to you. It doesn't           pay much.                          REY           You're offering me a job.                          HAN           I'm thinking about it.          Rey wants to say yes. But something stops her. A line she          can't cross.                          HAN (CONT'D)           Well?                          REY           If you were, I'd be flattered. But           I have to get home.          Han looks at her, questioningly.                          HAN           Jakku?          Rey looks off, in thought. Yeah, Jakku.                          REY                          (BEAT)           I've already been away too long.                          HAN                          (TO CHEWIE)           Chewie, check out the ship as best           you can.                          HAN (CONT'D)           It's too bad. Chewie kind of likes           you.          Han heads off. HOLD on Rey.          EXT. MAZ'S CASTLE - DAY          Han walks them to the castle.                          FINN           Solo, why are we here again?                          HAN           To get your droid on a clean ship.                          REY           Clean?                                                                                                     (CONTINUED)                         CONTINUED:                          HAN           Do you think it was luck that Chewie           and I found the Falcon? If we can           find it on our scanners, the First           Order's not far behind. Want to get           BB-8 to the Resistance? Maz Kanata           is our best bet.                          FINN           We can trust her, right?                          HAN           Relax, kid. She's run this watering           hole for a thousand years. Maz is a           bit of an acquired taste, so let me           do the talking. And whatever you           do, don't stare...           REY AND FINN           At what?                          HAN           Any of it.          The door opens. Music. Madness. And...          INT. MAZ'S CASTLE - MAIN ROOM - DAY          We ENTER THE LOUD, CROWDED MESS of a hall -- PUSHING PAST a          room full of rough and odd ALIENS AND HUMANS, who gamble,          drink, scheme, negotiate, argue -- until we end up on the          BACK of a tiny, thousand year-old, four foot tall ALIEN, who          suddenly STARTS, as if SENSING something -- the Alien TURNS          TO US: she is FEMALE, wearing large ADJUSTABLE GOGGLES.          This is MAZ KANATA.                          MAZ           Han Solo!          Everyone turns to look. It's ALL QUIET in here.                          HAN           (Sotto) Oh boy. (Louder, waving)           Hey, Maz!          NOISE returns. Maz walks to them, pushes someone away.                          MAZ           Where's my boyfriend?                          HAN           Chewie's working on the Falcon.                          MAZ           I like that Wookiee. I assume you           need something. Desperately. Let's           get to it.                                                                            (CONTINUED)                         CONTINUED:          Maz walks off, gesturing for them to follow. Finn and Rey          are confused. Han indicates for them to follow. They do --          passing the enormous GRUMMGAR, who sits with vixen BAZINE          NETAL, who watches them suspiciously.          A SMALL DROID (GA-97), who turns its head to see BB-8          following Rey across the room. GA-97, now animated, makes a          small TRANSMITTING SOUND, which is subtitled.                          GA-97           Alert the Resistance. Their missing           droid is here!          And we CUT TO:          IN A DARK ALCOVE - MOMENTS LATER          Bazine enters a shadowy space, stealthily makes a call on a          communicator. Clearly, BAZINE IS A SPY. Subtitled:                          BAZINE           Inform the First Order... I've found           the droid.          EXT. STARKILLER BASE - DAY          A massive Star Destroyer hovers over the hacked ice planet.          INT. STAR DESTROYER - KYLO REN'S CHAMBERS - DAY          A dark space. Kylo Ren, CLOSE TO CAMERA, addresses someone          OFF-CAMERA whom we do not see.                          KYLO REN           Forgive me. I feel it again. The           pull to the light. Supreme Leader           senses it. Show me again, the power           of the darkness, and I will let           nothing stand in our way. Show me,           Grandfather, and I will finish what           you started.          As his emotion builds, he stands and heads off -- we FOLLOW          HIM, PIVOTING TO REVEAL who he was talking to: THE BURNT,          ASHEN, GHOSTLY DEFORMED MASK OF DARTH VADER.                          CUT TO:          INT. MAZ'S CASTLE - TABLE - DAY          Maz is putting together some FOOD as she says:                          MAZ           A map to Skywalker himself? You're           right back in the mess.                          HAN           Maz, I need you to get this droid to           Leia.                                                   (CONTINUED)                         CONTINUED:                          MAZ           Hmm. No. You've been running away           from this fight for too long. Han,           nyakee nago wadda. Go home!                          HAN           Leia doesn't want to see me.                          FINN           Please, we came here for your help.                          REY           What fight?                          MAZ           The only fight: against the dark           side. Through the ages, I've seen           evil take many forms. The Sith.           The Empire. Today, it is the First           Order. Their shadow is spreading           across the galaxy. We must face           them. Fight them. All of us.                          FINN           There is no fight against the First           Order! Not one we can win. Look           around. There's no chance we haven't           been recognized already. I bet you           the First Order is on their way right--          Finn stops, seeing Maz adjusting her goggles, scrutinizing          him -- her eyes get HUGE.                          FINN (CONT'D)           What's this? What are you doing?          Maz adjusts the goggles again. Her eyes get impossibly          BIGGER. She grunts recognition. She hoists herself on the          tabletop, knocking over food and plates, crawling towards          Finn.                          FINN (CONT'D)           Solo, what is she doing?                          HAN           I don't know, but it ain't good.                          MAZ           If you live long enough you see the           same eyes in different people. I'm           looking at the eyes of a man who           wants to run.                          FINN           (eyes on Maz)           You don't know a thing about me.           Where I'm from. What I've seen.                          (MORE)                                                                            (CONTINUED)                         CONTINUED:                          FINN (CONT'D)           You don't know the First Order like           I do. They'll slaughter us. We all           need to run.          Rey is stunned. Maz, not so much. She crawls back to her          chair. She points to some pirates in the corner.                          MAZ           You see those two? They'll trade           work for transportation to the Outer           Rim. There, you can disappear.          Finn sees them. Considers.                          REY           Finn!                          FINN           Come with me.                          REY           What about BB-8? We're not done           yet. We have to get him back to           your base.                          FINN           I can't.          Finn stands to leave. He offers the gun back to Han.                          HAN           Keep it, kid.          Finn heads off. Rey gets up to follow. Maz dials her lenses          back to normal, and turns to Han.                          MAZ           Who's the girl?                         ON FINN          Who has arrived at the table with the ALIEN SMUGGLERS.                          FINN           I was told you could get me to the           Outer Rim.          Rey barges into the conversation, interrupting.                          REY           What are you doing?          Finn gets up to talk to her.                          FINN           (to Big Head)           Don't leave without me.                                                                            (CONTINUED)                         CONTINUED:          Embarrassed, Finn moves her away.                          REY           You can't just go. I won't let you.                          FINN           I'm not who you think I am.                          REY           Finn, what are you talking about?                          FINN           I'm not Resistance. I'm not a hero.           I'm a Stormtrooper.                          (STOPS HER)           Like all of them, I was taken from a           family I'll never know. And raised           to do one thing...                          (EMOTIONAL)           But my first battle, I made a choice.           I wasn't going to kill for them. So           I ran.                          FINN (CONT'D)           Right into you. And you looked at           me like no one ever had. I was           ashamed of what I was. But I'm done           with the First Order. I'm never           going back. Rey, come with me.                          REY           Don't go.                          FINN           Take care of yourself. Please.          Rey looks at him, crushed. With quiet resignation, Rey          watches Finn return to the aliens...          And all three head off. He gets to the front door and walks          through it.          Rey is heartsick, but she turns as she hears the sound of a          young girl in anguish, crying. She follows the sound into          the castle, turning so she can't see that Finn has looked          back at her one last time.          INT. MAZ' CASTLE - BASEMENT CORRIDOR - DAY          Rey steps down into the basement corridor. BB-8 follows          her. Walking carefully and confused, she is not sure why          she's down here. She can hear the echoing sounds of a young          girl crying. She heads down the hall... to the very end,          where there is a door. It is almost as if a SOULFUL VIBRATION          draws her closer. She looks at the door lock -- AND THE          DOOR OPENS.          Hesitant, Rey enters.          INT. MAZ'S CASTLE - CRYPT ROOM - DAY          Rey moves into the dark, small, vaulted storage room. Old          treasures line the floors and walls, but there is something          specific Rey is drawn to: on a table, an old wooden BOX.          She moves to it, unsure, afraid, as if an energy from inside          the box has been calling her here. BB-8 nervously follows.          Rey reaches out, very slowly, to touch the box. A moment          heavy with tension.          Rey OPENS THE BOX and sees inside Luke Skywalker's original          lightsaber. With hesitation, she reaches towards it, but          she cannot resist. As her hand makes contact with it, there          is the piercing sound of a lightsaber igniting. She moves          her hand away, as REY HEARS A MECHANICAL BREATHING sound.          The CAMERA MOVES, LIGHTING CHANGES -- and we see behind her          something impossible: a HALLWAY OF FROM DEEP INSIDE CLOUD          CITY. Disembodied voices fill the air.                          YOUNG GIRL           NO!          She stands -- looks around, confused by all she sees and          hears. -- Turns and sees, through a DOORWAY.          We follow Rey and she runs down the corridor, but it all          TILTS -- TURNS -- and she lands on the          WALL -- which is now the GROUND -- dried GRASS.          She turns to look -- we PIVOT -- and see a BURNING TEMPLE AT          NIGHT. We PAN to:          R2-D2 -- who watches the flames -- and a MAN appears (LUKE,          whose face we do not see). He falls to his knees, reaches          out to the droid -- with a MECHANICAL RIGHT HAND.          We PUSH IN ON REY as RAIN BEGINS -- and DAY TURNS TO NIGHT --          and she LOOKS UP -- we TILT UP --          To see we're LOOKING UP AT A WARRIOR as he is STABBED BY A          FIERY LIGHTSABER! He screams and falls to the ground -- we          FOLLOW HIM, revealing Rey again, now in a nighttime          battlefield. She gets to her feet, frightened by what she          sees. We PIVOT AROUND HER to REVEAL KYLO REN, and the six          other KNIGHTS OF REN, who flank him!          Come back around to Rey, soaking now, as the RAIN STOPS and          SUNLIGHT illuminates her -- she turns to look -- we PIVOT --          and see...          A little girl. Rey as a child. She is sobbing, hysterical.          Unkar Plutt's meaty hand holds her thin arm. She is on Jakku,          watching a starship fly into the sky, abandoning her.                          YOUNG GIRL           No, come back!                                                                            (CONTINUED)                         CONTINUED:                          UNKAR PLUTT           Quiet, girl!          The ship flies towards the desert sun, which is strangely          eclipsed, as if being eaten by darkness. Rey looks around          her to see she is..          In a NIGHTTIME, BARREN, SNOWY WOODS. She's losing her mind,          confounded and lost and she gets to her feet, her breath          seen in the frigid air -- and then: THE SOUND OF CLASHING          LIGHTSABERS! She moves through the woods, toward the sound.          Rey runs, heart pounding, when KYLO REN EMERGES FROM BEHIND          A TREE! She stops, SCREAMS, FALLS BACK and LANDS IN:          INT. MAZ' CASTLE - BASEMENT CORRIDOR - DAY          She falls back, out of the room, suddenly sitting in the          hall, out of breath, alarmed and perplexed.          She HEARS something and turns to look.          Maz stands at the end of the corridor, realizing what has          just happened.                          REY           What was that? I shouldn't have           gone in there.                          MAZ           That lightsaber was Luke's. And his           father's before him and now, it calls           to you!          Rey stands, fast. Still overwhelmed, emotional, speechless.                          REY           I have to get back to Jakku.                          MAZ           Han told me.           (reaches out, hold                          REY'S HAND)           Dear child. I see your eyes. You           already know the truth. Whomever           you're waiting for on Jakku, they're           never coming back. But... there's           someone who still could.                          REY           Luke.                          MAZ           The belonging you seek is not behind           you. It is ahead. I am no Jedi,           but I know the Force. It moves           through and surrounds every living           thing. Close your eyes. Feel it.                          (MORE)                                                   (CONTINUED)                         CONTINUED:                          MAZ (CONT'D)           The light. It's always been there.           It will guide you. The saber. Take           it.          Rey suddenly stands.                          REY           I'm never touching that again. I           don't want any part of this.          And Rey runs off, passing Maz.          Rey's mind is spinning -- she can't take it -- she turns and          heads off, fast. BB-8 follows her. TIGHT ON MAZ, watching          her go. Maz SIGHS, feeling for the young girl.          EXT. MAZ'S CASTLE - DAY          Rey exits the castle, needs to run, but doesn't know where.          Heads toward the woods.          EXT. FOREST - DAY          Rey moves through the foliage, heart racing. Over this, we          HEAR a RUMBLING -- intense, an OMEN of something horrible to          come.          EXT. STARKILLER BASE - ASSEMBLY AREA - DAY          A massive rally: a thousand STORMTROOPERS, TIE FIGHTERS,          OFFICERS and VEHICLES. BRUTALIST STRUCTURES, mountainous          SNOWY LANDSCAPE. Addressing them at a podium, flanked by          RED FIRST ORDER BANNERS, is HUX. His voice ECHOES:                          GENERAL HUX           Today is the end of the Republic!           The end of a regime that acquiesces           to disorder! At this very moment,           in a system far from here the New           Republic LIES to the GALAXY while           secretly supporting the treachery of           the loathsome Resistance. This fierce           machine which you have built, upon           which we stand, will bring an end to           the Senate! To their cherished fleet!           All remaining systems will bow to           the First Order! And will remember           this... as the last day of the           Republic!                                   INT. STARKILLER BASE - CONTROL ROOM - DAY          ENGINEERS perform FINAL FIRING PROTOCOL. There's a sense of          nervousness -- WILL THIS MASSIVE WEAPON ACTUALLY WORK?          EXT. STARKILLER BASE - ASSEMBLY AREA - DAY                          GENERAL HUX           FIRE!          And Hux TURNS to give the signal as we CUT BACK WIDE -- a          ROAR OF BOOTS ON PAVEMENT as the thousand Stormtroopers TURN          to face an endless snowy landscape. WHAT IS ABOUT TO HAPPEN?!          EXT. STARKILLER BASE - DAY          A view PAST THE RALLY. For a moment, nothing. Then, eerily          SILENT, AN IMPOSSIBLE BLAST OF FIRE LIGHT -- LIKE AN ATOMIC          BOMB TEST TIMES A ZILLION -- BLASTS FROM MILES AWAY, INTO          THE SKY! Seconds later, a TERRIBLE EXPLOSIVE ROAR!          The Troopers -- everyone -- is nearly PUSHED BACK by the          FORCE of it -- the magnitude! Many have to COVER THEIR EYES!          For MILES around the FIREBEAM, ICE AND SNOW MELTS INSTANTLY!          Runoff tunnels FLOODED with AN OCEAN OF FRESH WATER. AIRBORNE          CREATURES by the thousands burst from trees and take flight.          Hux watches, his eyes WILD WITH POWER AND EVIL. From HIS          eyes, CUT TO:          INT. STAR DESTROYER BRIDGE - DAY          TIGHT ON KYLO REN as he watches the Starkiller firing.          EXT. MAZ' CASTLE - DAY          Finn boards the Alien Freighter. The SOUND FROM THE SKY          makes him turn back. He sees the PATH OF FIRE and his blood          runs cold, his heart sinks.          EXT. REPUBLIC SYSTEM - NIGHT          At a massive distance we see PLANETS THE REPUBLIC CAPITAL          SYSTEM -- INCREASINGLY LIT, THEN POWERFULLY HIT BY THE VAST          FIREBLAST WHICH OBLITERATES IT ALL!          EXT. REPUBLIC CITY - NIGHT          The galaxy CENTER OF GOVERNMENT at NIGHT. Impressive          structures. Senators and dignitaries look in uncomprehending          horror to the night sky. LIGHT GROWING --          FROM A GREAT DISTANCE a CIRCLE OF FIRE -- LIKE A SMALL SUN          APPEARING FROM NOWHERE AND GROWING CLOSE AND MASSIVE, TURNING          NIGHT TO DAY! And in seconds THE FIRE BLOCKS OUT EVERYTHING          ELSE, AND THE ENTIRE PLANET OF HOSNIAN PRIME IS INCINERATED!          EXT. MAZ'S CASTLE - DAY          A crowd of ALIENS files out from inside, all eyes on the          FIRE IN THE SKY. Dozens of LANGUAGES exclaiming fear and          horror. Find Han and Chewie moving out, looking up.                                                                            (CONTINUED)                         CONTINUED:           FINN (O.S.)           It was the Republic.          Han and Chewie turn as Finn arrives, moving quickly through          the crowd. With dread:                          FINN (CONT'D)           The First Order, they've done it.           Where's Rey?          EXT. FOREST - DAY          Rey races through the forest and finally comes to a stop,          overwhelmed and exhausted. At an emotional breaking point,          she has no idea where to go, who to turn to. Then she HEARS          A BEEP -- turns to see BB-8, catching up with her.                          REY           What are you doing?                          (HE BEEPS)           You have to go back.           (he BEEPS again)                          REY (CONT'D)           BB-8. No, you can't -- you have to           go back, you're too important.           They'll help you.          Then, ANOTHER SOUND -- LOUDER NOW -- they LOOK UP AGAIN: in          front of the system attack, A FLEET OF FIRST ORDER SHIPS          ROAR OVERHEAD, TOWARD THE CASTLE! Rey's heart sinks: HER          FRIENDS ARE IN DANGER!          INT. MAZ'S CASTLE - BASEMENT CORRIDOR - DAY          Maz leads Han, Finn and Chewie down the hall, fast:                          MAZ           I've had this for ages...          MAZ'S CASTLE - TREASURE ROOM - DAY          Maz opens the box -- holds out the lightsaber to Finn:                          MAZ           Kept it locked away.                          HAN           Where'd you get that?                          MAZ           A good question for another time.                          (TO FINN)           Take it! Find your friend!          Finn grabs it as the room is SHAKEN by an above ground attack.                          MAZ (CONT'D)           Those beasts! They're here!          EXT. FOREST - DAY          Rey and BB-8 race fast back toward the castle -- EXPLOSION          SOUNDS can be HEARD from the direction they're headed!          EXT. FOREST - DAY          Rey races through the trees -- sees Maz' castle -- BEING          DESTROYED BY FIRST ORDER SHIPS! Aliens RUNNING, GETTING          OBLITERATED by SCREAMING TIE FIGHTERS! Other TIE FIGHTERS          and TRANSPORTERS LAND, STORMTROOPERS in attack.          Just then, filtered RADIO CALLS get Rey's attention: nearby          STORMTROOPERS have spotted her, AND FIRE!                          STORMTROOPER           FN-417, hold position!          Rey takes cover, grabs her BLASTER -- but IT WON'T FIRE!          She panics, then realizes:                          REY           Safety!          SHE SWITCHES OFF THE SAFETY and FIRES BACK! HITS TWO TROOPERS          and retreats, calls to BB-8:          BB-8 follows Rey AWAY FROM THE CASTLE, firing back at more          chasing Troopers!          EXT. MAZ' CASTLE RUINS - DAY          Kylo Ren moves through the DEBRIS. A Stormtrooper approaches:                          STORMTROOPER #4           Sir, the droid was spotted heading           west, with a girl.          Kylo Ren LOOKS BACK SHARPLY, in Rey's direction --          EXT. FOREST - DAY          Rey and BB-8 move swiftly, terrified -- she stops them:                          REY           You have to keep going, stay out of           sight, I'll try to fight 'em off.           (BB-8 BEEPS; bravely           through her fear)           I hope so, too.          BB-8 BEEPS and heads off -- Rey RUNS and TAKES COVER behind          a massive, mossy tree. TIGHT on her TERRIFIED FACE --          EXT. CASTLE DEBRIS - DAY          Han, Chewie, Finn and Maz, exhausted, CLIMB UP, peek through          debris.                                                                            (CONTINUED)                         CONTINUED:                          HAN           Come on, Chewie!          Maz turns to Finn:                          MAZ           Rey and BB-8, they need you. Now           go.                          FINN           I need a weapon.          Maz grabs his wrist -- holds up his hand -- THE SABER.                          MAZ           You have one!          He looks at her questioningly -- he's supposed to use the          lightsaber?! He TURNS IT ON.          HAN AND CHEWIE RUN, TAKE COVER from BLASTS, FIRING BACK at          Stormtroopers, taking some out!                          HAN           Hey, can I try that?          Han borrows Chewbacca's bowcaster, fires on Stormtroopers          and sends them flying.                          HAN (CONT'D)                          (TO CHEWBACCA)           I like this thing.          FINN SURPRISES A STORMTROOPER WITH THE LIGHTSABER, then          another! Untrained, he's athletic, brave, impressive. One          Stormtrooper has a MACE --                          STORMTROOPER           Traitor!          FINN and the TROOPER WITH THE MACE battle. The Mace Trooper          KNOCKS FINN DOWN! The Stormtrooper is about to end him,          when THE STORMTROOPER IS SHOT AND FALLS!          Wide-eyed Finn sees Han run over, having fired the blast!          Han helps him up.                          HAN           You okay, Big deal?                                                   FINN           Thanks!          But TEN STORMTROOPERS come over a RISE, BLASTERS AIMED.                          STORMTROOPER           Don't move! TK-338, we have targets           in custody!                                                   (CONTINUED)                         CONTINUED:          No way out, they DROP THEIR WEAPONS: TIGHT on the LIGHTSABER          as it HITS THE GROUND. A STORMTROOPER HAND picks it up.          Han's MIND RACES as a SQUAD OF TROOPERS appears behind them.          Finn, Han and Chewie are MARCHED by Stormtroopers back toward          a transport, hands on their heads.          But then -- A FAMILIAR ROAR RIPPING ACROSS THE LAKE -- Han          turns -- they all do: coming toward them across the water, X-          WINGS AND RESISTANCE SPACECRAFT APPEAR, BEGIN FIRING AT THE          FIRST ORDER SHIPS!          PUSH IN ON HAN, HOPE SURGING -- CHEWIE TALKS.                          STORMTROOPER (CONT'D)           We have incoming at two-eight-point-           six! Move! Dispatch! Move!           Scramble all squads! Repeat, scramble           all squads! Anti-air cover en route           to our position!                          HAN           It's the Resistance.          One X-WING in particular -- MARKED IN BLACK -- SWOOPS DOWN          and takes out the parked TIE FIGHTERS and Troopers!          INT. POE'S X-WING - DAY          It's Poe Dameron at the stick of his X-wing.                          POE           Go straight ahead and don't let these           dogs scare you!           JESS (V.O.)           Copy that!           SNAP (V.O.)           We're with you, Poe!          The Stormtroopers around Finn, Han and Chewie SCATTER, TOSSED          in EXPLOSIONS! The LIGHTSABER LANDS AGAIN -- FINN PICKS IT          UP.                          HAN           Quick!          Chewie picks up his Bowcaster, Han takes the blaster. Shoots          a Trooper.                          FINN           Woohoo! YEAH! That's one helluva           pilot!          INT. POE'S X-WING - DAY                          POE           WOOHOO!          EXT. FOREST - DAY          In the darkened woods, Rey, terrified, keeps her blaster          aimed. Her eyes dart around for her pursuer.          And then: THE UNIQUE SOUND OF KYLO REN'S RASPING LIGHTSABER          COMING TO LIFE -- A SOUND she's HEARD BEFORE in the FORCEBACK.          Rey's heart skips a beat: she's even more scared now.          Kylo Ren appears from behind a tree -- Rey FIRES again and          again -- Kylo Ren moves toward her, USING HIS LIGHTSABER TO          DEFLECT EVERY BLAST.          She FIRES ferociously, but Kylo Ren keeps coming! His hand          rises -- Rey suddenly STOPS -- GASPS -- UNABLE TO MOVE.                          KYLO REN           The girl I've heard so much about.          He walks AROUND HER, slowly, she won't let herself cry.           KYLO REN (CONT'D)           The droid.          He comes around to see her face. After a scary beat he WHIPS          HIS SABER UP TO HER EYES, ILLUMINATING HER FACE.           KYLO REN (CONT'D)           Where is it?          WIDE SHOT: THE EPIC BATTLE BETWEEN RESISTANCE AND FIRST          ORDER TROOPS, REFLECTED IN THE STILL LAKE.                          STORMTROOPER           Request air support!          EXT. FOREST - DAY          Kylo Ren TURNS OFF HIS SABER, reaches up... and REACHES          TOWARDS REY'S FACE. She can't move, strains in agony. After          a beat, surprised by what he finds, he removes his hand.          She is relieved but still afraid.                          KYLO REN           The map. You've seen it.          Rey is horrified. He TOUCHES HER FACE again: the pain, tears          stream. Kylo Ren, taking more from her mind...          She stares at him, TERRIFIED, straining in agony --          Kylo Ren, mid-interrogation, TURNS TOWARD THE SOUND OF THE          EXPLOSIONS. Stormtroopers APPROACH through the woods.                          STORMTROOPER #5           Sir, Resistance fighters! We need           more troops.          Kylo Ren TURNS BACK TO Rey, his hand still on her face.                                                   (CONTINUED)                         CONTINUED:                          KYLO REN           Pull the division out. Forget the           droid. We have what we need.          A GESTURE from Kylo Ren and REY LOSES CONSCIOUSNESS, FALLS          FROM FRAME!          EXT. CASTLE DEBRIS - DAY          The BLACK-MARKED X-WING SWOOPS DOWN again, FIRING, EXPLODING          another TIE Fighter! On the ground:                          STORMTROOPER           Pull back the tree line!          Han and Chewie dodge debris, FIRING and TAKING OUT TROOPERS.          FINN takes out 2 TROOPERS with the blaster, then, out of          breath, turns to see: Kylo Ren in the forest, CARRYING REY          IN HIS ARMS, INTO HIS SHUTTLE! Finn's heart SHATTERS --          Han stops -- turns -- sees Kylo Ren entering his shuttle.          Han is ROCKED.                          FINN           NO!! REY!!!          Heroically, Finn runs toward the shuttle through LASER BLASTS          AND EXPLOSIONS, but the shuttle TAKES OFF -- Finn irrationally          CHASES IT, SCREAMS DESPERATELY:                          FINN (CONT'D)           No, no, no, no... REY!!          In crazed frustration, Finn stops running, watches the          receding First Order ships, Rey their captive.          EXT. FOREST - DAY          BB-8 moves fast, then stops and looks up as the First Order          ships RETREAT, OFF PLANET. A considered beat, and BB-8 heads          BACK FOR THE CASTLE.          EXT. MAZ'S CASTLE RUINS - DAY          Post battle. Finn runs to Han:                          FINN           He took her! Did you see that? He           took her. She's gone!                          HAN                          (WALKS PAST)           Yeah, yeah, I know...          And he and Chewie head off.          EXT. MAZ'S CASTLE RUINS - DAY          Han moves toward a RESISTANCE TRANSPORT landing in the debris.          BB-8 rolls up beside him, in wait for the transport.          ON HAN'S FACE, knowing exactly what's about to happen.          Finally, the transport door opens.          And standing there is LEIA.          She sees Han and is stunned. A silent beat, husband and          wife reunited for the first time in years. In the smoke and          embers, no one says a word.          Then C-3PO walks out from the transport, into the field:                          C-3PO           Goodness! Han Solo! It is I, See-           Threepio!           (sees Han, stops)           You probably don't recognize me           because of the red arm.           (sees Leia,                          INCREASINGLY AWKWARD)           Look who it is! Did you see who?           Oh. Excuse me, Prin-- uh, General.           Sorry. Come along, BB-8. Quickly.                          (BB-8 BEEPS)           Yes, I must get my proper arm           reinstalled.          He hurries off. Finally, alone again.                          HAN           You changed your hair.                          LEIA           Same jacket.                          HAN           No, new jacket.          Chewie glad to see Leia, greets her with a hug. Chewie MOANS          a few words, looks at Han then boards the ship.          It is complicated and loving and painful. Han says, quietly:                          HAN (CONT'D)           ... I saw him. Leia, I saw our son.           He was here.          Leia hears this.          Maz watches through the smoke.          EXT. SPACE - DAY          The FALCON and surviving X-WINGS ROAR past camera toward a          PLANET WITH GREEN FLORA AND A RING OF ASTEROIDS.                                                   (CONTINUED)                         CONTINUED:          This is D'QAR.          EXT. D'QAR - DAY          The SHIPS DESCENDING among grassy mounds and sunken          structures.          EXT. RESISTANCE BASE - DAY          LARGE GRASS MOUNDS cover HANGARS, beneath the odd, giant          trees. BOOM DOWN as RESISTANCE GROUND CREW direct an X-WING          to a LANDING. In the FOREGROUND, another X-wing canopy OPENS,          a PILOT climbs out. PAN TO REVEAL the landed Millennium          Falcon. Finn runs down the ramp, UP TO CAMERA, desperate,          searching.          Then BB-8 SPEEDS RIGHT PAST HIM, almost knocking him down --          Finn watches as BB-8 rolls over to the PILOT GETTING OUT OF          THE BLACK-MARKED X-WING. The Pilot's helmet comes off.          IT IS POE!          Finn can't believe what he's seeing. And Poe, kneeling in          WARM REUNION with BB-8, listens and reacts to something the          droid tells him. Poe looks up and sees Finn -- and he can't          believe it either! Poe smiles, points at Finn. From a          distance, Finn gestures in sheer amazement that Poe is alive.                          FINN           Poe. Poe Dameron.          They move to each other -- and embrace.                          FINN (CONT'D)           You're alive!                          POE           So are you!                          FINN           What happened to you?                          POE           What happened? I got thrown from           the crash, woke up at night -- no           you, no ship, nothing--          BB-8 BEEPS -- Poe listens, turns to Finn.                          POE (CONT'D)           BB-8 says that you saved him.                          FINN           No, no, no. It wasn't just me.                          POE           You completed my mission, Finn.           That's my jacket?                                                                            (CONTINUED)                         CONTINUED:                          FINN           Oh here.                          POE           No, no, no. Keep it. It suits you.           You're a good man, Finn.                          FINN           Poe -- I need your help.          INT. RESISTANCE BASE - DAY          MOVE FAST with Finn and Poe. Finn takes in this makeshift          command center, buried deep among vines and roots. They          arrive at Leia, who stands with a group of Resistance          Officers, including ADMIRALS ACKBAR and STATURA:                          POE           General Organa. Sorry to interrupt,           this is Finn, he needs to talk to                          YOU --                          LEIA           (takes Finn's hand)           And I need to talk to him. That was           incredibly brave, what you did.           Renouncing the First Order, saving           this man's life --                          FINN           (surprised she knows)           Thank you, ma'am -- but a friend of           mine was taken prisoner--                          LEIA           Han told me about the girl, I'm sorry.          Finn is startled -- Poe jumps in:                          POE           Finn's familiar with the weapon that           destroyed the Hosnian system. He           worked on the base.                          LEIA           We're desperate for anything you can           tell us.                          FINN           That's where my friend was taken --           I've got to get there, fast.                          LEIA           And I will do everything I can to           help, but first you must tell us all           you know.          INT. RESISTANCE BASE - DAY          Chewbacca sits on a bed in the med bay. DR. KALONIA uses a          device to help heal his shoulder. Chewie TALKS.           DR. KALONIA                          (CHEWIE TALKS)           That sounds very scary.                          (CHEWIE TALKS)           You must be so brave.          Chewie agrees.          INT. RESISTANCE BASE - DAY          C-3PO takes the DATA DEVICE from BB-8 and inserts it into a          BASE COMPUTER. THE PROJECTED MAP APPEARS in HOLOGRAM. Leia          enters, studying it, dispirited. PAN as she moves, REVEALING          HAN. C-3PO is here and some others.                          C-3PO           General, I regret to inform you, but           this map recovered from BB-8 is only           partially complete. And even worse,           it matches no charted system on           record. We simply do not have enough           information to locate Master Luke.                          LEIA           I can't believe I was so foolish to           think that I could just find Luke           and bring him home.                          HAN           Leia...                          LEIA           Don't do that.                          HAN           Do what?           She heads off.                          LEIA           Anything.           Flummoxed, Han follows looking at C-3PO.                          C-3PO           Princesses.          Han follows Leia across the base floor:                          HAN           I'm trying to be helpful!                                                                                                                              (CONTINUED)                         CONTINUED:                          LEIA           When did that ever help? And don't           say the Death Star.                          HAN                          (SIGHS)          INT. RESISTANCE BASE - DAY          LOW WITH BB-8 as he rolls over and finds, under a dark and          dusty tarp in a corner, R2-D2. BB-8 BEEPS at R2, pulls off          the tarp and tries to start a conversation. But R2 DOESN'T          RESPOND AT ALL. BB-8 tries again. Nothing. BB-8 NUDGES          R2. Nothing. Then:           C-3PO (O.S.)           BB-8. You're wasting your time.          BB-8 looks up at C-3PO, who stands there. C-3PO SIGHS.           C-3PO (CONT'D)           It is very doubtful that R2 would           have the rest of the map in his backup           data.                          (BB-8 BEEPS)           I am afraid not. R2-D2 has been in           low power mode ever since Master           Luke went away. Sadly, he may never           be his old self again.          INT. RESISTANCE BASE - DAY          Leia hears the change in Han's voice and softens. She turns.                          HAN           Listen to me, will you? I know every           time you... every time you look at           me, you're reminded of him.                          LEIA           You think I want to forget him? I           want him back!          Han looks at her with sympathy.                          HAN           There was nothing we could've done.           (hard for him to say)           There was too much Vader in him.                          LEIA           That's why I wanted him to train           with Luke. I just never should have           sent him away. That's when I lost           him. That's when I lost you both.                                                                                                                              (CONTINUED)                         CONTINUED:                          HAN           We both had to deal with it in our           own way. I went back to the only           thing I was ever good at.                          LEIA           We both did.                          HAN           We lost our son, forever.                          LEIA           No.                          (LONG BEAT)           It was Snoke.          Han takes this in.                          LEIA (CONT'D)           He seduced our son to the dark side.           But we can still save him. Me.           You.                          HAN           If Luke couldn't reach him, how could           I?                          LEIA           Luke is a Jedi... you're his father.           There's still light in him. I know           it.                          GENERAL STATURA           General, the reconnaissance report           on the enemy base is coming.          INT. STARKILLER BASE - HOLDING CELL - DAY          Rey wakes, disoriented. She is in an angled, upright          restraining rig. Looks over, startled to see Kylo Ren, mask          in place, standing there.                          REY           Where am I?                          KYLO REN                          (LONG BEAT)           You're my guest.                          REY           Where are the others?                          KYLO REN           You mean the murderers, traitors and           thieves you call friends?           (Rey stares at him)           You'll be relieved to hear that I           have no idea.                                                                            (CONTINUED)                         CONTINUED:          Rey studies him. She's fearful... but curious.           KYLO REN (CONT'D)           You still want to kill me.                          REY           That happens when you're being hunted           by a creature in a mask.          Kylo Ren stops, considers her... then reaches up, unlatches          and REMOVES HIS MASK. Rey reacts, stunned. It takes a moment          before she regains her own mask of defiance.                          KYLO REN           Tell me about the droid.                          REY           (a nervous beat)           He's a BB unit with a selenium drive           and a thermal hyperscan vindicator --                          KYLO REN           He's carrying a section of a           navigational chart. We have the           rest, recovered from archives of the           Empire. We need the last piece.           And somehow, you convinced the droid           to show it to you. You. A scavenger --          Rey reacts -- afraid -- how does he know?           KYLO REN (CONT'D)           You know I can take whatever I want.          Trepidation flashes across Rey's eyes. Kylo Ren moves closer,          his hand rising toward her. She recoils, but has nowhere to          go. Kylo Ren nearly TOUCHES HER FACE...          THEY'RE BOTH SURPRISED: they react to a feeling that passes          between them -- AN ENERGY THEY RECOGNIZE IN EACH OTHER.          And then it's gone. Adversaries again. Rey can't move,          quietly strains in agony, trying to resist Ren's probing.           KYLO REN (CONT'D)           ... You're so lonely... so afraid to           leave...           (then, slight smile)           At night, desperate to sleep... you           imagine an ocean. I see it -- I see           the island...          Tears stream down her face as she resists. She tries to          break free, but can't budge.           KYLO REN (CONT'D)           And Han Solo. You feel like he's           the father you never had. He would've           disappointed you.                                                   (CONTINUED)                         CONTINUED:          His hand still on her face, her eyes fierce through the agony:                          REY           -- Get out of my head --          But this just makes Kylo lean closer.                          KYLO REN           I know you've seen the map. It's in           there... and now you'll give it to           me. Don't be afraid. I feel it           too.          Where her strength comes from, she doesn't know, but:                          REY           I'm not giving you anything.                          KYLO REN           We'll see.          He peers into her eyes intensely. She meets his gaze --          DESPITE THE PAIN SHE IS STRONG.          On Ren's face as HIS CONFIDENCE BEGINS TO MELT AWAY. He has          slammed up against a barrier in her mind. He looks less          certain by the moment as Rey seems to GROW IN STRENGTH. The          FEROCITY of confrontation builds until it hits critical mass          AND REY DOES THE UNTHINKABLE! SHE ENTERS HIS HEAD, AMAZED          AT WHAT SHE IS SEEING!                          REY           ... You... you're afraid... that you           will never be as strong as... Darth           Vader!          KYLO REN SUDDENLY WITHDRAWS HIS HAND, as if her face were          FIRE HOT. TAKES A STEP BACK, CONFUSED, RATTLED. Rey's body          is released, she breathes deeply, her powerful eyes still on          Kylo Ren, who starts to leave.          And we PRELAP:           SNOKE (V.O.)           This scavenger, resisted you?          INT. STARKILLER PLANET - ASSEMBLY ROOM - NIGHT          Kylo Ren, mask off, stands before Snoke.                          KYLO REN           She's strong with the Force, untrained           but, stronger than she knows.          And while Ren's mind no doubt goes to Luke:                          SNOKE           And the droid?                                                                            (CONTINUED)                         CONTINUED:          Kylo Ren hesitates to reveal the truth. Then:           GENERAL HUX (O.S.)           Ren believed it was no longer valuable           to us.          Ren turns back -- Hux enters the large space, moves to the          platform beside Ren.           GENERAL HUX (CONT'D)           That the girl was all we needed. As           a result, the droid has most likely           been returned to the hands of the           enemy. They may have the map already.          Snoke is visibly furious.                          SNOKE           Then the Resistance must be destroyed           before they get to Skywalker.                          GENERAL HUX           We have their location. We tracked           their reconnaissance ship to the           Ileenium system.                          SNOKE           Good. Then we will crush them once           and for all. Prepare the weapon.          Kylo Ren is stunned by the moment -- that isn't what he meant          at all --                          KYLO REN           Supreme Leader. I can get the map           from the girl. I just need your           guidance.                          SNOKE           If what you say about this girl is           true, bring her to me.          INT. STARKILLER BASE - HOLDING CELL - DAY          SLOW PUSH IN ON REY, shackled, mind still racing over what's          happened between her and Kylo Ren. She is flooded with          emotions, feeling her potential, her strength, that in this          moment of being restrained, perhaps anything is possible.          She turns to the Stormtrooper Guard. Studies him for an          intense beat. Then says:                          REY           You will remove these restraints.           And leave this cell, with the door           open.          The Stormtrooper Guard looks at her. A beat.                                                                            (CONTINUED)                         CONTINUED:                          TROOPER GUARD #2           What did you say?          Rey's eyes stay trained on him. She shifts in her seat, her          confidence wavering, but she repeats, with authority:                          REY           You will remove these restraints.           And leave this cell, with the door           open.          The Stormtrooper Guard, rifle aimed, MOVES FOR HER.          Rey's heart pounds -- is she about to be killed, freed, or          laughed at? The tension unbearable when the Guard says:                          TROOPER GUARD #2           I'll tighten those restraints,           scavenger scum!          INT. STARKILLER BASE - CORRIDOR 1 - DAY          LOW ANGLE: Kylo Ren, masked, rounds a corner, PASSES US.          INT. STARKILLER BASE - HOLDING CELL - DAY          Rey stares intently at the trooper. Calms herself. And          tries again.                          REY           You will remove these restraints.           And leave this cell, with the door           open.                          TROOPER GUARD #2           I will remove these restraints. And           leave this cell, with the door open.          He reaches down and UNLATCHES THE RESTRAINTS. HE THEN TURNS          AND STARTS TO HEAD OUT, her back to him as he exits. SHE IS          IN SHOCK. Then tries, quickly:                          REY           And you will drop your weapon.                          TROOPER GUARD #2           And I'll drop my weapon.          The Trooper Guard DROPS HIS WEAPON without turning back --          Rey HEARS the gun fall. She's incredulous. The guard has          LEFT THE CELL, ITS DOOR OPEN.          REY, in ABSOLUTE DISBELIEF, MOVES QUICKLY OUT OF FRAME!          INT. STARKILLER BASE - HOLDING CELL - DAY          Kylo Ren enters the cell -- we PUSH IN ON HIM as he takes in          the empty cell -- AND IMMEDIATELY UNDERSTANDS WHAT HAS          HAPPENED.                                                   (CONTINUED)                         CONTINUED:                          KYLO REN           NO!          Enraged, he RIPS OUT HIS SABER and --          EXT. STARKILLER BASE - CORRIDOR 1 - DAY          WIDE ANGLE, empty corridor, toward the cell: we only HEAR          the horrible SOUNDS. DESTRUCTION. YELLING. A few pieces          of red hot DEBRIS BOUNCES into the corridor.          Two STORMTROOPERS, crossing at the far end of the hall, STOP          TO WATCH this display of pure FURY. They retreat, and fast.          INT. STARKILLER BASE - CONTROL ROOM - DAY          Workers at their controls. Vast snowy landscape seen outside.          Their GAUGES RISE -- THE WEAPON CHARGING SLOWLY --                          GENERAL HUX           Begin charging the weapon!                          STARKILLER TECHNICIAN           Yes, sir. Weapon charging.          EXT. STARKILLER BASE PLANET - DAY          A vast view of the planet -- a MASSIVE SOLARVAC ARRAY          surrounds a port TEN MILES IN DIAMETER.          MILLIONS OF PANELS turn on the ARRAY -- a wave of BRILLIANT          REFLECTIONS. Suddenly, like a planetary-scale TESLA COIL          LINE OF ENERGY, THE POWER OF THE SUN begins to TRAVEL DOWN          to the Starkiller Base planet.          INT. RESISTANCE BASE - DAY          Finn, now a member of the inner circle of the Resistance, is          huddled with the group around the MAP TABLE, which displays          a WIREFRAME HOLOGRAM of a ROLLING VIEW OF THE SURFACE OF          STARKILLER BASE. With Finn are Han, Leia, Poe, C-3PO,          Statura, Ackbar, Brance, SNAP, MAJOR EMATT (60), NIEN NUNB,          and others. An urgent, messy strategy session --                          POE           The scan data from Snap's           reconnaissance flight confirms Finn's           report.                          SNAP           They've somehow created a hyper           lightspeed weapon built within the           planet itself.                          BRANCE           A laser cannon?                                                                                                                              (CONTINUED)                         CONTINUED:                          SNAP           We're not sure how to describe a           weapon of this scale.                          MAJOR EMATT                          (HORRIBLE MEMORIES)           It's another Death Star.                          POE           I wish that were the case, Major.          Poe hits a control. A WIREFRAME OF THE DEATH STAR APPEARS.                          POE (CONT'D)           This was the Death Star.          Poe hits another control -- the Death Star SHRINKS -- AND          SHRINKS AND SHRINKS, as the SURFACE AREA OF THE STARKILLER          BASE IS DRAWN INTO A LARGER IMAGE, REVEALING THE ENTIRE BASE          PLANET. The Death Star is a minuscule SATELLITE in          comparison.                          POE (CONT'D)           This is Starkiller Base.          This is news to many here, and they're stunned.                          HAN           So it's big.                          ADMIRAL ACKBAR           How is it possible to power a weapon           of this size?                          FINN           It uses the power of the sun. As           the weapon is charged, the sun is           drained until it disappears.          An OFFICER runs up, hands Leia a DATACARD.                          LEIA           (eyes on datacard)           The First Order: they're charging           the weapon again, now.           (then, heart sinking)           Our system is the next target.                          C-3PO           Oh my. Without the Republic fleet,           we're doomed.          They all react to this horrible news.                          HAN           Okay, how do we blow it up?           (all eyes on him)           There's always a way to do that.                                                                            (CONTINUED)                         CONTINUED:          But no one has anything. Leia watches the silence,          frustrated. Finally, rallying them:                          LEIA           Han's right.          Han is surprised.                          ADMIRAL STATURA           (at first hesitant)           In order for that amount of power to           be contained, that base would need           some kind of thermal oscillator...                          FINN           There is one.          All eyes on Finn as he moves around the hologram to a location          on the Starkiller Base -- it is ZOOMED IN: A GIANT BLACK          HEXAGONAL STRUCTURE.                          FINN (CONT'D)           Precinct 47. Here.                          ADMIRAL STATURA                          (HYPOTHESIZING)           If we can destroy that oscillator,           it might de-stabilize the core and           cripple the weapon.                          MAJOR EMATT           ... Maybe the planet.          Poe then tries to bolster spirits, looking at the BIG          HEXAGONAL STRUCTURE: the Oscillator.                          POE           We'll go in there and we'll hit that           oscillator with everything we got.                          ADMIRAL ACKBAR           They have defensive shields that our           ships cannot penetrate.                          HAN           We disable the shields.                          (TO FINN)           Kid, you worked there, what do you           got?                          FINN           (beat, then:)           I can do it.                          HAN           I like this guy.                                                                                                                              (CONTINUED)                         CONTINUED:                          FINN           I can disable the shields. But I           have to be there, on the planet--                          HAN           We'll get you there.                          LEIA           Han, how?                          HAN           If I told you, you wouldn't like it.                          POE           So we disable the shields, take out           the oscillator and we blow up their           big gun. All right. Let's go!          And everyone splits.          EXT. HANGARS, RESISTANCE BASE - DAY          SERIES OF SHOTS: THE RESISTANCE FLEET PREPARES FOR ITS          MISSION. Pilots inspect crafts, including Snap, Nien Nunb,          and Poe at his black-marked X-wing. Mechanics make          adjustments as Crews fuel the jets. Ground controllers move          ships into takeoff formation. Pilots prep their ships,          including BB-8, who is PULLED INTO Poe's black X-wing.          Finn approaches Poe wearing the jacket.          Poe slaps Finn's shoulder as he heads off. Finn watches          Poe, despite it all, a little laugh. Over this:          EXT. RESISTANCE BASE - DAY          Chewie and Finn follow Han's orders as they prepare the Falcon          for one more daring run, maybe its last:                          HAN           Chewie, check that donal capitator.           Come on. Let's go. -- Finn, be           careful with those - they're           explosives.                          FINN           Now you tell me?                          LEIA           No matter how much we fought, I've           always hated watching you leave.          Han looks over, there's Leia.                          HAN           That's what I did it. So you'd miss           me.          She laughs, moves up close to him.                                                   (CONTINUED)                         CONTINUED:                          LEIA           I did miss you.          He looks at her, says sweetly, out of the blue:                          HAN           It wasn't all bad, was it? Huh?           Some of it was...good.                          LEIA           ... Pretty good.                          HAN           Some things never change.                          LEIA                          (SMILES)           True. You still drive me crazy.          Han places his hands on her shoulders. It could be thirty          years ago.          They both know there's a good chance he won't make it back.          They pull each other tight, holding for dear life. Quietly,                         LONGINGLY:                          LEIA (CONT'D)           If you see our son again, bring him           home.          INT. STARKILLER BASE - DAY                          STORMTROOPER           Sir, sensors triggered in hangar           718. We're searching the area.                          KYLO REN           She's just beginning to test her           powers. The longer it takes to find           her, the more dangerous she becomes.          Kylo exits.          INT. STARKILLER BASE - ATRIUM AREA - DAY          TIGHT ON REY'S FACE as she peers nervously around a corner.          Rey runs down a long, glossy hall, taking cover in an alcove,          the Trooper Guard's rifle HELD TIGHT.          EXT. LIGHTSPEED SPACE - DAY          The Falcon SCREAMS PAST --          INT. MILLENNIUM FALCON - COCKPIT - DAY          Flying at LIGHTSPEED, Finn, with Han and Chewie.                                                                                                     (CONTINUED)                         CONTINUED:                          FINN           How are we getting in?                          HAN           Their shields have a fractional           refresh rate. Keeps anything           traveling slower than lightspeed           from getting through.          Finn is suddenly filled with dread.                          FINN           We're gonna make our landing approach           at lightspeed?!          Chewie, thinking it's crazy too, says: HELL YES WE ARE!                          HAN           Alright, Chewie, get ready.          Chewie GROANS: he's ready. Han studies the PANEL INDICATORS.                          HAN (CONT'D)           And Now!          Chewie and Han hit switches --                                   EXT. LIGHTSPEED SPACE/STARKILLER BASE - DAY          The Falcon's ENVIRONMENT SHIFTS INSTANTLY FROM LIGHTSPEED TO          PLANET ATMOSPHERE -- it's suddenly FLYING 100 FEET ABOVE THE          SNOWY, ROCKY GROUND, HEADED FOR A THICK FOREST!          INT. MILLENNIUM FALCON - COCKPIT - DAY                         CHEWIE GROANS:                          HAN           I AM PULLING UP!!!          EXT. STARKILLER BASE - DAY          But the Falcon has no time -- it PLOWS through the trees!          It then RISES --          INT. MILLENNIUM FALCON - COCKPIT - DAY          ALARMS BLARE as the ship SLAMS THROUGH BRANCHES, SHOOTS TOWARD          SKY! Han does his best to steer -- Chewie GROANS -- in the          madness Han YELLS:                          HAN           I get any higher, they'll see us!          And the ship DIVES again, back into the trees!          EXT. STARKILLER BASE - CLEARING - DAY          A quiet CLEARING on the forest TREELINE. Suddenly the          MILLENNIUM FALCON HURTLES OUT OF THE FOREST! From an eruption          of BRANCHES and PINE, the ship DIVES -- SLAMS INTO THE SNOW!          It DIGS THROUGH A THOUSAND YARDS OF WHITE until it finally          comes to a canted stop, half buried in the snow!          INT. STARKILLER BASE - DAY                          OFFICER           Sir, she was not found in hangar 718           but all troops are on alert.                          KYLO REN           Put every hangar on lock-down. She's           going to try to steal a ship to--          Suddenly, Kylo senses something. Something familiar.           KYLO REN (CONT'D)           Han Solo...          EXT. STARKILLER BASE - DAY          MASSIVE WIDE SHOT of an EPIC SNOWSCAPE. Han, Finn and Chewie          cross the terrain. WALKERS appears on the horizon. Han,          Finn and Chewie take cover behind a base structure. Chewie          carries a BLACK DUFFEL of EXPLOSIVES.                          FINN           The flooding tunnels are over that           ridge. We'll get in that way.                          HAN           What was your job when you were based           here?                          FINN           Sanitation.                          HAN           Sanitation? Then how do you know           how to disable the shields?                          FINN           I don't. I'm just here to get Rey.                          HAN           People are counting on us! The galaxy           is counting on us--!                          FINN           Solo, we'll figure it out! We'll           use the Force!                          HAN           That's not how the Force works--!                                                   (CONTINUED)                         CONTINUED:          Chewie MOANTALKS.                          HAN (CONT'D)           Oh really, you're cold?                          FINN           Come on!          They follow Finn on the snowy hike. On the horizon, THE          LASER SIPHON SHOOTING INTO THE SKY, SLOWLY SUCKING THE SUN          DRY.          INT. STARKILLER BASE - CONTROL ROOM - DAY          Technicians at work, the SUN SUCKING seen in the window behind          him.                          GENERAL HUX           Report.           FIRST ORDER OFFICER           Weapon charged in fifteen minutes,           sir.          INT. STARKILLER BASE - CORRIDOR 4 - DAY          A STORMTROOPER waits to board a Transport Compartment. The          door WHOOSHES open -- HAN, FINN and CHEWIE are there!                          STORMTROOPER FN-9330           Hey!          He fumbles for his blaster but Chewie shoots first. WIDE          ANGLE of the corridor as the Trooper flies back, dead.          Chewie drags him out of sight. Han and Finn peer around a          corner, wary.                          HAN           The longer we're here, less luck           we're going to have. The shields?                          FINN           I have an idea about that.          Han and Chewie follow Finn.          INT. STARKILLER BASE - CORRIDOR - DAY          Captain Phasma heads down a corridor, distant Stormtroopers.          Suddenly Phasma is T-BONED HARD AND FAST -- SHOVED OUT OF          FRAME BY CHEWIE!          And now we're in a NARROW CROSS-CORRIDOR, CHEWIE WITH HIS          ARMS AROUND PHASMA, FORCED TO FACE FINN, WHO HOLDS HIS BLASTER          ON HIS FORMER CAPTAIN. Han stands behind Finn.                          FINN           Remember me?                                                   (CONTINUED)                         CONTINUED:                          CAPTAIN PHASMA           FN-2187.                          FINN           Not anymore. The name's Finn, and           I'm in charge. I'm in charge now,           Phasma. I'm in charge.                          HAN           Bring it down. Bring it down.                          FINN           Follow me.          Finn SMILES as we CUT TO:          INT. STARKILLER BASE - ATRIUM AREA - DAY          TIGHT ON REY'S FACE as she peers nervously around a corner.          Rey runs down a long, glossy hall, taking cover in an alcove,          the Trooper Guard's rifle HELD TIGHT.          From this alcove, she can see down another LONG, PERPENDICULAR          WALKWAY -- on one side, a STONE AND STEEL WALL. On the other          side, a VAST ATRIUM, with a railing-free DROP OFF, the white          pill-light design descending HUNDREDS OF FEET.          At the end of this walkway is an OPEN HANGAR DOOR, revealing          HUNDREDS OF TIE FIGHTERS parked outside.          TIGHT on Rey's face as her plan is clear. But the problem:          between her and the ship she wants to steal, is a GROUP OF          STORMTROOPERS. Guards, in conversation.          As she tries to think about what to do next, we see, FAR          BEHIND HER in the perpendicular hall, ANOTHER GROUP OF STORM-          and SNOWTROOPERS headed her way!          Rey's mind races -- another peek out and she RUNS FAST, across          the walkway, and CLIMBS DOWN -- her fingertips disappearing          over the edge just as the Troopers approach and continue.          WIDE SHOT as Rey holds on carefully as the guards walk off,          not seeing her over the edge, a death drop below her.          But then she SEES SOMETHING and has a brainstorm. She          strenuously cross-climbs to an invisible SERVICE HATCH, which          She opens, and climbs INSIDE THE WALL, closing the hatch          behind her.          INT. STARKILLER BASE - INSIDE THE WALLS - DAY          A REMARKABLE IMAGE, inside the inner workings of the base.          Tiny by comparison, Rey climbs amid the incredible          infrastructure, a drop to infinity beneath her. She is          between the LIGHT SOURCE and the WHITE PILL SHAPES, as she          makes her way ACROSS.          INT. STARKILLER BASE - ATRIUM AREA - DAY          WIDE SHOT of the Stormtrooper GUARDS, above the drop off          into the atrium. What they cannot see is a SHADOWED          SILHOUETTE OF REY against the ENDLESS WHITE PILL LIGHTS as          she climbs across the space, beneath them, toward her exit!          INT. STARKILLER BASE - CONTROL ACCESS POINT - DAY          CLOSE AS PHASMA SITS INTO FRAME in front of a WORKSTATION --          Finn, Han and Chewie, blasters aimed. Phasma reluctantly          works controls on the workstation.                          FINN           You want me to blast that bucket off           your head? Lower the shields.                          CAPTAIN PHASMA           You're making a big mistake.                          FINN           Do it.          Chewie MOAN/TALKS. Phasma hits a few more buttons -- the          controls BEEP-CLICK. "SHIELDS DISABLE INITIATE". Eyes on                         THE WORKSTATION:                          FINN (CONT'D)           Solo, if this works, we're not going           to have a lot of time to find Rey.                          HAN           Don't worry kid, we won't leave here           without her.          The controls BEEP-CLICK. "SHIELDS DISABLED".                          CAPTAIN PHASMA           (to Finn, cruel)           You can't be so stupid as to think           this will be easy. My troops will           storm this block and kill you all.                          FINN           I disagree. What do we do with her?                          HAN           Is there a garbage chute? Trash           compactor?                          FINN           Yeah, there is...          INT. RESISTANCE BASE - DAY          An ALERT: OFFICERS at their consoles, OVERLAPPING, urgent.                                                                                                                              (CONTINUED)                         CONTINUED:                          OFFICER           General, their shields           are down!                          C-3PO           Thank the Maker!                          LEIA           Han did it! Send them           in!                          ADMIRAL STATURA           Give Poe full authorization           to attack.                          REAR ADMIRAL                          GULCH           Black Leader, go to           sub-lights. On your           call.          INT. X-WING - DAY          At LIGHTSPEED, Poe pilots:                          POE           Roger, base -- red squad, blue squad,           take my lead.          INT. X-WING - DAY          Nien Nunb pilots, acknowledges order in alien language.          INT. X-WING - DAY          Another pilot, ZOLO ZIFF.                          YOLO ZIFF           Dropping out of lightspeed.          EXT. SPACE/STARKILLER BASE - DAY          With CONCUSSIVE BLASTS, the X-WINGS APPEAR and ROAR PAST          CAMERA toward the Starkiller Base planet!          EXT. STARKILLER BASE - CLEARING - DAY          The CRASHED FALCON, two parked TIE FIGHTERS and a TROOP          TRANSPORT VEHICLE beside it.          EXT. STARKILLER BASE - CLEARING - DAY          At a distance, the X-WINGS DROP FROM THE SKY, TOWARD THE          HEXAGONAL OSCILLATOR STRUCTURE IN THE DISTANCE!          EXT. STARKILLER BASE - ABOVE OSCILLATOR - DAY          The squad of X-wings DIVE BOMBS the Oscillator, the Black          Falcon leads. INTERCUT BETWEEN THIS AND VARIOUS X-WINGS.          INT. X-WING - DAY                         POE PILOTS:                          POE           Almost in range! Hit the target           dead center, as many runs as we can           get!          INT. X-WING - DAY          Snap pilots.                          SNAP           Approaching target.          INT. X-WING - DAY          Nien Nunb acknowledges.          INT. STARKILLER BASE - CONTROL ROOM - DAY          LARGE EXPLOSIONS atop the DISTANT OSCILLATOR, seen through          the large windows! ALARMS BLARE in here -- we PULL BACK as          Hux moves quickly to see the damage, he turns sharply to a          First Order Officer:                          GENERAL HUX           Dispatch all squadrons...                          COLONEL DATOO           Yes, General.          INT. X-WING - DAY                          POE           Let's light it up!          DIVE BOMBING THE OSCILLATOR, HITTING IT DEAD CENTER IN QUICK          SUCCESSION!          INT. X-WING - DAY           LT. BASTIAN           Direct hit!                          ELLO ASTY           But no damage!          Jess reacts.                          POE           Yeah, we gotta keep hitting it!           Another bombing run! Remember, when           that sun is gone, that weapon will           be ready to fire! But as long as           there's light, we got a chance.          INT. X-WING - DAY          A BEEPING from BB-8, riding in the back of his X-wing, and          Poe looks out -- can't believe what he's seeing: DOZENS OF          TIE FIGHTERS!                          POE           Guys, we got a lot of company!          INT. STARKILLER BASE - JUNCTION AREA - DAY          Finn, Han and Chewie take cover, Chewie pulling some          EXPLOSIVES out of the duffel. Blast doors nearby.                          FINN           We'll use the charges to blow that           blast door. I'll go in and draw           fire, but I'm gonna need cover.                          HAN           You sure you're up for this?                          FINN           Hell no -- I'll go in find and try           to find Rey --           (improvising, fast)           -- The troopers'll be on our tail.           We have to be ready for that. There's           an access tunnel that'll leads --           (Han starts pointing           with his chin to                          SOMETHING BEHIND                          FINN)           Why are you doing that? Why are you           doing -- this? I'm trying to come           up with a plan.          Finn turns -- AND SEES REY, CLIMBING OUT FROM INSIDE THE          WALL, carefully climbing back up to the main level! He can't          believe it! Chewie MURMURS his relief. Han is maybe more          grateful than anyone.          INT. RESISTANCE BASE - DAY          A Resistance Technician turns to Leia:                          ADMIRAL ACKBAR           The Oscillator's still standing.                          OFFICER           X-wings coming back for another round           of attacks!          INT. STARKILLER BASE - CORRIDOR 6 - DAY          Rey climbs up to the corridor, vigilant. She hears a SOUND,          SWOOPS her rifle at -- Finn, Han and Chewie! She cannot          believe it! All Finn wants to do is hug her -- and she him.                                                                            (CONTINUED)                         CONTINUED:                          HAN           Are you all right?                          REY           Yeah.                          HAN           Good.                          FINN           What happened -- did he hurt you?                          REY           Finn. What are you doing here?!                          FINN           We came back for you.          She is speechless -- this is all she's ever wanted anyone to          do. Chewie TALKS -- and Rey's eyes nearly tear up.                          FINN (CONT'D)           What'd he say?                          REY           (shrugs, smiles, though           nearly in tears)           ... That it was your idea.          Finn awkwardly smiles. It's his nature. They embrace.                          REY (CONT'D)           Thank you.                          FINN           How did you get away?                          REY           I can't explain it. And you wouldn't           believe it.                          HAN           Escape now. Hug later.          EXT. STARKILLER BASE - DAY          The X-Wings DOGFIGHT with the TIE Fighters on the surface of          the snowy planet. INTERCUT BETWEEN the ships SCREAMING past          each other, and the COCKPITS of the Resistance and First          Order fighters. Poe's fighter NEARLY COLLIDES with a close-          passing TIE Fighter!                          SNAP           I got one behind me. See it?                          JESS           Yeah, I'm on it!                                                                                                     (CONTINUED)                         CONTINUED:          A heavy cannon emplacement launches a missile that shreds an          X-wing fighter.                          JESS           Furillo's been hit!                          SNAP           Watch out for ground fire!          EXT. STARKILLER BASE - DAY          The X-wings ROAR across the sky, BLASTING and DODGING the          TIE Fighters and missiles.          PULL BACK TO REVEAL Han, Finn, Rey and Chewie, who run out          here, into the snow, stopping, eyes on the sky, watching the          lop-sided battle.          THE FOUR HEROES TURN TO EACH OTHER, RESOLVE IN THEIR EYES.          A long moment of communication.                          HAN           They're in trouble. We can't leave.           (to Finn, re: Chewie)           My friend here has a bag full of           explosives. Let's use 'em.          INT. RESISTANCE BASE - DAY          A Resistance Technician turns to Leia:           KAYDEL KO CONNIX           General, are you seeing this?                          VOBER DAND           Two more X-wings down. That's half           our fleet destroyed.                          C-3PO           And their weapon will be fully charged           in 10 minutes! It would take a           miracle to save us now.          INT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS          Han and Chewie arrive here to find THREE SECURITY          STORMTROOPERS approaching a Maintenance Hatch. Instantly,          Chewie takes out the middle one with his Bowcaster. Han and          the other two Stormtroopers OPEN FIRE, but Han's aim is true.          ALARMS START BLARING!          INT. JUNCTION STATION - NEAR DARKNESS          Running inside from a parked snowspeeder, Rey opens a service          hatch. Finn behind her, as she reaches into the mechanics          of the place, very much like the very first shot we saw of          Rey.          And she YANKS a piece of TECH from the machinery and:          INT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS          The HATCH OPENS! Han and Chewie, having been on the lookout,          step inside, weapons poised. Chewie MOANS.                          HAN           That girl knows her stuff.          INT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS          Han and Chewie divide the explosives. Talk in hushed tones.                          HAN           We'll set the charges at every other           column.          He GROAN/TALKS to Han, who looks around, reconsiders.                          HAN (CONT'D)           You're right. That's a better idea.           (checks his detonator)           You take the top.                          (CHEWIE DOES)           I'll go down below. Detonator.           We'll meet back here.          They head off in opposite directions.          INT. OSCILLATOR STRUCTURE - NEAR DARKNESS          Han finishes placing an explosive. Checks he's all-clear          and hurries down to the next level. Chewie climbs up a level.          INT. OSCILLATOR STRUCTURE - MAIN ENTRANCE - NEAR DARKNESS          A SQUAD of Stormtroopers SNAP to alert as Kylo Ren approaches.          CONTROLS ARE HIT and the huge DOOR OPENS. Without hesitation,          Kylo walks INTO THE OSCILLATOR.          INT. OSCILLATOR STRUCTURE - NEAR DARKNESS          A COLOSSAL CYLINDRICAL STRUCTURE. DARK CORRIDORS and          CATWALKS. Kylo Ren comes to a stop. Scans the structure.          SENSING SOMETHING, he motions the Stormtrooper Squad upwards.                          KYLO REN           Find them.          They rush past him. Kylo Ren turns slowly, and HEADS DOWN.          INT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS          The Stormtroopers move up the ramp, weapons ready, checking          carefully where blind corners intersect from the perimeter.          They come round to the next higher level and PASS CLOSE TO          CAMERA. When they've passed, TILT to find CHEWIE, in the          shadows of the grillwork.                                                   (CONTINUED)                         CONTINUED:                                   Once they're gone, he plants another charge.          EXT. STARKILLER BASE - OSCILLATOR STRUCTURE - NEAR DARKNESS          The Snowspeeder comes to a stop outside the structure. Finn          and Rey stop for a moment, look to the sky: THE SUN IS NEARLY          GONE.          INT. OSCILLATOR STRUCTURE - LOWER LEVEL - NIGHT          Han finishes setting a charge and is about to move on when          he HEARS SOMETHING and conceals himself behind a wide,          vertical support. He peaks around the edge and his whole          demeanor changes --          HAN'S POV: Kylo Ren appears and stops at the railing, looking          down into the filter.          Han looks at his son with a tortured storm of feelings.          WE'RE WITH KYLO REN as he resumes his hunt. He heads directly          toward WHERE HAN IS HIDING! Kylo Ren has an INCREASING SENSE          OF HAN'S PRESENCE as he moves closer. He comes to where Han          was hiding -- but HAN IS NOWHERE TO BE SEEN.          From his hiding place in a narrow, POWER CHAMBER in the wall,          HAN WATCHES HIS SON PASS ONLY A FEW FEET IN FRONT OF HIM.          Han SHIFTS HIS POSITION in the tight compartment, so he can          watch Ren's progress. Kylo Ren turns onto a FLAT BRIDGE          THAT BISECTS the open space.          Unaware of his father, Kylo Ren walks purposefully across to          the opposite side. Han watches his son walk off -- the CLANK-          CLANK of Kylo Ren's boots receding.          This is Han's opportunity to escape but Leia's words echo          through his mind. He makes a decision and moves out, to the          edge of the catwalk. He calls out, strongly:                          HAN           Ben!          The name ECHOES as Kylo Ren STOPS, far across the vast          catwalk. He turns.                          KYLO REN           Han Solo. I've been waiting for           this day for a long time.          Finn and Rey make their way into the space, opening a HATCH          that allows A BEAM OF PRECIOUS SUNLIGHT to stream down like          a spotlight on Han and his son. Finn and Rey get to a railing          and look down. They can SEE and HEAR Han and Kylo Ren on          the catwalk below.                                                                                                                              (CONTINUED)                         CONTINUED:                          HAN           Take off that mask. You don't need           it.                          KYLO REN           What do you think you'll see if I           do?          Han moves toward Kylo Ren.                          HAN           The face of my son.          Kylo TAKES OFF HIS MASK. Han is JOLTED -- seeing the face          of his son for the first time as a man.                          KYLO REN           Your son is gone. He was weak and           foolish, like his father. So I           destroyed him.                          HAN           That's what Snoke wants you to believe           but it's not true. My son is alive.          SEVERAL LEVELS BELOW them, CHEWIE comes to the rail to watch.          INT. OSCILLATOR STRUCTURE - LOWER LEVEL - NEAR DARKNESS          Kylo flares.                          KYLO REN           No. The Supreme Leader is wise.          UP ABOVE, Finn, Chewie and Rey watch, rapt. Stormtroopers          dot the perimeter of the structure, watching the scene.          ON THE BRIDGE, Han moves closer, stern:                          HAN           Snoke is using you for your power.           When he gets what he wants, he'll           crush you -- you know it's true.          Kylo hesitates. Somehow, he does know it.                          KYLO REN           It's too late.                          HAN           No it's not. Leave here with me.           Come home. We miss you.          For the first time, Kylo Ren seems truly conflicted. Tears          flood his stoic eyes...                          KYLO REN           I'm being torn apart. I want to be           free of this pain.          INT. OSCILLATOR STRUCTURE - DARKNESS FALLS          Han takes one step toward his son, but stops himself.                          KYLO REN           I know what I have to do, but I don't           know if I have the strength to do           it. Will you help me?          Han hears his son's voice again, pained and vulnerable.                          HAN           Yes. Anything.          Kylo Ren unholsters his lightsaber and SLOWLY EXTENDS IT to          Han, within a foot of Han's chest. Han almost can't believe          it. The moment seems to last forever. And just then, the          LAST BEAM OF SUNLIGHT streaming through the open hatch          VANISHES.          Han actually smiles -- and reaches out for the dark weapon --          but with the light now gone, KYLO REN'S EYES FILL WITH          DARKNESS, HE IGNITES THE LIGHTSABER -- THE FIERY BLADE SHOOTS          OUT, RIGHT THROUGH HAN'S CHEST AND BACK!                          KYLO REN           Thank you.          ABOVE, Finn and Rey GASP -- SCREAM --                          FINN                          (PANTING)           Solo.                          REY                          (ALSO PANTING)           No, no.          Han's last moment is looking into his son's face. HAN'S          KNEES BUCKLE. The blade tilts down with him... until KYLO          REN EXTINGUISHES IT AND HAN HOLDS onto the catwalk -- his          life slipping away.          Finally Han FALLS BACK, OFF THE CATWALK, INTO THE DEPTHS OF          THE STRUCTURE!          INT. RESISTANCE BASE - DAY          Leia, feeling it instantly -- knowing -- drops into a seat,          DEVASTATED.          INT. OSCILLATOR STRUCTURE - NIGHT          Kylo Ren is somehow WEAKENED by this wicked act. Himself          horrified. His SHOCK is broken only when --          CHEWIE CRIES OUT IN AGONY! Chewie furiously FIRES AT KYLO          REN, HITTING HIM IN THE SIDE! Kylo Ren falls back, stunned.                                                                            (CONTINUED)                         CONTINUED:          Our MUSIC TAKES OVER, EPIC AND HEARTBREAKING as Stormtroopers          FIRE AT CHEWIE, who is forced to retreat down a corridor,          where he holds the EXPLOSIVE REMOTE -- he PUSHES THE BUTTON!          Hearing ONLY OUR SCORE, FIRST ONE, then TWO, then FOUR, then          SIX EXPLOSIONS rock the structure -- CATWALKS FALL as the          walls CAVE IN!          Kylo Ren SEES REY AND FINN, WATCHING THE EXPLOSIONS IN SHOCK --          then they SEE KYLO REN, WHO RECOGNIZES THEM BOTH, WITH          ASTONISHMENT. He rises to his full height and heads for          them with long strides.          Stormtroopers begin to BLAST AWAY AT REY AND FINN! CRAZED,          REY FIRES BACK AS BLASTS HIT AROUND HER. FINN WRAPS AN ARM          AROUND HER AND DRAGS/CARRIES HER OUT OF SIGHT!          INT. RESISTANCE BASE - DAY                          ADMIRAL ACKBAR           The Oscillator's been damaged but is           still functional.          COMMODORE META reacts.           OFFICER TABALA ZO           Admiral, their weapon will fire in           two minutes.          EXT. FOREST - NIGHT          From a distance the oscillator is ablaze and fractured from          the explosives. Then Rey and Finn appear, coming over a          rising, running into a bare-tree snowy forest.                          FINN           The Falcon's this way.          Finn and Rey, overcome with emotion, race through the snowy          forest -- until Finn SLOWS AND STOPS. Rey stops too, both          out of breath. They look at each other. They both know:          they can't run.          EXT. STARKILLER BASE - FOREST - NIGHT          Kylo Ren moves through the trees -- until he STOPS. Takes          out the saber, ignites it.          A still figure amidst the gusts of wind and snow.          STANDING THIRTY FEET AWAY, FACING HIM, ARE FINN AND REY.          Finn holds LUKE'S LIGHTSABER, Rey the Stormtrooper BLASTER.                          KYLO REN           We're not done yet.                          REY           You're a monster!                                                                            (CONTINUED)                         CONTINUED:                          KYLO REN           It's just us now. Han Solo can't           save you.          After a beat, Rey moves forward with the blaster -- AIMS IT!          Kylo Ren RAISES A HAND -- Rey struggles under his FORCE POWER --          she can't fire -- he strains too, especially with the WOUND          Chewie inflicted. Kylo Ren GESTURES POWERFULLY -- Rey's          BLASTER FLIES OUT OF HER HAND -- another GESTURE and Rey          FLIES BACK and SLAMS INTO A TREE thirty feet away!          She drops -- LANDS HARD in the snow. Dazed, hurt.                          FINN           Rey! Rey! Rey... Rey... Oh no. Oh           no no no...          Finn turns to her, afraid and concerned. But the SOUND OF          KYLO REN'S LIGHTSABER moving makes Finn TURN BACK TO KYLO          REN, lit by the glowing YELLOW AND RED BLADE.                          KYLO REN           TRAITOR!          In reply, Finn TURNS ON LUKE'S LIGHTSABER -- upon seeing the          weapon, Kylo Ren REACTS IN SHOCK.           KYLO REN (CONT'D)           That lightsaber. It belongs to me!                          FINN           Come get it.          Despite his fear, Finn raises his blade in welcome. Kylo          Ren CHARGES at him - Finn terrified -- Kylo Ren LUNGES but          Finn DEFLECTS Ren's SPARK-SPITTING blade!          Kylo Ren TURNS, ATTACKS, CUTS -- amazingly Finn BLOCKS,          COUNTER-ATTACKS -- clearly IMPRESSES KYLO REN, who only enjoys          this challenge more!          Rey RECOVERS, gets her bearings. Her eyes focus on the two          men fighting, through the trees.          Kylo Ren is obviously hampered by his wound, yet he attacks          with a primal SAVAGERY -- Finn BLOCKS, turning DEFENSIVE          moves into OFFENSIVE ones. And he ACTUALLY GETS A HIT IN!          LUKE'S SABER GRAZING KYLO REN'S ARM! Kylo MOVES BACK --          wounded, but more enraged than weakened. Kylo Ren CHARGES          AGAIN -- their WEAPONS POUND, SPARKS FLY, their blades LOCK,          the men are CLOSE, LIT BY the powerful, CRASHING sabers:          And Kylo Ren PUSHES FINN BACK, attacks with pure ferocity --          Finn is stunned -- unprepared for this fierceness.          Rey sees this -- Kylo Ren unleashes a MERCILESS SERIES OF          BLOWS, pushing Finn further and further back until he loses          balance.                                                   (CONTINUED)                         CONTINUED:          That's when KYLO REN STRIKES: HE LANDS A BLOW TO FINN'S TORSO --          LUKE'S LIGHTSABER FLIES FROM FINN'S HAND, THROWN TWENTY FEET!          Kylo Ren TURNS OFF HIS LIGHTSABER and REACHES FOR LUKE'S          LIGHTSABER -- BECKONING IT WITH THE FORCE.          LUKE'S LIGHTSABER VIBRATES IN THE SNOW.          Kylo Ren GESTURES, INCREASES HIS POWER -- LUKE'S LIGHTSABER          FINALLY FLIES OUT OF THE SNOW, BULLETS TOWARD KYLO REN --          -- AND SPEEDS PAST HIM!          KYLO REN TURNS TO SEE LUKE'S LIGHTSABER LAND IN THE HAND OF          REY, WHO STANDS, FACING HIM, HAVING REACHED FOR IT HERSELF,          BUT UTTERLY STUNNED THAT IT LANDED IN HER HAND! SHE IS          SHOCKED -- AND SO IS KYLO REN!          Holding it with both hands, SHE IGNITES LUKE'S LIGHTSABER          FOR THE FIRST TIME, HER EYES BLAZING.          Kylo Ren IGNITES HIS SABER.          It's REY who charges now -- Kylo Ren immediately on the          defensive. They BATTLE POWERFULLY -- He is clearly rocked          by her raw, innate skill.          INT. X-WING - NIGHT                          NIV LEK           We just lost R-1!                          JESS           We're overwhelmed! What do we do?           It isn't working!          Another pilot looks down -- SEES THE EXPLOSION -- coming          from the OSCILLATOR. Relatively small, it's an opening:                          YOLO ZIFF           Black Leader, there's a brand new           hole in that oscillator. Looks like           our friends got in!                          POE           Red Four! Red Six! Cover us!           LT. BASTIAN           I'm on it!                          ELLO ASTY           Roger!                          POE           Everybody else, hit the target hard!           Give it everything you got!          And the X-WINGS DIVE and BLAST the OSCILLATOR --          EXT. STARKILLER BASE - OSCILLATOR - NIGHT          Another two X-wings -- including Poe's -- soar through the          trench leading to the oscillator structure!                          POE           I need some help here! I need some           help!           LT. BASTIAN           I'm coming in!                          JESS           Watch out!                          ELLO ASTY           I'm hit!          The alien pilot's X-wing is blasted to pieces.                          POE           All teams - I'm going in! Pull up           and cover me!                          NIV LEK           Copy that, Black Leader! Good luck,           Poe!          The trailing X-wings peel off as Poe's black fighter darts          into the fiery breach.          INT. STARKILLER BASE - CONTROL ROOM - NEAR DARKNESS          Outside, the SUN ALMOST COMPLETELY GONE -- PULL BACK THROUGH          THE WINDOW TO REVEAL A STARKILLER TECHNICIAN:                          STARKILLER TECHNICIAN           Weapon at full capacity in thirty           seconds.                          GENERAL HUX           Prepare to fire.          EXT. STARKILLER BASE - OSCILLATOR - NIGHT          Poe's X-wing weaves through the breach. A pursuing TIE          fighter does not clear the gap, leaving Poe to circle the          interior of the unguarded structure, firing volley after          volley of torpedoes.          EXT. STARKILLER BASE - OSCILLATOR - NIGHT          The remaining X-Wings -- including Poe's -- BLAST the place --          and the structure begins to CRATER, deep underground          EXPLOSIONS!          EXT. FOREST - NIGHT          Amid the BARE WHITE TREES, ONLY TWO LIGHTSABERS -- LUKE'S          BLUE AND REN'S YELLOW-RED -- ILLUMINATE the FLURRIES OF SNOW          as Rey and Kylo Ren BATTLE HARD.          She seems to be, impossibly, STRONGER THAN HE IS for half a          dozen blows -- until he FINDS HIS STRENGTH and FIGHTS BACK --          MOVING FORWARD and PUSHING REY BACK, into the forest.          Suddenly a COLOSSAL CHUNK OF THE FOREST RIGHT BEHIND REY          DROPS AWAY! Rey is suddenly fighting on the EDGE OF A          MASSIVE, BRAND NEW CLIFF!                          KYLO REN           You need a teacher! I can show you           the ways of the Force!                          REY           The Force.          Rey closes her eyes for a long beat. When Rey opens them,          she is centered, fortified, and she POUNDS BACK, SINGLE HANDED          SWIPES, hitting Ren's gnarly, spitting saber with incredible          FORCE. It's so fast now, so furious, that Kylo Ren FALLS          BACK -- She ATTACKS HARDER!          Ren gets up again but she HITS HIS SABER'S HILT -- HIS BLADE          GOES FLYING OFF, TUMBLING INTO THE SNOW -- and she SLASHES          AGAIN AND AGAIN AND HITS KYLO REN SQUARE IN THE HEAD AND          CHEST. HE GOES DOWN, SUDDENLY A FEARFUL MAN, A LARGE BURN          SCAR SLASHED ACROSS HIS FACE! He still reaches for his saber.          And she could kill him -- right now, with ONE VICIOUS STRIKE!          But she stops. Realizing she stands on a greater edge than          even the cliff -- the edge of the dark side. The earth          SHAKES. The earth splits. A gully forms.          INT. STARKILLER BASE - CONTROL ROOM - NIGHT          The area where the RALLY was held is now COLLAPSING into a          giant sink hole! We WHIP PAN to a YOUNG TECHNICIAN, who          watches this out the control room window in horror. He          hurries off, passing COLONEL DATOO, who admonishes:                          COLONEL DATOO           Lieutenant, get back to your station!                          YOUNG TECHNICIAN           (stops, fleetingly)           Just look. We won't survive -- even           Hux has gone!          As he hurries off, WE HEAR:           GENERAL HUX (V.O.)           Supreme Leader.          INT. STARKILLER BASE - ASSEMBLY ROOM - NIGHT          Hux stands before SNOKE'S IMAGE. Relative quiet here, but          distant SOUNDS OF DESTRUCTION. Hux tries to keep it together          but is horrified, heartsick:                          GENERAL HUX           The fuel cells have ruptured. The           collapse of the planet has begun.          Snoke takes this in. Furious, desolate... knowing.                          SNOKE           Leave the base at once and come to           me with Kylo Ren.                          (GRIM)           It is time to complete his training.          EXT. FOREST - NIGHT          Rey turns, runs a hundred feet through the forest to:          FINN, who lies, near death, not far from where the GROUND          FELL AWAY. Rey falls to her knees near him, turns him over,          sees his cauterized but possibly fatal wound.                          REY           Finn! Finn...          Tears come to her eyes as she lifts him, holds his lifeless          body in her arms. Snow flurries around them as she cries,          holding this boy who she just met, who she already adores.          They are left here to die -- nearby MORE TREES DROP as the          planet continues to COLLAPSE. And just as it seems like all          is lost... Her wet eyes look up to see:          LIGHTS RISE FROM THE NEWLY-FORMED CANYON -- IT'S A SHIP WE          KNOW -- IT'S THE MILLENNIUM FALCON -- and its lights          ILLUMINATE REY, WHOSE FACE FILLS WITH HOPE!          CHEWIE IS AT THE CONTROLS. He ROARS to them!          EXT. FALCON - NIGHT          Chewie exits the ship.          MOMENTS LATER Chewie CARRIES FINN up the ramp. Rey hurries          with them back into the ship --          INT. FALCON - NIGHT          Chewie carries Finn inside, followed by Rey.          EXT. SPACE - NIGHT          And we FLY WITH THE FALCON as it leaves the planet -- we can          see CHEWIE AND REY PILOTING, the COLLAPSING PLANET BEHIND          US. The Resistance X-wings, led by Poe, follow the Falcon.          INT. X-WING - NIGHT                          POE           All teams! I got eyes on them!                          SNAP           Yes!          The X-wings ROAR OFF, skyward as the MUSIC SOARS, the PLANET          IMPLODES -- THE SUNLIGHT IT CONTAINS BURSTS FORTH, and as we          get further and further distance from what was Starkiller          Base, we witness the REBIRTH OF A SUN. Light restored to a          corner of the galaxy.          The Millennium Falcon and the X-wings RIP THROUGH SPACE,          headed home.                          POE           Our job's done here. Let's go home!          EXT. D'QAR - DAY          ESTABLISHING SHOT as the Falcon on the landing strip.          EXT. RESISTANCE BASE - DAY          The Falcon has landed among the remaining Resistance ships.          Poe is there, watching as Chewie scuttles down the ramp          carrying an unconscious Finn. Medical Personnel and Officers,          meet them, usher them inside.                          MEDIC           Easy, easy. He's hurt. We've got a           heartbeat.          Rey walks down the ramp and sees, for the first time, Leia.          C-3PO and BB-8 behind her. The crowds are cheering.          Rey is so sad for Leia, so sorry.          The two women move for each other. And Leia takes Rey's          face in her hands. Despite her heartbreak, she is grateful.          She embraces Rey. A mother's embrace.          Rey cries, too, in this emotional first meeting.          INT. RESISTANCE BASE - DAY          Chewbacca sits quietly, as do many in the base, mourning          their losses.          As BB-8 approaches R2-D2, the long dormant droid suddenly          stirs. The droids beep at each other.                          C-3PO           R2-D2! You've come back! You found           what? How dare you call me that!                          (MORE)                                                                            (CONTINUED)                         CONTINUED:           C-3PO (CONT'D)           (he swats R2-D2, who                          CONTINUES BEEPING)           Find Master Luke how? Come, R2! We           must go tell the others at once!          INT. RESISTANCE BASE - DAY          Leia stands alone and in silence, heartbroken.           C-3PO (O.S.)           General? Excuse me, General?          Leia turns to see droids.           C-3PO (CONT'D)           R2-D2 may contain some much needed           good news.                          LEIA           Tell me.          Rey stands with Leia, Poe C-3PO, BB-8 and a handful of          Resistance Officers. Suddenly R2-D2 PROJECTS A HOLOGRAM! A          LARGE NAVIGATIONAL MAP WITH A SPECIFIC MISSING CHUNK!          BB-8 BEEPS -- Poe turns to him --                          POE           Yeah, all right, buddy, hold on --          Poe runs over -- removes the ancient data device that Lor          San Tekka had given him from a base computer. He inserts it          back inside BB-8, who then PROJECTS HIS MAP -- which he          SHRINKS DOWN TO SIZE -- and the two droids MOVE SLIGHTLY --          TOGETHER -- THE TWO HOLOGRAMS UNITE, BB-8'S PIECE FILLING IN          R2-D2'S PERFECTLY!          Everyone REACTS -- amazed --                          C-3PO           Oh! The map! It is complete!                          LEIA           (hand on her heart)           -- Luke --          Suddenly there are CHEERS AND EMBRACES.          C-3PO leans down to R2-D2 and says, quietly, sweetly:                          C-3PO           (to R2-D2)           Oh my dear friend. How I've missed           you.          INT. RESISTANCE BASE - I.C.U. - DAY          A NEW DAY. Finn, unconscious in an I.C.U. POD. His fate          uncertain. Rey sits with him. Deeply worried. Finally she          leans in, close to him. She kisses him and says, quietly,          despite her fear:                          REY           We'll see each other again. I believe           that. Thank you, my friend.          EXT. D'QAR - DAY          Chewie does last minute checks of the Falcon. Rey stands          with Leia a beat and then turns to head to the Falcon. As          Rey walks off, she hears Leia call out:                          LEIA           Rey.          Rey turns around.                          LEIA (CONT'D)           May the Force be with you.          This fills Rey up. She smiles gratefully. Rey crosses to          the Falcon.          INT. MILLENNIUM FALCON - COCKPIT - DAY          Rey sits in the pilot seat, Chewie as co-pilot. Rey looks          at him compassionately.          Rey FLICKS SWITCHES and --          EXT. D'QAR - DAY          The Millennium Falcon RISES.          Leia, with Poe, BB-8, and C-3PO (with his proper arm          replaced), watches the next generation of Jedi begin her          journey.          EXT. SPACE - DAY          The Falcon FLIES through space and BLASTS to LIGHTSPEED.          EXT. AHCH-TO - DAY          A pristine and mighty OCEAN. Endless BLUE, dotted with          random, beautiful, mountainous BLACK ROCK ISLANDS, dotted          with countless GREEN TREES.          The Millennium Falcon FLIES INTO VIEW, BANKS toward one of          the ISLANDS.          EXT. AHCH-TO ISLAND - DAY          Rey, her staff strapped to her back, begins her hike up the          considerable mountain, glancing back at Chewie and R2-D2,          who watch her from the bottom of the ramp. A deep breath          and Rey continues her journey.          EXT. AHCH-TO ISLAND - STONE STAIRS - DAY          Built within the rock and foliage of this idyllic island are          seemingly endless ANCIENT STONE STEPS. Rey continues to          climb them, determined, despite her fatigue.          EXT. AHCH-TO ISLAND - STONE STRUCTURES - DAY          Rey arrives at a clearing. Small, modest, primitive stone          structures. But no one around. Rey walks past them, sees,          senses no one.          And then she stops. Feels something. She turns.          Standing forty feet away from her, his back to us, is a MAN,          in a CLOAK AND ROBE.          Rey stares, knowing exactly who it is. But she just stares          for what seems like forever. Until he finally TURNS, SLOWLY,          to her. Pulls back his hood.          IT IS LUKE SKYWALKER.          Older now, white hair, bearded. He looks at Rey. A kindness          in his eyes, but there's something tortured, too. He doesn't          need to ask her who she is, or what she is doing here. His          look says it all.          In response, Rey pulls something from the pack.          LUKE'S LIGHTSABER.          And she holds it out to him. An offer. A plea. The galaxy's          only hope.          HOLD ON LUKE SKYWALKER'S INCREDIBLE FACE, amazed and          conflicted at what he sees, as our MUSIC BUILDS, the promise          of an adventure, just beginning...                                                                            THE END
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+                                        "STARMAN"                                      Screenplay by                            Bruce A. Evans and Raynold Gideon                              with Dean Riesner (uncredited)                                       DRAFT SCRIPT                               FADE IN:               EXT. HIGHWAY - NIGHT               The wail of a siren grows out of the distance and very faintly                through the fog we see the headlights and flashing blue rack                lights of a police car coming toward us. It drops into a                dip, reappears almost immediately, hurtling down the center                of the deserted highway. It gets closer and closer until the                lights and siren fill our senses then zooms past us.               INT. POLICE CAR - NIGHT               A frightened SECURITY GUARD is tensed forward off the back                seat, his hands clutched into the fabric between the two                regular POLICE OFFICERS in front.                                     GUARD                              (an edge of fear in                               his voice)                         It's coming up... Slow down...                              (he points out between                               them)                         There, right there...               Through the windshield we can see the headlights pick up a                billboard announcing a 'new' housing development.               EXT. HIGHWAY - NIGHT               The squad car skids off the asphalt in front of the sign and                starts up a rutted dirt road. The sign tells us we are headed                for 'Pinewood Estates,' a housing development financed by                the Farmers Bank of Wisconsin.               INT. POLICE CAR - NIGHT               The Security Guard is becoming more agitated. He wipes a                cold sweat off his brow. The blue flashers reflect off the                fog onto the faces of the men. Suddenly the Security Guard                lunges forward and slaps off the rack lights and siren.                                     OFFICER                              (startled)                         Benny, God, take it easy...                                     BENNY (GUARD)                         I don't want to scare them away.               The two Police Officers exchange an indulgent look.               EXT. HOUSING TRACT - NIGHT               Using only its parking lights, the police car creeps up the                dirt road between skeletons of unfinished houses.               INT. POLICE CAR - NIGHT               The windows are rolled down. Periodically one of the men                leans out for a better look at the terrain around them.                                     SECOND OFFICER                         Smells smoke...                                     BENNY                         I told you.               EXT. HOUSING TRACT - NIGHT               The police car comes around a curve on the hillside and stops.                Above them on the next hill, a necklace of embers from a                grass fire and a burning tree flicker through the fog. The                men get out of the car.                                     BENNY                              (loud whisper)                         There!! Up on the hill!!               The officer steps forward for a better look. Benny hangs on                his shoulder.                                     BENNY                         Right in line with that burning tree.                                     OFFICER                         I don't see anything.                                     BENNY                         It's there. The fog's thicker now,                          but it's there. What do you think                          started those fires?               The officer strains to see through the fog.                                     OFFICER                         Benny, there's nothing there.                                     BENNY                         There is. They came out of the belly                          of the ship and then went to the                          first terrace and flew down into the                          houses.                                     OFFICER                         Flew?! Oh, come on Benny...               The second officer is peering intently at something down                among the houses.                                     OFFICER                         You hear that, Mike? Now he's telling                          us...                                     MIKE (SECOND OFFICER)                         What's that?               Benny and the officer look to where Mike is pointing. What                appears to be the beam of a powerful headlight bobs among                the houses below them. Further into the track another beam                of light moves slightly from right to left but seems otherwise                stationary.                                     BENNY                         What did I tell you?                                     OFFICER                         Probably kids.               One of the lights rises over a house and settles on the other                side.                                     MIKE                              (not convinced)                         Probably...               EXT. HOUSING TRACT - NIGHT               A light shines directly into our eyes. As it swings away                from us we realize that it was the searchlight on the police                car which is idling along the dirt road with its running                lights off. The fire on the hill gives the fog down here a                red tint.               INT. POLICE CAR - NIGHT               The police officers are beginning to feel anxious. Benny's                nervous fidgeting in the back seat doesn't help them any.                                     BENNY                         Don't you think you should call a                          backup?                                     OFFICER                         No, we can handle this.               EXT. HOUSING TRACT - NIGHT               The police car passes a road perpendicular to the one it is                on. A couple of houses down that road a faint glow spills                over the sides of an industrial dumpster. As we watch we                hear an eerie high pitched whistle, a shaft of light slowly                rises out of the metal box and seems to fly off between the                houses.               INT. FINISHED HOUSE - NIGHT               As a humanoid silhouette passes in front of the picture                window, a shaft of light floats by in the fog outside. The                silhouette continues around to look at the kitchen. It raises                a hand to eye level. There is a sharp "SNAP" and a hard-edged                cone of light shoots out of the darkness to capture the inside                of the kitchen and pulls back a three-dimensional image of                stove, sink, cupboards, electrical fixtures and walls to the                silhouette.               EXT. HOUSING TRACT - NIGHT               The police car is parked in the middle of the dirt road.                Benny and the officers are intent on a light that reaches                them only in strobes as it moves through the houses in the                direction of the fire on the hill. The police searchlight                swings onto the house.                                     OFFICER                              (over outside speakers)                         This is the police. Identify                          yourselves.               It is deathly silent.               Carrying a shotgun the officer motions Benny and Mike to fan                out on either side of him and, guns drawn, they cut across                the tract to where they last saw the bobbing light.               The fog quickly isolates them, heightening their fear. Each                man becomes acutely aware of the loudness of his breathing                and the crunch of his footsteps on the ground. They drift in                and out of visual contact with each other.               Benny freezes as he hears a burst of the high pitched whistle                sweep by on his left. He turns slowly to see, through the                ribs of an unfinished house, a shaft of the white light                pointing at a cement mixer.                                     BENNY                              (to the officers, his                               voice cracking)                         There's one over here...               The brilliant light swings toward him. Benny, his hands                trembling, raises the gun.                                     BENNY                         Stop!! Police!!               The light fixes on Benny and terrified he shakes off a couple                shots. The light goes out immediately.                                     MIKE                              (in Benny's direction)                         What happened?                                     BENNY                         I think I shot one.                                     MIKE                         Jesus, Benny. What are you doing?               INT. FINISHED HOUSE (BEDROOM) - NIGHT               We are looking at the back of the humanoid figure. It crosses                to a high window and looks out. The reddish tinge of the fog                outlines him.               EXT. HOUSING TRACT - NIGHT               The men strain to see something through the silent fog.                                     OFFICER                         You see anything, Mike?               Before Mike can answer, a strange percussive clicking sound                is heard. He pumps a shell in the chamber of his shotgun and                swallowing his fear moves toward the voices. They stop.                                     OFFICER                         This is the police. Identify                          yourselves.               Benny, his flashlight throwing a feeble beam in front of                him, inches around the house looking for what he shot at. He                gets to where it should be but it's not there. His light                searches the area. There is nothing but a stack of lumber.                Shaking visibly he shuffles to it and peers around its corner.                Nothing. Benny relaxes and allows himself to breathe again.                                     BENNY                              (shouts to the officers)                         You wanna give me some help over                          here.                                     MIKE                         Okay...               Benny continues around the house. He flashes his light into                a doorway. There is nothing but framing. When he moves on, a                figure steps out of the darkness to fill the space, then                raises its arms. With a sharp snap cylindrical devices swing                off its wrist into its hands.               At the corner of the house Benny hears the snap and stops.                The high pitched whistle starts behind him. He stumbles around                to face a brilliant white light flying directly at him. Benny                screams in terror and fires at it. The light swerves and a                laser streak from one of the hand rockets sears Benny's chest                and knocks him to the ground in pain. Holding his shoulder                he watches the light rise and fall erratically between the                houses.               The officers watch in awe as the beam wobbles through the                air, then crashes to the earth.                                     OFFICER                         Mike, call for back-up.                              (shouting)                         Benny, you all right?                                     BENNY                         I don't think so...                              (clutching his shoulder)                                     OFFICER                              (waving the beam of                               his flashlight, shouts)                         Benny, this is me. I'm going to take                          a look.               Benny's beam flashes back.                                     BENNY                         Don't leave me. I'm coming.               The two men begin to trot toward the light. It swings wildly                around and, accompanied by the high-pitched whistle, starts                to stagger back up the hill. Benny and the officer break                into a run. They are on their way up the hill when the light                in front of them crashes to the earth. It rolls over and                lays still, the beam shooting straight up into the air. Benny                and the officer slow their pursuit, terrified of what they                might find. Suddenly a high-pitched whistle is bearing down                on them from behind. Before they can turn a light rockets                over their heads. With a rumble the hill begins to vibrate.                As they follow its flight, they see lights beginning to ripple                to life across the skin of a saucer-shaped spacecraft resting                at the edge of the forest on top of the hill. With a rumble                the hill begins to vibrate. Frightened, the officers stop.               INT. FINISHED HOUSE - NIGHT               The humanoid figure walks rapidly down the hall into the                kitchen. An indistinct image plays on the inside of its                faceplate and we hear the faint sounds of a percussive                language. Through the window over the sink we can see the                lights of the spaceship.               The rockets flip into the humanoid's gloved hands and it is                airborne out the open back door.               EXT. HOUSING TRACT - NIGHT               From the road Benny and the officer watch as the humanoid                figure that just blasted over them flies between the trees                and into the white light emitting from the underbelly of the                spacecraft. The noise from the ship's power plant is deafening                as it begins to rise above the trees.               With Mike at the wheel the police car, its rack lights                flashing, fishtails up the dirt road and slides sideways to                a bone-jarring stop next to Benny and the officer. As they                jump out of the way they find themselves facing into the                super white beam of the figure that was in the house. They                are between it and the ship. At the angle that it is coming                up the hill, the light looks like it is heading directly for                them. This is too much for the officer and in terror he raises                his shotgun and fires wildly at it. The figure veers off and                disappears into the fog.               With an awesome roar the spacecraft reaches escape velocity                and hurtles into the night sky. The concussion waves knock                Benny and the officers off their feet.               EXT. COUNTRY ROAD - NIGHT               The escaped figure's light comes out of the fog at tree                height. We hear the high-pitched whistle of its rockets. A                burst of percussive language comes from behind the faceplate.                                     SUBTITLE                         Lander four to Mapmaker Wind. Fix                          position for rescue. Repeat. Fix                          position for rescue.               EXT. HOUSING TRACT - NIGHT               The fires on the hillside have been renewed. Shaking, Benny                and the officer rise to their feet and start toward the light                shafting straight up from the figure lying on the hillside.                The only sound is police chatter coming out of the radio in                the open squad car.               EXT. LOGGING ROAD - NIGHT               An 18-wheeler with a load of logs lumbers past us.               INT. TRUCK - NIGHT               It feels cozy with the wipers slapping the rain off the                windshield. The DRIVER is trying to steal a cigarette out of                his snoring PARTNER'S pocket without waking him up. He gets                one and reaches for the lighter.               EXT. COUNTRY ROAD - NIGHT               The escaped figure banks around a blind corner.               INT. TRUCK - NIGHT               The driver gets a glimpse of something in his headlights and                slams on the brakes, but it is too late. The figure hits the                spoiler above the cab. We hear the smack of impact. One of                its boots scars the windshield.               EXT. COUNTRY ROAD - NIGHT               The figure bounces off the jack-knifing truck and like a                wounded bird tumbles through the air into the trees. With                the light spinning crazily, it plunges through the boughs                and smashes face first into the mud at the bottom of an                embankment. The strip lights on the sides of its helmet go                out.               EXT. TRUCK - NIGHT               The driver and his partner, standing in the shafts of the                high beams, are peering into the woods.                                     PARTNER                         What the hell was it anyway?                                     DRIVER                         Damned if I know.               EXT. WOODS - NIGHT               The figure thrashes over on its back and tries to close a                shoulder-to-hip tear in its life-support suit. By the faint                identification light that flickers on and off inside its                helmet, we see a MAN FROM THE STARS. His skin is translucent                coral. He is gasping as our atmosphere mixes with his and                threatens to suffocate him.               Under his translucent skin a maze of veins and arteries extend                from a white mass that sits in the upper half of his head.                He is hairless. Underneath a graceful fore-head, transparent                eyelids droop over black pupilless eyes. The thin lips that                delineate his mouth are chalk-white.               He tries to clutch the edges of the tear together but is too                weak. His hands drop limply from the suit, allowing the rent                to gape open and reveal the translucent body underneath.                                     PARTNER (V.O.)                         Come on. I'm getting wet.                                     DRIVER (V.O.)                         It musta been a bird.                                     PARTNER (V.O.)                         How about if I drive now?               Behind the faceplate a piece of white light breaks off from                the shining mass in the STAR MAN'S head and moves down his                neck. Through the hole in the suit we see it arrive at the                top of his single lung. The white light spreads throughout                the organ like a phosphorescent tide. The STAR MAN lapses                into unconsciousness as we hear the truck pull away.               INT. HELICOPTER (COCKPIT) - DAWNBREAK               A light rain is falling.               We are looking through the windscreen at the gray landscape                passing under the helicopter. MARC SHERMIN, a grizzled man                in his mid-fifties with an honest stubborn face, shifts his                attention from the right side to the left side of the craft.                Below him he can see the road leading into the housing tract                is blocked by police cars. The helicopter leans into a banking                turn and the spacecraft's blackened landing site comes into                view. Below it an orange nylon tent has been erected over                the dead extraterrestrial. It glows from the inside. An Air                Force helicopter is parked on the other side of the burn.               EXT. HOUSING TRACT - DAWNBREAK               A man in a white contamination suit is helping Benny and the                two officers into the Air Force helicopter. The three men                are glassy-eyed and wrapped in blankets. Benny has a bandage                across his chest. They look up at Shermin's descending                helicopter. They are still looking at it when they disappear                inside.               Shermin's unmarked S65 settles on the clearing. The nose                door is open and Shermin, carrying the hood of his                contamination suit, comes down the ladder. A tall homespun                man, also in a hoodless contamination suit, steps forward to                greet him.                                     MAN                              (around a cigarette)                         Major Aaron Bell...                                     SHERMIN                         Marc Shermin, National Security                          Agency.               Shermin takes a moment to look over at the tent, the green                hillside and the forest beyond. It is pastoral in the soft                light of dawn.                                     SHERMIN                         This has always been my favorite                          time of day.                                     MAJOR BELL (MAN)                         Very beautiful country up here...                                     SHERMIN                         Any signs of biological contamination,                          excessive radiation, anything like                          that?                                     MAJOR BELL                         Not on the landscape. We're trying                          to get a tube under the faceplate                          for a reading on possible deadly                          lifeforms but it's hard going.                                     SHERMIN                         Can you see under the faceplate?                                     MAJOR BELL                         No.               Bell's hands shake as he lights a new cigarette off the one                in his mouth.                                     SHERMIN                         There's a good chance you could be                          wrong about this thing then...                                     MAJOR BELL                         Wait'll you see it.               He throws away the cigarette and begins to put on his                contamination hood. Shermin follows as they start for the                tent.                                     MAJOR BELL                         We had a flight of F16's play tag                          with the spaceship over Michigan for                          an hour. Then it shot straight up                          and disappeared.                                     SHERMIN                         Was there visual contact?                                     MAJOR BELL                         No, sir. Radar.                                     SHERMIN                         It could have been anything.               EXT. BLACKENED LANDING SITE - DAWNBREAK               Hooded, Bell and Shermin make their way past three suited                scientists examining the landscape with geiger counters and                other sensing instruments. With the coming of dawn and Bell's                handlight we can clearly see the pod indentations and the                huge black glass cup of earth that was fused by the energy                blasting out of the spaceship's power plant.                                     MAJOR BELL                         After I called in, I had a chance to                          sit down with the three locals. They                          swear there's another one that didn't                          make the ship... It might be alive.                                     SHERMIN                         People have made mistakes in these                          situations before.                                     MAJOR BELL                         I've been investigating sightings                          for seventeen years, Mr. Shermin.                          This one's real. We have a dead extra-                         terrestrial in that tent and another                          one in the area that might be alive.                          We've been visited. It's finally                          happened and the sooner Washington                          accepts that and starts figuring out                          how we're going to deal with these                          beings, the better off we're going                          to be.               EXT. FOOT OF EMBANKMENT - DAWNBREAK               It is still raining.               The STAR MAN stirs and awakens with a start. He parts the                tear in his suit and looks at his lung through his translucent                body. It has changed in color from brown to a rich yellow                ocher. He takes several deep breaths of our atmosphere and                his lung expands and contracts easily. He conducts a quick                inventory of his damaged spacesuit, then struggles to his                knees and stands up.               INT. BIOQUARANTINE TENT (HOUSING TRACT) - DAWNBREAK               The sound of a powerful slow-speed drill greets Bell and                Shermin as they enter. The extraterrestrial is still on its                back with its helmet lights shining straight up. A hose that                extends from a portable gas chromatograph has been suction-               sealed to a corner of the faceplate. A SCIENTIST is making                adjustments at the chromatograph while his COMPANION is                monitoring the progress of the drill into the faceplate.                Both are wearing contamination suits.               A foam-lined coffin-shaped metal box is on the ground next                to one of the walls. Bell and Shermin approach the body.                Shermin's first look is at the faceplate, but all he can see                is his own reflection. His eyes travel down the body.                                     MAJOR BELL                         Look at the hands.               The gloved hands of the figure have only three fingers and a                thumb.               Shermin takes Bell's flashlight. He angles it at the                faceplate. As he leans in to follow the beam, the pitch of                the drill rises. He shifts the light. The drill breaks through                and the faceplate explodes out of the helmet. The men throw                themselves back in panic. When they turn back to look,                distorted impressions of the face inside the helmet reflect                on the glass of their contamination hoods. (Pause)                                     SHERMIN                         Oh, Jesus.                                     MAJOR BELL                              (moving toward the                               body)                         We better get it into the box. Come                          on...               The other men approach the body but before they can bend to                it a burst of percussive language, followed by a low buzz,                comes from inside the extraterrestrial's helmet. The men                freeze. There is another burst of percussive language and a                projection beam shoots out of the helmet throwing the image                of the escaped STAR MAN onto one of the scientists. He jumps                aside and the beam falls out of focus and indistinct on the                tent wall behind him.                                     SUBTITLE                         Mapmaker Wind. Do you hear me?                                     SHERMIN                              (incredulous)                         The other one is alive!               EXT. FOOT OF EMBANKMENT - DAWNBREAK               The STAR MAN is standing. We hear the sounds of his percussive                language coming from behind his mirrored faceplate.                                     STAR MAN                              (subtitle)                         Mapmaker Wind. Do you hear me?               His answer is nothing but the low buzz. He taps a series of                buttons on his chest panel and speaks again.                                     STAR MAN                         Mapmaker Wind. Do you hear me?               Again the buzz.                                     STAR MAN                         Mapmaker Wind. Do you hear me?               The buzz continues. He is very still for a moment. Then he                presses the palms of his hands together, prayer fashion, and                concentrates. When he pulls them apart, a blue force field                pulses between them. He stops at shoulder width. A solarized                aerial view of the United States forms on the force field. A                green dot appears in the area of western Wisconsin, a red                dot in the area of Death Valley, California. He drops his                hands to his lap and sits very still. The solarized compass                remains floating in the air in front of him. After a long                moment he reaches up and squeezes it into a ball that                disappears when his palms come together.               INT. HELICOPTER - DAWNBREAK               Shermin steps through the open bay door into a communications                room. The radar and radio consoles each have a TECHNICIAN. A                third technician, LYMAN, sits in front of a square of six                medium-sized television screens.                                     LYMAN                         Is it for real?                                     SHERMIN                         Get Fox.               Lyman taps a code into the computer keyboard. There's a shower                of static on one of the TV screens. When it clears up GEORGE                FOX, mid-forties, hair slicked straight back, round wire-               rimmed glasses, is peering intently into the camera.                                     SHERMIN                              (before Fox can speak)                         It's real, George.                                     FOX                         There's no mistake? You're absolutely                          sure?                                     SHERMIN                         I saw it with my own eyes. We've                          killed an extraterrestrial and...                                     FOX                         Is there any possibility that it's a                          hoax? Could you be mistaken?                                     SHERMIN                         None. And there's another one in the                          area that's alive. I don't know if                          it's the only one. I don't know if                          it was left here by accident or it's                          part of an inva...                                     FOX                         Get the body out of there. Load it                          on the Air Force chopper and get it                          to Wright Patterson. They'll take it                          from there... We didn't expect this,                          Shermin.                                     SHERMIN                              (answering the                               accusation)                         Neither did I.               Major Bell enters the helicopter.                                     FOX                         We're going... Damn!                              (he shakes his head                               in disbelief)                         We'll tell the press that there was                          an accident. Chemical warfare spill.                          That cover cannot be violated in any                          way. Understand me, Shermin?                                     MAJOR BELL                         Major Bell here, sir. We have to                          tell these people that we're friendly.                          That this whole thing was a mistake.                          Is anyone trying to contact the ship?                                     FOX                              (ignores this)                         Shermin, I want you and Bell to start                          looking for the one on the ground.                                     SHERMIN                         We'll need a lot of help, George.                          You could hide an army up here.                                     FOX                         I'm going to the White House right                          now. I'll try and get you everything                          you need.                                     SHERMIN                         Wait, wait... What are my orders if                          we find this thing?               Fox sits silently for a second.                                     FOX                         Contain it and get back to me.                                     SHERMIN                         What do you mean by 'contain?'               Fox knows Shermin is looking for a definite order.                                     FOX                         Just what I said.               The television screen is reduced to static. Shermin stares                at it blankly then Lyman turns it off.               EXT. HOUSING TRACT - MORNING               The lift off of Shermin's helicopter reveals contamination --                suited scientists slipping the dead extraterrestrial's coffin                into the Air Force helicopter.               EXT. WOODS - DAY               The STAR MAN, still in his life-support suit, looks surreal                in the twilight world under the canopy of firs. The morning                rain has gone. A hum of traffic pulls him across the hill to                a stand of alders that border the forest. Through the leaves                he can see a highway entering the sprawl of Eau Claire,                Wisconsin. The cars and trucks zipping along the asphalt are                of particular interest to him.               When he has absorbed them he walks through the trees to get                a better look at the town. On the wind he can hear shouts                from students boarding a line of yellow buses in front of a                grade school off to his right. Suburban houses have begun to                snuggle up to the base of the hill he is on.               Keeping to the tree line well above them he continues his                search for an avenue of escape. His head swivels to watch a                Volvo station wagon come down the street. It swings into the                driveway of the house directly below him and stops next to a                Mustang Hatchback. The back door opens and JENNY HAYDN, a                pretty girl in her mid-twenties, gets out carrying a crudely                lettered be-ribboned sign 'Welcome Back, Mrs. Haydn.' Female                voices drift up to the STAR MAN from inside the car.                                     VOICES                         It was great to have you back... The                          kids loved it. We loved it. You're                          doing the right thing...               EXT. HOUSE - DAY                                     JENNY                         I hope so... We'll see... See you                          tomorrow... Bye. Bye.                                     VOICE                              (as the Volvo backs                               out of the driveway)                         Remember you're required to have a                          lesson planned tomorrow.               Jenny laughs and waves. With the Volvo moving away up the                street Jenny picks her newspaper off her walk and goes into                the house.               EXT. HILLSIDE - DAY               The STAR MAN presses on through the trees. He hears a light                plane overhead. He stops and watches until the branches cut                off his view. A path between two logs leads him to the tip                of a promontory. From behind the cedars growing there, he                sits and looks down on the center of Eau Claire.               Arm in arm, a YOUNG COUPLE meander through the trees. The                boy has a blanket over his shoulder and the girl's hair is                disheveled. Without seeing him, they walk past the STAR MAN                crouched in a thicket of small pines. After they've gone by,                he straightens up and watches them walk down toward the                highway.               EXT. HILLSIDE - LATE AFTERNOON               The sun is setting over suburban Eau Claire. The colors are                reflected in the STAR MAN's faceplate as he watches Jenny                push a hand mower over her back yard.               He takes a dusty gray marble out of a leg pocket and while                Jenny finishes the lawn he rolls it between his gloves. It                turns a glowing gold as it grows in size. When it reaches                the dimensions of a baseball, he brings it close to his                faceplate and speaks into it.                                     STAR MAN                              (subtitles)                         Iron channel message. Suit and rockets                          destroyed. Radical mixture of this                          atmosphere and ours in helmet allowed                          chemo-ion response time to adapt my                          body to this air. Am going to attempt                          extreme transformation in order to                          cross land mass to site of our                          practice landings. If transformation                          is not fatal, second message ball by                          next darkness.               He opens his hands and the ball rises quickly into the sky.                Jenny is dumping the grass clippings into a garbage can at                the side of the house when the sudden motion of the message                ball catches her eye and she watches it quizzically until it                disappears.               EXT. WISCONSIN SKIES - LATE AFTERNOON               We are on the belly of Shermin's helicopter looking at the                tree tops rushing underneath.               INT. HELICOPTER - LATE AFTERNOON               Shermin is standing back of Lyman and Bell who are seated in                front of the square of television screens watching various                shots of the wooded landscape flowing by under them. Shermin                scrubs his hands over his face then bends over to stretch                his back.                                     SHERMIN                         Aghh... I'm supposed to umpire a                          little league game tomorrow.                                     LYMAN                         I wouldn't worry about it... There                          might not be any little league                          tomorrow.               Pause.                                     MAJOR BELL                         I'm telling you they're probably                          friendly.                                     LYMAN                         Then why did they try and sneak in                          the back door? Tell me that. Why                          didn't they contact us first and                          say...                                     RADAR TECHNICIAN                              (loud)                         UFO coming out of the grass.                                     SHERMIN                         Lock in.                                     RADAR TECHNICIAN                         Got it.               Lyman and the technicians tap out orders to their tracking                units and the views of the forest on three of the television                screens change to images from their microwave scanners,                neutron back scatters and doppler radar. On a fourth screen                the forward-looking infrared module begins creating a picture                of the UFO. The men relax as they recognize the configurations                of a light sea plane.                                     LYMAN                         This is crazy. What were we going to                          do if that had been the ship? We                          have two thirty calibre machine guns,                          three M16's and some handguns.                                     SHERMIN                         Give it a rest, Lyman.                                     MAJOR BELL                              (after a pause)                         I've never once heard of anybody                          being hurt by an extraterrestrial...               Shermin goes hand over hand along the overhead straps to the                radio operator. He begins to flip through a stack of telex                messages.                                     LYMAN                         That's because the ones that were                          hurt, died. They couldn't talk to                          you.                                     SHERMIN                              (to technician, after                               a look at Lyman)                         Any reports about monsters, people                          in Halloween masks, anything like                          that?                                     TECHNICIAN                         No, but there sure were a lot of                          people who saw lights in the sky                          last night. Reports are still coming                          in.                                     MAJOR BELL                              (under above)                         I've heard of blood being drawn,                          sometimes they were taken for a ride                          in the ship, a lot of times they                          said they had sex... But nobody was                          ever hurt...                                     LYMAN                         But you decided those weren't real.                          This one is.               There is a buzz and a red dot appears in the center of one                of the screens.                                     LYMAN                              (over his shoulder to                               Shermin)                         Fox.               He taps a three digit code and Fox comes into view.                                     FOX                         I've got something for you.               A photograph of a very thin slab of yellow plastic pops up                on a second screen next to Fox. Above lines of glowing colored                dots are symbols of a hydrogen atom, pulsars, a nude man and                a woman and Earth's position in our solar system.                                     FOX                         Recognize this?                                     MAJOR BELL                         It's a copy of the plaque NASA sent                          into space on the Pioneer probes.                                     FOX                         Houston found it in the                          extraterrestrial's suit.                                     MAJOR BELL                         They must have picked it up in space.                                     SHERMIN                         Then it's not an accident that they                          found us.                                     FOX                         We don't think that's necessarily                          bad. At least it's a point of contact.                                     SHERMIN                         Not necessarily bad! If they knew we                          were here why didn't they let us                          know they were coming?                                     FOX                         We'll get those answers when you                          find the one you're looking for.                                     SHERMIN                         That's not going to happen, George,                          unless you get us the help you                          promised us.                                     FOX                         We've been back and forth on this                          all day and keeping in mind the panic                          that would occur if this got to the                          general public, it's been decided                          not to expand the search at this                          time.                                     SHERMIN                         Don't let them do it this way, George.                          It's too important. We can't find                          this thing alone.                                     FOX                         You have to. We're trying to contact                          the ship. If we do, I'll let you                          know immediately. Good luck.               The television screen is reduced to static. Lyman shuts it                off.                                     RADAR TECHNICIAN                         You get the feeling we're expendable?                                     SHERMIN                         We always were.               EXT. HOUSE - NIGHT               We are looking through the living room window at Jenny                watching television while she irons the clothes she plans to                wear to work tomorrow. The STAR MAN stands just outside the                light-fall in the back yard watching her.               A commercial interrupts the old movie with a jolly fat MAN                in a jumpsuit touting his used cars. The two words 'We                have...' are repeated constantly during the pitch. 'We have                automatics... We have sticks... We have colors... We have                financing...' ...               We move in close on the STAR MAN'S faceplate.                                     STAR MAN                              (practicing the human                               sound)                         Wehave...                              (more precise)                         Wehave...                              (well-formed)                         Wehave...               Jenny finishes the skirt, unplugs the iron, picks up the                clothes, shuts off the television, the light and heads                upstairs. Half way up she stops.                                     JENNY                              (faint through the                               glass)                         Damn!               She turns around and looks down indecisively, then hurries                upstairs. A light goes on in the bedroom. The STAR MAN backs                away to look up at it. He can't see anything. He is on his                way to try and get in the side door when Jenny comes clumping                down the stairs in an old sweatshirt and pulling on a pair                of jeans. She disappears into the kitchen. Without warning                the door ahead of him is swung open and Jenny rushes out.                The STAR MAN barely has time to step into the shadows. Jenny                grabs the handle of one of the garbage cans lined against                the house and drags it down to the street. When she comes                back for the second one we see that the STAR MAN is no longer                in the shadows.               INT. HOUSE - NIGHT               Jenny comes in and locks the door. She passes through the                kitchen and is on her way to the stairs when the STAR MAN                steps out of the darkness in the living room. A scream catches                in Jenny's throat.                                     STAR MAN                              (precise)                         Wehave...               Jenny bolts for the front door. At the end of the hallway                her foot catches in a phone cord pulling the phone off an                end table. The receiver is jarred out of its cradle. Jenny                regains her balance and gets to the door ahead of the STAR                MAN. She jerks it open, but the guard chain stops it three                inches from the jamb. Frantically, she tries again but the                chain holds.               The STAR MAN slams the door shut and reaches out to grab                her. She flails back at him. One of her hands strikes the                panel on his chest and the identification light comes on                inside his helmet. At the sight of the STAR MAN, Jenny begins                to scream. He presses her back against the wall and puts a                mittened hand over her mouth.                                     STAR MAN                         Wehave...               Jenny ceases her struggle and begins to cry. The STAR MAN                takes his hand away from her mouth.                                     JENNY                         Please don't hurt me... please...                          please.               Holding her with his eyes he grasps one of Jenny's hands and                lifts it up to look at it.               He raises a piece of skin off her wrist, rolls it between                his thumb and forefinger.               Jenny lets out a blood-curdling scream and strikes out at                him. Flashes of light erupt off his exposed chest where she                hits. The ferocity of her attack knocks him aside and she                sprints up the stairs.               The STAR MAN recovers and starts after her.               INT. BEDROOM - NIGHT               Jenny gets there two steps ahead of the STAR MAN. She slams                the door in his face and locks it. With him POUNDING ON THE                OUTSIDE, Jenny throws open the closet and begins rummaging                madly through the side pockets of her jackets and coats.               The POUNDING STOPS. It takes her a moment to hear the silence.                When she does, she whirls toward the door expecting the worst,                but it remains closed. She waits. All she can hear is the                sound of the rain. She intensifies her search.                                     JENNY                              (hysteria creeping                               into her voice)                         It's got to be here... it's got to                          be here...               She finds it in the pocket of a down jacket. The Army issue                .45 looks big in her hand. She releases the safety and, with                a wary eye on the door, reaches for the phone on the night                table next to the bed.               Long before the receiver gets to her ear, she can hear the                "BLEET" caused by the PHONE BEING OFF THE HOOK for so long                in the living room. She hangs up and walks around the bed to                sit on the corner facing the door. In the distance, we can                HEAR the THUMP OF AN APPROACHING HELICOPTER. After a moment's                indecision, Jenny gets up and releases the lock. Again she                waits.               Nothing happens. With the gun ready, she turns the knob and                opens the door a crack. The hallway is empty. She kicks off                her shoes and lets herself out of the bedroom.               INT. HALLWAY - NIGHT               Jenny creeps toward the stairs in her stockinged feet. She                looks in the bathroom. The STAR MAN isn't there. She decides                to go downstairs.               INT. HOUSE - NIGHT               The STAR MAN isn't in the living room. Jenny sidles along                the wall for the front door. At the archway to the den a                hissing sound stops her. She peers around the molding. The                spill from the stairwell light provides the only illumination.               The STAR MAN is sitting on the edge of a chair with his back                to her. He is naked. A dot of light is HISSING around his                head. The shadows in the room make it difficult for Jenny to                tell exactly what is going on.               Pointing the .45 at the STAR MAN, she steps into the room                for a better look. The floor creaks and the STAR MAN turns                to her. Jenny shudders at what she sees. The STAR MAN is                holding an 8x10 color photograph of Jenny and a man in his                mid-twenties standing on a beach in their bathing suits.               The dot of light is copying the man's features onto the STAR                MAN'S translucent head. The top two-thirds of the face is                already done. Everything is perfect, even the eyes. Jenny                begins to tremble and lowers the gun.                                     JENNY                              (in a small voice)                         No... please don't...               She sags against the armchair, racked by sobs that are drowned                out by the FLAP OF THE APPROACHING HELICOPTER. The STAR MAN,                with the dot of light stopped on his left cheek, gets up and                takes the gun from her.               He drops it on the couch and raises his eyes to the sound of                the helicopter NOW DIRECTLY OVER THE HOUSE. THROUGH THE                WINDOWS, we can SEE the searchlight scouring the hillside                next to the back yard.               The STAR MAN returns to the picture and resumes his                transformation. He completes the chin, then continues downward                weaving skin and filling in the human characteristics over                the entire body.                                                               DISSOLVE TO:               INT. CLEAN ROOM (HOUSTON) - NIGHT               We come down an electrical cord that ends in a micro-phone,                then down further to DR. BERGEN, a tall thin balding man in                his late fifties dressed in the medical equivalent of a                contamination suit.                                     DR. BERGEN                         The creature was hit three times...               Using a laser light indicator Dr. Bergen shows us where.                                     DR. BERGEN                         ...the arm, the abdomen and the upper                          chest, the one in the chest being                          the cause of death. It shattered,                          for want of a better term, the                          creature's backbone. It's not really,                          because it's not jointed. It's simply                          a hollow shaft of very pliable                          silicate material, as is its entire                          endoskeleton. The creature seems to                          have tremendous regenerative powers.                          Although it must have died within                          minutes of receiving the fatal wound,                          the arm and abdomen wounds are almost                          totally healed and the bullet here...                              (indicates with the                               light)                         has begun to dissolve...               INT. SMALL RECTANGULAR ROOM - NIGHT               Fox, another CIVILIAN and two MEN in uniform are watching                the autopsy on a bank of screens which show Dr. Bergen, the                room and various close-ups of the dead extraterrestrial lying                on a white glass table lit from underneath.                                     DR. BERGEN                         It has veins but no blood. We think,                          and this is just speculation, that                          some form of energy flows from the                          brain, which is much more                          sophisticated than ours, throughout                          the rest of the body... We don't                          think there is any danger of bacterial                          contamination. Our biochemistries                          are too different...               INT. HELICOPTER - NIGHT               Shermin and his crew are glued to the monitors, watching the                autopsy from Houston.                                     DR. BERGEN (V.O.)                         The flesh is gelatinous, the skin is                          very porous and very moist. This is                          another guess, but it probably comes                          from a planet that receives only                          reflected light, perhaps from a ring                          of moons. Its atmospheric pressure                          is slightly less than ours and it                          contains a great deal more water...                                     FOX (V.O.)                         Dr. Bergen, George Fox here in                          Washington. Can you give us an idea                          of why they're here?                                     DR. BERGEN (V.O.)                         They're so advanced... I... eh...                          can't imagine what they would want                          from us. I know they could be                          dangerous. But they could also be                          the greatest thing that ever happened                          to mankind...               Shermin and his crew share mixed reactions.               INT. JENNY'S HOUSE - BEDROOM - DAWNBREAK               Jenny, sitting on the floor with her arms wrapped around her                knees, is reflected in a mirror fastened to the back of the                closet door. The STAR MAN edges around the door to look at                himself in the glass. In baggy tan cords, a windbreaker and                a plaid shirt, buttoned all the way to the neck and a button                in the wrong hole halfway down the front, he looks like an                innocent abroad. He notices the shirt is askew across his                chest and, with his new hands, awkwardly resets the buttons.                He looks himself over. His movements resemble a human's but                are noticeably more precise.               The clothes seem right so he leans into the mirror to inspect                his face. He squeezes the skin on his cheeks, examines his                eyes, turns his head as far as he can to inspect the sides                of his face, folds his ears forward to check the skin behind                them and he even gives a good two-fisted tug to his hair to                see if it is on securely.               He turns from the mirror and goes over to where the .45 and                a leg pouch from his life-support suit are lying on the bed                next to a snapshot of the man whose identity he has taken.                In the picture the man is dressed exactly as the STAR MAN is                now. The STAR MAN picks up the gun and the pouch and, speaking                to Jenny in his own language, steps to the door and motions                for her to follow. Jenny consciously ignores him. The STAR                MAN comes over, reaches down and grabs her arm to pull her                to her feet. Jenny squirms back, but he holds her tight. She                looks at the hand, almost touches it, then up at the familiar                yet disturbingly unfamiliar face above her.                                     STAR MAN                         Please...                                     JENNY                         Don't... don't do this... please...               The STAR MAN gets her to her feet and hustles her out of the                room. On the dresser is Jenny's wedding picture. The man the                STAR MAN has become is her husband.               INT. HOUSE - DAWNBREAK               The STAR MAN pulls Jenny down the stairs.                                     JENNY                              (struggles to free                               herself)                         You're hurting me. Stop.               The STAR MAN guides her into the entryway and reaches for                the front door. Realizing his intentions, Jenny increases                her struggle and manages to pull away.                                     JENNY                         Oh, God, no! I'm not leaving this                          house with you. You're going to hurt                          me, I know...               The STAR MAN looks intently at her, then opens the front                door. He taps his chest, points to Jenny and motions to the                dawn outside.                                     JENNY                              (through tears)                         I can't. I'd like to help. You look                          like Scott, but I know you're not. I                          don't know what you are. You gotta                          understand, I'm afraid of you...               As Jenny backs into the living room, the STAR MAN closes the                door. He raises the gun, examines it quickly, then with his                finger around the trigger, points it at Jenny.                                     STAR MAN                         Please.                                     JENNY                         Why are you doing this to me? I'll                          give you whatever...               The STAR MAN swings the muzzle sights across Jenny's body                and FIRES. A FLOOR VASE EXPLODES. Jenny turns to look at the                remains, then back to the STAR MAN.               EXT. JENNY'S HOUSE - DAWNBREAK               The Mustang is backing out of the driveway with Jenny behind                the wheel and the STAR MAN perched nervously on the passenger                seat.               INT. MUSTANG - DAWNBREAK               Wary of what will happen next, the STAR MAN watches Jenny                move the gear selector to the drive position.               The car jerks forward and he grabs the dashboard to keep                from toppling back in the seat.               During the ride up the block, his head swivels from side to                side trying to take in as much of the darkened urban landscape                as he can. When the car stops at a 'stop' sign, he looks at                Jenny questioningly.                                     STAR MAN                         Please...                                     JENNY                         Which way do you want to go?               She motions ahead and he turns to look at an inter-section                with streets running in three directions off of it. His eyes                question Jenny again.                                     JENNY                         You can go that way...                              (points left)                         That way...                              (straight ahead)                         That way...               She points right. After another look at Jenny, the STAR MAN                presses the palms of his hands together, concentrates briefly,                then slowly draws them apart. The force field appears between                them. On it the solarized view of the United States rotates                until the red destination dot is on his right. He drops his                hands and points to the right.                                     STAR MAN                              (measured)                         That way.               The satel compass continues to hover over the dashboard.                                     JENNY                              (staring incredulously                               at the compass)                         God, what are you?               She starts her right turn without looking left and fails to                see a little MG approaching from that direction. The WAIL OF                THE AIR HORN startles Jenny and reflexively she slams on the                brakes.               The Mustang stalls and the MG squeals around them. Jenny                checks the STAR MAN. He has pressed himself against the                passenger door. The gun lies on the seat next to him. They                both look at it. The STAR MAN recovers and picks it up.                                     JENNY                              (starting the engine)                         I'm sorry...               This time when Jenny puts the car into drive, the STAR MAN                is ready for the acceleration. The car completes the turn                and the compass rotates to its new heading. Looking at it                from this angle, Jenny suddenly recognizes it for what it                is: an aerial view of the United States.                                     JENNY                         That green dot, that's us, isn't                          it... and the red's where you want                          to go?... You don't understand me,                          do you?               The STAR MAN looks at her uncomprehendingly.                                     JENNY                              (to herself)                         I gotta get out of here.               EXT. STREET - DAWNBREAK               The Mustang cruises through the industrial section of Eau                Claire.               INT. MUSTANG - DAWNBREAK               The STAR MAN is watching Jenny drive. A set of headlights                rushes TOWARD US in the other lane. Jenny twists around to                follow the car as it goes by and we SEE the desperation on                her face.               When she returns her attention to the road, she sneaks a                glance at the STAR MAN to see if her action has given away                her state of mind. His expression hasn't changed. Jenny takes                a deep breath and lets it out slowly. Uttering a phrase in                his own language, the STAR MAN touches the steering wheel.                                     JENNY                              (startled)                         What?                                     STAR MAN                              (thinking the steering                               wheel is called                               'what," he repeats)                         What.               With the same phrase in his language, he points to the 'gear                shift.'                                     JENNY                              (realizing her mistake)                         Ah... no...                                     STAR MAN                              (repeats)                         Ah no.               He points to the dashboard. Jenny senses there is going to                be a great deal of misunderstanding if she uses more words.                She shakes her head 'no' and touches the steering wheel.                                     JENNY                              (enunciates)                         Steering wheel...                                     STAR MAN                              (correcting her)                         What.               Jenny shakes her head 'no.'                                     JENNY                         Steering wheel.                                     STAR MAN                              (repeats)                         Steering wheel.                                     JENNY                              (points to the gear                               shift)                         Gear shift.                                     STAR MAN                         Gear shift.                                     JENNY                              (slaps the dashboard)                         Dashboard.                                     STAR MAN                         Dashboard.               Jenny sees a police car creeping across the intersection                ahead of her and interrupts the lesson to stare at it. The                STAR MAN looks to where she is looking.                                     STAR MAN                              (alarmed)                         What?!                                     JENNY                         Eh... police.                                     STAR MAN                              (remembering)                         Police...               He raises the gun off his lap. Jenny tries to distract him.                                     JENNY                              (raps on the steering                               wheel)                         What?...               With his eyes on the police car the STAR MAN ignores her.                                     JENNY                         Steering wheel...                              (she points to the                               gear shift)                         What?               The STAR MAN is intent on the police car. Jenny gives up                trying to distract him. The patrol car passes out of their                view. The STAR MAN lowers the gun and looks at Jenny.                                     STAR MAN                              (unprompted, points                               correctly at each                               item)                         Steering wheel... gear shift...                          dashboard...                                     JENNY                              (this frightens Jenny                               even more)                         Good.                                     STAR MAN                         Good.               EXT. INTERSECTION - DAWN               We COME DOWN FROM a red light TO FIND the Mustang stopped                behind the limit line.                                     JENNY (V.O.)                         Which way?                                     STAR MAN (V.O.)                         That way.               The light changes and the car proceeds straight across the                intersection.                                     STAR MAN (V.O.)                         Good.               INT. MUSTANG - DAWN               While the STAR MAN picks through the contents of the glove                compartment, Jenny looks for a way to escape. An all-night                laundromat is a possibility, but it's deserted. The STAR MAN                finds the switch on a flash-light and flicks it on and off.                                     STAR MAN                         What?                                     JENNY                              (distant)                         Flashlight.               He puts the flashlight in his lap along with the owner's                manual and gas slips and takes a stack of Discount Coupons                out of the glove compartment.                                     STAR MAN                         What?                                     JENNY                         Coupons.               Jenny sees a set of headlights turn into the oncoming lane.                She slides her eyes toward the STAR MAN. He is busy looking                through the Coupons. Jenny measures the distance between the                Mustang and the oncoming lights. The STAR MAN holds up one                of the Coupons and points to a picture of the product.                                     STAR MAN                         What?                                     JENNY                              (curt)                         Pancakes.                                     STAR MAN                         Pancakes.               He points to the cluster of letters that spells SAVE 35¢.                                     STAR MAN                         What?               Jenny doesn't answer. The distance between the two vehicles                is narrowing rapidly.                                     STAR MAN                         What?               Jenny sets her jaw and wrenches the steering wheel violently                to the left.               EXT. STREET - DAWN               The Mustang skids sideways across the center line. The                oncoming van jams on its brakes and swerves to its left.                Locked in a skid, it drifts toward the Mustang.               INT. MUSTANG - DAWN               The STAR MAN sucks himself back in terror as the van descends                on him. It swings past his window and clips the rear fender                of the Mustang. Both vehicles shudder to a stop. Jenny claws                at her door. It swings open. She is halfway out before the                STAR MAN manages to grab the tail of her sweatshirt. Jenny                begins to scream at the top of her lungs and keeps it up                while he tries to wrestle her down on the seat.               EXT. STREET - DAWN               A tall, raw-boned MAN in his late twenties storms around the                front of his van.                                     MAN                         You stupid son of a bitch!!               He kicks the Mustang.                                     JENNY                              (screaming)                         Help me!!                                     MAN                         You could have killed us both!!                                     JENNY                              (battling to maintain                               her grip on the door                               frame)                         He's kidnapping me!!!               The Man bends down to look at the struggle.                                     MAN                         Jesus Christ!! You crazy people...                                     JENNY                         Call the police!!                                     MAN                              (not sure he wants to                               get involved)                         Hey buddy... let her go...               The STAR MAN increases his efforts and Jenny loses her grip                on one of the door frames.                                     JENNY                         Help me!!!                                     MAN                              (grabbing her other                               arm)                         Hey, she doesn't want to go with                          you. Come on.               The STAR MAN frees his right hand and blindly searches the                floor for the gun. He comes up with it and, shoving the barrel                in the Man's face, barks a harsh command in his language.                The Man freezes and Jenny stops struggling. It's suddenly                very quiet on the street.                                     MAN                         Oh God, man... don't shoot me... My                          mistake... I'm sorry...                                     JENNY                         He doesn't understand... just walk                          away...               The STAR MAN claps a hand over her mouth.                                     MAN                         I promise I'm not going to tell                          anybody about this... None of my                          business... I'm going to move now,                          okay...                              (takes a step to one                               side)                         You guys want to fight, that's up to                          you...                              (takes another step)                         I'm leaving now... I won't say a                          word...               He keeps his eyes on the STAR MAN until he reaches the back                of the Mustang, steals a quick look at the license plate,                then blots for his van. The STAR MAN takes his hand off                Jenny's mouth and slams her back into her seat. Uttering an                expletive in his language he points the gun in her face and                keeping it there indicates the red dot on the satel compass                floating undisturbed above the dashboard.                                     STAR MAN                         Go.               EXT. STREET - DAWN               The Mustang moves back into the correct lane and continues                on.               INT. MUSTANG - DAWN                                     JENNY                         Could you put the gun down?               The STAR MAN just stares at her. She points to the gun.                                     JENNY                         Gun... Down... Down.               Slowly, he lowers it to his lap.                                     JENNY                         Thank you.               EXT. ABANDONED LOGGING CAMP - EARLY MORNING               Shermin's helicopter is taking on fuel from an Army tanker                truck. The pilot and co-pilot are catching forty winks on                the grass next to the old bunkhouse.               INT. HELICOPTER - EARLY MORNING               Major Bell, bleary-eyed and unshaven, is huddled in front of                the television screens eating a breakfast off a styrofoam                plate. On the top left screen is a satellite picture of                Northern Michigan and half of Wisconsin taken with a Doppler                radar.               On the lower left screen is an infrared view of the same                area. Over both these views is a schematic of the state                boundaries and major cities. On the screens to the right of                these views are blow-ups of smaller sections of the overview.               Lyman and the radar technician are asleep on the floor. Seated                in front of the radio console Shermin is going through the                telex messages. Next to him the radio technician is bent                over the desk with his head in his forearms.                                     SHERMIN                         There's nothing... No reports of                          sightings or landings or anything...                          in the other parts of the country or                          overseas... Seems like a totally                          isolated incident.                                     MAJOR BELL                         It was only an accident that we                          discovered them.                                     SHERMIN                         I know, but...               Shermin continues on through the messages. Bell asks the                computer to change the pictures on the screens. Rhythmically,                a sequence of images appears and disappears.                                     SHERMIN                         You married, Major?                                     MAJOR BELL                         Twenty-eight years.                                     SHERMIN                         To the same woman?                                     MAJOR BELL                              (smiling)                         Yes.                                     SHERMIN                         I tried it once... Fourteen years                          ago... 'I was a lousy husband and a                          worse father. The only thing I'm                          good at is this... At least until                          yesterday.               Bell stuffs his breakfast plate into a garbage bag and goes                to get a breath of fresh air in the open doorway. Shermin                stops at a point on the telex sheet. He reads the message to                himself again.                                     SHERMIN                         How would you describe the sounds we                          heard coming out of that thing's                          helmet?                                     MAJOR BELL                              (after trying to                               imitate them)                         It was kind of like clicking, maybe                          a language wasn't it?                                     SHERMIN                         Listen to this.                              (paraphrasing the                               telex)                         A woman was kidnapped in Eau Claire                          this morning. When a citizen went to                          her rescue the kidnapper threatened                          him with a gun and shouted at him in                          a strange 'clicking gibberish'...                                     MAJOR BELL                         It was a man though... right?                                     SHERMIN                         The police think he was high on                          drugs...               Bell shrugs.                                     SHERMIN                         What do you think?               EXT. WISCONSIN FOREST - EARLY MORNING               With a rush the helicopter rises out of the trees and thunders                away.               EXT. JENNY'S HOUSE - MORNING               There are Eau Claire police cars on the street. Shermin is                out back watching Bell pick his way down the hill. Through                the windows we see uniformed policemen in the living room.                                     MAJOR BELL                              (slides the last few                               feet down the hill)                         Nothing up there... The grass is                          matted down in a few places, but                          that could have been anything.                                     SHERMIN                         It was the husband. The police finally                          got a hold of the witness at work                          and showed him a picture of the woman.               The man standing next to her in the picture was her husband                and the witness said that was the guy who kidnapped her.                                     MAJOR BELL                         It's the right area, that's for sure.               Throughout the above, Shermin has noticed a WOMAN in the                house next door peeping through her blinds at the activity                around Jenny's. She closes the drapes suddenly when she                realizes Shermin has spotted her.                                     SHERMIN                         Why the clicking language though?               EXT. NEXT-DOOR HOUSE - EARLY MORNING               Shermin knocks and waits on the steps with Bell for someone                to answer. We hear a chain being pulled off and the door is                opened by a freckled-face MAN in his late thirties, dressed                in a business suit and wiping the traces of a breakfast from                around his mouth.                                     SHERMIN                         Sorry to disturb you, sir, but there's                          been some trouble next door. I'd                          like to ask you a few questions.                                     MAN                         What happened?                                     SHERMIN                         There's a possibility that Mrs.                          Haydn's been kidnapped. We're hoping                          you might have seen something.               A WOMAN in a robe opens the door a little wider to include                herself in the conversation. She is as freckled as the man                and about the same age.                                     WOMAN                              (to the Man)                         I told you...                                     MAN                         Judy, that's stupid.                                     WOMAN                         Well, maybe these men won't think                          so. We were asleep when a helicopter                          woke me up. It made me so nervous I                          went into the kitchen for something                          to eat. I happened to look out the                          window and there was Scott Haydn                          with this green thing draped over                          his arm pulling Jenny down the walk                          to the car.                                     MAN                         You know that's impossible!                                     WOMAN                         I know what I saw. I've seen him                          enough times.                                     MAN                              (giving up on his                               wife and addressing                               Shermin and Lyman)                         Scott Haydn is dead. He died about                          three months ago. We went to the                          funeral.               Shermin and Bell exchange a glance.               EXT. INTERSTATE - DAY               Jenny's Mustang is sailing through the beautiful Wisconsin                farmland.                                     STAR MAN (V.O.)                         R-r-S-s...               INT. MUSTANG - DAY               The STAR MAN is copying the letters, upper and lower case,                from the Owner's Manual he found in the glove compartment,                onto the back of an envelope.                                     STAR MAN                         T-t-U...               He draws the upper case but has to check the manual for the                lower case.                                     STAR MAN                         u-V-v...               The STAR MAN looks up as they go by a farm.                                     STAR MAN                              (pointing correctly                               to the various animals)                         Cow... Dog... Pig...               He looks to Jenny for confirmation. She nods absently. He                returns to the alphabet.                                     STAR MAN                         W-w...               He forms both the upper and lower case 'X-x' and shows them                to Jenny.                                     STAR MAN                         What?                                     JENNY                              (knows what's coming)                         X...               Without smiling the STAR MAN opens his mouth and emits a                short chirping laugh.                                     JENNY                         What's so funny about X?               The STAR MAN laughs harder. Jenny watches him warily. He                starts to hiccup. He is unable to control it through the                laughter.                                                               DISSOLVE TO:               INT. SMALL RECTANGULAR ROOM - DAY               Shermin's image waits on the television screen. He is gaunt,                tired and visibly shaken. The picture sizzles and breaks up                intermittently. Fox and the three men who watched the autopsy                stride quickly into the room.                                     SHERMIN (V.O.)                              (his voice quavering)                         George, we've just confirmed the                          existence of the live                          extraterrestrial.                                     FOX                              (after a beat)                         When can we expect containment?                                     SHERMIN (V.O.)                         Well, we're in pursuit of a green                          Mustang...                                     FOX                              (very controlled)                         It's in a green Mustang?                                     SHERMIN (V.O.)                         Yes. It's kidnapped a woman at                          gunpoint and from what we can make                          out is forcing her to drive it                          somewhere.                                     MILITARY MAN                              (to the room)                         This one has a weapon.                                     SHERMIN (V.O.)                         No, no... A .45, it probably got it                          in the woman's house. They were last                          seen in downtown Eau Claire...                                     FOX                         Why did you let it get into a                          populated area?                                     SHERMIN (V.O.)                         It's taken on a disguise.                                     FOX                         Clarify that.                                     SHERMIN (V.O.)                         It's made itself look like the woman's                          dead husband.               Static breaks up the t.v. picture. When it returns, Fox leans                toward the screen.                                     FOX                         Repeat the last item.               Almost reluctantly Shermin holds up Scott Haydn's picture.                                     SHERMIN (V.O.)                         The extraterrestrial now looks like                          this.                                     FOX                              (softly)                         Oh shit!!!               EXT. INTERSTATE - AFTERNOON               Jenny's Mustang moves along through the traffic.               INT. MUSTANG - AFTERNOON               We are CLOSE ON the back of a ten-dollar bill.                                     STAR MAN (O.S.)                              (reading slowly)                         The United States of America. In God                          We Trust. Ten dollars.               We pull back as he holds the ten up to Jenny.                                     JENNY                         Money.                                     STAR MAN                         Money.               He holds up a quarter.                                     JENNY                         Money.               Confused, the STAR MAN puts the money back into Jenny's wallet                and reads the first card through its plastic window.                                     STAR MAN                         Mi-chi-gan driver li-see-ens...                          Jennyhaydn... Money?                                     JENNY                              (shaking her head                               'no,' exhausted)                         We're going to have to stop for gas                          soon.               Under the license is a picture of Jenny smiling broadly. The                STAR MAN looks at Jenny, back at the picture, then imitates                the smile for Jenny.                                     STAR MAN                         What?                                     JENNY                         Smile.                                     STAR MAN                         Smile... good?                                     JENNY                         Yes.               He practices curling the corners of his mouth up into a smile.                One of them freezes as the Interstate curves and a glistening                skyline backlit by the afternoon sun comes into view across                a river.                                     STAR MAN                              (impressed)                         What?!                                     JENNY                         Minneapolis.                                     STAR MAN                              (reaching into the                               leg pouch he took                               from his life-support                               suit)                         Minneapolis... Minneapolis...                                     JENNY                         What are you doing?               He takes out his camera.                                     JENNY                         ...What's that?               He points the white disc at Minneapolis. With a 'POP,' a                cone of light flashes out. It sucks back, almost instantly,                bringing with it a three-dimensional image of the skyline.                                     STAR MAN                         Minneapolis... good.                                     JENNY                         You're full of tricks, aren't you?               The car starts across the twin cities' bridge.                                     JENNY                              (taps the fuel gauge)                         We need gas.               The STAR MAN looks at the gauge. Jenny scrunches against the                door to avoid contact with him.                                     JENNY                         No gas.                                     STAR MAN                         No gas.                                     JENNY                         This car runs on gas.               She presses the accelerator to the floor. The car jumps                forward.                                     JENNY                         Gas...               She takes her foot off the accelerator and the car quickly                slows down.                                     JENNY                         No gas.               EXT. BRIDGE - AFTERNOON                                     JENNY                              (V.O.)                         Gas.               The Mustang spurts forward a few yards.                                     JENNY                              (V.O.)                         No gas.               It staggers down to a crawl.                                     JENNY                              (V.O.)                         Gas.               The car leaps forward again.                                     JENNY                              (V.O.)                         No gas.               It drops back to a crawl.               INT. MUSTANG - AFTERNOON                                     JENNY                         No gas... car dead.                              (her head lolls forward                               on her chest)                         We need gas. I don't want to get                          shot for running out of gas.                                     STAR MAN                         Gas good?                                     JENNY                         Yes. Very good.               INT. MUSTANG - AFTERNOON               We are LOOKING DOWN Jenny's arm AT a gas station just off                Interstate 169 in the Minneapolis suburbs.                                     JENNY                         Gas...               The STAR MAN contemplates the station as they pass it, then                turns to Jenny, puzzled:                                     STAR MAN                         Go.                                     JENNY                         It's closed... closed. We need one                          that's open.                                     STAR MAN                         Closed?                                     JENNY                         You'll see.               There are no more gas stations in sight. The STAR MAN becomes                bored with the silence. He picks up Jenny's wallet. The                driver's license is familiar so he flips to the next window.                In it is a picture of an older man and woman standing in                front of a church.                                     STAR MAN                         What?                                     JENNY                              (snaps)                         Not what. Who. What is for things.                              (touching the steering                               wheel, dashboard,                               seat, gear shift)                         What? What? What? What? For people                          you use who. Who is he?                              (points to the man in                               the picture)                         Who is she?                              (points to the woman)                         Who are you?                              (points to the STAR                               MAN)                         Who am I?               She touches her chest.                                     STAR MAN                              (mirrors her gestures)                         Who is he? Who is she? Who are you?                          Who am I?                              (pause; it clicks for                               him and he points at                               Jenny)                         Who are you?                                     JENNY                         I am Jenny Haydn.                                     STAR MAN                              (flips back to her                               license and reads)                         Jennyhaydn.               Jenny nods.                                     JENNY                         Who are you?                                     STAR MAN                         I am...               We HEAR MODULATED CLICKS of his percussive LANGUAGE.                                     JENNY                         That's a big help. Where are you                          from?                                     STAR MAN                         From?                                     JENNY                              (leans forward and                               points through the                               windshield at the                               sky)                         Are you from up there? Space?                                     STAR MAN                              (leans forward to                               look with her)                         Space?                                     JENNY                         Up there... I... eh... can't                          explain...                              (leans back)                         But that's the only place you could                          be from.               The STAR MAN spots a station on the other side of the                Interstate.                                     STAR MAN                         Gas.                                     JENNY                              (shakes her head 'no')                         Closed.               He taps the fuel gauge which has dipped below empty.                                     STAR MAN                         No gas.                                     JENNY                         I know.               They both scan the horizon for a gas station. When one doesn't                come up immediately, the STAR MAN flips to the next picture                in the wallet. It is of the man he has become. He is leaning                against a fire truck, in uniform.                                     STAR MAN                         Who?                                     JENNY                         My... husband.                                     STAR MAN                         I am husband?                                     JENNY                         No. I don't know what you are, but                          you're not Scott.               Silence. The STAR MAN catches her mood. A tear rolls down                Jenny's cheek.                                     JENNY                              (brushes it away                               angrily)                         Shit.                                     STAR MAN                         Shit?                                     JENNY                         No, no... don't say that. Bad word.                                     STAR MAN                              (likes the sound of                               it)                         Shit... shit... what shit?                                     JENNY                              (screams)                         Stop!! Enough!! Jesus! You're worse                          than a parrot!!               Like closing a zipper, she slides her fingers across her                mouth.                                     JENNY                         Mouth closed... closed.               The STAR MAN does as he is told. He doesn't like it, but he                does it. With his lips puckered, he looks straight down the                road. The car rises out of a gulley. Topping a knoll straight                ahead is a gas station with an enormous Exxon sign revolving                above it. With his lips firmly pressed together, he tugs                Jenny's sleeve and points.                                     JENNY                         I see it.               The STAR MAN reaches forward and squeezes the satel compass                back into his palms.               EXT. GAS STATION - AFTERNOON               The Mustang comes up the off-ramp toward the pumps.               INT. MUSTANG - AFTERNOON               The STAR MAN'S hand closes around the butt of the .45 when                he sees the ATTENDANT step out of the office.                                     STAR MAN                         Who?                                     JENNY                         Attendant. He'll give us gas. Put                          the gun down. Under the seat. Under                          the seat...                                     STAR MAN                         No.                                     JENNY                         Oh God! You're going to get us both                          killed. Okay... in your pocket...               She shoves her hand into the pocket of her slacks showing                him what to do.                                     JENNY                         In your pocket... pocket...               Jenny eases in next to the pumps and stops. The Attendant is                already coming around the front of the car.                                     JENNY                         In your pocket, please...                                     STAR MAN                              (draws his fingers                               over his lips)                         You. Mouth closed.                                     JENNY                         Okay.               The STAR MAN stuffs the gun into the left pocket of his baggy                cords just as the Attendant arrives at the driver's door.                                     ATTENDANT                         Morning, folks. Fill her up?               The STAR MAN looks at Jenny for help. She sweeps her fingers                across her mouth to indicate her lips are sealed. The STAR                MAN peeks around her at the Attendant.                                     STAR MAN                              (overly loud)                         ...Gas...                                     ATTENDANT                         You got it.               He leaves the window. The STAR MAN watches him until the                nozzle is in the Mustang, then pleased with himself, turns                to Jenny and lifts his face into a 'smile.'                                     JENNY                         I'm going to the ladies' room. You                          stay here.               EXT. GAS STATION - AFTERNOON               Jenny gets out of the car. When she straightens up, she finds                the STAR MAN staring at her over the roof. She slams the                door and strides rapidly in the direction of the ladies'                room. Stuffing the green pouch in his pocket, the STAR MAN                trots after her.                                     JENNY                              (wheels on him as he                               catches up)                         Go back to the car.               The STAR MAN looks at her but doesn't move. Jenny snarls in                frustration, then with the STAR MAN on her heels, stalks to                the ladies' room and throws open the door.               INT. LADIES' ROOM - AFTERNOON               The STAR MAN follows Jenny inside.                                     JENNY                         See. It's a bathroom. I'm not trying                          to escape. I just have to go to the                          bathroom.               He checks out the stall.                                     JENNY                         Satisfied? Now get out. Out.                                     STAR MAN                         No.               Furious, Jenny steps around him and opens the door. She points                to the sign on it.                                     JENNY                         Women... me.               She continues out. The STAR MAN goes after her.               EXT. RESTROOMS - AFTERNOON               Jenny points to the sign on the next door.                                     JENNY                         Men. You go in here.               She cracks the door for him.                                     JENNY                         Come on.               He takes the door from her and pushes it open for a look                inside. Jenny ducks into the ladies' room. He is confused                for a moment then takes a long look at the men's room. It                means nothing to him. He backs out and tries the ladies'                room. It is locked. Not knowing what to do, the STAR MAN                stands uncomfortably in front of the door, then like a child                waiting for his mother, he sits on the curb. He watches the                Attendant lift the Mustang's hood and reach in for the                dipstick. The numbers on the pumps turn over, adding up the                gallons and the cost of the gas.               Everything is peaceful and quiet within the circle of light                cast by the gas station. The STAR MAN pulls the camera disc                out of his pocket and points it at the pumps. The cone of                light flashes out and pulls back its three-dimensional image.                The Attendant turns around and waves genially at the STAR                MAN, who waves back a perfect imitation of the gesture.               The SHARP RUMBLE of a SOUPED-UP HONDA MOTORCYCLE coming up                the off-ramp shatters the mood and the STAR MAN gets to his                feet.               He is startled by the image of the RIDER. In a one piece                driving skin and helmet he looks amazingly like a space                traveller. The STAR MAN steps cautiously forward for a better                look and mutters something to himself in his language. The                rider stops his bike at the second row of pumps and swings                himself stiffly out of the seat.                                     RIDER                         Do I need a key for the head?                                     ATTENDANT                         It's open.               Without taking off his helmet, the Rider sets out for the                men's room.                                     RIDER                              (over his shoulder)                         Fill it up.                                     ATTENDANT                         You got it.               The rider's approach frightens the STAR MAN. He backs up to                the ladies' room door and knocks. There is no answer. He                tries the knob. With the other hand he inches the gun slightly                out of his pocket.               INT. LADIES' ROOM - AFTERNOON               Jenny is bent over the sink dabbing nail polish around the                corners of a paper towel. Her head snaps around to look at                the doorknob. It holds.                                     JENNY                         Just a minute.               EXT. RESTROOMS - AFTERNOON               The STAR MAN tenses and forces a smile as the Rider passes                in front of him. A VOICE comes from behind the faceplate.                                     RIDER                         Howdy... can't get her out.                                     STAR MAN                              (thru the smile)                         Gas.                                     RIDER                         I know how she feels.               The rider enters the men's room. As the door closes behind                him, the STAR MAN's face falls and he knocks frantically on                the ladies' room door. Jenny opens it under his knuckles. He                blocks the doorway and she backs up as he steps inside.               INT. LADIES' ROOM - AFTERNOON               The STAR MAN looks around. Jenny's eyes widen at what is                happening behind him. The pneumatic arm above the door is                pulling it shut to reveal her paper towel pasted to the back.                The message on it, written in red lipstick, reads: KIDNAPPED                GOING W ON 169 JADE MUS. LIC#PXV237.                                     JENNY                              (stepping around him)                         It's still a toilet. Hasn't become a                          ballroom.               She tries to swing the door open and hide her message against                the wall, but she is too slow. The STAR MAN sees it and steps                forward to read.                                     STAR MAN                         Kid-nap-ped... go-ing W o-n...               Jenny realizes he doesn't know what it means.                                     JENNY                              (on her way out)                         That's very good.               Other graffiti on the door helps convince the STAR MAN Jenny's                message has nothing to do with him and after a last look at                it, he follows her.               EXT. GAS STATION - AFTERNOON               A CAN of Coke CLATTERS DOWN the chute of a drink dispenser.                Jenny picks it up and, with the STAR MAN hovering at her                shoulder, moves on to the candy machine. He watches a quarter                disappear into the slot and when Jenny picks another one out                of her purse, he points to it.                                     STAR MAN                         Money.                                     JENNY                         Yes.               She inserts the quarter and makes her selection. A Reese's                Peanut Butter Cup drops from its position into the pickup                bin.                                     STAR MAN                         What?                                     JENNY                         Candy.               Using the change from this and another quarter, she selects                an Almond Joy.                                     STAR MAN                              (as it tumbles into                               the bin)                         Money... candy.                                     ATTENDANT                              (to the STAR MAN)                         That'll be fifteen fifty, sir.                                     JENNY                         Here.               She hands him a twenty.                                     ATTENDANT                         Thank you.               He goes to make change.                                     STAR MAN                              (to himself)                         Thank you.               Jenny pops the top on the Coke can and on the way to the car                takes a sip.                                     STAR MAN                         What is...                              (reads off the can)                         ...Coke?                                     JENNY                         A drink.                                     STAR MAN                              (holds his hand out                               for it)                         I...                                     JENNY                         You want to try it?                                     STAR MAN                         I want to try it.                                     JENNY                         This stuff could kill...                              (changes her mind and                               smiles)                         Be my guest.               The STAR MAN fills his mouth, swirls it around and swallows.                                     STAR MAN                              (after a loud burp)                         Good.               He hands the can back to Jenny. She looks at it and knows                there are alien bacteria there her body would not like to                meet.                                     JENNY                         Eh... you keep it. I've had enough.               The STAR MAN takes another drink. He stops dead when he lowers                the can. Jenny continues for a few steps before she realizes                he isn't with her. She looks back over her shoulder. Her                eyes go immediately to where he is looking. The license plate                PXV 237 hangs like an accusation on the front bumper of the                Mustang. Jenny decides to brazen it out.                                     JENNY                         What's the matter?                                     STAR MAN                              (throws the can to                               the ground)                         Shit!               INT. MUSTANG - AFTERNOON               Jenny and the STAR MAN ride along in tight-lipped silence.                                     STAR MAN                         What is kidnapped?               Jenny ignores him.                                     STAR MAN                              (yells)                         Kidnapped!!!               She flinches but remains silent. The STAR MAN snatches the                paper towel off his lap and flaps it in her face, jabbing at                the word violently with a forefinger.                                     STAR MAN                         Kidnapped!!! What is kidnapped?!!               Jenny can't take it anymore and screams back at him through                tears.                                     JENNY                         Kidnapped is what you're doing to me                          now!!! Kidnapped is pointing a gun                          at me and taking me from my house!                          Kidnapped is changing yourself into                          my husband. I don't know what you                          are and I don't care. I just want to                          get away from you!               Jenny's outburst rocks the STAR MAN back into silence. He                waits for her to calm down, then slowly takes the gun out of                his pocket.                                     STAR MAN                         Jennyhaydn.               She doesn't dare look at him.                                     STAR MAN                         I am good.                              (and he slides the                               .45 under his seat)               EXT. INTERSTATE - NIGHT               Jenny speeds up to pass a truckload of horses.                                     STAR MAN                         What is that?               She doesn't answer. The car passes the truck. The highway                before them is empty.                                     JENNY                              (finally)                         Horses.                                     STAR MAN                              (without looking at                               her)                         Horses.               Jenny TURNS ON the RADIO and finds a COUNTRY AND WESTERN                STATION.                                     STAR MAN                         What?                                     JENNY                         Music.               It is pleasing to him and he listens for a while, then reaches                in his pouch and takes out one of the dusty gray marbles. He                rolls it between his palms. It changes to a glowing gold as                it grows to the size of a baseball.                                     JENNY                              (alarmed)                         What are you doing?!               The STAR MAN brings the globe close to his mouth and speaks                into it.                                     STAR MAN                              (subtitles)                         Iron channel message. Transmute was                          successful. Have captured one of                          them. It is taking me to the pick-up                          point in a land vehicle.                              (eyeing Jenny)                         I think I can control it by mastering                          its language, which is primitive and                          easy to learn. Will arrive on time.                          Wait for me.               The STAR MAN opens his hands and, to Jenny's astonishment,                the ball rises quickly and seeps through her roof without                leaving a trace.               EXT. INTERSTATE - NIGHT               The Mustang swerves violently, then straightens itself as                the ball comes through the roof and surges into the sky.               EXT. SKY - NIGHT               Unexpectedly, Shermin's helicopter storms into view. It is                so close we can count the rivets. As it clears, we go to:               INT. HELICOPTER - NIGHT               The flow of traffic on the Interstate below is being fed                into the six television screens from infrared cameras on the                belly of the craft. The image on the screen under the master                begins to move and ends in a close-up of a green Mustang.                It's not Jenny's. With a buzz the red dot appears and Fox's                face interrupts the view of the Mustang.                                     FOX (V.O.)                         I just came from a meeting with the                          Security Council and                              (the picture breaks                               up, but the voice                               continues)                         in view of the extraterrestrial's                          radical change and the fact that all                          our efforts                              (the picture re-                              assembles)                         to contact its ship remain unanswered,                          it was decided to issue a ten state                          'all points bulletin' for Scott Haydn,                          Jenny Haydn and the green Mustang.                          The officers have been instructed                          not to approach the people or the                          vehicle but to contact you. You will                          then move in and contain the subjects.               Shermin rubs his hands over his face while he digests this.                                     SHERMIN                              (sorting it out)                         You sure you want this, because...                          that's putting an awful lot of faith                          in people we have no control over...                                     FOX (V.O.)                         I'm afraid the situation demands                          that kind of risk.                                     SHERMIN                         I don't like it, George...                                     FOX (V.O.)                         Dammit Shermin. Earlier you were                          asking for help. What's changed?                                     SHERMIN                         It's messy... the thing's got a gun...                          We're just asking for somebody to                          get killed...                                     FOX (V.O.)                         We don't know what else to do. We                          need results.                                     SHERMIN                              (accepting)                         You'll get results one way or the                          other, that's for sure... Okay.                                     FOX (V.O.)                         I'm gonna be here if you need                          anything.               His image is replaced by one of the highway.                                     MAJOR BELL                         They're gonna let some local cop                          blow him away.                                     LYMAN                         Save us all a lot of trouble.                                     MAJOR BELL                         Jesus Lyman, you're an ignorant fool.                                     LYMAN                         Bullshit!                                     MAJOR BELL                         You have no conception of this, do                          you?                                     LYMAN                         You jerk! You look at all the                          sweetness and light and goodness you                          think'll come out of this. You know                          what's gonna come out of this... The                          end of religion, the end of                          civilization, the end of the earth.                          We could become slaves, we could                          become a colony of these things.                          Don't you see that? Are you too stupid                          to see that?                                     SHERMIN                         Are you ladies through?...               Bell and Lyman look at their feet.                                     SHERMIN                         Good... It looks like we might be                          the welcoming committee, so I think                          we should try and figure out what                          we're gonna do if we have to come                          face to face with this creature.                                     LYMAN                         Bell wants us to get down on our                          knees and bow.                                     SHERMIN                              (to Bell)                         Did your people have any contingencies                          rehearsed?                                     MAJOR BELL                         No... I guess we never thought it                          would happen.               It's Shermin's turn to look at his feet.                                     SHERMIN                         Terrific.               On one of the screens behind him the camera has picked up a                lighted billboard advertising 'Kellogg's Corn Flakes' with                its slogan 'HAVE A GREAT DAY.'               EXT. HIGHWAY - EARLY MORNING               Jenny's Mustang is barreling along well over the speed limit.                As it PASSES US, we PAN WITH it TO a sign: SLOW FOR                INTERSECTION.               EXT. INTERSECTION - EARLY MORNING               A truckload of corn is hurtling down ON US from the north.                An empty semi is rumbling up from the south. The light is in                their favor.               INT. MUSTANG - EARLY MORNING               The STAR MAN is driving. It is obvious that he doesn't see                the red light facing him. But Jenny does. And she also sees                the trucks closing in from either side.                                     JENNY                              (loud)                         Red light!               The STAR MAN doesn't see it, doesn't believe her, doesn't                slow down.                                     JENNY                              (screams)                         Stop!!!               EXT. INTERSECTION - EARLY MORNING               It is as if all three vehicles have heard Jenny. They slam                on their brakes at the same time and begin to skid toward                each other. It's going to be close.               INT. MUSTANG - EARLY MORNING               The prows of the trucks loom over Jenny and the STAR MAN                and, for a fleeting instant, it looks like they will join                the bugs imbedded in the radiators.               EXT. INTERSECTION - EARLY MORNING               The Mustang barely squeaks through and the trucks slam into                each other behind it, spilling corn all over the highway.               INT. MUSTANG - EARLY MORNING               It finally comes to a stop on the center line.                                     JENNY                         That was a red light!! I told you                          you have to stop at a red light!!                                     STAR MAN                              (sheepish)                         It was yellow.                                     JENNY                         You didn't even see it.               The STAR MAN looks back for the traffic light. It is hanging                from a pole in the middle of the road. Under it the truck                DRIVERS are climbing out of the cabs.                                     STAR MAN                         I will see it next time.                                     JENNY                         You better.               The STAR MAN angles back into his lane and begins to pick up                speed.               EXT. SIOUX FALLS - SOUTH DAKOTA - DAY               Deftly, the STAR MAN moves in and out of the afternoon                traffic. A bus coming in the other direction hits a pothole                filled with water and the SPLASH covers the Mustang.               INT. MUSTANG - DAY               Jenny watches the STAR MAN calmly turn on the wipers and the                washer and clean the windshield. The light above the                intersection ahead turns red and, even though he is still                fiddling with the wipers, the STAR MAN manages a smooth stop                back of the crosswalk.                                     JENNY                              (indicating the red                               dot on the satel                               compass)                         Why are you going here? What is here?                                     STAR MAN                         My...                              (searches for word)                         ...car will take me...                              (pokes finger toward                               sky)                         ...up there... home.               The light changes and the STAR MAN continues down the street.                                     JENNY                              (at the red dot again)                         When do you have to be here?                                     STAR MAN                         I do not understand.                                     JENNY                              (rubs her temples and                               laments to herself)                         How will I do this one?...               The answer is hovering above the city in front of them.                                     JENNY                              (pointing to the sun)                         Sun...                                     STAR MAN                         Yes.                                     JENNY                         Sun... day. No sun... night. You                          understand?                                     STAR MAN                         Yes. Day... night.                                     JENNY                         How many days and nights do you have                          to go...                              (prods the red dot)                         ...here?                                     STAR MAN                         Three nights... two days.                                     JENNY                         That's not much time. I'll just slow                          you down. I have to sleep. I'm very                          tired. And I have to wash and eat.                          You don't...                                     STAR MAN                         I need you.                                     JENNY                         I won't tell anybody if that's what                          you're worried about. I promise.                          You'll keep...                                     STAR MAN                         No.                                     JENNY                         You'll keep the car. I'll take a                          bus...                              (an awful possibility                               occurs to her)                         Am I going up there with you... in                          your ship... up there?                                     STAR MAN                         No.                                     JENNY                         Then let me go. You don't need me.                                     STAR MAN                         No.                                     JENNY                         I feel like I'm going crazy here.                          You're Scott. But he's dead. I don't                          know what's real anymore. I can't be                          here with you.               The STAR MAN is unyielding.                                     JENNY                         Do you understand what I'm saying to                          you? You can keep the car.                              (she hands him some                               money)                         That should be enough for gas from                          here to there. Please let me go.                                     STAR MAN                              (taps the red dot on                               the satel compass)                         When we get here.               Jenny slams herself angrily back in the seat.                                     JENNY                         You bastard.               Her upper lip trembles and, in spite of herself, she might                cry. The STAR MAN sees the center lane is open. He checks                his side mirror and drifts over, only to be caught by a light.                The car is still rolling when Jenny makes her move. She throws                open the door and, by the time the STAR MAN turns around,                she is out and running.                                     STAR MAN                         Jennyhaydn!               He takes his foot off the brake to go after her and the car                lurches into the cross traffic. He clambers back behind the                wheel, regains control and cuts a hard right in front of the                other car waiting at the light.               EXT. STREET - SIOUX FALLS - DAY               Over her shoulder, Jenny can see the Mustang coming. She                dodges up a brick walkway toward a J.C. Penney shopping mall.                The Mustang skids to a stop at the curb. The STAR MAN jumps                out in time to see Jenny push her way past a stream of                pedestrian traffic and enter the mall. He leaves the car and                zigzags through the people in that direction.               INT. SHOPPING MALL - DAY               As he barges in, the STAR MAN accidentally knocks a cup of                Coke out of a YOUNG MAN's hand.                                     YOUNG MAN                         Hey!!               In a panic to find Jenny, he continues jostling past people                to look in the shops that border the atrium.               MEZZANINE               Jenny warily approaches the railing and peers over. Below                her the STAR MAN comes out of a record store. She turns away                and gets on the escalator to the second floor.               ON THE GROUND FLOOR               The STAR MAN thinks he sees Jenny in an electronics store,                but when the girl turns around, it is obviously not her.                Backing out of there, he knocks over a sandwich board                advertising a restaurant. The LOUD THWACK it makes when it                hits the cement turns faces in his direction.               Jenny's is not among them. His eyes raise to the mezzanine.                Maybe she's there. He looks wildly around for a way up. He                spots the escalator and, trying to keep the upper floor in                view while he runs for it, he slams into an unattended pram.               It begins to tip over. The BABY INSIDE SCREAMS. The STAR MAN                manages to snatch it out of the carriage before it hits the                floor. He is looking for a place to put it when the MOTHER                comes charging out of a plant store.                                     MOTHER                         My baby!!! He's stealing my baby!                          Burt!!               The STAR MAN holds the baby out to her.               She grabs it out of his hands and he turns to leave.                                     MOTHER                         Burt!! Somebody stop him!! He was                          stealing my baby!!               Two tough-looking MEN in T-shirts step in to block the STAR                MAN's way to the escalator.                                     MAN                         Where you think you're going?               Not understanding, the STAR MAN tries to get by them. They                push him back.                                     STAR MAN                         Please.               A tall, skinny blond man with spectacles elbows his way to                the Mother.                                     MOTHER                         He was trying to steal Gloria.               Two steps and Burt is on the STAR MAN. He spins him around.                                     BURT                         Is that right? Huh?               He throws him back against the crowd that has gathered.                                     STAR MAN                              (stutters)                         Please.               Burt pulls the STAR MAN up by his shirt front and shakes                him.                                     BURT                         Is that right? Come on. Answer me.               Fear erases the STAR MAN's tenuous grasp of English and he                begins to jabber in his own language. This makes Burt even                madder.                                     BURT                         Were you trying to steal my baby?                          Huh? Answer me!                                     STAR MAN                         Jennyhaydn!               SECOND FLOOR               Jenny has just gotten on the escalator to the third floor                when she hears her name. She knows she shouldn't but she                gets off and joins the crowd at the railing. From there, she                can see the STAR MAN trapped in a circle of people. He clubs                Burt away from him and tries to thrash his way out of the                mob.                                     STAR MAN                         Jennyhaydn!               One of the T-shirts throws him back and Burt begins to punch                him. We MOVE IN UNTIL we are CLOSE ON Jenny's face.               GROUND FLOOR               Some of the onlookers have joined Burt in his attempt to                bring the STAR MAN down. Growling in his own language, the                STAR MAN fights back as best he can. The sleeve of his                windbreaker is torn. One of the T-shirts lands a blow on his                right shoulder that turns the STAR MAN around. He takes a                blow on the chest. Another in the kidneys. Burt gets a grip                on the STAR MAN's left wrist and holds on. The attackers                close in. Jenny's voice cuts through the din.                                     JENNY (O.S.)                         Stop it!!! Stop it!!!               She barges into the fray and starts peeling the men away                from the STAR MAN.                                     JENNY                         Get away from him!! Leave him alone!!                          You stupid jerks!! He's retarded!!                          Can't you see that?!! Get away from                          him!!               The men do. Jenny pushes the sleeve of the torn wind-breaker                back up on the STAR MAN's shoulder.                                     MOTHER                         He was stealing my baby...                                     JENNY                         You're wrong!! He would never do                          anything like that!!                              (takes STAR MAN's                               hand)                         Let's go...                                     MOTHER                         He had Gloria in his hands!                                     JENNY                         He's retarded! I shouldn't have left                          him alone!               She starts to push out of the circle. Burt steps in to block                her.                                     JENNY                              (hisses)                         Get out of my way.               She stares at him until he does, then leads the STAR MAN                down the path that opens for them in the crowd. They pass a                MALL GUARD who has just arrived.               EXT. STREET - SIOUX FALLS - DAY                                     JENNY                         Are you okay?               Still shaken, the STAR MAN nods. Jenny realizes that it is                comforting to him to have his hand in hers and she leads him                like a child down the sidewalk to the Mustang.                                     STAR MAN                              (as Jenny puts him in                               the passenger seat)                         Thank you.               The Mall Guard follows them down the walk-way and watches                them drive off. He scribbles the license number in his                notebook.               INT. GREYHOUND BUS STATION - SIOUX FALLS - DAY               At the counter Jenny puts her Visa card back into her wallet                while the CLERK staples the pages of a ticket into a travel                folder.                                     CLERK                              (handing it to her)                         Gate three. It's boarding now.                                     JENNY                         Thank you.                                     CLERK                         Have a nice trip.               We FOLLOW Jenny THROUGH the people milling around the benches                in the waiting area TO the STAR MAN seated in an open-faced                coffee shop. He is watching a MOTHER feed her baby in the                booth across from him. A map of the United States is spread                out on the formica. Jenny plunks herself down catty-cornered                from him. The tear in his sleeve has been closed with safety                pins.                                     JENNY                         The closest I was able to get you                          was Lathrop Wells...                                     STAR MAN                              (pointing to baby)                         Is that a baby?                                     JENNY                         Yes.                                     STAR MAN                         A baby is a new person?                                     JENNY                         Eh... yes...                                     STAR MAN                         Do you have a baby?                                     JENNY                         No... The closest...                                     STAR MAN                         Why?                                     JENNY                         I'd love to have a baby. But I                          can't...                                     STAR MAN                         Why?                                     JENNY                         I can't... Forget the baby. Okay?                          The closest I was able to get you                          was Lathrop Wells. You'll have to                          hitchhike the rest of the way.               The STAR MAN looks at the map. Lathrop Wells is a small town                north of Las Vegas on Highway 95. From there he runs his                finger to a spot in the Funeral Range of Death Valley.                                     STAR MAN                         But I must go here.                                     JENNY                         I know that. But the buses don't go                          there.                                     STAR MAN                              (suspicious)                         What is hitchhike?                                     JENNY                         That's easy. I'll explain that in a                          minute. This is your ticket. When                          you get on the bus here, the driver                          will take this part. You will ride                          to Omaha. When you get to Omaha, ask                          the driver. 'Salt Lake City, please.                          I do not speak English.'               The STAR MAN nods that he understands.                                     JENNY                         Say it.                                     STAR MAN                         'Salt Lake City, please. I do not                          speak English.'                                     JENNY                         The driver will...                                     STAR MAN                         But I speak English.                                     JENNY                         Will you please do it my way? You'll                          get into trouble if you don't. If                          anybody talks to you, tell them... I                          do not speak English.                                     STAR MAN                              (indignant)                         I do not speak English.                                     JENNY                         Right. In Omaha the driver will put                          you on the bus for Salt Lake City                          and the new driver will take...                              (bends back second                               portion of ticket)                         ...this part. When you get to Salt                          Lake City, ask the driver, 'Las Vegas,                          please'...                                     STAR MAN                              (impatient)                         'Las Vegas, please. I do not speak                          English.' What is hitchhike?                                     JENNY                         You want this ticket?                                     STAR MAN                         Yes.                                     JENNY                         Then don't be smart.                                     P.A. SYSTEM (V.O.)                         Last call for bus 33 to Vermillion,                          Sioux City and Omaha... loading at                          Gate 3.                                     JENNY                         That's your bus.                              (picks up the map and                               folds it)                         When you get to Las Vegas, ask the                          driver. 'Lathrop Wells, please. I do                          not speak English.'                                     STAR MAN                              (falling into step                               next to her)                         'Lathrop Wells, please. I do not                          speak English.'                                     JENNY                              (hands him the map)                         You keep this. Now this is hitch-                         hike...                              (stops in the middle                               of the waiting area                               to illustrate)                         You stand on the side of the road,                          the highway... you understand? And                          you face the cars going in the                          direction you want to go. When you                          see a car or a truck coming, you                          stick out your thumb like this...               Jenny takes a few sweeps at an imaginary highway with her                thumb. The stares this pantomime draws make the STAR MAN                more nervous about the bus trip than he already is.                                     JENNY                         Your thumb tells the driver that you                          want a ride.                                     STAR MAN                         The car will stop?                                     JENNY                              (continuing toward                               the loading platform)                         Not every car, but... a car will                          stop... Maybe not the first car...                          maybe number eight, number fifteen...               The STAR MAN stops.                                     STAR MAN                         When do I get to Lathrop Wells?                                     JENNY                         Tomorrow morning. Start hitch-hiking                          right away and...               Jenny pushes open a glass door to:               EXT. LOADING PLATFORM - DAY                                     JENNY                         ...you'll have plenty of time to get                          to where you want to go.               The STAR MAN hangs back when he sees the security guards.                                     JENNY                         Don't worry. They're not going to                          hurt you. Come on.                              (gives him ticket)                         Only show this to the driver. Nobody                          else. And don't lose it.                                     STAR MAN                         Can I have the gun?                                     JENNY                         No.               She maneuvers him into the end of the line.                                     JENNY                         You might need this.               She takes some of the paper money out of her wallet and stuffs                it in his pocket.                                     JENNY                         Don't be afraid. Do what I told you                          and you'll be okay.                                     STAR MAN                              (nervous)                         Yes.               The line moves forward a step.                                     JENNY                         Well... I'm going to go now.                                     STAR MAN                         Go?                                     JENNY                         Yes. I have a long ride ahead of                          me...                              (takes his hand)                         Goodbye.                                     STAR MAN                         Goodbye.               He watches her walk away.                                     STAR MAN                         Jennyhaydn.                                     JENNY                         Yes?                                     STAR MAN                         Please stay.               Jenny comes back and takes his hand.                                     JENNY                         I'll stay till you get on the bus.               A family of four climbs aboard and the line moves up. The                STAR MAN is alert to everything happening on the platform.                Jenny sneaks him an affectionate look. No one in front of                him has baggage to check and they move quickly past the DRIVER                until the STAR MAN is next in line.                                     DRIVER                         Ticket?               The STAR MAN hands the Driver his ticket. The Driver rips                out the first coupon and hands it back.                                     JENNY                         See? You're going to be okay.               When they stop at the door, she impulsively kisses him on                the cheek.                                     JENNY                         Goodbye.                                     STAR MAN                              (touches his cheek)                         What?                                     JENNY                         It's a kiss...                              (she motions for him                               to get on the bus)                         Goodbye...                                     DRIVER                         Let's go.               The STAR MAN climbs the steps just ahead of him. The door                closes. Its ENGINE REVVING, the bus backs out of its stall.                Jenny catches a glimpse of the STAR MAN bent over in the                aisle looking out at her. She waves until the bus rounds the                building.               EXT. GREYHOUND PARKING LOT - DAY               Jenny's green Mustang loops around the end of a row of cars                and heads for the street.               INT. MUSTANG - DAY               LOOKING OVER Jenny's SHOULDER, we SEE the Star Man waiting                for her at the curb.                                     JENNY                              (softly)                         Oh no...               She stops next to him and rolls down her window.                                     JENNY                         What happened?                                     STAR MAN                         I was afraid.               Jenny moans and lays her head on the vinyl of the window                sill. When she raises up, he smiles at her.                                     JENNY                         Okay, you win. Get in.               INT. SHOPPING MALL - DAY               Shermin is standing next to the security guard in the middle                of a knot of shouting people.                                     SHOPKEEPER                         This kind of thing's real bad for                          business...                                     TOUGH                         He couldn't even speak English.                                     MOTHER                         Those kind of people should be shot.                                     ONLOOKER                         What happened?                                     WAITRESS                         I think he was just lost...                                     BURT                         Who's side are you on?                                     TOUGH                         No way he was going to get away from                          me.               We move in on a lapel mike pinned to the front of Shermin's                shirt.               INT. HELICOPTER - DAY               The hubbub in the shopping center is being recorded on a                tape deck. Lyman, a phone to his ear, is seated in front of                the television screens.                                     LYMAN                         Where's that?... And it was one                          person, one way...               He hangs up and heads for the rear door. Jenny Haydn's current                Visa statement occupies the upper left screen. The last two                items are circled: The charge for the Greyhound ticket and                the credit for the return of that ticket.               EXT. SHOPPING MALL - DAY               The security guard tags Shermin into the parking lot.                                     SECURITY GUARD                         Eyewitnesses are the worst. You get                          two of them together. You got three                          stories. You know what I mean?               Shermin sees Lyman come out of the crowd surrounding the                police cars in front of the helicopter.                                     SECURITY GUARD                         Is there a reward in this?                                     SHERMIN                         Huh?... Eh... no, there isn't                                     SECURITY GUARD                         Because I'm the one who called the                          police, you know.                                     SHERMIN                         Yeah, thanks. We appreciate that.                                     SECURITY GUARD                         Hey, it's none of my business why                          you're chasing a retard... You want                          my opinion, it's the girl. She had                          to hold the guy's hand all the way                          to the car like he was a kid.                                     SHERMIN                         You saw that?                                     SECURITY GUARD                         Hey... he didn't look like no big                          time criminal to me.               Lyman meets them. It is obvious he has something to tell                Shermin.                                     SECURITY GUARD                         Eh... the store tells you to call                          when there's trouble, so they won't                          get sued... But that shouldn't matter                          if there's a reward, right?                                     SHERMIN                         I wouldn't think so.                                     SECURITY GUARD                              (peeling off)                         That's what I thought. So remember                          it was me because sometimes rewards                          come late, you know.                                     SHERMIN                         We will.                              (he turns to Lyman)                         Something's wrong here. She's helping                          him now.                                     LYMAN                              (alarmed)                         I know. She bought him a ticket for                          Lathrop Wells and put him on the                          bus. He didn't stay on though and                          they drove off together.                                     SHERMIN                              (shaking his head)                         Doesn't make sense.                                     LYMAN                         Maybe he's turned her into one of                          them. They enter the crowd around                          the helicopter.               EXT. INTERSTATE 29 - DAY               The Mustang cruises along between fields of corn.                                     JENNY (V.O.)                         Why did your ship land on this                          planet... on Earth?                                     STAR MAN (V.O.)                         It was a mistake.               INT./EXT. MUSTANG - DAY               The following conversation will be played over various views                of Americana: a station wagon load of kids, waving and                laughing, lovers kissing at a bus stop, billboards, car lots,                a dog taking a leak against a tree, cheerleaders practicing                on a football field, a funeral cortege, a telephone repairman                up on a pole.                                     JENNY                         You thought we were a different                          planet?!                                     STAR MAN                         No. My ship was doing a map of all                          the suns and...                                     JENNY                         Stars... When a sun is far away, we                          call it a 'star.'                                     STAR MAN                         We were doing a map of the stars and                          all the other things up there when                          we saw a small ship. My... eh... we                          kidnapped it. On it there was a map                          that said how to come to Earth. This                          was very important. Before then, we                          thought we were the only people in                          all the stars.                                     JENNY                         You did? That's funny. So did we.                                     STAR MAN                         Yes?                                     JENNY                         Yes.                                     STAR MAN                         We told our home, and the people who                          tell us what to do on my planet said                          to come and look but not to talk,                          not to land, not to shoot. Just to                          look from up there. We came and...                          the driver of my ship...                                     JENNY                         The captain...                                     STAR MAN                         The captain wanted to land to see                          close and to get some things from                          Earth to take home. The police came                          and shot at us. One of the people                          from my ship was killed.                                     JENNY                         Oh, that's terrible. I'm sorry. Was                          he a good friend?                                     STAR MAN                         I don't understand 'friend.'                                     JENNY                         A friend is a person that is good to                          you... someone you like to be with...                          someone you like to laugh with...                                     STAR MAN                         He was a good friend... The captain                          took the ship away fast and I was                          not in the ship.                                     JENNY                         The police shouldn't have started                          shooting. But you can hardly blame                          them. You surprised them. They didn't                          know you were up there. When they                          saw you, they thought you were here                          to hurt us.                                     STAR MAN                         I understand.                                     JENNY                         Sounds like your captain's going to                          get hell when he gets back home.                                     STAR MAN                         What is hell?                                     JENNY                         It's bad.                                     STAR MAN                         He will.               Pause. Jenny feels the STAR MAN staring at her. She turns to                look at him. His gaze doesn't waver. She looks back at the                road, then back at the STAR MAN.                                     JENNY                         What are you doing?                                     STAR MAN                         Are you my friend?                                     JENNY                         Yes.                                     STAR MAN                              (smiles)                         I am your friend.               EXT. INTERSTATE 80 - NIGHT               Jenny's Mustang is whipping west out of Lincoln, Nebraska.                We HEAR A JUMBLE OF RADIO STATIONS as the SELECTOR is RUN                THROUGH THE FREQUENCIES.               INT. MUSTANG - NIGHT               Jenny is driving. The STAR MAN finds a RELIGIOUS STATION ON                the RADIO.                                     PREACHER (V.O.)                              (on radio)                         God is your creator. God is your                          master. God is you savior. God is                          the only reason that you exist. If                          God...                                     STAR MAN                              (during the above)                         Who is God?               Jenny is tired. She doesn't want to get into that.                                     JENNY                         Nobody knows.                                     STAR MAN                         Why?                                     JENNY                         I don't know.               The STAR MAN lets it drop and finds a COUNTRY AND WESTERN                STATION.                                     STAR MAN                         I like this music.                                     JENNY                         I've noticed... Do you understand                          what they're saying?                                     STAR MAN                         Not all... but it feels like a kiss.               Jenny smiles at him, then:                                     JENNY                         Do you have music up there?                                     STAR MAN                         Yes.                                     JENNY                         I'd like to hear it. Can you sing                          something?                                     STAR MAN                         I do not want to.                                     JENNY                         Don't be afraid... I'd really like                          to hear it.               She TURNS OFF the RADIO.                                     JENNY                         Please.               He turns away from her, clears his throat and begins. His                singing is like nothing we have ever heard. Vibrations of                tones and glottal stops blend into a haunting, seductive                fugue. The STAR MAN stops.                                     STAR MAN                         I am not a good singer.                                     JENNY                         That was beautiful.                                     STAR MAN                              (incredulous)                         You liked my singing?                                     JENNY                         Yes. Sing some more.               EXT. INTERSTATE 80 - NIGHT               With the STAR MAN's SERENADE WAFTING over the Nebraska plains,                we FALL BACK TO FIND a Highway Patrol car tagging along at a                safe distance behind the Mustang.               EXT. BEST WESTERN MOTEL - NIGHT               The STAR MAN stops the Mustang in front of the office. He                and Jenny get out and go inside. As the door closes on them,                three Nebraska Highway Patrol cars speed up the off-ramp.                The lead car turns right on a surface street and enters the                motel parking lot at the far end.               The middle car goes straight across the intersection and                positions itself at the curb next to the driveway, giving                access to a frontage road which leads to an on-ramp. The                last car also turns right on the surface street, but parks                in a restaurant parking lot directly across from the office.               INT. OFFICE - BEST WESTERN MOTEL - NIGHT               In answer to Jenny's bell, the night CLERK comes out of the                living quarters in the back, finger combing his sleep-rumpled                hair.                                     CLERK                         What can I do for you folks?                                     JENNY                         How much are your rooms?                                     CLERK                         Thirty-seven fifty for one person,                          forty-nine fifty for two.               Drawn by the bright colors on their covers, the STAR MAN                wanders over to the magazine rack. By chance, he selects a                copy of 'Playgirl' and begins to look through it.                                     JENNY                         You have one with two beds?                                     CLERK                         Sure.                                     JENNY                         I'll take that.                                     CLERK                              (slides her a                               registration card)                         Fill this out.                              (as Jenny writes)                         Will this be cash or credit card?                                     JENNY                         Credit card.                                     CLERK                         I'll have to run your card off now.                                     JENNY                              (digging through her                               purse)                         We're only going to be here a few                          hours...                                     CLERK                         It's still the full price.                                     STAR MAN                         Jenny, look...               From behind the STAR MAN, we WATCH Jenny react to the open                Playgirl centerfold that he is holding up.                                     JENNY                         Put that back.                                     STAR MAN                         But I have never seen this before. I                          am not complete.               Although we cannot see it, we know what he is pointing at.                                     JENNY                         Put it back.               The STAR MAN swivels the picture around so that he can see                it. Jenny hands the smirking Clerk her credit card. He steps                to the side and inserts it into the imprinter. Out of the                corner of his eye, he sees a dot of light leave the STAR                MAN's forehead to drop behind the magazine and into his                trousers.               The Clerk glances over at Jenny to see if she hears the                HISSING that is going on behind the STAR MAN's fly. She does                and she hopes it'll stop soon. His eyes on the STAR MAN, the                Clerk fumbles the key to 117 off the rack.                                     CLERK                         You can park your car in front of                          the room.               He drops the key on the counter.               INT. MIDDLE PATROL CAR - NIGHT               Through his side window, the DRIVER can see the motel office.                                     DRIVER                              (into microphone of                               his radio)                         What did these two do?               INT. LAST PATROL CAR - NIGHT                                     SECOND DRIVER                         All anybody knows is that they're                          armed and dangerous.               In the office, he can see Jenny and the STAR MAN leave the                counter and head for the door. He raises a pair of binoculars                to his eyes for a good head-on look at them.               THROUGH THE BINOCULARS               We SEE Jenny and the STAR MAN come out of the motel office.               BACK TO SCENE               The Second Officer lowers the glasses and looks down at the                telex pictures of Jenny and the STAR MAN taped to the                dashboard.                                     SECOND OFFICER                         Be a piece of cake for us to take                          'em.               INT. LEAD PATROL CAR - NIGHT               THROUGH the WINDSHIELD, we can SEE Jenny and the STAR MAN                approaching the Mustang.                                     THIRD DRIVER                         National Security folks should be                          here any minute. Let them take care                          of it. That's what they get the big                          bucks for.               EXT. BEST WESTERN MOTEL - NIGHT                                     STAR MAN                         I want a drink. May I have two                          quarters?               At the passenger door, Jenny sets her purse on the car roof                to take out her wallet.                                     JENNY                              (handing it to him)                         You shouldn't drink so much of that                          stuff. It's bad for you.                                     STAR MAN                         On the radio they say it's good.                                     JENNY                         Hurry up.               Over her purse she notices the patrol car facing her from                the restaurant parking lot. There is certainly nothing unusual                about a patrol car in a restaurant parking lot. She shrugs                it off and gets in the Mustang.               INT. MUSTANG - NIGHT               Jenny's behind hasn't even hit the seat before she sees the                patrol car parked on the frontage road off to her left. She                looks at the STAR MAN. He's busy pounding on the drink                machine. She turns around to check the lot behind her and                spots the patrol car there.                                     STAR MAN                              (coming to the car                               with a drink can in                               each hand)                         The machine gave me two. Should I                          put one back?                                     JENNY                         No. Get in.                                     STAR MAN                              (rounding the hood)                         You can have one.                                     JENNY                              (as he gets in)                         I'm not sleepy anymore. Let's drive                          for a little while longer.               The STAR MAN stiffens when he sees the patrol car on the                frontage road.                                     STAR MAN                         Are you angry at me?                                     JENNY                         No. I'm just not tired. Let's go.               EXT. BEST WESTERN MOTEL - NIGHT               The Mustang moves toward the frontage road.               INT. LAST PATROL CAR - NIGHT                                     SECOND DRIVER                              (as the Mustang rolls                               onto the frontage                               road)                         They made us. Let's get 'em.               EXT. BEST WESTERN MOTEL - NIGHT               All three patrol cars jam on their rack lights and, with                their SIRENS HOWLING, peel out after Jenny and the STAR MAN.               INT. MUSTANG - NIGHT               At the SOUND, the STAR MAN snaps his attention to the rear                view mirror. It's ablaze with police lights. He tromps on                the gas.                                     JENNY                         No.               INT. HELICOPTER - NIGHT               Shermin is patched into the Nebraska Highway Patrol and is                listening to the pursuit.               EXT. INTERSTATE 80 - NIGHT               The Mustang careens down the on-ramp and squeezes into the                traffic a hair's breath ahead of an 18-wheeler. This cuts                off the patrol cars momentarily, but the Mustang doesn't                have the speed to stay ahead of them. Using the other cars                on the road as shields, the STAR MAN dodges from lane to                lane trying to keep the police from coming alongside.               INT. MUSTANG - NIGHT               The lead patrol car feints forward on the STAR MAN's side.                The STAR MAN sways over to cut it off and the middle patrol                car slips in next to Jenny. The STAR MAN grabs the gun from                under the seat.                                     JENNY                         No!!! No!!!               INT. MIDDLE PATROL CAR - NIGHT                                     DRIVER                         He's got a gun!!               INT. MUSTANG - NIGHT               Jenny screams.               A shotgun blast from the middle patrol car rips through the                door and into Jenny. Part of the FRONT WINDOW is BLOWN OUT.                Bleeding badly, she slumps against the STAR MAN.                                     STAR MAN                         Jennyhaydn! Jennyhaydn!!               Her eyelids flutter open and she tries to speak, but can't.                The middle patrol car is lining up for another shot. The                STAR MAN slams the Mustang into it, sending it spinning onto                the shoulder and into a ditch.               The last patrol car speeds up to replace it. The lead patrol                car slips in next to the STAR MAN. They've got him in a                sandwich. The STAR MAN stands on his brakes.               EXT. INTERSTATE 80 - NIGHT               Caught by surprise, the patrol cars rocket ahead of him. The                Mustang cuts across the swatch of land that acts as a center                divider in the highway and races west in the eastbound lanes.               INT. MUSTANG - NIGHT               The STAR MAN squints against the headlights of the on-coming                traffic as he calmly wedges his way straight through it.               EXT. INTERSTATE 80 - NIGHT               The lead patrol car tries to follow him but is clipped by a                Cadillac swerving to avoid the STAR MAN and bounced back                into the center divider. The last patrol car parallels the                Mustang in the westbound lanes.               INT. MUSTANG - NIGHT               The STAR MAN realizes he's still boxed in. A car carrier                swerves by on his left. The lane behind is open. The STAR                MAN takes advantage of the opportunity.               EXT. INTERSTATE 80 - NIGHT               The Mustang vaults off the shoulder of the highway into an                open field and bullets away through the weeds.               The rush of oncoming traffic traps the three patrol cars in                the center divider.               INT. MUSTANG - NIGHT               Jenny moans as the car jostles over the rough ground. The                STAR MAN puts out a hand to cushion her ride. His headlights                pick up a gravel road splitting the field and he turns onto                it. In a quick look back, he sees the patrol car shooting                across the highway after him.               EXT. GRAVEL ROAD - NIGHT               We FOLLOW the Mustang as it winds upward through the grazing                lands sparsely dotted with clumps of trees. The plume of                dust kicked up by the fleeing car is turned silver by a full                moon. The WAIL OF the PATROL CARS is DISTANT BUT CLOSING.               EXT. PASTURE - NIGHT               The Mustang barrels around a curve and slides to a surprise                stop before a gate in a barbed wire fence that ends the road.                With the .45 in his hand, the STAR MAN jumps out of the car                and tries the gate. It is locked.               When he turns back to the car, he sees something that                frightens him more than the approaching patrol cars. A                helicopter has joined the chase. He looks for a place to                hide. A stand of cottonwood and elm fifty yards on the other                side of the gate offers the only protection.               The STAR MAN opens the passenger door. Jenny is soaked in                her own blood. He hooks the strap of her purse over his                shoulder, lifts her tenderly and, cradling her in his arms,                wiggles between a fence post and the gate and jogs into the                trees.               EXT. PASTURE - NIGHT               The helicopter sets down behind the Mustang. Shermin leads                Bell, Lyman and the technicians to the car.                                     LYMAN                              (seeing the blood on                               the passenger seat)                         One of them must be pretty badly                          hurt.               Shermin pushes the seat forward. The STAR MAN's life-support                suit is stuffed in the space behind it. The patrol cars skid                around the curve.                                     SHERMIN                              (to Bell, indicating                               the suit)                         Get this back to the copter.               Shermin takes a bullhorn from Lyman and goes around to the                front of the Mustang. The highway patrolmen get out of their                cars behind him.                                     SHERMIN                              (bullhorn to woods)                         Mrs. Haydn, please come out. We don't                          want to hurt you or your friend.                          Please put down your weapon and come                          out.               EXT. TREES - NIGHT               Jenny's limp weight is beginning to slow the STAR MAN. He                hears the bullhorn but doesn't stop.               EXT. PASTURE - NIGHT               Shermin lowers the bullhorn and speaks to the patrolmen.                                     SHERMIN                         Okay, fan out. These people have a                          gun but we want them alive.                          Understand?               EXT. TREES - NIGHT               A deep shadow on the other side of an elm offers a likely                hiding place. He moves through the underbrush toward it.                Without warning, his feet begin to slip out from under him.                He struggles to regain his balance.               When he does he looks down to find himself staring at a RAGING                RIVER 150 feet below. The bank on the other side is just a                few feet above the water and in the moonlight he can see a                flat plain cut by a highway that stretches into the distance.                Slowly, he backs away from the edge of the cliff.               From under the elm he watches the helicopter sweep out over                the ravine. Its searchlight darts toward him bleaching the                treeline. The overhanging branches cloak him and Jenny and                the light passes without picking them up. The STAR MAN adjusts                his grip on Jenny and starts off in the opposite direction                from the helicopter to look for a way down the cliff.               EXT. TREES - NIGHT               Shermin, his people and the patrolmen are combing the woods                with flashlights in a picketline search. The Third Driver                stops at the mouth of a clearing that runs between the                cottonwood and elm to the cliff. He takes a bite off a block                of chewing tobacco.               As he replaces it in his pocket, he sees a shadow flit across                the far end of the clearing. He swings his flashlight in                that direction. The beam catches a piece of Jenny and the                STAR MAN.                                     THIRD DRIVER                         Over here! They're over here!               EXT. TREES - NIGHT               Standing on the rim of the gorge, the STAR MAN sees the rays                of his pursuers' flashlights choking off any possible escape.                He eases Jenny to the ground behind a boulder. She whimpers                with the pain.                                     STAR MAN                              (strokes her cheek)                         You will be all right.               He stretches over the top of the boulder and scatters FOUR                SHOTS at the lights.               EXT. TREES - NIGHT               The patrolmen, the technicians and Shermin all hit the ground                and kill their lights.                                     SHERMIN                         Mrs. Haydn, we don't want to hurt                          you. Put down your gun and come out.                          We just want to talk to your friend.               THE STAR MAN AND JENNY               The STAR MAN peers around the boulder. At that instant the                searchlight from the helicopter happens to splash across the                men in the field. He sees that their guns are drawn and                pointed in his direction. The STAR MAN pulls back and takes                a marble from his pouch. It grows and glows gold as the STAR                MAN rolls it between his palms. When it reaches the size of                a baseball, he clutches it firmly in his right hand and                EMPTIES the .45 toward Shermin and the police. This time,                there is a BARRAGE OF ANSWERING FIRE.               With the BULLETS RICOCHETING around him, the STAR MAN lifts                Jenny to his shoulder. He massages the golden orb until it                becomes the size of a soccer ball, then takes two quick steps                to the edge of the cliff and leaps into the abyss.               EXT. ABYSS - NIGHT               The upward thrust of the ball supports their fall and under                its glow they begin a slow descent to the other side of the                river. Above them, the helicopter dips back and locks its                searchlight on the shelf of boulders they just left.               EXT. PLAIN - NIGHT               The STAR MAN sets down with the smoothness of a man stepping                off an escalator. He looks over his shoulder. The helicopter                is still concentrating its spotlight on the ridge. He speaks                to the ball in his language.                                     STAR MAN                              (subtitles)                         Iron channel message. Almost caught                          by pursuers. This may hinder escape.                          Wait for me.               He lets the ball go and, with even more velocity than the                others, it zips into the sky.                                                               DISSOLVE TO:               EXT. TRUCK STOP - NIGHT               A WOMAN in a Frederick's of Hollywood negligee lets a TRUCK                DRIVER out of one of the Winnebagos parked to the side of                the main building.                                     WOMAN                         Don't forget to tell the boys where                          you had a good time.                                     DRIVER                              (calling back to her)                         You weren't that good.               Her rusty laugh follows him into the parking lot. He walks                between the trucks to a semi which has half of a pre-fab                mobile home tied onto its flat-bed. The polyethylene that                covers the open side of the house flaps in the WIND at the                lower corner next to the cab. The Driver opens his door. He                takes out a staple gun and refastens the dark green plastic                to the house frame.               INT. HALF HOUSE - NIGHT               In the middle of the empty bedroom, the STAR MAN tries to                cushion Jenny against the sudden JOLTS made by the semi as                it lumbers out of the parking lot.               EXT. HIGHWAY 76 - NIGHT               With the Driver taking it smoothly through the gears, the                semi picks up speed.               INT. HALF HOUSE - NIGHT               The STAR MAN moves Jenny into a rectangle of moonlight shaped                on the floor by a high, wide window and strips off her blouse.               The cold light marbles Jenny's skin and makes the blood from                her wounds appear black. With her blouse, the STAR MAN wipes                away the blood on the right side of her head and neck. He                finds a deep glass cut on her cheek and two entry points in                her neck. He concentrates on her cheek and we can SEE the                glow of his brain through his human skin.               A bit of the white light comes out of his forehead. It tumbles                across to Jenny's cheek and settles into the wound. The STAR                MAN watches intently as one end of the wound flares brightly                for an instant, then dies. The flesh left behind has been                closed without a scar.               A larger piece of light drops out of his forehead into what's                left of the gash. With that area suffused in a healing glow,                he shifts his focus to the pellet holes on her neck. He sends                two pieces of light plunging into the wounds. Immediately,                they spread into halos which we can SEE radiating from under                the skin.               Out of the night comes a LONG BLAST ON the AIR HORN and the                STAR MAN has to steady Jenny as the truck swerves around                something in the highway.               When it settles back into its ride, the STAR MAN wipes the                blood off Jenny's shoulder. The beams of the passing cars                through the plastic catch the fatigue on the STAR MAN's face                as he works over Jenny.               EXT. HIGHWAY 76 - NIGHT               With its pre-fab house, the semi rumbles through Julesburg,                Sterling and Ft. Morgan. By the time it gets to Denver, dawn                is beginning to color the tips of the Rocky Mountains.               INT. HALF HOUSE - DAWNBREAK               It's still dark in here. With a chunk of light in his left                hand, the STAR MAN dabs at the last of Jenny's wounds, leaving                behind a phosphorescent bandage. More of these patches glimmer                up and down her right side. He checks her over to see if                he's missed a wound. He hasn't.               He covers her with his windbreaker and, exhausted by his                efforts, sits back against the wall. He waits to see that                Jenny is sleeping comfortably, then presses the palms of his                hands together. The satel compass appears between them. The                green dot tells him he is still on course.               EXT. INTERSTATE - SUNRISE               Colorado Highway PATROLMEN are dropping orange fluorescent                cones across two of the three westbound lanes to form a                roadblock. The sound of a harmonica draws us to Shermin's                helicopter parked in a meadow beside the road.               EXT. HELICOPTER - SUNRISE               As the radio technician plays the harmonica, Lyman clangs                down the steps and bends to wake Shermin who is sacked out                under the fuselage.                                     SHERMIN                         Tell him I'm not here.                                     LYMAN                         I did.               Shermin sighs and rolls over on his back. He looks terrible.                                     SHERMIN                         Get me a radio. At least I won't                          have to look at his face.               EXT. MEADOW - SUNRISE               Shermin is holding a field radio to his ear.                                     FOX (V.O.)                         We're growing very concerned back                          here. There's no use pretending                          otherwise. We're rapidly approaching                          a 'condition red.' People are                          beginning to ask difficult questions.                                     SHERMIN                         I'll make this as simple as I can,                          George. They disappeared.                                     FOX (V.O.)                         I don't care where you're from you                          just can't disappear into thin air.                                     SHERMIN                              (through a punchy                               hysterical laugh)                         George, listen to what you're saying.                          This thing's changed itself into a                          man. Disappearing may not be that                          big a deal.                                     FOX (V.O.)                         So far you've let it cross the heart                          of America. For two days it has been                          absorbing information that is                          detrimental to our security. I don't                          see the humor in that.               Stung, Shermin takes a deep breath, controls himself and                returns the radio to his ear.                                     SHERMIN                         Maybe... look, this is just something                          to think about... from what I got at                          the shopping center, it was more                          scared than anything else... I don't                          feel it's as big a threat as you                          think it is...                                     FOX (V.O.)                         Is that what's affecting your                          performance?                                     SHERMIN                         I'm not being unpatriotic, and I'm                          doing my damndest to catch them.                          Bell's up on 80 and I'm down here on                          70 past Grand Junction. They're                          heading west. If they're not flying                          we have a damn good chance of getting                          them. All I'm asking is that you                          people think about it.                                     FOX (V.O.)                         You just do your job, Shermin. We'll                          make the policy.               EXT. HIGHWAY 70 - DAY               The semi is in the slow lane. Its right rear turn signal                blinks steadily telling US that it is leaving the highway                and going north at the intersection ahead.               INT. HALF HOUSE - DAY               Jenny stirs awake under the windbreaker in the bedroom as a                sloppy DOWNSHIFT JOLTS the house. Her eyes flutter open and                she looks around the room trying to figure out where she is.                The truck leans into the turn. Jenny braces herself on one                arm and sits up.               Catching the windbreaker as it slips off her front, she                remembers that she was shot and examines her right side. She                runs her fingers over her cheek and neck, across her shoulder                and down her side, feeling for traces of the wounds she knows                she sustained. She has been completely healed and there are                no scars. She leans forward and looks down the hallway.                                     JENNY                         Hello... hello.               The WIND snapping the polyethylene is the only answer she                gets. She picks her blouse off the floor next to her purse,                but throws it aside and shrugs into the windbreaker when she                sees the blood and bullet holes.               Her sudden rise to a standing position makes her light-headed                and she has to lean against the doorway until the spinning                stops. With her hands outstretched, as guards against the                sway of the truck, Jenny shuffles down the hallway.                                     JENNY                         Hello. Where are you?               There is no one in the kitchen and she continues into the                living room. It is empty. Jenny opens the door to an enclosed                back porch. It is also empty. The STAR MAN is gone. She                returns to the living room and stands there not really knowing                what to do next. The countryside rushes by outside a floor-               to-ceiling picture window.               A WAIL FROM the semi's AIR HORN jars Jenny out of her reverie                and she goes to press her cheek against the window. She is                looking past her left hand at the road when she notices a                wide green ring on her finger above her wedding band. She                steps back from the window to examine it, then with some                trepidation, twists it off. As it clears the end of her                finger, the STAR MAN's VOICE SPEAKS OUT OF IT.                                     STAR MAN (V.O.)                         Jennyhay...               Jenny drops the ring as if she'd been stung. The STAR MAN's                voice stops as soon as she does and the ring bounces across                the floor until it hits the baseboard. It looks innocent                enough lying there, but Jenny has a great deal of trouble                making herself approach it.               When she finally picks it up, it does nothing. She turns it                in her hand and when the side of the ring hole that was facing                her when she took the ring off faces her again, the STAR                MAN's VOICE CONTINUES.                                     STAR MAN (V.O.)                         ...nd. You are all fixed. I'm sorry                          you were shot. I was a big problem                          for you. Thank you for your help. I                          can go to my ship alone now.               EXT. HIGHWAY - DAY               The semi is picking up speed as it heads north.               EXT. SEMI'S CAB - DAY               The Driver checks his side view mirror to see if the lane                next to him is clear and is astonished to see a woman's arm                sticking out of the polyethylene waving a blouse at him.               EXT. HIGHWAY - DAY               Smoke billows from under the tires as the semi skids to a                stop.               EXT. SEMI - DAY               Jenny, her purse over her shoulder, is running toward the                cab as the Driver steps out with a wrench in his hand.                                     JENNY                         Where did you stop last?                                     DRIVER                         What the hell do you think you're                          doing?                                     JENNY                         Where did you stop last?                                     DRIVER                         Stay right there...                                     JENNY                         What was your last stop?                                     DRIVER                         Elmo's...                                     JENNY                         Where's that?                                     DRIVER                         About five miles back.               Jenny's thumb is already out for a ride as she sprints across                the highway.                                     DRIVER                              (shouting after her)                         Are there any more in there?               EXT. HIGHWAY 70 - DAY               A passing car TAKES US TO the STAR MAN as he runs along the                shoulder to a maroon and white '57 Chevy that has pulled off                to pick him up.               EXT. '57 CHEVY - DAY               A swarthy, bald MAN with hairy arms leans across the seat.                                     MAN                         Where are you going?                                     STAR MAN                         Las Vegas, please. I do not speak                          English.                                     MAN                         Hop in.               INT. '57 CHEVY - DAY                                     MAN                              (re-entering the flow                               of traffic)                         I can only take you to Grand Junction,                          but you'll have a better chance to                          get a ride from there.               The STAR MAN smiles.                                     MAN                         Where you from?               The STAR MAN starts to point to the sky, then catches himself.                                     STAR MAN                         I don't understand.                                     MAN                         Parlez vous Francais?... Habla                          Ingles?... Sprechen zie deutsch?               These are foreign words to the STAR MAN and he pastes on his                smile.                                     MAN                         Good job, neither do I. What do you                          do for a living?                                     STAR MAN                              (pretending)                         I don't understand.                                     MAN                         I'm a cook. Do you understand 'cook?'                                     STAR MAN                         No.                                     COOK (MAN)                         Food. Eat. I prepare food. I work as                          a cook. That's how I make money.                                     STAR MAN                         I understand.                                     COOK                         What do you do?                                     STAR MAN                              (searches for an                               answer, then)                         I make maps.                                     COOK                         Hey, that sounds interesting. You                          like it?                                     STAR MAN                         Eh... yes.                                     COOK                         Make any money?                                     STAR MAN                         No.                                     COOK                              (takes a pack of Camels                               out of his pocket)                         You don't get rich as a cook, either,                          believe me. I got a girl going to                          college this fall. The wife had to                          go back to nursing to help pay for                          it.               He sticks a cigarette in his mouth and flips one up for the                STAR MAN.                                     COOK                         Smoke?               The STAR MAN takes it, quickly examines it, then positions                it in his mouth at the exact angle the Cook did. His eyebrows                raise when the Cook flicks his Bic and puffs an ash on the                end of his cigarette.               The butane flame is swung in his direction and he flinches                back before allowing the Cook to singe his Camel. He copies                the Cook's puffing and the end of his cigarette begins to                glow.                                     COOK                         She wants to become a doctor. She's                          a bright kid. Hard worker. I think                          she'll make it. But the damned                          inflation's driven the tuition up so                          high it makes it real tough on a                          family like ours.               The Cook inhales deeply from his cigarette and blows smoke                at the windshield. The STAR MAN mimics the inhalation, then                chokes. His eyes bulge and his cheeks puff out as he tries                to be cool and not cough. The Cook takes no notice of his                struggles.                                     COOK                         I got two other kids. I don't know                          what we'll do when they get old enough                          for college.               Smoke starts to dribble out of the Star Man's nose and mouth.                Puzzled, he re-examines his cigarette.                                     COOK                         Everybody blames it on the oil crisis.                          That might be where it starts. But I                          think a lot of people are just using                          that as an excuse to rip the rest of                          us off. I see it every day in the                          kitchen. Peaches. We use the gallon                          cans. The price has gone up three                          times in the last year. And now the                          cans are only half full.               The Cook takes another drag. As if etiquette required it,                the STAR MAN hurries to copy him. This time there are no ill                effects.                                     COOK                         Do you have children?                                     STAR MAN                         No.                                     COOK                         They're damned expensive and a pain                          in the ass sometimes, but I wouldn't                          trade having them for anything.               The Cook flicks his ash out of the window. A moment later,                the STAR MAN mirrors his action.                                     COOK                         What do you think of America?                                     STAR MAN                         It is beautiful.               EXT. ELMO'S - DAY               A truck stop set back as little as the law allows from the                BUZZ OF INTERSTATE 70.                                     JENNY (O.S.)                         I'm looking for a guy about this                          tall, with brown hair and really                          gray eyes...               We FIND Jenny at the set of fuel pumps nearest the highway                dogging an ATTENDANT while he services an 18-wheeler                                     JENNY                         He had on tan cords, a plaid shirt                          and a baseball cap... probably                          hitchhiking.                                     ATTENDANT                         I don't pay much attention to those                          guys.                                     JENNY                              (taking out her wallet)                         In the last hour or so...                                     ATTENDANT                         Nope.               Jenny folds back the plastic windows to the picture of her                husband.                                     JENNY                         This is him.                                     ATTENDANT                              (shakes his head)                         Sorry.               We FOLLOW Jenny as she wends her way through the trucks                questioning other attendants. The RUMBLE OF TRAFFIC DROWNS                OUT their CONVERSATION, but the answer is always the same.                Finally, we FOLLOW the picture as Jenny hands it up to an                ATTENDANT cleaning the windshield on a Peterbilt cab.                                     SECOND ATTENDANT                              (looking at picture)                         I don't know... I'm not sure. I might                          have seen him up the road a piece on                          my way in. He's long gone by now.               He hands the snapshot back to Jenny. She nods a 'thank you'                and looks wistfully around the yard. There is nothing she                can do. Fitting the picture back into her wallet, she walks                away. After a few steps she turns back.                                     JENNY                         You know if anybody here's going to                          Wisconsin?                                     SECOND ATTENDANT                         Ask inside.               INT. ELMO'S DINER - DAY               It's bustling, loud and smoky. Jenny is standing just inside                the entrance. She licks her lips and tries to clear the frog                out of her throat.                                     JENNY                              (small voice)                         Anybody going to...               Nobody pays any attention to her. Her voice trails off. She                swallows hard and tries again, this time booming out.                                     JENNY                         Anybody going to Wisconsin?               The activity in the diner comes to a screeching halt and in                the silence Jenny adds in a normal voice:                                     JENNY                         I need a ride.               An OLDER MAN, with a face seamed by cigarettes and weather,                waves at her from the counter.                                     OLDER MAN                         I'm going to Des Moines. If you can                          wait till I finish here, you're                          welcome to ride along.               This gets some good-humored cheers and catcalls.                                     JENNY                         I can wait.               Smiling self-consciously, she takes a seat at the end of the                counter and orders coffee from the waitress. While she is                waiting for it to come, she happens to glance outside and                sees a Colorado Highway patrol car stopped in the yard.               The officer on the passenger side is talking to one of the                attendants. Jenny turns away from the window and finds that                she is able to watch the conversation in a strip of mirrors                that runs around the top of the pie case. The squad car leaves                and her coffee arrives.                                     JENNY                              (to the waitress)                         Where's the phone?               INT. SIT-DOWN PHONE BOOTH - DINER HALLWAY - DAY               Jenny drops a dime in the slot and dials 'O.'                                     OPERATOR (V.O.)                         Operator... may I help you?                                     JENNY                         Could you give me the highway patrol,                          please?               After TWO RINGS, the phone is picked up on the other end of                the line.                                     MALE (V.O.)                         Sergeant Packert, Highway Patrol.                                     JENNY                         My name's Jenny Haydn. I think you're                          looking for me. I was kidnapped in                          Eau Claire, Wisconsin a couple of                          days ago. But I'm free now.                                     SERGEANT (V.O.)                         What was your name again?                                     JENNY                         Jenny Haydn. I'm on my way home and                          I don't want anybody I'm with shot                          at when you...                                     SERGEANT (V.O.)                         Hold on.               EXT. ROADBLOCK (INTERSTATE 70) - DAY               Standing back of the officers, Shermin watches them check to                cars passing through the squeeze point. Every car trunk is                opened. Vans and campers are looked into.               Lyman runs up and whispers in Shermin's ear. Shermin is                startled by what he hears. He leaves Lyman in charge and                hurries to the helicopter parked in the field beside the                roadblock.               INT. HELICOPTER - DAY               A TECHNICIAN gives Shermin a headset phone as he enters.                                     SHERMIN                              (hand over the mouth-                              piece)                         You trace it yet?                                     TECHNICIAN                         All we know right now is that it's                          east of here.               Shermin puts on the headset and the technician starts a tape                recorder.                                     SHERMIN                         This is Marc Shermin. Where are you,                          Mrs. Haydn?               INT. SIT-DOWN PHONE BOOTH                                     JENNY                         I don't know. Someplace called Elmo's.                          Look, I just wanted to tell you that                          I'm all right and I'm on my way home.                                     SHERMIN (V.O.)                         You've been through quite an ordeal,                          Mrs. Haydn. Why don't you stay where                          you are and let us pick you up? We'll                          fly you home.                                     JENNY                         No. You'll want to ask a lot of                          questions I don't want to answer                          right now. I already have a ride.               INT. HELICOPTER - DAY               The Technician hands Shermin a note which reads: ELMO"S TRUCK                STOP/ABOUT 30 MILES EAST.                                     JENNY (V.O.)                         I only called to tell you I was free                          and not to shoot anybody I was with                          if you see me.               Shermin jabs his thumb upward, indicating that the helicopter                should lift off.                                     SHERMIN                         Is the man who kidnapped you there                          now?                                     JENNY (V.O.)                         I told you. He let me go. I'm on my                          way home.                                     SHERMIN                              (his hand over the                               mouthpiece)                         Get a highway patrol unit over there.               EXT. ROADBLOCK - DAY               Shermin's helicopter lifts off.                                     SHERMIN (V.O.)                         Mrs. Haydn, I'm going to have to ask                          you to stay where you are.               INT. SIT-DOWN PHONE BOOTH               A sharp rap on the glass startles Jenny and she turns around                to see her ride.                                     OLDER MAN                         Ready?               Jenny holds up a finger that asks for a moment longer on the                phone.                                     JENNY                              (into phone)                         Mr... I'm sorry, what was your name                          again?                                     SHERMIN (V.O.)                         Marc Shermin.                                     JENNY                         Mr. Shermin, I'm hanging up now. If                          you want to ask me any questions,                          call me at home in a couple of days.                          I'm in the book.                                     SHERMIN (V.O.)                         Do you know what you were kidnapped                          by?               Pause.                                     SHERMIN (V.O.)                         Mrs. Haydn...                                     JENNY                         He doesn't want to hurt anybody.                          Please leave him alone.                                     SHERMIN (V.O.)                         Is he on his way to Lathrop Wells?               This hits Jenny like a kick in the stomach. She leans her                head back against the wall. Her ride is pacing outside the                booth.                                     SHERMIN (V.O.)                         What's he planning to do in Lathrop                          Wells? Is he meeting someone there?               Jenny smashes the receiver back in its cradle and throws                open the door.                                     JENNY                              (on her way past the                               weathered driver)                         I changed my mind. Thanks.               She rushes down the hallway to the dining area where again                she stands just inside the entrance.                                     JENNY                              (at the top of her                               lungs)                         It's me again...               The place goes quiet except for a smattering of laughter.                                     JENNY                         I need a fast ride west.               INT. PORSCHE - DAY               The speedometer reads 90. The driver, a bespectacled, pimply-               faced SIXTEEN YEAR OLD, shifts into fifth gear. Jenny is                harnessed in the passenger seat. Chatter from a CB under the                dash COMPETES WITH ROCK N' ROLL ON THE TAPE DECK.                                     JENNY                         You sure this is your car?                                     TEENAGER                              (with a stutter)                         My grandmother's rich.                                     JENNY                              (as they come up on a                               station wagon)                         Slow down, slow down.                                     TEENAGER                         Geez, Mrs. Haydn, we just got going.               But he downshifts. The Porsche is going a mere 80 when they                pass the station wagon.                                     JENNY                              (peering at its                               occupants)                         I told you I'm looking for someone.                                     TEENAGER                         In the cars, too?!                                     JENNY                         I don't know where he is.                                     TEENAGER                         This is going to be a real drag. I                          thought you wanted to go fast.               Howling at full throttle, three highway patrol cars rush                past them in the opposite direction. Jenny swivels around to                follow their progress until they are out of sight.                                     TEENAGER                         They after you?                                     JENNY                         What? No, of course not.                                     TEENAGER                              (his stutter thicker                               than before)                         Would be kinda neat if they were. I                          think I could outrun them. Maybe get                          my picture in the papers.               Jenny takes a second look at this guy. He flashes her a gap-               toothed grin.               EXT. OVERPASS - DAY               The Cook's '57 Chevy makes a left on the street intersecting                the off-ramp and stops at the curb. Behind it a large plastic                yellow chicken twirls on a pole above the restaurant it                advertises.                                     COOK                         Well, here we are... You go down                          that ramp there, you're sure to get                          a ride.                                     STAR MAN                              (getting out)                         Thank you.                                     COOK                         And don't be shy about your English.                          You speak better than a lot of people                          I know.                              (leaving)                         Take care of yourself.               As an afterthought, the STAR MAN duplicates the Cook's wave,                then heads down the ramp. As he clears the frame, our VIEW                ZOOMS AND ZOOMS AND ZOOMS UNTIL we can SEE a piece of the                roadblock in the valley below him. During the MOVE-IN, we                BEGIN TO PICK UP CB CHATTER.                                     VOICES (V.O.)                         Flash for all you good buddies heading                          west on 70. Smoky's got a roadblock                          just beyond Grand Junction... Better                          dump your dope, they're going through                          everything... He's right. I was just                          there and I'm still sore...               INT. PORSCHE - DAY               Jenny TURNS DOWN the ROCK 'N ROLL to listen to the CB.                                     VOICES (V.O.)                         Ah loves to be frisked! What are                          they looking for? I'm holding. Any                          way around it? Where are you? Oh                          no!! There it is!!                                     TEENAGER                         I bet you we find your friend at the                          roadblock.               Jenny doesn't answer immediately. She takes her time checking                out the people in a VW they are passing.                                     JENNY                              (to the road ahead)                         We better find him before that.               EXT. INTERSTATE 70 - DAY               In the style prescribed by Jenny, the STAR MAN raises his                thumb to a dilapidated Vega shimmying down the on-ramp. The                two blue-haired ladies inside are afraid to look at him as                they go by. He has the same luck with an attractive blonde                secretary that passes on the highway.               EXT. ELMO'S - DAY               A highway PATROLMAN is standing behind the open door of his                car speaking into the mike of his radio.                                     PATROLMAN                         The girl's not here, Mr. Shermin.                          Seems right after she talked to you,                          she got a ride west with a kid.               INT. HELICOPTER - DAY               All six TV screens display the road rushing under it.                                     SHERMIN                              (into mouthpiece of                               his headset)                         You get that, Lyman?                                     LYMAN (V.O.)                         We're ready.               EXT. SKY ABOVE INTERSTATE 70 - DAY               Shermin's S65 banks through a U-turn and chases west.               EXT. INTERSTATE 70 - DAY               A dun-colored Roadrunner gurgles down the ramp and stops in                front of the STAR MAN. Two grubby LONG HAIRS in worn western                clothes are inside with boxes of house-hold utensils and                duffle bags.                                     LONG HAIR                         Where you going?                                     STAR MAN                         Las Vegas, please.                                     LONG HAIR                         We're going to L.A.               He looks at his buddy stretched on the jumble in the back.                The buddy nods.                                     LONG HAIR                         Sure. Get in. We can drop you in                          Vegas or get you darn close.               The STAR MAN opens the door and gets in.               INT. PORSCHE - DAY               The CB CONTINUES TO CRACKLE with news of the roadblock.                Jenny's eyes restlessly search the overpass under the whirling                yellow chicken for any sign of the STAR MAN. She sees the                dun-colored Roadrunner waiting at the foot of the on-ramp                for a break in the traffic, but she is too far away to see                who's inside. As the Porsche gets closer, it overtakes an 18-               wheeler and Jenny's view of the Roadrunner is cut off                entirely. She passes without seeing the STAR MAN.               EXT. INTERSTATE 70 - DAY               The Porsche weaves through the traffic giving Jenny a chance                to look into the cars and trucks it shoots by.               INT. PORSCHE - DAY               Jenny is turned around looking back at a camper.                                     TEENAGER                         I'm telling you, you're going to                          find him at the roadblock, or right                          after, or not at all.                                     JENNY                         If he didn't want to go through the                          roadblock, is there any other way to                          get to Vegas?                                     TEENAGER                         Fly.               Jenny gives him a withering look.                                     TEENAGER                         The five-fifty. We already passed                          it. But it'll take him way out of                          his way.                                     JENNY                         Pull over. I've got to get back there.                                     TEENAGER                         Why wouldn't he want to go through                          the roadblock?... What did you guys                          do?... I won't tell anybody.                                     JENNY                         It's easier not to tell if you don't                          know.               EXT. INTERSTATE - DAY               The Porsche slows to a stop on the shoulder.                                     TEENAGER                              (as Jenny opens the                               door)                         Wait. Could I have your autograph?                                     JENNY                         Sure.               She leans back and gives the startled Teenager a kiss on the                mouth, then gets out.                                     TEENAGER                         I have nothing to do. I'd like to                          help you.                                     JENNY                         Don't worry. I'll be all right.               She closes the door. The Teenager takes a last look at her                before pulling back on the highway. Jenny waits for a car in                the slow lane to go by, then runs across to the line and                waits for cars in the fast lane to go by.               INT. ROADRUNNER - DAY               The STAR MAN spots Jenny standing on the line peering into                the on-coming cars for signs of him. He becomes agitated and                his mouth begins to move soundlessly. There is a break in                the traffic and Jenny dashes to the center divider. The STAR                MAN leans across his driver and yells as the Roadrunner                plunges by her.                                     STAR MAN                         JENNYHAYDN!!!               EXT. INTERSTATE - DAY               Jenny spins around to see the Roadrunner skid to a stop on                the shoulder and the STAR MAN get out. A motorcycle bombs                by. He starts across the lanes of traffic toward Jenny. A                truck blasts past him in the slow lane. He is buffeted into                the fast lane. Jenny runs down the center divider to meet                him. A VW honks, its tires squeal on the pavement as it                swerves around him. He reaches the safety of the center                divider. Jenny throws her arms around him and lays her head                against his chest. He stands there uncomfortably not knowing                how to respond to this human emotion.                                     STAR MAN                         I told you goodbye. Why are you here?                                     JENNY                         The police are waiting for you up                          ahead. There's a roadblock. You have                          to go back.                                     STAR MAN                         This car will take me to Las Vegas.                          I cannot go back.                                     JENNY                         The police know about Lathrop Wells.                          We have to go another way. Come on.               She grabs his wrist but he hangs back.                                     STAR MAN                         If I don't meet the ship, my people                          will go home without me.                                     JENNY                         Please understand. If you go this                          way, you'll never get to your ship.                          The police know about Lathrop Wells.                          We have to go another way. I'll get                          you to your ship. I promise.                                     STAR MAN                         I will go. But not you.                                     JENNY                         You shit! I'll decide if I go or                          not. Not you. I don't know what you                          do on your planet, but I didn't think                          that was very nice walking out on me                          like you did.                                     STAR MAN                         I don't want you to be hurt.                                     JENNY                         Come on.               Holding the STAR MAN's hand, Jenny pulls him toward the road.                                     JENNY                         I didn't ask to come along on this                          trip, but I sure as hell am going to                          be the one to say when I get off.               They bolt across the lanes of traffic to the other side of                the road where she flags down an old black pickup truck. She                says something to the driver and she and the STAR MAN climb                into the back. As the truck returns to the highway, the CLACK                OF AN APPROACHING HELICOPTER OVERPOWERS the TRAFFIC SOUNDS.               EXT. SKY - DAY               Shermin's helicopter slices around a pine-dotted peak                following the twists of Interstate 70 below. In the near                distance, we can SEE the roadblock.               INT. HELICOPTER - DAY               Unnoticed by Shermin or the Technicians, the black pickup                passes off the television screens carrying their quarry east.                                     SHERMIN                              (into headset)                         Any sign of either of them yet?               The roadblock appears on the television screens.               EXT. ROADBLOCK - DAY               Lyman, wearing a headset plugged into a belt pack, is walking                down the line of cars.                                     LYMAN                         I don't think they're going to show.               INT. HELICOPTER - DAY               A swift kick from Shermin sends a stool clanging into a                bulkhead. The Technicians won't meet his eyes when he turns                back to them.                                     SHERMIN                         Okay. Tell the highway patrol to                          block all major arteries off 70 from                          here to Elmo's.               EXT. INTERSTATE 70 - DAY               Two highway patrol cars scatter the traffic in front of them                with their rack lights and SIRENS.               EXT. PICKUP - DAY               Jenny and the STAR MAN are sitting against the cab, a horse                blanket drawn up around their shoulders. They can see the                flashing lights coming from way down the road and watch                helplessly as the patrol cars eat up the distance between                them.               EXT. INTERSTATE 70 - DAY               The pickup makes the turn onto Highway 550.               EXT. PICKUP - DAY               For a moment, Jenny and the STAR MAN think they're safe.                That hope turns to despair when the two patrol cars loop                after them. They keep getting closer. The STAR MAN inches                the blanket up over his nose. Unexpectedly, the patrol cars                are thrown into a skid. When they stop, they are facing each                other ready to inspect the traffic coming off 70. They lower                the blanket from their faces. Jenny lays her head back against                the cab, exhausted.                                     STAR MAN                         The Cook said I speak good English.                                                               DISSOLVE TO:               EXT. HIGHWAY 550 - LATE AFTERNOON               A RUMBLE OF DISTANT THUNDER follows the lightning that flashes                from the dark clouds hanging on the horizon. Looking                incomplete without its trailer, the tractor/cab of a Mack                truck makes a turn on a farm road, revealing Jenny and the                STAR MAN standing on the gravel. The STAR MAN looks back to                where they came from. There is nothing coming so he sets out                in the other direction.                                     JENNY                         Where are you going?                                     STAR MAN                         I must meet my ship.                                     JENNY                         Why can't we wait here for a ride?                                     STAR MAN                         I feel better if I move.                                     JENNY                         We're hundreds of miles from where                          you have to be.               The STAR MAN ignores her and continues to walk.                                     JENNY                              (shouts at him)                         Even if we walk five miles, it's not                          going to make any difference.               Jenny turns toward an oncoming car and sticks out her thumb.                The STAR MAN falls into the same pose just back of her. The                car honks at them as it breezes by.                                     STAR MAN                              (screams after it)                         Asshole!!                                     JENNY                              (shocked)                         Where did you learn that?                                     STAR MAN                         The cook.               EXT. ROADSIDE - LATE AFTERNOON               A torrential rainstorm lashes the countryside. The STAR MAN                and Jenny splash along the edge of the asphalt. Their heads                are lowered against the weather. They are both drenched to                the skin.                                     JENNY                              (after a few steps)                         We're not going to get a ride tonight.                                     STAR MAN                         I can't stay on this planet.                                     JENNY                         No one's traveling in this weather.                                     STAR MAN                         You promised you would get me to my                          ship.                                     JENNY                              (shouts after him)                         I will. I will. We still have another                          day.                                     STAR MAN                         You promised.                                     JENNY                         What do you want from me? There are                          no cars on this road. I didn't ask                          for this stupid storm.               The STAR MAN mutters in his language.                                     JENNY                         What are you saying?                                     STAR MAN                         You can stop. I will go on alone.                                     JENNY                         We're too far away to walk. Don't                          you understand?               The STAR MAN looks at her. With the rain streaming off his                face, he looks at her. For the first time, the reality of                the situation hits him. He turns and, swearing in his own                language, flails at the rain. A distance from Jenny, he stops                and cries out in English.                                     STAR MAN                         I can't stay here. I want to go home.                          I don't want this skin. I don't want                          to look like this.               Jenny can see him standing with his head bowed. She walks                over to him.                                     JENNY                              (trying to ease his                               pain)                         Why don't you send one of your radio                          balloons and tell your captain that                          you might be late?                                     STAR MAN                         I used the last one to jump off the                          cliff...                                     JENNY                         Let's find a place out of the rain.                          I'm sure we'll get a ride in the                          morning.                                     STAR MAN                         I can't be late. I don't know if the                          radio balloons work above your planet.                          I don't know if my words went to the                          ship. If I'm not there, the captain                          will think I'm dead and go.                                     JENNY                         We'll get a ride in the morning.               A flash of lightning shows us:               EXT. DESERTED RAILROAD SIDING - DUSK               Jenny and the STAR MAN are following the tracks to an                abandoned boxcar.               INT. BOXCAR - DUSK               The STAR MAN climbs in and pulls Jenny after him. Jenny is                shivering badly.                                     JENNY                         Can you close the door?               The STAR MAN scrapes it forward. He activates the satel                compass which lights the interior of the boxcar. While he is                doing this Jenny turns her back to him and takes off her                jacket. Her teeth chattering, she tries to wring the water                out of it.                                     STAR MAN                         You are cold.                                     JENNY                         You're damn right I am.                                     STAR MAN                         I do not get cold.               Clutching the windbreaker to her breasts, Jenny looks at the                STAR MAN over her shoulder. It doesn't take her long to make                up her mind.                                     JENNY                              (crossing to him)                         Open your shirt.               She waits while he struggles with the buttons. After two she                brushes away his hands and undoes the rest. She lets the                windbreaker drop and, slipping her arms around his waist,                presses her bare chest against his.                                     JENNY                              (savoring it)                         Oh, you're warm... put your arms                          around me.               The STAR MAN does and Jenny jumps as the wet sleeves touch                her back.                                     JENNY                         Take your shirt off.               It is difficult with Jenny around his waist, but he manages.                He drapes his arms over her. She snuggles into him. The RAIN                POUNDS ON THE ROOF. Gradually, Jenny responds to the STAR                MAN's warmth and relaxes. She lifts her head off his chest                and looks at him.                                     STAR MAN                         What?                                     JENNY                         Nothing.               She brushes her lips against his. The STAR MAN's not sure                what's happening. But he's not offended. Her next kiss is                full and long. He accepts it with his eyes open and when she                eases back he leans in for more. Jenny responds. As if on                command, the satel compass comes from around behind the STAR                MAN to hover in back of Jenny. He takes it between his palms                and extinguishes it.               INT. BOXCAR - MORNING               Jenny awakens and looks around. The STAR MAN is not with                her. As she stands up she hears his VOICE OUTSIDE. He is                speaking to something in his language.               She goes to the door to find out what and sees him standing                beside a fenced-in pasture talking to the horses inside.               EXT. PASTURE - MORNING               Jenny joins the STAR MAN at the fence.                                     JENNY                         Good morning.                                     STAR MAN                         Horses.                                     JENNY                         You don't forget anything, do you?                                     STAR MAN                         No.               Jenny pets one of the horses on the nose.                                     JENNY                              (to the horse)                         Hello... hello. How are you this                          morning?                                     STAR MAN                         Do they talk?!                                     JENNY                              (laughs)                         No, they don't talk... We talk to                          them.                                     STAR MAN                         I understand.               An appaloosa nudges her way through the others to the fence.                                     JENNY                         Oh, you're pretty...                                     STAR MAN                         I gave you a baby last night.               Shocked, Jenny looks at him from around the appaloosa's nose.                The STAR MAN is combing a horse's mane with his fingers and                he doesn't see her expression.                                     STAR MAN                              (meaning the horses)                         They are beautiful.                                     JENNY                         Yes, they are.                                     STAR MAN                         You have been very good to me,                          Jennyhaydn.                              (turns to face her)                         You said you wanted a baby, so I                          gave you one.                                     JENNY                              (shakes her head 'no')                         But...                                     STAR MAN                         It will be human and it will look                          like this.                              (touches his face)                         But when it comes it will know                          everything I know and everything you                          know. That is something from my planet                          that I want your baby to have.                                     JENNY                         I told you it's impossible for me to                          have a baby.                                     STAR MAN                         You will have this baby. If you want                          it. If you don't, I can stop it now.               Jenny comes over and puts her arms around the STAR MAN.                                     JENNY                         I want it.               EXT. SKY - DAY               A formation of six black Bell Cobra helicopters rush at us                out of the blue. From above them we can see that they are                heading for a small desert town. 'Welcome to Lathrop Wells'                is spelled out on a hillside in white-washed stones.               EXT. AIRSTRIP - DAY               Grubby, unshaven and unwashed, Shermin, Bell, Lyman and the                rest of the crew watch the seven Cobras land in sequence.                Fox, immaculate in a freshly pressed black flight suit, climbs                out of the first one down and he and Shermin meet in the                middle of the runway.                                     SHERMIN                         Hello George.                                     FOX                         Shermin...                                     SHERMIN                         What's all this for?                                     FOX                         We have a new directive. I'm taking                          over.                                     SHERMIN                              (scans the Cobras)                         We don't have to do it that way. We                          can catch him this time.                                     FOX                         Washington thinks it's too late for                          that.                                     SHERMIN                         I've never been taken off an                          assignment in my life. Give me twenty-                         four hours and I'll have him for                          you.                                     FOX                         You're not hearing me.                                     SHERMIN                         You can change a directive, George.                          You've done it before. Listen to me.                          He's going somewhere in Death Valley.                          Lathrop Wells was never anything but                          a bus stop. East is the nuclear site.                          There are no roads in there. She was                          teaching him to hitchhike. I'm telling                          you. We block the four roads into                          Death Valley and we got him.                                     FOX                         We'll do that. But how are we going                          to hold him? He can change himself                          into a man. He can disappear.                                     SHERMIN                         That's the chance we have to take.                                     FOX                         No, we don't.                                     SHERMIN                         Then you're going to have to do it                          without me.                                     FOX                         You're a career intelligence officer,                          Shermin. You'll be in the air with                          us.                                     SHERMIN                         You're talking about taking a life.                          The most unique life form on this                          planet. I think we're better than                          that.               EXT. LAS VEGAS - LATE AFTERNOON               A fire-engine-red Pontiac convertible with two COWBOYS (late                fifties) in the front and Jenny and the STAR MAN in the back                moves with the traffic along the main drag in the downtown                area. The STAR MAN's head swivels from side to side trying                to take in the neon that juts up around him. The convertible                stops at a light. The cowboy on the passenger side opens the                door and tips his hat to Jenny as she and the Star Man get                out of the back seat.               EXT. SIDEWALK (LAS VEGAS) - LATE AFTERNOON               The STAR MAN is afraid of the crush of people and wants to                stay close to Jenny, but is fascinated by the whir and click                and jingle of the one-armed bandits that seem to be                everywhere.                                     STAR MAN                         Is this gambling?               Jenny nods. A LADY in curlers and pedal pushers hits a twenty                dollar jackpot. Hanging onto Jenny's hand the STAR MAN turns                around and walks sideways to watch the quarters tumble out                into the lady's shopping bag.                                     STAR MAN                         The cowboys were right. You can make                          money fast gambling.                                     JENNY                         You don't make money gambling. You                          lose it.               INT. DRUG STORE - LATE AFTERNOON               The STAR MAN hangs back to examine a one-armed bandit inside                the front door while Jenny goes to the counter. An almost                imperceptible blue haze seems to seep from under the STAR                MAN's palms as he runs his hands up and down the sides of                the machine.                                     JENNY (V.O.)                              (to the clerk)                         Do you have a good map of Death                          Valley?                                     CLERK (V.O.)                         We should have. Let me see.               While the clerk searches for the map the STAR MAN comes up                to Jenny.                                     STAR MAN                         May I have twenty-five cents, please?                                     JENNY                         What for?                                     STAR MAN                         I want to gamble.               Jenny sighs and rolls her eyes and fishes two quarters out                of her purse and hands them to him.                                     JENNY                         Here are two quarters. When you lose                          these, you're not going to get                          anymore.                                     STAR MAN                         I understand.                              (heading back to the                               machine)                         Thank you.               He drops a quarter into the slot and pulls the handle. While                the pictures of fruit spin behind the view window, his hands                stroke the sides of the machine. An orange, a pear and a                cherry stop in the view window. At the counter Jenny explains                to the clerk that she is hitchhiking and wants the busiest                route into Death Valley without going through Lathrop Wells.                The STAR MAN looks long and hard at the machine before putting                in his last quarter. He pulls the handle. The blue haze flows                from his palms, three cherries lock into a line and the one-               armed bandit begins to spit quarters.               INT. CASINO - LATE AFTERNOON               Jenny is nervous about being here. She feels every face that                looks at them could be a cop. The STAR MAN is pulling her                through a Maginot Line of slot machines toward a 'Super                Jackpot' machine that advertises a $275,000 payoff.                                     JENNY                         This is crazy. We don't have time                          for this.                                     STAR MAN                         I know how to gamble now.                                     JENNY                         You won ten dollars. Big deal. If we                          don't get a good ride before dark we                          could miss your ship.                                     STAR MAN                         I want to get money for you and the                          baby.                                     JENNY                         I don't need any money for the baby.                          I'll be fine.                                     STAR MAN                         Inflation, tuition, college. Children                          are damned expensive. I know.                                     JENNY                         The cook again?                                     STAR MAN                              (stepping up to the                               'Super Jackpot')                         Yes.                                     JENNY                         If I ever run into that guy, I'm                          going to kick his ass.               The STAR MAN pops a gleaming silver dollar into the machine,                pulls the handle and places his hands against the metal.                Jenny, knowing it can't work, but hoping that it will, stands                back and gnaws on her thumb. Then she sees the blue haze                vibrating out of the STAR MAN's palms. Jenny stifles a scream.                She looks around to see if anybody else has noticed. They                haven't. The STAR MAN smiles at her. The force field does                it's work. A picket line of 7's fills the view window. Amid                the jangle of bells and flashing lights that accompany a                winner Jenny doesn't know whether she should jump for joy or                hide her face.               EXT. DESERT HIGHWAY - DUSK               A dot in the distance becomes a brand new Camaro. As it blasts                away from under us we see a paper license in its back window.                The cabin light is on inside the car.               INT. CAMARO - DUSK               In the passenger seat the STAR MAN is riffling through a                Columbia "History of the World." A Webster's Dictionary is                on the dash in front of him. Wedged between his legs and the                transmission well is a shopping bag full of money.                                     JENNY                         It'll tell you pretty much everything                          about us...                                     STAR MAN                         This is very interesting. We are                          born knowing our history. We have                          other books. But not a book like                          this.                                     JENNY                         Any words you don't know you can                          find in the dictionary.                                     STAR MAN                         I understand.                                     JENNY                         It'll give you the different                          countries, how they came to be, what                          they are now, how America came to                          be, the governments, the languages...                          everything.                                     STAR MAN                              (chuckles)                         Many of my people will not believe                          those things are possible. On my                          planet there is only one government,                          one people, one language. I will be                          asked a lot of questions.                                     JENNY                         What will you say about us?                                     STAR MAN                         I will say that we can be friends.                                     JENNY                         We can.               She notices the green ring on her left hand and takes it                off.                                     JENNY                         This is yours...                                     STAR MAN                         If you want to keep it, you can.                                     JENNY                         I'd like to...               She slips it back on her finger above her wedding band. They                drive in silence. The STAR MAN sets the history book on the                dash.                                     JENNY                              (takes the ring off                               again)                         Would you put some of your singing                          in this for the baby?                                     STAR MAN                         You want the baby to laugh at me.                                     JENNY                         Yes.               EXT. DESERT HIGHWAY - DUSK               With the STAR MAN SINGING IN HIS LANGUAGE, the Camaro moves                further into Death Valley. The SONG FADES and we:                                                               DISSOLVE TO:               EXT. DESERT HIGHWAY - NIGHT               The Camaro blows by a gas station, closed for the night.               INT. CAMARO - NIGHT               The STAR MAN shifts restlessly in his seat as he searches                the ghostly landscape for something familiar. He activates                the satel compass. The red and green dots are touching.                                     JENNY                         How long will it take you to get                          home?                                     STAR MAN                              (absently)                         Many, many days and nights...               He presses the satel compass into his palms.                                     JENNY                         Would you like to listen to some                          music?               The STAR MAN shakes his head "no."                                     JENNY                         I'm sure we could find a country and                          western station.                                     STAR MAN                         No, thank you.               Jenny takes his hand in hers.                                     JENNY                         Don't worry. Everything's going to                          be fine.               The STAR MAN smiles wanly at her.                                     JENNY                              (leans forward to                               look up at night sky)                         Which star is yours?               It only takes the STAR MAN an instant to find his home.                                     STAR MAN                         There.                                     JENNY                         Where?               He directs Jenny's attention to the constellation Auriga.                                     STAR MAN                              (meaning the star                               Capella)                         The yellow one.                                     JENNY                         Oh, wow... I'll tell you what. When                          the baby is born, we'll go out in my                          back yard and wave to you.                                     STAR MAN                              (smiles)                         I will wave to you.               All we can HEAR are the TIRES HUMMING over the road. The                Camaro rounds the side of a low hill.                                     STAR MAN                         Oh, shit!               Jenny slams on the brakes. One of the Cobra helicopters, lit                from the inside, is parked next to a line of flares across                the road ahead.               EXT. CLOSED GAS STATION - NIGHT               The STAR MAN is looking through a window at the repair bay,                lit by a work light. Jenny is standing in a phone shell on                the front of the garage, the receiver to her ear.               The STAR MAN moves to the office door. He tries the knob. It                is locked.                                     JENNY                              (to the STAR MAN)                         They're trying to get him.               Suddenly the STAR MAN slams his shoulder against the door.                It swings open.                                     JENNY                         What are you doing?!!               Fox's voice comes out of the receiver in her hand.                                     FOX (V.O.)                         Mrs. Haydn...               INT. COBRA - NIGHT                                     FOX                              (speaking into a                               headset)                         This is George Fox...                                     JENNY (V.O.)                         I want to speak to Marc Shermin.                                     FOX                         You can speak to me, Mrs. Haydn. I'm                          in charge of this operation now.               EXT. CLOSED STATION - NIGHT                                     JENNY                         If I don't speak to Mr. Shermin, I'm                          hanging up.                                     FOX (V.O.)                              (a beat)                         Okay...               Tethered by the phone cord, Jenny tries to see what the STAR                MAN is doing inside the repair bay.               INT. REPAIR BAY - NIGHT               Using an air filter top as a basket, the STAR MAN scavenges                from the work bench and the car up on the lift, fuses, lengths                of wire, circuit boards from a radio, tubing, metal pipe and                a Black and Decker drill. While he is doing this we get                glimpses of Jenny pleading his case on the phone. Finally,                leaving the receiver dangling at the end of its cord, she                comes around to stand in the doorway.                                     JENNY                         Mr. Shermin wants to speak to you.               INT. SHERMIN'S HELICOPTER - NIGHT                                     JENNY (V.O.)                         Here he is.               Shermin looks warily at the headset. When the STAR MAN doesn't                speak immediately, he takes the initiative.                                     SHERMIN                         Hello...                                     STAR MAN (V.O.)                         I must get to my ship, Mr. Shermin.                                     SHERMIN                         We can't let you do that.                                     STAR MAN (V.O.)                         I don't want to hurt anybody. I just                          want to go home.               INT. COBRA - NIGHT               Fox is listening to the conversation.                                     SHERMIN (V.O.)                         All the roads into Death Valley are                          blocked. We'd like to talk to you.                                     STAR MAN (V.O.)                         If I talk to you, I will miss my                          ship.                                     SHERMIN (V.O.)                         Hold on a minute... Let's take the                          chance, George.                                     FOX                         No deal.               EXT. CLOSED GAS STATION - NIGHT                                     SHERMIN (V.O.)                         I'm afraid we can't let you go.                                     STAR MAN                         I understand.               He hangs up.               INT. REPAIR BAY - NIGHT               The STAR MAN shaves the rubber off the electrical lines                leading into the fuse box and clips two wires of his own                onto the exposed copper. With Jenny watching we have a montage                of the STAR MAN working through the night: modifying the                insides of the Black and Decker drill, cutting out the mid-               section above the trigger, fitting electrical components                into that area, screwing a pipe into the bit-clamp, welding                it together with the spark that arcs between the electrical                wires.               INT. OFFICE (GAS STATION) - NIGHT               Jenny folds a sheaf of money into a sheet of yellow paper                and props it on the cash register. 'For Damages. Thank You'                is scribbled on the front. She runs out to catch the STAR                MAN who is on his way to the Camaro.               EXT. CAMARO - NIGHT               Carrying the modified Black and Decker drill the STAR MAN                opens the driver's door.                                     JENNY                         Where do you think you're going?                                     STAR MAN                         Thank you, Jennyhaydn. You are good.                          I must go alone now.                                     JENNY                         I said I would get you to your ship                          and that's where we're going to say                          goodbye.               INT. CAMARO - NIGHT               Both hands on the wheel, Jenny is burning down the center                line. The STAR MAN bends two thin wires trailing out from                the grip of the drill. Jenny winces as he buries them into                the flesh on either side of his left wrist. The car skates                around the corner of a low hill. They can see that the Cobra                is still sitting next to the road.                                     JENNY                              (glancing at the                               modified drill)                         I hope that works.               The STAR MAN is lost in concentration.               Jenny kills her lights and glues the accelerator to the floor.                Three MEN scramble from the helicopter with M16s. A BURST OF                SLUGS RIPS THROUGH the Camaro's WINDSHIELD. The STAR MAN                leans out the passenger window and with an other-worldly                scream, fires. The helicopter is BLOWN TO SMITHEREENS. The                concussion throws the men to the ground.               EXT. BURNING HELICOPTER - NIGHT               The Camaro whizzes through the falling DEBRIS.               INT. CAMARO - NIGHT                                     JENNY                         It works.               The STAR MAN slumps in exhaustion and pain.                                     STAR MAN                         I do not know how many times I can                          do this.               INT. SHERMIN'S HELICOPTER - NIGHT               It is filled with the radio voices of the Cobra crews setting                up to attack the Camaro.               EXT. DESERT HIGHWAY - NIGHT               The Camaro becomes airborne at the crest of a dip. Only its                new shocks save the landing.               INT. CAMARO - NIGHT               The STAR MAN draws the satel compass out between his palms.                The green dot now covers the right half of the red dot. He                presses his palms together and looks past Jenny at the rugged                foothills.               The first light of day is starting to color the sky behind                them. Jenny and the STAR MAN are startled by the DRUMMING                WHOMP OF A HELICOPTER. The STAR MAN looks out the window for                its source. He can't see anything. The SOUND FADES. In a                moment, it is REPEATED ON THE OTHER SIDE OF THE CAR and AGAIN                IT FADES.                                     STAR MAN                         If my ship is not here, we are in                          trouble.               This is a truism that Jenny doesn't want to hear and she                flexes her fingers on the wheel.                                     STAR MAN                              (points at a                               distinctive cone                               peak)                         That's where we landed last time.                          Right under that mountain.               Jenny and the STAR MAN steady themselves for the last leg of                their journey. Suddenly, their silence is exploded by a COBRA                dropping out of the sky in front of them. Its searchlight                bangs into their faces and, with its thirty-calibre MACHINE                GUNS BLAZING, it comes straight at them.               Jenny yanks the Camaro onto the shoulder. The SLUGS CHEW UP                the asphalt beside it. She fishtails back onto the road. A                SECOND COBRA surprises them from the STAR MAN's side. Its                MACHINE GUN KNOCKS OUT the BACK WINDOW before he can FIRE.               The STAR MAN crawls over his seat and arranges himself in                the hole that was the back window to meet the Cobras' next                FIRING RUN. It doesn't take them long. The first two have                been joined by a THIRD. They swoop down on the Camaro.               INT. LEAD HELICOPTER - NIGHT               The gunsights lock on the car below. The CO-PILOT squeezes                the trigger.               EXT. CAMARO - NIGHT               SHOTS THUMP INTO the trunk in front of the STAR MAN and he                FIRES. The lead HELICOPTER ERUPTS, raining pieces of hot                metal over the desert floor. The other helicopters are jarred                out of their run and their BULLETS harmlessly KICK UP SAND                on the shoulder. Before they can regroup, the STAR MAN BLOWS                THEM OUT OF THE SKY.                                     JENNY                         In front!!! In front!!!               The STAR MAN has to hang on as Jenny dodges the car out of                the path of a Cobra skimming over the highway toward them.                As it goes over, he is able to get off a SHOT directly INTO                its UNDERBELLY. The BALL OF FLAME almost engulfs the Camaro.               INT. CAMARO - NIGHT               The STAR MAN slumps down into the back seat breathing hard.                Jenny looks over her shoulder at him and is shocked at the                strain that shows on his face.                                     JENNY                         Hang on.               She throws the car into a skid and leaves the blacktop for a                dirt road winding between two low hills.               EXT. DESERT - NIGHT               At the base of a sandstone cliff, the Camaro slides to a                stop. Jenny helps the STAR MAN out. She supports him as they                struggle toward the protection of the boulders. Fox's Cobra                roars over the hill.               INT. COBRA - NIGHT                                     FOX                              (spots the car)                         Over there.               EXT. DESERT - NIGHT               The STAR MAN turns toward the Cobra. Weakly, he raises his                weapon and pulls the trigger. Nothing happens. The searchlight                from the Cobra finds them. Its machine guns begin to raise                puffs of gravel around them. Jenny grabs the STAR MAN's arm                and pulls him into the relative safety of the rocks. The                STAR MAN collapses against the cool stone.                                     STAR MAN                              (gasps)                         I can't shoot anymore.               Jenny looks out between the crags. Shermin's helicopter                arrives to join the Cobra. With their searchlights flicking                over the sagebrush, they move cautiously toward the cliff.                Jenny turns back to the STAR MAN. He is too weak to run                anymore.                                     JENNY                              (touches his shoulder                               lightly)                         I won't let anyone hurt you.               INT. FOX'S HELICOPTER - NIGHT                                     FOX                         Watch it. They're coming out.               INT. SHERMIN'S HELICOPTER - NIGHT               Six images (close-up to full shot) of Jenny and the STAR MAN                stepping out of their hiding place fill the television screens                in front of Shermin.                                     FOX (V.O.)                         End it, Shermin.               Lyman taps his keyboard. The screens all change to a long-               shot of Jenny and the STAR MAN with cross-hairs superimposed                on them.               EXT. DESERT - NIGHT               Shermin's helicopter moves toward Jenny and the STAR MAN                standing helpless in the circle thrown by the searchlight.               INT. SHERMIN'S HELICOPTER - NIGHT               The cross-hairs have locked on Jenny and the STAR MAN. Shermin                knows he can't do it. He picks up a headset.                                     SHERMIN                         George... Do you hear me, George?                                     FOX (V.O.)                         What?                                     SHERMIN                         I just retired.                                     FOX (V.O.)                         Shermin!! Shermin!!!               Shermin flips a switch on the console that cuts Fox off.                                     SHERMIN                              (to his crew)                         Let's get out of here.               EXT. DESERT - NIGHT               Shermin's helicopter passes over the heads of Jenny and the                STAR MAN and rises into the dawn sky.               INT. COBRA - NIGHT                                     FOX                         Shermin!!!               He throws down his headset.                                     FOX                              (to the pilot)                         Lock in.               The gunsights lock in on Jenny and the STAR MAN. Fox's grip                tightens on the trigger. Suddenly the helicopter begins to                vibrate and drift off its target. Fox looks toward the sound                coming from his right and his eyes widen in fear as he sees                the STAR MAN's ship looming over him.               EXT. DESERT - NIGHT               The spacecraft passes over the top of the helicopter. The                whirling downdraft emanating from the spaceship's underbelly                yanks the Cobra away from Jenny and the STAR MAN and whips                it into a spin which gets faster and faster until it                disintegrates and falls to the desert floor.               EXT. DESERT - NIGHT               Jenny and the STAR MAN shield their faces against the DUST                STORM that billows under the WHINING DESCENT of the                spacecraft. It settles into a landing across the dirt road                resting on its three pods. With a crack, a cone of bright                white light blasts from the underside.                                     JENNY                         Well...                                     STAR MAN                         I must go.               Jenny nods.                                     STAR MAN                         What do I do now?                                     JENNY                         You say you love me and kiss me                          'goodbye.'               The STAR MAN puts his arms around her and holds her tight.                                     STAR MAN                         I love you.                                     JENNY                              (her head on his                               shoulder)                         I'm never going to see you again, am                          I?                                     STAR MAN                         No.               He kisses the tears out of her eyes, then full on the mouth.                                     JENNY                         I love you.               The STAR MAN steps back and places a hand on Jenny's stomach.                                     STAR MAN                         Tell the baby about me.                                     JENNY                         I will.                                     STAR MAN                         Goodbye.               He turns from her and walks to his ship. Jenny watches him                go, then remembers something.                                     JENNY                         Wait!!               She gets the Webster's Dictionary and the Columbia History                of the World from the Camaro and runs to the STAR MAN. He                takes them and kisses her again.                                     STAR MAN                         Thank you, Jennyhaydn.               Jenny backs away as the STAR MAN walks under the ship into                the white light. He waves one last time to Jenny and is                swallowed into the ship by the light.               EXT. DESERT - NIGHT               Jenny turns away from the stinging sand as the space-craft                lifts off. When she looks again, it is high and moving over                the foothills. A banking turn brings it back. The ship dips                low over her, rocks itself in a gesture of farewell, then                shoots off into the stars. When she can no longer see it,                Jenny drops her wave with a sigh and starts back toward the                Camaro.               Over her walk, we SUPER:               JENNY HAYDN GAVE BIRTH TO AN EIGHT-POUND, SEVEN-OUNCE BABY                BOY ON MARCH 10TH.                                                                  FADE OUT:                                         THE END
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+                   S T A R S H I P   T R O O P E R S                             Screenplay by                            Edward Neumeier                         Based on the novel by                            Robert Heinlein1	FROM THE FEDERAL NET -- NOTICE -- JOIN UP NOW ! 	Proud YOUNG PEOPLE in uniform, the bloom of human evolution.				YOUNG PEOPLE		I'm doing my part... Me, too...		Are you ?	The mobile infantery logo:	LIGHTNING BOLTS ON A BLACK SHIELD.				OFFICIAL VOICE		Join the mobile infantery and save the world !		Service guarantees citizen-ship.		Would you like to know more ?2	BUG METEOR:	Behold actual pictures of a METEOR, this one a mile across, as it hurtles	past an observation ship.				OFFICIAL VOICE		The Bugs send another meteor our way !	A BRIGHT EXPLOSION in space out beyond the moon.				OFFICIAL VOICE		But this time we are ready !		Planetary defenses are better than ever !		Would you like to know more ?3	KLENDATHU --- WHY WE HAVE TO FIGHT !	Klendathu, a fierce orange planet ringed by an asteroid belt, 	orbits a double star.				OFFICIAL VOICE		Klendathu, source of the bug meteor attacks,		orbits a twin star system whose brutal gravitational 		forces produce an unlimited supply of meteorites...	A "You are here" map of the KNOWN GALAXY shows the Earth in 	relationship to the BUG PLANETARY SYSTEM and Klendathu.				OFFICIAL VOICE		To ensure the safety of our solar system,		Klendathu must be eliminated !		Would you like to know more ?4	LIVE BROADCAST -- FROM ORBIT - THE INVASION OF KLENDATHU !	For BATTLE GROUPS, sixty STARSHPS strong, orbit the orange planet.	Graphics:	KLENDATHU:	THE INVASION				OFFICIAL VOICE		We break net now and take you live to Klendathu where the invasion has begun !5	EXT	KLENDATHU -- NIGHT -- THE CAMERA	takes the Mobile Infantery CAP TROOPERS wearing fully armed Marauder	POWER SUITS as they move up the line, the pans to the	NET CORRESPONDENT				NET CORRESPONDENT		We 've just landes here on whar cap troopres are calling 		"Big K" with the 6th Mobile Infantery division...		It 's an ugly planet, a bug planet, a planet hostile to 		life as we iGKKKKKK !	Blood hits the lens as the Correspondent is cut in half.	The CAMERA catches a glimpse of HUGE CLAWS as Cap Trooper	JOHNNY RICO , 18, blows away SOMETHING BIG big with his pulse cannon.				JOHNNY		Com'on, let's go !	ON THE BOUNCE	The cap troopers move out, among them DIZZY FLORES, 18, ACE	LEVY, 19, and KITTEN SMITH, 18. The CAMERA pauses, unsure.				FED NET CENTRAL (O.S.)		FOLLOW THEM...! GO ! GO !	The CAMERA follows. The PULSE of BUG BATTERIES is blinding.	Cap Troopers scream as they are torn apart right and left by an enemy	seen only in disorientating glimpses.				JOHNNY		THIS WAY !	The group splits into two, and the CAMERA follows Johnny.	Something slices Kitten Smith, and he goes down screaming.				JOHNNY		KITTEN !	Johnny stops to help his comrade. A CLAW slashes into him.					JOHNNY		AAAAAAAAAAAAAAAA !	Now something grabs the CAMERA, spinning it around. 	We glimpse the hideous jaws of an ARACHNID WARRIOR.				CAMERAMAN (O.S.)		AAAAAAAAAAAAAAAA !	The CAMERA hits the ground. Johnny, badly wounded, bleeding	from the mouth, crawls into CAMERA, trying to get away from the	dark INSECT SHAPES that close in on him.				JOHNNY		Oh, God... Oh, God, help me...		please help me...	His eyes glaze over as he remembers								FLASHBACK:6	INT	NEW UNI HIGH - CLASSROOM - DAY - CARMEN IBANEZ	is beautiful, just 18, and quite pleased with herself  because	Johnny Rico is clearly infatuated with her.				RASCZAK (O.S.)		The end of another school year, and for 		me no doubt another failure...		Rico, pay attention !	The teacher JEAN RASCZAK, 38, a rugged veteran who proudly	displays his missing hand, scowls at Johnny, bemused.				JOHNNY		Sorry, Mr. Rasczak.	But as soon as Rasczak turns back to the class, Johnny begins to sketch	a cartoon on his desk's touch screen.				RASCZAK		Here in History and Moral Philosophy		we've explored the decline of 		Democracy when social scientists brought		the world to the brink of chaos, and how the			veterans took control and imposed a stability 		that has lasted for generations since...		You know these facts but have I taught you		anything of value ? You.		Why are only citizens allowed to vote ?	Rasczak points at LANNY, 17, with his stump.				LANNY		It's a reward... what the Federation gives you		for doing Federal Service.	Rasczak is crestfallen, makes a big show of patience.				RASCZAK		No. Something given has no value !		Haven't I taught you dimwits anything ?		I guess they ought to revoke my 		teaching credential...	Laughter. Johnny's cartoon, meanwhile, is taking shape:	Johnny and Carmen flying round planet Venus in a space ship.				RASCZAK		When you vote, you're exercising political		authority. You're using force. And force, my		friends, is violence, the supreme authority		from which all other authority derives.	CARL JENKINS, 18, a superintelligent geek, jumps in.				CARL		Gee, we always thought you were the		supreme authority, Mr. Rasczak.	Laughter. Rasczak grins.				RASCZAK		In my classroom, you bet. Whether it's 		exerted by ten or ten billion, political 		authority is violence by degree. The 		people we call citizens have earned		the right to wield it.	DIZZY FLORES, 18, athletic, pretty, no nonsense, chimes in.				DIZZY		My mother always says that violence		never solves anything.				RASCZAK		Really ? I wonder what the city fathers of		Hiroshima would have to say about that.		You.	Rasczak points at Carmen.				CARMEN		They probably wouldn't say anything.		Hiroshima was destroyed.	Johnny presses ¥"SEND" on his desk, and the cartoon appears	across the way on Carmen's screen.				RASCZAK		Correct. Naked force has settled more		issues in history than any other factor.		The contrary opinion 'violence never		solves anything' is wishful thinking		at its worst.	While Rasczak looks away, Carmen throws Johnny her wonderful	smile, and Johnny's gone, checked out, flying round Venus.				RASCZAK		People who forget that always pay...		They pay with their lives and their		freedom.	Dizzy notices the dreamy look on Johnny's face.	So does Rasczak. He points at him with his stump,	snaps Johnny to.				RASCZAK		You. Tell me the moral difference,		if any, between the citizen and the civilian ?				JOHNNY		The difference lies in the field of civic		virtue. A citizen accepts personal		responsibility for the safety of the body politic,		of which he is a member, defending it,		if need be, with his life.		The civilian does not.				RASCZAK		The exact words of the text. But do		you understand it ?		Do you believe it ?				JOHNNY		Uh, I don't know.				RASCZAK		Of course you don't. I doubt if any 		of you here would recognize 'civic virtue'		if it bit you in the ass.	A bell rings. Rasczak shrugs, indifferent.				RASCZAK		Well, that's it. Have a nice life.7	EXT	NEW UNI HIGH - HALLWAY - DAY - JOHNNY AND CARMEN	walk with their friends. Several COUPLES hold hands. Johnny	tries to take Carmen's hand, but she demurs. Johnny broods.				CARMEN		C'mon, let's see if they've posted the		math final test yet.				STUDENT		Hey, Rico, we gonna take Tesla ?				JOHNNY		How should I know ?				STUDENT		You're captain of the team !8	EXT	QUAD - DAY - JOHNNY AND CARMEN	join other students around a MULTI-SCREEN KIOSK.				CARMEN		First thing Fleet Academy looks at		is your math scores. 		Wish me luck !	Carmen enters her name, receives her score:	97% !	She beams.				JOHNNY		Good for you.				CARMEN		Your turn...	Then she spots Carl across the way talking with MARCO, 17.				CARMEN		Hold on... I wanna talk to Marco.		His sister's at Fleet !	Carmen rushes off. Johnny checks his score:	35% ! Crushed, he	makes sure no none else has seen. Carl walks up to him.				CARL		You still haven't kissed her yet ? Don't lie.				JOHNNY		What's the hurry ?				CARL		Others are waiting.	Carl points out Dizzy, talking with friends.				JOHNNY		Did you read her mind ?				CARL		Don't have to... Some mating semaphore		is pretty hard to miss.	It's true. You can tell by the way she looks at Johnny.				JOHNNY		Yeah, but I want Carmen.				CARL		You got it bad.	Carmen returns to Johnny as Carls heads off.				CARL		Don't forget about this afternoon.			(to Carmen)		He's always late when he walks you home		to fish for a kiss.	Carmen blushes, covers.					CARMEN		She's flying starships !				JOHNNY		Who ?				CARMEN		Marco's sister. Can you imagine 		maneuvering half a million tons through		crwoded space lanes...		You gotta have nerves of steel !		Reflexes are critical				JOHNNY		I have good reflexes.	Carmen notices the way Dizzy's looking at Johnny, doesn't	like it one bit, takes Johnny's arm.				CARMEN		C'mon Johnny, we'll be late for Biology.9	INT	BIOLOGY LAB  -- DAY - THE BIOLOGY TEACHER	is an older woman, very spry, also blind. Johnny, Carmen and	other students gather around covered lab tables.				BIOLOGY TEACHER		For our final today, please identify the mouthparts,		the abdominal organs, and for extra credit, locate the		nerve cord and count the ganglia.		You may begin.	The students remove the cover to reveal large alien bugs, 60	centimeter ARKELLIAN SAND BEETLES laid out for dissection.				CARMEN		Eeuch !				JOHNNY		Aw, c'mon, it's just a bug.				BIOLOGY TEACHER		Just a bug, eh ? We humans like to think we are		Nature's finest achievement. I'm afraid it isn't 		true. This Arkellian Sand Beetle is superior in many		ways. It has fewer moving parts, can reproduce itself		in vast numbers, and unboud by concerns of ego and		mortality, makes the perfect selfless member of 		society.				JOHNNY		Better put your goggles on.	Johnny slices the abdomen open with asurgical laser. Green	fluid sprays from the slit. Carmen turns away looking ill.				BIOLOGY TEACHER		Our galaxy is teaming with insect life. We have		identified over two billion species so far.		Human, life, it would seem, is the anomaly.				CARMEN		But we 're intelligent. Human minds have invented		art, mathematics and interstellar travel.				BIOLOGY TEACHER		True, we know of no insect society that has		produced a Shakespeare, an Einstein or a		Cherynkov, but before you let that go to your		head, take the example of the Arachnids, a 		highly organized, highly evolved insect society.	She points to an insect evolution chart that starts with a	common ant and ends with a two meter tall ARACHNID WARRIOR.				BIOLOGY TEACHER		They are relatively stupid by human standards. Workers		have an IQ of 12, warriors around 35 , and yet the 		Arachnids have colonized planets. Over a million years		of evolution, Nature has provided the Arachnids with the 		biological means to hurl their spore into space.	Johnny applies a spreader and jacks the insects abdominal cavity 	open with aresounding crack. Bug guts gush out.				JOHNNY		Well, if that's the crop, that must be the gastric		caecal...				CARMEN		Excuse me...!	She heads for the door, hand over her mouth.10	EXT	CIVIC PARK - DAY - JOHNNY AND CARMEN	walk home from school together.				JOHNNY		35% on the math final !  No one could be		that dumb with numbers.				CARMEN		Well, at least you didn't lose your lunch		over a bug. How embarassing.				JOHNNY		Who cares about bugs ? You can't go anywhere		if you don't know math.				CARMEN		Don't be so sure. I like you even if you are		dumb with numbers.				JOHNNY		Then how come you won't hold hands with me		at school ?				CARMEN		I don't want everyone to see.				JOHNNY		Why won't you kiss me when we're all alone ?				CARMEN		How come that's all you talk about anymore ?				JOHNNY		It's all I think about anymore.	Indeed, they are all alone now. The look in Johnny's eye says how	about it. Carmen grins, reaches for Johnny's hand.11	EXT	PUPLIC TRANSPORTATION - DAY - CARMEN	and Johnny stand together near a bank of TRANSPORTERS.				CARMEN		You can't walk me home.				JOHNNY		Why not ?				CARMEN		I thought you were going to help Carl.				JOHNNY		Carl can wait.				CARMEN		Johnny, my Dad's home today.	Johnny's face darkens with frustration.				JOHNNY		What's he got against me... I mean, I 'm		a teenager. You can't be a citizen when		you're only a teenager !				CARMEN		It's not you, Johnny. Your parents are rich		they don't need to be citizens, and that stuff		means a lot to my dad. He's a veteran.				JOHNNY		Well, if your dad doesn't like me, how come		we're such good friends ?				CARMEN		Sometimes I do what I want, eh ?	Carmen steps into the flux.	ZAPPP!	She's gone.	Johnny grins, happy to be in love.12	INT	CARL'S HOUSE - BASEMENT - DAY - JOHNNY	is hard-wired to the stacks of processing units that comprise Carl's 	basement workshop. Carl concentrates on the image of a playing card,	the six of diamonds, displayed on a monitor.				CARL		Don't think about it... go on instinct.				JOHNNY		Ace of spades.	The ace of spades appears, and the computer indicates "no match".	Carl puts another card up, the jack of diamonds.				CARL		Statistically speaking you should've accidentallyguessed right by know.				JOHNNY		In addition to "psychic dolt" this test also proves 		I'm unlucky ? Two of hearts.	Wrong again.				CARL		Luck is not a factor. No one really knows why 		some people are sensitive and some aren't.		Federal studies like this might provide a clue.	The next card up is the nine of clubs.				JOHNNY		I wouldn't want to know what everyone was		thinking. Four of spades.	Suddenly, A GIANT YELLOW FROG jumps onto the keyboard, fritzing	the monitor. Johnny removes the blindfold.				CARL		Cyrano, you big yellow turd !	Johnny knows this frog, scratches him on the neck.				JOHNNY		He just wants attention. You don't play with 		him like you used to.	Carl concentrates for a moment.				CARL		Go bug Mom, Cyrano.	Cyrano's eyes widen. He hops off the table and up the stairs two at	a time. Carl clears the screen.				JOHNNY		How do you make him do that ?				CARL		I gave him the impression that there was a fly crawling		up my mom's leg. He is going to go eat it.	From upstairs, CARL'S MOM shrieks.				MOM (O.S.)		Get out ! Get out ! CARL...!				JOHNNY		Carl, promise me you won't ever do anything like that		to me.				CARL		Don't be afraid. Can't do humans... yet.		C'mon let's go.	Carl, puts up more cards, Johnny misses them all.				JOHNNY		Ten of clubs. You still gonna sign up for		Starside R&D ?				CARL		Passport to the Universe.		Who wouldn't want that ?				JOHNNY		I've been thinking about applying for 		Federal Service, too. Fleet, maybe.				CARL		Your father will never let you.				JOHNNY		I'm eighteen. It's my decision, I think I'd 		make a pretty good pilot. I've good great		reflexes. You need that for maneuvering,		you know.				CARL		Only 1 in 14 male applicants make it through		stellar navigation.		So what do you think your chances are ?				JOHNNY		Eight point... no, uh, seven...				CARL		If you can't do those numbers, you haven't		got a chance.				JOHNNY		All I know is Carmen's going to be a citizen, 		and I don't think it'll work out for us if I'm not.				CARL		Love... how excruciatingly pathetic. 		Now try and pay attention.	Carl puts a card up.				JOHNNY		Queen of hearts.	The computer indicates a match. Johnny peers around at the monitor.	It is the Queen of hearts.				CARL		Well, what do you know about that !13	EXT	ATHLETIC FIELD - STANDS - DAY - CARMEN	and other students wearing orange and black sing the "Uni High Song".	The SCOREBOARD says:	REGIONAL FINAL.	Across the field, fans wear red and gold and sing another song.14	INT	LOCKER ROOM - DAY - JOHNNY	and other UNI HIGH TIGERS, all exceptionally robust young man and women,	suit up in their orange and black uniforms.				DIZZY		Tesla's tough. They tumble good and they		hit HARD.	Dizzy bounces a JUMP SHOE to Johnny. The spring fires and vaults it high into	the air. Johnny catches it, puts it on, smiles cocky at the TESLA GIANTS who	suit up in red and gold.				JOHNNY		We tumble good, too.15	EXT	ATHLETIC FIELD - DAY - WHAM ! -- TIGERS AND GIANTS 	collide. Powered by jump shoes, the play is gymnastic. Johnny moves the ball ,flips high in the air over the Giant defensive line, makes ten meters before he isbrought down.16	EXT	STANDS - DAY - THE CROWD	cheers as Johnny runs back to join his team. He sees Carmen waving, glad that	Johnny has seen her among all the people.17	EXT	HUDDLE - DAY - JOHNNY		and other Tigers listen as quarterback Dizzy calls the plays.				DIZZY		Kick three, fade left. On two.	They make fists, then breal for thevline of scrimmage.18	EXT	SCRIMMAGE LINE - DAY - THE TIGERS		have the ball. The Giant's QUARTERBACKassigns ZANDER BARCALOW, 18,	handsome, super-confident, to guard Johnny.				ZANDER		Time's running out.	Zander points. The SCOREBOARD shows	TIGERS 19,	GIANTS 20,	three minutes and counting on the clock. Johnny grins.				JOHNNY		A lot can happen in three minutes.				DIZZY		Hut... hut !	Johnny takes the handoff, flips over a gauntlet of Giant guards. Zander	hurls himself at Johnny, misses. Johnny scores.	Zander tumbles into the crowd, loses a jump shoe.19	EXT	SIDELINES - DAY-ZANDER	looks up and sees Carmen, smiling as she offers him a hand. She helps	him up. He holds her hand longer than necessary.				CARMEN		Are you alright ?				ZANDER		I'm getting better.20	EXT	ATHLETIC FIELD - DAY - JOHNNY	runs back to join his team as the crowd cheers. The Tigers lead 	21-20. Johnny frowns when he sees Carmen talking to Zander on 	the sidelines, shaking his head, smiling.21	EXT	SIDELINE - DAY - ZANDER	finds his shoe, straps it on.				ZANDER		So what are you doing later ?				CARMEN		Everyone is going to the dance. Aren't you ?				ZANDER		I don't know. It's my last night as acivilian.		I ship out for Tereshkova tomorrow.	Zander heads for the field. Carmen follows, interested.				CARMEN		You're going to the Academy ?		That's where I want to go. I'd love		to talk to you abou that.	A REFEREE blows his whistle at Zander, signalling impatiently.				ZANDER		I'm all ears.				CARMEN		Don't you have to finish the game ?22	EXT	SCRIMMAGE LINE - DAY-THE GIANTS	are in possession. Zander lands hard in front of Johnny.				JOHNNY		Don't get any ideas. She's my girl.				ZANDER		You can never be sure.	Johnny scowls at Zander, turns his head to look back at Carmen.	She waves, smiling. The Giants pull ablitz.				DIZZY		WATCH THE BLITZ...!	Zander knocks Johnny on his ass, and the Giants score. It's	TIGERS 21, GIANTS 22 and less than a minute to go.23	EXT	HUDDLE -- DAY -- DIZZY	orders up the next play. Johnny keeps looking over his shoulder	because Zander's back talking to Carmen again.				DIZZY		Flip six, three hole. Rico ?		Hey !	Dizzy slams Johnny upside his helmet with her forearm.				JOHNNY		What ?				DIZZY		You were drifting. Flip six, three hole.		On one, got it ?				JOHNNY		Just throw me the ball, Diz.	They make fists and break.24	EXT	SCRIMMAGE LINE -- DAY -- JOHNNY	takes position again across the line from Zander who now grins at	Johnny broadly. Johnny  doesn't grin back. 				DIZZY		Hut !	At the snap, Johnny breaks for open field. Dizzy throws, Johnny catches	it, trips Zander up painfully, and hurls himself into the end zone as a	horn sounds the game's finish.25	EXT	ATHLETIC FIELD - DAY - CHEERING UNI FANS	rush onto the field as the school band strikes up a victory march.	Tigers do flips in the air. Giants look dejected. 	Zander picks himself up, watches Johnny leave with Carmen.26	INT	JOHNNY'S HOUSE - NIGHT - JOHNNY	walks throuh rooms filled with elegant furniture. He's all spiffed up	for the big dance. His MOTHER catches him preening in front of a	mirror by the TRANSPORTER in the hall.				MOTHER		Who said you could grow up so fast ? Last time		I checked you were only five years old. You had		such a bright little face...				JOHNNY		Aw, don't get mushy.	Johnny's FATHER enters carrying a FEDERAL SERVICE CATALOGUE.				FATHER		This came for you today. I presume on your		request.				JOHNNY		A lot of my friends are doing Federal Service...				MOTHER		You aren't thinking of applying...?	Johnny shrugs.				FATHER		Have you lost you lost your mind ? I'd rather		take ten lashes in Public Square than see you		ruin your life.				JOHNNY		It's aterm of service, not a career. I just want to		get out on my own and see the Galaxy for a		couple of years.				MOTHER		Johnny, people get hurt... people get killed in		the Federal Service. If something happened 		to you I don't know what I would do...				FATHER		Who gave you this idea ? It's that teacher.		What's his name ? You know the one I		mean.				JOHNNY		Mr. Rasczak.				FATHER		Rasczak... Silly name. There ought to be		a law against using a school as a 		recruiting station !				JOHNNY		No, Mr. Rasczak doesn't do that at all.		He sorta discourages you really.				FATHER		Good, because you're going to Harvard,		and that's the end of it.				JOHNNY		I'm eighteen. It's my decision.				FATHEROh, is that how it is ?				MOTHER		Wait you two. Dad and I have a surprise		for you that will settle this.		Can you guess what it is ?				JOHNNY		Uh, no.				FATHER		A trip to the Outer Rings.		Whad'ya think of that ?				JOHNNY		Wow ! Santori and Zegema Beach, I've		always wanted to go there.				MOTHER				Good good, then it's all settled.				FATHER		A year at Harvard and you'll  see this		"Federal Service" is just menial training 		for inferior people so they can call 		themselves "citizens" and take airs for 		the rest of their lives.				JOHNNY		Wait a minute ! Carl is doing his Federal		and he isn't inferior. He's the smartest 		kid at school !				FATHER		Sorry. Carl's a fine boy...	Johnny puts on his jacket.				JOHNNY		I don't know what they teach at Harvard,		but I think I'm pretty good enough the		way I am !					MOTHER		Johnny, please. Calm yourself.				JOHNNY		Well, that's what you're saying ! You're		saying that I'm not good enough the way		I am now !	Johnny stomps out, the transporter goes ZAPPP !				MOTHER		Why did you go and do that ? He was all		ready to go Zegema Beach !				FATHER		Teenagers !27	INT	UNI HIGH GYMNASIUM - NIGHT - EVERYONE	at the "Farewell Dance" is dressed up. Rasczak and other TEACHERS	chaperon. A spotlight finds the BAND LEADER.				BAND LEADER		Alright, everybody, this is the last dance, so		let's turn down the lights and make it a		slow one.	The lights go down. Dizzy, dressed pretty, brightens when she sees Johnny	standing alone near the dance floor.				DIZZY		Hey, Rico, wanna dance ?				JOHNNY		Actually, Diz, I promised Carmen...				DIZZY		Too bad for her if she's not around.	Dizzy pulls him onto the floor, holds him close.				DIZZY		You know, it's sad... Most of us probably		won't see each other again after tonight.		There is an invitation here. Johnny doesn't take it.				JOHNNY		You still gonna play for Brazil ?				DIZZY		Looks like, unless Tokyo lets me start.				JOHNNY		Well, anyone who gets you is lucky.				DIZZY		How come we never got together ?	Dizzy looks at Johnny meaningfully. He's distracted. Carmen crosses	the room, stunning in her formal.				JOHNNY		Can't we just be friends, Diz ?				DIZZY		Sure.				JOHNNY		Uh, look, Diz...				DIZZY		Guess you gotta go.				JOHNNY		You're the best.	Johnny heads for Carmen. Dizzy watches jealously as Carmen takes 	his hand. She looks around for someone to dance with.	Carl, a nerd in a tux, waves shyly.28	INT	GYMNASIUM - DANCE FLOOR - NIGHT - CARMEN AND JOHNNY	dance. Johnny wants to kiss her, Carmen playfully avoids.				JOHNNY		Isn't it great to be in love ?				CARMEN		How do I know if this is love ?					JOHNNY		It wouldn't be so romantic if we weren't...				CARL		Outa the way you two !	Carl and Dizzy dance by, Dizzy smiling bravely because Carl is a terrible dancer.	Johnny goes in for the kiss again.				CARMEN		Romance is just a vestigial biological		response to procreation...				JOHNNY		Aw, you're in love with me... 		You just dont know it yet.	Johnny's confidence makes her smile. Johnny moves in to kiss her,	but the music ends. Everyone applauds. The lights come up and 	people head for the doors. Johnny sees Rasczak.				JOHNNY		Wait, I want to talk to Mr. Rasczak.				CARMEN		I'll meet you outside.	Johnny heads over to Rasczak.				JOHNNY		Mister Rasczak ?				RASCZAK		What is it, Rico ?				JOHNNY		I just wanted to say thanks 'cause History		and Moral Philosophy was the best class		I had this year.				RASCZAK			(smiling)		Well, it's not really my job to please.		Hope you learned something.				JOHNNY		I wanna join up, Mr. Rasczak. I think I		have what it take to be a citizen.				RASCZAK		Good for you. Go find out.				JOHNNY		Well, my parents are against it, and I 		know it's my choice, but I was		wondering...		What would you do if you were me ?				RASCZAK		Figuring things out for yourself is the		only freedom anyone really has.		Use that freedom.		Make your own choice, Rico.29	EXT	UNI HIGH GYMNASIUM - NIGHT - JOHNNY		walks out and finds Carmen talking with Zander. He wears the blue 	uniform of a Fleet pilot trainee. Carmen examines his FLEET PIN,	a pair of silver wings.				CARMEN		Johnny, this is Zander.				ZANDER		Yeah, we know each other from the game. 		No hard feeling, eh, chum ?				JOHNNY		None at all... We won.				CARMEN		Good luck at the academy.	Zander takes back the wings and pins the to his tunic.				ZANDER		Always.30	EXT	PROMENADE - NIGHT - JOHNNY AND CARMEN	walk together along the river holding hands.				CARMEN		He just got accepted to the Fleet Academy.		Isn't that great ?				JOHNNY		Yeah, sure, I guess.				CARMEN		No, I mean if he can get in, maybe I have a		chance.				JOHNNY		What are you talking about ? We both know		you're gonna be a pilot.				CARMEN		Zander is going for pilot, too.				JOHNNY		You two have so much in common.	Carmen pulls Johnny to a stop, looks him in the eye.				CARMEN		Johnny Rico, you're jealous !				JOHNNY		I can't help it.				CARMEN		He's nothing like you.				JOHNNY		I don't even know if you're my girl.	Carmen smiles, leans in close to Johnny.							CARMEN		Are you the boy for me ?				JOHNNY		I'm gonna do it, Carmen. I'm gonna sign		up for Federal Service.	They kiss, tentatively, but the passion grows and they break apart,	breathless.				CARMEN		Oh, Johnny...31	EXT	PUBLIC TRANSPORTATION - NIGHT - JOHNNY AND CARMEN	making out as they wait their turn. There are a few other people around	including a POLICEMAN.				CARMEN		Everyone's looking... we shouldn't...				JOHNNY		Who cares ?				CARMEN		You're right. Let's never stop...				POLICEMAN		Hey, you, there's a place for that !	Without stopping, Johnny pulls Carmen into the flux.	ZAPPP !32	INT	FEDERAL HOUSING - NIGHT - JOHNNY AND CARMEN	kissing at her front door. Johnny moves his hand tenatively to Carmen 's breast.	She takes his hand, smiling, puts it under her shirt.				JOHNNY		I love you, Carmen.				CARMEN		Shhh...	She puts her mouth on his and they melt together. The door flies open,	and CARMEN'S DAD stands there.				CARMEN'S DAD		Carmen, it's late. Get inside.				CARMEN		Sorry, Dad. See you, Johnny.	Carmen ducks inside. Her father looks Johnny over. He carries a terrible	battle scar oon his face.				CARMEN'S DAD		I don't want you around Carmen anymore. Get me ?				JOHNNY		Maybe Carmen's gonna make her own decisions from		now on, Mr. Ibanez.	Carmen's Dad reddens. He'd like to punch Johnny out. 				CARMEN'S DAD		Carmen's gonna be a citizen. She don't need you		and your rich family. The Federation'll give her		everything she needs.				CARMEN (O.S.)		Dad, leave him alone...		Carmen's Dad slams the door in Johnny's face.33	EXT	FEDERAL BUILDING - DAY - JOHNNY AND CARMEN		meet Carl in front of the induction center where a staedy flow of prospective	citizens file through the main doors.34	INT	LOBBY - DAY - THE RECRUITING SERGEANT	is missing one arm. He smiles broadly at the three teenagers.				RECRUITING SERGEANT		Fresh meat for the grinder, eh ?				CARL		That's us. Where do we sign ?	He turns in his chair to grab the forms. Johnny and his friends see that he is also	missing both legs. The Recruiting Sergeant catches them looking, 	smiles even wider.				RECRUITING SERGEANT		Here and here and here.	As he signs, Johnny looks at the campaign ribbons on the Recruiting Sergeant's	chest. We hear MUSIC: 	"The Mobile Infantery Anthem" plays softly in honor	of distant battles.				RECRUITING SERGEANT		Welcome to the adventure of Federal Service.		Follow the blue line.35	INT	PROCESSING HALL - DAY - JOHNNY, CARMEN AND CARL	are routed into different lines, joining other hopeful civilians.	A COLONEL makes a speech over the loudspeaker.				COLONEL		There is no guarantee of service. We don't need		all of you. It costs a great deal to train human beings		for useful tasks. Many jobs are hazardous to your		health. If you are chosen and do not wish to serve		you may resign at anytime simply by completing 		form 1240/A. Thank you for exercising you		constitutonal rights.36	INT	CHANGING ROOM -- DAY -- JOHNNY	and others in the line strip down. The guy in front of Johnny is	DON, 18, athletic and cheerful.				DON		They took my sister, they'll take anybody.37	INT	TESTING FACILITY -- DAY -- JOHNNY	grimaces as a TECHNICIAN installs an INTERFACE PLATE on 	his side, drawing fluids.				DON		Oh, this is the part that hurts !	A PSYCH OFFICER sits down across from each candidate.				PSYCH OFFICER		No talking please. I'm going to ask you some 		questions. Please answer all questions truthfully.		We'll know if you don't.		Birthplace ?				JOHNNY		Here in Buenos Aires.	The Psych Officer checks Johnny's response on a meter.38	INT	VARIOUS TESTING STATIONS - DAY - JOHNNY	is poked and prodded, subjected to aural, visual and pharmacological	stimuli, and scanned from head to toe.				PSYCH OFFICER (V.O.)		Are your parents currently citizens ?				JOHNNY (V.O.)		No, sir.				PSYCH OFFICER (V.O.)		Which do you think is more important,		courage or confidence ?				JOHNNY (V.O.)		Courage, I guess.				PSYCH OFFICER (V.O.)		Please complete this sentence.		I want to be citizen because...				JOHNNY (V.O.)		I want to be a citizen because...		well, because of my girl, sir.39	INT	DEBRIEF - DAY - JOHNNY	sits across from a MAJOR who views a list on a monitor Johnny can't see.				MAJOR		I'm happy to tell you that you've been		accepted for Federal Service.				JOHNNY		Wow, that's great.				MAJOR		Looks like you're quite an athlete.		Boy, look at those reaction stats.	The Major clucks his tongue as he highlights the last category on his list:	MOBILE INFANTERY.				MAJOR		My job is to dertermine what you're		best suited for.				JOHNNY		I want to be a pilot, sir.				MAJOR		Sorry, son, no way. Your school records		say you don't have the math skills.	Johnny swallows this. He knew it was coming. The Major deletes	"Pilot" from the list, then several other items.				MAJOR		That rules out the scientific and engineering		applications, and I'm afraid we reserve		non-military options for candidates who are		frankly less able-bodied than you are, son...	He turns the monitor around and shows Johnny the list.	The only thing left is MOBILE INFANTERY.				MAJOR		It looks like the only thing you're good		for is cannon fodder.		I'm putting you down for the		Mobile Infantery.40	INT	AUDITORIUM - DAY - CARMEN	proudly takes the Federal Service oath with about twenty-five other people,	a gleaming silver FLEET PIN on her chest. She looks around for Johnny, 	sees him grinning at her.				JOHNNY ET AL		...of my own free will, without promise, coercion,		or inducement, after having been duly advised		and warned of the meaning and consequence of		this oath, do now enroll in the Federal Service		of the Terran Federation for not less than two		years and as much longer as may be required 		by the needs of the Service...41	INT	FEDERAL BUILDING - LOBBY - DAY - JOHNNY AND CARMEN	walk out together happily, hand in hand.				CARMEN		I wonder where Carl is. You don't suppose...?				JOHNNY		Naw, I made it, Carl made it.	Just then, Don rushes past, shamefaced, crying.				JOHNNY		He was in the group with me.		I guess he didn't...				CARMEN		Shhh ! Don't make him feel worse.	The Recruiting Sergeant is getting ready to go home. He's got legs now,	and he takes a prosthetic arm from its case and snaps it on.	He grins when he sees them staring.				RECRUITING SERGEANT		They put me out front to discourage the weak-hearted,		but at the end of the day I go home.		How'd you kids do ?				CARMEN		I'm gonna go for pilot.				RECRUITING SERGEANT		Good for you. We need every pilot we can get.	Johnny holds the door for Carmen and the Recruiting Sergeant. 	Suddenly Carl appears looking a little paler than usual.				CARMEN		Hey, Carl, what's wrong ?				JOHNNY		Did you get Starside R&D ?				CARL		No.42	EXT	FEDERAL BUILDING - DAY - JOHNNY AND CARMEN	are stunned.				JOHNNY		I don't believe it !				CARL		I got Games & Theory.	Well, everyone's a little impressed by this.				CARMEN		Games & Theory ? That's Military		Intelligence... Oh, Carl !				JOHNNY		Whoa ! Way to go, boy-yo !				RECRUITING SERGEANT		Next time we meet, I'll probably have to salute		you. What about you, son ?				JOHNNY		Infantery, sir.	The Recruiting Sergeant beams, offers a prosthetic hand.				RECRUITING SERGEANT		Well, good for you. The Mobile Infantery made me		the man I am today.	Just what Johnny wanted to hear. They watch the old Sergeant walk	away.	MUSIC:	"The Mobile Infantery Theme".	Carmen takes Johnny and Carl by the arm as they walk.				CARMEN		Let's all make a vow. Let's swear we'll always		be friends no matter what.				JOHNNY		I'll go for that.				CARL		Well, we're gonna be millions of light years away		from each other, and chances are we'll never see		each other again, but sure...				CARMEN		I can't wait to tell my Dad I'm in.		He's gonna be so happy !				JOHNNY		My father's probably gonna kill me.43	INT	JOHNNY'S HOUSE - STUDY - NIGHT - JOHNNY	stands sullenly as his Father rages at him.				FATHER		You'll resign, and that's all there is to it.		It might look bad, but if that's the worst		you suffer...				JOHNNY		I won't quit !				FATHER		I'm telling you, you will !		You're not going back. You're going		to go on vacation !				JOHNNY		I'm not going on vacation ! I want to		be acitizen ! It's my decision. 		I made it.	Johnny turns for the door. His father throws his last shot.				FATHER		You walk out that door, you're cut off,		young man... You understand me ?		Alright, THAT'S IT, YOU'RE...44	INT	JOHNNY'S HOUSE - HALLWAY - NIGHT--JOHNNY	walks out, grim, sees his mother, tears in her eyes.				FATHER (O.S.)		...CUT OFF !				MOTHER		Johnny, why won't you change your mind ?		Does citizenship mean so much to you ?				JOHNNY		Well, yeah, sure...				MOTHER		I hope so. I hope you don't ruin your life		over some silly little girl who wants to look 		handsome in a uniform.	Johnny's face reddens.				JOHNNY		Don't talk about my girl that way.	Johnny turns on his heel, heads for the transporter.		ZAPPP !45	EXT	FEDERAL TRANSPORTATION HUB - DAY - JOHNNY	looks for Carmen among hundreds of young people bound for 	Federal Service destinations. Recruits wear civilian clothes.	Everyone else is in uniform.  					P.A. (O.S.)		Outbound group 1380, Ursa Minor		and Tyko, now transporting at 		bank 17...	Now he sees her entering struggling with luggage. Johnny rushes to	help her and soon he is carrying all her bags.				JOHNNY		You're late.				CARMEN		My Dad had to help me pack. Suddenly		he's afraid he's never gonna see me 		again or something. It was sweet, but it		took forever. Anyway, I guess I'm ready		to go.	At the freight station, Carmen enters her Federal I.D. card and gets	numbered tags for her bags.				JOHNNY		Me, too. I'm wearing everything I own.	Johnny loads them onto a conveyor belt.				CARMEN		Poor boy. I'm sorry your parents were so mad.				JOHNNY		Who cares ! The Federation'll give me everything		I need for the next two years, right ?		Carmen's already moved to the next line. Johnny follows.				CARMEN		You talk to Carl ?				JOHNNY		He left this morning. He couldn't say where.	Carmen logs in, enters her destination:	LUNA - TERESHKOVA	FLEET ACADEMY.	The tickets station spits out a pass.				CARMEN		It's exciting, but it's scary, too isn't it.		Going someplace new where you don'tknow anyone.	Carmen heads toward a bank of transporters. Johnny stops her,	takes her by the arms.				JOHNNY		I'm gonna miss you.				CARMEN		I'll miss you, too, Johnny.				JOHNNY		I love you.				P.A. (O.S.)		Outbound group 948A, Tereshkova,		all sections, transporting at bank 5.				CARMEN		Oh, that's me.		She scans her pass, but Johnny stops her again.				JOHNNY		Com'on, just say it. Try it on for size.				CARMEN		Alright, I love you.	Carmen kisses him, jumps into the transporter.				JOHNNY		Do you mean it ?				CARMEN		I said it. Isn't that enough ?		Don't forget to write !	ZAPPP !	The last thing he sees are her beautiful eyes.46	FROM THE FEDERAL NET - A WORLD THAT WORKS !	People are doing Federal Service jobs all over the known Galaxy.				OFFICIAL VOICE		From all over the known Galaxy, prospectice		citizens work together to make a better		tomorrow !		Would you like to know more ?47	CRIME & PUNISHMENT - TONIGHT !	A CRIMINAL stands before a FEDERAL COURT				OFFICIAL VOICE		A murderer was captured and tried today.		Sentence:	DEATH.		Tonight at six, all net, all channels.		Would you like to know more ?48	NOTICE - ARE YOU PSYCHIC ?	A Federal clinic specializing in psycic research.				OFFICIAL VOICE		If you think you are psychic, maybe you are.		Harness your unique abilities and take		advantage of the many Federal benefits		available for psychic citizens.		Would you like to know more ?49	TRAVEL ADVISORY - INSECT TRAGEDY ON TANGO URILLA		A prefab township sits on the shores of a tranquil alien bay.	Then, a "You Are Here" map of the Known Universe.				OFFICIAL VOICE		Disregarding Federal warnings, Mormon 		extremists established Port Joe Smith,		a settlement of 300 on Tango Urilla, a		system just inside the Arachnid		Quarantine Zone.	Archival pictures of a captive two meter ARACHNID WARRIOR,	multiple eyes, cutting mouthparts and claws. Wary SCIENTISTS	keep their distance as it eats a COW.				OFFICIAL VOICE		Too late they realized tha Tango Urilla had		already been chosen by other colonists		-- Arachnids !	Now body parts litter the ruined streets of Port Joe Smith.				OFFICIAL VOICE		The council asks future colonists to obey all 		official Federal warnings.		Would you like to know more ?50	EXT	CAMP CURRIE - PARADE GROUND - DAY - SERGEANT ZIM		is 40, astoundingly fit, and like all drill instructors, he carries a small baton.	He addresses sixty shorn RECRUITS.				ZIM		The problem with you is that none of you are		good enough the way you are. 	Johnny stands in formation with his squad, among them:	BRECKINRIDGE, 18, DJANA'D, 19, KATRINA McINTIRE, 18, ACE LEVY, 	18, SHUJUMI, 18, and KITTEN SMITH, 18.		 	 				ZIM		I am your senior drill instructor,		Career Sergeant Zim.			(then)		TO THINK THIS HAD TO HAPPEN TO		ME ! What a bunch of apes. No, strike that.		You don't rate that good...you sunken-chested,		slack-bellied, drooling refugees from apron		strings ! In my whole life I've never seen such		a disgraceful huddle of momma's spoiled		little darlings ! Suck in those guts !		You there, EYES FRONT !	Zim gives Kitten Smith the hairy eyeball. Smith cracks up.				ZIM		Do you think I'm funny ? Do I make		you laugh ? Do you think I'm a		comedian ?	Kitten Smith shake his head  "no" , but he can't stifle himself.				KITTEN SMITH		Sorry...!				ZIM		The first and last words out of your		stinking holes will be "sir".		Do you get me ?				KITTEN SMITH		Sir, sorry...sir.				ZIM		See the armory ? Run around it !	Kitten Smith squints. Out in the distance, a tiny building.	Zim smacks him on the leg with his baton.				KITTEN SMITH		YEOW !				ZIM		RUN, I SAID. Bronski, keep pace !	Kitten Smith runs. Big CORPORAL BRONSKI, 28, takes out after	him, laying a baton across his backside every time he slows.				ZIM		You are now all brothers and sisters in		the same family, my family, the Mobile		Infantery. I will be your mother.		I will be your father. If you do not 		please me I will throw you out of my		family because I hate all slackers and 		negative hackers.		Do you get me ?				JOHNNY ET AL		Sir, yes, sir !	Zim points at the little WHITE PICKET FENCE leading to a	transporter near the front gate.				ZIM		Anytime you think I'm being to tough,		anytime you think I'm being unfair...		QUIT ! Grab your gear and take a		stroll down "Washout Lane". 		Get me ?				JOHNNY ET AL		Sir, yes, sir !				ZIM		I wonder if there's a handful of		guts in the whole bunch. Who		thinks they've got what it takes		to knock me down ?	Breckinridge, a big guy from a farm planet, steps forward.				BRECKINRIDGE		Sir, I guess maybe I do, sir.	Zim crooks afinger at him. Breckinridge charges. Zim knocks	him flat. Breckinridge holds his arm, twisted now.				ZIM		You alright, Breckinridge ?			BRECKINRIDGE		Sir, yes, sir. It's my arm. I think it's		broken, sir.				ZIM		MEDIC !	A MEDIC charges up, checks Breckinridge's arm, grins.				MEDIC		Clean break... Doc'll have him back on		active duty by tomorrow.				ZIM		Good. Who's next ?	Shujumi steps up, assumes a fighting stance. Zim looks him over.	There's not not much to him. Shujumi attacks Zim, counters his 	counter, dances out of range.				DJANA'D		Lookit the little guy go !	Now Zim attacks. Shujumi flip kicks Zim in the head.				JOHNNY		He's good alright.				KATRINA		I'll bet he makes squad leader.				ACE		He'll have to get past me.	The recruits check Ace out. Zim sweeps Shujumi's legs, puts a	knee in the little man's throat. Shujumi passes out.				ZIM		MEDIC !51	EXT	OBSTACLE COURSE - DAY - THE RECRUITES	tumble a brutal obstacle course using JUMP BOOTS.				ZIM (V.O.)		Some of you may not ¥make it.	Djana'd hits a tower and falls to the deck hard, dropping her rifle.	She holds her knee, hurt. Zim races over to her.				ZIM		WHY IS THAT WEAPON ON THE GROUND ?		YOUR WEAPON IS MORE IMPORTANT THAN		YOU ARE ! PICK IT UP ! PICK IT UP !	Zim begins to kick her because she doesn't move fast enough.				ZIM (V.O.)		You might think I am unfair.52	EXT	ZERO GRAVITY COMBAT - DAY - THE RECRUITES	watch poor Kitten Smith spar with Zim. Kitten Smith whacks Zim across the jaw.	Zim doesn't even flinch.				ZIM		Is that all you got ? You hit like kitten, Smith !		This is a punch.	WHAM !	Zim knocks Kitten Smith for a loop.				ZIM (V.O.)		You will not like me.53	INT	HYPERPHYSICAL TRAINING ENVIRONMENTS - DAY - ZIM	watches the recruits face simulated 3-D OFF-WORLD FOES. In one room,	CYCLOPS SOLDIERS of Antilles, in another, red DEATH WALKERS,	and in a third, screeching ARACHNID WARRIORS.				ZIM (V.O.)		But if you survive you will thank me		because you will be born again hard.		You will be a new person.		You will be a Cap Trooper. And then,		MAYBE, you'll  be good enough...54	EXT	COMBAT KNIFE PRACTICE - DAY - ZIM	throws a knife, buries the point in a narrow post.				ZIM (V.O.)		...to serve in my family.				ACE		Sir, I don't understands who needs a		knife in a nuke fight anyway...		All you gotta do is push a button, sir !	Zim yanks the knife out of the post.				ZIM		Put your hand on the post, private.	Ace obeys. Zim throws, sticks his hand to the post.				ACE		AWK !				ZIM		The enemy cannot push a button if you		disable his hand. MEDIC !	Zim pays no attention to Ace who remains stuck to the post. A	recruit trots up. Johnny stares, surprised. It's Dizzy.				DIZZY		Sir, recruit Flores, reporting for duty , sir.	She snaps Zim a salute and hands him her orders.				ZIM		I see you specifically requested transfer		from Fort Cronkite to this training group...	Dizzy grins self-consciously at Johnny.				DIZZY		Sir, I heard it was the best, sir !				ZIM		It is the best... BUT WHAT MAKES YOU THINK YOU'RE GOOD ENOUGH ?ON YOUR BELLY AND GIVE ME FIFTY, RECRUIT !	Dizzy hits the deck and starts doing push-ups, counting off as	MEDICS arrive and go to work on Ace's hand.55	INT	MESS HALL - DAY - THE RECRUITES	line up for mess piled four-square together on a single plate,	meat on the bottom, ice cream on top.				ACE		I'd like to disable Zim...!				KATRINA		Improper Attitude ! They'll kick you out		for talking like that...				DJANA'D		They can kick you out for anything.		Improper Conduct, Unsatisfactory 		Performance...				KITTEN SMITH		Off you go down Washout Lane, bye-bye !	Ace cuts into the front off the mess line.				ACE		Aw, you either got what it takes		or you don't.				DJANA'D		C'mon Ace, wait your turn !				ACE		At ease, soldier. It's all the same muck.				JOHNNY		Better get in line like everyone else, Ace.	Silence. There could be a fight. Zim, standing nearby, watches	with interest. Ace opens his hand.				ACE		You got some guts for a rich kid.		I guess you and me could be buddies.				JOHNNY		What an honor...				ACE		Hey, don't laugh. Everyone oughta have		a friend like me !	Ace makes a big friendly show of trading places with Johnny.				BRECKINRIDGE		Come on, Ace, back off the line !		Bacl off the line !	Now everyone's laughing, pushing Ace to the back of the line.	Johnny has his grub. Dizzy comes up with her tray.				DIZZY		Hey, amigo, come chow with me.				JOHNNY		No thanks, Diz.				DIZZY		What's your malfunction, Rico ?				JOHNNY		You are. I joined up to get out on my		own. And you had to tag along.				DIZZY		What ? You think I joined the Mobile		Infantery because of you ?				JOHNNY		You saying you didn't ?	Johnny turns away. Dizzy watches him go, hurt.56	EXT	OBSTACLE COURSE - DAY - THE RECRUITS	tumble down the difficult course in their power suits. At the head of	the pack , breathing hard, Johnny and Ace race.				ACE		What makes you think... you'll make...		squad leader, Rico ?				JOHNNY		Something... I've got...you don't.				ACE		You rich kids... are all the same !				JOHNNY		It isn't about rich... It's about		who's best...!	They come to a trap, prepare to leap.				DIZZY		Coming through !	Dizzy jumps over them from behind. Johnny and Ace tumble into the mud.	They watch, chagrined, as Dizzy reaches the end of the course effortlessly.				ZIM		C'mon, move it, you apes !57	INT	SHOWERS - NIGHT - DIZZY	enters as the recruits scrub down.				KITTEN SMITH		We all have one thing in common. We were 		all stupid enough to sign up for Mobile		Infanterie. What's your excuse,		Breckinridge ?				BRECKINRIDGE		Well, my family is all farmers. I hate farming.		Mobile Infantery's pure picnic by comparison.				KITTEN SMITH		So the grow 'em big and dumb on the farm		planet, eh ?	Djana'd ?				DJANA'D		I'm going in for politics. You gotta be a		citizen for that. So here I am.				KITTEN SMITH		C'mon, keep it going... Katrina !				KATRINA		I wanna be a mom. It's easier to get		a licence if you've served.				ACE		I'm going career... officer's training.		That's why I wanna be squad leader.		They look for that.				JOHNNY		Wanting it doesn't make you the best		one for the job.				ACE		Oh, yeah ? I don't see anyone else here		with the chops to lead.				JOHNNY		Well, maybe you better look again.				SHUJUMI		Federation's gonna give me a scholarship		when my hitch is up. I wanna be a		neurologist, study brain chemisty and		associated stimulus...	Dizzy dresses down. Johnny and all the other guys check her out.	She has a fabulous body. Dizzy cathes Johnny looking. He turns	his back as she steps into the shower next to him.				KITTEN SMITH		Your turn, Rico !				JOHNNY		Aw, who asked you to be so nosey ?				KITTEN SMITH		Me, I got plans to be writer, and a writer's		got a right to be nosey. Flores, you know 		Rico from Buenos Aires... What's his story ?	Dizzy uses her hand to divert the shower spray towards Johnny's crotch.				DIZZY		Well, some say he turned his back on the family		fortune to be a citizen, others say he did it for		a girl... missed a spot there, bucko... which is 		funny because Johnny says I joined up to be		with him, but why would I do that ?		He doesn't even like me.				BRECKINRIDGE		Don't look that way to me.	Everyone look down at Johnny's crotch, laughing. Johnny	blushes, grabs a towel and exits the shower. 58	INT BARRACKS - NIGHT - INTO CAMERA - JOHNNY	pans the barracks with a little handcam, neat bunks in a row, other recruits	lounging around in their skivvies.				JOHNNY		I know it's not much, but it's home. Over		there's my bunk where I dream about you		every night...Ace, Kitten Smith, Shujumi and Breckinridge dance around and moon the	camera.				JOHNNY		Hey, do you mind ?	Johnny moves the camera away from the guys. Katrina walks by from the	shower with Dizzy, mugs into frame.				KATRINA		Hey, what's going on ?				DIZZY		I bet it's that girl I was talking about...		Her name's Carmen, I think.				ACE AND THE OTHERS		Carmen ! Ooh la la, Carmencita !				KATRINA		Hi, Carmen !	Johnny heads for the door.				ACE AND THE OTHERS		Hey, where you going ? Come back...! He's		getting awy... Grab him...!	The picture goes all screwy, comes up again on:59	EXT	BARRACKS - NIGHT - INTO CAMERA - JOHNNY	talk quietly now outside the barracks door.				JOHNNY		Boot's pretty tough, and sometimes		I think I won't make it, but then I		imagine you're watching me, and that		gives me someting... I try harder.		Thanks to you, I think I might have 		a shot at squad leader.	The barracks lights go out. Taps plays over the public address.	Johnny lowers his voice.				JOHNNY		Uh-oh, I gotta pack it in. I hope you're		having fun, hope you're careful.		No training accidents for you, eh ?			(leaning into camera)		I want to kiss you so badly. I want		to feel you next to me, I-	Behind him , someone begins to sing , badly.				ACE		I love you truly, so truly, dear...!	Ace, the singer, and the other guys peer down from the transom 	over the door, giggling, delighted with themselves.							PULLBACK TO REVEAL:60	INT	TERESHKOVA FLIGHT ACADEMY - DAY - CARMEN	watches the end of Johnny's letter. Ace continues to sing.				ACE		Our love will grow, dear, year by year...				JOHNNY		Bye ! Write me ! I'm gonna kill you guys !	The letter ends. Carmen smiles. A BALD CADET PILOT smacks her on the	arm as she runs by in a sleek blue pressure suit.				BALD CADET		Orbit in five, Ibanez ! First one there gets		to fly !	Grinning, Carmen grabs her duffel, takes off after her.61	INT	BOARDING CORRIDOR - DAY - CARMEN	and the bald cadet race for the hatch past other recruits.62	INT	BOAT - DAY CYCLE-CARMEN	gets there first, jumps into the pilot seat. The Bald Pilot takes	second seat.				CARMEN		Looking it down !			Two LATE CADETS duck in through the closing hatch door.				LATE CADET		Oh no, not Ibanez again, she's crazy !				CARMEN		On my mark, in three, two, one...63	EXT	LUNAR ORBIT - THE BOAT	straeks upward from the lunar floor past orbitting training platforms where	CADETS in brightly colored pressure suits float against the Earth which	hangs beyond the horizon.				CARMEN (O.S.)		...GO !64	INT	BOAT - LUNAR ORBIT - CARMEN	blasts past a DESTROYER orbiting in dock, zips between CORVETTES	and other slower fleet traffic in the crowded space lanes of Luna.	The two late cadets are terrified.				BALD CADET		Geez, I thought I liked to fly fast !				CARMEN		This is nothing. Today, I get to fly that !	She points. Now visible from behind a host of smaller ships,	STARSHIP ATHENA, of older design, but impressive.65	INT	ATHENA - COMMAND AND CONTROL - DAY CYCLE - CARMEN	arrives on the bridge, dark, cramped, all-business. She salutes the instructor,	CAPTAIN DELADIER, 40s.				CARMEN		Pilot Trainee Ibanez reporting for duty, ma'am.				DELADIER		Take the number one chair, Ibanez.		Follow all instructions of you supervisor.				CARMEN		Yes, ma'am !	Carmen turns for her station, but stops in her tracks. Her supervisor is	Zander Barcalow, now a 2nd Lieutenant.				CARMEN		Hey ! What are you doing here ?				ZANDER		I'm the guy who's gonna teach you to 		fly this crate.	Carmen logs on. The ship recognizes her as a pilot trainee.				CARMEN		Assistant insructor... You must be some		kind of a hot stick.		Should I call you "sir" ?				ZANDER		Only when I give you an order.				DELADIER		Prepare for departure.	Carmen and Zander go to work.				CARMEN		It's amazing, us running into each other		like this. Maybe it's fate.				ZANDER		Maybe not. I heard about this crazy girl		coming through the academy, solid math,		a little wild on the stick, but a natural.		When it turned out it was you, I made		sure we'd run into each other...				DELADIER		Alright, take her out, Ibanez.				CARMEN		Yes, ma'am.	All eyes are on carmen as she grabs the stick. The ship shudders under	her hand. She winks at Zander.				CARMEN		In simulation, my supervisors could never		keep up.				ZANDER		This isn't simulation anymore.		Take'er out easy, cadet.				CARMEN		Oh, yes, sir. Vector ?				ZANDER		Twenty-five by five, roll seven.		And don't exceed port speed.	Carmen rocks the stick, and the view from the bridge spins smoothly	away from the dense orbiting yards os Luna toward the outer system.				CARMEN		Or...?				ZANDER		They revoke our flight status.				CARMEN		Oh, I see... teamwork.	Carmen jogs past lumbering freighters. Zander's impressed.				DELADIER		Steady as she goes, number one.		Prepare for warp. Number two,		design for Jupiter orbit.				ZANDER		Yes, ma'am. Star drive in three...		two... one...	Space appears to bend. Zander and Carmen share a smile. They 	blur together, becoming one, then:	WHAM !66	EXT	LUNA - STARSHIP ATHENA	disappears in a flash of blinding light.67	EXT	WAR GAMES COURSE - DAY - THE RECRUITS	have been divided into two teams. RED TEAM includes Ace, Katrina,	Breckinridge, and Djana'd. Johnny, Shujumi, Kitten Smith, and Dizzy	are part of BLUE TEAM.				ZIM		The object of this exercise is to capture		your enemy's flag before your enemy		captures yours.	Bronski passes out Morita SmartRifles.				ZIM		These weapons have been modified for		this exercise. If your enemy hits you,		your suit will fail. You will be unable		to move. You will be as good as dead.68	EXT	WAR GAMES COURSE - LATER - DJANA'D		bumps the magnification of her heads up display to survey Blue Team's	flag guarded by two recruits. She jumps down to joining other Red	Team members on the move.				DJANA'D		It's right over the next ridge...		Only two guards.	Johnny, Kitten Smith, and Dizzy open fire from athicket as they pass.	Djana'd and the others collapse as their suits fail, Djana'd laughing	because playing at war seems funny.				KITTEN SMITH		You are now prisoners of the Blue Team.		Tell us your plans or die !				DJANA'D		Oh no ! Name, rank, and mind your own		business is all you get from me !69	EXT	RED TEAM FLAG - DAY - RED TEAM	opens fire as the Blue Team appears. Shujumi and other Blue Team members	go down in an ambush led by Breckinridge. Johnny dives for cover, and finds	himself sharing it with Dizzy.				KITTEN SMITH		I'm going in ! Let's go !	Kitten Smith makes arun for the flag with a rifle team. Ace and Katrina open 	fire from two new hidden Red Team positions, taking Kitten and his team	down with a cross fire.				JOHNNY		Man, they're defended... no way in.				DIZZY		Flip six, three hole.				JOHNNY		What ?				DIZZY		High school... remember ? Run a flip		six, three hole play, and you might		score...	Johnny looks at the course in a new way, nods.				JOHNNY		Cover me.				DIZZY		You got it.	Johnny tumbles open ground, vaults into the air. Dizzy takes out Breckinridge	as he rises to fire. Johnny lands, knocks out Katrina, then Ace. He picks up	Ace's fallen Morita.				JOHNNY		Thanks, pal.70	EXT	OBSERVATION TOWER - DAY - ZIM AND CORPORAL BRONSKI	watch Johnny firing both Moritas simultanously and taking out the remaining	Red Team defenders. He grabs the Red Team flag and hurls it into the air like spear.				ZIM		Kid's got some moves...71	INT	AIRBORNE SKIMMER - DAY - THE RECRUITS	line up in the door of a SKIMMER, the military's standard utility aircraft,	to practice drops from altitude.				ZIM		Smith, GO ! McIntire, GO ! Flores, GO !		Rico, I'm making you sqaud leader !				JOHNNY		Sir, thank you, sir !				ZIM		Don't stand there dumb... GO !	Johnny jumps, plummeting toward the earth.				JOHNNY		YEEEE-Haaaaaaaaaaaaa...!	Next in line, Ace scowls.72	INT	BARRACKS - NIGHT - THE RECRUITS	have some free time. Johnny makes a big show of polishing the chevrons	that designate him as Squad Leader.				KITTEN SMITH		Look at him. Do you think anyone has		ever been so pleased with himself ?				ACE		Zim hadda choose someone to be		his brown nose, I guess.				JOHNNY		I just want you guys to know that I'll		never do anything that I haven't asked		you to do first.	Johnny approaches Dizzy.				JOHNNY		Couldn't've done it without you, Diz.		Friends ?	Dizzy smiles, shakes.				DIZZY		Yeah, sure... friends.	Bronski walks through with the mail.				BRONSKI		Levy... Shujumi... Rico.	Johnny grabs the E-disk, pops it into his handcam. The Fleet Mail logo appears:	APPROVED MESSAGE				JOHNNY		Bet it's from my girl.	Johnny's pals gather for a look. Carmen appears, dressed down to skivvies, 	in her quarters aboard starship Athena.				CARMEN		Hi, Johnny, I would've written sooner,		but they've really got us going every 		moment here.				ACE		Yeow, Rico, you don't deserve that !				JOHNNY		Shhhh...!				CARMEN		I'm glad you're doing so well. If they 		haven't made you squad leader by now,		I'm sure you will.	Johnny holds up his squad leader chevrons victoriously.				JOHNNY		All it takes is the love of a good woman...	The image changes abrupltly. Now Carmen's wearing a trim blue flight suit.	She stands the camera on Athena's gunnery deck. Outside , the rings of	Saturn sparkle in bright solar light.				CARMEN		Look at that. Isn't it beautiful ? I had 		to show you. It's great to be out here on		my own. I'm just not some little girl from		Buenos Aires anymore. I'm gonna be a		starship pilot, and I'm gonna see the		universe...			(she sighs)		And that's also the problem because I		don't really want to get married,		Johnny. I don't want to have kids.		I want a command, a ship of my own,		and you know, I don't think that's 		gonna leave a lot of room for you and		me.	Johnny is stunned. All the other recruits suddenly seem to have 	something else to do.				CARMEN		I know that's not what you wanted to hear...		but I have to follow my heart. I'm sorry.		I'm afraid you'll hate me, and I couldn't		stand that. Write me, alright ? Write me,		so I'll know that we'll always be friends.	The Fleet Mail logo appears again:	END OF MESSAGE. Johnny	shuts the handcam off. Ace puts a hand on his shoulder.				ACE		Funny how they always want to be your friends		after they kick your guts out.				JOHNNY		It's what I deserve.					ACE		Whad'ya talkin  about ?				JOHNNY		I joined up for her. I wouldn't even 		be here if it wasn't for her.		I'm a fool.				ACE		You made squad leader on your own,		and, hey, you still got me to kick 		around.	Johnny smiles in spite of himself.				JOHNNY		Thanks, Ace.	Johnny turns for the door, flipping the chevrons like a coin.	Dizzy watches him leave. She'd so like to comfort him. 73	EXT	LIVE FIRE COMBAT RANGE - DAY - THE RECRUITS	arm their Marauder power suits. Zim and Bronski wear Command model suits	with rank designations. Johnny checks weapons, scans the electronics on 	each squad member's power suit.				ZIM		With the Marauder's visual capabilities,		all you have to do is look at something		to hit it, so you will exercise EXTREME		CARE on my firing line.		Do you get me ?				RECRUITS		Sir, yes, sir !				ZIM		The live firing combat range is the 		closest simulation of actual combat		we can provide. If you do not hit 		your target, it will shoot you...	Fifty blackened AUTOMATED TARGET DRONES fitted with pulse guns	are presently visible along a gauntlet of low walls, gullies, and three-story	building facades.				ZIM		The Marauder power suit will prevent		serious injury, but if you are hit, you		will be non-operational and your team 		score will suffer accordingly. Rico,		has each member of your squad completed		a weapons safety check ?				JOHNNY		Sir, yes, sir !	On a signal from Zim, the Live Fire Combat Range comes to life	as the target drones take cover and disappear from view.				ZIM		Perfect score for this exercise is 300.		B company came through last week		with 285. I expect you to do better.74	EXT	LIVE FIRE COMBAT RANGE - DAY - THE RECRUITS	take out the target drones as they appear. Halfway through the course,	a recruit takes a hit and goes down, immobilized. Djana'd has a clear	shot, but Breckinridge gets in her way.				DJANA'D		You're in my line of fire, Breckinridge	Before the others can react, a second drone appears.				JOHNNY		CROSSFIRE ! EVERYBODY DOWN !	Everyone kisses dirt. Pulses from the two drones fly thick overhead.	Shujumi rises to fire, a round slams him back to the ground.	Johnny and Djana'd knock out the two drones.				JOHNNY		Alright, no more screw ups. Ace takes		point. Diz, you and Kitten Smith cover		the flanks. Djana'd, you're rear guard.		Move out.	The squad resumes ist advance. Breckinridge bangs on his helmet.	There is something wrong with his "head up" display.				JOHNNY		What's the problem ?				BRECKINRIDGE		Dunno. Display's fritzed.				DJANA'D		Lose another rifle, we're gonna mess up		our score...							JOHNNY		Let me see.	Breckinridge takes off helmet, hands it to Johnny. Djana'd turns on	Breckinridge. Her "head up" zeroes him.				DJANA'D		How come when something goes wrong,		it's always you, Breckinridge ?	That's when Djana'd trips on a loose stone. She fumbles her rifle and	it discharges. The round tears the top of Breckinridge's head off.	The recruits stare in horror.				JOHNNY		Oh, God... uh... MEDIC !	Zim arrives with Bronski on the bounce.				ZIM		Rico, you are relieved of squad command.		Levy, McIntire you will escort private Rico		to the C.O.'s Office.	The recruits watch Johnny leave, stare aghast at their dead comrade.	No one looks at Djana'd, who stands alone sobbing.75	INT	C.O.'S OFFICE - DAY - JOHNNY	stands before the C.O. braced by Katrina and Ace. Zim and the C.O.  are	both saddened by the proceedings.				C.O.		Rico, did you give the recruit permission		to remove his helmet ?				JOHNNY		Sir, yes, sir. Breckinridge reported a		helmet malfunction, and I asked him		to show it to me, sir.				C.O.		Are you rated to repair a Marauder		power suit, Rico ?				JOHNNY		Sir, no, sir.				C.O.		Then why did you order your man to 		remove his helmet during a live fire		exercise ?				JOHNNY		Sir, I needed everyone in my squad		operational, sir... I... I wanted to win,		sir.				C.O:			(sigh)		You disobeyed safety regulation 21-404.		You may, of course, demand trial by 		court martial.				JOHNNY		Sir, no, sir !				C.O.		Do you freely admit to the charges		made against you ?				JOHNNY		Sir... I guess I do, sir.	Zim looks out the window. Djana'd, dressed for travel, in civilian clothes,	crying as she heads off down Washout Lane.				C.O.		Sergeant, we've lost two recruits		over this incident already...		is there any possibility of salvaging		this man ?				Zim		I believe so, sir.				C.O.		Alright. We'll try administrative		punishment. Until then you are 		confined to your quarters, Rico.76	INT	BARRACKS - SUNSET - JOHNNY	looks out the window to the parade ground where a POST has been	erected. The recruits look up as Zim enters.				ZIM		Alright, let's go, Rico.	Johnny takes off his shirt. Ace who now holds the chevrons of squad	leader, watches, feels bad for his pal.77	EXT	PARADE GROUND - SUNSET - THE RECRUITS	stand with recruits from other platoons. Johnny is led to the post and 	strung up as the C.O. reads the charge.				C.O.		For incompetence of command, for		failure to abide by safety regulations		in a live fire exercise, for negligence 		which contributed to the death of a		teammate...	Zim steps up to Johnny, offers him a red rubber mouthpiece.				ZIM		Bite on this. It helps. I know.				C.O.		... recruit trainee John Rico is sentenced		to administrative punishment. Ten lashes.	Johnny takes it in his mouth. His tear away shirt is torn away. Johnny	stands at the post alone. Corporal Bronski, a big man with an unhappy	task, unrolls his whip.				C.O.		You may carry out the sentence.				BRONSKI		One.		CRACK !	Johnny's face wrenched by pain, spontanous tears, a terrible	sound stifled by the bright red mouthpiece.				BRONSKI		Two.		CRACK !	Again. Dizzy flinches for Johnny.				BRONSKI		Three.	CRACK !	Ace looks away.				BRONSKI		Four.	CRACK !	Zim watches without any apparent emotion.				BRONSKI		Five.	CRACK !	Johnny faints, sagging against his tether.								FADE OUT78	EXT	OUTER SYSTEM - STARSHIP ATHENA	cruises past, 600,000 metric tons of star class destroyer, FIGHTERS	and LANDING BOATS lining her open hangar deck.79	INT	ATHENA - COMMAND AND CONTROL - NIGHT CYCLE - CARMEN	works alone on the empty bridge. She yawns. Zander brings coffee for himself	and Carmen.				CARMEN		Thanks. You read my mind. Third watch		always seems to last forever.				ZANDER		Oh, I don't know... Depends on who you		are spending it with.	He caresses her hair. She kisses his hand. Zander notices the plot map.				ZANDER		Profile's wrong... there.				CARMEN		No, I replotted the course. It's more		efficient this way.				ZANDER		Three weeks aboard a starship and you		know it all, huh ?				CARMEN		Hey, check it.	Zander slides into his chair, runs a check.				ZANDER		You know I was talking to Captain,		Deladier, and she said...				CARMEN		Don't change the subject. Am I right ?				ZANDER		Well, whad'ya know...				CARMEN		Don't mess with the boss. So what'd		the captain say ?				ZANDER		She got a command... and she thinks we 		oughta team up officially and crew for her.		She thinks we're good together.				CARMEN		You and me, huh ?	Zander turns his chair so they are very close, moves a finger along	her hand, up her arm and playfully around her breasts.				ZANDER		I have a feeling about us. We're good		together, way ahead of the curve in 		every department. I seem to be able to		anticipate your needs. 		You know what I want...	Carmen grabs him between his legs.				CARMEN		No, what do you want ?	Zander pulls her to him and they kiss passionately. She brteaks it off,	gets serious for amoment.				CARMEN		I want to be part of the best flight team 		in the Fleet...				ZANDER		Me, too... Day and Night-Cycle.	They start to caress again when suddenly ALARMS sound. Captain 	Deladier appears on the hot screen, still waking up.				DELADIER		Report.				ZANDER		Captain, we are in the path of an unidentified		object moving at near light speed...	Carmen and Zander frantically check their displays.				CARMEN		WHERE IS IT ?				ZANDER		THERE !	GRAVITY FIELD... IT'S BIG !				CARMEN		It looks like an... asteroid.				DELADIER		In this part of the system ?	Carmen and Zander see it through the front screens:		A huge	ASTEROID tumbles directly towards them at terrific speed.				ZANDER		Sweet Jesus...!	Carmen breaks glass that reads EMERGENCY RETROS, arms the switch 	within and fires the rockets.80	EXT	OUTER SYSTEM - STARSHIP ATHENA	torques to one side. The asteroid grazes the ship, cutting ahuge gash	in Athena's hull. Ice and rock travelling in ist wake shreds	COMMUNICATIONS EQUIPMENT.81	INT	COMMAND AND CONTROL - NIGHT CYCLE - CARMEN AND 	Zander brace themseves as diamond hard particles pound the front screens.	The ship continues to tumble.82	EXT	ATHENA - FLIGHT DECK - A FIGHTER	loses it's mooring, tumbling into other craft, explosions ripping the deck.83	INT	ATHENA -VARIOUS - NIGHT CYCLE - CREWMEN	are sucked into space. Others hang on frantically as automatic doors	seal Athena's wound and their fates.84	INT	COMMAND AND CONTROL - NIGHT CYCLE - CAPTAIN	Deladier arrives on the bridge, now crowded as other FLIGHT OFFICERS	rush to their stations. Zander's going through star charts.				DELADIER		Where'd it come from ?				ZANDER		Trajectory indicates it came out of 		the Arachnid Quarantine Zone.				DELADIER		Number 4, contact Fleet and tell 'em		there's a loose asteroid headed their way.				COMMUNICATIONS OFFICER		Communications are down, ma'am.				DELADIER		Engineering. Damage assessment.				ENGINEERING OFFICER		Hull's compromised. 		We're lucky to be alive, ma'am.	Deladier notices Carmen staring at a monitor, stunned. A DEAD	CAP TROOPER trails in the wreckage of the flight deck.				DELADIER		Good work, Number 1. You'll do.				CARMEN		Thank you, ma'am.85	INT	BARRACK'S - DAY - JOHNNY	wears his civilian clothes, pcks as the other recruits get ready for the	day's training. No one says anything. He moves stiffly, careful of his	back.				DIZZY		It stinks, you goin.				JOHNNY		I don't stay where I'm not wanted.				DIZZY		If they didn't want you, they woulda		kicked you out, amigo.				JOHNNY		Hey, they humiliated me in front of		everyone ! I'm just supposed to take		it, huh ? Well, I'm not gonna, and I 		guess that proves I just can't cut it.	Corporal Bronski leans in, impassive.				BRONSKI		Your call's going through, Rico.		Take it there.	A nearby VU-PHONE lights up. The screen flashes:		RINGING	His mother appears when she picks up the other end.				MOTHER		Hello... Oh, Johnny...!				JOHNNY		Hi, mom.				MOTHER		Bill... pick up... it's Johnny ! You 		little rat. You haven't called, you		haven't written. It's been so lonely		here without you...	The screen splits as Johnny's father activates an extension.				FATHER		Johnny ! Where's your uniform...?	Johnny's mother makes a face to shut him up.				FATHER		Well, it's just good to hear from you.		What's up, son ?				JOHNNY		It's not really working out for me here,		dad. I was thinking... I was hoping it 		would be alright if I came home.				MOTHER		Well, of course you should come home		immedietly !				JOHNNY		I've made a mess of things. I've been		so stupid...				FATHER		Don't talk like that. Get yourself home		as fast as you can.				MOTHER		We'll all have dinner. I'll fix your favorite.				FATHER		Yeah ! We'll talk it out and have a good		glass of wine ... and... well, we love you,		son.	The sky in Buenos Aires seems to darken perceptively. Johnny's	mother looks out the window.				MOTHER		Oh, my, what's that ?				FATHER		Looks like rain.				MOTHER		This time of the year...?	The transmission ends abruptly. A phone company logo appears:	TRANSMISSION TERMINATED.				VU-PHONE VOICE		Your transmission has been terminated due		to atmospheric interference. Please try your		call again later.	Johnny zips his duffel, hefts it gingerly over his shoulder.				JOHNNY		Well, see ya.				DIZZY		You take the stroll down Washout Lane,		you're only proving one thing, Johnny.				JOHNNY		What's that, Diz ?				DIZZY		That you don't have what it takes		to be acitizen !	Dizzy turns on her heel and marches away.86	INT	THE C.O.'S OFFICE - DAY - JOHNNY	signs form 1240/A. Zim stands as witness.				C.O.		Now you, Sergeant.	Zim signs bitterly. The C.O. sighs.				C.O.		That's it, son. You can go.	The C.O. and Zim turn to other things. Johnny picks up his duffel and heads 	out the door.87	EXT	PARADE GROUND - DAY - JOHNNY	walks alone, sad. A skimmer hums by overhead and he looks after it.	Out across the parade ground he sees the glint of Marauder power	suits as recruits tumble the obstacle course.88	EXT	WASHOUT LANE -- DAY - JOHNNY	reaches the little white fence that leads to the transporter. He turns	back for one last look and notices people running to the	Comminications shack. Kitten Smith runs by.				JOHNNY		Hey, Kitten, what's going on ?				KITTEN		It's war !89	EXT	COMMUNICATION - DAY - JOHNNY	joins others to see what's on the Federal Net. Recruits, non-coms, and officers gather	without any sense of military decorum. People cry openly, among them Corporal	Bronski.				OFFICIAL VOICE		... early estimates. Millions dead, a city in 		ruins...	On screen, the smoldering ruins of what was once a huge city.				JOHNNY		Oh, jeez, is that Geneva ?				KATRINA		Goddam bugs whacked us, Johnny.				OFFICIAL VOICE		... Buenos Aires has been wiped of the Earth.		Nothing lives in what was once called the		Latin Paradise...	Johnny is horrified. Dizzy is suddenly standing next to him.				DIZZY		Aw, Johnny, geez... It's home.				OFFICIAL VOICE		The Federal Court met moments ago and		voted unanimously for mobilization to		destroy the Arachnid threat.	Johnny sets his jaw, turns and runs for the C.O.'s office.90	INT	C.O.'S OFFICE -DAY - THE C.O: AND ZIM	and other staffers watch the grim news unfold. Animation	illustrates the insect treachery.				OFFICIAL VOICE		The meteor derived from here, near Klendathu,		in the Arachnid's home system...				ZIM		I'm serious, sir. I'll go anywhere.		I want combat.				C.O.		Forget it, Zim. We're gonna need you 		here. The only way you'll get a combat		assignment is if you bust yourself to		private. You get me ?				ZIM		Yes, sir, I get you.				C.O.		What can I do for you, Rico ?				JOHNNY		Sir, I wish to reconsider my request		to drop out, sir.				C.O.		Sorry, son. I can't do it. You signed		the 1240/A. It would be illegal.				JOHNNY		Sir, i know it was wrong. I didn't 		learn from one mistake and I made		another, sir.			(then)		Sir, my family... my whole family was		in Buenos Aires, sir.	Zim picks up Johnny's 1240/A off the C.O.'s desk.				ZIM		Is that your signature, Rico ?				JOHNNY		Sir, yes it is, sir.				ZIM		Doesn't look like it to me.	Zim gives the C.O. a look. The C.O. shrugs, turns away, watching the news	of the coming war. Zim tears up the 1240/A.				ZIM		Get outa here, private.91	FROM THE FEDERAL NET - HUMANKIND GOES TO WAR !	Actual pictures of Buenos Aires:	SURVIVORS pick through rubble,	people wail, kids play tag in the ruins.				OFFICIAL VOICE		Out of the ashes of Buenos Aires comes first		sorrow, then ANGER !				ANGRY PERSON		The only good bug is a dead bug !				OFFICIAL VOICE		Would you like to know more ?92	COMBAT - VICTORY ON DANTANA !	A wounded CAP TROOPER, grim smile, flashes "V" for victory as his	weary comrades carry him off the field.				OFFICIAL VOICE		Cap Troopers establish a foothold on Dantana,		a planet system at the outer edge of the		Arachnid Quarantine Zone. Casualties are high,		but casualties won't stop the Mobile Infantery !		Would you like to know more ?93	HOME FRONT - KIDS KILL BUGS AND MOM IS GLAD !	MOM smiles as her CUTE KIDS stomp insects in the garden.	FACTORY WORKERS turn out ordnance. PEOPLE line up 	to enlist.				OFFICIAL VOICE		Everyone's doing their share. Are you ?		The war effort needs your effort at work,		at home, in your community.		Would you like to know more ?94	LEADERSHIP - SKY MARSHALL ANNOUNCES OFFENSIVE !	SKY MARSHALL DIENES, 72, addresses the FEDERAL COUNCIL.				SKY MARSHALL DIENES		We are a generation commanded by fate to defend		humankind ! We must meet the threat with our valor,		our blood, with our very lives, to insure that human		civilization, not insect, dominates this galaxy now		and always.	The council rises to its feet for a standing ovation.				OFFICIAL VOICE		Sky Marshall Dienes announces plans for an		offensive against Klendathu, source of the 		bug meteor that destroyed Buenos Aires.95	LIVE BROADCAST - AQZ - FLEET BATTLE STATION TICONDEROGA	is a sprawling pre-fab structure covering several square kilometers of space	where STARSHIPS are stacked in berths.	Super title:	COUNTDOWN TO VICTORY.				OFFICIAL VOICE		We now break net and take you live to		Fleet Battle Station Ticonderoga deep		inside the Arachnid Quarantine Zone.96	INT	BATTLE STATION - NIGHT CYCLE - THE CAMERA	follows the Net Correspondentas he works a corridor crowded with 	MOBILE INFANTERY and FLEET PERSONNEL.				NET CORRESPONDENT		No one here in the AQZ knows when the 		invasion of Kendathu will occur, but		everyone's talking about it, and the talk says		tomorrow !	Newly minted cap troopres Johnny, Dizzy, Ace, and Kitten Smith happen along.				NET CORRESPONDENT		Here's a bunch of M.I. kids who look like they		eat bugs for lunch !				DIZZY		Yum, yum yum ...!				NET CORRESPONDENT		So you're not to worried about fighting the		Arachnids...?				ACE		Hey, shoot a nuke down a bug hole, 		lotta dead bugs, am I right ?				KITTEN SMITH		I just hope it's not over before we get in it !				NET CORRESPONDENT		Some say the bugs were provoked by human 		attempts to colonize within the AQZ, that a		"live and let live" policy is preferable to		war with the bugs...				JOHNNY		Yeah, well, I'm from Buenos Aires, and		I say kill'em all !97	INT	RECREATION DECK - NIGHT CYCLE - JOHNNY	and his friends drink at a crowded bar. Around the room there's 	singing and dancing, a mad sort of revelry bred of fear and	excitement, but nearby a VETERAN drinks alone.				KITTEN SMITH		That guy's been in it.				JOHNNY		How can you tell ?				KITTEN SMITH		The eyes. He's got the 1000 meters stare.	He's hard and humorless, all wised up. Ace admires his LASER CUT TATTOOS.	Dizzy eyes his skull and crossbone earring.				ACE		Great scars.				DIZZY		I like the jewelry. Hey, amigo, where can		I get an earring like yours ?				VETERAN		Port Joe Smith, Outer Rings, Dantana...		Every time I come back from a drop, my		gunny gives me a bone. I got three now.		You don't see a lot of guys with three.				JOHNNY		Waht's it like... combat ?				VETERAN		I guess it's not so bad. I mean as 		long as you don't get any on you.				KITTEN SMITH		Get any what on you ?				VETERAN		Oh, you'll know when it happens.		See you on the bounce.	The veteran pays his tab and heads out.				ACE		I say we all go to the laser parlor		and get cut together.				JOHNNY		What do I want with a scar ?				DIZZY		What, your skin's too pretty ?		C'mon, everyone's doing it !				CARMEN (V.O.)		Hey	Johnny !	Johnny Rico !	Johnny looks up and sees Carmen. She lloks graet in uniform with 	the hat and the lieutenant's bars on her shoulders.				JOHNNY		Carmen... ?	Johnny remembers himself, snaps to attention, salutes. Dizzy and the others 	follow suit. Carmen salutes back, sheepish.				CARMEN		Oh... at ease. Guess I oughta lose the hat		when I'm off duty, eh ?	Dizzy, disgusted, turns back to Ace and Kitten Smith. Carmen tucks her hat	under her arm. Her hair is very short.					JOHNNY		What happened to your hair ?				CARMEN		What do you think ? Everyone did it when 		we got our wings. You don't like it, do you ?				JOHNNY		It's alright, I guess. You hear from anyone		made it out of B.A. alive ?	Carmen shakes her head, sadly.				CARMEN		It's funny. Sometimes I forget. Then it		hits me, and I can't stop crying.				JOHNNY		I try just to be happy I'm still alive.				CARMEN		You don't look very happy to see me.				JOHNNY		Should I be ?				CARMEN		Johnny... Life is so different from the 		way it was. One day you'll see what		I did was best for both of us.	Zander leaves a group of FLEET OFFICERS to join them.				ZANDER		Everything coposetic, Lieutenant ?				CARMEN		Zander, you remember Johnny ?		Zander and I are a flight team now.	Zander puts his arm around Carmen, gives her a squeeze.				ZANDER		Best in the Fleet !				JOHNNY		I get it. This is the part that's best		for both of us.		Don't do me anymore favors, eh ?	Johnny turns to leave.				CARMEN		Johnny, wait...				ZANDER		Forget it, Carmen. The Mobile Infantery		does a thankless, dirty job, so they 		naturally tend to be short-tempered,		thoughtless and rude.	Johnny turns back to face Zander.				JOHNNY		You got something to say about the		Mobile Infantery ?				ZANDER		You heard me. Wanna make something		out of it, private ?				JOHNNY		Not with an officer, no, sir.		The M.I. doesn't mint stupid cap		troopers.	Everyone can see what's about to happen. A circle is forming,	Fleet on one side, Mobile Infantery on the other.				ZANDER		Let's disregaed rank... Everybody hear		that ? Rank is not an issue here.				CARMEN		Zander, please... Let's go !	Zander takes off his hat.				ZANDER		It's alright. What's he gonna do ?	WHAM !	Johnny punches him right in the nose. Zander goes down,	bleeding. Ace and Kitten Smith grab Johnny.				ACE		Whoa, easy there, buddy... Nice punch.	Zander staggers to his feet, ready to fight, but Fleet Officers pull him	back. Carmen looks at Johnny, the hate in his eye, the blood on his fist.				CARMEN		What's wrong with you ?				JOHNNY		Hey, it's just a vestigal response to 		procreation... bitch.	Carmen turns away, stung. Johnny immediately regrets. Dizzy,	for her part, couldn't be happier.				DIZZY		Forget it, Johnny. Cap Troopers and		Fleet weren't meant to mix !98	INT	LASER PARLOR - NIGHT CYCLE - JOHNNY		grinds his teeth as a laser mounted on a robot arm finishes slicing an	intricate pattern into his arm.				JOHNNY		It hurts...!	Dizzy, Ace, and Kitten Smith awtch, grinning, passing a bottle.	Ace pours booze directly into the fresh wound.				ACE		No, this hurts.				JOHNNY		YAAAAAAAA !				KITTEN SMITH		Well, here's to it ! We're gonna fightn, and		we're gonna win !	They put their arms side by side. Each has a similiar scar:	Lightning bolts on a shield and the words:	DEATH FROM ABOVE.				ACE		Mobile Infantery rules !				JOHNNY		Death to all bugs !				DIZZY		Don't get any on you !99	EXT	KLENDATHU - FROM SPACE - FLEET STARSHIPS	of every class maneuver in tight orbit around the orange planet.	The "Mobile Infantery Anthem" plays loke Holst, pounding and	relentless. The invasion has begun !100	INT	BULL RUN - DROP ROOM - JOHNNY	and his platoon, wearing fully armed MARAUDER POWER SUITS, 	wait to drop with other cap troopers. Their mood is grim.	LIEUTENANT WILLY, 35, easy-going and confident, enters.				ACE		Officer on deck !	Everyone snaps to attention.				LT. WILLY		At ease. Alright... we got hot poop straight		from the top:		Willy's Wildcats is in with the first wave.		Means more bugs for us to kill...	This does nothing to break the tension. Lt. Willy reassures.				LT. WILLY		Now if you follow orders and remember		your training, I guarantee you'll make it		back alive. Any questions ?	There are none.				LT. WILLY		Alright... next we got a little last minute		briefing from Military Intelli-gence I		think you're gonna like...	The briefingplays on "head up" displays and the ready room screens. A	captive BUG WARRIOR clicks and shrieks as FEDERAL SCIENTISTS	torture it. The troopers cheer.				OFFICIAL VOICE		Everyday Federal scientists are looking for		new ways to kill bugs and you can help...	The head scientists turns and speaks to camera. It's Carl.	Johnny and Dizzy share an amazed grin, noticing a difference in	their old friend, something that speaks of... authority.				CARL		To defeat the enemy, we must know the		enemy. Take for instance your basic		Arachnid warrior. Minimal IQ, armored, 		completely lethal. You can blow a limb off...	Carl picks up apulse gun and blows one of the bugs legs off.	The insect screams.				CARL		... and it's still 86% combat effec-tive.		But here's a tip: Aim for the nerve stem		and put it down for good.	Carl fires again. The bug kicks and squeals as it dies.	Carl tosses the pulse gun aside.				CARL		Now while you are out killing bugs,		we want you to be our eyes and ears.		The bugs use some kind of plasma burst		to divert meteors and aim them toward Earth.		We need to know how they do this. If you		encounter any plasma, report it immediately		to your superior. Good luck and good hunting !	The briefing ends as klaxons sound.				P.A. (O.S.)		This is the Captain speaking.		All personnel prepare for drop.We		are at D minus three and counting.				LT. WILLY		Move out !	Johnny and the other troopers climb into capsules on the port track.	Dizzy gives him "thumbs up". The capsule seals as it moves with 	the others down the firing tube.101	INT	CAPSULE - JOHNNY	gets the shakes as the capsule bumps and booms toward the firing	tube. Lt. Willy appears on the "head up" display.				LT. WILLY		Smash the entire area, kill anything that		has more'n a couple legs , and don't any		of you loafers come back aboard with		unexpended bombs. Get me ?				JOHNNY ET AL		Yes, sir !				FIRE CONTROL (O.S.)		Five seconds...	Sweat rolls down his face, hyperventilation... WHAM !102	EXT	SPACE - KLENDATHU ORBIT - SILVER CAPSULES	stream toward Klendathu from the rear tubes starships of Bull Run.	We move down the line past Mannerheim, Dauntless, George Marshall,	and Yamamoto to the Rodger Young.103	INT	RODGER YOUNG - COMMAND AND CONTROL - CARMEN	holds Rodger Young in tight maneuver. Suddenly, a burst of BLUE BUG PLASMA	rips past the starboard bow.				CARMEN		Plasma, ma'am... from the planet.				DELADIER		Bug Batteries... According to Military 		Intelligence, it'll be random and light.		Drop status ?				ZANDER		Drop is 35% complete, ma'am.	Two more bursts of bug plasma streak past.				DELADIER		Steady as she goes, Number 1.104	EXT	KLENDATHU - HIGH ATMOSPERE - NIGHT - THE CAPSULES	burn when they hit atmosphere, outer skin tearing away in big silver sheets.105	INT	CAPSULE - NIGHT - JOHNNY	takes in ENTRY DATA from the heads up display.				GUIDANCE COMPUTER (V.O.)		...surface in twenty-fivr seconds		...LZ has been identified		...beacon is in place...106	INT	RODGER YOUNG - COMMAND AND CONTROL - CARMEN	watches nervously as deadly bursts of bug plasma fill the heavens around the	battle group. Below, the surface of Klendathu fairly bistles with outgoing	defensive fire.				DELADIER		This isn't random or light.		Someone made amistake...!				ZANDER		That's it, we're empty ma'am !	Out the front screens, a blast from below hits George Marshall amidships	and it reels into Yamamoto. Both starships begin to burn.				DELADIER		Someone made a big goddam mistake !		Get us out of here, Number 1 !	Carmen dodges past burning ships, avoids collision with Dauntless,	and then KA-WHAM !	they're hit. Carmen flies out of her	station and into CAMERA hard.107	EXT	KLENDATHU - CLOUD LAYER - NIGHT - THE SECOND SKIN	tears away. Johnny is sitting on air.				GUIDANCE COMPUTER (V.O.)		...surface in fifteen seconds...		deploying chute now...	The chute pops. Across the sky, lit by outgoing bug plasma, he can see hundreds	of cap troopers in ordered rows drifting down into the cloud layer. 	It's quiet in the clouds, then:108	EXT	KLENDATHU - NIGHT - FROM THE AIR - JOHNNY	looks down as he passes out of the clouds and sees the battlefield.	Plasma blasts exploode into the sky. THOUSANDS OF BUGS boil	out of the ground to defend against the invader.				GUIDANCE COMPUTER (V.O.)		...surface in five... four ... three...	Johnny burns his chute off, drops the last hundred feet and lands 	on the bounce.109	EXT	KLENDATHU - NIGHT - JOHNNY'S POV - THE FLASH PULSE		of bug batteries, screaming voices on the com, concussions shaking the ground.	None of it compares to the sound of his own racing HEARTBEAT.	Lieutenant Willy shouts.				LIEUTENANT WILLY		Up there on the ridge ! We'll nuke those bug positions		from theAAAAAAAA !	A HOPPER (an airborne Arachnid warrior with powerful rear legs and "pop out"	wings for gliding) lands on Lieutenant Willy and cracks his head like a nut.				ACE		KILL IT !	Johnny and Ace open fire, backing away. Pulse rounds tear it apart, bug guts	gushing.				JOHNNY		Lieutenant's bought the farm.		Where's the Sarge...?				ACE		I didn't see him !	Now comes a flood of WORKERS building ever advancing fortifications,	and with them, hundreds of deadly ARACHNID WARRIORS.				KITTEN SMITH		Here they come...!				DIZZY		Ace, what're we doing ?				ACE		I uh... uh...	Dizzy and the others open fire simultanously. The whole area goes white hot	in the magnesium flash of so many pulse cannons. Shujumi fires wildly at 	advancing insects.				SHUJUMI		You want some ? Here's some !		C'MON !				JOHNNY		Don't waste your ammon on the 		workers !	Shujumi can't hear. A warrior finds him, rips his leg off, hurls him back	into the waiting jaws of the oncoming bugs.				SHUJUMI		AAAAAAAAAAAA !	He fights, screaming. A claw reaches for his face, ripping the top of his head off.				KATRINA		Let's get out of here !	Now the ground opens behind her and a huge (6 meters) TANKER BUG 	lumbers out of the ground, it's funnel-shaped snout extruding above	multiple eyes.				DIZZY		Look out !	The tanker bug sprays and hits Katrina. She screams, as her legs melt out	from under her.				KATRINA		AAAAAAAAAAAAA !	Warriors converge to feed on her. Ace wants to help her, but Johnny blocks him.				JOHNNY		C'mon, Katrina was right. We 		gotta get out of here !110	EXT	KLENDATHU - NIGHT - JOHNNY	and the other survivors on the bounce. The entire surface of Klendathu seems	to be churning with insects as more and more bugs come to the surface to	repel the invasion.				JOHNNY		It's a general retreat ! The boats are		coming down.	They come to the rear lines where the Net Correspondent and his	CAMERAMAN are doing live coverage of the invasion.				NET CORRESPONDENT		We've just landed here on what cap troopers 		are calling the "Big K" with the 6th Mobile		Infantery Division. It's an ugly planet, a bug		planet, a planet hostile to life as we kow iGKKKKK !	The Correspondent is cut in half by a warrior. Johnny blows it away.				JOHNNY		C'mon, let's go ! ON THE BOUNCE !	The cap troopers move out. Kitten Smith looks up as a purple beacon	 streaks acroos thr sky.				KITTEN SMITH		I can see the beacon...!				ACE		Retrieval !	A hopper pounces on Kitten Smithm, and he goes down screaming.				JOHNNY		KITTEN !	Johnny touches down, stares in horror as Kitten Smith's head rolls past his 	fee. Johnny opens up with his pulse cannon. The hopper attacks, puts a claw	right through Johnny's thigh.				JOHNNY		AAAAAAAAAAAAA !	Crushing jaws close around him, crushing, cutting his flesh. Johnny brings the muzzle	of the pulse gun under the hopper's nerve stem and SPLAT !	blows its head apart.				DIZZY		Johnny !	JOHNNY !	WHERE ARE YOU ?		JOHNNY !	Johnny...!	But Dizzy can't find Johnny, and soon she's lost in the smoke. Johnny looks	down at the terrible hole in his leg where bright arterial blood gushes.				JOHNNY		Medic... MEDIC...!	Now two more Arachnid warriors close in on him through the enveloping	smoke. He fires his pulse rifle empty, and dropping it, crawls desperately,	dragging his useless leg.				JOHNNY		Oh, God... Oh, God, help me...		please help me...!	A third Arachnid warrior rears up in front of him, deadly jaws slashing down	toward him, when suddenly it is blown to pieces in the blinding blast of a	point-blank pulse cannon.				VOICE (O.S.)		Take my hand !	Johnny reaches out. A STEEL HAND takes his, dragging him back as bugs	attack. His rescuers's pulse cannon thunders overhead. Bug parts fly as 	insects swarm in for the kill.								FADE OUT111	FROM THE FEDERAL NET - 100, 000 DEAD IN ONE HOUR !	Actual pictures of the battlefield, man and insect lying dead together on the blood	drenched plains of Klendathu.				OFFICIAL VOICE		Crsisis for Humankind ! Fleet official 		admit they underestimated the 		Arachnid's defensive capability.		Would you like to know more ?112	SKY MARSHALL RESIGNS !Retiring Sky Marshall Dienes salutes incoming SKY MARSHALL TEHAT MERU, 75,	bfore a gathering of the Federal Council.				OFFICIAL VOICE		Accepting responsibility for Klendathu,		Sky Marshall Dienes resigns. His successor,		Sky Marshall Tahat Meru, outlines her new		strategy.				SKY MARSHALL MERU		Until we understand the bug better, we 		must proceed with caution...		We can ill afford another Klendathu.113	SCIENTISTS SUSPECT MYSTERIOUS BRAIN BUGS !	FEDERAL SCIENTISTS display an organizational chart of the 	Arachnid species topped by a QUESTION MARK.				OFFICIAL VOICE		To explain the intelligent military actions		of the Arachnids, Federal Scientists postulate		the existence of a leadership caste...BRAIN BUGS !114	SOMETIMES LOVED ONES DIE FOR A GOOD REASON !	Names scroll by designated KIA, WIA, and MIA accordingly.				OFFICIAL VOICE		Families oof those who have died or become		incapacitated by Federal Service are entitled 		to benefits ! If you see the name of a loved one,		please do not call. A Federation official will call		you. Would you like to know more ?115	EXT	FLEET BATTLE STATION TICONDEROGA - THE RODGER YOUNG	limps to port, a huge chunk ripped out of its mid-section. Although stable,	she flies inverted.				CARMEN (O.S.)		Ticonderoga, this is Rodger Young requesting		approach vector...				TICONDEROGA C&C (O.S.)		Affirmative, Rodger Young...one zero zero 		niner five two... welcome back.116	INT	RODGER YOUNG - COMMAND AND CONTROL - ZANDER AND	CARMEN	stare at the BATTLE-SCARED STARSHIPS and BURNT-OUT HULKS that line the 	docks of Ticonderoga.				CARMEN		You know, we're lucky to be alive.	A bloody bandage wraps Carmen's head. Zander nods grimly.117	INT	RODGER YOUNG - GANGWAY - THE DEAD BODIES	of CREWMEN and CAP TROOPERS are being off-loaded via conveyer belt.	Zander and Carmen make their way up the steep companionway beside the	ghastly conveyer belt.				ZANDER		Give me hand, willya ?	Carmen takes his hand. Zander kisses her.				ZANDER		I was thinking. Maybe we should get		married, Carmen.				CARMEN		You weren't thinking...you were dreaming !				ZANDER		If we're gonna be a team, why not be a		real team ?				CARMEN		There's a war on. I want a command,		I want my own ship, you do, too...				ZANDER		So ?				CARMEN		So who's got time to get married ?	Carmen lets his hand go and leaps through the hatch. Zander falls back 	onto the conveyer belt, finds himself eyeball-to-eyeball with a horribly	maimed trooper, scrambles to get off.118	INT	BATTLE STATION TICONDEROGA - COMMON AREA - ZANDER	joins Carmen in the crowded common area where dead bodies compete for space	with wounded awaiting triage. Survivors watch casualty lists scroll ba on a 	Federal Net terminal.				ZANDER		Fleet encourages marriages among flight		officers. You'd probably get a promotion		out of it.				CARMEN		Funny...				ZANDER		I'm not kidding. Marriage is -				CARMEN		No, funny there's almost no wounded at all.				ZANDER		Hey, bugs don't take prisoners.	Carmen looks at the words at the Net terminal: WOULD YOU LIKE TO KNOW 	MORE ? She bites her lip, enters Johnny's name. In an instant, she has the news:	RICO, JOHN D. - KIA				CARMEN		Oh no.	Tears fill her eyes.				ZANDER		Carmen...?				CARMEN		Excuse me...!	She rushes away. Zander looks at Johnny's name on the screen, shrugs, presses	the ERASE button.119	INT	TICONDEROGA - CORRIDOR - ZANDER	finds Carmen, sagging against a wall, weepimg.				ZANDER		I'm sorry, Carmen.				CARMEN		Please, I... Everybody's lost someone		by now. This shouldn't be any		different...	Zander puts an arm around her. She holds on tight.				CARMEN		No, I... Oh, Zander, I'm a fool.				ZANDER		You're upset, that's alright.	Zander kisses her hair. Tears roll down her face.				CARMEN		No, don't you see ? No one can wait for		anything anymore... You're right...		We should get married...	Zander holds Carmen as she sobs, feeling lucky.							DISSOLVE TO:	120	INT	STASIS TANK - DAY CYCLE - JOHNNY'S BODY	floats, suspended in fluid, mouth hanging open, his skin white as death.	A low underwater KNOCKING wakes him. He opens his eyes and sees	Ace and Dizzy outside the tank.	Ace holds up a KIA list, pointing at Johnny's name, laughing: Rico, John V - KIA.	Their voices are distant and garbled. Dizzy cups her hands against the side of the	tank.				DIZZY		Two more days.	Johnny's wounds are now mostly scars except for his leg where delicate robotic	arms culture layers of new tissue. Johnny gives a weak thumbs up. The knocking	sound continues.	Johnny turns. A STEEL HAND taps the side of the tank. Johnny grins, astonished.	The man wearing it is his former high school teacher, now a Lieutenant, Jean Rasczak.121	EXT	SPACE - AQZ - A BATTLE GROUP	consisting of STARSHIPS, their tender, FREIGHTERS and other SUPPLY CRAFT.122	INT	TROOP TRANSPORT - M.I. QUARTERS - JOHNNY	stows his gear along with Ace and Dizzy. Acroos the room, a collection of	battle-hardened vets check out the newcomers.				ACE		Dizzy says you two knew this Rasczak		character in Buenos Aires...				JOHNNY		He was our teacher...		He was great.				ACE		Yeah, well, I hear he's a real		nutbuster.				DIZZY		The Roughnecks killed more bugs than		any other outfit in 2nd Brigade...		Only took 15% casualties on Big K.	They size up the Roughnecks. There are scars, power prosthetics, and one,	big SUGAR WATKINS, 26, wears a bug claw on a chain around his neck.				JOHNNY		Seeing as how we're about all that's		left of  1st Brigade, you'd have to call		that an improvement.			(to Sugar Watkins)		You top kick ?				SUGAR WATKINS		Are you kidding ? They always get killed.		You want the job ?				JOHNNY		I wouldn't mind.	CORPORAL BIRDIE, 24, turns, gives Johnny the once over.				BIRDIE		I would. Nice earring.	Dizzy looks her over. Not too big, but she's tough.				DIZZY		Where you been besides Big K ?				BIRDIE		Outer rings. Zegema Beach.				JOHNNY		I always wanted to go to Zegema Beach.				SUGAR WATKINS		Good luck. It's not there anymore.				ACE		Is your Lieutenant as bad as they say ?	Birdie belts him, and Ace goes down.				BIRDIE		No one talks about the Lieutenant that way.		He saved my life !	Ace jumps up, ready to fight, but other Roughnecks block him.				SUGAR WATKINS		Mine, too.				OTHER ROUGHNECKS		Same for me... me, too...	Johnny and Dizzy shrug. Ace's on his own.				ACE		Sounds like he is quite a guy.		SERGEANT GILLESPIE, 28, steps into the room.				GILLESPIE		Attention !	Everyone snaps to. Rasczak enters.				RASCZAK		This is for you new people. I only 		have two rules. Rule one, everyone		fights. Rule two, no one quits.		If you don't do your job, I'll kill you		myself. Do you get me ?				JOHNNY, DIZZY AND ACE		We get you, sir !	He points at Johnny's earring with his steel hand.				RASCZAK		Get rid of the jewelry. I hate it.		Welcome to the Roughnecks.				BIRDIE		Rasczak's Roughnecks !	The Roughnecks cheer. Rasczak smiles vaguely.				RASCZAK		Alright. There's a new Sky Marshall and		a new plan. We're gonna clean out the		systems outlying Klendathu one planet		at a time. Tomorrow we hit Tango Urilla.		After Fleet glasses the planet, M.I. mops up.123	EXT	TANGO URILLA - DAY - BUG WARRIORS	stand sentry on earthworks that tower the entrance to their colony where an	endless line of WORKERS enter bearing foodstuff appropriate to this exotic	jungle planet.	A distant sound. A warrior looks up, curious. Suddenly a FORMATION OF TAC 	FIGHTERS screams down from high orbit and a white hot nuclear firestorm burns	consumes the landscape.	Bugs scream as they twist and kick in the wall of flame. Heat melts the dirt into 	dark glass. Ash turns the sky red. The out of the smoke come Rasczak and his	Roughnecks.				RASCZAK		Spread out, teams of three. When you 		locate a bug hole, secure it, gas it,		and close it.124	EXT	TANGO URILLA - FLATS - DAY - TAC FIGHTERS	streak by overhead. On the ground, Johnny, Dizzy and Ace are on the bounce.	Ace spots a bug hole where workers and warrors have broken through the	glassed surface.				ACE		There.	Rockets take out warriors. Bug guts go flying. Dizzy sets workers on fire.	Johnnx and Ace step over burning bug carcasses to the rim of the hole and	fire their gas rounds.				JOHNNY		Fire in the hole !	Johnny drops an H.E. round, and they're in the air when the explosion collapses	the entrance to the bug city.				BIRDIE (O.S.)		You new guys over there...		WE could use some help...125	EXT	TANGO URILLA - MOUNTAINS - BUGS	boil out of the ground. Birdie, Sugar Watkins and other Roughnecks are about to be 	overrun when Johnny touches down wuth Ace and Dizzy.				JOHNNY		Looks like you've got a little bug		problem, ma'am...				BIRDIE		Stow it, trooper. Give it verything		you've got !	The cao troopers let the bugs have it, but the insects keep coming, the living	crawling over the dead, and now, trudging up out of the ground, comes a	TANKER BUG.				JOHNNY		WATCH OUT !	The tanker bug starts to spray, creating a toxic perimeter around the hole.	Rasczak arrives just as Birdie takes a chemical hit, falling to ground minus	an arm, screaming.				BIRDIE		AAAAAAAAAAAAA !	Johnny jumps, landing behind the tanker bug in the mouth of the hole. It turns 	with surprising speed. Johnny flips up onto its back, cracks its armor with his	pulse cannon.				RASCZAK		Sugar, in for pick up !	Rasczak and Sugar Watkins pull Birdie to safety. Johnny fires a rocket into 	the hole he's made in the tanker bug's back, and jumps clear. KA-WHAP !	The big bug explodes.				RASCZAK		Gas that hole and close it !	The Roughnecks fire gas rockets into the bug hole. Johnny touches down	beside Rasczak.				RASCZAK		Where'd you learn to do that, soldier ?				JOHNNY		Uni High Tigers, sir. Don't you		remember ? I was captain of the		team.				RASCZAK		I'm not interested in nostalgia, Rico,		I need a corporal. You're it until you're		dead or I find someone better.	Rasczak turns away, gives Birdie prosthetic thumps up as she is carried past	to meet an arriving skimmer.				RASCZAK		Don't worry, Birdie, your next arm comes		with a factory guarantee !	Dizzy and Ace gather around Johnny, clap him on the back.				DIZZY		Way to go, amigo !				JOHNNY		I'm gonna need a squad leader.				ACE		No way. Big K taught me I ain't executive 		material.				JOHNNY		What about it, Diz ?				DIZZY			(a snappy salute)		Looks like I'm your girl, sir.	Tac Fighters reel by over head. WOMP ! Suddenly, BUG PLASMA shoots skyward	from the flatlands below. Several Tac Fighters are blown out of the air.	Flaming debris rains down.				RASCZAK		Saddle up, Roughnecks. That's		our trash !	Roughnecks head out on the bounce.126	EXT	TANGO URILLA - RIDGE - DAY - JOHNNY	and the others look down a sheer cliff on the bug battery, a charred circular	pit some ten meters across. Inside, something is moving.				JOHNNY		What kind of stinkin' bug is that ?	Johnny jumps the magnification on his "head up". Down in the pit, a giant	translucent PLASMA BUG rears out of one of the subterranean tunnels	that ring the battery.				SUGAR WATKINS		You never seen how they do it before ?	Johnny shakes his head. Swollen BREEDER BUGS gather around the 	plasma bug to inject it with their catalytic jelly.				ACE		Agghh ! It's making me sick...!	The plasma bug writhes in pain and begins to swell, color changing from	yellow to blue in accordance with some violent internal chemical reaction.				SUGAR WATKINS		It's gonna pop !	WOMP ! The plasma bug explodes in its cauldron. A blast of bug plasma	streaks past them towards the heavens. Now a new plasma bug crawls into	the pit to begin the cycle anew.				GILLESPIE		Sir, look !	Sergeant Gillespie points. A hole opens near the battery and dozens of warriors	rampage out of the ground and up the cliff face toward the Roughneck position.				RASCZAK		We must be right over the colony.		Let's get some air support, eh ?				GILLESPIE		Yes, sir ! Fleet, this is Roughneck		patrol, over ...?	Rasczak moves off down the line giving orders.				RASCZAK		Corporal, I want pulse cannons there		and there ! Rifle teams, spread out		along the ridge ! Sugar, bring up that		flame thrower !				GILLESPIE		Fleet's pulling the battle group back		to safe distance... They'd like us to		knock out those batteries, sir.				RASCZAK		They'd rather spend our lives than		risk their ships. Who's got the nuke ?				DIZZY		That'd be me, sir.				RASCZAK		Heat it up.	Dizzy activates a tactical nuke. It makes a distinctive HIGHPITCHED SQUEAL.				RASCZAK		Roughnecks, you may fire at will.	The Roughnecks open fire. Bugs are blown to pieces but they keep climbing. A 	warrior breeches their line. Sugar Watkins torches it. The nuke's ready light flashes.				DIZZY		I'm hot, sir !				RASCZAK		FIRE ! BLAST SHIELDS DOWN !	Johnny blows a warrior away from the edge. Dizzy leans over and fires. The rocket 	streaks down toward the battery.				RASCZAK		HIT THE DIRT !	An explosion in the two kiloton range turns the world black and white. When color	returns Johnny and the others look down on the smoldering crater which was once the 	bug battery.				GILLESPIE		Now comes the part I hate the most.				JOHNNY		What's that ?				GILLESPIE		We go down into the colony and make		sure all the queens are dead.127	INT	TUNNELS - DAY - THE ROUGHNECKS	fight their way down gassed-out tunnels into bug city. They meet warrors at	every turn and kill them. Helmet lamps make weird shadows of dead bugs 	piled everywhere along the way.				SUGAR WATKINS		You knew the Lieutenant before the war...		What was he like ?				JOHNNY		He was a teacher , kind of a know it all...		Always had this little smile.					SUGAR WATKINS		Geez, I don't think I've ever seen him 		smile.				JOHNNY		Must fill your bottle up real quick		when your wife and kids get smeared.	Johnny joins Rasczak, Ace and Dizzy and they blow away several warriors	guarding the entrance of a large chamber.128	INT	BUG NURSERY - DAY - THE QUEENS	are eight meters long with corpulent bodies and tiny heads. Only one survives,	and though she is herself dying, her abdomen, rippled by life within, continues to	undulate.				JOHNNY		All dead except one, sir.				RASCZAK		Kill the bitch.				JOHNNY		Yes, sir.	Johnny signals. Dizzy's pulse cannon rips open the dying queen. Thousands of	wriggling premature bugs come spilling out. Horrified, knee-deep Roughnecks	set them afire.129	EXT	TANGO URILLA - BASE CAMP - DAY - FLEET ENGINEERS	unload PRE-FAB BARRACKS from HERCULES CARGO BOATS. 	Roughnecks eat. Rasczak stands, banging a spoon on his mess kit.				RASCZAK		Tango Urilla is now bug free. Means		the Roughnecks have killed  a		helluva lotta bugs...!	Roughnecks cheer. Rasczak kicks open a CARGO MODULE. Beer kegs	rool out. He kicks open a second module. Inside, musical instruments.	Ace picks up a violin.				RASCZAK		I expect the best, but I give the best.		Habve some fun. That's an order !130	EXT	BASE CAMP - NIGHT - LATER - ACE	leads a little quartet, plays a sweet fiddle. Roughnecks laugh and dance.	Dizzy tries to pull Johnny into the fun.				DIZZY		C'mon...				JOHNNY		Nah, I don't do that anymore...				DIZZY		You used to dance...				JOHNNY		I said no. Want me to pull rank ?				DIZZY		Well, excuse me, sir...	Dizzy heads back to the others. Johnny turns and finds Rasczak regarding him 	with an odd, sad smile.				RASCZAK		Yopu asked me some advice once, Rico.		Want some now ?				JOHNNY		Yes, sir...				RASCZAK		Never pass up a good thing, eh ?	Gillespie appears.				GILLESPIE		Lieutenant, Brigade's on the com...	Rasczak heads away. Johnny joins Dizzy.				JOHNNY		Hey, Diz...				DIZZY		What ?	Johnny takes her hand, bows implishly.				JOHNNY		May I have the honor ?	He pulls her out among the others and they begin to dance. Ace watches	with a grin, puts some spirit in his fiddle.131	INT	COMMUNICATIONS - NIGHT - RASCZAK	is in holo conference with an INTELLIGENCE OFFICER				INTELLIGENCE OFFICER		At 0821 we received a distress call from 		Planet P, priority code, requesting		reinforcement...				RASCZAK		I thought 4th brigade cleaned out P. 				INTELLIGENCE OFFICER		Owen reported the eradication of a low		generation colony a month ago. That's why 		MICOM wants onsite assessment.				RASCZAK		Sounds more like some idiot at		Military Intelligence Command		wants to get me and my cap troopers 		killed...	The Intelligence Officer reddens.				INTELLIGENCE OFFICER		Take your group down to P and have a 		look see. Leave the thinking to us,		Lieutenant. That's not your job.				RASCZAK		My job is to protect the lives of my		soldiers so they can kill bugs, Major,		and if you're walking me into a trap-				INTELLIGENCE OFFICER		Bugs don't lay traps... They aren't		intelligent ! Unlike you, they're stupid		enough to follow orders !				VOICE (O.S.)		That'll be all, Major. Dismissed.	The Intelligence Officer disappears abruptly. A new hologram appears.	Rasczak's jaw drops. It's his former student Carl Jenkins, now a Colonel,	weary and pissed off.				CARL		This conference is over. Do your duty,		Lieutenant. That's an order.	Rasczak recovers, salutes stiffly.				RASCZAK		Yes, sir.132	INT	PRE-FAB SLEEPING UNIT - DAY - JOHNNY AND DIZZY	are making love. The door pops open. Rasczak stands there. Dizzy ducks under	the covers. Johnny manages a salute.				RASCZAK		Corporal, the Roughnecks are moving		out for Planet P immediately. Get		yourself squared away and report to		Gillespie for logistics.				JOHNNY		Yes, sir !				RASCZAK		Who's that with you ?	Dizzy shows herself, grinning.				RASCZAK		Report in ten minutes.	Rasczak slams the door shut on them. They fall back into one anothers arms,	laughing as they resume lovemaking.				DIZZY		Planet P ? What kind of name is that ?				JOHNNY		They ran out of names a long time		ago in this part of the galaxy.133	EXT	PLANET P - BAD LANDS - DAY - THE ROUGHNECKS	move through canyons of towering wind-carved rock formations.	Gillespie carries the communications package.				GILLESPIE		I don't understand it, Lieutenant.		It's not getting anything from 4th		Brigade...		not even their transponder.				RASCZAK		Keep trying, Sergeant.134	EXT	CANYON FLOOR - CONTINUING - DAY - THE ROUGHNECKS	walk in a column far below. Something is watching from the above... HOPPERS,	lots of them, moving from rock to rock for better position.135	EXT	CANYON FLOOR - CONTINUING - DAY - ACE		sees something out of the corner of his eye.				JOHNNY		BUGS...!	The hoppers hit. Several Roughnecks go down. Everyone opens up. 	Dive-bombing bugs are blown to bits. Roughnecks set them on fire 	when they hit the ground.				DIZZY		Johnny, watch out !	A burning bug hurls itself at Johnny. Johnny jumps out of the way as	Dizzy fires, blowing it apart. The deadly hoppers seem to be everywhere	above them in the rocks.				RASCZAK		LET'S GO ! ON THE BOUNCE !136	EXT	FLAT LANDS - DAY - THE ROUGHNECKS	move out into the open. In the distance they see 4th Brigade HQ, a walled 	compound and partially constructed landing pad.				RASCZAK		Gillespie, put in call for retrieval.		We're off this rock.		Gillespie, do you read me ?				GILLESPIE		AAAAAAAAAAA !	Two hoppers are pulling Gillespie up into the rocks where other bugs	join to feast.				RASCZAK		Throw a rifle !	Dizzy tosses her Morita to Rasczak. Gillespie writhes in the hopper's	claws. Rasczak fires, killing Gillespie.				RASCZAK		I expext any one here to do the same		for me... Rico, Watkins, Flores, Levy		prepare for rear guard action. The rest		of you make for 4th Brigade.	Johnny and the others cover the Roughneck retreat as hoppers soar down	on the flat lands from the canyon walls.				RASCZAK		FIRE...!	Johnny and the others blast bugs out of the air.				RASCZAK		FALL BACK 100 METERS...!	A second wave of hoppers come in.				RASCZAK		AND FIRE...!	For now, the sky is clear.				RASCZAK		4TH BRIGADE HQ ! ON THE BOUNCE !137	EXT	4TH BRIGADE HQ - DAY - THE OUTPOST	is 50 meters by 100, standard issue pre-fab. The Roughnecks land on the	compound wall. Inside, WORKER BUGS graze on the remains of 200	dead cap troopers strewn over the complex.				RASCZAK		Jeez, Command really humped the bunk		on this one...	Rasczak turns away. Roughnecks engage in the sport of methodically	killing the workers.				RASCZAK		Rico, you're acting Sergeant now.		My last Sergeant lost the com pack.		Put together a search team and find		the radio shack.		We need retrieval.				JOHNNY		Yes, sir.138	INT	4TH BRIGADE HQ - OFFICE COMPLEX - DAY - JOHNNY	surveys the aftermath of the last stand with Rasczak, insect and human dead	everywhere.				DIZZY (O.S.)		It's here, sir.139	INT	COMMINICATIONS - DAY - RASCZAK AND JOHNNY	enter the radio room. A DEAD MAJOR is slumped over the console with	hole in the back of his head. Johnny checks the equipment. 	It' dead, too.				JOHNNY		Diz, see what you can do.				DIZZY		I'm on it !	Dizzy goes to work. Rasczak checks the wound in the back of the dead major's	head.				RASCZAK		What's that look like to you, Rico ?				JOHNNY		Looks like a bug was in his brain, sir.				ACE (O.S.)		Lieutenant, I think you're gonna		wanna see this, sir.140	INT	MESS HALL - DAY - A BUG HOLE	in the middle of the floor is surrounded by carnage.				ACE		Dirty bugs came in right when they 		were having chow !				RASCZAK		Gas that hole and seal it.	Then they hear a sound. Tap tap tap. Rasczak signals for quiet. Tap tap tap tap.	It's coming from the kitchen.141	INT	KITCHEN - DAY - THE ROUGHNECKS	enter cautiously. The noise is coming from a freezer. Ace stands ready to fire.	Johnny levers open the door, jumps back as GENERAL OWEN, 60, tumbles out	face first.				ACE		Officer on the deck, sir.				RASCZAK		Pick up the general !	Roughnecks prop him up. General Owen tries to talk, but no words come out.	Rasczak bends down to listen.				GENERAL OWEN		Get out... you gotta get me out...!				RASCZAK		General Owen, sir ?	The old man grins, hugely relieved.				GENERAL OWEN		At ease, Lieutenant. Thank God for you,		for all of you...this is grand...		so where's the boat ?142	INT	COMMUNICATIONS - HALLWAY - DAY - JOHNNY AND RASCZAK	help the old General, now wrapped in a blanket, rambling.				GENERAL OWEN		I was forced to hide, of course. The security		of the Federation in this theater of operations		was at stake !				JOHNNY		Diz, what's with the uplink ?	Dizzy lokks up from where she is working on the radio controls.				DIZZY		Workin on it...!				GENERAL OWEN		They get in your mind... they make you do		things ! Look here... They did it to Farley...!	He points at the hole of the dead major's head.				RASCZAK		The distress call... The bugs wanted us 		to rescue you...!				GENERAL OWEN		Oh, you can be sure of it ! They were		biding their time... waiting for the most		opportune moment !	Rasczak's lost interest in the general. He's on the com.				RASCZAK		To all Roughnecks, this is Rasczak.		Prepare for attack. Repeat. We are		going to be attacked...!				GENERAL OWEN		They weren't gonna do it to me.		Oh no ! I know too many secrets !	Rasczak looks at General Owen with contempt.				SUGAR WATKINS (O.S.)		Fire in the hole !	An explosion in the mess hall closes the bug hole.143	EXT	OFFICE COMPLEX - DAY - GENERAL OWEN	blinks as he steps out into the light. Roughnecks snap to attention. 	General Owen looks at the carnage that was once his command and	begins to keen, collapsing to his knees.				GENERAL OWEN		Oh God...! My soldiers...! All of my		boys and girls...!	The Roughnecks are shocked. They've never seen a general break down before.	Lieutenant Rasczak slaps Owen hard.				LT. RASCZAK		Shut up ! Your soldier's dead and		you're not !				GENERAL OWEN		I know... I wish you'd shoot me...				LT. RASCZAK		I oughta !	And it looks like Rasczak just might, but just then Ace touches down	next to Johnny and Rasczak.				ACE		Lieutenant, we got trouble !144	EXT	RAMPARTS - DAY - RASCZAK	and Johnny join other stunned Roughnecks to see THOUSANDS OF BUGS on	the march from every direction. Bug batteries open up in the distance.				RASCZAK		Warm it all up ! Everything you got !		Levy, collect the big guns from the 		towers. Watkins, put General Owen 		with the wounded. Rico, where's my 		communications ?				JOHNNY		What's going on, Diz ?				DIZZY (O.S.)		I got power ! Gimme a minute !	Johnny runs for the communications room.				JOHNNY		We don't have a minute !145	INT	COMMUNICATIONS - DAY - DIZZY	has the board up. Outside the battle has begun. Nukes go WOMP ! and	pulse guns chatter.				DIZZY			What frequency ?				JOHNNY			All bands.				DIZZY			Roughneck patrol to battle group...			Roughneck patrol to battle group...				RODGER YOUNG (O.S.)			This is Rodger Young... What's going			on down there ? We're taking plasma !			We have Orion P-11 as clear !				JOHNNY			SHUT UP, SIR ! We need pick up now !				RODGER YOUNG (O.S.)			What is your position ?				JOHNNY			Landing zone is extremely hostile.			Come down on this transmission !				RODGER YOUNG (O.S.)			Inside 4th brigade compound ?			That's crazy !				JOHNNY			Then I hope you have a crazy 			pilot ! Keep the line open, Dizzy !	Johnny races out the door.146	EXT	4TH BRIGADE HQ - DAY - THE COMPOUND	is white hot as Roughnecks on the walls unload nukes. Johnny crosses 	the compound, lands next to Rasczak on the wall.				JOHNNY		Boat coming down, sir !	The Roughnecks stop firing as they run out of nukes.				ROUGHNECKS		I'm empty...all nuked out... Me, too !	Johnny scans the battlefield. Nukes have turned the surface into dark glass.	Now, out of the smoke, come the bugs, steaming glass cracking beneath 	millions of marching feet.				ACE		Jeez, we musta killed a million already...!				JOHNNY		Not enough, I guess.	Sugar Watkins sees Genera Owen in the compound below,	stumbling aimlessly among his dead soldiers.				SUGAR WATKINS		General ! GENERAL, stay with the wounded...		Sir, the general...!				RASCZAK		Ah, the hell with him...	Hoppers sweep into the compound. The Roughnecks open fire. General Owen	make easy pickings for ones that get through.				RASCZAK		Fall back... form a circle ! If no 		living bug comes over that wall,		we cannot be harmed.	Dizzy arrives on thr bounce as the Roughnecks fall back into the compound.	Bugs pile in over the walls. The circle affords them 360 degrees of kill zone.				RASCZAK		Rico, Flores, Watkins, Levy ! We 		control the sky until retrieval !				JOHNNY ET AL		Yes, sir !	Rasczak, Sugar Watkins, Johnny and Dizzy stand back-to-back in the center	of the circle, sweeping the skies with the heavy guns from the towers.	Hoppers are blown to pieces.				ACE		Getting low here, sir !				DIZZY		300 rounds and counting, sir !				RASCZAK		Make every shot count !	Johnny looks up. A RETRIEVAL BOAT hurtles down through bursts of 	bug plasma, takes a grazing hit, rights itself with retros and lands within 	the circle. Roughnecks cheer, saved !				RASCZAK		Sergeant, secure the boat !				JOHNNY		Yes, sir !	Roughnecks move to protect the boat. The hatch blows open.				RASCZAK		Board the wounded !	Dead bugs ring the compound walls, forming ramps for living insect	soldiers to enter the compound in greater numbers.				RASCZAK		Move to retrieval on my command !		First group, now...!	The circle shrinks as Roughnecks fall back and board the boat.	More and more bugs pile in over the compound walls.				RASCZAK		Alright, Flores ! Levy ! Rico...!	Suddenly, the ground collapses under Rasczak. He falls in to his waist,	vomits blood as something chews on him from below.				RASCZAK		AAAAAAAAAAAA !				JOHNNY		Cover us, Ace !	Ace and the others fire from the boat. Johnny and Dizzy fire at the ground	around Rasczak. Rasczak stops screaming. They try to pull him free.				JOHNNY		Hit your jets, sir !				RASCZAK		I can't My legs are gone...		Get on the boat...	The compund wall collapses. A wave of bugs charges in.				RASCZAK		Rico, tell'em to glass this goddam planet.		I've never seen so many bugs upstairs at		the same time...				JOHNNY		We're not leaving you here, sir !	Weakly, Rasczak picks up his pulse gun, checks the power.				RASCZAK		This is my farm. Get on the boat,		NOW ! That's an order, Sergeant.				JOHNNY		Give'em hell, sir !	Johnny and Dizzy run for the boat. Rasczak opens fire, picking his shots,	but soon the bugs are all over him.				RASCZAK		C'mon you sons of bitches !		There's no bug alive can kill a		real mAAAAAAA !	At the boat, Dizzy turns to look back at Rasczak. A hopper swoops	down on Dizzy, it's claws ripping into her abdomen.				DIZZY		AAAAAAA ! GET IT OFF ME 		GET IT OFF GET IT OFF 		GET IT AAAAAAAAAA !	Johnny blows the bug off her back. Blood sprays from a deep gash in 	her neck. Johnny picks her up, tries to stop the blood with his hand.	The life is leaving her eyes.				JOHNNY		Hang on, Diz... don't die on me...	A TANKER BUG breaches the broken wall. Ace jumps out to help his	friends. The hatch closes just as the tanker bug sprays. The boat blasts	off, dripping metal.147	INT	CARGO BAY - DAY - JOHNNY	holds Dizzy in his arms, drenched in her blood, fighting G-forces as the 	boats heads for orbit.				DIZZY		I bought the farm, didn't I,		Johnny ?				JOHNNY		No, you're gonna be alright, Diz !				DIZZY		It's alright 'cause I got to have you,		Johnny...	MEDICS push Johnny aside, go to work on Dizzy.148	INT	BOAT - COCKPIT - DAY - JOHNNY	slams into the cockpit. Out the front screen, violent bursts of BUG PLASMA	fill the sky as they break atmosphere.				JOHNNY		Get on the com and tell Fleet to		glass that rock...!	The co-pilot turns around. It's Zander. His eyes narrow.				ZANDER		On whose authority, Corporal ?				JOHNNY		This would be mine, sir. Acting 		Sergeant John Rico. I've assumed		command on this mission.	The pilot turns around. It's Carmen.				CARMEN		Johnny...! I thought you were dead !				JOHNNY		I'm not, but alot of my soldiers are.		Glass the planet !	Johnny leaves. Carmen punches up Fleet Command.				CARMEN		Rodger Young, this is inbound shuttle		De Ruyter with an official request from		the Mobile Infantery to bombard		Planet P-11...149	INT	BOAT - CARGO BAY - DAY - JOHNNY		returns to Dizzy's side as the medics struggle to save her. Blood pours	out of her mouth. Her body thrashes.				DIZZY		JOHNNY HEH HEH CAN'T HEH		BREATHE GOD JOHNNY CAN'T		HEH HEH HEH HEH...!	Dizzy dies. A Medic slaps her. Her head lolls, mouth open, eyes blank.	They drop her and move on to the next casualty. Johnny sits there,	stunned. Carmen enters from the cockpit.				CARMEN		Negative on your request. Fleet 		Command has the battle group 		on standby...		Carmen sees Dizzy lying dead on the deck.				CARMEN		...I'm sorry.				JOHNNY		We gotta choke on the mud and the		blood and Fleet can't be bothered to		spit.				CARMEN		No, I think something's up. The Sky		Marshall's here.	She points out for a viewing port. Johnny looks. Fifteen battle groups, 	100 ships strong, lay off Planet P, all of them dwarfed by the Sky	Marshall's flagship, Buenos Aires.				CARMEN		I thought you were KIA, Johnny...				JOHNNY		That was just a mix up.				CARMEN		You look so... I don't know, you 		look like you've really been in it.				JOHNNY		What happened to your eye ?	Carmen touches the scar over her eye.				CARMEN		Almost got knocked out of the sky 		over Big K.				JOHNNY		I like it. It's kinda...you.150	EXT	BATTLE GROUP - ORION SYSTEM - THE BOAT	lands on the flight deck of the Rodger Young in the midst of the 	flotilla.151	INT	OFFICERS QUARTERS - DAY CYCLE - ZANDER	enters, watches Carmen dress. She hums as she checks herself in the	mirror, touches thr scar over her eye, smiles.				ZANDER		Where are you going ?				CARMEN		A funeral.				ZANDER		That girl who died on the way up		...his girl ?				CARMEN		Yeah.				ZANDER		How do you feel about him now ?				CARMEN		I don't know, Zander.				ZANDER		I do.152	INT	RODGER YOUNG - GUNNERY DECK - CARMEN	enters as Johnny speaks. Dizzy is laid out in dress gray. The surviving	Roughnecks have gathered to pay final respects.				JOHNNY		Dizzy bought the farm. She was my		good friend, and friens are the best 		luck anyone gets... But in war, we must		go on without our friends. We take		with us their memory, and we are left		to wonder if there is meaning in their		death. Let me tell you what it is:		Dizzy bough the farm so we can keep		on fighting.	Several INTELLIGENCE OFFICERS march into the bay.				JOHNNY		Officer on deck !	Everyone snaps to attention. Colonel Carl Jenkins strides into the room.	His eyes are hollow, and he looks grim. He returns Johnny's salute, 	nods to Carmen.				CARL		Please continue, Sergeant.				JOHNNY		Dizzy wouldn't want our tears. She'd		want us to remember her... with a		vengeance. So go out and kill a bug 		for Dizzy. Kill as many as you can.		You are her revenge, and every bug 		you kill honors her death.	Johnny nods to the GUNNERY CREW. They load Dizzy's body into a	tube. Johnny steps back, salutes Dizzy. Everyone salutes.				JOHNNY		Womb to tomb, cap trooper !				ROUGHNECKS		Womb to tomb !	The CREW CHIEF fires the tube. Out the viewports, A PULSE OF LIGHT 	disperses into space. The Roughnecks file out. Carl approaches.	Carmen takes Johnny and Carl by the hand.				CARMEN		Well, look at this. The three of us back		together again.				JOHNNY		How are you, Carl ?				CARL		Johnny, I'm sorry it had to be your		unit on Planet P. That mission had		a very low survival probability...				JOHNNY		Bugs laid a trap, didn't they ?				CARL		Elegant proof of intelligence, 		isn't it ? We thought there might		be a brain on P.				CARMEN		You knew and you sent them		anyway ?				CARL		A colony has to reach a certain size		before it produces a Brain... we think		300 generations. Woulda too expensive		to launch an operation if there wasn't a		Brain...	Carl sees the way Carmen is looking at him, like he's a bug.				CARL		You don't approve. Well, too bad.		We're in this for the species, boys		and girls. It's simple numbers, they		have more, and everyday I have to		make decisions that send hundreds of		people like you to their deaths.				JOHNNY		Didn't they tell you, Colonel ?		That's what cap troopres are good		for.	Carl allows himself a tiny smile.				CARL		Hope you're ready for more. We're		going back to P to capture that Brain.				JOHNNY		The Roughnecks are always ready, sir.				CARL		I hear they need a new Lieutenant...		Want the job ?				JOHNNY		I'll take it... until I get killed		or you find someone better.	KLAXONS sound. Suddenly, everyone has someplace to go.				CARMEN		Hope you get your Brain Bug, Carl.				CARL		It's good to see you two. It reminds		me of the way things were before...	Carl turns abruptly and heads away. His entourage follows.				CARMEN		Take care, wilya Johnny ?				JOHNNY		See you on the bounce !153	INT	RODGER YOUNG - COMMAND & CONTROL - CARMEN	steps onto the bridge. There's a new NUMBER 2 sitting in Zander's chair.	She's right out of Tereshkova, and she looks scared. 	Carmen turns to Captain Deladier.				CARMEN		Where's Lieutenant Barcalow ?				DELADIER		He requested a combat assignment.		There's always a need for experienced		pilots on the ground.		I had no choice but to let him go...		He said you'd understand.	Carmen bites her lip, takes first chair. Deladier feels bad for her, knows	she's made a painful decision.154	INT	RODGER YOUNG - DROP ROOM - ROUGHNECKS	are suiting up. Ace enters.				ACE		Officer on the deck !	Roughnecks fall in. Johnny steps into the room. There are many new and	much younger faces.				JOHNNY		I only have two rules. Rule one,		everyone fights. Rule two, no one		quits. If you don't do your job,		I'll kill you myself.		Do you get me ?				ROUGHNECKS		We get you, sir !				JOHNNY			(to Ace, sotto voce)		Who're all these kids ?				ACE		We got reinforced. Most of'em		just got outa boot...				JOHNNY		We're the old men, Ace.155	EXT	PLANET P - 4TH BRIGADE HQ - DAY - CARGO SHIPS	have landed. Cap troopers set fire to huge piles of dead bugs. BULLDOZERS	push bodies into a mass grave, among them Rasczak. 	Johnny walks past with his team.				JOHNNY		We'll take this high ground. Lookouts		there and therte and up there. If the		bugs come upstairs in this neighbor-hood,		we'll be the first to know.				ACE		Got it. Fleet tactical wants to know		where they can deploy the skimmers.				JOHNNY		Down there on the flats, eh ?		Listen up, Roughnecks ! Our		primary objective is to assist		our friends from the Fleet...	Roughnecks boo.				JOHNNY		Alright, cut it out. We will deploy		from skimmers in teams of six.		If the bugs open up a battery,		we put it out of business.		Any questions ?	A HERCULES CARGO BOAT hurtles out of the sky and lands on the high	ground Johnny has intended forb his H.Q. Johnny scowls, marches over	to the boat and confronts a FLEET OFFICER.				JOHNNY		Would'ya mind moving your boat ?				FLEET OFFICER		Better talk to the boss.	The cargo bays open to deploy FLEET SKIMMERS. Zander jumps down	to oversee the operation.				JOHNNY		You're standing on my H.Q., 		Lieutenant !				ZANDER 		This is a Fleet-driven operation, son,		and the Fleet thinks my boat will be 		safer on the high ground.		You can have everything else, eh ?				JOHNNY		You heard the Sky Marshall...		Move it all down -	Suddenly, in the distance, bug batteries open fire, not one but twenty.	Zander and Johnny share a look of concern.				ZANDER		Rodger Young, prepare to receice 		outgoing fire...!			(to his crew chief)		I'll take the first group.				JOHNNY		Saddle up, boys, that's our trash !156	EXT	SPACE - PLANET P ORBIT - BUG PLASMA	begins to take a toll on the battle group as the orbiting ships lay their eggs.	Cap Troopers are scliced as they drop.157	EXT	RODGER YOUNG - BRIDGE - CAPTAIN DELADIER	turns to Carmen.				DELADIER		Evasive action !	Carmen dodges other starships, turns to her new number 2.				CARMEN		Prepare for warp !				NEW NUMBER 2		Yes, ma'am ! Warp in 5... 4...		3...!	KA-WHAM ! The Rodger Young takes a direct hit.158	EXT	RODGER YOUNG - PLANET P ORBIT - THE RODGER YOUNG	is cut in two. The rear section explodes, the forward section begins to burn towards	the bridge.159	INT	RODGER YOUNG - BRIDGE - CAPTAIN DELADIER	calmy evacuates the bridge. Power fails and so does the gravity.				CARMEN		This is Rodger Young, we're going		down... Repeat, this is Rodger Young,		we're going down...!				DELADIER		Ibanez...LET'S GO !160	INT	RODGER YOUNG - ESCAPE CORRIDOR - CARMEN	and Captain Deladier run for the lifepods. An explosion flips the corridor.	Captain Deladier's leg is crushed when an airlock closes on her.				DELADIER		AAAAAAAAAAA !	Carmen hits the release, pulls her free. Deladier pushes Carmen away.				DELADIER		Leave me, Lieutenant ! That's an order !				CARMEN		No way, ma'am !161	INT	RODGER YOUNG - LIFE POD BAY - CARMEN	pushes into the chaotic life pod bay. PANICKED CREW shoving, screaming,	fighting. The ship pitches. They tumble, landing near a pod. Carmen jumps	for it, pulls Deladier in after.162	EXT	RODGER YOUNG - PLANET P ORBIT - THE RODGER YOUNG	disintegrates as lifepods shoot away toward the planet.163	INT	LIFEPOD - PLANET P ORBIT - CARMEN	navigates through a graveyard of floating wreckage, dead cap troopers,	someone's trombone. She sets her beacon and the pod plummets 	downward.				CARMEN		Mayday, mayday ! This is 		Lieutenant Carmen Ibanez in 		lifepod RY63... I'm going in...164	EXT	PLANET P - BASE CAMP - DAY - ROUGHNECKS	board the Skimmers. Zander approaches Johnny, upset.				JOHNNY		What's your problem now,		Lieutenant ?				ZANDER 		The Rodger Young just burned up...	Johnny's face falls.				JOHNNY		Any survivors ?	Zander points. Far in the distance, a glowing pod plummets toward the planet.	Johnny tracks it on his "head up".165	INT	LIFEPOD - ATMOSPHERE - DAY - CARMEN	is shaken violently as the pod hits atmosphere.166	EXT	PLANET P - DAY - CARMEN'S POD	hits and goes straight through the crust of Planet P.167	INT	BUG CITY TUNNELS - DAY - THE POD	comes to rest. Carmen blows the hatch, pulls Deladier out, grabs a Morita	pulse rifle. Tunnels lead in every direction.				CARMEN		This is Lieutenant Carmen Ibanez.		Is anyone receiving ?168	EXT	BASE CAMP - DAY - JOHNNY	grabs the handset from Ace.				JOHNNY (O.S.)		Affirmative ! Carmen, this is Roughneck		base camp... What is your present 		location ?169	INT	BUG CITY TUNNELS - DAY - CARMEN	sees a warrior coming at her from out of the shadows. Carmen fires a burst	and kills it. Now there are two. Carmen backs up firing, but there are 	too many.				CARMEN		My present location is 42 degrees 		South by 176 degrees East...		situation is extremely hostile...		I...AAAAAAAAA !		They have her. She puts the barrel of the Morita in her mouth, but a claw 	cut her trigger finger off at the knuckle.170	EXT	PLANET P - ROUGHNECK BASE CAMP - DAY - JOHNNY	and Zander are horrified by what they hear.				CARMEN (O.S.)		AAAAAAAAAAAAAA !				JOHNNY		We've gotta go get her !				ZANDER		You know as well as I do she's		probably already dead.	Johnny knows it's true, swallows bitterly, turns away. That's when he sees it. 	Nearby, the ground shifts, a claw breaks through, a hole opens up and bugs	boil up out of the ground.				SUGAR WATKINS		Here they come !	They turn and see a second bug hole open up.				JOHNNY		We're outa here. Lieutenant, get		your men into the skimmers. This		real estate's about to go buggy.				ZANDER		Hey, just calm down, I'm giving		the orders here-	The entire area underneath the base camp collapses to form a huge new	canyon. The Hercules boat topples, crushing Skimmers and unfortunate	Fleet personnnel.171	EXT	NEW CANYON - DAY - JOHNNY	and the surviving Roughnecks pick themselves up. The are now 30 meters	below the planet's surface. Above them, bugs line the wide rim of the	newly formed canyon.				JOHNNY		Form a perimeter !	Through the dust, exposed bug tunnels can be seen in the canyon walls and	piling out of them by the score, deadly Arachnid warriors. Johnny throws	Zander a pulse cannon.				JOHNNY		Make yourself useful, fly boy...		PREPARE TO REPEL BUGS !	The Roughnecks open fire at the charging bug horde. Warriors are blown to 	pieces. Gas grenades fly and H.E. rounds close tunnels. A maimed warrior 	gets through and heads for Zander.				ZANDER		AAAAAAAAAAA !	Johnny and Ace team up to blow it away. Zander takes a deep breath,	loos around, impressed. The Roughnecks have killed a great many bugs.				JOHNNY		Ace, get on the com. Tell Fleet we		need retrieval... Sugar, salvage some		armor and suit up Lieutenant Barcalow.	Sugar Watkins tosses a bloody jump boot his way.				ZANDER		Thanks.				ACE		Fleet Command says retrieval's no go.		The battle group's at safe distance...		and we got another problem.	Ace points out a Tanker bug that's been brough up to the rim. 	Johnny sees another.				JOHNNY		Looks like they're gonna hose us down...	Johnny chews on this.				JOHNNY		Alright... Listen up, Roughnecks.		We're gonna head west down through		bug city, pick up any Rodger Young 		survivors we run across, and join A		Company. Get me ?				ROUGHNECKS		We get you, sir !	Zander, awkward in a power suit, confronts Johnny.				ZANDER		What do you think you're doing ?				JOHNNY		I'm gonna save Carmen.				ZANDER		That would mean a comlete disregard		for the mission objective. They hang		you for that, Rico.				JOHNNY		Yeah, that's right.	Johnny and Zander stare each other down.				ZANDER		Let's go.						JOHNNY		Move out.	Johnny starts for the gaping mouth of an exposed bug tunnel and	the others fall in behind him.				ACE		Bug hunt !				ROUGHNECKS		BUG HUNT !172	INT	TUNNEL - DAY - JOHNNY	leads his deadly force through enemy territory. The Roughnecks kill	everything that gets in their way. Zander lends his inexperienced hand.				JOHNNY		Mr. Barcalow, save power, don't		waste it on workers...		Ace, tell Aardvark we're on our		way...				ACE		Yes, sir !	Warriors appear in the tunnel behind them.				JOHNNY		Sugar, close the tunnel...!				SUGAR		Fire in the hole !	Sugar Watkins fires an H.E. round and seals the tunnel.173	INT	BUG CITY - FEEDING PIT - DAY - CARMEN	opens her eyes. She can hear BUGS CLICKING. She's in a pit filled 	with human dead. A nearby carcass wears a uniform from 4th Brigade	Off in the dark she hears HUMAN MOANING.	She crawls over rotting corpses toward the sound. The moaning turns	to SCREAMING. It's coming from outside the pit. She pulls herself	up to peer over the edge. 174	INT	BUG CITY - THE ROYAL COURT - DAY - CARMEN	sees hundred of bugs at work, WARRIORS, WORKERS and dozens of 	small (2 meters) CHARIOT BUGS. Aworker walks pas, stepping on her,	but pays her no attention.	She sees the source of the screaming:	Captain Deladier is hold	between two warriors, and she's screaming because of what she sees,				DELADIER		NAAAAAAAA...! OH PLEASE...	The BRAIN BUG is huge (5 meters) and pulpy. I has vestigial legs that	cannot support ist weight, and so it must be moved by a shifting carpet of	chariot bugs.				DELADIER		...OH GOD AAAAAAAAAAAAA...!	A thorn-like PALP unfolds out of the brain bug and strikes, driving deep into	Deladier's head and sucks her brains out.				DELADIER		AAAAAAAAAAAAAAA !	Carmen watches horrified as Deladier dies. The suddenly a warrior grabs her	from above and drags her out of the pit. She screams as its claws slice into 	her limbs.				CARMEN		AAAAAAAAAAAAAA !	Now the brain bug comes for her. She sees the palp unfold, the thorn-like	spike coming toward her. Carmen is no longer looking for escape.	All she wants to do is die.	Suddenly, every bug in the chamber stops as though to listen. Carmen hears it.	A HIGH-PITCHED SQUEAL, getting louder. 	Johnny enters the chamber alone.	The warriors move toward him. He holds up a NUKE, source of the high-pitched	tone. The ready light flashes. The Brain Bug emits a series of harsh clicks.	The warriors freeze.				JOHNNY		You know what this is...?	Johnny makes an explosive sound. The Brain Bug slowly withdraws its palp.				JOHNNY		Sure you do... You're a big fat smart		bug, aren't you ?	Johnny moves toward Carmen. The Brain Bug's multiple eyes track him.	The warriors holding Carmen threaten. Johnny turns on the brain bug, 	his finger on the nuke's trigger. 				JOHNNY		I'll take you with me.	The Brain Bug clicks. The warriors back off. Carmen collapses.	Johnny reaches for her.				JOHNNY		Take my hand !	Chariot bugs move the Brain Bug down a hole. Workers seal the hole	behind it with amazing speed. Johnny drags Carmen back toward the 	tunnel he entered from. The warriors charge.				JOHNNY		Roughnecks...NOW !	Johnny throws himself on top of Carmen as the Roughnecks burst into	the chamber, guns blazing. The fight is furious, point blank, deadly to	bug and Roughneck alike. 	Sugar Watkins screams as a warrior rips his arm off. Zander takes a	claw through the gut.				ZANDER		AAAAAAAAAAAAA !	He blows it away, sees his intestines hanging out of the wound, shoves	them back inside and keeps on fighting. A warrior rears up over Johnny	and Carmen.				JOHNNY		Weapon !	Ace throws him a Morita. Johnny catches it, pumps three rounds into the 	bug's nerve stem. He struggles out from under the dead warrior.	Every bug in the chamber is dead.				JOHNNY		Are you hurt ?	Carmen throws her arms around Johnny.				CARMEN		Johnny...!	Zander takes this in. Carmen sees him, then his wound.				CARMEN		Zander...! Oh, you're hurt.	Ace takes a look at his wound, makes a face.				ACE		Ah geez...	Zander pushes him away, struggles to his feet.				JOHNNY		Can you walk ?				ZANDER			(clenched teeth)		Not a problem.				JOHNNY		Let's get some armor on her, and		the we'll get outa this stinkin 		bug hole !	Various components are gladly passed forward. Johnny and Ace 	help her putting it on.				CARMEN		I thought I was dead. Lucky for		me you jokers showed up, eh ?				ZANDER		It wasn't luck. Rico ignored the		mission objective to rescue you...				CARMEN		Is it true ?				JOHNNY		Yeah, if I live through this, 		they'll probably hang me.		Now com'on, let's move out !175	INT	BUG CITY TUNNELS - DAY - THE ROUGHNECKS	double-time it, racing for the surface. They come to a fork.				CARMEN		Which way ?				JOHNNY		Up. We gotta be near A Company 		by now.	The tunnel floor drops out. FIVE ROUGHNECKS disappear into the hole.	WARRIORS climb up into the tunnel.				JOHNNY		FALL BACK !	The Roughnecks bachk up fast, shooting. Zander staggers, collapses.	Johnny drops to his side, rolls him over.				JOHNNY		How bad are you, pal ?				ZANDER		Been better, buddy.	Johnny sees warriors coming up into the tunnel by the score.				JOHNNY		Alright, we're gonna carry you...				ZANDER		Nah, I figureyou folks oughta get 		upstairs before it's too late...		Gimmee the nuke.	Zander checks his pulse cannon's available power.				JOHNNY		Don't be a hero...				ZANDER		This is my farm. Now c'mon, give		me what you got and get out of		here...	Johnny nods, hands him the nuke. Carmen sees what's happening.				CARMEN		Zander, what are you doing ?				ZANDER		Just giving you something to		remember me by, baby.				CARMEN		Zander, no...!	He grabs her and kisses her. Johnny drags Carmen away. Zander opens 	fire as the first warriors reach his position.176	INT	BUG CITY - INCLINED TUNNEL - DAY - JOHNNY AND CARMEN	race desperately for the surface. They hear the chatter of Zander's pulse cannon	and the screams of dying bugs.				JOHNNY		GO.GO GO GO GO...!	Tears stream down from Carmen's face.177	EXT	PLANET P - DAY - JOHNNY AND CARMEN	and the surviving Roughnecks make it to the surface. 	WOMP !	A subterrenean nuclear explosion blows a column of earth and stone	into the air.178	EXT	PLANET P - A COMPANY BASE CAMP - JOHNNY	and the others enter A Company's perimeter. No one notices their arrival	because everyone's gathered in a big circle watching the Brain Bug.				CARMEN		Look... they got it.	Several of its delicate legs were apparently broken during the capture.	Carl approaches it without fear, puts his hand on the thing.				GENERAL		What's it thinking, Colonel ?	Carl smiles in a cruel way.				CARL		It's afraid.	Johnny and Carmen approach the General.				JOHNNY		Sir, I'd like to turn myself in.		Dereliction of duty by an officer		during wartime.				GENERAL		And you freely admit to it ?				JOHNNY		Yes, sir.				GENERAL		Is what this man says true,		Lieutenant ?				CARMEN		To the best of my understanding,		i
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+FADE IN: EXT. FIREHOUSE - DAY Ann is walking down the street. The firedog runs out of the firehouse, she gives the dog a biscuit, and pats him on the head. The fireman is out front with a cup of coffee. Ann hands him a poster. EXT. STATE AND MAIN - INTERSECTION - DAY Morris and Spud, two codgers, are about to cross the street when they hear a beeping and stop. As they cross, we see the tail end of a van, and the group nods in that direction. MORRIS You hear that? SPUD Yes, I hear it. MORRIS Drive a man to drink. Took me near half an-hour, get across the street yesterday. SPUD I saw Budgie Gagnon, leaning on the bank of the building. Said, "What are you doin'?" He said, "I'm waitin' for the 'leven o'clock crossing..." As Morris and Spud speak a car is coming down the street, and bounces in the pothole. MORRIS Y'wanna fix something, you should fix the pothole. Yessir, they should be trussed up, thrown off some high building. DOUG MACKENZIE, a young Republican type, walks up to join them. DOUG Who's that? MORRIS Whoever spent ten, f'teen thousand dollars, a new traffic light, you could grow old, paint your house before it lets you cross the street, and then, not fix the pothole. SPUD What was wrong with the old traffic light? INT. COFFEE CORNER - DAY They enter the Coffee Corner. Carla is serving the folk, and Jack the owner is behind the counter. DOUG I'm glad you asked... I'll tell you what was wrong with it. And what was wrong with it was it was behind the times. Now: You want to bring business into this town? You have to plan for a Waterford that Does Not Exist. Not at the moment, no... ANN Morning, darling. DOUG Morning. CARLA Hi, Annie. Ann hands Carla a poster. ANN Morning, Carla. Doug and the two codgers move to a table by the window where Carla, the nubile waitress, brings them coffee. Ann talks to a woman at the counter. MORRIS ...the damn thing... SPUD No, I'm serious, election's coming up, a lot of people are pretty upset... DOUG They are, yes. I'm sure they are... WOMAN AT COUNTER Annie, I'm going to be a lil' late for the rehearsal, tonight. ANN S'Okay, Maude. You know your lines...? DOUG ...I'm sure that people are upset... MAUDE I know 'em, I don't know what order they come in... ANN We'll work it out. JACK What're they talking about? ANN Traffic light. JACK Waal, no, th'traffic light's Doug's thing. That's his thing, fine. DOUG Thank you, Jack, and... JACK But we got to talk about the pothole. DOUG Jack... JACK A public office is a public trust... This is why this is America. Question is: who owns the street. Outside the front booth, on the street, the airport van cruises by. EXT. STATE AND MAIN - DAY As they walk out we hear a high pitched beeping sound at the traffic light. We see DOC WILSON crossing the street, holding his doctor's bag. An ELDERLY MAN approaches Doc at the crossing. As Walt and Bill walk, the airport van follows them. TOWNSMAN Doc, those pills, y'gave me for my back? I'm not sure that they work. DOC WILSON Well, I'm not sure either, but y'don't hear me complain... come by th'office, end of th'afternoon. TOWNSMAN Thanks, Doc... BILL This is your movie, this is small town America. WALT Town in New Hampshire was small town America, too. Forty thousand dollars a day, to shoot on the street. And then they kicked us out... They stop in front of a rack of fifty "factory seconds." Black and red hunting jackets, in front of the sporting goods store. The sign reads "FACTORY SECONDS, FIVE DOLLARS." BILL A jacket for five dollars... I can buy this town for fifty bucks. WALT You told me that about the last town. BILL Yeah, but they never made a movie here. WALT I'm bleeding, Bill, I'm bleeding... BILL ...why am I here? WALT What, what, what, what do they got that can pass for the Old Mill? Bill shows Walt a brochure from Waterford, which shows a picture of the Old Mill. Walt reads. WALT (CONT'D) "The Waterford Mill, built in 1825, and long a tourist attraction..." Wake up Uberto ANGLE: INT. THE AIRPORT VAN - CONTINUOUS UBERTO is asleep. Bill wakes him up. UBERTO Where are we? WALT Givvem a cigarette... Uberto comes out of the car and squints around. UBERTO ...they ship our Old Mill from New Hampshire? BILL They're holding our Old Mill for ransom. UBERTO We build it? BILL We don't have to build it. He shows Uberto the brochure. UBERTO We build the fire hut? Walt shows Uberto the Firehouse. Uberto looks through the viewfinder. UBERTO (CONT'D) We have to lose the window. WALT ...we can't lose the wind... UBERTO (pulling out storyboards) Then I can't do this shot... you wants me to push in -- I can't push in through the window... we go back to New Hampshire? BILL NO, we can't ever go back to New Hampshire. A pick-up truck with two calves in it stops, the driver seen from the back is a farmer smoking a pipe. WALT NO, we're gonna stay here. This is what my people died for. The right to make a movie in this town. INT. TAVERN INN LOBBY - DAY A desk clerk, SCOTT, looks up. Behind the desk a display of several souvenir plates, "Souvenir of Waterford, VT", with a picture of the Old Mill on them. Walt picks one up and hands it to Bill. SCOTT May I help you? WALT (followed Bill) I want to talk to the manager. Walt talks into his cell phone as he talks to Scott. SCOTT Would you like a room? BILL Na, we wanna rent the whole hotel. WALT (into phone) Hello, Tracy, we gotta new town. We're...where are we? BEAT. Bill looks around, sees a sign on a desk. Consults his tourist folder. As they talk they walk into deserted ballroom and play shuffleboard and archery. BILL (carrying Waterford plate) Waterford, Vermont. WALT ...you got to get me that street for nothing... BILL I will. WALT (into phone) Waterford, Vermont. Where is it? That's where it is... Walt carries the shuffleboard stick over his shoulder. INT. WALT'S OFFICE - NIGHT Walt is talking on a cellphone. A male P.A. is bringing in bags of equipment. Bill is still sitting perched on a desk, typing into his computer. Uberto is sitting on a couch, smoking. We see the shuffleboard stick on the desk, and the Old Mill plate on the wall. WALT (to phone) Because, because...we don't have to build an Old Mill. They have an Old Mill. Yeah. It's on a stream -- that's where you put a mill. BILL ...they run on water. WALT (to phone) Now: I'm looking at the... He gestures for Bill who hands him the storyboards. WALT (CONT'D) I've got scene twelve... (to Carla) Shouldn't you be in school? CARLA It's night. WALT (to phone as he shows the Old Mill storyboards to camera) Scene twelve...arrival at the mill. ANGLE Scott enters. SCOTT Mr. Price, Mr. Price...? (he hands Walt flowers) BILL What...? They go back to the flowers. Walt takes the card, reads. WALT "Bring it in on time and there's more where these came from. Marty. P.S. I want to talk to you about a product tie in..." SCOTT I'll put the, in your r... WALT Somebody make a note. I want Li..., for the broad...what does she like? Lilacs. Okay. A truck of lilacs when the broad comes. And get something for Bab Barrenger, get him, what does he like...? SCOTT Bob Barrenger...Bob...Bob Barrenger's in this movie? WALT That's cor... SCOTT (awed) He's staying here? Bob Barrenger is staying he...? WALT Put something in his room. What does he like? BILL 14-year old girls. WALT Well, get him something else and let's get out of here in one piece. Get him a half of a 28-year old girl. INT. PROD. OFFICE - WAITING ROOM - DAY INSERT FRONT PAGE "Burlington Banner". Picture of movie star Bob Barrenger, and Banner headline: "Waterford chosen as sight of new Bob Barrenger film. A story of small town life based on..." Carla knocks on the door to the back room, voices from inside. Outside, on two chairs, the MAYOR, GEORGE BAILEY, a man in his fifties, and JOE WHITE, the writer, dressed in an army field jacket and jeans, waiting to be admitted. Joe is reading an old "Welcome to Waterford" tourist folder. The door to the room opens, and Joe stands, looks inside, squints. Takes off his reading glasses and puts on another pair. JOE (to the open door) I, I'm sor... (as the door closes, to a passing aide) ...I lost my typewriter... Carla brushes past them. CARLA Hi, Mr. Bailey... MAYOR Carla, would you tell them that I'm... WALT (from inside) What? What is it? Carla enters the back room. As she does so, she passes the First A.D., who is on the phone. FIRST A.D. Could I speak to my wife, please? CAMERA takes us with Carla into the back room. Past the A.D. SECRETARY (to A.D.) You've got a call... INT. PROD. OFFICE - WALT'S OFFICE - DAY Inside the room, production boards being carried in, blackboards, schedules taped to the wall, sketches of Main Street, a large "days till shoot...4" sign. The Old Mill plate is on the desk. The PRODUCTION DESIGNER is bent over a worktable, he holds a compass and refers to blueprints and a scale model of the Firehouse and the Old Mill, which are on the table. Walt is holding glossy photographs, and leafs through them as the Production Designer talks. They leaf through storyboards. We see that Walt is leafing through glossy photos of horses. Walt has shuffleboard stick over his shoulder. ANGLE ON Storyboards of firehouse scene. BILL And Uberto tells me he can't take this shot, unless they let him take out the firehouse window. COSTUME DESIGNER Walt, I've got to talk to you about the nude scene. Carla enters. WALT Aren't you ever in school? CARLA There's other things to be learned. WALT Izzat so? CARLA The Mayor's outside. WALT What's his name? CARLA Mr. Bailey. Walt goes to the door, opens it and looks around. EXT. WALT'S OFFICE - DAY Joe reading the Burlington Banner. He stands up. WALT Mr. Bailey...Mr. Bailey...? Walt and Mr. Bailey enter Walt's office. JOE (to passing secretary) I lost my typewriter...? A.D. (passing) Yes, could I please speak to my wife...? ANGLE Interior Walt's office. WALT I have to tell you, I can not express to you how happy... MAYOR And we're glad to have you here... WALT My golly, you know? All my life I grew up in the city, but every summer... would you like a cigar? MAYOR (of cigars) Aren't these illegal? WALT Why would they be illegal? BILL ...there's a trade embargo against Cuba. Pause. MAYOR Well, you know, Walt, I just wanted to say that anything I could do... WALT That's very kind of...as a matter-of fact, one, I hate to bother you with... MAYOR ...not at all... WALT ...we need the shooting permit for Main Street... MAYOR Whatever you need. The City Council, of course, has to pass on your... WALT ...the city council... MAYOR On your "permit," but that is less than a formality. WALT ...it is? MAYOR I am the City Council. We meet Friday, and I... WALT George, that is so kind of you. MAYOR And, my wife wanted to, wanted me to ask you, we'd like to welcome you, we'd, she'd like to have you to dinner at our home. (beat) I don't mean to be... He hands an invitation to Walt. WALT Are you kidding me? We would be delighted. Phone rings. Walt motions to an aide, who writes in green on a production board... "Tuesday 12th, dinner, Mayor." MAYOR Well, I won't take more of your time... BILL Walt, it's Marty on the Coast... MAYOR We'll see you Tuesday, then... Walt starts for the phone. WALT It's one of the great, great pleasures meeting you... Mayor leaves the office. BILL It's Marty on the Coast. WALT On the coast? Of course he's on the coast, where's he gonna be, the Hague? Walt goes to the phone. WALT (CONT'D) (into phone) What? Marty?! Hi. We're... (pause) The new town is cheaper than the other town. We're going to save a for...because..because we don't have to rebuild the Old Mill, they've got an Old Mill...they've got a firehouse...they... A production assistant comes in, installing a piece of equipment. She brushes past the drywipe board, where we see she wipes out "Dinner with the Mayor." WALT (CONT'D) Baby, baby, I want to save the money just as much as you do...no, no it's not coming out of my pocket. It's going into my pock...my...my and your pock...yeah? Okay. A product placement - tell me ab...he's going through a tunnel. (to Production Assistant) Whoa, whoa, whoa, you wiped out the board. DINNER WITH THE MAYOR, TUESDAY NIGHT, write it in red. That's all we need, to miss Dinner with... First A.D. sticks his head into the room. FIRST A.D. We can't shoot in the Old Mill. WALT (to phone) Wait a sec, Marty. Call us back. Two minutes. He hangs up. Pause. FIRST A.D. We can't shoot in the Old Mill. WALT I just saw the Mayor, he said anything we want. FIRST A.D. It burnt down. BILL When did it burn down? First A.D. takes out a book, "The History of Waterford" and reads. FIRST A.D. Nineteen-sixty. "Part of a spate of suspicious fires, the Old Mill, the..." He hands Polaroids of the burnt Old Mill around. All look at them. ANGLE IN Debris by some water. WALT You told me they had on Old Mill here... FIRST A.D. "Suspicions of arson, these fires, believed set by a disturbed teenager were, in fact, the inspiration for the formation of..." He puts the Polaroids down by the model of the Old Mill. BEAT Joe White, the WRITER, enters. BILL But, does it have to be an Old Mill? JOE Hi. WALT Does it have to be an Old Mill? Where have you been? JOE I was in New Hampshire. I was at the Old Location. WALT We can't shoot the Old Mill. JOE (laughs) You know, they told me there were gonna be some jokes. Kid the New Guy... BILL The Mill burnt down. He shows the Polaroids -- they show the debris, and Bill standing by them. BILL (CONT'D) Wonderful scr... JOE (pause) Can't...can't you build the Old Mill? WALT We're out of money. JOE You built an Old Mill in New Hampshire. BI They're holding it for ransom. JOE Uh -- why did we have to leave New Hampshire? PAUSE The phone rings. WALT Halo? Marty? (to Joe) What would they have used instead of an old mill? We need it tonight. (to phone) Marty? Yeah you were saying? JOE I can't write it. PAUSE JOE (CONT'D) I lost my typewriter. WALT Grace: get Mr. White a typewriter. JOE I can only write on a manual. WALT I know the feeling. JOE Well, you know, you know, that's a lie, I, I... WALT Grace... JOE That's a real fault, I... WALT Grace. Get Mr. White a manual typewriter. (to Joe) It's not a lie, it's a gift for fiction. And somebody find me my lucky pillow. He nods at Joe, who leaves the office. Hold on Walt as he looks at horse pictures. WALT (CONT'D) How big is this horse? BILL (looking at the resume) Fifteen hands. WALT What is that in fingers...? Just kidding, get me this horse. BILL This horse is booked. WALT Tell the guy, get me the horse, I'll give him an associate producer credit. ANGLE ON Joe, outside Walt's door, looking at his script and shaking his head. ANGLE HIS POV INSERT THE SCRIPT We see for the first time that the name of the script is "The Old Mill," by Joseph Turner White. We hear raucous laughter from Walt, et al, in the B.G. INT. TAVERN INN LOBBY - DAY Joe passes the First A.D. on the telephone, sees Bill. The P.A.'s are humping mounds of luggage. FIRST A.D. Well, no, the labor with a first child can sometimes be prolonged, as much as... BILL (to P.A.) Find Walt's lucky pillow. JOE What's an associate producer credit? BILL It's what you give to your secretary instead of a raise. Scott in an argument with an electrician. ELECTRICIAN ...put a VHS and an air-conditioner and a refrigerator in that room, she's going to blow... A delivery man appears with an invoice and a crate. Scott checks the invoice against a list. SCOTT This isn't Evian Water. DELIVERY MAN It's water. SCOTT I can't sign for it, I'm... ELECTRICIAN ...she's going to blow. SCOTT Well, you re-wire... ELECTRICIAN I rewire it, I'm going to have to tear out half the, look, what do they need with fifty-four telephone lines? SCOTT Freddy, Freddy, I work for these people, you...it is to be done, you see that it's done... The GIRL P.A. arrives with a huge bouquet. GIRL P.A. I found lilacs! SCOTT Wonderful, that's... Joe the writer enters, goes up to the desk. JOE Did they find... The Scott's eyes turn toward the door. Everyone's eyes turn towards the door. JOE (CONT'D) (as he writes in his notebook) Did they find my typewriter... ANGLE POV Bob Barrenger, the star, screamingly fit, leather jacket, jeans, carrying a gym bag. He smiles, goes up to the desk. As he goes up to the desk, teenagers, who have been waiting in the lobby, crowd to him. SCOTT I told you!!! All of you get back!!! Get back!!! This man is a guest here! The teenagers retreat. BOB Hello, I'm... SCOTT Oh, sir, I know who you are... BOB Bob Barrenger, I'm with the mo... SCOTT Sir, sir, we're so, we're... (he hits the bell) Front! Front!! We are so, I've seen, I know everybody says this, but I've seen every every one of your... (to Electrician) Freddy, take Mr... ELECTRICIAN ...I'm working. SCOTT Your room is 414 through seventeen. I'm Scott Larkin. Anything you need, this is my private... (hands him a card) BOB Glad to meet you, Scottie. I'm just here to do a job, just like the rest of these... First A.D. walks through the lobby. FIRST A.D. (to Joe) Have you got the new pages on the Old Mill? Hey, Bob. BOB Hey, Tommy. Heard your wife's having a baby. FIRST A.D. That's right. BOB You know who the father is? FIRST A.D. They think it's your first wife. BOB That could be. An old man, the BELLHOP, is sitting by the front door, eating his lunch out of an old galvanized tin lunch bucket. He puts it down, and gets up and takes the bags. The lobby is filled with gawkers CHUCKIE, a young boy holding a bat and ball, comes over with an autograph pad. FIRST A.D. (to Scott) I'm going to give you a list of Mr. Barrenger's dietary requirements. CHUCKIE Mr. Barrenger, I... SCOTT Not today, not today, Chuckie. Mr. Barrenger has just... Barrenger brushes him aside. BOB (to Chuckie) How do you spell that, son? With an I.E.? Chuck? What're your hobbies? CHUCKIE Baseball. BOB Baseball! That's the national sport. Gimme that! He takes Chuckie's ball and autographs it: "CHUCKIE! From your pal, Bob Barrenger." BOB (CONT'D) Chuckie... CAMERA PANS off Bob as he talks to Chuckie, and onto Joe, who is wandering around the lobby. The First A.D. comes up to Joe. FIRST A.D. How you doin' with the Old Mill pages? JOE I need my typewriter. Did they find my...? INT. COFFEE CORNER - DAY ANGLE INS. PAN OFF "Trials of the Heart" theatrical poster. Two old codgers, Morris and Spud, and Jack sitting in the same window booth chatting. Phone rings. Carla answers it. CARLA Coffee Corner. JACK Fellow gets a calf, it's forty below, calf gets out, he hears that animal, he's going to, get up, pull on his jeans... The Mayor is taking a pack of Camels from Carla's father. ANGLE ON Carla, at the counter, reading "The Old Mill" surreptitiously. MORRIS He's going to get that calf. SPUD Mmm... CARLA (into phone) Thank you. (hangs up, to her father who is behind the grill) Vanilla Frappe. Two tuna B.L.T.'s... JACK What's a Tuna B.L.T.? CARLA Oh, Dad, didn't you read in People Magazine... ANN Well, I for one, am glad of a little diversion and I'm glad they're here. DOUG What I am saying, is, we have to Look Out For Our Own... Now: they want to close down Main Street. JACK Y'wanna talk about Main Street, whyn't cha fix the pothole? ANN Doug, it's, what did you...? Three days, three, four days. We'll have a record of our wonderful life. DOUG Annie: you stick to the Amateur Theatricals. This isn't quite the same thing, you see? This is Big Business, in which, our Life (to Mayor) s'no less a commodity than...than our... ANN Water or mineral deposits. DOUG Waal, that's what I'm saying. JACK Communist Country, he hears that Calf it's two a.m., four feet of snow, what does he say? "That's the State's Calf out there..." He rolls over. "Wake me at Ten." Carla, who has been waiting for the order to be prepared, takes it from her father, starts out the door. CARLA I think that they're nice. ANN I'm sure they are. JACK That's the difference, Communism and you know... SPUD Communism's over. JACK That's what they said about Warner Brothers, 1985, but if you look at their price-per-share... CARLA Dad, I've got to go to Terry's house to study tonight... JACK I want you home by Nine. DOUG I want to tell you something, Ann: you stay soft all your life, people despise you; it awakens Avarice in them, they take advantage of you, and that's Human Nature. She gets up. She starts to exit the Coffee Corner. Jack picks up a copy of 'People' magazine. INSERT An article of Bob Barrenger. Carla has gone over it with a highlighter. The article is called "Bob Barrenger's Little Problem." ANGLE Interior Coffee Corner. DOUG (CONT'D) We on for tomorrow night? ANN After Drama Group. DOUG Drama Group?and Thursdays. But after Play Practice, I'm yours. DOUG Go you Huskies. He starts to exit and turns back. DOUG (CONT'D) And I might have something important to tell you... ANN What is it, a surprise? DOUG That's right. They exit. MORRIS She coulda done better than him. SPUD It takes all kinds. MORRIS Zat what it takes? I always wondered what it took... We hear the TRAFFIC LIGHT beeping from the street. EXT. BOOKSHOP - DAY Joe, pacing in front of the window. Theatrical sign in the window. Sign in the window: "Out! Will return at..." Ann comes up to the door. Starts opening it with a key. JOE I, excuse me, the sign says you'll be back at two. It's quarter to three... She looks up at the sign, changes the hand to read a quarter to three. She opens the door. Goes inside. He follows. Camera follows. INT. BOOKSTORE - DAY Old Bookstore and stationary store. Several old typewriters for sale. JOE (off the sign) You're doing a play... ANN Local Drama Group. (she answers the phone) Northern Books. No, it hasn't come in yet. As soon as it does. Yup, you too, Marge. She hangs up. JOE ...small town. I suppose. You have to make your own fun. ANN Everybody makes their own fun. (she answers another phone call) F'you don't make it yourself, it ain't fun, it's entertainment. She picks up half-knitted sweater off computer. ANN (CONT'D) (to phone while knitting) Northern Books. (to Joe) What can I do for you? JOE I need a . ANN We got 'em. (to phone) North...No, Henry James was the novelist, Frank James was the criminal. (to Joe, of the typewriter) Yep, you came to the right place. (to the phone) Jessie James was the Brother. Of the novelist. That's right. That's alright, Susie. See you tomorrow, Susie. He has picked up a typewriter, old, manual. JOE I want to rent this one. ANN Why don't you buy it, only forty bucks. JOE I have one, but they lost it. ANN Who? JOE The people in New Hampshire. ANN (shrugs) That's why they have state borders... whyn't you get a replacement? JOE Well, it had sentimental value. ANN You buy the typewriter, I'll get it all spruced up, good as new. Better than new. It has some history. JOE Other one has history, too. I wrote my play on it. ANN You wrote a play on it? What play is that? JOE You haven't heard of it. ANN What's it called? JOE "Anguish." Little kids enter to get candy. As Joe speaks, he takes off his regular glasses and puts on his reading glasses and inserts a piece of paper into the typewriter and types, "Everyone makes their own fun -- if you don't make it yourself, it's not fun, it's entertainment." ANN "Anguish" by Joseph Turner White...? He looks up. ANN (CONT'D) You're Joseph Turner White? He switches glasses to look at her. A very OLD WOMAN comes in, goes back to the coffee machine. MAUDE Afternoon, Ann. Ann takes down a book from a shelf. ANN Maude, this man wrote this play! MAUDE That a fact. Now, is it a good play? ANN Yes, Maude, it is. It is a very good play. MAUDE Well, then, what's he doing here? ANN What're you doing here? JOE Writing the movie. MAUDE You're writing a movie... JOE Yes. MAUDE What's it about? JOE It's about the quest for purity. INT. WALT'S ROOM - DAY Walt, Bob Barrenger and the SCRIPT SUPERVISOR are savaging the script. BOB ...because he wouldn't say that: Look: (flips through the script, reads) "Sister, I've just come from a fire. There's some things I want to think out..." now, come one, come on... "Leave me alone." a gesture...? Alright? Walt opens a case and extracts his lucky pillow which is embroidered "Shoot first. Ask questions afterward." WALT What else? BOB Page...three. Now: "It's a nice evening." (beat) I'm not gonna say that..."It's a nice..." Knock on the door. WALT Come in. Joe enters. WALT (CONT'D) Hey, Joe...Good. You know B... JOE I grew up on your mov... BOB Do you mind if we don't go through the usual bullshit about how I loved it? Knock on the door. Carla enters with another brown bag. BOB (CONT'D) I mean, okay, fine, but it's a motion Picture. WALT Thanks, honey, but next time, bring two, save yourself a trip. BOB The people came to see a motion Picture. (to Carla, who starts to leave) Hold on... WALT He's saying, what are you saying, Bobby? BOB Tell it with... WALT Tell it with pictures. BOB Tell it with pictures. What I'm saying... WALT We've got four days to... As Bob talks, he exchanges glances with Carla. BOB You look at: girl comes in the room, an apron, a brown bag, what is she...? She's a...? WALT She's a... BOB She's a waitress. WALT What... BOB What I... WALT Hold on. What Bob is saying, you don't need... BOB You don't need, "Hi, I've just come from the restaurant." WALT (to Carla) You can go... BOB Alright: Let's (he takes out a list, Carla exits) Page five, the fucking horse dies. (of Carla) You know, she could be in the movie, she could, she's got a good face, she could be the Doctor's...uh, why does it have to be his, uh, wife...? It could be his... WALT Bob, Bob, stick to the business, will you? BOB No, you're absolutely... WALT And you go start with that stuff in this town... BOB Everybody needs a hobby. Okay, look Page... Knock at door. CLAIRE WELLESLEY enters, the FEMALE STAR. Very sexual. Very serious. Around thirty. She looks in. WALT (rising) Claire, when did you... CLAIRE I just... WALT Claire, Bob Bar... BOB I saw Desert Sun, I wanna tell you... CLAIRE No, I was, I was, I was just learning on, it's a... BOB How'd you like working with Richard Hill? CLAIRE I loved it, he... BOB Isn't he... CLAIRE It's... WALT We're just talking about the... CLAIRE Don't let me dis...I'll just... WALT No, no...please... BOB I'm looking at Page Five: "It's..." JOE "It's a nice evening..." WALT This is Joe White. CLAIRE How can I thank you? How can I repay you for this part? It's a... what a, thank you for this part. The first scene at the Old Mill... Pause. WALT Joe's been having some thoughts about the Old Mill Scene, Claire. PAUSE CLAIRE What, what's there to think about? (pause) The scene's perfect...I, I get to say... WALT Yes, but, Joe, Joe's been, well, he's just been having a few, uh, "thoughts," about... CLAIRE How many times in your life do you get a speech like that? WALT Yeah. CLAIRE This scene is why I'm doing the movie. "Look at the mill, Frank -- look at the way it goes around...half of the time the darned wheel's under water, but..." WALT Yes, yes, but... CLAIRE "...but still it rises up. It rises up, Frank, high as it can go." WALT Yeah. Joe? Would you, uh, tell Claire the, uh, the "thoughts" you've been... PAUSE EXT. STATE AND MAIN - DAY ANGLE ON Anne, who is putting up posters of the play. She sighs and walks forward, into Joe, who is waiting at the traffic light, his bag on the ground beside him. ANN (of typewriter) All ready to go? He nods. Looks down at her posterior. JOE So young, so unlined, so full of promise. (pause) So innocent. ANN I beg your pardon? He extracts the book of his she had in her back pocket. He looks at his photo on the back cover. They start to cross the street. JOE I quit. ANN You quit. JOE I quit the movie. ANN Why did you quit? JOE Actually, I'm not sure if I quit. I think that I got fired. I'm such a liar. I never could tell the truth. ANN Don't be so hard on yourself. JOE I just got kicked off my first movie. ANN Well. Everybody has reversals. If you were never down how would you know when you were up? JOE That's good. That's really good. You have a gift for words. ANN It's in your play. She holds up "Anguish." JOE You like my play. ANN Yes. JOE Why? ANN It's about life. JOE Could you tell me when's the next train? ANN N'about ten minutes. What was your movie about? They stop by the park bench. ANN (CONT'D) (off his pause) No, of course, you don't want to talk about it. JOE (hands her the script) It's about a man who gets a second chance. The cop, CAL, passes. CAL Evening, Annie. ANN Evening, Cal. (to Joe) Would you tell me about it? JOE I... ANN No, of course, you want to get out of town. JOE It's... He starts to walk, she puts the typewriter down on the ground. Joe hesitates. He puts the script under the typewriter. He shakes his hand. ANN It's okay... They walk on. EXT. SPORTING GOODS STORE - DAY The OWNER is closing up. OWNER Evening, Annie. See you at rehearsal. ANN You know your line? OWNER "Rise, one need not bend the knee before the throne of justice." ANN Go you Huskies. He walks away. JOE (of the clothing on the rack) They leave it out all night? He tries on a jacket. One sleeve is one foot shorter than the other. ANN Not worth stealing. Only thing in town worth something. Stained glass window. She gestures at the Firehouse. JOE Ever wonder why the dalmation's the symbol of the firehouse? ANN First organized fire department was on the border of Dalmatia and Sardinia in the year 642. JOE But why the dalmation? ANN It was either that, or a sardine. He nods, a BEAT. He looks down at the jacket with one sleeve too short. ANN (CONT'D) You get what you pay for. JOE That's true. You grow up here? ANN Central High, 'n' matinees, the Bijou Theatre. They walk past the firehouse. She gives the dog biscuit to the firedog who runs out of the firehouse to her. JOE Nice town. BEAT. He gets a bit choked up. ANN You want to talk about it? Joe shakes his head. They walk off. EXT. RAILROAD CROSSING - DAY JOE ...that...that he prayed for a second chance. But...do you see? ANN Yes. JOE That, he says, there are no second chances...that he's been presented what he prayed for...and: he's ruined it. ANN Yes... JOE But, but but but... ANN No, no, I see... JOE That: in an act of... ANN Yes... JOE Of mercy...off... ANN I understand... JOE ...that...he sees that... ANN As the Old Mill goes around... JOE Of course, of course that's what I'm saying. As the Old Mill goes around, he sees... ANN Of course. JOE ...that it has been vouchsafed to him. ANN That's that's that's that's beautiful. JOE And you're the only one who'll ever hear that speech. Just you. BEAT. They stop and look at each other. BEAT. A railroad crossing bar comes down behind them, as we hear the DINGING and realize we are at a railroad crossing. ANN Well. It was a pleasure meeting you. JOE And likewise. ANN Goodbye. JOE Goodbye. PAUSE. We see the train pass in the b.g. We hear the train whistling. It's way off. ANN (pause) Next train in'nt for two hours. They walk on away from the station. In the b.g. we see the stationmaster. He and Ann wave. They walk past the shingle for Doc Wilson. ANN (CONT'D) So that the Old Mill, the Old Mill represents...the wheel of fate is that too... JOE No, no. Of course, that's exactly what it represents. ANN That whole... They walk on together and find themselves on a residential street. EXT. ANN'S HOUSE - DUSK They are walking. They stop in front of an old picket fence with a porch swing. JOE The, the, the, the sanctity of everyday things... ANN Everyday things...yes. JOE For example, he's just come back from a fire and he...um... (he shakes his head) That's a fine house. You look at that, and you know, there's nice people that live there. ANN I live there. JOE Really. With the porch swing and everything... ANN Surest thing you know. PAUSE JOE I don't mean to impose, but...do you think we might... ANN That's what the swing is there fore... They walk onto the porch and sit on the swing. JOE (to himself) ...that's what the swing is there fore...that its purpose, isn't it... ANN ...I always thought so... They swing back and forth. The swing creaks. JOE ...such a pleasant sound. ANN Mmm. JOE Cause, cause, it's...it's the simple things that... ANN Yes... JOE ...that. Doug walks up. DOUG Waal, there you are, and Have I Got Some News for you... ANN Doug, this is Joe White, and this is, this, this is my fiance, Doug Mac... JOE Sa pleasure. DOUG Guess who is THIS CLOSE to a nomination to State Senate...which is this close to one stop from Congress! ANN ...who...? JOE Well, I guess I'll...get down to the station. It was lovely meeting... ANN Mister White is... Doug, as he takes Ann toward the door. DOUG Nice meeting you...they were, let me tell you, they were a bit coy at first, I told them: Look: the people are tired, they're going to vote their pocketbook, yes, but... Joe walks off and exchanges glances with Ann, who lingers behind. She pushes the porch swing and exits. As it swings, Joe watches. INT. TRAIN STATION - NIGHT Joe enters with his bag. He stands looking at the long poster reading: "Waterford, Home of the Huskies - Division Champions - 1971, 1972, 1974, 1975, 1976." BEAT. Joe is looking at the banner when the old stationmaster enters. JOE What happened in 1973? BEAT. The stationmaster looks around, and leans in to Joe, confidentially. The DOOR opens. It is Walt. The stationmaster retreats. Walt comes forward. WALT Don't run off. Don't run off, we need you. You know why? You're why we're here. Your script is why we're here... (of bag) Gimme that. Big deal. We fight a little bit? You show me a family that doesn't. But we got something special. What is it? We're here to make a movie. Can't use the Old Mill. Well, that happens. What you got to do, you find the essence - what was it, that brought us here. It wasn't a building, Joe, it was an idea. It was an essence - what is the essence of your story? Joe? PAUSE JOE It's about a man who gets a second chance. WALT Then, you write that. And then this is our second chance. That's why we're here. PAUSE JOE I want to make a good film. WALT I know you do. JOE And maybe it will be a better movie without the old mill, I... WALT Hey, it's with the G-ds. We don't have the money, we have to write it out. The best or not. (shrugs) And that's a lesson. You get your typewriter yet? JOE Um, no. Walt picks up a cell phone, dials. Lights of train go by outside. Stationmaster enters and calls the train. WALT (into phone) Grace, get on the other phone. Call that girl: well, call her, and have whatsername send up some nosh...what do you like to drink...? JOE I don't drink. WALT Did my matzohs come? Get some for everybody. (into phone) Thank you. (hangs up) Lemme tell you about my first movie... EXT. BOOKSTORE - DAY The production assistant is stapling a casting notice for "The Old Mill" half over the notice of the amateur theatricals poster. Doug shows up, looks in the window. Looks at poster, takes it down, looks around. ANGLE ON The park bench. Ann, her feet up on the old typewriter, is sitting, reading the script. Doug comes up. DOUG What, what what are you doing here? ANN Yes, that's right. DOUG Look at this. Do you know what they're offering? Look at this. They treat us like we're their backyard. Do you know what they're offering for three days to close down Main Street? ANN What are they offering? DOUG Ten thousand dollars. ANN That's so beautiful... DOUG I beg your pardon? Ann gestures at the script. ANN "The mill grinds the grain, but the grain is not destroyed. Although it is altered..." DOUG Sure, but... ten thousand dollars. Do you know what they... this movie is budgeted at fifty million dol...they're coming up here, offer us a meal... INT. MAYOR'S HOME - DAY The Mayor's Wife comes into the room. Her hands are full of lists, giving instructions to a handyman. SHERRY (MAYOR'S WIFE) The chairs go, the Lazyboy goes... MAYOR ...not the Lazyboy... Cal, the policeman, enters, carrying an old spinning wheel. CAL Hi, Sherry... SHERRY ...put it in the living room. And we have thirteen at the table. MAYOR ...we don't have thirteen at table... SHERRY Bob Barrenger, Claire Wellesley, the director... MAYOR Waal, then, invite someone else, then... SHERRY I don't want to invite someone else because this is the most exclusive... MAYOR Waal, then, you know, you do whatever would make you happy. Sher. This is your party, and whatever... Doug enters. Cal exits carrying a pinball machine. CAL Hi Doug. DOUG Cal. I want a city council meeting. MAYOR ...little woman has gone crazy about our dinner party... City Council? What's the trouble? DOUG Main Street. MAYOR (sighs) Doug, the traffic light... DOUG Fuck the traffic light. I'm talking about three percent of the adjusted gross of a Major Motion Picture. EXT. PARK - DAY Joe walks up. Ann is standing there. JOE Hi. ANN (simultaneously) What are you doing? (pause) I love your script. JOE (simultaneously) They decided, I decided to, to...you love what? ANN You're still here. JOE I...I decided to give it another ch... ANN I love your script. PAUSE JOE What? POSTMAN (as he delivers mail to Ann) Mornin', Annie... ANN See you at rehearsal tonight? POSTMAN "In the name of justice, sir, I bid you pause; for she is our Queen..." Postman exits. JOE In fact, in fact, in fact, I'm not sure if I'm giving them a second chance, or they're giving it to me. That's the truth. The truth's best, don't you think? ANN You'd know better'n me. JOE How can you say that? ANN It's in your script...it's about getting a second chance. Innit? "You can go back..." JOE I can? ANN You bet your life. (refers to script) "The mill wheel goes around...some times it's even under water -- then it rises up, as high as it can go..." JOE But how do I...how do I do a film called "The Old Mill" when I don't have an old mill? ANN Well, first, you got to change the title. INT. PROD. OFFICE - DAY Sign reads THREE DAYS till shoot. Walt is on the phone. Covers the phone. Crossed sticks on the wall, Walt plays with a shuffleboard discus. Girl P.A. brings cup of coffee to Walt. Her T-shirt reads: "DOES IT HAVE TO BE AN OLD MILL?" WALT (to A.D.) No, he doesn't want to work out with Waterford Huskies...Because he's Bob Barrenger...Call up his girl in Aspen, have 'em ship his weight...Yeah, well, fine, he's not gonna do the Pond scene unless he can work out. Call up his girl in Aspen, and have her ship the weights out... Walt hangs up the phone. Secretary enters with folders that she hands to Walt. WALT (CONT'D) Who designed these costumes? Who designed these costumes? It looks like Edith Head puked and that puke designed these costumes. Get Madge. SECRETARY (to A.D.) Your wife is on the phone. WALT I have no wife. A P.A. comes in with a big bakery box. They open it to show it is a huge loaf of bread, and on it is written, in bread, "Waterford Welcomes The Old Mill." WALT (CONT'D) (calling out) We need a new name for the movie. Where's the writer? UBERTO (entering with storyboards) Wally, I got to takes out the window from the dog. I can't shoot through... CAMERA MOVES on past the production board, where we see "Dinner With Mayor" in red. And the costume designer comes up. COSTUME DESIGNER ...Claire's got a problem. UBERTO Wally, if I hafes a moment of your time, look at these storyboards. THIS SHOOT, I can't shoot this shot, you want. WALT Why? UBERTO Because they gots a window with a dogs in it. You want me to "push in." Or can I lose the shot. WALT No you can't lose the shot. The meaning of the film is in that shot. UBERTO But, Wally, the window of the firehut... WALT I don't care. Fix it. He goes into comfab with the costume designer. WALT (CONT'D) (of sketches) You show Claire these sketches? COSTUME DESIGNER Yes. WALT Did she throw up? COSTUME DESIGNER That isn't very nice. WALT Oh, really, then why don't you sue me in the World Court. Did she like the costumes? COSTUME DESIGNER I can't tell. WALT Why not? COSTUME DESIGNER She won't stop crying... WALT (to an A.D.) Find out when Marty Rossen's arriving, get him a bunch of Lilacs to send to the broad. FIRST A.D. Towns out of Lilacs. WALT You go in her room, take the Lilacs from the water, dry them. Go buy some cellophane, wrap 'em up, and get a card from Marty. (to costume designer) What's her problem? COSTUME DESIGNER She doesn't want to bare her breasts. WALT She doesn't want to bare her breasts...what, in the "nude scene?" What are we paying her three mil for? COSTUME DESIGNER She's got "religion." WALT Her religion bars her from fulfilling her contr... CAMERA FOLLOWS Walt to the sound of crying. We HEAR CRYING from the next room. Walt opens the door quietly. WALT (CONT'D) Claire?...Claire? (to Uberto) Just figure out how to take the shot. Claire...Claire? It's Wally. (pause) May I come in? BEAT. He motions his entourage to stand back. INT. PROD. OFFICE - WASH ROOM - CONTINUOUS He enters the room. CAMERA FOLLOWS. WALT (softly) What is it, Pal...? PAUSE. Claire MUMBLES. WALT (CONT'D) What...? CLAIRE I can't do it, Walt. WALT You can't do what? CLAIRE It isn't right. I can't...I...I know I si...I, they, I don't know if they told me it was in the con... WALT Forget the contract. Claire. What is it? CLAIRE I don't want to take my shirt off in that con...what are these things that they're asking of me...? Wha...wha... wha... I try to be good. The only thing I care about is... WALT I know that... CLAIRE Is...is the MOVIE! As they talk, the A.D.'s come in and hand him sheets to approve. WALT I know that, Claire. I, we all know... CLAIRE Everybody, they, they, they treat me like a... WALT ...no, they don't. CLAIRE ...they treat me like a child. I, I...to bare my body. WALT Now, look. Claire: Listen to me. (he takes her hand in his) I want to tell you a story. The door to her room opens. A P.A. brings in a bunch of Lilacs, hands them to Walt. WALT (CONT'D) Fuck flowers, we aren't talking about flowers, we're talking about a human being. CLAIRE I...I... WALT Who are these from? PROD. ASST. Marty. WALT Well that's very thoughtful of him. Elanora Duse... CLAIRE ...I can't do it, Wally... WALT Listen to me. Elanora Duse was playing Hamlet in London in 1905, and Royalty could not get a ticket. She said, "I'm not doing the seven shows a week I signed for." She said, "I cannot bare my soul seven times a week. I am an artist. I'll do four shows a week." (pause) The greatest actress of her time. You know what her Producer said? CLAIRE (pause; softly) What? WALT Nothing. He held her and he wept. Because he... CLAIRE ...I... WALT Because he understood. That was her life's blood on the stage. Claire nods, breaks into sobs. WALT (CONT'D) ...I know...I know... CLAIRE (pause) ...and, and, and did she? And she did the seven shows? WALT No, she didn't Claire. But I think you should do the scene. Secretary comes in with memos and Walt deals with them while comforting Claire. BEAT. She sobs. She shakes her head. She brings herself under control. CLAIRE Wally... WALT I know, I know. He puts his arm around her, starts walking toward the door. WALT (CONT'D) I know, it's the hardest thing in the world. And it seems everybody wants... CLAIRE Yes... WALT ...wants a piece... CLAIRE Yes... WALT And you know what? CLAIRE We, we have to give it. WALT (nods) ...and my heart goes out to you, because I know... INT. PROD. OFFICE - BACK ROOM - DAY He opens the door. We HEAR the First A.D. and the Costume Designer chatting outside the door as they walk out. WALT That, that's your life's blood on the st... FIRST A.D. I don't know what she's bitching about, she's flashed her tits in the last five movies, she'd bare her breasts to do voice over. CAMERA FOLLOWS the two out. A tableau of the four of them. The First A.D. drinking coffee, sees he has been overheard. BEAT Claire starts soundlessly heaving, sobbing. She goes "Oh!" as if she has just been hit in the stomach, falls back into the room, closes the door. Sobbing sounds emanate. FIRST A.D. (CONT'D) I... WALT Get Mitch Cohn on the phone in New York, tell him she's breaking her contract and we're very up... FIRST A.D. I... WALT We're very upset with her. Get someone to double for her, her tits, the tits scene. Call L.A. I want to see some pictures of the women's tits. Of their tits. FIRST A.D. I'm very sorry I... WALT You're very sorry, you passive aggressive, son-of-a-bitch! Can we replace him? BILL We start shooting in three days. COSTUME DESIGNER You want to see the fireman's costumes? Cause I found this Moleskin for the collar, it's not black, but it looks black... it's not brown, but... SECRETARY Marty Rossen's touched down. EXT. PARK BENCH - DAY Ann and Joe sit on a bench. He is looking at her as she finishes the script. Tears in her eyes. She closes the cover. JOE (beat) What I need to say... ANN Yes... JOE About conflict... ANN That's why you didn't want to take the Mill out...you've... JOE ...the, the, the symbol of the fire... ANN The Firehouse... JOE I... ANN But but but but but it's better without... JOE How...? ANN Wait wait wait wait wait he get's a second chance, do you see? And you get a second chance! JOE No, I don't... ANN (as she holds the script) He doesn't go back to the mill, he gets a second chance to go back to the firehouse... Joe takes off one pair of glasses and changes them for another. ANN (CONT'D) You don't need the Mill. This is what (she gestures at the script) you see: this is what you are. This is what the script is saying... (a person walks by) Hi, Emma, see you tonight? Emma waves and nods. ANN (CONT'D) This is, look: (to Emma) Go you Huskies. (to Joe) ...what I see you saying, is: you have the two elements, Fire and Water. The Firehouse, and the Old Mill...do you know, you could... JOE What are you doing tonight? ANN Me? JOE Yes. Joe and Ann walk down the street. As they do so they are passed by the airport van. ANN Tonight, tonight, I...I have play practice... JOE ...oh...oh. Well. That's very important. EXT. HOTEL STEPS - DAY Walt and the A.D. come down the steps to meet the arriving airport van. It stops. MARTY ROSSEN gets out. Walt hands his bags to a P.A. WALT Marteleh, vos macht a yid...? He hands Marty the breadloaf. Marty takes a bite. MARTY You cool the broad out? WALT I left that for you. MARTY That's thoughtful. (of the bread) Ziz good, you try this? As they speak, a P.A. is unloading Marty's high-end luggage from the van. WALT Oh yeah, I'm really gonna eat carbohydrates. MARTY (of the town) What'd you do, build this...? WALT How was your flight? MARTY We're flying over pigs, we're flying over sheep... WALT Did you bring Bob's weights MARTY They're coming Fed Ex. WALT (of the bags) What's in all the bags? MARTY My undies, cause, you can't get this picture off on time I'm gonna wet myself. WALT I'm gonna bring it off. MARTY 55 days and I take home the camera. I got an idea for a product placement... They start up the stairs when Doc Wilson walks by. Girl on a scooter scooting the other way, her arm in a cast. Marty and Walt turn back to watch on the steps, under the awning. Carla walks through carrying food bags. DOC WILSON Hiya Sally... GIRL ON A SCOOTER Hiya Doc... DOC WILSON How's the arm? GIRL ON A SCOOTER Still itchin'. DOC WILSON Good! A sign it's getting well. MARTY (of scene) Stop... WALT That's what I said. MARTY How are you getting on with these fine people? WALT Like dykes and dogs. INT. BOB'S ROOM - DAY Bob is doing Tai Chi. Knock on the door. He goes to open it. Carla is bringing him his dinner. BOB Yeah. Come in. She comes in. BOB (CONT'D) I'm just... She puts his dinner down on the coffee table. He takes out money from his pants to pay her. CARLA The prices are going up. BOB But, that's the way of the world, huh? Everybody's gotta eat. Way of the world. He sits before his dinner, hands her some money. Remembers himself. BOB (CONT'D) Well, I'm pretty impolite. Would you like some? CARLA I don't eat vegetables. BOB Well, I can offer you something to drink? CARLA Sure, what have you got? BOB What do you drink? CARLA Bourbon and milk. BOB How old are you? Carla WHISPERS her age to him. He makes her a drink out of his fridge, hands it to her. BOB (CONT'D) Then I hope you wouldn't tell anyone I gave you this. CARLA I wouldn't tell anyone anything that happened between me and somebody who was my friend. PAUSE BOB Nice town that you've got here. CARLA You want to see it better, we could go out on the roof. BOB ...wouldn't that be dangerous? CARLA ...not if you've got something to hold on to. EXT. MAIN STREET - DUSK Joe is walking down the street. A script in his hand, scribbling. Uberto walks next to him. UBERTO Because if you cannot tells me what is it, how I, how does I take a pictures of it? Wally wants me, push in through the weendow... Joe, as he is scribbling in the script. JOE Yeah, no, can I...if you'd excuse me, I've just got to... He walks away and the CAMERA takes him into a backyard, by a bunch of clotheslines. His glasses fall apart as he changes them. He looks up as the wind blows the sheet. He sees Ann, sitting on the backstairs of what, as we draw closer, we see is the playhouse. In back of her we see the "Trials of the Heart" flats, seen from the back. ANGLE JOE'S POV ANN Hello. JOE I thought you had Play Practice. ANN Don't look good for "Trial of the Heart." JOE Well, then, it don't look good for the Huskies... ANN That's for sure. They walk down the street. As they walk down the street, the dog comes over and Annie throws him his bone over her shoulder. JOE What happened? ANN Cast stood me up. JOE Uh huh. ANN They're all preparing for the auditions - your movie. He gets an idea, and trades glasses, one pair for the other. He kneels. ANN (CONT'D) "Rise, one need not bend the knee before the throne of justice." JOE What? ANN What are you doing down there? JOE My glasses fell apart. I lost the... ANN ...lost the screw... JOE You got a paperclip? A little kid is walking by, carrying a fishing rod. LITTLE KID Evening, Annie. ANN Evenin', sweetheart. LITTLE KID Go you Huskies. ANN You said it. JOE You like kids? ANN Never saw the point of 'em. JOE Me, too. You have a paperclip? ANN Paperclip? JOE Fix my glasses. ANN Better idea. She ducks under the sheet hanging by the door, she and Joe come upon the fishergirl, who is standing by the bank about to make a cast. We see Annie take some leader from the little girl and burn one end to make a hinge. JOE Gonna be good as new. ANN Better'n new, cause it's got a story. Want to do the other part? Joe takes the hinge, and a match and tries to fix the hinge, and burns his finger. JOE Ow. He grabs for the nearest object. PAUSE. ANN What? Joe shows her. ANN (CONT'D) Y'know what you got there? You got a fishhook in your finger. EXT. BOOKSTORE - DUSK Doug standing, holding a bunch of flowers. The A.D. walks by. Looks in the window. FIRST A.D. I'm looking for the writer. DOUG What the hell are you so down about? FIRST A.D. (pause) My wife's going to have a baby. DOUG How about that. FIRST A.D. Mmmm. (pause) You have children? DOUG No. (pause) No, but we're planning to. FIRST A.D. (pause) Could you tell me where a fellow goes to get a drink in this town? DOUG Yes. INT. WALT'S HOTEL ROOM - NIGHT Marty and Walt et al studying various documents. Claire sitting there. MARTY I want to tell you something, Wally, he's a pussycat. My thing is to see everybody does what they said they would and I have to do that. Now: what is this you want Eight hundred Thousand Dollars to do what you're being paid to, you already signed you'd do...? (pause) What is that? CLAIRE I think I should talk to my agent, Marty, you and I should, we should really not discuss... MARTY Who is her agent? BILL Mitch Cohn... CLAIRE He's... MARTY Get him on the phone. CLAIRE He's on the Island, he'll be back on... MARTY Get him on the... Claire starts back to her room. MARTY (CONT'D) I want you to hear this. CLAIRE I really think that business...matters should be discussed between you t... MARTY Well, I'm going to discuss 'em between you, babe, cause it's your idea, and you think you're going to sign to do a, then hold us up in the wilds sweetheart, you are in error... Bill hands him the phone. BILL He's on the ph... MARTY (takes phone) Mitch, th'Marty Rossen, I'm here in... BILL Wat... MARTY I'm somewhere in the, I'm on location eh: This...well I'm going to solve it here, or this Bimbo you sent me's going to be doing a fuckin' donkey act in Akron, I'm talking about Restraint of Trade, Breach of...IT'S VERY SIMPLE...! Joe enters. His finger BANDAGED. JOE (tentatively) Hi! MARTY Her tits! Her tits! How, that she signed IN HER CONTRACT, we hired her 'cause of ten years at the Actors Studio? The way she played Medea? Her last two pictures laid there on the screen like my first wife... CLAIRE (starts to cry) You have no right to... MARTY Cool it babe, you started this... JOE What's the... WALT Where have you been? MARTY (on phone) You tell me: you tell me now, I've got to shoot on Wednesday and I will not pay your Blood Money and P.S., pal, I put the word out on the street and Betty Boop can look for work in squigglevision. Claire starts to get up. MARTY (CONT'D) Siddown! JOE I really don't think you should be talking this way to a lady. MARTY ...would you excuse me, please... CLAIRE You can't treat me like this. I'm not a child! JOE She's absolutely r... CLAIRE I'm not a child. I have feelings... Don't you...don't, don't...don't... Claire exits, crying. MARTY (his suitcase next to him - into phone) Well, you call him, and call me back, but this is it, pal. You fuck with me, and I'm going to tear out your heart and piss on your lungs through the hole in your chest. And the best to Marion... (beat; hangs up; to Joe) Where have you been? JOE I... MARTY He says they're looking for you all day, you're on salary, he needs pages, what are you, you been 'haying?' Now: WALT Marty... MARTY Later for that, Walt, let's get this: we need the "pages" for the new "Old Mill"... alright? We need a new title, we need a... BILL Rewrites that Bob Barrenger requested... the "dead horse scene," the... MARTY Whatever it is. Go do it. How you doing on the permit? WALT It's just a formality. MARTY That's why I want it. (to Joe) Type it up and get it back to me in... JOE I can't. WALT Why? MARTY You can't write it? JOE I can write it. I can't type it. WALT Why? JOE I hurt my fingers. WALT Get a typist. Get'im a typist. Get outta here. Joe exits. They turn to survey the board. MARTY Eight-hundred grand to show her tits... WALT Pay her. MARTY I don't got the money. WALT Find the money. MARTY I got a company...give us a million dollars, put their product in the film. WALT (looking at a paper Marty hands him) No no no no no no no no find me the money... INT. JOE'S ROOM - NIGHT Joe takes out paper, looks around. Sighs. Picks up phone, calls back. JOE (into phone) This is Joe White... in six ten, they're sending up a typist? He takes out a sheet of foolscap and a pencil. Starts to write. A knock at the door. JOE (CONT'D) (into phone) Okay, I thank you. It's here. He hangs up the phone, goes to the door, opens it. It is Claire. CLAIRE You said, "You can't talk that way to a lady..." You stood up for me. (beat) What do you have to drink? She looks around, sees a gift basket containing a bottle of Stolichnaya and a box of matzoh, wrapped with a "Welcome Back" ribbon. CLAIRE (CONT'D) Matzoh! Are you Jewish? JOE I, actually, yes. CLAIRE I love Jewish men. JOE Why? CLAIRE You know...where's your bathroom? She goes into the bathroom. JOE You liked the script, huh...? EXT. MAIN STREET - NIGHT Ann Black sitting on the park bench, holding the lure. DOUG (still carrying bouquet of flowers) Where have you been? He gives her the bouquet. ANN Hi! DOUG We had a date. ANN We did...? DOUG Where have you been? ANN I've been thinking. DOUG Where have you been, we had a date for three...where have you been...? ANN I have to tell you something... DOUG Well, I know, because they told me you were with that writer from the, you see, this is what I mean, the whole town has been warped by the, by the, by the presence of the movie company, they holler, and we jump, you have a date, they call, you're doing business nine o'clock at night. It isn't... ANN I wasn't doing business... DOUG Oh. What were you doing, then, that's so important that you shouldn't call your fian... ANN It's all over between us, Doug, I'm sorry, but that's the truth. I've found someone else, and, it's very serious and it's the end. I'm sorry. (pause) It isn't you, j... DOUG Wai...It's so serious you couldn't call to tell me you'd be...what...? What did you say...? ANN It's all over between us. (pause) I've found someone else. DOUG (pause) Let me review here: You're...what are you...you've...it's all over between us? ANN I'm sorry. DOUG Who is this person that you've found? ANN (pause) He works on the movie. DOUG No. Don't tell me that. ANN I'm sorry. DOUG Why, you whore! Doug starts to cry. First A.D. shows up. FIRST A.D. Can you type? ANN Never admit you can type. FIRST A.D. If you can type, they need you over at the hotel. INT. JOE'S ROOM - NIGHT Joe is standing by the side of the bed, holding Claire's clothes, trying to induce her to put them on. She is sitting on the side of the bed, naked. JOE Look. CLAIRE I feel so close to you... JOE Look, look, I like you very much... CLAIRE I like you, too. JOE But not that way... CLAIRE But we... JOE Look, look there's someone else... Sound of a KNOCK at the door. JOE (CONT'D) Great. Who is it? ANN (O.S.) "Room Service!" JOE (to Claire) Would you go in... He gestures to the bathroom, he hands her her clothes. JOE (CONT'D) Would you put on your cl... (to door) Just leave it outside ANN You have to sign for it. INT. HALL - NIGHT Ann hurriedly arranging the flowers in the "platen" of the typewriter. From inside the room we hear Joe's voice: "Alright, one moment!" He opens the door. ANN I'm gonna be your typist for this evening. JOE Oh, G-d... ANN And here's some hydrogen peroxide... JOE I don't drink. ANN It's for your finger. JOE One moment. He closes the door. INT. JOE'S ROOM - CONTINUOUS Claire is still sitting on the bed, has a lit cigarette. Poured herself a drink. Joe goes over to her, thrusts her clothes on the floor. JOE You have to hide. CLAIRE Who is that? JOE That's my... CLAIRE Oh. JOE Will you help me out...? CLAIRE I... Joe hustles back to the door. Opens the door. Ann is still standing there with the typewriter. JOE Hi. ANN You going to ask me in? Joe looks back over his shoulder. ANN (CONT'D) Thought you might like this. She hands him a bouquet. JOE (takes flowers) Thank you. ANN Read the card. JOE (reading card) "To the love of my life, Love, Doug." ANN The other side. JOE Oh. He turns the card over. ANN Don't you think you should put them in water. JOE Why? ANN ...because if you don't, they die. She goes into the bathroom, fills up the vase. Comes out. ANN (CONT'D) Shouldn't we start? PAUSE JOE Start? This isn't a good time. ANN Oh. That's alright. Then I'll come back at a better time. What would be a better time. JOE Later on. ANN Then I'll come back, then. JOE You, um, you, um, you going out with your fiance? ANN No, I just broke up with him. I'll see you tomorrow. She starts to exit. INT. TAVERN INN HALLWAY - NIGHT Ann digs in pocket, takes out the lure we previously saw in Joe's finger. She re-enters the room. ANN It occurred to me, you'd wanna have this: sort of a memento of our... ANGLE ON ROOM Claire is standing there, basically naked. PAUSE. CLAIRE Hi. I hope I'm not disturbing... JOE She came in here, wait, she...I was giving her a massage...wait...wait! She came in here...she... (to Claire) ...with respect...she took off her clothes, and she got in bed, I told her I could not -- we don't know each other, you see... CLAIRE We had a script conference. JOE I told her thank you very much, but it was inconvenient because, uh, because... ANN You can do it. JOE Because I'd met someone else. ANN (very simply) Oh, okay. JOE You believe that? ANN I do if you do. PAUSE JOE But it's absurd. ANN So is our electoral process. But we still vote. JOE Do you truly believe the electoral process is absurd? ANN I used to go out with a politician. JOE You used to go out with him, you broke up with him? ANN Sure did. JOE Why? ANN Time for a change. Keep your margins straight. JOE Yes. ANN Go you Huskies! INT. HALL - NIGHT Ann puts down the typewriter and types into it, "The truth may not always set you free, but it is always the truth - Joseph Turner White, 'Anguish.'" She affixes the lure to it and leaves them on the typewriter. She starts down the hall, humming. Behind her we see the door to Bob Barrenger's room open. Bob comes out, looks down the hall. The coast is clear. Carla comes out. They kiss chastely, say goodnight. She starts down the hall, humming. EXT. MAYOR'S PORCH - DAY The postman walk sup. We see two workmen putting up a sign over the door '1835.' One has a copy of "The Hollywood Reporter" in his back pocket. MAYOR And don't you worry about that permit... MARTY Why, that's right fine... POSTMAN Mornin' George. MAYOR Hey, Chunky. (to Marty) Well, we're glad to have you here. My wife, Sherry, SHER, YOUR BROTHER'S HERE. (to Marty) We're having a party, matofact, Tuesday night, for Walt and Bob Barrenger... MARTY Mmm.... MAYOR Havin' 'em over, home-cooked meal, if you'd... MAYOR (CONT'D) Well, I'd be awfully... A paint truck pulls up outside the Mayor's house. Painters come out. Sherry comes outside the house. SHERRY Where the hell have you been? It's... MAYOR Sherry, this... POSTMAN (come back out of house with cup of coffee) Mornin' Sherry. SHERRY It's a quarter after nine, I've been on the phone to... PAINTER Morning, Mrs. Baily, Mista Bailey... He and his assistant go into the house with wallpaper. SHERRY I've got two days to get this house... MAYOR Dear, this is Mr. Rossen, he is the producer. SHERRY I am so glad to meet you. We are so glad to have you here, and welcome you to our...I, you know, they had c... I'm, yearly I redecorate our, to restore it to the, 1835... MARTY What is that? SHERRY The house, the 1835. The original kitchen, of course, burned in 1960, as part of a spate of fires... MARTY It's lovely. SHERRY A spate of suspicious fires which were in fact the inspiration for the formation of the Waterford Huskies. MARTY My oh my. SHERRY I'm...Tuesday evening we're having an informal dinner, I didn't know you'd be 'on set,' but if you'd like to join your... Doug comes up the walk, a bit rabid. DOUG I have to talk to you. MAYOR Doug, this is Mr... SHERRY Oh, how thoughtless of me. Would you like a cup of tea... Sherry disappears into the house. MAYOR ...he's the producer of the movie. DOUG (to Marty) I want you to hear this, pal... (consults notebook) Forget the overages, forget Ten Thousand Dollars, for three days to two weeks. You know what it would cost for them to build this set? (pause) Two Million Dollars! Now: MAYOR Doug... DOUG Now: The Waterford Merchant's Association, of who I am Council... In the B.G. we see Sherry and the painter. SHERRY Don't tell me you're out of Wallpaper. PAINTER I told you, we could have it by Wednesday... SHERRY Wednesday, don't tell me Wednesday, the biggest grossing box office star in the world is coming for dinner Tuesday... PAINTER Waal, if you ordered something common... SHERRY Something common? I'm going to give you something common. I'm going to give you an injunction, is what I...Mister Mayor. DOUG Huh. Well, the Waterford Merchant's Association demands, through me as their council, five percent of the profits of the movie, as figured by and... (checks his notebook) geared to the most favorable definition of profits of either A) the Producer... From INSIDE THE HOUSE, we hear the Mayor's wife screaming. Mayor runs inside, Doug and Marty follow. DOUG (CONT'D) Why, you little sheeny... INT. COFFEE CORNER - DAY Geezers are at the front table in the window. Carla's father, JACK, behind the counter trying to assemble an espresso machine, reading from the instructions. MORRIS "Assembly of Death" did 95 million dollars the first weekend. SPUD Yeaup, but those grosses are inflated. MORRIS You think so? SPUD Waal, what was the per-screen average...? Joe enters and exchanges greetings with the locals. He changes his glasses and takes out a notebook. He is shaking his head as he does so... JOE Cuppa coffee, and a... JACK With you inna moment. I'm a little short-handed. MORRIS Where's Carla? Ann enters. SPUD Hiya, Annie... A crowd has gathered around the table as he tells the story. MORRIS Annie, sorry I ain't been to a meetin' of the Drama Club... Ann shows a sniped "canceled" poster of her play. MORRIS (CONT'D) Oh, good... He resumes talking to his companion. ANN Good morning to you...whatsa matter? JOE I can't get it to come out right. ANN What's the scene... JOE It used to be the Old Mill. ANN What've you got? JOE They meet on Main Street. Her horse has just died. He's coming from the fire. He shuffles through his pages, he goes in his pocket for a note, he brings out the old lure. He smiles at her, she smiles back. JACK (O.S.) Annie, you want something to eat? ANN What's the scene about...? JOE It's good to see you, too... JACK Annie? ANN What about...what about...it's so presumptuous of me, to be, to be telling you how to wr... JOE Please... ANN How about, he sees her on the street, he wipes the soot from his eyes. He goes up to her. "What happened to the horse?" She looks at him. She takes his hand... She takes Joe's hand, and he winces. JOE Ah, ah, ah... ANN I hurt you? MORRIS What happened to his finger? ANN It was burnt. MORRIS Mmm. ANN And then it was really hurt. JOE Ah, ah, ah. That's what she says, that's what she says. He says, "Sister, I've come from a fire..." But she, but she, she says it was not the fire which hurt you...it... MORRIS ...how was it hurt? ANN ...he stuck a fishhook in it. (Morris nods) JOE She realizes -- it was not the fire which hurt him...that the true hurt was her. Was her... ANN ...yes. JOE ...her unbridled sexuality. That he... ANN ...yes. JOE Has been wounded by her heat...by her infidelities... JACK Anybody here seen Carla? JOE Because, because, because if it's about purity, it's...it's...and then, then, you don't need the nude scene. ANN Because it's about purity... JOE That's...that's exactly what it's about. Take... ANN That's right... JOE ...take any two people... JACK ...anybody seen my daughter...? JOE ...take you and me... He runs out. INT. WALT'S OFFICE - DAY Uberto looking at storyboards and spinning the discuss and shaking his head. Walt on the phone. First A.D. shows up. WALT (on phone) ...the finest people you could ever hope to work with... (to First A.D.) You have the new Old Mill pages? FIRST A.D. I can't find the writer. WALT (on phone) ...totally false...totally false. He is the, I would say the most responsible human being I have ever... FIRST A.D. I have to talk to you. My wife... WALT Not now. FIRST A.D. My wife is going to have a baby, and... WALT Oh, that's great. Let's bring more people into this overcrowded world. Girl P.A. walks through the b.g. in "Does it have to be an Old Mill?" T-shirt. WALT (CONT'D) Take it off. Take that stupid fucking shirt off right now. (into phone) Well, if I had to say one thing, I would say it's purity. Claire shows up, dressed in traveling clothes, her luggage behind her, followed by production assistant. WALT (CONT'D) (to P.A.) Not now, I'm talking to the press. Claire! CLAIRE What? I have a five-o'clock plane to catch. WALT I, uh... (into phone) I've always thought so... (beat) Well, you just get an idea, and try to find the best way to express it in pictorial form. (to Claire) I've written a letter to the studio and to SAG protesting... (opens door) Bill: get a copy of that letter...! (closes door) I just wanted to tell you that I am past chagrined, I'm mortified at the way you were spoken to... CLAIRE I... WALT An artist of your caliber... CLAIRE I'm only trying to... WALT I know what you are, I am so sorry that you...when I read that script I said there's only one person to play that part. CLAIRE The minute I read that script I said... WALT I know... CLAIRE ...she works with animals, she... WALT ...yes... CLAIRE ...she has a home... WALT ...I know, I'm so...because I said: yes, a woman who...the...the community respects her. (beat) Please don't go. (pause) Please don't go. What can I do but beseech you...? Trauma, toil...when are we free of them...? (pause) When...? CLAIRE He treated me as if I were a child... WALT Claire: (pause) As an interpretive artist to a creative artist: (pause) Stay with me. (pause) I need you. (pause) We start to shoot tomorrow and then it belongs to us. Stay. (pause) Stay. Tonight...when... (gestures outside) When they've gone. Let's talk. Let's really talk. We could, we'll have dinner, we'll...a bottle of some bad red wine, we'll get spaghetti, and we'll... CLAIRE I'm sorry, Walt -- it's gone beyond that. Claire exits. WALT (into phone) Well, I've enjoyed it, too. Any... any...any time... (hangs up the phone) What does the woman want from life? MARTY She wants eight-hundred thousand dollars to show her tits. WALT Pay her off. MARTY We don't have the money. WALT Find it. MARTY If you do the product placement... WALT It's a computer company...IT'S A COMPUTER COMPANY - BAZOOMER-COM?! MARTY "Bazoomer dot com." WALT I can't put a computer in a movie shot in 1895...you wanna tell me how I'm gonna do that? MARTY Actually, the art department had some ideas on... WALT NO NO NO NO NO, PAY HER OFF. DID YOU HEAR ME?! MARTY (picks up the phone and dials) Gimme Howie Gold. Howie? Thizz...I neee... I NEED EIGHT-HUNDRED GRAND. I...I don't care where it comes from. (to Walt) It comes out of our end. (Walt gestures do it) I...I need...JUST GET ME THE MONEY. I JUST GET ME THE GODDAMN MONEY...Look: Joe barges in. JOE She doesn't show her tits!!! She doesn't show her tits. The breasts symbolize motherhood, the audience... MARTY The breasts symbolize motherhood... INT. WALT'S OFFICE - DAY Joe holding forth to Bill, Walt and Marty. Joe consults his notes, changes his glasses, reads on: JOE The movie's about purity. So we don't show her breasts. We show them to him. She keeps her back to the camera. WALT ...she keeps her back to the camera? BILL It'll hurt the box-office. JOE They know what her tits look like. WALT Know? They could draw them from memory. You're fantastic. What a find you are. Get outta here. We need the Dead Horse scene. JOE I'm gonna nail it. WALT I know you are. Go you Huskies. Joe exits. We see the notation, "Dinner at the Mayor's House." We see Marty walk up to a P.A. in the next room. The P.A. hands Marty a slip of paper. Walt goes to them. MARTY We got the permit. WALT Is that one hell of a kid? MARTY He just saved us eight-hundred thousand bucks. WALT He's got a gift for fiction. MARTY We got to do something nice for him. He takes out his cardcase. MARTY (CONT'D) Gimme a pencil. Get him a bottle of...get him some maple syrup. Stick this card on it, and put it in his room. PROD. ASST. Maple syrup. Marty writes on the card. MARTY Yeah. ANGLE ON CARD It reads: "Your gift for fiction everything sweet." ANGLE ON WALT As he walks back into the other room, holding the permit. MARTY (CONT'D) (in b.g. as he takes back the card) Hold on, I wanna add to that. We see him take the card, write "Over" on it and draw an arrow. EXT. MAIN STREET - NIGHT Joe, happy as a clam, sauntering down the street. Smoking a huge cigar. He passes two old codgers, Morris and Spud. SPUD You see where Tom Miller's playin' the Old Farmer? MORRIS He's been playin' Old Farmer nigh on sixty years. SPUD I read for that part. Did pretty good, too. MORRIS Bet you did. SPUD But I couldn't r'member all the words. Ast them would they gimme a second chance. MORRIS Ain't no second chances in life. SPUD Zat true? MORRIS Only second chance we git, z'ta make the same mistake twice... ANGLE ON Joe, as he nods to himself, takes out a pad, starts to jot a note, fumbles with his glasses. Joe saunters on, writing, we hear the beeping from the traffic light. Joe hears a screeching of tires. He looks up, a film station wagon comes barreling around the corner, hits the pothole, goes out of control, careens, turns over, knocks down the control box of the traffic light. Joe holds a beat, runs over to the car, to driver's side. Battered driver, bleeding, upside down. Joe drags him from the car. It is Bob Barrenger. BOB Get the... JOE Are you al...? Barrenger points to the other side. Joe looks. ANGLE POV Carla is the passenger, she is dazed but unhurt. ANGLE ON The car. BOB We gotta get her out of here. Carla has extracted herself from the wreck, stands, woozily, on the sidewalk. BOB (CONT'D) (to Carla) Are you alright? CARLA (nodding) I... BOB You got to get out of here... BEAT. She nods, understanding. A light comes on in the apartment over the store. She looks up, starts away down the street. BEAT. Bob rocks back and forth. BOB (CONT'D) Oh G-d, oh G-d, oh G-d...do you have a cig... INT. BOB'S HOTEL ROOM - NIGHT Bob is being bandaged by Doc Wilson. Marty on the phone. Walt, the First A.D., and Joe also in the room. MARTY He's fine...it's a... DOC WILSON You're going to be fine. I'll stop by tomorrow. WALT (to Doc) Thank you. Doc exits. DOC WILSON Yessir... MARTY (into phone) He's...you wanna talk to...? Bob goes over to the phone, his head bandaged. Walt, smoking, stands by the window. BOB (into phone) Hello, Jerry. I'm fine. I'll be ready Wednes...I'm here to make a movie, Bob. Now don't you worry your, hey, Pal, when have I ever let you down bef...Okay, Babe, you, too. He hangs up. WALT Are you okay? BOB Well, yeah, I'm fine, I reached over to, the girl had to be home, I don't know, it's a schoolnight, something... WALT Bobby... BOB Everybody needs a hob... FIRST A.D. Walt, I wonder if I could take a minute of your time. I need a day off... There is an abrupt knocking at the door. WALT Who is it? CAL Thiz the police. Is Mr. Barrenger in there? The boys in the room go into a whisper conference. MARTY Okay, look, you, what is she, 19, twenty...oh Christ... BOB Uh, look... MARTY Look: okay. Okay. Look: look you're driving, countryside, so on, you picked her up, she was hitch... WALT No, hey, hey...al, she hid in the back of the car! Happens all the... The knock is repeated. CAL (outside the door) Is Mr. Barrenger there...? MARTY No, wait a, wait a, wait a...we can't put her in the car, she gets it in her head to sue, or rape, or some goddamn, she wasn't in... WALT She wasn't in...you were al... MARTY There's no witnesses. WALT No, just the...there's no witnesses, right...? BOB No, I just...just Joe, just Joe... WALT Joe, the writer? BOB Just him and me. Knocking was repeated. MARTY Then she wasn't in the car. Say it. BOB She wasn't in the... MARTY Nobody knows it but us. Alright? It says here... (to group) Are we together on this? (beat, each nods) Because it's sink or swim here, pals... They murmur their assent. Knocking is repeated. Walt goes to the door. MARTY (CONT'D) (to First A.D. and Joe) You guys had better leave us a... CAL Mr. Barrenger... Marty ushers Joe and the First A.D. out the room. MARTY Yes...? The cop comes in the room. CAL I'm very sorry to... MARTY Well. What seems to be the...? CAL I have to ask you these...um. You have a valid drivers' license? MARTY Of course he... CAL Could I see it, please...? Bob gestures to his wallet which is on the desk. CAL (CONT'D) Were you under the inf... BOB No. CAL And who was driving the... BOB I was alone in the car. I was driving. The cop is writing down these statements. CAL Well, now, Mr. Barrenger, I'm very sorry, in fact, I'm as sorry as I could be, but... MARTY I'm an attorney, if there's anything you have to say to... CAL ...I have to give you this ticket for damage to city property. I'm really sorry, Sir, it's a formality, I hope you'll excuse... MARTY (beat) You have to what? Cal reaches in back of him, on his belt, and takes out not the cuffs, but the summons book, he starts to write a summons. CAL It's a formality. Any case of damage to city prop...you hit the control box of the new stop light, and... (apologetically he hands the ticket to Bob) They'll, uh, these things happen, I hope you're alright, and that you're feeling... MARTY Well, officer, don't worry ab... CAL If there's anything I... Marty walks him out into the hall. Photographers and onlookers in the hall. Phone rings. Walt answers it. WALT (into phone) Yeah. Hello, Mr. Mayor...Walt Price! No, no, sir, he's fine. Well, he's right here! Would you like to...? (covering phone) You are not to see that girl again...do you... Door to hall opens. Claire comes in. CLAIRE Hello. WALT (into phone) ...he's right here, Mr. Mayor... CLAIRE (to Bob) Bob, are you alright? EXT. FIRESTATION TO PRINTSHOP - NIGHT The firetruck is being backed into the firestation. Outside a couple of passerbys are running in the rain, putting their collars up. We see Joe is in the firestation writing in his book. As the firetruck backs up we see the firedog bark, and Joe looks up. ANGLE JOE'S POV Ann is walking past the firestation. Joe comes out to look at her. JOE Hi. ANN Hi. JOE Where you going? ANN Going home. They start to walk down the street in the rain. JOE Going home, yeah. I told them what you said... ANN (over a clap of thunder) What? JOE I told them what you said about the script... They take refuge under the awning of the printshop. ANN I didn't say anything special, I was just talking out loud. JOE ...how else can you talk? ANN No, that's true. JOE No. You, I told them, you can't betray with the picture what you're saying with the words. And, I don't know, the movies, I don't know. They should be socially uplifting, why does she have to show her br...what is this...? They look in the window of the old printshop, the awning under which they have sheltered. ANN Yessuh. Joseph Knights printshop. Vacant for thirty years. JOE Is it... ANN Yep, n'it's for sale. (pause) One of the few things money can buy. Joe looks in the window of the printshop. JOE I told them what you said about the script... They take refuge under the awning of the printshop. ANN Would you like to see it? I've got the key back at my store... JOE I'd love to. ANGLE ON Ann, runs out into the rain, Joe runs along side her. In the b.g., we see the fireman closing the doors of the firehouse, and the firedog being restrained, on a leash, by him and shut up inside the firehouse. EXT. BOOKSHOP - NIGHT ANN How's your star? JOE Gosh, you look nice. ANN ...what...? There's a huge flash of lightning and a clap of thunder and the lights on the street flicker, and come back on. BEAT. ANGLE ON Bookshop. JOE What would you do with it, the printshop... ANN Start back up the Waterford Sentinel. Town newspaper. Show you the plans. She goes into the washroom area, and comes out with two towels. She throws one to Joe, and begins toweling her hair with the other. She hands him some plans, which show photos of the old printshop, and copies of the Old Waterford Sentinel, circa 1900. JOE Yes, it's a lovely idea... She emerges from the back room. She has stripped off her wet jacket and shirt, and put on a light stockboy's jacket. ANN Print it right here. There's another clap of thunder, and all the lights go out. PAUSE. ANN (CONT'D) Oh, my. (pause) Life in the country. One second. Ann takes a small match from the drawer, and lights a small kerosene barn lantern. ANN (CONT'D) Well. There you go. She sits down on the couch, and spreads the plan on a small table. ANN (CONT'D) Press still works. JOE It does? ANN Did as of last week. She shows him the poster for "Trials of the Heart." ANN (CONT'D) Best way I know to get ink on your hands. JOE You'd do the newspaper right here. ANN That's something a man could do...? JOE You know what else a man can do? ANN What? He moves closer to her. He is about to kiss her when the firedog appears on the couch between them. ANN (CONT'D) One moment... She goes in the pocket of her jacket. The dog follows her. She cannot find a dog biscuit. BEAT Joe pats the dog on the head. Leads him to the front door, puts him out. The door blows in the rain. JOE Pelting down out there. ANN People might be better off. They thought about it, spent the evening back in the... She comes close to him. The dog reappears between them. Joe looks around, and goes back to a window, and shuts the window. Ann crosses to her desk. Takes out a box of dog biscuits. The box is empty. The two of them lead the dog out, and pet it on the head. They turn back and the door is slammed. EXT. BOOKSHOP - NIGHT BEAT They start back to find the door locked. ANN Left the keys inside, in my jacket. Joe nods. JOE Well. 'S'pose I should be getting home...look. They turn and Cal, the policeman, is standing next to them. In raingear. ANN Cal... CAL Annie, got an umbrella? ANN Nope. CAL I'll walk you home, you can have my coat. He starts taking off his slicker. ANN Then you'll be wet. CAL I'm goin' off-shift. Come on... I'll walk you home. He covers her with his slicker, and they walk away. WE SEE in the b.g. Uberto and his helper at the firehouse. Uberto swings a shuffleboard disk, and the dalmation window shatters and falls in the street. Some falls on his head. INT. COFFEE CORNER - DAY Doug talking to Postman. DOUG Ten dollars apiece for outdated textbooks you or I could buy retail for a dollar ninety-five. Carla is serving breakfast, her wrist in a cast and a small bandage on her forehead. DOC WILSON Mornin', Carla...how's the itching...? CARLA Okay, Doc. DOUG Bear with me, now -- because what're we getting for our money? See the cat and dog? See what I'm saying? Nice to take this opportunity to mount an investigation of... She assembles a tray, starts out the door as Maude comes in. MAUDE Morning, Carla, what happened to you? DOC WILSON She went to fetch a pail of water. Carla goes out the door. DOUG (to merchant) You see what I'm saying, take this opportunity to mount an investigation of the price of school textbooks. Bear with me now: both the cost, and the content of...look here... He produces some first grade spelling text. DOUG (CONT'D) ...because what're we getting for our money? "See the nice dog. See the nice cat?" They move out of earshot. Ann goes into the Real Estate Office NEXT DOOR to the Coffee Corner. Pausing long enough to look in the window at the placard advertising the Old Printshop. ANGLE INSIDE POV The placard "Old Printshop...78 thousand dollars" "Under Agreement." INT. WALT'S ROOM - DAY Walt, Marty, Bob, Claire, Joe, coffee urns. They work on the script. WALT So you see what I'm saying...the movie is about purity... BOB I've always seen that. WALT We don't show her breasts, we just show your reaction... CLAIRE I'm so comfortable with that, Walt, I can't tell you... WALT Well, Joe said it, and he's right. Knock at the door. Marty goes to the door. ANGLE Carla outside the door, talking to Marty. Marty takes tray. Carla has bandage on her head and a small cast on her wrist. CARLA And I have Mr. Barrenger's Tuna B... MARTY (hands her a bill) Thank you. CARLA I, well, you know, I tried to take him, in his room. MARTY I think he's moved... CARLA I, uh... (pause) Um... ANGLE Inside the room. Marty closing her out. Bob and Claire talking. BOB That makes a lot of sense, Claire, that makes a lot of...list...listen, cause the audience isn't coming to see your breasts. They are coming to see you act. What are you doin' this evening? CLAIRE I'm having dinner with W... WALT We're going to discuss the scr...you wanna come along...? BOB You mind...? CLAIRE No, are you kidding me, Bob, not at all. WALT Marty... MARTY Yeah? WALT Would you, tell the guy, get the A.D., someone, somewhere where we can get away, something, I want, you know, last day before the shooting, get away, forget it, have some local food. (to Joe) You want... JOE I've got a date. WALT He's got a date. He's got a date, is this guy fantastic...? Already he learned how to write a movie, and he found a girl to get his toes curled, what a guy, what a...what a literary find! First A.D. walks in, talking on a cellphone. FIRST A.D. (on phone; sotto) I'm trying, honey. I'm...look, is your Ma, when is your mom coming? Oh. (pause) What did the midwife...? WALT Did you, where are we going tonight? FIRST A.D. I...? WALT Some, you were, you were going to make a reservation for us? Where's my schedule? Where are we booked tonight? FIRST A.D. My wife's having a baby. WALT You what...? Is that on the call sheet, is that on the callsheet, or is that personal business? Ah, Christ. Marty...are we paying you? FIRST A.D. I... INT. BAR - MORNING The bartender is looking down studying a vast book "State Statutes of Vermont". Doug is drinking. DOUG She didn't even finish knitting me the sweater... First A.D. walks in. Doc Wilson walks in. BARTENDER Mornin', Doc... DOC WILSON You doin' here, Doug? Thought you started out the day with that pernicious caffeine... DOUG Kiss my ass. DOC WILSON Well. BARTENDER He had a hard day. Ann's deserted him for some guy on the movie. DOC WILSON Well, they don't always leave with the ones they came in with. BARTENDER Big day last night. DOC WILSON Hope to tell you. Didn't I pick the fragments of glass out of Bob Barrenger's actual head myself. ANGLE IN THE B.G. We see Carla entering with bags of food and checks for bar patrons. BARTENDER Mornin', Carla. CARLA Mornin', Uncle Ron. DOC WILSON Cluster of events. Don't see something, ten years, allasudden, three times inna night. BARTENDER That's what they call an events cluster. Some guy orders a Manhattan, fifteen, twenty years, allasudden, three times inna night. DOUG Who got their heads cut? BARTENDER ...some fella. Orders a Manhattan. DOC WILSON What? DOUG Who got their heads cut? DOC WILSON Uh, Bob Barrenger, fella, Cameraman... DOUG You said three... DOC WILSON Did I? I think you're mistaken. ANGLE ON Doug, looking over at Carla, with a small cast on her wrist and her head beneath a babushka, in the lobby. Doug looks up. INT. CORRIDOR TAVERN MOTEL - DAY Carla, being led by the hand, by Doug. Following them, her Father Jack and Cal the trooper. CARLA I wasn't in the car... DOUG We're going to s... JACK Doug, she says that she wasn't in the c... They stop at a room, knock on the door. A PAUNCHY SALESMAN opens the door. SALESMAN Yeah? DOUG (beat) I've got the wrong room. The Procession reverses, starts down the hall, runs into Marty coming out of his room. DOUG (CONT'D) (to Cal) Arrest him. MARTY What is the...? DOUG Arrest him. CAL For what...? DOUG (beat) Conspiracy in Statutory Rape. MARTY Conspiracy in Statutory Rape? Okay. Of whom? DOUG This young woman. CARLA Nobody touched me, I was at home. MARTY (to Carla) Who is it raped you? CARLA Nobody. MARTY Well, what's the beef? DOUG She was in the car with Bob Barrenger last night. And she was injured coming home from a love tryst, so... MARTY You were in the car with Bob? CARLA No. MARTY Then what is the...? He steps back into a linen closet, takes Doug with him by the lapels. INT. LINEN CLOSET - HOTEL HALLWAY - DAY MARTY Now what is this, you sonofabitch! Because if you haven't heard about the laws of Malicious Prosecution, you're about to. DON'T FLINCH WHILE I'M TALKING TO YOU, YOU TWO BIT SPEEDTRAP FRAUD: There's an old saying, two scariest things in the world, a black man with a knife and a Jew with a lawyer. Now, I am a lawyer, and I am the Jew, and you continue ONE MOMENT with this slanderous shit here in this public place, I'm going to have your ass over my mantleplace. THE KID WAS NOT IN THE CAR, SHE SAYS THAT SHE WASN'T IN THE CAR, NO ONE SAYS SHE WASN'T IN THE CAR, NO ONE SAYS THAT SHE WAS IN THE CAR, YOU HAVE NO CORPUS AND YOU HAVE NO CASE, AND YOU KNOW IT. SO I'M NOT PAYING PATSY WITH YOU HERE, YOU MOTHERFUCKER. Look in my eyes: I made eleven million bucks last year and I don't like being trifled with. Now I think that the better part of valor, though we've got your back up here...the better part of valor is to step away. Or, before G-d, I will see you disbarred. (beat) Now, what do you think? (beat) We all have a movie to make. Now, can we stay together here...? (pause) What do you say? Have a cigar. He puts a cigar into Doug's pocket. INT. HALL - CONTINUOUS The two come out of the linen closet, Marty with his arm around Doug. MARTY It's a mistake. It's all over. (to Carla) I'm sorry that we've inconvenienced you. CARLA I wasn't in the car. MARTY We know that you weren't. They walk down the hall. Before them, Claire, half-clothed, backing out of a motel room. CLAIRE ...because you treat me like a child...you treat me like a child... that's why I can't come... The procession has reached the open door. They look to see whom it is Claire is addressing. Carla looks in the door. ANGLE CARLA'S POV Bob Barrenger, clutching a towel to his naked self, smoking a cigarette. ANGLE The group in the hall. Carla points into the open door. CARLA He took advantage of me. INT. PROD. OFFICE - DUSK Cal, Bob Barrenger, Walt, Doug, Carla and Jack. MARTY ...upset and impressionable. (to the A.D.) Get me the Mayor. BOB (to Carla) ...I was just talking to that girl in the other room. MARTY ...overcome by the events around her, the presence of a high-powered... BOB (to Carla) I never touched her. My mother's gr... MARTY And a fantasy object... DOUG (to Cal) Tell him to get dressed... CAL Uh, sir... The First A.D. enters with lawbooks, marked as to page. MARTY (takes lawbooks) Wally? WALT Look, Carla, this is a hard time for you. Many young people go to Hollywood. I did...and we all dream of it, and here, here Hollywood has come to you. CAL Mr. Barrenger, I'm very sorry, but... WALT Here this dream world has come to you. Now, you obviously have an active, a vivid imagination. CARLA Her... BOB I swear that that woman in my room... WALT Be quiet, Bob. A fertile mind. Now we can use that kind of people in our work. Yes, we can. Now, and this is what occurs to me... There's a part in the film...isn't that right, Marty? Marty is perusing the lawbooks. MARTY Mmm. WALT That we could use you in and I think that's quite a fine trade-off all around and an ill wind that blows somebody good. MARTY (of the book) Here it is: Statutory r...blah, blah, blah, blah... "statutory"... "unsupported testimony by the..." (he shows the book to Doug) Hold on, Bobby. (to Doug) You've got nothing and you know it. By G-d, you know it. Harassment. You need a... even if this was true, you need a witness. You need someone puts her in the car. And you've got nothing. Now we all have...yes, give her that part in the film. (to Carla) Yes, we'd love to have you... Now: we all have more important things to do, isn't that right...? Marty starts ushering everyone out of the room. MARTY (CONT'D) Isn't that right? I'm sorry that you all went to this... JACK I knew she wasn't in the car. MARTY This has been just an unfortunate. He ushers them out, the phone is ringing. Walt picks it up. WALT (into phone) Yes? Hello, Mr. Mayor. Nothing, just an, an unfortunate... (he covers the phone) It's the Mayor, he's saying... MARTY Is he cool or angry? INT. MAYOR'S HOUSE - CONTINUOUS Mayor on the phone. Sherry in the b.g. MAYOR Well, these things happen. Purpose of my call, my wife wanted to know what brand of cigarettes Mr. Barrenger smokes, so she could lay some out tonight...we got the list of his dietary requirements... INT. PROD. OFFICE - CONTINUOUS WALT (hangs up phone) So we just got lucky. BILL Marty, it's Howie Gold on the coast. He needs your confirmation on a request for money...? MARTY And I need a drink. Marty exits. WALT (to Bob) If your memory was as long as your dick, you'd be in good shape. How long since you almost went to jail for this shit? BOB How could she turn on me like that? I thought she liked me. WALT Can we try to keep our pants buttoned and get out of this town in one piece? BOB I'm ready! WALT Stay ready. Stay by yourself in your room. BOB What'll I do for fun? MARTY Whyn't you learn your lines? BOB I know my lines... WALT You do...? BOB I just don't know what order they come in... Walt walks away from Bob, shaking his head. ANGLE ON Walt, as he walks down the stairs. WALT I tell you what, let's ditch these cockamamie locals. I need to get outta here. Go to some roadhouse tonight, just us. Claire, Bob, siddown, have a bottle of wine. Tell me where we're going, and let's go. They walk by the bullpen, wherein we see P.A.s refilling Evian bottles from a ratty old watering can. P.A.s take us, with their Evian bottles, into Walt's office, where we see the "Dinner with the Mayor" sign. INT. MAYOR'S HOME - NIGHT Twelve overdressed people, including the Postman, the Gunstore Owner, etc. sitting, still around the Mayor's laden dining table. BEAT. Sherry looks over her shoulder. ANGLE ON Next room, the Mayor on the phone. Hushed. MAYOR Well, you must, where did they... where...I... PAUSE Very angry, he HANGS UP and looks out the window. ANGLE POV The Mayor lets the shade drop, walks back to the table. Silence. INT. BAR - NIGHT Doug, in his cups, at the end of the bar with the First A.D. DOUG Hey, you've gotta eat a peck of dirt... FIRST A.D. My wife just went into labor... The bartender studies his state statutes book. BARTENDER'S POV Inside the book, the storyboards show the movie's heroes copulating. DOUG Half a buck I'd close it down. It's per...you know...it's perfidy, you got your Barrenger, molesting little girls. FIRST A.D. He should be put in jail. DOUG Half a buck I'd put him in jail. FIRST A.D. You should. DOUG I had a witness, I would. FIRST A.D. A witness to what? DOUG You know, the rape, to...even to the accident. FIRST A.D. You mean with White? DOUG What? FIRST A.D. You mean you need a witness in addition to White? DOUG Who's White? FIRST A.D. The writer. DOUG (beat) He saw the accident...? FIRST A.D. Sure. DOUG He saw the girl in the car... FIRST A.D. You bet he did. INT. MAYOR'S HOME - NIGHT The Mayor and his wife alone at the table. The maid emptying trays of food, untouched, into a galvanized steel garbage pail placed in the middle of the room. One of the guests leaving, putting on her coat. Dips back into the dining room to try to pick up a tray of pate. SHERRY Don't you touch that... I want them gone. MAYOR I signed the permit. I don't know how I can. SHERRY I want them thrown in jail. MAYOR Sherry, Sherry... She empties it into the trash. BEAT. The guest, chagrined, leaves. The Mayor, sitting and drinking booze out of a large glass. The phone RINGS. BEAT. He goes to answer it. MAYOR (CONT'D) (into phone) What? (he jiggles the receiver) Get me the State Police. EXT. PRINT SHOP - DAY A sign in the window, "Sold" is stamped over and reads "Under Agreement." Early summer morning. Joe, holding a cup of coffee, looking at the print shop. Ann walks up. JOE Good morning. ANN Sleep well? JOE Yeah, you? ANN Oh yeah... JOE We could live up here, live up in the country. ANN Now you're talking... JOE And we could get up every morning... ANN ...well, we do that anyway... JOE And come to the printshop. You know why? JOE (CONT'D) To print the newspaper. And I'd come to write. To write. To write. Right here in the office. ANN Not without a rolltop desk. JOE Well, I could get a rolltop desk. ANN Happen to know where there's one for sale. JOE Well ain't you amazing. They walk on, onto the scene of various filmfolk setting up. EXT. STATE AND MAIN - INTERSECTION - CONTINUOUS ANN Lookit that, up already. JOE That's why we filmfolk get along so well with you farmers. Both up with the chickens. They push through the mass. The street is closed off by Police Cars. They come upon a TV REPORTER doing a standup in front of the firehouse where we see, in front, both the old firetruck and state trooper cars. TV REPORTER Where Movie Star Bob Barrenger, fresh from his troubles with the law last year... ANGLE ON Ann and Joe, as they look on. ANGLE ON A state trooper and Doug, as they walk through the crowd. Marty walks up to the TV REPORTER. TV REPORTER (CONT'D) ...is once again in hot water. Involved in a car crash last night with a young, a very young woman, Mr. Barrenger is being arrested today for... MARTY You better make sure you got your facts straight, pal, cause, you step off the line and I'm going to sue you personally for... The trooper, Doug, and Bob Barrenger walk up to Marty. TROOPER We're looking for a Joseph Turner White. MARTY Oh, good, yes. Good morning. Where are you taking Mr. Barrenger? TROOPER We are looking for a Mr. Joseph Turner White? MARTY What are you doing with Mr. Barrenger? DOUG He's under arrest. Doug hands the arrest warrant to Marty. MARTY Oh, good. I'm his lawyer...and you must be Perry Mason. Guess what, you're about one-half step from a world of hurt...how diverting...the Mayor's gonna have your ass. Can I watch? CAMERA takes the group, the trooper, Doug, Bob, in handcuffs, Marty talking with them, through the crowd, on the back of which we see Ann and Joe. DOUG Well, you guess what. The Mayor sent me. I have your Mr. Barrenger with a history of... MARTY ...a history of nothing, he was acquitted. DOUG Moral turp...you're on my home court, friend. I have the Mayor and the town behind me, and forget making your movie: I may own the studio when I get through with you: I got a civil suit, I got rape, I got collusion... MARTY You've got nothing, you don't have a witness... DOUG And I've got a witness! Your Mr. White saw the crime. MARTY He told you that!? DOUG He didn't have to tell. MARTY I want to talk to him. Would you ex... DOUG Oh, you're his attorney, too? MARTY Later for you, pal. DOUG Okay. He motions the cop to take out Barrenger. Marty sees Joe in the back. MARTY Bobby, don't say anything. BOB Nothing happened. DOUG We'll see about that at the inquest. ANGLE ON Marty, as he leads Joe down into an alleyway, and into a backyard, hung with washing on the lines. MARTY Yeah, hi, pal. I need to talk to you. INT. BOOKSHOP - DAY Ann, Joe and Marty. Cal has followed them into the bookstore. He speaks privately with Ann and exits. ANN What is it all about? JOE I saw... MARTY How do they know that, you told them? JOE No. MARTY What did you say to them? JOE I didn't say anything to them. MARTY How do you know you saw it? JOE I don't know. MARTY Well, then, you didn't see it, right? JOE I don't... MARTY You didn't see it... JOE I...? I saw it. I was there. MARTY You were there. At...at 10:35...? Joe takes the arrest warrant. Looks at it. Changes his glasses. JOE (as he reads) I was walking down the street...I remember, I was writing a... MARTY What glasses were you wearing? (pause) Were you wearing your reading glasses? JOE I... MARTY You told me you were writing. Don't you wear your reading glasses to write...? Marty's cellphone rings and he answers it. After a pause, he hangs up. MARTY (CONT'D) I've got to go to the jail. He exits, leaving Walt alone with Ann and Joe. ANGLE ON Ann. She sees something down the other street. We see Cal, the policeman, enter and start toward Joe. We see Ann restrain him, and speak to him in the b.g. for several moments. He shakes his head, and she reasons with him, and there is a pause and he looks at Joe, and exits. BEAT ANN ...he's going to give you a couple of minutes. PAUSE Joe walks Ann off to the closed back door of "The Waterford Players." JOE What am I gonna do? ANN You got to tell 'em that you saw the accident. Don't you? JOE I can't do that. (pause) If I tell them, they'll, if I tell them, they'll try Bob for rape, they'll... it'll ruin his career... ANN But that's what happened. JOE But it'll stop the movie. ANN Maybe they'll be other movies. JOE They'll...they'll blackball me. ANN Carla was in the car, right? JOE I...I think that's right. ANN ...you think that's right... PAUSE JOE What'm I gonna do? Ann picks up a copy of the old Waterford Sentinel, which was left on the coffee table. Ann hands the paper to Joe. ANGLE ON Joe, holding the paper. ANGLE INS. The masthead reads, "Waterford Sentinel, All the News of the Mountains, 'You Shall Not Bear False Witness.'" ANGLE ON Ann, who has also picked up the "For Sale" sign, showing the printshop. She stands looking at Joe. BEAT. Cal enters. They look towards him. CAL Lotta hubbub on the street. I'm taking you the back way. EXT. BACKYARD OF THE BOOKSHOP - DAY Cal walks with Joe, still holding the newspaper. As they round a housecorner, Walt appears and walks with Joe. WALT (checks watch) Let's speak English. You've got to help the side. JOE You want me to lie. WALT To the contrary. I want you to tell the truth. (pause) The truth is, you can't tell me, to a certainty, that you saw the thing. You don't remember, a gun to your head, which glasses you have on. And you have a fertile imagination. Imagination wants to fill in the blanks. Now. IF you aren't sure, then they have nothing. Bob walks free. As he should. (pause) Joe: wasn't long ago they buried actors at the crossroads with a stake through their heart, you know? The people who are talking to you about the way we live though we may praise them, we fear them. And they fear us. Because we tell the truth. About our lives. Now, this is a damn roost, and everyone knows it; the guy is looking for a case, he wants to make a name for himself...If we let him do that, if we let him do that, then we're being false to our community...to our community, you understand? To our world. Cause you are a part of that world, now. You have to take off the steel Rolex and put on the Gold Rolex. (pause) And be part of your world. I got a five picture deal with the studio. And you stick with me. You write one, two more, you stick with me, and you'll direct the third one. You are a part of this world. You have to do the right thing: we're out in the Provinces, the Sheriff, literally is at our door. You have to stand with the troops, Joe. That's the bottom line. You have to...if you had the leisure to think it through, you'd see it for yourself. The girl wasn't in the car. Cal takes Joe to a side door of the courthouse. INT. SMALL COURTROOM - DAY Joe coming in through the side entrance of the courtroom. Various law books and dusty forms on the shelves. Cal leads him into the courtroom, empty, save for the court reporter, Maude and the BAILIFF. Cal motions Joe forward. CAL ...Joseph Turner White... BAILIFF Hear ye, hear ye. Sixth District Court. And for the county of Kadona, State of Vermont, the honorable James Addison Flynn presiding. All those having business before this court, draw forward and you will be heard. Judge enters. BAILIFF (CONT'D) All rise. JUDGE Please...Mr. White? This is a simple matter of... Scott hands him a sheet of paper. JUDGE (CONT'D) Uh huh, all we need's a simple fact or to...you're going to give your recollection of the accident last evening, at the corner, State and Main. Would you please swear him in. BAILIFF Do you swear to tell the truth... EXT. MAIN STREET - DAY A crowd, moving along, with the TV Reporter. TV REPORTER (talking into camera) ...the arraignment, as we said of Bob Barrenger, The Bob Barrenger, star of "The Old Mill," about to begin shooting here, in picaresque and sleepy... (sound of shouting, and reporter looks around) we should say, formerly sleepy...Yes, yes, it's...yes, it's Claire Wellesley, and we're going to try to get a look at... The crowd moves away, revealing Ann, standing in front of the realtors, looking at a card in her hand. She looks up to see Joe coming toward her. ANGLE ON Extreme close up, she smiles. ANGLE ON Extreme close up, Joe. He looks toward Ann, sheepishly. ANGLE BACK ON Ann, as she looks down at the card in her hands. ANGLE INSERT It is the real estate placard for the printshop, marked "under agreement." ANGLE ON Ann, as she rips it up. INT. LOBBY OF THE HOTEL - DAY Joe, coming in, a hangdog look on his face. P.A. (to Joe) They need those rewrites on the "Old Mill" scene... Joe nods. Continues through the lobby. ANGLE ON Various reporters, Scott being interviewed. SCOTT ...about his personal life, though I can tell you a few things about... Joe walks past. JOE Would you please hold all calls to my room? SCOTT Though I can tell you a few things about his dietary requirements. The old bellhop is packing up his lunchbox and changing into his streetclothes. INT. JOE'S ROOM - DAY Joe enters and takes out his pad and pencil. He sits on the bed. On the pillow, he sees and picks up a black and red hunting jacket, onto which the one foot short sleeve has been knitted in baby blue. There is a card in the picket that reads "Better than new -- it's got a story!" He puts it down. He picks up his notebook, in which he has written: "The Purpose of the Second Chance is to allow you to make the same mistake twice." He stops by the mirror on the chiffonier into which he puts the lure, which still has the attached card reading "The truth may not always set you free, but it's always the truth - Joseph Turner White." Joe goes to the bed. On the bed is a small package tied with ribbon. Joe opens it. ANGLE INS. It is a small thing of maple syrup. Attached to it is a card reading: "It is your invention which makes everything sweet." He takes off his jacket, and picks up his notebook. Out of his jacket pocket falls the old copy of the Waterford Sentinel. He picks it up. ANGLE JOE'S POV The masthead: Waterford Sentinel "The Voice of the Mountains, You Shall Not Bear False Witness." He puts the newspaper down. Picks up the maple sugar card again, and looks at it. He sees an arrow and turns it over ANGLE INS. The back of the card reads: "How about an Associate Producer credit...?" He takes the paper, balls it up and throws them into the trash. He picks up the fishing lure which is resting on the typewriter. Puts it into his pocket, thinks again, throws it in the trash. Shakes his head, and picks up his suitcase and starts packing... EXT. ANN'S STREET - DAY On Doc Wilson, as he walks down the street. A little kid, on a scooter is going in the other direction. KID ON SCOOTER Mornin', Doc. DOC WILSON Mornin', Billy, where ya goin' in such a hurry? KID ON SCOOTER Down the corner, see the ruckus... DOC WILSON Watch the curbs, now... ANGLE ON Joe, as he stands across from Ann's house, looking at it. He holds his suitcase. DOC WILSON (CONT'D) (of his suitcase) Where you off to? JOE I, uh...I'm leaving... DOC WILSON Why? JOE I perjured myself. (pause) I told a lie, and I ruined my life. That's what I did. (shrugs) I don't suppose you could help me with that, could you? Turn back the clock, or something? Give me back my, give me back my purity, I don't suppose you could just wave your magic wand and do that, could you? But what is truth? Eh? Ain't that the thing? What is true? DOC WILSON It's the truth that you should never trust anybody, wears a bowtie. Cravat's s'posed to point down to accentuate the genitals, why'd you wanna trust somebody, s'tie points out to accentuate his ears? Joe turns to see Doc swigging from his flask. In the b.g., we see the bellhop walking. BEAT JOE Aren't you supposed to set an example for people? DOC WILSON Nope. I'm just supposed to hold people's hands while they die. What'd you say your problem was? JOE I just swore my life away, back in that... DOC WILSON (as he sees an older woman off on a porch to the side) Mornin', Chessy, how's the back? Doc walks off to his office. EXT. RAILROAD STATION - DAY JOE I ruined my life. Isn't that funny, that you can actually do it in one moment just like they say. I ruined my life back in that courthouse. Bellhop, who has walked up beside him... BELLHOP What courthouse? JOE Courthouse back in town. BELLHOP Town ain't got no courthouse. JOE What? BELLHOP Ain't got no courthouse. Courthouse burnt down, 1960. The train is arriving. The stationmaster puts out the steps to help the people down. JOE Well, where do they hold court? BELLHOP Hold court, they have to, science lab, the high school. An ELDERLY LOOKING JUDGE FELLOW descends from the train, followed by the CADDY with his golf bag. STATION MASTER Mornin', judge, what brings you here? JUDGE I'm s'posed to hear some deposition, some fool saw the accident last night. JOE ...the courthouse burnt down...? STATION MASTER Yep. Courthouse burnt down, 1960. Part of a spate of fires, Old Mill, Courthouse... S'posed to've been set by some deranged teenager. Joe looks around. ANGLE JOE'S POV The old bellhop walking down the tracks. ANGLE ON Joe, as he turns back into town. ANGLE CLOSE UP On the Station Master. STATION MASTER (CONT'D) Yep, never did discover who set 'em... He smiles, and lights his cigar. EXT. COURT HOUSE BUILDING - DAY We see the crowd has moved down the street and the "Courthouse" building is empty. INT. COURT HOUSE BUILDING - DAY Joe enters, and the camera takes him into the deserted building, through the courtroom and, in back, he sees Ann standing alone. He walks back to her, through the doors which appear to be the Judge's chambers. ANGLE REVERSED We show that the walls of the Courtroom are the set, and we are back in the "Trials of the Heart" set. Ann is sitting there. Reading her play by Joe White. He looks at her for an explanation. Maude, the court reporter woman, is sitting in the b.g. Ann is knitting in pink wool. ANN I thought you needed to get it out of your system. Ann moves to embrace Joe. They hear screaming. They turn. EXT. MAIN STREET - DAY ANGLE THEIR POV At the end of the alleyway, in Main Street. We see Sherry, the Mayor's wife, leading a crowd. SHERRY ...a blight, a blight and an obscenity...that's good English, isn't it? How's that for entertainment? ANGLE At the mouth of the alleyway, on Main Street. We see: ANGLE INS. The baseball on which is written "To Chucky from your best friend, Bob Barrenger." ANGLE XCU The distorted face of Chucky, heaving the baseball. ANGLE ON Bob Barrenger being led through the crowd, a baseball hitting him in the back of the head, as troopers hustle him toward the courthouse. In the b.g., Ann and Joe emerging in the alleyway. ANGLE ON Ann and Joe, who starts to cross the street. We see the airport van. ANN What are you going to do? JOE I'm going to tell the truth. They start to cross the street. In the b.g., a little man with a bag (HOWIE) gets out of the airport van. Joe and Ann walk toward the crowd at the mouth end of the high school. INT. HIGH SCHOOL CORRIDOR - DAY A crowd of people, TV technicians, and a view of Doug on a TV monitor. DOUG ...and to exterminate this vermin, yes, I use that term, who have abused, who have desecrated, yes, the license granted to them by a gracious nation... ANGLE ON Marty and Walt, standing near the monitor, looking on. Shaking their heads. ANGLE ON The monitor. Doug, seen through the monitor. DOUG (CONT'D) ...who spew filth and degradation... (begins to wipe his head) As he does so, a makeup person comes in and sponges him. DOUG (CONT'D) ...thank you... TV REPORTER ...you want to clean up? ANGLE ON Doug, seen "live" in the next room, starting to wipe his brow. DOUG Yes, thank you. ANGLE ON Marty and Walt watching Doug, as he walks down the hall. TECHNICIAN Five minutes, and we're going live to the network. DOUG (to himself) ...foreign, and un-American perversions of the Democratic process. By those we have entrusted with our dreams... ANGLE ON Marty and Walt, looking on. WALT Do something. MARTY You tell me what to do, I'll do it. They look on to the preparations for the TV. WALT ...and I was just paying off my house in Malibu... Ann and Joe push through the crowd. WALT (CONT'D) Thank G-d, it's up to you, Pal. Sup to you... JOE I'm out. WALT I don't getcha. JOE The girl was in the car. WALT I treated you like a son or nephew. JOE It's no you, it's... WALT No, what is it? JOE I have to tell the truth. WALT ...that's just so narrow... JOE The girl was in the car. WALT Then you're finished in show business. JOE So be it. WALT And my company sues your ass for sixty million dollars. JOE For what cause? WALT I don't need a cause, just a lawyer. HOWIE GOLD shows up holding his bag. HOWIE I'm a lawyer. MARTY Howie... HOWIE Yeah? MARTY What are you doing here? HOWIE What am I doing here is I just flew seven hours cause you asked me here. WALT What for? HOWIE (presenting the bag) For this...I hope you need it, cause it's coming outta your budget... ANGLE INS.: The Bag, as Marty opens it - it's full of MONEY. INT. LAVATORY HIGH SCHOOL - DAY Doug is mopping his face up. He looks up. Marty is standing there. MARTY Hi. DOUG I'd prefer it if you didn't speak to me. MARTY I.... DOUG ...you know, there's nothing you could say, that could possibly make a difference, so, why don't you just save your breath... Marty puts the case up on the washstand. DOUG (CONT'D) What's in the case? MARTY Eight-hundred thousand dollars in cash. PAUSE DOUG And what was it you wanted to say? MARTY Gut Yuntif. INT. HIGH SCHOOL CORRIDOR - DAY Ann and Joe passing through. They stop and Joe comes up to a State Trooper. As we press forward the Mob begins to reverse direction and passes back towards Joe. Leaving the Hall empty, save for the Judge who comes out, putting his robs into his golf bag. JOE (to Judge) I've come to give myself up... JUDGE Well give yourself up to someone else. I'm gonna get in some golf. Hiya, Annie. Give yourself up to her. And we see Joe has moved up to the TV monitor, where we see Doug, in the Science Lab, talking to the press, and holding his money bag in his arms. DOUG I have learned a lesson. And the lesson is this...that everybody needs a second chance. You, me, and these fine, film people here. You know, they have a high profile, but that doesn't mean they aren't deserving of our trust, and of our respect. You know, I think there is a lesson here, and the lesson is this: it is a lesson of Tolerance...and, as we look at this industry, at this clean, American industry, and as I begin my campaign for congress... DISSOLVE EXT. MAIN STREET - DAY Walt on the scene, talking with the cinematographer, and the Camera Operator, preparing the first shot. The First A.D. instructing the extras. FIRST A.D. Okay. Are we getting set up here...are we getting set up...People...? Can we settle...can we settle now...? EXT. MAIN STREET - CONTINUOUS ANGLE ON Ann. As she, holding the placard starts to cross the street. An old farmer smoking a pipe, driving a pick up is stopped by a P.A. talking on a walkie. We see that it is the "Judge" who listened to Walt's testimony. Ann waves to him, and proceeds to the Old Firehouse, where they are about to make a movie... FIRST A.D. Okay, this is picture... Ann stops at the back of the crowd of onlookers. She waves to someone. ANGLE ANN'S POV It is Joe, sitting near the director, who waves back. ANGLE ON Ann, who is next to Cal, the policeman, now in leather jacket and leaning on his Harley motorcycle. FIRST A.D. (CONT'D) Quiet, please... ANGLE ON The slate, which reads "The Fires Of Home." EXT. MAIN STREET - FIRESTATION - CONTINUOUS Where they are filming the characters in turn of the century garb. Bob Barrenger, dressed as a fireman, is polishing the old fire engine. The actor playing Doc Morton walks past. DOC MORTON Mornin', Harry. Heard you had a little fire last night. FIREMAN Waal, you didn't have nothin' to do, Doc, wouldn't life be dull...? Two nuns walk by. BOB Mornin', sister. CLAIRE (in nun garb) We missed you in Church today, Frank. BOB Sister, I've just come from a fire... ANGLE ON Joe, sitting near the camera, looking through the script. Reading along, mouthing the words. He wears the plaid jacket, one sleeve is pink, knitted. ANGLE ON The on-lookers. Ann, Cal, next to her, lounging on his motorcycle. Grace and Maude, Spud and Morris, the Postman, the fake Judge, who is also the man smoking the pipe in the first sequence and is smoking a pipe now, Scott from the hotel, etc. ANGLE ON Crew, and the film within the film. We see the lively stable across the way. On its side are painted various ads. Among them, one which says: "Stefan P. Bazoomercom" and Marty is standing next to it. Looking on at the scene being filmed. An A.D. brings him a cup of coffee. The A.D. is passing out pink bubblegum cigars, the bands of which read "It's a Girl!" ANGLE ON Film within the film, the group at the camera watching, transfixed. SISTER ...to come by next Sunday, and we'll give you a second chance. BOB Only second chance I know, chance t'make the same mistake twice. SISTER Well, time will tell. She walks past the "Bazoomer.com" ad. FIRST A.D. (holding cellphone to his ear) That's a cut! ANGLE ON Ann and Cal, as they talk, the firedog comes over and Ann gives him a biscuit. In the b.g., we see the man with the pipe get into his pickup and drive off. The Postman goes off continuing his rounds. ANGLE ON Ann and Cal as they talk. Next to them Morris and Spud congratulate each other. Next to them, we see the fake judge and the bailiff. CAL Mom's expecting you for dinner tonight. ANN I'll be there. CAL You bringing your new friend? ANN Sure plan to CAL (pause) He have any special delivery requirements? ANN He'll eat potroast and like it. CAL Go you Huskies? ANN You bet your life. ANGLE ON Joe, as he looks over at Ann and smiles. ANGLE ON Ann, giving him a "thumbs up" sign as the Firedog comes and sits next to her. In the b.g., we see the pickup hit the pothole and bounce. FADE TO BLACK. THE END.
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+

+STEPMOM
+
+Ronald Bass
+
+Second Revised Draft
+
+Previous Drafts by:
+Gigi Levangie
+Elizabeth Chandler
+Jessie Nelson &
+Steven Rogers
+
+
+	INT. RACHEL'S BEDROOM - EARLY MORNING	A billowy white screen.  An alarm clock BLARES.  As MAIN TITLES	BEGIN, the lovely sleeping face of RACHEL KELLY rolls into frame.	Then out of it.  Alarm keeps BLASTING.  Back she comes, pulling the	sheets OVER her head.  Motionless now, as we hear...	... the DEAFENING SILENCE of the alarm shutting off.  A beat.	Rachel SITS BOLTS UPRIGHT.  LEAPS out of the room.  From the back	we see that she's dressed only in a pair of men's boxers.	She makes it halfway down the hall, does a U TURN back into the	bedroom, frantically YANKS a robe hanging from the door, taking the	wall hook WITH her.  She FLINGS her robe on as she RUNS down the	hall, wall hook STICKING OUT of her back.  BURSTING INTO...	INT. BEN'S ROOM - EARLY MORNING				RACHEL		Ben!  You overslept again damn it!	The room looks like a 6 (but I'm almost 7) year old exploded.	Posters of MAGICIANS on all the walls.  Rachel darts about the room	mismatching the clothes she forgot to arrange the night before.				RACHEL		Get Up Get Up Get Up!	The LUMP under the cover doesn't move.				RACHEL		Ben you're late.  I'm serious.  I'm		wearing a very serious face.  Don't		make me start counting ONE...	No movement.  Rachel tugs the sleeve of a shirt hanging on a chair,	and out comes a magician's bouquet of FLOWERS.				RACHEL		TWO.	She pulls a dirty handkerchief out of the pocket of the shirt --	it's an endless MAGICIAN'S HANDKERCHIEF.				RACHEL		Don't make me say three I'm about to		say three.			(a beat, then)		Three!	She RIPS the covers off and a blow-up DINOSAUR sleeps in Ben's	place.				RACHEL		Ben I'm not kidding around.  You make		yourself appear this instant!	A WHITE BUNNY saunters across her toes.  Rachel SCREAMS -- then	gathers her wits and searches under the bed -- under the bureau --	she opens the closet doors and shoving clothes aside.				RACHEL		You might think this is funny but this		is actually NOT funny.	Unseen by Rachel, six-year-old BEN sits, perched on the highest	closet shelf, knees under his chin, holding his breath.  His eyes	gleeful as Rachel frantically closes the closet door.	INT. HALLWAY - EARLY MORNING	Rachel hops over the Bunny, navigates through strewn toys and books	STUBBING her baby toe.  She limps in agony past a big picture of	the kids with their daddy and heads towards a door with a KEEP OUT	EVERYONE! sign.				RACHEL			(bellowing)		ANNABELLE!  WAKE UP!	ANNABELLE'S BEDROOM - EARLY MORNING	ANNABELLE, 10 years old, sits on the edge of her bed, fuming, all	of her limbs crossed.  She holds up a filthy purple tee shirt.				ANNABELLE		You forgot to wash my purple shirt.  I		told you a hundred times it was Purple		Day at school today.				RACHEL		I didn't forget.  I was up all night 		thinking about it and I concluded you're 		too special to look like everyone else.			(she grabs an orangey 			 red tee shirt)		Orange Red.  That's your color.  Few 		can carry it off.  Now please.  Help 		me find your brother.				ANNABELLE		You lost Ben?!				RACHEL		Of course not.  Does he look lost to 		you?			(big breath)		BENNNNN!!!	INT. SUBURBAN EXTREMELY WELL-STOCKED KITCHEN - EARLY MORNING	Rachel, smoking a cigarette and drinking a diet coke, FLINGS open	pantry doors, closet doors -- looking for Ben -- attempting to put	stone hard butter on toast at the same time.  She glances at the	clock -- 7:55.  Oh dear.  Annabelle sits at the table, in a grumpy	orangey red mood.  Rachel hands her what was once a piece of toast.				ANNABELLE		No.  I told you.  I like apple butter		not butter butter.				RACHEL			(hands her an apple)		Here.				ANNABELLE		Never mind.  I'll just eat my lunch.				RACHEL			(forgot)		I'm almost done making it.			(to the non-existent Ben)		Alright Ben -- you deal with the tardy,		you write yourself a note, your daddy		told you he had an important case this		morning and he had to leave early and 		we were AAAAGGGGHHHH!	She has opened a cupboard with a Lazy Susan that turns revealing	BEN sitting there.  Rachel screams AGAIN!				RACHEL		Oh my God.  That is so not funny.  You're		late.  You're really late.  Now get out		here and have some cereal.				BEN		No.				RACHEL		Fine!  Eat in the cupboard.	She hands him a bowl of sugared cereal -- puts two spoonfuls of	instant coffee in Barney cup, and sticks it under the faucet.				BEN		No!  Cocoa Puffs on Top -- Fruit Loops		on the bottom.				RACHEL		Fine.	Rachel grabs the bowl, turn it UPSIDE DOWN on the table reversing	the order of the cereal.  She SWEEPS it back in the bowl and	quickly hands it back to him, the phone RINGS THROUGHOUT...				BEN		You touched it.				RACHEL		Then have a donut --				BEN		No.				RACHEL		Alright starve.				ANNABELLE		I'm gonna beep daddy at work.				RACHEL		He's badgering a witness.  Eat.				BEN		But you told us to starve.				RACHEL			(picking up phone)		Hello?...Duncan...The Ad Agency's		already there?...I'm out the door...			(Ben flings a fruit loop			 at her)		Ben!  Knock it off!			(into phone)		It's gonna go beautifully...			(another fruit loop)		Damn it Ben --	Rachel runs around absentmindedly loading out leftover pizza, 	Hoho's, and Chips.  She glances at the clock again -- 8:00.				ANNABELLE		You swore.  You owe me a quarter.  Did		you remember my egg carton?  I told		you I needed my egg carton for seed		planting today.				RACHEL		Absolutely Duncan I'm on top of		everything.	Rachel takes the eggs from the fridge, and dumps them -- accidentally	missing the sink.  They SHATTER onto the floor.  She hands the empty	carton to Annabelle.				RACHEL		...EGGzactly.  I'm putting on my coat --			(she hangs up, panicked)		We are late.  We are seriously late.  Which		means Mister Ben we've got to get you 		dressed --				BEN		No!	Ben races away but Rachel LUNGES And CATCHES him.  He wiggles in	her arms as she struggles to change his clothes.  Just as she gets	his bottoms off she drops his clothes in the pile of gooey eggs	when we hear a loud KNOCKING at the kitchen door.  Holding a half	naked Ben in her arms, Rachel looks up at...	JACKIE HARRISON.  An immaculately dressed, intimidatingly intel-	ligent, utterly beautiful woman staring at her with extreme	disapproval.				ANNABELLE AND BEN		Mommy!	Annabelle and Ben RACE into their mother's arms like little angels.	Jackie shoots a fiercely protective glare at Rachel.  They LOCK	eyes.  Enough wattage to light up all of Manhattan.	EXT. RACHEL'S LOFT, SOHO - MORNING	Jackie and the kids exit Rachel's building, onto a bustling Soho	street.  The kids clamber into the double-parked Volvo wagon.	Jackie, still pissed, climbs behind the wheel.  Drives off.	INT. JACKIE'S VOLVO STATION WAGON - EARLY MORNING	Jackie drives the children down a tree-lined street in Englewood,	New Jersey.  Ben is banging Jackie's sunglasses case against the	window.				JACKIE		...it's really not so bad Annabelle -- Red		and Blue make purple.				ANNABELLE			(yes she does)		I don't care.				JACKIE		I know you don't, but if you had, chrom-		atically you are in the purple family.	Jackie fishes through her purse.  Finds a toy airplane for Ben.  He	stops banging her glasses case, starts banging the plane.				BEN		Why does Rachel wear Daddy's underpants?		Doesn't she have underpants of her own?				JACKIE		I noticed a whopping pile of laundry		sitting on the washer -- perhaps Rachel's		underpants are in there -- Now where are		your lunches?	As if by rote, they hold out their lunches.  One is a plastic Vons	bag and the other a crumpled Macy's bag.  She collects them and	hands Ben and Annabelle two brightly colored lunch bags.				BEN		Annabelle sucked her thumb last night.				ANNABELLE		I NEVER do that, you ALWAYS lie!	And SLUGS him.				JACKIE		Never say 'never' -- it's not fair to		say 'always' -- and no name calling.		Use your words.				ANNABELLE		I hate when you say that.				JACKIE		Thank you.  Those were all words.  I		hate the planet Uranus.  Terrible name		for a planet.	Annabelle and Ben look up at her curiously.				JACKIE		I hate snails and blue cheese.		Especially together.  Hate.				BEN		I have lava.				JACKIE			(reflects)		Lava's hateable.  I never thought of		that.				ANNABELLE		I hate overly ripe bananas -- they make		me want to throw up.				JACKIE		Excellent point.				BEN		I hate wax lips and red ants and		pretzels without salt...				ANNABELLE		I hate the crayon Burnt Sienna and		people who spit when they walk.	Jackie nods sagely.  Pulls up next to a school playground.				JACKIE		I hate to say goodbye.  Eskimo Kiss.			(they rub noses)		Russian Orthodox Wedding Kiss.	They bump foreheads and elbows.  Ben runs toward the kindergarten	playground; Jackie watches concerned as Annabelle climbs the steps.	The only orangey red dot in a sea of purple.	EXT. PHOTOGRAPHY STUDIO, TRIBECA - MORNING	Taxi pulls up to a converted warehouse.  Rachel BOLTS out, 	SPRINTING for the door.	INT. PHOTOGRAPHY STUDIO - DAY	Black and white FILLS the frame.  Like a checkerboard.  We PULL	BACK and realize we are seeing a group of PENGUINS waddling against	a black and white backdrop.  We see a WHITE WAITRE'D in a BLACK	TUXEDO holding glasses on a tray.  A BLACK MODEL, IMAN, in a WHITE	DRESS glides through it all.	In the center the only dash of color is Rachel -- who has just	entered and starts expertly directing the action.  She calls out to	her assistant, COOPER.  Perpetually hip.  Perpetually young.				RACHEL		Cooper, back the fill off I don't have		enough shadow...				COOPER		You've got a fruit loop in your hair.				RACHEL		You say that like I don't know that.				COOPER		I once threw an entire bowl of jello		on my stepmother's head --				RACHEL		And when did that pass?				COOPER		Actually, never.  They'll always hate		you.  There's a gene for it.	DUNCAN SAMUELS -- Rachel's boss, an elegant, edgy, Englishman	interrupts them.				DUNCAN		Congratulations.  Only forty minutes		late.  You're handling this promotion		really well Rachel.				RACHEL		Duncan.  My work is everything to me.		This'll never happen again.  Now stand		back -- this session's gonna make you		remember why you hired me even though		I wouldn't sleep with you -- Cooper		let's get these penguins dancing --	Duncan backs off, charmed by her ballsiness.  The music BLARES just	then, and a penguin JUTS forward and NIPS the model.  The FLASH of	the camera.  We FREEZE for a second, seeing the photo Rachel just	took.  An Avedonesque portrait of a model being GOOSED by a penguin	COLLIDING with a maitre'd who SPILLS his tray and the penguins seem	to be POINTING and LAUGHING uproariously.  It's an inspired photo.	INT. SCHOOL COUNSELOR'S OFFICE - 2:30 THAT DAY	Jackie and LUKE HARRISON -- ruggedly handsome man, mid-forties,	charming, disarming, and smart as they come.  They sit side by side	on a couch across from RUTH FRANKLIN, an Elementary School Counselor				MRS. FRANKLIN		Mr. and Mrs. Harrison, while change is		exhilarating for adults, it can be 		quite challenging for a child.	Luke's beeper beeps.  He ignores it; focuses on Mr. Franklin.				LUKE		I won't get that...It's fine.  Change.		we were talking about change.				MRS. FRANKLIN		The fact that you two are remarrying		obviously has Annabelle overjoyed...			(they look at her,			 dumbfounded)		And she's very excited about your move to		Switzerland.				JACKIE		She said we're getting remarried?	Suddenly -- a long bell rings -- Jackie STANDS UP, startled.				MRS. FRANKLIN		Only a fire drill.  My concern is that		Annabelle seems apathetic towards her		work knowing she's leaving before the		end of the semester.				JACKIE		Mrs. Franklin we're not --				LUKE		Planning on getting --				JACKIE		Remarried.  There is no move.				MRS. FRANKLIN			(trying to appear unfazed)		Really?  Well then my concern for --	Luke's beeper BEEPS again.  They talk right over Mrs. Franklin...				JACKIE		Are you here?				LUKE		I'm here.				JACKIE		Because you don't really seem here.				LUKE		I'm here.  I've got a case where they're		this close to sequestering the jury but		have I answered the goddamn thing?!				JACKIE		Something's up wi...				LUKE		You think I didn't get that?	She cuts a look at Mrs. Franklin.				JACKIE		Excuse him.  He never learned how		to turn the darn thing off.	And reaches.  Does it for him.				MRS. FRANKLIN		I'm wondering if there's anything going		on at home that could be intensifying		Annabelle's need to create this fantasy?	Long pause.  Then suddenly they both start speaking AT ONCE.				LUKE		I've been with someone for quite some		time, and didn't feel it was appropriate		for her to move in too quickly.  But		after a lot of thought and careful		discussion with her -- and the kids I		might add -- she moved in last month.				JACKIE		Since our divorce Luke has seen a		number of different women in three		short years and without a lot of		warning for the kids, he's now living		with a woman half his age --				LUKE		Rachel's not half my age.				JACKIE		We're not discussing your age.				LUKE		Well, we're not discussing Rachel's		age either.				JACKIE		They want to be with you Luke, they go		to your house to be with their father.				LUKE		Jackie, they come to be part of my		life.  Rachel is part of that life.				MRS. FRANKLIN		Mr. Harrison, I hear you talking about		your life, your needs, but are you		really in touch with what Annabelle		needs?				JACKIE			(suddenly fierce)		This man would walk thru fire for		Annabelle, gladly, any day of the week.				LUKE		Napalm.				JACKIE		Except for last Thursday when Rachel		forgot to pick them up --				LUKE		Jackie, she was five minutes late --				MRS. FRANKLIN		I'm wondering if Annabelle is responding		to the underlying hostility that exists		between Rachel and Mrs. Harrison...				LUKE		Of course she's responding to it.  You		think it's easy for any of us?  You think		it's easy for Jackie to watch her kids		being looked after by someone who has		half the experience she does?  Of course		she's going to be hostile, irrational,		and defensive.				JACKIE		Thank you Luke.	Mrs. Franklin doesn't quite know what to say.  The bell RINGS.				LUKE		Thank you Mrs. Franklin.  Jackie?			(they get up)		This has been very valuable for us.  And		I'll have a serious talk with Annabelle		tonight.				JACKIE		It's Wednesday night.  She's at my		house.  I'll talk to her.				LUKE		I'll call from work.  We can have a		conference call.				JACKIE		You tried that last week and we were		on hold forty-five minutes...	And they're out the door.  You can hear the fight as it echoes down	the elementary school hallway.	EXT. SCHOOL, ENGLEWOOD, NEW JERSEY - MOMENTS LATER	Jackie and Luke exit the pleasant suburban school.  Head for the	parking area...				LUKE		You ask me that counselor's making		a mountain out of a molehill...				JACKIE		I'm worried.				LUKE		Me too.				JACKIE		Luke, I need to switch next Friday for		Thursday, so why don't you take the		weekend...			(pointedly)		...that way you'll be there, and I'll		pick up Monday, Tuesday, and Wednesday.				LUKE		Fine.  But I wanted to take the kids		to work with me on Wednesday so I'll		take Wednesday, and you can pick up		that Thursday, Friday after soccer,		and Saturday before riding.				JACKIE		Easy enough.				LUKE		Good...Well...Take care.	As if on automatic pilot they move in to kiss each other goodbye	then stop.  Each takes a step back.  15 years of hellos and	goodbyes.  A beat.  A wave.  They head their separate ways.	EXT. JACKIE'S HOME - NIGHT	Establishing shot of Jackie's lovely home on its lovely street.	Old trees.  Comfortable front lawns.  Safe and happy.  A place to	grow kids, dogs, probably walruses, even.  We PUSH toward the warm	glow from within this home...	INT. JACKIE'S HOME - NIGHT	Jackie setting the table.  Annabelle recording the moment with her	omnipresent VIDEO CAMERA...				ANNABELLE		I didn't say that.  Why would I say		that?				JACKIE		Well Daddy and I were thinking that		sometimes people tell a story about		what they wish would happen.				ANNABELLE		I don't want that to happen.  Why		would I want that to happen?				JACKIE		Well you're telling your teachers and		your friends --				ANNABELLE		Mass hysteria.				JACKIE		Maybe you're upset that Rachel moved in.				ANNABELLE		I'm not upset.  Why would I be upset?				JACKIE		Look if the truth is you don't feel like		talking about this right now that's fine.		But don't look me in the eye with a big		smile on your face and lie to me.		Cause there are only so many lies you're		allowed to tell before it starts showing		on your face.  You wind up looking like...	She stops.  It's just too horrible.				ANNABELLE		Like who?				JACKIE		Well, he's not president anymore, so		why be petty.	Ben enters in white gloves and Jackie's scarf.				BEN		Pick a card.  Any card.	Jackie picks a card.				ANNABELLE		It just slipped out.				JACKIE		It happens.				ANNABELLE			(a beat)		What happens when he loves Rachel more		than us?				JACKIE		That will never happen.				ANNABELLE		Never say never you always say that.		I'll bet daddy's mad at me now.				BEN		Queen of diamonds.				JACKIE		Seven of clubs.  Nobody's mad we just		want to talk about it.				ANNABELLE		I'm gonna call him.				JACKIE		Annabelle, daddy and I will always be there.		That's one time always is always.  You		can call him after dinner but...	Annabelle RUNS out of the room.  Jackie watches her sadly.  Ben	hits Jackie hard with his magic wand.				BEN		Poof!  You're happy now.				JACKIE		Thank you Ben.			(unhappily)		Annabelle!	Ben finds himself alone in the kitchen.  He hits himself on the	head, hard.  Poof!  He begins to serve himself dinner.  Alone.	EXT. RESTAURANT, SOHO - NIGHT	Rachel and Luke exit a neighborhood bistro.  Stroll down the	street...				RACHEL			(irritated)		Okay, if they're going to have a		sauce, put something in it besides		flour and chicken broth...				LUKE			(quietly)		It was a veal stock, I thi...				RACHEL		Well, it wasn't a reduction like		you do it!  Boiling down half a		ton of bones...	Luke is thinking of something.  She's watching that.				RACHEL		The way you cook.  If you could		make love, I'd marry you.				LUKE			(softly)		We have to talk.				RACHEL			(happy)		Uh-oh.  I mention marriage, all		of a sudden...			(ominous Nazi Baritone)		Ve haff to ta...				LUKE		I didn't want to spoil our supper...				RACHEL		You'd rather spoil our walk home.				LUKE		Yeh, it's cheaper.	Okay, what?				LUKE		I just found out I have to go to		Boston to get a deposition.  I might		not be back until Saturday.				RACHEL			(mock horror)		So I'll have to order in?				LUKE			(dropping the other shoe)		We have the kids this weekend, so...				RACHEL			(softly)		Jesus.	He glances over...				RACHEL		I thought it was her weekend.  Do I		ever see you alone?	He draws a breath.  The concern is behind his eyes.				LUKE		Anyway, I thought...while I'm		gone...maybe I'll hire in some help.				RACHEL		For what?				LUKE		Just a babysitter -- I mean...you're		working...				RACHEL		I can take them to work with me -- I		can shift things around --				LUKE		You don't need to.  I don't expect you		to handle them yourself.				RACHEL		Can't handle them myself is what you		mean.  Can't.	Maybe she's right.  Because he doesn't say anything.				RACHEL		You don't trust me to be alone with		them.				LUKE		I trust you of course I do but -- 				RACHEL		But?  But what?				LUKE		But you're not good at this.  Not yet.		I'm sorry.				RACHEL		I know how responsible, caring adults		parent children.  I'm bribe 'em.  But		'em a dog or something.  Maybe a Doberman.	He loves her.  But this problem is real.				RACHEL		Look.  I know they hate me.				LUKE		They don't hate you --				RACHEL		And what you're telling them is keep		hating her -- keep up the good work --				LUKE		Nobody's telling them to hate you --				RACHEL		Really?  Look in your ex-wife's eyes.				LUKE		It's complicated for Jackie.  It's		complicated for me...You don't have		kids -- you don't understand --				RACHEL			(angry now)		Oh right...So it's just complicated for		you and Jackie -- for me it's pretty		simple cause I just don't understand...				LUKE		No you don't.  And I'm not gonna		screw with my kids heads right now --				RACHEL		You know I don't need another person in		this family making me feel like an		idiot...your ex-wife's doing a bang up		job and I have to face it every Tuesday		and Thursday and every other goddamn		weekend and I just don't know how the		hell you were married to her for so		goddamn long!  Jesus what did you see in		her?  I don't get it -- I just don't get		it.	They've reached their building.  As they enter...				LUKE		She's a great mother.	INT. RACHEL'S AND LUKE'S LOFT - NIGHT	The door of the freight elevator CLANGS open.  As Rachel and Luke	step out into their loft, the phone is RINGING.	She looks to Luke.  Then RUNS to SNATCH it up...				RACHEL		Hello?	INTERCUT:  INT. ANNABELLE'S CLOSET - JACKIE'S HOUSE	Annabelle with a phone in her closet.  Hearing Rachel, she hangs	up.  A pink POST IT creeps under the door.  CAN I JOIN YOU FOR	DESSERT IN THE CLOSET?  VANILLA OR CHOCOLATE YOGURT.  PLEASE CHECK	ONE.	INT. RACHEL'S AND LUKE'S LOFT - FRIDAY NIGHT	The most beautiful little puppy in the world -- sitting in a puddle	of pee on a hardwood floor.				RACHEL		Aw George...not again... who wants to		help clean up this time?			(overly zealous)		Annabelle?	She looks around -- completely exhausted.  It's late.  Annabelle is	video taping the dog pee.  Ben's in the kitchen talking to himself.	He pours and sprinkles, working intently on a MAGIC POTION.				ANNABELLE		Why do you make that face when you talk		to me?			(she imitates Rachel)		And that voice you use...you think I'm 		deaf or something?	Ben ZAPS the magic potion theatrically with his fingertips.				RACHEL			(reaching for her)		I'm sorry, okay?  Let's not fi...				ANNABELLE		Don't touch me!  I'm allergic to you!	She starts sneezing furiously and scratching.  Ben comes out of the	kitchen carrying a steaming cup of potion.				BEN		"Those who travel far and near this		will make you DISAPPEAR!"				ANNABELLE		I have to work on my video project!		Don't follow me!  I can put myself to		bed.	She races upstairs.  Rachel follows.  So does Ben.  And George.				BEN (O.S.)		Excuse me --				RACHEL			(following into 			 Annabelle's room)		Annabelle let's get something clear.				ANNABELLE		I don't have to listen to you!  You're		not my mother.				RACHEL		Thank God for that!	She leaves the room SLAMMING the door behind her.  Takes a breath,	turns, and walks back in.				RACHEL		What I meant and perhaps I didn't say		it well was you have a great mom.  You		don't need another one.  But when		you're at this house --				ANNABELLE		This is my daddy's house --				RACHEL		This is my house too!				ANNABELLE		And this is my room so get out!				BEN (O.S.)		Excuse me.	Rachel throws open the door.  Ben stands there innocently.				BEN		I made you some cocoa.  See?				RACHEL		Thank you Ben.  That was so sweet of		you.			(pointedly to Annabelle)		Goodnight Annabelle.  Sweet dreams.	Rachel leads Ben to his room.  With Rachel safe out of sight,	Annabelle takes the puppy into her arms and cuddles it.	INT. BEN'S ROOM - RACHEL'S AND LUKE'S HOUSE - NIGHT	Rachel, dead on his feet, reads "Goodnight Moon" to Ben.				RACHEL		"In the great green room there was a		telephone and a red balloon..."				BEN		Aren't you going to drink your cocoa?		It's the good kind.				RACHEL			(faking a big sip)		Mmmm!  Tasty.  You're a master chef Ben.		Just like your dad.	Ben points to the book -- she 'reads' skipping pages, a hundred	miles an hour desperate to get to the end of the book.				RACHEL		"Goodnight moon, goodnight hush,		goodnight mush, goodnight goodnight		goodnight Gracie -- Goodnight Ben!				BEN		No!  You're cheating -- you have to start		from the beginning and you have to read		the whole thing I can't sleep otherwise.	Ben's eyes are glued to her.  She lays down next to him, yawns.				RACHEL		"In the great green room there was a		telephone and a red balloon..."				BEN		"And a picture of the cow jumping over		the moon..."				RACHEL			(laying head down)		That's nice Ben.	Ben reads until Rachel's asleep.  He looks at her in AWE.				BEN		Rachel!  Rachel!	No response.  Rachel's really asleep.  He lifts her head.  It flops	down!  In HORROR he jumps off the bed and with a quick look back,	races from the room, and...	...DARTS down the hallway, BUMPING into walls -- He LEAPS inside	Annabelle's room, SLAMMING the door behind him.				ANNABELLE		Ben!  What's wrong?				BEN			(triumphantly)		I killed her!	Ben and Annabelle gape at one another, stunned.	EXT. JACKIE'S HOUSE - MORNING	Rachel pulls up FAST in Luke's Grand Cherokee.  As she SCREECHES to	a stop, the kids pile out with their gear.	Rachel takes an anxious look toward Jackie's place.  Here we go.	INT. JACKIE'S KITCHEN - MORNING	The clock reads 8:10.  Rachel and the kids enter.  Annabelle's hair	is brushed forward, hiding her face.  Ben is ebullient.  Jackie's	edgy, ready to snap.				JACKIE		How do you hold down a job?  It's 8:10.		You were supposed to be here at 7:00.		She's missed her sunrise Groom'n Ride.				RACHEL		This is Friday, her riding lesson is		on Tuesdays. 			(pulls out post it)		I got it right here...				JACKIE		Every Tuesday except the 3rd Tuesday of		the month when it's switched to Friday		except in April when she rides on		Thursday.  It's not that hard.  Didn't		you have a mother?				RACHEL			(flinching)		Can I please have a cup of coffee?				JACKIE		We don't have any coffee.				RACHEL		What is this?  The Betty Ford Center?				JACKIE		Annabelle, how's your video rep...	Annabelle RUSHES past her.  Ben saunters off after his sister.	Jackie turns to Rachel, accusingly.				JACKIE		What happened with Annabelle?  Has		nothing I said gotten through to you?				RACHEL		Maybe you could back off just a little		bit --				JACKIE		What did you do?				RACHEL		Nothing.  Look, I want to talk to you		about...well...Luke said to ask you...	Jackie's edge sharpened by Rachel's unease.				RACHEL		See, the place where I can connect		with Annabelle is my photography.		Because she loves video and all...	And...?				RACHEL		She's been talking about this little		editing machine, it's only...				JACKIE		...a ridiculously expensive and		inappropriate item, which her father		and I have already told her she is far		too young to own.  But you apparently		want to buy her forgiveness, with...				RACHEL			(had enough)		Forgiveness?  For what, exactly?	Silence.				JACKIE		How much time have you got?  Let's		start with this morning.  Why did she		run from this room?	Long beat.  Then, Rachel looks dead on at Jackie.				RACHEL		Luke was in the shower this morning and		Annabelle sort of walked in without		knocking.				JACKIE		I'm sure that didn't upset her.		Everyone in our family takes showers.				RACHEL		I was in there in him.	The air is thick with tension.				JACKIE		Did you or Luke talk to her about it		afterwards?				RACHEL		No.  I thought it might be uncomfortable		for her --				JACKIE		You mean for you.  A 10-year-old girl is		coping with the fact that her father is		never coming back to live with his		family.  She sees her father naked with		another woman for the first time.		And you think it's best for her if every-		one pretends it didn't happen?			(turning away)		This isn't going to work out.				RACHEL		You're damn right.  I'm gonna sick of		your imperious bullshit.  I never said I		was Betty Fucking Crocker.  If every time		life hits her in the face you want to		have a 12 hour talk every third Friday		or the month -- go ahead!  I have a life!				JACKIE		Oh and I don't because I have a children?!		The problem is you're too self-involved		to ever be a mother.				RACHEL		Maybe the problem is your kids.  Maybe		they're spoiled, coddled brats!				JACKIE		Get out!				RACHEL			(holding up Post Its)		But it's not on the schedule!				JACKIE		You got to hell!	Jackie turns away, storming out of the room.				RACHEL		Ah Ah Ah!  You owe me a quarter --	INT. YMCA KITCHEN - DAY	Luke stands in an apron before Annabelle's Girl Scout Troop,	rolling out a large pie dough.  They imitate his every move.				LUKE		Now Ladies, the secrets to a great pie		is the crust.  And the secret to a		great flaky pie crust comes from less		flour and more...what?				ANNABELLE		Ice cold water.				LUKE			(adoringly)		That's my girl...	Rachel watches from a corner.				LUKE		Blueberry pie must be topped with vanilla		Haagan Daz and/or creme fraiche...now the		secret to a great creme fraiche is...				ALL THE GIRLS		Orange peel!				LUKE		...which also is the secret to...				ALL THE GIRLS		French toast!				LUKE		Now don't forget to teach your fathers		that.  Next week...apple brown betty!	He takes off his apron and walks toward Rachel as the girls file	out...				RACHEL		She said no.	He doesn't even know what she's talking about.				RACHEL		The editing machine.  I mean,		Annabelle would have really loved it.	She looks down.				RACHEL		It would have been great for us,		so obviously, Jackie just...	Eyes down.  Choosing her words.				RACHEL		She's really a difficult person...	Looks up.				RACHEL		Best thing ever happened to you was		her throwing you out on your butt.	An afterthought...				RACHEL		Not that I have a personal stake		in it.	He comes and kisses her.				LUKE		Get ready.  To get really mad.				RACHEL		Uh.  Annabelle's video report has been		switched again.				LUKE		Not yet.				RACHEL		Hey, I sold my body to Satan to clear		Friday at two o'clo...				LUKE		We have the kids.  Next weekend.	WHAT???				LUKE		And it's my call.  I promised them		water-skiing, instead o...				RACHEL			(quiet pain)		Our weekend.  At that sweet little		B & B.	He puts his arms around her.				LUKE		And the evil part is.  I am so stoked		about the water-skiing.  I can't wait.	He tastes her mouth.  And again.  A sweet, hot moment.  Her fingers	trace up his neck.  To his hair.				RACHEL		No, this is good.  Celibacy is		healthy.  For a guy your age.  You'll		get used to it.	From the kiss that follows.  He won't have to.	INT. JACKIE'S KITCHEN - DAY	CLOSE ON an ANSWERING MACHINE.  IT CLICKS, WHIRLS, and...				RACHEL (O.S.)		Hi, it's the trophy bimbo.  Annabelle's		teacher called, and her video report		is being moved up to 8:30 tomorrow.		Sorry to deprive your step aerobics		class of their role model.	Pause.  PULL BACK to see...				RACHEL (O.S.)		Anyway.  I'm sorry I lost my temper		the other day.  And I'm sure you are,		too, so...	...BEN, looming over the hardware.  Fingers poised above the	buttons, and he...				RACHEL (O.S.)		...no, apology necessa...	...strikes!  Playing all the keys at once.  Like chords on a baby	grand.	INT. CLASSROOM - MORNING	CLOSE on a small TV MONITOR, the angelic face of 10-year-old TAMARA,	practicing for the Miss America Diplomatic Interview, circa 2009...				TAMARA		Well, I I had a million dollars...		I would use it to...feed all the		precious hungry children of the world.		And bring about total world peace.	PULL BACK to see the class and teacher watching raptly.  Filmmaker	Annabelle in the seat of honor next to her proud father.  Rachel in	the back of the room, anxiously looking at the back door.  While on	screen...	...another face.  JARED, bad as he wanna be...				JARED		A million big ones.  Oh.  I'd buy		about a thousand babes.  Not to do		anything bad, I mean.  Just to hang		with.	Near the monitor, Annabelle's eyes are also furtively cutting to	the classroom's back door.  On screen now...	...the handsomest 10-year-old since DiCaprio.  BRAD the Dreamboat.	Stares soulfully at the camera.  Murmurs...				BRAD		Well, first off, Annabelle.  I'd		give half of it.  To you.	The class OOOOOS, WHISTLES.  Annabelle flushes, but she clearly	likes it.  Brad grins a Redford grin her way.  And through the back	door BURSTS...	...a harried, disheveled JACKIE.  Still in workout clothes.  As on	screen...				ANNABELLE		There you have it.  Now ask yourself		...what would YOU do?	The screen goes BLACK.  The class, teacher and especially Luke	ERUPT with APPLAUSE.  So does Jackie, who has locked eyes across	the room with her mortally-wounded abandoned daughter.  Then	Jackie's eyes CUT TO...	...Rachel, a deer in headlights.  Death by Army ants would be too	kind.	INT. SCHOOL HALLWAY	Annabelle, Luke and Jackie GLARING at Rachel, who looks awkwardly at	her feet.  KIDS stream past, unaware of the gravity of the moment.				JACKIE		Machines do not EAT message.				RACHEL		Look, I...				JACKIE		Of all the cheap excuses.  To break a		child's heart.	The jury is in.  There is no appeal.  Jackie takes her daughter's	hand.				JACKIE		Don't worry, sweetie, there's still		the Harvest Pageant.  And you are		the lead vegetable...	Said with bottomless pride.				JACKIE		And nothing.  And no one.  Can		keep me away.	One laser look at Luke. This bitch is your responsibility.  And	she leads her baby off.	EXT. JACKIE'S HOUSE - DAY	A parked VAN, packed with SNOWBOARDS and ski gear.  No people.  PAN	across the suburban lawn to...	...Luke, dejected, at Jackie's door.  Rachel nearby, still peers	into the window of an unlit, empty house.  A cellular phone RINGS.	Luke WHIPS it out, like the Governor's pardon hangs in the	balance...				JACKIE (O.S., from carphone)		You paged us?				LUKE			(distraught)		Where are you?	INTERCUT throughout...Jackie on her cellular, herding the kids	toward a CIRCUS TENT...				JACKIE		Just outside the big top, we're		almo...				LUKE		You're WHERE?				JACKIE		At the Big Apple Circus, it's the		only big top I know.  I said I'd		get 'em back tonight...				LUKE		Jackie, we were taking them water-		skiing for the whole weekend!				JACKIE			(innocent)		...until the plan changed, when		Jessie's mom gave us these tickets.		What, Rachel. 'forgot' I told her?	Luke's eyes DART to an uncomprehended Rachel.  She's never seen	him this angry.				JACKIE		Don't tell me.  Another machine ate		another message?  Boy, there's a lot 		of that going around!  Put her on, huh?	A beat.  He hands the phone to Rachel. She brings it to her ear...				RACHEL		Yeh?				JACKIE		Think twice.  Before you ever pull		that again.	CLICK.  The line is dead.  And so is Rachel.	EXT. CENTRAL PARK CASTLE - DAY	A glum Annabelle and Ben sitting on a bench watching Rachel at her	photo shoot, George between them.	A beautiful WOMAN appears in the turret -- she lets down her hair --	a modern day RAPUNZEL -- her golden locks fall 17 feet -- now a BURST	of yellow -- as a hundred YELLOW CANARIES fly out from her mane!  A	beautiful MAN begins to CLIMB the hair.  FLASH!  The man DANGLING	in mid air surrounded by canaries.	Rachel works with intense concentration.  It's been hours.	Annabelle and Ben are completely bored.				RACHEL			(to Cooper)		The timing was off -- I need this light.				ANNABELLE			(to herself)		Just where I wanna be all Saturd...				RACHEL			(to everyone)		Hold lunch!				ANNABELLE		But we're hungry -- and I have to pick		up my costume for the pageant!  It		starts at seven!				RACHEL		It's only one o'clock...Why don't you		get another Fudgesicle -- I'll be done		soon -- really soon.	Annabelle and Ben.  Rolling their eyes.	LATER...Annabelle asleep on the bench.  Rachel stands over her, a	canary on her finger.				RACHEL		Lunch time Sleeping Beauty.  Where's		Ben?  Is he in the bathroom?				ANNABELLE		I don't know...I feel like I'm gonna		throw up.	EXT. PARK MEN'S ROOM	Annabelle stands with Rachel by a line of empty urinals.				ANNABELLE		What if he's kidnapped?				RACHEL		He's not kidnapped he's -- he's just		hiding -- he's just -- BENNNN?  GODDAMMIT!	Panicked, she grabs Annabelle's hand.				ANNABELLE		Don't touch me!  You bring bad luck!	Rachel.  Starting to believe it.	INT. CASTLE TOWER - MOMENTS LATER	Breathless, Annabelle and Rachel CLIMB the castle stairs when they	hear WHIMPERING -- Rachel follows the whimpering -- RUNNING --				RACHEL		Ben!  Ben we're here!  BEN!	In the corner of the tower we see GEORGE staring up at her.  But	Ben is NOWHERE to be found.				ANNABELLE		He's gone forever and I'm gonna miss		the pageant.	Rachel once more.  Her life flashing before her eyes.	EXT. POLICE STATION, CENTRAL PARK - LATER	Jackie BLASTS up in the Volvo, SLAMS to a stop in a non-spot, RACES	into...	INT. POLICE STATION - DAY	Jackie RUNS through the police station moving down corridors past	desks until she sees BEN sitting with TWO POLICEMEN on a bench.	She holds him to her chest, shaking.				JACKIE		Ben!  Oh my Ben!  Are you alright?				BEN		I knew where I was all the time.	INT. AUDITORIUM - THAT EVENING	Ben sits between Jackie and Luke holding each of their hands.	Rachel sits on the other side of Luke; all waiting for the Harvest	Pageant to begin.  It's horribly tense.				RACHEL			(sincerely)		Jackie?  I am so sorry about today I		really fucked up royalty.  When you		called Luke I was so goddamn relieved --	Luke elbows her with an "We're in an Elementary School" elbow.				RACHEL		No I did -- I know I did -- I screwed 		up.  I feel like such an asshole...	Jackie lifts Ben onto her lap, holding him tightly.  She turns and	faces Rachel, claws bared.				JACKIE		Shhhhhh!	The lights go down.  They sit pretending the other is not there.	On stage -- The class is dressed as the harvest PRODUCE.  Annabelle	is the CORN.  Each FOOD DISH steps forward and introduces itself.	Annabelle rehearing her line over and over.				ANNABELLE		"Hello!  I am Maze.  But you can call		me Corn.  Hello!  I am..."	Inside her costume, her breathing is sharp.  She stands very	straight, very bold.  A brazen ear of corn.  She steps forward.				ANNABELLE		"Hello!  I am...	Rachel POPS UP next to the stage with her huge PROFESSIONAL CAMERA	and giant flash.  Her camera FLASHES three times, quickly.  After	each flash, we see the picture for a split second, Annabelle.  A	TERRIFIED ear of corn.  A LOST ear of corn.				ANNABELLE			(blinks, disoriented)		Um...I'm...I'm...Oh...	In the audience, Jackie is willing her daughter a recovery.  Sees	instead, a completely DEVASTATED ear of corn.				ANNABELLE			(exploding in tears)		Oh forget it!	She runs offstage amidst laughter and applause.  Luke looks over at	Jackie but she and Ben have already left their seats.	EXT. AUDITORIUM FOYER - NIGHT	Jackie comforts Annabelle.  Ben watches closely, getting caught up	in his sister's sadness.  Luke and Rachel approach.				ANNABELLE		I hate her.  I really hate her.				LUKE		There you are!				ANNABELLE			(covering her face)		Don't take my picture!	She starts to cry.  Ben's lip quivers, his eyes well up.				JACKIE		Annabelle doesn't really want to talk		to you right now.				RACHEL		I'm sorry I didn't mean to break your		concentration.  I thought it would be		a nice moment to rememb...				ANNABELLE		I don't ever want to remember this!	A TURKEY approaches.				TURKEY		They're taking a picture of the		Produce, we need the Corn.  C'mon		Annabelle.				JACKIE		See?  No one's laughing at you.  Your		friends want you to join them, Anna-		belle.  Corn is a very important part		of the Harvest Produce.  Now Ben, walk		your sister over to the Yams.	Ben takes Annabelle's hand.  When they are gone...				RACHEL		Jackie, if I thought for one moment...				JACKIE			(lighting into Luke)		You listen carefully because I am only		going to say this once.  That woman has		nothing more to do with my children.				LUKE		Our children.				JACKIE		Do you realize what could have hap-		pened to your son today?  How lucky we		are the police found him before some		lunatic did?  He could have been...				LUKE		But he hasn't.  He wandered off.  I		know it's terrifying.  I can imagine		how you felt when that call came -- But 		it happens.						JACKIE		Not to me.				LUKE			(soft, reasonable)		Jackie, you've made mistakes -- We all		make mistakes --				JACKIE		I'm not gonna wait around to see the		next one.  I'm not gonna watch my kids		fall through the cracks of this		arrangement.  I'm seeing a lawyer.				LUKE		Jackie stop.  We promised we never go		there.				JACKIE		We've broken a lot of promises,		haven't we Luke?				RACHEL		Why are you taking this out on him?				LUKE		Rache, get out of th...				RACHEL			(still to Jackie)		You haven't done one goddam thing to		make any of this easier...				JACKIE		I am not here to make it easier for		you.  These are my children.  They		don't want to be with you.				RACHEL		Well, maybe they would if they thought		it was okay, with y...				JACKIE			(poking Luke's chest)		A court order is gonna say that woman		is never alone with my children!  Ever 		again!  Do you HEAR that?	All of New Jersey heard that.  On the silence that follows, she	stalks off.  The mother lion.  Doing what she has to do.	EXT. NORTH VALE STABLES - DAY	Jackie and her children ride HORSES side by side through a perfect	Fall afternoon.  Our riders look about alertly, as if patrolling	enemy territory.				ANNABELLE		Guinevere, Godiva, I sense enemy		sol...				BEN		I don't want to be Lady Godiva 		anymore, no matter how much I like		chocolate.  I want to be a stud.	In distance, a gaggle of GROUNDSKEEPERS.  Jackie points these out	to Ben, without missing a beat...				JACKIE		Lord Nelson, Napoleon's troops.  I		fear for the women and the property		values.				ANNABELLE		I'll ride ahead.  Nelson, protect the		Queen...	And she canters off, blood in her eye.  Alone now with his mom, Ben	has something serious on his mind.				BEN		Mommy?  It's not Rachel's fault I ran		away.				JACKIE			(doesn't turn)		No, that's your fault.  It's her fault		for not watching over my precious son,		as if it were her priority.  Which		means, the most important job.				BEN			(thinks about this)		Rachel's job is she works.				JACKIE		Ben, mommies work too.  They work very		hard.  Mommy works harder as a mom		than she did when she was working.  I		just don't get paid.				BEN		Does Rachel make a lot of money?				JACKIE		People like Rachel who only think about		themselves often do make a lot of money.				BEN		I think she's pretty, Mommy.				JACKIE		Yes...if you like big hair...				BEN		Mommy?				JACKIE		What honey?				BEN		If you want me to hate her I will.	On Jackie.  Stunned.  Her lips part for an answer.  But she hasn't	got one.	EXT. JACKIE'S HOUSE - NIGHT	Luke pacing around on the path through Jackie's front lawn.  Jackie	exits the house, alone.  Stands on the porch.  And they stare at	each other.				JACKIE		You know, you can come inside the		house.	He looks at the end of his rope.  She walks down to him.				LUKE			(quietly)		Did you see the lawyer?	Oh.  Well...				JACKIE		Called him.  We set an ap...				LUKE			(almost a whisper)		Don't do this.	So vulnerable.  The air comes out of her.  We see how much she	still cares for this man.				JACKIE		You're saying, don't make the kids		a football, don't put them through a		war.  But I'm doing this for their		well-being.				LUKE		Partly.  But partly, you're mad.	Staring.  At each other.				LUKE		You know the kids aren't really in		danger.  This is about Rachel, and		you're right, I'm disappointed in her		learning curve, and...				JACKIE		Slugs.  Have faster learning curves.		Trees, even.	He takes a breath.				LUKE			(here it is)		I'm afraid she's going to walk.				JACKIE		And I'm supposed to care.	He reaches out.  Takes her hands.				LUKE			(softly)		About me, yeh.  Like I care about you.	She looks in his eyes.				JACKIE		Like you cared about me three		years ago?	He shrugs.  Looks saddened by that.				LUKE			(softly)		Hey.  You kicked me out.	And just this once.  With all that's happened.  Jackie needs to	say...				JACKIE		Maybe you should talk to your		daughter, about why.  She seems to		have missed that part.	Now he looks ashamed.  And sorry from his heart.				JACKIE			(softly)		Forget I said that.	He has to tell her...				LUKE		This thing with Rache.  I need this.		I don't want to lose her.  And I will		see to it that the kids don't suffer.		Help me, huh?	Help me.				LUKE		I'd do it for you.	Yes, he would.  Despite everything, she knows that.				JACKIE		One last chance, don't make me		regret it...	Her voice tried to be tough.  But the tension showed through.				JACKIE		...or you will, too.	A last look.  She walks slowly.  Back toward the house.	EXT. CAR POOL LINE, ELEMENTARY SCHOOL - AFTERNOON	The last cars are pulling away.  No kids left, except the ones	shooting hoops.  Except.  On the low brick ledge by the flag	pole...	...Annabelle sits.  Alone.  Quietly freaking.	INT. RACHEL'S STUDIO - AFTERNOON	Rachel and Cooper sit on a bare floor SURROUNDED by countless	PROOFS of FLYING CANARIES.  An assistant brings a cell phone to	Rachel, who holds it in place with her shoulder, as she frantically	sorts through the prints...				RACHEL			(into phone)		...no, no, that is not possible.  You		must have the wrong little gir...	Stops.				RACHEL			(into phone)		...because Annabelle's mother never		forgets, is never late, is never		imperfect.  So that's some other kid		sitting on the curb by the car pool li...	Listen.  All the air comes out.  She looks around, sadly, at all	the work surrounding her.				COOPER		May I remind you that Duncan has the		client arriving at exac...				RACHEL			(into phone)		Sure.  I was just doin' my nails.	INT. RADIOLOGY LAB - AFTERNOON	A cavernous sterile room.  A horrible METALLIC HAMMERING sound.	PAN to see that it comes from...	...a white cylindrical TUBE.  Bare feet protrude.  An MRI is in	progress.  The sound stops.  The body SLIDES from the tube, a woman	in a hospital gown.  She is Jackie.	She blinks at the light.  Her eyes are drawn, a million miles away.	A lot on her mind.  A TECHNICIAN enters the room...				TECHNICIAN		Your paper went off during the		procedure.  Do you want the number?	Jackie turns, suddenly focusing...				JACKIE		Wait...what time is it?	INT. PRINCIPAL'S OFFICE - AFTERNOON	Annabelle sits glumly, refusing to eat some chips from the bag in	Rachel's hand.  Rachel's voice is low, soothing.  Dare we say,	maternal...				RACHEL		Hey, sea salt and vinegar, I know		this is your fave.	Annabelle keeps her eyes down.  This is more than a sulk.  She	seems fairly unglued.				RACHEL		C'mon, these are the Bomb, I prom...				ANNABELLE		Now could she just...forget me!	Looks up.  Eyes desperate.				ANNABELLE		I mean, that's something you would do!	Rachel stares back.  Eats a chip.  Decides...				RACHEL			(softly)		Tell ya the truth?  I did.	The kid blinks.  A non-compute.				RACHEL		Your mom had to...help a friend with		this...emergency?  And she called me.		And we switched days.  Then, I got		stuck on my shoot, and...				ANNABELLE		MOMMY!	Rachel WHIRLS to see JACKIE filling the doorway, Annabelle flying	to her mother's arms.  The women's eyes meet.  How much did she	hear?	INT. JACKIE'S BATHROOM - NIGHT	Jackie brushing out Annabelle's hair.  Jackie's eyes are distant.	Annabelle watching in the mirror.				ANNABELLE		Are you worried about your friend?		With the emergency?	Jackie's eyes come back to focus.  Hmmn?				JACKIE		Oh, I'm waiting on some news, that's		all.  Say.  Can I ask you why you		never asked me something you probably		asked Daddy anyway?	And she smiles.  Real carefree.  So Annabelle smiles back.				ANNABELLE		You can try.	More brushing.  Gentler, slower strokes.				JACKIE		Daddy was washing Rachel.  In the		shower.  What did you think that was		about?				ANNABELLE		Sex.  Of course.	Oh.				JACKIE		Well, not exactly s...				ANNABELLE		Why does Rachel scream?	Does she mean what Jackie thinks she means?				JACKIE		Scream.				ANNABELLE		During sex.	Oh.  Again.				JACKIE		How would you know sh...				ANNABELLE		I live.  In the same country.	Her mother laughs.  Encouraged...				ANNABELLE			(imitating)		Oh God oh God Oh God oh God oh God		Oh...				JACKIE		...why do you think?				ANNABELLE		Because it feels really incredibly		good.	Jackie moves around.  Leans to stare in her eyes.				JACKIE		So why are you asking me?				ANNABELLE		I like talking about it.  At least,		to you.	The look holds.  Almost a bittersweet smile plays on Jackie's lips.	She leans to kiss her daughter's head.				JACKIE			(a murmur)		Same here, huh?	INT. RACHEL'S DARKROOM - MORNING	TOTAL DARKNESS -- Slowly an IMAGE APPEARS -- Floating in a pool of	water.  It's a photo of a child's FEET.  Only the wrong shoe is on	the wrong foot.  Suddenly, KNOCKING...				RACHEL		Hold on!  Don't let the light...	Jackie enters, leaving the door wide OPEN.				RACHEL		...in.				JACKIE		I'm sorry.  Look, I'm not real		comfortable being here, but...				RACHEL		I don't recall inviting you.	Silence.				JACKIE		I overhead what you told Annabelle.		The lie.	Unreadable faces.  What are they feeling?				RACHEL		I have a snoop.				JACKIE		I didn't need you to take the blame		for me, I'm quite...				RACHEL			(simply)		I didn't do it for you.  Believe me.	And Jackie.  Finds that interesting.				RACHEL			(shrugs)		She already hates me.  You've seen to		that.				JACKIE		You're not terribly good at taking		care of h...				RACHEL		I need practice.				JACKIE		Those are my children you're		practicing on.  They deserve first-		rate care.  Every minute.  Of every		night.  And every day.	More silence.				JACKIE		So why did y...				RACHEL		I did it for her.	Straight to her eyes.				RACHEL		Poor kid has to believe in someone.		Even if it's you.	Nothing friendly about it.  But Jackie hasn't come seeking	friendship.				JACKIE		I have an appointment this after-		noon.  I need someone to take them		to the park.				RACHEL		What?  And have Federal agents jump		out of the bushes with court orders?		How many years do you get in this		state for giving second-rate care to		minors?	Hard looks.  All around.				JACKIE		However many.  It's not enough.				RACHEL		I'm already on thin ice.  Yesterday,		I actually thought my boss was going		to fire me.				JACKIE		Fine, forget it.	But neither of them wants her to.  A Mexican Standoff.  Until	Jackie empties her huge purse on the counter.				JACKIE		Bandaids for cuts.  Bandaids for new		shoe blisters.  Packet of Wash n Dri's.		Kleenex.  Sugar free lollipops, potty		seat covers for public restrooms...				RACHEL		Why not just bring the whole toilet?				JACKIE		Ben likes to be read to.  Do you know		Dr. Seuss...?				RACHEL		Not personally.				JACKIE		Do you have a word limit you need to		hit every day or can I finish?	This silences Rachel.  Jackie hands her a Post It.				JACKIE		Here's their schedule for this after-		noon.  I'll meet you at the park at		five.  All I ask is that they're alive		when I get there.	A beat.				RACHEL			(dry)		Thank you.	And scoops up the parenting paraphernalia.				JACKIE			(drier)		Thank you.	And walks out the door.	INT. STUDIO CORRIDOR - MORNING	Jackie stands outside a door.  Deciding.  She knocks and enters...	...Duncan's office.  He sits behind his desk, across from a client.	Both men looking up at this stranger.				JACKIE		Mr. Samuels?  Forgive the intrusion,		I'm Jacqueline Harrison, and...	The sweetest smile she's got.  Which is pretty good.				JACKIE		...well, I just wanted to thank you.		For your generosity.				DUNCAN			(a beat)		Gener...				JACKIE		...my daughter had a terrible		emergency yesterday.  My husband and I		couldn't be reached, and...your Ms.		Kelly came to Annabelle's rescue.	Confides...				JACKIE		I'd hate to think what might have		happened.	Shakes her hand.				JACKIE		She told me that you were so suppor-		tive, even at great inconvenience to		your business, and...	An amazing smile.				JACKIE		It's wonderful to see a successful		man.  With that sense of priorities.				DUNCAN			(longer beat)		Well...under the circumstances...				JACKIE		If I can ever repay your kindness.  It		would be my great pleasure.	Backing out the door...				JACKIE		...and your Ms. Kelly?  A remarkable		young woman.	The client is beaming.				DUNCAN			(clearing his throat)		We think so.	INT. DOCTOR'S OFFICE - AFTERNOON	CLOSE on Jackie, looking down.  She seems to be staring at	something in her lap...				JACKIE			(quiet anger)		I don't even know what that means.		Spread.  That is very unclear.	...but there is nothing there.  Her lap is empty.  Except for her	unnaturally still hands.				FEMALE VOICE (O.S., gently)		I means we found some cells.  In your		lymph nodes.  In three of them.	The hands come together.  Slowly, deliberately.  Stating to anyone	who would watch that there is no panic here.				JACKIE		But the other time.  You said you got		it all.  So you could be wrong again.		One time, you say one thing, then...				FEMALE VOICE (O.S.)		The other time.  Was a year ago.	The air comes out of Jackie.  In a thin, slow, precise stream.	Everything, her very breath.  Under complete control.				FEMALE VOICE (O.S.)		That was a tiny lump in the breast.		We radiated, we thought we had it		all. We were hopeful.  But there		were no guarantees.	Silence.  Jackie's eyes stay on her folded, still, hands.				JACKIE		But we can beat it.	PULL BACK to see the small, neatly kept office.  DR. SWEIKERT is	50, slender, elegant, kind.  The doctor you want when you're dying.	Jackie looks up to her.				JACKIE		People beat it, don't they?  All		the time.				DR. SWEIKERT			(straight)		Every day.  More and more.	Jackie swallows.  The confirmation of hope has allowed some of the	fear to show.				JACKIE		So we'll...radiate some more?				DR. SWEIKERT		At first.  Then, after awhile, some		chemo.	A blow.  Jackie absorbs this.				JACKIE		That's necessary, huh?				DR. SWEIKERT		Let's take our best shot.	Jackie nods.  Staring at the woman.  Then, to break the spell...				JACKIE		I guess a no-hair day beats a		bad-hair day.	The doctor smiles.  Jackie looks at her watch...				JACKIE		I have to get dressed.  My ex-husband		has asked me to dinner.  God knows		why, he was very mysteri...				DR. SWEIKERT		Have you still never told him?	A flash of the anger flickers.				JACKIE		Why would his worry?  Or my children's		worry.  Or anyone's worry.  Help the		sit...				DR. SWEIKERT			(very soft)		Sooner than later.  You really need		to.	That brings a silence.  A shading of defiance to Jackie's features.				JACKIE		You don't burden others needlessly.		That's how I was raised, Doctor.	Hold the look.				MR. SWEIKERT		Maybe at dinner tonight.  Think		about it.	INT. JACKIE'S BATHROOM - DUSK	Jackie is getting dressed in front of the mirror, her eyes distant,	in spite of her attempts at control.  Annabelle is watching her	like a hawk.  We see Ben in the BACKGROUND -- sawing the BABYSITTER	ALISE in half.				ANNABELLE		Why are you going to a French		restaurant?	Throughout, Annabelle is trying on Jackie's jewelry, making a pest	of herself.  Jackie fights against rising irritation.				JACKIE		Because it's quiet.  And he wants to		talk.  Alise -- Once he saws you in		half, it's bedtime...				ANNABELLE		What are you gonna talk about?				JACKIE			(applying mascara)		Probably you -- your brother -- school --		The solar system...The usual...				ANNABELLE		Then why are you putting on mascara?				JACKIE			(a beat)		I'm a little tired and it's just a		pick-me-up.				ANNABELLE		But you only wore mascara when you and		Daddy went on romantic dates...				JACKIE		Well Daddy and I are just friends		now, and that's no reason not to		wear mascara...				ANNABELLE		Or blush.  You look pale.	EXT. RESTAURANT - NIGHT	A Country French place on the West Side.  Classy, but inviting.	INT. FRENCH RESTAURANT - NIGHT	Jackie and Luke sit across from each other in the lovely	restaurant.  Jackie looks beautiful in the warm candlelight.				LUKE		...Maybe you don't think three years		is enough for a person to change		but...things are different now Jackie.		I'm different.	Jackie feels her heart beginning to race.  They lock eyes for a	moment.  He unconsciously begins to eat off her plate.  He eats	her chicken, and in the dance they've done a thousand times -- she	reaches for his uneaten vegetables.  The WAITER approaches.				WAITER		Would you and your wife prefer		still or sparkling water?	He doesn't correct the waiter.				LUKE		Still, please.				JACKIE			(when the waiter leaves)		Annabelle showed me the new dress.		She's amazing in it.				LUKE		Getting so beautiful...she looks more		like you every day.			(Luke downs Jackie's wine)		Jackie...I've really given this a lot		of thought.  A great deal of thought...	Their eyes lock for a moment.  Here it comes...				LUKE		I'm gonna marry Rachel.  I know you don't		think much of her but she's a special		person -- she really is.  And I love her.		This is a bridge we never wanted to cross		but it's not helping her or the kids if I		don't really commit to that.	Jackie stares at him stonefaced.				LUKE		I didn't think a phone call was		appropriate...				JACKIE		Tell me exactly how you're different		from three years ago?  The music		sounds kind of the same from where		I'm sitting.	He shifts in his chair.  Wants this to sound as authentic as he	feels it...				LUKE		I grew up, a little.  I'm ready for a		life that's built around commitm...				JACKIE		Just not to me.	The waiter returns with a bottle of red wine.  It's horribly quiet	as he pours.  Waits, obtrusively.				LUKE		Thank you, it's fine...				WAITER		Would you like to taste it?				LUKE		Can we please have less service, here?	The waiter leaves, taking his attitude with him.  Luke sighs...				LUKE		It's going to be hard for the kids		when I tell them...I'd like you to		be there.				JACKIE		To make it easier for them or you?				LUKE		It's a huge moment in their life --				JACKIE		You can't be an 'us' just when you		want to.  You can't play that card		when it's convenient.				LUKE		We...				JACKIE		WE are over.				LUKE		WE'RE still their parents for the next		hundred years.	On this, Jackie looks down at her hands.				LUKE		You're still going to have to be		dealing with me -- with us.  We should		tell them together.				JACKIE		No.  You think this is going to help		the kids then you do it.  You're on		your own.	INT. RACHEL'S AND LUKE'S LIVING ROOM - THAT NIGHT	Jackie sits next to Luke on the couch -- looking lovingly towards the	children, who sit across from them.  Annabelle is taping this...				JACKIE		The great thing about life is that		things keep changing.				LUKE		Remember when Mommy and Daddy got		divorced?				JACKIE		And we all went through that together?	ON Ben.  OH MY GOD.  He knew it!	ON ANNABELLE -- Behind the video camera -- Where's this headed?				LUKE		Well things are going to change		again...	Ben LEAPS up from the couch and FLIES into Jackie's arms.				BEN		I knew it!  I knew it!  I knew you		guys were getting back together!	Jackie looks at Luke.  Annabelle ZOOMS IN on their faces.				ANNABELLE		No they're not.				LUKE		Annabelle put down that camera.	She ZOOMS in on his face.				LUKE		Put down that goddamn camera!				ANNABELLE		You owe me a quarter.				JACKIE		Look she's upset --				ANNABELLE		No I'm not.  I don't care.  Why should		I care?  I mean nobody asked me when		you got divorced.  Nobody asked me if		I wanted a new mother.  Nobody even		asked me if I like her.  If you guys		don't care about our family staying		together, why sh...				JACKIE		Daddy and I tried hard.  We really did.				BEN		No you didn't!  All you guys did was		name call!  I heard you!  You didn't		even try and use your words!	Ben runs out of the room.  Luke follows him.	INT. BEN'S ROOM - CONTINUOUS	Ben pulls his cape over his head and hides in a bundle in the	corner.				BEN		I'm disappearing.  I'm almost		invisible...				LUKE			(holding him)		I'll find you wherever you go...my		magic boy...I'm still your daddy...		nothing will ever change that.	INT. LIVING ROOM - CONTINUOUS	Jackie moves to Annabelle who won't put down the camera.				JACKIE		Annabelle...Rachel's not taking my place		as your mother -- it's just Daddy's chance		to be happy again.  Isn't that what we		all want for each other?	No answers.  Jackie looks at this daughter she loves so much.  Pats	the seat beside her...				JACKIE		Come.  Sit.	Something in the softening of the tone changes the atmosphere in	the room.  More real.  More like equals.				JACKIE		Life is full of hard things.  And we		can't always have what we want, you		know that.	Don't you?  Annabelle nods, cautiously.				JACKIE		But we do have a choice.  To make it		better.  Instead of worse.				ANNABELLE		Like how?				JACKIE		Like seeing the good side of Rachel.		So she'll see the good side of us.	Annabelle's stare is hard and questioning.  She didn't expect this.				JACKIE		Because I'm looking ahead.  And you		know what I see...?	Annabelle doesn't.  But she sure is listening.				JACKIE		Time will come.  When we all need to		be there.  For each other.	Strokes her baby's hair.				JACKIE		That happens.  To families.				ANNABELLE			(straight back)		I'll be there for you.	Her mother's eyes cloud with feeling.  A murmured...				JACKIE		I'm counting on it.	INT. RACHEL'S AND LUKE'S KITCHEN - LATE AFTERNOON	Barely any light in the empty kitchen.  PAN to see Ben, alone, in	his cape.  Carefully, he sets a cup of saucer atop a cloth napkin	that lies across the butcher block table.	He GRASPS the corners of the napkin.  He looks scared.  We get	what's about to happen.  As he...	...YANKS the napkin, as FAST as he can, the cup and saucer, RATTLE	and...	...stay put.	Ben.  Is astounded.	And then he looks up.  To a cabinet filled.  With glassware and	china.	INT. RACHEL'S AND LUKE'S BEDROOM - LATE AFTERNOON	...Rachel's HAND as a beautiful ANTIQUE RING is slipped on her	finger.  She is asleep.  Then, she...	...stirs, wakes.  Stares at her hand in shock and delight.				RACHEL		Oh my God.  Are you serious?				LUKE			(tenderly)		I think so...What do you think?				RACHEL		I think so too...	They hold each other for a long time.				LUKE		It's forever you know.				RACHEL			(trying to read him)		Okay...Is that the good thing or the		bad thing?				LUKE		Because I can't hurt anyone like 		this ever again.	She grins.				RACHEL		How did you hurt someone?  She threw		you out, remember?	He does.  She hugs him tight.				RACHEL		Everything's gonna work out.  The		kids and I...we're going to love		each other.				LUKE		Rache, it may take time.				RACHEL		What's eight, ten years?  Hell, you'll		still be ambulatory.  I think.	She's counting on her fingers.  He kisses her.				RACHEL		It's inevitable.  Look, I was		defensive, I was insecure.  I was		afraid to love first.	Her incredible smile.  Filling even Luke with confidence.				RACHEL		But I'm not anymore.	A sudden horrific CRASHING sound.  The breakage of the breakable.	Their look holds.				RACHEL		I'll get this.	A quick kiss.  And she's gone.	HOLD on Luke's light smile.  Maybe this will all work out.	INT. BEN'S ROOM - LATE NIGHT	Ben is cuddled up in his coverlet.  Almost as if he's hiding.  She	picks up some stray underpants.  Actually, three of them.				BEN		Are you real mad?				RACHEL		How could I be?  We learned some		magic...	She goes to his bed.  Sits down.				RACHEL		I made all the pieces disappear.	Oh.  She leans toward him...				RACHEL		And you learned...	She kisses his forehead.  Very sweetly.				RACHEL		...to make that trick disappear,		huh?	He nods.  Big time.  She stands, smiles...				RACHEL			(softly)		A night.  Of learning.	They share the smile.  And Rachel leaves, into the darkened hall.	Down it now, only to...	...stop.  Open a door, so quietly.  Silently enter...	INT. ANNABELLE'S ROOM - LATE NIGHT	...the room of a sleeping child.  Rachel moves soundlessly to	Annabelle's side.  Stares down.  Listens to the soft breathing.	She straightens the covers slightly, in a maternal way.  Then, on	impulse, reaches down...	...tenderly smooths back a strand of hair.  One last look.  And	she...	...leaves frame.  HOLD on Annabelle, as we hear the knob turn.  The	door close.  Alone, now...	Annabelle opens her eyes.  She is thinking.	EXT. JACKIE'S HOUSE - DAY	Rachel dropping off Annabelle at Jackie's door.  They must be late,	because Rachel is looking anxiously at her watch.  Not even	noticing that Annabelle has pulled out a tube of LIP GLOSS, turning	the shaft to reveal a glittering golden-colored gloss.  Then...				RACHEL		Uh.  Put that away, hon, your mom w...	The door OPENS.  Jackie is dressed for riding.				RACHEL			(sincere)		Sorry I'm late, I got lost dropping		Ben off at Kevin's.				JACKIE		It's okay, it's twenty minutes.  The		horse'll be there.	Rachel blinks.  Is she on the right planet?				ANNABELLE		Mom, look what Rache got me!	Uh-oh.  The kid holds it up.				ANNABELLE		It's not to wear around, or any-		thing, I'm way too young.  It's		just for play.				RACHEL		See, I...				JACKIE			(taking it)		That is so pretty.  You usually only		see that color in people's teeth.	Annabelle has entered the house, to see on a table by the door a	huge, brightly-wrapped PACKAGE.				ANNABELLE		Wow.  Who's that for?				JACKIE			(quietly)		Well.  It's for you.	The kid WHIRLS around.  Really?				JACKIE		Just because.  Just because I love		you.  Go ahead...	Annabelle starts to unwrap the present with Christmas-morning-care.	Jackie looks at the glitter gloss...				RACHEL		I'm sorry, I just...				JACKIE		Hey.  At least it's not an editing		machine.				RACHEL		No way.  I told her two, three years,		maybe, for such an expens...	And stops.  Because the paper has come off.  A giant deluxe model	beginner's VIDEO EDITOR.  Annabelle is STUNNED silent.  So's Rachel.				ANNABELLE			(tears in her eyes)		Oh, Mommy...	And JUMPS into Jackie's arms, CRUSHING her with the hug mothers	live for.				JACKIE		I hope it's the right kind.				ANNABELLE		Are you kidding?  It is so much better		than the one Rachel showed me!	Jackie strokes her baby's head.				JACKIE		Well, I thought.  You know, why wait?	The child turns to Rachel, frozen in the doorwary.				ANNABELLE		I told you I was big enough!  Is my		mom the greatest, or what?	Rachel swallows.				RACHEL		The greatest.	HOLD on the look.  The women share.	EXT. NORTH VALE STABLES - DAY	Jackie and Annabelle riding.  The kid is still on Cloud Nine.	Jackie's eyes are on her.				ANNABELLE		...I mean, she knows all the music,		and pop stars, and clothes and stuff.		She's like still a kid, herself.				JACKIE		Like a big sister.				ANNABELLE		She knows every neat junk food place.	Looks to see if her mom is okay hearing...				ANNABELLE		Actually.  She's kind of cool,		when you get to know her.				JACKIE		I bet.	Annabelle studies her mom's profile.				ANNABELLE		And don't tell her I told you.				JACKIE		Secret's safe with me.	INT. LUKE AND RACHEL'S BEDROOM CLOSET - NIGHT	Rachel sits cross-legged on the floor of the walk-in closet.  Next	to her, a glass and a botle of Stolie, getting toward the bottom.	An ashtray filled with butts, and...	...a card board box.  Dragged out of somewhere.  Photo albums, loose	snapshots.  Vintage stuff.  From her face, this is not a carefree	romp down Memory Lane.  She takes another hit on the Stolie.  More	than slightly intoxicated, weaving, squinting at...	...the next photo.  Luke, young, straddling a Kawasaki.  Jackie,	just as young, holding him from behind.  She wears a halter and	shorts, and looks simply terrific.	Rachel looks drunk and jealous.  With an overlay of self-pity.	Brings the photo closer.  Squints harder.				RACHEL		What the fuck is that?	Her worst fears confirmed...				RACHEL		...a tattoo?	INT. HOSPITAL ROOM - NEW YORK - DUSK	The lights are coming on in The City.  Jackie sits staring out the	window, as an IV drips into her arm.  She is alone, and down.  And	fighting the fear of what may come to pass.  Her pager goes OFF.	Jesus.  She pulls a cell phone from her purse.  Works it with one	hand.  Brings up...the smile.  Showtime.				JACKIE			(softly)		Hey, good-lookin', I was just		thinking about calling y...	INTERCUT throughout:  Ben on the phone in Rachel's and Luke's	kitchen.  He is alone.  Staring through the glass window of the	oven...				BEN		Rache says I have to eat lamb.  I		told her you're making me spaghetti!				JACKIE		Honey, this is Thursday.  I pick you		up tomorrow, and we do big spaghetti.				BEN		And many meatballs.	A nurse enters, and Jackie shoots her with a wave of her fingers.				JACKIE		You'll be up to your armpits in		meatballs, I'm flying them in		from Sweden.				BEN		Is that like Luigi's?	She loves this kid so much.				JACKIE		Not a lot, sweetie.  It's a country.		Like Canada.  Only smaller.				BEN		Where are you, anyway?	And the feeling comes straight to her eyes.  She can't fight it.				JACKIE		I'm somewhere, thinking of you.  And		meatballs.  And you know what?				BEN		Yes.				JACKIE		Of course, you do.  Being magic.		Then you know I've got a flu bug,		and I turn green and barf profusely		when I even think about food.  So,		all the more meatballs for you.  But		you know what.				BEN		I did.  Do I have to eat lamb?		Daddy didn't cook it, she did.				JACKIE		Do me a favor?  Eat it, and then		give me a secret report, okay?  Pay		particular attention to whether it's		chewy and if it tastes more like		chocolate or soup.	He laughs.  And she can hear that.  And her eyes fill.  And she	murmurs...				JACKIE		Hey, that's a world-class laugh		you got there.  Can I all you		sometime?  If I fell blue.	A silence.  And for a heartbeat, the fear.  Did he hear it in my	voice?  But no...				BEN		Sure.  You got my number.	And now she's crying.  But she can't.  She can't.  Gains control	for a whispered...				JACKIE		That I do.  Always will.				BEN		Mom...?	She sniffles...				JACKIE		I'm fine, ba...				BEN		Tomorrow?  Can I have one		butterscotch pudding for dessert?	See her relief.  Secret still safe.				JACKIE		Nope.	He's crestfallen.				JACKIE		We can only have two.	INT. SUPERMARKET - DAY	Jackie is pushing her cart.  Ben sits in it, pulling things off the	shelves.  On automatic she's putting them back.				BEN		Mommy, if your real name's Jackie and		I call you mommy; and Rachel's real		name's Rachel...Then when I see her do		I say hi Stepmommy?  And if my name's		Ben, how come you don't call me son?				JACKIE			(lost in thought)		Thursday's fine...	Frustrated, Ben CLIMBS OUT of the cart and trails behind Jackie.	He reaches for an apple off the BOTTOM of a huge display of Red	Delicious, and the whole thing comes TUMBLING DOWN.  Shaken, she	looks around for Ben.  He's gone.	INT. SUPERMARKET MANAGER'S STATION - DAY	Jackie with a Store Manager and a Policeman stand at the front of	the store near the Bakery.  Jackie is totally distraught.				JACKIE		I looked away for one second...		Just one second...he's...he's...				POLICEMAN		How would you describe him?				JACKIE		He's my son!  He looks like his		father!  His name is Ben -- he		answers to Harry --				MANAGER		Is he wearing a red shirt?	The manager POINTS to the frozen food bin.  There, lying on his	back atop dwindling stores of Breyer's ice cream...is Ben.  Hands	and beaming face PRESSED to the underside of the glass.  Jackie	does the only reasonable thing...				JACKIE		YYYAAAAAAAHHH!	...and FLINGS OPEN Snow White's glass coffin.				JACKIE		ARE YOU CRAZY, YOU COULD SUFFOCATE		IN THERE!!!				BEN		Nope.  I got my warm t-shirt.	Enough of a non-sequitur to make everybody blink, before Jackie	YANKS him, roughly and tenderly, from the bin.  She CRUSHES him in	a violent, desperate hug...				BEN		You found me cause I'm your		priority, huh?	She kisses him fiercely.  At the edge of tears.  Whispers...				JACKIE		You got that right.	EXT. SOCCER FIELD - 3 O'CLOCK PRACTICE	Luke coaching the girls team.  Annabelle one of many who surround	him for that final word of wisdom...				LUKE		Alright my Little Warriors, remain		calm; trust that the ball will find		you; remember they're your opponent		not your enemies -- Not kick MAJOR		butt!	In the bleachers, Jackie sits alone with Rachel.  They are having a	coaching session of their own.  Rachel points down to the field,	where...	...Annabelle pushes her hair over her eyes.				RACHEL		She's gonna trip over her own feet,		if she doesn't get her hair out of		her eyes.	Jackie casts a sidelong glance at Rachel.  Decides to tell her...				JACKIE		Pushing her hair over her eyes.		Means she's avoiding a confrontation.	Rachel looks over.  Really?  Jackie decides to share more.  Reading	Rachel's reaction to...				JACKIE		If she's twirling it, she's playing		something out in her mind.  If she's		stopped combing it, she might be		depressed...	As Rachel listens she's unconsciously twisting her hair.				RACHEL		What about obsessively picking her		split ends?				JACKIE		Anxiety.				RACHEL		Last week when she chopped her		Barbie's bangs all to hell --				JACKIE		She was angry at herself.				RACHEL		Jackie?				JACKIE		Yes?				RACHEL		When I twisted hair like this it		means I'm intimidated by you...	Jackie gives her the trace of a smile.				JACKIE		I'll keep it in mind, and use it		against you.	She looks back down at the game.  Rachel watching her profile.	Finally...				RACHEL		You feeling all right?				JACKIE			(doesn't turn)		Not great.  Plus, I've got things on		my mind.  You know.	Things.  Rachel doesn't know.  Blurts...				RACHEL		Are you...seeing someone?	Jackie snorts a laugh.  In spite of herself.				JACKIE		Yeh, that does tend to make me sick		to my stomach.  Actually, I'm, uh...	Thinking.  Deciding if this is the time to say...				JACKIE		...thinking of going back to Random		House.  On a part-time basis.				RACHEL		Wowie.  How wonderful!	But Jackie still hasn't turned.  Eyes glued to Annabelle, racing	around with determination.				JACKIE		Well, I could do most of it from		home.  But, while I'm working it out		with the head editor, I'd need to...	Sighs.  Boy, this is tough.  Tries for matter-of-fact...				JACKIE		...make some trips into the city.		Sometimes, overnight.				RACHEL		Hey, any help you need, we'll cover.	Jackie nods.  Appreciates that.  But she still hasn't turned to	look Rachel in the eye.				RACHEL		Uh.  Have you told Luke and the ki...				JACKIE		Let's...hold up for a bit.  It may		not happen.  Our secret, okay?	A little strange.  Particularly the hardness of Jackie's eyes.	Rachel watching her.  Something's up.				RACHEL			(softly)		Sure, if you like.	Jackie looks away now.  To the playground just beyond the	bleachers.  Kids rise swings, clamber over a jungle gym.  But her	eyes are routinely, automatically, zeroing in on one single kid...	...who is climbing his way UP a tall SLIDE.  Crouched over as he	inches up the shiny metal surface, using the side rails.  Rachel	follows Jackie's eyes, just as...	...Ben reaches the top and STANDS UP, hands OVER his head, Jackie's	breath catching, Ben totters once and...	...FALLS fast, hitting the grass with a thump we can hear, lying	crumpled, motionless, as our two women...	...SPRING up as one, SCRAMBLING down the bleachers, RUNNING toward	the playground, Jackie initially in the lead, but Rachel out-	sprints her, CLOSING  on the child, as he rolls over grasping his	leg, and reaching him first...	...some instinct makes her hold back, let Jackie RUSH past her, to	kneel at Ben's side.  She lifts her baby in her arms.  His pants	are torn, his leg is bleeding.  His own concern...				BEN		I can still go to Tucker's party,		right?	INT. EMERGENCY ROOM - DAY	A full house of walk-ins with assorted needs, none of which appear	to require George Clooney on an urgent basis.  Across the room, an	irritated Jackie finishes the last of the paperwork at the nurses	station.  Exchanges a less-than-pleasantry with the less-than-	helpful duty nurse, and...	...heads off through the crowd, DOWN a hallway, TURNS a corner, to	see...	LUKE stands by a doorway.  Smiling, as he gazes into a hospital	room.  Jackie comes to his side, looks in...	Ben doesn't see them.  His back is turned, as he talks to Rachel,	who sits on the side of his bed, feeding him the pudding she got	from a vending machine.				BEN		...for Christmas, okay?  Every		magician needs a white dove, a		real one, they do!				RACHEL		Well, that's a long way off, sweetie.		We'll talk to Mom and Dad...				BEN		Dad!  You can talk him into anything!	Unseen by the two, Luke grins.  Then, Ben snuggles into Rachel's	arms and kisses her.  Jackie stares.				RACHEL			(singing softly)		'In the still...still of the		ni-ight...I held you... held you		so ti-ight'...take it, man...				BEN			(singing softly)		Doo-wop-doo-doo, doo-wop-doo-doo...	Jackie stands there.  Her eyes are difficult to read.  But she sure	is watching.				LUKE			(softly)		Nice, huh?	She steps back.  Looks him in the eye.				JACKIE		It is.  It's about time.	He give her a goofy give-me-a-break FACE.  She twists the corner	of a smile.				LUKE		She's a charmer, you'll see.  In		fifty years, the kids'll love her		ten percent as much as they love you.				JACKIE		Stop.  You're making me insecure.	Now they're smiling at each other.  In the old way.  A nice moment	for them.				LUKE		You changed your hair.	And we notice.  It does look different.				JACKIE		It's temporary.				LUKE			(grins)		It's good.  You're not pulling a		mid-life crisis on us, are you?	Her look holds.  An odd extra beat.				JACKIE		Not the term I'd use.	He glances back through the doorway...				LUKE		You want us to take him tonight?		Give you some private time with		Annab....				JACKIE		Never stand between that kid and		a meatball.				LUKE		Yet another spaghetti night.				JACKIE		Yeh, better I should forcefeed		him burnt lamb and...couscous,		was it she made him?  Boy, kids		go wild for that.	She pats him on the shoulder...				JACKIE		I'll drop him at Tucker's party		Saturday, if one of you guys can		pick him up.  I have to go into		the City.	And breezes by him into the room.  Ben wheels to see her...				JACKIE		You know what happens to spaghetti		when it waits around for you too		long?	He really thinks.  Actually...				BEN		No.				JACKIE		Pray.  We never find out.	EXT. A PERFECTLY MANICURED TWO STORY HOME - DAY	A door with balloons OPENS -- STACY, the birthday boy's mom, stands	there -- children running behind her in party hats, all with their	conservatively dressed SUBURBAN MOMS.  Rachel's attire a sharp	contrast.				RACHEL		Hi, I'm here to pick up Ben.				STACY		Does Jackie know this?				RACHEL		No.  I'm doing it behind her back.				STACY		In seven years Jackie's never		missed one of Tucker's parties.		Where is she?				RACHEL		Something came up.  C'mon Ben!		I've got a shoot at three...				STACY		Tucker hasn't penned Ben's present		yet -- it won't be too much longer.	Rachel eyes the MOUND OF PRESENTS yet to be opened.  DISSOLVE TO...	FORTY-FIVE MINUTES LATER...Rachel, in a pointed party hat, sits	schmushed on the couch in between all the other MOTHERS.  A black	jeans stranger in a strange peach land.  She eyes that mound of	presents.  Not even a dent.  She pulls out her cell phone, moves	towards the hallway.				RACHEL		Hey Cooper...pull a number 64 steel		blue gel on the back light...yeah		I'm on my way but...	A piece of CAKE FLIES through the air and LANDS on Rachel.				STACY		Now Ben, let Tucker play with his		Batcave...	Ben won't let go of Tucker's presents.  Tucker tries to take it.	Ben is adamant.  Rachel reaches for him, tousling his hair.				RACHEL		Hey Benjy boy -- chill.			(he shimmies away from her)		He's there already?  No I don't want to		talk to him -- Duncan?  How are you...	The mothers are all too aware of Rachel on the phone.  Two kids	shoot water guns -- Rachel gets drenched.  Ben pulls at the toys...				BEN		I want it!				STACY		Ben I know you're angry and confused		but it's Tucker's birthday party.	Ben and Tucker fight for it -- the mothers all LOOK TO RACHEL.				RACHEL		Ben --			(into phone)		Duncan I'm aware of that - Goddamn it		Ben!  Let go of it.  NOW!	He stares at her.  It looks like he's gonna let go --	On the mothers -- impressed, not to mention surprised.  When Ben	suddenly HURLS the toy onto the floor SHATTERING IT!  A horrible	SILENCE falls over the room.  Broken only by the sound of Duncan	SCREAMING from inside the phone.				DUNCAN IN PHONE		Rachel...This is a big bloody account --		If you don't show up in five minutes...	Rachel takes Ben and leads him into another room.				RACHEL		Ben I'm sorry.  It's been a hard day.		Now would you do us both a favor and		take this phone and...	She SLAMS the phone SHUT.  Hands it to Ben.				RACHEL		...make it disappear.	Okay.  He SHOVES it down the front of his pants.  The peach moms	are taken aback.  Rachel nods, you got it.  Delighted, Ben turns,	scampers off, as...	...his pants start RINGING.  He stops dead.  Looks down at them.	Still RINGING.  He turns around and waddles delicately back to	Rachel, as if he's carrying nitro in his shorts.  She holds out her	hand...				RACHEL		Breaks out the geiger counter, the		man is radio-active!	He pulls the ringing phone from his pants.  She grasps it without	hesitation, while peach moms wince in disgust.  SNAPS it open...				RACHEL		Get over it, Dunc...			(stops)		...whoa, whoa, Annab...	Listens.  While everybody watches.				RACHEL		Could it be, maybe...anywhere else?		Like...another galaxy would be more		convenient.	Listening, listening.  Everybody really watching.  Even Ben.	Rachel oblivious...				RACHEL			(gently)		Okay, don't cry.  Flunking science		is not happening.  On my watch.	EXT. STACY'S YARD - LATER	All the kids are running around crazily in a hypersugared frenzy.	Peach moms drink diet sodas and chat.  Rachel making a call by the	phony little carp pond...				RACHEL		...just that her daughter left a		science book somewhere at her house,		and I need t...	INTERCUT throughout:  a starchy, powerful, crisply intellectual	SENIOR EDITOR, in her early fifties and her Jil Sander outfit.  The	East Side below her window.				SENIOR EDITOR		I'm sorry, Ms. Harrison is not here.		I think I mentioned that.  Twice.	Rachel nodding.				RACHEL		Well, she's been meeting with the		head editor for the last few w...				SENIOR EDITOR		Miss, I am Senior Editor.  Ms.		Harrison left Random House eleven		years ago.  We have not had the pleas-		ure of a visit from her in that time.	Rachel blinks.				RACHEL		Actually, she's going back to		work with your company on a part-		time basis.				SENIOR EDITOR		Excuse me.  If Jackie Harrison were		coming back to the editorial staff,		I would be frankly delighted.  And I.		Would be the first.  To know.	Silence.  In the midst of hysterical children.				RACHEL		Thank you for your time.				SENIOR EDITOR		Don't mention it.	And Rachel's line.  Is dead.	EXT. JACKIE'S HOUSE - DAY	Rachel alone at Jackie's front door.  Staring at the key in her	hand.  One last chance to back out.				RACHEL			(mutters)		What the hell.	OPENS the door.  Enters the empty home.  Walks slowly, self-	consciously, down the hallway.  Kitchen, kids' rooms...				RACHEL		Now, if I were a science book,		where would I...	And stops.  At the doorway of the master bedroom.				RACHEL		Who am I kidding.	And goes straight to Jackie's desk.  Starts rummaging through the	incredibly neat stack of papers...				RACHEL		Great, I'm leaving prints.	The open appointment book.  Today's date.  Just says, NEW YORK.	Nothing more.  Opens a drawer.  Stapler, clips, neatly-stacked	stationery.  Opens the bottom drawer, and...	...stops.  She pulls out...AIRLINE TICKETS.  Opens the folder.	Continental Airlines.  Newark to San Francisco.  And tucked	inside...	...a fax, neatly folded.  Rachel opens it.  The letterhead says,	NORTH POINT PRESS, 134 Sutter Street, San Francisco, California.	CHARLENE DRUMMOND, Editor.				RACHEL			(reads)		Jackie.  Can't wait to see you here.		I know you're anxious.  But it's going		to work out wonderfully, I promise.		Til then.  Charlie.	HOLD on Rachel.  Trying to put this together.	INT. JACKIE'S KITCHEN - NIGHT	Jackie takes a kettle from the stove.  Pours the water into a tea	cup.  Then, fills a second cup.  Drops a tea bag into each.	Carries both cups to...	...the kitchen table.  Where Rachel is waiting.  She looks more	than tense.  Actually, scared.  Jackie taking this in, as she sets	down the tea.				JACKIE		Okay, what is this?  If you want to		dump Luke on me, no sale.  You're		stuck with him.	And before she can sit...				RACHEL		I know your secret.	Jackie FREEZES.  To stone.  No one says anything.  Two hearts	beating at red-line.				JACKIE		I don't know wh...				RACHEL		I was looking for Annabelle's book,		and I found your tickets.  And the		note.  From your new boss.	My what?  Jackie leans forward.  Her hands resting on the back of	the chair she never sat in.				JACKIE		My boss.				RACHEL		You're not working at Random House,		I talked to them.				JACKIE		You WHAT?				RACHEL		You're taking the kids.  And moving		to San Francisco.	And Jackie has to laugh.  Cold.  Bitter.				RACHEL		Look, you've never liked me...				JACKIE		Don't flatter yourself.				RACHEL		And I know checking into your life		was inexcusable...				JACKIE		Nobody likes a snoop.				RACHEL		But I came here to...	All the air comes out of this young woman.  so vulnerable, so real.				RACHEL		...to beg you.  Not to do it.	And at this.  A look of intense interest crosses Jackie's face.	Really?				JACKIE		I'd have thought this was the		answer to your prayers.  Lose the		witch, and her two brats, in one		swoop.  Problems solved.	Rachel is clearly distraught. This is no act.				RACHEL		You can't take Luke's children		away from him.	Jackie thinking.  Reading this girl's face.				JACKIE		Bi-coastal parenting.  Happens every		day.  Luke gets the kids every other		summer, every other holiday, it's not		ideal, but people make it work, and...				RACHEL			(blurts)		We can't live like that.	And Jackie straightens.  Cocks her head.				JACKIE		Did I hear the word...				RACHEL		Luke.  Can't live like that.	Ah.				JACKIE		Then let him talks to me.  We don't		need you to solve our prob...				RACHEL			(quietly)		...it's my problem, too.	And Rachel's eyes.  Fill with tears.  She hates that.  Jackie won't	take her off the hook.  Stands waiting, until...				RACHEL		I got used to...thinking of them.		As...my kids too.				JACKIE		Really.  By what right?  Six months		of part-time screw-ups?	Rachel lifts her chin.  Defiant and tender at once.				RACHEL		No right at all.  I just love them.	Now it's Jackie's eyes.  That begin to fill.  And she hates that	even more.				RACHEL			(pleading)		There's so many publishing houses		in New York.  Surely, you could find		a good one?	Jackie takes a step back.  Shakes her head.  Goddammit, life is	full of surprises.  She walks around in a little circle.  Turns	back...				JACKIE		Sure, I could.  If I was looking		for one.	Rachel's turn to be surprised.  Confused.				JACKIE		You're a moron, kid.  You guessed		the wrong secret.	An odd, almost defiant look.  Jackie reaches up to her own head,	and...	...slowly, holding eye contact all the way, she slips the wig from	her head.  Her scalp covered by the partial regrowth that chemo-	therapy has left her.  You can hear Rachel's GASP clear to Kansas.				JACKIE			(calmly)		Charlie Drummond used to be a		colleague at Random House.  I'm		crashing at her place, while I take		some new protein injections my		oncologist recommended.  I can only		get them in San Francisco.	Rachel's lips part.  But no sound comes.				JACKIE		Life's a trade-off.  You get cancer,		your hair falls out, but you do get		to smoke dope.				RACHEL			(please)		You're not dying.	The kid so painfully sincere.				JACKIE		No such luck.  I'm beating the shit		out of this.  Pardon my French.	Rachel can't find her breath.  She is clearly the worse off of the	two, in this moment.  Then she starts to nod...				RACHEL		You bet you are.				JACKIE		How the hell would you know?				RACHEL		I don't, but...				JACKIE		How would you know anything?	That was sharp.  Rachel startles slightly.				JACKIE		I exercise, I eat the healthiest		foods, you live on pork rinds and		Ho-Ho's, and I've got cancer!	That leaves a silence.				RACHEL		And cigarettes.  I smoke, too.				JACKIE		You are marrying the greatest guy		who walks this earth.  Who I have		loved from my heart for twelveyears!	Listening?				JACKIE		And you walk in.  You smile that		smile.  You move that boy.  And		he's yours for free.	She sags back against the counter.				JACKIE		And you.  Love my kids.  How fucking		touching.	Comes forward.  Stalks her.				JACKIE		They came out of my body!				RACHEL		See, I know that.				JACKIE		I have given them morelove and		more care every fifteen minutes of		their lives, than you could manage		in the next fifty years!	Leans over the table.  Rachel looks scared to death.				RACHEL		Okay, I'm undeserving.				JACKIE		Ironic, huh?	And staring in Rachel's eyes, Jackie's fierceness fades.				JACKIE		Ironic, that I'm gonna need you.	All the air comes out.  Her heart as naked as her skull.				JACKIE		To be a little less.  Undeserving.	The look holds.  And holds.				JACKIE			(quietly)		Drink your tea while I go vomit.	And turns, goes to the door.  Turns back.				JACKIE		You love my kids, that's a start.			(nods)		We'll work on it.	And gone.  Hear her footsteps.  Climbing stairs.  Rachel lifts her	cup.  Looks at it.				RACHEL			(calling out)		This is very good tea!	Then tastes it.  Makes a face.	EXT. BAR - EVENING	A graceful stone building with arched windows.  Gas lanterns on the	exterior wall and burning dimly inside.  Stone gargoyles smile down	on those who enter the heavy, bright red wooden door.	INT. BAR - EVENING	Drinks hour.  Upscale crowd.  Dim lights, clink of glasses, the hum	of private conversations side-by-side.  Civilized as hell.  And at	the deuce by the window...	...the man's head is down.  We can't see Luke's expression, as he	stares at his clenched hands.  We don't need to.				JACKIE		I thought a phone call was		inappropriate.	No one smiles at the irony.  Not much to smile about.				JACKIE		I could have taken you to that		restaurant, but it would have		been a waste of money.	He loos up.  She studies the pain.				JACKIE			(softly)		I know.  I wouldn't know what to		say.  If it were you.				LUKE		We're going to win this.				JACKIE			(straight back)		Walk in the park.  And thanks for		the 'we'.	Tears fill his eyes.  None in hers.				LUKE		You're not alone in this.  You're		not alone.  Jesus, you're not alone,		okay?	Jackie swallows.  Tries a smile that doesn't get halfway there.	Looks down.				LUKE		What happens next?				JACKIE		I live or I die.	Looks straight in his eyes.  We don't need the bullshit.  Not us.				LUKE		Tell the kids together?	She thinks.  A barely perceptible nod.				LUKE		Want Rache someplace else?	On that one.  She has to smile.				JACKIE		My compliments.  On your learning		curve.	INT. JACKIE'S KITCHEN - NIGHT	Jackie carrying two steaming MUGS from her stove.  These have	marshmallows floating in them.  She sets them down in front of her	children.  Ben starts plucking the marshmallows out of Annabelle's	mug.  Annabelle doesn't care, too busy video taping...	...her father.  Who sits with this tender, compassionate, and	therefore rather ominous smile.  Doesn't take a smart kid like his	daughter to guess...				ANNABELLE		So what's up?  Who's marrying who		this time?				BEN		Mommy's marrying Rache!	He's happy.  Jackie reaches and shuts OFF Annabelle's camera.  And	the directness in her gaze keeps the child from complaining.				JACKIE			(simply)		Mommy's sick, guys.				BEN		You have the WORST flu since...				JACKIE		I have cancer.  Do you know what		that is?	He doesn't.  Someone else does.				ANNABELLE			(real quiet)		It's what Grammy Lil died from.	Ben's eyes WHIP OVER to his sister.  He sees the cold fear in her	face.  BACK to Mom.  She seems fine, calm, smiling even.				JACKIE		Grammy had a different kind.		There are lots of kinds.  Hers		was very bad.				BEN		Is your bad?				ANNABELLE		Shut up.  She's going to die.	But the anger in her eyes isn't for Ben.  She is glaring.  At her	mom.				JACKIE		Actually, I'm getting better already.	Straight.  As if to an equal, an adult.				JACKIE		I had a lot of treatments, and		they weren't any fun, but the		tests show the cancer got smaller.				LUKE		A lot smaller.	Annabelle cuts him an angry look.  He's on her shit list, too.				BEN		So you're okay.				JACKIE		I'm still sick, but I'm better.				ANNABELLE		You lied to us when you nevertold us!	Ben hadn't thought of that.  Nods now, yeh.				JACKIE		That's right.  And you're mad.	Annabelle just glares with all the hatred she can turn her fear	into.				JACKIE		I know how scared I get when		you're sick.  So I waited to tell		you.  Until it was getting smaller.		I thought that was best, maybe I		was wr...				ANNABELLE		You lied.  If you lied then,		maybe you're lying now.  I can		never belive you again!				LUKE		Annabelle, never say 'nev...'	But Jackie's raised her hand.  Jump back, Jack.  The eye contact	with her daughter never breaks.				JACKIE		We make mistakes.  And we forgive		each other.  Because we love each		other, very m...				ANNABELLE		Where's Rache?  It's Thursday,		we get to be with Rache!				BEN			(the diplomat)		I'd rather be with Mommy.				ANNABELLE		She's dying and Rache is your		mother now!	She jumps up from the table.  HISSES at her brother...				ANNABELLE		You are so STUPID!	And she RUNS, halfway to the door...				LUKE		ANNABELLE!	She turns, STARTLED at the anger in that.				LUKE		You do NOT run out on your moth...				ANNABELLE		YOU'RE WORSE THAN SHE IS!  WHY		DON'T YOU JUST DIE, TOO?	And BOLTS from the room.  In the silence she's left behind.				BEN		Annabelle's worse than everybody.	INT. LUKE AND RACHEL'S BEDROOM - NIGHT	Rachel and Luke cuddled in bed, watching a video in the darkness.	At least, she is.  Just now, he's watching her.				LUKE		Well, I think you should tell him		you changed your mi...				RACHEL			(softly)		It's no biggie.	She's still watching.  It's a French-language comedy.  She can feel	his eyes on her.  Never turns...				RACHEL		It's just an assignment.				LUKE		It's Anna Sui, you should be		doing it.				RACHEL		Are you hungry?  You could make		us something?	She's still never looked at him.  He can see she's getting irritat-	ed.  He says nothing.				RACHEL		It's two solid months, around the		clock, Jackie needs some cover-		age, you're in a trial, what are		we talking about?  There'll be		other assignments.	He kisses her hair and flinches slightly.  Tries to pretend it's	because she's concentrating on the movie.				LUKE		They're my kids.				RACHEL		Great, wallow in guilt, you sure		you're not Jewish?	A long beat.  He snuggles closer.  They watch together.				LUKE		She's not gonna die.				RACHEL		I know that.	INT. JACKIE'S BEDROOM - NIGHT	Jackie and Ben cuddled in bed, watching a video in the darkened	room.  It is not a French Comedy.  They are, however, eating	popcorn.	The door opens.  Annabelle stands motionless, composed.  Her face	looks like she's been crying.  She clears her throat...				ANNABELLE		I'm sorry you're sick.	From across the room.  Jackie stares at her.				JACKIE		I can't hear you.				ANNABELLE		THEN TURN OFF THE CARTOON!	Jackie cups her hand to her ear.  Shakes her head, can't hear a	thing.  Waves, come on over.  And slowly...	...Annabelle does.  Crawls up into the bed, on the opposite side	from Ben.  Into her mother's arms.  Jackie kisses her head, strong.	Big smile.				ANNABELLE		I said...				JACKIE		...I'm not deaf, y'know.	They grin at each other.  Like equals.  Jackie picks up the remote,	cuts OFF the sound.  And when Ben turns to her...				JACKIE			(singing)		In the still...still of the		ni-ight...I held you...held		you so ti-ight...				BEN		That's Rache's song!				JACKIE		Sugar.  I was slow dancing to that		song before Rachel was even born.	Wow?  Really?  You bet.  Annabelle chuckles.				JACKIE		You think she's the Queen of Cool?	Jackie shakes her head.  Pulls down the covers, pulls up her	t-shirt...				JACKIE		Does she have a tattoo?	The butterfly.  Just below her navel.  Ben has seen this before, of	course.  Touches it, with his small hand.				ANNABELLE		He wouldn't know.  I saw her		in the shower!				JACKIE		And...?	Ben looks to his sister.  For the verdict.  Annabelle shakes her	head.  Nope.				ANNABELLE		She is only the Princess of Cool.		Mommy is the Queen!				JACKIE		She is but an arriviste.	A new word, apparently.				JACKIE		A newcomer.  She's still got a		thing or two to learn.	Annabelle nods.  You betcha.				JACKIE			(resumes singing)		I held you...held you so ti-ight...			(to Annabelle)		You sing lead, you've got the voice...	She bumps head gently with Ben.				JACKIE		The stud and I will doo-wop.	And as they doo-wop the back-up...				ANNABELLE			(sings)		For I love...lo-ove you soooo...		promise I'll never...Let you go...				ANNABELLE/JACKIE			(sing)		In the still of the ni-ight.	EXT. ELEMENTARY SCHOOL - NIGHT	Parents streaming slowly in for a PTA night.  They are chatty,	tired, preoccupied.  And 95% female.	INT. ELEMENTARY SCHOOL COMMON ROOM - NIGHT	Folding chairs set in rows.  Parents taking their seats with coffee	and cookies.  Up front, a table where a panel of speakers are	beginning to gather.  A faded banner says PTA -- TENAFLY DAY SCHOOL.	Jackie is nibbling at a single cookie, when...	...a figure slips into the seat beside her.  Rachel is juggling a	coffee and maybe nine cookies.  Drops one.  Picks it up.  Dusts it	off.  Jackie is repelled, but has to smile.				JACKIE		Small world.				RACHEL		Luke's depo ran late.  I promised		I'd take notes.	To prove it, she balances the cookies on her thighs, and produces a	notebook.  Looks around, and in a conspiratorial near-whisper...				RACHEL		So I have to tell you something		in confidence...				JACKIE		You're a cross-dresser.				RACHEL		That.  And.  Annabelle is over		her head.  With Brad 'The Dreamboat'		Kovitsky.	Does a Groucho eyebrow move.				JACKIE		She hasn't mentioned this.				RACHEL		She was afraid you'd make a big		deal out of it.	Jackie is hurt.  Covers...				JACKIE		Moi?				RACHEL		Toi.  They've been 'going out'		for two weeks.	Rachel breathless and happy.  Jackie attentive.				RACHEL		As you may know, 'going out' in the		six grade doesn't mean shit.  They		don't actually go to a movie or		anywhere, they don't even eat lunch		together, it's just a declaration to		the world that they're...				JACKIE		...going out, yeh.  I had kids of		my own, once.				RACHEL		Anyway.  He walks up to her on		lunch yard today.  And tells her...		publicly...that they're 'breaking up.'	Jackie's mouth drops.				JACKIE		Oh, my God.				RACHEL		Right.  Which is the whole point of		this 'going out' thing, so one of them		can dump the other one, and they can		imitate the whole passionate adult		soap opera tragedy, without ever		having to actually date.				JACKIE		She's devastated.				RACHEL		Doesn't begin to describe it.		I mean, you've got cancer, this		is serious.	Rachel GRIPS Jackie's arm.				RACHEL		She spent an hour in the girls' bath-		room, crying with eight of her closest		friends, who are sending the message		to every boy in the grade that Brad		Kovitsky is yesterday's toast.	Devours an entire cookie in one gulp.				RACHEL		So here's the point.  I pick her up		from soccer, she tells me the whole		mess, and asks me what to do.	How about that?				JACKIE		And you said...?				RACHEL		Beats me.  Ask your mom.	Oh.				RACHEL		So she's gonna.  Tomorrow.	Leans closer.  Whispers...				RACHEL		Don't fuck this up.	INT. JACKIE'S KITCHEN - DAY	Jackie and Annabelle are sitting at the kitchen counter with maybe	twenty hardboiled eggs.  They are cracking the shells gently, and	carefully peeling them.				JACKIE		Well, did you really think you'd		meet someone at eleven that you'd		spend the rest of your life with?	Annabelle keeps her eyes on her eggs.  A craftswoman.				ANNABELLE		No, but I thought till Thursday.	Oh.				JACKIE		What's Thursd...				ANNABELLE		A debate.  Man's inhumanity to		woman.  He's pro women.  I'm con.		Ms. Flannery is twisted.				JACKIE		I could help with the debate.				ANNABELLE			(glum)		Great.				JACKIE			(thinking it over)		Actually.  I could only help him.				ANNABELLE		Every time I'm on the lunch		yard, and he's with twelve of		his retarded dorkface little		adoring out-crowd henchmen...				JACKIE		You don't like his friends.				ANNABELLE		...they all yell 'There goes the		Virgin Queen' or the 'Ice Princess',		or some really clever cut like that.		Like it hurts my feelings.	They keep peeling eggs.				JACKIE		You wouldn't kiss him, huh?				ANNABELLE		Not with my mouth open.				JACKIE			(softly)		Good girl.	Annabelle's eyes well up.  She covers by concentrating all the	harder.				JACKIE		And what do you do wh...				ANNABELLE		I call him a fartface or a pervert,		or something equally lame.				JACKIE		You have to ignore him.	And on this.  Annabelle looks up.				JACKIE		He's not even there.  You don't		see him, you don't hear him, you're		just too much of a woman to bother		with little boys.				ANNABELLE		This is a joke, right?	Jackie shakes her head.  Nope.				JACKIE		All he wants is the attention.		When he can't get to you, he'll try		harder for a little while.  Then,		he'll give up.  It'll be no fun.	The kid blinks.				ANNABELLE		You think Rache would do that?	Takes Mom back a bit.  Enough for her daughter to notice.				ANNABELLE		It's just she's younger.  Maybe		she remembers how to do this.	Jackie shrugs.  Maybe.  Annabelle studies her.				ANNABELLE		This'll work, huh?				JACKIE		Oh, yeh.	Annabelle takes heart from her mom's confidence.  Nods, with her	trademark determination.				JACKIE		How many devilled eggs can		you eat?				ANNABELLE		Maybe twenty.	Jackie surveys the table.				JACKIE		We can always go to the store,		if w...	A sudden BANGING on the screen door.  They turn to see...	...a breathless six-year-old TUCKER through the screen.  The	birthday boy at the recent party.				TUCKER		Mrs. Harrison...?				JACKIE		Tucker, is something wr...				TUCKER		How tall is your tree?  The really,		really, really, REALLY big...				JACKIE			(shrugs)		Why?	Uh.				TUCKER		How bad would it hurt?  If you		fell off the top?	EXT. YARD - DAY	AERIAL VIEW of Jackie, Annabelle, Tucker and assorted neighborhood	looky-loo kids from SEVENTY FEET in the air.  Everyone looks like	TINY DOTS running around the lawn.  We realize that we are almost	at the TOP of a giant EVERGREEN TREE.	We see a patch of red.  And now a blue stripe.  The wind reveals	more -- It's BEN CLIMBING to the very top of the tree.  The calling	of his name becoming more and more faint in the distance -- His leg	MISSES a branch -- causing a cluster of PINE CONES to FALL in front	of Jackie -- she looks up screaming --				JACKIE		BEEEENNNNNN!	Jackie's POV -- Ben crouched at the top of the evergreen -- as the	wind sways the tree perilously back and forth.				JACKIE		Don't move!	SMASH CUT TO LATER, as...	An enormous CRANE moves through the sky.  Jackie holds tightly onto	JESSICA, a diminutive five-foot-tall Firewoman, as they soar skyward	towards Ben.  A slightly condescending tone to...				JESSICA		That's quite a grip you have there		Ma'am.  Do we have an issue with		heights?	Patronized the wrong gal.  In a crisis.				JACKIE			(looking her up and			 down)		I don't care if you're a dwarf,		so long as you do your job.		BEN!  I'M COMING!  STAY THERE!		MOMMY'S COMING!				JESSICA		Ma'am, my arm's going numb, maybe		you could loosen your grip just a		little.				JACKIE		That's absolutely out of the question.		BEN!  I'M HERE!	The crane STOPS.  Ben has climbed to the top branches of the trees;	they SWAY from side to side like a METRONOME.				JESSICA		Hello Ben.  Your mother says you're		real good at disappearing --	Ben tries to climb a little higher -- Branches SNAP.				JACKIE		Ben!  Mommy's so glad to see you -- Now		stop climbing!			(He keeps climbing)		Ben listen to me...				BEN		No!  I have to get there.				JACKIE		Where Ben?				BEN		Before you.				JACKIE		Ben where do you have to get to?				BEN		Heaven.  I have to tell him he's made		a mistake.  He should take Grammy		Martha first.  Or Grandpa Norman.	Jackie's heart breaks, unable to speak.				JACKIE		Ben.  God doesn't like visitors.				BEN		How do you know?				JACKIE		Ask her, she's a heroic Fireperson.		She does this twenty times a day.				BEN		Oh.	Jessica begins to crawl out to him on the limb.				JESSICA		Oh yeh.  It's in our official manual.				JACKIE		That's right, Ben.  That's why Firemen		have giant ladders and climb up		and down poles.  They're like...		messengers... carrier pigeons...		between heaven and earth.				BEN		That's good cause we need to hurry.		My mom doesn't have very much time		left.				JESSICA		Then you know what we should do?		We should go to the Fire Station		together and ring the firebell to		get God's attention.				BEN		Cause it's an emergency.	Ben opens his arms, teeters, and Jessica HAS him.  She reaches him	out, and...	...HANDS him to Jackie, alone in the cherry-picker.  Jackie GRASPS	Ben, pulling him FIERCELY to her arms in a death grip.	From down below, the kids CHEER.  The worst is over.	HOLD on Jackie, clutching her baby for dear life.  Knowing it isn't.		INT. BEN'S BEDROOM - NIGHT	Jackie stands in the doorway watching her son -- her baby boy --	sleeping.  She looks drawn, but even if her body would let her	sleep she couldn't.				JACKIE			(a whisper)		God...I will do anything...I will		go through any amount of pain you		give me.  If you'll just let me		see them grow up.	A slow ragged breath.				JACKIE		Is that asking so damn much?	She leaves the room soundlessly.  Ben stirs.	ANNABELLE'S BEDROOM - LATER THAT NIGHT	Annabelle sleeps soundly in the glow of a night light.  Jackie	appears, leaning down to rouse her gently.				JACKIE		Annabelle...wake up honey...				ANNABELLE			(sleepy)		Mom?  What's wrong?				JACKIE		Nothing sweetheart.	Jackie sits on the edge of the bed, stroking Annabelle's head.				JACKIE		I got Ginny Weintraub to come stay		with Ben.	Annabelle's puzzled look.  Why would you do that?				JACKIE		How'd you like to go someplace		special with me?  Right now.	EXT. NORTH VALE STABLES - NIGHT	The light of the full moon illuminates the night and we see Jackie	and Annabelle sitting on a horse.  Annabelle in front, Jackie with	a strong hold on her.  Both have their nightgowns tucked into their	jeans, coats over them.				JACKIE		Hold tight, sweetheart.	She KICKS the horse forward and they HEAD OFF toward the rolling	hills in the distance.  Jackie and Annabelle ride faster and faster	along the trail.  Jackie has one arm firmly around Annabelle's	waist and controls the horse with the other.  Jackie closes her	eyes for a moment, allowing the wind to wash over her.  The smells	and sounds of the night seem to free her, give her strength.	Annabelle relaxes against her mother and giggles with delight.	Jackie soon joins her, and the sounds of their laughter break the	silence of the night.	They come to a stop at the crest of a small hill and we now see the	tears on Jackie's face.  Annabelle can't see, and stares out at the	moonlit valley before them.				JACKIE		I'm never, never going to forget this.	Annabelle snuggles back.  Happy.				ANNABELLE		Never say never.	Jackie kisses the top of her baby's head.				JACKIE		You're old enough to learn the		loophole.  You can say 'never,		never'.  If you mean it enough.		To say it twice.	Annabelle yawns.  So content in her mother's arms.				ANNABELLE		I'll remember.  Always, always.	So Jackie grips a little tighter.  Breathes a single word, just	loud enough to hear...				JACKIE		Promise.	EXT. JACKIE'S HOUSE - DUSK	Rachel and Luke heading up the path to Jackie's door.  It is early	winter.  Stark trees, a light snow on the ground.  Rachel pulls her	coat tighter around her.	INT. JACKIE'S FRONT DOOR - DUSK	Ben rumbling down the hall to the door.  Stands in front of it, as	the bell RINGS again.				BEN		IS THAT YOU?				RACHEL (O.S.)		IT'S YOUR GIRLFRIEND, BIG GUY,		OPEN UP.	So he does.  Gives her a sweet hug.				LUKE (O.S.)		Hey.  Remember me?	He enters behind her.  SCOOPS his body in the air.				LUKE			(John Wayne)		Listen up.  That's a pretty big love		you're givin' my best girl, pard.				BEN			(Clint)		Listen sideways.  I love her and		you love her.  Now what are we		gonna do about it?	They follow Rachel down the hall...				LUKE			(Mister Rogers)		We'll share.  Like good neighbors.	They enter the living room.  Annabelle sits sullenly in front of	the TV.  Her overnight duffle and book bag and coat piled beside	her.				RACHEL		Hey, gorgeous, where's Big Mama?	No answer.  Annabelle worried about something.				RACHEL		She still packing for her trip?				ANNABELLE		I killed my math quiz, A-minus.	They slap FIVE.  Go through the ritual of a three-step black guy	handshake.				RACHEL		And...other things?  At school?	Annabelle cuts a look in Luke and Ben's direction.  Please not in	front of the menfolk.				RACHEL		We'll talk.  I'll go check		on Mom.	Annabelle frowns at Mom's name.  Rachel strokes her.  Heads down	the hall...	Knocks at the open door to Jackie's bedroom, where Jackie is	calmly, meticulously, laying out things beside her large open	suitcase.  She waves Rachel in, and keeps working.				RACHEL			(checking out the			 stuff)		It's gonna be cool, huh?	Bulky sweaters.  Wool things.				JACKIE		I can never figure weather.  Last		trip, I made all the wrong choices.	Rachel and we have a better angle now.  Jackie looks awful.  Drawn,	weak, masking pain with obvious courage.				RACHEL		Bad day?	Rachel sits on the edge of the bed.  Jackie turns away, goes to her	open chest of drawers.				JACKIE		Can't complain.	Even her voice is carefully under control.  Awkward, Rachel looks	around the room.  A stack of photo albums, scrapbooks, open.  Works	in progress.				RACHEL		Can I look at the pictures?				JACKIE		It's a mess, right now.  That's		my project when I get back.	So quiet, we can hear a clock TICKING nearby.  Rachel's gaze	returns to the bulky sweaters.  Holds there.				JACKIE		See, I'm not going to Houston,		after all.	Like you obviously figured out.				JACKIE		There's this clinic in Montreal.		We've studied their process, we		like their success rate...	Two women nodding, in a calm, matter-of-fact way.  As if discussing	recipes.				JACKIE		They combine some compounds that		have been getting results in France,		with vitamin injections.  Seems to		activate the chemo...	Silence.				RACHEL		So.  Hopeful.				JACKIE		It's promising, this one.  We're		upbeat.	Rachel swallows.  She's out of words.				JACKIE		I really look like shit.				RACHEL		You look sick.  But you look...		together.  Mentally tough.				JACKIE		Yeh, that's bull.  I'm going for		serene, they say some actually get		there.	A shrug.  The first bitterness to seep through.				JACKIE		Prob'ly low percentage on mothers.	She sits, unceremoniously, right on the floor.  Pantomimes a smoke.	Rachel goes into her bag.				JACKIE		You try to center on the big issues,		y'know.  What it's all about.  What		this whole trip has meant.  But then,		the really big issues keep swamping y...				RACHEL		Brad Kovitsky.	Tosses Jackie a pack.  Matches next.				JACKIE       	You don't have any pot, I s'pose?	Rachel's eyebrows head north.				JACKIE		The primo stuff is great for pain.				RACHEL		I think my 'primo shit' got left		in my 'bellbottoms.'	Jackie lighting up.  Deep soulful drag.				JACKIE		So.  She ignores this little Kovitsky		punk, takes the high moral ground...	Reading Rachel's face.  Who is already wincing.				JACKIE			(yeh)		He's relentless.  A major asshole.				RACHEL			(nodding)		And you said...				JACKIE		What else?  Keep on keepin' on.	Oh.  Rachel tries to hide her disappointment.				JACKIE		She has to stick with it.  Have		the patience, the guts, to ignore		the pain.  You disagree?	Half a beat.  Rachel shakes her head, nope.				RACHEL			(softly)		Hey.  You oughta know.	INT. LUKE AND RACHEL'S DEN - NIGHT	Luke sits with Ben, building a gigantic magic castle from a million	Leggos.  I's architecturally interesting.  Through the window	behind them, a cold winter rain.				RACHEL (O.S.)		God, sorry I'm so late...	She is entering, peeling off her jacket.  Tired as hell.				RACHEL		Duncan is doing his Himmler		imitation on this gig.  I got		yelled at for quitting at eight.	Under Luke's patient exterior, the stress is showing.  As Ben	watches, he replaces a key piece of the turret...				LUKE		Yeh, well, I'll be up all night		on this brief.  And then...	He shoots her a really sorry look...				LUKE		I've got a morning plane to Boston		for the depo.  Back Sunday night.	Wow.  They lock eyes in the bond of 'what are we gonna do?'				RACHEL		No problem.				LUKE		I made that paella you liked.		It's on the stove.	She kisses Ben's head, Luke's mouth, that one lingering a little.	Then, down the hall to...	...the kitchen.  Annabelle sits with her homework stacked,	untouched.  Staring out the dark window.  Clearly, this is worse	than death.				RACHEL		Lemme guess.  A bad hair day.	Annabelle TURNS like a hunted animal...				ANNABELLE		She told me to keep ignoring him!		So I did it!	Not a good result, huh?				ANNABELLE		You know what that creep and his		frogfaced footmen are calling me		now?  In front of the whole world?		Frosty, the Snow Bitch!!				RACHEL		That's so weak.				ANNABELLE		Here's weak...Mom said she was		gonna talk to the teacher and		Brad's parents!!  Can you believe		the humiliation???				RACHEL			Honey, she won't d...				RACHEL		I told her if she pulled that,		I'd kill myself, and she could		go to my funeral for a change!	For a change.  That's where this is coming from.  Rachel reaches	her arms around her...				RACHEL			(murmurs)		Hey.  Hey.  I've personally never		gone to a funeral.  And I'm not		starting anytime soon.	The phone begins to RING...				RACHEL			(a whisper)		Specially not in this family.	Keep RINGING.  Rachel checks her watch.  Shit.				RACHEL		Nine o'clock.  That could be your		mom from Montreal.  Now you need t...	But Annabelle BREAKS LOOSE from Rachel's arms and BOLTS out of the	room.  Rachel watching in despair.  Lifts the phone on the sixth	ring...				JACKIE			(bright and soft)		Hi.  How's the vitamins up there?		Having big fun?	INTERCUT throughout:  Jackie in a hospital gown.  At the window of	her room, rain pouring down on Montreal.				JACKIE		Eat your heart out.  Is Annabelle		there?				RACHEL		Yeh, she's...I'll get you Ben		first, it's past his bedti...				JACKIE		How's she doing with Brad?	A beat.				RACHEL		Can I say one thing?  I mean, the		last thing I want to do is inter-		fere on the Brad thing, b...				JACKIE		Thanks, but it's under control.	A shorter beat.				RACHEL		Yah?  Well, even the best mom in		the world, the smartest, the wisest,		whatever.  Needs to know when to		find a Plan B.  Cos Plan A is not		and will n...				JACKIE			(tired, short)		It's covered, okay?  I appreciate		your concern.  Can I talk to her?	And real quiet...				RACHEL		I'll get Ben.	INT. ANNABELLE'S ROOM - MOMENTS LATER	Annabelle lies on her bed in darkness.  Clutching her pillow.	Lights streams in as Rachel enters.  Sits on the bed, next to this	furious child.  Puts the cordless phone by the pillow.				RACHEL		Annabelle, I know you miss your		mother.  So why don't you say hello.				ANNABELLE		Why don't you say hello?				RACHEL		Annabelle pick up the phone.				ANNABELLE		Annabelle pick up the phone.				RACHEL		That doesn't bother me.				ANNABELLE		That doesn't bother me.				RACHEL		You think this is funny?				ANNABELLE		You think this is funny?				RACHEL		No.  I think it's ugly.				ANNABELLE		You're just a stepmother.  So stop		bossing, cos nobody's listening!				RACHEL			(even, in control)		June 3rd, God willing, I'll marry your		Dad.  And then I will be your stepmom.		And right now, I'm not looking forward		to th...				ANNABELLE		Suits me fine!	Rachel cooks her head to one side, like she's seen Jackie do.				RACHEL		Stepmother.  You think that means		you can step on me?  Over me?  That		you're one step ahead of me?  Well,		you're not.	Strong voice.  No smile at all.				RACHEL		You know when girls grow into women?		When they have to.  And this is your		moment, kid.  Ready or not.	Picks up the phone.				RACHEL			(low)		Your mama is in a hospital, far away.		She needs you, right now.  She needs		you to be big.  To put the kid aside,		and help her get well.  Now.  Fucking.		Do it!	CLICKS the phone ON.  Hands it to her.				ANNABELLE			(tears on her face)		Hi, Mom.  How are you feeling?	As Rachel leaves, silently, we...	INTERCUT throughout:  Jackie at her clinic window.  Cellular at her	ear.				JACKIE		Darling, I've been thinking about		our little Brad problem?  And I		think it's time we move to Plan B...				ANNABELLE		You cannot believe what he said,		it was the worst instant of my		total life on Earth!!				JACKIE		I know.  I know how rough life can be.		And how unfair.  So here's what we do.		Tomorrow, on the lunch yard, you walk		straight up to that little jerk...				ANNABELLE		And bring my knees up, real hard, yeh?				JACKIE		No, that never solves anything.  You		talk like the big girl you are.  About		what you feel.  And how he's hurt you.		You know?  You tell the truth.	Nodding to herself.  Knows this is right.				JACKIE		You use your words.	EXT. SUBWAY CAR - DAY	An actual SUBWAY CAR filled with PAIRS of animals, cats, rabbits,	dogs, two horses peeking out a window, peacocks.  Noah's Subway, so	to speak.	Duncan and his client watch as Cooper assists Rachel, who SHOOTS	the menagerie from low ANGLES.  At last, she lowers her camera.	Check her watch.  Shoots Cooper a knowing look.  And HANDS HIM the	camera.  WAVES to her subjects...				RACHEL		I love you guys.  You're animals!	And starts WALKING OFF down the tunnel.  Duncan looks at his	watch, then JUMPS up, TEARS after Rachel, GRABBING her arm,	SPINNING her around, he faces...	...someone ready for this.				RACHEL		It's 1:45, I told you there's no		one to pick up Annab...				DUNCAN		But you're not done!	She licks her lips.  Stands her ground.				RACHEL		I've got it.  It's in the can,		Cooper can wrap th...				DUNCAN		We don't KNOW if you've got it, we		haven't SEEN it yet!  Now go back		and FINISH!	Her glare says do NOT fuck with me.  The mother lion look we've	seen on Jackie.				RACHEL		Which part of no don't you		understand?				DUNCAN		Look, I will send a P.A. to pick		up the children.  There are agencies		that supply sitters, nannies...				RACHEL		They're losing one mother.  They		can't lose two.	The bottom line.  He looks as freaked as she is determined.				DUNCAN		You're making a career decision		here, I would strongly sugg...				RACHEL		Duncan.  I've got an even better		idea...	She leans forward.  In his face.  So she barely has to murmur.				RACHEL		I.  Quit.	A beat.				DUNCAN		You can't do that, I won't let you!				RACHEL		No, no, no, this is a job that's		hard to keep, not a job that's		hard to lose, can't be both.				DUNCAN		Rachel, don't do this, you will		never forgive yourself!	She thinks that over.  For half a second.				RACHEL		Actually.  I just did.	And without further fond farewell...	She is gone.	EXT. CAR POOL LINE, ELEMENTARY SCHOOL - DAY	The last cars are pulling away.  Some kids are still playing	sports.  And sitting on the ledge by the flag pole...	...two children.  The little boy is reading his Garfield book for	the three hundredth time.  His big sister is simply crying, openly,	for a disinterested world to see.  A car SCREECHES up.  The driver	BLASTS out the door, RUNS to us...	Then crouches slowly.  At Annabelle's feet.				RACHEL		Oh, baby, I'm so sor...				ANNABELLE		IT'S NOT YOUR FAULT!!	Rachel is dying inside.  Reaches to brush at Annabelle's tears, but	the child SMACKS her head away.				RACHEL		Ben, go sit in my car right now,		and I will bribe you big time.	Excited, he runs off.				ANNABELLE		I did what she said.  I used my		words, I told him what I felt,		and they...				RACHEL		...laughed, yeh.  They laughed		real hard.	Annabelle nodding BIG, gulping back tears.				RACHEL		That's because men can be scum,		your precious father excepted,		may you live to find one like him,		it is damn hard.	And wraps her arms around the girl...				RACHEL			(looking around)		Now is that little prick still here,		because if he is, I'm gonna rip his		fucking heart out!				ANNABELLE		No, his mother's always on time.	Great.				ANNABELLE		And Mom says anger never, never		solves anything.  It makes every-		thing worse.				RACHEL		That's because your mother is a		fine person, finer than I will		ever be.  Now, just this once...	Just this once.				RACHEL		If I tell you what to do.  Can we		cut a deal?	Annabelle stops crying.  This is what she has prayed for.				RACHEL		Tomorrow is Friday, your mom comes		home.  You tell her you did what she		said.  It didn't work yet.  But you're		gonna talk to Brad again on Monday.	Leans close...				RACHEL		And youdon't tell her.  What		you're going to say.				ANNABELLE		Not use my words, please!				RACHEL			(smile)		No, baby.  You're gonna use		my words.	The sun dawns.  On a child's face.  Rachel brushes the tears away.	They won't need them anymore.				RACHEL		Okay, let's start with looks.  I		know he's handsome, but the best-		looking people are so vain, there's		always something they're insecure		about.	Annabelle shakes her head.  Nothing.				RACHEL		Does he have zitz?  We can call		him Pizza Face.	Nope.  None.				RACHEL		Help me here...				ANNABELLE		Uh.  He thinks his nose is too		big.  But it's not.				RACHEL		Great.  Big ears, too?				ANNABELLE		No.  But they stand out, a little.		Like this.	Shows how.				RACHEL		Done.  He's a dead man.	Rachel stands up.  Walks in circle, thinking.  Comes back.	Strikes a pose.				RACHEL		Monday lunch, you walk up with		attitude, you hear me?	Finger STABS out...				RACHEL			(as Annabelle)		Hey, Ear Boy!			(does the ears)		Listen up, Rhino Face, because I'm		saying this one time!  So your		pathetic, no-life, ass-kissing little		groupies here, better take notes!	Annabelle is swooning with joy.				RACHEL			(as Annabelle)		I dumped you, limp dick, when I		got a peek at your deformed unit,		which is sadly microscopic!	Annabelle laughing, applauding.				RACHEL			(as Annabelle)		As for your pitiful knowledge of		sex?  I'm not wasting my time with		some loser who doesn't even know		what snowballing is!	Annabelle raises her hand.				ANNABELLE		Uh.  What is it?				RACHEL		Oh.  It's an incredibly disgusting,		and not remotely sexy thing, that		they described in a movie I'd never		let you go to.  But it's real.  Does		he have an older brother?				ANNABELLE		In high school.				RACHEL		He'll be impressed.  The clincher is,		you walk away, then whip around...	Like this.				RACHEL		The guy I see is in the eighth grade		at Prep School, and he laughs his ass		off every time we talk about you.				ANNABELLE		But Rache...				RACHEL		A suitable boy, will be at this		flagpole, on Monday, with a very		expensive bike, and he will be a		stone FOX if I have to call an		escort service!	The kid.  Is breathless.				RACHEL		Now let's go stuff you full of		junk food.	Wraps an arm around her.				RACHEL		I've had the worst day.  Till now.	INT. NEWARK AIRPORT - DAY	Arriving PASSENGERS are filling through the gate.  Last, is a female	FLIGHT ATTENDANT, WHEELING a gray-faced Jackie in a collapsible	wheelchair.  The woman leans to her...				FLIGHT ATTENDANT		We'll get your bags, and the taxis		are just...	Jackie GRIPS the wheel, STOPPING them.  Stares, frozen, as across	the way...three faces stare back.				RACHEL			(sheepish)		Surprise?	And Jackie LEAPS out of the wheelchair, RUNS across the distance,	runs to SCOOP her babies in her arms...				JACKIE		It's a miracle!  I can walk!	Annabelle laughs.  Ben covers Jackie with kisses.  Rachel watches.	From the crowd.	INT. JACKIE'S HOME - DAY	Rachel carrying the suitcase, Jackie has each kid by the hand, as	they troop through the house to arrive at...	...Jackie's bedroom.  Where Jackie freezes.  Her mouth OPEN.  For	Rachel has...	...HUNG striking black and white PHOTOS of the children all OVER	the room.  One is of Ben's FEET, left shoe on right foot and vice-	versa.  Another glimpses Annabelle's beautiful FACE hidden in her	hair.  Ben sitting in a cupboard.  Annabelle a bold ear of corn.	Ben sitting on the bottom limb of the huge evergreen.  Annabelle	kissing her horse's muzzle.	Jackie just stands.  Trying not to cry.				JACKIE		Okay.  These are good.				BEN		I helped.	She know he did.  Looks across the room at Rachel.  No more words.				BEN		Let's go to the park!	Jackie sighs.  Smiles down at him.				JACKIE		I've got a lot of medicine in me,		sweetie.  And I'm a little wobbly for		driving or running ar...				BEN		Rache can do that part.	Jackie absorbs that.  And all it portends.				RACHEL			(softly)		Hon, maybe your mom would like t...				JACKIE		...go to the park.  In the worst way.	Silence.				ANNABELLE			(grins)		Well, with Rachel driving.  That's		how we'll go.	EXT. PARK - DAY	LONG ANGLE...five swings in use.  In four, the kids are pushed by	moms or nannies.  In the fifth, Ben is pushed by Annabelle.  Guess	who's going the highest.  PULL BACK to...	...two women on a bench.  Under a starkly bare tree.  Jackie is	drinking in the air, the cold, the day.  Rachel watching that.				RACHEL		Serene.  You're getting the hang		of it.	Jackie doesn't answer for a beat.  Almost as if she hasn't heard.				JACKIE		Serene means you accept.	Shakes her head.				JACKIE		Part of me hasn't quit yet.  And		the other part is still pretty		outraged.			(calmly)		When it's not terrified.	Watching the world of moms and kids.  Who are not terrified.				JACKIE		I'm thinking.  Do I know you well		enough to really chew you out?				RACHEL		No.	Jackie turns to her.  Diamond laser glare...				JACKIE		Have you lost your mind?!  You fought		years for that job!  And you quit??	Oh.  That.				RACHEL		It's just not the right time t...				JACKIE		Do what you've worked your whole		life to do?				RACHEL		It was just a job, there'll be plenty		of others.				JACKIE		You mean, after I'm dead?	Do you?				RACHEL		Hey, you haven't quit on you, I'm		sure as hell not gonna.  I just		mean, I'm juggling a lot right n...				JACKIE		Juggle it!  Move the darkroom into		your house.  You've got that room		downstairs with the treadmill Luke		never uses anyway.  Don't lose your		confidence.  Don't lose your edge.				RACHEL		It's the same choice you made.				JACKIE		Yes.  I made the choice that was		right for me.  And I don't regret		it.  But even for me, there were		days when I felt so lost, so invis-		ible.  And then I'd hate myself for		the kids not being enough.	Reading Rachel's face.				JACKIE			(softer)		I know you, huh?  The car pools,		he measles, the PTA.  It's not		gonna be enough for you in the long		run.  You have to think long term.				RACHEL		I just want to spend time with		them when I'm not rushing or on		the phone or tired or...				JACKIE		That's motherhood.  That's the		job, with or without a career.		I'm telling you the biggest gift		you can give them is your happiness.		They need you to be happy.	Can you hear me?				JACKIE		Cause if you're not, the easiest		person to  blame is the guy sleeping		next to you.  And you'll push him		away, and then hate him even more		when he goes, until finally you have		no choice but to leave.  And that		can't happen.	Rachel's turn to wonder.  She starts to say something, thinks	better of it.  Asks instead...				RACHEL		That's the bottom line, isn't it?		I can't make a mistake.  Because		it'll screw your kids.	Glances over.				RACHEL		My advice to you?  Don't die.				JACKIE		Feeling the pressure?	Rachel's eyes move across Jackie's face.  Then, out to Ben, on the	distant swings.				RACHEL		Last time I pushed him?  He said,		'Higher, Rache.  It makes my penis		sting.'	Thin smile.  Now it's Jackie watching Rachel's profile.				RACHEL		I'm gonna buy him that white dove		for Christmas.  If I don't, you'll		get him a fucking eagle!	Jackie keeps watching her.  And in a quiet voice...				JACKIE		Ben was born in two hours, went		right to my breast and camped		there for three days.  Always with		this...mischievous look...	Watches Rachel nodding, absorbing.				JACKIE		Somehow, his blanket always looked		like a cape, even the nurse said		that.  He loves to hear that story,		over and over.  How he was born a		magician.				RACHEL			(softly, never turning)		And her...?				JACKIE		Took 28 hours.  She just wasn't		sure about entering this world.	Watches the feeling well in Rachel's eyes.				JACKIE		The doctor wanted to go in and get		her, but I knew she'd come in her		own time.	Rachel nods.  It fits.				JACKIE		That's who she is.  Don't let		anybody rush her.	Silence.  A murmur...				RACHEL		I'll keep that in mind.	Rachel settles back.  Her eyes now locked away somewhere private.				JACKIE			(quietly)		What?	Rache smiles.  That Jackie sensed something.				RACHEL		It's not about the kids.	Looks over.  Decides whether to ask...				RACHEL		That thing you said before.  Pushing		the guy sleeping next to you away.		Because of what you gave up for		motherhood...				JACKIE		Is that what he told you?				RACHEL		He won't discuss it.  Just calls it		history.	A trace of edge to Jackie's smile.  But no real anger.				JACKIE		Well, he got that part right.	Looking.  Looking.				RACHEL		So what's the part he got wrong?	An urgency in that.				RACHEL		I got all day.	EXT. COURTHOUSE STEPS - TWILIGHT	Luke and his bulky briefcase, coming down the stone steps two at a	time, until...	...he sees her.  In her winter coat.  Smoking as if it could keep	her warm.  And despite her tension, he grins, heads over.				LUKE		What a great surpri...				RACHEL		Hold your applause.  We're not		having fun, here.	And from her face.  She means every word.				LUKE			(concerned)		Is Jack okay?	Great.  Just what she wants to hear.				RACHEL		Oh yeh, she was cracking me up.		Dishing details of her sordid		little divorce.	Ah.  A beat.  To assess the damage.				LUKE		And you freaked.  A little.	Hey...				RACHEL		Just like to make sure.  That your		past.  And my future.  Are real		different.				LUKE			(quietly)		Well, they will be.				RACHEL			(hard and low)		Imagine my relief.  So what's for		dinner?	He sighs.  Jesus.				LUKE		Why in the world would she t...				RACHEL		You took a fishing trip with the boys.		Liked it so much, you took another.				LUKE		I needed some time away.				RACHEL		...while she watched the kids.  Then,		you booked this flat in Paris for your		family's summer.  But she said...				LUKE			(weary)		'...the kids have camp.  Their friends		are here.  Over there, I'll just be		shopping in a language I don't even		know.  My life, and the kids' lives,		aren't here to service your mid-life		crisis.'  Did it go like that?	It did.  People are passing them.  They do not notice.				LUKE		She called it a fight.  The fight.				RACHEL		What do you call it?  You told her		you had doubts.	He looks around.  People are moving on.  Toward their drinks, their	dinners, their lives.				LUKE		Can we go sit somewhere?				RACHEL		Let me put it this way.  Hell, no.	And takes out her cigarettes.  Her fingers fumble slightly.  It	isn't the cold.				LUKE		I told her I loved her.				RACHEL		By way of saying you were unhappy.				LUKE		Restless.				RACHEL		Excuse me.  'Things are so confusing		for me, Jack.  Our life feels too		comfortable, too safe, too predict-		able.  It's a partnership, it's		juggling schedules.  When I think of		playing that out, every day, for the		rest of my life...'	Dead at his eyes.  And he nods.  Once.				LUKE			(softly)		'...I don't know if I can make it.'		That's what I said.  But I didn't		leave.				RACHEL		No, she threw you out.  What a		difficult woman.	Pulls out her box of matches.				RACHEL		So now I get to wait...	A single match...				RACHEL		For the first sign.  The first		fishing trip...	STRIKES it.  Shields it from the wind.				RACHEL		What do you figure, Luke?  When		am I too old to be exciting?  When		your daughter brings home her college		roommate?	Lights her cigarette.  As he watches.				LUKE			(softly)		That's a pretty ugly thing you		just said.				RACHEL		No, here's ugly.  'I love you, babe.		It's just our life together I'm not		so sure about...'	Big draw.  Never wavering from his eyes.				RACHEL		'But keep dancing, and if you're		lucky, I might just never leave,		who knows?'				LUKE		That's not us.				RACHEL		Because you've changed so much.	He puts his hands on her, gently.  But she flinches.  So the hands	come away.				LUKE		You want me to show you the future.		Well, I can't darlin'.	I can't.  She searches the lovelight in his eyes.  As if she could	weigh it.				LUKE		We make our lives, one step at a		time.  We do the best we can.  The		truth about the future?  A promise.		Is only a hope.				RACHEL		How about the promises we make to		our kids?  About their future.  Do		we shrug those off, just that easily?	That slows him down.				RACHEL		Maybe Annabelle deserves to find		out who really broke up her family.		While her mom is still around.	Stops him.  Cold.				RACHEL			(quiet)		Hey.  Just a thought.	Flips her cigarette to the gutter.  Shrugs...				RACHEL		You got one less for dinner.	Takes a step back.  Only one.  But it registers.				LUKE		Where you goin'?				RACHEL		I'm gonna get me a drink.	Nods, to herself.				RACHEL		And I'm gonna drink it alone.	And she walks off.  Slow.	EXT. CAR POOL LINE, ELEMENTARY SCHOOL - DAY	Ben alone in the back seat.  Reading his beloved Garfield book.	Shift ANGLE to see...	...the women standing by the car.  Rachel looks a little anxious...				RACHEL		You really didn't have to come,		you know.  I'd have brought them		straight t...				JACKIE			(staring at something)		Who in the world is he?	See now, across the way.  A gorgeous BOY, dressed cool, stands	holding an expensive bike.  And chatting happily with Annabelle.	In the distance, other kids pretend they aren't watching.				RACHEL		Looks nice enough to m...				JACKIE		He looks familiar.  Did he do a		Calvin Klein ad?	Across the way, the boy leans, kisses Annabelle sweetly on the	cheek.  Waves to her.  Peddles off.  In distance, kids are dying.	Annabelle pretends not to know that.  Just walks casually toward	us, but as she approaches, she can't help breaking into a RUN,	straight...	...into RACHEL'S ARMS.				ANNABELLE			(breathless)		It workeditworkeditworked!  Omigod,		you can't believe the look on his		face!!!	SQUEEZING Rachel tight enough to crush her bones.  And although	Rachel hugs back, although she kisses Annabelle's hair...	Her eyes are locked to Jackie's.	Houston.  We have a problem.	EXT. JACKIE'S YARD - DAY	Rachel alone by the weathered redwood swing and slide set.  She	is pacing in a circle, looking like a kid waiting to see the	principal.  Sucking her cigarette like smoke was oxygen.  She picks	a bottle of beer off the grass.  Twists the top.  Settles awkwardly	on the seat of the taller swing.	HEAR the screen door open.  Bang shut.  Rachel takes a sip.  Before	she looks up...				JACKIE			(low, calm)		Now we're going to have a fight,		you and I.				RACHEL			(barely audible)		Are we.				JACKIE		And I'm going to win.				RACHEL			(straight to her eyes)		Don't be too sure.	No anger in Jackie at this moment.  The ferocity of that mother	lion.  The strongest face we'll ever see.				JACKIE		Now, 'limp dick', I know.  What.		Is 'snowballing'?				RACHEL		It doesn't matter, I didn't tell h...				JACKIE		Because there'll be, oh, 20 or		30 mothers phoning me in the		next hour or so.  And they'll b...				RACHEL		Give 'em my number.	Jackie on the prowl around this swing.  Stalking her prey.				JACKIE		Actually.  They'll want Annabelle's		mother.				RACHEL		Is that what you're worried about?		Looking bad at the PTA?				JACKIE		You are defending what you did?				RACHEL		Right down to the ground.  Let's		get to it.	Not quite what Jackie expected.				JACKIE		You put filth in my child's mouth.				RACHEL		Aw.				JACKIE		You had her lie about that...		that fancy-boy model!				RACHEL		Worked.  Like a charm.	Jackie cannot even believe this.				RACHEL		She was beaten, and bloodied, and		it was going to go on, uni...				JACKIE		So you became the hero.  And I		became the schmuck.	Straightening her spine...				JACKIE		You taught my child that I am some		limp dick loser.  Who didn't care		about her pain.				RACHEL		That's not wh...				JACKIE		You think I didn't have some dirty		words for that little putz?  You think		I couldn't figure out some low blows?				RACHEL		You weren't passing 'em out.				JACKIE		Well, maybe your version of growing		up is 'Just win, baby'.	Stalking.  Closer.  Fierce.				JACKIE		Mine.  Is a little different.	Right there.  At the swing.  In her face.				JACKIE		See, in that crisis, I saw an		opportunity.  For some real growth.				RACHEL		Oh please.				JACKIE		Shut the fuck up.  I didn't go		behind your back.	The one scored.  Rachel sips her beer.				JACKIE		Doing the right thing.  Knowing who		you are, inside.  Not caving to peer		pressure, or lowering yourself to that		level, steering your own course...				RACHEL		She wasn't steering her own course,		she was steering yours.				JACKIE		Well, that's what parenting is about,		little girl.  They are pleading to		know how they are supposed to do it.		And you sure as hell showed her.	Silence.				JACKIE		And there will come another moment.		When the stakes are really there.		And she will look back on this.  And		remember how good it felt.  How easy		it was.				RACHEL		And she'll fight back again.  God help		me, what have I done.	Jackie's voice drops.  The softness makes it somehow more	menacing...				JACKIE		You've turned her into you.  And		I may not get another chance.  To		turn her back.				RACHEL			(suddenly fierce)		That's what it is.  And that's all		it is.	The hand with its cigarette STABS out...				RACHEL		You won't get the chance.	Jackie back on her heels.  Thinking.  A mile a minute.				JACKIE		You've got a point there, for a		change.  Oh, yes you do.	HER finger stabbing out.				JACKIE		You didn't get morning sickness for		seven months, you didn't breast feed		till your nipples fell off, you didn't		spend every minute of every day		thinking and planning and knowing that		your decisions were shaping the people		they were going to be...	And now Rachel.  Has nothing to say.				JACKIE		You are gonna be taking Ben's training		wheels off.  You are the one my little		girl will confess her first love to.		You will see them married, you will		play with their babies, you fucking		BITCH, I hate your GUTS!	The blast washes over Rachel.  And in the silence...				RACHEL		Now you're talking sense.	She looks down at her beer.				RACHEL		All year long, I've been watching how		you do this.  The worries, the sacri-		fices, the signals you give them...	Thinks.  Really thinks.  Wants so much to say this right.				RACHEL		And I admire you.  More than you'll		ever believe.  And yet...this...		thing...has been growing.  Inside me.	Looks up.  Straight to her eyes.				RACHEL		For better or worse.  I'm not you.	And so she stands up.  The swing shimmies in her wake.				RACHEL		I can't live my life channeling the		One True Mom after you're gone.  I		can't do it.  I can't do it.  I can't.		Do it.	Sets the beer down.  Stabs out her smoke.				RACHEL		We have to deal with that.	And walks off, slowly.  Across the yard.	INT. INDOOR RIDING RING - TWILIGHT	Huge indoor space.  Wood-sided walls, dirt floor.  High corrugated	metal roof, with birds flying, roosting in rafters.  A little GIRL,	under the keen eye of her TRAINER, puts her mount through its	paces.  In the cold air, steam rises from the horse's body.  It's	late, no one else around.  TRACK now...	...down a walkway.  Toward the stables.  A barn cat is crouched,	stalking prey.  We hear a soft voice, speaking.  One we know...				LUKE (O.S.)		It was like telling her...	See him now.  Standing awkwardly, against the side of a stall.				LUKE		...that I didn't love her anymore...	See the horse, still steaming.  Standing patiently.				LUKE		...if I could be sure I'd always		stay.	Circling the horse now, we see Annabelle's back.  She is slowly	brushing out the sweat mark.  Where the saddle used to be.  Her	movements are stiff, mechanical.  The soft voice continues...				LUKE (O.S.)		She said, 'This thing you call a		partnership.  The schedules, the		chores, all the things we have to		work out...'	Our ANGLE CIRCLING to see at last Annabelle's face...				LUKE (O.S.)			(softer)		'...for the kids.'	The tears that stand in her eyes.  The set line of her small mouth.				LUKE (O.S.)		'...that's the life I dreamed of.		And it's all I ever wanted it to be.'	She swallows.  Because she will not cry.				LUKE (O.S.)		That's the kind of person your mom is.		She's the best.	Annabelle says nothing.  She drops to her knees.  Begins to clean	out one of her horse's hooves with a metal pick.  The only sound	against the stillness.	And her father watches.  His heart pounding.				LUKE		I complained a lot, baby.  We couldn't		travel, we'd lost our privacy, our		chance to do things on the spur of the		moment.  To live for...ourselves.  The		way we'd started out.	He goes to her.  The sound of his feet on the straw.				LUKE		And she said.  Sounds like you'd be		happier.  If the kids weren't around.	Crouches down.  Very close to his child.				LUKE		I said.  I love them more than		anything.  But sometimes... I do		miss what I've lost.	Annabelle stops working.  Turns her faces away.				LUKE		She said she could never feel that		way, not for one single second.	So he leans closer.				LUKE		She didn't want to be with someone.		Who could.	Silence.  He's staring at the back of her head.				LUKE		You know, this horse smells		really bad.				ANNABELLE		There's worse things.	At least she can talk.  If only just above a whisper.				LUKE		Do you know why I never told		you all this before?	A beat.  She doesn't look at him.				ANNABELLE		Sure.  You wanted me to blame her.		Instead of you.	Waiting to hear...				LUKE			(very softly)		That's right.	She hears honesty.  And heartbreak.  It makes her turn...				ANNABELLE		How come you're telling me now?	He gets lost.  Looking in those eyes.				LUKE		I don't want to be wrong anymore.	I don't.				LUKE		I want to say I'm sorry, because I am.		And let you hate me.  If you have to.	She swallows hard.  Her eyes moving over his face.				LUKE		See that feeling?  Where you feel		two different things at once?		That's a grown-up thing.  It's		not a lot of fun.	She shakes her head very slightly.  And her eyes water.				LUKE		Know why your mom never told you?	She doesn't.				LUKE		She knew that you and her were		so...solid.  Nothing could rock that.		But she didn't want to risk...	The hardest thing.  He's ever had to say...				LUKE		...your hating me.				ANNABELLE		Cos she loves you.				LUKE		Cos she loves you.  She wanted you		to have a daddy to love.  Even if		he didn't...completely...deserve it.	Now the tears in his eyes.  And she's watching that.				LUKE		You know how much love that is?		That she has for you.	Do you.				LUKE		There's going to come a moment.		When she'll really need you to		give that back.  And you're just		the girl that can do it.	The way he says this.  Makes her ask...				ANNABELLE		Now do I know when?	He reaches.  First time.  Strokes her hair.				LUKE		That moment will come.  And your		heart is going to whisper, 'here		it is'	Winds his fingers.  Around her hand.				LUKE		And you'll come through.	She stares in his eyes.  And dead straight.				ANNABELLE		If I miss it, daddy?  You clue		me in.	Okay, he nods.  That's a plan.	INT. BAR - NIGHT	The dimly chic bar.  With its soft upscale buzz.  Where Jackie	told Luke she had cancer.  Tonight, she waits alone.  Watching the	entrance.  Nursing her drink.  And then...	...Rachel comes into the place.  Spots Jackie across the room.	Weaves her way through the tables.	And she is there.  Slipping into her seat.  Not knowing what to	say.				JACKIE		Thanks for coming out.				RACHEL		Neutral ground.  What's up?	Jackie stares evenly.  Her chin rests across the back of her	knuckles.  She looks tired, but okay.  Fueled by adrenaline.				JACKIE		Luke called.  He says you're		checking out.  Of the Heartbreak		Hotel.	The waitress appears.  Rachel too locked into the moment to notice.	So...				JACKIE		She likes a Stolie, no ice.				RACHEL			(softly)		Double.	As the woman leaves...				JACKIE		What's this about?  Because		we fought?				RACHEL		Don't flatter yourself.			(beat)		I always liked that line.	Signs.				RACHEL		I love Luke, I love the children.		But there is more to life than		even love...				JACKIE		No, there isn't.				RACHEL		And I have looked down the road.		At what my life will be.  And I		can't handle it.	Jackie unblinking.  Focused, strong.				JACKIE		What do you see?  Down that road.	No answer.  Then...				RACHEL		I never wanted to be a mom.  Then,		sharing it with you was one thing.		Carrying it alone, the rest of my		life...				JACKIE		Is scary.  But you want it.  Gimme		some truth here.	The Stolie arrives.  They wait a beat.  The waitress disappears.				RACHEL		Well, it's the Jack Kennedy Syndrome,		huh?  You die young, you always look		golden.  Perfect.  The memory kind of		burnishes the image, and...				JACKIE		Come on, a wuss like me?  The stiff		who wouldn't help her own daughter		fight back?				RACHEL		Maybe I was wrong on that one.	That sits there.  In its sincerity.				JACKIE		Well, maybe you weren't.	And so does that.  Tears are forming in Rachel's eyes.  Here, in	this public place.				RACHEL		Look, when I said I couldn't channel		you.  That didn't mean I wouldn't give		my right arm to do just that.	Shakes her head.				RACHEL		Maybe I don't want to be looking over		my shoulder.  Every day for twenty		years.  Knowing someone else would		have done it right.  The way I can't.	Jackie waits.  Thinks.				JACKIE		Trade you a smoke.  For a secret.	The way she said that.  Something weighty behind it.  So Rachel	reaches into her purse.				JACKIE		You know, I lost Ben awhile back?		In a supermarket.	Rachel's hand freezes.  In mid-course.				RACHEL		You're lying.				JACKIE		I lost him.  I was panicked.				RACHEL		You are lying, you never lost that		kid for 4 seconds, you could find him		from a coma, there is no WAY!				JACKIE			(smiles)		I was running around like a chicken		with my head chopped off.  Doing my		imitation of you.	Rachel still not buying...				RACHEL		Ben never mentioned it.				JACKIE		He only remembers I found him.  My		point is, telling you this story would		have been the kindest, most helpful		thing I could ever have done for you.	The smile fades.				JACKIE		Why didn't I?				RACHEL		Uh.  You hate my guts?	Passing the cigarettes over.				JACKIE		We were competing.  Even then.	Yes we were.				JACKIE		Instead of being partners.  Watch-		ing each other's back.  Seeing things		were covered.	Pulls out a smoke.  Offers the pack...				JACKIE		You're not scared you'll think you		don't measure up.  You're scared		they'll think it.  That's the JFK		thing, yeh?	Rachel takes one.  Eye contact holding.				RACHEL		With good reason.  They fucking		worship you as it is.				JACKIE		What do I have that you don't?				RACHEL		Everything.  You're...the Earth		Mother incarnate...				JACKIE		You're the hip and fresh.				RACHEL		You ride with Annabelle...				JACKIE		You'll learn.				RACHEL		You know every story, every wound,		every memory, their whole life's		happiness has been wrapped up in		you, every moment...				JACKIE		I have their past.	STRIKES the match.				JACKIE		You.  Have their future.	Rachel stunned.  By the simplicity of it all.  Slowly, she leans to	accept Jackie's flame.				JACKIE		Don't you get it?  You look down the		road to her wedding.  You're in the		room alone with her, fitting her veil,		fluffing her dress.  Telling her no		woman was ever that beautiful.	Tears now.  Standing in two pairs of eyes.				JACKIE		And your fear is.  She'll be		thinking.  I wish Mom were here.	Jackie lights her own.				JACKIE		And mine is.  She won't.	Her hand trembles as she takes a drag.				JACKIE		Now that's enough fear for either		one of us to kill the other.  And		no jury in the world would convict.	Jackie raises her glass.				JACKIE		We're guilty, girl.  Of being human.		And we can't forgive ourselves.	Holds it forward.  In a toast.				JACKIE		But I forgive you.	And slowly, Rachel lifts her own glass.  CLICKS it with Jackie's.				RACHEL		Don't rush me.  I'm deciding.	SLOW DISSOLVE TO...	INT. JACKIE'S LIVING ROOM - CHRISTMAS MORNING	White Christmas outside the window.  Richly trimmed tree, presents	everywhere, carols softly playing.  The whole nine yards.  Luke and	Ben standing at a wrapped bird cage, where a dove is cooing inside.	Annabelle is setting out the cocoa with a uniformed NURSE.	Rachel enters.  Kisses Annabelle's head.				RACHEL		I'm gonna check on Mom.	Goes down the hall, every emotion in the world is playing across	her face.  Into...	INT. JACKIE'S BEDROOM	Jackie lies on her death bed.  She is beautiful and near the end.	Despite the IV tube, the monitor, she's gotten to serenity after	all.  As close as any of us will ever get.				RACHEL		Hey, gorgeous.  Time for the		presents?	Jackie licks her lips.  Pretty dry.  Rachel takes a cotton lemon	swab from the nightstand.  Tenderly, cleans Jackie's mouth.				RACHEL		Now Edna says you short-changed your		last meds.  You can do presents and be		comfortable at the same time, y'know.				JACKIE			(clears her throat)		Just want to be a little sharper.		For a few minutes.	A few minutes.				JACKIE		Some things to say.  To the kids,		huh?	Smiles.				JACKIE		Then, bring in the presents.  We'll		have big fun.	Rachel can't really bear this.				RACHEL		You know, there's nothing you		have to say.  Because they know		your heart.  You don't have t...				JACKIE		Just sit me up.  Nice and tall.		Bring Benjamin first.	Staring at each other.  Then Rachel reaches her arms around	Jackie, and as gently as she can manage, lifts her to a full	sitting position.				JACKIE		Scrapbook.	Rachel brings the big book.  Lays it on the bed.  And goes.	Jackie begins to turn the pages.  Her life with these children	passing before her eyes.  No tears.   No smile.  Just full	attention.  Fingertips touch the one she was looking for, as...	The door OPENS.  Ben, hesitant, enters alone.  His mother's face is	fine and strong and smiling.				JACKIE		Find the bird cage?				BEN			(standing there)		Rache says it's from you.				JACKIE		Well, don't make him disappear		before I see him.	Ben nods.  Okay, I won't.  She glances to the scrapbook...				JACKIE		Oh, look at this.	And forgetting his uneasiness, he runs over, climbs ONTO the bed.	Jackie doesn't wince, doesn't even blink.  Nothing for his memory	bank but smiles.  He looks at the photo...	...Jackie holding a spunky newborn.				JACKIE		That's you and me.  Our first photo		as a couple.	He nods.  Really staring at it.				BEN		Did you know I was good-looking		right away?	She reaches to hold his face in her hand.  Stares in his eyes.				JACKIE		This good-looking.  Was beyond		my imagination.	She leans.  Kisses his lips lightly.  How many more times will she	get to do this?				JACKIE			(a murmur)		So what do you think we're gonna		talk about?				BEN			(straight back)		You dying.	She nods.  Her smile is right there.				JACKIE		The secret of it.  That only		magicians.  Can ever understand.	His eyes brighten.  The sadness pushed aside.				JACKIE		See, when we die.  Our body goes		away.  Our body.  But we...we are		not our body, are we?	He doesn't know.  Maybe he thought we were.				JACKIE		If a soldier loses his legs in a		war.  Is he the same guy?  Sure		he is.				BEN		But you can still see him.				JACKIE		Half.  Of him.	This is so fucking hard.  But her eyes stay dry.				JACKIE		Dying.  Is where the whole body		goes away.  So you can't see any		of it.  But...	Rests her hand tenderly.  On his hair.				JACKIE		What do magicians know?	Leans forward.  Here's the secret...				JACKIE		Just because you can't see it.		Doesn't.  Mean.  It's gone.	Does it?  And Ben smiles.  He is inside the secret.				JACKIE		The world.  Thinks I'm gone.  But		only the magician.  Knows better.				BEN		So where are you?	She was waiting for this.  For a long time.  She wraps her hand	around his fist.  And puts their hands against his heart.				JACKIE			(a whisper)		Right here.  Right here.  Inside		the magician.  Shhhh.				BEN		Can I talk to you?  When you're		there.				JACKIE		Always.  Always.  And you won't		hear a voice.  But in here.  You'll		know.  What I'm saying.	Yes, you will.				BEN		It's not good enough.				JACKIE		No, it isn't.  Because it isn't		everything.  And we want every-		thing, don't we?	He nods.  They do.				JACKIE		But God does let us keep the one		best thing we have together.  The		one best thing we've always had.		Know what it is?	He doesn't.  But he wants to.				JACKIE		I love you.  And you love me.	Comes closer.  Nose to nose.				JACKIE		It's worth a lot.  Will you keep it?	He answers.  With a kiss.	INT. LIVING ROOM - MOMENTS LATER	Luke and Annabelle are doing a hugely complex jigsaw puzzle.  Ben	runs in, falls on his knees by the puzzle.  Without looking at	Annabelle, he tells her...				BEN		Your turn.  It wasn't bad.	Annabelle looks straight to her dad.  There is a moment, a silence,	that no one else could ever understand.  She leans to him and	whispers...				ANNABELLE		Here it is?	His eyes water.  He takes her in his arms.  Whispers close to her	ear, only the words...				LUKE		Here it is.	She smiles at hi.  Fear gone, filled with resolve.  Gives him a	kiss.  Rises, to...	...follow Rachel down the hall.  Rache wraps an arm around her big	girl.  No words, except a murmured...				RACHEL		You can do this.	Voice cracking.  She's not as good at it as this girl's mother.				RACHEL		You can do anything.	At the door.  Open it, and...	INT. JACKIE'S BEDROOM	...Annabelle enters alone.  The door closes behind her.  Her eyes	lock with her mother's.  No words.  Annabelle's eyes filled with	tears, and Jackie's arms...	... REACH out, and Annabelle RUNS to them.	They hold each other.  For a forever moment.				ANNABELLE		I don't want to say goodbye.				JACKIE		Don't. Take me with you.	And Annabelle looks up.  Tears on her face.				JACKIE		Thank God.  I got to see you.		Grown up.				ANNABELLE		I'm not.				JACKIE			(very softly)		Let me be the judge of that.	And Annabelle climbs onto the bed.  Their hands never stop touching	each other.  Saying I love you.				JACKIE		There's an amazing thing when a		woman has a daughter.  One day you		look up, and you see...a sister.		Someone.  You can say.  Anything to.	Anything.				JACKIE		I wrote a whole lot of letters.  To		each of you.  And the envelope says		when to open it.  Like, which		birthday.  Or...when you get your		driver's permit.  First time you see		Rome.  Things like that.	Things like that.  Annabelle is beginning to lose it now.  So	Jackie says only...				JACKIE		Keep Ben's for awhile, okay?  Until		he's old enough to not open them all		at once.				ANNABELLE		Until he's old enough to read.	Tears on Annabelle's face.  Her mom wonders...				JACKIE		Are you afraid for me?  Where		I'm going.				ANNABELLE		Yes.				JACKIE		Don't be.  I'm going.  Where we		all go.  Now how can that be bad.				ANNABELLE		I'll miss you so much.				JACKIE		Good.  That's very good.	She nods, yes it is.				JACKIE		What you're grown-up enough to		know.  Is that people.  Can do		two things at once.  Okay?	She brushes at her baby's tears.  Then tastes her wet fingertips.	Mmmn, surprisingly good.  Annabelle sort of smiles.				JACKIE		You can miss me.  And.  Take me		with you.	Hold the child's face.  In her hands.				JACKIE		When you're in trouble.  Have me		there.  When you fall in love.		Have me there.  You can.	Said with such absolute assurance.				JACKIE		That's how we go on, you know.		Forever.  Because someone takes		us along.	Annabelle swallows hard.				JACKIE		On your wedding night.  When your		babies are born.  I want to be		there.  Will you take me?	A straight question.  It needs an answer.				ANNABELLE		Always, always.  Always.	A sigh.  A shared smile.				JACKIE		You made my life wonderful.	You.				JACKIE		Take that with you, too.	Hold.  On Annabelle.	INT. JACKIE'S BEDROOM - LATER THAT MORNING	The presents are here now, they fill up the room, spill over the	bed, where both children sprawl.	...Ben RIPPING the shit out of wrappings like a wolverine,	Annabelle carefully saving her gift paper as if she were going to	hang it in the Louvre.  She holds a tank top up to her chest, for	her Mom's approval.  Jackie's not sure.  Rachel handing up more	boxes, Luke in charge of bagging trash...	Ben's white dove, flying free around the room, zipping and diving.	No one cares.  It's Christmas.	HOLD.  Hold.  And CROSSFADE TO...	EXT. CHAPEL - NIGHT	Family and friends are leaving the wake, exiting the softly-lit	chapel into a snowy night.  They are saying goodbyes, kissing one	another, going to their cars.  And saying her last goodbye...	...Rachel turns to Luke.  Whispers, close to his ear.  He looks at	her for a beat, then leads Annabelle and Ben toward the car, as...	Rachel goes back into the chapel.  Alone.	INT. FUNERAL PARLOR	The room is nearly dark.  One soft spot plays on a simple CASKET.	No canned organ music, no sound at all.  As Rachel enters.	She goes to the casket.  Stares down at it for a beat.  And just	above a whisper...				RACHEL		See, I told you I'd do this.	Only...				RACHEL		Only.  Now I don't know what to say.	Her hand reaches out.  A finger absently traces the edge of the	wood.  It seems a gesture of unconscious affection.				RACHEL		You'd have written it down, so you		wouldn't blow it.	A slight smile.  Here's where the love shows.				RACHEL		Maybe we should change places.	Nods slightly.  Maybe we should.  She takes a step back now, to a	waiting chair.	Sits.  Her hands folded in her lap.  Thinks.				RACHEL		Well.  We were less than friends, I		guess.  And more.	More.				RACHEL		We were never...girlfriends, we		never dished.  That wasn't.  What		we had.	No apology there.  It's just the truth.				RACHEL		We had some battles, man, they		were...world class, huh?			(beat)		And I don't regret a one of them.	Sad little shrug.				RACHEL		I miss them.	Thinking.  Of how much more she'll miss.				RACHEL		We've got our secrets, we have.		And I'll keep 'em if you will.	Crosses her arms.  Lost in the moment.				RACHEL		But I wish we had one more night.		In that little bar, remember?		Remember that toast?  Sure, you do.	Her voice wavers.  But the eyes are dry.				RACHEL		Know what?  I forgive me, too.		See?  You're the magician.	A murmur...				RACHEL		Don't worry, partner, I've got		your back.  We're covered.	It's what she came to say.  CROSSFADE TO...	INT. BALLROOM - NIGHT	Lights and music and laughter.  They're in black tie tonight.  It's	a wedding party.  Up on the stage, at the head table, some guy is	finishing a toast, and as everyone ROARS and CLAPS...				BEST MAN		...so TO THE BRIDE!  Thank GOD		she's more than he deserves!	Everybody shouts THE BRIDE.  Everybody drinks champagne.	And the bride stands up. In her white gown.  In her hand, an	envelope.  She goes to the mike, and waits for the raucous cheers,	the calls of SPEECH!, to die down.	Leans to the mike.  Flushed and happy.  And, oddly, nervous.				RACHEL		Now I know the tradition, so		this isn't a toast.  At least...		not for me.				RACHEL		The guest list is 114.  But we		all know there's one more here,		tonight.  Because...	Looks down the table at her children.  Dressed to kill.  Enjoying	the party.				RACHEL		...my two sidekicks there always		bring her along.  Wherever they go.	Right?  Right.				RACHEL		So Jackie and I were sitting		around.  On New Year's Eve.  And		she said, 'You're not gonna talk		at my funeral, are you?'	And now.  It is quiet indeed.				RACHEL		And I said, 'I've never been to		a funeral.  I'm not sure I'll know		how to act...'	Her sweet smile.  Keeps the mood right.				RACHEL		'...but I'll prob'ly sneak into		where you are.  Just before it's		over...'	Nods to herself.  Fights back the feeling of that moment.				RACHEL		'...say something.  Just to you.		Get the last word in, when you		can't talk back.'	There is laughter in this room.  Gentle, loving.				RACHEL		So she says, 'No way.'	Holds up the envelope.  Holds it tight.				RACHEL		She wrote this.  She sealed it		up, I didn't see it.  She made		me promise to read it.  At the		wedding.	And slowly, Luke begins to CLAP.  And others join.  And when it	stops...				RACHEL		I told her she'd better make it		dirty, or make it funny.  Because...		no way...on my wedding...	No way in hell.				RACHEL		...could she make me cry.	APPLAUSE.  They are loving it.				RACHEL		She says, 'It's a deal'.	The band plays an impromptu FLOURISH.  Rachel begins to carefully	tear open the envelope...				RACHEL		Now, if it's too raunchy, we may		have to excuse the kids...	SHOUTS from everyone, ESPECIALLY the children.	She has it open.  She looks at it.	And everything.  Stops.	The world watches her sway, watches her eyes fill as she stares at	the small card in her hand.  She can't believe this...				RACHEL			(mouths to herself)		You promised.	The tears are welling.  Everyone SCREAMS for her to read it.  She	leans to the mike, shaking her head...				RACHEL		It's...no big thing, really...		it's just...five words, it's...	The place goes happily UP FOR GRABS.  A joyful RIOT of demand.	Tears STREAMING now, Rachel fumbles to pull up her white beaded	bag.  As she puts the card inside, we alone can read the words...	MY BABIES.  ARE SO LUCKY.	HOLD on this.  And...	FADE TO BLACK.  ROLL END CREDITS.
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+T H E S T I N G Second Draft Screenplay by DAVID S. WARD THE STING FADE IN: A white on black TITLE appears in the lower left hand corner of the screen: AUGUST, 1936 FADE OUT. FADE IN: EXT. A SLUM AREA OF JOLIET - DAY It's a bleak, windy morning, the kind that clears the streets of all but the winos (who carry their own heaters), and the point-men for juvenile gangs. We pick up a solitary figure, Joe Mottola, coming down the street and entering what appears to be an abandoned tenement. He pauses a second to dust his white-winged alligator shoes on the back of his pants leg. Sharply dressed and surrounded by the aura of one who is making money for the first time and broadcasting it on all bands, he seems an incongruity in this part of town. We follow him up a flight of rickety stairs to a second floor flat. He knocks on the door, is admitted by a cautious doorman. INT. NUMBERS SPOT - DAY Suddenly we are plunged into a room of chattering, clamoring people. This is a spot for the numbers racket, a place immune from legal interference, where any sucker can bet on a number between 1 and 1000 in the hope of getting the 600 to 1 payoff that goes to those few who guess right. The bettors are queued up in several lines before a long table, where they place their bets and are given receipts in return. Others wait at a cashier's window to pick up previous earnings or to ask for credit. Mottola moves through the crowd to a back room where betting slips are being sorted and money counted under the watchful and somewhat impatient gaze of a Supervisor, an older man named Mr. Granger. The Yankee-White Sox game is heard on the radio in the background. Mottola, noticing that his entrance has aroused little interest, saunters over to the Phone Girl and gives her a little pinch on the cheek. The girl slaps his hand away, obviously having been through this before. PHONE GIRL Beat it, Mottola. Granger glances up and exchanges a token nod with Mottola, who plops down in a folding chair next to the radio. The phone rings. PHONE GIRL 8720...Yes, hold on a second. (calling over to the Supervisor) Mr. Granger, Chicago on the line. Granger is a little apprehensive about talking to Chicago, but takes the phone anyway. GRANGER Yeh? CUT TO: INT. A WATERFRONT PROCESSING PLANT - CHICAGO - DAY A flabby, bald man named Combs is on the other end of the line. Visible beyond the door and interior window of his office is a large room, cluttered with tables, typewriters, clerks and adding machines. This room is the clearinghouse for all the transaction of the numbers game. All the betting slips and income from the spots are brought in here and processed. COMBS Granger, this is Combs. Why haven't we heard from ya? Everybody else is in. GRANGER We had a few problems with the Law this morning. The Mayor promised the Jaycees to get tough on the rackets again, so he shut everybody down for a couple hours to make it look good. Nothing serious, it just put us a little behind for the day. COMBS You been making your payoffs, haven't ya? GRANGER Hell yes. He does this every year. There's nothing to worry about. COMBS Okay, finish your count and get it up here as soon as you can. I don't wanta be here all night. GRANGER Believe me, the Man's gonna be real happy. Looks like we cleared over ten grand this week. COMBS (not impressed) We cleared 22 here. GRANGER Well, hell, you got the whole Chicago south side. How do ya expect the eight lousy spots I've got to compete with that? COMBS (reading off a sheet of paper on his desk) They did 14 grand in Evanston, 16.5 is Gary, and 20 in Cicero. Looks like you're bringing up the rear, Granger. INT. NUMBERS SPOT - DAY Granger burns inside. One of the girls who's been sorting and counting hands him a slip of paper. GRANGER I just got the count. We'll put the take on the 4:15. COMBS We'll be waitin'. Combs hangs up, smiling to himself, proud of the way he gave the needle to Granger. CUT TO: INT. NUMBERS SPOT - DAY Granger storming over to a safe and jerking open the door. GRANGER (snapping) Mottola. Mottola hustles out of his chair. GRANGER (handing him a bundle of bills) Take this up to the city on the 4:15. They'll be waitin' for it at the clearing house. And don't stop for no drinks. You can get a cab down the street. Mottola takes the money and slips it into his inside coat pocket with all the dramatic flair of the true flunky. No one would ever guess that he was just an overdressed messenger boy. EXT. OF THE TENEMENT AGAIN Mottola emerges from a side entrance into a narrow alley. He walks briskly down to the end and turns left into a large alleyway; this one connecting two streets. The alley is deserted save for one scruffy, slovenly dressed young stranger coming toward him from the opposite direction. The man carries a battered suitcase and seems to be in a hurry. Suddenly, Mottola hears shouting coming from somewhere behind him. He turns around to see a small, weathered looking thief come racing around the corner and down the alley toward him, frantically pursued by a gray-haired black man. Limping noticeably, the black man manages a few cries for help and then stumbles and falls. The stranger yells at Mottola to cover his side of the alley, and then readies himself for the arrival of the thief. Mottola just stands there, not the least interested in the exercise of justice. Just as the thief is about to run on by, the stranger throws his suitcase at the little man's legs, sending him sprawling and separating him from the wallet he's been carrying in his left hand. The stranger makes a dash for the wallet and kicks it back to where Mottola is standing. Almost by reflex, Mottola picks it up. The thief scrambles to his feet and starts back toward his new-found enemy, brandishing a knife. Both the stranger and Mottola brace themselves for an attack. The thief, realizing that there are two people to fight, begins to think better of it. He is not a young man, nor particularly strong. THIEF (shaking his fist at the stranger) You fuckin' nigger-lover. I'll get you for this someday, sucker egg. Mottola and the stranger exchange glances of relief as the thief flees out onto the street and disappears. The black man, meanwhile, has struggled to his feet and is staggering toward them. He collapses against the alley wall after a few steps. The stranger rushes over to him, followed somewhat absently by Mottola. BLACK MAN The wallet. You gotta go after him. He's got all the money. STRANGER Don't worry, we got the wallet. What happened? He get ya with the knife? The stranger opens the Black Man's coat to reveal a bloody wound at the top of his leg. BLACK MAN (trying to move) Give it to me! Please. I gotta know it's all there! STRANGER You just sit tight, old man. We're gonna have to get you to a doctor. (starting to leave) I'll call a cop. BLACK MAN No, no cops! Mottola has given him his wallet, which the black man now opens, disclosing a fat bundle of bills tied by a rubber band. Mottola and the stranger are amazed by the amount of money. STRANGER (a little uneasy) You wanted by the law or somethin'? BLACK MAN Naw, it's okay. STRANGER You're crazy carryin' that kinda money in this neighborhood. No wonder you got hit. BLACK MAN (trying to get to his feet) Thanks. I'm obliged to ya, but I gotta get goin'. (his leg gives way under him) STRANGER You ain't goin' nowhere on that leg. BLACK MAN I gotta! Look, I run some slots down in West Bend for a mob here. I got a little behind on my payoffs so they figure I been holdin' out on 'em. They gave me to 4:00 to come up with the cash. I don't get it there I'm dead. STRANGER It don't look good, gramps, it's ten of now. BLACK MAN I got a hundred bucks for you and your friend if you deliver the money for me. STRANGER (hesitates) I dunno. That little mug that got ya is mad enough at me already -- what if he's out there waitin' around a corner with some friends. BLACK MAN He won't know you're carryin' it. C'mon, you gotta help me out. STRANGER (makes up his mind) Sorry, pal. I'll fix you up, call you a doc, but I ain't gonna walk into a bunch of knives for ya. BLACK MAN (desperate to Mottola) How bout you? I'll give you the whole hundred! STRANGER What makes you think you can trust him? He didn't do shit. MOTTOLA Hey, butt out, chicken liver. I gave him back his wallet, didn't I? (to black man) How far is this place? BLACK MAN 1811 Mason. Put it in Box 3C. You won't have no trouble. There's five thousand dollars there and here's a hundred for you. MOTTOLA (taking the bundle of bills from the black man, plus the $100 bill) All right. I'll make your drop for you, old man. And don't worry, you can trust me. Mottola puts the bills in his inside coat pocket, right next to the numbers money. The stranger, who has now finished bandaging, watches him do it. STRANGER If that punk and his pals decide to search ya, you'll never fool 'em carryin' it there. BLACK MAN (suddenly afraid again) What do we do? STRANGER You got a bag or somethin? BLACK MAN No. STRANGER How 'bout a handkerchief? BLACK MAN Here. The stranger goes into the right coat pocket and pulls out a wrinkled handkerchief. STRANGER Let me have the money. Mottola takes out the Black Man's five grand and hands it to the Stranger. He puts it in the handkerchief. STRANGER You better stick that other in here too, if you wanta keep it. BLACK MAN (pleading) Just hurry, will ya. Mottola pulls out the numbers money and puts it in the handkerchief too. The stranger ties it all up. STRANGER (demonstrating by slipping the bundle down into crotch) All right. Carry it down in your pants here. (pulling it back out and tucking it in Mottola's pants) Ain't no hard guy in the world gonna frisk ya there. MOTTOLA Thanks. (to the black man) So long, partner. Don't worry, everything's gonna be all right. The Black Man nods gratefully, but there's still a trace of worry on his face. Mottola trots off down the alley and out onto the street, glancing around cautiously for signs of trouble. He walks hurriedly down the sidewalk toward the cab stand in the distance. Suddenly the little man with the knife appears out of a doorway about 15 yards behind him. Mottola notices him and quickens his pace, finally breaking into a dead run. We follow him as he dashes headlong down the street, opening a big lead on the guy with the knife. He reaches the taxi zone. He hops in a cab and slams the door. INT. TAXI - DAY He jumps in, closes the door, and breathes a sigh of relief. CABBIE Where to? MOTTOLA Which way is Mason? CABBIE About 20 blocks south. MOTTOLA Okay, go north. The Joliet Station -- Fast. Mottola settles back in his seat and starts to laugh. CABBIE What's so funny? MOTTOLA I just made the world's easiest five grand. He takes the bundle out from inside his pants in order to gaze upon his new-found fortune. He unties the handkerchief. It's full of toilet paper. Mottola looks like he's just been shot. CUT TO: EXT. ALLEY - DAY - THE STRANGER AND BLACK MAN hightailing it down the street, two newly solvent con artists on the lam. It's hard to run they're laughing so hard. The stranger chucks his suitcase in a trash can and pulls the real handkerchief out of his pants. BLACK MAN Jesus, what a bundle. Did you know he was that loaded? STRANGER Hell no, I just cut into him. I woulda settled for pawning one of them shoes. As they split off, music begins, and we go into a TITLES SEQUENCE Done to a driving Chicago blues, the sequence is designed to establish somewhat the milieu of the stranger, known to friends and enemies alike as Hooker. We see the following: EXT. PAWNSHOP - LOOKING INSIDE - DAY Hooker is getting a radio and well-worn suit out of hook. It's like seeing old friends again. All pantomime. INT. HOOKER'S ROOM - DAY A shabby little place he rents above a cigar store. We pick him up in a jerry-built outdoor shower, which he's rigged up on the fire escape. The rinse water drips down through the landing into the grimy alley below. HOOKER (singing) 'With plenty of money and you-oo- oo, Oh baby, what I wouldn't do-oo- oo...' ON THE STREET AGAIN jauntily carrying a magnum of champagne and some flowers, obviously on his way to see someone special. IN A BURLESQUE HOUSE Hooker stands in the wings holding the flowers and champagne, watching his date for the evening, a 6'3" stripper named Crystal, do her routine. Crystal finishes up and comes off the stage. CRYSTAL (tired) Hi, Hooker, you gettin' married or somethin'? HOOKER Come into a little dough. You wanna get outa here tonight? CRYSTAL Can't. I got a 10 o'clock show. I need the five bucks. HOOKER I'll spend fifty on ya. Crystal looks at him a second and starts to giggle. We're pretty sure she's gonna get outa here tonight. COMING INTO A POOR MAN'S GAMBLING JOINT Little more than a reconverted brick basement, the place contains three shoddy, homemade roulette tables. Hooker, accompanied now by Crystal, nods a greeting to the doorman and proceeds to a table where there are already several other people laying their bets for the next spin. Hooker knows the wheel man, an old-timer named Jimmy. JIMMY (glad to see him) Hooker! HOOKER How ya doin', Jimmy. JIMMY (collecting bets and paying off the winners) Ain't seen you in months, boy. Thought maybe you took a fall. HOOKER Naw, just a little hard times, that's all. It's all over now. JIMMY You gonna have a go here? (pointing to the betting board) How 'bout a ten spot on the line here. The 4-9 been lookin' good today. Lotsa action on 28th Street down there, too. Pay ya 10-1. As Jimmy finishes his spiel, he starts the wheel spinning and drops in the ball. Betting is allowed to continue until the ball drops from the outer ring into the center. HOOKER (taking out his wallet) Three grand on the black. Jimmy is stunned. The others at the table, used to dollar bets, look at Hooker like he's some kind of foreign dignitary. JIMMY (worried) You sure you wanna start off that big? Bet like that could put a real dent in us. HOOKER I feel lucky tonight. JIMMY Aw, come on, Hooker, why don't you just... HOOKER Three grand on the black, Jimmy. Jimmy wants to argue some more, but the ball is getting ready to drop into the center. We see Jimmy quickly press a hidden lever under the table with his foot. The ball falls and settles into red 27 with a motion that is not quite right. The others at the table fail to notice, but Hooker is not fooled. He stares venomously at Jimmy, who knows that Hooker is on to him. JIMMY Sorry, Hooker. (making an attempt at levity, in order to explain) Good thing that ball came up red. Guy could get in trouble around here, losin' a bet that big. Jimmy reaches for Hooker's money. Hooker stops him by putting his hand on it. HOOKER Spin it again. Jimmy doesn't know what the hell to do. He gives Hooker a little head motion to indicate a small window high up in one of the walls. Behind it, we see a pair of eyes. Suddenly, Hooker understands why Jimmy had to cheat him, but it doesn't change his demand. HOOKER Spin it anyway, Jimmy. Jimmy is beside himself. If he doesn't spin again, Hooker may expose him. If he does spin, and loses, his management will fire him. He pleads to Hooker with his eyes, but it's no use. Jimmy spins the wheel and reluctantly drops in the ball. This time there is no foot on the lever, and it settles into black 15. Hooker stares at the ball a second and then looks up at his terrified friend. HOOKER Don't worry, pal. I knew it was my night. Hooker pushes the money over to Jimmy and walks out of the room. He's lost $3,000, but he's still working on a lucky night. CUT TO: EXT. GAMBLING JOINT Hooker and Crystal out on the street. CRYSTAL (irritated) Thanks for the evening, Hooker. I can still make the 10 o'clock. If you wanna spend 50 bucks on me again, mail it. She walks off down the street. HOOKER (going into his pocket for more money) Hey wait a minute. (he comes up with 30›) Aw, the hell with ya. CUT TO: EXT. THE WATERFRONT PROCESSING PLANT - LATE AFTERNOON A late model Ford roars up and screeches to a stop in front of the plant. Out bursts a carefully-groomed, tight-lipped young man named Greer, who hustles into the plant. We follow him through a maze of machinery to the service elevator and up to the third floor where we find ourselves in the clearinghouse room we saw earlier. INT. PLANT - AFTERNOON - LATE The working day is over now, and everyone has gone, except for Combs, who sits somberly in his office. GREER They found Mottola. He was drunk in a dive in Joliet. Never got on the train. COMBS (aggravated) I don't wanta hear about his day, Greer. What happened to the money? GREER He lost it to a coupla con artists on his way outa the spot. COMBS How much? GREER Twelve thousand. Combs sits in quiet thought for a second. Finally: COMBS All right. Better get on the phone to New York. See what the big mick wants to do about it. (pause) I gotta pretty good idea, though. CUT TO: INT. AN EXCLUSIVE NEW YORK GAMBLING CLUB - LATE AFTERNOON An agitated young man, Floyd, weaves his way through the craps and roulette tables, and hustles up a staircase to a second floor room with a drawing of a snarling tiger on the door. Below the tiger, the word "FARO" appears. There is a large man, of thuggish demeanor, guarding the door, but Floyd gives him a small hand signal and walks right by him. CUT TO: INSIDE THE FARO ROOM In the center is a beautifully-carved wooden table, on which sit a faro board and a dealing box, tended by a stone-faced Dealer, who calls the progress of the game in a continuous abacus-like device that keeps track of the cards which have already been played. On the opposite side of the table, completely absorbed in the rhythmic appearance of the cards from the dealing box, sits Doyle Lonnegan. Although is clothes and accessories are those of a wealthy man, there is a coarseness to both his movement and speech which bespeak lower class origins, for which he now has nothing but contempt. Floyd enters the room and approaches him cautiously, trying hard to make as little noise as possible. FLOYD Doyle, can I see you a minute? LONNEGAN (not looking up from the table) I'm busy, Floyd. FLOYD It's important. We had a little trouble in Chicago today. One of our runners got hit for 12 grand. LONNEGAN (calmly) Which one? FLOYD Mottola. LONNEGAN You sure he didn't just pocket it? FLOYD No, we checked his story with a tipster. He was cleaned by two grifters on 47th. LONNEGAN They workin' for anybody? FLOYD I don't know. Could be. We're runnin' that down now. LONNEGAN All right, mark Mottola up a little and put him on a bus. Nothin' fancy, just enough to keep him from coming back. Get some local people to take care of the other two. (impassively) We gotta discourage this kinda thing. CUT TO: INT. AN OLD BROWNSTONE - NIGHT Hooker, still in his suit, but looking a little worse for wear, knocks on the door of one of the apartments. A young black woman, Louise, answers the door, holding a baby. HOOKER Howdy, Louise. LOUISE (admiring Hooker in his suit) Goddamn, Johnny Hooker, you're a sharp hunky in them linens. If you wasn't so pale, I'da sworn you had class. Hooker steps inside and walks right into a big hug from an older black woman, Alva. Alva has a hat on, obviously just about to go out. Beyond her we see the Eirie kid and the Black Man (known from here on as Luther Coleman) playing a game of mah jong on the dining table with a man whose back is to us. An 11-year-old boy is listening to the radio. COLEMAN Turn that down, Leroy. ALVA Oh, Johnny, Luther said you was somethin' to see today. HOOKER I'll never be as good as that mark, Alva. ALVA Well, we gonna hear all about it when we get back from church. Leroy, get your jacket on, boy. Leroy goes to get his jacket. Louise is finished putting the baby to bed. HOOKER You goin' to church now? ALVA They been havin' late bingo down there. I'm gonna call on the Lord for a little cash, while he's still payin' off. Luther, you look in on that child from time to time, will ya? Luther nods that he will. Alva, Leroy and Louise leave for church as Hooker strolls over and tosses two packets on the table. Luther doesn't pick his up, but the other man does. We now see that he is the thief in the opening sequence. He is called the Eirie kid and he is delighted at his share. EIRIE KID Hey, Luther told me he was carrying a wad, but I didn't figure this much. HOOKER Which way did he do, Eirie? EIRIE KID Straight north. He was gonna take it all and run. HOOKER (laughs) The bastard. He can blow his nose all the way. They laugh again, but Luther doesn't share their enthusiasm. He watches Hooker who becomes uncomfortable under his gaze. COLEMAN You're late. Where you been? HOOKER (flopping into a chair) I had some appointments. COLEMAN (not fooled) How much did ya lose? HOOKER (after a pause) All of it. COLEMAN (pissed) In one goddamn night? What are ya sprayin' money around like that for? You coulda been nailed. HOOKER I checked the place out. There weren't no dicks in there. COLEMAN You're a con man, and you blew it like a pimp. I didn't teach ya to be no pimp. HOOKER What's eatin' you? I've blown money before. COLEMAN No class grifter woulda' done it, that's all. HOOKER You think my play is bad? COLEMAN I think it's the best... Hooker sinks back, embarrassed that he misread Coleman's intentions. COLEMAN ...It's the only reason I ain't quit before now. HOOKER (bewildered) What? COLEMAN I'm gettin' too slow for this racket. I done the best I'm gonna do. You hang on too long, you start embarrassin' yourself. HOOKER What are you talkin' about? We just took off the biggest score we've ever had. We can do anything we want now. COLEMAN It's nothin' compared to what you could be makin' on the Big Con. You're wastin' your time workin' street marks. HOOKER Hey look. You think I'm gonna run out on ya or somethin'? Just cause we hit it big. Luther, I owe you everything. If you hadn't taught me con, I wouldn't know nothin'. COLEMAN (a little embarrassed) Aw hell, you sound like some goddamn sucker. You know everything I know. You got nothin' more to learn from me. HOOKER But you played the Big Con. You said it was nothin'. A game for flakes and mama's boys. COLEMAN And I'm tellin' ya now, you're a fool if you don't get into it. A bigger fool than I was. (pause, holding up the money) I been lookin' for this one all my life, Johnny. Now I got a chance to step out at the top. Hooker knows it's no use. HOOKER (after a long silence) What the hell you gonna do with yourself? COLEMAN Aw, I got a brother down in K.C., runs a freight outlet. I can go halfsies with 'em! It ain't too exciting, but it's mostly legal. Hooker just nods. COLEMAN Straighten up, kid. I wouldn't turn ya out if ya weren't ready. (flipping Hooker a piece of paper) I got a guy named Henry Gondorff I want you to look up. There ain't a better insideman alive. He'll teach ya everything ya gotta know. HOOKER You'll take a cut of what I make, won't ya? COLEMAN I'm out, Johnny. HOOKER If that's the way you want it. COLEMAN That's the way I want it. CUT TO: EXT. A DIMLY LIT STREET - NIGHT It's late at night now. Hooker and Eirie wander along the street together, not really ready to go home, but with no other ideas either. Hooker, obviously preoccupied, idly strikes a match on a street lamp as he passes and lets it burn out. He does this several times. HOOKER How do you like that Coleman, huh? After three years. EIRIE KID Aw come on, it was the only thing to do. He knew he was holdin' ya back. HOOKER We were partners. If it weren't for Luther I'd still be hustlin' pinball down at Gianelli's. I don't need anything more than I got. HOOKER You ain't gonna have nothin' if you don't lay off them games of chance. There's a depression on ya know. HOOKER There's always a depression on. EIRIE KID If you saved a little, you wouldn't have to grift so much. HOOKER I like griftin'. EIRIE KID You could buy yourself some things. Clothes, or a nice car... HOOKER I don't look any good in clothes and I don't know how to drive. What else ya got to sell, Eirie? EIRIE KID Forget it. They walk on a few more feet, when suddenly a police car pulls up alongside them and two men jump out. The first, a uniformed policeman, grabs Eirie around the neck. Hooker makes a break for it, but the second Figure, a burly detective named Snyder, tackles him in the middle of the street, drags him back into the alley and plasters him up against a brick wall. The two have met before. HOOKER Hi there, Snyder. Things a little slow down at the Bunco Department tonight, eh? Somebody lose the dominoes? SNYDER You scored blood money today, Hooker. You need a friend. HOOKER (knocking Snyder's hand away) Aw, find yourself a shoplifter to roll. Snyder gives Hooker a swift knee in the thigh and follows it with an elbow across the head. Hooker flies into a row of boxes and garbage cans. HOOKER (getting up slowly) You got the wrong guy, pal. I been home with the flu all day. (rising to a fuller height) You can stake out my toilet if you want. Bang. Snyder, infuriated by Hooker's irreverence, slams him to the ground again. The policeman is no longer holding Eirie but is almost daring him to make a move. Eirie wants to go to Hooker's aid, but he knows the policeman will beat him to a pulp. SNYDER (pulling Hooker out of the heap and smashing him against the wall again) I'll tell ya what you did, smart boy. You tied into a loaded mark on 47th across from Maxies. You and Coleman played the switch for him and blew him off to a cab on 49th. If he hadn't been a numbers runner for Doyle Lonnegan, it woulda been perfect. HOOKER (startled by the information) You're crazy. I'm not stupid enough to play for rackets money. SNYDER Not intentionally maybe, but that don't make no difference to Lonnegan. He'll swat you like any fly. HOOKER I'll square it with the fixer. SNYDER Nobody can buy you a prayer, if I put the finger on ya. Snyder lets go. Hooker sinks back against the wall. He says nothing; he's waiting for the price. SNYDER I figure your end of the score was at least 3 gees. I want 2 no matter what it was. HOOKER (lying) My end was only one. SNYDER (not taking the fake) Then you'll have to come up with another grand somewhere. Hooker is beat and he knows it. HOOKER All right. He reaches into his coat, pulls out a stack of bills and counts out $2000 to Snyder. Eirie looks on in amazement; he didn't think Hooker had it. SNYDER (pocketing the money and motioning his partner to put his gun away) You're a smart egg, Hooker. No use dyin' for 2 grand. Snyder and his policeman friend get in their car and start down the street. Hooker and Eirie walk nonchalantly in the other direction. EIRIE KID I thought you blew all your money. HOOKER I did. That stuff I gave him was counterfeit. They'll pinch him the first place he tries to spend it. Snyder and his partner disappear around a corner. Hooker suddenly takes off like a shot. INT. DRUGSTORE - NIGHT He runs into a drugstore and goes to the phone booth. There's already a woman in it. Hooker rips open the door and throws her out. Hurriedly, he begins to dial. EIRIE KID (standing outside the booth) What the hell you gonna do when Snyder rushes his finger right to Lonnegan? You're committin' suicide, kid. HOOKER (waiting for the ring) Aw Christ, it doesn't make no difference now. If Snyder knows about it so does everybody else. He never gets anything first...Damn, there's no answer at Luther's. EIRIE KID Listen to me, Hooker. What ever you do, don't go back to your place tonight, don't go anyplace you usually go, ya hear me? Get outa town or somethin', but... Hooker, still getting no answer, slams the phone down and blasts out of the booth. EXT. STREET - NIGHT Eirie chases him frantically, calling him to come back, but he's giving away too many years and there's no stopping Hooker at this point. CUT TO: EXT. STREET - NIGHT - SHOTS OF HOOKER Pumping down the street. EXT. LUTHER'S BROWNSTONE - NIGHT Hooker races into Luther's brownstone, charges up to the third floor. INT. LUTHER'S BROWNSTONE - NIGHT Hooker runs up through a small group of people on the stairs. He bursts into Luther's room, the door of which is already open. The room shows signs of a struggle, a turned-over chair, a broken lamp, but there is no Coleman. Hooker goes slowly to the window. He looks down into the courtyard and then suddenly sprints back out the door. As we hear him scrambling down the stairs, the camera dollies to the window and looks out. EXT. COURTYARD - NIGHT There on the concrete below, face down, is the body of Luther Coleman. Hooker races out to it and kneels down. HOOKER (shaking the body) C'mon Luther, get up. You gotta get up, Luther. In the distance, sirens are heard. Heads are out of the windows and some people are starting to gather in the courtyard. HOOKER (CONT'D) Goddamn you, Luther, will you get up? (pounding on the body) I'm not waitin' for you, Luther. I'm not waitin' anymore. Get up, you son of a bitch. Goddamn you, Luther, goddamn. The sirens are close now, and Hooker tears himself away from Luther and runs. The others gather to look at the body. FADE OUT. FADE IN: THE SET-UP FADE OUT. FADE IN: INT. THE TRAIN STATION - DAY We open on Hooker sleeping in some remote corner of the station, covered with newspapers for warmth, and barely distinguishable from the clutter of junk surrounding him. A station security officer, on his morning sweep, wanders by and delivers a terrific blow to the soles of Hooker's feet with a nightstick. Hooker jolts awake with a cry of pain, as the officer diffidently moves on toward another sleeping victim. Tired and sore from his night in the station, Hooker struggles to his feet and attempts to take stock of the situation. He tries to smooth the wrinkles out of his suit, but it's futile. A quick check of his wallet finds it as empty as he'd remembered it. CUT TO: THE STATION - GIFT SHOP - DAY Hooker walks in and goes to the toy section. He looks through several small novelties, till he finds what he's looking for -- a little tin replica of a policeman's badge. He looks around for station detectives, and seeing none, slips the badge into his pocket. CUT TO: THE STATION - WASHROOM - DAY Hooker rinses out his mouth, towels off his face and slicks his hair back with water. It's a drop in the bucket, but it seems to revitalize him a little. CUT TO: STATION - HALLWAY - DAY We see Hooker removing a sign from a door, but the angle prohibits us from reading it. INT. STATION - DAY He drops the sign in a waste can and walks out into the crowded passenger lobby. After scanning the area carefully for a minute, he goes up to a conservative young business man, who's busy reading the schedule board. HOOKER (flashing open his wallet to reveal the little tin badge and then closing it again quickly) Excuse me, sir. Treasury Dept... I'd like to ask you a few questions. MAN (flustered) What for? I haven't done anything. HOOKER We don't doubt that, but there's a counterfeiting operation passing bad money in the station. Have you made any purchases here today? MAN (reluctantly) Yes, a ticket to Chicago. HOOKER Then I'm afraid we'll have to impound your money until we're sure that it's all good. Can I see your wallet and your ticket, please? MAN (handing them over) But I got a train to make. HOOKER (taking out the money and returning the wallet) It'll only take 20 minutes or so. You can pick it up at the window down the hall. MAN But what about all these other people? HOOKER (blowing up) We'll get 'em! Give us a chance. I'm not the only agent in here, ya know. We go around advertising ourselves, how many counterfeiters do you think we'd catch, huh? (pointing to his suit) You think I'm wearin' this rag here 'cause I like it? Christ, everybody thinks life's a holiday or somethin' when you got a badge. (pouring it on) I been here since three this morning, Charlie, and I never knew there was so much ugliness in people. You try to help 'em and they spit on you. I shoulda let ya go and gotten yourself arrested for passin' false notes. The Businessman is totally shamed. MAN I'm sorry, really I am, but my train leaves in ten minutes. HOOKER All right, I'll give ya a break. (pointing to a hall) Down that hall there, there's an unmarked door on the left. Go on in there and wait at the window. I'll take this... (he holds up the money) ...in the back and run it through right away. We'll have you outta there in a couple minutes. MAN Thank you. You don't know how much I appreciate this. HOOKER (with a little wave) Think nothin' of it. The man goes off down the hall, more than grateful to be given a break like this. Hooker heads for the "back". We follow the Man down the hall to the unmarked door. He strides on through to find himself face to face with a wall of busily flushing urinals. CUT TO: EXT. STATION - DAY - HOOKER Boarding the 8:10 for Chicago. CUT TO: INT. STATION - DAY The Man wandering up and down the hall, wondering how he could have missed that room. EXT. CHICAGO STREET - DAY The street runs along side an elevated train track. We pick up Hooker coming down the street, eating a hot dog he bought with the money he just earned in the train station. He appears to be looking for an address, referring every now and then to the piece of paper Luther gave him the night before. Finally he stops in front of an old three-story building which contains a carousel on the bottom 2 floors and what appear to be apartments on the third floor. He peers inside the big, sliding glass doors and seeing no sign of life, goes around to the side to look for a way in. A 35 year-old woman, Billie, appears in her bathrobe on the second floor landing and descends the stairs to get the morning paper. She's eating an apple. Although she has just gotten up and looks it, she has the presence of one who is probably quite striking at other hours. The sight of Hooker fazes her not at all. HOOKER Excuse me, I'm looking for a guy named Henry Gondorff. You know him? BILLIE (starting back up the stairs) No. HOOKER Luther Coleman sent me. Billie stops and comes back down the stairs. It's the first time she's stopped chewing. BILLIE (checking him out) You Hooker? HOOKER Yeh. BILLIE Why didn't you say so. I thought maybe you was a copper or somethin'. She goes to a side door and unlocks it. BILLIE It's the room in the back. He wasn't expecting you so soon though. Hooker's not quite sure what that means, but there's something about Billie that makes him know that you don't ask. INT. CAROUSEL - DAY Hooker walks past the now motionless carousel to the room in the back and knocks on the door. No answer. He gives the door a little push and it swings open. INT. GONDORFF'S ROOM - DAY The room inside if small and cluttered, consisting of a bed, a sink, and a bathroom, all covered by a layer of books, dirty clothes and beer bottles. Draped over a chair, fully dressed, but completely passed out is the one and only Henry Gondorff. HOOKER (to himself) The great Henry Gondorff. CUT TO: INT. A SHOWER - DAY Water blasting out of the fixture. We see Gondorff, still fully clothed, sitting in the bottom of the shower, the spray streaming off his face. An imposing figure, with deep set eyes and full beard, he just sits there stoically, looking like a soggy lumberjack. Hooker, sitting on the floor between the toilet and the sink, watches listlessly. Finally -- GONDORFF Turn the goddamn thing off, will ya. HOOKER You sober? GONDORFF I can talk, can't I? Hooker makes no move to get up. Gondorff struggles to his knees, turns off the water, and slumps back against the wall. The two men just look past each other a second. Down in the bottom. GONDORFF Glad to meet ya, kid. You're a real horse's ass. HOOKER Yeh, Luther said you could teach me something. I already know how to drink. Gondorff wipes his face with his hand. His mood softens a little. GONDORFF (quietly) I'm sorry about Luther. He was the best street worker I ever saw. HOOKER He had you down as a big-timer. What happened? GONDORFF Aw, I conned a Senator from Florida on a stocks deal. A real lop-ear. He thought he was gonna take over General Electric. Some Chantoozie woke him up, though, and he put the feds on me. HOOKER You mean you blew it. GONDORFF (pause) Luther didn't tell me you had a big mouth. HOOKER He didn't tell me you was a fuck- up, either. (Gondorff looks at him coldly) You played the Big Con since then. GONDORFF No, I lammed it around for a while while things cooled off. Philly, Denver, Baltimore, nuthin' towns. Hooker's disappointment is obvious. GONDORFF But don't kid yourself, friend, I still know how. Hooker nods, unconvinced. GONDORFF (getting up from the floor and emptying the water out of his pockets) You gonna stay for breakfast, or do you already know how to eat? HOOKER (tired) I picked something up on the way. GONDORFF (sensing something) Lonnegan after you, too? HOOKER I don't know. Haven't seen anybody. GONDORFF You never do, kid. We go to Hooker. He hadn't thought of that. EXT. A BEAUTIFUL OLD COLONIAL COUNTRY CLUB - LONG ISLAND - DAY Lonnegan, in plus fours and argyles sits on a bench as other members of his foursome tee off. Floyd comes up to him. FLOYD We got word from Chicago. They got one of the grifters last night. The nigger. LONNEGAN What about the other one? FLOYD They're still looking for him. LONNEGAN Who's got the contract? FLOYD Combs gave it to Reilly and Cole. LONNEGAN Hackers. FLOYD They staked out the other guy's place last night, but he never showed. They figure maybe he skipped town. You wanna follow 'em up? Lonnegan regards Floyd patiently and then pats the bench beside him. Floyd sits gingerly. LONNEGAN You see the guy in the red sweater over there? We cut to one of Lonnegan's foursome, a short, squat little Irishman in a red sweater. He was a good-time, friendly manner and a winning Irish smile. We like him immediately. LONNEGAN Name's Danny McCoy. No Neck McCoy we called him. Runs a few protection rackets for Carnello while he's waiting for something bigger to come along. Me and Danny been friends since we were six. Take a good look at that face, Floyd, cause if he ever finds out we let one lousy grifter beat us, you'll have to kill him and every other hood in Chicago who'd like to do the same thing. You understand what I'm sayin'? FLOYD Yes sir. LONNEGAN Good lad. Lonnegan is called to the tee by one of his foursome. He exchanges a friendly smile with McCoy and belts the ball down the fairway. CUT TO: INT. THE CAROUSEL AGAIN - DAY Gondorff, dried off now and in a new set of clothes, is pulling up the shades of the large facing windows of the carousel building. The morning light pours in, illuminating fully for the first time the ornate merry-go-round and its massive oaken horses. Hooker watches him go about his business. Billie calls down from the mezzanine which surrounds the carousel. BILLIE You feeling all right this morning, Henry? GONDORFF Fine, Billie. BILLIE You mind opening the round a little early today? We got some business coming in before hours. Gondorff waves okay. GONDORFF (to Hooker) Great little countess, that Billie. Runs a good house up there, too. One of the few left that Luciano doesn't own. Gondorff walks around on the carousel, checking straps, bearing and poles. Hooker follows him. HOOKER (getting impatient) Gondorff, you gonna teach me the Big Con or not? GONDORFF (on his back, checking underneath one of the horses) You didn't act much like you wanted to learn it. HOOKER I wanna play for Lonnegan. GONDORFF (getting up) You know anything about him? HOOKER (exploding) Yeh, he croaked Luther. What else do I gotta know. Gondorff just sits tight and waits for him to cool off. HOOKER (waving Gondorff off, embarrassed at his own outburst) Aw right, he runs the numbers outta the south side. GONDORFF (going over to start the machinery) And a packing company, a chain of Savings and Loans and half the politicians in Chicago and New York. There ain't a fix in the world gonna cool him out if he blows on ya. HOOKER I'll take him anyway. GONDORFF (whirling on him) Why? HOOKER (like steel) 'Cause I don't know enough about killin' to kill him. It's the right answer. Gondorff didn't know it himself until now. GONDORFF You can't do it alone, ya know. It takes a mob of guys like you and enough money to make 'em look good. HOOKER We'll get by without 'em. GONDORFF This isn't like playin' winos on the street. You gotta do more than outrun the guy. HOOKER (incensed) I never played for winos. GONDORFF (going right on, ignoring Hooker's remark) You gotta keep Lonnegan's con, even after you spent his money. And no matter how much you take from his, he'll get more. HOOKER You're sacred of 'em, aren't ya? GONDORFF Right down to my socks, turkey. If I'da been half as scared a that lop-ear, I wouldn't a fallen asleep on 'em. Lonnegan might kill me, but at least he won't bore me to death. HOOKER Then you'll do it? GONDORFF If I can find a mob that'll risk it. But no matter what happens, I don't want you comin' back to me halfway through and sayin' it's not enough... cause it's all you got. Hooker nods. Gondorff switches on the carousel and steps back to admire his handiwork. The carousel makes a grinding sound, does a few lurches and stops cold. CUT TO: Music begins and we are into a short: MONTAGE SEQUENCE Detailing the arrival of the others three members of Gondorff's "mob." Throughout, Gondorff wears the fedora hat which is his trademark. We begin with -- A tall, good-looking man, Kid Twist, making his way through the railway station. Impeccably dressed and carrying a small suitcase, he combs the terrain carefully with his eyes. Finally he catches a glimpse of the thing he's been looking for. It's Gondorff, standing by a newsstand. Gondorff makes a quick snubbing motion on his nose as if flicking off a gnat. This is known among con men as the "office." Twist returns the sign with a barely discernible smile as he walks on by. Con men rarely acknowledge each other openly in public, but it's obvious that these two are glad to see each other. CUT TO: INT. BARBER SHOP - DAY Hooker in, having his hair cut and his nails manicured. Gondorff gives instructions to the barber. CUT TO: INT. HABERDASHERY - DAY Hooker is modeling a new suit in front of a mirror. He doesn't look too pleased, but Gondorff peels out a bankroll anyway. CUT TO: EXT. HOTEL - DAY A pair of white spats stepping off a bus. We follow them into a: INT. HOTEL LOBBY Where we tilt up to reveal J.J. Singleton, the most flamboyant of the bunch. On his way to the check-in desk, he silently exchanges the "office" with Gondorff, who is sitting on a lounge reading the paper. CUT TO: INT. APARTMENT - DAY Hooker being shown into a small apartment room by an old woman. It consists of a bed, a table and a sink. Hooker nods his acceptance to the woman and gives her a bill. He takes another look around the room and decides to go out somewhere, but first he wedges a small piece of paper between the door and the jamb, about an inch off the floor. CUT TO: INT. A BIG METROPOLITAN BANK - DAY We hold on a slight, bespectacled teller, Eddie Niles, in the process of counting a large deposit. Niles is all business; if he's ever smiled, no one knows about it. He glances up for a second and sees Gondorff "officing" him from across the bank. Without a word he shoves the money he's been counting back into the hands of a startled customer, abruptly closes up his window, flips his identification tag on the manager's desk and walks out of the bank. CUT TO: INT. AN UPSTAIRS ROOM OF THE CAROUSEL BUILDING - NIGHT This room has obviously been relegated to the status of the storage room. It contains the water heater, mops and brooms, old bed springs, etc. In the middle of the room a space has been cleared for a table, around which are seated Hooker, Gondorff, Niles, Singleton and Twist. Gondorff is in his T-shirt, but still wears his hat. Kid Twist is in a suit as usual. The room is illuminated by a single bare bulb hanging from the ceiling. TWIST (showing Hooker photographs of three men) These are Combs' favorite torpedoes. Riley and Cole. We recognize Riley and Cole as the two guys who got into Mottola's cab. TWIST They do most of the small jobs, but Lonnegan might not wanna use 'em on you 'cause they're kinda messy. No class. We go to Hooker. He's real grateful. Billie, wearing an evening dress, enters the room and begins gathering up the empty beer mugs on the table. TWIST We got reason to believe Riley was the guy who hit Luther. But if you see either one of these two, find yourself a crowd, or take 'em someplace you know you can handle 'em. GONDORFF But most of all let us know. If they got a hit on you, we gotta fold up the con. You're too exposed. You got that? Hooker nods, but we know he hasn't really got that. HOOKER You sure it'll be one of these two? TWIST No. They're just the only ones we know of. Billie has finished gathering the mugs, and leaves the room with them. We follow her down the hall and into the: RECEIVING ROOM OF HER BROTHEL Carousel music filters up from the arcade below. The room has a bar along one wall and the rest of the space is taken up by tables and couches. It's a comfortable place, but not opulent. Some of the girls sit patiently on the couches, others play canasta at the tables. Most of the men are at the bar, fortifying themselves for the task at hand. Billie comes over to the bar. BILLIE (to the bartender) Set me up five more beers, will ya Danny. As Danny goes to fill the mugs, Billie's eyes fix on a man at the end of the bar. We move to reveal Snyder, intently scanning the room, as if he'd lost a dancing partner in the crush. Not finding what he wants, he comes down the bar to Billie. SNYDER You the owner here? BILLIE That's right. SNYDER (flipping out his badge) Lieutenant Snyder. Bunco. BILLIE Joliet badge, Snyder. Don't cut much up here. SNYDER (trying to ignore her remark) I'm lookin' for a guy on the lam from a counterfeiting rap. Thought he mighta come in here. BILLIE Don't think so. I know everybody in the place and I always bounce the lamsters. SNYDER All right if I look around your lobby? BILLIE No, but you're welcome to a free beer before you go. Billie grabs a bottle of beer, pours some in a shot glass and pushes it over to Snyder. He ignores the gesture. SNYDER (with controlled force) I don't really need your permission. We go to Billie. She knew that when he came in. CUT TO: THE STORAGE ROOM AGAIN The discussion continues. Hooker, a bit out of his depth here, listens and stays silent. SINGLETON Lonnegan's a fast egg, Henry. He's not gonna sit still for a standard play. GONDORFF Everybody'll sit still for somethin'. What did ya find out about the train, Eddie? NILES He's been taking the 8:10 Century Limited outa New York on Friday and getting in here early Saturday morning. He usually stays a day to check on his policy operations, and then flies back. GONDORFF Wonder why he doesn't fly both ways. NILES The porters say he runs a braced card game in one of the cars. $100 minimum, straight poker. Last time he pulled in here ten grand heavier than he left New York. GONDORFF Fancies himself a gambler, huh? TWIST Lotta plungers ride that train just to play him. GONDORFF (breaking into a smile) See J.J., he's slowly down already. CUT TO: THE RECEIVING ROOM AGAIN Snyder has completed his inspection of the "lobby" and found nothing. Danny, meanwhile, has set up the five beers on a tray. SNYDER Which way are the rooms? BILLIE Who told ya this guy was in here? SNYDER Nobody. I just know what kinda women he likes. I'm gonna check all the joyhouses till I find him. BILLIE Maybe I could help ya if ya told me his name. SNYDER I think I'll keep that to myself. Which way are the rooms? BILLIE Right through there. But I wouldn't go in there if I were you. (picks up the tray) SNYDER (snidely) What are ya gonna do, call the cops? BILLIE I don't have to. You'll be bustin' in on the Chief of Police just up the hall. (she exits with the drinks) Snyder is stopped cold. He calls after her. SNYDER Keep your nose clean, lady. He can't spend all his time here. CUT TO: THE STORAGE ROOM AGAIN Billie comes over to Gondorff and whispers in his ear, while the others talk. His eyes flick momentarily to Hooker. SINGLETON I think we ought to play him on the Rag. It's the tightest game we got, and it's not all over the papers yet. NILES No good, J.J. You're not gonna con stocks to a banker. Lonnegan's too smart for that. TWIST What are you going to do, con the payoff to a gambler? SNYDER Twist is right. It won't work. Gondorff has nodded to Billie and now rejoins the conversation. She serves the others beer. GONDORFF We'll use the wire. Never known a gambler who wouldn't like to beat the ponies. NILES The wire is ten years outa date. GONDORFF That's why he won't know it. SINGLETON I'm not sure I know it. GONDORFF We'll give him the hook on the train, and play him here. You think I can get in that poker game, Eddie? NILES All you gotta do is show up with some money and look like a fool. GONDORFF I also gotta win. He looks at Hooker. There is a challenge in their book. Gondorff smiles broadly, then casually, to them all. GONDORFF By the way, any of you guys been passing off any green goods lately? We go around the table. No reply. GONDORFF Billie, if that Dick comes in again, stall him till I can get a look at him. And let me pay ya for these beers. BILLIE What are you talking about? It's on the house. GONDORFF (pulling out a $5 bill) Naw, I want ya to have this. He hitches up Billie's skirt, and puts the bill in her garter. GONDORFF Don't look at it till ya go to bed though or it'll turn to paper. Billie smiles and leaves the room. INT. HALLWAY She walks halfway down the hall and stops. She can't wait. Lifting up her skirt, she finds that the five has indeed turned to paper. As she breaks into laughter and continues on down the hall, we: FADE OUT. FADE IN: THE HOOK FADE OUT. FADE IN: EXT. A SUNKEN ALLEY - DAY Actually little more than a service area between two apartment buildings. Niles, Kid Twist, and a middle-aged black man, named Benny Garfield, enter the alley with an old man and follow him down a stairwell to a subterranean basement. A faded sign above the door says Stenner's Billiards. We follow them inside to a: INT. A LARGE BARREN ROOM - DAY An office comes off it at one end. Judging from the fluorescent lights overhead and the scattered cue racks which still hang tenuously on the walls, the place, indeed, used to be a pool hall. Niles and Garfield go all the way to the back, while Twist stays near the front with the old man. NILES Looks all right. It's big enough and off the street. GARFIELD I don't know. This is kinda short notice. I'm not sure we can get it all done by Saturday. NILES Got to. Gondorff's ridin' the mark in from New York on the Century. Garfield thinks it over a little. He's taking another look at the place. We go to Twist and the old man by the door. TWIST We'll take it. (pointing through the door) You manage the building at the end of the alley? OLD MAN (with pride) For fifteen years. TWIST I'll need a room over there that faces this way. How much a week? OLD MAN Only rents by the month. Two hundred and fifty for the two of them. TWIST (pulling out his wallet) This is the last time I expect to see you down here. OLD MAN (watching the bills being counted into his hand) Never heard of the place. We go back to Niles and Garfield. GARFIELD Been a while since I stocked a wire store. Not many mobs playing that anymore. NILES All we need is the bookie setup for now. We'll worry about the telegraph office later. GARFIELD All right, I'll rent ya everything I got in the warehouse for two grand. That'll give ya phones, cages, blackboards and ticker gear. You supply the guys to move 'em. If you want a counter and bar, that's another grand. I don't know where the hell I'm gonna get 'em though. NILES C'mon, you can do better than that. We ain't no heel grifters. GARFIELD You want the stuff tomorrow or don't ya? It's gonna take hours just to clean it up. (pause) Besides, Gondorff's still a hot item. Where am I gonna be if he gets hit? NILES Just give us what ya can, Benny. We'll send a truck down. Twist has rejoined them by now. TWIST (to Garfield) You wanna work flat rate or percentage? GARFIELD Who's the mark? TWIST Doyle Lonnegan. GARFIELD Flat rate. CUT TO: INT. A NEW YORK TRAIN STATION - DAY We pick up Doyle Lonnegan, accompanied by two bodyguards and Floyd, making his way through the station. He stops at a cigar counter to buy some cigarettes, and we reveal Gondorff and Hooker sitting on their suitcases on the other side of the room. GONDORFF (eyes fixed on Lonnegan) Guy in the blue pinstripe and grey fedora. Hooker looks and finally spots him in the crowd. We go back to Lonnegan, as he moves off from the cigar counter, toward his train. Hooker watches him with the intensity of one gazing on a religious object. HOOKER He's not as tough as he'd like to think. GONDORFF (picking up his suitcase) Neither are we. CUT TO: EXT. TRAIN Lonnegan and his retainers getting on the train. Two cars down the line, we see Hooker and Gondorff boarding also. On his way in, Gordorff takes the conductor aside. GONDORFF I hear there's a friendly poker game on this train tonight. You know anything about that? CONDUCTOR A little. GONDORFF You think you could get me in that game? CONDUCTOR I don't know. There's usually a waiting list. Gondorff flashes a $50 bill. CONDUCTOR (loosening up a bit) That'll get you first alternate, sir. Gondorff pulls out another fifty. CONDUCTOR (taking the money) I'll see what I can do. CUT TO: INT. A BASEMENT BAR - EARLY EVENING Kid Twist enters and threads his way through the maze of tables to a door at the back of the building. A large bull of a man is stationed there, obviously to discourage those who don't have credentials to enter. Twist is not such a man. TWIST (going right on through) How ya doin', Lacey. LACEY (innocently pleased for one so menacing) Good to see ya again, Twist. INT. ANOTHER ROOM - EARLY EVENING Inside is another room, this one much better lit than the outer one. There are only three tables in here, around which are seated the elite of the Con World. Twist is enthusiastically greeted by Duke Boudreau, a large, rotund man whose stylish dress and authoritative manner mark him as a powerful figure in this group. BOUDREAU Twist! When did you get back in town? TWIST Coupla days ago. I'm workin' a big one with Gondorff on the North Side. The two men sit down together, apart from the others. TWIST Listen Duke, we're setting up a wire store. I need a twenty man boost right away. BOUDREAU I got twenty or so in here tonight. Take your pick. TWIST These guys have gotta be the quill, Duky. We can't afford to rank the joint. BOUDREAU (to one of his assistants) Get me the sheet, Jake. Let's see who's in town. CUT TO: THE OUTER PART OF THE BAR AGAIN A silhouetted figure appears in the entrance doorway. The word "chill" races from table to table and the place falls still. The bartender pushes a button behind the bar and a buzzer goes off in the back room. Boudreau gets up from his table and opens a small viewing port in the door. The silhouetted figure is now walking slowly past the silent tables. It's Snyder and he's checking out every face in the place. BOUDREAU Twist, you know this guy? TWIST (taking a look through the viewing port) No. Never saw him before. He's a dick, though. Snyder walks all the way to the back, and then retraces his route. About halfway back, he stops at one of the tables, recognizing a grifter he knows. It's the Eirie Kid. EIRIE KID Hello, Snyder. What are you doin' up here? SNYDER I'm on vacation. You seen your friend lately? EIRIE KID Yeh, he packed it in and enrolled in detective school. Snyder, in no mood for jokes, grabs Eirie by the hair and slams his face into the table. Eirie just stays there; he knows it doesn't pay to assault a detective. Twist is watching all this intently from the viewing port. SNYDER You see him, you tell him to pay his debts before I get him. Eirie raises his head slowly, but says nothing. There is a slight trickle of blood from his nose. Snyder turns and walks slowly out of the bar. When he is a safe distance down the street, the chatter and drinking resume. CUT TO: THE INSIDE ROOM AGAIN Twist gives an all clear signal and returns to the table where he and Boudreau were talking. Boudreau reads from a list of names. Twist listens with a certain preoccupation. He's still thinking about the little confrontation he just witnessed. BOUDREAU Paltrow, Sterling, Furey, and the Big Alabama are in from New Orleans. Fiskin and the Boone Kid from Denver, and Phillips, Barnett and Limehouse Chappie from New York. Those and the guys outside should give ya 30 or so to choose from. TWIST Good, have 'em down at Stenner's old Pool Hall before 3:00. We're gonna run through the route tonight. BOUDREAU Okay, Twist, but you know if this blows up, I can't do ya no good downtown. Gondorff is Federal. TWIST Don't worry about it, pal. CUT TO: EXT. SPEEDING PASSENGER TRAIN - NIGHT Ripping through an open stretch between New York and Chicago. CUT TO: INT. TRAIN - NIGHT Singleton is walking down a passageway and stops at a door and goes in. INT. GONDORFF'S COMPARTMENT - NIGHT Gondorff is rapidly shuffling cards to four empty places. He is alone. He looks up as Singleton enters. SINGLETON You in? GONDORFF Yeh, I think so. I gave the kay- ducer a C-note. You find out the deck? SINGLETON He usually plays with a Royal or a Cadenza. (handing him two sealed decks) I got you one of each. He likes to cold deck low, 8's or 9's. GONDORFF Nice work, J.J. Singleton slips out as Gondorff unpeels the packs. INT. TRAIN - NIGHT We pick up Lonnegan coming out of his compartment, flanked by only one bodyguard and Floyd. He starts through the passenger section toward the compartment where the poker game will be held. Suddenly a drunken woman comes staggering around the corner and bumps into him. They grapple a moment and Lonnegan pushes her away in disgust. WOMAN (sloppy drunk) Keep your mitts off me, ya big lug. If I'da wanted you handlin' me I woulda asked ya. Lonnegan ignores her and proceeds down the passageway. As the woman proceeds in the other direction between passengers, we see it is Billie. She drops something on a seat beside a passenger. A hand reaches to pick it up. It is Lonnegan's wallet and it is Hooker who picks it up. Hooker waits a moment, then stands and goes in the direction Lonnegan has taken. He passes by the open door to the card room, hesitating only slightly to hear the greetings exchanged inside before the door is shut. Then he continues on into the next car. He turns into Gondorff's compartment. CUT TO: INT. GONDORFF'S COMPARTMENT - NIGHT Gondorff is still practicing. He looks up as Hooker enters and tosses him the wallet. HOOKER She got him clean. He hasn't missed it. Gondorff nods, takes the money out, counts it. GONDORFF Fifteen grand. Looks like he's expecting a big night. He takes out his own wallet and puts the money in it, and tosses the empty wallet back to Hooker, and resumes his shuffling and dealing. Hooker sits back silently and watches him. HOOKER He's waitin' for you in the card room. GONDORFF Let him wait. As he deals, on the second pass he attempts to cut from the bottom, muffs it completely and sprays half the deck on the table. Hooker regards him steadily as he gathers them back up. Gondorff finally meets his gaze. GONDORFF You just worry about your end, kid. HOOKER If we ever get to it. CUT TO: INT. THE POKER ROOM - NIGHT A specially outfitted compartment with a table and chairs in the middle and leather cushions around the outside for kibitzers. Lonnegan and 3 other players are already there and seated. They're getting slightly impatient. LONNEGAN (to the Conductor) Where the hell is this guy? CONDUCTOR I don't know. He said he'd be here. CUT TO: GONDORFF'S CABIN AGAIN Gondorff is standing in front of the mirror dressing. He grabs up a clean white shirt and rumples it up in his hands. He then picks up a half-full bottle of bourbon. Hooker gives him a disapproving look. Gondorff smiles and pats some on his face. CUT TO: THE POKER ROOM AGAIN Everybody's itchy now. LONNEGAN All right, let's start without him. Mr. Clemens, give me the cards. The Conductor hands him a sealed deck. As he begins to open it, Gordoff comes into the room, coatless, rumpled, unshaven and looking slightly tipsy. The others at the table, all men of high school or financial standing, are somewhat put off. GONDORFF Sorry I'm late boys. I was takin' a crap. This bit of grossness does little to improve his image. CONDUCTOR (making the introductions; referring first to Gondorff) Mr. Shaw is a bookmaker from Chicago. Mr. Shaw, meet Mr. Clayton from Pittsburgh, Mr. Jameson, Chicago, Mr. Lonnegan, New York and Mr. Lombard, Philadelphia. Gondorff nods and takes a seat, none too gracefully. CONDUCTOR Straight poker, gentlemen. 100 dollar minimum, table stakes. We assume you're good for your debts. LONNEGAN (shuffling the cards) Mr. Shaw, we usually require a tie at this table. If you don't have one, we can get ya one. GONDORFF Yeh, that'd be real nice of ya, Mr. Lonneman. LONNEGAN (irritated) Lonnegan. He begins to deal, obviously not pleased that his evening seems to be peopled with drunks. CUT TO: EXT. THE SUNKEN ALLEY - NIGHT A truck is now parked at the end of the alley, and several workmen are busy unloading it. One group carries a large blackboard; others have boxes of glasses, ash tray stands, furniture, etc. Take several cuts. CUT TO: INSIDE THE ONCE-VACANT POOL HALL Now a blaze of activity. We take several cuts of workmen papering the walls, tacking down carpet, putting in new light fixtures, painting signs, all under the supervision of Niles. From now on, we will refer to the pool hall as the store. Back in the office, Kid Twist is "interviewing" one by one, a group of con men lined up outside the office door. A gray-haired old buzzard, Curly Jackson, approaches the table which is serving Twist as a desk. Curly is practically in rags and has several days growth on his face. He wears a little beret which he takes off to address Twist. CURLY Name's Curly Jackson. I worked for Gad Bryan outa Baltimore. TWIST You ever played the Wire, Curly? CURLY Used to rope for it long ago. I can shill, mark board, anything you want. I don't run with riffraff and I only drink on weekends. (affecting an English accent) Me specialty is an Englishman. Twist is taken with the man, despite his appearance. TWIST All right, Curly, you're in. We got a rack of suits over there. Get yourself a nice tweed one. CURLY (exiting) That's all right. I got all my own stuff. CUT TO: THE CARD GAME AGAIN Gondorff and Lonnegan have most of the chips. Lonnegan is slightly ahead. Gondorff has made a token attempt to wear the provided tie, having tied it in a knot around his neck, but not having bothered to put it under his collar. He has a shot glass and a bottle next to him, from which he has been drinking heavily. He and Lonnegan are the only ones left in this hand. LONNEGAN (throwing chips in) Raise 500. GONDORFF (likewise) See ya and raise three. LONNEGAN (more chips) See and raise five. GONDORFF Five and call. Lonnegan lays down his hand, a solid two pair. Gondoroff turns out three tens. Lonnegan is beat. GONDORFF Tough luck, Lonnihan, but that's what you get for playin' with your head up your ass. Couple more like that and we can all go to bed early, huh boys. Lonnegan burns, and the "boys" have no comment. CUT TO: INT. THE STORE - NIGHT The work is still progressing. We see two workmen installing a ticket tape machine in a secluded area of the store. GARFIELD We bought ya a tap into Moe Anenberg's wire. He's got eyes at every track in the country. You'll get race results, odds, scratches, pole positions, everything; and just as fast as Western Union gets 'em. NILES Does J.J. know how to use this thing? GARFIELD All he's gotta do is read. We go to Kid Twist, still conducting interviews in the office. A young, rather sullen man, Buck Duff, steps to the table. DUFF Buck Duff. I was in Maxwell's boost in Troy. TWIST You the Duff that didn't come up with his end when Little Jeff was sent up? DUFF Wasn't no problem a mine. TWIST He was a con man, wasn't he? DUFF He was a tear-off rat. He got what he deserved. No sense helpin' pay his bills. TWIST (like ice) Shove off, Duff. Duff stands there a second and then slouches away from the table. He stops however, by the door. The next man up is the Eirie Kid. Twist knows he's seen him somewhere before. EIRIE KID (nervous as hell) Names's Joe Eirie. Twist waits for more, but it's not coming. TWIST You played for any particular mobs? EIRIE KID No. TWIST You know the Wire at all? EIRIE KID No...I never played no Big Con before. But Luther Coleman was a friend a mine. I thought maybe there was something I could do. TWIST (pointing to Eirie slightly swollen nose) You get that nose in Duke Boudreau's tonight? Eirie nods a reluctant "yes." TWIST You got moxie, Eirie. Get yourself a suit. Eirie is so happy, he can barely blurt out a thank you. Buck Duff, enraged that Twist would hire a total amateur, turns in disgust and strides vengefully out of the store. CUT TO: THE CARD GAME AGAIN The room is dense with smoke now, and the players are feeling the heat. Gondorff has his white shirt open, revealing a stained T-shirt underneath. The bottle next to him is almost empty. He sneezes and wipes his nose with the tie Lonnegan gave him. The chips are now about equally divided between Gondorff and Lonnegan. The others are losing badly. GONDORFF Raise 300. LONNEGAN Pass. JAMESON (throwing in his last few chips) Raise 200. GONDORFF Two and call. Jameson lays down two pair. Gondorff has a flush. Gondorff rakes in the chips, which now put him ahead of Lonnegan. JAMESON Well, I'm out. GONDORFF Don't worry about it, pal. Lemongan here wouldn'ta let you in the game if you weren't a chump. LONNEGAN (getting to his feet) I've had enough of your lip, Shaw. Gondorff grabs the whiskey bottle next to him, breaks it against the table and waves the jagged end in Lonnegan's face. GONDORFF (barely able to stand up) Just take it easy there, Larrabee. Jameson and the conductor step in between. JAMESON Let's take a break for a couple minutes and cool off. Lonnegan storms out of the room, followed by Floyd and Bodyguard. INT. SMOKING ROOM We pick up Lonnegan coming down the passageway to enter the smoking room. LONNEGAN (to his assistant) I've had it with that bum, Floyd. Stack me a cooler. FLOYD (trying to settle him down) You've only been playin three hours, Doyle. LONNEGAN (not to be pacified) I don't care. Load me a deck. Set it up for threes and nines. I'll cut it in on his deal. FLOYD (taking a deck and beginning to sort it) What do ya want the others to get? LONNEGAN Nothin'. They gotta be outa there early. I'm gonna bust that bastard in one play. CUT TO: INT. THE POKER ROOM AGAIN - NIGHT A pair of hands shuffling. We pull back to reveal that they're Gondorff's. He passes the deck to Lonnegan to be cut and turns to pen a new whiskey bottle. Lonnegan takes the deck and in one lightning motion substitutes a new deck, while making it look like he's cutting the old one. Gondorff picks up the deck and begins to deal. As the hand is picked up, we see that Gondorff has four threes, Lonnegan four nines, and everybody else has nothing. CLAYTON (opening the bidding) Fold. LONNEGAN 250. GONDORFF Raise 1,000. LONNEGAN Raise 500. Gondorff looks at Lonnegan very carefully for a second. Lonnegan meets his stare. GONDORFF (slowly) Raise 2,000. The spectators shift a little. It's the biggest bet of the night. LONNEGAN See and raise 1,000. GONDORFF (taking it to him) Raise 5,000. Lonnegan fingers his remaining chips. He knows he's won, but he wants to bleed it for every bit of suspense. LONNEGAN (going for broke) See, and raise the rest. Lonnegan pushes in the rest of his chips. Gondorff, who is only required to match Lonnegan's total, throws in all his too. It's a showdown. GONDORFF Call. Lonnegan puts down his four nines. Gondorff just stares at them a second, lets out a deep sigh and lays down four jacks. Lonnegan is aghast. This just can't be. He glances at Floyd, who can do nothing but sit there with his mouth open. GONDORFF (raking in the chips) Well that's all for me tonight, boys. I'm gonna leave ya some cab fare. The other players look at each other in disgust, and reach for their wallets, all of which are well stocked. GONDORFF (to Lonnegan) You owe me 15 grand, pal. Lonnegan, with a stare that could kill, reaches for his wallet. Suddenly the stare goes soft. He tries a few more pockets. No soap. LONNEGAN (getting up to get it) I guess I left it in my room. GONDORFF (blowing up) What! Don't give me that crap you little weenie. How do I know you ain't gonna take a powder. (waving his wallter, which is full of Lonnegan's money) You come to a game like this, you bring your money. Lonnegan, having had all he can take, goes for Gondorff, but is restrained by the conductor. GONDORFF All right, buddy, I'm gonna send a boy by your room in five minutes, and you better have that jack, or it's gonna be all over Chicago that your name ain't worth a dime. Gondorff stalks out of the room. We pick him up coming down the passageway to his compartment. INT. GONDORFF'S COMPARTMENT The drunkenness has vanished. We follow him into his cabin, where Hooker is waiting anxiously. HOOKER How'd ya do? GONDORFF (modestly) Well we got some workin' money anyway. Gondorff tosses his winnings on the table. GONDORFF (big smile) Okay, kid, you're on. But I gotta tell ya, its a hard act to follow. CUT TO: INT. LONNEGAN'S CABIN - NIGHT Lonnegan sits in a chair smoking, obviously still upset. Floyd paces in front of him. FLOYD I know I give him four threes. We can't let him get away with that. LONNEGAN What am I supposed to do? Call him for cheating better than me? There's a knock at the door. Floyd goes and opens it. It's Hooker. HOOKER My name's Carver. Mr. Shaw sent me. Floyd motions him in without a word. LONNEGAN Your boss is quite a card player, Carver. How does he do it? HOOKER (very matter-of-factly) He cheats. Lonnegan says nothing. He doesn't like smart asses. He looks Hooker over a second, as if considering whether to have him wasted or not. LONNEGAN (reaching into his coat pocket) He'll have to take a check. (pulling out a check) I couldn't find my wallet. HOOKER Yeh, he knows that. LONNEGAN (startled) What do you mean? HOOKER (pulling out Lonnegan's wallet and tossing it to him) He hired a dame to take it from ya. Lonnegan just holds the wallet. He can't believe it. HOOKER You were set up, Lonnegan. Shaw's been planning to beat your game for months. He was just waiting for you to cheat him so he could clip ya. LONNEGAN (the heat rising) I could have you put under this train for this, errand boy. HOOKER (cool as hell) So could Shaw. LONNEGAN Then why the rat? HOOKER Cause I'm tired of bein' his nigger. (pause) I want you to help me break him. Lonnegan looks at Hooker long and hard, as if the intensity of his gaze could separate truth from fiction. Lonnegan hadn't expected this, but now that it's here, it better be on the level. The silence is suddenly broken by the noise of the train braking into the station. LONNEGAN (to Hooker) C'mon, I'll give ya a lift home. Hooker hesitates, not sure whether to accept or not. LONNEGAN What's the matter? You gotta get back to Shaw? HOOKER Naw, he picked up some jane in the bar. Can't see him till morning anyway. LONNEGAN All right, then. CUT TO: INT. LONNEGAN'S CAR - NIGHT Driving through the city, the driver and Floyd in front, Hooker and Lonnegan in back. Hooker glances out the window from time to time, just to make sure they're really going to his place. LONNEGAN Why me? Shaw probably has lotsa enemies to choose from. HOOKER I need somebody respectable...but not completely legit. What I'm gonna do isn't very legal. LONNEGAN (insulted) I'm a banker, friend. That's legit in this state. HOOKER All you gotta do is place a bet for me at Shaw's place. I'll supply all the money and the information. Lonnegan is listening, but you'd never know it. HOOKER If you help me out, I'll pay ya back the money you owe Shaw, myself. LONNEGAN That's worth fifteen grand to ya? HOOKER Maybe a couple million. We go to Lonnegan. He's still not talking, but that last phrase has registered. EXT. HOOKER'S PLACE The car pulls up in front of Hooker's place. LONNEGAN You're dreamin', kid. HOOKER (getting out) 660 Marshall Street. Tomorrow at 12:30, if you're interested. LONNEGAN (diffidently) If I'm not there by quarter of, I'm not coming. Hooker nods and walks up the steps to his apartment building. Lonnegan's car speeds away from the curb and on out of sight. Hooker breathes a sigh of relief. He's passed his first test; or has he? We follow him up the stairs to his room. INT. HOOKER'S APARTMENT He's just about to unlock the door, when he notices the little piece of paper he left in the door is on the floor. Without the slightest hesitation, Hooker leaps over the bannister and races back down the stairs. Two gunmen, Riley and Cole, burst out of his room and fire at him over the railing, but he's already too far down. Riley and Cole give chase. CUT TO: THE FRONT OF THE BUILDING Riley and Cole barrel out of the building and onto the sidewalk. There is an empty bus stopped at a light, but they find no sign of Hooker. As the light changes, we cut to the other side of the bus, where we see Hooker crouched on the rear wheel housing, hanging on to a vent. He's a little shaken, but most of all, he's still alive. We hold on him, as the bus moves off. GONDORFF (V.O.) Everything go all right? HOOKER (V.O.) (lying) Yeh, it was easy. CUT TO: INT. THE STORE - NIGHT Hooker and Gondorff are sitting alone in the back office while the work goes on outside. Their conversation continues. GONDORFF No signs of trouble? HOOKER What do ya mean? GONDORFF You know, somebody tailin' ya. A torpedo or somethin'. HOOKER (wanting to get off the subject) No, not a thing. Gondorff has his doubts, but lets them ride. CUT TO: OTHER PARTS OF THE STORE We concentrate on some of the fine details, i.e. Garfield explaining how the ticker will read out to Singleton and Billie; Curly Jackson showing a younger con man how to mark the odds board properly. GONDORFF (V.O.) How 'bout Lonnegan? HOOKER (V.O.) I gave him the breakdown just like ya told me to. GONDORFF (V.O.) And? HOOKER (V.O.) He threatened to kill me. GONDORFF (V.O.) Hell, they don't do that and you know you're not gettin' through to 'em. We concentrate on Niles, who's making up the "boodles" or fake bankrollls. He puts a real $100 bill on the bottom, then two inches of cut green paper on top, and then another $100 bill on top of that, so that it looks like he has a whole stack of $100 bills. The bundle is then bound with a sealed label, like those used in banks, that says $10,000. We see that he has already made several of these bundles. HOOKER (V.O.) Then he drove me home. He tried to put himself away as legit, so I went right into the pitch. GONDORFF (V.O.) Did he hold you up on anything? HOOKER (V.O.) Naw, he just sat there and listened. I don't know if he bought it or not. CUT TO: INT. THE STORE Twist in the middle of the room giving a route to the Eirie Kid. He shows him where to get his drink at the bar, where to sit and finally how to leap up and throw his racing form down in disgust. GONDORFF (V.O.) That's all right. Once they start listening, they're in trouble. Just don't give him more than he asks for. If you rattle his imagination a little, he'll come up with all the right answers himself. But all he's gotta do is catch you in one lie and you're dead. CUT TO: HOOKER AND GONDORFF IN THE STORE OFFICE AGAIN They both look tired. HOOKER You think he'll show? GONDORFF Did he say he wouldn't? HOOKER No. GONDORFF (softly) He'll show. FADE OUT. FADE IN: THE TALE FADE OUT. FADE IN: WE OPEN ON A WIDE SHOT OF THE ALLEY OUTSIDE THE STORE At first it appears to be deserted, but we move to reveal a figure in an upper window of the apartment building which forms one side of the alley. It's Kid Twist. His eyes roam the street, for what, we do not yet know. CUT TO: INT. AN OLD DRUGSTORE ACROSS FROM THE ALLEY - DAY Probably prosperous at one time, it has since declined, its large fountain and eating area bow host to two bums and Hooker, who sits alone in a rear booth near the telephone. Dressed in a tuxedo, he nurses a cup of coffee, and anxiously alternates his glances between the clock and the empty street outside. It's 12:52. CUT TO: INT. THE STORE - DAY The place is full of people, although we avoid long shot so as not to give away the room as a whole yet. Instead, we concentrate on the tense, waiting faces of some of the more familiar people: Gondorff and Niles in tuxedos behind a barred cashier's area. Gondorff mutilates a piece of gum in his mouth. Niles just stares out into space cracking his knuckles. GONDORFF Eddie, cut that out, will ya. The boardmarker walking nervously back and forth in front of his odds board, checking every letter and number. He stops to cross a T on one of the horses' names. It was already crossed, but he does it again anyway. Billie and Singleton, in an area hidden from the rest of the room, watching the print-out on the ticker machine. The clicking of the ticker is the only sound we hear in the store. Curly Jackson in front of a mirror, pasting a fake Van Dyke on his chin to go with his tweed suit and monocle. A couple of Billie's girls adjusting their waitress outfits and primping their hair. Each has a tray full of drinks beside her. The Eirie Kid silently retracing his "route" to make sure he has it down. Despite the crowd, there is no talking and little movement, save for the constant swirling of smoke from several cigars and cigarettes. The group is like a theatre company waiting to go on opening night. CUT TO: THE DRUGSTORE AGAIN It's 12:56 and Hooker is worried. He looks up to see two large men, obviously racket goons, come in the front door, and take a seat facing him in the next booth. They stare at him impassively, waving the waitress away when she comes to take their order. Hooker knows they're Lonnegan's men, but is somewhat unsettled by the fact that Lonnegan is not with them. Suddenly, a voice. VOICE Carver? Hooker turns around to find that Lonnegan is seated in the booth directly behind him. His bodyguard is in the one behind that. LONNEGAN You should always look to the back too, kid. HOOKER (sliding out of his booth and into Lonnegan's) I was afraid you weren't gonna come. We haven't got much time. LONNEGAN (curtly) Get on with it then. HOOKER (pointing to telephone) Sometime after 1:00 a guy's gonna call here and give you the name of a horse. (pulling out a wad of bills) All you do is take this two grand across the street to Shaw's place and bet it on that pony. There's nothin' to it, but don't take too much time. We only have 3 or 4 minutes after you get the call. LONNEGAN You're not gonna break him with a $2,000 bet. HOOKER This is just a test. The big one comes later. Be careful with that though, it's all I got. LONNEGAN And you were gonna pay me back? HOOKER I am after this race. Lonnegan says nothing. He's not sure he likes a man who's stupid enough to bet his last dollar on a horse race. HOOKER I gotta get back before Shaw misses me. Good luck. EXT. STREET Hooker hustles out across the street and into the alley. INT. DRUGSTORE Lonnegan watches him through the window and then settles back in his seat to wait for the phone. OUTSIDE STORE As Hooker descends the stairwell into the store, he gives Kid Twist the office. Twist turns away from the window and looks at his watch. 12:58. CUT TO: DRUGSTORE Lonnegan waiting by the phone, idly pinging a knife on the salt shaker. It's 1:40. A man enters the store and walks over to use the phone. LONNEGAN We're waitin' for a call. The man looks at Lonnegan a second, and then at his four goons. He decides maybe he'll make the call later. CUT TO: INT. THE STORE Kid Twist again. Billie enters the room with a piece of paper. Kid Twist looks at it a second and then picks up the pohne and begins to dial. INT. DRUGSTORE Lonnegan again. He's getting impatient now and lights a cigarette, and then the phone rings. He answers it quickly and we hear: TWIST Bluenote at 6 to 1 on the nose. The receiver clicks down at the other end. Lonnegan hangs up and goes out the door, followed by his entourage. EXT. STREET We follow him across the street and into the alley, where he signals one of the bodyguards to check the place out. Kid Twist pushes a button on his window sill, and a buzzer goes off inside the store. The previously inert figures there spring to life. Lonnegan's bodyguard descends the stairwell and knocks at the door, where he is greeted by Hooker in the capacity of host. He looks the place over and motions an okay to Lonnegan. INT. THE STORE As Lonnegan enters, we see the room for the first time in its entirety. Overnight it has been transformed into a swank private club, with bar, cigarette girls, upholstered furniture and chandeliers. SINGLETON Look at that. He's got four apes with him. GONDORFF That's what I like about these guys, J.J... They always got protection against things we'd never do to 'em. Everywhere there is activity. A bank of telephones buzzes incessantly. Sheet writers scurry from phone to phone, taking bets of tremendous size from prominent people. SHEET WRITER Yes, Mr. Ruth, 20,000 on Dancing Cloud. We reveal that the phones are controlled by a master switch, which one of the recruited con men operates from behind a partition. The boardmaker, wearing headphones suspended from a sliding wire, hurriedly chalks up races and odds on a huge blackboard. From the loudspeakers we hear the words "last flash." The odds on Bluenote settle down to 8 to 1. Lonnegan makes his way through the throng toward the betting line. His bodyguards fan out to various positions in the room. The betting crowd itself (known as the "boost") consists of close to twenty people, none of whom, of course are what they're pretending to be. There are brokers with pasty faces, sportsmen, tanned and casual, and financiers with goatees and highly tailored clothes. Large amounts of money are changing hands at the betting window. Boodles are in sight everywhere. Lonnegan slips into the betting line, feeling somewhat estranged from the general merriment around him. There are two men in line ahead of him. The first, Curly Jackson, slaps down several bundles of cash in front of Niles, who's the cashier, and places a $20,000 bet on War Eagle. Gondorff appears at the cashier's window and catches sight of Lonnegan. GONDORFF Never get enough, huh pal? I'd think you'd get tired of losin', Honnigan. LONNEGAN (piercingly) The name is Lonnegan. GONDORFF (to Niles) Make sure you see cash from this guy, Eddie. He's got the name for bettin' money he don't have. The man in front of Lonnegan puts $5,000 on Dancing Cloud. He makes the bet on credit. Lonnegan steps to the window. LONNEGAN Two-thousand on Bluenote. NILES (writing out a ticket) Is that all? LONNEGAN (pissed) That's all. Bluenote's race is now up on the board. The race caller comes on the loudspeaker. CALLER Ladies and Gentlemen. This is Arnold Rowe, your caller for the second race at Belmont in New York. A mile and 1/8. Four year olds and up. And they're off! We see that the caller is Singleton, and that he's calling the race from a concealed booth next to the cashier's cage. CALLER Around the first turn it's a War Eagle first by a length, Jail Bate second by one and a half, Dancing Cloud third by a half on the outside, followed by Lucky Lady, Mojo, Wits' End and Bluenote. Lonnegan goes to the bar, orders a drink, and settles down at one of the tables. It happens to be the one the Eirie Kid is at. Gondorff and Niles watch it from the cashier's cage. GONDORFF (worried) That's not where we want him to sit. Eirie tries to ignore Lonnegan at first, but realizes he better make some conversation. EIRIE KID C'mon War Eagle. (to Lonnegan) That Dancing Cloud's a hell of a finisher. War Eagle's gonna have to open up a little more on 'em. LONNEGAN You know anything about a horse named Bluenote? EIRIE KID Naw, he's never done much. Probably in here just to round out the field. War Eagle's where you wanna have your money. Eirie excuses himself and heads for the bar. CALLER Into the clubhouse turn, it's War Eagle by two lengths, Dancing Cloud has moved up to second by a half, Lucky Lady is third by three followed by Jail Bait, Mojo, Bluenote and Wits' End. The heretofore chaotic energy of the parlor is now focused on the race. Several of the patrons begin to yell for their horses. Lonnegan remains seated. He seems bored with it all. Hooker comes over to clear some empty glasses from his table. LONNEGAN (out of the corner of his mouth) You really picked a winner, kid. HOOKER Give 'em a little time. CALLER Into the backstretch it's War Eagle still by a length, Dancing Cloud closing on the inside, is second by two, Lucky Lady is third by one and a half, followed by Bluenote, Jail Bait, Wits' End and Mojo. Lonnegan perks up just a little. Bluenote, at least, has moved up. The rest of the people in the place are really rooting now. Few of them remain seated. Hooker arrives at the bar, with the glasses he cleared from Lonnegan's table. Eirie is already there, fortifying himself with a scotch. HOOKER You're doin' great, Eirie. He loves ya. Eirie nods, somewhat unconvinced, and heads bak to the table. CALLER Into the far turn, it's Dancing Cloud now by half a length, War Eagle is second by two, Bluenote is third by a half and moving fast on the outside. Lucky Lady is fourth by four lengths, followed by Jail Bait, Wits' End and Mojo. Lonnegan is getting more intent now. CALLER Coming down the stretch, it's Dancing Cloud by one length, War Eagle and Bluenote are neck and neck by two. Now it's Dancing Cloud, Bluenote and War Eagle. (shouting now) Dancing Cloud and Bluenote head to head... The place is going crazy. Even Singleton is standing up to get the necessary excitement in his voice. CALLER Dancing Cloud, Bluenote. Dancing Cloud, Bluenote. It's Bluenote by a nose. Dancing Cloud is second by two, War Eagle third by three and a half. Time for a mile and 1/8, 2:01 and 6/10 seconds. Most of the patrons collapse into their chairs like spent lovers. Eirie slams his racing form to the floor. Nobody had Bluenote. CURLY (tearing up his ticket) Bloody awful. Who in blazes is Bluenote? LONNEGAN (to Eirie, very self-satisfied) War Eagle's where you want to have your money, huh? Eirie doesn't reply. He can't believe Bluenote won. Lonnegan looks to Hooker. Hooker gives him a wink. For the first time, Lonnegan permits a smile. CUT TO: LONNEGAN AT THE CASHIER'S WINDOW Niles is counting out $16,000 to him (all of which Gondorff won the night before). Gondorff looks somewhat perturbed. Lonnegan picks up the money and tauntingly waves it at him. GONDORFF (getting his name right this time) Don't bother to come back with a piker's bet like that again, Lonnegan. We got a $5,000 minimum here. (to Hooker) Show this bum out. Hooker hesitates a second. GONDORFF Go on, ya goddamn ninny. Gondorff gives Hooker a hard shove in the back with his foot, sending him into a table and sprawling to the floor. GONDORFF (indicating Lonnegan's bodyguards) And tell him not to bring his garbage men in here no more. This is a class joint. Hooker, pretending to be humiliated, gets to his feet and escorts Lonnegan to the door. Lonnegan stops, gives Gondorff a derisive smile, and walks out. Once he's gone, the general clatter and hubbub in the room cease, like it had been turned off by a faucet. Most of the boost sit down and relax. Curly Jackson rips off his Van Dyke. It's been itching him. GONDORFF He's gaffed, kid. He should start coming to you now. CUT TO: INT. COMB'S OFFICE AT THE CLEARINGHOUSE - DAY Combs sits passively on the edge of his desk glancing across the room every now and then at Riley, who is slumped uneasily in a folding chair, looking like a defendant at the Inquisition. Both remain silent, like two men in a waiting room. Suddenly, what they've been waiting for arrives. Lonnegan comes into the office, flanked by his bodyguards. Skipping the usual pleasantries, he walks right over to Riley. LONNEGAN All right, Riley. What the hell happened? RILEY (not looking at him) We missed him. LONNEGAN You weren't hired to miss him. RILEY There wasn't any way he coulda known we was in there. We made a clean pick on the lock and didn't leave no footprints in the hall. Somebody musta wised him up. LONNEGAN Yeh, and what does Cole say about that? RILEY I don't know. He took it hard. LONNEGAN All right, get outa here. You're outta work. Riley gets up and drags himself out the door like a whipped dog. LONNEGAN We'll put Salino on it. I need somebody careful. COMBS Salino? Why waste our best people on a small-time job like this? It ain't no heavy gee we're after. The guy's a five and dime grifter. LONNEGAN Then why ain't he dead? COMBS They didn't think he'd be so cagey, that's all. They'll get him next time. LONNEGAN Use Salino. It'll take a little longer, but there won't be any holes in it. Combs gives up. The second time's the charm. LONNEGAN And tell Cole I wanta see him when he gets in. COMBS He's not comin' in. Not to get bounced off a job anyway. LONNEGAN He had his chance and all he did was shoot up a rooming house. Made a lotte noise and woke up a few cops, but didn't hit nothin'. Combs keeps his mouth shut. There's no way to talk to Lonnegan when he's like this. LONNEGAN (cooling a little) This is Salino's job now, Vince. If Cole wants to muscle in on it, that's his business. But he's breakin' the rules and when Salino finds out about it, I can't feel sorry for what's gonna happen to him. CUT TO: INT. LONNEGAN'S HOTEL - DAY The finest the period had to offer. We pick up Hooker coming down the hall to Lonnegan's suite. He is admitted by the Bodyguard. Lonnegan, wearing a smoking jacket, is seated at a table counting a pile of money. There are two other assistants standing behind him. They don't look friendly. HOOKER Well, what did I tell ya? LONNEGAN You're a lucky man, all right. HOOKER Lucky, hell. I could do it every day. LONNEGAN Why don't ya then. HOOKER 'Cause it's better to do it all at once. (leaning close) We're puttin' down 400 grand next week. At 5-1 we make 2 million. Twenty per cent of that is yours if ya stick with us. LONNEGAN You got a system, Carver? HOOKER You stayin' in or not? LONNEGAN I'm in. HOOKER (drawing up a chair, barely able to contain his enthusiasm) It's foolproof. We got a partner downtown runs the central office of the Western Union. Race results from all over the country come in there and go right across his desk on their way to the bookies. All he does in hold them up a couple minutes until he can call us and get a bet down on the winner. Then he releases the results to the bookies and we clean up on a race that's already been run. It can't miss, unless the Western Union Dicks get onto it. Lonnegan is amazed. He sits back a second, then comes forward again and pushes a pile of bills over to Hooker. Hooker smiles and begins to count the money. LONNEGAN You got the 400 grand yet? HOOKER Not yet, but... (stopping suddenly) Hey, there's only a grand here. LONNEGAN (more like a command) I think we oughta place another bet tomorrow. HOOKER (getting angry) What is this? That's my money. You tryin' to muscle me? LONNEGAN (controlled) If your system's as foolproof as you say, you'll get even more. Hooker's in a jam and he knows it. HOOKER (after a pause) I gotta talk to me partner first. We can't afford to expose our game too much. LONNEGAN Let me talk to him. HOOKER (flatly) No. LONNEGAN You want your money back? Try and get it in a court of law. (softening a bit) C'mon, don't be a sorehead. I'll make it worth your while. Migth even help ya finance the big play if this one works out. Hooker says nothing for a minute, and then reluctantly nods his head. HOOKER Four o'clock tomorrow. Pick me up at Dewey Lyle's. CUT TO: EXT. LONNEGAN'S HOTEL - DAY We pick up Hooker coming out of the hotel and going off down the street. As he does so, we pull back all the way across the street and through the interior of a parked car to reveal the silhouette of a man seated at the wheel. We move to his right hand, which rests on the steering column. It's covered by a black glove and the middle finger is missing. His trigger finger, however, taps lightly on the wheel. CUT TO: INT. AN INDOOR TELEPHONE BOOTH - DAY One of the old, wooden kind -- accordian doors with glass panes in the upper half. Hooker dials rapidly. HOOKER Twist? I told him the tale. He wants to see ya. TWIST All right, when? HOOKER Tomorrow, after 4:00. Stay inside, I'll come in and get ya. And be hard on him for a while; he's talking money. TWIST Okay, Tootsie. Hooker blows a mock kiss through the phone and hangs up. He turns to leave the booth, when suddenly he sees something that stops him cold. There looking through the glass is the smirking face of Detective Synder. Hooker is immobilized. Snyder puts his hand inside his coat and slowly draws out his gun. He points it right at Hooker's face and then violently smashes all the glass in the upper half of the door with the barrel. Fragments of glass spray into the booth, a couple of which imbed themselves in Hooker's cheek. Hooker quickly whips open the door, trapping Snyder's hand in the accordian and jarring loose his gun. Hooker sprints out of the booth as Snyder scrambles for his pistol and gives pursuit. EXT. ALLEYS AND SIDESTREETS - NIGHT - THE TWO MEN We follow the two men up alleys and sidestreets as they race through the dregs of the city, two panting shadows moving through places that only get light at night. The wind blows drops of blood off Hooker's cheek as he runs. Snyder still has his gun, but would rather inflict pain than death. CONDEMNED BUILDING Hooker makes for a condemned building and scrambles up the stairs, steps giving way under him as he goes. INT. BUILDING On the fourth floor, he ducks into a room and quickly locks the door. We pan the room to reveal that the whole back side of the building is gone. Hooker runs toward the ledge and leaps through the air, landing on the fire escape of an adjacent building, some 15 feet away. He kicks in a window and goes off down the hall. We cut back to Snyder furiously kicking in the locked door. He finally crashes through, only to find an empty room and a beautiful panorama of the city and its nearest Hooverville. CUT TO: LONG SHOT - HOOKER Winding his way through the slum area of town, dashing along backstreets, over fences and through vacant lots, making good his escape. From our angle, he looks like a rat in a maze. GONDORFF (V.O.) Why didn't you tell me about Snyder before? HOOKER (V.O.) I thought I'd lost him. CUT TO: INT. GONDORFF'S ROOM AT THE CAROUSEL BUILDING - DAY Hooker sits sullenly at the table. Billie stands over him putting some ointment on his face to close the cuts. Gondorff looks on. Their discussion continues. GONDORFF Well you found him again and we're gonna have to do somethin' about it. What else haven't ya been tellin' me? HOOKER Nothin'. I told ya everything there is. GONDORFF Then why'd ya move outa your room? HOOKER It was too noisy. GONDORFF You can't play your friends like marks, Hooker. Hooker doesn't reply. He knows Gondorff's on to him. GONDORFF You know how easy it'd be for one of Lonnegan's guys to nail you? HOOKER All we need is a couple days, Henry. A couple days and we'll get Lonnegan down and stomp on 'em. GONDORFF You just won't learn, will ya. Hell, you come in here, I teach you stuff maybe five guys in this world know, stuff most grifters couldn't do even if they knew it, and all you wanna do is run down a bullet. (pause) You're just like all them new jerks. Lotsa nerve and no brains. And ten years from now when me and the others are through and you dumb guys are all dead there won't be one gee left who knows the Big Con was anything more than a way to make a livin'. HOOKER A couple days; that's all I'm askin'. I can stay clear that long. GONDORFF (trying to be angry and failing) Christ, they'll probably miss you and hit me. FADE OUT. FADE IN: THE WIRE FADE OUT. FADE IN: INT. A SLEEPY DINER - LATE AFTERNOON Located across the street from Hooker's apartment building. Hooker sits down alone in a booth, with a plate of ham and eggs he's hardly touched. The two cuts on his face have pretty much stopped bleeding. A big fan above the counter area drones away lethargically, it's air stream insufficient to either cool the place or drive out the smell of onions and grease. A waitress, Loretta, emerges from the kitchen and ambles slowly over to Hooker's table. Slim and raven-haired, she manifests an indifference bred from years spent delivering things to people who are rarely grateful for what she brings. Only a light scar on her left cheek hints at another side. LORETTA You done? HOOKER Yeh, I guess I shoulda had the meat loaf. LORETTA (deadpan) It isn't any better. HOOKER Where's June today? LORETTA (figuring up the bill) She don't work here no more. I'm fillin' in for a couple days... till I can get a train outa here. HOOKER Where you goin'? LORETTA (putting the check down and walking away) I don't know. Depends what train I get on. Hooker looks for some sign that she's putting him on. He doesn't get it. He takes out some money, drops it on the table and walks out. CUT TO: EXT. A WESTERN UNION OFFICE - LATE AFTERNOON A truck with the words CLAYTON BROS., CUSTOM PAINTING AND DECORATING stenciled on the side, is parked out front. Two men, wearing overalls and painter's caps, walk into the office to the reception counter, we see that they are Twist and Singleton. TWIST (to the receptionist) Excuse me. We're here to paint Mr. Harmon's office. RECEPTIONIST (obviously not expecting them) Mr. Harmon's office? Hold on just a second. She goes to get Mr. Harmon. CUT TO: EXT. THE SLEEZY DINER - LATE AFTERNOON Hooker is standing on the curb outside the diner, obviously waiting for somebody. Lonnegan's car pulls up and Hooker hops in the back. LONNEGAN What happened to your face? HOOKER Had a little fight with a raggle down on 13th. She got me with her ring. Lonnegan laughs. CUT TO: INT. THE WESTERN UNION OFFICE AGAIN - LATE AFTERNOON Mr. Harmon is looking over the authorization papers that Twist and Singleton have given him. He can't find anything wrong with it. HARMON Brigham signed it all right. I can't understand why he didn't tell me. SINGLETON Ah, he's like all them supervisors. They think they're too good for regular people. He says he was in here a while ago and the place was a mess. Harmon looks around, hoping it's not true. TWIST We'll try and hurry so we don't keep you out of your office too long. HARMON Why can't I work with you in there? SINGLETON Look pal, we gotta cover the floor, the furniture, everything, so we don't spill on nothing. Now if you wanta sit in there with a tarp over your head, you're welcome to it. HARMON All right, how long will you be? TWIST Hour or two at the most. We do good work. Harmon is resigned. Twist and Singleton pick up their gear and march into the office. Once inside, we notice that the office has an exit door which opens to an outside alley. Twist immediately removes his overalls, revealing the suit and tie he's wearing underneath. He takes out a picture of himself, a woman and three small children, and puts it on Harmon's desk, replacing a similiar picture of Harmon's family. Singleton, meanwhile, has spread a few tarps and begins to paint the walls. CUT TO: EXT. THE WESTERN UNION OFFICE - LATE AFTERNOON Lonnegan's car pulls up and stops across the street. HOOKER We'll go to the side door. We follow Hooker and Lonnegan across the street to the side entrance which opens into: INT. HARMON'S OFFICE Hooker knocks and Twist, of course, answers. HOOKER Les, I got Mr. Lonnegan with me. He wants to see you a second. TWIST (irritated) What the hell's the matter with you. We coulda met at a club or somethin'. HOOKER I thought it might be good for him to see the setup. TWIST (hushed) Well we can't talk in here. They're having the place painted. Twist walks over to the intercom on his desk. He leaves the door open so that Lonnegan can get a good look at the office, Twist's picture in it, the painter, etc... Lonnegan's not missing any of it. TWIST (talking into the intercom) Miss Barnes, I'm going home a little early today. Tell anyone that calls that they can reach me here in the morning. Thank you. CUT TO: INT. FRONT OFFICE Harmon's secretary at the other end of the intercom. Mr. Harmon is with her. They look at each other a second and Harmon decides he better see what's happening in his office. He opens the door to find it empty except for a pile of painting equipment and one haphazardly painted wall. CUT TO: INT. A DILAPIDATED CHINESE RESTAURANT - EVENING Dark and somewhat foreboding, its peeling dragons and shoddy lanterns compete for space with the many slot machines and arcade games that line the walls. Hooker, Lonnegan and Twist sit at one of the more secluded tables. They are not eating. TWIST Can't do it. There're telegraph inspectors all over the place. I got 750 grand coming in from the coast, and I'm not gonna blow it for a lousy 14 gees. We'll get somebody else to do our betting. LONNEGAN I could come up with 750 grand in a day if I had a reason to. TWIST But who says you will. I got a guy I can depend on. He's liquidating everything he has for this. You wouldn't even give Carver his money back. LONNEGAN I need more proof, that's all. Anybody can get lucky once. TWIST (stubbornly) On a 6-1 shot? The hell with ya. We'll keep the deal we got. LONNEGAN If it works again tomorrow, I'll have a half million in cash here by noon the next day. We split 60-40. TWIST (feebly, beginning to break) We were getting 50 from our guy. LONNEGAN With 20% coming off the top for me laying your bet. Either way you end up with 40. Twist hesitates. LONNEGAN A week's a long time, friend. Anything can happen. All of it bad. HOOKER He's right, Les. TWIST Yeh, and what if we play tomorrow and he doesn't come up with the money. We risk our whole operation for nothing. I'll say when we make our bets. LONNEGAN Not if you want me to keep makin' 'em for ya. HOOKER And what do we know about your guy. He says a week, but who knows if it's a month? Lonnegan here's a banker. He can get that dough with no questions asked. Twist says nothing for a minute, then: TWIST All right. Be at the booth at 1:00. I'll give you all three places this time, Lonnegan. That better be proof enough. Hooker and Lonnegan smile at each other like life-long friends. They get up to leave, and we frame the shot with a coffee cup large in the foreground. As they go out the door, a black-gloved hand with four fingers enters the frame and puts a nickel down next to the cup. FADE OUT. FADE IN: THE SHUT-OUT FADE OUT. FADE IN: INT. A DOWNTOWN DINETTE - MORNING Snyder finishes a donut and a cup of coffee, puts down a dime for the lot and exits. We follow him down the street: EXT. STREET To a corner newsstand, where he stops to buy a morning paper. As he peruses it, he's approached by two large, clean-cut men in white skimmers. MAN Are you Lieutenant William Snyder? SNYDER I don't know, what's up? MAN F.B.I... The Captain'd like a few words with ya. Ya got a couple minutes? SNYDER (completely floored) Yeh, sure. The two men show him to a waiting car. CUT TO: INT. AN ABANDONED WAREHOUSE - DAY Snyder stands in the middle of a dusty old machine room, surrounded by four or five Federal Agents. Visible around the room are several folding cots and portable lockers. The agents have obviously been quartered here temporarily. They all wear white skimmers, save for one, a portly man, Captain Polk, who paces the room smoking. There is something long- suffering about him, as if he wondered how he ever got in a service that thought white skimmers were classy. SNYDER What is this? I got work to do. POLK Sit down and shut up, will ya. Try not to live up to all my expectations. (not in the mood to screw around) We were told you know a hustle artist named Johnny Hooker. Snyder doesn't answer. POLK Do ya know him or don't ya? SNYDER Yeh, but I don't know where he is. POLK Well we do. He's chummin' around with a Big C named Henry Gondorff. Ring any bells? SNYDER Sure. Every bunco man in the country knows Gondorff. POLK There's word he's gonna run a con on the North Side here. We got a year-old Florida warrant on him, but it's a thin beef, and he can beat it in court unless we catch him cold. All we want you to do is pick up Hooker for us. SNYDER Why don't you pick him up yourself? POLK Cause the stoolies are used to street dicks jumpin' him. If word gets around that Feds are in on it too, Gondorff'll fold up the whole thing. SNYDER Wouldn't that be too bad. You'd hafta move outa this nice office ya got. POLK (enraged) Don't crack wise to me, flatfoot. I spent a lotta time in dumps like this, eatin' Gondorff's dust while the bunco squad gets rich tippin' him off. But it's not gonna happen this time. We're not even gonna let the police know we're here. If you keep your mouth shut and do a job, there'll be a promotion in it for ya. And you better take it, cause I can make ya work for us without it. SNYDER What the hell good is Hooker to ya? POLK He's gonna set up Gondorff for us. SNYDER He'll never do it. POLK (self-satisfied) I think he will. CUT TO: INT. DRUGSTORE - DAY Lonnegan sits by the phone, watching the clock and sipping a cup of coffee. CUT TO: INT. THE STORE - DAY Specifically, the small room from which Singleton does his race broadcasts. Singleton, himself, is hunched over the ticker machine, reading the print-out. Billie sits at the microphone table with a pencil and pad, ready to write. SINGLETON Visitation is still up by two at the three-quarters. Single Action second, Fasanella third. BILLIE What's the line on Visitation? SINGLETON (checking further up on the print-out sheet) 7 to 2. That ain't bad. BILLIE He'll probably fall down. Gondorff appears at the doorway. GONDORFF How ya doin'? SINGLETON (eyes still glued to the ticker) Nothin' yet. I got a good one on the lead at Hialeah, but he's fadin'. BILLIE Best we had was Cat's Eye in the second at Del Mar, and he was only 5-2. Not many longshots comin' in today. SINGLETON (excited) Billie. You ready? Billie prepares to write on her pad. BILLIE Yeh, go ahead. SINGLETON At the finish, it's Single Action by two, Fasanella second, Visitation third. (reading up the sheet again) Line on Single Action... 3 to 2. Hell with it, that's no good. Billie crumples up the piece of paper she's been writing on and chucks it in a wastecan. GONDORFF We don't need big odds on this one, J.J. Take anything you get at 3-1 or better. Gondorff leaves the room, as Singleton turns back to his vigil at the ticker. SINGLETON (a little weary) Okay, the Fairfield Stakes at Santa Anita. Mile and a quarter for 3 year olds and up. CUT TO: THE FLOOR AREA OF THE STORE Everyone is in his place as before. Today, however, Curly Jackson is playing the part of the aging sport. Well scrubbed and clean shaven, he cuts a dashing figure in his blue blazer and white pants. We go to Gondorff in the cashier's cage. He's talking to Niles, who's busy handing out fake bankrolls to members of the boost. GONDORFF He's gonna hit ya with 20 grand, Eddie. How much cash we got? NILES Not enough to cover a bet that big. GONDORFF Get a couple extra guys in the line, then. We'll give him the shut-out. Niles nods. CUT TO: INT. DRUGSTORE - DAY Lonnegan is still waiting. He takes the 20 grand out of his coat pocket and thumbs through it, just to make sure it's all there. CUT TO: INT. THE STORE - DAY Singleton and Billie at the ticker again. Billie looks a little sleepy. Singleton is obviously involved with the progress of a race. SINGLETON Okay, Billie, here we go. Billie snaps to and prepares to write as Singleton reads. SINGLETON At the wire it's Wrecking Crew the winner by five, Grand Theft second, Wingless third. (reading up) Wrecking Crew was...4 to 1. (ripping the sheet out of the ticker) That's our boy. Billie and Singleton hustle out of the room. EXT. ALLEY We follow Billie through the store and across the alley to the building from which Twist keeps his lookout. CUT BACK TO: INT. THE STORE Gondorff, holding the ticker sheet Singleton has given him, emerges from the office and starts giving instructions to the boost. GONDORFF All right, Furey, your horse is Wingless. Paltrow, the Big Alabama and Phillips'll take Grand Theft. Rodgers and Eirie have Wrecking Crew. Jackson -- His Dandy, Cowan -- Change of Heart, Fiskin and Chappie -- Made to Order. (pointing to the Eirie Kid) Eirie, he gets a bang outa seein' you lose, so we oughta use that on 'em. If you play the birds of a feather routine we worked on, it should steam him up pretty good. You think you can handle that? EIRIE KID (a little nervous) Yeh, sure. GONDORFF O.K., you guys in line take your time, and I wanta see lotsa joy on Wrecking Crew. CUT TO: INT. TWIST'S ROOM - DAY Billie enters and gives Twist the piece of paper she wrote the race results on. He picks up the phone and starts to dial. CUT TO: INT. DRUGSTORE - DAY The phone rings and Lonnegan answers it. VOICE Wrecking Crew at 4-1, Grand Theft to place, Made to Order to show. Lonnegan smiles and hangs up the phone. CUT TO: INT. THE STORE - DAY Lonnegan's in line at the betting window. There are four people in front of him this time, and they are moving rather slowly. The "Last Flash" call is heard on the speakers. LONNEGAN (getting impatient) C'mon, let's hurry up there. The man at the head of the line turns around and gives Lonnegan a chilling look, as if he were beneath contempt. He puts down $25,000 on Grand Theft. The next man in line plunges down $30,000 on Wrecking Crew. Just as Lonnegan is about to step to the window, Gondorff gives a quick signal to Singleton. The speakers come on. CALLER Ladies and Gentlemen, this is Arnold Rowe, your caller for the $100,000 Fairfield Stakes at Hollywood Park in Los Angeles. A mile and 3/8 for three year olds and up. And they're off! LONNEGAN (counting out his money) Twenty-thousand on Wrecking Crew. NILES I'm sorry, sir. We can't take bets after the race is started. He points to a sign above the window, which says exactly that. Lonnegan grabs up his money in disgust. GONDORFF Don't take it so hard, pal. You probably woulda lost it. Lonnegan wanders over to the bar in a funk. CALLER And around the first turn it's Wrecking Crew by a half length, Grand Theft second by one, His Dandy is third by one half, followed by Change of Heart, Back Flip, Made to Order and High Ground. The assembled patrons are once again thoroughly involved in the race. Eirie comes up to Lonnegan at the bar. EIRIE KID Who you got? LONNEGAN (half-heartedly) Wrecking Crew. EIRIE KID Me too. Maybe it's our day. Lonnegan nods and wanders away. Hooker comes over to him. HOOKER What happened? LONNEGAN I didn't get the bet down in time. HOOKER (pissed) Oh, Jesus. CUT TO: INT. STORE OFFICE Gondorff and Niles, back in the office. NILES (looking out at the floor) Looks like he's sulking. GONDORFF If we're lucky, this'll bring him back stronger than ever. CUT TO: THE FLOOR CALLER Coming for home, it's Wrecking Crew by six lengths, Made to Order is second by two and a half, High Ground is third by a length and Grand Theft is coming fast on the rail. It's Wrecking Crew, Made to Order and Grand Theft. Wrecking Crew wins it by five lengths, Grand Theft is second by a nose, Made to Order is third by two. Time for one and 3/8 mile, 2:11 and 4/10 seconds. Eirie explodes in a joyous frenzy. He grabs Lonnegan by the shoulders and shakes him. EIRIE KID We won! We won! You hear that! I won 30,000! You hear that! Yeh, Lonnegan heard that. Lonnegan shakes loose, grabs his coat and heads for the door. EXT. ALLEY - DAY He finds Hooker waiting for him outside. LONNEGAN Tell your friend I'll have the money here by post-time tomorrow. We'll take the first race where the odds are 4-1 or better. And make sure I can get to that window this time. HOOKER How am I gonna do that? LONNEGAN (coarsely) I don't know, figure something out. Lonnegan storms across the street to his waiting car and drives off. Hooker relaxes into a smile. He's already figured something out. CUT TO: INT. SLEEZY DINER ACROSS FROM HOOKER'S APT. BLDG. - EVENING Hooker sits at the counter finishing a plate of meat loaf. Loretta is down at the cash register, leaning on the counter, looking idly out into space. Hooker glances over at her every once in a while to see if she might be interested in striking up a little conversation. She's not. He finishes his meal and comes down to the register to pay his bill. HOOKER Meat loaf, apple pie and a cup of coffee. LORETTA (ringing it up) Sixty-five. Hooker gives her a dollar. She goes to the register for change. HOOKER What time you get off work here? LORETTA 2:00 A.M. HOOKER You doin' anything tonight? LORETTA (handing him his change) Yeh, sleepin'. Hooker figures that's enough of that. He pockets his change and starts out the door, when suddenly he stops short. EXT. STREET Across the street in a doorway is the silhouette of a man. It's Cole. He's pretending not to look at the diner, but Hooker isn't fooled. INT. DINER He goes back to Loretta at the register. HOOKER You got a back door to this place? LORETTA No. What's wrong with the front? HOOKER (urgently now) Look, I don't have time to fuck around. There's somebody out there I don't need to see. You got a fire escape or anything? LORETTA No. HOOKER All right, do me a favor. Go into the bathroom, open the window and wait for me there. LORETTA What the hell for? HOOKER Just do what I tell ya and everything'll be jake. Cracks of concern begin to appear in Loretta's marble. LORETTA What does this guy want? HOOKER (evenly) He'd like to kill me. Loretta just looks at him a second. Realizing that this is no joke, she turns and walks slowly but steadily to the bathroom. Hooker waits until she's out of sight. EXT. STREET Hooker goes to the front door and steps outside. Cole looks up at the sound of the door. Hooker makes a big show of spotting him, and runs back into the diner. Cole, his cover blown, draws his gun and races across the street in pursuit. Arriving just in time to see -- INT. DINER Hooker go into the bathroom, he charges in after him, only to find the place empty. He goes quickly from stall to stall, on the chance that Hooker might be hiding in one of them. He comes to one that's closed, and seeing a pair of woman's legs under the door, rejects that, and moves on to the next one. We cut inside the stall to reveal Loretta sitting on the toilet with her skirt hiked up. Right behind her, crouched on the back of the seat, is Hooker. Cole has finished his rapid inspection now, and having found nothing, looks around for Hooker's probable escape route. He sees the open window and climbs out to find himself in a small air shaft, from which he knows Hooker could not escape. Hooker, seizing the time, bursts out of the stall and runs back out through the diner. Cole sees him, but too late to get off a shot. He climbs back in the window and gives chase. EXT. STREET We pick up Hooker barreling down the street with Cole a hundred yards or so behind. Hooker makes a sharp cut into an alley, and we see immediately that it's a hopeless dead end. Inexplicably, he makes no attempt to run back out. Cole draws up and cuts into the alley, anticipating the kill which should be easy now. He prepares to sight down his victim, when suddenly he realizes there is no victim in sight. Hooker, miraculously, has vanished. Cole scans the alley frantically for some trace of him. There are no windows or doors at the street level. Not even a drain pipe. Just brick wall. It's impossible. Hooker has disappeared into thin air. Cole slams his gun into his shoulder holster with a curse, and starts back out of the alley, when all of a sudden he stops in utter terror. His mouth drops open and he chokes out the words: COLE Salino, hey look. I didn't mean to move in on... Before anything else can come out, two bullets rip into his chest. He falls to the concrete, coming to rest on a manhole cover, which we notice is slightly ajar. We: CUT TO: THE SEWER PIPES Beneath the manhole. We see Hooker making his way through the slop, having gained another reprieve, but unaware that with two down, there is still one to go. CUT TO: INT. HOOKER'S APARTMENT BUILDING - EVENING Hooker comes in the front entrance and goes to the elevator, one of the old-fashioned kind with the iron grid on the inside. He's still a little rattled and waiting for the elevator is making him restless. It finally arrives, and he steps inside, closing the grid behind him. As he starts to push the button for his floor, he realizes for the first time that he's not alone. He looks to the corner to find Snyder, holding a gun on him. This time there's not much doubt that he'll use it if necessary. CUT TO: INT. THE ABANDONED WAREHOUSE - EVENING Snyder brings Hooker into the crate room where Capt. Polk and the other Agents are waiting. Polk, as usual, has his coat off, revealing his shoulder holster. POLK Hello, Mr. Hooker. Captain Polk, F.B.I... (shoving a chair over to him) Have a seat. Hooker remains standing. POLK (ignoring it, drinking from a cup) You want a drink or something? HOOKER No. POLK We want to talk to ya about Henry Gondorff. HOOKER Don't think I know him. POLK Well give yourself a couple seconds, crumb. You wouldn't wanna lie to me. Lt. Snyder here says you done a lotta griftin' in this town. HOOKER Lt. Snyder doesn't know shit. Capt. Polk almost laughs, but he checks it. HOOKER You got nothin' on me. POLK We'll get it, and if we can't, we'll just make it up. Grand larceny, extortion. (with special emphasis) Counterfeiting, anything you want. Hooker says nothing, but it's not from defiance now. He's beginning to get the picture. POLK Look, I got nothin' against you, but you're in trouble here. All you gotta do is tell us when Gondorff's gonna play his chump. We come in at the sting, make the pinch, and you walk out free as a bird. No questions, no court appearance, nothing. HOOKER No. POLK You've already done time twice, and judges don't like three time losers. You wanna sit in the can for forty years, startin' tonight? HOOKER I'll make parole. POLK Like hell. You won't even get a review till you're seventy. And if the board starts to go soft, we'll let ya out in the yard some night with a hard-nose young bull who'll put fifty slugs in your face and ask what you were doin' there later. Hooker wants to come back with something, but can't find it. POLK Don't be a sap, kid. You could save us a little trouble. But Henry Gondorff is through whether you help us or not. There's nothin' left to do now but save yourself. Hooker's thoroughly whipped. He sits down for the first time. HOOKER (softly) Will you wait until the chump is played? POLK Hell yes. We don't care about the mark. He deserves what he gets. HOOKER (with heat) I mean completely played. Until he's beat and the score is taken. You come in before we beat him and I'll kill him. You'll have a tough time explaining that, won't ya. POLK All right, Hooker, but you take it on the lam, and we'll shoot you down on sight. HOOKER (barely audible) Just as long as I get to finish the play. CUT TO: INT. GONDORFF'S ROOM - NIGHT Gondorff and Hooker are playing gin rummy and drinking. Gondorff makes little comments as he plays, but Hooker is quiet and withdrawn. The carousel is not in operation and a heavy silence hangs over the place. GONDORFF What's the matter, kid? You're not sayin' much. HOOKER Just a little nervous, that's all. GONDORFF Luther always told me to bite my toenails when I get nervous. You see yourself doin' that and you realize it ain't worth it. Hooker smiles feebly. Billie appears at the door. BILLIE Things are a little slow tonight, Henry. I wanna open the round for the girls. Gondorff takes out a set of keys and tosses them to her. She leaves to go start the merry-go-round. Gondorff settles back into the game. GONDORFF Take it easy, you won't lose him now. We had him 10 years ago when he decided to be somebody. Believe me, I've seen enough to know. HOOKER (softly) How many guys you conned in your life, Henry? GONDORFF Two or three hundred I guess. Sometimes played two a day when I was in Shea's mob. We had it down to a business. (pause) 'Course Chicago was a right town then. The fix was in. The dicks took their end without a beef. All the Wall Street boys wanted to make investments for us. Even had marks looking us up, thinkin' they could beat the game. (pause) Yeh, kid, it really stunk. No sense in bein' a grifter if it's the same as bein' a citizen. Gondorff chucks his cards on the table. He's through for the night. GONDORFF I better do some packin'. I'm gonna be a hot number again after tomorrow. HOOKER Then why you doin' it? GONDORFF Seems worthwhile, doesn't it? Maybe it's just for the cave-in on Lonnegan's face when we put in the sting. That's good enough. Hooker gets up to leave. HOOKER Henry. HOOKER Yeh. HOOKER (apologetically) I appreciate your stickin' your neck out. I wouldn't have asked ya if it weren't for Luther. GONDORFF Ain't nothin' gonna make up for Luther, kid. (pause) Revenge is for suckers. I been griftin' 30 years and never got any. Hooker just nods and walks out the door. INT. CAROUSEL We follow him past the Carousel which is now full of giggling prostitutes in various stages of undress. Their childish frolicking is charming from a group usually so jaded, but it's lost on Hooker tonight. CUT TO: EXT. A CITY STREET - NIGHT It's late now and the street is deserted save for an occasional derelict or streetwalker on her way home from a night's work. We pick up Hooker coming down the street toward his apartment building. He walks slowly, almost reluctantly, as if he didn't care whether he ever got there or not. As he nears his building, he notices Loretta coming out of the diner across the street. He stops and watches as she looks up and disappears into an adjacent building that advertises rooms for rent. After a few seconds, we see a light come on in one of its second story windows. Hooker just stands there a second, debating with himself, trying to figure out a reason for doing what he's going to do anyway. We follow him across the street to Loretta's building and: INT. LORRETA'S He goes up the stairs to the room where the light came on. He passes a couple of derelicts on the way. He knocks twice and Loretta answers in her bathrobe. She is more than a little startled to see him. LORETTA Looks like he missed ya. HOOKER Yeh, this time anyway. Loretta notices an old busybody peeping out at them from her room across the hall. LORETTA Good night, Mrs. Hillard. Mrs. Hillard quickly closes her door. HOOKER (shuffling a little) I, ah...thought you might wanna come out for a while. Maybe have a drink or somethin'. LORETTA You move right along, don't ya. HOOKER (with more innocence than confidence) I don't mean nothin' by it. I just don't know many regular girls, that's all. LORETTA And you expect me to come over, just like that. HOOKER If I expected somethin', I wouldn't be still standin' out here in the hall. Loretta looks at him carefully. She knows it's not a line. LORETTA (with less resistance now) I don't even know you. HOOKER (slowly) You know me. I'm just like you... It's two in the morning and I don't know nobody. The two just stand there in silence a second. There's nothing more to say. She stands back and lets him in. CUT TO: INT. GONDORFF'S ROOM - NIGHT A record spinning lazily on an old phonograph. We hear Robert Johnson's "Come On In My Kitchen." Gondorff is sitting up in bed, with his hat on, lost in thought. Billie is curled up asleep next to him. There's a packed suitcase next to the bed. Billie wakes up and turns over a second. BILLIE C'mon, Henry, knock off. You've done everything you can. Gondorff nods his agreement like a zombie and goes right on thinking. CUT TO: LORRETA'S ROOM Hooker and Loretta are asleep against each other, their bodies illuminated every few seconds by the light from a neon sign across the street. We dolly to the window and move in on another window in the building next door. There's no light on in it, but we can discern the basic outline of a face behind the curtains, which are slightly parted to afford a view of Hooker's room by a black-gloved hand. "I said come on in my kitchen Cause it's gonna be rainin' outdoors." Music ends. FADE OUT. FADE IN: THE STING FADE OUT. FADE IN: We open on Hooker in bed, the morning sun streaming in on his face. He awakens slowly, looks at the ceiling for a second and, remembering last night, turns to the side to find that Loretta is no longer there. Still drowsy, he gets out of bed and looks around the room for a note or some evidence of her continued presence. He opens an empty closet, then opens empty drawers. Finding nothing, he suddenly hits on another possibility, and looks in his wallet. The money is still there. Almost disappointed, he slumps down in a chair, as the harsh reality of what will happen this day floods back in on him. Music begins and we: CUT TO: INT. AN UNKNOWN LOCATION - DAY We see the black-gloved hand opening a small wooden box. Wrapped inside is a shiny black revolver, at this point in two pieces. The hand reaches in and takes them out. CUT TO: INT. THE SLEEZY DINER - DAY Hooker is poking at a plate of waffles and sausage. The waitress on duty is not Loretta and Hooker has noticed. CUT TO: INT. GONDORFF'S ROOM - DAY Gondorff is standing in front of the bathroom mirror, putting on his tuxedo. He goes to his dresser, pulls out a very small gun and tucks it in his cummerbund. CUT TO: THE GUNNMAN'S ROOM AGAIN The hand swirls a pipe cleaner inside the barrel of the revolver and picks some lint out of the chamber. He then screws the barrel onto the body. This is all seen in closeup. CUT TO: HOOKER'S ROOM AGAIN Hooker now has his tuxedo on. He takes two small rubber bladders out of a drawer and puts them in his pocket. CUT TO: INT. LONNEGAN'S SUITE - DAY Lonnegan paces nervously around the room, looking at the clock. Obviously waiting for something, he's getting extremely impatient. CUT TO: THE GUNNMAN'S ROOM AGAIN We watch the hand carefully loading bullets into the chamber of the revolver. CUT TO: INT. THE CAROUSEL BUILDING - DAY Gondorff emerges from his room carrying his suitcase. He stops and looks up at the mezzanine where Billie is standing. They smile sadly at each other and give a simple wave, having done this too many times to get sentimental about it now. Gondorff walks out of the building. CUT TO: HOOKER'S ROOM AGAIN Hooker is busily stuffing all his possessions in a paper bag, lumping clothes with food, records and toilet articles. CUT TO: LONNEGAN'S SUITE AGAIN Lonnegan goes to the door to admit Floyd and two assistants, one of whom carries a large brief case. Lonnegan takes the brief case to a table and opens it. Inside is a half million dollars in cash. CUT TO: INT. THE GUNNMAN'S ROOM AGAIN We see the hand putting a silencer on the revolver. The gunman puts the revolver up to his eye to check the alignment and for the first time we see the face that goes with the hand. It is fully as menacing as we had imagined: Broad, flat nose, thick cracked lips, narrow eyes and cauliflower ears. CUT TO: HOOKER'S ROOM AGAIN Hooker is on the phone now. INT. WAREHOUSE We see that he's talking to Captain Polk. Snyder listens also. HOOKER'S ROOM Hooker finishes the conversation, hangs up and goes to take one last look at himself in the mirror. Finding everything in order, he grabs up his sack of possessions and leaves the room. EXT. HOOKER'S APARTMENT We pick him up emerging from the building, and follow him around the corner to a secluded alley which he generally takes on his way to the store. As he walks along, he notices Loretta coming toward him from the other end. She's wearing a coat, obviously on her way somewhere. As she comes closer, we move to reveal the gunman appearing suddenly in the alley behind and to the right of Hooker. EXT. ALLEYWAY The gunman quickly takes out his revolver, braces it in the crook of his hand, and takes careful aim. Loretta sees him. The gunman fires. Loretta falls dead on the asphalt. Hooker spins around in confusion. The gunman moves quickly toward him. Hooker starts to back up but the gunman stops when he gets to Loretta. He kicks her over to reveal a gun under her body. GUNMAN She was gonna kill ya, kid. Hooker is stunned. He can't believe it. GUNMAN (dragging the body over behind a trash can) Her name's Loretta Salino. Lonnegan's people set her up in the diner. C'mon, let's get outa here. Hooker wants to stay and try to figure it all out, but the gunman drags him away. CUT TO: INT. THE ABANDONED WAREHOUSE - DAY Polk, Snyder and several federal agents are busy putting on their shoulder holsters, and checking their weapons. POLK (to Snyder) Whoever Gondorff's playin' for is bound to be a wheel. As soon as we're inside, I want you to get the guy outa there as fast as possible, before the reporters show up. We can't afford to embarrass any big shots. Snyder nods. CUT TO: EXT. LONNEGAN'S HOTEL - DAY Lonnegan, carrying the brief case personally, is seen getting into his limousine. Four assistants get in with him. CUT TO: INT. THE STORE - DAY Gondorff enters the store carrying his suitcase. Several of the boost are already there. Gondorff clasps his hands to generate a little enthusiasm. He's obviously up for this one. CUT TO: INT. TAXI CAB - DAY Hooker sits in the back seat with the gunman right next to him. He's still very uneasy with this man. HOOKER She coulda killed me last night. GUNMAN Too many people coulda seen ya go in her room. She was a professional. Used to work in the Dutch Schultz gang. HOOKER Who are you? GUNMAN Gondorff asked me to look after ya. HOOKER How do I know you're tellin' the truth. GUNMAN Don't have much choice, do ya? We go to Hooker. No, he doesn't. CUT TO: EXT. THE ABANDONED WAREHOUSE - DAY We pick up Polk, Snyder and the other federal agents coming out of the warehouse in their white skimmers, and piling into cars. CUT TO: THE STORE AGAIN Niles is busily spreading "boodles" all over the cashier's area. Singleton checks his microphone. It works fine. He checks it again. CUT TO: LONNEGAN IN HIS LIMOUSINE He holds the brief case in his lap, his fingers tapping lightly on it. CUT TO: THE STORE AGAIN Hooker and the gunman enter and go over to Gondorff, who breaks into a wide smile. Hooker returns it halfheartedly, still ill at ease about what has happened. CUT TO: THE F.B.I. CARS ON THEIR WAY There are four or five driving in a column. Snyder and Polk ride together in the back of the lead car. CUT TO: EXT. THE DRUGSTORE - DAY Lonnegan's limousine pulls up outside, and the bodyguards pile out. CUT TO: THE STORE AGAIN Gondorff, Hooker and the others waiting, the tension expressed in their faces. INT. THE DRUGSTORE - DAY Lonnegan sits tensely in the usual booth. He keeps both hands firmly planted on the brief case. The phone rings and Lonnegan goes to it. Music ends. VOICE Place it on Syphon at 8-1. Lonnegan hangs up with the look of the financial killer. Eight to one odds is more than even he could have hoped for. EXT. STREET We follow Lonnegan across the street and into the store. The bodyguards remain outside. INT. THE STORE The store is buzzing with activity. Money and booze are everywhere. The sheet writer and the boardmarker can hardly keep up with the action. Lonnegan walks quickly to the betting line and finds to his relief that there's only one man ahead of him. The man puts $25,000 on King's Image. Lonnegan steps to the window, swings up the brief case, and opens it for Niles to see. LONNEGAN (straight-faced) Five hundred grand on Syphon. Niles is struck dumb. He's never seen that much money before. NILES (playing the flustered clerk) Hold on, I'll have to get the manager. Niles goes and returns with Gondorff. GONDORFF What's the problem? NILES (pointing to the brief case) He wants to put a half million on Syphon. Gondorff looks at the money a second and then looks up at Lonnegan like he's gotta be crazy. GONDORFF (uneasily) I can't lay that off in time. We lose a bet that big, it could break us. LONNEGAN (challenging) If ya win it could make ya, too. GONDORFF (to Niles) What are the odds on Syphon? NILES Eight to one. Gondorff looks at Lonnegan long and hard. GONDORFF A half mill on an eight to one shot. You're dumber than I thought, Lonnegan. LONNEGAN You're more gutless than I thought. The words "Last Flash" are heard on the speaker. Gondorff looks at Lonnegan with utter contempt. He turns to Niles. GONDORFF (chopped) Take it. Niles hurriedly writes out a slip for 500,000 dollars. Lonnegan, allowing himself a sly smile, picks it up and retires to a nearby table. He flashes a little okay sign to Hooker who acknowledges it with a nod. CALLER Ladies and gentlemen, this is Arnold Rowe, your caller for the San Antonio Handicap at Pimlico in Baltimore -- A mile and 1/16 for three-year-olds. And they're off. Lonnegan takes a deep breath and leans forward in his chair, the larceny boiling in his veins. Hooker looks to Gondorff. Gondorff gives him the "office." Hooker has to smile. CALLER And around the first turn it's King's Image by a neck, Syphon is second by one, Key to the Vault third by one half, followed by Mr. Moonlight, Red Ridge, Moneyman and No Charge. Unexpectedly, Kid Twist bursts in through the entrance. Barely able to control his enthusiasm, he hurries over to Lonnegan's table and sits down next to him. TWIST Sorry, but I just couldn't wait. Did everything go all right? LONNEGAN (motioning for him to keep his voice down) Take it easy. Everything's all right. I put it on Syphon, on the nose. TWIST (in utter horror) On the nose! I said place. Place it on Syphon. That horse is going to run second. Lonnegan looks like he's just been stabbed. He vaults over the table to the teller's window and grabs Niles. LONNEGAN You give me my goddamn money back! You hear me? There's been a mistake! NILES I'm sorry, sir. The betting's closed. Lonnegan begins to shake him violently. LONNEGAN You give me my money back. There's been a mistake, do you hear me? Gondorff leaps to Niles' aid when suddenly there is a crash at the entrance door, and Polk, Snyder and eight federal agents burst into the room, guns drawn. The place falls silent except for the loudspeaker, the members of the boost afraid to move. Gondorff and Niles look at each other wondering how this could have possibly happened. POLK (motioning to Hooker) All right, Hooker, you can go. Hooker's eyes go to Gondorff, who looks back at him in utter disbelief, the betrayal raging in his features. Hooker, unable to meet his gaze, lowers his head and starts to walk out. Almost unnoticed, there's a flash of movement at Gondorff's belt. A small gun. A shot. Hooker clutches his back and falls dead on the floor, the blood spurting from his mouth. Polk, reacting instantly, pours four shots into Gondorff, who goes down in a heap. Pandemonium breaks loose. The members of the boost race for the door. Lonnegan is totally stunned. First he lost his money and now he's involved in a murder. Snyder rushes over to him. SNYDER C'mon. We gotta get you outa here. EXT. STREET Snyder drags him through the crowd and out onto the street where an F.B.I. car is waiting. His bodyguards have long since fled at the sight of the F.B.I. men. LONNEGAN My money's back there. SNYDER We'll worry about that later. Snyder gets in beside Lonnegan, and the car speeds away. CUT TO: INSIDE THE STORE AGAIN The pandemonium has now ceased. Those who could escape have; the rest are lined up against the wall in frisking position. Gondorff and Hooker lie on the floor dead. The loudspeaker drones on. Singleton is still calling the race from his booth, apparently oblivious to what's happened. CALLER And the winner is King's Image by four lengths, Syphon is second, by two, Moneyman third by two and one half. Time for 1 and 1/16 miles, 1:21 and 2/10 seconds. Polk walks slowly over to Hooker's body and bends down. POLK He's gone. Hooker opens his eyes and slowly drags himself up off the floor, spitting out a little rubber bladder, filled with blood, that he's had in his mouth. Gondorff does likewise. Niles, Twist, Singleton and the rest of the boost begin to laugh and shake hands, as do the Federal Agents. GONDORFF (to Polk) Nice con, Hickey. I thought you were Feds myself, when you first came in. HICKEY No problem, Henry. Snyder went for it all the way. (laughing) You shoulda seen the rag he lit under Lonnegan. Gondorff turns to the others. GONDORFF Okay, let's take this place apart and get outa here. You can get your splits from Eddie at Boudreau's tonight. Gondorff walks over to Hooker, who's wiping the blood off his face and hands. GONDORFF You beat him, kid. HOOKER (softly) You were right, Henry. It's not enough... But it's close. GONDORFF You wanta wait for your share? HOOKER Naw, I'd just blow it. Gondorff nods, and walks slowly to behind the bar. He comes out with his suitcase in one hand and Hooker's paper bag in another. He throws the paper bag to Hooker, who stops by the door. Eirie Kid is standing there. Hooker gives the "office" to Eirie, who beams and gives it back. EXT. ALLEY AND STREET Then Hooker and Gondorff leave. We hold on them, two ragtail grifters again as they walk off down the street and disappear around the corner. FADE OUT. THE END
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+                                      STIR OF ECHOES                                        Written by                                       David Koepp                                    Based on the novel                                               Richard Matheson                                                        March 26, 1998                                        Sometimes within the brain's old          ghostly house,          I hear, far off, at some forgotten          door,          A music and an eerie faint carouse          And stir of echoes down the          creaking floor.          "Chambers of Imagery"          Archibald MacLeish                              In the black, a child HUMS. Gentle WATER sounds.          FADE IN:          INT A BATHROOM NIGHT          JAKE, a four year old boy, sits in a bathtub. The door to thi          bathroom is open and his mother is visible in the background,          walking back and forth in the bedroom, getting dressed to go          out. The STEREO is blaring in the bedroom, the music echoes          off the tile in the tiny bathroom.          Jake is playing with a plastic airplane. He answers a          question.          JAKE          YES          (PAUSE)          Sometimes.          (PAUSE)          With my toys.          He looks up, but we're close in on him and can't see who he's          looking at.          JAKE (cont'd)          My... blue sword. No! The one with          the gray tape around the middle. That          one.          He lands the airplane on the water. He giggles.          JAKE (coast' d)          That's silly.          MAGGIE (o.s.)          (from the bedroom)          Jake? You all right in there?          JAKE          (calling out to the door)          YES!          The airplane takes off again. Jake lowers his voice to a          whisper.          JAKE (cont'd)          What?          (PAUSE)          My daddy, but he doesn't know about it          yet.          He brings the airplane in for a careful water landing and lets          go of it. He looks up.          (CONTINUED)                                                  2.           CONTINUED:          JAKE (cont' d)          Can I ask you a question?          He pauses, looks to the door to make sure his mother isn't too          close. Moving back now, we see that Jake is all alone in the          bathroom, staring at the empty bathtub across from him.          JAKE (cont'd)          Does it hurt to be dead?          UNDER THE WATER,          the toy airplane sinks and crash lands on the bottom of the          tub.          IN THE BATHROOM,          MAGGIE WITZKY, twenty-six or seven, Jake's mom, city girl          knows how to take care of herself, pokes her head in the          doorway, buttoning up her blouse.          MAGGIE          Who you talkin' to, Jake?          He turns to her and whispers.          JAKE          It's a secret.          CUT TO:          INT JAKE'S ROOM NIGHT          TOM WITZKY, Maggie's age, lean and muscled like somebody who          works for a living, lies on Jake's bed next to his son,          reading him a story. Jake is nearly asleep.          TOM          Well, I was walking in the night, and          I saw nothing scary. For I have never          been afraid of anything. Not very. I          was deep within the woods when,          suddenly, I spied them. I saw a pair          of pale green pants with nobody inside          them! I wasn't scared. But, yet, I          stopped. What could those pants be          there for? What could a pair of pants          at night be standing in the air for?          Maggie leans in the doorway and whispers.          MAGGIE          Is he asleep? My brother's here.          (CONTINUED)                                                  3.           CONTINUED:          Tom looks at Jake, who is asleep. Tom closes the book, turns          off the light, and covers his son. He kisses him on the          forehead. Tom goes to a dresser and turns on the baby monitor          (the transmitter). Its red light glows.          After Tom leaves, Jake opens his eyes and stares.          CUT TO:          EXT STREET DAY          The Chicago skyline looms over the street they live on. Not          the suburbs, but not quite downtown either. Racially mixed.          Two story brick houses jammed side by side, barely room for a          raised voice across the narrow driveways. Bar on the corner,          neon sign -- "BERNIE'S TAP." A HOMELESS GUY rants his way          down the opposite sidewalk.          Tom, Maggie, and PHILIP, early twenties, come out of the house          and head down the steps. Tom carries the baby monitor (the          receiver) in one hand. Jake's breathing is clearly audible on          the speaker.          Tom's on the sidewalk. Maggie, still three steps up, stops          and puts her arms wide. Tom turns around and Maggie lets          herself go, falling straight forward. Tom catches her on his          back and carries her piggy-back. She leans around and bites          his ear.          PHILIP          What are the odds of a single woman          being at this thing?          TOM          `Bout a million to one.          PHILIP          Any hot mommies?          TOM          Depends. How big you like `em?          The hot engine of a Yellow Trans-Am fires up in the driveway          of the house across the street. It backs into the street, its          passenger door hanging open. The DRIVER honks the horn and a          SEVENTEEN YEAR OLD KID runs out of another house and jumps          into the moving vehicle. They take off. The Homeless Guy          berates them, shaking his fist.          They reach the steps of the house next door. PARTY NOISE          comes from within, shadows move in the windows. Tom swings          Maggie around, puts her on the step, wraps his arms around          her, and kisses her. Great kiss. It goes on.          (CONTINUED)                                                  4.           CONTINUED:          PHILIP          Excuse me, hello, I enjoy soft-core as          much as the next guy, but this is          almost like incest for me.          MAGGIE          (still kissing Tom)          Should we tell him?          TOM          Sure.          MAGGIE          I'm pregnant.          PHILIP          Get the fuck outta here!          He grabs Maggie and hugs her. Tom starts up the steps.          PHILIP (cont' d)          Look at this, I haven't even had a          second date in a year and a half, you          guys are on your second kid!          Philip catches up to Tom and throws his arms around him.          PHILIP (cont' d)          You big huggable bear. You're still          goin' back to school, though, right?          You promised me.          TOM          I don't know, I just found out about          this.          PHILIP          I'm telling you, if you never go back          to college you'll regret it for the          rest of your life. The memories I          have of being a freshman -- those were          three of the happiest years of my          life.          CUT TO:          INT BOBBY & VANESSA'S - LIVING ROOM NIGHT          TWENTY OR THIRTY PEOPLE are crowded into a living room. It's          loud, smoky, there's music and a ton of booze -- empty beer          bottles, five gallon jugs of wine, big liter bottles of vodka          and gin.          (CONTINUED)                                                  5.           CONTINUED:          The men are mostly on one side, women on the other. As Maggie          heads toward the women, Tom grabs her arm and pulls her back          close.          TOM          Seven years, and I've still never been          to a party where you weren't the one I          wanted to hang with.          She smiles, melted, and they part. Tom joins the men. BOBBY,          Vanessa's husband, an athletic-looking guy holding a sleeping          three-year-old on his shoulder, talks with FRANK McCARTHY,          fortyish, big Irish drinker, and HARRY DAMON, who is also          older than the rest.          FRANK          Tom-Tom-Tommy, how are ya?          He shoves a beer into Tom's hand.          TOM          Alive on the planet.          (nods to Harry)          Harry.          HARRY          Hello, Tom. Takin' care of the place?          TOM          Actually, I'm drillin' holes in all          the floors, Harry.          FRANK          (as Tom drinks)          That's it, take the medicine deep into          your body. Good, good.          HARRY          So how you likin' the neighborhood?          TOM          Well, I grew up about a mile from          here, it ain't like a foreign country.          FRANK          The hell it isn't! This is the best          God damn neighborhood in Chicago,          `cause we look out for each other, and          that's sayin' a lot as we approach the          Year of our Lord two thousand.          HARRY          What are you, runnin' for Mayor?          (CONTINUED)                                                   6.           CONTINUED: (2)          LENNY, the local crank, pipes up.          LENNY          Hey, did any of you guys see those          Dominican crack dealers hangin' around          the park again?          Everybody GROANS.          FRANK          (to Bobby)          What is Lenny doing here? Did you          tell him you were having a party?!          BOBBY          Vanessa made me.          LENNY          Yeah, laugh it up, laugh it up, and          when you all wake up dead with your          throats cut some night --          FRANK          I mean, I could see if he just heard          the noise and wandered in, but to          actually invite him into your home.. .          LENNY          -- don't come cryin' to me!          ACROSS THE ROOM,          Philip surveys the selection of females. He sees VANESSA,          late twenties, hasn't lost the weight from the last baby yet --          PHILIP          Not attracted to...          -- SHEILA, a thin, nervous woman around Frank's age --          PHILIP (cont' d)          Not drunk enough for...          -- and a LOUD WOMAN with enormous hair.          PHILIP (cont' d)          Frightened by...          LATER,          everyone has eaten, some have left, the ones that remain are          bombed. A DRUNK COUPLE dances dirty. Frank stares long and          hard at someone's cleavage.          (CONTINUED)                                                  7.           CONTINUED:          Sheila, the nervous woman, stares at Frank, pissed off. He          looks at her, gives her a "What?" gesture. Must be married to          each other.          Tom, on the other side of the room, hears a SHRIEK of women's          voice: and turns. He sees Maggie blushing, receiving hugs and          congrLtulations from the two or three women around her.          IN THE :ITCHEN,          Vanessa talks to Maggie while she mixes up a blender of          Margaritas. The room is jammed with people.          VANESSA          How did you and Tom meet?          MAGGIE          He saved my life.          VANESSA          No, really.          MAGGIE          I'm serious. The summer I was          nineteen, I was at Jones Beach, I swam          out too far and got a cramp in my leg.          There was no way I was gonna make it          back. I was goin' down, I was          swallowing water and everything. Tom          was a lifeguard. I don't know what he          was doing out that far, he said he          just had a feeling.          VANESSA          Oh my God, did you have sex with him          like, that night?          MAGGIE          Had to. He said I'm his slave until I          saved him back.          VANESSA          That's so romantic. Bobby and I met          when I peed in the guys' john at a Bon          Jovi concert.          She hits "puree" on the blender.          STILL LATER,          the party's down to the hard-core half dozen, who are passing          a joint. Tom sits on the couch, feet on the coffee table next          to their baby monitor. Maggie is next to him, Frank and          Sheila are jammed in there too.          (CONTINUED)                                                  8.           CONTINUED:          Bobby and Vanessa sit on the floor opposite. Philip is in a          chair at the end.          VANESSA          P(ople who say they were hypnotized          weren't really, they were just, you          kn)w, playing along.          PHILIP          Then how could they have needles stuck          into their throats without bleeding?          Without even making a sound?          FRANK          Bullshit.          VANESSA          You never saw that happen.          PHILIP          Uh, hello, I had a two inch needle          stuck right into the thick of my arm,          by my professor, while I was under          hypnosis.          FRANK          Bullshit!          VANESSA          You're making it up!          BOBBY          That's disgusting!          MAGGIE          I saw his arm the next day. It left a          mark.          FRANK          Bullshit!          SHEILA          Can you learn another word?          FRANK          Prove it.          VANESSA          Yeah, let's see.          FRANK          Hypnotize somebody. Hypnotize          Vanessa.          (CONTINUED)                                                  CONTINUED: (2)          VANESSA          Oh, no. Uh uh.          PHILIP          Why not?          VANESSA          Because, I .night make a fool out of          myself! I n. ;.ght, I don't know, expose          myself or sowething.          She clutches her arms around her breasts as she says that.          You get the feeling she'd like to expose herself.          PHILIP          I thought you didn't believe in it.          VANESSA          I don't, but -- do Maggie.          MAGGIE          Yeah, right.          FRANK          You do it, Sheila. We promise not to          make you do a strip tease on the          kitchen table.          Sheila glares at him. They must be fun to hang out with.          VANESSA          That's what I'd do! That's exactly          the kind of thing I'm afraid I'd do!          MAGGIE          Hey Frank, you're the one who's so          curious, why don't you-          FRANK          No.          MAGGIE          Ah, that's different. Whaddya got to          hide?          FRANK          No fuckin' way, I ain't gonna do it.          Tom sits forward.          TOM          What the hell? I'll try anything          once.                                                  A MOMENT LATER,          a hand switches off the lamp on the table.          Another hand turns off the lamp in the corner.          The music is turned off.          Tom sits in the armchair in the n3arly-darkened room. Philip          shoves the coffee table back and sits on it, directly in front          of him. The others crowd around expectantly, silent.          PHILIP          No sound.from anyone, please. Any          distraction can break it up.          He raises his index finger and holds it about a foot in front          of Tom's face.          PHILIP (cont' d)          Okay. Look at it.          TOM          Damn fine lookin' finger.          Laughter.          PHILIP          (AUTHORITATIVE)          Be quiet.          (they do)          Look at it. Keep looking at it.          Don't look at anything else, just my          finger.          TOM          Can you clean out the nail, it's kinda          makin' me sick here.          Philip raises two fingers and jabs Tom in the eyes.          TOM (cont' d)          Hey, what the fuck?          PHILIP          Shall we try this again?          TOM          (rubbing his eyes)          Asshole.          (CONTINUED)                                                  11.           CONTINUED:          PHILIP          Look at me, Tom. You're not afraid of          this. You want this to happen. Don't          you?          TOM          Poke me again you son of a batch and          I'll clock you, I swear to Go'..          MAGGIE          Philip, have you ever done this          before?          PHILIP          Maggie, please, I nearly have a          master's degree in cognitive psy-          MAGGIE          Have you ever done it before?          PHILIP          Well, I've seen it done a dozen times.          MAGGIE          Try not to screw him up permanently.          PHILIP          (to Tom)          You want to be hypnotized. Say yes.          TOM          Yeah.          PHILIP          "I want to be hypnotized."          TOM          I want to be fuckin' hypnotized,          already.          PHILIP          Okay. Close your eyes.          As Tom does, our eyes close too, big heavy lashes dropping          over everything and plunging us into blackness.          PHILIP (o.s.)          Just listen for a moment.                                                  12.           IN THE BLACK,          we can still hear the sounds of the living room. Tom          breathes. Ice CLINKS in a glass as someone drinks. A car          HUMS by outside.          PHILIP (o.s.)          Now look at the backs of your eyelids.          Do you see anything there?          TOM (o.s.)          Uh...          Out of the pitch black, we can detect tiny images.          TOM (o.s.)          Some colors... something floating...          up.          PHILIP (o . s . )          Focus on it.          A small squiggly line comes into focus, drifting up through          the black, then bouncing suddenly downward.          PHILIP (o.s.)          Now... I want you to pretend you're in          a theatre.          INT THEATRE NIGHT          We're sitting in a theatre, a bare stage at the front.          PHILIP (o . s . )          A movie theatre.          INT MOVIE THEATRE NIGHT          Okay, we're sitting in a movie theatre. It's crowded with          people, waiting for the movie to start.          PHILIP (o.s.)          You're the only one there.          The people disappear. The theatre is empty.          PHILIP (o . s . )          You're sitting near the front.          We pop up ten rows closer to the screen.          (CONTINUED)                                                  13.           CONTINUED:          PHILIP (o . s . )          The walls of the theatre are black,          covered with black velvet.          SHOOOP! Black velvet descends over the walls.          PHILIP (o . s . )          The seats are covered with black          velvet.          Black velvet crawls over the seats.          PHILIP (o . s . )          There is no light in the theatre.          The lights click off.          PHILIP (o . s . )          In the whole pitch-black theatre,          there's only one thing you can see.          The white screen. You drift toward          it, in your chair.          Up ahead of us, the screen is a dazzling white. We move          slowly toward it, floating over the seats.          PHILIP (o . s . )          There are letters up on the screen.          Tall, thick, black letters, but          they're out of focus. You drift          closer to them, trying to read them.          Blurry black letters appear on the screen. We drift closer.          PHILIP (o. s . )          You're comfortable in your black          velvet seat, very comfortable. You          just sit there, looking at the screen,          drifting closer in your chair, staring          at those letters on the screen.          You're relaxing. Your feet and ankles          are relaxed. Your legs are relaxed.          Your hands are limp and heavy. Your          arms are relaxed. Your face. The          letters come into focus, you're close          enough now, you can read them.          The letters are right in front of us now, but still blurry.           PHILIP (o . s . )          The letters spell --          (CONTINUED)                                                   14.           CONTINUED: (2)          The moment he speaks the word, five giant black letters come          into focus on the white screen, filling our entire field of          vision.          PHILIP (o . s . )          SLEEP.          We stare at that word for a moment --          -- and then everything goes black. No sound, no image, no          nothing. And then...          INT BOBBY & VANESSA'S LIVING ROOM NIGHT          Six faces stare right at us from up close. Tom is in the          chair, eyes open, looking disoriented.          TOM          Didn't work, huh?          All six faces burst out laughing, a great nervous tension          released. Somebody turns the lights back on, somebody else          hits the music.          TOM (cont' d)          What?          More laughter. Philip seems very pleased with himself.          Maggie comes and sits on the arm of the chair next to Tom,          puts her hand on his face.          MAGGIE          Are you okay?          TOM          Did somethin' happen?          People start talking, all at once.          VANESSA          You were faking it. You had to be          faking it.          TOM          What are you talking about?          FRANK          That was the weirdest thing I've ever          seen in my whole fuckin' life.          PHILIP          How do you feel?          (CONTINUED)                                                  15.           CONTINUED:          TOM          How am I supposed to feel?          PHILIP          A little.., hot, maybe?          EveryboJy laughs again. Tom wipes his forehead. He's covered          with sweat. He gets up. He doesn't like this at all, being          the only one not in on the joke.          TOM          What'd you do to me?          PHILIP          Nothing much. Just had you stretched          out as stiff as a board between those          two chairs --          He points to two dining room chairs that are sitting back to          back four or five feet apart.          PHILIP (cont' d)          (lighting a lighter)          -- and ran this back and forth under          your legs.          Tom feels the backs of his legs. He looks at Maggie.          TOM          That happened?          MAGGIE          You said it didn't hurt at all. And          he kept it moving.          TOM          Hey, thanks a lot, it was very nice of          you not to burn my flesh.          FRANK          Joey Ariola woulda burned it.          They laugh again. Tom looks at him, stunned.          TOM          Who?          FRANK          The kid who beat you up all the time          when you were twelve. You told us all          about him. You were cryin' and          everything.          (CONTINUED)                                                   16.           CONTINUED: (2)          Tom seethes, humiliated. Vanessa looks at her watch.          PHILIP          (low, to Vanessa)          Don't.          FRANK          Not time yet.          TOM          What?          FRANK          (INNOCENTLY)          Huh?          TOM          Not time for what?          MAGGIE          Tom, you didn't do anything          embarrassing or anything.          TOM          Aright, somebody else go. Come on,          let's go, somebody else, right now.          PHILIP          Tom, look --          TOM          Nobody? Well, then I guess the          party's over, ain't it?          (to Maggie)          Let's go. Come on, let's go home.          PHILIP          You're getting a little too worked up          about this.          TOM          You know, I don't think so, because          I'll tell you something, it's a very          nasty feeling to know somebody's been          fuckin' around in your head for          everybody else's amusement, you know?          (lightening up a bit)          I mean, Joey Ariola, Christ, I haven't          thought about him in maybe ten years,          and -- come on, man, somebody else has          gotta go. Don't make me be the only-          (CONTINUED)                                                   17.           CONTINUED: (3)          On the mantle over the fireplace, a clock CHIMES. Everyone is          immediately silent, staring at Tom. He looks at the clock.          It's eleven.          He lifts his foot, pulls off his shoe --          -- and throws it out the window.          There is an explosion of laughter.          PHILIP          Why'd you do that, Tom?          TOM          I... have no idea.          Even more laughter, now everybody's slapping him on the back.          Tom nods, "yeah, yeah, laugh it up."          PHILIP          I couldn't resist.          Tom cranks an arm around Philip's neck and pulls him down,          choking him. But it's playful, his sense of humor returning.          TOM          Any other surprises you left in my          head, you fuckin' dead man, you?          CUT TO:          INT TOM & MAGGIE'S HOUSE NIGHT          It's dark. Tom and Maggie lie in bed, awake.          MAGGIE          I hope it's a girl, I can't help it.          Six brothers, I mean, give me a break.          I'm sick of all these balls around the          house.          He doesn't laugh. She rolls over, strokes his chest with one          hand.          MAGGIE (cont' d)          What's the matter?          TOM          Two kids. I'm only twenty-six. How          did this happen?          She slides one hand down, under the covers.          (CONTINUED)                                                  18.           CONTINUED:          MAGGIE          (imitating him)          "Please, baby, please baby, just this          one time, I can't feel anything with          one of those on."          TOM          No, I now how it happened, I'm just          sayin'... You're gonna have to stop          work, at least for a while. I'll be          workin' Saturdays for at least another          year, maybe two.          MAGGIE          You don't have to. We'll get by, we          always do.          Tom stares at a dark brown water stain on the ceiling.          TOM          How many times I gotta ask Harry to          fix that? He said he fixed this place          up, so how come the roof leaks every          time it rains?          MAGGIE          Relax.          Her hand is moving. He twists.          TOM          Maggie, you don't think, I mean, ten,          twelve years from now... I don't want          you to think I'm gonna be a line man          forever, you know, like Frank or          somethin'.          MAGGIE          It's a good job. You know how many          guys would kill for your job?          TOM          I'm smarter than that, I know I am.          MAGGIE          (kisses his ear)          Relax.          She's making it hard for him to concentrate.          (CONTINUED)                                                   19.           CONTINUED: (2)          TOM          I'm smarter than Philip, Christ, six          years in college, he's still got his          head up his ass. I just want you to          know, this ain't where I plan to stop.          She licks his ear. He closes his eyes.          TOM (cont' d)          All my life, I feel like there's          something better inside me, it's          trying like hell to get out and it's          like x won't let it.          She rolls on top of him and whispers.          MAGGIE          Let me help.          LATER,          the clock reads 2:31 a.m. Maggie is asleep, Tom is lying on          his back, still awake.          He looks over at the clock, agitated. He stares up at the          ceiling. He closes his eyes.          A BARRAGE OF IMAGES          races across the back of his eyelids:          -- Philip's face, close to his, a finger held in front of him.          -- A flame, leaping out from a cigarette lighter.          Six more faces, pressed in close to his.          Himself, floating in an armchair above an empty movie          theatre.          IN THE BEDROOM,          Tom snaps his eyes open. He rolls over onto his side,          punching his pillow. He closes his eyes again.          MORE IMAGES COME,          faster this time. We share his point of view:          -- A twelve year old boy beats us up in an alley near a          dumpster.          -- A fourteen year old girl kisses us behind a brick building.          (CONTINUED)                                                  20.           CONTINUED:          -- A vicious dog sinks its teeth into our calf.          -- Maggie, drowning, reaches out to us.          The images Increase in speed, a half a dozen flip by so fast          they're almcst subliminal -- a car tire, a broken arm, falling          into water, breaking window, ham and eggs, a bolt of          lightning.          IN THE BEDROOM,          Tom sits up abruptly, shaking his head to clear it.          TOM          .the fuck, man?          He puts his hands to the side of his head. It hurts. A lot.          Maggie stirs, but doesn't wake up. Tom gets up and walks out.          As he passes Jake's room, he does a double take.          IN JAKE'S ROOM,          the four year old is awake. Not just awake, but standing next          to his bed, perfectly straight, staring at the open doorway.          Tom steps in. He can see by the light of the nightlight.          TOM          (WHISPERS)          Jake?          The little boy doesn't answer. Tom walks slowly over to the          boy and squats down in front of him, putting his arms on the          boy's shoulders.          TOM (cont' d)          Are you okay?          Jake just looks at Tom, straight into his father's eyes. The          boy's face lights up in a wide smile. He reaches out with one          hand and rests his fingertips on Tom's forehead.          JAKE          Don't be afraid of it, Daddy.          The hell does that mean?          But before Tom can respond, Jake turns, climbs back in bed,          rolls over to face the wall, and goes back to sleep.                                                  INT BATHROOM NIGHT          Tom shakes some Advil into his palm; washes three down with a          glass of water. He runs water in the sink, splashes some on          his face. He straigltens, looks in the mirror as he wipes his          dripping face. He stares at himself for a moment, then          summons his nerve and closes his eyes.          IMMEDIATELY,          more images come.          -- The front of Tom's own house, from a distance. A MAN IN AN          OVERCOAT stands on the porch, waving to us to come in.          -- Rough hands attack us, covering our eyes and face.          -- A face, close to ours but blurry and distorted, as if seen          through dirty, blue-tinted eyeglasses.          -- Wooden floorboards as we race down toward them. We hit,          hard, and our blood sprays out onto the wood.          IN THE BATHROOM,          Tom's eyes pop open. That was disturbing.          INT LIVING ROOM NIGHT          Tom strides into the living room. Their house is small,          crowded with kids' toys and furniture they got for their          wedding. Tom paces back and forth, holding his head in his          hands. He turns and bolts into the kitchen.          IN THE KITCHEN,          Tom rips the refrigerator open and searches the top shelf. He          finds what he's looking for, a large carton of orange juice.          He opens a cabinet, takes out a glass and fills it.          He upends the glass, drains it in one gulp. Still          unsatisfied, he picks up the carton. He drinks the rest.          Juice runs down his chin.          BACK IN THE LIVING ROOM,          Tom drops onto the sofa. He sits for a moment, trying to          regain himself. His breathing returns to normal. He sits          forward, picks up the remote off the coffee table, points it          at the TV and turns it on. When he sits back --          -- there's a woman sitting next to him.          (CONTINUED)                                                  22.           CONTINUED:          She's eighteen or nineteen years old, so pale her skin's          almost luminous. She's attractive but odd, she wears a          billowy black dress with a diamond pattern, bangles up and          down each wrist. Her lips are light blue, her eyes red-          rimmed. Steam rises softly from her hair and skin; when she          speaks, her breath comes out of her mouth in clouds of vapor.          WOMA I          You can kiss me if you want to.          Tom bolts to his feet and staggers away from the couch. The          woman stares intently at him and says something else, but her          words are lost under the rising sound of static on the          television.          TOM          What?!          She repeats, but he can only see her lips moving, the words          are lost under the static. Realizing, Tom turns hurriedly          toward the TV and hits the mute switch. When he turns back --          -- the woman is gone. He stands in the middle of the room,          looking all around him. But he's alone.          INT BEDROOM NIGHT          Tom crawls back into bed and pulls the blankets up tight          around him. He's shivering.          A HAND          drops over him and he nearly jumps out of his skin. It's          Maggie, rolling over to embrace him in her sleep. He takes          her hand in his and lies still, eyes wide open.          CUT TO:          INT KITCHEN DAY          Morning. Tom and Maggie sit at the kitchen table. From the          living room, we can hear a-kids' morning show on the          television. Tom is wearing jeans and a phone company uniform          shirt. Maggie is staring at him. They keep their voices low.          MAGGIE          What do you mean, like... You mean          like a hallucination?          TOM          Maybe. I was awake, I know that.          She nods, thinking, no idea how to deal with this.          (CONTINUED)                                                  23.           CONTINUED:          MAGGIE          Did you, uh, get her name?          TOM          You know, she didn't menti. -in it.          MAGGIE          You sure you weren't dreami.g?          TOM          Positive. I had this headache like          you wouldn't believe, and I was          thirsty as hell.          MAGGIE          What should we do? You want to call          Philip?          TOM          Yeah, I'll call him. But I don't          think he's got a fuckin' clue in life.          From the living room, Jake laughs uproariously at something on          the TV.          MAGGIE          How about my cousin Elizabeth?          TOM          I don't need brain surgery, I just had          a weird thing happen, that's all.          Like a hypnosis hangover. One-time          deal, don't worry about it.          MAGGIE          Well, if anything like this happens          again, we should go talk to Elizabeth.          TOM          Maggie...          MAGGIE          Promise me.          TOM          I promise.          CUT TO:                                                  EXT HOUSE DAY          There's a pickup football game in the street, a half a dozen          sixteen and seventeen year olds timing their plays to coincide          with the red lights.          Tom gets into a pickup truck with a phone compaty logo on the          door, starts it up, and pulls forward to the neat house. He          hits the horn. While he waits, he turns and loo--s back up at          the front of his own house.          HE REMEMBERS          one of the images that blasted through his mind last night.          It's his own house, on a wintry day. A man in an overcoat is          standing on the porch, waving an arm in a friendly way --          "C'mon in." But the image is silent, slow and eerie. We move          slowly toward the porch, toward the man in the overcoat.          BACK IN THE PICKUP,          Tom turns slowly away from his house, just as          THE FOOTBALL          BANGS off his windshield, nearly breaking it. TWO BODIES          hurtle through the air and land on his hood with a loud metal          CLANG.          Tom jumps a foot. He gets out of the car. ADAM McCARTHY,          seventeen, climbs off the hood, embarrassed.          TOM          Jesus, you guys scared the shit out of          me!          The kid with Adam doesn't seem embarrassed, he just reaches          for the football. Tom beats him to it.          TOM (cont' d)          You gotta play right here in the          middle of the street?          Frank is out of his house now, approaching the truck. He          wears the same uniform shirt as Tom, carries a tool belt over          his shoulder.          FRANK          Lighten up, Tommy, you sound like your          own grandfather .          (CONTINUED)                                                  25.           CONTINUED:          TOM          (looking at his hood)          Aw man, it's dented. This ain't even          my truck. They're gonna dock me for          this.          FRANK          That'll pop right out. Use one of          them plunger things. Adam, say you're          sorry.          ADAM          I'm really sorry, Mr. Witzky.          FRANK          There you go, he said he's sorry,          whaddya want from a kid. Let's go.          Frank gets in the truck. The other football players walk          toward Tom, calling for the ball. KURT DAMON, a great-looking          seventeen year old, stares pointedly at the ball in Tom's          hand. Tom looks at him.          TOM          Hell of an arm ya got there.          Kurt smiles and shrugs. Tom tosses the ball back to him.          Kurt turns and catches it behind his back as he walks away.          IN THE TRUCK,          Tom gets back in and closes the door.          FRANK          That Damon kid, he's gonna break your          old passing records this Friday.          TOM          Bound to happen some time.          FRANK          Comin' to the game?          TOM          (starts the car)          Yeah, I'm comin', I'm comin'          HARRY (o.s.)          Hey, Tom!          Tom turns. Harry Damon, the guy from across the street, is          headed toward him. But Tom notices something behind Harry. A          police car has turned onto the block and is rolling to a stop.          (CONTINUED)                                                  26.           CONTINUED:          The UNIFORMED COP behind the wheel is staring out the window,          looking right at Tom.          Harry comes up to the open window and starts talking, but Tom          is looking past him, at the Cop, who has stopped now.          HARRY (cont' d)          Thought I'd stop by and pick up the          rent. Save you the trip across the          street.          TOM          It's still two days yet, isn't it?          Tom looks more closely at the Cop. He realizes the Cop isn't          looking at him, he's looking past him, toward Tom's house.          HARRY          Yeah, just thought you'd want to get          it out of your hair.          TOM          (DISTRACTED)          Well, my checkbook's inside.          HARRY          I can wait. Hey, Frank, some game we          picked to miss last night, huh? How          many yards Adam end up with?          Tom turns in his seat, following the Cop's line of vision.          FRANK          Two hundred eleven and two touchdowns.          Harry lets out a low whistle. Tom sees what the Cop is          looking at so intently -- it's Jake, who's playing on the          sidewalk in front of their house while Maggie watches. Tom          turns back, but as he does the police car is just pulling          away.          CUT TO:          INT SIGNAL DIVISION DAY          The signal division of the local phone company has a large          main floor. A twenty-foot wall on one side of the room shows          a forest of jagged, blinking lines.          IN THE TOWERS,          Tom is wedged between giant walls of circuit boards. He pulls          a red circuit clip from his belt and picks a line at random.          (CONTINUED)                                                  27.           CONTINUED:          He pulls up the test handset unit that hangs from'his belt and          listens, hoping from a dial tone. Instead, he cuts in on a          WOMAN'S VOICE.          VOICE (o.s.)          (on phone line)          -which was okay, I guess, but then he          told me he loves me, and it was just          like, oh my God, can you please make          yourself any less attractive?          Tom pulls off the clip and picks another line. Now it's a          SNEAKY MAN'S VOICE.          VOICE (o.s.)          -unless they find out we already          locked in with Cooper at eighty, so          it's imperative we lead them to          believe we're honestly trying to-,          Tom clips to another line. It's a SEXY WOMAN'S VOICE.          VOICE (o.s.)          -start at my lips and lick your way          all the way down to my-          Tom starts to unclip, then hesitates, only human. The voice          abruptly changes.          VOICE (coast' d)          Hey, did somebody pick up on your end?          Is your wife there?          Tom unclips and picks another line. He gets a dial tone. He          enters a number on his headset. A SLEEPY VOICE answers.          TOM          Phil, it's Tom. Is there anything          else important you said to me last          night, while I was under?          INT PHILIP'S APARTMENT DAY          Philip (Maggie'a brother) is still in bed in his apartment.          It's a smallish place, one wall is all windows with a lovely          view of a factory, its stacks belching black smoke into the          air. Philip's hung over. He holds the phone like he resents          it.          PHILIP          What time is it?          (CONTINUED)                                                  28.           CONTINUED:          TOM (o.a.)          Quarter after eight. What are you,          still in bed?          PHILIP          Quarter after eight? Jesus, Tom, this          is barbaric.          (INTERCUT)          TOM          Other than the shoe thing, what else          did you say to me?          PHILIP          Hang on, lemme, I gotta get my          bearings here... Who is this again?          TOM          Phil, I gotta get back to work, was          there anything else you told me to do          after I came out of it?          PHILIP          If you're asking if I gave you a post-          HYP-          TOM          Post-hypnotic suggestion, I know what          it's called, Phil. Did you leave any          others behind when you were kickin'          your big, clumsy-ass feet around          inside my brain?          PHILIP          No.          TOM          Tell me the truth, Phil!          PHILIP          No, I swear! I went out of my way not          to, I even added a thing at the end to          make sure!          TOM          What thing?          PHILIP          I, I didn't want you to retain any of          the experience, you know, I wanted you          to have control back, so I made up          this thing.          (CONTINUED)                                                   29.           CONTINUED: (2)          TOM          What thing?          PHILIP          God, I don't remember, I haven't had          caffeine in almost eighteen hours, how          am I supposed to-          TOM          In general, what was it?          PHILIP          Well, it was perfectly harmless, I          just said, uh, I said "When you come          out from under, your mind will be          completely free. There's nothing          binding it. Nothing holding it back.          You will be completely open."          Tom stops, thinking for a long moment.          TOM          Yeah, I'd say that about describes it.          PHILIP          Describes what?          TOM          Never mind, it's gone now. I gotta          go.          PHILIP          Describes what?          But Tom has hung up. Philip unplugs the phone and goes back          to sleep.          CUT TO:          INT KITCHEN DAY          Jake sits at the kitchen table in his pajamas, eating a bowl          of cereal. Maggie, in work clothes, is walking back and forth          behind him, talking on the phone, finishing her makeup,          drinking coffee, and doing the dishes.          MAGGIE (o . s . )          Hi, Adriana, it's Maggie. Listen, our          baby-sitter just backed out on us for          next Friday night --          Jake turns and looks at the empty chair next to him. He          smiles at it. Then he giggles. He covers his mouth.          (CONTINUED)          - -                                                  30.           CONTINUED:          MAGGIE (cont' d)          -- and there's this game Tom and I          really wanted to go to and I was          wondering if...          JAKE          (to the chair)          I told him.          MAGGIE (o.s.)          (into phone)          Oh. Yeah, I understand. No, no, no,          don't worry about it. Okay. Bye.          (hangs up)          Shit. Shoot. Shoot, I mean.          She picks up the phone and dials again. With all she's doing,          she doesn't notice that Jake is having a conversation with the          empty chair.          MAGGIE (cont' d)          (into phone)          Philip, hi, it's me, call me when you          wake up, is there any way --          JAKE          Yes.          MAGGIE          -- you'd consider dumping whatever          bimbo you're going out with Friday          night and baby-sitting for us instead?          JAKE          Who?          MAGGIE          I'd call mom, but it's a long drive          for her and she's not feeling very          well again, so... call me as soon as          you can, and no, I'm not kidding.          (hangs up)          JAKE          Okay.          MAGGIE          Well, that'll happen in about a          million years.          (CONTINUED)                                                   31.           CONTINUED : (2)          JAKE          (to Maggie)          Call Vanessa and ask her about          Dorothy.          i'aggie stops, looking at him. Jake is calmly eating his          c‚Ä¢.real. She looks at her watch.          MAGGIE          Good idea.          She picks up the phone and dials a number. Jake just keeps          eating. Behind him:          MAGGIE (cont' d)          Hi, Vanessa, it's Maggie. What's your          baby-sitter's name again, Dorothy?          Are you gonna use her Friday night?          Really? Would you mind if I asked her          to sit for us, just this once? Oh,          great, thank you so much, you saved my          life. What's her number? Uh huh, uh          huh. Great, thanks again. Okay.          She hangs up and finishes her make-up in her reflection in the          toaster.          MAGGIE (cont' d)          When did you ever meet Dorothy, Jake?          JAKE          Samantha told me.          MAGGIE          (didn't hear that)          Oh, I bet you saw her when you were          over playing with Jessica the other          day, right? She was there then?          Jake turns to the empty chair on his left. He looks at it for          a moment, then turns back to Maggie.          JAKE          Yes. That's when I met her.          He goes back to eating his cereal.          A DOORBELL rings.          CUT TO;                                                  32.          03/26/!          INT LIVING ROOM NIGHT           Friday night. Tom           the porch, about fif answers the front door. A GIRL stands on           teen years old, heavyish wearing a ti , ht           pair -3f blue jean s an d a brown leather j          neck. A dull zipped u to g the          strea1. of butt yellow ribbon runs through a her Chair likepa           er.          DOROTHY           I'm Dorothy. Muller.           Tom Witzky.TOM          She shakes his hand limply and steps           inside, just to the side          of the door, looking down.          Tom stares at her,           longer than is Maggie comes          forward with the baby           Y monitor and takes ove r, leading Dorothy          into the room.           MAGGIE          Hi,           Dorothy, thanks for coming,          remem ber me? I'm Maggie, we met over           at Vanessa's once or twice. Okay,           Jake's asleep already and he hardly          ever wakes up, a band          could play in           his room and he wouldn 't hear it, so           YOU           Shouldn't have any trouble with           him a t all. His room is right           up at           the top of the.           As she goes on, showing Dorothy aroundexplaining where they'll be se and           where he is, staring. and so forththe , Tom stands rooted           At Doroth y‚Ä¢ A strange BUZZING sound          grows in his ears. He just watchest           , h leads           back into the living w room, showing nhers          remotes work , that thesTV the           sort of thing.          sneaks a look up at Tom, then g. Feeling his stare, Dorothy          staring down quickly averts her gaze again,           at the carpet, Th e buzzing fades.           dj ,           no later tÔøΩnGmidnioht' q if that s           okay with you.           DOROTHY           It's okay.           MAGGIE           Great! Let me just grab my coat           we' re out of here. and          (CONTINUED)                                                   33.           CONTINUED:          She runs upstairs. Tom is still           standing where he was.          Dorothy sits on           the sofa, hands in the pockets of her jacket,          which is still zi pped up to the neck.          TOM          'Whir don't you, uh... why don't you          mak%- yourself comfortable. Take off          your coat.          Without looking at him,          Dorothy obediently unzips her jacket          and takes it off. Her b reasts are fuller than one would          expect at her age. She l ooks up at Tom, and now there's          defiance in her eyes. Wh at are you lookin' at?           TOM (cont' d)           Excuse me.           He goes upstairs.          INT BATHROOM NIGHT           In the bathroom, Tom drinks           a glass of water quickly, then           shakes three or four Advil in to his palm. In the mirror, he           notices Maggie, staring at him from the doorway.          TOM          Where did you find Dorothy?          MAGGIE          Vanessa recommended her. She's used          her before, she said she's real          reliable.          Tom nods.          (cont' d)          Are you...          She's looking at the Advil. He smiles, faking it.          TOM          Too much caffeine, that's all.          He pops them in his mouth and swallows them dry.          TOM (cont'd)          Let's qo,          INT LIVING ROOM NIGHT           Tom and Maggie step           back into the living room and head for the           front door. The mom ent Tom lays eyes on Dorothy, the BUZZING           sound returns, loude r this time.          (CONTINUED)                                                  34.           CONTINUED:          It drowns out Maggie's voice as she gives Dorothy last minute          instructions and says goodbye.          Tom reaches the open doorway and glances back inside. Dorothy          is looking at him as he swings the door shut.          EXT FRONT PORCH NIf :HT          The buzzing stops the momen% the door is shut. Tom and Maggie          go down the steps. Tom lookz back over his shoulder, at the          house, in time to see Dorothy's face, peering out between the          blinds at them.          She releases the blinds and they snap back into place.          CUT TO:          BUSY STREET NIGHT          Tom and Maggie walk down a crowded sidewalk with Frank and          Sheila, from next door.          FRANK          (to Tom)          Don't get me wrong, it's great what          the Damon kid is doin' and everything,          I mean, I'm sorry your record's          gettin' broke, but, what, it held up          almost ten years?          Tom is terribly distracted, looking back over his shoulder,          still plagued with a headache.          TOM          Yeah, `bout that.          They round a corner. Just ahead, a high school football field          is surrounded by bright lights, mobbed with STUDENTS and          PARENTS. A BAND plays on the field, it's just about time for          kickoff.          FRANK          (raising his voice over the          CROWD)          So you got that, that's great. What          I'm sayin', though, is this year it's          all Kurt Damon this and Kurt Damon          that, and yeah, the kid has an arm,          but high school football is running          the ball -- smash-mouth, in-your-face,          power football. Always been that way.          Tom glances up at a mercury-vapor streetlight as they pass          under it.          (CONTINUED)                                                  35.           CONTINUED:          The same BUZZING sound, the one he heard when he first looked          at Dorothy, comes back now, seeming to come from the street          light. Tom shakes it off.          FRANK (cost' d)          Now Adam, and I admit, L am biased,          but my kid is having ona hell of a          season and it's like nol.-)dy noticed.          If they'd just give him he carries he          could break a thousand yards. And on          an eight game schedule!          He pulls out a pint bottle of schnapps and has a bump, offers          one to Tom, who declines. A SEXY TEENAGE GIRL walks past.          Frank notices. Carefully.          BEHIND THEM,          Sheila and Maggie walk together. Sheila stares at Frank as he          ogles the teenager.          SHEILA          Look at him. Why doesn't he just lick          them when they walk by?          MAGGIE          (LAUGHS)          According to Tom, the average guy          carries around a hard-on two and a          half hours out of every day. What are          you gonna do?          SHEILA          (DARKLY)          I've got a few ideas.          A MIDDLE-AGED WOMAN walks past and Frank gives her the big          crank-around.          SHEILA (cont' d)          Look at that! He's not even picky. I          swear to God, that man will stick it          in a bowl of soup if it's still warm..          Maggie notices Tom, up ahead, with a hand to his temple. She          catches up.          MAGGIE          Are you okay?          He forces a smile. They head into a crowded tunnel that leads          into the stadium.                                                  36.           IN THE TUNNEL,          Frank raises his voice still higher. It becomes a horrible          drone to Tom.          FRANK          Six eighty-three with three game.-          left, he only needs to average, ti.iat,          a hundred and five, hundred and six          yards a game? He hits a thousand and          we're talkin' major scholarships, the          kid could write his own ticket. That          kinda thing's good for everybody,          helps the whole neighborhood. He's          goin' a hell of a lot farther than I          ever did. Look at the quality of the          tail he's already gettin'. He passed          me in that department when he was          about fourteen.          He passes Tom the bottle. This time, he takes a swig.          EXT FOOTBALL FIELD NIGHT          They come through the tunnel and into the stands. Below, the          field is brightly lit. Frank's voice is, thankfully, drowned          out by the enthusiasm of the crowd.          They make their way to the first open seats in the bleachers          and sit down. The crowd is delirious with anticipation, and a          bit loaded -- there's a lot of schnapps in that crowd, and          beers snuck in here and there. And that's the grown-ups.          ON THE FIELD,          the visitors kick off.          IN THE STANDS,          the crowd ROARS. Tom tries to concentrate on the game, but          he's totally distracted. He looks to the right, drawn by a          flash of light.          A car is pulling into the parking lot at the end of the field          with its high beams on. Tom stares at the lights. The          BUZZING sound comes back, louder the longer he stares.          The crowd ROARS its approval of something. Tom turns back,          tries to follow the game. He wipes sweat from his forehead.          Maggie is staring at him. She takes his hand and leans over,          SHOUTING into his ear.          (CONTINUED)                                                  37.           CONTINUED:          MAGGIE          WHAT'S WRONG?          As Tom turns to her, his eye is drawn by something just over          her head.          A GIANT LIGHT STANCHION towers over them. When Tom s\ares          directly into the dozen large globes, the BUZZING souni          overwhelms him, nearly deafening. His hands shoot up to his          ears --          -- and he leaps to his feet.          TOM          Sf"S TAXING BIM AWWAY!          MAGGIE          WHAT?!          Tom fights his way out of the row, climbing right over people.          They SHOUT their objections.          INT TUNNEL NIGHT          Tom races down the now-empty tunnel. A light shines at the          far end, BUZZING madly. A few seconds later, Maggie starts          into the tunnel.          MAGGIE          Tom, wait!          EXT BUSY STREET NIGHT          Tom bursts out onto the busy sidewalk, threading his way          between PEOPLE and cars as fast as he can. Maggie follows a          few moments later.          EXT OUR BLOCK NIGHT          Tom races around the corner and onto his block. He bolts          across the street, forcing a car to lock `em up at the last          second. The Driver SHOUTS: Tom keeps running.          He reaches the sidewalk just in front of his house and stops          in his tracks, staring at the house, wild-eyed.          All the lights are off.          TOM          Oh, no.          He bounds up the steps and tries the door. It's locked. He          fumbles in his pockets for the keys.                                                  INT LIVING ROOM NIGHT          Tom unlocks the door and bursts inside.          TOM          Jake?!          No answer. He races up the stairs.          INT JAKE'S ROOM NIGHT          Tom SMACKS open the door to Jake's room and flicks on the          lights. In Jake's bed, the covers are pulled back, the sheets          are rumpled.          But Jake Js gone.          Tom races out. Still staring at that empty bed, we can hear          other doors in the house being thrown open, lights being          switched on, and Tom's outraged voice calling out for his son.          EXT STREET NIGHT          Maggie comes hurrying up the steps of the porch just as the          front door flies open.          MAGGIE          What the hell is the-          TOM          She took him.          MAGGIE          What?!          TOM          SHE TOOK HIM, HE'S NOT THERE, SHE TOOK          HIM SOMEPLACE!          MAGGIE          Oh, my God!          She bounds up the steps, calling out for Jake.          TOM          She can't be that far!          He runs to the corner, desperate, and looks up and down the          street in both directions. There are a lot of people out, she          could be anywhere.                                                  39.           CONTINUED:          He turns, looks up and down the side street. Nothing in the          first direction, but when he looks the other way, he hears a          faint BUZZING sound in the distance. He doesn't hesitate,          just takes off toward it.          TWO BLOCKS AHEAD,          Tom is running as hard as he can. He stops, abruptly. The          buzzing sound is gone. He looks to his right. Behind a wall,          there is a large parking lot filled with buses.          He turns around. A dull white glow comes from the windows of          the place on the corner. He looks up, at the sign.          It's a Greyhound bus station.          Tom hurries back toward it, reaching the door just as Maggie          comes running up from the opposite direction.          TOM          Wait right here, keep your eyes open!          He opens the door and goes inside.          INT BUS STATION NIGHT          Tom steps into the station, still breathing hard. The BUZZING          sound returns. But from where? Is it in his mind this time,          or really here, in the bus station?          The place is empty except for one person, sitting on a wooden          bench with their back to him, near the departure doors. Tom          walks slowly across the place to the figure. It's Dorothy.          As he draws closer, he sees Jake's face, over Dorothy's          shoulder. Jake's eyes are open, and he's staring up at the          ceiling.          Tom follows his son's gaze. Jake is staring up at the lights,          the old-style fluorescent tubes that give the place its          cancerous look. The tubes BUZZ loudly. It's the sound Tom's          been hearing.          Jake sees his father and smiles. Tom puts a finger to his          lips -- "Shhhh." Jake yawns, closes his eyes, and drops his          head onto Dorothy's shoulder. He goes back to sleep.          Tom walks slowly around the end of the bench. Dorothy is          SINGING softly, an old nursery rhyme.          She looks up suddenly and sees Tom. She starts to jerk to her          feet. Tom puts a hand out -- take it easy. Dorothy sits          back, caught. Tom steps closer to her, carefully. He holds          both his hands out, palms up.          (CONTINUED)                                                  40.           CONTINUED:          TOM          Give him to me.          She shakes her head no. Outside, a SIREN WHINES and a police          car flashes past the window, its red lights spinning. They          both hear it and glance over, then look back at each other.          Tom raises an eyebrow. She knows what he means.          TOM (cont'd)          Give him to me, Dorothy.          Trembling, Dorothy reaches out, Jake in her arms. Tom gently          takes the boy from her and holds him tight.          The front door flies open and Maggie races inside. Tom gives          Jake over to her.          JAKE          (half asleep)          Oh, hi, Mommy.          She's relieved, but livid.          MAGGIE          (to Dorothy)          What the hell is the matter with you?!          Dorothy jumps to her feet and races through the door that          leads to the back, where the buses leave from.          TOM          (to Maggie)          Take him home! I'll be there as soon          as I can!          He runs after Dorothy.          EXT PARKING LOT NIGHT          Dorothy races out of the bus station and into the forest of          parked buses. Tom comes out a few seconds later, giving          chase.          Dorothy cuts between two parked buses --          -- and is nearly hit by a third that's just arriving. Its          horn BLARES as she trips and falls to the ground, the bus just          missing as it ROARS past her.          Tom reaches her. Dorothy writhes on the ground, sobbing,          raking her hands through the gravel, hysterical.          (CONTINUED)                                                  CONTINUED:          TOM          Sit up. Sit up, I want to talk to          you.          She manages to drag herself into a sitting position. She          shoves back, against the wheel of a bus. Beyond them, the bus          that nearly hit her stops on the far side of the lot.          Dorothy is quivering, still crying. Tom squats in front of          her, a few feet away.          TOM (cant' d)          Why were you taking my son?          DOROTHY          Go away.          TOM          Do you want me to call the police?          (shakes her head no)          Then tell me why you took him.          DOROTHY          He isn't safe in your house.          TOM          Why do you say that?          DOROTHY          He told me! He told me so!          The DRIVER of the bus that nearly hit her is out of his bus          now. He SHOUTS at them from the other side of the lot.          TOM          Jake said that?          (she nods)          What else did he say?          DOROTHY          Nothing. I was sitting there, I was          watching him sleep, I was just          watching him, like I'm supposed to,          and... and he sat up in bed, he looked          right at me, and he said "I'm not safe          in this house." Two times, he said          it, and then he went back to sleep.          TOM          Where were you taking him?          (CONTINUED)                                                   42.           CONTINUED: (2)          DOROTHY          California. To my father's house. My          real father, not --          (like poison on her tongue)          -- Duane. Jake would be safe at my          father's house, we'd both be safe          there.          TOM          You too?          (she nods)          Why aren't you safe here?          She doesn't answer. The Driver is coming over to them, still          SHOUTING.          TOM (cont' d)          Dorothy? Dorothy, why aren't you safe          here?          The Driver is still closer. Frightened, Dorothy gets up, to          run again. Tom grabs her.          TOM (coat' d)          Hey, wait a sec-          As his hands close around her arms --          AN IMAGE          flashes through his mind. A MAN'S FACE, sweaty and unshaven,          leers over us, too close.          IN THE PARKING LOT,          Tom abruptly pulls back from Dorothy. He is enraged.          TOM          Who is he?!          She just looks at him, frightened. He shakes her, violently.          TOM (cont' d)          WHO IS HE?!          CUT TO:          INT DOROTHY'S HOUSE NIGHT          DUANE, fortyish, slouches on a sofa, watching Moe hit Curly          with a rake. Duane's drinking bourbon. In his defense, he is          using a glass. Duane's face is the one Tom just saw in the          image in his mind.          (CONTINUED)          d16 - - ÔøΩ --- .. - - A86i -                                                  43.           CONTINUED:          Duane hears the front door open and close.          DUANE          You're early. Your mom's still at          work. Hey, do you know if she bought          any more who the fuck are you?          Tom is storming across the room toward him.          DUANE (cant' d)          Hey hey hey hey HEY!          Tom already has Duane by the collar. He wrenches him to his          feet.          DUANE (cont' d)          WHAT THE FUCK DO YOU THINK YOU'RE          DOIN'?!          TOM          Are you Duane?          DUANE          Who?! I don't even know who you're-          Duane looks over Tom's shoulder. Dorothy is standing in the          doorway, frightened.          DUANE (cont' d)          Dorothy, who the fuck is this guy?!          Tom hurls Duane across the coffee table, knocking over Duane's          bong. Duane hits the floor hard. He starts fumbling in his          pocket, but Tom is on him, ripping him to his feet again.          TOM          She's a little girl, you son of a          bitch! She' s fifteen years old, and          you fucked her!? What the hell is the          matter with you?! YOU DON'T DO SHIT          LIKE THAT TO PEOPLE WHO CAN'T DEFEND          THEMSELVES!          DUANE          Look, man, I don't know who you are or          what she told you, but-          Tom hurls Duane across the room. He SMASHES into a bookcase,          breaking the glass shelves and knocking a bunch of pictures          and knickknacks to the ground. Duane SCREAMS, tries to roll          away to escape Tom, but Tom picks him up by the back of his          collar and his belt, like a dog.          (CONTINUED)                                                   44.           CONTINUED: (2)          TOM          GET OUT!          He hurls Duane toward the stairs. Duane CRUNCHES down hard.          Before he can get up, Tom hauls him to his feet and hurls him          furthe: up. He's kicking Duane's ass up the stairs.          At the +,)ttom, Dorothy watches, her hands over her mouth.          She's thrilled.          AT THE TOP OF THE STAIRS,          Duane lands, a few feet ahead of Tom. This time he's got a          second or two, and he manages to dig the butterfly knife he          was groping for out of his pocket.          He whips it around, opening it, but Tom is fast and crazy with          rage, he just grabs the thing by the blade and rips it away          from Duane. Blood flows over Tom's knuckles as he tightens          his grip on the knife. He twists it around, holding it by the          butt. There's madness in Tom's eyes.          TOM          (wielding the knife)          You got ten minutes. Pack your shit.          You don't leave a note, you don't try          to call, and if you ever, ever come          back here again, I'll know, I'll find          you, and I'll stick this so far into          you they'll never get it out. You got          it?          Duane nods, terrified.          DOWN IN THE LIVING ROOM,          Dorothy sits on her hands at the edge of the sofa, waiting          nervously. Tom comes down the stairs. He folds the knife,          uncertainly, never handled one of these things before. He          shoves it in his pocket.          TOM          I'll stay until he's gone.          Upstairs, dresser drawers SLAM, Duane CURSES. He's packing.          TOM (cont' d)          Shouldn't be long.          DOROTHY          You're bleeding.          (CONTINUED)                                                  45.           CONTINUED:          She hurries into the kitchen. Tom looks around, at the mess          he's made. He's embarrassed, frightened by his own rage.          Dorothy comes back with a dish towel. She takes Tom's hand,          wipes the blood away and wraps the towel around it.          DOROTHY (cont' d)          Than : you.          He starts to pick up the things that were knocked off the          bookcase.          TOM          Tell your mother I'll pay for this.          DOROTHY          It's okay.          He picks up a framed photograph. Broken glass falls out of          the frame as he turns it over. Tom freezes.          DOROTHY (cont'd)          What's the matter?          Tom just stares at the picture.          DOROTHY (cont' d)          What?          Tom turns the picture around to show Dorothy. The woman in          the picture is about eighteen or nineteen, bears a faint          resemblance to Dorothy --          -- and is the same woman he saw in his living room.          DOROTHY (coast' d)          Yeah?          TOM          Who is this woman?          DOROTHY          My sister.          TOM          Did she have a black dress, kind of a          diamond pattern on it?          DOROTHY          Yeah.                                                   46.           CONTINUED: (2)          TOM          She wore a lot of bracelets, those          thick ones, different colors, all up          and down her arms?          DOROTHY          Yeah, all t2;+ time, she probably still          does. How d., you know that?          Upstairs, there is a tremendous SLAM as a closet door closes          and Duane SHOUTS.           DUANE (o.s.)          CRAZY MOTHERFUCKERS IN A CRAZY FUCKING          HOUSE!          TOM          Where is she?          DOROTHY          I don't know.          TOM          Can I talk to her?          DOROTHY          No.          TOM          Why not?          DOROTHY          She ran away. About six months ago.          TOM          Where did she go?          DOROTHY          I don't know! She don't write or          nothin'.          Tom looks down at the photograph again.          TOM          What's your sister's name, Dorothy?          DOROTHY          Samantha.          CUT TO:                                                  INT TOM i MAGGIE'S HOUSE NIGHT          The red light glows on the baby monitor, and Jake's breathing          can be heard from in his bedroom. Tom and Maggie sit on the          couch in their living room, the nonitor beside them, just one          light on. He has his arms arounc' her, holding her tight. His          hand is bandaged. They're shaker..          MAGGIE          Samantha?          TOM          That's what she said.          MAGGIE          Where have I heard that name before?          TOM          Dorothy said she ran away about six          months ago.          MAGGIE          But she could still be around! Hiding          or something. I mean, she could have          actually been here when you saw her!          TOM          If she was, she's very quick getting          in and out of a room.          MAGGIE          Where was she? When you saw her,          where was she exactly?          TOM          On the cushion right next to you.          Maggie looks down at the empty half of the couch, freaked out.          She pulls in closer to him.          MAGGIE          What was it like? At the game, I          mean, how did you know about Jake?          Did you see anything?          TOM          It's hard to explain. I just got this          -- feeling.          MAGGIE          Like when I was drowning?          (CONTINUED)                                                  48.           CONTINUED:          TOM          A little bit. But a hundred times          stronger.          MAGGIE          Does it hurt when it happens?          TOM          Like you wouldn't believe. Fecls like          my brain is tearing in half.          MAGGIE          God, Tommy, what's the matter with          you?          TOM          Why do you assume it's bad? Maybe          this is a good thing.          MAGGIE          If your brain is tearing in half?          TOM          I told you there was somethin' in me.          Maybe it's comin' out.          MAGGIE          I like it better in.          TOM          Just roll with it. What's the worst          that can happen?          MAGGIE          You'll go insane. Kill yourself.          Kill me and Jake first.          TOM          Well, yeah, that...          MAGGIE          I want you to go see my cousin          Elizabeth. Make sure there's nothing          wrong. Just tell her about the          headaches, that's all she needs to          know, you don't have to bring up the          other stuff.          Suddenly, he smiles.          (CONTINUED)                                                   49.           CONTINUED: (2)          TOM          Hey, know what?          (she looks at him)          It is a girl.          She furrows her brow, "how do you know?", then follows his          gaze down to her belly, where his hand is resting.          L UT TO :          INT HOSPITAL CORRIDOR DAY          Tom, dressed in a patient's gown, walks down a hospital          corridor with DR. ELIZABETH NOONAN, fortyish. Elizabeth makes          notes on a clipboard, walking and talking fast, all business.          Elizabeth does not have the human touch.          ELIZABETH          Do you have any metal plates in your          skull?          TOM          ELIZABETH          TOM          ELIZABETH          Any shrapnel lodged anywhere in your          body?          TOM          No.          ELIZABETH          No cardiac pacemaker, I assume -- iron          filings near your eyes?          TOM          Huh?          ELIZABETH          You don't work with sheet metal, do          you?          TOM          No.          ELIZABETH          Left here.          (CONTINUED)                                                  50.           CONTINUED:          They turn down another corridor.          ELIZABETH (cont' d)          Do you have an inner ear transplant?          TOM          No.          ELIZABETH          Aneurism clips in your brain?          TOM          No thanks.          ELIZABETH          Do you suffer from claustrophobia?          TOM          Only in, like, really small spaces.          (she looks at him, straight          FACED)          You have a great sense of humor.          ELIZABETH          Right, then jog left.          They do.          TOM          Do we really gotta do this?          ELIZABETH          You've had no head trauma, no serious          viral infections you can recall, you          haven't been out of the country,          you're not a drug user, you have no          history of migraines... I suppose I          could open up your skull in the          operating room and then decide what to          do, but I'd rather take a few pictures          first, wouldn't you?          She pushes through a set of double doors.          INT MRI ROOM DAY          The MRI machine is a long tunnel with a body slab sticking out          obscenely, like a tongue. TWO NURSES stand on either side of          it. One wall of the room is glass, behind the glass are the          TECHNICIANS -- and Maggie, who waves supportively.          Tom swallows.          (CONTINUED)                                                  51.           CONTINUED:          TOM          How's it work?          Elizabeth goes to a computer terminal and types in some          commands.          ELIZABETH          It creates an electromagnetic field          thirty thousand times stronger than          the earth's. That stimulates your          brain's protons to align themselves.          Then we shoot radio waves into you,          which knocks the protons out of          alignment. They then realign          themselves, sending out radio signals          we record on the scanner. The          computer reads the signals and makes a          series of detailed cross-sections of          the layers of tissue.          Tom looks at the machine, then back at her.          TOM          Can I have another Valium?          A FEW MINUTES LATER,          Tom lies down on the "tongue." The Nurses wrap sheets around          his arms and tuck them in under his body, immobilizing them.          He looks at one of them questioningly.          NURSE          So your arms don't touch the sides of          the machine.          TOM          That would be bad?          She smiles and nods. The other Nurse puts a white cloth over          his hair.          NURSE 2          Your party hat.          He tries to smile, but he is unnerved. Elizabeth leans in,          staring down at Tom.          ELIZABETH          It's so nice you and Maggie finally          came to see me at work.                                                  IN THE CONTROL ROOM,          a Technician hits a series of switches.          IN THE MRI ROOM,          the tongue starts to move, sliding into the tunnel. Tom lies          still, staring upward as he is pulled inside, like a corpse in          a drawer sliding back into the wall of the morgue.          INSIDE THE MACHINE,          it's only about two feet across, and less from top to bottom.          Tom blinks, staring up at the ceiling as the tongue comes to a          stop. It's incredibly claustrophobic.          TOM          Kinda hot in the coffin.          ELIZABETH'S VOICE comes blaring out of speakers mounted on          either side of the tunnel.          ELIZABETH          YES, IT USUALLY IS AT FIRST, BUT IT          COOLS DOWN ONCE THE HAMMERS START          MOVING.          TOM          Yo, hey, hey, woah, I'm right here.          Can you turn it down a little bit?          ELIZABETH          NO, YOU'LL WANT IT LOUD. WE'RE          STARTING NOW.          IN THE CONTROL ROOM,          Elizabeth leans back from a microphone and turns to a          Technician.          ELIZABETH          Go ahead.          The Technician enters some commands on a keyboard.          IN THE MRI ROOM,          the giant "hammers" that are contained in the cylinders that          surround the tunnel start to move, slowly at first.          IN THE CONTROL ROOM,          Elizabeth turns to Maggie.          (CONTINUED)                                                  53.           CONTINUED:          ELIZABETH          Did he bring any music?          MAGGIE          Yeah, right here.          She hands him a cassette. Elizabeth puts it into a tape deck          and pushes "play."          IN THE MRI ROOM,          the hammers pick up speed, and these things move. It gets          noisy fast.          IN THE TUNNEL,          Tom's eyes widen. The hammers whip faster. Their POUNDING is          tremendous. Tom's music starts playing from the speakers.          It's The Doors, "People Are Strange."          The hammers whip faster. Elizabeth was right, it's good the          music is loud, because the sound coming from the hammers is          deafening, like gunshots going off all around his head.          ELIZABETH          TRY TO RELAX. THIS'LL ONLY TAKE AN          HOUR OR SO.          Tom, in spite of himself, bursts out laughing.          IN THE CONTROL ROOM,          they can hear the thundering hammers, the blaring music, and          above it all, Tom's crazy kind of laughter.          Elizabeth looks at Maggie.          CUT TO:          INT CONTROL ROOM DAY          Three electronic screens, two red and one whitish-blue,          display various cross-sections of Tom's brain. Graphs and          columns of numbers are listed alongside.          ELIZABETH          No tumors, no growths, no scars or          lesions, no intrusions or damaged          tissue of any kind. Except for one          tiny abnormality, your brain anatomy          is textbook. Physically, anyway.          (CONTINUED)                                                  54.           CONTINUED:          MAGGIE          What abnormality?          ELIZABETH          Well, it's so insignificant it's          hardly worth mentioning.          She leans forward to one of the screens and points to a spot          on a cross-section.          ELIZABETH (cont' d)          It's the parietal lobe. Here.          There's a slight distension, just the          tiniest bulge here in the arc of the          crescent. That's uncommon.          MAGGIE          How uncommon?          ELIZABETH          One in a half million, maybe, it          doesn't really have a name. But it          isn't consequential. Wouldn't have          any effect on cognitive processes.          TOM          Great. There's nothing wrong with me,          I gotta get back to work.          (stands and shakes hands)          Thank you for everything, Elizabeth, I          owe you a giant one, hey, you think I          can get some of that Valium to go?          Elizabeth scowls at him.          TOM (cont' d)          Worth a try. Take care, say hi to          Michael.          (to Maggie)          I'll pick up Jake, I told him I'd take          him to the Pier tonight.          He heads for the door, eager to get the hell out of there.          Maggie lingers, looking at Elizabeth, hopeful.          MAGGIE          There's really nothing wrong with him?          Nothing at all?          ELIZABETH          Maggie. I said nothing physical.          CUT TO:                                                  INT BEDROOM DAY          Maggie is in the bedroom, cleaning up. She picks up Tom's          pair of jeans from the floor and folds them over one arm.          Something THUNKS to the floor. She picks it up.          It's the butterfly knife, the one he took from Duane. She          stares at it, fascinated and frightened. She lets it drop          open. There is dried blood on the blade.          Gingerly, she closes it again. She opens a drawer and puts it          in, then thinks better of that. She takes it out again, looks          for a place to put it.          She drops it in her purse and zips it shut. She'll deal with          it later.          CUT TO:          EXT NAVY PIER NIGHT          Navy Pier is an amusement park/shopping mall built on a pier          jutting out into Lake Michigan. It's a nice night, the pier          is crowded, just enough urban edge to be interesting. A          figure bobs along above the crowd -- Jake, sitting on Tom's          shoulders. They stop and join a CROWD watching a JUGGLER, a          good one, keeps five burning pins in the air.          Jake suddenly looks up, confused by something. He stares past          the juggler, through the flames. Behind the juggler, a          UNIFORMED COP is staring at the little boy -- it's the same          Cop who was parked outside their house earlier. Jake stares          back, the flaming pins flying up between them.          Tom moves on, his boy still on his shoulders. The Cop turns          and watches them go. Jake turns, looking back over his          shoulder at the Cop. The Cop raises a hand and waves. Jake          just stares.          AT A TOY STORE,          there is an elaborate model train set on display in the          window.          JAKE          Daddy, look!          TOM          Woah, check it out.          He stops, helps Jake down off his shoulders. Jake presses          right up against the glass, staring at the train as it circles          the track. Tom squats, admiring it with him.          (CONTINUED)                                                  56.           CONTINUED:          BEHIND THEM,          the Cop is still watching them. He walks closer, stops only          about ten feet away, staring. Tom glances up, sees him,          thinks nothing of it.          The 'op steps closer.          IN THE. WINDOW,          Tom sees the reflection of the Cop. Closer now, staring. Tom          turns and smiles, tight-lipped. He recognizes him from the          other day. The Cop smiles back, doesn't go away.          TOM          (to Jake)          Hey, look at that one!          He carries Jake to the next window over, a different display.          The Cop wanders closer. Tom finally turns to him, tense.          TOM (cont' d)          How ya doin'?          COP          Fine, fine.          He's staring at Jake.          TOM          Is there a law against lookin' in the          window now?          COP          Huh? Oh, no, `course not. I'm          off duty. I live right up there.          TOM          That's great. See ya later.          He sweeps Jake up onto one hip and starts to walk away.          COP          It's even stronger in him than it is          in you.          Tom stops. Turns back.          TOM          What?          The Cop smiles and makes a face -- "you heard me."          (CONTINUED)                                                  57.           CONTINUED:          TOM (cont' d)          I don't know what you're talking          about.          COP          Jon't be afraid of it.          Tom just star .s at the Cop, trembling slightly. The Cop walks          forward. Fascinated, Tom does not back away. The Cop lowers          his voice.          COP (cont' d)          You're not alone.          Tom is too rattled to speak.          COP (cont' d)          You don't know about Cacophony yet?          Tom shakes his head no. The Cop pulls out a note pad,          scribbles something on a page, tears it out and holds it out          to Tom.          COP (cont' d)          Come next time.          His hand shaking, Tom accepts the paper. The Cop reaches out          and tousles Jake's hair.          COP (coast' d)          Bye, Jake.          The Cop turns and walks away.          JAKE          Bye, Neil!          The Cop looks back over his shoulder and smiles. Tom looks at          his son as if he's never seen him before.          CUT TO:          INT JAKE'S ROOM NIGHT          Jake, fresh from a bath and in his pajamas, sits on the floor          of his room, playing with model cars, intent. He's HUMMING a          soft tune to himself, the same one he hummed during his bath          in the opening.          Tom and Maggie sit near him, staring at him. They're freaked          out. What have they got on their hands here? Their tone is          soft, gently probing.          (CONTINUED)                                                  58.           CONTINUED:          MAGGIE          Jake, do you remember the other day          when we were talking in the kitchen?          Jake doesn't look up, just keeps playing and HUMMING.          MAGGIE (cont' d)          I was loo3.ing for a baby-sitter,          remember?          (Jake plays)          And you said "Samantha" told you about          Dorothy. Do you remember that?          He keeps playing, HUMMING.          TOM          Jake? Mommy's asking you a question.          Nothing.          MAGGIE          Is Samantha someone who talks to you          sometimes, Jake?          No answer. She tries a different route.          MAGGIE (cont'd)          Can you remember any of the things          that Saman-          Jake looks up sharply.          JAKE          Don't ask the boy any more questions.          They freeze, staring at him. His tone was odd. And did he          just refer to himself in the third person?          JAKE (cant' d)          Talk to me.          He goes back to playing, and to that little tune. It's          becoming rather haunting.          Maggie and Tom look at each other. Good God.          CUT TO:          INT BEDROOM NIGHT          Nighttime. Tom and Maggie are asleep in bed. Suddenly, Tom's          eyes pop open.          (CONTINUED)                                                  59.           CONTINUED:          TOM          She's downstairs.          He sits up. His head is killing him again. There's a glass          of water on the night table. le grabs it and drinks greedily.          He turns and looks to the open -loorway. He swallows.          He stands up. He looks down at Maggie, who's still sound          asleep.          He walks to the door.          Maggie stirs, feeling him gone.          INT HALLWAY NIGHT          Tom walks down the narrow hallway, toward the staircase at the          far end. He's scared.          He starts down the stairs. Halfway down, he dares a look          through the wooden posts that support the handrail.          Samantha is standing in the middle of the room.          She looks up at him. For a long moment, they just stare at          each other. Steam rises lightly from her as she breathes.          Tom is shaking, barely finds his voice.          TOM          Samantha?          She speaks, but when her voice comes out it's horrible and          distorted -- muffled in a strange way.          He takes a few trembling steps down the stairs, closer to her.          She walks forward a step or two. She speaks again, louder,          but the voice is still unintelligible and bizarre.          Tom reaches the bottom of the stairs. She reaches out a hand.          He stares, terrified. The hand draws closer.          Almost beyond his own control, Tom raises his own hand.          She comes closer.          Tom is frozen at the bottom of the stairs. Their hands draw          closer still.          Their fingertips touch.          (CONTINUED)                                                  60.           CONTINUED:          Tom GASPS, as if something very heavy were put down on his          chest. His mouth drops open, his chest twitches. He can't          breathe.          They stand there, frozen in that position. Tom tries, but          can't draw air.          MAGGIE'S VOICE calls out from the top ci the stairs.          MAGGIE          Tom?          He can't answer. He's panicked, but unable to move. With          every twitch of his chest clouds of steam burst from his          mouth, all the air going out, none coming in.          From the top of the stairs, Maggie can see him, standing          there, hand outstretched into the darkness, touching nothing.          But from Tom's point of view, he's touching fingertips with          Samantha. He's frozen, breathless, and now his cheeks start          to turn pale, unnaturally white. Another few seconds of this          and he'll pass out.          MAGGIE (con t' d)          Tom!?          She races down the stairs.          MAGGIE (cont' d)          TOM?!          Tom can't look at her, can't move. A tear rolls down his          cheek as his lips begin to turn blue.          MAGGIE (cont' d)          TOM, BR. ATfHE!          She grabs hold of him. As soon as Maggie makes contact, Tom          collapses. He sees Samantha break away from him with a SHRIEK          of irritation. She moves, not quite walking, but a herky-          jerky kind of lateral movement toward the dining room, fast,          like someone on a dozen espressos, an angry thing that has to          slow itself down to a crawl just to talk to us.          In the dining room, she flops over onto the floor, like a          reflection appearing suddenly on the surface of a pond. Into          the floor, she disappears.          Maggie grabs Tom's face and turns it toward her. He takes a          big lungful of air.          (CONTINUED)                                                   61.           CONTINUED: (2)          MAGGIE (cont' d)          Was she here?!          Tom nods, sucking air greedily.          MAGGIE (cont'd)          Why?!          TOM          I think we better find out.          CUT TO:          EXT OUR BLOCK DAY          It's a street party, and it's jammed. Police barricades are          at both ends of the block. Half barrels of beer sit in big          plastic garbage cans, ice dumped over them. Everyone seems to          have agreed on which radio station to listen to, and most of          the couple dozen cars parked in the driveways have their          radios tuned to it, loud, the windows hanging open.          Outside Bernie's Tap, the bar on the corner, a DOZEN DRUNK          GUYS are running pass patterns out the front door, cutting          left at the mailbox, and catching a football thrown from          inside the bar, out an open window. Well, they don't actually          catch the ball...          AT ONE OF THE TAPS,          the Homeless Guy we've seen on the street a few times is          drinking right out of one of the beer taps while nobody is          watching. Lenny, the local crank we met before, is outraged.          LENNY          HEY, GET THE HELL AWAY FROM THERE!          He chases him off, trying to kick him in the ass but spilling          his own beer in the process.          LENNY (cont' d)          (to no one in particular)          You see what I'm talkin' about?! You          see what I mean?!          ON A FRONT YARD,          Jake plays with a couple other NEIGHBORHOOD KIDS.          AT ANOTHER KEG,          Frank is giving a lurid lesson on the proper way to pump the          keg to two ATTRACTIVE YOUNG WOMEN. Tom joins him.          (CONTINUED)          - - .Err- r - - - - ab a. ter. s                                                  62.           CONTINUED:          TOM          You know you're under surveillance          here.          He gestures to Sheila, Frank's wife, who's about ten feet          away, keeping an angry eye on him.          FRANK          What can I do? Nature commands me to          spread my seed. I hear and obey.          TOM          Sure, great, just don't be surprised          if some day Sheila digs out your 38          and buries a slug or two in your ass.          FRANK          Please. The woman can't even step on          a spider.          TOM          Spider doesn't fuck around on her.          A SHORT DISTANCE AWAY,          Sheila is talking to Maggie, disgusted with Frank.          SHEILA          They change, Maggie. Ten or so years          of marriage, a kid or two -- they          become a different human being.          MAGGIE          Sheila, if you're so miserable, why          don't you leave? Adam's almost out of          school, he can handle it.          SHEILA          Oh, Frank would love that. No. I          want him out. I like that house.          MAGGIE          How long have you guys been there?          SHEILA          Almost fifteen years.          MAGGIE          So... you know most of the people          around here pretty well, right?                                                  IN FRONT OF BERNIE'S TAP,          somebody actually manages to catch one of the passes coming          from out of the bar and is immediately tackled by three          drunks. On the pavement. Ouch.          IN THE CROWD,          Tom is now talking to Harry Damon.          HARRY          But, you know, what am I gonna do, I'm          a single father with a son to support,          I can' t just say fuck everything. So          I scraped together enough money to          make a few downpayments, and here I          am. A landlord, for Christ's sake.          TOM          So you've been in this neighborhood a          long time, right?          MAGGIE          is questioning Sheila.          MAGGIE          Did you ever hear of a girl named          Samantha Muller?          SHEILA          (THINKS)          From over by Baldwin?          MAGGIE          I think so.          SHEILA          Yeah, kinda, name rings a bell.          HARRY DAMON,          in response to the same question from Tom, calls over to his          son Kurt, the good-looking football player, who is leaning          against the front of his yellow Trans-Am, talking to a couple          other guys.          HARRY          Hey, Kurt, you remember that Muller          girl?          (to Tom)          Like he ever tells me anything.          (CONTINUED)                                                  64.           CONTINUED:          The music coming from the car is too loud, Kurt can't hear.          HARRY (cont' d)          (SHOUTING)          DO YOU REMEMBER THE -- COME OVER HERE !          He gestures. Kurt drags himself off the hood and saunters          over.          HARRY (cont' d)          Do you remember that Muller girl?          KURT          What, Dorothy?          He makes a "big breasts" gesture.          HARRY          No, the other one. Samantha.          Lenny, the crank, joins the conversation.          LENNY          You mean the retard? She ran away.          HARRY          She did?          SHEILA          is on the same subject.          SHEILA          She was always hanging around the          guys, you know, she wanted to be with          the "in" clique and everything. There          wasn't much chance of that.          HARRY DAMON,          asks Tom a question.          HARRY          Why you wanna know about her?          TOM          Oh, Dorothy baby-sits for us sometimes          and she started talking about her          sister, wonderin' how she was doing          and stuff. I promised her I'd ask          around, see if anybody'd heard          anything from her.          (CONTINUED)          - - - Ambb. - - - - - Nft - & a r-                                                  65.           CONTINUED:          LENNY          She took off back in March, I think,          with some black guy.          TOM          )id she ever live in that house we're          .n?          Frank comes up, one arm around his son Adam.          FRANK          Who?          HARRY          No. You're the first tenants since I          bought it.          LENNY          (to Harry)          Harry, I saw those Dominicans back in          the park again. By the basketball          courts?          HARRY          What do you want me to do about it,          Lenny?          LENNY          We could go talk to `em. Scare `em          off, if there were enough of us.          FRANK          Yeah, Lenny, they're gonna be          terrified of you.          SHEILA          keeps talking to Maggie.          SHEILA          She was a pretty girl, but real shy.          Pretty simple. She had these crazy          ideas she could be an actress, you          know. She thought she was gonna be a          big movie star. I mean, there was no          way, but you couldn't tell her that.          I thought it was kind of sad.          FRANK AND ADAM          have joined Tom and the others.          (CONTINUED)                                                  66.           CONTINUED:          FRANK          (to Tom)          Two one one.          TOM          Okay.          FRANK          211.          TOM          Got it.          FRANK          Two hundred eleven.          TOM          I give up, Frank.          FRANK          (puts his son in a hammerlock)          Two hundred and eleven yards rushing          the other night. That makes eight          ninety-four with two games to play,          kid needs a hundred and six, that's          only fifty-three a game. He could          walk through the rest of the season          and hit a thousand.          ADAM          (pulling free)          Dad...          Behind them, the guys playing football out of Bernie's Tap          have now organized a full-fledged game of tackle in the          street, over the objections of their wives and girlfriends,          who shout at them to stop.          FRANK          I embarrass him. Are there worse          things that can happen to a human          being?          TOM          Hey, Adam, way to go, man.          ADAM          (SHYLY)          Thanks.          (CONTINUED)                                                   67.           CONTINUED: (2)          TOM          (to Harry)          Well, if you hear anything about her,          lemme know, okay?          FRAZ. X          About who?          HARRY          Tom's askin' about that Muller girl          from over by Baldwin, you know, the          one that ran away?          LENNY          The retard.          FRANK          Jesus, Lenny, don't use that word.          LENNY          What, retard?          FRANK          (SARCASTIC)          No, "the."          TOM          She was almost your age, Adam. You          know anything about her?          Adam doesn't answer right away. They all look at him.          FINALLY:          ADAM          Huh uh.          Suddenly, the guys playing football run a play right through          the middle of them -- sweaty, middle-aged bodies fly in every          direction. Everybody SHOUTS and lunges backward, protecting          their beers. The conversation is broken up.          But the football players are upset, and a fight breaks out.          The crowd gets out of the way, half to watch the fight with          glee, the other half to shake their heads and watch the fight.          OVER AT KURT'S CAR,          while the fight goes on in the background, Adam wanders away          from the group and sits down on the hood of Kurt Damon's car.          He's rattled. Kurt notices him and comes over. He sits next          to him.          (CONTINUED)                                                  68.           CONTINUED:          KURT          You okay?          ADAM          Yeah.          (Kurt is looking atIhim:          I'm fine.          KURT          You don't look fine.          ADAM          Really, Mom? How do I look?          KURT          (hands up in surrender)          All right, all right. Just, if          there's, you know, if there's          somethin' you wanna bullshit about or          anything, just let me know. Might          help.          ADAM          You could climb off my back, that'd          help.          Adam walks away.          KURT          Sorry.          AT THE END OF THE BLOCK,          two police cars arrive, their lights flashing. COPS jump out          and wade through the crowd to bust up the fight. So much for          the party.          Sheila shakes her head.          SHEILA          It can't ever just be nice. Someone's          always got to ruin it.          CUT TO:          EXT ROOFTOP NIGHT          Nighttime. The city lights are on. The sound of SOBBING          rises faintly over them. We're on the roof of a house, and a          figure with its back to us is doing the crying. The figure          drinks from a bottle. A long, hard pull.          (CONTINUED)                                                  69.           CONTINUED:          Coming around thefrontwe see the figure is Adam McCarthy,          Frank and Sheila'sson,sitting on the roof of his house,          staring out at thecityand getting quietly shit-faced.          CUT TO:          INT BE. ROOM DAY          Tom pries his eyes open, exhausted. Sunlight streams through          the window, right into his face. He squints, looks at the          clock. It's 10:26.          TOM          Oh, man...          He sits up, painfully. A beam of sunlight cuts him right          across the eyes.          A MINUTE LATER,          Tom pulls his jeans on. He sits on a chair, puts on a shoe.          But the other one's gone. He feels under the chair. Not          there.          He opens the closet door. Not there.          He looks under the bed. There it is. He grabs it.          INT BATHROOM DAY          A note is taped to the bathroom mirror -- "WENT TO THE PARK          WITH JAKE. M."          Tom takes it down and reads it.          INT LIVING ROOM DAY          Tom comes downstairs and heads for the kitchen. There's          someone standing in his living room, in the doorway from the          dining room. It's Frank, his neighbor from next door, wearing          a red shirt. Frank is staring at the floor.          TOM          Frank? What are you doing here?          Frank looks up at him. His face is sad.          FRANK          They're going to kill you, Tommy. You          and Maggie both.          (CONTINUED)                                                  70.           CONTINUED:          Frank turns and walks to the front door. He opens it, walks          outside, and sits on the top step of the porch, looking out at          the street.          Tom follows him.          EXT FRONT PORCH DAY          It's a beautiful day, but the street is still kind of a m..ss          from the party yesterday. Tom comes out and looks down at          Frank, who's just sitting there, staring out at the litter.          TOM          Why did you say that, Frank?          FRANK          (in his own world)          This is a decent neighborhood.          On the street, TWO KIDS ride their bikes straight at each          other, full tilt, SCREAMING. At the last second, one of the          kids swerves, the other taunts him with cries of "Chicken!"          A bird swoops over Tom's head, too low, and Tom flinches. He          walks across the driveway, toward Frank's house. The MAILMAN          waves to him, headed down the block. Tom waves back.          Tom walks up the steps to Frank's front door and knocks. A          VOICE calls from inside.          ADAM (o.s.)          Come in!          INT FRANK'S HOUSE DAY          Tom opens the door and comes in. Adam, Frank's son, is          standing in the middle of the living room floor, a big smile          on his face and one arm behind his back.          ADAM          Hi!          TOM          Hi.          ADAM          Want to see what I've got?          TOM          Sure.          Adam pulls his arm around from behind his back. He's holding          a 38 with a carved white handle.          (CONTINUED)                                                  71.           CONTINUED:          TOM (cont' d)          Is that your dad's?          ADAM          Not today. Come here:          Tom walks toward him.          ADAM (cont' d)          Closer.          Tom walks closer. He's right in front of Adam.          ADAM (cont' d)          I bet you never saw this before.          He points the gun barrel at Tom --          -- then swings it around and points it at his own heart.          TOM          Oh, don't do that.          Adam pulls the trigger.          Tom SCREAMS as Adam collapses to the floor, blood pouring from           his chest. His body convulses --          INT BEDROOM DAY          -- and Tom's eyes pop open, in bed. That was weird.          Tom blinks, exhausted. Sunlight streams through the window,          right into his face. He squints, looks at the clock. It's          10:26.          TOM          Oh, man...          He sits up, painfully. A beam of sunlight cuts him right          across the eyes.          A MINUTE LATER,          Tom pulls on a pair of jeans. He sits down, puts on a shoe.          But the other one's gone. He feels under the chair. Not          there.          He opens the closet door. Not there. Tom blinks, unsettled.          This is kinda familiar.          He turns and looks at the bed.          (CONTINUED)                                                  72.           CONTINUED:          TOM          Please don't be under there.          He bends down, lifts the blanket, and looks under the bed.          There's his shoe.          TOM (cont' d)          Shit.          He grabs it.          INT BATHROOM DAY          A note is taped to the bathroom mirror -- "WENT TO THE PARK          WITH JAKE. M."          Tom winces as he takes it down and reads it. Again.          INT LIVING ROOM DAY          Shod, Tom comes down the stairs and into the living room.          Frank's not there, thank God.          Tom goes to the front door and opens it.          TOM          Uh... Frank?          But Frank's not on the porch either. Tom steps outside.          EXT FRONT PORCH DAY          It's a beautiful day, but the street is still kind of a mess          from the party yesterday. A SHOUT draws Tom's attention.          Those same two kids ride their bikes at each other, full tilt.          Tom walks down the steps of the porch, staring at them as they          SCREAM. At the last second, one of the kids turns away. The          other taunts him with cries of "Chicken!"          Tom stands frozen on the sidewalk. A bird swoops low over his          head; he really flinches this time. The Mailman waves to him,          headed down the block. Too stunned, Tom doesn't wave back.          He turns, panicked, and looks at Frank's house. He starts to          walk toward it, slowly at first, then picking up speed,          jogging across the driveway. He's halfway there --          -- when a GUNSHOT rings out from inside.          TOM          Oh, God...          (CONTINUED)                                                  73.           CONTINUED:          He races the rest of the way, bounds up the steps to the          house, rips open the screen door. But the front door is          locked. He POUNDS on it.          TOM (coast' d)          ADAM?! ADAM, OPEN THE DOOR!!          He POUNDS harder, but there's no answer. He goes to the          window beside the door and peers through it.          THROUGH THE WINDOW,          he sees Adam lying on the floor in the middle of the living          room.          ON THE PORCH,          TOM          Oh, God, no!          Tom picks up a porch chair and heaves it through the window.          INT FRANK'S HOUSE DAY          Glass SHATTERS and sprays all over the floor. Tom knocks the          rest out of the frame with his elbow and climbs into the          house.          He races over to Adam's body. There is a pool of blood around          his chest and his body is convulsing. In his right hand, he          clutches a 38 with a carved white handle.          TOM          Oh, God, no, Jesus, no, please...          He grabs a blanket off a chair nearby, presses it to Adam's          chest, trying to stop the bleeding.          TOM (cont' d)          This is really happening.., it's          really happening...          CUT TO:          EXT OUR BLOCK DAY          Tom sits on his front steps, shell shocked, red light flashing          off his face. An ambulance and two police cars are parked in          front of the house next door, radios SQUAWKING with official          activity.          (CONTINUED)                                                  74.           CONTINUED:          Tom just stares. A car comes barreling around the corner and          SQUEALS to a halt in front of the house. Frank and Sheila          leap out of the car and race toward the house.          Tom watches as they're intercepted-by a COP who tries to          restrain them for a second. But they're hysterical, they've          obviously been told something serious has happened and they're          desperate to get inside.          They blow past the Cop and hurry up the stairs, just as THREE          PARAMEDICS wheel a stretcher out of the house, headed for the          ambulance. The sheet isn't over Adam's head, at least, but          that's about the only good sign, they're working on him          frantically.          Tom buries his head in his lap as he hears the cries of Adam's          parents -- Frank's anguished, disbelieving BELLOW, Sheila's          horrified SCREAM.          CUT TO:          INT LIVING ROOM NIGHT          CLOSE ON a torn off piece of notebook paper with an address          and a time scribbled on it. The word "Cacophony" is legible.          Maggie picks it up, stares at it for a moment, then hands it          to Tom, who is by the front door, zipping his jacket. He          takes it and shoves it in his pocket. He's nervous. They          both are. She smooths his jacket. He turns to go, but she          tightens her grip on his jacket. Doesn't want to let him go.          TOM          We need some answers, right? Maybe          they're the only ones who have any.          She nods. Thinking of something, she picks up her car keys          from the table by the door and pulls something off the ring.          MAGGIE          I'm sure they're very nice people, but          in case they aren't --          She hands a thin black cannister to him.          MAGGIE (coat' d)          Mace the shit out of `em.          He smiles and shoves it in his pocket. She kisses him.                                                  EXT DINGY STREET NIGHT          Tom walks down a street in a dodgy neighborhood at night,          checking addresses. He stops and looks up, at an old,          formerly grand apartment building that's fallen on hard times.          INT BUILDING - CORRIDOR NIGHT          The corridor is even creepier. And massive. Tom reaches a          door all the way at the end and knocks. A moment later, the          door opens. A very heavy-set woman in a floral print dress          (VIVIAN) smiles at him.          VIVIAN          I hope you like fondue!          INT VIVIAN'S APARTMENT NIGHT          Vivian sets a plate down on a TV tray in front of Tom. There          is a pile of chunks of various hard-to-identify meats, a          silver fondue spear, and a chocolate cupcake with an American          flag stuck in it. Tom sits on an overstuffed couch that's          leaking stuffing.          VIVIAN          Dip away!          TOM          Thank you. Listen, is, uh --          Vivian gives another plate to a man sitting next to Tom,          HERMAN, in his seventies, in a wheelchair, an oxygen tube          running into his nostrils.          TOM (coat' d)          Is there a guy named Neil here? He's          a cop?          VIVIAN          Well, of course he is!          She turns and heads back into the kitchen, passing BEVERLY,          her identical twin, who's wearing the same print dress, this          one with a red background instead of blue. Beverly serves two          people on the far couch, one a THIRTEEN YEAR OLD GIRL, the          other a HOMEY in his early twenties.          Tom picks up a ham chunk and looks at the steaming fondue pot,          full of cheese. Beverly dips and eats, winks at him, and          flits off across the room.          Herman turns to Tom and asks something in a raspy voice.          (CONTINUED)                                                  76.           CONTINUED:          TOM          Excuse me?          Irritated, Herman gestures for him to lean closer. Tom does.          HERMAN          What does it want you to do?          TOM          I don't... I'm sorry, I don't under-          Herman wraps his bony fingers around Tom's wrist.          HERMAN          Then you're not listening!          NEIL (o.s.)          It's his first time, Herman. Give him          a break.          Tom turns. Neil, the cop he saw the other night, has come in          from the kitchen. Tonight he's in street clothes.          NEIL (cont' d)          (points at Tom)          Lemme guess. "Distended parietal          lobe," right?          TOM          (AMAZED)          Who are you guys?          NEIL          Don't have a name. Cacophony Society,          somebody said once, that stuck for a          while. You know, like too many voices          in our heads? I think it's too          melodramatic. How about "fellow          sufferers?"          Vivian comes in from the kitchen with two big gallon jugs of          orange juice. There are AAAAHS1 of appreciation.          TOM          Does everybody here -- see things,          like me?          NEIL          (NODS)          Buncha freaks, huh?          HERMAN          Speak for yourself.          (CONTINUED)                                                   77.           CONTINUED: (2)          NEIL          No, Herman, you're a freak. "Mutants"          is a better word for the rest of us.          He pulls 'ip a chair and sits down opposite Tom. On the other          side of tie room, Vivian and Beverly tell an animated two-part          story to he teenage girl and the homey, finishing each          others' se. .tences .          NEIL (cont' d)          Like any other part of our body, our          brains have evolved a lot in a hundred          thousand years. Our first thoughts          were formless. Struggling          consciousness. Sensation. An          instinctive tie to our environment.          But then our brains began to focus.          We sacrificed the intuitions we first          had so our thoughts could be directed,          so we could master specific functions.          That's where we are at the moment.          We're brilliant with technique, but          we've given up instinct. So the next          evolutionary step, the step yet to          come, or perhaps it's already in the          making, is actually backward. To          maintain our higher functions, but          reawaken the part of our brain that          was pure intuition. That was          receptive to anything, because it          didn't know enough not to believe.          You're a freak of nature, pal, an          evolutionary step. You're double-          jointed.          (taps his head)          Up here.          TOM          Are we the only ones?          NEIL          Hardly. I've heard of groups like          ours in San Francisco, New York,          Minneapolis -- those are just the          cities I've been to. Tom, you're what          they used to call a medium. You're          like a man in a dark tunnel with a          flashlight, but the light only goes on          once in a while. When it flickers on,          you get a glimpse of something, but          not enough of a glimpse to know what          it is. Just enough to know it's          there.          (CONTINUED)                                                   78.           CONTINUED: (3)          TOM          What about my son?          NEIL          (sn files)          The ncxt generation. Much better          flashlight.          TOM          Wright, if there's all these people          who got this power, why doesn't          everybody know about it? Why isn't it          common knowledge?          NEIL          It is. A lotta people know.          Unfortunately, the easiest people to          convince, the believer types, they          also tend to be the dumbest. And          people who demand proof -- well, this          isn't something we can control, it          comes when it comes, so if you can't          make it happen, how can you prove it?          It's like that singing frog in the          cartoon, but when the guy puts it on          stage it just croaks and he looks like          a jerk.          Herman laughs, horribly. He likes that cartoon.          NEIL (cont' d)          Some of us try anyway. I say who          needs that kind of aggravation?          TOM          This all started when I was          hypnotized. Is that how it always is?          NEIL          First time I've heard that one. it          comes all different ways. Sometimes          it goes the same way it came.          TOM          So it does go away.          NEIL          For some people. Don't look for          rules. We're off the map here.          HERMAN          What does it want you to do?          (CONTINUED)                                                   79.           CONTINUED: (4)          TOM          What does what want me to do?          HERMAN          You saw a ghos-, didn't you?          Z 'M          Yeah. Twice. t. girl that disappeared          from my neighborhood. Now the kid          next door just tried to kill himself.          I think he knew something, but now          I'll never know what it was. And I          gotta know.          HERMAN          Look, what'd the bitch want?          TOM          Why do you assume she wants something?          NEIL          They always do. Something they need          finished, something they can't do any          more.          TOM          Why me?          NEIL          Because she's confused. Doesn't know          why other people won't answer her.          She only knows that you will. If she          hasn't asked for something yet, she          will. And once they ask, it's very          difficult to stop yourself from doing          it.          TOM          What do you mean? She can, it can          make me do something I don't want to          do?          NEIL          Oh, no. You'll want to. Badly. You          won't think about anything else. You          won't sleep. You won't eat. You'll          lie. And God help anyone who tries to          stop you.          TOM          What if I stop me? What if I just          don't do it?          (CONTINUED)                                                   80.           CONTINUED: (5)          HERMAN          Then you got a weird bitch friend for          the rest of your life.          NEIL          Just listen to her, Tom Let her tell          you what she wants.           CUT TO:          INT PHILIP'S APARTMENT - HALLWAY NIGHT           A HAND pounds on an apartment door. Philip opens up. He was          asleep.          PHILIP          What, what, what?          TOM          I want you to hypnotize me again.          INT PHILIP'S APARTMENT NIGHT          Tom paces the floor in Philip's apartment.          PHILIP          Just slow down, you gotta be a little          patient with me here, `cause, um...          well, Tom, Tom, I've got a confession          to make. See I, I, I just smoked this          great big fatty a few minutes before          you walked in, so this shit you're          tellin' me here is fuckin' with my          mind just a little bit extra, okay?          Tom grabs a chair from Philip's desk and sits.          TOM          Do it.          MOMENTS LATER,          they sit face to face.          PHILIP          Okay. Close your eyes.          Tom closes his eyes.                                                  81.           IN THE BLACK,          PHILIP (o.s.)          Just like last time -- I want you to          concentrate. Listen to the room          around you.          Tom listens. The factory CHURNS softly outsioi the windows.          A few CARS in the street below. His BREATHING.          PHILIP (cont' d)          Now focus. Concentrate. Look at the          backs of your eyelids. Do you see          anything there?          IN PHILIP'S APARTMENT,          TOM          (opens his eyes)          Would you just get to it, please?          PHILIP          All right, all right.          Tom closes his eyes again.          PHILIP (cont' d)          I want you to pretend you're in a          movie theatre.          INT MOVIE THEATRE NIGHT          We're sitting alone in an empty movie theatre. The seats and          walls are covered in black velvet.          PHILIP (o.s.)          It's very dark. Everything is covered          in black velvet. The seats, the          walls, the floor. In the whole pitch-          black theatre, there's only one thing          you can see. The white screen. You          drift toward it, in your chair.          Up ahead of us, the screen is a dazzling white. We move          slowly toward it, floating over the seats.          PHILIP (o.s.)          There are letters up on the screen.          Tall, thick, black letters, but          they're out of focus. You drift          closer to them.          (CONTINUED)                                                  82.           CONTINUED:          We do drift closer to the blurry letters, but our attention is          diverted by something. Three rows from the screen, there is a          figure in one of the seats, its back to us.          INT PHILIP'S APARTMENT NIGHT          Tom's eyes are sill closed. His face furrows in conctrn.          TOM          There's someone in here.          PHILIP          No, it's empty.          TOM          There's someone else here.          PHILIP          No, man, I said you're alone in the          theatre.          INT MOVIE THEATRE NIGHT          But there is someone in the theatre with us, and we continue          to drift forward toward them.          PHILIP (o . s . )          You're comfortable in your black          velvet seat, very comfortable...          Actually, we're quite nervous, drifting closer and closer to          that figure sitting in the third row, its back to us.          PHILIP (o . s . )          Your feet and ankles are relaxed.          Your legs are relaxed.          INT PHILIP'S APARTMENT NIGHT          Tom's eyes are still closed. His chest is twitching.          TOM          hard to breathe          INT MOVIE THEATRE NIGHT          The figure in the seat is only a row or two ahead of us now.          It's a woman. We keep drifting closer.          PHILIP (o . s . )          Your hands are limp and heavy. Your          arms are relaxed. Your face.          (CONTINUED)                                                  83.           CONTINUED:          Our hand reaches out, touches the shoulder of the woman. She          turns.          It's Samantha. Her face is shrouded in plastic. Her mouth          presses against the plastic, it forms a horrible round 0,          contorted in a silent scream.          INT PHILIP'S APARTMENT NIGHT          Tom's eyes flicker madly under the lids. Philip's worried.          PHILIP          I want you to look at the screen.          TOM          (GASPING)          I can't breathe!          PHILIP          Look at the screen, Tom.          INT MOVIE THEATRE NIGHT          Now Tom's not just an observer in the movie theatre, he's in          the movie theatre, sitting right next to Samantha. She's          pawing at him, it's all he can do to fight her hands off. In          their struggle, his fingers close around the plastic that          shrouds her face. He sweeps it off her head.          PHILIP (o.s.)          The screen, Tom, look at the screen!          You can read the letters now!          Samantha's face is bloodied and bruised, as the plastic comes          off she GASPS for air and lets out a ghastly, inhuman SHRIEK          that fills the theatre. Philip's voice gets louder as he          struggles to maintain control of the hypnosis.          PHILIP (o.s.)          Look at the screen, Tom, you're close          enough now, you can read the letters,          you're right up next to them!          Tom, still holding off Samantha's grasping hands, turns and          looks up at the movie screen.          PHILIP (o . s . )          The letters come into focus, they          spell --          Tom's eyes widen as he stares at the screen. Three huge          letters pop into focus and fill our field of vision. The          letters say:          (CONTINUED)                                                  84¬Ä¢           CONTINUED:          DIG                                                   85.           INT PHILIP'S APARTMENT NIGHT          Tom's eyes pop open and he staggers backwards, gasping for          air, knocking the chair out from under himself. He falls back          against Philip's desk, scared out of his mind.          PHILIP          What?! What happened?!          TOM          Couldn't breathe...          PHILIP          Are you okay?!          Tom wipes his brow, he's covered in sweat.          TOM          Plastic, like sheets of plastic...          He shoves Philip out of the way, finds the refrigerator on the          other side of the room. He rips it open, searches for          something to drink. Philip follows him.          PHILIP          I think you need to sit down, man,          something very next level was          happening there, you should have seen          your face.          Only beer in the fridge. Tom CRACKS one open and upends it.          PHILIP (cont' d)          Uh... want a brew?          Tom drinks the entire can.          PHILIP (cont' d)          Feel better?          Tom nods, wiping his chin.          PHILIP (cont' d)          What happened?          Tom looks at him, calming.          TOM          She told me what she wants.          CUT TO:                                                  EXT TOM & MAGGIE'S HOUSE DAY          Maggie's Sentra pulls into the driveway of their house,          parking behind Tom's phone company truck. She gets out,          dressed in work clothes, and pulls two bags of groceries out          of the trunk. She looks at Tom's truck, then at her watch.          Home already?          INT TOM & MAGGIE'S HOUSE DAY          Maggie comes in the front door.          MAGGIE          (calling out)          Hey! You're home early!          She struggles to take the keys out of the door while still          holding the groceries.          MAGGIE (cont' d)          Can you pick up Jake? I'm exhausted!          She comes in and kicks the door shut behind her. Tom's          nowhere to be seen. From somewhere in back, there is a faint          CRUNCHING sound.          MAGGIE (cont' d)          Hello?          No answer. She heads into the kitchen with the groceries.          INT KITCHEN DAY          In the kitchen, a letter is waiting in the tray of an old fax          machine on the counter. Maggie stops in the doorway, staring          at the floor. Muddy footprints lead into and out of the          kitchen, through the door to the back. Thick chunks of wet          mud are everywhere.          MAGGIE          Hey, look what I'm not cleaning up.          She sets the groceries down on the counter and pulls out a          gallon of milk. She opens the refrigerator. She does a          double take. The entire top shelf is jammed with cardboard          cartons of orange juice.          From outside, the CRUNCHING sound comes again. She follows          the muddy footprints out the kitchen door.                                                  EXT BACK YARD DAY          The back yard is smallish, but it's a nice little patch of          grass. Used to be, anyway, because now there are three large          holes in it, dug seemingly at random locations. Large piles          of dirt and rock are heaved up next to the holes.          Tom stands in one of t1.e holes, his back to Maggie, hoisting a          large pick axe high over his head. CRUNCH. He brings the          pick down, into the hole. Busy guy.          Maggie is aghast. She walks slowly across the yard, past a          pile of shovels and buckets and other tools. She draws closer          to him.          MAGGIE          Tom?          Tom raises the pick high and brings it down hard. CRUNCH.          The hole he's in at the moment isn't more than two or three          feet deep. But, hey, it's early.          Maggie draws closer. In between swings --          MAGGIE (coast' d)          Tom.          Tom whirls, the pick raised to defend himself. His shirt's          off, his chest and face are streaked with mud and sweat.          Maggie jumps back.          TOM          You scared me.          And with that, he turns back to the job. Swing. CRUNCH.          MAGGIE          S scared you?          Swing. CRUNCH.          MAGGIE (cont' d)          Tom.          Swing. CRUNCH.          MAGGIE (cont' d)          What are you doing?          TOM          (doesn't turn around)          I'm supposed to dig.          (CONTINUED)                                                  88.           CONTINUED:          Swing. CRUNCH.          Maggie walks around him, so she's facing him. He keeps          working.          MAGGIE          What do you mean?          Zom shrugs. Swings the pick.          TOM          I'm supposed to dig.          MAGGIE          Who says?          He just looks at her from under his sweaty brows. You know          who.          MAGGIE (cont' d)          Oh.          Tom manages to break apart the rock he was working on with the          pick. He tosses the axe, which bounces crazily across the          grass at Maggie's feet. She jumps out of the way. He hoists          himself out of the hole and picks up the garden hose. He          sprays water into the hole.          MAGGIE (cont' d)          Why are you doing this?          TOM          Water softens up the dirt.          He tosses the hose aside and grabs a shovel. He jumps back in          the hole and starts to dig.          MAGGIE          No, I mean... Could you stop for a          minute?          (he keeps digging)          Would you please stop for a minute?          TOM          What don' t you get? I'm supposed to          dig.          MAGGIE          TOM! I'M ASKING YOU TO STOP FOR ONE          MINUTE!          He looks up, supremely irritated, and leans on the shovel.          "Well?"          (CONTINUED)                                                   89.           CONTINUED: (2)          MAGGIE (coat' d)          M2y are you digging?          TOM          (isn't it obvious?),          I'm searching.          MAGGIE          What are you searching for?          TOM          The question isn't "what." We both          know very well "what," even if we          don't want to may it out loud. The          question, Maggie, which, as you can          plainly see, I am very busy trying to          answer -- the question is "Where?"          MAGGIE          I think we should call the police.          TOM          And tell them what, exactly? Run it          by me once. Practice, see how it          sounds.          (looks at his watch)          Anything else?          MAGGIE          Why don't you come in the house with          me? Take a break. I want to talk to          you, you're not yourself right now.          TOM          This is just fucking typical, isn't          it?          He climbs out of the hole and walks toward her.          TOM (cont' d)          What do you want me to do, Maggie, you          want me to go inside, sit down in          front of the TV, drink eight or nine          beers till I fall asleep in the chair?          Like that? Maybe repeat the whole          thing tomorrow and the day after and          the day after and the day after and          the day after and the day after and          the day after and the day after and          the day after and the day after and          the day after and the day after and          the day after and the day after and          the day after and the day after-          (CONTINUED)                                                   90.           CONTINUED: (3)          MAGGIE          STOP!          TOM          -until I grab my chest-and die?!          May )e I was already dead! This is the          mos. important thing that's ever          happ‚Ä¢ned to me, the most important          thins I've ever done in my life,          Maggie, my whole stupid life, and you          want me to just STOP?!          By the and of his tirade, TWO NEIGHBORS are staring over the          back fence. He's only a few feet from Maggie now, the veins          in his neck standing out. She holds her ground.          MAGGIE          (QUIETLY)          I've known you since I'm nineteen          years old, you never talked to me like          that before. Not one time.          He stares at her, furious --          -- and then jumps in the hole and starts digging again.          Maggie turns and stalks across the yard and into the house.          Tom keeps digging for a moment, then hurls the shovel across          the yard.          TOM          InterRUPtions!          He picks up his tee shirt, snakes angrily into it, and marches          across the yard toward the house.          TOM (cant' d)          (to the Neighbors)          What are YOU lookin' at?          INT KITCHEN DAY          Maggie site at the kitchen table, reading the letter that came          in on the fax. Tom comes into the room behind her, pauses in          the doorway, composing himself. She keeps reading. He sighs,          heavily. She doesn't turn around.          He goes to the refrigerator and takes out a carton of orange          juice. He takes two glasses from a cupboard and sits down at          the table opposite her. He fills both glasses and puts one in          front of her. She looks up at him as he drains his. He          pauses, staring at her.          (CONTINUED)                                                  91.           CONTINUED:          TOM          You gonna drink that?          She doesn't answer. He takes her glass, drinks some.          TOM (cone' d)          I'm sorry.          No answer.          TOM (coat' d)          Okay, I'm not sorry.          She ignores him. He looks at the letter in her hands.          TOM (cont' d)          Who's that from?          MAGGIE          My brother Steve. My mother's going          back in the hospital again.          TOM          (IMMEDIATELY)          No, sh-          He stops himself. She looks at him.          MAGGIE          What?          He shakes his head.          MAGGIE (cont' d)          What?          TOM          Nothing.          They stare at each other. Tom's face is pale. Maggie is          concerned.          The phone RINGS. Maggie stares at Tom. The phone RINGS          again. She lowers her voice, pleading.          MAGGIE          What is it?          Tom can't look at her. The phone RINGS again. Tom gets up,          opens the door that leads to the back yard, and goes outside.                                                  EXT BACK YARD DAY          Tom takes a few steps out of the house, putting his hands to          his head in pain. Whatever it is, he knows. In the house,          the phone rings a fourth time. Maggie's voice drifts through          the open doorway as she answers i;.          MAGGIE ( - 9.)          Hello?          Tom closes his eyes.          MAGGIE (o.s.)          Steve, I was just going to-          She stops. There is a long silence. Tom opens his eyes. A          tear runs down his cheek. He wipes it away.          He turns and walks back toward the house, slowly. There is          dead silence inside. As he nears the doorway, he hears the          sound of the telephone being placed back in its cradle.          Maggie reaches the doorway at the same time Tom does. She          looks up at him, her eyes filled with tears. He puts his arms          around her and she breaks down. He holds her.          He holds her for a long moment.          MAGGIE (cont' d)          You knew.          (no answer)          You knew, didn't you?          TOM          When's the funeral?          MAGGIE          Sunday. We should leave as soon as we          can.          TOM          We?          She stiffens.          TOM (cont' d)          Oh, you, uh... you want me to go with          you?          She looks at him, deeply hurt. Then enraged. She pushes him          away from her, hard. He stumbles back into the yard.          (CONTINUED)                                                  93.           CONTINUED:          TOM (cont' d)          Hey, I just thought, maybe, you          know... your family might want...          MAGGIE          Do I WANT you to come with me:! To my          MOTHER'S FUNERAL?! Of COURSE L want          you to come, why the hell WOULLV'T you          come?!          But he's looking past her, at the holes in the yard.          TOM          I'm just... kind of in the middle of          something here.          She looks at him, absolutely incredulous --          -- and then storms back into the house, SLAMMING the door so          hard two of the glass panes spiderweb.          CUT TO:          EXT DRIVEWAY DAY          Jake, twisted around in his car seat, looks out the back          window of Maggie's car. He raises one hand, waving.          Tom stands in the open doorway of the garage, still in his mud-          stained jeans and tee shirt. He waves back.          The car pulls out of the driveway, fast, and ROARS off down          the block. Jake and Maggie are gone.          EXT BACK YARD DAY          There are now five large holes in the back yard, and Tom is          running out of places to dig. Nevertheless, he drags the hose          across the yard to an untouched patch of grass in the far          corner.          He stops short. Hose won't reach.          AT THE SPIGOT,          he unscrews the hose and carries it across the yard.          AT ANOTHER SPIGOT,          this one in the far corner, he reconnects the hose and turns          on the water. Nothing comes out.          (CONTINUED)                                                  94.           CONTINUED:          TOM          Come on!          Tom curses and trudges back toward the house.          INT KITCHEN DAY          Tom gets a screwdriver from a tool drawer in the kit-hen.          INT DINING ROOM DAY          Tom stomps into the dining room and goes to a closet on the          far wall. He opens the door and tosses aside a carpet flap          that covers the floor. He shoves the screwdriver into a crack          in the floor and pries up a trap door, two feet square, in the          middle of the closet floor.          Through the hole, he can see a ladder resting up against the          wall below. He feels for the rungs with his feet and starts          to climb down.          INT BASEMENT DAY          As Tom climbs down, he reaches out for a chain that hangs from          a bare bulb in the ceiling and turns it on. They have only a          partial basement, a ten by ten foot space about eight feet          deep. The rest of the area under the house is just crawl          space, barely enough to wriggle through.          Tom reaches the bottom and goes to the far side, where a mess          of water pipes all converge. He picks through them, finds the          valves that lead outside, turns one off and another one on.          WATER surges through the pipes, headed out to the far spigot.          He turns to climb back up the ladder.          And stops.          He looks down, at the floor. It's dirt.          He kicks at the dirt with his shoe, thinking.          A FEW MINUTES LATER,          the pick axe falls. Tom has brought all his tools into the          basement and is now digging in the middle of the basement          floor. The bare bulb throws his exaggerated shadow on the          earthen walls.          He works.                                                  EXT OUR BLOCK DAY          It's quiet in the neighborhood. The CRUNCHING sound of Tom's          pick axe falling echoes over the block.          INT BASEMENT DAY          Tom digs. The hole is almost four feet across, five feet          deep. He's uncovered a large rock, a major chunk of stone,          right in the middle of where he wants to dig. He's excavated          all around the edges of the thing and is trying to wedge it          loose with a pry bar, but it won't budge.          Tom collapses onto the floor, leaning against the pile of mud          and stone he's already hauled out. He thinks.          CUT TO:          INT YARD SUPPLY WAREHOUSE DAY          Tom walks down an aisle along one wall in a huge yard supply          warehouse. Tools are mounted on the wall for sale -- shovels,          picks, post hole diggers. Got all that. Tom keeps walking.          The tools get bigger. Huge shovels. Tractor blades. Hand          pile drivers. Almost, but not quite. Tom keeps walking.          At the end of the row, underneath a sign that says "FOR RENTAL          ONLY" is an industrial-size jackhammer, the kind road crews          use to bust through whatever's in their way.          Tom's face lights up.          EXT STREET DAY          The jackhammer rides in the back of Tom's pickup truck,          rattling along as the truck bounces over potholes. Tom pulls          into his driveway, comes around, and drops the gate.          Using all his strength, he wrestles the jackhammer out of the          back of the truck. It's incredibly heavy, it takes all his          strength to haul it up the stairs, kick open his door, and          bring it into the house.          IN THE STREET,          Lenny, the neighborhood crank, is washing his car. He hears a          CRASH from over at Tom's place and turns. He sees Tom at his          pickup, lugging a huge air compressor out of it.          Tom fights his way into the house with the compressor.          Lenny stares at him.          (CONTINUED)                                                  96.           CONTINUED:          Sheila, carrying flowers and looking like didn't sleep last          night, comes out of her house and heads for her car. She          stops and stares too.          INT BASEMENT DAY          In Tom's basement, the compressor descends through the trap          door above, seemingly of its own accord -- than we see it's at          the end of a rope and Tom is up in the trap door space,          sweating and straining, lowering the thing down.          It settles on the floor next to the jackhammer.          A BIT LATER,          Tom reaches up to the hanging light bulb, which also has an          electrical outlet in its fixture, and plugs in a yellow safety          cord.          He flicks a switch on the compressor and it RATTLES to life.          He follows a hose over to where it plugs into the side of the          jackhammer, which now quivers with unleashed power.          Tom picks up the jackhammer. He hauls it over to the rock          that's been in his way. He positions the jackhammer's spike          on the top of the rock. He lowers a pair of goggles over his          eyes. He swings his weight up, onto the jackhammer, and          squeezes the handles.          The jackhammer ROARS to life. It's deafening. Tom's whole          body quivers. It's like riding a bull, but the rock begins to          split in half.          Tom WHOOPS with joy, barely heard over the din that echoes in          his basement.          EXT STREET DUSK          As the sun goes down, the sound of the ROARING jackhammer is          plainly audible on the block. The familiar Homeless Guy stops          and SHOUTS something at Tom's house.          Across the street, Kurt Damon comes out his front door and          stares at Tom's house. What the hell is that guy up to?          CUT TO:          INT UNCLE STEVE'S HOUSE NIGHT          A group of PEOPLE IN DARK CLOTHES mill around a living room,          muttering in the soft tones of those at a wake.          (CONTINUED)                                                  97.           CONTINUED:          There's a lot of big Irish guys drinking beer, guts stuffed          into sweat-stained white shirts. Maggie excuses herself from          the group and steps into another room.          INT STEVE'S BEDROOM NIGHT          The door is ajar, people visible through it as Maggie dials a          nu-rber on a bedside telephone. The phone rings on the other          enc. And rings. And rings. Just as she's about to hang up,          Tom answers.          TOM (o.s.)          (sounds angry)          Hello?          MAGGIE          It's me.          TOM (o.s.)          (changes his tone)          Oh, hi. How ya doin'?          MAGGIE          I'm okay.          TOM (o.s.)          How's your family?          MAGGIE          You know. Drunk. Fighting with each          other.          TOM (o.s.)          Listen, Maggie, I'm sorry. I was an          asshole. I should be there with you          right now.          MAGGIE          Yeah, well, what can I say? You are          kind of an asshole. How do you feel?          TOM (o.s.)          Fine. A lot better. Much, much          better. Everything's fine here. Real          good.          MAGGIE          Have you had any-          TOM (o.s.)          Nope. Not even one.          MAGGIE          No, uh... no more digging?          (CONTINUED)                                                  98.           CONTINUED:          TOM (o.s.)          No. Uh uh. Back to normal.          MAGGIE          Look, I'm sorry too. I' wish I hadn't          just stormed out of there, I shouldn't          have left you alone.          TOM (o.s.)          I deserved it.          MAGGIE          Are you okay? You sound funny. What          are you doing?          TOM (o.s.)          Just... moving a chair. There.          MAGGIE          Why don't you come up here with us?          This time of night you could make it          in an hour.          TOM (o.s.)          Well, I can't, really.          MAGGIE          Why not?          TOM (o.s.)          (a lame lie)          I'm, uh, not supposed to use the truck          for personal trips.          MAGGIE          (trying to keep her cool)          Alright. I'll come down there and get          you. I'll leave right now.          Behind her, the bedroom door swings open. Jake stands there.          He looks terrible. She doesn't hear him come in.          TOM (o.s.)          No, no, no, no, no, what do you want          to do that for? Don't come down here.          JAKE          Feathers everywhere.          Maggie turns back to Jake -- and GASPS. He's peeing his          pants, the urine drizzling down over his shoes.          (CONTINUED)                                                   99.           CONTINUED: (2)          MAGGIE          (into phone)          Oh, my God, I gotta go. I'll be there          in an hour.          TOM (o.s.)          Maggie, wait, no, Mag-          She hangs up the phone and races over to her son.          MAGGIE          Honey, what happened? Why didn't you          tell me you had to go to the potty?          Jake turns and looks at her.          JAKE          Help Daddy.          CUT TO:          INT TOM & MAGGIE'S DINING ROOM NIGHT          Tom SLAMS down the phone. He's standing in the dining room,          which is now so mud-spattered it looks like the inside of a          cave. The table has been shoved against the wall, legs          sticking out into the room. One corner is filled with a pile          of broken-up chunks of rock. Tom strides across the room in          two steps, lowers himself, and drops his legs through the open          trap door.          INT BASEMENT NIGHT          Tom sails down into the basement and lands nimbly on the          floor. Doesn't even use the ladder anymore.          The rock is gone, broken apart by the jackhammer, and the hole          is now eight feet long and as many wide, and about four feet          deep. Tom leaps down into it and goes back to work.          CUT TO:          INT STEVE'S HOUSE NIGHT          In the front hall of the house, Maggie is putting on her coat.          Jake sits on the steps, his coat on the carpet next to him.          MAGGIE          Jake, come on, we have to go.          JAKE          I'm staying here.          (CONTINUED)                                                  100.           CONTINUED:          MAGGIE          What?          JAKE          I want to stay at Uncle Steve's, I          don't want to go home.          MAGGIE          Why not?          JAKE          Because I'm not safe there. Because          of the feathers.          MAGGIE          What does that mean, Jake?          He shrugs. Philip, Maggie's brother, stands in the doorway to          the other room.          PHILIP          It's okay, I can watch him.          Maggie, in a hurry, agrees. She bends over and kisses Jake on          the forehead.          MAGGIE          Be good.          She opens the door and heads out. As it's swinging shut:          JAKE          Don't stop for the train, Mommy.          EXT UNCLE STEVE'S HOUSE NIGHT           Maggie hears that just as the door closes behind her. She           misses a step, thinking about it, then starts walking to her          car.          She walks faster.          Then she runs.           CUT TO:          INT BASEMENT NIGHT          In the basement, Tom abruptly stops digging, staring at the          dirt. The corner of something shiny is sticking out from the          pile. He bends down and pulls it out.          (CONTINUED)                                                  101.           CONTINUED:          It's a piece of clear blue plastic sheeting, about two inches          square. Tom's hand starts to shake as he holds it.          AN IMAGE          flas.es through his mind again, the one he's seen twice          befoi-. A FACE, too close to his, sting at him through that          blurr blue, like through bad eyeglasses.          IN THE BASEMENT,          Tom turns and leaps into the hole, shovel in hand. He begins          to dig, wildly, flinging dirt in all directions. At one end          of the hole, his shovel slips, the dirt spilling off it as it          sticks on something. Something buried.          Tom drops the shovel. He falls to his knees and uses his          hands to rake the dirt away from whatever it was.          More blue plastic.          Tom tugs out about eight inches of the plastic, gets a good          grip on it with both hands. He pulls it up.          Like a rope pulled out of the sand, the edge of the blue          plastic rises up, unearthing itself in a line down the middle          of the pit.          Breathing hard, Tom grabs the shovel again.          THE DIRT,          flies away from the plastic as Tom works furiously.          TOM'S FACE          is of a man possessed. He digs as fast as he can.          FINALLY,          Tom stands back, staring down at what he has unearthed.          Above him, we see what it is. A long piece of blue plastic,          wrapped around something about five and a half feet long and          two and a half feet wide.          Tom bends down and lays one hand on the plastic. He flinches.          AN IMAGE          pops into his mind, another familiar one. A FIGURE IN Afl          OVERCOAT, standing on the front porch of Tom's own house in          winter, waving to us to come up.          (CONTINUED)                                                  102.           CONTINUED:          IN THE BASEMENT,          Tom jerks his hand off the plastic. He swallows.          He goes to hi= toolbox and pulls out a utility knife. He          slides the ra or blade forward.          He goes to one and of the plastic, bends down, and jams the          knife through the sheeting. He walks the length of it, making          a slit down the middle. He reaches out with shaking hands and          pulls part of the plastic back.          The first thing he sees is a partially decomposed human hand.          Around the withered wrist, there are a half dozen multi-          colored bracelets.          Tom yanks the rest of the plastic away, revealing the half-          decomposed body of Samantha Muller, still in the black dress          with the diamond pattern. Tom stands there, his chest          heaving.          He looks at her hand, thinking.          He sits down next to her.          He reaches out for her hand, then pulls his own back.          Can't do it.          But he's gotta. He opens his hand, reaching out for hers. He          slides his hand underneath --          takes a deep breath --          -- and closes his living fingers around her skeletal ones.          He GASPS.          His face turns a horrible shade of pale, his lips go ice blue,          and STEAM comes out of his mouth, the way it did hers when he          first saw her in his living room.          EXT TOM'S HOUSE DAY          It's a wintry day. That same steam rises up in front of us,          coming from our own mouth. We're looking at the front porch          of Tom's house as we walk past it. The house is being          remodeled, it's surrounded by scaffolding, its windows covered          with plastic Duvateen.          The Figure in the Overcoat waves to us.          (CONTINUED)                                                  103.           CONTINUED:          FIGURE          Hi!          SAMANTHA          (off screen, we're in her point          of vie sr)          Hi.          FIGURE          C'mare a sec!          SAMANTHA          What?          FIGURE          I want to show you something!          We look back, over our shoulder, then back at the Figure. You          mean me? This close now, we see the Figure is Kurt Damon.          SAMANTHA          You want to show me something?          Her manner of speech is childish, like a grade-schooler's.          KURT          (CHARMING)          Well, of course! I don't see anybody          else around!          We start up the steps of the porch. Kurt smiles, beguilingly,          and holds a hand out to us.          SAMANTHA          What is it?          KURT          It's a surprise.          He tugs. She resists.          SAMANTHA          What kind of surprise?          KURT          Well, if I told you, it wouldn't be          much of a surprise, would it?          We let him pull us through the door.                                                   104.           INT HOUSE DAY           Kurt leads us into the living room. The windows are covered           with tinted plastic, casting an eerie blue light through the          place.          Adam McCarthy is in the living - loom too, drinking from a           bottle of schnapps. He's drunk, slurring. He sees us.          ADAM          Happy St. Patrick's Day.          SAMANTHA          What's the surprise?          ADAM          Uh... don't you have it?          He giggles.          KURT          Oh yeah, the surprise.          ADAM          The surprise.          They laugh and look at each other. Kurt drinks, then forces          the bottle back at Adam.          ADAM (cant' d)          I'm too wasted.          KURT          Drink, motherfucker, drink          motherfucker, drink motherfucker          DRINK!          He wrestles with Adam, forcing him to drink. Half of it runs          down Adam's chin.          SAMANTHA          I don't think there is a surprise.          We turn and start for the door. Kurt hurries around,          intercepts us.          KURT          Yeah there is, yeah there is.          He puts his arm around us, leads us back into the room.          (CONTINUED)                                                  105.           CONTINUED:          KURT (cont' d)          The surprise is... we decided we want          to be your friends.          SAMANTHA          You do?          ADAM          Oh, yeah, so bad.          He laughs.          SAMANTHA          Why do you want to be my friend?          KURT          Are you kidding? Look at yourself!          Kurt turns Samantha toward an old mirror that hangs over the          fireplace. She's good-looking, if she knew it. Terribly          insecure, doesn't even like looking at herself. We turn away,          embarrassed.          KURT (coast' d)          Ah ah ah, look!          He makes us look in the mirror again.          KURT (cont' d)          Mama, you are hot.          He turns her toward him, looks at her, closely.          KURT (coast' d)          (SOFT)          Come on, let's be friends.          SAMANTHA          Well.., you can kiss me if you want          to.          Kurt leans in close, kisses us. After a moment, we force our          head away, looking down. Kurt's hand is on Samantha's breast.          We push him back.          SAMANTHA (cont'd)          Not like that!          But Kurt pulls us closer, roughly. We struggle.          KURT          Come on, Samantha, I'll be your          friend, I swear I will.          (MORE)          (CONTINUED)                                                   106.           CONTINUED: (2)           KURT (cont' d)          Just be nice to me. Be a good girl.          You're a good girl, aren't you?          SAMANTHA          I have to go home.          We struggle some more. He gets his powerful hanis on our          shoulders and starts to push us down.          KURT          Come on, baby, how `bout a little          helmet wash?          His belt buckle comes into our view, and his hands on it. We          tear away, get up and run for the door.          From behind, something hits us very hard. The floorboards          race up at us, all of a sudden. We land on them, hard, bounce          off, our own blood spraying out on the unfinished wood.          Our head lands sideways on the floor. We see Adam McCarthy,          vomiting in the corner.          Abruptly, we're rolled over and are staring at the ceiling.          Kurt Damon is on top of us, his face too close. Her hands          rise up, try to push him off, but he's stronger.          Samantha starts to SCREAM. Hands close over our face. She          bites, and the hands are pulled away. She SCREAMS again.          KURT (cont' d)          SHUT UP! SHUT UP!          Kurt holds her down, begins to try to undress her. She          writhes and SCREAMS. She gets one hand into Kurt's hair and          pulls as hard as she can. He SHOUTS in pain.          In the corner, Adam McCarthy has his hands over his ears.          ADAM          MAKE HER STOP! MAKE HER STOP          SCREAMIN', MAN, MAKE HER STOP!          But she keeps screaming. Adam staggers to a boom box that's          sitting on the fireplace mantle and flicks a switch. A SONG          comes on, loud. It's a haunting tune, we recognize it.          St's the song Jake has been humming.          Kurt continues his fumbling, drunken attempts at rape, tearing          her hand out of his hair.          (CONTINUED)                                                   107.           CONTINUED: (3)          KURT          SHUT HER UP! USE YOUR JACKET OR          SOMETHING'          Adam lunges to the wall and tears down a sheet of the blts          plastic Duvateen. He races over to us with the sheet --          -- and everything turns blue. Now our sights and sounds aye          muffled and distorted through the blue plastic. We see the          image that has haunted Tom, the face of Kurt Damon, a blue          demon as he grapples on top of us.          IN TOM'S BASEMENT,          Tom is sprawled out beside the corpse, their hands locked          together. His color is cadaverous. He's suffocating. He          thrashes.          IN THE HOUSE,          back in Samantha's point of view, we struggle, we thrash, it          seems to go on forever. Slowly, the sounds become fainter and          fainter and fainter...          and everything stops. We hear the muffled voices of Kurt          and Adam SCREAMING at each other.          The sheet is ripped off. We stare up at them as Kurt and Adam          stand above us, chests heaving, revolted looks on their faces,          looking at us like we're a dog they just killed with their          car.          ADAM          Oh, my God.          KURT          What the fuck did you do that for?          ADAM          Is she dead?          KURT          No shit she's dead.          ADAM          Oh, my God.          KURT          Look at her tongue, man.          ADAM          I'm not here.          (CONTINUED)                                                  108.           CONTINUED:          KURT          I never saw nobody dead before.          We start to fall back, and down, as if sinking into the floor.          Kurt and Adam grow taller, further away. Their voices fade.          ADAM          I wish I wasn't here.          KURT          It's fuckin' gross.          ADAM          This isn't happening.          KURT          Fuckin' plastic over her face. Good          thinkin', Adam.          ADAM          What do we do now?          Kurt and Adam are very far away, blobs of light at the end of          a black tunnel that's closing in around us. Just before          everything goes completely black --          INT BASEMENT NIGHT          Tom's fingers twitch open and his hand pulls free of          Samantha's. He opens his eyes and gulps air. The color          returns to his face as he pulls his hand away from hers.          But as he does so, he stops, staring intently at something in          her fingers. We don't see what it is.          Tom draws himself to his feet and climbs the ladder that leads          upstairs.          As he goes, we pause, looking between two rungs near the top          of the ladder. In the darkened crawl space under the rest of          the house --          -- a pair of eyes stare at us.          It's Kurt Damon. He twists around quickly and scoots back out          under the house, the way he came in.          EXT TOM'S HOUSE NIGHT          Under the front porch, a wood frame access panel lies on the          grass next to the foundation of Tom's house, where it has been          removed. Kurt Damon wriggles out from under the house and          comes onto the grass.          (CONTINUED)                                                  109.           CONTINUED:          But the sound of the front door of Tom's house opening sends          him scurrying back into the shadows. TOM'S FEET come down the          steps and head off across the driveway.          A moment later, Kurt darts out from'his hiding place and          hurries across the street, toward his own house.          "om, nearing the front steps of Frank's house next door,          thought he heard something. He turns back, but Kurt is gone.          Tom climbs the steps to Frank's house. Bouquets of flowers          have been left here and there on the steps, along with a few          candles and handwritten signs -- "Hang in there, Adam," "We          Love You," that sort of thing.          ON FRANK'S FRONT PORCH,          Tom knocks on the front door. A moment later, Frank opens it.          He looks devastated, shell-shocked, his eyes sunken from          crying. He's wearing a red shirt we've seen before.          TOM          How's he doin'?          Frank shrugs. Can't talk much.          FRANK          He might make it. Might not.          Sheila's over there now, I'm headed          back.          TOM          Frank, I'm sorry. I'm sorry          because... I think I know why Adam          shot himself. And I have to call the          police about it. But I don't want you          to hear it from them, I don't want          Sheila to read it in the paper. You          have the right to know before anybody          else.          FRANK          What are you talking about?          TOM          Come with me.          He nods toward his own house. Frank stares at him,          frightened, but what could possibly be worse than what's          already happened?          FRANK          Hang on a second.          (CONTINUED)                                                  no.           CONTINUED:          He turns and heads into the house. A few moments later he          reappears, carrying his jacket.          Tom leads him across the driveway. The Damon house is visible          across the street. One by one, the 'lights flick on in its          windows.          Tom doesi.'t see. He and Frank reach the steps of his house          and start up.          FRANK (cont' d)          This better be important.          Tom doesn't answer, just opens the door and gestures for Frank          to go first.          INT DAMON GARAGE NIGHT          In the Damon garage, HANDS scramble frantically through          drawers and come up with a handgun. Now the hands find a box          of bullets, shake them out onto a workbench.          The hands load the gun.          INT TOM & MAGGIE'S HOUSE NIGHT          Tom closes and locks the front door. Frank looks at him ---          well?          Tom leads him toward the dining room.          INT DAMON HOUSE NIGHT          In the Damon house, the same hands pull on a pair of leather          gloves. The gloved hands screw the top off a bottle of          bourbon, raise the bottle to lips that drink heavily.          INT DINING ROOM NIGHT          Frank reacts to the ruined dining room. He looks at Tom.          FRANK          What the hell is goin' on around here?          Tom goes to the trap door and lowers himself halfway through.          Frank follows.          INT DAMON HOUSE NIGHT          The gloved hands carry the bottle of bourbon into the Damon          living room, still under construction. The hands raise the          bottle and offer it --          (CONTINUED)                                                  113.           CONTINUED:          -- to Kurt Damon. Harry, his father, is the one wearing the          gloves. Kurt looks terrified.          HARRY          Drink up. You got this'started,          you're God damn well gonna help finish          it.          Kurt takes the bottle and drinks. He starts to lower it, but          his father forces him to drink more, and more, until he nearly          retches.          INT TOM'S BASEMENT NIGHT          Tom and Frank stand on opposite sides of the grave, staring          down at the corpse of Samantha Muller. Frank is horrified.          FRANK          How did you find this?          TOM          Does it matter?          FRANK          You don't know it was Adam and Kurt.          TOM          It was.          FRANK          But there's nothing to... you're          talking like a nut, that's what people          will say. This is just a body, it          doesn't prove anything.          TOM          No, it doesn't.          He bends down and lifts Samantha's lifeless hand. He pries          open her fingers.          She's clutching a tuft of hair.          TOM (cont' d)          But this probably will.          Frank stares for a long moment, struck dumb. Finally, he          turns his back. His shoulders heave as he cries, silently.          EXT OUR BLOCK NIGHT          In the misty night, the figures of Harry and Kurt Damon come          out of their house and skulk across the street, toward Tom's.                                                   112.           EXT ROAD INTO TOWN NIGHT          Maggie drives, as fast as she can. Up ahead, red lights flash          and gates fall in front of a set of railroad tracks. Train          coming. Cars are stopped, waiting for it.          Maggie pulls to a stop at the back of the line --          -- then thinks better of it. She drops the car in gear, hauls          it around the others, and bolts for the tracks. The train,          nearly upon her, BLARES its horn.          Maggie flies across the tracks and SLAMS through the gate on          the other side, a split-second before the train HURTLES          through the intersection behind her.          She cuts it hard to the right to miss the waiting cars on the          other side, and pulls it back on the road.          She drives on, shaking like a leaf.          INT BASEMENT NIGHT          Frank is still sobbing, his back to Tom. Tom takes a step          toward him, to comfort him.          TOM          FRANK-          FRANK          I mean...          TOM          Frank, we have to-          FRANK          I mean, what were we supposed to do?          Tom stops.          FRANK (cont' d)          The kids come to us, she's already          dead, the damage is done, there's          nothin' gonna bring her back. But          those boys, they've got everything          ahead of them.          Frank lets his jacket drop to the floor, revealing his right          hand.          He's holding the 38 with the carved white handle.           He turns and looks at Tom.          (CONTINUED)                                                  113.           CONTINUED:          FRANK (coast' d)          What were we supposed to do? Send our          boys to jail for the rest of their          lives? Our own flesh and blood? Over          her?          E3 T HOUSE NIGHT          Hairy and Kurt Damon reach the front steps of Tom's house.          They look up and down the block. There's no one out. No one          to see.          INT BASEMENT NIGHT          Frank still has the gun hanging at his side, tears streaming          down his cheeks.          TOM          Who you planning to shoot with that?          FRANK          Who do you think?          TOM          I think you haven't decided yet.          He's right, and Frank knows it.          FRANK          Get out of here.          TOM          What are you gonna do, Frank?          Frank raises the gun, in a fury.          FRANK          I BEEN LIVIN' WITH THIS FOR ALMOST A          YEAR, YOU THINK ANYTHING YOU SAY IS          GONNA MAKE ONE BIT OF DIFFERENCE TO          ME?! GET THE FUCK OUT OF HERE!          TOM          Frank, I won't go until you-          Frank aims the gun just to the left of Tom's head and pulls          the trigger. The bullet CRACKS off the ladder.          FRANK          GET OUT! GET OUT!          Tom starts up the ladder.                                                   114.           INT DINING ROOM NIGHT          Tom crawls out the trap door and hurries out of the dining          room.          INT LI"ING ROOM NIGHT          Tom races ak. ross the living room, scoops hi: truck keys off          the desk, opens the front door --          and finds himself face to face with Harry Damon and his son          Kurt. Harry SLUGS Tom in the face with the butt end of the          gun.          Tom falls to the floor, moaning. They step inside, quickly          closing the door behind them. They don't speak.          Kurt starts to drag Tom, who is still stunned, across the          living room floor. Harry pulls a folded sheet of blue plastic          from inside his jacket and spreads it out on the carpet.          Kurt drags Tom into the middle of the plastic and drops him          there. Tom is staring up at them, starting to regain his          senses.          KURT          DON'T LOOK AT ME!          HARRY          ROLL HIM OVER!          Kurt does. Tom, regaining his strength, starts to struggle,          but Kurt puts his knee in the middle of. Tom's back and pulls          his head back.          Kurt is blubbering, hysterical.          HARRY (con t' d)          SHUT THE FUCK UP!          Harry pulls the gun from his belt and raises it, putting it to          the back of Tom's head.          But then he lowers it, his hand shaking so hard he can barely          hold onto it. He works up his nerve --          HARRY (cont'd)          AHHHHHH!!          -- raises the gun again, puts it to the back of Tom's head,          cocks it --          (CONTINUED)                                                  115.           CONTINUED:          and a spray of headlights splashes across the far wall of          the room.          Nobody moves.          Outside, they hear k car pull into the driveway and park. The          engine shuts off.          Kurt looks at his father, panicked.          Harry looks down at Tom.          Tom closes his eyes and prays.          EXT DRIVEWAY NIGHT          Maggie-pulls the keys from the ignition and gets out of the          car. She walks toward the house, looking anxiously around the          neighborhood.          As she reaches the steps, the light in the living room window          abruptly clicks off.          She stops.          She starts forward again, slowly. Now the porch light clicks          off.          It's real dark.          Maggie digs the car keys out of her pocket and feels for          something on the key chain. Something that's not there.          MAGGIE          Mace... shit.          She starts up the stairs. She reaches the top. The last          light that was on inside clicks off. Now the house is totally          black inside.          Remembering something, she pulls her purse around and feels          inside it. She finds the butterfly knife, the one she found          in Tom's pants. She holds it in her left hand, keys in her          right.          She goes to the door. She unlocks the deadbolt.          Inside, she hears a SCURRYING sound.          She unlocks the knob.          She puts the keys back in her purse.          (CONTINUED)                                                  116.           CONTINUED:          She switches the knife to her right hand, keeping it closed,          concealed.          She opens the door.          INT LIVING ROOM NIGF.T          The room is pitch black, so b:Aggie leaves the door hanging          open. Some light spills in from the street.          MAGGIE          Tom?          No answer. She steps inside and fumbles for a light switch.          She flicks it. Nothing happens.          MAGGIE (cont' d)          Are you here?          She crosses the room to another light and CLICKS its switch.          As the light floods the room:          Harry, who was hiding behind the front door, BANGS it shut.          Kurt Damon is still kneeling on Tom's back, holding one hand          roughly over his mouth, trying to keep him quiet.          MAGGIE (cont'd)          WH-          Harry raises the gun in his hand and points it at Maggie.          She lunges toward Tom, but Harry grabs her by the arm and          flings her roughly to the ground.          Tom takes advantage of the moment to flip Kurt off his back.          As the kid flies, Harry whirls, training the gun on Tom.          HARRY          DON'T MOVE!          But Tom tries to scramble to his feet. Harry starts to          squeeze the trigger --          -- and SCREAMS in agony.          Looking down, he sees Maggie has plunged the knife into his          thigh. She rips it out and plunges it in again. Harry's arm          flies up, the gun goes off, and the bullet RIPS through the          ceiling.                                                  INT JAKE'S ROOM NIGHT          On the second floor, in Jake's bedroom (which Jake is not in)          the bullet CRACKS up through the floorboards, tears through          his mattress, and bursts through the little boy's pillow.          The pillow explodes in a cloud of fea-hers, which fly          everywhere.          Feathers everywhere.          INT LIVING ROOM NIGHT          Tom crawls over to Maggie and grabs hold of her, putting          himself between her and Harry, who still has the gun.          Over at the fireplace, Kurt Damon pulls the poker out of its          holder.          Harry aims the gun.          Kurt lunges forward with the poker.          BANG! BANG!          Two shots ring out from the doorway to the dining room. Harry          clutches his chest and drops to the floor.           They all turn. Frank stands in the doorway to the dining          room, clutching his 38. Kurt rushes toward him, SCREAMING,          poker raised high.          Frank pulls the trigger two more times.          Kurt goes down.          Maggie SCREAMS. Tom huddles over her.          Frank lets the weapon slip from his fingers. It hits the          hardwood with a CLATTER.          Tom and Maggie look up. Frank looks at them. In that red          shirt, he is exactly the image Tom saw of him in his dream.          FRANK          They were gonna kill you, Tommy. You          and Maggie both.          Frank turns and walks to the front door. He opens it, walks          out onto the porch, and sits down on the top step, facing the          street.          Tom looks at Maggie. They're both in shock, can hardly speak.          (CONTINUED)                                                  118.           CONTINUED:          TOM          You... okay?          Maggie nods, shaking.          TOM (cont' d)          You saved me. Baby, I'm alive be;ause          of you...          They hold each other.          EXT FRONT PORCH NIGHT          Tom comes out of the house. Frank, sitting on the top porch          step, makes no attempt to flee. Tom sits down beside him.          From all around the block, voices are starting to rise up --          "Did you hear that?" "What the hell?!" "Somebody call a          cop!" Frank shakes his head.          FRANK          Cold-blooded murder. I can't let          something like that happen. Not here.          He looks at Tom.          FRANK (con t' d)          This is a decent neighborhood.          A few tentative faces gather across the street, staring at          Tom's house, wondering what the hell. A SIREN wails in the          distance.          TOM          I thought so, Frank. I sure as hell          always thought so.          DISSOLVE TO:          INT HOSPITAL CORRIDOR DAY          A NEWBORN BABY stares up at us from inside a rolling bassinet.          The bassinet is wheeled swiftly down a hospital corridor by a          NURSE. It's a long trip, wherever it's going, but the baby          waits patiently, staring up at the ceiling, eyes open.          Above the baby, the lights streak by, white blurs.          The Nurse leans down and looks at the baby. To the baby,          she's just a fuzzy blob.          NURSE          Almost there!          (CONTINUED)                                                  119.           CONTINUED:          The baby turns and looks sideways. The doors of the hospital          rooms whiz by, brown smears.          NURSE (cont' d)          Just around this corner!          She rolls the bassinet around a corner and toward one or in          particular.          The baby sees a bunch of shapes inside the room.          INT HOSPITAL ROOM DAY          Maggie, who has recently given birth, struggles to sit up in          bad as the Nurse rolls the bassinet into the room. Tom,          grinning, gets up from the chair he's sitting in with Jake.          NURSE          Meet the family!          She picks up the baby and holds her out to Maggie, who takes          her eagerly.          MAGGIE          Hi, baby, did you sleep well? I sure          didn't.          The baby sees Maggie's face, blurry, but friendly.          Tom leans in.          TOM          So you're the one that's been kicking          my wife!          The baby sees Tom's blurry face. Jake steps up, onto a step          stool, so he can see over the edge of the bed.          JAKE          Let me see, let me see!          Maggie turns the baby so she's facing Jake. The infant looks          at her older brother. At first, his face is as blurry as          everybody else's. But slowly, Jake's face becomes crystal          clear, even though everything around him stays out of focus.          JAKE (cont' d)          Can I hold her?          MAGGIE          If you're very, very careful. Climb          up here.          (CONTINUED)                    120.           CONTINUED:          Jake climbs up on the bed. Maggie puts some pillows around          him and carefully places the baby in his lap. Jake looks down          at the infant. His expression becomes very serious. Gently,          he reaches out with one hand and puts his fingertips on the          baby's forehead, the same way he did to Tom's forehead that          first night.          The baby and Jake stare at each other for a long moment. So          long, in fact, that the adults become uncomfortable.          NURSE          Well, they... certainly get along,          don't they?          Suddenly, Jake breaks into a wide grin and looks up at his          parents, thrilled. Then he looks back at his sister. He          leans down and whispers softly in her ear.          JAKE          Don't be afraid of s t.          Tom and Maggie look at each other.          FADE OUT           
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+STORYTELLING by Todd Solondz Final draft TITLE CARD: Fiction INT. MARCUS'S DORM ROOM - NIGHT The time is circa 1985. Vi and Marcus finish making love. Marcus has cerebral palsy. MARCUS Hey, you want to hear my short story now? VI Huh? MARCUS (lifts a MS from a shelf by his bed) I can read it to you. VI You mean, again? MARCUS Well, I changed the ending a little. VI Oh. What happens now? MARCUS Well, actually, it's the same, but longer. I think it's better. More...raw. VI Well then, maybe you should just read the ending. MARCUS But it won't make any sense if you hear it out of context. VI I think you should leave it the way it was. It was good. Pause. MARCUS So you don't want to hear my new ending? VI You'll read it in class tomorrow. Surprise me. (beat) Anyway, I have to go. I promised Melinda I'd help her with her oral. She rises, starts dressing. MARCUS You're tired of me. I can tell. VI Marcus, I'm tired. That's all. MARCUS You've lost interest...You hardly even sweat any more when we have sex. VI I was never much of a sweater. You know that. MARCUS Look, Vi, I don't blame you. You feel You feel pity now. The pleasure isn't there any more. The kinkiness has gone...You've become kind. EXT. CAMPUS GREEN - DAY It is bright and sunny. INT. MR SCOTT'S CLASSROOM - DAY Mr Scott, who is black, presides over his class. Marcus is reading from his story, Vi at his side. Catherine, a stunning intellectual, sits near the teacher. The rest of the students (Amy, Elli, etc.) listen closely and take notes. MARCUS "...but when he saw her...it was as if he could walk like a normal person. His legs didn't swing, his arms didn't spaz away...He wasn't a freak any more, for she made him forget his affliction. No more cerebral palsy! From now on "CP" stood for...cerebral person. He was a cerebral person. Pause. Marcus and Vi exchange looks. AMY I thought it was really good, Marcus...Really moving and emotional. ELLI Yeah, I thought it was really emotional, too. AMY And I mean, really good word choices. It kind of reminded me a little of Faulkner, but East Coast and disabled. LUCY Or Flannery O'Connor. She had multiple sclerosis. JOYCE And Borges. He was blind. Pause. ETHAN Updike has psoriasis. Pause. CATHERINE Um...Maybe I'm wrong, but, um, I'm afraid I found the whole thing to be a little trite. Its earnestness is, well...it's a little embarrassing. And those adjectives, they're a little flatfooted. And redundant. I'm sorry, but...Anyway, what do I know? Don't even listen to what I say. I mean... Pause. MR SCOTT Anyone else? No response. MR SCOTT Catherine is right. The story's a piece of shit. You express nothing but banalities and, formally speaking, are unable to construct a single compelling sentence. You ride on a wave of clichés so worn, in fact, it actually approaches a level of grotesquerie. Ad your subtitle, 'the rawness of truth' is that supposed to be a joke of some sort? Or are you just being pretentious? (beat; then checking his class book) OK. Who's next? EXT. CAMPUS COURTYARD - DAY Marcus, upset, rushes outside, Vi in pursuit, desperately trying to console. VI Marcus, wait up! Marcus stops. MARCUS What do you want? VI Don't be so upset. It's OK... MARCUS What the fuck are you talking about? What's OK? VI (beat) You know he hated my story also. MARCUS Your story was terrible! He moves on, she keeps up with him. VI Marcus...You'll write something better next time! MARCUS Patronizing fuck! If you had just been honest with me in the first place I wouldn't have read it. I knew it was shit. But - idiot! - I believed you! VI That's not fair! I was honest! Just because I wasn't sucking up like that bitch Catherine. MARCUS Well, I sure didn't hear you voice your opinion in there when it mattered. VI I admit it - I was scared! I was shocked, in fact , by what he said. And he's so...convincing. I'm sorry if I let you down, but really, I still say he's just one opinion. I don't even like his books that much. They're all so aggressively confrontational. I don't care if he's won the Pulitzer Prize. Catherine and Mr Scott walk by together in the distance. MARCUS You just want to fuck him. Like Catherine and every other white cunt on campus. He leaves her. INT. VI AND MELINDA'S DORM ROOM - NIGHT Melinda lies on her bed with some homework, watching Vi. VI (O.S) (on phone) ...But Marcus! You can't just unilaterally decide to end things. This is a relationship we're talking about! A friendship! You don't just...Fuck you! She hangs up and enters her bedroom, in tears. VI(cont'd) Fuck him! Fuck him! Fuck him... MELINDA Vi? Are you OK? VI Yes. I'm OK. I'm totally OK. Melinda rises, puts a hand on her shoulder. MELINDA You did the right thing. VI I know that. Fucking cripple. Why do I waste my time with undergrads? They're all so...juvenile! Uch! I just thought Marcus would be different. I mean he's got CP! Pause. MELINDA What are you gonna do now? VI I dunno...go to a bar...get laid...whatever...Don't worry about me. I'll be fine... She starts changing into a new outfit. EXT. BAR - NIGHT Students hang around outside. Vi goes inside. INT. BAR - NIGHT Vi walks up to the bar. VI Can I have a beer? After getting her beer, Vi turns around and suddenly notices Mr Scott, who is sitting alone. She goes over to him. VI(cont'd) Hi. MR SCOTT Hello, Vi. VI What are you doing here? MR SCOTT What are you doing here? VI I'm sorry. I didn't mean, I just didn't expect to run into you here, that's all. MR SCOTT Well, now you have. Vi laughs, sort of, ten blushes. VI Yeah, um, then...are you alone? MR SCOTT Uh huh. VI Can I join you? Mr Scott gestures for her to sit down with him. VI(cont'd) Gee, thanks. Well, um...I just wanted to say that I'm really happy with the class and, um...I know you must here this all the time, but I'm also a great admirer of your work. A Sunday Lynching, especially...really, um spoke to me. God, I hope I'm not embarrassing you... MR SCOTT You're not. VI Good. (beat) 'Cause I...um...I really agreed with everything you had to say last week about how bad my story was... MR SCOTT That's good. VI And I also agreed with what you said today about Marcus's story. It is a piece of shit. Pause. MR SCOTT You have beautiful skin. VI Thank you. (beat) So Catherine seems like she might become a really good writer. MR SCOTT Maybe. She's OK. Pause. VI Aren't you going out with Catherine? (beat) I'm sorry. It's none of my business. I didn't mean... MR SCOTT I'm not 'going out' with Catherine. VI Oh. (beat) Do you think I have a potential as a writer? MR SCOTT No. VI Thank you for being honest. Mr Scott leans over and touches her hand. VI I have so much respect for you. EXT. STREET - NIGHT Mr Scott and Vi walk together in silence. INT. MR SCOTT'S APARTMENT - NIGHT Vi and Mr Scott enter. He turns around and looks at her. Pause. VI Can I just freshen up for a second? He indicates the direction of the bathroom. MR SCOTT It's over there. VI Thanks. INT. MR SCOTT'S BATHROOM - NIGHT Vi enters, locks the door behind her. She looks at herself in the mirror, then notices a snapshot of Catherine: she is naked, legs open wide. Other erotic photographs lie beneath Catherine's. VI (to herself, almost chanting) Don't be a racist. Don't be a racist. Don't be a racist... INT. MR SCOTT'S BEDROOM - NIGHT Vi emerges from the bathroom to find Mr Scott lounging on the bed. VI It's a really nice place you have. Is the rent high? MR SCOTT Take off your top. She obliges. MR SCOTT Now...take off the rest. She does, and he looks hard at her. Finally he rises. MR SCOTT Turn around. She does. MR SCOTT Bend over. He starts making love to her, from behind. MR SCOTT(cont'd) (whispers) Say, 'nigger, fuck me.' VI Oh, bu...uh...I can't say that. MR SCOTT Say, Ni... VI Ni... MR SCOTT ...gger. VI ...gger. MR SCOTT Say, 'Nigger.' VI Nigger. MR SCOTT 'Fuck me hard!' VI Fuck me hard! MR SCOTT Say, 'Nigger, fuck me hard!' VI Nigger, fuck me hard! MR SCOTT Again! VI Nigger, fuck me hard!!... MR SCOTT Again!! VI NIGGER, FUCK ME HARD!!!... EXT. MARCUS'S DORMITORY - NIGHT Lights are out. INT. MARCUS'S DORM ROOM - NIGHT Marcus looks in the mirror, ponders his reflection. MARCUS Freak. There is a soft knock at the door. He turns away from the mirror and opens it. Vi is there, teary-eyed, disheveled. VI Can I come in? They embrace. MARCUS You're all...sweaty! INT. MR SCOTTS CLASSROOM - DAY Vi finishes reading her story to the class. VI '...So John flipped her around and slammed her against the wall. Jane braced herself: she thought about her mother. She thought about Peter. She thought about God...and rape. ''Say, 'Fuck me, nigger. Fuck me hard.''' John's flesh abraded her soft skin. There would be marks. She acquiesced, and said what he asked her to say, and did what he asked her to do. She had entered college with hope, with dignity, but she would graduate as a whore.' Silence. AMY Why do people have to be so ugly...write about such ugly characters? It's perverted. I know you all think I'm being prisssy, but I don't care. I was brought up in a certain way. And this is...mean-spirited! Pause. JOYCE Yeah, well, it did seem a little affected. Like by using taboo language you were trying to shock us about the hollowness of your characters. ETHAN I think it was a little bit racist. ELLI It was completely racist, and beyond that I felt deeply offended as a woman. As if a woman can only operate from experiences of objectification. SUE Totally phallocentric. ELLI And so weirdly misogynistic. I mean, why does Jane go through with this? Is she stupid? ETHAN Hey, But wasn't this a rape? Or ...did I miss something? Because I - I'm confused. Because if this was a rape, then why would she be a whore? CATHERINE (beat) It was confessional, yet dishonest. Jane pretends to be horrified by the sexuality that she in fact fetishizes. She subsumes herself to the myth of black male potency, but then doesn't follow through. She thinks she 'respects Afro-Americans,' she thinks they're 'cool,' 'exotic,' what a notch he 'd make in her belt, but, of course, it all comes down to mandingo cliché, and he calls her on it. In classic racist tradition she demonizes, then runs for cover. But then, how could she behave otherwise? She's just a spoiled suburban white girl with a Benneton rainbow complex. It's just my opinion, and what do I know...but I think it's a callow piece of writing. MR SCOTT Callow and coy. Jane wants more, but isn't honest enough to admit it. In the end, she returns to the safety of her crippled (translation: sexually impotent) boyfriend. MARCUS This is bullshit! Her story was the truth! JOYCE Right. SUE It's unbelievable! ELLI It's clichéd! AMY It's disgusting! VI But it happened! Silence. MR SCOTT I don't know about 'what happened,' Vi, because once you start writing, it all becomes fiction. Still, it certainly is an improvement over your last story: There is now at least a beginning, a middle, and an end. TITLE CARD: 'NONFICTION' INT. TOBY'S BEDROOM - NIGHT A Lower East Side tenement apartment. A dogma '95 poster hangs above the bed. Toby, down and out and in his thirties, leafs through his high-school yearbook. He reads an inscription: 'Toby, I just know you're going to become a movie star! Please don't forget me when you make it to the top! I will always love you - Pam'. He picks up his phone and dials. PAM (V.O.) Hello? TOBY Hello, is this Pam? PAM (V.O.) Who is this? TOBY Toby Oxman. PAM (V.O.) Toby -? Oh, hi! How are you? TOBY Oh, fine. How are you? PAM (V.O.) Great! TOBY Great! PAM (V.O.) So what's going on? TOBY That's what I was gonna ask you. PAM (V.O.) But...you called. TOBY Oh, yeah, well...um...I was just calling because, well, I was wondering if you still remembered me, which I guess you do... PAM (V.O.) Yeah. Pause. TOBY So. Look at where we are: the year 2000! Can you believe it? I mean, did you ever think we would actually make it? PAM (V.O.) Um, well, yeah. (beat) So are you still acting? TOBY Oh, no, not any more. No, um, I kind of came to terms with myself, I realized I had done what I had to do. And it was time to move on. PAM (V.O.) Oh. So what did you do after you gave up on acting? TOBY Well, I went to law school, if you can believe that. Mike, Toby's roommate and cameraman, enters looking for a towel, then goes to take a shower. PAM (V.O.) I believe it. TOBY Yeah, well, it was really all kind of a joke - and a rip-off, so, uh...so I dropped out. PAM (V.O.) Oh, that's too bad. TOBY Yeah, well, then it got me writing, so that was a good thing. PAM (V.O.) Anything I might know about? TOBY Well, um, I kind of let things go on this novel I'd been really into - I mean, the whole publishing industry is totally corrupt. I mean, really, it's finished. PAM (V.O.) That's too bad. TOBY I worked over at a homeless shelter for a while, drove a cab to pay the rent, but, I mean, that was like - I mean, I have some dignity. PAM (V.O.) That's good. So then what do you do now? TOBY I'm a documentary filmmaker. PAM (V.O.) Oh? Anything I might have seen? TOBY N-not yet. I'm hoping to get a grant for this one project on teenagers. Geez, remember when we were teenagers? PAM (V.O.) Yeah. You didn't wanna take me to the prom. TOBY Oh, I don't remember that... PAM (V.O.) I do. TOBY Well, but it was so long ago. We were so different back then... No response. TOBY (CONT'D) Uh, well, anyway, so I'm looking for subjects for this documentary on teenage life in suburbia. Kind of an exploration of the mental psyche of its mythology. I wrote to Derrida to see if he'd like to do the narration. But everything's still kind of in development at this point. PAM (V.O.) Hunh. TOBY(beat) I work in a shoe store right now. But it's cool. I'm not ashamed. I mean, really, I have a much stronger sense of self now. And, uh, anyways, it's really very temporary. PAM (V.O.) That's good. TOBY Yeah...um...so anyway, tell me. What about you? I'd heard through the grapevine you were producing movies. PAM (V.O.) Yeah. But not any more. TOBY Oh. Tired of 'life in the fast lane'? No response. TOBY (CONT'D) Yeah...So you're um...you're married? PAM (V.O.) Yeah. TOBY Huh. Kids? PAM (V.O.) Yeah. TOBY How many? PAM (V.O.) Three. TOBY Great. How old are they? PAM (V.O.) Eight, six, and four. TOBY Wow, that really is great. In a few years, who knows, maybe they'll want to be in my documentary! Pause. PAM (V.O.) Listen, Toby, I can't really talk right now. Do you mind if I call you back? TOBY Yeah, sure. PAM (V.O.) OK. Bye. TOBY (to himself, after pause) Maybe she has caller ID. EXT. FAIRFIELD HIGH SCHOOL - DAY It is bright and shiny. MR. DEMARCO (V.O.) Do you have any hobbies? INT. MR. DEMARCO'S OFFICE - DAY Scooby, seventeen, and Mr DeMarco, the guidance counselor, sit opposite each other. SCOOBY No, not really. MR. DEMARCO Any books you like to read for fun? SCOOBY No. MR. DEMARCO None at all? How about those 'underground' comics? SCOOBY I hate reading. MR. DEMARCO (beat) All right, Scooby, let's not beat around the bush. With your attitude, you're not going to get in anywhere. SCOOBY OK. MR. DEMARCO 'OK.' So you just don't care. (beat) Let me ask you, not as your guidance counselor, but...as a friend: what do you want to do with your life? I mean, what kind of long-term goals can you possibly have? SCOOBY I dunno... MR. DEMARCO C'mon. Talk to me. Tell me what you're thinking. SCOOBY Well, I mean...I wanna be on TV. Maybe have a talk show or something. Like Conan. Or early Letterman. MR. DEMARCO Ah-hah. And how is it you hope to achieve this goal? SCOOBY I dunno. See if I have any connections. EXT. LIVINGSTON HOME – EVENING The sprinkler system is still on. INT. DINING ROOM – EVENING The family is sitting waiting at the table: FERN, Scooby's attractive mother; MARTY, his bullish father; BRADY, sixteen, his handsome jock brother; and MIKEY, ten his smart youngest brother. CONSUELO, the maid, brings some bread to the table. FERN Did you knock on his door? MICKEY Yes, but he just shouted at me and used the f-word. MARTY Scooby! Dinner! No response. Pause. MICKEY Would anyone be interested in being hypnotized after dinner? FERN/MARTY/BRADY No. Pause. FERN Let's just start. They eat. MARTY I don't know what's wrong with that kid. BRADY Maybe he's gay. MARTY Don't ever say that. BRADY What if he is? MARTY He isn't. FERN Marty, ignore him. BRADY He's vegetarian, doesn't do sports... MARTY Brady! Pause. FERN And even if he is... Pause. MIKEY Gay people are people too, you know. You're just being prejudiced. BRADY I don't care is he's gay. I'm cool. I mean, it's not like I have to share his room or anything. MARTY I just want to know what the hell he's doing in his room that's so interesting he doesn't come down for dinner. MIKEY Maybe he's building a bomb...just like-! FERN Don't even joke about that! MIKEY I'm serious! What happens if he blows up the school? A tense pause, followed by a distant crushing sound. SCOOBY (O.S.) Fuck! MARTY I'm going in there. Scooby appears. SCOOBY Was anyone in my room today? FERN Is everything OK? SCOOBY My CD case like totally collapsed. I'm gonna have to recatalogue all weekend. (sitting down) Hey. Can you pass the salad over. MARTY (beat) Steak's really good tonight. SCOOBY (beat) Good. FERN Got a lot of homework? SCOOBY I dunno. MARTY Whaddya mean you don't know? You either got a lot or you don't. What's not to know? FERN Marty... MARTY (beat) You started filling out your college applications yet? SCOOBY I'm not going to college. Pause. FERN What are you going to do? SCOOBY I dunno. MARTY What DO you know? SCOOBY Dad, I'm trying to figure things out right now, OK? It's like, really hard, and I'm just listening to some old Elton John and... Brady mouths: 'Gay!' MARTY Out! Leave the table! BRADY What? MARTY You heard me: leave the table! BRADY (rising) Man, I am out of here! This family is so fucked! Brady leaves. MIKEY Mom, it's not fair if Brady can say the f-word and I can't. MARTY Yeah, well, Mikey, listen up. Cause here's a lesson: life's not fair. EXT. LIVINSTON HOME - DAY A red sports car drives up front. Esposito, Brady's buddy, drops off Brady and Cheryl, Brady's cheerleader girlfriend. A cleaning woman walks along the sidewalk on her way to the bus stop. BRADY I'll talk to you later, man! ESPOSITO Yo, dude! CHERYL Thanks, Esposito! INT. TV ROOM – DAY Brady, still in his football outfit, tracks in some dirt. Cheryl follows him to his room, giggling. Mikey sits on the sofa while Consuelo continues her housework. MIKEY Consuelo? CONSUELO Yes, Mikey? MIKEY Do you have any brothers or sisters? CONSUELO Yes. MIKEY Really? How many? CONSUELO Four brothers and five sisters. MIKEY Wow. (beat) Why did your parents have so many children? I mean, if they were poor, wouldn't it be better to have just one or two? CONSUELO It was God's will. MIKEY But do you really believe in God? And heaven, hell and angels and all kind of stuff? CONSUELO (beat) No. INT. DINING ROOM – EVENING The Livingstons are eating dinner. MARTY So? How was school today? SCOOBY The same. MARTY The same. Same as what? SCOOBY Just the same. A tense pause. BRADY We're studying the Holocaust in Social Studies. MARTY Oh, yeah? SCOOBY We did the same thing last year also. FERN How was the class? BRADY Well, I'm supposed to watch Schindler's List for homework. The movie's like almost four hours. And then I'm supposed to write a report on survivors. (to Marty) You know any survivors, Dad? MARTY Hmmm...Do I know any...personally...? FERN Well, technically your Zeda is a survivor. BRADY He was in a concentration camp? FERN Well, no. But he had to escape the Nazis. BRADY But I thought he came over to America before the war. FERN Well, he did. With his family. But his cousins, they had to stay and they were all killed. And if he'd stayed, he would have been killed. So in my book he's a survivor. BRADY Even though it was only his cousins that were killed? FERN But that could've happened to him. Or to me, if I'd been alive. Or you. MIKEY Or me? SCOOBY You mean, then, we're all survivors? FERN Well...yes. If it hadn't been for Hitler, he wouldn't have had to leave Europe. We would have been...European. SCOOBY But then, in a sense, since you would never have met Dad if your family had stayed in Europe...if it weren't for Hitler, none of us would have been born. A long pause. MARTY Get the hell outta here! SCOOBY (rising) Man, it's just, like, conversation. INT. PRINCIPAL'S OFFICE Toby sits across from Mr Kirk. MR KIRK Tell me: you make a living at this? TOBY Well, sir...uh...I'm actually not doing this for the money. When you make a documentary, you do it for many reasons, but money is certainly not one of them. MR KIRK I don't get it. TOBY Well, sir, a lot has happened to the landscape of the suburban high school since I was a student, and I feel it would be a valuable, perhaps even enlightening endeavor, to chronicle the changes, to get intimate with the realities kids and parents face in American schools today. MR KIRK Yeah, well, whatever. I'll let you know if there's interest. INT. HALLWAY - DAY Toby pauses by the receptionist before leaving. TOBY Excuse me, where's the bathroom? INT. LAVATORY – DAY Toby rushes to the urinal. Scooby is sitting in a corner, smoking a joint, observing him. Toby smells the pot, turns and smiles at him. SCOOBY You a pervert? TOBY No...Actually, I'm a documentary filmmaker? SCOOBY Oh. You mean, like, Blair Witch Project? TOBY Well, no. I'm doing one on high school students, in fact. SCOOBY What for? TOBY Well...it's kind of a sociological study in the aftermath of Columbine. SCOOBY Is this to like get into Sundance? TOBY Yeah, well, it's possible they would be interested in it. SCOOBY Doubt it. TOBY Actually, there is some interest from the Sundance Channel. SCOOBY Whoopee. TOBY HBO and MTV have also shown some interest. Pause. SCOOBY So you have connections... EXT. LIVINGSTON HOME – NIGHT The lights are on. TOBY (V.O.) You see, we're trying to do a film on suburban lifestyles... INT. LIVINGSTON HOME – NIGHT Toby sits in the living room surrounded by the Livingston family. Marty fingers a card that reads: TOBY OXMAN, DOCUMENTARIAN. His address and phone number are printed below. TOBY ...kind of An American Family for the new millennium... FERN I thought this was about kids getting into college. TOBY Oh, it is. I mean – MARTY Which is it? You gotta keep your focus straight. TOBY You're absolutely right. The focus is on the college admissions process today. Pause. MARTY And you want Scooby to be the focus of all this? TOBY Scooby and a few other students of different socioeconomic backgrounds. MARTY Oh, well, I don't have them yet, but – MARTY Either Scooby is the focus, or forget it. SCOOBY Yeah, I thought I was the focus. MIKEY I wanna be the focus. Brady slaps him. FERN Toby, we need this to be a positive experience. TOBY Well, I suppose I could reconceive... MARTY Reconceive. TOBY 'Cause Scooby does have a quality that I've been looking for, a quality that is emblematic of American today. It's part disillusionment, part hope... Consuelo comes in with tea and Twinkies. MIKEY Twinkeys! FERN Boys, take napkins...Napkins... MARTY Not to be crass, but what do we get out of this? FERN (laughs) Don't worry, he doesn't mean money. TOBY Oh, I know, I know that. Well, sharing your story, your ups and downs, and so forth, can I hope, be an illuminating experience. MARTY Yeah...How do we know we won't be exploited? FERN No, it's true. TOBY Mr Livingston, I fully understand and I share your concerns. You fell vulnerable. And I know that this is a very difficult question, but what it comes down to is: can you make a leap of faith in me, in the same way that I have to make a leap of faith in you? ON VIDEO: INT. LOCKER ROOM – DAY Big Esposito, in football attire, surrounded by Brady and other athletes, talks to Toby. Kids whip towels at each other in the background. ESPOSITO This is a great school. I don't care what anybody says. I mean, it's not perfect, but like the people are really cool, like the teachers and kids...they really care and all. And I know that they make fun of New Jersey all the time, but I don't care. 'Cause they're just snobs. 'Cause Jersey is where America's at! ON VIDEO: INT. EMPTY SCHOOL HALLWAY – DAY TOBY (V.O.) Walking down these hallways just like the ones I once walked down as a teenager, I couldn't help thinking back to a time when every day I woke up depressed, suicidal, consumed by despair. Had things changed? Was the competition to get into the most prestigious schools still a requisite rite of passage? Beneath these masks of courtesy and friendliness I knew that there were darker forces at work...and I knew that Scooby was the key to revealing the truth... VARIOUS SHOTS OF SCOOBY ...looking pensive. TOBY (V.O.) Scooby, Scooby, Scooby...What are you thinking? College, SATs, your parents, your brothers, your friends...How is it you deal with all this stress? ON VIDEO: INT. CLASSROOM – DAY A school psychologist sits at her desk. ELIZABETH ST. CLAIR The pressure to get into the college of your choice is incredible. You know, they did a study recently of the youth in Bosnia during the bombing, and they found that the stress the young people experienced there was less than what American high- school students go through when applying to college. TOBY (O.S.) Is that right? ELIZABETH ST. CLAIR Yes. TOBY (O.S.) Oh, my God... INT. EDITING ROOM – NIGHT Toby and his editor examine the footage on an AVID. TOBY So whaddya think? EDITOR Well, I'm not really sure what you're trying to say. It's funny, I suppose. But it seems glib and facile to just make fun of how idiotic these people are. TOBY I'm not making fun. I'm showing it as it really is. EDITOR You're showing how superior you are to your subject. TOBY No, but I like my subject. I like these people. EDITOR No, you don't. TOBY Yes, I do. I love them! Pause. EDITOR The camerawork's nice. TOBY Thanks. I'll tell Mike. (beat) Well, it's still just a beginning. I know I can...dig deeper. EXT. LIVINGSTON HOME – DAY It is bright and sunny. INT. LIVINGSTON HOME – DAY Fern is in the kitchen talking on the phone. She has a list of names and notes in front of her. Consuelo dusts in the background. Toby and Mike stand nearby with a video camera, recording everything. FERN ...but Marj – may I call you Marj? – what it really boils down to is...what does it mean to be a Jew?...Exactly. Tzedakah. Charity. And the new wing at Beth Israel is...Well, actually, last year you gave $500. But this year $1,000 would not only be a mitzvah, it would bring you to a new level...Yes, of course. Your gift would also give you a Chagall menorah and two tickets to the dinner dance this spring...Because it's true: Israel needs us now. If not now, when?...Well, that's wonderful...I'll speak to you next week...You too! Take care! She hangs up just as Scooby walks inside, fresh from school. FERN Hi, Scooby! How was school today? SCOOBY Fine. FERN Ready for tomorrow? SCOOBY What's tomorrow? FERN The SATs, knucklehead. SCOOBY I'm not taking them. He walks off. ON VIDEO: INT. DINNER ROOM – EVENING The family is eating dinner. There is a tense silence, finally broken by Mikey. MIKEY Mom? FERN Yes, Mikey? MIKEY I was looking through Scooby's SATs practice books this afternoon and I took one of the practice tests. Guess what score I got? FERN What? MIKEY 550 verbal, 520 math. And I'm only in fifth grade! Everyone turns to glare at him. INT. CHILDREN'S BATHROOM – NIGHT Scooby is brushing his teeth when Marty enters. MARTY Scooby? SCOOBY Yeah? MARTY We have to talk. Pause. SCOOBY Whaddya wanna talk about? MARTY Don't screw around with me. You know what I'm talking about. (beat) You're taking those SATs. You're taking those SATs or your CD collection is history. You're taking those SATs and you're going to college. You're taking those SATs if I have to strap your ass to a chair, but buddy your taking them. Pause. SCOOBY OK. MARTY (under his breath as he starts walking away) Tired of this shit... INT. SCHOOL GYM - DAY Toby and Mike shoot footage of the students as they take their SATs. Scooby is filling out his SAT in such a way that he creates a pattern of filled blanks that spells: FUCK THIS SHIT. EXT. LIVINGSTON HOME – DAY Toby and Mike are interviewing Brady and Cheryl in the driveway. Off to the side, Mikey tries hypnotizing a cat. TOBY So are you surprised that Scooby took the SATs after all? BRADY Not really. He's kind of a wuss. TOBY OK. How about you, Cheryl? Were you surprised? CHERYL I dunno. Whatever. TOBY Hmm. BRADY Hey, how come you drive such a shitty car? CHERYL Yeah. TOBY (joins their laughter) I don't know...That's interesting, though. A cool car. Is that something that's real important to you, Brady? BRADY Yeah. CHERYL Uh duh. INT. SCOOBY'S BEDROOM – DAY Scooby handles a gun his friend Stanley has given him. SCOOBY Pretty cool, Stanley. STANLEY Thanks. SCOOBY How'd you get it? STANLEY It's my Dad's He hides it under some old TV Guides in his closet. SCOOBY Gee, your Dad's smart. STANLEY I know. SCOOBY Is it loaded? STANLEY No, I don't think so... Scooby points it at his head. STANLEY Scooby, don't! Be careful! SCOOBY I'm not an idiot, man. I watch TV. STANLEY I Know. I'm sorry. I'm just...a little nervous, I don't know why. SCOOBY You should be. Scooby points it at Stanley, gets a terrified reaction, then tosses the gun aside. SCOOBY Here. You can keep it. He lies down. Pause. STANLEY Scooby? SCOOBY Yeah? STANLEY You know...I like you. SCOOBY Yeah. I know. STANLEY I mean... STANLEY I know. Everyone knows. STANLEY Oh. (beat) Do you think that you'd let me...um... Pause. SCOOBY OK. If you feel like it. Just give me a second. He pulls a bag of mushrooms out from beneath his night table, takes some and offers to Stanley. SCOOBY You want some? STANLEY No, thanks. Scooby flicks on a CD, then lies down. DREAM SEQUENCE – EXT. LIVINGSTON HOME – DAY While Stanley goes down on Scooby, the camera pans away from Scooby to reveal Marty and Fern being burned at the stake in the front yarn, writhing and screaming in agony. MARTY I'm so sorry! I should never have made you take the SATs! The camera then pans to reveal Conan O'Brien approaching. CONAN Hey, Scooby! How's it going? SCOOBY Conan O'Brien? Whoa! What are you doing here? CONAN I'm looking for a last-minute guest for my show. Any suggestions? SCOOBY I'll be your guest! CONAN Really? Well, all right! Let's take a look at the television and see how we look. The camera pans to reveal a TV standing on the lawn. SCOOBY Cool! Conan turns on the TV and we move inside it to see Conan and Scooby sharing some talk-show patter and repartee. CONAN Welcome to the show, Scooby. SCOOBY Thank you. CONAN Nice to have you here. SCOOBY Great to be here. CONAN And thank you for dressing up for us. This is very classy. Tell us. What kind of professional plans do you have? What's in your future? SCOOBY Well, I was thinking...I might work for you. CONAN Ahh...tell me. What do you want to do for me? What's your idea? SCOOBY Be your sidekick, you know, and maybe eventually become a TV talk- show host. CONAN TV talk-show host, OK. You were at sidekick eight seconds ago, then TV talk-show host. You'll be a Latin dictator in a bout a minute. Audience laughter. CONAN Let's see what they think of the first idea. I'm curious what the audience thinks. Folks, what do you think: should Scooby be my new sidekick? Audience cheers. CONAN Scooby, new sidekick, everybody! Bigger round of applause. RETURN TO REALITY: INT. CHILDREN'S BATHROOM – NIGHT Scooby has spaced out while flossing. There is a knock at the door. SCOOBY Yeah? Brady enters. BRADY Hey. SCOOBY Hey. What's up? BRADY There's something I need to talk about with you. SCOOBY What? BRADY There are some rumors... SCOOBY Like what? BRADY You know...Stanley... SCOOBY Oh. BRADY And like, don't take this the wrong way...I mean, I'm cool...but...you know...I've got a good reputation at school and, well...I really don't want it ruined. He is visibly upset. Pause. SCOOBY No prob. I'm cool. BRADY Thanks, Scoob. EXT. HIGH-SCHOOL PLAYING FIELD – DAY A football scrimmage is in progress. A play ends, and the Coach comes on to the field, barking: COACH Esposito, What the fuck do you think you're doing? You're tackling like a bitch on my football team, son! You gotta bend your ass over and hit somebody! You understand me? ESPOSITO Yes, sir! COACH You understand me? ESPOSITO Yes, sir! COACH Then do it!...Livingston! That's the way to hit that hole, son! Brady waves a Cheryl in the stands. COACH We're gonna become a football team today, guys! Let's move the ball! Move! Move! Move! I wanna see you hit those holes! Defense, fill those goddam gaps! Let's go, guys! Let's do it!... On the next play Brady runs to catch a pass, but is moved down by Esposito shouting, 'KILL HIM!!!' Cheryl jumps up, alarmed. O.S. cheerleaders finish their 'Go Bucks!' cheer, but Brady doesn't rise. INT. HOSPITAL ICU – EVENING Brady lies unconscious in bed, hooked up to machines. Marty, Fern, Scooby, and Cheryl stand around him. INT. LIVINGSTON HOME – NIGHT Mikey sits at the kitchen table with Consuelo. He is eating ice cream. MIKEY When I'm in high school I'm not going to play any football. I'm just going to concentrate on class rank. (beat) What did you do in high school? CONSUELO I did not go to high school. MIKEY Weren't there high schools in El Salvador? CONSUELO We had to work. My family was poor. MIKEY Must've been hard being poor. CONSUELO I'm still poor. MIKEY Hmmm. (beat) But, Consuelo, even though your poor, don't you have any hobbies or interests or anything? CONSUELO No, Mikey. MIKEY But like, what do you like to do when you're not working? CONSUELO I'm always working. MIKEY But when you're not. Like now. What do you like to do? CONSUELO This is work. MIKEY But it's not like real work. This is just babysitting. Consuelo stares hard at him in silence. MIKEY You know, your job's really not so bad, if you think about it. You should smile more often. ON VIDEO: DOCUMENTARY FOOTAGE OF: (1) Driving-along-the-neighborhood shots; a lam post; a sign; a floating straw wrapper. TOBY (V.O.) When the sky is clear and the sun is warm, you're reminded of how beautiful things can be: a lamp post, a sign, a straw wrapper blowing in the wind…But when that dark cloud appears, you realize how fragile the balance of life is. (2) The neurologist Dr Barry Jordan discussing Brady's condition: DR JORDAN When Brady first arrived at the hospital he was unresponsive to verbal stimuli. Wee performed a CT scan which demonstrated a large subdural hemotoma with mass effect. Since the removal of the subdural he's been in coma. (3) A psychologist discussing the effect of the Brady crisis on his family: DR GOODMAN When I first met the Livingstons it was in the first twenty four hours of Brady coming in after his tragic football accident and they were acting in a fairly typical way… (4) The Livingstons consulting with Dr Goodman in a hospital waiting room: MARTY We're not the ones who need the help. My son needs help. DR GOODMAN And you- MARTY My son's in there! He can't even feed himself, he can't eat – I don't even know if he's going to be a vegetable or not, for Chrissake! The picture freezes and then zooms into a close up on Scooby. TOBY (V.O.) But what about Scooby? How would this effect him? What meaning is to be found in this? INT. EDITING ROOM – DAY Toby and his editor finish watching this latest footage. EDITOR This is definitely better. TOBY You think so? You don't think that this might not be a little dry? EDITOR This is entertainment you're making, Toby. This story about a kid in the suburbs and the state of the college admissions process has, with this Brady crisis, evolved into something much richer and more provocative. TOBY Yes, I know…But still, it should be somewhat entertaining. EDITOR I mean, without this footage, without this rigorous documentation, it would feel like exploitation. TOBY No, no, no. No exploitation. This is serious…But don't you find it a little funny too, at the same time? EDITOR You've got a family tragedy on your hands. Will you tell me what's funny about that? About a kid in a coma? TOBY Nothing, I guess… EDITOR I mean, why are you making this documentary if you can't treat your subject with appropriate gravity? TOBY OK, you're right, you're right… (beat) You know, we need to screen what we've got…invite some regular people, just some random off-the- street types…and see what real people think of this. EDITOR I dunno, Toby. We really have a long way to go. You still need a lot more footage, and it's probably a little premature to start screening… TOBY OK, then we can invite serious intellectual types. EDITOR We're not ready. TOBY Hip alternative types who will understand the process better… EDITOR We're not ready! TOBY Well, I need to see this with an audience! EDITOR What's an audience going to tell you? TOBY I don't know. Maybe they'll like it. INT. LIVINGSTON HOME – NIGHT Mikey opens the refrigerator, takes out a bottle of grape juice, pours a cup for himself, then accidentally spills it all on the floor. MIKEY Consuelo! I spilled some grape juice on the floor!…Consuelo?! INT. BASEMENT RECREATION ROOM – NIGHT Mikey goes downstairs, finds her alone in her bedroom. She appears to be upset. MIKEY Consuelo? No response. MIKEY Consuelo. Are you crying? CONSUELO No. MIKEY Yes, you are. I can tell. What's the matter? CONSUELO Mi Jesus…mi jesus… MIKEY Speak English. CONSUELO Mi Jesus esta muerto! MIKEY Consuelo, I'm sorry, but you know if you don't speak English I can't understand you. CONSUELO My Jesus… MIKEY Who is Jesus? CONSUELO My baby. MIKEY You have a bay? CONSUELO My grandchild-baby. MIKEY Gee, I didn't even know you had any children. But why are you so upset about Jesus? CONSUELO He's dead. MIKEY Oh. How did it happen? CONSUELO He was executed. He was on Death Row and then he was executed. MIKEY How did they execute him? CONSUELO Poison gas. MIKEY (beat) Maybe it's for the best…I mean, if he was guilty of doing something wrong…People who are bad should be killed. Don't you think so? CONSUELO Jesus was not bad. MIKEY Maybe he was and you just didn't know it. CONSUELO He wasn't. MIKEY But still, you can't be sure. CONSUELO I am sure. MIKEY But really, you never know. CONSUELO I know! MIKEY (beat) Why was he on Death Row? CONSUELO For rape and murder. Pause. MIKEY Consuelo, what is rape exactly? CONSUELO (beat) It is when you love someone, and they don't love you. And then you do something about it. Pause. MIKEY Sometimes I feel like my parents don't love me. CONSUELO Well then, when you get older you can do something about it. A long pause. MIKEY Consuelo? I spilled some grape juice upstairs. Do you think you could clean up the floor now? INT. BRADY'S BEDROOM – EVENING Marty and Mikey sit by the comatose Brady, who lies now in his own bed. MIKEY Dad?…Do you think that Brady will ever get better? MARTY One in a million recover. MIKEY Maybe he's that one in a million! MARTY Mikey, there's optimism, and then there's stupidity. It's a very fine line. Pause. MIKEY I don't think there's any hope, either. I was just trying to make you feel better. MARTY Thanks. MIKEY You're welcome. (beat) Dad?…Would you let me try hypnotizing you now? MARTY Yeah. Sure Go ahead. Hypnotize me. MIKEY OK. Stay there. I'll be right back. Mikey hurries off to fetch his hypnotizing apparatus. Marty sits and waits. MIKEY Just a sec!…Be right there! Mikey returns, sets himself up across from Marty and takes out a shiny object. MIKEY Dad, can you turn around a bit, please? Marty obliges. MIKEY Thanks. All right. Now you must look at this shiny object and concentrate. Relax your legs. Relax your arms. Relax your shoulders. Now keep your eyes on the shiny object…Your eyelids are getting heavy…heavier…You're getting sleepy…sleepier…Now let your eyes close shut…and you are asleep. Marty's head drops. MIKEY Now you are completely under my power. I am the only voice you can hear, the only voice you will listen to. Now. When you wake up you will be in a good mood. You won't worry so much about Brady. And I will be your favorite from now on. If Brady dies, you can be sad for a little bit, but I will still be the most important person in your life. You will never be mean to me, and always give me whatever I want. Also, you should fire Consuelo. She's lazy. Now when I snap my fingers, you will remember nothing, but you will do everything I have asked. One. Two. Three. Mikey snaps his fingers and Marty wakes up. MARTY Hey, Mikey. You wanna get some ice cream? MIKEY OK! EXT. LIVINGSTON HOME – DAY A couple of maids are walking by with white babies in strollers. ON VIDEO: INT. SCOOBY'S BEDROOM – DAY SCOOBY So like, yeah…I caved in. I mean, I had to. My parents, they're like …still really depressed about Brady. So I wrote the bullshit essay. Filled out the applications, did the interviews…Y'know, I figure I can always drop out. TOBY (O.S.) So where'd you get in? SCOOBY Prnceton. TOBY (O.S.) (beat) But what did you get on your SATs? SCOOBY 200 verbal/710 math. Kinda weird, I know. But I think they thought it was, like, good-weird. ON VIDEO: INT. LIVING ROOM – EVENING Marty and Fern sit on the sofa. MARTY We used pull. FERN You know, you have to. Sometimes you just have to, Toby. TOBY (O.S.) But what kind of pull did you have? MARTY I have a cousin. Very big giver to the alumni fund. FERN It's all about who you know. MARTY Look, we're not suckers. Everyone else is out there doing the same thing. FERN He's right. EXT. LIVINGSTON HOME – DAY Scooby watches Toby and Mike as they try fixing their jammed camera. MIKE Damn, Toby…This thing won't open again. TOBY Let me try it, let me try it. (takes camera from Mike) It's um…The button is just stuck. SCOOBY Hey, um, Toby? I was wondering…Is the documentary almost finished? TOBY Uh, yeah, we're getting there. SCOOBY Can I see what you have so far? TOBY Sure…um…yeah, as soon as I have a screening I'll let you know. SCOOBY Thanks man. INT. LIVINGSTON HOME – DAY Mikey and Consuelo are playing cards. MIKEY Gin! I win! Let's play again! He starts dealing another round when Marty suddenly appears, back from work. MARTY Hey, Mikey! MIKEY Hi, Dad! MARTY Come here, give me a hug! MIKEY Gee, you're home early! MARTY Yeah, uh, listen. Why don't you go upstairs and keep your Mom and Brady company for a bit? I need to speak alone with Consuelo for a moment. MIKEY Sure, Dad. He runs up the stairs, pretends to disappear, but stays to observe. MARTY Consuelo. Mrs. Livingston and I have discussed this, and we've come to the conclusion that we are not very happy with your work lately, so we're going to let you go. CONSUELO I-I don't understand. MARTY We've been happy with you in the past, but now we think maybe it's time for a change…uh…I know you've had trouble at home and maybe, you know, some of that is reflected I your work… CONSUELO But, Mr Livingston, I work very hard for you and your family! MARTY I understand, I understand that, and I'm sorry it had to end this way. EXT. LIVINGSTON HOME – DAY Consuelo exits the house and trudges towards the bus stop, carrying all her belongings. Other cleaning women are waiting for the bus as well. INT. SCOOBY'S BEDROOM – DAY Scooby is looking at the address on Toby's 'documentarian' calling card. He picks up the phone and dials. INT. SHOE STORE – DAY Dave, the store manager, leaves a costumer for a moment to pick up the phone. DAVE Florsheim. Can I help you? SCOOBY (V.O.) Hi. I…uh...I'm trying to reach Toby Oxman? DAVE Sorry, he's off today. BACK TO SCOOBY …on the phone. SCOOBY OK…um…Thanks. EXT. HIGHWAY – DAY Scooby drives his Mom's shiny new SUV to New York. EXT. A RUN-DOWN TENEMENT NEIGHBORHOOD – DAY Scooby pulls into a spot. INT. TOBY'S APARTMENT BUILDING – DAY Scooby climbs a stairwell, rings a bell. Mike opens the door. SCOOBY Hey, uh, Mike. Is Toby here? MIKE Uh, no, he's not. SCOOBY Oh. Do you have any idea where he might be? MIKE I think he's at a test screening. EXT. TOBY'S APARTMENT BUILDING – DAY Scooby hurries outside only to find his car stolen. INT. SUBWAY – DAY Scooby rides a train. INT. SCREENING-ROOM FACILITY – DAY Scooby sees a sign that reads: 'American Scooby: test screening.' He goes into the screening room. SCOOBY'S POV …of the documentary being screened. ON VIDEO: EXT. LIVINGSTON HOME BACKYARD – DAY Marty talks to Toby poolside as he prepares a barbecue. MARTY I think Scooby's like a lot of kids. He just hit a…a speed bump. Now he's gonna find his way, his path is gonna be cleared, and I think he's gonna continue his education at a good college. And everybody else is gonna be happy. TOBY (O.S.) ...But Mr Livingston, aren't you a bit fearful that Scooby will be confronted with hollow values and systemic conformism? Pause. MARTY I don't know why this is so hard for you to comprehend. I had a terrific time in college. I've got a terrific job, a comfortable salary, terrific wife, three terrific kids…and every year I give to the alumni fund. Now why are you trying to make college out to be a bad thing, a negative experience? You were unhappy? Well, to bad! Get over it! Stop trying to impose your misery on others by going around saying, 'Life is bad, life is horrible.' Life is tough on you? Well, boo hoo! ANGLE ON THE AUDIENCE ...laughing. ON VIDEO: EXT. LIVINGSTON HOME - DAY Scooby talks to Toby in the Backyard, Marty seen in the distant background. SCOOBY ...Well, yeah, my Dad is kind of a goofball. I just have to pretend to go along with his ideas. 'Cause he really doesn't get it: like I could be the next Oprah, for all he knows, but he's never even seen the show. ANGLE ON SCOOBY ...watching himself on screen ON VIDEO: NEW ANGLE ON SCOOBY ...as he continues talking to Toby. TOBY (O.S.) What is most important to you? SCOOBY I dunno. I'd like to be good at something. It doesn't have to be TV. I mean, it could be movies...Anything. I'd be willing to direct. The audience laughs. SCOOBY But I'd like to be, you know...famous. Not necessarily a superstar, just famous. Be recognized. Get fan Mail. Things... ON VIDEO: TIGHTER ON SCOOBY ...still talking to Toby. TOBY (O.S.) Uh, Scooby, now I understand how you want to be a TV talk-show host and all, like Conan O'Brien, but did you know even he went to college? SCOOBY He did? TOBY (O.S.) Yeah. He went to Harward. SCOOBY (beat) Oh. ANGLE ON SCOOBY ...watching the film and listening to the audience. The laughter is out of control. He is devastated. INT. LIVINGSTON HOME - NIGHT Marty and Fern are in bed watching the news. Mikey appears in the doorway. MIKEY Mom? Dad? Can I sleep with you? I'm scared. They flick off the TV. MARTY Sure!... FERN Of course, honey. Come in bed with us. Come on. Mikey gets in bed with them. MARTY Snug as a bug in a rug. Yeah, here you go, pal. All righty...You're monster-proofed! EXT. LIVINGSTONE HOME - NIGHT Consuelo approaches the house stealthily. ANGLE ON FINGERS ...opening the back of the house; stuffing towels under bedroom doors; turning on the kitchen stove's gas; switching on the main gas valve in the boiler room. EXT. LIVINGSTON HOME - NIGHT Consuelo flees. A very long pause. FADE TO BLACK. EXT. STREET NEAR LIVINGSTON HOME - EARLY MORNING Scooby gets off the bus with a few cleaning women. He walks homewards. EXT. LIVINGSTONE HOME -DAY Scooby sees reporters, policemen, firemen, ambulances, gas company vehicles, and neighbors surrounding his house. Toby and Mike suddenly appear with their camera trained on him. ON VIDEO TOBY (O.S.) Oh, my God, Scooby! I'm so sorry...I'm so, so sorry... SCOOBY Don't be. Your movie's a hit. [THE END] 
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+    S T R A N G E   D A Y S    by James Cameron & Jay Cocks    from a story by James Cameron    AUGUST 11, 1993    --------------------------------------------------------------    1:06 AM DEC 30, 1999    Blackness.  We hear:                             VOICE              Ready?                             SECOND VOICE (LENNY)              Yeah.  Boot it.    A burst of bright white static exploding across the    darkness.  A high whine on the audio track gives way to    street sounds and rapid breathing.    AN IMAGE wavers and stabilizes: A nervous POV.  We're in a    car, sitting in the backseat, and we're nervous, the view    swinging around, showing the street rolling by outside the    windows, then whipping back to the two guys in the front    seat.    Our POV looks down at a SMALL RECORDING DEVICE in "our"    hands.  A red LED is flashing.  We slip the recorder into    a coat pocket.                             OUR VOICE              Okay.  It's goin'.  I'm recording.    The guy riding shotgun, LANE, is just pulling a pantyhose    over his head, smearing his features into a pig-like mask.    He turns, DIRECTLY TO THE LENS, pissed off.                             LANE              Good one, dickhead.  Thanks for              waitin' till I get this fuckin thing              on.  You tryin' ta I.D. me, or              what?    He tosses another pantyhose right at us and we catch it.    Our POV looks down, into the pantyhose, which comes up    over our field of view.    We realize: this is not some ride-along verite video.    WE ARE ONE OF THESE GUYS.  Real honest-to-God point of    view, with no cuts, no music.  This is not film, it is    human experience.    The driver is a Hispanic guy named "SPAZ" DIAZ.  Lane is a    white guy who looks very strung out.  Couple of    crackheads.  The car is a mid-seventies barge, piebald    with primer.                             LANE              Next alley... just pull in slow.                      (turning to us)              Hurry up will ya.  Here.    He hands us a big stainless steel revolver.  The POV looks    down as our shaky hands snap open the cylinder, check the    rounds, snap it closed.    Diaz pulls the barge into an alley.  The headlights    illuminate overflowing dumpsters.  A Chicano busboy is    making trash runs out the back door of a restaurant, which    he has chocked open.  The busboy goes back inside.                             LANE              Let's go.    Out of the car, quickly, our own breathing loud in our    ears.  We even hear our own heartbeat, racing now.    Through the door, after Lane, moving fast.    Into the kitchen.  Fluorescent glare.  The busboy turning,    surprised, Lane putting the shotgun in his face.  Freezing    him.  Lane puts a finger to his lips: "quiet" in any    language.    Our hand puts the magnum in the THAI COOK's face.  We get    them down on the greasy floor, Lane controlling them with    the shotgun.  He looks at us, snaps his eyes toward the    front room.    We hear voices as we approach the swing door.  Go through.    Whip pan left, then right.  Scoping the layout.  Low-rent    THAI place.  Red wallpaper.  Closing time.  Middle-aged    Thai OWNER, by the cash-register, counting money.  Young    Thai WAITRESS, cleaning up.  They look up, stunned, as we    put the gun on them.                             OUR VOICE                      (shouting, edgy)              Don't move, don't talk, don't do              nothing.    Our POV is whipping around, from the front door to the    owner to the kitchen where Lane is standing in the doorway    covering the cook and busboy, back to the owner as he    steps back from the cash-register.    We scoop up the big wad of bills: seven, eight hundred    bucks in tens and fives.    Now yelling, herding the owner and the waitress into the    kitchen, the owner trying to calm the girl in singsongy    Thai, Lane shouting at him to shut up.    Into the walk-in cooler.  The steel door closes on four    scared pair of eyes.  POV looking around, seeing... a    dish-rack.  Our hand pulls out a spoon, drops the spoon    handle through the hole in the cooler door-latch.  Locking    them in.    Lane heading out the back door.  Laughing, as he looks at    the wad of cash our hand is waving in front of him.    We follow Lane to the car.  Snap a look down the alley one    way, then the other.    Shit!  Cop Black-and-White pulling into the far end of the    alley.  Heartbeat goes triple time.  Scrambling into the    car.    Door not even closed and SPAZ has it in reverse, burning    rubber as he launches back down the alley.    SCRUNCH!  The car grinds along one wall as SPAZ steers    wildly backward.  Sparks right next to us.  Then--    KBOOM!  As we slam into a dumpster and push it right out    into the street.    The cop has his lights and siren on, and is roaring at us    as SPAZ cranks the wheel and punches it down the street.    He curses in English and Spanish as he weaves between    cars.  We pull off the stocking to see better.    The cop car surges onto the street behind us.    Looking ahead.  A red light.  Cars stopped, blocking the    way.  Cutting to the right, onto the sidewalk, around the    cars, into the intersection.    A near miss with cross traffic, then accelerating.    Another red light ahead.                             LANE              Don't stop!    Truck entering the intersection.  Everyone yelling.  SPAZ    cuts the wheel but too late...    Clipping the truck and spinning.    The street outside smearing past like the view from a    Tilt-a-whirl.    Then KBLAM!  Hitting something, God-knows-what, and    launching up and over, and--    KRUNCH!  Crushing metal and an explosion of broken glass.    It gets quiet and still.  Tinkling glass as Lane moves.    Then SPAZ is screaming.  The car is upside down.    Crawling out of the side window.  A frenzy now.    Whip pan to see the cops pulling up.    Then whipping back to the wreck.  The engine is burning.    Flames spreading rapidly.  SPAZ inside, pinned, upside    down, blood pumping across his face.    Our hands pulling Lane out.  He comes up running.    We run after him, sprinting toward the welcoming darkness    of an alley.    Panting breath and heartbeats and sirens and somebody    yelling.    Gunshots.  Looking back.  Cops next to their car, firing.    Ahead, Lane running into shadow.    Then a door opening, a man coming out of a metal firedoor.    Lane grabbing him, throwing him out of the way, holding    the door open as we dive through into--    A stairwell.  Lane sprinting up, two steps at a time.    Trying the door at the second floor landing.  Locked.    Shit.    Running up.  Dizzying whirl as we run, up and up.    The POV is finally broken by a...                                                 CUT TO:    INT.  UNDERGROUND GARAGE    But we don't know where we are yet.  We see a man in    extreme close-up: just his eyes and mouth.  The eyes are    closed, the eyeballs tracking under the lids, like he is    watching a movie in there.  This is LENNY.                             LENNY              This is great... the doors are all              locked.  Who are these losers,              friends of yours?                                                 CUT TO:    BACK TO POV as we reach the fifth floor landing.  Lane is    coming unglued as he finds this door locked.  We look    down, see cops coming two floors below.  One cranks off a    couple rounds at us and we snap back from the railing.    Pounding up the last flight.  Finally!  The door is    unlocked.    Blasting through it, behind Lane, onto the roof.  Running    all out past AC units and pipes, air vents.  Looking up:    an LAPD helicopter orbiting close.  It flicks the xenon    onto us and we are running in a vibrating circle of blue    daylight.    Running along the edge of the roof.  Looking down.  Car    burning upside down in the street below.  The gas tank    explodes, filling the street with orange light.  We don't    slow.  We're running all out.                             LENNY (V.O.)              Wow... the gas tank is a nice touch.              Oh, oh, end of the line boys.    Ahead, in POV we see the edge of the roof coming up.    Beyond it is another building, about ten feet lower and    separated by a 20 foot alley.    But Lane doesn't slow down.  He leaps across the void and    makes it to the other building, landing in a sprawl.    We reach the edge and look down.  Six stories.  No ladders    or fire-escapes.  Whip to behind us.  Cops running across    the roof.                             LANE              Come on!  Fucking jump man!    The POV backs up from the edge and then runs toward it...    Out into the void.  Moving... airborne... then...    WHAM!  Right into the parapet wall.    Slipping down.  Brick wall right in our face.  Bloody    fingers grabbing for a rusty piece of pipe running along    the edge.    Looking down... feet dangling over a sixty foot drop.    A cat walking through a patch of light in the alley below,    oblivious.    Breathing raspy.  Snapping a look up as the pipe gives    way.    A keening whine coming from us as we scramble to climb up    but...    Snapping a look down--    Walls rushing past, sound of wind, and our own raspy    scream--    Ground rushing up--    Split second impression of a cat, looking up, yowling and    running out of the way as--    Pavement fills frame.  A burst of violent red light.    Sound like a gunshot... but no echo.    Only silence.  And blackness.                                                CUT TO:    INT.  UNDERGROUND PARKING GARAGE    Lit by miles of fluorescent.  Empty and echoing.  Close on    Lenny.  He has something on his head.  Something that    looks like a mutated set of Walkman headphones, except    they have little gecko fingers that fit along the temples    and over the forehead.  PLAYBACK "TRODES".  Lenny whips    off the trodes, gasping as if he got gutpunched.                             LENNY              Goddamnit!  You know I don't deal in              snuff.  How many times I hafta tell              you?!    Lenny is with a guy everybody knows as "TICK", a pale-    skinned creature of the night in T-shirt and leather    jacket.  Tick is a bottomfeeder in the techno-underground    of the near future.                             TICK              Don't have a fucking coronary, Lenny.                             LENNY              Well you could've at least warned              me.  You know I hate the zap... when              they die.  It just brings down your              whole day.  Jeez, Tick.                             TICK              Sorry.    LENNY NERO is low thirties.  Handsome.  Charming.  And you    better check to see if you still have your ring after you    shake with him.  He is wearing an expensive Italian    jacket, and what he thinks of as a "power tie." His Rolex    isn't real.  His greasy hair is too long and curls around    his collar.  He needs to shave.  A little sleazy.  But he    has energy, and heavy street smarts.    Lenny is sitting on the hood of his '97 BMW 1035i.  Tick    is facing him, sitting in the back of his beat-to-shit    70's van.  There are a lot of tapes and tech stuff piled    inside the van.  Lenny has a Haliburton case open next to    him, like a drug dealer.  In fact the whole setup looks    like a drug deal, but it's not.  Though it is illegal.    The case holds Lenny's personal playback deck, his trodes,    and a rack of the little tapes in which he deals.  They    are about the size of DAT tapes, and hold about 30 minutes    of sensory experience... everything a person sees, hears,    and feels... recorded directly from the cerebral cortex at    the moment it is happening.                             LENNY              How'd you get the tape?  Why didn't              the cops put it in evidence?                             TICK              With all the blood I guess they              didn't see the rig.  Guy had it              under a wig.                             LENNY              Yeah, but how'd it get to you?                             TICK              I got ways, Lenny, I got ways.                      (off Lenny's impatient                       look)              Okay, okay... I got a deal with some              a the paramedics.  My guy pages me              and I pick it up at the morgue.  So              whaddya think?  This clip's gotta be              worth at least a grand.  Right?                             LENNY              Tick.  Not to dash your hopes, but I              don't deal this kind of product, you              know that.  I'll give you four for              it, cause I've gotta cut off the              last bit.  And my customers want              uncut.                             TICK              Fuck that!  The last part's the              best.  You dry-dive six stories and              blammo!  Jack right into the Big              Black.                             LENNY              I don't deal black-jack clips!  It's              policy.  I got ethics here.                             TICK              Yeah, when did that start?  Come on,              man!  It's what people want to see,              and you know it.                             LENNY              So lay it off to somebody else.                             TICK              Come on, Lenny.  I got expenses.  I              got to get this rig fixed.  Look at              it...    Tick holds up a zip-lock bag containing the Walkman-sized    stainless steel CORTICAL RESONANCE RECORDER, the record    deck we saw earlier in the POV.  Also in the bag is the    SQUID NET, a matrix of sensors designed to conform to the    human head (this is different from playback trodes).  The    whole works are covered with congealed blood.                             TICK              Give me six at least.  This's a good              clip, here.  Gets you pumpin'.                             LENNY              Yeah, well, the first part's okay.              Better than the usual soaps you              bring me.                             TICK              Now that is cold, Lenny.  I always              bring you choice.    Lenny fishes around in a cardboard box at Tick's feet,    pulling out a tape.                             LENNY              Sure, like this low-grade shit here,              some girl in a fight with her              boyfriend... it's a test-pattern.              Nothing happens.  I'm snorin'.                             TICK              Hey, you're always saying, 'Bring me              real life.  Bring me street life.              And, like, one man's mundane and              desperate existence is another man's              Technicolor.'                             LENNY              I said that?  Look, I'll take it for              five, and you'll make out okay,              because in this case it's pure              cream, you don't have to cut              anything back to the wearer.                             TICK              Ha!  That's for fucking sure.                             LENNY              What else you got?                                                CUT TO:    MONTAGE/SERIES OF SHOTS    Lenny in his BMW, driving through the LA streets.    Streetlights and neon flare across the windshield in a    calligraphy of light.  Lenny works the cellular, gets    messages on his DIGITAL PAGER, weaves in and out of    traffic -- punches the buttons on his radio, changing    stations all the time.  Raw, nervous energy: like a kid    who can't stay still.  It's a hard hustle in the big food    chain.                             LENNY              Look, Jerr.  I'm nothing if not a              man of my word.  I'll drop the money              by tomorrow, next day latest.  It's              a little crazed right now.  Yeah, on              my mother's eyes, I swear.  Thanks,              buddy.                      (hangs up)              Prick.                      (to the car ahead                       honking)              What kinda move you call that?!              Lemmings.    Lenny turns up the radio.  SELECTED DRIVE-BY IMAGES, as    the talk-radio provides commentary.    Lenny's car passing under glowing Santa Clauses on the    light-poles.  Banners proclaiming the coming "Millennium    LA" festivities.                             TALK-RADIO HOST              ... it's a little after 2 am on              December 30th, 1999... the second to              last day of the whole darn century,              and the phone lines are open.  Dan              from Silverlake, you're on the air.    Transition to a rougher section of town.  Buildings roll    by endlessly, tagged by gangs in graphic tribal patterns.    some are burnt-out ruins.                             DAN FROM SILVERLAKE              Uh, hi.                             HOST              So Dan, are you looking forward to              the New Year?    A building is burning out of control.  In the foreground,    silhouetted, a drunk sleeps soundly on a bus-bench.                             DAN              Not really.  I mean what's the              point?  Nothing changes New Years              day.  The economy sucks, gas is over              three bucks a gallon, fifth grade              kids are shooting each other at              recess... the whole thing sucks,              right?  So what the hell are we              celebrating?    A shanty-camp of homeless people under a freeway overpass.    Homes made of cardboard and carpet remnants.  Their lives    in shopping carts.                             HOST              You're a glass-is-half-empty kind of              guy, aren't you Dan?  Well I for one              happen to think that us making it              2000 years is worth celebrating--    Lenny cuts him off, punching to another station, and MUSIC    blasts.  Something fast... a rap-metal hybrid.  Anger and    energy.    WE CUT IN fast blitzes of images like a burst of automatic    weapons fire: helicopters on patrol, people running in the    streets, buildings smoldering, fists raised, shouting    people, paramedics rushing a body into an ambulance,    Korean store owners armed to the teeth, a body covered by    a yellow plastic sheet, blood running down the gutter.    Cops in riot gear, with M-16s, on patrol in a Hispanic    neighborhood.    BACK TO LENNY coming out of a bar with a nervous    businessman.  We don't hear the conversation.  MUSIC OVER.    Lenny palms a roll of bills from the guy as he slips a    squid tape into the pocket of the businessman's suit    jacket.  Lenny claps him on the shoulder and walks away.    Lenny's beeper goes off and he pauses to look at the    number.    ON LENNY DRIVING.    Ahead, through the windshield we see a police checkpoint.    The cops have thrown a block across the street and are    shinning their lights in the cars as they creep through.    Lenny slaps his ID against the side window with one hand,    not missing a beat in his conversation.  This is just part    of life in LA.                             LENNY                      (on cellular)              Jimbo.  I'm there, Jimmy.  Right now,              can't you hear me knockin'?    CUT TO LENNY working his way through a crowded club, music    pounding.  Strobe lights.  We don't see much.  He hears    his phone rings and pulls the tiny DIGITAL CELLULAR out of    his breast pocket.  Sticks a finger in his other ear and    answers.    CUT TO LENNY, back in the BMW, on the streets.  On the    move.                             LENNY              -- so you line up the talent, shoot              the clip, get it to me by Monday.              OK?  Client wants a guy and two              girls, the guy wears... yeah, I              know, thinks he's being original.              Girls have to be young.  So don't              use your mother like you usually do.              Yeah, you too, pendejo.  And no big              tits... French tits.  That's it...              like Champagne glasses... you got              it.  What a pro.  Page me.    LENNY PULLS UP to the security checkpoint of a gated    community.  The white upper-middle class hiding behind    walls and paid security.                             LORI              If you read the Bible, Mark, you'd              know that there won't be another              thousand years.  Right now we are in              the Last Days, as foretold in the              book of--                             HOST              The Last Days?  You mean the coming              of the Apocalypse, right?  The              Rapture?    Lenny fishes around in the glove compartment, flipping    through about twenty plastic security passes for different    parts of town, all bogus.  He finds the right one and    flips it onto the dash.                             LORI              Yes, that's right.  You only have to              look at the signs... there are wars              and rumors of wars--    The RENT A COP at the guardshack hits him with his light.                             LENNY                      (lying)              I live here.    The cop waves him through.  Lenny is the right color.                             HOST              Now just so the rest of us know how              much time is left, when is the              Rapture supposed to hit, exactly?              Is it midnight New Year's Eve?    And WE CUT to a burst of news videotape, enlarged, noisy,    distorted... images of a great gathering in the desert,    the faithful waiting for God's sign as the millennium    approaches.                             HOST              Is that midnight LA time, or Eastern              Standard or what?  I mean, what time              zone is God in, anyway?                             LORI              I pray for you all.    Lenny's BMW cruises past an overturned burning car.  There    is no-one around.  He barely glances at it.  Common sight    these days.  If it is the end of the world, Lenny's not    going to let it break his rhythm.                             LENNY                      (cellular)              I just got something in, Bobby, you              might appreciate.  A 211 at a Thai              joint goes south, and these three              scuzzballs end up in a gun-and-run.              It's a beauty, two thumbs up.              Parental discretion advised.  I'm              talking it's the master, not some              stepped-on copy.  One of a kind.    LENNY INSIDE A GLOOMY BAR.  He slides into a booth with    NORM SKINNER, a paunchy guy with thinning hair who dresses    too young.  A pretty, stoned-looking girl is leaning    against Skinner.                             LENNY              Yo, Skinner.  The Skin Man.                      (fingering his                       jacket)              Red leather.  Nice feminine touch.                             SKINNER                      (laughing)              Fuck you, Nero.                             LENNY              Whattya got for me?    CUT TO: POV of a woman writhing above us in ecstasy.    Lovemaking in point-of-view.  We look down, see OUR BODY,    a woman's body... our hands moving over the other woman's    torso.  The image is dark, a primal impression.  Sound of    harsh breathing, rustling sheets.    BACK TO LENNY in the booth with Skinner.  Lenny has    Skinner's tape running in a playback deck clipped to his    belt, next to his pager.  He is hunched over the table,    "sampling" the merchandise by touching a few of the trode    pads to his temple without putting on the whole headset.    Like a coke dealer taking a little on the fingernail.                             LENNY              Yeah, I can use this...                      (to the stoned girl)              ... but honey you gotta move your              eyes slower next time.  It's too              jerky.                             SKINNER              It was her first time, Lenny.  Cut              her some slack.    TIGHT SLOWMO SHOTS... ABSTRACT: SQUID tapes and money    changing hands.  A SQUID tape sliding sensuously into a    deck.    TIGHT CU LENNY, through the windshield of his car.  Neon    moving over him.    NEWS FOOTAGE: LAPD Aerospatiales circling, their xenon    lights turning night into day, giving the impression of a    futuristic war zone.    INSIDE THE COCKPIT, the infrared camera shows green-screen    images of people in cars, in their homes... like footage    of hyenas shot at night in total darkness.    The impression is of a society under siege, an occupied    nation... a watched society where the camera eye and the    police spotlight define our reality.                             HOST              Go ahead, caller, you're on the air.                             VOICE              My name's DeWayne, and I got a New              Year's resolution for the po-lice.              Hey, yo Five Oh, you better get down              with 2-K.    CRASH Unit cops with a bunch of Salvadoran gang kids    racked up against a storefront.  A dozen 16 year-old girls    and guys, hands against the wall, acting bored, as the    cops walk up and down, reading IDs.                             HOST              2-K?  What's that DeWayne?    A group of cops have two black guys proned out.  Nearby a    crowd jeers, shouting insults.  A black kid throws a beer    bottle and one of the cops chases him into the crowd.                             DEWAYNE              2-K.  The big two thousand.  Comin              tomorrow night.  Out with the old              and in wit da new.  See for the Man,              no new is good new, what I'm sayin.              He like to keep it the way it is.              But we going to take it, make it              new, make it our own.  History gonna              start right here, right now--    LENNY cuts him off as his cellular call connects.                             LENNY              Hi, Dave, this is Lenny.                      (pause)              Nero.  Lenny Nero.  That's right.              Oh, is it late?  Sorry.  It's just              that I have something that might be              of interest, and since I always call              you first--                      (pause)              Uh, huh.  Well, what would be a good              time?  Okay, sure.  Catch you then.                                                CUT TO:    A GAME ARCADE.  Light and noise as the customers drop    quarters for synthetic thrills.  Lenny is talking to a    nice-looking street kid in his early 20's named EDUARDO.                             EDUARDO              Let me get this straight... you              gonna pay me 200 bucks to put on a              hair net and bang some beautiful              babe.  I don't know, I gotta think              about this.    Lenny smiles and pulls out a SQUID-net.  He motions    Eduardo into the shadows.                             LENNY              Okay, let's get you wired up.  I              hope this axle grease you got in              your hair doesn't screw up the squid              receptors.                             EDUARDO              What's all this squid shit?    As Lenny works, fitting the network of sensors over    Eduardo's head, he holds class.                             LENNY              Superconducting QUantum Interference              Device.  SQUID.  Got it?  There's              gonna be a test.                             EDUARDO              Hey, fuck you, man.                             LENNY              Easy, Eduardo, easy.  Preserve a              sense of humor at all times.  Okay,              the receptor rig... what I'm putting              on your head... sends a signal to              the recorder.                      (Lenny holds up the                       recorder)              See we call it "being wired," but              there's no wire.  You gotta keep the              recorder close... five, six feet              away max, like in your jacket pocket              by the bed or wherever you're going              to close escrow, know what I mean?                             EDUARDO              Yeah, right.    Lenny fits a wig from his briefcase over Eduardo's head,    turning him into a headbanger.  Eduardo scowls at this    set-back to his suavete.                             LENNY              Some tips.  Don't dart your eyes              around.  Don't look in the mirror or              you'll ID yourself.  OK?  You got a              half hour of tape, so give me some              lead-in to the main event.  But              don't wait too long, I don't want to              be going out for popcorn.  And don't              act natural.  Don't act at all.              Just forget the thing is on.  Got              it?                             EDUARDO              No problem.                             LENNY              A star is born.                                                CUT TO:    EXT.  TRAIN YARD - NIGHT    A woman's feet moving along the steel rail of a train    track at night.  The woman has no shoes, her feet bare.    IRIS stumbles along the track, clutching one shoe    pointlessly to her chest.  She is swearing and crying,    runny mascara leaving two tragic streaks down her pale    face.  Despite this we see that she is attractive, though    her dress and make-up seem designed to convey overt    sexiness.  Her white skin is complemented by a wild mane    of curly red hair.    She is in her early twenties, and the harshness of her    life has just begun to harden her features.  She looks    lost and without hope, in fear of her life.  Her breath    comes in hitching sobs, and her eyes are wild.    She runs between cold steel walls of freight cars, looking    behind her frequently.  A police helicopter is circling.    Its xenon beam plays over the train yard, sweeping over    the cars.  She hunches into the shadows of a freight-car    as the beam passes over.  Looking under the cars she sees    an LAPD patrol car cruising down a street adjoining the    yard, its searchlight sweeping toward her.  It moves on.    She continues her run, moving away from the direction of    the patrol car.  She reaches a chain-link fence.  Crying,    she scrambles over it, cutting her hands and ripping her    dress.  Another patrol car passes two blocks away.  She    crouches in the tall grass until it rounds a corner out of    sight.                                                CUT TO:    EXT.  ALLEY AND STREET - NIGHT    Iris sprints down an alley between buildings.  Rats    scatter into the shadows ahead of her.  She doesn't seem    to notice.  All she cares about are the police lights, and    the sound of the helicopter droning, circling.    She pauses at the mouth of the alley, scanning the well-    lit street beyond.  There are people here: downtown low-    life street people.  A half-block away is a brightly lit    sign marking the entrance to a Red-Line subway station.    She walks along the sidewalk, her eyes on the sign,    feeling exposed as she walks openly, her heart pounding.    She is a mess, but in this section of town people barely    glance at her.    LOW ANGLE on her bare feet, standing out amid the shoes    and boots of winter.    SHE CROSSES the street, and reaches the sidewalk just as a    black-and-white rounds the corner at the end of the block,    behind her.    IN THE CRUISER are TWO COPS, who are scanning the street.    They look intense.  Revved up.  They are BURDEN SPREG, a    massive, barrel-chested street-lifer in his mid-forties,    and DWAYNE ENGELMAN, an aggressive hard-on in his twenties    with a brush cut, a Nautilus body, and a face like a    ferret.                             ENGELMAN              She's a hooker, vice'll have her in              the book.  We can pick her up later.                             SPREG              No.  Now.    IRIS knows the cops are behind her.  She is terrified to    turn.  Finally she can't stand it any more.  She breaks    into a run.  The patrol car speeds up suddenly, roaring    after her.    Iris sprints along in her bare feet, all-out like a track    runner.  The black-and-white screeches to the curb next to    her and the cops jump out.    Iris hits the stairs down to the subway station at a full-    tilt boogie, knocking down some poor old guy whose    groceries go flying.                                                CUT TO:    INT.  SUBWAY STATION AND TRAIN    Iris trips on the landing, spins sprawling across the    filthy tile floor, and comes up running.  Panting with    fear and exertion she clears the turnstiles like a    hurdler.    The cops pound down the stairs two at a time.  Spreg draws    his 9mm.  In his eyes we see an unaccountable craziness...    a hunter who has as much at stake somehow as the prey.    Street people fall back as Spreg thunders through them.    They aren't about to get in the way of this juggernaut cop    and his boy wonder.    The two cops reach the platform.  No Iris in sight.    MOVING WITH THEM as they slow to a walk, scanning.  A    couple of low-lifes standing around, waiting for trains,    eye them warily as Spreg gets a call on his Rover.                             DISPATCHER (V.O.)              Do you request back-up?                             SPREG              Negative.  Suspect is a black male,              age 35 to 40.  We're handling it.    A train pulls into the station with a whoosh of air.  A    few people board.  There is only the sound of the cops'    footsteps as they move along the empty platform.  With a    pneumatic hiss the train's doors begin to close.    Suddenly Iris breaks from behind a column up ahead at a    full sprint.  Spreg unleashes his size 13 cop shoes,    thundering along the platform to intercept her.  Engelman    straight-arms his pistol.                             ENGELMAN              FREEZE!    Iris clears the doors just as they hiss shut.  Her    momentum carries her clear across the car, where she slams    into the far wall and staggers back, almost falling.  She    gasps for breath and looks up to see...    ... Spreg crashing against the outside of the doors she    just came through as the train starts to move.  He tries    to force the doors apart... can't.  He aims his gun    through the window.    Thinking fast Iris dives to his side of the car and    presses herself up against the solid wall next to the    door, where he can't see her.    OUTSIDE, Spreg is running next to the accelerating train.    He swings his pistol, smashing the window with the butt.    Iris screams as Spreg lunges through the opening next to    her like some uniformed nightmare and grabs her.  He is    still running alongside, pulling on her.  Trying to drag    her right out through the window.    She struggles.  Bites his beefy hand.  He swears and lets    go.  Then makes one last grab.  Gets his fingers into her    long mane of hair.  Yanks on her.  She comes half out the    window, screaming.    Then... RIP!  The hair pulls off her head.    Spreg drops away, behind the speeding train, holding a    red wig.  He looks at it stupidly, then raises his pistol    and fires at Iris.    She jerks back through the window and drops to the floor.    A couple of shots hit the metal outside.  We see Iris has    short hair, platinum white.  In it are a few of the many    pins which held the wig securely in place.  She gasps for    air, sobbing and hugging her knees, trembling all over.    SPREG STANDS on the platform, watching the train    disappear, as Engelman runs up.  Spreg looks at the wig in    his hand, disgusted.  He turns it and looks inside, at the    cap.    CLOSE ON THE CAP inside the wig: there is an intricate    network of sensors in a grid over the entire underside of    the wig.  The sensors are connected by wires, in a pattern    like the veins of a leaf, bundling to a small, flat metal    box, the size of a cigarette case.  It is a SQUID NET.    Iris was wired.  Spreg just stares at the SQUID NET, eyes    going crazy wide.                             ENGELMAN              Oh shit.                                                CUT TO:    EXT./ INT.  LENNY'S APARTMENT - NIGHT    IT'S 4 AM.  Lenny trudges through a heavy security gate    into the center court of his ratty building.  The pool    furniture is in the pool.  Gang graffiti marks the walls.    Bars on all the windows.  One of the doors looks like    somebody opened it with an ax.  The pool lights give the    place an eerie, dead glow.  Can out slick Lenny really    live in this dump?    Through a barred window we see Lenny approaching as we    hear the OUTGOING MESSAGE on his answering machine in the    F.G.    BEEP.  And...                             IRIS (V.O.)              Lenny, goddamn it, you got to be              there, you got to help me, come on,              pick up, pick up...    Through the window we see Lenny fishing in his pocket for    his keys.                                                CUT TO:    EXT.  ALL NIGHT GAS STATION - NIGHT    Iris at a pay phone in the cold of an all-night gas    station.                             IRIS              ... you got to be there for me...              COME ON!  Shit, I'll call later.                                                CUT TO:    INT.  LENNY'S APARTMENT    As Lenny unlocks the door, all he hears is Iris' "I'll    call later." He picks up the phone as the connection    breaks.                                                CUT TO:    EXT.  ALL NIGHT GAS STATION - NIGHT    Iris continues to grip the phone even after she has hung    up.  She looks desolate, without hope.                                                CUT TO:    INT.  LENNY'S APARTMENT    LENNY doesn't stop to play back Iris' message, or any of    the twenty others on his machine.  He just deadbolts the    door and locks a steel bar across the door frame, then    carries his Haliburton...    ... toward the bedroom.  And we see the truth of his    reality.  Lenny's crib is a shit-box.  It is a small one-    bedroom, barely furnished.  A couple of chairs.  Swap-meet    couch.  Cardboard boxes full of tech gear stacked in the    corners, unidentified electronics components piled on a    table, cables strung everywhere.  God knows what this    stuff is.  There is aluminum foil taped to all the    windows.  Fast food cartons, empty Coke cans, pizza boxes    everywhere.  The bachelor apartment from hell.  High-tech    low-life.    He goes into the bedroom.  Mattress on the floor.  Same    infernal interior decoration, but this room is dominated    by racks of tapes... Squid tapes.    Lenny pours himself a vodka from a bedside bottle, takes    off his clothes and hangs them over a chair.  He sits on    the bed in his underwear, looking lonely and depressed.    This is the private Lenny: No plans.  No dreams.  Nothing    to look forward to but another day of the hustle.    He puts a set of playback trodes carefully on his head,    fishes around in a shoe box among a bunch of tapes,    squinting at the hand-written labels: they all say    "FAITH." Only the dates are different.    He selects one and inserts it in the deck, makes some    minute adjustments.  Sips his vodka.  Leans back.  Closes    his eyes.  And hits PLAY.    PLAY BACK SEQUENCE/ POV:    We are moving along the Venice boardwalk, following a    YOUNG WOMAN on Rollerblades.  By our motion, it is obvious    that we are on Rollerblades too, and not doing so well.    The woman is laughing, turning circles around us, cracking    up at our discomfort.    We hear Lenny's voice complaining a mile a minute, and we    realize the POV is his.  The girl takes our hands, skating    backward, towing us along the boardwalk.  It is a sunny    afternoon, and it is the usual boardwalk freak show all    around us.    The woman is FAITH JUSTIN, a singer.  Lenny is desperately    in love with her.  It's not hard to see why.  She is    beautiful, in an alive, dynamic way.  Her hair is a wild    dark mane, and her eyes are spectacular... intense.  She    moves with a lithe, sinuous grace.  We are staring at her    eyes instead of concentrating on skating.    Whammo!  The POV spins and we are sitting, looking up at    Faith as she circles, laughing.  She skates over to help    us up.    CUT TO LENNY, on his bed, smiling.  He punches Fast    Forward.    BACK TO POV.  A kinetic blur of digital hash, then...    We are following Faith, now holding her skates, up the    steps to a beach apartment.  Inside it is funky and    comfortable.    Music from a disk player she left on.  Bob Marley singing    "Three Little Birds".  Faith, covered with a sheen of    sweat, sways to the music as she goes into a bedroom.  We    follow her.    She comes out of the small bathroom with a towel, starts    to dry off.  Sunlight comes in the window lighting up    Faith like she is in a spotlight.  We move up behind her    and take the towel away, and now we see Lenny standing    behind Faith in the mirror over the dresser.    He puts his arms around her and they sway together to the    music.  He runs his fingers in lazy circles over her    sweaty belly.  Then leans down and licks the sweat off her    shoulder, all the while watching her in the mirror.  A    voyeur recording his voyeurism through his own eyes, so he    can replay and relive the moment.    Their eyes meet in the mirror.    They both watch as Lenny slides his hand up under her    halter and caresses her nipples.  She moans softly,    responding.  She turns to him, and our POV shifts directly    to her.  She is right in front of us, in TIGHT CLOSE UP.    The intimacy is power.                             FAITH                      (laughs)              Hey, you going to watch or you going              to do?                             LENNY              Watch and see.    We lean toward her, until her eyes fill frame as they    close in a kiss.  We (Lenny) keeps ours open.  Our hands    pull her halter over her head.  Then she pulls up on    Lenny's T-shirt, laughing.  We see it go over our eyes,    blocking the view for a moment.    Then Faith kisses Lenny's bare chest.  We are looking down    at her, looking down across our body, Lenny's body, as    Faith kisses lower, kneeling in front of us, unbuckling    our belt and we--    CUT TO LENNY in the here and now.  Lost in playback memory    bliss.  He inhales sharply behind a wave of electronically    recorded pleasure.    BACK TO POV.  Lenny pulls Faith up to his face, kissing    her, then pushing her gently to the bed, where we lie down    together in a pool of sunlight slashing across the tangled    sheets.  She looks up, right at us...                             FAITH              I love your eyes, Lenny.                      (she touches our                       eyelids)              I love the way they see.    CUT TO LENNY, lost in the swirl of sensation.  He touches    his tongue to his fingertip.    IN POV we look down at Faith as we enter her.  She gasps    and closes her eyes, grabbing the headboard with both    hands.  There is only the sound of gasping breaths, the    creaking bed frame.  She rocks with the rhythm of our    thrusts, borne away by the intensity until she cries out.    CUT TO LENNY, reliving the past, under the electrodes.  He    reacts to the past orgasm.  The tape ends, Lenny slowly    takes off the trodes.  There is a tiny tear at the corner    of his eye.                                                CUT TO:    INT.  LENNY'S APARTMENT/SERIES OF SHOTS    2:14 PM, DECEMBER 30    Lenny cracks an eye as the Sony 35" blinks on in alarm    mode: news flashes of the day before New Year's Eve...    police preparations for the epic Millennium L.A. shebang    downtown, the National Guard doing riot prep, etc.    Sunlight comes like lasers through holes in the aluminum    foil over the windows.  Lenny goes to the kitchen in his    underwear, searches for breakfast in the fridge, which is    empty except for a red-white-and-blue 2-stick popsicle.    Good morning.    The TV screen shows a murder scene with cops milling    around, yellow plastic over three crumpled forms on the    ground.  It cuts to a file photo of a severe-featured    black man.                             ANCHORWOMAN              ... bodies of two men found early              this morning under the Hollywood              freeway have been identified as rap              star Jeriko One and bandmember James              Polton, known to fans as "Replay".              A third body, that of a woman, has              not yet been identified.  With his              band, the Prophets of Rage, Jeriko              One's outspoken political stance              and violent lyrics have stirred              nationwide controversy...    CUT TO: A little later.  Lenny sucks on the popsicle while    he puts the night's wardrobe together.  This is a ceremony    he observes carefully.  Suit laid out on the bed, shirt    beneath the jacket.  Lenny matches a tie to the ensemble    -- well, maybe -- tries another -- that's the one.                                                CUT TO:    Lenny, behind the wheel of the BMW.  He is revved up, his    look dialed-in.  He's on the move.  Seizing the day.                             LENNY                      (on cellular)              You know I can get you anything you              want, anytime you want it, just not              right now.  We'll hook up at the              club later.  Around eleven.  Yeah.    Lenny wheels into a parking lot, finds a space, grabs his    Haliburton and steps out, heading for the front door of    the Coral Lounge.                                                CUT TO:    INT.  CORAL LOUNGE    The decor is sort of Polynesian.  Goofy tropical motif    murals on the walls.  The place has a mixed bag of    customers, including upwardly mobile low-lifes who have    graduated from the streets and use it as a kind of office.    It is a crossroads for druggies, upscale hookers, junior    entertainment suits slumming after a day in the pressure    cooker.    Lenny cruises through like he owns the place, greeting a    number of the early regulars.  We get the impression he    knows everybody, all the time, everywhere he goes.  He    leans on the bar.                             BARTENDER              Hey, Lenny.                             LENNY              Anything without an umbrella.    He gets backslapped by a guy in a satin racing jacket:    Fabrizio.                             FABRIZIO              Lenny my man, I think you want to              meet a friend of mine.    Lenny follows Fabrizio's look to a guy, dressed LA power-    casual, sitting at a booth across the room.                             LENNY              Looks like money to me.    Lenny grabs his drink off the bar and follows Fabrizio    across the room.                             FABRIZIO              Don't forget your friends.                             LENNY              10 percent, Fabri, like always.    They slide into the booth with KEITH.                             FABRI              Keith, this is Lenny.  Guy I was              telling you about.  He can get you              anything you--                             LENNY                      (cutting him off)              Just a second.  Not to be rude,              Keith, but I got to ask, are you a              cop?                             KEITH              I understand.  No, I'm not.                             LENNY              You understand?  Attorney!  Right?              Am I right?                             KEITH              That's right.    Lenny sizes the guy up, looks around the edge of the    table.                             LENNY              Tassel shoes.  Entertainment law,              would be my guess.                      (off the guy's scowl)              Relax.  I just like to guess, is              all.  It's my job to know people and              what they want... what's behind              their eyes.                             FABRIZIO              Lenny gives people their heart's              desire.  Ain't that right, Lenny?                             LENNY              That's right.  My second question I              gotta ask, so we get our bearings              here... have you ever jacket in?              Have you ever wiretripped?                             KEITH              No.                             LENNY                      (a winning grin)              A virgin brain!  Well we're going to              start you off right.  So what do you              know about this?  Save us some              time...                             KEITH                      (shrugs)              Just what I've read.  That the              technology was developed for the              Feds, to replace the body wire.  And              now it's gone black market.  So, uh,              do I get the deck from you?                             LENNY              I'll set you up, get you a deck at              my cost... since my thing is the              software.                             KEITH              Clips.                             LENNY              That's right.  Clips.                      (Lenny leans in,                       working the guy)              Look, I want you to know what we're              talking about here.  This isn't like              TV only better.  This is life.  It's              a piece of somebody's life.  Pure              and uncut, straight from the              cerebral cortex.  You're there.              You're doing it, seeing it, hearing              it... feeling it.                             KEITH              What kind of things exactly?                             LENNY              Exactly anything.  Whatever you              want.  Whoever you want to be.                      (handing Fabrizio a                       twenty)              Fabri, get us another round, would              you.    Fabrizio gets the hint and heads for the bar.                             LENNY              You want to go skiing without              leaving your den, you can.  But I'm              assuming a guy like you, you wanna              go skiing you fly to Aspen.  That's              not what you're interested in here.              It's about the stuff you can't              have... right?  The forbidden              fruit.    Keith nods, mesmerized by Lenny.                             LENNY              Like running into a liquor store              with a .357 magnum in your hand,              feeling the adrenalin pumping              through your veins.  Or...                      (pointing discreetly)              ... see that guy, with the drop-dead              Philipino girl friend?                      (Keith looks)              Wouldn't you like to be that guy for              twenty minutes?  The right twenty              minutes.  I can make it happen.  And              you won't even tarnish your wedding              ring.    Keith touches his ring self-consciously, then grins.                             KEITH                      (hooked like a carp)              Sounds good.                             LENNY              I can get you what you want.  You              just have to talk to me.  I'm your              priest, your shrink, your main              connection to the switchboard of              souls.  I'm the Magic Man, the Santa              Claus of the Subconscious.  You say              it, you even think it, you can have              it.  You want a girl, you want two              girls?  I don't know what your thing              is or what you're curious about...              you want a guy?  You want to be a              girl... see what that feels like?              You want a nun to tie you up?  It's              all doable.                             KEITH                      (flushed, sweating,                       ready)              Talk to me about costs, here.                             LENNY              Listen, before we get into numbers,              I want you to try a taste.  I got a              deck with me.                             KEITH              What?  Right Here?                             LENNY                      (grinning)              Step into my office.                                                CUT TO:    INT.  CORAL LOUNGE/MEN'S ROOM    Close on Keith's face, as he sits on the sink counter    reacting to a Squid tape.  He jerks... his mouth drops    open... he gasps.  His hands start to move over his body,    feeling it wonderingly.  He gasps again, tilts his head    down, moans... and Lenny hits Pause on the Playback.    Keith opens his eyes to a grinning Lenny.                             LENNY              You were just an eighteen year old              girl taking a shower.  Are you              beginning to see the possibilities              here?                                                CUT TO:    EXT.  PARKING LOT/CORAL LOUNGE    A figure moves stealthily from the shadows and approached    Lenny's car: Iris, hair dyed black now, wearing jeans and    a coat but still showing scars from last night's pursuit.    She tries the door of the car: locked.  She looks toward    the Coral Lounge, debates whether to go look for Lenny.    Better not.    She takes a Squid tape from her pocket, and scribbles a    note on the label: "HELP ME.  IRIS." She drops the tape    through a 2-inch gap in Lenny's sun roof... and it bounces    off the seat, onto the floor.    She looks through the windshield, totally distraught,    trying to see where the tape landed... and sees the    reflection of cop cruiser lights coming down the street.    She crouches next to the BMW, trying to blot herself out.    And when the cruiser passes, she slumps to the ground,    crying, afraid to move.                                                CUT TO:    INT.  CORAL LOUNGE    A man in his late 30s: longish hair, no shave since the    weekend, army jacket bulking over a massive frame.  A    daunting figure as he approaches the bartender.                             MAN (MAX)              Where is he?    Bobby, the bartender, cocks his eye toward the restrooms.                                                CUT TO:    INT.  CORRIDOR/CORAL LOUNGE    Lenny unlocks the men's room door and walks down the dingy    corridor with her new customer, Keith.                             KEITH              Yeah, I'm interested, but can we get              someplace a little less public?                             LENNY                      (grinning)              You nervous?  Forget it.  The cops              have more to worry about in this              city than the squid-trade, believe              me--    Behind them, the door of the women's bathroom whips open    and the guy in the army jacket grabs Lenny from behind and    SLAMS him face-first into the wall, jamming a .45 against    his skull.                             MAN (MAX)              Don't move!  That's it, assume the              position you miserable techno-perv              puke.    Cop style, the man in the army jacket kicks Lenny's feet    apart.  Starts to cuff him.                             MAN                      (to Keith)              Beat it fuckwad.    Ash-white, Keith lays a smoke trail down the hall.  On the    main floor of the club, Fabrizio sees him splitting and    hurries after him.    Back in the corridor, Lenny spins around and shoves his    attacker against the opposite wall.  The guy offers no    resistance.  In fact, he's too weak from laughing.                             MAN (MAX)              Gotcha.                             LENNY              Damnit, Max, I was with a client!              You think that's funny?  To mess              with a man's livelihood?  It's not              funny!                             MAX              You see the look on that preppy              puke's face?  Fuckin' pissed in his              Topsiders.                             LENNY                      (laughing a little)              Okay.  It was funny.  But it cost me              money.                             MAX              Come on, amigo, the world's full of              marks.  And nobody knows how to work              'em like you do, pal.  You could              sell a goddamn rat's asshole for a              wedding ring!  Let me buy you a              drink.                             LENNY              Least you can do.    Max Peltier, which he mispronounces "Pelcher", slings his    arm fraternally over Lenny's shoulder.  They cross to the    bar.  Max roars greetings to several regulars, pushing    between strangers like an out of control tractor.                             REGULAR              Yo, Pelcher!  Mad Max!                             MAX              Fuckin' A right I'm mad!  I might              kill every man in here.  But first              I'm buyin' my buddy here a drink.                      (seeing another                       regular)              Hey O'Neal!  You were right, your              wife does give good head.    Max lurches onto a barstool and hunches there like a    misanthropic bear, pounding the bartop.                             MAX              Bobbyyyy!  Tequila por favor!              Double shots.  Make it Tres              Generaciones, huh.  Nothin' but the              best for my good friend Lenny, the              finest cop that ever got thrown off              the vice squad.  Hey, nice tie.                             LENNY              Thanks, Max.                             MAX              D'you always have to dress like a              fuckin' pimp?                             LENNY              This tie cost more than your entire              wardrobe.                             MAX              That's not sayin' much.                             LENNY              It's the one thing that stands              between me and the jungle.    Max raises his double shooter.                             MAX              To the jungle!  Where outa the blue              some shitbird can cap you in the              back of the head and ruin your whole              day.    He downs it in two fierce gulps.                             LENNY              You were lucky, Max.                             MAX              Yup.  So darn lucky.  I wake up with              a .22-short floating in my brainpan,              and a cop pension I can't live off              of.  Good thing I wasn't any              luckier.  Bobby!  Another shooter              right here!    Bobby pours for Max.                             MAX              You seen Faith lately?    Lenny reacts visibly to the name, his whole demeanor    sagging.                             LENNY              Naw.  She won't call me.                             MAX              Just as well, Lenny.  You gotta get              past it.  I mean sure, Faith was by              far the most outstanding woman a guy              like you could ever hope to get, I              mean it's completely and deeply              humiliating that she's gone, but              it's over, campadre.                             LENNY              Thanks, Max.  I'm touched by your              concern.    CUT TO: Iris, working her way from the front door, staying    on the fringe of the crowd, wary, moving toward Max and    Lenny at the bar.                             MAX              I just hate to see you pining away.              It makes me want to vomit, frankly.                      (philosophically)              Broken hearts are for assholes.                             LENNY                      (seeing Iris)              Hey, Iris, you okay?                             IRIS              Lenny, I got to talk to you, it's              serious...                             MAX                      (looking at her face)              What happened, honey, some john get              rough on you?                             IRIS                      (to Lenny)              I mean talk private.  Please, I'm in              trouble, and so is Faith.                             MAX                      (as Lenny reacts to                       the name)              There it is, the magic fuckin' word.    Lenny takes Iris by the arm and pulls her away from the    bar.                             IRIS              Can we go to your car?  There's              something you have to see right              away.    He nods and steers her toward the front door of the Coral    Lounge.                             LENNY              What's going on?                                                CUT TO:    EXT.  CORAL LOUNGE/PARKING LOT - NIGHT    Lenny and Iris come out the front door.                             IRIS              It's a bad situation... if they get              me I know they're going to -- OH              SHIT!    She bridles like a startled horse.  Lenny looks at what    she sees: a red beam, sweeping the parking lot.  Must be    the cops.  He turns back...    She's gone.  What the hell?    He looks back at the red light... and edges around the    corner to see what the cops are up to...    It's not a cop car.  It's a tow-truck, with Lenny's BMW on    the hook.  Lenny runs to the TOW DRIVER, who looks like a    biker only meaner.                             LENNY              Hang on, that's my car--                             TOW DRIVER              Not anymore.  Belongs to the bank.                             LENNY              Hey wait a second...    Ignoring him, the driver has started the hydraulic lift,    and Lenny makes the mistake of grabbing his beefy arm.    The guy whips around, putting the muzzle of a .38 in    Lenny's face.                             LENNY              Oh, yeah, that's the answer!  Two              million years of human evolution and              that's the best idea you can come up              with?                      (driver continues                       with the hoist)              Okay.  Look, whattya get to repo a              car?  Two hundred?  Two fifty?  I'll              pay you three fifty, right now.  All              you gotta do is drop it off the hook              and say you came by, your mark              wasn't here.  Simple.  Make a few              bucks.  Do a good deed.  Huh?                             DRIVER              You got the cash on you?                             LENNY              I was going to write you a check, if              that's--    The guy is getting into his truck.                             LENNY              Okay, okay, I totally respect that              call.  I would want cash.  They'll              take my check inside... I can see              you're pressed for time, just give              me two minutes... here keep my watch              for collateral.    He hands the guy his watch.                             LENNY              It's a Rolex.  Be right back.  Two              minutes.    Lenny gets to the front door of the Coral Lounge, turns    just in time to see the tow-truck pulling out.  Lenny runs    after his car, yelling, watching it recede.                             LENNY              Son of a bitch!    Lenny walks back to the bar.  He sets his Haliburton up on    the truck of a car and pops it open.  He takes out a tiny    digital cellular phone and dials a number.  While it's    ringing he takes another, identical Rolex knock-off out of    the briefcase and slips it on.                                                CUT TO:    INT.  CAR - NIGHT    A hand pulls a ringing cellular out of a black jacket.    Follow the hand and phone to the face of a black woman.    LORNETTE "MACE" MASON.  Late twenties.  Striking features.    Hair pulled back tight to her skull.  She is driving, but    we don't see the car, or anything but her face.                             MACE              Hello?  Hey Lenny, whatup?                      (listens a beat;                       then)              Uh huh.  Uh huh.  Sure.  So what              happened to your car this time?                                                CUT TO:    EXT.  CORAL LOUNGE - NIGHT    A black limo pulls into the lot.  It is a Continental    armored stretch, downsized from today's standards.  The    door opens and Mace gets out.  She is compactly built,    dressed in black slacks, a conservative black jacket,    heavy rubber-soled shoes.  She glances around as she heads    for the Coral Lounge entrance, the unconscious sweeping    gaze of a security professional.                                                CUT TO:    INT.  CORAL LOUNGE    Mace scopes the room quickly, professionally, then heads    for the bar.    ON Max and Lenny at the bar.                             MAX              See, if you packed your piece you              could've made the guy see sense.                             LENNY              Uh unh, carrying a gun wrecks the              line of a fine jacket.                             MAX              An ex-cop that doesn't carry.  It's              embarrassing.  I oughta not be seen              with you.                      (as she slips up                       behind them)              Hey, Mace.  What's goin' on?    She plants herself between Max and Lenny and takes a    generous handful of their nachos.                             MACE              Greetings, gents.                      (to Lenny)              So let's hear this week's sad story.                             LENNY              They jerked my wheels, d'you believe              it?  I mean it's outrageous, the              computer errors the banks are making              lately.  Have you noticed?    Mace and Max exchange a weary look.                             MACE              No.  I haven't noticed because I              make my payments.  So, Max Pelcher,              how's the P.I. business?                             MAX              Sucks.                      (attention caught by                       TV)              Hey, Bobby, turn that up.    The Bartender obeys: it's more news about the Jeriko One    killing.  There's file footage of Jeriko and his band, the    Prophets of Rage; interview with a lot of furious fans,    mostly black inner city kids; and a news clip of Jeriko at    an outdoor rally, exhorting the crowd with near religious    fervor:                             JERIKO ONE (ON T.V.)              The LAPD is a military force turned              against its own people.  We live in              a police state!  The mayor and the              city council sit up in their offices              with their social programs that              don't work... they're rearranging              deck chairs on the Titanic.  But the              new day is coming!  Two-K is coming!              The day of reckoning is upon us.              History ends and begins again right              here!  Right now!    Max raises a glass in salute to the TV screen.                             MAX              To the end of all things!                      (slugs down the shot)              You know how I know it's the end of              the world?  Because everything's              been done, every kind of music's              been tried, every government's been              tried, every fuckin' hairstyle.              How you gonna make it another              thousand years, for Chrissake?    On the TV, clip of Jeriko's speech has been replaced by an    interview with Jeriko One's manager.  TRAN VO.  Tran is    Vietnamese, and around Lenny's age.  He's angular, suave,    cool as an early frost.  Dialed in.  Lenny sees his face    on the screen like a personal nightmare.                             MAX              I'm telling ya, it's over.  We used              it all up--                             LENNY                      (riveted to the TV)              Shutup a second!                             MACE              Hey, isn't that Tran Vo?                             MAX              Yup.  He was Jeriko's manager.                      (to screen)              Bummer, Tran!  Lost your golden              goose.  Couldn't happen to a nicer              guy.                             MACE              But I mean isn't he Faith's new--                      (she mouths the word                       "boyfriend")                             MAX              Sssssh!  Not in front of Lenny.  You              may trigger a maudlin display which              will force us to tranquilize him.    ON THE SCREEN, Tran is being jostled as he walks,    answering the reporters questions in a glare of minicam    lights.                             REPORTER              The LAPD have said they believe              this is a gang-related incident.              Can you comment on that, Mr. Vo?                             TRAN              We have no facts yet.  All we know              for sure is that we have lost a              great artist, that a great voice for              change is now silent...    Lenny, scowling, pushes away from the bar.  Mace goes with    him.                             LENNY              Thanks for giving me a ride.  I just              have a few stops, mostly on the west              side--                             MACE              Whoa, whoa, whoa.  I said I'd              drop you home, but I'm not taking              you on your sleazoid rounds.  I've              already pulled twelve hours today.                             LENNY                      (upbeat again)              Come on, Mace.  This is gonna be a              big night.  Can't you feel it?  The              energy in the air?  There's money to              be made, dreams to sell.                             MACE              Sleaze to peddle.                             LENNY              Just a couple of hours.  It'll be              fun--                             MACE              Excuse me.  What part of NO don't              you understand?                             LENNY              Mace, you're my friend.  I need you.              Plus I'll give you 25% of what I              make tonight.                             MACE              Lenny, this may be a hard concept              for you, but friends don't have to              pay their friends.    Lenny starts to whine like a puppy.  Mace gives up.                             MACE              Jeez, you're pathetic.  Okay, I got              a pickup at the St. James.  I'll              take you there, you can get a cab.                             LENNY                      (an arm around her                       like a buddy)              Mace!  You're a life-saver.                             MACE                      (resigned)              Driving Mr. Lenny.                                                CUT TO:    INT.  LIMO - NIGHT    As Lenny and Mace cruise the night streets, passing the    ongoing pageant of cops and decay.  Mace glances at Lenny,    sitting next to her in front, and at his omnipresent    Haliburton.                             MACE              So, what's up with you?  Another              busy night selling porno to              wireheads?                             LENNY              No, wrong... I sell experiences.              Sex is only part of it.                             MACE              Buncha techno-perv jerkoffs.                             LENNY              Way I look at it, I actually perform              a humanitarian service.  I save              lives.                             MACE              Uh huh, I wanna hear this part.                             LENNY              Okay, take some executive... bored              with his life, bored with his              wife... he picks up a hooker or some              girl at a bar.  Then he goes around              for months, torn up worrying that              he's got AIDS, that he'll infect his              wife.  And maybe he really does              catch something--                             MACE              Price he pays for being a              scumsucking pig.                             LENNY              Everybody needs to take a walk to              the dark end of the street sometime,              it's what we are.  But now the risks              are outa line.  The streets are a              war zone.  And sex can kill you.  So              you slip on the trodes, you get what              you need and it keeps you from              jumping your tracks.                             MACE              Lenny, this shit's illegal.                             LENNY              Define illegal.                             MACE              Me bailing your sorry pale ass out              of jail twice in the last six              months.                             LENNY                      (kidding)              Yeah, but that was for love.                             MACE              Define love.                                                CUT TO:    EXT.  ST. JAMES CLUB - NIGHT    Mace's limo wheels up to the hotel on the strip.    A soberly-dressed Japanese executive is waiting next to    the doorman.    INSIDE the car, Mace spots him and scowls.                             MACE              Dammit, Lenny, you made me late.    Lenny opening the door before the car stops.                             LENNY              What's his name?                             MACE              Fumitsu.                             LENNY              Mr. Fumitsu, good evening sir,              Leonard Nero, Security Express.              Lornette Mason here is just              completing our routine driver              evaluation.  We do it to make sure              that out VIP clients, such as              yourself, are always treated as              honored guests.  I just need to ride              up front and take some notes, if you              don't mind.    Fumitsu nods politely and Lenny opens the car door for    him.  Lenny jogs around behind the car to the front    passenger door.                             MACE              Um, excuse me.                      (can't stand to say                       it)              Sir.  Excuse me.  Mr. Nero.    She walks calmly to him.                             MACE                      (hissing through her                       teeth)              What the fuck are you doing?                             LENNY                      (winning smile,                       innocent)              Coming with you.                             MACE              You will not live to see the              morning.                                                CUT TO:    EXT.  HANCOCK PARK HOUSE - NIGHT    As the limo stops at an elegant home in this top-bucks,    old-line residential area.  There is a loud party in    progress, with a couple of hundred guests spread through    the house and backyard.  Mace scowls deeply as Lenny gets    out of the car and starts into the party with Mr. Fumitsu.    They are laughing uproariously and getting along like old    friends.                                                CUT TO:    EXT.  HANCOCK PARK HOUSE - NIGHT    Mace, having a cigarette with other security drivers,    watches Lenny through the tall windows of the old Spanish    house.  She sees him working the room, rubbing up against    the money, networking.  No dialogue.  A pantomime of Lenny    working his prime turf.  She stares at him for a while,    then looks at her watch.  Sighs.                                                CUT TO:    EXT./ INT.  HANCOCK PARK HOUSE/GARDEN - NIGHT    ... as a tall, stern figure suddenly slides into Lenny's    path, a top cop named PALMER STRICKLAND.                             STRICKLAND              Nero.                             LENNY                      (uh-oh)              Strickland.                             STRICKLAND              Commissioner Strickland.                             LENNY              Sure.  Whatever.  See, since you              shitcanned my career, I don't even              have to call you sir.  One of life's              small pleasures.                             STRICKLAND              Aren't you peddling your wares a              little far from your usual gutter?                             LENNY              I was invited here by a close              friend, Mr. Fumitsu, see he's right              over there.    Lenny waves.  Fumitsu waves back from across the room.                             STRICKLAND              I don't like disappointments, Nero.              And do you know what disappoints me              very much?                             LENNY              Your sex life?                             STRICKLAND              Your existence.                                                CUT TO:    EXT.  HANCOCK PARK HOUSE - NIGHT    Mace sits in her limo, talking on the cellular.                             MACE              Now listen to me... you have to get              to bed young man.  I mean it.  No              watching "Tales from the Crypt".  I              don't care what Cecile says.  I'll              see you in the morning, baby.              Night, night.    As she hangs up, she glances out the window in time to    see...    Lenny flying over a hedge.  He lands on the sidewalk, then    scrambles up and brushes himself off as TWO SECURITY TYPES    loom toward him.  He adjusts his wardrobe and walks with    dignity (but quickly) toward the car.                             MACE              Are we having a bad night?                             LENNY                      (glancing back)              Let's talk in the car.                                                CUT TO:    INT./ EXT.  MACE'S LIMO - NIGHT    As Mace pulls out, Lenny starts fitting a pair of playback    trodes to his head.  Mace glances at him in disgust.  He    hits his playback button.    Lenny's POV as he talks to Faith.  Back when things were    good.  He's wiring her.  They are playful, like a couple    of kids.                             FAITH              I feel like you're turning me into a              VCR.                             LENNY              I just want to see what we're like              together through your eyes.    He turns OFF the record button.  STATIC.  Then TAPE    RESTARTS.  We see the two of them standing together,    reflected in a mirror.    We are Faith now.                             FAITH              I don't feel anything.  Is it on?                             LENNY              Forget it's there.                             FAITH              Make me forget it, baby.    He turns her to him.  They begin to make love.  Faith's    face fills our field of view, eyes closed in dreamy    passion.    A sudden FLASH OF LIGHT.  Lenny opens his eyes to see...    Mace's glowing countenance.    She has stopped the car, torn the trodes from Lenny's head    and tossed them out the window.  Now she's yanking him out    of the car by his lapels.                             LENNY              Hey, careful on the jacket.  This is              Armani.                      (he looks at her)              You angry?                             MACE              I've had enough of this shit.                      (getting back into                       the car)              You're on foot, Lenny.                             LENNY              In LA?  Are you crazy?    Mace starts to peel out, but Lenny leaps and plasters    himself on the hood.  Mace pretends she doesn't see him.                             LENNY                      (as they drive along)              Can I come in please?  I'm having a              hard time hearing the stereo.    Mace jams on the brakes and Lenny slides off in front of    the car.  Now she starts to move forward...                             LENNY              I need my case.  It's still in the              back.                             MACE              Get it.    He quickly moves around the car and climbs in the back    door.  Lenny grabs his Haliburton but instead of getting    out, he leans through the divider window, next to Mace.                             LENNY              Listen, can we talk a little bit              here, like two rational adults?    Mace hits a button on the dash.  The privacy divider rises    suddenly, pinning Lenny to the ceiling.                             LENNY              That would be no.                             MACE              I've had it.  No more wirehead shit              in my car.  You understand?  You              want to poach your lobes, do it              somewhere else.                             LENNY              Okay, you got my attention, but this              is cutting off the circulation to my              head, here.  D'you mind?    She lowers the divider, releasing him.  Lenny straightens    his jacket and tie.  Runs a hand through his greasy hair.                             LENNY              I thought we were friends.                             MACE              No, see a friend is more than one              person constantly doing favors for              another.  You just suck people along              with your schemes and your scams and              your slick act.  Well I'm out.  I              got a kid, I got rent, I got an ex-              husband someplace who doesn't send              me a dime of support... I'm just              trying to hold on here.                             LENNY              So am I.  Just trying to get by.                             MACE              No, you're just trying to get off.                             LENNY              Macey... I've never seen you like              this.                             MACE              Lenny, you're turning into some              kinda squid-head low-life.  You're              always broke, you just go from one              score to the next.  And you're              getting strung out... you don't even              see it.  Getting high on your own              supply like some crack dealer.                             LENNY              I know you wouldn't be saying all              this if you didn't care about me.              Thanks, Mace.  Really.                             MACE              Look, I gotta get some sleep.                             LENNY              You still like me, don't you?  We're              still buddies?    She hates it that she can't resist his pathetic charm.                             MACE                      (a tiny smile)              Yeah.  I don't see a way out of it.                             LENNY              Macey, I know you're tired, but can              you drop me at the Retinal Fetish?              It's on your way.                             MACE              Jesus, Lenny.                             LENNY              Begging?  Groveling?  Any pathetic              behavior at all?  Will that help?              Faith's there tonight, and I've got              to talk to her.                             MACE              Sure, Lenny.                      (she puts the car in                       gear)              The only thing worse than a junkie              is someone in love.                                                CUT TO:    EXT.  RETINAL FETISH - NIGHT    As Mace pulls to a stop in the parking lot and Lenny opens    the door.                             LENNY              Come on, let me buy you a drink.              Let's drink and make up.                      (Mace shakes her                       head)              Alright, I'm going to see Faith.              That means you can watch me suffer.              I'll be in agony, you'll feel so              much better.  Total and thorough              payback, whatdya say?    Mace smiles, shaking her head in wonder at this madman.                                                CUT TO:    INT.  RETINAL FETISH    Mace accompanies Lenny into the pounding din of the    Retinal Fetish.  The place is a fringe hangout, a    converted schmata factory transformed into a warren of    dark rooms and corridors off the main dance floor.  A    thundering labyrinth.  Steel cage-like partitions of    chain-link give the place a harsh, concentration-camp    atmosphere.  The music is a bass tech-thump, and the    clientele are young and on the rough side.  Cybergrunge.    There are many large video screens running a continuous    montage of wild graphics and images... a flurry of    disturbing videos: MTV baptized by William Burroughs.    The Fetish is a street-tech hangout, a meeting place for a    lot of digital-underground types that Lenny knows.  You    can buy and sell what you want here: illicit hardware and    software, as well as chemicals for the wetware (brain).    Lenny and Mace are greeted inside by two suited guys with    metal detectors.  They barely notice as they are scanned:    it's routine there days.  Mace shows her gun, a Sig Saur    9mm, and her state carry-permit.  The security guys check    her pistol like a coat, giving her a claim check.    Through the crowd in the lounge Lenny's eyes go    immediately to one table.  It seems to be in a pool of    light all it's own; or maybe this is just in Lenny's mind.    SLOW MOTION: Lenny watches a man at the table holding    court, with a beautiful young woman sitting next to him.    It is TRAN VO.  He's a mover and shaker in the record    business: he produces, he manages, he tries to keep    everyone in his orbit.    The woman is FAITH JUSTIN.  We recognize her from playback    as Lenny's ex-girlfriend.  But now her hair has been dyed    jet black and frames her face in a wild tangle.  She is    wearing as expensive custom leather jacket over a sheer    silk top.  She has on too much make-up, which gives her    features a feral-doll quality.  Faith looks like what she    is, a rock star wannabe.  But the look is red-hot.    Tran looks around the room.  His eyes miss nothing.  And    show nothing.  His hand -- unhurried, graceful, remarkable    -- brushes past Faith's cheek, barely touching her.  His    fingers pick up a strand of hair, tuck it like a treasure    behind her ear... fingers touching her head now... a    moment of suspended time.    ... and she trembles.  Just a little.  For a second.    Tran and Faith are flanked on either side by an entourage    consisting of music types, various hangers on, and Tran's    personal security force of four: JOEY CORTO, a whippet-    thin skinhead; DUNCAN, a none-too-bright armbreaker in the    classic mold; a massively built ex-jock type called WADE    BEEMER; and a sixteen year old Asian stone fox, CINDY    MINH, aka 'VITA', possibly the most lethal of the four.                             LENNY              Who's the new side of beef in Tran's              posse?                             MACE              Guy named Wade Beemer.  Used to be a              running back for the Rams in '96 and              '97.                             LENNY              Rams... that's football, right?    He can't take his eyes off Faith.  Mace scowls at the    tableau and pulls Lenny toward the bar.                             MACE              Forget her.                             LENNY              She still loves me.                             MACE              She thinks you're a bucket of dog              vomit.  Trust me on this.                             LENNY              She's my destiny.                             MACE              Destiny?  You living in a perfume              commercial?  She's a hard-climber              that dropped you like a used tampon              when she got a better ride.                             LENNY              You'll see.    Mace gives up, shakes her head and Lenny plunges into the    crowd... toward Faith.  Several patrons greet him, just as    in the Coral Lounge, but uncharacteristically, Lenny    virtually ignores them.    Approaching the main table now.  Ringside.  Tran sees him;    no reaction.  Now Faith sees him: her reaction's a little    tougher to read.  Pissed off, maybe, or just tense.    Tran's security force has seen Lenny coming.  But they    stay casual.    Lenny doesn't break stride.  It's like a game of chicken    without cars.  Beemer stands, covering Lenny with his    shadow.  Vita looks up at Lenny with cobra eyes.  Tran    gives him a glance; royalty amused by Lenny's presumption.                             TRAN              You come to peddle me some tapes,              Lenny?  For old time's sake?  Make a              couple bucks for the holidays?                             LENNY              You're not a client anymore, Tran.              I wouldn't sell you the sweat off a              dead dog's balls.                             TRAN                      (glancing at Faith,                       back at Lenny)              I already got everything I need from              you.                             FAITH              Cut it out, Tran.                             LENNY              Too bad about your guy Jeriko.              Tough break.                             TRAN              Show a little respect, Nero.  The              man was an important artist.                             LENNY              Yeah, important for your label.              Which no doubt is why you're in              mourning.  Don't worry, his              records'll sell out now he's dead.              You'll make out.                             TRAN              I always do.                             LENNY              Faith, can I talk to you a second?                             FAITH              I don't think that's a good idea,              Lenny.                             LENNY              I just got to talk to you for one              second.                             TRAN              About what?                             LENNY              That would be between me and Faith,              wouldn't it?    Tran takes one of his beautiful hands and passes it slowly    in the general area between his table and Lenny.                             TRAN              I don't feel anything between you.              See, your trouble is you assume too              much, Lenny.  You assume there's              something where there's nothing.              You assume you have a life.  But              you're only hustling pieces of other              lives on tape, and broken parts of              your own.    Faith glances at Tran, then cuts her eyes to Lenny.                             FAITH                      (icy)              We have nothing to talk about,              Lenny.                             TRAN              Joey, make sure Mr. Nero gets safely              to his car.    Joey smirks, glances at Beemer who rises like a wall.                             LENNY              Faith, call me, okay?                             FAITH              No, Lenny.    Wade gets Lenny in a wrist-grip come along hold and starts    him moving.  She looks at him -- slowly, gaze unwavering.    As Beemer ushers Lenny through the crowd, Tick greets him    coming the other way.                             LENNY              Tick, listen, I can't stop right              now.  but I'll call you tomorrow              about that thing we were talking              about.    He's working the room even as he's getting dragged    outside.                             TRAN              Lenny the loser.  Panhandler of              stolen dreams.                             FAITH              Leave him alone, Tran.                             TRAN              He's no concern of mine, as long as              you don't talk to him.  Don't talk              to anybody.  You understand?  Not              with everything that's going on              right now.                             FAITH              You're too goddamned paranoid.                             TRAN              Paranoia's only reality on a finer              scale.                                                CUT TO:    EXT.  RETINAL FETISH    Beemer deposits Lenny on the curb and goes back inside.    A SMALL CROWD of people enters the club.  Lenny brushes    off his jacket, falls into step at the rear of the    entering crowd.                                                CUT TO:    INT.  RETINAL FETISH    Lenny climbs to a landing overlooking the dance floor.    Through chain link he sees a swirl of activity below.  And    one face, looking up at him.  Kind of casual.  Lenny    clocks the guy: cop instincts coming out.  Decides he    doesn't know him.  But we do.  It's Spreg.  Lenny walks    on, crosses to a door, and enters...                                                CUT TO:    INT.  VJ BOOTH/RETINAL FETISH    A tiny room overlooking the dance floor.  Crammed with    electronic gear, at the center of which is Tex Arcana,    whipping from one deck to another, hands flying.  He's in    a wheelchair, which pivots nimbly, managing to high-five    Lenny as he walks in.                             LENNY              So, those rascals still haven't              grown back yet, huh?                             TEX                      (peering under the                       blanket on his lap)              Nope.  Guess not.  Any day now,              though.                             LENNY                      (handing Tex a Squid)              Present.  Something I had made.  Let              me know what you think.                             TEX              Hey, alright.  Got something here              for you, too.                      (passes him an                       envelope)              It just showed up tonight, don't              know who left it.                             LENNY              Fan mail from some flounder?    Lenny looks at the envelope, which has "Nero" hand-printed    in block letters.  Tex takes a pull from a flask as he    takes a squid-deck out of a drawer and sticks the tape in.    He puts on the headset and pushes PLAY.    IN POV we are on a beach.  Early morning.  We are running    flat out, with the wind.  Looking down... we are barefoot    on the wet sand.  Foaming water races up the sand and    breaks around our strong male legs.  Looking up again, to    see our running companion... a beautiful lithe woman in    shorts and T-shirt.  She laughs and we speed up.  An    exquisite moment of pure life force.    TIGHT ON TEX'S FACE... as a tear leaks from the corner of    his eye.  He is smiling like he is listening to beautiful    music.  We see the quiet magnificence of Lenny's gift.    Tex opens his eyes.  Looks for Lenny to say thanks: but    Lenny's gone.  Not a guy to hang around for thanks-yous.                                                CUT TO:    INT.  RETINAL FETISH    As Lenny comes down the stairs from the VJ booth, tearing    open the envelope.  An unmarked Squid tape falls into his    hand.    The HOUSE LIGHTS dim and the STAGE LIGHTS come up.  And    Faith is standing there.  Like she beamed in.  She is    wearing a revealing leather outfit, showing a lot of her    milk-white skin.  Her black hair frames her eyes, giving    her an intense feral look.  Faith starts to sing.    Beautiful, unearthly, clear notes.    SUDDENLY the band kicks down with a wall of thundering    sound.  Faith explodes into motion.  Her body convulses    like a 440 volt mainline is hooked up to her.  Her voice    becomes a scream, an inchoate wail, a police siren.  The    pain and rage of an entire, hell-bent tormented planet on    its eve of judgment.    Lost in the song, Faith has found herself.  She wheels    across the stage, slashing her head up and down so that    her hair bursts in the strobe-flashes like flak.    A techno-erotic pagan.  A force of nature.    Lenny is mesmerized.  He has seen this before, many times.    But it always has the same effect on him.  He is    transported into another world by her, a world in which    there is only the two of them.    TIGHT ON MACE, eyes on the stage... a big piece of the    puzzle suddenly fits.  She's never seen Faith perform    before.  Holy shit.    Faith doesn't play to the audience, or engage them in any    way.  She is merely taking what's in her head and letting    it out.  She doesn't care if they are there or not.  Now    shrieking into the silence after a climatic downbeat, and    holding the note... holding it longer than you believe she    possibly could.  Then nothing.    When it is over she just drops the microphone and walk    away.  Fuck you.                                                CUT TO:    INT.  RETINAL FETISH/BACKSTAGE & DRESSING ROOM    At BACKSTAGE, Lenny wends his way through the warren of    corridors... past dim rooms full of wire junkies and    playback freaks, all trapped into Squid nirvana: post-    modern opium dens.  Sinister and scary.  He glimpses    Faith, going into her dressing room.  He hurries...    ... but she doesn't even look around when his reflection    appears in the cracked mirror above the crummy vanity    table.  She is drenched with sweat.  Spent.  Chugging a    beer.  This is the first time they have been alone    together in real-time for months.  Pain and the memory of    joy.                             LENNY              Hi, baby.  I've missed you.                             FAITH              I know.  Lenny, if Tran finds you              talking to me he'll hurt you.                             LENNY              I'm already hurting.    She doesn't turn.  Just watches him in the mirror.  Most    of the scene plays this way.  It is a cold parody of their    love-making playbacks.                             FAITH              You have to go.  I mean it.                             LENNY              Yeah, OK, whatever you say.  Just              answer one question.  Is anything              wrong?  Iris said you might be in              trouble.                             FAITH                      (startled, turning                       to him)              You talked to Iris?  When?                             LENNY              Tonight.                             FAITH              Well I haven't seen her in months.              Who knows what's going on in her              head.  You're really running out of              excuses to come around, aren't you?                             LENNY              I know you Faith.  You're afraid of              something.  What's going on?                             FAITH              Let it alone, Lenny.  It'll take              care of itself.                             LENNY              It's Tran, isn't it?  This guy is              poison, Faith.  Listen to me.  He's              got you walled in on all sides.  And              he uses the wire too much, he gets              off on tape, not on you.                             FAITH              That's a good one, coming from you.                             LENNY              Why don't you just split?  You don't              love him, anybody can see that.  And              to him you're just some kinda              possession, like a Ferrari,              something to show the other guys.                             FAITH              He has his uses too.                             LENNY              What?  He gonna record you on his              label?                             FAITH              Maybe.                             LENNY              Come on, Faith!  He's just toying              with you.  And when he gets bored,              you'll be yesterday's papers.    Lenny is right behind her now.  He puts his hands on her    shoulders, tenderly.                             LENNY              Look, baby, I've watched you create              yourself out of nothing.  You're              like a goddamn cruise missile,              targeted on making it.  And you              will.                             FAITH              Damn right.                             LENNY              It's you up on that stage, not him.              You don't need him.    She shrugs away from his touch.  Cold again.                             FAITH              You have to get out of here.  If              Tran catches you he'll... he's              acting crazy.  He's doing way too              much playback and he's getting              completely paranoid.  He's such a              control freak, he's even paying Max              to follow me around.                             LENNY              Max Pelcher?  You're kidding?                             FAITH              Yeah, for about a month now.  Lenny,              just stay away from Tran, okay?  And              stay away from me.  Stop trying to              rescue me.  Those days are over.              I'm a big girl now.  Stop trying to              save me, okay, because I don't need              saving... Just... give up on me.                             LENNY              Can't do it.                             FAITH              You know one of the ways movies              still have Squid beat?  Because they              always say "The End." You always              know when it's over.  It's over!              Now please leave.  I have to go on              again in a couple of minutes.    She looks at him and, after a moment, he nods and leaves.    As the door closes behind him, Faith tosses her towel on    the table.  She looks frightened and alone.                             FAITH              Hell.                                                CUT TO:    INT.  RETINAL FETISH/CORRIDOR AND MAIN FLOOR    Turning a corner from the dressing room into the CORRIDOR,    Lenny runs into Max.                             LENNY              Shoulda told me about your new gig,              buddy.                             MAX              I was gonna tell ya.  Hey, it's just              a job.  I feel like shit about it.                             LENNY              You should feel like shit.                             MAX              I figured, what the hell, I could              take the prick's money and make sure              Faith was OK at the same time.  Do              us both good.  Right?                             LENNY              Fairly twisted logic, Max, even for              you.                      (already over it)              Hey, at least you got a job!                      (slaps him on the                       back)              Watch her for me.  Stay on her.                             MAX              I'm on her.    Lenny climbs the stairs to the MAIN FLOOR, pushing his way    through the crowd.    Vita, watching the backstage area leans over to Tran,    whispers in his ear.  Tran makes a sign to Beemer, and he    stands to go after Lenny.    Mace, at the bar, sees the Tran-Vita-Beemer action, looks    around for Lenny.  Can't find him.  But figures there's    got to be only one reason Beemer's on the prowl: he's    looking for Lenny.  She whips out her cellular.    CUT TO: Beemer, grabbing Lenny in a painful come-along    hold and hustling him toward the back of the club.    Lenny's cellular rings.                             LENNY              Can I get that?    He reaches for his cellular, connects with...    MACE, over by the bar.                             MACE              Hey Lenny, where the hell are you, I              think Tran's got Beemer looking for              you.    BACK TO: Lenny, as he's hustled out the rear door.                             LENNY              Thanks for the tip.                                                CUT TO:    EXT.  ALLEY/RETINAL FETISH - NIGHT    Beemer shoves Lenny into the alley and shuts the door    behind him.                             LENNY              I recognize you.  You're Wade              Beemer.  Running back for the Rams,              am I right?    Beemer, who was about to go to work on Lenny, pauses.                             BEEMER              Yeah, that's right.                             LENNY              I saw you play, man.  You were good.              Like a fucking freight train I              remember saying.  So what happened,              injuries or what?                             BEEMER              Bullshit politics.                             LENNY              It's always politics.  Like this              thing we're in here, he's paying you              to tune me up, right?  But I could              pay you more not to.  See what I              mean?  I could write you a check              right now--                             BEEMER              Come on, let's go, I got to get              back.                             LENNY                      (pulling money out                       of his pocket)              Okay cash!  Logical.  Here's              everything I have on me, what do you              say?  How about a Rolex?                             BEEMER                      (barely a glance at                       it)              I already got a real one.  Come on,              it won't be too bad.  It's not              personal.                             LENNY                      (taking off the                       Armani carefully)              Just not the eyes.    Beemer swings.                                                CUT TO:    EXT.  PARKING LOT/RETINAL FETISH - NIGHT    As Lenny approaches the car, moving painfully, dabbing at    a bloody nose.  Mace looks at him pityingly.                             LENNY              They oughta get some lights back              there.  A person could get killed              slipping on those stairs.  Let's go.    CUT TO: an eerie NIGHT VISION SHOT of Mace and Lenny    getting into the limo.  Then we see: Spreg and Engelman,    the two street Hun cops.  Watching.                                                CUT TO:    INT.  MACE'S LIMO    Lenny slumps in the back seat.                             MACE              You're some piece of work, you know              that.  Just calmly backstroking              around in the big toilet bowl, and              somehow you never let it touch you.              I mean, between Vice and this so-              called occupation you're in now, you              must've seen it all.                             LENNY              I have crawled through the gutter...              through every wrinkle in the human              brain.                             MACE              What I'm saying.  But you still come              out this goofball romantic.                             LENNY              It is my sword and my shield, Macey.    Lenny finds the anonymous tape in his pocket.  He looks a    it, puzzled.                             MACE              What's that?  Present from Faith?                             LENNY              No idea.    He opens his briefcase, pops the tape into the deck, puts    the Squid rig on and closes his eyes.  Maybe he can forget    about Faith a minute.  He punches PLAY.    POV SEQUENCE: the first thing we notice is that the POV is    distorted visually.  The colors are de-saturated.  Almost    black and white.  Yet the detail is crisp and clear,    almost hyper-real.    WE ARE WALKING down a windowless hallway at a large hotel.    An apparently endless row of doors.  The Wearer's glance    goes to the numbers on the doors from time to time.    We come to a particular door.  There is a DO NOT DISTURB    sign on the door.  The Wearer moves to the room next door.    Looks both ways.  The corridor is empty.                             LENNY              It's a test pattern so far.    "Our" hands appear, quickly pulling on latex surgical    gloves.  They look like male hands.  The snapping of the    rubber is the only sound in the corridor.  The POV hunches    down to the lock and we see the hands go to work with    lock-picking tools.  Several seconds and the lock is very    professionally picked.                             LENNY              Alright, a little B&E action.    We enter the dark room, which is vacant.  The drapes are    open and we see city lights.  It is night.  One gloved    hand picks up the guest directory and looks at it in the    moonlight coming in the window: the SUNSET SHERATON.    The Wearer drops the directory and the hands reappear    holding... a black ski-mask.  He pulls it on, leaving the    subsequent POV seen through the eye-holes of the mask.    The Wearer now looks into a mirror on the dresser.  He has    avoided his reflection up until now.  We see a man,    dressed in a jogging suit and black fanny-pack, and of    course the ski-mask.  Totally anonymous.                             LENNY              Hey, getting good.  Solid suspense              build.    The Wearer crosses to the balcony door.  Opens it quietly    and goes outside, moving to the wall dividing this room's    balcony from the one next door.    The Wearer climbs the railing and, six stories above the    pavement, slips around the wall, stepping down onto the    other balcony.  We hug the wall, looking furtively into    the room.  It is a suite.  In the living room we see a    woman making herself a drink at the mini-bar.  She    turns...    It is Iris.  She is wearing a T-shirt and panties.    Probably ready for bed.  She looks like she can't sleep.    Pours the Scotch shakily.    CUT TO LENNY, the streetlight washing across his face.  He    gets suddenly serious with a flash of premonitory dread.    IN POV we see Iris go into the bedroom, out of sight.  We    can hear the television on in there.  Using a steel jimmy    the Wearer slips the latch on the balcony slider and    silently opens it, slipping inside.    We stalk quietly to the bedroom door, listening to her    movements.  Water running in the bathroom.  We come around    the door frame.  Bedroom dark, bathed in TV glow.  Iris in    the bathroom, washing her face with cold water.    We move toward her.  Crossing the room as she reaches for    a towel.  We are now only a couple of feet away.  She    comes out of the bathroom, walking right past us, drying    her face.  She lowers the towel, turning away... her eyes    whip back.  Widening in terror.    She reacts with surprising speed, diving across the bed.    We go after her.    Her hand goes under the pillow and comes out with a small    automatic.  She whips it around toward us but we grab it    and twist it away before she can fire.  She smashes the    palm of her hand into our face and rolls off the bed,    lightning-fast.    We follow her as she scrambles up, running through the    bedroom door.  Across the living room and down the short    hall to the front door.  Closing rapidly on her as she    somehow gets the chain off the door and gets out into the    hall.    Slam!  We tackle her against the far wall of the corridor.    Our right hand comes into view holding a small electric    stunner.  ZAP!  We nail her right in the back between the    shoulder blades.    She sags to the floor, gasping.  We zap her again.  The    Wearer's glance does a 180 both ways down the corridor...    nobody in sight.  We clamp our hand over Iris' mouth and    drag her back into her room, locking the door.    ON LENNY, reacting.  Going white.                             MACE              What is it?                             LENNY              Go to the Sunset Sheraton.  RIGHT              NOW!  Just go!  GO!    Lenny goes back under the wire, seeing...    WE ARE DRAGGING a semiconscious Iris into the bathroom...    propping her up with her back against the white tile    wall... grabbing her hands and handcuffing them one by one    to the steel towel rack above her.  She is moaning.  And    crying.                             IRIS                      (voice distorted)              I haven't seen your face... I              haven't heard your voice... you can              still let me go...    ZAP!  The Wearer hits her with the stunner again.  She    jerks and gasps for breath.  We see our latex-gloved    finger come up in front of us and hear SSSHHH.    Moving quickly now.  Our hands unbuckle the fanny pack.    Pull out something... a set of playback trodes.  Our hands    place them on her head.  She stares uncomprehending.    What?  We catch a glimpse of some electronics stuff inside    the pack... a record deck, some wires, a small metal box.                             LENNY              Holy shit.  He's jacking her in to              his own output.  She's seeing what              he's seeing.  She's seeing herself.    Iris can now see herself as the Wearer sees her... wide-    eyed with terror, white-lipped, weeping.  Helpless.  And    she can feel what he feels.    The Wearer's hand goes back into the fanny-pack and pulls    out something else.  A black athletic headband.  We slip    it over her head, down over her eyes.  A blindfold.  Now    she can only see what the wearer sees.    And also from the bag we pull... a yellow plastic object.    With our thumb we extend the five inch blade of the razor    knife, the type with tips that can be broken off by    segments when they get dull.  It extends with an ominous    clicking sound.    We lower it toward her and cut up the middle of her T-    shirt, laying it open.  Exposing her torso.  We then look    down and slide the knife under the side band of her    panties, slicing them off.  We put the knife up to her    throat, and she whimpers, afraid to cry out, and then we    draw the flat side of the blade across her body as if to    tease her with the prospect of her death.    MACE LOOKS AT LENNY'S EXPRESSION of dawning horror and    pulls the car to the curb about a half-block from the    Sunset Sheraton.  Lenny is hyperventilating, shifting in    his seat as if ants are crawling over him.  He is    experiencing the stalker's exhilaration.    IN POV we see the Wearer pull his jogging pants down below    his knees (R-rated please) and reach for Iris.  Kneeling    in front of her, he pushes her legs apart and pulls her    hips forward onto him, pushing into her.    Iris is feeling and seeing what he sees and feels... She    feels her own pain and humiliation swirling with the    killer's exhilaration.    ON LENNY, sweating and barely able to breath.  Mace stops    the tape... concerned by Lenny's reaction.  He opens his    eyes... Mace see the fear there, of what the tape may    reveal.  But he shakes his head.  He has to know.  He    pushes her hand away and punches PLAY.    IT FLOODS INTO HIS HEAD AGAIN.  The sweaty, grunting    horror.  The stalker picks up her slit T-shirt and quickly    wraps it around her neck.  He knots it tight and twists    one powerful hand into the knot.  The muscles in his    forearm look like cables as he turns the knot tighter.    The stalker viciously twists the knot a full turn and the    T-shirt fabric almost disappears into the skin under her    jaw.    Via her trodes, Iris watches herself die.  Her death comes    at the moment of his orgasm which is fed to her...    blasting off the planet on total overload... terror, pain,    death merging with ecstasy and exultation at the same    instant.    ON LENNY, crying out and grabbing for the trodes, but he    just holds onto them, as if they are sucking his brains    out of his skull.                             LENNY                      (like a mantra)              On my God.  Oh my God.    BACK TO POV, a glimpse of the Wearer's hand relaxing the    knot.  Iris' head lolls.  Her mouth is slack and open.  We    remove her blindfold.  Her eyes are half-lidded.  Very    dead looking.  Our fingers gently push them wide open.    BACK TO LENNY, looking like he has been gut kicked.  He    gasps for breath.    TO POV, as the killer's hand calmly moves Iris' head from    side to side... studying her dead face.  Her staring eyes.    He leans very close to her and stares into one dead eye,    the pupil wide, seeing nothing.    A burst of static.  End of tape.    Lenny opens his eyes.  He fumbles open the car door and    practically rolls out onto the sidewalk.  The trodes pull    off his head as he lurches up, reeling across the sidewalk    to a darkened storefront where he leans for support.  He    doubles over and heaves up the contents of his stomach.    Mace circles around the car and catches him as he sags to    his knees.  She holds his shoulders while he throws up    again.                             MACE              My God, Lenny.  What is it?                             LENNY              Black.  Jack.                             MACE              Blackjack?  I don't understand--                             LENNY              Snuff clip.  It was Iris.  She said              she needed my help and I... aw              Jesus, Mace... the sick fucker              killed her.                             MACE              Are you sure it's real?    Lenny looks up, in the direction of the hotel.  Mace    follows his glance.  They notice for the first time: cop    lights; cop cars; ambulance; coroner's wagon.    CLOSE on Iris' body, in a bag, being loaded into the    coroner's van.                                                CUT TO:    EXT.  PARKING LOT/DIM SUM JOINT/LITTLE TOKYO - NIGHT    Neon reflections on the roof of Mace's limo as it pulls    into the lot and slides up to Max's car.  Max is sitting    in the open door, feet on the pavement, eating dumplings    from a take-out carton.  He looks up as Lenny and Mace get    out of the limo.  Sees their expressions.                             MAX              Ohhhh shit.    TIME CUT: Lenny, sitting on the hood of Mace's Lincoln,    has his head propped in his hands.  His eyes are    distant... replaying.  Still shocked to his soul.  Mace    paces nearby.    Max sits in the open door of his car ten feet away, trodes    on, playing back the tape.  His face is transformed into    an ashen mask lit by neon... mouth open in shock.  With    shaky hands he stops the deck.    Opens his eyes.  Long beat.  He glances down at the dim-    sum carton in his hands.                             MAX              Well... I've lost my appetite.                      (lofts it into a                       nearby dumpster)              For about a year.    He gets to his feet, offering the deck and trodes to Mace.                             MACE              No way.    Max pulls a hip-flask full of tequila from his army jacket    and takes an eye-watering pull.  Offers it to Lenny, who    follows suit.                             MAX              You alright?  Y'okay?                             LENNY              Yeah.  No, not really.                             MAX              Let's work it.                             LENNY              Not now... I don't want to think              about it--                             MAX              Come on, Lenny.  You used to be good              at this stuff.  Play it down.              What's the perp doing?                             LENNY              He stalks her.  He rapes her.  Then              he does her...                             MAX              And he records it.  Thrill kill.              Wants to see it again.  And again.                             LENNY              He records himself raping and              killing her--                             MAX              But at the same time he's sending              the signal to her--                             LENNY              So she feels... what he feels...              while he's in her.  The thrill while              he's killing her... is sent to her,              heightening her fear... which in              turn heightens the turn on for him.                      (turns to him)              I've seen a lot, Max.                             MAX              So've I.  Too much.                             LENNY              But this is a bad one.                             MAX              Top ten.                             LENNY              He makes her see her own death,              feeds off the reaction... killer and              victim merging... orgasm and agony              merging.  And he records it all.                             MACE              And gives it to you.                             LENNY              Wants to share.                             MAX              That's right.  He wants to share.              Needs an audience.  This is one sick              puppy.                             LENNY              Why me?    Mace is hugging herself.  Edgy and tense.                             MACE              Cause you're the man, right?  The              Magic Man.  If it's got something to              do with the wire, sooner or later it              washes up on your beach.                             LENNY              I've never dealt in black-jacks.              Never.  Everybody knows that.                             MAX              He's skull-fucking you, bud.  Trying              to get a reaction.  Maybe pushing              you to do something.                             MACE              Maybe he just figures Lenny will              appreciate what he's created.  It's              the dark end of the street, Lenny.              How do you like it now?                             LENNY              Jesus, Mace.  Back off.                             MACE              This guy is someone you know, one of              your squid-head contacts.                             MAX              Problem is, Lenny knows everybody.                             MACE              Take the tape to the cops.                             LENNY              Uh unh.  No way!  They'd crucify me.                             MACE              So some psycho wire-freak gets to              keep running around--                             MAX              Naw, he's right.  They'll figure              Lenny's the perp, or go through his              client list, ruin his life... such              as it is.  Look, I'll call the guys              in Homicide... tell them she was a              friend of mine and they'll keep me              in the loop.  Get me the forensics              and all that.                      (he opens his car                       door)              Get some sleep.  I'll call you when              I get something.                      (he starts his car)              And Lenny... I'd keep moving if I              were you.                                                CUT TO:    INT.  ELEVATOR AND TRAN'S LOFT    The elevator is huge -- big enough for a truck -- and    Lenny seems small in the huge space, while shadows crawl    across his body as the old machinery pulls him up    toward...    FAITH, in the loft above.  She looks into the vast    bedroom...    ... at Tran sitting in a chair, tranced out under playback    trodes, his eyes closed.  She softly closes the sliding    door and walks across the cavernous main room.  The place    is lit by the flickering reflections from a series of huge    television screens along both walls.  Otherwise there is    little light.  The cavernous loft is sparsely but very    expensively furnished.  Haute-tech design.  Total contrast    to Lenny's ratty digs.    LENNY'S POV through the cage-door of the elevator as it    reaches the loft and Faith is revealed, waiting for him in    the shadows.  He slides open the cage-door and she moves    quickly to him.                             FAITH                      (whispering, furtive)              You're crazier than I thought,              Lenny.  Coming here... Tran's just              in there.                             LENNY              Iris is dead.  She was murdered.    Faith stiffens.  We see the fear, now, exposed.                             FAITH              Who did it?                             LENNY              Don't know.  But this guy's real              damaged goods.  Iris knew someone              was after her... and she said you              were in danger too.                      (he grabs her                       shoulders)              Now no more games, Faith.  Whatever              you're hiding, whatever's going on,              you have to get out of here now.              Come with me right now.  Don't even              think about it.                             FAITH              Then what?  Then what, Lenny?!  You              going to protect me?  Big tough guy.              You're a talker, Lenny.  You don't              even have a gun.                             LENNY                      (hurt)              I have a gun.  It's under my bed.                             FAITH              You don't know what you're fucking              with here.                             LENNY              Tell me.    A VOICE from the shadows, like the whisper of a blade in    the air.                             TRAN              Go ahead, Faith.  Tell him.    Tran steps forward, totally at ease with the situation.    Out of the shadows behind him step Joey Corto, Duncan and    Vita Minh.                             FAITH              Look, Tran... Lenny just came by to              give me some bad news.  An old              friend of mine has been murdered.              You remember Iris?                             TRAN              A tragic story, no doubt.                      (to Lenny)              How'd you get up here?                             LENNY              Charm.                             TRAN                      (looks at Faith)              Uh huh.  Look, Nero.  I'll make you              an offer.                      (he grabs Faith by                       the arm, steps                       closer)              Take her.  Right now.  If she wants              to go, if she's unhappy here, she              can go.  I'll let her choose.  Faith              always knows what she wants.                      (he turns her loose)              Hands off.  See?    Lenny glances at the open elevator right behind him.  So    close.  She just has to take one step to him... and they    will be out of there.  Together.                             LENNY              It's alright.  He means it.                             TRAN                      (to Faith)              I do mean it.                      (to Lenny)              And I mean this... if Faith stays              you go away and never come back.              You scuttle back into your cockroach              hole and never cross my vision              again.  You understand?    She glares at them both for a long moment.  Emotions play    across her face, complex and unreadable.  She steps back,    taking her place at Tran's side.                             FAITH              I made my choice, Lenny.                             TRAN                      (to Lenny, nodding                       toward the elevator)              You're going down.    Joey Corto and Duncan shove Lenny roughly backward into    the elevator.  Corto slams the gate shut and slaps a    button to lower the lift.  The last thing Lenny sees as he    descends is Faith's face, above him.                             FAITH              I don't love you, Lenny.  Give up.                                                CUT TO:    INT.  BEDROOM AREA/TRAN'S LOFT    Faith is crying as Tran comes up behind her.                             FAITH              You said you were going to get her              out of this.                             TRAN              Maybe now you appreciate the danger              we're in.                      (he moves very close)              It was touching the way you stood by              me in there.  "Stand by your man".              I was moved.  You were very good.  I              don't think he even understands that              you did it for him.                             FAITH              He doesn't know what's going on.              Leave him alone.                             TRAN              I'd love to.  But he keeps showing              up.  And you keep talking to him.  I              can't have that--    And he slaps her.  Really hard.  Decks her.  He's    trembling with rage... and something else.  Fear.                             TRAN              The only time a whore should open              her mouth is when she's giving head.                             FAITH              Fuck you.                             TRAN                      (walking away)              Maybe later.                                                CUT TO:    INT.  ELEVATOR/TRAN'S LOFT    The huge elevator, with Lenny its sole occupant, descends    through the shadows toward the first floor.  Lenny watches    the shadow patterns on the wall through the iron grillwork    door.  He's still thinking about Faith...    ... even when the elevator reaches the first floor and    Mace comes into view.  She's waiting for him.  He steps    forward.  But he can't open the grillwork door.  And the    elevator doesn't stop.  It keeps going down.  Lenny,    spooked, works the door hard... as Mace disappears from    view above him...    ... and the elevator bumps to a stop in the basement.    With Vita and the beef squad waiting for Lenny, stoney-    faced.  Last stop.  All out.    Lenny tries to keep the door shut, but Duncan wrenches it    open.  Vita grabs Lenny and twists his arm painfully    behind him in one fluid move.  They hustle him toward a    dank basement room near the elevator.                             LENNY                      (speed-rap)              Listen, can we be smart here?  I              could make it really worth your              while... I could cut you a check for              500 each... hell, make it an even              grand... I'm not saying you don't              land a couple shots, just go light              is all I'm saying... here, take my              Rolex.                             CORTO              Lemme see.    A glimmer of hope in Lenny's eye as he whips it off his    wrist.  Corto doesn't even look at it.  Gets it over his    hand about mid-way, then -- using the watch like a pair of    brass knuckles -- clobbers Lenny in the face.  Watch parts    go flying as Corto steps away and Duncan slams Lenny up    against a column.    Vita weighs in... gut-punching Lenny savagely.  She works    him expertly, with a series of painful jabs.    He sags to his knees.  Not only is this painful.  It's    goddamn humiliating.  And Duncan and Corto enjoy every    second of it.                             CORTO              We tried to find a smaller girl, to              beat the shit out of you, Lenny...              but it was short notice.    Vita grabs Lenny by his hair and pulls him up with one    rock-hard arm.  She is cocking back the other arm for a    pile-driver punch when...    Suddenly a dark shape materializes behind her.  Mace    drives Vita head first into the steel column.    Duncan lunges in and grabs for Mace.  This is a mistake.    Mace doesn't fight fancy.  And she doesn't fight fair.    She fights to win.  And she is awesomely fast.  Her moves    are street moves, coupled with arm-locks and come-alongs    she has been trained to use as a security driver.    Lenny recovers enough to size up Vita, who is still a    little stunned.  She has blood dripping in her eyes and    can't see too well.    But she charges him.  And -- being the gent that he is --    he busts her over the head with a dusty old folding chair.    Mace drops Duncan about the time Vita is hitting the    ground, leaving...    CORTO, who fumbles out a Beretta 9mm and sticks it in    Mace's face.  He sniggers, loving the upper hand.                             MACE              Safety's on.    And like a jerk, he looks.    She snaps sideways in a headfake and closes blindingly    fast, twisting the gun out of his hand.  She continues to    twist his wrist brutally and Corto goes down to one knee,    groaning.  She takes his Beretta and backhands the barrel    hard across his face.  Mace releases his wrist and he    crumples in a heap.    She and Lenny back out the door.  Then Lenny runs back in    and kicks Corto in the ribs.                             MACE              Lenny!    Mace grabs him and pulls him out of the room, then slams    the metal firedoor behind them, locking it with a piece of    junk wedged behind the release bar.                                                CUT TO:    EXT.  STREET - NIGHT    Mace and Lenny hotfoot it toward the parked limo.  Mace is    disassembling the Beretta without looking at it.  She    chucks pieces over a chain-link fence as they go.  Lenny    brushes himself off, checking his jacket for damage.  He    is high from winning the fight.                             LENNY              Is this great fabric or what?                             MACE              You ever wonder why you get beat up              a lot?                             LENNY              Never really thought about it.                                                CUT TO:    INT.  LENNY'S APARTMENT    Squid POV: the killer enters the vacant hotel room,    passing the mirror on the dresser.                             LENNY (V.O.)              Come on... look in the mirror.  You              know it's there, you're keeping your              eyes off it, you bastard... SHIT!              Who are you?    CUT TO: Lenny, yanking the wire off his head, Mace near    him.                             LENNY              He knows what he's doing.  He's worn              before... a lot.                             MACE              So that gives you something.                             LENNY              It gives me... I don't know... maybe              two hundred people who I know wear.    As he talks Lenny fiddles with some custom electronics    gear.  The back is off the deck, and he has a ribbon wire    connecting it to some kind of amplifier black-box which he    is using to boost the gain.                             MACE              Don't crank the gain any more.              You're gonna fry yourself.                             LENNY              I need to see more... get more              detail.  Something.  I feel his              presence, so strong...    Mace watches, concerned, as Lenny puts the trodes back on    and hits playback.    Squid POVs: strobe-like images of Iris' rape and death,    separated by burst of static...    ... as Lenny keeps hitting the forward and rewind buttons,    searching the tape for clues, reacting to the feelings on    the tape, trying to manage his revulsion...    ... until Mace yanks the trodes off and Lenny sags back on    the couch.  He rubs his eyes.  He is seeing ghosts,    afterimages burned into his visual cortex.  The room is    alive with them, shimmering.                             MACE              No more, Lenny.                             LENNY              Yeah.  I'm ghosting pretty bad.    Lenny see Iris' terrified face.  Literally.  It floats    iridescent on his living room wall, fading slowly.                             LENNY              She came to me for help.  I should              have read it better... I just              figured, y'know... another strung-              out hooker having a bad night.                             MACE              It's not your fault.    Lenny gets up, staggering to the kitchen.  She goes with    him.                             LENNY              Sex killers act alone.  So there's              no information on the street, which              is how cases get made.  Cops know              they'll never nail this guy the              second they look at the scene.    Lenny sucks down four Tylenol with a long pull from a    bottle of vodka.                             LENNY              And anyway, nobody gives a shit              about a dead hooker.  They're              roadkill.    Requiem for Iris.  Mace watches Lenny rubbing his eyes,    waiting for the Tylenols to hit.                             LENNY              See, it's all about what they see              walking in.  A dead hooker,              handcuffs, penetration... they'll              see a trick gone wrong.  Random              kill.  The kind you never solve.                             MACE              But that doesn't add, does it.                             LENNY              No it doesn't.                             MACE              Because Iris knew somebody was after              her.    Lenny, wound up like a Swiss movement, starts pacing.                             LENNY              She said "If they get me".  They.              Which means the whole sex-killer              thing is a cover, which means              somebody whacked her for a reason.                             MACE              So the guy's not a sicko.                             LENNY              If he could do what's on that tape,              he's a sicko.                             MACE              Okay, so he's a freak who thinks              he's sane pretending to be a freak.              The point is, he was a hitter.              Somebody wanted to shut her up.  But              why not just put a little lead in              her ear?                             LENNY              Because it had to look random.  Not              connected to anything or anyone.                      (he seems to run out                       of energy)              But then why give the rape to me?                             MACE              That's where it gets a little              strange.                             LENNY              And what about the guy that was              following me?                             MACE              Now you're really getting paranoid.    Lenny collapses on the couch, rubbing his temples.                             LENNY              The question is not whether I am              paranoid, but whether I am paranoid              enough.  You want to rub my neck?                             MACE              Sure.    Mace sits next to him and starts to work.  Strong, knowing    fingers.  Lenny starts to relax a little.                             LENNY              How's Zander?                             MACE              OK.  He asks about you all the time.              It's been weeks since you've seen              him.    Lenny sort of keels over.  His head slumps in her lap.                             MACE              I'm sorry about getting on your case              earlier.  I just see you getting              sucked in deeper and deeper, and I              -- anyway.  I'm sorry.                             LENNY                      (drifting off,                       joking)              S'okay.  I know you still love me.    She looks down at him, gently brushes his hair off his    sweaty forehead in an unconsciously maternal gesture.  He    is out cold.    Mace gazes at Lenny's sleeping face in a way we haven't    seen before: unguarded.  Caring.  Loving.    And we get it: she does love him.  It makes no sense, and    it is a great burden to her that he doesn't see her... but    there it is.    She shakes it off: she doesn't want to deal with it now.    Maybe not ever.  She leans her head back against the ratty    top of the couch, sighs.  And keeps her hand moving    soothingly on his head.                                                CUT TO:    EXT./ INT.  MACE'S HOUSE/INGLEWOOD - DAY    Mace pulls the limo into the driveway of a modest stucco    house in Inglewood.  It's dawn.  A neighbor is walking the    dog.  Mace heads into the house, picking up a couple of    toys left scattered in the front yard.    Inside, ZANDER, age 6, is watching TV in his pajamas and    eating a bowl of cereal.  Behind him, on the couch, is    Mace's younger sister CECILE, zee'd-out.  Zander frowns at    her and looks at a red-plastic (toy) watch.                             ZANDER              Where were you Mom?  Did you meet a              guy?                             MACE              Just Lenny.                             ZANDER              Right.  That explains it.                             MACE              Are you going to make me beg?    Zander scrambles over to his mom, throws his arms around    her.  Big hug.                             MACE                      (looking at weird                       stuff in cereal)              What is that?                             ZANDER              Cheerios and wieners.  I made it              myself.  It's good.                             MACE              Well give me some then... I'm              starving.                                                CUT TO:    INT.  LENNY'S APARTMENT    2:20  P.M.  DEC 31    Lenny wakes up to the sound of the phone ringing.  He is    on the couch, still clothed.  He hears Max's voice on the    answer machine and groggily grabs the receiver.                             MAX (V.O.)              Hey, the last day of the world and              you spend it in bed.                             LENNY              W'sup, Max?                                                CUT TO:    EXT.  A.M.E. CHURCH AND STREET/SOUTH CENTRAL - DAY    Max, on the cellular, across the street from a church    where mourners stream out of a memorial for Jeriko One.    The sidewalk and street are clogged with fans, and further    off -- a cordon of very anxious-looking crowd control    cops.                             MAX              Not a whole hell of a lot.  They've              just been saying words over Jeriko.              Tensions running pretty high down              here.  I'm telling you.    WHAT MAX SEES across the street... SLOWMO as Tran comes    out of the church with Faith next to him.  Corto, Vita,    Duncan and Beemer form a loose protective shell around    them as the press bears down, shouting out questions.    Tran ushers Faith into a waiting limo and climbs in after    her.  The rest of the muscle keeps the press away from the    car as it pulls away.    CUT TO: Max, still on the phone to Lenny.                             LENNY (V.O.)              Faith OK?                             MAX              Yeah.  She's leaving with Tran so I              got to boogie.  Real quick... Iris              checked into the Sheraton last night              under a false name.  Paid cash.                             LENNY              Looks like she was holding out.                             MAX              Yup.  Hey, so I heard you dropped in              on Tran last night.  Another slick              Lenny move.                             LENNY (V.O.)              He's in this somehow... I don't know              how.  Just stay close to Faith.                             MAX              I'm on her, amigo.  No worries.              Gotta jam.                                                CUT TO:    INT.  LENNY'S APARTMENT    As Lenny is hanging up he notices something.  A MANILA    ENVELOPE stuck between the steel bars and the glass of his    front window, next to the door.  "NERO" is printed on the    envelope.    Oh shit.  He opens the door, looking both ways.  No-one is    around.  He fishes out the envelope from behind the bars    and takes it inside.  Of course it contains a tape.  He    stares at it with dread.    Lenny sits down and put the tape in his playback deck.  He    picks up the trodes and places them on his head.  He    notices his hands are shaking.  He takes a deep breath and    punches PLAY.    POV SEQUENCE: DAY.  As expected we see the de-saturated    signature look of the killer's vision.  The Wearer is    walking through the courtyard of Lenny's apartment    building.  We recognize it by the unkempt pool, the sunken    deck furniture.  We walk through a breezeway to an ally-    like courtyard behind the building.  We approach a door...    the back door to Lenny's apartment.    The killer picks the lock on the back door.  Opens the    door and enters.  The apartment is dark, blacked out.  We    are in the kitchen.  We stop and listen.  Water dripping    in the sink.  Soft snoring from the living room.    Moving to the other room.  Slowly, silently.  Furtively    looking around the door frame to the living room.  There    is Lenny, crashed out on the couch.    Now moving stealthily toward him.  Kneeling down beside    him.  Lenny, burned out from the night before, is deep    under.  Our hand comes into view, holding the yellow    plastic razor knife.  With his thumb, the killer extends    the blade... click, click, click, click.    The blade flashes in a beam of sunlight as it moves toward    Lenny.  The killer lays it gently against Lenny's throat.    Draws it slowly across... not leaving a mark.    The POV backs away and -- static as the tape ends.    LENNY, IN THE PRESENT, whips off the trodes, freaking.  He    feels around his throat with one hand... can't feel    anything.    Crossing quickly to a mirror near the front door, he    inspects his neck minutely.  There is a hair-line red line    over his carotid.  He looks around the room wildly, his    heart hammering.  Slowly, he gets his breathing under    control.    Then... he hears something in the kitchen.  A tiny click.    His eyes go wide.  Hyperventilating, Lenny moves silently    into the bedroom.  He fishes around under the bed and    pulls out a GLOCK 22 .45 auto pistol.  He stalks silently    toward the kitchen.    Then he looks at the butt of the pistol-grip: no magazine.    He un-stalks back to the bed and finds a loaded magazine    under a bunch of dirty socks.  He inserts it quietly,    wincing as he chambers a round.    Heart thudding, he works his way to the kitchen door.  He    edges around the frame, pie-ing the room.  Cop reflexes    intact.    Mace is sitting at the kitchen table, giving him a funny    look.  She is drinking a cup of coffee, made from the    bottle of instant on the counter.  She is dressed    casually, in bicycle pants, work boots and oversized nylon    jacket over a tank-top.                             MACE              Whatup Lenny?                             LENNY                      (hands shaking)              Jesus, Mace!                                                CUT TO:    INT.  LENNY'S APARTMENT    A little later.  As Lenny tosses stuff into a folding bag:    clothes, a playback deck, a box of .45 hollow points.  He    grabs his grimy old Second Chance body armor from the LAPD    and stuffs it into his Haliburton.  When Mace sees him do    that, she knows things are freaky.                             MACE              Where we going?                             LENNY              Anywhere.                      (finger to his lips)              We'll talk about it in the car.    Mace glances around... unnerved by the possibility of    audio surveillance.                             LENNY              Hand me that box of tapes, will you?    He's pointing to a shoe box full of "Faith" tapes.  Mace    hands them over with obvious distaste.  He throws them in    the bag, starts to zip it...    ... then sees his reflection in the bedroom mirror:    something's the matter.                             MACE              What is it?                             LENNY              This tie doesn't go with blue!    He yanks off the tie and grabs another.                                                CUT TO:    INT./ EXT.  MACE'S LIMO AND STREET - DAY    Mace and Lenny drive through the streets of LA on the last    day of this millennium.  There are cops in body armor and    helmets on some street corners, holding automatic rifles.    Helicopters orbit endlessly.  And a National Guard tank    rumbles down the street.  State of siege.  The car radio    is on, with KROQ's poor Man hyping the impending    Millennium LA party.                             POOR MAN              ... the New Years Eve mega-bash of              the century.  Ten square blocks of              madness, with live music, fireworks              and the actual rich and famous of LA              hobnobbing with us peons.  Also              yours truly the Poor Man will be              there at the KROQ bandshell, giving              away "Millennium LA" and "KROQ 2-K"              T-shirts by the truckload--    Lenny is keyed up and tense.  He keeps looking out the    back window.                             MACE              Will you relax.  There's nobody back              there.                             LENNY              Mace, the guy had a knife.  To my              throat.  In my living room.              Relaxing might be right out, okay?!                             MACE              You better keep a low profile for a              while.                             LENNY              No shit.  You got someplace in mind?                                                CUT TO:    EXT.  BACKYARD/MACE'S HOUSE - DAY    On Zander, face lighting up, giving Lenny a high five.    Lenny drops his bag, shakes, does a little silly hand    choreography -- a goof on a bro grip -- that makes Zander    laugh.  Mace watches this ritual and smiles herself.    Zander can call out a part of Lenny that Mace would like    to see more of.    Cecile is there, hanging out with her boyfriend CURTIS,    and Curtis' friend VEJ.  These two guys are about 18,    dressed in gangsta garb.  They are listening to "The    Prophets of Rage" on a CD player, and watch Lenny with a    dispassion that flirts with distaste.                             ZANDER              What do you got?                             LENNY                      (pulls a tape out of                       his pocket)              Today I have...                             MACE                      (seeing the tape)              Lenny, have you lost it completely?                             LENNY              Easy, there, Mom.  Easy.  This is              audio only.                      (hands tape to                       Zander)              John Coltrane.  "A Love Supreme."              Give it a listen, let me know what              you think, maybe you won't go for it              now, but it'll get in your head and              grow like a seed into something              really beautiful.                             ZANDER              Let's play it now!                             LENNY              Later.  Your mom'n I are heading              right back out.    Groans of outrage and protestations of unfairness from    Cecile, Vej and Curtis follow this bad news.  Cecile even    musters the gumption to speak up.                             CECILE              Hey, come on, I been baby-sitting a              full 24 hours, I have to get ready              for the party tonight...                             MACE              Cecile.    Mace frosts her with a look.  You don't mess with Mace.                             MACE                      (to a disappointed                       Zander)              You're not the only little boy I              have to look out for, honey.    Zander nods: OK.  Lenny gives him the grip.  Zander's hand    outmaneuvers his, and the boy smiles in triumph.                                                CUT TO:    INT.  UNDERGROUND PARKING GARAGE    POV: squid tape of Iris' death.  Quick barrages of the    savage imagery interspersed with bursts of static...    ... until Tick slips off the trodes.  He's been totaled by    what he's seen.                             TICK              Whoa.  That is one unbelievable              piece of eyefuck.                             LENNY              Skip the art criticism, Tick, what              can you tell me about the wearer.                             TICK              Well... the guy's fucked up.                             MACE              We know that, Tick.                             TICK              No, I mean the killer's got some              kind of distortion in his visual              cortex.  The color and gray-scale              values are all messed up, like color              blindness.    He gives the tape a fast run through his processing    equipment.                             TICK              Lookit, you see the peak period              ratios there?  Could be some kind of              tumor or brain lesion or something.              Some kind of trauma                      (shaking his head)              This is not good.  I don't like this              at all...                             LENNY              What?                             TICK              Well, it's cutting awful close to              me.  I mean she was just here.                             LENNY              Who was just here?                             TICK              Iris, man.  Pay attention.                             LENNY              Wait, wait... wait a minute.  Iris              was here?!                             TICK              Yeah, she came by last night.              Shaking like a junkie, wanting me to              make a copy of some clip.                             LENNY              What clip?  What was it?                             TICK              I don't know, man, she wouldn't let              me see it.  Said I wouldn't want to              see it.  She said she was going to              give it to you to hold for her.              Like insurance or somethin'                             LENNY              She never gave me a tape.                             MACE                      (to Lenny)              Think back about what she said.              Exactly what she said.                             LENNY                      (revved up)              She wanted to go out to my car,              something about my car...                             MACE              Something in your car...    Lenny and Mace swap a look: oh shit.                                                CUT TO:    EXT.  SAN PEDRO IMPOUND YARD - DUSK    6:05  P.M.    The last night of this millennium is falling.  Mace's limo    pulls to the curb.  The yard is located in the vast no-    man's land of storage lots, cranes and warehouses near    harbor piers.  The impound office is locked.  Closed for    New Years Eve.    CUT TO Lenny and Mace cutting the chain off the gate with    the long-handled bolt-cutters.  They enter the yard.  Mace    is carrying a blunt object that looks like a ray-gun.  A    TAZER.    Right on cue a huge Rottweiller bounds out of the shadows    at them, growling, its head low on an attack run.  Mace    fires and the tazer lights up the with 120,000 volts (low    amperage, not lethal).  It whines and flips over twice,    then runs off behind some parked cars.                             LENNY              That's a handy little attitude              adjuster.                      (sees his car)              Damn.  I'm boxed in.    Lenny and Mace approach his BMW, blocked in by ten other    cars, so he's not getting it back this trip.  He unlocks    the door and looks inside with a tiny Mag-Lite while Mace    covers them with the tazer.  A puppy-like whine comes    occasionally from behind some cars nearby.  We catch a    glimpse of the puzzled, snuffling Rottweiller eyeing them    warily.    Lenny finds the tape on the floormat, passenger side,    still wrapped in the note.  He reads the note: "HELP ME.    IRIS."                             MACE              What's it say?    He crumples the note.                             LENNY              Nothing.  Let's go play this back.    CUT TO LENNY AND MACE returning to the limo.  As they    reach the car they are hit by two flashlight beams.  It is    the two cops, SPREG AND ENGELMAN, out of uniform, but    looking very serious with their pistols aimed at Lenny and    Mace.  They have been following Lenny, knowing sooner or    later he would lead them to the tape.                             SPREG              Give me the tape.  Right now.                             LENNY              What tape?  I'm just trying to get              my car back but the place is              closed--                             SPREG              Shut the fuck up Nero.    Engelman grabs a fist-full of hair at the top of Mace's    head and jams his 9mm into the back of her skull.                             MACE                      (cool and even)              Lenny, give them the tape.                             LENNY              It's in my case.  Okay?  I'm going              to open my case...                             ENGELMAN              Facing us, where we can see it.    Lenny slowly opens the Haliburton.  He takes out the tape    and holds it out toward Spreg.                             LENNY              Take it and turn her loose.  Okay?                             SPREG              Absolutely.    And you see in his eyes that it isn't going to go that    way.  Spreg edges forward and takes the tape.  Then he    points his pistol at Lenny's head, about to fire--    Which is when the pissed-off Rottweiller shoots through    the open gate like a black torpedo and tears into    Engelman's leg.  Engelman screams in pain.  Mace twists    out of his grip.  Engelman shoots the dog.    Lenny swings up his Haliburton, using it as a shield, and    dives for the car.  The case takes three rounds from    Spreg's 9mm before Lenny gets behind cover.    Mace just seems to vanish.  She reappears over the trunk    of the limo and puts two rounds squarely into Spreg's    chest, knocking him down.  Lenny and Mace scramble into    the car, starting it up.    Spreg sits up, pulling up his shirt to make sure his body    armor stopped the slugs.  No blood.  He comes up firing.    He and Engelman empty their magazines at the limo as it    pulls away.  No damage.  They realize the limo is a bullet    proof security model and run to their pickup truck, parked    nearby, to give chase.    Spreg's face is a mask of rage.  He slams the truck in    gear and accelerates after the limo before Engelman even    has the door closed.                                                CUT TO:    INT./ EXT.  LIMO AND SAN PEDRO STREET - NIGHT    Mace has the big car floored.  She looks in the rear-view    as the truck gains on them.  Mace is doing her thing...    what she's trained for.  Security driving.  She whips some    moves in the big car, but the truck is closing on them.                             LENNY                      (holding on)              Oh no, we're not being followed,              Lenny, Don't be so paranoid, Lenny.    They hear rounds hitting the car, and look back.  The    truck is right behind them.                             LENNY              Shit!                             MACE              Take it easy.  The glass is bullet              resistant.                             LENNY              Bullet resistant?  Whatever happened              to bullet proof?                             MACE              Lenny.  Calm down.  This is what I              do.    THE LIMO slides broadly through a turn, side slamming a    parked van.  Mace accelerates.  The truck stays with them.    Engelman is leaning out the passenger side window with an    AK-47 assault rifle.  He rips off several burst which    riddle the limo, cracking the glass in starburst patterns.    The Lexan-laminated windows are cracked to hell, but the    rounds don't come all the way through.    Spreg's truck comes alongside, ramming them.  The impact    drives them sideways.  Mace swerves to miss a light-    standard and finds herself roaring between warehouse    buildings which front the harbor.    The truck stays right with them.  Engelman fires bursts at    the tires, shredding them off the rims.  The limo thunders    along on steel rims, throwing rooster-tails of orange    sparks.    Mace finds herself boxed in by the buildings.  No way to    turn.  Ahead is a short concrete pier.  She hits the    brakes and the limo skids on its rims out onto the pier,    stopping before it reaches the end.    They are trapped.                                                CUT TO:    EXT.  SAN PEDRO PIER - NIGHT    Engelman and Spreg jump out of the truck, taking cover    behind it.  They rake the limo with bursts from their AK-    47s.    INSIDE THE CAR.  Lenny and Mace keep their heads down    below the door frame.  It sounds like they are inside a    steel drum in some psychotic Calypso band.  But the    armored body panels hold.    Lenny is punching his cellular.                             LENNY              Goddamnit!!  911 is busy!                             MACE              It's okay, Lenny                      (he looks at her                       hopefully)              They'd never get here in time              anyway.    Mace has reloaded her Sig and is trying to open the door    on her side (away from the bad guys).  It is jammed from    the sideswiping.    Spreg reaches into the bed of the truck and pulls out a    gallon gas can.  He uncaps it and throws it across the    pavement.  It slides under the limo, glugging its contents    onto the ground.  Spreg grabs a road-flare from under the    seat of the truck and strikes the cap, lighting it.    He tosses the flare under the limo...    KA-WHOOMPH!!  The gas can explodes in a fireball.  The    Continental is engulfed in flames.  From the inside all    Lenny and Mace can see is fire.  All the windows are    covered in roaring flames.                             MACE                      (matter-of-fact)              This is bad.                             LENNY              The gas tank's going to go any              second!    Mace slams the car into gear and floors it.  The powerful    Lincoln thunders forward.  It crashes through a chain-link    fence and launches right off the end of the pier.  A    fireball plunging in a meteoric arc into the oily black    water.    Inside, they are slammed forward by the impact.  The car    sinks.    UNDERWATER: The car hits bottom, twenty feet down, sitting    there amid the junk.  Shafts of light play down from the    big streetlights at the end of the pier.    INSIDE, Lenny and Mace are in a flooding black tomb.                             LENNY              Are you out of your fucking mind?!                             MACE              Fire's out, isn't it?    She scrambles into the back seat.  She wrenches at the    rear seatback, pulls it free... and crawls half-into the    huge trunk.  Water is up around their legs.  She grabs her    shotgun: a sawed-off ten-gauge.                             MACE              Get in here.  Come on Lenny, move              it.  MOVE!!    Mace yanks him toward her and he tumbles in.                             MACE              Get ready to hold your breath.    She aims the ten-gauge at the trunk latch mechanism.                             MACE              Lenny, kick out hard, then just              follow me. Okay?    He nods.  BLAM!!  She blows the trunk latch into shrapnel.    The trunk lid belches open in a whoosh of bubbles.  Lenny    and Mace kick out, heading toward the lights of the pier.    ON THE SURFACE: Mace breaks the surface slowly alongside    the slimy concrete wall.  Lenny comes up beside her,    spluttering.  Her hand goes over his mouth.  They are in    the inky shadows under a massive bumper made of rail-road    ties.    Engelman and Spreg are standing above them, scanning the    black water over the barrels of their AKs.                             SPREG              Let's get out of here.    They run back to the truck and high-tail it out of there.    Down below, Lenny and Mace are clinging to the pier,    chest-deep in the water.  They hear the truck pulling    away.  They let out a big exhalations of relief.    CUT TO LENNY AND MACE walking on the pier, shoes    squishing.  They leave a shiny trail behind them.                             MACE              I can't believe we had to give them              the damn tape.                             LENNY              Yeah, me neither.  It was one of my              favorites.  Me and Faith in a hot              tub on my birthday.  I'm going to              really miss it.    He feels around in his jacket pocket.  He pulls out the    MYSTERY TAPE... nice and dry in its plastic case.  He    holds it up to show a grinning Mace.                             LENNY              Are we impressed yet?                                                CUT TO:    INT./ EXT.  FREEWAY AND CURTIS' CAR - NIGHT    7:45  P.M.    Lenny and Mace, still wet, riding in the back seat of    Curtis' car.                             CURTIS                      (pissed)              I got better things to do on New              Year's Eve than be some kinda damn              chauffeur...                             MACE              Hey Curtis?  Just drive.    Curtis swears.  But he shuts up and drives.                             LENNY              Those two guys were cops.                             MACE              You sure?                             LENNY              It's the walk.  Something.  Anyway,              they'll run your plates and get your              address.  We gotta keep moving.    Mace takes it in.  She nods.                                                CUT TO:    INT.  MACE'S HOUSE    Mace comes in the front door and walks straight to the TV,    switching it off.  Zander and Cecile are shocked.                             CECILE              Lornette, girl... what's going on?    Lenny goes past them and starts grabbing his stuff...    wardrobe bag, playback gear.                             MACE                      (to Zander)              We're going to aunt Cecile's, honey.              We're going to watch fireworks from              there.  Let's go.  Chop chop.                             ZANDER              Aw, Mom!                             LENNY              Come on Zander.  You can ride on my              shoulders.  Here you go.    Lenny hoists him overhead and goes out the door.  Cecile    catches up to Mace in the hall, just as she is opening a    locked cabinet and pulling out a little .380 auto, holster    and ammo.                             MACE              Cecile, get in the car.  Now.                                                CUT TO:    INT./ EXT.  STREET AND CIVIC - NIGHT    Sirens pierce the night.  Two pillars of fire are visible    blocks away.  There are dark crowds of people everywhere.    People on the sidewalks, lighting fireworks.  There are    flashes and explosions.  It could be a celebration, or a    war zone.  Maybe both.  Or one about to turn into the    other.    Mace is driving, scanning the streets.  She has her .380    auto in her hand, resting in her lap.  Lenny is riding    shotgun, while Curtis, Cecile and Zander are in the back    seat.                                                CUT TO:    EXT.  CECILE'S APARTMENT - NIGHT    It is gang territory pure and simple.  Blacks and    Hispanics.  Graffiti everywhere.  Burned-out buildings.    Lenny sees abject poverty, here.  Even so, people are    partying.    They pull up to the front of Cecile's apartment building    and get out.    There are some homeboys chillin' on the front steps who    give Mace the local hand-sign.  She returns the sign    automatically as she carries Zander past them.                             ONE OF THE BOYS              Yo, Mace.  Whatup wit you, homegirl?              You never come roun' here no more.    Lenny follows with his wardrobe bag.  The homeboys give    Lenny the eye as he brushes past them.  Mace chills them    with a glare.                             MACE              He's with me.                                                CUT TO:    INT.  CECILE'S APARTMENT - NIGHT    A small and dingy place.  Cecile has done her best to make    it a home.    Mace and Lenny go into the kitchen and shut the door.    He quickly sets up his playback deck on the table.  He    puts on the trodes and pulls the tape out of his pocket.    Then he pauses, looking at it apprehensively... knowing    that it contains the answer to all this madness.    He puts it into the deck.  The deck closes.  He punches    PLAY.                                                CUT TO:    INT.  APARTMENT/LIVING ROOM - NIGHT    Mace watches Zander lighting bottle rockets with Curtis on    the balcony of the apartment... visible through the    window.  Staccato fireworks nearby sound like automatic    weapons, making her flinch.  She goes back into the...    KITCHEN.  Where she sees Lenny sitting at the table,    trodes in his hands.  Stunned.  Face the color of old    cement.  Hands shaking.                             MACE              Tell me.                             LENNY              I can't tell you.  You've got to              see.                             MACE              Uh unh.  I won't do it.                             LENNY              Mace.  I know what you think about              the wire.  But I'm asking you to do              this.  It's that important.    Mace sees how serious he is.  She nods: OK.  He puts the    trodes on her.                             LENNY              Sorry this has to be your first              playback.    He hits play and Mace reacts as the sensory input hits    her.  She opens her eyes...                             LENNY              Keep your eyes closed, or you'll see              double.    She bites her lip as the sensation of being another person    floods through her.    POV SEQUENCE: We are Iris.  Riding in a car.  Fixing our    makeup in a mirror on the passenger side sun visor.  Iris    flips the sun visor back up, revealing the moving street.    It is night.    We look down, and recognize the dress Iris was wearing    when we first saw her, two nights ago.  She puts her    lipstick into a purse which is belted to her waist.  Iris    turns her head and we see the driver.    It is JERIKO ONE.  He is laughing, talking to someone in    the back seat.  Iris looks and we see REPLAY, Jeriko's    sideman, and another woman, DIAMANDA.  They are amorously    entwined.  Then they are all laughing and passing around a    bottle of Jim Beam.  The car stereo is thumping loudly.    Iris' POV swings around and looks down, seeing Jeriko's    hand caressing her thigh.  She puts her hand on his chest    and leans close to him.  Jeriko grins, then looks up and    swears at a wash of red/blue cop flash.                             JERIKO              Shit.  Fuckin' Five-O    Our POV swings to the rear-view mirror and we see an LAPD    car behind us, with the gumball machine on.  A spotlight    hits us and we hear a single whoop on the siren.  Jeriko    pulls over, but they are on an overpass... no shoulder.                             COP VOICE                      (on bullhorn)              Go to the bottom of the ramp.    Jeriko and Replay are both swearing.  He pulls the car    down the ramp, stopping on a deserted street in a    warehouse district.  Our POV looks around nervously.    Black shadows and concrete pillars.  No-one around.  Cars    whoosh by on the bridge above but they might as well be on    Mars.  The car is stopped next to a train yard.  We hear    the rumble of diesels nearby, the clank of freightcars.    We see the outlines of TWO COPS advancing through the beam    of the spotlight, their guns drawn.                             JERIKO                      (jumping out of the                       car)              Goddamn, now what you pull me over              for?  If I was going any slower I'd              be parked--                             COP VOICE 1              Get down on your knees and put your              hands on your head.  Now!                             COP VOICE 2              Everyone else, out of the car and              down on the ground.    Our POV comes up and out of the car.  Jeriko is    righteously pissed off.  He's not following orders.                             COP VOICE 1              Put your hands behind your head              right now!    He goes along, madder than ever.  The cops get Replay down    on his knees as well, in the wet gutter next to the curb.    The cops are closer now.  We see that they are SPREG and    ENGELMAN.                             ENGELMAN                      (to us)              Put your hands on the hood of the              car and don't move.    We exchange a look with Diamanda.  Fucking cops.  But    Jeriko is winding them up.  Not giving them the pleasure    of the humiliation.  You can see it escalating.                             JERIKO              I suppose you stopped us cause you              had suspects fitting our description              in the area, what you're gonna tell              me.  What was the description?  Two              black males in a car?  Yeah, right,              I heard that one before...    As Engelman pulls out Jeriko's wallet, looks at his ID,    Jeriko checks name tags.                             JERIKO              Well you stopped the wrong black              male tonight officer... what is it?              Spreg.  Officer Spreg.  Cause I'm              the 800 pound gorilla in your mist,              fucker.  I make more in a day than              you make in a year, and my lawyers              love to spend my money dragging              sorry-ass Aryan robocops like you              into court.  Get a man down on the              ground with no probable cause.  Fuck              you!                             SPREG              Shut the fuck up!    He kicks Jeriko down on his face.  Jeriko hits the ground    hard.                             DIAMANDA                      (yelling)              Leave the fuck off of us, we weren't              doing anything...                             SPREG              Shut up!  Don't make me walk over              there.    Engelman shows the ID to Spreg, saying something we can't    hear.                             SPREG              You're that rap puke?  Jeriko One?              You're the one getting all the              gangbangers to form citizens groups              and go downtown... trying to rake              the LAPD over a cheese grater?                             JERIKO              That's right.  And you're gonna be              in my next song, motherfucker, it's              called Robo-Spreg.    Replay starts laughing.  Diamanda stifles a giggle.  Spreg    is white-lipped with rage.  Years of frustration coming to    a head.  Too many disciplinary actions, too many    suspensions, too little appreciation of the tough job they    do.                             JERIKO              It's a song about a cop who meets              his worst nightmare, a nigger with              enough political juice to crush his              ass like a stink bug.  You're gonna              be famous.    Spreg looks around the empty street.  Looks at Engelman.    Down at Jeriko, proned out on the pavement.  Replay's    laughter in his ears.                             SPREG              I don't think so.    And shoots him BLAM!  BLAM!  Twice in the back of the    head.  Just like that.    Diamanda screams.  Replay tries to roll to his feet.    Spreg shoots him twice in the stomach.  Replay is    screaming.  Rolling around, holding his guts.                             SPREG                      (shouting)              Hey... I don't hear you laughing!    Engelman's yelling something at him we can't hear.  Spreg    turns, eyes wide with adrenaline.                             SPREG              Get the bitches.    Engelman hesitates and then spins toward us.  Diamanda is    screaming, backing away from Engelman.  Spreg shoots    Replay four more times.    We spin one-eighty and start to run.  Hear shots... BLAM!    BLAM!  BLAM!  Spin back... to see Diamanda dropping to her    knees.  Engelman shoots her again.  Then raises his gun    toward us.    We spin away.  The world becomes a kinetic blur.  The    sound of shots.  We see puffs of dust on the ground in    front of us.  Missed shots.  We tumble over a guardrail    and roll down an embankment... get up and keep running.    Train tracks ahead.  Looking back... here come Spreg and    Engelman down the embankment, overtaking us.  We hear the    thunder of a train... spinning again to look forward.    Freight-train doing fifty on the nearest track.  Almost to    us.    We leap forward.  Over the track.  The diesel roars past    behind us.  Looking back... a black wall of moving steel.    Backing away from it.    We see Engelman and Spreg crouching down... trying to aim    through the wheels.  Hear the impotent pop of their guns    over the roar of the train.    Turning to run again.  We see a tiny hole appear in a sign    right in front of us with a metallic SPANG.  Running and    running.    Looking back.  No pursuit.  Train still rolling by.  Can't    see the cops.  Running, running.  Heart pounding and lungs    heaving.  Sobbing sounds coming from somewhere, seeming to    fill the night.    Looking down... one shoe on, one shoe off.  Iris' hand    takes off the remaining shoe, clutches it to her chest.    We move forward into the dark train-yard as--    THE TAPE ENDS.    And Mace sits stone still.  Shakes.  For a beat.  And    another.  Then she tears the trodes off and throws them    across the room, near where Lenny is on the cellular.                             LENNY                      (into phone)              Hang on.  Hang on, Max.                      (looks at Mace)              You see?                             MACE              I see.                      (trembling)              I see the earth opening up and              swallowing us all.                             LENNY              Yeah I know.                      (into cellular)              So what do we do?                                                CUT TO:    INT./ EXT.  MAX'S CAR - NIGHT    As Max drives along a crowded downtown street.                             MAX                      (into phone)              Don't talk to anybody.  Anybody.              You're invisible.  Okay?  Just meet              me at Tick's in a half hour.  And              Lenny... don't get pulled over.                                                CUT TO:    INT.  CECILE'S APARTMENT - NIGHT    Lenny pushes "End" on his cellular and looks at Mace.  The    first-time impact of the Squid experience, and the killing    of Jeriko, still haunts her.  We've never seen Mace    scared.  But she looks scared now.                             LENNY              We got to make another copy of this.              Little life insurance.                             MACE              You know what this tape could do if it              gets out.                             LENNY                      (tucking Glock in                       his waistband)              I've got a good idea, yeah.                             MACE              People finding out... seeing... that              the LAPD just flat out executed              Jeriko One.  Jesus.  Maybe they              ought to see.                             LENNY              Maybe.  But tonight is probably not              the best night.  Come on, we're              rollin'.                                                CUT TO:    EXT.  CECILE'S APARTMENT - NIGHT    Cecile catches them on the steps as they are leaving.                             CECILE              Lornette, when you gonna stop laying              off everything on me?  We had plans              tonight--                             MACE                      (steely)              Listen to me, little sister.              There's something going on, and it's              very big.  Now you've got to take              care of Zander.  And stay off the              streets tonight... you hear me on              this?    Cecile gets the message.  She nods.                             MACE              Curtis.  What about you?  Do we              understand each other?  You stay              put.                             CURTIS              Yeah.  I'm wit it.    Mace and Lenny go on down the steps to the car.                             CURTIS                      (to Cecile)              Damn!  She worse than you.                                                CUT TO:    INT./ EXT.  CIVIC AND STREET - NIGHT    Lenny and Mace see helicopters circling as they maneuver    the dark streets.  Xenon searchlights crisscross the    rooftops nearby.  They see patrol cars passing on cross-    streets, lights flashing.  It feels like the entire LAPD    is looking for them.    Everywhere in the street there are small crowds, street    parties in progress.  People drinking and firing bottle    rockets.  The police watch everything.                             LENNY              So, let's see, I've got Tran's              goons, some squidhead psycho and the              LAPD all trying to kill me.  Happy              new year, Lenny.                             MACE              Well, look at the plus side.                             LENNY              There's a plus side?                             MACE              Yeah.  You gave up your hot tub tape              to save me.  That's real progress              for you.                             LENNY              It was a tough call.                             MACE              I still can't square the psycho              smarts of whoever did Iris with              those two cops.                             LENNY              I don't think those cops did Iris.              I think whoever Iris was wearing for              killed her.                             MACE              Why?                             LENNY              To break the trail.  If those cops              had gotten hold of her, they would              have beat it out of her who she was              wearing for, and then gone after              them too.  Our killer is running as              scared as we are.  Which makes him              really dangerous.  Judging by how              scared I am.    They pull up to the checkpoint; Lenny squirrels into the    seat, hiding in the shadows, as Mace flashes her security    pass and the cop waves them on.    Lenny lets his breath out slowly.                                                CUT TO:    INT.  UNDERGROUND GARAGE/TICK'S VAN    Lenny and Mace pull in with a SQUEAL of brakes and park    the car.  Sound of rock music -- some kind of refried    psychedelia -- coming from Tick's van down the ramp.    Mace and Lenny get out, approaching the van.  Hearing    tires squeal, they turn to see Max pull up.  He gets out    wearing an ill-fitting rental tux.  Music louder, echoing    in the empty garage, even though the van is shut tight.                             MAX              Sounds like Tick's already              celebrating.                             LENNY              You may be a little overdressed for              this party.                      (Lenny pounds on the                       van door)              Yo, Tick!  It's Lenny.  Open up!    Mace slips out her .380, on alert.                             LENNY                      (knocks again, then opens                       rear van door)              Tick, I got to talk to you, man...              oh shit.    Tick's slumped in the back of the van with playback trodes    on his head.  He's breathing, but otherwise he's still.    Near lifeless.  A cyborg after a power outage.  All the    equipment in the van is trashed.                             LENNY                      (as he starts to                       examine Tick)              He's been cooked-off                             MAX              Is he dead?                             LENNY              No.  But his frontal lobes are like              two runny eggs.  They put an              amplifier in-line to boost the              signal till it french-fried his              brain.    Mace hits "Off" on the built-in CD player.  The sudden    silence is creepy.  Lenny gets right in front of Tick's    eyes, shouting at him, at the top of his lungs.    TICK'S POV: We see a roaring blizzard of inchoate static.    Somewhere in the middle of it is a suggestion of Lenny's    face, almost invisible.  We hear the tiniest ghost of his    voice, like a radio playing two blocks away.                             LENNY              He's totally cut off from the outer              world.                             MACE              How long does it last?                      (off Lenny's look)              Oh.                             MAX              Those two psycho cops are on a              slash-and-burn to find the tape and              cover their tracks.                             MACE              This seems a little sophisticated              for them.  These are not subtle              guys.                             MAX              There's more to this whole thing              than you think.                             LENNY              Whattya mean?                             MAX              All I'm saying... you don't know how              high up the food chain this thing              goes.  I've heard stuff.                             LENNY              What stuff?                             MAX              Smoke.  Rumors.  I've heard stuff              about a death squad.  A group a guys              loyal to the hardline school.  Guys              that've had too many years of city              hall and the review boards and the              goddamn media pissing down their              necks, suspending cops right and              left, tying their hands... while              outa the other side a their mouths              these same people're squealing save              us, save us, do something you              fucking morons, crime is totally out              of control.    Lenny takes this in.  All the fight goes out of him.  This    is just too overwhelming.                             LENNY              Jesus.                             MAX              Yeah.  So don't walk near me in              public, alright.                             LENNY              Thanks, buddy.  See... things              weren't bad enough.  They weren't              fucking bad enough!                             MACE              The only card we have to play is the              tape.  You know, we get it to the              media somehow...                             LENNY              Yeah, right, blow it open.                             MAX                      (interrupting)              Mace... no disrespect... but you run              this on the 11 o'clock news, by              midnight you got the biggest riot in              history.  They'll see the fucking              smoke from Canada.                             LENNY              Okay... what about Strickland?                             MAX              No.  Bad idea.                             MACE              Who's Strickland?                             LENNY              Deputy Commissioner Palmer              Strickland.  The sanctimonious prick              who busted me out.  His ass is so              tight when he farts only dogs can              hear it.  I know this guy.  If              there's one cop who's not dirty              it's him.                             MAX              Listen to me, Lenny... stay away              from cops.  All cops.  You have no              way of knowing who you can trust.    Mace looks from one to the other with a growing expression    of outrage.                             MACE              So you're saying we just pretend is              didn't happen?  It happened!  The              LAPD executed one of the most              important black men in America!  Who              the fuck are you to bury this?!                             MAX              Fine.  Do you want blood running              waist deep in the storm drains?  The              gangbangers'll spread like a wave              through this city and burn it to the              ground.  And when the fires start              the street cops'll be capping off at              anything that moves.  It'll be all-              out war and you know it.                             MACE              Yeah, well maybe it's time for a              war!                             MAX              You really want that on your head?                             LENNY              Hey, Max, Mace... whoa... time out.                             MAX/MACE                      (together/annoyed)              What!?                             LENNY              Whoever killed Iris did Tick.  It's              the same sick wirehead shit.  Same              reason... to burn the trail.  If              Faith knows anything about this, and              I think she does, then she's on the              list.  So... who's driving?                                                CUT TO:    EXT.  RETINAL FETISH/ALLEY - NIGHT    Roadies are loading out gear through the back doors of the    club into a van in the alley.  Lenny and Mace ENTER FRAME    and we follow them between the roadies, going through the    doors into...    INT.  RETINAL FETISH    A grungy black corridor.  The thunder of music gets louder    with each step as Lenny and Mace walk down the corridor    with purposeful strides.    Through chainlink partitions and banks of dark equipment,    Lenny catches glimpses of the stage.  He can see Faith in    a blue-white spotlight.  She is a whirling dervish,    convulsing with the divine madness of her music.  Beyond    her, beyond the lights, in the gloom... Lenny can just see    Tran and his entourage.  Dressed in tuxes, they look out    of place... clearly on their way somewhere else as the    evening progresses.    Faith whirls to a stop as the band crashes in a final    downbeat.  The spotlight goes out and the set is over.    ON TRAN, clapping.  Watching.    NEARBY, Max arrives through the crowd, scanning for    Tran... spotting him.    BACKSTAGE... FAITH, bathed in sweat, walking along a dark    corridor backstage.  WE TRACK WITH HER, as she walks    through the shadows, like a fighter returning from the    ring, soaked and breathing hard.    A HAND shoots from a black doorway and covers her mouth,    pulling her into the shadows.  Terrified for a split    second... before she recognizes that it is Lenny.  He    pulls her into the room and closes the door.  It is Tex    Arcana's VJ control room, full of monitors and constantly    changing graphic images.  Tex is not there.                             FAITH              Lenny!  Jesus!  You scared the Hell              out of me.    Faith sees that Mace is standing there, in the shadows,    waiting.  She turns back to Lenny with a frown.                             FAITH              What's going on?                             LENNY              Faith, we know about Jeriko.  Iris              made me a copy of the tape.                             FAITH              Oh God, Lenny.  I was trying to keep              you out of this.    But she seems relieved now that he knows, now that there    is someone to talk to.                             LENNY              How did it happen?  What was Iris              doing riding around with Jeriko              wearing a wire?                             FAITH              We should talk alone.                             LENNY              No.  Mace is in this.                             MACE              Tell us.                             FAITH              Tran's gotten obsesses with              playback, a total wiretrip junkie.              And he's such a control freak, he's              been having people followed,              videotaped... recording his business              partners' calls.  Wiring up people              left and right.                                                CUT TO:    INT.  CLUB/MAIN FLOOR    Tran looks at his watch and gets up from the table,    impatient.                             TRAN              Let's go get her.  We're late.    Max shows up suddenly, right in front of him.  Stopping    him.                             MAX              Tran, listen.  I was wondering how              you want me to work it tonight, down              at the Bonaventure.  You want me              downstairs at the party or upstairs              at the suite?  Where you going to              be, mostly?                                                CUT TO:    INT.  TEX'S ROOM    While Max stalls, Faith talks.                             FAITH              Tran and Jeriko weren't getting              along.  He was afraid Jeriko was              getting ready to dump him, but he              wasn't sure, so he started with the              surveillance.  A couple nights ago              he wires up Iris and sends her and              the other girl, Diamanda, over to              Jeriko's table.    CUT TO: TWO NIGHTS AGO, Iris, wearing a wig, leaves Tran's    table with Diamanda and moves toward... a booth in the    Retinal Fetish where Jeriko One sits with Replay.  Iris    stands over Jeriko for just a moment.  Then he nods,    smiles a little, and moves over to make room for her in    the booth right next to him.                             FAITH              That night Iris calls up, freaking.              She comes over and Tran watches the              tape.  He just loses it.  He can't              believe the disaster she's gotten              him into.  He's terrified the cops              will beat it out of her who she was              working for, and come looking for              him.    CUT TO: TRAN'S LOFT as a tear-streaked and frantic Iris is    telling Tran about how the cops tried to kill her (we    don't hear).  Tran backhands her furiously, his face thin-    lipped with rage.  She crumples to the floor, sobbing.    Tran keeps looking at the squid tape in his hand like it's    poison.                             LENNY              Kinda guy you can count on in a              pinch.                             MACE              Why didn't he just go public with              the tape?  Save himself that way.    CUT TO: An image of Tran burning the squid tape.  It    blazes in his hand and he hurls it into the fireplace like    a venomous snake.                             FAITH              The scandal would wipe him out.  If              it got out that he had his own              artists under surveillance... he'd              lose all his other acts.  He'd be              over.    Now we see Tran, more composed, comforting Iris.  He wipes    at her tear-streaked face.  Hands her a wad of bills.                             FAITH              So finally he gives Iris some cash              and tells her to check into the              hotel under a wrong name till he              figures out what to do.                             LENNY              Yeah... he figured out what to do              all right.                             FAITH              You think Tran killed her?                             LENNY              The killer knew right where she was.              Because he put her there.                             FAITH              What a nightmare.                                                CUT TO:    INT.  MAIN FLOOR    Tran impatiently gestures to Corto.                             TRAN              Go get her, Joey.  Stupid bitch.                      (to Max)              We'll talk about this later.                                                CUT TO:    INT.  TEX'S ROOM    Mace is getting the sixth sense feeling that seconds    count.                             MACE              Come on.  We're out of here.    Lenny gets close to Faith, taking her face in his hands.                             LENNY              Leave here with me, right now.    Mace sighs heavily, rolls her eyes toward the ceiling.    Faith considers her options.  Then she smiles at him.                             FAITH              Okay, Lenny.  My guardian angel.    Faith hugs him, and he clutches her.  Mace locks her jaw    and looks away.  This is hard for her.                                                CUT TO:    INT.  CORRIDOR    Mace leads the way, with Lenny following, gripping Faith's    hand like Orpheus leading Eurydice out of Hell.  They push    through shapes of people in the thundering dark corridor.    Half-lit, in alcoves, far-gone wireheads loll in semi-    consciousness.  Faith looks back and sees:    TRAN'S POSSE rounding a corner... spotting them.  They    start shoving through the crowd like juggernauts, knocking    protesting people out of the way.    Mace, Lenny and Faith break into a run, pounding down the    corridor.    Behind them, Duncan leads the charge.  Suddenly TEX ARCANA    shoots into the hallway, intentionally blocking their path    with his wheelchair.  Duncan crashes over him, toppling    the chair, and they both sprawl to the floor.  Vita,    Beemer and Corto go around the sprawl.    Tex, like many legless men, has incredibly strong arms.    Lenny looks back to see him pounding Duncan's head against    the floor...                             TEX              Teach you...                      (pound)              to mess with...                      (pound)              a helpless cripple!    Lenny et al reach the main floor of the club where they    shove through the buffeting crowd amid strobe-flashes and    a wall of sound.    Behind them we see Corto and Beemer hurling partiers    aside, cutting a swath, while Vita moves like a mongoose    through tall grass.  Mace drops back, going tail-end-    Charlie... her bodyguard mode kicking in.    ON LENNY AND FAITH, charging through the jostling crowd,    Lenny is looking back, then he looks ahead and...    TRAN is right in front of him.  In the whirling shapes and    colors of the crowd, he is an island of composure in a    white tux.  He holds a glass of champagne in one hand, the    bottle in the other.  In one lightning-fast move he    uppercuts with the bottle, clipping Lenny under the jaw.    Faith screams as Lenny staggers.  Tran swings again,    smashing the bottle over the back of Lenny's head.  Lenny    sprawls on the floor amid champagne foam and glass.    Lenny, blood flowing in his eyes, rises blearily to see    Faith being pulled away by Tran, who has her arm twisted    viciously behind her back.  They go around a chain-link    divider and double back, heading for the exit.  Lenny    staggers to the chainlink, sagging to his knees again as    Faith passes within a few inches of him.  He slips down    the chainlink, into unconsciousness, as her image is lost    in the pounding darkness.    Mace gets to him through the crowd, and then whirls like a    cat as the Posse arrives.  She stands guard over him like    a rabid dog, her .380 auto straightarmed and covering them    expertly.  Corto eyes her with hatred.  The stitches on    his nose and the bruised swelling are a reminder of his    last run-in with her.  He backs off.                             CORTO                      (to the others)              Not here.  Lets go.    They back off, fading into the crowd... catching up with    Tran at the exit.    Mace watches them recede.  Then she bends to Lenny.  Max    arrives a moment later and they lift him to his feet.                                                CUT TO:    EXT.  RETINAL FETISH/ALLEY - NIGHT    Max and Mace support a semi-conscious Lenny, hustling him    to the car.  As they are putting him in the car, TWO LAPD    OFFICERS come through the crowd, eyeing the bleeding    Lenny.                             MAX              Everything's cool.  Too much to              drink.    Lenny picks this moment to slump sideways, falling half    out of the car.  The squid tape of the Jeriko kill falls    out of his jacket pocket and clatters to the pavement.    Mace's eyes go wide.  The boot of one of the cops is    inches from it.                             MACE              Yeah, uh... he slipped on the              stairs.  We're taking him to              emergency.                      (to the nearest cop)              Excuse me.    The cop steps back, giving Mace room to push Lenny back up    in the seat.  She surreptitiously kicks the tape under the    car, over to the driver's side.                             COP              Go to Cedars.  It's closest.    Mace nods and goes around the car.  Max starts asking them    questions and the cops turn away, distracted.  She picks    up the tape and gets in.  Closes the door.  Let's out a    big breath.                                                CUT TO:    INT.  PARKING GARAGE/BONAVENTURE HOTEL - NIGHT    A line of expensive cars waiting to valet park.  Tran's    limo jumps the line and swoops up parallel to the elevator    doors.  The posse get out, scowling at the valet who    swallows his protest.  Tran emerges, helping Faith out    with a firm grip on her arm which he does not release as    they head for the elevators.    They push through a group waiting for an elevator... men    in tuxes, women in gowns and diamonds.  The elevator opens    and Tran's entourage sweeps inside.  Beemer and Duncan    block any civilians from entering.    INT.  ELEVATOR    They ride in silence a moment.  Faith is pale, her jaw    clenching.  Tran has her arm in a tight grip.  There is a    march-to-the-gallows feel about the moment.                             FAITH              Well, I'm certainly in the mood for              a party.                             TRAN                      (to Wade)              Take her up to the suite.                      (to Faith)              Have a glass of champagne... or              six... I'll be up in a while to help              you ring in the New Year.                             FAITH              I live for the moment.    The elevator doors open, revealing...    INT.  FOYER AND BALLROOM    The heart of the MILLENNIUM L.A. New Year's ball.  A    glitterati event in full swing.  Red carpet, minicam    lights and paparazzi.  Limos pulling up outside four deep.    Movie stars rubbing elbows with politicos, music movers    and shakers chatting with city hall types.  This is a    party to celebrate the millennium, sure, but its main    function is to celebrate the celebrants: if you're here,    there's no need to be anywhere else.  There is a heavy    police presence, as well as lots of private security.    Tran exits the elevator with Vita Minh, Joey Corto and    Duncan.  They wedge through the crowd, Tran smiling.    Nodding to people he knows.                                                CUT TO:    INT.  CECILE'S APARTMENT - NIGHT    Lenny is in a chair in the kitchen, listening to Max on    the cellular.  He is holding a dish-towel full of ice    cubes on his scalp.  It is soaked with blood and his    Armani jacket and silk shirt are spattered.  Mace lifts    the ice pack to check that the bleeding has stopped.                             MACE              You are a pussy-whipped sorry-ass              motherfucker, you know that?    She slaps the ice pack back down.                             LENNY              Owww!!  Take it easy.                      (to phone)              Uh huh.  So where are they now?                                                CUT TO:    INT.  BALLROOM/BONAVENTURE HOTEL    TIGHT ON MAX, leaning against a pillar.  He looks over his    shoulder, around the column.    MAX'S POV: through a dense throng of glitterati we see    Tran and his entourage seated at a table, holding court    with music types and politicos.                             MAX              He's got her up in the room, under              guard.  And he's still working the              party... acting smooth like nothin's              nothin'.  So buddy... I say we work              a trade.                             LENNY (V.O.)              What do you mean?                             MAX              Give him the tape.  See?  It's              fucking brilliant!  The tape for              Faith.  I know he'll go for it.  I              can set it up.                             LENNY (V.O.)              This is what we laughingly refer to              as a plan, right?                             MAX              Come on!  If he gives us any shit,              we kill 'em all.  Whattya say?                      (same old Max)              Just get your butt down here.  If              I'm not at the shindig downstairs              go to the room.  It's 2203.  You              writin'?                                                CUT TO:    INT.  APARTMENT    On Lenny, at the table.  He dabs his finger in the blood    on the ice pack and writes the number on the table top.                             LENNY              2-2-0-3.  Got it.  Stay on her.                             MAX (V.O.)              I intend to.    Lenny punches END.  Mace looks at the number written in    blood on the white formica.  Her eyes ratchet up, boring    into Lenny.  Not noticing, he gets up, still woozy, and    staggers to his wardrobe bag across the room.                             LENNY              Okay, we gotta get over there.                      (opens the bag)              Can you borrow a dress from Cecile              or something--                             MACE              I'm not going.                             LENNY              Whatya mean?  We're going!  Tran's              gonna do her right there unless--                             MACE              Lenny... shutup.  Just park your              mouth and listen.  It's a set-up.              Think about it!  Why's he been              sending you tapes?  To freak you,              get you to rush in without thinking.              Then they put one in you, put one in              her, put the gun in your hand...              crime of passion.  This guy's bent              enough to think of that.    Lenny nods, hearing what she is saying.                             LENNY              That sounds right.                      (but it changes                       nothing)              I'm going.    He reaches into his wardrobe bag... pulling out the box of    "Faith" tapes and setting it aside, then pulling out the    suit.  Mace's frustration explodes as anger.    She grabs his shoebox full of tapes.  Holds them up to    him.                             MACE              You gonna get yourself killed for              this?  This toxic-waste bitch!    She dumps the box of tapes on the floor.  She starts    stomping on them with one heel, crunching several into    junk.                             LENNY              What the fuck are you doing?!    Lenny freaks out and scrambles to pick them up, trying to    stop her, push her away.  They struggle for a pathetic,    tragic moment.    Mace snaps.  She grabs him by the lapels and swings him    around, slamming him back against a wall.                             MACE              Lenny!  This is your life, Lenny!              Right here.  Right now.  This is              realtime... not playback.  Real...              time.  Time to get real.  Understand              what I'm saying... she doesn't love              you.  Maybe she did once, I don't              know, but she doesn't now.  These              are used emotions.  It's time to              trade them in.    Mace's tone becomes more gentle.  We see that her outburst    is, beneath it all, coming from a place of compassion.                             MACE              Lenny, memories were meant to fade.              They're designed that way for a              reason.    Lenny seems to crumple.  He knows he has to let go.  But    it is so painful.                             LENNY              Have you ever been in love with              somebody who didn't return that              love?    Mace gives him a look like, jeez Lenny, are you dumb    sometimes.                             MACE              Yeah.  Lenny.  I have.                             LENNY              It didn't stop you from loving them.              Right?  Or understanding them, or              being able to forgive them...                             MACE              I guess.                             LENNY              And it didn't stop you from wanting              to protect them.  Did it?                             MACE              No.  It didn't.    Lenny's eyes are brimming with tears.  He makes no attempt    to hide it... doesn't brush them away.                             LENNY              I worked Vice, Narcotics... Violent              Crimes... and I saw every known              depravity.  I was lost, Mace.  In              outer darkness.  Then I busted this              strung-out little teeny-hooker.              When I met Faith she was just              another runaway giving twenty dollar              blowjobs to buy crank.  Another lost              soul.                             MACE              You never told me.                             LENNY              But she was different.  There was a              light in her eyes... and she had              this voice.  It was scary, all that              pain coming out of that little body.              Like she could take all the hurt and              rage of the entire world and lift it              up to heaven in one voice.  I helped              her.  And I promised her that I'd              always be there... to protect her.                      (long pause)              See?  It's not about what's in her              head.  It's what's in mine.  I can't              let go of the promise.  It's...              like... it's all I have left.                             MACE              No, it's not.    Mace takes his face in her hands.  She kisses him lightly    on the cheek, where the tear-track is.                             MACE              Come on, Lenny.  Let's go to a              party.                                                CUT TO:    EXT.  STREET AND BONAVENTURE HOTEL - NIGHT    11:07  P.M.    IT IS THE MOTHER OF ALL PARTIES.  IN AN AERIAL SHOT we see    there must be 100,000 people jamming the closed streets of    downtown L.A.  Arc lights sweep the sky.  There are two    outdoor bandstands, with live music pounding.  There are    lasers, strobe-lights.  People are literally dancing in    the streets... if they can move at all.  Huge projection    video screens are set up all over the place.    LA is connected to other cities all over the world by    satellite, sharing in the celebration in different time    zones.  The excitement has been building all evening as    midnight sweeps across the country toward the West Coast.    It looks like a U2 concert 10 blocks long: a multimedia    blow-out.    Madness in the streets.  And Lenny and Mace are stuck in    it.  The Civic can't move in the middle of this millennial    Mardi Gras.  People swarm around, pounding on the Civic as    they go by, or press their faces against the glass.  It    may be the party of the century, but it looks like the    middle of a third world revolution.                             MACE              That's it.  Let's bail.    And she's out of the car, leaving the keys, ignoring the    protesting horns behind her.  And we see that she's    wearing a short black cocktail dress.  Lenny comes around    the car, through the wild crowd.  He's in his other suit.    Snappy.    Mace unselfconsciously hikes up her dress and slips her    .380 auto into a holster velcroed to her leg.  She pulls    the dress down and you can't see the gun, hidden between    her upper thighs.    In fact, it looks like she couldn't be concealing a    quarter anywhere on her body.  The dress is cut low at the    top and high at the bottom, showing plenty of muscular    legs.  High heels doing great things for her calves.  Her    braids now loose and full, like a mane.    Lenny glances at Mace and does a double take.  He is    caught by a sudden realization:                             LENNY              Mace... you're a girl.                             MACE              Good, Lenny.  I can see why the              detective gig didn't work out.  Come              on.    They push their way through the swirling mass of humanity.    Mace moving like a wedge, security training coming to the    fore.  The whole street is vacuum-packed with people.    Filled with cars deserted in the general euphoria, an    unparted Red Sea of man and machine.    They will move through the various strata of society as    they work their way in to the party's inner sanctum.  It    is like all of LA, from poorest to richest, compressed    into a few square blocks.  There are cops everywhere.    Cops on motorcycles, cops in cars, cops in riot gear.    Lenny scopes out the security at the front entrance...    metal detectors, cops... plus you have to have a 500    dollar-a-plate ticket.                             LENNY              Got your ticket?                             MACE              No.  They must have sent it to my              beach house by mistake.    Lenny motions toward the back of the hotel and Mace    follows.  They pass a uniformed cop who is standing thirty    feet away, his back to them.    REVERSE ANGLE: It is SPREG.  His black eyes scan the    crowd.                                                CUT TO:    INT.  HOTEL KITCHEN    ON LENNY AND MACE moving with purpose through the vast    steaming factory of the kitchen where a thousand dinners    are being prepared.  They are ignored by the bustling    staff.                                                CUT TO:    INT.  HOTEL BALLROOM    Lenny and Mace emerge from a service door into the    glitterati crowd, heading into the ballroom.    They scan the room.                             LENNY              You see Tran?                             MACE              Uh unh.    Lenny whips out his cellular and recalls Max's number.  He    hears the phone connect.  It starts to ring.    LENNY'S POV... as the crowd parts for a moment.  He sees    PALMER STRICKLAND talking to a city-hall type.  Lenny    turns away before Strickland sees him.                             LENNY                      (to the ringing                       phone)              Come on, Max.  Come on, buddy...                      (two more rings)              Damnit.    He looks around now.  Starting to feel the creeping edge    of panic.  No Tran.  No Max.                             LENNY              Alright.  We're going up.                             MACE              And do what?  Take on his whole              posse?                             LENNY              I still got one ace to play.  Tran's              got what I want... and I've got what              he wants...    Lenny pulls the Jeriko tape out of his breast-pocket and    holds it up.  Mace just stares at him completely outraged.                             MACE              That's the original.  There are no              copies.                             LENNY                      (not getting it)              Exactly.  That's why it's a make-              able deal.    Mace gets very, very close to Lenny, and her voice drops    to an odd, cold... lethal-sounding... growl.                             MACE              Look.  That tape is a lightning bolt              from God.  It's worth more than you,              more than me, more than Faith.  You              understand?  It can change things.              Things that need changing before we              all go off the end of the road.  And              you do not have the right to use it              for currency.                      (Lenny's eyes are                       wide)              You go... you go alone.  This is              where I draw the line.  I care about              you Lenny... a lot more than you              know... which makes us both pretty              stupid.  But you pawn that tape, you              mean nothing to me.    Lenny doesn't know what to say.  Tough choice.  He    clenches his jaw...    And turns away.  He strides into the crowd, heading for    the lobby and the elevators.    ON MACE, watching him go.  Wanting to run and stop him.    But she's said what there is to say.  She turns away,    desolate and churning with emotion.  The moment lengthens    as she wrestles with it.  You see her fury, her sadness...    and her protective instincts.  Her resolve fails her.    Ultimately, she must protect him if she can.                             MACE              Ah, hell.  Lenny--    She turns, running toward the lobby.  And...    BOOM.  Slams into him.  He came back.    Lenny takes her hand and puts the tape in her palm.    Closes her fingers on it.                             LENNY              See that guy?                      (pointing)              The one with the ramrod up his ass.              That's Strickland.    Mace follows his look to Strickland, across the room.                             LENNY              Take it to him.                             MACE              A cop?  You want me to trust a cop?!                             LENNY              No.  Trust me.    He unclips his playback deck from his belt and hands it to    her.                             MACE                      (nodding slowly)              Oh boy.                      (she takes a deep                       breath)              What if you're wrong?                             LENNY              Then we'll be right where we are              now.                             MACE              Yeah, right.  Fucked.                                                CUT TO:    INT.  BONAVENTURE ELEVATOR    It is a glass-cage scenic elevator, running up the outside    of the building.  10th floor.  The last passengers step    out.  When the doors whoosh closed and Lenny's left alone    there's only the sound of Muzak Christmas carols.  The    elevator rises, the lights of LA spread out below.  He is    hyperventilating.                                                CUT TO:    INT.  HOTEL BALLROOM    Mace threads her way past tables circling a dance floor    full of dancers and makes her way through celebs air-    kissing each other.    But as she gets near Strickland's table, he stands up and    excuses himself.  He starts toward the men's room.  And    Mace follows him.                                                CUT TO:    INT.  MEN'S ROOM/HOTEL    A few guys in tuxes tending to themselves.  Strickland    enters, crossing to a urinal.  He unzips.    Mace steps up beside him.  Guys behind her looking on,    slack-jawed.  Mace pays no attention to them.  Strickland,    stern and flinty-eyed, raises one eyebrow.                             STRICKLAND              Yes?    She puts the playback deck on top of Strickland's urinal.    He scowls.                             MACE              There's a tape in there you need to              see.  I mean right now.    While see is looking at Strickland, a young LAPD OFFICER    comes out of a stall, and goes to the sink.  He glances in    the mirror at Mace.                             STRICKLAND              If it wasn't New Year's Eve, I'd              arrest you for possession of illegal              equipment--                             MACE                      (interrupting)              Just look at the tape!  You want to              know who killed Jeriko One?  Go in              the stall right now and hit Play.    The young cop steps up behind her.                             YOUNG COP              Sir, is there a problem here?    Mace turns.  Oh shit.  She backs away from them.                             MACE              Damn!  I knew it--    Strickland motions with his eyes and the cop grabs for    her.  Mace twists viciously out of his grip, knocks him    down and vanishes out the door.    STRICKLAND hefts the recorder, pondering it.  His    expression is opaque.                                                CUT TO:    INT.  HALLWAY/BONAVENTURE HOTEL    Lenny comes out of the elevator.  Standing at the corner,    where he can watch the elevators and the corridor, is Wade    Beemer.  Lenny doesn't break stride.  Just walks toward    Beemer.  He's not afraid anymore.  He's pissed off.    Beemer moves toward him.                             LENNY              Now, Wade, can we talk here, like              two human beings--    We think he's starting the usual negotiation.  But when he    gets in range he lets fly with a line-drive right,    straight into Beemer's face.  We're talking a John Wayne    haymaker punch.  He staggers back, surprised and dazed,    and Lenny knees him right in the gut as hard as he can.    He drops to his knees, sucking wind.  Lenny draws his    Glock and puts it behind Beemer's ear, pulling a pair of    handcuffs off his belt.  Okay, we're starting to believe    he might have been a cop once.                             LENNY              It's not personal.                                                CUT TO:    INT.  BALLROOM    Mace, moving fast as she can through the crowd and past    the tables when...    ... she's grabbed by DUNCAN.  He gets her in a good tight    come-along.  Like any good security person, the hold is    not so obvious that the party around them is disrupted.    VITA MINH steps up next to her, closing ranks.    MACE IS WALKED around behind the bandstand.  Joey Corto    walks up to her, looking mean and smug.    Mace twists one hand free and snaps it out in a blur.  Her    open palm breaks Corto's nose with an audible crunch.    Corto screams and grabs his face.                             CORTO              Aw, not the fucking nose!!    She slams her foot down on Duncan's instep and snaps her    head back simultaneously in a reverse head-butt.  He keeps    the hold.  Mace drives her free hand back into the    approximate position of his nuts.  Even though Duncan    looks like he bench-presses Buicks, this has the desired    effect.    Mace jerks away from him, shoving him back through a    buffet table.  Vita draws a knife in a lightning move    but...    Suddenly Mace is standing there with her dress hiked up    and her pistol straight-armed, with the muzzle right in    her face.  Vita says the smartest line of the night.                             VITA              Hey, enjoy the party.    Mace spins and sprints through dumbfounded glitterati, her    gun innocuously tight to her side.  She spots a red "Exit"    sign above a fire door and goes through.                                                CUT TO:    INT.  STAIRWELL AND PENTHOUSE/BONAVENTURE    Lenny closes the stairwell door, giving us a quick glimpse    of Beemer handcuffed to the steel railing.  Lenny moves    down the empty corridor.    He approaches suite 2203.  The door is ajar.  Always a bad    sign.                                                CUT TO:    EXT.  STREET - NIGHT    Mace finds herself back in the millennium madness, among    the street crowd who don't even notice her.  She holsters    the gun and moves away from possible pursuit.  The sky    explodes with purple light as huge fireworks go off    overhead.  A crack like thunder follows.  Then more    flashes.    The countdown to midnight has begun.  The party is    building to a crescendo.  It seems to have a surreal,    nightmarish quality.  She passes a MIME in a clock suit,    who keeps adjusting the hands closer to midnight.                                                CUT TO:    INT.  SUITE 2203    As Lenny enters the suite.  It is very quiet.  Dark.    Lenny's heart is pounding.  He moves through the luxurious    suite, gun in the low-ready position.    Lenny can barely breathe from the tension.  He notices    that one balcony door is open.  The roar of the crowd    comes in like the sound of surf from far below.  Fireworks    explode across the sky, and the cheers sound like distant    screams of slaughter.    His feet crunch on broken glass... a shattered champagne    bottle.  A lamp is knocked over.  He reaches the door to    the bedroom and looks in.  The room is empty.  The bed is    unmade, the bedspread and sheet pulled off.  This isn't    right.  None of this is right.                                                CUT TO:    EXT.  STREET PARTY/HOTEL    Mace is scanning warily as she circles the hotel, looking    for a way back in.  She turns and sees ENGELMAN in the    crowd, not twenty feet from her.  He is looking right at    her.  Not recognizing her for a moment.  Then... he    realizes who she is.    He starts toward her and Mace pushes people out of the    way, breaking into a run.  Engelman charges after her,    pulling out his rover to call Spreg.                                                CUT TO:    INT.  PENTHOUSE/BONAVENTURE    Lenny looks back at the living room.  Suddenly he notices    something on the coffee table.  It is an envelope, with    NERO hand-printed on it.  He is drawn to it, hypnotically.    He opens it...    ... and with a nightmarish sense of destiny a SQUID TAPE    falls out into his hand.                                                CUT TO:    EXT.  STREET - NIGHT    Now both Spreg and Engelman are stalking Mace through the    crowd.  Spreg catches a glimpse of her running and he    charges after her, like a bull, with his gun drawn.  He    hammers through anybody that gets in his way.    Mace kicks off her high heels and goes flat out, an Indian    runner.    Sprinting through the crowd, she sees an apparition ahead    of her... a guy wearing Death's Head make-up and a black    shroud, carrying a huge cardboard scythe in one hand and a    doll (New Year's Baby) in the other.  Death watches her    pass.                                                CUT TO:    INT.  PENTHOUSE/BONAVENTURE    LENNY, moving as if he's in a trance, puts the trodes on    his head.  TIGHT ON THE PLAY BUTTON as his finger punches    down.    IN POV we approach room 2203.  It is the familiar    monochromatic vision of the killer.  Our hands open the    door quietly with a keycard.  We enter the suite.    Some of the lights are on.  We see Faith out on the    balcony.  Watching the sea of madness below.  She comes    back in, carrying an empty champagne glass.  She grabs a    bottle off an end-table and up-ends it.  Empty.  She hurls    it across the room, and it shatters against the wall.    We approach her, standing with her back to us.  Closer.    Only a few feet now.  She whips around, startled.  Gasping    loudly.  But then... she recognizes the wearer.                             FAITH              Oh.  I didn't hear you come in.    THE RECORDING STOPS, in a blast of static.  Lenny jerks at    the discontinuity in the input, he is so keyed up.    THE RECORDING RESTARTS: A new image resolves out of    static.  Faith is pushed roughly down on the bed.  We    climb onto the bed, straddling her, and she gasps.  We    turn her onto her back.    She has been blindfolded.  The Wearer goes SSSHHH.  A    warning.  Like the hiss of a snake.  Our hands seize her    wrists and handcuff them one by one to the iron frame at    the head of the bed.    The hands go out of sight and then reappear holding a set    of trodes.  They are placed on her head... the spidery    gecko-hand device almost disappearing in her black hair.    LENNY'S guts have turned to water.  He is shaking his head    in horror...                             LENNY              No, no, no...    IN POV we see one of our hands come up holding the yellow    plastic razor knife.  The blade clicks out to its full    length.    Our hands reach down and slowly slit her dress open,    starting between her breasts and going down out of sight.    She groans, squirming away from the cold knife.  The    killer's hands open the material, exposing her white body,    which in his peculiar vision is pure ivory.  The knife    deftly cuts off her panties.    We unbuckle our pants and reach for her, grasping her    hips, pulling her to us.    ON LENNY, gagging.  Overcome by revulsion and horror,    mixing obscenely with the pleasure flooding into him from    the tape.    BACK TO POV as we pull our belt out of the belt loops of    our pants and wrap it around Faith's neck.  Faith begins    to pant in tiny rapid breaths.  We tighten the belt    slowly.    LENNY tears the trodes from his head.  He clutches his    stomach, gasping for breath.  Carrying the playback deck,    he staggers into the bedroom... to the bed.  He stares    wildly around the room.    One whole wall of the bedroom is mirrored.  In the mirror    he spots a shape, on the floor beyond the bed.  It is    covered in the bed sheet, but it is clearly a human form,    propped up against the wall on the far side of the night    stand.  He missed it in his earlier look from the bedroom    door.    Lenny moves around the bed and reaches down to the foot of    the figure, grasping the edge of the sheet with a    trembling hand.  With horrified apprehension he pulls on    the sheet.    It reveals the head and upper body of... Tran Vo.    The last thing he expected.  Lenny leans close and sees    that Tran is breathing shallowly, but his eyes are vacant.    He looks like Tick did.    Lenny sits on the bed and puts the trodes back on.  The    fireworks and screaming outside sound like some    nightmarish war, like the sound of the world coming to an    end.  But all Lenny cares about is what's on the tape.  He    hits PLAY.    THE POV CONTINUES where it left off.  Faith's body lurches    with the Wearer's thrusts.  His hand tightens the belt.    Lenny feels the climax building.    Faith's body shakes as the killer comes... she cries out    herself, in pain... or is it?  The killers hand releases    the belt.  We see Faith gasping for breath and moaning.    Suddenly the POV whips sideways to the mirrored closet    doors along one wall.  In the mirror is a reflection of    the bed and on it Faith.  And on her...    ... MAX.    Pants down, her legs pulled up around him.  They are both    gasping for breath, spent, following their shattering    orgasms.  He runs his hands over her sweat-slick belly.    LENNY is stunned beyond his power to imagine.  He does not    have the strength or the will to stop the tape.    IN POV Max's hands remove her blindfold.  She looks right    at us, still gasping with the aftershocks of her pleasure.    Max's hands undo the handcuffs, freeing her.  She reaches    for us, her eyes glittering with sated lust.  We slump    forward onto her, and her face fills the POV.                             FAITH              I love you.    Lenny is reeling with these revelations.  His best friend    is the killer.  And the woman he loved loves him.  But the    tape is not over...    THE POV CONTINUES as Max's eyes whip around in response to    a sound behind them.  The bedroom door is opening.  Tran    is standing there, stunned.  Maybe the first time he's    ever been surprised in his life.  What a way to start.    Like lightning we are off the bed snatching our .45 from    the night stand and whipping around... putting the muzzle    right in Tran's face.  We pull him roughly across the    room, too stunned to resist.                             TRAN              You're going to die, you're both              going to fucking die.    We slam him back against the mirror wall and jam the    muzzle of the gun right in his mouth: a deadly gag.  Using    the gun we push him down until he is sitting on the floor    with his back to the mirror.    Our eyes whip to Faith.  She is freaking out.  We see    Max's reflection in the mirror as he talks to her, talking    fast.                             MAX              This piece of puke hired me to kill              you, baby.  Do you believe that?              Isn't that right, Tran?  You              pinhead.                             FAITH              Oh my God.  I don't believe this is              happening.                             MAX              Believe it.  Now bring me the              trodes, baby.  Come on, quick.                             FAITH              What're you going to do?    Still in a kind of stupor, she hands him the trodes.  Max    puts the trodes on Tran's head, then pulls something out    of his pocket.  It is a booster box.  He plugs it into the    deck.  He takes the gain control and cranks it all the way    up.  He's setting up a cook-off.  Tran's eyes go wide when    he figures that out, starts to splutter.                             FAITH              You can't just... kill him.                             MAX              I'm not.  Just a little poach job.                             FAITH              Jesus.                             MAX              Hey, he was going to kill you.  And              this ratfuck paid to have Iris              killed, to save his own sorry ass.    Tran freaks at that point but Max jams the gun deep into    his throat, up to the trigger guard, choking off his    words.                             MAX              You shut the fuck up, right now,              I'm gonna pull this fuckin' trigger!    K-BANG!  Faith shrieks, thinking Max shot him.  But it's    just the start of the fireworks outside (remember all this    has already happened relative to Lenny entering the    suite).                             MAX              Look, baby, it's now of never... the              guy is a known input junkie, so a              little OD won't surprise anybody.              It's the only way we can be              together.  You know it's true.                             FAITH              My God.    We don't know if her reaction is to the horror of what is    about to happen, or to the realization that she has the    capacity to let it happen.                             MAX              Here's how much I love you, baby.    She stares, transfixed, as Max reaches for the deck.  He    punches PLAY.  Max puts his hand over Tran's mouth to    muffle his screams as the input hits his brain like a    screaming chainsaw of static from Hell.  The screaming    outside, the pandemonium, give the moment a special    madness.    The POV turns, looking out the window... staring fixedly    at burst after burst of brilliant fireworks.  Like the    fireworks inside Tran's head.    THE TAPE ENDS.    Lenny takes off the trodes.  He is wrung out, drenched    with sweat.  We see that there is a figure standing in the    doorway behind him.  Lenny turns, not surprised to see Max    there with his .45 aimed at Lenny's chest.  Max's surgical    gloves look incongruous with his tux.                             MAX              Don't make any assumptions about our              friendship, Lenny.    Lenny stands up, slowly.                             LENNY              No.  I suppose not.  I didn't know              you were colorblind, Max.                             MAX              Only way I could stand your ties.    Max moves up to him cautiously, and takes the Glock out of    Lenny's waistband.                             MAX              I'll have that.  Glock 22.  Nice.                             LENNY              Where's Faith?                             MAX              I sent her to the party.  I figured              I'd wait up here until you killed              Tran.                             LENNY              What makes you think I'm gonna kill              Tran?    Max looks out the window at the fireworks.  Waits for a    flash, knowing that the bang will follow.  Keeping his own    .45 on Lenny, he aims Lenny's Glock at the catatonic Tran.    BLAM!  One right into Tran's forehead.  The crack of    thunder from the fireworks masks the sound.                             MAX              You just did.                             LENNY              Jesus!                             MAX              You know, statistically that's the              second most common word people say              right before they die.  Shit being              number one.    Max sticks Lenny's Glock in his waistband, keeping his own    .45 trained on Lenny.  Lenny knows the next bullet is for    him.  He does what he does best... talk.                             LENNY              So... I killed Tran.  Then you ran              in, being on his payroll, and shot              me.                             MAX              That's pretty much the way it              happened.    CUT TO FAITH in the living room, moving silently up to the    edge of the door frame.  She looks through the crack    between the door and the jam.  Her POV: Max with the gun    on Lenny.                             LENNY              Wait a minute.  Now I'm remembering.              I killed Iris too, didn't I?                             MAX              That's right.  They'll find the              original of her snuff clip in your              apartment.  The one I left for you              at the club was a copy.                             LENNY              Was I a really busy guy?  Did I do              Tick too?                             MAX              You bet.  Did you like it?    Lenny drops the cutesy role.                             LENNY              So why Max... why d'ya have to do              Iris?  She never hurt anybody.    CU FAITH, reacting to this.                             MAX              Picture it... I feel like I gotta              share this with somebody.  It's too              perfect.                             LENNY              I won't say anything.                             MAX              I know.  So, I'm working for this              puke, right?  And he says he'll pay              me quite large to do the hooker.              But also I gotta do his bitch              girlfriend cause she knows the whole              score and she's totally out of              control.    Lenny nods.  Starting to see it.                             MAX              Only he doesn't know about me and              Faith.  So I say to myself, if I              turn the job down, he just gets              somebody else.  And I lose Faith...              to coin a phrase.  So to buy time, I              do the skank.  I still gotta do              something about Tran... I figure              it's him or me... but I can't cap              him without a chump to take the              fall.  And who better than his              girlfriend's loser ex-boyfriend... a              known criminal... who has been seen              hassling them in public numerous              times.                             LENNY              And who was, regrettably, also your              best fucking friend.                             MAX              No plan is perfect, Lenny.  Hey,              cheer up.  World's gonna end in ten              minutes anyway.                             LENNY              You must be so pleased, I followed              your jellybean trail right here,              like a good little chump.                             MAX              You got froggy on me a couple times.    CUT TO: The Underground Garage, where Tick has been    cooked-off.  We see Max running his number on Mace and    Lenny.  Lenny buying it.                             MAX (V.O.)              I thought that riff about the Death              Squad was pretty good.  I hadda keep              you from bringing the cops into it.    AND BACK again to REAL TIME.                             LENNY              So there never was a death squad.                             MAX              Naawww.                             LENNY              Just those two loose-cannon cops              running around covering their butts.                             MAX              Yeah.  Pretty zany, huh?  All this              shit caused by a random traffic              stop.  Hey... nothing means nothing.              You know that.  Look around... the              whole planet's in total chaos.  You              gotta take what you can, while you              can.  Cause some shitbird can come              up and put a fuckin' .22 in the back              a your head any second.    CUT TO: A brief, violent flash from the Jeriko tape: Spreg    shoots Jeriko.                             LENNY              How did you hook up with Faith?                             MAX              This dink hires me a month ago to              eyeball her, right?  But Faith knows              me from you, right, so she comes up              to me and says, 'Hey Max why you              following me?' I say, 'I'll buy you              a drink and explain.' And she says...                             FAITH              'So, do you enjoy watching me?'    Max turns and sees her in the doorway.                             MAX              You were supposed to go downstairs,              baby.                             FAITH              I know.  I don't always do exactly              what I'm told.                      (she walks slowly                       toward them)              So I said, 'Do you enjoy watching              me?'  And you said -- come on Max.                             MAX              I said, 'Yeah.  I'd even do it for              free.'                             FAITH              Uh huh.  And I said, 'That's good,              because I like the feeling of              someone watching me.  I acquired              the taste from Lenny.'    Lenny looks between Faith and Max, feeling like the    asshole of the western world.  Faith moves up close to    Max.  She puts her hands lightly on his shoulders,    caressing them.  Max grins, realizing she is 100% with    him.                             MAX                      (to Lenny)              And then she said, 'Since we're              going to be spending so much time              together--'                             FAITH              'We might as well make the best of              it.'                             LENNY                      (crushed)              Jesus, Faith.    Faith runs her hands appreciatively over Max's shoulders    and arms.  Then, in an eyeblink, she grabs his forearm in    both hands and deflects the gun.                             FAITH              Lenny!!    Lenny jumps in, wrestling Max for the gun.  Faith pulls    the Glock out of Max's waistband and throws it across the    room.                             MAX              Fucking bitch!!    BLAM!  BLAM!  Max fires wildly, trying to hit Lenny, who    is just barely keeping the muzzle out of his face.  Faith    grabs Max's hair, trying to pull him away...    His "hair" comes off in her hands.  A prosthetic wig,    containing the squid-net array.  Max's head is shaved to a    Sinead O'Connor stubble.  He looks demonic, grimacing with    effort as he struggles with Lenny.    He continues firing.  The shots hit the mirrors.  ANGLES    of the reflected images of them shattering.  Faith,    screaming, reflected, her face fragmenting into shards.    The crystal chandelier shatters, reigning glassy snow on    them from above.    Max is stronger and heavier than Lenny, but Lenny has one    advantage: Max has managed to make him really angry.    Lenny gives a guttural cry and drives Max backward into    the doorframe.  They tumble together into the living room,    falling together over the couch.  Lenny pounds Max's hand    against the glass coffee table, shattering it.  He forces    Max's hand along a glass edge, cutting it, and Max drops    the gun.  Lenny reaches for it, but Max kicks it away a    split-second before his hand touches it.  It skitters    under the couch, out of play.    Max punches Lenny brutally in the face, then in the gut,    and grabs him with both hands.  He hurls him against the    wall.  Lenny staggers off the wall into several vicious    punches from Max.  We feel the tide turning.  Lenny goes    down to one knee.    Max pulls out his knife and flicks it open.  Lenny throws    a lamp.  Max ducks and charges through.  Lenny spins away    from the downthrust.    The knife embeds itself in his shoulder blade, sunk into    the bone.  Lenny punches Max in the throat and jerks away,    pulling the knife handle out of Max's hand.  Max tackles    him and they crash together through a sliding glass door    onto the balcony.  Explosion of flying glass.    Max pulls a dazed Lenny to his feet and rushes him    backward toward the railing.  At the last instant, Lenny    twists with all his strength and spins Max into the    railing, using his weight against him.  He pushes hard and    Max topples.    As he is going over, Max grabs Lenny's tie, pulling him    over.  Max is dangling 12 stories above the oblivious    crowd, his entire weight hanging from Lenny's tie.  Lenny    has one arm and one foot hooked around the railing, and he    is being strangled by the tie.    Lenny is starting to black out.  In agony he gropes with    his free hand to his own shoulder blade, finding the    handle of the knife.  He jerks it out of himself.  Max    sees it coming a split second before it happens.    Lenny slashes the knife across the tie, just above Max's    hands.    Max takes the express elevator to Hell.  He hits 12    stories down, on top of a video truck.    Lenny stands there panting, bleeding down the back of his    jacket.  Faith runs to the railing and looks down.  All    the strength goes out of her legs.  She sags to the floor.    Fireworks continue to boom across the sky.    Lenny looks down at her, gazing at the object of his    quest.  She looks up at him, her wet eyes seemingly at the    bottom of a deep well from which he cannot save her.    He turns and walks away.  It's hard.  But he keeps    walking.                                                CUT TO:    EXT.  STREET - NIGHT    DOWN BELOW, in the madness of the crowd, we move with    Spreg as he searches for Mace.  He sees her from behind,    walking near one of the stages.  He moves up behind her,    aiming his pistol at the back of her head.  She turns    and...    ... it isn't Mace.  Another girl in a similar dress.    Spreg curses and looks around.    Engelman catches a glimpse of Mace running.  He points to    her position and Spreg charges after her.  He has his    baton laid back along his forearm and is clubbing people    out of the way as he runs.    Mace sprints barefoot through the crowd, pushing people    out of her way.  Strobe-lights from the stage and flashes    from the fireworks give the crowd a nightmarish look.    Spreg fires at her.  People drop, their screams drowned    out by the pandemonium.  The gunshots don't register above    the concussions from the fireworks.  No one notices the    shootings.  Spreg continues to fire, missing her as people    block his shots.  Mace won't fire back in the crowd.    ON SPREG, coming to a stop at the base of a lighting    tower.  He has lost sight of her.  He starts to reload his    pistol.  Mace comes up to him silently from behind the    tower and hammer punches him behind the ear with the butt    of her pistol.    Spreg comes around with a roar, slamming the baton across    her forearm.  Her .380 clatters to the ground.  Mace    bodyslams him back against the steel tower, smashing her    palm up under his chin.  His head raps off the metal.    Mace is like a she-panther.  She rips the baton out of his    hands and cracks him once across the windpipe.  He drops    to his knees, gagging and unable to breathe.    A shot hits the metal space-frame next to her head.  She    spins to see Engelman, charging toward her.  Before he can    fire again she drops behind the kneeling, gasping Spreg,    using him as a human wall.  She clamps an arm around his    neck, controlling him, and pulls his tazer from his belt.    She shoots Engelman in the chest from 8 feet.  He    convulses and drops instantly to the pavement, flopping    like a fish.  She holds the current on him while she goes    over and kicks his gun away.    She takes Engelman's cuffs from his belt.  Spreg glares at    her through the blood running into his eyes.  She raises    the baton.                             MACE              All the way down!  RIGHT NOW!!    He slowly drops to the pavement, face down.  Now that    she's got them both proned out, she quickly handcuffs one    of Spreg's hands to one of Engelman's.    The crowd of partiers stares.  Can't believe what they're    seeing.  Mace takes Spreg's cuffs and attaches his other    wrist to the base of the tower.  That's when THREE LAPD    COPS in riot gear burst through the surrounding crowd and    see a black girl crouching over two of LA's finest with a    police baton.  The cops advance toward her.                             MACE              Wait.  Let me tell you what's going              on here--    The nearest shoots her with a tazer.  She spasms and goes    to her hands and knees.  One of the cops kicks her down.    She cries out, trying to explain, but she can't get the    breath as the batons start to fall.  The crowd around them    watches fascinated, gasping.    Mace sees another cop arrive and start to uncuff Spreg.                             MACE              NO!!  NO!!!    They crack her with their batons, telling her to stay    down.  Another one kicks her in the stomach.    A BLACK KID in the crowd leaps onto one of the kicking    cops.    And then they come out of the crowd... one, then three,    then half a dozen.  Just normal people... black, white,    Latino people... that can't watch this happen any more.    They jump the cops, swarming them, wrestling them down.    It becomes a brawl.    Then cops are running in from everywhere.  We see the    trigger point of a full-scale riot.  Cops in full riot-    gear, with Lexan shields, push the crowd back, clearing a    space.  A helicopter XENON comes straight down from above,    like the divine light of God.    Mace hugs herself, at the center of it, unable to get up.    Within seconds there are twenty cops there, and more on    the way, forming a human wall.  They get the crowd settled    down.    Through the phalanx of riot cops comes Palmer Strickland    and several ranking officers.  He surveys the scene.    Strickland looks down at Mace and then at Spreg and    Engelman, who are getting to their knees, though still    handcuffed to each other and the steel tower.  The beat    extends... Strickland unreadable, face stern as Moses.    Then...    He points at the two prone cops.                             STRICKLAND                      (to the nearest                       officers)              These two are under arrest for              murder.    Strickland looks Spreg in the eye and holds up Lenny's    squid tape.  Spreg and Engelman react, knowing they are    over.  The helicopter Xenon gives the whole moment an    otherworldly quality.  Like they are in some celestial    court of judgment.                             STRICKLAND              Get some medical attention for this              woman.    Lenny pushes through from behind Strickland.  He runs to    Mace and kneels next to her.                             LENNY              Are you okay?    A trickle of blood runs down her face.  She nods weakly    and reaches for him.  They hug, then they both wince in    pain.  Mace sees the cops running in to arrest Spreg and    Engelman.  One of them unhooks Spreg from the tower.                             MACE              I got 'em, Lenny.    ENGELMAN LUNGES, grabbing a gun from the holster of the    closest cop.  He waves them back with it.  Then puts it in    his mouth and fires.    He topples against Spreg, spraying him with his spurting    blood.  Spreg clutches him, lowering him to the ground,    bathing in his blood.  You see him going insane, right at    that moment.  His face is suddenly demonic.    SPREG, the street-monster cop, RISES IN SLOW MOTION.  His    glare is fixed on Lenny and Mace.  He has Engelman's gun    in one blood-drenched hand.    Lifting the dead weight of Engelman by the handcuff, he    begins to drag the body, lurching toward Mace.  He keeps    the pistol down along his side.  Spreg exists at the    center of a circle of cops who don't know what to do.  He    has a gun so they can't rush him.  But he's a cop, so they    can't shoot him.  Several officers shout at him to drop    the weapon.  You barely hear them over the pandemonium of    the crowd, the helicopter, the fireworks.                             LENNY              SHOOT!    Like a scene from a nightmare the blood-drenched Spreg,    completely unhinged, lurches toward them.  Engelman's body    slides over the ground, leaving a snail-track of blood a    foot wide.                             SPREG              YOU FUCKING NIGGER BITCH!!    He raises Engelman's pistol, points it at her and...    Lenny throws himself across her, turning his back to take    the fire, and...    POW POW POW!  The LAPD executes Spreg in a hail of fire.    He drops like a sack of cement.    The smoke clears.  Lenny blinks... realizing he is alive.    He faints.  Mace shakes him, thinking he is shot.  He    opens his eyes.                             LENNY              Yeah, what?    CUT TO SEVERAL MINUTES LATER.  Mace and Lenny are being    escorted through the crowd by Strickland and a number of    cops who part the rowdy mob before them.    Lenny and Mace are both limping, bruised, cut up.  Lenny's    arm is drenched with blood from his shoulder wound.  They    support each other like two soldiers after a battle.    Mace sees Faith... FAITH, escorted by a couple of cops,    passing near them.  She is in handcuffs and her eyes are    dull.  Mace turns back to Lenny...                             MACE              Are we under arrest?                             LENNY              Naw.  They just have to ask us a              few questions... for about six              hours.    They pass DEATH, with the (plastic) BABY still in his    arms.  Life out of Death in the endless continuum.  Lenny    pushes the scythe out of the way so they can get past.    They reach a row of police cars and an ambulance.  The EMT    guys run to Lenny, helping him painfully out of his suit    jacket.  Strickland motions Mace toward a waiting squad    car.  Lenny sees...    The CLOCK MIME, who smiles at him and puts his hands at    midnight.  We hear a roar passing through the crowd.  A    huge chanting and cheering, that becomes thunderous as    everyone begins to shout the countdown to midnight.                             CROWD              TEN!  NINE!  EIGHT!...    Lenny and Mace look around... the wonder of it sinking in.                             CROWD              SEVEN!  SIX!  FIVE!...    Mace and Lenny let it wash over them... the deliverance    from darkness.                             CROWD              FOUR!  THREE!  TWO!  ONE!  HAPPY NEW              YEAR!    The exultation of the moment flows through them as the    people lift their voices in a great cheer.  Balloons are    released, confetti and streamers fly in a blizzard.    Couples grab each other and kiss passionately.                             MACE                      (grinning)              Hey, Lenny.  We made it.                             LENNY              Yeah.  We did.    She hugs him.  Then pulls back.  Friends... yes.  And    always.  But there's that line that she can't cross.  Only    he can do that.                             MACE              Well...                      (she shrugs)              Get going.  You're still bleeding.                             LENNY              See you downtown.                             MACE              Yeah.  See you there.    TRACKING WITH LENNY as he walks toward the ambulance.    They open the back door for him.  The walk is    hallucinatory... with confetti falling like snow, and the    hysteria of the crowd.  He looks back at Mace as the    paramedics help him up into the ambulance.  The back doors    close.    ON MACE, watching him go.  A cop gently takes her arm,    opening the squad car door for her.  She turns away, her    face sad amid the exultation of the crowd.  She gets into    the back seat.  The door slams.  Strickland gets in next    to her.  The driver starts the car.  They start to move,    and...    There is pounding on the glass, startling her, and...    The door is wrenched open...    A hand comes in, grabbing her arm, pulling her out...    Lenny.  His eyes are full of emotion.    He grabs her in his arms, fiercely, and kisses her... like    there's no tomorrow.  She grabs his head and won't let him    break, even if he wanted to, which he doesn't.    Strickland, in the car, rolls his eyes and looks at his    watch.  Reflex.  Because if there's one time you don't    need a watch, it's...    12:01  A.M.  JANUARY 1, 2000    PULL BACK AND UP as Lenny and Mace stay locked together,    while the cops wait for them, and the world begins again.                             THE END    --------------------------------------------------------------	
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+                   STRANGERS ON A TRAIN                             by             Raymond Chandler and Czenzi OrmondeFINAL DRAFTOctober 18, 1950Converted to PDF by SCREENTALK                                       FOR EDUCATIONAL PURPOSES ONLYwww.screentalk.orgFADE IN:EXT. UNION STATION, WASHINGTON, D.C. DAYLONG SHOT THE CAPITOL DOME IN THE B.G. AND THE AUTOMOBILEENTRANCE TO THE STATION IN THE F.G. LOW CAMERAActivity of cars and taxis arriving and discharging passengerswith luggage, busy redcaps, etcetera.We FOCUS on a taxi pulling up and stopping, The driver handsout modest looking luggage, including a bunch of tennisrackets in cases to a redcap. CAMERA PANS DOWN as thepassenger gets out of the taxi so that we see only his shoesand the lower part of his trousers. He is wearing darkcolored brogues and a conservative suit apparently. Thefeet move toward, the entrance to the station and out ofscene. Immediately a chauffeur-driven limousine drives upand an expensive place of airplane luggage is handed out ofthis, and the passenger alighting from the back is seen tobe wearing black and white sport shoes which, as before, areall we see of him. The sport shoes start off in the wake ofthe brogues.INT. STATION LOBBYCAMERA FOLLOWS the sport shoes and the brogues across thelobby into a passenger tunnel. There is the usual activityof passengers walking to and from, a loud-speaker announcingtrains, etc.EXT. PASSENGER TUNNELAs the brogues and the sport shoes emerge to the trainplatform, CAMERA PANS them over to the steps of the train.INT. TRAINThe brogues and the sport shoes pass separately down theaisle, the sport shoes turning in at a compartment door andthe brogues continuing toward the parlor car.                                                DISSOLVE TO:INT. PARLOR CAR (PROCESS)The brogues come to rest before a chair as the owner sitsdown. A moment later the sport shoes come to rest. beforein adjoining chair.      Converted to PDF by www.screentalk.org                 2.The legs belonging to the sport shoes stretch out, and oneof the shoes touches one of the brogues.                      MAN'S VOICE (over scene)          Oh, excuse Me!CAMERA PULLS BACK AND UP to SHOW two young men seated in twoparlor car chairs. BRUN0 ANTHONY, the wearer of the sportshoes, is about twenty-five. He wears his expensive clotheswith the tweedy nonchalance of a young man who has alwayshad the best. The wearer of the brogues is a fine lookingbut, at the moment, a somewhat troubled young man. This isGUY HAINES. He, too, is in his middle twenties and is welldressed because he can now afford to be. He nods politely,acknowledging Bruno's apology, then turns away with thegesture implying he wants privacy.                      BRUNO              (smiling with sudden               recognition)          I beg your pardon, but aren't you          Guy Haines.Guy nods with a polite half smile. Being a well knowntournament tennis player, he has had this sort of experiencebefore.                      BRUNO              (snapping his finger)          Sure! I saw you blast Faraday right          off the court in South Orange last          season. What a backhand! Made the          semi-finals, didn't you?Guy acknowledges this with a modest nod and turns to hismagazine rolled up in is fist.                      BRUNO              (with open admiration)          I certainly admire people who do          things.              (smiling and               introducing himself)          I'm Bruno Anthony. Bruno. See Guy          looks up. Bruno indicates his gold          tie pin which bears his name in cut-          out letters. Guy looks at it with          the faintest expression of disdain.          I suppose you think it's corny. But          my mother gave it to me so of course          I wear it to please her.      Converted to PDF by www.screentalk.org                3.                      GUY              (patiently)(a faint               smile)          How do you do.                      BRUNO              (with an apologetic               grin)          I don't usually talk so much.   Go          Ahead and read.                        GUY              (wryly)          Thanks.Guy tries to read but is uneasily aware of Bruno's openappraisal.                      BRUNO          It must be pretty exciting to be so          important.                      GUY              (fidgeting slightly)          A tennis player isn't so important.                      BRUNO          People who do things are important.          I never seem to do anything.Not knowing how to answer this, Guy looks a littleembarrassed.                      BRUNO              (still insistent on               being friendly)          I suppose you're going to Southampton --          for the doubles.                      GUY              (politely)          You are a tennis fan.Bruno is inordinately pleased by this small tribute.                      BRUNO          Wish I could see you play. But I've          got to be back in Washington tomorrow.          I live in Arlington, you know.He has taken out a cigarette case.   Holds it out to Guy.      Converted to PDF by www.screentalk.org                      4.                               BRUNO             Cigarette?                         GUY             Not now, thanks.          I don't smoke much.                         BRUNO             I smoke too much.He fumbles for a match.          Guy brings out a lighter and handsit to Bruno.                         BRUNO             Thanks.                 (he stares at the                  lighter, impressed)             Elegant.CLOSE SHOT OF THE LIGHTERShowing that it has the insignia of crossed rackets embossedon it, and underneath is engraved the inscription: "To Gfrom A".                         BRUNO'S VOICE                 (reading)             To G from A. Bet I can guess who A             is.WIDER SHOTGuy reacts sharply.                               GUY                    (coldly)             Yes?                         BRUNO             Anne Burton. Sometimes I turn the             sport page and look at the society             news. And the pictures. She's very             beautiful, Senator Burton's daughter.                         GUY             You're quite a reader, Mr. Anthony.                         BRUNO             Yes, I am. Ask me anything, from             today's stock reports to Li'l Abner,             and I got the answer.                         (MORE)      Converted to PDF by www.screentalk.org         5.                      BRUNO (CONT'D)          Even news about people I don't know.          Like who'd like to marry whom when          his wife gets her divorce.                      GUY              (sharply)          Perhaps you read too much.                      BRUNO              (contritely)          There I go again. Too friendly. I          meet someone I' like and open my yap          too wide. I'm sorry...At the appeal on Bruno's face, Guy slowly relents.                      GUY          That's all right. Forget it.    I          guess I'm pretty jumpy.Bruno smiles with and signals a waiter.                      BRUNO          There's a new cure for that.              (to waiter)          Scotch and plain water. A pair.          Double.              (to Guy with a chuckle)          Only kind of doubles I play.                      GUY          You'll have to drink both of them.                      BRUNO              (grinning)          And I can do it.              (moving in)          When's the wedding?                      GUY          What?                      BRUNO          The wedding. You and Anne Burton.              (a gesture of               explanation)          It was in the papers.                      GUY          It shouldn't have been. Unless          they've legalized bigamy overnight.      Converted to PDF by www.screentalk.org             6.                     BRUNO         I have a theory about that. I'd         like to tell you about it some time.         But right now I suppose divorce Is         still the simplest operation.The waiter has brought the drinks. Bruno slips the lighterinto hip pocket to free his hands for the bills which hegives to the waiter, waving away the change. He offers aglass to Guy. Guy takes it.                     GUY             (as if he needs it)         I guess I will.                     BRUNO             (happily)         This is wonderful -- having your         company all the way to New York.                     GUY             (forced to explain)         As a matter of fact, I'm not going         direct. I'm stopping off. At         Metcalf.                     BRUNO         Metcalf? What would anybody want to         go there for?                     GUY         It's my home town.                     BRUNO         Oh, I get it! A little talk with         your wife to about the divorce! I         suppose she was the girl next door.         Held her hand in high school and         before you knew it -- hooked!             (proud of his              perspicacity)         Am I right?                     GUY             (laconically)         Close enough.                     BRUNO             (raises his glass)         Well, here's luck, Guy. Drink up --         then we'll have some lunch sent to         my compartment.      Converted to PDF by www.screentalk.org                7.                      GUY          Thanks very much. But I think I'll          go to the dining car.              (he hails a waiter               who is passing through               with a food-laden               tray)          Do you know if there are any vacant          seats in the dining car now?                       WAITER          Not for about twenty minutes I'm          afraid, Sir.                      BRUNO              (pleased)          See? You'll have to lunch with me.              (motions the waiter               back)          Say, waiter, bring me some lamb chops          and French fries and chocolate ice          cream, Compartment D, Car 121.              (turns to Guy)          What'll you have, Guy?                      GUY          Thanks just the same, but I really          don't think --                      BRUNO          Oh, go on and order.The waiter is hovering impatiently.   Guy gives in out ofembarrassment.                      GUY          Well, I'll Just have a hamburger and          a cup of coffee.                      BRUNO              (delighted, lifts his               glass in another               toast)          To the next Mrs. Haines.Guy nods curtly.                                                  DISSOLVE TO:      Converted to PDF by www.screentalk.org              8.INT. BRUNO'S COMPARTMENT ON TRAIN (PROCESS)Bruno and Guy are finishing lunch. Bruno has been drinkingand his eyes are bright and feverish. An almost empty liquorbottle is near a couple of detective novels covered withgaudily Illustrated dust jackets. Bruno has in unlightedcigarette in his mouth. Guy's lighter is on the table.Bruno snaps it a couple of times, as though fascinated, lightshis cigarette and puts the lighter on the table again.                      BRUNO          Sure, I went to college. Three of          them. Every time they kicked me out          my father threw me back in.              (bitterly)          He finally gave up. He thinks I'm          awfully small fry, not worth the          bait.              (wistfully)          You my friend, Guy?                       GUY          Sure.   I'm your friend, Bruno.                      BRUNO              (a little woozy)          No, you're not, nobody thinks I'm          anything special. Only my mother.              (empties the bottle               into his glass)          My father hates me.Guy smiles this off as nonsense.                      GUY          You must be imagining things.                      BRUNO              (hitting the bottom               of the bottle for               the last drop)          And I hate him. He thinks   I ought          to catch the eight-five bus  every          morning, punch a timeclock  and work          my way up selling paint or  something.          Him -- with all his money!                      GUY              (amused by Bruno)          Well, what do you want to do?                      BRUNO          You mean before or after I kill him?Converted to PDF by www.screentalk.org     9.               GUY       (chuckling)   Before, of course.               BRUNO       (leaning forward        eagerly)   I want to do everything. I got a   theory you're supposed to do   everything before you die. Have you   ever driven a car, blindfolded, at a   hundred and fifty miles an hour?                 GUY   Not lately.               BRUNO   I did. I flew in a jet plans too.       (his hand traces a        swift streak through        the air, and he adds        sound effects)   Zzzzzzzp! Man, that's a thrill!   Almost blow the sawdust out of my   head. I'm going to make a reservation   on the first rocket to the moon...               GUY       (amused and curious)   What are you trying prove?               BRUNO   I'm not like you, Guy. You're lucky.   You're smart. Marrying the boss's   daughter is a nice short cut to a   career, isn't it?               GUY       (quickly)   Marrying the senator's daughter has   nothing to do with it. Can't a fellow   look past a tennis not without being   a goldbricker?               BRUNO   Take it easy, boy. I'm your friend,   remember? I'd do anything for you.               GUY       (humoring Bruno)   Sure, Bruno, sure.               (MORE)Converted to PDF by www.screentalk.org       10.                GUY (CONT'D)        (glancing at his watch)    We'll be pulling in soon. I've got    to change trains.                BRUNO    What'd you say her name was -- your    wife's?                GUY    Miriam.                BRUNO    That's it. Miriam Joyce Haines.    Played around a lot, I suppose?                GUY    Let's not talk about it any more.                 BRUNO         (almost hopefully)    Maybe she'll make more trouble for    you.                GUY    I don't think so.                BRUNO    You mean you got enough on her to    get your divorce no matter what?                GUY    Let's change subject, Bruno, can't    we?                BRUNO    Okay, Guy. Want me to tell you one    of my ideas for murdering my father?                GUY        (indicating the         detective novels)    You've been reading too many of these.                BRUNO        (going right on)    You want to hear about the busted    light socket in the bathroom, or the    carbon monoxide in the garage?                GUY    No. I may be old fashioned, but I    thought murder was against the law.Converted to PDF by www.screentalk.org       11.                BRUNO    But not against the law of nature.    My theory is that everybody is a    potential murderer. Didn't you ever    want to kill somebody? Say one of    those useless fellows Miriam was    running around with?                GUY    You can't go around killing people    just because you think they're    useless.                BRUNO    Oh, what's a life or two? Some people    are bitter off dead, Guy. Take your --    wife and my father, for instance.    It reminds me of a wonderful idea    had once. I used to put myself to    sleep at night -- figuring it out.    Now, let's say you want to get rid    of your wife.                GUY    Why?                BRUNO    Let's say she refuses to give you a    divorce --        (raises a finger and         stops Guy's protest)    Let's say. You'd be afraid to kill    her because you'd get caught. And    what would trip you up? Motive.    Now here's the plan...                GUY    I'm afraid I haven't time to listen.                BRUNO        (ignoring the remark)    It's so simple, too. A couple of    fellows meet accidentally, like you    and me. No connection between them    at all. Never saw each other before.    Each of them has somebody he'd like    to get rid of, but he can't murder    the person he wants to get rid of.    He'll get caught. So they swap    murders.                GUY    Swap murders?     Converted to PDF by www.screentalk.org               12.                      BRUNO          Each fellow does the other fellow's          murder. Then there is nothing to          connect them. The one who had the          motive isn't there. Each fellow          murders a total stranger. Like you          do my murder and I do yours.                      GUY              (with relief)          We're coming into my station.                       BRUNO          For example, your wife, my father.          Criss-cross.                      GUY              (sharply)          What?                      BRUNO              (with a smile)          We do talk the same language -- don't          we, Guy?                      GUY              (preparing to leave)          Sure, we talk the same language.          Thanks for the lunch.                      BRUNO              (beaming)          I'm glad you enjoyed it. I thought          the lamb chops were a little overdone          myself.He holds out his hand.   Guy is in a hurry but he shakes hands.                      GUY          Nice meeting you, Bruno.                       BRUNO              (detaining him at the               door)          You think my theory is okay, Guy?          You like it?                      GUY          Sure, sure, Bruno. They're all okay.              (he salutes a quick               goodbye and hurries               away)     Converted to PDF by www.screentalk.org                 13.Left alone, Bruno picks up Guy's lighter from the table,starts to call Guy back to hand It to him.Then he looks closerat the insignia of crossed tennis rackets.                       BRUNO              (smiling)          Criss-cross.                                                DISSOLVE TO:A WIDE VIEW OF THE TOWN OF METCALFMETCALF RAILROAD STATIONas the train comes in.THE TRAIN STATION PLATFORM MED. SHOTAs Guy gets off the with his suitcase and tennis rackets.    Abaggage man with baggage truck is passing.                         GUY          Hi, Bill.                      BAGGAGE MAN              (smiling)          Guy Haines! Good to too you, boy.          You be sure to win at Southampton          tomorrow, hear me? I've got two          dollars on your nose.                      GUY              (indicating his               suitcase and rackets)          Then park these in a lucky spot for          a few hours, will you?                         BAGGAGE MAN          Sure thing.He loads them onto a truck.                                                DISSOLVE TO:INT. METCALF STREET LONG SHOTGuy is walking up the main street.     Converted to PDF by www.screentalk.org              14.EXT. MUSIC SHOPTypical music shop of a small town, with plate glass windowsand displays of radios, records, sheet music, etc. Activityof a couple of customers and salespeople inside. Guy comesalong the street and goes into the shop.INT. MUSIC SHOPAs Guy enters. There are the usual counters and shelves,pianos and radios on display, and the sound of a piano beingtuned in the back of the store. MIRIAM is finishing with acustomer at a counter. MR. HARGREAVES, the manager, is busyat the shelves. Another girl clerk is serving a customer.In one of the glass cubicles where records are tried out, acustomer is playing symphonic music; in a second glass cubicleanother customer is listening to a record of popular music.A third cubicle is empty. Activity of the street is seenthrough the plate glass front.Guy walks straight to Miriam, just as she is finishing withher woman customer, handing over a small package.                      MIRIAM              (taking money from               customer)          Even change. Thank you, Madam.              (she looks up at Guy               as the woman moves               off)          Well -- hello, Guy.                      GUY          You're looking well, Miriam.Miriam's face is pretty because it is still young. She isself-centered and inclined to be vindictive. She wearsharlequin glasses with myopic lenses which tend to make hereyes look small.                      MIRIAM          So are you. You've got a nice tan,          playing tennis with all your rich          friends.                      GUY              (ignoring the remark)          What time do we meet your lawyer?                      MIRIAM              (sly little smile)          What's your hurry?     Converted to PDF by www.screentalk.org                 15.                      GUY          My hurry? That's funny, coming from          you! You're the one who's in a hurry,          aren't you?                      MIRIAM              (coyly)          When you wouldn't give me the divorce          right away, I sort of hoped it was          because you were a little bit jealous.                       GUY              (biting)          I got over being jealous, a long          time ago Miriam.Miriam's eyes slide toward the other girl clerk who has movedcloser, within listening range.                      MIRIAM              (indicating empty               glass cubicle)          Let's talk in there.Guy follows Miriam across to the empty room.   Miriam hasbrought her purse along.They enter.INT. CUBICLEOnce inside, the sounds of the music playing from other partsof the shop are heard but very faintly. The piano tuningstill goes on, but less stridently. Miriam and Guy are coopedtogether in the close quarters.                      MIRIAM              (intimately)          Now this is cosier. Sort of like          old times, isn't it, Guy?                       GUY              (coldly)          Oh, skip it, Miriam. It's pretty          late to start flirting with a          discarded husband. Especially when          you're going to have another man's          baby.                      MIRIAM          Do you know, I think you're handsomer          than ever?Converted to PDF by www.screentalk.org        16.                GUY    Let's see your lawyer and get this    over with.                MIRIAM    Did you bring the money, Guy?   Lawyers    are expensive.                GUY        (taking money from         his wallet)    Here it is.                MIRIAM        (taking the money         greedily)    If I'd known what all that tennis    nonsense of yours was going to lead    to, I wouldn't have run out on you.                GUY    What are you trying to say, Miriam?    Come out with it.                MIRIAM        (tucking the bills         away)    I'm not getting a divorce.                GUY        (tense and angry)    Why, you little doublecrosser. I    didn't want this divorce, you did.    That's what you've been harping about    for the past year.                MIRIAM    It's a woman's privilege to change    her mind... Now I can shop for some    pretty clothes. I wouldn't want you    to be ashamed of me in Washington    when we go to all those dinners and    swanky parties.                GUY    And what do you mean by that?                MIRIAM        (Coyly)    Don't look so mad, Guy. You always    smile when your picture is being    taken for the papers.                (MORE)     Converted to PDF by www.screentalk.org                 17.                      MIRIAM (CONT'D)          Especially when you have Anne Burton          hanging on your arm.                      GUY          Let's not talk about Anne Burton.                      MIRIAM          So, it's really serious between you          two? Well, you can throw your dreams          about her into the ashcan. Guy, I'm          coming to Washington.                       GUY          What for?                      MIRIAM          To have my baby and be with you.                       GUY          Why me?   It's not my baby.                      MIRIAM          But people don't know that, Guy, do          they? It would make a pretty story,          wouldn't it -- the senator's daughter          involved with a married man who's          about to become a father.                      GUY              (furiously)          You black conniving little liar!A few people in the shop look around as Guy's voice risesabove the sound of the record playing.                      MIRIAM          Keep your voice down.                      GUY          What happened? Did he run out on          you?                      MIRIAM          No man runs out on me.   Not even          you.                      GUY          You're a liar and a  cheat,   Miriam.          You've wanted to get  rid of   me long          enough and now I'll  go you   one better --          I never want to see  or hear   of you          again.     Converted to PDF by www.screentalk.org               18.                       MIRIAM              (demurely)          I could be very pathetic as the          deserted little mother in a courtroom,          Guy. Think it over. Who would          believe you?Guy seizes her angrily and in so doing, knocks the tone armacross the record with a loud screech. From outside we cansee heads turn. Mr. Hargreaves, the manager, is verydisturbed.MED. SHOT THROUGH GLASS PARTITION FROM HARGREAVES' VIEWPOINTWe see Guy gripping Miriam's arms and apparently addressingher in a threatening manner, although we do not hear hiswords. The smile has faded from Miriam's face and somethinglike cringing fear has taken its place. She is drawn andtense and seems to cower beneath Guy's rage.Mr. Hargreaves moves forward and opens Guy's tirade.                      GUY          ...That's what should happen to people          like you. And if I...                      HARGREAVES              (interrupts)          Break it up, folks. This isn't the          place for a family quarrel.                      GUY              (his eyes blazing)          Sorry. I'm leaving.He starts to exit from the booth.   Miriam grabs his arm andscreams at him:                      MIRIAM              (yelling like a               fishwife)          You heard what I said, Guy Haines.          You can't throw me away like an old          shoe. I'm coming to Washington to          have my baby. Tell that to the          senate!Guy strides out of the store, the manager and a few customersturning around in surprise.     Converted to PDF by www.screentalk.org              19.The two customers in other booths, seeing the quarrel, opentheir doors simultaneously and Miriam's tirade is climaxedby a cacophony of noise, a big symphony, loud hot music, andthe apparently unaware piano tuner.EXT. MAIN STREET METCALF SHOOTING TOWARDS STATIONGuy is striding along angrily. He comes to the sameintersection and the same cop. The officer makes a friendlygesture, is if he'd like to talk awhile, but Guy stridespast him without noticing.EXT. METCALF STATION (PROCESS)Guy comes into the scene, crosses to a row of public telephonebooths, enters one. Inside the telephone booth, he dumpssome loose change on the shelf, sticks a nickel in thetelephone, speaks into it.                      GUY          Long distance.              (a pause)          I want Washington, D. C. The number          is Republic 0800. Person to person.          Miss Anne Burton.Another pause, very long. Guy is very restless. He digs acigarette out of his pocket and sticks it in his mouth, thenlooks through his pockets for his lighter, doesn't find it.He looks puzzled, but about that time the operator speaks tohim.                      GUY              (continuing)          Right.Guy picks coins up off the shelf and drops them into thetelephone, then waits. He shifts the receiver and fumblesin his other jacket pocket, then turns to the phone.                      GUY              (tautly, into phone)          Anne, -- Anne darling. Yes, I'm in          Metcalf --              (gets a grip on himself)          No, everything didn't go smoothly.          She doesn't want a divorce, not          now....     Converted to PDF by www.screentalk.org              20.INT. BURTON LIVING ROOMANNE BURTON is a beautiful, high-spirited and well-bred youngwoman. The smile on her face his faded to anxiety as shelistens over the telephone which is on the desk.                       ANNE              (after a pause then               with unpleasant               realization)          Another man's child! But she can't          do that to you, Guy -- it's          unbelievable -- it's, it's evil!              (she listens, then               calmly)          Yes, I know how you must feel.              (pause)          But you sound so savage.BACK TO GUY IN TELEPHONE BOOTH                       GUY              (furiously)          Sure I sound savage. I feel savage.          I'd like to break her neck!              (a pause, then raising               his voice)          I said I'd like to break her foul,          poisonous, useless little neck!              (the connection is               bad and he strains               to hear)          What's that?Meantime the noise of a through train has been HEARD, andthe horn on a streamliner locomotive. It has come up veryfast, it is now almost to the station. Guy rises his voiceand yells into the telephone. His voice fights the roar ofthe train:                      GUY          I SAID I COULD STRANGLE HER!The expression on his face is frenzied and suggesting thathe means exactly what he is saying.                                                DISSOLVE TO:     Converted to PDF by www.screentalk.org                 21.INT. ANTHONY LIVING ROOMThe scene opens on a CLOSEUP OF A MAN'S HANDS. One of themis semi-flexed and turning slowly, The other is receivingthe final touches of a manicure.CAMERA PULLS BACK to reveal that these are Bruno's hands,and that, he is studying them moodily, CAMERA PULLS BACKFARTHER to reveal his mother, MRS. ANTHONY, sitting oppositehim at a little table in the Anthony living room. She isworking with scissors, file and nail buffer. Mrs. Anthonyis a gentle, once pretty woman, whose pastel exterior harborsa tigress-like determination to protect her son, Bruno is inhis robe and is unshaven.There is evidence of long established wealth in the heavydark appointments of this room.                      MRS. ANTHONY          Since you insisted on a manicure,          dear, I do wish you'd keep your hands          quiet. You're so restless lately.                      BRUNO              (almost dreamily as               he admires the free               hand)          I like them to look just right.Mrs. Anthony looks up, notices his moody expression.                      MRS. ANTHONY          Did I file them too short?                       BRUNO          No, Ma.   They look fine.   Thanks.                      MRS. ANTHONY          Then what's the matter?                      BRUNO          I'm all right, Ma.   Don't worry about          me.                       MRS. ANTHONY          You look so Pale, dear. Are you out          of vitamins?                      BRUNO          I bought a bottle of them yesterday.          A whole fifth.     Converted to PDF by www.screentalk.org              22.                      MRS. ANTHONY              (anxiously)          But you have that 'look'. I can          always tell. You haven't got into          any more mischief, Bruno?He denies this with a slow, solemn shake of his head.                      MRS. ANTHONY          I do hope you've forgotten about          that silly little plan of yours?                      BRUNO              (sharply)          Which one?                      MRS. ANTHONY              (smiling)          About blowing up the White House?                      BRUNO              (his eyes dancing)          I was only kidding, Ma. Besides,          what would the president say?                      MRS. ANTHONY              (laughing gaily)          You're a naughty boy, Bruno. But          you can always make me laugh.              (she rises)          Now get shaved, dear, before your          father gets home.Bruno's fist crashes down on the little table, upsetting it,as he gets to his feet.                      BRUNO          I'm sick and tired of bowing and          scraping to the king.                         MRS. ANTHONY                 (placating him)          Now,    now, Let's not lose control.          Come    see my painting, dear --                 (she leads him toward                  an easel)          I do    wish you'd take up painting.          It's    such a soothing pastime.They look at the painting.     Converted to PDF by www.screentalk.org                 23.INSERTThe painting is a horrible mess. Out of the violence of thepattern a man's face can be discerned, wild-eyed anddistorted. We hear laughter from Bruno.BACK TO SCENEBruno's roar of laughter puzzles Mrs. Anthony, but she ispleased to hear his good humor. He puts an arm around her.                      BRUNO          You're wonderful, Ma! It's the old          boy, all right. That's father!                      MRS. ANTHONY              (bewildered)          It is? I was trying to paint Saint          Francis.At this moment there is the sound of the front door opening.Then immediately the telephone bell rings in the hall. Brunois instantly alert, as if he had been expecting a call. Hegoes toward the door to the hall, as the butler enters.                      BUTLER              (to Bruno)          They are ready with your call to          Southampton, Sir.Bruno's father MR. ANTHONY, purposefully enters the livingroom. He an impeccably dressed business man with anuncompromising eye. His entrance momentarily blocks Bruno'sexit.                      MRS. ANTHONY              (to her husband)          How nice that you're early, Charles.          I'll tell cook....Bruno now exits into the hall, passing his father withoutspeaking.                      MR. ANTHONY          Just a minute, Eunice.              (calls after Bruno)          Bruno! Come here! I want to talk          to you and your mother.     Converted to PDF by www.screentalk.org              24.INT. HALL CLOSE SHOT BRUNOas he approaches the telephone.                       BRUNO              (calls back to his               father)          Sorry father. Long distance.              (he picks up the               telephone)          Hello...CAMERA MOVES IN TO A BIG HEAD CLOSEUP OF BRUNO at thetelephone as the Voices of his mother and father can be heardfrom the other room.                      MR. ANTHONY'S VOICE          Now it's hit and run driving! And          you knew about it all the time!                         BRUNO                 (eagerly into phone)          Guy?              (pause)          Bruno, Bruno Anthony.                      MR. ANTHONY'S VOICE          You're going to protect him once too          often. After all we do have a          responsibility to society.Bruno gives a look in his father's direction, before he speaksinto the telephone in a low voice.                      BRUNO          I just wanted to ask how you made          out with Miriam.INT. LOCKER ROOM OF TENNIS CLUB CLOSE SHOT GUY AT TELEPHONE                      GUY              (puzzled)          What?              (listens)          Metcalf? Who'd you say you were?     Converted to PDF by www.screentalk.org                 25.CLOSEUP BRUNO                      BRUNO              (sotto voce)          Bruno, Guy. Bruno Anthony. Don't          you remember? On the train.The voices of Mr. and Mrs. Anthony can still be heard indispute as Bruno listens at phone:                      MRS. ANTHONY          I never permit it!Bruno gives a significant look in direction of the livingroom as he speaks into the phone.                       BRUNO              (softly)          Are you getting your divorce?                      MR. ANTHONY'S VOICE          I tell you he should be sent somewhere          for treatment before it's too late.                      BRUNO              (into phone, with               satisfaction)          So she double-crossed you!   Are you          going to see her again?The phone clicks in Bruno's ear. He looks hurt for aninstant, then replaces the receiver. Bruno listens to hisfather off scene and his expression becomes more enigmatic.                      MR. ANTHONY'S VOICE          I tell you, Eunice, I'm going to          have that boy put away if it's the          last thing I do!Bruno looks off in direction of his farther's voice with anexpression which says, "Crow while you can, you haven'tmuch time." He reaches into his pocket, brings out Guy'scigarette lighter and as he flicks it on and off.                                                   DISSOLVE TO:EXT. METCALF STATION LONG SHOT DAYThis is the same shot we saw when Guy arrived in Metcalf.We see the station and one of the main streets beyond thestation.     Converted to PDF by www.screentalk.org                26.LONG SHOT A NEARER VIEWWe see the train come   around the curve. Again this is justthe same angle that we   used for Guy. It comes to a stop inthe foreground and we   see Bruno alight onto the platform.He looks about him for   a moment and then strolls away in thedirection of the town.    He approaches the row of telephonebooths.EXT. STATION CLOSE SHOTWe see Bruno enter the small booth and start to glance throughthe telephone directory.INSERT TELEPHONE DIRECTORYBruno's finger runs down the names until it stops at:       Joyce, Miriam Haines. 2420 Metcalf Avenue.A RESIDENTIAL STREET IN METCALF LONG SHOTIt is now much later.    It is beginning to get dark, and thestreet lights are on.    In the far distance we see a localbus approaching.MED. SHOTSHOOTING DOWN onto a small seat by a bus stop, we see Brunowith an open newspaper in front of him. It is held up as hereads it.CLOSEUPBruno is glancing over the top of the paper.LONG SHOTFrom his viewpoint we   see a typical frame house. The upperwindows are lit as are   the lower ones as well. A woman issitting in a rocker on   the front porch.  This is MRS. JOYCE,Miriam's mother. She    has white hair. A  woman comes alongthe street and pauses   as she gets to Mrs. Joyce.     Converted to PDF by www.screentalk.org              27.                          WOMAN                 (calls out as she                  passes)             Hello Mrs. Joyce. Warm, ain't it?                           MRS. JOYCE             That it is.                         WOMAN             I've been reading where your son-in-             law's been coming right along at             tennis.                          MRS. JOYCE                 (sourly)             We don't have any interest in tennis             any more.The neighbor passes on.CLOSE UPBruno, still glancing over the top of his paper.LONG SHOTAgain from Bruno's viewpoint, we see Miriam's house. Atthis moment the front door swings open, emitting a long streakot bright light. We see the silhouette of a woman emerge,followed by two other men. They're laughing and joking.Suddenly they look up the street. At this very moment thebus pulls up in front of Bruno's view, cutting off the sightof his quarry. The bus comes to a stop.CLOSE SHOTBruno rises in alarm and moves around toward the end of thebus so that he shall not lose sight of the girl coming outof the house.SEMI-LONG SHOTFrom his viewpoint, the girl, whom we now see is Miriam, isrunning followed by the two young men. They are calling forthe bus not to go - shouting, "Hi - stop!" Mrs. Joyce callsfrom the porch:                         MRS. JOYCE             Don't you stay out too late, Miriam.       Converted to PDF by www.screentalk.org               28.                         MIRIAM                 (calling back)             Goodnight, Mother.   See you later.CLOSE UPBruno watches Miriam.MED. SHOTMiriam comes nearer and nearer to Bruno. With her twocompanions she brushes past him and jumps onto the bus.    THECAMERA PANS BRUNO AFTER THEM.EXT. AMUSEMENT PARK LONG SHOTWe see the bus pull up outside the Amusement Park, and thevarious passengers alight. These include Miriam nd hercompanions, and Bruno.LONG SHOT NEARER VIEW OF THE AMUSEMENT PARKWe see the usual midway with its various concessions on eachside: in the distance the Ferris wheel, Merry-go-rounds,etc., and beyond that a lake. In the foreground we see peoplefilling in and out.                                                   DISSOLVE TO:MED.   LONG SHOT A GROUP BY A FROZEN CUSTARD STANDThis group comprises Miriam and her two boy-friends. Theylick their way out of the crowd and debate between themselveswhere to go next.CLOSE SHOTMiriam's eye catches the attention of something off screen.SEMI-LONG SHOTFrom her viewpoint we see Bruno standing and casually watchingher. Other people pass around and in front of him, so thathe is the only immobile figure.     Converted to PDF by www.screentalk.org                 29.SEMI-CLOSEUPMiriam, with a kind of coy consciousness, turns away withthe others and they go on to some other concession.MED. SHOTAs Bruno starts to advance in the direction of Miriam he ismomentarily held up by a small boy in cowboy uniform carryinga gun and a balloon. The small boy points the gun at Bruno.SEMI-CLOSE UPThe small boy pointing the gun fires it twice with a coupleof 'bangs!' He then starts to move off.SEMI-CLOSE UPBruno moves on past the boy. He casually touches the balloonwith his cigarette end -- it goes off with a 'pop'.CLOSE UPThe small boy turns and looks with dismay at his prickedballoon, wondering what happened.SEMI-CLOSE UPBruno moves on, pleased with himself, returning his attentionto Miriam who is somewhere ahead of him.MEDIUM SHOTMiriam and her two boy-friends by the sledge hammer concessionwhere the aim is to swing the hammer hard enough down ontoits target to ring the bell and register the 100 mark. Miriamis in the foreground of the shot. The first boy steps up totry his hand. As he swings, Miriam turns and glances abouther, obviously looking for Bruno.LONG SHOT FROM MIRIAM VIEWPOINTThe crowds milling, but no sign of Bruno.     Converted to PDF by www.screentalk.org                 30.MEDIUM SHOTThe first boy having failed to ring the bell, the secondstops up and slams the hammer down.CLOSE SHOTThe register shooting up only to the hallway mark.CLOSE SHOT MIRIAMShe looks a little disdainful and again glances around forBruno. Looking first to her left where she sees nothing,she then looks to her right, and as she does THE CAMERA PANSto show Bruno standing right it her shoulder. Miriam givesa little start. Bruno smiles at her. With a smirk he walksover and after paying his fee, goes to take up the hammer.CLOSE UP MIRIAMShe watches Bruno.CLOSE SHOTBruno looks down at his hands.INSERTBruno's two strong hands - as he holds them palms tiltedupward and fingers curled in.CLOSE UPBruno, as he smiles faintly, glancing across at Miriam.CLOSE UP MIRIAMShe gives a faint smile in return.CLOSE SHOTWith a studied movement, Bruno picks up the handle of thehammer and swings.     Converted to PDF by www.screentalk.org              31.CLOSE SHOTThe register shoots up to the 100 mark and rings the bell.MEDIUM SHOTBruno drops the hammer and glances around at Miriam again.Her two boy-friends are calling for her from a littledistance.                         BOY'S VOICE             Come On, Miriam. Come On!CLOSE SHOT MIRIAMShe turns away and is lost in the crowd.MEDIUM SHOT OVER BRUNO'S SHOULDER AT MERRY-GO ROUND INBACKGROUNDBruno turns to follow Miriam, his manner casual. As he takesa few steps, WE PAN ACROSS with him until, over his shoulder,we see a merry-go-round in the background. Miriam and thetwo boys are aboard and climbing onto horses. As Bruno goestoward the merry-go-round, the CAMERA MOVES UP A LITTLE withhim. The merry-go-round starts to move slowly round as Brunohops on.MEDIUM SHOT ON MERRY-GO-ROUNDBruno begins to look around for Miriam, who is apparently onthe other side of the merry-go-round. He starts to threadhis way through the horses which are beginning to move upand down. CAMERA FOLLOWING HIM. He passes one or two ofthe oncoming heads before he reaches Miriam. She is on anoutside mount which is high in the air when she sees Brunofacing her. Her laughter dies for a moment and she smilesat him coyly. Bruno passes her and gets on the horse directlybehind her, Miriam glancing at him as her horse comes down.MEDIUM SHOT BRUNO ON HORSEWith horse's head in foreground, as it is coming toward us.     Converted to PDF by www.screentalk.org                32.SIDE VIEW MIRIAMMiriam on her horse, moving from left to right. Miriam,holding the reins, glances back with a gay laugh.SIDE VIEW BRUNOBruno on his horse, as though he is chasing Miriam.    He is alittle more open now in his laughter.GROUP SHOT MIRIAM AND TWO BOYSMiriam and her boy friends begin to sing the song being playedon the calliope.CLOSE UP MIRIAMAs she starts to sing, she glances back.CLOSE UP BRUNOHe is starting to join in the singing.MEDIUM SHOTThe horses of the merry-go-round are filling the screen asthey whizz by, and again we get the picture of Bruno chasingMiriam as they rush past the CAMERA, the music and tempo ata high speed.                                              LAP DISSOLVE TO:EXTERIOR OF BOAT LANDING ON SHORE OF ARTIFICIAL LAKEAcross the water may be seen a small wooded island. Betweenthis and the boat landing there is an artificially constructed"Tunnel of Love".We see Miriam and her companions approach the boat concessionand CAMERA FOLLOWS THEM onto the little landing stage. CAMERAMOVES UP SLOWLY over the boy's shoulders until we get MIRIAMIN CLOSE UP. She glances back. Her expression changes to acoy smile of satisfaction as she sees:     Converted to PDF by www.screentalk.org                 33.MEDIUM SHOT (FROM MIRIAM'S VIEWPOINT)Bruno is approaching the pay box.MEDIUM SHOTMiriam and her companions are escorted to a small boat withelectric motor. Once they are seated the boat chugs awayfrom the landing stage and off into the darkness.Bruno steps into the foreground and gets into the next boatwhich floats alongside. He, too, moves away into thedarkness.ENTRANCE TO THE TUNNELAs Miriam's boat passes through, she gives another littleglance over shoulder before her boat disappears into thedarkness of the tunnel.After a brief moment Bruno's boat comes into the picture,and it, too, goes into the tunnel.INSIDE THE TUNNELWe see the silhouettes of the occupants of Miriam's boat onthe wall of the tunnel, lit dimly from the light coming fromthe tunnel exit.The silhouette of Bruno in his boat, lit by the tunnelentrance, gradually approaches the other three. When thesilhouettes are almost touching, we --                                                     CUT TO:EXIT OF THE TUNNELIt is empty. There is a sudden piercing scream from inside,followed after a second or two by protestations and gigglingas Miriam's boat emerges into the light. She is pushing oneof the boys away from her.                      MIRIAM              (squealing)          George, stop it, I tell you!Their boat moves out of the picture, toward the island.Presently Bruno's boat comes smilingly following and he,too, moves on out of the picture.     Converted to PDF by www.screentalk.org                 34.MEDIUM SHOT ISLANDThe group of Miriam and her companions are scrambling out oftheir boat and moving onto the island, one of the boys tryingthe boat on the shore. They disappear into the Woods of theisland.Again Bruno's boat comes into the picture. He steps out,lift the prow of the boat a little onto the shore.LONG SHOT ISLANDWe see the amusement park lighted beyond the lake.Silhouetted in the foreground, the trees and foliage of theisland. Nearby we see the silhouetted figures of Miriam andher companions move across the scene, right to left. Miriamis pushing George away from her.                      MIRIAM              (protesting               perfunctorily)          George, no!She backs away from him and the boys go on picture. Miriamgoes in another direction, around, the bushes. Georgeobviously misses her, for we hear his voice call out:                      GEORGE'S VOICE          Miriam!Miriam backs out of the bushes   until the back of her head isin CLOSEUP in the foreground of   the shot. Suddenly she hearssteps in back of her and turns   her head toward CAMERA. Herface changes as she recognizes   someone offscene.                      MIRIAM          Oh!She gives a coy smile of recognition. CAMERA   PULLS BACK toreveal the mad and shoulders of Bruno between  Miriam and thecamera. His hand holds Guy's lighter which he   flicks on ashe raises it above Miriam's face. 0f Bruno, we  see only theback of his head and shoulders.                      BRUNO          Is your name Miriam?                      MIRIAM              (with surprise)          Why yes. How did you --     Converted to PDF by www.screentalk.org                 35.We see Bruno's gloved hands dart quickly to Miriam's throat.The lighter falls down out of picture, and as Bruno's handsgrip her throat, his head moves slightly to blot out Miriam'sface. His head moves a bit farther until Miriam's face isnearly uncovered at the other side of the screen, and we seeher glasses fall off.CLOSE SHOTMiriam's glasses hit the ground. The shadows of theirstruggling figures over the shot.CLOSE UPThe screen is filled with one of the lenses  of the glasses.They are of the diminishing type. Against   the moonlit skywe see reflected, the elongated struggling  figures, as thoughwe were shooting up at them. Suddenly one   of the figuresfalls forward.CLOSE UPMiriam's head drops into the picture by the glasses.Bruno's hand comes into the picture and picks up the glasses.One of the lenses has been broken by Miriam's fall.As we see Bruno's sport shoes move away, the CAMERA MOVESPAST MIRIAM'S HEAD until it comes to Guy's lighter pressedinto the earth.CLOSE UP BRUNOBruno glances back over his shoulder.   He looks down andgoes back one or two steps.CLOSE UP BRUNO'S HANDBruno's hands retrieve the lighter from the ground.LONG SHOT ISLANDWe see a full view of the island again, with the amusementpark beyond. The faint noise of the calliope continues inthe distance. Bruno has been lost to view.     Converted to PDF by www.screentalk.org                  36.Miriam's companions are still searching for her.   We heartheir faint voices in the distance.                       VOICES          Miriam!   Miriam! Where are you?MEDIUM SHOTBruno comes to the shore where his boat is moored. He getsin and is quickly chugging away. He moves calmly, matter-of-fact and not furtively.LONG SHOT LAKEBruno's boat throbbing its way across toward the landingstage.MEDIUM SHOT LANDING STAGEThere are two boats unloading. Bruno's boat is approaching.We hear a loud call from the island. Someone has foundMiriam.                      VOICES          Hey, here she is! What's the matter          with her? Has she fainted?More shouts from the island cause the people at the landingstage to look back.  The boatman's attention is alsoattracted. Suddenly,  as Bruno is getting out of boat, thereis a loud scream from the island.                       VOICE              (crying out)          She is dead!                      OTHER VOICE              (from island)          Help! Help!Bruno by this time has stopped onto the landing stage, andin company with the other people, is looking back as if tosee what's wrong on the island. Then he moves away, startingoff of the landing stage. The boatman turns and glances atBruno, but quickly returns his attention to the disturbanceacross on the island. He hurries forward and with a coupleof men passengers jumps into one of the boats. He calls tohis assistant as he gets into the boat.     Converted to PDF by www.screentalk.org                37.                       BOATMAN          Got a cop!The assistant runs off out of the picturesMEDIUM SHOT BRUNOAs Bruno calmly threads his way along the midway, we hearabove the noise of the various concessions, a shrill policewhistle in the distance. Presently a couple of policemencomes running from direction of the main entrance and pastBruno. He glances at them over his shoulder, then strollson toward the main entrance to the park.ENTRANCE TO AMUSEMENT PARK EXTERIORAs Bruno comes out through the turnstile, he stands for amoment on the street. At this moment a man hesitates at thecurbstone. He is blind and tapping the sidewalk with hiswhite cane. He takes one step into the roadway, thenhesitates. Bruno steps forward and takes the blind man'sarm. CAMERA PULLS BACK as Bruno escorts the blind man acrossthe road. With a sweeping gesture he holds back a couple ofcars to lot them pass.Once on the other side of the road, the blind man utters histhanks.                       BLIND MAN          Thanks.He goes off.Bruno looks back toward the park, then glances down at hiswristwatch.INSERT BRUNO'S WRISTWATCHThe time is 9.30.                                              LAP DISSOLVE TO:INT. OBSERVATION CAR OF A TRAIN NIGHTThrough the rear window we see the tracks rushing away fromus. Seated in the foreground are Guy Haines and a ratherprofessorial type opposite him, a bespectacled man aroundforty-five or fifty who is extremely drunk.     Converted to PDF by www.screentalk.org                38.MEDIUM SHOT GUYHe is reading an evening newspaper.CLOSE SHOTThe feet opposite Guy stretch out and touch Guy's feet.CLOSEUP GUYHe lowers his paper and looks across.MED. SHOTThe drunk opposite   Guy looks down at his feet and then up toGuy resentfully as   though Guy had kicked him. He eyes Guyup and down, then   suddenly, without warning, bursts intosong, to the tune   of the Barber Shop Chord.                         COLLINS             There was a man, now please take             note. There was a man who had a             goat. He loved that goat, Indeed he             did. He loved that goat, just like             a kid.                 (He stops singing                  abruptly and addresses                  Guy)             What is your opinion?                          GUY                 (amused)             You'll never make the Metropolitan.                         COLLINS                 (fuzzily -- pumping                  Guy's hand)             Name's Collins. On sabbatical -             Delaware Tech. Glad to meet you. I             jus' gave a speech in New York. On             integration. In the differential             calculus a function is given and its             differential is obtained. Understand?                         GUY                 (solemnly)             Sure, I understand.     Converted to PDF by www.screentalk.org                 39.                         COLLINS                 (resentfully)             Y'do?Again he bursts into loud song.                                              LAP DISSOLVE TO:LONG SHOT WASHINGTON EXTERIOR ABOUT 1 A.M. MOONLIGHTA solitary taxi is seen driving past the Capitol Building.                                              LAP DISSOLVE TO:The taxi comes to a side street and stops outside a smallapartment house.MED. SHOTGuy gets out of the taxi with his rackets and bag, pays thedriver and goes up the steps to the front door of hisapartment.CLOSE SHOTAs Guy is about to enter the front door and we see his nameposted on a small card as one of the several tenants, hehears a soft call from across the street.                               VOICE                    (softly)             Guy!Guy turns his head and looks across the street.MED. LONG SHOT (FROM GUY'S VIEWPOINT)We see a small space between two houses across the street.Out of the darkness the voice repeats.                         VOICE             Over here, Guy.MED. SHOT GUYHe turns, and with a slightly bewildered and wary expression,goes out of the picture to cross the street.     Converted to PDF by www.screentalk.org                40.MED. SHOTGuy reaches the other side of the street and still puzzledand cautious, approaches the dark alleyway.MED. SHOTAfter a moment a figure steps out of the darkness. It isBruno. He steps back into the darkness again as Guy comesup to him.TWO SHOTGuy frowning in puzzlement as he looks at Bruno.                        BRUNO                (cheerfully)            Hello, Guy.                        GUY                (recognizes Bruno --                 not pleased)            What are you doing here?   At this            time of night?                        BRUNO                (a little sadly)            You don't seem very pleased to see            me, Guy.Guy stands without answering.                        BRUNO                (pleased again)            I brought you a little present.                        GUY            What do you mean?Bruno's hand comes out of his pocket and he hands Miriam'sglasses to Guy.INSERTGuy's hands taking Miriam's glasses from Bruno.    One of thelenses is broken.     Converted to PDF by www.screentalk.org                41.TWO SHOTAs Guy takes the glasses he looks at Bruno in bewilderment.                       GUY           What's this all about?                       BRUNO           Recognize them?CLOSEUP GUYHe looks down at the glasses, mystified.   He looks up againto Bruno.CLOSEUP BRUNO                       BRUNO           It was very quick, Guy. She wasn't           hurt in any way. It was all over in           no time.CLOSEUP GUYHe is horrified. He looks swiftly down at the glasses inhis hand, then back to Bruno.                       BRUNO'S VOICE               (bragging)           I know you'd be surprised. Nothing           for us to worry about. Nobody saw           me, only Miriam.TWO SHOTGuy can hardly believe what he is hearing.                       BRUNO           I was very careful. Even when I           dropped your lighter there, I went           right back to it up. If It'd been           found, it would have ruined our whole           scheme, wouldn't it?                       GUY           Are you trying to tell me you've --           Why, you maniac!     Converted to PDF by www.screentalk.org            42.                      BRUNO              (looks at Guy with               astonishment)          But, Guy, you wanted it! We planned          it on the train together, remember?Guy suddenly starts to go.   Bruno grabs his arm.                      BRUNO          Where are you going?                      GUY          Where do you think I'm going? I'm          going to call the police, of course.                      BRUNO          But you can't, Guy. We'd both be          arrested for murder.Guy turns back slowly and faces him.                      GUY          We'd both be arrested for murder?                      BRUNO          You're is much in it as I am. We          planned it together. Criss-cross.          I do your murder --                      GUY              (suddenly angry)          You crazy fool! You think you can          get away with that?                      BRUNO              (a little hurt)          Oh, come now, Guy. Why should I go          to Metcalf and kill a total stranger,          unless it was part of the plan and          you were in on it? You're the one          that benefits, Guy. You're a free          man. I didn't even know the girl.Guy makes a move to leave, but Bruno holds on tight.                      GUY          Let me go, Bruno. I had nothing to          do with this and the police will          believe me.     Converted to PDF by www.screentalk.org                43.                       BRUNO               (concerned)           If you go to the police now, you'll           just be turning yourself in as in           accessory. You see, you have the           motive.At this moment both turn at a sound across the street.LONG SHOT (FROM THEIR VIEWPOINT)We hear the sound of a telephone ringing in Guy's apartment.The top of one of his windows is open.                         BRUNO           What is it?                       GUY           My telephone.                        BRUNO               (amused)           Someone has some news for you, Guy.Guy still stares across the street.LONG SHOT (FROM HIS VIEWPOINT)We see a police car pull up outside Guy's apartment.TWO SHOTBruno pulls Guy back further into the shadows. Guyinstinctively flattens himself against the wall. He looksacross the street again.LONG SHOT (FROM HIS VIEWPOINT)We see the two policemen go into his apartment building.TWO SHOTGuy is still flattened against the wall to keep out of light.                       BRUNO           Tell them you know about it already,           Guy.     Converted to PDF by www.screentalk.org                  44.CLOSEUP GUYHe looks across at the police, then down at himself withsome surprise and disgust, then over at Bruno, suddenlyconscious he is behaving like a criminal and that Bruno isresponsible for his predicament.                       GUY               (muttering)           You've got me acting, like a criminal,           you crazy fool!Bruno for a moment looks menacingly at Guy.                       BRUNO           Don't you call me that.Bruno's flare of anger dies.   They both look again acrossthe street.LONG SHOT (FROM THEIR VIEWPOINT)The two policemen come out of the house, get into their carand drive off.Guy's telephone is still ringing.TWO SHOT                       BRUNO           You must be tired, Guy. I know I           am. I've sure had a strenuous           evening.Guy looks at him, almost numb.                       BRUNO           Now look, Guy, about my father. I           have the plans made. Two plans. A           plan of the grounds and a plan of           the house. I have in old Luger I           bought at a pawn shop in San           Francisco. My father --Guy turns and starts to move in across the street.TWO SHOTBruno follows Guy and we FOLLOW them across the street.CAMERA ON THEIR BACKS. Guy strides ahead to the house.     Converted to PDF by www.screentalk.org                45.                      BRUNO          Wait a minute, Guy. To have to talk.          We have to arrange things.Guy turns at the door to his apartment building.                       GUY              (furiously)          Get away before I give you what you          gave Miriam.                      BRUNO              (sadly)          You're not yourself, Guy. You're          tired. When you think things over,          you'll see I'm right. Tomorrow --Guy opens his door, turns on Bruno.                      GUY              (with finality)          I don't know you. I never saw you          before. I never want to see you          again.He goes in and slams the door in Bruno's face.                      BRUNO              (to the closed door)          But we have to --He realizes there is no use in trying to talk to Guy anyfurther. He turns and faces the CAMERA IN CLOSE UP as hemoves away, looking sad almost to the point of tears.INT. GUY'S APARTMENTGuy is standing at the telephone which is still ringing. Hehas Miriam's glasses in his hand. He looks down at them fora moment, then picks up the receiver. He hesitates, thenspeaks into the phone.                         GUY                 (hoarsely, into phone)          Yes?              (Pause)          Yes, Anne. I'm sorry, darling.   I          just got in.              (pause)          Of course I'm all right.                       (MORE)     Converted to PDF by www.screentalk.org                46.                       GUY (CONT'D)              (forcing his voice to                sound normal)          But you sound upset. Is anything          wrong?              (Pause)          All right. I'll come over. Right          away.He hangs up but keeps his hand on the telephone, deliberating.He starts to dial, then suddenly hangs up and starts out.                                                 DISSOLVE TO:EXT. A RESIDENTIAL STREET, WASHINGTON LONG SHOT NIGHTA taxi drives up and stops in front of a handsome residence.It is the Burton home. Guy gets out of the taxi and goes upthe steps.MED. SHOT OVER GUY'S SHOULDERHis figure tense, he rings the   bell. After a moment's wait,the door is opened from inside   and Anne Burton stands in thelighted hallway. She looks at    Guy with an anxious, tautexpression, searches his face   hastily, then as he takes astep inside she is suddenly in   his arms. They embrace withwordless fervor.                      GUY              (holding her close)          Anne darling, you're trembling.Anne draws back and looks into his face as if searching foran answer to some question in her mind.                       ANNE          Guy --               (her fingers gently                touch his face)          I wonder if you know how much I love          you.Guy takes her hand from hIs face, caresses it with his lips.                      GUY              (forcing a smile)          Brazen woman. I'm the one to say          that.     Converted to PDF by www.screentalk.org                47.                        ANNE                (tensely)            But I wanted you to know, before...                (forcing herself to                 be calm)            Before we go into the living room.Father wants to see you.CLOSEUP GUYHe looks apprehensively in direction of the living room,conscious of what the news is to be, but covering up.LONG SHOT LIVING ROOM FROM GUY'S VIEWPOINTSENATOR BURTON and BARBARA BURTON are seated near a desk onthe farthest side of the room. Senator Burton is adistinguished fifty, a man with great pride in tradition,his family and his career. Barbara, Anne's younger sister,is a lively seventeen who loves excitement, says exactlywhat she thinks and rarely thinks before she says it.Superficially, in height and figure, she resembles Miriam.She also weirs glasses. By her gestures we gather she isspeaking urgently, but softly, to her father, who lifts aweary hand to quiet her as she looks toward Guy in thehallway, Barbara keeps quiet and also looks toward Guy.They both wait for him to enter.CLOSEUP GUYHe steels himself for the long walk across the hall and theliving room.CLOSEUP ANNEWatching Guy closely.MED. SHOTAs Guy starts to make the long trek across the living room,with Anne behind him --                        GUY                (stiffly)            Good evening, sir.   Hello, Babs.     Converted to PDF by www.screentalk.org                 48.Barbara has been squirming in her seat, then as if jetpropelled she catapults out of it and runs to Guy, givinghim a big hug and a smack on the cheek.                      BARBARA          Something awful has happened, Guy.                       SENATOR              (firmly)          Sit down, Barbara.Subdued, she sits down.   But Guy remains standing.                      SENATOR              (finding it difficult               to begin)          There seems to be no way of          diplomatically breaking tragic news.          I'm sorry, Guy, to be the one to          tell you. It concerns your wife.          She's been murdered.Guy stares woodenly at the Senator, is if hypnotized.                      BARBARA          The police have been using everything          but radar to locate you.                      SENATOR          You're to call Headquarters at          Metcalf.The full impact of what has happened hits Guy once more.                      GUY          Miriam...murdered.                      ANNE              (with inner tension)          She was...strangled.Slowly Guy's eyes meet hers. They are remembering what hesaid on the phone: "I could strangle her." He sinks into achair. The Senator is quite distressed.During the following scene Barbara quietly goes about thebusiness of pouring drinks and serving them. She knowseveryone's preference.Converted to PDF by www.screentalk.org      49.                SENATOR        (wrylt, to Guy)    It happened on an island in an    amusement park. It was sort of a    lovers lane, I believe. A rather    sordid atmosphere.                BARBARA        (quickly, to Guy)    Miriam went there with two boys.    They were the ones who found her.    So they're not suspects. But you    probably will be.                 SENATOR    Young lady, we can't overlook the    fact that murder is at our doorsteps.    But I forbid you to drag it into the    living room!                BARBARA        (wide-eyed)    Let's not fool ourselves. The police    will say Guy wanted Miriam out of    the way so he could marry Anne. In    a crime of this sort the police first    go after the husband, and Guy had    every motive.                   SENATOR        (aghast)    Motive?                GUY        (quietly)    She's right. Whichever way you look    at it...I'm in a spot.                SENATOR        (disconcerted but         whistling in dark)    Oh come now, my boy. I'm sure you    have nothing to worry about.                 BARBARA        (flatly)    If he hasn't an alibi for nine-thirty    tonight he has plenty to worry about.     Converted to PDF by www.screentalk.org              50.                      ANNE              (who hasn't taken               anxious eyes off Guy)          You can tell them where you were,          can't you, Guy?                      GUY              (wearily)          At nine-thirty I was on the train          from New York to Washington.                      SENATOR              (relieved)          There you are.                      BARBARA          Who saw you? Did you speak to anyone?          You'll need a Witness, you know.                      GUY              (as if it didn't matter)          Yes, I spoke to someone.                      SENATOR              (hopefully)          Anyone you know?                     GUY          No. His name was Collins.   He is a          professor.                      SENATOR              (brightening)          Harvard.                      GUY          University of Virginia.The Senator's expression says: "Well, that's not too bad."CLOSEUP ANNEHer face shows her relief that Guy can account for his time.                      ANNE          Then everything's's all right.     Converted to PDF by www.screentalk.org        51.BACK TO SCENE                      BARBARA          Not quite. Detectives play a game          called Motive, Motive, Who'd got the          Motive.                      ANNE              (near the breaking               point)          I'm sick of hearing that word!                      BARBARA          He'll still have to answer questions.                       SENATOR          Routine.   Pure routine.                      GUY          I'm afraid there'll be a lot of          reporters at your front door in the          morning.                      BARBARA          Daddy doesn't mind a little scandal.          He's a senator.                      ANNE              (answering Guy's look)          It can't be helped, darling. It is          not your fault. It's not as though          anyone can say you had something to          do with it.                      GUY          Someone might say it...I'd do anything          to keep you all out of this mess.                      SENATOR          Profit by my experience, Guy. Never          lose any sleep over accusations.              (an afterthought)          Unless they can be proved, of course.          We'll help all we can. Dreadful          business, dreadful. That poor          unfortunate girl.                       BARBARA              (flatly)          She was a tramp.     Converted to PDF by www.screentalk.org              52.                      SENATOR              (pontificially)          She was a human being. let me remind          you that even the most unworthy of          us has the right to life and the          pursuit of happiness.                      BARBARA              (unimpressed)          From what I hear, she pursued it in          all directions.                         SENATOR          Barbara!                      ANNE          Father, it's getting terribly late,          and Guy looks so tired...                      SENATOR              (quickly)          Of course, of course.    Back to bed,          Barbara.                       BARBARA              (ignoring this - to                Anne and Guy)          Well, you two. Nothing stands in          your way now. You can be married          right away. Think of it -- you're          free!CLOSE TWO ANNE AND GUYlook at one another with a growing realization of whatMiriam's death actually means to their happiness -- they arefree.BACK TO SCENEThe Senator firmly urges Barbara to the door.                      SENATOR              (to Barbara)          One doesn't always have to say what          one thinks!                      BARBARA              (sweetly)          Father, I'm not a politician.     Converted to PDF by www.screentalk.org                   53.The Senator gives her a gentle but firm push out of sight.                       SENATOR           You won't forget that call, Guy?           Captain Turley.                        GUY           Yes sir.   Goodnight.Barbara pokes her head quickly around the door.                       BARBARA           I still think it would be wonderful           to have a man love you so much he'd           kill for you.               (she ducks out)TWO SHOTLeft alone, Guy and Anne embrace. Anne's nervous tensioncomes to the surface in a flood of relief.                       ANNE           I told myself over and over I was           being silly, but there was one           horrible moment tonight when the           news came through. I kept remembering           what you shouted telephone from           Metcalf.                       GUY           That I could strang...Anne quickly puts her fingers over his mouth.                       ANNE           Don't even say it.   Forget you ever           said it. Even more   terrifying than           the murder itself,  Guy, was the awful           thought that if you  had anything to           do with it we'd be  separated, -perhaps           forever. I'd never   see you again.           I couldn't bear it.                                                     DISSOLVE TO:LONG SHOT MAIN STREET OF METCALF DAYwith its customary mid-afternoon activity.                                              LAP DISSOLVE TO:     Converted to PDF by www.screentalk.org                  54.EXT. METCALF POLICE HEADQUARTERS DAYA knot of people are hanging around the entrance, includinga few newspaper photographers. There is a rush of interestwhen a taxi pulls up and Guy steps out of it. Guy pusheshis way through the people. Two or three bulbs flash. Thereis a murmur from the crowd and we hear Guy's name. He passesinto the entrance.INT. CORRIDOR OF POLICE HEADQUARTERSGuy comes into the corridor from the street and approachestwo policemen who are standing nearby.                      GUY          Captain Turley's office?One of the policemen gestures to a door at the right.    Guycrosses and enters.INT. RECEPTION ROOM OUTSIDE CAPTAIN TURLEY'S OFFICEAt one side of the room is a young police sergeant seated ata typewriter. A group of people are seated in chairs linedagainst the opposite wall.Guy enters, crosses to the sergeant at the desk.                      GUY          Captain Turley is expecting me.   Guy          Haines.                      SERGEANT          Just a moment, Mr. Haines.He rises and goes into an adjoining room.CLOSEUP GUYHe now has time to take stock of the waiting people.    Hecatches his breath when he sees:CLOSEUP MRS. JOYCEMiriam's mother, dressed all in black, is seated in one ofthe chairs. She has been staring at the floor, but bringsher eyes up slowly to glare at Guy with a look of burninghatred.     Converted to PDF by www.screentalk.org                55.                        MRS. JOYCE                (a fierce whisper)            You'll pay for this!CLOSEUP MR. HARGREAVESMr. Hargreaves from the music shop looks across at Guy,attempts in awkward nod but is very embarrassed.CLOSEUP GUYGuy nods in returns.MED. SHOTThe two boys who were with Miriam at the amusement park.They look at Guy with interest.MED. SHOT GUYHe looks about him uncomfortably, then turns suddenly as hesees:MED. SHOTSeated behind Guy, apart from the others who are waiting, isProfessor Collins, Guy's drunken companion on the train ofthe night before. The professor is completely sober now,dignified and erect. He has removed his glasses to polishthem and does not react to Guy's presence.CLOSEUP GUYGuy starts with a smile of recognition to say, "How do youdo?" but at that moment he hears the door open and his namecalled:                        SERGEANT'S VOICE            Will you come in, please, Mr. Haines?MED. SHOTGuy breaks away from his uncompleted greeting to the professorand goes through the door to Captain Turley's office, followedby the eyes of the waiting people.     Converted to PDF by www.screentalk.org              56.INT. CAPTAIN TURLEY'S OFFICECAPTAIN TURLEY is conscientious, methodical and always polite.He puts aside photographs and records and rises from behindhis desk as Guy comes in. A detective lieutenant, CAMPBELL,is attending a coffee maker. Their expressions are grave bycontrast with Guy's confident attitude after seeing theprofessor in the waiting room.                        CAPTAIN TURLEY            Good of you to be so prompt, Mr.            Haines. This is Lieutenant Campbell.                (the two nod to each                 other)            Won't you sit down?                        GUY            Thank you, sir.                (he sits)                        CAPTAIN TURLEY            I know you're a busy man, so   we won't            detain you any longer than            necessary...Now you already been            good enough to tell us where you            were last evening, and we've managed            to locate the gentleman you spoke            with on the train.Turley signals to Campbell to call the professor in.                        GUY                (brightening)            Yes. I saw him outside.                        CAMPBELL                (at open door)            Will you come in please, professor?CLOSEUP GUYHe looks up eagerly.MED. SHOTProfessor Collins comes in and sits in a chair opposite Guy.                        TURLEY            Professor Collins, this is Mr. Haines.            He was with you on the train last            night.     Converted to PDF by www.screentalk.org              57.The professor studies Guy for a moment, then awkwardly turnsto Turley.                         COLLINS             I'm terribly sorry, but I really             don't remember meeting this gentleman.CLOSEUP GUYSurprised.    His confident expression fades.CLOSEUP PROFESSOR COLLINSHe turns from the captain to Guy.                         COLLINS                 (apologetically)             Unfortunately, I remember very little             about the journey from New York...You             see, there had been a little             celebration --MED. SHOT GROUPGuy interrupts with a slight note of impatience.                         GUY             But we were sitting opposite each             other in the observation car! You             were singing a song about a goat --                         COLLINS                 (incredulously)             A goat?                         GUY                 (urgently)             And calculus. You were going over a             speech you'd made.Turley and Campbell are watching closely.                         COLLINS             I was? I'm sorry, Mr. Halnes.                 (shakes his head)             I certainly must have celebrated!   I             can't remember you at all.     Converted to PDF by www.screentalk.org                58.CLOSEUP GUYMomentarily Guy is frustrated, then he turns quietly toTurley.                      GUY              (calmly, logically)          Captain, is it so important whether          or not Professor Collins remember          me? Surely, the important thing is          that I've been able to name a man          who was on the train with me. You've          been able to find him. Isn't that          proof of where I was at nine-thirty          last night?Guy asks this question with a look of near triumph that hehas clearly established his alibi.                                                  DISSOLVE TO:INT. BURTON LIVING ROOM EVENINGThe Burtons are having coffee. Barbara has been glancingthrough a new murder mystery with a lurid cover. As Guyenters, Anne rises to greet him.                      ANNE          Hello, darling. Have you had your          dinner?                      GUY          On the train.                      ANNE          You weren't in Metcalf all this time?          We expected you hours ago.                       BARBARA              (flatly)          I didn't. They sometimes throw a          suspect in the can and keep him there          all night.                      SENATOR              (after a disapproving               glance at Barbara)          Sit down, Guy. Sit down.    Give him          some coffee, Anne.                      (MORE)Converted to PDF by www.screentalk.org       59.                SENATOR (CONT'D)        (back to Guy)    You had no trouble with the police    of course, once they verified your    alibi?                GUY        (morosely)    When an alibi is full of bourbon,    sir, it can't stand up.                BARBARA    You mean the professor was boiled?                  GUY    Completely.    He didn't remember me.                ANNE    But, you knew he was on the train!    Wasn't that enough to prove you were    on it, too?                GUY    Apparently not at the right time.    They suggested I could have caught    the train at Baltimore after Miriam    was murdered. They had it all worked    out --        (taps his head)    in their timetables.                ANNE        (growing indignant         and increasingly         nervous)    That's ridiculous. They're acting    as if you were guilty.                BARBARA        (somewhat subdued and         trying to be         comforting)    Everything will be all right, Anne.    The police were just being thorough --        (she's unsure of         herself, and defers         to the senator)    Weren't they, daddy?                 SENATOR    I certainly hope so.        (to Guy)    What is your next step?     Converted to PDF by www.screentalk.org                60.                       GUY              (wryly)          Whatever it is, the police will know          it. They gave me a present -- come          take a look.He crosses to the window, lifts the curtain slightly, thenturns back to the others.                      GUY              (continuing)          My guardian angel.The group move to look out the window, the senator withreluctance.LONG SHOT EXT. STREET FROM THEIR VIEWPOINTThrough the window we see the figure of a man across thestreet. He is lighting a cigarette and strolling up anddown.BACK TO GROUP                      BARBARA              (impressed)          You're being tailed!                      GUY              (turning to them)          That's Leslie Hennessy. He works          sixteen hours a day. Somebody else          takes over for the next eight.              (drops the curtain,               turns back into room)          As a matter of fact, Hennessy's a          very nice fellow.                      BARBARA          Shouldn't we ask him in for Coffee --          or something?Nobody bothers to answer her. The Senator is disturbed, butconfident of his own prestige as he goes back to his coffee.                      SENATOR          I'll have him called off immediately          of course.     Converted to PDF by www.screentalk.org               61.                       GUY              (calmly)          I'm afraid where I go, Hennessy goes.          Even to the Senate.                      SENATOR              (Pausing with his cup               hallway to his mouth)          Is he likely to -- picket my office?                         GUY          Very likely.The Senator's cup is suddenly back on its saucer and he ison his feet, pacing nervously.                       SENATOR          I would suggest, Guy, for your own          peace of mind, of course, that you          work here at the house for a few          days.               (a pause)          It would be less embarrassing for          you.Guy has been looking at Anne and is concerned at the worryon her face. He nods in assent to the Senator's suggestion,but puts his hand over Anne's.                      GUY              (hopelessly)          Then what about practicing? Perhaps          I'd better forget Forest Hills?                      SENATOR          My dear boy, wouldn't it look rather --          awkward -- if you suddenly canceled          all your plans.                      ANNE          He's right, Guy. You mustn't do          anything that would look suspicious.          You've got to carry on as though          nothing has happened.                       BARBARA              (pointing out the               window)          Escorted by Mr. Hennessy.The are crestfallen again. RANDALL, the manservant, hasentered with the telephone.     Converted to PDF by www.screentalk.org               62.                      RANDALL          A call for you, Mr. Haines.   They          say it is urgent.The phone is plugged in to a connection and Guy crosses theroom and picks up the receiver. The Burtons watch him.                      GUY          Hello --INT. TELEPHONE BOOTH BIG HEAD CLOSEUP OF BRUNOHis face wears the most affable expression.                      BRUNO          Hello, Guy. I tried your apartment,          but --              (pause)          Why, Guy, this is Bruno!INT. BURTON LIVING ROOMGuy hangs up the telephone quickly.   He looks at the others,awkwardly tries to explain:                      GUY          Must be some mistake.   It wasn't for          me.His embarrassment grows as Anne looks at him with a puzzledexpression.                                                    FADE OUT.FADE INEXT. WASHINGTON STREET APPROACHING JEFFERSONS MEMORIAL DAYGuy and HENNESSY are walking along the street together, CAMERAMOVING WITH THEM. Their relationship is most friendly. Guycarries a briefcase. Hennessy is an amiable but not gullibleyoung man in his early thirties. He knows his job, is wellgroomed, well educated, and well liked.                      GUY          Well, I suppose I was pretty lucky          to be seeded fifth, really.     Converted to PDF by www.screentalk.org              63.                      HENNESSY          I've never seen the Forest Hillss          tournament before. I'm looking          forward to it.                      GUY              (wryly)          Do you mean we'll be going there          together, Hennessy?                       HENNESSY          Oh, don't worry. This thing will be          cleared up by that time.               (changes the subject)          Ever thought of turning professional,          Guy?                      GUY          I won't have to do that. When I'm          through with tennis. I'll be going          into politics, I hope.                       HENNESSY              (aghast)          Politics! It's a good thing for you          I don't report that to the chief.He turns to light a cigarette. As he does, Guy gives a barelyperceptible start at what he sees offscene.LONG SHOT JEFFERSON MEMORIAL FROM GUYS VIEWPOINTThe tiny figure of a man is standing at the base of the tallwhite column. The figure lifts in arm and waves. Instincttells us that this is Bruno. Hennessy is still mumbling hisopinion of politics.                      HENNESSY'S VOICE          If he knew you were getting into          that rat-race --TWO SHOT GUY AND HENNESSYGuy turns his back on Bruno's figure and looks franticallytoward to street, wanting to get away.                      HENNESSY          -- He'd put ten men on your trail.          He says --     Converted to PDF by www.screentalk.org                 64.                        GUY                (interrupts)            Let's take this cab.   It's getting            late.He hails a taxi which is cruising by, and they start to getin. Guy directs the driver.                        GUY            Pentagon Building, please.                        HENNESSY            Oh, no, not there! I always get            lost.INT. TAXI CLOSE SHOTGuy turns and looks out of the window.LONG SHOT JEFFERSON MEMORIALfrom Guy's viewpoint, shot through the cab window. Again wesee the solitary figure of Bruno looking after Guy andbeginning to recede with the background as the cab startsoff.                                                   DISSOLVE TO:INT. GUY'S APARTMENT NIGHTAs Guy comes in from outside, there is a note on   the floorthat has been pushed under the door. Guy picks    it up, staresat it for a minute before he opens it. He takes    out ahandwritten note and reads it with an expression   of disgust.INSERT NOTE (IN GUY'S HANDS)IT READS:Dear Guy:We have to meet and make plans.Call me at Arlington ----.Time's getting short.                       BrunoThe handwriting is sprawling and erratic, embellished withconceited flourishes.       Converted to PDF by www.screentalk.org                65.MEDIUM SHOTGuy looks off for a moment with set face, then tearing thenote into shreds, crosses to a small desk, lights a matchand holds it to the fragments, letting them burn and fallinto an ash tray.Guy looks off for a moment with set face, then tearing thenote into shreds, crosses to a small desk, lights a matchand holds it to the fragments, letting them burn and fallinto an ash tray.                                                    DISSOLVE TO:LONG SHOT EXT. MELLON GALLERY LATE AFTERNOONCAMERA is in a low setup, to take in the sign across thedoorway which identifies the gallery. Hennessy stands inthe foreground in front of the building, on duty.                                                LAP DISSOLVE TO:INT. MELLON GALLERYGuy and Anne are walking slowly through a more or lessdeserted room of the gallery. Their manner is relaxed andintimate.                       ANNE           Well, we'd better be getting back.                       GUY           We've actually been alone for an           hour. Seems almost indecent. You           like?                          ANNE               (softly)           I like.                       GUY           I was beginning to feel like a           goldfish.                       ANNE           So was I. When we build our house,           darling, we won't even have glass           windows. No doorbells, no newspapers,           no telephone --     Converted to PDF by www.screentalk.org               66.                             GUY           No Hennessy.                       ANNE               (suddenly serious)           How long can it go on?                       GUY           I don't know. I suppose until they           find out who did it.                       ANNE           We'll be happier then, won't we?                       GUY           I suppose so.Anne looks it him, surprised at his lack of enthusiasm.They walk on out of the picture.A figure steps out from behind a pillar in the main hall ofthe gallery, near the spot from which they have disappeared.It is Bruno. He calls.                             BRUNO                  (softly)           Guy!Anne stops and looks back. Guy knows who it is and wouldnot turn but that he is forced to by Anne's action. He takesa few steps towards Bruno.CLOSEUPAnne watches Guy approach this stranger.   She looks downwardat Bruno's tie pin.CLOSEUPBruno's tie pin, bearing his name, gleams in the light.CLOSEUPAnne reads the name on the tie pin.TWO SHOTGuy comes up to Bruno, steps in front of him.     Converted to PDF by www.screentalk.org                67.                       GUY               (muttering harshly)           Will you stop pestering me!                       BRUNO           But Guy, you haven't called me. My           father's leaving for Florida the end           of this week --                       GUY               (interrupts)           You crazy fool! There's a detective           outside. He'll see us together!                       BRUNO               (brushing this off)           Oh, they can't have anything on you.               (looking past Guy)           Isn't that Anne Burton? Slight           improvement over Miriam -- eh, Guy?                       GUY           Stay away from me, I tell you!He leaves Bruno abruptly to rejoin Anne.    Bruno looks afterhim, a little hurt.TWO SHOTGuy rejoins Anne and they start to walk away.                       ANNE           Who was it, Guy?                       GUY               (unnerved)           I never saw him before.   Just some           tennis fan.Anne looks at him a little oddly.    He seems unduly concernedabout a casual stranger.CLOSEUP ANNEHer face is troubled.                                                     FADE OUT.     Converted to PDF by www.screentalk.org              68.FADE ININT. MORTON STUDY MED. SHOTGuy and a secretary have set up office in the Morton study.As the scene opens the secretary is handing Guy a largeenvelope.                      SECRETARY          Here's a special delivery, Mr. Haines.          It's marked personal.As Guy is opening the envelope, Barbara speaks to him fromatop a library ladder. She is getting a book from one ofthe top shelves of a bookcase, which is next to a window.                      BARBARA          Are you getting in any practice today,          Guy?                       GUY              (as he takes out a                large folded sheet                of paper and glances                at it, mystified)          Yes, if I can get a court at the          club.As Guy's hands unfold the paper and hold it for moment, wesee that it is a diagrammed plan of the grounds and theInterior of the Anthony house. There are dotted lines alongthe upper hall, with an arrow which points to one room andwhere Bruno has indicated in his handwriting, "My father'sroom." Over this we hear the voices of Barbara and thesecretary:                      SECRETARY'S VOICE          Barbara, who are you waving at?                       BARBARA'S VOICE          Mr. Hennessy. I think it is a shame          Daddy won't let us have him in the          house to sit down. Have you met him          yet, Louise?                      SECRETARY'S VOICE          No.                      BARBARA'S VOICE          He is awfully cute.     Converted to PDF by www.screentalk.org                 69.MED. SHOTGuy frowns, quickly folds the paper up and stuffs it intohis pocket. He looks off abstractedly.CLOSEUP SECRETARYShe looks at Guy sympathetically.                        SECRETARY            Is anything wrong, Mr. Haines?CLOSEUP GUYHer voice breaks his reverie.   He answers her with a forcedsmile.                        GUY            No, thank you, Louise.                                                    FADE OUT.FADE INTENNIS COURT AT WASHINGTON COUNTRY CLUBThere are twenty or thirty people sitting in the bleacherseats opposite the umpire's chair. A game of mixed doublesis in progress.MED. SHOT AT THE ENTRANCE TO THE COURTGuy appears, carrying his racquets. His partner for theforthcoming game, and one or two other players, are closeby.CLOSER SHOTGuy looks about him. Several people are looking at himawkwardly or avoiding his eyes. He moves self-consciouslyaway, and the CAMERA PANS HIM around the court to the umpire'schair.MED. SHOTA couple of women players whisper something about Guy as hegoes past them.     Converted to PDF by www.screentalk.org              70.                        FIRST WOMAN            I didn't think he'd show up after            what happened.                        SECOND WOMAN            And miss all the publicity?MED. SHOTAs Guy stands at the umpire's chair, the umpire glances downand gives him a rather embarrassed greeting.CLOSEUP GUYHe looks across at the watching crowd.MED. SHOT FROM GUY'S VIEWPOINTThe heads of the people in the bleachers move from side toside, to follow the play on the court. One head is notmoving. It is staring at Guy. It is Bruno.At this moment, we hear the umpire calling, "Game, set andmatch" to the winning mixed doubles pair.CLOSEUP GUYHis expression becomes set.LONG SHOTThe mixed doubles couples complete their handshaking at thenet and move off the court. We see Guy move up to the baseline while the other player takes his position for thepreliminary knock-up.MED. SHOTAs Guy casually knocks the ball across the net, he glancesagain toward Bruno.MED. SHOT FROM GUY'S VIEWPOINTBruno is making his way out of the small stand.     Converted to PDF by www.screentalk.org                 71.CLOSEUP GUYPerplexed and apprehensive as to what Bruno may be up to.He hears his opponent's voice.                        PLAYER'S VOICE          Ready, Guy?Guy shakes off his abstraction and poises himself to receivethe ball.                                              LAP DISSOLVE TO:MED. SHOT PASSAGEWAY LEADING TO TERRACEWe see Guy coming alone, having fInIshed his game. He iscarrying his rackets, wears a towel around his neck, etcetera.He walks into foreground, into CLOSEUP, and suddenly stopsshort at what he sees:MED. SHOT FROM GUY'S VIEWPOINTThe group at the table comprising Bruno, Anne and the twoFrench people. Bruno is preening himself as the others laughuproariously, obviously at something Bruno has said. Annecatches sight of Guy and smiles at him.CLOSE SHOT GUYCAMERA MOVES WITH HIM as he comes forward toward the table.MED. SHOT GROUP AT TABLEAs Guy comes into the scene.   He stands staring.                      ANNE          Guy, darling -- this is Mr. Antony --          a friend of Monsieur and Madame          Darville...              (to Bruno)          Guy Haines.CLOSEUP GUYHe gives a weak acknowledgment in Bruno's direction, realizingthat Bruno has wormed his way into the group and that hemust accept the introduction.     Converted to PDF by www.screentalk.org                72.MEDIUM SHOTBruno half rises, smiles affably at Guy, reaches out hishand. Guy is forced to shake hands with him                        BRUNO            I've been a fan of yours for a long            time, Mr. Haines. In fact, I follow            everything you do.                        MME. DARVILLE            Mr. Antony has been telling us such            charming stories... Very funny.CLOSEUP GUYHe gives another weak little smile.MED. SHOTIn response to the Frenchwoman's attentive and eagerexpression, Bruno leans forward on the table and starts sayingsomething more in extremely fluent French.CLOSEUP ANNEShe is staring at Bruno with a new expression.CLOSEUP FROM ANNE'S VIEWPOINTBruno's coat has spread open a bit, and his tie pin bearingthe name "Bruno" is resting on the edge of the table.CLOSEUP ANNEShe becomes aware that this is the man she has seen call toGuy in the art museum, that they have met before. Her eyesturn a little in Guy's direction, though she does not lookat him.CLOSEUP GUYHe is still watching Bruno talk to the French couple. Guyis unaware of Anne's looks. Suddenly his attention isarrested by the sound of Barbara's voice calling him.     Converted to PDF by www.screentalk.org                73.                      BARBARA'S VOICE          Guy!He turn his head and CAMERA PANS him to Barbara, who isstanding a few steps from the table beckoning to him.                      BARBARA              (Sotto voce)          I've just been talking to your shadow.              (very impressed)          Guy, did you know Mr. Hennessy helped          crack that axe murder I was reading          about? You know, the one where the          body was cut up and hidden in the          butcher shop? He was locked in the          ice box with the left leg for six          hours!                      GUY          He pulls those yarns right out of          his hat, Babs.CLOSEUP GUYHe gives a sharp look back toward Bruno. There is morelaughter coming from the French couple at the table.CLOSE SHOT GROUP AT TABLE FROM GUY'S VIEWPOINTBruno is occupied with his French joke, but Anne is lookingat Guy strangely.TWO SHOT GUY AND BARBARAGuy turns back to Barbara.    Barbara looks with interest towardBruno.                      BARBARA          Who's the nice looking Frenchman          with the Darvilles?                      GUY          He's not French.    His name's Antony.Barbara steps toward the table.MED. SHOT AT TABLEas Barbara joins the group.     Converted to PDF by www.screentalk.org               74.                      BARBARA          How do you do, Madame Darville.          Monsieur.They looks up.CLOSEUP BRUNOBruno stops in the middle of some French to stare at Barbara.Her voice continues.                         BARBARA'S VOICE          How are you?                      FRENCH COUPLES' VOICES          Delightful to see you. How sweet          you look, Miss Barbara.CLOSE SHOT BARBARA FROM BRUNO VIEWPOINT                      BARBARA          I hope you aren't forgetting our          little party on Thursday, Madame.From Bruno's viewpoint, as Barbara speaks,CAMERA MOVES INCLOSER until to faintest impression of the merry-go-roundfills the screen with the effect of whirling around Barbara'shead. Her glasses seem to glint until her eyes areobliterated by the glare.MED. SHOT THE GROUP                      MME. DARVILLE          We are planning on it?                      M. DARVILLE          But of course.All talk dies out as all eyes turn to Bruno, who is staringat Barbara. Except Anne's, who is saying quietly to Bruno:                      ANNE          This is my sister Barbara.       Barbara,          this is Mr. Antony.CLOSEUP BRUNOHe does not acknowledge the introduction immediately.   He isstill staring at Barbara. Then he nods abstractedly.     Converted to PDF by www.screentalk.org               75.CLOSEUP ANNEShe is looking at Bruno, wondering what mystery lies behindthis strange individual and why he and Guy have disclaimedany previous acquaintance.                                                    FADE OUT.FADE ININT. GUY'S APARTMENT NIGHTCLOSEUP A LUGER PISTOL HELD IN GUY'S HANDSCAMERA PULLS BACK TO SHOW Guy staring down at it. He ispartially dressed for an evening party, in black bow tie butwithout his jacket. He leans forward to take up a letterfrom among brown paper wrappings on the table.INSERT: LETTER               Dear Guy --               Just two more days left. We must               get together for final details.The note, in Bruno's handwriting, is unsigned.CLOSEUP GUYHe stares down at the note.   At this moment there is a knockat the door.MED. SHOTGuy hastily gather together the gun, the note and thewrappings and puts them in a dresser drawer. He crosses tothe door and opens it. Hennessy enters, carrying a topcoat.                        GUY            Hiya, Hennessy. Won't keep you out            late tonight.                (getting into his                 dinner jacket)            With Forest Hills coming up tomorrow,            I've got to get some sleep.     Converted to PDF by www.screentalk.org                 76.                      HENNESSY              (helping himself to a               cigarette)          That's too bad. Hammond takes over          in a couple of hours. I'd like to          see him earn his salary.Guy turns to the dresser drawer in which he has put the noteand the gun, maneuvering his body between the dresser andHennessy's view. He takes out a handkerchief, closes thedrawer, sticks the handkerchief in his pocket, speaking ashe does so.                      GUY          Doesn't that bloodhound over relax?          He sticks so close he's beginning to          grow on me -- like a fungus.                       HENNESSY              (mildly)          He thinks you're a very suspicious          character. He doesn't trust anybody!          Not even himself.Guy is eager to get out of the room, and Hennessy ismaddeningly slow in his movements.                      GUY          Come on.              (indicating at Hennessy               overcoat)          Don't forget your sleeping bag.                       HENNESSY              (taking his time)          Yeah, If I have to wait too long on          the sidewalk my feet get cold. And          if I sit too long on those stone          steps, my --Guy has the door open and eases Hennessy toward the haIl.                       GUY               (quickly)          Don't worry. Since you told Barbara          Burton about the icebox, you're her          favorite charity. She'll send the          butler out with something to defrost          you.                      HENNESSY              (grinning)          Cute kid.     Converted to PDF by www.screentalk.org                 77.He's gone, and with a last glance at the dresser, Guy goesout and closes the door.                                               LAP DISSOLVE TO:EXT. BURTON HOUSE LONG SHOT NIGHTThe street outside the Burton house is lined with cars andlimousines. Various guests are arriving.MED. SHOTOn the opposite side of the street we see Hennessy, nowwearing his topcoat. He looks bored as he glances acrossthe street to the house.                                               LAP DISSOLVE TO:INT. BURTON HOUSE BIG HEAD CLOSEUP OF ANNEHer face is troubled. CAMERA BEGINS TO PULL BACK. We seenow that the reception is in progress and that Anne standsbeside her father to greet the arriving guests. CAMERA PULLSBACK FURTHER to show us a full view of a very crowdedWashington gathering Many white ties and tails and decolletein evidence. Many accents. Even some foreign languages arebeing spoken. Music and chatter in the b.g.CLOSE SHOTAnne and the Senator are still greeting new arrivals. Anne'smanner is somewhat preoccupied. She glances around as shespeaks, as though looking for someone.                         ANNE                 (to new arrival)             Thank you so much, Mr. Lindsay.             We'll look forward to it.PANNING SHOT FROM ANNE'S VIEWPOINTTHE CAMERA PASSES various groups   of guests in conversationincluding Guy and Barbara who are   together. From thisdistance we cannot hear what they   are saying. CAMERACONTINUES TO the front door. It    opens to admit a new arrival.It is Bruno. He wears white tie    and tails, looking veryelegant.     Converted to PDF by www.screentalk.org                78.We see Guy excuse himself from Barbara, cross to Bruno andspeak to him angrily, obviously asking, "What are you doinghere?" Bruno, however, greets Guy with a smile then turnsfrom him, unperturbed and bland. He sees Anne and movestoward her, smiling.CLOSEUP ANNEAs Bruno comes in her direction, Anne's expression shows hermystification and concern about Bruno's presence and aboutGuy's attitude toward him.MED. SHOTBruno comes up to Anne and the Senator. He gives a slightbow to the Senator; then puts his hand out to Anne.                        BRUNO            Good evening, Miss Burton.The Senator looks inquiringly.    Anne makes the introduction.                        ANNE            This is Mr. Antony, father.                        SENATOR            How do you do, sir.                        BRUNO            I'd like to talk to you sometime,            Senator, about my idea of harnessing            the life force. It will make atomic            power look like the horse and buggy.                (the Senator and Anne                 are beginning to                 look at him in                 amazement)            I'm already developing my faculty            for seeing millions of miles. And,            Senator, can you imagine being able            to smell a flower on the planet of            Mars? I'd like to lunch with you            some day soon and tell you more about            it.Interrupted by new arrivals, Bruno moves away out of thepicture, with a charming smile to Anne.The Senator greets the new guests with open mouth and simplyshakes their hands while glancing off in direction of thedeparting Bruno.     Converted to PDF by www.screentalk.org                 79.                        DOWAGER                (to Senator)            So nice to see you, my dear Senator.                        SENATOR            Ah yes, indeed -- I beg your pardon?She realizes he hasn't heard a word she's said and haughtilymoves on. The Senator turns to Anne.                        SENATOR                (still looking after                 Bruno)            I don't remember inviting that young            man. Who is he?                        ANNE            A friend of the Darvilles.                         SENATOR            He has an unusual personality.            Provocative.CLOSEUP ANNEShe looks off in Bruno's direction extremely disturbed atthis new aspect of the mysterious stranger.CLOSEUP GUYHe is watching Bruno.MED. SHOTGuy sees Bruno join a group of several ladies who are seatedon a settee and a couple of older men who are standing by.A waiter comes along with a tray of drinks. Bruno takesone.CLOSEUP BARBARAShe comes from the same direction that Guy came.   She stopsshort as she sees:MED. SHOT FROM BARBARA'S VIEWPOINTBruno is now heartily joining in conversation with one ofthe elderly gentlemen.     Converted to PDF by www.screentalk.org                 80.CLOSE SHOT BRUNO AND GROUPBruno talking to an elderly, dignified gentlemen.                      BRUNO          But tell me, Judge, after you've          sentenced a man to the chair, isn't          it difficult to go and eat your dinner          after that?                      JUDGE          Young man, when a murderer is caught,          he must be tried. When he is          convicted, he must be sentenced.          When he is sentenced to death, he          must be executed.                      BRUNO          Quite impersonal, isn't it, sir?                     JUDGE          So it is. Besides, it doesn't happen          every day.At this moment, Anne comes into the scene.    She hesitates asshe hears Bruno's answer.                      BRUNO          So few murderers are caught.The Judge moves out of the way. Bruno smiles blandly at theladies. One of them speaks to him.                      MRS. CUNNINGHAM          Well, Mr. Antony, you seem very          interested in the subject of murder.Anne looks more troubled, then moves on out of the scene.                      BRUNO          No more than anyone else.   No more          than you, for instance.                       MRS. CUNNINGHAM          Me?   I'm not interested in murder.Bruno pulls up a chair to face the two woman on the settee,sits down, straddling the seat, to look at them over theback of the chair and settle down for a nice conversation.Converted to PDF by www.screentalk.org       81.                BRUNO        (his tone is teasing)    Oh, come now, everyone's interested    in that. Everyone would like to put    someone out of the way. Now surely,    Madame, you're not going to tell me    that there hasn't been a time when    you wanted to dispose of someone.    Your husband, for instance.                 MRS. CUNNINGHAM        (laughs)    Good heavens, no!                BRUNO        (playfully)    Ah ah!        (shaking a finger    at         her)    Are you sure? Do you  mean to tell    me there wasn't a tiny moment - when    you'd been made really angry? And    what did you say?                MRS. CUNNINGHAM        (squirms, giggling)    Well...                BRUNO    There you are, you see! There you    are! All right, now you're going --    to do a murder. How are you going    to do it? This is the fascinating    part -- how are you going to do it...I    didn't get your name?                MRS. CUNNINGHAM    Mrs. Cunningham.                BRUNO    Mrs. Cunningham, how are you going    to do it?                MRS. CUNNINGHAM        (entering into the         spirit of the play)    Well, I suppose I'll have to get a    gun from somewhere.                BRUNO        (shakes his head)    Tssk, tssk. Oh no, Mrs. Cunningham.                (MORE)     Converted to PDF by www.screentalk.org       82.                      BRUNO (CONT'D)          Bang, bang, all over the place.          Blood everywhere?The other woman joins in:                      MRS. ANDERSON          What about a little poison?                     BRUNO          Ah! That's better, that's better.          Mrs.....?                        MRS. ANDERSON          Anderson.                      BRUNO              (he is thoroughly               enjoying himself)          That's better, Mrs. Anderson. But          Mrs. Cunningham is in a dreadful          hurry. Poison could take...let's          see...ten to twelve weeks, if poor          Mr. Cunningham is to die from natural          causes.                      MRS. CUNNINGHAM          I have a wonderful Idea! I can take          him out in the car and when I get to          a lonely spot, knock him on the head          with a hammer, pour gasoline over          him and over the car and start the          whole thing ablaze.                       BRUNO              (looks at her                deprecatingly)          And then have to walk all that way          home?Mrs. Anderson laughs.                      BRUNO          No, I have the best way, and the          best tools.              (he holds out his               hands and shows them)          Simple, silent, and quick. The silent          part being the most important. Let          me show you what I mean.                      (MORE)     Converted to PDF by www.screentalk.org                83.                       BRUNO (CONT'D)              (he raises his hands               toward Mrs.               Cunningham's throat,               then stops a moment               to ask)          You don't mind if I borrow your neck          for a moment do you?                      MRS. CUNNINGHAM              (giggles)          Well, it's not for long.                      BRUNO          Oh!  no.              (he takes a drink and               puts his glass down)          Now, when I nod my head, just see if          you can cry out, and I bet you can't.              (he places his hands               around Mrs.               Cunningham's neck)          Now with my two thumbs...you see          that's where I'll be able to prevent          any sound coming from you. Now,          just wait for the nod of my head.CLOSEUP BRUNOAs he starts to Press her neck, his eyes wander from theface of his "victim" to someone else off scene.MED. SHOT BARBARAShe is watching this rather unorthodox demonstration. TheCAMERA MOVES UP until her head fills the screen. Her glassesglint in the light.CLOSEUP BRUNOHe is now transfixed. His breathing becomes heavy. A strangeexpression comes over his face. He still stares off atBarbara.MED. SHOT BARBARAWe see the whirling merry-go-round spinning around her head.     Converted to PDF by www.screentalk.org               84.BIG HEAD CLOSEUP BRUNOHe now seem to have almost gone into a trance. Over theshot we begin to HEAR a strangled cry, and a brokenexclamation, then Mrs. Anderson's voice.                         MRS. ANDERSON'S VOICE          Mr. Antony!     Mr. Antony!                       ANOTHER VOICE          Stop him!   Stop him!CLOSEUPBruno's wrists and hands and the neck of his victim. We canjust see Mrs. Cunningham's chin at the top of the screen.Her head is tossing from side to side. Her hands areclutching at Bruno's wrists. The hands of the other twowomen, also in the picture, are pulling at Bruno's wrists.Mrs. Cunningham's hands begin to slide off. Her head dropsback.Over this we HEAR cries of:                      VOICES          Stop him!          Help, somebody!          Pull him off!          Mr. Antony! Mr. Antony!CLOSEUP BRUNOHis body is swaying slightly at the various efforts to draghim away from Mrs. Cunningham. His eyes begin to close, andslowly he falls away from the picture in a dead faint on thefloor.MEDIUM SHOTThere is a rush of people around Mrs. Cunningham, who isbreathing frantically, her eyes opening and closing. A coupleof women are feebly slapping her hands, someone else isfanning her face.MEDIUM SHOTThe Senator and Guy rush into the picture. They look at thefallen Bruno. They search around for an explanation. Otherman come in ad they start to pick Bruno up.     Converted to PDF by www.screentalk.org              85.                         GUY             Bring him this way.Guy gives a quick look in direction of Mrs. Cunningham, seesthat she is being attended to.MEDIUM SHOTAnne rushes into the picture. She sees Bruno being helpedto his feet; then turns her attention to Mrs. Cunningham,who has now somewhat recovered. Mrs. Cunningham is helpedto the settee. There is a babble of women's voices tryingto explain what has happened.                         ANNE                 (thru the babble)             Bring her upstairs.As the two groups pass off in different directions, the fewpeople who ran into the scene late are asking the otherswhat the disturbance is. "What's wrong?" "Did she faint?""I didn't see anything." "What happened to him?" "Somebodyhurt?" But one small figure stands in the clear. It isBarbara, She is still transfixed by what she has seen. Herhands are trembling. CAMERA MOVES SLOWLY IN ON HER. We seethat her lips are trembling, too, and in her eyes frightenedtears are welling. Her breath is heavy.INT. STUDYBruno is stretched out on a settee. He is completely out.His collar and tie are open. Two or three of the male guestsare just leaving the room. The Senator remains behind for amoment with Guy.                         SENATOR             I thought he was a bit weird when he             arrived. Who is he?                         GUY             I hardly know him, sir.                         SENATOR             Get him out of here as soon as you             decently can -- will you. This is a             nice item for the gossips. First             thing you know, they'll be talking             about orgies. I'd better get back...                         GUY             Yes, sir.     Converted to PDF by www.screentalk.org                  86.The Senator leaves.   Guy stands over Bruno's outstretchedfigure.MEDIUM SHOTBruno is now half awake. Almost without seeing Guy, hestaggers to his feet and begins to make his way to the door.Guy advances, and with a sharp thrust, pushes Bruno back onthe settee.Bruno looks and sees Guy clearly for the first time.                      BRUNO          What happened? I was on a merry-go-          round somewhere. It made me dizzy.Guy moves forward, and thrusting his hand in Bruno's openshirt, pulls him to his feet. Bruno ignores Guy's violenceand remain puzzled.                      GUY              (disgusted)          You're a mad, crazy maniac, and you          ought to be locked-up! Now will you          get out of here and let me alone?                        BRUNO          But, Guy --Guy smashes Bruno in the jaw, in utter disgust, and knockshim back onto the settee. Bruno looks up from his sprawledposition, a dull look in his eye.                      BRUNO          You shouldn't have done that, Guy.                      GUY              (subsiding)          Come on -- pull yourself together.          Do your tie up.Bruno staggers to his feet. He fumbles at his collar.    Ashe crosses to him, CAMERA MOVES IN to a CLOSER SHOT.                      GUY          Here -- let me.He fixes Bruno's shirt and collar together and quickly tieshis white bow. Bruno stands swaying like a small boy as Guydoes this.     Converted to PDF by www.screentalk.org                 87.CAMERA PANS WITH THEM as Guy starts to escort Bruno from theroom.                         GUY             Have you got a car here?                         BRUNO                 (mumbling)             Driver's outside.They pass trough door into the hallway.INT. HALL MEDIUM SHOTOne or two of the guests turn their heads as Guy takes Brunoacross to the front door.CLOSE SHOTBarbara appears in the hallway, coming from the crowdedsitting room. She watches the two men go out the front door.MEDIUM SHOTBruno and Guy going out the front door. The man-servantdoes not close it immediately, so we are able to HEAR thecall for Mr. Antony's car.CLOSEUP BARBARAShe turns her head and looks up the stairs. Barbara has notquite recovered from her ordeal. She hurries forward togreet Anne who is hurrying down the stairs.TWO SHOTCAMERA PANS DOWN with Anne as she descends the last few steps.Barbara enters the picture and the two girls meet at thefoot of the stairs.                         ANNE             What's the matter, Barbara? Did you             see it happen? Did you see it --             all?     Converted to PDF by www.screentalk.org              88.CLOSEUP BARBARA                       BARBARA               (still shaken)           He looked at me! His hands were on           her throat, but, he was strangling           me!CLOSEUP ANNE                        ANNE               (aghast)           How do you mean?TWO SHOT                       BARBARA           He was looking at her first. Then           he looked over at me. He went into           a sort of trance               (shudders)           He looked horrible!               (reflectively)           He thought he was murdering me.CLOSEUP ANNEShe looks away, with growing consciousness of the situationTWO SHOT                       BARBARA           Anne, why me? Why me?   What did I           have to do with it?Anne is extremely concerned and thoughtful. Suddenly shegets an idea and with a pat on Barbara's arm, asks hurriedly:                       ANNE           Do you know where Guy is?                       BARBARA           He went out with that man!Anne hurries to the front door and passes through.     Converted to PDF by www.screentalk.org                89.EXT. HOUSEAnne comes out onto the steps and looks around.   She stopsshort as she sees:LONG SHOT EXT. STREET FROM ANNE'S VIEWPOINTThere are cars lined up outside on the street. One limousineis pulling up in the center, two figures at the passengerdoor. One is climbing in. The other is Guy.CLOSEUP ANNEShe calls out urgently:                         ANNE             Guy!CLOSE SHOTGuy turns and closes the door.MEDIUM SHOT FROM ANNE'S VIEWPOINTThe limousine moves off and Guy comes toward her.MEDIUM SHOTAnne comes down the steps and intercepts Guy on the sidewalk.She leads him along a few paces and then stops and faceshim.CLOSE TWO SHOTAnne nods off in the direction of the departed Bruno andspeaks in a desperate, low voice.                         ANNE             You didn't meet him for the first             time the other day, did you, Guy?Guy stares at her for a moment.                         GUY             You mean when you introduced us at             the club?     Converted to PDF by www.screentalk.org                90.                      ANNE          Yes. Did you notice how he stared          at Barbara that day?                      GUY              (awkwardly)          Well, I didn't -- particularly --                      ANNE              (breaks in)          He stared at her again tonight --          while his hands were around Mrs.          Cunningham's throat.Guy looks at Anne with an expression of growing fear andalarm. She goes on inexorably:                      ANNE          What did Miriam look like, Guy.                      GUY              (awkwardly)          Well, why do you ask me? You've          seen her pictures in the paper.                      ANNE          Go on, I want you to tell me.                      GUY              (haltingly)          Well, she was dark, not too tall,          rather pretty --                       ANNE          What else?                      GUY          What else is there?                      ANNE          She wore glasses, didn't she?                       GUY          Yes.                      ANNE          She looked a lot like Barbara, didn't          she?Guy suddenly begins to realize what Anne is getting at.Anne lowers her head, deliberately avoids looking at Guy, asshe asks:Converted to PDF by www.screentalk.org       91.                ANNE    How did you get him to do it, Guy.                GUY    I get him to do it?                ANNE    He killed Miriam, didn't he?   Tell    me, Guy!                GUY    Yes.        (suddenly bursting         out)    He's a maniac. I met him on the    train going to Metcalf. He had a    crazy scheme about exchanging murders.    I do his murder and he do mine.                 ANNE         (quietly)    What do you mean -- your murder,    Guy?                GUY    Well, he'd read about me in the paper.    He knew about Miriam -- and about    you. He suggested that  if he got    rid of Miriam for me, I should kill    his father.                ANNE    You must have realized he was talking    a lot of nonsense!                GUY    Of course! I didn't give it another    thought. And now a lunatic wants me    to kill his father.                ANNE        (beginning to believe)    It's too fantastic!                 GUY        (grimly)    Yes, isn't it?                ANNE    You mean you've known about Miriam    all this time?     Converted to PDF by www.screentalk.org           92.                       GUY          Since the first night.   He gave me          her glasses.                      ANNE          Why didn't you call the police?                      GUY              (bitterly)          And have them say what you did --          "Mr. Haines, how did you get him to          do it?" And Bruno would say we'd          planed it together.                      ANNE          Oh, Guy -- what can we do?                      GUY          I don't know, Anne...I don't know.                      ANNE              (With an anxious look               across the street)          Guy, hadn't we better go inside?          Your friend Hennessy's watching us.              (she Shudders)                      GUY              (sadly)          You see, Anne, that's why I didn't          want you to know anything about this.          I wanted to protect all of you --          your father, Barbara. And now that          you know, you're acting guilty, too.                      ANNE              (desperately)          Oh, if we could only talk to father          or someone about it.                      GUY          No, that's no good, Anne. I mustn't          drag anyone else into this mess.          Come on. Let's go in.They go toward the house.                                                  CUT TO:     Converted to PDF by www.screentalk.org               93.TWO SHOT ACROSS THE STREETAs Hennessy watches Anne and Guy go toward the house, hisrelief, HAMMOND, comes up. Hammond's a zealous, hard-eyedsleuth.                      HENNESSY              (a little glum)          Hello, Hammond.                      HAMMOND          You look worried. What's the matter?                      HENNESSY          You'd better keep on your toes.          Something funny's going on.                                                 DISSOLVE TO:INT. GUY'S APARTMENT LATER THAT NIGHTStill in his dinner clothes, Guy is seated in deep thoughtnear the telephone, wrestling with his problem. There is anopen telephone directory in front of him. He comes to adecision, picks up the telephone and dials a number. Hewaits for the answer, then:                      GUY          Bruno? Yes, yes, it's Guy...I've          decided to do what you want. I'll          make that little visit to father....              (listens a moment)          Tonight.              (listens another moment)          Yes, I want to get this thing over          with, can you leave the house again,          Bruno?              (pause)          You'd better stay out till daylight.Guy hangs up, rises and starts to move with purpose for hisnight's activities.                                                 DISSOLVE TO:INT. GUY'S APARTMENT NIGHTGuy is sitting at the table. He is dressed differently,having changed from his dinner clothes to a sack suit. Thereis only one lamp lighted in the room. Guy presents a grimpicture.     Converted to PDF by www.screentalk.org                 94.He is studying the plan of Bruno's house, and he picks upthe key Bruno sent along with it.  Finally he looks at hiswatch, then folds the plan and puts it in his pocket withthe key. He rises, crosses to the  chest of drawers, opensthe top drawer.INSERT: THE OPEN DRAWERGuy's hands take out the Luger. His hand then picks upMiriam's glasses from the drawer, holds them a moment. Heis about to put them back, then decides to take them along,puts them into his pocket.MED. SHOTCAMERA PANS GUY across to the window.   He parts the curtainsslightly and looks out.MED. SHOT ON STREET (FROM GUY'S VIEWPOINT)Hammond is lighting a cigarette as he strolls in front ofthe house.INT. GUY'S APARTMENTGuy crosses to his door, which he opens surreptitiously.MED. SHOT CORRIDORGuy glances down the stairs, then closes the door behind himquietly and moves away to a window at the turn of the stairs.EXT. FIRE ESCAPEGuy comes out of the window onto the second floor fire escape.He creeps stealthily down and emerges into a narrow alleyway.He steps back into the shadows for a moment when he sees:LONG SHOT FROM GUY'S VIEWPOINT (PROCESS)The strolling figure of Hammond on the far side of the street.     Converted to PDF by www.screentalk.org                95.MED. SHOTGuy turns away and is soon lost in the darkness of the street.                                              LAP DISSOLVE TO:EXT. A TALL PAIR OF ELABORATE IRON GATES NIGHTWe are on the inside of the gates. We see them swing openslightly and the figure of Guy edges through them.CLOSE SHOTGuy leaves the gates ajar and then, taking the plan of Bruno'shouse from his pocket, and the key, he looks toward the house.EXT. STEPS LONG SHOT NIGHTThis is a long flight of steps. Moonlit. They are linedwith tall black cypress trees which throw their shadows acrossthe steps. Guy moves out of one shadow, into another andcarefully starts up the stairs.AT THE DOORHe pauses, looks about for a moment and listens. Then heputs the key into the lock, finding it with his flashlight.The door opens a few inches. He turns off the flash, andenters.INT. ANTONY HOME ENTRANCE HALLAs Guy moves in soundlessly and closes the door.   He lookstoward the stairs which are in shadow.MED. SHOTGuy starts up the stairs slowly.   He carries his flashlightand the plan.AT THE TOP OF THE STAIRS THE DOGA huge shadow lies it the head of the stairs. As Guy comesslowly up the stairs, the Great Dane looks down at him.      Converted to PDF by www.screentalk.org             96.GUY ON THE STAIRSHe reacts to the sight of the dog, stops an instant, andturn on his flashlight. The heavy massive face of the doglooks straight down at him. Guy turns off the flashlightand after a moment of indecision starts slowly up the stairsonce more, the dog watching every step he takes.UPPER HALLWAYGuy comes up the last few stairs and still the dog hasn'tmoved. Guy slowly edges past him and the Great Dane's headturns to watch him.GUYmoving quietly along the hallway, approaches two doors. Hetakes out his flash and identifies the door with his plan.INSERT:The plan shows two doors in relation to the stairway. Thefirst one is clearly marked: "MY room." The adjoining dooris marked: "My FATHER'S room."CLOSE SHOT GUYHe pauses at the first door, then passes it quietly, walkingon to the next one. He turns the knob soundlessly and passesthrough into the room.INT. ANTONY BEDROOM LONG SHOTThe room is in darkness except for the dim outline of therecumbent figure in the bed. We hear Guy's voice, in a loudwhisper:                        GUY          Mr. Antony!The figure stirs.ANOTHER ANGLEGuy takes a stop closer to the bed.     Converted to PDF by www.screentalk.org                 97.                        GUY                (urgently)            Mr. Antony! Don't be alarmed -- but            I must talk to you about your son.            About Bruno. Mr. Antony!The figure on the bed turns and a hand stretches out towarda bedside light. The light goes on with a sudden glare.CLOSEUP FACE OF BRUNO IN THE LIGHT (LOW CAMERA)The low CAMERA throws a vast shadow up on the wall behindhim, creating a grimace of his smile.                        BRUNO            Yes, Mr. Haines?CLOSEUP GUYHis face is dead.MED. SHOTBruno rises from the bed and sits on the and of it. He isfully dressed, just as he was at the party, in white tie andtails.                        BRUNO                (politely)            My father isn't home tonight, Mr.            Haines.                (smiles grimly at                 Guy's surprise)            I was about to tell you that over            the phone. But you came to such a            sudden decision. I wondered why.                        GUY                (recovering quickly)            Since you sent me a key to your house,            I decided to use it -- to make a            little social call on your father.            I thought he'd be Interested to know            he his a lunatic son.The faintest flicker of Bruno's eyes indicates the intensityof his reaction. He stares hard at Guy.     Converted to PDF by www.screentalk.org                  98.                       BRUNO           Then a I correct, Mr. Haines, in           assuming that you have no intention           of going ahead with our arrangement?                       GUY           No intention whatsoever.      I never           had.                       BRUNO           I see. You won't have any further           use for the key, then, Mr. Haines.               (he holds out his                hand and Guy gives                him the key)           Thank you very such.As Bruno continues to stare at him, Guy takes out the Luger.For a moment a look of fear comes into Bruno's face as hethinks Guy will probably shoot him. After a pause, Guy tossesthe gun on the bed.                       GUY           Or this.Bruno's relief turns again to menace.      He picks up the gunand fingers it nervously.                        GUY               (kindly)           Look, Bruno. You're terribly sick.               (haltingly)           I don't know whether it's possible           for you to realize it or not. I           don't know much about these things,           Bruno. But why don't you go someplace           where you can get some treatment?           Not only for your own sake, Bruno,           but you can't go on causing more and           more destruction to anyone you happen           to meet.Bruno pays no attention.     He rises.TWO SHOTGuy's arguments have made no impression on Bruno whatsoever.He fingers the gun.                       BRUNO           I don't like to be doublecrossed.                       (MORE)     Converted to PDF by www.screentalk.org                   99.                        BRUNO (CONT'D)            I have a murder on my conscience,            but it's not my murder, Mr. Haines --            it's yours. And as you're the one            to profit, I think you should be the            one to pay for it.For an instant his nervous hands seem to be struggling withthe urge to kill Guy.                        GUY                (gives up)            Well, I guess it's no use, Bruno.            We sees to have nothing further to            discuss.Bruno goes to the door in silent acquiescence and opens itfor Guy to pass through.INT. HALLWAY MED. SHOTGuy walks toward the stairs, tense and apprehensive. Brunois following him, still holding the gun. When the GreatDane sees Bruno it gets to its feet, as if waiting for acommand.Guy starts down the stairs but Bruno stays where he is, thedog beside him. Gay turns and looks back it this tableauxof menace.                        BRUNO            Don't worry. I'm not going to shoot            you, Mr. Haines. It might disturb            mother.                (with a feeling of                 power)            I'm a very clever follow. I'll think            of something better than that. Much            better.LONG SHOTBruno remains in the foreground of the scene as Guy proceedson down the stairs. We see him open the front door and passthrough.                                                 LAP DISSOLVE TO:    Converted to PDF by www.screentalk.org               100.EXT. STREET ACROSS GUY'S APARTMENT EARLYCLOSE SHOT HENNESSY AND HAMMOND MORNINGHennessy is relieving Hammond who has kept watch on Guy'sapartment night.                      HAMMOND              (in the middle of his               story)          He came back at three twenty-five.          I didn't even know he'd given me the          slip until his 'phone kept ringing          for about half an hour. Nobody sleeps          that sound. So I got the janitor to          let me in. No Haines.                      HENNESSY              (to himself)          Wonder where he went?                      HAMMOND          We'll probably hear of another dame          murdered.                      HENNESSY              (puzzled)          Shut up. I'd better contact Metcalf.          I should think this calls for more          questioning of Mr. Haines.                         HAMMOND          Questioning?     Nuts!   Let's take him          in.                      HENNESSY          My dear Mr. Hamond, how many times          do I have to tell you that we have          nothing conclusive on Haines? There's          no evidence that he was ever at the          scene of the crime. Can't you get          that into your thick head?              (quietly)          Now stay put till I get back.As he starts away --                                                    FADE OUT.    Converted to PDF by www.screentalk.org              101.FADE ININT. ANTONY LIVING ROOM LATE MORNINGAnne and Mrs. Antony are in the middle of a conversation.Anne's manner is tense and purposeful, Mrs. Antony's muchless serious.                       MRS. ANTONY          Oh, now, Miss Burton, really! I          know Bruno's been in some very awkward          scrapes, but nothing so ridiculous          as a murder.              (she gives a short               little laugh)                      ANNE              (desperately)          But, Mrs. Antony, you've got to make          him do something about this. Don't          you see that just one word from him          would extricate Guy from this dreadful          situation?                       MRS. ANTONY               (lightly)          Oh, but Miss Burton, I'm sure this          thing must be some practical joke.          You know, Bruno sometimes goes too          far.               (girl to girl)          Of course I shouldn't be saying this          to an outsider, but sometimes he's          terribly irresponsible and gets into          all kinds of escapades.                      ANNE          But don't you understand, Mrs. Antony --          your son is responsible for a woman's          death.                      MRS. ANTONY              (drawing herself up               with some hauteur)          Did Bruno tell you this?                      ANNE          Of course not, Mrs. Antony.                      MRS. ANTONY              (that settles it)          Well, there you are.                      (MORE)    Converted to PDF by www.screentalk.org               102.                      MRS. ANTONY (CONT'D)              (she sighs and rises,               winding it up)          Well, Miss Burton, it was very nice          of you to call. You must excuse me          now. I must get back to my painting.          Do you care for painting, Miss Burton?          I find it so soothing.              (shakes Anne's hand)          You must come again sometime.She goes out. Anne is left helpless, standing in the middleof the room. She picks up her purse and is about to go whenshe hears a voice:                      BRUNO'S VOICE          Oh, Miss Burton!Anne turns back in direction of the voice. CAMERA   PULLSBACK until we can see the feet of Bruno protruding  from behinda chair in which he is sitting. He has obviously   heard theentire conversation between Anne and his mother.   Bruno rises.He is in dressing gown and pajamas.                       BRUNO          I'm afraid mother wasn't very helpful,          was she?              (he strolls toward               Anne)          You know she hasn't been well for a          long time. She's a little -- how          shall I say -- confused.              (shakes his head               commiseratingly)          Poor mother.Anne is too stunned to speak.                      BRUNO          You know, I'm very upset with Guy.          He shouldn't have sent you on an          errand like this.                      ANNE          Guy doesn't know I'm here, Mr. Antony.                      BRUNO          He's been leading you up the garden          path, I'm afraid. He must be very          desperate to try to involve me.          I've been protecting him ever since          we had that conversation on the train          and he told me how he hated his wife.    Converted to PDF by www.screentalk.org                103.Bruno is now standing near the   window a little apart fromAnne, with his back to him. He    takes something out of thepocket of his dressing gown and   looks down at it in his hand.It is Guy's lighter.  Suddenly   he stuffs it back his pocketand turn back to Anne.                      BRUNO          Why, do you know, Miss Burton, he          tried to get me to go back to the          island one night after dark and pick          up his lighter so the police wouldn't          find it? He dropped it there, you          know, when -- well, that night.Anne's horror is growing.                      BRUNO          The whole thing's been worrying me          so much. But of course I couldn't          do it, Miss Burton. It would have          been too risky. And besides, it          would have made me an accessory.Anne stares at this insane man and sinks on the settee.   Shestarts to cry in sheer frustration. Bruno goes to hersympathetically.                      BRUNO          Miss Burton, I know how you feel.He puts his hand on her shoulder. Anne flings it off. Thereis an awkward pause as Bruno looks down at her. Then hebegins to look around restlessly.                      BRUNO          Miss Burton, you must excuse me. I          have an urgent appointment.              (looks it his watch)          I must go up and change. Now, I          really must go...if you'll excuse          me...He turns, starts out of the room and up the stairs in thehall. Anne watches him.STAIRWAY FROM ANNE'S VIEWPOINTBruno turns and waves to Anne from the landing, then goes onup the stairs.    Converted to PDF by www.screentalk.org                  104.INT. LIVING ROOM MED. SHOTAnne slowly rises, a lonely figure in the large room, andmakes her way out.                                                    DISSOLVE TO:LONG SHOT FOREST HILL STADIUMGrouped.   A game is in progress.MED. SHOT A TERRACE NEAR THE MAIN STADIUM (PROCESS)where people get refreshments.   There are various table withumbrellas.MED. SHOT AT ONE OF TABLE (PROCESS)Anne and Guy are seated at the table.                       ANNE           ...And he said that if the police           found your lighter there, that's all           they'd need -- something to prove           you were at the scene of the murder.                        GUY               (grimly)           That big lie about my wanting him to           get it back means he's going to put           my lighter on that island!                       ANNE               (urgently)           Guy, you'll have to get there before           he does. You won't have time to           play, You'd better tell them.               (she nods her head in                the direction of the                center court)                       GUY           Darling, if that loudspeaker announces           that I'm not going to play, Hennessy           bound to be suspicious He'd keep me           from ever getting near Metcalf.                       ANNE           Then I'll go.    Converted to PDF by www.screentalk.org              105.                       GUY              (quickly)          No, darling.              (he puts his hand on               hers and speaks               firmly, with concern               for her safety as               well as for his own               situation)          You stay right here and help me give          Hennessy the slip after the match.                      ANNE          But, Guy, that'll be too late!                      GUY              (getting a thought)          Didn't Bruno say that I wanted him          together there one night after dark?                       ANNE          Yes.                      GUY          Well, that's what's in his mind now.          He's not going to expose himself in          broad daylight, If I can finish off          this match in three sets, I'll still          get there in time.REYNOLDS, Guy's opponent, enters scene behind Guy's chair.                      REYNOLDS          We're on in a few minutes, Guy.              (to Anne)          How are you, Miss Morton.Anne acknowledges his greeting with a nod.                       GUY          Okay, Tim.   Be right with you.Reynolds leaves Anne and Guy rise, and as they walk towardthe stadium, we can see Guy start to speak to Anne in awhisper.ENTRANCE TO COVERED STAND ALREADY SHOTHennessy and Hammond are standing by.    Converted to PDF by www.screentalk.org                 106.                        HAMMOND            Well, if Turley said to pick him up            for questioning, let's pick him up!                        HENNESSY            Let him have his game first, Hammond.                         HAMMOND                (sourly)            This is the first time I ever waited            for a murder suspect to play tennis            before I pulled him in. When the            boys it headquarters heir about this            they'll send me orchids.Guy and Anne come into the scene just as the players fromthe previous match emerge. They pass through, nodding toHennessy.                        HENNESSY            Good luck, Guy.Guy is so preoccupied with his grim doesn't nod to Hennessyuntil Anne nudges him.INSIDE THE STAND MED. SHOTAnne is reluctant to leave Guy who must now join his opponent,Reynolds.                        GUY            You got it straight?                (ANNE nods)            Just make sure Barbara has everything            ready as soon as the third set starts.He goes on to the court, and Anna goes to her box.MED. SHOTAnne joins Barbara in the box.     She starts to whispersomething to her.LONG SHOTGuy and Reynolds complete their warm-up as the umpireannounces that Guy is to serve. The game starts.    Converted to PDF by www.screentalk.org               107.EXT. ANTONY HOMEA taxi is at the front door. Bruno is descending the steps.He gets into the cab, which moves off.FOREST HILLS MED. SHOT ANNOUNCER'S BOOTH (PROCESS)Over the shoulder of the announcer WE SEE the game in progressthrough the window of his booth.                      ANNOUNCER          --It looks like an interesting match          with Haines constantly charging the          net -- not like Haines at all -- to          press so early in the game...MED. SHOT TEN COURTGuy and his opponent, Reynolds, in play.   Guy scores a point.CLOSEUP THE UMPIREHe announces game to Haines.MED. LONG SHOTWe see the two men change ends and come toward the Umpiri'schair. Reynolds stops to take a drink of water. Guy, withan impatient glance at him, moves over to the passing lineand waits, the CAMERA going with him.EXT. WASHINGTON STREETA taxicab is seen coming along.MED. SHOT INSIDE CAB (PROCESS)Bruno is sitting with in unlighted cigarette in his mouth.CAMERA MOVES IN until he is in big CLOSEUP. His eyes lookdown.  There is the SOUND of a click, then, Guy's lightercomes up into the picture held against the cigarette.                                             LAP DISSOLVE TO:    Converted to PDF by www.screentalk.org                  108.FADE INLONG SHOT FOREST HILLS STADIUMGrouped.    A game is in progress.MED. SHOTA terrace where people get refreshments.       There are varioustables with umbrellas.MED. SHOT AT ONE OF TABLE (PROCESS)Guy is seated. He has his rackets with him and is waitinghis turn to start his match. An official is talking to himbut Guy keeps looking around as if expecting someone.                        OFFICIAL            Well, at least there'd be a trip to            Australia, if you made it.                        GUY                (absently)            We'll know more about that by the            end of the week...                (his face brightens                 as he sees Anne)Anne hurries in, nods briefly to the official who has startedto leave, and sits down.                        OFFICIAL            They're close to the finish, Guy                        GUY            Be right there.                (turns to Anne)            I was afraid you wouldn't get here.            Wish me luck, darling.He makes a move as if to follow official toward the stadium,but Anne puts hand on his arm.                        ANNE                (quickly and urgently)            Guy, listen to me, If I sound all            mixed up I can't help it. I -- I'm            scared.                          GUY            What about?    Converted to PDF by www.screentalk.org              109.                      ANNE          That's just it. I don't know. It's          Bruno. I talked to him, Guy --Guy stares at her, takes a quick look toward the stadium,then gives Anne his full attention.                      ANNE          He acted peculiar -- as if he could          put the murder right in your lap,          and not involve himself at all.                      GUY              (shaking his head)          He'd drag himself into it, -- and          Bruno loves Bruno. I'm all right so          long as he thinks I have an alibi          for that night.              (noticing the stricken               look on Anne is face)          He knows?Anne nods slowly.                       GUY              (grimly)          Then he'll think of something.   He          said he would.                      ANNE          Guy, has he anything that the police          could trace to you --              (quoting Bruno)          Any little thing.                      GUY          My cigarette lighter. He said once          he could have left it on the islands          as evidence              (a pause)          But he wouldn't do that. Not in          broad day light.                      ANNE              (trying to think)          But he's going somewhere, Guy.   He          told his mother --                      GUY              (tensely)          Metcalf -- did he say Metcalf?    Converted to PDF by www.screentalk.org              110.                      ANNE          No, -- I don't think so. Oh, why          can't I remember -- he said such          crazy things!                      GUY              (tensely)          Try to think, Anne!                      VOICE              (OFFSCENE)          Guy Haines! -- Reynolds!While Anne is frantically trying to remember, Guy turnstoward, the stadium and gives a signal of "Be right there."                      ANNE          Something about the moon -- he said          he had an appointment with the moon.Guy's shoulders droop with disappointment.                      GUY          That's no help. But I can't take          any chances. I've got to get that          lighter -- somehow.REYNOLDS, Guy's opponent, ENTERS SCENE behind Guy's chair.                       REYNOLDS          Okay, Guy.   We're on.He walks away.   Anne and Guy rise, following him.                      GUY          I'll have to default.                      ANNE          And have Hennessy and that other one          right at your heels?Guy's expression says she's right, as they walk toward thestadium.ENTRANCE TO COVERED STANDHennessy and Hammond, the two detectives, are standing by.                      HAMMOND          First time I ever waited for a killer          to play tennis before I nabbed him!                      (MORE)    Converted to PDF by www.screentalk.org              111.                      HAMMOND (CONT'D)          When the boys at headquarters hear          about this they'll send me an orchid!                      HENNESSY          We got our orders. We take him in --          after the match.Guy and Anne come INTO THE SCENE just as the players fromthe previous match emerge. They pass through, nodding toHennessy.                      HENNESSY              (a little sadly)          Good luck, Guy!Guy gives him a thank-you nod. Hammond rolls his eyes indisgust at Hennessy's politeness.INSIDE THE STAND MED. SHOTAnne is about to turn to her box but she is reluctant toleave Guy, who must now join his opponent, Reynolds. Astheir eyes hold, in mutual helplessness, Guy suddenly staresat her with realization.                      GUY          The moon! You said he had an          appointment --Anne looks puzzled as Guy looks up at the sun, then at hiswatch.                      GUY          Then he is going to Metcalf. But he          has to wait until it gets dark --              (with frantic haste,               he thinks quickly,               then murmurs to Anne)          Listen, Anne, as soon as the third          set starts, tell Barbara --MED. CLOSE SHOT REYNOLDSwaiting at the bottom of steps to the stand. Guy joins hisopponent, and Anne goes to her box. Guy and Reynolds moveonto the court amid the rounds of applause that greet them.    Converted to PDF by www.screentalk.org               112.MEDIUM SHOT ANNE JOINS BARBARAIn the box.   She starts to whisper something to her.LONG SHOTGuy and Reynolds complete their warm-up as the umpireannounces that Guy is to serve. The game starts.EXT. ANTONY HOMEA taxi is at the front door. Bruno is descending the steps.He gets into the cab, which moves off.FOREST HILLS MED. SHOT ANNOUNCER'S BOOTHOver the shoulder of the announcer WE SEE the game in progressthrough the window of his booth.                        ANNOUNCER            It looks like an interesting match --            with Haines out to blast Reynolds            into a fast fight, -- not like Haines            at all -- to press so early in the            game...MED. SHOT THE COURTGuy and his opponent, Reynolds, in play.   Guy scores a point.CLOSEUP THE UMPIREHe announces game to Haines.MED. LONG SHOTWe see the two men change ends and come toward the Umpire'schair. Reynolds stops to take a drink of Water. Guy, withan impatient glance it him, moves over to the passing lineand waits, the CAMERA going with him.EXT. WASHINGTON STREETA taxicab is seen coming along.    Converted to PDF by www.screentalk.org                113.MED. SHOT INSIDE TAXI CABBruno is sitting with an  unlighted cigarette in his mouth.CAMERA MOVES IN until he  is in big CLOSEUP. His eyes lookdown.  There is the SOUND  of a click, then Guy's lightercomes up into the picture  held against the cigarette.                                              LAP DISSOLVE TO:INT. ANNOUNCER'S BOOTH FOREST HILLThe announcer is broadcasting the progress of the match andwe learn from him that this first set is nearly finished.LONG SHOT THE COURTGuy and Reynolds in play.MED. SHOTAnne and Barbara sitting in their box watching the playanxiously.MED. SHOTAt the entrance to the covered stand. The two detectivesHennessy and Hammond, are watching. Hammond is bored bythis game.                        HAMMOND            Stupid game. You'd never get me            into them short pants. I'd feel            naked.                        HENNESSY                (his eyes intent on                 the game)            You'd feel naked in an Eskimo suit --            if you weren't wearing your badge.MED. SHOTGuy playing hard but holding his own.MED. SHOTReynolds, his opponent, playing back.    Converted to PDF by www.screentalk.org               114.LONG SHOTThe big crowd watching.MED. SHOTGuy scores point over Reynolds.MED. SHOTThere is general applause from the crowd in the covered standas we HEAR the Umpire's announcement.                         UMPIRE'S VOICE                 (O.S.)             Mr. Haines wins the first set.EXT. UNION STATION WASHINGTON D.C.We see Bruno get out of a cab and pass into the depot.LONG SHOT FOREST HILLSThe game in process.MED. SHOTA nearer view of the game.CLOSE SHOT GUY IN PLAYvolleying with Reynolds.CLOSE SHOTReynolds playing the covered stand people are concentrating.MED. SHOTGuy misses a point and the game. He and Reynolds make forthe Umpire's chair. We HEAR the Umpire announce.                         UMPIRE'S VOICE             Game to Mr. Reynolds. Games are two             all...Second set.    Converted to PDF by www.screentalk.org               115.INT. UNION STATION WASHINGTON, D.C.Bruno is casually waiting for the train.   He stands near anews-stand reading a paper.INSERT:We see that the paper is open at the sports page. There isa picture of Guy among other tennis players. WITH A DISSOLVEthe whole character of this page changes with the exceptionof Guy's picture, which becomes surrounded with large type,announcing the arrest of Guy Haines for the murder of hiswife Miriam. A sub-heading tells of Guy's cigarette lighterfound at the scene of the crime. All this DISSOLVES AWAYand the page becomes once more the sports section.CLOSEUPBruno looks up with satisfaction.LONG SHOT FOREST HILLSThe crowd watching.MED. SHOTGuy and Reynolds in play.MED. SHOTGuy playing hard.MED. SHOTReynolds playing back.CLOSEUPThe Umpire watching the game.   Suddenly he announces:                        UMPIRE            Game to Mr. Reynolds. Games are            three all... second set.    Converted to PDF by www.screentalk.org              116.INT. CLUB CAR ON TRAINBruno is now seated in his accustomed place in the club car.His gloved fingers are quietly toying with Guy's lighter. Apassenger next to him asks:                         PASSENGER             May I have a light, please?Bruno looks at him for a moment and then at the lighter.With great deliberation he puts the lighter away in his pocketand takes out book-matches. Lighting a match, he holds itto his fellow passenger's cigarette.LONG SHOT FOREST HILLSThe game as seen from under the covered stand.MED. SHOTAnne and Barbara very tense.CLOSEUP GUYabout to serve, looks anxiously across the court.CLOSEUP THE CLOCKCLOSEUP GUYas he serves.CLOSEUP REYNOLDSreturns.CLOSEUP BALLhits the net.CLOSEUP UMPIREannounces.    Converted to PDF by www.screentalk.org                117.                        UMPIRE            Second set to Haines.   Haines leads            two sets to love.There is a round of applause. We see the heads of the twoplayers reach the Umpire's chair. Guy, very anxious still,as he wipes his neck with a towel.INT. COVERED STAND CLOSE SHOT ANNE BARBARAAnne is speaking.                        ANNE            If he wins this next set -- you'd            better have everything ready.                (takes bill from her                 purse and hands it                 to Barbara)            Here -- give the driver this ten            dollars.                        BARBARA                (puzzled)            I wish understood what this is all            about!                        ANNE                (urgently)            You don't have to understand, just            do it. And for heaven's sake, act            natural.Barbara nods and goes along.ENTRANCE TO COVERED STANDBarbara smiles winningly at Hennessy as she goes through.Her interpretation of "acting natural" is exaggerated andrather comical. Hammond's eyes narrow as he looks after hersuspiciously.LONG SHOTThe game in progress.   Guy starts the next set.   He serves.MED. SHOTReynolds returns.    Converted to PDF by www.screentalk.org                  118.MED. SHOTGuy volleys.MED. SHOTReynolds puts the ball in the air.CLOSE SHOTGuy smashes.CLOSE SHOTThe ball hits the net.CLOSEUP UMPIRE                         UMPIRE             Love fifteen.LONG SHOT THE CROWDWe HEAR the smash of the ball and the voice of the Umpire.                            UMPIRE'S VOICE                 (O.S.)             Love thirty.CLOSEUP ANNElooking very worried.       Again the call of the Umpire.                         UMPIRE'S VOICE                 (O.S.)             Double fault. Love forty.INT. THE ANNOUNCER'S BOOTHThe announcer telling his listeners that Guy Haines seems tobe a little reckless.                         ANNOUNCER             -- Haines hasn't let up his terrific             pace for an instant, smashing every                         (MORE)    Converted to PDF by www.screentalk.org                 119.                         ANNOUNCER (CONT'D)             ball with a recklessness we've never             seen in his playing. It's beginning             to look as if he doesn't care whether             he wins or loses because he's in a             hurry - an awfully big hurry ---                                               LAP DISSOLVE TO:EXT. METCALF STATIONWe see Bruno alight from the train.    He makes his way in thedirection of the town.MED. SHOT METCALF STATIONAs Bruno comes toward us, he stands on   the sidewalk and thentakes the lighter from his pocket once   more. At this momenta hurrying passenger on his way to the   depot accidentallyjogs Bruno's elbow. The lighter flies    from his hand.CLOSE SHOTWe see it fall through the bars of a grating by the sidewalk.CLOSEUP BRUNOlooks down in dismay.FOREST HILLS MED. SHOTThe game in progress. Guy and his opponent playing hard.Guy misses a point. We HEAR the Umpire's call.                         UMPIRE'S VOICE                 (O.S)             Game to Mr. Reynolds. Mr. Reynolds             leads five games to three in the             third set.EXT. METCALF STATIONBruno is leading a porter toward the grating, pulling him bythe arm. They reach the drain.    Converted to PDF by www.screentalk.org         120.                      BRUNO          Down there -- my -- my cigarette --              (catches himself --               not wanting to say               "cigarette lighter")          case. It's very valuable.                      PORTER              (peering down)          Down here?                      BRUNO          You've got to get this grating up          right away.Two passersby enter.                      FIRST PASSERBY          What's the trouble?                      BRUNO              (yelling)          Can't we do something...!              (to passerby)          I dropped my cigarette case.                      PORTER              (looking down)          Mightn't be any good, mister.          Probably gone down the storm drain.                       BRUNO              (horrified)          Storm drain?                      FIRST PASSERBY          On the other hand, it might have          lodged on the edge.                      SECOND PASSERBY          Don't they have a trap down there --          like under a sink?                      BRUNO              (excited)          Don't just stand here -- do something!                       PORTER              (calmly)          Guess we could phone the city          engineer, all right.                       (MORE)    Converted to PDF by www.screentalk.org                121.                         PORTER (CONT'D)             Worst he could do would be to tell             me to take a running jump and --                 (Bruno grabs his arm.                  Porter shakes Bruno                  off)             Relax, mister.                         BRUNO             I don't want to relax.He goes on his knees and forces his arm down the drain.INT. THE ANNOUNCER'S BOOTH FOREST HILLS                         ANNOUNCER                 (with great excitement)             This is more than a tennis game,             ladies and gentlemen -- it's a             desperate fight with Guy Haines             playing as if his life depended on             it!MED. SHOTGuy is volleying.MED. SHOTReynolds lobs.CLOSEUPGuy smashes.CLOSE SHOTReynolds lobs again.CLOSE SHOTGuy smashes.CLOSE SHOTReynolds misses and the ball hits inside the line.    Converted to PDF by www.screentalk.org               122.CLOSEUPThe Umpire calling.                         UMPIRE             Game to Mr. Haines. Mr. Reynolds             leads five games to four...third             set.EXT. METCALF STATION MED. SHOTA few more passersby have stopped to watch Bruno, whose armis pushed through the grating.CLOSEUPBruno's face -- straining.CLOSEUPUnder the grating Bruno's hand is groping.   His fingers area long way from the lighter.LONG SHOT FOREST HILLSwith the game in progress.MED. SHOT EXT. CLUBA taxi has pulled up.    Barbara gets out.CLOSE SHOTShe takes the ten dollar bill from her purse and passes itto the driver. She gives a final look inside the cab.CLOSEUPOn the seat are Guy's everyday pants, laid out.MED. SHOTBarbara hurries out of the picture toward the club.    Converted to PDF by www.screentalk.org              123.LONG SHOTThe crowd watching.CLOSEUPThe tense face of Anne.CLOSEUPThe Umpire is somewhat impressed.INT. THE ANNOUNCER'S BOOTH CLOSEUPThe announcer is telling his listeners that the score is nowsix-five in favor of Haines. That he has pulled upwonderfully and only needs one more game to win the match.EXT. COVERED STAND ENTRANCEBarbara, very nervous but trying to "act natural", passesHennessy and Hammond. Hammond's eyes again follow her, butHennessy is intent on the game.MED. SHOT FEATURING BOXAs Barbara joins Anne, she gives her a surreptitious signalby ringing her thumb and forefinger, indicating everythingis set.CLOSE SHOTGuy now playing hard.CLOSEUPHis racket smashing at the ball.CLOSEUPReynolds and his racket hitting the ball back.    Converted to PDF by www.screentalk.org                124.CLOSEUP THE UMPIRE CALLING                      UMPIRE          Advantages, Mr. Haines.CLOSEUPGuy serving.CLOSEUPHis ball hitting the racket.CLOSEUPThe ball in the net.CLOSEUPA second ball hitting the net.    The Umpire's voice calling:                         UMPIRE'S VOICE              (O.S)          Duece!EXT. METCALF STATIONA LOW SHOT ON Bruno bent over the grating and the onlookersbehind him.BIG HEAD CLOSEUP BRUNOstraining and panicky.CLOSEUPUnder the grating, Bruno's fingers get near the lighter, andin their groping, they knock the lighter off the ledge, ontothe ledge below.CLOSEUPBruno's horror-stricken face.    Converted to PDF by www.screentalk.org                 125.FOREST HILLS MED. SHOTGuy still playing.CLOSE SHOTBarbara standing with Hennessy, watching.    We HEAR the score.                         UMPIRE'S VOICE                 (O.S)             Advantage, Mr. Reynolds.CLOSEUP ANNEunable to bear the suspense.    She glances O.S.MED. SHOTThe waiting cab.CLOSE SHOTGuy and Reynolds in play.                         UMPIRE'S VOICE                 (O.S)             Score is deuce.CLOSE SHOTReynolds serves.CLOSE SHOTGuy volleys.    He waits for the return ball.   He misses it.                         UMPIRE'S VOICE                 (O.S)             Advantage, Mr. Reynolds.EXT. METCALF STATIONANGLE SHOOTING THROUGH the grating at CLOSEUP BRUNO'S HEADAND SHOULDERS staining.    Converted to PDF by www.screentalk.org              126.CLOSEUPUnder the grating, Bruno's fingers go lower and lower,straining to reach the lighter, which is still a few inchesout of reach.FOREST HILLS MED. SHOTGuy is volleying with Reynolds.INT. ANNOUNCER'S BOOTHHe is very excited.                         ANNOUNCER            -- Haines hasn't let up for a moment.            If he wins this set, he wins the            whole match!CLOSEUP ANNE AND BARBARAin their box.   They are extremely tense.MED. SHOTGuy slams hard a shot that wins him the game.LONG SHOT CROWDapplauding and shouting.CLOSE SHOT ANNE AND BARBARAAt an urgent signal from Anne, Barbara hurries out as if sheknew what she had to do.LONG SHOTGuy shakes hands with his opponent, and then hurries acrossto Anne in the stand. He leans over the front of the box.While congratulating him outwardly, she whispers somethingto him. He leaves his racket with her and hurries away.    Converted to PDF by www.screentalk.org                127.MED. SHOT STAND ENTRANCEA block of people leaving cut off Hennessy's view.    Barbaratries desperately to keep his attention off Guy.                          BARBARA                  (breathlessly)             Isn't it wonderful, Mr. Hennessy?             He won! It calls for a celebration.             Anne says you must have dinner with             us. Just the family, and you, and             Guy.                         HENNESSY                 (awkwardly)             Sorry I can't make it.   Business.                         BARBARA             But Guy is your business.   You'll be             with him, won't you?                         HENNESSY                 (a little grimly)             Yeah -- I'll be with Guy.MED. SHOTGuy moving along the front of the stand making for anotherexit.CLOSE SHOTBarbara takes it for granted that Hennessy will accept herinvitation.                         BARBARA             Guy says you love steak -- rare,             Medium, or well-done?                         HENNESSY             I sure wish I could --SEMI CLOSEUPHammond is looking off.    He calls into the stand.                         HAMMOND             Hennessy!He points off toward Guy.    Converted to PDF by www.screentalk.org                 128.MED. SHOTGuy is hurrying toward the public entrance of the stand.SEMI CLOSEUPHennessy and Hammond move off, leaving a dismayed Barbara.SEMI LONG SHOTGuy hurrying under the stand toward the waiting cab.MED. SHOTThe two men hurrying after him.EXT. CLUBGuy goes to the waiting cab and gets in.    The cab moves off.MED. SHOTThe two men hurry out of the club and stand helplessly lookingafter the departing cab. They hurry out of the picture.CLOSE SHOTWe see them grab another car. It is a chauffeur-drivenlimousine. Hammond jumps in front and seats himself besidethe driver. Hennessy hops in the back. The car moves off.INT. LIMOUSINE TWO SHOTHennessy finds himself seated by an old dowager about seventy-five years of age. She looks startled for a moment and almostrecoils from him. He shows her his badge.                         HENNESSY             If you'll pardon us, madam, we need             your help. We're chasing a man.The old lady's eyes light up.                         DOWAGER             How exciting.                         (MORE)    Converted to PDF by www.screentalk.org                129.                         DOWAGER (CONT'D)                 (she leans forward                  and calls to the                  chauffeur)             Hurry, O'Toole! Hurry!She leans back and maintains her air of excitement as shelooks across at Hennessy.CLOSE SHOT INSIDE THE TAXIGuy is busy changing his pants.    He glances over his shoulder.INT. CARThe two men looking ahead toward Guy.EXT. METCALF STATIONCLOSEUP BRUN0'S FACE - ANGLE SHOOTING UP to get the peeringfaces behind him. Bruno still frantically trying to reachthe lighter.CLOSEUPUnder the grating Bruno's fingers slowly closing in on thelighter. They barely manage to grasp it.CLOSEUPBRUN0'S FACE -- triumphant.CLOSEUPBruno's fist, holding the lighter, comes through the grating.CLOSE SHOTBruno straightens up. CAMERA BACK as all the onlookers turntheir heads in his direction.                         ONLOOKER             You sure must think a lot of that --             Whatever it is.    Converted to PDF by www.screentalk.org                130.Bruno doesn't answer. With the lighter in his closed fist,he darts through the crowd, the people looking after him.LONG SHOTThe sun is much lower.INT. CLUB CARGuy is now glancing at his watch.    The sun is behind him andvery much lower.EXT. AMUSEMENT PARKBruno is looking at his watch and then across at the sky.LONG SHOT FROM HIS VIEWPOINTThe last trace of the setting sun has gone.EXT. METCALF STATION MED. SHOTGuy is stepping off the train.    He crosses to a waiting taxi,CAMERA FOLLOWING him.CLOSE SHOT                         GUY                 (to the driver)             The amusement park, quick.As he gets in the Cab, we go to --CLOSE SHOT MANwatching Guy get into taxi. As we hear the taxi drive away,the man hurries across to a waiting police car.CLOSE SHOTHe puts his head in the side window and tells the two waitingdetectives where Guy has gone.                         MAN             Amusement park.    Converted to PDF by www.screentalk.org                  131.We see one of the detectives take up a microphone as the cardrives off.EXT. AMUSEMENT PARKIt is now getting dark.MED. SHOTBruno leaves his spot at the side of the tent and amblesover toward the queue of people waiting for boats.CLOSE SHOT BRUNOjoining the queue.    He glances ahead of him.MED. SHOT FROM HIS VIEWPOINTWe see the light above the pay booth go on, shedding adownward glare.CLOSE SHOT BRUNOpulls his hat a little further over his, eyes.   Some newarrivals join the queue behind him.INT. TAXIGuy looking anxiously ahead on his way to the amusement park.AMUSEMENT PARK ENTRANCEWe see a police car arrive. One uniformed man and twodetectives get out of the car and make their way toward theentrance. One of to detectives stands at the entrance whilethe other two hurry into the grounds.MED. SHOTGuy's taxi arrives.MED. SHOTAcross the street, another police car arrives.    Converted to PDF by www.screentalk.org                132.MED. SHOTAt Guy is paying his cab fare, he glances around him.MED. SHOT FROM HIS VIEWPOINTHe sees one police car.CLOSE SHOT GUYgives a furtive glance around while waiting for his change.MED. SHOT ANOTHER POLICE CARMED. SHOTGuy cautiously makes his way toward the entrance to theAmusement Park.MED. SHOTGuy passes the waiting detective and looks off.    From hisviewpoint we see:MED. SHOT THE TWO DETECTIVESwho were at the station indicate Guy is the man.MED. SHOTOne detective turns away and starts to follow Guy.CLOSE SHOT BRUNOin the queue of people. He is edging slowly along. He isabout ten people away from the entrance. He suddenly looksahead and sees.FROM HIS VIEWPOINTThe uniformed man and the detective are talking casually tothe boat men in charge of the concession.    Converted to PDF by www.screentalk.org                  133.                         DETECTIVE                 (to boatman)             The killer is here tonight. So keep             your eyes open and the minute you             see him, let us know.CLOSE SHOTThe boatman looks at them with an expression of alarm.CLOSE SHOT BRUNObegins to look a little uneasy.    We see him begin to mentallydeliberate.MED. SHOTGuy, threading his way through the crowds, conscious that heis being followed, but nevertheless, on the lookout for Bruno.CLOSE SHOT BRUNOmoving along the line. CAMERA MOVES IN until his head andshoulders fill the screen. He is now coming within range ofthe flood-lit pay-box. The light seems to creep up acrosshis chest and slowly reveal his face. He lowers his head.MED. SHOTThe boatman begins to look along the queue. There is anexpression of growing recognition on his face.MED. SHOTBruno sees this, makes a decision and casually deserts thequeue of people.MED. SHOTThe boatman hurries across to the uniformed man and beginsto talk to him excitedly, looking in Bruno's direction.MED. SHOT GUYComing along and looking for Bruno.    His eyes light up.    Converted to PDF by www.screentalk.org                 134.SEMI-LONG SHOT FROM HIS VIEWPOINTWe see Bruno making his way from the queue of people.CLOSE SHOT GUYcalls to Bruno.                           GUY             Hey, Bruno.CLOSE SHOT BRUNOgives a quick glance back, sees Guy then he turns and looksoff in another direction.SEMI-LONG SHOTThe uniformed man and the boatman approaching him.CLOSE SHOTBruno hurries on.    He stop short as he sees.SEMI-LONG SHOT FROM HIS VIEWPOINTAnother uniformed man.MED. SHOTBruno starts to run.MED. SHOTGuy starts to run after him.MED. SHOTBruno is seen to jump on a merry-go-round, which is juststarting. Its pace is already pretty fast.MED. SHOTGuy runs toward Bruno.    Converted to PDF by www.screentalk.org                 135.CLOSE SHOT                          DETECTIVE             Haines!   Hold it! Hold it!The detective pulls out his gun and starts to run after Guy.SEMI-LONG SHOTGuy jumps on the merry-go-round after Bruno.   Its speed isso great that he nearly gets flung off.CLOSE SHOTThe detective fires at Guy.CLOSE SHOTThe man running the machine in the center of the merry-go-round is suddenly hit in the shoulder.CLOSE SHOTHis hand, which is on the starting lever, jerks it down.MED. SHOTThe detective, after Guy, jumps on the machine but is flungoff on his back.FULL SHOTThe merry-go-round has now started to increase the speed.CLOSE SHOTBruno at the far side is trying to jump off, but it's goingtoo fast.LONG SHOT FROM HIS VIEWPOINTWe see the hard ground whizzing past him. Everything seemsto be a blur. We get a glimpse of screaming women and thecrowds rushing up from the midway.    Converted to PDF by www.screentalk.org                136.CLOSE SHOT BRUNOHe turns and glances over his shoulder.MED. SHOT FROM HIS VIEWPOINTGuy is threading his way between the rising and fallinghorses. Guy gets right up close to him.TWO SHOTAs Guy comes near to Bruno, the latter turns on him and startsto attack him.                       BRUNO           I want to get off of here! Let me           off of here! It makes me dizzy.                       GUY           Stop it, Bruno.   Give me my lighter,           Bruno!MED.SHOTAgainst the whirling background of the merry-go-round, Turleyand Campbell rush up as the detective struggles to his feet,slightly hurt. The noise from the calliope is very loud.                       CAMPBELL               (to Turley, puzzled;                indicating the merry-                go-round)           Who's the man he's fighting with on           there?At this moment the boatman rushes up.                       BOATMAN               (excited)           There he is! That's the one!    That's           the one who killed her!                       TURLEY           Of course he is. We know that.CLOSE SHOT ON MERRY-GO-ROUNDGuy and Bruno in a struggle. Guy has to protect himselffrom a madman whose hands attempt to reach his throat.    Converted to PDF by www.screentalk.org                137.They are staggering across between the rising and fallinghorses.MED. SHOT OUTSIDE MERRY-GO-ROUNDA detective turns to the group around hIm.                      DETECTIVE          Get somebody to come and stop that          thing!An elderly man in soiled work clothes speaks up.                      WORKMAN          I'll handle it.Immediately the workman heads straight for the merry-go-roundand starts to crawl under it on his stomach.                      DETECTIVE              (calls after him)          Hey! Be careful! Stop!A second detective speaks to him quizzically.                      2ND DETECTIVE          Well, do you want to do it yourself?The first detective leans over and looks off toward theworkman who is continuing his slithering way under themachine, then straightens up.                      1ST DETECTIVE              (changing his mind)          No. I think he'll make it all right.MED. SHOT GUY AND BRUNOBruno swings around till his back is to us. He pushes Guytoward the edge, but Guy manages to grab the rein of thenearest horse. The momentum of the machine swings Guy aroundagainst the horse, whose big head towers in the f.g. Bruno,on this side of the horse pushes forward and tries to grabthe reins from Guy's hand. He tries to slash at Guy's face.The back of Bruno's head is toward us during this. Guysuddenly leans out across the horse and smashes his fistagainst Bruno's face. Bruno's head goes back until it is inthe f.g. in a upside-down position.    Converted to PDF by www.screentalk.org              138.MED. SHOTTHE CAMERA IS LOW so that we get the effect of Bruno fallinginto the CAMERA from Guy's blow!MED. SHOTIn the f.g. is a young boy of four years. He is excited bythe speed of the ride and laughs at the fight with greatenjoyment. He sees this by suddenly glancing over hisshoulder. In the b.g. Guy and Bruno are continuing theirfight. Bruno rises. Guy staggers after him. Bruno againleaps upon Guy. The two men sway toward the CAMERA untilBruno gets alongside the little boy. The boy now shows someanxiety. The three figures now fill the screen with thehorses' heads in the f.g. Bruno is forced against the littleboy, who now, alarmed, beats Bruno on the cheek with onehand, the other holding onto the brass rail in front. Brunostops and with a sweep of his arm, knocks the little boy offthe horse onto the floor below. The little boy, in falling,grabs the horse's rein or stirrup.CLOSE SHOTGuy breaks away from Bruno and dives around the back of thehorse to grab the little boy.CLOSE SHOTAs Guy grabs the boy, he staggers forward with him to a smallgondola. Bruno leaps onto his back but Guy manages to putthe boy in the gondola.CLOSE SHOT UNDERNEATH THE WHIRLING MERRY-GO-ROUNDThe boat man is making slow progress.FROM HIS VIEW POINTWe see his goal. It is the wounded mechanic in the center,who is slightly stirring. All during this the base of themerry-go-round is skimming above the back and head of theboat man.    Converted to PDF by www.screentalk.org              139.BACK ON MERRY-GO-ROUNDThe two men are now in a clinch. Guy tries to fight off themaddened Bruno. They are flung between the horses, bouncingone against the other, almost half way around the merry-go-round.CLOSE SHOT BRUNO AND GUYAgain they struggles between two horses. On each side ofthem are two young screaming girls. The two bounce from onehorse to the other.CLOSE SHOTThe calliope has little figures and these boat away on theircymbals almost as though they are applauding what's goingon.CLOSE SHOTUnderneath the merry-go-round, the boat man has made furtherprogress. He is creeping inch by inch. His nose starts torun. He starts to fumble for a dirty piece of handkerchief.He blows his nose and then moves on.CLOSE SHOTBack above the two men swinging past the two girls on theirhorse and they both crash to the floor underneath anotherhorse, upon which is riding side-saddle, a mother and herthree-year-old little girl.CLOSEUPThe two big heads of the men, battling. The two men rollunderneath the horse's hoofs, which are seen rising andfalling. They get right underneath one horse.CLOSEUPGuy has turned over on his back and his eyes look up.    Converted to PDF by www.screentalk.org              140.CLOSEUP FROM HIS VIEWPOINTWe see the big horse's head above and its hoofs coming downtoward the CAMERA and filling the screen. We get a faintimpression of the screaming mother hugging her child to herbreast, above.BIG CLOSEUP THE HORSE'S HOOFSstriking Guy's head.CLOSE SHOTGuy wrenches himself out of this position. He rolls awayfrom the CAMERA right to the edge of the merry-go-round. Hemanages to grab a rail.MED. SHOTGuy's body is flung out horizontally. We see the crowd behindback-up for fear of being knocked over. The screw of tensionincrease. Over this comes the sound of an approachingambulance siren.CLOSE SHOTBruno edges himself toward Guy. He is hanging on to thereins of a horse. His feet manage to roach Guy's knuckles.CLOSEUP BRUNO'S VICIOUS EXPRESSIONCLOSEUP BRUNO'S FEETkicking at Guy's knuckles.CLOSEUP GUY'S AGONIZED EXPRESSIONMED. SHOTA flash of the horror-stricken faces of the spectators seenthrough the whirling machine.    Converted to PDF by www.screentalk.org              141.CLOSEUPMachinery and the lever that was pulled on too fast. TheBoatman's hand comes up into the picture and pulls the leverover.LONG SHOTThe sudden braking causes the whole merry-go-round to toppleover with a grinding roar.LONG SHOT FROM HIGH ANGLEThe merry-go-round his keeled over. For a moment we don'tknow who has survived. There is a surge of people millingand shouting. Those who have jumped back out of the waywhen the merry-go-round toppled, now rush forward again asthe cloud of dust settles. From the midway in the backgroundothers are running forward.MED. LONG SHOTDistraught parents try to force their way to their childrenwho were on the merry-go-round, but are hold back from thewreckage by police.MED. CLOSE SHOTGuy is somewhat stunned from his fall. He is helped to hisfeet by some men in the crowd. His knuckles are bleeding.In the background people are rushing about. The crowd is inuproar as women and children are helped from the wreckage.Officials and uniformed policemen pushing back the surge ofthe crowd.                       AD LIBS            Get back. Get back there.    Give us            room here.Turley and Campbell rush in to Guy.                        TURLEY            Are you all right, Haines?                        GUY            Yes, I think so.    Converted to PDF by www.screentalk.org              142.Guy is surrounded by police and Campbell stands at his elbow.At this moment the boatman runs in. One of the detectivesis with him.                      DETECTIVE          Mr. Turley! Mr. Turley!              (indicating boatman)          He says this isn't the man we want.              (with a nod in Guy's               direction)          It's the other one -- the one he was          fighting with.                        TURLEY                (stops to give his                 full attention to                 this unexpected bit                 of information)          What   do you mean, this isn't the --                (turns to Guy, not                 quite taking it in)          Not   Haines?                (back to boatman)          But   you said he was. You pointed          him   out.                      BOATMAN          No, I didn't, sir. I've never seen          this man before in my life. I meant          the other one.The detective who was holding Guy instinctively relax hishold on Guy's arm. Turley turns to Guy, puzzled.                      TURLEY          What is this all about, Haines?        Did          you know he killed your wife?                      GUY              (nods)          He has my cigarette   lighter and wanted          to plant it there on   the island to          pin the whole thing   on me.              (urgently)          Let me talk to him.      Let me show          you. Where is he?                        ANOTHER DETECTIVE          Over here.He leads the way.   They follow.    Converted to PDF by www.screentalk.org                 143.MED. CLOSE SHOTas Guy and Turley enter to the  spot where Bruno is pinnedunder the overturned machine.   He is caught between two ofthe horses, the head of one of  them across his chest. Bruno'shead sags back somewhat, but is  resting on pieces of debris.A uniformed policeman looks up  from Bruno to Turley:                      POLICEMAN          This one's in a pretty bad way, Mr.          Turley.Guy is shocked at the sight of Bruno.                      GUY              (looking down at Bruno)          Can't you get that stuff off him?                      POLICEMAN          No, they've done everything they can          until the crane comes.Bruno opens his eyes and sees Guy.                        BRUNO          Hello, Guy.Turley has leaned forward to look at the helpless Bruno.                       BRUNO              (weakly nodding at               Turley)          Who's that?                      GUY          This is Mr. Turley, Chief of Police.                      BRUNO              (with a half smile)          So they got you at last, eh, Guy?Guy looks around desperately, frustrated for a moment asTurley eyes him stonily. Then he turns again to Bruno.                      GUY              (rather gently)          Can you talk a little? Can you tell          the chief you have my lighter?    Converted to PDF by www.screentalk.org              144.                      BRUNO              (with a faint,               quizzical smile)          I haven't got it. It's still on the          island where you left it.Guy looks around helplessly to Turley, who looks back at himsuspiciously.                      DETECTIVE              (looking down at Bruno)          I think he's going.Turley leans over to look.CLOSE SHOT BRUNO'S FIST FROM TURLEY'S VIEWPOINTAs Bruno is dying, his closed fist slowly starts to open.                      DETECTIVE'S VOICE          He's finished.Guy's lighter is now revealed in Bruno's open hand.MED. SHOT GROUPTurley takes the lighter from the dead Bruno's hand. Guy iswatching him. Turley straightens up and holds the lighterout to him.                      TURLEY          Is this your lighter, Haines?Guy nods without speaking, and with a half look in Bruno'sdirection.                      TURLEY          Well, you were right.              (sticks the lighter               into his own pocket)          I'd better keep this for the time          being.              (in a friendly tone)          We can clear the whole thing out the          morning. How about staying in town          over night, Haines? I imagine you          have a lot to tell me. Nine o'clock,          all right?    Converted to PDF by www.screentalk.org              145.                      GUY              (nods)          Okay, Mr. Turley.   Thanks.Turley turns back to the group around Bruno. Guy looks downfor a moment at Bruno, then speaks to the boatman, who isstanding nearby.                      GUY          Can you tell me where there's a          telephone?                      BOATMAN              (indicating)          There's one up near the entrance.              (with a look back to               the dead Bruno)          Who was he, Bud?Guy looks back sympathetically in Bruno's direction, speakswithout looking at the boatman.                      GUY          Bruno. Bruno Antony.              (reminiscently and a               little               compassionately,               remembering what               Bruno had said of               himself)          A very clever fellow.He moves off through the crowd.                                                DISSOLVE TO:INT. BURTON STUDY NIGHTAnne, Barbara and the Senator are sitting silently in theattitudes of waiting. The telephone rings. Anne is instantlyon her feet. Barbara and the Senator watch her anxiously asshe goes to answer it.                       ANNE               (into phone)          Hello...               (impatiently)          Yes, operator, yes!               (waits a moment, then                eagerly:)          Guy?                       (MORE)    Converted to PDF by www.screentalk.org               146.                      ANNE (CONT'D)              (a pause, then she               closes her eyes with               heartfelt relief.               Another pause, then:)          Yes, darling, yes. Of course I'll          be there...Goodbye.She hangs up, turns slowly, to face Barbara and her father.Her expression is one of intense relief.                      ANNE          Guy'll be back tomorrow.              (overcome with emotion               she has difficulty               in speaking)          He wants me to take him some things.With a sob, Barbara flings herself into Anne's arms. As shecries, Anne strokes her head comfortingly. Then with a half-choked sobs Anne, too, begins to cry. She speaks throughher tears, looking over Barbara's shoulder at her father.                      ANNE          He says he looks silly in his tennis          clothes.The Senator eyes them a moment, then speaks a little wryly:                      SENATOR          I presume from all those tears that          you have had good news.                                                 DISSOLVE TO:INT. PARLOR OF TRAIN NEXT DAYAnne and Guy are sitting quietly together. Opposite them isa man in a clerical collar who is reading a sports magazine.On the cover is a picture of a tennis player in action. Theman looks over the top of his magazine at Guy, withrecognition. He leans forward.                      CLERIC          I beg your pardon, but aren't you          Guy Haines?                         GUY                 (uncomfortably)          Yes.      Converted to PDF by www.screentalk.org             147.Guy and Anne exchange a  brief look, rise hurriedly and startto walk away before the  conversation can go any farther.The cleric looks after  them with a frown and a puzzled shrugof his shoulders, as if  to say, "Did I  say something wrong?"                                                    FADE OUT.                            THE END
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+                                                           THE STUNTMAN                                                Written by                                   Lawrence B. Marcus                                               Adaptation by                                      Richard Rush                                                       From the novel by                                     Paul Brodeur                                                  FINAL SHOOTING SCRIPT                                                                     -1-                                                                  THE STUNTMAN                         FADE IN:          1    EXT.   ROADSIDE DINER - EARLY MORNING                         A strip of two-lane highway runs through a tall pine forest. There               is a truck-stop coffee shop beside the roadway. A few 14-WHEELERS               are scattered across the big dusty parking lot. Morning sunlight               glints off their chrome stacks. It bakes the asphalt and warms the               mangy hides of stray DOGS asleep in the dirt. A HELICOPTER hovers               about the treetops like a lazy hummingbird. It's the beginning of a               perfect day.                         A highway PATROL CAR slowly trolls among the trucks and dogs and               parks beside the slat and shingled building.                         TWO TELEPHONE LINEMEN are scaling a power pole at the forest's edge.                    2    POWER POLE - ANGLE ON TELEPHONE LINEMEN                         High on the pole, the linemen lean back against their safety straps               to work, their bodies forming a "Y." One of them suddenly turns,               pointing at a nearby treetop.                                                        FIRST LINEMAN                                   Lookee there!                         He grabs a PORCELAIN INSULATOR from his belt, cocks his arm and               hurls it across the open stretch. It lands smack in the middle of               the tree. SQUAWK! A rattle of leaves, a rustle of feathers and a               HUGE BUZZARD comes flapping out. The lineman cackles over his               marksmanship.                    3    CLOSE ANGLE ON BUZZARD - MOVING SHOT                         The big, frightened beady-eyed bird is lumbering through the sky,               flapping for its life and suddenly...SPLAT! It crashes head-on into          3A   the bubble of the passing HELICOPTER.                    4    INT.   HELICOPTER                         The ship rocks as the PILOT wrestles the controls. There are THREE               OTHERS in the cabin. The man beside the pilot, ELI CROSS, is               sketching in a manuscript and eating an apple. He glances up in               irritation.                                                        ELI                                   Hey, will you stop wiggling?!                                                          -2-                                                                           PILOT                                  Don't yell at me...yell at the                                  goddamn crazy bird! It tried to                                  kill us!                                                       ELI                                     (back to his manuscript)                                  Oh yeah, that's your story. What's                                  the bird got to say about it?                        Eli bites into his apple, grimacing at the mushy mouthful    He tosses              it out the hatch.                    5   EXT.   FOREST - TREETOPS                        The apple drops into the trees, bounces down from branch to branch              and falls on the slanted roof of the ROADSIDE DINER beneath. It              rolls down the eaves, off the edge and lands on top of the parked              Highway Patrol car.                    6   INT.   PATROL CAR                                                       FIRST POLICEMAN                                  Something hit the roof.                                                       SECOND POLICEMAN                                  So will the Chief...if we don't grab                                  this guy Cameron.                        They climb out as we see a SECOND PATROL CAR sliding up behind them.              MORE POLICEMEN emerge from the second car.                    7   EXT.   DINER - ON POLICEMEN                        They huddle, then move toward the diner entrance.     As they pass an              open WINDOW the CAMERA HOLDS.                        INT.   DINER          8                        A FRY COOK serves behind the long counter where MEN on stools eat              watching the overhead TV. There is a PINBALL MACHINE in action.              The policemen are seen ENTERING b.g. A TRUCK DRIVER ambles up and              straddles a stool.                                                       TRUCK DRIVER                                  Gettin' hot early. It's gonna be a                                  scorcher.                        The fry cook fills the driver's empty water glass from a pitcher,              then move down the counter.                                                         -3-                              9    ANGLE ON CAMERON                         He sits a few stools away. He's about 25, even-featured, bone-               weary. His appealing face needs a shave. The cook fills his water               glass. The ice cubes rattle as Cameron's hand trembles. His eyes               are riveted on the policemen.                    10   CAMERON'S POV                         Two policemen take seats at a booth across from the counter; one               policeman moves to a WALL TELEPHONE, another stands near the CASH               REGISTER looking at a magazine. They seem nonchalant, but are               placed to block all avenues of escape.                    11   ANGLE ON CAMERON                         Suddenly startled as someone slaps him on the arm.       He whirls to               face the man beside him.                                                       MAN                                  That's really a beaut...really a                                  beaut!                         The MAN is staring at the TATOO which shows below the rolled-up               sleeve of Cameron's shirt, a large American Eagle with elaborate               scrollwork and a patriotic slogan. The man pulls up his own sleeve               to show a small tatoo of an anchor.                                                       MAN (CONT'D)                                  My wife still yells about this...but                                  yours -- that's some eagle...like a                                  billboard.                                                       CAMERON                                      (eyes on police)                                  Yeah, that's the grand old bird.                                     (a half-smile)                                  Right now I just wish the son-of-a-                                  bitch could fly.                         Cameron rises and moves across the diner to the pinball machine.                    12   ANGLE ON PINBALL                         The PLAYER wiggles and contorts, using body English to influence the               balls.                                                         -4-                                                                         HECKLER                                Hey Morton, you think your ass is                                connected to the machine? You                                wiggle, it's gonna make the ball go                                where you want?                    12A   Cameron's eyes scan the room, passing the TV above the counter. On                it, the commercial shows a beautiful girl (who we'll later know as                NINA FRANKLIN) bending over a bowl of dog food. Her ass, too,          12B   wiggles engagingly. The pinball player leaves the machine.                Cameron, stalling for time, works the plunger while a cop stalks                closer; like the cat to the mouse hole.                                                     POLICEMAN                                Hey, you're lucky. Somebody left a                                free ball.                                                      CAMERON                                Uh huh.                          Cameron shoots. The ball bounces crazily inside the machine, lights                and buzzers flashing. Another policeman approaches.                                                     SECOND POLICEMAN                                You got 20,000! You're gonna win...                                                      CAMERON                                Win what?                                                     SECOND POLICEMAN                                A free game!                                                     CAMERON                                Terrific...                          He rests his hands on the machine, glancing about.    Escape seems                hopeless.                                                     CAMERON (CONT'D)                                ...that's just what I needed...one                                more chance to lose.                          In a lightning-swift motion, the cop clamps his hands down over                Cameron's wrists, snapping the HANDCUFFS on. The trap has sprung.          13    CLOSE ON COP AND CAMERON                          Cameron nods his head in resignation. A big uncontrollable grin                breaks and spreads over the cop's face.                                                        -5-                                   Then suddenly, Cameron bolts, desperately springing full speed for               the back door. He flings it open. The cops are moving toward him.               One has almost got his gun out.                                                      POLICEMAN                                Cameron!   Halt! I'll shoot!                         Cameron lunges through the doorway, not realizing in his frenzy the               screen door still blocks his path. He tears through it, but gets               stuck halfway.                                                     CAMERON                                   (panicked)                                No!...God, don't shoot!                         Swinging his manacled arms like a club against the tangled mesh, he               breaks free and runs.                    14   EXT.   REAR OF DINER                         As Cameron flies down the back steps, a COP stationed at the rear               door, caught off-guard, tries to stop him but is shoved flat on his               back. Cameron weaves and scrambles across the yard, over fences,               between the shed and the barn, rolling beneath a building, out the               other side. Behind him, distant shouts and a gunshot.                    15   INT.   FOREST - MOVING SHOT ON CAMERON - DAY                         As Cameron runs, he moves with a skill that suggests forests are not               alien to him. He crouches low, following tiny avenues in the maze               of tree trunks, scrambling on all fours over needles and fallen               cones. Sweat pours down his face. His breath rasps in his throat.               He breaks into a clearing and FREEZES...suddenly face to face with a               MAN who crouches, blocking his path. It is one of the telephone               linemen we saw earlier.                    16   WIDER ANGLE                         The lineman, kneeling at his tool chest, is surprised by Cameron.               The other lineman is halfway up the power pole. They both stare at               Cameron's handcuffs. Cameron edges back, his escape route blocked.               The man on the ground grabs a WRENCH and moves forward with the same               gleam in his eye we saw when he scared that bird from the tree.                                                     LINEMAN                                Stand right there like a good old                                boy and do what I say. You wanna                                try and mess with me, you've had                                fair warning. I was a combat Marine                                in Korea. Okay?                                                           -6-                                   The lineman advances on him as Cameron backs away.                                                       CAMERON                                  Korea? No shit, so was my old                                  man...                                     (he suddenly stamps his                                      foot and shrieks)                                  Aaaaaaaargh!                         The lineman jumps in surprise. Then, enraged like a startled bull,               he lunges forward with the wrench. Cameron uses the man's weight               against him, his moves those of a trained fighter. A hard knee to               his stomach doubles up the lineman. The handcuffed arms slam down               like a club between his shoulder blades driving him to the ground.               A kick thrown sideways to his head and the man is out. The other               lineman who had started to descend the pole freezes and takes one               step back up. Cameron grabs the lineman's toolbox in his handcuffed               grasp and dashes off into the forest.                    17   MOVING SHOT - ON CAMERON                         He slides down a slope on a carpet of fallen leaves, tumbling to the               bottom and falls face forward into a running stream where he holds               his head and drinks. CAMERA MOVES ACROSS the terrain. There are no               pursuers, the forest is silent.                    18   CLOSE UP - HANDCUFFS                         The jaws of a wire-cutter clamp down severing the chain connecting               the cuffs around Cameron's wrists. He lifts his knee from the               cutter handle. His arms are now free. He wedges a chisel against               one bracelet and swings a sledgehammer against it. We hear his               sharp outcry.                    19   ANGLE ON CAMERON                         Doubled up, holding his wrist in pain. The bracelet is still               intact. He buttons his shirt cuffs over the metal bands and climbs               the slope to the bright sunlight on the road above.          20   EXT.   OLD ABANDONED ROAD - DAY                         Cameron is trudging along the old road winding down through the               mountainous pass. He crosses a bridge. Through the arches of its               low stone railing, he sees a BLACK RIVER twenty feet below rushing               toward the sea. Then, glancing back, he is suddenly alert.                                                           -7-                    21   CAMERON'S POV                         In the far distance, almost lost in the shimmering heat waves from               the road, is a tiny speck moving toward him.                    22   ANGLE ON CAMERON                         He clambers down the embankment behind the railing, peering out from               this hidden vantage.                    23   ANGLE ON ROAD                         The speck grows larger. The SOUND of the engine is faintly audible               now. Sunlight flashes from metal and glass. Cameron's apprehension               suddenly changes to wonderment, for the vehicle is not the police as               he had feared, but something else. Moving in the shimmering heat               wave is a splendid, high, humpbacked World War I vintage DUESENBERG               SEDAN with gleaming brass headlights, roaring towards him.          24   ANGLE ON CAMERON                         He scrambles up the embankment to thumb a ride. The Duesenberg               roars past him, filling his eyes and mouth with dust. Suddenly               there is a screech of brakes.                    25   ANGLE ON CAR                         The Duesenberg goes into a skid and then bounces to a stop.               Running, Cameron reaches the car, pulls the front door open and               climbs in beside the DRIVER.          26   INT.   CAR                                                         CAMERON                                  Thanks.    I thought you didn't see                                  me.                         The driver, BURT, is a husky, red-haired man about Cameron's age and               deeply agitated. Pounding his fist against the steering wheel, he               talks half to Cameron, half to himself.                                                         BURT                                  Damn it.    Screwed it up.   Lost my                                  nerve.                         Fishing a Vick's inhaler from his pocket and shoving it in his               nostril.                                                          -8-                                                               BURT (CONT'D)                                Goddamn sinuses. Can't even see                                straight.                         Cameron looks at him, puzzled.                                                     CAMERON                                You want me to drive?                         Burt whirls on him, enraged.                                                     BURT                                What the hell is that supposed to                                mean?!                                                     CAMERON                                   (confused)                                No offense...thought you might...                                                     BURT                                Every one of you jerks is a goddamn                                hotshot expert! Thanks for the vote                                of confidence. If you think you can                                do any better, just come and try it!                         He puts his boot in Cameron's stomach and shoves hard.                    27   EXT.   CAR                         Cameron comes flying out and lands on his back in the road as the               Duesenberg squeals forward, its open door slamming shut from the               momentum.                         Stunned, the wind knocked out of him, Cameron rises to his elbows.               Before the old relic has gone thirty yards, again the brakes               screech, swinging the car into a sliding salute turn, one hundred-               eighty degrees and it is suddenly screaming back toward Cameron.          28               INT.   CAR - ANGLE ON BURT                         Driving with one hand on the door handle, his head halfway out the               window watching the bridge railing and the water beyond.                                                       -9-                    29   ANGLE ON ROAD - CAR AND CAMERON                         Cameron, sprawled on the road, is momentarily paralyzed at the sight               of the Duesenberg's great brass grill bearing down. His hand closes               over a rock and with the same illogical gesture that a soldier               flings a Coke bottle at a tank, Cameron hurls the rock in the               direction of the car and frantically rolls sideways. The big               spinning tires brush him as they pass. We catch a momentary glimpse               of the rock smashing against the gleam of the passing windshield.                         As he stops rolling, once more face down in the dust, eyes closed,               expecting death, he becomes aware there is only silence. He opens               his eyes, climbs to his feet. The road is empty. The Duesenberg is               gone. Astonished, confused -- he walks to the side of the bridge               where the railing ends and the car might have plunged off. There is               nothing below but the rushing black water. Here and there bubbles               swirl to the surface. They could be from a sinking car or could be               caused by the current.                    30   ANGLE ON CAMERON                         His thoughts racing. Was it the sun, has he imagined the whole               thing? Suddenly a HELICOPTER appears, hovering, almost at eye               level. Sunlight flashes through the spinning blades like a strobe.                    31   WIDER ANGLE                         It is the same helicopter we saw in the opening sequence. It has               swiftly descended beside the bridge just beyond the railing,               catching Cameron with no chance to run or hide. FOUR MEN Can be               seen inside the plastic cockpit barely a few feet away. The man               beside the PILOT is ELI CROSS. He grabs the radio microphone and               begins speaking into it. Cameron whirls, scrambles down a bank to a               field. The helicopter drops to within a few feet of the water,               hovers. Protected from sight, Cameron runs between the tall stalks,               away from the road.                    32   CAMERON - MOVING SHOT                         Glancing back through the stalks as he runs, Cameron sees a STAKE               TRUCK barreling toward the sight of the accident. In the back,               THREE MEN are frantically putting on black wet-suits. They look,               from this distance, like little black toys tumbling against each               other. Cameron runs on.                                                        - 10 -                    33    EXT.   BLUFF - OVERLOOKING SEASHORE TOWN                          A few hotels, like a cluster of old Victorian gingerbread, surround                a sandy cove beyond which is the sea. There is a fishing pier,                boardwalk, hot dog stands, pizza parlors, all swarming with                sunbathing TOURISTS. The town's bucolic, turn-of-the-century charm                might even survive these, if not for a monstrous yellow CONSTRUCTION                CRANE, which juts ten stories into the sky from the center of the                sandy cove. Cameron appears on the bluff.                    34    ANGLE ON CAMERON                          Surveying the town -- expressionless, a jungle beast going to                survive no matter what -- at least for a few more hours. He reaches                down and rips off his trouser legs at the thigh, turning them into                cutoffs a vacationing bather might wear. He pulls off his worn                boots and flings them into the brush, his eyes never leaving the                town below. There are crowds to get lost in down there. He                unbuttons his sleeve and looks at the handcuff still encircling his                wrist. Stopping beside a large rock, he smashes the bracelet                against it. It won't open. Grimacing in pain, he re-buttons the                sleeve, opens his shirt and begins descending the palisades toward                the town.          35    EXT.   BOARDWALK                          The SCREEN is yellow and on it are the words: 'HAVE A NICE DAY.'                THE ANGLE WIDENS and we realize the words are on the back of a                YELLOW HAT that jiggles as its wearer walks. It is Cameron. Beyond                him we see the tide of tourists in oils and ointments flirting with                the sun. Teenage girls at portable toilets adjusting their bikinis.                The boardwalk cops in white shirts, looking like ice cream vendors,                whom Cameron deftly avoids. Then, he looks up at the sky,                perplexed: the helicopter from the bridge is overhead, circling.                Cameron watches it warily as he walks.                    35A   ANGLE ON BOARDWALK                          A BIG CROWD has formed at the railing of the pier. Many of the                people with CAMERAS CLICKING at the sand below. Cameron notices the                helicopter is now sharing the sky with a brightly painted open                cockpit BIPLANE. It is a WORLD WAR I FIGHTER with BRITISH INSIGNIA.                    35B   ANGLE ON BOARDWALK AND SKY                          Cameron works his way through the crowd. All eyes now look upward                at the plane. A LOUD VOICE is HEARD coming through an electric                BULLHORN.                                                       - 11 -                                                               VOICE                                All right, people. Quiet! We're                                losing the sun! This is a take!                                You're welcome to watch, but please,                                no flashbulbs. They'll spoil the                                shot.                         Cameron's world has become more ordered again. It's a film company               shooting on location -- this somehow must explain the Duesenberg.               His eyes go to the scene below.          36   ANGLE ON COVE                         A CAMERA RIG suspended from the end of the yellow construction crane               is PHOTOGRAPHING the surf where EXTRAS in German WWI uniforms               unload ashore. The bright little plane has started a lazy dive               toward the soldiers, its engine whining. From here it looks as               fearsome as Snoopy and the Red Baron.                    37   ANGLE ON THE BEACH                         As the British plane pulls out of the dive, there is a tremendous               explosion. In the flash of smoke and flame, barge, rowboats,               ammunition and people are blown sky-high. The smoke from the               exploding ammunition momentarily obscures the scene.          38   ANGLE ON CROWD                         The onlookers are very impressed and pleased and then abruptly their               pleasure turns to horror and disbelief.          39   ANGLE ON COVE                         As the smoke lifts, the Tom and Jerry violence has become a               horrifying reality. Bodies are scattered about. One man has been               severed in half, drenched in blood. Chunks of meat, arms and legs               litter the beach.          40   ANGLE ON CROWD                         Paralyzed by the sense of catastrophe.                                                     MAN                                   (shouting)                                Something went wrong.                         Then, people begin to moan and scream.                                                           - 12 -                    41    CLOSE ON CAMERON                          Staring tensely at the carnage.      By reflex, a shout escapes his                lips.                                                         CAMERON                                   Medic!   Get the medics!          41A   A WOMAN sags into a faint.      A small child in the crowd is crying and                clutching Cameron's leg.                    42    ANGLE ON COVE                          As the scene continues we hear a voice on the Bullhorn.                                                         VOICE (O.S.)                                   Cut!   I said CUT! That's a print.                          Suddenly the reality of the horror turns into an obscene, absurd                farce as what appear to be the missing parts of bodies begin                wriggling out of the sand where the extras were partially buried to                create the macabre effect and now the extras become whole human                beings before our eyes once again.                    43    ANOTHER ANGLE                          The crowd reacts in various ways. Sighs of relief, laughter, anger.                The exhumed extras wipe sand from their eyes and shake it down their                trouser legs.                                                        A.D.                                      (yelling)                                   Beautiful, Harvey. You gave                                   everybody a heart attack.                          HARVEY, the Second Unit Director, yells back.                                                        HARVEY                                   Eli will hate it. He said he wanted                                   the shot in one? Now watch, he'll                                   do six hours of pick-ups.                          The crowd disperses.      A TOURIST turns to Cameron.                                                        TOURIST                                   Great...but why do they always use                                   so much blood? It ruins the                                   realism, don't you think?                                                        - 13 -                                                              CAMERON                                  (still shaken, quietly                                   mutters)                               ...asshole...                         The tourist stiffens as Cameron turns away, his attention now drawn               by the beating sound of the helicopter. He glances up.          44   CAMERON'S POV                         The helicopter is descending toward the beach while the FILM CREW               rapidly moves equipment from the last scene into piles to clear a               landing site.                    45   ANGLE ON FISHING PIER                         Wary of the men in the chopper, Cameron is moving down the pier away               from the landing site. Suddenly he stops short, caught by something               he sees O.S. Excitedly he points and begins to shout.                                                      CAMERON                               Hey!    Hey you...!          46   CAMERON'S POV                         Below him, walking away on the sand is one of the actors with the               same red hair, the same old British army jacket as Burt -- the man               in the Duesenberg. Hearing the shout, the actor stops and               tentatively turns. It's a mistake. Clearly the features are               different. It's not Burt.          47   ANGLE TO INCLUDE CAMERON                         Cameron is puzzled. He watches as the red-haired actor looks about               to see who called and finding no one, starts off, but is stopped by               a LITTLE OLD LADY holding a parasol and offering her autograph book.                                                    LITTLE OLD LADY                               Mr. Bailey! Aren't you Raymond                               Bailey, the actor? Would you please                               sign your autograph? Write 'to                               Emily...for eternal peace.'                         Raymond signs the book with the easy charm of a man who's done it a               million times. He has those special rugged good looks that belong               to Marlboro men and movie stars.                                                      - 14 -                                                              LITTLE OLD LADY (CONT'D)                               I'm certainly glad you're all right.                               I lost my husband and my son in the                               wars...                         The sound of the chopper blades has become deafening as it hovers               for a landing. The Old Lady snatches her autograph book and heads               for the landing site.                    48   ANGLE ON HELICOPTER                         As it touches the ground and its doors fly open. Out step the               CREWMEN and ELI CROSS. The ASSISTANT DIRECTOR rushes up and shouts               over the hissing blades of the idling chopper.                                                    A.D.                               What happened on the bridge?!                                                    ELI                                  (deeply upset)                               All the divers found in the car was                               the goddamn camera.                                                   A.D.                                  (stunned)                               And Burt?                                                    ELI                                  (anguished)                               No Burt! All gone...caught in the                               current probably and...they're                               diving downstream and searching the                               riverbanks, but...don't say anything                               to the crew yet...                                                    A.D.                                  (softly)                               Jesus Christ.                                                    ELI                               Yeah, Jesus Christ.                                                    A.D.                               What do you want to do?                                                        - 15 -                                                               ELI                                I don't know...call my mother and                                have her tell me it wasn't my                                fault...                                   (desperately)                                ...What the hell could have                                happened?                         Their words are lost in the sound of the rotor as the chopper slowly               rises. The sudden WIND from its blades blows some screening off a               pile of equipment. It falls on the Little Old Lady who has been               approaching Eli and topples her into the surf. She is trapped in a               tangle of ancient skirts and petticoats. Before she can regain her               balance, a wave tumbles her further into the sea.                    49   ANGLE INCLUDING CAMERON                         Cameron, sitting on the edge of the pier over the water, has watched               this mini-disaster. The undertow from the wave has swept the Old               Lady directly beneath him. Reaching down toward her, he yells:                                                      CAMERON                                Hey!   Hey, give me your hand!                         He can't quite reach her. As a last resort, he drops off the edge               into the water by her side.          50   ANGLE ON WATER                         He grabs for the struggling Old Lady.                                                     CAMERON                                Don't be afraid! You're gonna be                                okay.                         Like groping through seaweed, he reaches past her tangled skirts,               grasps her waist and lifts her to keep her head above water. She is               choking, gasping for air. She turns her face toward him.                    51   CAMERON'S POV                         Her features are distorted; they seem to be melting away. She frees               her hand and violently tears at her face, pulling away the RUBBER               MASK on which is the melting putty and make up. With it goes her               wig and what is left is a startlingly beautiful young girl.                                                 - 16 -                                                         CAMERON                          My God!                             (choking on water)                          You're...I know you...that girl from                          TV...the actress. Nina...                                               NINA                             (sputtering)                          ...Franklin.                    The sun glistens on the wet, wild young perfection of her face,          ingenuously sparkling laughter and for an instant it's breathtaking          - a universal boyhood fantasy to suddenly be thrown this close to          that kind of "movie star" beauty. It's something Cameron feels in          the pit of his stomach.                                               CAMERON                          My God!...Why the hell...?                                               NINA                             (laughing and choking)                          ...Makeup test...it's for the                          film...                    Regaining his composure enough to attempt flattery, but he means it.                                               CAMERON                          They gotta be crazy to cover that                          face.                                               NINA                             (laughing)                          I'm only old at the end of the                          story.                    As they are only in a few feet of water, there is no longer any          reason to hold her. He starts to put her down.                                               NINA                          No, don't do that.    Rescue me!                                               CAMERON                          In three feet of water?                                               NINA                          Oh come on, please. I always wanted                          someone to rescue me from                          something...                    Grinning, he carries her toward shore.                                                       - 17 -                                   ANGLE ON BEACH                         Eli, surrounded by the crew and dozens of tourists, is standing at               the water's edge as Cameron wades in and sets Nina down.                                                    ELI                                Nina! You damned near scared me to                                death!                         At the sight of Eli, she becomes like a little girl who, having               skinned her knee and run to daddy, now can allow herself to cry.                                                     NINA                                Oh hell, it's all ruined now and I                                wanted you to see the makeup, Eli.                                Where were you?...I even got                                Raymond's autograph and he didn't                                know...You'd have been proud...                         Nina is surrounded by people who are rubbing her with towels, taking               pictures, all shouting at once. The CROWD closes in, excluding               Cameron to the outskirts.                                                     ELI                                   (to the A.D.)                                Get her into a tub, then bed...and I                                want to see her in makeup and                                costume again before dinner.                         THREE CREWMEN hustle her off, as she searches the crowd for               Cameron...then spots him.                                                     NINA                                Hey! Thank you! That was really                                gallant...rescuing an old lady!                         Cameron waves and starts to wander off as they whisk Nina away.                    53   ANGLE ON ELI                         He moves toward Cameron.                                                     ELI                                Wait a second!   I want to thank you,                                too!                         As Eli trots up, Cameron tenses, finally facing this man who saw him               from the helicopter.                                                    ELI (CONT'D)                                                  - 18 -                                              Don't run away.   What is that, a                          habit with you?                                               CAMERON                          Yeah, I also smoke too much.                                               ELI                          You and Burt on the bridge...how                          about telling me what happened?                    Eli begins to stroll along the sand toward the pilings which support          the pier. Cameron hesitates, but Eli's manner compels him to          follow.                                               CAMERON                          I don't know. He must've gone                          crazy. He tried to run me down.                                               ELI                          Oh?...Why would he do that?                                               CAMERON                             (flustered)                          ...I didn't ask him why! All I know                          is he was comin' at me very fast.                             (quoting an axiom spouted                              by top sergeants in a                              thousand boot camps)                          'You want to get home for                          Thanksgiving, you better figure the                          guy comin' at you is tryin' to kill                          you'...That's one thing I learned                          from the gooks.                                               ELI                          Gooks?...That has a nostalgic                          ring...                    They have reached the pier.   Eli stops, he is watching something          O.S.                                               ELI (CONT'D)                          You guys really used to call them                          gooks? I thought that was just Time                          Magazine.                                                      - 19 -                                                              CAMERON                               That was 'Nam. What should I call                               'em, WOPS? Nobody'd known what I                               was talkin' about.                         He turns to follow Eli's gaze.                    54   CAMERON'S POV - POLICE CAR                         A POLICE CAR has driven onto the beach. From it, THREE OFFICERS               have emerged. They are armed and efficient looking. The PRODUCTION               MANAGER moves to greet them. Eli takes Cameron's wrist and gently               pulls him back into the shadow of the pilings, (privately reacting               to the handcuff he feels beneath the shirt). JAKE, the Chief, is               irate enough to be clearly heard from this distance.                                                    JAKE                               All right, this time you've had it!                               Where is he?!                                                    PRODUCTION MANAGER                               Chief, I'm glad you dropped by. Eli                               says you gotta do something about                               all these people on the beach.                                                    JAKE                                  (bellowing)                               Thirty minutes is what you've got to                               get your goddamn equipment off this                               beach and out of town!...You tell                               Eli Cross if your men are on the                               streets after four o'clock, I'll                               throw their ass in jail!          55   ANGLE ON ELI AND CAMERON                         Eli squats down on his heels and leans back against a piling,               smiling up at Cameron.                                                    ELI                               Speaking of jail...would you get                               upset if I asked how many cops were                               after you?                                                    CAMERON                                  (suddenly grim)                               What are ya talkin' about?                                                 - 20 -                                                         ELI                             (off-hand)                          Your I.D. bracelet...the look on                          your face...the way you ran from the                          bridge...                             (with exaggerated delicacy)                          I...don't suppose you want to tell                          me what you did.                    Cameron studies Eli, not knowing what to make of him.                                               CAMERON                          No...I don't.                                               ELI                             (brightly, with humor)                          ...Could I try categories?                    Cameron half laughs despite himself.                                               ELI (CONT'D)                             (glancing O.S.)                          Ever done any stunt work?                                              CAMERON                          What?                                               ELI                          How'd you like to be a stunt man?                          You look like you're in pretty good                          shape, fast on your feet. You could                          do it.                             (getting to his feet)                          Besides, You're not gonna have much                          choice.                    WIDER ANGLE                    Jake has spotted them and is approaching with his men and the          Production Manager. Eli puts his hand on Cameron's shoulder and          steps out into the sunlight.                                               ELI                             (softly, to Cameron)                          Now, don't get hasty. And, remember                          your ass, it's just like mine...                          maybe I can save them both.                                                 - 21 -                                                         PRODUCTION MANAGER                             (trailing after Jake)                          ...but we've gotta have three days                          to finish this picture...                                               JAKE                             (striding toward Eli)                          You said you'd be gone four days                          ago, before the season started. You                          lie, break promises...                             (he is now close enough                              and shouting at Eli)                          Cross, I've gone out of my way, but                          this time...                    A TRAM beeps, clangs and passes between them, interrupting Jake and          leaving him sputtering. As it departs, Eli seizes the moment.                                               ELI                          Jake, it's been a rotten morning.                          You're hot and tired. Let's go in,                          have us a drink and find out what's                          eating you.                                               JAKE                             (turning beet red)                          Don't treat me like these other                          morons! You know goddamn well                          what's eating me is that Duesenberg                          on the bottom of the river with the                          dead man in it!                    There is silence. Eli stands thoughtfully kicking the sand with his          toe. Then Jake starts shouting again.                                               JAKE (CONT'D)                          I mean, that is a goddamn public                          bridge and a public river! You go                          there without permits, without any                          precautions and get a man killed!                                              ELI                             (gently)                          Jake...                                               JAKE                          No more bullshit explanations. Just                          go...before I figure out how to hang                          you with a manslaughter charge!                                              ELI                                                 - 22 -                                                 (after a pause; quietly)                          No explanations...don't have any.                          But, maybe he does...                             (staring at Cameron)                          Go ahead, ask him, Jake.                    Eli's words are exploding in Cameron's mind -- that illusory event          on the bridge has crystallized into hard reality.                                               CAMERON                             (wide-eyed)                          ...Now wait!...You're not blaming me                          for...                                               ELI                             (wheeling on Cameron)                          Why not, Burt?! Because you're a                          fake?! Because you're just a                          goddamn daredevil with a head full                          of marbles?!                    Cameron vaguely understands that Eli is trying to pass him off as          Burt and that he, somehow, may be saved by going along with this          madness. Eli, turning to Jake, continues passionately...                                               ELI (CONT'D)                          He grabs the bread, blows the shot,                          screws you up...screws me up. He's                          dumb, Jake, but thank God, he ain't                          dead yet. So do me a favor, put                          your handcuffs on this son-of-a-                          bitch and put him some place where                          he can't get hurt!                    The Chief is dazed. If this is Burt, the stunt man, he is obviously          alive. Jake goes to Cameron.                                               JAKE                          How did you get out of the car?                                               ELI                          He didn't get out. Our divers got                          him out...and brought him back in                          the chopper.                    The Chief stares at Cameron. His clothes and hair are wet. There          is a small bruise on his cheek from when he fell out of the          Duesenberg. He looks the part. Jake turns to Eli with resignation.                                              JAKE                                                 - 23 -                                              Cross, when these three days are up,                          I'm going to arm my men with                          shotguns and tell them it's open                          season on any fruit carrying a                          camera.                    He walks to the waiting police car, surrounded by TOURISTS snapping          pictures. He glares at them, angry at the world. Eli puts his arm          on Cameron's shoulder and leads him through the dispersing crowd          toward the hotel. Eli is now easygoing and friendly.                                               ELI                          You did that very well.                                               CAMERON                          I didn't get a chance to say a word.                          I just listened.                                               ELI                          There are only a few actors in the                          world who have mastered that art.                          Anyway, it was a good audition. You                          landed the part.                                               CAMERON                          How? What about the crew? They                          going to look at me and say, 'Hi,                          Burt?'                                               ELI                          Unless you prefer, 'Hi, Elizabeth.'                          Don't worry about my crew, they'll                          call you anything I want 'em to.                          Look, I'm not being callous. Burt                          is a fucking tragedy, but there's                          nothing in the world I can do about                          it...I've gotta have this location                          for three more days...and you need a                          place to hide.                    They have reached the steps of the HOTEL. A BUS has stopped in          front. TOURISTS are piling out. The POLICE CAR pulls up and parks          nearby. Jake and his men can be seen surveying the crowd.                                               A.D.                             (shouting in b.g.)                          Eli! The crew's waiting.   We need                          the next setup!                                              ELI                                                 - 24 -                                              The hand! Close-up of the hand!      Be                          there in a minute!                                               A.D.                          An Eli minute or a real minute?!                    Eli turns back to Cameron as they mount the steps.                                               CAMERON                          By tomorrow the local cops'll know                          what I look like. I can't hang                          around.                                               ELI                             (expansively)                          "Burt," stop worrying! Haven't you                          heard of "movie magic?"                             (pointing to the etched                              glass doors of the hotel)                          That door is "the looking glass,"                          and inside...is Wonderland. You're                          gonna pose as a stunt man, who's                          posing as an actor, who's posing as                          a character in a movie...who's                          posing as an enemy soldier...In that                          big a crowd, who's gonna notice you?                          People like to believe in things and                          cops are just people.                    The have reached the front door.   Eli holds it open for Cameron.                                               ELI                             (with mock confidentiality)                          Frankly, your problem's so simple,                          it's almost beneath me. Have faith,                          'Alice.' Close your eyes and enjoy.                    In exhaustion and resignation, Cameron nods and wearily closes his          eyes.                    SCREEN GOES BLACK                                               DENISE'S VOICE                          Open your eyes...and don't touch.                          It's wet.                                                        - 25 -                    56    INT.   HOTEL BASEMENT - CLOSE ON CAMERON'S REFLECTION                          His eyes open. He stares at his face in the mirror, pleased at the                subtle transformation. His hair has been cut shorter and dyed red,                somehow changing his whole aspect. He rubs the red mark on his                wrists where the bracelet has been removed.                    56A   WIDE ANGLE                          Part of the laundry room is being used for the film's Hairdressing                Department. Cameron sits in a barber chair wearing a plastic apron,                surrounded by dryers, wigs, etc. In b.g., washing machines churn                constantly. DENISE, the Hairdresser, an attractive earthy woman of                thirty-two, stands over him. He is still wary and trying not to                show it.                                                      CAMERON                                    (looking in mirror)                                 ...Could be worse...could be                                 green...I think I like it.                                                      DENISE                                 Of course you like it...ask                                 anybody... Denise gives great hair.                                 Got any grass?                                                     CAMERON                                    (shaking his head)                                 Nope.                          She touches his hair to test the dryness, holding her hand there for                a moment longer than seems necessary. He grins at her, rises and                crosses to the wall mirror to get a better look.                                                      DENISE                                 What else don't you have that I                                 need?                          She moves to a basement window and gazes out.          57    POV - BEACH                          Through the window, the crew is setting up a shot while Eli                rehearses with Nina and his red-haired male star, RAYMOND BAILEY,                (who Cameron earlier saw on the beach). Bailey is dressed as a                World War I British aviator and Nina as a young girl of that era.                                                      DENISE'S VOICE                                 Our male star isn't going to like                                 you...                                                    - 26 -                              TWO SHOT - CAMERON AND DENISE                                              CAMERON                             (moving toward window)                          Why not?                                               DENISE                          You're too good looking. His idea                          of a perfect stunt double is two-                          hundreds pounds of hamburger in a                          red wig...                    He studies the view, his attention focused on Nina.                                               CAMERON                          What's she like? I've seen her on                          TV.                                               DENISE                             (irritated by his                              interest in Nina)                          At selling douche powder, she's                          fabulous; dog food?...I'm not sure                          she's sincere.                                               CAMERON                          What are you sore about?                                               DENISE                          I'm not sore. Isn't that what you                          wanted to know?                             (with sarcasm)                          ...Or did you mean, what's the real                          Nina Franklin like--without the                          greasepaint and tinsel...                    Moving to a pile of laundry heaped on the floor, she pokes around          with the toe of her shoe.                                               DENISE (CONT'D)                          ...You mean, what's she like --                          underneath?                    Snaring a crumpled garment, she kicks it toward Cameron, who catches          it instinctively, then holds it up for inspection -- a pair of          (Nina's) lace panties. He grins, mildly embarrassed by the charade.                                                          - 27 -                                                                  DENISE (CONT'D)                                      (moving toward him)                                   What do those say about the girl who                                   wears them? Shy? Delicate?                                   Sensitive?                         She reaches for the panties, but instead takes his hand and yanks               sharply, pulling him off balance, falling back on the laundry pile               with Cameron on top of her, their faces inches apart; surprise on               his, amusement on hers.                                                        DENISE (CONT'D)                                      (touching his hair)                                   Still wet...very wet.                         Cameron is trying to remember: what was it Eli said? "Close your               eyes, relax and enjoy." Across the room the washing machines churn,               whirl and heave.                    59   EXT.   BEACH AREA                         Eli and his crew are shooting a scene: a "pick-up" shot for the               explosion sequence we saw earlier. Eli and GABE, the cameraman, are               lying beside the camera. Before them, the "severed" arm protrudes               from the sand in which its owner is buried, out of sight.                                                        ELI                                   You sure he can breathe?                                      (a mumbling assent from                                       beneath the sand)                                   Where's Raymond?                                      (Raymond kneels beside                                       him)                                   Remember, you just crashed...you                                   were wandering the beach behind the                                   German lines looking for a place to                                   hide when you saw the explosion.                                   You're stunned by the carnage. That                                   bomb was dropped by a guy in your                                   squadron. Okay? Roll the film.          60   POV THRU CAMERA                         Through the CAMERA, WE SEE the 'arm' protruding from the sand. We               HEAR o.s. VOICES yelling: "Turning"... "speed"... "action." We see               the fingers begin to move spasmodically. Eli's voice yells: "Okay,               Raymond!"                         Suddenly the fingers on the hand start to swell, bigger and               bigger...like a rubber glove filling with air...then BANG! BANG!               BANG! The (balloon-covered) fingers EXPLODE.                                                       - 28 -                              61   ANGLE ON BEACH                         Everyone has broken up with laughter at the prank, including Eli.               Gabe is patting Eli's face, Raymond squeezing his jaw affectionately               as one would a pet dog's.                                                     RAYMOND                                   (cackling)                                Gotcha that time! Didn't we?                                                     ELI                                   (through his laughter)                                Yeah, you got me another half-hour                                behind.                         Eli climbs to his feet as the laughter subsides. Cameron, now               wearing a uniform exactly like Raymond's, watches from the               sidelines.                                                     RAYMOND                                   (gently, grinning)                                Thought the chief could use a little                                cheering up today.                                                     ELI                                   (turning quiet and                                    serious)                                ...So you heard the news about                                Burt...                                                     RAYMOND                                   (nodding)                                Any more word?                                                     ELI                                   (bitterly)                                Afraid not...there's no picture ever                                made that's worth it.                                                     RAYMOND                                   (shaking his head)                                I'll never understand why these guys                                do it -- take the chances.                                                       - 29 -                                                               ELI                                   (thoughtfully)                                Don't know. Trying to beat the                                system, I guess...we all know that                                some day we're gonna die of nothing                                more important than wrinkles...and                                that makes us so scared and crazy,                                we'll do anything. Go off                                bridges...fight windmills...wars...                                anything.                         There is great sadness among them.     Eli breaks the mood lightly.                                                     ELI (CONT'D)                                That's what our film's about -- or                                didn't you know?                                   (sees Cameron)                                Hey, Burt, come over here.                         Cameron crosses to them. He and Raymond stand appraising each               other, red-haired men in identical uniforms. As Raymond offers his               hand:                                                     RAYMOND                                   (to Eli)                                My new cock and balls?                                                     ELI                                   (quickly)                                Not new...It's important not to let                                that get around as yet. So, for the                                time being, let's make like he's the                                same guy.                                   (adding a touch of color)                                But no longer known as "Bad-assed                                Burt." Ever since his 'fortunate                                rescue,'...we call him "Lucky."                    62   EXT.   CHURCHYARD - ANGLE ON CHUCK - LATER THAT DAY                         CHUCK BARTON is a tall, rugged-looking man in his mid-thirties, the               Stunt Gaffer on Eli's film. A MESSENGER trots up and presents a               receipt book. Chuck sets down his stunt bag and signs it absently.                                                     MESSENGER                                Your film from that camera in the                                Duesenberg's on the way to the lab.                                Put it on the plane with my own                                little hands.                                                    CHUCK                                                 - 30 -                                              When do we get it back?                                               MESSENGER                          Don't know. Stamped it "rush."                                               CHUCK                          If I stamp "rush" on my mare's ass,                          she'll still take eleven months to                          foal. Call the lab and find out                          when!                             (quietly)                          I lost a man today. I wanna see                          that footage and find out why.                    As the Messenger leaves, Chuck strolls over to where Cameron stands          waiting, circles around him, sizing him up. Cameron is no longer          wearing the uniform, but now is in jeans and a work shirt.                                               CHUCK                          Done any stunt work?                                               CAMERON                          Not really.                                               CHUCK                          Not really?   You have or you                          haven't?                                               CAMERON                             (good-naturedly)                          I got out of Vietnam in one piece.                          Let me tell you that wasn't a bad                          stunt.                                               CHUCK                             (skeptically)                          That's ancient history.                                               CAMERON                          Seems like yesterday.                                               CHUCK                             (pointing at church                              steeple)                          Could you jump from that tower to                          the that roof?                                                        - 31 -                    63   ANGLE ON CAMERON (AND STEEPLE)                         Gauging the fifteen-foot gap between the CHURCH STEEPLE and the roof               of the nearby MUNICIPAL BUILDING. He unconsciously grimaces at the               four-story drop between them.                                                    CAMERON                                  (being glib)                               Once, to save my ass, I jumped out                               of a banana tree into an oxcart full                               of buffalo shit. Does that count?                                                      CHUCK                               We'll see.    Put these on.                         He throws Cameron some knee pads from his stunt bag and begins               marking off two lines on the bare earth between the gravestones in               the churchyard.                                                    CAMERON                                  (puzzled by the pads)                               Where do they go?                                                    CHUCK                                  (tapping his knee)                               Under the pants.                                  (pointing to lines he has                                   drawn)                               I want you to jump from here...to                               there.                         Cameron hops up to the starting line, finishing with the knee pads               clumsily, surveys the distance of not more than seven feet.                                                    CAMERON                               Okie-dokie.                         Makes a casual jump, landing on the line and looking at Chuck for               approval.                                                    CHUCK                               Very good. Except you're dead!!                               Your brains are scattered all over                               the goddamn pavement. You landed on                               the edge and fell backwards four                               stories. Where do we send the body?                                                 - 32 -                                                         CAMERON                             (returns to the starting                              line)                          Don't bury me yet.                    He takes a running start and leaps hard.    While he's still in mid-          air, Chuck yells.                                               CHUCK                          You're still dead! You fell over                          the other side of the building.                    Cameron has landed three beyond the mark and looks up at Chuck a bit          shaken.                                               CHUCK (CONT'D)                          You wanna try it right, once? You                          should land in a tuck-and-roll.                                               CAMERON                          Show me, sergeant.                    Chuck launches himself head-first. His hands touch the ground just          beyond the second mark to break his fall, easing him into a shoulder          roll, he somersaults to his feet.                                               CAMERON                          Very fancy.                    He takes a running start and does the same.   Not quite as well, but          well enough. As he rolls to his feet:                                              CAMERON                          Okay?                                              CHUCK                          Better.                                               CAMERON                          My speciality is Hopscotch.                    Chuck turns on him enraged, overreacting.                                                        - 33 -                                                               CHUCK                                And Burt's specialty was drowning.                                You know one goddamn daredevil on                                this picture was enough! What the                                hell was Eli thinking, giving me a                                smart-ass, cocky, amateur kid when I                                need a stunt man! It's a little                                different running across that roof                                when they're pumping tracer bullets                                over your head.                                                     CAMERON                                   (eloquently pleading his                                    case)                                I was running for twenty-six months                                with guys shooting at me...not over                                my head...at my head and I'm alive.                                I knew daredevils. I got nothing                                against them...it's just they're all                                dead. So ease off and give me a                                chance...                         Cameron is surprised to see that Chuck is grinning.                                                     CAMERON (CONT'D)                                   (genuinely)                                Hey, were you putting me on?                                                      CHUCK                                Me?   I wouldn't know how to do that.                         Chuck starts to walk away, then stops and looks at Cameron.          64   EXT.   ROOFTOP MUNICIPAL BUILDING - CLOSE ON CHUCK - MINUTES LATER                                                     CHUCK                                   (pained)                                Can you imaging Eli doing a World                                War I picture without horses? Do                                you know the gags I could do with                                four runaway horses pulling a                                caisson?                         Cameron sailing into the SHOT. Chuck ducks slightly, catching               Cameron on his back and flipping him into a somersault. Cameron               lands on the sharply slanted slate roof of the municipal building.               Chuck stands beside him straddling the peak. The church steeple can               be seen in b.g. (and we now realize time has passed and we are no               longer in the graveyard of the previous sequence, but atop the               building).                                                       - 34 -                                                               CHUCK (CONT'D)                                ...Next time hit me higher.                                                     CAMERON                                   (climbing to his feet)                                What's Eli got against horses?    I                                love horses.                                                     CHUCK                                Don't butter me up.                          Cameron goes running at Chuck and once again flies over his                shoulder. Sprawling on the slippery slate, he looks up to see Chuck                strolling down the hazardous incline like a mountain goat. Cameron                scrambles to follow.                                                     CHUCK                                   (as he walks)                                We'll draw a sight line for you to                                follow down the roof here, while                                you're rolling. Now there's nothing                                very difficult. But this is where                                you gotta think. Your mind can't be                                on snatch. It's gotta be on                                grabbing that gutter.                          They have reached the lower edge of the roof.    Cameron looks down at                the drop.                                                     CAMERON                                Or my brains are all over the                                pavement again, right?                                                     CHUCK                                   (walking away)                                You know a good falling horse makes                                more money in four minutes than a                                bank president does in a year?                                                     CAMERON                                Picture's not over. Maybe you'll                                still get your chance.                          Chuck has stopped and they peer down through a skylight to where the                crew is setting up a shot in a room below.                                                    CHUCK                                   (sadly)                                Naw, all they care about is story.          64A                                                       - 35 -                                   They move to another edge of the roof overlooking a NARROW CENTRAL               COURTYARD. They gaze down at a WINDOW AWNING two stories below that               juts from the side of the building-wing across the court.                                                     CHUCK (CONT'D)                                Now here's where the scuffle ends.                                When the pipe breaks loose, you fall                                and hit that awning. Then Eli yells                                "cut" and old Raymond takes your                                place for the close-ups and the                                glory. That's where the German                                soldiers catch him and throw him in                                the nuthouse. They're shootin' that                                scene downstairs now.                                                     CAMERON                                   (staring at awning)                                That's supposed to hold me?                                Probably doesn't hold rain.                                                     CHUCK                                It's not a real awning, it's a                                catcher.                    65   EXT.   MUNICIPAL BUILDING ROOF - CLOSE ON CAMERON - DAY                         Cameron's face is beginning to sweat and the veins are bulging from               the growing strain of some physical effort.                                                     CHUCK'S VOICE                                It's no harder up here than it is on                                the ground...                         CAMERA PULLS BACK to reveal Cameron dangling from a section of rain               gutter, four stories above the ground.                                                     CHUCK'S VOICE (CONT'D)                                It's the same gag...it's just a                                little scarier. And that's what you                                get paid for.                                                    CAMERON                                   (alert)                                Yeah, how much?                                                     CHUCK                                You're stealing candy with this gag.                                You get six hundred bucks.                                                    CAMERON                                   (almost falling)                                                       - 36 -                                                    Jesus!...                                                     CHUCK                                ...Christ! Watch it, will ya?                                   (helping Cameron onto                                    roof)                                What did you think a stunt man is?                                He's a professional. If the camera                                jams, that's another six hundred and                                if Eli says "try it again," six                                hundred more.                                                    CAMERON                                   (exultantly)                                Yahooo! Six-fucking-hundred-bucks!!                    66   INT.   MUNICIPAL BUILDING - ASYLUM SET                         In a large vacant hall on the ground floor of the municipal               building, a movie set has been erected representing the ward room in               a World War I military asylum. In it, Eli's crew is filming a               sequence -- a dozen enraged INMATES in tatters, heads shaven, wild-               eyed, advance toward Raymond, shrieking (as though in echo of               Cameron's exultant yell).                    67   CLOSER ANGLE                         Raymond, dressed as a British Flyer, his face bloodied, crouches and               retreats in terror, a man caught in a nightmare, as these mutilated               derelicts suddenly swarm over him. One, like a mad dog, goes fro               his throat, another wields his own artificial limb as a club.               Raymond (in character) breaks free and screams.                                                     RAYMOND                                ...STOP!...Get away!!                         For an instant, the inmates stop in stunned silence -- broken only               by a distant shout overhead.                                                     CAMERON'S VOICE                                    (on the roof overhead)                                ...Six-fucking-hundred, gorgeous,                                beautiful dollars! I can't believe                                it!                         The slavering madmen look up, then out at the camera, madmen no               longer, simply bewildered actors.                                                    ELI'S VOICE                                All right. Hold it! Hold it!          68                                                 - 37 -                              ANGLE ON CREW                    Eli stands amidst the camera crew photographing the scene.   He is          waving for order.                                               ELI                          ...Save it, everybody.                                               A.D.                             (storming in)                          Jesus Christ, what the hell was                          that? Somebody get their ass up on                          that roof...                                               ELI                             (cutting him off)                          ...Never mind. I didn't like it                          anyway.                    As Eli steps down from the DOLLY, a solemn, quiet man approaches him          from among the onlookers. It is SAM BAUM (the writer).                                               SAM                          What's wrong?                                               ELI                          The scene's wrong.                             (yells to the A.D.)                          Call a break.                    The A.D. Calls "Five minutes" and the crew moves toward the coffee          urn. Eli wanders toward the door, Sam pursuing.                                               SAM                             (fighting for his scene)                          Eli, it played like a dream.   My                          God, it was Marat-Sade.                                               ELI                             (glumly)                          It played like shit!                                                       - 38 -                                                               SAM                                   (desperate)                                Well, who was that on the phone in                                the middle of the night when you                                first read it, raving about the                                magical madhouse scene, the upstairs                                maid?                         Eli rips the page with the "madhouse scene" from his screenplay as               they stride out of the building.                    69   EXT.   MUNICIPAL BUILDING                         There, beside the rear entrance on a pile of construction sand, sits               Eli, cross-legged, staring morosely at some kids who play nearby.               He is absently folding a torn script page into a paper airplane.               Behind him, at a respectful distance, stand the Production Manager,               A.D., half a dozen assorted crew chiefs and Sam Baum, all looking               concerned. Sam looks at the others, shrugs and approaches Eli,               squatting beside him on the sand pile.                                                     SAM                                What do you wanna do, Eli?...                                They're all waiting.                         While Sam talks, Eli takes a fistful of sand and pours it in Sam's               shoe. Suddenly noticing, Sam yanks his foot away.                                                     SAM (CONT'D)                                   (irritated)                                Being childish isn't going to help                                your movie...You know, there's                                nothing wrong with the story.                                   (removing his shoe and                                    shaking the sand out)                                The real problem is since I wrote                                this thing two years ago, you've had                                Watergate, the energy crisis,                                Women's Lib, the economy is down the                                tubes...You want to talk about                                burning issues?...There's arsenic in                                the glue on the back of food stamps!                                That's why you don't like the                                "madhouse scene." Your goddamn war                                story has lost its relevance.                                                     ELI                                Don't be negative, Sam. We can                                start a new one in time for the                                preview.                                                       - 39 -                                   Sam has finished replacing his shoe and Eli pours a fistful of sand               into Sam's other shoe.                                                     SAM                                Cut it out, will ya?                    70   INT.   HOTEL DINING ROOM - THAT NIGHT                         Eli is at the head of a long table, CAMERA PULLING BACK TO REVEAL a               dozen members of the company dining with him. Nina sits beside Eli               listening with rapt attention to Sam's monologue, her dessert fork               sensuously lingers at her lip.                                                     SAM                                Two years ago you were all charged                                up to make a great big anti-war                                statement and they wouldn't let you.                                Now they let you, but you haven't                                got a war. What you've got is egg                                on your face because Vietnam's long                                gone and it's too late!                                                     ELI                                Our picture's not about fighting                                wars...                                                    SAM                                Oh?                                                     ELI                                ...It's about fighting windmills.                         The truth in Eli's statement registers on Sam. Cameron sits farther               down the table, watching Nina watch Eli...and wishing she were               watching him.                                                     ELI                                War isn't the disease...It's only                                one of the symptoms.                                                     SAM                                   (hooked)                                What's the disease?                                                 - 40 -                                                         ELI                          That's the big question, Sam. Name                          the disease and you've licked the                          screenplay.                             (indicating Cameron)                          Ask him. 'Cause he knows what the                          film is about. Right Lucky? Tell                          'em...How'd you like Vietnam?                                               CAMERON                          How'd you like bubonic plague?                                               ELI                          You drafted?                                              CAMERON                          No.                                               ELI                          See, Sam? Here's another one who                          hates war...but he enlisted.                              (to Cameron)                          You fought in Vietnam for two years?                          ...I mean actually were out there                          killing people...                                               CAMERON                          ...Hey, I didn't kill that many                          people...                                               ELI                          Don't be modest, Lucky. Everybody                          digs a little violence...What was                          that you said on the beach?                    Cameron is starting to bristle at Eli's needling, particularly with          Nina watching.                                               CAMERON                          About what?                                               ELI                          About getting home for Thanksgiving?                                               CAMERON                             (tentatively)                          ...that you better figure the guy                          coming at you is trying to kill                          you...?                                              ELI                                                   - 41 -                                                Yeah. See, Sam?...That's what the                            disease is about...being scared                            shitless. Inventing enemies.                            Whistling in the dark. I wish you'd                            talk to the kid, Sam, I mean it.                            You know, really, you guys should                            room together.                                                 SAM                               (getting the last word)                            Hey, Lucky, give me your cot by the                            window and I'll let you read a great                            madhouse sequence.                    They all laugh.                                                 SAM                               (surrendering)                            All right, Eli. I'll write you                            another scene. What difference does                            it make? The studio will cut it all                            out anyway and what you got left is                            a lot of swell battle scenes, which,                            when I was back there they said were                            "just terrific."                                                 ELI                               (simply)                            No, they won't.                                                 SAM                            Yeah, what makes you different?                                                 ELI                               (quietly)                            Because they know if they cut my                            picture, I'll kill 'em.                    The deadly in Eli's voice was more than intended and there is          suddenly an awkward silence at the table. Cameron eyes Eli with a          wry smile.                                                 CAMERON                            You mean, bang? Kill 'em, just like                            that?                                                    - 42 -                                                            ELI                                (matter of fact)                             No. I'll kill 'em and eat 'em...I                             hate to waste anything.                                                  SAM                                (laughs)                             They call him "Eli the Terrible..."                                                  ELI                             Sam, my picture is the only kid I've                             got! If the studio said your                             daughter, Jennifer, would look                             better with her fingers chopped off,                             what would you do?                                                  SAM                             Being an insecure writer, I'd call                             my agent...and get another opinion.                    Everyone laughs.                    Jake, the Chief of Police, is seen in the background approaching the          table. Cameron spots him and starts to rise.                                                  CAMERON                             ...If you'll excuse me...                                                  JAKE                                (arriving)                             Don't go away, Burt.   I want you.                                                  ELI                                (broad welcome)                             Jake! Long time, no see. You taken                             care of my problem with the beach?                                                  JAKE                             I'm not talking to you.                                (to Production Manager)                             I understand you got that film out                             of the Duesenberg...                                                  ELI                                (cutting in)                             It's at the lab, Jake.                                                      - 43 -                                                              JAKE                               I'm talking to this gentleman.                                  (to Production Manager)                               We want to see it.                         Cameron, realizing the film might disclose his presence on the               bridge, reacts with alarm, which increases as Eli says...                                                    ELI                               Tell the Chief it's our pleasure.                               Soon as it gets back...but ask him                               why.                                                     JAKE                                  (choked up with its                                    importance)                               You can tell your Mr. Cross this                               inquiry comes from a source so high                               it is not his to question...                                  (now at a loss for proper                                    words)                               ...it is his to do it, or else.                               Someone they're looking for may have                               been on that road when the car went                               off.                                  (to Cameron)                               Burt, you see anybody?                         Then, suddenly noticing something different about Cameron's               appearance...                                                    JAKE (CONT'D)                               Hey, did you have red hair                               before?...                                                    CAMERON                                  (indicating Denise)                               She sprays it every day so I look                               like Raymond...I didn't see a soul.                                                    ELI                                  (to the rescue)                               Tell the Chief that Burt was so busy                               being brilliant, he wouldn't have                               noticed Jesus Christ walking on the                               water.                         Jake pulls a PHOTOGRAPH from a manila envelope and hands it to               Cameron.                    71   INSERT PHOTOGRAPH                                                       - 44 -                                             A wire photo, front and side views of Cameron, taken at his military               induction. War ages a man...he looks younger and quite different in               his GI Haircut.                                                    ELI (V.O.)                               Hey, Burt! You got it upside down.                               The eyes go on top.                    72   ANOTHER ANGLE                         Cameron hands the photo back to the Chief, who passes it around the               table. Denise receives the photograph, studies it and glances up at               Cameron, expressionless. He returns her gaze.                                                    JAKE (V.O.)                               A couple of telephone linemen say                               they saw him headed this way.                         Eli takes the photograph.                                                    ELI                               Looks like a nice clean-cut kid.                                                    JAKE                               I know about fifty guys who don't                               think so.                                                    ELI                               What'd he do?                                                    JAKE                                  (to Production Manager,                                   ignoring Eli's question)                               The minute that film gets here you                               give me a call.                                                    CAMERON                                  (yawning and rising)                               I don't know about those fifty guys,                               but I know one weary guy who's gonna                               crawl upstairs and hit the sack.                         Eli looks at Cameron with grudging admiration.                                                    GABE                               I know a weary guy who's driving to                               Cape Long to dance and booze all                               night...                                                     RAYMOND                                                       - 45 -                                                       (camping, takes Gabe's                                     hand)                                I know a weary gay who's going with                                him!                         They mince off (the fag act all the more amusing because of               Raymond's strictly masculine looks). Eli shouts after them.                                                     ELI                                So long as you're back in ninety                                minutes. It's a work night for some                                of us.                                   (loftily)                                ...Those who give a shit.                         Raymond "gathers" Nina along the way, wrapping his arm about her               shoulders -- Cameron watching silently. Then, charging from across               the dining room like a tanker steaming in their wake, comes a               gushing, overwrought, blue-rinsed MATRON.                                                     MATRON                                Miss Franklin! Miss Franklin! Your                                'Feminique Spray' commercial is on                                TV. My God, it's simply heavenly!          73   INT.   CAMERON'S HOTEL ROOM - CLOSE ON DRESSER - NIGHT                         Drawers are slamming open and shut as Cameron hurriedly stuffs his               few belongings into his pockets.                         WIDER ANGLE                         It's a mean little bedroom, with Sam's clothes, typewriter, etc., in               evidence. Seeing Sam's wallet, Cameron pulls a wad of money from               it, at the same time accidentally knocking Sam's false teeth off the               dresser. He hesitates, then stuffs back all the bills but a twenty.               He strides to Sam's closet, pulls out shirt and slacks, stuffs them               in a cloth beach bag, also belonging to Sam and starts out the door.               Then he stops, gets on his hands and knees, looking for the false               teeth, which he finally finds. Now, annoyed at himself for being a               "nice guy," he throws them carelessly on the dresser and quickly               exits.                                                          - 46 -                    74    EXT.   HOTEL - LATER THAT NIGHT                          As Cameron moves down the steps, the returning company STATION WAGON                pulls to a stop in the driveway. Nina, Raymond and a few others                emerge from the car. Cameron turns away so as not to be seen as                they pass him on the steps heading for the entrance.                                                        DENISE                                   Bet they're looking for that nut who                                   killed all those campers in Montana...                                                       RAYMOND                                      (drunk)                                   ...Too many campers, weed 'em out!                                   ...Imagine, sitting an hour at a                                   roadblock.                                                        NINA                                   We should have waited, it wouldn't                                   have been an hour.          74A   They've entered the hotel. Cameron continues to the bottom of the                stairs, hesitates, looking back at Nina.          75    CAMERON'S POV                          Silhouetted through the etched glass doors (on the other side of                "The Looking Glass") he sees the lithe, gay, exquisitely beautiful                figure of Nina -- light sparkling from the cut glass dances about                her face -- a hauntingly romantic image.          76    ANGLE ON CAMERON                          He watches for a moment with hopeless longing. Finally, turning                from her, he looks about at the dark water and deserted boardwalk.                There come some of Eli's crew, laughing, joking, cutting a swatch                through the stillness, pushing their heavy brutes toward some nearby                spot to light a night shot. There's the CHURCH TOWER. He stares at                it, wavering in his resolve to leave, wondering what would happen                if...                                                        NINA'S VOICE                                   What next? Do you rescue the maiden                                   from the tower?                          She has come up behind him, unnoticed.    He turns, startled, and                there she stands.                                                   - 47 -                                                           CAMERON                                (smiles)                          Hi.                    For a moment they search each other's eyes -- for intentions.   Then          she glances at the tower.                                               NINA                          Yes. It does look pretty high.                             (with concern)                          Are you worried about tomorrow?                    Cameron's mind is racing over all the things he'd like to say so she          would know him instantly. But his answer is simple and sounds          sincere.                                               CAMERON                          Not much. I guess if there were any                          real danger, Eli wouldn't let me do                          it, would he?                                              NINA                             (quickly, reassuring)                          No. I'm sure it's safe.                                              CAMERON                             (abruptly, with a boyish                              grin)                          Good. Then you jump.                                              NINA                             (laughing)                          Okay.                    She understands the slightly jealous rebuke for her blind faith in          Eli. Her laughing answer hangs like a challenge.                                               CAMERON                          Well, come on.                                               NINA                             (willing, but flustered)                          What, right now?                    For a moment he weighs it: whether to "run" or stay. Then acts on          his decision. Starting to laugh, he takes her hand and pulls her          toward the tower. She holds back, struggling playfully.                                                       - 48 -                                                               NINA (CONT'D)                                Wait, I'm afraid of heights!   What                                if I freeze up?                                                     CAMERON                                   (pulling her along)                                Don't worry, I'll give you a push.                                Isn't that what a pal's for?          77   INT.   BELL TOWER - NIGHT                         It is crowded with bells, a small walkway and railing surrounded               them. The city lights are seen beyond. Below are the sheds where               crewmen are preparing the next day's shooting. Just beyond is the               overwhelming silhouette of the huge CRANE. Nina and Cameron reach               the top of the stairs winded and laughing, as they rush to the               railing and lean over. Nina gasps, clutching Cameron in genuine               fright.                                                     NINA                                   (gasps)                                Oh, my God! It's terrifying! You                                can't jump from this...you'll get                                killed! It's crazy!...                                                     CAMERON                                   (laughing)                                ...It's not that bad. It looks                                worse at night... Chuck says it's                                like robbing a candy store.                                                     NINA                                   (getting angry)                                Now stop that! ...I'm going back.                         She whirls to go.   He stops her, taking her by the shoulders.                                                     CAMERON                                ...What's wrong?                         Her concern for him has turned to anger, like a mother slapping her               child for running in the street.                                                     NINA                                It's just dumb...to strut around                                trying to talk brave...                         His arm still restrains her. She takes hold of it, then suddenly               softens with a look of slight surprise.                                                     NINA (CONT'D)                                                        - 49 -                                                    Oh...you are scared...aren't you?                                                     CAMERON                                   (seriously)                                Not really.                                                      NINA                                Yes.   You are...You're trembling.                         After a moment, he answers quietly.                                                     CAMERON                                So are you...and you're not even                                gonna jump.                         It's true. She is trembling and so is he -- not from fear. He               slowly draws her toward him, her mouth reaching up to his. And then               they are devouring each other. Abruptly, they're illuminated by a               fierce blast of white light. They separate and stare, blinking in               shock and confusion.                                                     ELI (V.O.)                                Okay, hit two and three.                         They are pinned in the crossbeams of two more giant arcs. Quickly               she yanks him down with her out of sight behind the railing.          78   EXT.   CHURCHYARD - ELI AND CREW - NIGHT                         Eli is lounging in the bucket suspended from the crane.   Beside him               Gabe adjusts one of the giant brutes.                                                     GABE                                   (business as usual)                                I could kill this brute and fill                                with juniors. You'd get a halo                                around the tower.                                                     ELI                                   (struggling to resist)                                Got no time...it's an establishing                                shot...two seconds on the screen.                                   (giving in)                                ...You got six minutes.                         Gabe smiles, scurries off. Eli glances at the tower, grins, having               toyed with them long enough, he yells.                                                         - 50 -                                                               ELI                                Hey! While you're up there, be                                useful. We're lighting. Stand up                                and look towards the sea so you're                                in profile!                    79   CLOSER ANGLE ON TOWER - NIGHT                         As Nina's arm raises into view with the middle finger extended.                                                     NINA (V.O.)                                   (hollering)                                Light this, Eli!!!          80   EXT.   CHURCHYARD - BENEATH THE TOWER - NIGHT                         The church door swings open. Nina and Cameron emerge, covering               their embarrassment with bravado. Nina is prattling as though to a               tour guide.          81   CLOSE ON CAMERON AND NINA                                                     NINA                                ...And those bells are so                                interesting. Imagine four hundred                                years ago by boat from Amsterdam.                                Thank you for the tour. It was so                                informative. I'm going to write my                                father. He's so interested in God                                and things like that.                                                      ELI'S VOICE                                Hiya.   Want a lift?                         Eli miraculously appears from above. He descends and rides around               beside them in the bucket of the crane.                                                     NINA                                   (ducking)                                Oh, for Christ's sake...                                                     ELI                                There once was a maiden fair,                                smooching a guy with red hair...                                                     NINA                                Eli, get away with that thing!                                                 - 51 -                                                         ELI                          ...Could it be Raymond who's turning                          this dame on? ...Or his double,                          young Lucky Pierre?                    Unable to elude Eli in his basket, Nina turns on him in mock          frustration.                                               NINA                          It's gotten to the point where I                          have to look under the stopper of                          the bathtub when I take a shower to                          make sure I've got some privacy!                             (broadly gesturing to                              group)                          Thank you one and all and good                          night!                    Privately, she gives Cameron's arm an affectionate squeeze, then          disappears around the corner of the building. He is left holding          the beach bag, pursued by the Peter Pan in the basket. It has now          dropped to ground level so Eli is looking up at Cameron.                                               ELI                          Step right in, folks...the "Killer                          Crane" ride of the century.                                               CAMERON                          Thanks, I'll walk.                    Eli's basket now moves up a few feet so he's looking down at          Cameron, riding beside him while he walks.                                               ELI                          Ah, youth. Six hours in town and                          caught with the leading lady. Not                          bad. Shouldn't be so upset.                                               CAMERON                          Okay to be upset about what happened                          in the dining room? Why'd you                          promise to show that cop the film?                          He'll recognize me.                                               ELI                          You really don't trust me, do you?                          Hop in. I got a present for you.                                                       - 52 -                                    He pulls Cameron into the basket beside him so unexpectedly that                Cameron drops Sam's bag. Eli picks it up and plops it into                Cameron's lap. Suddenly Cameron finds himself soaring skyward at a                stomach-churning rate -- while Eli rattles on...probing, disarming,                quixotic...                                                     ELI (CONT'D)                                You constantly amaze me. You don't                                go to movies. What's that tatoo, a                                disguise? You a Commie? Don't you                                know that King Kong was only three                                feet tall? He came up to Fay Wray's                                belly button. If God could only do                                the tricks we can. What are you                                worried about the film and the cop                                for?                          Now, hanging ten stories above the city, Eli is adjusting his                viewer, looking at a cluster of RED FLASHING LIGHTS IN THE DISTANCE.                He hands the viewer to Cameron, who looks through it.                    81A   We see a telescoped view of THE POLICE ROADBLOCK at the end of a                highway with cars waiting to get past ARMED POLICE.                                                     CAMERON'S VOICE                                   (muttering)                                What am I worried about the cops                                for?                                                     ELI'S VOICE                                Another one over there.                    81B   THE VIEW WHIPS to a second police roadblock at the other entrance to                town.                                                     ELI'S VOICE (CONT'D)                                It's a pair.          81C   TWO SHOT                                                     CAMERON                                   (puts viewer down)                                Is this my present?                                                     ELI                                No, your present is a piece of good                                advice.                                                     CAMERON                                Keep it.                                                 - 53 -                                                         ELI                             (patting Sam's beach bag)                          You've got that look again. That                          gleam of the sprinter about to set a                          record for the 50-yard dash. Is                          that why all those cops are chasing                          you? What are you, some kind of sex                          freak running across America with                          your fly open? Is that why they're                          after you?                                               CAMERON                          You're close. What's your advice?                                               ELI                          Button your fly and be at the                          airport on Sunday at three o'clock                          with the rest of the crew. Climb                          aboard our chartered 707 and fly                          away with us to where the setting                          sun bleeds into a million swimming                          pools a man can hide in. You do                          swim as well as run?                                               CAMERON                             (overwhelmed by the                              offer)                          I'll swim like a fish. You really                          mean it?                             (Eli nods)                          Why are you trying to save my ass?                    Eli hesitates, then answers quietly -- for him there is great          meaning in it.                                               ELI                          ...Because you're as crazy as the                          guy I'm doing the picture about.                             (then grinning archly,                              the mood broken)                          ...Besides, I've fallen madly in                          love with the dark side of your                          nature.                                                        - 54 -                    82   EXT.   CHURCH TOWER - NEXT MORNING - BRIGHT DAYLIGHT                         The thunderous clang of bells! Cameron ready, coiled tight, heart               pounding as loud as the bells. A burst of machine gun bullets tears               through the railing beside him, sending splinters flying against his               face.          83   CAMERA CREW                         HARVEY (Second Unit Director) and CAMERA OPERATOR behind the               MITCHELL, looking up tensely. Harvey gestures, yelling.                                                      HARVEY                                Now!                    84   IN BELL TOWER                         Near Cameron, the SECOND A.D., crouched out of sight with a walkie-               talkie, stabs a finger at him.                                                      SECOND A.D.                                Go!...Go!                         A burst of tracer bullets streak past Cameron. Sparks fly, as stray               bullets seem to bounce and ricochet off the bells.          85   MACHINE GUN                         A 50-calibre MACHINE GUN, a SPECIAL EFFECTS MAN in Levi's and sport               shirt, pumping tracers past the bell tower.          86   TWO SHOT - BELL TOWER                         The Second A.D. slams his hand down on a PLUNGER, setting off a               series of explosive squibs. Like machine gun bullets, they start               shattering the railing, moving toward Cameron, forcing him to the               edge of the tower.                         Vaulting over the rail, he clings to the side of the bell tower.               Explosive bursts disintegrate the railing in his hand. He shoves               out, launching himself into space. Twisting, hurtling across the               gap between the buildings, falling, crashing to the slate roof,               crawling and scrambling for a hand hold. The relentless tracer               bullets chip the slate beside him. Crouching low, Cameron, like an               animal, moves across the roof to the safety of a water tower.               Squibs burst over his head and spouts of water stream from the               tower.                                                       - 55 -                                   Moving around the tower, suddenly there are TWO GERMAN SOLDIERS               running at him with bayoneted rifles. He wheels and there stands               ANOTHER GERMAN (Chuck), who leaps toward him, slamming down his               rifle butt. The blow glances off Cameron. They grapple, kicking,               clawing, rolling down the steep slope, picking up momentum.          87   RAIN GUTTER                         The roof's edge rushes toward them, below it a fearsome drop.               Cameron's hands reach out desperately grabbing for the railing as               Chuck, screaming, hurtles off the edge, writhing as his body tumbles               in space toward the ground.          88   CAMERON                         Sweat pouring from his face, a gash on his cheek gushes blood, his               eyes glazed, he pulls himself back on the roof.          89               CATCHER                         Chuck, lying relaxed on the straw and mattress safety pad which               caught him on the ground, looks up, cups his hands and shouts at               Cameron.                                                     CHUCK                               Go!...Go!                    90   ROOF                         Cameron, running for his life along the edge of the roof, the               soldiers shooting down at him from the roof's peak. He reaches the               far end, looks down. There is the awning jutting from an adjacent               wall two stories below. He scrambles off the roof. Clinging to the               down spout, he starts descending it.          91   SPECIAL EFFECTS MAN                         Looking up from the ground, he yanks a control rope.                    92   CAMERON                         The bracket holding the down spout breaks loose. The spout starts               to fall away from the side of the building. Cameron clings to it,               riding its downward arc as though it were a falling tree.                                                         - 56 -                    93   AWNING                         At the end of the arc, Cameron throws himself free for a safe               landing and smashes against the awning. Instead of holding, it rips               apart like paper and, in that unexpected instant, Cameron's eyes               widen in genuine terror as he plummets through the shredded canvas               toward a skylight one floor below.          94   SKYLIGHT                         Exploding in a shower of glass and wood as it is struck by Cameron's               body. He hurtles downward toward a blur of images.          95   ANGLE ON COT                         Collapsing from the impact of Cameron's fall. The MAN and WOMAN who               were making love on the cot have been flung to the ground and roll               entwined with him. Cameron is dazed. Like a drowning man, he rages               to free himself from the tangle of naked limbs and smothering flesh.               A painted face shrieks in laughter -- as the door to the room he is               in is thrown open, revealing:                    96   BROTHEL SET ≠ INT. MUNICIPAL BUILDING                         Cameron has fallen into a cubicle in what appears to be a World War               I German army brothel. In the high-ceilinged room, there is a row               of cots separated by makeshift screens. COUPLES jump up from the               cots startled. A line of partly naked GERMAN SOLDIERS waiting their               turn at the whores have broken into shouts and laughter at Cameron's               unorthodox entrance. They crowd around the cubicle where Cameron               fell and now struggles with the couple.                    97   ANGLE ON CAMERA CREW                         Gabe at the EYE PIECE, Eli beside him, photographing the scene.                                                       ELI                                  Keep rolling!                                     (calling out to soldiers)                                  The clothes!...Do the clothes!          98   ANGLE ON CAMERON                         The men tear him free from the couple shouting playfully.                                                       ONE MAN                                     (dialect)                                  What are you a field marshal?                                                 - 57 -                                                         SECOND MAN                             (dialect)                          Wait your turn like the rest!                    Cameron's confusion changes to helpless fury as he kicks and          struggles against a forest of grasping hands ripping his clothes          away, passing him back toward the rear of the line.                                               THIRD MAN                             (dialect)                          Where are your manners?                                               WHORE                             (dialect)                          This is a whorehouse, not a stable.                    Whores have left their cots to join in the assault, screeching in          glee. As he maniacally lashes out at his good-natured molesters,          the blood from Cameron's face smears a whore's body.                                              ELI'S VOICE                          Cut!                    Instantly everything stops. Cameron is sprawled half-naked on his          knees at the end of the line. Enraged, he whirls toward Eli who has          caused this humiliation. Then the CLAPPING begins, the CAST and          CREW applauding his stunt. People slap him on the back admiringly.          A robe is thrown around him. He is helped to his feet. Suddenly          Nina is there flinging her arms about him and kissing him on the          mouth.                                               NINA                          I'm so proud of you...I could just                          die!                    He is pulled away from her by the backslappers. Now Cameron is          responding to this strange new sensation -- the warmth of public          acclaim. He regains his poise, hoping his embarrassing anger wasn't          noticed. Chuck is now beside him, reaching up to the wound on          Cameron's face and pulling away the plastic makeup patch with fake          blood inside; the "wound" is gone. He starts feeling Cameron's          shoulders, arms and ribs for possible damage.                                               CAMERON                             (quietly to Chuck,                              wincing in pain)                          Why didn't you tell me about the                          awning? I could have been killed.                                                         - 58 -                                                              CHUCK                               No chance. You were in your                               mother's arms from the time you hit                               the sugarglass skylight. Those                               stunt men you fell on would have got                               you out of anything.                                                      CAMERON                               Stunt men?                                                    CHUCK                               The one with the tits and the other                               guy.                                                    CAMERON                               Why didn't you tell me?     Afraid I'd                               chicken out?                                                    CHUCK                               Eli likes some things spontaneous.                               Makes 'em more believable. You're                               okay. Whaddya want?                                                    CAMERON                               Not to think I'm going crazy.                    99   ANGLE ON ELI                         He is moving through the crowd.                                                    ELI                                  (yelling)                               Where's Raymond? Raymond, were you                               watching that closely?                                                    RAYMOND                                  (appearing)                               What can I tell you?     I'm a brave                               son-of-a-bitch.                         There is general laughter.    Eli, raising his arm like a referee.                                                   ELI                               All right. We're doing the                               coverage. Camera here.                         Eli continues toward Cameron.    Chuck is spraying ethyl chloride on               his bare tattooed shoulder.                                                       - 59 -                                                               ELI (CONT'D)                                   (to Chuck)                                Careful. Don't blind the eagle.                                   (to Cameron)                                I owe you six hundred bucks.                                                     CAMERON                                   (acknowledging the                                    compliment)                                If anything bothered you, be happy                                to do it again.                          Eli laughs and moves off, Cameron staring after him.                                                     CAMERON                                   (to Chuck)                                I can't take my eyes off the son-of-                                a-bitch. Everybody does what he                                wants them to, even me. I feel like                                thankin' him 'cause I fell on my                                ass.                                                     CHUCK                                   (sarcasm)                                ...It's just a crush.   You'll get                                over it.                    99A   ANGLE ON SAM                          Approaching Eli, who turns to Sam, eager, vulnerable.                                                     ELI                                What did you think?                                                     SAM                                You are a smug, insufferable son-of-                                a-bitch. When I read the insane                                asylum scene to my wife and four                                children, my wife cried, my oldest                                son shook my hand for the first time                                in his whole life. So, why is it,                                Eli, that this vulgar little scene                                turns out to be so much...stronger,                                more moving?                                                         - 60 -                                                                 ELI                                     (touched)                                  God knows, Sam. Maybe...because you                                  get the feeling that the enemy might                                  just be some poor horny slob like                                  you, lookin' for the nearest                                  whorehouse.                                     (putting his arm around                                      Cameron)                                  How about that, Lucky? When that                                  stunt man's boob hit you in the                                  mouth, was it just another boob...or                                  did it taste like kraut?                           The crew laughs and so does Nina.    Cameron feels humiliated by Eli's                 patronizing tone.                                                       CAMERON                                  It tasted lousy. But what do I                                  know? You try it, Eli. You're the                                  expert in bad taste.                                                       ELI                                     (for the group)                                  Uh-oh, sounds like the soldier's got                                  his feelings hurt.                                                      CAMERON                                  Naw, naw. I just don't know about                                  Germans. Where I was we only raped                                  gooks.                    100    INT.   HOTEL GARAGE - CLOSE ON ELI                           As though continuing previous dialogue.                                                       ELI                                     (genially)                                  Oh, is that why the cops are after                                  you? ...After all this time?                                                      CAMERON                                     (sarcastic)                                  Damn! You finally guessed it!          100A   WIDER ANGLE                           Revealing Eli and Cameron walking through the hotel GARAGE toward a                 replica of the lost Duesenberg which a MECHANIC works on.                                                      ELI                                                         - 61 -                                                      ...Really? Rape? No. I think                                  you're putting me on. Come on, now,                                  no more hints.                                     (he thinks)                                  Let's see...Christ, could be                                  anything. I know a guy in this                                  state got 20 years for having                                  cunnilingus with his wife.                                     (studies Cameron)                                  No...I guess you're not the type.                                  More likely some hideous crime of                                  violence...                           Eli is getting under Cameron's skin.     They stop at car.                                                       ELI                                     (to mechanic)                                  Have you seen Harvey?                                                       MECHANIC                                  I think he's in there.                           Mechanic nods toward a door at the rear of the garage. Eli pats the                 fender of the Duesenberg. Cameron views it with a strange sense of                 unease. Putting his arm around Cameron's shoulder, Eli leads him                 toward the back door yelling to mechanic.                                                       ELI                                  You'll have it ready on time?                                                       MECHANIC                                  Yeah, but don't look under the hood                                  or you'll find a Chevy.                    100B   At the door, Eli can barely open it to squeeze through.                    101    INT.   STORAGE ROOM                           An incredible number of people have wedged themselves into this tiny                 smoke-filled room, peering over each other's heads toward a lighted                 area at the far end.                                                       ELI                                     (shouting)                                  Harvey in here?                                                       - 62 -                                                               OFFSTAGE VOICE                                   (yelling)                                Quiet. We're shooting.                                   (then back to business)                                Come on...let me have a little more                                face...a little more face!                          Eli squats on his haunches peering between the legs of the onlookers                and tugs on Cameron's sleeve to join him.                    102   POV                          Hazily, through the restless shifting limbs, male and female, like                the first rays of morning sun breaking through to the depths of the                forest, we glimpse Raymond and Gabe shooting their eight millimeter                epic: Two people screwing in a rowboat. Raymond suddenly throws                his hands up in despair.                                                     RAYMOND                                   (screaming)                                Cut!                                   (indignantly)                                Jesus, Kenneth. Great control. All                                right, who's doubling for Kenny on                                the inserts?                    103   ANGLE ON ELI AND CAMERON                          Cameron and Eli rise to their feet.                                                     ELI                                Can you believe this? They spend                                the whole day working in a                                whorehouse and look how they relax?                                That's dedication. You think sex                                can save the world?                                   (grins at Cameron)                                                     CAMERON                                That's not my bag, Eli.                                                     ELI                                Sex, or saving the world?                                                     CAMERON                                ...The world, that's your special                                job. And Jesus, are we all lucky to                                have you around...                          Suddenly Cameron is shoved backwards by the door as someone pushes                against it to get in.                                                        - 63 -                              104   ANOTHER ANGLE                          It is Harvey standing in the doorway with Nina.                                                      HARVEY                                    (to Eli)                                 Hey Chief, ya lookin' for me?                          Nina tries to peer over the heads of the crowd, pushing into the                room. Cameron steps toward her without thinking. He wants her out                of there.                                                      NINA                                 What's happening?   What's going on?                                                      GABE                                    (joking)                                 Look who's here! Nina, we need you.                                 Still got your makeup on?                          Nina, who by now has seen what's happening, laughs.                                                      NINA                                 That's a daring touch, Raymond!    The                                 rowboat. Terribly symbolic.                          There is general laughter, but not shared by Cameron. He                surprisingly finds himself angry at Nina's presence here and                everyone's easy familiarity toward her. She sees Cameron and Eli                through the smokey dimness and works her way toward them smiling.                Eli puts his arms about her shouting over the din.                                                      ELI                                    (kidding her)                                 Just like the old days, huh kid?                                 Remember the sunglasses and garter                                 belts back when we got our start?                                 Make you nostalgic?                          More laughter.   Nina turns to Cameron.                                                      NINA                                 Hi Lancelot. What's a nice boy like                                 you doing in a place like this?                                 Going to rescue the maiden from the                                 boat?                                                      ELI                                 He just asked if he could do the                                 rowing. Didn't you, kid?                                                 - 64 -                                                                   CAMERON                          Having fun with me, aren't you?                          It's Eli's potty training class.                          Show little Lucky the pretty lady.                          Make dirt on the pretty lady. Watch                          little Lucky puke. Trouble with you                          is you think the whole world is your                          own personal crapper.                             (Cameron starts to exit)                          Have yourself a time...Just wallow                          around in it, man. Watching you                          makes me feel like Mr. Clean.                    Cameron storms out in a rage. Eli watches with a thoughtful smile.          Sam, who has witnessed the outburst, turns to Eli, furious:                                               SAM                          ...Goddamn little prudish bastard!                                               ELI                          No more than you and me...it's the                          human condition. We just hide it                          better.                                               SAM                          ...Are you kidding?...If That guy in                          the rowboat was a Marine sticking a                          bayonet in her instead of a cock,                          that uptight son-of-a-bitch would                          have saluted.                    Eli starts laughing.                                               SAM (CONT'D)                          Fucking Fascist. What are you                          laughing at?                                               ELI                          It's just...that girl in the                          rowboat, she looks exactly like your                          daughter, Jennifer.                                               SAM                             (outraged)                          Goddamn you, Eli.   That's not funny!                    He grabs Eli by the shirt front, cocking his fist.                                              ELI                             (laughing and wrestling)                                                        - 65 -                                                     Get 'em, Sam! Sic 'em! Kill 'em,                                 boy! That's my uptight killie                                 doggie...                          Sam's anger fades to a sheepish grin, realizing he's fallen into                Eli's trap. Where his daughter is concerned, he's just as prudish                as Cameron. Eli snaps an affectionate headlock around Sam's neck.                                                      SAM                                 Son of a bitch.                                                      ELI                                    (still laughing)                                 See what I mean? Old Victoria's                                 still got us all by the balls. God                                 save the queen!...Only difference                                 is, we like to make movies about it.                          With hardly a pause, he turns.                                                      ELI (CONT'D)                                 Harvey, dailies at six o'clock                                 tomorrow morning. We're shooting at                                 seven.                          Rubbing his hands together (the old pro taking over), he starts                pushing his way through the crowd.                                                      ELI (CONT'D)                                 All right now, let's put a little                                 bit of class into this production!                          He elbows his way to center stage.          105   INT.   BASEMENT SCREENING ROOM - NEXT DAY                          On the folding chairs facing the PORTABLE SCREEN, a dozen people are                silhouetted against the light from the projected dailies. Cameron                enters, pausing so his eyes can adjust to the dark.                                                          - 66 -                    106   POV                          In the dimness, Nina sits separated from Eli, Sam and a few others.                On the screen, a World War I British biplane in steady flight is                interrupted by a couple of subliminal cuts. Another subliminal                flash holds and replaces the scene on the portable screen. It's a                "NUDIE" SHOT -- a rear view of the lady taken in the rowboat the                night before.                                                        VOICE                                   What the hell is that?                          The watchers all break up, recognizing the work of Raymond and Gabe.                                                        GABE                                   Hey Nina, there's your toothpaste                                   commercial!                                                        RAYMOND                                   I love her smile...                          As Nina laughs good-naturedly, the airplane is back on the portable                screen.          107   ANGLE ON CAMERON                          Involuntarily smiling to himself and now less uptight about last                night, he walks over and sits down beside her.                                                        CAMERON                                      (whispering)                                   How they get the film developed so                                   fast?                          Without even glancing at him, Nina gets up and moves to a chair some                distance away. He is stunned, then angry. Then confounded. Then                resigned to the ways of women, he goes over and sits beside her.                                                        CAMERON                                   What's the matter?                                                        NINA                                      (turning on him)                                   Don't let the fact that Eli treats                                   you as an equal go to your head.                                   You're not!                                                       CAMERON                                   Thanks.                                                       ELI'S VOICE                                                        - 67 -                                                     Nina, we're watching dailies.                                                      NINA                                 I'm sorry, Eli.                                                      CAMERON                                 But he can say anything and that's                                 okay...                                                      NINA                                 ...That's right...                                                      CAMERON                                 ...That's great...                                                      NINA                                 ...What goes on in that dim little                                 head of yours? How dare you open                                 your mouth to him like that? Have                                 you the vaguest idea what he's                                 trying to say to people with this                                 film?!...That man is the most                                 dedicated, kindest...!                           Eli's voice interrupts, angry, like a schoolteacher dismissing a                 child for talking.                                                      ELI'S VOICE                                 Nina, you can go now.                           Nina, close to tears, quickly gets up and hurries out of the                 theater, as Cameron sits there numbly staring at the screen.                    107A   POV                           On the portable screen, Raymond in helmet and goggles is in the                 cockpit of an airplane. He stuffs a bottle of champagne into a                 leather flying boot, dangles the package over the side and lets it                 go. Raymond looks down and salutes (like that famous scene in                 "WINGS").                                                      PRODUCTION MANAGER'S VOICE                                 Who says nothin' changes? Like to                                 see one of our boys in a B-52 try                                 that.                           Eli's voice yells 'cut' on the sound track. The angle on the                 portable screen widens and we see that the airplane sits on the                 ground with an electric fan blowing wind in Raymond's face.                                                         - 68 -                                     Now the scene on the portable screen changes: from the ground, we                 see the same biplane flying low. An object drops from the cockpit                 (the boot). Then there is a burst of flame in the engine. Trailing                 smoke, the plane wobbles, crash-lands (sliding alarmingly close to                 CAMERA). It ground-loops, goes up on one wing and, as it crashes                 down, we see that the pilot who we assumed was Raymond, is really a                 dummy that is flapping absurdly and falling to pieces before our                 eyes during the crash. There are groans, laughter and raspberries                 O.S.                    107B   INT.   SCREENING ROOM (AS THE LIGHTS GO UP)                                                       HARVEY                                  Jesus, Eli, I'm sorry.    I'll do a                                  pickup.                                                       ELI                                     (laughing)                                  It's so awful, it's beautiful.    Wish                                  I could use it.                                                       SAM                                     (sarcastic)                                  That's all we'd need.                    107C   ANGLE ON GROUP                                                       ELI                                     (getting morose)                                  We goddamn well need something, Sam.                                  Something better than we got...                                                      SAM                                     (tight-lipped)                                  Better? How better?                                                       ELI                                  Wilder, crazier.                                                       SAM                                     (starting to shout)                                  Dropping a dead man's boots over his                                  own airfield, out of chivalry...                                  that's not crazy enough for you?!                                                       ELI                                  They did it in "Wings."    Even the                                  dummy was bored.                                                      PRODUCTION MANAGER                                                        - 69 -                                                       (anxiety at the breaking                                    point)                                ...Eli, please! You simply will not                                accept the fact that we are living                                on borrowed time...                          But Eli and Sam are not listening.                                                     ELI                                You can't shake your finger at 'em,                                Sam. If you've got something to                                say, you better slip it in while                                they're laughing and crying and                                jacking off over the sex and                                violence. He should do                                something...outrageous!                                                     SAM                                   (belligerent)                                Like what?                                                     ELI                                Something to catch the stink of                                madness behind all that good clean                                fun. Why the hell did we pick World                                War I in the first place?...The                                ultimate romantic insanity!                                                     SAM                                   (shouting)                                Like what?!                                                     ELI                                Like...I don't know what! What                                would Lucky do if he were on the                                wing of that plane? Picture that                                because it would be a hell of a lot                                realer than that flapping dummy.                    108   Cameron is startled.   He was not aware that Eli even knew he was in                the room.                                                     SAM                                Is that what you're after, reality?                                I thought you wanted something                                outrageous!                                  - 70 -                                         ELI          Reality can be pretty outrageous.          Look at soldier boy there, jumping          off fucking buildings, risking his          ass every day, doing stuff way over          his head!...What would you do in          that plane, Lucky, if you were about          to die?                               CAMERON             (off guard, embarrassed)          What else? I'd dance for joy...I'd          probably do a jig.                                ELI          Great!   That's what we'll do.                               SAM          Eli...                               ELI          All right, not a jig...a          Charleston...                               SAM          A Charleston?                               ELI          ...On the wing of the airplane!                               SAM             (contempt)          ...That's ridiculous.                               ELI          You're damn right...                               SAM          The Charleston is silly...They won't          believe it.                               ELI             (excited)          I'll do it so they'll believe it!                               SAM             (smugly)          You'll get a laugh, Eli.                                                        - 71 -                                                               ELI                                Only when I want them to laugh!...                                   (toward rear of the room)                                Right, Lucky?                    109   (SHOCK CUT TO SKY) - CLOSE ON GERMAN FIGHTER PLANE - DAY                          It screams down vertically, full power, machine guns blazing, then                smashes into the earth, shredding to fragments hurled in every                direction. The dead German pilot is flung crumpled to the ground.                The plane's carcass explodes, filling the screen with fire and black                smoke through which we see a brightly colored PARACHUTE descending.                The FIGURE dangling beneath it passes through the smoke and flames                and tumbles to the ground, rolling, his parachute now ablaze. It is                Cameron dressed in a British flyer's uniform.          110   ANGLE WIDENS                          To show the hand-held Arriflex at Gabe's eye, Eli behind him,                steering Gabe by the back of his belt and carrying the battery pack                as they photograph Cameron shedding the harness. With the camera,                they crouch and move together like a three-headed, four-armed, four-                legged creature.                          Banking steeply, a British fighter roars past Cameron, its wingtip                almost brushing the ground, machine guns rattling, driving some                advancing German soldiers back toward the woods.                          The plane touches down to rescue Cameron, the pilot beckoning.                Cameron has pulled off the dead German pilot's boots and helmet.                Stray bullets strike about him as he sprints to the idling British                plane. It is a single-seater. It starts to pick up speed. He                grabs a strut and scrambles up onto the lower wing.                    111   ANGLE ON CONSTRUCTION CRANE                          The bucket hanging from the giant CRANE descends. Smoothly Eli                guides Gabe backward, seating him in the bucket. The bucket rises,                lifting Gabe while he photographs the scene, as the plane with                Cameron on the wing becomes airborne.          112   ANGLE ON PICKET FENCE                          Behind it is a CROWD OF SPECTATORS who jump up and down shrieking.                CAMERA PANS to show Nina among them, her excitement hardly more                controlled.                                                           - 72 -                    113   ANGLE ON CRANE BUCKET AND BRITISH AIRPLANE                          The giant arm of the crane swings and rises with the plane,                completing Gabe's spectacular shot. Now we see a HELICOPTER drop                into frame, photographing the plane from the other side. The                chopper and the vintage British plane bank together in perfect tight                formation with Cameron standing spread-eagled between the wing                struts like a flying Christ, as they soar into the sun.          114   ANGLE ON CAMERON                          Seated on the wing, his back against he fuselage, legs firmly                against the struts. His white silk scarf streams into the tearing                wind. Jamming a champagne bottle into the German's boot, he holds                it up. The pilot grins approval, popping the cork on a second                bottle which spouts foam into the slipstream. Laughing, he passes a                glass to Cameron and pours from above. The liquid is lost in the                wind. Shrugging, he swigs from the bottle and hands it to Cameron.                Cameron drinks. The champagne pours down his throat and face and,                holding the strut with one hand, he rises to his feet.                          The pilot waggles his wings, giving Cameron a seesaw ride to get his                bottle back. Cameron now seems drunk. He lets go of the strut and                stands leaning against the wind. As the pilot toasts his courage,                Cameron's balance falters and he grabs the strut.                          Now, Cameron picks his way through the guywires toward the end of                the wing. Then he bounces up and down, rocking the plane. The                pilot starts to sing to Cameron's rhythm, "How ya gonna keep 'em                down on the farm..." And Cameron dances the Charleston.          115   INT.   HELICOPTER                          Gabe at the eyepiece of the Mitchell, slowly tilting up and down to                follow the action.                                                         GABE                                    Fan-fucking-tastic. Whaddya been                                    feeding that soldier-boy...brave                                    pills?                          Through the plastic bubble, the biplane can be seen in the distance                going through its antic maneuvers.                                                         ELI                                    It's not what he's eating...it's                                    what's eating him...that makes it                                    sort of interesting.                                       (through intercom)                                    Okay, drop the package.          116                                                            - 73 -                                    CLOSE ON BIPLANE                          Cameron holds the boot poised, lets go. Then, the pilot is struck                by a bursting shell. As he slumps over, the plane skids and slips                and drops off into a spin. Cameron clings for his life as the                sickening momentum grows, until his feet are flung out from under                him and he dangles from the wing, whipping in space.          117   WIDE ANGLE                          Suddenly it becomes clear how what we are seeing is possible -- the                airplane is no longer in flight, but is dangling a few feet above                the ground, suspended from the cable of the huge crane. The crewmen                shove at its tail and wingtips to keep it revolving. Cameron is,                indeed, clinging to the wing strut, his feet held in space by the                centrifugal force. But, if his hands slip, he will fall ten feet                instead of to certain death.                    118   ANGLE ON ELI AND CAMERA CREW - SHOOTING FROM GROUND                                                          ELI                                   How is it?                                                     GABE                               (panning and tilting)                                Su-fucking-perlative.                                                        ELI                                      (into walkie-talkie)                                   Okay, now level out.          119   ANGLE ON CRANE OPERATOR                          Easing some levers back.          120   POV THROUGH LENS                          As the spin slows down and the plane appears to level out, Cameron                regains his footing, perches on the wing and looks forward in                growing horror.                    121   WIDER ANGLE                          As the swinging arm of the crane glides the plane forward toward a                stand of trees at the edge of a clearing.                                                        - 74 -                    122   PAST CAMERON - MOVING SHOT                          We see the rapidly approaching trees. Closer and closer, until with                a horrendous crash, the plane sails between two trunks, shearing off                the wingtips, the nose smashing into another, hurling Cameron off                the wing like a crumb flicked from the table.          123   EXTREME CLOSE UP - CAMERON                          Apparently hurtling through the air, his eyes widen at the impending                impact. A gasp and then a sharp cry. But instead of the                crash...the ANGLE WIDENS and we see it is Cameron reaching orgasm.                With extreme contentment on his face, he rolls over revealing Nina,                who, it is clear, has also had a lovely time.                    124   WIDER ANGLE - INT.   NINA'S HOTEL BEDROOM - NIGHT                          They are in bed in a pleasant large room (the Queen Anne Suite),                untidy, with script pages, wigs, costumes, fresh flowers, the                leftovers of a room service dinner. Nina caresses his back,                noticing bruises. She kisses them gently and starts to giggle. He                looks at her quizzically.                                                     NINA                                That's twice for me today. Now.                                And when I watched you do the stunt.                          The ALARM CLOCK on the dresser BEGINS RINGING.   He sits up, puzzled.                                                     NINA (CONT'D)                                I have to study my scene for                                tomorrow. The Old Lady at the                                cemetery. It's brutal. I set the                                clock in case we dozed off.                          Cameron gets up, moving toward the dresser to turn off the clock,                but instead stops at the stand holding the Old Lady wig. He runs                his fingers through it as the clock continues to ring.                                                     CAMERON                                How come they cast you as an old                                lady?                                                     NINA                                I start out as a young girl hiding                                this American flyer. I'm Austrian...                                Will ya turn off the clock?                          Subtly, we sense something is bothering Cameron.    He ignores the                still-ringing clock.                                                 - 75 -                                                         NINA (CONT'D)                          Anyway, his patriotism is stronger                          than his love and he leaves me with                          another little patriot in my belly.                    During this he has taken the wig and puts it over his head, glancing          in the mirror.                                               CAMERON                          Why can't I double for both of you?                          I could use the money and I don't                          look half bad.                                               NINA                             (seriously)                          Honey, you'll ruin it.    Take it off.                    He does.                                               NINA (CONT'D)                          The clock's electric. It'll ring                          forever.                    Instead of turning off the clock, he crosses to the Old Lady's dress          on a hanger. He looks at the dress appraisingly.                                               CAMERON                          Eli might really go for that, the                          big soldier as a little old lady.                    Disturbed, Nina leaves the bed, turns off the alarm clock and          adjusts the wig properly on its stand.                                               NINA                          What's wrong?                                               CAMERON                          Everything's beautiful.                    They embrace and cling to each other. She starts back for the bed,          but he detours for the clock and pulls out the alarm again, and          again it BEGINS RINGING.                                               NINA                          What are you doing?                                                 - 76 -                                                         CAMERON                          We've got to consider Eli. If you                          don't study the scene, he'll be                          mad...then you'll get mad...and I'll                          get shot out of a cannon.                    With the alarm still ringing, he starts toward the bed.                                               NINA                          Did you fall on your head today?                                               CAMERON                          I want it to ring.                                              NINA                          Why?                                               CAMERON                          For me, that's why. That's Eli                          yelling for you to work on your                          scene and us saying, "Up yours,                          Eli," and I like that.                                               NINA                          Do you want to leave?                                               CAMERON                          I want to make love to you while Eli                          is screaming his head off.                    The whole idea is so incongruous that she starts laughing. He gets          on the bed with her. THE ALARM CONTINUES TO RING. They struggle          about, giggling at the absurdity.                                               NINA                          I can't make love with the clock                          ringing.                                               CAMERON                          Betcha can.                    While he moves over her body, she grabs a pillow and hurtles it at          the clock. It falls over, but keeps on ringing. By now, Cameron          has entered Nina and she is rapidly becoming more involved in that,          than in the clock.                                               CAMERON                             (to ringing clock while                              making love to Nina)                          You tell 'em, Eli.                                                           - 77 -                                     CLOSE ON MOVIOLA                           In the darkness, the machine is like an ominous hunchback,                 splattering shards of light against Chuck's intensely watching face.                 He is highly disturbed at the unseen image.                                                         CHUCK                                       (to himself)                                    Crazy bastard!                           ANGLE WIDENS, showing a small STORAGE ROOM has been converted to a                 makeshift EDITING ROOM, where Chuck sits working the MOVIOLA.                 Slowly becoming aware of someone, he glances up through the spinning                 reels and dimly sees Cameron leaning in the doorway.                                                         CHUCK                                    There was no way it could go                                    wrong...unless he just went ape.                           Cameron ambles over as Chuck reverses the film to see it one more                 time. Even as he catches a glimpse of the film whirring backward,                 he realizes he's seeing BURT'S DEATH SCENE in the water. Now Chuck                 has reached the beginning of the film and is moving it forward                 again.          125A   CLOSE UP - VIEWER OF MOVIOLA                           The film whirs as we see through the windshield over Burt's                 shoulder, the car flying through the air, hitting the water and                 sinking beneath the surface. Burt goes through the motions of a man                 trying to free himself.                                                         CHUCK                                    The harness is okay...the roof is                                    holding...it all seems fine.                                                         CAMERON                                    But look at him struggle...                                                         CHUCK                                    ...Badly. Eli wouldn't use a foot                                    of it...poor slob died for nothin'.                    126    ANOTHER ANGLE                           Sweat is running down Cameron's face.    Finally, with dread...                                                         CAMERON                                    That crack...in the windshield...                                                        CHUCK                                                        - 78 -                                                     What about it? Probably from the                                 impact. No water coming in.                          Cameron's face reflects immense relief. At least he's not guilty of                that. The flung stone was not the cause. Now, abruptly, Burt's                body begins to move more violently.                                                      CHUCK'S VOICE                                 There! Look at that. He's starting                                 to panic. Will you, for Christ's                                 sake, tell me why?                          As Chuck slows the film, we see Burt's head duck beneath the view of                the underwater camera, leaving only the steering wheel and                windshield. For an instant, the current changes the light and the                crack glows brightly, like a spider web. Burt reappears, his face                now toward camera, wild with terror. The slow motion lends a                bizarre elegance to his agony. Abruptly, the FILM GOES BLACK.                                                      CHUCK                                 Shit. That's where it stops. That                                 fuckin' Henry...got spooked and took                                 his finger off the remote button.                                                      CAMERON                                 Is this how the story was supposed                                 to end, with the flyer dying in the                                 water?                                                      CHUCK                                 Sure as shit ended that way for                                 Burt, didn't it?                    127   INT.   REHEARSAL HALL - DAY                          In one of the private DINING ROOMS off the lobby, tables and chairs                are pushed against the wall to make room for a rehearsal now in                progress. Some early morning TOURISTS have gathered outside the                entrance, watching. A few members of the kitchen staff peer through                an inside doorway. Sam and key crewmen stand on the sidelines as                Eli rehearses with Nina.                                                 - 79 -                                                         ELI                             (gesturing)                          The graveyard's over here...                             (he takes a few steps)                          ...Her car's parked here.                             (sets down a folding                              chair)                          ...Lots of these little graveyards                          along the roadside...most of the                          stones are unmarked...                    He takes Nina by the hand and pulls her down beside him, kneeling on          the floor.                                               ELI (CONT'D)                          You're tired...you're broke...all                          things which meant so much are gone.                          What's left is a single memory...                          that brief bright love.                    Nina's listening intensely but something catches her eye. Among the          tourists at the doorway stands Cameron, who has paused to watch, his          costume slung over his shoulder. He nods to her with a small tender          smile. Subtly, so Eli won't notice, she smiles back, then renews          her concentration.                                               ELI (CONT'D)                          ...You spent your month's pension in                          hiring the car. You just can't look                          for his grave any longer...so you                          pick one...any one. You kneel...                          then lay the flowers down.                             (yells to the prop man)                          What have we got for her?                                               PROPERTY MAN                          I got roses.                                               ELI                          No...something she picked herself...                          wildflowers or something.                    Sam crosses over to them and kneels beside Eli and Nina.                                                        - 80 -                                                                SAM                                    (hesitantly)                                 Eli. An idea, maybe. Instead of                                 flowers, what if she brought him the                                 things of their life together...of                                 their sexuality...like her                                 nightgown, her underclothes...                          Eli looks at him thoughtfully.                                                      SAM (CONT'D)                                 'Course they'd be rags by now, but                                 let me show you this...                          From a paper bag, he takes a SMALL BRONZE CASTING of a BEAR and A                GIRL on a SWING beneath a tree. He sets it down.                    128   INSERT ON THE BRONZE                          Sam's hand presses a lever on the side of the bronze. There is a                whirring of the clockwork and a music box melody plays. The girl                begins to swing. The bear slides toward her. She mechanically                lifts her bronze dress until they meet, performing their clockwork                love rite. Nina giggles.                                                      SAM'S VOICE                                 It's authentic. Early Victorian.                                 Mechanical bronzes were quite a                                 thing.          129   ANGLE ON GROUP                          Eli shakes his head patiently, kindly.                                                      ELI                                 Sam, you'll get a belly laugh.                                                      SAM                                 What do you mean?   It'll break their                                 hearts!                          Eli begins to beam. Sam, realizing he has again fallen into the                trap, winces, chagrined. Eli grabs him in a bear hug.                                                      ELI                                 Welcome to the picture, Sam!                          Sam struggles to escape from the iron grip as Eli dances him about                in joy.                    130   INT.   BASEMENT - HAIRDRESSER SECTION - CLOSE ON CAMERON'S HEAD                                                       - 81 -                                              Denise, with spray can and fingertips, is massaging in red dye, as                the CAMERA PULLS BACK.                                                     CAMERON                                Naw, nothin' too unusual today...get                                run over by a tank, blown up by a                                land mine, a house falls on me...                                Easy stuff, but I can use a rest.                                                     DENISE'S VOICE                                ...And some manners. As one of the                                world's greatest middle-weight                                lovers, I hate to play a one-night                                stand. I heard you been busy, but                                you know the old saying...like, if                                you can't come, call?                                                     CAMERON                                   (appeasingly)                                I wanted to, but I was scared.                                They're so square where I hail from.                                Twice is considered a love                                affair...didn't want to rush you.                                                     DENISE                                ...Three times is a love affair.                                Twice is nice...                                                     VOICE (O.S.)                                   (yelling)                                Hey Denise, for Christ's sake! We                                got a set call in forty minutes.          131   ANOTHER ANGLE                          To include a MAKEUP TABLE against the far basement wall with THREE                ACTORS sitting at it, wearing plastic aprons to shield their                uniforms.                                                     DENISE                                   (to Cameron)                                You just sit here...dry...and                                repent.                          She crosses to the men at the makeup table.                                                     ACTOR                                Glad ya could tear yourself away.                                                    DENISE                                                        - 82 -                                                     Don't panic. He's still got that                                 whole big emotional thing to do with                                 the dog food lady before they even                                 get to you. You may not work 'til                                 midnight.                                                      ACTOR                                 You wait. Eli'll wave his wand and                                 get it out of her in five minutes.                                                      DENISE'S VOICE                                    (trimming his hair)                                 You're confused...He got it into her                                 in five minutes. To get it out of                                 her...it takes longer.                          There is general knowing laughter as Denise crosses back to Cameron                and sees by the look on his face she has hit her target. The                thought of Nina and Eli as lovers had never occurred to Cameron.                                                      DENISE'S VOICE (CONT'D)                                 Oops...somebody didn't know...                          The effect is stronger than she had expected.     Now compassion sets                in.                                                      DENISE (CONT'D)                                    (softly)                                 Hey. C'mon, Red...I'm a woman                                 scorned...I'll say anything.                          Cameron just sinks back in the chair, slowly dying.                          EXT.   GRAVEYARD - CLOSE ON "MECHANICAL BRONZE"          132                Over the tinkling sound of the music box, the BEAR and MAIDEN                perform their ritual as the CAMERA PULLS BACK revealing the                GRAVESTONE decorated with the worn filmy lace undergarments of                another era. They flutter in the soft wind and amber light of a                summer afternoon, strangely beautiful against the mossy granite                marked "UNKNOWN." Somehow these rotting women's underthings have                the dignity of a sacred tapestry draping an altar.                                                      OLD LADY'S VOICE                                 ...You terrible bear... so                                 impatient... tearing something so                                 beautiful...                          The ANGLE WIDENS and we see Nina, now made up to look wrinkled and                gray, tragically old, her eyes moist as she kneels beside the grave.                                                 - 83 -                                                         OLD LADY (NINA)                             (sudden deep sincerity)                          Why do I lie? I couldn't wait                          either. I think both of us are                          bears.                             (a soft nostalgic smile)                          Go, young maiden, you'll be late for                          your piano lesson.                    An elegantly-dressed CARIBINERRI (ITALIAN POLICEMAN) appears.                                               CARIBINERRI                          Signora...signora...                                               OLD LADY (NINA)                          I'm almost finished.                                               CARIBINERRI                          Signora. This desecration... some                          flowers perhaps...would be                          permitted.                                               OLD LADY (NINA)                          But, we want these.                                               CARIBINERRI                          Please, signora. It's not right.                          The grave is unmarked.                                               OLD LADY (NINA)                          Ask the driver how many graves we                          visited today. I could have chosen                          five hours ago. I came here and my                          soul said, "Oh yes." I know that is                          hard to believe...                                               CARIBINERRI                             (shrugging)                          Anything is possible, signora.                             (tries urging her to her                              feet)                          Now, you must permit me to escort                          you to your car.                                               OLD LADY (NINA)                          As soon as I am gone, you will take                          everything away.                                              CARIBINERRI                          No...                                                 - 84 -                                                         OLD LADY (NINA)                             (tears streaming down her                              face)                          You will, and I can't stop you, and                          it's wrong. We loved each other...                          Where else should these go?                    The unexpected sound of laughter makes her turn to see a SMALL GROUP          OF PEOPLE who've gathered beside their PARKED CARS watching.                                               OLD LADY (NINA)                          Yes, I know I'm ridiculous, but you                          laugh without knowing anything. You                          would buy a plastic wreath for a man                          of such importance.                    She pulls free of the Caribinerri and, trying to kneel down,          stumbles and falls. Now, like some confused child, she searches          among the garments. Taking a SCROLL from a wooden box, she shakes          it at them like a schoolteacher would a ruler.                                               OLD LADY (NINA)                          President Wilson...from the                          President of the United States...for                          heroism. To me for sheltering                          him...                             (smiling to herself)                          How silly. I 'sheltered' him to be                          with him. He was my beloved...Where                          is it?...Oh, here, did you see this?                    She now holds up a fist from which dangles a swastika on a sash.                                               OLD LADY (NINA)                          Given to me by Adolf Hitler...for                          our son. Our son...                    Her voice suddenly fierce with the pain of that memory.                                               OLD LADY (NINA)                          ...Our son!!!                             (then, with simple                              reverence)                          ...A thousand years of peace...is                          what he said. That would be very                          nice.                    The Caribinerri, spellbound, has taken a backward step, bumping into          a REFLECTOR, which now teeters and falls into the scene, knocking          off his hat, barely missing the Old Lady and crashing across the          grave and shattering all illusion. The Caribinerri stands there                                                       - 85 -                                    with his eyes closed and his fists clenched, wishing he were in the                grave. Nina stands in speechless horror.          133   WIDER ANGLE - INCLUDING CREW SHOOTING                                                    ELI                                   (quietly)                                Cut...                                                     CARIBINERRI                                Eli, I'll kill myself.                                                     ELI                                ...and print.                          It's deadly silent as Eli walks over to Nina.    They stare at each                other for a moment.                                                     ELI                                   (eyes brimming over)                                Thank you, baby.                          They fall into each others arms like lovers never do.          134   MEDIUM - CAMERON WATCHING ELI AND NINA EMBRACE                          Everybody is applauding, wild with joy over Nina's great                performance. Tears of happiness run unabashedly down Sam's nose.                Only Cameron is sullen, seething with anger and jealousy as he views                them in the light of his recent information.                                                     A.D.                                   (through bull horn)                                All right, that wraps the graveyard.                                Don't pack it...just stick it in the                                truck. Come on, we're losing sun,                                everybody. In ten minutes at the                                farmhouse!                          Cameron is standing aside, while Nina vainly looks around for him.                Denise is unpinning her wig. Chuck approaches Cameron.                                                 - 86 -                                                         CHUCK                          Change of plans. We're making the                          stunt a fire gag. When you come out                          of the barn, you're in                          flames...wanna try it.                    Cameron, still watching Nina and Eli in the now dwindling circle of          admirers, doesn't answer.                                               CHUCK (CONT'D)                          Look, don't do it if you don't                          wanna...                                               CAMERON                          What does Eli say?                                               CHUCK                          You know Eli... "Tell the soldier                          it's an extra hundred bucks and                          he'll do it without the asbestos."                          Whaddya say?                                               CAMERON                          Tell Eli to do it.                                               CHUCK                          Hey, what the hell is wrong with                          you?                                               CAMERON                          I'm tired of being somebody's                          goddamn clown!                                               ELI                             (moving into the shot)                          Hey, you don't want to do it, don't                          do it, but be happy! It's a great                          day! Did you see her performance?                          Terrific. It's a day for humility                          and brotherly love!                                               CAMERON                          Fine, Eli. Let's be brotherly.                          Milk brothers, sucking from the same                          tit.                                                           - 87 -                    135   ANGLE - EXT.   FARMHOUSE - DAY                          As it explodes, Cameron is BLOWN THROUGH THE WALL -- ON FIRE. He                tumbles to the ground, frantically writhes, rolls, trying to smother                the flames, finally collapsing in some wagon tracks filled with                muddy water. Cameron lifts his head at the approach of a THUNDERING                SOUND...an ENGLISH CAISSON hurtles toward him, the driver dead and                mangled over the barrel of the gun, the horses insane with terror.                Before Cameron can move, the charging horses are on top of him. He                rolls between their hooves, the giant steel wheel of the caisson                barely missing him. Shells from a cannon barrage are bursting all                about. Cameron staggers to his feet and scrambles over a low stone                wall for protection, drops to the other side and then hurtles into                the air as the wall is shattered by an exploding shell.          136   CLOSE ON TRAMPOLINE                          As Cameron falls into the shot, landing on a hidden TRAMPOLINE near                the stone wall, bouncing up and down 'til he finally comes to rest.                                                     OFFSTAGE VOICE                                 CUT!!          137   ANGLE TO INCLUDE ELI AND CREW                                                      ELI                                 Who said that?                          Cameron stares over the edge of the trampoline as Henry, the                assistant cameraman, uneasily faces Eli.                                                      HENRY                                 We had a film run-out.                                                      ELI                                    (to Gabe)                                 How many feet are left in that                                 camera?                                                      GABE                                    (checking the Mitchell)                                 Thirty-six feet.                          Eli advances murderously on the assistant cameraman, building to a                rage we have not seen in him before.                                                      ELI                                 Goddamn you! How many times are you                                 going to do this to me? How dare                                 you yell cut on my set?                                                        - 88 -                                                               HENRY                                   (defensively)                                Thirty-six feet is nothing...                                                     ELI                                It's twenty-two seconds! In twenty-                                two seconds, I could break your                                spine...I could pinch your fucking                                head off like an insect and smear it                                on the pavement...I could put                                twenty-two bullets in that fat gut                                of yours! The only thing I can't                                seem to do in twenty-two seconds is                                keep you from fucking up my film!                          Cameron is so intrigued that he hasn't realized an EMBER is burning                through his asbestos protector, until suddenly he feels the flame                and frantically begins beating it out and thus, is even denied the                pleasure of savoring Eli's anguish.          138   EXTREME CLOSE UP - NINA (INT. SAM'S AND CAMERON'S ROOM - NIGHT)                          Rosy-faced and dewy-eyed and wearing a big floppy hat. Sensing                trouble with Cameron and that she might be at fault, she has decided                to do a campy, cutesy Blanche Dubois stepping off "THE STREETCAR                NAMED DESIRE" number, ten years too soon.                                                     NINA                                   (southern-belle sarcasm)                                ...I can't tell you how pleased I                                was with your conduct. When you                                congratulated me after my scene this                                afternoon, all the other glowing                                tributes faded to nothing...          139   WIDER ANGLE - INT.   CAMERON'S AND SAM'S ROOM                          Sam has stopped typing and sits silently, waiting for the storm.                          Cameron lies on his bed in a T-shirt and shorts, an elastic bandage                around his knee and an ice bag at his neck, coldly watching Nina's                performance as she grandly moves through the doorway into the room.                                                 - 89 -                                                         NINA (CONT'D)                          ...Nevertheless, I'm cancelling your                          invitation to an intimate party                          given by my parents, who arrived                          unexpectedly to honor me on the                          occasion of my birthday...but don't                          feel too badly. As consolation for                          a lovely evening missed, I'm                          presenting you with the "good-sport-                          of-the-month" award.                    From behind her back, she takes an APPLE with a tiny cocktail          parasol stuck in it and holds it out to Cameron. Cameron lies          glaring at her with mounting rage.                                               NINA (CONT'D)                          Mr. Baum, will you notify this young                          savage that it's customary to cover                          one's privates when accepting an                          award? It's one of the common                          courtesies, like...congratulating                          people.                                               CAMERON                             (coldly)                          What should I congratulate you for?                          The fucking scene or for fucking the                          director?                    Nina stands there shaken, looking at him sadly.                                               NINA                          For fucking the director, honey.                             (biting into apple)                          Didn't you know that's how little                          girls get into the movies?                    She leaves. Cameron lies there seething, then abruptly leaps up and          storms into the bathroom. Sam sits rubbing his head, resumes          typing. Cameron rages out of the bathroom, flings himself onto the          bed. Unwinding the elastic bandage, he sprays ethyl chloride on his          knee. Sam's typing stops.                                               SAM                             (quietly)                          Young man, taking my life in my                          hands, I must inform you that you                          are an asshole.                    Cameron ignores Sam.                                                 - 90 -                                                         SAM (CONT'D)                          Being a devout masochist, it follows                          that I'm Eli's best friend. I know                          quite a lot about him and Nina.                                               CAMERON                          You and the entire crew, buddy.                                              SAM                             (wryly)                          He met her three years ago. Two                          lonely people rattling around New                          York. A brutal winter. Eli's                          marriage had just broken up...                                               CAMERON                             (interrupting in anger)                          ...All she had to do was tell me!                                               SAM'S VOICE                          She could have done that in four                          seconds. They went to bed once and                          they were lousy as lovers. But they                          had a problem. They liked each                          other. They recognized some area of                          mutual sensitivity. I'm boring you.                                               CAMERON                          You telling me he banged her once                          three years ago?                                               SAM'S VOICE                             (disgusted)                          I'm going to see if they can put me                          up in the employees' toilet.                    He begins to type again, then philosophically...                                               SAM'S VOICE (CONT'D)                          I think he 'banged' her twice to                          confirm the awful truth...Was she                          supposed to be a virgin?                                              CAMERON                          Yeah...                    But he says this so sadly and looks so miserable that Sam knows he          has reached him and it touched.                                              SAM                                                           - 91 -                                                        I had a virgin once. Had to go to                                    Guatemala for it. She was blind in                                    one eye and had a stuffed alligator                                    that said, "Welcome to Miami Beach!"                          Cameron sits there feeling dumb and full of regrets. Then he gets                up, goes to Sam's closet and begins rummaging through the clothes.                Sam watches him curiously.                                                         CAMERON                                    So how's the new ending coming?                                                         SAM                                    I got fourteen versions. Take your                                    pick.                                       (worried about his                                        clothes)                                    What are you doing in there?                                                         CAMERON                                       (overly casual)                                    ...Fourteen gory ways to die?                                                         SAM                                    Thirteen. In one version he                                    lives...turns the girl in, opens a                                    gay bar in Berlin, gains fifty                                    pounds and changes his name to                                    Goering...                                       (now deeply concerned)                                    ...Please, anything but the                                    sweaters. You'll stretch the hell                                    out of the sleeves.                    140   INT.   RESTAURANT                          The pleasant SEAFOOD RESTAURANT is on the pier over the water.                Cameron, now wearing Sam's sweater after all, is searching about the                crowded room trying to find Nina and what might be her family. He                is about to leave when he sees a group at a window table, a MAN and                WOMAN in their early fifties and a FOURTEEN-YEAR-OLD GIRL,                attractive despite the baby fat. Something about the composite of                all their features is familiar enough to give them a second look.                In doing so, he sees a half-eaten BIRTHDAY CAKE on their table, in                front of an empty place. He goes to the table.                                                       - 92 -                                                               CAMERON                                   (hesitantly)                                I was sort of invited to a birthday                                party and I can't seem to find                                it...and this seems to be a birthday                                party...                          The FATHER, a hearty, bluff, good-natured man, looks at Cameron                amiably and with a father's intuition.                                                     FATHER                                A birthday party is a birthday                                party...sit down.                                   (Cameron does)                                Who was this birthday party for...                                animal, vegetable or mineral?                          NANCY, the fourteen-year-old, giggles.                                                     NANCY                                ...Mineral.                                                     MOTHER                                Will you stop teasing this young                                man?                                                     CAMERON                                She's really worth finding, ma'am.                                She's a very rare mineral.                                                     FATHER                                   (pleased with Cameron)                                How old is this mineral?                                                     CAMERON                                This morning she was acting about                                ninety, but she might be lying a                                year or two.                          The father now really comfortable, recognizing a fellow humorist.                                                     FATHER                                No, you got the wrong table...this                                one's acting like she's six...but                                the missus tells me birthdays are                                very emotional for the ladies.                          At this moment Cameron can tell from their faces that they've seen                Nina behind him. He turns.                    141   POV                                                          - 93 -                                              Nina has emerged from the ladies' room looking miserable and is                walking toward them. At the shock of seeing Cameron, her hand flies                to her mouth in such embarrassment and joy and confusion at the way                she feels, that she starts back to the refuge of the ladies' room.                Catching herself, she turns back to face him, her eyes now glowing                with tears of happiness.                    142   HOTEL CORRIDOR - CLOSE ON CAMERON - LATER THAT NIGHT                          He moves forward and kisses Nina. We now realize we are at her                HOTEL ROOM DOOR. She on the inside, he on the outside, kissing                through the doorway, which stands slightly ajar. With their mouths                barely parting:                                                      NINA                                 I'm sorry it got so late...that damn                                 five o'clock makeup call...I feel as                                 bad as you do...                                                      CAMERON                                 In the same place I do?                                                      NINA                                 Will you take a raincheck?                                    (slipping her room key in                                     his pocket)                                 ...A permanent one?                          He puts his hand on the pocket and grins at her.                                                      CAMERON                                 A season pass.                                                      NINA                                    (smiling)                                 Good night.                          Closing the door.          143   INT.   HOTEL BAR - LATE NIGHT                          On HENRY (the ASSISTANT CAMERAMAN who Eli screamed at), his luggage                beside him, his elbows, empties, loose change scattered before him                on the bar top.                                                      HENRY                                    (looking up)                                 Lucky...hey Lucky, come over here!                                                 - 94 -                              ANGLE shifts to include Cameron a few stools down.    He looks up from          his beer and crosses to henry.                                               HENRY (CONT'D)                          Guess who tole 'em to take their job                          and stuff it?                                               CAMERON                          Ya quittin'?                                               HENRY                          Fuckin' A. Gettin' out tonight.                          But not without splittin' a Schlitz                          with the one guy, 'cept me, who                          wouldn't take shit from that                          screwball.                    As the BARTENDER is taking away the empties, Henry puts his finger          down on a DIME.                                               HENRY (CONT'D)                          Change is for you, except that.                          That's a very special dime.                             (holds it up for Cameron                              to see)                          Know what this is? Ask me!                                               CAMERON                          It's a dime...am I close?                                               HENRY                          It's Eli Cross' ass. People think                          'cause you're easygoin' they can                          walk all over you. Bull-shit...I'm                          blowin' the whistle with this dime                          in that phone...killin' a man and                          hiding it from the police...are you                          kiddin'...? Who is he think he is?                    Cameron pales, knowing that drunken Henry's desire for revenge can          expose him to the police. He grabs the dime from Henry's fingers          and drops it into a PEANUT VENDING MACHINE.                                               HENRY                          What the hell you doin'?                    Cameron stuffs the bag of peanuts in Henry's shirt pocket, grabs his          suitcase and hustles him out of the bar toward the FRONT DOOR.                                              CAMERON                                                 - 95 -                                              I'm putting you in a cab for your                          own good and sending you to the                          airport. He's mine, Henry, all                          mine. Just leave that son-of-a-                          bitch to me!                    They have reached the HOTEL DOORWAY.   By now, Henry is convinced          Cameron means business. He stops.                                               HENRY                          Do whatever you wanna do, but I                          better do it with ya! You'll need                          help 'cause that goddamn looney is                          dangerous.                                               CAMERON                             (blustering)                          Not to me, he ain't. I'm going to                          the cops. You gotta earn your                          living in pictures, but I don't give                          a shit. He can't hurt me.                                               HENRY                          Don't be too sure. Damned psycho                          nearly strangled me! Don't believe                          me? Wanna see marks...?                             (tears open shirt collar                              to show bruises)                          ...Lucky to be alive!                                               CAMERON                             (confused)                          Henry, what are you talking about?                          I watched that whole thing today, he                          didn't even touch you.                                                          - 96 -                                                                  HENRY                                   Not today. When Burt went into the                                   water.                                      (Cameron is wide-eyed)                                   I could tell from up there in the                                   chopper something' was wrong. So, I                                   stopped shootin' and that crazy man                                   gets me by the throat and starts                                   screamin' to roll the film...I mean                                   that guy's down there dying and he's                                   screamin', "Keep shooting! Keep                                   shooting!" Then, he starts fighting                                   me for the switch and it falls                                   down...like a crazy house up there,                                   with him thrashin' on the floor...He                                   didn't care about Burt. All he                                   cared about was to get that man                                   dyin' on film! Sickest thing I ever                                   seen!                          As Henry's last words sink in, Cameron stands pale and shaken.                                                        HENRY (CONT'D)                                   I better grab that cab.                          Henry takes the suitcase from Cameron's numb hand and pushes through                the door, looks back for a parting shot.                                                        HENRY (CONT'D)                                   You tell 'em everything...don't                                   mince words...                          As he goes towards cab, some MERRYMAKERS push their way into the                lobby.          144   CLOSE ON CAMERON                          Staring ahead, Henry's words echo like his own death warrant. The                merrymakers jostle past him, discussing suntan ointments. Cameron                turns and walks across the HOTEL LOBBY and UP the STAIRS...his pace                increasing until he is taking them three at a time.                    145   CLOSE ON DOOR LOCK                          Cameron's hand thrusts KEY into the hole, flings open the DOOR TO                NINA'S BEDROOM and barges in.                                                        CAMERON                                      (overwrought)                                   Nina...your crazy Eli...                                                         - 97 -                                     He FREEZES. Over his shoulder, we see Nina, naked, lying on the                 bed. Raymond, also naked, sits slumped on the edge of the bed,                 utterly disconsolate. The three stare at each other, an absurd                 tableau. Cameron whirls and leaves, slamming the door behind him,                 almost off its hinges.                    146    INT.   HOTEL LOBBY                           He comes down the steps like a madman. Raging, Cameron stomps                 across the lobby toward the glass doors that will take him out of                 Eli's grotesque wonderland. He collides with a group of returning                 night FISHERMEN still in their slickers, carrying their equipment,                 their catch wrapped in newspapers. For a moment he is tangled in                 their tackle, FISH TUMBLING AND SLIDING along the marble floor.                                                       FISHERMAN                                  Jesus...don't step on 'em.                           Cameron stares at them, whirls and rushes back across the lobby and                 up the stairs.                    147    INT.   NINA'S BEDROOM                           As Cameron bursts in.   She stands in her robe in the center of the                 room, glaring at him.                                                       NINA                                     (screaming)                                  Get out of here!                           Hearing WATER running in the bathtub, he dashes in, but finds the                 bathroom empty. He moves to the closet and slides the door so                 violently that it almost falls off: No Raymond.                                                       NINA (CONT'D)                                  Get out!!!                                     (raging)                                  I'll have you thrown out!                           She crosses to the phone.                                                       CAMERON                                  Is there anybody in this whole                                  company you haven't screwed?                    147A   In the HALLWAY, a little group of PASSING TOURISTS turn in                 wonderment at the tumult through the open doorway. Nina leaves the                 phone, crosses to the door and kicks it shut in the people's faces                 with all her strength.                                                       NINA                                                 - 98 -                                                 (furious)                          You stupid, ignorant bastard! How                          dare you storm in here like you won                          me in a raffle?!                    Cameron, realizing for the first time that instead of being ashamed          or frightened, she is livid with rage?                                               CAMERON                             (coldly)                          My girl gave me her key!                                               NINA                          I am not your girl! I am that man's                          girl! That man and I have been                          lovers for six months! I've known                          you two days!                                               CAMERON                             (ironically)                          Then gee, ma'am, I sure hope you                          didn't tell him about all that                          ballin' last night.                                               NINA                          Don't you dare be clever with me!                          He came scratching at the door                          tonight like a beaten dog, begging                          me to say that you were some twenty-                          four hour nonsense.                             (against her will she                              starts to cry)                          ...and I had to tell him I thought I                          was falling in love with...                                               CAMERON                             (not giving an inch)                          You couldn'a said that with your                          clothes on?!                    Nina lets out an incoherent roar of rage.                                               NINA                          Goddamn you! The wounded stud! He                          is entitled to some dignity! To                          lose his "pure and faithful lover"                          without the new boy barging in!                          Where do you suppose he is now?                                               CAMERON                          Did ya look in the laundry hamper?                                                    - 99 -                                                                      NINA                          GET OUT!     Get the HELL OUT!!                    Cameron crosses to the door. Searching through this madness for          some kind of logic, turning on her.                                               CAMERON                          I don't have any rights? I don't                          have the right to be pissed off...?                                               NINA                          You don't have the right to breathe!                          I knew him before I met you! Do you                          understand that?! Before I met                          you!! If we were frightened, we                          woke each other in the dark...we                          slept in each other's arms...                                               CAMERON                             (interrupting)                          The word is "fuck!"                                               NINA                          All right, the word is fuck! You                          narrow, insensitive, stupid...!                                               CAMERON                             (interrupting)                          Don't. Don't push me. I don't know                          this freaky world you live in, but I                          know that there still must be a                          couple of places where people                          somehow believe in...                    He is at a loss for words.                                               NINA                          Believe in what? You're blushing.                          A place where what? Don't get                          embarrassed at this late date!                                               CAMERON                          ...A place where a guy has a right                          to blow his top if he finds his                          lover screwing...                                               NINA                             (interrupting)                          Raymond's lover! Raymond's lover!                          Say it! Raymond's lover!                                                 - 100 -                                        Cameron, exhausted, slides down the wall and sits on the floor.                                               NINA (CONT'D)                          I'll have it typed up and                          notarized...! Raymond's lover! And                          you will sign where it says, agreed!                    He says nothing. She on the bed and he on the floor, are drained of          all strength and emotion.                                               NINA (CONT'D)                             (quietly)                          You won't turn me into some rotten                          whore because your papa once told                          that a woman is a certain way "and                          that's how it's gonna be 'til                          Gabriel blows his horn..."                                               CAMERON                             (wearily)                          Okay...okay. I just want to sit a                          couple of seconds without having to                          say a word. Because if I start                          trying to say, "I'm sorry I caught                          you and Raymond fucking," I'll start                          laughing and when I laugh too hard,                          I get the hiccups and they can last                          for days.                                               NINA                             (after a long beat;                              softly)                          Don't get hiccups.                                               CAMERON                             (quietly)                          Isn't anything what it seems to                          be?...                                              NINA                             (quietly)                          No...                                                           - 101 -                                                                   CAMERON                                       (quietly)                                    Don't you think that's kind of                                    lousy?                                                        NINA                                       (quietly)                                    Yes...                           They sit there unable to leave each other, unable to move to each                 other. They just sit there.                    148    INT.   BASEMENT SCREENING ROOM - MORNING                           Dailies are in progress. Eli watches, surrounded by a few crew                 members. Cameron sits in the back row with Nina's MOTHER, FATHER                 and SISTER. Nina is not present. On the PORTABLE SCREEN is a shot                 of Nina as a wild, radiant eighteen-year old Austrian girl running                 pell-mell along a willow-lined VILLAGE STREET, dodging children and          148A   bicycles. She collides with an OLD MAN, her basket falls, its                 contents scattering; his momentary anger vanishing as he is infected                 with her joy of life. He helps her refill the basket and she                 rewards him with a sausage and a kiss. The old man watches her                 wistfully as she runs away.          149    ANGLE ON PARENTS                           There's a tear of pride in Nina's mother's eye. Father gently puts                 his hand on top of hers as the room lights come on.                                                         ELI'S VOICE                                    You okay back there?                                                         FATHER                                    Happy as clams.                    150    ANOTHER ANGLE INCLUDING ELI                                                         MOTHER                                       (brightly)                                    She's so beautiful. Isn't it                                    amazing how they put it all together                                    and...                           But Eli is already involved in the SCRIPT GIRL's notes.                                                         - 102 -                                                                  ELI                                   ...132 through 40 next? Sam should                                   see this. I think I left in a line                                   of his dialogue.                                      (yelling to                                       projectionist)                                   Go ahead.                    151   ANGLE ON PORTABLE SCREEN                          The room dims and the film starts. We see a slate board reading                "150A Take 1." The clapper claps and the board is removed,                revealing an ATTIC. Nina sprawled on her stomach, stark naked, atop                Raymond's naked body, her breasts resting on his chest, her legs                apart, interlocked with his. They look directly at the CAMERA                awaiting their cue with the calm resignation of two people waiting                for the Wilshire bus. The MAKEUP GIRL appears in the shot spraying                Nina's back and ass with glycerin sweat from an aerosol can. She                disappears as Eli's voice on the sound track calls, "ACTION." The                ANGLE TIGHTENS into a less revealing, more artistic composition.                Their mouths meet. Their bodies writhe.          152   CLOSE ON NINA'S PARENTS                          They stare at the screen in open-mouthed shock and horror. Their                once gentle hands grip each other like iron claws, trying to squeeze                away the nightmare.          153   ANGLE ON CAMERON                          In shock and anger, leaning forward on the edge of his chair,                looking from Eli to the parents, not knowing what to do to stop                this.          154   ANGLE ON NANCY                          She sinks down in her seat, her surprise becoming malicious pleasure                at the reaction of her parents.                    155   ANGLE ON ELI                                                       ELI                                      (upset)                                   Sweet Christ!   I told 'em to hold                                   that...                                                        SCRIPT GIRL                                      (starting to leave her                                       seat)                                   I'll stop it.                                                        - 103 -                                                                ELI                                    (restraining her,                                     resigned)                                 Too late now...only make it worse.                          We hear the passionate murmurings from the screen as Eli scrunches                down in his seat.          156   ANGLE ON PORTABLE SCREEN                          The lovers convulse with erotic abandon as they approach orgasm.          157   ANGLE ON NINA'S PARENTS                          Like a Charles Addams' rendering of a Brady tintype. Their faces                wear the stiff frozen smiles of the hopelessly insane.          158   EXT.   MOVIE SET - CLOSE ON NINA                          She's now made up to look like a woman in her forties. Everything                about her tells us these have been brutal years, filled with pain                and loss. She is reacting in anguish to something O.S. But, even                though she manages a few tears, it doesn't quite ring true. Eli                steps into the shot.                                                      ELI                                    (to the crew, O.S.)                                 All right, save it.          159   ANGLE TO INCLUDE CAMERON                          On the sidelines, as he coldly watches Eli put his arm around Nina                and stroll her away from the crew so they are out of earshot.          160   ANGLE ON ELI AND NINA - MOVING                                                      ELI                                 Nina. The shame of it...the shame!                                 You've lost your son, your lover.                                 You want to tear his throat out...                                 but you stand meek...your guts                                 burning with the shame of it.                                                      NINA                                 God, I don't know what's wrong with                                 me.                          She has looked up at her parents, who stand off to one side like                zombies, watching.                                                     NINA (CONT'D)                                                         - 104 -                                                    Maybe it's them...I feel like I'm in                                a zoo. Let me say bye-bye and get                                'em on their way. It might help.                          She starts to move towards her parents but Eli puts a restraining                hand on her.                                                     ELI                                   (upset)                                Honey...you better know this...don't                                get all shook up now...                          Nina looks at him with foreboding.                                                     ELI (CONT'D)                                Something got screwed up...the                                dailies...                                                       NINA                                What?                                                     ELI                                The attic scene. The bare-ass attic                                scene... I'm sorry... I don't know                                how... it was too late to stop it...                                your parents...                    161   CLOSE ON NINA                          She has not blinked, not turned her heard, for fear that her                father's eyes might meet hers. She is like a statue trembling in an                earthquake, about to shatter. The sick, loathesome shame that fills                her, brims over and the statue's blind eyes flow tears.                    162   CLOSE ON ELI                          Tense, barely breathing.                                                     ELI                                   (an urgent whisper)                                ...Roll film.                          He eases back out of view.    The ANGLE SLOWLY TIGHTENS.                                                        - 105 -                    163   CLOSE ON NINA                          As she falls apart before our eyes, and an O.S. VOICE on a PLAYBACK                TAPE insinuates into our consciousness, echoing as though heard                through many loudspeakers.                                                      VOICE                                 I envy you the pride you must feel                                 today. A young hero has fallen                                 gloriously on the field of battle.                          Hands reach in and drape a sash around Nina's throat. From it                dangles a SWASTIKA. For Nina, there is still no voice, no camera,                only the obliterating shame for that image of her naked body burned                into her father's memory. And yet, that shame is so similar to the                shame she should be feeling as the woman in Eli's film at this                mockery of her son's death.                                                      VOICE (CONT'D)                                 A nation has lost a son! A mother                                 has lost a son!                          The sound has now grown to a proportion reminiscent of those German                newsreels of Hitler victory rallies.                                                      VOICE (CONT'D)                                 This sacrifice in blood brings                                 closer man's noblest dream...a                                 thousand years of peace!                          The THUNDEROUS SOUND of ten thousand voices shouting: "Sieg Heil!                Sieg Heil!" has shattered Nina's isolation. She is now aware that                her personal despair has been used to accomplish an acting trick,                and it only adds to her degradation and sense of shame, ironically                making her performance even more poignant. The crowd on the                playback roars with fanatic zeal.                    164   EXT.   HALL - CLOSE ON CAMERON - LATER                          Striding rapidly down the hall, looking like a man who hopes to find                a fight, to dissipate his residual anger. He rounds a corner,                almost colliding with Eli, who comes rapidly from an intersecting                corridor. Eli puts his arm around Cameron's shoulder, hurrying him                along even faster.                                                      ELI                                 Giddyap, soldier.   Last one there's                                 on Medicare.                          Cameron shrugs his arm off in annoyance as they round the corner and                hurry down some STAIRS.                                                 - 106 -                                                                   CAMERON                          Where are we rushing to?    I Was                          asleep...                                               ELI                          Trouble staying awake, huh?                    They reach the bottom of the steps and move swiftly down another          corridor, as Eli fishes through his pockets and comes up with a          PIECE OF CHEWING GUM.                                               ELI (CONT'D)                          Stick of gum? Makes you hum!                             (ignored, he chews it                              himself)                          Do you read?                                               CAMERON                          Short words.                    Eli finds a BOOKLET he has been looking for and hands it to Cameron.                                               ELI                          Schickel and Bergenstadt... couple                          of Dutch comedy writers. See, it's                          got pictures. But don't skim.                          Chuck's gonna quiz you. If you                          pass, you get a free trip to                          Amsterdam and you can stick your                          finger in a dike.                                               CAMERON                             (looking at the book as                              he walks)                          What the hell is this?                                               ELI                          A pamphlet on how to get out of a                          sunken car. You know, they got this                          problem in Holland...those canals.                          So these guys are experts.                                               CAMERON                          Did Burt read this?                                               ELI                          Off hand, I'd say no, wouldn't you?                                              CAMERON                             (hands it back to him)                                                          - 107 -                                                     No chance.                                                      ELI                                 There you go rejecting me again.                          Eli pushes open the double doors and they find themselves standing                in the MAKESHIFT SCREENING ROOM.                                                      ELI (CONT'D)                                 You've gotta think positive, Burt.          165   INT.   SCREENING ROOM                          Jake is there with SEVERAL OTHER MEN. But before Cameron can even                register who they are, Eli is saying...                                                      ELI                                 I'm sorry, gentlemen, but I've got                                 exactly two minutes of borrowed                                 time. I'm in the middle of a scene.                                    (to projectionist)                                 Get it started.                          Immediately the lights snap off and the film is projected on the                screen. In the dark, the men in the room fumble their way to seats.                On the projection screen we see a helicopter SHOT OF THE DUESENBERG                APPROACHING THE BRIDGE. Cameron is suddenly alert like a jungle                beast who's just heard the trap slam shut behind him. His eyes dart                around at the official-looking faces staring at the O.S. film. One                face looks disturbingly familiar, but in the dark he can't place it.                                                      JAKE                                    (addressing a man next to                                     him)                                 This fellow here is the stunt man                                 driving that car.                                    (to Cameron)                                 Thompson is from the FBI. They                                 wanted you here in case they have                                 any questions.                          On the projection screen, we see the DUESENBERG GO OFF THE EDGE OF                THE BRIDGE, disappear in the water.                                                      THOMPSON                                 I don't see anybody else on the                                 road...did you, Burt?                                                        CAMERON                                 No.                                                       - 108 -                                    The MAN Cameron couldn't recognize speaks out.                                                     OTHER MAN                                My buddy and I saw that son-of-a-                                bitch break out of the woods and                                head that way, down the road.                          The lights go on and Cameron looks at the speaker, recognizing him                as one of the TELEPHONE LINEMEN. Apparently, the lineman doesn't                recognize Cameron in his new identity.                                                     LINEMAN                                ...I had a clear view.     I was on top                                of the pole.                                                     THOMPSON                                Do you mind if we see that again?                                                     ELI                                Help yourself, the room is yours.                                But I've got thirty people on the                                set being paid for doing nothing.                                   (moving toward the door                                    and calling)                                Come on Burt, you've got some                                reading to do.                          Cameron follows Eli as the lights go out and the film begins again.                                                     JAKE                                Hey Burt, glad you're still alive,                                considering who you're working for.                    166   INT.   HALL                          Cameron moves swiftly down the corridor behind Eli, who starts up                the stairs, still blithely chewing his gum.                                                     ELI                                Something wrong?     Why are you                                lagging?                                                     CAMERON                                I'm trying to figure it out.       That                                film. Where was I?                                                     ELI                                How tall is King Kong?                                                     CAMERON                                Three-foot-six.                                                        - 109 -                                                                         ELI                                 Good boy. I got all kinds of                                 versions. Wanna go back and see                                 some?                           Cameron understands the implied threat and Eli, knowing he has made                 his point, continues good-humoredly.                                                      ELI (CONT'D)                                 I've even got a version where you                                 fly the helicopter and I'm driving                                 the Duesenberg. It's a dilly.          166A   They have now charged out of the building and are racing across the                 grounds toward the set.                                                      CAMERON                                 What about the version where I go                                 over the bridge and die in the                                 water?                                                      ELI                                    (chewing gum)                                 Hey, kid, what is this with you?                                 That red dye must be eating through                                 your scalp and affecting your brain.                                 Why would I want to hurt you?                                                      CAMERON                                 Because you don't like my tatoo.                                                      ELI                                 I think it's beautiful. It's                                 heroic! I think it's a major work                                 that may rank with the Edsel grill!                                 Now goddamnit, I gotta go back and                                 do my picture! Will you take this                                 thing and read?!                           He holds the booklet out to him and it is very hard for Cameron to                 reach out and take it. Out of the corner of his eye, he sees the                 FBI MEN leaving the building, heading off in another direction. He                 stares at the booklet.                                                      CAMERON                                    (softly)                                 I knew a guy...who stepped on a                                 bouncing Betty booby trap. Stepping                                 on it wasn't his problem...they                                 explode when you step off. So all                                                         - 110 -                                                    he could do was just stand there.                                It was getting light. If we didn't                                get out, we'd of been shot up. So                                we left...                          Eli has been watching him thoughtfully.                                                     CAMERON (CONT'D)                                ...He had this screwy West Texas                                accent, I remember, "Hey                                fellas...hey fellas..."                          Eli blows a BUBBLE with his gum that POPS on cue as though it were                the explosion of the bouncing Betty. Grinning, he sticks the                booklet in Cameron's shirt pocket, turns and walks off.                    167   ANGLE ON ELI - MOVING SHOT                          Sam catches up and walks beside him toward the set.                                                     SAM                                Why don't you let the kid go before                                he gets hurt?                                                     ELI                                Chuck keeps an eye on him.                                                     SAM                                He's dangerous to have around. Stop                                playing games, Eli. Tell Jake                                you've replaced him. What are you                                so hooked on?                                                     ELI                                He helps me understand the kid in                                our story.                                                       SAM                                Bullshit.                                                       - 111 -                                                                ELI                                 He's like one of those land mines                                 left over from a war, that go off                                 from time to time. You read about                                 it in the paper two or three years                                 later...some kid in a bell tower                                 shoots a dozen students for no                                 reason at all...his mother says he                                 was always such a good boy...I guess                                 I'd like to know what he really did.                          As they reach the set, Gabe, the cameraman, charges up.                                                      GABE                                 Did you bring the tampax? Raymond's                                 still acting like he's got the                                 "curse."                                                      ELI                                    (with black humor)                                 You suppose Raymond knows how to                                 drive a Duesenberg?                    168   INT.   NINA'S BEDROOM                          Scattered about the room are suitcases, a wardrobe trunk, the almost                completed packing for tomorrow's departure. Nina lies in bed                staring into nothing, Cameron beside her. Each is talking aloud to                himself, adrift in his private world, unaware they have lost contact                with the other. The room is semi-dark, except for the nightstand                light on Cameron's side, by which he studies the BOOKLET Eli gave                him.                                                      NINA                                 ...It was so unnecessary...For                                 Christ's sake, I'm no shrinking                                 violet...I've had my ass pinched                                 black and blue by account execs for                                 not showing enough enthusiasm for                                 Vitalis. But this from Eli...it was                                 so pointless...sadistic...                                                      CAMERON                                    (reading)                                 ..."Open All windows slowly to keep                                 pressure from caving in the roof,                                 should an unexpected skid achieve                                 aquatic consequences..." That's                                 kind of witty.                                                     NINA                                - 112 -                                 (still in her own world)          ...Could've handled it later on. It          doesn't look so raunchy after it's          cut...Maybe I'd of got them          stoned...something...but for Eli to          trap them like that...                               CAMERON             (eyes on the book)          Beautiful...There's a second school          of thought that says the first          school is all wet. It says, "Keep          the windows rolled up tight and wait          for the air bubble."                               NINA          Say it was an accident...benefit of          the doubt. But then to use me that          way...like a gadget...Why would Eli          do that? He's not a cruel man...                               CAMERON             (not looking up)          He's not a cruel man.   He's a crazy          man. A maniac.                              NINA          What?                               CAMERON             (reading)          "The water pressure at two hundred          feet can crush a man into the size          of an egg." He wants to get that on          film....so he's gonna kill me.                               NINA             (jumping out of bed)          What in God's name are you babbling          about?!                               CAMERON          It's a rotten shame about your folks          and your naked ass, but dying always          scared me a little, okay?                                                            NINA                                                 - 113 -                                              ...and you are beginning to scare                          me. You're talking like a wild                          man!...                                               CAMERON                          Did you know that Eli almost                          strangled a man because he stopped                          the camera when Burt got killed?!                                               NINA                          What is going on in that head of                          yours?! You take the word of                          some...malcontent...technician!                                               CAMERON                          ...I saw the bruises!                                               NINA                          ...And I saw Eli that night when he                          had to tell Burt's brother on the                          phone...I saw the tears.                                               CAMERON                          She saw the tears! Did you ask him                          what he was crying about?! 'Cause                          you can bet your sweet tits, it                          wasn't over Burt. He was crying                          over losing his fucking shot!                    To keep from exploding, Nina opens her luggage and furiously starts          repacking.                                               NINA                          Didn't they give I.Q. tests in the                          army? What did you get...minus                          twelve? Haven't you figured out yet                          why he's working himself to death?                          What his film is all about? He's                          trying to tell people not to kill                          each other!                                               CAMERON                          And you know what? You want the                          shock of your life...? I understand                          what the son-of-a-bitch is saying,                          and he may be right...which makes me                          what? Minus twelve, the dumb                          schmuck with a gun. That doesn't                          change the fact that he's crazy. If                          he had his way, there wouldn't be a                          soldier left alive by morning. But                                                 - 114 -                                              all he's got on hand is me. I don't                          know if he is doing it consciously,                          but it's a hell of an idea. If he                          can really get it on film, a genuine                          dumb fuck grunt cashing in, before                          your very eyes, I mean the real                          McCoy...that's gotta help his                          picture...Then he's killed two birds                          with one stone. It's got a nice                          logic. Trouble is, both birds are                          me.                    Against her instincts, Nina is emotionally affected by what Cameron          says.                                               NINA                          Stop it...sweetheart...I'd die if                          anything happened to you.                    The TELEPHONE RINGS. Her head whips to look at it.     It continues          ringing, but she doesn't move.                                               NINA                          It's my father...I won't talk to                          him...You're all driving me                          crazy...I won't talk to him.!                    Cameron calmly picks up the phone.                                               CAMERON                          Hi...hello?                                               NINA                             (whispering)                          Tell them I'm not here. Tell them                          anything. Tell them I'm working.                                               CAMERON                             (glancing at Nina)                          Okay, Chuck. I'll meet you in an                          hour.                             (he hangs up)                          For me. Amazing how they keep                          secrets around here.                    He walks over to the still-stricken Nina and tenderly embraces her.          She leans against him, the trembling subsiding.                                     CAMERON                          What if I told you I wasn't going to                          do the stunt?                                                 - 115 -                                                         NINA                          I'd say fine.                                               CAMERON                          And what if I told you I was gonna                          get out of here tonight...and that I                          want you to come with me?                                               NINA                             (upset and confused)                          But there's just one more day of                          shooting...                                               CAMERON                          What if I can't wait?                                               NINA                          I...I have two more scenes...                                               CAMERON                          That's a shame.                                               NINA                          ...I could meet you...                    When he doesn't answer, Nina resorts to her last defense, irrational          anger.                                               NINA (CONT'D)                          ...Look, don't do the stunt! If you                          believe Eli's a killer, call the                          police...Why are you doing this to                          me? That's all I need right now,                          with all I've been through!...For                          you to give me now-or-never                          ultimatums and tell me my director                          is insane!...                    By now she is stalking about the room throwing things from one          suitcase to another as Cameron silently watches her.                                                        - 116 -                    169   INT.   GARAGE - LATE NIGHT - LOW ANGLE ON THE BLACK DUESENBERG                          Which stands alone like Moby Dick awaiting its victim. Chuck and                Cameron appear from behind the car, stalking it like it were the                Sunday Special on a used car lot, Chuck the "hearty" salesman,                Cameron the reluctant customer.                                                      CHUCK                                 Look at this mother...I'll bet these                                 guys could build an Arabian out of a                                 jackass.                                                       CAMERON                                 Why not?   You built a stunt man out                                 of one.                                                      CHUCK                                 Stunt man? Three days and you've                                 already grown those big brass balls?                                 Jump up and down and let me hear 'em                                 clang, and then do me a favor and                                 leave 'em home for this gag.                                    (yanks open the door)                                 There's just enough room in that                                 Duesenberg for a normal guy...who                                 thinks!                                    (Cameron slides in)                                 Show me how long you can hold your                                 breath.                          Cameron inhales deeply and Chuck clicks his stopwatch.                                                 - 117 -                                                         CHUCK                          Now, look around. Whaddya see?...No                          roll bar in the roof. That's                          because the roof caving in really                          looks gassy on film. You got your                          protection in the back of the                          seat...steel sheeting. If the roof                          goes too far, you get your goddamn                          head down quick! You listening to                          me?!...Nod Your head.                             (slapping Cameron on                              back)                          You got good lungs.                             (buckles Cameron's                              seatbelt)                          You got no shoulder harness because                          it would show on camera. So when                          you hit the water, you brace                          yourself against the steering wheel.                          It's reinforced. You couldn't break                          it loose with dynamite...you gettin'                          light-headed yet?                    Cameron shakes his head, "No."                                               CHUCK                          Keep your hands off the doors...                          You're leaving through the window.                          You lower them slowly as you sink to                          equalize the pressure. What are you                          waitin' for? I'm not gonna be down                          there holding your hand.                             (Cameron lowering                              windows)                          Slower. When you hit bottom, the                          windows are open and you're gonna                          make like a minnow. But first, a                          little fresh air wouldn't hurt. You                          reach down under the seat and, what                          do you know, a respirator...Make                          like you're reaching for it.                          There'll be one there tomorrow.                    Cameron reaches for the non-existent respirator.                                               CHUCK (CONT'D)                          No, keep your face forward, the                          camera is behind you and it's still                          running.                                                        - 118 -                                     By this time, Cameron's breath is giving out and he's struggling to                 hold it.                                                      CHUCK (CONT'D)                                 You feel like your lungs are gonna                                 burst? Good. That's the way you're                                 supposed to act like you feel. The                                 moment that water gets above your                                 nose, you gotta look like you're                                 drowning. Remember? Burt wasn't so                                 good at that.                           That knocks the wind out of Cameron.                                                      CAMERON                                 He sure as hell convinced me.                           Chuck clicks his stopwatch and scowls.                                                      CHUCK                                    (defensively)                                 Things happen crossin' the street!                                 If somethin' goes cockeyed...screw                                 the scene!   Get that mask on.                                 There's enough oxygen to get you to                                 China.                                    (rolls up the window)                                 We'll try it again.                                                      CAMERON                                    (still panting)                                 Let me catch my breath.                                                      CHUCK                                 What you'll catch is a lungful of                                 water! You're at the bottom of the                                 river!...You breathe when I goddamn                                 tell you to breathe!                                                      CAMERON                                    (the pupil tricking the                                     teacher)                                 Hey, Chuck, you blind?...Can't you                                 see I've got my respirator on?                                                      CHUCK                                 You just goddamn remember you don't                                 have gills!!                    169A   Chuck has stalked over to the WORKBENCH and angrily picks up the                 PHONE, which has been ringing incessantly over the last few lines.                                                         - 119 -                                                                          CHUCK                                    (shouting)                                 What?!!                                    (listens, then yells to                                     Cameron)                                 Eli's at the police station!                                                      CAMERON                                 That's the best news I've heard.                                 Let's hope it's a felony.                                                      CHUCK                                 He needs Gabe. They're lookin' for                                 a driver so I'm gonna take him.                                 Come on with me.                                                       CAMERON                                 For what?                                                      CHUCK                                    (climbing into the                                     company car)                                 You and me are gonna talk about                                 windows and oxygen and seat belts                                 and things like that. And if you're                                 a good boy and listen and don't be a                                 smart ass, maybe I'll let you sit in                                 the back seat with Nina Franklin.                                                       CAMERON                                 Nina?                          Chuck, already in the car, is grinning.   Now he's even for the                "respirator" bit.                                                      CHUCK                                 You might even get to hold hands.                    170   EXT.   POLICE STATION - MOVING SHOT ON CAMERON                          The POLICE STATION comes into view, seen through the window of the                company car, which slows as it moves toward the curb. Eli, sitting                on the front stoop, leans wearily against the stone lion. As he                sees the car approach, he moves toward it quickly, opening the door                almost before it stops.                                                       - 120 -                                                               ELI                                   (beckoning)                                Gabe, Nina...                          Eli pulls Gabe and Nina toward the police station, yelling back to                Cameron and Chuck.                                                     ELI (CONT'D)                                You two better wait here.                          Cameron watches them, confused, as they start up the steps toward                the station house.          171   ANOTHER ANGLE - ELI, NINA, GABE - MOVING SHOT                                                     NINA                                I hate this, damn it! Couldn't you                                have done it without me?                                                     ELI                                Let's say you owe it to him. Until                                two or three days ago, I had a                                pretty good actor on my hands. Next                                time you take out the clippers, be a                                little humane, make sure the guy's                                got one to spare.                                                     NINA                                   (furious)                                What did you want me to do? Take                                him in the back room and unzip his                                fly every time he fluffed a line?                                What else can I do for your film?                                                     ELI                                Just get your greedy little ass                                inside and make sure you give the                                performance of your life.                                   (icily)                                This next number, I dedicate to                                you...dear.                                                       - 121 -                    172   INT.   POLICE STATION                          As the three enter. The station is old with a high sergeant's desk                and wooden benches against the walls. Raymond, beyond tears,                destroyed, sits among the other refuse of the night: derelicts,                stoned kids, etc. On one bench is a SAILOR, with that adenoidal                look that betrays the weakness he tries to hide with his "butch"                arrogance. Jake, in the doorway of his office, savors the fact that                he has finally nailed Eli Cross. Eli captures the setup in a                glance...then, instant theater. He strides across the police                station to Raymond, takes his head in his hands and kisses him smack                on the mouth.                                                      ELI                                    (vehemently)                                 Who's better, booby...him or me?                          Gabe has come up behind a PATROLMAN, grabs him by the hips and                starts humping like a dog in heat. The policeman shrieks in dismay                and tries to escape, but Gabe trots along as if they were locked.                                                     ELI                                    (shouting)                                 Jake! Throw some water on him,                                 quick! Only way to get 'em apart!                          Gabe is now distracted by the sight of the sailor, who is agape with                growing disbelief. Gabe ogles him.                                                      GABE                                 Yummy...look at the seafood! You're                                 a humpy little number.                                    (then to Raymond,                                     stamping his foot)                                 You nasty boy. You could've died of                                 mercury poisoning.                          The sailor leaps to his feet in horror, screaming.                                                      SAILOR                                 Jesus Christ, they're all faggots!                    173   ANGLE ON SERGEANT'S DESK                          Eli has stormed to the counter and slams his fist down on it                furiously, confronting Jake.                                                       - 122 -                                                                ELI                                    (shouting)                                 I'm registering a complaint! Thirty-                                 two members of my company got V.D.                                 from your local virgins. The                                 Chamber of Commerce didn't say                                 anything about that in their                                 brochure.                                                      JAKE                                 You can stop clowning, Eli, I've got                                 a sworn complaint from this                                 sailor...                                    (jabbing his finer in                                     Raymond's O.S. direction)                                 ...Your man over there touched his                                 genitals.          174   ANGLE ON RAYMOND AND NINA                          She is snuggled against him tenderly, her open mouth kissing his                neck and cheek. Raymond, although aware of his desperate situation,                is too sick with self-loathing to respond.          175   ANGLE ON ELI AND JAKE                                                      ELI                                 Oh, Jake! Come on! You wouldn't                                 know your anal invert from a hole in                                 the ground. Raymond makes bad                                 jokes, but they're not illegal.                                 Christ, you've seen us all on the                                 set...clowning around.          176   EXT.   POLICE STATION                          Cameron stands, peering in through the big front window, feeling                once again betrayed. It's like watching TV with the sound shut off.                From here, Nina and Raymond are very convincing. Chuck leans                against a lamppost, smoking a cigarette, as the charade goes on.                                                        - 123 -                    177   INT.   POLICE STATION                          Eli now going full blast.                                                      ELI                                 My company's been pouring sixty                                 thousand dollars a week into this                                 place, for which your mayor and                                 governor seem very grateful! We                                 paid enough in taxes and fees alone                                 to buy you parking meters from here                                 to the boardwalk!                                                      SAILOR                                    (feeling it's all going                                     wrong)                                 Everything I said in that statement                                 is the flat-ass truth!                          Eli pays no attention, knowing that he's got Jake.     He gestures                toward Nina embracing Raymond.                                                      ELI                                 Jake, I got a very horny leading                                 lady who's got an early call and                                 would like to spend some time with                                 her boyfriend before she makes                                 "night-night." Now, can I please                                 get 'em outta here before they                                 really do something illegal...and in                                 front of witnesses!                    178   INT.   HOTEL CORRIDOR - ON ELEVATOR DOORS - NIGHT                          It's three o'clock in the morning. The corridors are empty as the                elevator door swings open and Nina and Eli step out and move down                the hallway, functioning on their last ounce of nervous energy.                                                      ELI                                 Sorry I had to put you through that.                                 I know it was humiliating.                                                      NINA                                 ...It was awful...I hated it.   But                                 you did save that man's life.                                                    - 124 -                                                         ELI                          Yeah, that was really nice of me.                          I'm a nice person. I just wish I                          had the strength to go to his room                          and break his spine. On the last                          day of filming the queen decides to                          come out of the closet! Wouldn't                          that have made a lovely headline?                          You understand, of course, that the                          film would've been destroyed. Doing                          that to me...                                               NINA                          Eli, what's wrong?                                               ELI                          Nothing serious.     Just a little                          self-indulgence.     Feel-sorry-for-                          Eli-time.                    Eli, on the edge of nervous exhaustion, is actually close to tears.                                               ELI (CONT'D)                          I'm sorry, but you know...it's too                          goddamn much. Why's everybody on my                          back? When's somebody gonna say,                          "There, there Eli?" I'm really                          surrounded by friends, allies and                          you..."What else can I do for your                          film, Eli?"                                               NINA                             (wounded)                          That's not fair.                    They have reached a turn in the corridor where each would go his          separate way. They stop.                                               ELI                          What's not fair...getting my                          feelings "hurt?" When did I lose                          you to that soldier boy, Nina? That                          nice, wholesome, swell-looking                          kid...wanted by every cop, the FBI                          and God knows who else, for God                          knows what crime.                    Nina is paralyzed with shock.                                                          - 125 -                                                                ELI (CONT'D)                                 Come on, Nina, those blue eyes have                                 bedazzled our little girl. For                                 Christ's sake, he reeks of blood.                                                      NINA                                 You sound as crazy as...                                    (she stops)                                                        ELI                                    (wryly)                                 As who?                                                      NINA                                 He thinks you're trying to...                                    (she can't say 'kill')                                 ...harm him.                                                      ELI                                 Any number of people are trying to                                 harm him...                          He walks off down the corridor.                    179   INT.   HOTEL BASEMENT - LATER THAT NIGHT                          Partly crated props and costumes, luggage belonging to the departing                film crew is piled against the wall and on shelves. In the                cavernous half-lit room, Cameron, once again the coiled, stealthy                animal, moves through the shadows among the racks of suitcases,                pulling them aside, searching. Discovering one, he sets it on the                floor. It's locked. With a metal bar, he breaks the lock and                eagerly rifles the contents. Then, sensing a presence, he turns.                There stands Nina at the base of the steps watching him. With only                a glance to her, he goes on with his search.                                                      CAMERON                                 How'd you know I was down here?                                                      NINA                                 The desk clerk...                          He finds a WALLET, opens it, getting to his feet triumphantly.                                                      CAMERON                                 How about that for luck? Burt's                                 from Idaho...no picture on the                                 driver's license.                          Cameron stuffs the wallet in his pocket, moving along the row of                suitcases. He pulls out a duffel bag, unzips it, shaking the                                                        - 126 -                                     contents on the floor. Now with the open bag on his arm, he goes                 along the row of costumes and props like a man in the supermarket,                 stuffing in things he will need: a pair of hiking boots, a couple                 of work shirts, a heavy jacket. Passing a shelf of bayonets, he                 picks one out and throws it in the bag.                                                      NINA                                    (quietly)                                 Who are you?                                                      CAMERON                                    (ignoring the                                     seriousness)                                 Name it...                           Above the bayonets are army helmets.    He tries one on.                                                      CAMERON (CONT'D)                                 Hey, how's this? A World War One,                                 uh...what did they call 'em?...                                 dogfaces... somethin'... doughboys.                                    (flings a nurses uniform                                     at her)                                 Wanna be the nurse?          179A   From some hospital props, he grabs a wheelchair and shoves it toward                 her.                                                      CAMERON (CONT'D)                                 ...You tell me this wouldn't work?                                 A pretty nurse pushing a vet in a                                 wheelchair? When we hit that                                 roadblock, we'd have 'em crying like                                 babies.                                                      NINA                                    (quietly)                                 Who the hell are you?                                                      CAMERON                                 Somebody trying to stay                                 alive...anybody--that can get past                                 the dogs and the quicksand...                                    (making a shrewd guess)                                 Who did Eli say I was?                                                      NINA                                 I'm asking you, God damn...                           She has fiercely grabbed his naked shoulder.                                                 - 127 -                                                         CAMERON                          Easy with that tatoo...it mighta                          lost me Eli, but it won me Lt. Emily                          Schmidt, the greatest boobs in                          Southeast Asia...and a very                          patriotic chick. So I got this                          tattoo, for 28 bucks. And when she                          saw this shoulder, let me tell ya,                          holy Jesus! Following which I got                          the clap from the Lt. And hepatitis                          from the tattoo needle. You know                          what bothers me? I think Emily is                          gonna be very offended by Eli's                          picture.                    Nina cannot endure another moment of this charade.                                               NINA                          Why do they want you?   What did you                          do?                                               CAMERON                          Eli'd tell you...I was a soldier. I                          did the same as everybody, just one                          of the boys... emptied my M-16 at                          any sound... don't know whether I                          killed gooks or cherries...the new                          kids from the States, we call 'em                          cherries, which they were for maybe                          fifteen minutes. The dry season is                          when it really breaks loose. You                          get very tired. It's like falling                          asleep at the wheel. You close your                          eyes and it still goes on. You're                          killin' them, they're killin' you.                          Couldn't tell ya now what was real                          except I'm here.                    We sense in him the fatigue he is describing, then, pushing aside          that memory.                                                        - 128 -                                                                CAMERON (CONT'D)                                 Hey, once when things were rough and                                 the grass ran out, I shot the hell                                 out of a water buffalo.                                    (he considers, then passes                                     judgment on himself)                                 Actually, I wasn't a bad                                 soldier...better than most. Got                                 lotsa pretty ribbons. Funny...sort                                 of like when I did that first stunt                                 and everybody started clapping...                                 nothing like a slap on the back to                                 ruin a man, blow his sense of                                 proportion. So, I got home...and,                                 uh...I guess I expected something.                                 Nothing fancy, but... something, you                                 know...a free car wash, double blue                                 chip stamps, extra time on the                                 parking meter... I don't know...                                 Instead, people... uh, didn't seem                                 too pleased.                                    (trying to hide a lot of                                     pain)                                 In fact, they acted like I was gonna                                 start killing babies...                           She crosses to him, deeply moved.                                                      CAMERON (CONT'D)                                 Shit. I was supposed to get                                 married, run an ice cream parlor.                                    (picks up his suitcases)                                 I gotta go.                    179B   Although they're standing only a couple of feet apart, he lifts his                 hand tentatively, as if to wave goodbye.                                                      NINA                                 ...What about the roadblocks?                                                      CAMERON                                 I'll go through the woods.                                                      NINA                                 Don't you suppose there'll be cops                                 in the woods.                                                        - 129 -                                                                CAMERON                                 I suppose there are cops in the                                 woodwork! But what the hell...it's                                 a nice night.                                    (he starts to go)                           Lovers facing farewells have a gift for suspending time, and Nina                 speaks out, unable to let him leave.                                                      NINA                                 I've always liked the woods at                                 night. They're very romantic... You                                 can hunt for truffles. It might be                                 such fun, we'd just keep going.                           Cameron can't afford to fall for her softness.                                                      CAMERON                                 You said "we." What about your two                                 scenes?                                                      NINA                                 That's true...One of them is three                                 pages of me making a tunafish salad                                 for an American flyer in 1917... And                                 I've got to weigh that against                                 losing the man I love. It's a big                                 decision.                                                      CAMERON                                 Nina, you're making me crazy.                                                      NINA                                 I'm sorry. I'm a little crazy                                 myself. I can't let you go and I                                 don't even know who you are.                                    (suddenly the dam bursts                                      and all self-control is                                      gone)                                 Why are they chasing you?! What                                 have you done? What happens to me                                 in the woods? Will I need a bayonet                                 too?          179C   He stands there, staring at her, his face suddenly savage. After                 everything, the lady is afraid of him. He picks up the duffel bag                 and moves for the door, then turns on her, punishing her with his                 words.                                                        - 130 -                                                                CAMERON                                 The charge was attempted murder. I                                 bashed this cop's head in. It took                                 the jury about two fucking minutes.                                 It could of been worse. It could of                                 been life. But the judge...he                                 looked real nice at me, and said you                                 were a damn good soldier, son...So                                 he only gave me twenty years. No                                 way! Enough!...You know how long I                                 was in that prison -- nineteen                                 months -- and then I was gone! I                                 was gone!                           She stares in shock and horror.   His anger is like ice.                                                      CAMERON (CONT'D)                                 Caught me breaking into a                                 store...oh, not to rob it...I went                                 there to kill the bastard who owned                                 it...                                                     NINA                                 Why?                                                      CAMERON                                 ...Because...          179D   Suddenly the ice turns to steam. His self-control shatters like                 glass. There in the basement of a 100-year old hotel, before an                 audience of one, Cameron ERUPTS, spewing out the memory of his                 mortification and crucifixion...not without the silent resignation                 of Jesus, but with the howling rage of a mad dog...Pluto with the                 rabies...                                                      CAMERON (CONT'D)                                 ...Because...it seemed like a good                                 idea to twist his fucking head off!                                 Said I could be his partner when I                                 got back...lyin' son of a bitch was                                 "real sorry things were slack..."                                 Slack my ass...he just didn't want                                 me hangin' around because he was                                 bangin' my old lady. So I go down                                 and start bangin' on his door!                                    (he starts pounding on                                     the mirror)                                                        - 131 -                                                                CAMERON (CONT'D)                                 ...He's closed. It's two o'clock in                                 the morning. I want to smash his                                 face in and he's closed! "OPEN UP,                                 YOU BASTARD."                    179E   Cameron's fist SMASHES his own face in the dressing table mirror.                 His reflection crazes and falls to pieces.                                                      NINA                                    (screaming)                                 Your hand!                           Cameron holds up his fist to her, shaking it in glee.                                                      CAMERON                                 Bang! That bright, shiny front                                 window went bye-bye!                                    (reveling in his own                                     insanity)                                 ...Maybe he's screwin' her behind                                 the counter...I climb in there                                 screamin' "WHERE ARE YA? Come out                                 here and be a man! Where are ya?                                 Behind that counter, you son-of-a-                                 bitch?"                           Cameron kicks over the makeup table as though it were the                 counter...tubes and glasses shatter all over the floor.                                                      CAMERON (CONT'D)                                 Ya know what's behind that                                 counter?...                                    (the ultimate horror)                                 ...41-DIFFERENT-KINDS-OF-ICE                                 CREAM..." and all that fuckin'                                 SYRUP!...                    179F   There is a rainbow row of makeup jars and hair tints. He starts                 HURLING them against the wall where they smash, punctuating his                 speech with bursts of gooey color.                                                      CAMERON (CONT'D)                                 ...And these little Mickey Mouse                                 faces on the walls!...with candy                                 eyeballs!...                           He pauses, catching his breath, as another image emerges from the                 swirl of memory.                                                     CAMERON (CONT'D)                                                          - 132 -                                                          (tense and frightened)                                   ...Then...I see this thing glowing                                   in the dark...I hit that floor so                                   fast. Christ, I nearly swallowed my                                   heart. That second I was sure...it                                   was Charlie...a cigarette butt, some                                   guy on a V.C. Patrol!...                                      (his panic subsides)                                   Know what it was? It was the                                   GODDAMN PILOT LIGHT ON THE HOT FUDGE                                   MACHINE!! That did it! That DID                                   IT! HOT FUDGE?! Me buried in shit,                                   being the damn good soldier the                                   judge said I was, yes sir, people                                   sitting there on their fat asses                                   feedin' their fat faces. "Can I                                   have an extra cherry? Can I have an                                   extra cherry?"                           Cameron rips Denise's electric hair dryer from the wall and hurls it                 across the basement.                                                        CAMERON (CONT'D)                                   I smashed that fucking fudge pot                                   across the room, smack into that                                   shelf full of animals...and it                                   starts raining pussycats and monkeys                                   and kangaroo cookies like Noah's                                   Ark!                           The   hair dryer smashes against a shelf, toppling ammunition boxes                 and   bottles onto the carcass of a disassembled World War I airplane.                 The   propeller topples and falls through a German recruiting poster,                 and   just out at the Kaiser's crotch.                                                        CAMERON (CONT'D)                                   "How long should a girl wait" she                                   says? FOR GODDAMN EVER, BITCH,                                   THAT'S HOW LONG!                           Cameron's hands have come to rest on a metal laundry bin.   He grips                 it and lifts it over his head.                                                        CAMERON (CONT'D)                                   I picked up this fifty-pound ice                                   cream vat...FLAVOR-OF-THE-MONTH!...                                   ROYAL-BAVARIAN-CHOCOLATE-MIST!...and                                   I started running with that son-of-                                   a-bitch...          179G                                                 - 133 -                              Cameron starts running across the room and just as he's about to          hurl it, he COLLIDES with a jutting shelf, which knocks him flat on          his back. The shelf falls and thirty or forty one-gallon PAINT CANS          cascade on top of him. It looks disastrous. Nina runs to him,          terrified, but before the last can has even come to rest, Cameron          emerges from the pile of cans, throwing them aside, still thrashing          and screaming as he struggles to his feet.                    At the sight of him, Nina starts laughing. But Cameron, who has          somehow managed to keep his grip on the laundry basket, raises it          over his head as if nothing has happened, hurls the clothes bin,          screaming:                                               CAMERON (CONT'D)                          SCOOP THAT UP YOUR ROYAL BAVARIAN                          STRAWBERRY SNATCH!                    With the effort, Cameron's feet fly out from under him as if he had          stepped in oil. In fact, he has stepped in paint, and lands flat on          his ass in the green goo. Nina "bracks" out an uncontrollable          guffaw.                                               CAMERON                             (bellowing)                          It's not funny!                    Shamed, Nina runs to him.                                               NINA                          Oh, baby...                    But, as she reaches him, her feet too are caught in the paint and          she slides forward like an ice skater, spraddling him, landing on          her ass. His rage vanishes as he points at her, breaking into a          fiendish, uncontrollable cackle. These pratfalls are a catharsis          that has released the pressure and the madness. They attempt to          gain their feet, skidding and sliding in the paint. He succeeds,          but Nina fails.                                               NINA                             (through laughter)                          Let me go to the bathroom.   I'm                          gonna have an accident.                                                 - 134 -                                                         CAMERON                          You'll miss the main part! Killer                          Cameron's ghastly crime! I was                          freaked out of my head! And,                          suddenly there's this big flashlight                          shining in my face. I just grabbed                          that goddamn ice cream bucket and                          slopped it...right over the guy's                          head!                    Although Cameron's got nothing in his hands, he pantomimes swinging          that fifty-pound ice cream bucket around in the air, losing his          balance and landing on his back in the paint beside Nina. Her          hysteria is renewed, but Cameron stops laughing.                                               CAMERON (CONT'D)                             (quietly)                          It's not funny. It wasn't him. It                          was a cop. I got out of there like                          a shot. I didn't know he was                          knocked out. How the hell did I                          know he was gonna lay there all                          night with his head in the ice                          cream?                                               NINA                             (suddenly serious)                          Oh, my God. He died?                                               CAMERON                          No, he's in the hospital.                                              NINA                          Oh, no.                                               CAMERON                          Oh, yes.   That ice cream's goddamn                          cold!                             (struggling for a proper                              description)                          His nose...it froze and his ear                          froze, see...and...                    Despite the horror of it, Nina starts giggling.   She can't help it.                                               CAMERON (CONT'D)                             (indignantly)                          No, it's terrible!...He lost the tip                          of his nose and his ear lobe...                                                        - 135 -                    179H   Then, Cameron, realizing the absurdity, starts giggling too. Out of                 control, Nina scrambles to her feet and dashes for the ladies room.                 Cameron follows her to the door, still talking as it closes behind                 her.                                                       CAMERON (CONT'D)                                  I'll tell ya, it's a bad year to                                  mess with cops. You get the FBI                                  screaming down on your ass...                                                      NINA                                     (through the door)                                  Oh, God. Too late...Thanks a lot!                           Abruptly, Cameron's energy is gone. The hilarity is over.   He leans                 his forehead against the door in exhaustion and despair.                                                       CAMERON                                     (softly)                                  ...If we woke up Eli and told him                                  about the ice cream...would he                                  forgive me and call off the                                  stunt?...          180    INT.   GARAGE - PRE-DAWN                           The DUESENBERG STANDS silhouetted in the darkness, light glinting                 dimly off it like the gleam from fine wood of a splendid coffin                 waiting in the slumber room before services begin. Behind it, a                 side door of the garage opens. But it is not visitors coming to pay                 their last respects, it is Cameron and Nina. He is wearing Burt's                 clothes.                           Nina moves quickly to a WHITE CONVERTIBLE as Cameron crosses to the                 big overhead garage doors and hits the electric SWITCH. NOTHING                 HAPPENS. He flips another switch and harsh overhead lights                 illuminate the reality of the garage. Nina has started the                 convertible, as Cameron tries to lift the garage door handles.                                                       CAMERON                                  How the hell d'ya open this thing?                                                       VOICE (O.S.)                                  Sorry, folks, it's locked.                           Nina gasps. Cameron whirls towards the voice. A COP with a big                 flashlight stands in the open doorway peering in at them.                                 - 136 -                                         CAMERON          We know it's locked.   Would you open          up for us?                               COP          Can't...not 'til seven o'clock.   Mr.          Cross's orders.                               NINA             (the actress)          I'm sure Mr. Cross will understand          when you tell him that Miss Franklin          had a sudden desire for Swedish          pancakes for breakfast and this          gentleman had a sudden desire to          keep me company...I'm Nina Franklin,          the star of the film.                               COP          Pancake house don't open 'til eight.                               NINA          That's all right, we'll find some          place.                               COP          Town's closed up pretty tight this          time of night.                               NINA          Then we'll drive to Cape Long.                               COP          Ya'll never get through the          roadblocks.                               CAMERON          Why not?                               COP          Chief's orders. Mr. Cross didn't          want any members of the company          leavin' town tonight. Guess he          wanted everybody good and rested for          the last day.             (he grins)          Figure it's no secret about the          Chief hopin' this is the last day...                                                 - 137 -                                                         NINA                             (fiercely)                          Are you telling me that if I decide                          to take a drive at any time of the                          day or night or whenever I damn                          please, I need Mr. Cross's                          permission? Mr. Cross does not                          control me or anyone else, including                          this gentleman and he does not                          control the public roads!                                               COP                          No, but the police do. I'll wake                          Mr. Cross up and ask him if you                          want, but it's an awful hour.                          Should be somebody in the hotel                          kitchen by now. I'll get 'em to                          rustle somethin' up for you. Maybe                          not pancakes, but eggs, if you want                          it.                                               CAMERON                          I think the lady had her heart set                          on pancakes, but thanks.                                               COP                          Okay. You change your mind, call...                          I'll be around.                    He leaves. The officer is gone and so is their plan. They're in          limbo...people in a waiting room whose flight has been cancelled.                                                 - 138 -                                                         CAMERON                          I can't believe it...He knows. The                          son-of-a-bitch knows whatever I'm                          thinking. I'm beginning to feel                          like something that Sam wrote! I'm                          not real. I'm some jerk American                          flyer from World War I who has to go                          over a bridge and die because the                          goddamn script says so! It's                          crazy...I'm trapped in his goddamn                          story. If somebody lost that page,                          I'd be fine. If he crossed it out                          and wrote something else like -- "At                          the last moment, he veers the big                          car from the railing--then goes                          speeding on to live happy ever                          after..."                             (he looks at the                              Duesenberg appraisingly,                              then grins as a plan                              starts to form)                          ...How about that?! Empty road, me                          out there all alone, the crew 'way                          back, breathless as I approach the                          bridge. And then..."Hey, what                          happened?!" A fucking rewrite's                          what happened! I'll have a fifteen-                          minute jump on them before they                          figure out they're shooting a new                          version!                    Nina has come to life, her eyes aglow like a shrewd little girl          who's already decided how the fairy tale will end!                                               NINA                          ...And what about the love story?                          What happens to the Austrian girl?                          People will leave the movie feeling                          terrible...I know! She goes with                          him!                                               CAMERON                          How?                    Nina has walked around to the back of the Duesenberg and opens the          TRUNK.                                               NINA                          In here.                                               CAMERON                                                  - 139 -                                                 (cautiously)                          Not bad. But, I think they arrange                          to meet later...like in a Greyhound                          Bus station a couple of towns away.                                               NINA                          No...look...                             (she climbs in)                          See how big it is? Comfortable,                          too...Honestly, honey, it's a better                          ending.                                               CAMERON                             (firmly)                          Nina, get out of the trunk.                    The pretending has ended.                                               NINA                          And what happens in the morning? Do                          I show up on the set in my little                          pink pinafore and say, "Hi, Eli.                          Where's my hug and kiss...?" How do                          I do that now?                                               CAMERON                             (sternly)                          ...Get out of the trunk.                                               NINA                          ...Or should I trot up to my room to                          catch a couple of winks and cuddle                          up with a dozen sleeping pills?                                               CAMERON                             (angry)                          It's my nightmare...Stay out! This                          isn't the time to solve your                          neurotic problems! I'm trying to                          stay alive!                                               NINA                             (shouting back)                          So am I. And I never claimed not to                          have "neurotic problems!"                                               CAMERON                             (interrupting)                          Oh, for Christ's sake...                                                NINA                                                        - 140 -                                                     ...They come with the body!    It's                                 all one. A package deal!                          The shouting ends...and in despairing silence, VOICES of approaching                WORKMEN are heard, grumbling that the coffee's late.                                                      CAMERON                                    (urgent whisper)                                 Nina, please, there's somebody                                 coming. Get out of the trunk...                          As we glimpse the WORKMEN in the doorway, she reaches up, grabs the                inside of the trunk lid and pulls it down, disappearing from sight,                as the trunk slams shut.                    181   EXT.   THE OLD ABANDONED ROAD - EARLY MORNING                          In the stillness, as the morning sun crests the trees, their shadows                move like a parting curtain, leaving sunlight to warm the old stones                of the abandoned road. The ancient bridge spans the black river,                idling toward the sea. It is a perfect day, tranquil except for the                faint distant "rumbling" intruding into our consciousness. As it                grows louder and LOUDER, a flock of birds is frightened from the                trees, a rusty beer can by the roadside begins to tremble and roll                from the vibration.                          Rounding the bend of the road into view are a half-dozen kids on                bicycles, peddling furiously, laughing and yelling and looking back                at what now appears behind them: the first vehicle of an incredible                carnival parade -- or is it a funeral procession? Long, short,                tall, fat vehicles; the stretch-out car, the cab towing portable                toilets, the tractor pulling a generator rig, the Cortez Camper                dressing rooms, the stake-bed loaded with reflectors rattling like                radar screens, panel trucks with studio emblems, a vintage German                army truck filled with soldiers, patrol cars and motorcycles, the                huge, bright yellow construction crane on its Caterpillar treads,                its pneumatic snout jutting forward thirty yards like a morning                hard-on sniffing around for some tunnel to hump -- a few technicians                straddle it having their morning Danish and coffee. In the midst of                these, on a low-slung flatbed trailer rides the Duesenberg -- the                coffin on its caisson.                          The caravan grinds, hisses, wheezes to a halt and the A.D., astride                the hood of the first vehicle, dismounts and raises his electric                bullhorn to begin what will be an incessant squawking of                instructions, reprimands, coaxings and complaints.                                                       - 141 -                                                               A.D.                                All right, people...the rest period                                is over. Another fifteen minutes                                and we start losing sun. Come on,                                let's get the equipment off those                                trucks.                          The Second A.D.'s run around like sheepdogs herding the laborers,                snapping at their flanks, barking their instructions over electric                horns.                                                     A.D. (CONT'D)                                Chuck...Chuck Barton, where do you                                want the Duesenberg?                          Grips and laborers are carrying the big reflectors through the brush                into the hills.                                                     A.D. (CONT'D)                                Mr. Cross, please. The camera                                crew's ready for a setup.                    182   ANGLE ON ELI AND THE CAMERA CREW                          They are already huddled, squatting on their haunches under a tree.                                                     ELI                                The R-35 in the chopper on the maxi-                                mount, the underwater Imo in the                                Duesenberg...                                                     GABE                                I'll hide an Arri with a zoom up on                                the hill.                                                     ELI                                And what about number four? Maybe                                hang a platform under the bridge                                with the speed camera?                                                     GABE                                   (admiringly)                                Heavy...From the top of the screen                                right into the water...squish.          183   ANGLE ON THE DUESENBERG                          Being rolled up to a mark in the center of the road. Crewmen swarm;                in and under it, tuning, polishing, testing, installing camera,                sound, electrical equipment, as Chuck hovers over them.                                                       - 142 -                                                               A.D.                                All drivers, please...I want every                                equipment vehicle back behind the                                bend...                          As motors rev, the two sheepdogs squawk: "Out of sight..." "Behind                the bend...," then are lost in the rising dust of their herd.          184   ANOTHER ANGLE                          Cables are being strung out of sight along the side of the road,                snapped into junction boxes that spread their electrified tentacles,                strangling the landscape.                                                     A.D.                                   (pointing at the mike boom)                                What's that supposed to be, Ralph?                                ...An elm or an oak? Get that mike                                off the boom and into the bushes.                                Come on, people, let's think! We're                                losing the sun!          185   ANOTHER ANGLE FURTHER DOWN THE ROAD                          Gabe, Chuck, the A.D. and a Technician move down the road toward us,                shoulder to shoulder, halting on the bridge. Chuck and Gabe move to                the stone railing. Chuck taps on it, producing a hollow sound.                Gabe, examining a corner of this false section...                                                     GABE                                   (to A.D.)                                Have 'em touch up that corner of the                                section. It looks phony as hell.                          The A.D. has been drawing a chalk line across the road.                                                     A.D.                                   (to Technician)                                Climb down there in the bushes and                                stay out of sight.                                                     TECHNICIAN                                What about earphones?                                                     A.D.                                Just watch your mark.                                                          - 143 -                    186   WIDE ANGLE ON THE DUESENBERG                          Behind it, the last of the equipment trucks is being jack-knifed out                of sight. A row of reflectors stand like sentinels on the hill,                bathing the Duesenberg in light. Workmen swarm about it like ants                on the queen's birthday.                    187   ANGLE ON ELI                                                     ELI                                   (into walkie-talkie)                                Where's the chopper? We'd kinda                                like to have you join us...if you                                can find the way.                                                     VOICE                                   (over walkie-talkie)                                Fifteen minutes, Eli. We're just                                warming her up.                          Eli grabs an electric horn from the hand of a passing A.D.                                                     ELI                                All right, everybody...may I have                                your attention, please?                          Instantly the frantic A.D.'s begin squawking, "Everybody put down                what you're doing, the director wants to talk."                                                     ELI                                   (thru speaker)                                This is the one and only Duesenberg                                we have in stock. When that car                                goes into the water, we're not going                                to see it again. So, once the                                action starts, no matter what                                happens, keep it going.                    188   ANGLE ON CORTEZ DRESSING ROOM                          As Cameron steps out through the open doorway, buttoning his                costume.                                                     ELI (CONT'D)                                ...We must have this shot.                                Therefore, I now order no camera to                                jam and no cloud to pass before the                                sun.                                                        - 144 -                    189   LONG SHOT ON THE DUESENBERG                          As Cameron moves toward it uncertainly. Eli, some distance away,                surrounded by members of his crew, glances up.                                                     ELI                                   (yelling)                                How ya doin', soldier? Where'd ya                                learn to do without sleep?                          Without awaiting an answer, Eli returns to his work, as Cameron                approaches the Duesenberg.                    190   CLOSE ON DUESENBERG                          Cameron walks around it, testing and checking, but moving                relentlessly toward the humpback trunk. A horn honks and a police                car slides up. Jake leans out the window, waves at Cameron                jovially.                                                     JAKE                                How do you guys get accident                                insurance? Must cost you an arm and                                a leg...                                   (chuckling)                                ...that's a good one.                          He drives on toward a parked German army truck, in which lounge                several soldiers. Chuck approaches Cameron.                                                     CHUCK                                You're lookin' real strong, kid. Is                                that loose change I hear jinglin' or                                are they beginnin' to grow?                                                     CAMERON                                   (flatly)                                Wanna check?                                                     CHUCK                                C'mon, lemme show you this truck...                          They walk towards the German truck.                                                     CHUCK (CONT'D)                                I'm sending it on ahead. During the                                gag, it's gonna be comin' down the                                road towards you when you get to the                                bridge.                          Cameron tenses at this information.                                                        - 145 -                                                                          CHUCK (CONT'D)                                 Relax, what does it change? I'm                                 only tellin' you so you don't buzz                                 off into space when you see 'em.                                 They'll be shooting at you and                                 that's what's supposed to make you                                 go into the river.                    190A   They've reached the truck where Jake stands proudly. The Property                 Man is handing out rifles and boxes of bullets to the German                 soldiers, whom we now recognize as police officers from the town.                 One cop, tying his shoe, lifts his head and grins at Cameron like an                 old buddy -- the officer from the garage last night.                                                      COP                                 Hey, you ever get those pancakes?                                                      JAKE                                 ...My boys...Can't recognize 'em.                                 How could I say no, after all the                                 crap they've taken because of this                                 company the last six weeks?                                                      CHUCK                                    (good-naturedly)                                 Yeah, a cop'll do anything for fifty                                 bucks, even be an actor.                                                      SECOND COP                                 These guns are kinda modern for                                 World War I.                                                      PROPERTY MASTER                                    (to Chuck)                                 You want me to drive back and get                                 the old ones.                                                      CHUCK                                    (deciding)                                 Shit...forget it. How much'll they                                 see from the helicopter?                           If Cameron was upset by the change in the stunt, he is now really                 unnerved by the sight of those cops with guns. The second cop is                 loading cartridges.                                                           - 146 -                                                                   CAMERON                                       (starting back to                                        Duesenberg)                                    Hope those are really blanks.                                                         SECOND COP                                       (chuckling)                                    Don't say so on the box!                    191   ANGLE ON DUESENBERG'S TRUNK                          As Cameron arrives and casually leans against the trunk and then                gently taps. He must get Nina out of there. With determination, he                reaches for the trunk handle. Arms wearing the same costume as his                own reach in, holding the trunk closed. It is Raymond.                                                         RAYMOND                                    No need to look... If she loves                                    you, she's still there. If she                                    doesn't...then it doesn't really                                    matter...does it?                          How can he know?     -- Everything is out of control -- a voice calls.                                                         TECHNICIAN'S VOICE                                    Hey, Lucky, we need you!                          He turns and moves numbly to the car door.                                                         TECHNICIAN (CONT'D)                                    Get in, will ya?                          Dazed, Cameron climbs behind the wheel.                    192   INT.   DUESENBERG                                                         TECHNICIAN (CONT'D)                                       (leaning in passenger's                                        side)                                    Look straight ahead, can you see                                    that red light out of the corner of                                    your eye?                          A tiny red light is mounted in the corner over the windshield.                                                         TECHNICIAN (CONT'D)                                    That'll let you know when the film's                                    running, so be sure you don't turn                                    your face to the camera.                                                 - 147 -                              The technician tightens a final screw on the red light then, leaning          back out of the car, yells O.S.                                               TECHNICIAN (CONT'D)                          All right, bump it once.                             (to Cameron)                          Does it work?                    Cameron, barely hearing, looks straight ahead without response.          Jake lounges at the driver's window, kibitzing the operation.                                               TECHNICIAN (CONT'D)                             (yells O.S.)                          Bump it again.                             (looks back into the car)                          CAMERA ON?                                              CAMERON                             (by reflex)                          What?                    The words "CAMERA ON" sound exactly like "CAMERON." It sounded as          though his real name was called and he automatically answered. Has          his identity been exposed? His eyes widen. The technician, getting          no response, calls to Jake.                                               TECHNICIAN                          Ask him if it's on?                                               JAKE                          Cameron?                    He whirls to see Jake staring at him. His hand darts to the          ignition key, the engine roars to life.                                               JAKE (CONT'D)                              (startled)                          Hey, they wanna know is the CAMERA                          ON?                    Cameron realizes his error, but it's too late, he's in a panic. In          his mind, he's given himself away. The road ahead is clear -- GO!          He jams the car in gear and slams the accelerator to the floor. The          Duesenberg leaps forward, screeching wildly. In its wake -- chaos.          Everyone running, yelling...                                               CHUCK                             (yelling)                          That crazy bastard!     Who cued him?                                               A.D.                                                           - 148 -                                                        Not me!                                                         ELI                                       (cold; urgent)                                    Roll! Roll the film! Move your                                    asses -- I want that shot!                          At their master's voice, they leap.                                                         A.D.                                       (screams)                                    End markers!                                                        SOUND MAN                                       (shouts)                                    Speed!          193   INT.   DUESENBERG                          Speed. The needle hits sixty-five -- seventy -- climbing fast.                Cameron grips the wheel, looking at that empty road. An involuntary                shout swells up and escapes his mouth.                                                         CAMERON                                       (exultantly)                                    Yahooo!                                       (toward Nina in the                                        trunk)                                    Hang on to everything, baby, we're                                    on our way! You okay?                          The needle hits eighty -- eighty-five. Ahead, the bridge is rushing                toward us. Now the arches of the stone railing are strobing past.                Through them, he sees the black river which he has escaped.                Triumphantly, his hand rises, middle finger extended. Suddenly the                red camera light goes on, the underwater camera behind him begins                whirring. He moves his finger behind him for a perfect close-up,                (recalling that moment in the tower):                                                         CAMERON                                       (screaming)                                    Shoot this, Eli!                          The center of the bridge is an instant away, an approaching blur.          194   EXT.   ROADSIDE - ANGLE ON TECHNICIAN                          Crouching -- tensely watching the chalk line on the road as the                Duesenberg flashes past. His finger presses a button.          195                INSERT - FRONT WHEEL OF DUESENBERG                                                        - 149 -                                              Blam! The whole front wheel of the car is blown off by an explosive                charge.          196   ANOTHER ANGLE                          The Duesenberg drops on one axle. Metal screams against stone, as                though it were Cameron himself, screaming. Skidding, spinning,                tearing through the papier-mache railing, plunging out of control                into space, where it hovers for a brief instant and arcs downward                like a dying bird.          197   INT.   DUESENBERG - CLOSE ON CAMERON                          A cry of such anguish and despair.                                                      CAMERON                                    (screaming)                                 Ninaaa-a-a-a-a-!!!                    198   INT.   DUESENBERG - WIDE ANGLE PAST CAMERON THROUGH WINDSHIELD                          The river rushes up and the car smashes into it with a deafening,                shattering roar, plunging beneath the surface to a dark and                soundless world -- except for a tiny red light, the whir of a camera                and Cameron's desperate cries. Tearing his seatbelt off he flings                himself toward the rear of the car, clawing at the back seat to                reach Nina. Incredibly, there is sunlight again as the car is                buoyed to the surface. There, again, is the living world - the                road, the trees. In that brief instant, through the rear window,                Cameron has a wild, tilted glimpse of a pink pinafore -- Nina,                standing by the rail looking down, Eli beside her. The car noses                downward, water rising swiftly over the rear window. The last image                on Cameron's retina is that wild, eager, little-girl excitement on                Nina's face. Then he's alone again, entombed in the darkening water                as the car plunges toward the bottom.                          Cameron sits, immobilized at the realization that his betrayal is                total. Everyone, even Nina, has conspired to bring him to this --                red light glowing, camera whirring, to capture the moment of his                death.                                                       - 150 -                                    Outrage galvanizes him to action. He reaches for the door handles,                to rip them open -- they snap off in his hands. Now there is a                rumbling and rending of metal as the roof begins to implode,                crushing down toward him. Under the immense pressure, the rear                window bursts inward, the river rushing in a wild torrent. The                memory of Chuck's voice..."the windows." He lowers the front window                slowly. The water now pours in faster. The level has risen to his                chin. He gasps a final breath and the water rises over his head.                Still the red light burns. He reaches beneath the seat for the                oxygen cylinder and tries to pull it loose. It won't move. The                impact of the car hitting the water has bent the seat frame. His                groping hand finds the hose, the oxygen mask. A hope. Though every                second is robbing his chance for life, his movements under water are                as in slow motion. Pulling the mask to his face, he takes an eager                breath and chokes as water fills his mouth. The rubber tube has                broken loose from the cylinder and is floating free -- as it must                have with Burt. Pressure of the onrushing water has stopped as the                water reaches the roof. For a moment there is a strange stillness                which Cameron, his lungs bursting, swims through, out the window and                toward the surface.          199   ANGLE ON CAMERON                          Moving upward through river slime, in a world that grows lighter, in                a desperate race to reach air.                          Daylight! Gasping, half unconscious, barely able to move his arms                to stay afloat. Adrift in the current, he touches land, clawing at                the rocks and pulling himself onto the shore. His muscles, still                moving by motor reflex, driven by survival instinct, take him                crawling from the river bank through the tall grass -- still the                fugitive, the "man on the run." Then, he lifts his head and stops                at what he sees before him:                    200   POV                          Fanned out across the field is a row of men, guns held ready.                Policemen from the truck in their German uniforms moving forward                slowly -- carefully searching the terrain in an arch which, as it                closes, must irrevocably reach Cameron.          201   ANOTHER ANGLE                          It's over. Without strength or will, he lies waiting for them as                though his eyes were made of glass. They see him now, but their                pace doesn't change. As they take the last few steps toward him, he                sees their shoulders, waists, knees and then only a circle of feet                around him.                          Their hands roughly grab him, pulling him to his feet, shoving him                brutally about. Angry cop faced growling: "Kill the son-of-a-                                                         - 151 -                                    bitch," "Shoot 'im," "Cut it," "Hang 'im," and then loudly, "Cut                it!" He feels a blow on the back, then another. They seem too                gentle. Why is that cop smiling? Some of them are walking away.                Where are the handcuffs? Why is he shaking my hand instead? Then                the jumble of voices is becoming clearer..."No matter what they pay                you, make 'em give you a raise!"..."Fantastic, my wife thinks being                a cop is dangerous -- you guys are terrific!" It finally sinks in,                the insane, absurd, devastating, humiliating realization that it was                all just another scene in a movie that came off as planned.                          He is alive and free. Is that gurgle we hear in Cameron's throat                the water that he swallowed or an unseemly giggle? Then it chokes                into laughter.          202   POV                          Here comes Chuck, running across the field with his silly stunt bag                filled with elastic bandages. How funny. Here's the helicopter                hovering with Gabe descending the rope ladder bearing film for Eli,                who runs to meet him. How hilarious. There's the pink                pinafore...Nina holding the skirt up to her waist as she wades                through the tall grass towards him. How sweetly absurd.                                                        A.D.                                   All right, come on...let's get the                                   stuff in the trucks, we're losing                                   sun!          203   ANGLE ON CAMERON                          Chuck has reached Cameron, throwing a blanket over him.   He pulls a                pint from his back pocket.                                                        CHUCK                                   Take a belt. Don't be stingy.                          As Cameron tilts his head back, the bottle to his mouth, he sees                skin divers setting down their rescue equipment and stripping out of                their dripping wet-suits.                                                        CAMERON                                   Those guys down there the whole                                   time?                          Chuck, who is rubbing Cameron violently through the blanket to                restore his circulation, replies with the highest compliment he can                pay?                                                        CHUCK                                   I can't hear ya...they're clangin'                                   too loud.                                                       - 152 -                                        204   ANOTHER ANGLE                          Nina has reached an impasse twenty yards away in her journey of love                toward Cameron -- a muddy section of swamp.                                                     NINA                                   (shouts across the                                    distance to Cameron)                                I can't come any further. What                                should I do? I'll get the dress all                                muddy and I need it for the next                                scene.                                                     CAMERON                                   (grinning with good                                    nature)                                Tunafish salad...I know.                                                     NINA                                   (shouts)                                They found me five minutes after you                                left. I felt ridiculous.                                                     CAMERON                                   (waves back)                                Just as well!                                                     NINA                                   (shouts)                                When Eli told me you'd   changed your                                mind and decided to do   the stunt, at                                first I didn't believe   him, but I                                guess you really did.    I tried to                                find you.                          Eli is standing nearby listening to this macabre exchange between                lovers.                                                     NINA (CONT'D)                                   (to include Eli)                                I'm sure glad you two made up! Boy,                                Lucky, were you wonderful...I guess                                I have to go now. See you after.                          She awkwardly turns, her dress still held high and yells back over                her shoulder...                                                    NINA (CONT'D)                                                       - 153 -                                                    I'm sorry I was so nutty last night.                                I always get crazy at the end of a                                film.                          Nina continues picking her way toward the road.   And then...                    205   CLOSE ON NINA                          Suddenly she turns, running headlong, pell-mell across the swamp and                through the mud holes, drenching her pink pinafore into a muddy rag,                losing a shoe, ripping her hose -- and then wildly into the arms of                Cameron, smearing him with love and mud! And then, just as quickly,                she is gone, racing back across the field, hopping like a rabbit                without her shoe, toward the road.                    206   ANOTHER ANGLE                          Cameron is brimming with pleasure.    Chuck, totally ignored, picks up                his stunt bag.                                                     CHUCK                                   (dryly)                                Lover, I think your circulation's                                back to normal. And please, next                                time will ya listen for the cue --                                the word is "action."                          He walks off, leaving Cameron draped in the blanket like an Indian.                Eli steps up to him looking very serious, lifts his hand in the                Indian sign of greeting and says:                                                     ELI                                "How!" I have always had a great                                compassion for your people. Long                                before it was popular, I felt a                                repugnance for General Custer.                          Cameron stares at him, incredulous.                                                     ELI (CONT'D)                                My God, I think he's breathing.                                There're days I can't do anything                                right. I hope this doesn't screw up                                our relationship, your being alive                                and all.                                                  - 154 -                                                         CAMERON                             (shaking his head)                          ...You sure took a hell of a chance,                          Eli...why didn't you just let me go                          last night?                                               ELI                          What, with Nina in the trunk? I've                          got scenes to shoot with her...                                               CAMERON                          ...All right. This morning then.                          Chuck could have done the stunt.                                               ELI                             (thoughtfully)                          I knew a guy who made an anti-war                          film. When they previewed it in his                          hometown, army enlistment went up                          six hundred percent. I'm making                          this film trying to convince the                          whole world that maybe there's a                          better way to get home for                          Thanksgiving...and I can't even                          convince one dumb kid with a                          tattoo...I couldn't have you run                          around paranoid the rest of your                          life thinking I was trying to kill                          you.                                                CAMERON                          Paranoid?                    Sam has run up, out of breath, followed by crew members.                                               ELI                          Hey Sam, the kid just licked your                          screenplay. He named the disease.                                               SAM                          Yeah, what?                                               ELI                          ...a social disease, very common.                                               SAM                          ...like gonorrhea...                                                  - 155 -                                                         ELI                          You're close. It's spread the same                          way...by screwing your fellow man.                                               CAMERON                          I hope you find an easier cure.                          That was the hardest thousand bucks                          I ever made.                    A horn honks. It is Jake who, in his enthusiasm, has driven the          police car bumping over the marshes to Eli and Cameron.                                               JAKE                          You guys want a ride back?                                               ELI                             (moving toward the                              helicopter)                          No, we're goin' in the chopper.                                               CAMERON                             (considers it)                          Thanks, Eli, but that looks too                          dangerous. I think I'll ride with                          Jake. Good luck with the picture.                    He moves toward police car.                                               ELI                             (yelling to Cameron)                          Don't miss that plane, Burt!                                               JAKE                             (leaning across Cameron                              to yell at Eli)                          He better not! Any member of your                          company found within city limits                          after five o'clock tonight, gets                          shot on sight!                    Eli stops, suddenly registering what Cameron had said.                                               ELI                          ...What thousand bucks?   That stunt                          paid six-fifty.                                               CAMERON                             (surprised)                          Chuck told me a thousand...                                              ELI                                                  - 156 -                                                 (firmly)                          Six-fifty!                                               CAMERON                             (getting upset)                          A thousand!                                               ELI                             (relenting)                          Okay, seven-fifty.      Split the                          difference...                                                CAMERON                          Bullshit!   You're trying to screw                          me!!                                               ELI                             (exasperated)                          Christ! You're doing it again!                             (striding toward the                              chopper, shouting)                          Sam! This paranoid little bastard                          still doesn't understand your damn                          screenplay!                    Eli is climbing into the helicopter.                                               CAMERON                             (shrieking)                          That's your big problem, Eli! You                          use people! I want my money, a                          thousand bucks!                                               ELI                             (to Cameron)                          Six-fifty!!                             (to Sam)                          Rewrite the battle scene and let the                          tank run him over! The stunt pays                          six-fifty!                    The helicopter takes off, zooms under the bridge, up into a          hammerhead and soars back, while Cameron continues to scream at it.                                               CAMERON                          Come back here. I'm tired of being                          your goddamn clown! Pay me my                          thousand bucks!                    Eli's voice on the helicopter's P.A. speaker echoes through the          canyon, as the chopper cavorts overhead and skims away.                                 - 157 -                                                   ELI'S VOICE (ON P.A.)          How tall was King Kong...                                                             - FADE OUT -          
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+                                                     ON BLACK:  A large metal door SLAMS SHUT.                      OFFICER (O.S.)            Single file - stay to the right of the            line...  FADE IN:  INT. POLICE STATION - WITNESS VIEWING ROOM - DAY  PAN ACROSS the frightened faces of NINE WITNESSES, eyes fixed  straight ahead.  A POLICE OFFICER walks slowly past each -  FOOTSTEPS ECHOING in their fear.                      OFFICER            Take your time.  Take a good look.  He passes a nervous SAFEWAY CASHIER in uniform.                      SAFEWAY CASHIER            Ah, a-are you sure they can't see us?                      OFFICER            Two-way mirror, ma'am.  He passes a UNIFORMED CHEERLEADER, an OLDER WOMAN, then a  FACTORY WORKER, who removes his "Lincoln, Local 186" cap and  wipes his nervous brow.                      FACTORY WORKER            But they're trained killers.  A guy at            the plant says, "In 'Nam they could            smell ya!"                      OFFICER            This is the United States of America,            Sir.  Officer reaches the end of the line - presses an intercom.                      OFFICER (CONT'D)                (into intercom)            Face front.  Witnesses react - GASP - avert their eyes!  INT. POLICE STATION - LINE UP - DAY  The source of their fear - FIVE UNIFORMED CHEERLEADERS  against the suspect wall.  They look like deer caught in  headlights.   A sixth cheerleader, DIAN WESTON, is helped up the steps.   One thing separates her from the rest - SHE'S SIX MONTHS  PREGNANT.                      DIANE                (friendly, to female officer)            I'm sorry to bother you, ma'am, but is            this going to take long?  It's game            night.                      OFFICER                (on intercom)            Picture in three --  Like saying "walk" to a dog, the girls instantly smile.                      OFFICER (CONT'D)                (on intercom)            -- two, one...  INT. POLICE STATION - LINE UP - DAY  FLASH WHITE to INDIVIDUAL MUG SHOTS (with CREDITS) over  LINCOLN HIGH SCHOOL SONG.                                     MATCH DISSOLVE WHITE INTO:  A LIGHT hanging above a table.                      FBI AGENT (O.S.)            ...a heinous crime has been committed            here...  CAMERA CRANES DOWN TO:  INT. POLICE STATION - INTERROGATION ROOM - DAY  CAMERA TRACKS EYE LEVEL around the table where an FBI AGENT  (mid-40's, black suit), sits across from LISA JANUSCH  (cheerleader from the witness side) - pretty, in a man-made  way - bitchy in a B-squad Cheerleader way.  Other black  suited AGENTS stand in the room.  CHEERLEADER MUG SHOTS cover  the table.                      FBI AGENT            ...and testifying in such a case is a            serious matter.  Should you decide your            testimony would jeopardize your personal            safety.                      LISA            Look, "Sipowitz", I said I'd tell you            everything - I was just hoping to finish            up before menopause kicks in.  She smiles sweetly to the agent, then pushes Diane's MUG SHOT  toward him.                      LISA (CONT'D)                (dropping smile)            Let's start with the one who thinks her            shit don't stink.  Diane Weston.                                                  DISSOLVE TO:  INT. DIANE'S BATHROOM - MORNING  CLOSE ON  Foggy, heart-shaped mirror.                      LISA (V.O.)            She's like a goddamn poster child for            high school.  A HAND ENTERS FRAME and WIPES CLEAR the mirror, REVEALING  DIANE (pregnant cheerleader in opening - not pregnant now).                      DIANE                (to self in mirror)            Morning, sunshine.  Remember, these are            the best days of your life.  She starts to leave - then comes back.                      DIANE (CONT'D)            -- so far!  She bucks her chin in the mirror and smiles - she's beyond  adorable.                      LISA (V.O.)            If I wasn't such a lady, I'd tell you            what a bitch she really is.                                                  DISSOLVE TO:  INT. LINCOLN HIGH - GYMNASIUM - DAY  Sign reads "CHEERLEADING TRYOUTS."  PAN DOWN a long line of  HOPEFUL GIRLS.                      LISA (V.O.)            She's the A-squad captain - stole the            title from me.  You should charge her            with that...  END ON   Diane, pompoms on hips, smiles toward the camera.  A SIGN on  the floor in front of her reads: "SQUAD MEMBER."  A SIGN to  her left reads: "CHALLENGER".  BRUCE, an effeminate young man, bounds up behind the  "CHALLENGER" sign - putting his pompoms on hips.                      DIANE            Hey, Bruce!  You look cute...                      BRUCE                (off clothes)            Tommy Hilfiger.  I'm hoping fourth            year's a charm.  He crosses his fingers and arms.  Diane smiles.  LISA runs in  frame and SHOVES Bruce to the ground.                      LISA            Outta my way, fag.  I'm up.  Humiliated, Bruce RUNS O.S.  Lisa takes his place, looks  straight ahead and smiles, pompoms on hips.                      LISA (V.O.) (CONT'D)            This really should have been my year.  I            had a lotta work done - I-I mean,            y'know, I'd done a lotta work over the            summer.  Diane can't take her eyes off Lisa.                      DIANE            Lisa?...  Is-is that you?  LISA'S STUDENT I.D. drops INTO FRAME - her nose is big, she  has no chin.                        LISA                (looks straight ahead)            I lost a little weight.  I.D. LEAVES FRAME                      LISA (CONT'D) (V.O.) (CONT'D)            You could tell it made her nervous.  Diane shakes her head in disbelief and turns forward.                      DIANE/LISA            Ready?                (pompoms snap to waist)            Okay!  POMPOMS SNAP TO THIGHS and the CHEER BEGINS.    Diane is effortless as she glides, jumps and smiles through  it - clearly better than Lisa.                      LISA (V.O.)            But they have to, y'know, spread the            talent around, so I've been on the B            squad for four years.                                                       CUT TO:  INT. POLICE STATION - INTERROGATION ROOM - DAY  Lisa pushes the rest of the mug shots toward the FBI agent.                      LISA            Now, the squad as a whole?  They're            closer than Carolina cousins.  Some            people say they're, like, lezbos or            something.  But that's mostly just the            yag-offs in band...                                                  DISSOLVE TO:  INT. LINCOLN HIGH - GIRLS' BATHROOM - DAY  FIVE PAIR of LEGS with MATCHING ANKLETS and WHITE KEDS dangle  from the stalls.                      LISA (V.O.)            ...truth is, they're so close - they all            get their monthly visit from "Aunt Rose"            at the same time.  A HAND REACHES UNDER the first stall, PASSING A BOX OF  TAMPONS to the next stall - and so on down the line.                      LISA (V.O.) (CONT'D)            First, there's Hannah Wold...  FIRST STALL DOOR  HANNAH WOLD, a large, pretty girl in uniform, exits and  crosses to the mirror.                      LISA (V.O.) (CONT'D)            She's their base.  Strong as an ox.             She's like this Uber-Christian - doesn't            say much.  I mean, if she wasn't kinda            pretty, you'd go, "Hey, who's the tard?"  NEXT STALL DOOR  CLEO MILLE, pretty, starlet-type, wears plenty of make-up.   She lifts the front of her uniform sweater, holds it with her  teeth.                      LISA (V.O.) (CONT'D)            Then, there's Cleo Miller...  She opens her purse, pulls out a gel breast and stuffs it in  one cup of her bra.                      LISA (V.O.) (CONT'D)            Number one - not a natural blonde.  She REPEATS for the other breast, then pulls her sweater  down.                      LISA (V.O.) (CONT'D)            I know.  I've been in the locker room            and seen south of the border.  Number            two --                (whispers)            She has to see the school shrink.  Cleo lifts the back of her skirt - REVEALING CONAN O'BRIEN'S  face SILKSCREENED on her underpants (thought bubble above his  head reads "Friday... I love Cleo.").  She KISSES HER HAND  and plants it on his/her cheek.                                                  DISSOLVE TO:  INT. LINCOLN HIGH - SCHOOL COUNSELOR'S OFFICE - DAY  Cleo sits in front of the SCHOOL COUNSELOR.                      CLEO            Dreams?  You mean, like, where I'm in            Conan's all leather apartment - I don't            know if he has one, that's why it's a            dream - and suddenly we're buck-naked            and all oiled up.  I don't know where            the oil comes from - again, that's why            it's a dream.                                                  DISSOLVE TO:  INT. LINCOLN HIGH - GIRLS' BATHROOM - CONTINUOUS  Next STALL DOOR SHAKES, but DOESN'T OPEN.                      LISA (V.O.)            Cleo's weird, but Kansas Hill - that            girl's crazy.  HANDS APPEAR on top of the stall door - and KANSAS HILL,  petite, cute in a trashy, monster-truck-pull, kinda way -  CRAWLS UNDER.                      KANSAS            Son-of-a-blue-balled-bitch!  I always            get this one.                      LISA (V.O.)            Mouth on her that could stop a bull in            heat.  Gets her nut-brain from her mom.             See, Mrs. Hill's been in prison since            the day Kansas was born...                                                  DISSOLVE TO:  INT. HOSPITAL ROOM - 1983 - NIGHT  MRS. HILL'S blurry POV - from her hospital bed.                      LISA (V.O.)            She was lying there, in labor with            Kansas, when she sees something going on            in the next bed.  Mrs. Hill's POV PANS LEFT - NEXT BED comes into focus.                      LISA (V.O.) (CONT'D)            Turns out it's Kansas' dad, uh, taking a            nurse's temp.  Stay with me, I'm trying            to be delicate.  FOCUS CLEARS  In silhouette, a MAN is FUCKING a NURSE.                      LISA (V.O.) (CONT'D)            So, Mrs. Hill whips out a shotgun and            blows his ass to kingdom come.  We see this - still in MRS. HILL'S POV.                      LISA (V.O.) (CONT'D)            Jury said, because the majority of women            in Lincoln County having babies don't            bring a shotgun, it counted as            premeditation.  INT. LINCOLN HIGH - GIRLS' BATHROOM - CONTINUOUS                      LISA (V.O.)            She got life without parole, so Kansas            lives with her grandparents.  The next stall door opens and LUCY - cute, smart, very tidy -  EXITS, suddenly stopping to look down.                      LISA (V.O.) (CONT'D)            Then there's Lucy...  She takes out a WHITE-OUT BOTTLE and touches a spot on her  already white Keds... stands... looks... then touches a spot  on the other shoe...                      LISA (CONT'D) (V.O.) (CONT'D)            Geek extraordinaire - a walking left            brain.  She's supposed to have this            genius I.Q.?  She then starts an obsessional frenzy of "whiting out" spots  all over her Keds.  DIANE exits the final stall and takes  away Lucy's white-out.                      LISA (V.O.) (CONT'D)            Truth is, she's an obsessive-compulsive            little freak.                      DIANE/LISA            Hands in, ladies.  Squad joins Diane in a circle, putting their hands over her  hand - a la Madonna, backstage.                      DIANE            Today, we're going to cheer loud, jump            high, and look pretty because --                      DIANE/SQUAD            CHEER-LEADERS-KICK --  IN ONE BEAT, ALL SWING RIGHT ARMS OVER HEAD, landing with a  SMACK on the "ASS" of the girl to their right.                      DIANE            Now let's get going - because nobody            ever got ahead by sitting on their            behind!  As all run out, we: INT. LINCOLN HIGH - GYMNASIUM - DAY  PRINCIPAL SMITH, a man who burned out long ago, stands behind  a microphone on a small stage as he's done for 45 years.   The LINCOLN HIGH "FIGHTIN' LOG" MASCOT (looks like an angry  Tootsie Roll with legs and overly muscular arms) stands  beside him, pantomiming everything he says.  STUDENTS fill  bleachers on either side.                      LISA (V.O.)            The school year started off like normal.             Principal Smith gave his pep talk --                      PRINCIPAL SMITH                (reading from a list)            ... and if you are approached to buy            drugs, let someone you trust know.  If            you are thinking of harming yourself or            others, let someone know.  If it burns            when you urinate, have milky seepage or            are being touched by an uncle - let            someone know...  Mascot looks at him, tries to pantomime.                      LISA (V.O.)            The A-squad performed...  GYM LIGHTS GO DARK.  STUDENTS SCREAM.  DRUM CORP. and BRASS  BAND start "ROCK & ROLL PART II" by Gary Glitter.  The SPOTLIGHT RACES around the gym before it hits center  court.  The A-squad springs to their feet for an amazing  cheer/dance - strong, sexy, acrobatic, non-traditional.                      LISA (V.O.) (CONT'D)            Now, I know it's my duty to give you all            the facts, so I have to say that their            cheer blew like a bulimic after            Christmas dinner.  Their blatant            disregard for National High School            Cheerleading Association rules made me            sick.  "Basket toss flips and wolf wall            pyramids over two people high are            strictly prohibited."  I made a complete            report and sent it in.  JACK'S POV  Outside the gym doors.                      LISA (V.O.) (CONT'D)            And finally, the football team was            introduced.                      PRINCIPAL SMITH (O.S.)            Transferring from Truman High, the new            star quarter back of our mighty Fightin'            Logs!  THUNDEROUS APPLAUSE!                      LISA (V.O.)            That's when Jack and Diane met.  Nobody            saw it coming...  CAMERA TURNS, PLAYERS head-butt and high-five CAMERA/Jack as  he starts through the door - looking around gym.  SLOW MOTION  FREEZE-FRAME as the SPOTLIGHT HITS CAMERA/Jack.                      LISA (V.O.) (CONT'D)            Especially not Jack...  SOUND DISTORTS.  It's LOUD and CONFUSING.  THROUGH IT, we see  the A-squad running and doing back flips toward CAMERA/Jack.  As the squad nears CAMERA/Jack, SUDDENLY Diane's Ked-clad  foot comes INTO FRAME and SMASHES INTO CAMERA/Jack.  DIP TO BLACK                      LISA (V.O.) (CONT'D)            He fell for her hard.  IRIS OPEN.  DIANE hovers over CAMERA/Jack, apologizing,  looking angelic.  A-squad surrounds her.  Suddenly a frantic  mascot breaks through, tips his log head back - IT'S BRUCE  (from try-outs) - mouthing "NOOOOOO!"  He pulls CAMERA/Jack  UP.  ANGLE ON  Mascot/Bruce as he drags his prize quarterback out of the  gym.  Jack and Diane's eyes never separate.                      LISA (V.O.) (CONT'D)            Jack was fine - oh man, was he fine.  It            was like he was a bar of chocolate and            the whole school was on the rag -            everyone wanted a piece of him...  CLOSE ON  Diane's mouth.                      DIANE            Jack Bartlett... Jack Bart-lett... Jack            Bar-t-lett.  She continues as we PULL BACK to REVEAL we're:  INT. DIANE'S BATHROOM - THAT NIGHT  It's an early 80's dream.  The squad sits on their sleeping  bags, in a circle, on the floor.  They're painting nails,  giving henna tattoos, streaking hair, etc.  Hannah has a  OUIJA BOARD in front of her, hands resting on the "MESSAGE  INDICATOR."  Diane has her eyes closed.                      DIANE            ... Ja-ck B-ar-t-le-tt... Is Jack            Bartlett interested in me?                      HANNAH                (nervous)            I-I'm sorry - can someone else please            run the Ouija board?  It's creepy, it's            wrong and it goes against the teachings            of my Lord and Savior, Jesus Christ.                      KANSAS            Hannah, in order to get real answers            from the netherworld, you've gotta have            a Christian virgin run the board.  Your            kind is pure of heart - the devil won't            dick with you.                      HANNAH                (looking down)            Well technically, I don't think I'm a            virgin anymore.  Squad REACTS!                      HANNAH (CONT'D)            Yeah.  This summer at church camp?  I'm            pretty sure I had, y'know, an orgasm.                      KANSAS            Hold up, hold up.  Any sentence that            starts with "at church camp" ain't            leading to the big "O."                      CLEO            That's not true.  Those pictures of            Christ - all sweaty and bare-chested on            the cross - always kinda made me hot.  Squad just stares at her.                      KANSAS            Anyway, last time I checked, you still            had to have sex to have an orgasm.  And            I know she ain't seen the lord on all            fours - so I'm just saying.                      DIANE            Well, I want to know what happened --                      HANNAH            Okay, one night, around sunset, I went            horseback riding with the nuns.  They            went every night.  And, well, we're            trotting pretty hard, y'know?  The hard            leather saddle, pounding between my            legs...                      CLEO            I just got a little squishy...                      HANNAH            All of a sudden, I feel... I feel... I            feel just super alive...                (whispering)            "down there."  I swear I thought it was            the second coming.                      KANSAS            Nope.  Sounds more like the first.                      DIANE                (taking the hand-piece)            I'll just ask the question myself... "Is            Jack Bartlett interested in me?"  As the hand-piece starts to move on the board, we:  INT. JACK'S SPLIT-LEVEL - GARAGE - MORNING  Jack (with a red Ked print on his cheek) stands with THREE  FOOTBALL PLAYERS looking under the hood of his '75 GTO.   They've all got one hand in back pocket, the other wrapped  around a beer.                      FOOTBALL PLAYER #1            You do the bondo yourself?                      JACK            Yeah.                      FOOTBALL PLAYER #2            Sure-is-sweet.                      FOOTBALL PLAYER #1            What'll she do?                      JACK            Never opened her up.                      FOOTBALL PLAYER #2            S-weet.                      JACK            Who was the girl who kicked me in the            head yesterday?                      FOOTBALL PLAYER #1            Diane Weston.                      FOOTBALL PLAYER #2            Now she sure is sweet.                                                  DISSOLVE TO:  INT. LINCOLN HIGH - AUDITORIUM - DAY  SIGN hangs above the stage.  "HOMECOMING KING AND QUEEN  CANDIDATES."  A row of STUDENT CANDIDATES, including Jack,  Diane and Lisa, sit behind a BUTCH GIRL at the podium.                      LISA (V.O.)            Look, I'll be honest with you.  Most of            us realized we didn't have a whore's            chance in heaven with Jack the day of            candidate speeches.  As the Butch Girl concludes her speech, she holds a sign over  her head which reads, "4-H - A WAY OF LIFE!"  INT. SCHOOL AUDITORIUM - LATER  A GEEKY GUY stands at the podium.                      GEEKY GUY            As the A.V. Club candidate, I think, for            the first time in fifty years, we should            say --                (nervous)            NO to a football player as king!  Two HIGH-PITCHED MALE VOICES cheer O.S.                      GEEKY GUY (CONT'D)            Vote brains over braun!  A FOOTBALL flies INTO FRAME, hitting Geeky Guy on the  FOREHEAD.  INT. SCHOOL AUDITORIUM - LATER  Jack stands at the podium, unable to speak because the CROWD  IS CHEERING!  He's handsome as hell, sweet and genuine.  You  can't help but love him and you really want to fuck him.                      LISA (V.O.)            It was the first time most of us even            heard Jack speak.                      JACK            Whoa...Thanks, uh - WOW.  Uh, hey,            alright...okay, uh --                      LISA (V.O.)            We weren't disappointed.                      JACK            Guys!  Hey, guys!  Shut up a minute.  The crowd QUIETS down.                      JACK (CONT'D)            Well, uh, I think it just really rocks            that the football team picked me as            their, y'know, uh, candidate.  FOOTBALL PLAYERS AD-LIB "Yeah!  Whoa  Kick ass!"                      FEMALE VOICES            We love you, Jack!                      JACK            Hey, well, I love you lunch ladies!  Audience LAUGHS.                      JACK (CONT'D)            I just want to say that there are only            three things I want in life - to someday            become a senator of this great state...  Audience CHEERS.                      JACK (CONT'D)            I want to lead the Lincoln High Fightin'            Logs to victory at the homecoming game --  Audience CHEERS!                      JACK (CONT'D)            Okay, okay... Uh, and I... I want to go            to the homecoming dance with Diane            Weston.  STUNNED SILENCE.  Diane stares at him.  Lisa looks pissed.   The school SUDDENLY ERUPTS with CHEERS!  Jack turns to Diane.  She runs up to the podium.  They hug and kiss.                      LISA (V.O.)            Ucht!  They were like friggin' Barbie            and Ken, but without the pink, remote            control Corvette.  Overnight people were            going, like --                                                 SMASH CUT TO:  INT. SCHOOL - DAY  Average GIRL faces CAMERA - MOUTHING:                      LISA (V.O.)            "Oh, they're the perfect couple!"                                                 SMASH CUT TO:  INT. SCHOOL - DAY  ANOTHER average GIRL faces CAMERA - MOUTHING:                      LISA (V.O.)            "They're so cuuuuuuuuute!"  INT. GEEKY GUY'S BEDROOM - NIGHT  Geeky Guy sits alone, typing frantically at his computer,  stopping occasionally to push up his glasses.                      LISA (V.O.)            I'm sure it gave the internet whacks            something to talk about besides Agent            Scully and their most recent wet dream.                                                 SMASH CUT TO:  INT. LINCOLN HIGH - AUDITORIUM - DAY  Jack and Diane are still in a love-lock.                      LISA (V.O.)            Now, I'm not one to gossip, but I think            Jack and Diane got so close so fast            because they discovered how much they            both loved...  MUSIC UP:  INT. LINCOLN HIGH HALL - CLOSET - DAY  QUICK TWO-SECOND CUTS  CLOSE ON  Janitorial Closet Door.  An excited Diane and Jack meet in  front of it, kiss and roll into the closet.  INT. WRESTLING GYM - DAY  A CLIMBING ROPE hangs in the middle of the shot.  Suddenly a  disheveled Jack slides down.  A beat later, Diane follows.   They kiss and part ways - dropping hands at the last minute.  INT. SCHOOL HALL - PRINCIPAL'S OFFICE - DAY  CLOSE ON  Door.  Red-faced Jack and Diane peek out, look to see they're  alone, kiss good-bye, then head off in opposite directions.   DOOR CLOSES to reveal a sign "Principal Smith."  EXT. FOOTBALL FIELD - NIGHT  It's COLD and LOUD.  Starting on his own 10 YARD LINE, Jack  takes the hike, looks left, right - pumps once - twice -  NOTHING.  He bursts through the line, dodging - weaving -  leaping over his opponents.  ON THE CLOCK  15 seconds...  ON THE A-SQUAD  holding their breath, pompons at the ready.  Mascot runs past  them, pantomiming "nervous" to the crowd by biting his nails  and knocking his knees.  ON JACK  as he reaches the line of scrimmage.  There's ONE DEFENDER  LEFT.  Jack fakes left, right - takes the tackle - but  manages to roll out of it!  HE-COULD-GO-ALL-THE...  ON THE CROWD  They're going wild!  ON THE A-SQUAD  running along the sideline - Diane leading the way!  ON JACK  he looks right - sees Diane and mouths "I love you!"  JACK'S POV  Diane mouths "I love you!"  DIANE'S POV  Jack makes the touchdown, spikes the ball, and starts a slow  run toward us - arms outstretched.  WE run toward him in SLOW  MOTION.  SUDDENLY a WALL OF PLAYERS enter frame and tackles  him in celebration.  END MUSIC.                      LISA (V.O.)            Now, right about here's where the real            shit started to hit the fan... Don't            worry - I'll clean this up a bit if I            have to appear in court -- especially if            we're on "Court TV."					   INT. DIANE'S SPLIT-LEVEL - FRONT DOOR - NIGHT  SFX: DOORBELL  DENNIS WESTON (Diane's Dad) opens the door while DEEDEE  (Diane's Mom) FLASHES a PHOTO of a surprised Jack and his  parents.                      DEEDEE            Well, there's a Christmas card.                      DENNIS            Come in, come in...  All enter the FOYER.  Jack looks gorgeous in his tux.  His  parents are just like Diane's - mid-40's housewife and middle  management drone.  Their children are their lives.                      DENNIS (CONT'D)            Say Jack, why don't you go light a fire            under Diane.                      JACK            I'm on it, Mr. Weston.  Jack smiles and bounds up the stairs - two at a time.                      DEEDEE            Oh - say, where're my manners.  I'm            DeeDee - you can remember me because of            my double "D's."  She LAUGHS with Dennis as if it's the first time she's said  it.  We see where Diane gets her perk - and her body.                      DENNIS            And I'm Diane's Dad, Dennis.  Do not try            that after one of my Screwdrivers!  Dennis and DeeDee LAUGH again.                      DEEDEE                (recovering)            Whoooo - now who wants some pigs-in-a            blanket?  INT. SPLIT-LEVEL - DIANE'S BEDROOM - LATER  ANGLE ON  Vanity mirror.  Diane is putting on lip gloss - she looks  beautiful in her gown.  We see JACK ENTER in the b.g.  She  turns.  He reacts to her beauty.                      DIANE            Hi, Jack.                      JACK            Excuse me, Vendela, have you seen Diane?             We're supposed to go to the homecoming            dance tonight.  Diane LAUGHS.  They move in for a hormonally driven kiss.  INT. SPLIT-LEVEL - LIVING ROOM - LATER  All are seated.  The women are enjoying pigs-in-a-blanket  while the men suck back screwdrivers.                      LISA (V.O.)            I obviously wasn't there the night they            all met, but it was probably a super            goober fest.  DeeDee enthusiastically MOUTHS the following:                      LISA (V.O.) (CONT'D)                (mocking DeeDee's voice)            "Your Jack's one heck of a good football            player."  Jack's Dad MOUTHS the following:                      LISA (V.O.) (CONT'D)                (mocking Jack's Dad's voice)            "I don't know how he can concentrate            with your lovely Diane cheering on the            sidelines?!"  They all LAUGH.                      LISA (V.O.) (CONT'D)            "Ha, ha, ha, ha..." Ucht!  Jack and Diane enter the holding hands.  DeeDee goes crazy  FLASHING PHOTOS.  All AD-LIB adoration.                      JACK            Hold on a minute.  Hold on.  I have an            announcement.  Jack puts his arm around Diane - they're beaming.                      JACK (CONT'D)            Me and Diane, uh... we decided we're            going to get married.  The parents react with shock, then absolute joy!  DeeDee  starts to cry - turning the CAMERA on HERSELF.                      DEEDEE            Oh, oh, mother of the bride - I'm            allowed!                      DIANE            But not before... I have our baby.  All FREEZE - the calm before the shit storm.  Suddenly,  Jack's Mom throws her head back and lets out a BLOOD CURDLING   SCREAM.                                                 SMASH CUT TO:  JACK AND DIANE'S STUNNED FACES  PULL BACK to REVEAL we're:  INT. JACK'S GTO - MINUTES LATER                      DIANE            ... so when your dad said, "I never want            to see your "f-'in' faces again!" do you            think he meant forever or just until            your mom wakes up?                      JACK            I don't know... And what the hell was            that sound she made right before she hit            the coffee table.                      DIANE            Well, if I had to guess...                (convincing self)            I'd say that was the sound of a mother            saying good-bye to her little boy and            hello to a young man who's going to be a            daddy of his own...                (getting an idea, cradling his                 face)            Jack, do you know what I see here?                      JACK            Spit from your dad?                      DIANE                (wiping his hair)            I see a flower.  And y'know, even the            most beautiful flowers still grow from            dirt.                      JACK            Yeah.                      DIANE            So, while we're knee deep in right now -            and things seem pretty "stinky" - in the            long run, we're going to grow strong            from this.                      JACK            Y'think?                      DIANE            I sure do.  BEAT.                      JACK                (trust and love in his eyes)            Diane, I've loved you ever since I first            saw you -- right before you kicked me in            the head.                      DIANE                (touched)            Oh, Jack...  As they move in for a kiss, we:                                                      WIPE TO:  A SEA OF BALLOONS FLOATING UP THROUGH FRAME.  LOUD MUSIC UP.  INT. LINCOLN HIGH - GYMNASIUM - LATER  Jack and Diane are on stage, wearing crowns and large velvet  robes - they turn and wave!  They won!  They appear to be  floating on a sea of balloons.                                                      WIPE TO:  A SEA OF BALLOONS FLOATING DOWN THROUGH FRAME.  INT. LINCOLN HIGH - GIRLS' BATHROOM - HOMECOMING NIGHT  FIVE PAIR of LEGS with HIGH HEELS dangle from the STALLS.   (We've seen this shot before.)  MUSIC from the dance presses  through the walls.  A HAND REACHES UNDER the first stall,  PASSING A BOX OF TAMPONS to the next stall.                      LISA (V.O.)            Diane must've told her squad that night.  BOX OF TAMPONS CONTINUES down the line - UNTIL THE LAST  STALL.  Diane's hand comes down and pushes the TAMPONS BACK.                      DIANE                (in last stall)            No thanks - don't need one.  FIRST STALL DOOR FILES OPEN, followed by the SECOND, THIRD -  it sticks, Kansas climbs over - and FOURTH!  (Cleo exits  fixing her gel breast.)  The squad surrounds Diane's stall  door.  She finally exits.                      DIANE (CONT'D)                (looking at everyone a beat)            So...  Stunned silence.                      LISA (V.O.)            I'm sure they were thrilled.  I mean, if            Diane said jump, they'd say "Double            Dutch," "Shoot the Moon," or "Split            Russian?"  Suddenly, everyone starts talking at once.                      CLEO            Holy shit.                      LUCY            You just became a statistic!                      KANSAS                (suddenly happy)            Oh my G-d!  I'm not first!                      HANNAH            But you're not married.                      CLEO            Wait!  Did you say you are pregnant or            you were pregnant... You had it, threw            it out and you're gonna go back and            dance all night!                      KANSAS            Shut up, Cleo.  Di, how much do you need            for an abortion?                      HANNAH                (suddenly freaked)            What?!  No!  Not an abortion!  My church            can arrange for you to go to Oregon and            take care of a "sick aunt" for nine            months.  Then they put your baby good            home and you come back - a little dazed            and puffy - but everything's fine!  Oh            please, Di, don't be a whore and a            murderer!  All FREEZE - no one can believe she just said that.                      LISA (V.O.)            Jack told the team that night, too.                                                       CUT TO:  INT. LINCOLN HIGH - GUYS' BATHROOM - HOMECOMING NIGHT  Jack and a bunch of FOOTBALL PLAYERS in tuxes stand at the  urinals, BACKS TO CAMERA.                      JACK            Hey, guys?  Uh, I got Diane pregnant.                      FOOTBALL PLAYER #1            What?!  Well - all right!  He HIGH-FIVES Jack with his free hand.                      FOOTBALL PLAYER #2            You nailed Diane Weston?  I'd never wash            my Johnson again!  He HIGH-FIVES Jack on the other side with his free hand as  the OTHER FOOTBALL PLAYERS also HIGH-FIVE each other.  They  all freak out when they realize they are touching each other  while PEEING.  INT. LINCOLN HIGH - GIRLS' BATHROOM - HOMECOMING NIGHT  All still stare at Hannah                      HANNAH            I-I didn't mean to say "whore," Diane.             I just hear it so much at church - it            kinda came flying out of my head.                      DIANE            I know, Hannah.  Look, I'm not going to            get an abortion.  I mean, I always            planned to get married and have kids -            I'm just going a little out of order.             Kinda reminds me of another young lady            who found herself "with child,"            unmarried, on a long road, with no place            to sleep.  'Course, that was a long-long            time ago.  But no matter what, she held            her head high and said... "Pappa don't            preach, I'm in trouble deep.  Pappa            don't preach, 'cause I'm keepin' my            baby.  Hey.  I'm gonna keep my baby."             The great one...  All take hands and lower their heads.                      DIANE (CONT'D)                (with reverence)            Madonna.                      KANSAS            We're here for you, Diane.  All move in to hug her.                      LISA (V.O.)            I guess their little fairy tale could've            ended there, "And they lived happily            ever after."  Only problem was...                (with great joy, laughing)            they didn't have a place to live!                                                  DISSOLVE TO:  INT. BANK - NEXT DAY  REVERSE ANGLE  Jack and Diane sit in front of an older LOAN OFFICER'S desk.   SIGN READS: "Your home for home loans."  Loan officer looks  over papers as Jack and Diane look excitedly at one another.   Diane takes Jack's hand.                      LOAN OFFICER            I'm sorry.                      DIANE            What?!  But all our paperwork's there.             My school records, Jack's football            records...                      LOAN OFFICER            Let me explain something...                      DIANE            No.  Wait!  Did I say Promise!  Cross-my            heart and hope-to-die, stick-a-needle-in            my-eye we'll never miss a payment?!                      LOAN OFFICER            Uh, yes.  Yes you did.                      JACK            Diane.  Hold on a minute.  I think I            know where this is going.                (sotto, to loan officer)            I'm willing to put up the papers for my            Mustang - she's got a few miles on her,            but she looks great.                      LOAN OFFICER            I'm sure, son, but --                      JACK            Okay!  Stop twisting my arm!  I'll throw            in the speakers.                      LOAN OFFICER            Look, kids, why don't you just have your            parents come i n and get a loan?  Then            they could give you the money.                      DIANE                (building from a slow burn)            With all due respect, Jack and Diane            Bartlett...  They exchange a smile, first time saying this.                      DIANE (CONT'D)            ...do not accept charity.  We are two            young, able-bodied Americans.  We do not            want a handout.  We want a hand-up.             Give us food and we will be hungry            tomorrow.  Give us corn - the kind you            plant, not eat - and we'll grow our own            food and... and, uh, then cut it, and -            uh, y'know eat it!  Now, if you're            interested in giving us a home loan, I            will sit back down.  If not, have a nice            day, Ma'am.                      LOAN OFFICER            Sorry.  My hands are tied.  Diane makes a dramatic exit, taking a handful of M&M's from  her desk.  The squad, (previously unidentified) lounging in  the central bank of couches, follows her.                      JACK                (watching proudly)                                                  DISSOLVE TO:  INT. APARTMENT - LATE AFTERNOON  CLOSE ON  A smiling Jack and Diane as they look lovingly into each  other's eyes.                      DIANE            Well... it's a little more than we            wanted to spend, but we'll take it!  They kiss.  PULL BACK to REVEAL we're:  INT. APARTMENT - LATER  It's a semi-furnished shit-hole.  The ONLY WINDOW looks out  on a BRICK WALL.  The APARTMENT MANAGER, a grungy, Tommy Lee  type, paces.                      APARTMENT MANAGER            Fine.  Just remember, I manage the            building.  I don't, like, own it or fix            it.  So, like, I don't care if shit            breaks.  All I care is that the rent is            shoved under my door on the first.  Oh,            and if there's, like, packages outside            my door?  Leave 'em the hell alone.  He exits.  Jack and Diane are not listening - lost in each  others' eyes.                                                 SMASH CUT TO:  INT. BURGER BIN (FOOD COURT) - NIGHT  CUSTOMER POV  Jack, in uniform, stands behind the counter.                      JACK                (stilted)            Welcome to Burger Bin.                (sotto)            Don't get the Filet-O-Fish - the fry            cook picks his ass.   WIDEN TO REVEAL  An ANGRY COOK standing behind Jack.                                                  WIPE PAN TO:  INT. LINCOLN TACO (FOOD COURT) - NIGHT  CUSTOMER POV  Jack, in uniform, behind the counter.  He looks confused as  he presses buttons on his high-tech register.                      JACK                (accenting Spanish words)            Two Taco Grannnndes, one burrrrrrito,            large ta-co chips and guacamooooooole...                                                  WHIP PAN TO:  INT. GRAMMA'S FRIED CHICKEN (FOOD COURT) - NIGHT  CUSTOMER POV  Jack stands at the counter - in uniform.                      JACK                (sotto to customer)            We don't really have fried rats in the            buckets - I know, I checked.                                                  WHIP PAN TO:  INT. LINCOLN TACO (FOOD COURT) - NIGHT  SAME SCENE  PULL BACK to reveal a long line waiting.                      JACK                (looking up from register)            That'll be...uh, thirty five cents,            please.                                                  WHIP PAN TO:  INT. DINKIE'S DONUTS (FOOD COURT) - NIGHT  CUSTOMER POV  Jack stands at the counter, in sailor uniform.  An OLD NAVY  MAN, all in white, stands in the B.G. cleaning his nails with  a knife.                      JACK                (nervous, looks over shoulder)            Welcome to Dinkie's Donuts.                                                  DISSOLVE TO:  INT. APARTMENT - NIGHT  A hurt and angry Jack walks in, still in sailor uniform.   Diane's in bed eating and doing homework.                      JACK            Dinkie is a bad, bad man...  INT. VIDEO BARN - NIGHT  Jack stands in front of the counter, THREE SOCIAL RETARDS  (Jack's age) behind it.  Jack hands them his application.                      JACK                (defeated)            Y'know what?  I'll save you the time.             I'm not going to lie.  I don't believe            in it.  If you pick your ass - I'm going            to tell people.  I have no idea how to            run your registers.  And, if any of you            are hard core drinkers and like to throw            knives, well, I'm outta here right now.                      TED            Uh, are, uh, you-you're Jack Bartlett,            right?                      JACK            Yeah.                      TED            You'd be, like, hangin' out with us            every night after school, right?                      JACK            Yeah - well, after football practice.                      CHRIS                (savoring the words)            Football practice - fantasmic.  The social retards look at each other, excited.                      TED            You're hired!                                                  DISSOLVE TO:  INT. SAFEWAY - CEREAL AISLE - LATE AFTERNOON  MUZAK UP.  A worried Diane, now showing slightly under all  black warm-ups, is writing on her notepad as she walks down  an aisle.  Suddenly, in the B.G. CROSS AISLE, an ecstatic  Jack, in "Video Barn" uniform, WHIZZES PAST, riding his cart.   Arms out at his sides.                      JACK            I'm on top of the world!  Seeing Diane, he tries to stop, but can't and continues past.   A SECOND LATER, he scrambles back and rides up to her -  tossing more boxes into the already FULL CART.                      JACK (CONT'D)                (holding box of cookies)            Hey, Di, if we have a girl, we should            dress her like Little Debbie!  Jack pulls alongside Diane and kisses her.  She notices the  full cart.  It'll cost a fortune.                      DIANE            Jack, sweetie, I'm only eating for two.                      JACK                (positively giddy)            But Di, all this food reminds me of how            much I want to teach our baby.  He tosses more cereal in the cart.  Diane looks at her  notepad, then starts to return items to the shelves WITHOUT  JACK NOTICING.                      JACK (CONT'D)            Like Cocoa Puffs.  Good.  Captain            Crunch.  Bad.  Shreds the roof of your            mouth.  I mean you hear, "Tricks are for            kids!"  And you think, "I'm a kid, I            guess they're for me."  But your baby            brain's got no idea that Fruit Loops            are, like, a million times better.  I'm            going to save our kid all that pain.                      DIANE            Jack...                      JACK                (putting all three in cart)            If you could be Count Chocula,            Frankenberry or Trix the Rabbit, who'd            you be?                      DIANE                (removing the box)            Trix...                      JACK            Me too!  Will it ever end?!                (yelling to the store)            I love this lady!  He kisses her as SHE SLIPS ANOTHER BOX on the shelf.                      DIANE            Jack, I think I should get a job.                      JACK                (rubbing her belly)            But we agreed your job is running the            baby machine...                      DIANE            I know, but that was before.                      JACK            Ah!  I almost forgot gas for the baby            machine.  I'll grab your Snickers and            get a place in line.  He kisses her again and runs off.  Diane watches him - the  love in her eyes quickly turns back to worry and she starts  to put everything back on the shelves: cookies, cereal,  chips, ice cream - oh, that struggle, but it goes...  INT. SAFEWAY CHECK OUT STAND - LATER  ANGLE ON AISLE  Diane emerges with an almost empty cart.  Just milk, peanut  butter, bread and a large roast are all that remain.                      JACK (O.S.)            Hey, Di!  Diane turns to see Jack, a couple aisles over, holding out a  LITTLE KID WITH GLASSES.                      JACK (CONT'D)                (in a funny voice)            Hello, I'm the little professor.             Wouldn't it be cute if ours looked like            this?!  A WOMAN RUSHES over and ANGRILY grabs her kid back from Jack,  punches him and storms off.  Diane rushes in line, ditching  the roast in a gum rack beside the check-out.  As she struggles with it, she notices a WOMAN at the LINCOLN  SAVINGS AND LOANS BRANCH (inside the Safeway at the end of  the check-out aisles) putting out a HELP WANTED sign.  INT. JACK'S MUSTANGE - MOMENTS LATER  Jack drives as Diane devours a king size Snickers bar.                      JACK            I never knew you dreamed of working in a            grocery store bank branch.  Baby, we are            living the great American Dream!                      DIANE                (mouth full of Snickers)            Mmm-hmmm...  Unseen by Jack, Diane slips her hand out the partially open  window, releasing a PAGE from her NOTEPAD.  On the BLOWING LIST as the Mustang drives on:                      DIANE (O.S.) (CONT'D)                (mouth full)            If you reach for the stars, you're bound            to get -- mm-Jack, pull over.                      JACK (O.S.)            Huh?  Oh Jesus...  EXT. JACK'S MUSTANG (SWERVES TO STOP) - SUNSET  He pulls over.                      JACK (O.S.)            Why do they call it morning sickness?  In the UNFOCUSED B.G., Diane opens her door and crawls out,  about to toss her cookies.  In the F.G., the LIST settles on  the road: FROM THE BEAUTIFUL MIND OF DIANE is a pre-printed  on the top.  Diane wrote "Monthly Income" column which totals  "$525."  Her "Monthly Bills" column totals "$845."  "ONE  MONTH LEFT" is scribbled at the bottom.			  MUSIC UP:  MONTAGE BEGINS  INT. SAFEWAY - SEAFOOD DEPARTMENT/BANK BRANCH - DAY  CLOSE ON A FISH  In the seafood case.  The BUTCHER's hand comes in, takes it  out, and flops it on the scale.  ANGLE ON  Oscillating fan behind him.  Follow the smell as it drifts  from the counter over to Diane, working in the Bank Branch.   She sniffs, sniffs again, then suddenly gags and goes down  behind the counter.  INT. APARTMENT - BEDROOM - NIGHT  CLOSE ON  Diane's belly.  Jack's HAND comes into frame, tracing it  against the wall.  PULL BACK as DIANE steps away.  We SEE TWO  LINES labelled, "AUGUST" and "SEPTEMBER" on the wall.  They  smile and kiss.  INT. LINCOLN HIGH - HALLWAY - DAY  SLOW MOTION  The squad, in uniform, walks toward camera in a line across  the hall - looking cool as hell.    ANGLE BEHIND  Squad walks away.  An ADDITIONAL PIECE OF FABRIC has been  added to the back of Diane's skirt.  INT. APARTMENT - LIVING ROOM - DAY  Jack and Diane open the front door.  The BUILDING MANAGER  pushes in a big screen TV.  MUSIC UNDER.                      BUILDING MANAGER            I need a place to keep this.  Anyone            asks, what d'ya know?  You don't know            shit.  SCHOOL BAND MUSIC UP.  Jack and Diane hug each other, they  have a TV!  EXT. FOOTBALL FIELD - NIGHT  Jack hikes the ball, steps back to throw, but trips on his  shoe laces.  ON THE CROWD  All are silent.  A HECKLER STANDS.                      HECKLER            Hey, Bartlett, pick up your skirt when            you run!  ON THE SQUAD  Watching from the field.  Diane turns to the crowd.  Jack's  heckler must die!                      KANSAS                (yelling to heckler)            Run, you bastard, run!  She's hormonal!!  Diane's off, SCALING THE BLEACHERS.  EXT. FOOTBALL FIELD - AFTER GAME - NIGHT  FANS ARE GONE.  A beat-up Jack, helmet under arm, walks with  his arms around Diane, who's icing her fist.  He smiles and  kisses her hand.  INT. APARTMENT - BEDROOM - NIGHT  CLOSE ON  Diane's belly.  Jack's hand comes into frame, tracing it.  PULL BACK  as Diane steps away.  We see THREE LINES: "August",  "September" and "October" already written on the wall.  They  smile and kiss.  INT. MALL - VIDEO BARN - DAY  CLOSE ON   Jack and the social retards.                      JACK            ...she's in my hands, right?  Moist to            the touch.  It's at that moment I think            I control her - she's mine.  But it's a            false illusion, like in "Backdraft."  No            man controls fire!  She's ready, I'm            ready, she's ready, I yell, "One-fifty            four, forty eight."  PULL BACK  to reveal he's holding a football.                      JACK (CONT'D)            Hike!  The social retards are orgasmic over his story.			  INT. SAFEWAY - BANK BRANCH - DAY  MUZAK UP.  Diane, at the service window, smiles as she helps  a CUSTOMER, then drops her pen behind the counter, mouthing  "Ooops, one moment."  She bends down.  BEHIND THE COUNTER  Diane voraciously rips the top off a SNICKERS and shoves it  into a jar of HAAGENDAAZ.  She takes a huge bite, then pops  up, SMILING - MOUTH FULL.  INT. MALL BOOK STORE - PARENTING SECTION - DAY  Squad is looking over different pregnancy books.  Cleo reads  from a TEEN LOOKING MAGAZINE.                      CLEO            I can't believe they have the "Top Ten            Alternatives to Sex for You and Your            Boyfriend" and "watching each other            masturbate" isn't even listed!  All stare at her a beat.                      LUCY                (off pregnancy book)            Diane, it says here you're going to have            mood swings, uncontrollable gas.                      KANSAS            More proof God's a guy...                      LUCY            ...and sex dreams where you actually            have an orgasm!                      KANSAS            Virgin Mary musta snuck that one in.  Hannah hits Kansas.  MUSIC TURNS TO SLOWER MINOR CHORDS.  INT. LINCOLN HIGH - HALLWAY - DAY  Same SLOW MOTION scene.  Squad walks TOWARD CAMERA in line  across the hall - again looking cool as hell.    ANGLE BEHIND  A larger piece of fabric has been added to the back of  Diane's skirt.  INT. APARTMENT - LIVING ROOM - NIGHT  Diane (eating Snickers) sits in the bean-bag chair in front  of the BIG SCREEN TV.  Jack stands beside it, holding a  video, "ANIMAL BIRTHS."  He smiles and puts it in the VCR.   Under OPENING CREDITS a KITTEN IS BEING BORN.  Jack is  horrified by it.  INT. MALL - VIDEO BARN - LATE NIGHT  Jack, LOOKING TIRED, is doing homework at the counter with  the social retards.  (Store is decorated for Christmas.)                      CHRIS            Jack, c'mon, you promised.                      JACK                (yawning)            Okay, one question.                      TED                (to other social retards)            Oh, me-me-me, mine's great.                      CHRIS            Proceed, Dungeon Master Quan.  Lisa approaches the counter, VIDEO TAPES in hand.                      TED            Okay.  Jack, y'know how you and Diane...            slept together?                (looking to tards, pleased with                 himself)            Well now that you can't, y'know, (fuck)            "sleep together," but you still sleep            together, don't you ever get, like,            just, super horny?  If so, how horny?             I'll be quiet now so I can listen to            your answer.                      LISA                (flirting her ass off)            Yeah, Jack - I'd love to hear your            answer.  She sets her videos on the counter, smiling seductively.   Jack starts to run them under the scanner.                      JACK            The answer's easy...                (quickly)            Oh, "Lolita" is due tomorrow - Same for            "9 1/2 Weeks."  Ditto on "Wild Things."                  (back to question)            I'm gonna be a dad!  Dads don't get            horny.  Lisa grabs her tapes and exits.  INT. APARTMENT - BEDROOM - DAY  CLOSE ON  Diane's belly.  Jack's HAND comes into frame, tracing it.   ICE CREAM drips on it.   Jack licks it off as we PULL BACK to see a VERY TIRED Diane  holding a pint of ice cream, using a SNICKERS as a spoon.   FOUR lines labelled "August," "September," "October" and  "November" on the wall.  Jack gives Diane a tired peck on the  cheek as she continues to eat.  EXT. FOOTBALL FIELD - NIGHT  ON CROWD  As they TURN FLASH CARDS IN UNISON to read: "2-4-6-8 LOGS ARE  ROLLIN' ON THE STATE!"  ON SQUAD  going nuts!  They notice Diane isn't there.  She's eating a  vendor's box.  They run over to her.  ON JACK  running for a touchdown - a la his homecoming run.  This time  he's exhausted and the competition is gaining.  Everything grinds to a SLO-MO CRAWL as Jack makes a heroic  leap for the touchdown.  With his spare hand, he attempts to  smother a huge yawn, as opposing players come flying at him  from both sides.                                                 SMASH CUT TO:  INT. APARTMENT - BEDROOM - LATER THAT NIGHT  ANGLE ABOVE BED  Continuation of pervious shot as Jack lands on the bed  completing the touchdown.  Diane falls across the frame from  the opposite side.  They're asleep by the time they hit the  bed - still in cheerleading and football uniforms.  Jack  holds a large STATE TROPHY - Diane holds a half-eaten  Snickers.  END MUSIC						                      LISA (V.O.)            Okay, so they won state - b.f.d.  The            best part was Diane was really starting            to look like shit.                                                  DISSOLVE TO:  INT. SAFEWAY BANK BRANCH - DAY  CLOSE ON  Diane's face - smashed against A SIDE GLASS PANEL as she  SLEEPS.  She really does look like shit - puffy eyes, no make  up, dark circles, bad hair and drool coming from her mouth.                      LUCY (O.S.)            Diane?  Diane!                      DIANE                (waking up)            Huh-ha-wha?                (scratching on window)            Ahh!  I'm under the ice!  I'm uh --            oh...man...                (opening her window)            That was a weird one.  PULL BACK  To REVEAL the squad stands in front of Diane.                      CLEO            Another sex dream?                      DIANE            Wayne Gretzky.                      KANSAS            Hat-trick?                      DIANE                (exhausted)            He is the Great One...  INT. MALL - VIDEO BARN - LATER  Jack is asleep on his books at the small children's  furniture, set up beside the children's voices.  Lisa  approaches.                      LISA                (sweetly)            Jack?  Oh Jack...  Ted approaches.                      TED            Can I help you?                      LISA                (loud whisper)            Get your loser ass away from me!  Ted exits.  Lisa looks around, then walks over and kicks the  chair out from under Jack's head, sending him crashing to the  floor.                      LISA (CONT'D)            Oh my G-d - are you okay?  She immediately kneels beside him, placing his aching head in  her lap - smothering him in her breasts.                      JACK                (groggily reaching up)            Diane?  Lisa stands, dropping him from her lap.                                                  DISSOLVE TO:  INT. APARTMENT - LIVING ROOM - NIGHT  It's pitch black.  We hear a KEY IN THE DOOR.  It opens, an  arm comes in and the LIGHT GOES ON.  An exhausted Diane and  the squad, carrying things for the sleep-over, enter.  LUCY  carries a pizza box.  THE PLACE IS A PIT.  All but Diane  STOP, IN SHOCK.                      LUCY            Oh my G-d, you've been robbed!                      DIANE                (tired and depressed)            No...I've been pregnant.                      CLEO            Di, are you okay?  We can skip the girl            party this week.                      DIANE                (unconvincing)            Everything's fine.  I'm just having a            little trouble keeping my frown upside            down.  Diane forces a smile.                      HANNAH            You want us to help you pick up?                      DIANE                (snapping)            Don't Martha-fucking-Stewart me!  If you            don't like it - you try being a pregnant            teen!  Diane YANKS the Safeway bag from Hannah and storms O.S.                      KANSAS            And we have our first pregnancy mood            swing.  All that's left is --  Diane FARTS O.C.                      KANSAS (CONT'D)            Bingo.                                                  DISSOLVE TO:  INT. APARTMENT - LATER  LATER  Squad sits in a cleared space in front of the BIG TV,  painting nails, reading magazines, etc.  Diane eats.                      CLEO            Did you guys hear that in China - or one            a those places that makes the really            cheap silk shoes and kids are super            smart - that as a reward for good            grades, mothers get their kids hookers            to blow 'em?  All stop and look at her.                      HANNAH            No.                      CLEO            Huh.  Musta been a dream.                      DIANE            I'm sorry to keep asking this, but are            you guys sure I'm not fat?  Squad looks to each other, nervous, then AD-LIBS "No!"                      DIANE (CONT'D)            "No" you're not sure or "No" I'm not            fat?                      KANSAS            Uh, "no"... You're not fat.                      DIANE            You sure I'm not fat?                      LUCY                (can't take it any more)            Look, you're fat, Diane.  You're fat,            fat, fat!  Because you eat, eat, eat!                (to shocked squad)            What?!  She keeps asking because she            wants some honesty.                      DIANE                (breaking down)            No I don't... I keep asking because I            feel fat.                      LUCY            Oh G-d, I'm sorry... You're not really            fat!  I was just saying that because,            uh, I thought that's what you wanted me            to say.                      DIANE            You sure?                      LUCY            Positive.                      DIANE            "Positive" you're sure I'm not fat or            "positive" I'm...                                                  DISSOLVE TO:  INT. APARTMENT - LATER THAT NIGHT  Squad is watching "POINT BREAK" on TV: Bank Robbery about to  start.  Diane eats Snickers.                      LUCY            Oh my G-d, I read about this!  It's            called a "pregnancy insanity."  Quick,            she needs a sitz bath --                      DIANE                (putting down her Snickers)            Look, I might be moody.  I might be            gassy.  But I am perfectly sane.  Think            about it.  In school, they tell us,            "Dreams can come true."  Right?  Squad AD-LIBS agreement - not knowing where this is going.                      DIANE (CONT'D)            But they don't tell us how!  Well,            thanks to Keanu, I figured it out!             Money makes your dreams come true.  Squad AD-LIBS their concern for her mental health.                      DIANE (CONT'D)                (old spirit returning)            Listen, Kansas, I know you dream of            springing your mom some day...                      KANSAS            Stop, you're gonna make me cry.                      DIANE            And if the O.J. trial taught us            anything, it taught us that in America,            you can cut off someone's head and still            be found innocent if you have enough            money.  Your mom only shot a guy...  Kansas smiles at the thought.                      DIANE (CONT'D)            Now Cleo, I know you dream of an all            leather apartment with Conan - I heard            the school shrink telling a lunch lady.  Cleo blushes and smiles guiltily at the thought.                      DIANE (CONT'D)            And Hannah, you could give your share to            your church - or maybe buy one of those            hungry little kids Sally Struthers            advertises.                      HANNAH            Or, I could get my own horse...                      DIANE            Or that!  Look, you guys, I just want to            provide a future for my baby.  I know my            bank branch like the back of my puffy            little hand.  I could open that safe in            my sleep!                      KANSAS            I'm in.  Squad reacts with SHOCK - did she just say that?                      KANSAS (CONT'D)            I mean it.  I'm in.  This is the closest            thing to a goddamn family that I've ever            had.  If one of us needs something, we            all do.                      LUCY            Stop it!  This is crazy!                      CLEO            I'm in, too.                      LUCY            Cleo!                      CLEO            Kansas is right.  We're like sisters --            we're closer than sisters.  And you            don't turn your back on family.                      DIANE            C'mon, Luce, people do it in the movies            all the time.                      LUCY            And they get caught!                      DIANE            That's right.  So all we have to do is            watch a bunch of movies and learn from            their mistakes.                      CLEO            And you know real cops aren't half as            smart as Keanu.                      LUCY            Forget it.  I've got a scholarship to            Harvard hanging over my head.  I won't            risk it.                      CLEO                (sotto, to Kansas)            Conan went to Harvard.                      KANSAS                (sotto)            Shut up.                      DIANE            Lucy, do you know for sure you're going            to get that scholarship?                      LUCY            No.                      DIANE            If you don't - can you still afford to            go to Harvard?                      LUCY            ... I don't know.  Probably not.                      DIANE            So then this isn't crazy.  It's a sure            bet.                      LUCY            Well...  Squad AD-LIBS their encouragement.                      LUCY (CONT'D)            I guess we're in this together.  They jump around, thrilled.                      LUCY (CONT'D)            But, we have to make a smart plan!                      DIANE            Of course - of course!  Hands in...  Squad puts their hands in.                      DIANE (CONT'D)            We all have to cross-our-hearts-hope-to            die-stick-a-dirty-needle-in-my-eye that            we'll never tell Jack.  We all know he            can't lie - that's why he's going to be            such a great senator.  MUSIC UP:  as the squad goes through their "Cheerleaders Kick Ass!"  routine.                                                  DISSOLVE TO:  INT. CLEO'S BEDROOM - DAY  It looks just like Diane's basement.  Cleo sits on the couch,  eating from a bag of microwave popcorn.  The VIDEO BOX for  "Reservoir Dogs" plays in the tiny picture-in-picture.                                                  DISSOLVE TO:  INT. LUCY'S BEDROOM - DAY  The room is neatly ordered.  Lucy sits at her computer - DVD  case of "Heat" sits beside her monitor.  She's taking copious  notes.  Her mom enters with milk and cookies.  Lucy stands,  concealing her monitor.  Her mom sets down the cookies and  kisses Lucy's good-night before she exits.  Relieved, Lucy  sits at her computer again.                                                  DISSOLVE TO:  INT. HANNAH'S LIVING ROOM - DAY  It's a sparse room, filled with religious icons.  Hannah  nervously places a video into the VCR above the TV, then sits  on the couch.  She smiles about to push PLAY on the remote  when her stern, UBER-CHRISTIAN PARENTS ENTER and take a seat  on either side of her.  Her look turns to fear as her father  takes the remote and hits PLAY.  END MUSIC.                                                  DISSOLVE TO:  EXT. LINCOLN HIGH - ESTABLISHING SHOT - DAY  INT. LINCOLN HIGH - HALLWAY LOCKERS - CONTINUOUS  CAMERA TRACKS down the hallway, passing groups of kids as  they talk beside their lockers.  We pass the GEEKY GUY (from  "Candidate Speeches") and his two friends.                      GEEKY GUY            ... I feel utterly abandoned in a place            that values physical prowess over mental            acuity.  I can't wait for all this to            change once we get in the real world...  CONTINUE TRACKING PAST LISA and the B-squad.                      LISA            ... I do!  I totally marry Prince            William even if he was gay.  I mean, in            England all guys are kinda gay anyway.             Even cigarettes are fags over there...  B-squad AD-LIBS AGREEMENT as we CONTINUE to the A-squad  around Diane's locker.                      CLEO            ...He slices off the guy's ear, and I            mean you see everything - the bloody            pink hole where the --                      DIANE            Cleo, I've already thrown up twice today            - could you please get to any relevant            part of the movie?                      CLEO                (vamping)            Well...uh...they, y'know, uh... They had            nicknames.                                                  DISSOLVE TO:  INT. LINCOLN HIGH - LUNCHROOM - DAY  Squad sits at their lunch table in this large, open room.   Only Diane eats - from all the trays.  Lucy walks around the  table, handing out stapled packets.                      LUCY            ...Page one is a plot summary of "Heat."             Two has my character summaries.  Three            is my overall critique and on four            through ten, you'll find my Nexus search            of all prior analysis of this film...  All stare at her.  She stops - starts to pick up the packets.                      LUCY (CONT'D)            Uh, in summation, no part of "Heat" is            really applicable to a grocery store            bank branch robbery.                      JACK (O.S.)            What the heck is going on here?  All turn to see Jack, followed by football players and the  Video Barn Geeks.                      DIANE            Uh, Jack - look, I can explain...                      JACK            Diane, there's no excuse for not taking            your pre-natal vitamins.  Now, if you            guys were really friends, you'd remind            her to take these.  He smiles, gives Diane her vitamins and kisses her head  before exiting to the "jock table."                      TED            Uh, Cleo...would you just say my name?                                                  DISSOLVE TO:  INT. GYNECOLOGIST'S OFFICE - WAITING ROOM - LATE AFTERNOON  The squad, in uniform, sits along the wall.  Pregnant COUPLES  fill the rest of the room.                      HANNAH            ...so, while it's a laugh riot for the            whole family, and Tim Conway is just            about as funny as they come, especially            when he goes...                      KANSAS            Wait a minute.  You watched the Apple            fucking-Dumpling Gang?!                      HANNAH            I'm only allowed "G" movies.                      KANSAS                (losing it)            Am I the only one who cares about this?             At least I watched "Dog Day Afternoon!"                      HUSBAND            Excuse me, could you please keep your            voice down?  We're not introducing anger            into the womb.                      KANSAS                (snapping back)            Well how'd you like me to introduce my            foot into your ass?                      DIANE            Kansas!                      KANSAS                (lowering her voice)            I'm sorry, Diane, but I'm not gonna            watch my dreams fade away 'cause the            Virgin Mary here thinks she's gonna get            ideas from kiddie movies --                      HANNAH            Those of us who have parents, know that            they have rules because they care!  All fall silent - she went too far.  Kansas stands.                      KANSAS            You sure you wanna go there?                      HANNAH                (nervously standing)            Uh...maybe?                      KANSAS            'Cause I will Jerry Springer you faster            than you can say "Fat-assed lesbian!"  Kansas and Hannah go at it - the GIRL FIGHT is on.  Diane,  Cleo and Lucy try to pull them apart, AD-LIBBING "Stop!" and  "Knock it off!"  A NURSE enters from the other side of the  room.                      NURSE            Diane Weston?  Diane pushes her way through the fight, forcing a smile.  INT. EXAM ROOM - MOMENTS LATER  A disheveled squad enters to find Diane on the exam table,  crying.  Her sweater is pulled up, pregnant belly exposed.   An ULTRASOUND MACHINE and MONITOR is on beside her.                      CLEO            Di, we're sorry.  We...                      DIANE            It's off... I can't take the fighting,            the back-stabbing, the open hostility.             We're not acting like cheerleaders,            we're acting like a bunch of sorority            girls!  The squad rushes to a sobbing Diane, embarrassed by their  behavior and what it's done to Diane.                      DIANE (CONT'D)                (through tears)            It's all my fault.  I'm sorry I ever            started this...                      KANSAS            Di, it's not your fault.  We all wanted            to do this - for you... for ourselves.  Squad AD-LIBS agreement.  Cleo picks up the ULTRA-SOUND HAND  PIECE beside Diane and starts fiddling with it.                      HANNAH            Look, maybe I can watch a PG movie...            I'll just say I'm counting dirty words            for Sunday School.                      DIANE            That's okay, Hannah.  It was silly to            think we could learn to rob a bank from            watching movies.  Sex - you can learn            from movies.  But robberies?  There's no            way.  Cleo sets the HAND-PIECE on Diane's belly.  The squad stares  in wide-eyed wonder at the monitor - for the first time they  see Diane's baby.  Diane doesn't notice.                      DIANE (CONT'D)            Besides, TV-LAND had a "Little House On            The Prairie" marathon and the Ingalls            made baby Carrie's bed in a dresser            drawer.  I guess I can just do that...  Diane sees the squad staring and turns to the monitor.                      DIANE (CONT'D)            Oh my G-d...  She SEES HER BABY MOVING and GENTLY TOUCHES her belly with  both hands.  It's all very real.  Suddenly, the BABY SHIRTS  FORWARD and we see a SECOND BABY'S HEAD.                      CLEO            Ahh!  Baby's got two heads!!!                      LUCY            It's twins!!                      DIANE            Oh, thank G-d!  I'm not just super fat!                      KANSAS                (building)            Oh - okay, we ain't done with this...            Those babies are gonna get a good start            in life - with a real crib - one that            costs a shit-load!  We're gonna learn            how to rob a bank from the only people            who really know how to do it -            criminals!  I'm gonna visit my mom!  Squad can't believe what she just said.                                                  DISSOLVE TO:  INT. OKLAHOMA WOMEN'S PRISON - VISITING ROOM - DAY  CLOSE ON  Mrs. Hill, a tough looking woman who smokes like a chimney.                      MRS. HILL            You don't look nothing like your            pictures.  What happened to the curly            red hair?  ANGLE ON  Kansas.                      KANSAS            Grandma and Grandpa sent you pictures of            a neighbor girl.  They didn't want you            to break out and come kidnap me.                      MRS. HILL            Thank G-d.  I was starting to think I'd            killed the wrong man.  There's an awkward silence as the reality of this hits  Kansas.  Her mom lights up a cigarette.                      KANSAS            You shouldn't smoke so many of those.                      MRS. HILL            I know, but it keeps down the size of my            can.                      KANSAS            They could kill you.                      MRS. HILL            So could half the women in here.  And            I'd rather go out with a nice can... So            watcha here for?  To say how much you            hate me or how much your grandparents            hate me...                      KANSAS            I don't hate you.  I need your help.                      MRS. HILL            My what?                      KANSAS            Your help.                      MRS. HILL            Now how the hell can I help you?                      KANSAS                (sitting close)            Okay, you can't tell anybody.                      MRS. HILL            Gee, I'll sit out this afternoon's            coffee talk.  Whaddya want?                      KANSAS            My best friend got pregnant.                      MRS. HILL            Before you?  Whoo-hoo!  They high-five through the glass.                      KANSAS            I know - that's what I said too.             Anyway, we want to help her get some            money for the baby by robbing a bank.                      MRS. HILL            Well, shit-fire, Kansas, that's the            sweetest goddamn thing ever...                      KANSAS            I know, but we can't quite figure out            how to, y'know, do it.                      MRS. HILL                (near tears)            So you need my help?  Oh my G-d, this is            like asking me for help with your            homework.                (calling behind her)            Hey, Mink, c'mere!  MINK, a tough-looking woman with short spiky hair joins her.                      MRS. HILL (CONT'D)            Kansas, I want you to meet someone            special.                      KANSAS            Oh, Jesus Christ, Mom!  Like my life            ain't a great big pile-of-shit 'cause            you're in here?  Now I have to add,            "P.S. My mom's a dyke" too?                      MRS. HILL            What?!  Hush up, you mouthy little shit!                      KANSAS            Hey, don't "mouthy shit" me - I'm outta            here.                      MRS. HILL            Wait, Petunia.  Mommy's a little amped            up - didn't get her yard time this            morning.  Mink ain't my bitch.  She's a            specialist... in banks.					    INT. OKLAHOMA WOMEN'S PRISON - WAITING ROOM - DAY  The rest of the squad, in uniform, waits in folding chairs.   A LARGE INMATE stares at them, while slowly mopping the  floor.  All but Diane appear nervous.  The inmate works her  mop BETWEEN DIANE'S LEGS and stops.                      INMATE #1            Thems some sweet skirts y'got there.                      DIANE            Well, thank you.  They're actually            uniforms - we're cheerleaders.                      INMATE #1            Mmm-hmm... y'sure are.  As she moves in closer, Kansas is let through a metal door.   All jump up.  Diane steps politely over the mop handle that's  pressed between her legs.                      DIANE            Excuse us.  The squad joins Kansas as they all hustle out the hallway.                      KANSAS            Same time tomorrow - we have a visit            with our favorite "aunts."                                                  DISSOLVE TO:  INT. OKLAHOMA WOMEN'S PRISON - VISITING ROOM - DAY  PAN DOWN the visitors' row.  TOUGH MEN sit across from even  TOUGHER FEMALE INMATES.  CONTINUE DOWN to the SQUAD, sweet  and small in comparison - each sitting across from a  DIFFERENT INMATE.  Mrs. Hill walks behind the inmates,  supervising.  ON KANSAS AND MINK                      MINK            Robbin' a bank is like pullin' a trick.             You gotta stay in control, know how far            you'll go for the dough and always put            the rubber on yourself... Well, y'know            what I mean.  And you gotta do it the            day after Christmas.                      KANSAS            Why?                      MINK            Banks never have a holiday pick up, so            vaults are full.  Besides, everyone's at            home eatin' left-overs and beatin' their            kids.  ON DIANE AND HER INMATE                      INMATE #1            ...You're only seventeen?  Shit, I was            havin' my third by th'time I's your age.  ON CLEO AND HER INMATE #4                      CLEO            Really?  You were cell mates with her?             Oh my G-d, she was my hero!  Did she            tell you what Letterman's house was            like?  ON LUCY AND HER INMATE                      INMATE #2            Y'gotta buy gats from "The Terminator."             And tell him "Itchy" sent'ya.                      LUCY            And "gats" are...                      INMATE #2            Guns, cuties.                      LUCY            And you're called "Itchy" because...  ON HANNAH AND HER INMATE                      INMATE #3            You listen to Carol, pussycat, a foot on            both sides-a-your bathtub nozzle - make            your ride with the sisters seem like            nothin' more-n-a piss shiver.  Hannah frantically writes down.                                                  DISSOLVE TO:  INT. APARTMENT - BEDROOM - THAT NIGHT  Jack is on his side of the bed, rubbing cream on Diane's  exposed belly as he sings to it.  Diane is writing on her  "From the Beautiful Mind..." NOT PAD, which rests above her  big belly.                      JACK                (talking to Diane's belly)            ...so although their dad said, "Don't            get out of the car until I get back with            help," they knew the sheriff's voice as            he yelled.  "Run to my voice - and don't            look back."  The twins did as he said,            but at the last second they turned            around and saw the escaped mental            patient, bouncing their father's head on            the top of the car!                (feels something)            Ah!  They jumped, Diane!  They jumped!                      DIANE            That was gas, Sweetie.                      JACK            Oh... What are you working on?                      DIANE            Jus some girlie things for the squad.  MUSIC UP:  INT. APARTMENT - DAY  "TO DO LIST" MONTAGE  CLOSE ON  Notepad.  "From The Beautiful Mind of Diane" PAN DOWN to  first item listed:   1) Buy ski masks and maternity underpants.  As it's crossed off, we:                                      DISSOLVE THROUGH LIST TO:  INT. SEARS - MATERNITY DEPARTMENT - DAY  Diane watches as the squad MODELS BIG WHITE MATERNITY  UNDERPANTS over their Addidas sweats, with pillows and  stuffed animals in the belly portion.  It's like some bizarre  fashion show.  A STERN OLD SALESWOMAN approaches.  Diane  points to Cleo's style, then hands the surprised saleswoman  FIVE SKI MASKS.                                                  DISSOLVE TO:  INT. APARTMENT - DAY  THE LIST as   2) Buy gats from "The Terminator" is crossed off.  EXT. "THE TERMINATOR" EXTERMINATOR SHOP - DAY  Squad stands FROZEN looking up at this cinder block shack.  A  bad, HAND-PAINTED SIGN on top has ARNOLD SCHWARZENEGGER  STANDING ON A COCKROACH.  END MUSIC                      KANSAS            Whoever gets out alive -- have the            authorities to check in the crawl space.  Diane walks to the counter and rings the bell.                      DIANE            Kansas, you should never judge a book by            its cover.  HANK WOOD ENTERS (greasy hair, dirty coveralls, big rubber  gloves).  He's a chain-smoker and reeks of insecticide.  The  squad reacts.                      HANK            Yeah?                      DIANE                (sotto)            I guess there's an exception to every            rule.                      KANSAS            You're the "Terminator?"                      HANK            You come in here to bust my balls?  I            kill bugs for a livin'.  G-d already            beat ya to it.  He turns to exit.                      DIANE            NO!  Wait...um...                (nervous, but smiling)            We're the A-squad from Lincoln High?             So, uh...                      KANSAS            We were told you could "fix us up."                      HANK                (eyeing suspiciously)            Really...                      LUCY            Yeah.  "Itchy" sent us.                      HANK            She did, did she?  How is the old girl?                      LUCY            Definitely old.                      HANK                (warming)            That's Itchy, alright.  How many y'need?                      DIANE            Well, we'll each probably want one - so            let's make it five.  Five should do it.                      HANK            Okay.  How much ammo you reckon you'll            need?                      DIANE            Ammo?                      HANK            Bullets.                      DIANE            Bullets?  No bullets!  Oh my gosh, these            are just to scare people.             Kinda like round-off, back handspring,            whip back, double full.  You never            really use it - you just want the            opposing squad to know you've got it.                      HANK            Right.                (beat)            That'll be fifteen hundred - cash.  Squad REACTS!                      CLEO            What?!                      KANSAS            You piece-a-shit bug zapper!                      DIANE            Hey, hey, hey.  C'mon you guys.                (to Hank)            Obviously that's a little more than our            budget will allow.  Basically, we're            looking for something around two-hundred            dollars.                      HANK            Oh, why didn't you say.  For two-hundred            I got a nice rubber band and a real            sharp nail in back... I'll gift wrap it            for you.  The deal is fifteen hundred.             Cash.  Take it or leave it.                      HANNAH            What kind of deal would you make if I            said we were going to the police and            tell them you're selling illegal guns...            to minors!  To girl minors!                      HANK                (big toothless grin)            I'd just hafta kiiiiiill you.                      DIANE            Well, okay then.  It was a pleasure            meeting you.  Take care, let's go you            guys.  Squad quickly exits.                      HANK            Hold on!  They stop, still facing the door.                      LUCY            Oh please, we've all got bright futures            ahead of us - we're not going to tell            anyone.  Promise!                      HANK            Maybe we can make a deal.                      KANSAS            Look, we're not gonna trade sex for            guns.  Unless Cleo...  Cleo hits her.                      HANK            My daughter's always dreamed of bein' a            cheerleader.  Put her on your squad and            I'll give you the guns.                      DIANE            You're kidding.                      HANK            Fern!  C'mere!                (to squad)            She's siphoning tanks - takes a sec to            cap off the cyanide hose.  FERN, all of 85 pounds wet, ENTERS wearing BIG GOGGLES, BIG  RUBBER GLOVES, BOOTS and a BREATHER which she removes and  gasps for air.                      DIANE            We'll be right back.  EXT. "THE TERMINATOR" EXTERMINATOR SHOP - DAY  The squad runs out and gets into Hannah's STATION WAGON.                      KANSAS (O.S.)            Holy shit!  That's a poster child for            "Planned Parenthood."  INT. LAMAZE CLASSROOM - NIGHT  CLOSE ON  Slide of VAGINA.                      INSTRUCTOR (O.S.)            The vagina, forming the lower portion of            the birth canal, will normally expand            its folded walls to allow for the birth            process...  Suddenly Diane and the squad walk across the screen.                      DIANE            Sorry, we had our first basketball game -            went into overtime... Excuse us.  Sorry.  PULL BACK TO REVEAL:  Pregnant WOMEN on the floor, resting on pillows - husbands  kneeling beside them.  CONTINUE TO PULL BACK with the squad  as they make their way to the back row.                      INSTRUCTOR                (annoyed)            May I continue, ladies?                      KANSAS            Sure.  Unless it's hard for you to talk            with that stick up your ass.  A few couples LAUGH.  Pissed, the instructor continues in the  B.G.  Room starts LAMAZE BREATHING.  Diane joins in.						                      CLEO            Is Jack upset that he can't be here?                      DIANE                (La Maze breathing)            Hee-hee-haaaa-weee worked it out.  Heee            hee-haaa....                                                 SMASH CUT TO:  INT. VIDEO BARN - CONTINUOUS  CLOSE ON  Jack, kneeling on the floor.  Behind him a MONITOR plays a La  Maze instruction video.                      JACK                (La Maze breathing)            Hee-hee-heee-haaaaa, hee-hee-hee-haaaa,            doin' good, Sweetie...                (looking down)            Hey-hey, let's remember our focal point!  Jack raises a STUFFED ANIMAL by his face.  PULL BACK TO  REVEAL one of the social retards, CHRIS, playing the role of  Diane - head on a pillow beside Jack, La Maze breathing.                      CHRIS                (labor pain)            AHHHHH!  CUSTOMERS, including Lisa, stop and stare.                      JACK            C'mon, don't stop now.  We're gonna make            it, baby.                      LISA            What a sad waste of a man.                                                  CUT BACK TO:  INT. LA MAZE CLASSROOM - CONTINUOUS  Squad reaches an open space at the back of the room.  Diane  gets down on her pillow - squad surrounds her.  ROOM STARTS  LA MAZE BREATHING EXERCISES.  Lucy takes out a piece of paper  which she sets on Diane's belly for all to see.                      LUCY                (whispering, pointing)            Okay, even with all our savings, it's            still only six hundred fifty-four.                      DIANE                (mid-breathing exercise)            Hee-hee-hee, haaaaa-that's it?  Hee-hee            hee...                      KANSAS            Don't make me Jerry Lewis you guys for            the rest.                      HANNAH            Hey, I even took my parents' foster kid            money.  Phillipe's gonna have to gather            rice without pants this month.                      LUCY            Look, you guys, three strikes we're out.             Let's face it.  It's time to abort!  A COUPLE looks over - aghast.  Kansas glares back.                      KANSAS            Hey.  Eyes on your own belly!                      DIANE            Hee-hee-h-wait a minute.  Hold on, now.             What do we do before a big game?                      CLEO            Use the bathroom, because the Port-a            Potties on the field are gross.                      DIANE            My fault - What do we do that enables us            to be as great as we are?                      CLEO            I personally think of how Conan started            as a writer, then became a...                      LUCY                (jumping in)            -- We practice!  Sorry, Cleo.                      DIANE            That's right.  Practice makes perfect.             I'm practicing to have a baby right now.             If we do a practice job, we'll not only            get the experience, but also the extra            money we need for guns!  Squad quietly AD-LIBS their agreement.                      DIANE (CONT'D)            I've got the perfect job - and I've            gotta pee - help me up!  MUSIC UP:                                                  DISSOLVE TO:  INT. LINCOLN HIGH - HALLWAY - DAY  A SMILING OLDER WOMAN with a "Volunteer" button sits at a  table with a "LUNCH TICKETS: $1.50" SIGN on it.  LISA JANUSCH  approaches and hands her some money.  The Older Woman starts  to SLOWLY COUNT OFF TICKETS from a roll.  Impatient, Lisa grabs the roll, rips off some tickets, tosses  the roll on the table and STORMS OFF.  The Older Woman  UNLOCKS THE METAL BOX (key around her neck), PUTS THE MONEY  IN, then SHUTS IT.  Diane ENTERS FRAME and gives her money.  The older woman  counts off tickets, smiles and gives them to Diane who bends  down to tie her shoe.   The Older Woman UNLOCKS the metal box to put the money in as  KANSAS ENTERS, FALLS TO THE GROUND and fakes CHOKING.  Cleo  runs up to Kansas - begging for help.  The Older Woman hurries around the table to help as Hannah  ENTERS FRAME, takes the open metal box and dumps the contents  into Lucy's Winnie the Pooh BACKPACK as she walks quickly  THROUGH FRAME.  Hannah hands the box to Diane who shuts it  and puts it back on the table.   BOTH EXIT in opposite directions as Kansas STOPS CHOKING,  gets up and exits, followed by Cleo, who first helps the  Older Woman to her feet and then exits.                                                       CUT TO:  INT. LINCOLN HIGH - SCIENCE LAB - DAY  The squad sits around the opened Winnie the Pooh backpack.  A  look of shock on their faces.  After a long beat...  END MUSIC                      LUCY            What the hell kind of food are they            serving us that they can turn a profit            on two hundred bucks!?                                                 SMASH CUT TO:  EXT. "THE TERMINATOR" EXTERMINATOR SHOP - DAY  Front door OPENS.  Squad EXITS with a LARGE BLACK TRUNK and  FERN.  INT. HANNAH'S STATION WAGON - DAY  Squad looks miserable - Fern SMILES from ear to ear.  The  squad slowly STARTS TO SNIFF, then turn toward Fern.                      DIANE            Uh, Fern?                      FERN                (monotone)            Yeah?                      DIANE            No more filling tanks before practice,            okay?                      FERN            'Kay.  EXT. HANNAH'S STATION WAGON  We watch the wagon DRIVE through Lincoln.                      CLEO (O.S.)            So, y'know, what are you, anorexic or            bulimic?                      FERN (O.S.)            Just skinny.                      CLEO (O.S.)            Don't make me hate you.  EXT. KANSAS' HOUSE - OLD RAMBLER STYLE - DAY  The station wagon pulls into the cracked driveway.  The squad  jumps out and runs around to the back of the car, pulling out  the large black trunk.                      KANSAS (V.O.)            You guys wanna hurry up?  My            grandparents get back from dinner at            four-thirty.  INT. KANSAS' BASEMENT - MOMENTS LATER  Squad hurries down the open, unfinished stairs, lugging the  trunk behind.  It looks like a STUDIO APARTMENT - a unique  combination of her grandparents' old '60's furniture and high  school memorabilia.                      CLEO            I can't believe your grandparents never            come down here.                      KANSAS            You have three heart attacks and a half            dozen strokes and tell me how much you            wanna run up and down the stairs.  Shit -            I forgot to pick up the cigarettes.  Squad forms a circle around the trunk.                      DIANE            Ready?  She flips OPEN the latches.                      DIANE (CONT'D)                (with squad)            Okay!  All help LIFT THE LID.  Stunned SILENCE.                      KANSAS            What the hell?  WE SEE the trunk is filled with OLD GUN PIECES.  Stocks,  barrels, flint locks, rusty triggers, etc.  Nothing seems to  go together.  ALL TALK AT ONCE.                      DIANE            Oh no...                      KANSAS            He Ikea'd us.                      LUCY            Okay.  How many signs do we need?  We're            not supposed to do this...                      HANNAH            Maybe Lucy's right.  Maybe this is a            sign.                      KANSAS            Screw Lucy!                      GRANDMOTHER (O.S.)            Kansas?  FOOTSTEPS SOUND at the top of the stairwell.  Squad quickly  shuts the trunk and sits on it.                      GRANDMOTHER (O.S.) (CONT'D)            Is that you down there?                      KANSAS            Shit!                (calling up)            Yeah, Grandma.  Me and the squad.                      GRANDMOTHER (O.S.)            Are you girls talking about boys?             Practicing kissing your hands?                      KANSAS            Oh yeah, you caught us...  TWO OLD LEGS with SUP-HOSE and ORTHOPEDIC SHOES STEP DOWN on  the top step.  Squad panics.  Tries to quietly hide the  trunk.                      GRANDMOTHER (O.S.)            Oh well, then I'll put some cookies at            the top of the stairs for you gals.                      KANSAS            Thanks!  That'd be great.  Old legs START BACK UPSTAIRS.  Girls relax.  Legs STOP, TURN  and head BACK DOWN.  Squad springs into action again.                      GRANDMOTHER (O.S.)            You got that big retarded girl down            there?                      KANSAS            Uh...Yeah, Grandma.                (to Hannah)            She doesn't mean that.  Kinda lost the            old filter with her last stroke.                      GRANDMOTHER (O.S.)            Then I'll throw a few more treats on the            plate.  Where's my smokes?                      KANSAS            I'll get them before "Touched by an            Angel," don't worry.                      GRANDMOTHER (O.S.)            You damn well better...  LEGS DISAPPEAR.  Squad relaxes.                      CLEO                (loud whisper)            This is great.  What do we do?  Threaten            people with a trunk full of parts?                      FERN            I'm sorry, you guys.  But when you're            dealin' with South American Rebels, you            kinda gotta take what you can get.  Squad AD-LIBS their frustration.                      DIANE            Excuse me, but do you guys know what I            don't see here?  Squad AD-LIBS "No.  Uh-uh.  What?" etc...                      DIANE (CONT'D)            I don't see a problem.  I see a great            big craft project sitting right in front            of us.  So, Kansas, get me some glue,            tape and a nail file...  The squad looks at each other as Diane rolls up her sleeves  and reaches into the trunk.                      DIANE (CONT'D)            Oh, and some Lysol if you have...  MUSIC UP                                                  DISSOLVE TO:  INT. APARTMENT - NIGHT  THE LIST  3) "Rehearse Robbery" is CROSSED OFF                                      DISSOLVE THROUGH LIST TO:  INT. APARTMENT - NIGHT  Squad, set up for a girl party, is making a large HALLWAY  POSTER ("Go Mighty Logs!") in the middle of sleeping bags.   They're laughing and having fun as Jack, in Video Barn  uniform, ENTERS from the bedroom, kisses Diane on the head,  waves good-bye to the squad and LEAVES.  All freeze for a  beat, then quickly turn over the poster, revealing a detailed  layout of the SAFEWAY/BANK BRANCH.  Cleo opens her OVERNIGHT BAG and pulls out FIVE MODIFIED  DOLLS - she CUT OUT their SCHOOL PICTURES and taped them over  the dolls' faces.  ALL PLACE THEIR DOLL IN STARTING  POSITIONS.   Cleo then pulls out a CONAN DOLL (Conan's face over a  shirtless G.I. Joe) who sweeps "her" off her feet and takes  her in frozen foods.  Kansas grabs the Conan Doll, runs into the kitchen and shoves  him head first down the garbage disposal.                                                  DISSOLVE TO:  INT. APARTMENT - DAY  THE LIST  4) "Teach Farm Cheers" is CROSSED OFF.                                      DISSOLVE THROUGH LIST TO:  INT. LINCOLN HIGH - GYMNASIUM - DAY  ON FAR LEFT  Squad member does a short cheer sequence.    ON FAR RIGHT  Fern does her version.  Unfortunately she lacks rhythm,  coordination and any amount of sex appeal.                                                  DISSOLVE TO:  INT. APARTMENT - DAY  THE LIST  Diane RE-WRITES "Teach Fern Cheers" then CROSSES OFF:  5) "Buy baby shower invitations and cigarettes for felons."                                      DISSOLVE THROUGH LIST TO:  INT. LINCOLN DRUG STORE - DAY  Diane and squad stand at the check-out.  Diane places SHOWER  INVITATIONS on the counter.  The Older Saleswoman smiles  warmly and touches Diane's belly.  Diane smiles, then points  to the cartons of cigarettes behind the counter.  The woman  frowns.  Diane smiles, points again and holds up ten fingers.                                                  DISSOLVE TO:  CLOSE ON  Log Mascot Head                      BRUCE                (muffled through head)            Please join our "A" and "B" squad            cheerleaders in a salute to winter            sports!  PULL BACK to REVEAL WE'RE:  INT. LINCOLN HIGH - GYMNASIUM - DAY  It's DECORATED for CHRISTMAS.  Fightin' Log Mascot now wears  a Santa Hat and red scarf.   A JAZZ BAND on stage beside him starts up.  With a voice like  JIM NEIGHBORS, Bruce TIPS the Mascot Head BACK and launches  into the following to the tune of "Rudolph The Red-Nosed  Reindeer."                      BRUCE                (singing slow intro)            "I....see...girls swimming..."  A HUMILIATED B-squad MEMBER - in swimsuit - ENTERS a SIDE  DOOR and pretends to SWIM to CENTER COURT.                      BRUCE (CONT'D)            "Boys swimming..."  Another B-squad MEMBER - dressed as a guy in a swimsuit -  "swims" to CENTER COURT.                      BRUCE (CONT'D)            "Ooooh, they look chilllyyyyy..."  Squad members pantomime this to the JEERS FROM THE CROWD.                      BRUCE (CONT'D)            "Volleyball for her..."  B-squad MEMBER - in volleyball uniform - ENTERS and spikes a  ball.  It gets away from her and she has to CHASE IT.  Crowd  CHEERS AGAIN.                      BRUCE (CONT'D)			EXT. EXTERMINATION VAN - CONTINUOUS  SIDE DOOR SLIDES OPEN.  One by one, the squad, dressed as  PREGNANT BETTYS - MASKS ON, MATCHING JACKETS and each holding  a BOX FOR LONG STEM ROSES - jump out.  NEW ANGLE  as the MOTION SLOWS and, like a shot out of "Tombstone," the  LINE OF PREGNANT BETTYS disappear around the corner - coats  blowing in the wind.  ANGLE ON  BACK DOOR ENTRANCE.  Cleo grabs the door handle - and it  COMES OFF.                      KANSAS                (panting)            Who are you - the goddamn Bionic Woman?!                      CLEO            I just pulled and it - it came off.                      KANSAS            This is great - GREAT!  Now we have to            enter the front door!                      CLEO                (taking off her mask to breath)            Look, it's really not my fault.  Kansas jumps at her, pulling her mask back down.                      KANSAS            Hey!  Rule number one - never take off            the mask!  Y'hear me!  No matter what            happens, NEVER TAKE OFF THE MASK!                      CLEO            Sorry, Kansas...                      KANSAS                (out of her mind)            NO-GAH-BUH- NO!  Rule number two - NO            NAMES!  NO GODDAMN NAMES, you retard!                      CLEO            Oh for Chrissakes...                (with emphasis)            "White trash Betty."                (back to normal)            I didn't realize the rules went into            effect before we entered Safeway.                      KANSAS                (pushing her for emphasis)            Well, use your head, "Stalker Betty."                      DIANE            Bettys, stop it!  "The best squad is one            that hopes for the best and prepares for            the worst."  National High School            Cheerleading Association letterhead.             Now, let's give a hands in...  All form a circle, putting their right hands in.                      DIANE (CONT'D)            We're ready.  We're prepared.  And this            is going to be the best bank robbery            ever, because...                      DIANE & SQUAD                (loud whisper)            Cheer-leaders kick...  All swing arms overhead and SMACK THE "ASS" of the girl to  their right.   MUSIC UP  They start back around the corner.  Suddenly someone dressed  as a PREGNANT NIXON turns the CORNER - all SCREAM!    MUSIC UNDER                      NIXON                (it's LUCY)            SHH!  It's me.                      DIANE            Lucy?                      KANSAS            What the hell do you want?                      LUCY            I want to help.  I'm part of this            squad...                      HANNAH                (nerves build to rage)            Oh no!  You committed the ultimate sin -            you left our squad to be with a guy.             And - and that guy is the Devil himself -            'cause only the Devil would turn you            against your sisters!  All stare at her... then start to LAUGH.                      DIANE                (arm around Hannah)            Hannah, you really have to stop taking            that church stuff so literally.                                                 SMASH CUT TO:  EXT. SAFEWAY ENTRANCE - DAY  ANGLE ON LINE  Walking in SLOW MOTION, this time with the PREGNANT NIXON on  the end.  ANGLE BEHIND SQUAD  as they STOP at the MAIN ENTRANCE.  IN UNISON  the squad TUCKS their BOXES tight under their right arms,  then takes a step FORWARD - AUTOMATIC DOORS OPEN and they  ENTER.  INT. SAFEWAY - CONTINUOUS  MUZAK PLAYS.  Squad steps off the black electronic met, then  stops.  CUSTOMERS FALL SILENT.  It's a sight to behold.  Only  MUZAK CONTINUES.  Kansas holds up a hand and counts off ONE, TWO, THREE  FINGERS.  All pull the RED RIBBON off their rose box with one  hand - smoothly grabbing the guns they've glued and taped  together with the other - as they move into their next  position (Kansas and Hannah take point as Diane, Cleo, Lucy  and Fern move into the bank branch).  Cleo fumbles with her  box, dropping her gun.  The barrel falls off, CLANKING as it  rolls away from her.  Nixon helps her stick it back together.                      KANSAS                (deep, strong guy voice)            Okay, down on the ground!  Now!  SOME PATRONS DROP to the ground.  Others STAND FROZEN.   They're confused.  Just the bank or everyone?                      KANSAS (CONT'D)            I said DOWN!  A Safeway CASHIER ("witness" from opening) in front of them,  stands trembling.                      SAFEWAY CASHIER            Uh, y-y-y-you robbin' the Safeway, or            the bank?                      KANSAS            BANK!                      SAFEWAY CASHIER            S-s-so y'want everyone down?  O-or just            the people at the b-b-bank branch?  They never thought about that...                      KANSAS            All of you!                      HANNAH                (same time)            Bank branch!  People start to get down who were up, others get up who were  down.  Kansas and Hannah look at each other a beat, then:                      KANSAS            Bank branch!                       HANNAH                (same time)            All of you!  People start to MURMUR and, once again, reverse their  positions.  Kansas and Hannah move together for a brief  conference.  SECURITY CAMERA POV  Lucy and Cleo stand under it, shoulder to shoulder, inner  hands joined, looking up.  Fern RUNS IN FRAME and JUMPS onto  her HANDS.  They POP her up to their SHOULDERS making a  STANDING PYRAMID.  Fern pulls out SPRAY PAINT and sprays over  the SECURITY CAMERA LENS.  ON KANSAS AND HANNAH  conference ends.  They return to point positions.                      KANSAS            Bank branch only!  Everyone else - go on            about your business!  EVERYONE near the bank starts to get down.  Unable to "go  about their business" with a robbery in progress, Safeway  CUSTOMERS just stare.  After an uncomfortable beat.                      KANSAS (CONT'D)            Shit - EVERYBODY DOWN!  MUSIC UP: LOUD ROCKIN' VERSION OF MUZAK  Everyone goes ass-up.  Kansas and Hannah nod with their  success, then shoulder their guns.  ON LISA  as she slowly gets on the floor - watching Lucy, Cleo and  Fern spray painting the security camera.  LISA'S POV  as Lucy, Cleo and Fern do a HALF-SWAN DISMOUNT from the  Pyramid.  ON LISA  as this stunt registers across her face - it's an illegal  dismount!  She starts to count Bettys...  ON DIANE  in the bank branch, moving like a shark - never stopping -  knowing exactly where everything is.  ON LUCY, CLEO AND FERN  as they RUN ACROSS to the other SECURITY CAMERA.  They pass  Lisa, staring up at them.  Cleo steps on her ass as she  crosses over.  LISA'S POV  as she hits the ground - noticing a POMPON STRING stuck in  Fern's boot.  Lisa REACHES OUT - GOT IT!  ON LISA  as she pulls it in, under her body - EVIDENCE!  ON DIANE  Safe is OPEN.  Cleo and Fern join her, taking the MONEY BAGS.   They open them as Diane turns around with her first arm-load  of cash.  (Lucy moved to her next position at the front  door.)                      FACTORY WORKER (O.S.)            This here's bullshit!  That's what this            is!  ALL TURN and FREEZE.  MUSIC UNDER.                      FERN            Shit.                      DIANE                (whispered)            I'm fine here - go help!  ANGLE ON FACTORY WORKER ("Witness" from opening)  wearing a "Lincoln, Local 186" cap.  He walks up the cereal  aisle.                      FACTORY WORKER            Not gonna let some piece-a-shit Betty            Doll tell me what to do...  ON KANSAS AND HANNAH  they turn to each other - shit!  ON FACTORY WORKER  as he continues toward them - REACHING INTO HIS BOOT AND  PULLING OUT A KNIFE.                      FACTORY WORKER (CONT'D)            No-sireee-bob...  ON KANSAS AND HANNAH  Oh shit-oh-shit!  Cleo and Fern join them.                      KANSAS            Freeze or meet Jesus, Ass-hole!  Kansas shoulders her gun.  The barrel starts to droop, the  glue isn't holding.  She quickly reaches out to straighten  it.  ON FACTORY WORKER  he stops, dead in his track.                      FACTORY WORKER            Don't we never take the Lord's son's            name in vain around this part of the U-S            A!  He drops his 6-pack and starts to RUN AT THEM!                      FACTORY WORKER (CONT'D)            Ahhhhhhhh!  ON THE GIRLS  they're freaking out.  ON CUSTOMERS  bracing for the worst.  ON FACTORY WORKER  yelling and running.  SUDDENLY, the SOUND OF TEN ROUNDS in  TWO SECONDS breaks the tension.  MOTION SLOWS as his hat  EXPLODES OFF HIS HEAD.  His face registers absolute surprise  as he falls back on his ass.  ON THE GIRLS  Hannah stands frozen, gun still at her shoulder, breathing  hard.  All turn - SHE JUST SHOT A GUY!  ON FACTORY WORKER  spread eagle in the middle of the demolished aisle.  Cereal  trickles down from punctured boxes on the shelves.  Suddenly, he starts to move and slowly sits up.  Dazed and  confused, only a piece of his union cap remains on his  head...  ON THE GIRLS  they breathe a sigh of relief!  Fern approaches Hannah.                      FERN                (sotto)            Uh, I forgot to tell you sometimes when            the rebels take the gun off a corpse,            some live rounds get left in the drum.                      HANNAH                (complete shock)            Good to know, Fern.  Good to know.  MUSIC UP.  ON DIANE   SHOVING CASH in the last money bag as Cleo and Fern return,  GRAB THE OTHER FULL BAGS and GO!  Diane's about to close her  bag when SNIFF...SNIFF... SNIFF - she turns toward the fish  department, puts the BAG OVER HER MOUTH and goes down to  puke.  BEAT.  She stands, pulling her mask back down, ties  the bag and follows the others.  ANGLE ON SQUAD  as they run out together.  Fern watching the rear.  Diane  sees Snickers near the door.  She's torn - THIS IS ONE TOUGH  CRAVING!   Kansas motions for her to "C'mon, run!" but Diane can't.  She  goes back for a Snickers.  She suddenly stops, digs in her  pocket and tosses a bill to the Cashier.  FADE OUT MUSIC.                                                 DIP TO BLACK.  OPTIONAL ROBBERY PAGES:  ON FACTORY WORKER  yelling and running.  SUDDENLY, the SOUND OF TEN ROUNDS in  TWO SECONDS breaks the tension.  MOTION SLOWS as his hat  EXPLODES OFF HIS HEAD.  His face registers absolute surprise  as he falls back on his ass.  ON THE GIRLS  Hannah stands frozen, gun still at her shoulder, breathing  hard.  All turn - SHE JUST SHOT A GUY!  ON FACTORY WORKER  spread eagle in the middle of the demolished aisle.  Cereal  trickles down from punctured boxes on the shelves.  Suddenly, he starts to move and slowly sits up.  Dazed and  confused, only a piece of his union cap remains on his  head...  ON THE GIRLS  they breathe a sigh of relief!                      HANNAH                (complete shock)            I feel like freakin' David and Goliath.  MUSIC UP.  ON DIANE   SHOVING CASH in the last money bag as Cleo and Fern return,  GRAB THE OTHER FULL BAGS and GO!  Diane's about to close her  bag when SNIFF...SNIFF... SNIFF - she turns toward the fish  department, puts the BAG OVER HER MOUTH and goes down to  puke.  BEAT.  She stands, pulling her mask back down, ties  the bag and follows the others.  ANGLE ON SQUAD  as they run out together.  Fern watching the rear.  Diane  sees Snickers near the door.   She's torn - THIS IS ONE TOUGH CRAVING!  Kansas motions for  her to "C'mon, run!" but Diane can't.  She goes back for a  Snickers.  She suddenly stops, digs in her pocket and tosses  a bill to the Cashier.  FADE OUT MUSIC.                                                 DIP TO BLACK.  FADE IN:  ON TV SCREEN - NEWS CAMERA POV  EXT. SAFEWAY - DAY  An animated Lisa talks to a MALE REPORTER.  In the B.G. the  place buzzes with POLICE, PARAMEDICS and CRIME SCENE TECHS.   "LIVE" flashes across the bottom of the screen.                      LISA                (ranting)            ...I'm walking evidence!  One of them            stopped my ass!                (turning ass to camera)            Can you get a shot of it!?                (calling to tech)            Hey, can someone dust my ass for prints            over here?!  The male reporter waves TWO PARAMEDICS OVER - signaling  "crazy" and pointing to Lisa.                      LISA (V.O.) (CONT'D)            I immediately started helping local            police with their investigation.                      LISA (CONT'D)            Oh, wait - I almost forgot!  I-I found            this!!!  She pulls out the pompon string (from Fern's boot) and hands  it up proudly as two PARAMEDICS take her arms and try to lead  her away.  Lisa struggles to show her pompon string to  camera.  IN EXTREME F.G. - a TWENTY DOLLAR BILL FLOATS PAST  PULL BACK to reveal we're watching a TV.  More money floats  past IN FRONT OF THE SCREEN.    CONTINUE TO PULL BACK to REVEAL WE'RE:  INT. KANSAS' BASEMENT - HOUR AFTER ROBBERY  Diane, Cleo, Hannah and Lucy are laughing, throwing and  rolling around in the money as the TV continues to play  "LIVE" from the scene.  They're all in their undies (find out  why in a second) - money stuffed everywhere.  Diane goes back  to hanging freshly washed bills (from the barf bag) to dry.                      CLEO            Can you guys believe this?  We're like            celebrities!                      LUCY            Better enjoy it now.  'Cause tomorrow            some little kid falls down a well and            we're nothing but a distant memory.  Kansas enters from a back room.                      KANSAS            Disguises incinerated!  Squad CHEERS and throws money at her.                      KANSAS (CONT'D)            Bad news, Di, there's one thing we just            couldn't fit in the furnace...  ANGLE ON FERN  pushing a DOUBLE CRIB.  It's filled with baby items, stuffed  animals, etc.                      DIANE            Oh my G-d!  A real crib!  You guys -            thank you!  Can you believe we did it!?                (reality hits)            I mean, we did it.  We REALLY DID IT!  Squad CHEERS and starts to throw money around again.                      LISA (V.O.)            I guess no one could've predicted the            shit-storm that was about to hit.  The            only thing people cared about, thought            about or talked about was the robbery.             Everyone had a theory.					    EXT. SAFEWAY - SAME DAY  NEWS CAMERA POV  Safeway Cashier talks into an "Action News '98" mic.                      SAFEWAY CASHIER            ...well, judging by the way the robbers            practically flew up to spray paint            security cameras, I think it was an            Asian gang.  As a people, they tend to            be quite tiny and very acrobatic...                      LISA (V.O.)            That's all it took, then the next thing            you know...                                                 SMASH CUT TO:  EXT. "DIM-SUM CHARLIE'S" CHINESE RESTAURANT - NIGHT  S.W.A.T. MEMBERS surround this Americanized Chinese  restaurant - machine guns at the ready.  SUDDENLY, a small  frightened Asian man walks out, hands in the air.                      LISA (V.O.)            ...Dim-Sum Charlie's being hauled in for            questioning...  INT. SAFEWAY - BANK BRANCH - NEXT DAY  NEWS CAMERA POV  BANK BRANCH WORKER talks into a "Channel 5" mic.                      BANK BRANCH WORKER            I think it was five pregnant women, mmm            hmmm.  My wife and I have two babies of            our own and there's no accounting for            the things they'll do when they're in            that "condition."  One night my wife            came home from work and she just kicked            me in the balls.  To this day, I don't            know what came over her - just kicked me            in the balls.  INT. LA MAZE CLASSROOM - NIGHT  A POLICE OFFICER stands beside a POLICE SKETCH of a PREGNANT  BETTY.                      LISA (V.O.)            From there, the town just seemed to go            ape-shit...  PREGNANT WOMEN YELL and point at ANOTHER PREGNANT WOMAN  they've cornered.  UNFORTUNATELY she looks just like a WENDY  DOLL.   Her husband tries unsuccessfully to prevent TWO OFFICERS from  taking her away.  The squad sits quietly - horrified by this  witch hunt.  EXT. FACTORY - DAY  NEWS CAMERA POV  Factory Worker talks into an "ABC" mic.                      LISA (V.O.)            News of this didn't stop at the border            of Lincoln County.  This thing spread            faster than a canker sore on the girls'            swim team.  Someone in Lincoln would say            something like...                      FACTORY WORKER            It was a bunch of faggots!  Sure-as            (BEEP).  They was dressed like a bunch            of freakin' Wendy Dolls, for chrissakes.             They had faggoty little voices.                (removing charred cap)            And only a buncha G-d-(BEEP) queer'd            shoot up a union cap!                      LISA (V.O.)            All of a sudden...                                                  DISSOLVE TO:  INT. JERRY SPRINGER SET - DAY  JERRY SPRINGER talks INTO CAMERA from the audience.                      LISA (V.O.)            It's on Jerry-fuckin'-Springer!                      JERRY SPRINGER            ...today, we'll meet a growing number of            transvestites who don't just like to            dress up as women, they like to dress as            pregnant women.  When we return,            "Transvestites with a Twist."  ON STAGE  TWO TOUGH-LOOKING MEN, dressed as pregnant women, stare out  at the audience.                      LISA (V.O.)                (alternate line)            I'm not talking "Maury" or "Leeza."             This thing was definitely huge!  EXT. NEIGHBORHOOD STREETS - DAY  A POLICE CAR with TWO OFFICERS cruises a neighborhood street.   They pass DONUTS back and forth to each other.  Through their  windscreen, we see TWO SMALL CHILDREN WEARING WENDY MASKS  playing "cops and robbers."                      ROBIN QUIVERS (V.O.)            In other news...oh, did you hear about            the six-armed Betty Dolls that robbed a            bank the other day?                      HOWARD STERN (V.O.)            Oh man, that's so my fantasy - life size            Bettys tellin' me what to do.  "Get down            on the ground, you filthy man."  Yes,            Giant Betty.  "Bend over!"  Yes,            Mistress Betty.                      ROBIN QUIVERS (V.O.)            They were pregnant.                      HOWARD STERN (V.O.)            What?!  Knocked-up Bettys?!  Couldn't-a            been Ken, his schlong is molded to his            body.  Hey, at the police line-up, they            should just see whose knees can bend the            wrong way...  INT. "ENTERTAINMENT TONIGHT" SET - DAY  BOB GOEN sits at the anchor desk.                      BOB GOEN            ...when we come back, a behind the            scenes look at Fox's week long series,            "When Bettys Attack."                                        TV STATIC DISSOLVE TO:  INT. ESPN SET - NIGHT  DAN PATRICK sits behind the desk.                      DAN PATRICK            Tonight in St. Louis, bottom of the            ninth...  GAME FOOTAGE OF THE FOLLOWING:                      DAN PATRICK (V.O.) (CONT'D)            Ramirez with the pitch... McGwire            gone...  FOLLOW BALL...                      DAN PATRICK (V.O.) (CONT'D)            McGwire goes yard for the forty-second            time this season...  ANGLE ON STANDS  FANS, dressed as PREGNANT BETTYS (masks, jackets, etc.),  reach up for the ball.  One catches it, holds it up and waves  to the crowd.                      DAN PATRICK (V.O.) (CONT'D)            ...right into a waiting pack of pregnant            Bettys.  INT. ESPN SET - CONTINUOUS                      DAN PATRICK            Did I say that right?  A "pack" of            Bettys?  It might be a "gaggle" of            Bettys...                                        TV STATIC DISSOLVE TO:  EXT. "SOUTH PARK" - ANIMATION FOOTAGE  ESTABLISHING SHOT OF TOWN  SFX: A KID PARTY  INT. KENNY'S BASEMENT - DAY  A COSTUME PARTY is in full "swing."  Guys (not in costume) on  one side, girls (in costume) on the other.                      KENNY                (mumbled, pointing O.C.)            What the hell?!  The GROUP OF GUYS TURN to see CARTMAN, dressed as a PREGNANT  BETTY - machine gun in hand, approaching.                      KYLE            What the hell are you s'posed to be?                      CARTMAN            I'm a bank-robbin' Betty.                      STAN            You're not a bank-robbin' Betty - you're            a fat fuck in drag...                      CARTMAN            I am not a fat fuck in drag!!!  Cartman opens fire, KILLING KENNY.                                        TV STATIC DISSOLVE TO:  INT. "LATE NIGHT WITH CONAN O'BRIEN" SET - NIGHT  Conan and Andy sit at a desk.  Conan talks to camera.                      LISA (V.O.)            Then it happened - the moment I'd been            waiting for!  Our dip-shits in blue            finally followed up on my evidence...                      CONAN            ...they now believe a group of young            women are responsible for the Betty Bank            Robbery.                  (to Andy)            I've said for years the Betty Doll was a            bad influence on young girls.                      ANDY            You sure have...can't shut you up about            your Bettys.                      CONAN                (laughing)            That's right.  Now, I mean I'm no            authority on young girls.                  (mugging to camera)            Or am I?                (to Andy, laughing)            That was kinda creepy.                      ANDY            Do you have to notify police if you            move?  SPLIT-SCREEN  INT. DIANE'S BEDROOM - DAY  with  INT. KANSAS' BEDROOM - DAY  ON LEFT  Diane on phone with:  ON RIGHT  Kansas on the phone.                      KANSAS            It was Lucy!  Lucy went to the cops!                      DIANE            Remember, Kansas, every time you point a            finger you've got three more pointing            back at you.                      KANSAS            She's been the weak tit on this mama cat            since the beginning.  SFX: CALL WAITING BEEP                      KANSAS (CONT'D)            That you?                      DIANE            Yeah, hold on.                      KANSAS            Just call me later.  I gotta get some            smokes for Grandma.                      DIANE            Don't use big bills!                      KANSAS            For a pack of cigs?  I use her food            stamps.  Diane presses her receiver and SLIDES SCREEN RIGHT (PUSHING  KANSAS OFF) as Hannah, on the phone, FILLS IN ON THE LEFT.  SPLIT SCREEN  INT. DIANE'S BEDROOM - CONTINUOUS  with  INT. HANNAH'S LIVING ROOM - CONTINUOUS                      DIANE            Hello?                      HANNAH                (freaking out)            We're dead!  They showed this prison            movie to my youth group on Sunday.                      DIANE            Hannah, we've...                      HANNAH            It wasn't like the prison we saw - all            these women had to shave their heads            because they got lice from the filthy            lives they'd lived!  Oh G-d, I'm gonna            be someone's bald bitch!  SFX: CALL WAITING BEEP                      DIANE            Ooops, hold on a sec.  Hannah continues to rant as Diane PRESSES her receiver and  SLIDES SCREEN LEFT (PUSHING the ranting Hannah OFF) as Lucy,  on phone, SLIDES ON, SCREEN RIGHT.  SPLIT SCREEN  INT. DIANE'S BEDROOM - CONTINUOUS  with  INT. LUCY'S BEDROOM - CONTINUOUS                      LUCY            Di, it's Luce.  Kansas just called and            said she's going to "fuck me up!"  Then            I heard coughing, a thud and Kansas had            to go.  I think her Grandma had another            heart attack.  Anyway, why does she want            to "fuck me up?"                      DIANE            She thinks you went to the police.                      LUCY            WHAT?!  That's insane!!!  Why would I go            to the police?  SFX: CALL WAITING BEEP                      DIANE            I've got to get that.  Relax.  I'll see            you tomorrow.  SPLIT SCREEN  INT. DIANE'S BEDROOM - CONTINUOUS  with  INT. HANNAH'S LIVING ROOM - CONTINUOUS  An exasperated Diane presses her receiver again and SLIDES  SCREEN RIGHT, PUSHING LUCY OUT as Hannah - STILL RANTING -  COMES BACK IN SCREEN LEFT.                      HANNAH            ...my Sunday School teacher says that in            prison, women shove broom sticks up            your...                      DIANE            Hold on...  Diane presses her receiver again and SLIDES SCREEN LEFT,  PUSHING HANNAH OUT, DIM SUM CHARLIE, on prison phone - SLIDES  ON, SCREEN RIGHT.  SPLIT SCREEN  INT. DIANE'S BEDROOM - CONTINUOUS  with  INT. JAIL PAY PHONE - CONTINUOUS                      DIANE            Yeah?                      DIM SUM CHARLIE                (screaming in Chinese)            Oh thank Buddha it's you, Kim-Lo, I'm            being held against my will, my civil            rights have been violated and it took            four days to make this one phone call...                      DIANE            Hello?                      DIM SUM CHARLIE            Kim-Lo?                      DIANE            No.  This is Diane.  I think you have            the wrong number.  SFX: CALL WAITING BEEP                      DIANE (CONT'D)            Ooops, that's me -- gotta run!                      DIM SUM CHARLIE                (about to kill himself)            Wrong number  Nooooooo!  Diane presses her receiver again and SLIDES SCREEN RIGHT,  PUSHING DIM SUM CHARLIE OFF, as Cleo, on phone, SLIDES ON,  SCREEN LEFT.  SPLIT SCREEN  INT. DIANE'S BEDROOM - CONTINUOUS  with  INT. CLEO'S BEDROOM - CONTINUOUS                      DIANE            Hello?                      CLEO            Di?  I just called to say that Conan            talked about us again last night.                      DIANE                (first smile in a while)            Thanks, Cleo.  See you tomorrow.                      CLEO            Bye.  Diane and Cleo hang up.  SPLIT SCREEN DROPS DOWN.  Hannah,  still ranting, DROPS IN - FULL FRAME.  INT. HANNAH'S LIVING ROOM - CONTINUOUS                      HANNAH            ...and a "bitch slap."  I bet that            really hurts!                                                  DISSOLVE TO:  INT. APARTMENT - BATHROOM - DAY  CLOSE ON  Foggy mirror.  A HAND WIPES IT CLEAR, revealing Diane (SAME  AS OPENING).                      DIANE                (still perky)            Morning, sunshine.             Remember, except for the morning            sickness, blinding back pain and            embarrassingly unpredictable gas - these            are the best days of your life.  She starts to EXIT, then RETURNS.                      DIANE (CONT'D)            So far.  She BUCKS HER CHIN, attempts a smile and starts to EXIT.                      DIANE (O.S.) (CONT'D)            Hey, hey, hey, not so fast...  Diane returns to the mirror.                      DIANE (CONT'D)            Following your dream is not a crime.             Nobody suspects you.  Nobody has a clue.  MUSIC UP  ALSO CUE: CHANTS AND CHEERS  INT. LINCOLN HIGH - HALLWAY - DAY  MOTION SLOWS as squad, in uniform, walks toward camera in a  line across the hall.  Their CONFIDENT FACES quickly turn to  worry.  ANGLE ON  STUDENTS, quickly moving out of their way.  INT. LINCOLN HIGH - LUNCH ROOM - DAY  Squad (still in uniform) sit self-consciously at a table, no  one around them.  WIDEN TO REVEAL students are crushed at the  opposite side of the lunchroom.  Lisa and the B-squad  approach.                      LISA            Hey guys.  Someone not take a shower            today?  The B-squad smiles and chuckles at this.                      KANSAS            Hey Lisa, did you run into Carmen            Electra last summer?                      LISA            No.                      KANSAS            Oh.  'Cause is looks like you got some            of her tits in you...  A-squad can't help but laugh.  Lisa angrily hands Diane a  letter.                      LISA            This just came from the National High            School Cheerleading Association.  You            might want to look it over before you            try any more "cradle dismounts from            double base partner stunts that are over            shoulder stand level without using three            catchers."  Oh, or before you think            about robbing another bank.  SQUAD FREEZE with these WORDS.  Suddenly, the lunchroom is  FLOODED with S.W.A.T. MEMBERS.  It's PANDEMONIUM.                                                  DISSOLVE TO:  INT. POLICE STATION - INTERROGATION ROOM - DAY  We're back with Lisa and the FBI AGENT.  Lisa has drawn  moustaches, beards, blacked-out teeth, etc. on the A-squad  MUG SHOTS.                      LISA            ...and that's why I came forward.  I            mean, even the kids on the short bus can            see that all the evidence points to            Diane and the A-squad.                      FBI AGENT            Sure does.  Your testimony will prove            invaluable.                      LISA            Unfortunately, it wasn't them.                                                  DISSOLVE TO:  INT. APARTMENT - DAY  THE LIST  "Get Alibi" is CROSSED OFF.                      LISA (V.O.)            They were all waiting in my Suburban            while I ran into the Safeway that day            for cash...                                      DISSOLVE THROUGH LIST TO:  INT. LINCOLN HIGH - GYMNASIUM - DAY  MUSIC UP  Lisa, now the A-squad Captain, is leading a cheer.                      LISA (V.O.)            We were on our way to practice.  Now, I            really need to get going, 'cause nobody            ever got ahead by sitting on their            behind...  She's competent, not great.  Squad, including Fern, is  thrilled to be cheering.  Diane, very pregnant, SMILES and  WAVES from the stands.  END MUSIC                                                 DIP TO BLACK.  MUSIC UP OVER END CREDITS  PHOTO: CLOSE ON  a smiling Hannah.  SUPER: HANNAH USED HER MONEY TO START A SMALL BUSINESS.  PULL BACK to REVEAL she's sitting on a HORSE beside a sign:  "WOLD RIDING SCHOOL."  SUPER: THE MOST SUCCESSFUL RIDING SCHOOL IN THE STATE.  PHOTO: CLOSE ON  A GLAMOROUS FERN   SUPER: FERN GREW INTO HER LOOKS.  PULL BACK to REVEAL Fern is wearing camouflage and posing  with a large semi-automatic on the cover of "SOLDIER OF  FORTUNE" magazine.  HEADLINE READS: "High-paid Women Assassins - Can They Have It  All?"  SUPER: AND USED HER MONEY TO TRAVEL THE WORLD.  PHOTO: CLOSE ON  A JUDGE who appears to be reading a verdict.  PULL BACK to  REVEAL Kansas and MRS. HILL anxiously awaiting his verdict.  SUPER: KANSAS USED HER MONEY TO HIRE AN ATTORNEY WHO FOUND AN  OLD PIONEER LAW STILL ON THE BOOKS IN LINCOLN COUNTY.  SUPER: IF A WOMAN IS IN LABOR FOR LONGER THAN 18-HOURS - SHE  CAN'T BE HELD RESPONSIBLE FOR HER ACTIONS... MRS. HILL WAS IN  LABOR FOR 32-HOURS.  SHE WAS RELEASED IMMEDIATELY.  PHOTO:   Lucy, in graduation cap and gown, waves from an auditorium  stage at HARVARD.    SUPER: LUCY USED HER MONEY TO GO TO HARVARD.  SHE GRADUATED  WITH A DEGREE IN QUANTUM PHYSICS.  PHOTO: CLOSE ON  Pizza deliver box.  SUPER: WHILE STUDYING LATE ONE NIGHT, SHE HAD AN IDEA FOR A  PIZZA DELIVERY BOX THAT WOULD ACTUALLY KEEP THE PIZZA HOT.                                                  DISSOLVE TO:  PHOTO: AERIAL VIEW  of a LUSH TROPICAL ISLAND.    SUPER: SHE NOW OWNS THE ISLAND OF GUANA, B.V.I.  INT. CONAN O'BRIEN SHOW - NIGHT  PHOTO: CLOSE ON  Cleo's smiling face.    SUPER: CLEO USED HER MONEY TO MOVE TO HOLLYWOOD.  PHOTO  PULL BACK to REVEAL she's wearing a ripped dress - "new"  boobs bursting out.  SUPER: WHERE SHE MET THE PRODUCER OF SCREAM VIII...  PHOTO  PULL BACK to REVEAL it's a MOVIE POSTER for SCREAM VIII.   KILLERS are behind her, holding knives and wearing BETTY  MASKS.  SUPER: THEY WERE LAST SEEN BUYING LEATHER FURNITURE IN SOHO.  PHOTO  CONTINUE PULLING BACK to REVEAL she's on "THE LATE SHOW WITH  CONAN O'BRIEN."  Conan O'Brien is holding the poster between  them.  She's laughing at something he's saying.  SUPER: SHE GOT GOOD REVIEWS AND HER LIFE-LONG DREAM FINALLY  CAME TRUE.  EXT. POLITICA RALLY STAGE - DAY  PHOTO: CLOSE ON  a smiling Jack and Diane - looking more mature and more in  love.  SUPER: JACK AND DIANE DID NOT USE THEIR MONEY TO BUY BIRTH  CONTROL.  PHOTO  PULL BACK to REVEAL they're surrounded by FOUR BEAUTIFUL  CHILDREN - TWINS are five, others are THREE and TWO.  Diane  holds the youngest.  SUPER: AFTER THE TWINS - LIL' DEBBIE AND TRIX - WERE BORN,  JACK'S POLITICAL ADVISORS STARTED HIS SENATORIAL CAMPAIGN.  PHOTO  CONTINUE TO PULL BACK to REVEAL the VIDEO RETARDS (now in  suits) on either side of Jack and Diane.  SUPER: THEY WON.  PHOTO  PAN UP to REVEAL LARGE BANNER: "Congratulations Senator  Bartlett" hanging above them.                                                  DISSOLVE TO:  INT. SCHOOL AUDITORIUM - DAY  PHOTO: CLOSE ON  Diane, smiling from ear to ear.  SUPER: DIANE KEPT BUSY RAISING THE KIDS AND RUNNING THE  "DIANE BARTLETT UNWED MOTHER SCHOLARSHIP FUND FOR  CHEERLEADERS."...  PULL BACK to REVEAL she's on an auditorium stage, handing a  LARGE CHECK to a very PREGNANT CHEERLEADER.  SUPER: SO NO CHEERLEADER WOULD EVER HAVE TO ROB A BANK.   AGAIN.  EXT. WEDDING - DAY  PHOTO: CLOSE ON  Lisa smiling in a wedding gown.  SUPER: AND LISA...  PHOTO  WIDEN to REVEAL BRUCE IS HER GROOM.  SUPER: SHE WAS WRONG ABOUT BRUCE.                                                FADE TO BLACK.  The End						
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+                                SUGAR                              Written by                        Anna Boden & Ryan Fleck1    EXT. ACADEMY FIELD - DOMINICAN REPUBLIC - DAY                                A high angle looking out over a well-manicured baseball field     carved out of a tropical jungle. A game is currently in     progress.A1   ON THE FIELD                                                                 Wearing KANSAS CITY KNIGHTS uniforms, mostly Black and dark-     skinned Dominicans as well as several lighter-skinned     Venezuelans (17-22 years old) are set in their positions, poised     for the next pitch.     CLOSE ON the pitcher, MIGUEL SANTOS (aka AZ⁄CAR/SUGAR - 19,     lean, Black and handsome). Sweat drips down his face in the     oppressive midday heat. He steadies his glove and ball at his     chest, peeking over at the RUNNER on first base. Miguel lifts     his leg high into the air, rears back his right arm, and FIRES     the ball toward the plate.     THUD! A cloud of dust pops off the CATCHER'S mitt as the ball     slams inside.                           UMPIRE               Strike three!     The BATTER lowers his head, helpless in the face of Miguel's     overpowering fastball.     FROM THE DUGOUT, Miguel's TEAMMATES CHEER him on. HEAD COACH     REYES (dark-skinned, 30s) nods approvingly, CLAPS.     BEHIND THE HOMEPLATE BACKSTOP, a dozen rookie players also in     Kansas City uniforms cheer for their team. Two YOUNG PLAYERS     clocking Miguel's pitches look at each others' radar guns, which     read 92 and 93 MPH.     As the next batter steps up to the plate, Miguel's catcher, JOSE     (18), taps his index finger on his thigh, calling for an outside     fastball.     The next pitch is popped up on the infield between first and     home. Miguel locates the ball, points to the sky, but Jose and     first baseman, PEDRO BERROA, nearly collide, as the ball lands     between them and the runners reach base safely.B1   FROM THE OBSERVATION TOWER, the ACADEMY'S DIRECTOR, LEANDRO                 B1     ALVAREZ (light-skinned, late 50s) and several other COACHES and     SCOUTS jot down notes on their clipboards.                      Official Shooting Script as of 10/22/07   2.C1   ON THE FIELD, Miguel glares at Pedro, who averts his eyes, and     C1     kicks the dirt.     Miguel looks in for the sign from Jose, nods, and delivers a     tight fastball that sends the batter stumbling backwards to the     dirt.     Some players LAUGH and heckle the batter. Others point angry     fingers at Miguel, who greets the batter back to the plate with     a friendly, but authoritative, grin.     He sends in the next pitch and the batter swings right through     it, getting nothing but air.2    INT. ACADEMY DINING ROOM - NIGHT                                   2     The TEAM (about 35 young men) gather around several tables for     their standard baked chicken and rice lunch. The mood is     friendly and playful as players tease each other across the     tables. Miguel, sitting with his friends MARCOS (2nd base) and     ALFONSO (3rd Base), works on a second helping of dessert.                          MARCOS              Check out Sugar... Puts on twenty              pounds in two months; now he's going              for twenty more.                          MIGUEL                   (mouth full of food)              All muscle, baby. Rock solid.     For some NEW PLAYERS, distinguishable in the sea of BLUE     uniforms by their BLACK "tryout" jerseys and ragged sneakers, it     is their first healthy meal, and they eat as if it were their     last.   One of them, SALVADOR (Black, scrawny, 17) holds his     plate up to his mouth, shovelling food down his throat.                          PEDRO              Slow down, kid, it ain't going nowhere.     A few of the guys LAUGH.                          MIGUEL                   (to Pedro)              If you hustled half as much as him,              maybe you'd be hungry too.     The other guys "ohhhh" Miguel's insult, as Salvador and Miguel     exchange subtle grins.                      Official Shooting Script as of 10/22/07     3.3   INT. ACADEMY CLASSROOM - SAME DAY                                  3    Kids crowd around in a circle, repeating after the animated    English instructor, SE—OR SANCHEZ, who goes over some English    BASEBALL TERMS in the center. As he repeats the terms, he    enthusiastically pantomimes the meanings of each.                           SANCHEZ             Fly ball.                           CLASS             Fly ball.                           SANCHEZ             Line drive.                           CLASS             Line drive.                         SANCHEZ             Ground ball.                         CLASS             Ground ball.                           SANCHEZ             Home run!                           CLASS             Hone rone!    CLOSE ON Miguel, repeating the strange words.4   INT. RECREATION ROOM - SAME NIGHT                                  4    It's dark, and most of the team sits around an old TV set    watching the climactic final scene of Field of Dreams dubbed in    Spanish. Kevin Costner asks his father to play catch in a voice    that sounds nothing like Kevin Costner.    Miguel passes through the room, and we follow him out of the rec    room down a hall, and into...5   THE WEIGHT ROOM                                                    5    ...where he sits down at the bench press, lowers his head in    thought. TRACK IN CLOSE as he crosses himself, mouths a prayer,    then leans back onto the bench.    TRACK OUT as he lifts the bar, and begins a set of presses.                                                        FADE OUT.                     Official Shooting Script as of 10/22/07      4.6   EXT. ACADEMY FIELD - DAY                                            6    The Kansas City Director of Minor League Operations, RUDY    HUBBARD (white, 40s), watches a TRYOUT SESSION, where TWO SKINNY    TEENS in worn street clothes pitch to uniformed catchers. Their    AGENT talks on a cell phone nearby.    Alvarez, the academy director, approaches one of the kids,    whispers in his ear. The kid smiles tentatively.    Alvarez joins Rudy and they speak in English.                         RUDY             What'd you tell him?                         ALVAREZ             I told him to grip the ball more             gently. Like a tit.    They both crack up.    FROM THE TRYOUT MOUND. The kid looks over to the two men pow-    wowing about him. He breathes in, nervous...7   BATTING CAGE - MINUTES LATER                                        7    Pedro, sweating hard, takes a few cuts, but only seems to be    hitting weak ground balls and foul tips.                         ALVAREZ             Pedro Berroa. Third year.     Hasn't             developed like we hoped.                         RUDY             How much he sign for?                           ALVAREZ             Forty-five.                         RUDY             Jesus. These kids keep getting more             expensive. How much did you sign for             back in the day?                          ALVAREZ             3000.   When I was fifteen.    Rudy smiles and moves on.    Alvarez follows.   Pedro watches the    men as they walk away.8   BULL PEN MOUNDS - MINUTES LATER                                     8    Alvarez and Rudy approach a PITCHING COACH instructing Salvador.    Miguel warms up next to him.                Official Shooting Script as of 10/22/07     5.                    ALVAREZ        Salvador Torres. Been practicing with        the team for almost a week. Still raw,        but he's got a lot of potential.                    RUDY        We gonna sign him?                    ALVAREZ        Soon. Soon. We want to play it low-        key, see what his agent says.                    RUDY        How much you think?                    ALVAREZ        They've gotten two offers from other        clubs. Agent says they were around a        hundred.Rudy raises his eyebrows.                      ALVAREZ             (firm)        He's good.Rudy looks over to Miguel.                    RUDY        What about him?                    ALVAREZ        Miguel Santos. Great arm. We signed        him two years ago for fifteen.Miguel fires in a pitch.    Rudy nods, impressed.                      RUDY        Good deal.    He throw any junk?                   ALVAREZ             (in Spanish)        Sugar!Miguel looks over, sees the American with Alvarez.                    ALVAREZ        Show us your curve.Miguel nods, nervous, focuses. He pitches.    The ball curvesvery subtly over the plate for a strike.                     RUDY        Not bad.   Mind if I try something?                 Official Shooting Script as of 10/22/07    6.Miguel looks back to the men.                    RUDY        Hey, kid, do you mind?   May I?Miguel stares blankly at Rudy, not understanding.                    ALVAREZ             (in Spanish)        Give him the ball.Miguel hands Rudy the ball, and Rudy demonstrates how to handlea knuckle curve ball, which looks strangely unorthodox, with theindex finger tucked against the baseball.                    RUDY        Spike curve. Gives you more rotation,        more movement.             (hands Miguel the ball)        You try.Miguel struggles to emulate Rudy's grip, so Rudy maneuvers hisfingers into the correct position. Alvarez laughs.                     ALVAREZ        Vamos!   Let's go! Pitch it!Miguel looks over to his catcher, Jose. Winds up the nextpitch, and soars it 5 feet wide of the mark.Rudy and Alvarez laugh.   Miguel looks back over his shoulder.                    RUDY        It's okay, son, these things take time.        You'll figure it out.Rudy pats Miguel on the back and walks off with Alvarez. Miguelstares at them hard as they go. He turns back to his catcher,determined, squeezes the ball in spike curve formation.Delivers.Misses badly again. JUMP CUTS take us through a half-dozen morebad curve attempts, as other players take notice and gatheraround, some laughing, until......finally a perfect curve twists dramatically through the air,landing centered in Jose's mitt.The other players erupt in amazement, while Miguel staresstraight ahead. After a beat, he smiles wide.                       Official Shooting Script as of 10/22/07     7.9     INT. ACADEMY CLASSROOM - DAY                                       9      Sr. Sanchez stands in front of a chalkboard, reading off lines      of a scripted ENGLISH DIALOGUE for the class to repeat. The      class' version of the words are jumbled and incomprehensible.                           SANCHEZ               I want to talk to you.                           CLASS               I want talk to you.                           SANCHEZ               Your performance in the mound is not as               good as last year. What is the               problem?                           CLASS               Your performance in the mound is not               good as last year. What is problem?                           SANCHEZ               I don't know. Maybe my mechanic.                           CLASS               I don't know. Maybe mechanic.                           SANCHEZ               I want to give you a chance.   It is up               to you...      CLOSE ON Miguel focused on the baseball in his hand. He      practices his knuckle curve grip, not participating in the      lesson.                           CLASS               I want to give you a chance.   Is up to               you...10    EXT. BASEBALL ACADEMY - MORNING                                   10      Miguel walks down a dirt road with his duffel bag. He exits      past the gate, waving goodbye to the SECURITY GUARD.A10   Beyond the manicured lawns and landscaped gardens of the          A10      Academy, Miguel passes through the overgrown, undeveloped land      where neighborhood CHILDREN play among grazing goats. He      continues down the dirt road towards a paved highway in the      distance, as bachata music fuels the sound track, and carries      over the following...                       Official Shooting Script as of 10/22/07     8.11    INT. MOVING BUS - DAY                                              11      Thick stalks of sugarcane race through the frame. CLOSE ON      Miguel staring out the bus window. On his way home, he      passes...A11   --half-clothed children flying a homemade kite.                    A11B11   --a truck of bananas barrelling by with a boy perched on top.      B11C11   --an old man sitting by the street, looking straight at Miguel. C11D11   --flaming sugarcane alongside the road.                            D11E11   --three children wedged between their parents on a motorbike.      E11F11   --the tall, wheezing smokestack of the Cristobal Colon sugar       F11      refinery.12    EXT. STREET - SAN PEDRO DE MACORIS -   DAY                         12      Miguel hops off the bus with his duffel, climbs the pedestrian      walkway passing over dozens of rusty railroad cars used for      transporting sugarcane to the refinery. We PAN Miguel across      the bridge, revealing burning smokestacks in the distance.13    EXT. SIDE STREET - MINUTES LATER                                   13      Modest homes line the neighborhood, fashioned from corrugated      tin, painted in bold colors, no two houses alike. A skinny pig      roams a barren lot. A group of WOMEN with their hair in curlers      sit on crates around a dominoes table. They wave their hellos      to Miguel, who smiles back.      Local KIDS play stickball in a trash-strewn clearing with      makeshift mitts fashioned from old milk cartons or cardboard.      They see Miguel and rush toward him as he paces up the block,      SHOUTING his name.      As Miguel approaches home, he makes eye contact with a girl,      ERICA (15), buying water from a delivery truck. She smiles.      With the kids still clamoring around Miguel, he stops, unzips      his duffel and hands out some used baseballs. The kids grab the      balls, then run off to play.      Miguel approaches Erica.   She puts down her water bucket, gives      Miguel a hug.                           MIGUEL               How are you, sis?                           ERICA               Any news about the States?                      Official Shooting Script as of 10/22/07   9.                          MIGUEL              Is that all you have to say?     Miguel helps Erica with the water bucket and walks with her     towards their home - a small wooden construction with peeling     paint and a rusted aluminum roof. On the lot next to their     house, the cinder-block frame of their future home dwarfs the     others on the block.14   INT. MIGUEL'S HOME - NIGHT                                         14     Miguel and Erica enter the house, where their brother LUIS (7)     watches an enormous television, which feels incongruous in the     middle of the tiny, dilapidated home. The reception is still     crappy, though.     Miguel's grandmother, ABUELA, sits upright on her mattress in     the corner of the room.                          MIGUEL              Hello, Abuela. You're looking              beautiful.     She smiles big at her oldest grandson, opens her arms for a hug.     Erica sits at the kitchen table, where her schoolbooks lay open.                          MIGUEL              What's up my people?   How's the TV?                          LUIS              Erica won't let me watch baseball.                          ERICA              Not during American Idol, anyway.     Miguel's mother, CARMEN (late 30s) emerges from behind a hanging     bed sheet, which acts as a "wall" separating two rooms.                          CARMEN              Buenas, Miguelito! Do you have any              good news for your mother?                          MIGUEL              As a matter of fact, yes.                          CARMEN              You're going to the United States?!                          MIGUEL              Not yet, ma... But I learned how to              throw a knuckle curve.                          CARMEN              A knuckle curve? What's that?                      Official Shooting Script as of 10/22/07     10.     A GROUP of KIDS gather at the window.                          KIDS              Sugar, come out and play!15   EXT. STREET - NIGHT                                                 15     Gathered under the only functioning street lamp, Miguel rears     back and throws in a swooping curve, that causes the BATTER to     flinch out of the way, as it breaks perfectly over the plate.     Carmen, Luis and the rest of the barrio ONLOOKERS, "oooohh", the     impressive curve.     Miguel notices a group of GIRLS eyeing him from across the     street. His eyes stop on one, SOFIA (17). They exchange grins.16   INT. MIGUEL'S HOME - NIGHT                                          16     Miguel's family - minus Miguel - watches a soap opera.     Carmen     and Erica are in dialogue with the TV.     The CAMERA PANS away from the family, out the back window, where     the new home is being constructed. We ZOOM IN on the structure     covered in plastic tarp.17   INT. CONSTRUCTION LOT                                               17     Amidst tools, dry cement, a half-finished wooden dining table,     and other assorted construction materials, Miguel has sex with     Sofia on a work table.18   INT. CONSTRUCTION LOT - LATER                                       18     Miguel throws on his t-shirt. Sofia looks at the wooden dining     table. It's artfully done, with details etched into the legs.                          SOFIA              When will you finish this?                           MIGUEL              Soon.   It's just hard to find the time.                          SOFIA              It's pretty.                          MIGUEL              I'm trying to match the chairs my dad              made, but I can't get it right.                          SOFIA              Well, I think it's perfect.               Official Shooting Script as of 10/22/07   11.                    MIGUEL        I'll make you another when I'm done.Sofia smiles, kisses Miguel on the cheek.                    SOFIA        And the rest of the house?   How long        till it's done?Miguel hesitates.                    MIGUEL        Um, another month, maybe two... You        know we just did it where Abuela's room        is going to be...                    SOFIA             (laughing)        Don't tell me that!                   MIGUEL        Why not? We can do it in mom's kitchen        next. Right over there.                    SOFIA              (getting serious)        I hope you make it to the States this        year.                    MIGUEL        You hope? C'mon, there's nobody        better, baby.                    SOFIA             (smiling big)        Okay, how about: I KNOW you'll make        it.                    MIGUEL        Now you're talkin'. And when I do,        I'll buy a Cadillac, drive it through        the ocean, and bring you back with me.                    SOFIA        You can't drive a Cadillac on water.                    MIGUEL        Yes! In the States they make cars that        drive on water.                    SOFIA        You're crazy.                     Official Shooting Script as of 10/22/07   12.                          MIGUEL              You'll see who's crazy.   Just watch.                          SOFIA              I want to see the snow.   Does it snow              in Kansas City?                          MIGUEL              I don't know. But I'll take you to New              York City. Yankee Stadium. It snows              there. You wanta see me play in Yankee              Stadium?                          SOFIA              It doesn't snow during baseball season,              silly.                          MIGUEL              So we'll go for Christmas.                            SOFIA              Promise?                          MIGUEL              Next Christmas, we'll sail into Yankee              Stadium in my Cadillac car-boat. Deal?                          SOFIA              You are crazy!     They kiss.19   EXT. MALEC”N - NIGHT                                            19     Miguel, Sofia, JAVIER (Black, 22) JAMIE (Black, 26) and     ALEXANDRA (one of Sofia's friends) hang out by the malecÛn     (waterside), drinking rum and dancing to merengue that blasts     out the open doors of a nearby car. The mood is festive.                          JAVIER                   (mid-story)              I liked her, but she asked me to cut my              hair. I thought about it. She was              cute, but... I liked my hair more.                          SOFIA              I liked it too, Javi.                          MIGUEL              Then why'd you cut it last week?                          JAVIER              I thought it was time for a new look.                     Official Shooting Script as of 10/22/07      13.                          MIGUEL              Or a new girl.     Sofia punches Miguel in the arm.                          MIGUEL              Watch it, baby, that's a million-dollar              arm you're messing with.                            JAVIER              He's right!    All hail the golden arm.     Javier and the girls drunkenly salute Miguel's arm, pretend to     dust dirt away, but Jaime doesn't play along. He looks on, a     little jealous.                          JAIME              You call that flabby rubberband an arm?                            JAVIER              Oooh...                          MIGUEL              This flabby rubberband can throw 95.              What can yours do?                          JAIME              I threw 98 in double-A Portland.                          MIGUEL              98? Then why you washing windshields              now? I saw you try and bumrush Javy at              the stoplight last week.     Everyone cracks up laughing, including Jaime, as Miguel grabs     Sofia, and leads her in a dance.     His smile fading, Jaime looks out over the water.   Miguel     notices this. Hold.     EXT. SAN PEDRO TOWN - MORNING20                                                                      20     Various Sunday morning images establishing Miguel's hometown:     --A dewey mist covers an empty baseball field, surrounded by     acres of tall sugarcane.     --Women hang laundry on the line to dry.     --A rooster walks alone through a graveyard.     --People spill out of church into the road.                     Official Shooting Script as of 10/22/07   14.     --MIDDLE-AGED MEN drink beer in the dugout during a softball     game.21   EXT. EMPTY LOT FIELD - DAY                                        21     A makeshift diamond is overrun with weeds, ditches, stones, and     trash for bases. Donkeys graze in the outfield, unphased by the     LITTLE KIDS (10-14 years old) playing around them.     A YOUNG PITCHER fires in a fastball that BEANS the YOUNG HITTER     in the back.     IN THE BLEACHERS, TWO MIDDLE-AGED MEN drink beer and     occasionally heckle the kids.                          HECKLER #1              You're supposed to aim for the head!     Nearby, Miguel sits beside his old coach, FRANK (early 40s),     watching the kids play. One of the local SHOE SHINE BOYS cleans     Miguel's shoes with an old toothbrush as Frank cracks open a     beer. Frank points out one of the kids on the field.                          FRANK              I like this one. Good bat speed. Only              twelve years old, out here four, five              hours everyday. His mom tells me he's              missing school. I say, yeah, but...              have you seen his swing?     They laugh.                          FRANK              I'm showing his older brother to the              Yankees on Monday.     Miguel nods, a hint of disappointment in his eyes.                          FRANK                   (seeing this)              They don't know what they missed with              you. It's cool though. They'll be              knocking on your door, offering              millions when you turn into a              superstar. You'll see...     Miguel nods, appreciating the vote of confidence.                          MIGUEL              Have you been to New York?                 Official Shooting Script as of 10/22/07   15.                    FRANK             (nodding)        Nothing like playing for a crowd of New        Yorkers. They're even louder than        Dominicans.                    MIGUEL        What's the city like?                    FRANK        It's great. But you need to get to        Kansas City before you start thinking        about New York. Know what I mean?                    MIGUEL        You hear anything about spring training        yet?                       FRANK        Yep.Frank sips his beer.                       MIGUEL        And?Frank shrugs, as Miguel's sister calls out from the street--                    ERICA        Miguel, Luis! Dinner is ready!                    MIGUEL        You'd tell me if you knew.                       FRANK        Maybe.Miguel shakes his head, gets up.                    MIGUEL        Wanna join us for dinner?                    FRANK        Not tonight. But give your mom a kiss        for me, okay?Miguel gives a coin to the boy who's been cleaning his shoesbefore heading off with his little brother.Frank sips his beer, calls out to the field--                    FRANK        C'mon, Nelson! Fire it in, baby!                     Official Shooting Script as of 10/22/07       16.22   EXT. ACADEMY FIELD - EARLY MORNING                                  22     A mist hovers over the empty field.23   EXT. ACADEMY ENTRANCE ROAD - SAME TIME                              23     A group of Academy EMPLOYEES shuffle down the dirt road on foot.24   INT. ACADEMY DORMITORY - SAME TIME                                  24     Miguel, laying awake in the upper bed, hears his bunk-mate,     Alfonso, stirring beneath him. Miguel peers over, sees Alfonso     discreetly pop several pills from a plastic baggy. They make     brief eye contact before Alfonso heads out of the room.25   INT. ACADEMY KITCHEN - DAY                                          25     Several middle-aged women sit on buckets near an open door,     peeling yucca. A man fries eggs at the grill, preparing     breakfast for the players.26   INT. ACADEMY DINING ROOM - DAY                                      26     The players eat breakfast.     The mood is strangely quiet.27   INT. ACADEMY CLUBHOUSE - DAY                                        27     The signed players sit around in uniform, while the unsigned     "trial" players wear their black jerseys. Coach Reyes addresses     them in mid-speech.                          REYES              A lot of you are thinking about your              families right now. Your girlfriends,              sisters and brothers, grandparents.              You're feeling the pressure. But, I'm              going to tell you something very              important, gentlemen... forget it.              You've got to think about yourselves.              Put all your energy into your game,              into your development as a player.              Forget about everything else in your              life... and just play ball. You wanna              succeed, you gotta be like a racehorse,              focused on your goal. It's up to you.28   EXT. ACADEMY BUILDING - DAY                                         28     Several players work out on bars attached to the side of the     building.     As Miguel lowers himself after a set of pull-ups, he notices a     shiny, black, luxury SUV drive into the academy parking lot.                     Official Shooting Script as of 10/22/07     17.     Miguel watches as Alvarez gets out of the driver's seat, doing     business on his cell phone.29   EXT. ACADEMY FIELD - LATER                                         29     Miguel exercises his pitching arm by stretching an elastic tube     tied against a chain-link fence. As he stretches, he watches a     group of players line up for a sprint drill, sizing up his     future competition.     Salvador, wearing his black jersey, races for his life, beating     all the others.30   EXT. ACADEMY FIELD - LATER                                         30     The sweat-drenched players line up according to their positions,     waiting their turns to participate in a double-play drill, where     the pitchers cover first base.     Miguel awaits his turn, watching another pitcher, EDDY, run to     first to receive a throw from second base, but before Eddy can     catch the ball...     ...he twists his ankle tripping over the bag.     The coaches rush over to Eddy, who is on the ground wincing in     pain. Miguel and the rest of the team watch in nervous     anticipation as Eddy struggles to his feet, limps off the field     with the aid of another player.                          REYES              Next up, Miguel! Here we go!     The ball is hit on the ground to first base, where the fielder     quickly throws it over to second. Miguel charges over to first,     stutter steps as he nears the base, and receives the throw just     in time to beat the hitter and step out of the way. He exhales     in relief.31   INT. CLUBHOUSE SHOWERS - DAY                                       31     The players shower after a gruelling day of workouts.32   INT. CLUBHOUSE - DAY                                               32     Miguel lounges with an elaborate ice-wrap around his shoulder     and upper arm as other players get dressed into street clothes.     Coach Reyes comes in, spots Pedro.                          REYES              Berroa, see Alvarez when you're              dressed.     Pedro nods.   Miguel and Marcos exchange knowing glances.                     Official Shooting Script as of 10/22/07     18.33   INT. ACADEMY DINING ROOM - NIGHT                                     33     The team eats dinner.    At Miguel's table, we catch the punchline     of a joke...                          MARCOS              So the Dominican's like, `Fuck, what am              I gonna do?' He stays there, points up              to the sky and says. `Look! There's a              plane... Right THERE!'     Everyone laughs hysterically, as...     ...the young rookie, Salvador, grabs a seat next to Miguel at an     adjoining table.                            SALVADOR              Hey, Sugar!    They made me an offer.     Miguel smiles, but hesitates for a beat as Pedro walks past them     and over to an empty table in the corner of the room. Miguel     turns back to Salvador, pats him on the head.                          MIGUEL              Good for you. Congratulations.     How              much they offer you?                          SALVADOR                   (with a big smile)              115,000.                   (sensing the other players                    surprise)              But, you know, my manager's taking,              like, forty of it... What'd you sign              for?                          MIGUEL              Oh, you know, more or less the same.              Did you get any other offers?                          SALVADOR              Yankees and Seattle, but not as much.                          MIGUEL              Just don't get cocky. No one likes a              dickhead... Welcome to the team.     Salvador smiles.                          SALVADOR              So, why do they call you Sugar?                     Official Shooting Script as of 10/22/07      19.                          MIGUEL              Well it's like this... it started cause              I'm sweet with the ladies. But mostly              it's cause I got the sweetest knuckle              curve in the whole Republic.                         ALFONSO                   (interjecting)              Bullshit! You just learned that shit              on Friday! It's cause he eats so much              junk food!     Salvador notices two pieces of cake on Miguel's tray.                          MIGUEL                   (playing it cool)              He's just jealous.     Miguel notices Pedro across the room, staring at his food.34   INT. ACADEMY RECREATION ROOM - NIGHT                               34     A dozen players sit around the television, watching a shlocky     American horror film on DVD.35   IN THE ADJOINING DORMITORY                                         35     Pedro packs his belongings into a KC Knights' duffel bag, when     Miguel, Marcos, and Alfonso approach his bunk.                          MIGUEL              We got you a going away present.     Miguel unzips his windbreaker to reveal a bottle of Brugal rum     hidden underneath. The other guys smile mischievously.36   EXT. ACADEMY BUILDING - NIGHT                                      36     Miguel, Marcos, Alfonso, and Pedro tip-toe across the gravel,     whispering at each other to shut up.37   EXT. OBSERVATION TOWER - LATER                                     37     The four players toast their rum in little plastic cups.   The     bottle is nearly finished.                          MARCOS              You should try Los Campos. I heard the              Dodgers could use a new first baseman.                          PEDRO              Fuck that. The coaches are even              tougher over there. I'm done, man.                          (MORE)                     Official Shooting Script as of 10/22/07     20.                          PEDRO (cont'd)              No more curfews, nobody tellin' me what              to do and how to do it. For real, I'm              glad this shit's over. I'm a free man.     Awkward silence. The players look at Pedro with pity, unsure     how to respond. After a beat, Miguel mocks coach Reyes and the     others follow suit, mocking Alvarez and the other coaches.                          MIGUEL                   (snatching Pedro's cap)              No caps indoors, son!                          ALFONSO              Cut the meat with your knife; eat the              meat with your fork. NEVER eat the              meat with your knife.                          MARCOS              Or you'll chop off your tongue.                          MIGUEL              Ten p.m. lights out!                          PEDRO                   (in broken English)              "Tay me outta the ball game, tay me              outta the crowd..."     The other players laugh, join Pedro in a loud whisper...                          ALFONSO/MIGUEL/MARCOS/PEDRO              "...buys me so peanut and crackay-              yacks. I doe-care if I never get back.              Roo, roo, roo for home teams, we doe-              win is a shame..."     Pedro breaks off from the song, looks out over the field, on the     verge of crying. One by one, the other players take notice and     stop singing. Silence. Hold.38   INT. ACADEMY BATHROOM - DAY                                        38     Hungover, Miguel vomits in the toilet.    Reyes opens the stall.                          REYES              Santos, what the hell's wrong with you?                          MIGUEL              I think I have the flu, coach.    I can't              pitch today.     Reyes glances over to Marcos and Alfonso standing nearby. They     lower their heads in embarrassment like two kids busted by dad.                     Official Shooting Script as of 10/22/07      21.                          REYES              You've got five minutes to get out on              that mound, Santos.     Reyes marches off.39   EXT. ACADEMY FIELD - DAY                                             39     Miguel on the mound. Takes a deep breath. He utilizes every     ounce of strength to deliver a pitch, and...     CRACK! The visiting Detroit Academy HITTER knocks the ball over     the left field wall for a homerun, wherein...     BLAH! Miguel throws up on the mound.   All the players gasp in     disgust, but Reyes just laughs.     Miguel looks over to Alvarez, sitting under an umbrella with a     clipboard, then to Reyes, hoping he'll yank him out of the game,     but Reyes just claps.                          REYES              Feel better now? Let's go!     Miguel tries to shake off the cobwebs, steps on the rubber,     stares down the next hitter.     CLOSE on his hand revealing the knuckle curve grip. He tosses     in the next pitch, which arcs into Jose's glove for a...                          UMPIRE              Strike!     Reyes' smile fades, stunned by the beautiful curve.     A SERIES OF JUMPCUTS take us through the next three batters, as     Miguel makes quick work of them, mixing up his nasty curve with     a blazing fastball.     After the third out, Miguel walks back to the dugout.     He takes     a seat on the bench, smiles smugly.                          REYES              Wipe that smile off your face.     And he does.40   EXT. ACADEMY FIELD - SUNSET                                          40     Miguel, Alfonso, and Marcos run laps around the field as     punishment for the previous night's activities. They look as if     they could pass out at any moment.                                                      FADE TO BLACK.                     Official Shooting Script as of 10/22/07    22.41   INT. WAITING ROOM - DAY                                            41     Miguel and Marcos sit on a couch in a bare-walled waiting room     outside Alvarez's office. They sit quietly, like two kids     waiting for the principal.     Coach Reyes pokes his head out of Alvarez's office, motions them     inside.42   INT. ALVAREZ'S OFFICE - MOMENTS LATER                              42     Miguel and Marcos stare straight ahead, nervously.   Alvarez     stares at them, icy cold. After a beat...                          ALVAREZ              I am very disappointed. Just when I              was starting to like you guys, you go              and do something stupid. What do you              have to say for yourselves?                          MARCOS              But Alfonso was there too--                          ALVAREZ              --No excuses. This is unacceptable              behavior. You guys need to learn              discipline.     Miguel and Marcos lower their heads.                          REYES              You need to remember that you still              have a long way to go, a lot of hard              work ahead of you before you make it.              First, there's getting your shot in the              American Minor Leagues: rookie ball,              single, double, triple A - all that              before you even set foot in a major              league ballpark. So, you better pull              it together quick...                          ALVAREZ              Because nobody's gonna take this shit              from a couple Dominican rookies when              you go to the U.S. for Spring Training              this season.     They glance up, eyes wide.   Did he just say...                          REYES              You've been invited to Spring Training.     Everyone smiles (even Alvarez).                       Official Shooting Script as of 10/22/07   23.43   INT. TEXTILE FACTORY - DAY                                         43     CAMERA follows behind the FLOOR MANAGER, as he passes rows of     WOMEN of all ages, working on sewing machines for an American     underwear company. He stops behind one woman, taps her on the     shoulder. The woman removes her earphones, turns around. It is     Miguel's mother, Carmen.                            FLOOR MANAGER              Phone call.    He said it's important.44   INT. FACTORY HALLWAY                                               44     Carmen picks up the phone.                            CARMEN              Hello?     Hold on her reaction shifting from that of concern to elation.     She struggles to contain her joy.45   INT. MIGUEL'S HOME - NIGHT                                         45     Miguel opens a new bottle of rum, pours shots for everyone. The     whole family and all of Miguel's neighbors are jammed inside the     tiny house and spilling out into the street. Merengue blasts     from the new home stereo system.     FRIENDS and FAMILY pat Miguel on the back. He smiles, basking     in the glory of success. Erica kisses Miguel on the cheek.                          ERICA              Don't forget to call everyday.    I want              to know everything!                            MIGUEL              Everything?                          ERICA              You know what I mean, dummy.                          MIGUEL              Of course I'll be calling to keep you              in check, make sure your grades don't              slip.                          ERICA              Look who's talking.     Carmen interrupts, drapes her arms around Miguel, kissing him     repeatedly. As Erica looks on, we get the sense that she's used     to being on the outside of this kind of attention.                Official Shooting Script as of 10/22/07      24.                    CARMEN        You are my hero!Carmen pulls Miguel close, takes something from her pocket, putsit in his hand.                    CARMEN        It was your father's.     I want you to        take it with you...Miguel looks at the cross, kisses his mother on the cheek.    Ashe looks up, he notices Erica slip away.                      CARMEN        You've been   given a wonderful gift,        Miguelito.    And God willing, you will        continue to   do great things with it. I        love you so   much.She kisses him on the forehead.A SERIES OF JUMPCUTS present a variety of family and friendsintroducing themselves to Miguel.                    UNCLE ANGEL        Miguelito! You gonna remember your        uncle Angel when you're all big and        famous? Don't forget your family, kid.        Never forget where you came from.                                                   JUMP CUT TO:                    COUSIN LUPE        Lupe! Cousin Lupe! Remember that time        we went skinny-dipping at the MalecÛn?                      MIGUEL        When?                                                   JUMP CUT TO:                    COUSING FELIPE        You were eight years old! Hated the        goats so much. You would cry and cry        and cry and cry. What a baby you were.        Do you remember?                                                   JUMP CUT TO:                    MIGUEL        What's your name?                Official Shooting Script as of 10/22/07        25.                     AUNT LOLA        Lola!   Your aunt Lola!                                                     JUMP CUT TO:                    UNCLE JEFFE        Uncle Jeffe!                                                     JUMP CUT TO:                    NEIGHBOR ANA        Your neighbor Ana. I grew up around        the corner from here.Ana lays a juicy kiss on Miguel.   He smiles.                                                     JUMP CUT TO:                    FRANK        Don't give me any shit, kid.      I taught        you everything you know.Miguel gives Frank a big hug.                    FRANK        I'm damn proud of you, kid.    Your        father would be, too.                      MIGUEL        Thanks.    I owe it all to you.                     FRANK        Not all.   Just forty percent.Miguel smiles, as Frank leans close.                    FRANK        I spent the best years of my life        playing in the States. Life gives you        a lot of opportunities, but baseball        only gives you one. Enjoy every minute        of it.Miguel nods.                    FRANK        How's your new curve?                    MIGUEL        It's pretty sweet.                     FRANK        Good.   Here...                     Official Shooting Script as of 10/22/07   26.     Frank hands Miguel a pen.                          MIGUEL              What's this for?                          FRANK              Your autograph.     Miguel seems puzzled, but searches for something to write on.                          FRANK              I'm kidding, you arrogant prick. It's              so you can write your family... and me,              too... if you feel like it.     Miguel gives Frank another hug.46   INT. MIGUEL'S HOME - LATER                                      46     Miguel dances salsa with Sofia, and then switches partners,     dances with Carmen.     As he dances close with his mother, he catches a glimpse of     Erica standing with some friends off to the side.47   EXT. CONSTRUCTION LOT - LATER THAT NIGHT                        47     Miguel and Erica stand in silhouette, isolated from the party     raging outside. Miguel sands one of the legs of the dining     table.                          MIGUEL              Where's your boyfriend?                           ERICA              Which one?                          MIGUEL              I don't know; the ugly one.                           ERICA              Hector?                          MIGUEL              Okay, where's Hector?                          ERICA                   (shrugs, then)              Some other party.                          MIGUEL              So what about the good-looking one?                     Official Shooting Script as of 10/22/07      27.                          ERICA              Mmm, Fernando... I think he's out there              dancing with Sofia.     Miguel's eyes get big for a second, until Erica smiles.    He's     been had. He smiles back. A beat.                          MIGUEL              I'm proud of you, sis. You're going to              do great things too. We all know it.                          ERICA              I'm gonna miss you...     She kisses Miguel on the cheek.                          ERICA              C'mon, let's dance.                          MIGUEL              Go on, I'll be out in a minute. And              tell Fernando to keep his dirty hands              off my girl.     Through cracks in the tarp, Miguel watches Erica join the dance     party in the street.     Savoring this rare moment alone, he breathes deep, blows wood     dust off the table leg, and continues sanding. Hold.                                                      FADE TO BLACK.48   INT. AIRPLANE - DAY                                                48     Miguel looks out the window over the dry, Arizona desert.49   INT. AIRPORT BAGGAGE CLAIM - DAY                                   49     A duffel bag emerges from the luggage shoot, and slides down to     the rotating conveyor belt, where an AMERICAN TOURIST grabs it     and exits frame. PAN OVER to Miguel, Marcos and several other     DOMINICAN PLAYERS (including ANTONIO and JULIO) excitedly     waiting for their bags. Miguel perks up upon seeing his,     quickly snatches it off the belt. The others smile and APPLAUD.50   EXT/INT. AIRPORT SHUTTLE BUS - LATE AFTERNOON                      50     The other Dominican players goof off, while Miguel stares out     the windows at the rocky suburban Phoenix landscape. He catches     wide-eyed glimpses of wacky shaped cacti, strip malls, and, of     course, a drive-thru Starbucks.     ON THE RADIO, a conservative talk show host warns listeners     about the evils of Iran, suggests war as the only solution.                       Official Shooting Script as of 10/22/07   28.51   INT. HOTEL LOBBY - NIGHT                                             51     The players enter the southwest-style lobby, examining potted     cacti, and framed R.C. Gorman reprints on the walls.52   INT. HOTEL ROOM                                                      52     Miguel and Marcos enter the room, drop their bags and explore     everything like big kids away from home for the first time.     Marcos turns on the TV, which has a clear reception.    He smiles.     IN THE BATHROOM Miguel examines the hair dryer on the wall,     turns it on and off.     KNOCK KNOCK KNOCK. Miguel opens the adjoining suite door to     find Antonio and Julio. They push past him, each holding a     beer.                          ANTONIO              Check this out.     Antonio opens their mini bar, tosses Miguel and Marcos beers.     They all toast...                            MIGUEL/MARCOS/ANTONIO/JULIO              To America!     Marcos randomly hits buttons on the remote control and     accidentally selects an adult pay-per-view movie. The opening     credits plunge right into a graphic sex-scene. Their heads     immediately jerk over to the TV, stunned.                            MARCOS              To America!     They all smile and toast again.     KNOCK KNOCK KNOCK     Marcos opens the door to find JORGE RAMIREZ (25, an experienced     minor leaguer who left the KC Knights Dominican camp three years     ago) smiling before him.                          JORGE              What's up fellas!?                            MARCOS              Jorge!     They hug.   Jorge enters, notices the beers and porn.   He shakes     his head.                      Official Shooting Script as of 10/22/07      29.53    EXT. ALL NIGHT DINER - NIGHT                                       53      Through the window we see the players sitting in a corner booth.      A semi truck BLASTS through the frame.54    INT. ALL NIGHT DINER                                               54      Over beers, the players study their menus in confusion, as Jorge      does his best to explain how things work.                           JORGE               Never, never, never, drink from the               hotel mini bar. That shit is               expensive. You want beer, buy it at               the store. You wanta see titties?               They got magazines for that. Don't pay               in the hotel.      A WAITRESS approaches.                           WAITRESS               You boys ready?                           JORGE               The greatest thing about the States?               You can order breakfast 24/7. French               toast is the best. It's nothing like               Dominican toast.                    (in English to waitress)               French toast please.      The players stare at Jorge, a little intimidated.                             WAITRESS               Who's next?      After a beat, the players respond in unison...                           MIGUEL/MARCOS/ANTONIO/JULIO               French toast.      The waitress nods and leaves, wherein the players crack up      laughing at their first English language dining experience.55    EXT. SPRING TRAINING FIELD - DAY                                   55      FROM THE OBSERVATION TOWER, we look down over the multiple-field      spring training complex, where the MINOR LEAGUERS work out. The      vast facilities are triple the size of what we saw in the      Dominican Republic.A55   ON THE FIELD, Miguel, Marcos, and Jorge stretch out on the         A55      grass.               Official Shooting Script as of 10/22/07    30.Jorge, wearing an elastic knee brace, points out a young,AFRICAN-AMERICAN GUY running wind sprints across the field...                    JORGE        Brad Johnson. He just signed for a        million dollars out of college.Miguel and Marcos watch Brad with fascination, searching forsome sort of physical representation of his wealth.                    JORGE        There's a lot of guys like that. But        you can't let that intimidate you.        Everyone knows Dominicans rule the        game.Two Venezuelan players, ORLANDO MATO (23, catcher) and ED POVEDA(22, center field) step up.                    ORLANDO        What's this about Dominicans ruling the        game?                    ED        No, he must've said Venezuelans.Jorge stands up, exchanges hugs with Orlando and Ed as theycontinue their debate over which Latin country has the bestplayers.                    JORGE        Sammy, Manny, Pedro...                    ED        Santana, Zambrano, the Guillens!                    JORGE        Are you guys all from the same family?                    ORLANDO        Look who's talking... Are these your        brothers?                    JORGE        What, all Dominicans look the same,        now?They all smile, stop razzing each other momentarily to meet thenew players.                    JORGE        This is Miguel and Marcos. Up from        Boca Chica.             (to Miguel and Marcos)                    (MORE)                       Official Shooting Script as of 10/22/07    31.                          JORGE (cont'd)              Orlando and Ed. We all played in              Bridgetown together before I moved up              to Double A and left these fools              behind.                          ORLANDO              But you couldn't hang in Wichita.                          JORGE              I injured my knee, asshole.    But I'm              healthy now. You'll see.                          ORLANDO              Fifty bucks you're back in Iowa next              month.                          JORGE              Fifty bucks you're still an asshole              next month.     They all LAUGH.56   ON THE FIELD - LATER                                               56     Pitching coach, STU SUTTON (white, 40s), addresses the minor     league pitching staff in mid-speech.                          STU              You've gotta show us your best game              here. Remember that, until you reach              the top, there's always guys above you,              hustling to keep you here. And guys              below you pushing to take your job. We              have 75 pitchers in this camp competing              for less than 50 positions come April              3rd. So you gotta work hard...     While all the players respectfully listen to Stu, it is clear     that very few of the Latino players can understand him.57   LATER ON THE PRACTICE MOUNDS                                       57     Miguel stretches his arm, while observing another group of     PITCHERS throwing in the bullpen. He stares at them with     intensity, sizing up his new competition.58   LATER ON THE FIELD                                                 58     Miguel faces off against a HITTER in a simulated game scenario.     One, two, three, he strikes him out on three straight pitches.     Stu and another COACH exchange impressed looks.                      Official Shooting Script as of 10/22/07      32.                           STU               Bring over Leonard.      The other Coach calls over to the adjoining field.                           COACH               Bring over Leonard!59    ON THE FIELD - MINUTES LATER                                       59      ON major league all-star ROB LEONARD in the batter's box,      awaiting Miguel's pitch.      Miguel takes a deep breath, psyches himself up. He puts      everything he has into a hearty fastball, which...      ...sails right over the plate for a STRIKE, as Leonard calmly      watches and readies himself for the next one.      Feeling confident with his stuff, Miguel fires in the next      pitch, and...      WHACK!   Leonard sails it over the right field wall.      Stu Sutton smiles at Miguel.                           STU               Welcome to America, kid.60    INT. ALL NIGHT DINER - NIGHT                                       60      CLOSE ON a plate of french toast. Miguel, Marcos, Antonio, and      Julio all chow down on french toast again. They eat in silence      for a few beats, until...                           ANTONIO               I have to admit... I'm getting a little               sick of the french toast.      The others nod in agreement, but continue eating.61    INT. HOTEL LOBBY - PAY PHONE - NIGHT                               61      Miguel talks on the phone to Sofia.                           MIGUEL               I pitched against Rob Leonard today.A61   We INTERCUT with Sofia, at her home in the Dominican Republic.     A61                            SOFIA               No shit!   You strike him out?                 Official Shooting Script as of 10/22/07    33.                      MIGUEL        Yeah.                      SOFIA        Liar!                    MIGUEL        You don't believe me?                      SOFIA        No.                    MIGUEL        Well, I got one strike at least.Sofia laughs.                    SOFIA        So, do you like it there?                      MIGUEL        Mmmm...    It's different.                    SOFIA        Different how?                    MIGUEL        I don't know. Just different.     Like        the food is really sweet.                    SOFIA        I thought you liked sweet things.Miguel smiles.                    MIGUEL        All the players are really good.                    SOFIA        But not like you.                    MIGUEL        No, not like me. Of course not... But        they're pretty good.Another beat.    Sofia looks down at her bare feet, scrunches hertoes.                      SOFIA        I miss you.                    MIGUEL        I miss you, too.                      Official Shooting Script as of 10/22/07    34.62   INT. HOTEL ROOM - NIGHT                                             62     Marcos tries to sleep, while Miguel channel surfs through the     late night infomercials and reality TV dating shows.     After a few beats of this...                          MARCOS                   (annoyed)              Turn it off.     And he does.63   EXT. SPRING TRAINING FIELD - SUNRISE                                63     Miguel runs laps along the outfield wall in the empty stadium.64   EXT. SPRING TRAINING FIELD - GAME DAY                               64     The Kansas City B-squad is facing off against the Los Angeles B-     squad, which is rallying in the top of the 9th.65   IN THE BULLPEN                                                      65     Miguel warms up, glancing over to the action on the field     between pitches. He sees...     ...Los Angeles gets another hit, scoring another run, so...     ...Stu Sutton walks out to the mound, signals for Miguel.     Miguel throws one more warm-up toss and sprints onto the field.66   ON THE MOUND                                                        66     Miguel arrives, ready for action.   Stu hands him the ball, while     the catcher, Orlando, translates.                          STU              Just relax. Know your pitches. And              take it easy. Ground ball. Okay?                         ORLANDO                   (in Spanish)              Just relax. Ground ball.     Miguel nods. As he tosses a few more warm-up pitches from the     mound, Stu goes back to the DUGOUT where Marcos and Julio     anxiously await Miguel's spring training game debut.     The BATTER steps in and Miguel steps on the rubber, touches his     father's cross around his neck, tucks it in his jersey. He     looks to Orlando, and nods at his request for a fastball. He     throws it in...                     Official Shooting Script as of 10/22/07   35.                            UMPIRE              Strike!     Stu exchanges impressed glances with another COACH.     Miguel sends in the next one, and...     ...the HITTER checks his swing, but goes too far.                            UMPIRE              Two!     IN THE DUGOUT Marcos gets to his feet, clapping for     encouragement.     Miguel nods to Orlando, delivers again...     CRACK! The ball is smoked toward Brad Johnson at second base.     He leaps out, body fully extended, and makes a fantastic catch.     But he's not done yet...     The runner at second is too far off the bag, so Brad hops to his     feet, and fires a laser beam to second, finishing off one of the     sweetest double-plays you'll ever see.     Miguel pumps his fist into the air, and the team runs to...67   THE DUGOUT                                                         67     Marcos and Julio are the first to greet Miguel with high-fives.     Orlando, Ed, and Jorge, coming off the field, follow in suit.     Miguel awaits Brad's return to the dugout and high-fives him     too, but they soon return to their segregated places on opposite     ends of the bench.68   INT. CLUBHOUSE - DAY                                               68     Most of the players are gone or heading out when Miguel     approaches his catcher, Orlando, a few lockers away.                          MIGUEL              Where did you learn English so good?                          ORLANDO              Back home in Caracas.                          MIGUEL              Like in high school, or something?                          ORLANDO              Yeah, but it's still hard though.              People talk fast.                        Official Shooting Script as of 10/22/07   36.     Miguel agrees, as an ASSISTANT COACH finishes handing out checks     to the remaining players.     Miguel sits on the bench near his locker, opens his envelope to     find...     INSERT:   a check for $502.18.     He SMILES.69   INT. CLASSROOM - LATE AFTERNOON                                    69     The ENGLISH INSTRUCTOR goes over baseball related vocabulary off-     screen, while Miguel glances through his "English for Baseball     Players" notebook.     He finds a page with pictures of different foods along with     their English names. He looks at all the foods, stops at an     image of a fried egg. He circles the word "egg."     The instructor finishes up class, and the exhausted Latino     players get up to leave. Marcos stands, leans over to Miguel.                             MARCOS               C'mon.    Let's grab some dinner.                           MIGUEL               Nah, I'm gonna stay and work out a               little. I'll catch up later.70   INT. WEIGHT ROOM - NIGHT                                           70     Miguel does bicep curls alone in the weight room, when...     ...Brad Johnson enters. They exchange hello gestures, and     proceed to workout on opposite sides of the room. After     finishing his set, Miguel turns to Brad.                           MIGUEL                    (struggling in English)               Good catch.                           BRAD               Thanks... I got lucky.     They continue with their respective routines.71   INT. WESTERN UNION - NIGHT                                         71     CLOSE ON Miguel's hands counting out seven fifty-dollar bills.     He approaches the CLERK behind thick, bullet-proof glass, and     slides the money and routing slip through a retractable tray.                       Official Shooting Script as of 10/22/07       37.      He smiles BIG at the clerk.      Proud.72    INT. ALL NIGHT DINER - NIGHT                                            72      The usual waitress hovers over Miguel, alone at the usual booth.                           WAITRESS               French toast, right?                              MIGUEL               No...   Egg.    Egg, please.                          WAITRESS               Eggs. No problem. How would you               like'm?      Miguel stares at her.                              MIGUEL               Yes.                           WAITRESS               Um, okay, uh... Scrambled?       Over easy?               Sunny side up?      A beat... He didn't count on this part.      He thinks hard,      pressure mounting.                           MIGUEL                    (giving up, embarrassed)               French toast.                            WAITRESS               No eggs?   You sure?                           MIGUEL               French toast.                           WAITRESS                    (disappointed)               Alright, honey. French toast it is.      As she leaves, Miguel shakes his head, dejected.       Stares out the      window.A72   MINUTES LATER. The waitress returns with french toast and            A72      another plate with samples of different eggs.                           WAITRESS               Okay... This is scrambled.       Scrambled.                              MIGUEL               Scrambled.                      Official Shooting Script as of 10/22/07       38.                         WAITRESS                   (pointing on plate)              Over easy.                            MIGUEL              Over easy.                          WAITRESS                   (and finally)              This one's tricky... Sunny-side-up.              Sunny...                            MIGUEL              Sunny...                            WAITRESS              Side...                            MIGUEL              Side...                            WAITRESS              Up...                            MIGUEL              Up.                          WAITRESS              Sunny side up... On the house.                            MIGUEL              Thank you.                          WAITRESS                   (smiling proud)              You're welcome.     Miguel gets to work on his food, feeling good.                                                          FADE OUT.73   EXT. CLUBHOUSE ENTRANCE - DAY                                        73     Miguel leans against the wall, eyes closed.    He whispers a     prayer to himself, then heads inside the...74   INT. CLUBHOUSE - DAY                                                 74     ...where he passes a dejected-looking Antonio, on his way out.     Antonio avoids eye contact, and Miguel understands what's     happened.     He sees Marcos, Julio, and a few other players lingering near     the bulletin board. He approaches, cautiously.                       Official Shooting Script as of 10/22/07   39.                           MARCOS               They're sending Antonio back.                            MIGUEL               Shit.   What about you guys?                           JULIO               We're staying here.   Rookie ball.     Miguel nervously glances over to the list.                           MARCOS               Go take a look.     Miguel goes to the board scans the names on a roster, finds his.     INSERT:   We PAN from his name to "(A) Bridgetown, Iowa"                           MIGUEL               I'm not with you guys?                           MARCOS               Straight to Single A, bro.     With Jorge.               Congratulations.                           MIGUEL               Where is Iowa?75   EXT/INT. MOVING BUS - IOWA HIGHWAY - DAY                           75     Various images of vast Midwest farmlands... corn country.     Miguel looks out the window at the passing landscape.76   EXT. BRIDGETOWN, IOWA BUS DEPOT - DAY                              76     Bridgetown's number one baseball fans, EARL HIGGINS (70) and his     wife HELEN HIGGINS (also 70) watch as the bus pulls into the     depot. They're holding a sign that says: "Miguel Santos #1"     About a dozen young players hop off the bus and grab their bags.     Some of them jump into waiting taxis, but Miguel sees his name     on the Higgins' sign.                           MIGUEL               Can't I stay with you guys?                           JORGE               Don't worry, Sugar. The Higgins are               good people. I stayed with them last               time I played here.     Jorge walks over towards the Higgins with Miguel.                     Official Shooting Script as of 10/22/07      40.                          MIGUEL              Then why don't you stay with them              again?                          JORGE              They have a no girls policy.                          HELEN              Jorge! Good to see you back in              Bridgetown!     Jorge hugs Helen, shakes hands with Earl.                           JORGE              Thank you.   This is Miguel.     Orlando whistles to Jorge from a taxi.                            JORGE              I go now.    Take care of my friend.     Jorge waves goodbye to the Higgins, pats Miguel on the back, and     hops in a cab with Orlando and Ed.     Awkward beat, as Miguel, Earl, and Helen stand in silence.77   EXT/INT. HIGGINS CAR - DAY                                         77     Earl and Helen ramble on in English, while Miguel spaces out the     back window at the passing corn stalks, which are strikingly     similar to the sugar cane stalks back home.                          HELEN              We've had Dominicans, Venezuelan boys,              a Colombian, one from Panama, blacks              and some Americans. Mostly Spanish              boys, though. Johan Santana, Mendy              Lopez and Ramon Martinez all stayed              with us. Years ago.                          EARL              Last year we had this boy, Junior              Sanchez. Nice boy. Decent with the              glove, but couldn't bunt to save his              life.                          HELEN              Two-for-twelve in sacrifice situations.                          EARL              Cost the team at least two victories.                       Official Shooting Script as of 10/22/07    41.                           HELEN               Oh, that's being generous!   I'd say               four or five.78    INT. HIGGINS FARMHOUSE - DAY                                         78      Miguel, Earl, and Helen enter the old, crickety home.                           HELEN               Put your things down.   I'll show you               around.79    INT. KITCHEN                                                         79                           HELEN               This is the kitchen. Help yourself to               whatever you'd like. You can make a               list of special foods you like to eat               and put it here.      Helen points to a grocery list tucked under a broccoli magnet.                           HELEN               Oh, and over here, this drawer is a               little funny.      She pulls open the silverware drawer.                           HELEN               You have to be careful or...      She pulls it a little too far and it falls off its rail.    Miguel      nods.80    INT. WASHER/DRYER ROOM                                               80                           HELEN               This is the washer and the dryer. For               your clothes. You put the soap in this               one. Sopa.      Miguel looks at her, confused.   Did she just say "soup"?                           HELEN (CONT'D)               The other one's just hot air.               Caliente.A80   INT. STAIRCASE                                                    A80      Miguel follows Helen up the stairs.                           HELEN               Your room is up here.                       Official Shooting Script as of 10/22/07   42.81   IN THE BATHROOM                                                   81                         HELEN                   (in bad Spanish)              El banyo.     She laughs.   Miguel smiles, appreciating the effort.82   INT. MIGUEL'S NEW BEDROOM                                         82                          HELEN              Your new cuarto. Bedroom. Do with it              as you please. Just no girls. Chicas?              No chicas.     Miguel smiles, understanding.83   INT. KITCHEN - LATER                                              83     Earl and Helen break down the rules for Miguel at the table.                          EARL              No drinking. No cervezas in the casa.              No chicas in the bedroom.                          HELEN              I already told him that one.                             EARL              Okay.     What about quiet time?                          HELEN              Right. There's no real curfew, but you              must be quiet after ten.                               EARL              Diez.                   (holding index finger to                    mouth)              Shhhh... after diez.                               MIGUEL              Ten.     Okay.                          HELEN              Si! That's all we ask. It's our job              to keep you healthy and focused on              baseball.                          EARL              And we take pride in that.     Miguel smiles.                      Official Shooting Script as of 10/22/07      43.84    EXT. HIGGINS PORCH - DUSK                                          84      Helen brings a large glass of lemonade to Miguel gently swaying      on the porch swing.                            MIGUEL               Thank you.      She nods, looks out over the landscape, and for the first time      we see...      ...an EXTREME WIDE SHOT of the Higgins house, which seems to be      situated in the middle of nowhere. The low sun casts a dreamy      Days of Heaven glow over the image. A tiny Helen Higgins      returns inside the house, while Miguel continues to sway on the      porch swing, alone. Hold.                                                       FADE TO BLACK.85    INT. MIGUEL'S HOME (DOMINICAN REPUBLIC) - DUSK                     85      Carmen talks into the phone.                           CARMEN               Everyone is so proud, Miguelito.   It's               all we can talk about.A85   We INTERCUT between Carmen and Miguel IN HIS NEW IOWA BEDROOM.     A85                           MIGUEL               Did you get the money?                            CARMEN               Of course.                           MIGUEL               Good. And Victor? Can he start               construction on the house again? I'll               be sending money every two weeks now.                           CARMEN               We just paid him. He's coming next               week.                           MIGUEL               What about you? You get something for               yourself like I said?                            CARMEN               Me?   What do I need?                           MIGUEL               C'mon, mom...                      Official Shooting Script as of 10/22/07   44.                          CARMEN              What?                          MIGUEL              You didn't get anything?                          CARMEN              Well, maybe I got some new shoes, but              I'm not telling.     Erica strolls by, yells into phone...                          ERICA              Three pairs, Miguel!    But who's              counting?     Miguel laughs on his end.                          MIGUEL              Good for you, mom.                           HELEN (O.S.)              Miguel!   Time for dinner!                          MIGUEL              I have to go, mom. The lady is calling              me. Smells like dinner.                          CARMEN              Dinner? Don't forget who your real              mother is, Miguelito. Are you going to              prefer her cooking to mine now?                          MIGUEL              Impossible... I love you, mom.                          CARMEN              Everyone loves and misses you.      Strike              one out for me, okay?86   INT. HIGGINS DINING ROOM- DUSK                                     86     The Higgins' son, MICHAEL (40s), and his wife, HILARY (40s), and     their daughter, ANNE (17), join Earl and Helen for Miguel's     first dinner in Iowa.     Helen leads the table in grace...                          HELEN              Dear Lord... Thank you for the meal we              are about to eat. And for blessing us              with our new guest. And guiding him              safely on his journey from the              Dominican Republic to Bridgetown...               Official Shooting Script as of 10/22/07     45.Miguel glances around the table.   Everyone's head is bowed andeyes closed.His eyes stop on Anne, seated across from him. She's anattractive all-American girl, but would never dream of flauntingher good looks. After taking her in, Miguel closes his eyes.                    HELEN        ...And finally, Lord... Please look        kindly over the Swing this season. May        all the players stay healthy and...        well, why not?... if there's anything        you can do to help us win another        championship, we'll take that too...        Amen.The table laughs, followed by a chorus of Amens. Miguel openshis eyes, greeted with smiles. He smiles too, as everyonepasses dishes around the table.                    MICHAEL        So, Miguel... Do - you - eat - meatloaf        - back home?                    HELEN        I already told you, Michael, he doesn't        speak any English.                    MICHAEL        I know but... I'm curious to know what        he thinks of the meatloaf.                    EARL        What do you care?   You didn't cook it.                    HILARY             (to Michael)        I doubt they have meatloaf in the        Dominican Republic, dear.                    ANNE        I bet they have something similar.        They probably just have another name        for it.All eyes are on Miguel as he nervously takes a bite.A suspenseful beat, until......he smiles and nods.Everyone sighs, smiles, and nods back.                     Official Shooting Script as of 10/22/07       46.                          MICHAEL              This is good old-fashioned American              home cooking, Miguel. Welcome to              America.                           MIGUEL              I like.   Thank you.                          EARL              Well, very good, Miguel. De nada to              you, mi amigo. De nada to you.     Anne smiles at Miguel, a little embarrassed by her grandpa.     Miguel smiles back, then gets back to his meatloaf.87   INT. BRIDGETOWN SWING CLUBHOUSE - DAY                               87     The team's CLUBHOUSE MANAGER (19, redheaded freckle face), hands     out schedules to a handful of returning players.                          CLUBBY              If you guys ever need tickets for              family or friends, just let me know two              days ahead of time. Thursday's opener              is already sold out, but I saved one              row, so you need to speak up now...     Miguel enters the room, looking for his locker.    The Clubby     takes notice.                          CLUBBY              Santos - you're over there.     Clubby points Miguel in the right direction, where he finds his     locker and several pressed jerseys waiting for him. Miguel     takes his practice jersey, sits down in front of the locker,     as...                          BRAD (O.S.)                   (in bad Spanish)              Que pasa, hermano?     Brad pats Miguel on the back.    Miguel is excited to see a     familiar face.                          MIGUEL                   (in bad English)              What up, Flaco?                          BRAD              Dude, I was totally psyched when I saw              your name on the squad. Good times.                     Official Shooting Script as of 10/22/07     47.                            MIGUEL              Yeah, okay.     Brad finds his locker, and they both suit up.88   INT/EXT. UNDERGROUND CORRIDOR - MINUTES LATER                      88     We follow Miguel through the tunnel, which leads out to the...89   BRIDGETOWN SWING BALL PARK FIELD                                   89     A stunning little park that sits at the Mississippi River's     edge, underneath the Crescent Bridge. A dozen scattered players     warm up on the lush green grass.     A wide-eyed Miguel steps onto the field for the first time and     takes it all in. Hold.                                                     FADE TO BLACK.90   INT. WESTLAND MALL - DAY                                           90     Miguel and Jorge stroll through the mall. Miguel notes the     steady barrage of discount signs, plastic jewelry kiosks, and     product samples.91   INT. DEPARTMENT STORE - MINUTES LATER                              91     Miguel follows Jorge through the men's section when a rack of     Hanes underwear catches his eye. He turns a package over.     INSERT: in a little corner of the package Miguel reads, "MADE IN     THE DOMINICAN REPUBLIC".     He checks the price tag.                          JORGE              C'mon, bro, let's find you a suit.                          MIGUEL              I can't afford a suit.                          JORGE              I didn't say buy a suit. I said find a              suit. So when you make it big, you'll              already know what looks good.92   INT. DEPARTMENT STORE SUIT SECTION - NOT MUCH LATER                92     Miguel emerges from the dressing room in a white suit and     electric blue collared shirt.                           JORGE              Hot damn!   That's what's up!               Official Shooting Script as of 10/22/07       48.                    MIGUEL        You like it?                     JORGE        I love it!   You look like an all-star,        bro.Miguel admires himself in the mirror.                    JORGE             (in a fake announcer              voice, in English)        "Starting pitcher for American        League... from Kansas City... Miguel...        'Sugar'... Santos."Jorge fakes massive crowd applause.   Miguel laughs.                    MIGUEL        What about you, man?   You try one.Jorge shrugs, smiles.                     JORGE        Me?   Nah... I'm all washed up.                     MIGUEL        C'mon...Jorge gets distracted by a pack of TEENAGE GIRLS cruising by.They smile at the players, who smile back.                     MIGUEL        Very nice.                    JORGE        Dude. You have no idea. Just wait        till we go to Big Muddy's.                    MIGUEL        Big Muddy's?Jorge reaches into his wallet, removes his ID, hands it toMiguel.                    JORGE        You gotta be 21 to drink there. This        is my old license. They won't know the        difference.Miguel looks at Jorge's ID photo, cracks up.                     Official Shooting Script as of 10/22/07      49.                          MIGUEL              Are you kidding me? Nobody's gonna              believe I'm this ugly fool.                          JORGE              Believe me; they won't know the              difference.93   EXT. WESTLAND MALL PARKING LOT - DAY                               93     Miguel and Jorge each carry a shopping bag for Helen. Miguel     also carries a plastic bag of his own. All three of them are     licking ice cream cones.94   INT. MIGUEL'S ROOM - DAY                                           94     Miguel takes a new calendar out of a plastic shopping bag.    It     features iconic images of New York City. He peels off the     plastic and pins it to the month of April on his wall.     CLOSE ON Miguel's hands tearing open a small package from his     family back home: we linger on a crudely drawn sketch of a     baseball player with a Kansas City jersey from Luis, along with     a photo of Carmen, Erica, and Luis posing in front of the frame     of the new house.     Miguel smiles, reads the enclosed letter.95   EXT. BRIDGETOWN SWING BALL PARK - LATE AFTERNOON                   95     Opening Night. There's an air of excitement in the stands and     on the field. The small park's seats are packed with fans.96   INT. RADIO ANNOUNCERS' BOOTH                                       96     JACK JEFFERIES (White, 50s) overlooks the field, speaks into the     microphone.                          JACK JEFFERIES              Hey there, Swing fans, welcome to              another exciting season of Swing              baseball. As always we've got some new              faces who we'll get to know this year--              like Brad Johnson, the highly touted              2nd baseman out of Stanford. He'll              make his professional debut tonight.              Great night for Swing baseball... And              also a great night to grab a bite and a              brew at Harlow's after the game - your              local pub and proud sponsor...                      Official Shooting Script as of 10/22/07        50.97    EXT. ON THE FIELD                                                    97      As a YOUNG LADY begins singing the Star-Spangled Banner, Miguel      takes off his hat, looks out to the American Flag. Hold on his      solemn expression.98    EXT. IN THE DUGOUT                                                   98      We STAY ON Miguel for the game's highlights, JUMP CUTTING his      reactions to the best plays of the game.      PLAY 1: he casually spits sunflower seed shells, then CLAPS the      final out of the inning, high-fiving players returning to the      dugout.      PLAY 2: chats to Jorge, when they react to the CRACK of the      bat, leap to their feet, eagerly anticipate an umpire's call,      and CHEER when the call goes their team's way.      PLAY 3:   grimaces at the sight of a hit-by-pitch.      PLAY 4:   leaps to his feet, CLAPS.      PLAY 5:   leaps to his feet, doesn't clap.   Sits back down.      PLAY 6: Miguel and Jorge sway to the seventh inning stretch      classic "Take Me Out to the Ball Game."      PLAY 7: sitting with Brad, they both point to something on the      field and crack up laughing. Of course, we don't see what      they're laughing at.      PLAY 8: standing with Jorge and the rest of the players, the      mood is tense. The players react to a hit ball, as their heads      jerk toward the outfield, waiting, waiting, waiting, and...A98   CELEBRATION! Whatever happened, the game is over and we follow A98      the players out onto the field to mob Brad, who just scored the      winning run.99    EXT. BIG MUDDY'S FRONT ENTRANCE - NIGHT                              99      The BOUNCER examines Miguel's photo ID, which is actually      Jorge's. He shoots Miguel a suspicious look, but hands it back      and lets him through.100   INT. BIG MUDDY'S - NIGHT                                             100      Some of the Swing players celebrate their first victory with      beers at the local bar/dance club. A few of the guys dance with      LOCAL GIRLS, but Jorge and Miguel stand against the wall, beers      in hand, as they watch the MTV-inspired GRINDING and FREAKING      unfolding before them.                      Official Shooting Script as of 10/22/07   51.                           MIGUEL               You think they know how to salsa?                           JORGE                    (smiling)               Go for it, bro. But remember, just               cause they dance with you, doesn't mean               they want anything else.      Orlando and Ed approach with a couple brews.                           ORLANDO               Not from you, anyway.      Miguel notices Brad stroll by, calls him over.                            MIGUEL               Yo flaco!                           BRAD               What's up fellas?     Good game.      They all toast beers.                           BRAD               What's with the flaco? I mean...                    (flexing his arm)               You call this flaco?      Everyone laughs, as Jorge eyes TWO WOMEN on the dance floor.                            JORGE               You ready?                           MIGUEL               Let's do it.101   INT. BIG MUDDY'S DANCE FLOOR                                      101      Jorge whispers in one of the girls' ears and the two of them      begin dancing with him and Miguel. At first cautious, Miguel      and his partner ease closer, until Miguel's hands are on her      hips, leading her in rhythm to the hip-hop jam, while mixing in      some Latin moves as well.      As Miguel and Jorge carve and twist with their partners, several      local bar PATRONS begin to take notice of their fancy footwork.      But Miguel might be dancing too well for one DRUNK JACKASS in      particular, who...      ...wanders over, gets in Miguel's face.                      Official Shooting Script as of 10/22/07     52.                           JACKASS                    (barely audible)               Careful, Paco. This ain't the jungle.      Miguel stares him down. A few clubbers in the immediate      vicinity stop dancing, observe. Jorge steps between them,      and...      ...apparently, drunken egos speak the same language everywhere      because Jorge and the Jackass start jawing back and forth in      their native tongues. Both seem to be understanding the other,      though the MUSIC is too loud to hear anything specific.      Brad and the Venezuelans run over to break it up before anything      serious starts. They all hustle out to...102   EXT. BIG MUDDY'S PARKING LOT - NIGHT                              102      The Latin players spill out into the brisk night air with Brad      and the Swing's designated hitter, JEFF ELKS.      They all pile into Brad's car, as a few locals stand near the      club's entrance, watching them go.103   EXT. HIGGINS FARMHOUSE - NIGHT                                    103      The car pulls up near the house and Miguel stumbles out, as the      wild bunch inside HOOT and HOLLER.      The car backs down the road and the players' voices fade out      with the hum of the engine.      An upstairs light goes on. Miguel looks up to the Higgins'      bedroom where Helen's silhouetted figure lingers in the window.      He tiptoes inside.      The sound of a CHURCH CHOIR fades in, and carries over to...104   INT. CHURCH - DAY                                                 104      With the exception of Miguel, the all-white congregation sings      hymns about Jesus and the Lord. He tries to suppress a yawn      when he sees Anne Higgins singing in the choir. She notices      him as she sings. A smile.      Miguel perks up.105   EXT. CHURCH PARKING LOT - DAY                                     105      CHURCHGOERS flood out of the church after the service.    Anne      walks alongside Miguel.                       Official Shooting Script as of 10/22/07   53.                           ANNE               How'd you like the service?                    (off his blank stare)               Our church? Hope it wasn't too boring               for you. Did you go to church in the               Dominican Republic?      He shakes his head.                             MIGUEL               I am sorry.    I do not understand.                           ANNE               S'okay. You understand more than a lot               of folks around here I bet.      He nods, still unsure.                           ANNE               So listen, me and some friends   are               hanging out later. You should    stop by               my house after the game. It's    gonna be               super chill. Grandma can take    you               there, but here...      She stops a random CHURCHGOER...                           ANNE               Can I borrow a pen real quick?      The churchgoer hands over a pen, and Anne writes her address on      Miguel's forearm.                           ANNE               After the game. My house...     Good               luck, tonight.      Anne runs off.   Miguel looks after her, mystified.106   INT. SWING CLUBHOUSE - LATE AFTERNOON                             106      Half-uniformed players hang out, eating sandwiches, passing      around a PLAYBOY magazine, signing souvenir baseballs, and      talking at full volume. Hip-hop BLASTS from a stereo, competing      with an old DUKES OF HAZARD rerun on the TV. HARDY, the      Bridgetown Swing mascot, passes through with his enormous monkey      head under one arm.      Miguel sits at his locker, psyching himself up for his first      start. He touches Luis' drawing, which is taped to the inside      of his locker. Closes his eyes, takes a deep breath.                       Official Shooting Script as of 10/22/07      54.107   EXT. BRIDGETOWN SWING BALL PARK - LATE AFTERNOON                    107      ON THE MOUND. Miguel opens his eyes, as the LEAD-OFF HITTER      steps into the batter's box. He takes a moment, crosses      himself. Play ball.      Miguel nods to his catcher, Orlando, then fires in the first      pitch high for a ball.      When he gets the ball back, he looks to the stands, where...      ...Earl, Helen, Michael, and Hilary sit uncomfortably close to      the field in choice box seats.      He takes a nervous breath, fires in the second pitch.      Ball two.      Same for the third. And forth.      The batter jogs to first, and the crowd GRUMBLES.108   INT. RADIO ANNOUNCERS' BOOTH                                        108      Jack Jefferies does his thing on the mic.                           JACK JEFFERIES               Santos, apparently feeling the               butterflies on his first professional               outing. Hailing all the way from the               Dominican Republic, Santos wowed the               club with his power during Spring               Training. But he's off to a rocky               start tonight.109   ON THE MOUND                                                        109      Jorge comes over from third base as the batter walks to first.                           JORGE               Relax, Sugar. It's the same game we               played back home. That's all it is.               Just a game, man. So relax. Let's               have some fun. Okay?      Miguel nods.    Jorge points out the next batter.   Another      Dominican.                            JORGE               See?   Just like home.      Jorge runs back to his position at third.   Miguel tucks his      index finger into his knuckle curve grip.   Delivers...                            UMPIRE               Strike!                      Official Shooting Script as of 10/22/07    55.                             JORGE                That's it!   There it is!      And the next pitch...      ...is hit sharply to Jorge at third, who fires it over to second      for one, and on to first for a double play.      The crowd goes WILD and Miguel finally exhales.      One, two, three... he mows down the next BATTER on three      consecutive strikes. More APPLAUSE.110   IN THE DUGOUT                                                    110      Orlando hands him his first strikeout ball. Miguel takes a      seat, wipes the sweat from his head, then looks down at Anne's      address scribbled on his forearm.111   SCOREBOARD - LATER THAT NIGHT                                    111      We PAN RIGHT across six innings of zeroes. The Swing are      leading 4 to nothing in the top of the 7th.112   ON THE FIELD                                                     112      THWACK!   The HITTER smokes a double off the left-center wall.113   INT. RADIO ANNOUNCERS' BOOTH                                     113                            JACK JEFFERIES                Nearly unhittable for the first 6                innings, that was only the second hit                allowed by Santos tonight.114   BACK ON THE FIELD.                                               114      The next BATTER dribbles a spinning groundball at Jorge, but it      squirts through his legs into left field, allowing the runner to      score an unearned run from second.      Stu walks toward the mound, signals for the bullpen.   He and      Orlando greet Miguel on the mound.                            STU                Good game, kid.   Enjoy this...                            ORLANDO                     (in Spanish)                Nice work, Sugar.                      Official Shooting Script as of 10/22/07    56.                           MIGUEL                    (in Spanish, to Orlando)               But that wasn't my fault. I can go               longer.                           ORLANDO                    (in Spanish)               Take it easy; it's your first game.      Though he doesn't speak Spanish, Stu knows exactly what's      happening. He takes the ball from Miguel with a smile, but      Miguel doesn't move, still reluctant to leave the mound.      As the FANS begin to cheer his stellar debut...                           STU               You hear that? It's for you, kid.      Orlando smiles, pats Miguel on the butt, and Miguel finally      starts his slow walk off the field. As we follow him off, the      FANS rise to their feet and Miguel approaches the dugout to a      standing ovation. On his way in, he's greeted by his teammates      with congratulatory high-fives.      AT THIRD Jorge stares at the dirt, frustrated by his misplay.115   EXT. BRIDGETOWN SWING BALLPARK - AFTER THE GAME                  115      FIREWORKS EXPLODE in the sky as the kids in the crowd watch      excitedly.116   IN THE DUGOUT                                                    116      Miguel and a few other players hang over the railing, enjoying      the awesome display.117   EXT. ANNE'S HOUSE - NIGHT                                        117      Miguel rings the doorbell, waits.   He's holding a baseball.      Anne opens the door.                             ANNE               Hey Miguel.    C'mon inside.      He hands her the ball like it's a rose.                           MIGUEL                    (in rehearsed English)               My first... strike-out.                           ANNE               Oh, Miguel... you're so sweet.               Congratulations, I heard you pitched               awesome.                      Official Shooting Script as of 10/22/07   57.118   INT. ANNE'S HOUSE - MINUTES LATER                                118      Some kind of casual teenage party is in effect. Pizza boxes are      spread around the living room and everyone (12-15 WHITE KIDS)      are drinking soda from plastic cups. No booze.                           ANNE               Hey everybody, this is Miguel. He's               from the Dominican Republic, and now he               pitches for the Swing.      Everyone manages to say "Hi Miguel" at the same time.119   GAME ROOM - A LITTLE LATER                                       119      Two guys, RANDY and TRAVIS, play a spirited game of foozeball,      while Miguel looks on, fascinated.                           RANDY               What's up, man?                             TRAVIS               Wanna play?                            MIGUEL               No.   Thank you.                           TRAVIS               It's like soccer. You play soccer?                            MIGUEL               Soccer?   No. Baseball.                           TRAVIS               Well this is called fooze-ball.   Fooze-               ball.                             MIGUEL               Foos-ball?                           TRAVIS               Yeah, you got it.      Miguel looks for Anne, sees her going over some papers with      another kid. She sees Miguel, waves, then gets back to her      conversation.                           RANDY               I used to be a pitcher. In little               league. I wasn't very good though.      Miguel nods, and another girl, WENDY, chimes in.                      Official Shooting Script as of 10/22/07      58.                           WENDY               I heard that the beaches in the               Dominican Republic are really               beautiful.      Miguel nods again. They stand in silence for an awkward beat,      sipping from their red, plastic cups, until...                           ANNE               Hey guys, let's get started.   Everyone               grab a seat.      The teens crowd into the living room, squeezing together on      sofas, recliners, and desk chairs. Miguel sits behind the      majority of the group, not sure what's going on. Anne stands      before them...                           ANNE               I'm so glad you all came. Last year,               we didn't have half as many people in               our group. So, I think this just goes               to show the great work we've been doing               in spreading the word. But this year,               I want us to work harder. Now, I know               a lot of you are studying for SATs or               working on college applications. And               all of that is important, but we need               to remember that our spiritual               accomplishments are more important.               What we do in school or for a job...               that's just a small part of who we are.               We're only here by the grace of God, so               let's get out there and share that               grace.      Miguel watches, still unsure what's going on.120   LIVING ROOM - A LITTLE LATER                                       120      Anne leads the group in song, while Randy plays the piano.      Miguel watches; he's the only person not singing.                           THE GROUP                    (singing)               One there is above all others,               Oh, how He loves!               His is love beyond a brother's,               Oh, how He loves!               Earthly friends may fail or leave us,               One day soothe, the next day grieve us;               But this Friend will ne'er deceive us:               Oh, how He loves!                      Official Shooting Script as of 10/22/07   59.      Miguel observes, a little disappointed, as this is not quite the      date he was hoping for.121   EXT/INT. MOVING BUS - DAY                                       121      Miguel and Brad are side by side in neighboring aisle seats,      while Jorge and Jeff catch some Zs against the window. Miguel's      "English for Baseball Players" workbook is on his lap, but he      and Brad discuss language that won't likely be found there...                             MIGUEL               MamaÒema.    Very bad.   Very bad word.                             BRAD               Mama-Òema?    What's it mean?                           MIGUEL               Mmm... Like--      Miguel mimes fellatio.                             BRAD               Cocksucker?                           MIGUEL               Cock-sucker?                           BRAD               Yeah, we say cocksucker.                           MIGUEL               Okay, cocksucker.                             BRAD               MamaÒema.      They laugh.                           BRAD                    (in bad Spanish)               Who is your favorite player?                           MIGUEL                    (in bad English)               Robinson Cano for the Yankees.    I know               him brother. And you?                           BRAD               Roberto Clemente.                           MIGUEL               Who is that?                 Official Shooting Script as of 10/22/07    60.                      BRAD        What?    You don't know about Clemente?                    MIGUEL        Is Dominican?                    BRAD        Puerto Rican. I can't believe it. This        is tragic. Do you know who Babe Ruth        is?                     MIGUEL        Baby Ruth?   El chocolate?Brad stares at Miguel for a beat, and they both crack up.                    BRAD        Hey, how'd it go with that girl the        other night?                     MIGUEL        Girl?                    BRAD        Yeah, didn't you have a date, or        something?                    MIGUEL        Oh, she no es my girl.Brad senses Miguel's disappointment in the matter.                    BRAD        No sweat, bro. We'll find you a little        honey on the road.Miguel smiles.   Brad picks up his mp3 player, searches the menufor something.                    BRAD        You like The White Stripes?                    MIGUEL        I don't know.                    BRAD        Check it out.Miguel grabs his portable CD player, hands it to Brad, tradingmusic with him. As Miguel places Brad's Bose headphones overhis ears, The White Stripes' "Seven Nation Army" infuses thesoundtrack and leads us through the following...                      Official Shooting Script as of 10/22/07       61.122    EARLY SEASON SWING BASEBALL SEQUENCE:                              122       --The Swing players sprint out of the dugout to their positions       at BRIDGETOWN BALLPARK, while Miguel struts to the mound with       supreme confidence.A122   --AT A VISITING TEAM'S STADIUM, Miguel throws a series of          A122       strikes and batters WHIFF.B122   --Miguel ices down his arm after a game.                           B122C122   --Ed sneaks up behind Miguel while he's talking to Brad and        C122       drops a handful of ice down his shirt.H122   --AT A VISITING BALL PARK Brad makes a diving stop.                H122D122   --AT THEIR HOME PARK, Stu works with Miguel in the early           D122       afternoon, before the other players have arrived.J122   --Brad slides in safely at second base.                            J122F122   --Miguel runs videotape during one of his off days.                F122G122   --Jorge strikes out.                                               G122J122   --Miguel and Jorge eat eggs at a local diner.                      J122123    --AT THE WESTERN UNION, Miguel hands $300 through the glass to     123       the teller.124    --ON THE BUS, Brad hands Miguel a local paper, featuring a photo124       of Miguel on the mound.                            BRAD                "Santos stings Owls with 8 Ks." What                kind of shoddy journalism is this?                There's nothing' about me in here.       Miguel smiles, takes the paper, examines it.125    --IN A MOTEL ROOM, Miguel enthusiastically talks on the phone      125       with his mom back home.A125   --AT A VISITING TEAM BALLPARK, Miguel picks off a runner at        A125       first.126    --Jorge does physical therapy for his knee while Miguel            126       stretches out his pitching arm.127    --Miguel watches videotape of his pitching with Stu in the         127       coach's office.A127   --Miguel, Jorge, Orlando and Ed sit in the dugout, respectfullyA127       listen as a chaplain gives a sermon in Spanish.                       Official Shooting Script as of 10/22/07    62.       At the other end of the dugout, some of the American players       listen to a Sunday morning sermon in English.B127   --TRACK IN on Miguel as he fires in another strike.              B127128    --A KID hands Miguel a baseball card and pen for his autograph. 128       Miguel coolly obliges like he's been doing this for years.129    --IN THE RADIO BOOTH, after a game, Jack Jefferies, interviews     129       Miguel with Orlando acting as translator.                            JACK JEFFERIES                At what point in the game did you                realize you had your best stuff?                            ORLANDO                     (doing his best)                When did you know you were going to be                a good pitcher in this game?                            MIGUEL                I knew from the time I was very young I                would be a good pitcher. Ten, eleven                years old. Thanks to God, I have had                the opportunity to develop my talents.                            ORLANDO                     (translating in English)                He knew very early that he was going to                pitch good. Eleven years.       Jack Jefferies nods, confused.   Miguel and Orlando look at each       other, unsure.       END EARLY SEASON SEQUENCE.130    INT. MOTEL ROOM - NIGHT                                            130       Miguel checks his appearance in the bathroom mirror, while Jorge       talks on the telephone with somebody back home. Jorge appears       anguished, as he struggles to speak.                            JORGE                It's not good. Because I haven't been                playing good... No. I'm working hard,                but, I don't know... I think they                might...                     (Jorge glances back toward                      Miguel)                Listen, I can't talk now.       Miguel gets the hint, steps out of his room into the...                      Official Shooting Script as of 10/22/07    63.131   MOTEL HALLWAY                                                     131      ...and we follow Miguel through the lobby, which opens up into      an enormous arcade with blinking neon lights, and whistling      machines everywhere. His senses on the verge of overload, he      continues through the arcade, which then opens up into a...132   FUN CITY BOWLING ALLEY                                            132      Miguel notices Brad bowling with some GIRLS and other players.      Miguel watches for a beat as they laugh at one of the girl's      gutter balls. He thinks about going over to say hello, but      decides against it, heads back toward the arcade.133   INT. MOTEL ROOM - LATER                                           133      While Jorge sleeps, Miguel carves a small piece of wood with a      swiss army knife. Stops when he hears a burst of MALE AND      FEMALE VOICES coming from down the hall. He, goes to the door,      listens...      The drunken giggling VOICES get louder as they approach.   Miguel      looks through the peephole, sees...      ...Brad and Jeff with TWO LOCAL GIRLS disappear into their room      across the hall.      Miguel puts his ear to the door again, but can't hear anything,      so he returns to the desk, begins carving again.134   EXT/INT. MOVING BUS - DAY                                         134      Orlando and Ed play a spirited game of Casino on a Gatorade jug      in the aisle while Miguel, Jorge and Brad chat about movies.                           BRAD               Did you ever see "Y Tu Mama Tambien"?                           MIGUEL               Y tu mama what?                           BRAD               Y Tu Mama Tambien... It's Mexican.      Jorge laughs, shakes his head.                           MIGUEL               No, I don't know this.                           BRAD               What are your favorite movies?                             JORGE               Terminator.                       Official Shooting Script as of 10/22/07    64.                           MIGUEL               I like Matrisse.                           JORGE               Oh, Matrisse. Very strong.                            BRAD               Matrisse?   What's that?                           MIGUEL               He doesn't know Matrisse?                           JORGE               You don't know The Matrisse?                           BRAD               The Mattress? I don't know.                    (turns to Jeff, beside                     him)               Dude, do you know a movie called The               Mattress?                           JEFF               The Mattress?                           JORGE               With Keanu...?                           JEFF               Keanu Reeves?                            BRAD               Oh, shit!   The MATRIX!!                            MIGUEL               Matrisse!                           BRAD               Yeah, yeah, the Matrix is badass.   I               was like, Mattress? What?135   INT. MIGUEL'S BEDROOM - DUSK                                        135      He finishes   up a birthday card to his sister Erica, encloses it      in a padded   envelope along with the wooden etching he carved      earlier - a   pendant with a cornstalk design. The NYC calendar      on the wall   in the background indicates we are now in JUNE.      When he's done, he goes to his duffel, pulls out his English      language workbook.      Miguel sits on his bed, opens the book.                      Official Shooting Script as of 10/22/07     65.136   EXT. BRIDGETOWN SWING BALL PARK - DAY                             136      A batter swings and misses for strike three.    The catcher throws      the ball around the horn.      Miguel steps off the mound, grabs the rosin bag for traction,      gets the ball back.      His next pitch is hit on the ground toward the first base line,      where the first baseman makes a nice back-handed play...      Miguel sprints over to cover the bag, receives the toss, but...      OUCH!      ...the RUNNER storms into Miguel before he has time to pull his      foot off the bag, knocking them both hard to the ground.   The      runner is called out, but Miguel is slow getting to his feet.      Stu and the TRAINER run out to check on him. Jorge rushes over      from third, and Orlando also comes to help translate.                           STU               Nice play, kid.     How's your foot?                           JORGE               You okay?      Miguel nods, but he's limping back to the mound.                           STU               Take it easy. Don't force it.     How's               it feel?                           ORLANDO                    (translating)               Don't push it. Does it hurt?                           MIGUEL               I'm okay.                           STU               Let him toss a few warm-ups.      The umpire grants Miguel a few "test" pitches.      Visibly shaken, Miguel sets up for a warm-up pitch, breathes      deeply, and delivers. He lands gingerly on his right ankle,      makes a face.      Stu and the trainer exchange glances. Miguel notices this, as      he sets up for another pitch. The trainer shakes his head, no.                      Official Shooting Script as of 10/22/07       66.                           STU               All right, kid.     Give it a rest.      As Stu reaches for the ball, Miguel pulls it away.                            MIGUEL               I am okay.   Please.      Stu and the trainer sense Miguel's anxiety.     Stu puts his arm on      Miguel's shoulder for comfort.                           STU               You're okay, I know, but let's just be               sure... Give me the ball, son.      Miguel sizes them up, reluctantly hands the ball over, and limps      off the field with Stu and the other players looking after.137   INT. ANNE'S HOUSE - DINING ROOM - NIGHT                             137      The whole family, with a     couple new additions, sit around the      table in mid-meal: Earl,     Helen, Anne, Michael, Hilary, Jorge,      Brad and Miguel. Miguel      wears a big blue boot on his injured      foot, and a crutch leans     against the wall behind him.                           HELEN               You've been pitching so well... it's a               real shame.                           EARL               Don't worry, Miguel, you'll bounce               right back.      Miguel pokes at his food, avoids eye contact.                           HILARY               Where'd you say you were from, Brad?                            BRAD               Berkeley.                           MICHAEL               Oh, different world out there, huh?               You like to surf?      Brad smiles.                           BRAD               Uh, no, I've never tried it.     But maybe               someday.                           JORGE               Your parents visit here?                Official Shooting Script as of 10/22/07    67.                    BRAD        Yeah, I hope so. Maybe when they get        some time off this summer.                    ANNE        How about you, Miguel?    What's your        family like?                     MIGUEL        My family?                     ANNE        Yeah.   Like, who do you live with back        home?                    MIGUEL        I live with my mother, sister,        brother... and Abuela?Miguel looks to Jorge for help.                    JORGE        Grandmother.                    MIGUEL        And grandmother.                    MICHAEL        How about your father, Miguel?                    MIGUEL        My father, uh...             (searching for the word)        He die.Anne nudges her dad under the table.                    HELEN        Oh, Miguel, honey.    I'm so sorry.Miguel nods, takes a bite of potatoes.   There is an awkward beatas everybody chews.Miguel musters all his language skills to break the awkwardsilence.                    MIGUEL             (to Michael and Hilary)        You have other child...?                    HILARY        Yes, we have a son.   Anne's older        brother.                      Official Shooting Script as of 10/22/07    68.                           ANNE               He's in Iraq.      Brad pauses from chewing, looks around, and nods.   More awkward      silence. Hold.138   EXT. ANNE'S PORCH - NIGHT                                          138      Miguel and Anne sit alone on the porch. We can hear CHATTER      from inside, where the others are clearing the table.                           ANNE               You like it here in Iowa?                           MIGUEL               Yes.  I like... Many new things.                    (thinks for a beat)               Very different.                           ANNE               I bet. You've traveled a long way,               huh? God must have something special               in mind for you...      Anne points out a small scar on Miguel's scalp.                           ANNE               What happened there?                           MIGUEL                    (struggling)               Uh... When I boy... Um... I don't know--                           ANNE               Tell me in Spanish.                           MIGUEL                    (in Spanish, no subtitles)               Okay... When I was little, I wanted to               eat some cherries from a tree. It               wasn't our tree, and there was a fence               to keep us kids away.      Anne hangs on his every word as if she understood perfectly.                           MIGUEL               So I climbed up the fence to knock down               some cherries with a stick, but I when               I took my first swing-- whoosh. I               fell. There was a lot of blood.      Anne reaches out, lightly touches his scar.   Her hand lingers      for a beat, until...                      Official Shooting Script as of 10/22/07       69.      ...Miguel leans in and kisses her. She kisses him back for a      beat, but when he puts his hand around her waist, pulling her      closer, she resists. They separate.      Anne looks down at her feet, uncomfortable.                           ANNE               Sorry, I just...      Sorry.      Miguel looks on, confused, as she stands.   They lock eyes for an      awkward beat.                           ANNE               I should help clean up...      On her way back inside...                           ANNE               We have another meeting Thursday...    If               you can come.      Miguel nods. Anne leaves him on the porch alone.     He looks out      over the corn fields.139   INT. SWING CLUBHOUSE - DAY                                          139      Miguel enters the near-empty room limping on his blue boot,      finds Jorge wearing street clothes and packing up personal      things from his locker. Miguel knows immediately what's      happened.      They make eye contact from across the locker room.   Nobody      moves. After a beat...                           JORGE               I had a good run.                           MIGUEL               What happened?                            JORGE               It's over.                            MIGUEL               Why?                           JORGE               You know the drill. I'm not playing               well, so they'll bring up somebody who               is.                           MIGUEL               What about your knee? You just need               some more time... You're recovering.                  Official Shooting Script as of 10/22/07   70.                      JORGE        Sugar...Miguel relents.                    MIGUEL        When do you leave?                    JORGE        They want me to fly back tonight.                      MIGUEL        Tonight?!                    JORGE        But I'm not going back...A beat as Miguel lets this sink in.                    JORGE        I gotta cousin in New York.                    MIGUEL        You're going to New York?                    JORGE        Where else? There's no work back home.        My bonus won't last forever...Miguel looks off.    Jorge senses his anxiety.                    JORGE        Relax Sugar, I'll see you at Yankee        Stadium someday... when the Knights        come to town. I'll be in the front        row, getting drunk, and cheering the        loudest.Miguel smiles.                    JORGE        Not for you though. Yankee fans are        crazy. I can't take the risk... I'll        call you.A beat as Miguel looks at Jorge with concern.    Jorge shakes itoff.                    JORGE        You worry too much, Sugar. I'll be        okay. I mean, it's just a game, right?Miguel nods.                         Official Shooting Script as of 10/22/07   71.140    INT. SOFIA'S HOUSE (DOMINICAN REPUBLIC) - NIGHT                   140A140   Sofia on the phone. We INTERCUT between her and Miguel IN HIS A140       BEDROOM, his injured ankle elevated on a pillow.                            SOFIA                How'd you play tonight?                            MIGUEL                     (hesitant)                Good, good.                            SOFIA                I bet you have lots of groupies waiting                for you after your games.                            MIGUEL                I have a few.                             SOFIA                A few?                            MIGUEL                Just kidding. I mean I would, but none                of these white girls speak Spanish.                Marcos plays in Arizona. Lots of                Mexicans; everyone speaks Spanish. He                has like fifteen girlfriends.                             SOFIA                Shut up!                            MIGUEL                He's probably lying though.                            SOFIA                I bet he's lying.       A beat, as Miguel shifts gears...                            MIGUEL                Jorge went to New York.                            SOFIA                To the Yankees?                            MIGUEL                No. Our team cut him loose. He's got                a cousin there... I don't know what                he's going to do...                              SOFIA                Shit...    What about his family?                     Official Shooting Script as of 10/22/07       72.                          MIGUEL                   (his mind somewhere else)              It's not right. He got injured playing              for them. They owe him another chance.              He's worked too hard for too long... I              mean he's not a horse.      Miguel drifts off, and they sit in silence for a beat.                          SOFIA              But you can't let it get to you.              You've got nothing to worry about.              Just keep playing well, and things will              be okay.                           MIGUEL              Yeah...   I know. Things will be okay.      Miguel looks off, not so sure.141   INT. SWING CLUBHOUSE - DAY                                         141      Players lounge in uniform, relaxing before tonight's game.    Brad      reads on the sofa across from Miguel, who is in his street      clothes, his crutch by his side.                          MIGUEL              What is your book?                          BRAD              Welcome to the Terrordome.   It's about              sports and politics.                          MIGUEL              You study at, um, university?                          BRAD              Yeah, I went to Stanford. Studied              history and baseball. Did you go to              school back in the DR?                           MIGUEL              Yes.   Little. Secondaria?                          BRAD              High school?                          MIGUEL              Yes.   A little of... high school.   But              I sign when I have sixteen years.                          BRAD              You signed at sixteen?   Wow.   So you              didn't finish school?                       Official Shooting Script as of 10/22/07     73.      Miguel shakes his head, no.    After a beat...                           MIGUEL               If you no play baseball... what you do?                           BRAD               Um... it's hard to say for sure, but I               like history, so I'd probably go to               grad school... maybe teach someday.                            VOICE (O.S.)               Brad!   We're up for B.P.   Let's go.      Brad gets up, taps Miguel on the shoulder on his way out.      Miguel sits alone on the couch in the empty room, when he looks      off, sees...      IN THE BATHROOM doorway-- Jeff Elks discreetly hands ANOTHER      PLAYER a prescription pill bottle, exits.      Miguel takes note of the transaction, leans back, looks at the      ceiling fan.142   INT. HIGGINS FARMHOUSE - DAY                                       142      Miguel watches "When the Levees Broke" playing on HBO-Latino.      ON THE TV, one image of the hurricane's devastation gives way to      another. An AFRICAN-AMERICAN WOMAN stranded on the roof of her      house. A YOUNG BOY who's lost his mother.      Miguel looks on, moved by the tragedy.143   INT. WASHER/DRYER ROOM - DAY                                       143      Miguel takes the initiative and attempts to do his own laundry      while on the disabled list.      He stuffs his clothes into the washer, scrutinizes the      instructions, turns the knobs, and presses the buttons.144   INT. LIVING ROOM - DAY                                             144      Miguel studies his English Language workbook on the couch.    He      glances at the wall clock.145   INT. KITCHEN - DAY                                                 145      As Miguel opens the faulty utensils drawer, the folded paper      towel holding it in place pops out. Miguel catches the drawer      from slipping too far, takes out a fork.                         Official Shooting Script as of 10/22/07   74.146    INT. KITCHEN - DUSK                                               146       Miguel sits at the kitchen table with the broken drawer and       several small tools in front of him. He readjusts the wooden       rails on the faulty side of the drawer by sanding them down and       re-gluing them into place.       KNOCK KNOCK KNOCK.       FRONT DOOR. Miguel hobbles over, opens it to find Anne,       carrying a casserole dish and a couple empty platters.                            ANNE                These are grandma's from the other                night.       Miguel lets her pass into the kitchen, put the dishes on the       table. They stand awkwardly for a beat, looking at each other.                            ANNE                We missed you at our meeting, Thursday.                              MIGUEL                Sorry.    I forget.                            ANNE                It's okay, maybe next time.                            MIGUEL                You want sit?                            ANNE                I gotta go actually, so--                             MIGUEL                Okay, go.       Miguel sits, gets back to work on the drawer.    Anne looks at him       for a second, then exits.       Miguel glances out the window, watches Anne climb into a pickup       truck idling in the driveway. Anne and Miguel make brief eye       contact before the truck speeds away, a trail of dust following       it into the distance.A146   EXT. CORN FIELDS - DUSK                                           A146       Miguel walks down a path in the middle of the Higgins' corn       field. He finds a cob of corn, removes the leaves, and examines       the kernels up close.       ZOOM IN to ECU of a single kernel.                       Official Shooting Script as of 10/22/07    75.      Miguel stares at the raw corn with strange fascination.                                                          FADE OUT.147   INT. SWING CLUBHOUSE - DAY                                        147      Miguel walks in without crutches, looking healthy. He pounds a      few players hello, then freezes upon seeing Brad's empty locker.      Stu approaches Miguel...                           STU               There was an injury to the Wichita               right-fielder. They called up Brad               this morning... He left you this...      Stu hands Miguel an old paperback book.      INSERT: a Spanish-language version of Roberto Clemente's      biography. Miguel opens to the first page, where Brad has      inscribed a note, "See you in Kansas City, MamaÒema!"      Miguel smiles, bittersweet, when a familiar VOICE calls out...                              SALVADOR               Yo!   Sugar!      Miguel turns around to find Salvador Torres (the once scrawny      kid from the Academy) running at him. They hug.                              MIGUEL               Holy shit!     How'd you get here?                           SALVADOR               On a airplane, motherfucker.      Miguel playfully flips Salvador's cap bill down over his face      for being a smartass.                           STU               Great, you guys know each other. Sal's               our new middle-relief man. Throws a               nasty cutter. You could learn a thing               or two from him, Santos...                              MIGUEL               Okay.      Stu walks back towards the coaches' office.                           SALVADOR               What he say?                        Official Shooting Script as of 10/22/07    76.                            MIGUEL                     (not sure himself)                Don't worry about it... Good to see                you.                            SALVADOR                Good to see you, too, Sugar.                     (a beat)                I'm a little nervous.                            MIGUEL                Look, just remember... it's the same                game we played back home. Same rules,                different place. Just have fun. It's                only a game.148    EXT. BRIDGETOWN SWING BALL PARK - NIGHT                           148       CLOSE ON Miguel swearing at himself, clearly not following his       own advice.       A RUNNER circles the bases after hitting a homerun.                            JACK JEFFERIES (V.O.)                Santos allows his second homerun of the                game.   First night off the DL, and not                looking so sharp.       The SCOREBOARD indicates the Swing losing 5-2 in the 4th.       Miguel glances out of the corner of his eye to...       THE DUGOUT       ...Stu is scribbling on his scorecard.       MIGUEL quickly sets up for his next pitch, but Stu is on his way       out to the mound. Miguel glances back to the bullpen, where       Salvador is warming up.       Stu signals for Salvador to come in, and we follow Miguel off       the field to scattered applause.A148   IN THE RADIO BOOTH Jack Jefferies continues his play-by-play ofA148       the game.                            JACK JEFFERIES                Sutton makes the call to pull Santos                here in the 4th, bringing in rookie                reliever, Salvador Torres for his                Bridgetown debut.B148   IN THE DUGOUT.   Miguel sits on the bench, throws a towel over    B148       his head.                       Official Shooting Script as of 10/22/07       77.       ON THE MOUND.   Salvador warms up, looking a little freaked.       Players and fans marvel over Sal's unorthodox, side-armed       delivery. His form is reminiscent of A's legend, Dennis       Eckersly, but without the grace.       MIGUEL peaks through his towel at the action...       ON THE FIELD.   Salvador takes a deep breath, delivers his first       pitch...                              UMPIRE                Strike!       Salvador seems to relax.    Winds up his next pitch, and...       ...the ball appears to zig-zag across the plate, freezing the       hitter in confusion.                              UMPIRE                Strike two!       MIGUEL can't watch, hides behind the towel again.   SLOW ZOOM IN       on Miguel's head, hidden.                            UMPIRE (O.S.)                Strike THREE!       Miguel removes the towel, sees...       ...SALVADOR smiling big as he comes off the field. Orlando pats       him on the back, hands him his first professional strikeout       ball.C148   IN THE RADIO BOOTH                                                  C148                            JACK JEFFERIES                A stellar debut for Torres, who records                the final out, baffling Josh Lansford                with a nasty side-armed cutter.D148   FROM THE DUGOUT, Salvador arrives to a congratulatory standing D148       ovation from the fans and his teammates.                            STU                Welcome to America, kid.       Salvador sits next to Miguel on the bench, admiring the ball.                            MIGUEL                Just do me a favor... don't give it                away to the first white girl you meet.                      Official Shooting Script as of 10/22/07    78.      Salvador laughs, but Miguel is serious.   He gets up and heads      for the showers.149   INT. HIGGINS CAR - NIGHT                                         149      Helen and Earl drive Miguel home after the game. ON THE CAR      RADIO, we can hear a news report of a suicide bombing in Iraq.      Helen turns it down.                           HELEN               You started dropping your arm in the               third. I think that was your problem.                           EARL               He lost control of his breaking pitches               and they just zeroed in on the               fastball, which isn't as fast as it               used to be.                           HELEN               Earl...                           EARL               Don't matter, he can't understand               anyway.      Miguel stares out the window in the backseat.150   EXT/INT. MOVING BUS - DUSK                                       150      CLOSE ON corn stalks passing through frame. Miguel stares out      the bus window. Salvador jokes around with Orlando and Ed about      whether Dominican or Venezuelan girls are better.151   INT. MOTEL ROOM - NIGHT                                          151      Miguel tries to sleep, while Salvador watches "Sponge Bob" on      the Spanish channel.152   EXT. VISITING BALL PARK - AFTERNOON                              152      Miguel walks out onto the field, notices Stu working with      Salvador in the bullpen. Out of nowhere, Stu mimes the chicken      walk to Sal, and they both laugh.153   EXT. VISITING BALL PARK - DUSK                                   153      Miguel runs videotape behind homeplate as Salvador strikes a      batter out.                      Official Shooting Script as of 10/22/07   79.154   EXT. VISITING BALL PARK - NIGHT                                 154      Miguel throws in a pitch, which is lined directly over his head      for a base hit. He swears to himself as he sprints over to back      up home plate where the runner scores easily.155   INT. VISITORS' CLUBHOUSE - NIGHT                                155      Miguel storms into the empty clubhouse, grabs a bat from the      wall rack, and smashes a water dispenser unit to the ground,      spilling water everywhere. As he observes the mess, his      breathing steadies, and...      He glances over to the entrance, where the clubhouse manager      stares at him, disapproving.156   INT. VISITING COACHES' OFFICE - DAY                             156      Miguel sits across from Stu, staring off, embarrassed.                           STU               I know it's hard when you don't perform               up to your own expectations for               yourself. But you need to learn self-               control. Can you understand what I'm               saying? You need to learn that your               actions have consequences. So we're               gonna take the cost of the water unit               you broke out of your next check...               That's not something your family back               home's gonna be too proud of... Is it?      Miguel turns his gaze to Stu. Though he doesn't fully      understand what he's saying, Stu's intention is clear.                           STU               So you should think real hard next               time. Think about channeling that               frustration you're feeling onto the               field. Into practice. Channel it into               working harder--                           MIGUEL               --I am work hard! Everyday I work               hard.                           STU               So work harder, goddamnit! You think               you're the only one on this team works               hard?                        Official Shooting Script as of 10/22/07   80.                           MIGUEL                    (in Spanish)               I don't understand you. You speak too               fast. I just don't understand!                           STU               Look, you may think I don't know what               you're going through, but I do. I've               been on the mound; I've played through               pain. I've been in your exact               situation before. I've struggled               too... I've...      As Miguel glances away in frustration, Stu stops himself.   They      sit in silence. Hold.157   EXT. PEORIA CHIEFS' PARK - EVENING                                 157      Pouring rain. The few remaining FANS head for the exits.    The      players pack up their gear in their respective dugouts.      SLOW ZOOM IN on MIGUEL, staring at the falling rain.158   INT. MOTEL LAUNDRY ROOM - NIGHT                                    158      CLOSE ON about ten pills in Miguel's palm.      Jeff Elks instructs Miguel, alone, in the small room with a      flickering fluorescent light.                           JEFF               Listen, your first time, take a half.               Okay? No more. You gotta ease into               it. Half.      Miguel nods.                           JEFF               And anyone finds these, you didn't get               them from me, okay?      Before Miguel can respond, Salvador enters with his dirty      laundry. Miguel hides the pills.                            SALVADOR               What's up?                           JEFF               What's up, Sal?      Jeff heads out.    Miguel resumes folding his clothes.                           SALVADOR               Did you hear I made player of the week?                       Official Shooting Script as of 10/22/07      81.                            MIGUEL                You told me last night.       Salvador examines his detergent options from the dispenser       machine.                            SALVADOR                Which one do you use?       Miguel eyes the bleach.    Can't help himself.                            MIGUEL                That one.                            SALVADOR                Thanks.       Salvador inserts coins into the machine, pulls the bleach lever.159    INT. SWING CLUBHOUSE BATHROOM STALL - THE NEXT EVENING             159       Miguel pops two pills.    Exits out into the...160    SWING CLUBHOUSE - CONTINUOUS                                       160       ...where Salvador undresses out of his bleach-stained street       clothes. Miguel walks past without acknowledging him.161    EXT. BRIDGETOWN SWING BALL PARK - LATE AFTERNOON                   161       THE CAMERA eerily floats toward and around Miguel on the mound.       He stares down the HITTER, totally focused. He touches his       cross, whispers a prayer to himself.       Winds up, throws, and...       THUD!       ...a cloud of dust pops off the catcher's mitt, just like the       old days. Miguel's "stuff" is back. And he knows it.A161   IN THE STANDS. Earl and Helen settle into their box seats          A161       eating caramel corn and cola.B161   RADIO ANNOUNCERS BOOTH.    Jack Jefferies at the mic...            B161                            JACK JEFFERIES                Miguel Santos appears to be in top form                tonight, striking out two of three in                the first. I don't want to jinx it,                but this sure looks like the Santos we                knew earlier this season.                        Official Shooting Script as of 10/22/07    82.C161   IN THE DUGOUT. There's an intensity we haven't seen before in C161       Miguel. We get the sense he's treating this game like it could       be his last.162    ON THE MOUND - 2ND INNING                                           162       CLOSE ON MIGUEL.    Sweating more than he should at this point in       the game, but...       ...who cares? He continues to dominate opposing hitters,       striking out two more in the 2nd.A162   IN THE STANDS.   Earl and Helen CHEER for their Miguel.           A162163    IN THE DUGOUT - LATER THAT NIGHT                                    163       Still sweating, Miguel is now shifting his jaw back-and-forth.       The SOUND FADES LOW, as he stares onto the field, sees...       ...the teams changing sides between innings, everyone moving in       subtle SLOW-MOTION (36 fps).       Stu approaches Miguel, puts his hand on his shoulder. We see       him mouth the words, "You okay?", but NO SOUND comes out.       Miguel nods, yes.164    BACK ON THE FIELD - 5TH INNING                                      164       And back in real time (24 fps). Miguel fires his first pitch       over the head of his catcher and all the way to the backstop.       Orlando motions for him to calm down.       The next pitch is closer, but still high.       And the next pitch BEANS the hitter in the thigh.       Miguel swears at himself, tries hard to calm down, but his heart       is racing.A164   IN THE RADIO BOOTH                                                A164                            JACK JEFFERIES                Top of the fifth and Santos is showing                some control issues. Not sure what's                going on down there, but he seems to be                talking to himself.B164   ON THE MOUND, Orlando runs out to Miguel.                         B164                            ORLANDO                Don't worry about it. You're all good.                Just relax. Throw strikes. They can't                touch you. Just throw strikes.                       Official Shooting Script as of 10/22/07      83.       Miguel nods.   Orlando goes back behind the plate.       Miguel glances to the runner at first, then delivers...                              UMPIRE                Strike!       Orlando nods, encouraging.      Throws the ball back.       Miguel takes another deep breath. He whispers a prayer to       himself, grabs the ball in his spike curve grip, and...       ...his next pitch is ROCKED to deep left field.       Miguel immediately lowers his head, unable to watch. We HOLD on       his anguished reaction, as the hitter circles the bases.       STU shakes his head in disappointment.C164   FROM THE BULLPEN, Salvador watches, concerned.                     C164D164   FROM THE STANDS, Earl and Helen clap for encouragement.            D164E164   MIGUEL does his best to shake it off, but he keeps muttering toE164       himself, which makes him look crazy.       Another deep breath.    Another pitch...       UH-OH.       This one almost finds the batter's head, as he falls to the dirt       to avoid contact. It's on.                            UMPIRE                     (ejecting Miguel)                You're outta here!       The batter leaps to his feet, walks out toward the mound,       pointing his finger at Miguel, PISSED.       Miguel opens his arms, inviting a fight.     Orlando steps between       them.                            BATTER                Fucking Puerto Rican piece of shit!                            MIGUEL                     (in English)                Fuck you, cocksucker!       Both benches clear, as players rush out onto the field to       restore order.                      Official Shooting Script as of 10/22/07       84.      Miguel and the batter continue jawing at each other, while the      other players swirl around them, creating little sub-conflicts      of their own. It's a mess.      The sound FADES TO SILENCE and the image blends to SLO-MO again.      There's something poetic about a bunch of men in child-like      baseball uniforms, screaming at each other in silence.      Miguel looks around, perhaps recognizing this for himself...      Hold, until...      ...he calmly walks off the field, leaving the chaos behind.165   INT. SWING CLUBHOUSE SHOWERS - A LITTLE LATER                       165      Miguel showers alone.166   INT. HIGGINS KITCHEN - NIGHT                                        166      Miguel eats a late dinner at the table. Earl sits at the other      end, sipping some tea, while Helen does dishes at the sink.      The mood is uncomfortably tense. Nobody says a word, until      Miguel musters up the courage.                            MIGUEL               I'm sorry.      Helen turns off the faucet, turns around. Earl methodically      sets down his mug, stands up, and crosses to Miguel. Puts his      arm around his shoulder, wherein...      ...Miguel breaks down, hugs Earl around the waist, his face      pressed against his stomach. He's crying. Hold.167   INT. BRIDGETOWN SWING BALL PARK - COACHES' OFFICE - EVENING         167      Stu addresses Miguel before the game. Though his words are      encouraging, his tone is detached, cold. Miguel senses this,      listens, dejected.                           STU               You played with your emotions, and your               emotions got the best of you. Happens               to everyone. It's just a nasty part of               the game. Nobody likes to admit it,               but it is. The true test of our               character as athletes... is how we come               back. It's up to you.      Stu notices Hardy, the Swing mascot, pass by his office door.                           STU               Hardy! Don't wander off; I gotta talk               to you about that accountant...                        Official Shooting Script as of 10/22/07    85.168    EXT. BRIDGETOWN SWING BALLPARK - NIGHT                            168       Miguel sits out in the bullpen with the other relievers, while       Stu continues in V.O.                            STU (V.O.)                So, um, anyway, I'm bumping Sal into                your slot in the rotation. I'd like to                see how you handle a relief spot.A168   ON THE MOUND, Salvador fires in the opening pitch.                A168B168   IN THE RADIO BOOTH, Jack Jefferies does his play by play.         B168                            JACK JEFFERIES                Moving up from relief, Torres makes his                third start for the Swing. I tell ya,                this lanky kid from the Dominican                Republic has surprised us all with his                unique delivery and precision. Reminds                me of a young Pedro Martinez... Hey                there Bees fans, don't forget, closing                night is approaching fast and tickets                are selling out. So pick yours up at                the box office today...169    IN THE BULLPEN                                                    169       Similar to an earlier sequence of JUMPCUTS on Miguel reacting to       the game from the dugout, we now HOLD on Miguel, solemn and       detached, from the bullpen.       NOTE: the frame for the following images contains the first 3-4       rows of FANS seated behind the bullpen, so we can also use them       to gauge what might be happening on the field.       PLAY 1: Miguel, the FOUR RELIEVERS, and the fans clap for a       nice play.       PLAY 2: The fans jump to their feet as a ground ball passes       through frame, followed by an outfielder in hot pursuit.       PLAY 3: A reliever warms up in the foreground. Miguel stares       ahead, deadpan, while the others chat and spit chewing tobacco.       PLAY 4: A new reliever warms up, then runs out onto the field,       leaving only two others with Miguel.       PLAY 5: Miguel stares ahead, while the crowd does the "Chicken       Dance" behind him.       PLAY 6: The fans leap to their feet in applause. The two       relievers high-five. Miguel CLAPS, going through the motions.                      Official Shooting Script as of 10/22/07         86.      PLAY 7: Miguel chews and spits sunflower seed shells as the      fans sing along to "Take Me Out to the Ball Game."      PLAY 8: Another reliever runs out onto the field, leaving only      Miguel and one other guy.      PLAY 9:   Miguel is finally warming up, ready to enter the game,      but...      ...the fans leap to their feet, CHEERING victoriously. Game      over. The only other reliever grabs his jacket, and heads out      onto the field.      As the players and fans   head for the exits, Miguel remains on      the bullpen mound for a   beat. He nods to himself, oddly at      peace with the moment.    Miguel steps off the mound and we PAN      with him, as he crosses   frame, and makes the long walk to the      dugout. Hold.170   INT. MIGUEL'S BEDROOM - LATE AFTERNOON                                170      Miguel grabs a slip of paper from his nightstand. His large      duffel bag is packed full in front of him. On the wall, his NYC      calendar is turned to AUGUST.      He goes to the phone.   Dials...      After a long beat he hangs up.171   INT. HIGGINS FARMHOUSE - KITCHEN - EVENING                            171      Helen walks in to find Miguel washing the dishes in the sink.                            HELEN                Oh, honey, you don't have to do that.                            MIGUEL                     (his English better than                      ever)                No problem. I want to help.                            HELEN                Well, thank you, Miguel.      Helen grabs a dish towel.      They do the dishes together in      silence. After a beat...                            MIGUEL                Thank you, Helen.      Helen smiles, pats Miguel on the back.     HOLD.                       Official Shooting Script as of 10/22/07   87.172   EXT. BRIDGETOWN SWING BALL PARK - EARLY MORNING                   172      Earl drops off Miguel near the team bus, as players and coaches      load their gear in, and get on.      Miguel cautiously approaches the bus, sees Salvador,      hesitates...                           MIGUEL               I forgot something in the clubhouse.               I'll be right back.      As Miguel turns, Salvador grabs his bag, which is still on his      shoulder.                           SALVADOR               Here, I'll load your bag.      Miguel grips his bag tighter and the two of them lock eyes.      Salvador senses his intensity, releases the bag. Miguel backs      away with Salvador looking on.                           ED               Where's he going?                           SALVADOR               Bathroom.      AT THE CLUBHOUSE ENTRANCE Miguel turns back to the bus, sees...      ...Salvador eyeing him from the open bus window.   Sal raises his      hand, very subtly waves goodbye.      Miguel continues on his way.173   EXT. BURLINGTON BUS DEPOT - MINUTES LATER                         173      A local taxi pulls up, and Miguel hops out with his duffel bag.174   INT. BUS - DAY                                                    174      Miguel steps on, moves past the other PASSENGERS, finds an empty      seat towards the back. He sits down, catches his breath, and      whispers a prayer to himself. When he's done, he looks across      the aisle, where an OLD LADY is staring at him.      He shoots her a cautious smile.175   INT. MOVING BUS - DAY/EVENING                                     175      Miguel stares, wide-eyed, out the window at the shifting      landscapes, daytime into evening...      --cornstalks.                       Official Shooting Script as of 10/22/07    88.      --bridges and rivers.      --city lights.      He sleeps against the window, his Clemente book open on his lap.176   INT. MOVING BUS- LATER                                            176      From the New Jersey turnpike, Miguel sees the approaching      Manhattan skyline in the early morning light. He sits up      straight, looks attentively at the city emerging in the      distance.177   INT. TIMES SQUARE SUBWAY STATION                                  177      Morning COMMUTERS push past Miguel, as he looks around, lost in      the cacophony of the swirling rush hour environment.      He locates a giant subway map on the wall, the various subway      lines reaching into the outer boroughs like colorful tentacles.      His eyes scan the map, and we follow his finger up the green      line's numbered stations, stopping on 161ST/YANKEE STADIUM.      Miguel smiles.      AT THE TURNSTILES. Miguel inches forward, observes people      passing through after swiping cards. He notices a line behind a      Metrocard vending machine nearby.178   AT THE MACHINE - SECONDS LATER                                    178      Fortunately, there is a Spanish option, so after a few touches      and BEEPS, he's got his card.179   AT THE TURNSTILE                                                  179      He swipes the card, tries to pass through, but the turnstile      won't budge. He studies the message: "SWIPE AGAIN AT THIS      TURNSTILE", but can't make sense of it. Miguel tries again,      this time very slowly, but still can't get through.      An IMPATIENT COMMUTER behind him SIGHS loudly.      Miguel steps out of the way, let's the commuter pass.      After the commuter goes through, Miguel tries again.180   INT. SUBWAY PEDESTRIAN TUNNEL                                     180      As Miguel strolls through the underground hallway that connects      the various Times Square subway lines, he sees...      --a TEAM OF BREAKDANCERS performing for tips.                        Official Shooting Script as of 10/22/07   89.      --billboard ads for movies, music, dermatologists, Mets      baseball, etc.      --a HOMELESS MAN passed out on the ground.      --a WOMAN selling a random collection of objects: VHS tapes,      batteries, a used blender...181   INT. SUBWAY TRAIN - MOVING                                        181      Miguel observes other passengers, when the train emerges above      ground. He stands, looks out the window as the train passes      Yankee Stadium.182   EXT. 167TH ST. - THE BRONX     - DAY                              182      Miguel descends from the elevated subway station, glances      around. The atmosphere is immediately more familiar, as PEOPLE      walk by speaking Spanish; MERENGUE blasts out of an open      apartment window; Dominican flags hang from others.      Miguel paces up the block, looking for something.    He smiles      when he finds...      ...El Restaurante Caribe. A HELP WANTED sign (in English and      Spanish) hangs in the window.183   INT. EL RESTAURANTE CARIBE - DAY                                  183      Miguel takes a seat at the counter, smiles to the waitress,      REYNA (cute, 20-something, Dominican).                           REYNA                    (in Spanish, of course)               Talk to me.                           MIGUEL               Is Jorge working today?                            REYNA               Jorge?                           MIGUEL               Jorge Ramirez.      A bus boy, RAFAEL, overhears as he passes by.                           RAFAEL               Jorge, the ball player!                            MIGUEL               Yeah!                      Official Shooting Script as of 10/22/07   90.                           REYNA                Oh. The ballpayer... He left about two                weeks ago.                            RAFAEL                I think he drives a car now.                            MIGUEL                Do you have a phone number for him?                His old one isn't working.      Reyna shrugs, looks to Rafael.                            RAFAEL                     (shaking his head)                Sorry... But I think he was staying                down at concourse village on 156th.                            REYNA                He still comes in to eat sometimes.      Miguel nods, looks off, a little anxious.184   EXT. 156TH STREET - DAY                                         184      Miguel glances up at the dozens of high-rise apartment buildings      in every direction.      He walks away, discouraged.185   OMITTED                                                         185186   EXT. (ANOTHER) STREET - DAY                                     186      Miguel continues to follow the elevated subway tracks, which      lead him straight to...      ...YANKEE STADIUM. He looks up at the park's grand exterior      with wonder. Approaches to get a closer look.      The Stadium is closed today, so Miguel struggles to catch a      glimpse of the field through an iron fence. He grabs hold of      the bars, attempts to climb just enough to get a better view,      but...                            SECURITY GUARD                     (in English)                You wanta see the inside, you gotta buy                a ticket, pal.                           MIGUEL                     (jumping down)                Sorry.                       Official Shooting Script as of 10/22/07   91.187    EXT. SOUND VIEW PARK - LATE AFTERNOON                             187       With his duffel on his lap, Miguel sits on a bench overlooking a       a community baseball field, where local KIDS play for fun. He       stares off blankly, preoccupied with other things.A188   EXT. PARADISE HOTEL - DUSK                                       A188       Miguel stands before the old transient hotel.188    INT. PARADISE HOTEL LOBBY                                         188       Miguel sidesteps a nodding JUNKY on his way to the front desk,       approaches the toothless Russian clerk, NIKOLAI (late 50s).                            MIGUEL                One room.                            NIKOLAI                For how long?                            MIGUEL                I don't know.                            NIKOLAI                Two hundred a week.   First week in                advance.       As Miguel tries to piece together what was just said, he notices       a rack of condoms beside a set of long distance calling cards on       the front desk. The name of the calling card is AL” MAM¡!                            NIKOLAI                Two hundred now.       Miguel reaches for the calling card.                            MIGUEL                This also please.189    INT. PARADISE HOTEL HALLWAY - MINUTES LATER                       189       As Miguel looks for his room, he passes another room's doorway,       where a middle-aged JOHN gives a woman a kiss goodbye. Miguel       makes brief eye contact with the woman, RAQUEL. She smiles.190    INT. PARADISE HOTEL ROOM                                          190       Miguel turns on the light to find a small bed in the corner of       the room. There's also a desk with a phone. Miguel puts down       his duffel and sits at the desk. He examines the calling card       for a beat, then goes to the window, looks out. Hold.                        Official Shooting Script as of 10/22/07   92.191   EXT. 163RD STREET - NEXT DAY                                      191      Miguel strolls by various stores and restaurants. He passes      outside a WOODEN CABINET STORE, where 5-6 Dominican men, ranging      in age from 20 to 50 years old, make furniture in the shop. He      stops for a beat, watching the men work.192   INT. CABINET STORE DISPLAY ROOM                                   192      Miguel approaches a man, OSVALDO (late 50s), who works at his      desk on the computer.                           MIGUEL               You speak Spanish?                            OSVALDO               Of course.                           MIGUEL               Is this your place?                             OSVALDO               Yeah.    Can I help you?      Miguel glances around at the various wooden furniture items for      sale.                           MIGUEL               I like your work.                             OSVALDO               Thanks.    What are you looking for?                           MIGUEL               Oh, no, I mean... I don't know. I was               passing by and thought maybe you might               need some help. I know how to make               furniture, and--                           OSVALDO               --I don't have any work right now.               Sorry.                             MIGUEL               Right.    Okay, thanks for your time.      Osvaldo gets back to his computer, but Miguel lingers...                           MIGUEL               Do you know any other places like this               where I might find work?                           OSVALDO               Have you checked the classifieds?                       Official Shooting Script as of 10/22/07    93.193    INT. EL CARIBE RESTAURANT - LATE AFTERNOON                       193       Miguel sips soda from a straw as he leafs through the       classifieds in a Spanish-language daily.       INSERT: Various employment ads, requiring experience, fluency in       English, working papers, etc.       Miguel glances up, stares out the window. Rafael, the busboy       from the other day, wipes down the table next to Miguel.                            RAFAEL                If you leave a number, I'll give it to                him next time he comes through.194    INT. PARADISE HOTEL BEDROOM - EVENING                            194       Miguel braces himself, dials on the phone, waits... His NYC       calendar (turned to the Statue of Liberty month) hangs on the       wall in the background.                           MIGUEL                     (into phone)                Erica?A194   We INTERCUT between Miguel and his home in the Dominican         A194       Republic.                             ERICA                Miguel!   My God, where are you?       Carmen snatches the phone from Erica, who stays close, trying to       listen in.                            CARMEN                Miguelito, what is going on? Frank                called last night. Where are you?                            MIGUEL                New York.                            CARMEN                Oh, my God! What are you doing in New                York? I don't understand. Your team                is looking for you.                            MIGUEL                I can't play anymore.                            CARMEN                Are you hurt? What does that mean, you                can't play?                Official Shooting Script as of 10/22/07   94.                     MIGUEL        No.   I'm fine. It just--                    CARMEN        We've been working for this your whole        life, Miguelito. Oh, my God! You're        so close. I don't understand...                    MIGUEL        Don't worry, mom. I have some money.        We're going to be okay.                    CARMEN        You have to go back. Listen, Miguel,        my sweet sugar, call Frank. They'll        take you back.                    MIGUEL        I can't go back--                    CARMEN        Did I raise you like this?    Did I raise        you to give up?                    MIGUEL        I didn't give up. I'm starting        something new here.                     CARMEN        What?   What are you starting?                    MIGUEL        I have to go mom. The card's almost        out of minutes.                    CARMEN        Where are you even staying?   Miguel--                    MIGUEL        Don't worry. I'm staying with a        friend. I have a new job. It's all        good. I'm sending money tomorrow.                      CARMEN        Miguel--                      MIGUEL        I love you.    I'm sorry.Miguel hangs up, stares off.                      Official Shooting Script as of 10/22/07   95.195   INT. WESTERN UNION - MORNING                                      195      CAMERA TRACKS past a long line of IMMIGRANTS in all shapes and      sizes, preparing to wire money back home, wherever that is.      MINUTES LATER. Miguel looks at the few bills in his wallet,      hands two fifties to the TELLER.196   INT. EL CARIBE RESTAURANT - DAY                                   196      Miguel leans over the counter, talks to Reyna, the waitress.                           MIGUEL               Hey, um, I was in here the other day.                           REYNA               Yeah, sure, did you find your guy?                          MIGUEL               No. I'm actually looking for a job               today.      She smiles, calls over to...                           REYNA               Fernando!                    (leans close to Miguel)               Tell him you like his shirt.      Reyna moves away, and Miguel glances over to the approaching      MANAGER. He's wearing an outrageously colorful tropical shirt.197   INT. EL CARIBE RESTAURANT - KITCHEN                               197      CLOSE ON Miguel's hand scraping uneaten food into the trash.      His new co-worker, RAFAEL (the same bus boy from Miguel's first      visit), shows Miguel how to use the dishwasher.                           RAFAEL               And then put it in here with the               others.      Miguel puts the plate in the large dish washer.                           RAFAEL               When it's full, set to scrub, and there               it is.      Miguel stares at the machine as it HUMS and WHIRS.                      Official Shooting Script as of 10/22/07   96.198   INT. EL CARIBE RESTAURANT - NIGHT                               198      Miguel and Rafael sit next to each other in the back, eating      dinner.                           MIGUEL               Do you know anybody with a room for               rent?      Rafael shakes his head, no.                           RAFAEL               But I'll ask around, let you know if I               hear of anything.      Miguel nods, gets back to his food.                           RAFAEL               You and Jorge used to play baseball               together?                           MIGUEL               Yeah, you like baseball?                          RAFAEL               It's okay. I'd rather watch soccer               though... Have you found him yet?                            MIGUEL               Not yet.                           RAFAEL               He'll be through sooner or later.                           MIGUEL               How long have you worked here?                            RAFAEL               Two years.                           MIGUEL               Do you have family here?                          RAFAEL               No. My wife and kids are still in               Mexico.                           MIGUEL               My family's in the Dominican.      Rafael nods, and they continue eating.                      Official Shooting Script as of 10/22/07   97.199   INT. PARADISE HOTEL ROOM - NIGHT                                  199      Loud, overexaggerated SEX SOUNDS filter in from another room,      while Miguel reads the last page of the Clemente biography.      After a beat, he closes the book, listens.200   INT. WOODEN CABINET SHOP - EARLY EVENING                          200      Two EMPLOYEES say goodbye to Osvaldo as Miguel enters the shop.      Miguel approaches Osvaldo, who is sanding a table.                           MIGUEL               Hi, um, do you remember me?                           OSVALDO               Yeah, but, sorry, I still don't have a               job for you.                           MIGUEL               That's okay. I already found one. I'm               actually just trying to make a coffee               table, and I'd like to buy some wood               and supplies.                           OSVALDO               I don't really sell raw materials...      Miguel hesitates.                           MIGUEL               I just moved here, you know, and I               don't have a space to work. Do you               think I could do some work for you,               help you clean up or whatever you need,               in exchange for using your shop? You               don't have to pay me.      Osvaldo sizes up Miguel's unusual request.                           OSVALDO               Somebody paying you for the table?                           MIGUEL               No. It's a gift for my mom.   Something               I like to do.                           OSVALDO               How old are you?                           MIGUEL               Twenty.                           OSVALDO               Who taught you to make tables?                 Official Shooting Script as of 10/22/07   98.                       MIGUEL        My dad.     He was a carpenter in San        Pedro.                    OSVALDO        Is that where you're from?                      MIGUEL        Yeah.                    OSVALDO        I grew up in Santiago.    What are you        doing in New York?                    MIGUEL        I came to work. I used to play        baseball.Osvaldo nods, understanding.                    OSVALDO        The whole world plays baseball. My        son's sixteen. Won't touch a piece of        wood that's not a bat. I never cared        for the game, myself. Too slow.Miguel laughs.                    OSVALDO        Your mom still in San Pedro?                      MIGUEL        Yeah.    With my sister and brother.                    OSVALDO        So, you're telling me that you want to        make a table for your mom, then mail it        back to her in the Dominican?Miguel nods.   Osvaldo smiles, finally warming up.                    OSVALDO        What's your name?                      MIGUEL        Miguel.They shake hands.                      OSVALDO        Osvaldo.                      Official Shooting Script as of 10/22/07     99.201   INT. EL CARIBE RESTAURANT - DAY                                     201      Miguel performs his new work routine: mopping floors, washing      dishes, accepting deliveries. He seems to be getting the hang      of things.202   INT. EL CARIBE RESTAURANT - LATER                                   202      As Miguel eats from a heaping plate of beef and mashed yucca, he      watches Reyna chatting up a customer from behind the counter.203   EXT. STREET - NIGHT                                                 203      Miguel passes a Western Union, looks inside, but keeps going.204   INT. CABINET STORE - NIGHT                                          204      Miguel finishes work on his table for the night, covers it with      a blanket, and proceeds to sweep up. Osvaldo works at his      desktop computer from across the room. They don't speak.205   INT. PARADISE HOTEL ROOM - NIGHT                                    205      Miguel sits at the desk, talks into the phone.                           MIGUEL               Hello... Is Sofia at home?... Yeah,               it's Miguel again... Can you tell               her... Just tell her I called...      Miguel hangs up.206   INT. LAUNDROMAT - NIGHT                                             206      Miguel leans against the counter, staring at his clothes      twirling in the dryer, when...      ...he notices Raquel unloading her clothes a few dryers away.      She pushes her laundry cart to the opposite side of his counter,      begins folding.      Miguel stares at her out of the corner of his eye, taking      special notice of her diverse underwear collection ranging from      lacy thongs to the standard cotton variety. She catches him      peeking.                           RAQUEL                    (with a mysterious Eastern-                     European accent)               You just going to watch or you going to               help me out?      Caught off guard, Miguel smiles awkwardly, turns away.    After a      few beats, a flying sock lands on his shoulder.                       Official Shooting Script as of 10/22/07      100.      He turns back to find several random items of her clothing on      the counter in front of him. She smiles, keeps folding.      Miguel sorts through the items: socks, underwear, t-shirts. He      looks back to her, then begins folding, as the laundromat's      machinery reverberates around them. They exchange brief grins.                           MIGUEL               Where you from?                            RAQUEL               Ukraine.      Miguel nods, and they continue folding in silence.    Hold.207   INT. CABINET STORE - NIGHT                                            207      Miguel carves wood, while Osvaldo looks on from his desk.      They      exchange glances, until Miguel breaks the silence.                           MIGUEL               So you never liked baseball?    Not even               as a kid?                           OSVALDO               It's okay. Sometimes during the               playoffs I'll watch a game or two.                           MIGUEL               Who's your favorite player?                           OSVALDO               I don't know enough to have a favorite.                           MIGUEL               C'mon, everybody has a favorite player:               Juan Marichal, Pedro Martinez?                             OSVALDO               Fine.    Jose Canseco.                           MIGUEL               Jose Canseco!? That's the best you can               do?                           OSVALDO               Okay, what about you?                           MIGUEL               Roberto Clemente.                           OSVALDO                    (pushing his buttons)               Never heard of him.               Official Shooting Script as of 10/22/07   101.                       MIGUEL          Shut up.                      OSVALDO          What's so special about Clemente?                      MIGUEL          I read this book where he said          something like, "If you have the          opportunity to help someone and don't,          then you're wasting your life."          And he was a carpenter too.                      OSVALDO          Get out of here.                      MIGUEL          For real. He used to make furniture          during the off season.                      OSVALDO          Are you fucking with me? Cause you          know I can google this fool right now.                       MIGUEL          Google?                      OSVALDO          The internet. Don't worry, I'll teach          you someday.A beat.   Miguel continues his work.                      OSVALDO          When did you get released?                      MIGUEL          They didn't release me. I left a few          days before the season ended.                        OSVALDO          You left?    When was this?                      MIGUEL          About two weeks ago.                       OSVALDO          Holy shit.   Where are you staying?                      MIGUEL          Oh, you know, with a friend. But if          you know somebody who needs a          roommate...                      Official Shooting Script as of 10/22/07        102.      Osvaldo nods and they continue working.                           OSVALDO                    (after a beat)               Why'd you leave?      Miguel hesitates, unsure where to begin.      Osvaldo senses his      discomfort with the question.                           OSVALDO               Do you have any family here?                           MIGUEL                    (shaking his head)               But I'm okay... I have some money               saved, a couple friends. I'll go home               to visit soon.      Osvaldo doesn't quite buy it, but nods anyway.                           MIGUEL               Do you know a place called Ukraine?208   INT. PARADISE HOTEL LOBBY - NIGHT                                     208      Miguel attempts to slip past Nikolai, who is currently checking      in another GUEST, but...                            NIKOLAI               Hey!   You owe money.   Full week!                             MIGUEL               I know.    I have tomorrow.   No problem.                           NIKOLAI               Yes, problem. You pay tomorrow or you               have big problem.      Miguel continues up the stairs.209   INT. MIGUEL'S BEDROOM - LATER                                         209      Unable to sleep, Miguel lies in bed, staring at the ceiling,      when he overhears a commotion from across the hall.      After a beat, he hears a door open and SLAM SHUT.      He goes to the door, listens close.     It's quiet, until...      KNOCK KNOCK KNOCK      Miguel flinches.    Then slowly cracks open the door to find...      ...Raquel standing before him with a small leather duffel bag.                     Official Shooting Script as of 10/22/07   103.                           RAQUEL                    (handing him the bag)               Love, keep this in your room for me.               Just a few hours. Til morning. I'll               be back.      She forces the bag into his hands, kisses him on the cheek, and      retreats into her own room.      Miguel closes the door, still holding the bag. He sets it on      his bed, stares at it. After a few beats, he grabs it, stuffs      it under the bed, out of sight.      He sits down at the desk, stares at the bed, when he hears      SHOUTING from the hall. Again, he goes to the door, listens.      Another MAN POUNDS on Raquel's door, SCREAMING in Ukrainian,      while Nikolai YELLS at the man in English, though Miguel can't      make out exactly what's going on. The shouting intensifies      until a SCUFFLE breaks out. A woman SCREAMS. Miguel reaches      for the door handle, but stops himself.      He steps into his BATHROOM, shuts the door, sits on the toilet.      The muffled SHOUTING continues. Miguel waits.                                                         FADE OUT.210   INT. MIGUEL'S ROOM - LATER                                        210      Now quiet, Miguel stares at the mysterious bag on his bed, then      heads for the door with his packed duffel over his shoulder. He      puts his ear to the door, then exits, leaving the other bag      behind.211   INT. PARADISE HOTEL HALLWAY                                       211      Miguel tip-toes down the hall. He stops in front of Raquel's      room, leans down, and slides his room key under her door.      Continues down the hall.212   EXT. STREET - PHONE BOOTH -   EARLY MORNING                       212      Miguel dials his calling card number into the phone, listens...                           MIGUEL               Frank... It's Miguel.      We hold on Miguel, though we can hear Frank's muffled voice      through the receiver.                           FRANK (O.S.)               Jesus, Miguel, what the hell happened?                     Official Shooting Script as of 10/22/07      104.                           MIGUEL               Sorry for calling late.    I'm in New               York.                           FRANK (O.S.)               I heard. You're making me look bad.               What are you doing there?                           MIGUEL               I got a job, but I don't know if I'm               going to stay...                           FRANK (O.S.)               Where you gonna go? The season's               over... Your visa's expired.                           MIGUEL               I know, but I thought maybe I could...      A beat, as Miguel drifts off.                           FRANK               I can talk to Alvarez... But I don't               know. Nobody's happy about this.      Miguel bites his lip.   A police SIREN flies by.                            MIGUEL               I know.   Sorry.                           FRANK (O.S.)               Look, Miguel--      Miguel hangs up the phone.213   EXT. ALL NIGHT CAFE - NIGHT                                         213      Through the window, we see Miguel seated at a corner table.    He      stares out at the early morning traffic.214   EXT. ALL NIGHT CAFE - SAME ANGLE - EARLY MORNING - DAY              214      Miguel is asleep at the same table. A WAITRESS comes by with a      fresh pot of coffee, wakes him up. He declines another cup.215   INT. EL CARIBE RESTAURANT - DAY                                     215      Exhausted, Miguel goes through his usual work routine: bussing      tables, washing dishes, stocking the kitchen...216   INT. CABINET STORE - NIGHT                                          216      Miguel approaches Osvaldo with his duffel bag.     He looks a mess.      Osvaldo glances up from his work.                     Official Shooting Script as of 10/22/07   105.                           OSVALDO               Hey, Miguel.      Miguel doesn't respond. Osvaldo notices his packed bag and worn      expression. Both men stare at each other for a long beat.                           MIGUEL               I don't know where to go.      Osvaldo approaches, takes the duffel from Miguel's shoulder.                                                         FADE OUT.217   EXT. STREET - OUTSIDE EL CARIBE RESTAURANT - DAY                  217      Now wearing a Fall coat, Miguel crosses the street on his way to      work, when...      BEEEEEEP!      ...he's startled by a loud car horn coming from a black livery      cab parked at the curb.                           MIGUEL                    (giving the finger)               Fuck you, man!      Miguel keeps walking, but stops upon hearing...                           JORGE               Fuck you too, bro!      Miguel turns to find Jorge, leaping out of his car, and running      at him. They hug.                           MIGUEL               What happened to you?                            JORGE               Me?   What happened to you?                           MIGUEL               I been looking for you for weeks.                           JORGE               I know. Rafi said you took my old job.               Welcome to New York!218   INT. EL CARIBE RESTAURANT - DAY                                   218      Jorge eats at the counter, while Miguel stands on the opposite      side, in his apron.                     Official Shooting Script as of 10/22/07   106.                           JORGE               I called the Higgins to give my new               number, but they said you split. I               couldn't believe it, man, I had no               idea.                           MIGUEL               Things got a little ugly after you               left.                           JORGE               We all go through slumps you know.                           MIGUEL               It wasn't a slump.                           JORGE               What was it then?                           MIGUEL               I don't know, but I wasn't gonna wait               around for them to throw me out.      Jorge looks at Miguel for a tense beat.                           MIGUEL               I'm just saying...                           JORGE               Whatever, man, you wouldn't be saying               that shit if you made it.      Miguel smiles, shrugs.                          REYNA                    (from across the room)               Sugar! Rafi needs you in the kitchen!                           JORGE               They call you Sugar?      On his way to the kitchen...                           MIGUEL               What can I say? The name sticks.      As Miguel slips past Reyna on his way to the kitchen, they      exchange flirtatious smiles.219   INT. UPTOWN CLUB - NIGHT                                        219      Merengue fuels the packed club tonight, as the mostly Latino      crowd gets down on the dance floor.                       Official Shooting Script as of 10/22/07   107.      AT THE BAR. Miguel, Reyna, Jorge, and his girlfriend, MONICA,      drink beers, enjoying the party.                           JORGE               They got all kinds in this league, bro.               Like fat cats in their forties, kids               like you and me, Dominicans, Puerto               Ricans, even some white boys. I got               this fifty year old catcher on my team,               used to play for the Dodgers. Can't               run for shit, but he's out there every               week. Belly out to here. My man can               still go deep though... You ever hear               from that kid, Brad?      Reyna leans close to Miguel, says something in his ear, and he      smiles, as she leads him out onto...220   THE DANCEFLOOR                                                    220      ...where they carve up some fast and fierce moves. Miguel grins      wide, having a great time. At this point the sound FADES LOW      and the image blends to SLOW-MOTION, their bodies gliding      through the frame, soothing and peaceful. Hold, as Jeff      Buckley's "Hallelujah" FADES UP and carries over...221   EXT. EL CARIBE RESTAURANT - MORNING                               221      A DELIVERY MAN puts boxes on a ramp, which go from his truck      down into...222   INT. EL CARIBE RESTAURANT BASEMENT                                222      Miguel takes the boxes off the ramp.223   INT. EL CARIBE RESTAURANT - DAY                                   223      Miguel and Reyna eat together, smiling.224   INT. WESTERN UNION - NIGHT                                        224      Miguel hands the teller two fifty dollar bills.225   EXT. STREET - NIGHT                                               225      Miguel floats down the street among a packed block of Bronx      pedestrians. He blends in now, just another face in the crowd.226   INT. WOODEN CABINET SHOP - NIGHT                                  226      Osvaldo helps Miguel work on his coffee table.                     Official Shooting Script as of 10/22/07      108.227   INT. WOODEN CABINET SHOP - LATER THAT NIGHT                        227      Osvaldo teaches Miguel how to use the internet.228   INT. OSVALDO'S APARTMENT - DINING ROOM                             228      Miguel, Osvaldo, and his wife, ESTELLA, eat dinner at the table.      The music continues under the following scene...                           OSVALDO               I did some research and I got a new               favorite player now.                             MIGUEL               Okay, good.                             OSVALDO               Vic Power.    You know him?      Miguel shakes his head, no.                           OSVALDO               You ought to. Greatest Puerto Rican               first baseman ever. But that's not why               he's my favorite player... Back when he               first arrived, 1951, 52, he was playing               in the minors. Little Rock, Arkansas.               So the story goes, one day before a               game, Vic stops into this diner for               lunch. Hadn't been here long, so he               knew very little English. Didn't even               notice the "whites only" sign hanging               in the window. And Vic was Black. I               looked him up on Google. I mean Black               like you. So he sits down at the               counter and the little waitress comes               up to big Vic and says, "I'm sorry, we               don't serve colored people."      Osvaldo pauses for dramatic effect, as Miguel and Estella      eagerly await what comes next.                           OSVALDO               So he leans close to the waitress,               tells her in his best English, "That's               okay, I don't eat colored people."      After a beat, Estella laughs, but Miguel is unsure.   Osvaldo      does his best to explain the joke in Spanish.                        Official Shooting Script as of 10/22/07   109.229    INT. OSVALDO'S APARTMENT - SPARE ROOM - NIGHT                     229A229   We INTERCUT between Miguel and Carmen in the DOMINICAN REPUBLIC.229                                                                      A       She sits at her table in the same old house. (We can see       through the window that the new one is still unfinished).                            CARMEN                I got the photos you sent, but you'll                have to send more.                            MIGUEL                Okay, mom, but you know it would be a                lot easier if you opened an email                account.                           CARMEN                Email? I don't even know how to use                the TV!       Miguel smiles.                            MIGUEL                I'm making a new table for you.    It's                going to be real nice.                            CARMEN                I'm sure I'll love it.     Thank you.                            MIGUEL                How's Erica?                            CARMEN                She's good. Got a job at the factory.                Just part-time, though, so she can keep                up with school.       Miguel removes the phone from his ear for a beat.                             MIGUEL                And Luis?                            CARMEN                He's pitching now. You should see him,                Miguel, got an arm like his brother.                            MIGUEL                Yeah, but can he throw a knuckle curve?       Carmen laughs.    After a beat...                            MIGUEL                I miss you, mom. But, I'm working                hard. I'll be home soon. Give                everyone a hug for me.                     Official Shooting Script as of 10/22/07      110.                           CARMEN               I will, Sugar. I love you.                           MIGUEL               I love you, too.      She nods, hangs up, and looks over to...      ...LITTLE LUIS, watching her from across the room.230   EXT. ROBERTO CLEMENTE FIELD - BRONX - DAY                          230      CLOSE ON a Dominican flag being waved by a TODDLER. A WIDER      ANGLE reveals him in the packed bleachers with a diverse CROWD      of FANS and FRIENDS: Dominicans, Puerto Ricans, Anglos...      The mood is festive. A VENDOR sells mangos on sticks. Merengue      MUSIC blasts from a portable stereo in the stands. FANS drink      Presidente beer out of bottles.231   ON THE FIELD                                                       231      Uniformed PLAYERS of all ages, races, shapes, and sizes warm up      before the game (though the majority are Dominican).      Jorge introduces Miguel (also in uniform) to the other players.                            JORGE               Caballo!   This is Miguel from San               Pedro.                           CABALLO               The new guy. You ready to pitch?                             MIGUEL               I think so.                           CABALLO               It's been a while, no?                           JORGE               Don't worry; he's ready.                                                         JUMP CUT TO:      Jorge introduces Miguel to...                             JORGE               Felipe!    Meet Miguel.   They call him               Sugar.                           FELIPE               What's up, Sugar?                       Official Shooting Script as of 10/22/07   111.                           JORGE               Felipe played for the Dodgers Triple-A               team. Hit a dinger off Pedro once.                            FELIPE               Twice.                            JORGE               Twice.                                                        JUMP CUT TO:      More intros...                           DIEGO               I played for the Yankees.                                                        JUMP CUT TO:                            JOSE               Cubs.                                                        JUMP CUT TO:                            ADRIAN               Padres.                                                        JUMP CUT TO:                           GERONIMO               Kansas City.                             MIGUEL               Me too!    Bridgetown.                           GERONIMO               I was there in 96. I lived on a farm.                           MIGUEL               With the Higgins!                            GERONIMO               Yeah!      Miguel smiles big, just as the UMPIRE calls out...                             UMPIRE               Vamos!    Let's play ball!232   ON THE MOUND - MINUTES LATER                                      232      We TILT UP from his cleats to reveal Miguel looking in for the      sign from his catcher. He nods. And delivers.              Official Shooting Script as of 10/22/07       112.The ball is SMACKED toward third, where Jorge makes an awkwardlunge for the ball, manages to stop it with his foot. By thetime he gets his hand on it, the RUNNER has made it to first.The fans and some of the players laugh at Jorge's ugly mistake.                    OLD MAN HECKLER             (from the stands)        This ain't soccer! You can use your        hands!                    MIGUEL             (smiling)        Just like old times.But Jorge shrugs and laughs it off.   No pressure here.   It'sonly a game.Miguel buckles down, delivers a monster fastball.                      UMPIRE        Strike!He gets the ball back, looks to the stands, and sees......Monica waving to Jorge at third.Miguel's new friend, Osvaldo, is also there with Estella.Miguel smiles to them.Miguel fires in the next pitch, even faster, and the batterswings straight through it.                      UMPIRE        Strike two!He gets the ball back, lowers his head and whispers a prayer tohimself. Looks back to the runner on second. Comes to the setposition, and......floats in a vicious, swooping, knuckle curve, that causes thebatter to flinch out of the way, before breaking back over theplate for...                    UMPIRE        Strike three!All the fans and players in attendance go NUTS over the awesomepitch, as we follow Miguel off the field to a mini-standingovation. He tips his hat to the crowd. Just like old times.                      Official Shooting Script as of 10/22/07     113.233   IN THE DUGOUT                                                      233      Miguel takes a seat as TEAMMATES pass through the frame and pat      him on the back.      The SOUND FADES LOW as we start a SLOW ZOOM IN on Miguel. He      takes in the moment as we get closer, and his smile gives way to      a beat of quiet introspection. Hold.      He looks out across the field.   CLAPS for encouragement.                                                          FADE OUT.
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+SUNSET BOULEVARD Charles Brackett Billy Wilder D.M. Marshman, Jr. March 21,1949 SEQUENCE "A" A-l-4 START the picture with the actual street sign: SUNSET BOULEVARD, stencilled on a curbstope. In the gutter lie dead leaves, scraps of paper, burnt matches and cigarette butts. It is early morning. Now the CAMERA leaves the sign and MOVES EAST, the grey asphalt of the street filling the screen. As speed accelerates to around 40 m.p.h., traffic de- marcations, white arrows, speed-limit warnings, man- hole covers, etc., flash by. SUPERIMPOSED on all this are the CREDIT TITLES, in the stencilled style of the street sign. Over the scene we now hear MAN'S VOICE sirens. Police squad cars Yes, this is Sunset hurtle toward the camera, Boulevard, Los Angeles, turn off the road into a California. It's about driveway with squealing five o'clock in the brakes. Dismounted motor- morning. That's the cycle cops stand directing Homicide Squad, com- the cars in. plete with detectives and newspaper men. A-5 PATIO AND POOL OF A murder has been re- MANSION ported from one of those great big houses in the The policemen and news- ten thousand block. paper reporters and You'll read all about photographers have it in the late editions, jumped out of the cars I'm sure. You'll get and are running up to it over your radio, the pool, in which a and see it on tele- body is seen floating. vision -- because an Photographers' bulbs old-time star is in- flash in rapid suc- volved. one of the big- cession. gest. But before you hear it all distorted and blown out of proportion, before those Hollywood columnists get their hands on it, maybe you'd like to hear the facts, the whole truth... A-6 FLASH OF THE BODY MAN'S VOICE Angle up through the If so, you've come to the water from the bottom right party... You see, of the pool, as the the body of a young man body floats face down- was found floating in the ward. It is a well- pool of her mansion, with dressed young man. two shots in his back and one in his stomach. No- body important, really. Just a movie writer with a couple of "B" pictures to his credit. The poor dope. He always wanted a pool Well, in the end he got himself a pool -- SLOW DISSOLVE TO: only the price turned out to be a little high... Let's go back about six A-7 HOLLYWOOD, SEEN FROM months and find the day THE HILLTOP AT IVAR when it all started. & FRANKLIN STREETS It is a crisp sunny I was living in an day. The voice con- apartment house above tinues speaking as Franklin and Ivar. CAMERA PANS toward Things were tough the ALTO NIDO APART- at the moment. I hadn't MENT HOUSE, an ugly worked in a studio for Moorish structure ofsat a long time. So I stucco, about four there grinding stories high. CAMERA out original stories, MOVES TOWARD AN OPEN two a week. Only I WINDOW on the third seemed to have lost floor, where we look my touch. Maybe they in on JOE GILLIS' APART- weren't original MENT. Joe Gillis, bare- enough. Maybe they footed and wearing no- were too original. thing but an old bath- All I know is they robe. is sitting on didn't sell. the bed. In front of him. on a straight chair, is a portable typewriter. Beside him, on the bed, is a dirty ashtray and a scattering of type written and pencil- marked pages. Gillis is typing. with a pencil clenched bet- ween his teeth. A-8 JOE GILLIS' APARTMENT It is a one-room affair with an unmade Murphy bed pulled out of the wall at which Gillis sits typing. There are a couple of worn-out plush chairs and a Spanish-style, wrought-iron standing lamp. Also a small desk littered with books and letters, and a chest of drawers with a portable phonograph and some records on top. On the walls are a couple of repro- ductions of characterless paintings, with laundry bills and snapshots stuck in the frames. Through an archway can he seen a tiny kitchenette, complete with unwashed coffee pot and cup, empty tin cans, orange peels, etc. The effect is dingy and cheerless -- just another furnished apartment. The buzzer SOUNDS. GILLIS Yeah. The buzzer SOUNDS again. Gillis gets up and opens the door. Two men wearing hats stand outside one of them carrying a briefcase. NO. 1 Joseph C. Gillis? GILLIS That's right. The men ease into the room. No. 1 hands Gillis a business card. NO. 1 We've come for the car. GILLIS What car? NO. 2 (Consulting a paper) 1946 Plymouth convertible. Calif- ornia license 97 N 567. NO. 1 Where are the keys? GILLIS Why should I give you the keys? NO. 1 Because the company's played ball with you long enough. Because you're three payments behind. And because we've got a Court order. Come on -- the keys. NO. 2 Or do you want us to jack it up and haul it away? GILLIS Relax, fans. The car isn't here. NO. 1 Is that So? GILLIS I lent it to a friend of mine. He took it up to Palm Springs. NO. 1 Had to get away for his health, I suppose. GILLIS You don't believe me? Look in the garage. NO. 1 Sure we believe you, only now we want you to believe us. That car better be back here by noon tomorrow, or there's going to be fireworks. GILLIS You say the cutest things. The men leave. Gillis GILLIS' VOICE stands pondering beside Well, I needed about two the door for a moment. hundred and ninety dollars Then he walks to the and I needed it real center of the room and, quick, or I'd lose my car. with his back to the It wasn't in Palm Springs CAMERA, slips into a and it wasn't in the pair of gray slacks. garage. I was way ahead There is a metallic of the finance company. noise as some loose change and keys drop from the trouser pockets. As Gillis bends over to pick them up, we see that he has dropped the car keys, identifiable be- cause of a rabbit's foot and a miniature license plate attached to the key-ring. Gillis pockets the keys and as he starts to put on a shirt DISSOLVE TO: A-9 EXTERIOR OF RUDY'S GILLIS' VOICE SHOESHINE PARLOR (DAY) I knew they'd be coming A small shack-like build- around and I wasn't tak- ing, it stands in the ing any chances, so I corner of a public park- kept it a couple of ing lot. Rudy, a blocks away in a parking colored boy, is giving lot behind Rudy's Shoe- a customer a shine. shine Parlor. Rudy never asked any quest- ions. He'd just look at your heels and know the score. PAN BEHIND the shack to GILLIS' CAR, a yellow 1946 Plymouth convertible with the top down. Gillis enters the SHOT. He is wearing a tweed sport jacket, a tan polo shirt, and moooasins. He steps into the car and drives it off. Rudy winks after him. A-10 THE ALLEY NEXT TO SIDNEY'S MEN'S SHOP ON BRONSON AVE. GILLIS' VOICE I had an original story Gillis drives into the kicking around Paranount. alley and parks his car My agent told me it was right behind a delivery dead as a doornail. but truck. PAN AND FOLLOW I knew a big shot over HIM as he gets out, walks there who'd always liked around the corner into me, and the time had Bronson and then toward come to take a little the towering main gate of advantage of it. His Paramount. A few loafers, name was Sheldrake. He studio cops and extras are was a smart producer, lounging there. with a set of ulcers to prove it. DISSOLVE TO: A-11 SHELDRAKE'S OFFICE It is in the style of a Paramount executive's office -- mahogany, leather, and a little chintz. On the walls are some large framed photographs of Paramount stars, with dedications to Mr. Sheldrake. Also a couple of framed critics' awards certificates, and an Oscar on a bookshelf. A shooting schedule chart is thumb-tacked into a large bulletin board. There are piles or scripts, a few pipes and, somewhere in the background, some set models. Start on Sheldrake. He is about 45. Behind his wor- ried face there hides a coated tongue. He is en- gaged in changing the stained rilter cigarette in his Zeus holder. SHELDRAKE All right, Gillis. You've got five minutes. What's your story about? GILLIS It's about a ball player, a rookie shortstop that's batting 347. The poor kid was once mixed up in a hold- up. But he's trying to go straight -- except there's a bunch of gamblers who won't let him. SHELDRAKE So they tell the kid to throw the World Series, or else, huh? GILLIS More or less. Only for the end I've got a gimmick that's real good. A secretary enters, carrying a glass or milk. She opens a drawer and takes out a bottle of pills for Sheldrake. SHELDRAKE Got a title? GILLIS Bases Loaded. There's a 4O-page outline. SHELDRAKE (To the secretary) Get the Readers' Department and see what they have on Bases Loaded. The secretary exits. Sheldrake takes a pill and washes it down with some milk. GILLIS They're pretty hot about it over at Twentieth, but I think Zanuck's all wet. Can you see Ty Power as a GILLIS (cont'd) shortstop? You've got the best man for it right here on this lot. Alan Ladd. Good change of pace for Alan Ladd. There's another thing: it's pretty simple to shoot. Lot of outdoor stuff. Bet you could make the whole thing for under a million. And there's a great little part for Bill Demarest. One of the trainers, an oldtime player who got beaned and goes out of his head sometimes. The door opens and Betty Schaefer enters -- a clean- cut, nice looking girl of 21, with a bright, alert manner. Dressed in tweed skirt, Brooks sweater and pearls, and carrying a folder of papers. She puts them on Sheldrake's desk, not noticing Gillis, who stands near the door. BETTY Hello, Mr. Sheldrake. On that Bases Loaded. I covered it with a 2-page synopsis. (She holds it out) But I wouldn't bother. SHELDRAKE What's wrong with it? BETTY It's from hunger. SHELDRAKE Nothing for Ladd? BETTY Just a rehash of something that wasn't very good to begin with. SHELDRAKE I'm sure you'll be glad to meet Mr. Gillis. He wrote it. Betty turns towards Gillis, embarrassed. SHELDRAKE This is Miss Kramer. BETTY Schaefer. Betty Schaefer. And right now I wish I could crawl into a hole and pull it in after me. GILLIS If I could be of any help... BETTY I'm sorry, Mr. Gillis, but I just don't think it's any good. I found it flat and banal. GILLIS Exactly what kind of material do you recommend? James Joyce? Dostoosvsky? SHELDRAKE Name dropper. BETTY I just think pictures should say a little something. GILLIS Oh, you're one of the message kids. Just a story won't do. You'd have turned down Gone With the Wind. SHELDRAKE No, that was me. I said, Who wants to see a Civil War picture? BETTY Perhaps the reason I hated Bases Loaded is that I knew your name. I'd always heard you had some talent. GILLIS That was last year. This year I'm trying to earn a living. BETTY So you take Plot 27-A, make it glossy, make it slick -- SHELDRAKE Carefull Those are dirty words! You sound like a bunch of New York critics. Thank you, Miss Schaefer. BETTY Goodbye, Mr. Gillis. GILLIS Goodbye. Next time I'll write The Naked and the Dead. Betty leaves. SHELDRAKE Well, seems like Zanuck's got himself a baseball picture. GILLIS Mr. Sheldrake, I don't want you to think I thought this was going to win any Academy Award. SHELDRAKE (His mind free-wheeling) Of course, we're always looking for a Betty Hutton. Do you see it as a Betty Hutton? GILLIS Frankly, no. SHELDRAKE (Amusing himself) Now wait a minute. If we made it a girls' softball team, put in a few numbers. Might make a cute musical: It Happened in the Bull Pen -- the story of a Woman. GILLIS You trying to be funny? -- because I'm all out of laughs. I'm over a barrel and I need a job. SHELDRAKE Sure, Gillis. If something should come along - GILLIS Along is no good. I need it now. SHELDRAKE Haven't got a thing. GILLIS Any kind of assignment. Additional Dialogue. SHELDRAKE There's nothing, Gillis. Not even if you were a relative. GILLIS (Hating it) Look, Mr. Sheldrake, could you let me have three hundred bucks yourself, as a personal loan? SHELDRAKE Could I? Gillis, last year some- body talked me into buying a ranch in the valley. So I borrowed money from the bank so I could pay for the ranch. This year I had to mortgage the ranch so I could keep up my life insurance so I could borrow on the insurance so I could pay my income tax. Now if Dewey had been elected - GILLIS Goodbye, Mr. Sheldrake. DISSOLVE TO: A-12 EXT. SCHWAB'S DRUG STORE (EARLY AFTERNOON ACTIVITY) GILLIS' VOICE After that I drove down MOVE IN toward drug store to headquarters. That's and the way a lot of us think about Schwab's Drug Store. DISSOLVE TO: Actors and stock girls and waiters. Kind of a combination office,Kaffee- A-13 INT. SCHWAB'S DRUG STORE Klatsch and waiting room. Waiting, waiting for the The usual Schwabadero gravy train. crowd sits at the fount- ain, gossips at the cigar-stand, loiters by the magazine display. MOVE IN towards the TWO TELEPHONE BOOTHS. In I got myself ten nickels one of them sits Gillis, and started sending out a stack of nickels in a general S.O.S. Couldn't front of him. He's get hold of my agent, doing a lot of talking naturally. So then I into the telephone, called a pal of mine,name hanging up, dropping of Artie Green -- an awful another nickel, dialing, nice guy, an assistant talking again. director. He cquld let me have twenty, but twenty wouldn't do. GILLIS' VOICE (Cont.) Then I talked to a couple of yes men at Twentieth. To me they said no. Finally I located that agent of mine, the big faker. Was he out digging up a job for poor Joe Gillis? Hmph! He was hard at work in Bel Air, making with the golf clubs. Gillis hangs up with a curse, opens the door of the booth, emerges, wiping the sweat from his forehead. He walks toward the exit. He is stopped by the voice of SKOLSKY Hello, Gillis. Gillis looks around. At the fountain sits Skolsky, drinking a cup of coffee. GILLIS Hello, Mr. Skolsky. SKOLSKY Got anything for the column? GILLIS Sure. Just sold an original for a hundred grand. The Life of the Warner Brothers. Starring the Ritz Brothers. Playing opposite the Andrew Sisters. SKOLSKY (With a sour smile) But don't get me wrong -- I love Hollywood. Gillis walks out. DISSOLVE TO: A-14 THE BEL AIR GOLF LINKS On a sun-dappled green edged with tall sycamores, stands Morino, the agent, a caddy and a nondescript opponent in the background. Gillis has evidently stated his problem already. MORINO So you need three hundred dollars? Of course, I could give you three hundred dollars. Only I'm not going to. GILLIS No? MORINO Gillis, get this through your head. I'm not just your agent. It's not the ten per cent. I'm your friend. He sinks his putt and walks toward the next tee, Gillis following him. GILLIS How's that about your being my friend? MORINO Don't you know the finest things in the world have been written on an empty stomach? Once a talent like yours gets into that Mocambo- Romanoff rut, you're through. GILLIS Forget Romanoff's. It's the car I'm talking about. If I lose my car it's like having my legs out off. MORINO Greatest thing that could happen to you. Now you'll have to sit behind that typewriter. Now you'll have to write. GILLIS What do you think I've been doing? I need three hundred dollars. MORINO (Icily) Maybe what you need is another agent. He bends down to tee up his ball. Gillis turns away. DISSOLVE TO: A-15 GILLIS IN HIS OPEN CAR GILLIS' VOICE driving down Sunset As I drove back towards town towards Hollywood. He I took inventory of my pros- drives slowly. His pects. They now added up to mind is working. exactly zero. Apparently I just didn't have what it takes, and the time had come to wrap up the whole Hollywood deal and go home. Maybe if I hocked all my junk there'd be enough for a bus ticket back to Ohio, back to that thirty-five- dollar-a-week job behind the copy desk of the Dayton Evening Post, if it was still open. Back to the smirking delight of the whole office. All Gillis stops his car at right you wise guys. why don't a red light by the main you go out and take a crack at entrance to Bel Air. Hollywood? Maybe you think Suddenly his eyes fall you could -- Oh-oh! on: A-16 ANOTHER CAR It is a dark-green Dodge business coupe, also waiting for the light to change. but headed in the opposite direction. In it are the two finance company men. They spot Gillis in his car and exchange looks. From across the intersection Gillis recognizes them and pulls down the leather sunshade to screen his face. As the light changes. Gillis gives his car the gun and shoots away. The men narrowly avoid hitting another car as they make a U-turn into oncoming traffic and start after him. A-17 THE CHASE to A-21 Very short, very sharp, told in FLASHES. (Use locations on Sunset between Bel Air and Holmby Hills). The men lose Gillis around a bend, catch sight of him and then -- while they are trapped behind a slow- moving truck. he disappears again. A-22 GILLIS He is driving as fast as he dares, keeping an eye out for pursuit in his rear-view mirror. Suddenly his right front tire blows out. Gillis clutches desperately at the steering wheel and manages to turn the careening car into A-23 A DRIVEWAY It is overgrown with weeds and screened from the street by bushes and trees. Gillis stops his car about thirty feet from the street and looks back. GILLIS' VOICE Was I far enough ahead? A-24 THE OTHER CAR shoots past the driveway, still looking for Gillis. A-25 GILLIS He watches his pursuers GILLIS' VOICE shoot past and out of Yeah... sight. He opens the door and looks down at I had landed myself in the the flat tire. Then he driveway of some big mansion looks around to see that looked run-down and where he is. deserted. At the end of the drive was a lovely sight A-26 DRIVEWAY WITH GARAGE indeed -- a great big empty garage, just standing there An enormous, five-car going to waste. If ever there affair. neglected and was a place to stash away a empty-looking. limping car with a hot license number... A-27 GILLIS He gets back into his There was another occupant in car and carefully pilots that garage: an enormous the limping vehicle into foreign-built automobile. It one of the stalls. In must have burned up ten gallons the adjoining one is a to a mile. It had a 1932 large, dust-covered license. I figured that's Isotta-Fraschini propped when the owners moved out... up on blocks. He closes I also figured I couldn't go the garage door and walks back to my apartment now that up the driveway. In idle those bloodhounds were on to curiosity he mounts a me. The idea was to get Artie stone staircase which Green's and stay there till I leads to the garden. could make that bus for Ohio. CAMERA IN BACK OF HIM. Once back in Dayton I'd drop At the top of the steps the credit boys a picturepost- he sees the somber pile card telling them where to of pick up the jallopy. NORMA DESMOND'S HOUSE GILLIS' VOICE It is a grandiose -- It was a great big white Italianate structure, elephant of a place. The kind mottled by the years, crazy movie people built in the gloomy, forsaken, crazy Twenties. A neglected little formal garden house gets an unhappy look. completely gone to This one had it in spades. It seed. was like that old woman in Great Expectations -- that Miss From somewhere above Haversham in her rotting wed- comes ding dress and her torn veil, taking it out on the world be- cause she'd been given the go- by. A WOMAN'S VOICE You there! Gillls turns and looks. A-28 UPSTAIRS LOGGIA Behind a bamboo blind there is a movement of a dark figure. WOMAN'S VOICE Wlly are you so late? Why have you kept me waitlng so long? A-29 GILLIS He stands flabbergasted. A new noise attracts his attention -- the creak of a heavy metal-and-glass door being opened. He turns and sees A-3O THE ENTRANCE DOOR OF THE HOUSE Max von Mayerling stands there. He is sixty, and all in black, except for immaculate white cotton gloves, shirt, high, stiff collar and a white bow tie. His coat is shiny black alpaca, his trousers ledger-atriped. He is semi-paralyzed. The left side of his mouth is pulled down, and he leans on a rubber-ferruled stick. MAX In here! Gillis enters the shot. GILLIS I just put my car in the garage. I had a blow-out. I thought -- MAX Go on in. There is authority in the gesture of his white- gloved hand as he motions Gillis inside. GILLIS Look, maybe I'd better take my car -- MAX Wipe your feet! Automatically, Gillis wipes his feet on an enormous shabby cocoanut mat. MAX You are not dressed properly. GILLIS Dressed for what? THE WOMAN'S VOICE Max! Have him come up, Max! MAX (Gesturing) Up the stairs! GILLIS Suppose you listen just for a minute - MAX Madame is waiting. GILLIS For me? Okay. Gillis enters. A-31 INT. NORMA DESMOND'S ENTRANCE HALL It is grandiose and grim. The whole place is one of those abortions of silent-picture days, with bowling alleys in the cellar and a built-in pipe organ, and beams imported from Italy, with California termites at work on them. Portieres are drawn before all the windows, and only thin slits or sunlight find their way in to fight the few electric bulbs which are always burning. Gillis starts up the curve of the black marble staircase. It has a wrought-iron rail and a worn velvet rope along the wall. MAX (From below) If you need help with the coffin call me. The oddity of the situation has caught Gillis' imagination. He climbs the stairs with a kind of morbid fascination. At the top he stops, undecided, then turns to the right and is stopped by WOMAN'S VOICE This way! Gillis swings around. Norma Desmond stands down the corridor next to a doorway from which emerges a flickering light. She is a little woman. There is a curious style, a great sense of high voltage about her. She is dress- ed in black house pyjamas and black high-heeled pumps. Around her throat there is a leopard-pat- terned scarf, and wound around her head a turban of the same material. Her skin is very pale, and she is wearing dark glasses. NORMA In here. I put him on my massage table in front of the fire. He always liked fires and poking at them with a stick. Gillis enters the SHOT and she leads him into A-32 NORMA DESMOND'S BEDROOM It is a huge, gloomy room hung in white brocade which has beconle dirty over the years and even slightly torn in a few places. There's a great, unmade gilded bed in the shape of a swan, from which the gold had begun to peel. There is a disorder of clothes and negligees and faded photographs of old-time stars about. In an imitation baroque fireplace some logs are burn- ing. On the massage table before it lies a small form shrouded under a Spanish shawl. At each end on a baroque pedestal stands a three-branched cande- labrum, the candles lighted. NORMA I've made up my mind we'll bury him in the garden. Any city laws against that? GILLIS I wouldn't know. NORMA I don't care anyway. I want the coffin to be white. And I want it specially lined with satin. White, or deep pink. She picks up the shawl to make up her mind about the color. From under the shawl flops down a dead arm. Gillis stares and recoils a little. It is like a child's arm, only black and hairy. NORMA Maybe red. bright flaming red. Gay. Let's make it gay. Gillis edges closer and glances down. Under the shawl he sees the sad, bearded face of a dead chimpanzee. Norma drops back the shawl. NORMA How much will it be? I warn you - don't give me a fancy price just because I'm rich. GILLIS Lady. you've got the wrong man. For the first time. Norma really looks at him through her dark glasses. GILLIS I had some trouble with my car. Flat tire. I pulled into your garage till I could get a spare. I thought this was an empty house. NORMA It is not. Get out. GILLIS I'm sorry, and I'm sorry you lost your friend, and I don't think red is the right color. NORMA Get out. GILLIS Sure. Wait a minute -- haven't I seen you -- ? NORMA Or shall I call my servant? GILLIS I know your face. You're Norma Desmond. You used to be in pictures. You used to be big. NORMA I am big. It's the pictures that got small. GILLIS I knew there was something wrong with them. NORMA They're dead. They're finished. There was a time when this busi- ness had the eyes of the whole wide world. But that wasn't good enough. Oh, nol They wanted the ears of the world, too. So they opened their big mouths, and out came talk, talk, talk... GILLIS That's where the popcorn business comes in. You buy yourself a bag and plug up your ears. NORMA Look at them in the front offices -- the master minds! They took the idols and smashed them. The Fairbankses and the Chaplins and the Gilberts and the Valentinos. And who have they got now? Some nobodies -- a lot of pale little frogs croaking pish-poshl GILLIS Don't get sore at me. I'm not an executive. I'm just a writer. NORMA You are! Writing words, words! You've made a rope of words and strangled this businessl But there is a microphone right there to catch the last gurgles, and Technicolor to photograph the red, swollen tongue! GILLIS Ssh! You'll wake up that monkey. NORMA Get out! Gillis starts down the stairs. GILLIS Next time I'll bring my autograph album along, or maybe a hunk of cement and ask for your footprints. He is halfway down the staircase when he is stopped by NORMA Just a minute, you! GILLIS Yeah? NORMA You're a writer, you said. GILLIS Why? Norma starts down the stairs. NORMA Are you or aren't you? GILLIS I think that's what it says on my driver's license. NORMA And you have written pictures, haven't you? GILLIS Sure have. The last one I wrote was about cattle rustlers. Before they were through with it, the whole thing played on a torpedo boat. Norma has reached him at the bottom of the staircase. NORMA I want to ask you something. Come in here. She leads him into A-33 THE HUGE LIVING ROOM It is dark and damp and filled with black oak and red velvet furniture which looks like crappy props from the Mark of Zorro set. Along the main wall, a gigantic fireplace has been freezing for years. On the gold piano is a galaxy of photographs of Norma Desmond in her various roles. On one wall is a painting -- a California Gold Rush scene, Carthay Circle school. (We will learn later that it hides a motion picture screen.) One corner is filled with a large pipe organ, and as Norma and Gillis enter, there is a grizzly moaning sound. Gillis looks around. NORMA The wind gets in that blasted pipe organ. I ought to have it taken out. GILLIS Or teach it a better tune. Norma has led him to the card tables which stand side by side near a window. They are piled high with papers scrawled in a large, uncertain hand. NORMA How long is a movie script these days? I mean, how many pages? GILLIS Depends on what it is -- a Donald Duck or Joan or Arc. NORMA This is to be a very important picture. I have written it myself. Took me years. GILLIS (Looking at the piles of script) Looks like enough for six impor- tant pictures. NORMA It's the story or Salome. I think I'll have DeMille direct it. GILLIS Uh-huh. NORMA We've made a lot of pictures together. GILLIS And you'll play Salome? NORMA Who else ? GILLIS Only asking. I did't know you were planning a comeback. NORMA I hate that word. It is a return. A return to the millions of people who have never forgiven me for deserting the screen. GILLIS Fair enough. NORMA Salome -- what a woman! What a part! The Princess in love with a Holy man. She dances the Dance of the Seven Veils. He rejects her, so she demands his head on a golden tray, kissing his cold, dead lips. GILLIS They'll love it in Pomona. NORMA (Taking it straight) They will love it every place. (She reaches for a batch of pages from the heap) Read it. Read the scene just before she has him killed! GILLIS Right now? Never let another writer read your stuff. He may steal it. NORMA I am not afraid. Read it! NORMA (Cont'd) (Calling) Max! Max! (To Gillis) Sit down. Is there enough light? GILLIS I've got twenty-twenty vision. Max has entered. NORMA Bring something to drink. MAX Yes. Madame. He leaves. Norma turns to Gillis again. NORMA I said sit down. There is compulsion in her voice. Gillis looks at her GILLIS' VOICE and starts slowly Well. I had no pressing reading. engagement, and she'd men- tioned something to drink.. Max comes in, wheeling Sometimes it's interesting a wicker tea wagon on to see just how bad bad which are two bottles o writing can be. This prom- f champagne and two ised to go the limit. I red Venetian glasses, wondered what a handwriting a box of zwieback and expert would make of that a jar of caviar. Norma childish scrawl of hers. sits on her feet. deep Max wheeled in some champagne in a chair, a gold ring and some caviar. Later, I on her forefinger with found out that Max was the a clip which holds a only other person in that cigarette. She gets up grim Sunset castle, and I and forces on Gillis found out a few other things another batch of script, about him... As for her, she goes back to her chair. sat coiled up like a watch spring, her cigarette clamped in a curious holder... I could sense her eyes on me from behind those dark glasses, defying me not to like what I read, or maybe begging me in her own proud way to like it. It meant so much to her... A-34 SHOT OF THE GILLIS' VOICE CEILING It sure was a cozy set-up. That bundle of raw nerves,and PAN DOWN to the moan- Max, and a dead monkey upstair ing organ. PAN OVER and the wind wheezing through TO THE ENTRANCE DOOR. that organ once in a while. Max opens it, and a Later on, just for comedy solemn-faced man in relief, the real guy arrived undertaker's clothes with a baby coffin. It was brings in a small all done with great dignity. white coffin. (Thru He must have been a very these shots the room important chimp. The great has been growing grandson of King Kong, maybe. duskier.) DISSOLVE TO: A-35 GILLIS It got to be eleven. I was feeling a little sick at my reading. The lamp stomach, what with that sweet beside him is now champagne and that tripe I'd really paying its been reading -- that silly way in the dark room. hodgepodge of melodramatic A lot of the manu- plots. However, by then I'd script pages are started concocting a little piled on the floor plot of my own... around his feet. A half-empty champagne glass stands on the arm of his chair. THE CAMERA SLOWLY DRAWS BACK to include Norma Desmond sitting in the dusk, just as she was before. Gillis puts down a batch of script. There is a little pause. NORMA (Impatiently) Well? GILLIS This is fascinating. NORMA Of course it is. GILLIS Maybe it's a little long and maybe there are some repetitions... but you're not a professional writer. NORMA I wrote that with my heart. GILLIS Sure you did. That's what makes it great. What it needs is a little more dialogue. NORMA What for? I can say anything I want with my eyes. GILLIS It certainly could use a pair of shears and a blue pencil. NORMA I will not have it butchered. GILLIS Of course not. But it ought to be organized. Just an editing job. You can find somebody. NORMA Who? I'd have to have somebody I can trust. When were you born -- I mean, what sign of the zodiac? GILLIS I don't know. NORMA What month? GILLIS December twenty-first. NORMA Sagittarius. I like Sagittarians. You can trust them. GILLIS Thank you. NORMA I want you to do this work. GILLIS Me? I'm busy. Just finished one script. I'm due on another assignment. NORMA I don't care. GILLIS You know, I'm pretty expensive. I get five hundred a week. NORMA I wouldn't worry about money. I'll make it worth your while. GILLIS Maybe I'd better take the rest of the script home and read it - NORMA Oh no. I couldn't let it out of my house. You'll have to finish it here. GILLIS It's getting kind of late -- NORMA Are you married, Mr. -- ? GILLIS The name is Gillis. I'm single. NORMA Where do you live? GILLIS Hollywood. The Alto Nido Apart- ments. NORMA There's something wrong with your car, you said. GILLIS There sure is. NORMA You can stay here. GILLIS I'll come early tomorrow. Norma takes off her glasses. NORMA Nonsense. There's room over the garage. Max will take you there...Max! THE CAMERA MOVES GILLIS' VOICE TOWARD NORMA'S FACE, She sure could say a lot of right up to her things with those pale eyes of eyes. hers. They'd been her trade mark. They'd made her the Num- ber One Vamp of another era. I remember a rather florid des- cription in an old fan magazine which said: "Her eyes are like two moonlit waterholes, where strange animals come to drink." DISSOLVE TO: A-36 SMALL STAIRCASE, LEAD- GILLIS'VOICE ING TO ROOM OVER GARAGE I felt kind of pleased with the way I'd handled the sit- Max, an electric light uation. I'd dropped the hook, bulb in his hand, is and she'd snapped at it. Now leading Gillis up. my car would be safe down Gillis carries a batch below, while I did a patch- of the manuscript. up job on the script. And there should be plenty of money in it... Max pushes open a door at the top of the stairs. MAX (Opening the door) I made your bed this afternoon. GILLIS Thanks. (On second thought) How did you know I was going to stay, this afternoon? Max doesn't answer. He walks across to the bed, screws a bulb in the open socket above it. The light goes on, revealing: A-37 A GABLED BEDROOM There are dirty windows on two sides, and dingy wall- paper on the cracked plaster walls. For furniture there is a neatly made bed, a table and a few chairs which might have been discarded from the main house. MAX This room has not been used for a long time. GILLIS It will never make house Beautiful. I guess it's O.K. for one night. Max gives him an enigmatic look. MAX (Pointing) There is the bathroom. I put in soap and a toothbrush. GILLIS Thanks. (He starts taking off his coat) Say, she's quite a character, that Norma Desmond. MAX She was the greatest. You wouldn't know. You are too young. In one week she got seventeen thousand fan letters. Men would bribe her mani- curist to get clippings from her fingernails. There was a Maharajah who came all the way from Hyderabad to get one of her stockings. Later, he strangled himself with it. GILLIS I sure turned into an interesting driveway. MAX You did, sir. GILLIS' VOICE He goes out. Gillis I pegged him as slightly looks after him, hangs cuckoo, too. A stroke maybe. his coat over a chair, Come to think of it, the walks over to the win- whole place seemed to have dow, pulls down the been stricken with a kind of rickety Venetian blind. creeping paralysis, out of As he does so, he looks beat with the rest of the down at: world, crumbling apart in slow motion ... A-38 THE TENNIS COURT OF GILLIS' VOICE THE DESMOND HOUSE There was a tennis court, or (MOONLIGHT) rather the ghost of a tennis court, with faded markings The cement surface is and sagging net ... cracked in many places, and weeds are growing high. A-39 GILLIS - IN THE WINDOW He looks away from the court to: A-40 THE DESMOND SWIMMING POOL GILLIS' VOICE There is no water in And of course she had a pool. it, and hunks of Who didn't then? Mabel Norm- mosaic which lines its and and John Gilbert must enormous basin are have swum in it ten thousand broken away. midnights ago, and Vilma Banky and Rod La Roque. It was empty now....or was it? A-41 GILLIS - IN THE WINDOW He stares down, his stomach slowly turning. A-42 THE SWIMMING POOL At the bottom of the basin a great rat is eating a decaying or,ange. From the inlet pipe crawl two other rats, who join battle with the first rat over the orange. A-43 GILLIS -IN THE WINDOW He starts away, but some- GILLIS' VOICE thing attracts his atten- There was something tion. He turns back and else going on below: looks down again. the last rites for that hairy old chimp, performed with the A-44 THE LAWN BELOW utmost seriousness -- as if she were laying Norma Desmond and Max are to rest an only child. carrying the white coffin Was her life really towards a small grave as as empty as that? which has been dug in the dead turf. Norma carries one of the candelabra, all of its candles flickering in the wind. They reach the grave and lower the coffin into it. Then, Norma lighting his task with the candelabrum, Max takes a spade from the loose earth and starts filling in the grave. A-45 GILLIS - IN THE WINDOW He watches the scene be- GILLIS' VOICE low, then turns into the It was all very queer, room, goes to the door but queerer things to lock it. There is no were yet to come. key, and only a hole where the lock has been gouged out. Gillis moves a heavy overstuffed chair in front of the door, then walks towards the bed, throws himself on it, picking up some of the manuscript pages to read. DISSOLVE END OF SEQUENCE "A" SEQUENCE "B" DISSOLVE IN ON: B-1 LONG SHOT THE DESMOND HOUSE - (MORNING) The day is overcast. The SOUND: (Distant organ house is shrouded in low music - improvisations fog. on an odd, mournful theme - not too loud, continuing throughout B-2 THE TENNIS COURT, blurred the scene.) over with fog. B-3 THE EMPTY SWIMMING POOL Its dark outline even more melancholy under the misty blanket. B-4 THE ROOM OVER THE GARAGE Muted daylight seeps GILLIS' VOICE through the blinds. Gillis That night I'd had a lies on the bed, under a mixed-up dream. In it shabby quilt. The manu- was an organ grinder. script is beside him, some I couldn't see his of the pages scattered on face, but the organ the floor. He is just was all draped in opening his eyes. It takes black, and a chimp was him a moment to adjust him- dancing for pennies. self to the strange sur- When I opened my eyes, roundings. His eyes, wander- the music was still ing about the room. suddenly there... Where was stop, startled. He lifts I? himself on one elbow and stares at - B-5 THE DOOR The heavy chair he had set Oh yes, in that empty against it the night before room over her garage. has been pushed back. The Only it wasn't empty door is wide ajar. any more. Somebody had brought in all my belongings - my B-6 GILLIS books, my typewriter, my clothes... He jumps out of bed. He wears, shirt, trousers and socks. Suddenly he realizes that all his possessions have GILLIS' VOICE been brought in. In What was going on? the closet hang his shirts. His books and typewriter are neatly arranged on the table. His phonograph-radio combination is all installed. Gillis looks around startled, then sits down and starts putting on his moccasins hastily. DISSOLVE TO: B-7 A PAIR OF HANDS IN WHITE GLOVES, PLAYING THE ORGAN PULL BACK: They belong to Max von Mayerling. He is sitting erect, his bull neck taut as a wrestler's as he rights out somber chord after somber chord. He sits in a shaft of gray light coming from an open French window. Through the far archway, Gillis storms into the big room. GILLIS Hey, you -- Max -- whatever -your- name-is -- what are my things doing here? No answer. GILLIS I'm talking to you. My clothes and things are up in the room. MAX Naturally. I brought them myself. GILLIS (Furiously) Is that so! MAX Why are you so upset? Is there anything missing? GILLIS Who said you could? Who asked you to? Norma Desmond's shadow moves into the shaft of light. NORMA'S VOICE I did. Gillis looks around. On the couch by the fireplace reclines Norma Desmond, dressed in a negligee. She rises. NORMA I don't know why you should be so upset. Stop that playing, Max. (To Gillis again) It seemed like a good idea -- if we are to work together. GILLIS Look, I'm supposed to fix up your script. There's nothing in the deal about my staying here. NORMA You'll like it here. GILLIS Thanks for the invitation, but I have my own apartment. NORMA You can't work in an apartment where you owe three months' rent. GILLIS I'll take care of that. NORMA It's all taken care of. It's all paid for. GILLIS I'm used to paying my own bills. NORMA You proud boy, why didn't you tell me you were having difficulties. GILLIS Okay. We'll deduct it from my salary. NORMA Now, now, don't let's be small about such matters. We won't keep books. (To Max) Go on, unpack Mr. Gillis' things. GILLIS Unpack nothing. I didn't say I was staying. NORMA (Her glasses off again) Suppose you make up your mind. Do you want this job or don't you? DISSOLVE TO: B-8 BIG ROOM, NORMA DESMOND'S HOUSE - (DAY) GILLIS' VOICE Gillis sits at an impro- So I let him unpack my vised table, his typewriter things. I wanted the in front of him, working dough, and I wanted to hard at the manuscript. get out of there as Pencils, shears and a quickly as possible. paste-pot at hand. I thought if I really got going I could toss Facing him at some dis- it off in a couple or tance sits Norma,dressed weeks. But it wasn't in another version of her so simple, getting some favorite lounging pajamas, coherence into that wild, the cigaette contraption scrambled melodrama on her finger. She is she'd concocted. What autographing large photo- made it tougher was that graphs of herself and put- she was around all the ting them in envelopes. time -- hovering over me, afraid I'd do injury to that precious brain- child of hers. Gillis takes two or three pages from Norma's hand- written script, crosses them out and puts them to one side. Norma rises, crosses towards Gillis, looks over his shoulder. NORMA What's that? GILLIS Just a scene I cut out. NORMA What scene? GILLIS The one where you go to the slave market. You can cut right to the scene where John the Baptist - NORMA Cut away from me? GILLIS Honestly, it's a little old hat. They don't want that any more. NORMA They don't? Then why do they still write me fan letters every day. Why do they beg me for my photo- graphs? Because they want to see me, me, me! Norma Desmond. GILLIS (Resigned) Okay. He pulls the page from his typewriter. As he does so he glances over towards Norma. GILLIS' VOICE On the table in front I didn't argue with her. of her are the photo- You don't yell at a graphs which she is sign- sleepwalker-- he may fall ing. On the long table and break his neck.That's in the living room is a it -- she was still gallery of photographs sleepwalking along the in various frames -- all giddy heights of a lost Norma Desmond. On the career --plain crazy piano more photographs. when it came to that one Above the piano an oil subject: her celluloid portrait of her. On the self, the great Norma highboy beside him still Desmond. How could She more photographs. breathe in that house, so crowded with Norma DISSOLVE TO: Desmonds? More Norma Desmond and still more Norma Desmond. B-9 THE BIG ROOM - (NIGHT) GILLIS' VOICE Shooting towards the big It wasn't all work - of Gold Rush painting. Max, course. Two or three white gloves and all, times a week Max would steps into the shot, shoves haul up that enormous oil the painting up towards painting that had been the ceiling,revealing a presented to her by some motion picture screen. Nevada Chamber of Com- Max exits. merce, and we'd see a movie,right in her living room. B-1O NORMA AND GILLIS GILLIS' VOICE They sit on a couch,facing "So much nicer than going the screen. On a table in out," she'd say. The front of them are champagne, plain fact was that she cigarettes and coffee. was afraid of that world Above their heads are the outside. Afraid it typical openings for a pro- would remind her that jector. The lights go off. time had passed. From the opening above their heads shoots the wide beam of light. B-11 MAX, IN THE PROJECTION They were silent movies, BOOTH BEHIND THE ROOM and Max would run the projection machine, which The light of the machine was just as well -- it flickering over his face, kept him from giving us which is frozen, a somber an accompaniment on enigma. that wheezing organ. B-12 NORMA AND GILLIS She'd sit very close to watching the screen. me, and she'd smell of Gillis looks down and sees tuberoses, which is not that Norma's hand is clasp- my favorite perfume, not ing his ann tight. He by a long shot. Sometines doesn't like it much but as we watched, she'd c he can't do anything about lutch my arm or my hand it. However. when she for forgetting she was my a second lets go his arm employer becoming just a to pick up a glass of fan, excited about that champagne, he gently with- actress up there on the draws his arm, leans away screen....I guess I don't from her and crosses his have to tell you who the arms to discourage any star was. They were resumption of her approach. always her pictures -- Norma puts the glass down that's all she wanted doesn't find his arn, but to see. is not aware of any signifi- cance in his maneuver. They both watch the screen. B-13 THE OTHER END OF THE BIG ROOM. WITH THE SCREEN On it flickers a famous scene from one of Norma's old silent pictures. It is not to be a funny scene. It is old-fashioned, but shows her incredible beauty and the screen presence which made her the great star of her day. B-14 NORMA AND GILLIS ON THE COUCH NORMA Still wonderful, isn't it? And no dialogue. We didn't need dialogue. We had faces. There just aren't any faces like that any more. Well, maybe one -- Garbo. In a sudden flareup she jumps to her feet and stands in the flickering beam of light. NORMA Those idiot producers! Those imbeciles! Haven't they got any eyes? Have they forgotten what a star looks like? I'll show them. I'll be up there again. So help me! DISSOLVE TO: B-15 THE BIG ROOM - (NIGHT) It is apparently empty. GILLIS' VOICE The elaborate lamps Sometimes there'd be a make pools of light. little bridge game in the house, at a twentieth-of- THE CAMERA PULLS BACK a cent a point. I'd get AND PANS to reveal a half her winnings. Once card table around they ran up to seventy which sit Norma and cents, which was about three friends - three the only cash money I actors of her period. ever got. The others They sit erect and play around the table would with grim seriousness. be actor friends - dim figures you may still Beside Norma sits remember from the silent Gillis, kibitzing on a days. I used to think of game which bores him them as her Wax Works. extremely. An ashtray on the card table is full and Norma holds it out for Gillis to take away. He crosses the room to the fire- place. but his eyes fall on the entrance door and he stops. B-16 THE ENTRANCE HALL - (FROM GILLIS' POINT OF VIEW) Max stands in the open door. Outside are the two men who came to the apartment for Gillis' car. B-17 GILLIS He steps back so that he cannot be seen from the door. A second later Max appears, looking for him. MAX (Quietly) Some men are here. They asked for you. GILLIS I'm not here. MAX That's what I told them. GILLIS Good. MAX They found your car in the garage. They are going to tow it away. Gillis doesn't know what to do. From offstage comes: NORMA'S VOICE The ashtray, Joe dear! Can we have the ashtray? Gillis dumps the cigarette butts into the cold fire- place, crosses to the bridge table, puts the ashtray down, leans over and speaks into Norma's ear. GILLIS I want to talk to you for a minute. NORMA Not now, my dear. I'm playing three no trump. GILLIS They've come for my car. NORMA Please. Now I've forgotten how many spades are out. GILLIS I need some money right now. NORMA Can't you wait till I'm dummy? 3.22.49 GILLIS No. NORMA (Angry by now) Please! Gillis stands frustrated, hideously embarrassed by the stares of the waxworks. He turns away and hurries to the door. B-18 ENTRANCE DOOR TO THE HOUSE It is half open. Gillis comes into the shot and, taking cover, looks out. B-19 COURTYARD (FROM GILLIS' ANGLE) The men from the finance company are cranking up the car. Max stands watching silently. When they finish the cranking job, the men climb into the front seat of the truck. B-2O GILLIS - AT THE DOOR Over the shot the SOUND of the truck being started and the cars moving away. Gillis moves out into the courtyard and stands staring after the car. From the house comes Norma. NORMA Now what is it? Where's the fire? GILLIS I've lost my car. NORMA Oh...and I thought it was a matter of life and death. GILLIS It is to me. That's why I came to this house. That's why I took this job -- ghost writing! NORMA Now you're being silly. We don't need two cars. We have a car. And not one of thuse cheap new things made of chromium and spit. An Isotta-Fraschini. Have you ever heard of Isotta-Fraschinis? All hand-made. Cost me twenty-eight thousand dollars. THE CAMERA HAS PANNED over to the garage and FOCUSES on the dirty Isotta-Fraschini on its blocks. DISSOLVE TO: B-21 NORMA'S ISOTTA-FRASCHINI DRIVING IN THE HILLS ABOVE SUNSET (DAY) Max is at the wheel, GILLIS' VOICE dressed as usual except So Max got that old bus for a chauffeurfs cap. down off its blocks and polished it up. She'd take me for rides in the B-22 INSIDE THE CAR hills above Sunset. Gillis sits beside Norma, The whole thing was up- who is wearing a smart holstered in leopard tailleur and her eternal skin, and had one of sun glasses. Gillis those car phones, all wears his sport jacket- gold-plated. flannel trousers-moccasin combinatIon. He sits uncomfortably. Norma is studying him. NORMA That's a dreadful shirt you're wearing. GILLIS What's wrong with It? NORMA Nothing, if you work in a fill- ing station. And I'm getting rather bored with that sport jacket, and those same baggy pants. (She picks up the car phone) Max, what's a good men's shop in town? The very best... Well, go there ! GILLIS I don't need any clothes, and I certainly don't want you buy- ing them for -- NORMA Why begrudge me a little fun? I just want you to look nice, my stray little boy. By this time Max has made a U-turn. QUICK DISSOLVE TO: B-23 INT. MEN'S DEPARTMENT, AN ELEGANT WILSHIRE STORE Gillis stands in front of a full-length triple mirror, surrounded by a couple of salesmen and the tailor, who is busily working out alterations. Gillis wears a double-breasted gray flannel coat with chalk stripes. His trousers belong to another suit of glen plaid. Norma is running the show. NORMA There's nothing like gray flannel with a chalk stripe. (she points at the trousers) This one single-breasted, of course. (to another salesman) Now we need a topcoat. Let's see what you have in camel's hair. The salesman leaves. NORMA How about some evening clothes? GILLIS I don't need a tuxedo. NORMA Of course you do. A tuxedo and tails. GILLIS Tails. That's ridiculous. NORMA You'll need them for parties. You'll need them for New Year's Eve. (to a salesman) Where are your evening clothes? SALESMAN This way, Madame. He leads her off. The other salesman arrives with a selection of topcoats. SALESMAN Here are some camel hairs, but I'd like you just to feel this one. It's Vicuna. Of course, it's a little more expensive. GILLIS A camel's hair will do. SALESMAN (With an insulting inflection) As long as the lady is paying for it, why not take the Vicuna? DISSOLVE: END OF SEQUENCE "B" SEQUENCE "C" DISSOLVE IN: C-1 LONG SHOT DESMOND HOUSE A day in December. Rain. QUICK DISSOLVE TO: C-2 INT. ROOM OVER GARAGE Water is drizzling from GILLIS' VOICE two or three spots in the The last week in December ceiling into pans and the rains came -- a great bowls set to catch it, big package of rain. one bowl right on the Over-sized, like every- bed. The room is almost thing else in California. emptied of Gillis' be- longings by now. Max It came right through is carrying out a hand- the old roof of my room full of new suits on above the garage. She hangers. He has a had Max move me to the dressing gown over his main house. I didn't shoulder. Gillis holds much like the idea -- the a stack of shirts, his only time I could have typewriter, and some to myself was in that manuscript. He surveys room -- but it was better the room for the last than sleeping in a rain- time, to see whether coat and galoshes. he's forgotten any- thing. He has. He puts down the typewriter and picks up from under the bed a pair of very smart red leather bedroom slippers. He tucks them under his arm, picks up the typewriter and leaves. QUICK DISSOLVE TO: C-3 A BEDROOM IN TIiE MAIN HOUSE It is obviously a man's room -- heavy Spanish furniture -- one wall nothing but a closet with shelves and drawers for shirts and shoes. Max is hanging up the suits. Gillis throws the shirts on a big chair, tosses the slippers at the foot of the bed, places the typewriter and manuscript on a desk at the window. GILLIS Whose room was this? MAX It was the room of the husband. Or of the husbands, I should say. Madame has been married three times. Slightly embarrassed, Gillis picks up his toilet kit with razor, toothbrushes, soap, etc., and starts towards the bathroom, pausing en route at a rain- splattered window. GILLIS I guess this is the one you can see Catalina from. Only this isn't the day. He proceeds towards the half-opened door leading to the bathroom. Something strikes his attention and he stops. As in the door to the room above the garage, this lock, too, has been gouged out. GILLIS Hey, what's this with the door? There isn't any lock. MAX There are no locks anywhere in this house. He points to the entrance door of the room, and to another door. GILLIS How come? MAX The doctor suggested it. GILLIS What doctor? MAX Madame's doctor. She has moments of melancholy. There have been some suicide attempts. GILLIS Uh-huh? MAX We have to be very careful. No sleeping pills, no razor blades. We shut off the gas in her bed- room. GILLIS Why? Her career? She got enough out of it. She's not forgotten. She still gets those fan letters. MAX I wouldn't look too closely at the postmarks. GILLIS You send them. Is that it, Max? MAX I'd better press your evening clothes, sir. You have not for- gotten Madame's New Year's party. GILLIS No, I haven't. I suppose all the waxworks are coming? MAX I don't know, sir. Madame made the arrangements. Max leaves. Gillis comes out of the bathroom, picks up his shirts, goes over to a closet, opens it. As he does so one of the doors without a lock swings slightly open. Gillis looks through the half-open door and sees. C-4 NORMA DESMOND'S ROOM It is empty. The rainy GILLIS' VOICE day does nothing to There it was again - that help its gloom. room of hers, all satin and ruffles, and that bed like a gilded rowboat. The per- fect setting for a silent movie queen. Poor devil, still waving proudly to a parade which had long since passed her by. He pushes the door shut and walks back into the room. DISSOLVE TO: C-5 STAIRCASE OF DESMOND HOUSE (NIGHT) Gillis is coming down the GILLIS' VOICE stairs in his tailcoat It was at her New Year's adjusting the handkerchief party that I found out in his pocket. He obviously how she felt about me. feels a little uneasy in Maybe I'd been an idiot this outfit. From below not to have sensed it comes a tango of the Twen- was coming - that sad, ties. played by a small embarrassing revelation. orchestra. Gillis stops in the archway leading to the big room and looks around. C-6 THE BIG ROOM has been deco- rated for the occasion with laurel garlands. Dozens of candles in all the sconces and candelabra are ablaze. Their flickering flames are reflected in the waxed sur= face of the tile floor. There is a buffet, with buckets of champagne and caviar on ice. In one corner on a little platform banked with palms. a four-piece orchestra is playing. At the buffet are Max and Norma. She is drinking a glass of champagne. She is wearing a diamonte evening dress. very high style. with long black gloves and a headdress of paradise feathers. Her eyes fall on Gillis. She puts down the glass of champagne. picks up a gardenia boutonniere and moves toward him. NORMA Joe, you look absolutely divine. Turn around! GILLIS (Embarrassed} Please. NORMA Come on! Gillis makes a slow 36O-degree turn. NORMA Perfect. Wonderful shoulders. And I love that line. She indicates the V from his shoulders to his hips. GILLIS All padding. Don't let it fool you. NORMA Come here! She puts the gardenia on his lapel. GILLIS You know, to me dressing up was always just putting on my dark blue suit. NORMA I don't like those studs they've sent. I want you to have pearls. Nice big pearls. GILLIS Now, I'm not going to wear ear- rings, I can tell you that. NORMA Cute. Let's have some drinks. She leads him over to the buffet. GILLIS Shouldn't we wait for the others? NORMA (Pointing at the floor) Careful, it's slippery. I had it waxed. They reach the buffet. Max is ready with two glasses of champagne. Norma hands Gillis a glass. NORMA Here's to us. They drink. NORMA You know, this floor used to be wood but I had it changed. Valentino said there is nothing like tiles for a tango. She opens her arms. GILLIS Not on the same floor with Valentino! NORMA Just follow me. They start to tango. After a moment -- NORMA Don't bend back like that. GILLIS It's those feathers. They tickle. Norma pulls the paradise feathers from her hair and tosses them away. C-7 THE ORCHESTRA As they play the tango, the musicians eye the danc- ing couple, take in the situation, exchange glances and turn away with professional discretion. C-8 NORMA AND GILLIS, TANGOING Gillis glances at his wrist watch. GILLIS It's a quarter past ten. What time are they supposed to get here? NORMA Who? GILLIS The other guests? NORMA There are no other guests. We don't want to share this night with other people. This is for you and me. GILLIS I understand some rich guy bought up all the tickets for a perfor- mance at the Metropolitan and sat there listening to La Traviata, all by himself. He was afraid of catching cold. NORMA Hold me tighter. GILLIS Come midnight, how about blind- folding the orchestra and smash- ing champagne glasses on Max's head? NORMA You think this is all very funny. GILLIS A little. NORMA Is it funny that I'm in love with you? GILLIS What's that? NORMA I'm in love with you. Don't you know that? I've been in love with you all along. They dance on. Gillis is acutely embarrassed. THE CAMERA SLOWLY PULLS BACK, PANS past the faces of the musicians, who play on with a rather overe- mphasized lack of interest. Finally it winds up on Max, behind the buffet. He stands watching Gillis, a faint trace of pity in his eyes. DISSOLVE TO: C-9 NORMA'S FINGER, WITH THE CIGARETTE GADGET, as she GILLIS' VOICE inserts a cigarette. I'm sure a lot of you will laugh about this. Ridicu- lous situation, wasn't it? -- a woman almost twice my age ... It got to be about a quarter of eleven. I felt caught, like a cig- arette in the prongs of that contraption on her finger. PULL BACK TO: NORMA AND GILLIS sitting on a couch in front of the cavernous fireplace. Norma holds out her cigarette to Gillis, who lights it. NORMA. What a wonderful next year it's going to be. What fun we're going to have. I'II fill the pool for you. Or I'll open my house in Malibu, and you can have the whole ocean. Or I'll buy you a boat and we'll sail to Hawaii. GILLIS Stop it. You aren't going to buy me anything more. NORMA Don't be silly. (She reaches under a pillow of the couch and brings out a leather box) Here. I was going to give it to you at midniglht. Gillis opens the box. It contains a matched gold cigarette case and lighter. NORMA Read what's inside. Gillis snaps open the case. Engraved inside the cover is: TO JOE FROM NORMA, and two bars of music. GILLIS What are the notes? NORMA "Mad about the boy." GILLIS Norma, I can't take it. You've bought me enough. NORMA Shut up. I'm rich. I'm richer than all this new Hollywood trash. I've got a million dollars. GILLIS Keep it. NORMA I own three blocks downtown. I have oil in Bakersfield -- pumping, pumping, pumping. What's it for but to buy us anything we want. GILLIS Cut out that us business. He rises. NORMA What's the matter with you? GILLIS What right do you have to take me for granted? NORMA What right? Do you want me to tell you? GILLIS Has it ever occurred that I may have a life of my own? That there may be some girl I'm crazy about? NORMA Who? Some car hop, or a dress extra? GILLIS Why not? What I'm trying to say is that I'm all wrong for you. You want a Valentino -- somebody with polo ponies -- a big shot -- NORMA (Getting up slowly) What you're trying to say is that you don't want me to love you. Is that it? Gillis doesn't answer. Norma slaps his face and rushes from the room and upstairs. Gillis stands paralyzed, the slap burning his cheek. C-1O THE TOP OF THE STAIRCASE AND CORRIDOR Norma rushes up the last few steps, down the corridor and into her bedroom, banging the door. MOVE THE CAMERA toward the closed door, centering on the gouged-out lock. C-11 GILLIS, IN THE BIG ROOM He still stands motionless. He glances around fur- tively, to see if his humiliation has been observed. C-12 THE ORCHESTRA The musicians are playing away. They have turned their eyes away from Gillis rather too ostentatious- ly for comfort. C-13 GILLIS His eyes move over toward C-14 MAX He is subtler than the musicians. He appears very busy at the buffet, putting empty bottles and used glasses on a tray. He walks across the room with them. C-15 GILLIS He starts slowly out. As he does so his long gold key chain catches on a carved ornament of the sofa and holds him for a second of additional embarrass- ment. He yanks it loose and walks with as much nonchalance as he can muster to C-16 THE HALL Crossing towards the coat closet, Gillis throws a look upstairs. Then he pulls the Vicuna coat from its hangar and slips into it as he crosses to the entrance door. He opens the door on the darkness of the courtyard. C-17 EXT. DESMOND HOUSE (NIGHT - RAIN) Gillis shuts the door. GILLIS'VOICE He takes a few steps I didn't know where I was forward, then stands going. I just had to get for a while breathing out of there. I had to be deep. The rain is with people my own age. I balm to that cheek had to hear somebody laugh where the slap still a again. I thought of Artie burns. He walks for- Green. There was bound to ward with a great be a New Year's shindig sense of relief. going on in his apartment down on Las Palmas -- the hock shop set -- not a job C-18 DRIVEWAY LEADING TO in the room. but lots of fun on the cuff. Gillis walks to the street, which is dark and empty. He starts down Sunset in an Easterly direction. A car passes. He tries to thumb a ride, without success. However, the second car, a florist's delivery wagon, stops. Gillis jumps in and the car drives off. DISSOLVE TO: C-19 ARTIE GREEN'S APARTMENT It is the most modest one-room affair, jam packed with young people flowing over into the miniature bathroom and the microscopic kitchenette. The only drink being served is punch from a pressed-glass bowl -- but everybody is having a hell of a time. Most of the men are in slacks and sweaters, and only a few of the girls in something that vaguely suggests party dress. Abe Burroughs sits at a small, guest-festooned piano and sings Tokio Rose. By the door, a group of young men and girls respond to the song by sing1ng Rinso White or Dentyne Chewing Gum or something similar, in the manner of a Bach choral. Artie Green, a dark haired, pleasant-looking guy in his late twenties, is conducting with the ladle from the punch bowl. The door behind some of the singers is pushed open, jostling them out of their places. In comes Gillis, his hair and face wet, the collar of his Vicuna coat turned up. Artie stops conducting, but the commer- cial goes right on. ARTIE Well, what do you know ! Joe Gillis ! GILLIS Hi, Artie. ARTIE Where have you been keeping that gorgeous face of yours? GILLIS In a deep freeze. ARTIE I almost reported you to the Bureau of Missing Persons. (To the company) Fans, you all know Joe Gillis, the well-known screen writer, opium smuggler and Black Dahlia suspect. Gillis greets some of the kids by name as he and Artie push their way into the room. ARTIE Give me your coat. GILLIS Let it ride for a while. ARTIE You're going to stay, aren't you? GILLIS That was the general idea. ARTIE Come on. Artie starts peeling the coat off Gillis. Its texture takes his breath away. ARTIE What is this - mink? He has taken the coat. He looks at Gillis standing there in tails. ARTIE Judas E. Priest, who did you borrow that from? Adolphe Menjou? GILLIS Close, but no cigar. Gillis stands embarrassed While Artie rolls up the Vicuna coat and tucks it above the books on a book- shelf. ARTIE Say, you're not really smuggling opium these days, are you? GILLIS Where's the bar? The two make their way toward the punch bowl. It's a little like running the gauntlet for Gillis. There are whistles and 'stares of astonishlnent at his tails. When they reach the punch bowl, Artie picks up a half-filled glass and fills it. GILLIS Good party. ARTIE The greatest. They call me the Elsa Maxwell of the assistant directors. (To some guests who are dipping their empty cups into the punch bowl) Hey, easy on the punch bowl. Budget only calls for three drinks per extra. Fake the rest. GILLIS Listen, Artie, can I stick around here for a while? ARTIE Sure, this'll go on all night. GILLIS I mean, could you put me up for a couple of weeks? ARTIE It just so happens we have a vacancy on the couch. GILLIS I'll take it. ARTIE I'll have the bell-hop take care of your luggage. He runs his finger across the decollete back of a girl standing in a group next them. ARTIE Just register here. The girl turns around. She is Betty Schaefer. BETTY Hello, Mr. Gillis. ARTIE You know each other? Gillis looks at her a little puzzled. BETTY Let me help you. Betty Schaeter, Sheldrake's office. GILLIS Sure. Bases Loaded. ARTIE Wait a minute. This is the woman I love. What's going on? Who was loaded? GILLIS Don't worry. She's just a fan for my literary output. BETTY (to Artie) Hurt feelings department. GILLIS About that luggage. Where's the phone? ARTIE Over by the Rainbow Room. Gillis squeezes his way through groups of people to the telephone, which is next to an open door leading to the bathroom. The phone is busy. A girl sits listening to it, giggling wildly. Another girl beside her is laughing too. They are apparently sharing a conversation with some man on the other end of the wire. The telephone passes from hand to hand. Gillis watches impatiently, then GILLIS When youlre through with that thing, can I have it? The girl just nods, going on with her chattering. Gillis stands waiting, and Betty Schaefer comes up with his glass. BETTY You forgot this. GILLIS Thanks. BETTY I've been hoping to run into you. GILLIS What for? To recover that knife you stuck in my back? BETTY I felt a little guilty, so I got out some of your old stories. GILLIS Why, you sweet kid. BETTY There's one called....Window... something with a window. GILLIS Dark Windows. How did you like it? BETTY I didn't. GILLIS Thank you. BETTY Except for about six pages. You've got a flashback there ... There is too much racket for her. BETTY Is there someplace we can talk? GILLIS How about the Rainbow Room? They squeeze their way towards the bathroom, past Artie. ARTIE I said you could have my couch. I didn't say you could have my girl. BETTY This is shop talk. She and Gillis go through the open door into C-20 ARTIE'S BATHROOM It's a little less noisy, although there are some guests there, chatting and having fun. Betty and Gillis sit down on the edge of the tub. GILLIS Now if I got you correctly, there was a short stretch of my fiction you found worthy of notice. BETTY The flashback in the courtroom, when she tells about being a school teacher. GILLIS I had a teacher like that once. BETTY Maybe that's why it's good. It's true, it's moving. Now why don't you use that character... GILLIS Who wants true? Who wants moving? BETTY Drop that attitude. Here's some- thing really worth while. GILLIS Want me to start right now? Maybe there's some paper around. BETTY I'm serious. I've got a few ideas. GILLIS I've got some ideas myself. One of them being this is New Year's Eve. How about living it up a little? BETTY As for instance? GILLIS Well.... BETTY We could make some paper boats and have a regatta. Or should we just turn on the shower? GILLIS How about capturing the kitchen and barricading the door? BETTY Are you hungry? GILLIS Hungry? After twelve years in the Burmese jungle. I am starving, Lady Agatha -- starving for a white shoulder -- BETTY Phillip, you're mad! One of the girls who was on the phone comes to the door. GIRL You can have the phone now. GILLIS (Paying no attention) Thirsting for the coolness of your lips - BETTY No, Phillip, no. We must be strong. You're still wearing the uniform of the Coldstream Guards! Furthermore, you can have the phone now. GILLIS O.K. (He gets up, starts out, turns) I find I'm terribly afraid of losing you. BETTY You won't. (She takes the glass out of his hand) I'll get us a refill of this awful stuff. GILLIS You'll be waiting for me? BETTY With a wildly beating heart. GILLIS Life can be beautiful! He leaves. C-21 THE MAIN ROOM Gillis squeezes himself through some guests to the phone. He has to stand in a cramped position, holding the instrument close to him as he dials a number. GILLIS Max? This is Mr. Gillis. I want you to do me a favor. C-22 NORMA DESMOND HOUSE Max is at the phone, in the lower hall. MAX I am sorry, Mr. Gillis. I cannot talk now. C-23 GILLIS ON THE PHONE GILLIS Yes you can. I want you to get my old suitcase and I want you to throw in my old clothes -- the ones I came with, and my typewriter. I'll have somebody pick them up. C-24 MAX AT THE PHONE MAX I have no time to talk. The doctor is here. C-25 GILLIS ON THE PHONE GILLIS What doctor? What's going on? C-26 MAX AT THE PHONE MAX She got the razor from your room. She cut her wrists. Max hangs up, moves toward the staircase. C-27 GILLIS AT THE PHONE GILLIS Max ! Max ! He hangs up the dead receiver, stands numb with shock. Betty elbows her way up to him, carrying the two punch glasses filled again. BETTY I just got the recipe: take two packages of cough drops, dissolve in one gallon of lukewarm grape juice -- Gillis looks up at her. Without a word he pushes her aside so that she spills the drink. He makes his way through the guests to the Vicuna coat, pulls it from the shelf, some books tumbling with it, and rushes towards the door and out. Betty stands look- ing after him, completely bewildered. DISSOLVE TO: C-28 EXT. DESMOND HOUSE - (NIGHT, RAIN) The doctor's car is parked in the driveway. A taxi pulls up. Gillis, in his Vicuna coat now, jumps out, throws a couple of dollars to the rdriver and runs toward the house. C-28a DOORWAY, NORMA DESMOND HOUSE> Max is opening the door to let out the doctor, a professional looking man carrying a black bag. Gillis runs into the SHOT. GILLIS How is she? MAX She is upstairs. Gillis starts to push past Max. Max grabs his arm. MAX Be careful. Do not race up the stairs. The musicians must not know what has happened. Gillis goes into the house. C-29 ENRANCE HALL AND STAIRCASE Gillis crosses the hall and starts up the stairs. C-3O INT. NORMA DESMOND'S ROOM Only one alabaster lamp lights the big, cold room. On the bed lies Norma in her evening dress. She is white as a sheet. Her wrists are bandaged. Her eyes are wide open, staring at the ceiling. One of her shoes has halt slipped off her foot. The other is on. Gillis opens the door and stands there tor a second. Then he slowly moves to the toot of the bed. He takes the shoes from her feet and puts them on the floor. NORMA Go away. GILLIS What kind of a silly thing was that to do? NORMA To fall in love with you -- that was the idiotic thing. GILLIS It sure would have made attractive headlines: Great Star Kills Her- self for Unknown Writer. NORMA Great stars have great pride. She puts one bandaged forearm over her eyes, sobbing. Gillis walks slowly over to the mantelpiece, stands there for awhile. NORMA Go away. Go to that girl of yours. GILLIS Look, I was making that up because I thought the whole thing was a mistake. I didn't want to hurt you. You've been good to me. You're the only person in this stinking town that has been good to me. NORMA Why don't you just say thank you and go, go, go -- GILLIS Not until you promise to act like a sensible human being. NORMA I'll do it again, I'll do it again, I'll do it again! Gillis stands looking at her helplessly. C-31 LIVING ROOM, THE DESMOND HOUSE The candles burned down, the orchestra playing to the emptiness. The orchestra leader looks at his watch, rises, silences the orchestra, then starts them in on Auld Lang Syne. C-32 INT. NORMA'S ROOM Gillis still stands. Norma lies on the bed, arms over her eyes, sobbing. GILLIS Happy New Year. Norma continues to sob. Gillis goes to the bed, puts his arms on her shoulders and turns her around. GILLIS Happy New Year. Norma looks at him, tears in her eyes. Slowly she enfolds him in her bandaged arms. NORMA Happy New Year. darling. She kisses him. DISSOLVE END OF SEQUENCE "C" SEQUENCE "D" DISSOLVE IN ON: D-1 INT. HALLWAY, NORMA GILLIS' VOICE DESMOND'S HOUSE (DAY) Around the middle of May some incidents happened The telephone is heard which I think I should tell ringing. Max comes from you about. living room to the phone, picks it up. MAX Hello ... Yes? D-1a BETTY SCHAEFER, AT THE PHONE ON HER DESK IN THE READERS' DEPARTMENT BETTY Is this Crestview 5-1733? ... I'm sorry to bother you again, but I've confirmed the number. I must speak to Mr. Gillis. D-1b MAX, AT THE PHONE MAX He is not here. D-1c BETTY ON THE PHONE BETTY Where can I reach him? Maybe somebody else in the house could tell me. D-1d MAX ON THE PHONE MAX Nobody here can give you any information. You will please not call again. He hangs up. From off comes: NORMA'S VOICE Who was it, Max? What is it? D-1e PATIO, NORMA'S HOUSE It is a sunny day. The garden is in somewhat better shape. The old house looks less unkept. The pool is filled. Norma sits on a wicker chaise longue, her face shielded by an enormous straw hat, her eyes by dark glasses. Gillis, in bathing trunks, is on a rubber mattress in the pool. Max comes to the entrance door. MAX Nothing, Madame. Somebody Inqu- iring about a stray dog. We must have a number very similar to the pound. He starts to turn back. NORMA Wait a minute. I want you to get out the car. You're going to take the script over to Paramount and deliver it to Mr. De Mille in person. MAX Yes, Madame. He goes into the house. GILLIS (climbing out of the water) You're really going to send it to De Mille? NORMA This is the right day. She indicates a typewritten letter she is holding. NORMA (Cont'd) The chart from my astrologer. She read deMille's horoscope. She read mine. GILLIS Did she read the script? NORMA DeMille is Leo. I'm Scorpio. Mars has been transmitting Jupiter for weeks. Today is the day of greatest conjuction. Now turn around. Let me dry you. She puts the towel around his sholders and starts drying him. GILLIS I hope you realize, Norma, that scripts don't sell on astrologers' charts. NORMA I'm not just selling the script. I'm selling me. DeMille always said I was his greatest star. GILLIS When did he say it, Norma? NORMA So he said it quite a few years ago. So what? I never looked better in my life. Do you know why? Because I've never been as happy in my life. She kisses him. DISSOLVE TO: D-2 INT. THE ISOTTA, DRIVING DOWN SUNSET ABOUT 8:30 IN THE EVENING GILLIS' VOICE A few evenings later we Max is driving. In the were going to the house of tonneau sit Norma, in a one of the waxworks for chinchilla wrap, and some bridge. She'd taught Gillis in his tuxedo. me how to play bridge by Norma is rummaging then, just as she'd taught through her evening me some fancy tango steps, bag. She finds a and what wine to drink cigarette case, opens with what fish. it. It is empty. NORMA That idiot. He forgot to fill my cigarette case. GILLIS (Proffering his case) Have one of mine. NORMA They're awful. They make me cough. GILLIS (Pushing open the glass partition, to Max) Pull up at the drugstore, will you, Max. (To Norma) I'll get you some. NORMA You're a darling. She takes a dollar bill from her purse and gives it to him. D-3 EXT. SCHWAB'S DRUGSTORE The car drives up and Gillis hurries into the store. D-4 INT. SCHWAB'S DRUGSTORE Business is still rather lively. There are about a dozen shoppers, and the soda counter is half filled. Gillis enters and steps to the tobacco counter. GILLIS (To the salesgirl) Give me a pack of those Turkish cigarettes -- Melachrinos. The girl opens the glass showcase to locate the fancy brand. From OFF comes ARTIE'S VOICE Stick 'em up, Gillis, or I'll let you have it! Gillis turns. D-5 AT THE SODA FOUNTAIN Artie Green and Betty Schaefer sit having a sandwich and a milk shake. With his forefinger and a sound effect, Artie riddles Gillis' body. Gillis walks INTO THE SHOT. GILLIS Hello, Artie. Good evening, Miss Schaefer. BETTY (Excitedly) You don't know how glad I am to see youl ARTIE Walking out on the mob. What's the big idea? GILLIS I'm sorry about New Year's. Would you believe me if I said I had to be with a sick friend? ARTIE Someone in the formal set, no doubt, with a ten-carat kidney stone. BETTY Stop it, Artie, will you? (To Gillis) Where have you been keeping your- self? I've got the most wonderful news for you. GILLIS I haven't been keeping myself at all. Not lately. BETTY I called your agent. I called the Screen Writers Guild. Finally your old apartment gave me some Crestview number. There was always somebody with an accent growling at me. You were not there. You were not to be spoken to. They never heard of you. GILLIS Is that so? What's the wonderful news? BETTY Sheldrake likes that angle about the teacher. GILLIS What teacher? BETTY Dark Windows. I got him all hopped up about it. GILLIS You did? BETTY He thinks it could be made into something. GILLIS Into what? A lampshade? BETTY Into something for Barbara Stan- wyck. They have a commitment with Barbara Stanwyck. ARTIE Unless you'd rather have Sarah Bernhardt. BETTY This is on the level. Sheldrake really went for it. GILLIS O.K. Where's the cash? BETTY Where's the story? I bluffed it out with a few notions of my own. It's really just a springboard. It needs work. GILLIS I was afraid of that. BETTY I've got twenty pages of notes. I've got a pretty good character for the man. ARTIE Could you write in plenty of back- ground action, so they'll need an extra assistant director? BETTY Shut up, Artie. (To Gillis) Now if we could sit down for two weeks and get a story. GILLIS Sorry, Miss Schaefer, but I've given up writing on spec. BETTY I tell you this is half sold. GILLIS As a matter of fact. I've given up writing altogether. Max has appeared in the door. MAX Mr. Gillis, if you please. GILLIS Right with you. Max leaves. ARTIE The accent! I've got it: this guy is in the pay of a foreign government. Get those studs. Get those cuff-links. GILLIS I've got to run along. Thanks any- way for your interest in my career. BETTY It's not your career -- it's mine. I kind of hoped to get in on this deal. I don't want to be a reader all my life. I want to write. GILLIS Sorry if I crossed you up. BETTY You sure have. GILLIS So long. He leaves. ARTIE (Patting her hand) Babe, it's like that producer says: In life, you've got to take the bitter with the sour. D-6 THE ISOTTA, PARKED OUTSIDE Gillis comes from Schwab's, gets into the car. Max takes off. NORMA What on earth, darling? It took you hours. GILLIS I ran into some people I knew. NORMA Where are my cigarettes? GILLIS Where are your...? He realizes he's forgotten them, takes the dollar and hands it back to her. GILLIS Norma, you're smoking too much. DISSOLVE TO: D-7 LIVING ROOM, NORMA DESMOND'S HOUSE (EARLY AFTERNOON) Start on a tiny GILLIS' VOICE parasol being Whenever she suspected I twirled...Norma was getting bored, she peeks out from one would put on a live show side of the parasol, for me: the Norma Desmond a bandanna tied Follies. Her first number around her head with was always the Mack Sennett a rabbit's-ear bow. Bathing Beauty. She bats her eyes, winks roguishly. THE CAMERA PULLS BACK to reveal that Norma's black pyjama trousers are rolled up over her knees and her black stockings rolled down below them. The whole effect approximates a Mack Sennett bathing costume pretty effectively. She points at a leather pour. NORMA This is a rock. She climbs on it, pantomimes timidity, an attempted dive, then jumps off. Gillis lolls on a couch, watching the performance, very bored. NORMA I can still see myself in the line: Bebe Daniels, Marie Prevost, Mabel Normand ... Mabel was always stepping on my feet ...What's the matter with you, darling? Why are you so glum? GILLIS (Lighting a cigarette with a match) Nothing is the matter. I'm having a great time. Show me some more. NORMA (Taking the match) All right. Give me this. I need it for a moustache. Now close your eyes. She runs out of the GILLIS' VOICE picture. Gillis has Something was the matter, closed his eyes. all right. I was thinking THE CAMERA MOVES to about that girl of Artie's, his face. that Miss Schaefer. She was so like all us writers when we first hit Holly- wood -- itching with am- bition, panting to get your names up there: Screenplay by. Original Story by. Hmph! Audiences don't know somebody sits down and writes a picture. They think the actors make it up as they go along. NORMA'S VOICE Open your eyes. Gillis opens his eyes. Norma has equipped herselr with a derby hat, a cane, and blacked in a small moustache. She goes into a little Chaplin routine. While she is doing it, the telephone rings. After a moment Max comes to the living room door. MAX Madame is wanted on the telephone. NORMA You know better than to interrupt me. MAX Paramount is calling. NORMA Who? MAX Paramount studios. NORMA (To Gillis) Now, now do you belive me? I told you deMille would jump at it. MAX It is not Mr. deMille in person. It is someone by the name or Gordon Cole. He says it's very important. NORMA Certainly it's important. It's important enough for Mr. deMille to call me personally. The idea of having an assistant call me! MAX I myself was surprised at Mr. de Mille's manners. NORMA Say that I'm busy, and hang up. MAX Very good, Madam. He bows and exits. NORMA How do you like that? We've made twelve pictures together. His greatest successes. GILLIS Maybe deMille is shooting. NORMA I know that trick! He wants to belittle me. He's trying to get my price down. I've waited twenty years for this call. Now Mr. deMille can wait till I'm good and ready. DISSOLVE TO: D-8 NORMA, IN THE TONNEAU OF THE LIMOUSINE, DRIVING DOWN MELROSE She is in full makeup, GILLIS' VOICE with a veil, a daring About three days later she hat, a suit so stunning was good and ready. In- only she would venture credible as it may seem, to wear it. THE CAMERA there had been some more PULLS BACK. Beside her of those calls from sits Gillis in the glen Paramount. So she put on plaid suit. Max is about half a pound of driving. makeup, fixed it up with a veil, and set forth to see deMille in person. Norma is examining her face in the mirror of her vanity. Max, while driving, sees her in the rear view mirror. MAX If you will pardon me, Madame. The shadow over the left eye is not quite balanced. NORMA Thank you, Max. With a handkerchief, she corrects it. D-9 MAIN GATE, EXT. PARAMOUNT STUDIO The car drives down Bronson and stops smack in front of the iron gate. A young policeman is talking to an extra; an old policeman sits reading a newspaper. Max sounds the horn impatiently. YOUNG POLICEMAN Hold that noise! MAX To see Mr. de Mille. Open the gate. YOUNG POLICEMAN Mr. deMille is shooting. You got an appointment? MAX No appointment is necessary. I am bringing Norma Desmond. YOUNG POLICEMAN Norma Who? Norma has rolled down the window on her side. She calls to the old policeman. NORMA Jonesy! Come here, Jonesy! OLD POLICEMAN Yeah? (He comes forward slowly) Why, if it isn't Miss Desmond! How have you been, Miss Desmond? NORMA Fine, Jonesy. Now open that gate. OLD POLICEMAN Sure, Miss Desmond. (To the young policeman} Come on, Mac. YOUNG POLICEMAN They can't drive on the lot without a pass. OLD POLICEMAN Miss Desmond can. Come on. They fling open the gate. OLD POLICEMAN (As the car drives through) Stage eighteen, Miss Desmond. NORMA Thank you, Jonesy. And teach your friend some manners. Tell him without me he wouldn't have any job, because without me there wouldn't be any Paramount Studio. (To Max) Go on. They drive through the gates. The old policeman goes to wall phone beside the gate, dials a number. OLD POLICEMAN (Into phone) Norma Desmond coming in to see Mr. deMille. D-10 STAGE 18 A scene from SAMPSON AND DELILAH is being rehearsed in the background. The usual turbulent activity surrounds it: extras. makeup men, grips, assistants, etc., etc. In the dim foreground a stage hand is answering a stand telephone. He puts down the phone and moves (CAMERA WITH HIM) to a second assistant. STAGE HAND Norma Desmond is coming to see Mr. deMille. The second assistant walks (CAMERA WITH HIM) to the first assistant. 2nd ASSISTANT Norma Desmond coming in to see Mr. deMille. The first assistant (CAMERA WITH HIM) hurries to the set. Sitting with his back toward us is C.B. himself. He is rehearsing a scene with Hedy Lamarr. 1ST ASSISTANT Norma Desmond is coming in to see you, Mr. deMille. C. B. turns his head. DEMILLE Norma Desmond? lst ASSISTANT She must be a million years old. DEMILLE I hate to think where that puts me. I could be her father. 1ST ASSISTANT I'm terribly sorry, Mr. de Mille. By this time de Mille is on his feet. DEMILLE It must be about that appalling script of hers. What can I say to her? What can I say? 1ST ASSISTANT I can tell her you're all tied up in the projection room. I can give her the brush ... DEMILLE Listen, thirty million fans have given her the brush. Isn't that enough? 1ST ASSISTANT I didn't mean to -- DEMILLE Of course you didn't. You didn't know Norma Desmond as a plucky little girl of seventeen, with more courage and wit and heart than ever came together in one youngster. 1ST ASSISTANT I hear she was a terror to work with. DEMILLE She got to be. A dozen press agents working overtime can do terrible things to the human spirit. (to the set) Hold everything. He leaves, accompanied by his entourage. D-11 EXT. STAGE 18 Norma's limousine drives up. Max dismounts and opens the door. NORMA (taking Gillis's hand) Don't you want to come along, darling? GILLIS I don't think so. It's your script. It's your show. Good luck. NORMA Thank you, darling. She presses his hand against her cheek, descends from the car and walks toward - D-12 THE DOOR OF STAGE 18 The first assistant is holding it open. In the door- way stands Mr. deMille. Seeing Norma, he stretches out his arms. DE MILLE Hello, young fellow. NORMA Hello, Mr. deMille. She has reached him. They embrace. NORMA Last time I saw you was someplace very gay. I remember waving to you. I was dancing on a table. DE MILLE Lots of people were. Lindbergh had just landed in Paris. Come on in. He leads her into D-13 STAGE 18 During the ensuing dialogue, Mr. deMille walks Norma towards the set. DE MILLE Norma, I want to apologize for not calling you. NORMA You'd better. I'm very angry. DE MILLE I'm pretty busy, as you can see... NORMA That's no excuse. You read the script, didn't you? DE MILLE Yes, I did. NORMA Then you could have picked up the phone yourself instead of leaving it to one of your assistants. DE MILLE What assistant? NORMA Don't play innocent. Somebody named Gordon Cole. DE MILLE Gordon Cole? NORMA And if you hadn't been pretty darned interested in that script, he wouldn't have tried to get me on the phone ten times. DE MILLE Gordon Cole... Look, Norma, I'm in the middle of a rehearsal. (Indicating his own chair) Make yourself comfortable. He walks onto the set, accompanied by his assistants. DE MILLE (Sotto voce, to his first assistant) Get me Gordon Cole on the phone. Meanwhile, Norma starts to sit, sees the name MISS LAMARR on the chair and with a look of distaste changes and sits on the one marked C.B. DE MILLE. From somewhere comes A VOICE Hey, Miss Desmond! Miss Desmond! She looks around her. VOICE Up here! Norma looks up at the scaffolding. On the scaffold stands one of the electricians, next to his light. ELECTRICIAN It's met It's Hog-eyel Norma waves at him. NORMA Hello. Hog-eye points his light at her. HOG-EYE Let's get a look at you. The beam of the lamp moves toward Norma. It hits her. She sits bathed in light. A couple of old costume extras recognize her. EXTRAS Say, it's Norma! Norma Desmond! They rush over and start wringing her hand. Into the shot comes a middle-aged hairdresser. HAIRDRESSER Hello, Miss Desmond. It's Bessie. Some elderly electricians and stagehands move in. D-14 ANOTHER PART OF THE STAGE The first assistant brings the portable phone to deMille. DeMille lifts the receiver. DE MILLE Hello. D-15 GORDON COLE'S OFFICE IN THE PROPERTY DEPARTMENT, GORDON COLE ON THE PHONE. COLE Prop Department. Gordon Cole speaking. D-16 DE MILLE ON THE PHONE DE MILLE Cole, this is C. B. deMille. Have you been calling Norma Desmond?... What's it about? D-17 GORDON COLE, ON THE PHONE COLE It's that car of hers -- an old Isotta-Fraschini. Her chauffeur drove it on the lot the other day. It looks just right for the Crosby picture. We want to rent it for a couple of weeks. D-18 DE MILLE ON THE PHONE DE MILLE (Troubled) Oh. Well, thank you. He hangs up, walks back towards Norma. (CAMERA WITH HIM). Norma stills sits in the shaft of light, surrounded by about a dozen people who have come up to pay court. DeMille gestures up to Hog-eye and the light shifts away. The people about Norma disperse slowly with various ad-libs. DE MILLE Well, Norma ... (He sits down next to her) I got hold of Gordon Cole. Norma hasn't heard a word. NORMA Did you see them? Did you see how they came? DE MILLE You know, crazy things happen in this business. I hope you haven't lost your sense of humor ... Suddenly he realizes that she is crying. She takes the handkerchief from his pocket and puts it over her eyes. DEMILLE What's the matter, Norma? NORMA Nothing. I just didn't realize what it would be like to come back to the old studio. I had no idea how I'd missed it. DEMILLE We've missed you too, dear. NORMA We'll be working again, won't we, Chief? We'll make our greatest picture. DEMILLE That's what I want to talk to you about. NORMA It's a good script, isn't it? DEMILLE It's got a lot of good things. Of course, it would be an expensive picture... NORMA I don't care about the money. I just want to work again. You don't know what it means to know that you want me. DEMILLE Nothing would thrill me more -- if it were possible. NORMA But remember, darling -- I don't work before ten in the morning, and never after 4:30 in the afternoon. The first assistant comes up. 1ST ASSISTANT We're ready with the shot, Mr. deMille. DEMILLE You'll pardon me, Norma? Why don't you just sit and watch? (He steps onto the set) O.K. Here we go. 1ST ASSISTANT Roll 'em. DEMILLE Action! The scene starts. D-19 THE ISOTTA, PARKED OUTSIDE STAGE 18 Max stands talking to Gillis, who is seated in the car. MAX (Pointing to the row of offices in the building opposite) You see those offices there, Mr. Gillis? They used to be her dressing room, The whole row. GILLIS That didn't leave much for Wallace Reid. MAX He had a great big bungalow on wheels. I had the upstairs. See where it says 'Readers' Department'? I remember my walls were covered with black patent leather... The words "Readers' Department" have registered on Gillis' mind. He gets out of the car. GILLIS I'll be with you in a minute. He crosses the street towards the green staircase leading to the second floor. Meanwhile, two prop men walking down the street come into the SHOT. 1ST PROP MAN Hey, that's the comic car Cole was talking about! (To Max) Do you mind if we look inside? MAX Go away. Go away. D-2O CUBICLE IN THE READERS' DEPARTMENT Behind the desk sits Betty, typing the synopsis of a novel, a half-eaten apple marking her place. The door behind her opens and Gillis enters. GILLIS Just so you don't think I'm a complete swine -- if there's anything in Dark Windows you can use, take it. It's all yours. BETTY Well, for heaven's sake! She moves the book and the apple aside and points at the free space on the desk. BETTY Have a chair. Gillis sits on the desk. GILLIS I mean it. It's no good to me anyway. Help yourself. BETTY Why should you do that? GILLIS If you get a hundred thousand for it, you buy me a box of chocolate creams. If you get an Oscar, I get the left foot. BETTY You know, I'd take you up on that in a minute. I'm just not good enough to do it all by myself. GILLIS What about all those ideas you had? BETTY See if they make sense. To begin with, I think you should throw out all that psychological stuff -- exploring a killer's sick mind. GILLIS Psychopaths sell like hotcakes. BETTY This story is about teachers -- their threadbare lives, their struggles. Here are people doing the most important job in the world, and they have to wprry about getting enough money to re-sole their shoes. To me it can be as exciting as any chase, any gunplay. GILLIS Check. BETTY Now I see her teaching day classes while he teaches night school. The first time they meet ... From below comes the SOUND of the Isotta's horn. GILLIS Look, if you don't mind, I haven't got time to listen to the whole plot ... BETTY I'll make it short. GILLIS Sorry. It's your baby now. BETTY I'm not good enough to write it alone. We'll have to do it together. GILLIS I'm all tied up. I can't. BETTY Couldn't we work in the evenings? Six o'clock in the morning? This next month I'm completely at your disposal. Artie is out of town. GILLIS What has Artie to do with it. BETTY We're engaged. GILLIS Good for you. You've got yourself the best guy in town. BETTY I think so. They're on location in Arizona, shooting a Western. I'm free every evening, every week- end. If you want, we could work at your place. GILLIS It's just impossible. BETTY Nobody can be that busy. There is another honk: from down below. GILLIS Look, Betty, It can't be done. It's out. BETTY You're tough, all right. GILLIS You're on your own. Stop being chicken-hearted and write that story. BETTY Honest to goodness, I hate you. GILLIS (Turning 1n the open door) And don't make it too dreary. How about this for a situation: she teaches daytimes. He teaches at night. Right? They don't even know each other, but they share the same room. It's cheaper that way. As a matter of fact, they sleep in the same bed -- in shifts, of oourse. BETTY Are you kidding? Because I think it's good. GILLIS So do I. BETTY Came on back. Let me show you where it fits in. She reaches in a drawer for her notes on Dark Windows. GILLIS (At the door) So long. Betty picks up the apple and is about to throw it after him. BETTY Oh, you -- GILLIS And here's a title: AN APPLE FOR THE TEACHER. He ducks out quiokly, slamming the door behind him. Betty looks after him, then angrlly hurls the apple into the wastebasket. D-21 STAIRCASE OUTSIDE READERS' DEPARTMENT Max is rush1ng up the stairs toward the descending Gillis. GILLIS What's the matter, Max? MAX I just found out why all those tele- phone calls. It is not Miss Desmond they want. It is the car they want to rent. GILLIS What? Max has seen something off. MAX Ssh... With his head he indicates D-22 ENTRANCE TO STAGE 18 The first assistant has opened the door. DeMille is showing Norma out. DE MILLE Goodbye, young fellow. We'll see what we can do. NORMA (embracing him) I'm not worried. Everything will be fine. The old team together. Nothing can stop us. She turns and walks out of the shot. De Mille stands for a second watching her, then turns to his assistant. DE MILLE Get Gordon Cole. Tell him to forget about her car. He can find another old car. I'll buy him five old cars, if necessary. 1ST ASSISTANT Yes, Mr. De Mille. They turn back into Stage 18. D-23 THE ISOTTA Gillis seated in the rear. Max is helping Norma in and putting the robe over her. GILLIS (Apprehensively) How did it go? NORMA It couldn't have gone better. It's practically set. Of course, he has to finish this picture first, but mine will be his next. There is an exchange of looks between Max and Gillis. GILLIS He must be quite a guy. NORMA He'a a shrewd old fox. He can smell box office. Only I'm going to outfox him a litt1e. This isn't going to be C. B. deMille's Salome. It's going to be Norma Desmond's Salome, a Norma Desmond Production, starring Norma Desmond...Home, Max. MAX Yes, Miss Desmond. As he says the words, he and Gillis exchange a glance in the rear view mirror. SLOW DISSOLVE: END OF SEQUENCE "D" SEQUENCE "E" DISSOLVE IN ON: E-1 CLOSEUP OF NORMA'S FACE GILLIS' VOICE Absolutely no makeup. A After that, an army of hand with a strong small beauty experts invaded flashlight comes into the her house on Sunset picture. The beam of the Boulevard. She went flashlight travels over the through a merciless face, exploring it merci- series of treatments, lessly. While the light is massages, sweat cabinets, still on it, two pairs of mud baths, ice compres- creamed hands come into the ses, electric devices. shot and start to massage it. She lived on vegetable juices and went to bed DISSOLVE TO: at nine. She was deter- mined to be ready -- ready for those cameras E-2 A SHORT MONTAGE of various that would never turn. beauty treatments applied to Norma. DISSOLVE TO: E-3 NORMA BEFORE THE MIRROR IN HER BEDROOM It is nine o'clock in the evening. She is in night gown and negligee and has put triangular patches on the saddle of her nose and at the outer corner of each eye. She is rubbing lotion on her hands. She gets up and crosses to the door of Gillis' room and opens it a crack. NORMA Joe darling, are you there? E-4 GILLIS' ROOM It is dark except for a lamp over the chaise longue. Gillis lies on it, fully clothed, reading a book. GILLIS Yes, Norma. Through the slit in the door there is a suggestion of Norma. NORMA Don't turn around. Keep your eyes on the book. GILLIS Yes, Norma. Norma pushes the door open and comes in. NORMA I just came to say good night. I don't want you to see me -- I'm not very attractive. GILLIS Good night. NORMA I've lost half a pound since Tuesday. GILLIS Good. NORMA I was a little worried about the line of my throat. This woman has done wonders with it. GILLIS Good. NORMA You'd better get to bed yourself. GILLIS I think I'll read a little. NORMA You went out last night, didn't you, Joe? GILLIS Why do you say that? NORMA I just happen to know it. I had a nightmare and I screamed for you. You weren't here. Where were you? GILLIS I went for a walk. NORMA No you didn't. You took the car. GILLIS All right, I drove to the beach. Norma, you don't want me to feel I'm locked up in this house? NORMA Of course not, Joe. It's just that I don't want to be left alone. Not now, while I'm under this terrible strain. My nerves are being torn apart. All I ask is for you to be a little patient and a little kind. GILLIS I haven't done anything, Norma. NORMA Of course you haven't. I wouldn't let you. She bends and kisses the top of his head. NORMA Good night, my darling. She goes into her room, shutting the door behind her. Gillis puts his book down and looks at her door. E-5 THE DOOR TO NORMA'S ROOM The light can be seen through the gouged-out keyhole. It goes out. DISSOLVE TO: E-6 UPPER LANDING STAIRWAY AND HALL BELOW (NIGHT) GILLIS' VOICE Gillis, with his coat on by Yes, I was playing hooky now, comes cautiously to the upper railing and looks every evening along in down into the lighted hall below. there. It made me think I Max is just extinguishing of when I was twelve and the lights. Max exits in, the direction of the liv- used to sneak out on the ing room. folks to see a gangster After a moment Gillis starts silently down the stairs. picture. This time it wasn't to see a picture, E-7 LIVING ROOM it was to try and write (Lighted only by the last flicker of a fire on the one. That story of mine hearth). Max is putting a fire screen in front of Betty Schaerer had dug the fire. He hears some steps and the creak or the up kept going through main door being opened. He looks out and sees my head like a dozen locomotives... E-7a THE MAIN DOOR Gillis, in the moonlit porch, is closing the main door behind him. E-8 LIVING ROOM Max looks after Gillis, his face enigmatic as ever. DISSOLVE TO: E-9 GARAGE AND DRIVEWAY (MOONLIGHT) Gillis comes into the shot, gets into the Isotta, drives it out or the garage and down the driveway to Sunset, as quietly as possible. DISSOLVE TO: E-10 READERS' OFFICE BUILDING PARAMOUNT (NIGHT) Start on a LONG SHOT. THE GILLIS' VOICE BOOM MOVES FORWARD to the only So we'd started two lights. They are the door working on it, the and window of Betty Schaefer's two of us. Nights, cubicle. Betty sits at the when the studio was desk, typing. Gillis, his deserted, up in her coat off, his shirt-sleeves little cubby-hole rolled up, j.s pacing the floor, of an office. discussing the construction of a sentence. The discussion at a stalemate, Betty suggests some coffee. Gillis agrees. From the electric plate on the shelf beside her, Betty takes a glass coffee machine. Gillis seats himself in her chair and starts typing. Betty opens the door and comes out on the balcony to fill the coffee machine from the water cooler stand- ing beside the door. BETTY I got the funniest letter from Artie. It's rained every day since they got to Arizona. They re-wrote the whole picture for rain and shot half of it. Now the sun is out. Nobody knows when they'll get back. She moves back into the room. GILLIS Good. BETTY What's good about it? I miss him something fierce. GILLIS I mean this is good dialogue along in here. It'll play. BETTY It will? GILLIS Sure. Especially with lots of music underneath, drowning it out. BETTY Don't you sometimes hate yourself? GILLIS Constantly. No, in all serious- ness, it's really good. It's fun writing again. I'm happy here, honest I am. He resumes typing. Betty puts the water on. She picks up a pack of cigarettes on the desk, finds it's empty and throws it away, sees Gillis' open gold cigarette case and lighter on the table by the couch. Betty reaches for a cigarette. The inscription en- graved inside the case catches her eye. It reads: MAD ABOUT THE BOY -- Norma BETTY Who's Norma? GILLIS Who's who? BETTY I'm sorry. I don't usually read private cigarette cases. GILLIS Oh, that. It's from a friend of mine. A middle-aged lady, very foolish and very generous. BETTY I'll say. This is solid gold. GILLIS I gave her some advice on an idiotic script. BETTY It's that old familiar story, you help a timid little soul across a crowded street. She turns out to be a multimillionaire and leaves you all her money. GILLIS That's the trouble with you readers. You know all the plots. Now suppose you proof-read page ten while the water boils. DISSILVE TO: E-11 AN EMPTY STREET AT THE GILLIS' VOICE PARAMOUNT STUDIO (NIGHT) Sometimes when we got stuck we'd make a Gillis and Betty are walking litte tour of the down it. From a stage where drowsing lot, not talk- they are erecting a new set ing much, just wandering comes a great shaft of light. down alleys between the They stop at an apple-vending sound stages, or through machine in the foreground,buy the sets they were get- themselves a couple of apples ting ready for the next and walk on. day's shooting. As a matter of fact, it was DISSOLVE TO: on one of those walks when she first told me about her nose ... E-12 PARAMOUNT'S NEW YORK STREET (NIGHT) Betty and Gillis are walking down it, THE CAMERA AHEAD OF THEM. BETTY Look at this street. All card- board, all hollow, all phoney. All done with mirrors. I like it better than any street in the world. Maybe because I used to play here when I was a kid. GILLIS What were you -- a child actress? BETTY I was born just two blocks from this studio. Right on Lemon Grove Avenue. Father was head elec- trician here till he died. Mother still works in Wardrobe. GILLIS Second generation, huh? BETTY Third. Grandma did stunt work for Pearl White. I come from a picture family. Naturally they took it for granted I was to become a great star. So I had ten years of dramatic lessons, diction, dancing. Then the studio made a test. Well, they didn't like my nose -- it slanted this way a little. I went to a doctor and had it fixed. They made more tests, and they were crazy about my nose -- only they didn't like my acting. GILLIS (Examining her nose by the flame of his lighter) Nice job. BETTY Should be. It cost three hundred dollars. GILLIS Saddest thing I ever heard. BETTY Not at all. It taught me a little sense. I got me a job in the mail room, worked up to the Stenographic. Now I'm a reader... GILLIS Come clean, Betty. At night you weep for those lost closeups, those gala openings... BETTY Not once. What's wrong with being on the other side of the cameras? It's really more fun. GILLIS Three cheers for Betty Schaefer! I will now kiss that nose of yours. BETTY If you please. Gillis kisses her nose. As he stands there, his face close to hers - GILLIS May I say you smell real special. BETTY It must be my new shampoo. GILLIS That's no shampoo. It'smore like a pile of freehly laundred hand- kerchiefs, like a brand new auto- mobile. How old are you anyway? BETTY Twenty-two. GILLIS That's it -- there's nothing like being twenty-two. Now may I suggest that if we're ever to finish this story you keep at least two feet away from me ... Now back to the typewriter. They start walking in the direction of the office. DISSOLVE TO: E-13 THE GARAGE Gillis gets out. From the seat next him he takes a batch of script, folds it and puts it in his pocket. He suddenly becomes aware that he is watched, turns. Max stands in the moonlight, evidently waiting for him. GILLIS What is it, Max? Want to wash the car, or are you doing a little spying in your off hours? MAX You must be very careful as you cross the patio. Madame may be watching. GILLIS How about my going up the kitchen stairs and undressing in the dark. Will that do it? MAX I'm not inquiring where Mr. Gillis goes every night... GILLIS Why don't you? I'm writing a script and I'm dying to finish it, no matter what. MAX It's just that I'm very worried about Madame. GILLIS Sure you are. And we're not help- ing her any, feeding her lies and more lies. Getting herself ready for a pioture ... What happens when she finds out? MAX She never will. That is my job. It has been for a long time. You must understand I discovered her when she was eighteen. I made her a star. I cannot let her be destroyed. GILLIS You made her a star? MAX I directed all her early pictures. There were three young directors who showed promise in those days: D.W. Grirrith, C.B. deMille, and Max von Mayerling. GILLIS And she's turned you into a servant. MAX It was I who asked to come back, humiliating as it may seem. I could have gone on witn my career, only I found everything unendur- able arter she divorced me. You see, I was her rirst husband. DISSOLVE TO: E-14 NORMA DESMOND'S BEDROOM One lamp lit. Norma, in a white negligee, with the patches on her face, is pacing up and down -- a small, tormented, pitiable woman. Finally she opens the door to: E-15 GILLIS' ROOM (MOONLIGHT) Gillis lies in bed asleep, Norma in the doorway. NORMA You're here, Joe ... When did you come home? Where were you? Is it a woman? I know it's a woman ... Who is she? Oh Joe, why can't I ask you? I must know, I must! Her eyes fall on Gillis' coat, which hangs over a chair. In a pocket is part of the script. Norma takes it out, looks at it. She can't see it in the moonlight. She hurries with it into: E-16 NORMA'S BEDROOM Carrying the script Norma goes to the lamp and looks at it. On the first page she sees something which confirms all her suspicionso It reads: UNTITLED LOVE STORY by Joseph C. Gilliss and Betty Schaefer DISSOLVE: E-17 BETTY'S CUBICLE (NIGHT) Betty is typing. Gillis sits on the couch, proof- reading a scene. Betty stops typing and Gillis becomes aware of her eyes fixed on him. GILLIS Hey, what's the matter... Betty, wake up! (He whistles and catches her attention) Why are you staring at me like that? BETTY Was I? I'm sorry. GILLIS What's wrong with you tonight? What is it, Betty? BETTY Something came up. I don't want to talk about it. GILLIS Why not? BETTY I just don't. GILLIS What is it you've heard. Come on, let's have it. Betty gets up. GILLIS Is it about me? Betty doesn't answer, walks out on E-18 THE BALCONY She leans against a post, crying. Gillis comes out after her. GILLIS Betty, there's no use running out on it. Let's face it, what- ever it is. BETTY It's nothing. I got a telegram from Artie. GILLIS From Artie. What's wrong? BETTY He wants me to come on to Arizona. He says it only oosts two dollars to get married there. It would kind of save us a honeymoon. GILLIS Why don't you? We can finish the script by Thursday. Betty stands crying silently. GILLIS Stop crying. You're getting married. That's what you've always wanted. BETTY I don't want it now. GILLIS Why not? Don't you love Artie? BETTY Of course I love him. I always will. I'm just not in love with him any more. GILLIS What happened? BETTY You did. There is a moment's pause before he takes her in his arms. THE CAMERA MOVES AWAY. DISSOLVE TO: E-19 HALL AND STAIRCASE GILLIS' VOICE DESMOND HOME- (NIGHT) It wasn' t until I got back to that peculiar Gillis enters, closes prison of mine that I the door as quietly as started facing the facts. he can, and goes up There it was -- Betty the stairs. Schaefer's future right in the palm of my hand. E-20 GILLIS' ROOM Betty Schaefer engaged to Artie Green, as nice He enters and turns on the a guy as ever lived. light. He sinks down on And she was in love with the chaise longue,thinking. me. Me ! She was a fool His eyes wander to the not to sense that there door of Norma's room. was something phony in Through the gouged-out key- my set-up. And I was a hole he sees the light. heel not to have told her. But you just can't say those things to somebody you're crazy about. Maybe I'd never have to. Maybe I could get away with it, get away from Norma. Maybe I could wipe the whole nasty mess right out of my life... From Norma's room comes the sound of a telephone being dialled. Gillis enters the shot and stands listening. NORMA'S VOICE Is this Gladstone 0858? E-21 NORMA'S BEDROOM Norma lies in bed, dialing a number. She has the beauty patches at the corners of her eyes and over her nose. NORMA Can I speak to Miss Betty Schaefer? She must be home by now. E-22 A BEDROOM IN BETTY'S FLAT Connie, a girl of Betty's age with whom she shares the flat, is on the phone. Betty, in a dressing- gown, comes from the bathroom, toothbrush in hand. CONNIE (Hand over mouthpiece) Betty, here's that weird-sounding woman again. BETTY What is this anyway? (Taking the phone) This is Betty Schaefer. E-23 NORMA AT IHE PHONE NORMA Miss Schaefer, you must forgive me for calling you so late, but I really feel it's my duty. It's about Mr. Gillis. You do know Mr. Gillis? ...Exactly how much do you know about him? Do you know where he lives? Do you know how he lives? Do you know what he lives on? E-24 BETTY AT THE PHONE BETTY Who are you? What do you want? What business is it of yours anyway? E-25 NORMA ON THE PHONE NORMA Miss Schaefer, I'm trying to do you a favor. I'm trying to spare you a great deal of misery. Of course you may be too young to even suspect there are men of his sort... NORMA (Cont'd) I don't know what he's told you, but he does not live with relatives, nor with friends, in the usual sense of the word. Ask him ... Ask him again. During the latter part of her call, the doors from Gillis' room have been pushed open and Gillis has walked towards her. Suddenly Norma senses his pre- sence and turns around. The telephone freezes in her hand. She tries to hang it up. Very calmly Gillis takes the receiver from her hand. GILLIS (Into phone) That's right, Betty, ask me again. This is Joe. E-26 BETTY ON THE PHONE BETTY Joe, where are you? What's this all about? E-27 GILLIS ON THE PHONE Norma beside him. GILLIS Or maybe it would be a better idea if you came over and saw it for yourself. The address is 10086 . He hangs up. Norma looks up at him as he crosses to the other end of the room and stands staring at her. The silence becomes unbearable. NORMA Don't hate me, Joe. I did it because I need you. I need you as I never needed you. Look at me. Look at my hands, look at my face, look under my eyes. How can I go back to work if I'm wasting away under this torment? You don't know what I've been through these last weeks. I got myself a revolver. You don't believe me, but I did, I did! I stood in front of that mirror, only I couldn't make myself. It wouldn't be NORMA (Cont'd) fair to all those people who are waiting to see me back on the screen. I can't disappoint them. Only, if I'm to work, I need sleep, I need quiet, I need you! Don't just stand there hating me! Shout at me, strike me! But don't hate me, Joe. Don't you hear me, Joe? GILLIS Yes, I hear you. And I wish you'd keep still so I can hear the doorbell when she rings it. E-28 BETTY AND CONNIE, DRIVING IN A SMALL COUPE DOWN (NIGHT) E-29 INT. COUPE Connie is looking at the house numbers. CONNIE Here's ten thousand seventy-nine, Betty. It must be over there. Betty turns the car into the driveway of Norma's place, stops at the entrance steps. Betty gets out. CONNIE Betty, let me come along with you. Please. BETTY No, I'll be all right. She shuts the door of the car and goes up the steps. E-30 NORMA'S BEDROOM Norma lies on the bed. Gillis sits in a far corner of the room, motionless. NORMA (In a whimpering monotone) I love you, Joe. I love you, Joe. I love you, Joe. I love you, Joe. There is the sound of footsteps below and the ringing of a doorbell. Gillis rises. NORMA What are you going to do, Joe? Without a word, he leaves the room. Norma raises herself on the bed, reaching for a black negligee lying at the foot of it. As she does so, she dis- lodges her pillow a little, revealing a revolver hidden beneath it. E-31 DOWNSTAIRS HALL, THE DESMOND HOUSE (DARK) Max crosses the hall, putting on his alpaca jacket. He turns on the lights. Outside stands Betty. From the staircase comes - GILLIS' VOICE It's all right, Max. I'll take it. MAX Yes, sir. He stands back as Gillis opens the door. GILLIS Hello, Betty. BETTY (On the threshold) I don't know why I'm so scared, Joe. Is it something awful? GILLIS Come on in, Betty, Betty enters. As he leads her into the living room, Gillis puts his arm around her shoulders. GILLIS Ever been in one of these old Hollywood palazzos? That's from when they were making eighteen thou- sand a week, and no taxes. Careful of these tiles, they're slippery. Valentino used to dance here. BETTY This is where you live? GILLIS You bet. BETTY Whose house is it? They have reached E-32 THE LIVING ROOM Gillis leads Betty in. GILLIS Hers. BETTY Whose? GILLIS Just look around. There's a lot of her spread about. If you don't remember the face, you must have heard the name of Norma Desmond. BETTY That was Norma Desmond on the phone? GILLIS Want something to drink? There's always champagne on ice, and plenty of caviar. BETTY Why did she call me? GILLIS Jealous. Ever see so much junk? She had the ceiling brought from Portugal. Look at this. He pulls the rope, showing the projection screen under the picture. GILLIS Her own movie theatre. BETTY I didn't come here to see a house. What about Norma Desmond? GILLIS I'm trying to tell you. This is an enormous place. Eight master bedrooms. A sunken tub in every bathroom. There's a bowling alley in the cellar. It's lonely here, so she got herself a companion. A very simple set-up: An older woman who is well-to-do. A younger man who is not doing too well ... Can you figure it out yourself? BETTY No. GILLIS All right. I'll give you a few more clues. BETTY No, no! I haven't heard any of this. I never got those telephone calls. I've never been in this house ... Get your things together. Let's get out of here. GILLIS All my things? All the eighteen suits, all the custom-made shoes and the eighteen dozen shirts, and the cuff-links and the platinum key- chains, and the cigarette cases? BETTY Come on, Joe. GILLIS Come on where? Back to a one-room apartment that I can't pay for? Back to a story that may sell and very possibly will not? BETTY If you love me, Joe. GILLIS Look, sweetie -- be practical. l've got a good thing here. A long-term contract with no options. I like it that way. Maybe it's not very admirable. Well, you and Artie can be admirable. BETTY Joe, I can't look at you any more. GILLIS Nobody asked you to. Betty turns from him, to hide the fact that she is crying. GILLIS All right, baby. This way out. He leads her in the direction of the door. E-33 UPPER LANDING, DESMOND HOUSE Sitting crouched behind the balustrade is Norma, peering down into E-34 THE LOWER HALL Betty and Gillis have reached the entrance door. Gillis opens it. GILLIS Good luck to you, Betty. You can finish that story on the way to Arizona. When you and Artie get back, if the two of you ever feel like a swim, here's the pool ... He switches on the light. E-35 THE PATIO The lights go on in the pool, which shines brilliant- ly in the dark garden. E-36 BETTY She doesn't even look. Her eyes filled with tears, she runs down the entrance porch toward her car. E-37 THE ENTRANCE HALL Gillis looks after her, closes the door. From the upper landing comes the sound of soft sobbing. He looks up. E-38 NORMA, ON THE UPPER LANDING Gillis ascends the stairs. NORMA Thank you, Joe -- thank you, Joe. She tries to take his hand to kiss it as he passes. He doesn't stop. Norma catches his coat. Gillis moves right on into his room. Norma lies on the floor looking after him. She crawls toward a con- sole, pulls herself up by it, starts towards Gillis' door, passes a mirror, realizes how she looks, moves back to the mirror and takes the patches off her face and does a hasty job of removing the cream with her handkerchief, readjusts her expression to a poor travesty of a smile and goes to the door of Gillis' room. NORMA May I come in? I've stopped cry- ing. I'm all right again. Joe, tell me you're not cross -- tell me everything is just as it was, Joe. She opens the door. E-39 GILLIS' ROOM In the foreground, open on the bed, is a half-packed suitcase, Gillis just putting some of his old shirts in. Norma stands staring, speechless, for a second. Gillis moves out of the shot towards the closets. NORMA What are you doing, Joe? What are you doing? You're not leaving me? GILLIS Yes, I am, Norma. NORMA No, you're not. (Calling) Max! Max! GILLIS Max is a good idea. He can help with my luggage. (He gestures in the direction of the closet) Thanks for letting me wear the handsome wardrobe. And thanks for the use of all the trinkets. He takes the cigarette case and throws it on the chaise longue. Then he throws the lighter, the wrist watch, the platinum key-chain and the tie clip. GILLIS (Indicating the bureau) The rest of the jewelry is in the top drawer. NORMA It's yours, Joe. I gave it to you. GILLIS And I'd take it in a second, Norma -- only it's a little too dressy for sitting behind the copy desk in Dayton, Ohio. NORMA These are nothing. You can have anything you want if you'll only stay. What is it you want -- money? GILLIS Norma, you'd be throwing it away. I don't qualify for the job, not any more. NORMA You can't do this! Max! Max! ... I can't face life without you, and I'm not afraid to die, you know. GILLIS That's between you and yourself, Norma. NORMA You think I made that up about the gun... She rushes into her room. Gillis closes the suitcase calmly, notices that he is still wearing some cuff- links Norma gave him, takes them off. Norma reappears in the door, carrying the revolver. NORMA See, you didn't believe me!.. Now I suppose you don't think I have the courage! GILLIS Oh. sure -- if it would make a good scene. NORMA You don't care. do you? But hundreds of thousands of people will carel GILLIS Wake up, Norma. You'd be killing yourself to an empty house. The audience left twenty years ago. Now face it. During the preceding. Max has entered. He stands listening, paralyzed. NORMA That's a lie! They still want me! GILLIS No, they don't. NORMA What about the studio? What about De Mille? GILLIS He was trying to spare your feelings. The studio wanted to rent your car. NORMA Wanted what? GILLIS De Mille didn't have the heart to tell you. None of us has had the heart. NORMA That's a lie! They want me, they want me! I get letters every day! GILLIS You tell her, Max. Come on, do her that favor. Tell her there isn't going to be any picture -- there aren't any fan letters, except the ones you write yourself. NORMA That isn't true! Max? MAX Madame is the greatest star of them all... I will take Mr. Gillis' bags. He leaves. NORMA You heard him. I'm a star! GILLIS Norma, grow up. You're a woman of fifty. There's nothing tragic about being fifty - not unless you try to be twenty-five. NORMA I'm the greatest star of them all. GILLIS Goodbye. Norma. NORMA No one leaves a star. That makes one a star. Gillis picks up the typewriter and leaves. NORMA You're not leaving me! E-40 STAIRCASE Gillis descending with the typewriter. NORMA'S VOICE Joe! ...Joe! There is the SOUND OF A SHOT. The glass of the front door is shattered. Gillis at the door opens it and walks out, without looking back. Down the staircase rushes Norma. a disordered wild- ness in the way she moves. NORMA You're not leaving me! She hurries after Gillis. E-41 PATIO (NIGHT) Dark except for lights from the house and the luminousness of the lit pool. Gillis is crossing the patio towards the garage. He is carrying the typewriter. He doesn't accelerate his step, although he has heard the shot. Behind him Norma comes from the lighted house. NORMA You're not leaving me! She shoots twice in rapid succession. Gillis drops the typewriter. The shots have swung him around. He is now facing Norma. She shoots him. This shot hits him in the belly. He doubles up, instinctively backs away from her, plummets into the lit pool. Up the stone steps from the garage rushes Max. He sees the situation, hurries towards Norma, who stands exultant in the strange light from the pool. NORMA Stars are ageless, aren't they? DISSOLVE TO: E-42 THE PATIO Dawn is breaking. At the edge of the pool stand policemen, detectives and police photographers. Motorcycle policemen are holding off the mob which is trying to storm the house. A lietuenant from the Homicide Bureau leaves the crowd around the pool and goes into E-43 THE LOWER HALL, DESMOND HOUSE It is filled with a pandemonium of police officers, newspaper people, etc. who are kept from the upper floor by two policemen at the head of the stairs. The lieutenant from the Homicide Bureau goes through the crowd to the telephone at the foot of the stairs, picks up the phone and dials. LIEUTENANT Coroner's office? ... I want to speak to the Coroner ... Who's on this phone? E-44 THE WHITE TELEPHONE IN NORMA'S BEDROOM Standing talking into it is Hedda Hopper. MISS HOPPER I am! Now get off, this is more important ... Times City Desk? Hedda Hopper speaking. I'm talking from the bedroom of Norma Desmond. Don't bother with a rewrite man, take this direct. Ready? -- As day breaks over the murder house, Norma Desmond, famed star of yesteryear, is in a state of complete mental shock ... THE CAMERA PANS TO ANOTHER PART OF THE BEDROOM, where Norma sits at a mirror, staring at herself blankly. Firing questions at her are the Captain of the Holmby Hills Division and the L.A. Homicide Squad. Max stands by faithfully. HOLMBY HILLS CAPTAIN You do not deny having killed this man, Miss Desmond? HEAD OF HOMICIDE Did you intend to kill him? Just answer me that. HOLMBY HILLS CAPTAIN Was it a sudden quarrel? Had there been any trouble between you before? HEAD OF HOMICIDE If it was a quarrel, how come you had the gun right there? HOLMBY HILLS CAPTAIN This guy -- where did you meet him for the first time? Where did he come from? Who is he? HEAD OF HOMICIDE Did he have a wife? Did he had a girl friend? Did you know them? HOLMBY HILLS CAPTAIN Had he been trying to blackmail you? E-45 PATIO - (DAWN) GILLIS' VOICE The body of Gillis Well, this is where you came. being fished from Here's that pool again,the one the pool, put on a I always wanted. They must have stretcher, covered photographed me a hundred times. with an army blanket.Then they got a couple of prun- Two men from the ing hooks from the garden and Coroner's office fished me out ever so gently. carry it towards Funny how gentle people get with the Coroner's you once you're dead. They hearse, CAMERA beached me, like a harpooned PANNING with them. baby whale, and started to check the damage, just for the record ... By this time the whole joint was jumping -- cops,reporters, neighbors, passersby -- as much hoopdedoo as we get in Los Angeles when they open a Super Market. Even the newsreel guys came roaring in. Here was an item everybody could have some fun with, the heartless so-and- so's. What would they do to her? Even if she got away with it in court- crime of passion - tempo- rary insanity - those headlines would kill her: Forgotten Star a Slayer--Aging Actress-- Yesterday's Glamour Queen... E-46 NORMA'S BEDROOM The interrogators are still firing questions at Norma who sits lifeless, staring at herself. Max watches. HEAD OF HOMICIDE Did the deceased ever threaten you? Were you in fear of bodily injury? HOLMBY HILLS CAPTAIN Did you hate him? Had you ever thought of doing something like this before? HEAD OF HOMICIDE Was theft involved? Did you catch him trying to steal something, or find he had stolen something? A police lieutenant has entered, goes to the Head of Homicide. LIEUTENANT The newsreel guys have arrived with the cameras. HEAD OF HOMICIDE Tell them to go fly a kite. This is no time for cameras. A word has pierced the mists that surround Norma. NORMA Cameras? ...What is it, Max? MAX The cameras have arrived, Madame. NORMA They have? Thank you, Max. Tell Mr. DeMille I will be on the set at once. Max flashes a look at the Head of Homicide. HEAD OF HOMICIDE What is this? MAX Please ... HOLMBY HILLS CAPTAIN (sotto voce, to Head of Homicide) Well, it's one way to get her down stairs. HEAD OF HOMICIDE Okay. And let's have the car right outside. 7-1 NORMA You will pardon me, gentlemen. I have to get ready for my scene. She takes a comb and runs it through her hair, then starts applying some wild makeup. E-47 STAIRCASE AND LOWER HALL Max makes his way down the stairs through the crowd of newsmen to the newsreel cameras, which are being set up in the hall below. MAX Is everything set up, gentlemen? Are the lights ready? From the stairway comes a murnur. They look up. Norma has emerged from the bedroom and comes to the head of the stairs. There are golden spangles in her hair and in her hand she carries a golden scarf. The police clear a path for her to descend. Press cameras flash at her every step. Max stands at the cameras. MAX Is everything set up, gentlemen? CAMERAMAN Just about. The portable lights flare up and illuminate the staircase. MAX Are the lights ready? 2ND CAMERA MAN All set. MAX Quiet, everybody! Lights! Are you ready, Norma? NORMA (From the top of the stairs) What is the scene? Where am I? MAX This is the staircase of the palace. NORMA Oh, yes, yes. They're below, waiting for the Princess ... I'm ready. MAX All right. (To cameramen) Camera! (To Norma) Action! Norma arranges the golden GILLIS' VOICE scarf ebout her and proudy So they were grinding starts to descend the stair- after all, those cam- case. The cameras grind. eras. Life, which can Everyone watches in awe. be strangely merciful, had taken pity on Norma Desmond. The dream she had clung to so des- perately had enfolded her... At the foot of the stairs Norma stops, moved. NORMA I can't go on with the scene. I'm too happy. Do you mind, Mr. DeMille, if I say a few words? Thank you. I just want to tell you how happy I am to be back in the studio making a picture again. You don't know how much I've missed all of you. And I promise you I'll never desert you again, because after "Salome" we'll make another picture, and another and another. You see, this is my life. It always will be. There's nothing else - just us and the cameras and those wonderful people out there in the dark... All right, Mr. DeMille, I'm ready for my closeup. FADE OUT. THE END
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+                             SUNSHINE CLEANING                                Written by                               Megan Holley                                                                 3/5/07                                                        FADE IN:1   EXT. ALBUQUERQUE - DAY                                            1    ROSE LORKOWSKI, 30, drives through Albuquerque. She passes    small adobe houses, the Air force base, parched earth    playgrounds, University cafes and other distinctive sights.    On the   highway she passes under the freeway interchange, a    tangle   of rust and turquoise ramps. The Sandia mountains rise    in the   distance as Rose heads up to the nicer neighborhoods    of the   foothills.2   EXT. SEVEN FIGURE HOUSE - DAY                                     2    Rose pulls up to an expensive looking Spanish style house and    parks. She gets out of the car, pops the hatch and pulls out    a vacuum cleaner and assorted cleaning supplies.3   INT. SEVEN FIGURE HOUSE - LIVING ROOM - DAY                       3    Rose drags a vacuum cleaner into a room where expensive decor    collides with the debris of a recent party.    She collects beer bottles from end tables, book shelves and    house plants. Cigarette butts float in cocktail glasses.    Rose plugs in the vacuum cord and glances out the sliding    glass doors. A group of twenty somethings frolic in the pool.    A lanky trust funder slides open the door and drips water    onto the carpet as he makes his way to retrieve a cold beer.    He brushes past Rose on his way back out. Rose turns on the    vacuum and wonders if he even saw her.4   INT. FAIR N SQUARE MARKET - DAY                                   4    The space is packed with every kind of snack imaginable. JOE    LORKOWSKI, 53, talks as the OWNER stocks shelves.                          OWNER                I've got the five stores here and                then two in Rio Rancho.                                                        (CONTINUED)                                    GREEN REVISION 3/5/07       2.4   CONTINUED:                                                        4                           JOE                 That's fantastic. See, if we're                 talking that kind of volume I can                 absolutely massage the numbers a                 little. Seriously, you're not gonna                 be able to keep it on the shelf.    Joe pulls out some order forms.                           OWNER                 Yeah, I'd need to look at some                 things before I can place an order.    The owner looks at Joe's business card.                           OWNER                 How about I give you a call if I                 decide to--                           JOE                 I'll call you. Not a problem. No                 problem at all. Even better, I'll                 swing by. You're on my route. How                 `bout that? I'll swing by tomorrow.                           OWNER                 Yeah, tomorrow's not good.                           JOE                 Thursday then. That's better                 anyway. That'll give you a chance                 to take a look see on those other                 stores. We'll put everything on one                 order and get you a good price                 break.    The owner seems to consider the offer. Joe scans the shelves.                           JOE                 My advice to you - weed out some of                 this weaker product to make more                 space for the corn. Like this...    Joe reaches over and grabs a packet of organic fruit bar.                           JOE                 Apricot Fruit Leather. Whose bright                 idea was it to stock that? I mean                 come on, what self respecting kid                 asks his mom for apricot fruit                 leather?                                                        (CONTINUED)                                  GREEN REVISION 3/5/07     2A.4   CONTINUED: (2)                                                  4    The owner is not amused.5   EXT. FAIR N SQUARE MARKET - DAY                                 5    Joe pulls a hand cart stacked high with Fancy Corn canisters    to his rusted Monte Carlo.6   EXT. LUCKY BOY RESTAURANT - DAY                                 6    Through the glass pane we see disgruntled waitress, NORAH    LORKOWSKI (25). She appears to be in a heated argument with    MR. KIM, the restaurant owner. A customer watches the    exchange with amusement.    Norah takes off her apron, throws it at Mr. Kim. Norah exits    the restaurant. Mr. Kim trails her. Then MRS. KIM notices and    joins the fray.                        MR. KIM              You are fired.                        NORAH              I so don't care.    Norah flips him off and walk down the street. As she    continues to walk she realizes that quitting her job might    not have been the best decision ever.                        NORAH              Fuck.                                    GREEN REVISION 3/5/07        3.7    INT. ELEMENTARY SCHOOL - BATHROOM - DAY                          7     A banana floats in the toilet. OSCAR LORKOWSKI, 7, smiles and     kicks the flush lever. Whoosh... the banana is sucked down     the drain. Gone.     Well, not quite. Oscar watches water fill the basin and spill     onto the floor. Oscar turns and walks out.8    INT. ELEMENTARY SCHOOL - HALLWAY - DAY                           8     Oscar steps from the bathroom and walks quickly down the     empty hall.9    INT. BUSINESSMAN'S CAR -   SPORTING GOODS STORE LOT - DAY        9     A BUSINESSMAN removes a single shotgun shell from the glove     compartment. He drops it in his shirt pocket, sprays breath     freshener in his mouth and gets out of his car.10   INT. SPORTING GOODS STORE - DAY                                  10     The businessman approaches the gun display and points to a     shotgun. An employee hands him the gun and turns his     attention to another customer.     The businessman reaches into his pocket and pulls out the     shotgun shell. Loads it. Draws the barrel up under his chin.     A Bubba pricing camouflaged vests nearby notices the     businessman. His expression shifts from concern to alarm to     horrible anticipation. He braces for the...                                                        CUT TO:11   INT. SPORTING GOODS STORE - LATER                                11     Police mill about and question people. CARL SWANSON, a 40ish     man sporting a crew cut and a `Above and Beyond' polo shirt,     talks to the STORE OWNER.                         CARL               Yep, these shotgun cases are a real               pain in the ass. What we call a               wide field of contamination.                         (MORE)                                                        (CONTINUED)                                     GREEN REVISION 3/5/07     4.11   CONTINUED:                                                      11                            CARL (cont'd)                  Guy's all over the place and every                  little glob of him's a biohazard.     The owner rubs his temples.                            CARL                  Gonna lose some inventory.                            OWNER                  Selfish bastard.                            CARL                  Trust me, you do not want some lady                  suing you cuz she found this guy's                  tooth in her brand new fanny pack.     A ABOVE AND BEYOND WORKER in a polo shirt waves his arm to     get Carl's attention.                            CLEAN SWEEP WORKER                  He's over here in fishing too.                            CARL                  Yep, a real pain in the ass.     Carl walks over to his assistant. Detective, `MAC' MACDOWELL,     approaches the owner.                            MAC                  We're wrapping it up.                            OWNER                  Three grand just to have the                  asshole wiped up off the floor. Can                  you believe that?     Mac and another DETECTIVE walk toward the entrance.                            MAC                  Hey, can you handle the report                  tonight? I gotta thing I gotta do.                            DETECTIVE                  A blonde thing or a brunette thing?12   INT. ROSE'S HOUSE - BATHROOM - NIGHT                              12     Rose steps from the shower. She is attractive with sharp     features and eyes that hint at future crow's feet. Her     confidence has grown brittle by the gnawing fear that life     peaked as the captain of the high school cheerleading squad.                                                         (CONTINUED)                                        GREEN REVISION 3/5/07     5.12   CONTINUED:                                                        12     A note taped to the bathroom mirror reads: `You are strong.     You are powerful. You can do anything. You are a winner.'     Rose wipes condensation from the mirror to reveal her face.                            ROSE                  I am strong. I am powerful. I can                  do anything. I am a winner.     She doesn't look like she believes it.13   INT. LORKOWSKI HOUSE - NORAH'S BEDROOM - NIGHT                       13     Norah lounges on her bed and loads weed onto a jerry-rigged     pop-can-pipe.                            NORAH                  The fact that we have sex, real                  coitus sex, means I'm under no                  obligation to blow you.     Norah fires up the bud, inhales deeply and passes the can to     RANDY, a good-looking redneck in his early 20's.                            RANDY                  I think you're scared of it.     The phone RINGS.     Norah opens a book about sign language and starts practicing     the sign alphabet. A-B-C-D-E-F. F is a hard one.                            NORAH                      (Holding in the smoke)                  I'm not scared of it.                            RANDY                  Uncomfortable then. You just need                  to get better acquainted.     Norah exhales. Randy stands and takes off his pants. The     phone RINGS again.                            NORAH                      (yelling)                  Dad, get the phone.                            RANDY                  There's absolutely no pressure                  here.                                                            (CONTINUED)                                     GREEN REVISION 3/5/07     6.13   CONTINUED:                                                      13     Randy lies next to Norah naked from the waist down. Norah     ignores him and continues forming letters with her fingers.     She jots a note and sticks the pencil behind her ear.     The phone RINGS again. Norah reaches across Randy and picks     up the receiver.                            RANDY                  You can touch it if you want.                            NORAH                      (into phone)                  Hello.                            ROSE (O.S.)                      (through receiver)                  You haven't left yet? Damn it                  Norah, my class starts in fifteen                  minutes.                            NORAH                      (into phone)                  I know, I know.     As Norah holds the phone her eyes slide from Randy's face to     his off screen penis. She takes the pencil from behind her     ear and, in the way you'd poke a hamster to see if it is dead     or merely sleeping, prods Randy's off screen penis.14   INT. LORKOWSKI HOUSE - LIVING ROOM - NIGHT                        14 *     Joe sits in the living room, busily putting stickers on cans         *     of Fancy Corn. Norah and Randy enter from Norah's room.              *                            JOE                                           *                  Doesn't Rose have her thing                             *                  tonight?                                                *                            NORAH                                         *                  I'm going. I need to borrow your                        *                  car.                                                    *                            JOE                                           *                  Here. Take some corn.                                   *     Norah leaves. Randy and Joe share an awkward silence.                *                            RANDY                                         *                  I'm really nuts about your                              *                  daughter, Mr. Lorkowski.                                *                                                         (CONTINUED)                                    GREEN REVISION 3/5/07        6A.14   CONTINUED:                                                        14                            JOE                                             *                  That's nice. Give me a hand with                          *                  this.                                                     *     They put stickers on popcorn cans.                                     *                            RANDY                                           *                  I see they sold that house across                         *                  the street. I bet they'll come                            *                  knocking on your door soon.                               *                            JOE                                             *                  They can knock all they want. Wait,                       *                  wait, whaddaya doing? Don't put the                       *                  lime sticker on the cheddar can.                          *                  Maybe I better just do this myself.                       *                                                            (CONTINUED)                                   GREEN REVISION 3/5/07        7.14   CONTINUED: (2)                                                  14                                                                          *15   EXT. ROSE'S HOUSE - NIGHT                                       15     Randy pulls up to a small house and stops. Norah gets out,     collects the canister from back and heads inside.16   INT. ROSE'S HOUSE - NIGHT                                       16     Norah enters the tidy two bedroom house with a barrel of     Fancy Corn under her arm.                          NORAH               Sorry.                         ROSE               I'm gonna be so late.     Oscar runs from the bedroom and flings himself onto Norah.     Pale and skinny, Oscar is the kind of kid easily picked off     in slaughter-ball.                         NORAH               I brought fancy corn!                         ROSE                   (Looking for her purse)               How can you eat that stuff?     Norah and Oscar both jam a handful into their mouths.                         ROSE               He'll be hyper all night.     Rose finds her purse and quickly puts on lipstick. She leans     down and gives Oscar a kiss on the forehead.                          ROSE               Be good.                                                       (CONTINUED)                                            GREEN REVISION 3/5/07     8.16   CONTINUED:                                                            16     She turns to Norah.                            ROSE                  And no lobsterman stories. He had                  nightmares all week.                      (opening the door)                  Just use some common sense.                            NORAH                  You're welcome.17   INT. MOTEL ROOM - NIGHT                                                  17     Rose lies on her back being fucked. Her head nearly hits the     headboard with each thrust.                            ROSE                  You want me?     Rose closes her eyes. Her head starts to thump the headboard.                              MAC                      (Rhythmically)                  Yeah... baby... I want... Oh...     Mac comes.18   INT. ROSE'S HOUSE - OSCAR'S BEDROOM - NIGHT                              18     Oscar and Norah lie in Oscar's little bed. Oscar holds the     covers tight under his chin. Norah drinks a beer. There's a     half eaten canister of `Fancy Corn' between them.                            NORAH                  He's slowly freezing to death and                  he knows lobsterman is out there...                  somewhere... coming for him. And                  he's totally screwed because his                  tongue is stuck to the mailbox.                            OSCAR                  Why did he lick the mailbox?                             NORAH                  I don't know. Maybe he had OCD and                  he was obsessed with licking                  mailboxes.                            OSCAR                  Why wasn't he in school?                                                                (CONTINUED)                                     GREEN REVISION 3/5/07     9.18   CONTINUED:                                                     18                            NORAH                  Are you gonna let me tell the                  story?     Oscar nods.                            NORAH                  An then, he hears a horrible sound.                  Snap, snap, drag. Snap, snap, drag.                  Lobsterman is coming.                            OSCAR                  Maybe he didn't go to school                  because he had the ACD.     Norah looks at Oscar.                            OSCAR                  Sorry.     Norah downs the last swig of beer and sets the bottle down     next to another empty.                            NORAH                  He's trapped. If he doesn't rip the                  skin off his tongue and make a run                  for it lobsterman will tear him to                  pieces with his razor sharp claws.19   INT. MOTEL ROOM - NIGHT                                           19     Curtains drawn in the cheap hotel room. Rose gets out of bed     and pulls on her clothes. Mac watches for a moment, then     rolls out of bed. He stops. Grimaces.                            ROSE                  Still sore?     Mac shakes his head and pretends not to be.                            ROSE                  I don't know why you did that.                            MAC                  You should hear the way he goes on                  about his lean body mass index                  bullshit. Drinking that                  antioxidant, protein powder, enzyme                  crap all the time.     Mac limps over to his clothes hanging over a chair.                                                         (CONTINUED)                                     GREEN REVISION 3/5/07        10.19   CONTINUED:                                                         19                            ROSE                  When was the last time you even                  played basketball?                            MAC                  He needed to be brought down a peg                  or two.                            ROSE                  I'm sure you pulling a groin muscle                  humbled him.     Rose smiles and Mac pretends to be offended.                            MAC                  I should introduce him to your                  sister.                            ROSE                  Norah and a cop? That would happen.     Mac shrugs and steps into his slacks.                            MAC                  We were working a scene today where                  this guy offs himself in a sporting                  goods store. So they had this                  cleaning crew out there, right?                  You would not believe how much                  money they charge for that shit.                  It's ridiculous.                            ROSE                  With the dead body there?                            MAC                  Naw, the body's gone, it's just the                  blood and stuff.                            ROSE                  Sounds horrible.     Rose peels the backing off a nicotine patch and carefully     sticks it on her arm.                            MAC                  You ask me it's a racket. You                  should get into that.     Rose slips on her blouse looks at Mac.                                                             (CONTINUED)                                  GREEN REVISION 3/5/07        11.19   CONTINUED: (2)                                                  19                         ROSE               You think that's all I can do?               Clean other people's shit?                          MAC                   (He sighs)               Come here.     Rose steps toward him and eyes Mac as he buttons her blouse.                         MAC               You know that's not what I think.                         ROSE               I am gonna be a real estate agent.     Rose rubs the nicotine patch on her arm. Mac nods and smiles.                         MAC               I know. With business cards.20   INT. ROSE'S HOUSE - NIGHT                                          20     Norah holds a lit joint out the window and watches a cheesy     TV movie circa 1982. Big hair and leg warmers. Norah leans     out the window and exhales, takes another toke.     The sound of a key at the door prompts Norah to quickly stub     out the joint and close the window. Rose opens the door.                         NORAH               It's about time. I thought your               class got over at 9:30.     Rose looks at Oscar sprawled out asleep on the couch.                         ROSE               Why isn't he in bed?                         NORAH               Said he was scared. I think he was               fakin' it though.     Rose fumbles in her purse and pulls out a ten-dollar bill.                         NORAH               I'm not taking money.                         ROSE               It's just ten bucks, take it. Dad               told me about you getting fired.                                                          (CONTINUED)                                     GREEN REVISION 3/5/07   12.20   CONTINUED:                                                    20     Norah makes a face like `great, here it comes.'                            ROSE                  What happened?                             NORAH                  Nothing.                            ROSE                  What, were you stoned or something?     Norah waves her hand dismissively.                            NORAH                  It was just Mr. Kim being a dick                  head.                            ROSE                  I thought you liked Mr. Kim.                            NORAH                  Yeah, before Mrs. Kim started                  working there. Now he's a full on                  gym teacher, I swear to God.                            ROSE                  When are you going to grow up and                  start taking responsibility for--                            NORAH                  Oh please, you love it when I fuck                  up. Love it. Me screwing up gives                  you the hugest woody.                            ROSE                  Shut up and take the ten.     Norah takes the ten. Rose looks at the TV.                            NORAH                  There was a diner scene earlier.                  With a waitress.     Rose looks at Norah.                             ROSE                  Any pie?     Norah smiles and opens the door to leave.                            NORAH                  Completely pie free.                                   GREEN REVISION 3/5/07        13.21   INT. DATZMAN-MEAD HOUSE - MASTER BEDROOM - DAY                      21     Rose wraps the vacuum cleaner cord while another MOLLY MAID     wipes down the last window.     Through the window, a smartly dressed pregnant woman walks     toward the house with shopping bags in hand.                         MOLLY MAID               The lady's here.     Rose nods and heads downstairs.22   INT. DATZMAN-MEAD HOUSE - KITCHEN - DAY                             22     PAULA DATZMAN-MEAD sets her bags down on the table and fishes     a checkbook from her purse. Rose enters with the vacuum     cleaner in tow.                         ROSE               We're all finished. Since it's our               first visit we did the blinds and               appliances but normally we'll               alternate those weekly. Nobody               mentioned anything to us about               laundry so we didn't bother with               that but if you want laundry               included there is an extra...                         PAULA               Rose? Rose Lorkowski?     Startled, Rose looks the woman in the eye for the first time.                         PAULA               It's Paula Datzman... cheerleading               squad junior year.     Recognition punches Rose in the face.                         ROSE               Paula Datzman. Wow.     Awkward silence.                         ROSE               How are you?                         PAULA               Great! I'm Paula Datzman-Mead now.                                                           (CONTINUED)                                      GREEN REVISION 3/5/07        14.22   CONTINUED:                                                          22                            ROSE                  Congratulations.                            PAULA                  Thanks. We're expecting our second                  in a couple of months.     Paula pats her swollen belly and Rose forces a smile.                            PAULA                  How are you? You look just the                  same.                            ROSE                  I'm good. Really good!                            PAULA                  God, I always envied you so much.                  Head cheerleader... dating the                  quarterback... So did you and Mac end                  up getting married?                            ROSE                  Nope. No.                      (Awkward silence)                  I'm not sure...I think he ended up                  marrying Heather Volkman.                            PAULA                  Wow. Well it's so good to see you.                  Let me get your info so I can send                  you an invite to the baby shower.     Paula gets a piece of paper and a pen and hands it to Rose.                            PAULA                  It'll be like a big reunion. The                  whole gang from high school will be                  there.     Rose writes her number and address on the scrap of paper.                            PAULA                  So what are you doing now?     Woops. Paula immediately regrets the question.                              ROSE                  I... I've just gotten my real estate                  license, and so...                                                              (CONTINUED)                                     GREEN REVISION 3/5/07        15.22   CONTINUED: (2)                                                     22                         PAULA               Real estate?                         ROSE               Yeah, this... this is just kind of a               temporary thing and I'm about to               just really phase over into the               real estate full time.                         PAULA               You're kidding, I'm in real estate!     Paula pulls a business card from her purse and hands it to     Rose. The card has a picture of Paula's smiling face.                         PAULA               With Long and Foster. Who are you               with?                         ROSE               Me? Um. You know, I haven't really               decided yet. I might check out Long               and Foster.     Paula nods. Uncomfortable.                         PAULA               Maybe you'll just be independent.                         ROSE               Yeah. Maybe.     They grasp for something to say. They fail.                         PAULA               What was that about the laundry?23   EXT. DATZMAN-MEAD HOUSE - DAY                                         23     Rose caries a vacuum cleaner and bucket of cleaning supplies     out to a rusted Nissan Sentra with a Molly Maid door magnet.     She throws the vacuum and bucket in the back hatch, starts to     close it, then stops.     Rose walks to the side of the car, peels off the Molly Maid     magnet and throws that in as well. She looks at the Datzman-     Mead house with a mixture of resentment and shame.     She gets into the car and cries. Her cell phone rings. She     digs the phone out of her bag and tries to steady her voice.                                                             (CONTINUED)                                      GREEN REVISION 3/5/07        16.23   CONTINUED:                                                          23                             ROSE                  Hello.24   INT. ELEMENTARY SCHOOL - OUTSIDE COUNSELOR'S OFFICE - DAY              24     Oscar sits outside the counselor's office on a bench. He     cranes his neck to watch the secretary typing forms.25   INT. ELEMENTARY SCHOOL - COUNSELOR'S OFFICE - DAY                      25     Rose sits nervously across from the school COUNSELOR, a     serious man in his mid forties and a TEACHER with cotton     candy hair. The man speaks first.                            COUNSELOR                  It's not just this incident. There                  have been several episodes over the                  past year where Oscar has... has                  engaged in disruptive behavior.     Rose shifts her eyes from the counselor to the teacher and     back to the counselor.                            COUNSELOR                  There was the incident in gym                  class.                            ROSE                  I did pay the damages for that.                            COUNSELOR                  And the chalk thing.     Rose bites a fingernail.                            COUNSELOR                  And the time he locked Jeremy                  Johnston in the--                            ROSE                  Okay. What did he do this time?                              COUNSELOR                  Now it's... licking.     Rose looks confused.                                                              (CONTINUED)                                      GREEN REVISION 3/5/07   17.25   CONTINUED:                                                      25                             TEACHER                  I will not tolerate it. I will not                  tolerate that behavior in my                  classroom.                            COUNSELOR                  Oscar has started licking things in                  the classroom.     Rose looks even more confused.                            TEACHER                  First it was the pencil sharpener.                  Then the aquarium.26   INT. ELEMENTARY SCHOOL - OUTSIDE COUNSELOR'S OFFICE - DAY       26     The secretary stops typing and offers a sympathetic glance to     Oscar. He capitalizes on the moment by licking the wall.                            COUNSELOR (O.S.)                  It's unsanitary. And it's                  disturbing to the other children.     The secretary recoils and returns to her typing.27   INT. ELEMENTARY SCHOOL - COUNSELOR'S OFFICE - DAY               27     The counselor leans forward with genuine concern.                            COUNSELOR                  We think Oscar might benefit from                  an environment where he could                  receive more specialized attention.                            TEACHER                  He licked my leg.                                       GREEN REVISION 3/5/07     18-19.28   INT. LORKOWSKI HOUSE - LIVING ROOM - NIGHT                              28     Oscar finds Joe asleep on the Lazy Boy. He snores in that     scary sleep apnea way ≠ holding his breath between snores.     Oscar notices a leather strap hanging down from the top shelf     of a book case. He pulls up a chair to investigate.     The strap leads to an old pair of binoculars. Behind it,     dusty books about birds. Oscar grabs the binoculars and     climbs down.     Oscar holds the binoculars to his face but the lenses are too     far apart. Oscar compensates by closing one eye and looking     through only one lens. He focuses on his grandpa's nose hair.     Joe wakes.                            JOE                  Where'd you get those?                               OSCAR                  Up there.     Oscar points to the book shelf. Something sad stirs in Joe.                               JOE                  Come here.     Oscar steps closer. Joe twists something on the binoculars     and pushes the lenses closer together to accommodate Oscar's     small face. Better.                            JOE                  Those were your grandma's. She'd                  watch birds with those.     Oscar walks around the room examining various objects and     clunks them against a lamp in the process.                            JOE                  Hey, hey. Careful.     Joe holds out his hand to retrieve the binoculars.                            JOE                  Why don't we put those away.     Oscar doesn't want to. He hesitates. Joe raises an eyebrow.     Oscar shuffles back to his grampa and hands them over.                                                               (CONTINUED)                                   GREEN REVISION 3/5/07       19A.28   CONTINUED:                                                       28                            OSCAR                  Why can't I play with them?                            JOE                  Because it's not a toy. It's a                  scientific instrument.     Oscar's disappointed.                            JOE                  You can play with them when I'm                  around to supervise.                            OSCAR                  You're around now.                            JOE                  I'm tired now.     Joe studies the binoculars for a moment and then sets them     back on the shelf.29   INT. LORKOWSKI HOUSE - KITCHEN - NIGHT                              29     Rose shakes her head and hands Norah another dish.                            ROSE                  Well I'm not putting him in special                  ed. I'll figure out a way to put                  him in private school before I do                  that.                            NORAH                  Rose, you buy generic cigarettes                  with couch change. How are you                  gonna pay for private school?                            JOE                  Who's going to private school?     Rose turns and sees her dad leaning in the door way.                            ROSE                  Nobody dad, we're just talking.                            JOE                  Oscar get suspended again?     Yes, that's it.                                                           (CONTINUED)                                    GREEN REVISION 3/5/07       19B.29    CONTINUED:                                                       29                             JOE                   The kid's a little strange. What?                   That's against the law now? It's                   not like he's out killing kittens                   or any damn thing. I swear                   everyone's so damn uptight these                   days.29A   INT. FAIR AND SQUARE - DAY                                       29A      Oscar rides a mechanical horse.      Rose pushes a cart down the isle and dials her cell phone.      She grabs a box of cereal and tosses it in her cart.30    INT. MAC'S HOUSE - KITCHEN - DAY                                    30      Mac sits at the table with a cup of coffee and reads the      paper. A young girl holds out the telephone.                             MAC                   Hello.      INTERCUT PHONE CONVERSATION                             ROSE                   Mac, it's me.                             MAC                   What are you doing calling here?                             ROSE                   I know, I'm sorry.                             MAC                   Heather could have easily--                              ROSE                   I thought she had yoga on                   Saturdays.                             MAC                   Still, it's not cool.                                                            (CONTINUED)                                        GREEN REVISION 3/5/07       19C.      CONTINUED:                               ROSE                   I know, I'm sorry. I just needed to                   ask you... you know the other day...                   you said that... about the                   specialized cleaning guys making so                   much money...30B   EXT. FAIR AND SQUARE - DAY                                           30B      Rose and Oscar walk to the car with the groceries.31    INT. FAMILY RESTAURANT - NIGHT                                          31      The Lorkowski family dines in style.                             ROSE (O.S.)                   Are you even listening?      Norah turns to face Rose at the other side of the table.                                NORAH                   No thanks.                             ROSE                   What do you mean `no thanks'? What                   else do you have to do? You don't                   have a job. You don't go to school.                   What, are you going to live with                   Dad the rest of your life?                             NORAH                   I don't think you're in any                   position to feel superior.                                                                (CONTINUED)                                      GREEN REVISION 3/5/07        20.31   CONTINUED:                                                          31                            JOE                  Girls, come on. Lets have a nice                  dinner.                            ROSE                  It's just until I get my real                  estate license.     The staff sings a BIRTHDAY SONG at a table nearby.                            OSCAR                  I want to have my birthday at                  Hinkle's.                            JOE                  The hell with Hinkle's, I'm taking                  us to Disney Land!     Oscar's eyes light up as he smiles at Joe.                               ROSE                  Dad don't.                            OSCAR                  Why? I think Disney Land is a great                  idea!     Rose gives Joe a sharp look.                            JOE                  Yeah, what's wrong with Disney                  Land? And I think it'd be great if                  you girls worked together.                            NORAH                  You are so out of touch.32   EXT. APARTMENT BUILDING - ONE WEEK LATER - DAY                         32     A large bellied SUPERINTENDENT leads Rose and Norah up a     flight of stairs. Beads of sweat drip from his doughy face.                            SUPER                  Some sorta domestic disturbance                  kind of a deal. It was the lady who                  got the last word I guess. Course                  she's in jail now, so... Heard one                  bullet completely shot off his ring                  finger. How long you gals been                  doin' this kind a work?                                                              (CONTINUED)                                    GREEN REVISION 3/5/07       20A.32   CONTINUED:                                                        32                             ROSE                  A while.                                                            (CONTINUED)                                   GREEN REVISION 3/5/07        21.32   CONTINUED: (2)                                                   32                         SUPER                   (Checking out Rose)               You know Mac pretty well?     Norah shoots Rose a look. Rose doesn't answer. They arrive at     the door of the apartment. The super unlocks the door.                         SUPER               Just swing by the office when               you're done and we'll settle up.33   INT. DOMESTIC DISTURBANCE APARTMENT - DAY                           33     Rose and Norah step into the apartment littered with dirty     dishes and clothes.     Rose walks down the hall while Norah examines a plastic bird     with top hat. It tips down and drinks from the glass.                           ROSE (O.S.)               Found it.34   INT. DOMESTIC DISTURBANCE APARTMENT - BATHROOM - DAY                34     Norah and Rose stand frozen at the threshold. They are awe     struck by the horrible scene in front of them.     Blooms of splattered blood dry on tile walls. It gathers in     sticky brown lines around grout. The mirror is broken. The     shower curtain hangs half torn.                         NORAH               Think they loved each other?                           ROSE               Yeah.35   INT. DOMESTIC DISTURBANCE APARTMENT - BATHROOM - LATER              35     Hands pull on yellow cleaning gloves.     Pinkish foam slides down Norah's glove as she scrubs bloody     grout with a toothbrush.     Metal shower rings CLINK against the metal bar as Rose pulls     down the shower curtain.     A rag is wrung out in a bucket of reddish water.                                                           (CONTINUED)                                     GREEN REVISION 3/5/07        22.35   CONTINUED:                                                         35     Rose and Norah clean in silence. Reverent but detached. The     way you would act at a stranger's funeral.36   INT. DOMESTIC DISTURBANCE APARTMENT - KITCHEN - DAY                   36     Norah puts blood spattered towels into a washing machine.     She spots a dish on the dryer filled with pennies and buttons     and other odds and ends. She fishes out a PINK CANDY HEART.     It reads, `Luv U 4 ever'.     Norah pockets the candy.37   INT. DOMESTIC DISTURBANCE APARTMENT - BATHROOM - DAY                  37     Rose and Norah gather their cleaning supplies and stand back     to admire their handiwork.38   EXT. APARTMENT BUILDING - DAY                                         38     Norah hangs back while the super hands Rose a check.                            SUPER                  You gals did a real nice job.     As Rose turns to leave she flashes the check to Norah. Five     hundred bucks. Rose raises an eyebrow. Cha-ching.39   EXT. BAR - DAY                                                        39     Joe walks though a low rent part of town carrying a barrel of     Fancy Corn. He ducks into the neighborhood bar.40   INT. BAR - DAY                                                        40     Joe enters a dingy little corner bar where everyone's a     regular. A couple of old guys slump over the bar. The     BARTENDER smiles.                            BARTENDER                  Hey Joe, what you got for me?                            JOE                  World's finest corn snack.     Joe hands the canister to the bartender and sits down on a     stool. The bartender pours him a beer.                                                             (CONTINUED)                                    GREEN REVISION 3/5/07        23.40   CONTINUED:                                                        40                            BARTENDER                  See where old Miller's house sold?     Joe nods. A grizzled REGULAR nearby looks over at Joe.                            REGULAR                  Bet you could get a chunk of change                  for your place. You should cash out                  now before the market turns sour.     Joe shakes his head.                            JOE                  I'm not selling my house. No way. I                  don't care how much those idiots                  would shell out for it. I got                  history in that house. You think                  they understand about history?                            REGULAR                  Still... How much commission you                  get on that popcorn? Bet you gotta                  sell a lot of corn to-                            JOE                  Hey, the corn's good. Really good.                  Not like the pet food but that was                  a phenomenon.     The bartender sets a basket of cheddar popcorn in the space     between Joe and the grizzled regular.                            JOE                  It'll get there. Takes time to get                  to know the market. Develop a                  relationship with the buyers. But                  it'll get there. Who doesn't like                  popcorn for Christ's sake.                            REGULAR                  My brother-in-law's in sales.     The regular scoops up a handful of powdery orange popcorn.                            REGULAR                  Last year he buys a cow.                            JOE                  Why would you buy a cow?                                                            (CONTINUED)                                  GREEN REVISION 3/5/07         24.40   CONTINUED: (2)                                                   40                         REGULAR               Not a live cow. A whole butchered               cow from a rancher. On the hoof               they call it.                         JOE               Mm hmm.     Joe looks at him with renewed interest.                         REGULAR               He sells off the parts of this cow               to a bunch of restaurants. Direct.               Made a killing.     The grizzled man licks orange powder from his fingers.                         JOE               What'd he do with the brains and               intestines?     Regular shrugs. Joe's wheels are turning.                         JOE               So he cuts out the middle man. Not               a bad idea.     Joe takes a drink of his beer while he mulls it over.                         JOE               Course it'd be smarter to do that               with something that didn't have bad               parts. Like... shrimp.41   EXT. LORKOWSKI HOUSE - SIX DAYS LATER - MORNING                    41     Another day in paradise.42   INT. LORKOWSKI HOUSE - NORAH'S BEDROOM - MORNING                   42     Norah sleeps in her clothes and makeup from the previous     night. Knocking wakes her.                         JOE                   (though the door)               Rose is on the phone. Norah?                         NORAH               I'm sleeping.                                                          (CONTINUED)                                      GREEN REVISION 3/5/07        25.42   CONTINUED:                                                          42                            JOE                  She says it's important.     With great effort Norah picks up the receiver.                            NORAH                  What do you want?                            ROSE                  Mac got us another gig.                            NORAH                  I'm sleeping.                            ROSE                  I'll pick you up in an hour.                              NORAH                  No.43   EXT. ALBUQUERQUE - DAY                                                 43     Rose's Nissan rolls down a rough looking Albuquerque street     toward a trailer park.44   INT. ROSE'S CAR - DAY                                                  44     Rose sips her 7-11 coffee. Norah stares blank and blood-shot.                              NORAH                  You suck.                              ROSE                  Money.                            NORAH                  You still suck.                            ROSE                  Apparently some crazy bag lady                  squatter person died and--                            NORAH                  You didn't get me coffee?                            ROSE                  I didn't know you wanted any.                            NORAH                  Of course I...                                                              (CONTINUED)                                     GREEN REVISION 3/5/07        26.44   CONTINUED:                                                         44     Norah shakes her head in frustration.45   EXT. TRAILER PARK - DAY                                               45     Rose turns into the trailer park, heads past a row of     trailers, and parks.     Rose and Norah get out of the car and approach a particularly     run down trailer.                            NORAH                  How long is this gonna take?                            ROSE                  All we have to do is go in and                  throw everything away. Cake.46   INT. TRAILER HOME - DAY                                               46     Rose and Norah open the door and the rancid sweet smell of     decayed flesh splashes them in the face. They lift their T-     shirts up over their noses and walk inside.     Old newspapers stacked to the ceiling. Piles of trash lean     like snowdrifts against the wall. Cat food encrusted plates.     Norah opens the bedroom door and peeks in. Flies BUZZ. She     darts to another room and retches.                            ROSE                  Great, now we're gonna have to                  clean that up too.     Rose walks into the bedroom, blanches and stifles a gag     reflex. Norah storms past Rose and out the door.47   EXT. TRAILER PARK - DAY                                               47     Rose chases after Norah and grabs her arm.                            ROSE                  Where are you going?                            NORAH                  There is no way.     Norah shakes off Rose and walks down the row of trailers.                                                             (CONTINUED)                                   GREEN REVISION 3/5/07       26A.47   CONTINUED:                                                       47                            ROSE                  You said you would help me.                                                           (CONTINUED)                                      GREEN REVISION 3/5/07        27.47    CONTINUED: (2)                                                     47                          NORAH                    (without turning)                Maybe if you'd gotten me a coffee.48    INT. TRAILER HOME - DAY                                               48      Rose pulls her shirt off and wraps it around her head so that      only her eyes are exposed.      She strains to open a window that's been painted shut. She      bangs and pulls but it doesn't budge.      Rose finds a can of beans and whacks them against the base of      the window in an attempt to break the seal. Rose grows more      desperate with each failed effort.49    EXT. TRAILER PARK - DAY                                               49      Norah watches Rose struggle with the window.      Pigeons gather at her feet and she gives a little kick.      Birdseed tumbles on to her shoe. She turns.      A weathered man sits outside his small rectangular castle and      tosses birdseed to the pigeons.                          NORAH                I'm standing here.      Norah looks back up to Rose still struggling with the window.      Finally, Rose muscles it open and throws Norah an angry look      of triumph. There!49A   EXT. ALBUQUERQUE STREET - DAY                                      49A      Joe and Oscar drive to a potential sale.50    INT. TRAILER HOME - DAY                                               50      Norah ties a shirt around her face as she enters.      They turn their attention to the discolored mattress      attracting flies in the corner.                          NORAH                What do we do with that?      Rose shrugs. Looks around.                                                              (CONTINUED)                                     GREEN REVISION 3/5/07   27A.50   CONTINUED:                                                     50                              ROSE                  Dumpster?     Rose and Norah lift the mattress and drag it to the door.                                     GREEN REVISION 3/5/07        28.51   EXT. TRAILER PARK - DAY                                               51     Rose and Norah struggle to transport the stinking mattress to     the dumpster. It is a clumsy process. The thing tips and     falls on Norah.52   INT. MALL - CANDY STORE - DAY                                         52     Tucked inside a mall, the candy store does brisk business.     Pimple-faced clerks ring up clumps of overweight families.     Oscar pretends to look at hard candies while he listens to     Joe and the MANAGER.                         MANAGER               You're telling me this Fancy Corn               stuff is some kind of health food?                         JOE               Well, it's a candy... and a health               food. Absolutely. Absolutely.                         MANAGER               Yeah, I don't know. We don't have               much more shelf space.     Oscar spots a GIRL perusing wax lips. She looks to be about     five or six. Joe ignores the manager and reads ingredients     off a Twizzler package.                         JOE               Glycerol monostearate? What is               that? I can't even read that.     Joe spins a can of Fancy Corn around and points to the     ingredients.                            JOE               Read that.     The manager leans close.                         MANAGER               High fructose--                         JOE               No. The first thing listed. The               number one ingredient.                                                             (CONTINUED)                                       GREEN REVISION 3/5/07       28A.52   CONTINUED:                                                           52                             MANAGER                  Corn.                            JOE                  Exactly. Corn. Can you think of                  anything more wholesome? It's all                  American for Christ's sake.     The manager's not buying it. Oscar takes action. He positions     himself next to the girl.                            OSCAR                  Do you know if they sell fancy corn                  here?     The girl looks at him suspiciously.                            OSCAR                  Do you even know what fancy corn                  is?                             GIRL                  Yes.                            OSCAR                  Well, do they sell it here?                             GIRL                  I dunno.     She looks back to the lips and tries to ignore Oscar.                            OSCAR                  I heard that the strawberry fancy                  corn gives you bionic strength.                            GIRL                  That's stupid.                            OSCAR                  It's true. Some kind of chemical in                  the strawberry flavoring. If you                  eat a whole lot of it, it gives you                  bionic strength.     The girl gives Oscar a long stare.                            GIRL                  I don't believe you.                            OSCAR                  I don't care if you do or not.                                                               (CONTINUED)                                 GREEN REVISION 3/5/07       28B.52   CONTINUED: (2)                                                 52     The girl watches him for a moment and then walks over and     tugs her mother's shirt.                          JOE               I read where these chemicals are               getting into the streams, making               hermaphrodidic frogs! You think               mothers want to expose their kids               to that stuff? No way. More and               more people are looking for healthy               alternatives which is why the               demand for this product is so huge               right now.                         MANAGER               Like I said, I already put in all               the orders I want for this year.     Just then, the GIRL'S MOTHER walks up to the manager.                         GIRL'S MOTHER               Excuse me. Do you carry something               called fancy corn?     Joe looks at Oscar. Oscar smiles.                                                         (CONTINUED)                               GREEN REVISION 3/5/07      29-30.52   CONTINUED: (3)                                                  5253   INT. TRAILER HOME - DAY                                         53     Much progress has been made on the trailer. Rose and Norah     work on the last remaining piles of trash.                         NORAH               It seems wrong though doesn't it...               to throw everything away.     Rose tosses a tattered fanny pack onto the heap in the     garbage can. Norah plucks it out and opens it.     Norah pulls out a PHOTO ID. She holds it up. The woman on the     ID looks street-worn and crazy.                         NORAH               I bet this is her.     Rose sweeps. Norah digs deeper into the fanny pack and pulls     out a small packet wrapped in satin ribbon.     Norah unties the ribbon and finds a stack of old school     photos. Each photo is of a different grade. Norah flips     through the stack and the girl appears to grow up.                         NORAH               Wow, look at this.     Norah holds the senior photo next to the ID. The resemblance     between the two is clear.                         NORAH               Think it's her daughter?     Rose looks. Shrugs.                         NORAH               Shouldn't we do something? Try to               find her or something?                         ROSE               That's none of your business,               Norah.                                                       (CONTINUED)                                    GREEN REVISION 3/5/07        31.53   CONTINUED:                                                        53     Rose picks up a bag stuffed with cans and fast food wrappers.     She screams and drops the bag. A giant ball of maggots     writhes at her feet.                            ROSE                      (pointing)                  Hand me that.     Norah grabs the dust pan and hands it to Rose.                            NORAH                  What if she doesn't know? Wouldn't                  you want to know if this was mom?     Norah looks closely at the I.D. as Rose deposits trash and     maggots into the garbage bin. The comparison angers Rose.                            ROSE                  Mom was never like this. Mom would                  never have been like this.     Norah thinks about that and looks back at the I.D.                            NORAH                  I wonder how she died?                            ROSE                  Damnit Norah, we still have a lot                  of shit to do here. Are you just                  gonna talk?54   EXT. CANDY STORE - DAY                                               54     Joe and Oscar roll a handcart strapped with Fancy Corn     canisters through the parking lot to the car.                            JOE                  That was real good. You're a                  natural. You got the timing, you                  got the nerve. You're a real sharp                  cookie, you know that?                            OSCAR                  No I'm not. I'm stupid.                            JOE                  You're not stupid. What are you                  saying? You're not stupid.                                                            (CONTINUED)                                       GREEN REVISION 3/5/07   32.54   CONTINUED:                                                      54                            OSCAR                  Yes I am. They want to put me in                  retard classes.                            JOE                  Don't say that.                               OSCAR                  What?                            JOE                  It's those teachers who are                  retarded. You're probably just too                  advanced for those classes. You're                  bored. Do you get bored in class?                               OSCAR                  Yeah.                            JOE                  See. You're too smart! And those                  teachers just don't know how to                  handle you. You're probably a                  goddamn genius.                            OSCAR                  You think so?                               JOE                  I know so!55   EXT. LORKOWSKI HOUSE - DAY                                      55     Weeds grow in the yard of the small house.56   INT. LORKOWSKI HOUSE - NORAH'S BEDROOM - DAY                    56     Norah empties the contents of the fanny pack onto her bed.     She examines the photos and picks up what appears to be a     senior photo. She turns it over and sees, written on the     back, LYNN WISEMAN - 1998.57   EXT. MOTEL - NIGHT                                              57     Rose's Sentra is again parked next to the blue Camry.                                   GREEN REVISION 3/5/07        33.58   INT. MOTEL ROOM - NIGHT                                             58     Same room as before. Same curtains drawn. Mac unzips Rose's     skirt and kisses her neck.                         ROSE               It was so disgusting. I mean the               smell, you would not believe.     Mac's in the sex zone. He unbuttons his shirt and tunes out     all those distracting words tumbling from Rose's mouth.     Rose, animated, slips her skirt off and tosses it aside.                         ROSE               There were flies everywhere and,               really, the smell. I can't even               describe it.     Mac's shoes hit the floor with a thud. He sets his belt and     gun on the dresser.                         MAC               Shhhh.     Rose pulls her shirt over her head. Mac kisses her belly.                           ROSE               But, after we finished... you woulda               never even known. We took all that               away... made it right.     Mac pulls off his pants. Rose hangs her bra on the back of     the chair and slips off her undies.                         MAC               I can't believe you... I mean, I feel               like I got you into this mess.     Her sense of pride wilts. Her hand instinctively reaches up     to massage the nicotine patch on her arm.                         ROSE               No, I--                         MAC               Listen, I'm gonna pay for new real               estate classes. Okay?     Rose looks at Mac. Shrugs. Mac smiles.                                                           (CONTINUED)                                    GREEN REVISION 3/5/07        34.58   CONTINUED:                                                        58                            MAC                  We'll get you your license and then                  get you a little photo in the real                  estate section. You can drive                  people around all day and talk                  about... Gosh, what would you talk                  about?                      (Suddenly very serious)                  Crown molding?     Rose smiles. Apparently it's some private joke.                            ROSE                  Oh yeah, definitely talk about                  crown molding.     The phrase seems to send a ripple of pleasure through Mac.                            ROSE                  Property easements, square footage,                  appliances...     Mac reacts to each word as if it were some filthy sex talk.     He looks at Rose and raises an eyebrow.                            MAC                  You're holding out on me.     Rose rolls her eyes and laughs.                            ROSE                  Freak.                            MAC                  Say it. Come on. One time.     She smiles and shakes her head. Mac waits. Rose relents.                            ROSE                  Curb appeal.     Mac growls and pounces on Rose. It's fun and light. Rose     laughs while Mac makes a show of mauling her neck.     He falls on the bed and reaches out. Rose takes his hand.     It's rough against hers. There's a circular indentation where     his wedding ring isn't.     Rose stops laughing. She touches the invisible ring.                            ROSE                  Why'd you pick her?                                                            (CONTINUED)                                  GREEN REVISION 3/5/07        35.58   CONTINUED: (2)                                                  58     Mac looks up. Buzz kill. The residue of a smile fades.                         MAC               You know it wasn't like that.                         ROSE               How was it like?     He takes a step back.                         MAC               Are you going to do that?                          ROSE               No.                         MAC               If this is going to get all heavy--                          ROSE               No.     Rose turns around and kisses Mac. One of those soft, teasing     kisses that ends with a look that kicks things in gear.59   EXT. CLEANING SUPPLY STORE - TWO DAYS LATER - DAY                  59     Rose pulls her car up to one of many warehouses in the area     and double checks the address on a scrap of paper.60   INT. CLEANING SUPPLY STORE - DAY                                   60     Rose and Norah enter this no frills operation. Cinder block     walls and concrete floors. A small TV on the front counter     offers up a not-so-classic afternoon movie line up.     As they approach, the clerk drops out of sight behind the     counter. Rose leans over to see the clerk on his knees     searching for something small and lost.                          ROSE               Winston?     WINSTON, 35, crudely handsome with dark unkempt hair and full     lips, looks up.                         ROSE               I spoke with you on the phone. I'm               Rose Lorkowski.                                                          (CONTINUED)                                        GREEN REVISION 3/5/07        36.60   CONTINUED:                                                            60     Rose sticks out her right hand.     Winston stands to reveal he is missing his right arm. He     clumsily shakes her hand with his left.                            ROSE                  So, our situation is...     On the TV, a waitress enters the frame. Rose stops. She and     Norah both turn and look at the TV.     The waitress pours coffee and exits the frame without a word.     Rose and Norah turn back to Winston. Rose continues.                              ROSE                  We're doing some postmortem kind of                  um... specialized cleaning stuff and                  we had this really difficult...                              NORAH                  Smelly.     Rose looks at Norah and nods.                            ROSE                  Really smelly job where the lady                  had died and they didn't find her                  for a while and it was really...                              NORAH                  Stinky.                            ROSE                  The odor was really strong.                              WINSTON                  A decomp.     Rose smiles a little too enthusiastically.                            ROSE                  Yeah, a decomp!     Winston motions them to follow him through the store. He     indicates points of interest with a flat monotone voice.                            WINSTON                  General purpose cleaners,                  extraction cleaners, odor control.                  We carry both the Winzyme and the                  DR 450. Disinfectants, stain                  removers and shampoos.                            (MORE)                                                                (CONTINUED)                                  GREEN REVISION 3/5/07        37.60   CONTINUED: (2)                                                  60                         WINSTON (cont'd)               Steamers, buffers, foggers, that               kinda stuff's in there, for rent or               purchase. Quick absorbing sawdust,               good for vomit.     The tour ends at the back corner where respirators, safety     glasses, gloves and Tyvec coveralls crowd the shelves.                         WINSTON               And you've got your personal               protective gear back here.     The door BEEPS as it opens. CARL SWANSON walks in wearing his     `Above and Beyond' polo shirt. Winston returns to the     counter.61   INT. CLEANING SUPPLY STORE - FRONT COUNTER - DAY                   61     Carl grabs a case of disinfectant and sets it on the counter.     Winston pulls out some paperwork.                         CARL               You hear there're a couple of               amateurs poaching jobs?     Winston shakes his head.     Rose and Norah make their way to the counter with arms full     of supplies and stand within earshot of Carl and Winston.                         CARL               Bruce said they took a decomp for               five hundred bucks. What do you               wanna bet they threw all that shit               right in the dumpster.     Norah nudges Rose. Carl pays and Rose and Norah watch him     leave. They step up and set their supplies on the counter.     As Winston rings them up, Rose notices the shellacked puzzle     picture of a big white cat on the wall.                         ROSE               Hey, I have that puzzle. It's a               hard one. I think I got lost in the               white and gave up.     Rose flashes a `captain of the cheerleading squad' smile.                         WINSTON               Fifty-eight twenty-four.                                                          (CONTINUED)                                      GREEN REVISION 3/5/07        38.61   CONTINUED:                                                          61                            ROSE                  You like cats?     Winston looks squarely at Rose and steps into the back room.                            NORAH                  Great. You freaked him out.                            ROSE                  I asked him if he liked cats.     Winston returns with several books and pamphlets. Hazmat     Guidelines, Biohazard Recovery and Disposal, etc.                            WINSTON                  Bring these back.62   INT. ROSE'S CAR - DAY                                                  62     Rose drives while Norah scans one of the books.                            NORAH                  Turns out it's against the law to                  throw bio hazards in the dumpster.                  Who knew?     Rose processes the visit.                            NORAH                  How perfect was he with the one                  arm?                            ROSE                  Hmm?                            NORAH                  The creepy guy. Do you think he was                  born like that?                            ROSE                  I didn't think he was creepy.                            NORAH                  Dude, he has one arm.                            ROSE                  They think we're just a couple of                  hacks.                            NORAH                  We are a couple of hacks.                                                              (CONTINUED)                                       GREEN REVISION 3/5/07   39.62   CONTINUED:                                                      62     Norah looks out the window.                               NORAH                  Stop here.                               ROSE                  Why?                            NORAH                  I gotta thing. Just drop me off                  here.     Rose looks confused but pulls over.63   EXT. LYNN'S APARTMENT BUILDING - DAY                            63     Norah opens the door and slides out.                            ROSE                  I'll drop Oscar by around seven.                            NORAH                      (sarcastically)                  You have class tonight?     Rose smiles uncomfortably.                            ROSE                  Mortgage lenders and financing.     Norah shakes her head in disgust.                             NORAH                  Heather's pregnant again. Did you                  know that? He's never going to                  leave her.     Rose clenches her jaw and picks at a crack in the steering     wheel. Norah gets out of the car.                            NORAH                  God, you're pathetic.     Norah slams the door and watches Rose drive off.     Norah stands at the door well and scans the apartment number     listings. She sees the name she's looking for, LYNN WISEMAN.     Just then, LYNN, the woman from the photos, opens the door     and walks past. Caught off guard, Norah follows her.                                  GREEN REVISION 3/5/07        40.64   FOLLOWING THROUGH STREETS                                          64     They walk several blocks, Norah keeping a safe distance     behind Lynn.65   EXT. ALBUQUERQUE BLOOD SERVICES BUILDING - DAY                     65     Lynn opens the door to the building and disappears inside.     Norah follows.66   INT. ALBUQUERQUE BLOOD SERVICES BUILDING - DAY                     66     Lynn steps into an elevator. Norah does too.67   INT. ALBUQUERQUE BLOOD SERVICES BUILDING - ELEVATOR - DAY          67     The doors close. Lynn slaps the `stop elevator' button.     Norah emits a small yelp.                         LYNN               Who are you?                         NORAH               What?                         LYNN               Why are you following me?                         NORAH               I'm not following you.                         LYNN               You are following me!     Lynn freezes for a moment. It seems she isn't even breathing.     Her anger twists into fear.                         LYNN               Aren't you?     Norah remains silent. Lynn paces back and forth.                         LYNN               Oh no.                         NORAH               What?                                                          (CONTINUED)                                      GREEN REVISION 3/5/07        41.67   CONTINUED:                                                          67                            LYNN                  Shit! This is not happening.     Norah is uncomfortable. Lynn spins around to face Norah.                            LYNN                  Listen, I'm sorry. I thought... I                  thought you were following me.                            NORAH                  That's all right.     Lynn steps closer.                            LYNN                  You think I'm crazy.                            NORAH                  No. No I don't.                            LYNN                  I'm not crazy.                            NORAH                  It was a mistake. No big deal.     Lynn smiles. Norah releases the stop button. Nothing happens.                            LYNN                  It's not moving.                            NORAH                  Let's press the alarm button.     Lynn shrugs. Norah presses the alarm button. There's a loud     quick ring. They wait for something to happen.     An awkward silence hangs in the air. Norah gives it another     quick punch for good measure. Smiles. They look at the     ceiling. They look at the floor. Norah makes little noises.     Norah takes out her sign language book. She steals a quick     sideways look at Lynn before settling on the series of small,     illustrated hands before her.                            LYNN                  Go to the university?                            NORAH                  Me? No.     Lynn leans close and checks out the book.                                                              (CONTINUED)                                    GREEN REVISION 3/5/07        42.67   CONTINUED: (2)                                                    67                            NORAH               Hobby...     Lynn sizes Norah up.                         NORAH               There's this gorilla who knows sign               language and I've always thought               that would have to be the most               amazing thing ever. You know? To               actually talk to a gorilla.                         LYNN               I think I've seen something on--     Norah nods.                            NORAH               KoKo.                         LYNN               Yeah, yeah, with the kitten.     Norah offers a sad nod.                         NORAH               Kitten died. It wasn't KoKo's               fault. She was heartbroken.     A KNOCKING sound reverberates through the elevator.                         LYNN               Kind of weird, don't you think?               Teaching a gorilla to talk.               Probably, gorillas aren't supposed               to talk.                         NORAH               That's what's so cool about it.     Lynn takes a long bold look at Norah. Norah sweats. The     elevator moves.                         LYNN               I'm sorry again about the...                           NORAH               No, don't... it's fine.     Lynn lightly touches the crook of Norah's arm.                                                            (CONTINUED)                                    GREEN REVISION 3/5/07        43.67   CONTINUED: (3)                                                    67                         LYNN               You've got nice veins.     Norah smiles self consciously. She's flustered. Not a     familiar sensation. The doors open to the "Albuquerque Blood     Services."                         LYNN               You should give blood.     Lynn steps off the elevator and grabs a white coat from a     rack. She glances back with a smile just as the doors close.68   EXT. LORKOWSKI HOUSE - NIGHT                                         68     The house is dark except for a TV in the living room and a     light in Norah's bedroom window.69   INT. LORKOWSKI HOUSE - NORAH'S BEDROOM - NIGHT                       69     Norah pulls the photos from her bag and sets them on a shelf     next to the candy heart. Then, she drops to the floor and     pulls the LUNCH BOX from under her bed.     She surveys the contents: lipstick tipped cigarette butts, an     eyelash curler, a Blue Jay feather, an old photo.     In the photo two girls, twelve and five, stand with their     mom. A cigarette dangles from the mother's ruby red mouth.70   EXT. MOTEL - NIGHT                                                   70     This time Rose's Sentra sits alone. No blue Camry in sight.71   INT. MOTEL ROOM - NIGHT                                              71     Rose lies in bed and listens to cars go by on the highway.     She checks her watch, picks up the phone and dials.                         ROSE               Hi. Could you tell me what time you               have? Okay. Thanks.     Rose hangs up and falls back onto the bed, feet dangling off     the edge. She stares at the ceiling and whispers.                                                            (CONTINUED)                                        GREEN REVISION 3/5/07   44.71    CONTINUED:                                                      71                             ROSE                   I am strong. I am powerful. I am a                   winner.                       (pause)                   I'm a fucking idiot.71A   INT. MOTEL HALLWAY- NIGHT                                       71A      Rose stands in the motel's glass enclosed hallway watching      the world go by.72    INT. LORKOWSKI HOUSE - LIVING ROOM - NIGHT                      72      Joe clears the dinner table while Oscar occupies himself with      markers, construction paper, and a creative impulse.      Rose walks in defeated.                             JOE                   You're back early.                             ROSE                   I'm quitting real estate.                             JOE                   What are you talking about? You                   can't quit real estate. You're                   gonna be great at real estate. You                   got the whole look and besides,                   that's where everything's headed.                   Hell, it's what I should have done                   forty years ago.                              ROSE                   Shut up.      Rose sits at the table next to Oscar. She looks miserable.      Oscar looks at his mom.                             OSCAR                   Want me to make you something                   happy?      Rose can't help but smile.                             ROSE                   Yeah. I'd like that.                             JOE                   Make me something happy too.                                 GREEN REVISION 3/5/07       44A.73   INT. CLEANING SUPPLY STORE - THREE DAYS LATER - DAY               73     Rose hands Winston a canister of Fancy Corn and a business     card. Rays of the sun dart off the edges of the card in a     style of a child's drawing. It reads, "Sunshine Cleaning."                         WINSTON               Sunshine Cleaning. Nice.                         ROSE               Thought we'd put a positive spin on               things. My son drew the design.                                                         (CONTINUED)                                         GREEN REVISION 3/5/07        45.73   CONTINUED:                                                             73     Oscar stares at Winston's empty sleeve.                            WINSTON                  That's a nice job you did there.                            OSCAR                  Where's your arm?                               ROSE                  Oscar!                            WINSTON                  That's all right.                            ROSE                  I was thinking maybe I could set a                  few out by the register?                               WINSTON                  Yeah sure.     Rose hands Winston a stack of cards. He places them in an owl     business card holder in front of several Clean Sweep business     cards.                            WINSTON                  This is great but you guys should                  really get out there and market                  yourselves.     Oscar plays with an extraction cleaner and accidently turns     it on. Winston gives him a nod that indicates that he should     turn it off. He does.                               ROSE                  So, marketing? Like...?                            WINSTON                  Funeral Homes, property managers...                  What you really want is to get in                  with the insurance companies. They                  can throw you a ton of work.     Oscar walks into the back room.74   INT. CLEANING SUPPLY STORE - BACK ROOM - DAY                              74     The room is jammed with model planes, cars and boats in     various stages of construction. A hobbyist's fantasy land.                                                                 (CONTINUED)                                     GREEN REVISION 3/5/07        46.74   CONTINUED:                                                         74     Oscar's mouth drops open.75   INT. CLEANING SUPPLY STORE - DAY                                      75     Winston puffs up a bit with `manly know how'.                            WINSTON                  Do you guys have your B.B.P.                  certification?                              ROSE                  B.B. who?     Winston smiles.                            WINSTON                  Blood Born Pathogens. The big money                  jobs... they'll expect you to be                  certified. I can register you for                  the next seminar if you want.76   EXT. LAWSON'S USED CAR LOT - TWO DAYS LATER - DAY                     76     Rose, Norah, Oscar and Joe follow SHERM LAWSON across the car     lot. Rose shoots an irritated look to her dad.                            ROSE                      (whispering to Norah)                  Did you ask him to come.                            NORAH                  Not exactly.     Joe positions himself next to Rose.                            JOE                      (Quietly to Rose)                  Now Sherm's gonna say he's against                  the wall but don't you believe him.                  There's always some wiggle room.                            ROSE                  I can handle it.     The troop comes to a stop in front of a large blue van.                             SHERM                  I think you're gonna like this                  Econoline.                                                             (CONTINUED)                                   GREEN REVISION 3/5/07       46A.76   CONTINUED:                                                       76     Sherm opens the back doors. Rose, Joe and Sherm stick their     heads inside. Rose nods.                            JOE                  The girls have started up their own                  specialized cleaning business.                  Crime scene and trauma clean-up.                            ROSE                  It's a real growth industry.                            SHERM                  Sounds kinda gory.                                                           (CONTINUED)                                    GREEN REVISION 3/5/07        47.76   CONTINUED: (2)                                                    76                         ROSE               Can be. Can be.     Rose surveys the interior space.                         ROSE               We gotta take any contaminated               materials to the incinerators. So               we'll need lots of space back here.                         OSCAR               For the bloody stuff.                         ROSE               So, how much is this?                         SHERM               Nineteen Ninety-nine.                         JOE               What's the play on that?                         SHERM               Oh, that's the floor right there.               I'm actually taking a loss on this               to make room for some new product.                         ROSE               Well, I could pay cash.                         SHERM               Cash is good.     Sherm walks around and unlocks the driver's side door.                         JOE                   (whispering to Rose)               Ask him about the bumper.                         ROSE               What?                         JOE               The dented bumper.     Rose approaches Sherm with a smile.                          ROSE               I noticed the bumper's kind of               banged up.     Sherm smiles.                                                            (CONTINUED)                                      GREEN REVISION 3/5/07       47A.76   CONTINUED: (3)                                                      76                              SHERM                 Character.                           JOE                 We were over at Motor Mart on Lomas                 earlier. They got a nice looking                 Chevy G series for eighteen.                           SHERM                 Power steering?     Joe nods.     Oscar crawls into the passenger seat for a closer look. He     sees the CB mounted on the ceiling and tugs Norah's sleeve.                           OSCAR                 What's that?                           NORAH                 Oh, excellent.                           ROSE                 God, do people even use those                 anymore?                           OSCAR                 What is it?     Sherm grabs the handset to demonstrate.                           SHERM                 It's a CB. You talk into this thing                 and hold this thing down and it                 turns your voice into radio waves                 and sends it into the heavens.                              OSCAR                 Heaven?     Sherm tosses the keys to Rose.                                                              (CONTINUED)                                  GREEN REVISION 3/5/07      48.76   CONTINUED: (4)                                                 76                         SHERM               Why don't you take it for a test               drive.     Rose, Norah and Oscar pile into the van. Joe hangs back with     Sherm.77   EXT. STREET - DAY                                              77     The Econo van rumbles by.                                    GREEN REVISION 3/5/07        49.78   INT. VAN - DAY                                                       78     Rose drives. Norah sits shotgun and sings the baseline to a     70s era porno. Oscar kneels between them staring at the CB.                         NORAH               Bow-chicka-bow-bow. Can I drive?                         ROSE               No.                         OSCAR               Try the CB!     Rose reaches up and clicks the CB on. Nothing but static. She     adjusts the frequency dial until she lands on the faintest     hint of a voice buried beneath the crush of static.     Oscar's face lights up with amazement. Rose is under-whelmed.     She clicks the CB off.                         ROSE               Antenna's probably broke.     Norah points out the window.                         NORAH               Ice Cream Hut!79   EXT. ICE CREAM HUT - DAY                                             79     Rose pays for three soft serve cones and makes her way to the     picnic table where Norah and Oscar wait.     Norah points to an `apartment for rent' sign on the building     across the street. A big bosomed woman sits on the porch with     a rabbit in her lap.                         NORAH               How cool to live across from the               Ice Cream Hut.     Rose distributes the melty goods.                         ROSE               You should rent it. Seriously,               you're making money now.     Norah assesses the building. The RABBIT LADY sees them     staring. She waves. Rose and Norah turn around amused.                                                            (CONTINUED)                                       GREEN REVISION 3/5/07        50.79   CONTINUED:                                                           79                            NORAH                  Yeah well, what about Dad?                            ROSE                  Oh please, Dad would survive just                  fine. You should do it.     As Norah thinks about a possible move glistening rivulets of     chocolate ice cream drip down Oscar's cone, over his hand and     on to Norah's leg.                            NORAH                  Ahh! Lick around the base. Secure                  the perimeter.                      (To Rose)                  Don't you teach this kid anything?     Norah demonstrates proper technique. She extends her tongue     out to the bottom edge of the dripping glob, then twirls the     cone to lick away the troublesome chocolate.                            LYNN (O.S.)                  It's the gorilla girl.     Norah looks up to see Lynn with a milk shake in hand. An     involuntary smile breaks across Norah.                            LYNN                  You never came to donate.                               NORAH                  Yeah.     Lynn looks at Rose. An awkward moment passes.                               NORAH                  My sister.     Rose smiles, nods a hi. Something familiar about the girl     nags at Rose. She searches to connect a face out of context.     Lynn eyes Norah. Chemistry.                            LYNN                  We have snacks you know. Juice                  boxes.                            NORAH                  Had I known about the juice                  boxes...                                                               (CONTINUED)                                  GREEN REVISION 3/5/07        51.79   CONTINUED: (2)                                                  79     Rose makes the connection - her smile drops. Lynn picks up on     the tension between the two.                         LYNN               Okay. Well, see you around.     Lynn leaves. Rose slaps Norah with an accusing look.80   EXT. LAWSON'S USED CAR LOT - DAY                                   80     Joe stands with Sherm and waits for the girls to return. He     looks at his watch.                         SHERM               You still selling that luggage?                         JOE               No, no. That was a whole big mess.                         SHERM               Crappy zippers. Wasn't that it?     Sherm smiles. Joe's smile disappears.                         JOE               Yeah, that's been a while now.               Dropped the luggage around the time               your other lot when out of               business.     Touche. Sherm's smile dissolves.                         SHERM               I could maybe drop it to nineteen               even.     Joe holds out for more.                         SHERM               And toss in some wiper fluid.     Joe smiles.81   EXT. ICE CREAM HUT - DAY                                           81     Rose, Norah and Oscar walk back to the van. Everyone's     slightly stickier. Rose clenches her jaw.                         ROSE               What the hell?                                                          (CONTINUED)                                   GREEN REVISION 3/5/07       51A.81   CONTINUED:                                                       81                            NORAH                  I just wanted to give her the                  pictures.                            ROSE                  You took the pictures? Why would                  you do that? We could get in a lot                  of trouble for that.                            NORAH                  Relax, I didn't give them to her.82   INT. LORKOWSKI HOUSE - LIVING ROOM - ONE WEEK LATER -               82     EVENING     Joe sits in his Lazy Boy as Norah hauls a box from her room.                            NORAH                  It's just three blocks away.                            JOE                  I know.                                                           (CONTINUED)                                    GREEN REVISION 3/5/07        52.82   CONTINUED:                                                        82                            NORAH                  It's not like I'm never gonna see                  you.                            JOE                  Hey, I think you should have done                  this a long time ago.     Joe strains to be cavalier but he can't look at Norah.83   EXT. HOTEL - NEXT DAY - DAY                                          83     A marquee welcomes the conference attendees.84   INT. HOTEL CONFERENCE ROOM ≠ DAY                                     84     Rose sits on a folding chair and takes notes. The thirty or     so people listening to the SPEAKER appear to be mostly     hospital staff and EMT workers. A placard near the door     reads: SEMINAR FOR BLOOD BORNE PATHOGENS.     CARL SWANSON leans forward from his chair and looks down the     row to Rose.                            SPEAKER                  OK. Let's take a quick break before                  we move on to potential pathogens                  suspended in excrement.85   INT. HOTEL CONFERENCE ROOM ≠ FOOD TABLE - DAY                        85     Rose stands by a display of medical waste pamphlets and     munches on a sandwich. As she takes a bite, Carl walks up.                            CARL                  Food's better at the bar.                      (holding out his hand)                  Carl Swanson, Above and Beyond.     Flustered, Rose brushes crumbs off her face and inadvertently     deposits a blob of mustard on her cheek. They shake hands.                            ROSE                  Rose-                      (swallow)                  Rose Lorkowski. Nice to meet you.                            CARL                  I hear you're my new competition.                                                            (CONTINUED)                                    GREEN REVISION 3/5/07        53.85   CONTINUED:                                                        85                            ROSE                  We're hardly competition for you.                            CARL                      (smiles)                  I'm glad to see you're doing a                  little homework. A lot of people,                  you know, they think they can just                  jump in to this, make lots of                  money. But, they don't know what                  they're doing. No idea. They're not                  professional and that makes us all                  look bad.                            ROSE                  Well, we're not like that. I just                  have to complete this seminar and                  we're certified.                            CARL                  You're not certified?                            ROSE                  Not yet. Probably by the end of the                  month.     Carl smiles, dips a napkin in his cup of water and wipes the     smudge of mustard from Rose's cheek.                            CARL                  You had a...     Attendees file back to their chairs.                            ROSE                  I think it's starting.                            CARL                  Sure I can't buy you a drink?86   INT. HOTEL BAR - DAY                                                 86     Rose and Carl sit at the bar nursing drinks.                            CARL                  If you spray the enzyme at that                  point it'll just turn back to                  liquid which is a pain in the ass.                  The key is to bag it when it's kind                  of Jell-o-ee.                                                            (CONTINUED)                                    GREEN REVISION 3/5/07        54.86   CONTINUED:                                                        86                            ROSE                  That makes total sense. Why didn't                  I think of that?                            CARL                  You just figure all this shit out                  as you go. Experience.     Rose chews on her cocktail straw.                            ROSE                  It's not how I thought it'd be. I                  thought it'd be gross.     Rose stops. Reflects. Turns to Carl.                            ROSE                  Sometimes it's gross. The maggots                  are gross. The maggots kind of                  freak me.                            CARL                  Yeah.                            ROSE                  The sound. The munching sound.                            CARL                  And it's so hard to kill the little                  fuckers.                            ROSE                  Tell me about it. You pour                  industrial bleach right on                  `em...nothing.     Carl offers a knowing nod.                            CARL                  Just roll their eyes and call you a                  pussy.     Rose laughs and takes another sip of her drink.87   INT. HOTEL ROOM ≠ DAY                                                87     The door to the bathroom is open. Carl hums a happy tune in     the shower.     Rose shimmies back into her clothes with an expression of     self-loathing.                                                            (CONTINUED)                                      GREEN REVISION 3/5/07        55.87   CONTINUED:                                                          87                            ROSE                  I am strong. I am powerful.88   INT. VAN - THREE DAYS LATER - DAY                                      88     Rose drives and Norah holds a long list of funeral homes and     other establishments. They're all crossed off. Oscar sits     bored in the back.                            OSCAR                  What's a bastard?     Rose looks at Norah with concern.                            OSCAR                  Jeremy said I was a bastard. What                  does that mean?     Rose has no idea how to respond. Norah turns to face Oscar.                            NORAH                  It just means your mom wasn't                  married when she had you. It's no                  big deal. In a couple of years                  you're gonna find it's a free pass                  to cool. You'll probably start a                  band called Bastard Son. Use it to                  impress the chicks. Trust me, the                  whole bastard thing... it's working                  for you.     Oscar looks to Rose and then back to Norah.     Rose's phone rings. She answers it, relieved for the     distraction                            ROSE                  Hello, Sunshine Cleaning... Well,                  I'm glad you liked the Fancy                  Corn....Okay, yeah, yeah.     Rose grabs a pen, hands it to Norah and motions for her to     write something down.                            ROSE                  Okay... 2327 Grove Avenue. Got                  it... Sure. Yeah. Thank you.     Rose hangs up.                                                              (CONTINUED)                                      GREEN REVISION 3/5/07        56.88   CONTINUED:                                                          88                            NORAH                  What was that?                               ROSE                  A suicide!89   EXT. BRICK RANCHER - DAY                                               89     Rose pulls the van up to the house and sees the old lady     sitting out front. MRS. DAVIS.                               ROSE                  Oh, man.     Rose and Norah exchange a look and then Rose turns to Oscar.                            ROSE                  OK. Stay in the van. You want a                  soda or anything?     Oscar shakes his head.                            ROSE                  We won't be long.     As Rose and Norah get out and unload supplies the old lady     stands to greet them. She's dressed up in the way old ladies     are when they expect company.                            ROSE                  Mrs. Davis?     The woman nods. She is dazed with grief.                            ROSE                  We're the cleaning service.                            MRS. DAVIS                  Yes, yes. I... I wanted to give you                  the keys.     The old woman holds out a shaky hand. Rose gently takes the     keys. Norah hangs back.                              MRS. DAVIS                  In the sunroom. That's where my                  husband... I had bridge and...     She blinks twice, slowly, then snaps back.                                                              (CONTINUED)                                    GREEN REVISION 3/5/07        57.89   CONTINUED:                                                        89                            MRS. DAVIS                  Do you need me to show you?                            ROSE                  No, no. I think we can find it.                            MRS. DAVIS                  Oh. Okay. That's good then.     Rose and Norah gather their things and head up the stairs.                            MRS. DAVIS                  My son-in-law's coming to take me                  to lunch at the Howard Johnson's.                  They have such nice rolls there.     Rose hands Norah the key and motions for her to go ahead.                            ROSE                  Would you like to sit for a moment,                  Mrs. Davis?                            MRS. DAVIS                  Yes dear, I think I would.     Rose sits down on the steps with Mrs. Davis and Norah quietly     enters the house.     From the van Oscar watches Rose and the old woman sit side by     side on the front step. Rose's hand rests lightly on the     woman's bony shoulder. Words seem useless.90   INT. BRICK RANCHER - LIVING ROOM - DAY                               90     Norah looks around the room furnished modestly with a mixture     of antiques and things that are simply old.     Yellow sticky notes cling to doors, walls, light switches,     etc. Each note contains a simple instruction such as `turn     off light' or `watch news at 6:00'.     Norah walks past family photos that line the hall.91   INT. BRICK RANCHER - SUNROOM - DAY                                   91     Norah enters the red splattered room. A walker lies on its     side next to a blood-soaked rug. Golden sunlight pours     through the windows.                                                            (CONTINUED)                                       GREEN REVISION 3/5/07        58.91   CONTINUED:                                                           91     A yellow square sticks to a picture frame on the coffee     table. The frame holds the image of a smiling young couple in     a different era. The note reads `Edna plays bridge at 4:00'.     Norah slips a Tyvec jumper on and looks out the window. A car     pull up to the curb. Norah stops and watches her sister walk     Mrs. Davis to the car before starting her work.92   INT. BRICK RANCHER - SUNROOM - MOMENTS LATER                            92     Rose enters quietly, in a fog. The stillness of grief is     contagious.                              NORAH                  She okay?     Rose nods and picks up the photo of a younger Mr and Mrs     Davis. She then steps into her Tyvec coveralls and zips up.93   INT. VAN - DUSK                                                         93     Norah drives. Rose holds Oscar in her lap, arms clasped tight     around him.                            OSCAR                  That lady seemed really sad.                            ROSE                  Her husband died.     Oscar thinks about this a moment.                            OSCAR                  So he's in heaven?     Rose nods.                            OSCAR                  Maybe we could let her use our CB                  and she could talk to him.     Rose looks confused. Oscar presses on.                            OSCAR                  Maybe he would hear her.     Rose smiles. Doesn't seem like the moment to correct him.                              ROSE                  Maybe.                                                               (CONTINUED)                                     GREEN REVISION 3/5/07        59.93   CONTINUED:                                                         93     They ride the rest of the way home in silence.94   EXT. CONVENIENCE STORE - NEXT DAY - DAY                               94     Joe's Monte Carlo sits out front.95   INT. CONVENIENCE STORE - DAY                                          95     Oscar and Joe scratch game cards.                            OSCAR                  I won a million dollars!                            JOE                  Let me see that.     Oscar hands the ticket over.                            JOE                  You gotta get two hydrants with a                  matching amount. See? None of your                  fire hydrants match.     Oscar looks at the Lucky Dog card with defeat.                            JOE                  And three zeros is a thousand                  dollars. You woulda won a thousand                  dollars but it doesn't match                  anything.                            OSCAR                  What happens if it doesn't match                  anything?                            JOE                  You toss it and try the next one.     Oscar moves on to his next ticket. He scratches the coating     away and tentatively lifts his game card                            OSCAR                  I think I won five hundred dollars.     Joe looks at the card. He looks at Oscar and grins.                            OSCAR                  I'm gonna buy a trampoline and a                  karaoke player and some chocolate                  honey dipped donuts.                                                             (CONTINUED)                                    GREEN REVISION 3/5/07       59A.95   CONTINUED:                                                        95                            JOE                  Whoa now. Hold up there kiddo.                  That's not your money. That's my                  money.                            OSCAR                  I scratched it.                            JOE                  Yes you did. You scratched the                  ticket that I bought.     Oscar follows his grampa over to the pay phone.                                                            (CONTINUED)                                     GREEN REVISION 3/5/07        60.95   CONTINUED: (2)                                                     95                         JOE               And we're not going to spend the               money. We're going to invest the               money.     Joe plunks in some quarters, dials, waits while it rings.                         JOE               See, that's the difference between               a regular person and somebody with               business acumen. That's a good word               for you to know. A-cu-men. Means               smarts.     Oscar nods and sips his Coke.                         JOE                   (into the receiver)               Bobby! Joe Lorkowski here.                   (laughs)               I told you I'd call.                   (pause)               Yeah well, I got the money and               we're in. But you gotta throw in               twenty bags of ice.96   INT. ROSE'S HOUSE - KITCHEN - DAY                                     96     Rose pays bills at the kitchen table. Oscar bounces a super     ball.                         OSCAR               We're gonna make the money grow               because that's the smart way. It's               capital and you don't spend that.               You invest it. That way you can get               the SP250 and have money left over.                         ROSE               What are you talking about?     Oscar races out of the kitchen and then races back in with a     pamphlet showcasing the amazingly sleek SP250 binoculars. He     hands the pamphlet to Rose.                         OSCAR               The binoculars that grampa's gonna               get me for my birthday.                         (MORE)                                                             (CONTINUED)                                   GREEN REVISION 3/5/07       60A.96   CONTINUED:                                                       96                            OSCAR (cont'd)                  They've got an internal stabilizer                  thingy that's electronic so if                  you're in a speed boat or something                  it won't matter and...                                                           (CONTINUED)                                    GREEN REVISION 3/5/07        61.96   CONTINUED: (2)                                                    96                         ROSE               Oh honey, come here.     Rose pulls out a chair for Oscar. Oscar sits down and crosses     his arms in front of himself.                         ROSE               Sometimes your grampa promises               things that he really wants to               happen.                         OSCAR               No, he's really gonna get `em. He's               got a plan.                         ROSE               Okay. If you say so.     Rose goes back to the bills.97   INT. ALBUQUERQUE BLOOD SERVICES ≠ DAY                                97     Lynn wears a white coat. Norah sits in one of the reclining     chairs scattered about the room.                         NORAH               You made it seem so fun.                         LYNN               Oh it is fun. Would you like a               refreshment?     Norah smiles and shakes her head.                         LYNN               No?     Norah watches Lynn's hands push up her sleeve. Lynn rubs     iodine in expanding circles on the inside of Norah's arm.     Lynn puts plastic gloves on and ties a tourniquet around     Norah's arm. She puts a rubber ball in Norah's hand.                         LYNN               Can you squeeze that for me?     Norah squeezes the ball and Lynn touches the plump vein.                         LYNN               That's good. One more time.                                                            (CONTINUED)                                     GREEN REVISION 3/5/07        62.97   CONTINUED:                                                         97     Lynn takes the needle and draws it close to Norah's arm.                            NORAH                  Oh my God, is that the needle? It's                  a fucking cocktail straw.     Norah looks nervous. Lynn smiles reassuringly.                            LYNN                  Trust me, I'm very good at this.                  Squeeze again.     Norah squeezes, Lynn touches the soft blue stripe of blood     beneath Norah's skin and slides the needle into the vein.                            LYNN                  Wasn't that fun?                            NORAH                  You might have oversold it.     Lynn smiles.                            LYNN                  Kind of twirl the ball around in                  your hand. Good. It doesn't hurt,                  does it?                             NORAH                      (shakes her head)                  Feels hot.                            LYNN                  That's a good sign.     Norah self-consciously nods and smiles. Lynn turns and     jostles the bag of blood.                            NORAH                  My friend's having a thing tonight.     Lynn switches her attention from the blood back to Norah.                            NORAH                  Never mind.                            LYNN                  What?                            NORAH                  Nothing it's...                                                             (CONTINUED)                                   GREEN REVISION 3/5/07        63.97   CONTINUED: (2)                                                   97                            LYNN               What?                         NORAH               You wouldn't like it.                         LYNN               I might like it.98   EXT. PARTY HOUSE - NIGHT                                            98     Music and party-goers spill from the student ghetto house.99   INT. PARTY HOUSE ≠ LIVING ROOM - NIGHT                              99     Norah and Lynn sit on a ratty couch in a crowded smoke filled     room. Next to them, a flannel wearing burn-out rocks to     headphones. Norah wears a candy necklace. Debauchery plays     out around them.                         NORAH               I knew you wouldn't have any fun               here.                         LYNN               I am having fun.     Norah takes a tug on the joint and passes it to Lynn.                            LYNN               No thanks.                         NORAH               Lambs breath.                         LYNN               Yeah, no thanks.                         NORAH               Straight edge?                         LYNN                   (Shakes head)               Just kind of superstitious.     Norah nods and passes the joint across Lynn to the burn-out.     The burn-out tugs and passes it back to Lynn. Lynn waves it     off a second time.                                                           (CONTINUED)                                      GREEN REVISION 3/5/07        64.99   CONTINUED:                                                          99                            NORAH                  She's Mormon.                            LYNN                  I'm not Mormon. I just... You're                  gonna think it's weird.                            NORAH                  What?                            LYNN                  Sometimes I think that when you get                  high or drink or alter your                  consciousness like that--                            NORAH                  You don't drink?     Lynn shakes her head.                            LYNN                  I think it weakens you psychically...                  like it creates these cracks and                  then bad things can seep in and                  maybe never go away.     Norah stares at Lynn with great blood-shot concentration.                            NORAH                  All right, you're kind of freakin                  me out.                            LYNN                  Sorry.                            NORAH                  You should just tell people you're                  Mormon.                            LYNN                  I think your boyfriend is winning.     Two women gnaw at Randy's neck. His necklace is almost empty.                            NORAH                  Yes. Yes, he is.     Lynn lightly tugs on Norah's candy necklace. She leans in     close and takes a bite of the candy. Norah catches her     breath. Paralyzed.     Lynn smiles, pleased by Norah's reaction.                                                              (CONTINUED)                                      GREEN REVISION 3/5/07        65.99    CONTINUED: (2)                                                     99                          LYNN                    (whisper)                Breathe.      Norah snaps back.                          NORAH                I need more beer.      Norah pulls herself off the couch and starts for the keg. She      stops. Turns.                          NORAH                Um. Can I get you anything?                            LYNN                I'm good.      Norah offers a nervous smile.100   INT. NORAH'S APARTMENT ≠ LIVING ROOM - NIGHT                       100      Norah and Randy lie on a thread bare couch. Their bodies rock      to the motion of sex. Norah's thoughts are elsewhere.      A small TV sits next to Norah's growing collection of found      trinkets. It spills blue light into the smoke tinged air.      On the TV, a REPORTER stands outside Quicky Lube. Norah turns      her attention to the TV while Randy pumps and grinds. She      grabs the remote.                          REPORTER                    (on TV)                Tragedy today when an out of                control driver crashed his car into                a south side Quicky Lube killing                one employee.                          RANDY                What are you doing?                            NORAH                Shh.      Norah turns up the volume. Randy grinds to a halt.                                                              (CONTINUED)                                     GREEN REVISION 3/5/07        66.100   CONTINUED:                                                        100                             REPORTER                   The driver of the automobile,                   apparently suffered a heart attack                   at the wheel and is currently in                   critical condition.      The phone rings. Randy glares at Norah. Norah answers.                             NORAH                   Hello.                             RANDY                   Unbelievable.                             NORAH                       (into phone)                   Yeah, I'm watching it now.101   EXT. ROAD ≠ NIGHT                                                 101      A van zooms past with a SUNSHINE CLEANING MAGNET on the door.102   EXT. NORAH'S APARTMENT ≠ NIGHT                                    102      Randy steps out onto the porch where the big bosomed RABBIT      LADY strokes her rabbit. He closes the door behind him.                             RANDY                   Hey.                             RABBIT LADY                   Hey.      Randy starts down the steps feeling dejected.                             RABBIT LADY                   You like rabbits?      Randy stops and turns.103   EXT. QUICKY LUBE ≠ NIGHT                                          103      The large glass panel that made up the front of the store is      shattered. Shards dangle from red tipped edges. Blood and      glass mingle on the linoleum floor and plastic chairs.      Outside, Mac motions a stunned crowd to disperse. Rose and      Norah walk confidently past Mac into the lobby where a man      wearing a Quick Lube shirt stands off to the side and cries.                                                             (CONTINUED)                                       GREEN REVISION 3/5/07   67.103   CONTINUED:                                                     103      Mac watches as Rose goes back inside and greets the officer.104   INT. QUICKY LUBE - NIGHT                                       104      The OFFICER points to the shattered glass.                             OFFICER                   Nut job goes through the window                   there.                       (he stops, turns)                   You guys are BBP Certified, right?                             ROSE                   Legally, it's not really necessary.                             NORAH                   We are.                             ROSE                   We're in the process.                             NORAH                   You went to that thing.                             ROSE                   We adhere to all the proper                   procedures when dealing with a                   potentially hazardous situation. We                   are very professional.                             NORAH                   Wait. I thought you went to that                   thing.      Rose scans the area.                             ROSE                   Are you guys all finished?                             OFFICER                   It's all yours.      Rose and Norah slip into their Tyvecs.                             ROSE                   Why don't you grab the wet-vac and                   I'll start bagging the loose stuff.      The officer walks past Mac who continues to stare at Rose.      She looks beautiful and strong.                                     GREEN REVISION 3/5/07        68.105   EXT. QUICKY LUBE PARKING LOT - NIGHT                              105      Rose and Norah pull supplies from the van and ready      themselves for the Quicky Lube job.                          NORAH                I thought you went to the thing.                          ROSE                I did. I mean, I went to part of                it. Most of it.                          NORAH                What do you mean you went to part                of it? It was a one day thing.                          ROSE                I got side tracked.                          NORAH                Side tracked?                          ROSE                That Above and Beyond guy was                there. Carl. We got talking shop                and--                          NORAH                Oh my God, you humped Carl!      Rose can't deny it. Norah shakes her head.                          ROSE                I'm already registered for the next                one.                          NORAH                That's disgusting.106   EXT. DESERT ROAD - TWO DAYS LATER - DAY                           106      Joe and Oscar sit in the car pulled off to the side of a      lonely highway intersection.                          JOE                You got twenty bucks and you want                three pizza's. They cost five                dollars each and you have a coupon                for two dollars off.                          (MORE)                                                             (CONTINUED)                                     GREEN REVISION 3/5/07        69.106   CONTINUED:                                                        106                             JOE (cont'd)                   You figure you'll tip the delivery                   guy a couple bucks but the                   delivery guy turns out to be a                   lady. Real sizzler. So you give her                   a crisp five. How much do you have                   left?      Oscar thinks.      Joe assumes there's no way the kid's getting this and turns      his attention outside. A truck appear on the horizon.                             OSCAR                   Two dollars?                             JOE                   Hey, how'd you come up with that?                             OSCAR                   Math.      The truck slows down as it reaches the intersection, pulls      off the road, and stops. Joe gets out and walks over.      Oscar watches the trucker hop down from the cab and shake      Joe's hand like they're old friends.                                                              CUT TO      The trunk of the Monte Carlo brims with shrimp and ice. Joe      slams it closed, climbs in the car and gives Oscar a wink.107   EXT. HIGHWAY - DAY                                                107      The Monte Carlo slices through a vast empty landscape.108   INT. JOE'S CAR - DAY                                              108      Joe beams with excitement.                             JOE                   The thing is Oscar...and this is                   important to learn early...life is                   sales. Buying and selling. It's the                   core of social interaction. And                   human beings are social beings.      Smoke starts to seep out from under the hood. Joe eyes the      temperature gauge.                                                             (CONTINUED)                                    GREEN REVISION 3/5/07       69A.108   CONTINUED:                                                       108                             JOE                   No, no, no, no, no.109   EXT. ADOBE HOUSE - DAY                                           109      Norah loads equipment into the van, gets in and waits for      Rose to finish the transaction.      A MIDDLE AGED WOMAN opens the door. She's angry.                                                            (CONTINUED)                                        GREEN REVISION 3/5/07   70.109   CONTINUED:                                                      109                             ROSE                   I'm sorry, I don't mean to bother                   you. I just wanted to let you know                   that we're all finished up and--      The woman glares at Rose.                             MIDDLE AGED WOMAN                   Oh, you want to get paid.                             ROSE                   We can come back later if that's                   better.      The woman shakes her head and holds out a check.                             MIDDLE AGED WOMAN                   I can't believe I have to deal with                   this now. My son just died for                   Christ's sake.      The woman looks away.                             ROSE                   I'm so sorry for your loss.      Rose starts to leave.                                MIDDLE AGED WOMAN                   Thank you.      Rose stops. Turns                             MIDDLE AGED WOMAN                   For what you did. Thank you.      Rose nods and continues on to the van.110   INT. VAN - DAY                                                  110      They ride down an Albuquerque street in silence.                             ROSE                   You want a Coke?                                NORAH                   Sure.                                    GREEN REVISION 3/5/07        71.111   INT. GAS STATION FOODMART - DAY                                  111      Rose fills a cup at the soda fountain. Through the window she      sees Mac and family pull up on the other side of the store.      Mac gets out and pumps gas. The woman, HEATHER, laughs with      the little girl in the back seat. They look happy.      Rose's fountain drink overflows.                          ROSE                Dammit.      Rose grabs for a napkin which clumps and tears.      The door BEEPS. Rose jumps behind the candy rack and peeks      around. All clear. She turns and smacks into Heather. Heather      glares at Rose.                          HEATHER                You think I don't know?      Heather trembles with anger. Rose stands frozen.                          HEATHER                You may have been hot shit in high                school but what are you now?                Nothing. A waste of space.      Heather reaches out and gives Rose a little push. Ten years      of anger culminating in this one anti climactic gesture.      Rose watches Heather walk away and knows every word is true.112   EXT. DESERT ROAD - DAY                                           112      A stream of water leaks from the trunk. Joe gets out cursing      under his breath. He kicks the car and a hub cap falls off.      It's an unbearable insult.                          JOE                Stupid shit heap!      Fifty years of failures result in an explosion of      frustration. Joe stomps on the hub cap, picks it up and      throws it as far as he can.      Joe gathers himself and leans in the window. He forces a      smile at Oscar. Oscar looks nervous.                                                            (CONTINUED)                                        GREEN REVISION 3/5/07        72.112   CONTINUED:                                                           112                             JOE                   It's alright. Everything's okay.      Joe opens the trunk and checks on the shrimp. A car zooms by.      Joe tries to wave it down. No good. Another zooms by.                             JOE                   Come on, come on, come on, come on.      Joe struggles to wave down a car. No luck. Joe has an idea.                             JOE                   Make like you're crying.      Oscar turns on the tears. A car stops.113   INT. LORKOWSKI HOUSE - LIVING ROOM - EVENING                         113      Rose walks in. Oscar and Joe feign casualness.      Joe looks at the bathroom door which stands open. Inside the      tub brims with shrimp and ice.                             ROSE                   What did you guys do today?                              OSCAR                   Nothing.      Rose turns to Joe who shrugs.                             ROSE                   How's it without Norah here?                              JOE                   Weird.      Joe walks over and casually shuts the bathroom door.114   EXT. DOGHOUSE WEINER HUT ≠ NIGHT                                     114      Randy stuffs his face with a hotdog while Norah glares,      annoyed.                             RANDY                   I'm sorry. I know it was stupid.                             NORAH                   On so many levels.                                                                (CONTINUED)                                       GREEN REVISION 3/5/07        73.114   CONTINUED:                                                          114                             RANDY                   I'm really sorry. I swear it won't                   happen again. It's just... you                   weren't around and...      Norah shakes her head. Randy doesn't know what to say.                             NORAH                   Listen, Randy I think we should                   stop hanging out.                             RANDY                   You're breaking up with me over the                   rabbit lady?      Norah doesn't respond.                              RANDY                   I don't know, the way you act, I                   didn't even think that you'd care                   that much.                               NORAH                   Yeah, I don't. I should, but I                   don't. And you're a really great                   guy. But...I don't care if you have                   sex with the rabbit lady... and I                   mean, it seems like I should care                   about that.115   INT. ROSE'S HOUSE - LIVING ROOM - NIGHT                             115      Rose opens a stack of neglected mail. She is interrupted by a      light knock on the door. Rose peeks out the peep hole.                             ROSE                   Shit.      Rose hesitates, then opens the door just a crack.                             MAC                   Rose.                             ROSE                   What are you doing here?                             MAC                   Can we talk a minute?                             ROSE                   Oscar's asleep.                                                               (CONTINUED)                                       GREEN REVISION 3/5/07        74.115   CONTINUED:                                                          115      Rose stands her ground for a moment before stepping outside.                             MAC                   It was great seeing you last night.                   You looked so professional and                   confident. Your own business...      Mac touches her lightly on the arm.                             ROSE                   How's the baby?      Mac looks away.                             MAC                   I just wanted to congratulate you                   on the business. Seems like things                   are really going great for you.      Rose and Mac's eyes meet.      Rose smiles.                             ROSE                   They are. If we keep going at this                   rate I can hire a couple of                   employees soon, put a little more                   in marketing, give those Clean                   Sweep guys a run for their money.      Rose glows.                             ROSE                   I'm a business woman.                             MAC                       (nodding)                   You're a business woman.116   EXT. LYNN'S APARTMENT BUILDING - NIGHT                              116      Norah stands disheveled, six pack in hand. Lynn opens the      door wearing slippers.                             NORAH                   Ever been trestling?117   EXT NOB HILL RESTAURANT ROW - NIGHT                                 117      Shrimp jiggles in Joe's hand cart as he makes his way toward      the row of upscale restaurants.                                                               (CONTINUED)                                      GREEN REVISION 3/5/07        75.117    CONTINUED:                                                        117       A couple of upscale hipsters stare curiously at the hand cart       as they pass Joe.118    INT. ROSE'S HOUSE - OSCAR'S BEDROOM - NIGHT                       118       Sounds of sex seep through thin walls. Oscar sits up in bed.       After a moment he crawls out of bed, he grabs a flashlight       from his shelf and exits his room.118A   INT. ROSE'S APARTMENT - ROSE'S BEDROOM - NIGHT                    118A       The mattress squeaks slightly as Mac and Rose have sex.119    EXT. ROSE'S HOUSE - NIGHT                                         119       In pajamas and bare feet, Oscar steps into the night. He       flicks on the flashlight.120    EXT. WOODS - NIGHT                                                120       Norah leads Lynn through a wooded area toward a train       trestle. Norah carries the two remaining beers of a six pack.                              LYNN                    Are the bodies there?                              NORAH                    No. The person is gone. It's weird                    `cuz we're connected to them in                    this strangely intimate way... but                    we never actually meet them. It's                    just kind of weird.       Norah steps over a discarded tire.                              NORAH                    I have seen a dead body once                    though.                              LYNN                    Yeah?                              NORAH                    My mom.       Lynn follows Norah, not knowing how to respond. It's awkward.       Norah tries to lighten things.                                                              (CONTINUED)                                    GREEN REVISION 3/5/07       75A.120   CONTINUED:                                                       120                             NORAH                   She was in a movie of the week                   once, ya know.                                                            (CONTINUED)                                      GREEN REVISION 3/5/07        76.120   CONTINUED: (2)                                                     120                               LYNN                   Your mom?      Norah nods.                             NORAH                   A bunch of Hollywood people were                   filming down in Old Town. They                   thought my mom was so beautiful and                   so talented that they gave her a                   speaking part. You want to hear it?      Lynn nods.                             NORAH                   `I recommend the pecan pie.'      Norah looks back at Lynn for applause.                             LYNN                   I recommend the pecan pie?      Norah nods.                             NORAH                   That was her line. It was on TV and                   everything.                             LYNN                   That's pretty cool.                             NORAH                   Me and Rose, we didn't actually see                   it but Rose says mom talked about                   it all the time. I don't remember.      Norah shrugs.                             NORAH                   I don't remember her much at all. I                   have this box of her stuff though,                   little things she touched. When it                   seems like she never even really                   existed... it's proof.      The two reach the bottom of a train trestle.                             NORAH                   All right. This is where we climb.                               LYNN                   What?                                                              (CONTINUED)                                     GREEN REVISION 3/5/07        77.120   CONTINUED: (3)                                                    120                          NORAH                Up to that girder.      Norah points to a rusted girder about eight feet from the      underbelly of the track.                          LYNN                I'm not climbing up there.                          NORAH                Best place to be when it comes.                          LYNN                Uh-uh.      Norah slips her hand through one of the plastic rings of the      six pack and starts to climb.                          NORAH                You're gonna miss the best part.                          LYNN                I accept that.      The two cans of beer dangle from Norah's arm like a giant      charm bracelet and clank against girders as she climbs.                            NORAH                It's like... it's like this big                pissed off God up in your face just                screaming at you. So close you can                smell the metal on his breath.                          LYNN                Sounds great.                          NORAH                It is. I'm telling you.      Norah wedges her butt into the belly of a beam and taps her      fingers against the rusted girder. After a moment she leans      out and looks down toward Lynn.                          NORAH                I didn't mean to bum you out with                the whole mom stuff. I just thought                you would... I don't know, I guess                I thought...                          LYNN                What?                                                             (CONTINUED)                                     GREEN REVISION 3/5/07        78.120   CONTINUED: (4)                                                    120      The trestle starts to shake.                          NORAH                He's coming.      The thunder gets louder. Lynn covers her ears. Norah pops      open a beer and laughs as the train approaches.121   EXT. ROSE'S HOUSE - NIGHT                                         121      Oscar walks along the sidewalk alone. He stops at the van,      opens the door and gets in.      He looks very small in the driver's seat. He lifts the      handset to the CB.      INTERCUT DIALOGUE WITH FOLLOWING SEQUENCE                          OSCAR                What was I before I was born? What                happens when we die? Do animals go                to the same place as we go after we                die? Is heaven really crowded? When                somebody gets an arm chopped off                does it go to heaven? Is Jesus                another name for you or are you two                separate people? Were you born?                Will you die? If you already live                in heaven where do you go when you                die?122   EXT. TRAIN TRESTLE - NIGHT                                        122      The train careens above Norah. Sparks fly from the blur of      wheels. The sky flashes between each of the cars. Stars and      grease and metal and night collide. Norah closes her eyes.      The sound of the train merges with the loud static of a CB.123   EXT. LORKOWSKI HOUSE - FRONT YARD - 1987 - DAY                    123      The sky is an electric blue. The kind that lives in memories      and dreams. Rose (10) and Norah (5) play in a parked car.      Rose pretends to drive and smoke a cigarette while Norah      makes faces in the rearview mirror.                                                             (CONTINUED)                                    GREEN REVISION 3/5/07    78A.123   CONTINUED:                                                    123      Rose gets out of the car and races toward the house. Norah      chases after.                             NORAH                   Rose, wait for me.                                    GREEN REVISION 3/5/07        79.124   INT. LORKOWSKI HOUSE - LIVING ROOM - 1987 - DAY                  124      A giggling Rose stumbles in. She stops. The bathroom door is      open slightly. She walks over peeks through the opening.      There's a dress crumpled on the floor. A woman slumps      motionless in the tub. Her delicate hand hangs over the edge.      Scarlet fingerprints mar the white porcelain.      Norah enters the front door. She smiles, unburdened by the      knowledge. She runs towards Rose. Rose quickly pushes her      back and closes the door.      Norah senses something's wrong. She struggles to see what's      behind the door but Rose won't let go.125   EXT. TRAIN TRESTLE - NIGHT                                       125      The static mixes back into the roar of the train. The roar      grows distant and is replaced by Norah's laughter.      Still laughing, Norah takes a sip of her beer and sets it on      a beam next to her. The beer falls. Norah tries to catch it,      loses her balance and falls with a thud.      Lynn catches her breath.                             LYNN                Oh, shit.      Lynn runs over to find Norah on her back, eyes closed. Norah      opens her eyes and laughs.                             LYNN                You idiot.      Norah grabs the beer that she had been chasing. There's not      much left but she downs the remainder.                          NORAH                Sneaky fucker.                                                            (CONTINUED)                                     GREEN REVISION 3/5/07        80.125   CONTINUED:                                                        125                             LYNN                   That was really stupid.                             NORAH                   I think I broke my hand.                             LYNN                   Really?      Lynn leans close with real concern.                             NORAH                   No. But it hurts like a mother.      Lynn pops the top on the remaining beer and takes a huge gulp      before handing it to Norah.126   EXT. ROSE'S HOUSE - SIDEWALK - NIGHT                              126      Oscar walks down the sidewalk alone. His flashlight provides      small circle of light on the cement in front of him.127   INT. ROSE'S HOUSE - LIVING ROOM - NIGHT                           127      Rose stands in her T-shirt and undies. Mac shuts the door.      Rose leans her head against the door and exhales deeply. She      turns as if something is calling her.128   INT. ROSE'S HOUSE - KITCHEN - NIGHT                               128      Rose stands on tip toes and feels around on top of the      refrigerator until she finds what she's looking for...      emergency cigarettes.129   INT. ROSE'S HOUSE - LIVING ROOM - NIGHT                           129      Rose sits down on the couch and lights her cigarette. The      nicotine patch is still clearly visible on her arm.      Rose looks at the stack of unopened mail. Something grabs her      attention. An envelope bearing the return address of Paula      Datzman-Mead. Rose rips opens the envelope.      Rose stares at an invitation to Paula's baby shower. A smile      creeps across her face.      The front door opens and Oscar walks in.                                                             (CONTINUED)                                      GREEN REVISION 3/5/07        81.129   CONTINUED:                                                         129                              ROSE                   Oscar?      Brow furrowed, he walks past Rose without acknowledging her.      He goes straight to his room and shuts the door.130   INT. NORAH'S APARTMENT ≠ LIVING ROOM - NIGHT                       130      A bottle of wine sits empty on a box next to two nearly empty      Styrofoam cups.                             LYNN                   How's the hand?      Norah shakes the last few drops from her cup and starts      gnawing on the side. Lynn takes Norah's hand and examines it.                              NORAH                   Ow!                              LYNN                   Sorry.      Lynn draws Norah's hand close to her lips. Smiles. Looks at      Norah. Norah's a deer in headlights. Lynn kisses Norah's      hand. Everything is still and tense.                              LYNN                   Better?      Norah   stares at her recently kissed hand and nods. She looks      up to   Lynn. Lynn kisses Norah lightly on the lips. A tester      kiss.   Then again. Softly. Norah doesn't move, eyes locked on      Lynn.   All is good.      Norah leans in and kisses Lynn's neck. Lynn's eyes are closed      enjoying the moment.      Lynn opens her eyes. The school photos of Lynn sit directly      across from her on the shelf. Lynn stares at the pictures.      Waves of recognition and confusion register in her eyes.      Norah kisses Lynn's neck oblivious.                              LYNN                   Is that?      Lynn pulls away.                             LYNN                   Are those...                                                              (CONTINUED)                                       GREEN REVISION 3/5/07        82.130   CONTINUED:                                                          130      Lynn tries to suss it out, shakes her head, looks at Norah.                             LYNN                   How do you have my school pictures?                             NORAH                   I just... I found them. I was gonna                   tell you.      Lynn shakes her head disbelieving.                             LYNN                   Where would you find old pictures                   of me?                              NORAH                   At work.                              LYNN                   What?                             NORAH                   We did this job a while back. This                   woman...      Lynn scans the other trinkets arranged neatly on the shelf.      Her eyes focus on the photo ID. Her mother. Her face goes      completely blank. Shock.                              LYNN                   My mom.      Norah bites her lip and nods.                             LYNN                   My mom is dead.      A hazy mix of shame, sadness and guilt seeps into the void.                             NORAH                   I wanted to tell you... that first                   day. That's why I--                             LYNN                   You knew this whole time?                             NORAH                   I think... You know, I think                   there's a reason that I found them.                   The pictures. Because that lead me                   to you, right?                             (MORE)                                                               (CONTINUED)                                     GREEN REVISION 3/5/07        83.130   CONTINUED: (2)                                                    130                          NORAH (cont'd)                And I don't know exactly what went                on between you and your mom... what                the situation was... but it just                seems like... You know, of anybody,                I would understand.      Lynn's hazy emotional mix has hardened into something sharp.      Anger. She looks at Norah with disgust.                          LYNN                You would understand?      Lynn turns to leave.                          NORAH                Wait. Please. Don't...I--      Lynn opens the door. Norah reaches out but Lynn stops her      with an icy look.                          LYNN                You're sick, you know that? There's                something wrong with you.      Lynn shuts the door and it feels like a slap.      Norah sinks down onto the couch. Just Norah now. The      emptiness crowds around her.131   EXT. ROSE'S HOUSE - ONE WEEK LATER - DAY                          131      The afternoon sun beats against the weathered paint.132   INT. ROSE'S HOUSE -    BEDROOM - AFTERNOON                        132      The baby shower invitation looms large on the makeup table.      Rose wears a slip and unusually big hair. She grabs several      outfits from her closet. Oscar watches.                          ROSE                The blue or the flowery?                             OSCAR                The blue.                             ROSE                Good call.      Rose slips on the dress and sits to apply mascara. Oscar      shuffles out of the bedroom.                                                             (CONTINUED)                                        GREEN REVISION 3/5/07        84.132   CONTINUED:                                                           132      Rose's cell phone rings. She picks up the phone while      applying lipstick.                             ROSE                   Sunshine Cleaning.                             INSURANCE GUY                       (over phone)                   Hello, this is Henry Schmidt at                   State Farm.                             ROSE                   State Farm?                       (pause)                   State Farm! Yes. Hello.                             INSURANCE GUY                       (over phone)                   I spoke with you about a month ago.                             ROSE                   Yes! Hi. What can I do for you?                             INSURANCE GUY                       (over phone)                   We've got a house we need to turn                   around and our regular guys are                   busy in Santa Fe today. Thought I'd                   give you all a call.      Rose knocks over a bottle of nail polish remover as she grabs      a pen and writes down the info.                             ROSE                   Great. No problem.      Rose hangs up.                             ROSE                   Shit, shit, shit.      Rose pulls on some panty hose and wrestles with her shoes.                             ROSE                   Honey, call grampa.      Oscar dials.                                OSCAR                   It's busy.                                                                (CONTINUED)                                     GREEN REVISION 3/5/07        85.132    CONTINUED: (2)                                                   132       Rose grabs her purse. Rose and Oscar rush out. A baby shower       gift sits forgotten by the door.133    INT. NORAH'S APARTMENT - BEDROOM - AFTERNOON                     133       Norah cradles a phone to her ear and shoves clothes from a       box into an old dresser.                           NORAH                 Blow off the shower.133A   INT. VAN - AFTERNOON                                             133A       Rose drives the van and talks on her cell phone. Oscar looks       tiny in the passenger seat.                             ROSE                 I can't I... I RSVPed.       INTERCUT PHONE CONVERSATION                           NORAH                 So tell him we can't do it.                            ROSE                 It's an insurance company. They                 could throw us a ton of work. This                 is our in.                           NORAH                 So, don't go to the damn baby                 shower. It's not like you ever even                 liked Paula.                           ROSE                 I promise I'll come straight after                 the shower and help finish up.134    EXT. LORKOWSKI HOUSE - DAY                                       134       Rose and Oscar walk up to the house. Rose tries the door but       it's locked. She knocks. No answer. An uneasy tension shoots       through her.       She fumbles for her keys to unlock the door and is hit with a       horrible familiar smell. Oscar pinches his nose.                                                             (CONTINUED)                                        GREEN REVISION 3/5/07       85A.134   CONTINUED:                                                           134                                OSCAR                   Pee-ew.                             ROSE                   Stay out here.                                OSCAR                   Why do I--                                                                (CONTINUED)                                     GREEN REVISION 3/5/07        86.134   CONTINUED: (2)                                                    134                          ROSE                    (too sternly)                Because I said so.      Angry, Oscar sits down on the steps.135   INT. LORKOWSKI HOUSE - LIVING ROOM - DAY                          135      The phone next to Joe's Lazy Boy is off the hook.                          ROSE                Dad!      Rose walks briskly through the house. Urgency mounts with      each step.                          ROSE                Dad! Daddy!      Rose throws the bathroom door open in a panic.136   INT. LORKOWSKI HOUSE - BATHROOM - DAY                             136      Joe scoops rotten shrimp from the bathtub with an empty fancy      corn canister and dumps them into a garbage can.      Rose recoils at the intense smell.                          JOE                I'm busy here.      He tries to swing the door shut but Rose stops it. Steps in.                          ROSE                Damn it dad, you scared me.      Sweat drips down Joe's face. He continues his labor and      avoids looking at Rose.                          JOE                Those snotty restaurant fucks                wouldn't buy my shrimp. Some                bullshit about health codes or                whatever. I don't believe that shit                for a second.                          ROSE                God, dad what were you--      He holds up a finger.                                                             (CONTINUED)                                       GREEN REVISION 3/5/07        87.136   CONTINUED:                                                          136                             JOE                   Don't. Don't start with me.                       (Pause)                   Bastards completely shut me out.                   They got their own little cartel.                   Little restaurant mafia. I bet they                   screwed with my car too. I wouldn't                   put it past `em. Bunch of shady                   mother fuckers.      Rose leans against the door and watches her father. A wet      slap punctuates each new deposit into the garbage.                             ROSE                   I need you to watch Oscar.      Another load of slimy shrimp smacks the garbage.                              JOE                   I can't.                             ROSE                   What do you mean you can't?                             JOE                   I can't watch Oscar today Rose.                             ROSE                   I'm in a real bind here.                             JOE                   Yeah, well it's hard, isn't it?                   Raising a kid on your own. Try two.137   EXT. CLEANING SUPPLY STORE - DAY                                    137      Rose and Oscar get out of the Sentra and march toward the      store.138   INT. CLEANING SUPPLY STORE - DAY                                    138      Winston sees Rose and Oscar through the window and returns      his attention to the model plane before him.      Rose and Oscar enter.                             WINSTON                   You look nice.                                                               (CONTINUED)                                    GREEN REVISION 3/5/07       87A.138   CONTINUED:                                                       138                             ROSE                   Thanks.      Winston finishes gluing the piece and looks up.                                                            (CONTINUED)                                    GREEN REVISION 3/5/07        88.138   CONTINUED: (2)                                                   138                          ROSE                I was wondering if Oscar could hang                out here for a little while.      Winston looks nervous. He looks at Oscar.                          ROSE                I've got this baby shower to go to                and Norah's working a job and my                dad's incapacitated... Do you mind?                          WINSTON                I guess not.                          ROSE                You're a lifesaver.                          WINSTON                You did your hair different.                          ROSE                You like it?      Winston nods.                          ROSE                All right. Be good. I'll pick him                up in a few hours when I'm done.      Rose leaves. Oscar and Winston are left on their own. Winston      forces a smile. Oscar does not reciprocate. Winston turns and      walks to the back room.139   INT. CLEANING SUPPLY STORE - BACK ROOM - DAY                     139      Winston glues a tiny piece to the model plane. Oscar inches      his way over.                          OSCAR                What's that?                          WINSTON                This is a World War Two Mitchell                Cannon Nose Bomber.      Oscar leans in closer to examine all the tiny pieces.                          OSCAR                You make all these models?      Winston nods and points to a teeny plastic strut.                                                            (CONTINUED)                                         GREEN REVISION 3/5/07        89.139    CONTINUED:                                                           139                              WINSTON                    Dab the end of that in the glue.                    Just a little bit.       Oscar carefully dabs the plastic piece in the puddle of glue       and hands it to Winston.                              OSCAR                    What's that piece for?                              WINSTON                    It's a strut.       With delicate precision, Winston attaches the piece.                              OSCAR                    What's a strut?                              WINSTON                    Supports the wing.       Oscar examines one of the many completed models.                              OSCAR                    Seems like it'd be hard to build                    models with just one hand.                              WINSTON                    It is.140    EXT. ISOLATED ROAD - AFTERNOON                                       140       Norah drives the van down a desert road.140A   EXT. DATZMAN-MEAD DRIVEWAY - AFTERNOON                               140A       Rose pulls the Nissan in. She checks her lipstick in the       rearview mirror before getting out and heading to the door.141    EXT. LAUGHING BUDDHA HOUSE - AFTERNOON                               141       Norah pulls supplies from the van and lugs them to the house.142    INT. LAUGHING BUDDHA HOUSE - KITCHEN - AFTERNOON                     142       Norah grabs a bottle of OJ from the fridge, checks the       expiration and takes a slug. Cat bowls sit in the corner.                                                                 (CONTINUED)                                  GREEN REVISION 3/5/07       89A.142   CONTINUED:                                                     142      Norah examines a snapshot on the fridge. A chubby middle-aged      woman surrounded by cats. The woman is bald and smiling.      Norah spots some incense. She holds a stick to her nose.143   INT. LAUGHING BUDDHA HOUSE - BEDROOM - AFTERNOON                143      Norah lights the incense stick and sets it on the dresser      next to a little statue of the laughing Buddha. A collection      of cat whiskers sits in the Buddha's lap.      Evidence of death soils the bed. Books crowd the night stand.      Living with Breast Cancer, Foods That Fight Cancer, and      Coming to Terms With Death.                                                          (CONTINUED)                                      GREEN REVISION 3/5/07        90.143   CONTINUED:                                                         143      Norah rolls out plastic sheeting and prepares the room.144   INT. DATZMAN-MEAD HOUSE - GREAT ROOM - AFTERNOON                   144      The room titters with wannabe country clubbers. They nibble      appetizers around a pastel tower of gifts.      Rose lifts a cheese puff to her mouth. She's flanked by Paula      and a MOUSEY WOMAN in a pink dress and matching pink pumps.                             MOUSEY                   So Rose, what are you doing? Are                   you still cleaning houses?                             PAULA                   Rose has gone into real estate.                             MOUSEY                   Really?                             ROSE                   Actually, I own my own business.                             MOUSEY                   A real estate business?                             ROSE                   No. It's a biohazard removal and                   crime scene clean up service. It's                   a growth niche industry right now ≠                   highly technical and competitive.                             MOUSEY                   What does that mean ≠ biohazard                   removal whatever?                             ROSE                   A lot of times, when somebody dies,                   it can be kind of, you know, messy.                   So, we go in and clean up all that                   left over mess. Make sure that the                   area is clean and sanitary.      Paula and Mousy exchange a glance infused with disgust.                             ROSE                   People just don't understand the                   health and safety risks involved in                   disposing of biological material                   like blood and body fluids.                                                              (CONTINUED)                                        GREEN REVISION 3/5/07        91.144   CONTINUED:                                                           144                                PAULA                   Oh my God.                               ROSE                   Course, we have a whole arsenal of                   disinfectants and um... professional                   techniques. Like I said, it's a                   highly technical and professional                   operation with a whole complicated,                   you know... methodology behind it.      Pleased with herself, Rose grabs another cheese puff.                             ROSE                   Real growth industry.                             MOUSEY                   I can't imagine. You like doing it?                                ROSE                   Yeah.      Rose stops. She hadn't thought about whether she liked it.                             ROSE                   I do. We come into the lives of                   people who have just experienced                   something so sad and profound.                   They've lost somebody. The                   circumstances are different but                   that's the same.      As Rose talks, her whole demeanor changes. Relaxes. That      brittle, self conscious edge dissipates.                             ROSE                   And we help them. In this one small                   way... we help.      Rose is lost in her thoughts. Something profound is shifting.                             MOUSEY                   Sounds horrible to me.                             PAULA                   I believe I'd vomit.145   INT. LAUGHING BUDDHA HOUSE - BEDROOM - AFTERNOON                     145      Norah stuffs bedding in biohazard bags and wraps the mattress      in plastic sheeting. A fan clanks at the window.                                                                (CONTINUED)                                        GREEN REVISION 3/5/07        92.145   CONTINUED:                                                           145      Norah struggles to get the wrapped mattress though the door.      It tips and Norah bangs her hand against the door frame.                                NORAH                   Shit.      The incense falls from the dresser. Norah finally muscles the      mattress through the doorway.146   EXT. LAUGHING BUDDHA HOUSE - AFTERNOON                               146      Norah drags the mattress to the driveway. A wisp of smoke      curls from the window behind her.      As Norah rubs her injured hand, she hears the teeniest MEOW      rise from the bushes. She investigates.      A little orange fluff ball at the base of some box hedges      looks up with big startled eyes. Norah smiles.                             NORAH                   Oh my God, you're the cutest thing                   ever. Did you get left behind?      The kitten answers with a pitiful raspy sound that passes for      a meow. Norah is powerless to resist.                                NORAH                   It's okay.      As Norah leans down to pick up the kitten, it darts from the      bushes and heads toward the road.                             NORAH                   No, no, no.      Norah chases the frightened kitty across the street and      disappears behind a house.      After a moment, Norah emerges from behind the house. She coos      at the small kitten cradled in her arms, then looks up. An      expression of horror and disbelief sweep over her.      Norah runs toward the house.147   INT. DATZMAN-MEAD HOUSE - GREAT ROOM - AFTERNOON                     147      A PEPPY WOMAN with the enthusiasm of a game show contestant      stands on a stool and waves her arms.                                                                (CONTINUED)                                     GREEN REVISION 3/5/07        93.147   CONTINUED:                                                        147                             PEPPY                   Okay, ladies. For our first game                   we've taken five different kinds of                   candy bars and melted them in these                   diapers.                             MOUSEY                   Oh I love this game.                             PEPPY                   You all can--      Somewhere a cell phone rings. The peppy woman stops and looks      at Rose. Rose digs into her purse and pulls out the offending      phone. She checks caller ID. It's Norah. She cuts it off.                             ROSE                   Sorry.      Rose forces a smile at Peppy who motions for someone to start      distributing the diapers.                             PEPPY                   You can look, smell and taste. The                   first to identify all five                   correctly wins!148   INT. LAUGHING BUDDHA HOUSE - BEDROOM - AFTERNOON                  148      Flames shoot up around the dresser and gobble a curtain.      Norah slaps a towel at the flames with one hand and holds a      phone with the other.                             ROSE                       (over the phone)                   Hello, you've reached Sunshine                   Cleaning. You're call is very                   important to us so...                             NORAH                   FUCK!      Norah snaps the phone shut and continues slapping back the      flames.149   INT. DATZMAN-MEAD HOUSE - GREAT ROOM - AFTERNOON                  149      Rose watches with a detached expression as Floral clad women      stick their noses in the brown goo of the diapers.                                                             (CONTINUED)                                     GREEN REVISION 3/5/07        94.149   CONTINUED:                                                        149      It hits Rose that she does not belong here. And for the first      time, she does not want to belong here. She turns to Paula.                             ROSE                   You know what? I... uh...Actually,                   there's somewhere I need to be.                             PAULA                   Oh nooo! You can't leave now. We're                   just starting the games.                             ROSE                   Yeah. Well...                       (smiles and nods)                   Yeah.      Rose stands and weaves her way through the throng of Stepford      moms. Relief sweeps across her face as she nears the door.150   INT. ROSE'S CAR - EVENING                                         150      Rose drives as the sun sinks into the desert landscape.151   EXT. LAUGHING BUDDHA HOUSE - NIGHT                                151      Rose pulls up near the fire trucks and still smoldering      house. Rose steps from the car with an expression of horror.      Fear grips her as she scans the area for her sister. Then she      sees Norah, sitting in the van across the street. Headphones      on. Kitten curled up in her lap.      Rose marches over but Norah doesn't notice her until she raps      on the window. Norah pulls off her headphones, opens the door      and slides out of the van.                             NORAH                   It was an accident.      Rose's mouth slackens as her mind stumbles over the probable      consequences of the scene before her.                             ROSE                   Oh my God, what have you done?                             NORAH                   It was an accident.                                                             (CONTINUED)                                       GREEN REVISION 3/5/07        95.151   CONTINUED:                                                          151                             ROSE                   How does this happen? Huh? How do                   you burn down a house, Norah? Jesus                   fucking Christ!                             NORAH                   Jesus Rose, Calm down.      Rose throws her keys at Norah.      Norah turns to shield the kitten. The keys thump her arm.      Norah eyes her sister. So that's how it's gonna be.                             NORAH                   Well, if you had been here to help                   me but no, you're off desperately                   trying to impress stupid high                   school people who don't even                   matter. Prove to your old                   cheerleading squad that you're not                   this huge loser. If you had been                   here doing your job it wouldn't                   have happened. So don't try to put                   all this on me.      Norah's denial of responsibility knocks the wind from Rose.                             ROSE                   This is on you. You did this. You                   set a fucking house on fire! You.                             NORAH                   Oh, go ahead and play the martyr.                   It's like your favorite thing.                             ROSE                   I can't believe I was so stupid to                   think that you could handle a                   little bit of responsibility.                               NORAH                   I am   so sick of all your holier                   than   thou bullshit. Why don't you                   take   a look at you're own life,                   huh?   You're a real inspiration.                             ROSE                   Well maybe if I didn't have to take                   care of everybody in this family.                                                               (CONTINUED)                                      GREEN REVISION 3/5/07        96.151   CONTINUED: (2)                                                     151                          NORAH                Fuck you. I'm done being your                excuse.      Norah, filthy with soot, turns and walks away from Rose, the      fire and everything. The kitten clings to her shirt.                          ROSE                Oh that's great. Turn everything to                shit and then walk away.      Without turning or breaking her stride, Norah flips off Rose.      Rose leans down and picks up her keys, then turns and watches      the firemen hose down the house.152   EXT. CLEANING SUPPLY STORE - NIGHT                                 152      Rose, looking worse for wear, tries to open the door but the      store is closed and the door is locked.                           ROSE                Great.      She bangs on the glass doors.153   INT. CLEANING SUPPLY STORE - NIGHT                                 153      Winston walks from the back room and opens the door.                          WINSTON                Long baby shower.                          ROSE                I'm sorry, I... everything's                horrible.      Rose is about to break.                          WINSTON                Oscar's asleep in back.                          ROSE                Norah's ruined everything. She                burnt down a house. A client's                house.                                                              (CONTINUED)                                          GREEN REVISION 3/5/07        97.153   CONTINUED:                                                             153                                WINSTON                   Yeah.                                ROSE                   You know?                             WINSTON                   Carl told me.                             ROSE                   How does he...?      Realization slaps.                             ROSE                   That's just great. We burnt down a                   client's house. How do you get                   around that?                                WINSTON                   Insurance?      Rose shrugs.                             ROSE                   I figured we'd wait and get the                   better rate once I got certified.                             WINSTON                   Didn't you go to that?      Rose doesn't respond. She slowly blinks and lets her new      reality ooze over her.                             ROSE                   There's not a lot I'm really good                   at, you know.      Winston looks at Rose.                                                                  (CONTINUED)                                     GREEN REVISION 3/5/07      98.153   CONTINUED: (2)                                                  153                          ROSE                Really. I'm good at getting guys to                want me. Not date or marry me. But                want me. I've always been good at                that.      Winston looks away.                          ROSE                And cheering. I was pretty good at                that too.                          WINSTON                Cheering is good.                          ROSE                Yeah. Not as marketable as you'd                think.      Winston smiles.154   INT. ROSE'S HOUSE - KITCHEN - NIGHT                             154      Smoke slinks from a cigarette on the makeshift ashtray.      Rose looks up to see Oscar in his PJs, one arm tucked in his      shirt, the sleeve dangling empty. Rose musters a smile.                          ROSE                You brush your teeth?      Oscar nods, kisses her good night. Rose watches him walk to      his room and takes a drag from her cigarette.      There's a knock at the door.155   INT. ROSE'S HOUSE - LIVING ROOM - NIGHT                         155      Rose looks through the peep hole and sees Mac fidgeting      outside. She takes a step from the door and freezes.      Mac knocks again.156   EXT. ROSE'S HOUSE - NIGHT                                       156      Mac looks at the unresponsive door with irritation. He shifts      his weight and jangles some change in his pocket.                                       GREEN REVISION 3/5/07        99.157   INT. ROSE'S HOUSE - LIVING ROOM - NIGHT                             157      Rose leans against the wall with eyes closed.                               MAC (O.S.)                   Rose?      She takes a breath, opens her eyes, then opens the door.                             MAC                   Hey beautiful.      Mac smiles for the both of them.                             MAC                   I was starting to think you were on                   a date or something.      Rose looks at him like he's speaking a foreign language.                               MAC                   You okay?      Rose nods.                               ROSE                   Long day.                             MAC                   Can I come in?                             ROSE                   It's not really a good time.      Mac sags a bit. Then rallies. Flexes an eyebrow.                             MAC                   I got you something.      Mac pulls a small gold box from his pocket and presents it to      Rose. The top is engraved with her initials.                             MAC                   It's for your business cards. You                   put `em in there and, I don't                   know... impress people.      He laughs at the silliness of the whole concept.                             ROSE                   It's beautiful.                                                               (CONTINUED)                                     GREEN REVISION 3/5/07       100.157   CONTINUED:                                                        157      Rose stares at the small shiny box. It seems to make her sad.                             MAC                   You don't like it?                             ROSE                   No, I like it very much.      Rose looks up and Mac senses something bad is coming his way.                             ROSE                   It's just this thing we're doing.                             MAC                   Come on, let's not do that.      But Rose is resolute. She looks Mac in the eye.                             ROSE                   I don't want this anymore.      Disbelief gives way to the unpleasant understanding.                             MAC                   So that's it?      Rose gives an almost imperceptible nod. Mac tries hard to      ignore the rising slurry of hurt and anger.                             MAC                   That's it then.      Mac hesitates, hoping for a last minute reprieve. Finally, he      nods and Rose watches him walk away.158   INT. ALBUQUERQUE BLOOD SERVICES ≠ ONE WEEK LATER - DAY            158      Norah steps off the elevator. People in white coats walk past      her, bump into her. Norah spots Lynn.      Lynn sees Norah and looks away.                             GUY IN WHITE COAT (O.S.)                   Is this your first time donating?      Norah turns to the GUY IN THE WHITE COAT addressing her. He      holds a clipboard.                             NORAH                   No.                                                             (CONTINUED)                                     GREEN REVISION 3/5/07       101.158   CONTINUED:                                                        158                             GUY IN WHITE COAT                   Can I get your name?                             NORAH                   I need to talk to Lynn.      Lynn approaches.                             LYNN                   She can't donate. You can't donate.      She points to a sign indicating how often people can donate.                             LYNN                   Forty-eight days. It's not been                   forty-eight days.                             NORAH                   Why are you acting like this? Why                   haven't you called me back.                             LYNN                   Listen, I just, don't think you're                   the kind of person I need to be                   hanging out with right now.                             NORAH                   What's that supposed to mean?                             LYNN                   Do I really need to spell it out?      Norah stands stunned. Sad. Blank. She pulls the packet of      photos out of her bag and holds them out to Lynn.                             NORAH                   Here.      Lynn takes the packet. As she walks back to the reclining      blood donors she tosses the photos in a trash can.      A smiling Korean woman gives Norah a cup of juice and puts an      `I gave blood today' sticker on her chest.159   EXT. TINGLEY PARK- DAY                                            159      Joe sits on a bench near the pond with his feet propped up on      a canister of Fancy Corn. He reaches into the open canister      next to him and pulls out a handful of gourmet corn.                                                             (CONTINUED)                                 GREEN REVISION 3/5/07      101A.159   CONTINUED:                                                     159      A few pieces land in his mouth, the remainder he tosses to a      flotilla of ducks. Joe smiles as the greedy little bastards      squabble over his offering.                                  GREEN REVISION 3/5/07       102.160   EXT. CLEANING SUPPLY STORE - DAY                                160      Rose and Oscar struggle to unload the super wet-vac from the      van. Other equipment litters pavement around the van.      Winston records serial numbers onto a clipboard.                          WINSTON                I'm sure I can turn this stuff                around pretty quick.                          ROSE                Thanks. For everything.                          OSCAR                Are you coming to my party?      Awkward moment. Rose looks from Oscar to Winston.                          ROSE                We're going to Hinkle's Saturday                for Oscar's birthday. It'd be great                if you came.                          WINSTON                Sounds like a blast.      Rose smiles at the sincere enthusiasm in Winston's voice.161   INT. ROSE'S HOUSE - BATHROOM - NIGHT                            161      Rose steps out of the shower and wraps her hair in a towel.      As she walks past the mirror she plucks off the affirmation      note and tosses it in the trash.162   INT. HINKLE'S RESTAURANT - A FEW DAYS LATER - DAY               162      Rose, Oscar, Joe and Winston sit in a carnival like      restaurant. Oscar opens a gift in the shape of a binocular      case. He beams with anticipation.      Oscar snaps open the case and pulls out the old familiar pair      of binoculars. Rose looks disappointed. Oscar looks confused.                          JOE                That other pair we looked at, full                of gadgets and gimmicks.                          (MORE)                                                          (CONTINUED)                                       GREEN REVISION 3/5/07       103.162   CONTINUED:                                                          162                             JOE (cont'd)                   They just didn't have the heft you                   want in a pair of lenses. No                   weight. No history.      Oscar nods. Joe points to the old binoculars.                             JOE                   These here are the real deal. I                   want you to have them.      Oscar smiles. Rose shakes her head. It's not like she didn't      see this coming. But still.                             ROSE                   Dad, you promised him those others.                   From the store. He's been talking                   about it for weeks.      Joe looks at Rose with new found confidence.                             JOE                   No Rose, I want to him to have                   these.      Winston eyes the binoculars.                             WINSTON                   Wow, is that an old Zeiss?      Joe nods.                             WINSTON                   Porro prism?      Joe nods full of pride.                             JOE                   Eight by thirty Jenoptems. No marks                   on the objectives. Perfect bloom.      Winston looks at Oscar.                             WINSTON                   You got yourself some classic                   binoculars there.      Norah walks in.                             NORAH                   Sorry I'm late.      Norah noogies Oscar and drops a gift in front of him.                                                               (CONTINUED)                                      GREEN REVISION 3/5/07      103A.162   CONTINUED: (2)                                                     162                             NORAH                       (to Winston)                Hey.      Norah kisses Joe on the cheek and ignores Rose. Rose gets up.                          JOE                Where are you going?      Rose walks to the bathroom.163   INT. HINKLE'S RESTAURANT - LADIES ROOM - DAY                       163      Rose splashes water on her face. Norah walks in and leans      against the counter. Rose makes no sign of acknowledgement.      Norah grabs some paper towel and holds it out for her sister.                          NORAH                Winston cleans up pretty good.                                                              (CONTINUED)                                    GREEN REVISION 3/5/07       104.163   CONTINUED:                                                       163      Rose isn't biting. She doesn't even look at Norah. She leans      past Norah and gets her own paper towel. Norah tries again.                             NORAH                   I read somewhere that beauty is                   really all about symmetry. Like                   having eyes the same size and all                   that.                       (pause)                   So, you know, when you factor that                   in he's like, hot.      Rose won't play. She dabs her face and ignores Norah. Norah      walks to the door, starts to leave, then turns around.                             NORAH                   Listen, I know I fucked up, okay?                   Like really huge and I know that                   and I'm sorry, okay?      It's a bullshit apology. More defensive than sincere. Just      the thing that pushes Rose's buttons.                             ROSE                   God, that drives me crazy! That                   whole `Oh, I'm sorry, I'm just a                   big fuck up' routine. Like that's a                   legitimate excuse.      Norah's defensiveness loosens its grip. She steps towards      Rose. This is hard for her. Sincerity is not her strong suit.                             NORAH                   I really am sorry. But it really                   isn't all my fault, Rose.                             ROSE                   I think there's something wrong                   with you. The way your brain works.                   I mean, what the hell? It's like                   you can't be trusted with anything.                   You just screw around all the time                   like it's all a big fucking game.                   It wasn't a game, Norah. We're not                   all just here for your amusement.                   You should have been paying                   attention. You should have been                   focused on the job.      Rose finally hears herself. It's all the same old stuff. She      grinds to a stop. She knows it wasn't all Norah's fault.                                                            (CONTINUED)                                  GREEN REVISION 3/5/07      104A.163   CONTINUED: (2)                                                 163                          NORAH                You finished?                                                          (CONTINUED)                                  GREEN REVISION 3/5/07       105.163   CONTINUED: (3)                                                 163                          ROSE                I know. I should have been there.                          NORAH                What are you going to do now?                          ROSE                I got some ideas. I was thinking                maybe we could--      Norah shakes her head.                          NORAH                I've got my own ideas.      Rose nods. As they exit, she turns to Norah.                          ROSE                So, you really think he's hot?                          NORAH                Winston? No.164   INT. HINKLE'S RESTAURANT - DAY                                 164      Rose and Norah return from the bathroom. Joe eyeballs the      girls in silent appraisal of the situation. Seems okay.                          NORAH                You gonna open my present?      Oscar opens the package of fake tattoos.                          OSCAR                Cool.                          NORAH                The guy said that if you're careful                they'll last a whole month. And                these aren't stupid kiddie unicorns                and shit. They're all based on                classic biker designs.      Oscar picks up one of the tattoos.                                                          (CONTINUED)                                      GREEN REVISION 3/5/07       106.164   CONTINUED:                                                         164                             OSCAR                   Cool.                             ROSE                   What's that say?                             NORAH                   Li'l bastard.      Rose looks at Norah.                             ROSE                   Cool.      Oscar slips his arm out of his sleeve and inside his shirt      and stares at Winston admiringly. Rose whispers in Oscar's      ear and he pulls his arm back into his sleeve.                             NORAH                   I'm thinking of taking a road trip.                             JOE                   Where?      Shrug.                             ROSE                   How?                             NORAH                   Haven't worked it all out yet. I                   was thinking I could maybe take the                   van.      Rose shakes her head.                             ROSE                   I'm selling the van.                             JOE                   Don't sell the van.                             ROSE                   Have to. Can't afford the payment.                             JOE                   No, listen... just don't sell the                   van.      Rose forces a smile and examines her pizza. She can't watch      her father cling to another impotent dream.                                                              (CONTINUED)                                    GREEN REVISION 3/5/07       107.164   CONTINUED: (2)                                                   164                          JOE                Just don't sell the van yet. Okay?      Oscar slowly retracts his arm again. With his remaining arm      he lifts the binoculars to his face.                          JOE                Rose tells me you make models.                          WINSTON                Yeah.                          JOE                Any money in that?                          WINSTON                Not really.      The wait staff begins to sing a birthday song.165   INT. ROSE'S HOUSE - OSCAR'S BEDROOM - NIGHT                      165      Rose quietly kisses Oscar's forehead and pulls up the covers.      She turns and steals another look before shutting the door.166   INT. ROSE'S HOUSE - LIVING ROOM - NIGHT                          166      Rose sizes up her stack of unopened bills. She opens one,      sighs, sets it aside. She moves on to the next one.      The TV flickers blue light into the room. Rose stops and      looks at the TV.167   INT. NORAH'S APARTMENT - BEDROOM - NIGHT                         167      The phone wakes Norah. She fumbles for the receiver.                          NORAH                What?                          ROSE                    (over the phone)                Turn your TV on. Channel sixty-                five.      Norah clicks on the TV and watches slack-jawed as a WAITRESS      hands menus to two hard nosed detectives. One of the TV      DETECITVES looks up and smiles.                                                            (CONTINUED)                                    GREEN REVISION 3/5/07     108.167   CONTINUED:                                                     167                             TV DETECTIVE                   What's good?                             TV WAITRESS/MOTHER                   I recommend the pecan pie.      Norah focuses on the flicker light of the TV.168   INT. ROSE'S HOUSE - NIGHT                                       168      As if in a dream Rose watches the image of her mother      disappear off screen. She smiles.169   EXT. ROSE'S HOUSE - NIGHT                                       169      Rose walks toward the van with a trash bag that swishes with      each step. She takes one last look, then peels the Sunshine      Cleaning door magnet off and drops it into the trash bag.      She crawls into the front seat and tosses empty pop cans and      candy bar wrappers into the trash bag. A faint sound nags at      her. She looks up to see the CB on.      Soft white static fills the van. Rose sits a long moment      before taking the handset.                             ROSE                   Hello? Mom?      Rose stops and looks around self-consciously before resuming.                             ROSE                   Oscar turned eight today. We had                   this whole big thing at Hinkle's.                   Winston came. After dinner Oscar                   and Norah got a high score on                   Centipede and put in ASS as their                   initials and got in trouble by the                   manager.                       (Pause)                   I don't know if you're in heaven or                   what. But you're not here and                   that's too bad for you `cuz you've                   missed out. You've missed out on                   some really great stuff.                                  GREEN REVISION 3/5/07       109.170   EXT. ROSE'S HOUSE - TWO MONTHS LATER - DAY                      170      Rose pulls up in her Sentra. The Molly Maid magnet is back on      the door and she's in her Molly Maid uniform. She gets out      and sees Joe sitting on the steps to her house.                          ROSE                Dad?                          JOE                There's something I wanted to talk                to you about.      Rose pulls a vacuum cleaner from her car.                          ROSE                Okay.                          JOE                Well, I was wondering if I could                move in with you and Oscar.                          ROSE                What?                          JOE                Just temporarily - until I find a                place.                          ROSE                You lost the house. Oh my god, you                lost the house. Dad how could you                lose the house?                          JOE                I didn't lose the house. I sold the                house. There's this business                opportunity--                          ROSE                Not shrimp I hope.                                                          (CONTINUED)                                       GREEN REVISION 3/5/07       110.170   CONTINUED:                                                          170                             JOE                   It's not just some get rich quick                   scheme. And I got a partner who has                   experience. I'd learn from her.      Rose's edge softens slightly. She's listening now. Joe points      to where the newly painted Econo van is parked.      In bold cursive: LORKOWSKI CLEANING. Underneath in smaller      letters: SPECIALIZING IN BIOHAZARD REMOVAL SINCE 1963.                             ROSE                   Nineteen sixty-three?                             JOE                   Don't make a big deal out of it.                                ROSE                   Dad.                             JOE                   It's a business lie, not a real                   lie.                             ROSE                   I can live with that.                             JOE                   And you'd be the boss.                                ROSE                   Thank you.171   EXT. OPEN ROAD - MONTE CARLO - DAY                                  171      With windows down, Norah drives across an open landscape. She      glances at a wind battered map. A highlighted route cuts      across the country. Destination - California.      Norah bobs her head to the radio, sucks on a slurpee. She      holds her arm out the window and lets her hand surf the wind.172   OMITTED                                                             172173   EXT. CATHOLIC SCHOOL - SCHOOL YARD - DAY                            173      Oscar, in a Catholic school uniform, holds binoculars to his      face. He watches a scrawny girl across the school yard.                                                               (CONTINUED)                                     GREEN REVISION 3/5/07     111.173   CONTINUED:                                                      173      The girl ties a strand of hair to her pigtail then loops the      invisible strand over a pencil. She glances over to Oscar.      Oscar doesn't flinch.      With school girl slight of hand, the pigtail rises and falls.      It is a magical, flirtatious pigtail greeting.      Oscar lowers the binoculars and pulls his sleeve up to reveal      the Lil' Bastard tattoo. The girl smiles. Oscar smiles.174   INT. GORILLA FOUNDATION - ONE MONTH LATER - DAY                 174      Norah walks down a corridor. The kitten clings to her. She      turns the corner and walks though a set of doors to what      looks to be a play room.      Blocks and brightly colored plastic toys litter the ground.      Sitting in the middle of the play area is an enormous black      gorilla. KOKO. She turns her massive head and looks at Norah.                             KOKO                       (captions)                   I have a tooth ache.      KoKo responds with thick hands.                             NORAH                       (captions)                   Me too.      Norah smiles.175   EXT. ALBUQUERQUE - DAY                                          175      The Lorkowski Cleaning van merges on the freeway interchange      and spirals up the tangle of rust and turquoise ramps.                                                         FADE OUT.
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+                                      SUPER 8                                                              Written by                                                             J.J. Abrams                                                                                                                                                   FINAL SHOOTING SCRIPT                                                   December 16, 2010                                   OVER BLACK WE HEAR THE DULL SOUNDS OF INDUSTRY; A MUFFLED          MASS OF MACHINES, GEARS, STEAM. FADE IN ON:                                   A SIGN. Twelve feet across. Painted decades earlier, grim-          covered black, white and red. It reads in large 40's era,          hand-painted type, "SAFETY IS OUR PRIMARY CONCERN!" Then:          "DAYS SINCE LAST ACCIDENT" and below that, NUMBERS, painted          on hanging metal cards. Four possible digits can hang here,          but there are currently three: "784."                                   SLOWLY PUSH IN on this sign as a MAN APPEARS, rising on a          forklift, in a greasy, monochromatic work jumpsuit. Removes          the "4" from its hooks. Then removes the "8." Then the "7."                                   Finally, he hangs up a number. "1."                                   The man LOWERS out of frame as we creep even closer to the          hanging single digit, wondering about the accident... and how          bad it was and the FACTORY SOUNDS GROW DEAFENING -- AND AS IT          BUILDS TO A CRESCENDO, WE CUT TO SILENT BLACKNESS.                                                            EXT. JOE'S HOUSE - PORCH - DAY                                   Shiny black loafers. Black pants, three inches too long. We          BOOM UP, stopping at a boy's hand reaching into the black          suit jacket pocket. Pulls out a WOMAN'S GOLD NECKLACE with a          LOCKET. He holds the locket. Rubs it gently with his thumb.          CONTINUE TO BOOM UP. We now SEE THE BOY'S FACE.                                   This is JOE LAMB, 14. On the precarious edge of adulthood. He          looks out at the horizon with stricken eyes.                                   He moves forward and we PAN, so we're BEHIND HIM NOW. In the          frosty distance, past countless leafless trees and modest          homes, is a STEEL MILL. Smokestacks and structures. The          lifeblood of this late 70's town.                                                            INT. LAMB LIVING ROOM - DAY                                   Close on CHARLES' MOTHER AND FATHER, funeral attire. She          looks out of the window sadly; heartsick and concerned.          Behind her, he picks at his plate of food.                                                   CHARLES' MOTHER           I'm so worried for that boy.                                                   CHARLES' FATHER           Joe's gonna be okay.           2.                                                                            CHARLES' MOTHER           ...she was everything to him.                                                   CHARLES' FATHER           Jack's gonna step up. He's a good           man.                                                   CHARLES' MOTHER           But he was never really a           father...I don't think he           ever...understood Joe.                                                   CHARLES' FATHER           (maybe a little concerned                          HIMSELF)           Joe's gonna be okay.                                   But his wife isn't so sure.                                   Then, BOYS' HUSHED VOICES:                                                            INT. LAMB DINING ROOM - DAY                                   CHARLES (we'll see him in a moment) LEANS FORWARD, reaching          for food on a buffet table. Charles' leaning has revealed          CARY, a blonde kid in a dark blue sport jacket and tie, and          PRESTON, pale and smart, in a DARK SWEATER:                                                   CARY           What do you think was in the           coffin?                                                   MARTIN           Jesus, shut up.                                                   CARY           I mean cause of how she died.                                                   CARY (CONT'D)           ... you weren't wondering that?                                                   PRESTON           No, I'm eating macaroni salad.                                   We now see CHARLES, big and in an ill-fitting BLACK SUIT, and          MARTIN, good looking, in a shirt and tie, at the buffet:                                                   CHARLES           I was thinking that, about the           coffin.                                                   MARTIN           I don't know how you guys can eat.           3.                                                                            CHARLES           Try a Goddamn turkey roll and           you'll discover how. They're           delicious.                                   CUT WIDE TO REVEAL that we are in a modest Ohio house in the          year 1979. At a wake. Forty-odd friends and neighbors, darkly          dressed. Quiet discussions. Some crying.                                                   CARY           Either nothing was in there, or           like whatever they scraped up--                                                   MARTIN           Jesus -- guys--                                                   CHARLES MARTIN          I heard it crushed her          completely. At least keep your voices                          DOWN--                                                   PRESTON CHARLES          A steel beam-- those things          weigh a ton. Literally. If it had been open casket, I           would not be eating right           now. Despite the turkey           rolls.                                    JACK (O.S.)           Hey-- Lucy.                                   They look up -- in the other room, a dog (mutt, Lucy) has          jumped on a guest, for food. JACKSON LAMB, Joe's father, 42,          black suit, moves to the dog, walks her out of shot.                                                   CHARLES           Bet Joe's not gonna wanna do my           movie anymore.                                                   CARY           Why?                                                   CHARLES           Why do you think why? The story.           It's about the living dead.                                                   PRESTON           His mother's not a zombie.                                                   CHARLES           But she's dead, shithead.                                                   CARY           Those turkey rolls are pretty good.           4.                                                                            CHARLES           Told you.                                                            EXT. JOE'S HOUSE - DAY - MOMENTS LATER                                   A WIDE SHOT. A grey, snow-covered, early February day here in          LILLIAN, OHIO. Many cars are parked outside the house,          notably a SHERIFF'S DEPARTMENT SQUAD CAR in the driveway.          Joe, a vision of black on white in his too-big black suit,          now sits on a small swing set he hasn't used in years.                                   He solemnly looks down at the LOCKET he still holds. No doubt          trying to reconcile the fact that it no longer hangs around          his mother's neck. Then a SOUND. Joe looks up. A CAR has          arrived -- a distinct 1968 BUICK GSX -- a YELLOW MUSCLE CAR          with a BLACK RACING STRIPE down its center. Joe watches as          the car sits there for a moment. Then a MAN gets out. Someone          Joe has seen before, but doesn't know personally. A man in          his early 40's, in jeans and a work shirt. He's not exactly          sloppy, but if you look closely, you could tell he's been          drinking. This is LOUIS DAINARD.                                   Joe watches Louis carefully as he moves to the house, to the          porch and inside the house. Joe's eyes glued on the house for          a while. Then he looks back to the locket. He OPENS IT, and          stares at the picture inside (which we do not see). And as he          stares, TEARS come to his eyes.                                   A moment broken by the SOUND OF RAISED VOICES -- Joe turns          toward the house. After a beat, the SOUND of something          BREAKING -- something glass. Then the house BACK DOOR bursts          open -- Joe cranes his neck -- and what he sees he'll never          forget: his father, Jack, leading an in-pain and HAND-CUFFED          Louis Dainard from the house and into the rear of the squad          car. When he slams the back door, he sees Joe. Sort of          freezes as their eyes lock. But Jack's more uncomfortable                         THAN COMFORTING:                                                   JACK           I'll be home soon.                                   And Jack gets into the car and drives away. Joe watches them          drive off. And after a beat, he looks down at the locket          again. Mom's just gone. Finally he CLOSES IT -- and we hear          an oddly LOUD SNAP and our SCREEN GOES BLACK.                                   Over darkness: APPLAUSE -- then a LONE VOICE: "I want you...          to want me!" DRUMS kick in, CHEAP TRICK BLASTS. CUT TO:           5.                                                            EXT. MIDDLE SCHOOL - DAY                                   Hundreds of KIDS eagerly leave their last day of school for          the year, winter a memory. GIRLS emphatically embrace each          other good-bye. BOYS run off, just happy to be out. Lots of          "Have a great summer!"                                   DOLLY WITH Joe, who walks through the crowd alone, backpack          on shoulder.                                   Suddenly Charles is there, red-faced -- he hands Joe PAGES:                                                   CHARLES           That was the longest day ever--           here.                                                   JOE           What's this?                                                   CHARLES           New scene, check it out. Let's hit           the 7.                                                   JOE           (as he reads)           You hear Martin barfed in the hall?                                                   CHARLES           I know, does that guy ever not           barf? Keep reading.                                                   JOE CHARLES          -- I am reading. -- Not carefully. Focus, this           is important.          -- Detective Hathaway has a          wife?                                                   CHARLES (CONT'D)           I think it might help make my movie           better. I need two things: a better           story and production value.                                   They head across the street to the 7-Eleven. Suddenly Cary is          there, a BURN WRAP on his right arm now:                                                   CARY CHARLES          Martin booted all over his          locker, it was the grossest          one yet-- Let Joe focus, he's reading.                                                   CARY CHARLES          After he ate two boxes of          Mike and Ikes-- never seen so          many colors in my life. Will you shut up a minute?           6.                                                                            JOE           Who's gonna play the wife, Jen?                                                   CHARLES           No way -- did I tell you what she           did with my top hat?                                                   JOE           Oh yeah, that was bad.                                                   CARY           What wife?                                                   CHARLES           Alice Dainard.                                   Joe stops. His friends don't. PUSH IN ON HIM --                                                            EXT. 7-ELEVEN - DAY                                   As they head to the doors:                                                   CHARLES           I was returning that book on codes           and ciphers-- she was in the silent           reading section -- I thought,           "Screw it." So I asked her if she'd           play Hathaway's wife.                                                   JOE           You talked to Alice Dainard really?                                                   CARY           You're not supposed to talk at all           in the silent reading section--                                                   CHARLES CARY          Shut up. It's for "silent reading."                                                   CHARLES           She said yes, we're filming tonight           and she's driving.                                                            INT. 7-ELEVEN - DAY - CONTINUOUS                                   Joe, Charles and Cary scan the candy aisle.                                                   JOE           -- driving where?           7.                                                                            CHARLES JOE          To the train depot -- did you          not read the scene I just          gave you? Does Alice have a license? Is           she old enough? Whose car are           we taking? Are you making           this up?                                                   CHARLES           Jesus, Freak Show, she offered to           drive and I accepted--                                                   CARY           (takes scene pages)           Can I see --?                                                   JOE           -- was she nice? Why is she doing           this? I don't understand, we don't           even know her--                                                   CHARLES           Maybe she just wants to be in a           good movie, y'ever think of that?                                                   JOE           I don't think that's what it is--                                                   CHARLES           I've been working on this movie for           months. I'm just trying to make it           good.                                                   CARY           (reading, disapproving)           Hathaway's married now? Really?                                   Charles swipes the pages from critic Cary.                                                   JOE           What was she reading?                                                   CHARLES           ... what?                                                   JOE           In the silent reading section, what           was Alice reading?                                                   CHARLES           Who gives a rat's ass what she was           reading-- the festival deadline's           in one week -- my movie's gotta be           great!           8.                                                            CHARLES' SUPER 8 MOVIE BEING PROJECTED ON A MOVIE SCREEN.          SLOWLY PUSH IN ON THE SCREEN: kids earnestly playing adults:                                                            INT. BUILDING 47 - DAY (SUPER 8)                                   DARKNESS. Then a DOOR OPENS. It's DETECTIVE HATHAWAY (played          by MARTIN), in silhouette. He enters. It's an old WAREHOUSE,          dirty, cobwebbed, crowded with CRATES, old MACHINERY,          CHEMICAL BARRELS and JUNK. The Detective turns on his          FLASHLIGHT -- aims it -- sweeps it across the space -- the          light HITTING THE LENS for a moment.                                   The Detective walks through the spooky, dark space. A low,          growling industrial DRONE makes the whole place oddly creepy.          Then: A SOUND -- quick but strange -- slithering -- and the          Detective aims his flashlight -- tense. He watches. Waits. We          see where he's aiming the light, which cuts through THICK          DUST in the air. It's an old office door, ajar.                                   Hathaway is still. Nervous. Watching the door -- waiting for          it to open... and then -- from the darkness BEHIND HIM -- a          terrifying open-mouthed ZOMBIE APPEARS -- ATTACKS -- and the          Detective TURNS -- his flashlight KNOCKED TO THE GROUND --          and Hathaway falls too -- the wild-eyed gaping-mouthed Zombie          DROOLING as it tries to bite Hathaway's flesh -- we recognize          that the Zombie is CARY. Actually, not a bad performance. The          Detective pulls out his GUN -- but the Zombie grabs his wrist          -- they wrestle with the gun -- the Zombie wanting to rip          into Hathaway's neck -- but Hathaway sees three SHARP-TIPPED          NAILS sticking out of an old piece of WOODEN CRATE -- and          after a significant struggle, Hathaway PUSHES THE ZOMBIE BACK          so his head is IMPALED BY THE NAILS -- which we see ENTER HIS          SKULL!!! The Zombie (stuck to the crate via the nails)          SCREAMS AND DIES and just at Hathaway catches his breath THE          IMAGE DIMS AND FREEZES; the projector has just been STOPPED.          We are in:                                                            INT. CHARLES' ROOM - DAY                                   Board games, books, records, a stereo, toys, and magic. Super          8 film equipment and paraphernalia. Movie ONE SHEETS hang:          CARRIE, HALLOWEEN, EARTHQUAKE and NIGHT OF THE LIVING DEAD.          No sports memorabilia. Charles turns on the lights, looks          anxiously at Joe:                                                   JACK           That was a good zombie murder.                                                   CHARLES           Yeah, but it's not a st-- thank you           for that-- it's not a story yet.                          (MORE)           9.                          CHARLES (CONT'D)           Older kids enter this film festival           -- I'm competing with fifteen- and           sixteen-year-olds, who have better           stories and cars and production           value, I've got nothing!                                    CHARLES' MOTHER (O.S.)           Charles! Dinner!                                   As he tosses Joe a SUPER 8 FILMMAKER MAGAZINE:                                                   CHARLES           I'm coming!                          (TO JOE)           There's a whole article in there           about stories, you should read it,           it explains everything.                                                   JOE           (looks at magazine)           I don't understand how the wife           makes it a story--                                    CHARLES CHARLES' MOTHER (O.S.)          Jesus, that's what I've been          explaining: in the scene          we're filming tonight, the          wife telling the detecting          she's scared for him, that          she loves him-- Charles!          -- I'M COMING!!!          -- so when he investigates          the zombie stuff you'll be          scares -- you'll feel          something -- because you          don't want him to die because          they love each other! Does          that make sense?                                                   JOE (CONT'D)           I just can't believe you talked to           Alice Dainard.                                                   CHARLES           You're impossible.                                    CHARLES' MOTHER (O.S.)           CHARLES!                                                   CHARLES           GOD, MOM! I'M COMING!           (opens the door, whispers)           Midnight. Okay? Don't forget.           10.                                                                            JOE           I won't forget.                                                   CHARLES           Read this.                                   Joe just nods and looks at the magazine.                                                            INT. CHARLES' KITCHEN - DUSK                                   A hectic FAMILY: Charles' mother cooks. JEN, his smoking hot          17-year-old sister, ANGRILY sets the table where his father          pays bills. Pale 15-year-old sister PEG does a PUZZLE. Twin 9-          YEAR-OLD BOYS bicker over an action figure. TV in the living          room plays a MATCH GAME. Joe and Charles enter.                                                   JEN           Mom, it's not fair that I can't go           to Wendy's. Every single person is           going except me!                                                   CHARLES' MOTHER           Then every single person can tell           you how it was --                                                   CHARLES' FATHER           Move the puzzle, get the napkins.                                                   JEN                          MOM---                                                   CHARLES' MOTHER           It's your turn to babysit.                                                   JEN           So...                                                   PEG           Get off that thing.                                                   JEN           Mom, why can't I switch with           Charles?                                                   CHARLES           Because you crushed Charles' top           hat, you ever think of that?                                   Disgusted, Jen LOUDLY sets Charles' place as --                                                   JEN           Oh, really, guess what? We're           switching.           11.                                                            Charles grabs a roll.                                                   CHARLES           Guess what, no we're not.                                                   CHARLES' MOTHER           Charles take these to the table!           Benji, it's time for dinner. Hey,                          JOE--                                                   JOE           Goodnight, Mrs. Kaznyk--                                                   CHARLES' MOTHER           Grab a seat, we have lots of food.                                                   JOE           Oh no thanks, Ma'am, I'm okay.           (to Charles, loaded)           "See you tomorrow."                                                   CHARLES           Later days.                                                   CHARLES' FATHER           There's always a place for you           here, you know that--                                                   JOE           Oh, yessir. Thank you.                                   Joe leaves; Charles' parents share a look of pity for Joe.                                                            EXT. CHARLES' HOUSE - DUSK                                   An anomalous moment in this small steel town: the sun sets          through the distant trees and it's beautiful, despite the          distant belching SMOKESTACKS. Joe leaves Charles' house and          CROSSES THE STREET to his own. SQUAD CAR in the driveway.                                                            INT. JOE'S HOUSE - DUSK                                   Joe comes into the kitchen through the BACK DOOR. Lucy the          dog greets him. A TV is head somewhere. NIGHTLY NEWS reports          on the ONGOING CLEAN-UP OF THREE MILE ISLAND. A half-empty          BEER BOTTLE on the table. Joe peeks into the living room --          but no one's there.                                   Joe looks around for his father. Heads down the hallway.          Stops when he sees something off camera. We HOLD on Joe's          face, sort of quietly stunned.           12.                                                            And we se his POV: Jack, Joe's father, in uniform pants and T-          shirt, sits on the edge of the bathtub, head in his hands,          quietly CRYING.                                   Joe is stunned, staring at his dad. But he can't look away.          And when he finally starts to head off, Jack looks up. Joe's          mind scrambles for something to say, but Jack sniffles, gets          it together, quick. Puts on a strong face.                                                   JACK           Hey -- I'll be out in a minute--                                   Joe nods as Jack forces a smile and closes the bathroom door.          HOLD ON JOE. Stunned and heartsick.                                                            INT. CAROL'S DINER - NIGHT                                   Commodores quietly sing "EASY" on the PA. Joe and his father,          in civvies, sit beside each other at the counter. Jack eats a          beef stew and reviews office paperwork, not looking at his          son. Joe eats a grilled cheese, deeply lonely and not even          knowing it.                                   Jack pulls out a PAMPHLET, and places it on the table:                                                   JACK           It's a six-week program, hands-on           training with college coaches.                          (BEAT)           You'll like it. I know I did.                                   Joe looks at the pamphlet for HEWITT SPORTS CAMP. Images of          happy, smiling, healthy ATHLETIC KIDS. Not his thing.                                                   JOE           I thought I was going to have the           summer for myself--                                                   JACK           Things have obviously changed for           us. And it'd be good for you to           spend some time with kids who don't           run around with-- cameras and                          MONSTER MAKE-UP--                                                   JOE           I gotta help Charles finish his           movie.                                                   JACK           I have nothing against your           friends. I like your friends.                          (MORE)           13.                          JACK (CONT'D)           Except Cary, who can't stop           lighting things on fire. You'll           like it there.                          (FINALLY)           It's what we both need.                                   Joe looks back at the pamphlet -- his other hand coming up          from under the table -- and Jack sees that Joe is HOLDING HIS          MOTHER'S LOCKET. Jack wants to cry again. He wants to throw          that locket away, out of sight. But he just turns away.                                   Joe stares at the pamphlet. PUSH IN on the photo of beaming          15-year-old KIDS. Then CUT TO THE HUNCHBACK OF NOTRE DAME:                                                            INT. JOE'S ROOM - NIGHT                                   TIGHT ON QUASIMODO; a plastic, painted AURORA model. RACK          FOCUS to the paintbrush that comes into frame -- FOLLOW IT TO          JOE, holding the brush, at his desk, making a model. A boy's          room recently devoid of a mother's oversight; a mess. COMIC          BOOKS and other PLASTIC MODELS, all built and painted by Joe.          CARS and CREATURES and a TRAIN. His bedside CLOCK RADIO          (11:56 PM) quietly plays "BAKER STREET." Then a RADIO SQUAWK -          - Joe grabs a KID'S WALKIE-TALKIE:                                    CHARLES (V.O.)           Okay, it's time -- don't get           caught, over.                                                   JOE           I won't. Over.                                   Joe turns off the walkie -- and he grabs a small plastic          FISHERMAN'S TACKLE BOX as we HEAR:                                    CHARLES (V.O.)           Wanna hear something gross?                                    CARY (V.O.)           I do.                                    MARTIN (V.O.)           No please, if you're really asking.                                                            EXT. JOE'S HOUSE - NIGHT                                   Midnight. Sitting on the curb with their GEAR and talking          quietly, are Joe, Charles, Martin, Preston and Cary. Martin          dressed in his detecting SUIT. Joe eats from a bag of          Twizzlers.           14.                                                                            CHARLES           I sneezed so hard yesterday I shit           my pants.                          (THEY MOAN)           I debated telling you.                                                   JOE           Thanks.                                                   PRESTON           That's called a "sharteeze" by the           way.                                                   CHARLES CARY          Well then I totally          sharteezed in my pants. That's exactly what I'm           talking about: the world is           crazy, there's a name for           everything...                                                   CHARLES           Twizzler me.                                   Joe passes him a Twizzler.                                                   MARTIN           So... people are turning into           zombies because of the chemical           factory, right?                                                   CHARLES           Martin? I don't see how the guy           playing Detective Hathaway can ask           where the zombies are coming from.                                                   CARY           Another classic from Smartin.                                                   MARTIN           I told you, I don't like it when           you call me that.                                                   CARY           I'm sorry, Smartin.                                                   MARTIN           Shut up.                                                   JOE                          GUYS--           15.                                                            All the boys look. Their faces BRIGHTEN. Headlights. The boys          stand as the car STOPS beside them -- IT'S THE YELLOW BUICK          WITH THE BLACK RACING STRIPE THAT PULLED UP TO JOE'S HOUSE          DURING THE WAKE. But now, sitting in the driver's seat is 14-          year-old ALICE DAINARD. She sees Joe.                                                   ALICE           Joe Lamb?!                                                   JOE           -- yeah?                                                   ALICE           What the hell's he doing here?                                                   CHARLES           Make-up, sound and special effects.                                                   ALICE           He's the deputy's kid!                                                   CHARLES JOE          -- what? (touch flattered)           -- you knew that?                                                   ALICE (CONT'D)           Charles, I don't have a license. I           can't drive with him!                                                   CHARLES           You want Joe to-- stay back? I--?                                                   ALICE           It's too late! He's seeing me in           this car right now.                                                   JOE           You can trust me. My dad'll never           know. I won't tell him anything.                                   Looking away, she's pissed. All the boys in silent wait. She          considers, annoyed. Shakes her head. Finally:                                                   ALICE           Get in.                                   The boys EXCITEDLY SCRAMBLE into the car.                                                            EXT. COUNTRYSIDE - NIGHT                                   The Buick crosses the nighttime horizon, leaving the small          town, driving through a rural landscape.           16.                                                             PRESTON (V.O.)                          (TERRIFIED)           You're driving very well. I'm           impressed.                                                            INT. BUICK - NIGHT                                   Alice drives. The boys shoved in the back with the gear -- in          front Charles struggles with his backpack and camera bags as          he pulls out PAGES, arranging them. With her driving, there's          an unusual, electric energy in the air. Joe eats his          Twizzlers in the back, trying not to stare at Alice.                                                   CHARLES           So I wrote a couple new lines, can           I show you?                                                   ALICE           What?                                                   MARTIN           New lines? Charles-- what, I have           new lines?                                                   CHARLES           Shut up. There aren't a lot--                                                   ALICE           I'm sorta trying to drive--                                                   CHARLES           What would be great is: could you           cry during the scene? Can you do           that?                                                   ALICE           ... no...?!                                   Cary messes with the radio. Alice moves his hand away.                                                   ALICE (CONT'D)           Stop.                                                   CARY           You know the first place I'm gonna           drive when I get my license?                                                   JOE           (offering to Alice)           Want one?                                   Alice looks at him in the rear view. Their eyes hold a beat.           17.                                                                            CARY           New Castle, Pennsylvania. Fireworks           capital of America.                                   She takes the Twizzler he offers and looks back to the road.                                                   MARTIN           So I don't have any new lines,           right? Because I just learned           these.                                                   CHARLES           Shut up.                                                   PRESTON           I have never been a passenger in a           vehicle without an adult driving.           I'm unresolved as to how I feel           about it.                                                            EXT. RURAL OHIO - NIGHT                                   The Buick WOOSHES PAST a solitary KELVIN GAS STATION. The car          dips into the darkness, beneath a blanket of stars.                                                            EXT. TRAIN DEPOT - NIGHT                                   The Buick pulls up to this small, EMPTY TRAIN STATION in the          middle of, essentially, nowhere. A series of HANGING LIGHTS          illuminates the TRAIN PLATFORM. There's a small office,          currently closed. No one around.                                   The kids get out of the car.                                                   CHARLES           Guys, there's an electrical socket           up here.                                                   MARTIN           Hey, Charles, Charles, do I have           more lines?                                                   CHARLES           No. But you can pick up some stuff.                                   The boys carry many bags and the tripod.                                   PLATFORM - Charles looks at the scene through the "lens" he          creates with both hands.           18.                                                                            CHARLES (CONT'D)           Guys, this is going to be great.           Get the lights and camera on that           end, we'll shoot this direction           first, like we talked about! Joe,           get the mike plugged in-- make sure           the new batteries are in the camera           before you do the make-up!                                                   JOE           Okay.                                   Joe walks past Alive, who watches him. It strikes her that          Joe is Charles' lackey.                                                            EXT. TRAIN DEPOT - PLATFORM - NIGHT                                   Martin sits alone with his copy of the pages, quietly reading          and memorizing his lines.                                                   MARTIN           "-- Sweetheart, this is my job, I           have no choice." "That's nothing           you need to worry about..." "What           am I suppose to go to Michigan with           you..."                                   Cary grabs his paper and throws it to the wind, sending          Martin running after it.                                                   MARTIN (CONT'D)           No, no, no. Cary.                                                            INT. PLATFORM                                   Preston sets up the lights as Cary arrives to show him his          backpack full of FIRECRACKERS:                                                   CARY           I took apart two packs of cherry           bombs and made my own M-80.                                                   PRESTON           Your obsession with fireworks --           and I'm saying this as a friend --           concerns me. And my mother.                                                   CARY           Well you're a pussy. And your mom           has one.                                   Cary takes off. Martin returns with his paper.           19.                                                                            MARTIN           Bogus, Cary.                                                            EXT. TRAIN DEPOT - PLATFORM - EDGE OF PLATFORM - NIGHT                                   Charles writes in his notebook. He starts to get up...                                                   CHARLES           Martin, I have a new line for you.                                   He gets up to reveal Joe putting make-up on Alice. He walks          over to Martin, Cary and Preston. Charles and Martin AD LIB.                                   TIGHT ON JOE'S TACKLE BOX, which opens. Inside is an          assortment of MAKE-UPS, sponges, cotton balls, brushes, derma          wax, spirit gum, and a large jar of FAKE BLOOD. Joe is          preparing to make up Alice, who sits in front of him,          watching carefully as Joe prepares BASE MAKE-UP on a sponge.          He looks to her. A beat.                                                   JOE           You mind?                                   Alice shakes her head: nope. Joe starts stippling the make-up          onto her face. He is now, via sponge, touching the face of a          girl he's admired for some time. After a beat:                                                   ALICE           My dad works at the mill.                                   And she looks at him. Almost as if she were looking for          something. Joe stops stippling. The tension is almost too          much for him to bear.                                                   JOE           Close you eyes. Please.                                   He indicates the sponge: it's for the make-up. She does. Joe          starts applying the make-up to her eyelids. There's something          provocative for Joe, being so close to Alice, with her eyes          closed. Then, PRE-LAP:                                    CHARLES (O.S.)           So this is very emotional.                                                            EXT. TRAIN DEPOT - PLATFORM - NIGHT                                   The lights (plugged into the car cigarette lighter) and          camera (a EUMIG) are set. Alice has been made up, wears a          coat with purse. Martin, in his tie, faces her. They both          look over their script pages as Charles adjusts the camera.           20.                                                            Joe, observing, holds the boom mike (a condenser mike taped          to a broom handle), Preston wears an overcoat.                                                   CHARLES           Alice: Mrs. Hathaway really doesn't           want her husband to keep investiga--                                                   ALICE           I know, we read it, we get it.                                                   CHARLES           Okay, I'm just directing. Martin           get on your mark. Martin, you're           going to have to reassure her. Do           you know what "reassure her" means?                                                   MARTIN           Yeah, I think so.                                                   CHARLES           Okay-- we're starting on Alice's           side first-- Preston: a couple           seconds after "action" walk to the           pay phone, make it look like this           place is busy--                                                   PRESTON           I know what that looks like.                                   POP! Everyone JUMPS -- Charles turns -- Cary, laughing, has          just exploded a firecracker:                                                   CHARLES           Asshole, could you stop blowing           shit up for two seconds and deal           with the camera?                                                   CARY           Sorry man.                                                   CHARLES           Let's rehearse this -- save your           real performances for when we're           filming, though.                                   Martin and Alice put away their pages -- Cary gets behind the          camera. Charles stands near the camera, kneeling to camera-          height. Joe wears headphones and holds the boom over the          actors' heads. Preston holds a suitcase, ready to walk.                                                   CHARLES (CONT'D)           Ready? Here we go... action!           21.                                                            Martin and Alice now perform as their characters, DETECTIVE          JOHN HATHAWAY and MRS. REBECCA HATHAWAY:                                                   DETECTIVE HATHAWAY           I'm going to stay here and           investigate. I think it would be           safer if you leave town.                                    MRS. HATHAWAY           John. I don't like it. This case.           These murders.                                                   DETECTIVE HATHAWAY           What am I supposed to do, go to           Michigan with you?                                   Preston walks past them, acting in the background.                                    MRS. HATHAWAY           Mackinac Island's beautiful this           time of year.                                   We're TIGHT ON JOE NOW, watching Alice. Slowly amazed at the          unexpected depth and truth she brings to this role --                                                   DETECTIVE HATHAWAY           Sweetheart. This is my job.                                    MRS. HATHAWAY           The dead, coming back to life...? I           think you're in danger--                                                   DETECTIVE HATHAWAY           I have no choice--                                    MRS. HATHAWAY           You do have a choice. We all do...                                   And holy shit, Alice actually starts to cry as she performs          her lines. Not overdone, not hammy. Just fucking real.                                    MRS. HATHAWAY (CONT'D)           John, I've never asked you to stop.           I've never asked you to give up or           walk away.                                   Charles watches -- in awe -- he's suddenly, giddily          transported. But it's JOE who, as he stares, becomes          galvanized; any vague interest in Alice has just set:                                    MRS. HATHAWAY (CONT'D)           But I'm asking you now-- please.           For me. Don't go back. Don't leave           me.                          (MORE)           22.           MRS. HATHAWAY (CONT'D)           I need to know this isn't the last           time I'll see you.                          (BEAT)           I just love you so much.                                   Martin is thrown by the passion and heart of her performance.                                                   DETECTIVE HATHAWAY           ... I... I love you too...                                   And in the heat of it, Alice looks at Charles, unsure:                                                   ALICE           Was that okay? Or... not really?                                   Charles is stunned -- almost crying -- can't talk -- and as          he searches, behind him, a LIGHT --                                                   CHARLES           -- uh, that was... I'm... that--           yeah, good. Just like that.                                   Then a distant AIRHORN -- Charles looks: AN ONCOMING TRAIN.          PUSH IN ON CHARLES, TIGHT. He turns to them all:                                                   CHARLES (CONT'D)           PRODUCTION VALUE!!! Is there film           in the camera?!                                                   CARY           -- I didn't put it in--                                                   CHARLES           PUT IT IN!!! PUT IT IN!!! Joe, get           the mike ready. Go, go, Preston,           get in position. Costume, costume.           Martin, get that tripod set up.           Joe, help her with her costume.           Hurry, hurry! Go! I hope we don't           miss the train. Preston, get in           position! Martin, you know you           lines, right?! IS THE FILM IN THE           CAMERA YET?!                                   As Charles runs to Alice, takes her script pages.                                                   ALICE           I love how calm he is.                                                   JOE           Yeah, he's a very relaxed guy.           23.                                                            Joe laughs a little as he goes -- Cary RIPS OPEN a YELLOW          SUPER 8 box -- Joe grabs the mike -- Cary INSERTS the film:          CLICK! Joe plugs in the mike, Charles grabs the camera:                                                   CHARLES           Everyone ready...?! Be extra loud           when the train passes by! Oh God, I           hope it stops! You ready?!                                   They're set to film toward Alice, the approaching train in          her background -- Charles puts on the headphones --                                                   CHARLES (CONT'D)           And... ACTION!                                   And they're shooting:                                                   DETECTIVE HATHAWAY           I'm going to stay here and           investigate. I think it would be           safer if you left town for a couple           of days.                                    MRS. HATHAWAY           John. I don't like it. This case.           These murders.                                                   DETECTIVE HATHAWAY           What am I supposed to do, go to           Michigan with you?                                    MRS. HATHAWAY           Mackinac Island's beautiful this           time of year.                                                   DETECTIVE HATHAWAY           Sweetheart. This is my job.                                   Charles watches, beaming with excitement. Joe holds the boom,          looks to Charles to make sure it sounds okay; this is when he          notices something in the distance. HEADLIGHTS. A quarter mile          away, a vehicle drives along the horizon. A beat. But the          train is APPROACHING -- GETTING LOUDER -- which makes Joe          turn back toward the train -- the thing almost upon them --          LOUDER AND LOUDER, so the actors begin to YELL over the                         GROWING DIN:                                    MRS. HATHAWAY           THE DEAD, COMING BACK TO LIFE?! I           THINK YOU'RE IN DANGER!                                                   DETECTIVE HATHAWAY           I HAVE NO CHOICE!!!           24.                                                             MRS. HATHAWAY           YOU DO HAVE A CHOICE! WE ALL DO!!!           John, I've never asked you to stop.           I've never asked you to give up or           walk away.                                   Joe looks back at the headlights -- and sees something very          odd: the distant vehicle TURNS ONTO THE TRACKS. PUSH IN ON          JOE, unsettled -- as the train CROSSES THEM NOW -- Joe looks          back toward Alice -- a BLAST OF AIR, shockingly LOUD!                                    MRS. HATHAWAY (CONT'D)           But I'm asking you now-- please.           For me. Don't go back. Don't leave           me. I need to know this isn't the           last time I'll see you.                          (BEAT)           I just love you so much.                                   Alice and Martin continue to yell their lines -- Charles is          almost LAUGHING at how good this looks -- but Joe LOOKS          DESPERATELY BACK toward the headlights -- the train LIGHTING          UP THE OLD PICK-UP THAT IS ABOUT TO CRASH INTO THE TRAIN!                                                   DETECTIVE HATHAWAY           I love you too!!                                   And Joe finally swings the mike down and YELLS:                                                   JOE CHARLES          GUYS, WATCH OUT!!! Joe what the hell are y--?!                                   -- just then BA-BA-BA-BAM!!! THE TRAIN ENGINE, HUNDREDS OF          YARDS AWAY, SLAMS INTO THE TRUCK -- THE KIDS GASP -- REACT --          AS THE TRAIN ENGINE DERAILS!                                                   JOE           Run!                                   THE TRAIN BEGINS TO CRASH -- ACCORDION -- THE KIDS SCREAM --          RUN -- ENTIRE 50-TON CARS JACKNIFE AND CRASH UPWARD -- FLYING          VERTICAL -- CHARLES' SUPER 8 CAMERA AND TRIPOD SLAM ONTO THE          PLATFORM, LANDING SIDEWAYS, STILL FILMING as the CRASH WAVE          APPROACHES AND PASSES THEM!                                   THE KIDS SCATTER, PRESTON AND MARTIN RUN ONE WAY. CHARLES,          CARY AND JOE RUN ANOTHER. JOE STOPS AS ALICE RUNS AROUND THE          BUILDING.                                                   JOE (CONT'D)           Alice!                                                   CHARLES           Joe, we have to go.           25.                                                            They run off.                                                   CHARLES (CONT'D)           I DON'T WANT TO DIE!!!                                   AS NEARBY CARS RIP OFF TRACKS, TUMBLE -- CARS FROM FATHER          BACK JETTISON TOWARD THEM, SLAMMING INTO THE DEPOT,          SHATTERING IT -- THE ENTIRE AREA IS DECIMATED IN AN INSTANT!          And then --                                   IT'S OVER. Just the odd, dying CHUGS and SCREECH-SCREECH-          SCREECH of TRAIN WHEELS running out of momentum, HISSES of          STEAM, the unnatural bending of steel.                                   In the DUST, JOE lies frightened on the ground, eyes tightly          shut. His mind races, his heart pounds -- and then: A LOUD          METAL BANG! Joe stands up fast, faces a MOUNTAIN of twisted          STEEL -- UPSIDE-DOWN TRAIN CARS PILED FRIGHTENINGLY around          him. Just another few feet and he would've been crushed. But          what was that sound? Something metal? Then again: SLAM! Joe          BACKS UP, afraid -- it was almost a LABORED GROAN --          MECHANICAL or ANIMAL?! A crazy SCREECH, another BANG, then          AGAIN and AGAIN!!!                                   We see Joe TIGHTLY GRIPPING HIS NECKLACE LOCKET IN HIS HAND --          THEN: CRASH! -- AWFUL-LOUD -- and a TWISTED TEN-FOOT SQUARE          SHEET OF METAL EXPLODES FROM BEHIND THE OVERTURNED TRAIN CARS          -- Joe covers his head as the metal STABS THE GROUND, twenty          feet away: a TRAIN SLIDING DOOR. Joe turns to see it --          stunned -- then back to the direction of the NOISE -- but it          is GONE. Nothing.                                   TIGHT ON CHARLES' CAMERA -- on its side, FINISHING UP A          CARTRIDGE OF FILM.                                    JOE (O.S.)           Guys?!                                   Joe finds MARTIN, on his knees, THROWING UP -- Martin keeps          throwing up, but pumps a THUMBS UP.                                                   JOE (CONT'D)           Martin, are you okay?! Preston, is           that you?                                                   PRESTON           I'm okay! Though I think I'm having           a heart attack! And I have a           scrape!                                   Joe MOVES FORWARD -- up to camera -- behind him, Cary          appears, smiling. This kid enjoyed the crash:           26.                                                                            CARY           Guys, did you see those explosions?           That was awesome.                                                   JOE           Has anyone seen Alice?!                                    CHARLES (O.S.)           I'm alive! Is anyone dead?                                   Through the debris, steel and dust. Joe moves forward --          Charles, shaken, eyes wide, appears through the thick dust --                                   Joe moves forward, looking at, under a train WHEEL          ASSEMBLY... BLOOD. A PUDDLE OF BLOOD and Joe's heart sinks as          he moves toward it -- another woman he loves, crushed?!          Charles and Preston and Cary see the blood --                                    CHARLES (CONT'D) PRESTON          -- oh God-- -- no -- nonono...                                   Martin, still sick, calls out:                                                   MARTIN CARY          -- what? Guys, what is it? ... shit...                                   Joe moves closer to the blood -- heartsick -- on the verge of          DEEP, REAL TEARS -- everything stops -- but then:                                    ALICE (O.S.)           -- what's all that blood?                                   Joe WHIPS AROUND -- standing in the dusty mess is ALICE --          shaken, but absolutely alive. Joe just BEAMS.                                                   ALICE (CONT'D)           What's the blood? -- did someone           get hurt--?                                   But JOE SUDDENLY KNOWS -- he moves to the blood -- reaches          below the wheels -- the others watch, freaked out --                                    KIDS (AD LIB)           Joe, wait -- maybe you shouldn't           touch -- what are you-- careful!                                   Joe pulls out his CRUSHED MAKE-UP KIT. He brightens:                                                   JOE           It's my fake blood. It's fake!                                                   CHARLES           What is this stuff?           27.                                                            ALICE NOTICES THAT HE'S HOLDING THE NECKLACE. Joe notices          this and POCKETS IT self-consciously. PRESTON calls out:                                                   PRESTON           Guys, what are these things?                                   Joe looks -- they all move to Preston (except Cary, who heads          off): CRATES have spilled from a nearby split car; many          shattered, revealing THOUSANDS OF SMALL WHITE-METAL CUBES          which now litter the ground. Joe kneels, picks one up:                                                   MARTIN           Hey, don't touch it, what are you           doing?                                                   CHARLES           They look like white Rubik's cubes           or something. They're heavy like           metal or something. There's like a           billion of them.                                   It's just a few inches per side, an UNUSUAL DESIGN. Behind          them, having walked up the ANGLED SIDES of overturned train          cars, Cary calls out:                                                   CARY           Guys, get up here. You can see           everything from up here.                                   They move up the mass of metal, revealing a VAST VIEW OF THE          WRECK. It seems to stretch on forever. It is SOBERING.                                                   CHARLES CARY          Oh my God. ... Look at that...                                                   PRESTON           According to my Uncle Seth, an           accident like this is exceptionally           rare.                                                   JOE           It wasn't an accident.           (turns away, eyes on the                          FIELD)           There was a truck. On the tracks.                                                   CHARLES           What? Driving on the tracks?                                   Joe's seen it. He points. Chilled.                                                   JOE           There.           28.                                                            Thrown fifty yards from the main wreckage is THE PICK-UP          TRUCK. SHEARED IN HALF UPON IMPACT and lying in the overgrown          grass.                                                   MARTIN           How can a pick-up truck derail a           train? That's impossible.                                                   PRESTON           Obviously it isn't.                                   BOOM UP from behind the SHATTERED PICK-UP as the kids          approach from the wreckage. PUSH IN ON THEM as they arrive at          the truck and STOP; what they see makes Joe's heart pound --          they're stunned -- all of them. They just stop. Finally:                                                   CARY           ... holy shit...                                                   CHARLES           -- is that him?                                                   ALICE           (covers her mouth))           -- yeah, it's him--                                                   MARTIN           -- who?                                                   PRESTON CHARLES          It is, yeah, for sure-- Holy shit.                                                   MARTIN (CONT'D)           What? Who is that?                                   WE SEE NOW: it's DR. WOODWARD -- 75, seat-belted, bloody and          unconscious, stuck inside the crushed wreckage. Alice moves          closer -- scared and sad for him --                                                   ALICE           Dr. Woodward...?                                   No one can take their eyes off this as, SOTTO:                                                   MARTIN           That's Dr. Woodward? The science           guy?                                                   PRESTON           Biology.                                                   CARY           Honors biology.           29.                                                                            MARTIN           Wow... I'm not in his class.                                                   CARY           We know.                                                   MARTIN           Shut up, Cary.                                                   CHARLES           Remember when Old Man Woodward took           your Electronic Football?                                                   CARY           Yeah, he put it in the "dungeon,"           never gave it back...                                                   MARTIN           The dungeon?                                                   PRESTON           That trailer Woodward keeps in the           school parking lot.                                   Joe moves next to Alice, who reaches out and gently NUDGES          him -- you keep expecting him to suddenly grab her --                                                   ALICE           ... Dr. Woodward?                                   But he's apparently dead; when she nudges him, he LEANS, his          arm drops limp from the steering wheel, where he was HOLDING          A PAPER, that has now fallen onto the ground. Joe picks it          up. UNFOLDS IT: it's an OLD MAP -- thin, off-white paper.          They hold it up, the map now backlit and obscuring Woodward.          We see MARKER WRITING ON IT -- a BLACK LINE, from Nevada to          Dayton -- and NUMBERS written along the way.                                                   PRESTON JOE          Map of the contiguous United          States... -- what's the writing?                                    ALICE (CONT'D) CHARLES          -- dates and times. -- what's that line across?                                                   JOE           It's a schedule for the train.                                   But a SHADOW has appeared: A TREMBLING HAND -- before they          can react, it RIPS THE MAP AWAY -- THEY ALL SCREAM AS OLD DR.          WOODWARD IS REVEALED, BLOODY EYES OPEN, in a DAZE:                                    DR. WOODWARD           -- who-- who are you?           30.                                                            They're all speechless for a moment. Finally, too loudly:                                                   CHARLES           Dr. Woodward! It's Charles Kaznyk!           From fourth period! You've been in           an accident!                                   BUT WOODWARD HAS REACHED INTO HIS JACKET AND PULLED OUT A GUN          -- THE KIDS JUMP BACK, STUNNED --                                    DR. WOODWARD           They will kill you. Do not speak of           this -- or you -- and your parents -           - will die.                                   We're on Joe's stunned face -- but DISTANT VOICES make him          turn his head: hundreds of yards away, through the wreck,          FIGURES WITH FLASHLIGHTS APPROACH FAST --                                                   JOE           -- guys, look --                                   The rest turn to look -- their minds are racing, all of them:                                                   ALICE                          (SCARED)           -- we shouldn't be here--                                    DR. WOODWARD           GOOOOOOOOO!!!                                   The kids start moving away --                                                   PRESTON CHARLES          My dad will de-ball me! Let's get out of here!!!                                   Now they're SPRINTING -- FLASHLIGHT MEN getting closer.                                   Charles arrives on the platform, grabs his camera.                                   Alice hurries past, hunting for her keys in that big purse --          she eyes the FLASHLIGHT MEN getting closer:                                                   ALICE           MOVE YOUR ASS, WE GOTTA GO!!!                                   Joe grabs his make-up kit -- another duffel -- runs for the          car, past a whining Charles.                                                   JOE           GET IN THE CAR!!!           31.                                                            As the FLASHLIGHT MEN APPROACH, Joe runs and gets in the          front seat, the other boys in back -- Alice SLAMS the car          into REVERSE, SCREECH-BACKS UP, narrowly avoids debris, then          RIDES OFF -- the FLASHLIGHT MEN arrive -- SOLDIERS -- their          adrenaline pumping. One man who WALKS UP TO THE CAMERA,          eyeing the vanishing car with intense suspicion: COLONEL          NELEC. He then looks to the ground in front of him.                                   CLOSE ON A FRESH, EMPTY YELLOW SUPER 8 FILM BOX. Nelec steps          to it, picks it up. Looks at it. Then back up at the          disappearing car. We PUSH IN ON HIS BURNING EYES AND --                                                            EXT. OHIO ROAD - NIGHT                                   RRRRRRRROOOOOOOOOAAAAAARRRRRRRR! The Buick speeds past.                                                            INT. BUICK - NIGHT                                   Overlapping mayhem, but Charles obsesses over his camera:                                                   CHARLES PRESTON          Holy shit, that was insane! He had a gun! An actual           physical gun!                                                   CARY CHARLES          I can't believe all that just          happened here! Nothing ever My whole camera lends is like          happens here!!! shattered now!                                                   PRESTON           My heart is pounding! That train           could of killed us.                                                   JOE                          (TO ALICE)           Are you okay?                                   As Alice nervously drives, she shakes her head: no.                                                   CHARLES           Oh shit, all the glass just fell           out!                                                   MARTIN           I HAVE NEVER HAD A TEACHER AIM A           GUN AT ME!                                                   ALICE           It's hard enough to drive without           everyone yelling!           32.                                                                            JOE           Guys, keep it down!                                                   CARY JOE          Joe: what was Woodward          talking about? I don't know, I don't know--                                                   MARTIN           I'm never taking a train again.                                                   PRESTON           "You'll die, your parents will           die," guys, that is not good           information.                                                   CHARLES           Great, the focus ring just fell           off!                                                   CARY           No one cares about your CAMERA!                                                   MARTIN           Am I the only one shaking?! I'm           also crying --                                                   ALICE           We can't tell anyone we were there -           - we can't say a thing about it --           my dad cannot find out I took his           car, do you guys hear me?!                                                   JOE           It's okay-- no one's saying           anything. None of us.           (to his friends)           Guys -- we're not gonna say           anything -- are we?!                                   The boys all muster, "no's." Joe turns sweetly to Alice.                                                   JOE (CONT'D)           See? No one's gonna know.                                   Alice nods; if not quite relieved, at least grateful for Joe.          But they all stare off for a long beat... haunted.                                                            EXT. ROAD - NIGHT                                   The Buick SPEEDS AWAY...           33.                                                            EXT. JOE'S HOUSE - NIGHT                                   CRANE DOWN as the Buick pulls up. The dusty boys pile out.          They all kind of look at each other. What a night. Charles,          who looks at Joe for a beat, holds up his defunct camera on          the tripod. Joe nods.                                   Alice finds something on the passenger seat and holds it out.                                                   ALICE           Joe, this is yours.                                   Joe goes to the window. Alice holds it out: THE CUBE. He          takes it with:                                                   JOE           -- oh, thanks,                                                   ALICE           I should never have done this.                                   She just drives away. Left there are Joe, Charles, Preston,          Cary and Martin. They all kind of look at Alice go.                                                            INT. JOE'S BATHROOM - NIGHT                                   Joe in the bath. The quiet SWISH of water as Joe holds the          CUBIC OBJECT. He relives the night: he mouths explosions.          Remembers the fear... then he smiles.                                                            INT. JOE'S BEDROOM - MORNING                                   Joe is STARTLED AWAKE as if from a nightmare; Jack has awoken          him, quickly bucking his holster, urgent:                                                   JACK JOE          Gotta head in early -- -- okay--          Make sure you let Lucy out. -- I will --                                   Pull back WIDE to see Joe's room -- while in the FOREGROUND          is his desk, crowded with stuff. In focus, however, is the          CUBED OBJECT he took from the crash site. As the shot          progresses, you may notice that THE CUBE HAS CHANGED SHAPE;          THE VOLUME IS THE SAME, BUT THE CORNERS HAVE EXTENDED.                                                   JACK JOE          You gonna -- what, you with          Charles today? Yeah, I'll be with Charles--          Make sure you get the yard. -- okay, I will.                                   Jack heads off.           34.                                                            INT. JOE'S HOUSE - KITCHEN - MORNING                                   TIGHT SHOT: Joe fills Lucy's FOOD DISH with kibble. No dog.                                                            EXT. JOE'S HOUSE - MORNING                                   Joe hurries across the street.                                                            INT. CHARLES' HOUSE - MORNING                                   Typical Kaznyk bustle: Father busily packs sack lunches. Hot          Jen eats cereal, reads a magazine. One Twin plays HANDBALL          loudly against a wall. Peg keeps walking through the scene          with clothes. Mother cooks, says to the other twin (in grimy                         SHORTS):                                                   JEN           Mom, come on!                                                   CHARLES' MOTHER           No. You're not wearing that. No one           in this house is wearing that.                                                   JEN           Compared to Debbie's these are           long.                                                   CHARLES' FATHER           Just listen to your mother.                                                   JEN           I can't wear these or go to Wendy's           party? This is not fair.                                                   CHARLES' MOTHER           Jennifer Anne, not fair is Africa.                                                   JEN           Mom's racist.                                                   PEG           Are there anymore English muffins?                                                   CHARLES' MOTHER           I don't know, go check.                                                   CHARLES' FATHER           Peg, tell the twins to stop.                                                   PEG           They don't listen to me.           35.                                                                            CHARLES' FATHER           Hi, Joe.                                   It all continues as Joe has entered from the front door.                                                   JOE           Morning, Mr. Kaznyk--                                                   CHARLES' MOTHER           Hi, Joe. Did you hear about the           train accident?                                                   JOE           Uh... no.                                                   CHARLES' MOTHER           It's on the news.                                   Joe is moving toward the living room, where Charles sits on          the sofa, eyes glued to the TV, A TRAIN CRASH BEING REPORTED          ON THE LOCAL NEWS; HELICOPTER SHOT of the wreck. The CHYRON          READS, "TRAIN DERAILED - AIR FORCE AIDS CLEAN UP." Joe sits          beside Charles. They both watch, stunned, as a PHOTO OF DR.          WOODWARD appears on the TV, with the heading "DRIVER OF TRUCK          CRITICALLY INJURED, BEING TREATED." WHISPERED:                                                   CHARLES           Can you believe this?                                                   JOE           No.                                                   CHARLES           It's on the news. That means it's           real.                                    NEWS REPORTER (V.O.)           Meanwhile, local science teacher           Thomas Woodward is still being           treated by Air Force medical           personnel after last night's train           derailment. Woodward apparently           fell asleep at the wheel of his           pick-up truck, which was hit by the           speeding train at approximately one           AM. Eighty-two train cars were           thrown from the tracks in the           derailment, the largest such           accident in Ohio's history. The           condition of Woodward, who has           taught at Lillian Middle School for           the past six years, remains           unknown.           36.                                                            Both stare at the train crash, stunned. Finally, quietly:                                                   JOE           ... Looks like a disaster movie,           doesn't it...?                                   And we PUSH IN ON CHARLES, going from depressed and lost to                         INSPIRED:                                                   CHARLES                          (WHISPERS)           ... oh my God, Joe... that's                          AWESOME--                                                   JOE           -- what?                                                   CHARLES           We can use this -- we can film it --                                                   JOE           (starts to smile)           -- you wanna go back?!                                                   CHARLES JOE           (turns to him) --okay--          Holy shit, that's mint.          You're a total brain--! We          gotta get the camera fixed          and the film developed from          last night-- I gotta go steal          some more money from my mom!                                                            EXT. LILLIAN, OHIO - BRIDGE - MORNING                                   Joe and Charles ride their bikes into town, across a BRIDGE,          the massive STEEL MILL in the background --                                                   CHARLES           If any of the footage from last           night is usable, that means we need           Alice to play the wife again.                                                   JOE           Yeah, I thought she was good.                                                   CHARLES           She was mint, but she's never gonna           do it.                                                   JOE           I think she will.           37.                                                                            CHARLES           There's no way. You heard what she           said.                                                   JOE           But that was before the new pages,           right?                                                   CHARLES           You honestly think she cares about           the scenes?                                                            EXT. LILLIAN, OHIO - MAIN STREET - DAY                                   TILT DOWN from the town's WATER TOWER -- Joe and Charles ride          their bikes underneath it, crossing Main Street -- two large          MILITARY TRUCKS drive past, we may note the Airman in the          passenger seat SCANS THE AREA with a handheld device.                                                   CHARLES           Man, did you hear what she said           last night? "I never should have           done this!" Dude, she was totally           wigged!                                                   JOE           Yes, she was, we all were.                                                   CHARLES           Did you see her face?                                                   JOE           Yeah, I saw her face.                                                   CHARLES           Man, what's wrong with you?                                                   JOE           Nothing. I think she's going to do           it.                                   They park their bikes outside OLSEN CAMERA AND HI-FI.                                                            INSERT - WHITE PAGES                                   The book opens -- Joe's finger goes down -- finds "LOUIS          DAINARD" and the phone number. We're in:           38.                                                            INT. OLSEN CAMERA AND HI-FI - MORNING                                   Joe at the counter, DIALING THE ROTARY PHONE, Charles behind          him with DONNY, the 19-year-old, dark-haired, bearded          salesman with a big collared button-down shirt.                                                   CHARLES           Lens is cracked. Focus ring broke.                          (BEAT)           Ya think it's fixable?                                   Joe HEARS Alice's phone number RINGING.                                                   DONNY           I think it's cheaper to buy a new           one.                                                   CHARLES                          (TO JOE)           We're screwed, man, it's over!                                    JOE ALICE (V.O.)          We can use my dad's camera --          it's got sound and-- Hello?                                                   JOE           Alice-- hi, it's Joe. Lamb.                                   As Charles opens the camera, pulls out the film:                                    ALICE (V.O.)           Hi...                                                   JOE           So we have some new scenes. For the           movie. We were hoping you'd be in           `em.                                    ALICE (V.O.)           Oh-- no. No, I'm done with that.                                   Joe twirls a hanging Kodak "RELIVE THE MEMORIES" SUPER 8 film          PROMOTIONAL SIGN, speaking in a soft voice:                                                   JOE           Really? `Cause these are really           good scenes.                                   Charles hands the film cartridge to Donny.                                                   CHARLES           We need this developed as soon as           possible -- can you do overnight?           39.                                                                            DONNY           Asshole, no one can do overnight.           You wanna buy some pot?                                   Charles reacts; he's never smoked anything.                                                   CHARLES           ... no, thank you.                                                   DONNY           You guys are weak.                                    ALICE (V.O.)           I'm watching the crash on the news.                                                   JOE           Yeah, I know, I saw it.                          (CONCERNED)           Are you okay?                                                   CHARLES           Well, what's the fastest you can           do?                                                   DONNY           I can make it a rush, you get the           film back in three days-- what's           your sister up to? The hot one, not           the other one.                                                   CHARLES           I don't know.                                    ALICE (V.O.)           I should go.                                    JOE ALICE (V.O.)          -- wait, hold on -- lemme          come over and show you the          pages, okay? I'll be right          there. No, d--                                                            EXT. ALICE'S HOUSE - DAY                                   Lower-lower-middle class house, set against woods. Joe with          Alice at her front door. She seems unnerved:                                                   ALICE           I don't care what Charles wants-- I           said no on the phone.           40.                                                                            JOE           You totally did, that's true, I           know, but--                                                   ALICE           And now you're at my house.                                                   JOE           I am, which-- under normal           conditions I would nev--                                                   ALICE           It's too weird after last night-- I           don't understand how you guys can           keep working on your stupid movie,           I really don't.                                                   JOE           We have to-- while the crash is           still there.           (waits, anxious, then,                          VERY SOFTLY:)           ... please...?                                                   ALICE           (she considers, then:)           No.                                   But Alice's eyes have flicked to the Buick, pulling up.                                                   ALICE (CONT'D)           You should go.                                   Joe watches Louis get out of the car -- the man who got          arrested at his mother's wake -- carrying a small grocery          bag. He sees Joe and darkens as he approaches:                                                   LOUIS           What's this?                                                   ALICE           He was just inviting me to a party.                                   Joe steps back as Louis arrives; Louis seems to hate Joe, but          at the same time, can barely look at him:                                                   LOUIS           She's not going to your party.                                                   JOE           Yessir.                                   Louis throws Alice a dark, resentful glare.           41.                                                                            LOUIS           You know better than this.                                   She nods, uncomfortable. Louis turns to Joe:                                                   LOUIS (CONT'D)           You get outta her. You go home and           don't come back, I don't wanna see           you.                                   Louis goes back inside. Alice follows, turns to Joe. As          awkward moment between them. Then, quietly, conflicted:                                                   ALIE           I'll do it.                                                   JOE           -- what?                                   She closes the door. Alone, despite it all, Joe is happy. Off          his smile, we HEAR LOUD POPS: BAM! BAM! BAM! BAM!                                                            EXT. HILLTOP - DAY                                   Martin -- as Detective Hathaway -- FIRES A GUN -- shooting          CARY, dressed in a dirty suit, as a man TURNING INTO A ZOMBIE          -- his eyes WIDE AND GLOSSY WHITE -- and as he is HIT BY THE          BULLETS, he SLAMS HIS HAND ONTO HIS CHEST -- BLOOD BURSTS ALL          OVER HIM and he FALLS PAINFULLY TO THE GROUND. We then find          CHARLES, behind his camera, yelling out:                                                   CHARLES           CUT! That was mint! So good! And it           looked huge with the train! Wow!           Joe: go reload the cap gun!                                                   JOE                          OKAY --                                   WIDE SHOT, rising PAST SIX BICYCLES, thrown to the ground in          a typical kid jumble. Charles, Joe and Preston, with Joe's          dad's KODAK CAMERA on tripod, have been filming, their gear          scattered. KEEP MOVING OVER THEM, to Martin and Alice, who          were on camera. Beyond them, in the valley, the TRAIN CRASH          seems to go forever. MILITARY TRUCKS, TENTS and SOLDIERS.          HELICOPTERS buzz in the distant sky. Joe moves over to Alice,          who looks out at the crash. During all this:                                                   CHARLES           We'll get the other direction next -           - Alice, that was mint-- Martin, go           a little faster next time.           42.                                                                            MARTIN           I'll try, but I'm still crying           about last night, I feel like I'm           crazy.                                   Cary sits, pulls off the CUT-OUT PING PONG BALLS that were          covering his closed eyes.                                                   CARY           Did it really look good? My death?                                   CLOSE ON JOE as he arrives beside Alice, who looks out at the          train, haunted. Quiet:                                                   ALICE           ... what do you think happened...?                                   Joe stops reloading the gun, looks out, gets lost as well.                                                   JOE           You mean why he crashed the train?                                                   ALICE           I just got a horrible feeling.                                   Martin has arrives there too. Preston too:                                                   MARTIN           Anyone else still shaking from the           crash?                                                   PRESTON           I got in my parents' bed last           night. Haven't done that since I           was eleven.                                   Joe suddenly WALKS AWAY FROM THEM, back toward the camera.                                                   PRESTON (CONT'D)           ... did I just insult him?                                   Joe grabs the camera, near Charles:                                                   CHARLES           -- dude, what are you doing?                                   Joe moves the camera back to Alice -- he looks through the          lens -- uses the ZOOM -- and WE SEE JOE'S POV -- the CRASH,          ZOOMED IN -- he PANS from ONE CAR TO ANOTHER.                                   Alice watches Joe, who peers into the camera for a long beat,          finally standing up, looking out at the crash:           43.                                                                            JOE           That whole thing's an Air Force           train.                                                   ALICE           -- what?                                                            INT. DINER - DAY                                   The kids sit at a table at the window. The CAR LOT is across          the street. They're talking excitedly but quietly:                                                   JOE           I make models-- plastic ones-- you           know, glue `em, paint `em--                                                   PRESTON           And he's not embarrassed by that.                                                   CARY           Looks who's talking, Math Camp.                                   A WAITRESS is there, delivering more FOOD --                                                   CHARLES           Thanks, could I have a coffee,           please? Cream on the side?                                                   WAITRESS           (really?)           Sure.                                   She heads off. Cary smiles at Alice.                                                   CARY           He is so sophisticated.                                                   CHARLES CARY          Shut up, I like coffee. No one likes coffee.                                                   ALICE           Keep going.                                                   JOE           Air Force trains -- even models --           have these hooks...                                                   PRESTON           Ooo! Ooo ooo ooo! They do -- for           when their train cars are put on           transport ships.           44.                                                                            JOE           Every car in that crash had hooks,           every one...                                                   CHARLES           Joe: stop talking about it.                                                   MARTIN           Am I the only one who doesn't           understand what this all means?                                                   CARY           Probably, Smartin.                                                   MARTIN           Shut up, I don't like that--                                                   JOE PRESTON          Dr. Woodward had that map.          He drove onto the tracks.          Maybe there was something-- -- he wanted to destroy,          he wanted to destroy? yeah.                                                   CHARLES           Please shut up, all of you.                                                   CARY           I say he was just sick of being old           and wanted to kill himself.                                                   JOE           He had a gun, why not use that?                                                   PRESTON           There are infinitely more effective           ways to commit suicide: pills,                          HANGING--                                                   CARY CHARLES          Pussy, stop pulling the fries          away. I ordered these for a reason.          -- he gets all possessive          with his fries, it's so          annoying.                                                   PRESTON (CONT'D)           You could jump from a building.                                                   MARTIN           Fall down stairs.                                                   PRESTON           Well, that's not really effective.           45.                                                                            ALICE           So, if it's Air Force, what would           the Air Force have on a train?                                                   CHARLES                          (WHISPER YELLING)           SHHHHJESUS! You heard what the Old           Man said, we can't talk about this!           (to waitress, with coffee)           -- thank you, very much.                                                   PRESTON           Drowning, hari kari, also known as           seppuku--?                                                   CARY           Excuse me, could we please get           another order of fries because my           friend here is fat?                                                   CHARLES           Funny, Chompers, at least I don't           use a booster seat.                                                   MARTIN           What was your teacher even talking           about? Who are we supposed to be           afraid of anyway?                                                   CHARLES           I don't wanna find out -- guys, we           gotta forget we were there. Joe,           seriously... you really wanna take           a chance that something could           happen to your dad, too?                                   This lands for Joe -- for all of them -- as we CUT TO:                                                            EXT. CRASH SITE - DAY                                   The massive train wreck that goes on for a mile. Hundreds of          MILITARY work to clean up fast. A truck DRIVES PAST CAMERA,          taking us to Jack and Nelec, who WALK together amid the          debris. Choppers land and take off in the background:                                                   NELEC           Yes, I understand, this crash has           caused a whole mess of confusion.           46.                                                                            JACK           As you can expect, the local           authorities are trying to figure           out just what happened here as well           as how to help you out.                                                   NELEC           It's under control. It'll be a very           fast clean-up.                                                   JACK           Colonel, there isn't anything I           should know, is there?                                                   NELEC           Not that I can think of, Deputy. I           understand you have concerns about           our cargo.                                                   JACK           I'd like to see that manifest, yes.                                                   NELEC           That's not going to be possible.                                                   JACK           Colonel, I've got a lot of people           in my town that are gonna want to           know what's taking place.                                                   NELEC           -- what town is that?                                                   JACK           ... Lillian.                                                   NELEC           Deputy, if you're asking me if we           had any dangerous property on board           this train, I can assure you the           answer's no.                                                   OVERMYER           Colonel.                                                   NELEC           Excuse me.                                   Jack looks at Nelec -- not quite believing him...           47.                                                            INT. POLICE STATION - DAY                                   Jack is with Sheriff Pruitt, who stands, distracted, picking          up reports from his desk, on his way out.                                                   JACK           They gave me the run around for two           hours before I was allowed to talk           to anyone.                                                   PRUITT           I'd say they have their hands full,           wouldn't you?                                                   JACK           Nelec -- the Colonel -- refused to           show me their manifest, said they           were carrying mostly airplane parts-                                                   PRUITT           It's Air Force, Jack. Airplane           parts sorta make sense.                                                   JACK           Sheriff, I'm telling you, there's           something else going on -- they're           taking molds of tire tracks -- now           why would they be doing that? Who           are they looking for? And they're           packing these weird little cubes           into crates and they're--                                                   PRUITT           Weird little cubes?                                                   JACK           --yeah, into these red trucks,           dozens of these trucks -- and I'm           telling you, they're scrambling to           get the hell outta there--                                                   PRUITT           I'd say that's a good thing,           wouldn't you?                                                   JACK           Sheriff, I think you need to go           check it out.                                                   PRESTON           And I think you need a break.                          (BEAT)           Jack, I've been telling you this           since Elizabeth.                          (MORE)           48.                          PRESTON (CONT'D)           You're a good deputy. But you need           to take a vacation.                          (BEAT)           Go home. Take off your uniform. Go           fishing. And give your son a hug.                                   Pruitt walks off. Jack, unsettled, watches him go.                                                            INT. KELVIN GAS STATION - NIGHT                                   FINGERS TAPPING -- they're fingers on a COUNTER, a WALKMAN          sitting beside them. BOOM UP to 23-year-old BREEN, who digs          the BLONDIE he's listening to. He is alone in the station          store. Behind him, 60-year-old SHERIFF PRUITT enters.                                                   SHERIFF PRUITT           Hey Breen, I'm not sure Edie's           paying you to listen to the radio.                                   Breen doesn't respond. The sheriff throws a candy bar at him.                                    SHERIFF PRUITT (CONT'D)           Breen.                                   Breen pulls off the headphones.                                                   BREEN           Hey, Sheriff.                                                   SHERIFF PRUITT           What's that?                                                   BREEN           Walkman. It's like a stereo, play           your own cassette tapes.                          (OFFERS HEADPHONES)           You wanna try it?                                                   SHERIFF PRUITT           (pays for the candy bars)           I don't think so. Kids walking           around with their own stereos. Just           what we need. It's a slippery           slope.                                   He exits the store.                                                   BREEN           ... yessir.                                   Pruitt heads out; Breen puts the headphones on again.           49.                                                            EXT. KELVIN GAS STATION - NIGHT                                   We see we're at the lonely gas station the kids drove past          earlier. Pruitt's SQUAD CAR filling up, the only car here.          High overhead, a yellow KELVIN sign TURNS atop a tall pole          near the road. Pruitt crosses to his car. Peels the candy          bar. Hearing something, he turns -- a PACK OF DOGS RUN BY. A          DISTANT SHOT AS THE LIGHTS ALL MOMENTARILY DIM AND FLICKER.          CLOSE UP of the PUMP'S SPINNING white NUMBER on black; the          gallons and dollar amount blurring higher -- then A BIZARRE          REFLECTION -- Pruitt sees it, turns -- and what he sees is          TALL AND TERRIFYING -- he DROPS THE CANDY -- GOES FOR HIS          GUN, BUT --                                                            INT. KELVIN GAS STATION - NIGHT                                   Breen, eyes closed, blasts his Walkman (we only hear TINNY          MUSIC) as, through the window behind him, the rear of the          squad car SUDDENLY SPRINGS UPWARD VIOLENTLY as if the FRONT          SECTION WAS SUDDENLY CRUSHED! PRUITT SCREAMS, MUFFLED, as the          CAR SLAMS back to the pavement -- LIGHTS FLICKER --                                                            EXT. KELVIN GAS STATION - NIGHT                                   Gas PUMPING onto the asphalt, SCREAMS OF PRUITT, horrible,                         CONFOUNDING --                                                            INT. KELVIN GAS STATION - NIGHT                                   PRUITT'S SCREAMS END as Breen OPENS HIS EYES AND RIPS off the          headphones: the hell was that? He looks outside -- sees the          car -- shattered windows. Confused, he heads out --                                                            EXT. KELVIN GAS STATION - NIGHT                                   Breen moves tentatively toward the CRUSHED CAR -- quickly          glances for Pruitt, who's missing. He gets close to the car,          confounded by what he sees -- hands shaking, he rights the          pump and replaces it. His heart pounds as he starts for the          building -- but SLIPS ON THE GAS -- falls hard -- looks up --          sees whatever's coming for him -- SCREAMS as he gets to his          feet and RUNS LIKE A MOTHERFUCKER --                                                            INT. KELVIN GAS STATION - NIGHT                                   Breen RUSHES INSIDE -- we're WITH HIM as behind him:          KKKRASH!!!! An EXPLOSION OF GLASS AND JUNK FOOD and --           50.                                                            EXT. KELVIN GAS STATION - NIGHT                                   WE LOOK DOWN UPON THE STATION FROM UP HIGH -- where the          turning, lit KELVIN SIGN BLOCKS OUR VIEW FOR THE MOMENT -- we          can only HEAR THE HORROR happening inside the station until          FINALLY the sign REVEALS THE STATION -- everything inside          looks like it's in a BLENDER -- THERE'S A SUPER-HUMAN          UPHEAVAL HAPPENING IN THERE -- and Breen's SCREAMS CONTINUE          as the turning Kelvin sign BLOCKS OUR VIEW AGAIN -- as the          SOUND GETS UNBEARABLE, A SUDDEN CUT TO:                                   A FACE. A MAKE-UP BRUSH APPLYING MAKE-UP. It's ALICE, and          she's becoming a ZOMBIE. We are:                                                            INT. CHARLES' KITCHEN - DAY                                   Joe makes her up -- a not half-bad, simple ZOMBIE MAKE-UP.          Pale skin, sunken eyes and cheekbones. In the background, the          other kids prepare to film.                                   He hands her a mirror, she gazes into it, sort of amazed.                                                   ALICE           Where'd you learn how to do this?                                                   JOE           Mostly the Dick Smith Monster Make-           up Handbook.                                   She nods. Whatever. Charles is suddenly there, with Cary:                                                   CHARLES           Hey! So I'm gonna need more shots           of the train crash, obviously-- you           know that train model you made? Can           we blow it up and film it?                                   Joe doesn't want to do this at all. AT ALL. But...                                                   JOE           ... sure.                                                   CHARLES CARY          Mint. Gnarly!                                   Charles and Cary head off, planning the explosions. Alice          looks at him knowingly.                                                   JOE (CONT'D)           I don't care, they can blow it up.           I can show you the train, it's           nothing, it's stupid.                          (BEAT)                          (MORE)           51.                          JOE (CONT'D)           You wanna see it? Later? The...           train? My train model? The train I           made?                                   The LIGHTS IN THE HOUSE DIM -- BROWN OUT -- then back on.                                                   CHARLES MARTIN          That's like the third time Dude. Bitchen.          that's happened.                                                   ALICE           So how am I supposed to be a           zombie?                                                   JOE           Oh. Just be a lifeless ghoul.           Someone with no soul, dead eyes.           Scary. D'you ever have Mrs. Mullin?                                                   ALICE           For English? Yeah--                                                   JOE           -- like her. But hungry, like           hungry for human flesh. To make           them turn into zombies, because           that's what zombies do.                                   Alice considers this -- then, after a beat, starts doing her          best zombie. Joe smiles, `cause it's pretty good.                                                   JOE (CONT'D)           Oh my God. That's really good...                                   And Alice slowly leans in toward him -- is this performance?          Or is this something else--? And she PUTS HER MOUTH ON HIS          NECK IN A FAKE BITE, which makes Joe go still -- a shiver          down his spine -- he's never felt anything like this in his          life. And when she pulls back, her performance over, she's          smiling. He doesn't know what to say, tries to stay cool.                                                   JOE (CONT'D)           ... not bad.                                                            EXT. KELVIN GAS STATION - DAY                                   We're NEAR THE GAS PUMPS, LOW TO THE GROUND -- DOLLY as Jack,          EDIE and MR. BLAKELY come out here. We pass SMALL SHATTERED          PIECES OF RED AND BLUE PLASTIC and STOP AND RACK to the GUN          Sheriff Pruitt dropped.           52.                                                                            EDIE           -- Careful, there was a gas spill.           I don't even know how much fuel           I've lost.                                    MR. BLAKELY           -- You don't seem to be asking a           lot of questions.                                                   EDIE           -- Give this man some time, Mr.           Blakely.                                    MR. BLAKELY           He's just the Deputy, he's not the           Sheriff...                                   Jack kneels by the Smith and Wesson Model 19. Jack pulls out          a handkerchief, lifts the fun -- PUSH IN ON the engraved          initials "H.P." JACK IS ROCKED BY THIS. He opens the cylinder          to check if it had been fired.                                   CUT BACK WIDE. No squad car here. Jack checks out the broken          BLUE AND RED PLASTIC as he makes a walkie call:                                    MR. BLAKELY (CONT'D)           I think this is most likely a bear           attack.                                                   EDIE           Remember when I said you talk too           much? Well, this is the time.                                                   JACK           Vicky, ya heard from Sheriff Pruitt           this morning?                                    VOICE (V.O.)           Negative, still no word.                                                   JACK           Vicky, I need you to have Dayton           send a CS unit out to Edie's. You           put out an APB on the Sheriff and           Breen Haskell -- send units to           their houses immediately. You copy           all of that?                                    VOICE (V.O.)           ... copy. And Jack, we're getting a           lot of unusual calls.                                                   JACK           ... what kind of unusual calls...?           53.                                                            EXT. CAR LOT - DAY                                   Angry IZZY, 65, OPENS A NEW CAR HOOD: PIECES OF THE ENGINE          RIPPED AWAY, MESSY -- DOLLY WITH HIM, Jack follows:                                                   IZZY           Never seen this kinda thing before.                                   Izzy opens ANOTHER CAR HOOD: PIECES MISSING.                                                   IZZY (CONT'D)           What the hell am I supposed to do?           Insurance company thought I was           joking with him. Look at my           Bonneville here-- look at this. I           got a call about this car           yesterday. What am I going to tell           the customer?                                   ANOTHER HOOD -- PIECES MISSING.                                                   JACK           Having trouble with anyone lately,           Izzy?                                                   IZZY           I was thinking, you should talk to           Louis Dainard. I didn't help him           out with financing last year,           wouldn't be surprised if this was--           some sorta sick retribution.                                   As Jack heads back to his car, THREE RESIDENTS move to him,          walk with him, AD LIB:                                                   RESIDENTS JACK          -- Some strange shit has been -- d'you call the station          going on. My antenna's gone-- yet. You need to call the          our dog is gone, he hasn't station. And file a report,          come home this morning -- before anything can be done          Jack, my lights keep going on about it. And then we can          and off. Counting on you, take care of these things. If          Jack. you do that for me, I promise           you, I'll handle it myself.                                   He seems to have appeased them -- but as he turns, we see how          stressed he is. He stops, noticing FOUR MILITARY TRUCKS          DRIVING PAST, SLOWLY, ANTENNAS atop the trucks, and the men          inside seemingly scanning the area. Jack is disturbed by          this.           54.                                                            EXT. HILL TOP                                   Joe rides along a hillside. Parks his bike. Walks toward the          edge.                                                   JOE           Lucy. Lucy. Lucy!                                   He stops to reveal the town of Lillian.                                                            EXT. LILLIAN STREET - DUSK                                   Joe rides the street, calling out:                                                   JOE           Lucy! ... Lucy!                                   WIDE SHOT as he DIPS down a neighborhood hill, sun LOW.                                                            EXT. LILLIAN, OHIO - MAIN STREET - DUSK                                   A community CORKBOARD. Joe posts up a piece of paper; we SEE          IT NOW IN CLOSE-UP. It's a MISSING DOG SIGN FOR LUCY. We're          on Joe's face as he finishes pinning it up -- when something          he sees makes him stop. He slowly takes a step back. Then          another... his eyes glued to the board.                                   Then we see the REVERSE -- SLOWLY PULLING BACK -- REVEALING          THAT THERE ARE DOZENS AND DOZENS OF BRAND NEW "DOG MISSING"          SIGNS POSTED ON THE BOARD. It's COVERED in them. Joe is so          stunned, he doesn't notice the MILITARY TRUCKS that pass in          the background behind him.                                                            INT. JOE'S HOUSE - KITCHEN - NIGHT                                   KA-BAM: back door opens, Joe enters. EMPTY PIZZA BOX on the          table. Jack and four POLICE OFFICERS in the living room,          smoking, reviewing POLICE REPORTS, marking MAPS, taking notes          -- WORKING ON THE PROBLEMS THEY'RE HAVING --                                                   OFFICER MIKE           We need more help around here.                                                   OFFICER GORDON           We've got four men on the Pruitt           case alone. We've called into           Dayton, they'll be out in the                          MORNING----           55.                                                                            JACK           That's not enough. People don't           feel safe here -- and you know why?           `Cause they're not--                                   The officers agree. Joe moves into the doorway where his dad          and other convene.                                                   JACK (CONT'D)           -- the Air Force isn't answering a           damn question: they've got trucks           at Woodward's house, looking for                          SOMETHING --                                                   OFFICER           They've got trucks all over town.                                                   OFFICER JAY           I saw a guy riding shotgun in one           of those trucks -- had some kind of           scanner in his hand --                                                   DEPUTY TALLY           --like a Geiger counter or                          SOMETHING--                                                   JACK           I know. They're saying it's just           clean-up at the train crash, but           they're taking molds of tire           tracks. Which means they're looking           for someone-- now what's that           about?                                   Joe has heard this and DROPPED HIS FLASHLIGHT -- the men all          turn, silent. Joe, on the spot:                                                   JOE           -- have you... seen Lucy?                                                   JACK           I'm sure she's around. I put a           couple of slices in the fridge for           you there.                                                   DEPUTY TALLY           -- oh-- I ate those. Sorry, Kid--                                                   JOE           That's... okay, I'll find a--                                   Then the POWER GOES OUT -- the men react -- it FLICKERS ON          AND OFF -- Jack grabs his radio a the POWER RETURNS:           56.                                                                            JACK           Vicky, you got power at the           station?                                    DISPATCH (V.O.)           On and off. Brook County's in the           dark.                                                   JACK           Get water and power out there now.                                                            INT. JOE'S LIVING ROOM - NIGHT                                   Joe paints his model on the floor of his living room,          watching In Search Of and talking to Charles on his walkie          talkie.                                                   JOE           So the Air Force is looking for a           car -- Alice's dad's car -- they're           taking tire prints from the crash           site. Over.                                                   CHARLES           I don't wanna hear about it. They           could be monitoring us right now!           Jesus, shut up. Over!                                                   JOE                          (VERY CONCERNED)           And the military's at Woodward's           house. Looking for his research.           Whatever that means?                                                   CHARLES           Joe -- YOU CAN NOT FLAKE OUT ON ME           AND BE A DICK! Are you gonna come           help me tomorrow or not? I need you           to make Alice a zombie again.                                   And Joe tries to snap himself out of it. But is disturbed.                                                   JOE           Okay... I'll do the make-up. Over.                                                            EXT. COUNTRY ROAD - NIGHT                                   WIDE SHOT: middle of nowhere wooded area as an OHIO POWER          CHERRY PICKER TRUCK drives up, parks beside a UTILITY POLE.           57.                                                            INT. DWP CHERRY PICKER - NIGHT                                   ROONEY, 49. Cigarette in his mouth, makes notes on a          weathered clipboard. Glances at the power line. Doesn't          understand what he sees -- PUSH IN ON HIM. He radios in:                                                   ROONEY           This is Rooney at Mary-10, was           there re-routing on this line?                                    VOICE (V.O.)           Negative, but the grid through           Liberty is dark.                                                   ROONEY           ... yeah, `cause there's no           overhead lines on these poles.                                    VOICE (V.O.)           -- come again?                                                   ROONEY           No power, no comm cables. Stand by.                                   He DRIVES AGAIN -- we see a WIDE SHOT OF THE LANDSCAPE --          HALF A DOZEN UTILITY POLES -- ALL BARE -- NOT ONE WIRE.                                                            EXT. SALVAGE YARD ROAD - NIGHT                                   The truck comes to a stop, roadside. Tall trees and a SALVAGE          YARD behind them. PUSH IN ON ROONEY who calls in:                                                   ROONEY           We got over a half mile of copper           missing.                                    VOICE (V.O.)           -- that-- doesn't sound possible.                                                   ROONEY           Lines are back up at M-38.                                   In the cherry picker bucket, Rooney works the controls. He          begins LIFTING; a WIDE SHOT shows him rising to the bare          utility pole STEPDOWN TRANSFORMER. When Rooney finally gets          to the top, with gloves hands, he inspects the transformer.          After a moment, though, he stops. HEARS something else, past          the sound of electricity. He looks over toward the SALVAGE          YARD. Except it's mostly hidden by the trees. From here,          Rooney can only see the tops of the JUNK PILES. A small          METALLIC CRASH. Then ANOTHER.           58.                                                            Rooney cranes his neck to get a view. Another METALLIC CRASH,          this time GLASS BREAKING, too. Then, in the distance, at the          middle of the salvage yard, SOMETHING FLIES INTO THE AIR,          FALLING AND LANDING WITH A CLANG-THUNK.                                   Rooney strains his eyes to see -- what the hell was that? A          tin can? A piece of a fender? Hard to tell from here.                                   Then, thrown into the air: A CAR TIRE. It lands with a THUD.          Rooney then uses the bucket controls -- MOVES BACKWARD AND UP          -- a touch higher toward the transformer -- not exactly          watching how close he is getting. He stops. Watches.                                   An ENTIRE JUNKED MOTORCYCLE flies into the air, discarded,          twirling, and CRASH LANDS, out of sight.                                   Rooney is stunned. As the METALLIC RUMMAGING SOUNDS CONTINUE,          Rooney moves the bucket EVEN HIGHER -- when suddenly his          bucket BEEP-BEEPS LOUDLY -- a warning he's too high -- and he          suddenly stops it and the BEEPING STOPS --                                   But so do the rummaging sounds. SILENCE, save for the eerie          HUM OF POWER. He waits. Nothing. Wants a better view, so he          begins to LOWER THE BUCKET.                                   We're in a WIDE SHOT, seeing his DESCEND, PAINFULLY SLOWLY.                                   Then we're in a LONG LENS CLOSE UP of Rooney as he SLOWLY          DROPS -- TIGHT ON HIM as he's looking over toward the salvage          yard -- and it takes us a minute to realize there's fucking          SOMETHING BEHIND HIM -- SO BIG WE DIDN'T SEE IT -- COMING OUT          OF THE SHADOWS -- IT'S GOT MUSCLE AND FLESH AND IT MAKES AN          UNGODLY SOUND AND IT INSTANTLY GRABS HIM -- THE TRUCK ROCKS          AS WE CUT INSIDE THE CAB OF THE TRUCK, LOOKING OUT THE          WINDSHIELD -- KEEEEEEESH!!! IT SPIDERS AS ROONEY'S LEGS          IMPACT THE GLASS AND SUDDENLY WE'RE IN A WIDE SHOT OF THE          CHERRY PICKER, ROCKING BACK AND FORTH IN INCREASINGLY SMALLER          MOVEMENTS, UNTIL THE TRUCK IS MOTIONLESS. Empty. Alone.                                   Then: NOISE -- and an AMPLIFIED VOICE:                                    MRS. BABBIT (V.O.)           I wanna know who took `em.                                                            INT. TOWN HALL - DAY                                   A LOUD TOWN MEETING. Two-hundred frustrated CITIZENS crowd          the auditorium. Jack at the podium, TOWN OFFICIALS, including          the local MAYOR sit on stage as well. Currently, MRS. BABBIT,          52, speaks into the microphone on the floor:           59.                                                             MRS. BABBIT           Twenty microwave ovens: gone from           my inventory. Brook County's           without power -- this feels to me           like a Russian invasion.                                   The town ROARS its approval -- Jack, impotent, tries:                                                   JACK           Mrs. Babbit, I don't believe the           Russians have anything to do with           what's happening in town-- but I'm           calling the curfew because w--                                    MRS. BABBIT           Until you can tell me who's messing           with us, I say it's the Soviets and           we're at war. I like you, Jack, but           we need Sheriff Pruitt back.                                   The town ERUPTS in agreement --                                                   JACK           We have good people working on           that. Mr. McCandless.                                   A short, bald man of 65, MR. MCCANDLESS speaks:                                    MR. MCCANDLESS           Since Wednesday morning, my Ham           radio's been a mess -- all sorts of           frequencies I like to scan. Some           kind of buzz modulation-- have you           found that?                                   PUSH IN ON JACK, HEARING THIS --                                                   JACK           Mr. McCandless, can I speak with           you for a moment, privately?                                   The Mayor takes over as Jack has a SIDEBAR MEETING with Mr.                         MCCANDLESS:                                    MR. MCCANDLESS JACK          -- it was like having my -- that must be very annoying-          radio hi-jacked-- - you don't know the           frequencies off-hand, do you?          -- sure I do: 13201 to 13710, (pulls out paper, pen)                         15015 TO 15048--           60.                                                            EXT. POLICE STATION - DAY                                   Jack hurries from the town meeting to the station --                                                   WOMAN           Jack, all the tools in the garage           are gone.                                                   JACK           Patty, get in touch with Vicky.           David, have you seen Milner?                                                   DAVID           No, sir, I haven't seen him.                                                   MAN           There's a sink hole in my garage.           It almost sank a foot.                                                   JACK           Hey Tom. Tom, have you seen Milner?                                                   TOM           Have you tried his office?                                                   JACK           Check his office.                                                   MAN           The powers been out for days                                   Jack continues, into:                                                            INT. POLICE STATION - DAY                                   DOLLY FAST with an exasperated Jack as he WRITES, tailed by          ASSISTANT DEPUTY ROSKO --                                                   JACK           --Rosko, I need you to get every           radio we have and you tune to these           frequencies -- understand?                                                   ROSKO           No. What?                                                   JACK           Hey Danny, you have a radio scanner           with a descrambler don't you?                                                   DANNY           Voice inverter, yeah.           61.                                                                            JACK           Whatever, get it down and set it up           for me.                                                   ROSKO           What is this?                                                   JACK           I think the Air Force is using                          UNASSIGNED CHANNELS--                                   He heads for his office, seeing LOUIS, who is being escorted          out by an Officer across the room.                                                   LOUIS           Hey -- he was at my house yesterday           morning, are you aware of that?                                                   OFFICER ROSKO           (quiet to Jack)           We brought him in about the car lot           and other things -- he's clean.                                                   LOUIS           I'd appreciate it if you would           inform your son that my house if           off-limits. And so it my daughter.                                   Louis heads out -- HOLD ON JACK AS he turns, ENTERS HIS          OFFICE, and as that door opens, we CUT TO:                                                            INT. JOE'S ROOM - LATE AFTERNOON                                   The door opens of his messy, motherless room. Joe and Alice          enter. He could not be more self-conscious. He moves stacks          of comic, tosses some dirty clothes behind the bed -- pair of          underwear and socks. He closes the closet and hangs a bath          towel on his desk chair. She looks around sa she enters. The          light dim, intimate.                                                   JOE           Oh gawd, I didn't clean up.                                   Joe quickly moves a pile of papers and books from the desk to          the floor; NOTEBOOKS AND SCHOOL WORK spill out and we get a          GLIMPSE of some "B-MINUSES" and other "C-PLUSES" in RED.                                   Joe, embarrassed, hides them, then moves to his MODELS:                                                   ALICE           -- you made all these?           62.                                                                            JOE           Yeah, that's the Hunchback of Notre           Dame. I watched that one on TV.                          HERE---                                   Alice sits on the bed. Joe takes the FIVE-CAR TRAIN MODEL.          She moves close:                                                   JOE (CONT'D)           This is the train they wanna           destroy.                                   Alice hold it. Joe watches her. She really looks at it.                                                   ALICE           ... it looks real.           (beat, studies)           It looks so old...                                                   JOE           That's dry brush technique.           (off her look)           After you've painted the base           color, you take something like...           (grabs up Testors bottle)           Euro Gray.                                   Her face is so close to his. Her hair touches his ear.                                                   ALICE           Euro Gray...                                                   JOE           There are so many different grays,           it's crazy. And you pour a little           onto like a paper plate. Then you           take a dry brush and you just dip           it in, then you brush on the paper,           so the paint's barely on the brush.           Then you make small brush strokes           on the model. Little ones, like           where the wear and tear would be.           Around the wheels. Or where the           doors would slide. Then you do it           again, like with Camouflage Gray--           or here, I used Insignia Red to           make it look like there was another           coat of paint on there before. Like           they painted over it, but you could           see it scratched off.                                   Lost in thought, he looks at her. Suddenly self-conscious.           63.                                                                            ALICE           What was that necklace?           (off his awkward stare)           The one you were holding at the           train crash. Was it your mom's?                                   It takes him a beat. Finally:                                                   JOE           My dad gave it to her the day I was           born. She wears it all the time.           Used to.                          (BEAT)           It was bad, how she-- died and           stuff, but they got the necklace           back. So.                                   Their tension INTERRUPTED BY an out of breath Charles:                                                   CHARLES           Guys, what the hell?! No one knew           where you were.                                                   JOE           We're sitting right here.                                                   CHARLES           You gotta be the soldier.                                                   JOE           I thought you were calling Evan.                                                   CHARLES           Evan blew us off, he's a pussy.                          (TO ALICE)           Excuse me.                                                   ALICE           It's okay.                                                   CHARLES           You gotta do it. You're the only           one.                                                            INT. POLICE STATION - JACK'S OFFICE - DAY                                   Jack with OFFICER TALLY (24):                                                   JACK           The hell do you mean you "found my           dog in Brookville?" That's a                          DIFFERENT COUNTY--           64.                                                                            OFFICER TALLY           Lucy-- that's where she is. We've           gotten nearly thirty calls from           people who have found local dogs.           Thing is, the calls coming in           aren't local.                                   Tally puts a MAP on his desk -- 28 DOTS in a CIRCLE, anywhere          from a 20 to 150 MILE RADIUS, WITH LILLIAN AT THE CENTER.                                    OFFICER TALLY (CONT'D)           It's like they all just... ran           away, every direction...                                   Jack is stunned.                                                            INT. POLICE STATION - DAY                                   Officer Rosko at his desk, with a YOUNG WOMAN, a HAM RADIO at          his desk beside a REEL-TO-REEL TAPE DECK. He takes notes:                                                   YOUNG WOMAN           It's not her. She never's           disappeared before.                                                   OFFICER ROSKO           Alright. Now what does she look           like?                                                   YOUNG WOMAN           She's got dark hair, it was in           rollers. Do you know what rollers           are?                                                   OFFICER ROSKO           Yes, I know what rollers are.                                                   YOUNG WOMAN           She went to her car--                                   Suddenly a GARBLED ELECTRONIC SOUND from the HAM RADIO. Rosko          quickly hits RECORD on the reel-to-reel --                                                   OFFICER ROSKO                          EXCUSE ME--                                   He grabs speaker, turns the volume knob, puts the speaker          close to the tape recorder, turns on recorder.           65.                                                            INT. POLICE STATION - DAY                                   FOUR OFFICERS gather as Jack PLAYS BACK THE REEL-TO-REEL          through Milner's DESCRAMBLER. He WRITES DOWN AS THEY LISTEN          TO MEN'S VOICES, creepily FILTERED and BROKEN UP:                                    MALE VOICE (V.O.) OFFICERS          --zero-niner center opera - (AD LIB)          ocal position-- fangs out. Listen, that's Air Force.          Cop-- confirm, Operation What are they doing          Walking Distance is-- six- transmitting on these          three-niner, retur-- frequencies? Maybe they don't          erations. want anyone to find em? Maybe           they're not Air Force.                                                   ROSKO           What's he say? Operation what?                                                  CLOSE ON--JACK:                                                   JACK           Walking Distance.                                                            EXT. WOODWARD'S HOUSE - DAY                                   MILITARY VEHICLES parked everywhere. Personnel removing boxes          from the house, packing it all up. But out front, Joe is          dressed as an Airman, performing with Martin, dressed as the          detective.                                   Military trucks surround the house. Hathaway is with a                         SOLDIER:                                                   DETECTIVE HATHAWAY           I came as soon as I could, what's           happening here?                                                   OFFICER JOE           Military police investigation. It           was a suicide.                                                   DETECTIVE HATHAWAY           Suicide? Who was it?                                                   OFFICER JOE           A former Air Force officer. He           called me last night, said he had a           secret that he couldn't keep any           longer.                                   Officer Joe hands Hathaway a FILE. Hathaway looks at it.           66.                                                                            DETECTIVE HATHAWAY           What's this?                                                   OFFICER JOE           He worked at Romero Chemical. He           found out some things the company's           been doing. After what you told me           at the bar, I thought you should           know.                                   Cary behind the camera, Charles beside him:                                                   CARY                          (QUIETLY)           Are we gonna get in trouble here--?                                                   CHARLES                          (WHISPER-YELL)           Shhhh! Production value! It's for           the movie!                                                   DETECTIVE HATHAWAY           This proves it. They knew, the           company knew. Thank you so much for           the information.                                                   OFFICER JOE           We just made the discovery           ourselves. You understand this is           top secret.                                                   DETECTIVE HATHAWAY           Of course.                                                   OFFICER JOE           I would never have given you this           information if you and I hadn't           served together in Vietnam.                                   As it continues, we see Alice behind the camera, watching          Joe, smiling. But then she sees something that disturbs her:          Jack's CRUISER pulls up.                                                            INT. WOODWARD'S HOUSE - DAY                                   A dozen OFFICERS go through HUNDREDS OF CARDBOARD BOXES of          documents. Books and personal belongings are put into boxes,          taken from the house. Overmyer enters, crosses to Nelec, who          reviews a folder.                                                   OVERMYER           Nothing so far--           67.                                                                            NELEC           How much more is there?                                                   OVERMYER           Sixty boxes in the basement, maybe           more.                                                   NELEC           What, more tax returns?                                                   OVERMYER           It's here somewhere. If we can't           find it, Woodward'll tell us where           it is.                                   But Nelec has seen something outside: THE KIDS.                                                   NELEC           ... the hell's that?                                                   OVERMYER           ... looks like kids making a           movie...                                   Behind them, a WINDOW, showing the street, where Jack insists          Joe get into the car. Nelec looks out -- sees Jack take Joe          by the arm, grab the tripod and head to his squad car.                                                            EXT. WOORWARD'S HOUSE - DAY                                   As Jack gets out, he sees the kids and isn't happy. He moves          toward Joe and his friends:                                                   CHARLES           Joe.                          (TO JACK)           Hey, Mr. Lamb!                                   Joe spins around as Jack arrives, grabs his camera from          Charles and saying firmly, to Joe:                                                   JACK           Get in the car.                                   Joe is stunned -- instantly humiliated in front of Alice --          he's taken back to the squad car --                                                   CHARLES           Uh-- Mr. Lamb? That's your camera,           but technically, that's my film--           68.                                                            Jack OPENS the car's back door -- Joe gets in -- Jack SLAMS          it shut, then throws the camera and tripod into the passenger          seat and SLAMS that door, heading to the house, leaving Joe          in the back. Nelec heads outside -- Jack moves to him:                                                   NELEC           I would like to help you out           deputy. I really would. But we           operate on a need to know basis.                                                   JACK           Why are your trucks sweeping the           town?                                                   NELEC           We'll be out of your way shortly.                                                   JACK           Then I'm sure you wouldn't mind me           contacting DC. Talk to some friends           about "Walking Distance."                                   This lands on Nelec.                                                   JACK (CONT'D)           All right. We'll do it that way.                                   Jack heads off.                                                   NELEC           Deputy.                          (JACK TURNS)           Let's talk. Just not here.                                   Jack stops, turns to uncomfortable Nelec.                                                            INT. SQUAD CAR - DAY                                   Joe, his breathing heavying, sits in the car, heart pounding,          watching his father move over to talk to Nelec, close again.          Then he looks over at his friends -- Charles giving him a          "WHAT THE FUCK?!" Look. Alice watches him sympathetically.          She mouths to him a guilty, "...is it me...?" And Joe shakes          his head: "No." But we -- and she -- know better.                                                            EXT. JOE'S HOUSE - DAY                                   The squad car pulls up. Jack gets out, Joe follows -- THE          CAMERA PULLS BACK TO REVEAL THAT WE ARE:           69.                                                            INT. JOE'S HOUSE - DAY                                   Door opens. Jack enters, then lets Joe pass him. Joe closes          the door hard and says, angrily, but restrained:                                                   JACK           This is new. All this. For the both           of us. Dealing with-- all this,           just us. So I'm going to make this           as clear and simple as I can:           You're not friends with Alice           Dainard. When I say no, I don't           mean maybe. I don't mean yes. I           mean no. I've known Louis Dainard           for alotta years-- he's been           nothing but trouble. Your mother           used to say he's not a bad guy, he           just needs a chance, he's just sad -           - well I tried to be good to him,           but I can't. Not anymore. I will           not allow him or his daughter in           this house. I will not allow you           spending time with her, doing           projects or whatever it is that           you're doing. THAT'S IT. I hope           we're clear.                                   Jack turns to leave -- but Joe, enraged, says:                                                   JOE           We're not clear.                                   Jack stops -- stunned -- Joe's heart pounds --                                                   JACK           What'd you say?                                                   JOE           We're not clear. You and I aren't           clear about anything. We couldn't           be less clear.                                                   JACK           Joseph Francis Lamb--                                                   JOE                          (ERUPTING)           Just `cause mom died doesn't mean           you know anything about me!!! You           don't. You don't know about Alice           either -- she's kind!           70.                                                                            JACK           I'm not having this discussion with           you--!                                                   JOE           She's NICE to me!                                                   JACK           I don't care what she is! Her           father is a selfish, irresponsible           son-of-a-bitch!                                   Jack moves CLOSE to Joe -- intimidating -- Joe steps back --          Jack is fucking intense:                                                   JACK (CONT'D)           You listen to me, I've got twelve           thousand people in this town that           are scared out of their minds--           they've got one person they can           rely on -- it used to be someone           else, but now it's just me.                                   Jack suddenly stops himself, realizing what he's saying. And          to whom he's saying it. But somehow, in this moment, he can't          be a better father than law officer. Not yet. More upset at          himself than Joe, he heads out.                                                            EXT. LILLIAN STREET - DUSK                                   Joe rides UP A HILL -- BOOM UP -- REVEAL THE TOWN CEMETERY.                                                            EXT. CEMETERY - NIGHT                                   Joe sits, his back against his mother's grave. Holds her OPEN          LOCKET, staring at it. He's just come here for comfort. But          then -- a SOUND -- and Joe turns. Deep and low, in the          distance. Joe is motionless. HEARS IT AGAIN. He stands, pulls          out his flashlight -- aims the beam down ROWS OF GRAVES,          toward the big CARETAKER'S SHED in the distance. Another          INTENSE, LOW SOUND -- then a high pitch HIT, like METAL ON          WOOD and Joe backs up, nervous. Another odd sound -- then          ANOTHER -- which TRANSITIONS US TO:                                                            EXT. MUNICIPAL AIRPORT ENTRANCE - NIGHT                                   Jack's squad car arrives at the abandoned airfield.           71.                                                            EXT. MUNICIPAL AIRPORT BUILDING - NIGHT                                   Jack's car pulls up. He gets out of the car. Suddenly the          three large MILITARY TRUCKS' HEADLIGHTS COME ON -- all aimed          at Jack -- he is blinded -- tries to see --                                                   JACK           Hello--?                                   And now BODIES are seen of SOLDIERS, holding and aiming          WEAPONS. Then, a VOICE over a TRUCK PA:                                    VOICE (V.O.)           Drop your weapons. Put your hands           on the car.                                                   JACK           --I'm here to see Colonel Nelec. He           told me to meet him here.                                    VOICE (V.O.)           You're under military arrest. Drop           your weapons.                                                   JACK           WHERE'S NELEC?                                                            INT. MILITARY MEDICAL ROOM - NIGHT                                   TIGHT ON NELEC. Past an IV and medical machinery. He's          looking at someone we don't yet see. In the background,          Overmyer stands, watching. Nelec is quiet, simple:                                                   NELEC           I don't want any more trouble. Do           you?                                   Now we see who he's talking to. IT'S DR. WOODWARD. Battered          and scraped, he lies in a medical bed, afraid, but defiant.                                                   NELEC (CONT'D)           We've been going through your           belongings, looking for evidence.           Of what you knew, how you knew           it... and who else might know.                          (BEAT)           I remember you. In the lab. And I           recall we didn't see eye to eye,           but that's no excuse for doing what           you did here.           72.                                                            Dr. Woodward swallows. Feels that his time on Earth is coming          to an end no matter what he does here. By the door, Overmyer          is quietly putting on his BLACK GLOVES.                                                   NELEC (CONT'D)           So in the spirit of moving forward           and avoiding more trouble, tell us           where you put your research. I know           you had someone document the crash           that night. Tell me who that was           and I'll help you, I swear to God.           On my mother's life -- if you help           us now, we will take care of you.                                    DR. WOODWARD           I've seen what happens, Mr. Nelec,           when you take care of people.                                                   NELEC           --I'm going to bait him. I'm going           to catch him.                                    DR. WOODWARD           He's in me, you know. As I am in           him. So when you see him next, as           I'm sure you will... I'll be           watching you, too.                                   Nelec offers a vague, searching smile. But Woodward will not -          - not ever -- relent. So. Nelec moves to the door, he remains          FACING CAMERA, his back to Woodward, as Overmyer moves to the          bed. PUSH IN ON NELEC'S FACE, UNDERSTANDING HIS TRUE NATURE          AS WE CUT TO:                                                            INT. JOE'S ROOM - NIGHT                                   Joe sleeps, power still out. Then, a KNOCK. He wakes up.          Another KNOCK. His window. He moves to it. Opens it. It's          Alice. Joe is half asleep, but also stunned. Very quietly:                                                   ALIE           -- are you-- were you sleeping?                                                   JOE           Before, earlier, b-- no, you okay?                                                   ALICE           Yeah.                                                   JOE                          (BEAT)           Oh, you wanna come in?           73.                                                            And Alice climbs in. Joe sits on the floor. Alice does too.          It's odd and silent for a moment.                                                   ALICE           Power's still out.                                                   JOE           Room's still messy.                                                   ALICE           I was in bed, couldn't sleep.                          (BEAT)           Thinking. I wanted to tell you           something, before tomorrow -- Don't           let Charles blow up your train.                                   Joe stares, amazed at her.                                                   ALICE (CONT'D)           I don't think it's right, do you? I           know he's your friend, but he's so                          BOSSY--                                                   JOE           He can be sorta li-- I've known him           since Kindergarten, though--                                                   ALICE           He shouldn't always get what he           wants. I mean, who always gets what           they want? -- I know I don't know           you at all. Even though... it sort           of feels like I do.                          (BEAT)           Do you not... feel like that?                                                   JOE           -- no, I totally do, I'm just...           sort of in shock at this whole                          CONVERSATION--                                   And the POWER RETURNS -- Joe's CLOCK LIGHT goes on behind him          -- but more chilling, the PROJECTOR comes back on; the SILENT          HOME MOVIE OF HIS MOTHER PLAYS. Joe crawls to the projector          to stop it -- but:                                                   ALICE           -- no, keep it-- please --                                   Alice moves closer to the screen. Joe sits behind her. She          watches the film. Can't take her eyes away.                                                   ALICE (CONT'D)           ... is that her?           74.                                                                            JOE           ... yeah...                                   And as Alice watches, we GENTLY PUSH IN... as tears start to          fill her eyes. Behind her, at a near WHISPER:                                                   JOE (CONT'D)           ... it's so weird watching her like           this, like she's still here...           (beat, lost in it)           ... she used to look at me, this           way... like really look. And I           just... knew I was there. That I           existed.                                   A tear drops down Alice's face, though Joe can't see that.          Finally, quietly:                                                   ALICE           He drank that morning. My dad.                          (BEAT)           He missed his shift.           (beat, hard)           Your mom took it for him. The day           of the accident.                                   Watching his mother, Joe is quietly stunned. Finally, eyes          wet, Alice turns to Joe.                                                   ALICE (CONT'D)           ... I know he wishes it was him.           Instead of her.                          (HARD BEAT)           ... and sometimes I wish it was,           too.                                   Joe just stares at her... heartsick and speechless. Finally:                                                   JOE           Don't say that.                          (BEAT)           He's your dad.                                   Just then, the SUPER 8 movie ENDS: the film FLIPFLIPFLIPS.          Joe turns off the projector -- but a SOUND REMAINS. A sort of          SHUDDER-HUM. Joe unplugs the projector, but the sound          remains. Then they look: THE SHUDDERING IS COMING FROM THE          CUBE HE TOOK FROM THE CRASH SITE, sitting on his desk.                                   Joe and Alice move to it. He turns on his desk lamp. The cube          VIBRATES, almost imperceptibly.                                                   ALICE JOE          -- has this--? -- no.           75.                                                            Joe opens a drawer, grabs a paintbrush -- he touches the cube          -- the thing SHUDDERS ON ITS OWN.                                   They are amazed. They get LOW -- eyes at desk level -- the          SHUDDERING INCREASES IN PITCH AND VOLUME -- he reaches out to          touch it with his finger, but suddenly the cube BULLETS AWAY -          - ACROSS THE ROOM -- AND BLASTS THROUGH THE WALL, LEAVING A          FIVE-INCH HOLE IN THE WALL! She screams -- they both fall to          the floor, STUNNED -- PUSH IN ON Joe, his heart pounding. He          moves to the wall -- looks through the hole: in the distance,          trees and the TOWN WATER TOWER.                                                            INT. ALICE'S HOUSE - NIGHT                                   Alice enters the dark house quietly. She steps carefully          toward her room, when --                                    LOUIS (O.S.)           Morning.                                   His voice makes her JUMP. She turns: sitting in the dark, in          an armchair, is her father. He's awake. And drunk.                                                   LOUIS (CONT'D)           You wanna tell me where you were?           Or you want me to tell you.                                   A tense beat, her mind races. Breathe, Alice, just breathe.                                                   LOUIS (CONT'D)           Sit down.                                                   ALICE           I should go to bed.                                                   LOUIS           I wanna talk to you. I said sit           down.                                                   ALICE           I don't want to sit down.                                                   LOUIS           Then go. Be just like your mother           and leave.                                   This kills her -- but she does: she leaves the house.                                                   LOUIS (CONT'D)           GO AHEAD, GO!           76.                                                            EXT. ALICE'S HOUSE - PRE-DAWN                                   Alice, crying, gets on her bike and rides off -- a DISTANT          FIERY GLOW past the factory and over the hills. The front          door opens -- Louis comes out and yells, miserable:                                                   LOUIS           ALICE!!! WAIT!!!                                   But she's far gone -- Louis' mind races -- he runs to his          BUICK -- starts it up -- PULLS OUT FAST and goes after her --                                                            EXT. LILLIAN STREET - PRE-DAWN                                   Alice PEDALS HARD, she wants to escape everywhere. No cars on          the street, no people. A block behind her, SCREECH: a CAR          turns onto the road. Her father's car -- she makes a turn --                                                            INT. BUICK - PRE-DAWN                                   We're with Louis as he drive -- clearly drunk --                                                            EXT. SHARP TURN ROAD - PRE-DAWN                                   Alice makes a daring stop -- turns back up the hill, pedals          hard, crying and hyperventilating --                                                   LOUIS           ALICE!!! I'M SORRY!!!                                   Louis sees her, tries to stop, but can't -- and his car SLAMS          INTO A PARKED CAR IN A VIOLENT, SUDDEN STOP!                                                            EXT. LILLIAN STREET - PRE-DAWN                                   Alice GASPS -- stops pedaling -- looks back at her father's          car, wide-eyed and terrified -- should she go back?!                                                            INT. BUICK - PRE-DAWN                                   Louis is bleeding. Badly hurt. He adjusts himself --          painfully -- then looks into the CRACKED-GLASS REAR VIEW          MIRROR -- AND HE SEES SOMETHING THAT MAKES HIS EYES GO WIDE.           77.                                                            EXT. LILLIAN STREET - PRE-DAWN                                   Alive is still looking back at the car -- SO SHE DOESN'T SEE          THE SHAPE THAT IS COMING BEHIND HER -- and just as she          decides: I'M NOT GOING BACK, she turns to begin riding on --          BUT SEES SOMETHING AND SCREAMS --                                                            INT. BUICK - PRE-DAWN                                   THROUGH THE MOSAIC OF THE SHATTERED REAR VIEW MIRROR, WE SEE          THE CREATURE GRAB ALICE -- HER SCREAMS BECOME HER FATHER'S:                                                   LOUIS           -- ALICE, NO!!!!! NO!!!!!!!                                   Louis tries to get out of the car -- but it's painful -- and          his door is JAMMED SHUT -- he goes for the passenger door --                                                            EXT. LILLIAN STREET - PRE-DAWN                                   -- when Louis finally gets out -- he runs from his car --          stumbling drunk and bleeding -- SCREAMING, SHREDDING HIS          VOCAL CHORDS --                                                   LOUIS           ALICE!!!                                   But all that's there is her bike -- and before he can even          get that far, Louis FALLS HARD onto the pavement, crying, a          drunken, horrified, shocked, battered MESS. In a WIDE SHOT,          LOUIS is in the middle of the street, Alice's fallen bike on          the sidewalk.                                                            EXT. FIELD - NIGHT                                   In the great distance, the WATER TOWER. We BOOM DOWN in a          MASSIVE WIDE SHOT of a field at night. Then a LONG LENS SHOT          of SIX SOLDIERS standing in the field. But ONE stands out          front, wearing a FLAME THROWER. And suddenly the quiet is          broken by the ROAR OF FLAME. A WIDE, WIDE OVERHEAD SHOT as          the flames ARC in the tall, dry grass. Over the radio:                                                   VOICE           Firelight is 0500 hours. Operation           Walking Distance is in effect. T-           minus four hours until evacuation.           Evacuation is T-minus four hours.           78.                                                            EXT. LILLIAN, OHIO - EARLY MORNING                                   The distant factory, the even more distant mountains, and an          ominous PLUME OF SMOKE -- a far-off SIREN is HEARD. Then:                                    JOE (V.O.)           Why are you not reacting?                                                            INT. OLSEN CAMERA AND HI-FI - MORNING                                   Joe stands at the counter with Charles, who is in a bad mood.                                                   JOE                          (EMPHATIC WHISPER)           That thing went through my wall.                                                   CHARLES           I told you not to pick it up in the           first place.                                                   JOE           What are you so angry about? That           I'm not going to let you blow up my           train?                                                   CHARLES           That's part of it! Juts a part!                                   Donny's returned with a DEVELOPED FILM ENVELOPE. A red "RUSH"          stamp on it. He gives Charles his change:                                                   DONNY           Tall your sister Donny from Olsen's           broke up with Karen, that shit           ended a week ago.                                   Charles heads off -- Joe follows.                                                            EXT. OLSEN CAMERA AND HI-FI - DAY                                   As Charles rides off with the film, Joe follows -- and we          BOOM UP along the WATER TOWER as they go --                                                   JOE           What's your problem?                                                   CHARLES           My whole movie's a disaster `cause           of you!                                                   JOE           I know, my dad's being a turkey.           79.                                                                            CHARLES           Whatever.                                                   JOE           We're still gonna finish your           movie!                                                   CHARLES           It's not about the movie.                                                   JOE           What are you talking about? Of           course it is.                                                   CHARLES           Just forget it.                                                   JOE           Why?                                                   CHARLES           There's nothing wrong--                                   As we CONTINUE BOOMING UP, we arrive at the top of the WATER          TOWER, where THE CUBE HAS AFFIXED ITSELF TO THE SIDE --          unseen from the street. In the distance, THE THREATENING FIRE          SMOKE LOOMS --                                                            EXT. CHARLES' HOUSE - DAY                                   As Joe and Charles ride their bikes up to his house:                                                   JOE           I'll get the camera back, I know           where my dad put it -- We can still           make the festival.                                                   CHARLES           It's not about the movie.                                                   JOE           Then what is it about?                                                   CHARLES           Jesus, you don't even get it do           you? It's obvious.                                                   JOE           What's obvious?                                                   CHARLES           Gawd, you're a dumb ass.           80.                                                            Frustrated beyond belief, Charles goes inside. Joe follows.                                                            INT. CHARLES' ROOM - DAY                                   Charles threads the film into the projector.                                                   CHARLES           That night of the crash, you           started getting all weird.                                                   JOE           -- what?                                                   CHARLES           Like Mr. Attitude all of a sudden.                                                   JOE           Your movie was over! That's what           you said! You were upset. I gave           you a camera! I helped you!                                                   CHARLES           Don't pretend like you did it for           me! You didn't do it for me and you           know it!                                                   JOE           What's your problem?                                   Charles ROLLS THE FILM, DIMS THE LIGHTS --                                                   CHARLES           It was never about me! It was           always about Alice!                                   And suddenly on the poster board pinned to the closet, there          she is: ALICE, from the night of the train crash. The scene          plays as they filmed it:                                    MRS. HATHAWAY           John. I don't like it. This case.           These murders.                                                   DETECTIVE HATHAWAY           What am I supposed to do, go to           Michigan with you?                                   THE FILMED SCENE CONTINUES as Joe and Charles argue:                                                   JOE           Well, you're the one who wanted the           wife in the movie!           81.                                                                            CHARLES           Not so you could fall in love with           her!                                   Joe's mind spins -- how does he respond to this?!                                                   JOE           What do you even care what I think           about Alice?!                                                   CHARLES           Because I like her! That's why!           That's why I asked her in the first           place! So I could get to know her,           not YOU!                                                   JOE           -- wait, you like Alice Dainard?                                                   CHARLES           You're such an idiot.                                                   JOE           (from Charles' movie)           Guys, look out!                                   They watch for a moment as the TRAIN CRASH HAPPENS -- but          it's SO SUDDEN, SO FAST, the camera picks up almost nothing.          Within a moment, the camera is on its side, filming the          SETTLING DEBRIS. Charles moves forward, so the film is now          partially BEING PROJECTED ON HIM.                                                   CHARLES           SHIT! Look at all that smoke! We           can't use any of this. And you           won't even let me blow up your           train. Everything's bogus.                                                   JOE           We can make another train and blow           that one up.                                   Joe moves forward. Part of the film PROJECTED ON HIM, too.                                                   JOE (CONT'D)           I do like her. Sorry about that.                                                   CJAR           Shut up. It's okay.                          (BEAT)           That's not even what bothers me.           (beat, finally, sad)           It's that she likes you too. That           really bothers me. I dunno...           82.                                                            But Joe has seen something -- on the screen -- SOTTO:                                                   JOE           ... Charles...                                                   CHARLES           I know it's stupid. What would she           ever like me? I haven't leaned out           yet, which the doctor says is gonna                          HAP--                                   But Joe has slapped Charles' arm, his eyes locked to the          screen -- Charles looks too -- AND NOW WE SEE IT: through the          BROKEN CAMERA LENS -- SOMETHING MOVES -- SOMETHING BIG --          FROM THE TRAIN CAR, THROUGH THE WRECKAGE -- what the hell is          it? TOO DAMN BIG -- MOSTLY OUT OF FRAME, ITS SHAPE AND FLESH          TOO BIZARRE -- we only see the LEGS as it clears frame --                                                   CHARLES (CONT'D)           -- Joe, what the hell--?!                                   PUSH IN ON THEIR FACES AS THEY SEE THE ALIEN THEY'VE CAPTURED          ON FILM -- then from outside: AN AIR RAID SIREN RAMPS,          WHINING THROUGH THE TOWN. The boys look at each other --          afraid. QUICK CLOSE-UPS as they REWIND THE FILM AND RIP IT          OUT AND TAKE THE CANNISTER:                                                            EXT. LILLIAN NEIGHBORHOOD - DAY                                   WIDE SHOT of the neighborhood -- in the distance: MILITARY          TRUCKS, JEEPS AND BUSES drive. NEIGHBORS coming from their          homes in the MID-GROUND: confusion and talk, more VEHICLES.          Finally, as we BOOM DOWN, RACK TO JOE AND CHARLES, trying to          make sense of this -- Joe calls to a passing adult, MR.                         HARKIN:                                                   JOE           Mr. Harkin. What's going on?                                    MR. HARKIN           Evacuation! The fire!                                   Mr. Harkin POINTS -- Joe turns to look -- we PAN: THE DISTANT          SMOKE, BIG AND LOOMING.                                   VARIOUS SHOTS of MILITARY busses STOPPING -- SOLDIERS          ORDERING AND ASSISTING PEOPLE ONTO VEHICLES -- carrying all          the belongings they can. Others quickly LOAD UP CARS,          strapping belongings to the roof. Over all this:           83.                                                             PA VOICE (O.S.)           -- Due to a wildfire that is raging           out of control and threatening to           reach the Lillian Chemical Plant--                                   Other people in a panic, running to find others who are lost.          A LITTLE GIRL CRIES amid the madness.                                    PA VOICE (V.O.) (CONT'D)           -- an evacuation has been called           for your safety. Please remain calm           and as you board the bus...                                                            INT. BUS - DAY                                   Joe and Charles get on, frightened and uncomfortable. They          sit. Outside: the madness of the evac -- they scan the crowd.                                                   JOE CHARLES          You see your family anywhere? -- no, you see your dad?          -- no...                                                            EXT. LILLIAN, OHIO - DAY                                   The evacuation BUSES drive through Main Street -- passing          soldiers who are MOVING IN THE RED CARGO TRUCKS that we may          recognize from the train crash site: THE CONTENTS FROM THE          TRAIN ARE BEING MOVED INTO THE CENTER OF TOWN.                                                            EXT. COUNTRYSIDE - DAY                                   SUPER WIDE SHOT as an ENDLESS LINE OF BUSES, CARS and TRUCKS          makes its way from Lillian to...                                                            EXT. GREENVILLE AIR FORCE BASE - DAY                                   The buses drive past the guard gate into the base -- into the          huge HANGAR that we were in earlier. Those who drove          themselves PARK THEIR CARS -- and are ushered to the hangar.          DONNY steps out of his 1972 PONTIAC CATALINA, carrying a          duffel. RACK FOCUS to see we're IN THE BUS with Joe, who has          seen Donny -- and they drive INSIDE THE HANGAR --                                                            INT. GREENVILLE AIR FORCE BASE HANGAR - DAY                                   ARMED Air Force and National Guard SOLDIERS direct MASSES OF          PEOPLE, carrying luggage and belongings. Move with Joe and          Charles, who scan for familiar faces -- suddenly Charles'          MOTHER IS THERE -- embraces Charles:           84.                                                                            CHARLES' MOTHER           Charles, Charles -- sweetheart, are           you okay? I went back to the house           and you were gone.                                                   CHARLES           They made us get on the bus.                                                   CHARLES' MOTHER           Hi, Joe.                                                   JOE           Hi.                          (TO CHARLES)           I'm gonna find my dad.                                                   CHARLES           You gonna tell him about that           thing?                                                   JOE           Yeah.                                                   CHARLES' MOTHER           Come back if you can't find him.                                   He heads off. ORDERS are being BARKED -- RESIDENTS can be          heard, complaining and arguing. Walkie SQUAWKS and PA          ANNOUNCEMENTS as SOLDIERS check their wrist bands. Joe passes          an ARGUING MAN and SOLDIER:                                    ARGUING MAN ARGUING SOLDIER          -- I need to go back to my -- sir, the town is sealed          house, I left some medication off -- no one is allowed back          that my wife needs-- -- you can talk to the nurses          -- no, we can't get it here -- the town must stay          anywhere else, I need to go empty until we've been given          back-- the all-clear--                                   BOOM UP TO REVEAL the EVAC CENTER. A THOUSAND PEOPLE so far.                                                            INT. GREENVILLE AIR FORCE BASE HANGAR - DAY                                   LOUIS lies in a cot in the TRIAGE UNIT, fifty beds          transferred from the hospital. Louis stares off, head          bandaged, eyes open, MUTTERING TO HIMSELF, like a man as          tired, hung over, injured and in shock as he is.                                   Find Joe, who is looking everywhere for his dad -- he finally          sees Louis and hurries to him.           85.                                                                            JOE           Mr. Dainard, it's Joe Lamb. I know           you don't like me sir, and I'm           sorry about that-- but I'm looking           for my dad--                                   And Louis GRABS HIS SHIRT and pulls him close. In a voice          desperate and heartsick, he says:                                                   LOUIS           It took her.                                                   JOE           (long beat, sotto)           ... what?                                                   LOUIS           It took her. I saw it. It was...           something... so... big, like           nothing -- it was-- and no one...           no one believes me...                          (CRYING)           ... no one believes me-- they just           keep giving me pills. It took           her... Joe, it took Alice... no one           believes me.                                   Joe's mind is on fire as he absorbs this -- HE WHISPERS:                                                   JOE           ... I believe you.                                   And Louis looks at him with hope --                                    JOE (V.O.) (CONT'D)           It took Alice.                                   CUT TO JOE WITH HIS FRIENDS, assembled around a set of cots.                                                   CHARLES CARY          That thing took her--?! -- are you shitting me?                                                   JOE (CONT'D)           Guys, WE HAVE TO GO BACK.                                   They look at him like he's from Uranus.                                                   CHARLES PRESTON          Back where? To do what?                                                   JOE (CONT'D)           Back to town -- to find Alice -- we           have to find her--           86.                                                                            MARTIN JOE          She's dead, if it took her,          she-- -- don't say that!                                                   PRESTON           Wait a minute -- first of all, I           want to live. Okay?                                                   JOE           I'm going whether you come or not--           which I really hope you do.                                                   CARY           (pats his backpack)           I've got six tons of explosives in           here, let's find that thing and           blow it to shit.                                                            INT. GREENVILLE AIR FORCE BASE HANGAR - DAY                                   Jen, Charles' hot sister, lies on her cot making her Columbia          House Records choices. Charles is in her face.                                                   JEN           As if I'm gonna help you.                                                   CHARLES           Do this for me and I'll babysit the           twins next week so you can go to           Wendy's stupid party.                                   Jen suddenly closes her magazine, stares at him suspiciously.                                                   CHARLES (CONT'D)           I am not shitting you. You can't           ask me any questions though. You           can't tell anyone. I'm serious. No           one.                                                   JEN           ... does it have to be him?                                                   CHARLES           Yes or no, you ugly freak. I'm           about to rescind the offer.                                                            INT. GREENVILLE AIR FORCE BASE HANGAR - DAY                                   Jen looks RIGHT AS US, vulnerable, but seductive:           87.                                                                            JEN           This whole evacuation thing's           freaking me out. Making me rethink           my priorities. Saw you over here           and thought maybe we could kick           back.                                   Now we see Donny, looking RIGHT AT US. Utterly stunned.                                                   DONNY           -- we totally could.                                                   JEN           I asked Charles about you, and he           said you're a great guy--                                                   DONNY           I totally am.                                                   JEN           Will you hate me if I start our           relationship by asking a favor?                                                            EXT. GREENVILLE AIR FORCE BASE HANGAR - DAY                                   MOVING PAST as Donny moves through PARKED CARS, Joe, Charles,          Cary and Martin keeping up:                                                   DONNY           So there are rules to being in my           car, okay?                                                   CARY           Where the hell are we going anyway?                                                   JOE           We're going to the school to open           the trailer Woodward had in the           parking lot. I bet that's where he           keeps his research.                                   The boys duck as SOLDIERS pass by.                                                   CARY           What research?                                                   JOE           We're gonna learn everything we can           about that thing so we can find it.           And that's how we're gonna save           Alice.           88.                                                                            DONNY           Dorks: no shoes on the upholstery           and no one touches the CB, gottit?                                                   CHARLES           You think Woodward's got           information about that thing in the           dungeon?                                                   JOE           Why else are there padlocks on the           door?                          (TO DONNY)           We're going to the school.                                                   DONNY           When did this one get so bossy?                                                            INT. MUNICIPAL AIRPORT ROOM - DAY                                   A small, tiled room, no windows. Jack, up all night and          pissed off, but bored being pissed off, POUNDS ON THE DOOR:                                                   JACK           Hey! I gotta take a leak! What am I           supposed to do, piss in here?!                                   A beat. He POUNDS again. The door finally unlocks and opens.          A 32-year-old humorless, armed SOLDIER stands there.                                                   JACK (CONT'D)           Thanks for the hospitality.                                                            INT. MUNICIPAL AIRPOT CORRIDOR - DAY                                   Jack is led down a dilapidated, narrow hall. Soldier with the          semi-auto behind him, aimed at his back. As Jack passes an          open door, he spies an empty office -- through the window on          the tarmac are a few MILITARY VEHICLES, a handful of airmen.                                   Jack's mind races as he approaches the bathroom at the end of          the hall -- Jack turns:                                                   JACK           So am I going in alone or are y--?                                   -- AND MID-SENTENCE, JACK GRABS THE GUN, PULLS THE SOLDIER          AND SLAMS HIM HARD IN THE THROAT! THE STUNNED SOLDIER GETS          SLAM-FLATTENED BY JACK, who KNEELS to him. PUSH IN CLOSE --          his eyes wide, mind racing -- WHAT THE HELL NEXT? CUT TO:           89.                                                            INT. MUNICIPAL AIRPORT BUILDING - DAY                                   BEHIND A SOLDIER as he RUNS through the dark building -- oh          shit -- he comes to a stop, back against the wall -- but PUSH          IN on his face: IT'S JACK, IN AN AIR FORCE UNIFORM. He is          fucking scared; at least he's holding a rifle. He peels          around a corner -- through a window, the tarmac: GUARDS,          VEHICLES. Jack's eyes shift -- he spots an AIRCRAFT FUEL          TANK. Eyes wild -- A METALLIC CLI-CHUNK AS HE UNSAFETIES THE                         RIFLE --                                                            EXT. MUNICIPAL AIRPORT - DAY                                   A SOLDIER crosses to a vehicle, on his radio when KAFA-          BOOOOOM! The FUEL TANK EXPLODES, A MASSIVE BLAST! The airmen          take cover, RUN TO MOVE NEARBY VEHICLES, GENERAL MAYHEM --          and our CAMERA BOOMS UP -- to the MILITARY JEEP THAT DRIVES          AWAY FROM THE AIRFIELD --                                                            INT. JEEP - DAY                                   Jack behind the wheel, he blasts the vehicle through the          exit, along the road back to town --                                                            EXT. COUNTRYSIDE - LATE AFTERNOON                                   Jack drives up in the jeep -- comes to a stop in SHOCKED          CLOSE UP -- we see in the distance the MASS OF VEHICLES          driving from town --                                   Jack's mind races --                                                            EXT. COUNTRYSIDE - LATE AFTERNOON                                   The jeep RACES past camera -- we PAN -- revealing as          APPROACHING CAR: DONNY'S CATALINA:                                                            INT. DONNY'S CAR - LATE AFTERNOON                                   Donny drives, Joe shotgun. Charles, Cary and Martin in back.                                                   MARTIN           Well, so guys, if the Air Force has           already searches Woodward's house,           wouldn't they've already searched           the classroom too?                                                   CARY           Hay Donny, this car is gnarly.           90.                                                                            CHARLES           I was thinking about that too.                                                   JOE           Maybe the classroom, but not the           dungeon.                                                   CHARLES           Yeah, Woodward has all kinds of           weird stuff in the dungeon.                                                   MARTIN           Where's the dungeon?                                                   DONNY           Shut up. What kind of music does           she like? Your sister.                                                   CHARLES           I don't care. Disco I guess?                                                   DONNY           I could get back into disco.                                                   JOE           We shouldn't take River Road, they           had a roadblock.                                                   DONNY           Dork. I saw it. Observe.                                   Donny YANKS the steering wheel -- he turns onto a DIRT ROAD --          the car RUMBLES away from camera --                                                            EXT. MIDDLE SCHOOL - DUSK                                   Donny's car pulls up, lights go off. The kids pile out --                                                   DONNY           So what, I wait here like a douche?                                                   JOE           Yes. Thank you very much. Do you           have a tire iron?                                                            EXT. MIDDLE SCHOOL - DUSK                                   A SHOT of the boys CLIMBING A FENCE.                                   They move fast across the alley, to a TRAILER locked with A          PADLOCK -- the DUNGEON.           91.                                                            Joe tries PRYING the locks off with the tire iron -- it          doesn't budge.                                                   CHARLES           Joe, let me try -- let me try.                                   Joe hands the tire iron to Charles -- he tries -- nothing.                                   As Martin grabs the tire iron:                                                   CHARLES (CONT'D)           Joe, this is impossible, man.                                   Martin breaks off the LATCH -- BAM!                                                   CHARLES (CONT'D)           --I loosened it for you.                                   Now we CUT TO DARKNESS -- we're INSIDE THE DUNGEON as it          opens -- the boys look DIRECTLY AT US -- their faces say it          all: THE MOTHER LODE.                                                   JOE                          GUYS--                                                   MARTIN CHARLES          Look at all this junk. He's got movies in here.                                                            INT. MIDDLE SCHOOL HALL - DUSK                                   The boys -- with FLASHLIGHTS -- turn a corner -- hurry down          the hall --                                                   CHARLES           I cannot believe we're breaking           into school, who does that? No one           does that-- idiots do that--                                   The boys BREAK A CLASSROOM DOOR WINDOW and enter.                                                            INT. CLASSROOM - NIGHT - LATER                                   We're looking down at the boys, SURROUNDED by hundreds of          documents, boxes, photographs, 16MM film cannisters and          cassette tapes. Charles threads the film.                                                   JOE           Dr. Woodward was dishonorably           discharged from Nellis Air Base in           1963 because of "subversive           conduct," whatever that is.           92.                                                            Joe holds up a 20-year-old PHOTO of MEN IN A LAB. Among them          is 50-year-old WOODWARD:                                                   MARIN           Dude, check it out. Old Man           Woodward.                                                   CHARLES           Back when he was like Middle-Aged           Man Woodward.                                                   MARTIN           -- He's been tracking this thing           since like 1958.                                                   JOE           (to the movie)           What is this?                                                   CHARLES           I don't know. It says April 8th,           1963 incident. I dunno.                                                   JOE           Cary, we got to find this thing.                                                   CARY           Sorry.                                   Cary puts a CASSETTE into a tape deck, hits PLAY:                                    DR. WOODWARD (V.O.) JOE          -- I told them this creature          is more sophisticated than          any of us. That his species -- that's him --                         IS PREDOMINANTLY          subterranean. He's being -- subterranean --          treated without compassion or          respect....                                   VARIOUS SHOTS of PHOTOGRAPHS AND DOCUMENTS: "UFO CRASH,"          "MAJOR NELEC IN CHARGE OF OPERATIONS," "TWO ALIEN BODIES, ONE          LIVING," "RESTRAINTS USED," "EXPERIMENTS CONDUCTED" -- as          Charles threads a FILM:                                   The FILM: an AIR FORCE LOGO pops on and off. We see inside a          HANGAR, where dozens of SCIENTISTS examine LARGE, BUS-SIZED          pieces of jagged and unearthly material. All the while:                                    DR. WOODWARD (V.O.)           -- I explained that all he wants is           to rebuild his ship.                          (MORE)           93.           DR. WOODWARD (V.O.) (CONT'D)           A craft made up of those cubes of a           complex, shape-shifting element--           remarkable material that we'll           never fully understand. He has been           desperate to reconstitute his ship           since it crashed here in `58, but           instead of giving him the help he           needs, we've held him as a           prisoner. He's been restrained and           experimented upon -- Through pain           and lack of compassion, we have           taught him to hate us all. We've           turned him into an enemy.                                   Scientist explaining something to a group of SENIOR OFFICERS.          Among them, a 32-year-old NELEC.                                   Film JUMP CUTS to a HUGE REINFORCED LAB CAGE. Inside, sitting          almost in a ball, IS THE MASSIVE CREATURE. Hard to see here.          Another JUMP CUT as a SOLDIER offers a bucket of FOOD to the          alien -- IT'S WOODWARD.                                                   CARY           Guys, it's Dr. Woodward. Look.                                   Woodward offers what looks like RAW MEAT to the motionless,          sitting CREATURE. All the boys watch quietly -- then,          suddenly, in milliseconds, the creature is UP, GRABBING          WOODWARD THROUGH THE BARS -- the boys JUMP --                                                   CHARLES MARTIN          Arh! I can't watch that!                                    DR. WOODWARD (V.O.)           I told them I knew these things           because he made contact with me.           That he makes a psychic connection           by touch. The moment we made           contact, I understood him and he,           me. What I know is that if we don't           change this and start helping him,           we will all pay the price. But           Nelec won't listen--                                   The boys are SCARED as they watch the creature HOLD WOODWARD          TIGHT -- LIFT HIM -- and its TENTACLES suddenly THRUST into          his NOSE, EARS and MOUTH --                                   Joe stands and looks intently at the screen.                                                   JOE           Woodward wasn't trying to kill it.           94.                                                                            CHARLES           He was trying to help it escape.                                   Just then a MUFFLED SHATTER-CRASH --                                                   MARTIN           Did you hear that?                                   Suddenly BOOM! The doors BURST OPEN and ARMED COMMANDOS,          NIGHT VISION GOGGLES OBSCURING THEIR FACES, AIMING SEMI-AUTO          WEAPONS AT THE BOYS WHO SCREAM --                                                   CHARLES COMMANDO          DON'T KILL US! PLEASE DON'T (calls on radio)          KILL US!!! PLEASE DON'T KILL -- we've got civilians --          US!!! minors-- four of `em.                                                            INT. DONNY'S CAR - NIGHT                                   Donny gets stoned in his car. Doesn't notice the MOVEMENT in          the distance behind him. The MILITARY coming in.                                                            INT. MIDDLE SCHOOL - NIGHT                                   The locker hallway: the Boys are HANDCUFFED AND SCARED, being          led out by ARMED SOLDIERS. Nelec moves to them. QUIETLY:                                                   CHARLES           -- oh shit!                                                   NELEC           Search them.                                   Overmyer CHECKS THEIR POCKETS as Nelec TAKES CARY'S BACKPACK,          opens it -- pulls out some FIREWORKS. Proudly:                                                   CARY           I rolled those M-80's myself,           that's right.                                                   NELEC           (eyes flick to Joe)           You're the Deputy's boy.                                   Joe's terrified as Overmyer pulls from Joe's pocket a couple          COINS, half a pack of Bubble Yum and HIS MOTHER'S NECKLACE.          Drops everything but the necklace. Joe reacts, panicked --                                                   JOE           -- hey, no--           95.                                                                            NELEC                          (TO OVERMYER)           Move out.                                   Joe's on the verge of tears as Overmyer POCKETS the necklace.          Off the TERRIFIED BOYS as they're ushered away --                                                            EXT. MIDDLE SCHOOL - NIGHT                                   The BOYS are put onto the bus -- BOOM DOWN to DONNY'S CAR IN          THE FOREGROUND, where we realize that WE HAVEN'T BEEN THE          ONLY AUDIENCE TO THIS: Donny, sunk deep in his seat, hiding,          watches wide-eyed as the bus DRIVES AWAY.                                                   DONNY           ... oh shit...                                   His stoned mind races. Staying hidden from the remaining          military, Donny scrambles for his CB, turns to CHANNEL 9,          grabs the mike, speaks quietly, frantic:                                                   DONNY (CONT'D)           Breaker breaker, requesting police           backup, over?! Breaker breaker, is           this the police channel?                                                            INT. GREENVILLE AIR FORCE BASE HANGAR - NIGHT                                   Jack moves fast through the crowded evac area --                                                   SOLDIER           Staff Sergeant.                                                   JACK           Hi, how are you doing?                                                   YOUNG KID           Hi, Mr. Lamb.                                                   JACK           Shhhh.                                   Jack moves to Officer Rosko, who reacts to seeing him dressed          this way --                                                   JACK (CONT'D)           Rosko!                                                   OFFICER ROSKO           Where the hell you been? What are                          YOU WEARING--           96.                                                                            JACK           --come here. The Air Force set that           fire, they want the town empty for           some reason. The whole military           operation, the evacuation,           everything is all bad.                                                   OFFICER ROSKO           Did you hear about Joe? Dispatch           just got a call on citizen's band:           Joe and some friends were grabbed           by military personnel at the middle           school.                                   Off Jack's REACTION --                                                            INT. GREENVILLE AIR FORCE BASE HANGAR - NIGHT                                   Preston reads ISAAC ASIMOV'S SCIENCE FICTION MAGAZINE --          suddenly Jack is there, grabs him and pulls him up:                                                   JACK           Tell me everything, right now, and           I won't throw you in jail.                                                   PRESTON           -- yessir --           (holds the SUPER 8 FILM)           But you should look at this first.                                                            EXT. ROAD - NIGHT                                   The TRANSPORT BUS speeds on the road, the only vehicle here.                                                            INT./EXT. TRANSPORT BUS - NIGHT                                   ANGLE ON THE DRIVER as a RADIO CALL come in:                                    VOICE (V.O.)                          (FILTERED)           Base Fortress requests ETA.                                   Nelec arrives, grabs the radio mike:                                                   NEWS REPORTER           Chief Master Sergeant, Dustoff-03           is twenty minutes out.                                    VOICE (V.O.)           Roger.           97.                                                            PAN as Nelec moves back -- we PUSH IN on OVERMYER, who sits          near the front, putting on his DARK GLOVES. Nelec sits, which          takes us to a shot towards the back of the bus -- another          Airman, HERNANDEZ, 40, sits too. PUSH PAST THEM toward our          four BOYS, sitting cuffed and seat-belted behind the dirty,          wired SAFETY GLASS, all looking toward us, terrified.                                                   CHARLES           ... what... what's gonna happen?                                                   CARY           I think we're gonna die.                                                   MARTIN           No. They'd never do that.                                                   JOE           -- guys-- I forced you to come with           me... I'm... I'm so sorry.           (looks to Charles)           I'm so sorry...                                                   CARY           I think they're gonna kill us.                                                   CHARLES                          (UNCONVINCING)           Joe. They're not gonna kill us. You           know why?                                   Joe is suddenly hopeful:                                                   JOE           ... why--?                                   But just as he's spoken, a SHAPE FROM THE DARKNESS BEHIND HIM          SLAMS HARD INTO THE BUS, SPIDER-WEBBING THE BULLETPROOF          GLASS! The ENTIRE BUS IS ROCKED, Charles SCREAMS, hurt --                                   At the front of the bus, NELEC FALLS -- HITS A BENCH, THEN          CRASHES INTO THE SIDE WINDOW --                                                            EXT. ROAD - NIGHT                                   The bus was hit SO HARD it rides for a moment ONLY ON ITS          RIGHT TIRES --                                                            INT. TRANSPORT BUS - NIGHT                                   The MILITARY DRIVER struggles with the wheel --           98.                                                                            DRIVER           -- HOLD ON. HOLD ON--!!!                                                   CHARLES           Was that the thing from the train?!                                                            EXT. ROAD - NIGHT                                   The bus SLAMS BACK onto the road, LOUD -- A TIRE BLOWS! We          MOVE AROUND THE BUS -- JUST MISSING SEEING THE CREATURE --                                                            INT. TRANSPORT BUS - NIGHT                                   The kids panic as the HOBBLED BUS STILL DRIVES --                                                   CHARLES           Was that it?! Oh my God!!!                                                   MARTIN           I can't see anything -- do you see           anything?                                                   JIE           -- not yet --!                                                   DRIVER           -- Sir, I gotta pull over!                                                            EXT. ROAD - NIGHT                                   HIGH OVERHEAD: the bus comes to a sudden SCREECHING stop.                                                            INT. TRANSPORT BUS - NIGHT                                   Charles looks forward --                                                   CHARLES           Oh my God, guys --                                   Joe turns to see NELEC LOADING A RIFLE, straining to see out          a driver's side window. Mayhem:                                                   CHARLES (CONT'D)           What's that gun --?                                   Cary, behind him, actually answers him:           99.                                                                            CARY CHARLES          Sako Bolt Action, 30-06          (pronounced: thirty-aut-six) -- okay okay okay, I get it --          Leathwood Art Scope--                                   Hernandez makes a radio call, Overmyer straining to see out          the windows as Nelec locks and loads the unique ammo and          moves to a driver's side window, tries to see --                                                   HERNANDEZ OVERMYER          -- repeat, contact with          precious cargo, thirty clicks -- sir, I do not have visual -          from center of town, - Driver, can you see          currently headed for Base anything?                         FORTRESS --                                                   HERNANDEZ DRIVER          -- send support immediately! No sir, nothing!                                   Despite his handcuffs, Charles desperately tries to unlatch          his seatbelt with his shaking hands -- Cary sees this:                                                   CARY           Charles, what are you doing?                                                   CHARLES           I don't feel good about this --                                   PUSH IN on Cary, to CLOSEUP, looking PAST CAMERA, TERRIFIED --                                                   CARY           -- oh God -- guys --                                   THROUGH THE WINDSHIELD -- THE CREATURE EMERGES FROM THE DARK          LIKE A GHOST THROUGH BLACK VELVET -- HIT BY THE HEADLIGHTS,          IT ROARS AT SUCH A PITCH AND VOLUME THAT THE WINDSHIELD          SPIDERS! It's out of the light and gone again -- PUSH IN ON          NELEC -- newly terrified, he hands his TRACKING RIFLE to                         OVERMYER:                                                   NELEC           Here. Tag it.                                   Overmyer is stunned for a moment, but hides it well:                                                   OVERMYER           Yessir.                                                   NELEC           Open the door.                                   Reluctant as hell, for a tense beat, the Driver pulls the          controls: the door HISSES LOUDLY as it opens.           100.                                                            In the back, the boys are all frozen for a moment, watching.                                   Overmyer moves for the door. Five feet away from the door, he          stops, turns back to Nelec:                                                   OVERMYER           Is there anywhere in particul--                                   KKKKRRRRRASSHHH!!!! THE THING REACHES IN -- SHATTERS THE DOOR          -- the Driver SCREAMS -- the thing GRABS OVERMYER, who DROPS          THE RIFLE -- IT FIRES -- the projectile HITS THE SAFETY GLASS          IN FRONT OF THE BOYS AS OVERMYER, GRABBED, BLOOD IN HIS          MOUTH, TRIES TO HOLD ONTO THE SEATS, REACHING FOR NELEC, WHO          DOES NOTHING -- OVERMYER IS VIOLENTLY YANKED OUT OF THE BUS --          Joe IN SHOCK -- Behind him, Martin VOMITS.                                                   NELEC           GET US OUT OF HERE, NOW! NOW!!!                          (TO HERNANDEZ)           What kind of firepower do we have?                                   CHARLES SCRAMBLES to unlatch his seatbelt --                                                   JOE           Charles! Maybe you should wait!                                                   CHARLES           FOR WHAT?! ANOTHER MONSTER?!?!                                   BAAAM!!! The bus is SLAMMED SO HARD --                                                            EXT. ROAD - NIGHT                                   The BUS IS PUSHED TWENTY FEET FROM SOMETHING ON THE OTHER          SIDE -- THEN IT TIPS OVER AND CRASHES TO THE GROUND:                                                            INT. TRANSPORT BUS - NIGHT                                   Windows SHATTER -- Charles and Cary -- seatbelts removed --          LAND ON JOE AND MARTIN! The THREE SOLDIERS hit the window-          floor painfully -- Hernandez so hard he's INSTANTLY          UNCONSCIOUS! THE BUS IS NOW MOTIONLESS ON ITS SIDE, OPEN DOOR          UP. Nelec rises. Scared, but pissed.                                   The REAR WHEELS of the bus SCREAM in rotation -- we          COUNTERMOVE with the creature as it COMES AROUND the other          side, CLIMBS onto the exposed side -- METAL AND WINDOW                         CRUNCHES --                                   The boys gather their wits -- LIGHTS FLASHING HAUNTINGLY --           101.                                                                            JOE           -- you guys okay?!                                                   CHARLES           -- I wanna go home so bad --                                   Joe moves to the locked bulletproof glass door -- tries the          handle -- but it's never gonna open.                                   On the OTHER side of the glass, Nelec rights himself,          momentarily disoriented -- breathing heavily, he moves away          from the bus door to the locked glass separating him from the          kids; he tries the handle, but it won't open for him either.                                   And there is Joe and Nelec, face-to-face -- Joe seeing the          fear in Nelec's eyes -- his understanding that this is his          fate. Somehow Nelec takes this moment to look into Joe's face          -- to silently -- in a look -- repent. Instantly, Joe knows          he's about to watch this man's life end.                                   SMASH! Nelec turns -- the creature is BUSTING the bus door --          SMASHING AT IT -- to make it BIGGER. So it can get inside.          The Driver's LEG IS CAUGHT -- he's trying to get out, but          cannot -- is PANICKING -- as SSSSTAB!!! The creature KILLS          HIM INSTANTLY and SMASH as again it tries to WIDEN the door.          Nelec WINCES -- the only conscious man on this side of the          glass; the boys COWER on their side, with each monstrous hit,          all their eyes on Nelec -- except Joe, who only wants to get          to Alice. He sees the SHATTERED BULLETPROOF WINDOW -- above          them, on what has become the "roof" of the bus.                                                   JOE           Up there, there's broken glass --                                                   MARTIN           -- here, use me, I'm strong!                                                   JOE           Lemme get on your shoulders!                                                   CHARLES           I'm strong!                                   The boys struggle to get Joe onto Martin's shoulders as, on          the other side of the glass, Nelec scrambles for Hernandez's          fallen SEMI-AUTO RIFLE. He grabs it and scampers back to the          glass as SMASH!!! Pieces of metal and glass BURST like ice          chips as the creature violently WIDENS the bus door opening--                                   On Charles' shoulders, Joe can reach the shattered-but-thick          window -- which he must HIT -- BREAK OPEN to get out --          essentially exactly what the creature is doing, in reverse.                                   Using both fists, Joe POUNDS the window. No give.           102.                                                                            MARTIN CARY          Harder! Come on, you PUSSY!!!                                   With all his might, Joe hits the window again -- the          SLIGHTEST sound of glass adjusting -- meanwhile, SLAM!!! The          creature BUSTING the bus door -- PRYING it wider like a          sardine can -- NELEC SITS AGAINST THE GLASS AND OPENS FIRE,          FUTILELY, ON THE CREATURE. He makes a CALL on his walkie:                                                   NELEC           This is Nelec -- use the big guns.           Whatever happens to me, you take it           down, you kill him --                                   -- and he drops the walkie and FIRES AGAIN -- the LOUD          GUNFIRE BARELY AUDIBLE behind the glass with the boys as Joe          hits the glass again -- BAM -- a CRINKLING of glass --                                                   CHARLES           You can do it!                                   Joe hits again -- so does the creature -- as Nelec RUNS OUT          OF AMMO. That was never really hope anyway. Joe hits again          and CRASH! The window SHATTERS! Glass chunks RAIN DOWN on the          boys -- all covering their face -- Cary seeing the CREATURE          STARTING TO ENTER THE BUS --                                                   CARY           Go! Joe, move!!!                                   With all the boys helping, Joe pulls himself up -- outside          the bus, Joe peeks out -- the fucking creature -- its back to          Joe -- just fifteen feet away, focused on the door -- and Joe          strains to climb out here, onto the top-side of the bus.                                   And as the boys climb out, the creature climbs in -- first          Joe, then Charles (AD LIB DIALOGUE WITH CARY AND MARTIN: "You          gotta lose some weight --" "I know!!!"), Then Cary, and          Martin last -- they all jump down to the dirt -- they hear          SCREAMS and turn back for a moment --                                   Inside the bus, Nelec watches as the creature ENTERS THE          TIGHT-FITTING BUS, SMASHING BENCHES, MAKING ITS WAY          TERRIFYINGLY DOWN THE AISLE TOWARD HIM. And as the creature          descends upon him, in the silence before the final lunge --          Nelec says, eerily quietly, terrified:                                                   NELEC           -- it was my turn once... to find           you. Now... it's your t--           103.                                                            Before he can finish, the creature fucking ATTACKS -- and it          would be horrible and brutal, if the BLOOD DIDN'T SPRAY UPON          THE BULLETPROOF GLASS -- WHICH OUR CAMERA IS SAFELY BEHIND --          OBSCURING THE NIGHTMARISH VIEW.                                   In the field, a distance away, the boys watch the bus SHUDDER          and SHAKE. Then... silence. They see the creature burst out          of the bus -- then RUN OFF -- fast and stealthy, away from          them in the overgrown grass, like a native hunter. Which, of          course, is partly what it is. They're sort of stunned.                                                   CHARLES           I just sharteezed a little.                                                            INT. GREENVILLE AIR FORCE BASE HANGAR - NIGHT                                   Louis stares off, lost. Two AIR FORCE SOLDIERS arrive:                                                   SOLDIER           You need to come with us, we have           some questions for you --                                                   LOUIS           -- what, is she... Is she dead--?                                                   SOLDIER TWO           Just come with us.                                   Standing is hard for heartsick Louis, his legs so hurt --          suddenly JACK IS THERE, acting the role of Air Force:                                                   JACK           Hey fellas, I've got orders from           Colonel Nelec to personally           transport this man to base.                                                   SOLDIER           He's all yours, Staff Sergeant.                                   As the two Soldiers head off, Jack wraps Louis' arm over his          shoulders, heads off in the other direction, as Louis looks          him over, confused:                                                   LOUIS           Where're we going--?                                                   JACK           -- to find our kids.                                   On LOUIS' FACE -- a surprised glimmer of HOPE --           104.                                                            EXT. TRANSPORT BUS - NIGHT                                   Moments later, TIGHT on a POCKET -- Joe pulls out his          MOTHER'S NECKLACE. WIDEN to see that he's taken the necklace          from Overmyer's dead body. Cary holds up his backpack.                                                   CARY           Got my fireworks back!                                                   CHARLES           (who gives a shit)           Congratulations!                                   They turn: a car comes, fast -- PUSH IN ON JOE who studies          the oncoming car, as behind him:                                                   MARTIN           They're coming, man! I think we           should go!                                                   JOE           No--!!! No, look!                                   The car ARRIVES: It's DONNY. He gets out of his car, wild-          and red-eyed, incredibly happy to see them:                                                   DONNY           Ho ho!!! You dorks are alive! I           didn't know...!           (finally sees the bus)           ... what the FUCK?!                                                   JOE           We need to get back to town!                                                   DONNY           Hop in, man! But you should know: I           am massively stoned right now.                                                   JOE           You want me to drive?                                   Donny looks at Joe, like it hurts to think.                                                            EXT. LILLIAN SUBURB STREET - NIGHT                                   The Catalina cruises fast through the deserted neighborhood --                                                            INT. DONNY'S CAR - NIGHT                                   Joe drives, Donny is ASLEEP. Other boys in the back.           105.                                                                            CHARLES           Joe, where are we going?                                                   JOE           I saw something at the cemetery.           Woodward said it's subterranean-- I           think I know where it--                                                   CARY           What's that? What are those sounds?                                                   MARTIN           Guys, that sounds like guns!                                                   CARY           (points to a tank)           What the hell is that?!                                   SUDDENLY, BOOM!!! A DEAFENING, CONCUSSIVE GUNBLAST! They're          LIT UP by what they see ahead: in the oncoming cross-street,          TANKS -- TWO OF THEM -- AND A ROCKET-LAUNCHING VEHICLE FIRE          AGAIN AND AGAIN AT SOMETHING WE CAN'T YET SEE! The boys COVER          THEIR EARS -- Donny awakens, but only for a moment --                                                   CHARLES           TURN THE CAR AROUND!                                   Joe quickly turns left into a driveway -- but we PUSH IN          TIGHT ON HIM -- from the direction they just came are MORE          TANKS AND MILITARY VEHICLES -- Joe's eyes go wide -- they're          stuck. GUNFIRE CONTINUES!                                                   JOE           We gotta go by foot--!                                                   CHARLES           Where?!                                                   JOE           Just follow me!           (nudges Donny hard))           Donny! Hey! Donny, wake up!           (Donny half looks at him)           We have to get out of here!                                                   CARY           He's too stoned!                                                   MARTIN           Drugs are so bad!                                   Joe and the boys get out of the car fast and RUN across the          street, zig-zagging between the enormous MILITARY VEHICLES --           106.                                                            EXT. NEIGHBORHOOD - NIGHT                                                   SOLDIER           Sir, the weapons are misfiring!           Surface to air, radar -- all of           them! It's a mess out here, sir.                                   Soldier hurries off.                                                            EXT. NEIGHBORHOOD STREET - NIGHT                                   Joe in the lead - they turn and look back -- a massive shot          of the neighborhood under fire -- houses getting BLOWN TO          SHIT in collateral damage.                                   An EXPLOSION HITS TOO CLOSE -- the boys SCREAM as they run          BETWEEN HOUSES -- and WE TRACK WITH THEM -- four boys racing          through a neighborhood under siege -- power GOES OUT -- and          some explosions are much closer than others -- another BIG          HIT and they go to a back door of a house -- and go inside --                                                            INT. NEIGHBORHOOD HOUSE - NIGHT                                   -- they run in for cover -- they're silhouetted in this dark          space by the EXPLOSION LIGHT emanating from the windows.          They're all out of breath in a strange KITCHEN --                                                   CARY           You guys see those explosions? They           were huge.                                                   MARTIN           -- whose house is this?                                                   CARY           (he hands him a picture)           Kathy's. I got it off the fridge.                                                   MARTIN           Kathy? Oh, Kathy's cool.                                   Another CRAZY LOUD AND BRIGHT EXPLOSION -- the light fixtures          sway. Charles grabs a coke on the counter.                                    MARTIN (CONT'D) CHARLES          Charles-- that's not yours-- -- what?! I'm thirsty and I'm           in a war zone!                                   Another fucking LOUD BLAST -- sound of GLASS BREAKING -- and          the creature ROARING --           107.                                                            And there it is, in silhouette, moving past the bay window --          Joe realizes: where the creature is, so are the blasts:                                                   JOE           Come on, guys, let's go. Come on!                                   Joe runs -- the others follow --                                                   CARY           Where we going?                                                   JOE           To the cemetery--                                   But as they get to the living room a HUGE EXPLOSION BLOWS OUT          A WALL! They all go down -- but Martin is in agony all of a          sudden -- his leg RIPPED by concrete. If there's good news          here, the creature has left this area -- the explosions          getting further away. But there's blood and Martin is in real          pain.                                                   MARTIN           What happened to my leg? It hurts.                                                   CHARLES           Oh shit, Martin, you gotta bone           sticking out of your leg!                                                   CARY           There's a hole in the house!                                                   CHARLES           Joe, gimme that thing on the           curtains!                                   Charles wants the tie around the curtains, still hanging on          the wall that now has a HOLE in it; MILITARY VEHICLES can be          seen driving past outside. Joe hands Charles the thick fabric          tie -- which Charles fashion into a tourniquet, wraps it          around Martin's leg, tight --                                                   JOE           I'm gonna go find Alice-- you have           to stay with Martin.                                   Charles looks at Martin -- can't argue. Says, sincerely:                                                   CHARLES           ... you gonna be okay without me?                                                   JOE           (a meaningful beat)           ... yeah.           108.                                                            Charles nods -- Joe looks to Cary:                                                   CARY           I'm not staying with the girls!                                                   CHARLES           God, Cary. Shut up!                                                   CARY           Calm down.                                                   MARTIN           Oh, my leg hurts!                                                   JOE           Come on, Cary, we gotta go.                                   Joe nods, determined, and he and Cary head off --                                                   CHARLES           This is going to hurt.                                   Martin screams.                                                   CHARLES (CONT'D)           I haven't even done it yet.                                   Joe and Cary run through the semi-demolished neighborhood,          many houses shattered, some cars obliterated. The only lone          figures in town.                                                            EXT. CEMETERY - NIGHT                                   Joe and Cary stop, out of breath, at the graves.                                                   CARY           So what are we doing here?                                                   JOE           Just follow me.                                                   CARY           I've been following you for the           last five blocks. What are we doing           here?                                   Joe and Cary run through the graveyard and over to the          CARETAKER'S SHED.           109.                                                            EXT./INT. CEMETERY CARETAKER'S SHED - NIGHT                                   They're out of breath -- they try ONE garage door, windows          CAKED WITH DIRT. Stuck. The SECOND door. Dirt-caked windows.          Stuck. The third is a barn door -- they try it: locked.                                                   JOE           Help me!                                                   CARY           Help you with what?                                                   JOE           We need to get inside.                                                   CARY           For what? What's in these windows?                                                   JOE           Cary, help me.                                                   CARY           It's dirt. Why is there dirt in           these windows?                                                   JOE           Help me, on three.                                                   JOE/CARY           One, two, three.... One, two,           three.... One, two threee.                                   The two begin KICKING the door together -- on three -- one --          two -- CRASH! Again and again, until finally the door KICKS          OPEN -- and they almost FALL INSIDE -- and thank goodness          they didn't -- because -- and now we're looking STRAIGHT DOWN          FROM INSIDE THE SHED -- the entire floor of the shed has been          DUG OUT -- DROPPING FORTY FEET STRAIGHT DOWN, dirt PILED,          caked along the sides of the structure. The boys catch their          breath.                                                   CARY           Whoa. This is scary.                                                   JOE           You got any sparklers in there?                                                   CARY           Are you kidding me?                                   Cary opens his backpack, whips out a Fourth of July SPARKLER.          LIGHTS it with a lighter and DROPS IT IN. The thing falls far          enough to tell them it's too far to jump.           110.                                                            But burning on the dirt floor of the nearly-dug hole, it          lights up a TUNNEL at the bottom.                                                   JOE           -- Alice is down there.                                                            EXT. ROAD - NIGHT                                   A JEEP roars past.                                                            INT. JEEP - NIGHT                                   Jack drives fast. Louis sits beside him. It's awkward. But          not angry. Finally, vulnerable, scared and sad:                                                   LOUIS           I came to your house that day. To           tell you that I never meant to hurt           anyone. Swear to God.           (beat, respectful tears)           I'm sorry, Jack. About what           happened to your wife.                                   Jack looks at him for a moment, then back to the road. A          beat. Finally:                                                   JACK           ... It was an accident. It was an           accident.                                   Jack glances at him. A small nod of forgiveness and          gratitude. Louis wants to cry again, but just accepts it.                                                            INT. SHED - NIGHT                                   Joe begins CLIMBING DOWN the ROPE.                                                            INT. CEMETERY SHED HOLE - NIGHT                                   Joe lands on the bottom. Dark as hell -- looks up -- at Cary          climbing down into the hole -- the barn roof looming above          him. Now Cry lands too. There are THREE POSSIBLE WAYS TO GO.          Joe's mind races about which way to go.                                                   CARY           Joe, I don't understand--                                   We HEAR a DISTANT RUMBLING -- like something far off, but          MECHANICAL. Then:           111.                                                                            JOE           Shhh. This way.                                   They begin their walk into the dirt tunnel, a TALL OVAL          TUNNEL, TWENTY FEET TALL --                                                            INT. TUNNEL #1 (W/FURNIURE) - NIGHT                                   We're SO FAR AWAY, that the screen is mostly black, with a          small speck of SPARKLY LIGHT.                                   They come to an area LITTERED WITH THE STUFF OF A LIVING          ROOM. They look up: ANOTHER HOLE LEADING DOWN, DUG STRAIGHT          THROUGH A HOUSE. They continue, coming to an INTERSECTION --          where a NEW TUNNEL branches off.                                                            INT. TUNNEL #2 - NIGHT                                   There's DIM LIGHT from up ahead, where the tunnel BENDS. The          RUMBLING/MECHANICAL SOUND LOUDER now. Joe and Cary slowly          move forward -- seeing something off-camera that scares and          amazes them all at once.                                   IT'S A HUNDRED-FOOT DIAMETER, FORTY-FOOT TALL UNDERGROUND          SPACE, FILLED WITH A MECHANICAL MARVEL -- A MASSIVE, BIZARRE          CONTRAPTION COMBINING THOUSANDS OF MECHANICAL PIECES, FROM          THE MISSING MICROWAVES, CAR ENGINES, ANTENNAS, AND COUNTLESS          OTHER DEVICES -- WIRES AND CABLES HANG AND CONNECT          EVERYWHERE, ALL LEADING TO THE DIRT CEILING, HEADING UP, TO          SOMEWHERE ABOVE GROUND. THE THICK-WITH-FUMES SPACE CHUGS AND          HUMS WITH A SLOWLY INCREASING PITCH, AS IT IT'S WARMING UP,          GETTING READY TO FINALLY, ACTUALLY WORK.                                   They cross to the other side. Cary bumps into a HANGING          SHERIFF PRUITT. Cary is about to scream, but Joe puts a hand          on his mouth and leads him away from Pruitt.                                                   CARY           It's Sheriff Pruitt.                                                   JOE           I know. Cary look.                                   Makeshift HANGING BULBS provide some light; a number of other          TUNNELS are visible from here, too. Joe and Cary look at the          space in disbelief.                                                   CARY           What is this?                                                   JOE           We're under the water tower.           112.                                                            Then Joe sees something that makes him grab at Cary's shirt.          Cary looks: THROUGH THE MASS OF METAL AND MACHINERY AND          DANGLING CABLES, AT THE OTHER END OF THIS UNDERGROUND          EXPERIMENT, IS THE CREATURE. HUNCHED OVER. BACK TO THE BOYS.          AND IT'S SAVAGELY EATING SOMETHING. IT MOVES A BIT: WE SEE          IT'S A HUMAN LEG. Joe and Cary would SCREAM if they didn't          need to stay quiet. In a panicked WHISPER:                                                   CARY           It's eating a person.                                   Joe moves away from Cary to get a better view of the other          side of the machinery -- and there he sees, in an INSET          section of the rock-wall, THREE HUMAN BODIES, HANGING          LIFELESS FROM THEIR FEET, WRAPPED IN SOME KIND OF THIN          SHELLAC. TIGHT ON JOE as he sees, among them, ALICE. His          heart POUNDS, his resolve quadruples. Cary sees her too --                                                   JOE           She's here. We're going to use your           firecrackers.                                                   CARY           I don't think it's going to hurt           it, Joe.                                                   JOE           There are other tunnels.                                                   CARY           So?                                                   JOE           I need you to make noise. Lots of           it, right here, in two minutes.           Make it loud and make it last--           gimme some sparklers.                                                   CARY           (goes through his bag)           -- why-- what are you gonna do--?                                                   JOE           (takes SPARKLERS and a           LIGHTER from Cary)           Make sure you're gone by the time           it blows: you can't be here, you           gotta run.                                                   CARY           Where are you going?           113.                                                            But Joe's already gone. Stay with Cary, who opens his          backpack, starts pulling out his amazing array of EXPLOSIVES,          glancing up to make sure he's out of the creature's view --                                                            INT. TUNNEL #3 - NIGHT                                   MOVE FAST with Joe as he races, a LIT SPARKLER giving him his          light -- the MECHANICAL RUMBLING all but gone now. Joe runs,          looking for another way into the creature's massive space --          he finally finds another INTERSECTION -- he turns into it --          he disappears down the tunnel --                                                            INT. TUNNEL #2 - NIGHT                                   Cary's made a long, insane pile of FIRECRACKERS -- he uses an          OPEN M-80 and begins laying a SQUIGGLY, LONG LINE OF GUN          POWDER back, away from the firecrackers -- away from the          entrance to the creature's CONTRAPTION space.                                                            INT. TUNNEL #4 - NIGHT                                   Joe races down the dirt tunnel, the SOUND OF THE MECHANICAL          RUMBLING -- and its INCREASING PITCH -- getting LOUDER. The          SPARKLER DIES as LIGHT BEGINS TO REVEAL JOE, who slows --          peers around the dirt tunnel bend -- he is now on the OTHER          SIDE of the space. He sees the creature -- then looks across          to the lifeless body of Alice. His heart sinks.                                                            INT. TUNNEL #2 - NIGHT                                   Cary's done laying out the charges -- he pulls out his          lighter -- FFFT! FFFT! The damn thing won't light --                                                   CARY           -- come on-- damnit!                                   FFT! FFT! No go -- he keeps trying.                                                            INT. TUNNEL #4 - NIGHT                                   Joe watches as the creature FINISHES WITH ITS MEAL AND HEADS          FOR THE OTHER HANGING BODIES -- PUSH IN ON JOE, DESPERATE --                                                   JOE           -- Cary, come on, come on--           114.                                                            INT. TUNNEL #2 - NIGHT                                   Cary frantically trying the lighter -- FFT! FFT! FFT!                                                   CARY           -- damnit!!!                                   He looks up -- watches the creature GRAB AND PULL ALICE'S          LIFELESS BODY DOWN FROM HER HANGING POSITION -- it moves with          her to where he was eating the teacher -- Cary SHAKES THE          LIGHTER, STARTING TO CRY AND HE FLICKS IT AND FFFFFTH!!! IT          LIGHTS! HE TOUCHES IT ON THE GUN POWDER AND RUNS OFF --                                                            INT. MECHANICAL CONTRAPTION SPACE - NIGHT                                   The creature PULLS AWAY the fibrous covering over Alice --          its TENTACLES SLITHER OUT.                                                            INT. TUNNEL #4 - NIGHT                                   Watching this is horror, Joe's about to run in just as          BABABABABABABABAM!!! The creature JERKS UP from its almost-          meal of Alice, looks toward the EXPLOSIVE SOUNDS, then LEAVES          HER, quickly moving for the tunnel --                                                            INT. TUNNEL #2 - NIGHT                                   The creature arrives in the SMOKE-FILLED TUNNEL, as the          FIREWORKS FILL the tunnel with BRIGHT, MULTI-COLORED LIGHTS --                                                            INT. MECHANICAL CONTRAPTION SPACE - NIGHT                                   Joe SPRINTS in, gets to Alice -- lightly slaps her face --                                                   JOE           -- Alice, please -- please --           (nothing -- SLAP)           Alice, wake up!                                   Nothing -- so he fucking SLAPS HER FACE HARD and she suddenly          INHALES SHARPLY, he eyes WIDE, terrified --                                                   JOE (CONT'D)           Alice! You're alive! Can you hear           me? Are you okay?!                                   She's CATCHING HER BREATH, nodding, looking at him, amazed --           115.                                                                            ALICE           What is this? What are you doing           here?!                                                   JOE           I'm just-- doing the best I can to           save you.                                   She GRABS HIM AND HUGS HIM TIGHT, teary and grateful --          during which -- quietly:                                                   ALICE           How did you know?                                                   JOE           Your dad. He told me. He was           worried. And flipping out.                                                   ALICE           Really?                                                   JOE           -- we need to move--                                   But she breaks out of the hug and grabs his shirt, intense:                                    TINA (O.S.)           Excuse me?                                   TINA, a 24-year-old , disoriented woman with curlers in her          hair, wakes up.                                                   TINA (CONT'D)           Where are we?                                                            INT. MECHANICAL CONTRAPTION SPACE - NIGHT                                   Joe and Alice have helped down one FAMILIAR FACE: SHERIFF          PRUITT. They're out of breath, but their survival instinct          has kicked in:                                                   TINA           I left my bag in my car. Then I           went to my car to get my bag--                                                   ALICE           It's been experimented on for           years. It's terrified and exhausted           and hungry, it just wants to go           home. When it touched me, I knew --           116.                                                                            JOE           Alice, help me get the sheriff           down.                                                   TIME CUT:                                                   SHERIFF PRUITT           Follow me. I can get us out of           here.                                                   JOE           Sheriff, we came that way.                                                   SHERIFF PRUITT           Don't argue with me.                                                   TINA           Come on, kids, let's go with the           sheriff.                                   Joe and Alice follow. They run into a tunnel. We PUSH IN ON          THE MECHANICAL DEVICE -- the PITCH INCREASING MORE NOW -- AS          IF IT'S ABOUT TO "FUNCTION" -- The creature returns and sees          that the humans are gone. He takes off.                                                            INT. TUNNEL #4 - NIGHT                                   Sparkler lighting the way, we're with Joe and Alice -- Pruitt          and Tina behind them:                                                   JOE           Sheriff, I really think we're going           the wrong way.                                                   PRUITT           We'll talk about it when we get up           top.                                   They continue following Pruitt.                                    CARY (O.S.)           Joe!                                                   JOE           I told you to get out!                                                   CARY           I thought this was the way out. I           tried! Hey, Alice, welcome back--                                                   PRUITT           Kids, come on, we gotta go.           117.                                                            BUT HE'S LOOKING BACK AND HIS SPARKLER ILLUMINATES THE          CREATURE THAT IS RIGHT UP AHEAD AND TINA SCREAMS -- THEY ALL          DO AS PRUITT TURNS AND IS TAKEN, LIFTED HIGH, KILLED IN THE          DARK AS THEY ALL TURN AND RUN -- PRUITT'S HORRIBLE SCREAMS          terrifying as the foursome sprint in the opposite direction!          After RUNNING HARD for a beat:                                   They haul ass, but after a long moment TINA IS GRABBED AWAY          INTO THE DARKNESS!!! HER SCREAMS CONTINUE behind them --                                   They run and run and run, but then BOOM: they hit a DEAD END.          A DIRT WALL. No more tunnels. No options. Out of breath, they          turn -- but dare not go back toward the horrifying blackness.          The only SOUND the sparkler, their erratic breathing and the          DISTANT INCREASING PITCH OF THE CREATURE'S MECHANICAL DEVICE.                                   THE CREATURE IS THERE -- FORTY FEET FROM THEM, --          APPROACHING! ALICE SCREAMS -- SHE AND CARY MORE BACK AGAINST          THE WALL -- AND THE CREATURE MOVES FOR THEM, BUT JOE YELLS AS          THE THING PASSES THE FIREWORKS:                                                   JOE           GO! YOU DON'T WANNA BE HERE, GO!                                                   CARY           Joe, what are you doing?                                   IT KEEPS COMING -- PAST THE FIREWORKS, AMAZINGLY BACKLIT AS          IT LUMBERS TOWARD JOE, DESPERATELY TRYING TO STAND GROUND:                                                   JOE           WE UNDERSTAND! WE KNOW HOW HARD           IT'S BEEN! BUT NOT EVERYONE IS           HORRIBLE!                                                   CARY           Joe, shut up, it's gonna kill you!                                                   JOE           YOU'RE GONNA BE OKAY NOW!                                   AND IT GRABS JOE AND LIFTS HIM -- Alice and Cary SCREAM AS          JOE IS BEING SQUEEZED -- HE LOOKS INTO THE GLOSSY BLACK EYES          OF THIS BEAST, WHICH COULD KILL HIM AT ANY TIME -- but in          this moment of fear comes something else. Simple truth -- he          WHISPERS, SHAKILY:                                                   JOE (CONT'D)           -- I know bad things happen-- bad           things happen, but you can still           live. You can still live, you can           still live, you're gonna be okay--           118.                                                            JUST AS WE THINK THE CREATURE'S GONNA KILL HIM: A DISTANT          MECHANICAL TONE -- THE CREATURE TURNS, ACKNOWLEDGING THAT          SOUND -- THEN TO JOE AGAIN. IT CONSIDERS HIM. ITS EYES'          COVERING PEELS AWAY -- REVEALING HUGE, WET, VULNERABLE EYES.          AND THE THING LOOKS AT HIM. REALLY LOOKS AT HIM. In a way, as          you imagine his mother once had. And Joe feels this too. AND          AFTER A LONG, SCARY BEAT, THE CREATURE SETS HIM DOWN. Joe          backs up as the creature TURNS FAST AND SPEEDS AWAY. JOE IS          STUNNED. SHOCKED RELIEF. ALICE AND CARY, TOO --                                                   CARY           Okay, wait a minute, WHAT?!                                   Then, over the HIGH-PITCHED MECHANICAL SOUND comes RUMBLINGS -          - like THUNDER from above -- and the three LOOK UP --                                                            EXT. LILLIAN, OHIO - MAIN STREET - NIGHT                                   The kids round a corner -- ON MAIN STREET, COUNTLESS METALLIC          OBJECTS -- ANYTHING METAL AND LOOSE -- has been INVISIBLY          DRAGGED -- FLOATING -- toward the WATER TOWER -- at different          speeds and with different personalities, metal objects BULLET          TO THE TOP OF THE TOWER AND STICK THERE.                                   Suddenly, THE DINER WINDOW SHATTERS as a STOVE RIPS THROUGH          IT -- we PAN WITH IT as it TUMBLES TOWARD AND UP THE WATER          TOWER! HUNDREDS OF OBJECTS move past them -- from bicycles to          silverware and sinks! DISHWASHERS AND TVS SMASH THROUGH THE          TOWN'S APPLIANCE STORE WINDOW -- A TV FLOATS, UNPLUGGED, PAST          THE KIDS -- AND IT IS ON -- AND SHOWS AN EPISODE FROM THE          TWILIGHT ZONE -- all things eventually SLAMMING into the          WATER TOWER, the objects BEGINNING TO CRUSH TOGETHER, FORMING          ONE DENSE METALLIC MASS!                                   BAM! BAMBAM! Sounds like GUN BLASTS -- the KIDS TURN: behind          them are the RED CARGO CONTAINERS -- ONE BY ONE those cubes          BURST THROUGH THE CONTAINERS: BAM! BAMBAMBAM! BAMBAM! And          they SLAM INTO THE WATER TOWER -- AND THEY BEGIN TO FORM AN          ODD, HUGE CRESCENT SHAPE ABOVE THE TOWER! Alice is cry-          laughing at seeing it work --                                                   CARY           -- what's he doing...?                                                   JOE           ... he's making a model.                                   AGAIN and AGAIN, pieces FLY OVERHEAD, beginning to FORM WHAT          IS CLEARLY AN ALIEN CRAFT -- LIGHTS BEGINNING TO ILLUMINATE          FROM INSIDE as it continues -- ONE OF THE SPOTLIGHTS          ILLUMINATING A JEEP THAT HAS JUST ARRIVED: JACK GETS OUT. HE          SEES JOE. JOE IS SURPRISED TO SEE HIM -- ALICE CONCERNED.           119.                                                            BUT THEN THE KIDS ARE BOTH INCREDULOUS TO SEE JACK HELP LOUIS          OUT OF THE JEEP -- THE TWO MEN MOVE THROUGH THE DEBRIS IN THE          STREETS, STUNNED AT THE ACTIVITY SURROUNDING THEM, BUT          FOCUSED ON THEIR CHILDREN; A TUMBLING TYPEWRITER ALMOST TAKES          OUT JACK, BUT HE AVOIDS IT AS IT SHOOTS UP TO THE WATER          TOWER.                                   JACK GETS TO HIS SON -- HOLDS HIS SHOULDERS -- LOOKS DEEPLY          INTO HIS EYES, TOUCHES HIS FACE AND EMBRACES HIM --                                                   JACK           -- I got you. I got you.                                   LOUIS, CRYING, DESPERATELY SORRY -- AND SHE SEES THIS IN HIS          SAD, WOUNDED FACE -- SHE HOLDS OUT A HAND -- HE TAKES IT AND          PULLS HER INTO AN EMBRACE, HUGGING HIS DAUGHTER DESPERATELY.                                   BEHIND THEM, THE SHIP CONTINUES TO TAKE SHAPE, ALMOST FULLY-          FORMED -- but here, as he is being hugged by his father, Joe          LOOKS DOWN: SOMETHING IN HIS POCKET Is MOVING -- he considers          it, confused for a moment -- but he reaches in and pulls it          out. HIS MOTHER'S NECKLACE -- and he holds the chain, but the          LOCKET PULLS TOWARD THE WATER TOWER -- wanting to go.                                   Joe knows what this means. He looks up at his father, who          also understand. AND THIS IS WHEN WE GO INTO SLOW MOTION --          FROM HERE UNTIL THE END. After a long beat, Joe HOLDS THE          NECKLACE UP, toward the tower -- the thing PULLING... TEARS          in Joe's eyes as he looks up at it -- not wanting to let go,          but knowing he must. Jack, heartsick, watches his son, on the          verge of letting go. Alice watches Joe, on the verge of tears          -- except Joe just can't bring himself to do it, not now, not          ever. But then something happens.                                   Pulled by the invisible force, THE LOCKET POPS OPEN. And we          see what's inside. A PHOTOGRAPH of Joe's MOTHER. A young          woman, HOLDING HER ONE SMALL BABY. And Joe looks at his          mother -- and in this moment, she at him and Jack's eyes          suddenly WELL WITH TEARS -- Alice, too, tears streaming down          her face and finally Jack reaches out -- and puts his hand on          his son's shoulder -- which was all Joe needed, really.                                   And finally... after all... JOE LETS GO. OUR SCORE SOARS AS,          IN SLOW MOTION, the necklace SHOOTS ACROSS THE MAIN STREET UP          TO THE WATER TOWER!                                   AND WHEN IT HITS, THE ENTIRE TOWER IMPLODES FROM PRESSURE --          A FIREWORKS-LIKE EXPLOSION OF WATER BURSTS AND SHOWERS THE          STREET AS THE MAJESTIC SHIP COMPLETES ITS FORMATION -- and          that's when Joe sees the CREATURE, LEAVING -- CLIMBING UP THE          WATER TOWER AND ENTERS HIS SHIP -- AND IT BEGINS TO LIFT. AS          IT TAKES OFF, THE WEIGHT OF THE TOWER IS TOO MUCH: IT          COLLAPSES INTO MAIN STREET.           120.                                                            THE SHIP RISES SLOWLY INTO THE SKY -- ITS PURE WHITE          SPOTLIGHTS FINALLY SCANNING THE GROUND BENEATH IT -- LILLIAN,          OHIO -- EARTH -- A PLANET IT IS FINALLY LEAVING --                                                            INT./EXT. HOUSE - NIGHT                                   And we PUSH IN on Charles and Marin, who watch, amazed, as          the distant light RISES INTO THE SKY --                                                            EXT. DRIVEWAY - NIGHT                                   And we PUSH IN as DONNY SLEEPS, the REFLECTION OF THE RISING          SHIP seen in his windshield --                                                            EXT. LILLIAN, OHIO - MAIN STREET - NIGHT                                   Joe and Alice, Jack, Louis and Cary watch, amazed, as the          ship disappears into the night sky, we are TIGHT ON JOE'S          HAND, as it takes ALICE'S.                                   And looking skyward, Joe smiles.                                   As our SCORE SWELLS, we finally...                                    FADE TO BLACK.                                                                            THE END
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+                                SUPERBAD                               Written by                      Seth Rogen & Evan Goldberg                                                      July 20, 2006    OPENING CREDITS OVER SUPER-FUNKY BLAXPLOITATION-STYLE MUSIC,    which builds to an exciting crescendo filling us with the    expectation of a thrilling, action-packed opening sequence.    Instead we get:    INT. SETH'S CAR - MORNING    Seth, seventeen, a bit heavyset, in the midst of a sad    attempt at growing a goatee and clearly a terrible driver,    cruises along while fiddling with the CD player. He pulls out    his cell and dials.                           SETH              Yo.    INTERCUT WITH:    INT. EVAN'S HOUSE - KITCHEN - CONTINUOUS2                                                                   2    Evan, seventeen, a little too tall and slim, a boy who    clearly never figured out how to style his hair, is finishing    off a bowl of cereal. He is on his cell phone.                           EVAN              What's up?                        SETH              I was doing research last night, for next              year, and I think I'm gonna go with Bang              Bus.                        EVAN              Which one's Bang Bus?                        SETH              The one where they bang the chicks on the              bus. Thirteen bucks a month. Total              access, live Web Cam feed. The works.              It'll be like I'm on the bus, banging              them myself.                        EVAN              That stuff's bullshit, they're all faking              it. And plus, your parents are gonna look              at the bill.                         SETH              It shows up under a different name.                  (beat)              I hope. Bang Bus.                         (MORE)                                                      (CONTINUED)                                                                     2.2   CONTINUED:                                                         2                           SETH (CONT'D)                 That wouldn't look good. Maybe I should                 just pick the one with the least dirty                 sounding name.                           EVAN                 Weapons of Ass Destruction's out then.    Seth pulls up in front of a house.                           SETH                 I could tell my parents I'm doing a                 project on Rome and I have to research                 orgies.    EXT. EVAN'S HOUSE - CONTINUOUS3                                                                         3    Evan walks out his front door. WE REVEAL he is walking    towards Seth's car.                           EVAN                     (still into phone)                 Yeah. Just tell them your taking a class                 on blow jobs.    They both hang up and Evan gets in the car. Seth is about to    pull away, when EVAN'S MOTHER comes out the front door.                           EVAN'S MOM                 Thanks for taking him, Seth.    Evan changes the radio station. Seth slaps his hand.                           SETH                 Don't touch that!                           EVAN'S MOM                 You two are so funny. I can't imagine                 what you'll do without each other next                 year. Evan told me you didn't get into                 State.                           SETH                 Yeah, you know. I got some other places.                 Good places. I think we'll be fine.                           EVAN'S MOM                 Are you going to miss each other?                           EVAN                 Miss each other? No!                                                            (CONTINUED)                                                                     3.3   CONTINUED:                                                         3                           SETH                 That's disgusting.                              MOM                 Bye, boys.    Seth and Evan drive off.                           SETH                 I am truly, truly jealous that you got to                 suck on those tits when you were a baby.                           EVAN                 Fuck you, man.    EXT. CLARK SECONDARY- SOON AFTER4                                                                         4    They drive up to Clark Secondary. There is a giant sign that    reads "Seniors - Two Glorious Weeks Until Graduation". Seth    turns into the STAFF parking lot.    INT/EXT. 7-11 STORE - MOMENTS LATER5                                                                         5    Seth and Evan walk past a group of smokers, towards the 7-11.                           EVAN                 You're being an idiot, man. You really                 shouldn't park there.                           SETH                 Fuck it. I'm a senior about to graduate.                 They should be suckin' my balls. It's the                 least they can do for stealing three                 years of my life.    They walk past DIMITRI (18, big Native American guy) as they    enter the store. Dimitri aggressively bumps his shoulder into    Seth.                           EVAN                 What the hell's wrong with Dimitri?                           SETH                 Oh, yeah dude, I forgot to tell you. I                 knocked the fuckin' shit out of him in                 capture the flag last week.                           EVAN                 Good! 9th Grade Camp he gave me whiplash                 in "King of the Ring." I fucking hate                 that guy.    They go to the magazine rack and stare at a Maxim cover.                                                            (CONTINUED)                                                                    4.5   CONTINUED:                                                        5                           EVAN (CONT'D)                 Look at those nipples.                           SETH                 They're like baby toes.                           EVAN                 It's not fair. I have to hide every                 erection I get.                           SETH                 Sometimes I get boners so big I can't                 hide them. And then I get nervous and my                 heart starts pounding, and it all just,                 like, feeds my boner. It just becomes                 this...thing...that's attached to me. And                 it won't go away.                           EVAN                 Just imagine if girls weren't weirded out                 by our boners and they actually wanted to                 see `em, like this shit.                           SETH                 You know it's been, like, a year and a                 half since I've seen an actual human                 female nipple. Besides my mom's. I saw it                 last month, and it was sick.                           EVAN                 Holy shit. Liat was two years ago? I                 guess so. She was insanely hot, though.                           SETH                 Exactly. Too hot. That's what sucks.                           EVAN                 How can that possibly suck? I'd be                 fuckin' psyched if I'd gotten with a girl                 that hot. You got, like, two dozen                 handjobs!                           SETH                 And three quarters of a blowjob, But that                 was fuckin' it. It was the peak of my ass-                 gettin' career, and it happened way, way,                 way too early.                           EVAN                 You're like Orson Welles.                                                           (CONTINUED)                                                                  5.5   CONTINUED: (2)                                                  5                        SETH              Exactly! If I'd built up to it, I'd              probably at least be having steady sex              with a mediocre-looking girl at this              point. I honestly now see why Orson              Welles ate his fat ass to death.                        EVAN              You'll have sex in college. Everyone              does. And if not, you'll have the Bang              Bus.                        SETH              But the key is to be good at sex by the              time you're in college. You don't want              girls to think you suck dick at fucking.                        EVAN              I still think you've got a chance with              Jules. She got mad hot over last summer,              and clearly hasn't realized it, `cause              she still flirts with you.                        SETH              Are you joking, man? Let's see here...she              dated Dan Remick, Matt Muir, Josh Corber              and what's-his-face. All of those were              cool guys. She's been hot way longer than              you think. Why would she end her high              school career with me?                        EVAN              Well, Helen got with Ariel Shafir.                        SETH              Yeah, and he was a complete fucking              loser. You're a step up from that. Which              is why you should stop being a pussy and              do her! You could nailthe shit out of              her for, like, two months before you              leave. That bitch looks like a good              fucker.                        EVAN              Hey! I'm sick of you talking about her              like that, man!    Evan starts to walk out. Seth follows.                        SETH              What, you can talk about that bitch all              day every single day, but I can't say one              thing about her?                                                         (CONTINUED)                                                                  6.5   CONTINUED: (3)                                                  5                        EVAN              I don't constantly insult her.                        SETH              I didn't insult her! I said she looks              like a good fucker! She looks like she              can take a dick. That's a good thing.              Some women pride themselves on their dick-              taking abilities.    EXT. 7-11 - CONTINUOUS6                                                                      6    Seth and Evan come out the front doors. TERRY, one of the    rough-looking smokers, calls out.                        TERRY              Yo. Seth. Did you hear I'm having the big              grad party?    Evan, a little scared, keeps his distance.                        SETH              No.                        TERRY              Yeah.    Terry spits on Seth's shirt.                        TERRY (CONT'D)              And you're not coming. Tell your fucking              faggot friend he can't come either.    Seth wipes the spit off. He looks at Terry and seems as    though he's about to say something, but is interrupted when    Terry starts hocking up more spit. Seth runs away as Terry    and his friends laugh. He catches up to Evan and they head    back to school.                        EVAN              Wow. You really bitched out on that one.                         SETH              I bitched out? You bitched out! You were              across the street before I even realized              what was going on.                  (beat)              That guy's such a douche bag.    EXT. CLARK SECONDARY OVAL RUNNING TRACK - DAY7                                                                      7                                                         (CONTINUED)                                                                   7.7   CONTINUED:                                                       7    BIRD'S EYE VIEW OF A P.E. CLASS    There are 30 guys standing behind the starting line of the    school's track. We hear a TEACHER yell "Go!" and the boys    start running.    We FOLLOW them from above. All the boys keep pretty much the    same pace except for one runner who slowly lags behind. The    group gets so far ahead of the him that he is alone in the    frame. He stops.    CLOSE UP OF THE RUNNER:    Kneeling on the track breathing heavily. It's Seth.                           SETH                     (panting)                     This...is...bullshit.    A moment later a KID with prosthetic leg jogs by.                           KID                     (as he passes Seth)                 Poo-say.    INT. CLARK SECONDARY CLASSROOM - DAY8                                                                       8    Evan is sitting in math class staring at HELEN'S breasts.    She`s a very tall girl and is athletic in a sexy way, wearing    volleyball team sweat pants and a tank top. He looks up from    her breasts to her face: she is staring right at him. He    immediately looks to the front of the class, embarrassed.    The bell rings and everyone leaves. Helen walks up to Evan as    they enter the hallway. He's really nervous. She offers him a    pen.                           HELEN                 Hey Evan, thanks for the pen.                           EVAN                 Oh, don't worry, no worries. Just keep                 it. Then you'll just have it, and you                 won't have to borrow another pen.                           HELEN                 Thanks...uh...I was going to ask you, did                 you hear about Terry's grad party? It's                 going to be so insane.                           EVAN                 Yeah, it's a maybe. But, you know, I                 gotta, I got my...                           (MORE)                                                          (CONTINUED)                                                                 8.8   CONTINUED:                                                     8                           EVAN (CONT'D)                 there's so much other fun shit that is                 going to be going on that night...so, you                 know...                           HELEN                 Fun shit? But I, like, never see you at                 any parties or anything.                           EVAN                 Because of all the other fun shit I'm off                 doing.                           HELEN                     (playful)                 Okay. So why weren't you at Dimitri's                 party on Saturday?                           EVAN                 Dimitri's? I uh...didn't want to go,                 because, well, I did other stuff.                 Saturday...                     (nervous, he desperately                      thinks)                 Oh yeah! Saturday night was awesome!    (The real version of Evan's story is shown through a montage    of quick flashbacks.)                           EVAN (CONT'D) (V.O)                 First my parents went out to a double                 feature, so a bunch of people came                 over...    INT. EVAN'S HOUSE - NIGHT9                                                                  9    Seth is there. Evan and him are surfing the Bang Bus web    site. FOGELL arrives with a bottle of Sambuca. Fogell is one    of those seniors who looks like he's thirteen years old.                           EVAN                 ...and we had a couple drinks in my                 basement...    An empty bottle of Sambuca in front of them and empty beer    cans at their feet, the three boys each shotgun a beer.                           EVAN (CONT'D) (V.O)                 ...and Seth's parents were having this                 cocktail party, and we went over there                 to, like, mingle...                                                                  9.     INT SETH'S HOUSE - NIGHT10                                                                  10     Seth's parents are having a fancy cocktail party. The boys     are drunk as hell.                         EVAN               ...and there were actually some really               interesting and, like, entertaining               people there...     The boys laugh hysterically as they each shake Tobassco Sauce     onto their tongues. They writhe around in agony as several     adults look at them like they are morons.                         EVAN (CONT'D) (V.O.)               ...and, uh, then we saw some, uh, live               music.     INT. SETH'S HOUSE - BASEMENT - NIGHT11                                                                  11     In Seth's basement, the boys violently wrestle. Evan gives     Fogell a bloody nose, but they all can't help but laugh.                         EVAN               ...then we went to a club downtown...     EXT. STRIP CLUB - NIGHT12                                                                  12     The bouncer of a dirty strip club rejects them.                         EVAN               ...and then we pretty much called it a               night and went home...     INT. TBD HOUSE - NIGHT13                                                                  13     Evan pukes all over Seth. Evan and Fogell laugh hysterically     as Seth yells at them.     INT. CLARK SECONDARY HALLWAY - DAY14                                                                  14     We return to Evan talking to Helen in the halls.                         EVAN               ...you would've loved it.                         HELEN               That sounds so fun. I would love to go do               something like that.                                                        (CONTINUED)                                                                     10.14   CONTINUED:                                                        14                            EVAN                  Yeah...well, you know, me and Seth are                  always cooking up...uh...fun                  little...events.     Helen is disappointed in his response.                             HELEN                  So, are you guys going to the same school                  next year?                            EVAN                  Nah. We were going to but, uh, we got                  into different ones.                            HELEN                  What are you going to do without him?                            EVAN                  Same shit I've always been doing. It'll                  be fine. Don't worry about it. I'm not.     INT. FOODS AND NUTRITION ROOM - NEXT PERIOD15                                                                     15     Students file into the home economics room. The blackboard     reads, TODAY: TIRAMISU. The ingredients are listed below.     Seth is talking to the cooking teacher.                            SETH                  Mrs. Grier, I joined this class because I                  thought I'd be cooking with a partner.                  It's not fair. She's never here. I don't                  get twice the marks for doing all the                  work.                            MRS. GREIR                  I didn't invent odd numbers, Seth.                            SETH                  Look at Evan.     Evan is playfully throwing flour at a tiny Japanese boy. They     both laugh hard.                            SETH (CONT'D)                  While I'm over in my unit, isolated and                  alone, eating my terrible-tasting food                  because I can't even properly mix                  ingredients by myself, I gotta look over                  at that.                                                             (CONTINUED)                                                                      11.15   CONTINUED:                                                         15     The Japanese boy ties Evan's apron. Evan then turns around     and ties the boy's apron. They both look happy.                            SETH (CONT'D)                  I wash and dry. And that is B.S. I'm like                  a single mother.                            MRS. GREIR                  Well, save it for next week. Today Jules'                  partner isn't here either. Pair up with                  her. Station four.                            SETH                  Jules?     The teacher walks away. Seth looks over to station four,     nervous as hell.     ANGLE ON: Jules, well-dressed and "popular" looking.       She     stands alone at station four, laying out utensils.     Seth musters his courage and walks towards Jules. He stops,     unsure of what to say.                            JULES                  Hey Seth, your partner didn't come again?                            SETH                  That's kind of a personal question.                            JULES                  What?                            SETH                      (nervous)                  Nothing. It was my attempt at humour.                            JULES                  Well, uh, maybe I kidnapped her so you'd                  be forced to work with me. There's my                  attempt at humour.                            SETH                  Well, I would call that a success.                      (reading recipe sheet)                  Marscampone... scamponee cheese? Is that                  some kind of new cheese or something?                            JULES                  All cheese tastes the same to me anyway.                            SETH                  Except blue cheese. That stuff is sick.                                                             (CONTINUED)                                                                  12.15   CONTINUED: (2)                                                 15                         JULES               Thank you! Yes! My older brother always               eats blue cheese. You know that stuff is               actually moldy. Like, they tell you it's               moldy, then they tell you to eat it               anyway.                         SETH               Well whoever "they" are, they can eat my               dick.     INT. FOODS AND NUITRITION ROOM - LATER16                                                                  16     Jules watches as Seth awkwardly removes the tiramisu from the     oven and places it on the table.                         JULES               What are you doing tonight?                         SETH               I don't know, probably nothing. Why?                         JULES               My parents are out of town and I'm               thinking of having a party. I don't know               how big it'll be, but you should come               anyways.                         SETH               Yeah. Sure. That sounds fun. I love               parties.                         JULES               Really? I don't usually see you at them.                         SETH               Oh, uh. It's more of, like, a love-hate               thing. Right now I love them, though.               Uh...how do I do this?                         JULES               I'll write down my address and number.     ANGLE ON: Evan.     Evan is standing by the sink scrubbing a tray. Behind him, at     the table, is the small Japanese boy eating the tiramisu.                         EVAN               That's good shit. Huh, Miroki?     Seth walks up to Evan.                                                          (CONTINUED)                                                                    13.16   CONTINUED:                                                       16                            SETH                      (whispering)                  Dude! She's havin' a fuckin' party.     ANGLE ON: Fogell entering the room                            SETH (CONT'D)                      (whispering)                  Don't tell Fogell about the party.                             FOGELL                  Hey guys, I was walking here, and on the                  way, I saw Nicola, and she was wearing                  these tight white pants and a black g-                  string and you could see it right through                  the pants.     INT. HALLWAY (FLASHBACK) - EARLIER17                                                                    17     We see Fogell, looking at the ass of NICOLA, an incredibly     hot girl who exudes sexual vibes and looks a little skanky;     you can see her black g-string through her tight white pants.     She turns and notices Fogell. He gives an awkward look.                            FOGELL                  It's nine thirty.                             NICOLA                  What?     INT. FOODS AND NUITRITION ROOM (PRESENT) - CONTINUOUS18                                                                    18     Back to Fogell, Seth and Evan.                            FOGELL                  I told her what time it was. It was                  awesome. She's got the nicest ass.                            SETH                  Like you'd know what to do with it.                            FOGELL                  Ha ha. I'm really gonna miss your knee-                  slappers when me and Evan are at State.                            SETH                      (pissed)                  Yeah, well I'll be at Junior college                  where the girls are half as smart, and                  thus twice as likely to blow me.                            FOGELL                  What are you guys doing tonight?                                                            (CONTINUED)                                                                     14.18   CONTINUED:                                                        18                            SETH                  Nothing. Sorry. You'll just have to                  fingerbang yourself.                            EVAN                      (to Fogell)                  What you doing?                            FOGELL                  Well, Seth always said I was too much of                  a pussy, but he was wrong. It's been                  arranged. At lunch, I'm going to the same                  place Mike Snider went to pick up my                  brand new false identification card.                            SETH                  Dude! That's perfect, `cause, Evan,                  didn't you just say that you heard about                  a party?                            FOGELL                      (to Evan)                  Why didn't you tell me?                            SETH                  Shut up. Who cares? Just be happy he                  told. And hey! Now you can buy the booze.                            FOGELL                  Sounds cool. Cool.                            MRS. GREIR (O.S.)                  If you're not in this class, leave this                  class!                            EVAN                  Well done, man. We'll see you after                  class.     Fogell leaves.                            SETH                  Did you tell that nimrod you're not going                  to room with him?                            EVAN                  Uh...no, not yet.                             SETH                  You better, man. That guy is a poon-tang                  repellent.     Seth sees Jules coming.                                                             (CONTINUED)                                                                 15.18   CONTINUED: (2)                                                18                         JULES               Seth, dishes time. What's the hold up?                         SETH               We're getting a fake ID.                         JULES               Well, you two have four more years to               cuddle, so let's get to work.                         EVAN               Actually, we're going to different               schools.                         JULES               Really? You're cutting the cord? What's               going to happen?                         SETH               Nothing! Jesus.                         EVAN               Yeah? What do people think is gonna               happen? That's what I don't get.                         SETH               We're not, like, dependent on each other.                         EVAN               We met when we were 8, we were fine               before then. It's not like we do               everything together.     INT. CLARK SECONDARY CAFETERIA - DAY19                                                                 19     Seth and Evan are eating together.                         EVAN               So it looks like we get a little               graduation party after all.                         SETH               I would do terrible things to get with               Jules tonight. Terrible things.                         EVAN               No shit. I'd give my left foot to start               dating Helen. She's killin' me.                         SETH               Ah, Helen's a bitch.     Evan slams his fist on the table.                                                         (CONTINUED)                                                                  16.19   CONTINUED:                                                     19                            EVAN                  I'm fuckin' sick of this shit, man!                  Seriously. Why do you hate her? Is there                  even an actual reason? Because seriously,                  I'm beginning you think you like her.                            SETH                  Hell no! I hate her.                            EVAN                  Why?                             SETH                  I was never going to tell you this story,                  because I knew that if you heard it you                  would never want to get with Helen, but                  over the last few weeks I've been having                  a hard time thinking of a reason not to.                  So, here it is. Helen and I went to                  elementary school together, right?                      (beat)                  Well, in the third grade, I                  had...like...an odd problem. For some                  reason, I don't know why, I used to have                  this thing...where I would...like,                  kinda...sit around all day and draw                  pictures of dicks.                            EVAN                  What?     INT/EXT VARIOUS LOCATIONS20                                                                  20     A MONTAGE of FLASHBACKS of YOUNG SETH (Age 10) drawing     pictures of dicks in various places. A PARK, AT HOME, IN A     SANDBOX, and finally, in a SCHOOL CLASSROOM.                            SETH (V.O.)                  I'd just sit there for hours on end                  drawing dicks. I don't know what it was.                  I couldn't touch the pen to paper without                  it drawing a penis.                            EVAN (V.O.)                  That's fucked.                            SETH (V.O.)                  No shit that's fucked up. Here I am this                  little kid who can't stop drawing dicks                  to save his life.                                                                  17.     INT. CLARK SECONDARY CAFETERIA -PRESENT21                                                                  21                         EVAN               What does that have to do with Helen?                         SETH               Just listen.     INT. RANDOLPH ELEMENTARY CLASSROOM -FLASHBACK22                                                                  22     Young Seth is still sitting at his desk drawing penises.                         SETH (V.O.)               I was very secretive about this dick               thing I had going, after all, even I               thought I was a loon, lord knows what               other people would have thought. So I               would take all my dick drawings and stick               them in this Muppet lunch-box I had.     We see Young Seth sticking a picture of a penis in a lunch-     box filled with pieces of paper.     INT. RANDOLPH ELEMENTARY CLASSROOM - DAY23                                                                  23     Young Seth is drawing, however it is a different day.                         SETH (V.O.)               So one day I was finishing up a picture               of a real big and veiny bastard, when all               of a sudden...     Young Seth drops the picture of the dick off his desk. It     floats down and hits the feet of a cute little girl, YOUNG     HELEN.     INT. CLARK SECONDARY CAFETERIA - PRESENT24                                                                  24                         EVAN               You hit Helen's foot with your dick?     INT. RANDOLPH ELEMENTARY CLASSROOM - MOMENTS LATER25                                                                  25     The little girl picks up the picture and looks at it with a     truly disturbed look on her face. Young Seth grabs the     picture from her and shoves it into his lunch-box.     INT. CLARK SECONDARY CAFETERIA - PRESENT26                                                                  26                         SETH               Well she fucking flipped. She started               crying and shit. Ratted me out.                         (MORE)                                                          (CONTINUED)                                                                     18.26   CONTINUED:                                                        26                            SETH (CONT'D)                  The principle finds my cock-Muppet lunch-                  box, and he fucking flips.     INT. RANDOLPH ELEMENTARY PRINCIPLE'S OFFICE - DAY27                                                                     27     A FLASHBACK of Young Seth sitting in the principle's office.     The Muppet lunch-box is open and the penis drawings are     completely covering his desk.                             SETH (V.O.)                  It turns out the principle was some crazy                  religious guy and he thought I was                  possessed by some dick devil or                  something.     The principal puts his hand on Seth's head and begins praying     for his soul.     INT. CLARK SECONDARY CAFETERIA - PRESENT28                                                                     28                            SETH                  So, he calls my parents and they make me                  go to a psychologist who kept asking me                  all these dick questions. My parents                  wouldn't even let me eat dick-shaped                  foods for, like, months! No carrots, no                  Pop-sicles, no hot-dogs. You know how                  many fucking foods are shaped like dick?                            EVAN                      (half amazed, half amused)                  Wow. That's really messed up.                             SETH                  I can't even stand to look at her punk                  face.                      (beat)                  I'm going to go take a piss. Peace.     INT. CLARK SECONDARY BATHROOM - LATER29                                                                     29     Seth finishes his piss. He goes over to the sink, looks at it     for a moment, then walks out of the bathroom.     INT. CLARK SECONDARY HALLWAY - CONTINUOUS30                                                                     30     Just as Seth turns the corner he sees Jules, Nicola, and     SHIRLEY standing by their lockers. Jules spots Seth.                            JULES                  Seth. There you are.     Jules turns and says goodbye to Nicola, who walks away. Jules     and Shirley turn to meet Seth.                                                             (CONTINUED)                                                                     19.30   CONTINUED:                                                        30                            SETH                  Hey. Here I am.                            JULES                  So you're coming to my party, right? It's                  fully on.                            SETH                  Yeah. Why? Should I not?                            JULES                  No, no, no. I really want you to come.                  But...uh, you did say you were getting a                  fake ID or something, is that right?                            SETH                  Very right. Right. I'm getting that.                            SHIRLEY                  Can you get us drinks?                            SETH                  Ummm... I don't know. I... think...maybe.                            JULES                      (half joking)                  Come on, you scratch our backs, we'll                  scratch yours.                            SETH                  Well, funny thing about my back. It's                  located on my cock.     Shirley is offended. Jules laughs a little. Seth laughs too     hard.                            SETH (CONT'D)                  Ha! Alright, sure. I can do that. What do                  you guys want?                            JULES                  Well, this is actually, like, a big                  favor, but, well, my parents gave me like                  a hundred bucks to feed myself for the                  week, but the house if full of food, so I                  figure I should just spend all of it on                  extra drinks for the party.                            SETH                  Wow. I would never even think of doing                  something that nice.     Jules hands Seth a hundred dollars.                                                             (CONTINUED)                                                                  20.30   CONTINUED: (2)                                                 30                         JULES               Well, this is really nice of you. I mean,               I really appreciate this.     Seth can't believe what he's hearing. He can barely contain     his smile.                         SETH               Should I just get, like, a shitload of               different shit?                         JULES               Whatever shit you think people would               like, I don't really know.                         SHIRLEY               I want Mike's Hard Lemonade.                         JULES               Okay. I'll see you tonight.                         SETH               Yeah! I'll see you!     The girls walk off, leaving Seth lost in thought. He suddenly     runs down the hall.     EXT. SCHOOL FIELD - MOMENTS LATER31                                                                  31     Evan is standing alone amidst the rest of his gym class as     they play soccer.                         GYM TEACHER               Evan, get into the game.     Evan says nothing and the teacher soon redirects his     attention elsewhere. Evan sees Seth jogging towards him.                         SETH                   (out of breath, worked up)               Man, just - Evan, listen to me. You know               Jules? You know what she just did? She               came up to me and asked me if I would buy               her alcohol. Not just her, her whole               party. Do you know what that means? It               means that by some miracle, we were               paired up, we talked, and she actually               thought of me afterwards. Thought of me               enough to decide that I was the guy that               she was going to trust the fun-ness of               her party with. She wants me! She fucking               wants my dick!                                                        (CONTINUED)                                                                    21.31   CONTINUED:                                                       31                            EVAN                  Did you ever think maybe she's just using                  you to get her alcohol?                            SETH                  Of course I thought of that! LISTEN TO                  THIS!     INT. FOODS AND NUITRITION ROOM (FLASHBACK)32                                                                    32     The same scene as before with Seth and Jules in class.                            JULES                  Yeah! My older brother always eats blue                  cheese. You know that stuff is actually                  moldy.     EXT. SCHOOL FIELD - PRESENT33                                                                    33                            SETH                  She has an older brother! She could have                  asked him, but she asked me! She looked                  me straight in the face and asked me. She                  wants to fuck me, man. Do you understand                  that? Fucking! Today is the day that                  fucking has become possible.                            EVAN                  Are you stupid? You're not going to be                  able to sleep with her tonight.                            SETH                  She's going to be at the party, she's                  gonna be drunk, and she likes me at least                  a little, so I can get with her. Then, I                  make her my girlfriend, and then I fuck                  her all summer long! Then, by the time                  college rolls around, I'm the fuckin'                  fucking master, man!                            EVAN                  Make her your girlfriend? Of course!                  That's good. So, hypnosis, love potion,                  or mind-control helmet?                            SETH                  Once I've gotten with her, I write her                  love letters, flowers, I'll do anything -                  I'll be the most pussy-whipped guy in the                  universe - what chick wouldn't go out                  with a guy like that?                                                            (CONTINUED)                                                                    22.33   CONTINUED:                                                       33     The soccer ball rolls towards them. They both watch as it     rolls by.                            CLASSMATE                  What the hell, Evan?     Evan shrugs back.                            CLASSMATE (CONT'D)                  Fuck you, man.                            SETH                  Fuck off, Greg. Why don't you piss your                  pants again?                            CLASSMATE                  That was, like, eight years ago, asshole!     He runs off.                            SETH                      (to Evan)                  Wanna hear the best part?                            EVAN                      (sarcastic)                  Oh, I haven't?                            SETH                  Helen!     Evan looks upset, assuming that Seth is about to trash-talk     Helen, as usual.                            SETH (CONT'D)                  You do the same thing, man! Buy Helen her                  alcohol. Then, tonight, when you guys are                  both drunk, get with her! This is the                  last party we're ever going to go to as                  high school people! I've fully ignored my                  hatred for Helen in coming up with this,                  which is a big ass deal. We need to stop                  being pussy and for once just goes balls                  out, man!     Evan seems to be swayed.                            EVAN                  I should get Helen alcohol?                            SETH                  Of course! It'll be pimp, and then you                  know she'll be drunk.                                                            (CONTINUED)                                                                  23.33   CONTINUED: (2)                                                 33                         EVAN               Have you talked to Fogell?                         SETH               You talk to Helen, I'll find that retard               Fogell.     INT. HALLWAY - LATER34                                                                  34     Everyone is rushing to class. Evan hurries through the halls     and finds Helen at her locker.                         EVAN               Hey Helen! Hold up. Did you hear about               the party tonight?                         HELEN               Yeah, I just heard. It sounds sweet.               You're not coming, are you?                         EVAN               No, no, I am. That's why I came looking               for you. Me and some guys are going to               the liquor store after class, so I was               thinking I could buy you yours, if you               needed someone to.                         HELEN               Yeah! That'd be great, that'd save me               such a hassle, cause I was going to beg               my sister, but yeah, could you get me,               like, a bottle of Goldschlager? I'll pay               you back tonight.                         EVAN               You will absolutely not. It's my treat.                         HELEN               Wow. Thanks, Evan.     Evan swings a friendly little punch at Helen's shoulder, but     someone walks into him, causing him to nail her in directly     in the tit!                         HELEN (CONT'D)               Hey! You punched my tit!                         EVAN                   (mortified)               I'm sorry! Shit, shit. I'm so sorry! I               just wanted to give you a friendly nudge               in the arm, you know? I'm so sorry.                                                          (CONTINUED)                                                                     24.34   CONTINUED:                                                        34                             HELEN                      (giggling)                  Don't worry about it. So I'll see you at                  the party?                            EVAN                  Yeah. I'll see you then. I'm so sorry                  about that.     EXT. CLARK SECONDARY - CONTINUOUS35                                                                     35     Seth is waiting angrily in front of the school. Evan comes     out the front doors.                            SETH                  That douche bag isn't back yet, I've been                  standing here with my thumb up my ass.                            EVAN                  I did it, dude. I even offered to pay for                  it. It was pimp.                            SETH                  Whoa. That is fucking pimp. Why didn't I                  do that? Shit.     The bell rings.     INT. WOODSHOP CLASS - CONTINUOUS36                                                                     36     Seth and Evan work side by side in the woodshop.                            SETH                      (yelling over the machines)                  That's what we get for trusting a mental                  midget! He's fucking it all up! I bet he                  pussied out, just like I said he would!     EXT. CLARK SECONDARY - AFTER SCHOOL37                                                                     37     Seth and Evan walk out the front door.                            SETH                  I mean, what are we going to tell the                  girls? "Sorry, we couldn't do what we                  promised because we're dickless                  incompetents!" We'll never get laid                  because of that little ass-fuck. How did                  he get in to State?! He's got shit for                  brains! Shit! How else can we get liquor?                              FOGELL (O.S.)                  Hey guys!                                                             (CONTINUED)                                                                     25.37   CONTINUED:                                                        37     Seth and Evan turn around to see Fogell running after them.                            EVAN                  Where have you been?                            SETH                  Yeah! You almost gave me a goddamn heart                  attack! You better fucking have it, where                  is it?                            FOGELL                  I got it. It's flawless! It's great, man,                  look.     Fogell reaches into his pocket and pulls out the fake ID.     Evan grabs it.                            EVAN                      (reading the card)                  Okay Mr..."McLovin"? What kind of a                  stupid name is that? What are you                  trying to be, an Irish R&B singer?                            FOGELL                  Well, they let you pick any name you want                  when you get there.                            SETH                  So you picked McLovin?                            FOGELL                  It was between that or Muhammad.                            SETH                  Why was it between that or Muhammad? Why                  didn't you just pick a common name?                            FOGELL                  Actually, Seth, Muhammad is the most                  commonly used name on earth.                            EVAN                  Have you ever actually met a guy named                  Muhammad?                            FOGELL                  Have you actually ever met a guy named                  McLovin?                            SETH                  No! That's why you picked a bad name.                                                             (CONTINUED)                                                                  26.37   CONTINUED: (2)                                                 37                         EVAN               You probably have federal agents tracking               you for even considering the name               Muhammad on a fake ID!                         SETH               Look at this shit man, you don't even               have a first name. It just says "NAME:               MCLOVIN"                           EVAN               One name?                         FOGELL               I just thought McLovin sounded old, and               the chicks would dig it.                         EVAN               Under what circumstances would you ever               have to show a chick your ID?                         FOGELL               She could ask. Or, I could just show it               to her.                         SETH               Holy shit! I don't believe this. This               says you're fucking 25! Why didn't you               just put 21?                          FOGELL               I knew you would ask that. Look, every               day, dozens of kids roll into the liquor               store with fake ID's trying to act like               Joe Casual. Each and every one of these               kids just so happens to be 21 years old.               Just how many 21 year-olds do you think               there are?                           SETH               Fool!                         EVAN               Calm down! It's not terrible! This might               work, but it's up to you, Fogell. They'll               either think, "Oh, it's another punk kid               with a fake ID." Or, "Look, it's McLovin,               the twenty five year-old organ donor".               What's it gonna be?     Fogell takes a deep breath.                                                          (CONTINUED)                                                                 27.37   CONTINUED: (3)                                                37                         FOGELL               I am McLovin.                         SETH               You're not McLovin. No one's McLovin and               this is never going to work. We need a               new way to get alcohol. Could we drive to               Canada or something?                         FOGELL               I still think it's going to work.     They walk into the staff parking lot. Seth stops.                         SETH               What the fuck? Where's my car?                         EVAN               I told you, man! What did I say? I told               you that was a dumb idea.                         FOGELL               Why would you park in the staff-                         SETH               Shut up, Fogell.                         FOGELL               `Cause you're not staff.                         SETH               I am aware of that, Fagell.     Seth storms off. Evan follows him.                         FOGELL                   (yelling)               Will you still pick me up from work?     Evan and Seth round the corner, leaving Fogell behind.                         SETH               Let's go to your house.     INT. EVAN'S BEDROOM - SOON AFTER38                                                                 38     Seth puts on a shirt that is way too small and he's wearing     pants that are too tight. Evan is playing the video game     Grand Theft Auto.                                                         (CONTINUED)                                                                     28.38   CONTINUED:                                                        38                            SETH                  Now we wait for your Mom to piss off and                  steal your parents' booze like your                  brother always does. Take a bit from                  every bottle. Piece of cake. It's not                  exactly what Jules wanted, but it'll do,                  right?                            EVAN                  Come on! Just wear what you wore to                  school.                            SETH                  I told you I can't do that. I can't let                  Jules see me in the same shit I wore at                  school. It's completely unbecoming.                            EVAN                  Why don't you just go to your house and                  get your own clothes? `Cause this is                  stupid.                            SETH                  You're stupid! I can't go home. Then my                  mom will know the car got towed and I'll                  be grounded tonight. I'll just stay here                  all weekend and pick it up on Monday.                             EVAN                      (RE: video game)                  Where the fuck is the dirt bike?                      (beat)                  Ah, screw it. I'm just gonna kill                  everyone. Boom! Die, piggies!!!                            SETH                  Don't you have bigger clothes?                            EVAN                  See what my dad's got.     INT. EVAN'S HOUSE - PARENTS ROOM - SOON AFTER39                                                                     39     Seth is wearing Evan's Dad's clothes: a 70s style cowboy     shirt, just barely pulling it off, as well as slacks.                            SETH                  Not bad, eh?                            EVAN                  It's, like, 7:30 and my Mom's still here.                                                             (CONTINUED)                                                                     29.39   CONTINUED:                                                        39                            SETH                  Alright, here's what we'll do. I'll fuck                  your Mom in the basement while you steal                  the liquor.                            EVAN                  Fuck you, asshole. Let's just sneak down                  there and grab it.     INT. EVAN'S HOUSE - LATER40                                                                     40     Evan and Seth, carrying an empty two liter bottle of Coke,     cautiously descend the creaking staircase. Their eyes watch     the TV room, where Evan's mom is on the phone. The boys enter     the dining room and cautiously open the liquor cabinet. Seth     enthusiastically reaches for a bottle.                            SETH                      (whispering)                  Alright, dude. Get ready to receive.     Evan begins unscrewing his bottle, when he notices a little     black line marking where the liquor bottle is filled to.     Then, he realizes that every bottle has it.                            EVAN                      (whispering)                  I can't believe it. They marked them.                            SETH                      (whispering)                  What do you mean they...oh, man! Your                  parents are fuckers. What do we do now?                            EVAN                      (whispering)                  Shh!!! We...we...take some and fill it                  back up with water. Get ready, I'll get                  water.     Evan hurries off. Seth looks at the liquor cabinet, trying to     choose the best booze. He grabs a massive bottle of gin. Evan     reappears.                            EVAN (CONT'D)                      (whispering)                  Gin? That stuff is literally undrinkable.                            SETH                      (whispering)                  It's the biggest bottle, you douche. Just                  do it! She's right in the other room!                                                             (CONTINUED)                                                                   30.40   CONTINUED:                                                      40     Evan reluctantly holds an empty Coke bottle as Seth shakily     pours the gin in. Evan starts refilling the gin bottle with     water, when suddenly they both hear his mom coming.                               EVAN                         (whispering)                  Run!                            SETH                      (whispering)                  But, the booze?                            EVAN                      (whispering)                  Take it!     Seth runs off with the gin and Coke bottle. Evan quickly     closes the cabinet and sneaks off right before his mom     enters. Through the window she see's that Seth is already on     the front lawn and thinks nothing of it.                            EVAN (CONT'D)                  Bye, Mom! Love you.                            EVAN'S MOM                  Love you, sweety.     Evan leaves.     EXT. EVAN'S HOUSE - FRONT LAWN41                                                                   41     Evan and Seth triumphantly walk away. Seth holds up the gin.                            SETH                  Look at this mother. Smell it's glory.     He opens it up and takes a whiff.                            SETH (CONT'D)                  Mmm. It's good. Barely a scent.     He takes a crazy big swig.                            SETH (CONT'D)                  See that? I always said I had the highest                  alcohol tolerance. I'm like Superman.     Seth taste another swig, but makes a strange face. Evan grabs     the bottle and takes a swig.                            EVAN                  It's fucking water!                                                           (CONTINUED)                                                                  31.41   CONTINUED:                                                     41                            SETH                  Water?                      (drinks again)                  Fuck. Your brother beat us to the punch.                  We have to go back!                            EVAN                  We can't go back! She totally knew,                  she'll bust us for sure, and we have to                  meet Fogell.                            SETH                  Well, fuck...fine. Text your brother he's                  a stupid piece of crap.     Evan pulls out his cell and chuckles as he types.     EXT. SHOPWELLS - DUSK42                                                                  42     Evan and Seth walk off the bus. They see Fogell walking     towards them. He's in his uniform holding a hanger with a     shirt and a vest.                            SETH                  What the hell is that?                            FOGELL                  A vest.                            SETH                  You're gonna look like a Pinocchio.                            EVAN                  What? It's just a vest.                            FOGELL                  Yeah. How many high schoolers you see in                  vests?                            SETH                      (eyeing Shopwell's)                  You know, they got a ton of liquor right                  in there. If we get it now we can get to                  the party faster with all of Jules' shit.                            FOGELL                  No way! I work there. They know I'm not                  twenty-five.                            SETH                  Nobody said anything about you, dick-                  mouth. You have one name on your ID. It's                  out of the equation!                            (MORE)                                                          (CONTINUED)                                                                    32.42   CONTINUED:                                                       42                            SETH (CONT'D)                  And now I'm gonna have to take drastic                  measures. I'm gonna steal the booze.                            FOGELL                  What?! No! Hell no! You can't do that!                            EVAN                      (mocking)                  Yeah, right!                            SETH                  That's right. And that way I give Jules                  back her money, like you did with Helen.                  That was good thinking, that's fucking                  pimp. That's how you seal a deal. It                  won't be hard. Remember Dan Vertlieb                  stole a keg from here and he's got, like,                  really bad scoliosis!                            EVAN                  You're not gonna steal it. Fogell, he's                  not going to steal it.                            FOGELL                  Please. Don't do this! I promise. I'll                  get the liquor later.                            SETH                  I'm stepping up. And once I'm up, I don't                  step back down. Maybe you "State" boys                  don't understand that.     Seth walks to the store.     INT. SHOPWELL'S - CONTINUOUS43                                                                    43     Seth enters the store, looking determined. He spots a     SECURITY GUARD standing by one of the registers.                            SETH                      (to himself)                  Hope piggy can run.     He walks past the registers, which brings him in front of the     long liquor aisle. He surveys the scene. There is an OLD     WOMAN browsing the shelves. Seth looks over to the registers.     INT. SHOPWELL'S (FANTASY) - EVENING44                                                                    44     Seth is at the cash register. He has a huge amount of booze     in the conveyor belt.                            CASHIER                  How old are you?                                                            (CONTINUED)                                                                   33.44   CONTINUED:                                                      44                            SETH                  Twenty two.                            CASHIER                  You certainly are. That'll be eighty                  dollars.     Seth hands the cashier a big EIGHTY DOLLAR BILL.                            SETH                  Thank you kindly.                            CASHIER                  You're welcome, Seth.     INT. SHOPWELL'S - CONTINUOUS45                                                                   45     Seth, still standing in front of the liquor aisle, shakes his     head. He eyeballs the old lady.     INT. SHOPWELL'S (FANTASY) - EVENING46                                                                   46     The old lady is browsing. She drops her big purse. A hand     reaches down and picks it up. It's Seth.                            SETH                  Excuse me, ma'am. You dropped your purse.                  Would you like me to help you to your                  car?                            OLD LADY                  That would be lovely, young man. Would                  you like me to buy you alcohol?                            SETH                  That would be lovely!     EXT. SHOPWELL'S (FANTASY) - MOMENTS LATER47                                                                   47     Seth, holding two huge bags of liquor, waves to the Old Lady     as she drives away.                            SETH                  Enjoy your remaining years!                            OLD LADY                  I will. Enjoy fucking Jules!     INT. SHOPWELL'S (FANTASY) - CONTINUOUS48                                                                   48     Seth shakes his head. He looks down the aisle again, takes a     breath and starts walking.                                                           (CONTINUED)                                                                     34.48   CONTINUED:                                                        48     He arrives at a fancy looking bottle. He takes it and looks     down at it in his hands. A big golden label reads,     "GOLDSCHLAGER."                            SECURITY GAURD (O.S.)                  Don't do it kid.     We see that the Security Guard is right behind him. Seth     doesn't look up, he just stares at the bottle dramatically.                            SETH                  I never had a choice.     He throws the bottle at the guards face. The guard blocks it     with his billy club, grabs another bottle, and hurls it at     Seth. Seth dodges it by an inch; the bottle hits the OLD LADY     in the head.                            OLD LADY                      (in agony)                  AAAHHHHH!!!     Before Seth can do anything, the guard smashes a 40-ounce     bottle of beer across his face. The guard SWINGS the broken     end of the bottle and cuts Seth's throat. Blood spurts out.     Seth drops his bottles and falls to the ground.     EXT. SHOPWELL'S - CONTINUOUS49                                                                     49     Evan and Fogell are talking.                            FOGELL                  Oh, and, uh, my Mom said we can have the                  TV from her basement and I've got, like,                  three lava-lamps and one strobe light, so                  like, we can have that in the room-     Evan sees Seth coming out of Shopwell's.                            EVAN                  Shh. Seth's coming.                            FOGELL                  You still didn't tell him we're rooming-                            EVAN                  No. Shut up.                            FOGELL                      (to Seth)                  So, where's all the stolen liquor?                                                             (CONTINUED)                                                                     35.49   CONTINUED:                                                        49                            SETH                  Fuck you! I was gonna do it, but security                  was tight as shit. I was gonna do it                  though, don't think I wasn't. Let's go to                  the liquor store and try your stupid ID.     Seth heads towards the bus stop.                            FOGELL                  Wait! I'm gonna put my vest back in my                  locker!     INT. BUS - MOMENTS LATER50                                                                     50     MORE MIND-BLOWINGLY BADASS FUNK MUSIC OVER Seth, Evan and     Fogell sitting on the bus amidst a bunch of gloomy,     unpleasant looking strangers. Nothing happens whatsoever.     EXT. LIQUOR STORE - EVENING51                                                                     51     The bus stops in front of the liquor store and the guys get     out.                            EVAN                  Well, here we are. Fogell, are you ready?                            SETH                  Here's the list.                            FOGELL                  A list? Why?                            SETH                  We're getting girls their booze so                  they'll get with us. I put a lot of                  thought into that list. It's the perfect                  party bar, so don't mess it up and get                  Sambuca again.     Fogell reads the list. A worried look sweeps across his face.                            FOGELL                  Ouzo, Drambuie, Jager, Gold-shlay-ger-                             EVAN                  Goldschlager. That's for Helen, so do not                  forget it.                            FOGELL                  -Alize, Captain Morgan Rum, Smirnoff                  Rasberry and a big ass bottle of Popov-                                                             (CONTINUED)                                                                    36.51   CONTINUED:                                                       51                            SETH                  Oh yeah, and Mike's Hard Lemonade.                             FOGELL                  This is too much. I can't get away with                  this much!                            EVAN                  What's the difference?     Seth hands Fogell the money.                            FOGELL                  I don't know, man. I'm getting, like,                  really nervous.     Fogell starts breathing very hard and making an ODD NOISE     while doing so.                            EVAN                  Are you okay?                            SETH                  What the hell are you doing?                            FOGELL                  I don't know if I want to do this.                            SETH                  What are you talking about? You just                  promised you would. What is this shit?                            FOGELL                  What if they turn me down?                            SETH                  Then we're in the same place that we're                  in right now!                            FOGELL                  It's fucking humiliating! Everyone in the                  store sees them kicking me out. What if                  they make me put all the liquor back on                  the shelf? I can't do that!                            SETH                  This whole thing is bigger than you,                  asshead! Just go in there and buy the                  damn alcohol!                            FOGELL                  What if I don't feel like it anymore?                                                            (CONTINUED)                                                                  37.51   CONTINUED: (2)                                                 51                         SETH               Then I will kill you! How's that? If you               don't buy the alcohol, I will kill you!                         FOGELL               Killing me won't get you any alcohol,               jerkoff! I'm the one with the ID!                         SETH               Then I will kill you, cut off your ugly               face, put it over mine, and buy it my               fucking self.                         FOGELL               You don't have the technology or the               steady hands to pull off a procedure like               that!     Seth stands for a moment, then suddenly rushes Fogell. Evan     stands between them and breaks it up.                         EVAN               Seth, calm down! Fogell, stop being a               baby and go buy the alcohol! You said               you'd do it, so do it. It's why you               bought the ID, so just go do it.                            FOGELL                   (beat)               I'll try.     Fogell walks into the store.     INT. LIQUOR STORE - CONTINUOUS52                                                                  52     At first it all seems overwhelming. Fogell is confused,     dizzy, and sweating. He steps behind a large beer display and     takes a few deep breaths.                            CLERK               Hi there.     Fogell flinches, shocked someone spoke to him. He keeps     walking. He nears a mother and her 17 year old SON. As Fogell     passes them, the son seems to recognize him. Fogell clearly     recognizes the son. Their eyes meet. Fogell looks in the     opposite direction.                            SON               Fogell?                                                          (CONTINUED)                                                                    38.52   CONTINUED:                                                       52                               FOGELL                        (weird voice, covering his                         face)                  No.                            SON                  Yo, Fogell. `Sup man. What're you doing                  here?                            FOGELL                      (weird voice)                  Uh...nothing. Not Fogell...                      (whisper)                  Shut up, Moscovitch. You don't know me.                            MOSCOVITCH                      (knowingly)                  Oh, oh. Cool, cool. Good luck.     He puts his head down and quickly walks away. He arrives at     the beer and cooler section. Clearly intimidated, he slowly     opens a beer fridge. He grabs one beer attached to a six-pack     and pulls it forward. The beer comes loose in his hand as the     other five fall to the ground, cracking on impact, and     spraying beer all over the place. Fogell scrambles to stop     the beers from spraying, but soon finds that it is     impossible.                                 FOGELL                  Fuck.     A CLERK approaches Fogell.                            CLERK                  Is there a problem, sir?                            FOGELL                  Umm, nope, no problem whatsoever.                            CLERK                      (pointing to the beer on the                       floor)                  Sir, did you do this? On the floor?                                 FOGELL                        (beat)                  No.                      (beat)                  I think it happened before.     Fogell is standing in a puddle of beer with beer sprayed all     over his legs, holding a can of beer.                                                            (CONTINUED)                                                                  39.52   CONTINUED: (2)                                                 52                         CLERK               Are you sure?                         FOGELL               I think I would know, thank you.     Fogell walks away.     INT. LIQUOR STORE - LATER53                                                                  53     Fogell has a shopping cart filled with booze. He gets in line     to pay. He looks ahead to the OLD-LOOKING GUY (35) who is     currently at the CASHIER (woman) paying.                         CASHIER               Um, yes, may I please see some ID?                         OLD-LOOKING GUY               No problem. Heh. I haven't been ID-ed in               years.                         CASHIER               Anyone who looks under thirty-five.     The guy looks through his wallet. Fogell nervously watches.     EXT. LIQUOR STORE - CONTINUOUS54                                                                  54     Seth and Evan peek through one of the store's front windows.                         SETH               It's a good ID, right? Mike Snider never               had a problem. It's fine. Right?                          EVAN               Calm down.                   (beat)               Did you remember a condom?                         SETH               You brought a condom?                         EVAN               Yeah, I figured, you know, might as well.               I brought one of those little things of               spermicidal lube too.     He takes them out of his pocket.                         SETH               You asshole! You laughed in my face when               I said we'd be having sex tonight.                                                          (CONTINUED)                                                                     40.54   CONTINUED:                                                        54                            EVAN                  It doesn't mean you shouldn't be                  prepared. You didn't even bring one?                            SETH                  No. That wasn't the plan! We had a plan!                  I can't believe you did that without even                  consulting me about it!                            EVAN                  I don't really even understand what your                  plan is.                            SETH                  I'm gonna go down on her for, like,                  hours. She'll love that. She'll want to                  go out with that.                            EVAN                  Yeah, but I figured there's no harm in                  bringing just one little condom.                            SETH                  And one little bottle of spermicidal                  lube. That's nuts. You can't let her know                  you brought that! These girls are 18, not                  dried up old ladies. They're ready to go.                            EVAN                  Fine. I won't bring the lube.     INT. LIQUOR STORE - CONTINUOUS55                                                                     55     Fogell pushes his stuff up to the Cashier. She looks at him     kind of funny.                            FOGELL                  Hello...                      (reading name tag)                  Mindy.     She rings up a six pack of Budweiser.                            FOGELL (CONT'D)                  Oh, I love that stuff. Been drinking it                  for years. I heard they recently decided                  to start adding more hops.     Fogell just nods kind of proud of himself. She stops ringing     stuff up and looks at him.                                                             (CONTINUED)                                                                    41.55   CONTINUED:                                                       55                            CASHIER                  Umm, okay sir, I'm gonna need to see some                  ID.                            FOGELL                  Identification?     EXT. LIQUOR STORE - CONTINUOUS56                                                                     56     Seth and Evan are still leaning against the window.                            EVAN                  Do you think I could get Helen to do some                  kind of long distance thing?     Seth looks as if he sees something in the distance. He stands     upright.                            SETH                  Holy Shit! It's Cary Hutchins!                            EVAN                  I haven't seen her since she switched                  schools.                            SETH                  She had the biggest tits in the universe.     Down the block there is a girl walking a dog.                            EVAN                  I heard she had breast-reduction surgery.                  Her tits must be crazy perfect now.                            SETH                  I gotta see these bastards. Let's check                  `em out.     Seth and Evan run off towards the girl.                              SETH (CONT'D)                  Man, I'm gonna pretend to trip and grab                  `em.                       (beat)                  I hope they've healed.                                                            CUT BACK TO:     INT. LIQUOR STORE - CONTINUOUS57                                                                     57     The cashier is still examining the card. She hands it back to     Fogell.                                                            (CONTINUED)                                                                  42.57   CONTINUED:                                                     57                            CASHIER                  That comes to a total of $123.59     A huge smile forms on Fogell's face as he pulls out a wad of     money and hands it to the cashier. She starts to gather his     change when, SUDDENLY, a BIG GUY runs up and PUNCHES Fogell     right in the side of the head!!! Fogell falls to the ground.     The dude sticks his hand in the open register, grabs a     handful of money and runs!     The whole thing is over in a matter of seconds. Fogell is on     the ground, dazed and confused.                            FOGELL                  What the hell happened?!     Fogell sees the distressed cashier frantically dialing the     police.                            CASHIER                      (breathing hard)                  I don't believe it...I don't believe                  it....     EXT. UP THE STREET FROM THE LIQUOR STORE - MOMENTS LATER58                                                                  58     Seth and Evan walk down the street towards the liquor store.                            EVAN                  That was a waste.                            SETH                  But she fully looked way better before. I                  thought when they reduced them, they just                  kind of reshaped them nicer. Made them                  more supple.                            EVAN                  I can't even begin to imagine the                  justification for making breasts smaller.                            SETH                  It's like me making my nuts saggier.     Evan sees something in the distance.                            EVAN                  Whoa. What's this?                            SETH                  What?                                                          (CONTINUED)                                                                     43.58   CONTINUED:                                                        58                            EVAN                  Check it out! The cops!     They see a cop car with the lights flashing parked outside     the liquor store. Seth and Evan cautiously approach the     liquor store and look inside. They see two POLICE talking     with the Cashier, and Fogell is standing right beside them!                            EVAN (CONT'D)                  Shit! They busted Fogell!     INT. LIQUOR STORE - CONTINUOUS59                                                                     59     The two police, OFFICER SLATER, 30 and experienced, and     OFFICER MICHAELS, 25 and learning, are talking to the     Cashier. Fogell stands beside them, nervous and afraid.                            OFFICER SLATER                      (to cashier)                  So, did he punch anyone else?                            CASHIER                      (losing it completely)                  I can't do this, okay!?! I told you, I                  have an exam tomorrow! Can you understand                  that? A goddamn exam!     The cashier breaks down crying and walks off to the back of     the store. The officers look at each other.                            OFFICER MICHAELS                  Apparently, she has an exam.     They chuckle. Then they turn to Fogell.                            OFFICER SLATER                      (turn to Fogell)                  So then, son, you're the one that got                  punched?     Fogell looks down to his bags of liquor at his feet. Then     back at the cops. He nods.                            OFFICER MICHAELS                  We'd like to ask you a couple questions.     The officers each take out a note pad and a pencil.                            OFFICER MICHAELS (CONT'D)                  Okay, first things first. What's your                  name?                                                             (CONTINUED)                                                                   44.59   CONTINUED:                                                      59     Fogell looks like his heart is about to explode out of his     chest.                            FOGELL                  My name, it's...it's..                      (tripping over his own words)                  Mc..mac..laddle...                            OFFICER SLATER                  MicMac what?                            FOGELL                  No, no I said, "McLovin".                             OFFICER MICHAELS                  McLovin?                             FOGELL                  McLovin.     The officers both write down some information.                            OFFICER SLATER                  Cool name. And your first name?     Fogell looks twice as scared.                            FOGELL                  Oh...that's uh...a good one...it's a...an                  interesting...uh...event...     Fogell trails off mumbling and starts to breathe heavily,     making an ODD NOISE. Behind him, in the window of the store,     we see Seth and Evan peeking through.     EXT. LIQUOR STORE - CONTINUOUS60                                                                   60     Shocked, Seth and Evan walk away from the window. Seth starts     to pace in anger.                            SETH                  I don't believe this bullshit! I                  can't...this isn't happening! I didn't                  even know you could get arrested for this                  shit! WE NEED THAT FUCKING LIQUOR!                            EVAN                  Oh my god. Are they gonna take him                  downtown?                            SETH                  Fuck Fogell! He got arrested! We're on                  our own.                            (MORE)                                                           (CONTINUED)                                                                     45.60   CONTINUED:                                                        60                            SETH (CONT'D)                  We need a new way of getting liquor.                      (realizing)                  AAAHHH!! The money! Fuck! Fuck! Fuck! How                  much money can you get?                            EVAN                  What are you talking about? Money? What                  about Fogell?                            SETH                  That doesn't matter anymore. I just lost                  a hundred dollars of Jules' money!                            EVAN                  We have to help him!                            SETH                  Help him? What are we gonna do? Bust him                  out of jail? I don't even know where jail                  is! What we need is the alcohol, which is                  impossible because we don't have any                  fucking money!     Seth steps into the driveway leading to the parking lot.                            EVAN                  Fine. Just...calm down. We need to think.                  We need to think.                            SETH                  Fuck thinking! We need to act!     Suddenly, a car pulls out of the lot going 10 mph and knocks     Seth down!!!     INT. LIQUOR STORE - CONTINUOUS61                                                                     61     The cops are still talking to Fogell. He looks completely     flustered. He's lost his composure.                            OFFICER SLATER                  Okay, your name is just McLovin, there's                  no need to get irrational.     In the BACKGROUND (not in the view of Fogell and the cops) we     see DRIVER of the car, a shady-looking guy in a hockey     jersey, gets out of his car and walks over to where Seth is     lying, apologizing frantically.                            OFFICER MICHAELS                  A lot of people have strange names these                  days.                                                             (CONTINUED)                                                                    46.61   CONTINUED:                                                       61                            OFFICER SLATER                  I once arrested a man-lady who was                  legally named "Pearl Necklace."                            FOGELL                  It's just... I changed my name. I was                  going to be a singer. R&B.                            OFFICER MICHAELS                  Fine. That's not illegal.                            OFFICER SLATER                  And, how old are you McLovin?     Fogell looks down at the bags of booze again.                            FOGELL                  Old enough.                            OFFICER SLATER                  Old enough for what?                            OFFICER MICHAELS                  Can I see your ID?                            FOGELL                  Um...okay...     Fogell takes his shaking, sweaty hand, sticks it in his     pocket, and pulls out his fake ID. He slowly hands it over to     Officer Slater. The cops both look at it, then Fogell. Beads     of sweat are running down Fogell's face.     In the background, Seth pops up and starts kicking the guy's     car out of anger. Evan and the driver both restrain Seth.                            OFFICER SLATER                  You're an organ donor?                            FOGELL                  What?                            OFFICER SLATER                  I didn't want to be one but my wife                  insisted.                            OFFICER MICHAELS                  Just like a woman. Even after you're                  dead, they want to tear your heart out.     The officers start laughing. Fogell is shocked. They hand     back the ID.                                                            (CONTINUED)                                                                47.61   CONTINUED: (2)                                               61                         FOGELL               Look. I'm really sorry, but I don't               really have any information. I didn't               really see him. His fist hit here.     Fogell points at his giant black eye.                         OFFICER MICHAELS               Are you in a hurry or something?                         FOGELL               Uh, yeah... kinda. I kinda had to catch a               bus.                         OFFICER SLATER               Where were you going?                         FOGELL               Umm... near thirteenth and Granville.                         OFFICER SLATER               We'll take you there, get your               information on the way. Sit tight.     Fogell is completely dumbfounded.     EXT. LIQUOR STORE - CONTINUOUS62                                                                62     The driver is pleading with Seth and Evan.                         DRIVER               I'm so sorry, man! I'm so sorry! I didn't               see you at all. Are you okay? Are you               okay? I'm sorry, man. Look, what can I               do? Are you okay?     The driver glances at the cop car.                         DRIVER (CONT'D)               I mean, please don't report me, we can               figure this out, okay?                         SETH               Why wouldn't I report you?                         DRIVER               Because I'll do anything! Please!               Anything! What can I do?                         SETH               You have any money?                                                        (CONTINUED)                                                                     48.62   CONTINUED:                                                        62                            EVAN                      (quietly to Seth)                  What are you doing?                             DRIVER                      (beat)                  Fine. Just take it.     The driver reaches into his pocket and hands Seth some money.     Seth looks at it. It's seven dollars.                            SETH                  What is this? This isn't enough.     Seth stuffs the money in his pocket.                            DRIVER                  It's all I have.                            SETH                  Well, you just came from the liquor                  store, give us your liquor.                             DRIVER                  I didn't get any. They're not letting                  anyone in. They're arresting someone or                  something.                            SETH                  Well, they'll be arresting somebody else                  if you don't do something quick. Ow! My                  shoulder! It's killing me.     Seth, acting poorly, pretends he's way more hurt than he is.                            DRIVER                  No! Wait! Okay, you want alcohol?   I can                  get you alcohol. I'm on my way to   this                  party right now. There's gonna be   tons of                  liquor. I will definitely get you   plenty.                            SETH                  You better.                            EVAN                  Whoa, whoa, whoa. Hold on. Come here.     Seth goes over to Evan.                            EVAN (CONT'D)                  What are you doing?                                                             (CONTINUED)                                                               49.62   CONTINUED: (2)                                              62                         SETH               What? Jules' money is gone, Fogell's out,               we've got no other option. Let's go.                         EVAN               I don't....I don't like this idea at all.               I'm just not feeling it. That guy's               fucking creepy. Just look at him.     They look at the Driver, who is staring at Evan with a dumb     expression on his face.                         DRIVER                   (to Evan)               You know a guy named Jimmy, perchance?               Cause you totally look like his brother.                         SETH               He's an idiot. And he's our only hope.               Come on, don't break your promise to               Helen.     EXT. LIQUOR STORE - MOMENTS LATER63                                                                 63     The Driver's car pulls away with Seth and Evan sitting in the     back seat. A few moments later, the cops walk out with Fogell     right behind them carrying the bags of liquor.                         OFFICER SLATER                   (to Fogell)               Man, that lady just wouldn't stop crying,               huh? And you're the one that got punched.               Did you hear her say she has an exam               tomorrow? Boo-fuckin'-hoo. Am I right?                         FOGELL                   (afraid)               Heh. Good one.                         OFFICER MICHEALS               Could we have taken her in? Just to scare               the shit out of her?                         OFFICER SLATER               Hah. Probably could have found a way. But               a good general rule is only take people               in you want to ride with. And whiny               bitches don't make that cut.     The cops chuckle as they all get in the cop car.                                                                  50.     INT. DRIVER'S CAR - CONTINUOUS64                                                                  64     Seth and Evan sit in the back seat. The Driver is in the     front.                         DRIVER               One of you bros could have sat up here               with me.     There is an awkward silence, when suddenly Seth starts to     wriggle in discomfort.                            SETH               Aaah!     Seth fishes his cell phone out of his pocket and looks at it.                         SETH(CONT'D)               875-6611?                   (thinking)               Holy shit...     Seth answers the phone.                         SETH (CONT'D)               Jules! What's the haps?                            DRIVER               Who is it?     INTERCUT WITH:     INT. JULES HOUSE - CONTINUOUS65                                                                  65     There are six girls passing two beers in a circle while     dancing blissfully to crappy 80s music.                         JULES               Seth! Where are you?                         SETH               Jules! I just got in a cab and I'm going               to the liquor store as we speak.                         JULES               Awesome. I can't wait for you to get               here.     A huge smile sweeps across Seth's face.                            SETH               Really?                                                          (CONTINUED)                                                                     51.65   CONTINUED:                                                        65                            JULES                  Yeah. It looks like it could actually be                  a great party. I think, like, tons of                  people might show up. I hope they don't                  trash my house.                            SETH                  Well, if they want to do that they're                  going to have to get through me.                            JULES                  So I guess I don't have to worry then.                  I'll see you soon.     Seth hangs up the phone, completely elated.                            SETH                  She called, man! That's insane! She's                  practically begging for it. She said, "I                  can't wait for you to get here."                            DRIVER                  That sounds like she fully wants it.                  Where's she gonna get it from, huh, my                  man?     Seth and Evan are very weirded out.     EXT. STREET IN FRONT OF PARTY HOUSE - NIGHT66                                                                     66     The Driver's car pulls up in front of a house. The three get     out.                            EVAN                  Hey, are you sure that it's cool we're                  here?                            DRIVER                  Oh, definitely. I'm essentially best                  friends with this guy. A whole bunch of                  my buddies are coming. Come on!     The Driver runs into the house happily, Seth and Evan     following closely behind.     INT. HOUSE PARTY - CONTINUOUS67                                                                     67     The boys enter the house and stand by the front door of the     huge party. It's in full swing with all sorts of random-     looking people. Nobody is under the age of 25.                            EVAN                  This is weird.                                                             (CONTINUED)                                                                     52.67   CONTINUED:                                                        67                            SETH                  Whatever. Just act casual. And old. All                  we gotta do is find the booze and haul                  ass out of here.     As they make their way down a hallway, a few people give them     looks.     INT. HOUSE PARTY - KITCHEN68                                                                     68     They enter the kitchen, where Seth spots what they've been     looking for. There are big buckets of ice filled with beer,     coolers, wine, vodka, everything.                            SETH                  Holy shit! Let's grab one of these                  buckets and go.                            MARK (O.S.)                  What the fuck do you think you're doing?                            DRIVER (O.S.)                  What, man? It's nothing.     The guys turn and see that in corner of the kitchen, the     Driver, holding a phone, is being yelled at by a massive     brute, MARK.                            MARK                  You calling more of your stupid friends                  again? Ya prick.                            DRIVER                  Mark, calm down, okay? Just relax.                            MARK                  Get the fuck out of my house.                            DRIVER                  Mark, come on. What the heck? Don't be a                  dick.     Suddenly, Mark grabs the Driver by the back of the neck and     drags him out of the kitchen, down the front hall and out the     door. A group of people follow, including Seth and Evan.     EXT. HOUSE PARTY - CONTINUOUS69                                                                     69     The Driver get pushed out of the door and lands on the front     lawn. Seth and Evan watch from the doorway of the house, a     group of people in front of them.                                                             (CONTINUED)                                                                     53.69   CONTINUED:                                                        69                            DRIVER                  Mark! Dude! This is bullshit! Just chi-     Mark steps on the Driver's hand.                            DRIVER (CONT'D)                  Ahhhh! Fuck!     The Driver takes his hand out from under Mark's foot. He     stands up.                            DRIVER (CONT'D)                  Fuck you, man. I'll fucking do this!     Suddenly, Mark becomes enraged. He takes a big step forward     and brutally KICKS the Driver square in the nuts!     The Driver clutches his nuts and falls to the ground.                            MARK                  Francis, you and your idiot friends stay                  the away from me and mine or I'll                  flipping shiv your ass!     Mark and his buddies head back in, leading them towards Seth     and Evan, who quickly duck back into the party.     INT. HOUSE PARTY - CONTINUOUS70                                                                     70     The frightened boys walk into one of the first rooms and hide     in the corner. They have a hushed discussion.                            EVAN                  Dude, let's slip out the back.                            SETH                  Why? Come on, we're here. Let's just                  hurry up and do this.                            EVAN                  You want to end up like that guy? Not me,                  I need my nuts.                            SETH                  We need this liquor!                            EVAN                  You need it! I don't need it. I'm going                  to tell Helen I like her, and then maybe                  she'll get with me; not after I get her                  stinking drunk.                                                             (CONTINUED)                                                                     54.70   CONTINUED:                                                        70                             SETH                  Then why haven't you ever made a move,                  you pussy?                            EVAN                  Because I respect her! I'm not going to                  put that kind of unfair pressure on her.                            SETH                  These aren't girls, they're women! They                  need our dicks as much as we need their                  poons - and we all love liquor, so                  where's the fucking beef?!                            EVAN                  We're leaving, okay? These guys could                  kill us. You want to get killed for                  liquor?                            SETH                  You're really gonna bail on me?!                            EVAN                      (rolls eyes)                  Jesus...     Evan walks out the door.                            SETH                  Okay, okay...if that's how you're going                  to be, then I'll get the booze on my own.                  And you're not getting any. And neither                  is Helen!     Seth storms off.     INT. COP CAR - CONTINUOUS71                                                                     71     Fogell sits in the backseat. The cops are in the front. There     is silence for a few beats.                            FOGELL                  Um...hey...uh, officers. I could answer                  those, uh, questions now if you want.                            OFFICER SLATER                  We get the gist of it. You were buying                  some beer, some guys came in and robbed                  the place. I don't think we're gonna find                  `em this time.     The officers start to chuckle.                                                             (CONTINUED)                                                                     55.71   CONTINUED:                                                        71                            FOGELL                  It was only one guy.                            OFFICER SLATER                  Only one guy? Well, fuck that. We could                  never catch one guy.                            OFFICER MICHAELS                  You see, McLovin, if it was two guys,                  we'd have twice the chance of catching                  one of them. But just one guy? I mean,                  how are we supposed to find one guy in                  this whole city?                            OFFICER SLATER                  Yeah, McLovin. You know how many people                  there are in this city? I have trouble                  finding people I know.                            FOGELL                  Aren't you guys supposed to be trained or                  something? Don't you have a computer?                            OFFICER SLATER                  Yeah, that stuff can help, but if someone                  walks up to me on the street, and is                  like, "Hey, find Bob." Well, how the hell                  am I supposed to do that?                               FOGELL                  Who's Bob?                            OFFICER SLATER                  Exactly. If I don't know who he is, then                  how am I supposed to know where he is?                            OFFICER MICHAELS                  When you're new to the force, like I am-                            OFFICER SLATER                  Only six months in.                      (proudly)                  I got two and a half years under my belt.                            OFFICER MICHAELS                  You learn a lot of crazy stuff. For                  example-     The car radio goes off.                                                             (CONTINUED)                                                                 56.71   CONTINUED: (2)                                                71                         RADIO               We have a 245 at East 24 and Montgomery.               It's Bailey's Bar and Grill. Car 43,               respond please.     Slater picks up the receiver.                         OFFICER SLATER               Ten-four.                   (hangs up)               Nice. Ya see, Michaels, when ever there's               a call for a bar, you take it.                         OFFICER MICHAELS               Good fucking call, sir.     They chuckle.                         OFFICER SLATER               Hey, McLovin. We got a situation at               Bailey's. We have to see to that, but               we'll drop you off right after. Okay?                         FOGELL               Um...okay...     Michael's hits the siren and they drive off.     INT. HOUSE PARTY- KITCHEN. - CONTINUOUS72                                                                  72     Seth is looking in the fridge, which is full of beer. An     ENORMOUS GUY nudges Seth aside and sticks his arm in.                         ENORMOUS GUY               Hey Mark, you want another beer?     Seth quickly walks away from the fridge and goes down the     hall.     INT HOUSE PARTY - DANCING ROOM73                                                                  73     Seth enters a room of people dancing to hip-hop. He notices     all the girls are drinking Mike's Hard Lemonade, and then     locates a cooler full of it across the dance area.     He tries to make his way through the sea of dancing. A hot,     sorority-type WOMAN drunk out off her ass dances over to him     and starts grinding against his leg. He doesn't know how to     react so he just goes with it, bumpin' and grindin' with the     girl.                                                                  57.     EXT. ALLEY - CONTINUOUS74                                                                  74     Evan is walking down an alley, mad as hell, when, suddenly,     he jumps up and starts squirming.                         EVAN               Whaa! What the...oh..     He takes out his vibrating cell phone and looks at the     callers name...it's Helen.                         EVAN (CONT'D)               Oh dude. Oh dude. Oh dude.     He looks intensely at the cell as it continues vibrating.                         EVAN (CONT'D)               Okay. Okay. Here we go...     He presses talk.                         HELEN (O.S.)                   (through the phone with                    horrible static)               Eva...lo.................                         EVAN               Helen? Helen?!?     The phone cuts out. Evan sees that he has no reception. He     looks back at the party, then at his cell phone. He shakes     his head and turns back towards the party.     EXT. BAILEY'S BAR AND GRILL - CONTINUOUS75                                                                  75     The cops and Fogell get out of the car and walk towards the     Bailey's. They stop before they enter.                         OFFICER SLATER               Alright McLovin, this will only take a               few minutes. Just grab a beer at the bar               and we'll be done before you know it.                         FOGELL                   (a little scared)               Well...what's goin' on in there?     The Officers chuckle as they lead Fogell into the bar.     INT. BAILEY'S BAR AND GRILL - CONTINUOUS76                                                                  76     As they enter the bar they immediately see a drunken, crazed     HOMELESS GUY screaming at a bar tender.                                                          (CONTINUED)                                                                    58.76   CONTINUED:                                                       76                            HOMELESS GUY                  Everywhere?!? You didn't see me pissin'                  anywhere!!!     Fogell quickly sits at the bar by the entrance to the     kitchen.                            OFFICER SLATER                  Alright, Michaels. I've got your back.                  Show this rummy how we roll.     Officer Michaels walks up to the Homeless Guy.                            OFFICER MICHAELS                  Excuse me! Sir!     The Homeless Guy turns and sees the cops.                            HOMELESS GUY                  AAAHHHHH!!!     He runs for the front door!                               OFFICER MICHAELS                  Resisting!     Michaels blocks the door and the Homeless Guy rams into him,     knocking him to the ground.                            OFFICER SLATER                      (sarcastic)                  Good one, Michaels!     Slater runs at the Homeless Guy and chases him into the     dining area. The Homeless Guy knocks over a table, which     Slater trips over.                               OFFICER SLATER (CONT'D)                  Fuck!                            OFFICER MICHAELS                      (nervous)                  Should I shoot him?!?                               OFFICER SLATER                  NO!!!     The Homeless Guy makes a mad dash for the kitchen, and Fogell     is the only one in his way!                            OFFICER MICHAELS                  Stop him, McLovin!!!                                                            (CONTINUED)                                                                  59.76   CONTINUED: (2)                                                 76                         FOGELL               AHHH!!!     The Homeless Guy RAMS straight into him and knocks both of     them onto the kitchen floor!!!     INT. BAILEY'S BAR AND GRILL - KITCHEN - CONTINUOUS77                                                                  77     The kitchen staff watch in awe as the Homeless Guy wrestles     Fogell on the ground.                         FOGELL               Ow!!! Please! Stop, you fucking bum!!!     The Homeless Guy gets up, grabs Fogell and HURLS him into a     rack of trays! He then turns to run, but SLIPS on a wet spot     and SLAMS his head against the ground! The cops burst into     the room to find Fogell panting on his knees with the     Homeless Guy unconscious on the floor.                         OFFICER MICHAELS               McLovin! Nice!                         OFFICER SLATER               I am buying you a beer, McLovin!     INT. HOUSE PARTY - DANCING ROOM - CONTINUOUS69                                                                  69     An R&B slow jam plays as an exuberant Seth, a Mike's Hard     Lemonade in one hand and the Woman's ass in the other as the     dancing becomes increasingly sexual. As the song ends, the     Woman moves on.     Seth glances at the cooler and sees one more Mike's hard. He     grabs it and puts it in his pocket. The bulge is apparent.     Extremely pleased with himself,     INT. HOUSE PARTY - ADJACENT ROOM79                                                                  79     Seth walks into the adjacent room. There are a bunch of GUYS     chilling on the couch, who all look at Seth oddly as he     enters.                         SETH               Hey, wut up?     The guys just nod at Seth and continue to look at him     strangely.                         GUY 1               What is that? Is that red wine?                                                          (CONTINUED)                                                                     60.79   CONTINUED:                                                        79     Thinking he's busted, Seth quickly covers the bulge in his     pocket.                            SETH                  Uh...no. What? I don't know what you're                  talking about.                            GUY 1                  That shit you spilled all over yourself,                  idiot.                            SETH                      (sincere)                  I didn't spill anything on myself.     Seth checks himself to see what the guy is referring to.                              SETH (CONT'D)                  Oh shit.     On Seth's upper thigh there is a red splotch about the size     of a palm of a hand.                            SETH (CONT'D)                  What the hell is this?                            GUY 1                  Oh my lord. You were just dancing in                  there, right?                              SETH                  Yeah, so?     The guys all burst out laughing.                            GUY 1                  It's fucking blood.                            SETH                  Why would I get blood on my leg from---                      (beat of realization)                  OH SHIT!     The guys start laughing even harder.                            SETH (CONT'D)                  Some girl perioded on my fucking leg!                            GUY 2                  I've never seen that before in my life.     Seth pokes at the splotch.                                                             (CONTINUED)                                                                  61.79   CONTINUED: (2)                                                 79                         SETH               That is disgusting.     Guy 1 gets up as Seth tries to cover up the mess with his     shirt.                         GUY 1               I gotta show this to Bill.                         SETH               Who's Bill? Don't show Bill! No! I can't               believe this is happening!                         GUY 2               We should find who did it.                         SETH               This is un-fucking-believable. I have to               look good tonight!                         GUY 2               Who'd you dance with?                         SETH               Who gives a shit? Fuck! These aren't even               my pants!     INT. HOUSE PARTY- ANOTHER ROOM80                                                                  80     Guy 1 brings six more guys, including the Enormous Guy, into     the room. He points out the stain Seth's pants. All the guys     burst out laughing. Embarrassed and fearful of the attention,     Seth starts making his way out of the room.                         SETH               Yeah. It's really funny, huh? Yuk it up,               assholes.     Seth works his way through another room full of people,     shielding the splotch as best as he can.                         PARTY DUDE               Dude! Check it out! That guy's having his               period!     Another group of people turn and laugh.                         PARTY GIRL               He looks about the right age!                         SETH                   (to himself)               I gotta clean this shit.                                                          (CONTINUED)                                                                     62.80   CONTINUED:                                                        80     He sees a long line of people standing if front of the     bathroom door. He spots a staircase and runs down into the     basement.     INT. HOUSE PARTY - BASEMENT - CONTINUOUS81                                                                     81     Seth enters the empty basement. He sees a sink and runs over     to it and turns on the water.     EXT. HOUSE PARTY - CONTINUOUS82                                                                     82     Evan nervously walks back into the house to look for a     telephone.     INT. BAILEY'S BAR AND GRILL - CONTINUOUS83                                                                     83     The cops, Fogell, and the unconscious Homeless Guy each sit     at the bar with a Corona in front of them. Slater's radio     goes off.                            RADIO                  Calling all units, armed and dangerous                  man in the vicinity of-     Click. Slater turns his radio down, ignoring the calls.                            OFFICER MICHAELS                  So anyways, we leave the bar, I'm                  charmin' her pants off telling her                  stories of shoot-outs and shit.                            FOGELL                  You've been in shoot-outs!                             OFFICER MICHAELS                  Nope.                            OFFICER SLATER                  McLovin, all we do is bonk homeless                  people on the head. You're practically a                  cop now.                            OFFICER MICHAELS                  So I pull up in front of her house and                  she asks me to come inside for some                  coffee. Of course, I say yes.                             OFFICER SLATER                  Oh shit.                                                             (CONTINUED)                                                                     63.83   CONTINUED:                                                        83                            OFFICER MICHAELS                  Oh shit. So we go into the kitchen. I                  start taking off my clothes, she fucking                  flips, starts screaming at me, and I'm                  like "Can't have coffee without cream."                  Oh!!! Right? I fucking said that. Then,                  she slaps me, throws me out. I'm telling                  you McLovin, stay out of bars.                            FOGELL                  Hey, you don't need to tell me.                            OFFICER MICHAELS                  So, yeah, you gotta look in different                  places. The gym, an art class, you know,                  shit like that.                            OFFICER SLATER                  I met the Missus at paint ball. Can you                  believe that? I shot her in the neck, and                  we just hit it off. And my first wife --                  who is a whore -- where do you think we                  met? A bar.                            FOGELL                  I don't know. I find they're always good                  for a little quick ass.     The cops laugh.                            OFFICER SLATER                  I bet I know your trick, McLovin. You do                  the whole mysterious guy thing, right?                            OFFICER MICHAELS                  Yeah McLovin, how's it going with the                  ladies?     Fogell thinks for a moment, he is feeling rather comfortable.                            FOGELL                  Well, officers, it's not the going with                  the ladies I care about, it's the coming.     The cops and Fogell burst out laughing.                            OFFICER SLATER                  Oh! McLovin in the house!     He sees that the cops clearly like him; his confidence level     increased, he takes a chance.                                                             (CONTINUED)                                                                  64.83   CONTINUED: (2)                                                 83                         FOGELL               So...you guys got guns, huh?     The officers glance at each other as sinister smiles creep     across their faces.                         OFFICER SLATER               Yeah. We got guns.                         OFFICER MICHAELS               I haven't had one for long, but, man, let               me tell you - it's like having two dicks.                         FOGELL               Can I...can I hold one? Your gun?     Michaels and Slater look to each other.                         OFFICER MICHAELS               I mean, if we took the bullets out?                         OFFICER SLATER               Yeah. Why not?     Slater pulls out his gun and takes out the clip.                         OFFICER SLATER (CONT'D)               Here.     Fogell takes the unloaded gun and flops it back and forth in     his hands, a huge smile gleaming.                         FOGELL               Wow. I've never held one. Are they hard               to shoot?                         OFFICER SLATER               If you're Michaels they are. He can't               shoot worth dick.                         OFFICER MICHAELS               Fuck you, old man. I could out-shoot you               with my sack tucked between my legs.                         OFFICER SLATER               Only one way to settle this.                         FOGELL                   (incredibly excited)               You guys are going to shoot something,               right?                                                                  65.     INT. HOUSE PARTY BASEMENT - CONTINUOUS84                                                                  84     Seth is scrubbing at the mark on his thigh, but it's not     doing much. He stops for a moment to take a breather as he     looks around the basement.     He spots a fridge in the corner and walks over to it. As he     opens it, a look of awe sweeps across his face. Every shelf     is completely filled with beer.                         SETH               Jesus's tits!     He grabs as many bottles as he can and starts sticking them     in his pockets, when he notices two large jugs of detergent     next to the washer. He thinks for a moment, then begins to     empty out the detergent jugs.     INT. HOUSE PARTY - CONTINUOUS85                                                                  85     Evan peers into a vacant room and sees a telephone. He     nervously enters and picks up the phone. He dials.     INTERCUT WITH:     INT. CAB - CONTINUOUS86                                                                  86     Helen is in a cab with BECCA, her best-friend, and two other     girls. They're a little done up and really giggly. Helen's     cell phone starts ringing. She hushes the other girls as she     answers her phone.                            HELEN               Hello?                            BECCA               Is it him?                         HELEN                   (whispering to the girls)               Shut up.                         EVAN               Hey! Helen. Hi. I had bad reception. Are               you at the party?                         HELEN               No, I'm in a cab. I'll be there soon. Are               you still coming?                         EVAN               Yeah, definitely. Um, about your               Goldschlager...                                                          (CONTINUED)                                                                  66.86   CONTINUED:                                                     86     Evan can hear all the girls goofing around and giggling.                            HELEN                      (whispering to the girls)                  Shut up.                            EVAN                  What's going on there?                            HELEN                  Oh, nothing, I just wanted to make sure                  you were still coming, you know, and that                  you didn't get caught up at a cocktail                  party or some club.                            EVAN                  Nope. I'm gonna be there.                            HELEN                  Well, I can't wait to see you.                            EVAN                  I think it's going to be a real                  fun...event.                               HELEN                  Okay. Bye.     INT. HOUSE PARTY VACANT ROOM - CONTINUOUS87                                                                  87     Evan hangs up the phone. A huge smile crosses his face. As he     turns around to exit, five older, unbelievably drunk DUDES     wander into the room.                            DUDE 1                  They're going to kill that guy, man. That                  bitch's boyfriend is so pissed.                            DUDE 2                  Yeah. And he's a beast.     They start pouring a baggy of coke on the table when one of     them notices Evan standing in the corner.                            DUDE 3                  Hey! Was it you? Are you the guy? The kid                  with the splotch on his crotch?     Evan glances down at his crotch. He is confused and     horrified.                            EVAN                  No. What splotch-                                                          (CONTINUED)                                                                     67.87   CONTINUED:                                                        87                            DUDE 2                  I know you! Guys! I know that guy, he was                  at that party with me.                              DUDE 4                  Who's he?                            DUDE 2                  He's Jimmy's brother. The dude with the                  crazy raps, the one I told you about!     They draw the coke into lines as Evan slowly heads for the     door.                            EVAN                  Oh no, that's not me either. Wrong guy,                  man. Sorry.     Dude 3 gets up and blocks the door.                            DUDE 3                  No. No, that's you, man. You are fully                  Jimmy's brother! You were just so messed                  up you can't remember.                            EVAN                  Trust me, man. That wasn't me. I don't                  even listen to rap.                            DUDE 3                  It was you! I know it! Come on! Rap! I've                  been telling these guys about you. Just                  give them one rap. Come on. Rap. Rap.     They start doing the lines of coke. Evan is very afraid.     INT. HOUSE PARTY BASEMENT - MOMENTS LATER88                                                                     88     Seth is finishing pouring the beer bottles into the second     detergent jug. There are about thirty empty beer bottles     laying around Seth. He tightens the cap, picks up the two     detergent jugs, and heads upstairs.     INT. HOUSE PARTY - LIVING ROOM - CONTINUOUS89                                                                     89     Seth emerges from the basement and heads towards the front     door.                            SETH                  I did it man. Peace out-tro.     He's inches away from the front door, when suddenly-                                                             (CONTINUED)                                                                     68.89   CONTINUED:                                                        89                            GUY 1                  There! That's the guy!     Seth turns and sees Mark, the guy who assaulted the Driver,     walking towards him. He notices Mark has a splotch on his     leg, too.                            SETH                  Hey! You got one, too! We're blood                  brothers.                            MARK                  Shut it, you little shitter! What the                  hell were you doing dancing with                  Jacinda?     Horrified, Seth scrambles for excuses.                            SETH                  I...I didn't dance with her! I don't even                  dance! Never even tried it!                            MARK                      (point at Seth's splotch)                  Then where did that come from, asshole?                            SETH                  I don't know. Maybe me and you rubbed up                  against each other at some point. How am                  I supposed to know?     INT. HOUSE PARTY - VACANT ROOM - CONTINUOUS90                                                                     90     The coked-up dudes are watching Evan intensely. They are     completely loving his rapping, completely into it. Evan is     struggling.                            EVAN                  ...cause, yo! Bitches and gats, bitches                  and gats, what do all of we's got?                            DUDES                  Bitches and gats!                            EVAN                  When we steal all the money?                            DUDES                  Bitches and gats!                                                             (CONTINUED)                                                                  69.90   CONTINUED:                                                     90                            EVAN                  Yo! I kill the whores of Vice City with                  my magnum 9/Take out the punk pigs with                  my Glok design/ Drink a fifth of Hennessy                  and get benign/Fuck all the bitches with                  their asses fine                            THE DUDES                      (cheering)                  Oh!!!     SOME GUY bursts into the room.                            SOME GUY                  Dudes! Looks like a fight!     Dude 3 does a line of coke and they all get up together and     charge out of the room.     INT. HOUSE PARTY - LIVING ROOM - CONTINUOUS91                                                                  91     There is a crowd gathered around Seth and Mark. The Enormous     Guy and Mark's friends are gathered beside Mark.                            SETH                  I swear to God it wasn't me!     Evan and the four dudes who were doing coke walk into the     room. Evan is shocked to see Seth at the center of so much     commotion. Mark notices the detergent bottle in Seth's hands.                            MARK                  And what the fuck is this?                            SETH                  It's nothing. It's detergent.                            MARK                  Yeah. And what are you doing with it?                            SETH                  I...uh, I got blood on my pants.     Mark sees the bottle of MIKE'S HARD LEMONADE in Seth's pocket     and takes it out. He looks at it, then looks at Seth with a     look of death.                            SETH (CONT'D)                  I brought them from home.     Suddenly, Mark violently SHOVES Seth and throws the beer     bottle at his face!!! Seth holds up a detergent jug and     deflects the beer bottle.                                                          (CONTINUED)                                                                  70.91   CONTINUED:                                                     91     It flies towards Evan, who ducks, and nails Dude 1 in the     head, glass exploding everywhere!!!                            DUDE 1                  AAAHHHHHHH!!! FUCK!!!     Dude 1 clutches his bloody head as the other Dudes charge at     Mark! A full on brawl breaks out! Everyone starts fighting!     Two of the Dudes beat on the Enormous Guy. They throw him     into Evan.                              DUDE 3                  Hold him!                              EVAN                  What?                            DUDE 2                  HOLD HIM!!!     Evan reluctantly holds the Enormous Guy up as the two Dudes     pound on him.     ANGLE ON: Seth, cowering in the corner     Mark runs at Seth and is about to punch him, when suddenly     Dude 1 tackles him onto the kitchen island! Seth turns and     faces Mark's girlfriend, JACINDA.                            JACINDA                  You motherfucker!     She grabs a lamp, still plugged in, and swings it at Seth.     She hits him square in the chest and the light bulb explodes!                              SETH                  AHH!!!                            JACINDA                  You ruined my birthday!!! You humiliated                  me!!!                            SETH                  You're the one who used my leg as a                  tampon!     She charges at him again, arms flailing. Seth scurries around     the room, shielding the blows with the detergent bottles.     Evan throws the Enormous Guy to the ground and runs. Evan     backs off, spots Seth, and follows him out of the party.                                                                  71.     EXT HOUSE PARTY92                                                                  92     As Seth and Evan run up the block together, Jacinda talks     into her cell phone.                         JACINDA               Yeah, Fifth and Paysview, please hurry!     EXT. DARK STREET - CONTINUOUS93                                                                  93     The cops and Fogell stand beside the car. The Homeless Guy is     sleeping in the back. Michaels has his gun drawn and is     carefully aiming at a distant stop sign.                         OFFICER SLATER               You've been saying some bold words, my               friend. Better not mess up.                         FOGELL               You can do it, officer.     BLAM!!! Michaels blasts off a round, which punches a hole     right through the center of the "O" in the stop sign.                         OFFICER MICHAELS               Boo-yaka-sha!!! Suck it, Slater. Suck my               nuts. Long, but gentle.                         FOGELL               Yeah! And eat his ass!     They all laugh hysterically.                         FOGELL (CONT'D)               Can I shoot one?     The cops look at each other and shrug.                         OFFICER SLATER               Yeah. Sure. Here. Go nuts.     Slater hands Fogell the gun, when suddenly a SIREN can be     heard in the distance getting closer.                         OFFICER MICHAELS               Fuck. The cops!                         OFFICER SLATER               Let's bail! Shotgun!     Slater grabs the gun out of the disappointed Fogell's hand     and holsters it. They all hop into the car.                                                                 72.     INT. COP CAR - CONTINUOUS94                                                                 94     Michaels kicks it into drive and they peel out. Fogell shoves     the unconscious Homeless Guy over.                         OFFICER MICHAELS               Hah, hah! Eat it. So, dudes, what do we               do now?     Suddenly, the car radio goes off.                          RADIO               We got a 257 at Fifth and Paysview, all               units in the area report to Fifth and               Paysview. Car 98. That's you. Do it.               Seriously.     The cops stop and listen.                         OFFICER MICHAELS               Son-of-a-bitch.                   (picks up radio)               Car 98, ten-four.                   (hangs up)               Ya dumb whore. Ha!                         FOGELL               What does that mean? We gonna get to               shoot anyone?                         OFFICER SLATER               I wish. Probably some lame house party.               We'll drop you off after. Cool?                         FOGELL               Yeah, man. Let's show these fuckers how               we roll.     EXT. NEIGHBORHOOD STREET - MOMENTS LATER95                                                                 95     Seth and Evan are running down the sidewalk. They both slow     to a stop to catch their breath. The party is nowhere in     sight.                         SETH                   (wheezing heavily)               ...huff...hufff...you fuckin' prick...                         EVAN               What?                         SETH               You...huff...bailed on me...huff...man.                                                         (CONTINUED)                                                                     73.95   CONTINUED:                                                        95                            EVAN                  No I didn't!                            SETH                  Of course you did! We were supposed to do                  something and you left instead of doing                  it! That's the definition of bailing!                            EVAN                  If you said we should burn our dicks off                  and I didn't, that's not bailing!                            SETH                  It is bailing, if you promised to burn                  your dick off!                            EVAN                  What?!                            SETH                  The bottom line is   you're a bailer. You                  just bailed on me,   you bailed on me this                  morning when Terry   spat on me, and you're                  bailing on me next   year!                            EVAN                  Oh! Okay! There it is! It finally comes                  out!                            SETH                  We were supposed to go to college                  together! Since elementary school! What                  ever happened to that!                            EVAN                  What happened to that, is that you're too                  stupid to get into the schools I did!                            SETH                  I was not too stupid, I was too lazy!                            EVAN                  You've wasted all my time, you selfish                  bastard!!! Instead of chasing girls and                  making friends, I threw away the last                  three years talking bullshit with you!                  And now, because of you, I'm going to                  college a fucking friendless virgin!     Seth can't believe it. He's extremely hurt.                                                             (CONTINUED)                                                                  74.95   CONTINUED: (2)                                                 95                         SETH               Getting with a girl won't make you any               less of a loser next year!                         EVAN               You talking to me or yourself? You               fucking loser!     Seth drops one of the tide bottles and shoves Evan hard. Evan     shoves him back.     INT. COP CAR - CONTINUOUS96                                                                  96     Michaels pounds on the keypad of the little cop computer with     his fist.                         OFFICER MICHAELS               How do they expect us to work these               things while we're driving? I can't even               work my iMac while I'm sitting at my               desk.                         FOGELL               So, like, what does that computer do?                         OFFICER SLATER               Pretty much anything, if you're smart               enough to figure it out. Like, who do you               really hate? Gimme a name.                         FOGELL               Um...my French teacher. Mrs. Graham.               Susette Graham.                         OFFICER MICHAELS               Can I do it?     Slater nods. Michaels bring her file up, then punches a few     buttons and smiles.                         FOGELL               What did you do?                         OFFICER MICHAELS               Tomorrow, Mrs. Graham will have a boot on               her car.     Fogell laughs his ass off.                         FOGELL               I hate my dad, too!                                                          (CONTINUED)                                                                    75.96    CONTINUED:                                                      96                             OFFICER MICHAELS                   Okay. The place should be around here                   somewhere. McLovin, are the numbers on                   that side odd or even?                             FOGELL                   It's too dark out.                             OFFICER SLATER                   We got flashlights.      Slater gets his flashlight and points it out the window.                             OFFICER MICHAELS                   I wasn't even sure light came out of                   those things. I thought they were just                   cool looking clubs.      Michaels and Slater start making light saber noises and      pretend to fight with their flashlights.      EXT. NEIGHBORHOOD STREET - CONTINUOUS97                                                                    97      We see the COP CAR going down the street. Evan and Seth are a      block down, shoving each other.      INT. COP CAR - CONTINUOUS98                                                                    98      Slater turns and points his flashlight out Michaels window,      accidentally shining the light into his eyes.                              OFFICER MICHAELS                   My eyes!      He jerks the wheel.      EXT. SIDEWALK - CONTINUOUS99                                                                    99      Seth swings at Evan with the giant detergent jug. Evan dodges      it and shoves Seth hard. Seth stumbles onto the road and gets      HIT by the COP CAR!!! Seth flies up onto the hood, SMASHING      the windshield. The car screeches to a halt and Seth slides      off the front of the car.      Seth lies motionless, still holding one of the detergent      jugs. The cap is knocked loose and beer is spilling all over      the place.      INT. COP CAR - CONTINUOUS100                                                                  100      Everyone in the car is looking forward, stunned. They can't      see out the front window, as it is shattered. Fogell has no      clue who the victim was.                                                            (CONTINUED)                                                                      76.100   CONTINUED:                                                       100                             OFFICER MICHAELS                   Oh shit. Shit, shit, SHIT!                             OFFICER SLATER                   I don't believe this is happening again.                             FOGELL                       (frightened)                   Oh my god...is he...are you gonna make                   sure he's alright?                             OFFICER SLATER                   Okay, okay, we're gonna get out of the                   car now. McLovin, you stay right there.                             OFFICER MICHAELS                   That guy better not be dead.      EXT. NEIGHBORHOOD STREET - CONTINUOUS101                                                                    101      The cops get out of the car and walk over to a now sitting up      Seth. He's dazed, but okay.                             EVAN                   I'm sorry! You pushed me first.                             SETH                   I didn't push you into fucking oncoming                   traffic!      The boys notice the cops.                             OFFICER MICHAELS                   Is everyone alright?                             SETH                       (sarcastic)                   We're great.                             OFFICER SLATER                   Well, you should be careful boys. That's                   how accidents happen.                             SETH                   What, when cops drive like maniacs and                   hop the fucking curb?                             OFFICER SLATER                       (intimidating)                   Pardon?                              EVAN                   Nothing.                                                              (CONTINUED)                                                                      77.101   CONTINUED:                                                       101      Evan looks like he's about to shit himself. The cops notice      one of the detergent jugs in the middle of a puddle of beer.      Slater dips his finger in rubs it against his gums like it      was cocaine.                             OFFICER SLATER                   Pabst. You boys been doing a bit of                   drinking?                             EVAN                   No officer. Not at all.                             OFFICER SLATER                       (pointing to the other jug)                   Is that more beer you got over there?                             SETH                   Umm, no sir, detergent.                                OFFICER MICHAELS                   Detergent?                             SETH                   My clothes are dirty.      The cops look at each other, then at the boys.                             OFFICER MICHAELS                   You boys stay right here.      INT. COP CAR - CONTINUOUS102                                                                    102      Fogell anxiously sits in the cop car. He can't see what's      going on through the shattered windshield.      EXT. NEIGHBORHOOD STREET - CONTINUOUS103                                                                    103      The cops turn away and start to whisper to one another. Seth      and Evan look on, nervous.                             OFFICER SLATER                   Alright, Michaels. The car is completely                   fucked, and you're the one who fucked it                   up, so you've got to fix it.                             OFFICER MICHAELS                   What do I do?                             OFFICER SLATER                   We arrest these little crap stains and                   dump it on them, I'll take care of that.                   You go make sure McLovin is good to play                   ball. This is it, Michaels.                             (MORE)                                                              (CONTINUED)                                                                   78.103   CONTINUED:                                                    103                             OFFICER SLATER (CONT'D)                   You wanna hang with the big boys, you                   gotta get your hands dirty. You cool?                             OFFICER MICHAELS                   Yeah, I'm cool.      The cops nod to each other. Michaels goes back to the car and      gets in. Slater walks back over to the boys. He puts his hand      on his gun and pulls out his club, scaring the shit out of      Evan and Seth.                             OFFICER SLATER                   Get on the ground. Now! Spread your shit!      Evan and Seth lie down on their stomachs and spread their      arms and legs out, terrified.                             EVAN                   Puh...please don't shoot.                             OFFICER SLATER                       (mocking)                   Puh- Puh- Please shut the fuck up!      INT. COP CAR - CONTINUOUS104                                                                 104      Officer Michaels is sitting in the driver's seat.                             FOGELL                   Was the guy alright?                             OFFICER MICHAELS                   What? Oh, yeah, the guy was fine.      Michaels looks back at the Homeless Guy, who looks a little      bit more awake than before.                             OFFICER MICHAELS (CONT'D)                   Are you awake, sir?      The guy starts to open his eyes a little. Michaels grabs the      guy's face and slams it back, knocking him out again. Fogell      jumps a little.                             OFFICER MICHEALS                   I'm sorry, McLovin. But I really need                   this to be a private thing.      Officer Michaels takes out two cigarettes, and gives one to      Fogell, who accepts, quivering in fear. Michaels lights his,      then passes the lighter to Fogell.                                                           (CONTINUED)                                                                      79.104   CONTINUED:                                                       104                             OFFICER MICHEALS (CONT'D)                   Listen McLovin, you... like... Officer                   Slater and myself, don't you?      Fogell tries to light his cigarette. It takes a few tries and      he starts hacking after the first pull.                             FOGELL                       (coughing)                   Umm, yeah, sure. You guys are great.                             OFFICER MICHAELS                   Yeah, well, we're also on probation. You                   see, we've actually trashed two other                   cars. The first time wasn't our fault,                   and the second time a bee flew in and I                   freaked out. Point is, we trash another                   car, without a good reason, we're fucked.                   Know what I'm saying?      Fogell continues to painfully suck back on the cigarette.                             FOGELL                   Sure.                             OFFICER MICHAELS                   Now, we're going to arrest these guys,                   and if you don't mind, which you                   shouldn't, we'd like you to write a fake                   witness report saying they jumped out in                   front of our car. Cool, McLovin?      Fogell nods his head, getting some of his cigarette smoke in      his eyes. He winces and starts to blink in discomfort.      EXT. NEIGHBORHOOD STREET - CONTINUOUS105                                                                    105      Slater stands above the boys.                             OFFICER SLATER                   How tall are you?                             EVAN                   Uh...I don't know, five-foot-ten, eleven?                             OFFICER SLATER                   And you said those were "Pumas?"      Seth nods. Officer Michaels and Fogell get out of the car.      Seth and Evan see Fogell and stare in shock as he takes a      drag of a cigarette and then flicks it aside.                                                              (CONTINUED)                                                                  80.105   CONTINUED:                                                   105      Michaels pulls Slater aside and mumbles into his ear. Fogell      turns and sees Seth and Evan - he's completely dumbfounded!      Evan starts to look really nervous, like he might literally      explode. He starts to stand up.      The cops are still talking when suddenly, Evan BOLTS!                             OFFICER MICHAELS                   Shit!      The cops run after Evan! Seth and Fogell look at each other.      Seth grabs the remaining detergent jug and runs off in the      opposite direction of Evan! Fogell reaches into the cop car,      grabs the bags of booze, and follows Seth.                             FOGELL                   Seth! Wait up!      Officer Slater looks back to see Seth and Fogell running.                             OFFICER SLATER                   Shit! Shit! McLovin bailed!      The cops run back into their car.      INT. COP CAR - CONTINUOUS106                                                                 106      They can't see out of the shattered windshield.                             OFFICER SLATER                   Fuck!      EXT. STREET WITH COP CAR - CONTINUOUS107                                                                 107      The cops get out of the car and   run off after Seth and      Fogell. As they run, we see the   Homeless Guy slump out of the      car, landing on his face with a   muffled groan. He stands up,      grabs the jug of detergent that   was left on the ground, and      runs off.      EXT. NEIGHBORHOOD STREET - CONTINUOUS108                                                                 108      Fogell and an exhausted Seth are running together. Seth grabs      Fogell and takes him around a house and towards a backyard. A      second later, the cops run by the house and continue up the      block.      EXT. BACK YARD - MOMENTS LATER109                                                                 109      Seth and Fogell sprint across a big, dark backyard. Seth      looks back to see if they are being followed...BOOM!                                                          (CONTINUED)                                                                 81.109   CONTINUED:                                                  109      He runs smack into a little red tent and trips onto it! KIDS      inside the tent start screaming as flashlights turn on.                             KIDS                       (hysterical)                   Help/ It's a monster!/ Daddy!      Fogell helps Seth get up. They try to run, but Seth is caught      on the tent! He drags it a couple feet as the kids start      clawing to get out.                             KIDS (CONT'D)                   AAAHHHHHH!!!!!!!!!!      The zipper opens and a KID hops out. The Kid looks at Seth.                             KID                   AHHH!!! NO!!! DADDY!!!!                             FOGELL                   Holy shit! Little kids!!!      A little GIRL runs out and books it into the house. From      inside the tent, another kid starts kicking at Seth.                             SETH                   Ow!      Seth manages to free himself from the tent and he and Fogell      fall to the ground. The kids continue to scream.                             FATHER(O.S.)                   Get away from my children!      The guys turn and see a crazed, slightly overweight FATHER in      his underwear running at them with a baseball bat. Fogell and      Seth scramble to their feet as the Dad takes a swing at them,      narrowly missing them.                             FATHER(CONT'D)                   You sick sons-of-bitches!      Fogell throws his shoulder into the guy, knocking him down.      Seth and Fogell run to the backyard gate and try to open it.      They can't.                             FOGELL                   Help!      Fogell starts banging as Seth looks back to see the Dad      coming for them. Seth swings the detergent jug at the Father,      knocking him on his ass. He quickly gets up and charges,      enraged.                                                        (CONTINUED)                                                                   82.109   CONTINUED: (2)                                                109                          FOGELL (CONT'D)                Aaaahhh!!!!      Fogell gets the door open and the two boys run into the      alley.                                                             CUT TO:      EXT. ALLEY - CONTINUOUS110                                                                 110      They sprint down the alley. Seth coughs and wheezes, slowing      down as he lugs the detergent. The Father enters the alley      and sees the boys running. He throws his baseball bat. It      sails through the air and nails Seth in the back! He falls.                          SETH                ARGGG!      He gets up and the keeps running.      EXT. STREET CORNER - CONTINUOUS111                                                                 111      Slater and Michaels, completely out of breath, desperately      scan the area for the boys.                          OFFICER SLATER                Stupid little bastards.                          OFFICER MICHAELS                Maybe I should fire a shot? Scare `em                out?      EXT. INSIDE SOME BUSHES - CONTINUOUS112                                                                 112      Evan is nestled inside a large bush, frantically trying to      reverse his clothes so as to disguise himself. He keeps      looking out for the cops, when suddenly he hears a gunshot -      BLAM!!!                          EVAN                    (to himself, mumbling)                Oh god. Oh god. Fuck. Fuck.      As he fumbles to turn his jacket inside out and get it on, he      sees Seth and Fogell running towards him. He pops out of the      bush, scaring Fogell and Seth.                 FOGELL                           SETH      Ahh!                              Jesus!                          EVAN (CONT'D)                Should I run!?!                                                         (CONTINUED)                                                                      83.112   CONTINUED:                                                       112                             SETH                   Fucking run!      They all run off down the street.      EXT MAIN STREET113                                                                    113      They turn a corner at the end of the block and continue      running.      They turn onto a main street and are exuberant at the sight      of an oncoming bus. It stops at a nearby stop. They haul ass      and make it on.      INT. BUS - CONTINUOUS114                                                                    114      Out of breath, the boys dig up change and put it in the toll      box, then walk towards the back of the bus.                             HOMELESS GUY (O.S.)                   Hey! It's you!      Fogell looks up and sees the Homeless Guy stumbling towards      them, sucking back the bottom of the lost detergent bottle.      The Homeless Guy sees they have bags full of booze.                             HOMELESS GUY (CONT'D)                   You got booze in the bag? Can you gimme                   some?                             SETH                   No! Fuck off! You already drank our                   detergent beer!                             HOMELESS GUY                   That was beer?!                       (to Fogell)                   Well, you little shit...ain't got no cop                   people to help you keep your                   booze...gimme it...      The Homeless Nutcase reaches for the booze. Seth steps in      front of him.                             SETH                   Back off, or we'll kick the shit out of                   you!                             EVAN                   We can't do that. He's homeless.                                                              (CONTINUED)                                                                   84.114   CONTINUED:                                                    114                             SETH                   So? Who cares? Just because he doesn't                   have a home doesn't mean he can be a                   lunatic!                             HOMELESS GUY                   Give me the booze!      The guy shoves Seth aside and dives at Fogell.      WE GO INTO VERY SLOW MOTION:      - Helen's bottle of Goldschlager gets knocked from the bag.      It VERY SLOWLY falls towards the ground.      - Seth reaches for it, but doesn't quite grab it.      - WE LOUDLY HEAR the bottle as it slams against the bus      floor...but doesn't break! It slowly rises back up into the      air and begins sailing towards the front of the bus.      - Evan LEAPS through the air, sailing towards the precious      Goldschlager with his arms extended.                             EVAN                       (in slo-mo voice)                   GOOOOOOOLDSCHLLLAAAAAAAGERRRRRRRRRR!!!!!      - He is inches away from grabbing it, when it suddenly      smashes into a pole, SHATTERING, sending little gold flakes      everywhere.      BACK TO NORMAL.      The Homeless Guy sees the gold flakes.                             HOMELESS GUY                   Shit!!! Gold!!!      He starts frantically picking up the flakes as Evan stares at      the remains, shocked. Fogell walks over.                              FOGELL                   What the hell is going on? Where did you                   come from?                             BUS DRIVER                       (calling from front)                   Get the fuck off the bus or I'm calling                   the cops!!!      The boys look at each other terrified, and get off the bus.                                                                   85.      EXT. BUS - CONTINUOUS115                                                                 115      Seth and Evan are looking at one another coldly as the bus      pulls away. Fogell looks at some nearby street signs.                          FOGELL                    (ecstatic)                Holy shit! We're like three blocks away!                Best luck ever!      EXT. STREET NEAR JULES' PARTY - A LITTLE LATER116                                                                 116      The are walking up the street as Evan puts his clothes back      on right-side out.      EXT. JULES' PARTY - MOMENTS LATER117                                                                 117      The guys walk up the front steps of Jules' house. They stand      in front of the door.                          FOGELL                Fuck yeah, guys. We made it. Together and                safe.                          EVAN                I can't believe Helen's bottle broke.                          FOGELL                I'm sure it'll be fine.                          SETH                    (sarcastic)                What's the difference? I thought you                didn't need it anyways. I thought you                were just going to tell her how you feel,                you fucking pussy.                          EVAN                Yeah? Well, good luck getting Jule's                drunk enough to have sex with you.                          FOGELL                What's wrong with you guys?                          SETH                Shut up, Fogell. Never mind. Evan'll tell                you next year.                          FOGELL                    (to Evan)                You told him?      Evan stares Fogell down.                                                           (CONTINUED)                                                                      86.117   CONTINUED:                                                       117                             SETH                   Told me what?                             FOGELL                   Well we have to tell him now.                             EVAN                   Fuck, Fogell! You're a god damn idiot.                             FOGELL                   Well, he knows something's up.                             SETH                   Just say it!                              EVAN                   Shit.                       (beat)                   Seth, me and Fogell are rooming together                   next year.                              FOGELL                   I don't even get what the big deal is, to                   be honest.                             EVAN                   I didn't tell you because-                             SETH                   Save that shit for later. We've got shit                   to do.      Seth just goes into the house with the booze, leaving Fogell      and Evan.                             FOGELL                   We never should have had to hide our                   arrangement.      INT. JULES' HOUSE - KITCHEN - CONTINUOUS118                                                                    118      The party is in full swing. There is loud music blaring and      nearly a hundred people talking, dancing, and smoking.                             JULES                   Seth! Everyone, he's here! He's got it!      Everyone turns around and sees the Seth holding all the      liquor.                             RANDOM GUY                   He's got a shit load of booze!!!                                                              (CONTINUED)                                                                    87.117   CONTINUED: (2)                                                 117      Everyone starts cheering! Seth sets it out on the kitchen      table; it is an impressive array of inebriates.                          SETH                The bar is open!                          EVERYONE                    (ecstatically cheering)                Yeah Seth!/Clutch!/Nice!/I can't believe                it!/Seth did that?!/ Who the fuck is                Seth?      In the background, we see Evan and Fogell wander into the      party as Jules approaches Seth.                          JULES                This is awesome. Thank you so much.                          SETH                Sorry it was late.                          JULES                Yeah. To be honest, people were starting                to get seriously pissed off. Listen, I've                got to go tell everyone the drinks are                here. Don't go anywhere. Promise?                          SETH                I'll be right here.      Jules walks off.      INT. JULES' KITCHEN   - MOMENTS LATER119                                                                  119      Tons of kids pour themselves drinks. Seth and about six other      kids all have overflowing shots of Jaeger.                            SETH                To Jules!      Everyone drinks and recoils from the taste. A random guy      refills everyone's shot glasses.                          RANDOM   GUY                    (pointing to   Seth)                Another one, but   to you, man! Everyone,                to this guy! Who   the fuck are you, man?                          SETH                    (exuberant)                Seth!                                                            (CONTINUED)                                                                      88.119   CONTINUED:                                                       119                              RANDOM GUY                   To Seth!                              EVERYONE                   To Seth!      They all drink.                             SETH                   Hey! Let's do another one to me!      Everyone laughs as Seth, very pleased with himself, starts      refilling shot glasses.      EXT. JULES BACKPORCH - CONTINUOUS120                                                                    120      Evan walks out onto the back porch, looking for Helen. He      sees Becca.                             EVAN                   Becca! Hey.                             BECCA                   Where have you been, you almost blew it.                              EVAN                   What?                             BECCA                   Helen. She's been waiting for you. She's                   right over there. She's been yammering                   about you all night.                             EVAN                   What? What did she say? Does she think                   I'm a good guy? What did she say?                             BECCA                   It was something like, "I'll fully blow                   him tonight."                              EVAN                   What?!?      Evan looks over and sees Helen standing on the balcony with a      big group of people. He gets really nervous.                             EVAN (CONT'D)                   Oh man. This is too much. Oh god. What do                   I do? I lost the Goldschlager I was                   supposed to bring her!                                                              (CONTINUED)                                                                      89.120   CONTINUED:                                                       120                             BECCA                   Well, Jordana stole a bottle of tequila                   from her parents and her and Helen have                   been going at it. I think she'll be fine                   in that department. I'd just go over                   there and invite her upstairs, pronto.                             EVAN                   What? Oh man...                       (so nervous)                   But...she's totally hammered. If I get                   with her, and I'm not drunk, isn't that,                   like, date rape?                             BECCA                   It's not date rape if you're drunk, too.                              EVAN                   I guess.      Evan looks at Helen and takes a deep breath.      INT. JULES BATHROOM - MOMENTS LATER121                                                                    121      Evan enters the bathroom and slams the door shut, a bottle of      Ouzo in one hand and a beer in the other. He looks at himself      in the mirror, seeming as though he's on the verge of a full-      on panic attack.                             EVAN                       (panting)                   Calm down, Evan. She likes you. She wants                   to suck on your penis. That's a good                   thing.      He opens the Ouzo and smells it, recoiling in disgust.                             EVAN (CONT'D)                   Down the hatch.      Evan takes a mighty swig, then gags and spits it out,      spraying it everywhere.      INT. JULES' DEN/ DINING ROOM- CONTINUOUS122                                                                    122      Fogell sits bored in front of the TV, drinking a beer. He      watches a bunch of girls flirt with some boys. Everyone is      talking and laughing while he sits alone.      He walks over to the doorway of a room filled with girls      dancing. In the corner dancing is Nicola. He stares at her      for a moment, then goes back and sits in front of the TV.                                                              (CONTINUED)                                                                   90.122   CONTINUED:                                                    122      He changes the channel and "COPS" comes on the screen. It      shows two cops chasing a crack head, tackling him and knee      dropping him. Fogell ponders as he watches "COPS." He throws      back the rest of his beer and marches into the room Nicola is      dancing in.      He walks up to Nicola, who is by far the best-looking girl in      the room, and starts dancing with her. She looks a bit thrown      at first, but after a few beats, she seems to like it.                             FOGELL                   They call you Nicola, right?                             NICOLA                   And they call you Fogell.                              FOGELL                   Some do.      They continue dancing.      I/E. JULE'S KITCHEN/BATHROOM - CONTINUOUS      MONTAGE INTERCUTTING SETH AND EVAN DRINKING:      INT. JULES KITCHEN123                                                                 123      - Seth taking shot after shot in the kitchen with everyone      else, glancing over at Jules every now and then as she walks      around the party, sending more people to drink with him.      INT. JULES BATHROOM124                                                                 124      - Evan in the bathroom, forcing himself to brutally suck back      a disgusting amount of Ouzo. He sips from his beer, takes a      deep breath, and then starts again.      INT. JULES HOUSE125                                                                 125      - Seth dances jokingly with a few people and tells the story      of that evening, showing them the detergent jug full of beer      and acting out the car hitting him.      INT. JULES BATHROOM126                                                                 126      - Evan, who has drank about half the bottle and is pretty      drunk, stands up, arms reached out, and tries to walk in a      straight line. He does it fairly well. Frustrated, he sits      back down and takes another disgusting swig of Ouzo.                                                                  91.      INT. JULES HOUSE127                                                                 127      - Jules throws Seth a smile when she sees him making everyone      laugh as he re-fills their cups with very foamy, slightly      blue-tinted beer from the detergent jug.      INT. JULES BATHROOM129                                                                 129      - Evan can't keep his balance as he tries to touch his nose      while standing on one foot. He's drunk. He drinks from the      tap thirstily, eats some toothpaste, fixes his collar and      hair, and then gathers his courage, takes a deep breath, and      steps out of the bathroom.      EXT. BACKYARD - CONTINUOUS129                                                                 129      Evan walks out on the balcony. He spots the circle of people      Helen was standing in, only now Helen is laying on the      ground, laughing hysterically. Everyone in the circle is      looking at her and laughing as well. Evan is extremely      nervous. Helen looks up and spots him.                          HELEN                    (laughing)                Evan!!! Hey! Come here!!!      Evan takes a deep breath walks up to where she's laying. She      extends her arms.                          HELEN (CONT'D)                Help me up! None of these people will                help me up!      Evan notices that she seems a little drunk. He helps her up      and she collapses onto him, forcing him to hold her up.                          EVAN                Hey, Helen. Sorry I was-      Helen laughs hysterically as she latches onto Evan. He smells      her breath. It reeks of alcohol.      Evan's drunk, but Helen is completely fucking shit-faced!                           HELEN                Evan! Oh my god! You are so fucking                hilarious!                    (to the group)                Do you goes know how fucking hilarious                Evan is?                    (to Evan)                Tell them how hilarious you are!                                                         (CONTINUED)                                                                      92.129   CONTINUED:                                                       129      The group looks over to Evan.                             EVAN                   Uh...well...uh...                             HELEN                   Listen to him!      Helen starts laughing hysterically.                             HELEN (CONT'D)                   See?!! He is so cute!      The group chuckles a little. Helen puts her arms around Evan.                             HELEN (CONT'D)                   I've been waiting for you for, like,                   ever. What took you so long? Do you have                   my Goldschlager?                             EVAN                   Oh man, it's a crazy story-      Helen picks up a bottle of tequila and shoves it into Evan's      hand.                             HELEN                   Here! Don't worry, we can drink this.                             EVAN                   I'm already pretty wasted.                   But...uh...here's to you.      Evan takes a much-unwanted drink and gags.                             HELEN                   Light-weight!      Everyone laughs.                             HELEN (CONT'D)                   Hey...me and you should go upstairs now.                   I really want to...tell you something.                             EVAN                       (confused and drunk)                   Uh...uh...uh...you could just tell me                   right here-                             HELEN                       (laughing)                   No! Let's go upstairs, come on!                                                              (CONTINUED)                                                                  93.129   CONTINUED: (2)                                               129      Evan hears everyone giggle as Helen pulls him towards the      house. Helen trips, just managing not to fall.                             HELEN (CONT'D)                Careful...      INT. JULES' DINING ROOM WITH DANCING PEOPLE - CONTINUOUS130                                                                 130      Nicola and Fogell are standing in the corner of the room.      Nicola is looking at Fogell's ID.                           NICOLA                McLovin! That's the funniest thing I've                ever seen!                          FOGELL                Yeah, I just thought it sounded old.      They both laugh and their eyes meet.      INT. JULES KITCHEN - CONTINUOUS131                                                                 131      The party is in full swing and everyone is getting good and      drunk. Jules walks up to Seth, who is clearly piss drunk.                          JULES                Hey, I'm back. I had to thank the peeps                for comin' out.                          SETH                    (really, really, drunk)                Jules! The hostess with the most-est! The                woman of the hour!      Seth takes a swig of a beer.                          SETH (CONT'D)                This party's blowin' my ass off! I want                you to have a drink with me.      Seth offers her a beer.                          JULES                No, thanks. I'm good. But, seriously,                thanks for getting all the drinks. It                really made the night.                          SETH                It's just how I roll, Jules. No problems,                no problems.      Jules laughs and Seth sees that his charm is working.                                                          (CONTINUED)                                                                     94.131   CONTINUED:                                                      131                             SETH (CONT'D)                   Uh...you know...I love talking, and                   conversing with you, you're so good at                   it, but I can't hear you. Could we just                   go on the...uh...balcony or something?      Jules eyes Seth suspiciously. Seth just looks at her, smiling      drunkenly.                             JULES                   Why not? I haven't conversed in ages.                   Let's do it.      Jules walks out of the kitchen. He finishes off his beer and      then, happy as shit, drunkenly dances out of the kitchen and      after Jules.      INT. JULES' BEDROOM - CONTINUOUS132                                                                   132      Evan practically holds Helen up, almost dropping her several      times, as they stumble into Jules' bedroom. Helen puts down      the tequila and starts kissing Evan, but it's not nice      kissing, it's sloppy porno kissing with way too much tongue.      After a few moments Evan pulls away and looks at the      remarkably drunk Helen.                             EVAN                   Are you okay?                             HELEN                   I so flirt with you in Math.                             EVAN                   Oh man. Helen...I want to tell you, I                   mean, I've wanted to tell you, for a long                   time-                             HELEN                   I know. I've wanted to get with you so                   hard.      Helen kisses him.                             HELEN (CONT'D)                   Like...so hard.      Helen yanks him onto the bed and starts sloppily kissing him      again. Evan doesn't know what to do. She tries to take off      Evan's shirt, but is way too inebriated to undo the buttons.      Evan yanks it off.                             HELEN (CONT'D)                   Good...                                                             (CONTINUED)                                                                   95.132   CONTINUED:                                                    132      Helen stands up and starts to waver back and forth. She looks      like she's about to tip over, but she catches herself and      sloppily tries to strike a sexy pose like a model.      Evan watches in dread as she starts to strip, pulling her      shirt over her head, completely failing to look sexual.      As Evan watches the tragedy unfold, he grabs the bottle of      tequila and takes a big swig. Helen sits on the floor and      concentrates on untying her shoes.                             HELEN (CONT'D)                   What the fuck...stupid shoe...      Evan moves over to help her. He can't do it either.                             EVAN                   Shit. Can you, like, slip out?      Helen tries to squeeze her feet out, but she can't. She grabs      a pair of scissors off a desk.                             EVAN (CONT'D)                   Whoa. Fuckin'...careful.      She snips off the knot and slips her shoe off.                             HELEN                   You...take off your pants...                       (drunkenly waving the scissors)                   Or I'll cut `em off.      Helen laughs as she staggers to her feet and start kissing      Evan. He starts taking off his pants.      INT. JULES' STAIRCASE - MOMENTS LATER133                                                                 133      Nicola leads Fogell up the stairs.                             NICOLA                   I can't believe I'm about to get with                   "Fogell".                             FOGELL                   Why?                             NICOLA                   I don't know. You're like, the most                   mysterious guy in the grade. Like, nobody                   knows anything about you.                             FOGELL                   Well, you're about to learn a few things.                                                                   96.      EXT. JULES' FRONT PORCH - CONTINUOUS134                                                                 134      Jules and Seth step out onto the front porch. There is no one      else out there. The moment the door closes behind them, Seth      turns to Jules and puts his hands on her hips. He stares into      her eyes and moves in for the kiss.      Jules instantly pulls back.                          JULES                Whoa! Whoa! Slow down.                          SETH                What? What's wrong?                          JULES                I'd...uh...prefer if we did this at some                other time.                          SETH                    (confused)                But...there is no other time. School's                up! This is the only time...what's wrong                with now?                          JULES                Well, you're drunk. Like, really, really                drunk.                          SETH                So? So are you.                          JULES                I'm not drunk at all. I don't even drink.      Seth is absolutely shocked. It takes his remarkably drunk      mind a moment to process this information.                          SETH                You don't drink? But...but, you told me                to get the liquor!                          JULES                Yeah, I'm...uh...throwin' a party,                remember?                          SETH                You don't drink!?!                          JULES                No. I don't drink.                                                           (CONTINUED)                                                                      97.134   CONTINUED:                                                       134                             SETH                   And you, don't want to...uh, you know...                             JULES                   Uh, no. Not right now, thank you very                   much.      Seth looks at Jules and realizes that he's screwed up. His      eyes start to water.                             SETH                   Ahhh....man...fuck....      Seth starts to cry.                             JULES                   Are you crying?                             SETH                   No! Yeah, so what if I am? I'm a fucking                   idiot and it was my last chance! So I                   should be crying.                             JULES                   Last chance to do what?                             SETH                   To make you my girlfriend for the summer,                   okay? There! You're, like, the coolest                   person that's ever talked to me, and I                   thought we'd both be drunk, but...                             JULES                   What would me be drunk have anything to                   do with it?                              SETH                   `Cause you'd never get with me in your                   right mind! Look at me!                       (beat)                   And now look at you!      Suddenly, the front door opens, and a RANDOM GIRL walks out.                             RANDOM GIRL                       (yelling into the house)                   Hey, Ricky! Was it a quarter, or an                   eighth you want?                             RICKY (O.S.)                   A fat eighth!      The Random Girl notices Seth and Jules.                                                              (CONTINUED)                                                                   98.134   CONTINUED: (2)                                                134                          RANDOM GIRL                Whoa. Sorry.      The girl hops down the stairs and walks off as Jules stares      at the sobbing Seth.      INT. JULES' ROOM - CONTINUOUS135                                                                 135      Evan sitting on the bed in only his boxers, and Helen is just      getting her pants off, leaving her only in her lingerie.      Evan's eyes widen. She looks at Evan and rubs her breasts in      a very un-sexy way.                          HELEN                I wore this for you. Here we go...      Helen crawls onto the bed, pushes Evan down, and starts      seriously making out with him, drunker and sloppier than      ever.                          HELEN (CONT'D)                Evan, I'm so wet.                          EVAN                    (still nervous)                You're so beautiful.      Helen shoves her hand down Evan's boxers. Evan jolts,      terrified!                          HELEN                You've got such a smooth cock.                           EVAN                Um...thank you. I've thought you were a                really incredible person for a really                long time.      Evan looks really nervous as Helen's hand starts moving up      and down.                          HELEN                You've got to get hard for me...real                hard.                          EVAN                I'm...I'm..I'm about to. But first I just                want to tell you exactly how I-                          HELEN                I'm gonna suck your dick so good.      Evan is taken aback.                                                          (CONTINUED)                                                                      99.135   CONTINUED:                                                       135                             EVAN                   You don't have to do that, you know, we                   can start this relationship on something                   more than just that.                             HELEN                   Yeah, Evan. I know.                       (in a sultry, whispery voice)                   I need you to eat my hairy love crack.                             EVAN                   Jesus Christ.      Evan sits up.                             HELEN                   What's wrong?      Beat.                             EVAN                   You don't want to do this.                             HELEN                   Yeah I do, I want to fuck you.                             EVAN                   Look, you know I really like you, Helen,                   but this is...it's just too intense. And                   I'm so drunk I don't even know how to,                   like, process-                             HELEN                   You're just being a pussy.                             EVAN                   What? Did you just call me a...pussy?                             HELEN                   Yeah...a scared little pussy-      PUKE! Evan watches in horror as Helen vomits all over Jules'      bed.                             EVAN                   Oh god! Oh...                             HELEN                   I need Becca...Becca...                             EVAN                   I'll...uh...I'll go get her. Are you                   going to be okay?                                                              (CONTINUED)                                                                 100.135   CONTINUED: (2)                                               135                          HELEN                Oh God, oh God, oh...I'm puking...      PUKE! Evan winces as she throws up again.      INT. JULES PARENTS'S BEDROOM - CONTINUOUS136                                                                 136      Fogell is laying on his back on the bed and Nicola is      straddling him. They are kissing. Nicola sits up and takes      Fogell's hand and starts sucking his fingers.                          FOGELL                I've got a boner.                          NICOLA                Good. Do you have a condom?      He pulls a condom out.                            FOGELL                And lube.      He pulls out a little bottle of lube.      EXT. JULES' FRONT PORCH137                                                                 137      Seth and Jules are both seated on the stairs. Seth has his      face in his hands. Jules is patting him on the back, but      clearly feels awkward.                          JULES                Seth, you...uh...      Seth looks up at her, drunk as hell, his eyes half-open.                          JULES (CONT'D)                You didn't blow it, you're a-      Seth blanks out and falls forward. BAM! He head-butts Jules      in the face!                            JULES (CONT'D)                AAAHHH!      Jules clutches her eye as Seth slumps onto the patio floor,      unconscious. She gets up, yelling in pain, as Seth opens his      eyes.                          JULES (CONT'D)                Seth! What the fuck!                          SETH                ...help me...                                                        (CONTINUED)                                                                  101.137   CONTINUED:                                                    137      Jules storms into the house, leaving Seth lying on the front      porch. He wiggles around a bit.                             SETH (CONT'D)                   ...sorry...      Seth passes out again. A few moments go by, when SUDDENLY a      cop car pulls up in front of the house. Seth opens his eyes      and sees the cops.                                SETH (CONT'D)                   Oh no.      Two cops get out and start harassing two kids smoking a joint      on the front lawn. One of them turns on their flashlight and      Seth sees - it's OFFICER SLATER and MICHAELS!!!                                SETH (CONT'D)                   ...Evan...      INT. JULES' HOUSE - CONTINUOUS138                                                                 138      Evan, sitting on the couch next to Miroki (Evan's partner      from cooking class), drinking a bottle of tequila. He's      absolutely smashed.                             EVAN                   Life's bullshit, huh, Miroki?      Suddenly, Seth bursts into the room and grabs Evan's shirt.                             EVAN (CONT'D)                   Fuckin' wax off, asshole!                             SETH                   No...I'm helping you, man! Just listen...      Seth grabs Evan's wrists and tries to pull him to his feet.                              EVAN                   Fuck off, jerk! You're hurting my                   shoulders!      Just then, Terry (the guy who spat on Seth in the beginning)      walks by.                             TERRY                   Hey! Look, it's Christina and Britney.                   Have fun boning each other on grad night!      Terry and his buddies laugh their asses off when, suddenly-                                                           (CONTINUED)                                                                    102.138   CONTINUED:                                                      138      KNOCK! KNOCK! KNOCK! The loud authoritative knocking echoes      through the party and everyone looks to the door, knowing it      can only mean one thing. Someone opens the door, revealing      Officer Slater and Officer Michaels! They talk to whoever      answered the door, oblivious of Evan and Seth.                             OFFICER SLATER                   We had a complaint about the noise. It                   looks like you're having a nice little                   party here.                             OFFICER MICHAELS                   A nice little underage drinking party.      Evan points at the cops.                             EVAN                   Dude! Seth! It's the cops! The cops.                             SETH                   That's what I've been...! Here...      Seth pulls Evan up and the two drunkenly make their way out      of the living room just as the cops step into it.                             OFFICER SLATER                   Okay, everyone out. Party's over. Get out                   of here.      Michaels turns to Slater.                             OFFICER SLATER(CONT'D)                   I'll go upstairs. I told you this would                   release some anger.                             OFFICER MICHAELS                   I'll tell you what would release some                   anger, if one of these little fuckers                   touched me and I got to club his face in.      EXT. JULES' BACKYARD - CONTINUOUS139                                                                   139      Seth and Evan run through the back yard. Seth stumbles and      falls, but quickly gets up. With great difficulty, The boys      drunkenly lift themselves up and over the fence.      INT. JULES PARENTS'S BEDROOM - CONTINUOUS140                                                                   140      Fogell is on top of Nicola in the missionary position.                             NICOLA                   Oh...uh...oh...                                                             (CONTINUED)                                                                     103.140   CONTINUED:                                                       140                              FOGELL                   It's...it's in.                       (beat)                   It's in.      Fogell wears the greatest look of accomplishment one could      possibly imagine.      SUDDENLY, Officer Michaels bursts into the room and flicks on      the lights.                             FOGELL (CONT'D)                   What the hell?      Nicola screams, grabs her clothes, and runs into the      bathroom.                             OFFICER SLATER                   McLovin? What the fuck?                             FOGELL                   Officer Slater?                             OFFICER SLATER                   You ran away from us!                       (turns to the door)                   Michaels! Get up here!                             FOGELL                   No! I hit my head when we crashed. I was                   all disoriented and I just wandered off,                   confused. Seriously!                             OFFICER MICHAELS                   Shut the fuck up! Wait a minute. How old                   was that girl? 16, 17? You sick bastard,                   that's statutory rape, McLovin.      Officer Slater appears in the doorway.                              OFFICER SLATER                   McLovin!                             OFFICER MICHAELS                   He was violating a sixteen year-old girl!                             FOGELL                   What? No! No!      Fogell covers himself with the blanket and starts to get up.                                                              (CONTINUED)                                                                  104.140   CONTINUED: (2)                                                140                          FOGELL (CONT'D)                I didn't break the law! I'm not really                even-                          OFFICER MICHAELS                Sit your ass down and keep it down.                          OFFICER SLATER                You're going to jail, fucko.      Nicola, now dressed, emerges from the bathroom. She screams      and runs out. They take Fogell's arms and handcuff him.                          OFFICER SLATER (CONT'D)                    (to Fogell)                They don't take kindly to your type in                jail, McLovin.      EXT. ALLEY - CONTINUOUS141                                                                 141      Drunk, joyful, and out of breath, the boys stop running.                          EVAN                Dude. You saved me!                          SETH                I totally did! I wanted to!                          EVAN                Wanna sleep at my house, man? You're my                best friend!                          SETH                Yeah! Sleepover! Fuckin...you got pizza                bagels still?                          EVAN                Yeah!!!! Look what else I gots!      Evan pulls a half bottle of tequila.                          SETH                Nice!      They start to drink it together.      EXT. JULES' FRONT YARD - CONTINUOUS142                                                                 142      All the kids from the party have congregated in the front      yard. The cop car is parked right in front. We see the      Officers dragging Fogell through the crowd of kids.                                                          (CONTINUED)                                                                     105.142   CONTINUED:                                                       142                             TERRY (O.S.)                   Stupid pigs.      SUDDENLY, a WAD OF SPIT hits Slater in the shoulder! He turns      and sees Terry, the guy who spat on Seth. Slater walks over      and bashes the kid in the face with his nightstick. The kid      drops.                             OFFICER SLATER                   There you go.                             OFFICER MICHAELS                   That does feel better.      They throw Fogell into the back of the cop car.      INT. COP CAR - CONTINUOUS143                                                                    143      The cops both get in and slam their doors. They just stare      forward.                             FOGELL                   So...am I going to jail?      The two cops burst out laughing hysterically.                             OFFICER SLATER                       (laughing his ass off)                   Yeah!! You're going to fuckin' Azkaban!!!                                FOGELL                   What?                             OFFICER MICHAELS                   You are the funniest fuckin' kid I have                   ever met!                             OFFICER SLATER                   We've been fuckin' with you! Jesus! I                   love this kid!                             FOGELL                   I don't understand!                             OFFICER SLATER                   We know you're not twenty five! What are                   we, morons? My god! What are you?                   Sixteen?                                FOGELL                   Seventeen.                                                              (CONTINUED)                                                                     106.143   CONTINUED:                                                       143                             OFFICER MICHAELS                   Seventeen! Ha! We had you going, McLovin!      EXT. BUS - SOON AFTER144                                                                    144      Seth and Evan sit at the back of the empty bus together.                             EVAN                   Is the bang bus anything like this?      Seth cracks up laughing.      EXT. SHOPWELL'S - PARKING LOT - CONTINUOUS145                                                                    145      The cop car is spinning donuts in the middle of the empty      lot. It stops. Fogell and Officer Michaels get out, both      smiling. The driver side window rolls down, reveal Slater.                             OFFICER SLATER                   Alright, boys. What I'm about to show you                   is pretty much the greatest move in donut-                   spinning history. Behold: the reverse                   figure-eight.      Slater drives to the other side of the lot.                             FOGELL                   So, like, what's your official position?                             OFFICER MICHAELS                   If you were in, you were in. You are no                   longer a virgin, end of story. Screw                   cumming.      Suddenly, Slater guns it and speeds across the lot, slamming      the breaks, spinning wildly in several erratic donuts      backward donuts.      Slater completely loses control of the car. He smashes      through a bunch of shopping carts and slams into a light      post, completely fucking up the cruiser.      Slater tries to open his door, but it won't budge. He crawls      out the missing windshield, slumping onto the ground.                             OFFICER SLATER                   Alright. I think that's all the fun we're                   gettin' out of this one.      EXT. CLIFFSIDE - LATER146                                                                    146      Slater hands Fogell his note pad.                                                              (CONTINUED)                                                                   107.146   CONTINUED:                                                     146                             OFFICER SLATER                   ...and by signing this you are officially                   saying that as we stopped you from being                   mugged, a crack-head stole our cruiser                   and did God knows what with it.                             FOGELL                   Of course. That mugger had nothing but                   murder in his eyes. I owe you my life.      Fogell signs the pad.                             OFFICER MICHAELS                   Can we do this already?      The cops and Fogell push the cruiser towards a small, but      steep, hill. They shove it over the edge and watch it roll.      It gains speed and smashes into a tree, shattering the      windows and crushing the front of the car.                             OFFICER MICHAELS (CONT'D)                   Can we shoot at it?                             OFFICER SLATER                   I don't know, can you?      They whip out their guns.                             OFFICER SLATER (CONT'D)                   I'm throwin' down the gauntlet. 50 bucks.                   Whoever hits the gas tank.                             OFFICER MICHAELS                   You are so fucking on.                             FOGELL                   Can I get a shot?      Slater hands Fogell his gun. With a huge smile, Fogell raises      the gun, aims it at the police cruiser, and BLASTS off round      after round.      INT. EVAN'S BASEMENT - NIGHT147                                                                  147      Seth and Evan are lying in sleeping bags beside one another.      The now empty bottle of Tequila lies between them. They are      laughing very hard, still drunk off their asses.                             SETH                   I can't believe she said that shit.                             EVAN                   Oh my lord. You have no idea!                                                            (CONTINUED)                                                                     108.147   CONTINUED:                                                       147      They laugh harder.                             EVAN (CONT'D)                   And then you saved me, man! I fucking                   love you!                             SETH                   I fucking love you, too, man! I'm not                   embarrassed, I just love you!                             EVAN                   Why don't we say that more? It feels                   good! I love you more than my brother,                   man. Like, when you went away for Easter                   last year, I, like, missed you. You know?                             SETH                   I missed you, too. Come here, man.      Seth grabs Evan and they hug.                             SETH (CONT'D)                   We'll always be friends. `Cause we love                   each other.      They stop hugging and sit back down. They're laughter slows      down and there is a moment of silence.                             SETH (CONT'D)                   Like, three weeks ago I was in you room                   and, like, you were taking a dump and...I                   saw your residence placement thingy. I                   totally saw you're living with Fogell.                   So, like-                             EVAN                   I'm sorry, man.                             SETH                   Don't be! Don't be! I'm sorry. I was                   being a bitch.                              EVAN                   I need you to know that it's not like I                   even want to live with Fogell; it's just                   that I'm really afraid of living with                   strangers.      There is a moment of silence.                                                              (CONTINUED)                                                                  109.147   CONTINUED: (2)                                                147                          SETH                You know...I was pissed off I didn't get                with Jules, but, like...we really got                through a lot of our shit, you know?                          EVAN                Yeah, me too. Like, yeah...at least we                kind of came together, again.      Beat.                          EVAN (CONT'D)                Good night, Seth. I love you.                          SETH                Night, Evan. Love you, man.      INT. EVAN'S HOUSE - BASEMENT - THE NEXT MORNING148                                                                 148      Evan wakes up and looks over at Seth, who is also waking.      They look at each other extremely awkwardly, almost as though      they drunkenly had sex with each other last night.                          EVAN                Oh...uh...hey. Morning.                          SETH                Uh...morning.      They stare at each other, uncomfortable.                          EVAN                You sleep good?                          SETH                Yeah. This is a really good pillow.                          EVAN                Um...      Seth looks at his watch.                          SETH                Maybe I should get going.                          EVAN                You don't have to. I'm not, like, doing                anything.      Beat.                                                           (CONTINUED)                                                                     110.148   CONTINUED:                                                       148                             SETH                   Oh...do you want to hang out? I                   was...gonna go to the mall, actually.                             EVAN                   Oh. Cool, well, can I come? I need a                   comforter. For college.                             SETH                   Yeah. That'd be nice. I'd really like                   that.      INT. DEPARTMENT STORE - NEXT DAY149                                                                    149      Evan is standing in the pants section of a department store.      Seth walks out of the dressing room wearing jeans that are      way too small.                             EVAN                   Don't ask me. I don't give a shit if your                   pants look good.                             SETH                   Well, I need someone's opinion.                             EVAN                   Fine. They're way too small.                             SETH                   Yeah, but when I was wearing your dad's                   pants last night I realized that if I buy                   pants that are too small it'll encourage                   me to lose weight. And in tight pants                   chicks'll kind of see my dick a little.                             EVAN                   Yeah, the male camel toe look is really                   big this year.      Seth goes back into the dressing room and wriggles out of the      pants. He walks out.                             SETH                   These pants suck. Let's the get the fuck                   out of here.      INT. DEPARTMENT STORE150                                                                    150      They walk through the department store, when suddenly, Evan      sees Helen and Jules looking at comforters.      ANGLE ON: Helen and Jules                                                              (CONTINUED)                                                                      111.150   CONTINUED:                                                        150                             HELEN                   Again, I'm so sorry. I can't believe I                   actually did that.                             JULES                   I feel sorry that I'm making you buy me a                   new one.                             HELEN                   I have to. It's puke.      ANGLE ON: Seth and Evan                                EVAN                   Holy shit!      Helen looks like hell and Jules has a horrible black eye.                             SETH                   Is that them?      They stare at the two girls from afar.                             EVAN                   Should we hide?      Helen looks and notices them. She waves and points them out      to Jules. Seth and Evan wave back. The girls get up and start      to walk over.                             SETH                       (pretending to smile)                   Fuck that, man. I can't talk to her, look                   what I did to her!                             EVAN                       (pretending to smile)                   Helen called me a pussy to my face! What                   am I going to say to her?      The girls walk up to them.                  HELEN                                JULES      Hi Evan, Seth.                       Hey guys.                   EVAN                                 SETH      Hi Helen, Hi Jules.                  Jules. Helen. Hi.      Everyone looks very embarrassed.                             SETH                   Oh my god. I'm so sorry, Jules.                                                               (CONTINUED)                                                                 112.150   CONTINUED: (2)                                               150                             JULES                It's okay.                          EVAN                    (to Helen)                How are you feeling?                          HELEN                Not bad, but not great, how about you?                          SETH                    (to Jules)                That looks terrible. No! I mean, it                doesn't look terrible, it looks-                          JULES                Don't worry about it, Seth. It was an                accident.                          EVAN                    (to Helen)                Did you have fun last night?                          JULES                    (to Seth)                Do you remember much?                          HELEN                    (to Evan)                I really don't remember much.                          SETH                    (to Jules)                Not really. I remember looking up, and                you screaming at me. That's about it.      Jules laughs.                          HELEN                    (to Evan)                I didn't puke on you, did I?      Evan laughs.                          EVAN                No, I dodged it. Whizzed right by me.                          SETH                    (to Jules)                But seriously, I acted like a fuckin'                idiot last night. I'm really sorry, you                didn't deserve that.                                                          (CONTINUED)                                                                  113.150   CONTINUED: (3)                                                150                          HELEN                    (to Evan)                Yeah, I...um...I'm sorry, about all that.                Thanks for being such a gentleman.      There is a moment of silence.                          SETH                You look good with a black eye.      They all chuckle a little.                          JULES                Thanks, smart guy. That's why I'm here. I                have to go to Macy's to get a shitload of                cover-up for the grad photo.                          SETH                    (mortified)                Oh man...                          HELEN                Yeah, and I'm going to Linen Brothers to                buy Jules a new comforter.                          EVAN                Oh! I have to get a comforter too, for                college.                          JULES                    (flirtatiously, joking)                So, you gonna come with me to Macy's and                buy me my cover-up, or what?                           SETH                Yes! Definitely. I'd love to. I had such                bad acne last year, I became an expert on                the stuff.                          EVAN                You could get your college pants there.                          SETH                Yeah, but wait...you drove me here, Evan                drove me here, how do we-                          JULES                I've got my dad's car. I'll take you                home, and Evan can give Helen a lift.                          HELEN                That sounds good.                                                           (CONTINUED)                                                               114.150   CONTINUED: (4)                                             150                          EVAN                Maybe we can go eat after?                             HELEN                Sweet.      Seth and Evan look at each other, odd smiles on both their      faces. They didn't blow it.                          SETH                So, uh, I'll call you later.                          EVAN                Yeah man, have a good one.                          JULES                Come on, Seth. Let's go.      Jules pulls Seth away. Evan and Helen start walking in the      opposite direction.      As they walk away from one another, Seth and Evan look back      and give each other a small and yet emotionally-charged wave.      A SLOW, GUT WRENCHING SOUL SONG STARTS TO PLAY. They look as      though they're never going to see each other again.      INT. MACY'S ESCALATOR151                                                                151      As Jules and Seth walk into Macy's and Helen and Evan descend      an escalator, the music swells to a mind-fuckingly awesome      crescendo, and we humbly fade to black...      THE END      END CREDIT SEQUENCE:      We flip through Seth's seemingly endless penis drawings from      childhood. They are hilarious.
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+Revised Screenplay 17th January, 1983.ALEXANDER SALKINDpresentsSUPERGIRLbyDavid OdellCopyright 1983CANTHARUS PRODUCTIONS N.V.All Rights ReservedEXT. SPACE	THE CAMERA PULLS BACK. . . INT. ARGO CITYAND REVEALS THE inside of a domed city honeycombed with fantastic arches. The city is inhabited by young beautiful people in luxurious but simple costumes.THE CAMERA ROAMS through the City, observing some people seated at a kind of cafe sipping drinks and relaxing; other people are in some kind of exercise class doing beautiful graceful movement; and finally a class of five year old children listen intently to a teacher who is demonstrating a molecular model.					TEACHER				And now, who can give me the electron 				wave functions for Kryptonian covalent 				bonding?The five year olds eagerly raise their hands. The teacher points to one.CHILD				The cube root of the wavelength over the natural log of the integral of the speed of light squared.The teacher smiles.TEACHER				Well, maybe that was a bit too easy...THE CAMERA ROAMS ON through the city, following the sound of a strange, ethereally beautiful singing. The CAMERA discovers the source of the sound: an ARTIST sculpting a beautiful crystalline object with a MATTERWAND. The wand makes the singing noise as it creates matter out of energy. The Artist, whose name is ZALTAR, sometimes whistles along in counterpoint. .A small girl is watching him with fascination. Her name is Kara, and she is seven.Behind her, the dome, which encloses the City, marks the edge of the limbo outside.KARAWhat are you making:	ZALTARIt's going to be a tree, I think.KARA What's a tree?	ZALTARIt's something they have on Earth. You know, where your cousin went.	KARA Where is Earth?	ZALTARDidn't you study six-dimensional geometry in school?	KARAYes, I know the equations---I just can't see it in my head.Zaltar laughs.					ZALTAR				Even I have trouble with that sometimes. Earth is in outer space. And we're in inner space. 	KARAI don't understand.	ZALTARWait till you're older. Here -- watch this. Zaltar takes a small OMEGAHEDRON out of his pocket and holds it in his hand.					ZALTAR.				This is one of the four Power Sources of the City. I borrowed it from the Guardians. Look what I can do with it. Zaltar touches his MATTER.WAND to the OMEGAHEDRON and the wand instantly becomes charged with flickering light. He touches his wand to the tree sculpture---and the sculpture comes alive with dancing lights and shadows. Kara claps her hands with delight at the spectacle. Zaltar steps back and admires his handiwork. He carefully puts down theOMEGAHEDRON at his feet, takes a small flask from his belt, and drinks.				ZALTAR			You see, a tree is a living thing.				KARA			Can you create life?	ZALTAR				No, no, just the illusion of life. A kind of half-life, maybe. A pale shadow of the real thing. But it is lovely, the way the light plays over the surface. . . A woman's voice can be heard calling in the distance.WOMAN'S VOICE Kara. Kara.Kara calls out in reply.					KARA I'm here, mother.Kara's mother ALURA appears through the lacey architecture of the city.ALURA				Kara, you shouldn't be so near the Edge without a grown-up.	KARAI'm sorry, Mother.	ZALTARI was keeping an eye on her.Alura puts her arm around her daughter affectionately, showing she's not really angry. Together they watch Zaltar's latest sculpture, flickering with the play of inner light and shadow.ALURA				Thank you, Zaltar, but she has to obey the rules.Zaltar takes another swig from his flask. and lowers his voice confidentially.ZALTAR				You and your husband have been kind to me, Alura. I have something to tell you: I'm going away. Soon.	ALURA But where?Zaltar bends down to Kara and hands her his matterwand.ZALTAR				Put your fingers there, Kara. And press hard.She does, and the wand makes a horrible squawk. Kara laughs with delight.ZALTAR				Good. Now, go make something pretty.Kara scampers away, hardly able to believe her good fortune, and starts to make all kinds of surprising sounds with the wand on the plaza nearby. Zaltar speaks to Alura in a low, confidential voice.ZALTARI've discovered a new way into the Phantom Zone.	ALURABut the phantom Zone is for criminals.	ZALTARIt's big. And empty. I'm tired of limiting myself to  Argo City. I want to do something new. I'm starting to repeat myself here with this airy, glittery stuff....Zaltar waves a hand deprecatingly at the city around him.ALURA				But Zaltar---you founded the city! It's yours. We were all just refugees from Krypton when you gathered us together and brought us here, to the inner dimension. You can't abandon us now. You have a responsibility to us!In the background, Kara has been modeling a spiky insect-like CREATURE. Now she suddenly finds the OMEGAHEDRON on the ground beside her. She doesn't stop to wonder how it got there from beside Zaltar's feet. She simply picks up the OMEGAHEDRON and touches it to the spiky creature. The creature suddenly flicks its wings and COMES TO LIFE, unnoticed by the adults. Kara drops the wand and laughs out loud with delight as the magical creature takes off from the ground and starts flying in circles around her head, glittering as if it were made of diamonds.ZALTARI'm an artist, Alura. My work comes first. Other people come second.	ALURAHow can you create beauty...with a selfish heart?The spiky insect-creature flies closer and closer around the little girl's head, buzzing angrily. Her look of delight turns to fear. She tries to shoo the creature away. It flies off toward the thin membrane that encloses the city.The spiky creature flies into the membrane and tears a ragged hole in it. With a giant WHOOSH all the air in the city starts to rush out the hole. Kara is swept along toward the hole by the wind. She cries out and stretches pleading hands toward her mother. THE OMEGAHEDRON is swept toward the hole as well. Kara grabs onto the ragged edge of the membrane.ZALTAR Kara---the Power Source!Kara reaches for it, but it is too far from her, and the OMEGAHEDRON is sucked out into infinity by the wind. Zaltar picks up the matterwand from where Kara dropped it and touches her with the wand. She is instantly held fast. Zaltar pulls her back inside. He gives her to her mother Alura. Then Zaltar touches his wand to the membrane and seals the hole with masterful chords like a brass choir. The wind dies down and all is silent, except for the quiet sobbing of Kara in her mother's arms. Zaltar kneels down beside her and strokes her golden hair  tenderly.KARA				I'm sorry... I didn't know.					ZALTAR				It was my fault. You aren't old enough to use the wand. I shouldn't have given it to you.	ALURABut the Power Source, Zaltar.	ZALTARIt couldn't be helped. The city will have to make do with three.	ALURABut what will happen?	ZALTAR The Guardians will be angry. They may even send me to the Phantom Zone. You see, I didn't really have permission to borrow it. I must go explain to them...Zaltar hurries off nervously. THE CAMERA HOLDS ON KARA'S FACE as she senses this may be her last sight of Zaltar.DISSOLVE TO:EXT. A SPRINGTIME MEADOW - U.S.A. - DAY. UNDER TITLESA beautiful blonde in jeans and a frilly blouse is walking across a field of wildflowers. Butterflies flitter and dart from flower to flower. The blonde's name is SELENA. She is our ideal image of the girl next door, who grew up into a dynamite lady.Her current boyfriend follows along behind her, lugging a big wicker hamper from their pickup truck parked at the edge of the road. Selena finds a grassy spot under an old oak. and spreads out a red and white checked gingham cloth..SELENA Over here George. It's the perfect spot. Nice view.George sets down the wicker basket and Selena starts to unpack a scrumptious picnic of home cooked food. She unpacks fried chicken, hard-boiled eggs, potato salad, cold beer and a big rich creamy-frosted devils food cake.					GEORGE				You sure are a good cook, Selena. Man, that looks too pretty to eat.	SELENABetter eat it quick. It won't look too pretty when it's all covered with ants.She hands him a chicken drumstick and a hard-boiled egg.					GEORGE				Selena, I've been thinking. It's time I settled down---and I don't know a nicer lady to settledown with than you.SELENA				Why George, are you proposing?					GEORGEMarry me, Selena. The hardware store doesn't bring in much now, but...SELENA				George---I thought you'd never ask.A shrill whistling sound from above makes them look up. With a loud plop and a spatter of icing the OMEGAHEDRON falls into the middle of the chocolate cake.GEORGE				What the heck is that?They look up in the boughs of the tree overhead, and then down at the chocolate cake splashed all over the checked cloth.SELENAA squirrel Frisbee?Selena reaches out and picks up the OMEGAHEDRON. It comes away from the cake without a trace of the chocolate icing sticking to its surface, as if made of some substance, which repels other kinds of matter.Selena holds the shining Omegahedron in her hand and examines it, turning it around and around as if hypnotized. Her face takes on a new expression. Almost as if the simple, wholesome innocence of her nature had been blasted away by some profound new knowledge of the universe.SELENA				That's funny. I'd swear I know just what this is, but I've never seen it before.She stands up and walks across the checkered cloth, in a beeline for the pickup truck.GEORGE				Hey, where you going?					SELENA				     (calling over her shoulder) I've got things to do.	GEORGE What about my proposal?	SELENA          (dismissively) Call me next week. Maybe we can have lunch.She gets in the pickup and. drives away.GEORGE Hey! My truck!DISSOLVE TO: KARA' S FACEShe is ten years older now, a young lady. Almost ready to assume the long flowing gown of an adult, but still in the tunic worn by those under eighteen.ALURA				      (voice over)				But Kara, you are too young to go.ANOTHER ANGLE. ARGO CITY. DIMMEDThey are in the assembly amphitheater of the city, where the kindergarten nuclear physics class was seen. Kara is in the centre of the ring, with adults seated in scattered rows around her. Her parents Zor-El and Alura are standing in front of her.KARA				I am almost an adult. This is what I want.ZOR-EL				But Kara, no one has ever gone from here to Earth. The journey is dangerous.	KARAIt was my fault we lost the Power Source.	ZOR-ELYears ago. And it was Zaltar who stole it.	KARAI allowed it to escape the City.	ALURAEver since we told you how your cousin Superman was sent there as an infant, all you have wanted to do was visit this place.	KARAYes, I do want to go. But someone must go. Our scanning shows the Power Source has finally reached the Earth. It could destroy everything unless someone brings it back.	ZOR-EL Superman will return it.	KARAWhy haven't you been able to contact him? He should have returned from the neutron galaxy ages ago. He may be dead.ZOR-ELBut what can you, a mere girl-	KARAI'll have super powers there. Like him. We can't wait. Our lights are fading. Look around you. When I was a child the City was bright and shining. Look at it now.Zor-El and Alura sigh. There is no denying that the brilliance of Argo City has been much dimmed since Kara was a little girl.					ALURA				What do your teachers think?Zor-El looks around the circle. A beautiful woman speaks.					TEACHER				It would be sad to lose one of our finest young ones to the dimension barrier-- but the City cannot last much longer without the Power Source. It is her future she's fighting for, Zor-El.	ZOR-ELVery well, let it be done.Alura embraces Kara emotionally, fighting back the tears. Kara too is struggling to control her own emotions.KARA				Don't worry, Mother, I'll be all right. I've studied the transmissions from Earth. I know their customs.Kara walks out of the amphitheater with her parents.ALURA				But they are such strange, unstable people.					KARA				Then I will learn to act strange like them.Kara holds up a small handbag. Inside we glimpse red and blue material.					KARA				I have made clothing and copies of their money, I will be fine.Her father puts his hand on her shoulder .					ZOR-EL				Be brave, my .daughter. Be wise.					KARA				As brave as my father. As wise.They embrace, briefly. Kara then steps onto a circular platform set into the pavement of the city. Instantly transparent bubble forms around her.Her parents watch as she floats away.She passes into an air lock through the membrane that surrounds the City, and off into an infinity of space.MONTAGE: THE JOURNEY OF KARA INSIDE "HER SPHERE FROM THE INNER DIMENSION TO OUR WORLD.Her sphere moves from blackness, to a dark green limbo. The atmosphere thickens around her. Soon it is unmistakably water, and she is heading toward the light above. A fish darts past with a flash of silver. The sphere rushes upward faster and faster. It breaks the surface of the , water. Kara springs free of the bubble, which disappears. She is now wearing a blue and red costume like her cousin Superman.She lands on a nearby beach. EXT. EARTH.  BEACH BESIDE THE SEA. SUNRISEShe looks around her, feasting with her eyes on the details of this new exciting world.Kara bends down and picks up a stone from the ground at her feet. To her astonishment, she crushes it to powder in her hand, and blows the fine dust away with a blast of superbreath.She looks down at her feet, so firmly planted on the ground. She rises a few inches into the air, and reacts with amazement. Then she looks up into the blue sky overhead and her expression of astonishment is replaced by a look of joyous longing. With a sudden impulse she shoots straight upward.EXT. HIGH ABOVE THE EARTH.  DAYKara loops and rolls, swoops and circles, laughing with sheer delight.EXT. HIGH ABOVE MOUNTAIN MEADOWS.  HORSES.  DAYKara swoops down at a herd of horses. The herd parts and gallops off in all directions as she pulls out of her dive and flies away.CUT TO: EXT. MOUNTAINTOP.  DAYKara lands on a mountaintop and admires the view. The she bends down and scoops up a handful of snow. She stares at it with awe.INSERT. MICROSCOPIC SHOT OF SNOW CRYSTALS IN ALL THEIR INFINITE VARIETY AND BEAUTY.BACK TO SCENE.  DAYKara stands up, smiling. She flies into the air again.EXT. FOREST.  DAYShe lands and walks among the huge trunks of a primeval forest. Shafts of sunlight pierce the gloom. These trees are much more impressive than Zaltar's imitation back in Argo City. She hears a mournful sound and pulls back a spray of brambles. She sees a BABY DEER hopelessly tangled in the long canes. She shoots RAYS OF HEAT VISION from her eyes and slices through the tough stems. The fawn scrambles free, and scampers off into the forest. Kara watches it with a benevolent smile. She removes a brunette wig and some street clothing from a secret pocket in her cape.EXT. MANSION --- GARDEN PARTYA big impressive house somewhere in the Middle West. People mill about on the neatly manicured lawn sipping drinks and snagging hors d'oeuvres off silver trays from. passing waiters. All the quests have a name tag on, like at some kind of conference.SELENA, the blonde who discovered the Power Source, is circulating among the quests. She has changed since we saw her last. No longer the girl next door, she now wears a fabulous designer dress dripping with jewels. She walks with the regal air of someone used to being obeyed, and graciously accepts the homage of the quests. A smile, a nod, a kind word from her leaves them all basking in the warm afterglow of her attention. But we notice odd details of the party: the decorations are all based on mystic occult symbols. At the refreshment table, there is a big ten-foot WICKER SCULPTURE OF A FEMALE GOAT covered with paper flowers. And the quests all have an indefinable air of strangeness about them. BIANCA, a tall cold-eyed brunette in black silk dress, whispers in Selena's ear .BIANCA				Be careful. Nigel is going to try something.					SELENA				Don't worry about old Nigel, I can take care of him. He's just a sore loser.An ELDERLY MAN in a three-piece pin-stripe suit grabs her elbow.ELDERLY MAN				I don't want much, Selena. I have simple tastes.SELENA What do you want?	ELDERLY MAN Western Europe.	SELENAI'm sorry, but I already promised Bianca she could have Switzerland. You know how she loves to ski.	ELDERLY MANNo problem. She can have it. I hate mountains.Selena leaves him negotiating boundary lines with Bianca and strolls over to a sour-faced man in suede who has been scowling at her over his cigarette.SELENA Cheer up, Nigel. It's not the end of the world.NIGEL				It may well be. I know how you won that election Selena. You can't fool me.	SELENAI have plans Nigel. You could come with me...I'm going places.					NIGEL				You're not going anywhere. Except back to nowheresville.You're too impatient, Selena. Look around you--all these people have served years and years of apprenticeship.Some of their families have been in the Craft for generations. You can't join and take over our whole organization in a few months.Selena smirks at him, self-confidently.SELENA				I just did. Because I have the Power.					NIGEL				You're going to pay a terrible price. The power of Shadow is tricky. Use it too much and it takes over. Nigel drops his cigarette, stubs it out on the lawn, and takes out his platinum cigarette case.SELENABianca's taught me all! need to know. I'll be safe, as long as I don't go too far. 	NIGELCigarette?He holds the shiny mirror-like cigarette case in front of her so she can see her reflection.INSERT. SURFACE OF THE CIGARETTE CASE. Selena's reflection. She is still the glamorous beauty, but looming behind her...invisible to ordinary eyes...is a DARK EERIE SHAPE OF SOMETHING HIDEOUS.BACK TO SCENE.Quick as a cat, Selena bats the cigarette case out of his hand and sends it spinning into the shrubbery. All traces of the Shadow behind her have disappeared.					NIGEL				Sorry. Forgot you were trying to quit.Nigel snags a glass of champagne off the tray of a nearby waiter and sips it insolently.SELENA				Nigel, get out of here. And don't come slithering back.Nigel shakes his head.NIGEL				You need me, Selena. I'm the only one who can save you from a terrible fate.	SELENAI need you like an Eskimo needs a lawnmower. Now burn rubber.Nigel locks eyes with her.NIGEL				Make me.He takes another insolent sip of champagne...arid discovers a scorpion perched on the rim of his glass.Nigel spits out the champagne and, drops the glass. Everyone laughs at him.NIGEL				Balefire on you, Selena!					SELENA				    (grinning)				You Scorpios can never take a joke.All quests have fallen silent, staring at the altercation between the two of them. 					NIGEL				You think you are on top now. Well there is someone coming to challenge you. I saw it in the cards this morning.	SELENA Throw him out.Two burly waiters seize Nigel and drag him off toward the valet parking.NIGEL				You won't last a year, Selena. The cards don't lie!The crowd breaks into a buzz of conversation. Bianca stands up on a chair. The crowd falls silent.						BIANCA				Let's not let one rotten apple spoil the party. I give you the first woman in eight hundred years to head the Circle: Selena!Applause. Selena steps up onto a raised dais. And holds up her hands in an invocational gesture.SELENA				Thank you, sisters and brothers of the Craft. It is a great honor you have given me, and I will try to beworthy. And when my secret plans are revealed --you will learn that we are on the threshold of power and influence undreamed of when Nigel was our leader.More applause. One of the cooks applauding at the refreshment table knocks over a fuel-pot under a chafing dish. The fuel-pot falls on the ground at the base of the wicker goat statue.  					SELENA				And now, ,I call upon the Great Mother--the spirit of Nature --- to bless all our endeavors in the coming year...A woman in the .audience screams. Everyone looks where, she is pointing. The huge ten-foot tall wicker statue ,bursts into flames.Panic and pandemonium. Some of the quests run for safety. Others try to throw water onto the blazing, torch-like statue, but in vain. Selena frowns at the spectacle, and, without a word, turns and stalks into her house.INT. SELENA'S HOUSE.  LIVING ROOMTHE CAMERA FOLLOWS Selena through the French doors and into her large living room. On one wall is a huge, ornate gold-framed MIRROR, covered with a thick veil.Selena sits down in front of a large hearth, and opens a secret compartment in the floor. She reaches inside and removes a finely wrought METAL BOX IN THE SHAPE OF A GARGOYLE and a pack of cards. She puts the gargoyle box on her lap, and begins to cast tarot cards onto the floor in mystic patterns.The Elderly Man in the pinstripe suit enters from the garden. Outside the excited shouts and sounds of firefighting can still be heard. Someone runs by in the b.g. with a coil of garden hose. The Elderly Man walks over to Selena, timidly.ELDERLY MAN Is this Nigel's doing?SELENA				It's a warning, that's for sure.					ELDERLY MAN				Maybe it was just an accident.					SELENA				     (mysteriously)				There's no such thing as an accident. Everything has meaning, if you can read the signs.The elderly man looks down at the pattern of tarot cards Selena has cast on the floor.ELDERLY MAN				Then what does it mean???Selena shrugs and puts aside her cards.SELENA				Don't ask me. I can't read the signs worth spit.EXT. MIDVALE SCHOOL. DAY A bus stops in front of the school. Kara, disguised in a brunette wig and unfashionable clothing gets out of the bus. (From now on we shall refer to her in human guise by the name of her secret identity LINDA LEE.) Linda walks up the driveway toward the main building. Around her the campus is full of girls all in the school uniform of skirt, blazer, and white knee socks. Many of them stare frankly at the new girl in the slightly dowdy dress, carrying a battered old suitcase.In front of the school, LUCY LANE, one of the older girls, is batting in a softball game. She swings and hits one over the fence for a homer. Linda watches the excited, deliriously happy girls---wondering if she will ever be able to share such strong group emotions. Linda walks up the steps to the main building.INT. MAIN BUILDING. MIDVALE SCHOOL. STAIRWAYLinda walks up the long stairway in the entrance hall.MYRA, the school bully, passes with her spy and toady the loathsome MUFFY. As they pass MYRA speaks in a loud voice.MYRA				Geeze, another barfy new student. They're really scraping the bottom of the barrel these days.Linda walks on up to the next f1oor.INT. MAIN BUILDING . MIDVALE SCHOOL. HALLLinda walks along the deserted hall and stops at the office of the registrar, MR. Danvers. She enters.INT. REGISTRAR'S OFFICEMR. Danvers turns from his desk and glares at her. MR. DANVERS				Don't you believe in knocking?LINDAOh, yes. Knocking. The pre-entry signal. I forgot.She knocks on the open door. Her manner is so open and guileless that MR. Danvers, thoughhe gives her a strange look, does not put it down to smart-aleckyness, as he normally would.MR. DANVERS What can I do for you?	LINDA I'm Linda Lee.My cousin wrote you.MR. Danvers stares at her blankly. He's a bit absent-minded.MR . DANVERS Cousin? Wrote me?Linda looks at the metal filing cabinet behind his desk.Two beams of X-RAY VISION are faintly visible for an instant from her eyes.LINDA				The letter's in your files. Under K, for Kent.MR. Danvers opens his file and searches through it.					LINDA				I mean, it would probably be there, if you received it.					MR. DANVERS				Here it is. Oh...of course. You're the orphan. I'm so sorry about your parents. We'll try to make you happy here.He rises and walks around the desk toward her. He puts his hand on her shoulder in a fatherly fashion.CUT TO:EXT. CAMPUS. DORMMR. Danvers is carrying her suitcase as he shows her around the campus.MR DANVERS				...since your school records were lost in the fire, we'11 start you out easy first. You'll have English, Latin, French, History, Art, Chemistry, Math, Biology and Computing. Later on, you can add some electives. I think we'll put you in "G" dorm.He opens the door and ushers her into the dorm.INT. DORM. CORRIDORMR. Danvers leads Linda down the corridor. A girl dorm monitor sees him and yells out the traditional signal.STUDENT MONITOR				Man on the floor!Immediately, several of the room doors along the corridor slam shut. MR. Danvers smiles indulgently and leads Linda along to one of the rooms with an open door.INT. DORM ROOMLUCY LANE, still in her softball flannels, is digging mud out of her cleats with a Swiss Army Knife held over a wastebasket. MR. Danvers knocks on the open door, in the pre-entry signal of Earth. Lucy looks up.LUCY				Oh, MR. Danvers, come in and park it.					MR. DANVERS				Lucy, your roommate still home with anorexia?LUCY				It wasn't anorexia. It was the food.					MR DANVERS				Linda, this is Lucy Lane. You can room with her. Show her around, Lucy; I believe you know her cousin, MR., uh, Kent. Lucy turns into a bundle of enthusiasm. She grabs Linda's suitcase and leads her into the room chattering away excitedly.LUCY				Wow, you're Clark's cousin?? Fabuloso! Clark's a hunk. My sister Lois was a real nerd to let that one get away. You'll love it here, we have a great dorm, some really insane characters, I mean radical craziness... MR. Danvers slips away, leaving the two new roommates to get acquainted.Lucy puts Linda's suitcase on the bare mattress of the empty bed and opens the dresser drawers to help her unpack.LINDA I can do that.	LUCYNo sweat. When's the rest of your stuff arriving?She looks down at the nearly empty suitcase.	LINDA There isn't any.LUCYThis is all your clothes?Lucy involuntarily glances over her shoulder at the bulging closet beside. her own bed. Lucy's bed is smothered with teddy bears, and the walls around it are covered with photos and posters of male rock singers, movie stars, and tennis players. Also a large painted poster of SUPERMAN.LINDA				I have money to buy more, but I haven't had a chance since...	LUCYSince what?? Did you have a fire at your house or something?	LINDAI'd rather not talk about it.	LUCYYou're not...an orphan are you?	LINDAMy cousin Clark is my only relative on Earth.	LUCYOh wow, I should've known. Me and my big mouth. Listen, you can borrow any of my clothes you want. Any time.LINDA				Thank you. You're very kind.LUCY				I'm real sorry, Linda, I should've known it was something tragic if you show up without a wardrobe. Here, try on this. And this.Lucy starts pulling clothes out of her closet and tossing to Linda.											CUT TO:EXT. SCHOOL PLAYING FIELDS. DAYGirls in their adorable school gym outfits run around playing field hockey. Linda hangs back on the outskirts of the mob. She sees Myra put her stick between Lucy's legs and trip her. Linda stops to help Lucy up.LINDAShe did that deliberately.	LUCYShe's a beast.The pack turns and heads back toward them, the lead. Myra slaps the puck directly at. steps in front of it to protect Lucy. The and shatters. .Play stops. The girls mill confusion, picking up the little pieces of with Myra in Lucy. Linda puck hits Linda around in puck.					LUCY How'd you do that?LINDA				Must've been a defective puck.INT. LOCKER ROOM. DAYGirls pile in and start to take off their uniforms. Showers are running in the background. Linda unlaces her shoes. Lucy is unlacing beside her.					LUCY				Keep an eye peeled for Myra. She's out to get you.				LINDA But what for?LUCY				She just hates anybody who isn't afraid of her.INT. SHOWER. LATER. DAYLinda and Lucy (seen from the shoulders up) are enjoying a nice warm shower.Linda looks through the tile wall (with her x-ray vision) and sees Myra next door, fooling with the plumbing.INT. PLUMBING ROOMMYRA				      (whispering)Are they in?Muffy (Myra's spy) nods yes from her look-out position.MYRA				Listen to the screams when I shut off the cold water.She takes a huge wrench and starts to shut off a valve. Her spy looks worriedly at the valve.MUFFY				But, Myra, why don't you shut off the hot water and give them an ice bath? If you shut off the cold it, could scald them.MYRA				So they lose a little skin. Serve 'em right.Myra pulls on the wrench.INT. SHOWERLinda shoots a beam of her heat vision through the wall.INT. PLUMBING ROOMMyra pulls on the valve, but the wrench glows red hot in her hand. She lets go with a cry of pain. A pipe springs a leak, drenching her in her school uniform. Myra heads for the door, to get out. More pipes spring leaks. Myra is soaked, her hair all bedraggled, her uniform a mess.CUT TO:INT. COMPUTING CLASSMR. Danvers is putting a fairly complicated equation on the blackboard. All the students sit at the consoles of little personal computers staring at their blank monitor screens. Except for Linda, who is staring intently at the wall on one side of the classroom.MR DANVERS				Now, this is the kind of problem that used to take weeks before the computer. It still takes a long time without certain algorithms.Linda stares out through the solid wall with her X-RAY vision.EXT. CAMPUSA cat is stalking along a branch of a tree toward a nest of little baby birds. The nest is wedged on top of a window cornice on one of the buildings, but the tree branch passes just close enough by it for the cat to grab the baby birds when he gets there.Slowly the cat inches along the branch. Suddenly a beam of light hits the branch. It bursts into flame, and falls down to the ground, saving the birds from any future danger. The cat turns around like a felon caught in the act, runs down the tree trunk, and scampers away.INT. CLASSLinda smiles to herself.MR. DANVERS (O.S.) Linda? Are you with us?She turns to look at MR. Danvers and finds everyone in class staring at her.LINDA				Uh, yes, MR. Danvers.She looks at the board.LINDA				The answer is 5,271,009,010.Linda smiles, proud that she got the right answer. The other girls in the class laugh at her. Even her friend Lucy snickers. Linda realizes she has made a mistake, but is not sure how serious it is. The class bell rings and the girls dash for the exit. Linda stays in her seat staring at Mr. Danvers as he goes around the room switching off the computers.MR. DANVERS				You may go, Linda. But try not to clown around in the future.She meekly heads for the door. He turns to erase the blackboard. Something stays his hand, and he looks at the problem. Then he puts down the eraser and starts to copy the problem on a piece of paper.EXT. ROAD OUTSIDE SCHOOL. DAYSelena's Cadillac drives past the school. softball in front. Girls are playing softball in front.INT. CADILLACBianca is driving. Selena sits in the back brooding. Her tarot cards and the metal gargoyle box are beside her on the open counter of a  built-in bar. She suddenly calls out to Bianca.SELENA Stop the car!Bianca jams on the brakes and the car screeches to a halt.EXT. ROAD OUTSIDE SCHOOLThe girls stop their softball game and turn to stare at the Cadillac.INT. CADILLACSelena is gathering up her scattered things from the floor of the car.SELENA				I said stop, I didn't say run into a brick wall.					BIANCA What is it?		SELENAThe Coffer of Shadow. Look at it.The metal gargoyle box is glowing with an inner radiance.					SELENA What does it mean?BIANCA				The danger. The one Nigel spoke of. It must be near .They stare out the car window at the girls' softball game, which was resumed.SELENAOh, fiddlesticks. What could be dangerous about a baseball game?	BIANCASoftball.	SELENA				It must be the girls. One of the girls.					BIANCA But which one?SELENA				Drive on. We have already attracted enough attention.Bianca starts up the car again and drives smoothly away.SELENA				We'll bide our time and keep watch. Young girls just can't keep a secret. If one of them's up to something--we'll find out.	BIANCAAnd then, like great cats---we pounce! And destroy!The car swerves slightly.SELENA				Bianca, try not to be so bloodthirsty when you're at the wheel. OK?	BIANCA Sorry, mistress.CUT TO:EXT. DORM. DAYLinda is standing at the bathroom' window of her dorm room, looking outside with a melancholy expression. She slides the curtain across the window, so no one can see in.INT. LINDA AND LUCY'S ROOM. DAYLucy runs in, fresh from her softball game, and sits down on the bed as usual to dig the mud out of her cleats. Lucy's bed is still a riot of stuffed animals and frilly lace pillows. Linda's bed' across the room is austere and almost monastic, with no family photos, posters, or toys.LUCY				Hey, Linda, you in there?LINDA (o.s.)				Uh-huh.Linda answers from inside the shut bathroom door.LUCY				How much longer you gonna be?LINDA (o.s.)				Not long. I'm cutting my hair.Lucy crosses to the bathroom door. LUCY				You're a maniac! Let me do it for you. You'll look awful.INT. BATHROOM OFF DORM ROOM. DAYLinda is in her Supergirl costume and her blonde hair. Her brunette wig is hanging on a hook beside the mirror.SUPERGIRL				I can manage, thanks.Supergirl holds out a lock of her blonde hair. She looks into the mirror and SHOOTS A BEAM OF ENERGY FROM HER EYE, which reflects off the mirror and strikes her hair, cutting off one inch of the blonde strand.INT. DORMLUCY				I cut my own hair once. I looked so awful the only thing was to go totally punk!Linda opens the door and steps out of the bathroom. She is wearing her brunette wig and her Linda clothing. Lucy is puzzled.LUCY				Your hair looks the same.LINDA				It was just a trim.The student hall monitor sticks her head in the door and yells excitedly.JODY				Hey guys, Gloria just got a package from home.					LUCY What's in it?JODY				A hair dryer that makes popcorn!					LUCY Wow! Pig-out time. Come on Linda.Lucy hurries to the door. Linda holds back.LINDANo thanks. You go on.	LUCYYou sure?Linda nods bravely, and Lucy dashes off down the hall toward the lounge. Linda stands alone in the room.A beam of light from the setting sun shines through the room, and casts a pool of light on the opposite wall. Linda looks at the beam of light with nostalgia. INT. DORM LOUNGELucy and the other girls are stuffing themselves with popcorn turned out in bowlfulls by Gloria's new hair dryer. The package it came from lies torn open on the table beside the hair-dryer. Some of the girls start a playful popcorn-throwing fight in the b.g. One of the girls is strumming her guitar, and starts to sing "There's No Place Like Home". One by one the other girls join in. It's a scene of high spirits and camaraderie, in contrast to Linda's loneliness.INT. LINDA'S DORM ROOMLinda, still staring at the sunbeam shining through her room, and at the tiny dust motes dancing in the beam. From down the hall comes the sound of the girls singing, in improvised six-part harmony.GIRLS .o.s.)"Be it ever so humble, There's no place like home..."A tear of self-pity and homesickness wells up in Linda's eyes and runs down her cheek. She steps into the beam of sunlight and it shines full on her face. She suddenly hears Alura's voice in her mind.ALURA (o.s.) Kara, my darling...	LINDAMother! Is it you? Where are you???	ALURA (o.s.)In Argo City. Have you found the Power Source?	LINDAMother, this world is so big. I don't know where to begin to look.ALURA (o.s.)				Kara, be careful. There is some terrible evil force coming near you. I can feel it. Keep to your disguise. Let no oneknow who you are.LINDA				But why? I have super powers. Nothing can hurt me.ALURA (o.s.)				There are more powers in the universe than we know. And more than we can imagine. Be careful, Kara. Andcome home safely.The sun sets and the beam of light disappears as if a switch had been snapped off, leaving Linda alone in the warm afterglow of twilight.The soft strains of girls harmonizing float down the hall.GIRLS (o.s.) "...mid pleasures and palaces Where'ere I roam, Be it ever so humble, There's no place like home."CUT TO:EXT. SCHOOL GROUNDS. BENCH. DAYLinda sits by herself reading on a stone bench: She is wearing the school uniform now. All around her girls are running out of the dorm with overnight cases and climbing into cars driven by middle-aged couples. There is a frantic bustle of activity. CUT TO:INT. OFFICE IN THE MATH DEPARTMENTMr. Danvers sits at his computer, which is spewing out page after page of a complicated printout. Finally the printer stops. He reads out the bottom line.MR . DANVERS				Five billion, two hundred and seventy-one million, nine thousand, and ten.He sits back in his chair and puffs thoughtfully on his pipe.EXT. SCHOOL GROUNDS. BENCH. DAY. LATERThe campus is deserted. Linda still pretends to read, but her sense of loneliness is palpable. Suddenly Mr. Danvers is beside her, looking down.MR. DANVERS				No plans for the weekend, Linda?LINDA No, MR. Danvers.MR. DANVERS				Can't have you moping around the campus. Why don't you come home with us for dinner?LINDA I'd love to.DISSOLVE TO:EXT. BACKYARD OF DANVERS'S HOUSE. DAYMr. & Mrs. Danvers and Linda sit outside under the trees at a table piled high with delicious home cooked food. ,The dog begs for scraps. As the scene progresses (MOS) the Danvers bring Linda out of her shyness until they all laugh together sharing food, jokes and happiness. A. dreamlike moment of nostalgia from everyone's childhood.INT. SELENA'S HOUSE. LIVING ROOM. DAYSelena, at her most glamorous, in silk hostess pajamas and scads of pearls, stands looking out the French, doors of her mansion. She is staring shamelessly at ETHAN, a handsome young landscape gardener. Bianca is standing beside Selena.BIANCA				Is he your entertainment for tonight?					SELENA				He will be. In about five minutes.					BIANCA				Have fun.Bianca exits, and Selena waves to Ethan from the French doors.EXT. SELENA'S HOUSE. GARDEN. DAY.Ethan is sketching the house, adding new trees and shrubs in his drawing. He sees Selena waving, and walks over to her. INT. SELENA'S HOUSE. LIVING ROOM. DAYSELENA Finished your estimate?	ETHANWell, there's several ways to go .SELENA				Come in, have a drink, we'll talk.She ushers him inside and sits him down in front of the vast hearth.SELENA				You must be very popular in the neighborhood. I always see your truck parked around.	ETHANI have a lot of repeat business. People seem to like my service.	SELENAI bet they do.	ETHANWhat's that big black scar on the ground? Like a fire.	SELENAOh, you know how parties are. Always some damage.Ethan spreads his drawings out on his knees.					ETHAN				Now we could put in rhododendrons or lilacs...depending on how alkaline your soil is. Selena gives a cursory glance at the sketch, and then turns to a silver tray beside her. She picks up a frosty pitcher and pours an iced fruit drink into two tall glasses.					SELENA 				I just love plants and growing things. It must be wonderful to have green thumbs. Cheers!Ethan looks at the drink with misgiving.ETHAN				Uh, no thanks, I don't drink during the day.Selena gestures outside.	SELENA				But look, it's almost sundown!Ethan glances outside. Selena pours some poisonous looking red liquid into his glass from a tiny bottle hidden in her hand while his attention is distracted.ETHAN				Really, I'm not thirsty. Now I could put in some honeysuckle there and there...Selena pouts exaggeratedly.SELENAJust take a sip or .I'll be hurt. It's an old family recipe, I'm famous for them.Ethan pauses. He doesn't want to offend his rich new customer over such a trifle.ETHAN What is it?	SELENAA passionfruit smoothee.		ETHANWell, just one.He takes his glass (with the extra ingredient) and clinks it against hers in a toast.SELENA				To us. And to the seeds we'll plant together.ETHAN I'll drink to that.He takes a careful sip of his drink, tastes, and smiles.ETHAN Hmmm. Delicious!He tosses off the rest of it in one gulp. Selena watches him triumphantly.ETHANNow, about my fee...He suddenly clutches his throat with a gasp and collapses unconscious on the couch. She leans over him and strokes his cheek delicately with her long red-nailed fingers.SELENA				Sleep well. And when you wake, drown in my eyes and be all mine.The DOORBELL RINGS.  Selena looks up with annoyance.SELENA				If that's the Jehovah's Witnesses again...She angrily walks toward the hall, casting a fond look back at Ethan.SELENA				Don't go away, gorgeous. I'll be right back.EXT. FRONT DOOR OF MANSIONNigel in a skin-tight vinyl jumpsuit with multidirectional chrome zippers is leaning on the bell. Behind him his Porsche is parked in the driveway, and beyond at the curb is a truck with ETHAN'S NURSERY AND LANDSCAPING painted on it. Selena opens the door, sees Nigel, and tries to close it. But Nigel puts his foot in and keeps it open.SELENA Nigel, get lost.NIGEL				I have to talk to you.					SELENA				You're wasting your breath.					NIGEL				You used to listen to me. When you asked me to teach you something of the Craft.	SELENAI could teach you a thing or two now.INT. SELENA'S LIVING ROOMEthan opens his eyes. He rises from the couch and stands there swaying deliriously.INSERT. P.O.V. OF ETHANThe room swirls and distorts around him in garish nightmare colours.BACK TO SCENEEthan clutches his head as though it were splitting apart, and lurches out of the French doors into the terrace.EXT. FRONT DOOR OF MANSIONSelena is listening impatiently to Nigel, and staring oddly at him.NIGEL				...trust the wisdom of the ancients, trust the Great Mother to protect us... Why. are you staring at me like that?SELENA				I was just thinking, if I had your skin problems, I'd use a good tannisroot ointment. Every night.Nigel is rather vain about his smooth olive complexion, so he is completely thrown off his stride.NIGEL				Nothing's wrong with my skin.					SELENA				Such a shame. You ought to take better care of yourself.Selena closes the door while he's off his guard. Nigel takes a pocket mirror out of his shoulder bag and stares with horror at his reflection. His face is erupting all over in ugly red blotches.NIGEL Nasty bitch!EXT. GROUNDS OF SELENA'S MANSION. SUNSETEthan staggers across the lawn, still clutching his head, obviously very ill. As he disappears through the shrubbery on the far side of the lawn, he mutters drunkenly to himself.ETHAN Rhododendron.. . .honeysuckle. . .INT. SELENA'S LIVING ROOMSelena enters and finds Ethan gone. She is furious. She walks to the French doors.					SELENA Ethan. Come back. You'll spoil everything!INT. THE DANVERS' LIVING ROOM. NIGHTLinda is playing chess with MR. Danvers, while his wife knits on the sofa.MRS. DANVERS				I think you'd better be getting back to the dorm, Linda. The housemother'll expect you to sign in by eight.Linda stands up from the chessboard.LINDA				Thank you both so much. It was a lovely lunch, Mrs. Danvers. I had a wonderful time. And you're a terrific chess player MR. Danvers.	MR. DANVERS What? Me?LINDA				Sure. Mate in five moves.She moves the pieces chonk, chonk, chonk, chonk, chonk...LINDA				...and there goes my king. Got to hand it to you, I didn't see it coming. Well, bye.She walks out the door into the night.MRS . DANVERS				What a lovely child. Such nice manners. We must have her back, don't you think?MR. Danvers 'grunts absent-mindedly, bemused at his loss.INT. SELENA'S LIVING ROOM. NIGHTSelena paces agitatedly in her living room. Finally she stops in front of the ornate mirror hanging on the wall. She puts her hand on the heavy veil covering it.SELENA				Show me Ethan.She rips aside the veil. The IMAGE IN THE MIRROR SHOWS ETHAN STAGGERING DRUNKENLY THROUGH THE NIGHT COWN THE CENTRE WHITE LINE OF A HIGHWAY. CARS WHIZZ PAST HIM IN BOTH DIRECTIONS.SELENA The silly fool! EXT. HAMBURGER HEAVEN. NIGHTLucy is in front of the local hamburger drive-in in her Thunderbird convertible, talking to the foxiest dude at Rindge Tech. Other teens are hanging out and listening to rock music outside the drive-in. Lucy catches sight of Linda walking along the side of the road.LUCY Hey, Linda!     (to the boy) It's my roommate. You'll love her. She's really off the wall!Lucy jumps out of her car, runs over to Linda, and whispers urgently in her ear.LUCY				Linda babes! There's this all-night party at Eddie's...his folks are away...LINDA Oh, I don't know. I'm not signed outfor an overnight.	LUCYGo back, sign in, and climb out the bathroom window. McCloskey's always zonked out: she'll never hear you.	LINDAIt doesn't seem right.	LUCYPlease, as a favour to me? So I won't  be the only girl?Linda catches sight of a figure teetering down the centre, white line of the highway. Cars honk and zoom past him.LINDA Look at that guy!Lucy whirls around and looks. 					LUCY				What a space cadet.       (yelling and waving) Hey, you dingleberry! Get outta the street!Ethan ignores them, and continues to teeter deliriously.INSERT.  ETHAN'S P.O.V.He sees the night as a fairyland of dancing, blurred lights: the neon of the hamburger stand; the garish pumps of the gas station across the street, the streaking head and taillights of the cars on either side. All sound is similarly distorted and far away.BACK TO SCENELINDA					Why is he acting so strangely?					LUCY				I dunno, but he's gonna get creamed.INT. SELENA'S LIVING ROOM. NIGHTSelena holds the metal box shaped like a gargoyle. She looks at the IMAGE OF ETHAN in her mirror.SELENA				Power of Shadows...bring him to me. The box in her hand glows with an inner light.EXT. STREET OPPOSITE H]1..MBUP.GER RESTAURANT. NIGHTThere is a construction site next to the Hamburger Place.  A giant BULLDOZER suddenly ROARS TO LIFE and bursts through the chain link fence surrounding the construction site. With no one at the controls, the bulldozer drives out onto the street. Ethan sees its GAPING JAWS and runs clumsily away. They snap at him with the clash of steel. He stumbles and the bulldozer scoops him up. It wheels around and starts to carry him away, with one of his legs protruding through the teeth of its giant mouth. The onlookers are stunned and horrified.LUCY				Omigod, it's a runaway!Lucy sprints out into the street, running after the driverless bulldozer.LINDA Lucy; come back!	LUCYSomebody's gotta do something!!Lucy dodges through the cars and alongside the bulldozer. She climbs bravely up into the driver's seat and tries to tug at the controls. They are frozen. In desperation Lucy yanks on the steering wheel. The bulldozer turns ninety degrees into the gas station.EXT. GAS STATION. NIGHTA TOURIST is filling his station wagon at one of the self-service pumps. His WIFE is bringing their TODDLER back from the rest rooms. The bulldozer suddenly smashes into the gas pumps and through the gas station. The tourist dives out of its path. The bulldozer circles behind the gas station toward a small motel next door, leaving in its wake a totaled station wagon, and gasoline leaking on the ground from the smashed pumps.EXT. HAMBURGER RESTAURANT. NIGHTLinda watches with mounting horror. And yet she remembers the warning from Alura, and stands frozen, unable to intervene.EXT. MOTEL/GAS STATION. NIGHTLucy fights the wheel in vain. The bulldozer circles through the motel, smashing the individual cabins into matchsticks. The bulldozer drives under the MOTEL SIGN which HITS LUCY ON THE HEAD, KNOCKING HER UNCONSCIOUS. Finally, the bulldozer comes full circle and halts against a utility pole next to the gas station. The utility pole leans at a crazy angle. Its ELECTRIC WIRES break and dangle down, flashing blue arcs of electricity where they touch the pavement. The RIVER OF GASOLINE from the broken pump flows inexorably toward the arcing power lines. The mother kneels beside her dazed husband and looks over at her toddler running toward the arcing wires, his arms held out eagerly.MOTHERMy baby!!!!!Instead of helping, the onlookers turn and flee the inevitable fire.EXT. HAMBURGER RESTAURANT. NIGHTLinda can't take it any longer. She ducks into the deserted hamburger restaurant. An instant later, she emerges through a skylight in the roof in red and blue costume as SUPERGIRL! She stands on-the roof in front of a big illuminated advertising sign, which hides her from the fleeing crowd. Supergirl takes a deep breath and blows with her super lungs:. The toddler is blown safely 1nto his mother's arms.MOTHER				My baby.She grasps the child in her arms and helps her husband hobble to safety just as the river of gasoline reaches the sparking wires and BURSTS INTO FLAMES .The bulldozer, with Lucy Lane unconscious at the controls and Ethan imprisoned in the scoop, is surrounded by an IMPENETRABLE RING OF FIRE . Supergirl dashes through the ring of fire so fast that if there were any spectators who weren't running for their lives she would only be visible as a red and blue streak.EXT. ACCIDENT SCENE/GAS STATION. NIGHT INSIDE THE RING OF FIRE.Supergirl takes the unconscious Lucy from the driver's seat and carries her in her arms to the front of the bulldozer.Supergirl pulls open the massive metal jaws with one hand like they were sheet rubber.INT. SCOOP OF BULLDOZEREthan looks up as Supergirl slides Lucy Lane in beside him. He sees Supergirl's face backlit by the raging inferno outside.SUPERGIRL				Everything's going to be all right. She's just unconscious. No broken bones.INSERT ETHAN'S P.O.V. LOOKING AT SUPERGIRL FROM INSIDE THE SCOOPEthan's swirling distorted vision suddenly focuses with , absolute clarity. A moment outside of time. The most romantic glamorous image imaginable: the blonde, backlit, looking at him with concern, her lips slightly parted.BACK TO SCENEThere is something about Ethan's ecstasy, which holds Supergirl for a moment.ETHAN God...you're beautiful.INT. SELENA'S LIVING ROOMSelena watches the image of Ethan and Supergirl in her mirror. Her face is a study in jealousy and dismay.ETHAN (in the mirror) God...you're beautiful.	SELENAThat was meant for me!EXT. ACCIDENT SCENE/GAS STATION. BULLDOZER. RING OF FIRESUPERGIRLThank you. I'm going to close this up again.ETHANWait...don't leave me in here...SUPERGIRL				It's for your own protection.She pulls the massive steel jaws shut and tears the scoop off the bulldozer with a sound of rending metal. Immediately afterwards, the flames reach the underground storage tank and the bulldozer is enveloped in a FIERY EXPLOSION.EXT. ACCIDENT SCENE. OUTSIDE RING OF FIRE. NIGHTThe entire gas station is a column of flame and black smoke reaching up into the night sky. A fire truck and a police car arrive on the scene, sirens screaming. The tourist family watch from a safe distance, their toddler clapping his hands excitedly at the spectacle.EXT. IN THE SKY. HIGH ABOVE THE ACCIDENT. NIGHTSupergirl flies out of the column of black smoke, carrying the sealed bulldozer scoop with Ethan and Lucy safely inside.ETHAN        (calling from inside) What's happening?	SUPERGIRL        (shouting over the wind) I'm taking you to the hospital.	ETHAN           (within)Let me out. I have to talk to you.SUPERGIRL				Later.EXT. ACCIDENT SCENE. POST FIRE. NIGHTThe firemen have smothered the fire with a blanket of foam. The blackened bulldozer minus its front scoop stands next to the smashed station wagon. A bewildered policeman is searching for victims.POLICEMAN				Where's the casualties? You can't tell me there's no casualties.INT. SELENA'S LIVING ROOM. NIGHTBianca enters and sees Selena staring raptly at the mirror.BIANCA				I came as quickly as I could. What is the danger?SELENA				It's what we were warned about.Selena points to the mirror, which shows the IMAGE OF SUPERGIRL FLYING THROUGH THE AIR CARRYING THE BULLDOZER SCOOP. Bianca can't quite make out what it is at first.BIANCA A Storm Dragon?	SELENA No, a super girl.EXT. HOSPITAL ENTRANCE. NIGHTSupergirl lands with the bulldozer scoop in front of the emergency entrance. There is no one around. Supergirl rips open the sealed scoop with a loud noise of rending metal.INT. HOSPITAL EMERGENCY ROOM. NIGHTTWO INTERNS are chatting in the corridor near the doors. They jump at the sound of bending steel outside.FIRST INTERN What was that?	SECOND INTERN Maybe we better take a look.EXT . HOSPITAL ENTRANCE. NIGHTSupergirl has strapped Ethan and the semi-conscious Lucy onto wheeled gurneys.					ETHAN Don't leave me.	SUPERGIRL I have to.	ETHANWhen can I see, you again ?	SUPERGIRLRelax. Tomorrow this will all seem like a bad dream. Goodbye.She gives the gurneys a shove.INT. HOSPITAL EMERGENCY ROOM. NIGHTThe automatic doors open and Ethan and Lucy roll inside on the gurneys.FIRST INTERN				Did we use the laughing gas tonight?					SECOND INTERN That was last night. 					FIRST INTERN				Then this is really happening.The two interns catch the gurneys, and start examining Ethan and Lucy.SECOND INTERNHey fella, can you talk???Ethan begins to babble deliriously.ETHAN				The girl. Where is she? It never hit me like this before. I love her. My angel.He sits up, tears brimming in his eyes, and grasps the , intern by the lapels.ETHAN				Where is she? I love her, don't you understand? I'll die if I can't have her.The intern pulls away and points to Lucy, who is beginning to come to.FIRST INTERN She's right here fella.	ETHANNo, not her. The blonde, the one who carried us through the air:. She can fly. She's an angel.The two interns exchange a glance. One of them steps to a wall intercom.SECOND INTERN				This is Stenzl in Emergency. We got				a 412. Send down the boys from psycho.ETHAN				No! She's real ! I saw her !CUT TO: INT. SELENA' S MANSION.  NIGHTSelena, is brooding in front of her mirror, which shows ETHAN IN THE HOSPITAL STRUGGLING WITH THE TWO INTERNS . Selena covers the mirror with its heavy veil. She speaks to Bianca standing beside her.SELENA				Why did she have to show up now?BIANCA Eliminate her.	SELENAThat's easy for you to say, Bianca.	BIANCAYou can do it. You're the most powerful woman on Earth.SELENA Am I? Still?There is a pause as the implications reverberate.BIANCA				Yes! You own the Coffer of Shadow. Nothing can withstand its power.SELENA I've been saving it. For the right moment.BIANCA				That moment is now! What good is a sword unless it be unsheathed? Use it, and no one will dare oppose you again. No one.Selena toys with the idea in her mind, turning over the various arguments. A smile creeps across her face.SELENA Not even Nigel.Selena goes to the secret compartment, opens it and takes out the metal gargoyle box. She looks at it with a dreamy, far-away expression on her face.SELENA				What do I do?  I don't know her name.					BIANCA				The Naming of Names is not necessary. Just concentrate on her face. Your Shadow will do the rest.Selena holds the gargoyle box out in front of her and opens the lid. Inside is the OMEGAHEDRON power source from Argo City, spinning around a strange dark region in its centre. Selena closes her eyes and whispers to the spinning ring.SELENA				Power of Shadow hear me. Find her wherever she be. Find her and destroy her.A BLACK CLOUD OF SHADOW bursts out of the centre of the OMEGAHEDRON, filling the room. Selena drops the gargoyle box and shrinks back with sudden misgivings at what she has unleashed. Even Bianca's face has gone white. The two women huddle together as a HUGE INVISIBLE PRESENCE fills the room with darkness. Then the unseen presence suddenly SMASHES ITS WAY OUTSIDE THROUGH THE SOLID WALL OF SELENA'S LIVING ROOM, leaving a big hole and a trail of crushed furniture behind it. Light returns to the room as the shadow departs. And from outside the sound of crackling shrubbery dies away. Selena regains her composure and looks around at the mess of her once splendid living room.SELENA				Next time, remind me to do this out in the yard.BIANCA				Yes, of course, it was foolish of me.Bianca reaches down to the floor for the gargoyle box with the OMEGAHEDRON, which is still lying right where Selena dropped it. But Selena quickly picks it up herself before Bianca can touch it.SELENA				I think I'd better keep it.					BIANCAWhatever you say.SELENA Yes. Whatever I say.  From now on.She shuts the lid of the gargoyle box, sealing the spinning OMEGAHEDRON safely inside.CUT TO:INT. DANVERS ' LIVING ROOM. NIGHTMrs. Danvers is on the phone.MRS. DANVERS				The housemother still doesn't answer.Mrs. Danvers hangs up the phone with a worried expression.MR. DANVERS				Probably drunk again. I'm sure Linda got back all right. MRS. DANVERS				We should have driven her.Mr. Danvers stands up and puts on his jacket.MR. DANVERS				I'll just drop by the school and. make sure she's all right.EXT. MIDVALE SCHOOL. DESERTED CAMPUS. OUTSIDE THE DORM. NIGHTLinda drives up in Lucy's car, the one left behind at the scene of the accident outside the hamburger place. She drives past the paddle tennis court and parks in front of the dorm. Linda gets out of the car, and lets herself into the dorm with a key. Inside, she signs her name in the book. ,INT. DORM CORRIDOR. NIGHTLinda walks down the long dormitory corridor past room after empty room. The place is kind of spooky.INT. LINDA'S ROOM. NIGHTLinda enters the room she shares with Lucy. She puts Lucy's car keys on her bedside table next to the snapshots of  Lucy's family and of her half-dozen current boyfriends. Linda turns and crosses the room to her own monastic bed in its drab, undecorated corner. She lies down on her bed with a sigh, staring at the ceiling in a melancholy mood.Suddenly, she senses that something is not right. She gets up from the bed, walks to the window, and gazes out a-t the deserted campus.EXT. OUTSIDE DORM. TENNIS COURT. NIGHT.The dorm is set apart from other school buildings and surrounded by tall trees. The tennis court is visible from Linda's window, and a city park adjoining the school property. The UNSEEN MONSTER is heard approaching through the park with a thud of heavy footfalls and the crack of snapping tree trunks and branches. A bolt of lightning flashes, followed by a crash of thunder. The wind howls. A storm is brewing.Far away across the campus something huge and powerful forces itself between the two big oaks, snapping them like matchsticks. The unseen monster hauls its enormous bulk toward the dormitory, crushing everything in its path, its footsteps making the ground tremble like an earthquake. INT. LINDA'S BEDROOM. NIGHTLinda watches with uncomprehending eyes the approaching swath of destruction heading straight for her. Nothing she has learned about this strange alien world has prepared" her for this. For the first time since she left Argo City, her eyes show fear. And yet there's a deeper streak of defiance in her that impels her to stand her ground and face the horrible juggernaut.EXT. FORM. TENNIS COURT. CAMPUS. NIGHTHUGE FOOTPRINTS sink into the damp grass of the campus. A bicycle rack full of Schwinns is flattened into the dirt with a metallic screech. The monster proceeds inexorably toward the wooden rain shelter on one side of the tennis court. The shelter is crushed to kindling wood. The monster drags its enormous unseen bulk across the smooth clay surface of the tennis court, crunching , deep cracked depressions in the clay. The net stretches and groans toward Linda as the' invisible enormity comes closer, and finally snaps with a loud twanging sound as the steel cables part. The tall cyclone fence bulges outward toward Linda and momentarily outlines the form of" the monster before it crumples and falls with the screech of twisted steel. The only thing between Linda and the monster is Lucy.' s parked car. The monster stomps the car flat with a noise like colliding express trains and heads for Linda.INT. LINDA'S BEDROOM. NIGHTLINDA				Hey, that's my roommate's car!Determination floods her face. She whips off her brunette wig and her civilian clothing to reveal the blonde hair and red blue tunic of SUPERGIRL!EXT. OUTSIDE THE DORM. NIGHTSupergirl flies out the dorm window and lands in front of the unseen monster. She raises her hand in challenge and calls out in a commanding voice.SUPERGIRL				Leave this place and do no harm.Something picks Supergirl up and flings her against the wall of the dorm, crushing the soft drink dispenser under her and squirting cola in every direction. Lightning flashes and thunder booms overhead. Supergirl picks herself up, shaken.She launches herself directly at the space in mid-air ten feet above the monster's footprints. She crashes into something hard and invisible with the sound of a tremendous impact. Supergirl falls to the ground, staggered by the concussion. The irresistible force has met the immovable object. Supergirl looks up, and---altering the wavelength of her X-Ray vision to a transcendental frequency---paints this beam over the monster and just for an instant makes it visible: a HUGE NIGHTMARE SHAPE LOOMING OVER HER, AND REACHING OUT TO CRUSH HER WITH MASSIVE TALONS. Then the image fades.Supergirl is seized again and flung against the school flagpole, breaking it off at the base. Supergirl stands up and seizes the flagpole. She looks up at the flickering lightning in the sky. She flies straight upward into the storm with the bare flagpole held in front of her.EXT. THUNDER STORM. LIGHTNINGAgain and again huge bolts of lightning strike the flagpole. Supergirl's face is contorted with agony as her body absorbs enough electricity to run Las Vegas for a year. She looks down and sees through a break in the clouds the campus far below.EXT. CAMPUSSuddenly Supergirl dives down from the sky, glowing with accumulated electricity. She embraces the monster with a tremendous crackle of energy. The two of them are bathed in brilliant arc light. The monster is briefly made visible again by the energy. But this time it is shrinking, shriveling up into a shapeless lump. The light fades as the energy is discharged. A dark, shapeless lump detaches itself from Supergirl's grasp and flies shrieking away into the night. Supergirl stands alone and exhausted, her muscles trembling with fatigue. She turns and walks unsteadily back toward the dorm.CUT TO:EXT. CAMPUS. NIGHTMR. Danvers drives up the long driveway toward Linda's dorm. He parks his car behind the flattened remains of Lucy's car, and gets out, staring with amazement at the destruction wrought by the titanic struggle.He walks toward the dorm, fear and confusion on his face.INT. DORM. ENTRY. NIGHTMr. Danvers pushes through the unlocked front door. He glances in the sign-out book for Linda's name. Then he knocks on the door labeled HOUSEMOTHER MRS. MCCLOSKEY. No reply. He opens that door and peeks in.INT. HOUSEMOTHER'S ROOM. NIGHTA slovenly, overweight woman in a housecoat is curled up on her sofa, a bottle of whiskey clutched to her breast. She snores heroically.INT. DORM. HALLWAY.  NIGHTMr. Danvers walks quickly down the long line of empty rooms to Linda and Lucy's room.INT. LINDA'S ROOM. NIGHTMr. Danvers pauses at the door and looks in. Supergirl, in her blonde hair and red and blue tunic, is lying asleep on Linda's bed.MR. DANVERS				A Supergirl...				         (to her)				Linda...is it Linda?Supergirl looks up at him and smiles, weakly.SUPERGIRL				I didn't want anyone to know... but I was so tired...forgot...M. Danvers sits on the side of her bed.MR. DANVERS				Are you all right?SUPERGIRL				Just need rest, that's all. Sorry about all the damage outside. I had to fight some terrible thing...					MR. DANVERS				But why?SUPERGIRL				An evil force. Trying to destroy me.She sits up and looks anxiously at him.INT. SELENA'S HOUSE. LIVING ROOM Selena watches their image in her mirror.SUPERGIRL          (image)				You won't tell anybody, will you?MR. DANVERS        (image)Not even my wife. And, if there's anything I can do to help---I'd be honoured.INT. DORM. LINDA'S ROOMSupergirl sinks back down and closes her eyes.SUPERGIRL				Thank you, Mr. Danvers.She lapses into a deep sleep. Mr. Danvers stands up, and pulls the covers up over her in a fatherly gesture. He stands beside the bed for a long time looking down at her, and then walks out of the room, closing the door shut behind him.CUT T0:EXT. HOSPITAL ENTRANCE. DAYLinda gets off a bus and enters the hospital. INT. HOSPITAL. DAYLucy Lane is sitting up in bed with a white bandage around her head. Superman's pal JIMMY OLSEN is standing awkwardly beside the bed holding a small bunch of daffodils. Lucy is talking animatedly on her bedside telephone, when Linda enters.LUCY				...come see me. And smuggle in a pint, they won't let me have anything, but make sure it's Jamocha Almond Fudge . . Listen, I got to run, my roommate just walked in. Bye.Lucy hangs up and turns to Linda.LUCY				Hey, Linda-babes! I've got so much to tell you, I don't know where to begin! Oh -- this is Jimmy Olsen, he works with Clark and my sister at the newspaper.					JIMMY				Nice to meet you. Lucy's told me all about you. Your cousin Clark taught me everything I know aboutthe newspaper business.	LINDA Nice to meet you.She shakes hands shyly with Jimmy, then turns to Lucy.LINDA				I'm afraid I have some bad news about your car.					LUCY				Mr. Danvers called. I'll get a new one with the insurance money. B.F.D. Jimmy keeps looking at Linda.JIMMY				Do you have any theories about last night?					LINDA				Theories?					JIMMY				How Lucy and that guy got to the hospital. And all that damage at the school. The police are calling it a freak tornado. I'd like to interview you for the Daily- -LUCY       (overlapping) Oh, Jimmy, can't you forget about your career for one second?JIMMY				-- Planet. I mean, you were there. Do you think it was natural,				 or like some people are claiming, supernatural?					LINDA				I believe there's a rational explanation for everything. But I don't know what it is.	JIMMYCan I quote you?Lucy hands Jimmy a stainless steel urinal.LUCY				Jimmy, would you please put those poor flowers in water before they die?JIMMY				Oh, sure.He steps into Lucy's bathroom with the urinal and fills it with water from her shower. Lucy grabs Linda's arm and whispers urgently in her ear.LUCY				Listen, I know I've been saying you ought party more, but keep your hands off this one, will yak? He's private property. I've been waiting years for him to develop.	LINDA He's nice.LUCY				Nice? He's cute enough to melt lead!Jimmy emerges from the bathroom with his daffodils neatly arranged in the stainless steel jug.JIMMY				Where is your cousin Clark, by the way?					LINDA				He's off doing a top secret uh, investigation.					JIMMY				I knew it ! He's working on a  hot scoop !CUT TO: EXT. HOSPITAL. ENTRANCE. LATE AFTERNOONBianca drives Selena's Cadillac up to the emergency entrance and parks in the ambulance zone. Selena get out of the back seat in a dramatic opera cape of raw silk with opal trim.SELENA 				      (to Bianca)				This won't take long. Keep the motor running.INT. HOSPITAL CORRIDOR. LATE AFTERNOONSelena strides down the hospital corridor almost as if she is floating an inch above the floor. Her huge silk cape billows around her, making her seem larger-than-life. Nurses, orderlies, patients scatter to get out of her way. Her presence is so formidable and she moves so fast and inexorably that no one has a chance to stop her and inquire what she's doing there. She knows exactly where she's going to. She turns a corner, and steps inside an open door and closes it behind her.INT. ETHAN'S ROOM. DAYHe is sitting in bed, an ice bag on his head, drawing a picture of Supergirl on a piece of cardboard. He is in pajamas and robe.Selena steps beside the bed. He looks up.					ETHAN				Oh no, not you again.					SELENA				What an adorable hat.					ETHAN 				They think I have a concussion.					SELENA				And you think you're in love.					ETHAN I know it.	SELENAThis "love" of yours will soon wear off. I gave you a temporary love potion.ETHAN				Why should I believe you?					SELENA 				It's the truth. In twenty-four hours you'll forget all about that girl.Ethan. reaches out and grabs her cloak with a grip of such urgency that she is pulled slightly off balance.					ETHAN				Then I'm not the only one who saw her. You did too!Selena pulls his hand away from her cloak.SELENA				Yes, yes I saw the whole thing. How could you be interested in that puny little girl?	ETHANBut she is real, it wasn't just a concussion.	SELENAForget her, you're mine. I saw you first.Selena sits on the side of the bed. She removes a vial of liquid from her bodice.I saw youSELENA                 (continuing)	Here. Drink this. It's an antidote to the love drug I gave you.Ethan sweeps it on the floor, where it shatters. He starts frantically ringing the buzzer pinned to his bed.ETHAN Nurse! Nurse!SELENAYou can't escape from me that easily. I'm afraid you don't know who I am.	ETHANNurse!	SELENADon't think I'm weak, just because I'm a woman. I have Power. Give in, stop fighting me, Ethan. I always get what I want.ETHAN Nurse! Help !The door opens and a NURSE walks in.					NURSE				Would you stop screaming. There are sick people trying to sleep.ETHAN				Get her away from me.  She's crazy.					NURSE                    (to Selena) Are you family? Visiting hours are over.SELENA				They're over for you sweetheart.Selena removes the gargoyle-shaped box from her sleeve and opens the lid. The OMEGAHEDRON inside spins and sends out a powerful force, which slides the nurse backwards out the door and pins her to the wall of the corridor outside. The door slams shut. Selena closes the lid of the Coffer and turns to Ethan.SELENA				Now you see who you're dealing with.Ethan scrambles out of the bed and away from her, backing toward the window.ETHAN Leave me alone.Selena, at the bed, discovers his sketch of Supergirl on the piece of cardboard.					SELENA				This is your problem, right here. This girl's driving you insane, Ethan. Let me help you.	ETHANI don't want your help.	SELENACome back to my house. My car's outside.Selena reaches out a hand to Ethan.					ETHAN				No!					SELENA				I never met a man I couldn't have--and you're no different from the rest!The door opens behind her and TWO SECURITY OFFICERS push  inside, with guns drawn.SECURITY OFFICER				Okay, what's going on in h--Selena gestures with the gargoyle box at the men and their guns fly out of their hands and up to the ceiling. The men stare at the ce1ling, astonished. Ethan takes advantage of the distraction to dash out through the open door. Selena turns to look at Ethan escaping and theguns fall to the floor and discharge. The security men run into Ethan's bathroom, slamming the door behind them.Selena ducks out into the corridor.INT. HOSPITAL CORRIDOREthan is running away down the corridor. Frightened patients peek out of their rooms. The nurse who was ejected from the room cringes in fear as Selena emerges into the corridor.Ethan dodges past two orderlies who are pushing a HEART-LUNG MACHINE down from the surgery. Selena raises the gargoyle box and points it at the HEART-LUNG MACHINE.SELENA				Power of Shadow---seize him.The HEART-LUNG MACHINE comes to life---its lights flash, its array of tubes tipped with needle probes writhe like Medusa's hair, its wheels turn around, and it chases  Ethan down the corridor. Selena laughs her deep throaty chuckle of triumph. Ethan looks behind, sees the machine chasing him and cries out with alarm. A CART OF SURGICAL INSTRUMENTS rolls out of a closet in front of him, its scalpels standing up and pointing at him, quivering eagerly, blocking his path.Ethan dives through a swinging door to his left.INT. OPERATING THEATREA team of surgeons and nurses are bent over a patient on the table. Ethan runs through in the background. The surgeons continue with their work. The heart-lung machine wheels through after him, followed by the scalpels flying through the air like a swarm of hornets.The surgical team doesn't look up from their work.Several cylinders of anesthetic gas tear themselves loose from the wall and trundle away out of the room after Ethan and the other apparatus. One of the nurses finally looks up.NURSE				Doctor, I think you' re going to have a gas problem.	DOCTORI shouldn't have had the cabbage at lunch.INT. X-RAY ROOMEthan bursts into an empty surgical X-Ray room---the pursuing apparatus visible a few yards behind. He slams the heavy lead-lined door and bolts it shut.He hears the thud of the apparatus beating impotently against the door. He leans against the door panting, his cotton hospital gown and robe soaked with cold sweat. Suddenly, with a whir of motors, the giant multi-armed C.A.T. SCANNER behind him comes to life, its lights glowing, and reaches out its chrome steel arms toward him.Ethan yells, runs across the room, climbs on a gurney, rips a metal grill off the wall, and dives into the air conditioning duct.INT. DUCTEthan scrambles noisily along inside the metal duct as if all the fiends of hell were after him.CUT TO:INT. LUCY'S HOSPITAL ROOMLucy is showing off the controls of her bed. The door opens. Lucy, Jimmy and Linda look with amazement at what's outside in the corridor.LUCY				Omigod.A DELIVERY BOY enters with A SPECTACULAR FLORAL ARRANGEMENT.DELIVERY BOY Where you want this?	LUCYOver by the window. It must be from my sister. Give him a tip, Jimmy.Jimmy is acutely aware how pathetic his daffodils look as he fumbles in his pocket for a dollar for the delivery boy. Suddenly overhead there is a loud banging and clattering from the air-conditioning duct. Everyone looks up at the ceiling with alarm. But Linda's X-RAY VISION lets her alone recognize Ethan.					JIMMY				Gosh, what do you suppose .that is?					LINDA				Well, Lucy, it's nice to see you're feeling better. Nice to meet you, Jimmy.	LUCYYou're not gonna stay for the ice cream?	LINDAI have to get back. I'm having dinner with the Danvers.	LUCYAgain? You're getting real tight with them. You're gonna be a straight-A student---just kidding, thanks for coming.Her phone rings and she picks it up.LUCY				Phillip! When are you gonna come see me?INT. HOSPITAL CORRIDORLinda walks out of Lucy's room and quickly down the corridor. Jimmy hurries to catch up with her.JIMMY				Can I give you a lift?LINDA Oh, no thanks.	JIMMYIt's no trouble. I'd like to ask you some more questions.Linda's heart sinks as she realises she doesn't know how to get rid of him politely.CUT TO:EXT. ROOF OF HOSPITAL SUNSETEthan batters the top off a ventilator and crawls out onto the roof. He turns and quickly replaces the aluminum top, bashing it firmly closed with his fist. He straightens up, sweat-soaked, bedraggled, haggard and exhausted, looking like an escaped lunatic with his disheveled hair and his torn hospital robe. He heaves a sigh of relief, and turns to see Selena standing behind him, her silk cape billowing in the breeze.SELENA				Give up?Ethan  takes a beat to make sure he's not hallucinating, then he summons new reserves of strength and runs over to the TALL BRICK SMOKESTACK from the hospital's incinerator.ETHAN				Never! He starts to climb up the steel ladder on the side of the chimney.					SELENA				What goes up must come down.EXT. HOSPITAL ENTRANCE. SUNSETJimmy opens the door of his car for Linda. It's parked in the ambulance zone, right behind Selena's Cadillac.JIMMYI probably would've got a ticket without this press pass on the windshield. Does Clark get many tickets?Linda pauses, looking up at the sky.LINDA       (distractedly)I wouldn't know. Look. Up in the sky.Jimmy follows the direction of her gaze.INSERT. THEIR P. O . V. OF THE ROOFEthan clings to the iron ladder on the side of the chimney, his robe fluttering in the wind.BACK TO SCENEJIMMY An escaped wacko! What a picture!Jimmy opens the trunk of his car, takes out his camera bag, removes his Nikon, and starts fumbling around trying to change his 50mm lens for a telephoto. Linda watches Ethan with an expression of growing concern on her face.EXT. ROOF OF HOSPITAL SELENA				Come down from there, you foo1...EXT. LADDER ON.THE SIDE OF THE CHIMNEYAlthough she is forty feet below him, Ethan hears her voice as though it were inches away from his ear.SELENA      (continuing)...before you get blown off and kill yourself.Ethan is so surprised at hearing her voice so close that he looks around with a start, misses his footing, and nearly falls off the ladder.EXT. HOSPITAL ENTRY.  JIMMY'S CARJimmy gasps with anguish, as he struggles to mount his telephoto lens, dropping lens caps, film boxes, and filters all over the place.LINDA Someone's chasing him.	JIMMYSay---you think that's the same guy who was in the accident with Lucy?LINDA				Yes.					JIMMY				The scoop of the year!He starts shooting film. His motor drive whirrs.EXT. HOSPITAL ROOFSELENA				It'll be dark soon. And cold. Come down while you've got the chance.EXT. TOP OF CHIMNEYEthan reaches the top of the chimney. He climbs over the lip of the brickwork and stands up, half hidden in the thick white smoke belching from the chimney.ETHAN				No. She'll come for me. Like she did the last time. My angel. He starts to cough from the smoke and nearly loses his balance.EXT. ROOF OF HOSPITALSELENA				She's not coming for you. I killed her. She's dead.EXT. TOP OF CHIMNEYEthan is staggered by this news. He reacts as though he had been punched in the gut.ETHAN				No. I don't believe you. It's not true. She's alive somewhere. My angel. My love--He falls off the chimney, and catches himself on the lip of the brickwork. He hangs there by one hand.SELENA'S VOICE You idiot!EXT. HOSPITAL ENTRANCE. JIMMY'S CARJimmy runs out of film. He frantically rips off the magazine and tries to load a fresh one, while Ethan dangles.					JIMMY				There goes my Pulitzer Prize.Linda steps around to the other side of his car. Bianca is staring up at the chimney from the driver's seat of the Cadillac. She doesn't see Linda lift up a sewer grating with her toe and drop noiselessly and suddenly out of sight into the storm drain below.EXT. ALLEY BEHIND HOSPITALA red and blue streak bursts upwards out of another storm drain. The iron cover flips off and lands with a clang as Supergirl flies skyward toward the roof.EXT. TOP OF CHIMNEYEthan's grip fails and he falls.EXT. CHIMNEY. SKYSupergirl appears, snatches Ethan in mid-air, and flies off with him into the clouds above.EXT. ROOF OF HOSPITALSelena reacts with relief---then, realizing who has saved him, her face clouds with resentment.EXT. HOSPITAL ENTRYJimmy Olsen's magazine pops open and film unspools out of his camera as his motor drive whirrs.JIMMYDarn!He turns to Bianca, who is looking up in the sky from beside the Cadillac.JIMMY				Hey lady, did you see that?Bianca gives him a glance of contempt.BIANCA				See what?					JIMMY				The girl---dressed like Superman--caught that guy in mid-air.	BIANCAReally? Maybe you should check into the hospital and have your head examined.EXT. HIGH IN THE AIR ABOVE THE HOSPITAL. SUNSETSupergirl carries Ethan beside her, her arm tight around his upper chest, his arm over her shoulders. They are above the clouds bathed in the rich warm glow of sunset. He looks at her ecstatically, his eyes drunk with love.ETHAN				You're alive! She didn't kill you! 					SUPERGIRL Who didn't?	ETHANThat woman who's after me. She hates you. Because she knows I love you.	SUPERGIRL You love me?	ETHANMy angel. My goddess. I feel I've always loved you all my life. I'll die if I can't spend the rest of my life just looking at you, holding you in my arms... 	SUPERGIRLWe have to have a long talk about all this.	ETHANI know just the place. Hang a left at the Amalgamated Tower. EXT. HOSPITAL ENTRY. TWILIGHTSelena comes striding out 'of the hospital, scowling. Jimmy Olsen notices her, and senses her aura of power. He drops his useless Nikon into his camera bag and starts rummaging for another camera.BIANCA				Home?					SELENA				No way. I'm not going to let that little hussy make a 				monkey out of me.					BIANCA				      (shrewdly)				Is it her that's bothering you--or your gardener?Selena looks at Bianca with wounded dignity.					SELENA				I use men, but I'm not addicted to them. I can quit whenever I want.She gets in the back seat of the car, just as Jimmy Olsen snaps a photo of her with a Polaroid. Selena slams the car door and Bianca drives off. Jimmy examines the instant photo he just took. His eyes widen with wonder and the hair prickles on the back of his neck as he sees the image.INSERT: THE POLAROID IN JIMMY'S HAND. THE PICTURE OF SELENA ENTERING HER CAR, BUT BEHIND HER THERE IS A HIDEOUS LOOMING SHADOW---MUCH LARGER THAN WHEN NIGEL SHOWED IT TO HER.CUT TO:EXT. AMUSEMENT PARK. NIGHTThe park is deserted, in darkness. One by one the lights come on, outlining a1l the structures in jewel-like, fairyland colours. It looks strangely familiar. On some deep level there is a resemblance to Argo City.THE CAMERA PANS over to reveal Ethan standing beside the huge fairground switch boxes, turning on the lights. Supergirl stands beside him.ETHAN				This is my favourite place in the city.					SUPERGIRL				Are you sure it's all right for us to be here?					ETHAN				They don't care, they're tearing it down for a shopping centre.He flips the last switch, which starts the Ferris wheel revolving slowly, like a great spiral galaxy in space. Soft music plays.ETHAN				Like it?					SUPERGIRL				Yes. It reminds me of home.					ETHANWhere Superman's from? Krypton?	SUPERGIRLNo. Argo City. It was on a chunk of rock that was part of Krypton once---but we moved it to inner space.	ETHANI'm sorry, I don't understand.	SUPERGIRLIt's not important. The important thing is I'm here to find something and I think you can he1p me.	ETHANCome on, let's ride.They walk to the slowly revolving Ferris wheel and hop aboard one of the gondola cars.ETHAN				I used to work here summers when I was a kid.				SUPERGIRL				Ethan, tell me more about this woman who's after you.					ETHAN				Let's talk about us, not her.					SUPERGIRL				Tell me where I can find her.					ETHAN				I don't want you to go near her. She's bad news.			Ethan puts his arm around her shoulders, casually, no big deal.SUPERGIRL				But be reasonable. If I don't do something to stop her she'll try again. And maybe hurt you.	ETHANI'll be safe with you. We can stay together the rest of our lives.	SUPERGIRLWe can't do that.	ETHANWhy not ?	SUPERGIRLWe're from different worlds.	ETHANJust give me a chance to show how much I love you. Love changes everything. Love makes everything possib1e.EXT. ENTRANCE TO AMUSEMENT PARK. NIGHTSelena gets out of her Cadillac and walks to the chained and locked gate. A big sign says KEEP OUT. CONDEMMED PROPERTY. FUTURE SITE OF FUNFAIR MALL SHOPPING PLAZA. She mutters something under her breath and the chains fall away, the locks click open, and the gate glides noiselessly ajar. Se1ena strides in imperiously.EXT. TOP OF FERRIS WHEELSUPERGIRL				All this talk about love, it's silly.					ETHAN				You don't like me? You hate me?There is such a look of tragedy on Ethan's face, that Supergirl is afraid he might instantly fling himself to his death if she said yes. SUPERGIRL				Of Course I don't hate you. I  don't hate anyone.ETHAN				What do you feel about me?					SUPERGIRL				I...I don't know. This is all so sudden.THE CAMERA RACKS FOCUS FOR A MOMENT TO DISCOVER :Selena, lurking.be1ow them in the shadows of the Spine Snapper Ride.ETHAN 				There's one sure way to find out how you feel.SUPERGIRL What's that?	ETHAN Let me kiss you.SUPERGIRL				No.					ETHAN				You're not afraid are you?					SUPERGIRL				Of course not, but...there are things we don't understand.ETHAN				If we wait until we understand everything we'll be dead.Come on. You can learn more from one kiss than from years in school.	SUPERGIRLWell...I guess one is all right.She closes her eyes, parts her lips, and leans forward.SUPERGIRL Is this how?	ETHANTerrific.Their lips meet. Zowie.					SELENA				What a touching scene!Her voice is like having a bucket of ice water dashed over you. Ethan and Supergirl pull apart. The Ferris wheel has carried them all the way around and back down again. Selena is standing beside them. Supergirl stands up and steps boldly out of the gondola to confront her.SUPERGIRL				Who are you ?					SELENA				I am Selena. Give him to me. Now. Or you'll both be sorry.					SUPERGIRL				I don't scare that easily.Selena rummages down deep in her handbag and pulls out the gargoyle box.SELENA				All right, Miss Know-it-all. If I can't have him, nobody can.She holds the gargoyle box out toward the Ferris wheel.SELENA				Coffer of Shadow, show your Power!INSERT C.U. OF THE BOLTS HOLDING ETHAN'S GONDOLA TO THE FERRIS WHEEL: THE BOLTS UNSCREW AND FALL OUT.BACK TO SCENEEthan yells as his gondola falls off the Ferris wheel and down onto the tent, which covers the DODGEM CARS.INT. DODGEM CARS TENTHe falls through the tent and onto the electrified floor below. The wooden gondola shatters on impact. Ethan sits up, dazed by the fall, and sees a dodgem car painted like the face of a vicious football player heading toward him. Ethan scrambles away on his hands and knees. Another hideously painted car attacks him, and another, and another. He dodges and scuttles around desperately. Finally he manages to climb aboard one of the cars.EXT. AMUSEMENT PARKSupergirl reaches out to seize Selena. But Selena holds up the gargoyle box and is surrounded by an impenetrable, glowing shield of force. Supergirl tries to push through, the shield in vain.Supergirl flies to the little fence made out of steel spikes surrounding the Haunted House. At super speed she rips up the entire line of fence posts and hurls them like javelins at Selena.Selena dissolves her force field and tries to run away, ducking and dodging the rain of javelins. She turns too quickly and the GARGOYLE BOX slips out of her hand and rolls underneath the deck of the carousel. Selena moans with despair, and pauses, reluctant to leave without the box. This is the opportunity Supergirl needs. The fence posts bury themselves in the ground in a perfect circle around Selena---effectively imprisoning her.SUPERGIRL				That ought to keep you out of my hair for a while.SELENA A cheap trick.	SUPERGIRL Cheap but effective.INT. DODGEM CAR TENTEthan is holding on to his car desperately as all the other cars viciously ram into it. Suddenly his car is lifted up, carried through a hole in the tent roof, and off into the night sky.ETHANSupergirl'?He looks under the car. There she is, carrying him to safety. She smiles reassuringly.EXT. AMUSEMENT PARKSelena is trapped inside the ring of posts, fumbling in her bag. One by one she takes out dried herbs, feathers, dusts, and flings them at the bars while she shouts magic word. Nothing works.SELENA				Yookoohoo! No, that's not it. Sis-o-reb! Nope. Ka-ma-hoochie!Bianca appears out of the shadows. Selena looks up, embarrassed.					BIANCA				Sure glad you didn't let make a monkey of you.					SELENA				Shut up, and get me a hacksaw.Bianca pauses uncertainly.BIANCA				Why don't you use the Coffer of Shadow?					SELENA                  (evasively)I don't feel like it right now.					BIANCA				She didn't take it from you, did she?					SELENA				That little girl? Ha.  Now go on, get me some tools.BIANCA				There's no need. I learned the Craft from my 						grandmother.Bianca takes out a bundle of twigs from her pocket and strokes the bars of the fence with it.BIANCA Sycoraka f'kah s'koo...The bars fall down like boiled spaghetti. Selena steps out of the circle of confinement with queenly dignity.SELENA				Good. Now bring the car. We must call a meeting of the seven.Bianca bows.BIANCA Yes, mistress.Bianca hurries off toward the parking lot. Selena watches her until she turns the corner of the Haunted House. Then Selena kneels down and carefully reaches under the deck of the carousel for the GARGOYLE BOX.					SELENA				There you are. Come to mama.She takes out the box, s1ips it inside her cloak, and stands up. She casts a last glance around the scene of her defeat, and strides off after Bianca.CUT TO:EXT. TROPICAL BEACH. DAYSupergirl lands Ethan in his battered dodgem car on a beautiful, deserted tropical beach. Palm trees wave over a white sand beach. The blue ca1m of a lagoon mirrors huge white clouds that hang motipn1ess on the horizon like colossal snowy mountains. Gaily-coloured parrots screech in the branches of blooming hibiscus and jacaranda. Ethan gets out of his carnival ride and gazes around w1th awe at the beautiful scene.SUPERGIRL				I thought I'd show you one of my favourite places.					ETHAN It's paradise . We could be very happy here.SUPERGIRL				But I have to go back. I brought you here so you'd be safe. From her.	ETHANYou can't just abandon me.  Alone.His words strike a sensitive nerve in her. She relents.SUPERGIRL I'll stay for a while.Ethan is filled with enthusiasm.ETHAN				Great! I'II build a house-- right over there, with a veranda looking out to sea. And I'll plant a garden! Papayas, pineapples, bananas, mangoes---anything'll grow here. And I'II fish in the lagoon, and we can go sailing in a dugout canoe, and---	SUPERGIRL Ethan---when I said 'a while' I meant a couple of hours.Ethan's face falls. He looks at her beseechingly.SUPERGIRL				Well, maybe a little longer than that.She smiles and takes his hand. Together they walk along the beach.CUT TO:EXT. SELENA'S MANSION. NIGHT Rolls Royces, limos, and Maserattis parked in the driveway. It looks like a meeting of the ostentatious car club. A helicopter lands on the front lawn. The ELDERLY MAN from the garden party gets out and walks across the lawn toward the house with the aid of a cane. Behind him the helicopter takes off again. Selena opens her front door and confronts him angrily.SELENA You're late.	ELD ERL Y MANThe President was giving a speech. I couldn't just walk out.	SELENAYou're more afraid of the President than me???	ELDERLY MAN No, of course not.INT. SELENA'S LIVING ROOM. CANDLELIT. NIGHTWaiting for her are an extraordinary group of people, all of whom we met or glimpsed briefly at the garden party. Bianca is talking to ERICA, a red-haired female dwarf. A proud, barefoot AMERICAN INDIAN WOMAN in fringed doeskin is talking to a muscular, young BLACK MAN in a cashmere suit with lots of gold and diamond jewelry. NIGEL is sulking in the bar, his face covered with tannisroot ointment.Selena enters with the Elderly Man in the banker pinstripe. They all form a circle in the centre of the room.					SELENA				Let us begin. I invoke the rule of seven.OTHERS IN UNISON The Circle is complete.	NIGELYou better have a pretty good explanation for this, Selena.	SELENAWe are in great danger. A being has come to Earth with powers far beyond those of anyone member of the Craft.	INDIAN WOMANBut Superman has been away.	SELENAIt is not Superman I speak of, but his cousin Kara. She knows we exist..	ELDERLY MANThen she must be destroyed.	NIGEL How did she find out about us?	ELDERLY MANThat is unimportant. Now that she knows, she will become curious and learn more. When she learns we plan to restore the ancient religion of this planet and avenge the centuries of persecution---she will try to stop us.	BIANCAWe must destroy her first.	ERICABut how can we destroy her?SELENA				By the Rite of Ultimate Power. One person must volunteer  to take on the combined power of us all.Nigel stands up and points an accusing finger at Selena.NIGELYou! You want to take our power for yourself!Selena reacts calmly, speaking in low, modulated tones, as if to an overstimulated child.					SELENA				Nige1, you know the one who takes on Ultimate Power must sacrifice the last sparks of her own spirit.Selena takes hold of a golden chain hanging around her neck and draws out a little glass vial attached to it. Inside the glass vial a tiny spark glows brightly.					SELENA	 			      (continuing)				Which of you is willing to make that sacrifice?					NIGEL				You would! You revealed our existence so you could have all of our power.	SELENAMaybe you'd like to get rid of this Supergirl yourself, Nigel?	NIGELWhy get rid of her at al1? You've used the Coffer of Shadow too much.  It is beginning to rule your heart.	SELENANonsense.Nigel pulls aside the heavy veil covering her mirror.FOR AN INSTANT SELENA SEES HER REFLECTION IN THE MIRROR. BEHIND HER LOOMS THE DARK, EVIL PRESENCE, INVISIBLE TO THE OTHERS IN THE ROOM, AND MUCH LARGER THAN WHEN SHE GLIMPSED IT AT HER GARDEN PARTY.Then Bianca leaps to the mirror and pulls the veil back across it. Bianca stands challenging Nigel, daring him to try again. Selena looks at the gargoyle-shaped Coffer of Shadow, sitting beside her hearth. It too seems much larger than when we last saw it at the hospital. Selena wonders for a beat if maybe Nigel is right. Can the Shadow be ruling her?BIANCA Enough quibbling. Let us vote.They all draw their sacred white-handled knives out of concealment in their clothing. Nigel defiantly places his on the floor with its blade pointing inward. Then one by one, the others put down their knives with the blades pointing outward. They all look at Nigel. His shoulders sag with dejection. 					SELENA				I invoke the rule of seven. Do you agree?Nigel speaks with the voice of someone pronouncing his own death sentence. NIGELI have no choice.His knife turns by itself on the floor until its blade points outward. Everyone joins hands in the circle. A fire springs to life on the hearth. Someone starts to chant in a strange ancient tongue. Slowly the heavy, opulent living room begins to change: the carpet becomes the floor of an ancient stone temple with dark brown stains splattered across its massive granite blocks, the walls start to melt away. Outside the windows the dark night is replaced by hot, brutal sunlight pounding down on an endless desert stretching away to the horizon.The house completely dissolves and is replaced by monumental stone ruins. The smoky fire crackles and sends its dark plumes boiling skyward. The only thing remaining of Selena's house is the hearth and the Coffer of Shadow. Selena stands up And walks out of the centre of the circle toward the Coffer. She opens the lid. She pulls the glass vial off the golden chain around her neck and drops it into the Coffer.CUT TO:EXT. TROPICAL BEACH. DAYEthan wanders along the beach with Supergirl, holding hands. She stops to pick up a seashell. Ethan clutches his head as if he has a sudden violent headache, moans, and collapses on the sand. Supergirl kneels beside him.					SUPERGIRL				Ethan, what IS wrong?Ethan opens his eyes and looks at her. He speaks in a voice of bleak despair.					ETHAN				She said it wouldn't last.SUPERGIRL				What wouldn't last? What's the matter with you?Ethan sits up, wincing like someone with a bad hangover.					ETHAN				I don't love you any more.SUPERGIRL Just like that?	ETHANLike turning off a light.He struggles to his feet and stands there unsteadily.										ETHAN				I feel awful. All that romantic garbage. All that mushy talk.He lurches off into the undergrowth, toward the interior of the island. She plunges into the vegetation keeping pace with him.SUPERGIRL Where are you going?ETHAN Away. From you. 	SUPERGIRLBut why?ETHAN				Because you remind me of all the dumb things I said.					SUPERGIRL				I sort of like what you said.					ETHAN				That makes it worse.					SUPERGIRL				But I don't understand.He stops and stares at her for a moment.					ETHAN				Of course you don't. We're from two different worlds, remember?He stalks off into the jungle, leaving her behind, hurt and bewildered.CUT TO:INT. SELENA'S LIVING ROOM/PAGAN TEMPLE. NIGHTA barbaric ritual. Selena's companions sway and gyrate to the sound of gongs and drums. The floor is covered with a red mist. In the middle of a column of fire a figure like Selena seems to float. The ritual reaches its climax and everything pauses for a moment of sti11ness.Selena steps forth from the column of fire. She is clothed in a shimmering garment---white with flashing highlights of rainbow iridescence. The six other members of her group fall to their knees in awe. Selena seems to glow with an inner radiance. She laughs, and the pagan temple around her changes back to the living room of her house in Midvale. In her shining gossamer gown and her new aura of majesty, she seems too large, too powerful to be contained in the familiar surroundings of her house.SELENA				At last. Ultimate Power.					BIANCA				And the first thing we do is get rid of Supergirl!					SELENA				What do you mean we?She turns on the kneeling six. They cringe from her. Selena raises her hands and the kneeling six cry out in fear.CUT TO:EXT. BESIDE A STREAM. TROPICAL PARADISE. DAYEthan is sitting beside a stream on a gravelly bank idly tossing pebbles into the water. Supergirl steps out of the jungle and watches for a moment. Then she comes and sits down beside him.ETHAN				Hi.					SUPERGIRL				Hello. Are you still mad at me?					ETHAN				I'm not mad at you.					SUPERGIRL				It seemed that way to me.					ETHAN				I know I was acting funny---I'm sorry. It's just...I miss it.					SUPERGIRL Miss what?ETHAN				What I had before. What's not there now. It's like I woke up and found part of me wasn't there any more:something that made me feel really alive and aware of things. It was like, for the first time in my life, everything fitted together perfectly---you and me and the world around us--like we were a wonderful song...He falls silent, and tosses a few pebbles into the stream.SUPERGIRL				And now?					ETHAN				And now...the guitars are out of tune, and the words don't make sense, and somebody unplugged the mike...	SUPERGIRLWell...I don It know much about these things, but maybe if you had that feeling once...it can, come back. He turns to her hopefully.					ETHAN You think so?	SUPERGIRL I don't see why not.	ETHANBut what if---it wasn't real? SUPERGIRL				Feelings are real. Once you've had them, they're yours forever.Ethan's face lights up. The future begins to exist for him again.					ETHAN				Hey, listen, when all this blows over, maybe we could get together every now and then and see each other. And maybe something might. happen again. What do you think?	SUPERGIRLAre you asking me for a "date"?ETHAN				Why not? You're a good-looking girl. And I'm---available.	SUPERGIRLAren't you forgetting about Selena?	ETHANShe'll forget about us eventually.							CUT TO:INT. SELENA'S LIVING ROOMIn the polished surface of her mirror, Selena makes a scene appear: Ethan and Supergirl on the tropical island.SUPERGIRL      (image)There's something very dangerous about her. Something evil...	ETHAN        (image)I know what it is. She has this lead container shaped like a gargoyle. Inside there's a silvery ring...CUT TO:EXT. TROPIAL ISLANDSupergirl becomes very excited.					SUPERGIRL				That's the Power Source that was lost from Argo City! That's what I came: to find! Where does she live? 	ETHANIn this big old house on Orchard Avenue---but you better stay away from there.	SUPERGIRLI can see through walls. I could surprise her. The only thing I can't see through is lead, that's why I didn't see the Power Source at the amusement park.She stands up.					ETHAN				Wait. Don't leave me.SUPERGIRL				You'll be safe here. I'll come back as soon as I have the Power Source.He stands up and takes her hand.ETHAN Before you go...	SUPERGIRLWhat?	ETHAN Just one kiss. For old times' sake.	SUPERGIRLAnd you can see how you feel about me, right?	ETHANYes.She closes her eyes and parts her lips. Slowly their lips come together and touch. Then a sudden rush of sheer desire flows through them and the simple experimental kiss become an ecstatic prelude to the heights of lovemaking. But before either one of them can go one step further, ETHAN DISAPPEARS WITH A FLASH OF BLINDING WHITE LIGHT. A cloud darkens the sun, and the trees are lashed into a frenzy by gale-force winds. Selena's laughter can be heard from somewhere far away.					SUPERGIRL				Ethan!Supergirl flies into the air.EXT. TROPICAL ISLAND. SUNSET. SKY ABOVE ISLAND. DAYSupergirl flies around the island very fast at high speed, searching for Ethan and Selena. She hovers like an eagle for a moment, then speeds straight upwards.EXT. ABOVE THE OCEAN. DAYSupergirl flies back to North America, faster than she has ever flown before.EXT. ABOVE MIDVALE. DAYSupergirl zeros in on Selena's house like an exocet.EXT. SELENA'S FRONT LAWNSupergirl lands and walks cautiously up to the front door, ready for anything but what she finds: the front door is ajar. She pushes it open with a creak of its massive hinges. She walks slowly inside.INT. SELENA'S MANSION. FRONT HALL/LIVING ROOMSupergirl looks around. The house seems deserted and drastically neglected. Cobwebs hang over everything. The dust has the thickness of a hundred years. Moths have eaten away all the splendid tapestries. Rats cavort along the baseboards. Bats sleep in the chandeliers. In the living room Supergirl finds Bianca crouched in A Corner, gibbering mindlessly. Bianca too has changed: she is dressed in rags, and her wild staring eyes are rimmed with dark circles. When she sees Supergirl she cries with fright.SUPERGIRL				Hey take it easy. I won't hurt you.BIANCA				I thought .it was her, coming back. Spared me. But I thought. . . maybe changed her mind. Nigel warned us. Wouldn't listen to him.	SUPERGIRLWhat are you talking about? Where's Selena?BIANCA				No. Don't want to know. She's bad. Don't go near her.				Hurt you.SUPERGIRL I have to find her. Tell me.Supergirl looks into Bianca's eyes with her calm, heroic gaze, and Bianca comes somewhat to her senses. Bianca points to the adjoining bar. Supergirl walks over warily and sees FIVE GOLDEN CAGES suspended among the bottles. Nigel and the four remaining members of the Circle are imprisoned in them, shrunken but alive. Nige1 is in a perpetually turning squirrel wheel. He sees her and calls out.NIGEL				Supergirl! She's waiting for you. On Taliesen Mountain. Stop her before it's too late!Supergirl gets a look of determination on her face. She turns and flies out through the French doors and heads straight up into the air.INT. SELENA'S NEW HOUSE (A MOUNTAIN-TOP PALACE) Ethan is in a dark, shadowy place, bound to a stake with stout cords. Sticks of wood are piled all around his feet. Selena stands beside him in her shining gown of power. She looks even more gorgeous and cruel than before. She offers him a glass of water to drink, but he turns his head away violently.					ETHAN				I'm wise to your tricks, lady.					SELENA				I could force you.					ETHAN				If that worked, you would've done it already. No, you want me to drink it of my own free will. Well let me tell you, sweetheart, it'll be a cold day in hell before I fall for that one again.	SELENAGo on,  talk big! I'll soon have you purring like a kitten.She puts the glass of water in a, basket at the end of an iron chain hanging down from above. There is a straw in the glass at such an angle that Ethan can just reach it with his lips if he stretches as far as possible.SELENA				You've been without water for a whole day. Let's see how thirsty you get in a week.	ETHAN You vicious--	SELENACareful, don't make me angry. I start fires when I'm angry.She glances meaningfully at the faggots piled around his feet and walks away.THE CAMERA FOLLOWS HER revealing that she has been talking to Ethan inside the mammoth fireplace of her living room. Her new house is enormous. Where before she lived in a mansion, now she dwells in a palace. The fireplace is seven feet high, the living room floor is wide as a football field, and. the French windows into the garden now tower like the windows in the North transept of Chartres Cathedral. Selena disappears out the imposing portals which lead to the wet bar and butler's pantry--each now the size of a basketball court.Back in the fireplace, Ethan cranes his neck to make sure she has gone, then reaches out toward the glass hanging nearby. He pokes the straw with his forehead. The glass swings slightly. The glass swings close enough for him to bump it with his forehead and set up a rhythm. He gauges the swing of the glass and, at the precise moment, grabs for it with his mouth. He catches hold of the rim of the glass with his teeth and holds it there for a moment as he summons his courage to do what must be done. He bites hard on the rim of the glass with his teeth.The glass shatters and falls to the floor with a crash, leaving Ethan with a small fragment of the rim in his mouth and a trickle of blood down his chin. He leans his head over until it is directly above his left hand tied to the stake two and a half feet below his shoulders. A droplet of blood falls into his hand. He drops the glass fragment down to his hand and catches it. He grins, and sighs with relief. Then spits to clear his mouth. Slowly he saws. at the ropes that hold him with the sliver of glass in his left hand. One by one the strands part.Ethan strains against his bonds and the weakened rope snaps. He quickly disentangles himself from the coils and steps out of the fireplace. He looks around the mammoth room. The coast is clear. He spits a few bits of glass out of his mouth, and dashes out of the doorsto the garden.EXT. SELENA'S HOUSE. GARDEN.  CONSERVATORYEthan sees a green plastic garden hose, which the gardener has left running in a trickle to irrigate the hydrangeas. Ethan remembers that he is very thirsty. He picks up the hose, rinses out his mouth hurriedly, and then takes long, desperate gulps of the water. Behind him he hears Selena's laughter. He drops the hose as if stung by an electric eel and turns to see her emerge from behind a large strangler fig.INSERT ETHAN'S P.O.V.The same effect as when he drank the love potion the first time. The plants of the conservatory swirl and distort in garish nightmare colours. At the centre of his vision is an area of crystal clarity surrounding Selena. She approaches him seductively, fully confident of her power. As she comes nearer, the clear area expands and drives out the visual chaos. Selena speaks, and her voice is a close-miked throaty purr.SELENA				I told you I'd win.BACK TO SCENEEthan is held by the spell of her magic. And yet there is part of him that still resists. You can see him try to turn his head away from the vision of ideal beauty before him, and then give in as she comes closer and I touches him with her hand. A zap of energy passes between them at her touch.SELENA				Kiss me.	He embraces her roughly and crushes her lips with a kiss. He is filled with a tigerish lust that thrills her deeply. She rakes her long red fingernails across his back and moans with pleasure.EXT. ABOVE THE MOUNTAINS. DAYSupergirl flies over the Rockies toward Selena's house.DISSOLVE TO:EXT. TALIESEN MOUNTAIN. SELENA'S NEW HOUSE. DAYSupergirl flies over Selena's new house. For the first time we can see the enormousness of it: a grotesque, towering monstrosity, that seems to brood threateningly over the landscape.EXT. GARDEN BEHIND SELENA'S NEW HOUSE. DAYSupergirl lands and walks toward the towering French doors of the living room. But something distracts her. She turns and enters the gigantic conservatory to her right.INT. CONSERVATORYSupergirl looks around and sees in the middle of the conservatory a reflecting pool surrounded by exotic plants. She walks closer and looks down into the reflecting pool. In the bottom of the shallow pool she sees Ethan securely bound. His eyes stare wildly. Dead or drowning.SUPERGIRL				Ethan!She leaps into the shallow pool, and sinks over her head. A polygonal section of the surface of the reflecting pool detaches itself from the water and rises up perpendicularly. It is a door to the Phantom Zone. Supergirl is trapped behind an impenetrable force field, looking out in despair. Ethan is not there with her. His image has disappeared. The real flesh and blood Ethan appears with Selena from behind the strangler fig. They look in at Supergirl trapped behind the shimmering polygon that la ads to the Phantom Zone. Selena laughs at her, but Ethan stares as if at a long forgotten acquaintance whose name he is trying to recall.Selena notices Ethan's wandering attention and she puts her arms possessively around him.SELENA				Enjoy your prison, Supergirl. It's forever.Supergirl calls out to Ethan, her hands and face pressed against the transparent wall of her prison, but no sound can escape the impenetrable force field.INT. PHANTOM ZONE DOORSupergirl is seen in reverse, beating on the hard crystalline surface of the prison.SUPERGIRL				Ethan! Don't let her do this!Beyond the threshold of the zone, Selena in her conservatory kisses Ethan with fierce lust. He returns her , emotion, forgetting all about Supergirl.SUPERGIRLNo. No. It isn't true.The image of Selena and Ethan begins to recede, getting smaller and smaller, until it vanishes entirely in infinite blackness.EXT. SPACEThe flat two-dimensional polygon that is Supergirl's prison whirls away through space. Behind the transparent surface we can see Supergirl's face stained with tears.EXT. PHANTOM ZONE Another kind of reality. Unlike anything we have ever seen. The crystal prison lands on the ground of the Phantom Zone and shatters. Supergirl picks herself up from among the fragments of her prison and looks around. The landscape is utterly strange and alien, with a feel of stark, oppressive sterility. As far as the eye can see there is no sign of life. Supergirl stands up and raises her arms to fly. She hops into the air about eight inches and lands flat-footedly on the sand. With a shock she realises SHE CAN'T FLY.She hops a few more times, with no more success.She picks up a small rock from the ground. She tries to crush it in her hand. She can't. Angrily she hurls it from her as far as she can. Instead of disappearing into infinity it drops at her feet a few yards away. She scoops up some sand from the ground and holds it cupped in her hand. She takes a deep breath and tries to blow it away. She is barely able to disturb a few grains. She drops the sand and sits down on a rock, forlorn and dejected.Suddenly she hears Alura's voice, very faint and coming from a long distance away. ALURA'S VOICE Kara, where are you?	KARAMother? I can hardly hear you.	ALURA. S VOICEKara! You're alive. We were so worried. You disappeared from the scanners...KARA				I'm lost, Mother. In some awful place. I can't fly anymore. And I'm weak.	ALURA'S VOICEKara, you must not give up. We must retrieve the Power Source. The City is dying.					KARA				Then send someone else. I failed.					ALURA'S VOICE				We can't. The' dimension barrier is stronger. We no longer have the power to push through.KARA				But Mother, I'm lost. 					ALURA' S VOICE You must try. . . it's cold. And dark. . .The rest of her sentence fades out, and is lost. KARA Mother---I tried. I really tried.Kara puts her face in her hands and starts to sob hopelessly.CUT TO:EXT. UNITED NATIONS, NEW YORK. DAYEstablishing shot. INT. GENERAL ASSEMBLYThe DELEGATE FROM URITANIA is going on (in Esperanto) denouncing the latest outrage against his peace-loving country. A few bored DELEGATES of various nationalitiesare sprawled in their seats listening to the simultaneous translation over earphones. The dign1fied PRESIDENT of the General Assembly is sitting on the dais behind the ranting delegate. With a FLASH OF LIGHT and a chok1ng cloud of sulfur fumes, Selena appears beside the podium. She is in her shimmering white robe. The dozing delegates wake up with amazement. The URITANIAN delegate stares at her with his mouth open as she slides him away from the microphone. INT.  TRANSLATOR"S BOOTH . GENERAL ASSEMBLYInside the translator's booth, the entire panorama of the enormous hall is visible through the glass window. The eight TRANSLATORS stop translating and stare at the scene below.BACK TO GENERAL ASSEMBLYSelena is about to speak in the microphone, when two SECURITY GQUARDS attempt to step onto the podium. Selena reaches out toward them. A field of force from her hands stops them in their tracks, knocking them backwards off the steps to land on their butts. The delegates gasp at this act of magical violence.SELENA				Nations of the world! I bring you tidings of a new age!The President of the General Assembly starts to shout at her and bang on the podium with his gavel. Selena looks over her shoulder with mild annoyance. Instantly the President's gavel turns into a live eel. The President drops it with horror. Selena continues her speech.SELENA				I bring you a return to the ancient true worship of Nature, our Sovereign Queen and Mother. And I bring you myself as her representative here on Earth.The URITANIAN suddenly recovers his wits and tries to place a hand on Selena's shoulder. A whirlwind hurls him off the podium into the desks of the front row delegates. The delegates babble in consternation but keep to their seats. Selena raises her voice to be heard over the uproar.SELENA				From this moment forth, all science, religion and other				unnatural beliefs are forbidden. And in their place I will teach the One True Way of our ancient grandmothers.The President of the General Assembly has recovered enough from the surprise of the eel to interrupt Selena.					PRESIDENT				You are talking about the end of Civilisation as we know it.	SELENAAnd it's about time too.	PRESIDENTI do not know who you are, or what evil force you represent, but it will take more than afew threats from you to make mankind turn back the clock and abandon thousands of years of progress.Selena has listened with a mocking smile as he speaks. He finishes to a smattering of applause from some of the delegates.SELENA				Threats? I don't need threats to destroy civilisation. I have something better.She snaps her fingers in the air. Immediately a RAIN OF MONEY BEGINS TO FALL ALL OVER THE GENERAL ASSEMBLY. PAPER MONEY AND COINS OF ALL NATIONS. Selena looks at her work with pleasure. Then she disappears in a FLASH OF LIGHT.The delegates blink with astonishment. The only trace of her presence is the tang of sulfur in the air---and the money. One delegate forgets his dignity and starts scooping up money from his desk and stuffing it into his pockets. Suddenly all the delegates are doing the same thing. The only exception is the delegate from the United Kingdom who thinks it might be beneath his dignity, and looks about with mild disapproval.CUT TO:EXT. THE PHANTOM ZONESupergirl walks across the rolling monotony of the Phantom Zone. We have never seen her like this before: sweating, her hair unkempt, streaks of dirt and grit on her face, exhausted and full of despair. She stumbles at the crest of a low ridge and falls down to the bottom of the slope, banging her head on a rock. She sits there, a big rip in her ,uniform, rubbing her bruised forehead. It is hard to imagine her any worse off.She hears a sound, vaguely familiar. She looks around for its source. She follows the sound, crawling slowly along the base of the ridge. The sound gets louder and as she, approaches. It is a sound of celestial, spiritual beauty: the music of the spheres.Suddenly she comes out into a tiny valley in the Phantom Zone and sees before her the most beautiful sight she could imagine. The harsh monochromatic sterility of the Phantom Zone gives way to a riot of bright colours. A dome-like building protrudes from the ground. All around it are gorgeous singing sculptures in the style of Argo City. A sculptor. in the clothing of Argo City is modeling a glassy statue with a matterwand. He turns and catches sight of Supergirl. It is Zaltar.SUPERGIRL				Zaltar.Zaltar drops his wand and comes running over to Supergirl. He kneels beside her on the sandy ground.ZALTAR				Kara? Is it you?Supergirl nods. She is obviously exhausted. Zaltar takes the bulb full of liquid off his belt and offers her a drink. She drinks thirstily of the refreshing green liquid, and feels strength returning to her body.SUPERGIRL What is this place?	ZALTARThis is the Phantom Zone. But why did you come here from Argo City?	SUPERGIRL I was on Earth...	ZALTAREarth? You crossed the dimension barrier? By yourself?	SUPERGIRLYes. I went there to find the lost Power Source...	ZALTAR Shouldnt've done that.	SUPERGIRL...but the person who has it. tricked me, and sent me to the Phantom Zone.	ZALTARIt's dangerous to use a Power Source on Earth. It can unleash all sorts of terrible forces---	SUPERGIRLI know.	ZALTARWell, nothing we can do about it. Come into my house. You can stay with me, until I build you your own place. I expect you won't want to mix with the others--not our type of people.He helps her to her feet and over to his house, a sort of Argonian gothic cathedral half-buried in the sand. The curves of the arches and the materials are strongly reminiscent of Zaltar's work on Argo City.					SUPERGIRL				Others?					ZALTAR				Criminals.Zaltar gestures vaguely to the horizon on his right.					ZALTAR				A few hundred parasangs that way. I avoid them. And you should too.Zaltar leads Supergirl past the singing sculptures. She smiles as she passes them, and remembers his "tree" in Argo City.SUPERGIRL ...mid pleasures and palaces though I may roam..."	ZALTAR What? Palace? Hardly.	SUPERGIRLJust feels, a little, like a tiny bit of Argo City...ZALTAR				Yes. Can't seem to get away from that style. Must try something new.INT. ZALTAR'S HOUSEHe helps her down a long spiraling staircase to the floor of a high domed room. In the centre of the room is a huge round table cluttered with tools, models and unfinished projects.SUPERGIRL It's lovely. . .	ZALTARNo, no. Not lovely. 'Perfect'. Did everything just right. Nobody telling you to change this, move that around. Please yourself. That's the secret of happiness.	SUPERGIRLAre you happy, Zaltar?ZALTAR				What kind of a question is that? Of course: I am. I do whatever I want. All the time.	SUPERGIRLBut what about other people? Don't you miss them?They have reached the ground floor. Zaltar plucks one of the liquid filled bulbs from the stem of a large plant growing in a niche in the wall. He squirts some of the green liquid in his mouth with great satisfaction.					ZALTAR				I look at them all the time. Every planet in the galaxy. It's quite boring. Here, rub some of this onto that bruise.He carefully applies some of the green liquid to the wound on her scalp.SUPERGIRL				You look at them? How?					ZALTAR				The Phantom Zone overlooks everywhere.. If you have the right tools.Zaltar sweeps the clutter off the table and onto the floor.He passes his hand over the table and instantly the table turns into a WINDOW INTO ANOTHER WORLD, showing an image of a herdboy riding on the back of a water buffalo in a rice paddy.ZALTAR				There you see? What could be more boring than that?He waves his hand, and the image disappears.SUPERGIRL				Wait. Could...could I see the place I just came from?Zaltar sighs with great martyrdom, and starts to fiddle with his controls.					ZALTAR				It'll only make you sad. He shows her the proper hand gestures to control the image.					ZALTAR				This goes closer. This moves it around. And this begins.He gestures with his hand and the WINDOW OPENS again. Supergirl ZOOMS THE IMAGE IN as fast as she can, trembling with desperate urgency. The IMAGE ON THE TABLE DISSOLVES FROM HIGH ABOVE A CITY DOWN TO :EXT. WALL STREET.  DAYThe financial district. Bank clerks are shoveling money out the windows of several large, imposing banks. Passersby ignore the bonanza, and trudge dejectedly on.INT. STOCK EXCHANGE. DAYChaos and pandemonium on the floor. Not the everyday chaos and pandemonium you always see. Brokers are trying to strangle one another. Fist fights. Bloody noses. The crunch of breaking knuckles.EXT. SUPERMARKET.  DAYPeople are waiting in line with wheelbarrows full of money. The store manager shakes his head and sends them away. The only people he lets in the store are a man with a live turkey under his arm, a little old lady carrying a Rembrandt in a nice gold frame, a woman who gives him her fur coat and a man with an antique clock.EXT. HIGH ABOVE SELENA'S NEW HOUSE. TALIESEN MOUNTAIN.  DAYThe CAMERA ZOOMS DOWN and DISSOLVES THROUGH THE ROOF TO:INT. ANTE ROOM IN SELENA'S NEW HOUSEA mob of dignitaries and petitioners is waiting anxiously outside the large imposing doors to Selena's reception room. Generals in uniform, diplomats wearing their medals pinned ,on their formal suits, bankers in pin stripes, and the robed ecclesiastics and holy men of various faiths. A secretary opens the door to the reception room, and the dignitaries all surge forward.					SECRETARY				No more audiences today. Go home. All of you.Through the open door Selena can be glimpsed sitting .on her throne-like chair, with Ethan kneeling at her feet, resting his head in her lap like  a pet animal.DISSOLVE TO:INT. SELENA'S SITTING ROOMThe secretary closes the doors leaving Ethan and Selena alone. She strokes his head. Outside crowds can be heard chanting her name: "Selena! Selena!"SELENA				They want me. Doesn't it make you proud?					ETHAN				Yeah.Selena gets up and walks over to the door leading out to her balcony.SELENA				Coming?Ethan follows her sullenly.EXT. BALCONYThey walk out onto the balcony. The crowds scream her name. She waves smiling. Ethan stands a step behind her with a moody expression on his face.					SELENA				Smile, lunk-head. You're not a gardener any more, you're Prince Ethan now.Ethan lifts his hand and waves half-heartedly.EXT. GROUNDS OF SELENA'S NEW HOUSE.  BENEATH THE BALCONYThe crowd is enormous, held back behind police barricades. Guards in the special livery of Selena's service hold back the surging tide of humanity: people .praying, chanting, walking on their knees, cripples on crutches, the ailing on stretchers carried by relatives. And in front a disciplined youth group in a distinctive costume perform chants and fanatic cheers. Huge banners display Selena's portrait. Images of her are everywhere.INT. ZALTAR'S HOUSE. PHANTOM ZONESupergirl reels with shock at the scene SUPERGIRL That horrible woman!	ZALTARTold you. Wouldn't listen to me. Knew it would make you sad.He starts to gesture the image away, but she puts her hand on his arm, stopping him.SUPERGIRL				No. I have to see this.Zaltar shrugs.DISSOLVE TO:EXT. HAMBURGER HEAVEN. MIDVALE. DAYThe roadside complex where Lucy's traffic accident occurred. The Hamburger Place is boarded up. The area is almost deserted and no cars pass on the street. All of the huge advertising billboards along the way are now covered with pictures of Selena. The only writing is in mystic symbols. A lone figure walks furtively along the street. It is LUCY LANE, her face disguised with dark glasses. She goes to the rear of the abandoned Hamburger Place and knocks four times. The door opens quickly and she ducks inside.INT. HAMBURGER HEAVEN. DAYThe restaurant has been converted into a clandestine print shop. A few serious teenagers are working the press and turning out seditious handbills. Freshly printed pages are hung on clothes-lines so the ink can dry. "THE TRUTH ABOUT SELENA" is the headline over JIMMY'S PHOTO of her getting into the Cadillac with her huge shadow looming behind. Lucy crosses to Jimmy Olsen, who is tying up bundles of handbills.LUCY				I had to dump the papers in a trashcan. The Danvers have been arrested!					JIMMY				How do you know?					LUCY				I saw them dragged out of the Administration Building.					JIMMY Did anybody notice you?	LUCYI can't help it if men notice me.	JIMMYLucy! Be serious. We could be executed for  treason!She kisses him on the nose.LUCY Just kidding. Nobody saw me.Jimmy gives her another bundle of handbills. HELMETED GUARDS in the livery of Selena's service kick down the door. and rush in, weapons drawn. They smash up the print shop and arrest everybody. Jimmy and Lucy are handcuffed and dragged away.INT. PRISONThe Danvers and all the teenagers from the print shop are crowded into tiers of barred cells set into the walls of a dark, enormous cavern. Jimmy and Lucy huddle together for warmth in one of the tiny cells.JIMMY				I sure wish Superman was around. He wouldn't let any of this go on. Not for one minute.	LUCYI wish they'd tell us what they're going to do with us.JIMMY				I heard stories.  I don't think you wanna know.There is the clank of an iron door, and Ethan enters the prison with several of the guards in Selena's livery. He walks past the cells, glancing now and then with compassion at the poor wretches inside. Lucy calls out as he passes.LUCY Hey! Ethan!	ETHANHmmm?LUCY				Remember me? We were in a disaster together.					ETHAN .				Oh yeah, the girl in the hospital, on the other stretcher.					LUCY				Right! Say, do you swing any weight around here?					ETHAN				A little.					LUCY				Can you get us out? It's all a misunderstanding. We thought they were selling hamburgers in that place.	ETHANI'll mention it upstairs.He turns to go, but Jimmy reaches out and grabs his sleeve.					JIMMY				The blonde girl who saved your life---where is she now?Ethan pauses. Buried memories rise to the surface of his mind, bringing pain.ETHAN				She's gone. No one will ever see her again.CUT TO:INT. ZALTAR'S HOUSE IN THE ZONESupergirl waves her hand over the table angrily, decisively. The WINDOW of the Zone closes, and the image of Ethan disappears. She crosses to Zaltar, who is reclining on a couch in an adjoining room, getting drunk on the green liquid from the plant bladders.SUPERGIRL Zaltar, please help me.	ZALTAROf course, my dear. What can I do?	SUPERGIRLHelp me to get back to Earth. Where my friends are. They need me.Zaltar looks pained, and takes several deep drinks of green plant sap before he answers.					ZALTAR				There's no way out of the Zone. No one's ever escaped. That's why they send the criminals here.SUPERGIRL				If there's a way in, there must be a way out.					ZALTAR				No, that's not true---there's well...no--He suddenly has an idea, vaguely forming at the back of his drink-sodden brain. He toys with it, while Supergirl leans forward eagerly, waiting. He changes his mind several times about whether it's possible or not, each time changing his facial expression. Supergirl has the feeling she's watching a debate conducted by squints and grimaces.ZALTAR There is a way.	SUPERGIRL I knew it!	ZALTARBut it's impossible.	SUPERGIRLWhy?	ZALTARNo, it wouldn't work, you couldn't, it's too---if it didn't work you'd be swept into a singularity---no, you'd never make it. Forget I mentioned it.Supergirl's heart sinks. She rocks back, clutching her knees, trying not to show her sadness.					ZALTAR				I could do it.She is suddenly all excitement and hopefulness again.SUPERGIRL Then teach me how.	ZALTARNo, it's no good---you can't practice--- you only get one go. A thing like that. No. Sure you don't want a sip of this? It's delicious, I think.He takes another sip of his drink.SUPERGIRL Tell me how. to do it. If you could do it, I can.He looks at her shrewdly, appraising her abilities with a suddenly lucid glance.ZALTAR				Takes a long time, you know, learning the wand. Just begun to understand it myse1f. Give things a kind of life--can also take away life; works backwards too. Besides I can't let you take my wand. Only have the one, what would I do? I'd be helpless. It's out of the question.	SUPERGIRLThen come with me.					ZALTAR				Leave the zone? What would I do on Earth?					SUPERGIRL				You could do anything. You could sculpt mountain ranges...draw with rainbows! You'd have superpowers.	ZALTAR Superpowers. Got you in a lot of trouble, didn't they?	SUPERGIRLPlease. I have to get back to Earth. My friends are in trouble. And unless I bring back the Power Source, Argo City will die.He looks at her kneeling beside his couch, tears streaming down her cheeks, pleading with him.ZALTAROh, all right. Stop crying. Let's go.He stands up, takes his matterwand, and heads for the stairs up to the surface. Supergirl can hardly believe her plea has been granted. She runs after him, up the stairs.SUPERGIRL				You're going to take me back?					ZALTAR				Going to try. Didn't say I could.EXT. ZALTAR' S HOUSE. PHANTOM ZONEThey emerge from the circular doorway out onto the flat monotonous terrain of the zone. Zaltar pauses for a moment to get his bearings, then strikes out with long energetic strides. Supergirl hurries to keep up with him.SUPERGIRL				I heard my mother ask you once "how could a man with such a selfish heart create beauty?" She was wrong, Zaltar, you have a generous heart.	ZALTARNot doing this for you. Just sick of this place, that's all. Wretched singing sculptures, always yowling at you. Boring!Supergirl scampers along beside him, smiling. Zaltar never looks back at his abandoned house, but keeps his gaze fixed on the horizon straight ahead.INT. SELENA'S NEW HOUSE. HALLWAYEthan is walking down the hall and sees guards dragging Lucy Lane and Jimmy Olsen in chains. Lucy calls out to him.LUCY				Hey, I thought you were gonna mention us upstairs.ETHAN				I did.					LUCY				     (bitterly)				Well thanks a pile, fella.Ethan watches them dragged away. He has a puzzled expression on his face.INT. SELENA'S LIVING ROOM. DAYEthan enters. Selena is staring into her magic mirror. Her face is white with fear.ETHAN What's going on?Selena snaps irritably at him.SELENA Guess! Go on.ETHAN				I don't know. You seem afraid.					SELENA				You're a regular Einstein, aren't you?					ETHAN				     (the truth dawns on him)				Supergirl?Selena doesn't answer, but looks back at the mirror. Ethan moves to her side and watches with her the IMAGE OF THE PHANTOM ZONE.INT. PHANTOM ZONE/QUANTUM VORTEXZaltar leads the way, firming their path with the matterwand, and then hauling himself and Supergirl forward over an upward sloping, undulating surface. Behind them luminescent waves of energy can be seen, like the ocean at the base of a steep cliff, constantly sweeping backwards and downwards, away from their goal.INT. SELENA'S NEW LIVING ROOMSelena looks up and realises Ethan is behind her, looking intently at the image.SELENA				Quit staring so hard. You'll strain your eyes.She puts her hand on his cheek. He turns away from the image of Supergirl and looks deep in Selena's eyes.					ETHAN				You're not going to hurt her, are you?Selena is furious. Her eyes get that dangerous look.SELENA				You can't put her out of your mind, is that it?					ETHAN				Well...I guess I can't.					SELENA				I'm ready for her. I'll show you.Selena walks out the French doors followed by the dazed Ethan.EXT. CONSERVATORY. DAYMR. & Mrs. Danvers, Lucy Lane, and Jimmy Olsen are imprisoned in four metal cages hanging over the reflecting pool in the conservatory. The ropes that keep the cages from falling into the pool are GIGANTIC GOLDEN SERPENTS, their tails around an overhead beam, and the jaws tightly locked on the tops of the cages. A fifth cage hangs there empty. The water in the reflecting pool has changed colour to an opaque yellow. Selena shows the arrangements to Ethan.SELENA				Unless Supergirl agrees to go away forever, the serpents will drop them one by one. Selena puts a small silver whistle to her lips and blows a high, melodious note. The fifth serpent opens his jaws and releases the empty cage into the pool.INSERT: REFLECTING POOLThe empty cage lands in the water and is instantly eaten up by the most powerful acid imaginable, leaving nothing but froth and acrid fumes. Ethan looks down into the cool at his reflection distorted by the spreading ripples. BACK TO SCENEETHAN				Why the empty cage?SELENAThat one was for you. But I thought I'd wait and see how you behave when Supergirl gets here. I'd hate to lose you, Ethan.Selena steps beside him and puts her hand on his shoulder. Ethan cries out with terror. Selena looks down at what he sees.INSERT: REFLECTING POOLBehind Selena, distorted almost beyond recognition by the ripples on the surface, is a GIANT MONSTROUS SHADOW-BEING, ITS ARMS OUTSTRETCHED, ALMOST ENVELOPING HER, but invisible except in reflections.BACK TO SCENESelena steps away from the pool, shaken by the sight.ETHAN				What...?					SELENA				You don't get this far without paying...a certain price.She turns and walks quickly out of the conservatory, followed by Ethan.MR. DANVERS				If only I hadn't made that speech denouncing her.MRS . DANVERSI'm not afraid to die. I'm proud of you.She stretches out her hand through the bars and clasps his bravely. Lucy turns her face away to give them some privacy in their. final moments. Jimmy is looking at her.					JIMMY        (shyly)I've been in love with you for years. Remember how you used to visit your sister in the newsroom? And put your fingerprints on my lens.LUCY				Remember? I was trying desperately to get you're attention.	JIMMYYou were? You mean we could've been... you-know-what...all this time?	LUCY You bet your ass.	JIMMYWhy didn't you tell me?	LUCYYou're supposed to guess.She reaches out her hand through the bars and clasps his bravely, like the Danvers.INT. THE PHANTOM ZONE/QUANTUM VORTEXZaltar is continuing his climb, but the way is getting steeper, and he is tired and short of breath. He pauses.					SUPERGIRL				Why are you stopping?					ZALTAR				Stopping? Was I? Silly. One thing you musn't do.He continues forward, and upward, firming their path with the matterwand. The wand creates a warm circle of white light around them in contrast to the monochromatic energy field of the Phantom Zone. Because of the inherent curvature of the Phantom Zone vortex, they seem to be scrambling up a sheer vertical wall now. Supergirl is close beside Zaltar helping him along, not merely following as she had before. The throbbing sound of energy waves surging down the vortex is growing louder as they proceed. Zaltar stumbles, and drops the matterwand.ZALTAR				Oh dear!The vortex starts to sweep the wand backwards, down to where they have just climbed from.  Supergirl makes a desperate lunge and retrieves the wand as it sweeps past. But now she is being swept backwards.ZALTAR The wand. Use it.Supergirl somehow finds the right grip on the controls and points the wand at the undulating surface beneath her. She stills the moving surface and stops her backwards motion.					ZALTAR				Good girl! That's the way!But now Zaltar is being swept backwards toward her. She points the wand at his feet and halts his downhill slide.					ZALTAR				You can use the wand.					SUPERGIRL				Better than when I was a child.She hands it back to him and they resume their slow upward progress.ZALTAR				I remember you then. Cute thing you were. Like your mother.CUT TO:INT. SELENA'S NEW LIVING ROOMSelena stands watching the image of Zaltar and Supergirl in her mirror. Beside her on the floor is the Coffer of Shadow, now swollen to the size of a large pumpkin. It pulses and glows with inner light. The lid of the Coffer of Shadow starts to rattle as if something inside is attempting to get out.INT. THE PHANTOM ZONE/QUANTUM VORTEXFlaming spheres of BALL LIGHTNING begin to whizz past Zaltar and Supergirl. Zaltar is startled, and he stops his forward progress.ZALTAR				What's that? Never saw anything like that.					SUPERGIRL				Don't stop. Keep moving.					ZALTAR Yes, mustn't stop.	SUPERGIRL       (grimly)  It's Selena. I'm getting so I can recognise her work.Another flaming sphere whizzes toward them. It hits Zaltar on the shoulder and knocks him off the safe path. He starts to roll backwards down the vortex.SUPERGIRL Zaltar. Use the wand!ZALTAR				Too late. Too late. Save yourself.He is being swept faster and .faster away from her, receding like the image of Ethan when she was trapped in the zone. Zaltar throws the wand to her, and then is swept away, out of sight, downward to his death. He calls out after he disappears.ZALTAR   				       (voice over) Goodbye...	SUPERGIRLZaltar!She begins to be swept backwards, but she uses the wand, and stops her slide. Gripping the wand fiercely, she starts to forge ahead. All the while she has to dodge the flaming spheres that Selena sends down the vortex.SUPERGIRL				You're not going to win, Selena. I won't let you.Suddenly Supergirl enters another area of the vortex. She begins to move forward, upward, without clawing her way. She accelerates, moving faster and faster.EXT. GRASSY MEADOW BESIDE A PONDSupergirl lands, in a deserted sunny meadow. She collapses sobbing on the grass. The matterwand lies beside her.SUPERGIRL				Zaltar, Zaltar. You never had a selfish heart.She looks up at the sun shining down serenely, bathing the Earth in its life-giving rays---and returning her superpowers to her.SUPERGIRL				Wherever you are, Zaltar, thank 'you.  She stands up and flexes her muscles. She no longer looks tired or disheveled. Her red and blue costume shines in the bright sunlight. She picks up the matterwand and leaps into the air, flying faster than a speeding bullet.EXT. ABOVE SELENA'S NEW HOUSE. TALIESEN MOUNTAINSupergirl swoops down from the sky and dives through the roof.INT. SELENA'S LIVING ROOMSupergirl smashes through the ceiling and lands next to the French doors. Ethan and Selena are standing against the opposite wall, next to the veiled mirror.SUPERGIRL				You've had your fun, Selena, the game is over.					ETHAN She has hostages.	SELENAThe Danvers. And two of your little friends.	SUPERGIRLIt's just one more crime you'll have to pay for.Ethan points to the conservatory and mimes the words 'out there'. Selena blows on the silver whistle on the chain around her neck.INSERT: THE SERPENT HOLDING JIMMY OLSEN'S CAGE OPENS ITS MOUTH AND THE CAGE DROPS AWAY.BACK TO SCENESupergirl blows an enormous blast of superbreath out the French doors.INT. CONSERVATORYJimmy Olsen's cage is blown away from the acid bath and he lands in a bank of ferns.JIMMY				Hey, what gives?The blast of superbreath blows the cages of Lucy and the Danvers away from the pool as well. The serpents loose their grip, arid the Danvers and Lucy land beside Jimmy in the fern bank.INT. LIVING ROOM. DAYSelena witnesses the destruction of her hostage scheme.SELENA				All right, Supergirl. The game's not over till the last card's dealt.Selena opens the lid of the grotesquely swollen Coffer of Shadow sitting beside her on the floor. The OMEGAHEDRON inside spins.All the FURNITURE in the room suddenly launches itself at Supergirl. Huge oak refectory tables, alabaster thrones, marble urns, iron firegrates, shie1ds and armour, bronze statuary, and razor sharp panes of glass from the windows all shatter themselves against her invulnerable body. Ethan stands in the corner, ducking the stray fragments that come his way.SUPERGIRL				You've run out of things to throw, Selena.						SELENA				Not yet.Selena points her hand at Supergirl with a gesture of attack. The COFFER OF SHADOW emits a dense black mist that darkens the room. A giant invisible hand seizes Supergirl and hurls her into the alchemical bar with a crash of bottles. Supergirl stands up with the wand held in front of her to ward off another attack.ETHAN				It's her shadow-self! Her dark side!SUPERGIRL				How do I fight it?					ETHAN				Turn it against her.Supergirl raises the wand and APPLIES IT TO HER OWN BODY. THERE IS A FLASH OF BLINDING LIGHT, and Supergirl is transformed into a perfect image of Selena---as she was at the fairgrounds.There are now two Selenas in the room---the real one beside the Coffer of shadow, and the one holding the matterwand in the alchemical bar. The Real Selena is first astonished, and then furious.REAL SELENA				Power of Shadow, kill her!!The Second Selena calls out to the SHADOW-SELF in Selena's own unmistakable voice.SECOND SELENA No. I am your mistress. Do not harm me.REAL SELENA Don't listen to her! Kill her! She's lying.	SECOND SELENAYou are my shadow, you must obey me.The Real Selena is distracted by the duel of willpower with her double and doesn't notice Ethan creeping along the wall toward the Coffer of Shadow.Ethan lunges for the shining OMEGAHEDRON inside, and snatches it out just as the heavy lid slams shut with a clang of metal. Ethan rolls over and over on the floor, away from Selena, clutching the, shining ring to him like a football in the end zone after a quarterback sneak on a fourth down trailing seven to six with three seconds on the clock.ETHAN				I've got it! The Power Source!The Real Se1ena cries out with despair.And then the SHADOW attacks her. The Real Selena cries out as she is surrounded by a black mist that starts slowly choking the life out of her.REAL SELENA        (terrified)No! Stop! Please!Ethan hands the Power Source to the Second Selena in the bar. 					SECOND SELENA				Thank you. I'll take this back to Argo City.					ETHAN				It is you, then, really?Without a word, the Second Selena kisses him on the lips.SECOND SELENA				Well?ETHAN				It's you all right.					SECOND SELENA				I'll make it easy for you.She again APPLIES THE WAND TO HER OWN BODY. There is a flash of light, and once more Supergirl stands before him, clutching both the Power Source and the wand.					ETHAN				I couldn't help what I did, before. She drugged me.					SUPERGIRL				I never doubted you for a moment.					REAL SELENA				Supergirl. Please! Help! I'm dying...Supergirl steps toward the corner of the room beside the mirror where the Real Selena is imprisoned in the cloud of blackness. Supergirl touches the SHADOW with her wand. There is a cosmic musical chord, and the SHADOW is destroyed; it falls to the floor in a rain of hard, dark cinders.The Real Selena rises from the corner of the room where she was released from the grip of the shadow. She looks at herself in the mirror. She is changed into the softer, more innocent person she was at the picnic before she found the Omegahedron. THERE IS NO MORE EVIL SHADOW LOOMING BEHIND HER IN THE MIRROR REFLECTION. She turns to Supergirl and Ethan.SELENA				I'm free. I can never thank you enough.SUPERGIRL				For what?				Selena points to the glittering OMEGAHEDRON Supergirl holds.SELENA				Ever since I found that thing I've been like a prisoner in a terrible nightmare. You have no idea how awful it is to be mean all the time.SUPERGIRL				Your nightmares are over. I'm taking this back to Argo City where it won't be misused.         (to Ethan)You could come too. It might be safer for you.ETHAN				No thanks. I have friends in the resistance. They'll vouch for me. I figure I might get a million bucks for my memoirs.					SUPERGIRL				I'll come back as soon as I can.					SELENA				What about me? They'll make, hash out of me around here.Supergirl and Ethan exchange a glance. Selena's innocence is the one problem they have not foreseen.ETHAN				She's right. They'll string her up.SUPERGIRL				Do you want to come to Argo City?SELENA 				What's it like?SUPERGIRL				It's the most beautiful place in the universe.SELENA 				Sounds O.K. to me. Let's go.Supergirl holds out the matterwand to Selena.SUPERGIRL				Grab hold of this. It forms a force field for the journey through inner space.Selena grasps the matterwand and the two of them fly together out the French doors.CUT TO:INT. PRISON. DAYSupergirl and Selena fly through the prison. Supergirl melts open the locks with BEAMS OF HEAT VISION.The prisoners climb out of their cells cheering and rejoicing.EXT . HAMBURGER HEAVEN. GAS STATION. DAYAll the people of Midvale are enthusiastically chopping up the billboard portraits of Selena and throwing them into a bonfire in the middle of the street. Statues, banners, mystic symbols, giant tarot cards, old uniforms of her palace guards and youth group --every last remnant of her regime joins the blaze. People are smiling, dancing, holding hands, drinking: the atmosphere is like a block party on the first week in spring.CUT TO:EXT. HIGH ABOVE THE SEA.SUNSETSelena and Supergirl fly over the ocean toward the setting sun.SELENA Where is inner space?SUPERGIRL				It's everywhere. But water is always the door.They plunge down into the sun's reflection on the sea surface.EXT. INNER SPACESupergirl and Selena fly together through the dark reaches of inner space. Supergirl is tired but triumphant. The OMEGAHEDRON glows brightly in her hand. Selena looks around her with awe and wonder.SELENA				Will they be angry with me for stealing the Power Source?	SUPERGIRLThey'll be grateful. If you hadn't found it, it would still be lost. Look, up ahead.SELENA				Yes, I see it. Shining like a jewel.					SUPERGIRL 				That's home.P.O.V. OF SUPERGIRL AND SELENAArgo City floats ahead, seeming to welcome them, its lights, growing brighter and brighter as they return with the lost SourceFADE OUT:THE END
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+                                      THE SURFER KING                                         Written by                                      Bernard Murray Jr                                                                       5/25/04             Page 1 of 81               THE SURFER KING       1       EXT. EARLY MORNING. - CUSTOMER SERVICE KIOSK                          1               JAFFA, a Jamaican looking fellow in his early 20's, arrives               at Water World, carrying a dusty cardboard box.               There are a few workers milling about, setting up the park               for opening. He passes EDDIE, a 25-something grounds worker               with Down's Syndrome.                                     JAFFA                         Eddie!                                   EDDIE                             (smiling, nodding)                         Jaffa.               They do a hand slap maneuver that they have obviously worked               out some time in the past. JAFFA proceeds up to the Customer               Relations Kiosk, plops the box on the counter, and enters the               kiosk. We see him open the box, it is full of CD's.               He pulls winter covers off of an overhead area to reveal a CD               player and amplifiers. He starts pushing buttons he's pushed               a thousand times, and lights come on. He pulls down a               microphone, and clicks a button to see if it works.               He reaches into the box of CDs and pulls one out. We see it               is Sheryl Crow. He gets the CD, examines it, and pops it               into the CD player.               He once again picks the microphone and flips the switch as he               pushes the "play" button on the CD player.               His voice echoes through the park.         "Soak up the Sun" begins               playing.                                   JAFFA                             (smiling)                         Ladies and Gentlemen, Water World will be                         open in                             (checking his watch)                         twenty-six hours and forty-three minutes.               GFX - OPENING CREDITS BEGIN       2       EXT EARLY MORNING - THUNDER BAY                                    2               BIG MIKE, the park's owner/manager - a 50-something man who               is portly and bald, and RICHARD THOMPSON, head lifeguard and               another GUARD are on the east side of Thunder Bay.               There is a post with a box on top of it that has a winter               cover on it. The GUARD is standing there with a garden hose                                                                   Page 2 of 81               holding it so the water goes into Thunder Bay.               He is obviously tired, and has been standing there a long               time. We look back at the massive size of the pool and get               the joke.               BIG MIKE and RICHARD pull off the winter cover. The GUARD               turns to look and the hose turns with him, getting BIG MIKE               wet. They object and he turns back to filling Thunder Bay.               RICHARD moves the GUARD to a safe distance.               BIG MIKE blows the dust off of the box at the top of the               post, and we see it is a large push button. BIG MIKE looks               at RICHARD who nods "go ahead" and then pushes the button.               They both draw back as if something big should happen, but               nothing. They look at each other and BIG MIKE motions for               RICHARD to go over to the wall housing the wave tank for the               pool.               RICHARD waves OK, and BIG MIKE pushes the button again. When               nothing happens, RICHARD whacks the side of the tank with his               closed fist. Suddenly a huge wave rolls out.               Nodding his approval, BIG MIKE checks off an item in his               clipboard.       3       EXT. EARLY MORNING. - DAY   SURFS UP AREA                       3               We see people working to open the park. The VAIL PRECISION               LAWN CHAIR DRILL TEAM dressed in Water World uniforms is               setting and arranging chairs in time to the music. They               perform precision maneuvers with the chairs, as if rifles,               and cross each other in a timed march to the music.       4       EXT. EARLY MORNING. - DAY   FUN HOUSE AREA                      4               BIG MIKE is standing under the Fun House structure with a               clipboard. He is talking to RICHARD.               After talking to BIG MIKE, RICHARD shakes his head               affirmatively and walks off. He glances up to the two guards               above, and grins. BIG MIKE is looking at his clipboard. We               see quickly the large water tank above is spilling water a               bit, indicating it is full.               The water tank spills over BIG MIKE drenching him. He stands               there still, angry for a moment, then thinks better of it               shaking his head and smiling, takes his pen and checks OK on               his wet clipboard for the fun house water tank.       5       EXT. EARLY MORNING. - DAY   FIRST AID SHACK NEAR FUNHOUSE       5               Two guards are looking down at BIG MIKE below. One guard               begins motioning as if guiding a crane into place. The other               guard has his hand poised on a large switch lever.               GUARD ONE is gesturing more emphatically now, closing his               hands to indicate "almost there". He closes his hands, and               GUARD TWO pulls the lever.Page 3 of 81       6       EXT. LATER THAT MORNING - DAY   2001 VW BUG                     6               We are on the road to Water World in Federal Heights,               Colorado. ROBBIE ZIRPOLLO is riding with his mother CONNIE               ZIRPOLLO.                                  ROBBIE                            (sardonically)                        Yeah. This is great. I love this plan.                        Drag me kicking and screaming from my                        happy home in California to some weird                        place in Colorado, and say hey, this'll                        be fun Robbie. Maybe we can go                        camping....                                   CONNIE                         Look, I know you're not happy about this.                         But it wasn't my idea for your father to                         have some kind of mid-life crisis and                         disappear with his secretary to Mexico                         with our life savings.                                   ROBBIE                         "Administrative Assistant." There's no                         such thing as a secretary anymore.                                  CONNIE                        Fine. Administrative Assistant. We                        couldn't afford to sit around waiting any                        longer to see if he was coming back. I                        was able to land a good job here. And                        now thanks to Uncle Bernie you have this                        job at the Water Park...                                   ROBBIE                             (shaking his head)                         Grounds crew. What kind of job is that?                         It sound like the guy who cleans out the                         coffee pots.                                  CONNIE                        Bernie says you help keep the park clean,                        sweep up, that sort of thing.                        I'm sure it won't be so bad. Besides, a                        lot of the kids who work at this park go                        to the same high school you'll be going                        to. You can start the school year with                        some ready-made friends.                                   ROBBIE                         I had friends in Oceanside. I had                         something to do for the summer.               They pass the main Water World sign.    Hanging below it is a               banner that says Opening Tomorrow!.                                  CONNIE                        Hanging out at the beach surfing with                        your friends is not my idea of somethingPage 4 of 81                         to do. This way you'll make some money                         and meet people here. You'd best get                         used to it. This is where we live now.                         We're staying.                                   ROBBIE                         All thanks to Dad and his secretary.                                   CONNIE                         Administrative Assistant.                                     ROBBIE                         Whatever.    Some summer....               They have arrived at the front gates of Water World, Kids               are in a line leading to a check-in canopy kiosk that has a               sign saying Employee Check In.                                   CONNIE                         Promise me you'll give it a                         try....please?                                   ROBBIE                             (giving in to the inevitable)                         I will. I promise. See you later               He shuts the car door and walks over to the end of the line.       7       EXT. EARLY MORNING. - DAY FRONT GATES OF WATER WORLD            7               There are about 40-50 teenagers in various default street               clothes, shorts and tees mostly. Robbie takes his place in               line behind an older, taller boy, ALEX, who seems to know               almost everyone, and has made it his personal mission to               greet them.                                   ALEX                             (back still to ROBBIE)                         ...and so SHE says I'll have the filet                         AND the lobster". I had to borrow twenty                         bucks from Fitzgerald just to get out of                         the restaurant.               Two guys in front of Alex are laughing now.     Further down the               line however, another voice pops up.                                   DOUG                             (waving to ALEX)                         By the way. Where is that twenty bucks?                                  ALEX                            (avoiding)                        Ohhh, hey Dougie. I'll catch up with you                        later...                            (turning around to ROBBIE as                             not to continue the                             conversation)                        Hey, how you doin'? Haven't seen you                        before.Page 5 of 81               ALEX looks in his wallet, as do we.    It is empty.                                   ROBBIE                             (nodding)                         I'm Robbie. Robbie Zirpollo.                                     ALEX                        I'm Alex.     Where you workin'?                                   ROBBIE                         I believe it's with the Grounds Crew?                                  ALEX                        What's the matter, can't swim?                                   ROBBIE                             (surprised)                         I can swim. Why?                                   ALEX                         Well, you look old enough to be a guard.                                     ROBBIE                        Almost 16.     I get my license in                        September.                                  ALEX                        It's just that most of the guys on                        grounds are a little younger than you.                        Most guys your age that can swim are                        guards.                                  ROBBIE                        Well, I just moved here. I guess I                        missed guard tryouts. You're a guard                        then?                                  ALEX                        Oh, no no no. I work concessions...at                        Aokee's Surf and Snack Shack. It's just                        as well. The guards are mostly stuck up                        anyway. The rest of us are the ones who                        know how to have fun.                                   ROBBIE                         Can't swim, huh?                                  ALEX                            (smiling)                        Nope.                                  ROBBIE                            (listening to speaker on post                             above)                        What is that?                                  ALEX                            (mimicking his perception of                             surfers)                        Surf tunes, dude!Page 6 of 81                            (back to his own voice)                        You'll get used to it. You'll get to                        where you miss it. I had to buy two CD's                        just to get through the winter.               They are now at the front of the line. A teenage girl               MELISSA is sitting at the table with papers and a clipboard.                                  ALEX (CONT'D)                            (gesturing)                        Ahh. And here we have the fair Melissa,                        time clerk extraordinaire...                                  MELISSA                            (shaking her head no)                        Oh, Alex. Am I going to have to put up                        with your crap for another entire summer?                                  ALEX                            (looking upward toward the sky)                        Dear Melissa.                        There's nothing about our relationship                        that couldn't be fixed by us spending a                        few moments together in the pumphouse                        behind Thunder Bay.                                   MELISSA                         Yeah, well from what I hear, it would be                         a BRIEF few moments.                                   ROBBIE                             (wincing)                         Ouch.                                  ALEX                            (not missing a beat)                        My dear, you cut me to the quick. Check                        off my name and that of my amigo here,                        Mr. Robbie Zirpollo.                                  MELISSA                            (handing them cards)                        Fill out these emergency cards, and turn                        them in when you pick up your                        uniforms....                            (pointing)                        over there. And Alex?                                   ALEX                             (to ROBBIE)                         She wants me.                             (turning back to MELISSA)                         Yeeees?                                  MELISSA                            (finger pointing)                        This year, let's clock in only our OWN                        time card, shall we?                                   ALEX  Page 7 of 81                             (head shaking, to ROBBIE,                              walking together)                         Some people have no sense of humor.       8       EXT. MORNING - MOMENTS LATER - OUTSIDE UNIFORM BUILDING         8               ROBBIE and ALEX walk up to yet another line of about 4 or 5               teens. At the front a teenage girl and a teenage guy are               behind a counter and handing out uniforms based on a               clipboard list.               As ROBBIE and ALEX reach the back of the line, TIFFANY, a               blond beauty and two other girls brush past them to the front               of the line.                                   ROBBIE                             (taken aback, breathing in                              through his nose)                         Whoa....who was that?                                   ALEX                             (unimpressed, putting his hand                              on ROBBIE's shoulder as if to                              hold him back, like a horse                              that is riled up)                         Eeeaasy there, big fella. Not in your                         lifetime.                             (wistfully, glancing over)                         Or mine.                                   ROBBIE                         So who is she?                                   ALEX                         Miss Tiffany Maxwell, daughter of Big                         Mike Maxwell, owner and operator of this                         here fine water park.               WE SEE TIFFANY and her two friends are quickly given their               uniforms by the attendants, as they ignore the kids who have               waited in line.                                   ALEX (CONT'D)                         See, Princess Tiffany and her friends                         pretty much have the run of the park.                         Her boyfriend is Dan Peterson, a guy we                         all call Cowboy, one of the lifeguards.                         Pretty decent guy from what I can tell.                         But she's a piece of work. Your best                         strategy is to steer clear of her and she                         won't cause you any trouble.                                   ROBBIE                         Cowboy, huh. Big guy?                                     ALEX                         Big. Guy.                                   ROBBIE                             (takes in a deep breath)Page 8 of 81                         Hmm.               They are now at the front of the line.                                   MALE UNIFORM GUY                         Hey Alex.                             (calling back to FEMALE UNIFORM                              PERSON)                         Aokee's. Large.                             (to ROBBIE)                                   MALE UNIFORM GUY (CONT'D)                         Name?               Female Uniform Person has brought a blue Hawaiian shirt on a               hanger.                                   ROBBIE                         Rob Zirpollo. Uh, Robert Zirpollo                                   MALE UNIFORM GUY                             (looks on clipboard)                         Grounds?                             (looks at FEMALE UNIFORM                              PERSON)                                   MALE UNIFORM GUY (CONT'D)                             (and FEMALE UNIFORM PERSON,                              together, ominously)                         Grounds.               She disappears to the back.                                   ROBBIE                             (to ALEX)                         So what is this grounds thing, anyway?                                   ALEX                         Let's just say....you are critical and                         indispensable to the ongoing operation...                         and....flow of things here at the park.                             (he and MALE UNIFORM GUY                              exchange a knowing glance)                                  FEMALE UNIFORM PERSON                        Here you go, tiger. One grounds.                        Medium. You have a pair of green shorts                        at home?               ROBBIE shakes his head "no".                                   FEMALE UNIFORM PERSON (CONT'D)                         Buy some. Tonight. Wear them tomorrow                         along with this shirt. You need to                         report to the area just south of Surf's                         Up. Look for a guy wearing Army pants                         and glasses.                                   ALEX                         I'll show him. I'm going in that  Page 9 of 81                         direction.                             (to ROBBIE with feigned                              excitement)                         You get to meet The Colonel!               They walk off.   As they walk off we can hear ALEX in the               distance...                                   ALEX (CONT'D)                             (marching)                         Left. Left. Left right left.       9       EXT. MORNING - MOMENTS LATER - AOKEE'S SURF & SNACK SHACK       9               Aokee's is a restaurant near Thunder Bay. It seats about 50               and is lavishly decorated in a Hawaiian Surf and Ocean motif,               with surf memorabilia, fish nets, surfboards, and the like.               AOKEE is a large 375 pound plus apparently Hawaiian man, late               twenties, early thirties, wearing a purple Hawaiian shirt,               blue shorts and a white chef's apron that says KISS THE COOK.               WE SEE him on a pay phone behind the counter.                                  AOKEE                            (to person on the line)                        David...how you do this to me? I have                        full staff with you. I save your spot.                        I was counting on you.                            (listens, nods)                        Yes, yes....but The Gap? What you think                        you do there? Are there girls in                        swimming suits? Have you forgotten?                            (listens, shaking head)                        Tips. Do you get tips? Cash money?                            (listens some more)               ALEX walks up.   AOKEE waves to him.   He is obviously upset.                                   AOKEE (CONT'D)                             (resigned)                         Well, come see us this summer, eh?                         You're a good kid...a good worker.     Yeah,                         you too.               AOKEE hangs up the phone.                                    ALEX                         Who....?                                  AOKEE                         David. Seems to think there is future in                         retail. Now what I do? I'm one person                         short. Park opens tomorrow.               AOKEE buries his head in his hands on the counter.                                   ALEX                             (thinking)                         You know...I just met a guy that's old Page 10 of 81                         enough to work here, but he's stuck in                         grounds.                                   AOKEE                             (perking up)                         Good guy?                                   ALEX                         Seemed like our kind of people.               AOKEE thinks for a moment. He glances up towards Surf's Up.               It hits both he and ALEX at the same time...                                  AOKEE                        We need to get him before he get his                        plunger!               They take off running.     10        EXT. MORNING - MOMENTS LATER - TRAIL FROM AOKEE'S TO SURF'S10               UP               AOKEE and ALEX are running together. They get about 50 feet               before AOKEE, large man that he is, runs out of breath.               ALEX, like a boxer in training, sort of runs in place,               keeping loose, ready for AOKEE to catch his wind. Off they               go again, get another 50 feet, and the same thing happens.                                    AOKEE                             (out of breath)                         Alex......                             (wheeze)                         ..you got to go ahead...                             (wheeze)                         ...stall 'til I get there.                                     ALEX                               (nodding, running in place)                         OK.               ALEX takes off, and AOKEE runs again....     11        EXT. MORNING - MOMENTS LATER - SURF'S UP WAVE POOL SOUTH          11               WE SEE several rolling trash cans lined up in a row, along               with several janitorial carts filled with cleaning utensils               and supplies.               THE COLONEL is standing, dressed in army fatigue pants and a               Water World golf shirt, with a green Water World baseball               cap. He is wearing black horn-rim glasses, thick lenses, and               carrying a clipboard.               Lined up as if an army unit are ten grounds kids, including               ROBBIE, who is sixth furthest from THE COLONEL. They are all               younger than ROBBIE except one, EDDIE, whom we met at the               beginning of the film.               EDDIE is standing tall and straight, proud to be there.      He               is nearest THE COLONEL    Page 11 of 81                                   THE COLONEL                             (looking up from clipboard)                         Well, it looks like we have a good staff                         here. Yes...yes a good staff. It will be                         an excellent summer. Remember as we go                         through training today, our park is                         judged by the work WE do. If we do it                         well, the people come back.                             (walking up and down the line)                         We have a little tradition here on the                         grounds crew. Rather than having to                         learn a lot of names, many of which I can                         never hope to pronounce properly, each                         grounds crew member gets a grounds crew                         nickname. You will be known by that                         nickname in every way except, of course,                         your paycheck and employee records.               THE COLONEL looks over his paperwork.                                   THE COLONEL    (CONT'D)                         Let's see, what do we    have? Hmm...yes.                         OK, first up is Eddie    Cochran. Your                         grounds crew nickname    will be.....Eddie!               EDDIE smiles knowingly. This has been his grounds crew               nickname for the last 8 years, mostly because he would never               answer to anything else, and THE COLONEL gave up trying.                                   THE COLONEL (CONT'D)                         Now crewmembers, listen up. Eddie here                         has eight years experience on the grounds                         crew. Why, I'd like to think there isn't                         anything, any situation that Eddie hasn't                         faced. Listen to him. Learn from him.                         Watch what he does. This man is the                         finest, most conscientious grounds                         crewman we've ever had.               EDDIE is beaming with pride now. THE COLONEL pulls a brand               new toilet plunger from the cart nearby and hands it to               EDDIE. EDDIE shoulders it as if it were a rifle.               THE COLONEL walks down the line.                                   THE COLONEL (CONT'D)                         Let's see...Clark? Hmmm. Your grounds                         crew nickname will be....Sparky.               It is all ROBBIE can do not to laugh. THE COLONEL goes on to               the next kid, SKEETER who is tall, skinny and goofy-looking.               SKEETER'S eyes are faced forward, but something catches them.               His eyes follow an unseen object as we begin to hear a small               mosquito. Finally his eyes follow it until he looks, cross               eyed at his own nose.               THE COLONEL has taken note of this and is following it too.               SKEETER can take no more, and brushes it off his nose as he               makes a face.    Page 12 of 81                                   SKEETER                         Sorry, sir. Mosquito.                                   THE COLONEL                         Hmmm.....your grounds crew nickname will                         be.....Skeeter.               THE COLONEL steps over the cart and gets another new plunger               and hands it to SKEETER who follows EDDIE's lead.               Next in line is a short, chubby lad, SNITCH. As THE COLONEL               approaches him, a quick sound of passing gas is heard.               THE COLONEL is startled, and SNITCH makes a quick finger               motion indicating the culprit is SKEETER, next to him.                                   THE COLONEL (CONT'D)                             (looking at the clipboard)                         Bradley, is it? OK, Mr. Bradley.....your                         grounds crew nickname will be Snitch.               SNITCH shows his dismay with a frown. THE COLONEL has run               out of new plungers already and is forced to move to one of               last year's leftovers, which look somewhat depressing.               He gets one and give it to SNITCH, who looks at it, makes a               face, and decides not to shoulder it. ROBBIE is so depressed               he looks like he's about to pass out.               His worst fears have been realized.    His summer is passing               before his eyes.               There's only one more person, a young 14 year-old girl, to go               before ROBBIE. THE COLONEL addresses her.                                   THE COLONEL (CONT'D)                         Melinda Tally. Hmmm... your grounds crew                         nickname will be...                             (thinking)               Suddenly ALEX bursts onto the scene, and even he, at this               point, is somewhat out of breath.                                   ALEX                         Hello, Colonel!                                   THE COLONEL                             (thinking, staring)                         Alex, isn't it?                                   ALEX                         Yes sir, Colonel. And what a fine staff                         you've assembled this year. Have you                         told them yet about your army background?                                   THE COLONEL                         Well, no, I didn't think it was..                                   ALEX    Page 13 of 81                            (interrupting, to the grounds                             kids)                        The Colonel here is very modest. Did you                        know that he reorganized the entire                        process of cleaning and sanitizing an                        army barracks and its latrines?                                   THE COLONEL                         Well, it really wasn't much of a...                                   ALEX                             (interrupting again)                         Wasn't much?                             (again, to grounds kids)                         Can you just imagine for a moment the                         germs and bacteria our American soldiers                         could pick up in an unsanitised army                         latrine? It's impossible to determine                         just how many lives have been saved                         thanks to the efforts of this one humble                         Army Colonel.                                   THE COLONEL                         Well, I suppose when you put it that                         way...                                   ALEX                             (to the grounds kids)                         I, too, came up through the ranks when at                         age 14, I began my service here at Water                         World learning from this great man.                                  THE COLONEL                        Yes....I remember now.....what was your                        grounds nickname...?                                  ALEX                        Not even sure I remember it myself, sir.                        But I remember much more. Did you tell                        them about the film?                                   THE COLONEL                         Film?                                  ALEX                            (to THE COLONEL)                        "Hygiene Makes You Happy"                            (to the grounds kids)                        Every enlisted man in the army has seen                        it. Some by choice. All from the mind                        of The Colonel here...                                   THE COLONEL                             (to himself)                         I never forget a grounds nickname....               AOKEE has finally made it now, but is, of course, out of               breath again.                                   THE COLONEL (CONT'D)    Page 14 of 81                            (concerned)                        Aokee, good God, man...are you OK?               AOKEE gestures he is fine, and does a combination of charades               and Hawaiian pantomime before he finally speaks.                                   AOKEE                         Colonel....terrible mistake...               ALEX gets behind AOKEE, deciding he needs some help, feeding               him words.                                   ALEX                             (quietly behind AOKEE)                         Bureaucratic bumble...                                   AOKEE                         Bureaucratic bumble....                                   ALEX                         Lost paperwork....                                   AOKEE                         Lost paperwork....                                   ALEX                         An error in the front office...                                   AOKEE                         Error in front office....                                   ALEX                         Spiced applesauce....                                     AOKEE                         Spiced...               AOKEE stops, turn and glares at ALEX, who merely smiles and               shrugs.                                   THE COLONEL                         Good God, man, what are you trying to                         say?               ALEX comes around from behind AOKEE.                                  ALEX                        It's Robbie sir. He was supposed to work                        at Aokee's and through some crazy mix-up,                        he ended up here.                                   THE COLONEL                             (looking at clipboard)                         Zirpollo? Well this is highly                         irregular...               He is flipping though the papers, confused.                                   ALEX                             (can't pass this up)    Page 15 of 81                         Most annoying....                                   THE COLONEL                         Most annoying....                                   ALEX                         Never happened before....                                   THE COLONEL                         Never happened before....                                   ALEX                         Spaghetti marinara...                                  THE COLONEL                        Spa....what?                            (exasperated)                        Well, if he was supposed to be assigned                        to you, we'll just have to let him go...               ROBBIE has caught on and is quick to step out of line, and               pick up his shirt to be ready to go.                                  ROBBIE                            (to THE COLONEL)                        I was confused myself, sir. I had heard                        I was working for some Hawaiian guy.                                  AOKEE                            (reassuring)                        I promise, we go straight to personnel,                        straighten the whole thing out. You                        won't need to worry.                                      THE COLONEL                         Very well.     We'll just have to make-do.               THE COLONEL goes back to the girl MELINDA he was about to               nickname before the interruption, but is staring after ALEX,               AOKEE and ROBBIE as they walk off. He looks at MELINDA. He               looks back at ALEX & company. It hits him.                                   THE COLONEL (CONT'D)                             (remembering)                         Snafu.                                      MELINDA                         Sir?                                   THE COLONEL                         His grounds crew nickname.     I remember it                         now. Snafu.     12        EXT -DAY - HILL AREA ABOVE THUNDER BAY                         12               The entire staff of Water World is assembled for a pre               opening pep talk from owner BIG MIKE MAXWELL. He wears a               Water World Golf shirt, shorts and a crew-style marine hat.               Standing next to him is RICHARD THOMPSON, head lifeguard.               The workers are sitting on the hill.    Page 16 of 81               AOKEE, THE COLONEL and other "management" types are standing               off to the side. TIFFANY and her friends are sitting up               front.               ALEX and ROBBIE are sitting together towards the back, and               ROBBIE's grounds t-shirt is no longer in his hand, but has               been replaced by a folded AOKEE'S blue Hawaiian shirt.               There is a lot of noise from everyone talking.                                   BIG MIKE                             (motioning to get everyone to                              settle down)                         Okay, everybody, let's quiet down for a                         minute.                             (they do, and he looks down at                              his clipboard)                         For those who don't know me, my name is                         Michael Maxwell, and I...sort of run                         things around here.               A chant starts up, with affection...                                   EVERYONE TOGETHER                         Big Mike! Big Mike! Big Mike!               BIG MIKE smiles, this has happened before, probably a               tradition.                                   BIG MIKE                            (again motioning to settle                             down)                        Okay, yeah thanks. Now, I want go over a                        few basic things. First of all, make                        sure you've all filled out your paperwork                        with personnel, cause nobody gets paid                        unless they do. Come to think of it, I                        suppose it's better for me that you don't                        fill out your paperwork, then I don't                        have to pay you. I'll make it optional.                        If you want to get paid, fill out your                        paperwork.                            (looking at clipboard)                        Let's remember, the people who come here                        are our guests, and your job is to see                        they have a safe and fun experience here.                        Let's work together to keep the park                        clean and safe, and we'll have a great                        summer together. Now with a few words is                        our head lifeguard, Richard Thompson.               Another cheer starts up, smaller this time, which ALEX               starts.                                   SMALLER GROUP                         Big Dick! Big Dick Big Dick!                                  RICHARD                            (wincing some, but not    Page 17 of 81                              surprised, motioning to settle                              down)                         Yeah, yeah, very funny, we're all very                         amused. Okay, many of you have been in                         training for some time, and some of you                         still have a ways to go...               WE SEE a quick shot of some geeky younger guards wearing               water wings, sharky goggles and noseplugs and looking less               than confident...                                   RICHARD (CONT'D)                             (glancing at the water wing                              group wistfully, almost to                              himself)                         ...a long ways to go...               He looks down at his clipboard.                                  RICHARD (CONT'D)                        ...but I'd like to take a moment to                        speak, mostly to the guards, but                        certainly everyone has a role in this.                        We can take everything we've learned and                        distill it down to two simple rules.                        Rule number one:               He pauses, thoughtful for a moment, but building into a near               rage for effect to impress on everyone...                                   RICHARD (CONT'D)                             (loudly, emphatically, angry at                              the thought that anybody                              might...)                         Don't drown!               He stops, composing himself.                                   RICHARD (CONT'D)                             (almost quietly)                         Rule number two:               Again, thoughtful but building to a rage at the thought that               this could happen...                                   RICHARD (CONT'D)                             (loudly, emphatically)                         Don't let anyone else drown!               He stops again, and regains his composure.                                   RICHARD (CONT'D)                             (almost quietly to the stunned                              crowd)                         Thank you. Have a great summer!               There is stunned silence for a moment.    They're not sure how               to react.                                   ALEX    Page 18 of 81                             (breaking the silence)                         Alright! Whoo whoo!               ALEX, then everyone begins applauding. ROBBIE looks at ALEX               quizzically, ALEX just shrugs. The meeting breaks up.     13        INT - MORNING - THE NEXT DAY - AOKEE'S SURF & SNACK SHACK      13               Everyone is hurrying around, getting ready for opening day.               ROBBIE, wearing his new blue Hawaiian shirt, is cutting               pineapple. AOKEE is busy hovering over everyone, and cooking               chicken on the grill. ALEX walks in.                                   ALEX                             (to ROBBIE)                         Hey, hey lookin' good. Blue is your                         color. Beats that stupid t-shirt, huh?                                    AOKEE                              (unhappy, stressed)                         Alex! You are late. Come on, is opening                         day!               ROBBIE finishes the pineapple and hands the tray to AOKEE,               almost spilling it.                                   AOKEE (CONT'D)                             (to ROBBIE and ALEX)                         You two start setting tables.               ALEX takes a pile of silverware wrapped in napkins, and               points to ROBBIE to grab a box of sugar packets to refill the               dispensers. ROBBIE grabs it quickly, enthusiastically, but               loses his grip and spills the packets on the floor.               At that moment, AUDREY a girl in her teens who works at               AOKEE'S and is stacking plastic cups on the counter,               accidentally knocks a stack of cups to the ground.               RAMON, a teenage boy who works there is behind the counter.               He bends over, disappearing, and we hear a crash of pots and               pans. His head peers up from below the counter sheepishly.               AOKEE turns from the grill looking at all this, and has a               worried look, but smiles and shrugs weakly.                                   AOKEE (CONT'D)                             (to ALEX, gesturing)                         Alex. Come here a minute.               ALEX comes up close next to him at the grill so they can               talk.                                   AOKEE (CONT'D)                             (with intensity)                         Alex, look. We falling apart. I made                         you assistant manager this year. Go                         assistant manage.                                   ALEX    Page 19 of 81                             (agreeing)                         No problem.               ALEX pops a CD out of the rack above the sound system, and               puts it in the CD player, stopping the standard pastoral               Hawaiian music that has been playing.               He turns up the volume some on the amp, and goes over to               SARAH, a teenage girl working there, and grabs her grass               skirt by the Velcro, removing it with a Velcro rip.                                   ALEX (CONT'D)                         Sorry, Sarah, but I need to borrow this.                                   SARAH                             (surprised)                         Hey! How did you know I wear shorts                         under that?                                    ALEX                             (mock surprise, rolling his                              eyes)                         Oh, Puh-leeaase.               ALEX walks back out to the dining area, everyone is still               working.                                   ALEX (CONT'D)                             (to all)                         Ladies and Gentlemen, may I have your                         attention, please?               Everyone stops and looks at ALEX.                                   ALEX (CONT'D)                         In exactly 30 minutes, hundreds of                         dripping wet customers with fistfuls of                         money smelling of chlorine and suntan                         lotion will be walking in here.                         And what will they be looking for?                             (as if directing a choir)                                   EVERYONE TOGETHER                             (except ROBBIE, who doesn't                              know any better)                         The best teriyaki east of the pacific!!!                                     ALEX                         Annnnnnd?                                   EVERYONE TOGETHER                             (Again except ROBBIE, who                              doesn't know any better)                         The finest smoothies in the state!!!                                   ALEX                         Now, everyone's a little tense, except                         me, of course. So to help you get in the                         proper frame of mind and relax, we need    Page 20 of 81                         the right soundtrack.                             (to AOKEE)                         Maestro?               AOKEE hits the play button on the CD player.                                   ALEX (CONT'D)                         This is little tune I like to call the                         Paradise Slide.                             (mouthing with the song as it                              starts)                         One, two, a one two three.               The music starts and ALEX, now wearing SARAH's grass skirt,               launches into his version of the electric slide, Hawaiian               style.               EVERYONE ELSE gets the beat and begins working to the music.               AOKEE is using his spatulas as drum sticks on the overhanging               kitchen tools.               RAMON has inverted an empty pot and is beating it conga-drum               style.               ROBBIE has picked up the sugar packets and ALEX is dancing               and quickly (almost casually) tossing silverware/napkin rolls               to ROBBIE as ROBBIE catches them (at first with some               difficulty) and puts them on the tables.               SARAH has re-stacked the cups, and is juggling salt & pepper               shakers, placing them on the tables. AUDREY chops onions to               the beat.                                   EVERYONE TOGETHER                             (on the chorus)                         Don Ho, Don Ho, Don Ho. Don Ho, Don Ho,                         Don Ho.               AOKEE has now taken all the chicken off the grill and comes               out from behind the counter, dancing. The others form a               CONGA LINE behind him.                                   EVERYONE TOGETHER (CONT'D)                             (on the chorus)                         Don Ho, Don Ho, Don Ho. Don Ho, Don Ho,                         Don Ho.               As they go by the tables they put on any missing items. They               get into it more and more, AOKEE especially, swinging his               huge, 375 pound guy hips.                                   EVERYONE TOGETHER (CONT'D)                             (on the chorus)                         Don Ho, Don Ho, Don Ho. Don Ho, Don Ho,                         Don Ho.               As the song ends (abruptly), AOKEE bumps a surfboard (part of               the restaurant's decoration) with his hip, knocking it and               another one to the ground.       Page 21 of 81               There is a loud crash and everyone pauses and looks at AOKEE,               waiting to see if he gets mad.               AOKEE looks down at his hip, and makes a puppy-dog face like               "I didn't know my hips were that big...." Everyone claps,               laughing. AOKEE takes a bow.     14        INT -LATER THAT DAY - AOKEE'S SURF & SNACK SHACK               14               ROBBIE and ALEX are carrying bus tubs loaded with dirty               dishes back toward the kitchen from the dining area.               AOKEE is sipping on a smoothie and leaning back on a counter.               There are only a few customers in the eating area.               They set the tubs down on a counter that passes to the back               area. An unseen person takes them into the dishwashing area.                                   AOKEE                             (to ALEX and ROBBIE)                         You did good work today.                         Here. I made you some of my special                         Power Smoothies. More customers later                         wanting dinner before park closes. I                         can't have you falling asleep on me.                                   AOKEE (CONT'D)                             (to ALEX)                         Alex, we are completely out of table                         stretchers and left-handed coffee pots.                         Take Robbie and go find some. I think                         some at the first-aid station near Surf's                         Up pool.                                   ALEX                             (nodding knowingly)                         Right. See you in a little while.               They walk off carrying their smoothies.     15        EXT - MOMENTS LATER - THUNDER BAY CONCESSIONS AREA             15               ROBBIE and ALEX are walking past Thunder Bay concessions area               toward THE WAVE carrying and drinking their smoothies.                                   ROBBIE                         So that was a typical lunch crowd?                                   ALEX                         Well, it's early in the season yet.                         We'll get busier.                                   ROBBIE                             (incredulous)                         Busier?                                   ALEX                             (laughing)                         Don't worry. You'll get used to it.      And                         tips were good, right?       Page 22 of 81                                   ROBBIE                         There's nothing like cash money in your                         pocket. What's that over there?               They are coming up on THE WAVE area.                                   ALEX                         Oh, you'll find this ride interesting.     16        EXT - MOMENTS LATER - DAY - THE WAVE AREA                      16               The walk up to THE WAVE attraction, where kids are surfing in               a high-water pressure river/ sheet of water. Surf music               plays loudly here, and kids are doing all kinds of tricks.               Some riders are good, some are not, and fall quickly.               We also see SKEETER and SNITCH, the tall skinny and short               chubby grounds kids we met earlier. They are cleaning up               around the exit area of THE WAVE.                                   ALEX                             (as a rider falls)                         It's a lot harder than it looks.                                   ROBBIE                         I can't imagine it's that difficult.                             (to himself)                         ...no rudder on the board...                                   ALEX                         Now this is a place of many wonders.     See                         those guys in line over there?               WE SEE some guys that look a little stoned with unusual hair               laughing and talking to each other.                                   ALEX (CONT'D)                         We call them "Wave Bums". They all have                         season passes, and do little more than                         ride the wave all day long. Some of them                         get pretty good.               Alex points up to a fence, behind which some smoke appears to               be drifting up.                                   ALEX (CONT'D)                         That's where they hang out when they're                         not riding the wave. Don't get too close                         to them.                                   ROBBIE                         No?                                   ALEX                             (sniffing)                         Contact high.               ROBBIE nods, understanding. ALEX points back to THE WAVE.    Page 23 of 81                                   ALEX (CONT'D)                         And there, my friend, is another one of                         The Wave's features.               WE SEE a pretty girl in line to ride.                                   ALEX (CONT'D)                         We call them "Wave Babes". And there's a                         special secret to this ride.               With that ALEX walks over to BOB, a guy in his late teens,               wearing a Security Golf Shirt. He is standing and looking               off in a different direction.                                   ALEX (CONT'D)                         Hey, Bob....can I borrow your radio a                         minute?                                   BOB                         Sure.               He hands him the radio, and ALEX is back with ROBBIE.                                   ALEX                             (into radio)                         Hey Frank, it's Alex.               ALEX waves and FRANK, the guard watching THE WAVE waves back.                                   FRANK VO                             (heard through the radio)                         Yo, Alex.                                   ALEX                             (into radio)                         Listen you have a possible code 4.                             (to ROBBIE)                         Means a "hottie".                                  ALEX (CONT'D)                            (to radio)                        She's up next. A free chicken sandwich                        and a smoothie if you bounce up the                        pressure a bit.                                   FRANK VO                             (heard through radio)                         You got it bud. But two smoothies.                         "Volcanos".                                  ALEX                            (to ROBBIE)                        He knows my weak spot.                            (to radio)                        Two Volcanos and a chicken sandwich.                                   FRANK VO                             (heard through radio)                         Time to go to ludicrous speed!     Page 24 of 81               WE SEE FRANK push forward on a handle next to him that seems               to resemble the throttle on a speedboat. The ambient noise               from the wave is noticeably higher.               The WAVE BABE jumps into the water with the board.      SKEETER               and SNITCH are still cleaning near the exit.                                   ALEX                             (to ROBBIE, still holding the                              radio)                         Watch, and wait....               THEY LOOK intently at the WAVE BABE, who is pretty good, even               with the increased water flow. But, after a few deft moves,               she falls. ALEX looks, and sees what he is looking for.               ROBBIE smiles.                                    ALEX (CONT'D)                         Yesss!               We look back at the WAVE BABE, but the water is obscuring our               view. We then see a medium shot of SKEETER and SNITCH. The               WAVE BABE walks past them carrying a board, but we don't see               below her waist, the board obscures our view.               SNITCH sees, and freezes, dumbstruck. SKEETER is looking               down at the grate where THE WAVE water drains. He reaches               down and pulls something out, and turns to the WAVE BABE               walking away.                                   SKEETER                             (unaffected)                         Excuse me... Miss?                             (louder)                         Hello...excuse me...?               Finally she turns. We see her, but just a flash of her from               the back, as the board covers her waist area. She is puzzled               by this grounds kid.                                   SKEETER (CONT'D)                             (holding up the bottom to her                              swimsuit)                         Is this yours?               She looks down behind the board and reacts.     She bites her               lower lip, winces and nods yes.               SKEETER hands her her swimsuit, and she looks around and               backs away towards a towel hanging from the fence nearby.               SNITCH is still frozen, stunned by what he's just seen, mouth               wide open. SKEETER waves his hand in front of SNITCH's face.               No reaction.   He's never seen a naked girl before.               We're back to ALEX and ROBBIE.                                   ROBBIE                             (looking at ALEX)                         You were right. I was interested in       Page 25 of 81                         this.                                   ALEX                         Well, sometime bring your swimsuit.                         We'll come back on break. I'll show you                         how to do it. Surf's is this way. And                         keep an eye out for Frank over there. We                         owe him.               ROBBIE nods in agreement, and they walk off.     17        EXT MOMENTS LATER - DAY - NEAR SURF'S UP POOL                  17               ROBBIE and ALEX are walking past the SURF'S UP wave pool.                                   ALEX                             (pointing)                         The First Aid station is over there. Just                         ask the guard. I just want to say hello                         to this girl I know.                                   ROBBIE                         OK.               ROBBIE walks over to the First Aid Station. DOUG FITZGERALD,               the guy we heard in line on the first day is there, he's a               guard.                                   ROBBIE (CONT'D)                         Hey. I've been sent to find some table                         stretchers and left-handed coffee pots.                                   DOUG                         Oh, you must be the new guy at Aokee's.                                   ROBBIE                         Yeah, how'd you know?                                   DOUG                         Lucky guess. Saw some at the top of                         River Country. Just ask one of the                         guards over there.                                   ROBBIE                         Thanks.                                   DOUG                         And hey...tell that wienie Alex he still                         owes me twenty bucks!                                   ROBBIE                             (looking back and waving as he                              walks away)                         Got it.     18        EXT - MOMENTS LATER - CUSTOMER SERVICE KIOSK                   18               ALEX and ROBBIE are walking to RIVER COUNTRY and walk past               JAFFA in the CUSTOMER SERVICE KIOSK.       Page 26 of 81                                   JAFFA                             (calling out)                         Alex!               They turn and walk over.                                   ALEX                         Jama...I mean...Jaffa the Jamaican...what                         shakes, it mon?                                   JAFFA                         Jus' the same old this's and that's, mon.                                   ALEX                         Jaffa, meet Robbie Zirpollo.                             (to ROBBIE)                         Jaffa plays the tunes and talks the talk.               The PHONE RINGS, and Jaffa turns to answer.                                   JAFFA                             (into phone)                         What? No way.                             (hangs up phone, to ALEX &                              ROBBIE)                         Check it out...               JAFFA smiles and picks up a radio.                                    JAFFA (CONT'D)                             (into radio)                         Attention Lost River guards. We have a                         report that some huge fat bald guy has                         abandoned his swimsuit and is slidin'                         down Lost River with nothin' on but a                         smile. Be watchin' for a great white                         whale now.     19        EXT - DAY - TOP OF LOST RIVER RIDE                             19               WE SEE two female life guards, both with a surprised look on               their faces. One has just reached into the water and picks it               up to display a HUGE pair of swim trunks. Both girls make an               Eeeew face.     20        EXT - DAY - CUSTOMER SERVICE KIOSK                             20                                   JAFFA                             (on PA system now, into mike)                         Attention please. Will Mr. John Big                         Bootay report to Lost River Splashdown.                         John Big-Bootay to Lost River Splashdown.                                  ALEX                            (to ROBBIE)                        He's calling for security.               ALEX wanders off a moment, looking at something going on in               the distance.       Page 27 of 81                                   ROBBIE                             (to JAFFA)                         Wow. Jamaica. I thought I was far from                         home.                                  JAFFA                            (dropping the accent a bit)                        I'll let you in on a little secret.                        Perception is everything...now, Jamal                        from Aurora, he's probably over with                        those guys...               WE SEE SKEETER and SNITCH walking into the men's room,               looking suspiciously around.                                   JAFFA (CONT'D)                             (back to the accent)                         ...cleaning the rest rooms. But Jaffa                         from Jamaica, he's in customer service,                         wearin' the nice shirt and playing the                         music. Perception and atmosphere. You                         get it?               ROBBIE smiles and nods, and waves goodbye to catch up with               ALEX.     21        INT - MOMENTS LATER - IN MEN'S CHANGING/REST ROOM              21               SNITCH is filling up a water balloon, while SKEETER is tying               a piece of fishing line to the hook on the inside of the               stall door. SKEETER climbs up on top of the stall.               SNITCH is tying off the water balloon and grabs the other end               of the fishing line, and ties it to the fill end of the               balloon. He shuts the stall door, tosses the balloon up to               SKEETER, who places it strategically on the beam above the               toilet. SKEETER then jumps down, and they head for the door.               Eddie Enters. We see EDDIE cautiously checking out the               restroom. He reaches up over the closed stall door and feels               gingerly the fishing line. He smiles and shakes his head,               and heads for the door.     22        EXT -MOMENTS LATER - APPROACHING MEN'S CHANGING/REST ROOM      22               EDDIE is now pushing his cart and making his way toward the               MEN's RESTROOM. He stops to talk to two concessions girls               and show them a magic trick that apparently involves a deck               of cards, which he pulls from a place on his cart. We see               him holding the cards so one girl can pick one.     23        EXT - MOMENTS LATER - IN FRONT OF MEN'S CHANGING/REST ROOM 23               SKEETER pops his head out and looks around. He sees Eddie in               the distance about 5 minutes away, and putting a plastic               liner in a trash can. He nods and disappears into the men's               room.               SKEETER and SNITCH appear at the door, look out, and see               EDDIE finishing his card trick. He presents a card for the    Page 28 of 81               girls to see, and the both nod encouragingly, but as they               walk off, they look at each other and shrug.               SKEETER and SNITCH take off, barely containing their               laughter. But EDDIE notices them leaving. All of this has               happened under the watchful though distant eye of ALEX.               EDDIE goes into the restroom.               EDDIE exits the restroom and goes to his cart.     At this point               ALEX and ROBBIE walk up to him.                                      ALEX                         Hey Eddie.     What have you got?                                   EDDIE                         Water balloon.               EDDIE reached onto his cart and pulls out a pair of scissors,               eyeing them.                                   ALEX                         You got this?                                    EDDIE                         Yeah.   Rookies!               ALEX and ROBBIE walk away as EDDIE places a "RESTROOM CLOSED"               sandwich board in front of the door. Just then BIG MIKE               rushes up.                                  BIG MIKE                            (big hurry-potty emergency)                        Oh Eddie. Listen, I know you're working                        but you hold on for just a minute. I've                        been so busy, and I really gotta go.               EDDIE motions and tries to find the words....                                   EDDIE                         But....no....               But BIG MIKE is already in. Eddies waits for it, wincing,               and there is a loud splash...                                   BIG MIKE (O.S.)                             (echoing through the door)                         Yeahhhah that's cold!               EDDIE just shrugs and puts away his scissors.     24        EXT -MOMENTS LATER - TOP OF RIVER COUNTRY                      24               Two young women guards, KATIE and AMY are loading kids into               tubes and pushing them onto the slide. AMY is a little older               than KATIE.                                  AMY                        ...so then he just disappeared.      I had to                        call my Dad to come pick me up.    Page 29 of 81               KATIE just shakes her head in amazement. ROBBIE and ALEX               walk up to them. AMY is out of earshot, loading a kid.               ALEX hangs back a bit.                                  ROBBIE                            (to KATIE)                        Hi. We're looking for some table                        stretchers and left-handed coffee pots.                                   KATIE                         What? Amy, this guy is looking for a                         table stretcher?                                   AMY                             (coming over)                         Aokee's huh?                                    ROBBIE                             (surprised)                         Uh, yes...                                   AMY                             (to ROBBIE, seeing ALEX in the                              background)                        They're all down at Big Mike's last I                        saw.                             (to ALEX)                        When you gonna tell him?                                    ALEX                         Hi, Amy.   Who's this?                                   AMY                         Katie, this is Alex and...                                  ROBBIE                            (taken with KATIE)                        Robbie. Ummm, Rob Zirpollo.                                   AMY                         Well, anyway, Big Mike's is where they                         are.                                    ROBBIE                         Thanks.               ALEX and ROBBIE walk off.                                  AMY                        What a couple of losers.                                   KATIE                        I don't know...I thought Robbie was kind                        of cute...                                  AMY                        Listen, you're new, so let me tell you                        how things are. First those guys were                        wearing blue shorts. That means    Page 30 of 81                          concessions.                              (uses her fingers to explain)                          The Water World social structure is                          organized on three levels. At the bottom                          are the Trash Rats.                                    KATIE                          Trash rats?                                    AMY                          Bottom feeders. Grounds kids. Babies.                          They clean the toilets and empty the                          trash. Most are only 14 years old. It's                          the only job younger kids can do here.                          Next up is concessions. They're our                          "middle class". We don't hang with them                          and they don't much hang with us. At the                          top of heap are the guards. You are a                          guard. Girl, if you want to go out with                          someone, stick with your own kind.                                    KATIE                              (looking off at ROBBIE and ALEX                               walking away)                          Aw, that's just silly. I think he's                          cute.     25        EXT -DAY   BOTTOM OF RIVER COUNTRY ON THE WAY TO BIG MIKE'S 25               This in an area where riders splash down from riding a tube               down the River Country slides. ROBBIE and ALEX are walking               past the splashdown area.                                    ROBBIE                          What did that girl Amy mean?                                    ALEX                          About what?                                    ROBBIE                          When she said, when are you going to tell                          him?                                    ALEX                          I'll tell you over a hamburger at Big                          Mike's.               ROBBIE and ALEX proceed to BIG MIKE's out of frame.               SUDDENLY in the background we see a tube splashdown from a               slide and the 7 year-old girl riding in it falls out.               Realizing she is no longer safely in a tube she screams and               begins splashing as if drowning. A guard nearby blows a               single tweet of her whistle.               IN SLOW MOTION we see four other guards throughout the area               turn and react to the whistle. They begin running, BAYWATCH               style towards the scene.       Page 31 of 81               Two guards are running and carrying a backboard. They               converge in another BAYWATCH style slow-mo shot and line up               along the edge of the splashdown pool.               One guard in the middle has a rescue tube, and, still in slow               motion, squats down slowly as if to jump in and rescue the               girl.               At the low end of the jump crouch, however he stops.      WE SEE               his face in close-up as he says.                                   RESCUE GUARD                             (slow-motion, voice distorted,                              to the girl)                         Staaaannnd Uuuuuuuupppp!               The drowning girl stops splashing wildly, and realizes she               can indeed stand up. She looks at all the guards lined up,               smiles sheepishly, and walks out of the pool.     26        EXT - MOMENTS LATER - BIG MIKE'S                               26               ALEX is standing outside of BIG MIKE's.    ROBBIE is walking               out of the restaurant.                                   ROBBIE                             (Shaking his head)                         Aokee's not going to be happy. Nobody                         seems to know where these things are...                                      ALEX                                (smiling)                         Yep.                                (now laughing)                                      ROBBIE                         What?                                   ALEX                         There's no such thing as a table                         stretcher or a left-handed coffee pot.                                  ROBBIE                        What a dirty trick.                                   ALEX                             (smiling)                         It's just Aokee's way of giving you a                         tour of the park without having to be                         there. Consider it a rookie initiation.                                   ROBBIE                             (still mad)                         Humph.                                   ALEX                         Time to make it up to you.    Come on.     27        EXT. DAY - BACK OF BIG MIKE'S                                  27       Page 32 of 81               ALEX knocks loudly on the door.               A teenage boy, DAVE in a BIG MIKE's uniform answers.                                     DAVE                         Alex!                                   ALEX                         Hey Davey...how 'bout two for two?                                     DAVE                         Malts?                                    ALEX                             (looks at ROBBIE)                         Chocolate.                             (ROBBIE nods)               DAVE disappears for moment.                                  ALEX (CONT'D)                        Now, if he ever shows up at our back                        door, we owe him chicken and smoothies.                                   ROBBIE                         But...don't we get an employee discount?                         Shouldn't we go in the front?                                   ALEX                         Well...the discount is larger this way.               ROBBIE is getting out money from his pocket, counting through               it.               DAVE shows up with two burgers and two malts, and hands them               to ALEX, disappears and shuts the door quickly. ROBBIE is               still staring at his money.                                   ALEX (CONT'D)                         Come on...let's go eat!               They walk out of frame.     28        INT -DAY AOKEE'S SURF AND SNACK SHACK                          28               ALEX and ROBBIE are cleaning tables after another busy lunch.               WE SEE that AOKEE is filling up a bucket, and getting a scrub               brush, and heads out the doorway.                                    ALEX                         Oh boy.   Here we go.                                     ROBBIE                         What now?                                   ALEX                         Aokee. The pigeons have been taking                         target practice on his trophy pedestal.                         Come on.               They exit out the same doorway as AOKEE.       Page 33 of 81     29        EXT -   DAY - AOKEE'S SURF AND SNACK SHACK                        29               AOKEE is busily cleaning and cursing the pigeons.                                    AOKEE                              (speaking Hawaiian)                          Stupid Pigeons. They should all die!                                    ALEX                              (to ROBBIE)                          Happens every week.                                   ROBBIE                             (to AOKEE)                         What is this thing for anyway?                                    AOKEE                          Someday, Robbie.   Someday.               He keeps cleaning.                                   ALEX                             (to ROBBIE)                         That stand is to display the coveted                         Surfer King trophy.                         Aokee seems to think that one day some                         concessions kid with more courage than                         brains is going to beat the lifeguards in                         the annual Employee Olympics.                                    ROBBIE                          And what would this concessions kid have                          to do?                                    ALEX                          Nothing, really. Just out surf the                          strongest guard of them all in the                          surfing competition. No big deal.                                    ROBBIE                          Has it ever happened?                                    ALEX                          A guard always wins the surf competition.                          Know why?                                    TOGETHER                              (ROBBIE and ALEX)                          Because concessions kids can't swim!                                    AOKEE                              (still cleaning)                          Someday.               They go back into AOKEE'S SURF AND SNACK SHACK.     30        INT MOMENTS LATER -DAY- AOKEE'S SURF AND SNACK SHACK           30               ROBBIE is now behind the counter making smoothies.      He puts    Page 34 of 81               them up and the two kids waiting take them and walk away.               In walk AMY and KATIE.                                   KATIE                             (to ROBBIE)                         Hi there.                                   ROBBIE                             (blinking, smiling)                         Hello. On break?                                    KATIE                         Yeah.   Two Blue Crushes please.                                      ROBBIE                         Coming up.               He shakes a mix container, blends it for about 5 seconds and               pours it out into two cups. He then puts in two umbrellas               with pineapple.                                   AMY                         Oooh. Umbrellas.       I've never gotten                         umbrellas before.                                   ROBBIE                         These are only for VIP guests.               AMY looks over to KATIE and rolls her eyes.               ALEX arrives at this point, and decides to provide a               distraction.                                  ALEX                        Amy. Have you ever seen the fabulous                        Cummings and Robbins 2000-B?                                   AMY                             (shaking her head)                         I don't think so.               As he leads her back into the kitchen...                                   ALEX                         It's incredible.      It washes 2000 plates                         an hour....                                   KATIE                             (to ROBBIE)                         So... you're not from around here, huh?                                   ROBBIE                         California. I just moved here at the                         beginning of the summer.                                   KATIE                         I'll bet California's nice.      I've never                         been west of the mountains.    Page 35 of 81                                   ROBBIE                         You'd love the ocean. And the sunsets                         are incredible. You can almost hear the                         sizzle as the sun drops into the ocean...                             (daydreaming a bit)                         Of course, we all know it doesn't drop                         into the ocean.                                     KATIE                         No.                            (pause)                        I'm surprised you're not a guard, coming                        from the ocean and all.                                  ROBBIE                        Let's just say I missed my chance, and                        Alex saved me from a death worse than                        fate. I was very nearly a trash rat.                                  KATIE                            (frowns)                         Oh. Good save.               ALEX has distracted AMY all he could and they return from the               kitchen.                                   AMY                         Well. That was exciting. Maybe next                         time you can show me how to scrub the                         grill. Come on, Katie.               They leave.                                  ALEX                            (to ROBBIE, interested)                        Well...how'd you do?                                   ROBBIE                             (thinking)                         Mmmm. I told her how beautiful the                         California sunsets are.                                   ALEX                         Good job. You work fast. Hey it's time                         for our break. Bring your swimsuit?                                    ROBBIE                         Yeah.   The Wave?                                     ALEX                         The Wave.    I love that water.               ROBBIE looks confused.                                   ALEX (CONT'D)                         Can't swim. It's only three inches deep.                                   ROBBIE                             (grabbing his suit and a towel)                         Ah ha! Let's go.    Page 36 of 81     31        EXT -MOMENTS LATER - THE WAVE AREA                             31               ROBBIE and ALEX have their swimsuits on, and are in line to               get on THE WAVE. ALEX is coaching ROBBIE.                                   ALEX                         Now, just take it easy, and don't expect                         too much at first. When you wipe out,                         your ride is done.               ALEX is up now, and he grabs the board and jumps in. He is               pretty good, but not nearly as good as the WAVE BUMS. He               does a few tricks and wipes out. He gets up and walks up to               the line to watch ROBBIE.                                   ALEX (CONT'D)                             (shouting)                         Just ease into it.               ROBBIE takes the board and looks around. He jumps full force               onto the wave. It takes him just a moment to get the feel of               the board, and then he is all over it, making the WAVE BUMS               look like rookies. Spins, rolls, everything that can be done               he does. Finally, the guard blows a whistle indicating that               his time is up.                                   ALEX (CONT'D)                             (meeting him at the exit)                         Gees. Where did you learn to do that?                                   ROBBIE                         I'm from Oceanside, California.    I was                         born on a surfboard.               They start walking back.               They stop for a moment to look at Thunder Bay. Just then a               wave spews out, and kids on tubes are screaming as they               always do.                                   ALEX                         Think you could ride that?                                    ROBBIE                             (looking right into ALEX's                              eyes)                         In my sleep.               ALEX just smiles.     32        INT - LATER THAT DAY - AOKEE'S SURF & SNACK SHACK              32               AOKEE is cleaning up behind the counter.    ALEX is grinning               like the cat that ate the canary.                                   AOKEE                         What you so happy about?                                   ALEX    Page 37 of 81                            (shaking his head)                        You're not gonna believe it...                                  AOKEE                        Listen. Some guy came in today and try                        to buy a sandwich and pay with a phone                        card. Today I believe anything.                                   ALEX                         I took Robbie to The Wave today.                                   AOKEE                             (looking around)                         What? He drown?                                  ALEX                        No. It turns out that he's from                        Oceanside. California. You know, where                        they always hold those surf competitions?                                       AOKEE                         Yeah.   So?                                  ALEX                        It turns out that he placed second in the                        state high school finals for the                        shortboard competition. As a Sophomore.                                  AOKEE                        Robbie.                            (laughing in disbelief,                             dismissive, then serious)                        Robbie barely walk without help.                                   ALEX                         I saw it myself.      You wouldn't believe                         it.               We hear a loud CRASH from the kitchen.      AOKEE winces and               gestures toward the kitchen.                                   AOKEE                         I don' believe it.      Our Robbie?                                   ALEX                         Our Robbie.                                  AOKEE                            (thinking)                        If this true....this could be da year.                                   ALEX                         That's what I was thinking.                                  AOKEE                        Well, go get him. We need to make ready.                        He not just walk in and win this thing.                                   ALEX                         You heard it. He's in the kitchen...    Page 38 of 81               ALEX goes into the back. AOKEE sits at a table. Robbie               comes out of the kitchen wearing a dishwasher apron.                                  AOKEE                        Robbie, sit down. Alex, make up a                        Volcano. This boy in training.                                  ROBBIE                            (sitting down, worried)                        What did I spill now?               WE HEAR the whine of a blender as ALEX is working on the               Volcano Smoothie.                                  AOKEE                        Robbie, Alex tell me you are some kind of                        surfer. This true?                                  ROBBIE                        I dunno. Yeah, surfing is usually how I                        spend my summers.                                   AOKEE                         You know about Employee Olympics?                                    ROBBIE                         Yeah.   Some kind of trophy.                                   AOKEE                         Surfer King trophy. Very big.     Very                         nice.                             (looking down)                         Concessions never win.               ALEX arrives with the Volcano Smoothie. He turns a chair               around and sits. They will gang up on him.                                   ROBBIE                         I dunno...seems kind of silly to me.                                  ALEX                        It's a big deal. Every girl     wants to date                        you. Every guy wants to BE      you.                        Special privileges...we all     wear standard                        uniforms.   The Surfer King     gets to be                        creative. You ever see the      cowboy hat                        Cowboy wears?                                  ROBBIE                        It shouldn't be that hard...how good                        could this Cowboy be?                                  AOKEE                        He very good. His family go to Hawaii                        every year, two, three weeks. Good                        surfer. If you do this, you need to see                        Pipeman.                                   ROBBIE       Page 39 of 81                         Pipeman?                                   ALEX                         He's a myth.                                  AOKEE                        Oh, no. Pipeman very real. Works here                        in park. Low profile. You must find him                        and convince him to teach you the secrets                        of the Thunder Bay wave. This not the                        ocean, surf boy.                                   ALEX                             (thinking)                         Pipeman. The Banzai Pipeline. I get it.                         Some kind of legendary surf champ. Where                         do we find him?                                  AOKEE                        I only see him once, maybe twice. Stay                        behind scenes. But here he is and find                        him you must.                            (to ROBBIE)                        So. You do this?               Robbie looks at them, thinking for a moment.                                                                        CUT TO:     33        INT -MOMENTS LATER - AOKEE'S SURF & SNACK SHACK                33               WE SEE quarters going ding ding ding into the pay phone on               AOKEE'S wall. The shot widens to reveal AOKEE is dumping               quarters and ROBBIE is holding the phone. He puts it up to               his ear.                                  ROBBIE                            (into phone)                        Hello, Grandma? No, I'm fine. Listen,                        Grandma...I need you to send me a few of                        my things...               AOKEE and ALEX are huddled around smiling.     34        INT - DAY - BIG MIKE'S OFFICE                                  34               BIG MIKE is standing, walking around as he speaks, TIFFANY is               sitting. Clearly she is being scolded.                                  BIG MIKE                            (angry)                        ....why you wouldn't believe the things                        I've heard. Just stupid things. Cutting                        in line. Demanding special treatment.                        Oh, and how about this one:                            (mimicking her)                        Princesses don't carry trash.                            (back to his voice)                        I've often thought it was a mistake to                        have you work here. Maybe I was right.    Page 40 of 81                                   TIFFANY                             (trying to dance out of it)                        Oh, daddy. You know how jealous people                        get.                                  BIG MIKE                        I'd almost believe that. But I was behind                        the First Aid station when you said the                        "princess" line. This park exists                        because the kids here work hard. They                        need to be treated fairly. They need to                        see you are just another lifeguard.                                   TIFFANY                             (protesting)                         But I'm not just another lifeguard.                                  BIG MIKE                            (mad again)                        You won't even be that if this continues.                        If you want to keep coming here every day                        and driving that little convertible of                        yours, I need to see real, concrete                        changes in your attitude.                                      TIFFANY                         All right.     What do you expect me to do?                                  BIG MIKE                        For one thing, start mingling with "the                        commoners". You'd be amazed at how nice                        some of the people who work here are.                        Make some friends outside that little                        group of yours. It's the work of the                        average teenager here that puts food on                        our table. Show some gratitude.                                   TIFFANY                             (thinking a moment)                         Fine. I'll work it.                                   BIG MIKE                             (softening, but firm)                         Good. Work on it. Please?                                   TIFFANY                             (nodding, but we don't believe                              her)                         Oh, Daddy. Don't worry about a thing.     35        EXT MORNING - THE NEXT DAY - TIME SHACK                        35               ROBBIE and ALEX hook up and grab their time cards. There is               a banner hanging that says, "Employee Luau Tonight", and               SKEETER and SNITCH have taken a 5 gallon bucket and are using               it as a stepladder to attach something.               SKEETER is on the bucket with a stapler in his hand. SNITCH               hands up the hand-lettered magic marker addition, which       Page 41 of 81               SKEETER staples on to the bottom of the banner while SNITCH               keeps a lookout.               The addition says, "COME GET LEI'D".     They scamper off,               laughing.                                   ALEX                             (looking up at the sign)                         This will be good. Aokee throws a great                         Luau.                                   ROBBIE                         I don't how much fun it will be.     With                         Aokee hosting, we'll be working.                                   ALEX                         There'll still be time for fun. Most of                         the work is setting up. Besides, we get                         paid, too. When was the last time you                         got paid to party?               With that, ALEX punches in, as if to punctuate the line.     36        EXT - NIGHT -   OUTSIDE AOKEE'S SURF & SNACK SHACK             36               It is dark, but the place is lit up by little lights               everywhere, Christmas lights in the fake palm trees, TIKI               lights around AOKEE's, and lights lighting a stage where a               band is playing, what else, surf music.               Buffet tables line the area, and there is SMOOTHIE BAR set               up. BIG MIKE himself is behind the bar making smoothies,               while RICHARD is playing bass in the band. AOKEE is running               around making sure all the buffet items are full. Everyone               is wearing Leis, but the cheap plastic ones, except AOKEE and               his staff, who have real ones flown in from Hawaii.                                   AOKEE                             (pouring out four smoothies to                              ROBBIE and ALEX)                         OK. You work hard, and we fine now.                         Your time to party. Here they are.                         Special Love Smoothies. Be careful!                                   ALEX                             (to ROBBIE)                         These never fail.               ALEX picks up two Leis from a box behind the counter. He and               Robbie walk over to AMY and KATIE who are standing over near               the buffet.                                   ALEX (CONT'D)                             (to ROBBIE, but if front of AMY                              and Katie)                         Now this will never do.                                   ROBBIE                             (agreeing)                         I'm afraid you're right.     Something must    Page 42 of 81                         be done.               ALEX and ROBBIE set the smoothies on a nearby table. They               remove the cheap plastic Leis the girls are wearing. Then               they put on the real ones they carried over. ALEX steps back               to admire his work.                                     ALEX                         Oh, yes,    yes....                                     ROBBIE                         Perfect.    A work of art.               The girls look at each other and smile. ALEX and ROBBIE grab               the smoothies and hand two to the girls. AMY sips hers right               away.                                   AMY                         I don't remember anything like this on                         Aokee's menu.                                     ROBBIE                         They're..                                   ALEX                             (interrupting)                         ..special smoothies. Fortunately, you                         know people on the inside.               Onstage, the band had finished a tune before the dialog began               above. Now JAFFA steps up to the mike.                                   JAFFA                         We'd like thank Aokee and his crew for                         hosting this evening's Luau.               Everyone applauds, AOKEE waves. Alex raises a hand and waves               off the accolade. ROBBIE nods and smiles as the AMY and               KATIE clap as well.                                   JAFFA (CONT'D)                         We'd also like to bring Aokee up to sing                         one of his Hawaiian specialties.               Again, everyone claps and cheers him on.    AOKEE goes on               stage.                                   ALEX                         You girls want to dance?                                   KATIE                             (grabbing ROBBIE's hand and                              leading out to the dance                              floor)                         Sure.               AMY shrugs yes and goes out with ALEX.                                   AOKEE                             (onstage)    Page 43 of 81                        Mahalo and Aloha. This song is sung on                        my island for all young people in                        love...or about to be. Is called E                        O'Mai, or, You Are Mine.               AOKEE begins singing the Hawaiian love song, "E O'Mai".      Many               couples are dancing; it is a slow song.               ALEX, of course, is a goof. He dances slow, but every once               in a while executes a deep dip, much to AMY's terror.               EDDIE is off to the edge of the dance floor, watching,               longingly, and kind of swaying to the music. A couple of               girls walk by and he does a magic trick for them.               He holds both hands up, palms open to show he has nothing in               his hands. He also gestures that he has no sleeves (he is               wearing a tuxedo t-shirt). He reaches behind his back and               pulls out a trick bouquet of flowers, but they don't quite               open right, and are still unfolding as he holds them.               EDDIE smiles weakly, he knows that isn't quite how it was               supposed to go. The girls appear encouraging, but as they               leave look at each other and giggle.               We pick up ROBBIE and KATIE dancing.                                  KATIE                         So. How are things working out at                         Aokee's?                                   ROBBIE                         Oh, he's great. Alex too. I thought                         this summer was going to be a train                         wreck, but it's not turning out too bad.                                   KATIE                         Well, of course this isn't California...                                  ROBBIE                        No, but it looks like I will get a chance                        to do some surfing anyway.                                   KATIE                         Really.                                   ROBBIE                         Apparently there's some kind of surfing                         contest and Aokee is all over me to                         enter.                                   KATIE                         You mean the Surfer King?                                   ROBBIE                         You've heard of it?                                  KATIE                        It's all the other girls seem to talk                        about. This is my first year, but    Page 44 of 81                         apparently it's a pretty big deal. Being                         from Oceanside, you should have a good                         chance.                                   ROBBIE                         We'll see. It seems kind of stupid to                         me. A surfing contest in Colorado.                            (laughing)                        My friends back home would never believe                        it.               They continue to dance. WE SEE BIG MIKE talking to TIFFANY               and gesturing broadly. TIFFANY is clearly not agreeing with               what he is saying. COWBOY is nowhere to be seen. Suddenly she               throws up her hands and marches over to the dance floor where               EDDIE is standing alone, swaying a bit to the music.               She whispers something in his ear, and EDDIE'S eyes get real               big as she leads him by the hand to the middle of the dance               floor. She wraps her arms around EDDIE and they dance, all               the while glaring at her father.               EDDIE knows a good thing when he sees it, and quickly settles               in, Big Man on Campus. TIFFANY is taller than he is, so he               happily puts his head on HER shoulder.               BIG MIKE looks back at them, not happy with the way it               happened, but satisfied.               DOUG FITZGERALD (twenty bucks DOUG) is dancing with a girl               when ALEX, doing some kind of fancy spin to AMY, bumps into               him.                                   DOUG                             (to ALEX)                         Alex. Got my twenty bucks?                                  ALEX                        Oh, Dougie. You know, I left my wallet                        over in my locker. I'll see you before                        we leave and get it to you then.                                   DOUG                         Yeah, sure.                                   ALEX                         You know, you could always come by                         Aokee's and I could give it to you in                         trade.                                   DOUG                         Cash money, Alex.   Cash money.                                   ALEX                         No problem.               ALEX grabs AMY and swings her into another fancy move that               leads them away from DOUG.       Page 45 of 81               The song ends, and everybody claps.     AOKEE bows.                                  ROBBIE                            (to KATIE)                        Hey, listen. Alex told me about this                        great spot on the other side of Thunder                        Bay that looks down on the party, but                        it's a little more quiet. Want to go for                        a walk?                                   KATIE                         Sure.               They pick up their smoothies and walk off into the night.     37        EXT MOMENTS LATER - NIGHT - NORTH EDGE OF THUNDER BAY          37               ROBBIE is walking on the seawall that separates the bay from               the sunning area, tightrope style. KATIE walks next to him.                                   KATIE                         So...what made your folks pick up from                         beautiful southern California and move to                         Colorado?                                   ROBBIE                         Not both my folks.   Just my Mom.                                   KATIE                         Aha...trouble in paradise?                                   ROBBIE                         Let's just say my father had an eye for                         his administrative assistant, and now                         they're both somewhere in Mexico. Mom                         got a job here, some of her family's                         here, so they said "Colorady is the place                         you outta be".                                   KATIE                         It could be worse.                                   ROBBIE                         Well, I must admit, I've met some very                         nice people.                             (looking down and smiling)                         In California, the attitude's a little                         different. Here, not everyone is out to                         prove something. Seem's like everyone                         just wants to have fun.                                  KATIE                        I have a theory. Sometimes it snows here                        so hard, that it's a challenge just to                        get to work or to school. Everything                        shuts down for a day or so. If your car                        gets stuck, people appear from nowhere to                        help pull you out and get you back on the                        road. Most people here don't just look                        out for themselves. A lot of times,    Page 46 of 81                         they're looking out for you, too.     38        EXT. MOMENTS LATER - NIGHT - CUSTOMER SERVICE KIOSK             38               ALEX and AMY are inside the KIOSK.    ALEX is showing her how               everything works.                                   ALEX                         All these switches feed sound throughout                         the park. Which reminds me.               He pulls out a CD and pops it into the CD Player and presses               PLAY. He sees a flyswatter and begins waving it around like               a sword.                                   ALEX (CONT'D)                         And this is for bad little girls who                         don't know how to have fun.               He begins swishing it around, AMY is giggling.                                    ALEX (CONT'D)                         Oops.   There....almost got you.               AMY is dodging and laughing. ALEX closes in and seems like               he will kiss her, but just starts gumming her neck, tickling               her. AMY leans back laughing and WE SEE her back hits the               volume knob on the amplifier.     39        EXT. NIGHT - MOMENTS LATER GRAND PAVILION                       39               They have reached   the area to the west of Thunder Bay. It is               simply a concrete   pad that overlooks the party below. We               hear "Paradise is   in Your Eyes" by Michael Peace, which               begins with a lot   of jungle sound effects.                                   KATIE                             (looking down at the party)                         You were right. This is nice.                             (reacting to the jungle noises)                         But not necessarily quieter.                                   ROBBIE                         Just a sec.               He walks away slightly and gets on the radio.                                   ROBBIE (CONT'D)                         Hey, Alex. Give us break down here.                         Turn down the sound effects.     40        EXT. NIGHT - CUSTOMER SERVICE KIOSK                             40               ALEX and AMY are kissing; she is up on the counter of the               KIOSK.                                   ALEX                             (interrupting, but to AMY)                         Uh oh. Sorry. Hold that thought.    Page 47 of 81               He grabs the radio.                                    ALEX (CONT'D)                             (into the radio)                         I'm on it.               He turns down the volume back to normal. He also flips a               switch. They hear the tune now, and AMY jumps off the               counter, stands there and smiles. ALEX does an over-the-top               mambo moving to her and they start to slow dance.     41        EXT. NIGHT - GRAND PAVILION                                    41               ROBBIE has set down the radio, and is walking back to KATIE               now, who is swaying to the music. He doesn't get too close               to her, and actually stands off to her left.               Since she has the room and is momentarily inspired, she               begins a few dance moves, ballet, and then ballroom style.               ROBBIE has seen this sort of thing before, and instinctively,               almost without thinking steps in and becomes her dance               partner. They proceed in a beautiful dance that almost seems               rehearsed. Finally it occurs to them both.                                   ROBBIE                             (quizzically)                         So where did you learn to dance like                         this?                                   KATIE                             (smiling)                         Eight years at Miss Vickie's Studio of                         Dance. What surprises me is you.                                   ROBBIE                             (somewhat embarrassed, keeps                              dancing)                         Can you keep my deepest, darkest secret?                                      KATIE                         Of course.                                  ROBBIE                            (hesitantly)                        When you grow up within spitting distance                        of Hollywood, every mother seems to think                        her child is the next Harrison Ford. So                        when I was about 12, my Mom started                        taking me to all these auditions for                        things.                                  KATIE                        So are you the next Harrison Ford?                                   ROBBIE                         Some days I'm not even the next Robbie                         Zirpollo.               They continue to dance.    After a few moments...        Page 48 of 81                                    KATIE                         ....and?               They stop and walk over to the railing overlooking the party.                                  ROBBIE                        Turns out I get this part. They're                        selling some dish soap or something, and                        they think it will be magical to have                        two twelve year old kids dancing ballroom                        on this fantasy set with clouds and                        everything. They lock this girl and I                        into a dance studio with a choreographer                        for two weeks, and then they shoot the                        commercial.                                   KATIE                         Doesn't sound so terrible.     You certainly                         learned how to dance.                                   ROBBIE                         Yeah, but when it came out everyone in                         school saw it. I couldn't go anywhere                         for six months without everyone in the                         room laughing their heads off.                                   KATIE                             (touched, drawing closer)                         I'm not laughing.               They kiss, then return to dancing.     42        EXT. MORNING - THE NEXT DAY - OUTSIDE AOKEE'S SURF & SNACK 42               SHACK - SURF MUSIC BED               WE SEE ALEX and ROBBIE discussing something; forming a plan.               They are going to look for Pipeman. ALEX gestures in one               direction, and ROBBIE takes off. ALEX goes in another.     43        EXT. MORNING - MOMENTS LATER - DAY     FIRST AID SHACK NEAR         43               FUNHOUSE - SURF MUSIC BED               ALEX walks up to the Guard, appears to ask a question.        The               guard shakes his head "no".               ALEX walks off.     44        EXT. MORNING - MOMENTS LATER - GIFT SHOP - SURF MUSIC BED           44               ROBBIE is talking to a cashier in the store.     She shakes her               head 'no'. Robbie walks out hurriedly.     45        EXT. MORNING - MOMENTS LATER - CUSTOMER SERVICE KIOSK - SURF45               MUSIC BED               ALEX is talking to Jaffa. JAFFA gestures wildly, as if               telling some big mythical story, but at the end throws up his               hands as if to say, "I don't know".    Page 49 of 81     46        EXT. MORNING - MOMENTS LATER - SOMEWHERE AT WATER WORLD -      46               SURF MUSIC BED               We are in pitch darkness. We hear the sound of heavy               scraping metal. Lights shine and we are looking up through a               manhole cover being removed. ROBBIE bends over the hole and               hollers "PIPEMAN" and peers in. He shakes his head               negatively and moves on.     47        EXT. MORNING - MOMENTS LATER - BIG MIKE'S - SURF MUSIC BED 47               We are at the back door to Big Mike's. ALEX knocks, and the               same kid as before, DAVE, pops his head out. ALEX appears to               ask a question, DAVE goes back in as ALEX waits. DAVE comes               out again and gestures, "no one knows". ALEX starts to leave,               but turns back and asks something else. DAVE disappears and               comes back with a burger. ALEX shrugs, and walks away               unwrapping and eating the burger.     48        EXT. MORNING - MOMENTS LATER - BACK OF SOME BUILDING           48               ROBBIE sees a door marked, "EMPLOYEES ONLY". He looks down               at his employee ID and shrugs and goes in. As he enters we               see he is pushed out by some unknown force. Out the open               door comes "Wally" the Water World mascot, who walks off.               Robbie has been knocked to the ground and looks up, shaking               his head. He gets up and walks off.     49        EXT. MORNING - MOMENTS LATER - BACK OF SOME BUILDING - SURF49               MUSIC BED               Now it is ALEX who has separately come upon the same door,               not knowing ROBBIE has already been there. He enters, and               the door remains open. We hear girls screaming and he exits               quickly, followed by a volley of thrown girl's underwear,               swimsuits and towels.     50        INT. MORNING - MOMENTS LATER - THUNDER BAY PUMPHOUSE - SURF50               MUSIC BED               This room is creepy. It is full of loud pumps and large               pipes. ROBBIE is making his way through a labyrinth of               piping and gauges and the like. He peers and sees a head               with a red scarf, but it moves out of view.  Surf music               fades.               There is a constant whine of the pumps. ROBBIE moves further               in and finally comes across a man holding a large pipewrench,               with his back to him. He is working to tame a small leak.                                   ROBBIE                             (quietly)                         Hello?               No reaction.                                   ROBBIE (CONT'D)                             (loudly this time)                         Hello?    Page 50 of 81               This startles and kind of angers PIPEMAN.                                   PIPEMAN                        Hey.   You're not supposed to be in here.                                   ROBBIE                         Yeah, sorry. Are you Pipeman?                                   PIPEMAN                             (recovering from the startle)                         Not on purpose.                         I guess some people call me Pipeman.                         'Spose it's better than Carl.                                   ROBBIE                         So you're real name's Carl?                                  PIPEMAN                        No. I just said Pipeman was a better                        name than Carl.                                 ROBBIE                        Oh. Well, my name's Robbie.      I work at                        Aokee's.                                    PIPEMAN                         Oh. OK.   What the hell you doin' down                         here?                                   ROBBIE                         I need your help.                                   PIPEMAN                         That scrubsink at Aokee's leakin' again?                         Gees, I knew we shoudda replaced...                                  ROBBIE                        It's not the scrub sink. I need your                        help. I'm competing in the Employee                        Olympics. With your advanced surfing                        experience, Aokee thought you might be                        able to help me.                                   PIPEMAN                             (to himself)                         Everybody wants to be the Surfer King.                             (to ROBBIE)                         What advanced surfing experience?                                   ROBBIE                         Well, you know. "Pipeman"? Hawaii's                         North Shore? Surfing the pipeline?                                  PIPEMAN                        Ohhh. Bad news, kid. I hate to                        disappoint you, but this is the reason                        they call me Pipeman. I'm the plumber                        around here.               PIPEMAN holds up the large wrench.    Page 51 of 81                                  ROBBIE                        Oh, boy. See, I'm from California, and                        I can surf, I just don't know what to                        expect from the wave on Thunder Bay.                        I...I was just hoping you could help, I                        really am sorry for bothering you.               ROBBIE begins walking out, dejected.    PIPEMAN looks at him,               and feels sorry for him.                                  PIPEMAN                        Wait a minute, kid. I do know a little                        about surfing. I also know a lot about                        the wave here. What exactly are you                        looking for from me?                                   ROBBIE                             (perking up)                        I need a mentor; you know like in Karate                        Kid.                                  PIPEMAN                        Karate Kid. He works at Big Mike's                        doesn't he?                                   ROBBIE                         No, no it's a movie.                                  PIPEMAN                        Never seen it. Don't know much about                        this mentor thing. How's it work?                                  ROBBIE                        Generally, you, as mentor, draw on some                        personal religious philosophy to first                        intimidate, and then later inspire me.                        What religion are you?                                   PIPEMAN                             (proudly)                         I'm Norman.                                   ROBBIE                         Ah, Brigham Young and all that.                                  PIPEMAN                        No, no NNNNORM-AN. We follow the big fat                        guy on Cheers reruns.                                  ROBBIE                        Okay...and your belief structure....                                  PIPEMAN                        Usually involves a lot of beer and corn                        nuts, but I don't think that's gonna work                        here.                            (thinking)                        Tell you what.                        Meet me at Thunder Bay tomorrow morning,       Page 52 of 81                        eight a.m., bring your board and we'll                        work something out.                                  ROBBIE                            (happily)                        Great, perfect. Thanks. I won't let you                        down.                            (walking away, muttering to                             himself)                        What the heck is a corn-nut?     51        EXT. MORNING - THE NEXT DAY - THUNDER BAY                      51               WE SEE Thunder Bay looking east. AOKEE and ALEX are setting               up lawn chairs. AOKEE is lathering on suntan lotion, and               puts on a large straw hat. ALEX puts sun block cream on his               nose, and they both sit on the lawn chairs. They both have               large smoothies.               ROBBIE appears with his surfboard, and lays it up against the               east fence at Thunder Bay. PIPEMAN arrives carrying a small               device in a plastic ziplock bag.               ROBBIE approaches PIPEMAN.                                   ROBBIE                         Hi!  Glad you could make it.                             (pointing to PIPEMAN's hand)                         What's that?                                   PIPEMAN                         This is how I trigger the wave.                                      ROBBIE                         With that?     A garage door clicker?                                  PIPEMAN                        What did you think? Waves just happen?                        This is Colorado, kid. Now get your                        board and get in the water.               Robbie gets his board and jumps into Thunder Bay, paddling               over to the narrow side where the wave begins.               PIPEMAN goes down the stairs leading to near where ROBBIE has               positioned himself.                                   PIPEMAN (CONT'D)                         You sure that's where you want to be?                                   ROBBIE                         Should be about right. Aren't you                         getting in? Where's your board?                                    PIPEMAN                         Mentors don't get wet. I looked it up.                             (pressing the clicker)                         Get ready.               A wave comes and ROBBIE begins paddling.     He misses it,       Page 53 of 81               splashes the water angrily and turns back to paddle to               position again. AOKEE and ALEX look at each other nervously.                                   PIPEMAN (CONT'D)                         Want to know what you did wrong?                                  ROBBIE                            (mad)                        Just gimme another wave.                                   PIPEMAN                         Oakey doakey.               Another wave comes. ROBBIE paddles furiously and misses it               again. Now he's really angry.                                  ROBBIE                            (tersely)                        Okay. Please. Tell me what I did wrong.                                   PIPEMAN                         You're in the wrong position. The wave                         doesn't crest that soon. Move ten feet                         further away from the back wall.                                    ROBBIE                             (to himself)                         The ocean never had a back wall.                             (to Pipeman)                         Thank you.               ROBBIE paddles over to the spot suggested by PIPEMAN. AOKEE               and ALEX are now sitting on the edge of the lawn chairs               anxiously awaiting the next wave. It comes and ROBBIE               catches it easily and begins riding it aggressively. He has               a good run and kicks out at the end.               AOKEE and ALEX high-five.                                   ALEX AND AOKEE                             (together)                         Yeee-haww.               They settle back into their chairs to absorb some sun.     52        INT. DAY AOKEE'S SURF AND SNACK SHACK - DAY                    52               AOKEE is behind the counter finishing up making a smoothie.               RICHARD, head lifeguard is on the other side; he will get the               smoothie.                                   RICHARD                             (grinning)                         So. I hear he's pretty good.     Haven't                         seen him myself yet.                                   AOKEE                             (concerned, covering)                         Good? Good at what? Who you mean?    Page 54 of 81                                  RICHARD                        Come on. Your ringer from California.                        Everyone says he's gonna give Cowboy a                        run for his money.                                     AOKEE                         Robbie?    Robbie barely walk without help.               We hear a loud CRASH from the kitchen.                                     RICHARD                         Gees!                                     AOKEE                         Ha!               AOKEE gestures back towards the kitchen.                                   AOKEE (CONT'D)                         Your Surfer King. We just make a good                         show. Your boy have nothing to worry                         about.                                   RICHARD                         You know I'd feel a lot better if you                         hadn't taken most of my money in that                         poker game last Friday night.                                   AOKEE                             (dismissive)                         Poker? Not an island game.     I no good.                                   RICHARD                            (nods)                        Right. Tell you what. Sight unseen even                        money, twenty dollars on Cowboy.                                   AOKEE                         You want to bet with me? Take my twenty                         dollars, just like that? Humph. Not                         worth the trouble, twenty dollars. Now,                         maybe a hundred...                                   RICHARD                         A hundred bucks...               ANOTHER CRASH from the kitchen, this time pots & pans.                                   AOKEE                             (to kitchen)                         Robbie!                                   RICHARD                         OK, a hundred bucks.               They slap hands to seal the deal.    RICHARD leaves, grinning               and shaking his head.                                     AOKEE                               (to kitchen)    Page 55 of 81                         Robbie?   That you?   Come out here.                                  ROBBIE                            (entering from kitchen)                        Sorry, dude, that tray was way off                        balance.                                  AOKEE                        Robbie, our secret getting out.     You                        practice too good.                                   ROBBIE                             (happy)                         I'm really getting the hang of that wave.                                      AOKEE                         Fall more.     Make good show.                                  ROBBIE                            (thinking)                        I'll try to remember to look and see                        who's watching.                                   AOKEE                             (pours the rest of RICHARD's                              smoothie)                         Good. Here, have a smoothie. You too                         skinny to surf good.               ROBBIE smiles and takes the smoothie back to the kitchen.     53        EXT EARLY MORNING. - THUNDER BAY                               53               ROBBIE and PIPEMAN are in the middle of a practice session.               PIPEMAN is at the side, ROBBIE is in the water on his board.                                   PIPEMAN                             (gesturing)                         OK, now this time, get up on the board                         more quickly. This is a wave pool and                         this wave dissipates quickly. You only                         have a little time to show your stuff.                                   ROBBIE                         How will the judging work?                                  PIPEMAN                        You get a possible ten points. Three for                        your surfing, three for your style and                        four for the judge's overall impression                        of your ride. No one's ever gotten a                        ten...I'm not really sure why.                                   ROBBIE                         You've seen the competition.     What does                         everybody do?                                   PIPEMAN                         Everybody just surfs, man and tries not                         to fall. The big reason Cowboy's done so       Page 56 of 81                         well is he goes to Hawaii for a couple                         weeks every year. But there he's mostly                         a longboarder. Your job is to figure out                         how to make the most outta this little                         wave.                                    ROBBIE                         OK.   I'm ready.               The wave comes and ROBBIE catches it and surfs it hard,               kicking up high at the end.     54        EXT. MORNING - MOMENTS LATER - HILL ABOVE THUNDER BAY          54               WE SEE COWBOY and TIFFANY standing overlooking Thunder Bay.               COWBOY has binoculars and is looking through them.                                   COWBOY                         He's pretty good, I'll give him that.                                   TIFFANY                             (concerned)                         How good?                                  COWBOY                        If I have an off day, he could win.                                   TIFFANY                             (really concerned)                         That's terrible. You're the Surfer King.                                   COWBOY                         Well, some days you get the wave, and                         some days the wave gets you.                                   TIFFANY                         This can't happen.   What are we gonna do?                                   COWBOY                         I don't know what you're going to do, but                         as me for me, I'm gonna schedule some                         practice time of my own.                                   TIFFANY                         This may take a lot more than extra                         practice.                                   COWBOY                         Well, I don't know what else you expect.                         I'll go out and do my best. If that's                         not enough, it's not enough.               TIFFANY grabs the binoculars and stares down at Thunder Bay.               WE SEE gears turning in her head.     55        EXT. MORNING - THE NEXT DAY - CUSTOMER SERVICE KIOSK           55               ROBBIE and Alex are walking by.   JAFFA sees them.                                    JAFFA    Page 57 of 81                         Hey, surfer boy! I got fifty bucks at                         three to one! Don't let me down, mon.                                  ROBBIE                            (to JAFFA)                        Hey Jaffa. NO worries.                            (to ALEX, shocked)                        People are betting on me?                                  ALEX                        Just a little friendly pool. No big                        deal. Helps make this more interesting.                        Concessions never had a chance before...                                   ROBBIE                         I've seen this Cowboy practice. His                         style is more longboard, and this is a                         shortboard wave, but he's still pretty                         good. I could lose you know.               Two concessions girls are walking by them.                                    CONCESSIONS GIRLS                             (together)                         Hi Robbie!                                    ROBBIE                         How ya doin'                              (to Alex after they have gone                               by)                         See. How come everyone knows me by sight                         now?                                  ALEX                        Ah, you're the next big thing. You'll                        survive it. The Employee Olympics are                        only a week away. What happens is we                        have this big opening ceremony where each                        team chooses a theme and we're judged on                        our spirit. Then different teams compete                        in contests that test their Water World                        skills. The next morning it all ends                        with the surf contest. You ready?               Another group of concession girls calls ROBBIE from one of               the snack bars. He waves.                                   ROBBIE                         I suppose. I've been working out a                         strategy to use if Cowboy has a real good                         day. It's risky...               Just then they both nearly run headlong into TIFFANY.                                   TIFFANY                         Well, hello Robbie.                                   ROBBIE                             (surprised)                         You know me?    Page 58 of 81                                   TIFFANY                         Of course I know you. It's my father's                         park, I try get to know everyone.                                   ALEX                             (interrupting, eager)                         I'm Alex!                                  TIFFANY                        Yes, I'm sure you are.                            (ignoring ALEX, back to Robbie)                        It's been a while since I've been to                        Aokee's. Do you suppose if I come down                        in a little while you could make some of                        that special chicken, what is it?                                   ROBBIE                         The best teriyaki east of the Pacific.                                  TIFFANY                        Yes...and one those smoothies I hear so                        much about?                                    ROBBIE                             (stunned)                         Well, sure. I'll be working all                         afternoon.                                  TIFFANY                        It's a date then.    See you later!               She walks off. ROBBIE just stands there. ALEX starts               walking, then comes back. Finally ALEX pushes him on the               shoulder.                                   ALEX                         Come on, we gotta get back.                                   ROBBIE                             (still shocked)                         Yes. Yes we do.     56        INT. DAY AOKEE'S SURF AND SNACK SHACK                          56               AOKEE is wiping the counter alone.    HE turns toward the               kitchen...                                   AOKEE                         Alex! We need more large smoothie cups                         out here!               AOKEE continues cleaning up. ALEX shows up with a load of               cups, AOKEE takes them and starts placing then.                                  AOKEE (CONT'D)                            (to ALEX)                        Look at that.               WE SEE in a far corner of AOKEE's TIFFANY and ROBBIE in an       Page 59 of 81               animated, engaging conversation.                                   AOKEE (CONT'D)                         Second time this week. Our boy Big Man                         on Campus, huh?                                   ALEX                         Big something. I hope he knows how to                         work without a net.                                   AOKEE                         Well. We all grow up sometime. He not                         drop a tray of dishes in days. Something                         going right.   You think he ready?                                   ALEX                         I guess we'll both find out on Sunday.     I                         sure hope so.               WE SEE TIFFANY and ROBBIE again, and TIFFANY is laughing               loudly at some joke ROBBIE has made.     57        EXT NEAR SUNSET - TIME SHACK                                   57               ROBBIE, ALEX, AMY and KATIE are clocking out for the day.               ROBBIE clocks out first. TIFFANY drives up in her               convertible.                                   TIFFANY                             (waving him over)                         Robbie!               ROBBIE goes over to talk to her.    WE SEE him go around to the               passenger side.                                   ROBBIE                             (shouting)                         Alex! I won't need a ride tonight after                         all. Tiff's taking me home!               ROBBIE jumps in and they drive away. ALEX, AMY and KATIE are               still standing on the porch of the TIME SHACK, shocked at               what they've seen.                                   ALEX                             (disbelief)                         Tiff?                                   AMY                             (grossed out)                         Tiff?                                   KATIE                             (forlorn, stunned)                         Tiff.               WE SEE ROBBIE and TIFFANY drive out the gate.     We see KATIE               walk slowly out of the park alone.               As she is walking, we flash back to scenes of KATIE and       Page 60 of 81               ROBBIE together, dancing and laughing. This time the dance               moves to the song of Allison Krause's "New Favorite".               We take a final look at KATIE with the setting sun at her               back and see she is crying.     58        EXT. EARLY MORNING. - SURF'S UP WAVE POOL EAST SIDE            58               We see the rising sun behind AOKEE's head as he raises a               conch shell and blows it like a horn. He is dressed like a               Hawaiian prince.               As the shot widens it reveals six males and two females               dressed in Hawaiian native garb. ROBBIE And ALEX are among               several drummers with bamboos sticks in their hands that               provide percussion for the Hawaiian war dance.                                    AOKEE                          Aie, noka moka kei kai ke alo.               The drums begin and the male dancers, carrying spears begin               the Hawaiian war dance. The drummers sing the Hawaiian folk               tune "No ka moku Kiakahi Ke Aloha".               There are about 100 concessions kids in regular uniform               sitting cross-legged behind them, clapping the beat in               unison.               The MALE DANCERS circle each other in time to the beat,               gesturing a story the seems to involve some invading army.               The war dance progresses until the invading warriors are               defeated and the folk song ends. At the end, the kids               sitting behind raise their hand and shout.                                    CONCESSIONS GIRLS AND BOYS                          Concessions! Concessions! Concessions!               Looking to the south side of the pool, we see about 50               grounds kids sitting in rows. In our foreground there are               six large trash cans, with toilet plungers arranged next to               them, 2 each.               To our left are a line of six grounds kids in army fatigues               carrying brooms as if rifles. The lead kid shouts:                                     LEAD MARCHER                          Company!   Forward, march.               THE DRILL team marches into full view. The grounds kids               behind clap the march beat. The marchers stop in front of               the line of trash cans.                                     LEAD MARCHER (CONT'D)                          Company!   Halt!               They do.                                    LEAD MARCHER (CONT'D)                          Present Arms!    Page 61 of 81               The brooms come off their shoulders and are held forward.                                         LEAD MARCHER (CONT'D)                            Company!                                         MARCHERS                            Yes sir.                                      LEAD MARCHER                            Order arms.               They begin a routine practiced with brooms, in a cadence,               clapped by the grounds kids behind them.                                   LEAD MARCHER (CONT'D)                         What do you do if it's wet and not yours?                                      MARCHERS                                (in cadence)                            Don't touch it! Don't touch it!                                      LEAD MARCHER                            How do you deal with a full can of trash?                                         MARCHERS                            We empty!     We empty!                                         LEAD MARCHER                            Sound off!                                      MARCHERS                            Trash Rats!                                         LEAD MARCHER                            Again!                                      MARCHERS                            Trash Rats!                                      LEAD MARCHER                            Sound off, Trash Rats.                                      MARCHERS                            Trash rats! Trash Rats!               They stop.     Their brooms are raised over their heads.                                         LEAD MARCHER                            Company!     Brooms Ho!               They allow their brooms to fall to their right side and march               to the trash cans. They pull out bright blue ski masks, a la               BLUE MAN GROUP, and pick up the toilet plungers. The lead               marcher holds his plunger high and shouts.                                         LEAD MARCHER (CONT'D)                            Company!     Begin!               He counts a four beat rhythm and they begin a BLUE MAN/STOMP               like drum routine with the trash cans.    Page 62 of 81               Two grounds kids in regular grounds uniforms approach holding               steel trash can lids by the handles (with gloves). These               become drums as well as two of the drummers switch from trash               can to can lids using the stick side of the toilet plunger as               the drumstick.               A competition erupts from the left and right sides of the               line as they each set a beat and then the other matches.               Finally, a show of unity as both sides join back into the               beat for an ending flourish.               They pick up their brooms and turn their attention to the               kids behind them. They begin to march in place and the seated               grounds kids clap for the tempo.                                   LEAD MARCHER (CONT'D)                             (to the seated GROUNDS KIDS)                         What do you do when the table's a mess?                                   GROUNDS KIDS                             (together)                         We wipe it! We wipe it!                                   LEAD MARCHER                         What do you do when a toilet's stopped                         up?                                   GROUNDS KIDS                         We plunge it! We plunge it!                                      LEAD MARCHER                         Sound off!                                   GROUNDS KIDS                         Trash rats!                                      LEAD MARCHER                         Sound off!                                   GROUNDS KIDS                         Trash rats!                                   LEAD MARCHER                         Sound off trash rats!                                   GROUNDS KIDS                         Trash rats! Trash rats!               They clap and cheer, and settle back down to sit.               All is quiet now. WE SEE concessions kids sitting, grounds               kids sitting and we look to the west side of the pool and see               lifeguards sitting. Everyone is looking around.               Suddenly two lifeguards dressed as Roman Soldiers appear with               horns. They bellow a Roman Call to Action, and two Roman               drummers lead a column of other lifeguards.       Page 63 of 81               First we see female guards dressed in togas filing in. Behind               them are six gladiators with swords and shields, marching.               They are followed by one female lifeguard with a basket of               rose petals. She is throwing them into the path of the next               group to enter.               Next we see six more guards dressed as slaves carrying               COWBOY, who is sitting up on a First Aid backboard. HE is               wearing laurel leaves and a toga, he is obviously Cesar. On               the backboard is also the surfer king trophy.               They all approach the area in front of the seated guards, and               rearrange themselves so that COWBOY has a good view of the               gladiators. The drummers count a cadence that sets the pace               for a simulated battle between the gladiators.               The simulated battle rages until three of the gladiators are               on their knees before the three victorious gladiators. The               victorious gladiators hold their swords over the fallen ones,               and look to COWBOY for a yea or nay.               COWBOY generously waves and makes a thumbs up signal, and the               swords are put away. The seated lifeguards all raise their               fists and shout.                                   LIFEGUARDS                             (together)                         Lifeguards! Lifeguards!     Lifeguards!               The guards holding COWBOY set him down in front of an               elevated platform that has a microphone..               COWBOY picks up the surfer king trophy and walks to the               platform. He sets the trophy on a table next to the               microphone, arranging it carefully.               We see now there is a large banner hanging at the back of the               wave pool that says "WATER WORLD WELCOMES EMPLOYEE               OLYMPIANS".               COWBOY moves to the microphone and raises his arm in a regal               manner and speaks.                                   COWBOY                             (to all)                         Let the games...begin!               The seated crowd now stands and cheers loudly. We see a               group of three people, two male and one female, adults we               will later identify as JUDGES. They nod approvingly and               write something down on their clipboards. We see BIG MIKE               near them, smiling broadly.     59        EXT. LATER THAT DAY - SURF'S UP WAVE POOL EAST SIDE            59               We see that the lounge chairs have been removed and the area               is clear. There are scattered squashed up pieces of white               paper lying about.       Page 64 of 81               We look to the south and see that there are three boy/girl               teams with one of their legs tied together, like a three               legged race.               The rub here is one team member has the dustpan and the other               team member has the broom. A JUDGE triggers a starter pistol               and they are off.               The lifeguard team falls almost immediately, and the grounds               team takes a early lead over the concessions team, who are               trying to figure the dustpan/broom operation out. The two               grounds people work tightly together and quickly advance.               The lifeguards have gotten back up and are hobbling up to               their first piece of trash. Concessions has figured out the               dustpan, but are still well behind the grounds kids.               Finally, the grounds kids win, with concessions up second,               and lifeguards trailing in third. The judges note the finish               on their clipboards.     60        EXT. LATER THAT DAY - THUNDER BAY                              60               We see three male participants standing in the shallow end of               Thunder Bay, One red suit (lifeguard) one blue suit               (concessions) and one green suit (grounds)               A JUDGE on the rise to the west of Thunder Bay blows an air               horn to start the race. They all rush into the bay and begin               swimming furiously.               The guard takes the lead quickly, followed not far behind by               the grounds kid. The concessions kid is working hard and               splashing a lot but not getting very far.               As the guard reaches the back wall, he does an underwater               racing turn and swims back toward the point where they               started. Right behind him, the smaller grounds kid does the               same thing.               As they are returning, they pass the concessions kid, who               still is splashing a lot but not going fast. After they pass               him he stops, as he is tired out.               Momentarily he can't even tread water any more, and a guard               watching from the sidelines jumps in and pulls him out. The               swimming guard has beaten the grounds kid, the concessions               kid never finishes.     61        EXT LATER THAT DAY - SURF'S UP WAVE POOL SOUTH SIDE            61               There are three lines set up with several participants. It               is a relay race, with the baton replaced by a tray full of               drinks in paper cups, water. The colors indicate again               concessions, guards and grounds.               The race is already in full swing, with concessions in the               lead. The last group of relayers are now getting their               trays, and concessions is way ahead.       Page 65 of 81               Everyone is cheering their team on. The final pass is made               to SARAH who works for AOKEE's. She takes the tray and moves               gracefully to the final stop. There is a small table on               which the drinks must be placed.               She is clearly going to win when she suddenly stops.               All concessions kids are shocked and plead her to go on.               She does a nifty and graceful around the back maneuver with               the tray, proceeds to the table, and sets down the drinks,               tipping the tray sideways to show no water has been spilled.               The JUDGES scribble furiously.     62        EXT. LATER THAT DAY - AOKEE'S SURF & SNACK SHACK               62               Three picnic tables are set up in front of AOKEE's. WE dolly               past each one to see that they are cluttered indentically               with what appears to be the leftovers from lunch for four.               Behind each table is a team of two guards, concessions and               grounds kids.               A JUDGE blows a whistle and we begin by looking at the               lifeguard team.               It is a boy and a girl and the girl is not too keen on this.               They bring a trash can with them and begin gingerly clearing               the table, acting as if they are afraid to get their hands               dirty.               We dolly left to see the concessions team a little ahead of               the guard team.               We dolly further left to reveal a grounds kid in a full rain               suit with a face shield.               A tremendous force of water is clearing the table into the               trash can which the rain-suited grounds kid is holding at               it's end.               We dolly further left to see EDDIE in full army fatigues with               safety goggles on and wearing the biggest super-soaker water               gun in the history of man.               The table is quickly cleared, and at the same time washed.               EDDIE holds up the business end of the Super-Soaker gun and               blows imaginary smoke from it's barrel, like an old Western               gunfighter.               The JUDGES take notes.     63        EXT. LATER THAT DAY - SURF'S UP WAVE POOL                      63               The three different teams are gathered in groups waiting for               the next challenge. One of each team is in full sweats,               color coordinated by team.               ALEX is the one in the sweats for concessions. Slowly the               sweats people walk into the pool about waist deep and lay    Page 66 of 81               down.               The grounds kid is the littlest guy of all.               A JUDGE blows a whistle and four members of each team run               into the water and drag their now soaked sweat suited               teammate out of the water. They lie them down on a clear               area and begin CPR.               The guards have a nifty little plastic device that lets them               blow air into the mouth of their victim, and they roll him               quickly on his side to clear water and back to begin CPR.               They are fast and efficient, and clearly expertly trained.               We move left to see the grounds kids, knowledgeable but               inexperienced. One girl is using her hands to provide a               seals over the mouth of her "victim" and another is clumsily               pumping his chest while the others try to keep a count while               reading some kind of instruction card..               We move again to see the concessions kids, who are in               trouble. ALEX is lying there dying, and they are arguing               about who has to breathe into his mouth. They form a circle               over him, pointing and arguing.               Finally they all just walk off and ALEX is still lying on the               ground, eyes rolled back and twitching convulsively in a               hilarious death scene.               The JUDGES take their notes.     64        EXT LATER THAT DAY - IN FRONT OF THE CANNING COMPANY           64               Once again three teams representing the three competing               factions. Large stainless steel pots are bubbling on three               propane cooking stands in front of the concession.               The teams each have three members in cooking aprons, again,               color coded. One from each team is stirring the team's chili               while the others watch the JUDGES anxiously.               Lines are forming in front of each pot, with people in line               each carrying a paper chili bowl, but holding back, deferring               to the JUDGES. The JUDGES are each carrying three styro cups               in which to receive the chili.               They each get a portion from the guard team and take a sip.               They smile politely to the cooks, but turn around and spit               the chili back into the cup as delicately as possible, almost               as if throwing up. A concessions kid is there with a tray of               waters, which they quickly take advantage of.               They move on to the grounds team. They get their portions               and taste the chili and nod, not bad.               They take another sip of water to clear their palate and move               on to the concessions team. The portions are proudly               scooped.               They take a taste, smile and take some more.     They huddle for    Page 67 of 81               a moment and then place a blue ribbon on the concessions pot.               The lines quickly rearrange and merge themselves so that               everyone is in line for the concessions pot.     65        EXT LATER THAT DAY - SURF'S UP WAVE POOL EAST SIDE             65               An obstacle course has been set up, and the event provides a               background to the dialogue that follows. AOKEE has some               papers, and is talking to ALEX and ROBBIE.                                  AOKEE                            (looking through the papers)                        This isn't good.                            (looking at ALEX and ROBBIE)                        It's the same as every year. Pretty much                        a dead heat going into the surf                        championship tomorrow morning.                                   ALEX                         I can't believe those guys screwed up the                         CPR.                                   ROBBIE                         Hard to blame them. No one told them                         they had to put their mouth on yours                         until the last minute. Yuck.                                   ALEX                         Bunch of babies.                                   AOKEE                             (to ROBBIE)                         It's going to be up to you. We slip a                         little. You have to make up. That                         trophy need a new home.               They look over at the obstacle course where a tiny grounds               kid is jumping up and down and raising his arms ROCKY-style.                                   AOKEE (CONT'D)                         You need to make up. You ready? Tomorrow                         morning last event. You our last hope.               ROBBIE just looks at both of them nods and sighs heavily as               the other grounds kids surround our winner in the background.               AOKEE and ALEX walk off. Suddenly TIFFANY appears.                                      TIFFANY                         Hi Robbie.                                  ROBBIE                            (shy but still very much                             smitten)                         Oh. Hey.                                   TIFFANY                         How's your team doing?                                   ROBBIE                        Uh.   OK, I guess.      Kind of a tie.    Page 68 of 81                                  TIFFANY                        Well, I think you're going to take care                        of that tomorrow morning. In fact, I've                        planned a little celebration in advance.                        We're going to this incredible party up                        in the foothills at some friends of mine.                                  ROBBIE                            (intrigued)                        Party, huh? That sounds like fun.       I                        have to work until nine tonight.                                  TIFFANY                        That's perfect. I'll come back here and                        pick you up.               She starts to walk off.                                   TIFFANY (CONT'D)                         Oh, and Robbie...call your mom and tell                         her you're spending the night at Alex's                         or something. It's going to be a very                         special night.                                      ROBBIE                                (hypnotised)                         K...               She walks away. ROBBIE stands there a moment before waking               up and leaving also.     66        INT. EVENING - AOKEE'S SURF & SNACK SHACK                      66               It is dark. We see ALEX and AOKEE cleaning up from the day's               food service. ALEX Is wiping down the smoothie area, AOKEE               is sweeping on the other side of the counter.                                   ALEX                             (voice somewhat hushed)                         I'm telling you we need to talk him.                         Something's going on.                                   AOKEE                             (shaking his head no)                         Robbie know the right thing to do.     He's                         a good boy.                                  ALEX                        So how about this? He tells me I've got                        to cover for him if his mother calls. He                        told her he's spending the night at my                        house.                                  AOKEE                        He say that?                                   ALEX                         Yes. Tiffany's got something up her                         sleeve and Robbie's too messed up to    Page 69 of 81                         notice.                                  AOKEE                            (reflective)                        Spending the night at your house.      This                        very bad. Very bad.                                  AOKEE (CONT'D)                        He should be done with the dishes by now.                        Tell him we want to talk.               ALEX disappears back into the kitchen. AOKEE goes to an               empty table under the one light on in the dining area and               sits down.               ALEX comes back and ROBBIE follows.                                   ROBBIE                         Hey. I'm done with the pots and pans.                         It's almost nine. Can I take off now?                                   AOKEE                         Robbie, please, sit.               ROBBIE sits down.   So does ALEX.   Robbie looks at both and               gets suspicious.                                   ROBBIE                         Everything OK?                                   AOKEE                         That's what we gonna ask you.    What you                         plan tonight?                                   ROBBIE                         Well, Tiffany invited me to a little                         party up in the mountains.                                   AOKEE                         Robbie, you athlete. Big day tomorrow.                         You need sleep, not party.                                   ROBBIE                         It's no big deal.   I'll be fine.                                  AOKEE                        Is big deal. Robbie. You good boy,                        smart, everybody like you, but....                                    ROBBIE                         But...                                   AOKEE                         Face it. Only one reason Tiffany                         interested in you. She want to make you                         so tired and so crazy you lose tomorrow.                                   ROBBIE                             (disbelief)                         Aw, come on...    Page 70 of 81                                  ALEX                        Robbie. She's still going out with                        Cowboy. I saw them together at the                        movies two nights ago.                                  ROBBIE                        Maybe she's just letting him down easy.                                  ALEX                        Robbie...things...things are not always                        what they seem to be.                                     ROBBIE                        Like what?                                   AOKEE                         In this case, she acts like she likes you                         when really she wants Cowboy to win.                                 ROBBIE                        Naw. You guys are nuts.      She's not like                        that.                                   ALEX                         She is like that.                                  ROBBIE                        Look, I know what to believe and what not                        to. I'm not that easily fooled.                                     ALEX                        Aokee?                                  AOKEE                            (shaking his head)                        Go ahead. Tell him. I trust him.                                  ALEX                        OK. Take Aokee for instance.      Gentle,                        genial Hawaiian guy, right?                                  ROBBIE                        Sure. He's great. I love working here.                        Aokee, you've been real good to me...                                  ALEX                        Then let me introduce you properly.                        Robbie Zirpollo, meet Manuel Ramirez.               AOKEE'S head is down in his hands. Robbie looks stunned.                                  ALEX (CONT'D)                        Manuel's family snuck across the border                        ten years ago through Juarez, Mexico.                                   AOKEE                             (accent gone)                         My father refused to work for a drug lord                         who ran our town. They tried to kill       Page 71 of 81                         him.     We barely got out with our lives.                                      ROBBIE                         Aokee?                                   AOKEE                             (accent now Mexican)                         A name I picked up reading an obituary in                         the paper. I sent away to Hawaii and got                         his birth records and social security                         number. This way, I never have to worry                         about immigration. I spent weeks                         watching tapes of Hawaii Five-O just to                         get the accent right. "Book 'em Danno".                         Huh. What's that all about?                                   ROBBIE                             (to Alex)                         And you knew?               ALEX nods yes.                                   AOKEE                         I burnt my hand on the grill one day and                         started swearing in Spanish...                                   ALEX                             (interrupting)                         And I said, boy, you speak Spanish like a                         native....uh oh. It's been our little                         secret. Now it's your secret, too.                                   ROBBIE                             (looking at his watch)                         I need to think about all this.                                   ALEX                             (nodding)                         You do.                                   AOKEE                         Sleep tonight. Sleep well.                                   ROBBIE                             (gets up, dazed)                         Right. Goodnight.               ROBBIE leaves.     ALEX and AOKEE just sit, looking at each               other.     67        EXT. EARLY MORNING. - THUNDER BAY                              67               Hundreds of people are gathering on bleachers to watch the               surfing competition.               A large highway construction type signboard has been erected               and says "Grounds   93", "Concessions 93" and "Lifeguards               94".               It is almost a festival atmosphere.     The JUDGES are standing      Page 72 of 81               in a group, conferring, near a table that has the controls               for the sign. The sign can be viewed easily from the               bleachers.               WE look over to the front of AOKEE's and see AOKEE and ALEX               standing outside the restaurant.     68        EXT. EARLY MORNING. - MOMENTS LATER - AOKEE'S SURF & SNACK 68               SHACK                                   AOKEE                             (to Alex)                         Have you seen him?                                      ALEX                         Not yet.               They are looking to the north towards the crowd, but ROBBIE               appears behind them.                                   ROBBIE                             (looking in the same direction)                         What you lookin' at?                                  AOKEE                        We looking for you.        How you sleep?                                   ROBBIE                         I slept fine.                             (pause as AOKEE and ALEX wait)                         I decided I'm not my father. I don't run                         out on the people I care about just                         because some blond shakes her ta-ta's at                         me.                                   AOKEE                             (relieved)                         We go then.               ROBBIE picks up his board, and they begin walking toward the               bleachers. ALEX stops and turns suddenly.                                   ALEX                         She shook her ta-tas? No one said                         anything about shaking ta-tas.                             (reflectively)                         This puts a whole new light on things!               He is in ROBBIE's way.        ROBBIE pushes him with his board.                                      ROBBIE                         Get going!     69        EXT. EARLY MORNING - THUNDER BAY                                  69               ROBBIE, COWBOY and MELINDA from grounds, who we met earlier               and was conned into the contest because she said she surfed               once on vacation, are all standing in front of the JUDGES.               One JUDGE explains the rules.    Page 73 of 81                                   HEAD JUDGE                             (looking down at clipboard)                         Alright, here's the deal. You get three                         tries; three heats. We judge each run                         and only your high score counts. If you                         fall you get no score for the run. Your                         score will be added to the total for your                         team, and the winner gets the Surfer King                         Trophy. Any questions?               They all shake their head no.                                  HEAD JUDGE (CONT'D)                        Then let's begin. Grounds is up first.               MELINDA grabs her board and begins paddling out. The wave               comes and it's all she can do to stay on her board. She               struggles and falls at the end. She will clearly not be a               factor. The big screen shows a 0 in a column after the               grounds score.               We look back to the bleachers to polite applause, but the               COLONEL and the grounds kids are clearly disappointed.               COWBOY is out there now, the wave comes and he catches it               easily. He rides the wave gracefully and well, and kicks out               at the end. The big screen shows an 8 in the lifeguard row.               The lifeguards and RICHARD are cheering now.               ROBBIE is next. He catches the wave and rides it more               aggressively than COWBOY, but nearly falls at the end of his               run. The big screen shows an 8. The concessions kids and               AOKEE are very enthusiastic. They can see they have a chance               with ROBBIE. PIPEMAN is watching from a far corner.               MELINDA begins her second run. She is a little more               confident this time, but still seems barely able to stand and               ride the wave. More polite applause, and the big screen               shows a 5.               COWBOY catches his wave, and tries to imitate ROBBIE'S more               aggressive style, but falls midway through the run. We hear               a large gasp from the crowd as this happens.               The crowd applauds politely, and the guards are supportive               but disappointed. We see the JUDGES confer and the big screen               shows a 0.               ROBBIE gets his wave, and surfs it aggressively again, this               time not nearly falling at all. The JUDGES nod approvingly               and confer. The big screen shows a 9. The crowd goes wild,               especially the concessions kids.               Melinda begins her final run. She does better than the past               two, but not significantly. The JUDGES confer and the screen               shows a 5. The ground kids are very disappointed, they know               they are out of it now. THE COLONEL shakes MELINDA'S hand               and thanks her for her efforts.    Page 74 of 81               COWBOY gets his wave, and has clearly decided to go back to               his original style; he rides the wave gracefully, but takes               no chances.               He kicks out at the end with a wave and a smile. The guards               applaud, hoping to make it seem better than it was, and the               JUDGES confer and the screen shows an 8.               ROBBIE snags his wave and rides it aggressively again, but               loses his balance momentarily. It costs him; the JUDGES               confer and the screen shows a 7.               The concessions kids applaud, and the point totals show               "Grounds   98", "Concessions 102" and "Lifeguards 102".               EVERYONE is confused, there has never been a tie before. THE               JUDGES Are flipping through papers, and BIG MIKE steps up to               the microphone.                                  BIG MIKE                            (clearing his throat,                             flustered)                        It looks like we have a tie. This has                        never happened before, but I seem to                        remember we provided for this possibility                        in the rules. Hopefully our judges can                        help us figure out what to do!               The HEAD JUDGE is reading to the other JUDGES out loud, slaps               his hand on one of the papers and comes up to the mike.                                  HEAD JUDGE                        Reading from the rules, "...in the event                        of a tie at the end of three heats in the                        surf competition, the teams who are tied                        will participate in a sudden-death surf                        off. Additional heats will be run until                        a winner can be declared."                            (looking up at the crowd)                        The "Sudden Death" heat will begin in                        five minutes.               Everybody cheers...they're going to see some more great               surfing.               The JUDGES signal COWBOY and ROBBIE to come over. The head               JUDGE takes a quarter out of his pocket and points to COWBOY               to call it. It lands and the JUDGE looks at it. HE points               to ROBBIE.                                   HEAD JUDGE (CONT'D)                         You want to go first or second?                                   ROBBIE                         Second.                                  HEAD JUDGE                        Be ready in five minutes.     70        EXT -MOMENTS LATER - AOKEE'S SURF & SNACK SHACK                70    Page 75 of 81               ROBBIE, ALEX, AOKEE and PIPEMAN have gathered in front of               AOKEE's to strategize.                                   AOKEE                         So what you do?   Wait for him to go crazy                         and fall?                                   ROBBIE                         Don't want to win with him falling.                                   PIPEMAN                         You could always go out and do your very                         best, take a lot of chances and maybe win                         this thing on merit.                                   ALEX                             (dismissive)                         Don't be silly. That only works in the                         movies.                                   ROBBIE                             (shakes his head)                         Actually, that's exactly what I'm                         thinking. It's the reason we're in a                         tie. I've been too conservative. I've                         got to do everything I can, or just                         forget about it. It's all or nothing.                             (pause)                         We gotta pull the fin.                                   AOKEE                         Pull da fin?                                   PIPEMAN                         You think you can hold it?                                  ROBBIE                            (explaining)                        One time, these tourists from Japan on                        the beach at La Jolla offered me a                        hundred bucks to do a full spin at the                        top of the wave, and then slide down and                        cut back and do a full back flip. I                        pulled it off. A friend of mine had a                        tricks board with just a single fin and                        foot pockets.                                   PIPEMAN                         We gotta pull the fin. What do we do                         about the foot pockets?                                   ROBBIE                         You got duct tape?               PIPEMAN reaches into his tool belt and pulls out a roll.                                  PIPEMAN                        What kind of plumber would I be if I                        didn't have duct tape? Water World    Page 76 of 81                         Platinum!   Where do you want them?               They place the board on a table. ROBBIE pulls off two small               pieces of tape and places them on the board.                                   ROBBIE                         Here and here.               PIPEMAN gets his screw gun out of his tool belt and begins               removing the two outer fins of the board. He then begins               looping duct tap around the board to create two foot pockets.               This provides a background to the dialog below.                                   AOKEE                         So, help me understand.      What you do now?                                   ROBBIE                         Pipeman is taking the extra fins off my                         board. I only need one to make a deep                         cut back. He is also putting some                         pockets to slip my feet into so when I                         flip upside down, I don't lose the board.                                   ALEX                         Flip upside down?                                   ROBBIE                         A back flip. You guys see it on                         snowboarders here all the time, I'm sure.                                   ALEX                         Oh yeah, I'm sure I did that last winter.                         But not on purpose! Dude. You're either                         gonna win this thing or you're gonna die.                                   AOKEE                             (quickly, eagerly)                         It would be better if you won.                                   ROBBIE                         Yeah, well, a tie is like kissing your                         sister.                                   ALEX                             (mock anger)                         You stay away from my sister.               We hear an air horn blast.      They are ready to start.                                     PIPEMAN                         Ready!                                   ROBBIE                             (to PIPEMAN)                         I'll need the biggest wave you can give                         me...                                   PIPEMAN                             (imitating Mr. Scott on Star     Page 77 of 81                              Trek)                         I'll give 'er all she's got, Cap'n!               He hands Robbie the board. ALEX heads back to the bleachers               area, PIPEMAN goes to the pumphouse in back of Thunder Bay.               AOKEE hangs back with ROBBIE and speaks to him alone.                                   AOKEE                             (dropping his Hawaiian accent)                         Robbie. When you do this, do this mostly                         for Robbie Zirpollo. But do it just a                         little bit for Manny Ramirez, eh?               AOKEE smiles and pats him on the back.    Robbie nods.    They               head for the bay.     71        EXT. MORNING - MOMENTS LATER - THUNDER BAY                       71               COWBOY is in the water paddling out to get his wave. It               comes and he has apparently decided to stay with what has               gotten him this far; a conservative style that keeps him               looking good without falling. His ride is similar to the               last one, but even more graceful and lyrical and he gets a 9.                                   ALEX                             (to ROBBIE)                         Looks like he's waiting for you to make a                         mistake. You sure you know what you're                         doing?                                   ROBBIE                         I'm just making this up as I go along.                                   ALEX                         Works for me! Go get 'em.               ROBBIE appears on the seawall holding his board and looking               out first at the bay, then at the crowd. His mom, CONNIE               waves, and he smiles weakly.               HE sees KATIE and she looks hopeful. She hasn't given up on               him completely. He smiles at her and gets into the water.               He begins paddling. It seems to take forever for him to get               out to the spot where he catches the wave, but he finally               arrives.               He sits there for a moment, collecting himself, then raises               his hand to signal he is ready.               The CONCESSIONS KIDS have started to chant, ROBBIE! ROBBIE!               The guards are anxious, but even they can't help moving to               the cadence of the chant.               The wave comes and he catches it quickly, and slips his feet               into the duct tape pockets. He misses one pocket at first,               then gets it in.               He rides it carefully and at the right moment slides up to      Page 78 of 81               the top and executes a full 360 degree turn out of the water.               On landing back on the downside of the wave, he slides down               it quickly, and then turns around with a deep cut and heads               straight into the wave. At the top he bounces and does a               complete back flip in slow motion.               We see the crowd also in slow motion. AOKEE Is covering his               eyes, he can't watch. ALEX's face is contorted with               disbelief. Various faces in the crowd are in open-mouthed               disbelief. THE JUDGES are staring intently, focussed so as               not to miss anything.               ROBBIE lands the flip, and rides the rest of the wave.      He               waves to the crowd, and kicks off, exhausted.               The place goes nuts. No one here has ever seen anything like               this before. AOKEE and ALEX run into the water and help him               out. People are still cheering.               COWBOY knows he's in trouble.               THE JUDGES confer only momentarily and the score 10 appears,               and the word concessions starts flashing along with the word               winner. COWBOY nods in agreement.               TIFFANY says something to him, and he appears angry.      We can               only hear part of his response, something like:                                   COWBOY                             (disbelief)                         You did WHAT?               AOKEE and ALEX lead him up to the grandstand. COWBOY also               makes his way up there, and we see him talking to BIG MIKE.               BIG MIKE nods in agreement and COWBOY goes to the mike as the               crowd settles down.                                   COWBOY (CONT'D)                         As last year's Surfer King, it's my                         privilege to present this year's trophy                         to the most amazing surfer on the water                         today. Robbie! Congratulations.               COWBOY shakes ROBBIE's hand, and ROBBIE speaks at the mike.                                   ROBBIE                             (holding trophy)                         I just want to thank Aokee, Alex and                         Katie for all their support.               We see KATIE clapping, crying.   AOKEE and ALEX are clapping               and smiling.                                   ROBBIE (CONT'D)                         And I have just one thing to say to                         everyone in concessions. WE DID IT!               ROBBIE holds the trophy high as everyone cheers.     Page 79 of 81                                                                FADE TO BLACK.     72        EXT. EARLY EVENING SURFS WAVE POOL                              72               Grounds kids are stacking chairs in preparation for final               closing. Tarps are being thrown over everything and tied               down.               Awnings are being taken down.     Chairs and tables are being               moved.               We see JAFFA packing up his CD's into that cardboard box.       HE               also snaps the winter covers for the sound equipment into               place.     73        EXT. MOMENTS LATER - EVENING TIME OUT SHACK                     73               A banner hangs over the time shack, "Thanks for another great               year". ALEX, ROBBIE, KATIE and AMY are clocking out for the               final time this summer.               They all stop and look around one final time.     Suddenly               TIFFANY drives up in her convertible.                                   TIFFANY                         Another summer gone. How about it                         Robbie? You gonna guard next year?      They                         could use your help.               They all walk closer to her car.                                   ROBBIE                         I don't know...we have a pretty good time                         at AOKEE's.                                   TIFFANY                         You know, that's what I hear. Maybe I                         should work there next summer.               ALEX, ROBBIE, KATIE and AMY all say these lines pretty much               at the same time.                                   ROBBIE                         You wouldn't like it...                                   ALEX                         That's a bad idea...                                   KATIE                         And you're such a good guard...                                   AMY                         You'd be miserable...                                   TIFFANY                         Maybe you're right.    See you around...               EDDIE appears out of the time shack wearing his tuxedo t               shirt.    Page 80 of 81                                   EDDIE                             (almost singing)                         Tiffany!               He walks up to her driver's side.                                   TIFFANY                             (feeling charitable, warmly)                         Hello, Eddie.               EDDIE shows there is nothing in his hands, then reaches into               the car and from behind TIFFANY's ear pulls a plastic Easter               Egg out. He hands it to her, and she opens it. A beautiful               butterfly flies out and away. She is momentarily entranced.                                    TIFFANY (CONT'D)                         You know, that's one of the most                         beautiful things I've ever seen.                             (pause, thinking, what the                              heck)                         Hop in Eddie, let me give you a ride                         home.               EDDIE waves his hand for HER to scoot over so he can drive.               She is surprised, but does, almost reflexively. He gets in               and he looks at ALEX, ROBBIE, KATIE and AMY grinning broadly               as he pulls away.               ALEX, ROBBIE, KATIE and AMY just watch in stunned silence as               EDDIE and TIFFANY drive off.                                   ALEX                             (collecting himself)                         Well. Just another summer at Water                         World.               The group begins walking toward the exit gate, as we go wide               and helicopter upward. They get smaller and smaller in the               shot as we hear the conversation continue.                                   ROBBIE                         You know Katie, I really am sorry I was                         such a jerk this summer.                                  KATIE                        We'll be going to the same high school.                        You'll have plenty of chances to make it                        up to me. Let's see, there's Homecoming,                        the Christmas Dance, Valentines Day...and                        of course, the prom...                                   ROBBIE                         Alex?                                   ALEX                         Yeah?                                   ROBBIE                         I'm gonna need to borrow twenty bucks.    Page 81 of 81                                     ALEX                         Yep.               We helicopter up for a final shot over the whole park.                                                                              THE END
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+                                   SURROGATES                                  Written by                        John Brancato & Michael Ferris                          Based on the graphic novel                               "THE SURROGATES"                                                               By                               Robert Venditti                                                 October 16, 2007          FADE IN ON:          EXT. CITY STREETS - NIGHT -- MOVING          A DISTORTED IMAGE of downtown city streets at night.          This is not a FISHEYE LENS, but the REFLECTION in the          mirrored surface of a helmet visor.          EXT. LUXURY BUILDING - NIGHT          A near-future MOTORCYCLE stops near a dramatic HIGH-RISE          RESIDENTIAL BUILDING. The rider, clad in black leather,          climbs off his machine. We'll call him the ASSASSIN.          He flips up his VISOR. His face is scarred, stubbly. He          conceals himself in an alcove, eyes never leaving the          building's entrance.          A uniformed DOORMAN opens the high-rise's lobby door for          a HANDSOME YOUNG MAN in a TUXEDO and TRENCHCOAT.          THE ASSASSIN has been waiting for this. He removes what          looks like a rifle scope from his jacket, aims it at          TUXEDO.          SCOPE POV - focusing on TUXEDO'S FACE, magnified. A          digital readout: "SCANNING..." Then a long SERIAL          NUMBER reads out and the name, "LIONEL ALEXANDER CANTER,"          along with other personal information below.          THE ASSASSIN puts away the scanner scope, satisfied. He          reaches a hand into a pocket, withdraws a mysterious          DEVICE. The size of a first generation cellphone, it has          a military look, with a clear sliding panel over safety          switches and buttons.          The ASSASSIN hurries toward TUXEDO, but before he can                         REACH HIM--          A sleek, futuristic LIMOUSINE pulls up and TUXEDO gets in          the back. They're gone in an instant.          The ASSASSIN, frustrated, dashes for his MOTORCYCLE. He          starts it and pursues the limousine.                                                                                                              2.          EXT. WASHINGTON D.C. - NIGHT          THE MOTORCYCLE pursues the LIMOUSINE along the Potomac,          D. C. LANDMARKS visible in the distance.          EXT. KENNEDY CENTER - NIGHT          FORMAL CROWDS, a RED CARPET, signs for an OPERA. The          LIMOUSINE approaches.          INT. LIMOUSINE - NIGHT          TUXEDO leans forward to the DRIVER, a muscular, handsome          man in a suit named ARMANDO.                         TUXEDO          I'm not really in the mood for          opera, Armando.          ARMANDO nods knowingly pulls back into traffic.                         ARMANDO          F Street?                         TUXEDO                         (UNDOING BOWTIE)          You read my mind. Let's not          mention this to my Dad...          As he speaks, he passes a few BILLS over the seat.          EXT. WAREHOUSE DISTRICT - NIGHT          THE LIMO moves through this seemingly deserted area,          pulls up near a STEEL DOOR with a spray-painted X.          TUXEDO emerges sans jacket and tie, his dress-shirt open.                         TUXEDO          I can find my way back.          ARMANDO nods and pulls away. TUXEDO moves toward the          entrance, says a word into an INTERCOM with a          SURVEILLANCE CAMERA. The door opens within moments, he          disappears inside.          THE ASSASSIN parks his bike, a few steps behind. Tuxedo          has vanished through the STEEL DOOR before he can catch          up with him.                         (CONTINUED)                                                                                                              3.                         CONTINUED:          The ASSASSIN takes off his helmet, tries the door. It          won't move. He buzzes the intercom. The DOOR slides          open a crack--          THE BOUNCER is a huge, bald man with JET BLACK skin, RED          EYES and TEETH that glow fluorescently. The THROBBING          BEAT of MUSIC within. The BOUNCER narrows his eyes.                         BOUNCER          This is a private club.                         ASSASSIN          I just need to talk to--          THE STEEL DOOR has already shut in his face.          INT. THE PIT - NIGHT          POUNDING MUSIC. BODIES SLAM together in a brutal mosh          pit, MEN and WOMEN. All are young, some beautiful,          others extremely decorated and pierced. They tear at          each other brutally, trying to do real damage. On the          edges of the pit, individual FISTFIGHTS go on. An          incongruous CHANDELIER overhead, gilt-edged MIRRORS on          the walls-- the FIGHTERS SLAM INTO and SHATTER them.          A HARD-CORE BAND plays on an elevated stage. The          MUSICIANS are heavily punked out, in outlandish clothes,          with pierced faces, tattoos and body make-up.          IN A VIP AREA, a balcony elevated above the stage,          numerous BEAUTIFUL PEOPLE at tables. Many are making          out, gay, straight, threesomes-- orgies happen up here.          TUXEDO sits by himself. He raises a GLASS TUBE attached          to a CORD, one of a few leading into an ELECTRONIC DEVICE          on the table. As he brings the tube close to his own          neck, an ARC of electricity jumps to his skin. His          features go slack, a shudder goes through him. Then he          lowers the tube with a smile. He's using a JACKER-- a          sort of electro-shock hookah. A SHOUT over the MUSIC:                         BLONDE          Mind if I join you?          A stunningly beautiful BLONDE in edgy, dramatic clothes          stands nearby. Tuxedo, recovering from the hit, gestures          graciously for her to sit. She picks up one of the          cords, gives him a sly smile. She opens her mouth,          SPARKS fly to her tongue and--                         CUT TO:                                                                                                              4.          EXT. ALLEYWAY - NIGHT          RAIN pours down as TUXEDO and the BLONDE burst out the          door, laughing. He pushes her against a brick wall, they          grope each other hungrily, hands inside clothes, getting          drenched in the warm downpour.          WITH THE ASSASSIN, wearing his HELMET with the VISOR UP,          as he approaches the entwined couple. TUXEDO hears him,                         TURNS--                         TUXEDO          Get lost, meatbag.          EXT. WAREHOUSE DISTRICT - NIGHT          ANGLE ON the alley's mouth as we hear the BLONDE'S          SCREAM. Seconds later she staggers out, clutching her          head, and collapses to the pavement. We hear an ENGINE          START from the alleyway.          THE ASSASSIN emerges on his bike, rides directly over her          body unconcerned-- and ROARS into the night.          CAMERA PULLS UP to--          EXT. WASHINGTON D.C. - NIGHT          --an AERIAL VIEW of the rain-swept CITY, some futuristic          HIGH-RISES amongst the recognizeable landmarks. Also, a          great number of SUPER-CELL TOWERS and DISHES,          considerably larger than the ones we see today.          CAMERA PICKS UP SPEED, moves quickly to a run-down part          of the city, tenements and vacant lots. MOVE DOWN and          through a third-story window of--          INT. ABANDONED PROJECT BUILDING - NIGHT          A dark, decaying hallway. A MAN and a WOMAN move          stealthily up the stairs, LASER-SIGHT GUNS in hand.          The man is THOMAS GREER, the woman JENNIFER PETERS. Both          are about 30, handsome, athletic. Greer's spent his life          in law enforcement. He's smart and able, wants things to          make sense-- but as the world changes around him, he          feels he's losing the thread. PETERS is junior to Greer,          her attitude's professional but rigid, by the book.                         (CONTINUED)                                                                                                              5.                         CONTINUED:          GREER, in the lead, waves PETERS up. They approach a          door at the end of the hall. We see now that their          windbreakers read "FBI."          GREER kicks open the door--          INT. PSYCHO'S LAIR - NIGHT          Lit by CANDLES and KEROSENE LANTERNS, SMOKE HANGS in the          room. We glimpse BODIES hanging from the ceiling in          CHAINS. GREER and PETERS train their LASERS around the          place, disturbed by the scene. A flash of MOVEMENT in a          bedroom and a CRASH--          THE PSYCHO who lives here has kicked over a LANTERN, FIRE          spills across the floor. We glimpse a surprisingly good-          looking guy, grinning maniacally. He dashes across the                         ROOM--          GREER squeezes off a couple of SHOTS. The PSYCHO's too          fast, he LEAPS through a cracked WINDOW.          EXT. ABANDONED PROJECTS - NIGHT          RAIN has let up. The PSYCHO FALLS thirty feet into a          pile of soft DIRT and TRASH. He rolls to the bottom,          gets to his feet and runs.          GREER looks down from the broken window.          INT. PSYCHO'S LAIR - NIGHT          PETERS is beating at the FLAMES with a towel, sees Greer          is preparing to jump.                         PETERS          Let's call for back-up.                         GREER          Where'.s the sport in that?                         PETERS                         IT'S PROTOCOL--          GREER SNORTS and--          EXT. ABANDONED PROJECTS - NIGHT          --LEAPS, GREER hits the dirt hard and rolls. He reaches          the ground and sets off after the PSYCHO at top speed.                         (CONTINUED)                                                                                                              6.                         CONTINUED:          PLAY A FRANTIC FOOT CHASE, both men scramble over chain-          link fences, leap over trashed cars.          GREER pursues the PSYCHO around a corner, into a          passageway between buildings--          --wherethePSYCHO gets the jump on him, SWINGS a length          of pipeathis head. Greer ducks fast, the blow catches          him inthearm, he drops his gun. The PSYCHO moves to          pick uptheweapon, but Greer tackles him against a          dumpster.          Greer SLAMS the dumpster lid on the man repeatedly.                         GREER          You have the right to remain silent--          But the PSYCHO has grabbed something from the trash,          manages to SQUIRT BUG SPRAY in Greer's eyes.          Greer's blinded temporarily, the PSYCHO squirms away,          running from between buildings across a street--          WHAM! He's hit full-on by a SEMI, his body FLIES through          the air. He LANDS HARD on cement, but amazingly is still          alive. He tries to get up, but--          GREER plants a foot on his chest and holds him fast          against the ground. Greer, still wiping at this eyes,          points his weapon at the PSYCHO's head.                         GREER (CONT'D)          Stay with me asshole--                         PSYCHO          Why would I do that?          The PSYCHO grins-- then his head lolls back, eyes empty.          INT. PSYCHO'S LAIR - NIGHT          PETERS is by a WOMAN'S BODY on the floor, holding a          pocket SCANNER close to her head. This small device          resembles an iPhone. There's tape over the woman's eyes          and mouth, which Peters peels away as she speaks into a          tiny cellphone earpiece.                         PETERS          Is this Kathy Welles...? My name          is Jennifer Peters, with the FBI's          surrogate crime division...                         (CONTINUED)                                                                                                              7.                         CONTINUED:          ON SCANNER-- the name "KATHY WELLES," "REPORTED STOLEN,"          contact information below.          EXT. ABANDONED PROJECTS - NIGHT          ON GREER'S SCANNER - "NEW-U RENTAL AGENCY," with an ID          NUMBER, but no name.          GREER kneels beside the PSYCHO's body, pockets his          scanner. He's angry but resigned, he was half expecting          this.          THE SEMI DRIVER is still behind the wheel of his rig. He          calls out to Greer:                         SEMI DRIVER          Am I in trouble?                         GREER          (waves him off)          Nah, go back to work.          GREER rises as his PHONE CHIMES, he touches his earpiece.          IN BG, the DRIVER pulls away.                         GREER (CONT'D)                         PETERS (FILTER)                         GREER          He's a rental.          He disconnects, reaches to turn the PSYCHO's head to one          side. The back of his skull is smashed. Instead of gore          and brains, we see torn GRAY PLASTIC and dense CIRCUITRY,          oozing pinkish hydraulic fluid at his neck.          We're in a world of SURROGATES, remotely operated          synthetic humans (also known as SYNTHs). These are not          artificially-intelligent robots-- each is linked directly          to a human being, miles or hundreds of miles away.          Surrogates are distinguishable from flesh-and-blood          humans primarily by their physical perfection-- ugly          surrogates are rare. On closer look, their eyes may have          an inhuman quality. Without a human mind sending and          receiving impulses, they are completely inert.          Suddenly the PSYCHO comes to life, spins his head around          at an impossible angle and BITES GREER'S HAND.                         (CONTINUED)                                                                                                              8.                         CONTINUED:          He won't let go. Greer stomps on the-PSYCHO's head,          reaches with his other hand into the back of the skull to          wrench out a CIRCUIT BOARD. The PSYCHO finally stops          writhing, disconnected.          INT. PSYCHO'S LAIR - NIGHT          PETERS talks on the phone while scanning a SEVERED HEAD.                         PETERS          I don't recommend reconnecting,          Ms. Welles... hello?          The WOMAN on the floor TWITCHES, her eyes open. She sits          up on her elbows, looks down to see--          --her legs are gone. The bottom half of her is missing,          her tattered T-shirt covers the damage, soaked with dark          green and pink liquids-- coolant and hydraulic fluids.                         VICTIM          Aw crap, I'm totalled!                         PETERS          Your insurance ought to cover it.          EXT. ABANDONED PROJECTS - NIGHT          GREER trudges toward the building, on his cell, leaving          the body behind. He turns the CIRCUIT BOARD over in his          fingers.                         GREER          --trash pick-up on Maple and 4th.                         DISPATCHER (FILTER)          Coulda just called it in, we'd a          shut him down from here--                         GREER          Any ID from the rental agency?                         DISPATCHER (FILTER)          Yeah, got a name from their office in          Miami. Ness, Harold P.                         GREER                         (A BEAT)          Harry P. Ness.                         DISPATCHER          Oh. False ID?                         (CONTINUED)                                                                                                              9.                         CONTINUED:                         GREER          You think?                         DISPATCHER          Don't be in a rush to get home,          Tom. Two surries down outside The          Pit, hard-core club on F street.          GREER picks up the pace, heads OUT OF FRAME.                         CUT TO:          EXT. WAREHOUSE DISTRICT - NIGHT          START ON THE BLONDE, eyes empty, face against the cement.                         PETERS          Abandoned.                         GREER          Or something happened to the operator.          GREER and PETERS stand over the corpse, a UNIFORM stands          nearby. Greer holds his SCANNER near her head.                         GREER (CONT'D)          Registered to a Cameron Michaels,          out in Clarksburg...                         (TO UNIFORM)          You call her?                         UNIFORM          Left a message.          GREER is leaning closer to the dead Blonde's face.          X-CLOSE-- CRACKS in the GLASS of her eye. We see GREER'S          FRAGMENTED REFLECTION as he peers at this.                         GREER          Optics are damaged.                         PETERS          Musta cracked when she fell.                         (TO UNIFORM)          There's a second?          The UNIFORM leads GREER and PETERS past the blonde, into          the alley.                                                                                                              10.          INT. ALLEYWAY - NIGHT          TUXEDO lies on his side, eyes closed. We can hear MUSIC          THROBBING from within.                         UNIFORM          Couldn't get an ID from this one.          GREER kneels by Tuxedo, looks at his fancy CUFFLINKS.                         GREER          A tux? Kind of over-dressed for a          jacker joint.          GREER pulls out his scanner.          BY TUXEDO's FACE, the SCANNER reads "NO SIGNAL."          GREER seems surprised. PETERS looks over his shoulder.                         PETERS          Maybe he's real.                         GREER          Little too pretty for that.          GREER lifts one of Tuxedo's eyelids-- CLOSE, shattered          GLASS, ELECTRONICS visible within.                         GREER (CONT'D)          He's synth all right.                         PETERS          Looks like the optics exploded...          Greer reaches behind Tuxedo's head, pulls out a small          specially-shaped TOOL and pries up the PANEL at the back          of Tuxedo's skull. He pulls out--          THE CIRCUIT BOARD, melted and scorched.                         GREER          So much for the identity chip.                         PETERS          I'll call for a pick-up. Maybe          diagnostics can make sense of it.          Greer stands up, looks toward the Blonde's body.                         GREER          Clarksburg's just up the 270,          let's talk to our witness.                         (CONTINUED)                                                                                                              11.                         CONTINUED:                         PETERS          (a glance at her watch)          You always work these kind of          hours?                         GREER          Got something better to do?                         PETERS          Besides sleep?          Greer is already on the move, Peters reluctantly follows.                         CUT TO:          EXT. 1-270 - NIGHT          A slightly futuristic sedan speeds through light late-          night traffic. We hear the VOICE of the PROPHET:                         PROPHET (RADIO)          You feel you are free. You can be          what you want, do what you want,          nothing can hurt you. But you have          ceased to live.          INT. FBI CAR - NIGHT          GREER drives. PETERS has her eyes closed in the          passenger seat. THE VOICE on the RADIO continues IN BG          through scene.                         PROPHET (RADIO)          You think you control your          surrogates, but it is they who have          taken over your lives. You lie in          your cells, pale and fat prisoners,          while the puppets walk and dance          and make love...          Peters BLINKS and comes to.                         GREER          Welcome back.                         PETERS          (re: the radio)          Are we actually listening to the          Prophet? We oughta lock this guy          up and throw away the key.          (off Greer's shrug)          So is this "know thine enemy?"                         (CONTINUED)                                                                                                              12.                         CONTINUED:                         GREER          The Human Coalition isn't "the          enemy."                         PETERS          You're kidding, right? The          Dreads've gotta be behind half the          crimes against surries nationwide--                         GREER          "Dreads..."                         PETERS          They dread the present, they dread                         THE FUTURE--          (points at radio)          You know this joker's calling for an          uprising. In Denver, we got the go-          ahead to jam his broadcasts.                         GREER          Sounds like they're doing a bang-up          job out there. Why'd you transfer?                         PETERS          D. C.'s the heart of the action,          right? Plus my ex and I were in          the same office, it got a little          uncomfortable.                         (BEAT)          You get along with your last          partner?                         GREER          Till he retired. Had no idea he          was that old.                         PROPHET (RADIO)          .But this I promise: soon the          abominations shall fall where they          stand... and on that day of          resurrection, the dead shall rise...          EXT. MODERN APARTMENTS - NIGHT          MOVE ACROSS the facade of a suburban apartment complex.          A RED GLOW suffuses most of the windows, all of which are          BARRED. In this warm light, we glimpse OPERATORS in          reclining chairs, motionless. They could be watching TV,          but no sets are in sight.          MOVE TO FIND GREER and PETERS as they exit the sedan and          pass a sign: "SURROGATE-READY UNITS AVAILABLE."                                                                                                              13.          INT. MODERN APARTMENTS/CORRIDOR- NIGHT          GREER and PETERS walk along an almost prison-like          corridor, SURVEILLANCE CAMERAS, heavy doors. They follow          an empty-faced walking MANNEQUIN in an ugly pantsuit.          This is the LANDLADY. Her mouth moves like a          ventriloquist's dummy as she speaks self-consciously:                         LANDLADY          I been having problems with my          surrie, this is just a loaner. Is          there some kind of trouble?                         GREER          Nothing to worry about.                         LANDLADY          Cam's a good tenant, y'know. Pays          the rent on time, never leaves the          apartment...                         GREER          Who does?                         LANDLADY          (POUNDS on a door)          Cam? Wake up, the police are here          to talk to you...          INT. CAM'S APARTMENT - NIGHT          The LANDLADY undoes the MULTIPLE LOCKS on the door of a          small one-room apartment. She opens it and lets GREER          and PETERS inside. A RED GLOW from the far end of the          room-- GREER flicks on overheads. The Landlady hovers by          the door as they move into the place.          It's minimalist, nothing on the walls. Empty pizza          boxes. Skirts, stockings, high-heels strewn around          haphazardly. We also glimpse a large CHARGING CRADLE,          contact points embedded in the foam inside, shaped to          accomodate a curvaceous female body.                         GREER          Hello?          A fat, hairy arm hangs over the side of a high-tech          CHAIR. The two feds move quickly to see--          --CAMERON MICHAELS, a 40-ish, overweight, bald male in          his underwear. BLOOD runs from his nose, his face          twitches slightly; he lies in a STIM CHAIR.                         (CONTINUED)                                                                                                              14.                         CONTINUED:          STIM CHAIRS resemble-oversized massage chairs, contoured          to the body, with padded head supports. They vibrate and          electronically stimulate the user to prevent atrophy.          A SENSORY PROJECTOR sits beside the chair. This device          looks like a COMPUTER TOWER. It's linked to an elaborate          HEADSET, with contact points around the skull. There's          also a MONITOR SCREEN which displays the operator's          remote POV.                         LANDLADY          Oh my God, Cameron--          GREER quickly detaches the headset, rips a small          ELECTRONIC SLEEVE off of Cameron's fingertip. He checks          the man's pupil response and pulse.                         GREER          Call the paramedics.          While Peters calls in BG, GREER moves to the PROJECTOR'S          MONITOR SCREEN and taps a touchpad.          ON SCREEN - STATIC. GREER REWINDS to POVs at the hard-          core CLUB. FAST FORWARD to the ALLEY, making out with          TUXEDO. This is a recording of recent experience, as          seen through the eyes of the BLONDE.          GREER switches to real-time. Tuxedo breaks the kiss and          turns to look OS.          TUXEDO (ON SCREEN)          Get lost, meatbag.          As Tuxedo turns back TO CAMERA, we hear a hideous          ELECTRONIC SCREECH, Tuxedo's face contorts in pain... and          his EYES BURST, fragments of GLASS and ELECTRONICS fly.          The POV reels, we hear the Blonde's SCREAM-- and STATIC          again fills the screen.          GREER is disturbed by this, looks again at the          unconscious, quivering face of the man in the chair.                         CUT TO:          INT. D.C. SUBWAY - NIGHT          A mostly empty car, scattered SURRIE PASSENGERS ride          stiffly, zoned out, empty expressions... except for a          long-haired DREAD, one of the anti-surrogate fanatics.          He's disheveled, hippyish, SHOUTS into the empty faces of          the surrogates.                         (CONTINUED)                                                                                                              15.                         CONTINUED:                         DREAD          Wake up! Wake up! Zombies!          Shitpuppetsl Abominations!          He moves to a YOUNG COUPLE, both slack-faced, on standby.                         DREAD (CONT'D)          Wake up and smell the piss!          He starts to UNZIP in front of them.                         GREER          Not cool.          The DREAD turns-- GREER is holding up a BADGE. The Dread          scowls, zips up and moves away from Greer, plunks down at          the end of the car. Greer pockets his badge calmly.          EXT. GREER'S BUILDING - DAWN          GREER approaches an urban APARTMENT COMPLEX on foot,          carrying a bag of TAKE-OUT FOOD. HIGH FENCES, SECURITY          CAMERAS and SCANNERS, all commonplace in this world. We          see the RED GLOW from a few windows.          INT. GREER'S BUILDING/HALLWAY - DAWN          GREER moves tiredly down a long hallway to his apartment.          He punches in a CODE at the door.          INT. GREER'S APARTMENT/LIVING ROOM - DAWN          GREER enters, crosses a living room that's been decorated          in a spare, modern style.          INT. GREER'S APARTMENT/KITCHEN - DAWN          GREER sets the bag down on a table, fills a glass with          WATER and moves down a hallway to a BEDROOM.          INT. GREER'S APARTMENT/BEDROOM -- DAWN          GREER enters the bedroom, places the water glass on a          bedside table beside--          --the REAL GREER. He looks five years older, twenty          pounds heavier than his surrogate. He's in a STIM          RECLINER, attached to a SENSORY PROJECTOR like the one we          saw on Cameron Michaels. RED LIGHT suffuses the room.                         (CONTINUED)                                                                                                              16.                         CONTINUED:          GREER, a surrogate we now realize, undresses, puts his          clothes aside in a CLOSET-- which also contains a foam-          filled CHARGING CRADLE. Down to his underwear, he backs          into this, seems to relax. We hear a low HUM and--          --the REAL GREER's eyes open. He disconnects the HEADSET          and FINGERSLEEVE, the RED GLOW is replaced by WHITE          LIGHT. He sits up, yawns and sips the water. He rises          wearily, stretches, runs a hand through his thinning          hair. He moves to shut the closet door on his synth          unit. As it CLOSES--                         CUT TO:          INT. GREER'S APARTMENT/KITCHEN - MORNING          GREER (the real one) sits at the table in a bathrobe,          finishing the food his surrogate brought home. As he          empties the remains into the trash--          --MAGGIE enters. She's Greer's wife, a stylish young          woman, looking ridiculously good for someone who's just          gotten up. Maggie starts at the sight of Greer, begins          to retreat. It's as if she's stumbled upon him in the          bathroom.                         MAGGIE          Oh, sorry--                         GREER          It's OK. Come in--                         MAGGIE          But where's your...                         GREER          Put him up. I was about to get          some sleep.          Maggie enters the kitchen, not looking directly at Greer.          She puts some bread in a toaster, prepares coffee.                         MAGGIE          You just get in?                         GREER          Some poor cross-sexual had an          aneurysm while he was online, had          to get him to a hospital.          Maggie winces, disturbed by her husband's job. She flips          on a small flatscreen TV, volume low. NEWS and WEATHER.                         (CONTINUED)                                                                                                              17.                         CONTINUED:                         MAGGIE          I think I need a new stim chair.                         GREER          Bedsores? Want me to take a look?                         MAGGIE                         (TAKEN ABACK)          No thanks, it's just some          irritation.                         GREER          Well, there's room on the credit          card.                         (BEAT)          It's been a while since... we've          actually been together.                         MAGGIE                         (UNEASY)          Are you talking about sex?                         GREER          No, I just meant--                         MAGGIE          Because I think we're doing just          fine.                         GREER          But that's our surrogates. It's          not the same...                         MAGGIE          It's better.                         (SHRUGS)          I wish that instead of working          every night, you would come out          with me, go dancing, we used to          have such a good time--                         GREER          I was thinking more like a          vacation. An island somewhere.                         MAGGIE          (likes the idea)          Bridget said she got an amazing          deal on a surrie rental in Tahiti--          she looked just like a native.                         GREER          I mean a real vacation-- just us.          Leave our synth units home.                         (CONTINUED)                                                                                                              18.                         CONTINUED: (2)                         MAGGIE                         (HORRIFIED)          And get on a plane?          Her TOAST pops up. Maggie takes it with her coffee out          of the room. She shakes her head, amused at Greer's          crazy ideas.                          MAGGIE (CONT'D)          Sleep well.          She takes her breakfast through a door in the hall just          off the kitchen-- we can't see inside the room. We hear          the DOOR LOCK behind her.          GREER looks after his wife, a bit dejected. In the quiet          he registers a voice from the TV:          COMMERCIAL V.0.          Remember... it wasn't long ago.          ON TV - the sign "AIR QUALITY - UNHEALTHFUL."          PEDESTRIANS with surgical MASKS and even GASMASKS.          The sign "QUARANTINE." BODIES in a MASS GRAVE.          The sign "TERROR ALERT - HIGH." A BUSY CITY STREET.          Suddenly, a massive EXPLOSION, a car bomb going off.          From the blast, BLEACH TO WHITE.          COMMERCIAL V.0. (CONT'D)          Now... a better world.          A BEAUTIFUL GIRL ENTERS FRAME, turns TO CAMERA and          smiles. Behind her, more happy, healthy, handsome YOUNG          PEOPLE in an abstract, WHITE SPACE. WIDER, there are          THOUSANDS of them.          COMMERCIAL V.0. (CONT'D)          Virtual Self Industries.          ON TV - The LOGO for VSI comes on the screen.          COMMERCIAL V.0. (CONT'D)          Do what you want. Be what you want.                         CUT TO:          INT. COLLEGE DORM - DAY          A wood-paneled hallway of an Ivy League dorm, TWO MALE          UNDERGRADS (pimply, glasses, overweight, clearly not          surries) KNOCK on a dorm room door.                         (CONTINUED)                                                                                                              19.                         CONTINUED:                         UNDERGRAD #1          Yo, Canter!                         UNDERGRAD #2          Maybe he's still hung over.                         UNDERGRAD #1          He's gonna miss the exam.          They try the door-- unlocked.          INT. DORM ROOM - DAY          As soon as they enter, the UNDERGRADS choke on the          stench, covering their noses.                         UNDERGRAD #1          Aw, Jesus...          IN THE BED is a YOUNG MALE CORPSE, a SENSORY PROJECTOR          attached to his head, the RED GLOW. OVERHEAD LIGHTS          flick on to reveal goopy BLOOD at his nose and ears, the          pillow soaked.          GREER (V.0.)          Tuxedo's operator turned up,          student at Yale name of Anthony          Canter...                         CUT TO:          INT. FBI BUILDING/GREER'S OFFICE - DAY          Cluttered with papers, two desks. GREER sits before a          TERMINAL, staring at his screen.                         GREER          They're uploading his memory file.          Seems we're dealing with an actual          homicide.          PETERS, at the other (much neater) desk, leans in to look          over Greer's shoulder while the file uploads.                         PETERS          You sound pleased.                         GREER          Well, you get a little tired of          property crime, vandalism--                         (CONTINUED)                                                                                                              20.                         CONTINUED:                         PETERS          Thought you took your job          seriously. Surrogates are          extensions of people's selves--                         GREER          What are you, quoting VSI?                         PETERS          The Supreme Court.          ANTHONY STONE, Greer's BOSS, has entered Greer's office          during the above. He's silver-haired, friendly, in          perfect shape-- another surrogate. He's clearly heard          this argument before.                         PETERS (CONT'D)          Synthetic units have the same          rights as biologicals.                         GREER          Yeah, yeah. Fact is, most of the          people you refer to as Dreads are          just too poor to afford a synth.          You think they like living on          reservations?                         PETERS          That's humanist propaganda. The          restricted areas were their idea,          they hate being around surries.                         STONE          Get a room, you two.          He leans between them, hits a button on Greer's computer.          ON SCREEN - A NEW HAVEN PD LOGO at the top of the screen,          indicating this is an EVIDENCE FILE. In a large WINDOW,          TUXEDO'S POV RECORDING plays. We now see the foreplay in          the alley from the other perspective. FOOTSTEPS, Tuxedo          pulls away from the BLONDE--          --and turns to confront THE HELMETED ASSASSIN. TUXEDO's                         VOICE: -           TUXEDO (O.S.)          Get lost, meatbag.          THE ASSASSIN narrows his eyes-- then WHITE LIGHT fills          the screen, the BLONDE'S SCREAM CUTS OUT as the audio          goes. Then STATIC and BLACKNESS.          GREER, PETERS and STONE react to this.                         (CONTINUED)                                                                                                              21.                         CONTINUED: (2)                         GREER          Poor kid. Pathologist said his          brains looked like soup.                         PETERS                         (WINCES)          What could do that to someone?                         STONE          Lightning strike, according to          forensics. A massive power surge          shoots through the network...                         GREER          Two people in a narrow alley,          surrounded by fire escapes, cell          towers...?                         STONE          Got a better idea? In any case,          let's be discreet about this.          There'll be panic in the streets          if the public gets the idea that          using their surries can kill          them...          Greer is rewinding the IMAGE. He points to the face of          the ASSASSIN, partly shielded within his helmet. They          only get a partial of his face, it ENLARGES and          HIGHLIGHTS.                         GREER          Is he the perp, or just some          lookie-loo--?                         PETERS          He's a "meatbag" all right. Look          at those scars...          An INTERCOM beeps, GREER hits a button.                         GREER          What you got?                         INTERCOM VOICE          Next of kin. You sitting down?          Kid's father is Lionel Alexander          Canter. The Lionel Canter.          GREER, PETERS and STONE take this in, stunned. STONE          leans closer to the intercom.                         (CONTINUED)                                                                                                              22.                         CONTINUED: ( 3)                         STONE          Stone here. Under no          circumstances do you discuss this          matter with anyone, inside or          outside the Bureau. Got me?                         INTERCOM VOICE          Yes, sir.          GREER disconnects the intercom, STONE moves to leave.                         GREER          You still thinking lightning?                         CUT TO:          INT. LUXURY BUILDING/LOBBY - DAY          Elegant, traditional decor. ARMANDO, the limousine          driver from the opening sequence, is posted amidst the          mirrors and plush furniture.          An elegantly dressed CLERK is at the lobby desk, checking          on a COMPUTER SCREEN. GREER and PETERS wait.                         CLERK          Dr. Canter is expecting you. But          no weapons are permitted in the          penthouse.                         PETERS          We're federal agents.                         CLERK          I'm sorry. You'll have to leave          them with me.          At Greer's nod, Peters takes out her holstered GUN.          GREER does the same. The Clerk locks both the agents'          guns in a drawer, then comes out from behind the desk.          ARMANDO approaches. The Clerk passes him a KEY.                         ARMANDO          I work for Dr. Canter. His          private elevator's this way.          They follow him toward an ALCOVE in the back of the          lobby.                         PETERS          You're the one who drove Anthony          Canter that night?                         (CONTINUED)                                                                                                              23.                         CONTINUED:                         ARMANDO                         (NODS)          I gave the police a statement.          AT A PRIVATE ELEVATOR, while ARMANDO turns a key, a          SCANNER automatically swings out on a cantilevered arm.                         GREER          is this necessary?                         ARMANDO          Dr. Canter's rules.          LIGHT flashes in their faces as they're scanned. The          elevator doors open, and the three of them get on.          CLOSE ON SCANNER - after they've entered the elevator,          small HEAD-SHOTS of GREER and PETERS, vital stats below,          appear one after the other on the SCREEN.          INT. ELEVATOR - DAY          GREER turns to ARMANDO, who's staring straight ahead.                         GREER          Kid liked the wild side, huh. Did          his father know?          Armando doesn't answer, this is getting too personal.          INT. CANTER'S PENTHOUSE/FOYER - DAY          THE ELEVATOR opens into a marble entrance area. It's          traditional, tastefully opulent-- artwork, sculpture. A          small, automated VACUUM CLEANER moves along a Persian          rug. Armando moves ahead of them to announce their          presence. Greer and Peters speak quietly.                         PETERS          Nice place.                         GREER          Canter must get a piece of every          surrogate they sell.          CANTER emerges from a study. His face is young, but          there's some grey at his temples. Otherwise, he looks          identical to the dead TUXEDO. GREER takes this in.                         GREER (CONT'D)          Dr. Canter?                         (CONTINUED)                                                                                                              24.                         CONTINUED:                         CANTER          That's right. You're with the FBI.                         PETERS          Yes we are.          He leads them into--          INT. CANTER'S PENTHOUSE/STUDY - DAY          A traditional study, wood paneling, books. WINDOWS lead          to a BALCONY. ARMANDO remains IN BG throughout scene.                         PETERS          We're very sorry for your loss,          sir.                         CANTER          What progress have you made with          the investigation?                         GREER          I can't help noticing, your          surrogate-- it's very similar to          the unit your son was using...          Canter pauses, then moves to a DOOR and opens it.- LIGHTS          INSIDE FLICKER ON, revealing--          --a WALK-IN CLOSET with a half-dozen CHARGING BAYS. Four          surrogates here, all versions of the man we've just seen--          Canter at different stages of life, from youth to almost          elderly. Two of the charging bays are empty.                         CANTER          I allowed Tony to borrow one of my          surrogates when he wanted to spend          time in D.C. I encouraged him to          take advantage of the cultural                         OFFERINGS--                         PETERS          Wait, how is that possible?          Aren't your surries locked to your          neural signature?                         CANTER          (closing the door)          I wrote the code that remains at          the core of all surrogates. It          wasn't difficult for me to make my          synth units accessible to my son.                         (CONTINUED)                                                                                                              25.                         CONTINUED:                         GREER -          Like getting the keys to dad's car.                         CANTER          I suppose...                         (BEAT)          The coroner says that Tony was          online when it happened. Why          hasn't the surrogate been returned          to me?                         PETERS          We're still analyzing the damage--                         CANTER          It was attacked?                         PETERS          We really can't get into the details          of an ongoing investigation--                         GREER          Dr. Canter-- we don't know of any          way to kill an operator remotely.          Do you?                         CANTER          No, but-- at the beginning, all of          us at VSI were worried about it.          It's why every surrogate has a          built-in fail-safe, they disconnect          before they can transmit a          potentially dangerous signal.                         PETERS          Can you think of anyone who might          want to harm your son?                         CANTER          I... the sad fact is, Tony and I          were just getting to know each          other... he grew up with his          mother in California.          Canter's voice drifts off, he's starting to look far          away, pained. He sits slowly behind his desk.                         CANTER (CONT'D)          If this wasn't an accident... then          it's because of me that he's...                         (BEAT)          I'm sorry. You'll have to excuse me.                         (CONTINUED)                                                                                                              26.                         CONTINUED: (2)          Before Greer and Peters can reply, Canter goes rigid,          eyes blank-- he's disconnected.                         GREER          Guess the interview's over.                         PETERS                         (QUIETLY)          Can you imagine what it's like to          lose your only child?          Greer scribbles something on a BUSINESS CARD.                         GREER          Not really. You got kids?                         PETERS          (shakes her head)          Jim and I talked about it, but...                         GREER          Lot of that going around.          He starts to place the card on the desk before the          immobile Canter. Armando steps forward warily-- Greer          shows him the card before putting it down.                         GREER (CONT'D)          If he thinks of anything else.                         ARMANDO                         (NODDING)          I'll show you out.          As they move back toward the lobby elevator, we remain          with the motionless Canter a beat. Then, the CAMERA          MOVES quickly from the study, and THROUGH A WALL to find--          INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY          --a small, PRIVATE AREA, bathed in RED LIGHT, with a very          fancy, elaborate SENSORY PROJECTOR. REAL CANTER is much          older than his surrogate, his face stubbly. His body is          twisted and nearly useless, his head held up by a brace.          A victim of some horrible degenerative disease, Canter          only has the use of one arm, via an elaborate electronic          armature. He's just disconnected his HEADSET. There are          TEARS streaming down his cheeks.          His projector SCREEN faces him, with his working arm he          calls up an old MEMORY FILE.                         (CONTINUED)                                                                                                              27.                         CONTINUED:          ON PROJECTOR SCREEN - FOOTAGE SLOWED DOWN SLIGHTLY. A          (the kid we saw dead          POV on eighteen-year-old TONY CANTER          in the dorm room) as he hauls up a sail in the front of a          BOAT. He looks toward CAMERA and smiles.          EXT. LUXURY BUILDING - DAY          GREER and PETERS move from the entrance to Canter's          residential high-rise.                         PETERS          So we're talking mistaken T.D.                         GREER          Someone targeted Canter's surrie,          got the wrong operator.          They get to their car, parked in a RED ZONE. GREER curls          his lip at a METER MAID-- a DRONE SURROGATE ON WHEELS, NO          EARS, as it rolls calmly away from his car.                         GREER (CONT'D)          I'm sure the guy's got enemies he          never even heard of.                         PETERS          My money's on the Dreads.          (off Greer's look)          Excuse me, the "humans."          Greer rips the TICKET from the windshield, tears it in          half and throws it in the back of the car, as they both          get in.                         CUT TO:          INT. VSI LOBBY - DAY          MOVE OVER a DISPLAY depicting the HISTORY OF SURROGATES.          MODELS are arranged chronologically, from primitive-          looking, obvious ROBOTS, moving stiffly, to ANIMATED          MANNEQUINS (like the landlady) to the MODERN UNITS,          almost indistinguishable from human beings, whose          repetitive movements are smooth, fully articulated.          GREER and PETERS, in plainclothes, move past the display.          Greer stops in his tracks, seeing-'-                         (CONTINUED)                                                                                                              28.                         CONTINUED:          A DISPLAY that reads, "BREAKING THE MIND'S CODE." A          VIDEO LOOP shows a young CANTER (much like his surrogate)          seated at a worktable with ELECTRONIC GEAR, beside a          SUBJECT lying on a table, hundreds of WIRES affixed to          his head. These lead to a crude MANNEQUIN, which turns          its head, rolls its eyes, moves its mouth. We hear a          VIDEO NARRATOR, volume low.                         VIDEO NARRATOR          .Dr. Lionel Canter's breakthrough          experiments led to the technology          for decoding brain impulses and          transferring the signals to          synthetic humans...                         GREER          Damn. Why didn't I think of that?          The two of them move on to an ELEVATOR BANK.          INT. VSI CONFERENCE ROOM - DAY          A GORGEOUS ASSISTANT with plenty of cleavage enters with          two cups of coffee. She takes them to GREER and PETERS,          who sit at the table in this dramatic conference area.                         PETERS          Thank you.                         ASSISTANT          Mr. Welch will be with you in a minute.                         (SHIMMIES OUT)                         PETERS          She's a little over the top.                         GREER          Just advertising the product.          (sips his coffee)          Ugh.                         PETERS          It's delicious, if you want it to be.          Adjust your interface.                         GREER          Right, I keep forgetting that.                         (ANOTHER SIP)          Mmm. So good.          They rise as--                         (CONTINUED)                                                                                                              29.                         CONTINUED:          --VICTOR WELCH enters. Like most everyone else, he's          30ish, handsome, a slick PR man in a suit. Behind him          are a MALE and FEMALE LAWYER, unsmiling. All wear ID          BADGES around their necks with the VSI logo.                         WELCH          Agents Greer and Peters? I'm Victor          Welch, VP corporate relations.          He shakes their hands.                         PETERS          Thanks for taking the time to see us.                         WELCH          No problem. Do you happen to know          Andy Stone?                         GREER          Our immediate superior.                         WELCH          Really. Do give him my regards--          The MALE LAWYER cuts him off, leaning across the table to          shake hands.                         MALE LAWYER          We're from the legal department.                         FEMALE LAWYER          Hope you don't mind if we sit in.                         PETERS          Not at all. I didn't get your names--?                         WELCH                         (OVER HER)          You might be interested in a free          software upgrade we're offering to          all law enforcement officials,          better night vision for your synth          unit, improved pursuit capability...                         GREER          Mm. Any idea what could cause a          surrogate's head to explode from          the inside?          On the table, in a plastic EVIDENCE BAG, is a fried          CIRCUIT-BOARD along with a pair of SHATTERED EYEBALLS.          Greer passes this to Welch, who barely looks at it.                         (CONTINUED)                                                                                                              30.                         CONTINUED: (2)                         MALE LAWYER          Mr. Welch isn't qualified to answer          that question. You'd be better off          speaking to one of our technicians.          WELCH smiles pleasantly.                         FEMALE LAWYER          What does the operator say?                         GREER          Not much. He's dead.                         PETERS          A massive brain hemmorhage, it          happened while he was online.                         FEMALE LAWYER          I'm sorry to hear that. But I can          assure you it has nothing to do with          VSI products. If a man suffers a          heart attack while driving, he          doesn't have a case against the          automobile manufacturer.          WELCH nods in agreement. GREER gamely continues to          address his questions to the VP.                         GREER          No one's talking lawsuit. we'd          just like to know, is there any          precedent for an operator being          killed by signals from his          synth unit?                         MALE LAWYER                         (ALMOST INDIGNANT)                         NONE WHATSOEVER--                         FEMALE LAWYER          The idea is absurd. If it were          possible, it would defeat the          purpose of surrogacy.                         MALE LAWYER          Surries have jumped from bridges,          been shot or blown to bits without          the least harm to the operators-          the fail-safes always kick in.          Every case that's been brought          against VSI has been shown to be          the result of user negligence.                         (CONTINUED)                                                                                                              31.                         CONTINUED: (3)                         FEMALE LAWYER          We can't help it if customers forget          to eat, sleep or take their medicine.          WELCH shrugs and rises, followed by the lawyers.                         WELCH          If that's all... a pleasure          talking with you.                         GREER          There is one more thing. The victim          was Anthony Canter. The son of one          of your company's founders.          GREER studies them as they process this news.                         GREER (CONT'D)          Kind of a strange coincidence.                         WELCH          Dr. Canter has retired, but we'll          be sure to send our condolences.          EXT. VSI HEADQUARTERS - DAY          GREER and PETERS move from a glass corporate tower,          across beautifully manicured gardens. GREER carries the          evidence in a briefcase.                         PETERS          What's our take-away?                         GREER                         (SHRUGS)          I used to be able to read people,          back when they were people...                         PETERS          You mean before they all became          lawyers?                         GREER                         (A SMILE)          You made a joke. Maybe there's          hope for you, Peters...          They head for a MANUFACTURING COMPLEX.                                                                                                              32.          INT. VSI FACTORY - DAY          AN OVERHEAD CONVEYOR carries PLASTIC RIBCAGES and SPINAL          COLUMNS containing ELECTRONIC PARTS, FLUID SACS and          TUBES. ARMS and LEGS, elaborate hydraulic apparatus, are          attached by ROBOTIC ASSEMBLERS. There's no skin yet,          just the exposed machinery, made mostly of plastic and          microcircuitry.          A WINDOW overlooks the factory floor. Here, TECHNICIANS          sit at COMPUTER STATIONS, monitoring the processes below.          GREER and PETERS stand before WATERS, who looks like a          basketball player-- hugely tall, African-American,          tattooed, in casual clothes. GREER waves a hand up in          his face, trying to get his attention.                         GREER          Mr. Waters? Seth Waters?          GREER checks the man's ID BADGE-- a PHOTO of a pudgy,          bearded white man with glasses, the name SETH WATERS.          Suddenly, WATERS snaps out of it, looks down at the two          agents. Despite his appearance, his manner is nerdy.                         WATERS          Hello, sorry. I was in the can.                         PETERS          We were told you could help us          with some technical issues.                         WATERS          To whom am I addressing myself?                         GREER          We're with the FBI.          He studies the BADGES they hold out.                         WATERS          Really? Cool.          INT. VSI LAB - DAY          X-CLOSE on the dense, blackened and partially melted          CIRCUIT BOARD, a labyrinth of LINES and PATTERNS.          WATERS peers into a huge ELECTRONIC MICROSCOPE in this          laboratory. COMPUTER MONITORS, mysterious EQUIPMENT.                         (CONTINUED)                                                                                                              33.                         CONTINUED:                         WATERS          Heat build-up like this? Every          circuit musta fired at once.          Kablooie.          GREER and PETERS hover nearby. Waters turns his          attention to the shattered eyes, picks one up.                         PETERS          Ever seen anything like it before?                         WATERS          Not exactly... but last week we          got a truckload of GI Joes back          for reconditioning. Couple a the          surries were missing optics.                         GREER          May we take a look?          INT. VSI WAREHOUSE - DAY          WATERS opens the doors and flips on FLUORESCENT LIGHTS...          they blink on to reveal--          ROW UPON ROW of SURRIE TEMPLATES, naked, hairless and          robotic, not yet personalized with faces and skin. They          stand packed like sardines, ready for shipment.          WATERS leads GREER and PETERS to a CAGED-IN CORNER of the          warehouse, unlocks the gate.          Inside are STACKED BODIES in the uniforms of different          SERVICES. Many are battered and scarred from battle,          even in pieces. All are wrapped in CLEAR PLASTIC.                         WATERS          Old soldiers never die...          He consults a HAND-HELD COMPUTER, checks CODE NUMBERS on          the bags. The SOLDIER'S FACES are all eerily similar...          even identical. No reason to customize cannon fodder.                         WATERS (CONT'D)          Here we go.          He peels back the plastic on another identical SOLDIER          whose EYES are missing. The body is otherwise undamaged.                         PETERS          No bullet holes, no blast damage--?                         (CONTINUED)                                                                                                              34.                         CONTINUED:                         WATERS          Not a scratch.          GREER moves Waters aside, looks the body over.                         GREER          Brand new camos, no mud, no dirt...          this thing's never seen combat.          Name and unit insignia removed...          let me check out the motherboard.                         WATERS          Didn't come back with one. I          thought it was a little weird.          GREER stares into the empty eyesockets of the soldier.          He hooks a finger in, comes out with--           A glistening SHARD OF GLASS on his fingertip.                          CUT TO:          EXT. BATTLEFIELD - DAY          A FIREFIGHT in a bombed-out DESERT TOWN, somewhere in the          Middle East. A GRUNT'S POV as a small group of SURROGATE          SOLDIERS, the generic "GI JOE" types we saw at VSI, clean          up an insurgent outpost.          PULASKI, a gung-ho SURRIE SOLDIER, charges into MACHINE          GUN FIRE and is BLOWN TO PIECES.          INT. BATTLEFIELD HEADQUARTERS - DAY          A WIDER SHOT reveals that this POV is one of many being          displayed on BATTLEFIELD MONITORS in a warehouse-sized          space. Each hangs above a flesh and blood SOLDIER in          loose MARINE UNIFORM, in stim chairs, hooked into sensory          projectors. The room is bathed in RED LIGHT.          REAL PULASKI bolts upright in his stim chair, a WHITE          LIGHT goes on as his screen turns to STATIC.                         PULASKI          I'm down, I'm down!          A CONTROLLER works quickly at a board.          COLONEL BRANDON,_a flesh and blood career military man,          in uniform, moves past Pulaski's stim chair, gives him a          warning look.                         (CONTINUED)                                                                                                              35.                         CONTINUED:                         BRANDON          Damn things aren't free, Pulaski.          Take the snipers from behind this          time.                         PULASKI          Yessir.                         CONTROLLER          Back on-line.          PULASKI lies back in his stim chair, RED LIGHT UP. The          POV ON his SCREEN switches to the BACK OF A VAN, the          doors open and his new unit charges out, past other          REPLACEMENT SOLDIERS still in charging bays.          COLONEL BRANDON, moving on, touches his earphone.                         BRANDON          Yeah, I'll be right over.          He CLAPS a CAPTAIN on the shoulder as he moves out.                         BRANDON (CONT'D)          Keep an eye on Bravo company.                         CAPTAIN          We will kick some ass, sir.          EXT. MARINE BASE - DAY          HANGARS, boxy buildings, HUMVEES, SOLDIERS marching in          formation. BRANDON walks with GREER and PETERS.                         BRANDON          The United States has the largest          surrogate army in.the world. Why          on earth would the defense          department want to develop a          weapon that could wipe out our own          troops?                         GREER          So no such thing exists?                         BRANDON          If it did, I'd know about it.                         PETERS          Those soldiers we saw--                         (CONTINUED)                                                                                                              36.                         CONTINUED:                         BRANDON          (a bit impatient)          We routinely remove motherboards          and optics for analysis. Now if          you'll excuse me, we're in the          middle of a peacekeeping operation.          They've reached their car. Brandon turns on his heel and          heads back for a hangar. Greer and Peters look after him          for a moment.                         PETERS          Think he's telling the truth?                         GREER          Not when his lips are moving.          Greer shakes his head as they both get in the car.          WITH BRANDON - Out of earshot of the feds, he speaks into          a small earpiece.                         BRANDON          Bill, we may have a problem. Is it          possible one of our ODs is loose?                         CUT TO:          INT. FBI BUILDING/GREER'S OFFICE - DAY          CANTER'S IMAGE on a COMPUTER SCREEN. It's his surrogate          face, seated at his desk. This is a video-phone          connection.                         CANTER          Tell me, have you made any          progress whatsoever?          REVERSE ANGLE, Greer and Peters sit before the screen.                         BY ROTE:                         GREER          Sir, we are not at liberty to          comment on an ongoing          investigation.                         CANTER          Don't blow me off like I'm some          goddamn reporter. I have          resources of my own, do I have to          do your jobs for you?                         (CONTINUED)                                                                                                              37.                         CONTINUED:          GREER bites back his anger, rises and moves away from the          screen before he says something he'll regret. He sits at          ANOTHER TERMINAL, returns to work. Peters takes his          place, attempting to sound reassuring.                         PETERS          We're exploring every avenue, Dr.          Canter, I promise you that, we're          doing everything we can.          CLOSE ON GREER'S TERMINAL - An INSET of the image of the          ASSASSIN'S FACE, no helmet on-- it's much clearer than          the one we saw before, this being the bouncer's          perspective at the door of the club. We hear CANTER and          PETERS continue in BG.                         CANTER          What. What are you doing?                         PETERS          I understand you're grieving--                         CANTER          I'm a target for assassination! I          assume you're at least aware of          that.          WITH PETERS, she looks briefly over her shoulder at Greer          with a "help, get me out of this" expression. He remains          focussed on the image of the assassin, she turns back to          Canter on the screen, maintaining her placating tone.                         PETERS          I appreciate your concern and          frustration, obviously we all want          immediate results, but--                         CANTER          I've heard enough of your          condescending pap. The people who          did this are going to be punished.          CANTER DISCONNECTS, his angry face VANISHES. PETERS          rises and moves quickly toward Greer.                         GREER          You handled that well.                         PETERS          (points at screen)          Where'd you get this?                         (CONTINUED)                                                                                                              38.                         CONTINUED: (2)                         GREER          The freak who was working the door          at the club. Got a look at our          perp dead-on.           ON SCREEN - The Assassin's features HIGHLIGHT, the words          "756 PARTIAL MATCHES."          REVERSE ANGLE -- GREER types, PETERS watches.                         PETERS          Try narrowing the search for Dread          affiliation...          ON SCREEN - a DIGITAL RAPSHEET, the name JACK STRICKLAND.          A ROTATING 3-D MUGSHOT of STRICKLAND, covering all the          angles of his face.                         GREER          Eighty-seven percent match. Close          enough for government work.          GREER and PETERS quickly scan the man's rapsheet.                         PETERS          Jack Strickland, one of the Prophet's          groupies... torched a surrogate          display at a department store--                         GREER          And they let him off?                         PETERS          No known address...                         GREER                         (RISING)          Not a problem.          INT. FBI BUILDING/CORRIDOR - DAY          GREER and PETERS walk along a windowless, underground          hallway, reach a SECURITY SCANNER.                         GREER          Ever come down here? It's like          being inside God's head...          The DOOR UNLOCKS and they enter--                                                                                                              39.          INT. FBI BUILDING/SURVEILLANCE CENTER - DAY -          GREER and PETERS go down metal stairs into-a sprawling,          high-tech surveillance center. COMPUTER WORKSTATIONS are          arranged radially, at the hub is a central COMMAND          STATION with large SCREENS facing in all directions.          GREER and PETERS move toward the center. At first we see          just the head and shoulders of scattered FIGURES, staring          at the monitor screens.          ON SCREENS - these are POV SHOTS from thousands of          SURROGATES, the Feds can have a direct surveillance feed          from any surrogate's eyes.          We glimpse POV SHOTS of-- driving-- drinking in a bar--          intimate conversations-- watching an old movie-- a sex          partner's face.          The FIGURES before the screens are WATCHER DRONES,          specialized surrogates-- a head and shoulders mounted on          a wheeled contraption attached to tracks. This enables          them to move and stop at any monitor quickly, surveilling          dozens of surrogates. Males and females, but all have          the same faces.          PETERS stares in wonder at this voyeur's paradise. GREER          grabs her arm to keep her from getting hit as a WATCHER          tracks past. The Watcher ignores them, intent on work.          They mount stairs into the RAISED HUB that overlooks the          work floor. An extremely corpulent human being-- BOBBY          SANDERS-- sits on a reinforced rolling chair, which he          keeps in almost constant motion, eying the DOZEN SCREENS          up here at once.          ON SCREENS - POVs of actual criminal activity-- frantic          running across a park-- a burglary in a darkened jewelry          store-- packets of drugs changing hands.          BOBBY eats candy, guzzles soda, waves them off for a          moment, speaking rapid-fire into his HEADSET.                         BOBBY          Burglary in progress, Charlie4639-          Romeo7812-Sierra8955, need a          warrant to shut him down...          BOBBY gets a message from his headset, kicks his rolling          chair across the room to a special TERMINAL.                         BOBBY (CONT'D)          Warrant received.                         (CONTINUED)                                                                                                              40.                         CONTINUED:          This terminal displays SURRIE SERIAL NUMBERS. As BOBBY          types, the selections narrow until only one is on the          screen: "C4639-R7812-S8955."                         PETERS                         (WHISPERS)          He can cut off operators from here?                         BOBBY          Anybody, anywhere. Ssh, don't          tell anyone. It's a gray area          legally.          PETERS isn't comfortable with this.                         BOBBY (CONT'D)          Relax, we're the good guys.          ON TERMINAL SCREEN - "OPERATOR DISCONNECT."          ON THE BURGLARY SCREEN, the POV IMAGE tumbles to the          ground, FREEZES there and turns to STATIC.          GREER nods, impressed. BOBBY eats an entire candy bar in          one bite.                         PETERS          You're not a surrogate, are you?          BOBBY wheels closer. With his mouth full:                         BOBBY          No ma'am, you're looking at the          genuine article. Bobby Sanders.          He extends a greasy hand, which she shakes lightly.                         PETERS          Jennifer Peters.                         GREER          They've been trying to puppet          Bobby for years--                         BOBBY          (points at his head)          Ain't built the machine yet that          can handle this baby. Recognition          search caught your dreaddie,          screen 11.          They move to a screen numbered 11, Bobby taps a CONTROL.                         (CONTINUED)                                                                                                              41.                         CONTINUED: (2)          ON SCREEN - SLO-MO, a city street, JACK STRICKLAND, a          moving pedestrian's POV. Strickland's leaning on his          bike, helmet off, talking on a CELLPHONE, free hand          shoved in his pocket. The image FREEZES. The bike's          LICENSE PLATE HIGHLIGHTS, along with STRICKLAND'S FACE.          GREER peers at the time stamp.                         GREER          Ten minutes ago? Where?                         BOBBY          Baltimore, corner of Eastern and          Decker. Got a feeling he's headed          for the reservation.                         GREER                         (TO PETERS)          Stay here, keep tabs on him.                         PETERS          What are you doing?                         GREER          (on the move)          Getting a chopper.          Peters takes this in, calls after him:                         PETERS          You need to get approval!          GREER makes a jerking off motion and is gone. BOBBY lets          out a BELCH and winks at PETERS.                         CUT TO:          EXT. BALTIMORE SLUMS - DAY          WITH STRICKLAND, finishing his cell call.                         STRICKLAND          .maybe I'm not done with the          O.D. Maybe you're not gonna get          it back at all. Guy could have a          lot of fun with your little toy...          oh you can do better than that.          I'll be in touch...          He tosses the cellphone in a trashcan, pulls on his          helmet, STARTS the bike and peels out.                                                                                                              42.          EXT. BALTIMORE - DAY          AERIAL SHOT - CAMERA tracking over the CHESAPEAKE BAY and          into the city, late afternoon. A small black CHOPPER          with doorless openings on either side ENTERS FRAME.          INT. HELICOPTER - DAY          GREER is beside a PILOT, a handsome Hispanic surrie named          LOPEZ. Greer shouts over the BLADE ROAR:                         GREER          We're close! Noise suppression!          LOPEZ nods, hits a couple of switches. THE LOUD THROB          becomes a barely audible WHIRR. We hear PETERS' VOICE          over the radio:                         PETERS (FILTER)          Got a hit on the bike, half a mile          from the rez, check your screen.          ON THE CHOPPER DASH, A GPS DISPLAY of the nearby          neighborhood, a BLINKING DOT a short distance away.          PETERS (FILTER) (CONT'D)          Baltimore PD's sending back-up.          You can't fly over Dread          territory, you know. We don't                         HAVE JURISDICTION--          Greer clicks off the radio, turns to Lopez.                         GREER          Ignore her, Lopez. Get us as          close as you can.          LOPEZ grins--and pushes the stick hard--          EXT. BALTIMORE - DAY          THE CHOPPER banks and swoops almost silently.          TNT. FBI BUILDING/SURVEILLANCE CENTER - DAY          BOBBY glances over at PETERS as she monitors a GPS SCREEN          and various INSET VIDEO FEEDS. He continues to work as          he flirts with her.                         BOBBY          You really look like your surrie?                         (CONTINUED)                                                                                                              43.                         CONTINUED:          PETERS throws him a glare, turns back to her work.                         BOBBY (CONT'D)          Don't be so touchy. I'm engaged          to B-47 down there.          He points to one of the many identical female DRONES          buzzing along the tracks. PETERS smiles.          EXT. BALTIMORE SLUMS - DUSK          STRICKLAND moves briskly on his BIKE. He glances in his          MIRROR and sees--          --a couple of SQUAD CARS catching up with him.          He hits the THROTTLE. ANOTHER COP CAR roars around the          corner ahead of him, SQUAWKS the SIREN. STRICKLAND          changes direction, veers into a narrow alley.          INT. HELICOPTER - DUSK          LOPEZ and GREER are directly overhead, watching          STRICKLAND maneuver his bike quickly into the alley.          EXT. SLUM ALLEY - DUSK          The alley is a DEAD END, a FENCE blocking the exit.          STRICKLAND skids the bike into a CRASHING STOP, knocking          over piles of GARBAGE.          A SQUAD CAR barely clears the walls on either side,          pursuing. It stops at a narrowing space, cops squeeze          out either door, aiming GUNS.                         COP          Freeze!          STRICKLAND stumbles away from his bike, into an alcove.          The cops approach, guns ready.          STRICKLAND yanks off his helmet, pulls his ominous DEVICE          from his pocket. Without poking his head out, he aims it          in the cops direction.          He PRESSES A BUTTON. A row of RED DIODES GLOW on the          device as he sweeps it across the alley, but it emits no          projectiles and makes no sound.          COP #1 is closer-- his GLASS EYES SHATTER.                          (CONTINUED)                                                                                                              44.                         CONTINUED:          COP #2 drops his weapon, staggers backward and falls,          clutching his head.          INT. HELICOPTER - DUSK          GREER has seen this, horrified.                         GREER          Jesus, what is that?          STRICKLAND is on the run again, scaling the fence. He          hasn't spotted the chopper.          GREER looks in the direction he's heading--          A HUGE CHAIN-LINK FENCE, topped with barbed wire,          stretching across the whole city, just a hundred yards          away. PORTRAITS of the PROPHET (the man we heard on the          radio), long-haired and bearded, adorn the fence.          There's a GATE, with two GUARDS checking those entering,          one or two people are waiting.                         GREER (CONT'D)          He gets through the gate, we can't          touch him.          GREER readies a RIFLE with a SCOPE, loads a TRANQUILIZER          DART into the chamber. LOPEZ maneuvers to give Greer an          angle out the chopper's side.          EXT. SLUM ALLEY - DUSK          STRICKLAND looks up to see GREER taking aim from the          silent chopper. He leaps for cover behind a dumpster as--          GREER FIRES a DART, which RICOCHETS off the DUMPSTER.          STRICKLAND scrambles around a corner.          INT. HELICOPTER - DUSK          LOPEZ turns the bird forward to pursue, as GREER reloads.          They round the corner. No sign of Strickland on the          pavement. GREER looks to his left, beyond the PILOT--          STRICKLAND has scaled a fire escape, aiming the DEVICE          right at Lopez. Greer sees what's about to happen--                         GREER          Pull up, Lopez, pull up!                         (CONTINUED)                                                                                                              45.                         CONTINUED:          LOPEZ shoots the bird upwards, but--          EXT. FIRE ESCAPE - DUSK          STRICKLAND raises the device to track Lopez and hits the          button-- we see the RED DIODES GLOW and--          INT. HELICOPTER - DUSK          --LOPEZ is hit, his EYES FRAGMENT, shards of GLASS fly.          GREER is close enough to get a partial hit, crouches in          agony. SFX, an awful SCREAMING NOISE inside his head--          INT. GREER'S APARTMENT/BEDROOM - DUSK          SCREAMING NOISE CONTINUES as REAL GREER spasms in pain in          his stim-chair, in the sensory projector's RED LIGHT.          EXT. RESERVATION NO MAN'S LAND - DUSK          THE CHOPPER, pilotless and out of control, heads over the          chain link fence. Beyond are vacant lots, with tents and          makeshift hovels, small buildings.          INT. HELICOPTER - DUSK          GREER regains his senses, just in time to see--          THE CHOPPER careening down toward the Dread encampment.          EXT. RESERVATION NO MAN'S LAND - NIGHT          THE CHOPPER CRASHES on its skids, at an angle, amidst          LEAN-TOs and TENTS-- GREER is thrown out his side with          the impact.          THE CHOPPER'S ENGINE EXPLODES. THE WHIRRING TAIL ROTOR          comes right at him and CHOPS OFF his left arm at the          elbow, BURNING FUEL spreads and IGNITES his back. Lucky          thing he's a surrogate. Less fortunate DREADS run          screaming, we hear the CRIES OF WOUNDED.          GREER lies in the dirt, in flames, motionless. Then his          eyes BLINK and move, taking in the sight of--          STRICKLAND, illuminated by the FIRE, horrified at the          carnage. He's starting to move away from the wreck.                         (CONTINUED)                                                                                                              46.                         CONTINUED:          With supreme effort, GREER gets to his feet, still partly          IN FLAMES. His stump of an arm SPARKS and leaks          HYDRAULIC FLUID. He reacts at the sight of--          A CORPSE on the ground, an older man crushed by a hunk of          DEBRIS from the chopper. But it's not the corpse that          interests him-- his DART RIFLE lies nearby, thrown from          the chopper during the crash.          GREER grabs it in his right hand. He pushes past DREADS          who move to help their injured fellows, PANIC in the fire-          lit no man's land. He spots--          STRICKLAND, running into the distance. Greer supports          the rifle with the stump of his missing arm and FIRES--          STRICKLAND is hit in the back, the force of the shot          knocks him off his feet.          GREER strides over to STRICKLAND, seemingly oblivious to          the CROWD of Dreads collecting around him, pointing at          him angrily.          STRICKLAND twitches and moans, partly paralyzed. GREER          stands over him, lets the rifle dangle. Strickland has          some trouble speaking.                         STRICKLAND          Oh my G-god-- why? What do you          people want from me?!                         GREER          You're a killer--                         STRICKLAND          They were just surries! Goddamn          machines!                         GREER                         (A BEAT)          You really don't know?          BLAM! A DOUBLE-BARRELED SHOTGUN BLAST throws GREER          backward, away from STRICKLAND. The DART RIFLE flies          from his grasp.          A heavyset FEMALE DREAD wields the sawed-off shotgun.          She gets between Greer and Strickland, who manages to          crawl away, vanishing behind other DREADS who are          gathering around Greer.                         GREER (CONT'D)          Strickland! Wait!                         (CONTINUED)                                                                                                              47.                         CONTINUED: (2)          Greer tries to get up, a HOLE has been blown in his          chest, exposing SPARKING WIRES and ELECTRONICS, spraying          GREEN COOLANT. He's lost control of his legs, which          crumple beneath him, he falls to his knees.          He's surrounded now by angry, disenfranchised DREADS, all          of whom regard him with hatred.          THE FEMALE DREAD ejects the used cartridges and reloads          the shotgun. GREER stares at her coldly.                         GREER (CONT'D)          I'm a federal agent--                         FEMALE DREAD          You're an abomination.          THE WOMAN pumps the shotgun again points it a Greer's          head. Just as it GOES OFF--                         CUT TO:          INT. GREER'S APARTMENT/BEDROOM - NIGHT          GREER lurches out of his chair, yanking the SENSORY          PROJECTOR off his head-- the RED LIGHT switches to WHITE.          He stumbles out of the room into the hall.          INT. GREER'S APARTMENT/HALLWAY - NIGHT          GREER bangs on the door to Maggie's bedroom, rattles the          knob. A RED GLOW from beneath her door.                         GREER          Maggie! Wake up!          He's clearly in pain, clutches his temples. BLOOD begins          to gush from his nose. Greer slides down against the          door, unable to stand.          INT. GREER'S APARTMENT/MAGGIE'S ROOM - NIGHT          THE DOOR rattles, we hear GREER calling:                         GREER          Please, I need your help... open          the door!          CAMERA MOVES through the RED-LIT room, to show the WIRES          of a SENSORY PROJECTOR, a partial view of MAGGIE'S HEAD.                                                                                                              48.          INT. GREER'S APARTMENT/LIVING ROOM - NIGHT          MAGGIE (her surrogate), in a tailored business suit,          enters the apartment with BRIDGET, another gorgeous, high-          fashion surrie in party clothes. They're laughing.                         BRIDGET          --we're talking turquoise! I          wouldn't carry a purse that color,          much less a whole new skin.                         MAGGIE          BRB, I just gotta change. Little          black dress or red bustier?                         BRIDGET          Bustier.          INT. GREER'S APARTMENT/HALLWAY - NIGHT          MAGGIE almost trips over GREER, unconscious on the floor.                         MAGGIE          Oh my God.                         CUT TO:          EXT. MOUNTAIN ROAD - NIGHT          START ON a MAILBOX with the name "PETERS," as CARLIGHTS          catch it. As the CAR turns up the dirt road in this          rural area in the Rockies, it flips its LIGHTS OFF.          INT. PETERS' HOUSE - NIGHT          A pleasant, rustic home. JENNIFER PETERS, somewhat less          perfect than her surrie, disconnects from her SENSORY          PROJECTOR. She looks concerned, very tired. She rises          from her stim chair and moves into a kitchen.          PULL BACK - we're watching her through a WINDOW, with a          very large and powerful-looking STALKER,          LATER - PETERS in bed, fast asleep. A SHADOW crosses her          doorway, but moves on.          AT HER sensory PROJECTOR, the STALKER is SCANNING through          her hard-drive's memory.          ON SCREEN - fast-forwarding rapidly through PETERS' POV,          we see GREER in the alley with the fallen SURRIES...                         (CONTINUED)                                                                                                              49.                         CONTINUED:          THE STALKER, face illuminated by the screen's GLOW, looks          expressionlessly toward Peters' bedroom, then back to the          images. His eyes have a silvery, inhuman sheen.                         DISSOLVE TO:          INT. STRICKLAND'S APARTMENT - DAY          Early morning. STRICKLAND sleeps fitfully in this          gloomy, dingy space. He comes to, startles at the sight                         OF--          --a MAN sitting at the foot of his bed. He's very tall,          imposing, bearded, dressed in black-- this is the          PROPHET. Strickland is cowed, this isn't a man you get a          lot of face time with.                         PROPHET          You've been keeping secrets, Jack.          TWO LARGE MEN now move into view, flanking the Prophet.          Call them BUD and MILLER. They're scruffy, bearded, not          surries.                         STRICKLAND          No, Prophet, I---                         PROPHET          This is unfair to your brother          humans.          STRICKLAND tries to get out of bed, Bud pushes him down.                         STRICKLAND          Please, I haven't done anything...                         PROPHET          I know what you've done. What I          don't know is-- who hired you to          betray us? I want a name.                         STRICKLAND          I-- I swear to God I don't know--                         PROPHET          Jack...                         STRICKLAND          He never said his name, we talked          on disposable cellphones-- I've          never even seen his face! I          couldn't tell you who he was if my          life depended it!                         (CONTINUED)                                                                                                              50.                         CONTINUED:          On the Prophet's disappointed, even sad expression...                         DISSOLVE TO:          INT. HOSPITAL ROOM - DAY          CLOSE ON A MEDICAL MONITOR - high-tech imaging of a HUMAN          BRAIN.          MOVE DOWN to find GREER (the real one), asleep. An IV,          BLEEPING monitors. Uneaten LUNCH on a tray.          MAGGIE, her surrogate that is, sits in a chair beside the          bed, her hand resting on GREER's. He stirs-- she pulls          her hand back, returns to her fashion magazine.          A TV plays above his bed, Greer blinks, squints at this.          ON TV - a small BOY CLIMBS a very tall TREE above a          suburban sidewalk, pleasant MUSIC. Suddenly, a BRANCH          BREAKS, the boy tumbles with a CRY.          GREER winces distastefully.          ON TV - now we see the BOY again, perfectly fine,          standing beside his mother. She strokes his head with a          smile. They look down at his broken SURROGATE on the          ground beside the fallen BRANCH.          COMMERCIAL V.0.          Imagine a world where children are          safe. Always...          GREER, watching the screen, addresses Maggie.                         GREER          Would you do that?                         MAGGIE          (not looking up)          Hm? Do what?                         GREER          Get a surrogate for our kid. Our          hypothetical kid.                         MAGGIE          Sure. Why not? They're getting          cheaper all the time.          COMMERCIAL V.0.          A world where every child is          secure and fulfilled...                         (CONTINUED)                                                                                                              51.                         CONTINUED:          ON TV - A LITTLE GIRL swings back and forth, a blissed-          out smile on her face.          COMMERCIAL V.0. (CONT'D)          .free of pain, fear and          anxiety...          IN SLO-MO she releases at the top of the swing's arc and          flies into the air...          COMMERCIAL V.O. (CONT'D)          That world can be real. Thanks to          VSI. Our software for growing          minds screens out destructive,          negative feelings...          THE LITTLE GIRL lands hard, but gets up laughing.          COMMERCIAL V.0. (CONT'D)          Making every childhood a happy          one...          GREER shakes his head.                         GREER          It just seems weird to me.                         MAGGIE                         (CHUCKLES)          Our grandparents thought seatbelts          were weird.          She nods toward the IMAGE of a SMILING CHILD on TV.                         MAGGIE (CONT'D)          Not like it's an issue.          ON TV - the VSI LOGO.          COMMERCIAL V.0.          Do what you want. Be what you want.          AT THE DOOR, PETERS hovers, making up her mind to enter.          She steps into the room.                         PETERS          Knock knock.          Greer blinks at her.                         GREER          Who's there.-                         (CONTINUED)                                                                                                              52.                         CONTINUED: ( 2)                         PETERS          It's me, Peters, don't you recognize me?                         GREER          (almost to himself)          I thought you might've been          telling another joke.          Peters seems relieved. Maggie waits for an introduction,          but Greer seems withdrawn, shy-- Peters has never seen          his physical body.                         MAGGIE          Hi. I'm Maggie, Tom's wife.                         PETERS          A pleasure to meet you. Jennifer          Peters.          (a glance at Greer)          His new partner.                         MAGGIE          (to Greer, brightly)          You should have mentioned her. I          need to get going anyway, I'll let          you two talk business.                         (TO PETERS)          I'm a beauty engineer. Drop by          the shop sometime, I'll give you a          free consultation.                         PETERS          Thanks...          (as Maggie leaves)          I think.                         (STUDYING GREER)          You look just like your unit.                         GREER          Except older and fatter. Sorry if          I seem a little out of it.                         PETERS          You've been through a lot.                         GREER          They're calling it a concussion--          felt like my head was going to          explode.          With a brisk RAP on the doorframe, STONE enters.                         STONE          How ya' feeling, Greer?                         (CONTINUED)                                                                                                              53.                         CONTINUED: (3)          GREER shrinks back in his bed.                         GREER          You tell me. How's Lopez?          Stone sighs, looking him over. Quietly:                         STONE          The pilot? They found him dead in          his stim chair. Same with one of          the Baltimore cops, other's in a          coma. Four Dreads were killed on          the ground, half a dozen wounded.          Greer closes his eyes in misery.                         PETERS          It's not your fault. You were doing          your job.          Stone pulls up Maggie's chair, sits as he speaks.                         STONE          I would have to disagree. You          requisitioned that chopper without          authorization. You violated our          treaty with the Dreads-- we're          expecting retaliation. Those poor          cops had no idea what they were up                         AGAINST--                         GREER          None of us did! We still don't          know. I don't think Strickland          even knew-- he thought he was just          taking down "the abominations."                         STONE          I'm sorry, Greer,. but- - you're          suspended, pending further action.          Greer nods slowly, knew this was coming. PETERS takes a          step back, looking on carefully. Greer takes his LAPTOP          COMPUTER off the bedside table, opens it so that Stone          can see it.                         GREER          I've been going through my memory          files of the crash... ever seen          anything like this before?          ON SCREEN - a magnified CLOSE-UP of the DEVICE in          STRICKLAND'S HAND, as he points it upward at the          helicopter.                         (CONTINUED)                                                                                                              54.                         CONTINUED: (4)                         PETERS          It's the murder weapon?          GREER nods, STONE studies the laptop, sets his jaw.                         STONE          It's more than that. It means          nobody is safe. The Dreads want          us all to be like them-- living in          fear, no better than animals. And          we've only just freed ourselves,          begun to explore our true          potential.                         GREER          We need to get this guy.                         STONE          We will. Our way of life will be          protected, whatever it takes.          An attractive SURRIE NURSE enters the room.                         NURSE          Good news, Mr. Greer. The doctors          say you can go home today.                         GREER          (nervous, thrown)          They said the end of the week--                         NURSE          Insurance, you know.          She smiles, putting his clothing by the bed and          disconnecting him from the IV and monitors.                         STONE          Just take some time to heal.                         GREER          What about my surrogate?                         STONE          Hasn't been-recovered. I'm afraid          we can't supply you with a new one          until this matter is resolved.          Peters, make sure he gets home in          one piece.          PETERS nods, looking at Greer sympathetically. GREER          sinks back into his pillow, anxious.                         (CONTINUED)                                                                                                              55.                         CONTINUED: (5)          ON MEDICAL MONITOR - the image of GREER'S BRAIN shuts OFF          with a BLIP.          EXT. HOSPITAL ENTRANCE - DAY          PETERS strides from the doors, GREER follows, dressed in          casual clothes... then slows his pace, breathing hard.          GREER'S POV - CARS zipping past on the street, RUSHING          PEDESTRIANS, PARAMEDICS pushing a body past on a gurney.          From Greer's now human perspective, surrogates seem          artificial, appearance too perfect, eyes empty of souls.          This should be reeling, vertiginous.          PETERS pauses, seeing Greer is having a panic attack. He          has trouble speaking.                         GREER          I haven't been out without a          surrogate in a long time...                         PETERS          It's OK. Nothing's gonna happen.                         GREER          They wanted to give me something          for the anxiety... they call it          corporeaphobia.                         PETERS          Just take my arm.          He shakes his head, takes a deep breath and moves out          onto the sidewalk. Peters stays close.          GREER'S POV - SURRIE PEDESTRIANS, moving quickly, seeming          to come right. at him. One bumps into him--          GREER staggers, the surrie moves on as if he hasn't even          noticed. Greer moves toward the curb to get away from          them, stumbles-- PETERS has to pull him out of CAR          TRAFFIC, a HORN HONKS. He's sweating, terrified.                         GREER          Jesus Christ.                         PETERS          We need to get you a replacement.          She takes his arm forcibly and moves him away.                                                                                                              56.          EXT. SURROGATE DISCOUNT STORE - DAY          A low-end place, BODIES displayed in the windows in their          charging bays, SIGNS reading "HURRY 4 A SURRY! GIANT          SALE! SYNTH UNITS NEW & USED!"          PETERS guides GREER inside.          INT. SURROGATE DISCOUNT STORE - DAY          COFFIN-SIZED BOXES, SENSORY PROJECTORS and STIM CHAIRS          stacked willy-nilly. BRIGHT LIGHTS, VIDEO SCREENS          running PROMOS. A slick, blond Aryan SALESMAN approaches          with a grin. He sizes GREER up, instantly recognizing          signs of withdrawal. He speaks with an incongruous ASIAN          ACCENT.                         SALESMAN          Oh you poor guy-- out in just your          skin can be scary. No worries, I          got perfect surrie for you.          He leads them deeper into the store. He wears a clip-on          ID BADGE with the smiling face of a dark-haired ASIAN.          RACKS OF ATTRACTIVE MALE and FEMALE BODIES, in skimpy          BATHING SUITS-- differing heights and degrees of muscle.          GREER looks these over.                         GREER          I like to see my own face when I          look in the mirror.                         SALESMAN          Fine, you no buy off the rack-- we          customize, on premise, less than          one hour.          As they move on, we glimpse CELEBRITY LOOK-ALIKES on the          rack-- MARILYN MONROE and ELVIS PRESLEY.          LATER - ON COMPUTER SCREEN, a 3-D RENDERING of GREER'S          FACE rotates, shows EXPRESSIONS, smiles, frowns-- and          speaks. A VOICE-PRINT runs below.                         GREER'S VOICE          Hello. Testing-one-two-three...          THE SALESMAN works the computer, GREER lies in an          uncomfortable STIM CHAIR attached to a_SENSORY PROJECTOR,          RED GOGGLES over his eyes and a CAMERA pointed at his          face. He seems uneasy. PETERS looks on from nearby.                         (CONTINUED)                                                                                                              57.                         CONTINUED:                         SALESMAN          No worries, we make you good deal,          no payment til next year. Just try          one on for size. You like, we lock          in your neural code, plastiform          your face, you good to go.          THE SALESMAN hits a couple of switches, slips a small          SLEEVE over GREER'S FINGER, it's wired to the projector.                         SALESMAN (CONT'D)          Take a whirl.          Greer touches his fingers together--- his body instantly          goes limp and--          -a pale, hairless SURRIE TEMPLATE in a speedo steps out          of a CHARGING BAY. Its head is unfinished, a mechanical          version of a skinless face. Around its neck is a sign          that reads "40% OFF!"                         SALESMAN (CONT'D)          Looking gooood.                         40% OFF          I dunno...          The VOICE is a tinny, far-away sounding version of          Greer's. Suddenly 40% OFF twitches and stumbles, bumping          into a DISPLAY.                         SALESMAN          Try touching your nose.          40% OFF pokes himself in the eye.                         'SALESMAN (CONT'D)          Good, good. Takes some time to          break in. Base model come with          vision, hearing-- other senses          optional.                         40% OFF          Screw this.          The surrie FREEZES in its tracks... and slowly TOPPLES          OVER as GREER pulls of the projector headpiece. The          SALESMAN sets to righting it, GREER heads for the exit.                         SALESMAN          Wait wait wait! I throw in super-          sex software package-- fifty          percent off!                         (CONTINUED)                                                                                                              58.                         CONTINUED: (2)                         PETERS          We can try a department store--          if money's a problem, I can front                         YOU TILL--                         GREER          No. I'm a grown man for          Chrissake, I should be able to          walk down the street without          completely freaking out.          INT. BAR - DAY          A BARTENDER puts a SODA WATER and a GLASS OF SCOTCH on          the bar in front of PETERS and the shaky GREER.                         PETERS          Well, you made it a block.                         GREER          (lifts his glass)          Here's to self-medication.          He takes a sip and spits it out. The BARTENDER turns.                         BARTENDER          Are you all right, sir?                         GREER          What is this?          The BARTENDER gives him a once-over.                         BARTENDER          Oh, sorry. We don't get a lot of--          that's synthohol. Just a CPU          inhibition blocker in a non-          corrosive solution...          As the bartender speaks, Greer looks around the dark bar--          --in the back, EVERY COUPLE is gazing into each other's          eyes, clearly hooking up.          GREER continues to watch the other patrons.                         GREER          You have any real booze?                         BARTENDER          No liquor license.                         (CONTINUED)                                                                                                              59.                         CONTINUED:          The BARTENDER shrugs and moves off. Peters sips her soda          water, amused.                         PETERS          Come here often, stranger?                         GREER          You know, they really don't look          human. You can't tell when you're          inside them, but...          GREER turns to PETERS, studies her like the others.                         PETERS          I don't like the way you're          looking at me.                         GREER          But I'm not really looking at you.                         PETERS          Yeah yeah, this is just a lump of          aluminum and polystyrene. Tell          you what, next time you're in          Colorado, look me up for real. We          can have a beer together.                         GREER          I'd like that.          PETERS blinks, Greer has suddenly gotten sincere on her.          He looks away.                         GREER (CONT'D)          You know, when we started working          together, I thought you were kind          of a stiff.                         PETERS          New job, I was defensive.                         GREER          It's more than that... you're          different. Or maybe I am.          Greer's embarrassed, shrugs it off. He puts down a bill          and rises.                         GREER (CONT'D)          You probably oughta head back to          the office.                         PETERS          I can get you home.                         (CONTINUED)                                                                                                              60.                         CONTINUED: (2)                         GREER          I'll be OK.          He moves toward the door, she tags along.                         GREER (CONT'D)          I'm thinking you should double-          check Strickland's records, go back          to the hard copies. See if you can          find out why they dropped charges.                         PETERS          You seem better already.                         GREER          It's like riding a bike.          EXT. METRO ENTRANCE - DAY          subway,          GREER and PETERS walk, he spots a sign for the          changes direction to head for the escalator.                         PETERS          Where you going?                         GREER          It's a lovely day. Thought I'd take          a trip to East Baltimore.          He pauses at the top, a hit of vertigo.                         GREER (CONT'D)          Was it always this steep?                         PETERS          Jesus, Tom, the rez?                         GREER          Since I'm stuck in my skin, I          oughta take advantage of it. Hell,          as long as Strickland has that          device-- I'm safer this way.          He clutches the handrail, starts moving down.                         PETERS          Be careful.          He nods and waves as he disappears down the escalator.                         CUT TO:                                                                                                              61.          INT. FBI BUILDING/LOBBY - DAY          PETERS enters this large lobby, bustling with other          AGENTS and OFFICIALS. She moves toward a DESK JOCKEY,          security SCANNERS. She reacts to the sound of--          --SCREAMS and SCREECHING TIRES from outside the building.          PETERS looks toward a large WINDOW to the street-- and          immediately dives for cover as--          --a battered SUV, spray-painted with anti-surrogate          GRAFFITI, SMASHES through the plate glass. SURRIE          PEDESTRIANS are plastered across the grill and embedded          in the windshield.          THE SUV slams into a few SURRIES in the lobby, sends them          flying or runs over them. It spins sideways into a WALL          with the FBI SEAL overhead.          The DRIVER leaps out, armed with a MACHINE GUN. He's          clearly a DREAD, angry and deranged. He starts SHOOTING          at anything that moves.          PETERS crouches for cover as BULLETS shatter GLASS and          smash MARBLE around her.          An army of AGENTS burst from an elevator in Kevlar and          riot helmets, armed with AUTOMATIC RIFLES. They          instantly bring the DREAD down in a barrage of gunfire.          The agents move to the DREAD'S BODY-- he's very dead,          pouring BLOOD from dozens of bullet wounds. One speaks          into his headset:                         RIOT AGENT          Secure.                         (TO CROWD)          Any biologicals here?                         CUT TO:          INT. TAXICAB - DAY          A SMALL FLAT-PANEL TV in the back of the CAB plays NEWS          of the attack on the FBI building. PILES of surries          removed on carts, one BODY on a stretcher.          NEWS READER VOICE          --twenty-seven surrogates irreparably          damaged. Only one dead, the attacker          himself.                         (MORE)                         (CONTINUED)                                                                                                              62.                         CONTINUED:          NEWS READER VOICE (CONT'D)          His motive is unclear at this point,          but may be a response to the recent          incident at the Baltimore human          reservation...          GREER, in the back seat, takes in this news grimly. The          CABBIE has been glancing at his own monitor in front.                         CABBIE          Goddamn Dreads... sure you don't          wanna change your mind?                         GREER          I'm sure.          EXT. BALTIMORE SLUMS - DAY          Late afternoon. GREER emerges from a TAXI near the same          gate we saw earlier. Greer wobbles, steadies himself          against the car as he pays the CABBIE-- a DRONE          SURROGATE, built into the seat.                         CABBIE          You OK, man?                         GREER          Just a little carsick.          The TAXI pulls away, Greer heads for the GATE.          EXT. RESERVATION NO MAN'S LAND - DAY          AT THE GATE: METAL SIGNS read "HUMANS ONLY - NO          SURROGATES." GREER goes through a big,.old-fashioned          (present-day) METAL DETECTOR, the light flashes GREEN. A          DREAD GUARD waves him past. Greer gestures toward one of          the many IMAGES OF THE PROPHET to be found in the rez.                         GREER          Where would I find the, the what do          you call it, the Temple?                         DREAD GUARD          Ten blocks that way, left on          Bloomfield.                         GREER          Thanks.          (eyes the grim area)          Catch a lotta surries tryin' to          sneak in, do ya?                         (CONTINUED)                                                                                                              63.                         CONTINUED:                         DREAD GUARD          Piss off.          As Greer crosses the rubble-strewn no man's land, he          pauses, sickened as he sees--          --the burned-out HELICOPTER HULK, now sprayed with          GRAFITTI. "PIGS DIE," etc. And just beyond this--          --what's left of GREER'S SURRIE, half the head blown off          with fried electronics hanging out. It's been lashed to          a makeshift crucifix, made from the bent CHOPPER BLADES.          The clothing is shredded, the remains spray-painted.          GREER, wary of being recognized, continues on.          EXT. RESERVATION STREET - DAY          GREER walks through a poor but surprisingly pleasant          neighborhood-- rowhouses, gardens. Very few cars.          DREADS look like ordinary working-class folks.          A BARBECUE, a group of RESIDENTS laughing and drinking.          Greer inhales the SMOKE as he passes, smiles to himself.          A couple of FRIENDLY DOGS trot curiously after him for a          moment, then return to the barbecue. GREER, not paying          attention, brushes past an ELDERLY MALE PEDESTRIAN.                         GREER          Excuse me.                         PEDESTRIAN          (smiles and nods)          No problem.          A PLAYGROUND a short distance on,.LOTS OF KIDS shrieking          and running. Greer pauses here, taking this in. These          are the first children we've seen, outside of a TV ad.          A CLOUD OF DIESEL SMOKE from a decrepit BUS. Greer          CHOKES on this, but doesn't seem displeased. His body          language has become more relaxed as he gets further into          the rez, getting his land legs back.          INT. RESERVATION TEMPLE - DAY          A cavernous convention center, thousands of folding          chairs face a raised PULPIT at one end. Behind this is a          SUPERGRAPHIC of the PROPHET, hands raised in benediction.                         (CONTINUED)                                                                                                              64.                         CONTINUED:          GREER enters, takes this in. He spots a CLEANING LADY,          an older woman sweeping up amidst the rows nearby.                         GREER          Excuse me. You wouldn't happen to          know a Jack Strickland? I'm told          he worked here off and on.                         CLEANING LADY                         (NODS)          You're here for the service? It's          in the park.          EXT. RESERVATION PARK - DUSK          GREER moves down a path in this expanse of greenery. He          comes to an open lawn with a fairly large CROWD gathered,          illuminated by a FLAMING TORCH.          THE PROPHET is speaking. He stands before a platform          atop wooden scaffolding, firewood piled below. A          formidable ring of BODYGUARDS stands between him and the          gathered throng of DREADS.                         PROPHET          --serving faithfully beside us in          the cause of humanity. _I had the          privilege of hearing his confession          shortly before his death.          GREER has pushed his way gently toward the front to get a          look at the BODY atop the funeral BIER.          The corpse atop the bier is that of JACK STRICKLAND, eyes          closed, hands folded.                         PROPHET (CONT'D)          And I know he would have rejoiced          in the day of resurrection, the          day for which we are all          preparing, the day I promise you          is close at hand...          So saying, the PROPHET lifts the torch and touches it to          the base of the PYRE, which ERUPTS IN FLAME.          CLOSE ON STRICKLAND as the FLAMES lick up around him.          LATER, the BIER consumed in FIRE, the MOURNERS          dispersing. THE PROPHET is moving away, HANDLERS          surrounding him. GREER tags along-- but one of the          Prophet's goons, BUD, gets in his face.                         (CONTINUED)                                                                                                                             65                         CONTINUED:                         BUD          Who are you?                         GREER          What happened to Jack Strickland?                         BUD          He slipped and fell. Friend of yours?          Greer starts to move around him, Bud gets in his way.                         GREER          I'd like a word with the Prophet.                         BUD          You and everyone else.          MILLER and ADAMS, another goon, now join them.                         GREER          Strickland was carrying a weapon.          If it isn't recovered, there could          be serious consequences-- for all          of you.          IN BG, the PROPHET and HANDLERS head toward a large RV.                         MILLER          You some kinda cop? Where's your          puppet?                         GREER          Needs repairs.                         MILLER          You armed?          GREER shakes his head, raises his hands.                         GREER          Frisk me if you want.                         MILLER          No, that's OK.          With that, he throws a SUCKER PUNCH to the gut. GREER          doubles over. He seems amazed at the sensation, the          pain. But he recovers, throws a wild punch at Miller an d          misses by a foot. [Violence for Greer in human form          should have a very different, painfully visceral feel,          unlike when he was a surrogate.]                         (CONTINUED)                                                                                                              66.                         CONTINUED: (2)          ADAMS cracks Greer across the back of his head. GREER          falls to the ground. BUD kicks him once. GREER chokes          and groans in pain.                         MILLER (CONT'D)          Hurts, doesn't it.                         BUD          It's a bitch being real.          GREER lets out a primal CRY and lunges at MILLER, driving          his head into the man's torso, knocking the wind out of          him before the other two can pull Greer back.                         ADAMS          I think he likes it.                         MILLER          (catching his breath)          So give him some more.          Outnumbered three to one, Greer takes a beating,          continues to throw mostly ineffective punches that just          cause the men to redouble their efforts. Finally, he's          limp in their arms.          Miller plucks Greer's WALLET and BADGE from his pockets,          examines them. As he does so, GREER spits BLOOD on the          man's face. Miller seems about to whomp him again, but          stops himself.                         MILLER (CONT'D)          Not gonna give you the          satisfaction.          (to Bud and Adams)          Get him out of here.          Miller tosses Greer's ID at him, then moves toward the          RV, leaving GREER gasping in the clutches of Bud and          Adams, lit by the FLAMES from the funeral pyre.          INT. PROPHET'S RV - NIGHT          A spartan interior. MILLER enters. THE PROPHET stands          with a couple of HANDLERS.                         HANDLER          Trouble?                         MILLER          Some fed named Greer, he wanted to          talk to the Prophet.                         (CONTINUED)                                                                                                              67.                         CONTINUED:                         HANDLER          About that turkey shoot in DC?                         MILLER          Didn't come up. Said they wanted          Strickland's weapon.                         PROPHET          Well, maybe I'll just have to          bring it to their doorstep...          In the Prophet's hand, we now see--          --the mysterious DEVICE with which Strickland killed his          targets.          EXT. RESERVATION NO MAN'S LAND - NIGHT          GREER is half-dragged, half-carried, back the way he          came, flanked by BUD and ADAMS. Greer sucks on his          BLEEDING lip, works his tongue around in his mouth. He          touches parts of his bruised body carefully.                         BUD          Guy like you oughtn't be out in          just your skin.                         GREER          I'm starting to see your point.          AT THE GATE - GREER leaves, trying to muster as much          dignity as he can. The DREAD GUARD calls sarcastically          after him.                         DREAD GUARD          Come again real soon!          EXT. BALTIMORE SLUMS - NIGHT          GREER trudges along the seedy streets. He looks a mess--          torn clothing, bloodstains, bruises. Suddenly he's          SHOVED from behind, falls to the pavement.                         WHEELS          Oops.          The assailant is a FREAK SURRIE-- extra ARMS, WHEELS          where his feet should be.          A moment later, Greer is surrounded by three rich, FREAKY          TEENS.                         (CONTINUED)                                                                                                              68.                         CONTINUED:          They've customized their surries in completely bizarre          ways, in addition to the usual tattoos and piercings.          Besides WHEELS, there's a hairless teen with six EYES          scattered around his head. A GIRL has SPIKES sticking          out of her skull and flesh and REPTILE SKIN.                         EYES          Watch where you're going, meat.                         SPIKES          What are you doin' off the rez?          She bumps against GREER as he picks himself up, he          shrinks from the spikes. She shoots a small blast of          FLAME from her nostrils, then GIGGLES.                         GREER          I'm not a Dread.                         WHEELS          Then you oughta return that          surrie, looks like shit.          WHEELS comes at Greer again, Greer moves and TRIPS him--          but he just lands on an extra arm and rights himself.                         EYES          Hey, it wants to play.          EYES lowers his head and moves to butt him. GREER          dodges, it looks like a bullfight.                         SPIKES          Ole, toro!          They turn, hearing a SCREECH OF TIRES.          A LIMOUSINE has pulled up. A 10-year-old BOY climbs from          the back and approaches.                         BOY          Agent Greer. Would you like a ride?           The kid's voice sounds like a child's, but with mature          cadences to his speech. -                         WHEELS          Check out Richie Rich.          THE DRIVER of the Limo steps out-- it's ARMANDO from          Canter's lobby. He lets his jacket fall open, revealing          a HOLSTERED SIDEARM.                         (CONTINUED)                                                                                                                             69                         CONTINUED: (2)                         ARMANDO          We got a problem here?          The FREAKS retreat with dirty looks.                         SPIKES          Fascists.          The BOY moves back toward the LIMO. Greer follows.                         BOY          (re: the freaks)          So many unforeseen consequences to          the surrogate revolution... I          suppose I should apologize.                         GREER          Who are you?          INT. LIMO -- NIGHT          As GREER climbs in, the BOY hands him back his own          BUSINESS CARD, the one Greer left with Canter.                         BOY/CANTER          You left this on my desk.          ARMANDO has gotten behind the wheel, starts moving.          Greer looks at the boy, amazed.                         GREER          Canter?                         BOY/CANTER          It's not safe for me to use my          usual surrogates. This is one of          VSI's.newer models. Not that the          market will be that strong, the          birthrate being what it is.                         GREER          You're having me followed.                         BOY/CANTER          You know how important this          investigation is to me.                         GREER                         (A BEAT)          The man who killed your son is dead.          Boy/Canter absorbs this.                         (CONTINUED)                                                                                                              70.                         CONTINUED:                         BOY/CANTER          I want you to tell me everything.                         GREER          I suppose you deserve that.          EXT. WASHINGTON D.C. - NIGHT          THE LIMO drives along the Potomac near the city.          INT. LIMO - NIGHT          GREER holds ICE to his swollen face.                         BOY/CANTER          This Strickland character. I          don't believe he could have been          acting on his own.                         GREER          Why not? You stand for everything          the humanists hate--                         BOY/CANTER          Then why would his own people          murder-him?                         GREER          He'd outlived his usefulness.          With me all over his ass, he was          becoming a security risk--                         BOY/CANTER          To kill someone remotely-- it          would take a virus presumably, one          that could get past every firewall          protecting a surrie's circuitry--          then once in the CPU, override all          the fail-safes and cause          catastrophic brain damage...                         GREER          Presumably.                         BOY/CANTER          We're talking about an                         EXTRAORDINARILY SOPHISTICATED          technology, don't you think? The          Dreads didn't come up with it, -          they don't even like to use          cellphones.                         (CONTINUED)                                                                                                              71.                         CONTINUED:                         GREER                         (EXASPERATED)          OK, fine. Maybe we've got our          heads up our own ass--                         BOY/CANTER          Maybe that's exactly where you          should be looking.          Greer takes a second to absorb this.                         GREER          So now you're the victim of a          government conspiracy?                         BOY/CANTER          I think this is your stop.          EXT. GREER'S BUILDING - NIGHT          THE LIMO stops, a light RAIN now falling. GREER gets out          and closes the door, the rear window rolls down.                         BOY/CANTER          Somebody hired Strickland. You'll          know who that is when you trace          the weapon.                         GREER          You really don't need to do my job          for me.          Boy/Canter takes in Greer's disheveled state.                         BOY/CANTER          Yes, I can see you've got things          under control.          The limo pulls away. Greer pauses, looks up at the sky,          letting the rain wash over his face.          INT. GREER'S APARTMENT/LIVING ROOM - NIGHT          AN ELECTRICAL ARC jumps from a GLASS TUBE to a MALE          NOSTRIL.          WIDER, the guy taking the jolt is a lanky male model          named BRIAN. His face goes slack. ATMOSPHERIC MUSIC          PLAYS.                         (CONTINUED)                                                                                                              72.                         CONTINUED:          MAGGIE and BRIDGET are squeezed together on the couch in          Greer's apartment with BRIAN and a French hunk named          ANDRE, who speaks with a slight ACCENT. Everyone is          pretty high. Andre closes one eye, then the other,          pupils turned inward.                         ANDRE          Think my nose is too big...                         MAGGIE          For what?                         ANDRE                         (SQUEEZING IT)          I'm going to have it replaced.                         BRIDGET          While you're at it-- I am so sick          of twelve-inch dicks.          MAGGIE chuckles. On the coffee table before them sits a          small JACKER, like the one we saw in the underground          club. The foursome pass a single ELECTRICAL TUBE around,          attached by a cord to the device. Andre and Bridget have          clearly coupled up, Brian touches Maggie's leg casually          from time to time.                         ANDRE          What do you want, we're men.                         BRIAN          (coming out of it)          Why is that? Why do we all have          to be men and women? I'd rather          be-- I dunno, a lion. Or an          eagle.                         MAGGIE          Mm. A spaceship. Or a cloud.                         BRIAN                         (BEAT)          A cloud?          Maggie shrugs. She lifts the hair from the nape of her          neck, moves the GLASS TUBE there. Brian holds her close.          The ELECTRICAL ARC-- MAGGIE gasps with pleasure,          transported.          A moment later, Andre notices that GREER has entered          quietly during the above, staring at the foursome.                         (CONTINUED)                                                                                                              73.                         CONTINUED: (2)                         ANDRE          Don't look now. Some homeless          meatbag just wandered in.          Maggie has blanked out for the moment. Bridget turns.                         BRIDGET          That's Maggie's husband. Hi Tom.          She gives him a little wave. Greer moves past them,          toward the kitchen, and disappears. Maggie comes out of          her trance, blinks and sighs.                         MAGGIE          Excuse me.          She hurries after him. Brian shrugs, grabs the tube and          starts to unzip his pants--          INT. GREER'S APARTMENT/KITCHEN - NIGHT          GREER has removed an old, yellowed FIRST-AID KIT from          under the sink, during the scene he cleans up cuts, opens          his shirt to check his bruised ribs, etc.                         MAGGIE          What happened to you? I thought          you were-spending another night in          the hospital.                         GREER          Obviously. You know I don't like          you jacking in the house.          He finds an untouched, dusty bottle of SCOTCH, sniffs it          and pours a drink. Maggie looks him over.                         MAGGIE          Somebody beat you up? How could          you go out like that?          As Maggie speaks, she moves to his side, touching his          injuries gently, truly concerned. Greer flinches back.                         MAGGIE (CONT'D)          What were you thinking, Tom? You.          could've been killed.                         GREER          Just finding out how the other          half lives.                         (CONTINUED)                                                                                                              74.                         CONTINUED:          Greer takes a long drink, gestures toward the living          room.                         GREER (CONT'D)          So what's his name?                         MAGGIE          Oh please, grow up.                         GREER                         (NODS GLUMLY)          I suppose it doesn't matter. Since,          as you keep telling me, it doesn't          mean anything. Nothing does.          Greer pours another drink.                         MAGGIE          I don't expect you to understand          this. But once in a while, I like          to be around people who don't hate          being alive.                         GREER          Alive. Is that what they are out          there?          She shakes her head and returns to the living room.          INT. GREER'S APARTMENT/LIVING ROOM - NIGHT          MAGGIE, BRIDGET, BRIAN and ANDRE are still partying-- in          fact, Bridget and Andre are starting to make out-- when          GREER re-enters, in a RAINCOAT, he's a little tipsy. The          BOTTLE pokes out of a pocket.                         BRIAN          Hey. You really a G-man?          Greer pauses, stares at the man.                         BRIAN (CONT'D)          Can I ask you something? Is it          true you guys are tapping into our          surries? Watching everything we          do, twenty-four seven?                         GREER                         (A BEAT)          Of course not.                         (CONTINUED)                                                                                                              75.                         CONTINUED:          Greer starts to move across the room again, heading for          the door. Brian smirks, speaks quietly, thinking only          the others will hear. As he touches Maggie's leg:                         BRIAN          Wouldn't want him spying on us          tonight...          Greer spins near the door and, without breaking stride,          returns to the couch.                         GREER          Excuse me.          Brian turns, starts to rise. Greer grabs the man and          HURLS him backwards onto the GLASS COFFEE TABLE which          SHATTERS. The other three back away. After a stunned          moment, Brian starts LAUGHING, very hard-- obviously, he          hasn't felt a thing.                         MAGGIE          Tom, the table!          Greer steps over the couch calmly and begins PUNCHING and          KICKING the surrie on the floor, working off pent-up          rage. BRIAN just keeps LAUGHING.          Soon Greer's hands are cut and bleeding, he's panting,          exhausted. MAGGIE finally succeeds in pulling him away.-          BRIAN sits up, his FACE is DENTED, the plastic skin          STRETCHED and TORN.                         BRIAN          Could we do it again?                         ANDRE                         (CHUCKLING)          Oh man, your face.                         BRIAN          I was getting sick of it, anyway.          As Brian picks bits of GLASS out of his plastic flesh,          Andre suddenly realizes his JACKER is SMASHED, examines          the pieces with a MOAN.                         GREER          Guess the party's over.          MAGGIE follows GREER to the door. They speak in hushed                         TONES:                         (CONTINUED)                                                                                                              76.                         CONTINUED: (2)                         MAGGIE          What was the point of that?                         GREER          Does everything have to have a          point?          GREER takes a breath, bows his head.                         GREER (CONT'D)          I'm sorry. I just want us to-- to          connect again. To have a family,          to have a life.          (grabs her arms)          We can't do it through this wall          of plastic.          MAGGIE pulls away, his BLOODY HANDS have left marks on          her blouse.                         MAGGIE          I'm sorry, too. But this is my          life.          She looks at him sadly and returns to her guests. After          a beat, Greer heads out the door.          EXT. FBI BUILDING - NIGHT          GREER walks in the RAIN through nearly empty streets          toward the modern headquarters in Washington. There are          BOARDS over the shattered windows in front.          INT. FBI LOBBY - NIGHT          Quiet at this hour. A DESK JOCKEY looks up as GREER          approaches, careful to conceal the bottle.                         DESK JOCKEY          Is that you, Greer?                         GREER          In the flesh.          He takes in the damage to the lobby, the police tape, the          attacker's chalk silhouette.                         DESK JOCKEY          You missed all the excitement.                         GREER          Saw it on TV.                         (CONTINUED)                                                                                                              77.                         CONTINUED:          He passes the SURRIE SCANNER and holds his hand over a          FINGERPRINT MACHINE, which confirms his identity. A          plexiglas door unlocks automatically.                         DESK JOCKEY          Says here you're on suspension.                         GREER          Mm. Just cleaning out my desk.                         DESK JOCKEY                         (EYING HIM)          Y'know, you're thinner on top.                         GREER          Nice of you to notice. You          remember where the rest rooms are?                         DESK JOCKEY          They mostly use 'em for storage.          Think the one on four still works.          Greer nods and continues in.          INT. FBI BUILDING/CHARGING ROOM - NIGHT          DOZENS of SURROGATE AGENTS are lined up against the wall          in here, in their foam CHARGING BAYS.          CAMERA FINDS PETERS in their midst. Her bay HUMS and she          blinks, becomes animated. She steps out of the bay.          INT. FBI BUILDING/GREER'S OFFICE - NIGHT          GREER has his feet up on his desk, the bottle beside him.          There are cardboard BOXES of DOCUMENTS nearby. PETERS          enters, Greer looks up at her.                         PETERS          Got your message.                         GREER          Hope I didn't wake you.                         PETERS          After what happened here today I          couldn't sleep.                         GREER          You tell anyone I was going out to          the rez? Canter, for example?                         (CONTINUED)                                                                                                              78.                         CONTINUED:                         PETERS                         (TAKEN ABACK)          No. Of course not.          Greer studies her a beat, decides she's sincere. A sigh.          Peters sits on his desk, studies him.                         PETERS (CONT'D)          You look terrible.                         GREER          Not half as bad as I feel.          Greer refills his coffee cup with Scotch, holds the          bottle out to her questioningly.                         PETERS          No thanks.                         GREER          Come on. Just pretend to get          drunk with me.          Peters shakes her head with a smile. Greer shrugs, takes          a long drink, sighs and rubs his sore neck.                         GREER (CONT'D)          Feel like I've been asleep for          years-- now I wake up an old man.          Rip Van Frigging Winkle...          Peters moves behind him, begins rubbing his shoulders, a          massage.                         GREER (CONT'D)          What are you doing?                         PETERS          You look like you need it.                         GREER          I'm not sure how kosher this is...                         PETERS          Relax. It's not me, it's not a          woman touching you-- it's just a          machine.                         GREER          Does feel good... better than a          stim chair.          He allows himself to enjoy it for a moment, bows his          head.                         (CONTINUED)                                                                                                              79.                         CONTINUED: (2)                         GREER (CONT'D)          You ever feel like it's... over?                         PETERS          What.                         GREER          Us. People. The stuff that used          to make the world make sense.          That made us... human. I don't          know, morality, love. Whatever.                         (BEAT)          Yeah, yeah, they were probably          saying that back in ancient Rome.                         PETERS          We always think technology's going          to improve our lives, but...                         GREER          What lives?          A beat, GREER sits up and pulls away from her touch. He          holds up a hand and lets it fall.                         GREER (CONT'D)          This has become obsolete. Someday          soon, we'll all just be brains in          jars.                         PETERS          Maybe not. I have a feeling          people are going to come to their          senses eventually.                         GREER          (shaking his head)          You can't unring a bell.          (turns toward her)          Thought you were the one all into          the brave new world.          PETERS is staring at her own plastic hand. She looks up          at Greer, changes the subject.                         PETERS          I found out about Strickland.          She gestures to the boxes of documents.                         PETERS (CONT'D)          All the chaos, I was able to waltz          right into the records department.                         (MORE)                         (CONTINUED)                                                                                                              80.                         CONTINUED: (3)                          PETERS (CONT'D)          The case files were removed, but          there was a paper trail from          payroll... Strickland was an          informant.                         GREER                         (PERKING UP)          For us? Who was running him?                         PETERS          Wasn't in the paperwork. But he          must've been selling intel on the          Prophet.          Greer has risen, moving restlessly around the room.                         GREER          So the Prophet has him killed. And          we have to assume he now has the          power to kill anyone he wants...                         CUT TO:                         - DAY          INT. MARINE BASE/COLONEL BRANDON'S OFFICE          CLOSE on a PHOTO of the DEVICE in Strickland's hand. The          image has been ENLARGED, giving a pretty clear view of          the weapon.                         BRANDON          Where'd you get this photo?          GREER sits opposite COLONEL BRANDON at the man's desk, a          FLAG and other MILITARY MEMORABILIA on display. Greer          eyes the colonel, knows something's up.                         GREER          It's from my memory. Damn thing          put me in the hospital.                         BRANDON          Wish I could help.                         GREER          Killed a couple of cops as well.          We believe this weapon-- the one          that doesn't exist-- is in the          hands of the Human Coalition.          Brandon is finally losing his composure.                         (CONTINUED)                                                                                                              81.                         CONTINUED:                         BRANDON          If this is true... we're going to          have to do everything in our-power          to recover it. Do you have any          idea how serious this is?                         GREER          I was hoping you'd tell me.          BRANDON looks conflicted, finally opens up.                         BRANDON          This is absolutely off the record.          (off Greer's nod)          It's called an Overload Device, or          O.D. They're brand new, only a          handful exist. But I checked, ran          every serial number-- all accounted          for.                         GREER          Not this one. Maybe it never got          to you guys in the first place.          Who makes them?                         BRANDON          It's a DARPA design, subcontracted to          Pierson Defense. The idea was to          create a non-lethal weapon that could          disable every surrie in the field.          You beam a software virus straight to          the CPU. The fail-safes kick in and          the operators are cut off. Circuits          all melt down in seconds, you're left          with a field full of scrap.                         GREER          You win the battle with one shot.                         (BEAT)          Let me guess. You found a way          around the fail-safes.                         BRANDON                         (GRIM NOD)          Just a few lines of code, the          connection stays open. We tried it on          soldier volunteers... once. The virus          caused every neuron to fire at the          same time. Melted their brains.                         GREER          So it's an assassination tool.                         (CONTINUED)                                                                                                              82.                         CONTINUED: (2)                          BRANDON           At the flick of a switch.                          CUT TO:          INT. BEAUTY SHOP - DAY          CLOSE on a WOMAN'S FACE being carefully peeled off the          MECHANICAL UNDERPINNINGS. FUNKY MUSIC plays.          WIDER, BRIDGET leans over the body, putting the old face          aside. A row of EXOTIC NEW FACES on a rack nearby.          Bridget begins manipulating the underlying musculature,          changing cheekbones, etc, using delicate TOOLS.                         BRIDGET          She wanted blue eyes the size of          golf balls, bee-sting lips and a          tiny ski-jump nose...                         MAGGIE          Boop-oop-a-doop.                         BRIDGET          Exactly.          Nearby, MAGGIE works on a brown-skinned HAND. She stares          through a mounted MAGNIFYING LOUPE, embedding tiny JEWELS          in the SKIN of the fingers. She uses TWEEZERS and a tiny          BLOWTORCH. After a moment, we realize the HAND has been          disconnected from the body, mounted on a brace.                         MAGGIE          You talked her down, I hope.                         BRIDGET          Yes, thank God, we're doing a          modified Audrey Hepburn.          MAGGIE glances over at Bridget's work admiringly.                         MAGGIE          I'd love you to raise my          cheekbones a half-inch, but Tom          would go ballistic.          THE DOOR CHIMES, Bridget looks up.                         BRIDGET          Speaking of the ball and chain...          As GREER approaches, a few of the BEAUTY ENGINEERS glance          up, then return to their business.                         (CONTINUED)                                                                                                              83.                         CONTINUED:          This place is a cross between a beautician's and an auto          body repair shop. SURRIES in chairs that maneuver into          all kinds of positions. Not only are they having nails          and hair done, but legs lengthened, breasts enlarged,          etc. (Operators check in their bodies and leave them          there for modifications.)                         BRIDGET (CONT'D)          Hiya, Tom.                         MAGGIE          I didn't hear you come home last          night.                         GREER          Worked late. I'd really like to sit          down and talk with you.                         MAGGIE          I can take a break--                         GREER          No, Maggie, face to face. The two of          us, for real.          BRIDGET is getting uncomfortable.                         BRIDGET          These smile muscles need to set.          She exits with a look at Maggie. Maggie stops working          and turns to Greer, speaks passionately.                         MAGGIE          Tom, don't you get it? That body          in our apartment-- the one you          call real--- it isn't me. I'm          right here.                         GREER          Honey, if you're worried about the          way you look-- it doesn't matter,          it never did--                         MAGGIE          Exactly! What matters is who I          choose to be.          As the conversation gets more heated, co-workers          pointedly turn away, while eavesdropping.                         GREER          I married a person, you're          choosing to be a thing.                         (MORE)                         (CONTINUED)                                                                                                              84.                         CONTINUED: (2)                          GREER (CONT'D)          And I'm so sick of being          surrounded by things-- young,          beautiful things.                         MAGGIE          Well that's your problem, isn't          it. if you can be young and          beautiful and feel good all the          time-- why would anyone choose          anything else?                         GREER          Because it's bullshit. Because          we're human, like it or not.                         MAGGIE          Jesus, Tom. You sound like a          Dread.          Maggie turns back to what she was doing. Greer has          trouble swallowing his anger.                         GREER          I may just have to kick down your          bedroom door.                         MAGGIE          (not looking up)          I'd never forgive you.                         GREER          Then maybe I should just move out.                         MAGGIE          Do what you want...                         GREER                         (A BEAT)          That's a commercial.          Greer turns and exits. Maggie glances after him with a          mixture of anger and regret, then returns to her work.                         DISSOLVE TO:          EXT. CHEAP HOTEL - NIGHT          ESTABLISH a dreary place near the highway. A RED GLOW          from a number of windows... FIND A WINDOW illuminated by          WHITE LIGHT. We see GREER within.                                                                                                              85.          -INT. CHEAP HOTEL ROOM - NIGHT          A bland room, a low-rent chain. GREER UNZIPS a SUITCASE,          opens it.          On the top is a WEDDING PHOTO of Maggie and Greer, much          younger.          He places this on the bedside table, moves for the          bathroom.          INT. HOTEL BATHROOM - NIGHT          GREER, in a TOWEL now, having finished a shower. He          wipes STEAM off the MIRROR and takes a hard look at          himself-- his worn face and battered, very human body.                         DISSOLVE TO:          INT. FBI BUILDING/GREER'S OFFICE - DAY          ON A COMPUTER SCREEN - American flags, the logo for          PIERSON DEFENSE. A corporate website.          PUSH CLOSE-- in tiny letters at the bottom of the screen:          "A division of Virtual Self Industries."          GREER takes this in. He's at his computer, first thing          in the morning, with a cup of TAKE-OUT COFFEE. PETERS is          going through the box of documents we saw earlier. When          she glances toward him, he clears the screen.                         PETERS          What you working on?                         GREER          Just checking e-mail.                         PETERS          I think you hide things from me.                         GREER          Don't be ridiculous.          (takes a sip, winces)          This stuff is awful.          He'scalling up a new file--          ON SCREEN - the name "LIONEL CANTER" followed by the          words "CLASSIFIED - SCAN REQUIRED." A moment later, we          see GREER'S IMAGE, a LIGHT FLICKERS from the webcam on          the MONITOR FRAME. Then the words "UNAUTHORIZED USER."                         (CONTINUED)                                                                                                              86.                         CONTINUED:          GREER sits back, frustrated.                         PETERS          What does AOS stand for? I keep          coming across it on these          invoices. "Advance On Salary?"          Greer thinks- a moment of revelation. He moves to look          over Peters' shoulder.                         GREER          What do you suppose VSI has          against Canter?                         PETERS          Against him? He's one of them.                         (CONSIDERING IT)          'Course, since he owns the patents          on surrogate technology, they must          have to pay him billions.                         GREER          (shakes his head)          He dies, they still have to pay          his estate.                         PETERS          Wait a minute. You think VSI          hired Strickland to kill Canter?                         GREER          There was a middleman.          As he moves for the door, he points at her paperwork.                         GREER (CONT'D)          To authorize informant payments,          agent in charge has to initial...          As he exits, Peters looks back down at the documents.          The scrawled initials "AOS" on an INVOICE.                         CUT TO:          INT. FBI BUILDING/BULLPEN - DAY          CLOSE ON A NAMEPLATE outside a door, the words "ANDREW 0.          STONE, DIRECTOR SURROGATE CRIME DIVISION."          GREER approaches the open door, moving through a HUBBUB          of AGENTS working in open cubicles. AGENT NAKATA sits at          a desk by Stone's door.          (,CONTINUED)                                                                                                              87.                         CONTINUED:                         NAKATA -          Hey, Tom. Thought you were on leave.                         GREER          Just cleaning out my desk.          A moment later, STONE pokes his head out.                         STONE          Greer! You've been cleaning out          your desk for two days. You should          be home recuperating.                         GREER          Just about done, sir.          Greer starts to move away, turns back.                         GREER (CONT'D)          I almost forgot. Victor Welch          sends his regards.          Stone shakes his head, feigning incomprehension:                         STONE          I'm sorry?                         GREER          Guy at VSI. You looking forward          to moving to the private sector--?          Nakata is listening curiously. Stone angrily gestures          for Greer to come into his office, he doesn't want to          have this conversation in public. Greer keeps speaking          as he heads inside.                         GREER (CONT'D)          Will you finish out the year? We're          sure gonna miss you around here...          STONE SLAMS the door.          INT. FBI BUILDING/STONE'S OFFICE - DAY          Greer keeps speaking calmly, as if there were no tension          in the air.                         GREER          I know it's hard to resist, better          hours, better pay--                         STONE          Welch told you about this?                         (CONTINUED)                                                                                                              88.                         CONTINUED:                         GREER          (beat, grins)          No. I was just fishing.                         STONE          You've suffered brain damage, Greer.          Let's hope it isn't permanent.                         GREER                         (GRIN FADING)          All surveillance on the Prophet goes          through this office. Jack          Strickland was one of your stoolies.          Why the hell didn't you say          something?          STONE just stares at him, narrowing his eyes.                         GREER (CONT'D)          Two cops died. You knew he had the          0. D.--                         STONE          I have no idea what you're talking                         ABOUT--                         GREER          --because you gave it to him.          VSI makes them-- they hand one to          you-- and you chose the trigger          man. Your own little black op.          If anyone looks, they blame the          Dreads. But Strickland didn't          follow the plan, did he? He          didn't give you back the 0. D.          like he was supposed to.                         STONE          Are you done with this paranoid          fantasy--?                         GREER          Not quite. What I can't figure out          is why. Why kill Canter?          STONE stares at Greer, angry and defiant. He moves to          his desk, types into his COMPUTER. Greer approaches          slowly.                         STONE          I'm issuing orders for your          detention. Your mind isn't right,          you've become a threat to national          security.                         (CONTINUED)                                                                                                              89.                         CONTINUED: (2)          Greer slips a LETTER OPENER off of Stone's desk as he          nears. His hand is SHAKING. Suddenly--          --STONE yanks open a DRAWER and lunges for a GUN. But          before he can bring it to bear--          --GREER STABS him in the back of the head, SKEWERING          STONE'S CPU. STONE FREEZES, hunched over his desk, gun          in hand. Greer just stares at what he's done for a          moment, amazed. Then he waves a hand in front of Stone's          open eyes, makes sure he's out, and--          --carefully pries off a plate and removes STONE'S          MOTHERBOARD, places it on the desk.          GREER pulls the gun out of Stone's hand, rolls him back          in front of his desk, propped up to face the computer.          Greer crouches behind him, operating the keyboard by          reaching around his boss' body.          ON COMPUTER - Greer types in a request for a FILE on          LIONEL CANTER. The words "CLASSIFIED - IDENTITY SCAN          REQUIRED" appear.          GREER pushes the chair a bit closer to the computer,          ducking down, lifts Stone's head by the hair.          The monitor momentarily displays STONE'S FACE. A LIGHT          goes on in the corner of the FRAME, scanning Stone.          "AUTHORIZED USER" appears.          GREER peeks up again, continuing his work.          ON SCREEN - a HEADSHOT OF CANTER, reams of CLASSIFIED          INFO. Greer hits PRINT.          INT. FBI BUILDING/BULLPEN - DAY          GREER emerges, a stack of PAPERS in his hand. He gives a          nod to NAKATA, who nods back as he answers his RINGING          PHONE. Before he can even say a word:                         STONE (FILTER)          This is Stone!          Nakata looks toward the office, starting to rise.                         NAKATA          What do you need, sir?                                                                                                              90.          INT. STONE'S STUDY - DAY          Upscale. The REAL STONE, a good deal heavier than his          surrogate, is sitting in boxer shorts at the edge of his          STIM CHAIR, a phone in his hand.                         STONE          Sonofabitch Greer disabled my          surrie, stop him!          INT. FBI BUILDING/STAIRWELL - DAY          GREER takes a couple steps at a time. He's on his phone.                         GREER          Just meet me in the garage-- leave          the trunk open!          As he rounds a corner, he comes face to face with--          --a pair of AGENTS, each carrying a HANDGUN. They          approach from below.                         AGENT #1          Tom, we don't want to hurt you.          Greer nods and raises his hands, resigned-- he still          clutches the papers. As Agent #1 nears, Greer suddenly--          --PLANTS a FOOT in the man's chest, sending him crashing          into AGENT #2. Both men topple down the stairs, FIRE          their guns wildly.          Greer has also lost his balance and dropped some papers,          which he has to scoop up as he claws for the. doorway and          dashes through.          INT. FBI BUILDING/PARKING GARAGE - DAY          PETERS waits near an IDLING SEDAN, the TRUNK OPEN. Greer          dives inside, she SLAMS it and gets behind the wheel.          She PEELS out, going up a few levels.          AT AN EXIT GATE - an FBI GUARD looks inside.                         FBI GUARD          They're looking for Tom Greer.          You seen him?          She shakes her head, he presses a button to open the gate          and waves her through.                                                                                                              91.          EXT. PARK - DAY          THE FBI SEDAN drives down a curving, forested road.          INT. FBI CAR - DAY          PETERS drives, GREER in the passenger seat, poring over          the papers.                         GREER          Ever hear of the Human Defense League?                         PETERS          Sure, the extremist wing of the          anti-surrogate movement.                         GREER          According to this, their number one          supporter is Lionel Canter.                         PETERS          What? The father of surrogacy?          Impossible.                         GREER          Says he's funneled billions into          their organization. Not to          mention direct support for the man          who calls himself the Prophet.          Canter's bought him land,          lawyers... and enough weapons to          start a war.          EXT. RESERVATION NO MAN'S LAND - DAY          THE DREADS emerge from tents and shacks at the sound of a          nearby RUMBLING.          ANGLE THROUGH FENCE - BULLDOZERS, TANKS, uniformed          NATIONAL GUARDSMEN (all surrogates with the SAME FACE)          are assembling on the perimeter of the Dread reservation.          They carry non-lethal TASER WANDS and RIFLES.          An OFFICER moves to the front, carrying a WALKIE-TALKIE.          In response to a command, he turns and signals to the          troops behind him and--          --the BULLDOZERS start PLOWING DOWN the fence. As          Guardsmen move past him, the officer calls out:                         (CONTINUED)                                                                                                              92.                         CONTINUED:                         OFFICER          We all know what we're looking          for! Remember these are          biologicals, do not fire unless          absolutely necessary!          INT. CHEAP HOTEL ROOM - DAY          PAPERWORK spread on a table before PETERS.                         PETERS          Swiss accounts, anonymous wire          transfers, unattributed testimony--          this isn't proof.          WIDER - GREER lies in his clothes on the bed, bone tired,          a flat-screen TV plays silently.                         GREER          Not enough for a courtroom. But          VSI knew that if Lionel Canter          suffered a mysterious brain          hemmorhage, the powers that be          wouldn't be terribly upset.                         PETERS          He's not some kind of monster, you          know. Canter's initial research          was in prosthetics-- for amputees,          quadriplegics... people with          degenerative diseases. Maybe he          feels his technology's been          perverted. Maybe it has.          GREER studies her with interest, her tone is strangely          passionate.                         GREER          I had no idea you were such a          humanist.          PETERS looks away-- then reacts to something on TV, grabs          a remote and turns UP THE VOLUME.          ON TV SCREEN - HAND-HELD footage as NATIONAL GUARD TROOPS          move across the Dread Reservation No Man's Land, using          TASER WANDS to subdue resisting DREADS, frisking them and          rifling through possessions as they upend dwellings.                         (CONTINUED)                                                                                                              93.                         CONTINUED:                         ANCHOR          --units of the Maryland National          Guard moved into the East Baltimore          Human Reservation this morning, in a          search for contraband weapons...          GREER knows what this is about.                         GREER          Colonel Brandon didn't waste any          time.                         PETERS          They're looking for the 0. D.                         GREER          The what?                         PETERS                         (A BEAT)          Isn't that what you called it?          What does it stand for again?                         GREER          Overload Device.          She nods and turns nonchalantly back to the paperwork.          As she does so, GREER cocks his head and studies her.          Protecting Brand's confidence, he never told her what the          device was called.                         PETERS          So what do we do about Stone?                         GREER          I call and tell him I'll take          early retirement with full pension          benefits. In return for keeping          his little secret.                         PETERS          That isn't funny.                         GREER          I'm not laughing.                         PETERS                         (RISES)          I don't believe you-- they killed          Canter's son, a college kid, his          whole life ahead of him! Don't we          owe him something?          She's genuinely upset. Greer won't meet her eye.                         (CONTINUED)                                                                                                              94.                         CONTINUED: (2)                         GREER          Can't bring him back.                         PETERS                         (ENRAGED)          They will come after Canter again--          but you're just going to deposit          your pension checks, look the          other way and let him die.                         GREER          (looks at her)          Maybe he's got it coming.                         PETERS                         (BETRAYED)          I thought you were a cop. I          thought you were a human being.          PETERS marches out of there and slams the door on the way          out. GREER waits a few moments, his mind racing-- then          he moves for the door himself.          INT. RENTAL AGENCY - DAY          GREER moves from a desk with a pretty RENTAL AGENT,          working at a small hand-held COMPUTER. LOGOS for GLOBAL          SYNTH RENTALS.                         RENTAL AGENT          Our nearest rental office is just          outside Denver, the car and phone          will be extra--                         GREER          I'm only gonna be there a couple          hours.          She leads him toward a curtained BOOTH, one of many here.          RED GLOWS emanate from a few.                         RENTAL AGENT          Do you want to customize--?                         GREER          Generic's fine.          She pulls back a CURTAIN to reveal a STIM-CHAIR and a          SENSORY PROJECTOR.                         CUT TO:                                                                                                              95.          INT. RESERVATION TEMPLE -- DAY          THE PROPHET stands with a MIC before a LARGE CROWD packed          into the place, sounds of CHAOS from outside. GUARDSMEN          are moving into the temple, methodically searching those          inside. -                         PROPHET          Have no fear, the day of          resurrection is at hand!          A team of GUARDSMEN move to surround the Prophet, his          BODYGUARDS struggle with them.                         PROPHET (CONT'D)          No! Do not resist! The          oppressors shall soon fall, never          to rise again...          Ignoring him, some bodyguards pull HANDGUNS and FIRE on          the SURROGATE GUARDSMEN, who immediately RETURN FIRE with          automatic weapons. BUD and MILLER, the Prophet's right          hand men, both take bullets and go down.          THE PROPHET manages to escape out a side exit during this          gunfire-- but a stray BULLET catches him in the back as          he flees.          EXT. RESERVATION TEMPLE - DAY          As he runs from the building, the PROPHET is TACKLED by a          GUARDSMAN. He turns the man over, the Prophet's eyes are          empty, his head lolls back.          A BLOOD-CURDLING SCREAM from nearby as a YOUNG FEMALE          DREAD takes this in.                         YOUNG DREAD          They've killed him! They've          killed the Prophet!          Other DREADS nearby react, the CRY spreading.          WITH THE GUARDSMAN, examining the body. The Prophet is          already rigid... and GREEN COOLANT is spreading from an          exit wound in his chest. A guardsman rips open his          shirt, pokes at the wound--          ELECTRONICS and TORN PLASTIC.          THE GUARDSMAN's amazed, gets on his WALKIE-TALKIE.                         (CONTINUED)                                                                                                              96.                         CONTINUED:                         GUARDSMAN          Captain, you'd better come see this.          Nearby Guardsmen react to the furious DREADS massing          around them. A GRENADE LANDS nearby, GUARDSMAN #2 throws          himself on it, his SURRIE BLOWS UP. GUNFIRE ERUPTS          nearby, a MOLOTOV COCKTAIL sails through the air.                         GUARDSMAN #3          We need to clear out!                         CUT TO:          EXT. MOUNTAIN ROAD - DAY          Late in the afternoon. Rolling green hills, trees, a          rural area. A white COMPACT CAR pulls up a dirt road,          past the MAILBOX with "PETERS" painted on it.          EXT. PETERS' HOUSE - DAY          THE COMPACT pulls to a stop.          GENERIC/GREER climbs out of the car. He's blandly          handsome, in a business suit, with perfect hair that          looks glued in place. His movements are stilted, this is          a cheap model and he's not used to it.          GENERIC/GREER steps onto the porch, knocks on the door.          No answer. He tries the knob-- locked.          INT. RENTAL AGENCY/BOOTH - DAY          MATCH-CUT POV of PETERS' DOOR on a SENSORY PROJECTOR          SCREEN.          REAL GREER in a rental stim-chair, bathed in RED LIGHT.          His face twitches slightly, as if having a bad dream.          EXT. PETERS' HOUSE - DAY          His voice is deep, again generic.                         GENERIC/GREER          Peters! It's me, Tom Greer!          He moves along the side of the house, peers in a window--                         (CONTINUED)                                                                                                              97.                         CONTINUED:          ANGLE THROUGH WINDOW - a STIM-CHAIR sits empty. Dangling          wires, the SENSORY PROJECTOR and HARD DRIVE have been          stolen.          GENERIC/GREER SMASHES the window with his fist and climbs          inside.          INT. PETERS' HOUSE - DAY          GENERIC/GREER moves quickly through the house--                         GENERIC/GREER          Peters! Are you here?!          He tries a couple of DOORS, finds a LOCKED one, turns the          latch-- steps leading to the basement.          INT. PETERS' BASEMENT - DAY          GENERIC/GREER flips a LIGHT SWITCH at the top of the          stairs, BARE BULBS come on--          ANGLE DOWN-- THE REAL PETERS lies at the base of the          stairs, in her stained, torn nightgown, motionless. A          pool of BLOOD from her head... her neck is twisted at a          strange angle.          INT. RENTAL AGENCY/BOOTH - DAY          GREER winces with the shock of this.          INT. PETERS' BASEMENT - DAY          GENERIC/GREER hurries down the stairs to REAL PETERS.                         GENERIC/GREER          Oh my God, Jennifer--          He can see her neck is broken, he can't move her. Her          eyes are closed, lips parched, hair matted with blood          from a gash in her scalp. Generic/Greer leans close,          takes her pulse.          Suddenly her eyes open. She speaks with difficulty.                         REAL PETERS          Who are you?                         GENERIC/GREER          Tom Greer. Your partner.                         (CONTINUED)                                                                                                              98.                         CONTINUED:                         REAL PETERS-          Greer...?                         GENERIC/GREER          There wasn't time, I rented a                         GENERIC                         REAL PETERS          How do I know--? Prove you're Greer.          He's already dialing 9-1-1 on a CELLPHONE.                         GENERIC/GREER          You can't stand me, I'm old          school, seat-of-the pants--          (connects, ON PHONE)                         319          Yes, I need an ambulance at          Mountainview, there's a woman, I          think her neck is broken--                         (TO PETERS)          How long have you been down here?                         REAL PETERS          Three days I think...                         GENERIC/GREER                         (INTO PHONE)          Please, hurry...                         (HANGS UP)          They're on the way. Somebody's been          using your surrogate.                         REAL PETERS          What?                         GENERIC/GREER          You-- it's been showing up to work          every day.                         REAL PETERS          No, I-- the night your chopper went          down... I woke up and somebody was          here... I fought with him, but he          was so strong--                         WIPES          Peters is getting distraught. Generic/Greer gently          her brow.                         GENERIC/GREER          Ssh, relax --                         REAL PETERS          He tried to bring me down here, we          fell...                         (MORE)                         (CONTINUED)                                                                                                              99.                         CONTINUED: (2)           REAL PETERS (CONT'D)          He took my memory-- the whole          investigation. He said he was          going to do my job for me.          A beat. Their eyes meet as the realization hits          Generic/Greer.                         GENERIC/GREER          (under his breath)          Canter.                         REAL PETERS          It has to be... oh God, I'm so cold...          She clearly had been fighting to stay alive, just to tell          someone what happened.          REAL PETERS (CONT'D)          Would've been nice to meet you in          person...          She now closes her eyes. Greer agonizes.                         GENERIC/GREER          Peters, hang on, please-- it won't          be long...          He rises, finds an old blanket to put around her.                         REAL PETERS          Thirsty...          INT. PETERS' KITCHEN - NIGHT          GENERIC/GREER quickly fills a glass of water from the          tap. He hears SIRENS in the distance as he hurries back          into the basement.          INT. PETERS' BASEMENT - NIGHT          GENERIC/GREER kneels down to dribble water on REAL          PETERS' partially open lips. We hear a VEHICLE ARRIVE          outside.                         GENERIC/GREER          They'll be here in just a minute...          No response. He brushes her hair back from her face--          REAL PETERS' eyes are half-open, vacant. She's dead.          GENERIC/GREER lets out an anguished CRY.                         (CONTINUED)                                                                                                              100.                         CONTINUED:          ANGLE UP STAIRS - SURRIE PARAMEDICS rush down with a          STRETCHER. They take in the sight of--          TWO MOTIONLESS BODIES. PETERS, dead... and l ass lass          GENERIC/GREER, kneeling over her body, head bowed, g          still in hand-- checked out.                         CUT TO:          TNT. RENTAL AGENCY - DAY          REAL GREER comes out of the curtained booth in a hurry,          moving for the door. He's talking on the phone.                         GREER          Who's on duty in surveillance--?          Sanders, great, put me through--          He's pursued by the RENTAL AGENT.                         RENTAL AGENT          Sir, sir, sir-- you haven't          returned your unit--          Greer ignores the woman, he's out of there. She calls          after him angrily.          RENTAL AGENT (CONT'D)          You signed a contract!          EXT. WASHINGTON STREET - DAY          A handful of DREADS are storming down the street,          SMASHING WINDOWS and bowling over any SURRIES who get in          their way.          A SCROLLING ELECTRONIC NEWS CRAWL on the side of a          building: "PROPHET SHOT, REPORTED DEAD..."          GREER is walking fast, on the phone, steering clear of          the angry Dreads.                         GREER          It's an emergency, you need to          connect me now!          INT. FBI BUILDING/SURVEILLANCE CENTER - DAY          TIGHT ON BOBBY, the overweight controller, at his          station. He looks nervous, wearing his HEADSET.                         (CONTINUED)                                                                                                              101.                         CONTINUED:          Responding to a subtle BEEP in his ear,-he makes as if to          scratch himself, opening the connection. We hear GREER'S                         FILTERED VOICE:                         GREER (FILTER)          Bobby, it's Greer, I need a remote          shutdown. You'll have the          surrie's digital address on file,          Agent Jennifer Peters.          CAMERA MOVES to reveal that PETERS (the surrie) is          holding BOBBY at GUNPOINT, a grim expression on her face.          She doesn't realize Bobby's on the phone.          GREER (FILTER) (CONT'D)          Hello? Bobby, are you there?          Bobby looks toward the special TERMINAL that displays the          surrie serial numbers. NUMBERS are cranking through          fast, ALL HIGHLIGHTING. Bobby looks at Peters, but          speaks for Greer's benefit.                         BOBBY          Peters, have you gone insane?          Put the gun away, what the hell          are you trying to prove?          PETERS ignores him, watching the TERMINAL SCREEN.          WIDER now, we see that all the SURRIE WATCHERS have          disconnected, they're stationary on their tracks. THE          GLOWING MONITORS remain on, showing random scenes,          unwatched. MOVEMENT at the elevated entrance--          --PETERS spins and FIRES HER HANDGUN in that direction.          The intruder retreats. We now see a couple of SURRIES          have already been dropped here, sprawled on the staircase          leading down, bullets in their heads.          PETERS spins on Bobby, who's WHISPERING frantically into                         HIS HEADSET:                         BOBBY (CONT'D)          She's into the entire surrie          database, I dunno what she's--          Peters YANKS off Bobby's headset and throws it aside.          EXT. WASHINGTON STREET - DAY          GREER has stopped, stunned. Then, realizing what's          happening, he takes off at a sprint in a different          direction. He makes another call:                         (CONTINUED)                                                                                                              102.                         CONTINUED:          GREER (ON PHONE)          Maggie, please pick up-- damn it,          you have to disconnect as soon as          you get this message-- get off          line, abandon your surrogate!          You're in danger, everyone is--          INT. MAGGIE'S SHOP - DAY          MAGGIE is hard at work, HOT-GLUING a new head of STREAKED          HAIR around the motionless face of a BEAUTIFUL SURROGATE.          She glances at a small CELLPHONE, sitting on a WORK TRAY          nearby. It FLASHES--          CLOSE - "THOMAS GREER" scrolls on the CELLPHONE READOUT.          MAGGIE wants to pick up, but both hands are occupied.          She sighs, returns to her work.          INT. FBI BUILDING/CORRIDOR - DAY          A group of AGENTS in RIOT GEAR are gathered here, WEAPONS          ready. One turns to see--          STONE approaching (his surrie is operational again),          flanked by a couple of other AGENTS.                         RIOT AGENT          She'll only speak with you, sir.                         STONE          Why the hell don't you just move          in and take her down?                         RIOT AGENT          She's got a human hostage.          Stone pauses, takes a breath.                         STONE          That fat ass Sanders.          He self-consciously rubs the back of his head, where we          now see ELECTRICAL TAPE holding shut the damaged latch.          INT. LUXURY BUILDING/LOBBY - DAY          GREER, face red, out of breath, is displaying his badge          to the CLERK, who checks his computer.                         (CONTINUED)                                                                                                              103.                         CONTINUED:                         CLERK          I'm sorry, you're not on his list.                         GREER          I wouldn't be. I'm here to arrest him.          ARMANDO moves closer at this.                         CLERK          I see... do you have a warrant?                         GREER          Listen to me. Dr. Canter is          committing a crime via surrogate--          right now. If you don't cooperate          and let me up there, you become an          accomplice.                         CLERK          Without a warrant, I'm afraid I          can't help you.          ARMANDO takes Greer by the arm in a painful grip.                         ARMANDO          You're gonna have to leave, sir.          Armando escorts Greer none too gently to the door.                         GREER          Ow! Easy, I'm only human.          As Armando relaxes his grip a bit, GREER flexes his left          arm-- then gasps and clutches his chest, as if having a          coronary. He stumbles, falls to his knees. Armando          bends over him--                         ARMANDO          Are you OK?          Greer suddenly thrusts his hand beneath the man's jacket.          Armando reacts, begins to struggle with Greer-- BANG BANG          beneath his suitcoat.          Armando's ARM SPASMS WILDLY. He takes a few steps back,          SPARKS and HYDRAULIC FLUID coming from his chest. GREER          is holding the man's GUN now, aimed at him.                         ARMANDO (CONT'D)          You asshole. I just made the last          payment.          GREER rises and hurries to the CLERK, points the gun at          his head.                         (CONTINUED)                                                                                                              104.                         CONTINUED: (2)                         GREER          The elevator key!                         CLERK          I'm calling the police.          The CLERK goes stock still, he's checked out-- he's          obviously making the call from home. Greer shoves the          inert body aside, it falls flat. He reaches for the          elevator key, snatches it up when--          ARMANDO wraps his one good arm around Greer's throat from          behind, choking him. They stagger backward, GREER aims          the gun behind his head and FIRES, blowing a HOLE in          Armando's forehead. GREEN COOLANT, FRIED ELECTRONICS fly          from the exit wound.          They topple to the ground together. GREER struggles from          the frozen surrie's grip, clutching his ear, deafened by          the gun's loud report.          As Greer gets to his feet, the DOORMAN enters, takes in          the tableau-- the gun-wielding man, the two surries on          the ground-- and dashes outside again.          GREER hurries for CANTER'S PRIVATE ELEVATOR. He turns          the key-- no light, nothing. He makes a frustrated NOISE          and dashes for a nearby door to the stairwell.          INT. FBI BUILDING/SURVEILLANCE CENTER - DAY          STONE enters warily, looking toward PETERS and the          captive BOBBY.                         STONE          Peters! It's me, Andy Stone!          Hands in the air, Stone moves down the stairs, stepping          gingerly over the fallen surrogates.          PETERS finishes CUFFING BOBBY'S WRISTS to a chair with          plastic cuffs. She moves to get a look at Stone, across          the expanse of glowing monitors. She's holstered her          gun.                         PETERS          Who was it, Stone? Who was it at          VSI that hired you to kill me?          Stone blinks, trying to process this.                         (CONTINUED)                                                                                                              105.                         CONTINUED:                         PETERS (CONT'D)          Did you feel even a second of          remorse, when you found out you'd          murdered an innocent boy. He was          eighteen!                         STONE          I don't believe it...                         PETERS          Just tell me what I need to know.          Stone considers this a bit, smiles.                         STONE          We spend years trying to nail you          for funding the Dreads-- and now          you hand yourself over to us on a          silver platter. Hijacking an          agent, destroying federal          property, creating a hostage          situation...          Peters pulls her gun and points it at BOBBY'S HEAD. He          cowers in his chair.                         STONE (CONT'D)          I wouldn't add homicide to that          list. As it is, you're going to          prison for a very long time.          He turns on his heel, begins walking back up the stairs          for the door.          PETERS lowers the gun, reaches into her pocket and pulls          out the Q.D. WEAPON.                         PETERS          An eye for an eye...          She points it at the back of Stone's head and--          --STONE's eyes go wide in agony-- and EXPLODE. He goes          TUMBLING back down the stairs, SMOKE pouring from his          head, BODY twitching crazily.          INT. LUXURY BUILDING/STAIRWELL - DAY          --GREER is GASPING for breath as he reaches an upper          landing. Ahead of him is a heavy STEEL DOOR with a          KEYPAD LOCK. He tries the handle, kicks the door once,          then pulls his gun and aims it at the lock, turning away          as he SHOOTS.                         (CONTINUED)                                                                                                              106.                         CONTINUED:          THE BULLET RICOCHETS about the narrow area, scaring the          hell out of him. The LOCK is intact.                         GREER          Damn it!          He moves to a NARROWER STAIRCASE with a sign, "ROOF          ACCESS."          INT. FBI BUILDING/SURVEILLANCE CENTER - DAY          The RIOT AGENTS pour in now, GUNS FIRING.          PETERS drops behind a bank of TERMINALS for cover.          BULLETS rocket past, one CATCHES her in the arm, but          barely phases her.          THE RIOT AGENTS move in, military style, surrounding          PETERS.          PETERS fiddles with the O.D.--          CLOSE - she slides back a panel, hits a couple of tiny          SWITCHES-- the RED DIODES go to BLUE.          PETERS points the device over the terminal, sweeps it in                         AN ARC--          --the RIOT AGENTS all FREEZE'IN PLACE for a second-- and          then drop at once. Unlike with Stone, there's no          twitching, smoke or exploding eyeballs. The sudden          silence is eerie.          PETERS rises and moves to STONE, the grotesque, empty-          eyed surrogate. Her expression is grim, but she's          accomplished an important part of her mission.          BOBBY looks around at the many fallen bodies.                         BOBBY          Are they dead?                         PETERS          (re: the riot agents)          They're fine.          INT. STONE'S STUDY - DAY          The PHONE IS RINGING. Move from it to--          STONE, in his stim chair, projector on his head... eyes          rolled back, dead. BLOOD begins to seep from his ears.                                                                                                              107.          EXT. CANTER'S BUILDING/ROOF/BALCONY - DAY          GREER has come out on the roof. There's an enormous CELL          TOWER and DISH up here. He moves to the edge, peers over          warily.          ANGLE DOWN - forty stories down to the street.          GREER flinches back, reeling with vertigo. He moves          along the edge, looking for something.          ANGLE DOWN - the BALCONY outside Canter's study, just          inside the roof overhang, a fifteen-foot drop.          GREER squeezes his eyes shut, steeling himself for what          he must do. He lowers himself to hang onto the edge,          trying not to look down. He swings his body to get the          momentum going the right way--          --but his grip gives a moment too soon--          GREER plunges from the roof to the BALCONY RAIL, hitting          the railing hard, starting to fall off the wrong way.          But he manages to grab onto the metal. He hauls himself          up and collapses onto the balcony, lying on his back.          HIS LEG has been injured in the fall, the pants torn,          blood. GREER breathes audibly, in pain and exhaustion.          INT. FBI BUILDING/SURVEILLANCE CENTER - DAY          ON THE TERMINAL - numbers still HIGHLIGHTING, flying past          at incredible speed.          MOVE TO FIND PETERS, with an open TOOLBOX. She's          expertly wiring the O.D. to the keyboard, cutting,          splicing and reattaching wires.          BOBBY wheels closer, tries to KICK the O.D.          Without flinching, PETERS KNOCKS him back across the          room, the chair FALLS OVER and Bobby moans.          INT. CANTER'S PENTHOUSE/STUDY - DAY          GREER SHOOTS THE GLASS, elbows out the shards and reaches          in to unlock the balcony door. Keeping his gun ready, he          limps painfully into the empty room.                                                                                                              108.                         - DAY          INT. CANTER'S PENTHOUSE/VARIOUS ROOMS          QUICK CUTS as GREER hunts for Canter, flinging open doors          into BEDROOMS, a LIVING ROOM, BATHROOMS.          INT. LUXURY BUILDING/LOBBY - DAY          The CLERK, reactivated, leads a squad of UNIFORMED POLICE          toward the stairwell.          INT. CANTER'S PENTHOUSE/HALLWAY          GREER has almost given up hope when he starts at a noise          and spins, ready to shoot at--          --the AUTOMATED VACUUM humming around a corner. As it          moves past his feet, Greer registers--          --a thin strip of RED LIGHT at floor level. After a          moment, he begins rapping at the wall, realizing it's          false.          INT. LUXURY BUILDING/STAIRWELL - DAY          THE CLERK taps a CODE into the KEYPAD of the bullet-          dented door. We hear a HEAVY LATCH disengage.          INT. CANTER'S PENTHOUSE/HALLWAY - DAY          GREER hears FOOTSTEPS of the approaching cops as he tries          desperately to find a way into the hidden space. He          discovers a LATCH at waist level, the wall becomes a          pocket door. He lets himself in and closes it behind him                         JUST AS--          THE POLICE and the CLERK round the corner.          INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY          Eerie RED LIGHT, a narrow, snaking passageway. GREER          listens as the FOOTSTEPS pass outside, turns to see--          THE STALKER-- the hulking, silver-eyed surrogate who          broke into Peters' place. He's inert in his CHARGING          BAY.          Beside him is the BOY who picked Greer up in the limo.                         (CONTINUED)                                                                                                              109.                         CONTINUED:          WIDER, a dozen SURROGATES, different ages and sexes,          lined up in their charging bays. Clearly, Canter can          become anyone he wants to be.          GREER is momentarily stunned to see--          THE PROPHET, a spare surrogate, in a charging bay.          GREER moves carefully onward. Around a corner, he sees--          --a PROJECTOR DISPLAY SCREEN. It's PETERS' POV on the          FBI SURVEILLANCE CENTER, a glance toward the motionless          RIOT AGENTS, to BOBBY struggling on the ground. PETERS'          POV SETTLES on the numbers HIGHLIGHTING on the terminal.          THE 0. D. is connected to the keyboard, BLUE DIODES          FLASH, the jerry-rigging complete.          REAL CANTER is visible from behind in an elaborate          prosthetic WHEELCHAIR, a SENSORY PROJECTOR on his head.          GREER moves toward him and RIPS OFF the headgear.          REAL CANTER opens his eyes, startled.                         GREER          You're insane.          INT. FBI BUILDING/SURVEILLANCE CENTER -- DAY          PETERS is frozen in place by the-terminal. BOBBY, on the          ground, realizes something's happened. He strains to see          the numbers screen.          ON SCREEN -- THE NUMBERS have stopped scrolling. A          dialogue box: "FULL DATABASE SELECTED - UPLOADING          SOFTWARE TO NETWORK" with a bar moving up slowly.          INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY          CANTER squints up at GREER from his wheelchair and brace.          He speaks with an ELECTRONIC AID, his voice slightly          artificial-sounding.                         CANTER          Jennifer Peters. Is she--                         GREER          She's dead.                         CANTER          I had no intention of hurting her.          I'm truly sorry--                         (CONTINUED)                                                                                                              110.                         CONTINUED:                         GREER          You bastard, she was my partner, I          cared about her--                         CANTER          Did you? You barely knew her. It          was me you came to care about--                         GREER          Shut up!          Greer clenches his fist, if the man wasn't in a          wheelchair he would beat the hell out of him. Struggling          to control himself, mind reeling:                         GREER (CONT'D)          How many people are you? You're          really the Prophet?                         CANTER          I had to fight VSI any way I          could.          As canter speaks, his eyes flick toward the PROJECTOR'S                         MONITOR--          --the image of the O.D. DEVICE UPLOADING SOFTWARE from          PETERS' POV. Canter tries to block Greer's view--                         CANTER (CONT'D)          There's nothing you can do--          GREER PUSHES CANTER'S WHEELCHAIR out of the way          violently. Greer sits on the floor, leaning against the          wall. He takes a breath and puts on the PROJECTOR          HEADSET. He slips on the FINGERSLEEVE, presses his          fingers together and--          INT. FBI BUILDING/SURVEILLANCE CENTER - DAY          --PETERS is suddenly REANIMATED, stumbles a bit where she          stands, as Greer gets his bearings in this new body. He          moves to the KEYBOARD and RIPS THE O.D. from the jerry-          rigged connection. -          ON TERMINAL SCREEN -- "UPLOAD COMPLETE."          PETERS turns to BOBBY.                         PETERS          How do I shut it down?                         (CONTINUED)                                                                                                                             CONTINUED:                         BOBBY                         (BAFFLED)          You...                         PETERS          Bobby, this is Agent Greer!          ON THE CATWALK - a HUMAN agent, he's a SNIPER in black,          creeps into position, readying his rifle.          PETERS/GREER helps BOBBY up, so that he can see the          computer screen. Bobby remains cuffed.          ON SCREEN - "PREPARING TO DISCONNECT OPERATORS - 30          SECONDS." The number is counting down.                         BOBBY                         (THINKING)          OK... the software from that          thing's already in the system, you          have to abort transmission.                         PETERS/GREER                         (DESPERATE)          How?1                         BOBBY          Hit control-escape, F12.          As PETERS/GREER does so:                         PETERS/GREER          This can really send a virus to          every surrie on the network?                         BOBBY          Sure, but it has to disconnect the          operators first.                         PETERS/GREER          (pauses, surprised)          So people aren't in any danger...                         BOBBY          Their surrogates are! Hurry up!          ON TERMINAL SCREEN - "ABORT? YES. NO."          INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY          THE PROJECTOR SCREEN shows the words "YES. NO."          MOVE TO GREER, in the sensory projector, his face tight.                         (CONTINUED)                                                                                                              112.                         CONTINUED:          CANTER stares at GREER, seeing that Greer realizes what's          at stake-- the fate of humanity.                         CANTER          You understand...          INT. FBI BUILDING/SURVEILLANCE CENTER - DAY          PETERS/GREER reaches for the keyboard again, hesitates.          A moment of internal conflict.          BOBBY stares, confused.                         BOBBY          Do it!          BANG! A CLEAN HEADSHOT drops PETERS/GREER in her tracks,          ELECTRONIC GOO sprays the COMPUTER SCREEN.          BOBBY spins in his chair.                         BOBBY (CONT'D)                         NOT          He tries desperately to reach the keys himself, but--          ON SCREEN "DISCONNECTING." He's too late.          INT. CANTER'S PENTHOUSE/CONTROL AREA - DAY          GREER yanks off the headset, breathing hard, eyes wide          with shock. CANTER regards him from his wheelchair.          He's been watching the MONITOR, knows what just happened.                         CANTER          You could have stopped it. Thank          you...                         GREER          Why...?                         CANTER          You know why. I won't be          responsible for the death of          humanity. I like the way you put          it-- unringing a bell.          GREER puts his head in his hands, realizing the enormity          of what he's just done.                         GREER          You created them.                         (CONTINUED)                                                                                                              113.                         CONTINUED:                         CANTER          I only sought to give people like          me the chance to live normal lives.          But my partners at VSI overrode me.          They saw a much larger market--          surrogates for everyone. Healthy          people. Children. A world without          risk, without pain. Without          feelings. Nothing at stake.          Nothing to live for.          Greer rises shakily.                         GREER          What's going to happen?                         CANTER          The day of resurrection.          As he speaks, he raises a small white capsule to his          lips.                         GREER          No--!          Before Greer can stop him, CANTER BITES INTO IT and          swallows. Greer tries to get the capsule from Canter's          mouth-- but the man is DEAD within moments.          INT. FBI BUILDING/SURVEILLANCE CENTER - DAY          BOBBY KICKS at the COMPUTER frantically, CRYING OUT. THE          SNIPER reaches him, CUTS his HANDS free with a KNIFE.                         HUMAN SNIPER          It's OK, sir, you're alright, it's                         OVER--          Freed, Bobby lunges at the keyboard, hitting keys in a          frenzy, but--          ON SCREEN - "DISCONNECTING" changes to "OPERATORS          DISCONNECTED..." Then, quickly-- "TRANSMITTING."          EXT. RESERVATION NO MAN'S LAND - DAY          LATE AFTERNOON, golden light. DREADS have been herded          together here, NATIONAL GUARDSMEN surrounding them.          Suddenly the GUARDSMEN all DROP at once.                                                                                                              114.          EXT. WASHINGTON STREET - DAY          CROWDED, rush hour, lots of traffic and noise. Then--          --PEDESTRIANS fall in a wave. CARS VEER out of control,          SMASHING INTO EACH OTHER, careening onto the sidewalk,          rolling over fallen surrie bodies and SMASHING into          storefronts.          INT. FBI BUILDING/BULLPEN - DAY          THE FEDS are all collapsed over desks, or sprawled flat.          INT. SUBWAY - DAY          A CAR FULL OF COMMUTERS-- some slumped in their seats or          hanging from straps, others lying on the floor. The car          STOPS AUTOMATICALLY, the DOORS OPEN with a HISS--          --to reveal a PLATFORM littered with BODIES.          INT. MAGGIE'S SHOP - DAY          ALL EMPLOYEES and CUSTOMERS of the beauty shop are          motionless. CAMERA FINDS MAGGIE on the floor among them,          staring sightlessly at the ceiling.          EXT. LUXURY BUILDING/BALCONY - DAY          ANGLE DOWN on the suddenly quiet street. The surries          have dropped throughout the city.          PULL BACK to reveal GREER looking down on this. He limps          quickly back inside--          INT. CANTER'S PENTHOUSE/STUDY - DAY          --stepping over the BODIES of the FALLEN COPS. He moves          for the ELEVATOR, hits a SWITCH to POWER it up.          EXT. RESERVATION NO MAN'S LAND - DAY          The moment the Dreads have been waiting for. With a mass          CRY, they're charging over the fallen BODIES of the          GUARDSMEN and over the flattened fences.          WIDE as THOUSANDS OF DREADS run out of the reservation          into the streets of the city.                                                                                                              115.          EXT. WASHINGTON STREETS - DAY          GREER hobbles through the dreadful aftermath-- SMOKING          AUTO PILEUPS, BODIES everywhere, most fallen in their          tracks, a few remain on their feet. CAR HORNS, ALARMS in          the distance. -          A few disheveled DREADS are here, taking it in with          delight and amazement. They WHOOP as they TIP OVER a          couple of the standing surries.          GREER passes a CAR on the sidewalk, its DRIVER slumped          against the wheel-- the RADIO BLARES:                         RADIO VOICE          The massive surrogate shutdown          appears to be nationwide...          EXT. VSI HEADQUARTERS - DAY          FALLEN SURRIES all over the grounds. ARMED DREADS are          rushing into the place, past the MOTIONLESS SENTRIES.          They're making for the factory.                         RADIO VOICE          Rioters presumed to be members of          the Human Coalition seem to be          making coordinated attacks on                         SURROGATE-RELATED BUSINESSES          across the country...          INT. VSI FACTORY - DAY          The ROBOTIC ASSEMBLY LINE, still running until--          BOOM! A DREAD shoots an RPG into the machinery.          SURROGATE PARTS are BLASTED in all directions.          INT. VSI WAREHOUSE - DAY          FIRE SPREADS across the rows of SURROGATE TEMPLATES,          packed together tightly.          CLOSE on a MELTING FACE, the deforming PLASTIC SKULL and          ELECTRONICS within.                         RADIO VOICE          Citizens are asked to remain in          their homes...                                                                                                              116.          EXT. GREER'S BUILDING - DAY          GREER makes his way toward his place.          INT. GREER'S APARTMENT/LIVING ROOM - DAY          GREER enters, moves immediately for his wife's bedroom.                         GREER          Maggie--?          He KNOCKS gently, then tries the door-- it isn't locked.          INT. GREER'S APARTMENT/MAGGIE'S ROOM - DAY          The room is DIM, there's a FORM huddled in the bed,          SOBBING, covers pulled up. GREER moves slowly toward          her, speaks in a soothing voice.                         GREER          Maggie, it's me.          She pulls away from his touch at first, struggles.                         MAGGIE          No! Please no, don't look at me...          Greer pulls away the covers to reveal the REAL MAGGIE.          She's pale, emaciated and malnourished, tears running          down her face. She shrinks away from him.                         MAGGIE (CONT'D)          No Tom, I don't want you to...          It doesn't matter to Greer-- he takes her in his arms and          holds her close.                         GREER          It's OK, it's OK...                         MAGGIE          No it's not...                         GREER          Ssh. It's just us now.          Slowly, she puts her arms around him, weeping against his          chest. PULL BACK and--                                                                                                              117.          EXT. GREER'S BUILDING/NEIGHBORHOOD - DAY          --OUT THE WINDOW. MOVE to show exterior DOORS OPENING          and GREER'S NEIGHBORS EMERGING, blinking in the          unfamiliar sunlight. Most wear robes, sweatclothes.          They're all ages, some overweight, others homely-- it's          almost a relief after all the young, perfect people.          DOWN THE STREET, OTHERS EMERGE, regard each other warily,          like people after an earthquake. Some begin speaking to          each other for the first time, in whispers at first,          others take in the SUNSET which bathes the neighborhood          in orange light.          FADE TO BLACK.
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+                             Suspect Zero                                                            Written by                               Zak Penn                         Revisions - Billy Ray                                            Director's Shooting Script                                                   November 30, 2001    FADE IN:    ...on a BLACK WAVE - vast, oceanic, and coming right at us.    BEGIN TITLES.    The wave is relentless, huge, menacing. We can't tell if this    is daytime or night because it simply obscures everything -    noisily. It sucks, it yawns, it roars.    Then we realize... this massive wave of darkness is actually    just a RUN-OFF of dirty black WATER alongside the edge of an    Interstate. We PULL OUT OF IT now...    ...to find concrete, and garbage, and weeds. END TITLES.1   EXT. DITCH - OFF THE INTERSTATE - 4:30 A.M.                      1    Amongst the refuse is a discarded MILK CARTON, resting on its    back. The carton asks "Have You Seen Me?" above a photographed    face that's been obscured by grime.    Yellowing newspaper, old Coke cans, Twinkie wrappers... in    that bed of untended weeds. A hollow Texas wind blows through    it all. We stay with the carton...    Then that hollow wind gains speed... and a deep RUMBLE grows    in the distance, becoming a ROAR. The yellowed newspaper lifts    off and whips past us.    ...as an 18-WHEEL MACK TRUCK blows by, just a blur in the    corner of our frame, doing 75 in the pre-dawn darkness.    Then, the truck is gone, and the rush of air dissipates. The    milk carton, the coke cans... they lie undisturbed.    A LIGHT RAIN begins to fall... and some of the grime washes    away from that milk carton, revealing a face. A child. "Have    You Seen Me?" It's heartbreaking.    TILT UP... to take in the vast flatness of Texas' I-35:    concrete forever. In the distance, gray highway yields to    black STORMCLOUDS gathering silently over endless prairie.    A vertical vein of LIGHTNING streaks through one of them.                                                     CUT TO:    ...a spoon, stirring a cup of coffee.                                                                 2.2   INT. "THE ALL-AMERICAN DINER" - GAINESVILLE TEXAS - CONTINUING 2    (4:30 A.M.)    HAROLD SPECK sits: mid 40's, pleasant face. A family man.    Reads "Rod and Reel" magazine. Has a SALESMAN'S CASE by his    side. Around him is a TRUCK-STOP in twilight:    Truckers at the counter, Elvis on the wall, a "Drink Bud!"    mirror. The WORLD SERIES can be heard on a RADIO...                         DOLLY (O.S.)               Top that off for ya, Hon?    That's DOLLY, a waitress, (50, been here too long.) Speck    looks up, smiles thinly, "No." Dolly heads off. Speck returns    to his article, underlining a particular passage.    ...until a MAN seats himself, suddenly, in the seat opposite    Speck's. Speck reacts, startled.                          SPECK               Jesus...    The MAN's name is O'RYAN. We only see PIECES of him: his eyes,    his hands, a stain on his parka...                         O'RYAN               What's in the case?                          SPECK               I'm sorry?                         O'RYAN               You're always lugging that case around.               I'm curious.    Speck looks around: there are plenty of empty tables in here.    So why is this guy bothering me???                         O'RYAN (CONT'D)               What do you sell?                         SPECK               I'm... in restaurant supplies. I didn't               get your name?                         O'RYAN               Must travel a lot, huh?    Speck is looking for Dolly, a Manager, anyone...                         O'RYAN (CONT'D)               Whole country, or just hereabouts?                                                           3.                     SPECK           I don't mean to be rude but--                     O'RYAN           How's your wife feel about it?That spun things a bit. Speck pauses.                     SPECK           What?                     O'RYAN           She must get lonely, with you gone all           the time. Does she?                     SPECK           Look, I...                     O'RYAN           Do you get lonely?Speck's so thrown now he can't answer.                     O'RYAN (CONT'D)           Ya miss fucking her, Harold?                     SPECK           Listen, I don't know who you are but you           can't--O'Ryan silences him... by holding up a piece of paper. On itis a DRAWING. The image faces away from us. But Speck can seeit in rich detail. And his eyes go wide.We catch GLIMPSES: The color of flesh. A body-part. Looks likea rendering of a young, naked WOMAN.And, just like that, Speck finds himself STARING. Glued.                     O'RYAN (CONT'D)           Did it myself. It's sort of a hobby.               (no reply)           I've got more. Would you like to see           them?O'Ryan lowers it and slides a SECOND DRAWING over... Speck isspeechless, transfixed. Can't look away.                      O'RYAN (CONT'D)           Tell me: those jokes about the traveling           salesman and the farmer's daughter - are           they true?                      (MORE)                                                            4.                     O'RYAN (CONT'D)               (Speck remains silent)           Here. This one's my favorite.O'Ryan slides over DRAWING #3. Again, we don't get to see it.And we still haven't seen all of O'Ryan's face.But we can see Speck, and his reaction. Utter horror. In facthe recoils so violently that his coffee spills.                     O'RYAN (CONT'D)           Really says it all, wouldn't you agree?                     SPECK           You're a... You're sick.                     O'RYAN           That's a matter of opinion.                     SPECK           You're sick!He rises, leaving the drawings behind. We STAY WITH HIM as hecrosses the diner - deeply unsettled. He reaches the Manager,(MEL, balding, 50, in no mood) at the register.                      MEL           Mmm-hmm?                     SPECK           I'm having a problem - with another           customer. I'd like you to ask him to           leave, please.                     MEL           What kind of problem?                      SPECK           He's--He turns, to point out O'Ryan....but the booth, suddenly, is empty. The guy has simplydisappeared, taking those drawings with him.Speck tightens. Mel eyes him, annoyed.                                                  CUT TO:                                                                 5.3   EXT. ALL-AMERICAN DINER - PARKING LOT - MOMENTS LATER             3    Speck hurries out to his Buick, checking over his shoulder    repeatedly. Gets to the car, fumbles with his keys. They fall    to the asphalt. He grabs them, opens the door.                                                       CUT TO:4   INT. SPECK'S CAR - DRIVING - MOMENTS LATER                        4    Speck guns the Buick. Interstate 35 flies by. The farther he    gets away from that Diner, the happier he'll be.    ...until a strange SOUND gets his attention: it's WIND, as if    whistling through a ghost town. Hollow, varied - building then    falling off again. Wind.    Trouble is, the windows in this Buick are up.    Yet there it is again: a thin, hollow GHOST-TOWN WIND,    whistling over his shoulder. He's heard it before - in every    Western he ever watched as a kid.    But this wind is coming from his back-seat.    The blood drains right out of Speck's face. Doesn't know if he    should jam on the brakes or drive faster.    He looks in his rear-view, catches a glimpse of a LATEX GLOVE    snapping onto a hand. Dear God: O'Ryan is back there, making    that odd Ghost-Town wind sound. Whistling.                          SPECK                    (sheer terror)               What-do-you-want?! What-do-you-want-with-               me?!    No reply. Instead, another gift appears from the back: a    FOURTH DRAWING, tossed from the darkness into Speck's lap.    He looks down, registers the image... and SHRIEKS.                         O'RYAN (O.S.)               There's a rest stop, next off-ramp. Pull               into it.                         SPECK               I have some money. It's not a lot but--                         O'RYAN               Nobody wants your money, Harold. Just               pull in.                                                                 6.                         SPECK               Why?!    O'Ryan rises into frame now, like Nosferatu...                         O'RYAN               Because I don't wanna do this at 70 miles               an hour. It could be dangerous.    Speck finds the off-ramp. His breaths are shallow now.                         SPECK               Please, Mister - what do you want from               me?    O'Ryan's face: a knowing grin fans across it...                                                      CUT TO:    ...the face of VIRGIL RAY STARKEY, on a bulletin board.5   INT. F.B.I. RESIDENT AGENCY - WICHITA FALLS - MORNING (SAME       5    DAY)    We're looking at the F.B.I.'s "Ten Most-Wanted List." Starkey    is #7 on it. He's 40, white. His crime are listed as rape,    murder, kidnapping.    THOMAS MACKELWAY stares at Starkey's image. At the eyes...    Mackelway is 34, bred for success - bred for stardom in fact,    a whiz at everything he's ever attempted.    So what the hell is he doing in Wichita Falls, Texas...?    EIGHT AGENTS, in cubicles, with a ring of outer offices. Quiet    phones, lousy take-out options, hardly a dream gig.                         CHARLTON (O.S.)               Got a spot set up for you, Tom.    That's RICK CHARLTON: late 40's, thinning hair, friendly.    Charlton heads around a corner. Mackelway follows.                         CHARLTON (CONT'D)               Ms. Potter's the nice girl you met at the               desk. She puts a package together for all               the new agents, things to know about the               area, help with finding apartments and               such. This one's yours:    Charlton stops at a CUBICLE: Carpeted walls, formica desk. A    corner of dull Hell. Mackelway eyes it, fighting dread.                                                                 7.                         CHARLTON (CONT'D)               Not so different from Dallas, is it?                         MACKELWAY                   (fuck yes)               No, Sir.                         CHARLTON               Good.    An abandoned SPORTS PAGE tells us about that World Series, so    we must be mid-October. Charlton heads out. Mackelway throws a    briefcase on to the desk, setting up his world:    A framed picture of himself and his BROTHER, ages 10 and 15,    on a childhood camping trip. Address book, coffee-warmer,    calendar, a baseball covered with autographs.    He opens up a drawer, and casually tosses two bottles of    BUFFERIN into the back of it.    ...but first grabs four tablets from one of the bottles,    and throws them down his throat, as:                         GRIEVES (O.S.)               Ya like Frito Pies?    Mackelway turns. BILL GRIEVES stands here, holding a white    grease-stained paper-bag. Grieves is Mackelway's age, not    quite as ambitious. But solid, decent.                         MACKELWAY               I dunno. What are they?    Grieves pulls out a greasy concoction that's wrapped up like a    semi-burrito. Pure Texas. Tosses it to Mackelway:                         GRIEVES               Welcome to the minors.    Grieves passes by with a faint smile, handing out lunch to a    few other agents. Mackelway eyes the still-wrapped Frito Pie.    God, get me outta here...                                                      CUT TO:6   INT. WICHITA FALLS F.B.I. OFFICE - LATER                          6    A BRIEF MONTAGE: Mackelway, in his cubicle, watching as THOSE    OTHER AGENTS take calls, strap on guns, head out on    assignment. Men in motion.                                                                 8.    But Mackelway's land-locked, writing up an Auto-Theft report.    It's drudgery, but he's meticulous about it, deleting the word    "beige" and replacing it with "tan."    His head is throbbing - not an unusual circumstance for him.    But after lingering for a half-second on that "Most-Wanted    List" again? Starkey? It's a wound...7   INT. F.B.I. OFFICE - KITCHENETTE - MOMENTS LATER                  7    Mackelway struggles with a COFFEE MACHINE that's unfamiliar to    him. Filter, water, grounds, etc.                         KATIE (O.S.)               Here. Lemme do that.    He turns. This is KATIE POTTER. She's 25, friendly, under-    challenged by her job. Been here two years. In two seconds    she's got the thing percolating. Of course.                         KATIE (CONT'D)               It takes some experience.    He shrugs, not feeling too smooth.                         KATIE (CONT'D)               You're Mackelway, right?                          MACKELWAY               Mmm-hmm.                         KATIE               Fax came in for you. It's the room next               door.                         MACKELWAY               Oh. Thanks.    He rises, heads for the "fax room"...8   INT. "FAX ROOM" - CONTINUING                                      8    A former closet, converted into useful space. FIVE FAX    MACHINES sit on stands, sharing a surge protector. One fax    machine is printing. Mackelway approaches it.    Six pieces of paper await him. The first is a TOP-SHEET,    written by hand: "Attention: Agent Thomas Mackelway, FBI    Resident Agency - Wichita Falls." No sender named.    He looks beneath the top sheet - at Page One of the fax.                                                                 9.    A young BOY stares back at him, his face photostatically    copied. Across the top, also-handwritten: "HAVE YOU SEEN ME?"    At the bottom of the sheet, typed, we read:    "Jason Corey, Age 14. Ht. 5'1", Wt. 130, Eyes Brn, Hair Brn.    Last Seen: Riverside, Ca. Date of Disappearance: 10-16-99."    Mackelway eyes the face, then the vitals. No idea why this was    sent to him. Then he looks at Page Two.    A young WOMAN stares back at him this time. Another faxed    photo. Another "HAVE YOU SEEN ME?" scrawled across the top of    it. And, at the bottom of the sheet:    "Anna Casitas, Age 22. Ht. 5'6", Wt. 125, Eyes Brn, Hair Blk.    Last Seen: Macon, Ga. Date of Disappearance: 5-6-00."    The other three faxes are more of the same: Pictures and    vitals. Faces. Facts. "HAVE YOU SEEN ME?"    He looks at the bottom of the transmissions, finds the fax    number of the sender. Dials it. All he hears back is the loud    grainy shriek of a dedicated fax line.    He eyes the faxes again. It's not alarming, but it's odd. Then    Charlton emerges from his office, shouting:                         CHARLTON               Mackelway! You gonna sit on your ass all               day, or do you wanna do something?    Mackelway's out of this room in an instant.                                                       CUT TO:9   EXT. REST STOP - OFF THE INTERSTATE - DAY                         9    Your standard roadside rest-stop: a parking lot with weeds    poking through it and bathrooms you wouldn't go near. Those    STORMCLOUDS we saw earlier are CLOSER now...    POLICE CARS and HIGHWAY PATROL MOTORCYCLES fill this site.    Charlton's FBI SEDAN pulls up. He and Mackelway get out.    Two men approach: SHERIFF HARRY DYLAN, 50; and his deputy, BUD    GRANGER, a gangly, baby-faced pup.                         DYLAN               Afternoon, Rick.                   (Charlton nods)               Looks like a robbery/homicide. Body's               over that way.                                                                 10.     He gestures toward a ravine, where a TOW TRUCK is currently     lowering a winch toward an abandoned vehicle.     It is Harold Speck's Buick, nose-down in the ravine, teetering     on a rock, like the balanced scales of justice.                          MACKELWAY                Ya run the plates?     Charlton eyes Mackelway: "Easy, Hot-shot." Mackelway nods,     reminding himself to remember his new rank. Dylan hands a     preliminary report to Charlton.                          DYLAN                Fella's name is Harold Speck. Traveling                salesman, from Abilene.     Charlton eyes the report, then hands it to Mackelway. The     hierarchy is being made clear. Very.     Mackelway turns: this ravine runs right up against a SIGN that     reads "Welcome to Texas" on one side and "You are now leaving     Oklahoma" on the other.     A vehicle, left right on the state-line. Odd...     Then, a NOISE: that Tow-Truck WINCH, grinding badly. It's just     about to yank the Buick out of this ditch.                          MACKELWAY                    (it blurts out)                Hey!     Before Charlton can react, Mackelway is running across this     weed-choked lot, zeroing in on the TOW-TRUCK DRIVER.10   EXT. ATOP THE RAVINE - CONTINUING                                 10     The Driver, JUMBO, is operating the winch from a hydraulic     handle on the back of the truck. Mackelway barrels in:                          MACKELWAY (CONT'D)                What the fuck're you doing?!                          JUMBO                What's it look like, Bud?     Mackelway reaches past Jumbo and hits the "Stop" button     himself. The winch shuts down. Mackelway turns. A handful of     LOCAL COPS stand atop this ravine, watching.                                                                 11.                           MACKELWAY (CONT'D)                You guys ever heard of evidentiary                procedure?     No one replies. Charlton approaches. Mackelway tightens,     expecting a reprimand for overstepping his bounds.                          MACKWELWAY (CONT'D)                Sorry, Sir. There wasn't time.     Charlton eyes the car. Then Mackelway.                          CHARLTON                Did the right thing, Agent Mackelway.                Let's have a look.     Charlton starts down the embankment. Mackelway doesn't,     hanging back as he eyes the TRACKS this Buick made before     tumbling. Something about them...     He pulls a small CAMERA from his pocket, a Minox. Snaps off a     few photos of the scene - the Buick, the ravine, those tracks,     some FOOTPRINTS alongside them.     Then he heads down the 15-foot embankment.11   EXT. RAVINE - CONTINUING                                          11     It's an ugly sight. Speck is inches from us, but his head is     facing in the other direction, twisted unnaturally.     Mackelway kneels beside the open window, pulls out some     gloves, puts them on. He will not lean on the car, or even     breathe on it, his caution around evidence obvious.                          CHARLTON (O.S.)                What's that?     Charlton is opposite him, outside the passenger-side window,     pointing at the DRAWING that O'Ryan had tossed onto Speck's     lap. It lies face down on the seat.     But something's been FINGER-PAINTED on the back of it: A     RED CIRCLE, with a SLASH through it.     Charlton begins to reach for it, when:                          MACKELWAY                    (to stop him)                Sir?     Charlton stops. Mackelway indicates: "Gloves."                                                            12.Charlton eyes him. It's irritating being corrected by a guyyou outrank, especially when he's right.                     MACKELWAY (CONT'D)           Sort of a... stickler for procedure.                     CHARLTON           I imagine you would be.That was a jab, but we don't know it yet. Charlton puts on hisgloves. Mackelway snaps off a few more shots with that Minox,looking over the rest of this car, as:                     GRANGER               (aloud)           Hey Jumbo. Toss me down a crowbar.Granger's by the trunk. Before Mackelway can comment, Jumbohas tossed a CROWBAR down from the top of the embankment: aten-pound hunk of iron, flying right at us.Everybody ducks... as it CLANGS on the roof of the Buick.Jumbo shrugs.                     JUMBO           You said toss it.Mackelway shakes his head. "Shitkicker." Granger grabs thecrowbar. He's just about to open the trunk as:                     MACKELWAY           Hold it a second.Granger pauses. Mackelway crosses to the trunk, and snaps offa few shots with the Minox.Something catches his eye, along the line of the TRUNK. Hekneels closer... An odd RESIDUE, crusty and hard, has formed athin line on top of the paint in a single post.He takes out a VIAL, and scrapes some of the residue into it.Then he sniffs it. Pauses...                     MACKELWAY (CONT'D)           Smells like... clove.He looks to Granger: now you can open the trunk.                     DYLAN               (re: Mackelway)           Where the hell'd you find this guy?                                                                 13.                          CHARLTON                Field Office. Dallas.                          DYLAN                    (impressed)                Well now...                    (Charlton shrugs)                So what the hell's he doin' here?     That one is left unanswered. Granger opens the trunk.     Mackelway and the others look inside...     There, they find restaurant supplies: napkin dispensers, salt-     shakers, ketchup dispensers, a short-order wheel... And a     fishing reel, tackle-box, a kid's bicycle helmet.     Mackelway eyes it all, but his instincts tell him there's     nothing significant here. So he returns to Speck's body.     He leans in, lifts Speck's head a few inches away from the     steering wheel. Gently.     ...which is when we learn that Speck's EYELIDS have been torn     off. It's gruesome, but Mackelway notes it calmly. Charlton     leans in, gets a look.                            CHARLTON                Christ...     Mackelway is expressionless. But something about these LIDLESS     EYES draws him closer. He leans in, then BAM! We are rocketed     into a series of dark, disjointed images:12   EXT. A WHEAT FIELD - NIGHT                                        12     Seems like we're standing in a field of TALL WHEAT; we can't     say for sure. Everything's wet, wind-whipped.     A MUZZLE FLASH... Someone just fired a gun. We slump hard to     the ground. Then we look up.     Mackelway stands over us, his face wet with rain. Then, just     as quickly, those IMAGES VANISH and we are:13   INT. UNIDENTIFIED MOTEL ROOM - GRAHAM TEXAS - DAY                 13     We start on the EYES OF O'RYAN. Cross-Dissolve to a pad of     paper, on a DESK. Scrawled on the pad is a WAVY LINE. He holds     the tip of that pen upon it, for a few seconds, as if     expecting to get some kind of pulse from it.     Here come those IMAGES again: wet wheat, a muzzle flash,     Mackelway. Choppy, disjointed, dark. Then they cease...                                                                 14.     ...and O'Ryan begins to DRAW, hurriedly. Only half of his face     is visible to us, but we can tell that his concentration is     total.     His pen continues its furious work, a spasm of activity, as     the SOUNDS of that vision bleed in: the gun-shot, the rain,     the wind. They're all alive in O'Ryan's mind...     And that DRAWING takes shape quickly: The wheat field, the     gun, Mackelway.     Then, the pen is set down. The drawing is complete.     O'Ryan eyes it calmly, then checks his watch, jotting down the     exact time and date on to the drawing. Then he slips it into a     folder marked, "MACKELWAY."                                                       CUT TO:14   EXT. SPECK'S HOME - ABILENE, TEXAS - ESTAB. DAY                   14     Picket fence, a swing on the porch, a lawn that needs mowing.     A LINE OF PEOPLE file in, each bringing food... and tissues to     cry into.15   INT. SPECK'S HOME - LIVING ROOM - MOMENTS LATER (DAY)             15     Shocked faces. Food on unmatching trays. Speck's wife - JAN,     40 and frayed - sits in a chair, immobile. FRIENDS and FAMILY     mill about, tending to her.     KIDS hover. Two of them, a 4-YEAR-OLD BOY and an 8-YEAR-OLD     GIRL, sniff back tears as people offer condolences.     But the focus here is Jan - her grief. She's shaking...                          O'RYAN (O.S.)                Mrs. Speck?     She looks up. O'Ryan crouches down, to eye-level, one of fifty     faces in here. Jan half-nods.                          O'RYAN (CONT'D)                Just wanted to offer my condolences.                    (takes her hand)                I didn't know him well but... I think                Harold was a much more complex man than                people realized.     Jan is so raw that anything about Speck touches her now.                                                                  15.                          JAN                    (through tears)                He was, wasn't he?                          O'RYAN                I'm very sorry for your loss, ma'am.     She sniffs back a tear, thanks him with a smile. O'Ryan     extends his hand to her. She takes it. He moves off.     Beside her is a FRAMED PORTRAIT of Speck. We blow past it, and     into the BLACK CREPE that is adorning the corner of the     portrait's FRAME, and:     BAM! We're rocketed back into a set of odd IMAGES again:16   EXT. DARKNESS - UNIDENTIFIED TIME                                  16     This time, everything before us is a blur of gray. We hear     that wet wind. We hear our own heavy BREATHING, as if we were     running somewhere... a VOICE, rising above the wind, seems to     be saying:                            (O.S.)                Please...     The sound echoes oddly, as if bouncing off a satellite     somewhere, or a distance of time and space.     Then the sound and the soupy grayness VANISH. This vision just     ended. When we pop back out of it, we're TIGHT on Mackelway...                                                        CUT TO:17   INT. MACKELWAY'S YUKON - PARKING LOT - GAINESVILLE 10:30 P.M. 17     Mackelway sits behind the wheel of his Chevy Yukon, parked     between two big-rigs in the lot of the "All-American Diner."     Sky looks black tonight. It rumbles...     And that soupy gray vision we just heard and saw... It was all     his.     He pulls four more Bufferins out of a bottle in his pocket.     Slugs them down. This headache is a constant. Then he gets out     of the Yukon...18   INT. ALL-AMERICAN DINER GAINESVILLE - CONTINUING                   18     Mackelway enters, spots Charlton at a booth - sitting opposite     a WOMAN, her back to us.                                                               16.19   INT. BOOTH - CONTINUING                                         19     Mackelway approaches. The Woman doesn't turn.                           CHARLTON                Agent Mackelway. I was 'bout to introduce                you, but I understand that won't be                necessary.     Mackelway doesn't get it... until the WOMAN turns. She is     AGENT FRAN KULOK. 35, sharp, pretty when she allows herself to     be. But with a guard that never comes down.     Mackelway has some history with her, so he tries not to react.     It takes some effort.                          CHARLTON (CONT'D)                Seems your former office has decided we                might need some help on this one. So they                sent out Agent Kulok.                          FRAN                Tom.                          MACKELWAY                Fran.     That was terse, from both of them. Charlton takes note.                          CHARLTON                I guess we're skipping the tearful                reunion. Have a seat, Tom.     Mackelway sits opposite Fran. She folds her hands.                          MACKELWAY                How's things back at the ranch?                          FRAN                Movin' right along.     That might've been a dig; Charlton can't tell.                          CHARLTON                Okay. Whadda we know?                          FRAN                Picked up a foot-print in the back seat                of Speck's car, size-and-a-half bigger                than Speck's.     Just like that, Fran is piping up. Mackelway's unoffended.                                                         17.                       CHARLTON           'Kay.                     FRAN           Wounds on Speck's throat indicate that he           was strangled from behind... I think our           guy waited for him in the backseat,           sprung this on him once the car was           moving.She slides that FOURTH DRAWING to Charlton - giving us ourfirst look at it.INSERT - THE DRAWING:...a STEAMER-TRUNK, lined with plastic. Inside it are largeZIPLOC BAGS. Inside the bags are BODY PARTS.It's realized so accurately that it looks more like aphotograph. No wonder it horrified Speck so deeply.THE BOOTH - RESUMINGCharlton eyes it without reaction.                     FRAN (CONT'D)           Lab picked up talcum traces on the edges           of the paper, consistent with powdered           gloves.               (Charlton nods)           So he gets the dropped in his lap, it           spooks him, and the car winds up in the           ravine.Plausible enough, until:                     MACKELWAY           I don't think so, no. I think it was           pushed.                     FRAN           How ya figure?                     MACKELWAY           The look of the tracks. Foot-prints near           the embankment.Without embellishing any further, he slides over thePHOTOGRAPHS that he took this morning with the Minox: tire-tracks, foot-prints. She eyes them.Then she eyes Mackelway. Charlton notes the tension.                                                           18.                     CHARLTON           Okay. So our guy likes to draw pictures           of body parts and then spring 'em on           people. What's that get us?               (they're silent)           That's what I thought.There is plenty going unsaid here between Mackelway and Fran.Charlton has no time for it.                     CHARLTON           Oh. 'Fore I forget. This came in for you:He tosses a 9-by-12 ENVELOPE at Mackelway, who opens it. Sixsheets of paper slide out.First one we see is the TOP SHEET of a FAX: same hand-writteninscription as the last one: "Attention, Agent ThomasMackelway, FBI Resident Agency, Wichita Falls."Okay. This is twice now. He knows what will be under this topsheet without even looking. But here's Page One:A photo of a middle-aged African-American WOMAN. Across thetop of the photo, in hand-writing: "HAVE YOU SEEN ME?"And typed on the bottom: "Tanya Green. Age 42. Ht. 5'9", Wt.165, Eyes Blk, Hair Blk. Last Seen: Ames, Iowa. Date ofDisappearance: 3-22-97."The following four sheets bring four more faces: men, women,young, old. Four more HAVE YOU SEEN ME's.But before he can think it through, he hears:                     MANAGER (O.S.)           It's about time.They turn. That came from the NIGHT MANAGER: a humorless guynamed LES. He's looking at the front door, through which Dollyhas just entered. Pink cowboy boots tonight.                     DOLLY           Don't start in on me, Les. I couldn't get           the pickup started and Harlan took the           Dodge.The Manager now throws a glance at the three feds in thebooth. Dolly stops short, taken aback.                                                                 19.                           DOLLY (CONT'D)                 Holy Hell. My one shot at winding up on                 "Cops" and I'm in my weekday boots!                                                       CUT TO:20    INT. DINER - BOOTH - LATER                                       20      Dolly and Mel sit opposite Mackelway and Fran.                           DOLLY                 He was a quiet guy. Normal. Liked to read                 fishing magazines. Not much of a tipper.                 Is that a lousy thing to say?                            FRAN                 It's fine.      Mel rolls his eyes.                           MACKELWAY                 What can you tell us about the other man?                           MEL                 Like I said, I never really saw him.                 Harold came up, complainin' about the guy                 - but time I turned, he was gone.                    FRAN                      MACK              (at Dolly:)               (at Dolly:)          Could you de--            Did you get a--     They each stop short, waiting for the other to yield. Finally     Mackelway nods, "Go ahead."                           FRAN                 Can you describe him, Ma'am?                           DOLLY                 Sure. He was...      Dolly pauses, her face scrunching a bit. Troubled...                           DOLLY (CONT'D)                 That's weird. Guy was in here better part                 of an hour. We had a real pleasant                 chat... But I can't remember a thing                 about him. For the life of me. Couldn't                 even tell you what color his eyes were.      She shrugs apologetically.                                                                 20.                          FRAN                Happen to see what he was driving?                           DOLLY                That one's easy. It's still in the lot.                    (they perk up)                The Bonneville out there with the awful                paint job.     She gestures to the lot, where an old PONTIAC BONNEVILLE sits,     its paint stripped down to the primer. Bingo.     Fran and Mackelway eye it, then one another.                                                       CUT TO:21   EXT. DINER - PARKING LOT - MOMENTS LATER                          21     Fran and Mackelway emerge, heading for the Bonneville.                          MACKELWAY                We ought to work out some kind of                protocol.                            FRAN                For what?                          MACKELWAY                Interviews. Witnesses. Looks pretty                silly, our talking over one another.                          FRAN                Fine. I'll handle them from now on.     He doesn't argue. They come to a stop at that Bonneville,     stripped down to its primer. Time to work...     Two agents, all instinct. We see them study things, details,     their minds always churning... Mackelway pulls out his Minox,     snaps off a few more shots. Then:                          MACKELWAY                Trunk's ajar.     She turns. Sure enough, the Bonneville's trunk is ajar.     Mackelway approaches, cautiously.     He doesn't have gloves on him, so he uses his jacket pocket to     protect against prints. He opens the trunk.     First thing he sees is that SYMBOL again: a circle-with-a-     slash-through-it... staring right at him.                                                                 21.     But this time, it's been carved into somebody's back.     Mackelway stares. So does Fran. Before them lies a body,     stripped to the waist: a chunky middle-aged MAN. Dead.     Mackelway sighs. Things just got tougher...                                                      CUT TO:22   INT. ARCHER COUNTY MORGUE - DAY                                   22     Harold Speck lies on a table. A BESPECTACLED CORONER examines     him. Victim #2, BARNEY FULCHER, lies on another, his ample     frame yet to be examined.     The lights are out, but that Coroner wears a FLUORESCENT HALO,     with a MICROPHONE pinned to his gown. He speaks into it with a     quiet monotone: anatomical terms, etc.     Mackelway and Fran are here... watching. Mackelway is     particularly focused on Fulcher's face. His EYELIDS, we now     see, have also been torn off. Hmmmm...                          FRAN                Why eyelids?                          MACKELWAY                Huh?                          FRAN                No other signs of torture here. Why take                somebody's eyelids off?                          MACKELWAY                So they can't blink.     She sighs, aloud: "I know that already, Asshole." Coroner     keeps his head down, speaking into that microphone.                          MACKELWAY (CONT'D)                It's a metaphor - to make certain the                victim sees... or to make certain that we                see something.                    (she's silent)                Or maybe it's just a fuck-you.     Coroner continues his monotone narration... then crosses to     the sink.     That puts him out of earshot. So:                                                                  22.                          MACKELWAY (CONT'D)                    (to Fran, quietly)                I'm sorry about Don.                          FRAN                    (thrown)                Huh?                          MACKELWAY                You're not wearing your ring anymore.     That was an attempt at kindness. She knows that. Still, she     eyes her left hand, self-consciously, while Mackelway loses     himself in those lidless eyes of Fulcher's...     Then there's a KNOCK AT THE GLASS WINDOW BEHIND THEM.     They turn. Charlton stands on the other side of a GLASS     WINDOW, in a VIEWING ROOM adjacent to this Morgue. He presses     a piece of paper up against the glass.     On it, in typed bold letters at the top, we read: "MATCHES     ONE OF ONE." Below that we see that Circle-with-the-slash-     through-it.     This is a FAX, which Charlton's just received. He points     further down on the fax at what look like little squiggles at     first, until we move in to discover it is a hand drawn street     map.     The ink bleeds a bit due to a poor fax transmission. Those     scrawled lines take us to "The Hope House," in Oklahoma City.     At the bottom a scribbled name, "David Dyson," and a contact     number.     Moving closer to the glass, Mackelway nods. He just got a     break...                                                        CUT TO:23   INT. GRAMMAR-SCHOOL AUDITORIUM - BOULDER, CO. - DAY                23     A CHOIR of FIRST AND SECOND GRADERS stands before a school     assembly. The rest of Boulder Elementary's student body fills     the seats in here, along with FACULTY MEMBERS.     Everybody's weeping. A framed picture of Barney Fulcher sits     on a stand, with candles around it:                          SINGING FIRST AND SECOND GRADERS                A-may-zing Grace, How sweet the sound--                                                                 23.     In the back, some of the TOWNSFOLK have gathered for this     assembly, touched. O'Ryan stands among them. No expression on     his face at all...                                                     CUT TO:24   EXT. "HOPE HOUSE" - OKLAHOMA CITY - NIGHT                         24     A three-story Victorian residence in decay, next door to a     CHURCH/SOUP KITCHEN in the middle of Oklahoma City's Skid Row.     Rain falls. The street is still.     Mackelway approaches this halfway-house. A few lights shine     within, and the blue glow of a tv. Upstairs can be heard the     strident, off-key voice of somebody singing.25   EXT./INT. HOPE HOUSE - DOORWAY - CONTINUING                       25     The front door is open. Through a SCREEN DOOR, Mackelway can     see an old-fashioned "foyer." He knocks. Waits.     Two sounds dominate: the buzz from that tv, and the strident     singing, which we realize is an a capela version of "La Vida     Loca" audible through an open bedroom window.     But no one's coming to answer the door, and it's wide open     anyway... So Mackelway enters.                          MACKELWAY                Hello?26   INT. HOPE HOUSE - ENTRY - CONTINUING                              26     TV room is to his left. There, a single 35 year-old DRUNK/     TRANSIENT (we'll call him "PIPER") sits, watching "Behind the     Music" on VH1. Tonight's subject? Leif Garret...     Piper doesn't look up, or acknowledge Mackelway at all. Rather     he INCREASES THE TV VOLUME to drown out the singing upstairs,     which seems to be intentionally off-key.     Torn couches, stained carpet, cracked window. Posters and     fliers on the walls. 10 BEDROOMS upstairs.                          DYSON (O.S.)                Agent Mackelway?     Mackelway turns. Descending a creaking stairway is DAVID     DYSON: 50, lean, with a friendly smile.                                                      CUT TO:                                                               24.27   INT. HOPE HOUSE - BASEMENT - MOMENTS LATER                      27     We are staring at a BASEMENT WALL that has been covered, floor     to ceiling, with 1,000 identical renderings of that same     symbol: the CIRCLE-WITH-A-SLASH-THROUGH-IT.     1,000 of them, in bright red paint, against pitch black     enamel. Only a machine could have achieved this kind of     repetition. Or a maniac.     This basement is leaky, drafty, poorly lit. But it's also     quiet: the sound of that awful singing upstairs has been MUTED     by the basement door and the rain itself.                          DYSON                Benjamin spent hours down here.     Mackelway takes it all in, every corner of this basement. He     notes a row of standing GYM LOCKERS.                          MACKELWAY                    (re: lockers)                Did he have access to those?                          DYSON                No. They're staff-only.                          MACKELWAY                Would you mind opening them for me?     Dyson shrugs; he thinks it's a waste of time - but he'll do     it. Mackelway follows him across the dank room.                          MACKELWAY (CONT'D)                He was here... seven years you said?                          DYSON                Off and on. It's not uncommon for our                guests to vanish for months at a time.     Dyson works a combination lock on the first locker.                          MACKELWAY                I ran the name through our database, just                to be sure. There's never been an Agent                Benjamin O'Ryan in the Bureau.                          DYSON                No... but as elaborate fantasies go, it                was one of my favorites.                    (fondly)                And he always seemed so sincere about it.                                                          25.Dyson half-chuckles; he always liked the guy... He throws openthe locker. Inside, nothing. Mackelway indicates the nextlocker. Dyson works the combination.                     MACKELWAY           Is that what you called him? Benjamin?                     DYSON           It's what he wished to be called.Locker #2 is opened - also empty. Only one locker left.                     DYSON (CONT'D)               (re: locker #3)           That one's mine.Mackelway shrugs: "Sorry, it has to be opened." Dyson sighs,then works the combination. Mackelway waits.Locker #3 is opened. Inside, nothing incriminating: a sweater,some old junk, two trophies. Dyson eyes him: "See?" Mackelwaynods. Dyson shuts the locker.Mackelway looks to that wall: 1,000 copies of the circle-with-a-slash-through-it. No idea what they signify...                     DYSON (CONT'D)           He painted one of the walls in his room,           too.                     MACKELWAY           Can I see it?                     DYSON           We've painted it over.                     MACKELWAY           Still, might be helpful.Dyson heads for the stairs. They're wooden slats with morebasement-junk stored below: old sporting equipment, an oldvaccuum cleaner, broken chairs, rusted patio furniture.Mackelway follows. They climb...                     MACKELWAY (CONT'D)           Wait.They stop. Something just caught Mackelway's eye, visiblebeneath these stairs: a BOX, with a bucket of PAINT stickingout of it...                                                                26.28   INT. BASEMENT - BENEATH THE STAIRS - CONTINUING                  28     Mackelway climbs under the stairs, crouching down, pushing     aside all of the aforementioned junk. He grabs the box.     Sure enough, that bucket once held red paint - same color     O'Ryan used to cover that wall. There's also a bucket of BLACK     PAINT here. And some used brushes.     Mackelway brings the box into the meager light. We get a look     INSIDE IT now. So does Dyson.     Inside, beneath the paint-buckets, we see a few TV GUIDES, a     yo-yo, a football. Then a BOOK on TRIBAL RITUAL AND TRANCE.     Mackelway grabs it, eyes it.     He flips through a few pages - odd images: a TRIBESMAN with     eyes rolling back in his head, strange rites, etc.     Mackelway sets the book down. Then, amidst the other materials     in this box, he spots a large folded MAP.     He grabs it, begins to unfold it. We see that this map's been     written on, in pen. Cities on it have been CIRCLED.     But before we can get a good look at it, Mackelway spots     something else, at the bottom of this box, a shocker:     A photograph of himself.     It takes him a second to realize what he's looking at. But     there it is, a NEWSPAPER PHOTO, of Agent Thomas Mackelway.     It is part of a FRONT-PAGE STORY, dated July of this year,     concerning the trial and release...of Virgil Ray Starkey. #7     on the F.B.I.'s Most-Wanted List...     Dyson can't help but notice the picture of Mackelway.     Mackelway stares. Suddenly we JUMP BACK IN TIME, NINE MONTHS,     for a brief, choppy FLASHBACK.                                                                      2929   EXT. STREET - MATAMOROS - NIGHT - MACKELWAY'S FLASHBACK     We're RUNNING, dashing between two buildings of chipped-adobe,     hearing nothing but the sound of our own breathing and the     thuds of our own heavy feet.     This is Matamoros, Mexico, a shit-hole of a border town.     Squalor and sin. We find a DRUNK MEXICAN TEEN. He nods: "This     is the place," and sticks out his palm.                                                              27.30   INT. HOPE HOUSE - BASEMENT - RESUMING                          30     Mackelway stares at that newspaper: Starkey - rapist,     murderer, whose case was just thrown out of court - a stunning     failure for all involved.     ...as we RESUME MACKELWAY'S FLASHBACK - Matamoros again...31   INT. "CLUB" - BACKSTAGE - RESUMING FLASHBACK                   31     Bad-lighting, drunk patrons in a CIRCLE, and a DONKEY-SHOW     taking place on a bare stage. Feels like we've stepped into     some kind of evil carnival. It's dizzying.     Among the crowd: Virgil Starkey, in an ugly drunken binge, the     only guy in here who isn't cheering or laughing.     Suddenly our GUN is pointed right at his head.     Starkey freezes, caught. Some of the PATRONS around him find     somewhere else to stand... But the show goes on.32   INT. HOPE HOUSE - BASEMENT - RESUMING                          32     That ARTICLE gives us more detail now, the reason Starkey's     case was thrown out of court. It is this:     The F.B.I. Agent on the case had made a mistake in     "evidentiary procedure." Hence, Mackelway's picture.     On his face, we GO BACK TO ANOTHER MEMORY: six months ago.33   INT. COURTHOUSE - ANTEROOM - DAY - ANOTHER FLASHBACK           33     Three months have passed since the arrest in Matamoros. Now     Mackelway sits in this courthouse ANTEROOM, adjacent to a     courtroom. Four sour PROSECUTORS surround him.                          PROSECUTOR #1                D'you understand how fucked we are?                            MACKELWAY                Yes, Sir.                          PROSECUTOR #1                Leaving a tissue sample in the care of a                Mexican lab? Are you fucking kidding me?                          MACKELWAY                They assured me that they understood                protocol.                                                                 28.                          PROSECUTOR #1                Well guess what? They didn't. And this                prick's gonna walk, ten murders or not.     That registered.34   INT. HOPE HOUSE - BASEMENT - RESUMING                             34     Beneath this newspaper article are OTHER ARTICLES, all     concerning Starkey: his crimes, his capture, all of it.     Mackelway's memory just got stoked again:35   INT. COURTHOUSE - HALLWAY - RESUMING FLASHBACK                    35     Mackelway emerges from that courthouse anteroom, whipped.     The hall's busy with MEDIA and other traffic. First face he     sees is Fran, who sits on a bench, (wedding ring ON). Her eyes     say how lousy she feels for him. It almost helps.36   INT. COURTHOUSE BATHROOM - CONTINUING FLASHBACK                   36     The door bursts open and Mackelway storms in. No need to look     composed now; he's alone in here. He crosses to a paper-towel     dispenser, SLUGS IT. Stares in the mirror.     He's livid, embarrassed, frustrated - can barely look at his     own reflection.     Then he hears LAUGHTER, behind him. He turns.     Out of the darkness of a badly-lit STALL, Virgil Starkey     emerges, coming into view under a single light.     Beside him is a GRIM COP, his chaperone. Starkey passes by     Mackelway, almost snickering. Then he's gone. Mackelway shuts     his eyes tight. His head is pounding. END FLASHBACK.37   INT. HOPE HOUSE - BASEMENT - RESUMING                             37     Mackelway stares... at a record of his deepest wound. But what     the hell is it doing in the locker of a transient?                                                       CUT TO:38   INT. HOPE HOUSE - "O'RYAN'S ROOM" - MOMENTS LATER                 38     Mackelway leans in, looking around. A bed. A small end-table.     Bathroom. A window without bars.                                                               29.     From down the hall we hear the sound of a PHONE RINGING, then     a FAX transmission. An old fax machine begins to whine     noisily, creaking. It's a distraction.     But Mackelway's focus is in this room. The walls have been newly     painted. But there's a hint of barely-perceptible color     beneath one of them. Rain from a LEAKY ROOF is causing some of     the new paint to peel a bit.     A BUCKET collects drops in the center of the room. The feeling     in here is damp, mildewy, creepy. Mackelway remains in the     doorway... then backs out.                          DYSON (O.S.)                I guess you fellas're never unaccounted                for, huh?39   INT. HALLWAY - CONTINUING                                       39     Mackelway turns, a bit startled. Dyson is approaching, FAX in     hand.                            MACKELWAY                Huh?     Dyson extends six pages. On the TOP-SHEET, written by hand,     are the words: "Agent Thomas Mackelway, C/O Mr. David Dyson,     Hope House" with a street address.     And under that top sheet? Five more pages.     Mackelway sighs, takes them from Dyson. Sure enough, he's     staring at five more faces, five more fact sheets. Five more     HAVE YOU SEEN ME's.     But how would anyone know to send them here?                          DYSON                Anything urgent?                            MACKELWAY                      (doesn't look up)                No.     Dyson is glad to hear it.                                                     CUT TO:40   INT. HOPE HOUSE - FOYER - MOMENTS LATER                         40     Mackelway descends, having had quite enough of this place.     Piper is where we left him, watching VH1 in the TV Room.                                                         30.Mackelway passes, eyeing those newly-faxed pages: five moreHAVE YOU SEEN ME'S... He reaches the door.                        PIPER              Ever seen a fifty-foot shark?Mackelway stops, turns.                        MACKELWAY              I'm sorry?                        PIPER              Fifty-foot shark. Ever seen one?                        MACKELWAY              No.                        PIPER              Doesn't mean there aren't any.Great. Mackelway reaches for the front door again. Then hehalts. Maybe this guy can be helpful. Mackelway turns:                     MACKELWAY           Did you know him?               (Piper's silent)           The guy who used to stay upstairs.           "O'Ryan." Did you know him?                     PIPER           Why? Is he dead?                       MACKELWAY           I don't...                     PIPER           You said "Did." Is he dead?                     MACKELWAY           Oh. I mis-spoke. No, he's not dead...               (a beat)           You know him?Piper nods.Mackelway eyes him, then approaches, holding up a copy of thatimage: the circle-with-slash-through-it.                        MACKELWAY (CONT'D)              He ever talk about this? A circle with a              slash through it?                                                                 31.     Piper rises, crosses to us... leaning in unnecessarily close.     It's unsettling.                          PIPER                That's not a circle. It's a zero.                          MACKELWAY                Oh. How do you know?     Piper doesn't answer. Instead he simply starts whistling.     But it's not a tune coming out of his mouth. It's that same     sound that O'Ryan made: A WHISTLING WIND, blowing through a     ghost town... Building, then falling again.     Piper smiles, backing away, enjoying the theatricality of it,     stifling a giggle...     Then, suddenly, everything turns GRAINY, CHOPPY...     We've jumped into a distorted, REMOTE POV of this same scene -     as if watching it through a crystal ball, or a broken lens, or     a distance of time and space...     We see images, fragments: Piper, the tv, the sofa, Mackelway's     face. Then all sound breaks up, and we are...41   INT. MOTEL ROOM - SLEEPER, MISSOURI - CONTINUING                  41     Start on O'Ryan's EYES. Then a pad of paper. The spasm of a     pen, scrawling a LIST on to it: "Piper. TV. Whistling." We're     in another non-descript MOTEL ROOM. $29 a night.     He holds down the point of his pen on a wavy line beside that     list of words, keeping it there for a few seconds, as if     expecting to receive some kind of pulse from it.     No more pulse. He has lost the "connection" that had somehow     transported him. He notes his watch. Jots down the exact time.     Slips the pad into that FOLDER: "Mackelway."     Then he starts to DRAW - a hurried but accurate sketch of     Mackelway and Piper, just as they stood during that     conversation. The geography is fairly accurate.     O'Ryan continues to draw. We CRANE OUT of this motel room, to     find, on the street below:42   EXT. A BAR - SLEEPER, MISSOURI - CONTINUING                       42     A typical honky-tonk in a town called Sleeper, Missouri. Just     across the street from O'Ryan's cheap motel...                                                                32.43   INT. BAR - SLEEPER, MISSOURI - CONTINUING                        43     Low-lights, dust on the floor. Pool tables.     LORETTA is a pretty 19-year-old who stands at the jukebox,     weighing her choices. She's got a thick curtain of hair, which     she wrangles with a CHIP-CLIP. It's a habit.     She chooses a country-rock tune, then heads for the bar,     walking to the beat. It's fun being 19 and beautiful.44   AT THE BAR - CONTINUING                                          44     The BARTENDER'S a stocky guy with a broad smile.                          LORETTA                    (re: song)                How's that?                          BARTENDER                Little cute for my taste, but I can stand                three minutes of it.                          LORETTA                I'll have a seven and seven, please.                          BARTENDER                Seven and seven. Got some i.d.?     She half-laughs, as if she hasn't been carded in a decade, and     throws that curtain of hair from one side to the other, re-     fastening that chip-clip. It's her best move.                          LORETTA                It's in the car. No one's asked me for it                for a couple years now.                          BARTENDER                If ya hurry, you'll still catch the end                of the song.     She eyes him: are you really carding me? He smiles: nothing     personal, Sugar. So she heads for the door.     ...on her way, she passes a booth. In it we find a familiar     face - Virgil Ray Starkey...     He remains still, as if he hadn't noticed her. But behind     his eyes, something primal just took place. He rises, heads     for the door.                                                                 33.45   EXT. BAR - MOMENTS LATER                                          45     Loretta walks to her VW Bug. Starkey exits the bar. She     doesn't notice. We TILT UP: the lights are off in O'Ryan's     motel room...46   EXT. AT LORETTA'S CAR - MOMENTS LATER                             46     It all happens pretty fast: That chip-clip hits the ground     beside the open VW door. A battered PICK-UP speeds away,     kicking up gravel.                                                      CUT TO:     ...Loretta's eyes, wide with terror and dread.47   INT. STARKEY'S PICK-UP - MINUTES LATER                            47     We're off-road. Missouri's woods can be seen through the     windshield. And Starkey is staring at us. Pawing at us...                          LORETTA                Please, Mister...     Starkey's hand shoots out, banging Loretta's head against the     window, hard. That makes things start to swim. Starkey tears     at her clothes, lowers himself on to her.     She whimpers. WE CARRY THE SOUND OF IT INTO:48   INT. MACKELWAY'S APARTMENT - SAME                                 48     This is where you go when you've just moved to Wichita Falls     and money's tight: spotty shag carpet, chipped Formica kitchen     table, scuffed blinds.     ...and one sleepless agent, having one lousy night.     Mackelway sits on the edge of his bed, almost able to hear     Loretta's helpless cries. Some nights are like this. His head     is POUNDING again. Down go four more Bufferin.     Above him, covering the bedroom mirror, is the MAP he took     from that Hope House basement. O'Ryan's map, UNFOLDED.     It's HUGE: 6-feet-wide, 4-feet-tall, obscuring the mirror.     As we glimpsed while still in that basement, this map his been     written on, in pen. O'Ryan's notations cover it:     Over a THUSAND CITIES on it have been CIRCLED, by hand, in     RED. Each of those circled cities has a DATE written beside     it, also in red: ("4/6," "5/19," "10-26," etc.)                                                                 34.     Mackelway studies it, his face working. Another of those     WHIMPERS from Loretta seems to hang, suspended. Mackelway     shakes it off, certain that he's imagining it.     He won't sleep a wink tonight. We LEAVE HIM, returning to:49   INT. STARKEY'S PICK-UP - RESUMING                                 49     The attack continues, its terror unimaginable. Loretta sobs.     It hurts. Starkey's too powerful to fight off. We stay on her     face: dazed, her mind simply checking out.     ...until a look of cognizance comes over her, brought on by a     SHADOW that just passed by.     Then the window behind Starkey simply EXPLODES.     Glass flies everywhere, and TWO ARMS reach into the pick-up.     They grab Starkey by the neck and yank him out of the pick-up,     his back sliced open by shards. He screams.     She can't resist coming to the window, where she sees:50   EXT. WOODS - STARKEY'S PICK-UP - CONTINUING                       50     Starkey lies, face up. Shocked. Squirming. Bleeding. Standing     over him, looming large as a Grizzly... is O'Ryan. A long     HUNTING KNIFE extends from his hand.     But his tone, to our great surprise, is conversational:                          O'RYAN                Hey, listen, I'm sorta new in town. Ya                know where I can find a good donkey show?     Starkey has no idea how to respond to this maniac:                          STARKEY                Huh?                          O'RYAN                Oh. Forgot. Wrong country... In America                animals have rights.                    (pointedly)                Don't they, Virgil?                          STARKEY                How the fuck should I know?     O'Ryan half-smiles, then kicks Starkey right in the head.     Loretta's eyes go wide. Another kick follows, to the ribs.     Then one to the groin. Then:                                                                 35.                          O'RYAN                    (at Loretta)                Turn around.     He said that without looking at her. But he can tell that she     hasn't moved - too frightened. So he eyes her.                          O'RYAN (CONT'D)                    (again)                Turn around!     She turns away, lying face down on the seat, covering her     head. No idea what kind of terror is to come next. We STAY     WITH HER... able only to hear what follows:     The sound is animal, awful - like a pig being gutted - a     horrible SQUEAL, covering the GRUNTS coming from O'Ryan.     In goes the knife again, prompting another agonized cry from     Starkey. Loretta's crying too: from fear, shock... She keeps     her face buried, shutting her eyes tight. The sounds of     savagery fill the night.     Then, one last gasp from Starkey... followed by an awful     silence... and the assault is over.     Loretta's too afraid to look up - certain that the maniac with     the knife will be coming after her next.     But then she hears FOOTSTEPS, trailing away. So she rises,     peeking over the edge of the window. WE STAY ON HER FACE, as     she sees what's become of her attacker.     Her horrified SCREAM fills the woods...51   INT. MACKELWAY'S APARTMENT - BEDROOM - RESUMING                   51     Mackelway STARES out the window; seems like he just HEARD that     scream. Of course, that'd be impossible. He looks to that map.     His PHONE RINGS. He eyes it, unsurprised...                                                       CUT TO:52   EXT. WOODS OUTSIDE SLEEPER, MO. - LATER                           52     Law enforcement VEHICLES surround the site. COPS, Grieves,     CORONER'S GUYS taking pictures. Loretta is sitting on the back     of an ambulance, being tended to.     A COMPOSITE ARTIST sits beside her, trying.                          LORETTA                I don't think the eyes are right.                                                          36.                       COMPOSITE ARTIST           Narrower?                     LORETTA           No, they were... I don't really know.Composite Artist keeps trying, but his attempt doesn't lookanything like the face of O'Ryan.Charlton, meanwhile, stands over the body, mind racing.A Missouri Highway Patrol car pulls up. Mackelway steps out ofit. We follow him as he takes in the scene.A FLASHBULB illuminates Starkey's CHEST; is got a zero-with-a-slash-through-it. But Mackelway hasn't seen the guy's faceyet.                       MACKELWAY           Sir?               (Charlton turns)           We got an i.d. yet?                     CHARLTON           Mmm-hmm.               (Mackelway waits)           Might wanna find yourself a fender.           You're gonna need to sit down.               (Mackelway's still waiting)           It's Virgil Ray Starkey.Mackelway pales.We stay on him for a moment as it registers. The man hecaught, and then lost, has killed again. No. God, no.                     MACKELWAY               (struggling for composure:)           Starkey did this?                     CHARLTON           No. Starkey's the one on the ground.Mackelway pauses, thinks he must've heard wrong. But he turnstoward the face, as ANOTHER FLASHBULB illuminates it, searingthe image into the darkness. Starkey. Dead. His eyelids rippedaway.Mackelway stares, stunned. Can't fucking believe it.                     MACKELWAY               (breathless)           My God...                                                                  37.     It's like looking at a ghost - a spectre that's been haunting     him, dead now... Mackelway pulls out his Minox, starts     photographing, moving in on those LIDLESS EYES...                          GRIEVES                Gonna make a wallet-size of that one?                          CHARLTON                Give him a break, Grieves.     Mackelway doesn't comment. Just keeps snapping shots...                                                        CUT TO:53   INT. FBI OFFICE - MACKELWAY'S CUBICLE - MORNING                    53     The number of HAVE YOU SEEN ME's has now grown, quite a bit.     45 PAGES sit stacked on Mackelway's desk. 45 victims. He grabs     the stack, rises.     Heading for the Conference Room, he nearly bumps into Katie,     the Receptionist, rounding a corner.                          MACKELWAY                'Scuse me.     She smiles. He carries the HAVE YOU SEEN ME's into:54   INT. FBI OFFICE - CONFERENCE ROOM - CONTINUING                     54     A room has been dedicated solely to those three murders. On an     erasure board are the words: The "O'Ryan" Room.     On one wall is the MAP Mackelway took from Hope House: over a     thousand CITIES circled by O'Ryan himself.     Mackelway puts down the stack of HAVE YOU SEEN ME's. Picks up     a box of YELLOW STICK-PINS, affixing them to the map - one for     every faxed face.     Here's "Jason Corey, Age 14." Last seen in "Riverside, Ca." on     "10-16-99."     Sure enough, O'Ryan had circled "Riverside, Ca." on this map.     Next to it he'd written "10-16."     Mackelway sticks a yellow pin in Riverside.     Next, the fax concerning "Anna Casitas, Age 22." Last Seen?     "Macon, Ga." on "5-6-00."     Of course, O'Ryan had circled "Macon" too. Beside it he'd     written "5-6." So Macon gets a yellow pin.                                                         38.Mackelway continues, as:                     FRAN (O.S.)           Got nothing on the last fax.Mackelway turns. In comes Fran.                     FRAN (CONT'D)           Came from a business center at a Mariott           in Dallas. Nobody saw who sent it.Mackelway nods. Then they both turn... Charlton enters theroom.                     CHARLTON           Whadda we know about the map?                      MACKELWAY           It matches the faxes, Sir. Almost           perfectly.Charlton approaches the map: 1,242 cities, circled in red.Mackelway continues with the yellow pins: one for every HAVEYOU SEEN ME? (45 of them so far.)Charlton eyes the stack. 45 HAVE YOU SEEN ME's... Then themap: 1,242 cities. Each with a DATE beside it.                     CHARLTON           Why's Greenville in blue?(Mackelway has put a yellow pin beside a dozen cities... buttiny Greenville, Texas has a BLUE PIN beside it.)                     MACKELWAY           Only city where the date on the fax and           the date on the map didn't correspond.He pulls out a fax from the stack: a Korean boy named "StevenKim. Age 16. Last Seen: Greenville, Tx. Date of Disappearance:8-7-98."                     MACKELWAY (CONT'D)           Fax lists the date of disappearance as           August 7. On the map he's written "10-           26."The DATE on O'Ryan's map reads "10-26" beside Greenville, Tx.So Greenville gets the only blue pin on this map.Charlton notes today's date: October 17...                                                                39.                          CHARLTON                Any of these bodies been recovered?                          MACKELWAY                Two so far. Female, disappeared from                Dayton, Ohio on April 12. And a male,                Trenton, New Jersey, January 5th.     On the MAP, Dayton's got "4/12" written beside it. Trenton has     "1/5." Both have yellow pins in them.                          MACKELWAY (CONT'D)                But both bodies were found over a                thousand miles from where they'd last                been seen. One in Montana, the other in                Oregon. Got autopsy reports on both.     Charlton looks to the table, where AUTOPSY REPORTS and AUTOPSY     PHOTOS sit - two victims we've never seen before.     We see the VICTIMS photographed face up, face down, waist and     above, waist and below. Charlton gives the photos a cursory     glance, nothing more.     But we notice something, on one of the bodies: the male from     Trenton - an odd BURN MARK on his lower left calf.     Looks almost symmetrical, horizontal across the calf...                          CHARLTON                Either of the bodies have the zero on                them?                           MACKELWAY                No, Sir.     Charlton, frustrated, SHOVES THOSE AUTOPSY PHOTOS ASIDE. We     look to that MAP, a handful of yellow pins in it...                                                 DISSOLVE TO:     ...that same map, over a HUNDRED YELLOW PINS in it now.55   INT. FBI OFFICE - "O'RYAN ROOM" - NIGHT                          55     It's 8:30 at night. Mackelway is alone in here - staring at     the map. He's been doing a lot of that lately.     The stack of HAVE YOU SEEN ME's has grown as well. Every one     of them corresponds to a yellow pin on the map.                                                           40.(Some of the HAVE YOU SEEN ME's have arrived via U.S. MAIL. Wesee a stack of ENVELOPES in a box, each sealed in PLASTIC,each stamped and addressed to Mackelway.)Mackelway eyes the map, puzzling. Fran's right beside him.Assorted papers and leads fill this room, including photos hetook himself with that Minox.                      FRAN           Why you?                      MACKELWAY           Huh?                     FRAN           He could be sending these to any agent in           any office in the country... But he's           sending them to you. Why?Mackelway's been asking himself that same question lately.                     MACKELWAY           I don't know.PHONE RINGS. She grabs it.                     FRAN (INTO PHONE)           This is Agent Kulok.               (a beat)           Who's calling?She hears the answer, then covers the phone.                     FRAN (CONT'D)               (to Mackelway:)           Do you know a professor named Daitz? Says           he's from Tulane.                     MACKELWAY               (eagerly)           Yeah. Criminal Psych. I've been trading e-           mails with him.                     FRAN (INTO PHONE)           One moment, please...She hands him the phone...                                                 CUT TO:                                                                 41.56   EXT. TULANE UNIVERSITY - ESTABLISHING - NIGHT                     56     A beautiful campus, quiet tonight. In its center lies a vast,     expensive structure - the Behavioral Sciences Building. The     place goes on forever.57   INT. TULANE - BEHAVIORAL SCIENCES BUILDING - SAME                 57     Mackelway exits an elevator on the "B-1 Level." Corridors     octopus their way from these elevators, confusing us...58   INT. BUILDING CORRIDOR - MOMENTS LATER                            58     Every door looks the same. Mackelway follows the numbers -     can't believe how long these hallways are. Turns a corner.     Air can be heard, moving through the corridor. But he has     found the right number, at last.     A tiny CARD fastened to a wall reads, "Dr. Emile Daitz,     Professor Emeritus, Criminal Psychology." It also lists his     office hours. Mackelway knocks at a door.                          MACKELWAY                Professor Daitz?                          O'RYAN (O.S.)                Yes?     Mackelway opens the door. Looks inside.     Here sits O'Ryan, looking as much like a tweedy professor as     he can look. He rises, smiles warmly.                          O'RYAN (CONT'D)                Agent Mackelway. Come in...                                                      CUT TO:59   INT. DAITZ' OFFICE - LATER NIGHT                                  59     A tiny, cramped hovel. Books, papers, and all of it jammed to     overflowing. Mackelway sits across from O'Ryan...                          O'RYAN                    (as "Daitz:")                ...The name of this theory was "Suspect                Zero."                    (Mackelway nods)                The idea of Suspect Zero posits that if a                serial killer were diabolical enough, he                could traverse the country without ever                being caught, killing randomly.                                                         42.There's a COLLECTION here in a glass case: ANCIENT WEAPONS -crude knives, swords, blow-darts. Mackelway notes them.                     O'RYAN (CONT'D)           Tell me, what makes a killer catchable?                     MACKELWAY           Patterns, repetition of behavior.                     O'RYAN           Now imagine a killer with no patterns, no           tell-tale fetishes, no rituals, no hidden           desire to be caught. A perfect vessel of           evil, killing without ever leaving a           single meaningful clue in his wake...           He'd be immune to capture, wouldn't he?           Your task forces, your forensics teams -           they'd be helpless.Mackelway looks over Daitz' bookshelf: volume after volumeabout evil, the devil, the minds of sociopaths, the history ofserial-killers, ritual killers, tribal rites...                     MACKELWAY           Is that something you believe in,           Professor? Evil?                    O'RYAN          As a citizen of the world, it's hard not          to. Wouldn't you say?              (Mackelway can't argue)          Evil is all around us, I think - a part          of the natural order of things. Like          gravity. Like wind. A vast black wave,          corrupting everything it touches. A virus          invades a cell, causing it to          dysfunction. Perfectly logical. But did          it ever occur to you that something may          have invaded that virus, something          capable of using it to mutate so          powerfully?Mackelway pauses, considering that.                     O'RYAN (CONT'D)           Just because something's invisible to us           doesn't mean it doesn't exist.Mackelway is silent: Something's off here. But he can't sayfor sure just yet what it is...                     O'RYAN (CONT'D)           Have you ever seen a fifty-foot shark?                                                         43.That wasn't just the echo of a question he's heard before; itwas a red flag. A big one. Mackelway tightens.                        MACKELWAY           I'm sorry?                     O'RYAN           A shark, as we know, will only attack           humans if he runs out of food. But           biologists have theorized that for a           shark of fifty feet the ocean would be an           endless buffet. He'd never run out of           food, so he'd have no need to come to the           surface. Consequently, we would never see           him. Do you follow?               (Mackelway doesn't)           We'll never see one. But that doesn't           mean they don't exist. Hence Suspect           Zero.Mackelway eyes those books on evil, then those ancientweapons... Casually, almost imperceptibly, he reaches for hissidearm, as O'Ryan continues:                     O'RYAN (CONT'D)           Some of my colleagues think I'm           fascinated with evil. I think the truth           is just the opposite: evil is fascinated           with us. What better vehicle could there           be for creating havoc in the world - what           better instrument - than Man? We're vain,           we're stubborn, we're deceitful, we have           an imagination that is limitless in its           perversions. Of course Evil keeps trying           to harness us. Wouldn't you?The more he talks, the closer Mackelway comes to extractingthat gun...Then, disturbing the silence, a KNOCK at the door.                     O'RYAN (CONT'D)           Excuse me.O'Ryan rises, goes to the door... as Mackelway unholsters hisgun. O'Ryan opens the door. Standing here is a COED, with abackpack. She looks confused.                     COED           Oh. I'm sorry. I was looking for           Professor--                                                                44.     Just like that, O'Ryan has bolted past the Coed, literally     tossing her onto Mackelway, exploding into the hall.     She screams. Mackelway grabs her, moves her aside as gently as     time allows, then blows out of the room...60   INT. BUILDING - BASEMENT CORRIDOR - CONTINUING                   60     O'Ryan turns a corner, vanishing. Mackelway follows.61   INT. BUILDING - CORRIDOR CORNER - CONTINUING                     61     Mackelway finds himself facing another endless corridor: One     door after another, for what seems like a mile. But no O'Ryan.     Then Mackelway spots an EXIT SIGN. A stairwell...62   INT. STAIRWELL - CONTINUING                                      62     Mackelway enters. The stairs go six stories UP from here...     and one story DOWN. A sub-basement.     It's a guess. He descends, gun drawn.63   INT. SUB-BASEMENT - CONTINUING                                   63     Mackelway emerges. "B-2" looks a lot like B-1: long and     endless. We hear air moving around us, pipes carrying water,     the wheezing of an old generator...     And, on all sides of us, DOOES, a mile of them: maintenance     offices, supply rooms, labs. He opens one - a janitor's     supply. No one in here.     Tries another door. Locked. A second. Locked. A third. Locked.     Air sucks through a corridor around us. He thinks he hears     footsteps around a corner. Runs at them.64   INT. SUB-BASEMENT - CORNER - CONTINUING                          64     Nothing. No one. Just another vast corridor. More doors.     Then, a sound. GLASS, shattering on the floor. He runs down     the corridor, passing a long metal CAGE that houses this     building's FIVE FURNACES. They're old and wheezy.     It's dark behind them, shadowy. Not a bad place to hide.     Farther down the corridor is another door - made of frosted     glass. A sign on it reads "Neuropsychiatric Lab." That's where     the sound came from... he thinks.                                                                 45.65   INT. SUB-BASEMENT - LAB - CONTINUING                              65     Mackelway enters. The lab is dark. He throws on every light     switch within reach... and finds himself standing over the     shards of what used to be a GLASS BEAKER.     So he's in the right place. He scans it: five rows of work-     stations, ten microscopes per row, each with a sink beside it.     Lining the walls are wide CABINETS.     But there's also a MINI-LIBRARY down here: Four rows of     BOOKSHELVES, housing medical journals. These are the "stacks" -     perfect for hiding behind.     He plunges in. Row #1. Doesn't see anyone. Then Row #2, Row     #3, Row #4. Okay, the stacks check out...     He walks along the rows of work-stations, scanning, crouching,     nudging open cabinets. One has been opened:     Bottles of SOLUTIONS sit inside it. And a JAR that's been     unsealed: It's got GAUZE PADS in it...     In the back of the room, an INSTRUCTOR'S DESK awaits. It's     tall enough to hide beneath. Mackelway slinks around it.     Kneels down, looking into darkness...     Then, a NOISE. The FRONT DOOR of this lab just swung open...     And O'Ryan just bolted out. Fuck.66   INT. SUB-BASEMENT - CORRIDOR - CONTINUING                         66     Mackelway emerges from the lab. Those furnaces whine beside     him on the other side of that cage. But a GATE on that cage     has been left ajar...67   INT. "FURNACE ROOM" - CONTINUING                                  67     Five furnaces, separated from the sub-basement corridor by     steel mesh. Mackelway enters. A few meager BULBS burn.     He moves amidst shadow and noise: the chugging of engines, the     humming, the wheezing, a slight vibration to the floor beneath     us. He walks along the edge of Furnace #1...     ...and is assaulted, from above.     O'Ryan falls on him, knocking Mackelway hard into the sharp     CORNER of that furnace, then down to the ground. Mackelway's     gun skids across the floor.     And his mouth, suddenly, has been covered with gauze.                                                                46.     He wants to fight back... but suddenly he finds that his head     is swimming. Something's on that gauze. The room is getting     fuzzy.     We see the belly of a furnace - flames, heat. Then our own     BLOOD... (Mackelway's CHEST was torn open by the corner of     that furnace.) Wait. Did we just see the glint of a KNIFE?     O'Ryan is leaning over us, in utter control.     Then O'Ryan's head turns, abruptly - at the sound of     FOOTSTEPS. And we hear:                          MALE VOICE (O.S.)                Hey! You! What're you doing down here!     We turn, groggily. TWO JANITORS rush toward us, keys jangling.     It's all foggy, wavy, distorted.     We see O'Ryan RISE. Then everything goes black...                                                      CUT TO:68   INT. A HOSPITAL ROOM - MORNING                                   68     Mackelway's head is ringing. Feels like he can hear     electricity in the walls around him. Slowly, he awakens. Above     him are fluorescent lights. Monitors blink...     Fran is here. So's Charlton. Mackelway tries to sit up. The     shock of pain from his chest stops him.                          FRAN                How ya doin'?     Mackelway half-nods. His chest is bandaged.                          CHARLTON                We're gonna need everything you can                remember about this guy, Tom. Physical                description, any kind of distinguishing                characteristics.     That was terse. Charlton looks pretty pissed-off.                          MACKELWAY                    (scratchy)                Where is he?                          CHARLTON                The suspect fled. Couple janitors walked                in on it.                    (before Mack can ask:)                          (MORE)                                                         47.                     CHARLTON (CONT'D)           They're fine. But the description they           gave of him wasn't worth a damn.Mackelway nods.                     CHARLTON (CONT'D)           Case you're curious the real Professor           Daitz is on sabbatical, out of the           country. We can't find him.               (Mackelway nods)           Whose idea was it to meet there?                       MACKELWAY           His, Sir.                     CHARLTON           Uh-huh. Did he ask you to come alone?                       MACKELWAY           No, Sir.                     CHARLTON           But you figured you'd get a bigger pat on           the head if you wrapped this whole thing           up without any help - is that it?The truth? Charlton has him pegged. But:                     FRAN           Sir, I'm the one who took the call. Agent           Mackelway was acting under the assumption           that I'd already checked the guy out.           We're both to blame.Hold it. That was a major exaggeration, if not an outrightlie. Mackelway eyes her, thrown. She's poker-faced.Charlton, however, seems unmoved...                     CHARLTON           Did Agent Mackelway attend the interview           unaccompanied?                     FRAN               (reluctantly)           Yes, Sir.                     CHARLTON           Then whose fuck-up is it?Mackelway eyes her: "Thanks for trying." She nods.                                                                 48.                          MACKELWAY                    (at Charlton)                It was... poor judgment, Sir.                          CHARLTON                You wanna work alone, start your own                agency.     Mackelway can do nothing but nod. Then, bailing him out,     another COMPOSITE ARTIST enters, tools in hand. Charlton     sighs, frustrated.                          CHARLTON (CONT'D)                    (re: Composite Artist)                Let's get you two started.     Composite Artist is ready to begin...                                                       CUT TO:69   INT. BAPTIST CHURCH - DAY                                         69     A lively Sunday Service. Lots of Baptists, singing a rousing     spiritual. Music and praise filling the room.     We move along the pews, until we came to the very back row...     There, one man sits. Alone. Quiet. O'Ryan.     Odd expression on his face - it's as if he can't hear this     rousing music, or feel the power of this place. People in the     next row are stomping their feet. Music soars.     But O'Ryan just drops his head, slowly... and begins to WEEP     in the middle of this boisterous congregation.     Outside, an 18-WHEEL TRUCK can be heard, rumbling by with     great force. No one else in here seems to hear it.     But O'Ryan shuts his eyes tight, grieving, sobbing...70   EXT. STREET - OUTSIDE THE CHURCH - CONTINUING                     70     That TRUCK has just thundered by, leaving a swirl of debris in     its wake. We TILT UP from it... to find that those STORMCLOUDS     once in the distance are upon us now.     And they are pulsing with menace. Rain, wind, lightning,     thunder. Like a black wave, about to descend...71   INTERCUT WITH/INT. FBI OFFICE - "FAX ROOM" - SAME                 71     One of those five FAX MACHINES begins to ring. Then it begins     to PRINT.                                                               49.     It's a Sunday. No one's here... but we get a look at what's     coming in. Same TOP-SHEET again: "Attention Agent Thomas     Mackelway" etc.     CONTINUE INTERCUT: this incoming fax, set against a few     tableaus of Americana. Innocence...72   EXT. HIGH SCHOOL FOOTBALL STADIUM - SAME                        72     A high school MARCHING BAND is out here, practicing.     Cheerleaders work on their routines nearby.     Then a LOUD WHISTLE SOUNDS. It's the BAND-LEADER, who is     taking note of the weather gathering overhead. The music from     the band ceases.                          BAND-LEADER                Everybody into the gym!     The band-members start to move. LIGHTNING erupts overhead.73   EXT. UNIDENTIFIED HOME - BACKYARD - SAME                        73     An unnamed MOTHER emerges onto her back-porch, where her FIVE-     YEAR OLD DAUGHTER is having a playdate with a FRIEND.     This house borders a wooded area. That wind is starting to     make the trees swirl.                          MOTHER                Girls, I want you to come in now.                Startin' to rain.     The girls sigh, disappointed, deciding instead to hide     themselves inside the TENT they've erected out here.     They giggle. The mother doesn't. CONTINUE INTERCUT:74   INT. FBI OFFICE - "FAX ROOM" - RESUMING                         74     That fax is now printing page after page. Photos with HAVE YOU     SEEN ME? across the top and vitals across the bottom.     But this time the transmission isn't stopping at five. There     are at least TEN sitting in the tray. Maybe twenty. Faces.     Eyes. Stats. Locations. Innocence violated...75   EXT. PARK - SAME                                                75     A SOCCER GAME's been called in the middle of the Second Half.     PARENTS and their uniformed 12 YEAR-OLDS scatter.     RAIN is pouring down now, blown sideways by that wind.                                                                 50.76   INT. THE 18-WHEELER - SAME                                        76     That massive, gleaming beast that rumbled past the church now     rolls right by this park - as all of those kids and their     parents scramble for the shelter of their cars.     The windshield wipers on this truck push water away, giving us     a clear look at the wet suburban chaos.77   INT. BAPTIST CHURCH - RESUMING                                    77     The faithful in here keep singing, their voices full with     praise - despite the heavy weather outside. They feel safe in     here. We move along the PEWS...     ...until we find O'Ryan's. He's not here anymore.78   EXT. BAPTIST CHURCH - SAME                                        78     O'Ryan leans against the door of the church, pelted by that     heavy rain.     BAM! Here comes those IMAGES AGAIN:79   EXT. WHEAT FIELD - NIGHT - RESUMING                               79     Tall wheat, whipped by wind and rain. A muzzle-flash. The     sound of a body slumping hard to the ground.     ...and Mackelway, looking over us. Then:80   EXT. BAPTIST CHURCH - RESUMING                                    80     We're back with O'Ryan. He leans against the door, his     torment constant.     He walks away from the church, into that heavy rain.81   INT. FBI OFFICE - "FAX ROOM" - RESUMING                           81     The fax tray has overflown onto the floor - 200 more photos,     200 more HAVE YOU SEEN ME's. Forgotten victims. We hear a last     rumble from that 18-WHEELER. END INTERCUT...                                                      CUT TO:82   INT. FBI OFFICE - "O'RYAN ROOM" - LATE NIGHT                      82     Now there are 800 YELLOW PINS stuck in this map - one for     every single FAX or LETTER that's been received in the past     weeks.                                                                 51.     800 faces. 800 HAVE YOU SEEN ME's, represented by 800 pins in     800 cities. It's like a national plague.     Mackelway sits, examining it soberly. His chest-wound is     killing him. (We see a thick bandage beneath his shirt.)     In his pocket now is a bottle of PRESCRIPTION PILLS. Percodan.     He slugs one down without water, his eyes never straying from     that map.     Beside it is a COMPOSITE DRAWING from O'Ryan, taken from     Mackelway's description. It's dead-on...                                                      CUT TO:83   EXT. LONGHORN DINER WICHITA FALLS - NIGHT - ESTABLISHING          83     This is the lone source of light on an otherwise dark stretch     of road. Mackelway's Yukon pulls up.84   INT. LONGHORN DINER WICHITA FALLS - MOMENTS LATER                 84     Hardly a sound in here. Mackelway stands at the register,     paying for his TAKE-OUT. Another night with nothing but his     thoughts for company. Great. Then:                          A YOUNG WOMAN'S VOICE (O.S.)                Agent Mackelway?     It's Katie, the receptionist from his office - sitting by     herself in a nearby booth. Mackelway smiles.                          KATIE (CONT'D)                Hi.                                                      CUT TO:85   INT. KATIE'S APARTMENT - BEDROOM - LATER NIGHT                    85     Inexpensive, but furnished with all the touches that     Mackelway's apartment lacks: flea-market stuff, lace, antique     books, photos from other eras. Character.     And candles. Lots of candles. They throw SHADOWS of Mackelway     and Katie all over the walls.     An odd MUSIC fills the room, coming from a BOOM-BOX on the     floor. It's a rhythmic Navajo CHANT, with Native-American     drums providing the pulse.     It's eery, tuneless, but awfully authentic... and it fits the     intensity of the moment: Mackelway and Katie, coupling madly,     their eyes locked. She's breathless.                                                                52.     First time we've seen him shirtless since his injury in that     furnace room. A FAT BANDAGE covers a quarter of his chest.     Dried blood can be seen beneath it.     There's an intensity in his eyes. The chanting, the candles,     Katie's body, his wound... they've conspired to bring an     intensity into his eyes. It's dark, primal.     And he's been expressing it for an hour without relent...     which is why Katie gasps one last gasp, then rolls to the edge     of the bed, exhausted.     She reaches for that boom-box, lowers the volume. The chanting     dies down into silence. She catches her breath.                          KATIE                    (softly)                I can't anymore.     Mackelway eyes her, then reaches past her, and turns the     VOLUME on that boom-box back UP. The chanting fills the room     again.     And just like that, he has pulled her back onto him, urgently.     That primal side hasn't been sated yet...                                                      CUT TO:86   INT. KATIE'S APT. - BATHROOM - LATER NIGHT                       86     Mackelway stands at the mirror, changing the dressing on that     wound across his chest. He unwraps the gauze over that fat     bandage soaked through with blood.     He pulls the bandage off, giving us a better look at the deep     gash. Dried blood, torn skin, bruising. Looks like hell. But     Mackelway eyes it calmly.     He slugs down some beer from a nearby bottle, then cleans the     wound with some Hydrogen Peroxide... as Katie appears in the     doorway. She eyes him.                          KATIE                Can't sleep?     He shrugs, turns.                          MACKELWAY                What was that music?                          KATIE                It's Navajo. A song for dead warriors. I                never played it for anybody before.                          (MORE)                                                                 53.                          KATIE (CONT'D)                    (a beat)                Just had a feeling you'd like it.                          MACKELWAY                How?                          KATIE                I dunno. The way you stare when you think                nobody's looking.     She shrugs. Silence hovers...                                                      CUT TO:87   INT. KATIE'S APT. - BEDROOM - PRE-DAWN                            87     4:30 a.m. Rain pounds the window and roof, a real storm out     there. The boom box is still. The candles are down to their     nubs. Katie continues to sleep. Mackelway too.     Then his eyes SNAP OPEN.     Something just hit him, something huge. One of those 4:30-in-     the-morning ideas that has to be expressed. Now.                                                      CUT TO:88   INT. HOTEL HALLWAY - 5 A.M.                                       88     Mackelway stands outside Room 217 at a Mariott. He's just     knocked on the door.     Fran opens it, in a robe. Very confused. He looks manic.                          FRAN                What're you--                          MACKELWAY                I can't get a read on this guy.     Two minutes ago, she was sound asleep.                          FRAN                Huh?                          MACKELWAY                Why is he sending us all this shit? I've                got 800 pins in that map, 800 missing                people. What's he telling us?     She gets it now: he's on a combination of painkillers and lack     of sleep. Or maybe she can sense where he's been...                                                       54.                     MACKELWAY (CONT'D)               (rapid-fire)           He kills a travelling salesman, then a           school-teacher. Then Starkey? It doesn't           connect.                     FRAN           You're a mess...                     MACKELWAY           I'm fine. I'm clear. I just didn't think           this could wait. Fran, this guy is trying           to point us at something. Starkey's part           of it. But the other two don't connect.                     FRAN           Did you drive here?                     MACKELWAY           I'm fine! I just need somebody to think           this through with me! He wanted to meet           me. It's like he was interviewing me           somehow. What is that? Then he kills           Starkey. So what was he doing with Speck           and Fulcher?                     FRAN           You wanna come in?                     MACKELWAY           No. No. You come out. Get dressed.                     FRAN           Out where?                     MACKELWAY           I dunno. Somewhere. We're right on the           edge of this thing.She studies him. A long beat.                     FRAN           I'm going back to bed. You're welcome to           the couch if you want. I think you could           do with some sleep.He sags a bit. She reaches for his hand.                     FRAN (CONT'D)               (gently)           Mack...                                                                  55.     Just like that, there is contact. Their hands. It surprises     them both.     He appreciates it, but now's not the time. So he smiles     thinly, turns, and goes.     She watches him vanish around a corner.                                                        CUT TO:89   EXT. HAROLD SPECK'S HOUSE - 6:00 A.M.                              89     We've been to this house before. Suburbia.     Mackelway sits in his car, at the curb, studying the place.     Rain falls in sheets, wind blows. And there he is, all alone,     six in the morning, staring at a house.     That idea - the thought that snapped his eyes open - it's     still working on him. Beside him is the DRAWING that was found     in Speck's car:     The rendering of a steamer-trunk, lined with plastic,     containing body parts in plastic bags... Mackelway seems to be     fixated on it now.                                                        CUT TO:90   EXT. SPECK'S HOUSE - 9:15 A.M.                                     90     A hand knocks on the front door. Jan Speck opens up.                          JAN                    (hoping for good news:)                Agent Mackelway?     Mackelway stands in the doorway, rain falling behind him.                           MACKELWAY                    (all business)                Mrs. Speck. Just had a few more                questions.                                                        CUT TO:91   INT. SPECK'S HOUSE - LIVING ROOM - MOMENTS LATER                   91     Mackelway sits at the WINDOW, looking over the backyard.     Nothing special out here: some trees, a swing, a storm-cellar     door.     But he's staring at it, intently. We're not sure why.                                                         56.Behind him, Jan re-enters, purse over her shoulder, umbrellain hand. She grabs his cup of coffee and saucer from thecoffee table.                     JAN           I'm sorry I don't have more time, Agent           Mackelway. It's my PTA Day.                     MACKELWAY           It's fine. I should've called.She smiles tightly: "I have to go now" and heads for thekitchen. Once she's there, Mackelway turns to the BACK DOORand UNLOCKS IT, eyeing that storm-cellar outside...She leaves the cup in the sink. He enters the kitchen.                     JAN           I hope I was of some help.                     MACKELWAY           You were. Thanks.                     JAN           A friend of mine said I'll feel like this           one month for every year we were           together. Sort of a grieving rule-of-           thumb. Have you ever heard that?                      MACKELWAY               (gently)           No. Sorry.She half-smiles. He turns to the door. Turns back.                     MACKELWAY (CONT'D)           Oh. There was one other thing: Did he           keep any kind of chemicals around the           house? Acids, that sort of thing?                      JAN           No. Why?He shrugs, dismissing it:                     MACKELWAY           It's nothing. Trace elements we found on           his trunk. Any interest in chemistry?           Maybe as a hobby?Jan pauses for a moment, as if recovering a faint memory...Then she shakes it off. He lets it go.                                                                  57.                          MACKELWAY (CONT'D)                Anyway, thank you. And thanks for the                coffee. Next time I'll call first, I                promise.                          JAN                No trouble at all.                                                        CUT TO:92   EXT. SPECK'S HOUSE - MOMENTS LATER                                 92     Mackelway sits in his car. Through his windshield we see Jan     as she backs out of the driveway.     She pulls past us, giving Mackelway as friendly a wave as a     grieving widow can give. He waves back.     Then she's gone, disappearing around a corner.     Mackelway pauses a beat, checking his rear-view mirror to be     sure. Then he gets out of his car...                                                        CUT TO:93   EXT. SPECK'S HOUSE - SIDE GATE - MOMENTS LATER                     93     Mackelway sneaks around the side of the house, pulling on a     lever to unlatch the side-gate.94   EXT. SPECK'S HOUSE - BACKYARD - CONTINUING                         94     He emerges into the tiny backyard, making a bee-line for that     storm cellar door.     He knows he shouldn't be doing this. It's beyond risky. But     here he is, without a warrant.     There's no lock on the cellar door. He reaches for it. Then he     stops himself. Just noticed something:     A NEIGHBOR-LADY, visible just over Speck's backyard fence, is     looking right at him through her bedroom window.     Fuck it. He enters the storm cellar.95   INT. SPECK'S STORM CELLAR - CONTINUING                             95     Seven steps, leading to a dusty cement floor. Mackelway looks     around.                                                                58.     Facing him are the things a meticulous man would store in case     of disaster: Cans of food, sternos, sleeping mats, drums of     potable water.     And long FOOT-LOCKERS. Two of them. That's where Mackelway's     eyes go, instantly. He hurries to them.     Throws one open. Nothing but sheets and blankets inside. He     paws through it... finding nothing else.     He throws the other trunk open. Inside? Pillows. Fuck.     He slams it shut, looks to those cans of food, stacked on     shelves. He approaches the shelves, jostling cans from their     rows, making more noise than he ought to.     But he finds nothing behind them... except more cans. He     approaches those two huge drums of water, lugs them aside.     Behind them is a tall CUPBOARD, locked.     He pulls at the cupboard door, hard. It splinters.     Inside, a rifle and some boxes of ammo... same as you'd find     in every other storm-cellar in Texas.     He pauses: Am I crazy...?                                                      CUT TO:96   EXT. SPECK'S BACKYARD - MOMENTS LATER                            96     He emerges from the storm-cellar, confused. Shuts the storm-     cellar door.     Then he turns. Something else just caught his eye:     Above Speck's bedroom window is another window, a tiny one. An     attic...     He heads for that UNLOCKED BACK DOOR, and enters...97   INT. SPECK'S HOUSE - LIVING ROOM - CONTINUING                    97     He hurries toward the stairs, reaches them... then spots     something through the Entry Hall window:     On the street outside, pulling up to the curb... is a POLICE     CAR. Sirens off. That Neighbor-Lady must've placed the call.     And here's Mackelway, without a warrant. Shit.     Two ABILENE COPS get out, approaching the house. Mackelway     climbs the stairs.                                                               59.98    INT. SPECK'S HOUSE - STAIRS - CONTINUING                        98      If he stays quiet, he might just pull this off.99    INT. SPECK'S HOUSE - SECOND STORY - CONTINUING                  99      A tiny hallway, with four doors. Up ahead, dangling from the      ceiling, is a tiny rope which promises a set of hidden fold-      out stairs... and an attic.      Mackelway tugs on the rope. The fold-out stairs drop down out      of the ceiling. Then he hears:                           NEIGHBOR LADY (O.S.)                 He's inside! He's inside! Went in through                 the back!      ...which means he has mere seconds before this all blows to      hell. So he climbs up those fold-out stairs.      The two ABILENE COPS now circle the house, entering through      the back-porch door, just as Mackelway did.      He pulls up the folding stairs. Maybe the guys'll do a half-      assed search and then leave...100   INT. SPECK'S HOUSE - ATTIC_- CONTINUING                        100      Mackelway looks around: lots of dusty junk around here - old      clothes, mementoes.      ...and one more trunk. A steamer-trunk. Huge. And locked.      Looks just like the one in that DRAWING rendered by O'Ryan...      Mackelway races for it. Takes out his gun, uses the butt-end      to bust the lock off. Throws it open.      ...as we hear the sound of those fold-out steps, being tugged      down from the second-floor hallway. And:                           ABILENE COP #1 (O.S.)                 Freeze, Asshole!      The COP is just ten feet away, most of him still concealed by      those steps - gun trained right on us.      But Mackelway seems utterly untroubled.                           MACKELWAY                     (calmly)                 It's okay, Fellas. FBI.                                                                 60.                             ABILENE COP #1                 I'll bet.      Mackelway drops his gun, kicks it toward the cop, who doesn't      quite know what to make of that.      Also confusing him is the odd smile playing its way across      Mackelway's face. But we understand it now:      The inside of that steamer-trunk is filled with BODY PARTS:      bagged, stacked, and sealed in Ziplocs...      Powdered LIME is sprinkled on them.      Mackelway stares, at once satisfied and sickened. COP #1 can      be heard, approaching across the attic floor. His gun is      drawn...      ...until he too sees what's in there.                           ABILENE COP #1 (CONT'D)                 Oh Jesus Christ...                                                       CUT TO:      ...a Grammar-School CLASS PICTURE: of Barney Fulcher and his      2nd Graders, sitting on a mantle. We are...101   INT. FULCHER'S HOME - LIVING ROOM - BOULDER - DAY                101      That picture sits beside other photos, awards, plaques - all      celebrating Fulcher's career in Colorado education.      We turn away from that mantle, blowing through this modest      Living Room, finding an open door - leading down to:102   INT. FULCHER'S HOME - BASEMENT - CONTINUING                      102      Down the steps we go, until we hear the HUM of an old FREEZER.      We turn toward the sound.      The freezer is open. A team of FORENSICS GUYS study it.      Inside this freezer, frozen into a block of ice... are six      female HANDS. No arms, no heads. Just six slender hands, each      with a wedding band on the ring finger.      Mackelway stands in the back of this basement, taking it all      in. He looks to Charlton, who is expressionless.                                                       CUT TO:                                                              61.102a EXT. FULCHER'S HOUSE - DUSK                                102a     Close on Mackelway as he returns to his Yukon satisfied. He is     pleased with himself. Out of nowhere, a firm hand grasps his     right shoulder stopping him.     Mackelway turns abruptly, finding himself sandwiched between     his Yukon and Charlton, who is now in his face.                          CHARLTON                Listen to me Cowboy. You have any idea                the kind of favors I had to pull with the                Abilene cops to cover your ass?!                          MACKELWAY                Sir...                          CHARLTON                    (not allowing him to talk)                Breaking and ENTERING the Speck house                without a shred of evidence and NO                WARRANT?!                          MACKELWAY                    (not going down without a                     fight)                The sample I took from Speck's bumper...                It's crystallized sulfuric acid mixed with                oil of Clove, the clove neutralizes the                odor of the acid.     Charlton shakes his head, he is not getting through.                          MACKELWAY (CONT'D)                It was SPECK not his killer who was                hiding something.                          CHARLTON                Ever ask yourself why a big shot agent                from Dallas gets sent down to the                Wichita Falls Field Office? I'll give                you TWO WORDS... Hell I'll even write it                down for ya.     Charlton leans in to emphasize his point. He pulls out a pad     and pencil from his breast pocket and writes what he says using     Mackelway's chest as support. It's humiliating.                          CHARLTON (CONT'D)                "EVIDENTIARY PROCEDURE." Don't talk about                it. Learn it.                                                                 62.      Those words just hang there, haunting Mackelway. Charlton      tears off the sheet with those two words and stuffs them into      Mackelway's hand.                           CHARLTON (CONT'D)                 Turns out you were right about this guy.                 You were right about both of them. But                 that doesn't change the fact that you                 went about your business like a rookie.                 Got it?      Charlton turns, the buzz of a street lamp breaks the silence      throwing a circle of light around the Yukon. Mackelway watches      as Charlton puts on his headlights and drives away.      A sudden gust of wind tears that piece of paper out of      Mackelway's hand, he stares at it, as it disappears into      darkness.103   INT. FBI OFFICE - THE O'RYAN ROOM - EVENING                      103      Everything yet known about the murders of Speck, Fulcher, and      Starkey fills the wall space in here:      We see O'Ryan's MAP: All those yellow pins... and the one blue      one, (Greenville, Tx.) Also, that DRAWING: of the ghastly      Ziploc bags inside a steamer trunk. Damn thing seems prescient      now.      Agents mill about, awaiting a conference.                           GRIEVES                     (passing by)                 Nice job, Mack.                           MACKELWAY                 Thanks.      A few OTHER AGENTS also pat him on the back. Fran's proud of      him too - we can see it. In fact everyone in here seems to be      giving Mackelway his due. It all feels good.      Charlton enters.                           CHARLTON                 Seated please.      The agents find seats around the table. Charlton takes his      place at the head of it.                                                                 63.                           CHARLTON (CONT'D)                     (to the assembled:)                 Okay. We've got a serial killer of serial                 killers.      Fran scribbles something on a piece of paper: "What a genius!"      Slides it over. Mackelway conceals the note, as:                           CHARLTON (CONT'D)                     (still grand-standing)                 He's a transient with a history of mental                 illness. He also happens to think he's a                 former agent of this Bureau. And he is                 pursuing something that he calls "Suspect                 Zero." Anybody got anything intelligent                 to say?      Nobody's volunteering.   There's just silence.                           CHARLTON (CONT'D)                     (familiar refrain)                 That's what I thought...                                                       CUT TO:104   OMIT                                                             104105   EXT. WICHITA FALLS FBI OFFICE - PARKING LOT - NIGHT              105      Mackelway exits the office, heading for his Yukon.      Then he stops... because Katie is waiting out here, leaning      against her Toyota Camry.                           MACKELWAY                     (fondly)                 Hey.                           KATIE                 Somethin', huh? Guy with a wife and kids                 keepin' bodies in his attic?      He nods... but what is she doing out here?                           MACKELWAY                 Yeah.                     (a beat)                 You okay?                           KATIE                 Yeah. Just... Wondered if you could do me                 a favor.                                                                  64.      Mackelway waits... as Katie hands over a manila envelope.      Mackelway opens it.      Inside, a photo of a heartbreakingly-sweet 22 year-old girl      named KAREN SUMPTER, with an attached sheet listing her      vitals: height, weight, age, etc.      Another face. Another disappearance...                            KATIE (CONT'D)                 Her name's Karen Sumpter. We were                 friends.                     (almost reluctantly)                 She disappeared last year. Nobody knows                 where. She was a little wild, but not                 like that.      Her sadness is obvious. Mackelway nods.                           KATIE (CONT'D)                 Anyway, I know you're gonna be in on the                 autopsies - of the girls they found over                 at Speck's. Figured you might see if one                 of 'em was...      Her voice trails off. This is hard.                           KATIE (CONT'D)                 If it is, I'd like to be the one to                 notify her folks. Out families've been                 friends for years.                           MACKELWAY                     (gently)                 Sure. Of course.                           KATIE                 Thanks... 'Night.      Mackelway puts the envelope under his arm. She starts up the      Camry. The sky rumbles. He eyes her.      For some reason, she hasn't pulled away yet...                                                 SMASH CUT TO:106   INT. KATIE'S BEDROOM - NIGHT                                      106      Candles. Shadows on the wall...and Mackelway and Katie, at it      again, with the sounds of that eery Navajo CHANTING coming      from the boom-box.                                                                 65.      Mackelway is studying her, staring into her eyes, her      breathing. She's beginning to climax now... and those eyes go      wider. We MOVE INTO THEM, and:      We are abruptly SLAMMED, again, INTO ANOTHER SET OF THOSE ODD,      DISJOINTED IMAGES from that unidentified place:107   EXT. DARKNESS - UNIDENTIFIED TIME - NIGHT                        107      Wet wind in a blur of gray. The sound of our own heavy      breathing. A voice rising above the wind, pleading:                             (O.S.)                 Please...108   INT. KATIE'S BEDROOM - RESUMING                                  108      She is utterly lost now. And that CHANTING seems to have      gotten louder somehow.      IMAGES FLICK at us now: culled from that BOOK on TRIBAL RITUAL      AND TRANCE, found at the halfway house: a TRIBESMAN with eyes      rolling back in his head, foaming at the mouth.      Mackelway tries to shake it off, tries to keep his focus on      Katie. He buries his head into her neck, as:109   EXT. WHEAT FIELD - NIGHT                                         109      Tall wheat, wet wind. Then a MUZZLE FLASH, and a body slumping      to the ground. And suddenly we are in:110   INT. ANOTHER UNIDENTIFIED MOTEL ROOM - DENTON, TEXAS - NIGHT 110      O'Ryan, at a desk. He has just "remote viewed" these images      somehow. And they've left him rattled.      It's time to get out of this room. Quickly.                                                       CUT TO:111   EXT. ROAD - DENTON, TEXAS - SAME (NIGHT)                         111      A stolen, non-descript CHEVY pulls out of a motel room parking      lot, on to the street.112   INT. STOLEN CAR - DRIVING - CONTINUING                           112      O'Ryan is behind the wheel, driving.                                                                  66.113   INT. STOLEN CAR - DRIVING - MOMENTS LATER (DUSK)                  113      The radio is BLASTING - anything to shake those images out of      his head. Driving, unsettled... which may be why he doesn't      notice that there's a SIREN wailing behind him.      He looks in the rear-view. A TEXAS STATE TROOPER is on his      tail. Shit. O'Ryan tightens, pulling over...114   INT./EXT. STOLEN CAR - ROADSIDE - CONTINUING                      114      The TROOPER approaches, noting the condition of the vehicle.      He stands before O'Ryan's window. O'Ryan's face reveals no      evidence at all of anxiety.                            TROOPER                 Evening.                           O'RYAN                 Evening, Officer.                           TROOPER                 See your license, Sir?                           O'RYAN                 'Course. Is there a problem?      O'Ryan reaches into his back pocket, produces an I.D. Hands it      over.      Trooper eyes it. According to this i.d., we are now staring at      "James Garvey" from Littleton, Colorado. But the Trooper      doesn't seem too convinced.                           TROOPER                 See your registration, please?                            O'RYAN                 Sure.      O'Ryan opens up the glove compartment, starts searching      through it. But it's a stall, that's obvious.                           TROOPER                 Mind stepping out of the car, please?      O'Ryan pauses. There is no way in hell he's going to let      himself get deterred by a State Trooper. But he gets out.115   EXT. ROADSIDE - CONTINUING                                        115      Trooper eyes him with caution. O'Ryan holds his hands in front      of his chest, keeping them visible to the guy.                                                         67.                     O'RYAN           Officer, I am carrying something that           could be construed as a weapon. I'd like           to hand it over, voluntarily, so you           won't think I'm trying to conceal           anything. Would that be all right?                     TROOPER           What kind of weapon, Sir?                     O'RYAN           It's a hunting knife, right here on my           hip.Trooper notes the shape of that large, sheathed KNIFE - theone O'Ryan butchered Starkey with - visible beneath O'Ryan'sshirt.                     O'RYAN (CONT'D)           I was on my way to the woods. My gear's           in the trunk.               (Trooper doubts it)           Would you like me to hand it to you? I           don't know what the procedure is for           something like this.                     TROOPER           Take the weapon off your hip, place it on           the ground, and kick it toward me.                       O'RYAN           Happy to.O'Ryan takes the knife off his hip. The size of it gets someattention from the Trooper.                     TROOPER           What exactly were you planning on           hunting, Sir?                     O'RYAN           A fifty-foot shark.No reply. O'Ryan drops the menacing knife to the ground andkicks it toward the Trooper.Trooper, slowly, kneels down to get it - never taking his eyesoff O'Ryan.                     O'RYAN (CONT'D)           Ya know, I used to be in law enforcement           too.                                                                  68.                           TROOPER                     (kneeling)                 That right?                            O'RYAN                 Mmm-hmmm. FBI. 'Course this was some                 years ago.      Trooper grabs the knife, straightens. Examines it.                           O'RYAN (CONT'D)                 Psy Ops. Classified.                           TROOPER                 Had anything to drink tonight, Sir? Under                 medication of any kind?      An 18-WHEEL TRUCK rumbles by, distracting O'Ryan... rendering      him immobile for a moment.                           TROOPER (CONT'D)                 Sir?                           O'RYAN                 Oh. Sorry. Just found myself wondering                 what was inside that truck.                           TROOPER                 Sir, I'm going to ask you to hand me the                 keys to your vehicle, please.                           O'RYAN                 Of course.      O'Ryan opens the car door. We steal a look INSIDE.      ...he's got a GUN under the front seat.      In a flash, that gun is in his hands and pointing right at the      forehead of that Trooper.      Trooper knows he's been had. And he knows that he's about to      die...                                                        CUT TO:116   OMIT                                                              116117   EXT. MACKELWAY'S APARTMENT - DOORWAY - EVENING                    117      Mackelway approaches, carrying a greasy bag: another Frito Pie      and a soda. Fumbles with his keys... Then he notices      something, waiting on his doorstep.                                                               69.      It's a thick FILE, roughly 150 pages, in a FOLDER. The word      "MACKELWAY" is written across the front.      He leans down, opens the folder. The light is spotty out      here... but it's just strong enough to show us the expression      on his face: a look of pure awe.118   INT. MACKELWAY'S APARTMENT - ENTRY - CONTINUING                118      The door bursts open. The greasy bag and the soda fall to the      floor. Mackelway hurries to a phone, clutching that file. He      dials hurriedly.119   INTERCUT WITH/INT. FRAN'S CAR - SAME                           119      We're in a PARKING LOT outside a WAL-MART. Fran's just thrown      a bag into her Ford Taurus. Her CEL-PHONE RINGS. She grabs it.                           FRAN (INTO CEL)                 Kulok.                           MACKELWAY (INTO PHONE)                 He really was FBI.                           FRAN                 Huh?                           MACKELWAY                 O'Ryan. He left his file on my doorstep.                 Fran, he was FBI.      He can barely believe it himself, but we get a look at what      was in that file now; PAGES are splayed across Mackelway's      coffee table:      A copy of an FBI I.D. BADGE, xeroxed memoes, test scores,      citations, evaluations, reports. The entire career of Special      Agent Benjamin O'Ryan... in black and white.                          FRAN                That's impossible.                          MACKELWAY                I'm look at his whole history!                Citations, letters of commendation, even                his fucking test scores from Quantico.                The guy was an agent.                          FRAN                I don't believe it.                          MACKELWAY                Listen to me--                                                         70.Then we hear a BEEP. Call-Waiting. Great.                     MACKELWAY (CONT'D)           Shit! Hold on.That irritated her. Mackelway clicks over.                     MACKELWAY (CONT'D)           Yes?                     O'RYAN (THRU PHONE)           Read anything interesting lately?Mackelway's eyes go wide.                     MACKELWAY           Where are you?CLICK. O'Ryan's just hung up.                     MACKELWAY (CONT'D)           Shit!He stares at the phone, then clicks over again, re-connectingto Fran.                     MACKELWAY (CONT'D)           That was him.                     FRAN           He called you at home?                     MACKELWAY           Yes.BEEP. Call-Waiting again.                     FRAN           Jesus. Call me back.Mackelway clicks over again without saying goodbye.                     MACKELWAY (INTO PHONE)           O'Ryan?                     O'RYAN (THRU PHONE)           I've found him, you know.                     MACKELWAY           Who?                     O'RYAN           Zero.                                                          71.                     MACKELWAY           Zero's a myth. You made him up.                     O'RYAN           Myths don't kidnap little boys. Do they?                     MACKELWAY           Do you?Sounds like O'Ryan just laughed... Then, another curve:                     O'RYAN           Was she pretty?                     MACKELWAY           Huh?                     O'RYAN           I could hear her moaning, right under the           Navajo chanting. Whole thing was           downright tribal. What's she look like?That was unsettling. Very. Mackelway looks around feelingviolated, feeling "watched." He draws the blinds. Double boltsthe front door. Runs his hand under the window frame for anykind of wire tapping.But Mackelway won't allow himself to over-react. Not now, withO'Ryan on the phone.                     MACKELWAY               (calmly)           You tell me.O'Ryan laughs. He liked that.                     O'RYAN           Fair enough. We'll stick to business:           How'd ya like my old room?                     MACKELWAY           Huh?                     O'RYAN           "Hope House." You were there.How the hell did he know that? It's unsettling.                     O'RYAN (CONT'D)           Dyson re-paint it?               (no reply)           My room. Did he re-paint it?                                                                  72.                           MACKELWAY                 Yeah. White.                           O'RYAN                 ...But you saw what was underneath, of                 course.                           MACKELWAY                 No. Tell me about it.                           O'RYAN                 No. You tell me.      CLICK. O'Ryan just hung up. Mackelway stares at the phone.                                                        CUT TO:120   INT. HOPE HOUSE - FOYER - NIGHT (9 P.M.)                          120      More rain falls outside. Lightning too. Mackelway waits here.      Piper's in his usual spot in front of the TV. Dyson descends      the stairs, a bit testy tonight.                           DYSON                 Welcome back.      That had some edge. Mackelway doesn't reply.                                                        CUT TO:121   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM/HALLWAY - NIGHT            121      Mackelway stands in the center of this room, Dyson in the      doorway. That SINGER down the hall is at it again, off-key as      ever. Tonight it's the "Gilligan's Island" theme-song.                           DYSON                 I'll be in my office.      Dyson backs away, leaving the door ajar.      Now Mackelway is alone - eyeing the tiny bed, sink, window,      the leaky ceiling, the bucket, the peeling paint. This room is      heaving with energy...      He sits on the bed, checks his watch. 9:05 p.m.      Opposite this bed is that WALL, re-painted in industrial      white, with the hint of a shape underneath. It's what      Mackelway's come here to investigate. INTERCUT WITH...                                                                 73.122   INT. MOTEL ROOM - DENTON, TEXAS - SAME                           122      O'Ryan sits at a desk: eyes closed, writing pad at his wrist.      On it, more of those unidentifiable lines become visible to      us. They're called IDEOGRAMS.      He holds the point of his pen down upon one of them, as if      receiving information from it, and we jump back into:123   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING                123      Mackelway. Sitting. Staring. Outside this room we hear that      awful, toneless singing as it fills the hallway.      Mackelway rises, approaching that re-painted wall. He pulls      out his keys. Checks to see that no one's watching.124   INT. MOTEL ROOM - DENTON, TEXAS - RESUMING                       124      O'Ryan, his pen on that pad, his concentration total.125   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING                125      We hear the singing, the TV, the rain, that bucket collecting      drips. Semi-darkness... until MORE LIGHTNING throws a burst of      white light against that wall.      A faint shape becomes visible, just beneath the white paint.      Then it vanishes again.      Using his keys, he begins to scratch away at the white paint.      It's an irrational thing to do - but in the context of the      last few days it makes an odd kind of sense.      Instantly, a hint of BLACK can be seen underneath...126   INT. MOTEL ROOM - DENTON, TEXAS - RESUMING                       126      O'Ryan, at that desk. Outside, he can hear an 18-WHEEL TRUCK      rumble by. He doesn't allow it to distract him.127   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING                127      Mackelway scratches more of the white paint off of that wall.      More BLACKNESS appears beneath it. Then, a SOUND behind him.      He turns.      The door to this room just SHUT; someone outside must've      pushed it. He keeps scratching at the paint.      LIGHTNING rages outside. We PULL BACK, away from that wall,      which gives us the opportunity to see something that Mackelway      is too close to the wall to see for himself:                                                                  74.      There is indeed an image beneath that thin coat of white      paint. It is the shape of a vast, black WAVE. A hand-painted      image as large as this wall itself.      Mackelway seems tiny by comparison, and the mere inch of black      that he has uncovered so far seems infinitesimal.      In fact, it almost look as if the wave is poised to swallow      him whole... and he can't even see it.      But we can. Must've taken O'Ryan days to paint something this      large. A vast, black wave. Evil itself...      And Mackelway, without meaning to, is about to unleash it.128   INT. MOTEL ROOM - DENTON, TEXAS - RESUMING                        128      O'Ryan, somehow, seems to be sensing what is going on in that      room. Or maybe he's just feeling the power of that wave, from      memory. Or maybe he's just plain crazy.      But he and Mackelway, on some unspoken psychic level, are      feeding one another...129   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING                 129      Mackelway chips away at that white paint, moving rapidly,      revealing more of the blackness underneath. We PUSH IN on it,      moving past Mackelway and his frantic scraping.      Then we're beneath that thin coat of white, and:130   INT. INSIDE THE BLACK WAVE - UNDETERMINED TIME                    130      Somehow, we've submerged into the wave itself. A black, tidal      force of nature.      And it is MOVING. Alive. We hear the SOUNDS of it: a sucking,      a yawning, as if a tide were drawing back just before      exploding forward.      The sounds blend in with the wind, the rain, the drops in that      bucket... Evil itself, on the move, gathering might. And we're      along for the ride...      The wave begins to roll forward now as if shot from a cannon.      It is massive, powerful, dark. And we're right on its forward      edge, as if surfing it somehow.131   INT. MOTEL ROOM - DENTON, TEXAS - RESUMING                        131      O'Ryan reacts. Something just changed:                                                                  75.132   INT. INSIDE THE BLACK WAVE - RESUMING                             132      The wave is rushing us forward with this speed and power of a      tsunami.      ...which is when we hear the laughter of a LITTLE BOY.133   INT. MOTEL ROOM - DENTON, TEXAS - RESUMING                        133      O'Ryan just heard it too. Then new images come at him - but      they are, at first, GRAINY, CHOPPY...134   EXT. UNIDENTIFIED PLAY AREA - SAME                                134      The sounds of that wave become fainter, receding to the      background, giving way to that sound of laughter, and the      squeaking of a PLAY-SET SWING.      Like an old tv slowly gaining reception, the image takes a      moment to crystallize before us. But then it sharpens:      We're in the PLAY AREA of a TRUCK-STOP DINER, but it feels      like we're looking at it through a broken lens. The images      appear SPHERICAL to us, surrounded by darkness.      Before us a 5-year old plays on a swing. Call him CHARLIE.135   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING                 135      Mackelway has scraped away more of the white paint now -      enough to see the outline of the front edge of the black wave,      its lip. He continues.136   INT. MOTEL ROOM - DENTON, TEXAS - RESUMING                        136      O'Ryan tightens. We can't tell if he experiencing something      from the past, the present, the future...137   EXT. PLAY-AREA - RESUMING                                         137      We WHIP AROUND quickly, getting a look into the diner itself.      There, through a window, we see a WOMAN, presumably Charlie's      mother. Her name's KATHLEEN, 40.      Kathleen has her back turned to us, because she's busy      diapering her nine month-old BABY at a table.138   INT. MOTEL ROOM - DENTON, TEXAS - RESUMING                        138      O'Ryan, at his desk, seems to be getting all of this. And it      is agitating him. There's perspiration on his forehead.                                                               76.139   EXT. PLAY AREA - RESUMING                                      139      The sound of that wave is still a presence. Charlie looks up      at us as he swings. His smile is pure, genuine.      We whip around for another look at Kathleen. She's still busy      with that diaper. Then we look back to Charlie.140   INT. MOTEL ROOM - RESUMING                                     140      O'Ryan keeps his eyes shut, his focus total... but every part      of him is becoming tense.141   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING              141      Mackelway is beginning to perspire from the effort. More of      that wave is visible to him. But he doesn't step back to take      that in.142   EXT. PLAY AREA - RESUMING                                      142      That swing is now EMPTY, dangling gently. And we're running      we know not where.143   INT. MOTEL ROOM - RESUMING                                     143      O'Ryan's foot starts to tap: anxiousness, discomfort.144   EXT. PLAY AREA - RESUMING                                      144      We run... toward a PARKING LOT. But we do so smoothly, without      effort, as if being carried by that relentless black wave.      Then, ANOTHER SOUND bleeds in. The BANGING of the Diner's back      door, which leads on to that Play Area.      And we hear a horrified yell:                           KATHLEEN (O.S.)                 Charlie?! Charlie, where are you, Honey?!                     (fainter)                 Charlie?! Honey, are you out here?!      The sound begins to break up as if on a bad radio, being taken      over by the sounds of that awful WAVE...145   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING              145      Mackelway suddenly stops... as if some electric charge had      just shot through him, short-circuiting him into stillness. He      begins to step away from the wall.                                                                  77.146   INT. MOTEL ROOM - RESUMING                                        146      O'Ryan has lost the "pulse" - the connection that had allowed      him inside what we just witnessed.      He rises, hurrying into a tiny bathroom. We STAY ON THAT      WRITING PAD, trying to decipher these lines and squiggles -      the ideograms - as we hear the sounds of O'Ryan, retching.147   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING                 147      Mackelway sits on the bed, looking at what he's just      uncovered. An awesome sight. His head is pounding worse than      ever... so he reaches for the Vicoden.148   EXT. PLAY-AREA - RESUMING                                         148      We've stepped out of that SUBJECTIVE POV now. Kathleen grabs      her infant, distraught, as another massive 18-WHEEL TRUCK      blows by us in the distance...149   INT. MOTEL ROOM - DENTON, TEXAS - RESUMING                        149      O'Ryan washes his face, eyes his reflection in the mirror,      scrutinizing himself.150   INT. HOPE HOUSE - O'RYAN'S FORMER ROOM - RESUMING                 150      On the wall opposite Mackelway, that huge black wave is now      entirely visible to him. Bits of chipped white paint litter      the floor.      A vast black wave. It fills the whole wall...      Mackelway eyes his watch. It's one o'clock in the morning.      He's been in here for four hours. That seems impossible.                                                        CUT TO:      ...a box, slamming down hard on a desk. We are:151   INT. FBI OFFICE - O'RYAN ROOM - LATE NIGHT                        151      2:30 a.m. Mackelway is in here by himself, angry. He reaches      into that box. Inside? More pins. BLACK ONES. He crosses to      the map.152   CLOSE-UP: MACKELWAY                                               152      He starts pulling out the YELLOW PINS we've grown accustomed      to seeing on this map, replacing them with the BLACK ONES,      tossing the discards onto the floor.                                                                  78.153   A SERIES OF DISSOLVES                                             153      ...as Mackelway replaces pin after pin.      ...Mackelway's face, as he backs away from that huge map.154   INT. FBI OFFICE - O'RYAN ROOM - LATER NIGHT                       154      Ten minutes have passed, but Mackelway has seen a revelation.      We can read it on his face.      He eyes the map... which has now been stuck with over 1,000      BLACK PINS, one for each city with a HAVE YOU SEEN ME to its      credit.      And those black pins, seen from a distance, form a pattern we      weren't expecting - something that never quite took shape when      the pins were yellow.      Looks like a big black WAVE. And that's just what it is.      1,000 black dots conspiring to form the same exact shape that      O'Ryan had painted onto the wall of his room - a massive wave      of darkness, gathering strength.      But this black wave is consuming America...      Mackelway stares at it: awed, even a bit frightened. The thing      seems vast, unstoppable... A black wave - pure malevolence,      covering the states like a fog.      One blue dot lies in its center: that blue pin, in the heart      of Greenville, Texas. Then, piercing the silence:                           CHARLTON (O.S.)                 Got one of those pins in Denton yet?      Mackelway turns. Charlton leans in the doorway.                           CHARLTON (CONT'D)                 O'Ryan was spotted there tonight. Took a                 squad-car and a side-arm from a State                 Trooper. 'Bout an hour later a five-year                 old boy was abducted, roughly a mile up                 the Interstate.      It's 3 a.m. What's this guy doing here?                           CHARLTON (CONT'D)                 The vehicle was found in an abandoned                 lot. We're establishing a perimeter                 around the city now.                                                         79.                     MACKELWAY               (knows already)           But the Trooper wasn't hurt...                     CHARLTON           What makes you so sure?                     MACKELWAY           Professional courtesy.Charlton's at a loss... until Mackelway gestures to the table,where he has laid out O'Ryan's entire FBI File. Every memo,citation, letter, i.d. picture. 150 pages.Charlton eyes it, calmly. He's not going to let his jaw drop,not with Mackelway watching. So he just nods.                     MACKELWAY (CONT'D)           Is that... possible, Sir? An agent can           just be deleted?                     CHARLTON           Looks like it. Mackelway pauses. It's a depressing reality...                     MACKELWAY           I couldn't understand it before - pushing           Speck's car onto the state line. Makes           sense now. He wanted to make the case           Federal. He's drawing us in.                     CHARLTON           Why would he do that?                     MACKELWAY           So we'd be paying attention when he found           Suspect Zero.                     CHARLTON           Ya know what? I'm getting extremely tired           of hearing that word. In fact, that's           gonna be policy from now on. No Zero.                     MACKELWAY           Sir, profile the guy. He's straight outta           Quantico. All he's doing is working a           case, like we would. He's not kidnapping           little kids - he's chasing the guy who's           doing the kidnapping! Look at the map!                                                       80.                     CHARLTON           What're you saying - that all these           abductions are the work of one guy? Do           you know how fucking insane that is?!               (over Mackelway)           Not let's try something that actually           makes sense: He sends in these faxes,           picks off three scumbags. For what?! So           we'll think exactly what you're thinking           right now - that we've got a friend out           there, somebody willing to take out the           garbage for the rest of us. And it's all           horse-shit!                     MACKELWAY           What if it isn't? What if there really is           a Zero out there and O'Ryan's the one guy           who's got a shot at him?                     CHARLTON               (just blew his top)           Fuck's sake, Mackelway - when did you           start buying into this guy?!A beat. Mackelway lets the silence hover.                     MACKELWAY               (quietly)           He's smarter than we are.                     CHARLTON           Speak for yourself.Charlton heads for the door.                      MACKELWAY           Sir? What if I told you I knew how to           catch him?Charlton stops. Turns.                     CHARLTON           Do you?                     MACKELWAY           And what if I told you that the way I'd           catch him involved sitting in a dark           room, with nothing in front of me but a           pad of paper... until I'd tapped into           some kind of... energy out there. The           collective unconscious. Something. If I           told you I thought I could target and                     (MORE)                                                            81.                     MACKELWAY (CONT'D)           locate him, without ever leaving this           building, what would you say?                     CHARLTON           I'd say you'd watched too many "X-Files."                     MACKELWAY           Y'ever heard of a project called           "Icarus," Sir?                     CHARLTON           No.Mackelway tosses over a few pages from O'Ryan's file.                     MACKELWAY           Agents, trained to "see" distant           locations using nothing but the mind.           They called it Remote Viewing.Charlton eyes the pages without comment.                     MACKELWAY (CONT'D)           Army stole it from the Soviets. The           Bureau stole it from the Army - used it           to track serial killers.               (a beat)           Experimental program. O'Ryan was the           first agent they recruited.                     CHARLTON           Good for him.                     MACKELWAY           Voodoo, right? Pure Bullshit.               (Charlton's waiting)           ...except, it worked. It's how he drew           this:Mackelway's referring to that DRAWING: a steamer-trunk, filledwith ghastly Ziploc bags:                     MACKELWAY (CONT'D)           He'd never been in that house before. He           just saw what was in there - the Bureau           taught him how... same one that deleted           him. Same one that's trying to catch him           now... Does anything about all this           strike you as odd?Charlton studies him, a long beat, measuring him... Then:                                                                  82.                           CHARLTON                 I'm going to Denton at Oh-Six-Hundred.                 You can take the day off.      With that, he's gone - leaving Mackelway alone in here.      Nothing to look at but that black wave... He hears Charlton,      leaving the building.      He slams another Vicoden, then hears a PHONE RING. Fuck it.      He's not moving. Let Voice Mail get it.      ...until he hears the sound of a FAX coming in.      He rises. Follow him:155   INT. FBI OFFICE - CUBICLES - CONTINUING                           155      Mackelway hurries through the office, as the sound of that fax      grows louder.156   INT. "FAX ROOM" - CONTINUING                                      156      He enters. The fax has spun out a single sheet. No top-sheet.      That's odd...      But here's another face, another victim, with the customary      HAVE YOU SEEN ME? across the top.      A young African-American boy: "Lloyd Simms, Age 9. Ht. 4'10",      Wt. 67 lbs. Last Seen: Greenville, Texas. Date of      Disappearance: 10-26-99."      That's it. One face. The transmission ends. Mackelway eyes      those vitals. They mean something. Greenville...157   INT. FBI OFFICE - O'RYAN'S ROOM - RESUMING                        157      He re-enters, and approaches that huge MAP. There's that wave      of black pins, with the one BLUE PIN in its center;      Greenville, with a "10-26" written beside it.      Mackelway pulls out the lone blue pin, replaces it with a      black one. Now the wave is complete. All black...                                                        CUT TO:158   INT. 18-WHEELER - CAB - MOVING - NIGHT                            158      We've seen this truck before - several times in fact. It      rumbles along the highway. We don't see who's driving, but we      do see who's in the passenger seat:                                                                 83.      It's Charlie, five years-old, whose abduction we just      witnessed. He sleeps fitfully.      A MAN'S HAND can be seen, edging into frame - the DRIVER. He      picks up a CASSETE, shoves it into the tape deck.      And out comes the sound of "Barney the Dinosaur."                           BARNEY (THRU DASHBOARD STEREO)                 Oh silly songs get sillier/When you hear                 them once again/And maybe you're hearing                 an echo/Or maybe it's only a friend!      The truck continues to rumble along.                                                       CUT TO:159   INT. FBI OFFICE - OUTSIDE THE O'RYAN ROOM - MORNING        159      6 a.m. Fran pauses outside the O'Ryan Room... where Mackelway      sleeps on a chair. Poor guy was here all night.      She regards him... then her eyes find that MAP, and the gaping      black wave across it. A horrible image...      She studies Mackelway again, almost tenderly, until:                           CHARLTON (O.S.)                 Does he listen to you?      She turns, startled. Here's Charlton, right behind her. And      she's been caught... watching Mackelway sleep.                           FRAN                 I'm sorry?                           CHARLTON                 It's not a strength of his. I'm noticing                 that lately.      Truth is, she doesn't like Charlton. Or trust him...                           FRAN                 He's fine.                           CHARLTON                 I'm not so sure.                     (a beat)                 You oughtta sit him down, remind him how                 a chain-of-command works.                           FRAN                 He's fine, Sir.                                                               84.                           CHARLTON                 Talk to him.      With that, he's gone. Fran watches as he heads for the Front      Door... and exits.      She looks back to Mackelway. He awakens with a start. Thinking      no one's watching, he pops another Vicoden.160   INT. O'RYAN ROOM - CONTINUING                                  160      Fran enters, feeling slightly dirty from that exchange.      Mackelway checks his watch as a few AGENTS exit the suite.                           MACKELWAY                 They going to Denton?                             FRAN                 Mmm-hmm.                           MACKELWAY                 But not you?                           FRAN                 Sitting in on two autopsies.                             MACKELWAY                 Oh.      He rises. Heads for the door, stiff. She looks at those O'Ryan      FBI DOCUMENTS NOW - her first time seeing them...                             FRAN                 You okay?                             MACKELWAY                 Yeah. Why?                             FRAN                 Nothing.      She leaves it at that. He's about to exit, when:                           MACKELWAY                 Are they male or female?                             FRAN                 Huh?                           MACKELWAY                 The autopsies.                                                           85.                     FRAN           Females - Logan, Utah; and Decatur,           Alabama.(Neither city is represented with black pins on that map.)She slides over a packet of PHOTOS: two FEMALE VICTIMS,photographed in separate morgues - face up, face down, waistand above, waist and below, etc.Mackelway eyes them, then leaves the room. We STAY WITHFRAN... taking in that O'Ryan FBI file. It troubles her.Mackelway returns, carrying the 9-by-12 envelope that Katiegave to him.                     FRAN (CONT'D)               (re: O'Ryan's file)           So is this what happens when an agent           spins out? He gets deleted?                     MACKELWAY           Sometimes. The lucky ones get sent to           Wichita Falls.She breathes out an ironic laugh. He hands over the envelope,opens it. Inside: that photo of Karen Sumpter. Mackelwaydidn't pay much attention to it before.Fran eyes the photo, then the vitals.                     MACKELWAY (CONT'D)           Friend of the Receptionist, missing for           about a year now. I told her I'd let her           know if the body ever turned up.Fran doesn't look up from the photo.                     FRAN           The Receptionist.                     MACKELWAY           Her name's Katie.She half-smiles: "You mean the one you've been fucking?" Heshrugs, confirming nothing - wishing Fran weren't quite sosmart. She puts the photo back into the envelope.                     FRAN           I see you got the blue pin out of           Greenville.                                                          86.                     MACKELWAY           Yeah. Last night. Kid named Simms.That confused her.                     FRAN               (re: Sumpter)           No. I meant her. The girl.That confused him.                     MACKELWAY           What're you talking about?                     FRAN           Did ya look at her vitals?She hands him the material on Karen Sumpter.                     FRAN (CONT'D)           Greenville, Texas. October 26.He grabs the material, looks at it for the first time:"Karen Sumpter, Age 25. Ht. 5'6", Wt. 110. Eyes Blu, HairBlnd. Last Seen: Greenville, Tx. Date of Disappearance: 10-26-00."Mackelway looks to the Conference Table - that huge stack offaxes, all those helpless faces.The one on top is the one that came in last night: LloydSimms, Age 9. Ht. 4'10", Wt. 67 lbs. Last Seen: Greenville,Texas. Date of Disappearance: 10-26-99.At last, a pattern. A break.Mackelway grabs the Simms fax, hurries out of the room.Nearest Agent is Grieves. Mackelway hands him the fax.                     MACKELWAY           Need an address on this fax line.Grieves has done this on fifty different faxes now; it neveryields their suspect, but:                     GRIEVES           'Kay.Mackelway leans back in to the O'Ryan Room.                     MACKELWAY           O'Ryan's in Greenville.                                                            87.                     FRAN           What makes you think so?                     MACKELWAY           That's where Zero is.               (Fran's a blank)           Lloyd Simms - October 26, '99. Karen           Sumpter - October 26, 2000. Both           disappeared from Greenville.               (still no reply)           Zero comes back to the same spot, once a           year. Today's the 25th.                     FRAN           Wait. When did we establish that Zero was           real?                     MACKELWAY           O'Ryan thinks so.                     FRAN           Do you?That's the million-dollar question, and it hangs there.Mackelway's about to answer... when he stops himself. Justnoticing something. That MORGUE PHOTO from Logan, Utah:There's a BURN MARK on the lower left calf of the victim.We've seen such a mark before, on another autopsy photo.                     MACKELWAY           I've seen this before.                     FRAN           Huh?He doesn't answer, just hurries to a thick BOX OF OTHERAUTOPSY FILES AND PHOTOS. Starts rifling through them......until he finds the one we've seen before. The body fromTrenton. He extracts it. Eyes it. A confirmation...He lays the two PHOTOS side by side. Looks to Fran.                     MACKELWAY           Same burn-mark.               (she leans in)           I saw it before but it didn't register.Fran eyes the photos. No doubt about it - they both have thesame burn mark on the lower left calf: a symmetrical, almosthorizontal stripe across the flesh.                                                                   88.                           FRAN                 He burns them?                            MACKELWAY                 I dunno. Almost looks too symmetrical to                 be a burn.                     (re: Logan victim)                 They're autopsying her this morning?                           FRAN                 Yeah.      She gets the idea: "Find out where the hell this mark on the      leg came from." Grieves enters.                           GRIEVES                 Fax number traces back to a Copy Center                 on I-30. Greenville.                     (Mackelway eyes his watch)                 I called. They don't open for another                 hour.      Mackelway looks to Fran. She's not entirely sold yet... but      she's getting there.                                                         CUT TO:161   INT. MACKELWAY'S YUKON - DRIVING - EARLY MORNING                   161      Mackelway plows along I-30.      Ahead of him, one hell of an ugly STORM-FRONT seems to be      waiting. Thick, black clouds. Mackelway's driving right into      the teeth of them...                                                         CUT TO:162   EXT. "FAST-COPY" - ESTABLISHING - DAY                              162      A copy-place, right off I-30. Mackelway's Yukon is parked in      front.163   INT. "FAST-COPY" - COUNTER - DAY                                   163      Mackelway stands opposite a DAY-MANAGER: 30, harried, eyeing a      copy of the composite drawing of O'Ryan.                           DAY-MANAGER                     (re: O'Ryan)                 Naah. I never saw that guy in here.                                                                89.                           MACKELWAY                 He sent a fax from this location 'bout                 seven o'clock this morning.                           DAY-MANAGER                 We're closed at seven.                           MACKELWAY                 Are your faxes programmable? Could he                 have paid last night to have it sent this                 morning?                           DAY-MANAGER                 Sure. But that costs extra.                           MACKELWAY                 Were you here last night?                           DAY-MANAGER                 Nope. Haven't done nights since I got                 promoted.      Mackelway eyes the guy... then hears a CEL-PHONE ring.                           MACKELWAY                 'Scuse me.      Mackelway grabs his cel, backing away from the counter.                            MACKELWAY (CONT'D)                     (into cel)                 Mackelway.164   INTERCUT WITH/INT. MORGUE - SAME                                164      Fran is at a phone, in the Morgue. The Logan Utah BODY lies on      the table.                           FRAN                 It's not a burn. It's a freezer-burn.                           MACKELWAY                 You're sure.                           FRAN                 There's crystallization in the blood                 stream. The blood never clotted in the                 wound. It's a freezer burn... I'm having                 the other body shipped out - the guy from                 Trenton. We'll see if he's got the same                 thing.      Mackelway pauses, thinking...                                                                   90.                           MACKELWAY                 So... he keeps the bodies in a freezer,                 then buries them...?      That was a question. He can't do any better.                           FRAN                 I dunno. If he kept them in a freezer                 they'd have marks like this all over.                 Wouldn't they?      Mackelway nods - that made sense. Shit.      The noise of the Interstate doesn't make things any easier. A      huge TRUCK rumbles by. 18 wheels.      Mackelway eyes it, absently. Then a bolt hits him:      On the side of the truck is a trademark: "EVER-FROST." This      truck is hauling ice cream.      Things just began to click.                           MACKELWAY                 Thanks, Fran.      He has hit "End" before she can reply. Heads to his Yukon.      Fran eyes the phone: that was odd...                                                         CUT TO:165   EXT. TRUCK STOP - GREENVILLE, TX. - ESTABLISHING - NOON            165      A huge lay-out, with a diner, rest-stop, and gas station.166   INT. DINER - GREENVILLE - SAME                                     166      Mackelway sits at a table by a window. Watching. FIFTY MASSIVE      TRUCKS in this lot - some refrigerated, most not.      This Diner is big enough to seat 200: truckers, a few      families, and folks who just like the buffet, (gravy covers      just about every entree.)      Mackelway's been here for hours. A WAITRESS comes by.                           WAITRESS                 You want some more breakfast, Honey, or                 are we just rollin' right on into lunch?                                                                 91.                           MACKELWAY                 Just some coffee, thanks. Might hit the                 buffet in a bit.                           WAITRESS                 Meatloaf's lookin' good today.      He smiles, thanks. She turns away. That leaves him alone      again, scanning - not even sure he's in the right place.      CEL-PHONE RINGS. He grabs it.                           MACKELWAY (INTO PHONE)                 Mackelway.167   INTERCUT WITH/INT. FRAN'S CAR - DRIVING - SAME                   167      She's driving, talking into the cel...                           FRAN (INTO PHONE)                 What're you doing?                           MACKELWAY                 Surveilling. What're you doing?                           FRAN                 Driving to Greenville.                           MACKELWAY                     (knows already)                 Why would you be doing that?                           FRAN                 I think agents are safer when they have                 some company. I can send along Katie if                 you'd rather.      Mackelway laughs. He appreciates a good jab.                           MACKELWAY                 I'm at the truck-stop we traced. Off the                 I-30.                           FRAN                 I'm 'bout a half hour out.                           MACKELWAY                 I'll order some lunch for you. Hear the                 meatloaf's good today.      She half-smiles. She likes him, despite herself.                                                                 92.168   DINER - MACKELWAY - RESUMING                                     168      He half-smiles, puts the cel-phone away. He likes her, despite      himself.      Then a MAN passes by him, a trucker. Let's call him VIC.      All we see as he passes is the TATTOO on his forearm: a cobra.      Keys jingle on his belt-hook. He wears a sleeveless down vest      and a "God Bless America" cap.      Mackelway turns, but Vic's already past us.      Something about him attracts Mackelway's attention. The walk,      the attitude. Something.      So Mackelway is watching - without really knowing why - as Vic      crosses the parking lot, heading for his rig. It's a beast.      Vic climbs in, unaware that he's being watched.      Mackelway looks away, chiding himself for allowing the guy to      distract him. That WAITRESS comes by with more coffee.      Mackelway smiles, looking absently out the window again.      And sees a LITTLE BOY of 5, in the cab of Vic's rig...      But this little boy is SCREAMING, struggling to get out of his      car-seat, until Vic grabs the kid by the shoulders, roughly...      all of this visible through the windshield.      Mackelway locks in on the kid. Holy shit...      Vic's rig pulls out. The kid pounds on his window. Looks like      he's saying "Lemme out of here! I want my Mommy!" He might be      little Charlie - we can't tell from here.      But we can see that Vic is yelling at him: "Shut up!"      And we can see that Vic's truck is refrigerated. He's hauling      dairy products.      On a normal day, Mackelway might shrug this off as      coincidence. He might not be so vigilant.      This isn't a normal day. He races for the door.169   EXT. TRUCK-STOP - PARKING LOT - MOMENTS LATER                    169      Mackelway backs out in the Yukon, trying to keep a visual on      Vic's truck.      ANOTHER 18-WHEELER pulls in front of him, blocking his view      entirely.                                                                  93.                           MACKELWAY                 Dammit!      He honks - loud - pulls around that other 18-wheeler, heading      for the exit of the lot.      Just spotted Vic's rig again.170   EXT. ROAD/INT. MACKELWAY'S YUKON - CONTINUING                     170      He follows Vic's rig out of the lot and onto a road      approaching I-30. But there are three cars between them -      Mackelway can't get a clean look at Vic's license plate.      Vic approaches the Interstate. So do the three cars between      them.      Vic passes the Interstate on-ramp. The three cars turn on to      it... putting Mackelway right on Vic's tail.      He grabs his cel, dials. This truck has license plates from      ten states.                           MACKELWAY (INTO CEL)                 This is Mackelway. I need a run down on a                 plate. Texas: Delta-142-Romeo-Victor-                 Alpha. Got that?      He puts the cel down, but doesn't hang up. Vic just made a      turn onto a VAST DIRT LOT.      A huge BANNER overhead reads, "FOUNDERS DAY CARNIVAL!!!"171   EXT. CARNIVAL - PARKING LOT - CONTINUING                          171      There are several BIG-RIGS parked here, but the vast majority      of the vehicles we see are garden-variety cars and SUV's. A      few pick-ups.      There are RIDES at this carnival: Pony rides, a ferris wheel,      and a huge ring of Barbeques, each fired up and cooking. Must      be a thousand people in attendance today.      Vic parks his rig. Mackelway hangs back, watching:      Vic gets out of the rig. From here we can see that that 5-year-      old BOY is still stick in his car seat, and he is still      screaming and flailing.      Vic points a stern finger at the kid as if to say, "Behave or      else." Then Vic disappears into the crowded carnival.                                                                  94.172   EXT. MACKELWAY - AT HIS CAR - RESUMING                            172      He gets out of the Yukon, approaching Vic's truck. We CROSS      THE LOT WITH HIM.      He reaches Vic's truck, looks in the passenger window. There's      the five year-old kid, tears streaming down his face. (We      still can't tell if it's Charlie.)      Mackelway reaches for the passenger-side door. It's locked. Of      course. And he can't shoot his way in.      He looks to the kid inside:                           MACKELWAY                 You okay?                     (Kid's a blank)                 Kid? You okay in there?      The Kid doesn't respond - just seems spooked. Shit...      Mackelway looks into the heart of that crowd. Vic's still      visible to us, but he won't be for long.                           MACKELWAY (CONT'D)                     (at the Kid)                 I'll be back. Don't worry.      Mackelway heads into the carnival.173   EXT. CARNIVAL - CONTINUING                                        173      He begins running now, past the table where ladies are selling      TICKETS for the rides and games, past the Cotton-Candy Guy.      Running... because we just lost sight of Vic.      Mackelway hurries through that ring of barbeques, upsetting a      tray or two. Then he stops. There's the ferris wheel. Was that      Vic on the other side of it?      Mackelway takes off.174   EXT. FERRIS WHEEL - CONTINUING                                    174      No Vic. But Mackelway thinks he sees the guy... heading back      in the direction of the parking lot.      He runs past the Pony rides, past a funhouse, past a popcorn      machine, past those ladies selling tickets.                                                                 95.175   EXT. PARKING LOT - RESUMING                                      175      He hits a bottleneck of people at the entrance. But he bursts      through, runs into the dirt parking lot, around cars and big-      rigs, then turns a corner and:      ...runs smack into Benjamin O'Ryan.      The shock is so total it takes each of them a moment to      recover from it. But here he is. O'Ryan, five feet away.      Mackelway's speechless, still trying to recalibrate himself. A      second ago he was chasing a possible Zero. Now he's face to      face with O'Ryan.      And O'Ryan isn't running. In fact, he almost seems amused.                           O'RYAN                 Well, well... Must be quite a moment for                 you. Congratulations.      Mackelway still hasn't spoken, until:                           MACKELWAY                 What're you doing here?                           O'RYAN                 Waiting for you.      ...which is when Mackelway realizes that he is standing right      in front of Vic's rig.      But he wasn't expecting what comes next:      Vic has returned to the rig, with a WOMAN beside him. Turns      out, she's his WIFE. Vic opens the passenger-side door,      unclasps that five year-old kid from his seat.                           FIVE YEAR-OLD                 Mommy!      The kid dives into the Woman's arms.                           WOMAN                 Morning, Baby!                           VIC                 I told you she'd be here.                     (to Woman)                 He's been a brat all morning.                                                                  96.      Mother hugs son... which means that Mackelway has misread      things, badly.      And O'Ryan is a witness to it - hence the grin.                           MACKELWAY                     (at O'Ryan)                 Hands up.      O'Ryan raises his hands. Mackelway reaches for his cuffs.                                                        CUT TO:176   EXT. CARNIVAL - PARKING LOT - MOMENTS LATER                       176      O'Ryan's hands are cuffed in front of him. Mackelway leads him      to the Yukon, opens a door for him, and puts him into the      backseat. A few LOOKIE-LOU'S strain for a peek.177   INT. MACKELWAY'S YUKON - CONTINUING                               177      Mackelway gets in, hits the ignition. Reaches for his cel-      phone. Starts to dial.                           O'RYAN                     (disappointed)                 Awfully conventional - don't ya think?      Mackelway pauses.                           MACKELWAY                 Huh?                           O'RYAN                 Apprehend the fugitive, then call it in                 for your pat on the head.                           MACKELWAY                 Sorry to disappoint you.      Mackelway continues to dial.                            O'RYAN                 I'll get over it.                     (flat)                 But I'm not too sure that little boy                 will.      Bang. That just stopped Mackelway, mid-dial.                                                               97.                           MACKELWAY                     (minor test)                 What little boy?                           O'RYAN                 The one from the Diner, in Denton.                           MACKELWAY                 You know where he is?                           O'RYAN                 I can find him.                           MACKELWAY                 How?                           O'RYAN                 Same way I found Starkey, and Speck, and                 Fulcher... and you.      That rang a bell.                           O'RYAN (CONT'D)                 I need someplace quiet - someplace I can                 concentrate... And your assurance that                 once he's located, we go get him                 together.                           MACKELWAY                 I can't do that.                           O'RYAN                 Then I can't help you.      Mackelway, disgusted, pulls out of the lot.178   INT. MACKELWAY'S YUKON - DRIVING - MOMENTS LATER               178      Through sparse traffic, heading for an Interstate on-ramp.                          O'RYAN (CONT'D)                I'm talking about uncompromised justice.                No trials. No lawyers. No hiccups in a                chain of evidence that can set a monster                free. You of all people should be able to                appreciate the value of that.                          MACKELWAY                Where's the boy?                          O'RYAN                I won't be doing this much longer.                Actually, this is the end of it. I've                          (MORE)                                                         98.                     O'RYAN (CONT'D)           come to accept that. But there is one           last thing to--                     MACKELWAY               (anger rising)           Where's the boy, O'Ryan?                     O'RYAN           Do we have an understanding?Mackelway pulls the car over, under an I-30 overpass... andout comes his gun, pointed right at O'Ryan's forehead.                     MACKELWAY (CONT'D)           Enough of this shit. Where's the boy?O'Ryan can't help it. He's pleased.                     O'RYAN           Good. This is good. Sort of thing you'd           never find in a procedural manual. It           tells me I was right about you.                     MACKELWAY               (cocking the hammer)           I will kill you, O'Ryan.                     O'RYAN           I know. But we have work to do first.                     MACKELWAY           Where's the Goddamn kid?!?!Silence... Then that CEL-PHONE rings. Must be Fran.                     O'RYAN           Don't pick that up.Mackelway eyes him: are you kidding? It rings again.                    O'RYAN (CONT'D)              (a panicked offer)          This is the guy who put all those pins in          that map of yours! And I can take you to          him!Ring #3. Mackelway grabs the phone.                     MACKELWAY           Fine. Where is he?               (silence)           Where is he?!?!                                                                  99.      Silence, punctuated by Ring #4. Then O'Ryan smiles... and      points to his own forehead.                           O'RYAN                 Right here...      Mackelway lets out a disgusted sigh.                             MACKELWAY                 Fuck you.      He punches the "Talk" button, taking his eyes off O'Ryan for a      split second.      ...What follows is a blur:      O'Ryan lunges forward like an animal, throwing his cuffed      wrists over Mackelway's head, yanking Mackelway out of his      seat with a violent tug. The gun falls.      We POP OUTSIDE THE YUKON, pulling back... obscuring our view      of what's going on inside that truck.      That cel-phone continues to ring... We keep pulling back,      under this sparsely-trafficked overpass, rain falling.      The cel-phone stops ringing. CONTINUE PULLING BACK, taking in      the expanse of highway - cars rolling by without a hint of the      peril beneath them...                                                       CUT TO:179   INT. TRUCK-STOP - DINER - GREENVILLE - SAME (DAY)                 179      Fran has just arrived. She scans the place. Doesn't see      Mackelway. Great. She reaches for that cel-phone again...                                                       CUT TO:180   INT. A THIRD UNIDENTIFIED MOTEL ROOM - NIGHT                      180      Mackelway awakens. The room feels like it's swimming. His arms      and legs are bound. His mouth has been GAGGED.      And he is staring into his own REFLECTION.      He lies on his side. A MIRROR has been propped on the floor,      just inches from his face - leaving him with nothing to look      at but himself.      He strains against the ropes, but there's no give to them.      He's helpless, powerless. And that mirror is forcing him to      watch it all with perfect clarity.                                                        100.A few feet away, O'Ryan sits in a chair, calmly peeling theskin off of an apple with that huge HUNTING KNIFE of his. ACANDLE flickers on the floor by his feet.                     O'RYAN           Are you afraid?There was a delight to that question - we can see it onO'Ryan's face. Mackelway, of course, can't reply due to thegag. But the answer's obvious.                     O'RYAN (CONT'D)               (quoting himself, as Daitz:)           "Imagine a killer with no patterns, no           tell-tale fetishes, no rituals of any           kind. No hidden desire to be caught. A           perfect vessel of evil."All Mackelway can see is his own reflection - the fear in hiseyes - bouncing off a mirror that's only inches away.                     O'RYAN (CONT'D)           And the name we give that killer... is           Zero.               (again:)           Are you afraid?Slowly, he lowers the knife into the flame of that candle onthe floor. It GLOWS. Good God...                     O'RYAN (CONT'D)           It'd be customary at this point to start           praying. I hear a lot of that. Haven't           seen too many answers though. I wouldn't           hold my breath waiting for another           janitor to break in here and save you,           either. You're alone.Mackelway tries to speak. It's impossible.O'Ryan pulls the GAG from his mouth, just long enough forMackelway to say:                     MACKELWAY           Where's the boy?O'Ryan jams the gag back into his mouth, angrily.                     O'RYAN               (re: the mirror)           My, my. Must be extremely satisfying to           watch yourself say something so heroic.           I'm almost envious.                     (MORE)                                                           101.                     O'RYAN (CONT'D)               (casually)           The boy's under the bed. In pieces. Are           you afraid?Mackelway absorbs that - watches himself absorb it - thenlooks to that bed. Can't quite see what's under it...O'Ryan eyes the flames as they dance over the blade.                     O'RYAN (CONT'D)           I know what you're thinking: "There is           pain coming. Am I going to take it like a           man?" Let me put you at ease: You won't.           None of them do. Men, women, children.           They all weep, they all beg. They pass           out, they piss themselves. They attempt           negotiation: You wouldn't believe how           many men have lain right where you're           lying right now - grown men, with wives           and children back home - offering all           kinds of sexual gratification in exchange           for a five minute reprieve. It's           pathetic. Are you afraid?               (of course, no reply)           Then there's that moment when they           realize there's nothing left to be           negotiated. They're just mine. And           they're helpless. And the look in their           eyes, the level of surrender... well,           it's almost pornographic. I put this           mirror here because I don't want you to           miss it. Are you afraid?With that, he lifts that hunting knife out of the flame. It isRED-HOT. Even looking at it is painful.But Mackelway can't look at anything else.                     O'RYAN (CONT'D)           How about now?Just like that, that red-hot knife is an inch from Mackelway'sface. The heat alone makes his head jerk back. Wisps of smokerise from its edge.And Mackelway is forced to watch his own reaction to it.He struggles against these ropes, to no use. A guttural soundcomes out of him.                     O'RYAN (CONT'D)           Are you afraid?                                                           102.O'Ryan's hand lashes out a bit, leaving the sizzling knifejust under Mackelway's chin. The anticipation of pain isunbearable. And Mackelway is reading it in his own eyes...                     O'RYAN (CONT'D)           Hmmm? Agent Mackelway? Are you?Two things hit at once: 1) This monster is about to torture meto death. 2) Please, God, don't let me give him thesatisfaction of seeing me cry...O'Ryan moves the blade again, this time an eighth of an inchabove Mackelway's right arm. The heat from it is so incendiarythat Mackelway's shirt begins to smoke.                      O'RYAN (CONT'D)           Are you?Mackelway's shirt is officially on fire now. The pain isawful. He stares at his own reflection....as tears begin to flow from his eyes. He can't stop them.                     O'RYAN (CONT'D)               (top of his lungs)           Are you afraid?!That bounces off the walls. Mackelway shuts his eyes tight -can't watch this anymore.                     O'RYAN (CONT'D)               (infuriated)           Open your eyes! Open your eyes Goddammit           or I'll cut the fucking lids off!!Mackelway opens his eyes, forced to watch himself break. Deepsobs shudder through him, as...O'Ryan digs that red-hot blade into Mackelway's arm:                     O'RYAN (CONT'D)           ARE YOU AFRAID?!?!Mackelway sees the answer in his own reflection: Yes, I amterrified. He SHRIEKS, the sound muffled by that gag.With his body able to do no more than spasm, he jerks his headforward, smashing it into that mirror. THE MIRROR SHATTERS,obliterating the image....and everything goes black.                                                                 103.      Then, MORE IMAGES SWARM AT US. We're helpless to beat them      back:180a EXT. DARKNESS - UNIDENTIFIED TIME                              180a      Out of a soupy darkness, a dreamlike spin on a location we've      visited before: It is the wheat field that O'Ryan has Remote      Viewed countless times. Only this time we see it through      Mackelway's fever, or nightmare... We see the tall wheat, the      wet wind - familiar images to us. All to the pounding Chant of      the Navaho.      But then OTHER IMAGES enter this world. They're jarring:      -That TRIBESMAN, eyes rolling back, foaming the mouth,      dancing around a fire in a frenzy. Then a curtain of wheat      obscures him, revealing:      -Fran, and Katie, giggling, crooking fingers as if inviting      us. Looks like they're naked. But as we approach them, they      seem to get farther away. Then that curtain of wheat that      separates us from them reveals:      -Charlton, extending a hand to us, warmly, congratulating us      for something, a job well done, when:      Mackelway himself is hunting through the wet wheat, gun drawn.      He FIRES... Then looks to see who he's just shot.      A body. He turns it over.      ...and is staring at himself, lying dead on the ground in the      mud and pouring rain. It is a moment of shock and horror,      giving way as we...181   FADE UP AGAIN...                                                  181      ...on O'Ryan - at a desk, sitting upright, making notes on a      pad. Calm. Businesslike. His back turned to us.182   INT. THAT UNIDENTIFIED MOTEL ROOM - LATER NIGHT                   182      Time has passed. We don't know how much. Or maybe we're dead,      or dreaming. It's hard to say...      But there's O'Ryan, at a desk. Writing...      Mackelway's eyes are open. His FOREHEAD has a bright red      raspberry on it from smashing into that mirror.      But the brain is functioning. It starts running through a      check-list:                                                           104.I'm in the same motel room. I'm on a bed. I'm alive. There'sO'Ryan. Everything hurts. No, it's just my right arm. But itis searing.The check-list continues: my mouth is sore, but that GAG hasbeen removed.And MY ARMS ARE UNBOUND. Legs too. Maybe I am dead.Mackelway tries to move his hand. It takes some effort.Everything's foggy. But he puts it before his face. Turns it.Flexes it. Squeezes it. His hand... He stares at it.Then he notices his SHOULDER. A fat BANDAGE has been wrappedaround it - covering up the source of that searing pain. Looksas though a nurse had tended to it.But this sure as hell isn't a hospital...Then, O'Ryan turns, facing us. Mackelway recoils withoutmeaning to.But O'Ryan's demeanor has changed. That look of possessedmalevolence - it's gone now. We can't imagine why.                     O'RYAN               (softly)           Stand up.Mackelway pauses, rewinding that one.                     O'RYAN (CONT'D)           It's over now. Can you stand?Mackelway is still bracing for torture, or at least combat. Sohe's a step behind.                     O'RYAN (CONT'D)           We really do have to go.O'Ryan rises, crossing toward us. Even unbound, Mackelway isexpecting another onslaught... But all O'Ryan does is drop apiece of paper onto Mackelway's lap.It's another DRAWING: of a RANCH-HOUSE, with a windmill in thebackground. Crude, but just specific enough. Mackelway's stilltoo unwound to speak...                     O'RYAN (CONT'D)           This is where he'll be. With the boy.               (a beat)           Zero. He's coming home today. We're going           to be there.                                                        105.Mackelway's starting to understand now. This was an act. Aninitiation. That stuns him...                     O'RYAN (CONT'D)           You're ready to come with me now. You've           been in the pit. Stand up.Mackelway eyes him - utter disbelief.O'Ryan smiles warmly - like a Drill Sergeant at the end ofBasic: Sorry I was so hard on you but it had to be done... Canwe shake on it?Instead, Mackelway simply EXPLODES:It is a blur, faster than a blur, but Mackelway rises with ananimal roar, knocking O'Ryan flat on his back.Then Mackelway is upon him.All the helplessness, all the horror, the images of watchinghimself in that mirror, the sounds of his own uncontrollablesobbing... they ERUPT now into violence.It is an overwhelming force. O'Ryan can't begin to fight itoff. Mackelway has one hand on O'Ryan's throat. The other handcomes down like a sledgehammer.One blow. Then another. The sounds coming out of Mackelway aresavage, barely human. He's out of control.O'Ryan's eyes roll back. Mackelway now puts both hands aroundthis fucker's throat. He's going to kill him - right here.He's going to squeeze the life from him.This is a Mackelway we've never met before. His eyes are wild,hateful - even as the last gasps of breath rasp their way outof O'Ryan's throat.Then Mackelway is distracted, for just a second. No. Less thana second... by a glimpse of that SHATTERED MIRROR - his owntwisted image.He looks away from it, refusing to be distracted, determinedto kill this guy....then those eyes drift back to the mirror again....and he sees his reflection: a hardened, crazed stranger. Ananimal.His hands, without warning, release their grip.                                                                 106.      O'Ryan gasps for air. His face has been bloodied. Mackelway      rises, disgusted, removing a great weight from O'Ryan's chest.      That makes breathing a little easier.      Mackelway crosses to a tiny, cheap BATHROOM.183   INT. MOTEL ROOM - BATHROOM - CONTINUING                           183      Mackelway enters. There's a mirror in here too. That fat      BANDAGE on his shoulder stares back at him.      He tugs at it - doesn't unravel it, just yanks it off his arm -      revealing a hideous wound.      It's a ZERO, WITH A SLASH THROUGH IT.      Now everything clicks: O'Ryan was branding him. Initiating him      with that red-hot knife.      Mackelway stares at the wound, his eyes lifeless. He splashes      some water on his face, his mind still reeling.      Then O'Ryan appears in the doorway. He too looks like hell -      face bloodied, throat red, eyes watering. A long beat...      Mackelway eyes him, incredulous. O'Ryan nods, then places that      DRAWING of the Ranch-House on the sink. Mackelway eyes it.      Then O'Ryan stuns him... by laying Mackelway's GUN atop the      drawing, without a word.      Mackelway eyes the gun, then grabs it and points it right at      O'Ryan's face, just inches away.      We're TIGHT on Mackelway's hand. It trembles with rage.      But O'Ryan, looking right down the barrel, seems unafraid. In      fact he smiles, utterly confident. Then:                           O'RYAN                     (re: gun)                 Soon. I promise... But not yet.      He eases Mackelway's hand down, thus lowering the gun. Then      O'Ryan turns, grabs Mackelway's car keys, and heads for the      front door.      Mackelway stands, rigid. He raises the gun. Maybe I'll just      shoot this fucker in the back.      Then those IMAGES come at us again, out of nowhere:                                                                 107.184   EXT. WHEAT FIELD - NIGHT                                          184      Out of a gray, soupy swirl - coming slightly into focus: Wet      wind, tall wheat, our own heavy BREATHING as we run... And      that non-descript voice we heard echoing earlier becomes the      sound of O'Ryan's voice, static-filled, wobbling:                           O'RYAN (O.S.)                 Please... I'm begging you.      That was clear enough. A gun rises. We seem to be holding      it...      Then those images vanish, and we are jolted back to:185   INT. MOTEL ROOM - BATHROOM - RESUMING                             185      Mackelway tightens. O'Ryan's out the door. This VISION that      keeps getting clearer and clearer... What the hell does this      it mean?      Down go two more Vicodens...                                                       CUT TO:186   INT. MACKELWAY'S YUKON - DRIVING - NIGHT                          186      A huge STORM devours scenery on both sides of us. O'Ryan      drives. Mackelway sits, no expression at all on his face,      still recovering from what happened in that room...      Silence... Then:                           MACKELWAY                 Tell me about Icarus.                           O'RYAN                 Why?                           MACKELWAY                 Just... wanna know.      O'Ryan eyes him. The sky is black.                           O'RYAN                 There were five of us. In the program.      Mackelway's all ears...                           O'RYAN (CONT'D)                 We'd come in in the morning, have a cup                 of coffee, talk about the Yankees. Then                 you'd go to your room, with your pen and                           (MORE)                                                         108.                       O'RYAN (CONT'D)             your pad of paper, always alone, and             you'd try to lock in. Son of Sam. John             Wayne Gacy. Ted Bundy. He might be             driving his car, or having a beer or             brushing his teeth... or cutting             someone's eyes out.That was said flatly, matter-of-factly. It's chilling.                        O'RYAN (CONT'D)             If you did it right, you got all of it:             The way it sounded. The way it smelled...             Those people were looking up at you,             begging you for mercy. It was like being             God.                  (a beat)             ...except you're not. Because you can't             do a thing for them. Can't make it stop.             You're just watching, helpless.He pauses.                       O'RYAN (CONT'D)             They wired us into this current, the five             of us: darkness, the pit itself. We were             plugged right into it. But nobody taught             us how to shut it off...                 (thinking back...)             We were just men. And we saw things men             shouldn't see. Agony, torture, evil - and             it never shut off. Even now, it's still             there.                       MACKELWAY             They all wind up like you? The other             agents?                       O'RYAN             No. They're dead now.Oh. Mackelway doesn't reply...                       O'RYAN (CONT'D)             They broke down. Then they opted out.                 (Mackelway's a blank)             Killed themselves... After a while, those             conversations about the Yankees became             impossible. Ya see?Mackelway lets that sink in, as he stares at passing head-lights. Then:                       MACKELWAY             I'm sorry.                                                                   109.      O'Ryan shrugs. He appreciates it. The windshield wipers beat      back rain...                                                         CUT TO:187   INT. MACKELWAY'S YUKON - DRIVING - LATER NIGHT                      187      O'Ryan continues to drive. Silence hangs. Then:                           O'RYAN                 We're here.      Mackelway sits up. O'Ryan pulls over at:188   EXT. RANCH-HOUSE - GREENVILLE, TEXAS - CONTINUING                   188      We've seen this place before. That is, we've seen it in      O'Ryan's DRAWING, which lies on the dashboard before us: A      ranch-style house with a WINDMILL in the backyard.      O'Ryan pulls over. Rain pounds on the roof and hood. Wind      blows. Mackelway studies the house. Then his eyes shift      briefly to the drawing.                           MACKELWAY                 Can't bring you in with me. You know                 that.      O'Ryan shrugs, then raises his hands: "Cuff me."      The CUFFS are lying on the floor in the back seat. Mackelway      reaches back, to grab them... a golden opportunity for O'Ryan      to club the guy.      But O'Ryan remains still. Mackelway grabs them. Then he stops.      Simply has to ask:                           MACKELWAY (CONT'D)                 Those faxes, the Have-You-Seen-Me's...                 How many of 'em is he actually                 responsible for?      O'Ryan lays it right out:                           O'RYAN                 All of 'em.      Mackelway nods, sobered. Cuffs O'Ryan to the steering wheel      and approaches the house.                                                                 110.189   EXT. RANCH HOUSE - WALKWAY - CONTINUING                           189      The place is in some disrepair: untended lawn, chipping paint,      etc. Mackelway looks through the kitchen window.      No one's visible. He walks around the side of the house.190   INT. MACKELWAY'S YUKON - RESUMING                                 190      O'Ryan watches as Mackelway vanishes. This is a moment of      opportunity. With his free hand, he reaches into his pocket,      grabbing a lighter.191   EXT. RANCH HOUSE - SIDE - CONTINUING                              191      Mackelway moves cautiously, being pelted by rain. But now he      can see inside the Living Room of this home:      It's a bit of a time warp: plastic on the furniture, an old      radiator, pictures on the mantle in antique frames.      And an OLD LADY, leaning over a record player.      Tough to hear what's playing - we're outside, and that storm      is pounding - but it sounds like Glenn Miller. There's also an      old tv in here: "Wizard of Oz" is on it.      The lady is 70, frail, thin. She also happens to be BLIND.      Cataracts on her eyes. Her name's DELIA. Mackelway watches      her... as she exits the room, heading for the kitchen.      He moves to another window.192   INT. MACKELWAY'S YUKON - RESUMING                                 192      O'Ryan, keeping his eyes on that house, now lights the      lighter... and holds the flame up to the CHAIN connecting his      hand-cuff to the one on the steering wheel.      The chain begins to heat up...193   EXT. SIDE OF THE HOUSE - RESUMING                                 193      Mackelway watches as Delia makes her way into the kitchen.      It, too, is from another era: the dishwasher stands in the      center of the floor, connected to the sink with a long hose.      The refrigerator, the table, the toaster - all old.      The oven is an antique too. Delia crosses to it, grabs a      towel, opens it... and pulls a CAKE from it.                                                              111.      She brings the cake to the kitchen table, moving well for a      lady who can't see. On the table is an old-fashioned baker's      frosting tube.      She grabs it, using her hands to orient herself... and begins      to write on the cake, in frosting. Slowly.      Mackelway can't see the top of that cake, but we can. The      first letters, in beautiful cursive, read: "Happy Bir..." It's      a work in progress.194   INT. MACKELWAY'S YUKON - RESUMING                              194      O'Ryan has that handcuff chain GLOWING now. We don't know if      he'll have time to break the thing... until:      The passenger-side door is opened, abruptly.                           MACKELWAY                 It's his birthday, isn't it?      O'Ryan turns. Here's Mackelway, who now gets an eyeful of what      O'Ryan's doing with that lighter.      O'Ryan pockets it, a bit sheepishly. Mackelway decides to      ignore the whole thing...                           MACKELWAY (CONT'D)                 He comes home on his birthday.      O'Ryan nods. Then Delia's front door swings open.                           DELIA (O.S.)                     (aloud, delighted)                 Darling?! That you?!195   EXT. RANCH HOUSE - ENTRY - CONTINUING                          195      Delia stands in the open doorway: an old blind lady, talking      to the dark rainy street. That confuses them.      ...until we hear the rumble of an 18-WHEEL TRUCK.      It turns a corner onto this street. Mackelway turns now...      We've seen this truck before. A monstrous, rolling beast. And      Mackelway straightens, reaching for his sidearm. Behind him,      Delia smiles excitedly, almost dancing.      But that smile soon leaps from her face... as she hears the      sound of that 18-wheeler, BRAKING ABRUPTLY, its tires locking-      up on the wet road.                                                                 112.      Mackelway gets a look at the DRIVER now - a wiry, sinewy man      of 35... Let's call him ZERO.      Their eyes lock - until Zero throws his rig into gear again      and begins to rumble down the street.                           DELIA (CONT'D)                     (confused)                 Daryl? Honey?      No answer. That truck is rumbling away. Mackelway turns,      racing for the Yukon, leaving Delia at the door.196   INT. MACKELWAY'S YUKON - CONTINUING                               196      Mackelway jumps in to the Yukon, unlocking those cuffs.                           MACKELWAY                 Drive.      He accidentally burns himself on the super-heated chain.                           MACKELWAY (CONT'D)                     (re: burn)                 Fuck!      Cuffs are unlocked now. O'Ryan starts up the Yukon.197   EXT. GREENVILLE STREETS - DRIVING - CONTINUING                    197      O'Ryan drives, pursuing the big-rig. Mackelway gets on his cel-      phone, dials. Rain falls in SHEETS all around them.                           MACKELWAY (INTO CEL-PHONE)                     (urgently)                 This is Mackelway! I'm travelling north                 on... Grove Road, approaching I-30 in                 Greenville. Request immediate back-up.                 Pursuing a suspect in a refrigerated                 truck, Texas license plate Alpha--      The Yukon swerves hard to the right, narrowly avoiding the      tail end of Zero's rig as he swings it into our path.      Mackelway drops the phone. Grabs it again.                           MACKELWAY (PHONE, CONT'D)                 Alpha-4-5-2-Tango-Foxtrot-Alpha.      Zero does it again - swinging the rear of his rig across the      road, forcing O'Ryan to swerve hard. The Yukon gets shoved on      to a curb, then clunks down to the street again.                                                                 113.      Then Zero jams on the brakes. Mackelway's eyes go wide.                           MACKELWAY (CONT'D)                     (at O'Ryan)                 Brakes!      O'Ryan jumps on the brakes. The Yukon screeches to a stop,      throwing itself into a sideways slide. It bangs, passenger      side first, into the rear of the truck, breaking a window.      Mackelway ducks out of the way of breaking glass. Then the rig      pulls away again. O'Ryan follows.198   THE CHASE - CONTINUING                                            198      Zero's rig turns hard onto a SERVICE ROAD, running parallel to      the Interstate. Mackelway is locked in on that truck.                           MACKELWAY (CONT'D)                     (into cel-phone again)                 Travelling due west now. Don't see a                 name. It's a service road, running                 parallel to the--      Then Mackelway freezes, mid-word. He just saw something that      made his jaw drop:      On the other side of this road is a field of TALL WHEAT.      Time seems to stop. His blood feels like it just congealed.      Tall wheat in a wet wind. He has been here before. He has seen      it before.      And so has O'Ryan...      Mackelway just stares, slack-jawed, as that wheat whips past      them. The feeling is so unsettling that for a moment he      forgets about Zero, and the rig, and the kid...      Everything has just crystallized in a horrible way. He knows      that he is going to wind up in that wheat field, somehow, with      O'Ryan.      And O'Ryan will be begging him for mercy. "Please..."      O'Ryan guns the Yukon, attempting to cut in front of the rig.      Zero swings wide, sending the Yukon into a curb this time.      That shreds their front tire.      ...which means that in one minute this car is going to be      undriveable. So if they don't stop Zero from hitting that      Interstate - now - Zero will be gone.                                                              114.                           MACKELWAY (CONT'D)                     (absently)                 What're you...                           O'RYAN                 Can't let him hit the Interstate.      Mackelway braces himself, as O'Ryan guns his car up the left      side of the rig, shredded tire and all. Then:      He pulls right in front of the rig. At about 60 m.p.h. And he      jams on the brakes.      Zero swerves, out of instinct. It throws the rig into a      vicious JACK-KNIFE. The van whips around in front of the cab,      swatting the Yukon away like a fly.      We're inside the Yukon as it rolls, Mackelway and O'Ryan look      like tinker toys.      The torque pulls Zero's rig onto its side, sliding hard. Metal      hits concrete, sending up a shower of SPARKS.      The Yukon winds up in a ditch alongside the service road,      upside down. Mackelway, alive and awake, strains to look out      the busted windshield.      What he sees is hard to discern - but it looks like Zero's rig      is lying flat on its side.      And, of course, he is mere yards from that wheat field...199   EXT. SERVICE ROAD - CONTINUING                                 199      The rig's cab lies driver's-side down. But the passenger-side      door pops open. And Zero pokes through it, his eyes      immediately scanning that TALL WHEAT. Rain pours.      Mackelway's watching. O'Ryan, who blacked out for a second now      opens his eyes, getting the picture in a hurry.      Zero leaps to the ground, rolls, and rises. Only thing in his      hand is a TIRE IRON. Carrying it, he sprints into the wheat      field - vanishing.      Mackelway bursts out of the Yukon, in pursuit. O'Ryan's door      is stuck. Mackelway doesn't stop to help him - just barrels      across the street.      Just then - a STATE RANGER CAR arrives.                                                                 115.                            MACKELWAY                      (over his shoulder, running)                 Get the van open! He's got a kid in the                 van!      STATE RANGER hurries out of his squad car. Mackelway sprints      into the tall wheat.      O'Ryan, with a grunt, gets his door open. Now he too      disappears into that Wheat Field.200   EXT. WHEAT FIELD - CONTINUING                                     200      Tall wheat in a stiff wet wind, and not a drop of moonlight to      guide us. Mackelway plunges in, gun drawn. No idea where he's      going.      ...except he's been here before. He's seen it. And there is a      feeling of inevitability to all this; it's haunting.      He's practically blind in here. Can't see five feet in front      of him. Nothing but the sound of his own breathing.      That, too, was presaged. Those visions...201   EXT. ZERO'S TOPPLED RIG - CONTINUING                              201      It's locked. Ranger pulls out his handgun and blows the lock      away.202   EXT. WHEAT FIELD - RESUMING                                       202      Mackelway keeps running, deaf and blind.      O'Ryan is running nearby, but they can't see or hear one      another.203   INT. THE TOPPLED RIG - REFRIGERATED VAN - RESUMING                203      200 sides of beef lie on their sides. Ranger plunges in.      Then the Ranger spots, in the back of the van, a FALSE-WALL      that used to hide a secret compartment.      The crash has collapsed part of the false-wall. Frozen air      blows out in wisps. He climbs over those carcasses, fast as he      can...204   EXT. WHEAT FIELD - RESUMING                                       204      Mackelway keeps going, running blind.                                                                116.      Then, another sound, up ahead. Sounds like the noise of      someone stumbling. Mackelway stops. Listens.      Silence. The sound does not repeat itself.      He continues along, step by cautious step now.205   INT. TOPPLED RIG - REFRIGERATED VAN - RESUMING                   205      Ranger gets over the last of the carcasses, pulling himself up      to the now-open compartment.      First thing we see is a REFRIGERATION ROD, the one that was      responsible for those freezer burns.      Then we see Charlie, bound. He's trembling with cold, but he's      alive. His leg presses up against the rod.206   EXT. WHEAT FIELD - RESUMING                                      206      Mackelway, inching along, heart pounding. He hears a noise to      his left. Whips around, gun poised.      But it's nothing. He sighs. The wheat almost sounds like it's      laughing at him.      Then that TIRE IRON lashes out, from the right.      It catches Mackelway with horrific force, shattering his wrist      and sending that gun flying into the wheat.      Before Mackelway can react, Zero is upon him...207   EXT. THE TOPPLED RIG - RESUMING                                  207      Fran's Ford skids to a stop outside the van.      ...just as the Ranger brings Charlie out of the rig. The kid      is shaking, traumatized. He begins to cry...      Fran gets the idea. She hurries over.208   EXT. WHEAT FIELD - RESUMING                                      208      Mackelway and Zero wrestle, surrounded and obscured by all of      that wheat... Zero is a monster, and he's got that tire iron.      Mackelway has a busted wrist. Hardly a fair fight.      But Mackelway is battling: kicking, clawing, getting in as      many shots as he can. His shirt rips away from his body,      exposing that brand-mark. They roll back and forth. Until:                                                        117.                       O'RYAN (O.S.)                 (calmly, firmly)           Up.Zero freezes. Mackelway too. They turn to find:O'Ryan... who stands here, Mackelway's gun in hand.                       O'RYAN (CONT'D)           Up.Mackelway's relief is total. He pushes Zero away, rising. Zeropulls himself off the ground, chagrinned.                     ZERO               (re: Mackelway)           Glad you're here, Man. Guy was about to           kill me.O'Ryan, without ceremony, puts a bullet through Zero's leftpalm. That got Mackelway's attention.Zero howls with pain, his palm gushing. The TIRE-IRON falls tothe ground. Mackelway approaches O'Ryan.                     MACKELWAY           I'll take it from here.He extends his good hand to O'Ryan: "The gun." O'Ryan pauses.Then...                     O'RYAN           Are you going to shoot him?                     MACKELWAY           Give me the gun, O'Ryan.                     ZERO           Hey, I just surrendered.                      O'RYAN           Shut up.                     ZERO           I surrendered! That's it!                       O'RYAN           SHUT UP!!!O'Ryan wheels around, aiming the gun right at Zero's face.That shuts the guy up in a hurry.                                                        118.From that service road now, we hear a line of SIRENS,approaching from a distance. Unit after unit.                     O'RYAN (CONT'D)               (quietly now)           Look at him, Mack. He's not human           anymore. Go dig up that old lady's           backyard - you'll find bodies there...           Maybe hundreds of them. Of course, ya           gotta get a warrant first, chain of           custody's gotta be followed. One breach,           and he walks.               (no reply)           My way, he's eliminated; the world is rid           of him. It's a lot closer to justice than           having some Prosecutor tell you you've           left a tissue sample in the wrong lab.           Isn't it?                     MACKELWAY               (that stung)           Give me the fucking gun!O'Ryan turns, studies him....and hands him the gun. Just like that.Mackelway eyes it. O'Ryan doesn't say a word, just crossesback to Zero, and grabs that TIRE-IRON off the ground.O'Ryan's now standing right behind Zero, as:                     O'RYAN               (at Mackelway)           You have to understand: none of this was           arbitrary. We were chosen, you and I.WHAP! O'Ryan just swung that tire-iron into Zero's rib cage.We hear bones crack, and air rushing from the guy's lungs. Hedrops to his knees, gasping.                     O'RYAN (CONT'D)           I saw us here. You did too.THUMP! Another violent swing of that tire-iron, busting up theother side of Zero's torso. Now both sides of his rib-cagehave shattered. Breathing is almost impossible.Mackelway tightens. His head just began to throb...                     MACKELWAY           Okay. You made your point.                                                        119.                     O'RYAN           Bullshit! If I'd made my fucking point           you would've shot him yourself by now!Another swing of that tire-iron, across the back of Zero'sneck. He crumbles, face down.Fuck it. Mackelway crosses to O'Ryan and puts that gun rightup against the back of O'Ryan's head.                      MACKELWAY           Enough!Then, an odd thing... O'Ryan simply smiles.Something about having that gun pointed right at him - it's arelief.                      MACKELWAY (CONT'D)           Drop it.                      O'RYAN           Or what?                     MACKELWAY           Just drop it.                     O'RYAN           Would you shoot me?That's something Mackelway doesn't want to consider.                     MACKELWAY           Put it down.                     O'RYAN               (calmly)           I want you to think for a second. About           your destiny. Who you are. You're cursed,           like I am - except you keep running from           it.               (Mackelway's silent)           You hear things. You see things. That's           why you can't sleep, why your head always           aches.He turns. They are face to face. Nothing but that gun betweenthem.                     O'RYAN (CONT'D)           ...and it's why you are going to let me           kill this animal. And then you're going           to kill me.                                                         120.That threw Mackelway badly. O'Ryan seizes the moment -wheeling around...He takes one last swing at Zero, like a lumberjack. The tire-iron impacts Zero's skull with a dull THUD, cracking it. He isdead.Mackelway's eyes go wide. Whole thing has been a blur.O'Ryan releases the tire-iron... and drops to his knees like aman awaiting execution, his back to Mackelway.Mackelway is silent. Stunned. The blood from Zero's caved-inskull finds its way to O'Ryan's knees.But O'Ryan remains peaceful. Calm. Ready.                     MACKELWAY           Get up.                     O'RYAN           I can't do that, Mack. I've seen all this           already. For months now.                     MACKELWAY           Get up.                     O'RYAN           Every time, we're in this field: same           wind, same rain. And you...He puts a finger to his head, pretending it's a gun. Then hepretends to pull the trigger. Mackelway gets the idea.                     O'RYAN (CONT'D)           It's okay. I want you to. I'm begging you           to.Mackelway doesn't know what to do. Then, making matters worse:                     FRAN (O.S.)               (aloud)           Mack?She's about a hundred yards away... but she'll be here soonenough. That puts some heat under O'Ryan:                     O'RYAN           I'm tired, Mack.                     FRAN (O.S.)           Can you hear me?                                                        121.She's 90 yards out now...                     O'RYAN           Pull the trigger...               (no reply)           I'm not going to jail. Now pull the           fucking trigger!Mackelway's frozen. O'Ryan knows it.                     O'RYAN (CONT'D)           Fucking coward.O'Ryan rises now, facing Mackelway.                     O'RYAN (CONT'D)           Some things are not up to us to decide.           They just exist. They're inevitable. This           field. This rain. This moment. It has all           already happened. You know that. You've           seen it too.He shoves Mackelway in the chest.                     FRAN (O.S.)           Mack?She's 70 yards out now...                     O'RYAN           Shut it off for me.                     MACKELWAY           I'm not going to kill you, O'Ryan.                     O'RYAN           Of course you will. I've seen it.                     MACKELWAY           You saw wrong!                     O'RYAN               (incredulous)           That's impossible.                     FRAN (O.S.)           Mack? Can you hear me?50 yards out now. Maybe close enough to hear O'Ryan's voice...                     O'RYAN               (rambling, unraveling)           You don't understand. Those fucking faces                     (MORE)                                                        122.                     O'RYAN (CONT'D)           on that map. They call to me. I see their           eyes in the dark - they're staring at me:           "How did you let this happen to me?" But           that's the thing about them - they're           like pictures. They never blink. They           just...stare, and always at me. That's my           destiny, do you see? I didn't help them           when they needed me and this is my           penance. Fine. I ACCEPT IT. But I'm           opting out now, ya get it? I can't stand           this anymore! I wanna close my eyes for           once and see something other than           torture.               (Mackelway's expressionless)           It's not a bad start, Mack. We've made           the world a little safer now. Speck,           Fulcher, Starkey, now Zero. We've made           justice. But I get some too. You have to           end all this for me. That's why you're           here. It's your destiny.                     MACKELWAY           Stop telling me about my fucking destiny!                     O'RYAN               (again)           But I've seen it!                    MACKELWAY          Open your eyes, O'Ryan! Here I am,          standing here. I'm not shooting you.          Doesn't that fucking tell you something?          You're a guy with a skill. Period. They          taught you more than they should've. I'm          sorry about that... But you're not God.          You can't see everything.                      O'RYAN           Yes I can! And you can too! That's why I           chose you!                     FRAN (O.S.)           Mack?Mackelway's not budging. O'Ryan can see that.                     O'RYAN               (re: tire-iron)           Fine. I'll make it easy for you:O'Ryan picks up that tire-iron. Mackelway sees what's coming.O'Ryan swings the tire-iron as Mackelway backs out of itsrange.                                                           123.                     MACKELWAY           Put the fucking thing down, O'Ryan.O'Ryan keeps pursuing. Another swing. Mackelway keeps backingup. The swing misses.                     O'RYAN           Look. It's perfect. Won't even need a           hearing this way. You apprehended the           suspect in the commission of a murder.           Then he turned on you and you fired in           self-defense.O'Ryan isn't letting up. And Mackelway can't quite fire.                     O'RYAN (CONT'D)           These things are bigger than you -           haven't you seen that yet? Destiny.           Justice. Mercy. They're vast. We're just           puppets!                     MACKELWAY           I'm not going to kill you!                     O'RYAN           You don't get to decide that!                       MACKELWAY           Yes I do!O'Ryan takes one more swing, as:                       FRAN (O.S.)           FREEZE!!!Silence. Mackelway turns. So does O'Ryan.There's Fran, emerging from the tall wheat, gun trained righton O'Ryan. His shock is total.                       FRAN (CONT'D)           Drop it.O'Ryan doesn't move at first. Then, slowly, an ironic smilesnakes its way across his lips.                     O'RYAN               (at Mackelway, surprised)           It's funny. I never saw anyone else out           here. Did you?Mackelway doesn't answer. He can't. O'Ryan eyes him.                                                               124.                          O'RYAN (CONT'D)                Do it, Mack. Please.                    (Mackelway's silent)                Please. I'm begging you.     There it was: the very thing Mackelway's been hearing all this     time, the exact words. Unsettling as hell.     ...and we begin to INTERCUT: images of this moment with images     from those "VISIONS" that have been hinting at this very     wheatfield since Page One...208a INTERCUT WITH/EXT. WHEATFIELD "FANTASY" - SAME               208a     Tall wheat, wet wind, O'Ryan's voice: "I'm begging you..."     ...Mackelway snaps himself out of the vision.                           MACKELWAY                I can't.     That was almost an attempt to make those images stop, to deny     its awful, inevitable conclusion.                          MACKELWAY (CONT'D)                I'm not you.                           O'RYAN                Yet.     Two men, neither of them flinching... until O'Ryan nods - as     if to say "Good-bye."     ...more of that vision interrupts now: a gun, rising...     O'Ryan rears back and swings that tire-iron right at     Mackelway's head.     Fran has no choice. She fires.     O'Ryan is hit right between the shoulder blades. The tire-iron     hits Mackelway in the shoulder. O'Ryan crumbles to the ground,     landing face up.     ...a body slumping to the ground. O'Ryan... Mackelway stands     over him...     Now, real-life again, Mackelway stands over O'Ryan, just as     O'Ryan had always envisioned it. That makes him smile, even as     he's dying.                                                                  125.                           O'RYAN (CONT'D)                     (weak)                 Thank you.      Then he dies, eyes open. Mackelway looks to Fran...                                                   DISSOLVE TO:209   EXT. SERVICE ROAD - DAWN                                           209      Hours have passed. Dozens of LAW ENFORCEMENT VEHICLES have      arrived. Sherrifs, Feds. Zero's rig remains on its side.      Mackelway sits nearby on a CURB, his shattered wrist is in a      SLING. Up above, the CLOUDS have parted. Morning sun streaks      through. No more rain. Fran sits beside him.      At their feet, in the gutter of this service road, lies a      discarded MILK CARTON, covered with dust. The face under the      "Have You Seen Me?" is unknown to us.      Kathleen is nearby, holding Charlie tight. Cops surround them.      An UNMARKED SEDAN arrives. Charlton hurries out of it, making      a bee-line for Mackelway.                            CHARLTON                 Nice work.                     (Mackelway half-nods)                 Where is he?                           MACKELWAY                 Sir?                           CHARLTON                 O'Ryan. Where is he?      Mackelway rises, studies Charlton. There's nothing to say.      So he extends a hand to Fran. She takes it, rising to her      feet. They leave Charlton behind...      We PULL AWAY from them, craning up, taking in this expanse of      tall wheat, TILTING UP to that morning sun.                                             MATCH DISSOLVE TO:      ...an AFTERNOON SUN now - blazing white hot. TILT DOWN...                                                                126.210   EXT. DELIA'S RANCH-HOUSE - DAY                                   210      We're some distance away. HEAT RISES off parched Earth,      lending a vaporous screen to everything. But we can make out      the shapes of men in HAZ-MAT SUITS.      Delia's backyard is being torn up by a BACK-HOE. Looks like a      war-zone: BODIES, wrapped in cloth, being exhumed from the      ground. Dozens of them...      But there's plenty of soil yet to be turned... Might be      HUNDREDS unearthed by the time these guys are through. We...                                                  FADE OUT...
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+            SWEENEY TODD: THE DEMON BARBER OF FLEET STREET                            Written by                            John Logan                       Music and Lyrics by                         Stephen Sondheim                  Adapted from the Stage Musical         "Sweeney Todd: The Demon Barber of Fleet Street"               Music and Lyrics by Stephen Sondheim                       Book by Hugh Wheeler              Based on a version of "Sweeney Todd"                       by Christopher Bond                                               18th DECEMBER, 2006                                                                   PAGE 1.1   INT. DARK CHAMBER -- NIGHT                                     1    Foreboding organ music is heard...    We are looking down at a rough brick floor ... is it an    alley? ... a cobblestone street? ... a warehouse? a factory?    ... we're not sure...    The flickering glow of flame is the only illumination...    The ominous organ music continues as...    From the bottom of the frame...    A dark pool of blood slowly begins to spread ... moving up    the frame, defying gravity ... the flickering flame reflected    in the blood...    Finally, the pool of blood fills the entire frame.    SUDDENLY--    A shrill factory whistle blows--    ENORMOUSLY LOUD -- blood-chilling and spine-shattering --    the whistle is a bizarre combination of sound: a factory    whistle; a hog being slaughtered; a dog snarling; a roaring    inferno; a human scream--    And a man's face appears, upside down, reflected in the pool    of blood.    He is THE GENTLEMAN, a slender dandy in pearl grey gloves and    matching waistcoat. A cold and superior aristocrat.    The camera slowly revolves -- the Gentleman becoming right    side up as--                           GENTLEMAN                 Attend the tale of Sweeney Todd.                 His skin was pale and his eye was odd.                 He shaved the faces of gentlemen                 Who never thereafter were heard of again.                 He trod a path that few have trod,                 Did Sweeney Todd,                 The Demon Barber of Fleet Street.    We cut from the blood to see the Gentleman standing before    us. Strangely impassive.    We are in an eerie dark chamber, unclear, a low ceiling, a    world of silhouettes and shadows.                                                         (CONTINUED)                                                                   PAGE 2.1   CONTINUED:                                                     1    Another figure emerges from the miasma of shadows, into the    hellish flickering of flame: THE BANKER. He is large, rotund    and sleek. Impressive muttonchops.                           BANKER                 He kept a shop in London town,                 Of fancy clients and good renown,                 And what if none of their souls were saved?                 They went to their maker impeccably shaved...    More FIGURES begin to emerge from the shadows, joining the    Gentleman and the Banker as...                           BANKER                 By Sweeney,                 By Sweeney Todd,                 The Demon Barber of Fleet Street.    Although prosaic in appearance these figures are, in fact,    GHOSTS.                           GHOSTS                 Swing your razor wide, Sweeney!                 Hold it to the skies!                 Freely flows the blood of those                 Who moralize!    As they continue, the new figures become more distinct...    THE GENERAL, a tough, leather-skinned military man in a    crimson imperial uniform...                           GENERAL                 His needs were few, his room was bare:    THE PRIEST, a lean, severe man with pale skin in clerical    attire...                           PRIEST                 A lavabo and a fancy chair...    THE TOURIST, a small, meek man with glasses in an ill-fitting    suit...                           TOURIST                 A mug of suds and a leather strop,                 An apron, a towel, a pail and a mop...    THE STUDENT, a dashing young man from Oxford with luxurious    long hair...                                                          (CONTINUED)                                                                 PAGE 3.1   CONTINUED: (2)                                               1                        STUDENT              For neatness he deserves a nod,              Does Sweeney Todd...                        GENTLEMAN              The Demon Barber of Fleet Street.    The ghosts are a bit more insinuating now as they move around    this mysterious world...                        GHOSTS                  (variously)              Inconspicuous Sweeney was,              Quick and quiet and clean `e was.              Back of his smile, under his word,              Sweeney heard music that nobody heard.              Sweeney pondered and Sweeney planned,              Like a perfect machine 'e planned,              Sweeney was smooth, Sweeney was subtle,              Sweeney would blink and rats would scuttle...    The specters are becoming more insistent, their strange    impassivity giving way to accusation as the flickering red    flame becomes an inferno--                        GHOSTS                  (variously)              Sweeney was smooth, Sweeney was subtle,              Sweeney would blink and rats would scuttle.              Inconspicuous Sweeney was,              Quick and quiet and clean 'e was,              Like a perfect machine 'e was,              Was Sweeney!              Sweeney!              Sweeney!              Sweeeeeneeeeey!    On this explosive note we revolve -- away from the ghostly    Furies--    To discover--    SWEENEY TODD. Standing before us. An unclear figure,    silhouetted in blazing red flames.    We slowly push in on him as:                        GHOSTS              Attend the tale of Sweeney Todd.              He served a dark and a vengeful god.              What happened then--                                                      (CONTINUED)                                                                   PAGE 4.1   CONTINUED: (3)                                                1                        GENTLEMAN              Well, who's to say?                        BANKER              And he wouldn't want us to give it away,                        GHOSTS                  (variously)              Not Sweeney,              Not Sweeney Todd,              The Demon Barber of Fleet Street.    On this note, we push in tight on the figure of Todd...    Music and the clanging of a clock tower bell are heard as we    slowly begin pulling back and are imperceptibly transported    to...2   EXT. SHIP -- THAMES -- ALMOST DAWN                             2    ANTHONY, a young sailor of about 20, is standing at the rail    of a ship. We see the obscure shape of rigging and sails    behind him. The cries of sailors echo.    Behind him stand the GENTLEMAN and the BANKER. They are    looking past Anthony, looking at something. They move away as    Anthony peers through the fog, straining to see...    London.    Gradually, as the ship approaches, the towering spires and    mountainous rooftops of the city begin to stand out in    relief, to emerge through the fog like a tiger creeping    toward its prey.    Music continues as Anthony takes in the dreadful and    magnificent spectacle of the 19th Century metropolis. The    gnarl of rooftops. The labyrinth of streets and alleys. The    black trails of smoke reaching up like skeletal fingers from    a thousand chimneys.    London. Sulfurous London.    Anthony is awestruck.                        ANTHONY              I have sailed the world, beheld its wonders              From the Dardanelles              To the mountains of Peru,              But there's no place like London--!    Then--                                                         (CONTINUED)                                                                  PAGE 5.2   CONTINUED:                                                    2    Sweeney Todd steps to Anthony's side, grimly interrupting--                           TODD                 No, there's no place like London.                           ANTHONY                 Mr. Todd...?                           TODD                 You are young.                 Life has been kind to you.                 You will learn.    Todd's glares forward, his haunted gaze never leaving the    approaching city.3   EXT. DOCKS -- DAWN                                             3    Music continues as Todd stands very still and takes in the    shadowy figures on the docks.    Anthony seems almost lost at his side, overwhelmed by the    scale and aura of the city.                           ANTHONY                 Lord ... takes your breath away,                 doesn't it?    Todd shudders violently, almost snarling.                            TODD                 There's a hole in the world                 Like a great black pit                 And the vermin of the world                 Inhabit it                 And its morals aren't worth                 What a pig could spit                 And it goes by the name Of London.                 At the top of the hole                 Sit the privileged few                 Making mock of the vermin                 In the lower zoo,                 Turning beauty into filth and greed.                 I too                 Have sailed the world, and seen its wonders                 For the cruelty of men                 Is as wondrous as Peru,                 But there's no place like London!    Anthony looks at his friend, mystified by his grim reaction    to the city.                                                         (CONTINUED)                                                                   PAGE 6.3   CONTINUED:                                                    3                           TODD                 I beg your indulgence, Anthony ... My                 mind is far from easy. In these once                 familiar streets I feel shadows                 everywhere...                           ANTHONY                 Shadows...?                           TODD                 Ghosts.    Anthony looking at him, questioning. Todd continues quietly:                           TODD                 There was a barber and his wife,                 And she was beautiful,                 A foolish barber and his wife,                 She was his reason and his life,                 And she was beautiful,                 And she was virtuous.                 And he was...                     (a breath)                 Naive.    Anthony watches, rapt, as Todd remembers...4   EXT. FLOWER MARKET -- FLASHBACK -- DAY                         4    ...Fifteen years before.    Todd walks with his beautiful wife LUCY through a crowded    flower market, a colorful explosion of blossoms. Lucy carries    their one-year-old baby, JOHANNA.    Todd is almost unrecognizable to us, content and smiling.    Chatting with his wife. Happy.                           TODD (V.O.)                 There was another man who saw                 That she was beautiful,                 A pious vulture of the law,                 Who with a gesture of his claw                 Removed the barber from his plate.                 Then there was nothing but to wait                 And she would fall,                 So soft,                 So young,                 So lost,                 And oh, so beautiful!                                                         (CONTINUED)                                                                   PAGE 7.4   CONTINUED:                                                    4    During the above, JUDGE TURPIN, an elderly man with a    saturnine demeanor, eyes Lucy through the luxurious bunches    of flowers. He stalks her, desiring her.    With the Judge is his nefarious creature, BEADLE BAMFORD. The    Beadle is a large man, his florid nature and pink, powdered    face never quite disguising his lethality.    The Judge whispers to the Beadle, indicating Todd. Then the    Beadle and several policemen sweep in and drag Todd off. The    Judge moves in on Lucy like a predator.    And we return to...5   EXT. DOCKS -- DAWN                                             5    Music continues.                           ANTHONY                 And the lady, sir ... did she succumb?                           TODD                 Oh, that was many years ago...                 I doubt if anyone would know.    A quiet beat.                           TODD                 I owe you my life, Anthony. If you                 hadn't spotted me, I would be lost on                 the ocean still ... Thank you.    Todd picks up his duffel bag, preparing to go.                           ANTHONY                 Will I see you again?                           TODD                 You might find me, if you like, around                 Fleet Street.                           ANTHONY                 Until then, my friend.    He offers his hand. Todd takes it and shakes.    Then Todd quickly turns and goes.    Anthony stands for a moment, saddened by the mysterious pall    that hangs over his friend.                                                                   PAGE 8.6   EXT. STREET -- MORNING                                         6    Todd strides along, deep in thought. The emotions roiling    within him finally seethe out in a dark mutter:                        TODD              There's a hole in the world              Like a great black pit              And it's filled with people              Who are filled with shit              And the vermin of the world              Inhabit it...    He disappears down the street as the music THUNDERS--7   EXT. LONDON ASSAULT -- DAY                                     7    --We ZOOM ahead of Todd -- cutting through the city at    lightning pace down twisting alleys and up crowded boulevards    -- into tunnels and over bridges -- slashing through London    at breakneck speed -- the insane explosion of music sending    us hurtling to--8   EXT. THE PIE SHOP -- DAY                                       8    Fleet Street.    We see the exterior of Mrs. Lovett's pie shop. It is tatty    and unloved by all. Yet it has a strange, ghostly presence to    it. Imposing and dead at the same time.    There is an exterior staircase leading up to a darkened    second floor room with a window overlooking the street.    The music slows and continues as we see Todd, standing in    front of the shop, considering it deeply.    The GENERAL we saw before passes, glancing at Todd. Here and    then gone.    Todd finally strides to the shop and enters...9   INT. PIE SHOP -- DAY                                           9    Behind the dusty counter is...    MRS. LOVETT, a venal, vigorous and slatternly woman in her    40's.    She is currently busy chopping a loathsome mess of suet with    a wicked looking knife, her greasy hair hanging down over her    face.                                                      (CONTINUED)                                                                   PAGE 9.9   CONTINUED:                                                    9    The moment Todd enters -- and the bell at the door sounds --    her head snaps up and her eyes are on him like a bird of    prey:                           MRS. LOVETT                 A customer!    Todd is startled, starts to go--                             MRS. LOVETT                 Wait! What's yer rush?                 What's yer hurry?                      (She sticks the knife into                       the counter)                 You gave me such a--                      (Wipes her hands on her                       apron) )                 Fright. I thought you was a ghost.                 Half a minute, can'tcher?                 Sit!                 Sit ye down!                      (An order)                 Sit!                      (He obeys)                 All I meant is that I                 Haven't seen a customer for weeks.                 Did you come here for a pie, sir?                      (Todd nods. She flicks a                       bit of dust off a pie                       with a rag)                 Do forgive me if me head's a little vague--                 Ugh!                      (She plucks something off                       the pie, examines it)                 What is that?                 But you'd think we had the plague--                      (She drops it on the floor                       and stamps on it)                 From the way that people--                      (She flicks something off                       the pie with her finger)                 Keep avoiding--                      (Spotting it moving)                 No, you don't!                      (She smacks it with her                       hand)                 Heaven knows I try, sir!                      (Lifts her hand, looks at                       it)                 Tsk!                      (She wipes it on the edge                       of the counter)                 But there's no one comes in even to inhale--                                                         (CONTINUED)                                                                  PAGE 10.9   CONTINUED: (2)                                                9              Tsk!                  (She blows the last dust                   off the pie as she brings                   it to him)              Right you are, sir. Would you like a drop of ale?                  (Todd nods)              Mind you, I can't hardly blame them--                  (Pouring a tankard of ale)              These are probably the worst pies in London.              I know why nobody cares to take them--              I should know,              I make them.              But good? No,              The worst pies in London--              Even that's polite.              The worst pies in London--              If you doubt it, take a bite.                  (He does. It's horrible)              Is that just disgusting?              You have to concede it.              It's nothing but crusting--              Here, drink this, you'll need it--                  (She gives him the ale)              The worst pies in London.    During the following, she slams lumps of dough on the counter    and rolls them out, grunting frequently as she goes:                        MRS. LOVETT              And no wonder with the price of meat              What it is--                  (Grunt)              When you get it.                  (Grunt)              Never                  (Grunt)              Thought I'd live to see the day              Men'd think it was a treat              Finding poor                  (Grunt)              Animals                  (Grunt)              Wot are dying in the street.              Mrs. Mooney has a pie shop,              Does a business, but I noticed something weird--              Lately all her neighbors' cats have disappeared.                  (Shrugs)              Have to hand it to her--              Wot I calls              Enterprise,              Popping pussies into pies.              Wouldn't do in my shop--              Just the thought of it's enough to make you sick.                                                      (CONTINUED)                                                                   PAGE 11.9    CONTINUED: (3)                                                9               And I'm telling you them pussy cats is quick.                   (Leans on counter,                    exhausted)               No denying times is hard, sir -- Even harder than               The worst pies in London.               Only lard and nothing more--                   (As Todd gamely tries                    another mouthful)               Is that just revolting?               All greasy and gritty,               It looks like it's molting,               And tastes like--               Well, pity               A woman alone               With limited wind               And the worst pies in London!                   (Sighs heavily)               Ah sir,               Times is hard. Times is hard.     She finishes one of the crusts with a flourish as the music     ends.     Todd, meanwhile, is gulping at his ale, trying to wash down     Mrs. Lovett's hideous creation.                         MRS. LOVETT               Trust me, dearie, it's going to take               more than ale to wash that taste out.               Come with me and we'll get you a nice               tumbler of gin.     She leads him through the curtains at the back of the pie     shop and into...10   INT. PARLOR -- DAY                                            10     ... Her parlor is a wonder of seedy faux-middle class     Victoriana. Little knickknacks, dusty plants and dingy     doilies. There is a threadbare mauve sofa in front of a     comfortable fire.     A faded picture postcard of the seaside hangs on a wall.     She goes to a sideboard and pours him a huge glass of gin as:                         MRS. LOVETT               Isn't this homey now? Me cheery               wallpaper was a real bargain too, it               being only partly singed when the               chapel burnt down ....                                                       (CONTINUED)                                                                    PAGE 12.10   CONTINUED:                                                    10     She hands him the gin. He gulps it down, washing the taste of     her pie out of his mouth.                            MRS. LOVETT                  There's a good boy, now you sit down                  and warm your bones, you look chilled                  through.     He sits before the fire:                            TODD                  Isn't that a room over the shop? If                  times are so hard, why don't you rent                  it out?     She glances up at the roof, considering the room over them.                            MRS. LOVETT                  Up there? Oh, no one will go near                  it...     She turns to him, something a little intense and probing     about her gaze.                            MRS. LOVETT                  People think it's haunted.                             TODD                  Haunted?     She holds his gaze.                            MRS. LOVETT                  And who's to say they're wrong? ...                  You see, years ago, something happened                  up there. Something not very nice...     The flickering flame from the fire begins to cast a more     intense red glow on her face...                            MRS. LOVETT                  There was a barber and his wife,                  And he was beautiful,                  A proper artist with a knife,                  But they transported him for life.                      (Sighs)                  And he was beautiful...     The music continues as she looks at him, again with that     rather intense gaze:                                                           (CONTINUED)                                                                   PAGE 13.10   CONTINUED: (2)                                               10                         MRS. LOVETT               Barker, his name was -- Benjamin               Barker.                         TODD               Transported? What was his crime?                         MRS. LOVETT                   (with an edge)               Foolishness.     She turns again to the fire, the red glow bathing her face as     she remembers...11   INT. BARBER SHOP -- FLASHBACK -- DAY                          11     Lucy is pacing, holding Baby Johanna to her closely. Lucy is     distraught, strained, tears in her eyes.     As Lucy paces we notice the room is full of dead and dying     flowers: dozens of dried bouquets tossed aside and ignored.                         MRS. LOVETT (V.O.)               He had this wife, you see,               Pretty little thing,               Silly little nit               Had her chance for the moon on a string--               Poor thing. Poor thing.     Lucy moves to the window, looks out. She sees Judge Turpin     and the Beadle waiting below. The Judge holds yet another     bouquet.                          MRS. LOVETT (V.O.)               There was this Judge, you see,               Wanted her like mad,               Every day he'd send her a flower,               But did she come down from her tower?               Sat up there and sobbed by the hour,               Poor fool.     Lucy moves away from the window, sobbing.                         MRS. LOVETT (V.O.)               Ah, but there was worse yet to come,               Poor thing.                                                                   PAGE 14.12   EXT. EXCLUSIVE STREET -- FLASHBACK -- EVENING                 12     The Beadle is leading a nervous Lucy along an exclusive     street of dark stone mansions, grand but somehow menacing.     Lucy is wearing her best dress.                         MRS. LOVETT (V.O.)               The Beadle calls on her, all polite,               Poor thing, poor thing.               The Judge, he tells her, is all contrite,               He blames himself for her dreadful plight               She must come straight to his house tonight!               Poor thing, poor thing.13   INT. TURPIN'S MANSION -- BALLROOM -- FLASHBACK -- NIGHT       13     The Beadle ushers Lucy into a ballroom. She is shocked to see     a fancy-dress ball in progress.     Masked couples swirl around the ballroom, their number     sinisterly multiplied by the distorting mirrors that frame     the room. The hanging chandeliers, draped in red cloth, cast     a disquieting incarnadine glow on the proceedings...                         MRS. LOVETT (V.O.)               Of course, when she goes there,               Poor thing, poor thing,               They're having this ball all in masks.     Lucy wanders lost through the swirling dancers, they buffet     her, confusing her...                         MRS. LOVETT (V.O.)               There's no one she knows there,               Poor dear, poor thing,               She wanders tormented, and drinks,               Poor thing.               The Judge has repented, she thinks,               Poor thing.               "Oh, where is Judge Turpin?" she asks.     The Beadle finds Lucy again and graciously gives her his arm,     leading her through the party. She is thankful for the     salvation he provides. He brings her to Judge Turpin.     The Judge descends on Lucy, raping her. The other guests     crowd around ravenously, enjoying the spectacle. A feverish     nightmare.                         MRS. LOVETT (V.O.)               He was there, all right--               Only not so contrite!               She wasn't no match for such craft, you see,                                                        (CONTINUED)                                                                    PAGE 15.13   CONTINUED:                                                     13                  And everyone thought it so droll.                  They figured she had to be daft, you see,                  So all of `em stood there and laughed, you see,                  Poor soul!                  Poor thing!                            TODD (V.O.)                  NOOOOOOOO...!     Todd's wild howl shatters the memory and tears us back to--14   INT. PARLOR -- DAY                                             14     --Todd is bolting up from the sofa, tormented--                            TODD                  ..... NOOOOOO!     He stands for a terrible beat.                            TODD                  Would no one have mercy on her?                            MRS. LOVETT                  So it is you -- Benjamin Barker.                            TODD                  Where's Lucy?! Where's my wife?!                            MRS. LOVETT                  She poisoned herself. Arsenic from the                  apothecary on the corner. I tried to                  stop her but she wouldn't listen to                  me. And he's got your daughter.                            TODD                  He? Judge Turpin?                            MRS. LOVETT                  Adopted her like his own.     Todd absorbs this sickening news.                            TODD                  Fifteen years of sweating in a living                  hell on a false charge. Fifteen years                  dreaming that I might come home to                  find a loving wife and child...     A beat as he stares into the fire, madness and purpose     creeping in.                                                           (CONTINUED)                                                                    PAGE 16.14   CONTINUED:                                                    14                            MRS. LOVETT                  Well, I can't say the years have been                  particularly kind to you, Mr. Barker,                  but you still--                            TODD                  No, not Barker. That man is dead. It's                  Todd now. Sweeney Todd ... And he will                  have his revenge.     He continues with a chilling and quiet resolve as he stares     with unblinking eyes into the fire:                            TODD                  Judge Turpin and the Beadle will pay                  for what they did.     A beat. He finally turns to her.                            TODD                  First I must have my shop back.15   EXT. PIE SHOP -- DAY                                           15     They emerge from the pie shop. She begins to scale the     exterior staircase to the darkened second floor room. He     hesitates.                            MRS. LOVETT                  Come along...     She continues up, he slowly follows.16   INT. BARBER SHOP -- DAY                                        16     A macabre shroud of dust and spider's webs. Furniture covered     in sheets. A broken mirror on one wall.     We hear footsteps approaching and then Mrs. Lovett enters.     The door creaks like a living thing.                            MRS. LOVETT                  Not to worry, a touch of oil will put                  that right.                      (she turns back to Todd)                  ... Nothing to be afraid of, love,                  come in.     She moves into the room. But Todd hesitates at the door,     looking into the room.     For him this is a truly haunted place.                                                           (CONTINUED)                                                                   PAGE 17.16   CONTINUED:                                                   16     Meanwhile, she kneels and pries loose a floorboard.     Underneath there is a hidden area. Within that, something     covered with a velvet cloth. She removes it and carefully     unwraps it. Her touch is particularly gentle and respectful.     We discover it is a fine leather case. She looks at it for a     beat. Then turns to him, dusting it off.                            TODD                  I don't believe it...     He finally steps into the room, drawn toward the case.                            MRS. LOVETT                  When they came for the girl, I hid                  'em. I thought, who knows? Maybe the                  silly blighter'll be back again.                  Cracked in the head, wasn't I?     Haunting music begins as she opens the case...     And we see it contains a beautiful set of razors.     He stands for a long moment, gazing down at his beloved     razors.                            MRS. LOVETT                  Those handles is chased silver, ain't                  they?                            TODD                  Silver, yes...                  These are my friends,                  See how they glisten.                      (He picks up a small                       razor)                  See this one shine,                  How he smiles in the light.                  My friend, my faithful friend.                      (Holding it to his ear,                       feeling the edge with his                       thumb) )                  Speak to me friend,                  Whisper, I'll listen.                      (Listening)                  I know, I know--                  You've been locked out of sight                  All these years--                  Like me, my friend.                  Well, I've come home                  To find you waiting.                                                          (CONTINUED)                                                                PAGE 18.16   CONTINUED: (2)                                             16               Home,               And we're together,               And we'll do wonders,               Won't we?     Mrs. Lovett leans over him, in her own kind of trance as     well. They now sing simultaneously:                         TODD                   (Picking out a larger                    razor)               You there, my friend,               Come, let me hold you.               Now, with a sigh               You grow warm               In my hand,               My friend,               My clever friend.                   (Putting it back)               Rest now, my friends.               Soon I'll unfold you.               Soon you'll know splendors               You never have dreamed               All your days--                         MRS. LOVETT               I'm your friend too, Mr. Todd.               If you only knew, Mr. Todd--               Ooh, Mr. Todd,               You're warm               In my hand.               You've come home.               Always had a fondness for you,               I did.                         TODD               --My lucky friends.               Till now your shine               Was merely silver.               Friends,               You shall drip rubies,               You'll soon drip precious               Rubies...                         MRS. LOVETT               Never you fear, Mr. Todd,               You can move in here, Mr. Todd.               Splendors you never have dreamed               All your days               Will be yours.               I'm your friend.                                                       (CONTINUED)                                                                   PAGE 19.16   CONTINUED: (3)                                              16               And you're mine.               Don't they shine beautiful?               Silver's good enough for me,               Mr. T...     The music continues quietly as Todd stares at one of his     razors.                         TODD               Leave me now...     She goes. Todd finally picks up his biggest razor and slowly     opens it, looks at it.                         TODD               At last my arm is complete again.     And he remains standing. Exalted.     Then--     In the shattered mirror on the wall he suddenly sees--     The distorted reflections of the Gentleman, the Banker, and     the General, looking at him--                         GHOSTS               Lift your razor high, Sweeney!               Hear it singing, "Yes!"               Sink it in the rosy skin               Of righteousness!     Todd turns to them...                         GHOSTS                   (variously)               His voice was soft, his manner mild.               He seldom laughed but he often smiled,               He'd seen how civilized men behave.               He never forgot and he never forgave,               Not Sweeney,               Not Sweeney Todd,               The Demon Barber of Fleet Street.     Todd pulls a sheet off Baby Johanna's cradle. A cloud of dust     rises.     The ghosts disappear in the cloud of dust and Todd stands     alone, staring at the cradle, holding his razor.                                                                   PAGE 20.17   EXT. EXCLUSIVE STREET -- DAY                                  17     Anthony, now out of his sailor's uniform, is walking along     the sidewalk near the Judge's mansion, absorbed in a copy of     Baedeker's London.     He stops, lost, trying to get his bearings, studying his map.     Then an unusual sound emerges through the normal cosmopolitan     bustle. It is the sound of a woman humming. He looks up to     see...     JOHANNA, a 16-year-old girl with golden hair, beautiful and     hauntingly sad. She sits at her window above, behind bars,     humming to herself as she does needlepoint.     Anthony watches her, absolutely mesmerized.     Johanna notices a Bird Seller passing. He carries a long,     wooden pole with little bird cages attached.                         JOHANNA               Green finch and linnet bird,               Nightingale, blackbird,               How is it you sing?               How can you jubilate,               Sitting in cages,               Never taking wing?               Outside the sky waits,               Beckoning, beckoning,               Just beyond the bars.               How can you remain,               Staring at the rain,               Maddened by the stars?               How is it you sing               Anything?               How is it you sing?     Then ... she sees Anthony on the sidewalk below.     Music continues. There is a long look between them. Her     intense, melancholy expression moves him.     She continues singing, the strange anguish and yearning of     her words seem intended only for him...                         JOHANNA               My cage has many rooms,               Damask and dark.               Nothing there sings,               Not even my lark.               Larks never will, you know,               When they're captive.                                                        (CONTINUED)                                                                     PAGE 21.17   CONTINUED:                                                     17                  Teach me to be more adaptive.                  Green finch and linnet bird,                  Nightingale, blackbird,                  Teach me how to sing.                  If I cannot fly,                  Let me sing.     Then she turns away quickly, alarmed, when someone enters her     room. She looks terrified.     Below, Anthony is concerned for her. He sees her move from     the window.     He is craning to see better when a BEGGAR WOMAN -- a filthy     tendril of a woman, her foul clothes of rags like a second     skin -- suddenly thrusts her arm up from the curb, imploring:                            BEGGAR WOMAN                  Alms! ... Alms! ...                  For a miserable woman                  On a miserable chilly morning...                      (Anthony drops a coin into                       her hand)                  Thank yer, sir, thank yer.                            ANTHONY                  Ma'am, could tell me whose house this                  is?                            BEGGAR WOMAN                  That's the great Judge Turpin's house                  that is.                            ANTHONY                  And the young lady who resides there?                            BEGGAR WOMAN                  That's Johanna, his pretty little                  ward. Keeps her snug, he does, all                  locked up ... So don't you go                  trespassing there or it's a good                  whipping for you -- or any other young                  man with mischief on his mind...     She suddenly leers into a lewd and demented assault:                            BEGGAR WOMAN                  'Ow would you like a little muff, dear,                  A little jig jig                  A little bounce around the bush?                  Wouldn't you like to push me parsley?                                                            (CONTINUED)                                                                   PAGE 22.17   CONTINUED: (2)                                               17               It looks to me, dear,               Like you got plenty there to push.     She grabs at Anthony's crotch -- Anthony starts back -- she     turns away, instantly plaintive again, and appeals to other     pedestrians as she goes:                         BEGGAR WOMAN               Alms! ... Alms!...               For a desperate woman...     Anthony considers the mansion. He sees a figure standing at a     window, unclear behind the shutters, watching him.     He sits on a bench outside the mansion and sings quietly:                         ANTHONY               I feel you,               Johanna,               I feel you.               I was half convinced I'd waken,               Satisfied enough to dream you.               Happily I was mistaken, Johanna!               I'll steal you,               Johanna,               I'll steal you...     Then the figure disappears from the window above. Anthony     stands, waits. Then the doors to the mansion swing open...     Anthony is expecting Johanna...     But it is Judge Turpin, the predator we met in Todd's     flashback, who steps into the doorway.     He seems a different man now. Paternal and warm, he smiles     and beckons to Anthony.     Anthony hesitates, unsure. The Judge beckons again. Again the     warm smile.                         JUDGE               Come in, lad. Come in...     Anthony goes into the mansion.18   INT. TURPIN'S MANSION -- LIBRARY -- DAY                       18     Judge Turpin leads Anthony into the dark library, filled with     books. Anthony is looking around for Johanna. He is wary,     this is all very strange.                                                       (CONTINUED)                                                                    PAGE 23.18   CONTINUED:                                                    18                            JUDGE                  ... you were looking for Hyde Park,                  you say?                            ANTHONY                  Yes, it's terribly large on the map                  but I keep getting lost...                            JUDGE                  Sit down, lad, sit down.     Anthony sits, uncomfortable, as the Judge pours two snifters     of brandy.                            ANTHONY                  It's embarrassing for a sailor to lose                  his bearings, but, well, there you                  are.     Then...     The large form of the Beadle appears from the shadows. No     introduction is made. Anthony glances to him, uneasy.                            JUDGE                  A sailor, eh?                            ANTHONY                  Yes, sir. The "Bountiful" out of                  Plymouth.                            JUDGE                      (handing him a snifter of                       brandy)                  A sailor must know the ways of the                  world, yes? ... Must be practiced in                  the ways of the world ... Would you                  say you are practiced, boy?                            ANTHONY                  Sir?     The Judge moves to consider some beautiful volumes, bound in     the richest leather. He runs a finger along the spines of the     books; his large library of pornography.                            JUDGE                  Oh, yes ... such practices ... the                  geishas of Japan ... the concubines of                  Siam .. the catamites of Greece ...                  the harlots of India ... I have them                  all here ... Drawings of them ....                            (MORE)                                                           (CONTINUED)                                                                   PAGE 24.18   CONTINUED: (2)                                             18                         JUDGE (cont'd)                   (he turns again to                    Anthony)               ... All the vile things you've done               with your whores.     Anthony is speechless. The Judge just smiles at him amiably.                         JUDGE               Would you like to see?                         ANTHONY                   (standing)               I think there's been some mistake--                         JUDGE               Oh, I think not. You gandered at my               ward, Johanna ... You gandered at her               ... Yes, sir, you gandered.     The Beadle moves behind Anthony.                         ANTHONY                   (glancing nervously back                    at the Beadle)               I meant no harm--                         JUDGE               Your meaning is immaterial. Mark me:               if I see your face again on this               street, you'll rue the day your bitch               of a mother gave you birth.     Anthony is stunned. The Judge proceeds with shocking venom:                         JUDGE               My Johanna isn't one of your bloody               cock-chafers! My Johanna is not to be               gandered at!     He nods to the Beadle -- the Beadle instantly grabs Anthony     and brutally hauls him out.19   EXT. MANSION -- ALLEY -- DAY                                  19     The Beadle drags Anthony through a rear door of the mansion     and flings him into a filthy alley.     Anthony pulls himself up. Stunned.                         BEADLE               Hyde Park is that way, young sir ... A               right and then a left, then straight               on, you see? ...                         (MORE)                                                        (CONTINUED)                                                                    PAGE 25.19   CONTINUED:                                                    19                            BEADLE (cont'd)                      (points)                  ... Over there.     Flustered, Anthony turns to look--     The instant Anthony's back is turned, the Beadle swings his     lethal billyclub and SLAMS him from behind brutally, in the     kidneys -- Anthony's knees buckle--     The Beadle then SLAMS Anthony across the back of the neck --     Anthony falls hard--     The Beadle then uses one dainty foot to roll Anthony over--     Anthony gazes up at him, panting for breath, in agony--                            BEADLE                  You heard Judge Turpin, little man.     He presses the end of his billyclub into Anthony's forehead,     grinding it hard--                            BEADLE                  Next time it'll be your pretty brains                  all over the pavement.     With that, the Beadle returns to the mansion and slams the     door.     Anthony slowly pulls himself to his knees, doubled over,     coughing up blood.     A long beat as Anthony gets his breath, wiping blood from his     face.     Still doubled over, he sings with burning intensity:                            ANTHONY                  I'll steal you,                  Johanna,                  I'll steal you!                  Do they think that walls can hide you?                  Even now I'm at your window.                  I am in the dark beside you,                  Buried sweetly in your yellow hair.     He pulls himself up, every movement is agony. He makes his     way down the alley, leaning on the wall for support.20   EXT. EXCLUSIVE STREET -- DAY                                   20     The music swells as Anthony emerges from the dark alley into     the bright sunlight. He makes his way along the sidewalk:                                                           (CONTINUED)                                                                    PAGE 26.20   CONTINUED:                                                    20                            ANTHONY                  I feel you, Johanna,                  And one day I'll steal you.                  Till I'm with you then,                  I'm with you there,                  Sweetly buried in your yellow hair...     The soaring music continues as Anthony stops at a park across     the street from Turpin's mansion, bravely gazing up at     Johanna's window.21   EXT. STREET LEADING TO ST. DUNSTAN'S MARKETPLACE -- DAY        21     Sweeney Todd and Mrs. Lovett are moving quickly, she     struggles to keep up with his long, loping stride. He carries     his razor case, she carries a shopping basket.                            TODD                  He's here every Thursday?                            MRS. LOVETT                  Like clockwork. Eyetalian. All the                  rage he is.                            TODD                  Not for long.22   EXT. ST. DUNSTAN'S MARKETPLACE            DAY                  22     They round a corner and move into the bustling marketplace. A     steady mercantile hum as the cries of merchants and wandering     coster-mongers fill the air.     Todd and Mrs. Lovett move toward a hand-drawn caravan     dominating one corner of the marketplace. It is painted like     a Sicilian donkey cart and on its side a sign declaims:     "Signor Adolfo Pirelli -- Haircutter to His Royal Majesty the     King of Naples."                            MRS. LOVETT                  Oh Mr. T., do you really think you can                  do it?                            TODD                  By tomorrow they'll all be flocking to                  me like sheep to be shorn--     He stops abruptly when he sees--     The Beadle casually strolling through the crowd. Todd is     transfixed, his ancient enemy so close.                                                           (CONTINUED)                                                                   PAGE 27.22   CONTINUED:                                                   22                            MRS. LOVETT                      (seeing the Beadle,                       pulling his arm)                  Come along now, dear, he might                  recognize you--                            TODD                  I will do what I have vowed to do ...                      (he continues to glare at                       the Beadle, his voice                       low)                  ... Come closer, my friend, closer...     Then, TOBY -- a 13-year-old boy, a bit small for his age,     malnourished and consumptively pale -- emerges from Pirelli's     caravan. He bangs on a tin drum, drawing customers.     A crowd begins to gather at the caravan as:                            TOBY                  Ladies and gentlemen!                  May I have your attention, perlease?                  Do you wake every morning in shame and despair                  To discover your pillow is covered with hair                  Wot ought not to be there?                  Well, ladies and gentlemen,                  From now on you can waken at ease.                  You need never again have a worry or care,                  I will show you a miracle marvelous rare,                  Gentlemen, you are about to see something wot rose                  from the dead!                      (A woman gasps, he smiles                       and wiggles a finger no)                  On the top of my head.     He dramatically doffs his cap, revealing mountains of hair     which cascade to his shoulder.                            TOBY                  'Twas Pirelli's                  Miracle Elixir,                  That's wot did the trick, sir,                  True, sir, true.                  Was it quick, sir?                  Did it in a tick, sir?                  Just like an elixir                  Ought to do!                      (To a Bald Man)                  How about a bottle, mister?                  Only costs a penny, guaranteed.                      (Pours a drop on the bald                       man's head)                  Does Pirelli's                                                          (CONTINUED)                                                                   PAGE 28.22   CONTINUED: (2)                                               22               Stimulate the growth, sir?               You can have my oath, sir,               'Tis unique.                   (Applies the bald man's                    hand to the wet spot)               Rub a minute,               Stimulatin', i'n it?               Soon you'll have to thin it               Once a week!     More customers are stepping up and buying bottles.     Todd opens a bottle of the Elixir, takes a whiff. Disgusting.     He smiles to Mrs. Lovett, his plan falling into place.                         TODD                   (loudly, to Mrs. Lovett)               Pardon me, ma'am, what's that awful stench?                         MRS. LOVETT               Are we standing near an open trench?                         TODD                   (to a woman in the crowd)               Must be standing near an open trench!     The crowd responds to Todd and Mrs. Lovett, looking askance     and sniffing at the bottles. Toby nervously tries to distract     them:                         TOBY               Buy Pirelli's Miracle Elixir:               Anything wot's slick, sir,               Soon sprouts curls.               Try Pirelli's!               When they see how thick, sir,               You can have your pick, sir,               Of the girls!               Want to buy a bottle, missus?                         TODD                   (sniffing bottle of                    Elixir)               What is this?                         MRS. LOVETT                   (sniffing another                    customer's bottle)               What is this?                         TODD               Smells like piss.                                                          (CONTINUED)                                                                  PAGE 29.22   CONTINUED: (3)                                              22                         MRS. LOVETT               Smells like -- phew!                         TODD               This is piss. Piss with ink.     The music speeds up -- Toby is getting desperate:                         TOBY               Let Pirelli's               Activate your roots, sir--                         TODD               Keep it off your boots, sir--               Eats right through.                         TOBY               Yes, get Pirelli's!               Use a bottle of it!               Ladies seem to love it--                         MRS. LOVETT               Flies do too!     Suddenly, the curtains on the caravan are dramatically flung     wide to reveal--     PIRELLI, a flamboyant Italian with a velvet suit, thick wavy     hair and a dazzling smile. Pirelli poses splendidly for a     moment. Then:                         PIRELLI               I am Adolfo Pirelli,               Da king of da barbers, da barber of kings,               E buon giorno, good day,               I blow you a kiss!                   (he does so)               And I, da so-famous Pirelli,               I wish-a to know-a               Who has-a da nerve-a to say               My elixir is piss!               Who says this?!                          TODD               I do.                   (Todd moves forward                     boldly.)               I am Mr. Sweeney Todd of Fleet Street.               I have opened a bottle of Pirelli's               elixir, and I say to you that it is               nothing but an arrant fraud, concocted               from piss and ink.                                                         (CONTINUED)                                                                   PAGE 30.22   CONTINUED: (4)                                              22     The crowd gasps. Pirelli is about to respond, outraged, but     Todd continues--                         TODD               And furthermore --   "signor" -- I have               serviced no kings,   yet I wager I can               shave a cheek with   ten times more               dexterity that any   street mountebank.     He snaps open his razor case and holds it up for the crowd to     see, turning to display the wondrous razors:                         TODD               You see these razors?                         MRS. LOVETT                   (to the crowd)               The finest in England.                         TODD                   (glaring at Pirelli)               I lay them against five pounds you are               no match for me. You hear me, sir?               Either accept my challenge or reveal               yourself as a sham.                         MRS. LOVETT               Bravo, bravo.     The crowd is enjoying this now, whispering eagerly about the     bold challenge. In the crowd, we see a quick flash of the     meek TOURIST we saw earlier.     Pirelli studies the razors for a moment and then turns to the     crowd with a confident smile:                         PIRELLI               You hear zis foolish man? Watch and               see how he will regret his folly!     Music begins as Todd moves into action, preparing the     challenge:                         TODD               Friends, who's for a free shave?     Two men step forward. A plain wooden chair is brought for     Todd as he moves into the boldest part of this plan...     He carefully turns to ... The Beadle.                         TODD               Will Beadle Bamford be the judge?                                                         (CONTINUED)                                                                PAGE 31.22   CONTINUED: (5)                                            22     Mrs. Lovett's eyes shoot to Todd, alarmed--     The Beadle moves toward Todd ....     Todd smiles amiably, but quivers internally at being so     dreadfully close to his prey...     Mrs. Lovett watches, concerned. Will the Beadle recognize the     features of Benjamin Barker...?     Apparently not.     The Beadle stops right before Todd and smiles.                         BEADLE               Glad, as always, to oblige my friends               and neighbors                   (to the crowd)               ... Let the challenge commence!     One man sits in Todd's plain chair as the other moves to an     elaborate chair on Pirelli's caravan. Pirelli shakes out a     fancy bib with a flourish and covers his man. Toby prepares     Pirelli's ornate shaving supplies as Todd takes a plain towel     and tucks it around his man's neck.                         BEADLE               Ready?                         PIRELLI               Ready!                         TODD               Ready.                         BEADLE               The fastest, smoothest shave is the               winner.     He blows his shrill whistle. Agitated music begins.     Pirelli strops his razor quickly, Todd in a leisurely manner.     Pirelli keeps glancing at Todd in various paranoid ways     throughout, frightened of Todd's progress. He starts whipping     up lather rapidly:                         PIRELLI                   (while mixing furiously)               Now, signorini, signori,               We mix-a da lather               But first-a you gather               Around, signorini, signori,               You looking a man                                                       (CONTINUED)                                                                  PAGE 32.22   CONTINUED: (6)                                               22               Who have had-a da glory               To shave-a da Pope.               Mr. Sweeney-so-smart--                   (Splatters the customer                     with shaving cream)               Oh, I beg-a you pardon -- 'll               Call me a lie, was-a only a cardinal--               Nope!               It was-a da Pope!     Unexpectedly, Todd still shows no signs of starting to shave     his man. He merely watches Pirelli's performance. Mrs. Lovett     looks at him nervously, wishing he would get on with it.     Pirelli, now feeling he can take his time, sings lyrically as     he lathers and shaves with rhythmic scrapes and elaborate     gestures of wiping the razor.                         PIRELLI               To shave-a da face,               To cut-a da hair,               Require da grace               Require da flair,               For if-a you slip,               You nick da skin,               You clip-a da chin,               You rip-a da lip a bit               Beyond-a repair!     Todd strops his razor slowly and deliberately -- shoop,     shoop, shoop -- disconcerting Pirelli and drawing the crowd's     attention.                         PIRELLI               To shave-a da face               Or even a part               Widout it-a smart               Require da heart.               Not just-a da flash,               It take-a panache,               It take-a da passion               For da art.     Todd is unconcerned. He just continues to slowly strop his     razor -- shoop, shoop, shoop -- which flusters Pirelli.                         PIRELLI               To shave-a da face,               To trim-a da beard,               To make-a da bristle               Clean like a whistle,               Dis is from early infancy               Da talent give to me                                                        (CONTINUED)                                                                  PAGE 33.22   CONTINUED: (7)                                               22               By God!                   (Crosses   himself with his                    razor)               It take-a da   skill,               It take-a da   brains,               It take-a da   will               To take-a da   pains,               It take-a da   pace,               It take-a da   graaaaaace...     While Pirelli holds this note elaborately, Todd, with a few     deft strokes, quickly lathers his man's face, shaves him and     signals the Beadle to examine him.                         BEADLE                   (blowing whistle)               The winner is Todd.     Pirelli deflates.                         MRS. LOVETT                   (feeling the customer's                    cheek)               Smooth as a baby's arse! -- (to Todd) -               - Well done, dear!     The crowd laughs and applauds Todd as Pirelli goes to him:                         PIRELLI                   (a profound bow)               Sir, I bow to a skill far defter than               my own.                         TODD               The five pounds.     Pirelli produces a distinctive chatelaine purse and removes a     five pound note, gives it to Todd:                         PIRELLI               Here, sir. And may the good Lord smile               on you --                   (a quick stab of a smile)               -- Until we meet again.     He bows his head quickly and then moves away, beckoning to     Toby:                            PIRELLI               Come, boy.                         TOBY               We're pulling out, sir?                                                         (CONTINUED)                                                                   PAGE 34.22   CONTINUED: (8)                                            22     Without warning, Pirelli SLAPS Toby viciously across the face     --Toby almost falls--                         PIRELLI                   (snarling)               We're pulling out, yes. Quickly.     Mrs. Lovett has observed all of this as she moves away with     Todd, who is making his way inexorably toward the Beadle.     Some eager customers surround Todd, among them is the     TOURIST.                         EAGER CUSTOMER               Mr. Todd, sir, do you have an               establishment of your own?     Mrs. Lovett is on him like a hawk:                         MRS. LOVETT               He certainly does. Sweeney Todd's               Tonsorial Parlor -- above my meatpie               emporium in Fleet Street.     Todd has led them right to the Beadle:                         TODD               I thank you for your honest               adjudication, sir. You are a paragon               of integrity.                         BEADLE               Well, I try to do my best for my               friends and neighbors ... Your               establishment is in Fleet Street, you               say?                           TODD               Yes, sir.                         BEADLE               Then, Mr. Todd, you will surely see me               there before the week is out.                         TODD               You will be welcome, Beadle Bamford,               and I guarantee to give you, without a               penny's charge, the closest shave you               will ever know.                                                                   PAGE 35.23   EXT. STREET -- DAY                                            23     Todd and Mrs. Lovett are walking away from the marketplace.     She chatters happily:                         MRS. LOVETT               ... Like to give me a coronary right               there! What if he had recognized you!               Lord, my heart was beating a mile a               minute, just like a little finch it               was. Aren't those lovely birds now?               Always so twittery and happy...     She continues chattering...     But Todd is not listening.     His eyes dart to the side to see--     The Gentleman is walking next to him, whispering, subtle,     insinuating...                         GENTLEMAN               Sweeney pondered and Sweeney planned.               Like a perfect machine 'e planned...     The Banker moves in next to the Gentleman...                         BANKER               Barbing the hook, baiting the trap,               Setting it out for the Beadle to snap...     The General joins them...                         GENERAL               Slyly courted 'im, Sweeney did,               Set a sort of a scene 'e did...                          GENTLEMAN, BANKER AND GENERAL               Laying the trail, showing the traces,               Letting it lead to higher places...               Sweeney...     The last word echoes ... And then they are gone ...     disappearing from Todd's mind ... swallowed up by the crowd     of pedestrians...     Todd looks to Mrs. Lovett and she continues chattering:                                                          (CONTINUED)                                                                   PAGE 36.23   CONTINUED:                                                23                            MRS. LOVETT                  ... Suppose it's just me gentle heart,                  but I do hate to see a boy treated                  like that, no better than your Aunt                  Doreen's dog -- Mr. Todd, are you                  listening to me?                               TODD                  Of course.     But then his eyes dart again -- looking for the specters. He     only sees strangers.24   INT. JOHANNA'S ROOM -- MORNING                                24     Johanna sits, framed by the window, quietly cutting out     silhouettes. Aimless Victorian handicrafts.     But we see there are tears in her eyes.     She steals a glance across the room. We see a small hole in     the wallpaper. Through this hole, the Judge is watching her     from another chamber. Lascivious. Perverse.     Johanna finally stands and casually glances out from between     the shutters at her window. She sees...     Anthony, standing at the park across the street, keeping up     his lonely vigil, gazing up at the mansion.     She watches him for a moment and then makes her decision. She     moves to a table and opens a drawer. Reaches in and removes     something...25   EXT. TURPIN'S MANSION -- MORNING                              25     Anthony sees a figure at the shutters -- then hears a     clinking sound. Metal on pavement.     He quickly moves across the street and looks...     A key, dropped from above.     He looks up to the shutters and smiles, then snatches up the     key and hurries off.26   INT. JOHANNA'S ROOM -- MORNING                                26     Peering through the shutters, Johanna watches him go.     We linger on her face and then dissolve to another face, also     watching...                                                                  PAGE 37.27   INT. BARBER SHOP -- MORNING                                  27     ... Her father.     Todd's face, staring out the window, intense and brooding.     Seething with discontent.     Mrs. Lovett chatters as she moves around behind him:                         MRS. LOVETT               ... It's not much of a chair, I'll               grant, but it'll serve. Was me poor               Albert's chair. Sat in it all day long               he did, after his leg give out from               the gout, poor dear.     He moves from the window and paces like a caged tiger in the     small barber shop.     Though it has been cleaned, it is still a spartan room. A     tatty parlor chair. A large chest. A few counters with meager     bottles of tonsorial supplies. And his gleaming razors,     always waiting.                         TODD               Why doesn't the Beadle come? "Before               the week is out," that's what he said.                         MRS. LOVETT               And who says the week's out? It's only               Tuesday.     Todd moves away from her, she pursues, trying to calm and     soothe him...                         MRS. LOVETT               Easy now.               Hush, love, hush.               Don't distress yourself,               What's your rush?               Keep your thoughts               Nice and lush.               Wait.                   (he continues to pace)               Hush, love, hush.               Think it through.               Once it bubbles,               Then what's to do?               Watch it close.               Let it brew.               Wait.     He does not respond. She dares to move closer...                                                        (CONTINUED)                                                                  PAGE 38.27   CONTINUED:                                                   27                            MRS. LOVETT                  I've been thinking, flowers--                  Maybe daisies--                  To brighten up the room.                  Don't you think some flowers,                  Pretty daisies,                  Might relieve the gloom?                  Ah, wait, love, wait.     Todd sourly tosses himself into the chair, he picks up his     largest razor and looks at it intensely:                             TODD                       (to razor)                  And the Judge? When will we get to                  him?                            MRS. LOVETT                  Can't you think of nothing else?                  Always broodin' away on yer wrongs                  what happened heaven knows how many                  years ago...                  Don't you know,                  Silly man,                  Half the fun is to                  Plan the plan?                  All good things come to                  Those who can                  Wait.     Her gentle words have calmed him considerably. She moves even     closer. Risks touching him softly...                            MRS. LOVETT                  Gillyflowers, maybe,                  `Stead of daisies...                  I don't know, though...                  What do you think?     Then Todd tilts the razor in his hand--     SUDDENLY -- the face of the GENTLEMAN -- a flash -- reflected     in the razor--     Then--     A bell rings from outside the shop -- the effect is electric     -- Todd bolts up, senses alert -- Mrs. Lovett spins to the     door--                                                        (CONTINUED)                                                                  PAGE 39.27   CONTINUED: (2)                                               27     Todd holds his razor open as he moves strategically toward     the door--     We hear footsteps ascending the stairs outside quickly--     Then--     Anthony enters, breathless--                         ANTHONY               Mr. Todd! Thank God I've found you --                   (Todd turns, closing the                    razor, as Anthony sees                    Mrs. Lovett)               ... Oh, I'm sorry, excuse me...                         MRS. LOVETT               Mrs. Lovett, sir.                         ANTHONY               A pleasure, ma'am --                   (continues to Todd)               -- You see, there's a girl who needs               my help -- such a sad girl, and               lonely, but beautiful too and--                         TODD               Slow down, Anthony.                         ANTHONY                   (takes a breath)               Yes, I'm sorry ... This girl has a               guardian so tyrannical that he keeps               her locked away. But then this morning               she dropped this ...                   (produces the key)               ... It must be a sign that Johanna               wants me to help her -- that's her               name, Johanna -- and Turpin that of               her guardian. A judge of some sort...     Todd and Mrs. Lovett exchange a quick glance as Anthony     continues:                         ANTHONY               ... I've met him, Mr. Todd, and he is -               - unnatural ... Once he goes to court,               I'm going to slip into the house and               release her -- and beg her to come               away with me. Tonight.                         MRS. LOVETT               Oh, this is all terribly romantic.                                                         (CONTINUED)                                                                  PAGE 40.27   CONTINUED: (3)                                               27                          ANTHONY                Yes, but -- you see -- I don't know                anyone in London --                    (to Todd)                -- and I need somewhere safe to bring                her till I've hired a coach to take us                to Plymouth.     He looks at Todd deeply:                           ANTHONY                If I could keep her here, just for an                hour or two, I would forever be in                your debt.     Todd stares at him, his mind racing to figure out how this     new twist might aid in his plans.     It is Mrs. Lovett who smoothly replies:                          MRS. LOVETT                Bring her here, dear.                          ANTHONY                Thank you, ma'am ...                    (to Todd)                ... Mr. Todd?     A beat.                          TODD                The girl may come.                          ANTHONY                    (taking his hand)                Thank you, my friend.     He goes.                          MRS. LOVETT                Seems like the fates are favoring you                at last, Mr. T.                    (Todd grunts, unhappy)                What is it, love? You'll have her back                before the day is out.                          TODD                For a few hours? Before he carries her                off to the other end of England?                                                         (CONTINUED)                                                                   PAGE 41.27   CONTINUED: (4)                                               27                         MRS. LOVETT               Oh, him? Let him bring her here and               then, since you're so hot for a little               --                   (makes a throat-cutting                    gesture)               -- that's the throat to slit, dear.     Todd moves again to his post at the window, he stares out,     deep in thought.     Meanwhile, she happily moves around the shop, straightening     things up and trying to make it all a bit more cozy:                         MRS. LOVETT               Poor little Johanna. All those years               without a scrap of motherly affection.               Well, we'll soon see to that...                         TODD                   (alert, sees something)               What's this?     Mrs. Lovett joins him at the window. Below, they see Pirelli     approaching with Toby in tow.                         MRS. LOVETT               Look at that face, he's up to               mischief.                         TODD               Go -- keep the boy below with you.     She nods and scurries out. We go with her...28   EXT. PIE SHOP -- DAY                                          28     ... Mrs. Lovett quickly moves down the steps outside the     barber shop to greet Pirelli and Toby as they are about to     ascend.     We see a new sign on the stairs: "Sweeney Todd's Tonsorial     Parlor."                         PIRELLI               Signora, is Mr. Todd at home?                         MRS. LOVETT               Plying his trade upstairs, don'tcher               know ...                   (she stands on the                    staircase, blocking their                    way, looking at Toby)                         (MORE)                                                        (CONTINUED)                                                                    PAGE 42.28   CONTINUED:                                                    28                            MRS. LOVETT (cont'd)                  ... Would you look at it, now! Don't                  look like it's had a kind word since                  half past never!                              TOBY                  Ma'am...?                            MRS. LOVETT                      (to Pirelli)                  You wouldn't mind if I gave him a nice                  juicy meat pie, would yer?                            PIRELLI                      (impatient)                  Yes, yes, whatever you like.     Pirelli climbs the stairs, as she takes Toby by the hand and     leads him toward the pie shop door:                            MRS. LOVETT                  Come with me now. Your teeth is                  strong, I hope?     They go into the pie shop.29   INT. BARBER SHOP -- DAY                                        29     Todd is standing, arms folded. Waiting. Pirelli enters.                              PIRELLI                  Mr. Todd.                            TODD                  Signor Pirelli.                            PIRELLI                      (reverting to his natural                       Irish)                  Call me Danny. Daniel Higgins' the                  name when it's not professional ...                  I'd like me five quid back, if'n ya                  don't mind.                              TODD                  Why?                            PIRELLI                  Because you entered into our little                  wager on false pretenses, me friend                  ... And so you might remember to be                  more forthright in the future, you'll                  be handing over half your profits to                  me, share and share alike...                                                           (CONTINUED)                                                                    PAGE 43.29   CONTINUED:                                                    29     Todd shakes his head, amused, and begins to turn away when     Pirelli says:                            PIRELLI                  ... Mr. Benjamin Barker.     Todd freezes.30   INT. PIE SHOP -- DAY                                           30     Mrs. Lovett hands Toby one of her grisly pies, he devours     eagerly.                            MRS. LOVETT                  That's my boy, tuck in.     But her attention is almost entirely on the roof above ...     the muffled voices .... the sound of shoes walking...     Her eyes keep darting up as she chatters distractedly with     Toby:                            MRS. LOVETT                  Like to see a man with a healthy                  appetite. Reminds me of my dear                  Albert, like to gorge himself to                  bloatation, he did. He didn't have                  your nice full head though--                            TOBY                  To tell the truth --                      (he pulls off the wig                       which covers his own                       short-cropped hair)                  -- it gets awful hot.31   INT. BARBER SHOP -- DAY                                        31     Pirelli is expansively strolling around the shop, taking it     all in, savoring every second:                            PIRELLI                  ... yes, this will do very nicely ...                  You don't remember me. Well, why                  should you? I was just a down and out                  Irish pug you hired for a couple of                  weeks -- sweeping up hair and the like                  --                      (He picks up one of Todd's                       razors)                  But I remember these -- And how could                  I ever forget you, Benjamin Barker?                            (MORE)                                                           (CONTINUED)                                                                     PAGE 44.31   CONTINUED:                                                     31                            PIRELLI (cont'd)                  I would sit right there and watch you,                  and dream of the day I could be a                  proper barber meself ... You might say                  you were an inspiration to me.     Todd glares at him.                            PIRELLI                  So, do we have a deal, or should I run                  down the street for me pal Beadle                  Bamford? What do you say to that now,                  Mr. Sweeney T--?     Without a word of warning--     Like a thunderbolt--     Todd is on him.     He leaps across the shop and brutally grabs Pirelli by the     neck -- violently strangling him -- Pirelli is surprisingly     strong and puts up a desperate struggle -- they thump     awkwardly around the shop--32   INT. PIE SHOP -- DAY                                            32     Mrs. Lovett hears the muffled sounds of the struggle above.     She nervously begins to shift and clang some things around as     she cleans the counter, trying to cover the sound,     chattering:                             MRS. LOVETT                  My my my, always work to be done. Spic-                  and-span, that's my motto. Cleanliness                  is next to whatever-it-is. So, ah, how                  did you end up with that dreadful                  Eyetalian?                            TOBY                      (still eating happily)                  Got me from the workhouse 'e did. Been                  there since I was born. Got no mum,                  got nobody. A wasted soul, that's what                  I am --                      (a sudden, urgent thought)                  -- Oh God! He's got an appointment                  with his tailor--     He bolts up, clearly terrified of Pirelli--                            TOBY                  If he's late, he'll blame me--!                                                            (CONTINUED)                                                                    PAGE 45.32   CONTINUED:                                                    32                            MRS. LOVETT                  Wait--!     But he is gone--33   EXT. PIE SHOP -- DAY                                           33     Toby vaults up the stairs to the barber shop--34   INT. BARBER SHOP -- DAY                                        34     Todd is standing calmly when Toby bursts in--                            TOBY                  Signor, you got an appointment...     He stops when he realizes Pirelli is nowhere to be seen.                            TODD                  Signor Pirelli has been called away.                  You better run after him.                            TOBY                  Oh no, sir. I better wait for him here                  or it'll be a lashing. He's a great                  one for the lashings.     He moves past Todd to the large chest and sits--     Only now do we see one of Pirelli's hands protruding from the     chest, dangling limply.     Toby doesn't notice it. Todd at this moment, however, does.     He smiles nervously.                            TODD                  So, hmmm, Mrs. Lovett gave you a pie,                  did she?                            TOBY                  She's a real lady. Model of all true                  Christian virtue.     Then Pirelli's hand ... twitches.     Toby doesn't notice. Todd does, stares at it anxiously.                            TODD                  That she is ... that she is. But if I                  know a growing boy, there's still room                  for some more pie, eh?                                                           (CONTINUED)                                                                    PAGE 46.34   CONTINUED:                                                    34                            TOBY                  I'd say, sir -- (pats his stomach) --                  An aching void.     Pirelli's hand begins to twitch more desperately now,     perilously close to where Toby's hand rests...                            TODD                  Then why don't you run downstairs and                  wait for your master there? There'll                  be another pie in it for you, I'm                  sure...     Pirelli's hand is twitching closer to Toby's now...                            TOBY                  No, I should stay here.                              TODD                      (a   sudden inspiration)                  I know   -- why don't you tell Mrs.                  Lovett   I said to give you a nice big                  tot of   gin?                            TOBY                      (leaps up)                  Gin, sir?! Thanking you kindly, sir!                  You're a Christian indeed!     He races out happily and clatters down the stairs.     A beat as Todd gets his breath.     Then he goes to the trunk, leans down to open it, the camera     follows him down and up again, when he rises--     The GENTLEMAN is standing right behind him!     Todd turns.     The Gentleman's face is completely impassive. He is not     spectral. He does not disappear. He just stands there.     Todd looks at him.     Then the Gentleman's eyes slowly move to a counter...     Todd follows his look to see...     His largest razor.     A long beat as Todd looks at the razor.                                                           (CONTINUED)                                                                   PAGE 47.34   CONTINUED: (2)                                               34     The point of no return.     Todd strides to the razor and he snaps it open with a sharp,     quick flick of his wrist--     Then he moves to the chest and--     With great ferocity he hauls Pirelli up--     Pirelli's eyes snap open--     And Todd SLASHES his throat--     The piercing factory whistle SCREAMS--     Todd remains standing over Pirelli as the painful whistle     echoes into music...     We see that the Gentleman is still standing there, watching     Todd...                         GENTLEMAN               His hands were quick, his fingers strong.               It stung a little but not for long.     The dashing Oxford Student is now leaning against a wall,     arms folded, looking at Todd...                         STUDENT               And those who thought him a simple clod               Were soon reconsidering under the sod...     The Tourist stands by the window...                         TOURIST               Consigned there with a friendly prod               From Sweeney Todd,               The Demon Barber of Fleet Street.                         GENTLEMAN, STUDENT AND TOURIST               See your razor gleam, Sweeney,               Feel how well it fits               As it floats across the throats               Of hypocrites.     The last word echoes to silence as we cut to:     A high-angle shot of the room.     The ghosts are gone.     Todd stands alone over Pirelli's body. Blood dripping from     his razor. Drip. Drip. Drip.                                                                   PAGE 48.35   INT. OLD BAILEY -- DAY                                        35     Judge Turpin lurks over the proceedings.     He sits, the personification of power, very high at the     bench. He glares down a wasted wretch of a BOY. The Beadle     stands next to the boy.                         JUDGE               This is the second time, sir, that you               have been brought before this bench.               Though it is my earnest wish to ever               temper justice with mercy, your               persistent dedication to a life of               crime is an abomination before God and               man.     He places a black cloth on his head:                         JUDGE               I therefore sentence you to hang by               the neck until you are dead and may               the Lord have mercy on your soul.     The wretched boy collapses in sobs. The Beadle is pleased     with the verdict.     The Judge removes the black cloth and tosses it casually on     his desk:                         JUDGE               This court is adjourned.36   EXT. -- STREET -- OUTSIDE THE OLD BAILEY -- DAY               36     The Judge and the Beadle walk away from the impressive     edifices of the Old Bailey.                         BEADLE               Thank you, your Honor. Just the               sentence we wanted.                         JUDGE               Was he guilty?                         BEADLE               Well, if he didn't do it, he's surely               done something to warrant a hanging.                         JUDGE                   (quietly)               What man has not?                                                        (CONTINUED)                                                                     PAGE 49.36   CONTINUED:                                                     36                            BEADLE                  Sir?                            JUDGE                  No matter -- Come, walk home with me.                  I have news for you, my friend. In                  order to shield her from the evils of                  this world, I have decided to marry my                  dear Johanna.                            BEADLE                  Ah, sir, happy news indeed.                            JUDGE                  Strange, though, when I offered myself                  to her she showed a certain ...                  reluctance.     The Beadle proceeds with exquisite and obsequious delicacy:                            BEADLE                  Excuse me, my lord,                  May I request, my lord,                  Permission, my lord, to speak?                  Forgive me if I suggest, my lord,                  You're looking less than your best, my lord,                  There's powder upon your vest, my lord.                  And stubble upon your cheek,                  And ladies, my lord, are weak.     As they round a corner, the Judge feels his chin:                            JUDGE                  Stubble, you say? Perhaps at times I                  am a little overhasty with my morning                  ablutions...                            BEADLE                      (cheerily)                  Fret not though, my lord,                  I know a place, my lord,                  A barber, my lord, of skill.                  Thus armed with a shaven face, my lord,                  Some eau de cologne to brace my lord                  And musk to enhance the chase, my lord,                  You'll dazzle the girl until                  She bows to your every will.                            JUDGE                  A barber, eh? Take me to him.                                                            (CONTINUED)                                                                   PAGE 50.36   CONTINUED: (2)                                               36                           BEADLE                 I am honored, my lord. His name is                 Todd ... Sweeney Todd. And he is the                 very last word in barberin'.     They head off.37   INT. PIE SHOP -- DAY                                          37     Mrs. Lovett is pouring Toby a glass of gin, not his first.     He gulps down the gin between ravenous bites of another meat     pie as she nervously glances up to the ceiling, wondering     what the hell is going on up there.                           MRS. LOVETT                 You ought to slow down a bit, lad.                 It'll go to your head.                           TOBY                 Weaned on the stuff, I was. They used                 to give it to us at the workhouse,                 so's we could sleep. Not that you'd                 ever want to sleep in that place,                 ma'am. Not with the things wot happen                 in the dark.                           MRS. LOVETT                 That's nice, dear ... I think I'll                 just pop in on Mr. Todd for a tick.                 You'll be all right here?                           TOBY                 Leave the bottle.     She goes.38   INT. BARBER SHOP -- DAY                                       38     Mrs. Lovett enters. Todd is methodically cleaning his razor.                            MRS. LOVETT                 Gawd, the lad is drinking me out of                 house and home, how long until Pirelli                 gets back?                           TODD                 He won't be back.                           MRS. LOVETT                     (instantly suspicious)                 Mr. T., you didn't!                                                          (CONTINUED)                                                                    PAGE 51.38   CONTINUED:                                                    38     He casually points the razor toward the chest.     She lifts the lid and sees Pirelli's body at the bottom of     the chest.                            MRS. LOVETT                      (spinning on Todd)                  You're barking mad! Killing a man wot                  done you no harm!                            TODD                  He recognized me from the old days. He                  tried to blackmail me -- half my                  earnings.                            MRS. LOVETT                      (relieved)                  Oh well, that's a different matter!                  For a moment there I thought you'd                  lost your marbles!     She looks into the chest again.                            MRS. LOVETT                  Ooooh! All that blood! Enough to make                  you come all over gooseflesh, ain't                  it? Poor bugger. Oh, well.     She starts to close the chest, then has an idea.     She reaches in and rummages around the body. Pulls out     Pirelli's chatelaine purse, then drops the lid of the chest.                            MRS. LOVETT                      (looking through purse)                  Three quid! Well, waste not, want not,                  I always say...                      (she tucks the purse into                       her dress)                  ... Now what are we going to do about                  the boy?                            TODD                  Send him up.     She stops, looks at him.                            MRS. LOVETT                  Oh, we don't need to worry about him,                  he's a simple thing. I'll pawn him off                  with some story.                                                           (CONTINUED)                                                                 PAGE 52.38   CONTINUED: (2)                                              38                          TODD                   (cold)               Send him up, woman.                         MRS. LOVETT                   (quickly)               Now, Mr. T., surely one's enough for               today. Don't want to indulge yourself,               after all ...                   (she busily starts to                    straighten up the room)               ... 'Sides, I was thinking about               hiring a lad to help around the shop,               me poor knees not being what they used               to be.     Todd sighs and moves to his familiar post at the window:                         TODD               Anything you say.                         MRS. LOVETT               'Course we'll have to stock up on the               gin, the boy drinks like a Barbary               sailor--     Todd suddenly gasps -- a great, shocking intake of breath as     his whole body tenses like iron--     Mrs. Lovett spins to him--                            TODD               The Judge.     Mrs. Lovett hurries to the window--     Below, they can see the Judge and the Beadle approaching.     They see them exchanging a few words and then the Beadle     moves off as the Judge approaches the shop--     Todd whispers, his eyes blazing:                         TODD               Justice ... Justice.     Mrs. Lovett gives him a quick kiss and then very quickly     leaves. A beat as Todd prepares himself.     He turns from the window and looks around the shop, shifting     nervously. Now that his great moment of revenge is at hand,     he doesn't quite know what to do with himself.                                                        (CONTINUED)                                                                   PAGE 53.38   CONTINUED: (3)                                               38     He snatches up his large razor, coils by the door, ready to     attack. No. He wants to savor this. He quickly moves and puts     the razor down.     Finally he just stands. All his demons settling into a     bizarre sort of calm.     He hears the Judge's footsteps approaching on the stairs.     Then the Judge enters.                           JUDGE               Mr. Todd?     Todd slowly turns:                         TODD               At your service ... An honor to               receive your patronage, my lord.                         JUDGE               You know me, sir?                         TODD                   (a polite bow)               Who in this wide world is not familiar               with the honored Judge Turpin?     The Judge grunts and glances around the shop:                         JUDGE               These premises are hardly               prepossessing and yet the Beadle tells               me you are the most accomplished of               all the barbers in the city.                         TODD               That is gracious of him, sir ...                   (indicates for the Judge                    to sit)                ... Sit, if you please, sir. Sit.     The Judge settles into the parlor chair as music begins...                         TODD               And what may I do for you today, sir?               A stylish trimming of the hair? A               soothing skin massage?                         JUDGE               You see, sir, a man infatuate with love,               Her ardent and eager slave.               So fetch the pomade and pumice stone               And lend me a more seductive tone,                                                          (CONTINUED)                                                                   PAGE 54.38   CONTINUED: (4)                                              38               A sprinkling perhaps of French cologne,               But first, sir, I think -- a shave.                         TODD               The closest I ever gave.     He whips a sheet over the Judge, then tucks the bib in. The     Judge hums, flicking imaginary dust off the sheet; Todd     whistles gaily.                         JUDGE               You're in a merry mood today, Mr.               Todd.                         TODD                   (mixing lather)               'Tis your delight, sir, catching fire               From one man to the next.                         JUDGE               'Tis true, sir, love can still inspire               The blood to pound, the heart leap higher.                         BOTH               What more, what more can man require--                         JUDGE               Than love, sir?                         TODD               More than love, sir.                            JUDGE               What, sir?                            TODD               Women.                         JUDGE               Ah yes, women.                         TODD               Pretty women.     The Judge hums jauntily, Todd whistles and starts stropping     his razor rhythmically. He then lathers the Judge's face.     Still whistling, Todd stands back to survey the Judge, who is     now totally relaxed, eyes closed.     Todd goes to his razor and picks it up, sings to it gently:                                                         (CONTINUED)                                                                   PAGE 55.38   CONTINUED: (5)                                            38                         TODD               Now then, my friend.               Now to your purpose.               Patience, enjoy it.               Revenge can't be taken in haste.                         JUDGE                   (opening his eyes)               Make haste, and if we wed,               You'll be commended, sir.                          TODD               My lord...                   (Goes to him)               And who, may it be said,               Is your intended, sir?                          JUDGE               My ward.     A shocked tremor through Todd -- as the Judge closes his eyes     again and settles in comfortably...                         JUDGE               And pretty as a rosebud.     The music rises...                         TODD               Pretty as her mother?                         JUDGE                   (mildly puzzled)               What? What was that?                         TODD               Oh, nothing, sir. Nothing. May we               proceed?     The music builds as he steps behind the Judge-- his razor     ready -- we are sure the great moment has come -- the music     still builds -- Todd finally puts the razor at the Judge's     throat--     Then--     With an easy flick of his wrist, he just begins to shave the     Judge, as:                         TODD               Pretty women...               Fascinating...               Sipping coffee, Dancing...                                                       (CONTINUED)                                                       PAGE 56.38   CONTINUED: (6)                                   38               Pretty women               Are a wonder.               Pretty women.               Sitting in the window or               Standing on the stair,               Something in them               Cheers the air.               Pretty women...                         JUDGE               Silhouetted...                         TODD               Stay within you...                         JUDGE               Glancing...                         TODD               Stay forever...                         JUDGE               Breathing lightly...                         TODD               Pretty women...                         BOTH               Pretty women!               Blowing out their candles or               Combing out their hair...     They sing simultaneously:                         JUDGE               Then they leave...               Even when they leave you               And vanish, they somehow               Can still remain               There with you,               There with you.                          TODD               Even when they leave,               They still               Are there.               They're there.                         BOTH               Ah,               Pretty women...                                              (CONTINUED)                                                                    PAGE 57.38   CONTINUED: (7)                                                38                            TODD                  At their mirrors...                            JUDGE                  In their gardens...                            TODD                  Letter-writing...                            JUDGE                  Flower-picking...                            TODD                  Weather-watching...                            BOTH                  How they make a man sing!                  Proof of heaven                  As you're living--                  Pretty women, sir!     The music approaches a feverish crescendo as Todd prepares to     finally kill the Judge and they sing simultaneously:                              JUDGE                  Pretty   women, yes!                  Pretty   women, sir!                  Pretty   women!                  Pretty   women, sir!                            TODD                  Pretty women, here's to                  Pretty women, all the                  Pretty women--     Just as the music reaches a climax, Todd raises his arm in a     huge arc and is about to slash the Judge's throat when--     Suddenly--     Anthony bursts in--                            ANTHONY                  Mr. Todd! I've seen Johanna! She said                  she'll leave with me tonight--!     The Judge jumps up, away from Todd--                            JUDGE                  You! -- There is indeed a higher power                  to warn me thus in time--     He tears off the sheet as he advances savagely on Anthony:                                                           (CONTINUED)                                                                   PAGE 58.38   CONTINUED: (8)                                               38                           JUDGE                 Johanna elope with you? Deceiving                 slut! -- I'll lock her up in some                 obscure retreat where neither you nor                 any other vile creature shall ever lay                 eyes on her again--!     He spins with venom to Todd:                           JUDGE                 And as for you, barber, it is all too                 clear what company you keep. Service                 them well and hold their custom -- for                 you'll have none of mine.     He strides out.     Todd stands, frozen.                           ANTHONY                 Mr. Todd -- you have to help me --                 I've talked to Johanna and--!     Todd suddenly turns on him with a ferocious ROAR:                           TODD                 OUT! OUT, I SAY!     Utterly stunned at his friend's ferocity, Anthony backs away,     leaves the shop.     Music begins, very agitated, as Todd stands motionless.     In shock.     His mind cracking apart.     Mrs. Lovett hurries in:                           MRS. LOVETT                 All this shouting and running about,                 what's happened--?                           TODD                 I had him -- and then--                           MRS. LOVETT                 The sailor busted in, I know, I saw                 them both running down the street and                 I said--     Todd interrupts wildly:                                                          (CONTINUED)                                                                 PAGE 59.38   CONTINUED: (9)                                              38                          TODD               I had him!               His throat was bare               Beneath my hand--!                         MRS. LOVETT               There, there, dear. Don't fret--                         TODD                   (spins on her violently)               No, I had him!               His throat was there,               And he'll never come again!                         MRS. LOVETT               Easy now.               Hush, love, hush.               I keep telling you--                         TODD               When?!                         MRS. LOVETT               What's your rush?                         TODD               Why did I wait?               You told me to wait!               Now he'll never come again...     The music becomes ferocious as Todd's wrenching insanity,     always close to the surface, finally explodes:                         TODD               There's a hole in the world               Like a great black pit               And it's filled with people               Who are filled with shit               And the vermin of the world               Inhabit it--               But not for long!     He suddenly looks to Mrs. Lovett -- she starts back --     alarmed by the pure madness in his eyes--                         TODD               They all deserve to die!               Tell you why, Mrs. Lovett,               Tell you why:               Because in all of the whole human race, Mrs. Lovett               There are two kinds of men and only two.               There's the one staying put               In his proper place                                                       (CONTINUED)                                                                   PAGE 60.38   CONTINUED: (10)                                           38               And the one with his foot               In the other one's face--               Look at me, Mrs. Lovett,               Look at you--     He suddenly lurches and grabs Mrs. Lovett tightly--                         TODD               No, we all deserve to die!               Even you, Mrs. Lovett,               Even I.               Because the lives of the wicked should be--                   (slashes at the air                    violently)               Made brief.               For the rest of us, death               Will be a relief--               We all deserve to die!     He clutches her to him very tightly as he suddenly keens, a     howl of pure agony:                         TODD               And I'll never see Johanna,               No, I'll never hug my girl to me--     He hurls Mrs. Lovett away from him--                           TODD               Finished!     We suddenly slash to--39   EXT. STREET -- DAY                                            39     --In Todd's mind.     We are moving with him as he stalks relentlessly, holding his     razor, striding down a busy street like a tiger.     The many pedestrians he passes don't even notice him. He is     invisible to them, a wolf among the sheep, as he beckons--                         TODD               All right! You, sir,               How about a shave?               Come and visit               Your good friend, Sweeney--!                                                                PAGE 61.40   EXT. ANOTHER STREET -- DAY                                 40     Todd continues to stride, beckoning to another man:                         TODD               You, sir, too, sir--               Welcome to the grave!               I will have vengeance,               I will have salvation!41   EXT. ANOTHER STREET -- DAY                                 41     Todd continues to stride, beckoning to another man:                         TODD               Who, sir? You, sir?               No one's in the chair--               Come on, come on,               Sweeney's waiting!               I want you bleeders!42   EXT. ANOTHER STREET -- DAY                                 42     Todd continues to stride, beckoning to another man:                         TODD               You, sir -- anybody!               Gentlemen, now don't be shy!               Not one man, no,               Nor ten men,               Nor a hundred               Can assuage me--               I will have you!43   EXT. ANOTHER STREET -- DAY                                 43     Todd continues to prowl...                         TODD               And I will get him back               Even as he gloats.               In the meantime I'll practice               On less honorable throats--44   EXT. ANOTHER STREET -- DAY                                 44     Todd suddenly falls to his knees, keening in anguish--                         TODD               And my Lucy lies in ashes               And I'll never see my girl again,               But the work waits, I'm alive at last                                                       (CONTINUED)                                                                  PAGE 62.44   CONTINUED:                                                   44                      (a final exalted cry)                  And I'm full of JOOOOOOY!!     He raises his razor high on the soaring last note as we pull     back ... our view is suddenly obscured by a strange, frenzied     fluttering of black wings ... We continue to pull back ... We     discover the black wings are pigeons, thousands of them,     flying up in a great cloud...     We continue to pull back to finally discover that Todd is     kneeling in the heart of a church square...     Empty but for him.     As his cry ends we slash back to--45   INT. BARBER SHOP -- DAY                                      45     -- Todd is kneeling, sweat pouring through his clothes,     panting for air.     Mrs. Lovett stands, looking down at him intently.                            MRS. LOVETT                  That's all very well, but what are we                  going to do about --                      (kicks the chest)                  -- the dear departed?     Todd remains kneeling, motionless. She goes to him, firm:                            MRS. LOVETT                  Listen! Do you hear me? Get a hold of                  yourself!     She slaps his cheek -- he looks up at her, barely seeing her.                            MRS. LOVETT                  Oh, you great useless thing, come on--     She hauls him up and drags him out...46   INT. PIE SHOP -- DAY                                         46     She pulls him in.                              MRS. LOVETT                  Sit down.     He thumps down, still in his own dark world.     She quickly glances around for Toby and then goes into her     parlor...                                                                   PAGE 63.47   INT. PARLOR -- DAY                                            47     She discovers Toby is asleep on the sofa before the fire.     She quickly snatches up a bottle of gin from the sideboard     and returns to the pie shop...48   INT. PIE SHOP DAY                                             48     She pours Todd a tumbler of gin, hands it to him:                         MRS. LOVETT               There, drink it down -- all the way --               that's right ...                   (he does so)               ... Now, we got a body molderin' away               upstairs, what do you intend we should               do about that?                         TODD               Later on, when it's dark, we'll take               him to some secret place and bury him.                         MRS. LOVETT               Well, yes, of course, we could do               that. I don't suppose he's got any               relatives going to come poking around               looking for him...     A chord of music. A beat. An idea. He looks at her     uncomprehendingly.                         MRS. LOVETT               Well, you know me, sometimes bright               ideas just pop right into my head, and               I keep thinking...               Seems a downright shame...                          TODD               Shame?                         MRS. LOVETT               Seems an awful waste...               Such a nice plump frame               Wot's-his-name               Has...               Had...               Has...               Nor it can't be traced.               Business needs a lift--               Debts to be erased--               Think of it as thrift,                                                          (CONTINUED)                                                                     PAGE 64.48   CONTINUED:                                                     48                  As a gift...                  If you get my drift...                      (Todd has no idea what she                       is talking about)                  No?                      (She sighs)                  Seems an awful waste.                  I mean,                  With the price of meat what it is,                  When you get it,                  If you get it--     Todd suddenly understands:                            TODD                  Ah!                            MRS. LOVETT                  Good, you got it.                      (She warms to the idea)                  Take, for instance,                  Mrs. Mooney and her pie shop.                  Business never better, using only                  Pussycats and toast.                  And a pussy's good for maybe six or                  Seven at the most.                  And I'm sure they can't compare                  As far as taste--                            TODD                  Mrs. Lovett,                  What a charming notion,     The music builds as they sing simultaneously:                            TODD                  Eminently practical and yet                  Appropriate as always.                  Mrs. Lovett, how I've lived without you                  All these years I'll never know!                  How delectable!                  Also undetectable.                  How choice!                  How rare!                            MRS. LOVETT                  Well, it does seem a                  Waste...                  It's an idea...                  Think about it...                  Lots of other gentlemen'll                  Soon be coming for a shave,                                                            (CONTINUED)                                                                PAGE 65.48   CONTINUED: (2)                                            48               Won't they?               Think of               All them               Pies!     A triumphant waltz theme begins:                         TODD               For what's the sound of the world out there?                         MRS. LOVETT               What, Mr. Todd,               What, Mr. Todd,               What is that sound?                         TODD               Those crunching noises pervading the air?                         MRS. LOVETT               Yes, Mr. Todd,               Yes, Mr. Todd,               Yes, all around--                         TODD               It's man devouring man, my dear,     They sing simultaneously:                         TODD               And who are we               To deny it in here?                         MRS. LOVETT               Then who are we               To deny it in here?     Music continues under:                         TODD               Ah, these are desperate times, Mrs.               Lovett, and desperate measures are               called for.     She goes to the counter and comes back with an imaginary pie:                         MRS. LOVETT               Here we are now, hot out of the               oven...     She holds the imaginary pie out to him with a sly and wicked     smile.                                                       (CONTINUED)                                                                  PAGE 66.48   CONTINUED: (3)                                               48                         TODD               What is that?                         MRS. LOVETT               It's priest.               Have a little priest.                         TODD               Is it really good?                         MRS. LOVETT               Sir, it's too good,               At least.               Then again, they don't commit sins of the flesh,               So it's pretty fresh.                         TODD                   (looking at it)               Awful lot of fat.                         MRS. LOVETT               Only where it sat.                         TODD               Haven't you got poet               Or something like that?                         MRS. LOVETT               No, you see the trouble with poet               Is, how do you know it's               Deceased?               Try the priest.                         TODD                   ("tasting" it)               Mmm. Heavenly.                         MRS. LOVETT               Not as hearty as bishop, perhaps, but               not as bland as curate, either.     Mrs. Lovett presents another imaginary pie:                         MRS. LOVETT               Lawyer's rather nice.                         TODD               If it's for a price.                                                       (CONTINUED)                                                                   PAGE 67.48   CONTINUED: (4)                                               48                         MRS. LOVETT               Order something else, though, to follow,               Since no one should swallow               It twice.                         TODD               Anything that's lean.                         MRS. LOVETT               Well, then, if you're British and loyal,               You might enjoy Royal               Marine.               Anyway, it's clean.               Though, of course, it tastes of wherever it's been.                         TODD                   (looking past her to                    imaginary oven)               Is that squire               On the fire?                         MRS. LOVETT               Mercy no, sir,               Look closer,               You'll notice it's grocer.                         TODD               Looks thicker.               More like vicar.                         MRS. LOVETT               No, it has to be grocer -- it's green.     Todd laughs as the glorious waltz theme returns:                         TODD               The history of the world, my love--                         MRS. LOVETT               Save a lot of graves,               Do a lot of relatives favors...                         TODD               --Is those below serving those up above.                         MRS. LOVETT               Everybody shaves,               So there should be plenty of flavors...                         TODD               How gratifying for once to know--                                                          (CONTINUED)                                                                  PAGE 68.48   CONTINUED: (5)                                              48                         BOTH                   (indicating barber shop                    above)               --That those above will serve those down below!     The music continues under:                         MRS. LOVETT               Since marine doesn't appeal to you,               how about rear admiral?                         TODD               Too salty. I prefer general.                         MRS. LOVETT               With or without his privates? --               "With" is extra.     Todd chortles as Mrs. Lovett offers another pie with a     particular, flamboyant panache:                         TODD               What is that?                         MRS. LOVETT               It's fop.               Finest in the shop.               Or we have some shepherd's pie peppered               With actual shepherd               On top.               And I've just begun.               Here's a politician -- so oily               It's served with a doily--               Have one?                         TODD               Put it on a bun.                   (She looks at him                    quizzically)               Well, you never know if it's going to run.                         MRS. LOVETT               Try the friar.               Fried, it's drier.                         TODD               No, the clergy is really               Too coarse and too mealy.                         MRS. LOVETT               Then actor--               That's compacter.                                                         (CONTINUED)                                                                PAGE 69.48   CONTINUED: (6)                                            48                         TODD               Yes, and always arrives overdone.                   (he is suddenly dark and                    purposeful)               I'll come again when you               Have Judge on the menu...     The music vamps deliciously as:                         MRS. LOVETT               True, we don't have Judge -- yet --               but would you settle for the next best               thing?                         TODD               What's that?     She offers him a butcher's cleaver:                         MRS. LOVETT               Executioner.     He takes the cleaver, feels the heft of it. Feels good.     Then he picks up her wooden rolling pin, hands it to her, as     the music builds into the triumphant waltz:                         TODD               Have charity towards the world, my pet--                         MRS. LOVETT               Yes, yes, I know, my love--                         TODD               We'll take the customers that we can get.                         MRS. LOVETT               High-born and low, my love.                         TODD               We'll not discriminate great from small.               No, we'll serve anyone--                         MRS. LOVETT               We'll serve anyone--                         BOTH               And to anyone               At all!     The music builds to a climax as they joyously brandish their     "weapons. "                                                                   PAGE 70.49   INT. JOHANNA'S ROOM -- EVENING                                49     Small, white hands ... removing some clothes from a drawer     ... putting them into a portmanteau ... locking the case...     Johanna, wearing traveling clothes, is packing to leave when     a voice surprises her:                         JUDGE               So it's true.     She turns. The Judge stands in the doorway.                         JOHANNA               Sir ... A gentlemen knocks before               entering a lady's room.                         JUDGE               Indeed he does ... But I see no lady.     He enters, dangerously quiet. And terrifically hurt.                         JUDGE               I told myself the sailor was lying ...               I told myself this was a cruel fiction               ... That my Johanna would never betray               me. Never hurt me so.     He moves toward her. She stands her ground.                         JOHANNA               Sir ... I will leave this place.                         JUDGE               I think that only appropriate. Since               you no longer find my company to your               liking, madam, we shall provide you               with new lodgings.     He stands very close to her. Still she holds her ground.                         JUDGE               Until this moment I have spared the               rod ... And the ungrateful child has               broken my heart. Now you will learn               discipline...     The large form of the Beadle fills the doorway. She glances     to him, disquieted.                                                        (CONTINUED)                                                                    PAGE 71.49   CONTINUED:                                                    49                            JUDGE                  When you have learned to appreciate                  what you have, perhaps we shall meet                  again. Until then ... Think on your                  sins.     He nods to the Beadle -- the Beadle surges forward and grabs     Johanna brutally--     She screams and fights like a tiger -- to no avail--     The Beadle covers her mouth with one of his huge hands and     hauls her out--50   EXT. TURPIN'S MANSION -- EVENING                               50     Anthony is racing toward the front of mansion when he sees--     A hansom cab is just pulling away -- Johanna's terrified face     looking at him through the window--                             ANTHONY                  JOHANNA!     Anthony sees the Beadle pulling her away from the window as     the carriage clatters off--     Judge Turpin stands on the steps of the mansion -- Anthony     goes to him in a murderous rage:                            ANTHONY                  Where are you taking her?! Tell me or                  I swear by God--!     The Judge spins and roars -- a hellish howl that echoes--                            JUDGE                  WOULD YOU KILL ME, BOY?! HERE I STAND!     Anthony's eyes burn into the Judge -- but he is no killer.     He turns and races after the hansom cab. It rounds a corner     and is gone.     The Judge watches as Anthony pursues the cab, disappearing     around the corner.     And we fade to...51   EXT. FLEET STREET -- DAY                                       51     ...The face of the Beggar Woman.                                                           (CONTINUED)                                                                   PAGE 72.51   CONTINUED:                                                    51     She sits, crouched on her haunches, peering up from under her     few greasy locks of hair.     She is watching something intently. A few pedestrians move     quickly down the sidewalk past her, excited. They chatter     back and forth eagerly...     The Beggar Woman uncoils and follows...     And we finally see what the Beggar Woman has been watching so     intently...52   EXT. PIE SHOP -- DAY                                          52     Mrs. Lovett's wretched establishment has been transformed!     She has created a modest outdoor eating garden with tables,     surrounded by glowing Chinese lanterns. A fresh coat of     paint, a few bushes in pots and birds in cages add to the     feeling of upward mobility.     A new sign hangs proudly over the entrance to the pie shop:     "MRS. LOVETT'S WORLD FAMOUS MEAT PIES!" And then in smaller     letters: "LIKE MOTHER USED TO MAKE."     The eating garden is already crowded, the benches at the     tables are filled and other customers stand and mill about.     All eating, eating, eating...     ...The most delicious looking meat pies you could ever     imagine. Crispy crust. Thick, luxurious gravy. Tart and tangy     meat.     The customers take great, hungry mouthfuls; the steaming     gravy oozing down greedy faces.     Chomp. Chomp. Chomp.     The Beggar Women stands across the street, ravenously hungry.     She finally gets the nerve to approach when--     Toby -- wearing a spiffy new outfit with apron -- bursts from     the shop and circulates through the customers:                            TOBY                  Ladies and gentlemen,                  May I have your attention, perlease?                  Are your nostrils aquiver and tingling as well                  At that delicate, luscious ambrosial smell?                  Yes they are, I can tell...                                                          (CONTINUED)                                                                      PAGE 73.52   CONTINUED:                                                      52     He moves through the greedily eating customers in the outdoor     garden and toward the street as:                            TOBY                  Well, ladies and gentlemen,                  That aroma enriching the breeze                  Is like nothing compared to its succulent source,                  As the gourmets among you will tell you, of course.     He arrives at the street and drums up some more business:                            TOBY                  Ladies and gentlemen,                  You can't imagine the rapture in store--                      (Indicating the pie shop)                  Just inside of this door!                  There you'll sample                  Mrs. Lovett's meat pies,                  Savory and sweet pies,                  As you'll see.                  You who eat pies,                  Mrs. Lovett's meat pies                  Conjure up the treat pies                  Used to be!     Just then Mrs. Lovett sweeps from the pie shop with a tray of     hot, steaming pies.     Like her shop, she has been transformed as well. She wears     her somewhat gauche notion of a "fancy dress." Buckets of     decolletage. And her hair has been dyed a rather unique     aubergine color.                            MRS. LOVETT                  Toby!                            TOBY                  Coming!                      (pushing past a customer)                  'Scuse me...                             MRS. LOVETT                      (indicating a beckoning                       customer)                  Ale there!                            TOBY                  Right, mum!                            MRS. LOVETT                  Quick, now!                                                             (CONTINUED)                                                                PAGE 74.52   CONTINUED: (2)                                             52     The customers suddenly exclaim their joy through awkward     mouthfuls of pie:                         CUSTOMERS               God, that's good!     Toby scurries inside to get a jug of ale, whisks back out and     starts filling tankards as Mrs. Lovett circulates grandly.     She is a bundle of activity -- serving pies, collecting     money, giving orders, addressing the patrons individually and     with equal buoyant insincerity:                         MRS. LOVETT               Nice to see you, dearie...               How have you been keeping?...               Cor, me bones is weary!               Toby--!                   (Indicating a Customer)               One for the gentleman...               Hear the birdies cheeping--               Helps to keep it cheery...     She spots the Beggar Woman approaching and responds with     unusual ferocity:                         MRS. LOVETT               Toby!               Throw the old woman out!                         CUSTOMERS               God, that's good!     Toby shoos the Beggar Woman away, but she soon comes skulking     back.                          MRS. LOVETT                   (continuing to customers)               What's your pleasure, dearie?...               No, we don't cut slices...               Cor, me eyes are bleary!...                   (As Toby is about to pour                     for a drunken customer)               Toby!               None for the gentleman!...               I could up me prices--               I'm a little leery...               Business               Couldn't be better, though--                         CUSTOMERS               God, that's good!                                                       (CONTINUED)                                                                   PAGE 75.52   CONTINUED: (3)                                               52                           MRS. LOVETT                 Knock on wood.     She does.53   INT. BARBER SHOP -- DAY                                       53     Music continues as Todd works busily. Sawing, drilling,     screwing, hammering. Doing something we cannot see to his     barber chair. Making adjustments, tinkering, building,     feverish. Happy.54   EXT. PIE SHOP -- DAY                                          54     Mrs. Lovett continues to circulate:                            MRS. LOVETT                 What's your pleasure, dearie?                     (Spilling ale)                 Oops! I beg your pardon!                 Just me hands is smeary--                     (Spotting a freeloader                       trying to sneak out                       without paying)                 Toby!                 Run for the gentleman!     Toby catches him, collects the money, as Mrs. Lovett turns to     another customer:                           MRS. LOVETT                 Don't you love a garden?                 Always makes me teary...                     (Looking back at the                      freeloader)                 Must be one them foreigners--                           CUSTOMERS                 God, that's good that is delicious!                           MRS. LOVETT                 What's my secret?                     (To a woman)                 Frankly, dear -- forgive my candor--                 Family secret,                 All to do with herbs.                 Things like being                 Careful with your coriander,                 That's what makes the gravy grander--!     The customers are getting more rabid now -- stuffing in the     gorgeous meat pies in great fistfuls--                                                          (CONTINUED)                                                                   PAGE 76.54   CONTINUED:                                                   54                             CUSTOMERS                  More hot pies!                  More hot!                  More pies!55   INT. BARBER SHOP -- DAY                                       55     Music continues as Todd makes the final adjustments to his     chair. He stands back. Seems delighted with the results of     his tinkering. The ratty old parlor chair has been     transformed into a sleek, Victorian barber chair -- with     unique refinements.     He leaves the barber shop...56   EXT. PIE SHOP -- DAY                                          56     Todd stands at the top of the stairs, watching the street     hungrily. As, below, Mrs. Lovett smiles to another customer:                             MRS. LOVETT                  Incidentally, dearie,                  You know Mrs. Mooney.                  Sales've been so dreary--                      (She spots the Beggar                        Woman again)                  Toby!                      (Continuing to the                        customer, about Mrs.                        Mooney)                  --Poor thing is penniless.                      (Indicating Beggar Woman                        to Toby)                  What about that loony?                      (To the customer as Toby                        shoos the Beggar Woman                        away again)                  Lookin' sort of beery--                  Oh, well, got her comeuppance--                      (Hawklike, to a rising                        customer)                  And that'll be thruppence -- and                            CUSTOMERS                  God that's good that is de have you                            MRS. LOVETT                  So she should.                            CUSTOMERS                  Licious ever tasted smell such                  Oh my God what more that's pies good!                                                          (CONTINUED)                                                                   PAGE 77.56   CONTINUED:                                                   56                            MRS. LOVETT AND TOBY                  Eat them slow and                  Feel the crust, how thin I (she) rolled it!                  Eat them slow, 'cos                  Every one's a prize!                  Eat them slow, 'cos                  That's the lot and now we've sold it!     She hangs up a "Sold Out" sign.                            MRS. LOVETT AND TOBY                  Come again tomorrow--!     She spots a man in need of a shave approaching:                              MRS. LOVETT                  Hold it--                            CUSTOMERS                  More hot pies!                            MRS. LOVETT                  Bless my eyes--!     She sees the man going up to the barber shop. Todd is still     standing at the top of the stairs. He smiles secretly to Mrs.     Lovett as he ushers the man in.                            MRS. LOVETT                  Fresh supplies!     The man goes into the barber shop as she happily takes down     the "Sold Out" sign and turns again to the customers:                            MRS. LOVETT                  How about it, dearie?                      (expecting more pies)                  Be here in a twinkling!                  Just confirms me theory--                  Toby--!                  God watches over us.                  Didn't have an inkling...                  Positively eerie...                            TOBY                      (simultaneous with above)                  Is that a pie                  Fit for a king,                  A wondrous sweet                  And most delectable                  Thing?                  You see, ma'am, why                  There is no meat pie--                                                          (CONTINUED)                                                                   PAGE 78.56   CONTINUED: (2)                                               56                            CUSTOMERS                      (simultaneous with above)               Yum!               Yum!               Yum!               Yum! Yum!               Yum!     Mrs. Lovett then spots the Beggar Woman approaching again,     she spins to Toby with truly shocking viciousness:                         MRS. LOVETT               Toby!               Throw the old woman out!     Mrs. Lovett watches intently as Toby leads the Beggar Woman     away.     The Customers, meanwhile, are building to a pure frenzy of     mastication -- chewing and gulping and snapping at the     heavenly pies:                         CUSTOMERS               God, that's good that is de have you               Licious ever tasted smell such               Oh my God what perfect more that's               Pies such flavor               God, that's good!!     The music comes to a rousing conclusion as Mrs. Lovett stands     at the door to her shop. Triumphant.57   INT. BARBER SHOP -- NIGHT                                     57     Todd is alone. He sits in the barber chair, smoking a pipe.     He is holding an old Daguerreotype; creased, stained and     bleached-out.     The image shows his wife, Lucy, smiling and holding Baby     Johanna. The child's features are almost completely obscured     by a stain on the picture.     He looks at it deeply.     Then church bells echo in the distance...58   EXT. MAYFAIR -- NIGHT                                         58     ... The church bells continue as we discover Anthony,     searching through the streets for Johanna. We see him in long     shot as he moves through the contours of the city.                                                       (CONTINUED)                                                                 PAGE 79.58   CONTINUED:                                                  58     He starts his search in a luxurious area of wealth. His     journey through the city will take him lower and lower, into     the darkest corners of London.                             ANTHONY                  I feel you, Johanna,                  I feel you.                  Do they think that walls can hide you?                  Even now I'm at your window.                  I am in the dark beside you,                  Buried sweetly in your yellow hair,                  Johanna...     He continues walking...59   INT. BARBER SHOP -- NIGHT                                   59     ...Todd gazes quietly at the Daguerreotype:                               TODD                  Johanna...                  And are you beautiful and pale,                  With yellow hair, like her?                  I'd want you beautiful and pale,                  The way I've dreamed you were...60   EXT. DOCKS -- NIGHT                                         60     ...We see the figure of Anthony, walking along the docks.                               TODD (V.O.)                  Johanna...                               ANTHONY                  Johanna...61   INT. BARBER SHOP -- DAY                                     61     ...Todd shaves a customer. We recognize the customer     instantly: it is the GENTLEMAN.     The Daguerreotype now rest on the counter.     Todd remains wistful, detached, dream-like.                            TODD                  And if you're beautiful, what then,                  With yellow hair, like wheat?                  I think we shall not meet again--                      (He quietly slits the                       Gentleman's throat)                  My little dove, my sweet...                                                                   PAGE 80.62   EXT. SPITALFIELDS MARKET -- DAY                               62     ...We see the figure of Anthony, walking past hanging     carcasses of the busy meat market.                            TODD (V.O.)               Johanna...                          ANTHONY               I'll steal you,               Johanna...63   INT. BARBER SHOP -- DAY                                       63     ...The dead Gentleman is slumped in the chair.                         TODD               Goodbye, Johanna,               You're gone, and yet you're mine.               I'm fine, Johanna,               I'm fine!     He pulls a lever on the newly adjusted chair -- the chair     becomes a slide -- and the Gentleman disappears through a     trapdoor in the floor, down a chute -- Todd pulls the lever     again and the chair returns to its normal position.64   EXT. SLUM -- DAY                                              64     ...We see Anthony moving past a crowded tenement, redolent of     cholera.                            ANTHONY               Johanna...65   INT. BAKEHOUSE STEPS -- DUSK                                  65     ...Music continues as Mrs. Lovett descends a long and very     claustrophobic series of steps down to the bakehouse. She     unbolts and pulls aside a heavy iron door and enters.     We remain outside. A fiery red glow spills out -- the roar of     the oven within is thundering.66   EXT. FLEET STREET -- DUSK                                     66     ...The Beggar Woman stands on Fleet Street. The hellish     metropolis glows, the smoke from a thousand chimneys creating     a great pall over the city.                         BEGGAR WOMAN                   (in a demented rage)               Smoke! Smoke!                                                       (CONTINUED)                                                                   PAGE 81.66   CONTINUED:                                                   66                  Sign of the devil! Sign of the devil!                  City on fire!                      (to disgusted passers-by)                  Witch! Witch!                  Smell it, sir! An evil smell!                  Every night at the vespers bell--                  Smoke that comes from the mouth of hell--                  City on fire!                  City on fire...                      (She begins to scuttle                       off)                  Mischief! Mischief! Mischief...67   INT. BARBER SHOP -- DUSK                                      67     ...The red glow of sunset fills the shop as Todd ushers in     another customer and prepares to shave him:                            TODD                  And if I never hear your voice,                  My turtledove, my dear,                  I still have reason to rejoice:                  The way ahead is clear...68   EXT. ALLEY -- DUSK                                            68     ...We see the figure of Anthony moving down a dark alley.     Shadowy figures lurk along the alley walls.                               TODD (V.O.)                  Johanna...                             ANTHONY                  I feel you...                  Johanna...69   INT. BARBER SHOP -- DUSK                                      69     ...Todd continues to prepare to shave the customer:                            TODD                  And in that darkness when I'm blind                  With what I can't forget--                  It's always morning in my mind,                  My little lamb, my pet...70   EXT. GRAVEYARD -- DUSK                                        70     ...We see Anthony moving past an lonely graveyard.                               TODD (V.O.)                  Johanna...                                                          (CONTINUED)                                                                   PAGE 82.70   CONTINUED:                                                   70                               ANTHONY                  Johanna...71   INT. BARBER SHOP -- DUSK                                      71                            TODD                  You stay, Johanna...                      (He quietly cuts the                       customer's throat)                  The way I've dreamed you are.                      (Todd notices dusk outside                       the window)                  Oh look, Johanna-,                      (Pulls the lever and the                       customer disappears)                  A star!                      (Tossing the customer's                       hat down the chute)                  A shooting star!72   EXT. GRAVEYARD -- DUSK                                        72     ...Anthony continues to move past the graveyard.                            ANTHONY                  Buried sweetly in your yellow hair...73   INT. BAKEHOUSE STEPS -- DAY                                   73     ...Music continues as Mrs. Lovett emerges from the bakehouse     with a rack of hot pies.     She walks out of frame, up the steps, as we push in on the     crack in the door. The fiery roar of the oven within is     overpowering.74   EXT. FLEET STREET -- DAY                                      74     ...The Beggar Woman is scuttling madly along Fleet Street.                            BEGGAR WOMAN                      (pointing to the smoke                       over rooftops)                  There! There!                  Somebody, somebody look up there!                      (the passers-by continue                       to ignore her)                  Didn't I tell you? Smell that air?                  City on fire!     She approaches the pie shop, the agitated music matching her     increasing frenzy. She grabs a stunned Toby -- who is     carrying some packages toward the pie shop:                                                          (CONTINUED)                                                                   PAGE 83.74   CONTINUED:                                                    74                            BEGGAR WOMAN                      (panicked)                  Quick, sir! Run and tell!                  Warn 'em all of the witch's spell!                  There it is, there it is, the unholy smell!                  Tell it to the Beadle and the police as well!                  Tell 'em! Tell 'em!     She spots Mrs. Lovett emerging from the pie shop and explodes     in desperation, pointing madly:                            BEGGAR WOMAN                  Help!!! Fiend!!!                  City on fire!!!     Toby pulls away from her, as she begins to scuttle off:                            BEGGAR WOMAN                  City on fire...                  Mischief ... Mischief ... Mischief... Fiend...     She appeals to other pedestrians as she goes:                            BEGGAR WOMAN                  Alms! ... Alms! ...     Toby turns to consider the horrible black smoke belching from     the chimney of the pie shop. Something about the foul, ebony     smoke troubles him.75   INT. BARBER SHOP -- DAY                                       75     ...Todd is standing alone, contemplative, slowly and     methodically stropping his razor.                            TODD                  And though I'll think of you, I guess,                  Until the day I die,                  I think I miss you less and less                  As every day goes by...76   EXT. LIMEHOUSE -- DAY                                         76     ...We see the figure of Anthony trudging past the sinister     opium dens and depraved taverns of the East End.                               TODD (V.O.)                  Johanna...                               ANTHONY                  Johanna...                                                                  PAGE 84.77   INT. BARBER SHOP -- DAY                                      77     ...Todd completes shaving a customer. The customer's wife and     daughter are waiting.                          TODD               And you'd be beautiful and pale,               And look too much like her.               If only angels could prevail,               We'd be the way we were.               Johanna...     The customer pays. With a pleasant smile, Todd ushers them     out..78   EXT. ASYLUM -- NIGHT                                         78     ...Anthony wanders past the high and impenetrable walls of a     madhouse, the demented souls within can be seen moving about     in silhouette behind barred windows.                          ANTHONY               I feel you...               Johanna...     Something makes him stop. He turns to consider the asylum...79   INT. BARBER SHOP -- MORNING                                  79     ...Todd shaves another customer. A beautiful morning outside     the window.                          TODD               Wake up, Johanna!               Another bright red day!                   (He slits the customer's                    throat)               We learn, Johanna,               To say...               Goodbye...     As the note continues, he pulls the lever and the customer     disappears down the chute...80   EXT. ASYLUM -- MORNING                                       80     ...Anthony stares up at the asylum.                         ANTHONY               I'll steal you...                                                                   PAGE 85.81   INT. BARBER SHOP -- MORNING                                   81     ...As the music concludes, Todd picks up the faded     Daguerreotype and again sits in his barber chair.     He gazes at the picture, lost in revery.82   EXT. HAMPSTEAD HEATH -- DAY                                   82     Mrs. Lovett and Todd rest on a picnic blanket, just like any     other couple out enjoying the fine day.     The remains of a nice picnic lunch are scattered around them     and Toby can be seen flying a kite a bit away.     Mrs. Lovett watches happy couples moving about ... dogs and     kids running hither and yon ... military officers squiring     their ladies ... nurses with prams...     Todd is distinctly ill at ease, brooding, as she chatters:                         MRS. LOVETT               ... which is not to say we couldn't               get some nice taxidermy animals to               bring a touch of gentility to the               place. You know, a boar's head or               two...                   (glancing at the                    unresponsive Todd)               Mr. T., are you listening to me?                            TODD               Of course.                         MRS. LOVETT               Then what did I just say?                         TODD                   (back in his somber                    reflections)               There must be a way to the Judge!                         MRS. LOVETT                   (snaps)               The bloody old Judge! Always harping               on the bloody old Judge!                   (she massages his neck)               We got a nice respectable business               now, money coming in regular and --               since we're careful to pick and choose               -- only strangers and such like wot               won't be missed -- who's going to               catch on?                                                          (CONTINUED)                                                                     PAGE 86.82   CONTINUED:                                                     82     No response from Todd. She leans across and pecks him on the     cheek:                            MRS. LOVETT                  Oooh, Mr. Todd--                      (Kisses him again)                  I'm so happy--                      (Again)                  I could--                      (Again)                  Eat you up, I really could!                  You know what I'd like to Do, Mr. Todd?                      (Kisses him)                  What I dream--                      (Again)                  If the business stays as good,                  Where I'd really like to go--                      (No response)                  In a year or so...                      (No response)                  Don't you want to know?                             TODD                      (couldn't care less)                  Of course.                            MRS. LOVETT                  Do you really want to know?                            TODD                      (forces a pained smile)                  Yes, yes, I do, I do.     The music continues as she leans back comfortably, beginning     to imagine a wonderful, domestic future...                             MRS. LOVETT                  I've always had this dream of living                  at the seaside ... I got a picture                  postcard from me Aunt Nettie once. Oh,                  it seems like such a grand place...                      (notes Toby flying his                       kite)                  And all that fresh aquatic air's bound                  to be good for the lad's poxy lungs...                  By the sea, Mr. Todd,                  That's the life I covet;                  By the sea, Mr. Todd,                  Ooh, I know you'd love it!                  You and me, Mr. T.,                  We could be alone                                                            (CONTINUED)                                                                   PAGE 87.82   CONTINUED: (2)                                              82               In a house wot we'd almost own               Down by the sea...                         TODD                   (grumbles)               Anything you say.                         MRS. LOVETT               Wouldn't that be smashing?     And we go to...83   EXT. BEACH -- DAY                                             83     ...In Mrs. Lovett's mind.     She and Todd sit in the exact same positions as in Hampstead     Heath. Only now they are sitting on a beach.     They are wearing what she imagines as fashionable seaside     bathing clothes.     Toby, who is not consumptively pale but overly rosy-cheeked     in her fantasy, is building a sandcastle nearby.     Mrs. Lovett is sitting with her Dream Todd, of course, so he     has a bland smile on his face. Somewhat unnatural.     In fact, there is something vaguely unreal and stilted about     all of this.                         MRS. LOVETT (V.O.)               With the sea at our gate,               We'll have kippered herring               Wot have swum to us straight               From the Straits of Bering.               Every night in the kip               When we're through our kippers,               I'll be there slippin' off your               slippers               By the sea...               With the fishies splashing.               By the sea...               Wouldn't that be smashing?               Down by the sea--                         TODD (V.O.)               Anything you say,               Anything you say.                                                                  PAGE 88.84   EXT. BOARDWALK -- DAY                                        84     Mrs. Lovett strolls with Todd on a boardwalk. Artificially     lovely couples, like rotogravure magazine pictures, move     about.     Toby runs along ahead of them.                          MRS. LOVETT (V.O.)               I can see us waking,               The breakers breaking,               The seagulls squawking:               Hoo! Hoo!               I do me baking,               Then I go walking               With yoo-hoo...                   (she waves to Toby)               Yoo-hoo...85   EXT. BOARDWALK -- DAY                                        85     Mrs. Lovett and Todd recline on comfortable deck chairs,     having tea and scones.                         MRS. LOVETT (V.O.)               I'll warm me bones               On the esplanade               Have tea and scones               With me gay young blade...86   EXT. SEASIDE COTTAGE, PORCH -- DAY                           86     Mrs. Lovett's notion of a fashionable little seaside cottage.     Crushing in its bourgeois blandness.     She is making Toby try on a sweater. Todd is writing a     letter.                         MRS. LOVETT (V.O.)               Then I'll knit a sweater               While you write a letter...87   EXT. BEACH -- DAY                                            87     Back on the beach, she cuddles into Todd:                         MRS. LOVETT (V.O.)                   (Coyly)               Unless we got better               To do-hoo...                         TODD (V.O.)               Anything you say...                                                                PAGE 89.88   INT. SEASIDE COTTAGE -- NIGHT                              88     Mrs. Lovett and Todd snuggle into bed:                         MRS. LOVETT (V.O.)               Think how snug it'll be               Underneath our flannel               When it's just you and me               And the English Channel...89   INT. SEASIDE COTTAGE -- EVENING                            89     Mrs. Lovett and Todd entertain some unnaturally jolly chums.                         MRS. LOVETT (V.O.)               In our cozy retreat,               Kept all neat and tidy,               We'll have chums over every Friday...90   EXT. BEACH -- DAY                                          90     Back on the beach.                         MRS. LOVETT (V.O.)               By the sea...                         TODD (V.O.)               Anything you say...     Toby pulls Mrs. Lovett over to examine his little sandcastle     as:                          MRS. LOVETT (V.O.)               Don't you love the weather               By the sea?               We'll grow old together               By the seaside,                   (Beckons to Todd to join                    them)               Hoo! Hoo!               By the beautiful sea!     Music continues as Todd joins them. He kneels with Toby to     help him work on the sandcastle. Mrs. Lovett stands, watching     them, the picture of the doting mother.                         MRS. LOVETT (V.O.)               It'll be so quiet               That who'll come by it               Except a seagull?               Hoo! Hoo!               We shouldn't try it,                                                       (CONTINUED)                                                                   PAGE 90.90   CONTINUED:                                                   90                  Though, till it's legal,                  For two-hoo!91   INT. SEASIDE CHAPEL -- DAY                                    91     Mrs. Lovett and Todd getting married. This being her fantasy,     after all, she wears white. Todd is in a constricting morning     coat with a rakish top hat. Toby, the best man, watches     proudly.                            MRS. LOVETT (V.O.)                  But a seaside wedding                  Could be devised,                  Me rumpled bedding                  Legitimized.     They exchange vows and kiss.                            MRS. LOVETT (V.O.)                  My eyelids'll flutter,                  I'll turn into butter,                  The moment I mutter                  "I do-hoo!"92   INT. SEASIDE COTTAGE -- MORNING                               92     Mrs. Lovett is placing a plate of kippers on the table amidst     a proper English breakfast. A guest stands, leaning against a     wall, waiting to eat.                            MRS. LOVETT (V.O.)                  By the sea, in our nest,                  We could share our kippers                  With the odd paying guest                  From the weekend trippers,                  Have a nice sunny suite                  For the guest to rest in--     A dark shape quickly moves past the guest -- Todd -- then the     guest slides down the wall -- a splash of blood on the     wallpaper-                            MRS. LOVETT (V.O.)                  Now and then, you could do the guest in--93   EXT. BEACH -- SUNSET                                          93     Back at the beach, Mrs. Lovett, Todd and Toby sit     comfortably. Watching an unnaturally gorgeous sunset.     A picture postcard of a happy family.                                                          (CONTINUED)                                                                    PAGE 91.93   CONTINUED:                                                    93                            MRS. LOVETT (V.O.)                  By the sea.                  Married nice and proper,                  By the sea--                  Bring along your chopper                  To the seaside,                  Hoo! Hoo!                  By the beautiful sea!     The music concludes as she throws her arms affectionately     around her two men.     We cut back to--94   EXT. HAMPSTEAD HEATH -- DAY                                    94     --Mrs. Lovett is sitting in the exact same position with     Todd. Silence.     Her smiles fades as she considers him. The grim, brooding     reality is so clear next to her lovely dream.     She watches him in silence as we fade to...95   INT. BARBER SHOP -- MORNING                                    95     Todd is standing at his usual post, the window, gazing     intently down at Fleet Street.     Mrs. Lovett enters with a tray of food:                            MRS. LOVETT                  Brought you some breakfast, dear, farm                  fresh eggs and a dollop of lovely                  clotted cream, only the best for my...     She stops when he realizes he isn't even listening to her.     Her heart sinks seeing him at the window, wearing his     obsession like a cloak.     A beat as she looks at him.                            MRS. LOVETT                  Mr. T., might I ask you a question?                              TODD                        (not turning)                  Mm?                            MRS. LOVETT                  What did your Lucy look like?     He turns to her.                                                           (CONTINUED)                                                                    PAGE 92.95   CONTINUED:                                                    95                            MRS. LOVETT                  You heard me ... (a beat) ... Can't                  really remember can you?                            TODD                  She had yellow hair.     He turns back to the window.     Mrs. Lovett proceeds with great sincerity:                            MRS. LOVETT                  You've got to leave all this behind                  you now. She's gone ... You keep                  looking down into the grave, you're                  never gonna look up. And life will                  just pass right by ... Life is for the                  alive, my dear.     He does not answer.                            MRS. LOVETT                  We could have a life we two ... Maybe                  not like I dreamed, maybe not like you                  remember ... But we could get by.     He does not answer.                            MRS. LOVETT                  Come away from the window.     A long beat.     He finally turns from the window. Almost as if to leave his     demons behind...     She smiles quietly and holds out her hand...     She begins to cross to him...     SUDDENLY REVEALING--     The Gentleman!     Standing right behind Mrs. Lovett--     He is glaring at Todd, relentless and accusatory--     Blood pouring from his throat--     A shocking horror movie vision--                                                           (CONTINUED)                                                                   PAGE 93.95   CONTINUED: (2)                                              95     Then the bell rings outside the shop ... Todd turns ... the     Gentleman is gone ... we hear footsteps climbing the     stairs...     Mrs. Lovett remains standing, her hand out to him, as--     Anthony enters, absolutely exhausted.                         ANTHONY               Mr. Todd ... Mrs. Lovett, ma'am ...               (sinks into a chair) ... Seems I've               not slept in a week -- but it's done--                         TODD               What is it, Anthony?                         ANTHONY                   (bitter)               He has her locked in a madhouse.     Todd's head snaps to Anthony, riveted:                         TODD               You've found Johanna?                         ANTHONY               For all the good it'll do -- it's               impossible to get to her.     Todd begins pacing, the tiger again, his mind is racing--                         TODD               A madhouse ... A madhouse ... Where?                         ANTHONY               Fogg's Asylum. But I've circled the               place a dozen times. There's no way               in. It's a fortress.     Anthony fades to a brooding silence as Todd continues pacing,     thinking, thinking. Mrs. Lovett watches him, concerned.     Todd suddenly stops...     We see him settling into an inspired sort of calm, as if he     can finally see the Promised Land.                         TODD                   (a whisper)               I've got him.                           ANTHONY               Mr. Todd?                                                        (CONTINUED)                                                                 PAGE 94.95   CONTINUED: (3)                                             95                         TODD                   (to Anthony)               We've got her ... Where do you suppose               all the wigmakers of London go to               obtain their human hair? Bedlam. They               get their hair from the lunatics at               Bedlam--                         ANTHONY               I don't understand--     Todd suddenly grabs Anthony and hauls him up -- holds him     close, forehead to forehead -- his whispered intensity truly     disturbing:                         TODD               We shall set you up as a wigmaker in               search of hair -- that will gain you               access -- then you will take her.                            ANTHONY               Yes...                         TODD               You will not be deterred -- You will               slaughter the world -- To bring her               here.                            ANTHONY               Yes.     Mrs. Lovett watches, troubled, as Todd embraces Anthony     closely. He holds him for a long beat.     Then Todd is all action, hurries to get some money and gives     it to Anthony, as:                         TODD               Go and outfit yourself properly -- you               are to be a gentlemen wigmaker. When               you return we shall dispatch a letter               to this Mr. Fogg announcing your               arrival. Go -- quickly now!                         ANTHONY                   (clasping Todd's hand)               Mr. Todd -- how can I ever--?                            TODD               Go!     Anthony hurries out.                                                        (CONTINUED)                                                                   PAGE 95.95   CONTINUED: (4)                                               95     Todd immediately hurls himself into a chair and begins     writing a letter, his violent scrawl slashing across the     page.                         MRS. LOVETT               Dear, I wonder if--                         TODD               Fetch the boy.                         MRS. LOVETT               Don't you think it's time you--                         TODD               Fetch the boy.     Mrs. Lovett goes...96   EXT. PIE SHOP -- MORNING                                      96     Mrs. Lovett begins going down the stairs outside the barber     shop.     Then she stops. She stands for a long moment, disturbed that     Todd's demons are again devouring him.     She looks down and sees Toby washing the tables in the     outdoor garden. Toby is serious about his work, vigorously     scrubbing the tables with soap and water.     She watches him for a moment and then continues down the     steps:                         MRS. LOVETT               Toby ... Mr. Todd requires you.                           TOBY               Yes'm.     He goes up the steps. She just stands, deep in thought.97   INT. BARBER SHOP -- MORNING                                   97     Todd is finishing the letter as Toby enters:                           TOBY               Mr. T.?                         TODD                   (still writing)               You know where the Old Bailey is?                                                       (CONTINUED)                                                                     PAGE 96.97    CONTINUED:                                                    97                             TOBY                   Oh, yes, sir. Not that I ever--                             TODD                       (interrupts, folding up                        letter)                   Take this there and seek out a Judge                   Turpin. Repeat that. Repeat that.                             TOBY                   Go to the Old Bailey. Find Judge                   Turpin.                             TODD                       (handing him letter)                   Put this into his hands. Only to him.                   Do you understand?                             TOBY                   Yes, sir, and while I'm out do you                   mind if I stop by the grocer and pick                   up the--      Todd pounces like a panther--      He suddenly leaps up and grabs Toby by the throat with      shocking brutality--                             TODD                   DON'T CHATTER, BOY! You are not to                   stop! You are not to speak! You are to                   deliver this letter! DO YOU                   UNDERSTAND?!      Toby is stunned and terrified. It is the first time he has      seen this side of his friend, Mr. Todd.      Todd releases him. Toby races out.      Todd immediately begins pacing like a caged animal, back and      forth, back and forth, whispering to himself neurotically, as      day becomes evening...101   EXT. PIE SHOP -- EVENING                                      101      Toby walks back to the pie shop, upset.      He stops when he sees Todd at the window above, unblinking,      gazing like a falcon into the street.      He continues on to Mrs. Lovett, who is clearing up the      remains of a meal in the outdoor garden.                                                            (CONTINUED)                                                                     PAGE 97.101   CONTINUED:                                                   101                              MRS. LOVETT                   Where you been, lad? We had quite the                   luncheon rush! Me poor bones is ready                   to drop...                       (She looks at him, notes                        his dark expression.)                   What is it, Toby?      He sits. She sits next to him.                             TOBY                   Mr. Todd sent me on an errand ... And                   on the way back I went by the                   workhouse. And I was thinkin' ... But                   for you I would be there now. Or                   someplace worse.      A beat.                             TOBY                   Seems like the Good Lord sent you for                   me.                             MRS. LOVETT                   Oh, love, I feel quite the same way--                             TOBY                   Hear me out, mum ... You know there's                   nothing I wouldn't do for you. Say, if                   there was someone around -- someone                   bad -- only you didn't know it--                             MRS. LOVETT                       (concerned)                   What is this? What are you talking                   about?                             TOBY                   Nothing's gonna harm you,                   Not while I'm around.                   Nothing gonna harm you,                   No, sir,                   Not while I'm around...                             MRS. LOVETT                   What do you mean, "someone bad"?                              TOBY                   Demons are prowling                   Everywhere                   Nowadays.                   I'll send 'em howling,                                                            (CONTINUED)                                                                  PAGE 98.101   CONTINUED: (2)                                             101                I don't care--                I got ways.                          MRS. LOVETT                Darling, hush now, there's no need for                this...                          TOBY                No one's gonna hurt you,                No one's gonna dare.                Others can desert you--                Not to worry--                Whistle, I'll be there.                Demons'll charm you                With a smile                For a while,                But in time                Nothing can harm you,                Not while I'm around.      Music continues:                          MRS. LOVETT                What is this foolishness now? What are                you talking about?                          TOBY                Little things wot I been thinking ...                About Mr. Todd...                Not to worry, not to worry,                I may not be smart but I ain't dumb.                I can do it,                Put me to it,                Show me something I can overcome.                Not to worry, mum.      He leans into her, she puts her arms around him, but her      expression is deeply troubled.                           TOBY                Being close and being clever                Ain't like being true,                I don't need to,                I won't never                Hide a thing from you,                Like some.      Music continues as she nervously comforts him:                          MRS. LOVETT                Now, Toby dear, haven't we had enough                of this foolish chatter? ...                          (MORE)                                                         (CONTINUED)                                                                    PAGE 99.101   CONTINUED: (3)                                            101                          MRS. LOVETT (cont'd)                    (reaching for her purse)                ... Here, how about I give you a shiny                new penny and you can fetch us some                nice toffees--?      She pulls Pirelli's chatelaine purse from her dress--                          TOBY                That's Signor Pirelli's purse!                          MRS. LOVETT                No, no, love -- this is just something                Mr. T. give me for my birthday--                           TOBY                See that proves it -- what I been                thinkin'--                    (He stands, urgently                     pulling her hand)                We gotta go, ma'am, right now -- we                gotta find the Beadle and get the law                here--      She pulls him down to her again, agitated, her mind racing:                          MRS. LOVETT                Hush now, Toby, hush ... Here, you                just sit next to me nice and quiet ...                    (calming)                ... How could you think such a thing                of Mr. Todd, who's been so good to us?      He calms down a bit as she holds him.      And she comes to a painful, dreadful decision.                          MRS. LOVETT                Nothing's gonna harm you,                Not while I'm around.                Nothing's gonna harm you, darling,                Not while I'm around.                    (He leans into her)                Demons'll charm you                With a smile                For a while,                But in time                Nothing's gonna harm you,                Not while I'm around.      The music continues as she holds him. There are tears in her      eyes. But we see that her gentle song has calmed him.                                                         (CONTINUED)                                                                 PAGE 100.101   CONTINUED: (4)                                            101                          MRS. LOVETT                    (softly)                Funny we should be having this little                chat right now ... 'Cause I was just                thinkin', you know how you've always                fancied coming into the bakehouse with                me to help make the pies?                          TOBY                    (dreamily)                Yes, ma'am.      She quickly dries her eyes and then turns him to look at her.                          MRS. LOVETT                    (smiles)                Well ... no time like the present.102   INT. BAKEHOUSE STEPS -- EVENING                            102      Mrs. Lovett leads Toby down the claustrophobic, long stairway      toward the bakehouse.                          TOBY                My heart bleeds for you havin' to go                up and down all these stairs!                          MRS. LOVETT                Well, that'll be your job now.                          TOBY                Yes, ma'am!      She arrives at the heavy iron door to the bakehouse. We can      hear the seismic rumble of the bake oven within.      She unbolts the door and ushers Toby in.      And we finally enter...103   INT. THE BAKEHOUSE -- EVENING                              103      A macabre vision of Hell.      The roof hangs low in this subterranean chamber. The grisly      tools of her trade are scattered about the place: a large,      stained chopping block; a meat grinder; buckets of      questionable viscous liquid; cleavers and bone saws and meat      hooks; wet sewer grates for the blood.      A metal sheet, hinged at the top, has been attached to cover      an opening in the wall: the mouth of the chute from the      barber shop above.                                                         (CONTINUED)                                                                   PAGE 101.103   CONTINUED:                                                  103      And eeriest of all ... the thundering roar of flame coming      from a large industrial oven against one wall.      Toby takes in the cavernous bakehouse:                             TOBY                   Coo, quite a stink, ain't there?      She indicates the sewer grates:                             MRS. LOVETT                   Those grates go right down to the                   sewers and the whiffs come up, always                   a few rats gone home to Jesus down                   there.                             TOBY                   So -- where do I start?!      She leads him across to the thrumming, fiery oven:                             MRS. LOVETT                   Now this would be the bake oven ...                   Ten dozen at a time. Always be sure                   the doors is closed properly, like                   this.                             TOBY                       (trying to remember it                        all)                   Yes'm, always closed properly.      She leads him to the meat grinder:                             MRS. LOVETT                   And here's the grinder ...                       (demonstrates it)                   ... You pop in the meat, give it a                   good grind and it comes out here.                             TOBY                       (practicing with the                        grinder)                   Good grind, comes out there.                             MRS. LOVETT                   That's my boy. Smoothly, smoothly --                   Now I've got to pop upstairs, back in                   two shakes, all right?                             TOBY                   Yes'm.                                                           (CONTINUED)                                                                  PAGE 102.103    CONTINUED: (2)                                            103       She begins to go. He stops her with:                           TOBY                 Do you think I might have a pie while                 I wait?       She turns. He is standing at a rack of cooling pies.                           MRS. LOVETT                 As many as you like, son ... As many                 as you like.       She goes and shuts the door behind her.104    INT. BAKEHOUSE STEPS -- EVENING                            104       She leans against the bakehouse door, tormented, gasping for       air. Then she slowly bolts the door.A120 105   INT. FOGG'S ASYLUM -- EVENING                              105       A cacophony of madness. The ragged inmates of the asylum are       slammed together in a series of cramped cells, the low       ceiling pressing down.       We discover Anthony, dressed as a fashionable wigmaker,       walking past the cells with the odious MR. FOGG. Fogg carries       a large pair of scissors.                           FOGG                 ... Oh yes, sir, I agree it would be                 to our mutual interest to come to some                 arrangement in regard to my poor                 children's hair.       He moves to one of the cells and unlocks it:                           FOGG                 I keep the blondes over here. It was                 yellow hair you was looking for, sir?                           ANTHONY                 Yes.       Fogg goes into the crowded cell -- the inmates, all blonde       women, scurry back, clearly terrified of Fogg. Anthony sees       Johanna, wearing a filthy straitjacket, hunched like a feral       animal, cowering in a corner of the cell.                           ANTHONY                     (points)                 That one has hair the shade I need.                                                          (CONTINUED)                                                                    PAGE 103.105   CONTINUED:                                                   105      Fogg goes to fetch Johanna, hauls her to Anthony:                             FOGG                   Come, child. Smile for the gentleman                   and you shall have a sweetie.      Johanna's eyes shoot wide when she sees Anthony, but she says      nothing.                             FOGG                       (prepares scissors)                   Now, where shall I cut?      Before Fogg can react -- Anthony pulls a revolver from his      clothing, grabs Johanna and pushes Fogg back into the cell.      He swings the cell door shut, locking Fogg in.                             ANTHONY                   Not a word, Mr. Fogg, or it will be                   your last ... Now, I leave you to the                   mercy of your "children."      He grabs Johanna and pulls her away.      Mr. Fogg turns. He is locked in with the blonde inmates. They      slowly begin to advance on him. Menacing. It is likely they      are going to rip him limb from limb...106   EXT. PIE SHOP -- EVENING                                      106      Todd and Mrs. Lovett are hurrying down the stairs from the      barber shop, urgent. Todd has a razor.                             MRS. LOVETT                   ... I got him locked in -- but if he                   escapes he'll go to the law!                             TODD                   Then he can't escape.                             MRS. LOVETT                   Mr. T. -- I don't know -- maybe we                   could--                             TODD                   The Judge will be here soon! I have no                   time, woman! Come on--!      They turn a corner and walk straight into--      The Beadle!                                                            (CONTINUED)                                                                    PAGE 104.106   CONTINUED:                                                   106                             MRS. LOVETT                   Excuse me, sir! -- You gave me a                   fright.                             BEADLE                   Not my intention, good madam, though I                   am here on official business.                       (elaborately prepares a                        pinch of snuff)                   You see, there's been complaints.                   About the stink from your chimney.                   They say at night, it's something most                   foul. Health regulations -- and the                   general public welfare, naturally --                   being my duty, I'm afraid I'll have to                   take a look ...                       (inhales the snuff,                        Sneezes and daintily                        wipes his nose)                   ... at your bakehouse.                              TODD                        (smoothly)                   Of course ... But first why don't you                   come upstairs and let me attend to                   you?                             BEADLE                   Much as I do appreciate tonsorial                   adornment, I really ought see to my                   "official" obligations first.                             TODD                   An admirable sentiment -- But I must                   ask you, out of professional curiosity                   you understand, is that a cream or a                   tallow pomade?                             BEADLE                       (touches his hair)                   Oh, not a pomade at all! Me secret is                   a touch of ambergris.                             TODD                   But, sir, hair that delicate requires                   a genuine pomade! Come along, let me                   show you the difference.                              BEADLE                       (considering)                   Well ... you are the expert in these                   matters...                                                            (CONTINUED)                                                                 PAGE 105.106   CONTINUED: (2)                                            106                          TODD                And we'll finish you off with a nice                facial rub of bay rum.                          BEADLE                Oooh, bay rum is bracing.                          TODD                And all on the house, for my friend,                Beadle Bamford.                          BEADLE                Well, sir, I take that very kindly ...                Lead on.                          TODD                    (bowing)                I am, sir, entirely at your --                    (his eyes flit to Mrs.                     Lovett)                -- disposal.      He leads the Beadle away.      Mrs. Lovett allows herself a breath.107   EXT. PIE SHOP -- EVENING                                   107      From across the street, we see Todd leading the Beadle up the      stairs to the barber shop, chatting with him easily.      We realize we are seeing the perspective of the Beggar Woman,      hunched across the street, watching them closely.108   INT. BAKEHOUSE -- EVENING                                  108      Toby is eating a pie as he slowly wanders around the      bakehouse.      He stops to consider the many stained cleavers and bone saws,      curious.      Then he bites on something hard -- stops -- he reaches into      his mouth and pulls something out. Looks at it:      It is a fingernail.      To be exact, it is the severed tip of a finger.      Toby drops it in horror and starts back--      Suddenly, a loud THUMPING and CLANGING makes him spin,      alarmed--                                                         (CONTINUED)                                                                     PAGE 106.108   CONTINUED:                                                    108      As --      The bloody body of the Beadle EXPLODES SUDDENLY from the      mouth of the chute--      Toby screams and races to the door--      Pulls at it. Locked. No use. He bangs on the heavy iron door      wildly:                             TOBY                   MRS. LOVETT! MRS. LOVETT! LET ME OUT!                   MRS. LOVETT!      The thundering roar from the bake oven seems to rise to match      his frenzy as--      In panic, Toby races to the sewer grate, yanks it up and      disappears down into the sewers as the shrill factory whistle      SCREAMS and we cut to--109   INT. BARBER SHOP -- EVENING                                   109      Todd stands by the chair, his razor high--      His eyes blazing--      His face covered in a spray of blood--      Lost in rapture.      Not for long.      The Gentleman, the Banker, the General move into the frame      with purpose, impatient.      The Gentleman flicks out his handkerchief and begins to clean      the blood off Todd's face -- he is not gentle, the blood      smears--                             GENTLEMAN                   The engine roared, the motor hissed,                   And who could see how the road would twist...?      Meanwhile, the Banker pulls off Todd's stained barber tunic      and hands Todd his jacket--                             BANKER                   In Sweeney's ledger the entries matched:                   A Beadle arrived, and a Beadle dispatched...      Meanwhile, the General is cleaning up the blood on the barber      chair--                                                           (CONTINUED)                                                                        PAGE 107.109   CONTINUED:                                                       109                             GENERAL                   To satisfy the hungry god                   Of Sweeney Todd...                             GENTLEMAN, BANKER AND GENERAL                   The Demon Barber of Fleet...      SUDDENLY -- a sharp cry from across the room -- Todd spins--                                OTHER GHOSTS (O.S.)                   SWEENEY!                                GENTLEMAN, BANKER AND GENERAL                   ...Street!      Todd sees that more and more of the ghastly specters are      moving around the room -- multiplying exponentially -- we see      the TOURIST, the STUDENT, the PRIEST and others.      They are more intrusive than they have ever been -- touching      Todd -- eagerly preparing him for the finale of his drama --                             GHOSTS                       (variously)                   Sweeney! Sweeney!                   Sweeney! Sweeney! Sweeney!      By now the ghosts are fully Furies, demented and threatening--                             GHOSTS                   Sweeney!                   Sweeeeeeneeeeey...!      The screeching music transforms into a strange symphony of      inarticulate moans and howls and chants, taking us to...110   INT. SEWERS -- NIGHT                                              110                             GHOSTS (V.O.)                   Sweeeeeeeeeeeeeeneeeeeeeeeeeey...                   Sweeneysweeneysweeneysweeney...      Todd and Mrs. Lovett are searching for Toby through a      horrible catacomb of decaying sewers. Todd carries a razor.      Their voices echo bizarrely:                             MRS. LOVETT                   Toby!                   Where are you, love?                             TODD                   Toby!                   Where are you, lad?                                                                (CONTINUED)                                                                    PAGE 108.110   CONTINUED:                                                   110                             MRS. LOVETT                   Nothing's gonna harm you...                             TODD                   Toby!                             MRS. LOVETT                   Not while I'm around...                             TODD                   Toby!                              MRS. LOVETT                   Nothing's gonna harm you,                   Darling...                             TODD                   Nothing to be afraid of boy...                             MRS. LOVETT                   Not while I'm around.                             TODD                   Toby...                             MRS. LOVETT                   Demons are prowling everywhere                   Nowadays...                             TODD                   Toby...      Music takes us to...111   INT. BARBER SHOP -- NIGHT                                     111      Anthony and Johanna hurry into the barber shop. She is now      dressed as a scruffy boy, a cap hiding her hair. She is      distracted and disturbed.                             ANTHONY                   Mr. Todd...? No matter. You wait for                   him here -- I'll return with the coach                   in less than half an hour...      She gently touches Todd's collection of razors...                             ANTHONY                   Don't worry, darling, in those                   clothes, no one will recognize you ...                   You're safe now.                                                            (CONTINUED)                                                                   PAGE 109.111   CONTINUED:                                                  111      She picks up the largest razor, looks at it, an eerie echo of      her father.                             JOHANNA                       (darkly ironic)                   Safe ... So we run away and then all                   our dreams come true?                             ANTHONY                   I hope so...                             JOHANNA                   I have never had dreams. Only                   nightmares.                             ANTHONY                   Johanna ... When we're free of this                   place all the ghosts will go away.      She looks at him very intensely:                             JOHANNA                   No, Anthony, they never go away.      He gently touches her face.                             ANTHONY                   I'll be right back to you ... Half an                   hour and we'll be free.      He goes.      She turns to the window, watches him go. Her expression is      sad: he will never fully comprehend her depth.      Then she sees the Beggar Woman approaching from across the      street...112   EXT. PIE SHOP -- NIGHT                                       112      The Beggar Woman begins climbing the stairs to the barber      shop:                             BEGGAR WOMAN                   Beadle ... Beadle ...                   No good hiding, I saw you!                   Are you in there still?113   INT. BARBER SHOP -- NIGHT                                    113      Johanna hears the Beggar Woman singing, climbing the stairs.                                                           (CONTINUED)                                                                   PAGE 110.113   CONTINUED:                                                  113                             BEGGAR WOMAN (V.O.)                   Beadle ... Beadle...      Johanna looks around urgently, sees the large chest. She      quickly climbs into it and shuts the lid as--      The Beggar Woman enters.                             BEGGAR WOMAN                   Beadle dear, Beadle...      The room has a strange effect on her, as if she were vaguely      recalling some distant dream. She intones to pretty lullaby      music...                             BEGGAR WOMAN                   Beadle deedle deedle deedle deedle dumpling,                   Beadle, dumpling, Be-deedle dumpling...      SUDDENLY--      Without warning -- like a thunderbolt -- Todd leaps into the      room--                             TODD                   What are you doing here?!                             BEGGAR WOMAN                       (clutching at his arm)                   Ah, evil is here, sir. The stink of                   evil -- from below -- from her! ...                       (calling)                   ... Beadle dear, Beadle!      He looks anxiously out the window for the Judge:                             TODD                   Be quiet, woman!                             BEGGAR WOMAN                       (still clutching at him)                   She's the Devil's wife! Oh, beware                   her, sir. She with no pity ...                       (slowing, looking at him                        more closely)                    ...in her heart...                             TODD                   Out of here! Now!                                                           (CONTINUED)                                                                  PAGE 111.113   CONTINUED: (2)                                             113                          BEGGAR WOMAN                    (really peering at him                     now)                Hey, don't I know you, mister?      Todd suddenly sees -- the Judge! -- walking toward the shop--      Todd has no time--!      The music THUNDERS as--      In one brutal motion -- he swings around and grabs his razor -      - fiercely SLASHES her throat -- tosses her in the chair --      pulls the lever -- she slides through the floor--      He pulls the chair back to its normal position just as--      The Judge enters.                          JUDGE                Where is she? Where's the girl?                          TODD                Below, your Honor. With my neighbor.                Thank heavens the sailor did not                molest her. Thank heavens, too, she                has seen the error of her ways.                           JUDGE                She has?                          TODD                Oh yes, sir, your lesson was well                learned. She speaks only of you,                longing for forgiveness.                          JUDGE                Then she shall have it. She'll be here                soon, you say?      The music builds, the pace increases:                          TODD                I think I hear her now.                          JUDGE                    (excited)                Oh, excellent, my friend!                          TODD                Is that her dainty footstep on the stair?                          JUDGE                I hear nothing.                                                         (CONTINUED)                                                                PAGE 112.113   CONTINUED: (3)                                           113                          TODD                Yes, isn't that her shadow on the                wall?                          JUDGE                Where?                          TODD                There!                Primping,                Making herself even prettier than usual--                          JUDGE                Even prettier...                          TODD                If possible.                          JUDGE                    (blissful)                Ohhhhhhh,                Pretty women!                          TODD                Pretty women, yes...                          JUDGE                    (straightening his coat)                Quickly, sir, a splash of bay rum!                          TODD                Sit, sir, sit.                          JUDGE                    (settling into chair, in                     lecherous rapture)                Johanna, Johanna...      Todd gets a towel, puts it carefully around the Judge, moves      to get a bottle of bay rum--                          TODD                Pretty women...                          JUDGE                Hurry, man!                          TODD                Pretty women                Are a wonder...                                                        (CONTINUED)                                                                  PAGE 113.113   CONTINUED: (4)                                             113                          JUDGE                You're in a merry mood again today,                barber.                          TODD                    (joyfully)                Pretty women!                          JUDGE                What we do for      They sing simultaneously as Todd smoothes bay rum on the      Judge's face and then reaches for his razor:                          JUDGE                Pretty women!                Blowing out their candles                Combing out their hair--                Then they leave--                Even when they leave you                And vanish, they somehow                Can still remain                There with you there...                          TODD                Pretty women!                Blowing out their candles                Or combing out their hair,                Even when they leave,                They still                Are there,                They're there...      The music builds dangerously as:                          JUDGE                How seldom it is one meets a fellow                spirit!                          TODD                With fellow tastes -- in women, at                least.                          JUDGE                What? What's that?                          TODD                The years no doubt have changed me,                sir.                          (MORE)                                                        (CONTINUED)                                                                   PAGE 114.113   CONTINUED: (5)                                              113                           TODD (cont'd)                But then, I suppose the face of a                barber -- the face of a prisoner in                the dock -- is not particularly                memorable.                          JUDGE                    (a horrified realization)                Benjamin Barker!                          TODD                BENJAMIN BARKER!      The factory whistle screams a steady, terrible blast as--      Todd brutally SLASHES the Judge's throat--      Severing his jugular--      The spray of blood drenches Todd--      He pulls the lever and sends the body tumbling out of sight      down the chute.      The music continues...      As Todd stands for a long moment, blood dripping from his      face, exalted.      Then he sinks to his knees, overcome.      The music stops.      A long beat of silence.      Then Todd looks at his razor deeply:                          TODD                Rest now, my friend,                Rest now forever,                Sleep now the untroubled                Sleep of the angels.      Then silence as he reverently sets the razor on the floor and      looks at it.      We focus on his face.      His quest is completed.      His demons silenced.      The ghosts are gone.                                                        (CONTINUED)                                                                   PAGE 115.113   CONTINUED: (6)                                              113      It's done.      He just kneels there. No reason to move. No purpose in life.      Then...      A sound from the chest. A slight thump.      His eyes dart to the chest.      He slowly picks up his razor and moves to the chest. Then      suddenly WRENCHES it open and HAULS out Johanna--                             TODD                       (darkly)                   Come for a shave, have you, lad?                                JOHANNA                   No -- I...      He tosses her in the chair, throws back his arm, his razor      ready--                             TODD                   Surely, yes! Everyone needs a good                   shave--!      SUDDENLY -- A PIERCING SCREAM ECHOES UP FROM THE CHUTE --      Mrs. Lovett's voice -- screaming to raise the dead--      Todd rivets Johanna, pointing the razor at her, a lethal      warning:                             TODD                   Forget my face.      He spins and bolts out of the shop, leaving her sitting in      the chair--114   INT. BAKEHOUSE -- NIGHT                                      114      Mrs. Lovett is standing in horror by the mouth of the chute.      The Judge, still barely alive, clutches at her skirt--      She tries to wrench herself away from his vise-like grip--                             MRS. LOVETT                   Die! Die! God in heaven -- die!      The Judge's fingers finally relax their grip; he is dead.      Panting, Mrs. Lovett, backs away from him and for the first      time notices the body of the Beggar Woman.                                                        (CONTINUED)                                                                    PAGE 116.114   CONTINUED:                                                   114                             MRS. LOVETT                   You! Can it be? Have all the demons of                   Hell come to torment me?!      She grabs the Beggar Woman and starts dragging her quickly      toward the oven as Todd races in:                             TODD                   Why did you scream? Does the Judge                   live still?                             MRS. LOVETT                   He was clutching, holding on to my                   dress, but he's finished now...      She continues quickly dragging the Beggar Woman toward the      oven.                             TODD                   Leave them to me. Open the doors.      He waves her toward the oven--                             MRS. LOVETT                   No! Don't touch her!                             TODD                   Open the doors!      He shoves her toward the oven and leans over to pick up the      Beggar Woman's body--                             TODD                   What's the matter with you? It's only                   a silly old beggar--      Then -- Mrs. Lovett opens the oven doors--      The thundering roar from the oven crashes through the room as      the fiery light slashes across the floor--      Clearly illuminating the face of the Beggar Woman.      A chord of music as Todd realizes who she is. Music continues      and builds as:                             TODD                   Oh no! ... Oh God ... "Don't I know                   you?" she said ...      He looks up to Mrs. Lovett:                                                            (CONTINUED)                                                                PAGE 117.114   CONTINUED: (2)                                           114                         TODD               You knew she lived. From the moment               that I came into your shop you knew my               Lucy lived!                         MRS. LOVETT               I was only thinking of you!                         TODD                   (looking down again)               Lucy...                         MRS. LOVETT               Your Lucy! A crazy hag picking bones               and rotten spuds out of alley ashcans!               Would you have wanted to know she               ended up like that?                         TODD                   (looking up)               You lied to me...                         MRS. LOVETT                   (desperately)               No, no, not lied at all.               No, I never lied.                         TODD                   (to Beggar Woman)               Lucy...                         MRS. LOVETT               Said she took the poison -- she did --               Never said that she died --               Poor thing,               She lived--                         TODD               I've come home again...                         MRS. LOVETT               But it left her weak in the head,               All she did for months was just lie there in bed--                         TODD               Lucy...                         MRS. LOVETT               Should've been in hospital,               Wound up in Bedlam instead,               Poor thing!                                                        (CONTINUED)                                                                   PAGE 118.114   CONTINUED: (3)                                              114                          TODD                Oh, my God...                          MRS. LOVETT                Better you should think she was dead.                    (passionately)                Yes, I lied 'cos I love you!                          TODD                Lucy...                          MRS. LOVETT                I'd be twice the wife she was!                I love you!                Could that thing have cared for you                Like me?                          TODD                    (a harrowing keen)                WHAT HAVE I DONE?!      Todd's eyes suddenly snap up to Mrs. Lovett -- as the      glorious "Little Priest" waltz theme returns--                          TODD                Mrs. Lovett,                You're a bloody wonder,                Eminently practical and yet                Appropriate as always,                As you've said repeatedly,                There's little point in dwelling on the past.      He steps toward her, she steps back, unsure, as they sing      simultaneously:                           TODD                No, come here, my love...                Not a thing to fear,                My love...                What's dead                Is dead.                          MRS. LOVETT                Do you mean it?                Everything I did I swear I thought                Was only for the best,                Believe me!                    (a heartbreaking plea)                Can we still be                Married?      Todd steps toward her darkly.                                                        (CONTINUED)                                                                   PAGE 119.114   CONTINUED: (4)                                              114      She knows she is doomed.      But steps into his arms anyway for a final, triumphant waltz:                          TODD                The history of the world, my pet--                          MRS. LOVETT                    (through tears)                Oh, Mr. Todd,                Ooh, Mr. Todd,                Leave it to me...                          TODD                Is learn forgiveness and try to forget.                          MRS. LOVETT                    (the lost dream)                By the sea, Mr. Todd,                We'll be comfy-cozy,                By the sea, Mr. Todd,                Where there's no one nosy...      He waltzes her toward the roaring oven.      She offers no resistance, fully aware of what's coming.      The blazing, thundering inferno of the oven makes it seem      they are the damned, dancing through Hell.                          TODD                And life is for the alive, my dear,                So let's keep living it--!                          BOTH                Just keep living it,                Really living it--!      The music reaches a thundering crescendo as--      He flings her into the oven and slams the doors--      We hear her screaming. And banging on the oven doors.      Todd sinks to his knees and covers his ears desperately as      the banging and screaming and music finally fade to silence.      Then he slowly drags himself across the floor to the Beggar      Woman.      He cradles her head in his arms.                                                          (CONTINUED)                                                                   PAGE 120.114   CONTINUED: (5)                                              114                          TODD                There was a barber and his wife,                And she was beautiful.                A foolish barber and his wife,                She was his reason and his life.                And she was beautiful.                And she was virtuous.                And he was...      Todd folds himself over his dead wife.      The only sound his deep, anguished sobs.      A long beat.      Then he becomes aware of something. He looks over to see....      Toby -- staring at him from the open sewer grate. He has seen      everything.      Todd watches as Toby silently pulls himself up. Todd gently      sets Lucy down and then, still kneeling, turns to face Toby.      A long beat as they look at each other.      Then Toby slowly moves and carefully picks up Todd's razor.      Todd looks at him.      Then slowly unbuttons his collar and exposes his neck.      He bends his head back, offering his naked throat.      Toby slowly goes to him and methodically slits his throat.      Todd continues to gaze up at Toby as we hear the lonely sound      of wind escaping from his severed wind pipe.      Then Toby turns and leaves the bakehouse.      Todd leans forward, dying.      We cut to his point-of-view:      The rough brick floor...      From the bottom of the frame...      A dark pool of blood slowly begins to spread ... moving up      the frame ... the fiery glow from the bake oven reflected in      the blood...                                                           (CONTINUED)                                                                   PAGE 121.114   CONTINUED: (6)                                              114      Finally, the pool of blood fills the entire frame.      We realize this is the first image we saw in the story.      Todd's perspective. Todd's blood. As he dies.      As before, the Gentleman's face appears, reflected in the      pool of blood...                          GENTLEMAN                Attend the tale of Sweeney Todd,                His skin was pale and his eye was odd.      The Banker emerges from the shadows of the bakehouse...                          BANKER                He shaved the faces of gentlemen                Who never thereafter were heard of again.      The General emerges ... and the Tourist ... and the Priest      ... and the Student...                          GHOSTS                    (variously)                He trod a path that few have trod,                Did Sweeney Todd,                The Demon Barber of Fleet Street.      Then a new ghost ... a face we recognize ... the Beggar      Woman...                          BEGGAR WOMAN                He kept a shop in London town,                Of fancy clients and good renown.      She is joined by the Judge...                          JUDGE                And what if none of their souls were saved?                They went to their maker impeccably shaved.                          BEGGAR WOMAN, JUDGE AND GHOSTS                By Sweeney,                By Sweeney Todd,                The Demon Barber of Fleet Street.      The Beadle and Pirelli join the ghosts...                          PIRELLI AND BEADLE                Swing your razor wide, Sweeney!                Hold it to the skies!                Freely flows the blood of those                Who moralize!                                                           (CONTINUED)                                                                   PAGE 122.114   CONTINUED: (7)                                             114      The ghosts move around the bakehouse, considering the meat      grinder and stained cleavers and chopping block...                          GHOSTS                    (variously)                His needs are few, his room is bare.                He hardly uses his fancy chair.                The more he bleeds, the more he lives.                He never forgets and he never forgives.                Perhaps today you gave a nod                To Sweeney Todd.                The Demon Barber of Fleet Street.      Hunting like predators, we begin to move urgently through the      ghosts. Their long shadows tower bizarrely against the walls      and ceiling of the bakehouse. The fiery red roar of the bake      oven builds in intensity...                          GHOSTS                    (variously)                Sweeney wishes the world away,                Sweeney's weeping for yesterday,                Hugging the blade, waiting the years,                Hearing the music that nobody hears.                Sweeney waits in the parlor hall,                Sweeney leans on the office wall.                No one can help, nothing can hide you--                Isn't that Sweeney there beside you?                Sweeney wishes the world away,                Sweeney's weeping for yesterday,                Is Sweeney!                There he is, it's Sweeney!                Sweeney! Sweeney!      We tear through them with increasing frenzy -- cutting      quickly, vertiginous angles -- as the music builds--                          GHOSTS                    (variously)                There! There! There! There!                There! There! There!                    (almost a scream now)                There!      They move away--      Revealing--      Todd and Mrs. Lovett. Facing each other.      We circle them:                                                          (CONTINUED)                                                                   PAGE 123.114   CONTINUED: (8)                                              114                          GHOSTS                Attend the tale of Sweeney Todd!                He served a dark and a hungry god!                          TODD                    (sharply to Mrs. Lovett)                To seek revenge may lead to hell.                          MRS. LOVETT                    (coldly to him)                But everyone does it, if seldom as well--                          TODD AND MRS. LOVETT                --As Sweeney...                          GHOSTS                As Sweeney Todd...                The Demon Barber of Fleet...      The ghosts begin to disappear ... fading into the shadows of      the bakehouse ... leaving Todd and Mrs. Lovett alone...                          GHOSTS                ... Street!      The febrile music continues as Todd and Mrs. Lovett stand      alone, continuing to glare at each other.      Finally she gives him a grim little smile and disappears into      the darkness.      He stands alone.      And we cut to--      A series of images from earlier in our story, cut to the music --      Todd's life flashing before his eyes --      The images building as the music races toward its conclusion--      Todd singing -- slashing -- smiling -- striding--      The final crash of music at the final image:      Todd kneeling, hunched over the pool of blood on the      bakehouse floor.      He falls...      Into the blood.      Dead.                                                          (CONTINUED)                                  PAGE 124.114   CONTINUED: (9)             114      Snap to black.                       The End
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